t uo se s b yPa t r i c i aWa l l i ng a 2016| f o rs o l odo ubl eba s s ,t hr e ev o c a l i s t s ,a ndc o nt i nuo
PROGRA M NOT E S tu flos es is a concert solo suspended in social commentary, presenting the solo double bassist as a narrative protagonist operating within a complex musical and theatrical dreamscape portraying a female musician's formative experiences with sexism and abuse in a professional setting. As the musician in the story begins to develop a unique musical voice, she is first noticed and complimented—and later insulted and controlled—by those around her, and their comments begin to warp her artistic personality as she internalizes them. After a long struggle, the artist breaks away from that environment and those voices are silenced; she is alone with her own expression and emotion again, carrying the pain and knowledge of what has passed but more confident in the validity of her artistic expression and emotional needs. A double bass fantasia on the Hildegard von Bingen chant "O rubor sanguinis" serves as the center of the story. Three vocalists play supporting roles, offering sung poetic reflections alongside spoken lines that antagonize the bass solo and react to changes in its mood and musical characteristics, and an unchanging cycle of triadic drones provides a harmonically and thematically unifying background for the ensemble. The text in the sung poetic commentary marries the Latin text of the von Bingen chant with a poem by another famous (and famously isolated) female poet, Emily Dickinson. All spoken text was compiled from journals, quotes, and lived experiences offered to me anonymously by female colleagues in music. The result of these combinations is a drama of duality, simultaneously narrating and commenting on the struggles of women in the arts. It is this duality that eventually allows the protagonist to transcend her toxic environment: she faces the ugly realities of the world with a near-religious devotion to her artistic ideals. The constant presence of these musical ideals parallels the resilience of divinity in the face of evil present in the von Bingen chant; the use of the musical material in the chant itself to represent this elevates the need for artistic expression to the level of the divine. Ultimately, tu flos es condemns the silencing of women's artistic, intellectual, and emotional expression, and celebrates the fact that a woman who has something important to express cannot be permanently silenced. tu flos es was written in collaboration with and premiered by Heather Beers. The artist at the center of this piece is a talented, sensitive, inquisitive, and above all courageous musician; Heather embodies all of these qualities and more. I am proud to have her tell this story, and even more proud to call Heather a colleague and friend.
TEXT There's a certain Slant of light, Winter Afternoons – That oppresses, like the Heft Of Cathedral Tunes – Heavenly Hurt, it gives us – We can find no scar, But internal difference – Where the Meanings, are – None may teach it – Any – 'Tis the seal Despair – An imperial affliction Sent us of the Air – When it comes, the Landscape listens – Shadows – hold their breath – When it goes, 'tis like the Distance On the look of Death – --Emily Dickinson
O rubor sanguinis,/O blood red, [ qui de excelso illo fluxisti,/which has poured down from that height ] [ quod divinitas tetigit,/which divinity has touched, ] tu flos es,/you are the flower, quem hiems de flatu serpentis/which the winter of the serpent's breath num quam lesit./can never harm. –Hildegard von Bingen
PE RF ORMA NC E NOT E S Rehearsal numbers denote formal sections of the piece. The first and fifth formal sections should have the most rubato, while rhythms become more strict through the second, third, and fourth sections. However, all rubato should occur on a scale within large beat divisions; the bass and voices should still work within the rhythmic constraints of the continuo part, whose note durations should not deviate from the notated rhythm. Glissandi begin immediately where they are notated. Grace notes occur slightly before the beat, as late as possible-- the principal note occurs on the beat. In the case of an appoggiatura, it should begin slightly before the beat and cause the principal note to “backphrase� slightly. Trills begin on the principal note (unless preceded by a grace note matching the auxiliary note); the auxiliary note is indicated by a small notehead in parentheses placed after the principal note. Hairpins terminating in a small circle indicate a niente endpoint (crescendo dal niente or diminuendo al niente). Spoken lines given an exact rhythmic duration in the staff should be spoken precisely in rhythm, albeit retaining normal theatrical inflection. Spoken lines given a rhythmic duration in parentheses above the staff should begin precisely on the indicated beat and last precisely the given duration. Spoken lines not given any rhythmic value should begin in their approximate position in the measure and continue at a natural pace. Circled numbers above spoken lines indicate lines that react to each other in a specified order; the line designated 2 should begin slightly after the line designated 1 begins, and so on. tu flos es may be semi-staged if desired. The bassist should always be in the center of the stage, with the continuo either behind the bassist or off-stage. Vocalists should surround the bassist on one or more sides, and may change positions to highlight the drama if desired. Keep in mind the voices are accompanimental, and should never upstage the bassist (literally or figuratively).
for Heather
tu flos es 1
Female Voice
° b &
23
h = 40
∑
&b ‹ ? Male Voice 2 ¢ b Male Voice 1
Bass
22
3 &b2 Ó
Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
chant-like, quite free
œ œ
œ
? b 23 w ™ ww ™™
43
° F &b
∑
45
∑
o
˙ ˙ ˙
43
œ œ œ ˙ J
Ϫ
j œ
3
‰ j œ œ™ œ œ™ œ œ œ œ œ p
w w w
22 ww w
pp sempre
5
22 œ œ œ œ œ œ œ œ œ œ ˙ 3
mf
Continuo
Patricia Wallinga
˙ ˙˙
mf 3
œ œ œœœœ
light
(falsetto as needed)
p
M1
M2
˙ &b ‹ There’s ? ¢ b
a cer -tain
& b -œ -œ -œ ˙ mf
C
œ
mp
slant
of
light
∑ 3
B
˙
œ œ œ œ
? ˙ b ˙ ˙
˙ ˙ ˙
œ œ™ J
˙™
∑
43
∑
∑
œ 45 œ œ œ ™ -œ ˙ œ œ œœœ œ œœœœœ pp mf
™ 43 ˙˙ ™ ˙™
o
45 œœ œ
w w w
©2016, Patricia Wallinga, Magpie Mind Press. All rights reserved.
∑ œ œ œ 43 ˙ f
™ 43 ˙˙ ™ ˙™
->œ œ J 3
2
o
9
° F &b œ
M1
M2
&b ‹
Œ
22
Œ
23
∑
∑ p introspective
mf Isn’t that just like a woman?
22
mp mf ≈ œj™ œ œ b œ ™ j -> œ That op - pres - ses
3
3 œ œ œ œ œ œœœ˙
∑
23
Ó
mp Don’t be so negative.
Ó
Œ
O ru- bor san - gui - nis
? ¢ b
3 mp Œ œ œ œ œ œœ
∑
œ Œ Ó
Ó
mp You should smile more.
Win ter af - ter - noons
B
-œ œ œ œ œ 2 œ œ œ b œ 2 Œ & œ 3
C
p sub.
23
? M2 ¢
j 3 ‰ œ œ œ œŒ I think I was...
p
Œ
& ‹
Œ
3
3
Œ
mf
Œ
3 ‰ œj œ œ œ Œ
I think I was...
Like the Heft 3
Œ Œ œ œ
Ó
Look on the bright side!
23
2
22
Œ œ œ™ Ó >
∑
hap - py.
p hesitant (keep rhythms exact)
Ó
œ œ -œ ˙
j œ
22 w ww p hesitant (keep rhythms exact)
mp You’ll take care of it.
Ó
3
w™ 23 w ™ w™
22 ww w
° b p j ‰ Œ F & œ
M1
≥ Ÿ 22 w ~~~~~~~~~~~~~~~~~~~~~~~~ œ œ œ œœœœœœ œ 23 œœœ p 3
Œ 23 ˙
mf
?b ˙™ ˙˙ ™™
13
-œ
mf
˙
œ
Of Ca- the
-
dral
Œ œ œ™ Ó >
∑
hap - py.
p
˙™
œ
œ Œ Ó
Tunes
poco meno rubato
3 &b2 œœœœœœœœœw 5
B
mf
C
? b 23 ww ™™ w™
pp
22 Ó
∑
o
3
œ œ œ ˙ mf
w w w
˙ ˙˙
22 w ww
ww w
3
œ œ -œ œ œ
3
p distant murmur
·
17
° F &b Ó
M1
M2
B
C
‚
∑
? ¢ b
p distant murmur
Œ
‰
„
You don’t see that every day.
?b w w w
˙ ˙ ˙
° b &
3
42
Œ œ œ œ œ œ œœœ˙
3 j ‰ œ œ œ œ œ œ
3
pp
˙˙ ˙
œ Œ
f
w ww
ww w
Ó
23
‰ j œ w œ œ™
œœœœ ˙
˙ ˙˙
3
Ó
Do you need help with that,
œ œ œ œ œ œ œ œ œ œœœœ ˙™ > œ mp
mf
Ó
mf present, directed to bassist
There she is.
3
˙ ˙˙
You’re the singer, right?
Ê
& b œ ™ j˙ œp
23
Ë
Are you sure she’s not lost?
3
That’s a big instrument.
mf present, directed to bassist
p distant murmur
3
È
Oh, she’s cute!
Â
I can’t believe it!
∑
Á
We have a woman in the section!
Did you hear?
&b ‹
22
F
‰
23
mf present, directed to bassist
23
22
∑
Hea - ven - ly Hurt, it gives us
M1
&b ‹
? M2 ¢
B
∑ œ Œ
∑
Ó
mildly surprised You’re pretty good.
Ó
miss?
& b 23 Ó
Œ
3
‰ œj œ œ œ 42 œ ™ mp
C
? b 23 w ™ ww ™™
42 ww w
>j >j œ œ
œ œ™ J
Ó
Œ
...y’know, for a chick.
quasi cadenza 3
œœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ -œ
p
22
mf
w w w
22
4 24
22
mf
3 3 ° ˙ b Œ F & œ œœœ
45
We can find no
p
7 o4
3
œ œ#œ w
M2
&b Ó ‹
p
C
M1
&b ‹
-˙ œ œ Œ Ó
#œ œ -
Œ
∑
ter - nal
f
‚ Damn, girl,
It’s a compliment!
? b 22 ˙ ˙ ˙
œ
Œ Ó o
47
you’ve got balls!
3
mf
™ 47 ˙˙ ™ ˙™
23
∑
pp
mf
œ ˙™
Œ
˙ -
-
œ œ œ œ œ Œ 45 œj ˙
‰ œj 47 ˙
˙˙ ™™ ˙™
45 ˙˙ ˙
˙ ˙˙
in - ter
Whoo! Hey, alright!
p
3
mp
& b 22 œ œ œ œ œ 45
° b &
mf
But in
? ¢
28
F
Ó
What does that even mean?
3
B
∑
47
f
scar
mp M1
45 ·
-
nal
3
ff with bravado!
w w w
™ 45 ˙˙ ™ ˙™
Ó
f
œ œ œœœ œ œ œ œ 47
Œ
fp
œbœ œ œ >> >
47
45
mp to bassist You looked beautiful on stage.
f
œŒ Ó
Ó
Ó
? ¢ b
mp to bassist
‰
I was
dif -fer - ence
mf
M2
47
˙ ˙˙
∑
∑
3
bœ Œ ˙ œ J œŒ
Œ
Where the Mean-ings
& b 47 j œ œ œ œ œœœ œ 3
B
œ œ œ œ œ ™ œJ 23 >œ ™ œ œ œ œ > œœœœœœœœ 3
3
mp
C
? b 47 œ ˙ ™™ œ ˙ œ ˙™
j œ ˙ Ó 47 Ó
Ó
Œ
> ‰ œ œj œ ‰ 45 J J mp
f
œ œ œ
˙ ˙ ˙
w 23 w w
˙ 47 ˙ ˙˙ ˙˙
˙˙ ˙
˙˙ ™™ ˙™
45
31
° F &
3
45
22
23
∑
Your lipstick was striking!
5
Ó
mp
nœ œ ‰ J œ œ #œ
Œ
None may teach it
M1
& ‹
watching you.
Œ
Œ
p
œ
mf
œ bœ
œ
œ ‰ Ó J
None may teach it
p
M2
Œ
∑
? ¢ b nœ w
Ó
pp
Œ
œ
are
mp œ œ œJ ‰
œ
None may
Ó
Ó
teach it
œ œo œJo ‰
strictly rhythmic B
C
j & b 45 œ œ w
? b 45 œœ w w œ w
34
F
o
o
f p
° b >œ œ ™ ˙ &
Œ
Ó
22 Œ
>œ Ÿ~~~~~~~~~~~ j j 3 ‰ œ œ ≈ œ œ œ œ™ œ œ œœœ œ œ 2œ > mf
22 w ww
23 ˙˙ ˙
22
ww w
∑
23
∑
A - ny
o
œ™ ˙ & b >œ ‹ A - ny f p
M1
∑
Ó
Ó
Œ
‰
mf
œ
’Tis
o
f p
M2
Œ
3
? œ™ ˙ ¢ b >œ
Œ
Ó
∑
Œ
f gruff and precise
3 j j ‰ œ ‰ œ œ œ œ >
NO!
A - ny
œo
You sound like a
suddenly glassy B
&b
œ 22 œ n œ œ œ œ b œ œ > œ œ œ
œ œ œJ œ œ œ 3
p
mf
3
œ œ™ œ >
f mp
C
3
? b w ™™ w w™
22 w ww
fp
ww w
pizz. œ + J ‰ j ‰ œ
Œ
23
mf
23
6 37
° F &b
23
∑ 3
M1
œ &b ‹ the
seal
girl.
C
& b 23 ‰
arco molto sul pont.
ææj ææj ‰ Œ œ œ o mp o
M2
3
C
Œ œ œ
j &b œ œ ˙™
? b w ™™ w w™
œ œ œ
œ
Ó
3
œ Œ
œ
Œ
Ó
Hey... maybe you’d play
Take some pills.
mp I’ve never heard a woman play that passage right.
∑
pp
3
j3œ œ
œ œ œ œ œ œ œ œ 22 ˙ ™ æ 3
23 Œ ‰ œJ œ œ œ ‰ œJ ˙ > mf
f
22 w ww
Œ
3
? Ó ¢ b
p sub.
œ œ œ ‰ œ
You should just re - lax.
23 ˙˙ ˙
42
mp What does that even mean?
mp
˙
23
f
mp I want to be in -
Stop looking at me!
œ 3œ œ bœ œ œ -
Œ
Ó
ff
ww w
f Show off those arms on stage, you cute little thing!
better if you showed a little skin!
3
œ
ord.
An im - pe
B
mf casually
Œ œ
w w w
°& ‰ œ œ œ Ó
& ‹
Ó
Try a- gain!
oth - er girls.
M1
Ó
mf
You’re not like those...
Des - pair
? b 23 ˙˙ ˙
40
F
œ n 3œ n >œ ˙
23
∑
o
f
˙
3 j j œ ‰ ‰ œ œ >œ ‰ Œ
? M2 ¢
B
22
mp That’s just how the industry works.
mp He’s just from a different generation.
Œ
rial af - flic - tion
3
3
Œ œ™ œ œ œ œ œ œ œ œœ ˙ o mp >œ œp w ww
˙˙ ˙
42
5
œœœœœ
œœ
o œo œo ˙ ™ # œ œ œ 3
o
mp
42 ww w
Π23
w w w
23
43
F
M1
°&
23 œ -visible.
Œ
Ó
Ó
& ‹
œ œ
Ó
o
3
the
Œ Ó
Air
It’s always the women with the problem.
None of the female bassists have wedding rings.
You should relax... You should smile more!
You’ll go half as far...
3
j œ œ
≤ ≥ ≥ 32 ≥^ j ‰ ^ j ‰ ^ j ‰ ≤ œ≤ œ œ œ œ -œ - -
Œ
p
f
? b 23 w ™ ww ™™
from the tip
at the frog
œ nœ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ n œ 22 œ ™ b & 2 3
A young lady like yourself
f
p
w™ 23 w ™ w™
22 ww w
23
mp repeat as necessary, fast speech, end on downbeat of m. 50 46
F
7
mf
mf
C
mf
3 2 œ œ œ ˙™
Sent us of
mf You’ve got to work twice as hard.
? M2 ¢
B
22
be like those other girls. Put on a mask, just focus on your work. This means too much ° b Don’t to put up with it. And yet some incompetent fool with a penis will get that job instead & not of you. You’re better than him. You’re not supposed to be better than him. That’s why
22
nobody will love you. Not good enough, not talented enough, not successfull enough...
mp repeat as necessary, fast speech M1
& ‹
and
Youre acting like a woman. Like a... certain kind of woman. Just relax, laugh it off. Let it roll off your back. Great, now you’re freaking out. Stop freaking out!
Do you suppose it’s their personalities?
mp repeat as necessary, fast speech, end on downbeat of m. 50
? M2 ¢
B
&b ˙
Œ œ œ ˙
3
47 œ œ œ œ œ œ œ ˙
3
3
mf espressivo
C
It’s not that I have a problem with it. I just think that other people might have a problem with it. It makes them uncomfortable. It’s just a different generation. That’s just how the industry works.
shouldn’t call out band members like that. They won’t respect you.
?b w ww
˙˙ ˙
47 ww w
Œ
j‰ œ œ œ pp
˙™ ˙ ™™ ˙
˙ ˙ ˙
pizz.
œ w™ œ w™ œ w™
?
3
23
22
∑
mp
23 ww w
˙ ˙ ˙
22
8 50
F
M1
M2
B
° &b & ‹
22
∑
˙
œ
stop being such a
slut!
∑ Œ
Ó
stop abruptly on M1 “stop”
? ¢ b
Œ
arco
œœœœ‰ >
Œ
? b 22 ww w
53
F
98
° b Œ &
Œ
Œ
‰ ‰ œ J œ ‰ œ J J
When it comes
the
ff
Œ
ex
œ œ œ
œ
What did you
ex
-
-
3
Ϊ
‰ œ œ œ >
98
∑ œ œ œ œ Œ >
pect me to think?
Œ >œ œ œ œ
pect me to think?
>œ >œ œ œ œnœ 9 œ # œ 1 > b œ œ >œ ‰ 2 8 œœ 3
21 ˙˙ ˙
mp
œ œ œ œ œ
? M2 ¢
What did you
w ww
p
&b ‹
œ
œœœœ‰ œœœœ‰ ‰ > >
the
M1
œ œ œ
f
Œ
ff vicious
C
f
Œ
Ó
∑
? b 22 Ó
21
4
stop abruptly on M1 “stop”
78 Ϫ
22
˙
Land
-
Ϫ
98
-
-
-
Land
-
˙
-
˙
f
œ ‰ Œ J -
-
-
-
scape
f
˙ -
47
œ ‰ Œ J
-
scape
mp half-mumbled
Ϊ
Don’t be such a bitch about it.
I’m a man!
B
? b 98 œ p sub.
C
? b 98
˙˙ ™™ ˙™
œ œ œ œœœ f
3
œ ‰ ‰ J œœ œ
>œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ 2œœ œ Œ Œ 78 œ œ œ2 sfz
œj 7 œ ™ œ 8 œ ™™ œ œ
3
mf
˙ ˙ ˙
3
3
3
f
22 w ww
pizz.
» œ
47
sfz
47
56
47 >
23
mf Are you trying to hurt him on purpose?
° b œ npœ sub. ™ ˙™ F &
49
9
Ó
list - ens
M1
>œ pœ sub. ™ ˙™ b & ‹ list - ens
mf
Œ
f
You can’t ruin his reputation.
f I don’t have to listen to this.
? M2 ¢
Ÿ~~~~~~~~~~~~~~~~ 1 gliss. œ œ œ œ œ œ
? b 47 Œ
o
mp
C
? b 47 ˙ ˙˙
58
F
°&
49
mp half-mumbled Your looks are all that matter, anyway.
Œ ! æ 23 æ o
arco B
You’re freaking out. Stop freaking out!
Ó
Œ œ œ œ
ww w
Œ
œ^ œ œ^ œ œ^ ™ œ^. J ‰ 49
ææ ææ
ff
w 23 w w
œ œ œ
œ œœ
repeat as fast as possible, irregular accents
Œ
fp harsh stage whisper œœœœœœœœœœœœ Shadows shadows...
‰
mf She sounds so angry. (shadows...)
increasingly agitated Did you hear the rumors?
49
22
repeat as fast as possible, irregular accents
M1
& ‹
Œ
fp harsh stage whisper œœœœœœœœœœœœ Shadows shadows...
‰
mf Can’t you take a joke? (shadows...)
increasingly agitated You’re trying to hurt me on purpose.
repeat as fast as possible, irregular accents f
M2
mp
? b >œ œ ™ œj ¢ b
f
‰
mf Can’t she take a compliment?
fp harsh stage whisper œœœœœœœœœœœœ Shadows shadows...
Shad - ows
B
? b 49 Œ
>œ œ œœ
‰
^œ >œ œ œ œœœ œœœ mf
C
? b 49 ˙ ™ ˙˙ ™™
3
3
ww ™™ w™
œ^ œ œ œ œ œ^ œ^ b œ^ œ^ b œ^ œ # œ b œ # œ b œ # œ b œ œ œ œ œ^ œ^ 22 3
5
22
10 59
F
M1
°&
23
M1
increasingly agitated You shouldn’t have called him out like that. (shadows...)
It’s always the women with the problem.
(shadows...)
You’re making them uncomfortable.
? b 22 w w w
™ 23 ww ™ w™
°&
& ‹
sfzp
22
22
43
I’m not like those other girls. She’s a certain type of woman... It’s her fault.
f
bœ ™
n˙ ™
hold
their
Breath
#œ ™
f
<b> œ ™
#˙ ™
hold
their
Breath
f
Ϫ
Ϫ
ff
hold
their
Breath
Ϫ
ff
22
ff
(shadows...)
Just relax, you cute little thing! (shadows...)
? 22 Ó b
œ nœ nœ œ œ œ œ mf
C
It’s your fault. Stop freaking out!
(shadows...)
n œ^ n œ œ b œ^ # œ œ n œ n œ œ œ b œ^ # œ œ œ n œ n œ œ œ œ œ b œ^ # œ œ œ ‰ 2 23 2 J 6 o fff mp f
? M2 ¢
B
Well, it’s your word against mine, slut.
(shadows...)
^ gliss. ? b 22n œ n œ n œ ™ œ œ æ æ æ ææ æ æ æ
61
F
Who’d she sleep with to get that job?
Did you see those pictures of her?
ff
C
22
(shadows...)
& ‹
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Did you hear the rumors? Did you see those pictures of her? Who’d you sleep with to get this job, anyway? What do you expect them to think? Haven’t you been wrong before? Can’t you just take it as a compliment?
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It’s your word against mine, slut. I don’t have to listen to this. You’re trying to hurt me on purpose! You never believed me. Stop being such a whore! It’s your fault. Stop freaking out!
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That’s just how the industry works. Just relax, smile, show off those arms, you cute little thing. There’s no need to be a bitch. Do you have to ruin his reputation? Your looks are all that matter, anyway.
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