Dance at the Lake of Miramoor
Barry E. Kopetz

As with the earlier selection entitled In The Land of the Lochrians, the Dance at the Lake of Miramoor is the second musical selection composed that pertains to the mystical kingdom of Lochria. The people of Lochria, while a small and gentle folk, are fascinated with the glass-like quality of the surface of the enchanted Lake Miramoor. Legend holds that many quartiles in the past, the beautiful princess Alissima set forth on a journey in search of her father Silverbow, King of the Lochrian people. Alissima, his infant daughter was left to rule in his place should he not return, and when Alissima begins her journey in search of her father, the leadership of the kingdom is placed in the hands of her eldest son, Josephus of the house of Silverbow.

Located near the base of the Ginger Mountains, the mystical waters of Lake Miramoor never reflect sunlight but readily reflects images when either of the two moons are over the waters of the lake. The most joyous of occasions occurs when both the two full moons of the quartile rise over the peak of the mountains and visions of the past and future may be viewed. All Lochrians gather at the shore of the lake and dance their dance of praise and wonder while the great prophet and oracle Horatio peers into the depths of the dark water from the rocky ledge that extends over the shore. As often as not, the visions reveal moments of trouble and war for the people of the land of Lochria.

The music is meant to display images of wonder and amazement. The melody is dance-like in character, and it should be played with buoyant energy. A sense of “bounce” should accompany the beginning of each four-measure phrase, and the conductor should encourage the musicians to press the first note sufficiently and to articulate a resonant staccato to achieve this goal. The tambourine color is essential in establishing the character of this music. The performer should hold the instrument flat (skin side up) and gently strike the outer edge using two or three fingers held closely together to achieve the crisp quality necessary.

The use of the chromatic scale in parallel fifths is most important in establishing the “chant-like” mood of the prophet Horatio, and the brief chromatic passages should be rehearse in a light manner. Its harmonic impact upon the melodic line creates rapidly changing harmonies and the chromatic scale should not overpower the melody.

Finally, just as with In The Land of the Lochrians the new selection, Dance at the Lake of Miramoor is meant to spur the imagination of those who perform the music. The creative abilities of the young musician are to be encouraged and emphasis upon both dynamic contrasts and mirror-like transparent colors are essential for an effective performance of the music.