Continuing the vein
of song writing in the song cycles, op. 24-27, the original plan
for a long-mooted setting of Stevens'
virtuoso display of linguistic jouissance gave each of its four
soloists a virtual cantata-within-a-cantata of their own between
each of the main poem's five cantos. This
unreal scheme, quite unworkable, was gradually whittled down and
eventually dropped entirely.
Even when confined to Stevens alone,
the soloists have plentiful chance to develop variegated characters
as they interweave amongst themselves, the chamber chorus, and
the chamber ensemble, in what I hope is an orgy of hedonistic
/ decorative rapture: Sea
Surface Full of Fun.