Like Parodies and Travesties (1995) and Walking-Talking (1996), Journey Out of Night (1994) approaches the text not as traditional poetry or with a concern for syntax but as word-play and satire, which rely on evocative meanings and the expressive qualities of the sounds. Though the work does not develop a plot or specific character, the vivid texts, specified placement of the singer, and lighting direction create a theatrical work that recalls previous works, such as Trialogue (1971) and Private Collection (1975).
Journey Out of Night is strongly unified between songs with several “visions” containing images of night and an overall reflection on the state of the world. Weinzweig also creates connections to his broader output in three ways. First, the work establishes thematic threads between the final vision “Behold!” and images found in the texts Of Time, Rain, and the World (1947) and Wine of Peace (1957). Second, Weinzweig’s predilection for blue notes emerges in the major/minor third interplay in “Listen.” Third, serial technique unfolds through hexachordal arrangements. Though some critics disparage the texts, John Beckwith praises the work’s overall effect: “Attracted by its moments of whimsy, one is at length caught up by the genuineness of its human sentiments.”
Written by Alexa Woloshyn
Journey Out of Night: 14 Visions: a MonoDrama (1994)
1. Night-Time, 2. Listen, 3. Rumours, 4. Dreaming, 5. Regrets, 6. This World, 7. It May Be, 8. Tango Nights, 9. Night Shadows, 10. La La La, 11. Much Ado, 12. You Would Be, 13. So Still, 14. Behold!
Mezzo Soprano, Piano
Duration: 35 minutes
First Performance: 27 November 1994, Toronto; Marianne Bindig, John Hess