Snider PENELOPE (voice and chamber orchestra)

Sarah Kirkland Snider

PENELOPE

for Mezzo-soprano and Chamber Orchestra

From the G. Schirmer Rental Library Date of Printing________________

Music Sales Corporation New York, NY Rights administered by G. Schirmer, Inc. New York, NY

Sarah Kirkland Snider

PENELOPE

for Mezzo-soprano and Chamber Orchestra

the originbal version of Penelope was commissioned by the J. Paul Getty Center in 2007

Music Sales Corporation New York, NY Rights administered by G. Schirmer, Inc. New York, NY

Instrumentation:

Percussion (3 players) 1. Glockenspiel, Vibraphone, Crotales [A, Bb], Triangle, Tambourine, Sleigh Bells, Finger Cymbals, Bicycle Bell, Egg Shaker 2. Vibraphone, Crotales [A, Bb], Suspended Cymbal, Bass Drum, Guíro, Egg Shaker 3. Drum Set

Harp

Mezzo-Soprano

Electric Guitar Electric Bass Guitar

Strings Laptop/Live Electronics* 14 Movements, duration ca. 60’ Performance Notes:

Penelope is influenced by both Western classical and vernacular (indie rock/pop/folk) traditions.

Amplification of both vocalist and ensemble is required.

The drummer should have experience with both classical music and rock/jazz; reading and groove are both essential.

Vocally, the music desires a relaxed, natural, personal approach; ideally the vocalist will draw on aspects of both classical and popular performance practice without leaning too far in either direction. One aspect of pop vocal performance practice to avoid, if possible, is “scooping” into notes (from a grace note a half- or whole-step below the desired pitch); any desired grace notes are notated. *The electronics contain pre-recorded vocal tracks and necessitate the use of a click in performance.

Please see Penelope tech rider for more information.

Drum Set Notation:

Program Note: Inspired by Homer’s epic poem, the Odyssey, Penelope is a meditation on memory, identity, and what it means to come home. The song cycle, written in 2009 for Shara Worden and Ensemble Signal, is based on a music-theater monodrama written by Snider and playwright Ellen McLaughlin for the J. Paul Getty Center in 2008. In the work, a woman’s husband appears at her door after an absence of twenty years, suffering from brain damage. A veteran of an unnamed war, he doesn’t know who he is and she doesn’t know who he’s become. While they wait together for his return to himself, she reads to him from the Odyssey, and in the journey of that book, she finds a way into her former husband’s memory and the terror and trauma of war.

— Sarah Kirkland Snider

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