Words Become Unlatched (2008)

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

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* For this movement, sharps and flats apply only to the notes which they are assigned to.

S

! $ )(

lay

$ (

A

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$ ( $ lay

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B

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Faster, e = 132

poco accel.

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sometimes with rubato, q = 60

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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

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each latch on heart desire!

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riotous!

29

! . $

( / ' +

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%

25

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A1

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out of

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! $ ( 31

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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?

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latch feed two to latch on to each

begin how should I be-

%

p

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riotous desire

8 &

f

each

how

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begin?

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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

&

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p removed, resigned, rolling eyes

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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

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an - them

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be-

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be

1

de cent de - cent de - cent of

+

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&

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/

de - cent of him an - them

:1 :

'

an - them be - get

: :

7 be

a scant

be

-

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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.