Love, Loss, and Exile (women’s poems from Afghanistan) For soprano with cello and piano 2022
Full score
Juhi Bansal
Program note
We don’t often think of poetry as rebellion, but the women of Afghanistan have built a tradition out of artistic defiance, of speaking in rhyme words they are forbidden in prose. In the Pashtun culture from the mountainous regions near Pakistan, girls and women share, compose and speak landays – an oral tradition of short poems by and for women, passed down for generations from woman to woman and tribe to tribe. The anonymous nature of these poems allows them to speak the unspeakable – to talk frankly of sensual love and desire, of yearning to make choices, of girls wanting to be more than an adjunct to their fathers, brothers and husbands. In a society where young girls are bartered to old men, where to choose where to love is to risk death, where girls are forbidden from education, the landays tell women’s stories in their own words, unfiltered and unchecked by the men’s voices that surround them. The texts chosen for this song cycle are only the tiniest smattering of a powerful tradition, but were chosen to highlight recurrent themes that appear in landays - love and desire, grief, exile, war, and yearning. While set for classical soprano with western instruments, the music pays homage to the origins of the poetry by calling for each musician to use a variety of timbres, modes and ornamentation that come from this style.
Duration – 15 minutes
Copyright ©2022 Juhi Bansal Music All rights reserved
juhibansalcomposer@gmail.com www.juhibansal.com
Texts
1. Love Your love is like water, like fire; The waves engulf me, the flames consume me.
2. The Stoning Ground Mother, come to the prison window Talk to me before they take me to the stoning ground.
3. Grief If my love dies, let me be his shroud Together we will wed the dust.
4. Exile I hold a fading flower in my hand I don’t know who to give it to in this strange land.
5. Tulip I’m like a tulip in the desert, I will die before I can open And the waves of desert wind will scatter my petals.
Performance directions and notation To all performers • Movements 1 and IV (Love and Exile, respectively) use proportional rhythmic notation, indicated by dashed barlines or no barlines, and an “X” time signature. In these movements, rhythms given are approximate, and may be stretched or condensed at will. Play expressively and with great freedom, always following the singer. Vocalist • This piece draws on a number of different vocal traditions, including Afghani folk singing and ornamentation from Hindustani classical singing. These styles use a variety of timbres, particularly those including heavier use of chest voice, no vibrato, scooping, slides and other ornamentations not found in Western classical tradition. Although the piece can certainly be sung in a more typical Western classical voice, you are encouraged to use as much of these tones and colors as you are comfortable doing. (Some vocalists you may listen to for ideas of these timbres include the Pashto singer Zarsanga, and Kaushiki Chakraborty from the Hindustani tradition.) • A few different notations are used to convey ornamentation: • Small notes are often used in juxtaposition with regular sized noteheads. Smaller notes should have less emphasis and a much lighter articulation. (This example is from I. Love, rehearsal 9)
• A dashed line between two notes indicates a portamento (a subtle slide). • a solid line between two notes indicates a clear, drawn-out glissando. The majority of the time should be spent on the slide, not on the start/ end notes. (from V. Tulip mm 73)
Piano • All dynamics should be interpreted on the softer side, such that the voice is never covered. • Two types of grace notes are used throughout:
x (16th note grace notes should be played extremely rapidly, creating an inarticulate blur) e (8th note grace notes should be only moderately fast and flowing, and remain articulate and melodic) Cello • All dynamics should be interpreted on the softer side, such that the voice is never covered. •
This notation (used in the aleatoric boxes as described below from mvt. 1) indicates a tremolo of varying speed; start extremely slowly moving back and forth between the two notes, then gradually speed up into a true unmeasured tremolo. Then reverse the process.
• Aleatoric gestures are used in several sections of this work. • Figures inside aleatoric boxes are to be repeated at will for the duration marked with the arrow. When dashed lines are used within the box (as in the example below, from I. Love) Move freely between the gestures separated by these lines, repeating and jumping from one to the other at your discretion. Any of the figures or fragments may be repeated at will before moving to a different one.
2
1. Love * ALL PERFORMERS: This movement uses proportional rhythmic notation, all rhythms are approximate and may be stretched or condensed at will. Play expressively and with great freedom, always following the singer. Please read the 'Performance Directions and notation' page in score or part carefully for clarifications on notation, style, and performance techniques.
Flowing, restful, q = 80 (Take time between each phrase)
X Soprano X Violoncello
Irregular, shimmering, like flowing water
X X
siempre pp always soft
Piano
S.
X
X sfz
X X
1
mf
Your
pp
sfz
love
is
2 (hold as long as desired)
Pno.
3
like
wa
sul A
pp
leave sustain pedal held down and ringing straight through this movement
Always matching the energy and motion you hear in the piano 7-10 secs
Vc.
sfz
pp
-
3
ter,
3
S. Vc. 4
5
like
Pno.
S.
Vc.
Pno.
Pno.
6
3
wa
-
-
-
sfz
7
pp
ter,
S.
Vc.
3
Your love
3
8
is
like
pp
pp
sfz
9
wa
-
-
-
-
-
sfz
3
ter,
4
S. 10
Vc.
Pno.
the
p
3 S.
12
Pno.
14
pp
sfz
3
the waves
sul A
en - gulf me,
16
15
7- 10 secs
Pno.
S.
Vc.
waves
pp
13
en - gulf me,
Vc.
11
like
wa
-
-
3
17
ter,
sfz
pp
S. en Vc. 18
Pno.
3
-
-
-
-
gulf me
Pno.
Vc.
Your love
S.
21
Fast, aggressive, driving (3-4 secs)
Fast, aggressive, driving
Pno.
mp
wa
-
-
ter,
Fast, aggressive, q = 90 (driving ahead from each gesture 20 to the next without pause)
19
like
sfz
S.
Vc.
5
3
mp
is like
. gliss
(fah fire
-
yer)
22
the
(drawn-out, dramatic gliss)
flames
(3-4 secs)
S. Vc. 23
6
Pno.
Pno.
Pno.
sfz
con - sume
pp
pp
pp
s. glis
fire, (fah -
yer)
30
sfz
like
like
sfz
28
29
sfz
flames
pp
me,
27
3
the
26
25
me,
S.
Vc.
24
con - sume
S.
Vc.
3
pp
fire, (fah - yer)
S. Vc.
31
S.
Vc.
Pno.
sfz
3
The flames
sfz
the waves
36
con - sume me
Losing energy
35
Losing energy
37
3
en - gulf me
5-7 secs
slower, longer, losing energy
Vc.
Pno.
pp
7
fire,
pp
(3-4 secs)
s. glis
34 Gradually slowing down
33
S.
like
Pno.
32
8
39 38 q = 80 Restful, take time between phrases
S. Vc.
like
wa
-
-
3
ter,
Pno.
sfz
pp
S. 40
your love
Vc.
Pno.
is
like
wa
-
-
3
41
ter,
pp
S.
42 (ossia)
your
love
is
your love
like
is
9
gliss.
fire
like
43
gliss.
fire
slower still
Vc.
(long)
Pno.
7 - 10 secs
pp
S.
Vc.
Pno.
44 (ossia)
your
love
is
your love
like
fire
is
like
gliss.
fire
gliss.
45
46
(long, release with natural decay of piano pedal)
pp
(long, hold pedal till sound naturally decays)
(ca 4 mins)
10
2. The Stoning Ground
q = 70 - 80
Vocal timbre: Childlike, very little vibrato, as if looking for comfort
Soprano
Violoncello
ff
n
ff
Mo ther
Heavy and dramatic without ever covering the voice
molto espressivo mf
come
n
Heavy and dramatic without ever covering the voice
Piano
ff
to the pri son win dow,
Vc.
f
ff
ppp
3
Mo ther
(all diminuendos should disappear into the sound of the piano)
Pno.
( ppp ) ff
6
S.
n
come to the pri - son win dow,
ppp
11
11
S.
Vc.
pp
f
ff
n
Vc.
Pno.
n
Mo ther
ff
p
come to the pri - son
f
ppp
pp
come
f
ff
to the pri - son win dow,
ppp
Mo ther
16
S.
Mo - ther,
Pno.
14
n
12 3
20
S.
win dow,
Vc.
Pno.
Mo - ther,
poco a poco cresc.
S.
Pno.
talk to
mf
mf
Mo - ther
Vc.
ppp
n
me,
mf
n
pp
ff
25 With motion q = 96 - 100
ppp
Mo - ther
n
f
pp
n
13
30
S.
mo - ther,
Vc.
Pno.
talk to
mf
pp
mf
34
S.
Vc.
Pno.
pp
they
mf
n
n
mf
pp
take
pp
mf
be -
mf
f
me,
n
fore
3
me
mf
n
mf
pp
14
38
S.
to
Vc.
Pno.
the ston - ing
mf
n
mf
pp
f
Vc.
Pno.
-
-
-
f
mp
n
pp
mp
mp
n
pp
mf
come
n
ther,
mf
pp
-
-
n
-
mo
42
S.
ground.
41
p
p
46
S.
Vc.
pp
talk to
n
p
pp
54
fore
Vc.
Pno.
they
pp
n
p
poco dim.
p
p
be -
p
p
me
51
S.
48
come
n
Pno.
15
n
take
pp
p
p
16
55
S.
Vc.
Pno.
me
n
pp
60
S.
take
Vc.
Pno.
they
p
dim.
n
63
p
to the ston - ing ground,
pp
p
me,
to
59
n
pppp possible
17
67
S.
to
Vc.
the ston - ing
70 Relentless q = 70
ground.
Pno.
72
S.
poco a poco cresc.
mo - ther
p
(no tremolo)
p
n
p
ppp
p
mo - ther
mo ther
poco a poco cresc. (never covering the voice) n
Pno.
ppp
with growing urgency, poco a poco accel.
mo- ther
Vc.
Mo - ther
(no tremolo)
p pleading
mp
n
mp
n
poco a poco cresc. (never covering the voice)
mp
ppp
mp
ppp
mf
mf
mo ther
n
ppp
mf
mf
ppp
18
76
S.
mo ther
Vc.
n
Pno.
ff Mo
S.
ther
mo ther
n
ff
ppp ff
mo ther
n
ff
ppp ff
82
n
Pno.
f
ppp f
Mo ther
Vc.
mo ther
n
f
(ossia)
f
80
ff
ff p
n
ff ff
p
p
( ff)
ff
ppp
83
S.
Vc.
Pno.
19
(q = 96)
(no tremolo)
ff
ff
(4 mins)
20
3. Grief
Sombre h = 70 - 85
Soprano
Violoncello
Heavy
Piano
p
Vocal timbre: keening, piercing, with little vibrato. (Long held notes may be released early as needed)
8
S. 9
11
15
mp molto espressivo
If my love dies,
Vc.
Pno.
21
S. 17
Vc.
molto legato (mirror the timbre of the voice)
p
Pno.
let
me
be his shroud.
n
S. 24
Vc.
Pno.
p
if my
love
n
22
31
S.
n
dies
Vc.
Pno.
p
n
S. 38
mp
let me be his shroud.
Vc.
Pno.
p
23
S.
45
49
If my love
Vc.
Pno.
dies,
n
S. 52
Vc.
Pno.
p
57
let
me be his
poco a poco cresc.
n
poco a poco cresc.
24
S.
58
shroud.
Vc.
Pno.
p
(ossia)
S. Vc.
Pno.
mf
If
my
love
dies
n
mp
25
S.
Vc.
71
77
Pno.
mp poco a poco cresc.
to
n
-
mp poco a poco cresc.
S. 78
-
Vc.
Pno.
-
-
ge
-
ther
26 89
(ossia)
S.
we
Vc.
Pno.
will
wed
f
f dim.
f
91
S.
mf
the
Vc.
Pno.
3
dust, 3
mp
p
27 mp
3
S.
102
3
3
Pno.
3
dust,
Vc.
p
97
dust,
pp 3
pp
S. 103
Vc.
Pno.
3
28
109
p
S.
to
Vc.
-
-
-
Pno.
-
n
115
ge - ther
we
will
3 S. 116
wed the dust
Vc.
Pno.
p
to
-
-
p
123
S.
Vc.
Pno.
-
130
wed the
dust
S.
Pno.
p
p
134
ppp
ppp
wed the
will
ppp
rit. 3
138 137
Vc.
we
29
ge - ther
3 S.
Pno.
Vc.
127
dust
3
(4 mins)
4. Exile
30
* This movement uses proportional rhythmic notation, all rhythmic figures are only approximate
1 Slow, molto espressivo with absolute freedom
Soprano
(long)
XX
Vocal timbre: throaty, no vibrato, extremely expressive; in the manner of a folk singer mp
I
hold
a
fa
I
hold
molto sul tasto hoarse and dark
Violoncello
X X
-
ding
sul G sempre p
S.
flow - er,
2
(sul G)
Vc.
a fa
-
ding
sul C
S.
3
3
flow - er,
Vc.
my hand,
I
Vc.
in
4
S.
5
don't know who
to
3
give it to
I
don't know who
to
31
6
3
S.
give it to
Vc.
3
give
Vc.
S.
I
don't
know
who
to
it to
(long)
I
9
don't
know
who
to
3
(long)
10
give
it
to
11
In this strange
Vc.
8
S.
7
12 3 3 3
land.
(hold harmonic into next movement)
attacca (1:30 to 2mins)
5. Tulip
32
Soprano
Violoncello
q. = 130 Vocal timbre: Innocent, angelic (no vibrato)
(molto sul tasto)
p p
Ethereal
Piano
4 S.
Vc.
Pno.
S.
Vc.
Pno.
ord.
sul G p
7
p
S.
Vc.
Pno.
S.
Vc.
Pno.
S.
Vc.
Pno.
33
11
10
p
I'm
14
de - sert
like a
lip
p
-
in
the
pp
17
tu
p
19
I'm
like a
p
pp
34
20
S.
tu
Vc.
Pno.
-
-
lip
in
the
de - sert.
p
26
24
S.
p
I'm
Vc.
Pno.
(seagull effect)
f
pp
pp
like a
27
S.
Vc.
Pno.
S.
Vc.
30
de- sert
tu
-
lip
in
p
the
pp
35
gliss.
p
Pno.
S.
33
p
Pno.
like
a
I'm
Vc.
36 S.
36
tu
Vc.
Pno.
S.
Vc.
S.
Pno.
-
39
lip
in
the
40
de
sert
(seagull effect)
pp
f
pp
42
p I
Vc.
-
Pno.
will
die,
p
(ped. simile)
45
S.
46
I
Vc.
Pno.
S.
48
Pno.
S.
die,
Vc.
pp
51
Pno.
will
die,
50
poco cresc.
I
be
will
Vc.
-
poco cresc.
37
38
take time mf
54
S.
4
fore
I
can
o
(out of time, follow voice) Vc.
S.
Vc.
Pno.
S.
Vc.
Pno.
p
waves
And the
62
n
mp
59
a tempo shimmering
sul pont, metallic and shimmering
gliss.
pp
pen.
60
a tempo
mp
-
57
(out of time, follow voice)
Pno.
56
of
de - sert
63
S.
Vc.
Pno.
S.
Vc.
Pno.
Vc.
Pno.
gliss.
mp
of
gliss.
waves
n
(sul pont.)
mp
gliss.
69
S.
wind,
66
39
40 S.
72
de - sert
Vc.
Pno.
S.
Vc.
S.
Vc.
wind,
75
78
(sul pont.)
Pno.
Pno.
scat - ter
mp
my
will
gliss.
n
pe- tals,
p
p
82
81
S.
Vc.
Pno.
S.
Vc.
S.
Vc.
my
n
my
p
87
p
scat - ter
pe tals,
pe- tals,
86
Pno.
41
n
84
p
Pno.
scat - ter
p
n
42 S.
90
p
scat - ter
Vc.
Pno.
S.
Vc.
S.
Vc.
Pno.
my
pe tals,
p 94
93
scat - ter
my
pe- tals,
98
n
96
p
Pno.
p
(sul pont.)
99
S.
43
poco a poco rit.
Vc.
Pno.
S.
Vc.
gliss. poco a poco rit.
102
Pno.
105
Vc.
I'm
like
a tempo morendo, poco a poco dim. to end
ppp
a tempo morendo, poco a poco rit to end
Pno.
n
p
S.
gliss.
a
tu
-
lip
in
the
44 S.
109
de - sert.
Vc.
Pno.
S.
p
like
a
tu
Pno.
lip
in
-
the
pp
gliss.
de - sert.
Vc.
117
S.
113
Pno.
gliss.
pp
I'm
Vc.
ord.
121
p
S.
Vc.
Pno.
S.
Vc.
I'm
like
a
tu
lip
-
de - sert.
in
the
gliss.
pp
125
Pno.
45
129
S.
Vc.
Pno.
(take time)
(seagull effect, change strings freely) f
p
f
p
f
p
f
n
pp
leave ringing with pedal down till sound naturally fades
(3:30 mins)