Famous Last Words for speaking keyboard player & assorted items on fables by Paul Mann -for Genevieve & Paul(2017/2020-21) by Kurt Rohde
made possible through the generosity of the Fromm Music Foundation of Harvard University
2
PERFORMANCE NOTES Piece requires: -toy piano: instrument with a low C2 is preferred; if standard toy piano is used, transpose notes out of range up an octave -harpsichord -2 triangles: or tuned gongs or crotales may be substituted; pitches are random approx. of notation -2 triangle beaters -crotales [2 octaves] -2 crystal glasses, filled with water [tuned to Eb3 & F3] -2 hard mallets (HS) -2 soft mallets (SS) -2 bass bows -3 tuned gongs [F#3, G#3, C#4], suspended from a percussion stand: Tibetan prayer bowls may be substituted for tuned gongs -a large, hardcover book -2 sheets of tissue paper, attached to triangle beaters * - If only lower octave of crotales are available, any note above C5 must be played an octave lower than written. ** - Vertical arrows in text are to be sued only for where the spoken text is to begin OR for the location of a specific word. When words are located inside of a single measure, they are meant to be spoken within the time frame of said measure. *** - Horizontal arrows indicate transition from one technique to the next ****- Square noteheads = clusters *****- X-noteheads = indeterminate notes; follow written contour
PROGRAM NOTES Fables are such problems. The norms they reflect or are in conversation with, depending on the time and place, are a problem. They can depict situations, depnding on the circumstances, that are gruesome. They can take the quotidian to the ridiculous or terrifying, creating a world that doesn't exist seem possible, or can't be possible, or be possibly enviable. Or uneviable. Fairy tales, or fables with a message, usually operate in across age groups and last for generations. The best ones have messages within messages. The meanings of those messages, filled with signs and clues, are puzzles to be solved either very slowly or in a matter of moments. Mann's tales, written specifically for this piece, are sophisticated, gem-like gentle games. They feel mythic, as if they've been told for generations. All the problems they offer us to consider are ones we all know. It's the solutions they offer that make us confront the real problems.
3
4
5
Famous Last Words -for Genevieve & Paul(it took me long eneough!!) Repeat previous action, again starting off-stage from the side of the stage where action began. This time, at the very last moment the player just before exiting the stage, player drops the book loudly. At that moment, the player freezes in place looking down at the fallen book.
I - The Messenger
Carrying a large, heavy book, keyboard player walks onstage, but not toward instrument set-up. Rather, the player quickly makes their way across the back of the stage, exiting on the opposite side from where they entered. Stage Direction
/
U ∑
freeze! wait ca. 10-12 sec.
U ∑
Repeat previous action, but now starting off-stage from the opposite side of the stage.
U ∑
large, heavy book drops to the floor freeze!
freeze! wait ca. 6-8 sec.
U ∑
U Ó™
œv fff
Voice
/
U ∑
U ∑
U ∑
freeze! wait ca. 10-12 sec. Harpsichord
Percussion
{&
° &
U ∑
U ∑
freeze! wait ca. 6-8 sec.
U ∑
U ∑
U ∑
U ∑
U ∑
U ∑
U ∑
U ∑
U ∑
U ∑
Player picks up book, begins walking/meandering on-stage, dropping it, stopping, picking it up, and repeating the process, all while gradually making their way to the instrument-set-up. As they get closer to the instruments, they begins to crouch closer and closer to the floor, with the dropping getting faster and more regular with the sound getting softer and more muffled. As the dropping sound gets more muffled, player begins to speak, coordinating speaking with the sound of the dropping book. As the book dropping sound gets softer, the vocal sounds get louder; the sound of the book becomes the sound of the voice. Gongs/ Crotales
¢&
U ∑
U ∑
U ∑
U ∑
U ∑
6
Player picks up book and begins to walk quickly off-stage in the opposite direction, only to drop the book loudly, once again the moment before leaving stage. At that moment, the player freezes in place again, looking down at the book, and the suddenly looks up at the audence as if taking notice of their presence. looking up accel. to audience large, heavy book drops to the floor freeze!
Risolute h = 124 - 132
Use one hand to execute remaining droppings of book, while using other hand to play harpsichord. The dropping of the book does not need to coordinate exactly with the rhythm in the harpsichord
freeze! 6
Stage Dir.
U œ / Œ œv "
U Œ
U U ™™ œ Œ œ Œ v v
U U œv Œ œv Œ ™™ 26 œv Œ
œv Œ
œv Œ
œv Œ
œv Œ
œv Œ
œv Œ
Ó
∑
4 2
∑
4 2
Œ
œv Ó o
fff
fff
o air sound Voice
/
U ∑
ord.
U ™™ œ U Œ œ Œ Fuh...
Fuh...
U U œ Œ œ Œ ™™ 26 œ Œ Fuh...
Fah...
Fah
f
œ Œ Far
˙™
œ Œ Far
Far
œ ˙
˙
Ó
∑
a- way...
(*- "Fuh" as if going to ("Fuh" becoming "Fah"becoming "Far") exasperatedly say "fuck")
Play full clusters w/palm of hand; size of chord is determined by the approximated size of written chord fully chromatic clusters
white note clusters
sharply Hpsd.
{&
U ∑
™™
U ∑
U ∑
™™ 26
Ú
Π66 v. p
66 6 Π666 v.
Π666 6.66 v
66 666666 Πv.
66666 Π666 v.
66666 Π666 v.
4 2
7
Player stops abruptly, stands, and directly addresses the audience, speaking with a natural speech rhythm. Player then sits, and turns back to play harpsichord as if uninterrupted. molto accel.
molto rall.
11
4 /2
Voice
Ú
U Ó
6 ™ 2 ∑
Ú
U ∑
Gradually reduce the number of pitches in clusters, eventually moving toward the pitches in the final written chords. Play clusters in notated registers.
66^666. 4 & 2 66
Œ
66^66. 66
66^66.
Œ
The Messenger.
white note clusters
666 66 v.
Œ
Œ
6666 v.
ord.
Œ
Π66 v.
Œ
6 2 #œœ v.
Œ
#œ. œ v
œ. œ v
Œ
Œ
Œ
œ. v
œ. v
pp
Hpsd.
{
Œ
Œ
Œ
66 666666 v.
Œ
666 6.66 v
66 6 666 .v
Œ
Œ
666 6.6 v
666 v.
U ∑
almost halted
fff
4 & 2 666 66666 v.
U #œ. œ Œ v
Œ
6 2#œ v.
Œ
## œœ. œ v
œ. œ v
Œ
Œ
U™ ∑
Ó
?
#œ. v
= A tempo I h = 124 - 132
Alla Morse Code h = 72 (or as quickly as possible without being a mess) 14
senza misura
U ∑
≈
≈
œ ≈ œ ≈ ‰™
Œ
œ ≈ ≈ œ ≈ Œ
∏∏∏∏∏
œ œ ≈ Œ
6 2
∏∏∏∏∏
∏∏∏∏∏ & ‰ Œ
œ œ ≈ Œ
∏∏∏∏∏
/
Voice
Œ
5 2
Ú
briefly freeze, hands up as if ready go! to play! ^
U ‰
. 6 6 6 66 2 66
Œ
n˙ ™ n˙-˙ ™™
œ bw w w ™™™™ œ bœ bœ w-w
p
sfz
Ó
n˙-˙ ™™ n˙ ™
fff
Œ
5 2
Œ
5 2
Hpsd.
{
? j ≈ œ œ œ œ œ
≈
≈
œ
≈
≈
œ œ œ
≈
≈
œ œ œ œ œ œ œ
U ‰
≈ œ
œ œ œ œ œ
œ œ œ
6 2
66666 Π666 v.
∑
8
fully chromatic cluster in tempo w/palm of hand ))>-))
16
6 2
∑
5 & 2 bw-w œ nœ œ nœ
Ú
Ú
‰
)))>))).
6>66 6>66 > > > 3 666 666 Ó™ 2‰ 666
)) )) )) .
-œ 6 œ Œ Ó 2 œ bw w w ™™™™ œ bœ bœ w-w
w w w ™™™ w-w
Ó
n -˙^ n˙˙
n ˙. n˙.
œ œ .œ œ œ ˙.
n œj
#˙.
bbw w-w
‰
∏∏∏∏∏∏∏
5 & 2 {
∏∏∏∏∏
Toy Pn.
U™ )) Œ
tumbling
)))))).
ff U -œœ ™™ b œœ ™™ ∑
pp ff
∑
3 2 Ó™
∑
3 2 Ó™
-˙ ™ ˙™
sfz p
rubato
p
Hpsd.
∑™
{
6 2 œ Œ -
Œ ∑
Ó &
œ œ
n˙˙ n ˙v
∑
œ nœ Æ œ nœ
W WW W
˙˙˙˙
U ‰ bbbnœœœœ ™™™™ ∑ -
∏∏∏∏∏∏∏
bb ww w ?5 2
?
˙™ ˙- ™
= 21
Ú
/
Voice
U Ú
Ú
U ∑
∑
4 2
An old man comes from far away. He says "The King has summoned you. Take this packet sealed with red wax, fully chromatic cluster w/palm of hand Toy Pn.
Ú
{&
U Ú
Ú
U Ú
∑
U™ ∑ )) )) )) .
4 2
pp suddenly gentle & langorous ad libitum & senza misura
Œ œœ œœœ b œ œœ œ œ œ
˙™
˙˙˙ ˙
∏∏∏∏∏∏∏∏∏
5
& ∑
œœœ n# ˙˙U ˙˙˙ n œ œ 3 n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n ˙ bœœœ œœœœ œœœœœ œœœœœ œœœœœ œœœœœœ œœœ œœœ #n ˙b˙˙˙˙ b œ œ œ œœ œœ nn ˙˙ œ œ 5
U ?
∑
b œ. & Ó™
U ∑
4 2
U ∑
4 2
bW
Hpsd.
black key gliss.
unfolding
{
? Ó b˙ bw
w ˙™
œ
w w
j œ ™ bœ œ ™ œb ˙ ˙ 3
j œ b˙ œJ b œ ™
∑™
∑
26
A tempo I h = 124 - 132 9
4 / 2 ™™
Voice
™™ 26 Ó
Ú
Œ Œ Œ Œ Œ Œ Œ Ó™
take these directions and leave at once for the capitol of X." ord. 4 ™ Toy Pn. & 2 ™ { ˙
...from far
™™ 26 ˙
˙
∑
∑
∑
∑
2 2
∑
∑
∑
∑
way....
a-
Ú
˙ fully chromatic clusters
Repeat as needed; once finished with text, immediately proceed to playing harpsichord.
4 & 2 ™™
2 2
white note clusters
ord. ^6. ^ . 6 ™™ 26 66666 Œ 666666 Œ 66 6666 Œ 66 666 Œ 6666 Œ 66 Œ 22 œ ™ œœjŒ ™ -v v. v. v. v. v.
Ú
-˙^ ™ . bœ ˙˙ ™™ bœJ Œ
b>-œ ™ j bœ ™ bbœœ -v
bœ. ™ j œ. œ ™™ bœJ Œ bbœ. œ Ó v v
sfz fff
Hpsd.
p
{
? 4 ™™ 2
& ™™
Ú
Π66666 666 v.
= rit.
32
/ Ó™
Voice
6 2
Œ
Π66 666 6.66 v
Π666666 v.
Π66 6.6 66 v
Œ 22 j Œ ™ j Œ n˙˙ ™™ 66 œ™ n ˙- ™ -v œv. œ b œ. v. v
Π6666 v.
? Œ™ j Ó j j œ. œ ™™b œ bb œœ b œ- ™ bb œ-vœ .v v . >
Poco liberamente; calmly flowing h = 92 - 96
™™49
™™ 26 ∑™
∑
Œ Ó
Ó™
Œ Ó
∑™
Ó™
Ú
Ú
There was a port, then an uncharted ocean. He floated down rivers and crossed vast deserts.
He says goodbye to his wife and young son. w/one hand Toy Pn.
{&
™™49
∑
∑™
™™ 26 ˙™
˙™
˙™
˙™
˙™
˙™
˙™
˙™
˙˙ ™™
w ww
b˙˙˙˙
w b#bw w w ™™™™ ww
w b#bw w w ™™™™ ww
nnbw ww
p ppp take S.S. once done playing hpsd.
Hpsd.
n˙ & Œ n˙˙ -v sfz n˙-˙^ ? Œ n˙
{
Œ
™™49
∑
™™ 26
Ú
Ú
Ú
Ú
™™ 26
Ú
Ú
Ú
Ú
Play hpsd. part 1x only, in ritardando
Œ
™™49 Ó
Ó
‰ Ó
œœ
œœ
œ Tuned Gongs w/S.S.
Gongs/ Crotales
° ¢&
∑
™™49
∑
™™ 26
Ú
∑™ #w™ #w™ ppp
#w
˙
# W™ p
bb˙˙˙
10 38
Voice
Ú
/
Ú
∑™
Ú
Dense forests and mountain passes choked with falls of rock and ice.
∑™
At the edge of the steppes, he fell ill with fever
and lay for weeks
languid, lazy, exhausted Toy Pn.
Ó {&
j nœ
w™
#˙
j œ
˙
#w™
˙
˙
˙
w
j œ
#w
w
w™
˙
#w
mp
Gongs/ Crotales
° ¢& # w ™
#w™ #w™
# W™
#w™
#w™
#w™
=
42
Voice
Ú
/
Ú
9 4
6 ™ 2 ∑
∑
Ó
Ú
∑
in a village where no one spoke his tongue.
He was taken for a spy and held for a year in a castle keep.
w/free freely hand j #œ Toy Pn.
{ & w™
˙™
˙™
9j 4 œ w™
# W™
Ó™
6 2
Ú
white note clusters
˙
3 666 6 6 6 6 6 6 6 6 6 6 6 6 666 6 666 66 666 666
f
p
∑
5
pp w/free hand #œ #œ #œ Hpsd.
Gongs/ Crotales
Ú
{&
° Ó™ ¢&
Ú
∑™ #w™
9 4
9 4 #w™
#˙ ™
6 ∑™ 2
∑
#˙ ™ #˙ ™
˙™
6 2# W ™
#œ
- ™™ w w ww w ™™
bœnœ Æ bœnœ
- ™™ nw w ww w ™™
∑™
Ú
11
rit.
Resigned h = 60 - 63
molto accel.
47
senza misura
U Ú
/
Voice
3 2Ó
Ó
Ó
On an island he fell in love with a widow and lived there for years till he awakened again to his task.
2 2
3 2
∑ captured by nomads
He was
ord.
666 666 666 666 666 666 666 666 666 666 666 666 666 66 66 66 66 66 66 66 66 66 66 66 66 œœ œœ œœ œœ œ œ œ Toy Pn.
œ œ œ œ œ œ œ œ œ œ œ œ
3 2
{&
bœ œ œ œ œ œ bœ œ
2 2
3 2
6
f
Hpsd.
w™ 3 ™ 2w Ó™
U Ú
{&
w 2 w˙ 2
˙™
˙
3 2
poco f
=
molto rall. 50
3 /2
Voice
∑
∑
2 2
∑
3 2
∑
2 2
3 2
∑
and sold as a slave but escaped and barely survived another desert.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ Toy Pn.
3 {& 2
bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 3 2 ‰ Œ 2 2 2
3 2
pp
Hpsd.
{
™™ w # w 3 &2 w™
nw ™ nw ™
2 bww 2 w
™ 3 bw 2 w w ™™
2 b˙˙ ™™ 2 ˙™
œ>œœ œ
pp sub. ff
3 2