Channeling a countermelody

October 1, 2014

Georges_bizetMany of my faithful readers know that I channel dead composers from time to time. Well, not really, I pretend to and it makes for a good read.

But something eery happened recently that was very likely channeling something or someone. And I have a witness.

Conductor, Scott Dunn sat with me for several days going over the orchestration of my opera [on my computer using notation/playback software called Sibelius] with meticulous detail. While going over part of Act 2, I heard an amazing countermelody. I tried to not say anything. I scrolled to look at the horn part as the countermelody was in the horns. There was nothing there. I played it again. There was a fabulous countermelody in the horns. But there was not a single note in the horn part.

Who’s there? Hello? Was it Lenny? Or was it Georges? Both names I evoke from time to time as the godfathers of this opera.leonardbernstein1

I asked Scott whether he heard it and he said “yes.” I grilled him on the exact notes and what instrument it was in and he got it spot on. I exclaimed “OK OK, I’ll put it in.” So I put in the channeled horn countermelody. We have no idea who it was. But it’s in the music now. And I have a witness.

It must have been Rosemary Brown playing tricks on me again.

[Photos: Georges Bizet, composer of “Carmen”; Leonard Bernstein, composer of “West Side Story”: Godfathers of “La Paloma y el RuiseƱor”.]

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