Youth Happiness Op. 17 No. 1

Opera in five acts Version with recitatives. Par GOUNOD CHARLES. Charles Gounod’s international renown is based on the success of his opera „Faust“ after Goethe’s drama: The aging Faust makes a pact with the devil. He sells his soul to Mephistopheles and in return gets back his youth – and he experiences new happiness in love when he meets the young Marguerite. The vocal score to Gounod’s masterpiece (completely sung version) assembles many popular numbers such as Marguerite’s “Jewel Aria” and the “Lied of the King in Thule” as well as Mephistopheles’s “Rondo of the Golden Calf” and Faust’s Cavatina “Salut ! demeure chaste et pure”./ Répertoire / Chant et Piano

When Jeffrey Skidmore of Ex Cathedra approached me to write this piece he specified that it should be remembering the first World War and if at all possible the words should be by or about a woman.A friend steered me towards Vera Brittain's Testament of Youth and spookily the book fell open on page 163 where appeared Kathleen Coates' s poem 'A Year and a Day'. This was written between 1910 and 1913 but is I think prophetic of the impending war in its depiction of a woman and man in love reluctantly separated and missing each other. Around the same time my mother sent me the poem 'Since we parted yestereve' by Victorian statesman and poet Robert Bulwer-Lytton(1831-1891) — it seemed to fit beautifully as a refrain to 'A Year and a Day'.We start with the refrain in which I try to create a sense of yearning — with harmonies that lean into each other and suspensions that only partly resolve. I have given the ladies the first verse of 'A Year and a Day' — I have used mellow flat keys as this is marked 'languorously' as I picture a calm but pining Edwardian lady reclining in a warm English Summer's garden. When the men take over in the second verse this comes from a darker place — maybe a noisy fetid trench where dreams of love and happiness are sometimes hard to conjure. The music shifts in harmonic uncertainty — the harp oscillates and rumbles creating instability. This part is written in sharp keys which I think have a more stringent feel about them. The whole piece is made up of my typical major-minor harmonic language which sets a bittersweet atmosphere and the trumpets remind us from time to time of the backdrop of war. The piece ends meditatively with 'Eleven Armistice Chimes' and lasts approximately 10 minutes. It's dedicated to Jeffrey Skidmore and Ex Cathedra and my deepest thanks go to them for commissioning the work and Jane Arthur for sponsoring the commission.