Kepler's Last Dream, a miniature allegorical opera for one based on his
writings in general, and the Somnium in particular. This last was his
metaforical work written in 1609 on the geography of the moon, hiding an
impassioned argument in favor of unpopular Copernican theory. The musical
material reflects the allegorical nature of the Somnium, mirrored in double and
triple layers of meaning and complexity. Proportion, velocity, pitch, shapes
the geometry of the work which employ multiple restrang and retuned celli,
voice, visuals and electronics as orchestrations. Tantological references as
well as contrasting material make up the work. Certain influences such as the
following: Within the "symphony of voices" Kepler believed that the planetary
speeds were reflected in corresponding frequencies (Do, Re, Mi etc.) and that
in the "Harmony of the Spheres" the tones of the Earth were Fa and Mi, or
loosely interpreted, FaMine, the true doleful state of our planet...
The
Somnium was one of the first science fiction fantasies to be written, and hosts
a cast of characters thinly disguised as coming from Kepler's own history.
Duracotus is Kepler, Science embodied. Fiolxhilde was ignorance and the mother
of Science. In Kepler's fiction, she was a sorceress, and in actuality Kepler's
real mother Katherine was to be tried for witchcraft in a long torturous
process. The Somnium clothes its characters in mythological forms while
revealing a very serious scientific treatise behind the story.
