I think I’m just going to do two simple dotted quarter chords (well, one dotted quarter and one quarter) for that first “fann’ eco” part that’s so tricky. I’m also going to simplify the end of the first part of the B theme as well, when he finishes up (well, when I finish up) in F#m. He finished up in Gm. I want to give myself a little breathing room to do a stronger ending at the close-up of the Em part instead, and I’ll steal my own thunder if I go too strong at the end of the F#m.
Crap. I stopped with the lowercase stuff, didn’t I? Oh, well. It just doesn’t feel right. It’s F#m damn it, not f#.)
Then, a nice, gentle drawn-out move back into the main theme with that first “Con” held. Maybe. I don’t know if that’ll work as well on a viola or not.
I’m also not sure if I want to do anything with the whole “that sounds like my brother!” part that interrupts the return to the main theme. I don’t think it’ll sound quite right if the thing is just lifted wholesale as a song on its own, but it sounds wrong to me not to hear that.
Ooh, you know, I’d love to see this opera with Andreas Scholl as Bertarido and Elisabeth Scholl as Eduige. Talk about neat! She’s a mezzo, right?
Some work on the viola this weekend but … still. It’s still such a different way of approaching music to kill oneself to make one lousy note, instead of focusing on the larger structure of something, which you can do with a piano. The piano frees the mind to really take a 30,000′ view of music, instead of just forcing you to worry so much about the specific mechanics of one idiosyncratic device. Pianos allow for a much larger level of abstraction. I imagine I feel this way partly because I’m good with the piano and not at all with the viola, but it still strikes me that the effort needed to simply make one sound on the viola really does tether you very firmly to the physical world. The piano sort of lets you get away from the dirty end of having to create all those noises. It comes packed with noises all pre-made, and you can just unwrap them and immediately get to work arranging them nicely. I can very, very, very clearly see why so many composers are keyboard players. (And I can see why those who aren’t wish they were.)