An analysis of the Musical Structure

  Here are some thoughts about the musical structure of "I Am Alpha and Omega". This is purely conjecture, because it must be founded in the Libretto, where the musical elements will be more clearly defined in the next Revision.

    I see the music as developing toward being predominately Symphonic, not starting out that way, rather introducing an assortment of styles being both instrumental and vocal in nature. The concept needs to run in syncopation with the visual representation of The Creation, adding elements to "create" a composite.

   Since there will be a divergent theatrical structure, both visual and dramatic, the music will need to be flexible enough to accommodate the texture of the piece. This means that the symphonic nature would take on a wider definition of movements, that are not necessarily tied to one another in a conventional contiguous sense. 

   It is possible that musical numbers that are not part if the symphonic structure may be interjected in-between the movements of the symphony. If that is the case, those numbers need to transition out of the previous movement and lead to the next movement or number. In any event if there is a sequence of numbers, the last one needs to be tied to the next movement in the symphony. So it would be that numbers may exist in-between movements.

    There was reference to a Requiem. If there is a Requiem involved, it needs to be encompassed within the Symphony and come forth out of the same.

    The Third Act needs to generate forward into an Operatic format, but that format could merge back into a Requiem as a concluding expression. The introduction of musical numbers (as in SATB musical theatre or solo performance formats) needs to be reserved for the centre portions of the piece. The exception being in the Operatic format of the Third Act. In that context, the SATB of the Opera comes from the Heavenly Hosts.

    I think that the conclusion of the piece need to be introduced with Acapella SATB probably leading into a Solo that points to the symphonic climax. I also think that the numbers that are presented in Acts One and Two need to be incorporated into the Symphonic Climatic approach, while leaving room for an Operatic expression that is distinct from those numbers, yet sets the foundation for the Symphonic expression. So, the musical theatre numbers are the external of the orchestral structure, while the Symphonic elements, probably the Requiem, forms the foundation of the Operatic expression, allowing the Operatic aspect to build the internal, the substance of the Symphonic expression, yet still leaving room for the Requiem aspect to emerge.

   I hope that makes sense. AG