Interlude and Ecstatic Alice
from In Memory of a Summer Day (Child Alice, Part I)
for soprano (amplified) and orchestra (1980)
13 March 1981
Bovard Auditorium, Los Angeles
Suzanne Marie Rodas, soprano / University of Southern California Symphony / Daniel Lewis, conductor
3(III=picc).3(III=corA).3(III=Ebcl).bcl.3(III=dbl)-18.104.22.168-timp.perc(5):tgl/small and large susp.cym/vib/small and large tam-t/BD/tamb/TD/SD/glsp/t.bells/xyl/marimba/cym/wind machine/ant.cym-2 harps-cel-strings
preface poem for "Through the Looking Glass" by Lewis Carroll
"Interlude" grows out of the March's (surprisingly) quiet ending and includes an altered recapitulation of music from the Introduction
"Ecstatic Alice," which follows, is Carroll's dream, a dream of love. It is a second setting of the poem (the same one used in "Simple Alice") colored entirely by this infatuation. What he could not express - perhaps even feel - waking is now given full, romantic rein. The key-change, too, is significant. Both "Simple Alice" and the Marcia were in A Major. Here suddenly the key goes up a half-step to B-flat major, a release from the earth-bound A!
"Ecstatic Alice" is an aria in the grandest sense of the word; beginning with another version of the "Simple Alice" melody, it soars eventually to a Liebestod-like climax, subsiding then into quietude.
In the complete performance of Child Alice, Part 1 comes to a surprisingly abrupt conclusion and is followed by an intermission. For a separate performance of In Memory of a Summer Day, I have written a concert ending.