Julian Philips_The Yellow Sofa_EP71987_Score_Extracts

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PHILIPS The Yellow Sofa Chamber Opera in One Act

Full Score

EP 71987

JULIAN PHILIPS

The Yellow Sofa Chamber Opera in One Act Full Score

ALLE RECHTE VORBEHALTEN

· ALL RIGHTS RESERVED

EDITION PETERS L E I P Z I G · L O N D O N · NEW YORK

dedicated to Ricardo Da Silva Esteves

THE YELLOW SOFA

Music: Julian Philips Libretto: Edward Kemp after the novella, Alves e Cia. (1887)

by Eça de Queirós (1845-1900) Portuguese translations: Ricardo da Silva Esteves

2

CAST AMARELA - A yellow sofa (low mezzo) GODOFREDO ALES - a small businessman (high baritone) LUDOVINA (LULU) - his wife (soprano) MARGARIDA - their maid (mezzo) MACHADO - Godofredo's business partner (tenor) NETO - Ludovina's father (medium baritone) TERESA - Ludovina's sister (soprano) MEDEIROS - (bass) ) friends of Godofredo CARVALHO - (low baritone) ) NUNES VIDAL - Machado's second (tenor)

ORCHESTRA 6 violins 2 violas 2 violoncelli 1 double bass Piano* Guitar Portuguese Guitar

* The piano requires some preparation just for the 'clock chime' listed below - ideally, a strip of light metal chain that inteferes with the piano strings, creating a gentle metallic rattle in the sound.

First performed at Glyndebourne Festival Opera on the 20th August 2009, with the Britten Sinfonia conducted by Leo McFall, directed by Freddie Wake-Walker.

Revived at Glyndebourne Festival Opera in August 2012, prior to a UK regional tour.

1. Overture (mobile 1)

3

on stage: GODOFREDO, LUDOVINA, MARGARIDA off stage: NUNES

The Overture presents a sequence of domestic harmony - the continuum which this chamber opera interrupts.

It should run for approximately 5-6 minutes in duration, while the audience members enter the performance space and find their seats. Detailed instructions follow below, but the Overture's overiding quality should be ordinary, uneventful and low key leaving us with the impression that the sequence could go on in this way forever.

THEATRICAL CONTENT The comings and goings of GODOFREDO, his wife LUDOVINA and their maid, MARGARIDA. The movement style throughout should be gentle, slow, even listless; nothing should be projected out to the audience - this is the inner world of the opera which the observer is allowed to eavesdrop on.

Entrances: GODOFREDO/LUDOVINA: each enters the performing space (3 times) when the door motif (3a below) sounds in the lower strings. This motif is heard intermittently throughout but both GODO/LULU should pick just three statements to trigger their entrances.

MARGARIDA: a more constant presence, she spontaneously weaves her entrances around GODO and LULU. On-stage business: GODOFREDO/LUDOVINA: Each entrance should have been motivated by a minor domestic concern, neither particularly urgent or pressing. If/when both on stage, LULU should notice GODO, but GODO not LULU. For three of GODOFREDO's entrances, he is held on stage by the clock chiming. This is triggered spontaneously by the pianist. For two of LULU's entrances, she should glide towards the piano, and lean wistfully on the end of it; this triggers the pianist to play a snatch of the waltz tune that is associated with her (see below). Neither the clock chime nor Lulu's Waltz can happen simultaneously; they must be events spaced out across the Overture.

MARGARIDA: is more animated than GODO/LULU but no more purposeful. She should definitely, even sulkily, acknowledge both GODO and LULU; only LULU notices her. When on stage, MARGARIDA should vocalise freely around the "Once in Lisbon" tune, singing to herself in an absent-minded, random way.

Exits: GODOFREDO/LUDOVINA: Only exit the stage when the door motif (3b below) sounds, cued by the conductor.

MARGARIDA: Comes and goes as she pleases.

All entrances & exits should be casual and ordinary.

MUSICAL CONTENT Constant sounds: 1. CLOCK TICK-TOCK - metronome 2. AMBIENT TWITTERING - 6 violins 3. DOOR MOTIF - lower strings 4. 'ONCE IN LISBON' - vocalised freely, MARGARIDA Intermittent sounds: 1. CLOCK CHIMES - 3 times, prepared piano 2. STREET CRY - sung 3 times, NUNES (off-stage) 3. LULU'S WALTZ - played twice, piano N.B. There should always be space between the clock chimes and LULU's waltz.

4

CONSTANT SOUNDS 1. Clock (metronome) q = 60 Cl.

 



tick

tock





tick

tock



etc.

















2. Ambient twittering (3 x 2 violins, players 1/2, 3/4, 5/6) - canons Violins 1-2: Play canon up to three times or until conductor signals the stop; the second time the sequence should be read backwards.

Player 2 should imitate player 1 in close canon, varying and responding to what s/he hears.

A

Vln

Freely repeat two cells in alternation; slow feel

(isolated single notes)* etc.    

(random  patterns  of repeated   notes)   etc. c. 30"

c. 5"

c. 15"

c. 10"

 

(rapid quarter-tone vib.)

 

c. 10"

c. 10"

c. 20"



sempre pppp

 

* highest possible note



B Freely repeat two cells in alternation; slightly faster feel     

  

  

c. 20"

(isolated single tremolandi)

Vln



    

   

      etc. 

(random patterns of repeated tremolandi)

etc.

 

(free gliss., upper half of E string)





 

C Freely repeat two cells in alternation; again, a little faster      

 

  

(isolated single glissandi)

Vln

c. 15"

     etc. 

 

 

(random patterns of repeated high glissandi)

Edition Peters No. 71987 Music © Copyright 2009 by Hinrichsen Edition Peters Edition Limited, London Libretto © Copyright Edward Kemp Translations © Copyright Ricardo da Silva Esteves

etc.

c. 15"



 

c. 5" (rapid pattern, sul pont.)







c. 25"

  

 

5

Violins 3-4: start when Vlns 1-2 reach letter B Play canon up to three times or until conductor signals the stop; the second time the canon should be read backwards.

Player 4 should imitate player 3 in close canon, varying and responding to what s/he hears.

D

Freely repeat two cells in alternation; slow feel c. 5"

Vln



c. 10"

(rapid quarter-tone vib.)*

 

 

 



c. 15"

sempre pppp

(isolated single  notes)  etc.    

(random  patterns  of repeated   notes) 

 

c. 30"

etc.



* highest possible note

E

Freely repeat two cells in alternation; slightly faster feel c. 10"

Vln



c. 10" (free gliss., upper half of E string)

 

 



c. 20"

   

       

 

   

      etc. 

(random patterns of repeated tremolandi)

etc.

Freely repeat two cells in alternation; again, a little faster c. 15"



  

(isolated single tremolandi)

F

Vln

  

c. 20"

c. 5"

c. 25"

(rapid pattern, sul pont.)

 



   



   

   

 

c. 15"

   etc.

(isolated single glissandi)

 

 

   

(random patterns of repeated high glissandi)

 etc.





Violins 5-6: start when Vlns 3-4 reach letter E Play canon up to three times or until conductor signals the stop; the second time the canon should be read backwards.

Player 4 should imitate player 3 in close canon, varying and responding to what s/he hears.

G

Freely repeat two cells in alternation; slow feel c. 5"

  

 

* highest possible note (isolated single notes)*

Vln







H

 etc. 





I

  

  

  

     

  

(isolated single glissandi)





c. 15"

 

(rapid quarter-tone vib.)*



sempre ppp

c. 20"

       

  

c. 20"

      etc. 

c. 10"

(random patterns of repeated tremolandi)

etc.

(free gliss., upper half of E string)

 



Freely repeat two cells in alternation; again, a little faster c. 15"

Vln

  etc.

sempre pppp

(isolated single tremolandi)



  

c. 10"

Freely repeat two cells in alternation; slightly faster feel c. 10"

Vln

    c. 30"

(random patterns of repeated notes)



c. 15"

   

   

(random patterns of repeated high glissandi)

  etc.

c. 25"



c. 5" (rapid pattern, sul pont.)









  

6

3. Door motif (lower strings, cued by conductor)

gliss., flautando

a) OPEN

   

 



p

Vla

  

 























p





 p











  



   







  

ppp

gliss., flautando







 ppp



gliss, flautando



p

ppp

p

  



      

ppp

gliss., flautando

  

 ppp

gliss., flautando

Vc.

Db.



gliss., flautando

p

  





b) CLOSE



  



















p













p









 ppp



 ppp

gliss., flautando



 ppp

gliss., flautando

p





gliss., flautando



 ppp

gliss., flautando

p







 ppp

7

4. 'Once in Lisbon' (MARGARIDA) MARGARIDA should only sing isolated phrases or even fragments, and not the complete melody. The tune can be embellished or even altered ad lib., and sung in any key(s). This vocalisation should simply be one part of her stage presence.

Sempre molto rubato

Ma.

  







Em

Lis

-

bo

-

3







3







a

mo - ra

- va

um

fil





-

3



ho

de







nin

- guém





mu - dar

o

fa



 

 Ma.

 

3



po



-



rem



re - ce







- beu

dos



3

pais





un

no - me





na

vi







3



pa - ra





 -

do



Ma.

 

3







Na - da

de

no



-





3

bre

-





da

tin

-





 3    



  





ma

re

ha

fei

-

-

-

-



Ma.



 



-to

fo

-



ra'o

3

   





- fre



- cer

a

mul - her um so - fá









a

3

-

-

 -

lo



Ma.

 



 o

-

fe

-

re

-







cer,

o

-









fe

-

re

-

cer,



Ma.









 a





mul - her



3

um



so

-





fá

a

3

 -

-

-

  



ma

re

-

 -

lo



8

INTERMITTENT SOUNDS 1. Clock chime (prepared piano) - play 3 times, but only when GODOFREDO is on stage.

Play this first and third:

        q = 60

   



  

 

mf mechanical (with preparation)

Pno

  

  







   

Play this second:

        q = 60

Pno

    

 

  

mf mechanical (with preparation)

  

 

 

 























1

2

3

4

5

6

7

8

9

10

11



















  







Oh

Oh



 



 



2. Street cry (NUNES) - sing 3 times, all off-stage 1st time: heard as p, in the distance 2nd time: heard as mf, nearby 3rd time: heard as p, in the distance again The melody must be sung each time at the pitch level indicated below.

Nun.

    Oh

 Oh

 



   

Oh

pe

-

dra

 pe

   -

dra

9

3. LUDOVINA's Waltz - piano, play twice This Waltz should only be played when LUDOVINA leans on the end of the piano; it should always be well separated from the clock chimes.

1st time: play bars 1-13 (with the repeat as required) 2nd time: play bars 13 (upbeat) to the end (plus the Da Capo as required)

Wistful e = c.100-110

  

1

Pno



 

pp

      









  

  

 (sim.)

@

        

              

5

p dolce

     

5









  



  9     Pno

  



 



   







  

  









 



Fine

 







      5



 

 

 



 



Pno

 15   

 

 



  



 



Da capo al segno

rit.



 

    

 

     











 (sim.)



 

      

 

5

  

    







10

ENDING THE OVERTURE The Overture should last for 5-6 minutes; its precise duration will obviously vary from show to show, depending on the audience.

When the time comes to begin, the clock stops ticking; at this signal, all other musical elements stop.

SILENCE which must be allowed to register theatrically.

LUDOVINA then gets up and winds up the clock.

Once she has wound it, the Prologue (no. 2) begins. . .

11

2. Prologue Slow, rhapsodic h = c.35-40

Am.

   







Lisboa tuning (D/d, A/a, Bb, E/e, A/a, B/b)

f

   



f

Slow, rhapsodic h = c.35-40

Db.

   

                                                    

           



       

6

   

   6

6





   





Gtr

    



Port.

Gtr



f

6



5

5

5

5







 pizz.

Db.  

  





  







 





 





            

 

VII

5

  

   5

5

   















f





5

 in









 





Once

     

 

rit.

Poco più animato

f

 

3



Ritenuto





 

      





rit.





       



 Gtr  

 





         

 

Port.

Gtr





 Am. 

5 Poco più animato

Ritenuto





3 3 12            Am. 

 

lived a some -one



who was



             Gtr           mf

Poco più mosso

1 h = c.45    Db.  mf





no



-



one

          6

mf



3



 

 

  

 



Port.

Gtr

Lis -bon

       

3





3

   



though his pa - rents

 



5



gave

theirson

3

a

      







  



name

3

     

 

   

 to

3

  

con - jure



fame

 3          6

 

 

 

 





  3           



più mosso 1 Poco h = c.45



II

 



12

2

 Am.  19

 Lu. 





p pure



Go

-

p pure



Ter.



Ma.



Go

-

p pure



Go

-

p pure

 

Nun.



Go

    Go

-

p pure

Mach.



Ne.

p pure



Go



Car.

Me.

Port.

Gtr



 

-



p pure

Go

  

-

-

- fre







do

-

- fre







do

-

- fre





do

-





do

-





do

-





do

-





do

-

-

 -

 - do

 -

 - do

  

- fre

-

- do

  

 - fre

-

- do





- fre

-



- fre

-

 - do





- fre

 - do





 - do



    

2  Db. 



do



Gtr



-

p pure

Go



-





-

He

had

ne - ver,

 















 















 















 













 

 





 









 















 





 









  

















     

     

 









3 3   

 - do

f





   

  





       

 

mf

mf







   



3





3

 

   

3  



mf





 

e - ver

done

One

 

   



thing

3

   







 



3

no

-



 





ble















in

3



3

his

 

 





Db.

    

 

to

buy his wife a yel - low

so - fa

  



               3

   

6

   

  

rit.

 

 





        

  

 

 



 

 A tempo h = c.45







  To

             f  

wife,

3



   f



     



his

più f



buy

Poco più mosso

4 h = c.50





  Gtr    

to



3





 





ten.



  Port.

Gtr  

ex -cept

 

3



life

rit.



3 26   Am.      

A tempo h = c.45

 f

   

mf

    3

buy his

    

  

wife

to

3           



mp

 

mp

 

Poco più mosso

4 h = c.50  mp





 

         

   

  



 

rit.

 



 

 

 3           

           



    

3



bus' - ness

Port.

Gtr

   



Neat his fan -

cies

  5      

 Gtr 

mf



       

mf

5 A tempo  Db.    mf

 46 Am.  Lu.

 

Ma.

Nun.

Mach.

Ne.

Port.

Gtr

Gtr





 



 







3

       

  

  

Go p pure

do-

-

- fre







Go

do-

-

- fre







do-

-

- fre





do-

-





do-

-







Go p pure

do-

-





Go p pure

do-

-





Go

do-

-

-

Go p pure



Go p pure

 

 

      

  



  

-



6







- fre

 -



- fre



- fre



- fre







-





-

-

5

  

E -ven in





-

-

-

   f





 

  



his



his



     





wild - est dreams

 

Ritenuto

 

3

3

   he

wished



 for

  

no -thing ex -











Al









Al



 

  



Al





Al





Al





-



- do



-



- do



-



- do



-

 Al



-

 Al



-

-



- do

Al

-





 



- do



 



3  3                              3                      

  





    



3

- do



f



f

- do

 -

     f 

- do



 - fre









small

A tempo primo h = c.45



 











p pure









 



fice

 

 

3



p pure



   

   

mf





-

Go p pure



  

  

so - fa

mf



 

  





6

low

mf

rit.

of







 Db. 

 

his

treme



Me.





-

 3                                     





Car.

6



 

3

 as

     





Ter.



-

 3  



  

yel

 

      



Am.

a

3      





5 A tempo

40

buy his wife





  





3         

  Db.  

to

Ritenuto 3



  Gtr  

   

3



  

wife

 



Port.

Gtr

 



buy his



13

più f 5





3



   Am.  33

A tempo primo h = c.45

   



 



f



Who

had





 

















 

























 











ves





ves

  



  



  







ves

ves

ves

 

ves

  



  



ves

ves















 





3







 





3





   

mf

 

mf







 

mf

 

14

7    3 Am.  

rit.

 

ne - ver,

Port.

Gtr

    



e - ver

seemed

3

  

7   Db.  

 

at all

no - ta - ble

   

            6

    

  Gtr     

  







 





3

in

 

3

his

 







       

3

                

3

 





3

3

life

ex -cept

  



  





3

53

 



   



he



bought his wife,

        



3



    rit.

 

 

he





 





 



A tempo h = c.45 più f

    

yel

so



-

fa



A tempo h = c.45





3







mf





He









  







 

 

- low

  

   Gtr  

Db.

 

3

    f 



   



buy his wife a

3

  



    



Port.

Gtr

ten.



58

   







 Am. 

più mosso 8 Poco h = c.50

f



f

bought

3





his

wife









ex - cept

he

                 



mp

 

   



 

mp

più mosso 8 Poco h = c.50 







 



mp

  



           

      

3     







his

wife







he

                  

  Gtr     Db. 

 



  



 

  

bought his wife

        

              3 

3

       

5

    

  rit.









a

yel

 -

           

 

      6            3

3

-

-

-

-

low

 

  

 





mf

 

 

       f  

mf

Molto rubato (colla voce)

attacca

so - fa

  

mf

3



Port.

Gtr



   



bought

3

A tempo h = c.45

più f



63  Am. 

Molto rubato (colla voce)

rit.

f

 



A tempo h = c.45

attacca

 

f

15

3. A Scene Mach.

God.

   

Allegro scherzando q = c.150

  

  Port.  Gtr.





























 

             









 

             









    

    

  Gtr    

    

    



   



f

f metallico

Allegro scherzando q = c.150

Vln 1-3

             



p leggiero

 

Vln 4-6





Vc 1-2





  pizz.

Db.      



p leggiero

f

 

p leggiero

 

      





    

             

        

        

   







p leggiero

 



      

         

Vla 1-2

          

         

f

f

            3

   







  



  

     



  

             



f

      

       



f









mf



     mf

  

arco



mf



8 Mach.  



Vln 1-3

     



    



Vln 4-6

9



9



 

 

Vc 1-2

     

Db.



 



mf

   



Don't



      

 





    



 

too

 

   

late

 my

           

   

                   

                   

            

   

                    

                  

             

   

mp poco marcato

      

work

   

                

mp poco marcato



   

                  mp poco marcato

mf

Vla 1-2





mf







mp poco marcato

  

pizz.





mp poco marcato



 



 

 

    



   



 

 



 











 

16

  Mach.  

10

15

God.

Vln 1-3











   



friend

           Vla           1-2   Vc       1-2    Db.      Vln 4-6











   A

   

mf

You're

             



mp leggiero

   



off?

   

   

It's

not

yet





        







        





   





10 a3                       



           mf





          1.







        

a3

p leggiero

             mp

mf



p leggiero

mp

4.

 1.



four

1.               





f













  a2

mp



22                Mach.   lit - tle af-fair I must at - tend to.













 Pno







 



 





         

why

don't

you

1-3

mp



mp

                                       

Vc 1-2











mp



 

























1.

sfzp



4.



       mp

a2



      

      

                                   

Vla 1-2

 

mf

your - self?

6

mp



                                         Vln         Vln 4-6

go







sfzp



3.

1.      2.                

     5.         







1.

2.             mp



17

  Mach.        Close up the shop,

    

mf slightly more forceful

29





go catch a show





più legato

I







know

your







wife

will



  

un - der - stand





A

                   f

Pno





   Vln  1-3 

mf

tutti

 

Vln 4-6



  



mf



  

Vla 1-2

mf



Vc 1-2









 

                           f



                              



   



mf

    (pizz.)

  



mf

             











f



pizz.

   



mf

f

pizz.



f





  



mp legato

  



 

pizz.

f

mf

 





mf

mf

tutti



                                   

         

tutti

Db.

   

mp



3



   



f

     



f

pizz.

   



f









11 cresc.    Mach.   man 35

11  Vln  1-3 

Vln 4-6

 

   





can work

too

hard

 

arco

arco



sure

  

   

 

   

p poco a poco cresc.

    Db.   arco

   

p poco a poco cresc.



  

  

   

       

 

 

   



   

       



   





 

   

   

grin - ding down

        

     

                  

mf

And

p poco a poco cresc.

arco              





                              

p poco a poco cresc.

Vc 1-2

I'm



arco

p poco a poco cresc.

Vla 1-2

   



    

the

        mp





mp

   



gan - der

Is no

use

     







mf

 

pizz.



f

pizz.

 



pizz.



f

               

3     







  f

 





pizz.

 f

      mf





18

Rubato (colla voce) 12 A tempo

Mach.

  

God.



     3





Db.

  

f







Good

   

day

Ma

-



   

   

cha -

do.



arco





  

arco



pizz.





mf poco marcato







mf poco marcato



  





 



work



arco



and no

  

p dolce



    



    















                        

                  

mf poco marcato



All

 



pizz.

mf poco marcato arco

        



                       p

           

    





A tempo

   



 



    

Vc 1-2









  Vln   1-3 

Vla 1-2



to the goose.

Rubato (colla voce) 12

Vln 4-6

p dolce flautando

f

42









   



   

 



 

pizz. p



p dolce

     







p

   Mach.   play 49

God.

Vln 1-3



  

Vln 4-6 Vla 1-2

mf blunt



Good

day





 



(now offstage)

poco più f



All

work



   



Ma

   

-

cha

no

play,

   



-

mp

mp

   

 









mp



mp

         





 3    





mp



play

no

  







and



- cha - do



 

 





     





  

          Ma

  

  



do

    





3

3

     



    and

(mf)

13 



 

13









Vc 1-2

Db.

 

Machado leaves

 

Good

  













  



     







 

     





14

      God.  56



Mach.





day

Vln 1-3



       



 

Vla 1-2



Vc 1-2

Db.







 

 

 





                 mp piu leggiero

A lit - tle af- fair

  

Vln 4-6



a fair

one





mf

I'll

bet

 

f

 



Ma -

a3    14      1.                                                               p leggiero

   



  



1.

  





  

pizz.

f

mp

                                 

pizz.

arco

p leggiero



          

 

mp



f

                                       mp pizz.

arco

mp









f

a 2, pizz.

 

f













19

63



cha

Port.

Gtr.

-

 

Molto ritenuto





do





God



   

3

what a



p dolcissimo (falsetto)



 

dog

Lis



 - bon's





accel.

3





own

Don







Juan

    



   God. 

Rubato (colla voce)

p leggiero













  

 

 

 

Vla 1-2

 



Vc 1-2

 

 





Vln 4-6

Db.













        













6

p leggiero



mf

Pno

Vln 1-3





Gtr

     



 

 



 



1. arco

 



 

  





     











 









 

 



 









 



3

p dolcissimo



          

arco







          

p leggiero















 1. arco

  

 



p dolcissimo



p leggiero

3





arco



 (pizz.)





p



A tempo primo

70 God.   Port.

Gtr.



          

      

     Gtr        Vln 1-3

      

Vln 4-6

 

Vla 1-2

Db.



 



       

girl

    for

e



   

   















       His

life







                    

        



  



  

  





             

                 

       



 

 

 



  mf

   



mf

          p





mf arco

  

         mf



  

  

p

A tempo primo

15 (q = c.150) a 3 (arco)                          p

a 2 (arco)





p ma poco a poco cresc.

noon



    



af - ter



       



v'ry

3



      



   

  

mf



-



  







A

         

   

Vc 1-2



 

15 (q = c.150) f bitter      

 

  



 

   

   

  

 



     

 



 

    

pizz.

pizz.

  

pp poco a poco cresc.





20

           God.   77

Gtr

     

Pno

life

would



       

  











  pesante

    

  

 









 

   

     



   

pizz.

mp

p

Db.  







mp

mp

mp



 

  



 



  

   



    God. 



Port.

Gtr.

Pno



      

Vln 1-3

  

Vln 4-6

Vla 1-2







arco



 

   



    



 



    



          

 

     

 

 

      

 







 

 

     

 



 

    

      mf











     





f







f

17 A little slower q = c.130



 





  



     

 

    

 

     

 

   

   





p









3

3

 



 



pp



 



 3





  

3





3  









Have



dar -

 























      

   3

p

p dolce

























p dolce





 

p

3





      



1. arco



 

p





p







p









pp dolce, flautando







 

 









Sul G



    

      



  













mf

 









 

f

rit.

     

f



        3







   





but I,

I,

    

fff

I



   

 

Db.

I

   





But

    

 84

   

f

f

mf

arco

 







   

    

         

    

mf poco a poco più dolce

    

      

arco



     

mp

pizz.



out









                                     



 

Vc 1-2

me



  

Vla 1-2

life would wear

    



  Vln 1-3  Vln 4-6

His



16





His

 

f



    

  



   

  

   



    



 

God.

Port.

Gtr.

Pno

91  

 -

 

 



Lu - do

    

3





3





3





(1.)

 

3

(5.)

      

  







3











3  





3





3





  

(1.)

Db.



ling

(4.)

Vla 1-2





vi

                         

 Vln 1-3 

Vln 4-6



   



 





  







  



  



  

-















 













3





  3





3

 



3





  3





 







  3 





  







  





     

3

   

 

  

3



  



pi - ning

for

at

na

 

3



-



3

3

   

-







 

3

 

 

      

             

 



     















3





3













3

3

  

 

21

 

 

me





   



   

 

          





  





 



98    God. 









home



3

  

 

my

lit - tle

Lu

 -

-









   

all

a - lone

lu



 Pno



  Vln 1-3 

Vln 4-6

Vla 1-2



 





3









3

 

3



 



  







3









3  







3







3



  

(Sul G)

    







  

   Db. 

3



  

Sul D

   



     

 

            

        



     





3





3





3

  

 



3





     









3







3  









3

3





  

    

  



     



 

  

 



3



3

  

3





3



    

3



 

3





  

  



   



 

 

-

        

3

3

   



u

                                               Port.   Gtr.  







    



   

  

22

 God.  105

 



-

our

pon



          Port.  Gtr.      3  Pno



  

Vln 1-3

 

(1.)

  3



   3 





 

 

(5.) (Sul G)

  

low





 

  







 

3

-

  

  







3











 

  

 







 

  

 





           

(tutti)







   

  Vc       1-2  p      Db.  









  

   

 



  

  

 

3

Oh



3

    

 

fa



        



3

3



(1.)

Vla 1-2

so

-









3

   



yel



(4.)

Vln 4-6











how I





3





3





      

2.

pp

3



   God. 

 

112

Lu

Port.

Gtr.

     

Pno

Vln 1-3

    

Vla 1-2

-



  

-





 3

lu,





  





 







 







  3









  3

  



         

 





 



  

 

Db.  

     

 

 















-





   

lu,

O

        







3









3  











       

  3

  

Lu

 

3



 





          









 

pp







     







   

       

18

(prepare piano)











6.

      

How?

3

  Vln 4-6

-





 



you,

            

 ppp flautando

love

3

  



 

  

 

 



   

3



3

 

 

 



  

    

 







      



 

3



     







3

  

    

 

 

   

q = 60, precisely

The clock strikes four



 



            

  

mf mechanical

  

  

    





 

     





 



 18 



































 





















Ritenuto (colla voce)

A tempo primo

19 (q = c.150)   God.  



   

How,

       a3







how,

A tempo primo (q = c.150)

19   Vln 1-3  

      



p cresc.

 

Vln 4-6

  p

117





unis.    











 

p cresc.

Vla 1-2

Vc 1-2

Db.



 

             





     

















   

    











I

for

-

get

the

f

 









        f      



mf



f





could

       

f

a2







how

  



         f

  

 

  



23

    



f



20 A tempo

  123

Am.

God.









  



3  

The ninth



 (without preparation)





    

   

   



      

   

  



mf poco marcato



Vc 1-2

Db.











mf poco marcato pizz.







mf poco marcato

 

-

ding





an

-





ni

3

   







mf        

  

How

we

- ver - sa - ry



mf

f

      

mf poco marcato

wed

    

                   



mf poco marcato







of May

   

Vla 1-2



3



20 A tempo  Vln      1-3        Vln 4-6

 their

3

day?

 Pno



 

21

mp (mimicking Godofredo's Lulu song)

















mp

    

 



         

  













      

              

                     

              

                    

             

p



 



  3  



3

p dolce

mp poco marcato





mp poco marcato













   







mp poco marcato

 3  

 

3

p dolce



could









 

mp poco marcato







mp poco marcato





















24

  God.  130

Vln 1-3

both

have

let

that

slightly more forceful



3 3     

pass

3     

Ma -cha -do's right

I work too

 

più legato

3



hard



We spend too

 ma

 -

ny

     

            

                   mf

        

                               

   

            

                mf

 



 

   

           

                     mf



 



                         





  



   



   

Vln 4-6

Vla 1-2

 

Vc 1-2

Db.



         





 





























mf

















   



mf

mf



mp

                      mp

mp

 

  

mp legato







 3 137   God. 

Pno



hours

   

a -

 





22 



part

                f

             

f

    

Vc 1-2

f

Db.













 



f



to

make

a -

mends























   



   



 

    

f bright

arco

arco

arco



time

arco 1.

f

pizz.

the

   

  



now's



pizz. arco     

   

Well





Vla 1-2







f







pizz.



 

    f







Vln 4-6



       



f



                            



f



         







22

    Vln 1-3  

pizz.

f determined

f

  

      

  



  



  



  

   

    

  





   

   





   



  God. 



143

1-3

 





  



 

a 3 (arco)

   

       

f



        

       

     



      

    



    





   



f marcato



flowers





    







f marcato

f marcato

 

p

cakes

      



     

f marcato



p



p



p



Port.

Gtr.

He's given a small box of cakes





A tempo primo

     A

  

He's given a card in an envelope

card

 



 







 

mp

  

And



 then,

      



mp

Gtr

  

  Vln  1-3  

 











     

Vla 1-2

Vc 1-2



 

  

   









f marcato

 

f marcato





          

      

p

p

p

p





Recitativo

f marcato

Vln 4-6

     





 



      f marcato

  



   

f marcato

     



f marcato





   

    

 

p

p

p

p

   

    



148   God. 

Recitativo



A tempo primo

mp

  

 

  

 

    

 

 

p

    

      



p

 

          

          

p

 Some

 

p

25

Recitativo

He is handed flowers

23

 



f marcato

Vc 1-2





     f marcato

Vla 1-2



some

  Vln    Vln 4-6

A tempo primo

23 Recitativo

   

24

26 153   God. 

    



 



 

The

gol - den brace



f

-



 



let

by

door

the



      



f

p





    



  



  Gtr    

    



      



Port.

Gtr.









  

p poco marcato





 

























  

In

Can - tanh -



  





                 p

Pno

   

Vla 1-2

  

Vc 1-2

Db.





   

  

  

     

 

 

f



pp sempre leggiero

 













 



   











  

 



f

p

         

          

f



3

pizz.

pp sempre leggiero pizz.





 

 

    









 

                        

 

pizz.

pp

f

   

Vln 4-6

          

    

  Vln  1-3  







    

 





   



  







 









 



 





mp

   



 

pp sempre leggiero

 160 Am. 

God.

Gtr





 





ede's

  





 



  

   

 



Db.

 

   



 

 

   mp























 







 



 

  











   



   

  

p



 

   

p

p

p

on

its

mp



A

sign

that

    







               





    



 

 



   



     

      



    

   

  





p





 





mp



    

    







tail

 



 

  







    



bi - ting

               



   

        

   

  

ser - pent

store

3

Vc 1-2

 







 Vln   1-3 

Vla 1-2



3

jew'll - ry



Vln 4-6



The

 

Pno



mp

 

 





love





ne - ver

 

 



 

 







 

   

    



         

will



 

   



 

 



27

  Am.    166

cresc.



But





will

en

-

dure

fail

For

  Gtr      



 

   





But

e

-

ver

  



will

en

-

-



  

   

   

 3  

for

e - ver



     1.2

Vln 1-3

    3.

 



  



 

 



 

   4.



   

   

   



   



  









    

    





          



   

   





    

    

  

 

  

 

mf



3

Lu - do - vi

-

   3

more

   



   

 

-



  







       

    

Pno

     



dure

more









  

    



3

 





  cresc.   

   God. 

  





 

 

 na



f

       



mf

   

 mf

 mf

  

mf





arco



pp





  

 

  

 

arco



pp



pp





  

5

 

5

 

5

 

Vln 4-6 5.6

  

Vla 1-2

Vc 1-2

  

  



     

 Db.   

 



  



 

    











   

 

   

 





  

 



   

 





  

  3

 





 









 







  

pp



unis.

   

mf



5      



 

arco



 

arco







pp



  





pp







pp

mf

 



mf

mf



5



 

  

 



5

5





attacca

28

 Am.  172

God.





 

25 Molto ritenuto (colla voce)   





f

3    

Lu - do -

vi

 -

-

3

 na,



 



 



    





Lu - do - vi

                          



5

f

Pno



 







 -

-

na!





 







 

5



25       

        

         (3.)

6

fff

        

        (4.)

6

fff

attacca

molto rit.





 

gliss.



fff Vln 1-3



fff

                         

       

6      

(1.2)

molto rit.

p flautando, dolcissimo (falsetto) 3





Godofredo opens the door

(On the threshold)

  

 



  p

ff

      





 

gliss.





 



  p

ff

      





 

gliss.





  

  p

ff

Vln 4-6 (5.6)

  

       

    6

      





 

gliss.





fff

  

6

Vla 1-2

   



      

Vc 1-2

        6

     Db.   6

fff

         fff



  p

ff

      





 

gliss.

 

fff

      

 

(div.)

  

  

  p

ff

     

gliss.





 

 

  



 



 p

ff

      





 

gliss.

 

  ff

  

  p

29

4a. Tableau 1 The picture of Ludovina and Machado on the sofa is created

26 Senza misura, free tempo From fig. 26 - 30, the choral voices are freely synchronised, remaining very much a background effect until the crescendo at fig 29 brings the sound to the surface.

MARGARIDA/NUNES/MEDEIROS should sing the precise number of notes indicated, spaced out across the bar OTHER VOICES should freely repeat their patterns, varying the gaps between each statement LULU/MACHADO/GODOFREDO - notes/rhythms are simply are guide; the three characters deliver their dialogue freely over the wash of choral sound.

Ludovina



breathy, forced sighs

  

Go

-

   

 

-

do

fre

-

do

 

 

hard interjections

 

Machado

Al

Godofredo

Margarida

 

  





p molto legato



LU

Piano



Vln 4-6

Vla 1

Vla 2

Vc. 1-2

Db.

-

DO

-









gently repeat, ad lib.

VI

gently repeat, ad lib.

-



NA

 LU



LU



 gently repeat, ad lib.



LU

p sempre poco gliss.



 

p

LU



 gently repeat, ad lib.





DO





LU



DO

LU

 



 



 Vln 1  

Vln 2-3



p sempre poco gliss.



 



misura, free tempo 26 Senza 1. 

     

pp 2.



3.



   

pp

pp

4.

5.6 a 2

 

supressed shouts

What?

LU

 

Carvalho

Medeiros



 

Neto



LU

 

Nunes

 

LU

 

Amarela

ves



p

p molto legato

Teresa

-



pp



pp

 pp



pp

 



 



pp

pp

Scratch tone, (pitchless noise) Imitate Ludovina's words:



sempre mf

   

Go

-

do

   -

fre





















-





do

Imitate Machado's words:



Sharp stabs sul pont. (pitchless noise) sempre sfz





Al









 

-



ves

Slap body of instrument sempre ff





Imitate Godofredo's words:





What?

30



2

Lu.

Mach.

God.

Ma.

27

 



 

It's...

Not...

  



Not





You...



  



DO

Ter.

DO



 



DO

Am.

 

LU

Nun.

Ne.

 

 -

DO

 repeat, ad lib.



-





-

VI

NA





DO

VI

DO

  

  DO

Me.

-







DO

Car.

  repeat, ad lib.

repeat, ad lib.

DO

 





  

repeat, ad lib.

VI



DO

27   Vln 1 







VI



LU

DO



 

It's

Vla 1

Db.

 



not

  





Not





 You...



31



3

Lu.

28

 



You...

  

Mach.

  

You

God.

Ma.

It's

 

 



It's...

Not...

  



VI







  LU

-

DO

 -

-



VI











-

NA

   VI

Nun.



Ne.

 

repeat, ad lib.

VI

 

Car.

VI

Me.



 

VI

repeat, ad lib.







NA

DO

VI





VI



VI

Am.



VI

 repeat, ad lib.







NA



 

Db.  

 repeat, ad lib.



NA



LU

28    Vln 1

Vla 1



NA

 

Ter.





DO

 

VI



you

  

  

You





it's

 

  

It's...

Not...

32



4

Lu.

29

   

almost fainting



Ah!

 



Mach.

I

f intense

God.

Ma.

 



Don't



  

NA

 

Ter.















-

VI

-







LU

DO

VI



 repeat, ad lib.



NA

 

Am.

LU

-

DO

   NA

Nun.



Ne.

 





NA





repeat, ad lib.









LU

DO

VI

NA



 repeat, ad lib.





NA

Me.



NA

NA

  

Car.





NA

 repeat, ad lib.

 











NA

LU

DO

VI

NA

LU

29   Vln 1 

   

(quivering glissando effect, scratch tone)





Ah!

(enter imperceptibly, cresc. molto) a2

Vlns 2-3

   pp

(enter imperceptibly, cresc. molto)

Vlns 4-6

   pp

Vla 1







 





I

(enter imperceptibly, cresc. molto)

Vla 2

   pp

Db.













33

In tempo q = c.150

30 (preceding scene)      God.   



5

  Gtr  

        

sul pont.





ff

tempo q = c.150 30 In (preceding scene)   unis.        Vlns        1-3

ff

mf

    

Vlns 4-6

 

Vla 1-2

mf

mf ff unis.

   



   

  

              

mf

   







 



mf



       

     

      

   

      

        

ff





 





3          God. 

Gtr

Vlns 1-3

 









mf

   



   

-

          

mf

  



ff



            







mf

      

   



-

ff

  

 

-











15  God. 

Pno

Vlns 1-3



3   

One

of





you





      





ff



  



ff



    



ff

f

3   





3

re - turn



         

 



mf

                 

mf







   

  



mf pizz.

   



         



mf

ff







  

mf

will

     

    

 be





    

 

   

              

  

       

Vla 1-2

 



Vc. 1-2

 

   

    







mf poco a poco dim.

       

mf poco a poco dim.

 



 



    

gone

mf poco a poco dim.

mf

Db.

ff

 



      



ff

When I

ff



  



He goes out

mf

Vlns 4-6

 

gain

        



    

   

            



ff

Db.



mf



 





    

ff



ff

    

       

ff

a

mf



    



VIII                                       







Vc. 1-2

out





Vla 1-2





 

Vlns 4-6

ing



 

ff molto marcato

-



ff

10

go

mf



mf

ff

   

  

ff

I'm



ff

ff

    



 



mf

ff





mf

    

ff

Db.





        

  

   

       

ff









ff

 

Vc. 1-2





    







                 

             

 

            

       





     

  













34

Godofredo opens the door once again

19 God. 

 Pno

rit.

  

    





  



   

 





  



  

rit.







 

   





 







  

  





 





pp

rit. rit.

 



 



 

1.2











gliss.































gliss.





















gliss.

















mf

Vlns 1-3







 



 

4.







   



   

pp





3.









mf



mf





gliss.

gliss.

Vlns 4-6



5.6





Vla 1-2





pp







 





mf

gliss.

 



mf



Vc. 1-2



 

 



mf

Db.







 



 

arco



mf







gliss.

Julian Philips Julian Philips (b. 1969) studied music at Emmanuel College, Cambridge, and his compositions have been performed at major festivals and venues including the Proms, the Tanglewood Music Festival, Welsh National Opera and Glyndebourne. A significant composer of operatic music, Philips’ work includes Followers, The Yellow Sofa, and Knight Crew (libretto by Nicky Singer) commissioned by Glyndebourne (2010). Welsh National Opera commissioned two chamber operas, Dolffin and Wild Cat. Other works include two ballets for English National Ballet Les Liaisons Dangereuses and The Snow Queen. Julian Philips is Honorary Fellow of, and was made Head of Composition at, the Guildhall School of Music in 2004. He has also taught at Cambridge.

Photo © Jamie Smith

Julian Philips (*1969) studierte Musik am Emmanuel College in Cambridge. Seine Kompositionen sind bei führenden Festivals und in renommierten Häusern erklungen, darunter die BBC Proms, das Tanglewood Music Festival, Welsh National Opera und das Opernfestival im englischen Glyndebourne. Philips ist ein bedeutender Opernkomponist, und seinen Schaffen umfasst die Bühnenwerke Followers, The Yellow Sofa sowie Knight Crew (2010), ein Auftragswerk für Glyndebourne auf ein Libretto von Nicky Singer. Zwei Kammeropern, Dolffin und Wild Cat, entstanden im Auftrag der Welsh National Opera. Zu weiteren Werken gehören zwei Ballette für das English National Ballet, nämlich Les Liaisons Dangereuses und The Snow Queen. Julian Philips ist „Honorary Fellow“ der Guildhall School of Music, wo er 2004 zum Leiter der Kompositionsabteilung ernannt wurde. Außerdem lehrte er in Cambridge.

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