Joel Phillip Friedman
Continuance for mezzo-soprano and cello*
* originally scored for mezzo-soprano and viola da gamba
www.joelfriedman.com
Joel Phillip Friedman
Continuance for mezzo-soprano and cello Commissioned by Jacqueline Horner-Kwiatek and ModernMedieval Duration: Ca. 5 minutes
World Premiere: February 11th, 2017 – Bruno Walter Auditorium, New York Public Library
Continuance is available through
www.joelfriedman.com
Continuance Performing Notes POEM no.3 (“Continuance”) by Anonymous, from the Findern Manuscript
Continuance Of remembraunce Withoute ending, Doth me penaunce And grete grevaunce, For your partinge.
(Modern English) The continuance of memory without end, does cause me pain and great grief because of your absence.
So depe ye be Gravene, parde, Within mine hert, That afore me Ever I you see In thought covert.
So deeply are you engraved, surely, within my heart, that I see you ever before me in secret thought
Though I ne plain My woful pain, But bere it still; It were in vain To say again Fortune's will.
Though I do not lament my woeful pain, but bear it still: It were in vain to speak against Fortune’s will.
When Jacqui contacted me about a project for her new ensemble ModernMedieval, newly commissioned works setting older texts and using period instrumentation, I jumped at the opportunity. She sent me a sampling of anonymous poems taken from the Findern Manuscript, a collection of 14th-century secular love poetry compiled in England in the late 15th century. It is generally thought that women wrote many of the poems although it is not definitively known. I selected the text “Continuance.” I not only loved the poem, but I adored the “exotic sound” of the Middle English pronunciation, which sounded to me like a cross between how French is pronounced when set to music, those “silent ending syllables” added and sounding, and how Scottish is spoken. For example: Con-tin-oo-an-cuh Of re-mem-bra-oon-cuh With-oot-uh ending-uh, Doth may pen-a-oon-cuh And gray-tuh gre-va-oon-cuh, For your par-ting-uh. Originally the song was composed for mezzo-soprano and viola da gamba. At the request of Jacqui I have adapted the piece to be played on modern cello. This gives the song a darker, more expressively romantic sound. The song is affectionately dedicated to Jacqui. Joel Phillip Friedman Continuance was commissioned by Jacqueline Horner-Kwiatek and ModernMedieval and was premiered by Ms. Horner-Kwiatek (mezzo-soprano) and Elizabeth Weinfield (vioal da gamba) February 11th, 2017 at the Bruno Walter Auditorium, New York Public Library, in New York City.
www.joelfriedman.com
With affection: for Jacqueline Horner-Kwiatek
Continuance mezzo-soprano & cello edition
Poem: Anonymous from the Findern Manuscript
Slow, freely, con dolore
Joel Phillip Friedman
sempre < q = q >
poco rubato a tempo
¶
h = 60 (with a quasi iambic feel -q h) Mezzo-soprano
b4 &b 2 Ó
4 2
√ ∑
3 8
Ú
U Œ Œ
3 2∑
6 4
short
Slow, freely, con dolore
poco rubato
U sempre h = 60 (with a quasi iambic feel -q ¶ -h ) , √ , q=q> Œ n œ œ œ™ œ œ < 4Œ 3 3 6 ? bb 4 # œ 2 ˙ 2 W ˙ ™ œ ˙™ 8 œbœ-nœ œbœ œ 2 w 4 ˙ #œa tempo
Violoncello
p
sempre < q = q > poco rubato A tempo 5
M-S.
b6 &b 4
3 4
∑
4 2
∑
Ú
sempre (quasi iambic, lean into the longer note) < q = q >
Vc.
√ ∑
3 8
p
2Ó Œ 6 2 œ 4 Con
poco rubato
Con √ A tempo , n ˙ , b ˙˙ , b ˙˙ ™ , ˙ # œ œ ™ n ˙™ ˙ w œ 3 J nœbœ 2w 6 ? bb 6 #˙ œ bœ 43 nœ 42 4 8 2 4 b œ nœbœ#œ w n œn œsub p
poco rubato 10
M-S.
b6 2 &b 4 ˙ œ ˙ œ 2 w tin - u - an - ce tin - u - an - cuh
6 4 Œ œ œ ˙ œ ˙™
œ˙
Of re-mem - bra - un Of re - mem - bra - oon
2 2 ˙ #˙
ce cuh
-
3 4
With With -
, poco rubato
Vc.
? bb 6 w ™ 4 w™
n˙ ˙˙™™ , # ˙ 2 ˙ #œ bœ 43 œ 2 ˙ #œnœbœ-
2 ˙™ œ 6 w™ 2w 4 w™
poco rubato rall. (h = 60) 15
M-S.
b3 &b 4 ˙
2 œ 2w
√ ∑
U,5 œ œ ˙ 16
4 2œœ ˙
a tempo
2Ó 2
6 4
Œ œ
out - e oot - uh
end -ing end - ing
-
(e), uh,
Doth Doth
rall.
a tempo
, Vc.
˙˙™™ ? bb 3 4
œ , ™ , 2 œ œ œœ nœ 4 n˙˙ ™ 2 bœ n œ 2 -
U w nœ w n œ-
poco rubato (h = 60)
5 œ œ œ√ 2 Œ ˙ n-œ œ 6 16 - bœ#œ 2 n˙ ™ 4 mp
© 2016 Joel Phillip Friedman Grey Bird Music All rights reserved
p
Revised 4.20.17
2
h. = 40 20
M-S.
b6 &b 4 ˙™
œ œ œ n˙
me may h. = 40
Vc.
˙ ? bb 6 ˙ 4
œ ˙ œ
pen - a - un - ce pen - a - oon - cuh
œœ ˙˙
œ ˙ œ œ œ
˙
And gre - te And gray - tuh
˙˙ -œ œ ˙˙ nœ
-œ ˙˙ nœ
2 4
œ ˙™ gre-va - un - ce, gre -va - oo - cuh,
-œ ˙˙
2 œœ œ œ œ œ œ 4 J
˙™ œ- ˙ ™
n œrall. a tempo 24
M-S.
-˙
2 -˙ 2
b2 &b 4 ˙
For For
9 4˙
your your
par - ting par - ting
rall. Vc.
œ ˙
œ
˙™
6 4 ˙
e. uh.
-
nœ œ ˙
par - ting - e par - ting - uh
a tempo
˙ ? bb 2 œ 2 œ Œ Œ -œ 9 ˙ 4 œ˙ 2 4
˙˙ ™™ œ
˙ n-œ ˙
6 n˙˙ 4
-œ œ
˙˙
n œ-
œ-
28
M-S.
b & b n˙
par - ting par ting
Vc.
˙™
port.
œ ˙™
? bb ˙w™™
n˙
˙™ ∑
-
∑
e. uh.
-
, -˙ œ œ n˙˙ ™™ ˙
U œ ,
œ ˙
œ œ nœ œ œ n˙ #œ
#˙ ™ nœ œ
B
mf
rubato rall.
poco rubato a tempo
32
M-S.
U ∑
b &b
6 4
3 8
∑
√ ∑
9 4
rubato poco rubato
Vc.
ten. -œ b,-œ brall. œ nU œ b œ nœœ œ bœbœ B bb ? #œnœœœbœ-bœnœ nœnœ œ
,√ 6 3 9 4 Œw ™n˙ œ n˙ 8 œbœ-bœnœœœ 4
a tempo
35
M-S.
Vc.
b9 &b 4
Œ n˙ 9 ? bb 4 ˙™
Revised 4.20.17
∑
œ œ˙ œ
∑ > b œ ˙ œ
˙
bœ™ œ ˙
œ œœ ˙
œ œ
3
molto rubato
a tempo
37
p M-S.
U ∑
b &b
3 6 4Ó œ 4˙ So So
œ ˙ nœ œ ˙ ˙ œ
de - pe ye day - puh yay
be bay
Gra Gra
molto rubato
<b> œ b -œ œ œ b œ Vc.
? bb
-œ œ œ œ œ gliss. a tempo Œ bœ œ nU bœ œ 3 ˙˙™™ 6 ˙ 4 4 w™
˙™ w™
œ n˙
˙™
p
passionately, molto espressivo 41
, ten. M-S.
b &b ˙
œ ˙
œ 22 ˙
œ 3˙ 2
œ
ve - ne, par - de, veh - nuh, par duh,
With - in With - in
Vc.
œ n˙
œ
2 œbœ 2 œ
bœ œœœ
min -e mi - nuh
hert, hehrt,
passionately, molto espressivo
ten.
Œ ˙ ? bb w™
œ œ3 œ œ nœ
, b œ œ ? &œ œ
3 b˙˙ ™™ œ 2
œ œ œ
mf sonore 44
f M-S.
p
4 œ 3œ œ œ œ œ ˙ 2
œ nœ œ 3œ œ 2 w 2
˙
b <n>w ™ &b
That That
a - for - e a for -uh-a
me may
Ev-er I you Ev - er I you
œ 23
see see
In In
colla voce
Vc.
˙ œ nœ œ œ b ? bb w œ f espr.
˙ œ n œ -œ -œ -œ bw 2 ˙ ™ bœ 4 w 2w 2w 3 œ
˙˙ œ bœ 23 ™ -
p
48
mf M-S.
b3 & b 2 œ œ œ bœ #˙
4 2 ˙™ œ w
3 2 Œ œ #˙ ™
thought co - vert. taw - ght coh - vert.
Vc.
™ w w™ ? bb 3 2
#œ Œ œ
œ n˙ ™
Though I Though I
ne nay
plain plain
My My
3 œœ œ œ œ bœ-#œn œ Ó œ --
bœ 4 3 nw 2 ˙™ œ œ #œ nœ 2 w w œ mf
52
M-S.
b &b
Ó
˙™
Ó
2Ó 2
œ œ œ ˙ wo - ful pain, wo - ful pain,
Vc.
? bb œ n˙ ™
#œ ˙
> an echo ˙ #œ#œ nœ œ œ œ 2 œw ˙ ™ 2
Œ
5 4 Œ #œ œ œ œ œ But But
6 4
But bea - r it But beh-ruh it
5 4 ˙˙ p
˙˙
6 4 œ nœ Revised 4.20.17
4 56
M-S.
f
#˙ ™ b6 & b 4 ˙™
Ó™
#œ œ ˙ n˙
still: still:
be - re beh - ruh
Vc.
n˙ ˙
œ
still: Still
œ ˙
œ
It it
wer - e weh - ruh
in in
, ˙ , ˙ ™ #>œ ˙ ™ # ˙ ™ > ™ ˙ # œ œ nœ #œ ˙ #œ #œ
, ˙ ˙
? bb 6 #˙ 4# ˙
it it
#œ
œ
mf agitato
declamatory mf
ten. 59
#œ ˙ vain vain
Vc.
to to
say say
3 #˙ ™ 2
˙ a a
nœ œ bœ ˙ ™
bœ n˙
gain gain
-
˙™
a - gain a - gain
bw ? bb ˙™ b˙ ™ n>œnœ ˙™ ˙™ bœ 3 w bœ 2 >
œ bœ nœ 4 2 For-tun - e's For - too -nuh's
doloroso slowly ten.
∏∏∏∏∏∏
M-S.
b #˙ ™ b &
-œ bœ Œ Œ nœ w b œ nw ™
Œ œ˙ w™
œ œnœ 42
p
63
M-S.
Vc.
b4 & b 2 ˙ b˙ #˙ n˙ will will
a - gain a - gain
b˙ ˙ ? bb 4 2
6 4 #˙ ™ For For
3 4 #˙ ™
˙™ -
tun too
-
4 2W
e nuh's
˙˙ ™™ ˙ bœ , 6 n#˙˙ , n ˙˙ , bœ 3 b ˙˙ n˙w # ˙ n 4 n œ #œ#œ 4 nœnœ bœ 4 nœ 2 nœ
mp
rall. 67
, M-S.
b & b <#>w
3 œ 2 #˙ ™
#˙ ™ For For
U œ ˙
-
tun too
-
e's nuh's
,A tempo p 6 w™ 4
U w™
will. will.
U n œ ˙ ˙ nœ ˙ ™ , -œn œ.,#nU nœ , <#> w œ w b œ œ 3 #œ #-œ n-œ#œ 6Ó ? bb 2 4 ˙™ ˙™ ˙ œ ˙™ # œ # œ n œ #œ 3 u p sub p A tempo
rall.
Vc.
Revised 4.20.17
March 8, 2016 Washington D.C.