Here's the moment audiences of my musical "Dorian-The Remarkable Mr. Gray" will be waiting for: The first time the picture changes.
"La La London" and "Dorian's Dilemma"
(click the title)
Dorian has cruelly rejected Sibyl Vane. After an agitated trip back home, he sees that his portrait seems to look different. The eyes are colder, with brows arched menacingly above them, and the mouth seems to smirk with a mocking sneer. Dorian stays up the rest of the night trying to figure out if he's hallucinating or if the picture has really changed. As the sun rises, he has decided that it was his guilty conscience which made him imagine the picture's cold expression, and that he must go back to Sibyl and beg her forgiveness.
I've put together two of the show's numbers for this posting:
--First is a short 50 second bitonal (it's in two different keys simultaneously) reprise of "Prelude" which is Dorian's nightmarish trip back home. Vagrants, whores and criminals come at Dorian from all directions.
--At 0:50 starts "Dorian's Dilemma" which is a non-melodic inner-monologue/soliloquy as Dorian grapples with the meaning of his apparently changing portrait. First is underscoring for revealing the changed painting, then a brief reprise of the prayer Dorian uttered when he first saw the painting completed. He had wished that he would always look the same while the painting aged instead.
--At 2:43 is a reprise of the masquerade waltz while there's a brief spoken section in the scene.
--At 3:50 is a semi-operatic section which becomes a major recurring motif throughout the show.
--At 4:30 is a quiet passage, a short song on its own, which is Dorian reverting to a child-like state. He shows signs of cracking up under the strain of events.
--The last 30 seconds is his triumphant moment of believing the picture hasn't changed and that he can set everything right by apologizing to Sibyl and asking her to marry him. The final dramatic chords underscore the painting being covered up.
As with the entire "Dorian" sound track, GPO provides the full orchestra plus piano. Also as usual, the recording is augmented with various soft synths, a CZ-1000, and the Korg X5DR hardware module. "Real Guiar" is also used. The music was recorded in Sonar Home Studio and mastered in Sound Forge.