Where there is Darkness, Light for solo Bb Clarinet
TONY MANFREDONIA Commissioned by and Dedicated to Jena Nahnsen, Clarinetist Copyright Š Tony Manfredonia (BMI) 2020. All rights reserved. www.manfredoniamusic.com
PROGRAM NOTES Written by Jena Nahnsen From the time I met with Tony at the end of Bayview Festival, I knew this commission was something that would change my life. I’m still not quite sure what possessed me to email him after reading his blog post about his long term awareness project with mental health and composition. The only thing I know is I’m glad I did. The thing is, at that time I’d accepted my past with anorexia, but hadn’t fully embraced it yet. I text Emily (my best friend) about this project and that I was scared to death. Even after meeting with Tony I was still thinking “What am I doing? I just told someone I met 2 weeks ago more about myself than a majority of people know about me.” A couple years passed before I even got the piece, but in that time I had a heartfelt conversation with my mom about what it was like for her to have a daughter go through this. Her answer was raw and kind of painful to hear. Obviously, at the time when I was at my worst I didn’t really focus on what my mom was thinking. Hearing her say in words how helpless she felt, how she would have done anything to take away this inexplainable mental illness. That right there gave me a glimpse into a parent’s love for their child. During those few years I also made it my goal to become more vulnerable in my playing. I received the piece in July. When I listened to the midi (with some imagination) I was moved to tears. Measure 207 where the element of hope finally comes into the piece is such a magical moment. Tony nailed it 110%. The use of multiphonics through the piece is so tasteful. The articulation, although difficult, captures the exact amount of anxt and relentlessness mental illnesses have. The “amen” like chords at the end really encapsulate the feeling of “I’ve got this under control, but this will always be apart of me”. As I practiced the piece more and more I was amazed by how I could relate to this piece. It really amazed me how drawn in emotionally I was at a single composition. (Sometimes the emotions were frustrations with difficult articulations haha). I was just afraid I was going to hold back when I played it for someone in this past fear of not wanting people to know about my mental illness. Which is kind of funny considering quite a few people know about it at this point. Tony was the first person I played it for and it was so exciting to be able to play the piece he wrote for him! I then played it for Jacob and it moved him to tears. I asked him why and all he could say was “I’m so proud of you”. Because Jacob out of anyone else knows my past, present and future relationship with this mental illness. When I found out the premiere had to be online due to COVID- 19 concerns I cried for way too long. I was/ am so excited to premiere this piece to an audience that a cyber performance would never give this piece in particular the proper premiere it deserved. Though, preparing this piece during a pandemic almost gave it a totally new meaning to me while still maintaining the original intentions of the piece. The title “Where There is Darkness, Light” made me start thinking of all the ways I could find “light” in this currently “dark” situation. Suddenly the two note beginning theme rejected the Corona Virus emerging, the chaos in the middle reflected the chaos that the country is currently in, the “hopeful” section at the end reflects the hope for the end of this virus and the silver linings that came with being quarantined. Monday April 6th at 1:30 “Where There is Darkness, Light” was performed for a cyber audience. The reception of the piece was amazing. One comment that stuck out to me from was Dr. Jonathan Sturm saying “Your collaboration with Tony has brought a very compelling, effective, and beautiful piece into the world!” For me, it was a bit bittersweet. It was amazing how many people this could reach being it was online. Last I checked the video had almost 700 views! I have a feeling once I play it for a “real audience” it will feel like a premiere performance all over again.
Commissioned by and Dedicated to Jena Nahnsen
Where there is Darkness, Light for Solo Bb Clarinet
Duration: ca. 10 minutes
6 &8
Tony Manfredonia
Distant, lethargic (q. = ca. 52) rubato
˙™
˙™
ppp
#œ œ
#œ œ œ
˙™
˙ ™ ˙™ œ #œ ™ ˙™ œ™ ˙ ™
In time (q. = 52) 19
&
Ϫ
pp
27
#œ œ œ
pp
9 6 & 8 #˙ ™ Œ ™ 8
36
45
&
54
&
˙™
#œ œ
Multiphonic fingering instruction moved to the right to save space for tempo marking.
œ™ ˙™ œ™ ˙™ & µœ ™ ˙ ™ œ™
˙™
poco accel.
œ™ œ
mp
˙™
# œ#œ
#œ#œ œ™ ˙™ œ mp
œ™ œ œ # œ œ # ˙ ™ pp
#œ œ
˙™
˙™
œ™ œ
#œ œ œ
˙™
œ
n œœ™™ ˙™ ˙™ ™ µœ ™ ˙ ™
Y™
U ‰
œ ™ œ™ ˙™
U j Œ #˙ ™ ¿™ ¿ ppp
***
#œ œ œ
¿ n˙ ™ J ‰ ‰ Œ™
3
#œ œ œ
U j ¿™ ¿ Œ
#œj œ™ œ œJœ œœ ™™ œœ ‰ œ™ œ
j œ # œ ˙™ #œ#œ œ mp
˙™
#œ œ
˙™
ppp
˙™
œ ™ œ#œ œ œ ™ #œ p
#œ œ
™ ˙™ œ #œj œ™ œ #œ ˙ œJœ œœ ™™ œœ ‰ ™ œ™™ ˙ ™™ œ œ™ œ pp
œ™ nœ ™ œ™ œJ# œ œ ™ œ#œ œ #œ ™
A little faster (q. = 63)
p
œ™ # œ œ œ ™
˙™
U r j j‰ bœ œ ˙™ œ œ™ œ
11
&
˙™
U ‰
mp
p
Œ ™ œ ™ 98 p
œ™ œ U ‰
¿ ‰ ‰ ‰ ‰#œJ nœ ™ J
f
p
¿ ‰ ‰ 41 #œ œ 44 -œ #˙ #œ œ œ -œ #œ ™ j 41 œ#œ œ#œ J #œ e = e rubato
f
mp
f
Copyright © Tony Manfredonia (BMI) 2020. All rights reserved www.manfredoniamusic.com
mp
f
mp
*** = Any time a normal notehead is connected to an "x" notehead with an arrow indicates playing the pitch, transitioning into an audible exhale ("x"). Prioritize the quality of the played pitch, prior to the arrow, versus the effectiveness of the audible exhale.
2 poco accel.
>œ nœ œ œ #˙ 1 4 # œ # œ 4 & 4<#> œ œ œ#œ. > . œ > n œ # œ 3 nœ#œ f > .
60
3
œ # œ œ ™ n>œ#œ # œ 6 #œnœ ‰ ‰ 8 #œ œ #œ #œ J More agitated q. = 72
˙
mf
f
cresc.
poco accel. >œ # œ > e = e œ ™ b œ # œ œ n #œ#œ J nœ#œ#œnœ n œ nœ#œ 6 3 4 œbœ bœbœn>œ#œnœ #œ#œ œ ‰ ‰ 8 #>œ #œ #œ. 4 . >nœ 8 & #œ . 3
65
mf
Ϫ
69
6 &8
f
fp
f
nn œ œ ™™
poco rit.
Bœ ™ p
Ϫ Ϫ Ϫ
A tempo (q. = 72) > . n œ # œ œ™ œ™ œ™ œ™ J Bœ ™ œ™
Ϊ
f
>œ >œ. œ œ œ #>œ œ ™ >œ#œ J œ#œ œ & J
80
&
œ
n œ # œ #œ œ
p
f
>œ. J #>œ f
Ϊ
>œ >œ. >œ. œ. œ n œ œ #>œ œ ™ œ#œ >œ. # J #œ > #œ. #œ J nœ œ. #œ. . > mp f
75
mp
accel.
p
Even more agitated q. = 80
f
n œ ™ # œ œj ˙™ œ ˙™ 6 8 nœJ ˙ ™ pp
>œ. # #œ. J nœ # œ #œ. . >
n œ # œ #œ >œ > > œ #œ. 41 nœ bœ nœ bœ 45 J
œ p
f
>œ. . >. . > b . . > > œ b œ. œ n œ . >. . n œ b œ . . n œ b œ œ > > 84 b œ n œ . . . œ . . > œb œ n œ . nœb œ #œnœ#œ 4 5b œ œbœ. œnœ. œ. b>œ. nœ. nœ bœ bœ b œ œbœ. n œ 4 &4 nœ poco a poco accel.
3
>œ. œ. . . œ. œ. . . œ. œ. . . œ. > >œ. œ. . . œ. œ. . . œ. > >œ. œ. . . œ. . œ. > # œ œ œ œ œ œ # œ œ œ œ # œ # œ œ œ n œ bœ 4 4 nœbœ 43 œ. #œ. œ. œ. œ. œ. œ 43 4 &4
87
Driving q = 116
ffp
f
fp
f
fp
f
>œ >œ . >œ. œ. . . œ. >œ. . # œ œ œ # œ œ # œ œ #œnœ#œ 4 > . œ 4 3 3 . . . . . œ#œ œ œ 4 4 #œ œ œ œ œ 4 &4 #œ œ œ œ. > # œ. œ œ œ. œ. œ œ œ. 3 fp f mf > > pp
90
3
# œ. œ œ œ. > . >œ. # œ. . b >œ. n œ. . . # œ. >. n œ. . >œ. œ . >. >œ œ#œ œ #œ œ. n œ œ œ # œ # œ n œ # œ œ 4 2 3 #œ 4 4 &4
93
f
mf
3
f
>œ . 3 3 3 #œ œ . œ 5 ≈#œ 4 &4 #œ œ œ. œ. æ æ . > # œ. >œ œ œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. ˙™ # œ. œ. œ. œ. œ. œ. ˙™ . . f p p sub. 99 >œ. . # n œ . . #œnœ ‰ 5 # œ # œ # œ ≈ ≈ ≈ ≈ & #œ. æ æ æ æ 4 # œ. œ. œ. œ. œ. œ. ˙™ # œ. œ. œ. œ. ˙™ # œ. œ. œ. œ. ˙™ # œ. œ. ˙™ . . . f p f pp 96
103
5 &4 æ # ˙.
æ ˙™ .
æ #˙
breathe as needed
4 4
2 4
molto rall.
œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. molto
3 4
Angered, erratic q. = 88 . . æ æ æ#œ. . . #œ. . æ æ æ#œ. . e = e . U # œ . 3 5 ‰ #œ . æ nœ #œ. æ nœ ‰nœ . æ œ #œ. æ nœ 2 ∑ 5 ‰ #œ. . #æœnœ. 8 æ #æœ æ #œ #œ. æ æ #æœ æ #œ #œ. æ 4 8 æ #æœ æ &4 . . # œ. œ. œ. n œ- œ ff n ¿J stomp ¿J stomp >> > > > ff >œ. n>œ. 115 # æ#œæ æ#œ. nœ. œ. . #œ. œ. æ#œæ æ#œ. nœ. 5 ‰ #>œ. . n>œ. . ‰#œæ ænœæ æ 2 ∑ 5 ‰ æ #æœ. æ æœ. 8 & #œ . #œ. æ æ ‰ æ #æœ æ æ #œ . #œ. æ æ 8 æ #æœ æ æœ >. œ. . #œ. 4 . . > n ¿J stomp n ¿Jetc. ¿ ¿ ¿J > > > > > poco accel. fp .œ . n>œ. a tempo (q. = 88) poco rit. 3 122 # > 3 . 3 3 ‰ æ næœ æ #æœ 42 ∑ 44 œ bœ ˙ œ n œ & #˙ œ nœ#œ œ bœ œ œ#œnœnœ œ œ œ œ œ œ œ œ n ¿J ¿ ¿ ¿ (f) . . . . . . . > > > > cresc. 128 >œ. . æ æ æ#>œ. . >œ. . æ æ æ#>œ. . e = e > > . 3 # # . Œ 58 ‰ #œ#œ. æ næœ #>œ. #œ æ næœ ‰ nœ#œ. æ æœ #>œ. #œ æ næœ 42 ∑ 58 & ææ ææ # œ #œ. . . . ¿ n ¿ œ. œ. œ. œ. œ. œ. œ. œ. ff J J >>> > > > 134 >œ. . æ æ æ#>œ. . >œ. . æ æ æ#>œ. . œ b œ œ #>œ. . nœ. > œ >. . > > . # # . #œ œ nœ nœ. œ 5 ‰ #œ . æ nœ #œ. æ nœ ‰ œ . æ œ #œ. æ nœ œ & 8 æ #æœ æ #œ >#œ. æ æ #æœ æ #œ >#œ. æ . . ¿J n ¿J n¿ > > > 108
4
> >œ œ # œ œ œ #>œ. # œ. n œ. #>œ œ œ n>œ. . # œ. n>œ # œ n œ >. . 140 n œ œ œ #œ. # œ > œ >. > . 2 5 # œ œ n œ æ æ æ æ æ æ æ æ æ 42 œ. #œ 4 nœ œ œ 8 & ¿ > Stuck; trapped >œ œ 145 p sub. (p) n # œ 2 5 ‰ ‰ ‰ #œ œ nœ#œ œ 8 &4 #œ. n ¿J œ. œ. >œ. œ. >œ. œ. œ. >œ. œ. ¿J > œ. >œ. œ. >œ. œ. œ. >œ. œ. ¿J >. . >œ. œ. >œ. œ. œ. >œ. œ. > (f) > (f) > > 152
& ‰ #œ. œ. >œ ¿J > >
158
5 &8
poco rall.
œ. œ. œ. œ. œ > > p
œœœœœ œœœœœ œœœœœ œœœœœ >. . . >. . >. . . >. . >. . . >. . >. . . >.
fp
4 4
œ
¿
pp
Ó
6 8
4 4
œ
¿
pp
5 6 8 j j 8 œ œ œ œ œ œ. œ. œ. œ. œ œ. œ. œ. œ. œ œ ™ >. . . >. > > > >
mp
pp
mf
pp
5 8
Ó
f
¿™
pp
>. . . >. . . ff œ œ # > 164 More urgent (q. = 96) . . >. b œ n œ œ. œ. #>œ. . n>œ. œ b œ œ >œ. nœ bœ 5 3 ∑ # œ n œ # œ n œ # œ . ∑ œ b . 8 4 & # œ n œ # œ > Œ ¿ ¿ ¿ n ¿ ff > > > > >. . molto rall. >œ. . >. >œ. 3 > > . . 3 3 3 # œ n . # œ n 3 #œ nœ œ#œ œnœnœ#œ œ#œ. 4 4 &4 œ # œ n œ #œ. n œ # œ nœ. œ n œ nœ. œ #œ >#œ # œ n œ . > ># œ >. n œ # œ ¿ ¿ > . > 3 3 cresc. mf > >
170
q = 144
174
3 3 3 4 3 3 4 4 4 & 4 nœ .># œ n œ #>œ. n œ # œ n>œ. # œ n œ œ. n œ # œ b >œ œ n œ w . . . . > >. >. > > >
q = 120
fff
4 4
˙™
œ# œ œ # w
mp
Hum (in Bb)
optional
#w
w
3 4
nw
3 4
5
° 3 2 4 & 4 #œ œ# œ œ #œ. #œ 4 ∑ 4 > >. w <#> œ > > f 179
fff
3 ¢& 4
Œ
œ
4 &4 w > &<#>w <#>˙
rit.
Œ #œ
& #œ œ œ
216
&
223
&
œ
3
œ.
p
228
&
˙
#œ œ
p
˙™ Œ
˙
p
˙™ ˙™
˙™
mp
Ó
nw
˙ ˙ ˙ #˙-
mf
œ
f
#˙
˙
short U Ó
# ˙-
˙™
p
Œ
w
˙
w
˙™
Œ
#œ œ
œj
œ œ
p
#˙
pp
˙
p
˙
Œ
œ
œ#œ
˙
Œ #œ >
mf
œ#œœœ #˙ #˙ 3
# œ œ œ n œ #œ
Œ
Relieved, hopeful. Freely (h = ca. 52)
2 2˙
˙
p
w
molto espr.
œ # œ #˙ ™
˙
p
˙
#œ œ
˙
˙ #˙ ˙
mp
#˙ ˙
p
˙ ˙˙
˙
˙
short U Ó
˙-
mf
poco a poco rit.
˙
œj
Œ ˙
3
œ.
∑
mp
œ œ n œ #œ ˙ U™ ˙
2 4
Ó
f
f
˙ µn ˙˙ #˙
˙ #˙ ˙
#˙
mp
poco
˙
w
Œ
>œ. . n>œ. . # 3 2 4 4 œ æ #æœ nœ 4 ∑ 4 w >
#˙
œ #œ ˙™
œœ
#w
ff
˙
f
mp
>œœ > .. ‰ Œ #w ˙
˙ n˙
202
œ#œ œ # w
Hum (in Bb)
œ#œœœ #w
˙™
194
4 4
∑
3
f
209
2 4
Œ
186
&
˙™
b œ. 2 > . . 4 #œ œ# œ œ#>œ. #œnœ 4 ∑ 4 œ >
Œ
> œ
mp
6 233
& ˙ ˙™ ˙™ & <B>˙ ™
240
œbœ
˙ U Œ
˙ ww w
Œ ˙™ ˙™ ˙™
Fermatas from m. 240 to end are not all equal in length. Up to performer interpretation.
#œ
w
U w
long
w
, #œ œ w
h = 48
pp
U Œ
ww w
˙™ ˙™ ˙™
U n ww ΠBw
ww w
w Bw nw
U ww w