If Orpheus had had three saxophones to hand, he also would have availed of their power to mourn. Or an accordeon. Still, it´s important to get rid of the bleating, the whine the old cow died on. Music can lament alright, but it has to get rid of the merely private. While it also affirms, it is bewailing not so much any particular “Dies Irae” as the very passing of the very time of which music is made. Even without the double reeds or any particular register the composer´s plangency begins its unsettling work. In Vasari´s Corridor in the Uffizzi is a fine Roman copy of the Greek original ” Marsyas Being Flayed Alive”. Apollo, a string-player, takes his awful revenge on the poor wind-player. My one-movement work, ” Quasi Un Lamento”, my sound-sculpture, screams , moans; the seven wind-instruments easily overpower anything the four strings can sob; my piano and percussion add a third element of violence. The accordeon at the close can whimper its Requiem “Kyrie”, five tones, Doh-Re-Mi-Fa-Mi, a fundamental archetype of Western music.
And QUASI UN CANTO for Full Orchestra, then. “I don´t like music but I love to sing!” was Leonard Bernstein´s self-protecting spakes on and off television. In “Quasi Un Canto” a prelude ( it doubles at the end as a postlude also ) frames the orchestral song as it unfolds its 5 tones, A,B,C sharp, C,D and E flat in instrumental groups of three ( three trumpets, three flutes, etc. ) and later in groups of four ( celli divisi, etc. )
Hear my song, sardonic, splintered, quasi unisono then. This branches outlegato or blocked or bursting its way through musical space. Harp, piano and a panoply of percussion ( including bodhrá¡n and clashed cymbals to be lowered in a bath-tub of water ) mediate between the ideas which are really one idea. Vertical is horizontal is oblique. This is song, the full throat.