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			David Stybr: Life and Afterlife: I. The Last Time (7:50)
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David Stybr: Engineer and Composer

It's Left Brain vs. Right Brain: best 2 falls out of 3

Life and Afterlife: Four Elegies for Soprano and Orchestra: I. The Last Time (7:50) The Bereaved: The last time I saw your eyes, I saw the glow of a summer sunset. How soon the glow then shaded and was gone. And now you sleep. The last time I touched your hand, I felt the warmth of a summer zephyr. How soon the warmth then faded and was gone. And now you sleep. How can I live without you? Many are the paths we have walked together. How can I stand without you at my side, As my guide?

The last time I breathed your kiss, You filled my heart with life majestic. How soon your breath then faltered and was gone. And now you sleep. The last time I felt your embrace You filled my soul with love eternal. How soon your arms then weakened and were gone. And now you sleep. Now I must walk without you. Which is the path which should be taken? Now I must stand without you at my side, As my guide. You have not left me. With ev'ry coming of the dawn, You have not left me. With ev'ry dusk I gaze upon, You are my Sun and my Moon and my Stars.

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Left Brain: "My song cycle Life and Afterlife is a set of 4 Elegies for soprano and orchestra. The first movement 'The Last Time' is in G Minor, although the harmonies are ambiguous. It is based upon a single theme, phrases of which evolve into 2 further themes. Thus the music is in constant development. The cantabile main theme is presented quasi berceuse as an elegy to the loss of a loved one, above shifting harmonies which elude repose. The music is also permeated by a rhythmic motive, or rhythmotive as I call it, which manifested itself in January 2001 when my wife Denise & I were in Caracas, Venezuela. The rest of this music was composed during my travels for engineering projects, and completed in May 2001 in Washington, DC."

Right Brain: "In retrospect, it was fun to discover details from my subconscious. Very Right-Brain, eh? For example the exquisite horn countermelody, as the soprano repeats the main theme, evolved from my rhythmotive. I love the final pages, which skirt the G Major/Minor tonalities with chords based upon G-Bb-Eb-G."