Last night, I printed out and tucked into a manila folder my eighth piano piece of a collection.


That’s where the past couples years of weekends have gone, into that folder.

Now, I buy an audio cable and see if I can’t finagle this stuff in Audacity to the point where it sounds decent. Despite it marking me as a fatally out-of-touch amateur, I will not record to FLAC. If I were in a studio and miccing an acoustic, yes. But recording to FLAC from a digital piano makes no sense to me. MP3 and WAV are fine for that purpose.

So last night, I dragged out the arrangement I’d done of “Se fiera belva ha cinto” again and had some fun with it. That is the most infectious pop intro I’ve ever heard in my life, and it was written nearly three hundred years ago. Neil Diamond wishes he could write hooks like that. And it felt wonderful. 🙂

I’ve got a list of intros/sinfonias that I’d like to work on as part of the Haendel Variations project. So far it’s looking like:

  1. The opener to “Dove sei?” although I’d like to get the aria down as well. I do have this opener worked out, the whole thing plus the following rec. accompagnato, but I stopped about half a verse into the aria itself.
  2. The intro for “Se fiera belva ha cinto,” which I’ve worked out.
  3. The intro for “Sospetti, affetti, e timori” and possibly the whole thing here as well since I love it so much.
  4. The intro to “Con rauco mormorio,” which I’ve already done since I’ve got that one finished for piano and viola.

I am mulling “Son nata a lagrimar” as well, but the thing is, all the others are from Rodelinda, and that indicates that it might be fun to make it Rodelinda Variations and keep to that opera as a theme. Later on, I might do the same with Cesare but for now I think I’d like to keep it to this one opera. That means that I might need to do another aria, and … I’m not sure which one. I’m curious about some of Garibaldo’s arias, but there is a problem with putting a basso aria on a piano in that the melody and the accomp bang into one another. 😦 They would work best as piano+cello pieces, I think.

There’s “Pastorello d’un povero armento,” as a possibility, which I like. I’d love to do one of Rodelinda’s arias, but they don’t necessarily leap out at me. I’ve got to chew on that. (GAWD, I wish I could do the sinfonia from “V’adoro pupille,” but that will wait for the Cesare Variations project.) I think I just relate to the lower voices more; I’m nowhere near a soprano and pretty much sing tenor when I sing. Typical operatic women’s stuff just isn’t in my range.

“Di chi? Di che?” might be cute. That’s a bit lighter and bouncier than the others …

So anyhow what it means is that I already have three of these four intros/sinfonias worked out at their most “faithful” level, and one variation done on “Se fiera belva ha cinto.” So I need to work out the intro to “Sospetti,” and then get moving on the variations and see how much music this results in. I need to write out the chords on all of them as well — both the actual chords and the Vs and IVs and that sort of junk as well. That really helps. If it doesn’t turn out on the order of an hour of music, I’ll go looking for another aria to work with. Otherwise, these four will do it.

Jeez, I’ve had two projects in mind since I got on this ride — a collection of my own work and a Haendel variations collection — and the minute I pop one off the stack, another one arises to take its place, and I’m back to doing one and keeping another one in mind as next in line. I guess that’s how it’s going to go from now on. At least I’m not running out of ideas.

ETA: Hm, maybe the opening to “Confusa se miri” will work.

ETA2: Or the opening to the one where she tells Grimoaldo to piss off after he proposes to her just after “Ho perduto.” I don’t know the opening lines exactly, but it’s something like “Villainous fate may have reduced me, but it will not bring me to dishonor.”