Matthew Peterson
jailhouse and
(pavane for a dead infant)
scene for mezzo solo and chamber ensemble libretto by Matthew Peterson and Jason Zencka
Matthew Peterson (2009)
jailhouse and
(pavane for a dead infant)
scene for mezzo solo and chamber ensemble (fl, cl, perc, pno, vln, vla, vc) libretto by Matthew Peterson and Jason Zencka duration c. 7'
libretto
note by the composer This "scene" is taken from the chamber opera Voir Dire, my second collaboration with librettist Jason Zencka. In a way, it's less an operatic scene or aria as it is a narrative ballad, a song. The (pavane for a dead infant) which follows jailhouse serves as an epilogue to this tragic soliloquy.
I've never been so cold before, as in this jailhouse corridor. Remember, I'm from Florida.
Wisconsin isn't like the South, the winter turned me inside out.
The protagonist and narrator in this scene is a woman who is choosing not to post bail on a public intoxication charge, so that she can stay in the jail. She is homeless in winter and has nowhere else to go. She tells the story of how she got to this point: a previous terminated pregnancy, misplaced but very human faith in a man, deception, abuse, and infanticide. It is a story about a woman who has little left but her humanity.
It took my fingers in its mouth.
It's not like I'm some kind of whore, but I'd been pregnant once before. I didn't want a kid, you know?
But Daniel said he'd marry me, the words were planted like a seed. We drove for seven fucking days.
His kiss: a taste of cigarettes and breath mints. Not bliss, but I was pregnant and afraid. I was messed up, so when my sister asked I called it love.
Why'd I go? I don't know. Far from home, warmth won't find me.
He had a cousin here, he said, but someone caught him selling meth. We got a motel room instead.
But all that Daniel did was drink, smoke weed, and puke into the sink. I tried to leave; I did it for my kid.
But Daniel wouldn't let me go. He called me "bitch," said I'm a ho. He punched me in the stomach.
One hit. I was pregnant maybe five months. One punch. My lungs were emptied. Still drunk, Daniel drove me to the hospital, then left.
My skirt became a bed of blood, they took my baby out in clumps. Each wore two pair of latex gloves.
Why mourn? The world is cold, we're better off stillborn, before our aching hearts become forlorn, before our grief begins to seem boring.
I think I'd rather be alone. I have no other place to go. I know I've never been so cold before.
This story, and many others inspired by real court cases, join to form a unique libretto inspired by Jason's experience as a crime-reporter in Stephen's Point, Wisconsin, U.S.A.
instrumentation flute bb clarinet percussion ! ! ! ! ! ! ! !
marimba vibraphone glockenspiel crotales med. bass drum med. tam-tam 4 tom-toms (low to high) 2 suspended cymbals (sm. and med.) brake drum w/ hammer
piano (+ toy piano) mezzo or soprano soloist violin viola cello!
instructions for performance 1) c score: percussion that transposes at the double octave (i.e. crot., glock.) are notated at their written pitch, but transposition is shown by clef. Bb Clarinet only indicates type of instrument, not transposition in the score. 2) toy piano: at one point in the piece, the pianist will need to play toy piano and piano simultaneously. The toy piano should be placed to the right of the pianist. A model that can play a C major scale, is required. The instrument should preferably sound one octave higher than the written pitches, but this is not required. Celesta may be substituted if a toy piano is not available. 3) soloist: the soloist is encouraged to act her role facially and physically (please read composer's note). While this piece was written with a classically trained voice in mind, it is flexible enough to accomodate a rock/pop or musical theater style. The rhythms are purposefully simple, to allow flexibility for a natural declamation of the text. Therefore, the singer should not always align with the subdivisions of the ensemble, but should strive for an appropriate mode of expression with respect to the indications in the score, the immediate musical moment, and the conductor's tempo. 4) dynamics (for all musicians) are not absolute but are relative to the context in which they occur. "Hairpin" cresc. and dim. symbols without a dynamic marking afterward indicate a change within the context of the previous dynamic. 5) vibraphone motor should be used where called for and at the indicated relative speed
notes and symbols s.p. indicates sul ponticello, m.s.p. indicates molto sul ponticello n.v. indicates non vibrato l.v. or
indicates let vibrate
flut. over a tremolo note indicates fluttertongue dampen percussion bass drum should be muted where indicated hold pedal until complete fade grace notes always occur before the beat crescendo from niente diminuendo to niente > normal accent,
hardest accent
flute tongue-ram (t. rm.)
suggested percussion setup
c score
jailhouse
duration approx. 7' libretto by Matthew Peterson and Jason Zencka
q = 50 coldly
Bb Clarinet
Matthew Peterson (2009)
Percussion pp pp p pp
Mezzo-soprano
Violin
p
III
p
Fl.
Cl.
7
M-S.
3
mem - ber I'm
Vln.
Vla.
mp
from
Fl.
p
Vln.
p
p
pp dolce ord. poco vib.
pp dolce
mf
mf
mf
mf
mp
pp
p
mp
mp
mp
f
f
It's
m.s.p.
pp
mf
mouth.
mp
took my fin - gers in its
ord.
mf
mf chest voice
ord. poco vib.
p
Wi scon - sin is - n't like the South,the win - ter turned me in - side out; it
p
poco accel.
p
p
re-
pp
m.s.p.
m.s.p.
mf
p sub.
f
p sub.
f
mf
f
not
ord. n.v.
Vla.
like
I'm some kind of whore,
but
I'd
been
preg - nant once
be fore;
I
did - n't want
n.v.
ord. vib.
n.v.
ord. vib.
n.v.
mp ord. n.v.
Vc.
q = 60 poco agitato
13
mp dolce
pp
p
p I
mp
pp sub.
mf icily
M-S.
p
mp
Cl.
Pno.
p
p dolce
s.p. III IV
mf icily
Perc.
mf
s.p.
p
Vc.
pp
p
p
this jail - house cor - ri - dor;
p
in
p
mp
Flo - ri - da.
p
p dolce
mf
p
pp
Perc.
p
p
p
I've nev - er been so cold be - fore,as
I
Violoncello
p sostenuto
Viola
pp
ppp
Marimba, med. yarn
mp ord. n.v. mp
ord. vib.
a
p
kid,
you
Copyright © 2009 Matthew Peterson, all rights reserved
dolce
But
n.v.
f
molto vib.
p
know?
molto vib.
mf
n.v.
f
molto vib.
f
n.v.
2
più mosso q = 66, dolce
17
mp warmly
Cl.
mp warmly
Dan - iel
said he'd mar - ry
pizz.
mf dolce
pizz.
mf dolce
Vln.
Vc.
mf
His
kiss: a taste of
like
a
mp marcato sempre
f
we
drove
for
mf
mf
sev - en
fuck - ing
mf To B.D. (con sord.), toms
p sub.
f
days.
arco, n.v.
arco, n.v.
p
mp
not
mp
fp
arco
fp marcato sempre
mf
I was
messed
up,
so when my sis - ter asked I called it
mf
mf
mp
fp
p sub.
bliss.But I was preg - nant and a - fraid,
mf
fp
mf
mp
mf
mf
p
mp marcato sempre
pizz.
mf
t. rm.
mf
seed;
mp marcato sempre arco
cig - a - rettes and breath - mints,
Vla.
3
plan - ted
21 Fl. mf mp marcato sempre Cl.
M-S.
q = h agitato affetuoso
p
ord. vib.
Vc.
the words were
arco
me,
mf dolce
Vla.
mp
Vln.
Pno. M-S.
mp warmly
Perc.
Fl.
mf
mf
mf p sub.
p sub.
p
Fl.
Cl.
Perc.
Pno.
M-S.
Vln.
Vla.
27
sotto voce mp
f
f
f
mf espress. (n.v.)
p
p
f
n.v.
marcato sempre
f
p sub.
mf
I
mf
mp
don't
f
mp
sub p
p
f
mp sub.
f
f
f
mf
I
go?
mf espress
2 sus. cym., toms, B.D. con sord., med. yarn
Why'd ord. vib.
mf mf
love.
f
Vc.
Susp. cym
mf
know.
f
mp
mp
sub. mp
f
Fl.
Cl.
33
mf
mf
flut.
mf
p sub.
f
fp
mf
Pno.
M-S.
from
f
home;
mf espress.
mf espress.
won't
ff
f
flut.
f
f
sub. p
f
mf
f
f
me.
sf
tam, hard yarn
s.p.
mf
find
ff
p
B.D. via sord.
mf
warmth
3
ff
mf
Far
Vc.
Vln. Vla.
p sub.
Perc. mf p
f
m.s.p
m.s.p
ff m.s.p
fp
ff
p sub.
Fl.
Cl.
38
Vln.
Cl.
Perc.
Vln.
f
pp
f sempre
Vc.
3
pp
p
3
pp
pp
ff
pp 3
3
6
(pp)
f
pp
sim
3
3
ff
f sub.
pp
6
II
pp
pp
3
fp
f sub. p sf sim.
p
pp
2
pp
p f
pp mf
pp sempre
I pp sub. pp sub. pp II
p
pp sub.
sim.
3
ff
Vla.
ff
Marimba, hard yarn mf
ff
Pno.
q = q. moto perpetuo e agitato
42 Fl.
pp I
Vla.
ff
3
3
3
3
fff
3
3
3 3
ff
Pno.
p
p (B.D. senza sord., toms, cym.'s)
Perc.
ff pp sub.f
pp
sim.
p
ff
II
ff fp
pp
f
ff
ppp
ff
n.v. sempre
p
ff
mp III
pp
4
47
Fl.
Cl.
Mar.
pp
ff
mf
2
2
f
2
Vla.
Vc.
2
pp
III
f
2
ff
fp
p pp
mfp
ppp
pp
mf
f
pp
mf
f
pp
n.v.
3
3
pp
mf
pp
3
pp
3
pp
Vibraphone, hard yarn pp sempre
mfp
IV
pp
ppp
mfp
3
pp sempre
f
mf
pp
p
ppp
Vln.
pp
p
2
Pno.
2
q. = q morendo poco a poco
q=e
Fl.
Cl.
53
Vib.
Pno.
M-S.
pp
Tam tam, med yarn
p
pp sempre
mp, dark
m.s.p.
mf
mf
p
pp
pp
mp
a cou - sin here, he said,
but some - one caught him sell - ing meth.
m.s.p.
pp
3
We got
a mo - tel room in - stead.
pp
m.s.p.
pp
pp
pp
pp
had
pp
p
(free bow, molto legato)
f
He
m.s.p.
Vla.
Vln.
Vc.
pp
mf
mp
q = 50 icily, misterioso
rit.
Fl.
Cl.
Perc.
Pno.
59
flut.
3
p
f
3
f
fp
3
Vln.
p
ord. molto vib.
Vla.
Vc.
3
p ord. molto vib
p
3
3
f
fp
that
f
3
3
f
fp
m.s.p.
sfz
fp
Vla.
Perc.
Pno.
M-S.
Vc.
sfz
sfz
70
ff
were emp -
tied.
mf
sfz
sffz
sffz
Dan - iel
drove me
to
One punch;
my lungs
ff
sffz
ff
sffz
open
ff
sfzpp
mp
sfzpp
sffz
sfzpp
sffz
ff
left.
sffz brake drum w/ hammer
sffz
sfzpp
sffz
sfz
ff
I was preg - nant may be five months.
toms, med. yarn
hit;
the hos - pi - tal, then
sffz
drunk,
p
p
ff
Still
p
One
But
kid,
ff
sffz
f
tom, B.D., med yarn
sffz
p
tom, B.D.
for my
p ord.
sfz
f
Vln. Vla.
vib. intenso sempre.
to leave; I did it
q = h furioso
sfz
open
f
mp
He punched me in the sto - mach.
ord.
f
said I'm a 'ho.'
f
Cl.
B.D., med. yarn
mf
ord.
p
tried
vib. intenso sempre.
I
m.s.p.
vib. intenso sempre. Vln. f
Fl.
mf
sfz
Dan - iel would - n't let me go, he called me 'bitch'
weed and puke in - to the sink.
3 3
did was drink, smoke
5
p
Più mosso q = 56, rubato appassionato
Vc.
p
Dan - iel
p cantabile
mp
sfz
M-S.
all
ord. vib.
pp
m.s.p.
64 Perc. Pno.
pp
p
mp
But
3
ord. molto vib.
6
M-S.
n.v.
3
p
ad lib.
sfzpp
ff
sffz
sffz
sffz
My
6
75 Cl.
h=q più mosso q = 60, molto rubato
fff screaming
M-S.
mf sobbing
skirt be - came a bed of blood They took my ba - by out in clumps
Vln.
q = 56 lacrimoso sostenuto
rit.
Each wore two pair of
p
pp molto sostenuto mp mezzo voce
la - tex gloves.
Why mourn?
The world is cold;we're bet - ter off
sul tasto n.v.
p molto sostenuto
Vla.
Vc.
sul tasto n.v.
p molto sostenuto
p molto sostenuto
Fl.
Cl.
Pno.
M-S.
Vln.
81
Cl.
Perc.
M-S.
still - born
come
for -
lorn;
be - fore our grief be - gins
pp
Marimba, soft yarn
p
mp
mp dolce cantabile
p dolce espressivo
p
pp
pp
ord. poco vib.
ord. vib.
mp
mp dolce cantabile
think
I'd rath - er be a - lone.
pp
pp
pp
I
have no
oth - er
pp
I
know I've nev - er been so cold be
n.v.
pp
pp
pp
p
attacca
place to go.
molto rit.
pp pp
pp
ord. poco vib.
pp hard yarn
mezzo voce
p
q = 50 coldly
mp
to seem bor - ing. poco vib.
sul tasto n.v.
p
87
ord. poco vib.
sul tasto
Vc.
sotto voce, dolce
be - fore our ach - ing hearts be
Vla.
p
I
Vln.
Fl.
mp cantabile
Vla.
Vc.
ppp
poco vib.
pp
7
(pavane for a dead infant)
h = 44 andante lacrimoso (tempo di pavane)
93
Cl.
M-S.
fore.
Vln.
poco vib.
poco vib.
molto legato sostenuto e cantabile
Vla.
Vc.
pp molto legato sostenuto e cantabile
pp molto legato sostenuto e cantabile
99 Pno.
Vln.
p
pp clear and ringing, like bells (sempre)
mp dolce
ord. vib.
p
ord. vib
p
Vla.
Vc.
mp dolce
ord. vib.
mp dolce
p
Fl.
Cl.
105
p
mp
p
mp
mp
Vibraphone, med. yarn (motor off)
p
mf
mp
Pno.
mp dolce
Glockenspiel, brass p
Perc.
mp dolce
dolce
mp
mp like bells sempre
Vln.
mp
Vla.
Vc.
p
mp
mp sostenuto
8 Fl.
Cl.
Perc.
Pno.
111
mp dolce
Fl.
Cl.
mf dolce
mp
p
mp
dolce
mp
p
mp
mp
mf
mf
mp
p
mp
Crotales, brass
mp
mf
mf
mp
p
p
mp
mp
p
Vibes, brass Glockenspiel, brass
f
Vibes, med. yarn
Perc.
Pno.
III
mf
f
123
Vc.
Vln. Vla.
p
mp
p sempre
IV
mp
p
mf
III
II
III
IV
III
II
III
simile
f
Crot., brass
mp
II
mf
I
III
mp
Toy Piano
III Vc.
f
p sub.
f
p sub.
mf
mf
f
mf
p
f
mp
Tam-tam, med. yarn
f
p
mp
p
mf
mp dolce molto sostenuto
mp
mp
mf
mf dolce
Vla.
117
Vln.
mp
Pno.
p
Perc.
mp dolce
mp
Vc.
mf
Vln. Vla.
II
simile
III
IV
129
Pno.
9
Piano
(p sempre)
simile Vln.
p
p
Vla.
mp
p
Perc.
Pno.
135
Vln.
I
pp
Vc.
mp
pp
pp
Vla.
mf
mf
Crot., arco
m.s.p.
m.s.p.
mf
p
m.s.p.
mf
p
vibes, arco motor on (fast)
p
mp like bells sempre
p
mp
mp
Vc.
mp
mf
141 Pno.
*
* pianist repeats until all other sustained piano pitches have faded completely
fade completely
Matthew Peterson Visby, Sweden 4-1-2009 !