The Shadow of Great Britain

Chapter 1180: Chapter 128: Project Hope

The morning sunlight filters through the windows into the hall, where dust particles float in the air, carrying an atmosphere of tranquility.

Arthur, dressed in a dark blue robe, paced along the wide corridor of the academic building.

On the surface, he was fulfilling the duties of an Academic Director, observing and inspecting whether these hurried students rushing to class had indulged in drinking heavily the previous night. In reality, his mind was still pondering over the scores of “Jasmine Flower” and “No One Sleeps Tonight.”

After deciding to adapt “Turandot,” Arthur and the others quickly settled on their division of tasks.

Mendelssohn and Schumann were mainly responsible for most of the chorus and arias of the entire play, while fashion literary giant Mr. Disraeli was tasked with secondary processing of the plot based on Goethe’s original work.

As for Arthur’s task…

In everyone’s eyes, he got the hardest part.

Because the overture introducing the audience to a mysterious Eastern atmosphere and the male lead Calaf’s solo aria expressing his unwavering intention to marry the Princess were all handled by Arthur.

But for Arthur, who knew better, these two pieces weren’t difficult at all. The overture uses “Jasmine Flower,” and Calaf’s solo aria uses “No One Sleeps Tonight.”

In fact, if it weren’t for fear of stealing the show, Arthur originally planned to tackle the final confrontation chorus between Turandot and Calaf as well.

However, the ultimate goal of adapting “Turandot” was indeed to facilitate the match between Mr. Schumann and his girlfriend.

In the final showdown, this chorus itself is meant to portray Turandot’s icy heart being melted by Calaf’s love.

This part should certainly be handled by Schumann himself, even though the icy heart he needs to melt isn’t the beautiful Princess’s, but rather that of her future father-in-law who persistently refuses to agree to the marriage.

But even if his task only includes two pieces, and even though he already has rough drafts in his mind, actually composing them isn’t without significant difficulty. After all, this isn’t a solo piano piece; when composing, he must also consider whether the entire orchestra can maintain mutual coordination.

And to present the best stage effect, Arthur also needs to carefully consider which instruments should be deployed.

For the piece “No One Sleeps Tonight,” the string section must participate collectively: violin, viola, and cello cannot be missing. During the climax, double bass is needed to provide a deep timbre.

On the wind instrument side, woodwinds and brass need to come together: flute, oboe, clarinet, and bassoon will provide warmth, while horn, trombone, and trumpet are used to enhance drama and emotional peaks.

In addition, percussion instruments must be introduced; only timpani can provide heart-stirring power at moments of high emotion.

Of course, the favorite harp of classical opera can’t be left out. Can opera still be called romantic without a harp?

As for whether piano and organ make appearances, it depends on whether Giovanni Rubini, whom Mendelssohn highly regards for his tenor voice, can handle the performance.

If his vocal condition truly is as Mendelssohn claims, easily reaching F5, then piano and organ wouldn’t be needed to provide harmonic support. However, if his physical condition is poor, Mendelssohn might have to personally step in with the piano to back him up.

Just the arrangement of “No One Sleeps Tonight” already consumed much of Arthur’s heart power.

However, compared to the opening overture “Jasmine Flower,” “No One Sleeps Tonight” seemed simpler.

How to showcase as much Eastern atmosphere as possible under existing conditions is truly a major question.

After all, European symphony orchestras don’t have erhu, guzheng, pipa, and bamboo flutes.

For the past few days, Arthur has been pondering how to use British flutes to mimic substitute bamboo flutes, whether harps can mimic the timbre of guzheng and pipa, and other issues.

Originally, just considering these was already bothersome enough. Imagine if there’s a Devil who claims to hold the reins of art, yet insists on being a chatterbox; the composition process becomes torture.

Whenever Arthur feels the arrangement is appropriate enough, the Red Devil watching with great interest jumps in to pick holes.

Although Arthur wants to refute him strongly, when he puts Agares’s suggestions into practice, he finds that such changes indeed seem more appropriate.

If the Duke of Hell were merely proposing enthusiastic composition suggestions, it wouldn’t be so bothersome. What is detestable is that Agares always offers half-sarcastic critiques only when the piece is about to be completed.

And with each of his critiques, Arthur must rewrite the already finalized pieces.

During this, Arthur once questioned the Red Devil why he didn’t say everything upfront.

To the enraged Arthur, Mr. Agares just leisurely lay on the piano rack, slowly picking up a small file he’s used for God knows how many years to file his nails: “My dear Arthur, we have not formed a deal. Without any souls at stake, any word I say can be defined as pity.”

Arthur certainly understood this guy’s meaning, but based on his understanding of the Red Devil, the more he says such things, the less he can trade with him.

Because Agares is clearly enjoying watching him repeatedly compose, if he obediently contributes souls now, then the Red Devil is bound to set traps in the deal and savor yet again Arthur’s regretful, remorseful, painful mood.