At this point it seems almost inevitable that the soundtracks for the earlier episodes of P2A will consist of new music, perhaps in the style of those who end up with Wolf in the room on Rauhensteingasse in “Vienna Mystery”. However, it is my thinking at this time that there is only one piece of music that would be appropriate for the epilogue, currently called “Revenge of the Mozarts” — and that is the Requium that he was forced, by need of money, to write under another’s name. Although Wolf was not allowed to live long enough to complete it — he was, in fact, digging his own grave in composing it, and was aware of that — there are many ideas and motifs that accurately represent not only his sublime musicianship, but his character and attitude at what seemed inevitably to be the approach of an untimely death.
Perhaps the most extraordinary role in Mozart’s beloved singspiel The Magic Flute is the star-flaming Queen of the Night. Her arias soar with the most exquisite tenderness or viciousness. It almost seems at times that there are two very different Queen of the Nights — the tenderhearted Queen terrified of the fate of her abducted daughter Pamina or the vengeful Queen, ordering Pamina to kill her stepfather Sarastro or be damned to hell. Mozart, in fact, received some criticism that the character of the QOTN was not clearly defined. Nonetheless, one way or another, everything comes to a stop when she appears on the stage. She is simply unforgettable.
Mildred Payne is the character who represents the QOTN in Piper to the Alternative. She is not a queen by birth, but has great aspirations. She charms everyone she meets and then manipulates them to her own ends. She is not a great beauty, but manages to convince everyone that she is.
In TMF, the QOTN has three handmaidens. In P2A, she has a couple of wannabees…:-0
My reply was intended to help anyone who is interested think outside of the box.
And btw, P2A is finished, except for the epilogue, which happens to be entitled “Revenge of the Mozarts”.
I remember saying to a classmate of mine at the U of M as a Flute Performance Major that one day there would “be a Minnegeddon at Orchestra Hall.” His name was Greg. That was some time ago (during the time I was taking lessons with the then Principal Flute but prior to the time when I was encouraged by another player to practice on the darkened stage at Orchestra Hall every week or so).
Last summer, when I was writing the episode “Minnegeddon” for PIPER TO THE ALTERNATIVE, I repeatedly shared my concept of what I thought this would involve. This was before the lockout. But did anyone listen to me? Of course not. Laugh. Titter. Pat on the head. Grrrr…
Now here we are, nearly a year later. Everything is down to the wire. Neither side has as yet made a viable offer or counteroffer. Even Mayor Rybak is fed up. “Why not just try to talk to the one player who understands what is happening here,” I say, in as many different ways as I can. “Which one?” “You know…the one who has been leading everyone astray.” Pause. Yawn. Giggle. Titter. Dismissal.