![]() In contrast, Albert and Franz are “seiz” by the “general vertigo” and are “like men who, to drive away a violent sorrow, have recourse to wine, and who, as they drink and become intoxicated, feel a thick veil drawn between the past and the present.” Throughout the carnival, a mysterious woman flirts with Albert and at the end, lures him toward danger.īelow, I include excerpts from “The Carnival at Rome” which best captures the spirit of Carnival Fever: ![]() Although the Count, who had invited the young men to witness the scene, had responded during the execution by “burst into a laugh a terrible laugh, that showed he must have suffered horribly to be able thus to laugh,” he remains unmoved throughout the festivities. Young Albert (the unknowing target of Monte Cristo’s machinations) and his friend Franz experience a carnival, which commences only moments after a grisly public execution in the same piazza. The most influential one was “The Carnival at Rome,” a chapter from The Count of Monte Cristo by Alexandre Dumas. While composing Carnival Fever, several literary associations came to mind. At the same time, a serious intensity lies beneath the celebratory mood. Moments whip past at a brisk pace, filled with a whimsical, joyful spirit. ![]() I wrote the piece very quickly, and hopefully my enthusiasm can be sensed in the music. World premiere on Apby conductor Michael Tilson Thomas and New World Symphony.Ĭalifornia premiere (dates TBD) for 2015 by conductor Michael Tilson Thomas and the San Francisco Symphony.Ĭomposing Carnival Fever was an enjoyable and inspiring experience. Co-commissioned by the New World Symphony, ![]()
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