Caritas

The overall form of the opera retains the architecture of Wesker’s stage play, butalters the proportions, in order to create a musically dynamic form. While each scene of the first act is centred around a specific pitch, the second act is a Passacaglia, whose ‘ground’ is a Cantus Firmus, each repetition ofwhich begins on a different note from those of its previous statements. These large-scale architectural features are both reflected in, and derived from, the musical material itself.