Devil's Tale, The
Subtitle: A Sequel to Stravinsky's L'Histoire du Soldat
Duration: c. 45:00 (with narration; 34:00 without narration)
Difficulty: V (see Ratings for explanation)
Publisher: Stephenson Music, Inc.
Cost: Score and Parts (print) - $350.00 | Score Only (print) - $70.00
Thirty-four movements, or may be done as a suite (like the Stravinsky)
B-flat Soprano Clarinet
Dancers and Actors (optional)
None discovered thus far.
My version of this familiar story of Joseph, the devil, et al, is called The Devilʼs Tale. Its inspiration comes from basically telling Ramuzʼ story backwards, in effect, as one giant palindrome.
This all began with imagining starting my story where Stravinskyʼs leaves off, with the somewhat ambiguous drum solo. (it is sometimes played with a crescendo, sometimes with a diminuendo). It was this ambiguity which led me to realize that it could almost be the beginning to a piece as well.
I have had many dreams myself where I am convinced that I hear the stroke of a drum, and am startled and awakened – only to realize, of course, that it was just a dream. That was the impetus for the starting-off point for my story – that the solo drum is all part of one giant dream. In fact, to take it a step further, that the whole Soldierʼs Tale (it is a tale, after all) was just one giant dream of a present day Joseph, who is in actuality situated in Las Vegas, as a pit musician for a show. Once I knew that I would start with the percussion solo, and that it was a giant palindrome, I knew I needed to end with walking “down a hot and dusty road”. The task at hand was then to just fill in all of the blanks…
A few things I knew:
1) I didnʼt want this to be about the violin. That has been done, masterfully, by Stravinsky, and frankly, if this is to be done as a sequel, and in the same concert as the Stravinsky, I think the violinist needs a break. Therefore, all musicians get featured at one point or another, and generally speaking, the low instruments represent the devil, and the upper, Joseph/Hannah, or “goodness”.
2) I wanted it to be more relevant, more obviously universal, and so the general theme is more about love and love-lost. Ramuz's story never gripped me entirely, so I wanted to create something more easily grasped.
3) I wanted to create more of a part for the female character – in my case, Hannah, Joeʼs girlfriend. This leaves more opportunity for dance, which I think could be quite compelling.
4) I wasnʼt sure whether to make mine just prose, or in a rhyming scheme. My final decision was to rhyme it, but leave the rhythm rather loose, leaving it open for interpretation by the narrator or actors. I think this is somewhat similar to my interpretation of Ramuz, or at least the translation thereof that I know.
Once I came up with the palindrome idea, I searched for some existing palindromes. I immediately found that many of them include the word devil, which suited my purposes. Beyond that, I found those that were inspirational, and used the ones that suited my story, and could both fit the narrative and the music simultaneously.
The story is then filled with palindromic words and phrases. There are also many symbolic references to the devil – by using terms that have come to be known over the years.
This work received its premiere performance in 2013 by the Western Illinois University faculty chamber ensemble, conducted by Mike Fansler.
- Program Note by composer
- The Devil's Tale has been recommended as interesting, serious and distinctive music by members of the World Association of Symphonic Bands and Ensembles (WASBE).
- Audio: Reference recording. Western Illinois University Faculty Chamber Ensemble (Mike Fansler, conductor) – 1 March 2014
None discovered thus far.
To submit a performance please join The Wind Repertory Project
- Kansas City Symphony musicians and University of Central Missouri studio faculty (Scott Lubaroff, conductor; John Wilson, narrator) – 16 November 2015
Works for Winds by this Composer
- American Embers (2017)
- American Fanfare (2009)
- August in York (2008)
- BasSOON It will be Christmas (2007/2013)
- Celebration Overture (1999/2018)
- Concerto Braziliano
- Concerto for Bassoon and Wind Ensemble
- Concerto for Cell Phone
- Concerto Grosso (2016)
- Concerto for Hope (2016/2017)
- Concerto for Piccolo Trumpet (2016)
- Concerto No 1 for Trumpet (2007)
- Concerto No. 2 for Trumpet (2010/2015)
- Concerto No. 3 for Trumpet. See: Concerto for Hope
- Concerto Rhapsody "The Arch" (2014)
- Deep Dish (2016)
- The Devil's Tale (2013)
- A Dialogue for Self and Soul (2013)
- Dodecafecta (2010)
- Duo Fantastique (2007)
- Fanfare for an Angel (2010/2018)
- Glissin' Up (2016)
- Hanging by a Thread
- Heritage of Freedom Fanfare
- Holiday Fanfare Medley (2010)
- Homage and Farewell (2010)
- In the Moment (2018)
- In the Moment Too (2018)
- Intrepid Promise
- It's About Time (2014)
- Kentucky Run (2019)
- L'esprit de la trompette (2012/2014)
- Luther: In Canon (2017)
- Möbius Trip (2017)
- Overture to a Winter Celebration (2010)
- Requiem Dances (2018)
- Rhythms of the Spirit (2006)
- Saints Fantasy (2017)
- Second Thoughts (2014)
- Smitty's Aweigh Overture
- Sonata Rhapsody "The Arch" (2009/2014)
- Sounds Awakened (2013)
- Stars and Stripes Fanfare (2007/2018)
- The Storyteller (2013/2017)
- Symphony for Brass (2014)
- Symphony No 1 for Concert Band (2008)
- Symphony No 2 (2016)
- there are no words (2015)
- this is most certainly true (2017)
- Three Bones Concerto (2013)
- To the Sky (2011)
- Trumpet Concerto No 2 (2010)
- Variations on Chinese Folk Songs
- Vast and Curious (2014/2017)
- Wildcat Run (2019)
- Perusal score
- Stephenson, J. (2013). The Devil's Tale : A Sequel to Stravinsky's L'histoire Du Soldat [score]. Stephenson Music: [Lake Forest, Ill.]
- World Association of Symphonic Bands and Ensembles (WASBE) Accessed 1 August 2016