Graffiti Dell'Amante

LISA BIELAWA

Graffiti dell’amante for soprano and string quartet

2010 commissioned by Market Square Concerts and composed in residence at the American Academy in Rome

Š2010 by Lisa Bielawa

LISA BIELAWA

Graffiti dell’amante (2010) commissioned by Market Square Concerts and composed in residence at the American Academy in Rome

total duration c.27’ Performance Note Movements may be performed in any order and any combination, chosen by each audience by some means determined by the venue and situation. Each movement concludes with a solo “tail” that can lead into the “nose” of any other section, according to the instructions given to the soloist.

THE MOVEMENTS IN THIS SCORE ARE IN ALPHABETICAL ORDER. Absence……………………………………1 Desire………………………………………12 Devotion……………………………………19 Forgiveness………………………………..25 Ravishment…………………………...……28 Remembering……………………………...40

Program Notes Graffiti dell’amante is an open-ended musical-dramatic exploration of the multi-faceted predicament of the Lover.

Originally inspired by Roland Barthes’ playful yet poignant A Lover’s Discourse: Fragments, the piece uses various declarations of romantic Love from my own meandering reading to enact what Barthes calls the “Figures” of the Lover (I call these figures/segments “Absence;” “Devotion;” “Ravishment;” “Remembering;” etc.) These 3-5 minute segments can be performed in any order, or in subsets to make performances of different lengths – always chosen by the audience assembled for that performance (using the figure names alone). In this way each audience hears its own collective romantic consciousness reflected back through the performance. The Lover declares him/herself to, from, and through so many faces!

The first performance of a 15-minute version of Graffiti dell’amante was in Harrisburg, PA in February, presented and commissioned by Market Square Concerts. The complete version was premiered in May at the American Academy in Rome. I sense that it will continue to grow, possibly for years into the future, as more Figures present themselves through my reading.

Absence

Devotion

From “Cleopatra,” by W.W. Story

From two sonnets by Michelangelo Buonarotti Translated by Leonard Barkan

Hark! to my Indian beauty – My cockatoo, creamy white, With roses under his feathers – That flashes across the light.

Look! listen! as backward and forward To his hoop of gold he clings, How he trembles, with crest uplifted, And shrieks as he madly swings!

Oh, cockatoo, shriek for Antony!

Cry, “Come, my love, come home!”

Shriek, “Antony! Antony! Antony!”

Till he hears you even in Rome.

There – leave me, and take from my chamber That stupid little gazelle, With its bright black eyes so meaningless, And its silly tinkling bell!

Take him, – my nerves he vexes – The thing without blood or brain, – Or, by the body of Isis, I’ll snap his thin neck in twain!

From Graffiti d’Italia, London: William Blackwood and Sons, 1868

Desire From “Letter from Ohio” by Peter Campion

All this, dear sir, I’ve felt since we first met.

I’m moved by sweet and bitter, no and yes: It can only be the sight of your fair eyes.

From your caprice, I turn now pale, now red, Cold in sunshine, hot in wintry chill.

In your will I shape my every wish, From your breath I form my every word, My thoughts are born in chambers of your heart.

From Sonnets LXXVI (1533) & LXXXIX (1534), used by permission of the translator

Forgiveness [no text]

Ravishment From “To –“ by Percy Bysshe Shelley

And yet I wear out life in watching thee; A toil so sweet at times, and thou indeed Art kind when I am sick, and pity me.

From Poetical Works, 2nd Edition, London: Edward Moxon, 1839

Remembering From “October” by Eliza Griswold

And all the same desires come crashing back: incredible x-ed out scenes and afterwards the whoosh of traffic surf, our bodies bathed in the whole sweep of towers and freeways and meadows of purple loosestrife. I want it all: heat puddled in the chest, moments like handfuls of honeycomb: split, drizzling…

Used by permission of the author

My whole old life – I mourn you sometimes in places you would have been From Wideawake Field: Poems, New York: Farrar, Straus and Giroux, 2007 Used by permission of the author

Absence W.W. Story

Lisa Bielawa

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Some possible segues with other NOSES are given in parentheses. Find others!

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Peter Campion

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4 % $ $ ($ $ 2 ) 4$ $% 2 $$ .. . mf f & $ $% ( 4$ $% $ $ . 2 $$ 2 3 $ $ $4 .. mf

mf

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% $ $ ($ $ 2

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& $ $ 4$ $% 4$ $ $ .2..2. $ $ mp

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IF LAST MOVEMENT: repeat 4x and fade out IF GOING ON TO TAIL: repeat until JG enters next bar

! # # #

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TAIL

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7 use phrases between double bars in any combinations, adding material from nose of next movement at the fermatas if desired.

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(DEVOTION) (RAVISHMENT)

$$ % % % % $ $ $% $% $ $ % % $ $ % % '$ $ .: $$ $ $ $% $%'$ $ $ $ $ 2 56 $% $% % %

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(RAVISHMENT) (FORGIVENESS)

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(ABSENCE) (RAVISHMENT)

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Devotion

Michelangelo, tr. Leonard Barkan

Lively q = 132

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2 LB

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mp

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ry wish,

col legno

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3+3+2+2

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6 TAIL

All repeats are optional.

All tempi and dynamics are open.

Any fragment may be used in combination with others, or with NOSE of next section.

Some possible segues with other NOSES are given in parentheses. Find others!

) ) ) )+ ) # ' # ) +

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73

JG

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2) ) 2) 2) 2)

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,)

0) 2) (RAVISHMENT) (ABSENCE)

## * ) ) )

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p flaut., senza vib. ppp

p

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mf espr., con vib. mp

f

pp

mp

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p

ppp

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NC

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CJ

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NC

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pp ord.

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%2 2 %2 ' %2 2 2 %2 2 % % 2 2 ' % % % 2 % ##"" ## %2 2 %2 % % use repeated phrases as many times as desired

7

7

+ 2% %2 %2 ' %2 2 2 %2 % 2% 2 % 2 ," % %2 % " 6

continue harm. glisses on any string in any string order (you may also use repeated phrases above) end on: C string - Devotion, Ravishment G string - Desire D string - Absence A string - Remembering

! ! ! !! ! ! ! ! ! !!! !!! ! ! ! ! ! ! !!! !!! ! ! ! !! ! !!! !!! ! ! ! !! ! !!! !!! ! !!! !!! ! ( ( ## ( ( ( ( ( ( (

Ravishment

Percy Bysshe Shelley

Lisa Bielawa

Bright but Fluid q = 108

# !"

$

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NOSE (If this movement is first, NC plays NOSE as intro)

LB

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da

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use this box when Cello is playing rhythmic part

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mf

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JG: play these boxes intermittently until B

JG

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wear

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mp

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ad lib n

CJ

(.

(&

##

p

& && .

, &/& & (& & & & .

6

-

EJ: continue with boxes

&

mf

mf NC: continue to answer vocal phrases with one of these three phrases

6

48

pit

JG

-

y me.

pit - y me.

"

7 7

-

mf

(& & #

/& &#

y

& & # /&

/& &#

pp

& (& (& & & (& & & & & & &

pp

&

3

# ;

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3

)

&&&.

pit - y me.

(& . #

# & (& (& . #

mp

, 6

mf

mp

;

3

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& 0& & /<& ! &# ( & & " & & 3:2

3

3

$

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mf

3

7 7

& & &(& & & & & /& (& & & & & & (& & & & & /&(&

3:2

&# & & < f ( & & (& & (& & & EJ (& " 3

NC

>

rall.

me.

CJ

-

&&& &

NC: finish in this bar (cue off Cello)

,

51

JG

pit

* ** * 7 # (&(&(& & & & &# &* &+ & # & & # & 7 (&(&(& & & & & & & & & &

NC

LB

&& && &&

& .

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CJ

EJ

&

# (& /& /& & & & .

LB

3:2

.

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mf

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0&

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55

LB

JG

! &# #

NC

"

JG

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mp

(& & (& & .

%

&#

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&#

(*&& ## *&& &&+ *& /& # mf

& & /&

# )#

NC

"

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LB

& & & &#

& mp , (*&& ## *&& &&+ *&

64

(*&& ##

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NC

"

, )# ( *& # - &#

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6

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(& & & &0&/& && % & ' (& #

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6

mp

& /& &

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da da da

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CJ

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60

LB

$

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CJ

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1 & & (& & & 0& /& 0 & / & & '

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(*&& ## *&& &&+ *&

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mf

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8

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68

#

LB

JG

! # 6 #

CJ

NC

EJ

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, (*&& ## *&& &&+ *& - &#

& 0 & / & #( & / & #0 & / & # ( & / & $ *&

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6

& && & ' *&

mf

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JG

CJ

NC

EJ

JG: at "life" finish with this box:

# &3 &

& , (*&& ## *&& &&+ *&

- 0& & . " 0&

(& & &

&

' ##

JG

CJ

#

! #

# &&

, (&& ## * - 0& EJ " 0&

NC

& & &+ & &#

/& # & & *& *& &* # &* &+ 0& & (& & ' & #

&+ & & & ) %' & & (& & &

& # & & *& *& # *& & # & & *& *& # *& &* # &* &+ &* # &* &+ 0& & # 3 &# 6 (& & &

*& # *& (*&& ## *&& &&+ *& 0&

& 0& /& # (& /& # 0& /& # (& /&

&+ & & &

0& & .

77

LB

p non vib

2#

out life

! #

/2 2

##(

)

(*&& ## *&& &&+ *&

73

LB

I wear

0. in

##(

$ &+ & 0&+ &

& & (& &(& &(& (& & & &# & *& # *& (*&& ## *&& &&+ *& *& # *& (& # & & *& # *& *& # *& &* # &* &+ 0& & .

0& & .

0& 0& . watch

-

/2

0.

ing

(& & ' ## & & ##( & & & p & &&(& & /& & (& /& &0. & & & 0& 0. f A A # # * * * * * * * * &&& # & & # (& && & #&& #& (& && *&A # *&*& # *& & &*&+ &* # &*&+ &* # &*&+ &&. & && f && & (& & (& (& & & &0& & ff

thee,

(& & & & ##( & & & pp & $ && ( & & ##( # '# & 6 && & pp < ( && && /<..

8 " && ' ##

9

G 0&

81

LB

JG

CJ

NC

# ! #

#

&

&

ff

(&( & ( & /&/& 0&

&

ing

thee

watch

CJ: join EJ after c.10"

8 "

c. 10"

mf

( & & <& # & & /& # #( ' ## # & &

&

&

&

f

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watch

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&

( & & <* * + & & /&& ## && &&

&

&

(& & * * + & & /&& ## && &&

&

&

&

&

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&& & & & 0&& ## && && (& & 0&& ## && && (& CJ * * + && <* * + & & && < & & *&& ## *&& &&+ & ( & & *&& ## *&& &&+ (& NC & & & & ff 1 ( & && <*& # *& &+ ( & && <*& # *& &+ & & &# & & & # & & ' ## &&&& ##( EJ " && && && &&

mf

&& & 0&& ## * && &

mf

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&

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thee

(& & < &# & & /& #

&& (& & 0&& ## & < &

&0& &0&0& &

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ff

f

(& & < & & /&& ##

ing thee

( & & <* * + & & /&& ## && &&

f

&& (& & 0&& ## & < &

EJ: repeat until CJ joins

mf

-

-

8 "

& &

watch

&

watch -

(& & < & & /&& ##

/&

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ing thee

&& ' ## (& & ##( & & & pp &

,

85

JG

-

# 6

f

LB

& &

watch

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& & 0&0& &

(& & < & & /&& ##

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<* <* *& &+ B ( & & ! && 7 & & " <*& <*& B && && 7 (& & !" * + <*& <*& *&& &&+ B (& & !

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B $,!

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90

LB

$

thee.

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CJ

NC

EJ

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mp pizz.

# )#

96

LB

&# &#

* &

* &

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yet

mp

! <& ## & &+ # & && 6 *& / CJ # 0&& ## &&&& & < + mf <& # & &+ 0*&& NC ,

! & & & # &

<& ## & & . & && .

( <*& & f <*& (& f< *& (&

-

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thee

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( & (& ) % (&' (& (&3 6

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I wear

mf

100

$

mp

)#

& & & <&1 , EJ " %' % %' #

LB

f

<*& & <*& & <*& &

ff

JG

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$

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<* <& ## & &+ ( & & && & <*& 0<&& ## && &&+ (&

<*& & <*& &

<* <& ## & &+ / & & && & <*& /&& ##&&&+ & /& < <& # & &+ 0<*& & # & &0 &

< + 0<*& <*& && ## && &&0 & & )#

% &3 & ) # &

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p

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$

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<*& & <*& & <*& &

% 3 0& & * %&

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poco a poco cresc.

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$

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* % &

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* &

* &

wear

out

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3 % & & &# &# my

life

in

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JG

11

J 103 ff

LB: use bracketed phrases in any order, any # of times

&

#

LB

& & & 0& 0& /&

5 & & &

5:4

3:2

watch - ing thee

5 & & &

& & & & (& &

3:2

watch

ing thee

watch

&&

&

& & & (& /&

3:2

3:2

-

ing thee

REPEAT 3-4 x

! # 0& & & /& & & & & : & & &# & & & & & : # 0& & & & & & # & # #& ff & f & & & /& & & & & & & /& & & # & & (& & & & & & & & # # : : # CJ # #

JG

watch

*& * /& && *& * / & &&

NC

"

, ##

#

LB

f

&

0& &

f

106

&

&

3:2

ing

JG

&/ &

&

/& &

#

, &

NC

"

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&

0& &

&# & & &# &# & & &#

:

&

(&

&

3:2

thee

& /& & & # & & & &

& &&&

&

! & & &# & & # &

CJ

EJ

-

*& * < < < & & (& & : *& * < < & & ( & <& :

ff * * < << 0 & & / & & & & , ## & && & &&&: & & # & & & & & & & : ## & 0& & *& & /& & *& & (& & : f

EJ

&

watch - ing

& 0&0& & &&

&# & &

&

/& &

: # 0& & /& & : & & & # & * &* / & * & & ( & & &* <& < < ff

.#

%

& 0& /& #

&

Ah

thee

& & /<& (<& < : & &

& (& &

(& & & & & &

&

<& < < & & :

& & & & /& &

mf

&

<& <& <&

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mf

< < < & & & :

( & & <& ( <& <&

& && & & &

0& &

ff

/& &

<& ( <& <&

:

:

&

&

& &&

& & /&

(& &

& /&

& &

&

mf

&

mf

<& <& <&

:

:

12

108

#

LB

JG

#

& & /& &

&

"

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& & 0& &

&

TAIL

110

NC

,

&# & &

&# & & &# &# & & &#

&0& #

(& & # 0& /& /& &

:)

&

& /& & &

& 0&0&

& & /& (& 0&&& & & /<& /<& < : ) & & ff

&

& & &

& &&

(& &

& ( & & && & & &

<& /<& < &

& &&

&

& & &

& &&

& &

& (& &

& &&

& &

& /& & : ) <<<

ff & &&

/&

&

& & &

& &&

(& ( & & & /& (& (& .

0& & & &0&0& . & '

&

(& , /& 0& /& (& .

, 0& # & & & #

&

:)

& &

& (& &

& &&

& &

<& /<& <&

:)

ff

Use any phrases in any order.

All tempi and dynamics are open.

Any phrase or phrase fragment may be used in combination with NOSE of next section.

Some possible segues with other NOSES are given in parentheses. Find others!

(REMEMBRANCE)

3

0& .

&

(& (& (& (& (&

(& & (& & /& & /& &0&0& . % '

(& & &# & & & # & & 0& # & & & # && & (DEVOTION)

117

NC

& 0&0&

& # & & && & ( &

113

NC

&0& /& #

%

(& #

/&

ff

, &

NC

(& &

Ah

! # &

CJ

EJ

&0& #

(& #

(& & (& (& & .

&& (& & && ## && && &

(ABSENCE)

&

&& ## && && & # & & & # & & 0& # & & & #

Remembering

Eliza Griswold

! !$ ( #" ' &% % % # % % &% % % % % % #

Grieving q = 54

NOSE

JG

CJ

*)

( # !" $ ' &% % % # % % &% % % % % % #

+ !" $ &% % % # % % &% % % % % % # ( , &% % % # % % &% % % % % % # . ! , ( EJ " "$

LB

JG

CJ

NC

EJ

# 0

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My

*)

%#

) *%

%# &% % % % # %# %#

. ) " ) 11

LB

( %' % mf

f

# *%

! -) # )

% %#

mourn you

JG

mp

CJ

( ( ( (

%

whole

% &% % ) % ,

+

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EJ %# % ) " )

NC

mp

old

%

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( ( ( (

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%#

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NC

6

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Copyright Š 2010

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16

LB

JG

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you would have been.

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1

1

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C # !"

LB

JG

Solemn q = 80

1

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%% ## %%

CJ

NC

f

EJ

1 ))

%% ## (

-% % % *% % % * % % % % % # ! ( #" % % , %% f cantabile ) %# % )) %% ## + !" ( f

+ ! &% " "

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mf

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2 2

Urgent q = 104

mf

2 4)) 2 ff

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molto rit.

2 % % % % % % 3 % % 4%% 2 2

poco a poco cresc.

26

Burgeoning q = 72

mf

/ "

1

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LB

accel.

%%

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3 30

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(

1

Repeat is optional.

All tempi and dynamics are open.

Any fragment may be used in combination with others, or with NOSE of next section.

Some possible segues with other NOSES are given in parentheses.

Find others!

*% *% % % % % % % % % *% *% % % % % % % *% *% % % , -% % , use only for tail

3

*% % *% *% % %

bow as desired

%

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(RAVISHMENT)

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(RAVISHMENT)

59

CJ

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use only at end

% % % % % *) , 3

39

%#

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5 % % % %* % % % % * % % % % % % 5% % 5% * % % % % % %* % % % % * % % % % % % % % % , , , , %% %% % % 3 3

) + &)

34

%

old

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mp

CJ

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-% % -% %

(ABSENCE)

%# %

%# %

% % %

6 %

(DEVOTION)

##