Songs in order with descriptions and scenes: in chronological order as they occur on the tape.
ACT I.
1.)Opening scene theme: Allâh's Tears on twelve string guitar with church organ playing same notes for mystical, magical, alien, angel, holy effect: Joseph, Mary, & child, lights & starship angels.
2.)Theme for twelve string guitar: "Azrael"
3.)Theme for twelve string guitar: "Angels at Play"
4.)Tenor Aria for Scene III. Where the lead sings after his discovery of Krsna and his top female consort, Radharani, two former gods he has known in his past life. He sings of recognition, lostness, and a beginning search for his personal Lady.
5.)Tenor's more desperate other Aria from Scene V. Where he has discovered that he is a lost, lone victim of the Buddhist wrath of God and comes to the realization that he must be a very conscientious and responsible human being above all of the rest and that he must diligently search for and find his one truest love from out of the darkness.
6.)The soprano's food serving dance theme for Scene VI, a beautiful, happy, original chord progression with the male lead observing her happily upon his recognition of her and some of her innate meaning to him.
7.)Soprano serving food & beverages at a local bar and singing her Aria in Scene VII. as the hero observes her with wonder at his discovery of the woman who he knows means more to him than anyone else. He knows she doesn't recognize him or seem to know him..."
7a.)Moses gesturing up and down in the 4 directions before parting The Red Sea to the chords of the Red-Head Arianrhod's soprano Aria.
8.)Naoise & Deirdre's Sleigh Ride Song: Happiest sleigh ride song ever written with a hug written in the sleigh. From Act I. Scene VII.
9.)Taurus, the Bull, the theme of Act I. Scene VIII., the final scene which introduces the audience to the full reincarnational import of the personages of history in the young man's life experience. Here they are introduced to the world and the audience
10.)Intermission Theme:
ACT II.
11.)Scene I.: First Tenor Aria is repeated, first angrily, then sorrowfully after she leaves him sitting at the bar, when He intended to invite her to a Dan Fogelberg concert.
11a.)Tragic Theme from Act II. Scene II. Where the heroine leaves him, continuously stares at him and finally mimics his helpless gestures before walking out with a different boyfriend and waving at him seemingly sadly. He is again lost and alone and the only responsible, knowledgeable, honest, actor in his world rolling confidently on to destruction.
12.)Boys theme on the first flashback in Act II. Scene III. In the sensitive boy's younger years this was one of his compositions, now sung and played by three young boys in his opera. Again, early on he had a sense of his future and the meeting and abandonment of his heroine, the modern day, final, central, reincarnation of the Virgin Mary. She, Jeanine in the opera, was born, interestingly enough, on Saint Patrick's Day and he is a reincarnation of Saint Patrick in final form.
13.)Tape of the hero's little oriental operetta about the Buddha and his maid's accidental spilling of tea on his knee which ends where she makes a fine dessert for him to apologize, "Because she was, 'So Sorry!'" Act II. Scene III. Where the young man is lying on his bed in his apartment after being rejected by his one true love and has a flashback to the time, as a 7 year old young composer, he plays on piano his first composition. Even as a young boy, he was inspired to find her, knew she would reject him and yet would hopefully come back and realize her true nature. A very hopeful work.
14.)Chopin's Prelude in C Minor played by strings. Act II. Scene IV. Where the male lead comes up romantically behind her and she willing stares deeply into his loving, concerned, husbandly eyes. They stare, part looks, stare again, and then he is escorted out of the restaurant and reprimanded by her boyfriend, who also apparently doesn't know a thing about either his reincarnational selves, her, or the mysterious young man he is chasing away.
15.)Theme for Christ's Theoretical Appearance & Disappearance: "Thunder & Lightning"
16.)The Godly wrath of the female lead on pipe organ with the male leads low, honest deliberate, offended response, her rebuttal and marching indignantly away, and finally his sad despondent resignation, love and respect for her as she stares off semi-hypnotized by a vision of Christ. Act II. Scene V. End of Act II. Intermission.
17.)Wedding March: Bride & Groom
End of 40 minute tape of all of the themes written by me as they occur on the tape and in the rendering of the opera description I have given you. If you are interested John, these are excellent themes, it is a very deep and perhaps central and seminal work and to get a thorough feel for the movement and drama in the opera as it rises, falls, and rises again, this first tape is ideal. It also gives you a feel for my play-by, compose-by-ear technique of simple, natural, but truly emotional composition even though some of the renderings are somewhat flawed. I wrote some of these recordings as they were recorded. Some of the recordings are perfectly played by my own hands with perfect feel and some of the twelve-string recordings I edited and played perfectly by computer. I hope you enjoy. It is a most powerful piece of work!!