SUMMER POND, PLACID MORNING
Adam Overton, August 2010

for Douglas Barrett

...

for one or more works on a concert program
slyly, subtly, in good spirit, never mockingly

.

for any concert, program one or several pieces of music, traditional or experimental.
however, instead of presenting a work under its original title, attempt to impose an artificial narrative on its reception by renaming the work in the program, introduction, announcements, and perhaps even on the score itself. the new title should suggest to the viewer a vivid yet narrow interpretation of the work – descriptions of majestic vistas or emotional states may be especially apt, but of course are not the only options. this new title may or may not require a stretch of the imagination to connect with the composition and may seem slightly out of character for the composer, but shouldn't be so extreme that it tips off the audience that something is awry.

Variations:

• in addition to substituting a new title for a composition, also present it as the work of a fictional composer.

• instead of a concert, lead a listening session of prerecorded work, each with different titles, and perhaps different composer names.

...