We are, as it were, in a ‘secret theatre’ once again. The ‘mechanics’ of the ‘mechanical pastoral’ tell of a story perhaps deeper than Virgil, even than Theocritus. Counting itself is both external and internal drama, which repeats, is broken, is reconstructed, yet is never the same. The choral sheep are counted and ultimately they too count. Birtwistle’s division of the ensemble into groups is part of that story, so is the journey towards unison, but, as Paul Griffiths noted in the final line of his helpful programme synopsis: ‘Alan leads his family and flock: Everyone is counting, eventually including Caleb underground, as the musical machinery moves on, now set aright.’ Who knows, however, whether the different perspectives, different pulses, different landscapes, different soundworlds we have passed through, will reassert themselves once again? Interestingly, and tellingly, Birtwistle (quoted in Michael Hall’s book on the composer, likened the structuring of his response to the libretto to that of Stravinsky to Auden. Yan Tan Tethera
… has things I’ve never done before and I’m really quite excited about it. Did you know that it was Stravinsky who divided Auden’s text for The Rake’s Progress into recitatives and arias? Auden wrote his libretto without the divisions. Well, I’m imposing something on Tony Harrison’s libretto. Had I asked Tony to provide it for me, it wouldn’t have worked; the result would be too formal in the wrong sense, too predictable.