“So much music, I’m writing a ballet!” I was thinking that when working on Of Lives and Leaves in 1998. It was a beautiful evening of one-acts based on Chekhov stories, developed by John Alban Coughlan and brought to life by director Chuck Blasius and a wonderful cast.
I was asked to create incidental music to underscore the five plays in an attempt to apply an illusion of symmetry to the collection. Personally, I was just pleased to get a chance to write something other than songs for a musical. I admittedly struggled to understand the Chekhovian themes in these stories and finally just gave in to my gut, which usually feels better after stocking up with a strong melodic inventory.
Since the action centered around a small village, the train station and those who traveled through it, I chose to write a theme and five variations. I also could not resist taking an obvious cue from the source material, so I played with bits of inspiration from several classical Russian composers. Being a former violist, I featured that too often ignored instrument, used lots of piano, frequent metallic clangs and pings of percussion, church bells and organ (for decent symbolism), and a haunting choir. The many musical zen motifs ended up being comfortable and suitable listening, and at times almost therapeutic. Oddly, there was no improvising; the music was written and arranged entirely as a methodical orchestral score. Quite something for an small production in the East Village.
Over the years, I often return to this score and wonder how I wrote that amount of music so quickly and, more astonishingly, was allowed to use all of it. But, in fact, the evening worked well soundscaped to that extent. The actors and lighting designer learned to time lines and movement so specifically to the music that it was hard to conceive of one without the other. I was pleased with this music without lyrics, and satisfied to work in the company of such gifted and inventive folk.
In the end, maybe I was writing a ballet.
Years later I was asked to create an official half hour ballet version of the score for a British dance company. “Points of Departure” is inspired by three short stories of Anton Chekhov: “Two of a Kind,” “Other People’s Misfortune,” and “The Darling.”
The Main Theme represents the stationhouse where the characters wait. Each on a separate journey; each to play a part in a shared memory or possible future. The last to enter is a young couple, prepared for travel.
Variation 1 (Upon Embarking) is based on Chekhov’s Two of a Kind. Youth; a wedding party, a blissful honeymoon coach ride through the forest, a disturbing visit with an embarrassing uncle, a rush to leave, the journey continues but the pace and mood have slowed, then a surprising decision to happily turn around and go back.
Variation 2 (Upon Arriving) is inspired by Other People’s Misfortune. Midlife; a long auto trip from the noisy city into the quiet countryside. A couple journey to a strange and seemingly deserted house; birch trees, a summerhouse, all under the watchful eyes of ever present ghosts, faces in the windows who never leave but are ready to welcome those who have come to join them.
Variation 3 (Upon Departing) explores The Darling. Maturity; thunder and a sudden playful rainstorm bring us to a porch, a childlike but older woman who longs to love or leave, a proposal of marriage, a march of busy town gossip, sudden death and a funeral; a hopeful heart grows weary, settles and lingers in regret as she imagines a new beginning.
The sounds of a waking locomotive interrupt as the stationhouse is emptied and the young couple runs to board the departing train.