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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™™

˙™ ∑

-

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

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.

Profile for Joel Phillip Friedman

Continuance (Mezzo-soprano & cello edition) Joel Phillip Friedman (2016)  

A setting for mezzo-soprano and cello of an anonymous poem taken from the Findern Manuscript, a collection of 14th-century secular love poet...

Continuance (Mezzo-soprano & cello edition) Joel Phillip Friedman (2016)  

A setting for mezzo-soprano and cello of an anonymous poem taken from the Findern Manuscript, a collection of 14th-century secular love poet...

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