Heretic – a micro-opera at Salem State
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Guitarist and composer Aaron Larget-Caplan returns to Salem State University for a special one-night-only concert. TICKETS & INFO 
The concert, Altered Worlds, begins with Larget-Caplan’s arrangement of J.S. Bach’s Prelude in C Major, WTC I, BWV 846 partnered with Vineet Shende’s (Bowdoin College) Carnatic Prelude N. 1, After J.S. Bach, a re-imagining of the prior as if Bach were from South India. The monumental Legend of Hagoromo by Keigo Fujii explores mystical transformation through the 13th century myth, followed by John Cage’s serene In A Landscape, arranged by Larget-Caplan.
The evening concludes with the theatrical performance and US premiere of Heretic, a micro-opera for guitarist by Richard Cameron-Wolfe. Inspired by Arthur Machen’s haunting 1907 novel The Hill of Dreams, this realization is a multi-media event in collaboration with Salem State University theatre faculty Jerry Johnson and Aaron Larget-Caplan.
“As an artist, I try to push myself into new areas,” said Larget-Caplan, “and Heretic does that very well! Not just because I must sing, act, speak, and play a technically extremely difficult piece, but that each element is to be approached from the theatrical side as well. Collaborating with the theater director Jerry Johnson has enlivened the experience. I’m extremely excited!”
Born Arthur Llewelyn Jones in 1863, Arthur Machen became one of the most influential writers of his generation. He drew on the dark landscapes of his childhood in Wales, together with his adult life in bohemian fin-de-siécle London, to create magical and disturbing tales. His admirers include Stephen King, and H. P. Lovecraft, who described him as one of the four ‘modern masters of the horror story’.
Larget-Caplan will perform Heretic in April 2024 at Symphony Space in New York, Bowdoin College in Maine, and Tufts University in Medford.
Altered Worlds promises to be a new and wonderful adventures for music and theatre lovers!
Richard Cameron-Wolfe, Composer
Jerry Johnson, Director
PROGRAM
Prelude N. 1 in C Major, BWV 846* – J.S. Bach (1685-1750)
Carnatic Prelude N. 1, After J.S. Bach* (2017) – Vineet Shende (b.1972)
The Legend of Hagoromo (1992) – Keigo Fujii (b.1956)
In A Landscape* (1948) – John Cage (1912-1992)
Heretic (2022) – Richard Cameron-Wolfe (b.1943)
*Written for or arranged by Aaron Larget-Caplan
LISTING:
Friday January 26 • 7:30pm
Salem State University in conjunction with the Music and Theater departments presents Aaron Larget-Caplan in Altered World, a solo program exploring transformation.
Composers: J.S. Bach, Vineet Shende, Keigo Fujii, John Cage, and the US premiere of Heretic – a micro opera by Richard Cameron-Wolfe – directed by Jerry Johnson (SSU Theater Faculty).
Information and Tickets: HERE ($10-15)
Location: Callan Studio Theatre, Salem State University, 352 Lafayette Street, Salem, MA 01970 (MAP)
Program Notes for the concert: https://alcguitar.com/blog/heretic-at-salem-state/
PROGRAM NOTES
Prelude No. 1 in C Major, WTC Book 1, BWV 846* by J.S. Bach
The first prelude in The Well-Tempered Clavier comprises a simple arpeggio figure; the dramatic tension only builds through harmonic change. While a moment in time, the arpeggio feels eternal. Gounod based his ‘Ave Maria’ on this prelude. I raise the octave of the last measures for an ethereal conclusion. Recorded on Aaron’s 2022 album ‘God’s Time: Music of J.S. Bach on Guitar (Tiger Turn) SPOTIFY
Carnatic Prelude N. 1, After J.S, Bach* (2017) by Vineet Shende
Vineet Shende and Aaron
A measure for measure re-imagination of Bach’s Prelude N. 1 in C-Major, WTC I, BWV 846 as if Bach were from South India. A fusion of the Eastern melodic and rhythmic traditions of Carnatic music (raga – scale, taal – rhythmic cycle) and Western harmonic traditions.
Carnatic music does not use harmony as the western tradition, so Shende uses rhythmic flourishes to denote a cadence or phrase ending. The project will continue for a total of 12 Carnatic Preludes by Shende being paired with Larget-Caplan’s arrangements of the original Bach keyboard works for guitar.
The legend of Hagoromo (1992) by Keigo Fujii
Found in variation throughout Asia, the Hagoromo legend describes a young fisherman falling in love with a heavenly maiden who can fly when she wears her magical feathered kimono (Hagoromo). Wanting to prevent her from leaving him, he steals and hides her Hagoromo while she bathes under the autumn full moon. After a time, and unable to go home to the immortal world, she returns his love and they have a child together. While walking her young son, the boy sings a lullaby whose words describe where the Hagoromo is hidden. Donning it and robed in the blue of heaven she ascends again! But she cries in sadness, for she cannot bring her husband and son along. Lovesick and lonely as well, her husband plants the seed of a moonflower for her, and as her tears water it from the world above it grows into the heavens allowing the fisherman to climb up and join her; her tears becoming a rainbow. B
ased on a 16-bar song in the traditional Okinawan mode by Hiroshi Yamanoha (d.1991) about the Hagoromo legend, Keigo Fujii does not adhere strictly to the mode and incorporates many extended techniques and effects to create one of the 20th century’s great masterpieces. Recorded on Aaron’s 2013 album ‘The Legend of Hagoromo’ (Stone Records). SPOTIFY
In A Landscape* (1948) by John Cage, Arr. A. Larget-Caplan
Through composed, the composition can be divided into three parts by the repetition of the opening melodic figure and arpeggio. Choreographer Louise Lippold conceived of the 15 x 15 measures (5-7-3) rhythmic structure.
The work travels the length of the guitar and requires extensive use of campanella, natural and artificial harmonics, tambura, and peaceful control. The arrangement required multiple register adjustments, but no note changes. The most daunting of my Cage arrangements due to extended fixed gamut of tones and the use of two voices that need to resonate throughout, it is also the most lyrical of the mid-period works where one can hear the lines so reminiscent of Satie. I met Cage in Dream, but I fell in love with Cage through In A Landscape. Recorded on Aaron’s 2018 album ‘John. Cage. Guitar.’ (Stone Records) SPOTIFY
Heretic* (1994/2017/2022) by Richard Cameron-Wolfe
This Heretic speaks the unspeakable, thinks the unthinkable, and plays the unplayable. At the outset, Orthodoxy tries to stop him from speaking his first word.
At last, the Heretic addresses us, with “I want to tell you what’s going on here”, but immediately has second thoughts: “You don’t want to know.” He then moves uncomfortably close to the audience and, in a Mephistophelian tone, asks for our “trust”. Then, calmly and conversationally, he refers to Arthur Machen’s book The Hill of Dreams – its contents perhaps holding a key to the nature of the Heretic’s mental state (unreality/alienation). After a robotic, manic, minimalist rant, the Heretic abruptly begins to leave, pauses, and reluctantly returns, apparently to become simply a guitarist.
An extended, abstract, contrapuntal passage follows, punctuated however with comments from the Heretic – alternately introspective and communicative, about beauty, perfection, and art. But the Heretic is, as we suspected, quite mad, regretting this encounter. He pushes us away, turning inward – and we are released, liberated. This performance is the U.S. Premiere.
Heretic will be performed at Bowdoin College (April 6) Symphony Space in NYC (April 20), and Tufts University (April 26).
Larget-Caplan’s arrangements of John Cage’s piano music published by Edition Peters
