15. The Divine Miss Ruby Pinks, 8.19

The Divine Miss Ruby Pinks (composed October 2013) is an extraordinary vivid orchestral work with echos of brassy, Broadway musical theatre and wild flights of insistent melody bent on psychological madness. It pits an imaginatively moody chromatic melody that exploits lavishly extravagant orchestrations pitted with abstract, and joyously delusional desire run amok, capable of lustiness and striking grandiose, glittering re-workings. Carefully timed and compelling scoring offers a frightening portrait of ex-actress Ruby Pinks in an imaginative, disturbing world with salacious plots and all the makings of opulence that brightly and colorfully are executed in musical abstractness in a mostly tonal and ever-growing jagged and dissonant meltings of complex lyricisms relentlessly unraveling into tongue-in-cheek strains of Gershwin and Sondheim-inflected homages. 

The score stands firmly on its own feet and quite successfully uses familiar motifs to pick the mind of the central, unspecified characters that open the score with pure Americanism and passions gone wild and wrong. It exudes operatic marvelousness in an effecting work that discovers and magnifies the space between tonal and non-tonal worlds.  Mining the territory of frankly romantic but laced with pulsing undertones of foreboding, it is a rousing entreaty to begin an unexpected burst of slipping sanity and harrowing upheavals of theatricality that are bravely put forth in the disembodied fragments of melodic appearances and its disintegration. Chronicled scrupulously by penetrating and harshly descriptive music, it a delightfully buoyant work in dance form: a tango of paralyzed misfortune and delusional forays into excruciating paralysis and thundering climaxes of magnificent joy. A biopolar topography of a musical heyday with depth, romaticism and a bit of everything in overabundance.