I think that some of you today had a musical
today in rehearsal. We have talked about Dr. Barnum's use of the single note at the beginning of the piece that then splits with the dissonance by the sopranos (a M2 above and below)...and how it reminds me of Biblical images of the Trinity.
We have discussed at length the transfer of the literary "stream of consciousness" technique to the repetitive eighth notes that should move with little emphasis on meter. Like the weaving in and out of time and place.
And you understood. In varying degrees. Moreso when we turned off the lights and "felt" each other's forward motion.
HOWEVER.
Today I saw lightbulbs turn on.
I love moments like that in a rehearsal.
I placed the question, "why does Dr. Barnum decrescendo in measures 14-16 with the first "I must pass beyond memory to find you" and then utilizes a crescendo to the glorious chord at 20-21 when the phrase is repeated again?" We hypothesized that the first "attempt" at moving toward God was unsuccessful; the second, moreso. And the lightbulbs started turning on. Little by little, you are seeing the sheer mastery of a composer who understands how to text paint with grace and ease.
And if that wasn't cool enought, we have the neo-medieval passage at the piu mosso section...the tonal significance of the "duets" between sopranos and tenors; altos and basses as we build the musical image of the airborne fragrance that is eternal, culminating in the glorious (no exaggeration here) chord in beat one of measure 39, on the word "look".
Can't wait to hear your interpretation tomorrow (remember, first 38 measures are memorized).
Next blog entry, we will look at mm. 39-60.
