{"id":758,"date":"2015-08-21T17:54:34","date_gmt":"2015-08-21T21:54:34","guid":{"rendered":"http:\/\/christophertrapani.com\/wordpresssite\/?page_id=758"},"modified":"2015-08-27T07:52:23","modified_gmt":"2015-08-27T11:52:23","slug":"half-of-me-is-ocean","status":"publish","type":"page","link":"http:\/\/christophertrapani.com\/wordpresssite\/half-of-me-is-ocean\/","title":{"rendered":"Half of Me is Ocean, Half of Me is Sky"},"content":{"rendered":"
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Half of Me is Ocean, Half of Me is Sky\u00a0(2004)<\/strong><\/span>
\nfor\u00a0flute, clarinet, piano, violin, viola, cello, and bass [12:00]<\/span><\/h3>\n
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Half of me is Ocean, Half of me is Sky<\/em> is a musical recreation of the structure and sensations of Wallace Stevens\u2019 poem \u201cSea Surface Full of Clouds,\u201d\u00a0a poem that deals with the tension between invention and self-imposed constraint, creating bursts of color and ingenuity within a predetermined form. From a relatively prosaic opening (\u201cIn that November off Tehuantepec\u201d\u2013\u2013mirrored in the score by the iambic pizzicato exchange of\u00a0the violin and \u2018cello), five variations on a six-stanza form follow, filled with seemingly limitless \u201cfresh transfigurings.\u201d In my piece, a 31-bar template is heard five times with a number of fixed elements (pitches, textures, gestues), signposts that recur at regular intervals with varying degrees of elaboration and disguise. Much of the material is derived from the poem\u2019s central image: a cloudy sky perfectly reflected in a tranquil sea. Similar musical symmetries fill the score, from intervallic relationships and melodic lines which unfold alongside their \u2018reflections\u2019 (inverted canons in another register) to the spacious seven-octave \u2018mirror\u2019 chord of the coda which fades away as \u201cthe sea and heaven rolled as one\u201d to close the piece.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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