I’ve still got a lot of typesetting to do, but two acts (I and III) have been written.

Writing the Andrew Jackson stuff was exceptionally difficult. You want the music to reflect the person as the person conceptualizes him/herself, but you also think about the weight of history. John Adams (the composer, not the father of this work’s subject) once joked that Nixon in China was “an opera for Republicans and Communists.” He’s not far off. Almost all the main characters are treated in a fashion that aligns with their own self-perception. (The notable exception is Henry Kissinger, who deserves no quarter and no mercy and receives none.) Dave did a great job of depicting a monster who is convinced of his own rectitude in his libretto. I hope I have created an equal characterization in my music.

Now on to Act II; I have already sketched the dance variations at the heart of the Subterranean scene, as well as the transition from the outside world to the hollow world. This is allowing me to stretch out a little bit, explore different sounds. The trick will be to not rely on sonic stereotypes of “othering.” Please let me know if I fall short on this one.

I might be able to have the vocal score done by the end of July. I was hoping to have the orchestration(s) completely done by then as well, but life being what it is (family medical emergencies, “other duties as assigned,” and OH YES HOLY CRAP I GOT INTO SMT SEE YOU IN NEW ORLEANS BUT NOW I HAVE TO WRITE THIS PAPER TOO), that’s not going to happen. No worries – the plan is still to workshop it in late Spring 2023, and for that I only need the vocal score.

Like a cheap set of drugstore nails, we press on.

WF