“Melissimo” is a distinctive vocal composition within a groundbreaking opera that challenged traditional forms and expanded musical performance boundaries. This piece stands as a unique example in contemporary music, showcasing an innovative approach to vocalization and musical structure.
The Composer and Context
Philip Glass, a renowned American composer, created “Melissimo.” Known for his significant contributions to the minimalist movement, Glass’s music uses repetition and subtle variations, aiming to immerse the listener in a meditative experience. His unique style developed after studying traditional composition and encountering Indian music, notably through Ravi Shankar.
“Melissimo” is part of Glass’s Einstein on the Beach, which premiered in 1976. This five-hour opera, a collaboration with director Robert Wilson, departs from conventional narrative, using structured spaces and recurring images. It meditates on Albert Einstein’s life and ideas, incorporating symbols from his theories. The opera has four acts divided by “knee plays,” interludes that connect main sections and provide thematic continuity. “Melissimo” refers to the vocal sections, often in these “knee plays” and other scenes, where numbers and solfege syllables are sung or chanted.
Musical Characteristics
“Melissimo” is rooted in Glass’s minimalist aesthetic. Its vocal nature involves a chorus or soloists singing repetitive patterns. Instead of lyrical text, vocal lines use numerical sequences or solfege syllables (“do,” “re,” “mi”). These elements, initially placeholders, were retained to convey the opera’s abstract and mathematical underpinnings.
The music builds on repetitive, evolving patterns, with small changes over extended periods, creating a hypnotic, immersive auditory experience. This “additive and subtractive process” allows continuous flow without traditional melodic development or dramatic resolution. Instrumentation often features amplified instruments like electronic organs and synthesizers, alongside woodwinds and voices, creating a distinctive, layered soundscape. Its deliberate simplicity encourages focus on subtle shifts in texture and rhythm.
Performance and Reception
“Melissimo” and similar vocal sections are integral to Einstein on the Beach’s unique performance style. The “knee plays,” where these vocalizations often appear, serve as interludes between acts, allowing scene changes and offering condensed musical and visual motifs. The opera typically lasts five hours without traditional intermissions, and audiences are encouraged to enter and leave freely. This unconventional approach creates a fluid, non-linear experience, reflecting the work’s abstract nature.
Upon its 1976 premiere, Einstein on the Beach received polarized reception; some found it captivating, others expressed outrage. Despite initial financial challenges, its groundbreaking nature launched Glass and Wilson to international recognition. It introduced minimalist music to a broader audience, influencing contemporary classical music. The work is now considered a landmark in music and theater, celebrated for its innovative fusion of sound, imagery, and movement.
Listening and Further Exploration
To experience “Melissimo” and Einstein on the Beach, several recordings are available. The 1993 Nonesuch recording offers nearly 190 minutes of music. Many performances, including “knee plays” featuring characteristic vocalizations, can also be found on online video platforms.
To delve deeper into Philip Glass and minimalist music, numerous resources are accessible. Books like “Writings On Glass” (edited by Richard Kostelanetz) offer interviews and analyses. Glass’s memoir, “Words Without Music,” provides personal insights. Documentaries and academic analyses of Einstein on the Beach can also provide further understanding.