Program Notes
I use the forced downtime to reflect on the past and plan my next steps. I give myself the usual pep talk when suddenly I see it… The system itself… The invisible bars of the cage around me start to come into view. I try to force my way through the gate but nothing. No matter how hard I swing, my own energy is directed right back at me. No matter how far I run somehow I always end up right back where I started. It’s obvious that a conventional fight with this foe is futile. I am trapped in a real-world version of the Matrix. Yet, despite this realization I find myself smiling. For the first time in my life I know exactly what I am fighting and exactly where they are.
Performance Tips
This one the oddball of the collection in that it is a comedic piece with a dramatic subtext. The alternate name "Passive-Aggressive Crab Canon", is more descriptive as it is, literally a series of crab canons stitched together to form a larger work. I will save the music nerdery for an Into The Weeds post, but the gist is that during the course of the opening section the 'right hand' is proudly going about its business, when it notices something strange going on. After a test or two it is confirmed, the 'left hand' is shadowing the right... in reverse. Shenanigans ensue. If all Inventions are played in sequence, this one is meant to be an unexpected "palate cleanser" before the final work. Just remember that whatever the interpretation, both hands must perfectly echo each other's performances.
The comedy of Victor Borge was part of the inspiration for this piece:
However, no matter how broad you choose to go with it, please let the comedy come from the absurdity of the situation. From the performer's point of view this is dead serious. This Three Stooges clip is a great example, particularly the first half.
Moments (Music Gestures)
Our hero is having a pretty good day until he senses something very odd. (m. 1)
He metaphorically "calls" twice into the distance and listens for the echo. (can pause briefly on double bar lines of these 2 measures) The suspicion is quickly confirmed... the environment is actually mocking him. (m. 9)
Our hero tries to ignore the disrespect and an escalating, passive-aggressive "trill off" ensues. (m. 11)
First note can be a cluster played in mild frustration but the the second must then do the same. The rests in between have a feeling of "Did I finally lose them?" followed by the startling answer "No" represented by the final note. You can pause at the double bar line with "Oh, it's on." energy. (m. 19)
Battle begins. "You don't know who you're messing with.", "You are going down" (m. 20)
"Ok... he's pretty good but we got this." (m.22)
"Wait, did he just make me play his accent???", "But I'm the real one... right??" (m. 24)
"Crap... we don't got this..." (m. 24)
"#$@!", "!@$#" (m. 28)
Our hero's good day has become a bad one. He plays along in defeat... Then a realization.... and finally a smile. (m. 29)