BENJAMIN ROGERS GEORGE LAM
WORDS BECOME UNLATCHED seven madrigals for chamber chorus
MANCHESTER LIGHTHOUSE MUSIC
BENJAMIN ROGERS GEORGE LAM
WORDS BECOME UNLATCHED seven madrigals for chamber chorus
MANCHESTER LIGHTHOUSE MUSIC
Program Notes Words Become Unlatched is a set of seven madrigals for unaccompanied chamber chorus, created collaboratively with writer Benjamin Rogers. Throughout the work, the chorus both sings and speaks Mr. Roger’s texts, a varied collection of thoughts and images related to the many relationships that we form in our lives. The creative process began in June, 2007, and included a workshop with the members of Volti, for whom the work was written. Words Become Unlatched was a result of the 2008 Volti Choral Arts Laboratory commissioning and residency program, and is dedicated to Robert Geary, Mark Winges and the members of Volti. - George Lam (Included below is an abbreviated libretto for inclusion in printed programs. The complete libretto can be found in an appendix at the end of the score.) 1. two latch on to each other out of desire. habits form and love becomes. Waging a doubtful battle with the shade, how should I begin? 2. ...or perhaps another drink. is it possible to cease if you do not exist? why don’t you simply understand me for who i am and how i love? and why do we eternally return to these moments? speak the words, i’ll settle down. 3. they lay before me, the relics of an evening dripping with beginnings. 4. two latch on to each other out of desire heartache clot, riotous feed. 5. aghast enactment be... macabre birth confide... 6. here we are now on this beautiful mountain with such a view it’s a confirmation of the investment i’ve made for myself i never wanted to be underground 7.
Performance Notes Spoken texts are either notated with headless stems or with an arrow. In the latter case, the length of the arrow represents the approximate length intended for the spoken text. Even though some texts are notated with a strict rhythm (with “headless stems”), the performers are invited to interpret the rhythms more loosely if desired, i.e. placing the pulse a bit before or after the beat, if it allows for a more natural delivery. None of the texts should sound too “robotic”. The transition between sung and spoken text should be as smooth as possible. In Movement 1, notes with an “x” through the stem should be performed “half-sung”. Here, the text should be spoken on or around the pitch indicated. In Movement 2, there is a single narrator present throughout. In Movement 5, the chorus is divided into eight equal parts, with one part singing a wordless melody. Here, the chorus is invited to split the parts as evenly as possible to create a more homogenous texture in the spoken texts. For example, both men and women can speak on a single part. Spoken texts can be amplified if needed.
Benjamin Rogers (b. 1979) works and lives in Chicago, IL. He is currently a children's librarian for the Chicago Public Schools, but has held many varied library and teaching positions in the past. Benjamin holds a Master of Library and Information Science degree from Simmons College, and a Bachelor of Arts from DePauw University. He spends most of his free time exploring lived moments through poetry and prose, much of which can be found on his blog: http://prufstein.blogspot.com. George Lam (b. 1981) lives in Durham, NC, where he is pursuing a PhD in composition at Duke University. George has recently collaborated with the Hong Kong Sinfonietta, Hong Kong Voices, American Opera Projects, the Red Clay Saxophone Quartet, the Boston University Concert Band and the Charles River Wind Ensemble. George was a Schumann Fellow at the 2006 Aspen Music Festival and School Composition Master Class. Other residencies include the 2007 Virginia Arts Festival John Duffy Composers Institute, and the 2008 Volti Choral Arts Laboratory. For more information and to listen to his music, please visit George’s website at http://www.gtlam.com
commissioned by and dedicated to Volti
words become unlatched seven madrigals for chamber chorus words by Benjamin Rogers music by George Lam
1. habits form, love becomes.
Soprano 1
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slow, q. = 68
%
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Soprano 2
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Alto 1
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Alto 2
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Tenor 1
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Bass 2
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Tenor 2
pp
out (ah)
N.B. Change parts as needed. For example, where half of the section (e.g. Tenor 1, mm. 1-4) is indicated with a solo spoken passage, the rest of the section could sing (or not) with the other half (e.g. Tenor 2, m. 2-3), adjusting the overall sound for balance, etc.
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5
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her words had be- come un- latched.
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two
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10
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to
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T2
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to
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ther
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taste would remain.
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for more permanent, I mean relatively permanent, relations with men.
B2
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each
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form
form
form
and
and
and
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T2
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* 3 )(
re- fusing to let it all
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be
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mf
re - la - tions
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two
sat with her,
T1
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pp
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on
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accel.
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pp
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bits
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A1
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out
of
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de
-
love...
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and love
be
sire,
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two latch on
of
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to each
to
each
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two latch on
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comes...
form
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and
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each
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out
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and love be-
4 #
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and
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T1
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of
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form
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2
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4 #
14
faster, q. = 96
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and
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T1
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p
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f
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f
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4 $# ' $
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and
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love
a tempo, q. = 68
(
he
f
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and
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f
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all
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A1
slower still, q. = 52
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(
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bat - tle
a
doubt
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with a
ful...
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16
2. trinklied.
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...with a lilt, q. = 52
Narrator *
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...or perhaps another drink.
6 $ # +#
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Bass
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it
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it
it
(#
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it
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you do not
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to
e (eh)
(
pos - si - ble?
e
( ( ( (
if
( ( (
(
if you do not
( (
pos - si - ble
is
you do not exist?
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cease
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is
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to
p
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(
pos - si - ble
p
6 $# $
Tenor
is it possible to cease if
p
$ 6# + #
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*
(
(
it
pos
is
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si - ble
* a single narrator for this entire movement; preferably someone who hasn't spoken in the piece thus far.
! Nar. $ 37
S
I
mp
$ (#
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xist?
A
B
am
why
mp
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(#
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xist.
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say
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to
to
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here
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it
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why
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(
don't you
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the bottle is
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sim
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ply
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why don't you
sim
'
(
un - der
p
p
mp
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( ( ( / (
( ( (# -
why don't
un - der
ply
you
un - der
-
17
! Nar. $
+#
40
$
S
empty,
my
stand
B
* ' ' ' (
( # n( ( ( b( ( ( ( ( ( .#
( b( ( (
who i
am
and how
(( (
who i
for who i
am
and
am
-
! Nar. $ '
ply,
ter
"
don't
you
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-
nal
-
$ (
2
(
(
ter
-
nal
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$ ( $
T
- )( # ter
and why
love?
i...
2
how
how i
( i
love?
do
we e -
((((
why do we e -
love?
+#
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(#
((
7((( why
((
(((
why
do we e -
'
why
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A
how i
(
sim - ply un- der - stand
love?
(
*
44
S
i
and how
( ( - ( ( ( ( ( ( (# " sim
B
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for
for
( $ )(/ $ stand me
T
equilibrium compromised.
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(( (
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stand me
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me
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A
dry,
'
( # / .
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)(
mouth
*
( b(
do
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simply
( ( ( ly
-
* (
( (
* (
b(
re - turn,
e
-
to
( ( ly
we
nal
for who
re - turn
(
(#
understand me
-
-
ter
(
(#
-
am
and
* ( (
(
(
(
( )(
these
( (
re - turn
* (
nal
( n( ly
i
( -
ly
)(
re - turn
i love?
'
'
mo - ments?
( )(
to
how
these
mo - ments and
-
(
(
to
these,
(
(
(#
why,
(
turn
(
(
and
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re
(
to
* ( ( to
these
( n( these
18
! Nar. $ ' 47
# $ (
S
* and
why
do
we
(
why
$ (
A
B
"
- (#
mo
! Nar. $
eternally
(
(
must
we
al - ways,
( n( b( # and
-
(
(#
why,
-
return to these
(
al
-
(
$ +#
T
B
"
( ( (
(#
'
$ n( # $ things?
* ( '
'
ways...
ways...
(
(
we
why...
(
* ' (
'
do
'
( (
al
-
' (
pos - si - ble?
(
to
pos - si - ble
' ( ( ( ( (
'
it
(#
(# al
( ( (
pos - si - ble
* * )( )( ( ways
do
cease
al
-
+# (
if you do not
( ( if
e
( ( ( (
you do
* ( (
e (eh)
(
(
it
pos
-
( (
not
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to
is
these
( ' ( ( (
(#
(
-
(#
*
( ( (
it
is
it
(
pos - si - ble
is
( ( ( is
)( ( (
+#
these things?
please open me.
* ' (
- )( #
(
(
)(
+#
%
it
ways...
(
+#
(#
(
ments and
is
$
A
(
(
do these things?
S
(
al - ways
why must we
+#
50
'
and why must we always
must
(
(
'
moments?
b( ( ( (
(#
* n(
$ ( ( ( ( $ mo - ments and why
T
*
'
e
-
(#
( (
-
si - ble
-
19
! * Nar. $ 53
raw
S
is
why
i
$ (#
B
* ( (
mp
(#
+#
( ( (
" (#
is
* ( (
$ )(
me
$ (* (
(
(
(#
$ )(/ $ stand - ( "
sim
it
)( # pos
why
me
me
(
-
ply,
(
sim
(
don't you
just
'#
-
* ( ( ( ( ply
(#
why don't you
sim
'
(
un - der
( ( ( (
sim - ply
( ( )( )(
si - ble?
without
p
p
mp
un - der
( ( ( / (
( ( (# -
why don't
ply
un - der
-
you
*
%
speak the words, i'll settle down.
(
( (
for
who
(
i
( (
for
who
i
i
( ( ( ( sim - ply
* ( (
(
am
and
am
am
(#
un - der - stand
how
* ( (
(
n( ( ( b( for who
(
you
( b( ( -
)(
( (
+#
understanding.
stand
b( (
e - xist?
stand
B
don't
* $ ( ( $ - xist?
xist.
p
( ( ( (
' (
56
T
(#
(#
! Nar. $
A
too much wine
why
to
S
doorstep.
$ (# -
T
collapse at the
mp
xist?
A
*
' ' '
and
(
(
and
how
(
how
.#
( i
.#
(
.#
i
(
how
(
( /
( 2
love?
love?
i...
( i
(# love?
* ( '
'
20
! Nar. $ 59
$ ( ' ( (
S
and why
$ (* ' ' '
A
"
- +#
( ( b(
do
we
why do we
62
and
"
(
-
nal
-
do
e - ter
(# why
( ( ( (# ly
we
( ( ( (
why,
and
( ( (
to these
* ( ( ( n( these
why,
mo- ments and
(#
mo
-
re - turn
* (
b( -
-
ter
these
( ( ( )(
re - turn,
e
-
* ( (
to
* (
nal
must we
$ b( # $ turn
to
-
( ( (
( ( n( b( #
- (
re - turn
-
(#
* (
(
-
nal
( ( n( ly
( ( al - ways,
-
re -
why
ments and
* (
ly
re -
)( ( ( turn
to
(#
' ( ( * ( )( al - ways
do these
why...
these,
things?
%
why must we al - ways...
( (
(
%
must we...
(#
these
%
(# b( ( ( ( ( '
* n( ( #
( ( (
'
to
(
%
$ ( ( ) ( (# mo - ments and
T
(
ly
%
mo- ments?
A
-
( ( b( (
%
$ ( ( ' ' ( (
S
nal
2
( ( ( )( #
do we
* )( ( ( ( (
-
e - ter
why
why
...or perhaps another drink.
(
7 ( ( (
+#
*
' '
e - ter
( ( ( (
( (
! Nar. $
B
(
$ ( b( ( ( $ how i love?
T
B
+#
%
( ' ' /
%
21
3. *
freely, e = 92
Soprano
! $ +
'
Re - gard - less
p
$ +
Alto
Tenor
Bass
"
* ( ( )( '
p
(
Re
-
'
( (
gard - less
3 * ( ( ( ( (
3
* ( n( ( ( (
3
of
* ( ( ( '
whe - ther or
not
3 * ( ( ( )( n(
$ + $
'
- +
3 ' )(/ )( )( ' n(/ )( ( )( )(
Re - gard - less
of
whe - ther or
of
whe - ther or
3
not
p
Re - gard - less
(
I
be - lieve in them,
* ( + I
(
n( b( (
be - lieve in them,
( + /
(
8 ( )( ( +
not
3
of
p
whe - ther or
* ( +
not
I
3
( + / I
3 8 ( ( )( +
3
)(
they
8 +
(
they
3
(
be - lieve in them,
)(
they
3 8 ( )( )( +
)(
be - lieve in them,
they
* For this movement, sharps and flats apply only to the notes which they are assigned to.
S
! $ )(
lay
$ (
A
lay
$ ( $ lay
T
B
"
Faster, e = 132
poco accel.
)( be
(
be
-
- )(
)(
lay
be
fore
)(
-
)( )( )( fore
)( -
-
fore
+
me,
3
( be
)(
+
(
fore
me,
n(
(
3
( ( (
8 +
un - de - ni - a - ble.
+
me,
(
(
un - de - ni - a - ble.
me,
)(
n(
8 + ( ( ( 3
8 n ( )( )( )( )( + 3
un - de - ni - a - ble.
+
(
8 ( )( )( )( + 3
un - de - ni - a - ble.
pp
(
+
Facts,
pp
)(( n((
+ +
* (( (( ##
ob - jects,
pp
Facts,
* )(( n)(( ##
ob - jects,
Facts,
((
(#
ob - jects,
Facts,
pp
( /
+
* (( (# (#
ob - jects,
22
! $ '
S
* ( ( the
(
(
(
re - lics
of
an
(
the
$ ' $
T
"
- '
re - lics
( n(
eve' - ning
* $ ' )(( )(( )(( )(( )(( )((
A
B
rall.
(
drip - ping
(( n((
(
with
(
(( )(( )(( )n(( )(( )(( )(( )(( b(( b((
((
of
an
eve' - ning
drip - ping
with
* ( ( ( (
(( )(( )(( )(( ))(( )(( )(( )((
the
re - lics
(
( )(
((
re - lics
( )(
be - gin - nings.
(( (( (
* (( ((
the
(
of
of
an
an
eve' - ning
eve' - ning
drip - ping
drip - ping
with
with
be - gin - nings.
+
8 &
+
8 &
+
8 &
+
8 &
be - gin - nings.
(
(
(
(
be - gin - nings.
4.
sometimes with rubato, q = 60
Soprano
! 9 $:
%
9 $: (
Two
Tenor
Bass
( Two
p
Alto
p
( (# ( latch
on
. to
(
( )( # ( )( latch
on
to
(
(
(
each
o - ther,
(
)( n.
+
n(
each
+
o - ther,
Two
Two
( (# ( latch
(
on
9 $: $
%
%
%
-9 " :
%
%
%
(
to
(
each
23
! $ (
( )( # (
$ .
.
4
S
A
latch
o
T
B
"
-
on
%
-
%
o
-
B
$ ( $ "
o
n(
Two
* ( '
(
-
ther,
( (# . latch
(
on
( Two
(
to
%
+
( )( # ( latch
(
each
( Two
(
.
+
o - ther,
%
latch
( (# ( latch
(
( )( # (
on
(
to
( Two
(
(
on
to
)(
(
(
(
o
each
-
)(
each
o
%
-
latch
each
.
ther,
n( ( # (
p
)(
on
)( n.
o - ther,
&
n(
ther,
(%n&( # ( ( # ( latch
to
on
( to
%
(
each
( )(
on
%
ther,
Two
-
+
+
.
$ (* ' %n&.
T
each
( ).
Two
! $ n(
A
to
ther,
$ $
7
S
( )(
out
( +
.
(
+
(
(
of
de -
.
to
each
' (/ ( ( ( ( ( p
Two latch on
to each o -
24
! 9 $: ( 10
S1
f
()( # (
Two
S2
9 $:
A1
9 $ : .#
latch
(
on
)(
to
each
+
n(
9 $: 9 $ : )( $ o
-
(
ther
9 $: $
B2
on
each o
-
(
ther
out
(
of
%
- - -
on
(
to
latch
on
(
(
to
each
% .
each
b( ( ( ( ( (
.
o - ther out of
(
).
n( (
de -
sire,
each
o
-
(
(
b(
ther
out
of
% .#
+
to each o - ther,
%
de
%
' (/ ( ( ( ( ( ( ( ( Two
%
latch
% (
ther,
Two
( ()( # (
%
( n( ( ( (
- 9 ( )( . : -9 " :
latch
%
f
B1
ther,
( (# (
Two
f
T2
-
(
%
sire,
T1
o
+
.
% f
A2
)(
)( each
SOLO
' +
+
latch
N.B. Each section sings with their top line (i.e. S1, A1, etc.) until a "solo" or "tutti" indication appears on the bottom line, where either one person or half of the section (respectively) will transition smoothly from the top line to the bottom line, and stay with the bottom line for the rest of the movement.
+
-
25
! ).p $ 13
S1
o
-
$ +
S2
ther,
+
' +
$ $
%
(
(
ther
out
of
de
+
+
+
' +
.#
.
-
-
-
sire,
%
-
n(
ther
(
.
+
+
3
.
out
( ( ( ( of
+
SOLO
+
de
+
+ +
-
sire,
*
'
+
+
de - sire
)(
(
(
(
)(
(
each
o - ther
out
of
de
TUTTI
.
+
+
+
(
.
each
o
-
+
+
. -
n(
sire,
heart -
%
each
o
"
o
$ ( ( (# $ de - sire,
-
-
(
feed
( ( )( ( (
p
B2
o
SOLO
%
- .
B1
(
each
p
T2
+
.
$
T1
+
p
sire,
A2
each
(
feed
$ )(
A1
' )( %n&( /
.
-
ther out of
%
de
-
). # sire,
%
)( ther
( ( ( )( out of
+ heart...
de -
26
! (# $ 16
S1
' +
+
+
+
* ' b( b( ( (
+
b( b.
out of de - sire,
%
$
S2
heart
A2
T1
$ +
+
$ ( $
(
$ + $
T2
b( -
(
"
+
+ heart - ache
%
+
+
o - ther
' (/ ( )( (
ache,
out of de - sire,
+
*
'
TUTTI
on
+
on
out
+
de - sire
heart - ache,
heart
+
* 7 #
' (* ( )( . out
*
- + -
ache
'
'
%
on
to each
feed
+
on to each o ther
heart
mf
ache,
latch
(
heart -
' #
& 3
(
of de - sire,
' ' .
-
de - sire,
*
each
).
+
*
to
two
+
-
of
' (* b( *' ( ( b(
+
( n.
heart - ache de- sire
heart
mf
out of
sire,
B2
+
heart - ache,
ache,
- ). #
B1
+
out of o - ther
$ (* ' b(
A1
TUTTI
.
.
-
-
.#
ache,
%
'+
3
mf
ri - o tous
27
! $ . 19
S1
$ +
S2
$ (
A1
+
-
B1
"
heart
+
de - sire
+
+
+
1* * '*
' +
+
* ' ( ( ( )(* ' (
n(
-
+
(
-
ache,
+
'
feed
+
ri - otous
%
out of
%
+
+
+
+
p
+
+
de - sire,
'
each feed
$ ' $
T2
+
de - sire,
(
ache,
+ %n&.
$ + $
T1
+ +
b.
* ' ( ( ( ( . out of
*
out of
-
+
p
'
$
A2
B2
* ( ' +
heart
*
p
+
-
&
(
+
b( ( b(
ache
clot,
+
%
feed...
* *
-
ache,
' +
de - sire
.
. +
+
+
+
+
* ' + (
+
+
riot...
+
.
- +
(
heart
.
heart
-
ache,
.# %
TUTTI
two...
.
two...
(
%
28
* ! %n&( $ ' ( ( )( 22
S1
out
of
de - sire,
$
A2
$ $
T2
-
B1
B2
"
heart
-
ache...
+ * ( .
heart
+
-
+
( ' . /
(
ache,
+
'
*
(
. heart
-
ache
pp
f
p
b(
heart
-
* ' ( b(
b(
ache,
+
+
( clot,
+
+
+
desire, riotous, heart...
.#
n. #
-
-
+
+
-
.#
* ' + ( %
f
+
heart
-
pp
+
+
+
+
ache...
+ )( ). #
ache,
heart - ache
+ heartache, riotous desire...
p
.#
* b(
heartache riotous desire!
+
+
heartache, desire...
%n&( #
heart - ache,
+
desire, heart...
heart...
-
(
(# +
$ + $
T1
(
each latch on heart desire!
$ .#
A1
(
%
$
S2
(
%
+
pp
f
+
out of other...
+
+
.
heart
%
-
(
ache
pp
f
other
out of desire,
riotous!
29
! . $
( / ' +
$
%
25
S1
S2
$ (#
A1
( )( ( ). /
out of
$ n( n( $ clot,
T1
-
B1
"
heart
-
b.
- +
heart - ache.
%
% .#
).
ache
' (* )( )( n.
clot
* ( ' + %
* ( '
.
de - sire,
heart
+ n(
n(
+
+
+
+
.
heart - ache
%
. +
%
%
out of
p nonchalant
%
n.
%
clot,
B2
de - sire,
(
$ $
T2
(
%
$
A2
+
clot,
% +
( ('* ( )( #
' +
ri - otous feed...
+
+
+ heart - ache.
+
+
+
* ('
( ri
%
-
( )(
otous feed,
30
! $
%
$
%
28
S1
S2
$ +
$ + $
T2
-
B1
B2
+
-
'
* ( (
.
"
+
+
+
+
*
'
o - tous
p
feed,
*
+
de - sire
+
*
(
out of
'
heart
+
( -
%
n. heart
' +
+
'
+
ri
-
o - ther
+
+
b(
ache
+
( +
out of
+
+
+
+
latch
).
*1 on latch
+
+
de - sire
% '
feed,
clot...
1
*
+
o - tous
%
feed...
3
* ( ( .
3
(
-
+
%n&( # p
ri - o - tous heart - ache
clot...
. p
1
* de - sire
clot
.
- +
'
heart
p
+
.#
( ( . $ ( b( $ heart ache...
T1
+
heart...
ri
A2
+
ri
$ n( #
A1
%
p
. %
heart - ache
* ( '
31
! $ ( 31
S1
$ +
S2
A1
A2
-
( )( )(
o - tous
+
$
+
$ + $
T2
out
of
%n&( #
pp
-
* out
riotous,
+
.
+
+
o - tous
+
B2
-
%
.
o - tous
feed...
riotous,
* ' + (
feed...
+
'
* de - sire
%
desire
&
+
* riotous
to latch
%
* de
%
-
* )( )(
heartache,
of
+
-
-
(#
desire
* ( (
% +
(
*
+
'
+
ri
heartache,
+
B1
"
+
ri
$ $
T1
* to latch
+
+
.
feed,
'
$ .
on
.
pp
-
sire,
out
of
desire
out
latch
% +
+
+
on to
each
two
% * on
to
* Start with speaking the text in unison, progress towards a thicker, overlapping texture by the end of the movement.
riotous
desire
heart riot
32
! $ 34
S1
$
S2
%
$
A2
$ $
T2
B1
-
B2
-
"
f
each latch riotous out of feed to on to latch heartache desire how should I
%
%
feed on to clot
f
heartache each feed two to latch
%
feed
how should I begin?
%
%
how should I begin?
% p
latch feed two to latch on to each
begin how should I be-
%
p
$ $
T1
% p
$
A1
%
riotous desire
8 &
f
each
how
%
should I
begin?
% p
each
clot
to desire
feed heartache
clot on
to two latch on how
should I begin?
f
how
should...
33
5.
angry, q = 92-108
1
2
3
4
5
6
7
! : :&
8
1
1
7 de - cent
7 '
a - ghast en - act - ment be
&
'
1
1
p
%
1
3
7 '
de - cent of him an - them be
de - cent
mp
a
scant
an - them
get
be -
1
7
/
-
3
ma - ca - bre
p removed, resigned, rolling eyes
aghast
enactment
%
: :
%
:& $ " :
<
%
: :
(or 8vb)
p
ma - ca - bre
: :
: :
'#
+
: :
:+ :
(brooding)
be...
'
a
1
mf
/
bar
+
-
ba
'
1 - ric mp 3
de
1
%
'
1
1
birth con - fide bar - ba - ric
*
7
scant
of
'
3
an - them birth
p
cent
con - fide
1
a
/ a
1
ma - ca - bre birth con - fide
p sempre cantabile
+ )( 3
(
)(
.
)(
hmm... (or da, la ta, di, etc. ad lib.)
* The lone singing part exists in / as the background, perhaps almost inaudible, but still very convinced, genuine? maybe somewhat like a violin. (maybe it could even be a violin, if someone plays one...)
; : ; : ; :
1 -
; :
-
; : ; :
7 :;
; :
34
(bubbling to the surface)
! ; : 3
1
of him an - them birth - con - fide
2
3
4
5
6
7
; :7 ; : ; : ; : ; :
1
bar - ba - ric
7
get a - ghast
7 en - act - ment be
a
de - cent of
a
him
scant
a - ghast en - act - ment
scant
anthem
en
-
act - ment
3
beget
scant an - them
;1 :
; * $ : ( "
'
an - them
1
'
/
be-
1
be
1
de cent de - cent de - cent of
+
3
)(
(
'
&
/
/
de - cent of him an - them
:1 :
'
an - them be - get
: :
7 be
a scant
be
-
1
ff
'
-
: :
'
/
get
a
+
'
/
an - them be - get
be-
in response to the anger
a
1
:+ :
ma - ca - bre
3
ff
: :
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% % for Bob, Mark and Volti February 15, 2008 Durham, North Carolina
The full text to Words Become Unlatched Seven Madrigals for Chamber Chorus Words by Benjamin Rogers Music by George Lam
1. two latch on to each other out of desire. habits form and love becomes.
her legs refused to stand she could not remember where to go. she would not speak her words had become unlatched. food was not important no taste would remain. and yet he sat with her refusing to let it all disappear.
not wanting to seem helpless and scare him off i began to look about for more permanent, i mean relatively permanent, relations with men.
Waging a doubtful battle with the shade, how should I begin?
2. ..or perhaps another drink. Is it possible to cease if you do not exist? I am here to say but cannot speak the bottle is empty, my mouth dry equilibrium compromised why don't you simply understand me for who i am and how i love? and why do we eternally return to these moments? and why must we always do these things? please open me raw is why I collapse at the doorstep too much wine without understanding speak the words, i'll settle down. …or perhaps another drink. 3. Regardless of whether or not I believe in them, they lay before me, undeniable. Facts, objects, the relics of an evening dripping with beginnings.
4. Two latch on to each other out of desire Heartache clot, Riotous feed. two, to each, latch desire, riotous on to, other on, other, out of
each, feed heart, desire, heartache desire
…how should I begin? 5. Aghast enactment be A scant anthem beget macabre birth confide barbaric decent of him 6. here we are now on this beautiful mountain with such a view it's a confirmation of the investment i've made for myself i never wanted to be underground. 7. speak the words, i'll settle down.