Aesop - Part 1
by Jason McChristian on 04/24/15
My latest project is a work for Symphonic Band and
Narrator based on several fables by Aesop. I have always been interested in
works for narration and, for a number of reasons; I was immediately drawn to
the idea of using Aesop's fables. First, there are numerous fables to choose
from. The Perry Index reveals 725 different fables, though the authenticity of
some of the fables has been questioned. Second, they are great tools for
teaching morals to children. Some of the actions are rather graphic but the actions
of the characters are muted through the employing of animals. Conveniently,
animals are very easy to depict in music. Finally, they are old. Aesop,
possibly, lived from 620-563BCE so the fables themselves are certainly in
public domain, but the translations of these works may not be. Translations are
protected under copyright; anything derived from a different language is
subject to copyright if the translator created the work after 1923. Knowing
this, I was very careful to choose the translations of Joseph Jacobs. His
translations of the fables are from the end of the nineteenth century, while
the vernacular is relatively up-to-date.
After deciding on the Jacobs translation, the next step
was to start choosing the right fables. My criteria for choosing the fables
consisted of the following. First, I wanted to stay away fables containing
words like "faggot." Though this word, in the context of the fable
referred to a bundle of sticks, the word spoken aloud can easily elicit the
derogatory modern meaning. I also wanted to stay away from fables that were too
violent. One fable, for instance, had two characters discussing when finally,
one devoured the other ending with the agonizing victim crying out the moral of
the story. Though I chuckled, this music should be appropriate for all ages.
Lastly, I was interested in staying away from fables that shared the same
animal. Since I expected to create leitmotifs for each animal, I didn't want to
represent the same animal with two different themes.
The final criteria lead me to consider whether the fables
would be performed together (attacca) or performed separately. The only real
question was whether I wanted to create transitions between each movement,
which could result in each movement ending in possibly an unsatisfying way, or
if I was going to create an ending for each movement. Finally, I chose the
latter, though creating transitions is very artistically satisfying. (Then
again, so is creating endings.) Creating an ending for each movement also
affords the ability for a performing ensemble to chose to perform all of, or
just a few of the movements, or, they can choose to mix and match the order as
they wish. So far, I have chosen
seven fables, but I reserve the right to add or remove as the composing progresses.