Last time, we discussed the theme that represented Sherlock’s sense of justice in the opera. His motives just and heroic, his thought processes mechanical and intellectual — however, Sherlock is like two sides of the same coin. While Holmes’ methods of investigation were tidy and methodical, his life was anything but. Watson describes him as being “bohemian”, and that his home was cluttered and in disarray. I wanted a more casual, relaxed theme to embody this side of Sherlock, and this is the theme that most often represents him in the opera. It’s jazzy, lighthearted, and evokes imagery of Sherlock lazily smoking a pipe in his robes, which is coincidentally how the director decided to stage the opening of the opera!
As a composer, my music is largely melodically and thematically driven. I find that my favorite music has melodic content that is both memorable and evocative of what it’s representing, and I try to exemplify this in my own compositions. When I composed my chamber opera, “A Certain Madness”, I had the time of my life creating musical material that would eventually accompany different characters or emotions on the stage. In the next few posts, I’m going to explain my compositional process behind a few of the different themes in the opera.
There’s no better time than the present to test drive my nascent website, so to christen its conception, here is my first blog post!
My, has it been a busy and exciting summer! I’ve done a lot of collaborative piano work, including performances at the National Association of Teachers for Singing National Student Auditions, where I played for some of my dearest friends and collaborators. I’ve also done a great deal of composing, including a new work for the St. Louis Symphony Orchestra under the direction of Gemma New called “Wytchkraft”. The piece is fiery, dark, and brooding, and the compositional style exemplifies my undying love of film scores. More details to come soon!