NOTES — The form of Opus 5 is partially the result of the interplay between two distinct types of melodic materials. The first consists of a dense chromatic conglomerate, while the second, presented in its simplest form at the end of the piece, is derived from the instrumental duets in the third act of Monteverdi’s Orfeo.

The text dates from 1904, preceding Marinetti’s manifesto writings that include some of his more hideous futurist ethos. My intervention and recomposition of the text underlines a gloomy Freudian theater of three protagonists: the voice of the self (ego), the voice of the woman (id), and the voice of the sea (superego). While the virtual voices are only projections of the male protagonist, the resultant dialogue between the three voices shapes the melodic character and defines the major sectional divisions of the work.