LISA BIELAWA
Graffiti dell’amante for soprano and string quartet
2010 commissioned by Market Square Concerts and composed in residence at the American Academy in Rome
Š2010 by Lisa Bielawa
LISA BIELAWA
Graffiti dell’amante (2010) commissioned by Market Square Concerts and composed in residence at the American Academy in Rome
total duration c.27’ Performance Note Movements may be performed in any order and any combination, chosen by each audience by some means determined by the venue and situation. Each movement concludes with a solo “tail” that can lead into the “nose” of any other section, according to the instructions given to the soloist.
THE MOVEMENTS IN THIS SCORE ARE IN ALPHABETICAL ORDER. Absence……………………………………1 Desire………………………………………12 Devotion……………………………………19 Forgiveness………………………………..25 Ravishment…………………………...……28 Remembering……………………………...40
Program Notes Graffiti dell’amante is an open-ended musical-dramatic exploration of the multi-faceted predicament of the Lover. Originally inspired by Roland Barthes’ playful yet poignant A Lover’s Discourse: Fragments, the piece uses various declarations of romantic Love from my own meandering reading to enact what Barthes calls the “Figures” of the Lover (I call these figures/segments “Absence;” “Devotion;” “Ravishment;” “Remembering;” etc.) These 3-5 minute segments can be performed in any order, or in subsets to make performances of different lengths – always chosen by the audience assembled for that performance (using the figure names alone). In this way each audience hears its own collective romantic consciousness reflected back through the performance. The Lover declares him/herself to, from, and through so many faces! The first performance of a 15-minute version of Graffiti dell’amante was in Harrisburg, PA in February, presented and commissioned by Market Square Concerts. The complete version was premiered in May at the American Academy in Rome. I sense that it will continue to grow, possibly for years into the future, as more Figures present themselves through my reading.
Absence
Devotion
From “Cleopatra,” by W.W. Story
From two sonnets by Michelangelo Buonarotti Translated by Leonard Barkan
Hark! to my Indian beauty – My cockatoo, creamy white, With roses under his feathers – That flashes across the light. Look! listen! as backward and forward To his hoop of gold he clings, How he trembles, with crest uplifted, And shrieks as he madly swings! Oh, cockatoo, shriek for Antony! Cry, “Come, my love, come home!” Shriek, “Antony! Antony! Antony!” Till he hears you even in Rome. There – leave me, and take from my chamber That stupid little gazelle, With its bright black eyes so meaningless, And its silly tinkling bell! Take him, – my nerves he vexes – The thing without blood or brain, – Or, by the body of Isis, I’ll snap his thin neck in twain! From Graffiti d’Italia, London: William Blackwood and Sons, 1868
Desire From “Letter from Ohio” by Peter Campion
All this, dear sir, I’ve felt since we first met. I’m moved by sweet and bitter, no and yes: It can only be the sight of your fair eyes. From your caprice, I turn now pale, now red, Cold in sunshine, hot in wintry chill. In your will I shape my every wish, From your breath I form my every word, My thoughts are born in chambers of your heart. From Sonnets LXXVI (1533) & LXXXIX (1534), used by permission of the translator
Forgiveness [no text]
Ravishment From “To –“ by Percy Bysshe Shelley
And yet I wear out life in watching thee; A toil so sweet at times, and thou indeed Art kind when I am sick, and pity me. From Poetical Works, 2nd Edition, London: Edward Moxon, 1839
Remembering From “October” by Eliza Griswold
And all the same desires come crashing back: incredible x-ed out scenes and afterwards the whoosh of traffic surf, our bodies bathed in the whole sweep of towers and freeways and meadows of purple loosestrife. I want it all: heat puddled in the chest, moments like handfuls of honeycomb: split, drizzling… Used by permission of the author
My whole old life – I mourn you sometimes in places you would have been From Wideawake Field: Poems, New York: Farrar, Straus and Giroux, 2007 Used by permission of the author
Absence W.W. Story
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(DEVOTION) (RAVISHMENT)
(REMEMBRANCE)
+
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Desire Lisa Bielawa
Peter Campion
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! # # #
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59
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(DEVOTION)
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(REMEMBERING)
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(DEVOTION) (RAVISHMENT)
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(RAVISHMENT) (FORGIVENESS)
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Devotion
Michelangelo, tr. Leonard Barkan
Lively q = 132
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no and yes:
felt since we first met.
(
col legno ) ) )) ) ) )) " / ! + + EJ " " "
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Lisa Bielawa
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dear sir,
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Copyright Š 2010
2 LB
! ) ' " )#
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since we first col legno (arco)
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3+2+2
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hot in wint - ry chill.
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shape my ev'
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form
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ry wish,
col legno
45
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& &
p
mp
4 50
LB
JG
CJ
# '"
(
9 ) )) ! #) + '"
)
EJ
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56
LB
JG
(
fp
% & 1#
! "
(
(
2+3+2+2
) )# ) #" )
mp
fp
mp
) ) * ) )
)
dear sir:
now pale, now red,
now
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! ! * * - pizz. * * ' " ): ): ): )< ) ) ) )- ) p * * : * * ' !" ): ): ): )< - ,): ,) ): )< p mf
pizz. . !" :) :) :) )< - ) ) ) ) ++ + + p mf :) :) :) )< , :) , :) :) )< / ! +++ +EJ " "
NC
mf
p
mp
f
(
col legno
)
p
mp
(
(
9 9 * 2) 3f 0) ,) ) ) " ) )2) 0) )
hot, now cold,
# ) " # "
sweetand bit - ter, no and
* ): ): ):
* )< -
:) :) :) +
)< + ,)#
* )* ,) # , ) , ) ,) ) mp
)) )) )) )) ,) # ,) ,) + ) " ) +
f
f
)# 1
All this,
! 9) 9) :) )< " + +
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mf
CJ
! "
) % ) , ) :) :) ! * * * ( , ) & " )) )) )) )) ,) ,) ) : < 9 9 mf f p col legno % ! ( ' #" ) ,) ) )* ): * * - ) ) )* ) & " 2) 1# 29) 9) ): )< 2 ) ) ) ) mf fp
NC
% &
D
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yes.
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All this,
2) )* ) * *- 3 * * * ! 4 ) ) ) " ) ) ) ) ) ) ) " 2)) )) )) 9mf 9 9 9 ) )) pizz. ) )* ) 9 * * 3 * ! 2) 2) 0) 0) ): ,)<* - " 9) ) 9) ) ,9) ) ,) - " 4 )) )) )) ) )) mf *) 9 9 9 9 ) ) 2 ) ) ) ) ) ) - 3" ) ) ) ) ) ) ) - !" 4 ) ) )) + + + + + ) )) mf 9 pizz. )2 ) 0 ) ,) ): ,)< 3 ,9) ) 9) ) , 9) )+ , ) ) )) + + - !" 4 +- " + mf
# " # " # " # "
5 62
LB
)# # '" )
1
dear sir,
! # 2) JG ' " 2) ) ) ) # CJ ' " ) )) NC
) . #" 2)) )
) 0)) ) ) ) ))
0)) ))
! ) )# "
)* ) )) )) )) )* ) )) )) )) ))* )) )) ))
I've felt
) ) ) )) !" )) )) ) ) ) f ) ! ) ) ) " ,) ) )) )) )) f
)) ! , )) )) )) " )) )) f
/ # ) )) )) )) )) ! )) )) EJ + " ) ) " " ) ) f
68
LB
f
# '" )
)#
1
mf
) 3" ) ) ,) ))* )) ) ) ) ) )* ) ) ) )) )) ))* )) )) ))
since we
met.
mp arco col legno
3 4 * 4 * ! 4 ) )+ ) " ) " ) , ) ) 3 "
sir,
I've
felt
) )#
4
)
3 ,) " ) ) since we first
! " * !" ) )
) #"
)#
)
All
this,
) ) )) ) ) )) +
) 2ord. :) :) :) ) ) ) ) #" +
) ) )) +
)
ord.
2) ): mp ord. :) arco col legno * * ! # 4 , ) ) ) ) , ) ) ) ) , ) ") ) )) ) ) )) ) ) ,)) mp * arco ) ) ,) )* ! ,:) ) ) ,)) )) " ( ( 4 ) )) )) ) )
:) :) :) )< :) :) :) )< ! # 2)< ! , ) ) ) ) " ) ) )+ )+ - 3" ) )* ) JG ' " ) + + + mf f 9) ) 9) mp # * * * ! * *- 3 CJ ' " 2) - 0) ) ) ) - " ) ) ) ) " ) )* ) )< ): ): ): )< ): ): ): )< 9 9 mp mf f :) :) :) )< )< ) ) )* )* - 3 # ! ) ) ) ) ) . NC " + " " ) )* ) + + ) ) ) ) : : : < mf 9 9 mp f :) :) :) )< ,)< / # * * - 3" * ) ) ) ) ) - !" EJ " " + ) ) ) ) )) )) ) + + ) ) ) ) mf 9 9 f : : : < mp dear
)
arco col legno 3 ! )) )) )) )) ") " )) + , )
* )) )) 3 )) )) "
! ) )# "
first
! " ) )#
F
* )) ): ): :) :) )) +
)
met.
) )#
(
) (
col legno ! *" * * * *) ): ): ): )< ) ) ) ) p
* !" )
(
(
* ** ** !" ) ) ) ) ) ) ) ) ) : : : < p col legno
# "
:) :) ) ) #" +
mp
2 ) )#
# "
6 TAIL
All repeats are optional. All tempi and dynamics are open. Any fragment may be used in combination with others, or with NOSE of next section. Some possible segues with other NOSES are given in parentheses. Find others!
) ) ) )+ ) # ' # ) +
) )+ ) ) )
73
JG
79
JG
'
85
JG
'
91
JG
'
)
)
) ) ) )+ + ##
(REMEMBRANCE)
) ) ) 2) 2)
0) )
* ) ) ))
) 2) ) , ) 0) , )
) ) ) ## +
* 2) ) ) )
)
##
)
0) ) ) +
)
) )
) )+ ) ) = ## ## 2)2)2)0)0)0) 2)
) )) +
)
)
* # 2) ) ) #
2) ) ) ) # # ) 2) ) , ) 0), ) + # #
* ) ) ) )
)
(REMEMBRANCE)
2) ) 2) 2) 2)
(ABSENCE) ) ) ) 2) ) ) ) ) ) 2) 0) + ## ##
,)
0) 2) (RAVISHMENT) (ABSENCE)
## * ) ) )
Forgiveness 5 3 ! ! $ " % &% % % % ' % ( (
* * )% &% # % %# (
, "! % &% % % % '% ( (
)% &% # % %# ( -
NOSE
JG
CJ
NC
5 3 ! $ " % &% % % % ' % ( (
5
3
, ! % &% % % % '% ( ( EJ " " 5
3
1 (2 # 1 ! ! JG $ % % % ( "% ( p flaut., senza vib. ppp p 1%(#$ 1 2 2 2 2 ! 2 2 CJ $ " % % % ( ppp % ( p flaut., senza vib. p 12 1 % % & % ) ( ! % &( NC , (# " p flaut., senza vib. ppp p 2% %2 2( 2 2 12 1 % ( %2 . ! EJ " (# " 4
Freely, as if chanted q = c.72
p flaut., senza vib. ppp
p
5 + # " % &% % % % % '% % % % )%* &% # %* % # 5
5 5 + # ' % * * % % % % % )% &% # % % # " % &% % % '% + # % &% % % % % % % % )% &% # % % # " -
* * )% &% # % %# ( )% &% # % %# ( 1&( # 1 ppp
/ " % % &(
ppp
/ 2 2 "% % (
1 &%($# 1
mp
% % ' % % % % )% &% # % + %# # % &% % % " 5
5
5
1& ( # 1
1 &%($#
12 1 / &% % &( (# " mp ppp 2 2 1 2 1 % % (2 / (# " ppp
Lisa Bielawa
mp
mp
pp
pp
1
1
(#
pp
1 1
5
0 * " % &% # mp
0 " &(
mp
0 " &(
mp
1 0 (2 (# " mp
pp
1& ( # 1 pp
# "% % % (
pp
# 2 2 2 2 "% % % (
1 &%($# 1
mp
1 )( # 1 1 )%($#
mp
p
1 1 1 )% % &% ( ! % & ( # , NC &( # &( # " " mp mf espr., con vib. mp %2 (2 1 1 '% % % ( 1 . ! # EJ " " " '( # '( # mp
mf espr., con vib. mp
f
pp
mp
Copyright Š 2010
! "
p
ppp
f
1 1 1 % ( 1+ 1 ! % ( )( # # (2 # " " (# % % % ( mf f f p flaut., senza vib. ppp 1 '% ( 1 1 '% ( 1 + 1 1 (2 # ! # " " (# ( # % % % ( ppp f f mf 1
! "
12 1 1 1 # )% % &% )( 2 ! (# " (# " mp p pp 2% %2 2( 1 1 12 1 %2 # ! (# " (# "
More Urgent Freely, as before 1 (# 1 A 1 % )% ( 1 ( # 1 rit. 1 +# 1 1 ! ! ( # % % &% ( 1 # ' % % ( ! ' % ( ' % % ) % ' % JG $ " % ( " " " mp p mf flaut., senza vib. (# mp mf espr., con vib. f f ppp + $ $ % ( # % % ( % & % # 1 %(#$ 1 % ( ( 1 1% 1 12 1 1 1 2 2 ! # ! # % % ( % % % ( CJ $ " " " ( " % ( (# mp flaut., senza vib. p mf mf espr., con vib.
1
p
9
mp
.
p
flaut., senza vib.
1 1 1 1
/ " / " / " / "
2
! / % % &( $" 14
JG
p
CJ
NC
EJ
$ "/ , "/ ./ " "
% % &(
p
% % (
p
% % (
1
&(#
ppp
1 1
(#
% )% # " " % )% # " "
mp ord., semplice
&( #
1 (2 #
ppp
ppp
NC
mp ord., semplice
! "
# "
! "
mp tenderly
3#
pp
# "
3#
pp
* % %#
! "(
, "#
5
5
mf
5
3#
%
3#
! # $" %
% )% &% %
% &% %
&% % %
# '% * $ " )% % % % %'% % % %'% )% # 5
mf
NC
# "
$ "# )% % % % % '% '% % % % '%* )% #
20
CJ
5 3 ! " % % % % % &% &( (
5 3 ! " % % % % % &% &(
mf
, "# % % % % '% tenderly 5 mp
% &% # . # EJ " " mp
5
% % )% % '%
mf
5
% )% # -
'% % ( # % %# -
mp
6 6
* % %#
mp
* '% )% #
! " 3#
mp
p
* % %#
# "
p
% % % % &3 !% "
* % &%#
mf 5
5
% % % % % &3 mf
# " # "
5
5
)% &% % % %&% &( 3
mf
5
% % % % %&(
mf
% )% % % %&% &(
mp
(
# "
mp tenderly
% % %* %#
* % %#
# "
4
* % %#
.# EJ " "
JG
5
More active q = 96
5 ! # $ " % % % % % '% '% % % % '%* )% #
tenderly mp
CJ
32
* " % )% # " ( 3
18
JG
B ! "
32
2 ( " " 3
(2
1! (2 " %* %# mp ord., semplice 1 * ! % &% # " * % %# (
ppp
p
% &%# -
! % &% # "mp ord., semplice % &%# % &%# 1 !"
1
%
3
&(
5
% &% % % % % %
&% &% %
% &% &% % % 5
C
! % %'%'% % % % )% &( ( $ )% &% % 22
JG
5
5
f
3
5
"
.
5
% % )% )% )% '% % )% % '% 5
3
'% # '% '% # % )% # + 3 ! & %- ) % # %$ mp ord,semplice
'% # % )% # + # ' % # ' % & % ) % % 3 $ , (
NC
EJ
NC
NC
"
.
* % %#
+ * * % % # % '% # 3
(
3
mp ord,semplice
(
1 1
# " # "
% % % ( % % % (
# " '% % )% '(
6
harm. gliss
! ! !! !
, ##"" (
37
mp
2 (#
mp
1 (2 # 1 ppp
5#
! "
p
1
% (
5#
! " '% )(
2# 1 p ( 1 %2 %2 (2 1 # % , . "! % ( " p flaut., senza vib.
p flaut., senza vib.ppp
6
(#
ppp
p
5#
p
p
" % (# " p
2 "3 " p
pp
5#
% (
" " % % )(
pp
mp
! "
p
pp
! % ( "
5#
" &% &( # "
(#
2 (#
p flaut., senza vib.
p flaut., senza vib.
! " % &(
1
3
rit.
pp
mp
2 (#
Freely, as before q = c.72
%$ + 2 2 %2 2 32 2 2 2 ' % 2 % 2 + % % % 2 '% %2 % % %2 % %2 / $ " % &%' 2 ' %2 2 2 % 2 35 2% 2 2 2 2 % 2 ' % % %2 % % 2 ' % % % 2 %2 '%2 % ! # # 2 % #" % $ # mp ord,semplice
6
NC
+ 3
1
! " &% &(
! "% (
p
mp
Slightly Broader
mp ord,semplice
2 %2 %2 )% (
'% ( (
(#
2 (#
p
mp
26
CJ
p senza vib.
% % )% (
3
5
f
&( #
mp
5
f
p senza vib.
% % &% (
%&% )% % % &% % )% ) % % , '% ( (
NC
JG
mp
$ )% % % % %'%'% % % % '% )( ( f
EJ
&% % &% (
3
5
CJ
&(#
Same tempo
+ 5
% % (#
pp ord.
+ 5
3 + 3#
pp
$
pp
+ 5
3
pp
%2 2 %2 ' %2 2 2 %2 2 % % 2 2 ' % % % 2 % ##"" ## %2 2 %2 % % use repeated phrases as many times as desired
7
7
+ 2% %2 %2 ' %2 2 2 %2 % 2% 2 % 2 ," % %2 % " 6
continue harm. glisses on any string in any string order (you may also use repeated phrases above) end on: C string - Devotion, Ravishment G string - Desire D string - Absence A string - Remembering
! ! ! !! ! ! ! ! ! !!! !!! ! ! ! ! ! ! !!! !!! ! ! ! !! ! !!! !!! ! ! ! !! ! !!! !!! ! !!! !!! ! ( ( ## ( ( ( ( ( ( (
Ravishment
Percy Bysshe Shelley
Lisa Bielawa
Bright but Fluid q = 108
# !"
$
, !" ) #
&* *&
NOSE (If this movement is first, NC plays NOSE as intro)
LB
! ! # JG/CJ # " ) NC
- ! )# EJ " "
5
(& # & (&
LB
da da da
! #
EJ
"
#
JG
da
NC
EJ
"
& &
&
&& * *&&
&
& /&
da
da
& I
wear
*&& &&+
&#
I
use this box when Cello is playing rhythmic part
(& & &
mf
( *& # *& &+ * - &# & & &
&0& /& & &(& (& & (& & *&
& & ( *&& ##
&
da
&
/&
&
da
*&
da
da
(*&& ##
.
-
I
.
%
)#
da
*&& &&+ *&
*&
*&
*&
(& &0.
&
wear
*&
(& & & & .
*&
(& & .
da
&& + &&+
1 & & (& & & 0& & 0 & / & ' & 0& /&
& & &
(*&& ##
da
$ &* &* (always play) *& *& (&*& ## &*& &&+ *& mp * * + ( && ## && && *& *& $
*&
&
(& (& .
& & (& # ' # % & ,
*&
& & (& # '
% &
Ba
( &&* ## (*&& ##
&* *&
use this box when Vla is playing rhythmic part
& (& & 0& /& &
$
mp
! #
CJ
&* *&
%
,&
8
LB
&& + &&+
* * + ( && ## && && *&
*&
*&& &&+ *&
- )#
&& * *&&
& .
mp
, (*&& ##
NC
( &&* ## (*&& ##
&* *&
*&
f
JG: play these boxes intermittently until B
JG
$
mp
wear
%1$ & (& & & & & ( & 0 & / & & ' & & (& & & . *& &+ &&
*&
Copyright Š 2009
*&
( *&& ##
&+
& /&
*& &+ &&
& /& &
*&
*&
*&
*&
2
A # ##
11
LB
JG
3-4 X
15
#
LB
, "
/& 0& & & 4:3
(&
(&
3
out life
CJ: use these 4 boxes in any combination/order. maintain rhythm & tempo but enter anytime.
2 (2
pp non vib
,
*&
& & & &
5 .
mp
(*&& ## *&& &&+ *&
&
&
& (& .
(*&& ##
*&
( *& # *& &+ * - &# & & &
&&& . *&
*&
(*&& ##
*&& &&+ *&
*&
*&
*&
-
B ## 44" 6
$
&
*&& &&+ *&
(& & (& .
.
&+ & & & & &0& 0. # '
NC
&
(2 2
! #
CJ
EJ
3
3
3
wear
&
pp non vib
, ## (*&& ## *&& &&+ *&
- # )# EJ " #
&
JG: continue to play boxes, adding this one as desired:
3 # ##0& .
NC
& (& & & (& & (& & & &
LAST x Only
I
! # # #
CJ
JG
f
( *& # *& &+ *& &# & &
## 44" ## 44"
(&/& & . *&
*&
( *& # *& &+ *& &# & &
mf
mf
*& *&
% &3 (&(& & 3
I wear
JG: At Vla/Vlc pattern finish box then stop
$
& & # 0& *& # *& &+ /*&
*&
44 (&(& & & & & &# *& &+ *& "
*&
## 44" &# , ##
)#
mp
mp
mp
3
)#
19
# .
LB
JG
! # &
mp
# &
CJ
& & & &# & & & &#
, &#
NC
3
I
.
put mute on
6
$
.
7 7&
put mute on
$
) )
6
& &#
&0& # 0& & # 0& &#
, (&(& & & & & &# *& &+ *& # *& *& # *& 7 (&(& & &(& /& &/& & & &(& EJ 7 " p
3
3
wear
7 7&
& & # 0& *& # *& &+ /*& # *& *& # *& 7 &# 7
mp
f
% &3 (&(& & 77 & 0&/& . I wear
3
&(& & % &3 (& (& & & 0&/& & (&
3
mf
& &#
&0& # &0&
& &(& & &(& /& & /& & f
p
8 # &(& & &0& & & /& 7 . # 5
22
LB
$
CJ
#
$
NC
,
EJ
"
8 7 8 0<& # & & ; 7 mf1 p <& # &1 &1 ; 8 7
p
, ; p
mf
# .#
JG
&
C a tempo 9 .# & 7 (& &
/& . #
p
wear out life
I wear out
.
$
$
0<& # & & .
&
4:5
& &
$
p <&1 # &1 &1 .
mf
mf
p
&
in watch - ing
p
.# thee;
.
life con sord.
9 & & & &3 & & & & & : 7 & 9 7
p
0*& *& 9 0& # & . 7 pp 0*& *& 9 &1 # &1 .1 7
$
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pp
.
6#
mp
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! 0& & & /& & & & & : & & & 3 /& & & & : 0& & & /& & & & & : & & & 3 /& & & & : & & & & & & & & & & & # & pp
CJ
&
3
$
8 7
26
LB
I
out life
;
&(&
(&(&
3
! #
JG
rit. mp
f
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con sord.
& & & & & (& & & & & & ' :
pp
/& & & & & & & & & & & & & & (& & & & & & ' : :
4
# (& (& (. #
.#
30
LB
toil
so
)
& (&(&
(&
sweet
A
! 0& & & /& & & & & & & 3& & & (& & : & (& & : & & # & & & (& & & & & & & (& & & (& & & 0& & / & & & & ' : : CJ # ",
$
# .#
33
LB
.
6#
)
.#
)
times;
0&
mp mf
&
and
! & & & &3 & & &/& & : & 0& & & & /& & & &/& & : JG # & & & & & /& & & & & & & & & & # ) : : CJ # 6 0<& # & . & ) , 6# ) & NC <1 1 1 , &# & . mp
EJ
"
mp
# =" & #
36
LB
&
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f
! = # " (& <
.
) )
&#
.
(& & & & (& & & = ' # " (& f < & &# . , =" senza sord.
CJ
NC
EJ
-= " "
$
sweet
0& 0& 0. thou
&
in -
& & &
remove mute & (& &
$
-
&
deed
3 0& & & &0& =" &
$
& /& #
&#
! "
$
$
.
! & " / *&& ## ( ! "
$
$
( *& $
&# <
6
&
remove mute
&
$
mf
$
da da da da
&#
art
.
Ba da da da
&
& /& = "
D ! &# "
( & & (& & & (& & /& ' &#
at
0& & & /& & & & (& & : &
mf
kind
JG
so
& /&
& 0& & & & /& & & &(& & : & & & 0& 0& 0& # 0& # < & &&
&
& /.
toil
JG
NC
&
*&
! "
1 & & & & 0& 0& (& & & & &# ' ' *&& &&+ ( *& *& ( *&& ## *&& &&+ ( *& *&
= " = " = "
5 40
#
LB
JG
&
&
and
! #
thou
' ##
sul pont.
(&&
art
&
(& &
&
,
NC
EJ
"
-
>
EJ
"
&&
&
When I
and
&
am
. sick
mf
? .
sul pont.
.
6
*& &+ & /& '
# (. # (
mp
@
&.
*& (*&& ## &*& &&+ (*& *& (*&& ## &*& &&+ (*&
& & (& . (&
ad lib n
&
/&
##(
p solo
' ##
&
/&
(*&& ## &*& &&+ (*&
5 & & & (.
& &0&0&0& pit 5:4
pit y me.
-
/& -
@
&& . y me.
(*&
*&
(*&& ## *&& &&+ (*&
*&
## 44" &# (& & # /& *& # *& &+(*&
*&
*& ##(*&& ## *&& &&+(*&
*&
(*&& ## *&& &&+ (*&
*&
## 44" (&(& (& & & & &# & & *& *+
*&
REPEAT ?x AD LIB LAST x JG cues out of repeat Only
* *+ * # (&& ## && && (&
NC
&
mf
! #
CJ
&&
6
# 6
LB
&
*&
44
JG
&& &&
*+ * # (&& ## && && (&
6
kind
mp
ad lib n
CJ
(.
(&
##
p
& && .
, &/& & (& & & & .
6
-
EJ: continue with boxes
&
mf
mf NC: continue to answer vocal phrases with one of these three phrases
6
48
pit
JG
-
y me.
pit - y me.
"
7 7
-
mf
(& & #
/& &#
y
& & # /&
/& &#
pp
& (& (& & & (& & & & & & &
pp
&
3
# ;
! &# #
3
)
&&&.
pit - y me.
(& . #
# & (& (& . #
mp
, 6
mf
mp
;
3
! "
mp
& 0& & /<& ! &# ( & & " & & 3:2
3
3
$
! & # & & (& & "* ** <
5:4
3
$
! (<*& # *& & . "
;
f
a tempo
pp
! <*& # *& & . "
;
mf
3
7 7
& & &(& & & & & /& (& & & & & & (& & & & & /&(&
3:2
&# & & < f ( & & (& & (& & & EJ (& " 3
NC
>
rall.
me.
CJ
-
&&& &
NC: finish in this bar (cue off Cello)
,
51
JG
pit
* ** * 7 # (&(&(& & & & &# &* &+ & # & & # & 7 (&(&(& & & & & & & & & &
NC
LB
&& && &&
& .
! &# (& & # *& # *& &+ * # * * # * 7 &# (& & # /& (& & & & 7 /& &# & & # #
CJ
EJ
&
# (& /& /& & & & .
LB
3:2
.
&#
.
&#
.
/&* # &* &* & % &
mf
& &&
0&
& &
55
LB
JG
! &# #
NC
"
JG
- &#
.
.
0&
% &
(&
mp
(& & (& & .
%
&#
.
&#
(*&& ## *&& &&+ *& /& # mf
& & /&
# )#
NC
"
- &# #
LB
& & & &#
& mp , (*&& ## *&& &&+ *&
64
(*&& ##
*&
.
&
*&& &&+
.
(*&& ## *&& &&+ *& *& )#
*&
&
(& &0.
NC
"
, )# ( *& # - &#
I
wear
I
wear
&
*& &+ *& &&
&
&
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&
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( *& # &#
*& *& &+ *& &&
6
&#
.
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(& & & &0&/& && % & ' (& #
$
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6
mp
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.
da da da
&#
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&#
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*& (*&& ## *&& &&+ *& *& (*&& ## *&& &&+ *&
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EJ
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CJ
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60
LB
$
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I
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wear
1 & & (& & & 0& /& 0 & / & & '
.
(*&& ## *&& &&+ *&
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(*&& ## (&
mf
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7
8
& (& & & '
68
#
LB
JG
! # 6 #
CJ
NC
EJ
' ##
"
, (*&& ## *&& &&+ *& - &#
& 0 & / & #( & / & #0 & / & # ( & / & $ *&
)#
6
& && & ' *&
mf
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0& /& & 0& & # 0& /& &
F
JG
CJ
NC
EJ
JG: at "life" finish with this box:
# &3 &
& , (*&& ## *&& &&+ *&
- 0& & . " 0&
(& & &
&
' ##
JG
CJ
#
! #
# &&
, (&& ## * - 0& EJ " 0&
NC
& & &+ & &#
/& # & & *& *& &* # &* &+ 0& & (& & ' & #
&+ & & & ) %' & & (& & &
& # & & *& *& # *& & # & & *& *& # *& &* # &* &+ &* # &* &+ 0& & # 3 &# 6 (& & &
*& # *& (*&& ## *&& &&+ *& 0&
& 0& /& # (& /& # 0& /& # (& /&
&+ & & &
0& & .
77
LB
p non vib
2#
out life
! #
/2 2
##(
)
(*&& ## *&& &&+ *&
73
LB
I wear
0. in
##(
$ &+ & 0&+ &
& & (& &(& &(& (& & & &# & *& # *& (*&& ## *&& &&+ *& *& # *& (& # & & *& # *& *& # *& &* # &* &+ 0& & . 0& & . 0& 0& . watch
-
/2
0.
ing
(& & ' ## & & ##( & & & p & &&(& & /& & (& /& &0. & & & 0& 0. f A A # # * * * * * * * * &&& # & & # (& && & #&& #& (& && *&A # *&*& # *& & &*&+ &* # &*&+ &* # &*&+ &&. & && f && & (& & (& (& & & &0& & ff
thee,
(& & & & ##( & & & pp & $ && ( & & ##( # '# & 6 && & pp < ( && && /<.. 8 " && ' ##
9
G 0&
81
LB
JG
CJ
NC
# ! #
#
&
&
ff
(&( & ( & /&/& 0&
&
ing
thee
watch
CJ: join EJ after c.10"
8 "
c. 10"
mf
( & & <& # & & /& # #( ' ## # & &
&
&
&
f
&&
watch
&
&
( & & <* * + & & /&& ## && &&
&
&
(& & * * + & & /&& ## && &&
&
&
&
&
-
(& & * & & /&& ##
&& & & & 0&& ## && && (& & 0&& ## && && (& CJ * * + && <* * + & & && < & & *&& ## *&& &&+ & ( & & *&& ## *&& &&+ (& NC & & & & ff 1 ( & && <*& # *& &+ ( & && <*& # *& &+ & & &# & & & # & & ' ## &&&& ##( EJ " && && && &&
mf
&& & 0&& ## * && &
mf
*&& ##
&
&
ing
thee
(& & < &# & & /& #
&& (& & 0&& ## & < &
&0& &0&0& &
&& ( & & 0&& ## && && (& # & & * * + < & ff & && < ( & & *&& ## *&& &&+ (& , & & & &
ff
f
(& & < & & /&& ##
ing thee
( & & <* * + & & /&& ## && &&
f
&& (& & 0&& ## & < &
EJ: repeat until CJ joins
mf
-
-
8 "
& &
watch
&
watch -
(& & < & & /&& ##
/&
! #
ing thee
&& ' ## (& & ##( & & & pp &
,
85
JG
-
# 6
f
LB
& &
watch
-8 EJ " "
& & 0&0& &
(& & < & & /&& ##
8 "
0& & B 0& & ! 7 " ing
<* <* *& &+ B ( & & ! && 7 & & " <*& <*& B && && 7 (& & !" * + <*& <*& *&& &&+ B (& & ! 7 "
mf
n
B $,! 7 "
10
H # !" . ##
90
LB
$
thee.
JG
! ! <&& ## && && .. #"
&& ##
! # " 0&& ## && && .. < mp < , !" && ## && && .. mp
CJ
NC
EJ
, ! )# " "
&& ##
(& & & ) ( & 3 %' &6
mp pizz.
# )#
96
LB
&# &#
* &
* &
And
yet
mp
! <& ## & &+ # & && 6 *& / CJ # 0&& ## &&&& & < + mf <& # & &+ 0*&& NC ,
! & & & # &
<& ## & & . & && .
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-
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thee
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&# &# && ##
( & (& ) % (&' (& (&3 6
)#
mp
* * I & & 79 ) $
*& &
&& ##
0<&& ## && && .. mp < && ## && && ..
I wear
mf
100
$
mp
)#
& & & <&1 , EJ " %' % %' #
LB
f
<*& & <*& & <*& &
ff
JG
3 # & % )
( <*& & f < *& (& f < *& (&
$
* 0&& ##&&&+ & /& mp * + # & && &
<* <& ## & &+ ( & & && & <*& 0<&& ## && &&+ (&
<*& & <*& &
<* <& ## & &+ / & & && & <*& /&& ##&&&+ & /& < <& # & &+ 0<*& & # & &0 &
< + 0<*& <*& && ## && &&0 & & )#
% &3 & ) # &
* *3 3 % & & &%) out my
p
mp
)
<*& & <*& & <*& &
$
* &
* &
life
in
<*& & <*& & <*& &
% 3 0& & * %&
)
*3 &
watch - ing
9 & & & &3 & & & & & : &0& & & & /& & & & & & : 7 &
*& 9 7 *& 0*& # 9 7 mp pp arco 0* & *& 9 *& # )# 7
poco a poco cresc.
f
$
pp
* % &
* &
yet
I
$
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mp
*& &+ 0*&
*& *& &+ 0mp mp
* &
* &
wear
out
)
$
*& 0*& # *& &+ *& ' *& *& ) %
*& ' *& '
3 % & & &# &# my
life
in
3 0& & & /& & & & & & &# & & & & &&: & &&: & & & &&&: & & & poco a poco cresc. (& & &# & & & & & & & & $ $ : CJ # poco a poco cresc. mp 0*& # *& &+ 0& & & *& # *& 0&+ & & /& & & / & & & & & &&&: & &# & & & & & & & : NC , & poco a poco cresc. *& & & *& & 0*& *& 0*& *& 0*& , ) % % ) ) % ' : EJ " ' % ) & & & poco a poco cresc. JG
11
J 103 ff
LB: use bracketed phrases in any order, any # of times
&
#
LB
& & & 0& 0& /&
5 & & &
5:4
3:2
watch - ing thee
5 & & &
& & & & (& &
3:2
watch
ing thee
watch
&&
&
& & & (& /&
3:2
3:2
-
ing thee
REPEAT 3-4 x
! # 0& & & /& & & & & : & & &# & & & & & : # 0& & & & & & # & # #& ff & f & & & /& & & & & & & /& & & # & & (& & & & & & & & # # : : # CJ # #
JG
watch
*& * /& && *& * / & &&
NC
"
, ##
#
LB
f
&
0& &
f
106
&
&
3:2
ing
JG
&/ &
&
/& &
#
, &
NC
"
,
&
0& &
&# & & &# &# & & &#
:
&
(&
&
3:2
thee
& /& & & # & & & &
& &&&
&
! & & &# & & # &
CJ
EJ
-
*& * < < < & & (& & : *& * < < & & ( & <& :
ff * * < << 0 & & / & & & & , ## & && & &&&: & & # & & & & & & & : ## & 0& & *& & /& & *& & (& & : f
EJ
&
watch - ing
& 0&0& & &&
&# & &
&
/& &
: # 0& & /& & : & & & # & * &* / & * & & ( & & &* <& < < ff
.#
%
& 0& /& #
&
Ah
thee
& & /<& (<& < : & &
& (& &
(& & & & & &
&
<& < < & & :
& & & & /& &
mf
&
<& <& <&
/& & & & <& < < : && (& (& & & (& & & &
mf
< < < & & & :
( & & <& ( <& <&
& && & & &
0& &
ff
/& &
<& ( <& <&
:
:
&
&
& &&
& & /&
(& &
& /&
& &
&
mf
&
mf
<& <& <&
:
:
12
108
#
LB
JG
#
& & /& &
&
"
,
& & 0& &
&
TAIL
110
NC
,
&# & &
&# & & &# &# & & &#
&0& #
(& & # 0& /& /& &
:)
&
& /& & &
& 0&0&
& & /& (& 0&&& & & /<& /<& < : ) & & ff
&
& & &
& &&
(& &
& ( & & && & & &
<& /<& < &
& &&
&
& & &
& &&
& &
& (& &
& &&
& &
& /& & : ) <<<
ff & &&
/&
&
& & &
& &&
(& ( & & & /& (& (& .
0& & & &0&0& . & '
&
(& , /& 0& /& (& .
, 0& # & & & #
&
:)
& &
& (& &
& &&
& &
<& /<& <&
:)
ff
Use any phrases in any order. All tempi and dynamics are open. Any phrase or phrase fragment may be used in combination with NOSE of next section. Some possible segues with other NOSES are given in parentheses. Find others!
(REMEMBRANCE)
3
0& .
&
(& (& (& (& (&
(& & (& & /& & /& &0&0& . % '
(& & &# & & & # & & 0& # & & & # && & (DEVOTION)
117
NC
& 0&0&
& # & & && & ( &
113
NC
&0& /& #
%
(& #
/&
ff
, &
NC
(& &
Ah
! # &
CJ
EJ
&0& #
(& #
(& & (& (& & .
&& (& & && ## && && &
(ABSENCE)
&
&& ## && && & # & & & # & & 0& # & & & #
Remembering
Eliza Griswold
! !$ ( #" ' &% % % # % % &% % % % % % #
Grieving q = 54
NOSE
JG
CJ
*)
( # !" $ ' &% % % # % % &% % % % % % #
+ !" $ &% % % # % % &% % % % % % # ( , &% % % # % % &% % % % % % # . ! , ( EJ " "$
LB
JG
CJ
NC
EJ
# 0
! # # +
My
*)
%#
) *%
%# &% % % % # %# %#
. ) " ) 11
LB
( %' % mf
f
# *%
! -) # )
% %#
mourn you
JG
mp
CJ
( ( ( (
%
whole
% &% % ) % ,
+
% %&% & % & %' % ) mf ) %# % ) . EJ %# % ) " )
NC
mp
old
%
%# %% ## %# %# %#
/ " / "
% % %' -% % %# % %# %
' % *% % some
( ( ( (
&% %
/ "
-%
%#
% )
%#
-% % %
) )
A ! "
%#
%
% %# life
pp
%#
%
)
%
%# %#
% %
&% %
mp
) )
' % % % -% %
p
% $% % %
) )
(# %# %#
*% I
% %
% % &% & % &%' % %' $
( %' % in
%
*)
%#
)
%#
%
)
%# &% % % % #
p
%#
)
mf
%#
) )
)
pp
times
&% %
mp
%
%
p dolce
p
-%
%#
%
%# ( %#
( # !" % -% % % #
)
p
p
(
% %#
*) p
(
*)
mp
( # !" ) )
*)
(
/ &% % % % ! ' '$ " *% % %# " % -% % %# % % &% & % & % % % p dolce ) % % ) %# / ) ! # ( ") % $% ) % # -% " ) %
-
%# % %# %
)
mp
%
)
&% ' % % - % % % *%
mp
) ) )
%# %
) )
%
%
)
mf pesante
%#
&% %
%#
%
*)
# % %&% & % &%' - %% )) mf
%
%#
mp
%# % * )
mp
NC
6
Lisa Bielawa
' % % % % % *% %# % ) %# % )
Copyright Š 2010
%# %#
( ( ( (
%
%
plac -
% # -%
es
*)
%#
%
)
%#
%
%
) )
&% %
' %% %%% %# % %# %
2
( # &% % % )
16
LB
JG
#
! # #
CJ
NC
EJ
"
3
)
%#
%
)
(# %# %# %#
you would have been.
*)
%#
)
%#
( (
+ &% % % % ( *% % %#
accel.
%#
%
)
%#
%
)
( ( (
! %% / # % % % % % % &% " poco a poco cresc. / CJ # %# % " )) %# %
JG
1
2 2
/ "
1
1
% &% # % % 2 -% *% % % % % / % *% % % % % 2 " , %% %% ## ( 2 )) ## ( /" %% ## %% ( 2
/ &%% %% ## ( 2 &)) ## %# ( /" &%% ## %% ( NC + ) " 2 ) %# % poco a poco cresc. (# % &% / % &% # % % 2 -% *% % % % % / % *% % % % % . + EJ 2 " , " % % %# % " poco a poco cresc.
C # !"
LB
JG
Solemn q = 80
1
! ! ) #" )
%% ## %%
CJ
NC
f
EJ
1 ))
%% ## (
-% % % *% % % * % % % % % # ! ( #" % % , %% f cantabile ) %# % )) %% ## + !" ( f
+ ! &% " "
%
f cantabile
%# &%
1
%
%%
mf
% %%%
%%
%% %*%% *% *%%' - %%
%
mf
2 2
Urgent q = 104
mf
2 4)) 2 ff
4 2 &)) 2 ff
mf
)
(#
f
) f
% % &%
%%
%
4))
! "
1
3 4)) 2
! "
%% ! "
4 3 &)) 2
4%%
! "
ff
%
%# &%
(#
0
mf
)
%
%% ## (
mf
))
f
My
))
% % % %* % % % % * % % , %#
3 2
2 % % %%%% 3 % % %% ! 2 2 "
%% ## %%
))
4) )
ff
1
*% %
1
molto rit.
2 % % % % % % 3 % % 4%% 2 2
poco a poco cresc.
26
Burgeoning q = 72
mf
/ "
1
#
*)
) *)
B
&% % &% % % % -% % ' ' ' % * % % % * % *% % -%- %*% * % *% --%% &% % %% % % mf ) %# ) %# % ) %# % # * %% % ) %# % ) % # *% * % )
%# ( %#
. ) )
20
LB
accel.
%%
%% % % % , %% ##
.( #
( (
3 30
#
LB
JG
%
% whole
! # )) #
*% % mf
NC
"
%#
)
%
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mp
CJ
#
%% ## (
))
p
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)) p
CJ
# % %&% %
50
CJ
# %
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%
%
)
%#
1
%
1
(
*% *% % %
*% % *% *% % *% %
## % %
(
1
Repeat is optional. All tempi and dynamics are open. Any fragment may be used in combination with others, or with NOSE of next section. Some possible segues with other NOSES are given in parentheses. Find others!
*% *% % % % % % % % % *% *% % % % % % % *% *% % % , -% % , use only for tail
3
*% % *% *% % %
bow as desired
%
1
%
3
* % * % * % *% % *% %
*% *% *% *% *% *% %
*% % *% % % %
*%
*% % *% *% % %
%# % %# % % % % 6 %
(RAVISHMENT)
% &%-%-%
6 # % # % * % * % * % % % % % -% % %
(RAVISHMENT)
59
CJ
%#
use only at end
% % % % % *) , 3
39
%#
life
TAIL
*)
*%
5 % % % %* % % % % * % % % % % % 5% % 5% * % % % % % %* % % % % * % % % % % % % % % , , , , %% %% % % 3 3
) + &)
34
%
old
%% ## %%
mp
CJ
% # *%
mp
-% % -% %
(ABSENCE)
%# %
%# %
% % %
6 %
(DEVOTION)
##