Alia-The-Strange (Theremin/Cello/Clarinet & Keyboard Ensemble)

He/him | b. 1979
He/him | b. 1979
She/Her
b. 1957
b. 1957
b. 1961
b. 1961
He/Him b. 1979
He/Him
He/Him
He/Him
b. 1972
b. 1972
b. 1994
He/Him | b. 1979
She/Her
He/Him/His | b. 1983
He/Him
He/Him
He/him | b. 1994
She/Her
He/Him
She/Her | b. 1932
He/Him | b. 1979
He/Him
She/Her | b. 1997
He/Him
He/Him
He/Him
She/Her
b. 1989
He/Him | b. 1978
He/Him
He/Him
He/Him
He/Him
He/Him
He/Him | b. 1978
He/Him | b. 1983
He/Him | b. 1983
He/Him | b. 1984
He/Him | b. 1984
He/Him | b. 1984
He/Him | b. 1984
He/Him
He/Him
He/Him | b. 1985
He/Him | b. 1985
He/Him | b. 1981
He/Him | b. 1994
He/Him | b. 1994
He/Him | b. 1994
He/Him | b. 1994
He/Him
He/Him
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In reading Frank Herbert’s seminal novel Dune, I found my imagination fired on multiple levels by the world, and the happenings, that occur on Arrakis. In particular, I found myself rather intrigued by the character Alia-The-Strange, the daughter of Leto and Jessica Atreides who only shows up in the last third of the entire novel. A child character affected by the supernatural, she is one of the book’s stranger elements, and yet I found myself drawn to her. This piece is thus an exploration of her character: it begins with a repurposed Gregorian chant that is slowly transformed over a cloud of vibraphones and marimbas gently coasting under the Theremin. This is meant to be a reflection of the mysterious, somewhat holy side of her character. It builds to a climax, before moving into a somewhat faster, more playful section, this one reflecting Alia’s child-like side. At the climax of this section, there is a brief return to the more contemplative character of the opening, before the sound simply fades away to nothing.

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Length
instrumentation
For soloist (theremin, cello, or clarinet), crotales, glockenspiel, 2 vibraphones, xylophone, and 4 marimbas (marimba parts can be doubled or more).
level
medium–medium advanced
performance setting
Mixed Chamber
Percussion Ensemble

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