Arcturus - David Biagini Music

[vc_row][vc_column][vc_custom_heading text=”Arcturus – Guardian Of The Bear” font_container=”tag:h1|text_align:center|color:%23000000″ google_fonts=”font_family:Adamina%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_empty_space height=”12px”][vc_custom_heading text=”A Tone Poem in C Major for String Orchestra and Celesta
Based on the Greek mythological legend of Zeus, Callisto, and Arcas.” font_container=”tag:h2|text_align:center” google_fonts=”font_family:Adamina%3Aregular|font_style:400%20regular%3A400%3Anormal” css=”.vc_custom_1625585089615{background-color: #ddd5be !important;}”][vc_column_text]

A new work of contemporary classical music. Its use of a string orchestra and celeste is simple, and helps enhance the story’s airy atmosphere.

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Click Here To Download The Score

New version arranged for string quartet and celeste.

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Click Here To Download The String Quartet Score

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Part One – Zeus Seduces Callisto

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Zeus seduces Callisto, a nymph and follower of the goddess Artemis. Callisto becomes pregnant.

The basses begin with a predatory theme punctuated by a triad played by the celesta. The cellos soon set up a stalking melody which is then complimented by the violas. At measure 6 the violins instigate a chaotic series of notes that consummates the act of seduction. The predatory theme returns as Zeus steals away after impregnating Callisto.

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Measures 1 – 14

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Part Two – Callisto Gives Birth To Arcas

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When Callisto’s pregnancy is discovered, she is banished from Artemis’ group. She gives birth to a boy, Arcas (Arcturus).

The celesta and cellos, soon joined by the violas, depict Callisto laying down ready to give birth. Tremolo violins signal the start of childbirth. Apprehension from the solo violin . Pizzicatos and glissandos introduce labor. Then the cellos and basses pulsate as the birth nears. Double stop melodies from the violins announce the birth of Arcas. But the uncomfortable chord in measure 42 tells us not all is well.

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Measures 15 – 37

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Part Three – Hera Turns Callisto Into A Bear

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Zeus’ wife Hera learns of the seduction and birth of Arcas. Hera is not a forgiving god or wife and out of anger she turns Callisto into a bear. She searches for Arca with similar bad intentions.

Spiccato violins, walking basses, and forte celesta signal Hera is not happy and will get her revenge. The tempo slows at measure 45 as Hera approaches Callisto. The violins ascend while the basses descend, then the violins descend and the basses ascend. The transformation is complete. Hera has turned Callisto into a bear.

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Measures 38 – 54

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Part Four – Zeus Hides Arcas From Hera

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In order to protect his son from Hera, Zeus hides Arcas in the forest. Arcas becomes an excellent hunter and eventually a king. He doesn’t know that his mother, Callisto, has been turned into a bear.

A soft celesta melody soon joined by a sweet cello line underscores Zeus’ feelings for Arca and presages his attempt to save him. Dissonance from the second violins and cello hints the present danger. Zeus’ decision to hide Arcas in a forest is reflected by an ascending melody beginning at measure 65 . A return to C Major tells us Arcas has been safely hidden.

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Measures 55 – 70

Part Five – Arcas Hunts In The Forest

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Arcas, now a king, is hunting in the forest with his bow and arrow.

Pizzicatos and glissandos followed by descending pizzicatos represent Arcas stalking prey in the forest. At measure 78 Arcas sees a bear. The melody rises culminating in a C Major chord.

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Measures 71 – 80

Part Six – Callisto Approaches Arcas

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Calisto is in the same forest. She sees Arcas. She is overjoyed to see her son. She does not know that Arcas is unaware that she has been turned into a bear and she doesn’t know that Arcas does not recognize her.

A solo violin plays a delicate melody as Callisto recognizes her son. Tutti violins and cellos play a variation of this melody as an indication of her love for him. She approaches Arcas, the celesta plays a walking melody. The descending eighth-note lines at measure 89 hint that something might be wrong. But the delicate solo violin returns and overcomes any doubts.

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Measures 81 – 96

Part Seven – Arcas Is About To Kill Callisto

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Arcas sees a bear approaching. He doesn’t know it’s his mother. He readies his bow, pulls back the arrow, and is about to kill the bear.

Two staccato pizzicato notes signal Arcas intent to kill the bear. Violin, viola, and cello notes are all over the place as Arcas aims his bow. Anticipation builds at measure 102. A dissonant chord at measure 104 as Callisto realizes Arcas is about to kill her.

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Measures 97 – 104

Part Eight – Zeus Intervenes And Turns Arcas And Callisto Into Constellations

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At the last second Zeus sees what is happening. To prevent Arcas from inadvertently killing Callisto, Zeus turns both of them into constellations.

A C9 chord announces Zeus’ intervention. The cello and celesta play a triumphant melody. A variation of Arcas’ birth theme is played as Zeus transforms Arcas and Callisto into constellations saving both of them.

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Measures 105 – 122

Part Nine – Arcas And Callisto In The Night Sky

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Arcas, as the constellation Boötes (Greek for “guardian of the bear”), and Callisto, as the constellation Ursa Major, light up the night sky. Boötes to the left of Ursa Major protecting the bear.

Arcas and Callisto brighten the night sky with rising melodies that increase with intensity. Tremolo adds majesty to the first and second violins and the cellos. The music culminates in a pizzicato chord. The constellations will burn brightly forever.

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Measures 123 – 137

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Note: the measure numbers are from the score and do not account for repeats.

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