Music from J.S. Bach's Cothen period through F.J. Haydn's London Symphonies for the Historians; then Terry Riley's In C (first 15 motives), four G modes (major, mixolydian, dorian, minor), the Dies Irae in solfege with power chords, 12-bar blues in seven keys (first C, G, D, A; then C, F, Bb, Eb), the John Lennon / Paul McCartney Eleanor Rigby verse, and a new D major piece for the Pianists.
In the lab, record
The Opera of Daniel, Op. 73:
VII. The Lions' Den
VIII. Song of the Young
IX. Judgement and Prophecy
X. Lion Te Deum
(these sections inspired by Hector Berlioz's Symphonie Fantastique: V. Dream of a Witches' Sabbath, the medieval Play of Daniel [as revived by Noah Greenberg, et. al.], Camille Saint-Saens's The Carnival of the Animals: I. Introduction and Royal March of the Lion, the Dr. Doolittle Talk to the Animals, Mark Alburger's The Passion According to St. Matthew, and BBC and Sound-Effect Lion sound files [six of 'em])
plus
Animal Farm, Op. 76: XXIV. Lions
(the chamber-orchestra version of Daniel: VIII. Young -- but identical in these Tritone Orchestra recordings)
Lose The Bible file in iTunes, which takes about 1/2 hour to reconstruct (about 6 1/2 hours thus far), then zoom off to Davis to consult the score of G.F. Handel's Serse (Xerxes -- which is on a story independent of the Biblical one below), for orchestrational inspiration,
returning home in the dusk of the Coast Ranges to do the orchestration of
Esther Xerxes: Ouverture
