.GABRIEL SYNOPSIS:

I  OVERTURE:  Memories (Orchestra)

Images of beautiful summer days are projected on the scrims, offering a glimpse into Principal’s former life.  Due to the fact that the opera includes an instrument performing the role of one of the main characters, themes and motives representing ideas, thoughts and emotions play an integral role in the score.  Several of these themes are introduced during this scene.

II Gabriel’s Message (Gabriel)

Gabriel is revealed, in shadow, behind the scrim.  As Gabriel must rely entirely on instrumental music to portray the character, arias focus on the themes mentioned above and recognizable musical emotions.  In this aria, Gabriel is both concerned and hopeful.

III  No! (Duet:  Principal / Gabriel)

Principal’s first words are “No! Gabriel.  I don’t think it’s a good idea.”  Clearly Gabriel has upset her.  We begin to learn about our main characters (the persistent Gabriel and somewhat scattered Principal).  Principal is always thinking about many things but rarely focusing on the task at hand - the distracted life so many of us have come to know, spending long hours working with computers and surfing the Internet.  This scene ends with an understanding between Gabriel and Principal but no resolution.

IV  Come to the opera (Duet:  Principal / Memory I)

In this scene we meet the first of two memories.  Memory I represents perspective in interpersonal relationships.  All too often the same event may make one person happy and another sad.  In this case, Memory I remembers the events of Principal’s past as exciting and fun, while Principal only remembers the conflicts.  The more excited Memory I becomes, the more Principal withdraws.

V  Pain (Principal)

The listener begins to learn why Principal is so obsessed with the Internet and how challenging human interaction can be - both filled with joy and excitement and also fraught with peril.  Gabriel interrupts her thoughts and she becomes angry.

VI  Regular Visits (Duet:  Principal / Memory II)

Instead of trying to persuade Principal to leave, Memory II comes to her home for a visit - a visit that Principal is powerless to avoid.  Although Memory II is here to help, he is not a friend and Principal resents the visit.  This forces her deeper into her delusion, regressing to memories from her childhood.  Again, Gabriel enters the discussion, this time with disastrous results.

VII  Interlude:  Isolation (Orchestra)

The second act begins with images of winter.  Principal is sad and reclusive.  The more Gabriel tries to help her, the more she pulls away.

VIII  Gabriel’s Hope (Gabriel)

Gabriel has not given up hope for our distraught main character.  There is still time for Principal to change her mind and make the right decision.  In this scene Gabriel calls to her.

IX  Why are you here? (Duet:  Principal / Gabriel)

In a moment of serenity, Principal is thinking clearly enough to question her existence by questioning Gabriel.  She also reveals how much she missed her companion and how lonely she has been.

X  Intervention:  Assault of Memories (Cast)

Unfortunately, with remembering, both the good and the bad are revealed and Principal quickly tries to change the subject.  She offers Gabriel an invitation: “Would you like to visit my friends?”  However, she quickly begins to realize that even her online world is filled with sadness and tragedy.  Memories begin to flood back and she reaches her breaking point.

XI  Yes! (Principal / Gabriel)

“Enough!” Principal cries.  The end is near.  She has made up her mind.  But what is it going to be?  Gabriel begins to hope but those hopes are dashed when she reveals her decision.

XII  Gabriel’s Lament (Gabriel)

The final scene is left to despair as Gabriel laments Principal.

•     •     •     •     •

ROBERT J. BRADSHAW’s .Gabriel

Recorded at the University of South Carolina, School of Music Recital Hall by Jeff Francis.  Graphic Design, Mixing and Mastering provided by Studio 251.  © 2010 Robert J. Bradshaw.  All Rights Reserved.  Unauthorized use of the music or information contained herein is a violation of applicable copyright laws.  Made in U.S.A.  Beauport Classical, a div. of RJB LLC, Gloucester, MA.  www.beauportclassical.com

IN HER OWN WORDS...

As a flutist with diplegic cerebral palsy, I’ve been given a unique perspective on music’s versatility, especially regarding its ability to act as a catalyst for conversations and an instigator of positive change.  During the last several years I’ve been exploring the classical concert as a vehicle to encourage re-evaluation of generalizations, and thereby to promote inclusion and equality for people with disabilities.  Much of that exploration has been via a concert project called “Music of Difference,” which arose during my travels in 2008 and 2009 on a Thomas J. Watson Fellowship. 

The Watson fellowship gave me a precious opportunity: to dive freely into the wider world, spending a year reflecting on the experience of disability and what it means to me, connecting with an international community of disabled people, and finding ways to contribute to the disability rights movement with respect and creativity.  It was during those first several months abroad that I began connecting with great numbers of other disabled people. (What a refreshing, joyous feeling it was to find other people who walk in shoes similar to my own!)  I began learning about the colorful and relatively hidden world of disability arts, and reflected over many a cup of tea about different peoples’ experiences and perspectives on disability. 

I met extraordinary people and heard their stories and struggles, observed drama and music classes being taught to young people with a massive range of body types, and had the chance to teach several classes of children with disabilities about the world of classical music.  And I traveled to disability arts conventions and symposiums, finding myself overwhelmed by incredibly powerful and creative expressions of life and disability through music, dance and art.

But as I traveled, I was struck by the pervading negativity associated with disability worldwide.  I found myself searching for ways to express the gratitude and appreciation I feel toward my unusual body.  I remained convinced that having a disability was not a “defect,” but an experience.  And just as each of our experiences shape who we are and who we become, the experience of disability can add a unique and positive perspective to one’s life.

I began writing to composer colleagues and posting to online composition listservs, hoping to gather together a program of music aimed specifically at reflecting positively about disability.  I have been so touched by the series of emails that showed up in my inbox, full of scores, stories, gestures of support and encouragement, and even offers to compose pieces especially for the “Music of Difference” project.  Several months later, a program made of brand new works had come together, all reflecting on disability from a wide range of perspectives.  An Australian pianist, violinist and I joined together to present the first two “Music of Difference” concerts in Sydney and Melbourne.  Upon returning to the United States, the “Music of Difference” project continued to grow.  The extraordinary performers, composers and visual artist who contributed to this album joined me, and we presented concerts and outreach events at venues in Washington, DC and throughout New York.  

Our CD presents three of the works that have been at the center of this project since its beginnings: a piece for solo flute which acted as a catalyst for the “Music of Difference” project, and two trios for flute, violin and piano which were written especially for “Music of Difference.”  Each composer has written program notes about their work, which are included later in this booklet.  Please take a moment to read those notes in addition to listening to the music; the context in which each of these works was composed is so important.  But first, I’d like to take a moment to write a few words of introduction about these unique pieces of music. 

The first piece on this album was composed by Robert Bradshaw.  Mr. Bradshaw and I had never met when he so generously responded to the call for scores I posted online.  We began a conversation about disability, brainstorming together about ways to express the experience musically.  The piece that arose from those conversations is based on the unconventional walking motions characteristic of my particular disability.  Even for myself, as I strive to encourage positivity about diversity, the physical impact of a disability is a challenge.

In all the conversations I’ve had about disability and in all the heartfelt positive words I’ve spoken about my own physicality, it’s rare to hear a truly positive statement about ambulatory challenges.  But Mr. Bradshaw has taken the body motions of physical disability and transformed them directly into extraordinary music.  This is a remarkable thing: he has turned something that all of us with physical disabilities find difficult into something that any ear would find beautiful.     

The second piece presented here is by Houston-based composer Aaron Alon.  Mr. Alon has written a piece for flute alone titled Hibakusha, which I had the chance to premiere while Aaron and I were both students at Rice University.  Hibakusha is an incredibly striking and communicative piece, and has great personal significance, as it is the first piece of music I ever came across that encouraged listeners to reflect on an experience of disability.  In the work, the boundaries of conventional flute playing are stretched, as the performer is asked to make vocalizations, gritty and unstable sounds, and charged, aggressive gestures through the use of extended techniques.  Hearing the piece with attention to its historical context gives these unusual sounds powerful meaning.

Our album closes with a piece by Angelique Poteat.  Ms. Poteat is a dear friend and talented composer who has written a colorful work exploring her relationship with her sister, who, like me, has cerebral palsy.  A Perspective is almost a theatrical piece without words: the flute and violin take on the roles of Angelique and her sister, respectively.  The piano serves to create a series of environments in which the two siblings interact, from early childhood to adulthood.

My hope in presenting this album is to share these extraordinary pieces of music and the powerful messages they carry.  "Music of Difference" is about starting conversations, about increasing awareness of the countless ways difference impacts and shapes all of us throughout our lives.  Your stories, your thoughts and your responses to the music and ideas we’ve shared here are the vital next step.  So please, feel welcome to lend your voice to this conversation.   

The project’s email address is musicofdifference@gmail.com.