Sigma Alpha Iota

22 Winter 2022 • sai-national.org Composer Discoveries: Pyramus and Composer Discoveries: Pyramus and Thisbe and Le Devin du village Thisbe and Le Devin du village Despite their philosophical aesthetic differences — Leveridge/Lampe's anti-Italian influence stance and Rousseau's pro-Italian influence stance — the pieces, at times, sound remarkably similar. Maybe it is because the international music aesthetic in the mid-18 th - century (transitional period between the late Baroque and early Classic periods) was so pervasive that philosophic aesthetic stances didn't matter. Some of the movements from one of the operas could have appeared in the other without any notice. Similarities include: • continuo and figured bass; • string ensemble (violin 1, violin 2, viola, cello/bass); • most florid writing in the violin parts; • flutes, oboes, bassoon, horns as added colors to the string texture and for the most part double the strings; • relatively simple harmonic structure; • primarily homophonic texture. Differences include: • in Pyramus and isbe the florid vocal writing mocks Italian opera exaggerations, with sixteenth note runs, ornaments, elaborate cadences (particularly in the Lion's song imitating the roar of the lion, and in Furies song imitating flying furies) which is in contrast to Le Devin's seemingly simple, syllabic, yet equally expressive arias (one essayist suggested, however, that Rousseau wrote some deceptively intricate rhythmic patterns that are not at all that simple); • in Pyramus and isbe some of the dialogue is spoken and some sung, though the sung recitative dialogues are quite short, which is in contrast to Le Devin, where much of the vocal action takes place with intricate, extensive, and expressive recitative dialogues that frequently merge into and then out of brief but memorable arias (like Non, non, Colette); • in Pyramus and isbe, Shakespeare's play within a play as subject matter for the libretto is very English, which is in contrast to the pantomime and dancing in Le Devin, which is very French; • In Pyramus and isbe the music looks back and satirizes the opera excesses of the Baroque era, while Le Devin the music looks forward to the new opera of the Classic era. In both operas, rustic characters are featured: "rude mechanicals" in Pyramus and isbe and the rural lovers in Le Devin. Gone are the mythological, royal, or upper-class characters of Italian opera for the preferred common folk, rural scenes, and the simpler life. Lessons for a composer Lessons for a composer Over the past 15 years, I have written a number of chamber operas featuring between two and five singers and small and large chamber ensembles. Discovering Leveridge/Lampe and Rousseau's operas reinforced my conviction that chamber operas can be very satisfying to compose and produce, because they are manageable musically and financially. In addition, by first craing a well thought out, clever, and imaginative libretto, it is possible to then write music that can be inventive and memorable. Creating a few characters that can be fully developed and plots that can be simply understood can provide the listener with a satisfying aesthetic experience. Chamber operas allow the listener to get an intimate glimpse of a dramatic situation and musical conversations that are easily accessible. In both Pyramus and isbe and Le Devin, the plots are quite simple and the love conflicts gentle: Pyramus trying to meet isbe through the chink in the wall and Colin trying to reconcile with Colette, through the magic help of the kind village soothsayer. ese two operas provide excellent examples for the composer, who wishes to write a chamber opera, on how to effectively write a successful work. At the end of hearing or seeing a performance of Pyramus and isbe or Le Devin, the listener will have a joyful aesthetic experience: Love makes us fools, and we can laugh at ourselves and delight in our human existence. Composer and researcher Hollis oms has had a number of articles published in PAN PIPES over the years. He has had 40 articles published in journals and written over 150 musical works: symphonies, operas, chamber music, vocal, and choral music. He has a masters in composition from Northwestern University and finished the course work for the PhD in composition from the Eastman School of Music. In addition, he has an EdS in educational administration from the University of Toledo and a masters in liberal studies from St. Johns College, Annapolis. He was a teacher of English and music and a school administrator for over 30 years. He has been the recipient of a Joseph Klingenstein Fellowship to Columbia University, an Alden B. Dow Creativity Fellow, was a Fulbright Exchange Teacher to Scotland, and was selected to participate in the summer principal seminar at Harvard University Graduate School of Education. His musical compositions and research projects are in special collections at the Maryland State Archives, Folger Shakespeare Library, Shakespeare Birthplace Trust, and Church Music Center at Concordia University- Chicago. View his composer website at: www. hollisthoms.com ose interested in ordering one of the Hatton booklets can notify Mr. oms via his website. e Hatton booklet and 2 CDs are $25.00, including shipping. Cposers CONTINUED FROM PAGE 17 Music Example 2: Rousseau's du Devin du Village Music Example 2: Rousseau's du Devin du Village 1769 (author's rare book collection) 1769 (author's rare book collection)

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