Voice & Orchestra
3(III=picc).3(III=corA).3(III=Ebcl).bcl.3(III=dbl)- 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
March 13, 1981
Bovard Auditorium, Los Angeles
Suzanne Marie Rodas, soprano / University of Southern California Symphony / Daniel Lewis, conductor

preface poem for "Through the Looking Glass" by Lewis Carroll

Extracted From
In Memory of a Summer Day for soprano (amplified) and orchestra (1980)
Alice Work
Buy Score
Boosey & Hawkes

"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.