The Best of All Possible Worlds: Proposed Soundtrack · 7:14am Sep 29th, 2015
So, I finally finished up what I’ve been calling my “Stupid Project”. “Stupid”, because in the grand order of things, it only deserved about three hours of my time, instead of the nine months I have wasted on it and it alone, with very few exceptions. The project is a proposed soundtrack for The Best of All Possible Worlds. Yes, it’s also a soundtrack for you readers, but primarily, it’s a soundtrack for the theoretical producer of an eventual audio play, assuming that ever materializes.
I figure that’s about the most I could contribute to such an imaginary project: You do not want to see what happens whenever I’m put in charge of other people; my audio recording and editing equipment are distinctly sub-par; and my voice puts insomniacs to sleep. So all I’ve got is the story, and my musical instincts, which I think are a bit above average. Of course, there’s a good chance that said audio play wouldn’t use any of the selections from my list, to avoid the wrath of the YouTube copyright police. Have I mentioned yet that this is a stupid project?
Before I get to the actual list, a few generalities: Scenes on Earth will be represented by music from the Baroque Era (J.S. Bach and Vivaldi), which is roughly contemporary with when the scenes are set. Scenes on Equestria will mostly be represented by music from the Classical Era, particularly Haydn and Mozart for the ponies, and Beethoven for the griffons. The alternate universe scenes in Canterlot will be scored to music from the Twentieth Century, the more dissonant the better. Whenever possible, the main characters will get their own instruments to distinguish them: flute for Friedrich and Celestia (I rarely managed to pull this off), violin for Genevieve and Blue Belle, pipe organ for Algarotti, French horn for Blueblood, and harpsichord for Voltaire—transitioning to piano as he adapts to his new surroundings.
In most cases I'm linking to the exact performance of each piece that I had in mind (which is why some of the view counts are so low). Expect any and all YouTube links to stop working five minutes after this blog is posted.
Introduction: mostly silent
* Opening Theme, to be played over a zoom out of the title illustration, and then probably never to be used again: J.S. Bach, Brandenburg Concerto No. 5 for Harpsichord, Violin, Flute & Orchestra, 1st Movement (from the last part of the solo to the end of the movement)
Chapter 1
* The Lady Belle: silent.
* Introduction to the Summer Sun Celebration: Mozart, Three German Dances, No. 1.
* (Genevieve’s theme doesn’t really have room to be introduced into this chapter as written. However, it should come up whenever she’s in a good mood. The theme is the 2nd Movement to Symphony No. 34 by Haydn. If you’d ever heard it performed by a conductor with a sense of humor—like the one I linked to—you’d know why I picked it.)
* Confrontation between Blue Belle and Genevieve: Mozart, Overture to Abduction from the Seraglio.
* Celestia confronts the fillies, and the public’s reaction: Mozart, Overture to Don Giovanni [I think I go to this one way too much, but it fits so well]
* Music to play over closing credits of this and every subsequent chapter: J.S. Bach, Concerto for One Harpsichord No. 8, transcribed for flute (BWV 1059a), 3rd Movement.
Chapter 2
* Burr Linn: J.S. Bach, Violin Concerto No. 1 (BWV 1041), 1st Movement (opening).
* Voltaire: J.S. Bach, Trio Sonata for Organ No. 3, performed on Harpsichord (BWV 527), 3rd Movement.
* King Friedrich the Great: Gabrielli, Canzon Septimi Toni No. 2.
* Voltaire being clever: J.S. Bach, Trio Sonata for Organ No. 4, performed on Harpsichord (BWV 528), 1st Movement (Vivace).
* Oscar’s drawings: J.S. Bach, A Musical Offering (BWV 1079), Ricercar 2 a 6.
* Friedrich leads Voltaire to his cell: J.S. Bach, A Musical Offering, Canon perpetuus.
Chapter 3
* Voltaire discovers Equestria: J.S. Bach, A Musical Offering, Fuga canonica in Epidiapente.
* Voltaire falls into Equestria: J.S. Bach, Concerto for Two Harpsichords No. 1 (BWV 1060), 3rd Movement.
Chapter 4
* Genevieve prepares to enter court: silent.
* Celestia’s court: Mozart, Symphony No. 39, 1st Movement (opening).
* Chaos!: Haydn, Symphony No. 48 (Maria Theresa), 1st Movement (development section)
* Genevieve alone in Voltaire’s cell: J.S. Bach, A Musical Offering, Canon a 4.
Chapter 5
* Voltaire’s observations of unicorns: Mozart, Harpsichord Concerto in D (KV 107/1), 2nd Movement.
* Voltaire meets Celestia: Haydn, Symphony No. 48, 1st Movement (opening).
Chapter 6
* Voltaire and Celestia, Part 1: Haydn, Symphony No. 72, 4th Movement.
* Genevieve and the humans: Vivaldi, Violin Concerto in G minor (Op. 3 No. 2), 2nd Movement
Chapter 7
* Voltaire and the Sparkles: Mozart, Eine Kleine Nachtmusik, 2nd Movement
Chapter 8
* Yeah, no score for this chapter. Surprisingly, I didn’t have anything in my collection that fit.
Chapter 9
* Genevieve is let out: J.S. Bach, Organ Trio Sonata No. 2, performed on Harpsichord (BWV 526): 1st Movement
* Voltaire sneaking around: Haydn, Symphony No. 31, 2nd Movement
Chapter 10
* Letter and Celestia’s brooding: Rossini, Overture to The Italian Girl in Algiers (opening).
* Sparkles and Bluebloods: Rossini, Overture to The Italian Girl in Algiers (faster part).
* Voltaire sees the Mare in the Moon, then takes over the conversation: Haydn, Symphony No. 49 (La Passione), 4th Movement (opening).
* Memories of Émelie: Haydn, Symphony No. 21, 1st Movement (this particular recording has a really pretty harpsichord solo unique to this performance).
* Celestia raises the sun: Mozart, Eine Kleine Nachtmusik, 1st Movement.
* Voltaire’s recovery: Haydn, Symphony No. 3, 1st Movement.
Chapter 11
* Algarotti and Oscar: J.S. Bach, Organ Trio Sonata No. 2 (BWV 526), 3rd Movement.
* Genevieve and Jenny: J.S. Bach, Organ Pastorale (BWV 590), 1st Movement
Chapter 12
* Entire chapter: Mozart, Piano Concerto No. 20, 1st Movement—I’ve heard this concerto on period fortepiano, and on modern piano, so I think it would be neat to transition from one version to the other in this chapter, to represent Voltaire’s decision to intervene in Equestrian politics.
Chapter 13
* Entire chapter: Mozart, Symphony No. 38, 3rd Movement.
Chapter 14
Entire chapter: I’d like to use Mozart, Piano Concerto No. 20, 3rd Movement.
Chapter 15
* Algarotti in Voltaire’s cell: Organ Fantasia & Fugue in G minor (BWV 542), Fugue
* Algarotti and Genevieve: Organ Prelude & Fugue in A minor (BWV 543), Prelude
* Algarotti plots: Organ Prelude & Fugue in A minor (BWV 543), Fugue
Chapter 16
* Blue Belle’s fall: silent
* The Philosophers: Haydn, Symphony No. 22 (“The Philosopher”), 1st Movement.
Chapter 17
* Introduction of the Griffons: Beethoven, Consecration of the House Overture (slow intro).
* Pitt dispute: Haydn, Symphony No. 24, 1st Movement, and only this version performed by Max Goberman and the Vienna State Opera Orchestra. This is one of Haydn’s early symphonies where he gets stuck repeating the same theme over and over again. The genius of Goberman’s performance is that repetition starts to sound more and more like madness as it goes on. I mean at 2:30 I could swear I could hear the conductor laughing hysterically in my ear. I just know that this recording will get yanked from YouTube any day now.
* The Frog Princess of Fomalhaut: Haydn, Overture to Philemon und Baucis (Andante con poco allegro first, for the paradise of Fomalhaut), In Wolken Hoch Emporgetragen from Philemon und Baucis (Fisby’s fall, the frogs fight for survival), Overture to Philemon und Baucis (Allegro con Espressione, for the transformations of frog society)
* Applause: silent
* Blue Belle ponders what she had heard: Beethoven, Symphony No. 4 (introduction), especially the George Szell/Cleveland Philharmonic performance I linked to, as it’s particularly portentous.
Chapter 18
* An old-fashioned dance: Lully, Passacaille from Armide. (I can’t find a version of Lully’s quadrille online that isn’t drowned out by the sounds of hoofsteps, otherwise I would have used that.)
* Duke Thunderwing: Beethoven, King Stephen Overture (cut off for Gordon’s toast).
* Talk of revolution: silent
* King Friedrich: J.S. Bach, Flute Sonata in B minor (BWV 1030), 2nd & 3rd Movements.
* Fathers: Haydn, Symphony No. 4, 2nd Movement
Chapter 19
* The King is here: C.P.E. Bach, Flute Concerto in D minor (WQ 22), 3rd Movement.
* The chase: Vivaldi, Summer from The Four Seasons, 3rd Movement.
* Queen Genevieve: J.S. Bach, March from Cantata 207
* Algarotti brainwashes Genevieve: J.S. Bach, Fantasia & Fugue in G minor (BWV 542), Fantasia
Chapter 20
* Opening: silent
* Voltaire tours Canterlot: Mozart, Overture to The Impressario, arranged for brass (showy opening)
* Duchess Sky Shock waits for her turn to talk: Beethoven, Symphony No. 3, 2nd Movement
* The printing press: Mozart, Piano Concerto No. 20, 2nd Movement
* Duchess Sky Shock reveals the true state of Griffonia: Beethoven, Symphony No. 7, 2nd Movement (opening).
* Voltaire educates the masses: Rossini, Overture to Mr. Bruschino (also used for scene with Pensive Thought).
* Voltaire’s misadventures in a dark alley: Rossini-Respighi, La Boutique Fantastique, Allegretto Moderato.
* The Revolution begins: Beethoven, Coriolan Overture (let this one run out over the credits for this chapter).
Chapter 21
* B’s letter: Mozart, Horn Concerto No. 1 (K. 412), 1st Movement.
* Blueblood takes over his daughter’s education: Mozart, Horn Concerto No. 2 (K. 417), 2nd Movement.
* Blueblood’s council: Mozart, Horn Concerto No. 2, 3rd Movement,
* Blueblood’s wise words of advice: Mozart, Horn Concerto No. 1, 2nd Movement.
* Blue Belle confronts Voltaire: Beethoven, Violin Concerto, 1st Movement (continues through to the scene with Zody)
* B’s second letter: Mozart, Rondo for French Horn in E-flat (K. 371).
* Celestia wakes up: Haydn, Symphony No. 6 (“Morning”), 1st Movement
Chapter 22
* Voltaire and Noir: Mozart, Overture to the Marriage of Figaro.
* Wolfston’s act: Mozart, Overture to the Impressario (quieter part after the opening)
* Political debate: Mozart, Overture to Cosi Fan Tutte.
* Hoofdini’s act: Haydn, Overture to Lo speziale.
Chapter 23
* Beginning: silent (because I haven’t found anything appropriate that I haven’t already used)
* Uncle K: Mozart, A Musical Joke, 2nd Movement.
* Celestia dismisses Blueblood and elevates Voltaire: silent
* Voltaire fixes Equestria’s finances: Haydn, Symphony No. 22, 4th Movement
Chapter 24
* Celestia’s initial address and talk of travelling north: Mozart, Symphony No. 38 (Prague), 1st Movement (Adagio).
* Blueblood summarizes the Revolution thus far: Beethoven, Egmont Overture.
* Botvinnik makes an ass out of himself: Beethoven, Symphony No. 7, 1st Movement (Intro).
* Birth of a Pie: Beethoven, Symphony No. 7, 1st Movement (Vivace).
Chapter 25
* Queen Genevieve uncovers a plot against her life: Vivaldi, Violin Concerto in D minor (Op. 4 No. 8), 1st Movement (Allegro)
* Algarotti’s investigates and conspires: Vivaldi, Violin Concerto in D minor, 1st Movement (Adagio - Presto)
* Algarotti works on his drawing: Vivaldi, Violin Concerto in D minor, 2nd Movement
* Algarotti remakes Genevieve: Vivaldi, The Four Seasons: Winter, 3rd Movement
Chapter 26
* The expedition heads north: Haydn, Symphony No. 38 (Echo), 1st Movement.
* First rest stop: Rossini, The Journey to Rheims Overture (after intro).
* Griffon complaining: Beethoven, Feast Day Overture (after intro).
* K saves the griffons: More from Beethoven’s 7th Symphony, 1st Movement.
Chapter 27
* Opening: silent
* Introduction to King Henri: Haydn, Symphony No. 26 (Lamentatione): 1st Movement.
* The Valois Dynasty: Haydn, Symphony No. 38, 3rd Movement.
* Civil War: Haydn, Symphony No. 92 (London), 2nd Movement—timing it so that the music gets serious for the Massacre.
Chapter 28
* Trottingham: Haydn, Symphony No. 72, 4th Movement.
* Aftermath of the Massacre: Haydn, Overture to L’isola disabitata.
* Sky Shock reveals all: Beethoven, Symphony No. 3 (Eroica), 2nd Movement (before the severe part).
Chapter 29
* Celestia reveals all to the ponies: Beethoven, Symphony No. 3, 2nd Movement (the severe part).
* Nighttime on the Frigid River: Haydn, Symphony No. 76, 2nd Movement.
* The shadow of Luna: Haydn, Symphony No. 49, 3rd Movement.
Chapter 30
* entire chapter: Haydn, Symphony No. 49, 1st Movement.
Chapter 31
* entire chapter: Beethoven, Symphony No. 7, 3rd Movement.
Chapter 32
* entire chapter: Haydn, Symphony No. 57, 1st Movement (intro)
Chapter 33
* entire chapter: Haydn, Symphony No. 57, 1st Movement (Allegro)
Chapter 34
* Stalliongrad council: Haydn, Symphony No. 85 (The Queen), 1st Movement.
* A moment of pure panic: Kaper, Theme from Them! [the Twentieth Century breaks into all this Haydn]
* Leaving Stalliongrad: Haydn, Symphony No. 70 (Drums & Trumpets), 4th Movement.
The Canterlot Chapters (35 - 38): Either use Stravinsky’s Rite of Spring for the whole thing, or use the following suggestions instead:
Chapter 35
* Genevieve’s Canterlot: Rachmaninoff, Symphony No. 2, 1st Movement (intro)
* The New Canterlot Guard (and the holy symbols): Rachmaninoff, Piano Prelude in G minor (Op. 23, No. 5).
* The Streets of Canterlot: Prokofiev, Firebird Suite, 1st Movement (Introduction).
* Cathedral of the Sacred Steed: Rachmaninoff, Isle of the Dead. (I expect the audio play to get the “angelic chorus” guarding Genevieve’s bible straight from Monty Python.)
Chapter 36
* Unicorn in the alley: Prokofiev, Romeo & Juliet, Dance of the Knights
* Box office: Glass, The Photographer, A Gentleman’s Honor (instrumental version).
* Hoofdini’s act: Holst, The Planets, Jupiter (which very naturally evolves into a Resistance theme).
* March to the church: Copland, Billy the Kid Ballet Suite, 1st Movement (Introduction).
Chapter 37
* Algarotti, a legend in his own mind: Dukas, La Péri Overture
* Algarotti describes his goddess’ philosophy: Copland, Billy the Kid Ballet Suite, 3rd Movement (Card Game at Night, the lonely part halfway through).
* “How dare you?”: Sibelius, Tempest Suite No. 1, 7th Movement (Intrada)
Chapter 38
* Genevieve’s wrath: Prokofiev, Firebird Suite, 5th Movement (King Katschei’s Infernal Dance).
* Celestia vs. Geneveive: Prokofiev, Symphony No. 3, 3rd Movement.
* Blue Belle breaks herself: Sibelius, Tempest Suite No. 1, 9th Movement (The Storm).
* The Goddess breaks: Barber, Violin Concerto, 3rd Movement (last 40 seconds).
* Algarotti attempts vengeance: Hermann, Cape Fear, Finale.
Chapter 39
* Recovery: Prokofiev, Romeo & Juliet, Juliet’s Funeral
* Jenny and Genevieve: Rachmaninoff, Isle of the Dead (one of the brighter sections).
* Voltaire and Celestia beside an open sewer: Gershwin, Piano Concerto in F, 2nd Movement.
Chapter 40
* Genevieve rewrites history: Holst, The Planets, Venus.
* Voltaire and Celestia meet Maupertuis: J.S. Bach, Flute Sonata No. 2 in E-flat (BWV 1031): 1st & 2nd Movements
Chapter 41
* Voltaire and Celestia’s daily routine: J.S. Bach, Flute Sonata No. 1 in B minor (BWV 1030), 1st Movement
* The garden: Bernstein, Overture to Candide—done rather quietly, as this is really breaking my Baroque music rule for scenes set on Earth.
Chapter 42
* Entire chapter: silent [The concepts are rather complex; and I haven’t anything that fits.]
Chapter 43
Basically, the music here should match what was used before. So the Ricercar 2 a 6 for Jenny’s drawings, Canon perpetuus for Voltaire being locked up, Fuga canonica for when he discovers Equestria, 1st Movement of Haydn’s Symphony No. 48 for Voltaire’s arrival in Equestria, Canon a 4 for Genevieve scattering the drawing.
The part of the chapter with time moving at differing rates in Equestria vs. Earth would be illustrated with sped-up vs. slowed down music fading in and out of each other: Genevieve would play her theme (Haydn’s 2nd Movement from Symphony No. 34) vs. a too-fast-to-identify medley of the 2nd Movement of Mozart’s Harpsichord Concerto (Voltaire meeting Celestia), 4th Movement of Haydn’s Symphony No. 72 (Voltaire becomes a councilor), 3rd Movement of Mozart’s Piano Concerto No. 20 (Voltaire forms his political party), Haydn’s Overture to Philemon und Baucis (Voltaire tells the Frog Princess story), Beethoven’s Corolian Overture (outbreak of the Griffish Revolution), 1st Movement of Haydn’s Symphony No. 38 (ponies head north) and the 2nd Movement of Haydn’s Symphony No. 92 (Voltaire’s story of King Henri).
* The coin stops in mid-air: Haydn, Symphony No. 57, 1st Movement (Allegro).
* Nowhere: Silence. (And not because I’m out of ideas—it acts as a contrast to all of the noise that preceded it.)
* The coin lands: Continuing exactly where Haydn left off.
Chapter 44
* Return to Canterlot and Discord’s statue: Haydn, Symphony No. 84, 1st Movement (Allegro).
* Genevieve decides to return to Equestria: J.S. Bach, Concerto for One Harpsichord No. 8, transcribed for flute (BWV 1059a), 3rd Movement (the closing movement of most chapters)
* The portal opens: Haydn, Symphony No. 22, 2nd Movement
* Parting words: Haydn, Symphony No. 88, 1st Movement (Allegro)
* Voltaire back on earth: J.S. Bach, Two Harpsichord Concerto No. 1 (BWV 1060), 1st Movement.
Afterward, Credits & Acknowledgements
* Whole thing: J.S. Bach, Single Harpsichord Concerto No. 8 (BWV 1059), whole thing (morphing into Glass’ Koyaanisqatsi when it gets to Uncle K’s fate).
I'm afraid that I don't have time to listen to all of this now, but I've read through your choices. Nice. :)
And good luck about that radio play hope. :)
These are beautiful selections indeed and I eagerly await more news on the radio play.