Begin the first movement of Vocal Sonatina No. 2 ("Vatsyayana"): I Introductory, the instrumental music, more Muzio Clementian (his Sonatina No. 2) and John Cageian (the structural aspects, and aesthetic of permanent emotions, as in the Sonatas and Interludes) than Philip Glassian, with indeed an attempt at the flourish and stasis of an Indian classical alap.
The rhythmic structure, in changing meters, with half note = 60 throughout....
Exposition
3/32 4/2 1/8 4/2
3/32 4/2 1/8 4/2
15/32 3/16 15/32 3/16
3/4 4/2 15/32 15/32
15/32 3/16 1/4 4/2 4/2 4/2
Development
3/32 4/2 1/4 1/4
1/4 1/4 1/4 1/4 1/4
5/32 5/32 5/32 5/32 5/32
Recapitulation - as exposition, with additional 4/2
Mode, as in third movement, G Lydian-Mixolydian (Do Re Mi Fi Sol La Te Do),
basic melodic patterns derived from distorted Clementi, avoiding dominant functions -- nevertheless tonic-dominant open-fifth drones in deep bass, augmented at times by others -- flourishes becoming minimalistic, recapitulation and coda manifesting aspects of development.
Lyrics to be drawn from below (the Richard Burton translation)
***
CHAPTER I: Preface
Salutation to Dharma, Artha and Kama
IN the beginning, the Lord of Beings created men and women, and in the form of commandments in one hundred thousand chapters laid down rules for regulating their existence with regard to Dharma,1 Artha,2 and Kama.3 Some of these commandments, namely those which treated of Dharma, were separately written by Swayambhu Manu; those that related to Artha were compiled by Brihaspati; and those that referred to Kama were expounded by Nandi, the follower of Mahadeva, in one thousand chapters.
Now these Kama Sutra (Aphorisms on Love), written by Nandi in one thousand chapters, were reproduced by Shvetaketu, the son of Uddvalaka, in an abbreviated form in five hundred chapters, and this work was again similarly reproduced in an abridged form, in one hundred and fifty chapters, by Babhravya, an inheritant of the Punchala (South of Delhi) country. These one hundred and fifty chapters were then put together under seven heads or parts named severally
Sadharana (general topics)
Samprayogika (embraces, etc.)
Kanya Samprayuktaka (union of males and females)
Bharyadhikarika (on one's own wife)
Paradika (on the wives of other people)
Vaisika (on courtesans)
Aupamishadika (on the arts of seduction, tonic medicines, etc.)
The sixth part of this last work was separately expounded by Dattaka at the request of the public women of Pataliputra (Patna), and in the same way Charayana explained the first part of it. The remaining parts, viz. the second, third, fourth, fifth, and seventh, were each separately expounded by
Suvarnanabha (second part)
Ghotakamukha (third part)
Gonardiya (fourth part)
Gonikaputra (fifth part)
Kuchumara (seventh part), respectively.
Thus the work being written in parts by different authors was almost unobtainable and, as the parts which were expounded by Dattaka and the others treated only of the particular branches of the subject to which each part related, and moreover as the original work of Babhravya was difficult to be mastered on account of its length, Vatsyayana, therefore, composed his work in a small volume as an abstract of the whole of the works of the above named authors.
***
Probably words from first, second, and last paragraphs.
Work, as well, on the second third of the Chronicle section for the April 2008 21st-Century Music (21st-centurymusic.com and 21st-centurymusic.blogspot.com), then Harriet and I set out for Napa again, through Jamison Canyon, with glimpses of tempting prospects in the Solano Northside Canyon,
and the usual riot of wildflowers in the gloom gray day over the Napa border.
The jaunt is down Redwood Road, with nary a one in sight (the namesakes are farther up-canyon to the west, and the walk is east to Dry Creek Road, which will be the route north for some time thereafter), but riparian vegetation abounds to the north along Redwood Creek, and eventually prospects open farther north to the Mayacamas Mountains,
in strikingly different mood with the flip of the telephotographic toggle and the nod of a head.
Ahead, the distant Vaca Mountains to the east,
south the magic sky,
north a quiet glade,
then the turn north on Dry Creek, with the prospect of journeys ahead.
A verdant entranceway to the west bears an apparition,
dispersing upon closer examination of the frame portal,
but cloud spectres in the sky are legion,
the scenery veering away at crazy angles,
vineyards extending
to uncertain distance of scattered oaks,
nothing but mountains and cumulo-nimbus,
the light aglow.
Keeping light, we have dinner at Tuscany, adjacent to the bar,
with a view of the Napa Opera House columns as something out of Giorgio Di Chirico -- mute protest to five years of mindless, unprovoked war begun by an imbecilic mass-murderer.
