CLASSICAL MYTHOLOGY IN MUSIC, DANCE, AND FILM 729- Jacob Druckman (b. 1928), Prism, 1980. Inspired by the Medea myth and
scored for large orchestra, with an electric harpsichord and augmented
percussion section. Druckman also composed Medea, a Sex-War Opera,
which was commissioned by the Metropolitan Opera (1985). The original
libretto by Tony Harrison (after Euripides) introduces references to other
literary and musical versions up to the present. John Corigliano's The
Ghosts of Versailles was the work chosen instead and performed (1992).
Druckman explains the reasons why his commission was ill-fated: 'The
project was not canceled because of disapproval of the music but for rea-
sons of deadline. In fact the Met never saw the music that had been com-
pleted at the time of the cancellation."^25
Finally, two works on the theme of Orpheus:- Lukas Foss (1922-), Orpheus (1972). Originally a concerto for viola or 'cello
(i.e., violoncello) or violin and chamber orchestra (strings, piano strings,
oboes, harp, and chimes). In 1983 an extended violin duet was added and
the "new" work became Orpheus and Euridice. - The song Orpheus with his Lute, by William Schuman (1910-1992), is a set-
ting to music of verses from Shakespeare's Henry VIII, Act 3, scene 3 (see
the box on p. 361). Schuman also has a version for flute and guitar and
as well a reworking of the song, entitled In Sweet Music, Serenade on a Set-
ting of Shakespeare; the text appears only at the beginning and end; the
singer, for the most part, hums and sings without text, accompanied by
flute, viola, and harp. Another reworking of this music by Schuman is or-
chestral, Song of Orpheus, Fantasy for Cello and Orchestra. The beautiful lines
of Shakespeare have been set to music by several other composers, in-
cluding Mario Castelnuovo-Tedesco and Marc Blitzstein.
Popular Music and Rock. The revolution in music caused by the development
of electronic instruments (particularly the guitar) has led to the evolution of the
musical idiom and style called "rock." It is refreshing (but perhaps not surpris-
ing) to find that in rock music, too, there exists a repertoire inspired by classi-
cal themes. The legend of Icarus appears to be a favorite: for example, "Icarus
Ascending" by Steve Hackett, "Flight of Icarus" by the heavy metal group Iron
Maiden, and "Icarus, Borne on Wings of Steel" by Kansas. The song "Icarus" by
Ralph Towner has become the theme music of the Consort of Paul Winter, whose
concerns are with nature and ecology (see Missa Gaia, later in this chapter). "The
Fountain of Salmacis" is a song by the group Genesis; an instrumental piece,
"The Waters of Lethe," was composed by Tony Banks, the keyboard player in
Genesis/The End" is an Oedipal song by Jim Morrison and his rock group The
Doors. Others worth singling out are "Cassandra" by Steve Hackett, "Achilles
Last Stand" by Led Zeppelin, "The Three Fates" by Emerson, "Pegasus" by the
Airman Brothers Band, "Jason and the Argonauts" by XTC, "Daphne" by Kayak,
and "Lysistrata" by Utopia.