Duality is a part of the internal struggle, and it instigates the dichotomy between our two opposing inner forces. A co-internal existence of two opposing moral codes--benevolent vs. malevolent, right vs. wrong--is an idea that has been proposed and anthropomorphized in both archaic and modern texts time and time again.
The duality of men and women serves as a profound topic in not only literature and metaphysics, but in the sense of the gender binary as well. In this case, in the sense of an orchestral composition, music, too, becomes capable of capturing the elements that divide our moral conscience.
Specifically, this idea of distinction has captivated audiences of the acclaimed AMC television show Breaking Bad. If you're a fan, then you know Walter White's internal conflict with right and wrong, his moral compass that consistently leads him astray--and in fugue state, where he reflects on his own morality as he tries to escape it.
The other night I was invited by Sung Jin Hong--leader of the One World Symphony--and his wife, Adrienne Metzinger, to come witness Hong's world premiere of his Breaking Bad opera at the Church of the Holy Apostles in New York City.
CLICK HERE TO CONTINUE READING
