![]() ![]() That old trickster, Puck, the figure of English folklore most famous for messing with the lovesick dreamers in Shakespeare’s A Midsummer Night’s Dream. She will identify the specific inspiration for the middle section of the piece. But she adds, “they are very personal, so I won’t give away exactly what everything signifies.” DEE COMPOSE MUSITION SERIESShe describes Morpheus as a series of “dream tableaux.” And yes, she says, they are based on her own dreams. “The ideas came to me in a more free-flowing way.” “I came back to composition thinking I’m not going to be so strict with myself about working out material to every last detail before I start,” she explained. “It has that warmth of sound and that all enveloping quality, which I thought would suit the piece.” (Principal Hornist Matthew Annin will play the part at this concert.)Īpropos of music inspired by dreams, Alberga says she approached Morpheus a little differently. When she came back to it, she wanted to write for a string quartet again, but opted for a French horn as the fifth instrument. After finishing work on an opera, Letters of a Love Betrayed, in 2009, she took a short break from composing. In 2007, Alberga finished another nocturnal chamber piece, Succubus Moon, for string quartet and oboe. “And I’ve always been interested in Greek mythology, so I thought about a piece inspired by Morpheus, the god of dreams.” “Dreams have been important to me through most of my life,” she explained. The Morpheus in the title refers to the Greek god of sleep and dreams. There are times, in fact, when ideas come to her in dreams, something to remember when you listen to Shining Gate of Morpheus, which is part of the Milwaukee Symphony Orchestra’s “Dream Gates” concert, available at MSO Live on February 27. It’s only if I set myself on some tedious task or give myself a distraction can I cut that off. Most of the time, I have ideas while I’m lying in bed waiting to get up. “When I start going more deeply into a piece, then the composition process never stops,” she explained over the phone from her home in rural England, “I’m thinking about it as soon as I open my eyes in the morning. When Eleanor Alberga is in the thick of it, composing music is almost a 24-hour enterprise. Eleanor Alberga: From Dreams to Composition Paul KosidowskiĢ020.21 Season, Conversations with Composers ![]()
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