ph. d. vol 1 060313

Mark Viggiani

Volume 1

Folio of Original Compositions 2009-2012

198720184

651AA Ph. D. – Music

Submitted in partial fulfilment of the requirements of the degree of Doctor of

Philosophy (by creative work and dissertation)

February 2013

Melbourne Conservatorium of Music

The University of Melbourne

Abstract

This thesis consists of a folio of original music scores composed during the period 2009–2012 and a

dissertation of exegesis. Volume 1 comprises the scores – nine works for forces ranging from voice and

piano to full orchestra, and including two extended song cycles. Performances of most of these works can

be heard on the accompanying CD.

The dissertation in Volume 2 addresses aesthetic and technical intentions and contextualizes the work in

terms of both current compositional trends and formative influences. An examination of the approach

towards harmony reveals the use of a wide range of idioms from functional harmony to basic serialism.

This leads naturally into a discussion of form, rhythm and text, which describes the use of formulae such

as golden section proportion and tendencies towards three-part structure. The effect and use of text is also

explored.

The compositional techniques posited are then explained in relation to the two works inspired by and

based on songs by Blind Willie Johnson. Differences in approach are highlighted in the comparative

analysis which follows. Lastly, analysis of the cycle Visionary Songs offers insights into the workings of

the compositional process itself.

Declaration

This is to certify that

i. These musical scores comprise only my original work towards the Ph.D. except where indicated

in the Preface,

ii. due acknowledgement has been made in the text to all other material used,

iii. the scores constitute between 90 and 120 minutes of music as approved by the RHD Committee.

Signed Mark Viggiani

Preface

All of the works in this folio were composed during the period of candidature. One Last Tango was

composed during participation in the 2010 Orchestra Victoria Composers’ School. Whilst all of the folio

works are original compositions, Visionary Songs includes an arrangement of Hildegard of Bingen’s O

Virtus Sapientiae, and material from the song John the Revelator by Blind Willie Johnson is used in my

work of the same name.

Editorial assistance was provided by my composition supervisor Dr. Elliott Gyger.

Acknowledgements

Firstly I would like to thank the following performers and organisations for their support in programming

and performing my music - conductor Stephen Stanke and the Defence Force School of Music for taking

Dark was the night so seriously; guitarists Antony Field, Dan McKay and Daniel Nestico for their

recording of Prism and Tricks of Light; and Richard Mills and members of Orchestra Victoria for their

sage advice on all matters orchestral and a brilliant performance of One Last Tango, which was allowed

much more rehearsal time than it deserved (thanks also partly to Calvin Bowman).

Thanks also to the Belgian 2011 Ars Musica Festival, in particular Jean-Paul Dessy and Pierre Bodson

from the Mons Kinky Pinky Orchestra for a thrilling performance of John the Revelator. Thanks also for

the financial assistance from the music dept. at the Con which enabled me to be present for the

performance. Closer to home, I would like to thank Alex Pozniak and Ensemble Chronology Arts for

workshopping an early version of Trio; and Laila Engle, Blair Harris and Leigh Harrold from Syzygy for

further workshopping and performance of this work at the Kingston Arts Centre. Other performers who

have offered advice and rehearsal opportunities are Ken Murray and VCA brass under Charles MacInnes.

For opening my mind to new technologies and alternative rationales of composition I thank Mark Buys at

AISOI. On this account I would also like to thank UTAS for providing convenient and private

accommodation in Hobart, and filmmaker Jared Abdul-Rahman for the use of his raw materials and

helpful advice. Thanks also to the team at 3MBS and especially Stephanie Rocke for recording time and

exposure; also Terry McDermott for his patience and generosity in producing this recording.

Acknowledgement also to Anni Heino at Resonate for the opportunity to review concerts and hear some

amazing music.

In the preparation of the music I would like to thank Dr. Elliott Gyger for his unerring ear and ultra-

refined aesthetic over the past few years. In relation to academic matters I offer sincere gratitude to Dr.

Stuart Greenbaum for taking over the dissertation very late in the proceedings – his clear thinking, rigour

and attention to detail have been crucial. To both of the above, gratitude also for teaching work during

this period, and also to the providers of my Australian Postgraduate Award, without which this enterprise

would not have been possible. Also thanks to Peter Tregear for his useful early contribution to what

became Chapter Three, to Dr. Neil Levy for his grammatical and structural suggestions and to John

Griffith and Richard Divall for providing valuable experience in music typesetting at Lyrebird Press.

I would like to thank the Italian tutors at CIS - Maria Masini, Lucia Oteri, and Barbara Vincenzi for their

patience in attempting to help me improve in what should be my fluent second language; and especially

Elisabetta Lamanna for her generosity in helping with Italian translation. Thanks also to Linda Massola

for providing both the poetry and a large store of family history.

Finally, I would like to thank my immediate family Louise (it’s your turn now), Ella and Dominique for

encouraging and supporting me through what has been too long and wearisome a process. There’s a

chance the lawn will be mown slightly more often from now on.

Table of Contents

Dark was the night, Cold was the ground 1

E¨ clarinet, 2 B¨ clarinets, bass clarinet, 2 flugelhorns,

euphonium, tuba, 4 percussion, 9’48”

Two Pieces for Guitar Trio 55

three guitars, 11’55”

1. Prism 61

2. Tricks of Light 67

One Last Tango 77

Orchestra, 8’01”

John the Revelator 111

baritone and chamber orchestra, 6’01”

text by Blind Willie Johnson

Trio 153

flute, piano and cello, 11’45”

The Actual Petals of a Flower 175

Choir S.S.A.T.B., ca. 5’

texts by Carl Linnaeus and Song of Solomon

Visionary Songs 191

soprano and piano, ca. 15’

1. O Virtus Sapientiae (Hildegard von Bingen) 199

2. The actual petals of a flower (Carl Linnaeus) 202

3. Heredity (Thomas Hardy) 208

4. No bird soars too high (William Blake) 213

5. There is grandeur in this view of Life (Charles Darwin) 222

Vorrei... 225

tenor, soprano, B¨ clarinet, B¨ trumpet, guitar,

percussion, violin, viola, cello and doublebass, ca. 35’

texts by Ginese Triaca

I. Vorrei… / Ricordi 237

II. Gelosia di Fiori 246

III. Belle Manine 256

IV. Carina!.. 265

V. Mattinata 269

VI. Sei Libera!... 277

VII. Ricordi?... 290

Tracks of CD recording

1. Dark was the night, Cold was the ground 9’48”

Defence Force School of Music ensemble cond. Steven Stanke

Recorded live 6 November 2009, Macleod

2. Prism 7’16”

Dan McKay, Antony Field and Daniel Nistico - guitars

Recorded 17 August 2010, 3MBS Studios, Abbotsford

3. Tricks of Light 4’39”

As for track 2

4. One Last Tango 8’01”

Orchestra Victoria Con. Richard Mills

Recorded live 7 June 2010, Iwaki Auditorium, Melbourne

5. John the Revelator 6’01”

Mons Kinky Pinky Orchestra, cond. Jean-Paul Dessy,

baritone Pierre Bodson

Recorded live 16 March 2011, Theatre Royale, Mons (Belgium)

6. Trio 11’45”

Syzygy ensemble

Recorded live 21 August 2011, Kingston Arts Centre, Moorabbin

Mark Viggiani

Dark was the night,

Cold was the ground

(2009)

E¨ clarinet, 2 B¨ clarinets, bass clarinet,

2 flugelhorns, euphonium, tuba

& 4 percussion

Composed for the Australian Defence Force School of Music, 2009.

First performance: 6 November 2009. Watsonia

Duration. 9’40”

Mark Viggiani, Melbourne, 2009

Composer’s note

Dark was the night, Cold was the ground was composed for an ensemble at the Australian Defence Force

School of Music in response to a 1927 instrumental blues recording by singer/guitarist Blind Willie

Johnson. I have derived musical materials from some of the distinctive ideas played by Johnson on this

recording. The various solos in the work (bass clarinet, E¨ clarinet and flugelhorn) are offered in the spirit

of jazz improvisations; phrasing and dynamics are to be taken as a rough guide, as suggestions. It is

hoped that performers will feel comfortable in bringing a personal interpretation to these sections.

Performance notes

1. Glissandi throughout are intended to emphasize ‘blue’ notes, as in the jazz and blues traditions.

They should last for the full duration of the note.

2. Accidentals are register-specific, and affect notes of the given pitch for the duration of the bar.

3. Trills are as indicated in the score.

4. As the set of woodblocks is only used by one percussionist at a time, if positioned thoughtfully it

can be shared between the players 2, 3, and 4.

Instrumentation

E¨ clarinet

2 B¨ clarinets

bass clarinet

2 flugelhorns

euphonium (written at sounding pitch, bass clef)

4 percussion:

1. bass drum, guiro, 2 suspended cymbals, pair of crash cymbals, triangle

2. 5 woodblocks, kick-bass drum, snare drum, tam tam, suspended cymbal, guiro

3. vibraphone, 5 woodblocks, 3 toms

4. glockenspiel, 5 woodblocks, tambourine, triangle

Transposing Score

Key to percussion symbols

q = 48

Mark Viggiani

Dark was the night, Cold was the ground

Clarinet in Eb

Clarinet 1 in Bb

Clarinet 2 in Bb

Bass Clarinet

Flugelhorn 1

Flugelhorn 2

Euphonium

Percussion 1bass drum

2 suspended cymbalscrash cymbal

triangleguiro

Percussion 2kick bass drum

snare drumtam tam

suspended cymbal5 wood blocks

Percussion 3vibraphone

3 toms5 wood blocks

Percussion 4glockenspiel

5 wood blockstambourine

triangle

suspended cymbals

medium mallets

vibraphone

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

vib.gliss.

woodblocks

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

pp mp mp

scrape withend of stick

scrape

mp ppp

3 mf f5

triangle

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

sub. pp pp

f sub. pp

mp p ppp

tam tam

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

woodblocks

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

gliss.

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

wah mute

triangle

tam tam

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

p mp mf5

p mp mf

senza sord.

sus. cymb.

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

ppassionately

gliss.

triangle

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

gliss.

solo, freely

bass drum

senza misura

q = 116

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

gliss.

kick-bass drum

tom-toms med. mallets

tambourine

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

snare drum

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

f p mf

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

crash cymbals

mf mp mf

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

triangle

f p mp

woodblocks

mp(tom toms)p

(woodblocks)

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

espress.

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

gliss.

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

mp mf f

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

triangle

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

triangle

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

triangle

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

crash c.

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

triangle

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

gliss.

sus. cymb.

med. mallet

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

gliss.

(l.v.)

triangle

tamb 3

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

3 ff5 3

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

flz. flz.

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

crash c.

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

woodblocks

vibraphone

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

espress. p

gliss.

sus cymb

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

gliss.

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

pp p mf p

tam tam

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

mf f pp

gliss.

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

gliss.

bass drum

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

gliss.

sus cymb

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

mp f p mf

mf mp p

sticks

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Eb Cl.

B. Cl.

Flug. 1

Flug. 2

Perc. 1

Perc. 2

Perc. 3

Perc. 4

med. mallets

guiro3

Mark Viggiani, November 2009 Melbourne

woodblocks

Mark Viggiani

Prism and Tricks of Light

(2009 – 10)

Two pieces for guitar trio

As recorded by guitarists Dan McKay, Antony Field and Daniel Nistico.

17 August 2010, 3MBS Studios, Abbotsford

Duration ca. 14’ in total

Composer’s note

I draw much of my inspiration from the natural world. Whilst composing these pieces, I realized that the

processes I was using mimicked various ways in which light behaves. Thus, the first piece Prism

develops the same basic set of musical ideas in three different ways, as if viewed from different angles.

Despite its carefully organized structure the second piece Tricks of Light moves unpredictably, attempting

to fool the mind into hearing things which are not there.

Though the two pieces can each be performed individually, they share common pitch, intervallic and

motific material and should be presented together as a pair. In this instance, the order is at the discretion

of the performers.

Performance notes

1. Slurs over multiple notes mean that the pitches should be allowed to sound legatissimo for as long as

practical beyond their written value.

2. Slurs connecting two notes are to be interpreted as left hand articulation.

3. Harmonics are shown at sounding pitch and natural unless otherwise defined. String and fret are

usually given as suggestions.

4. Accidentals are register-specific, and apply to notes of the given pitch within the bar.

5. Fingerings given are suggestions only, but often point to a particular string.

6. Grace notes are to be played before the beat.

7. In Prism, it is recommended that players employ a more veiled and less nail-dominated tone,

achieved through greater use of flesh, especially in accompanimental arpeggio patterns and bisb.

sections, and at low dynamic levels.

8. The bisb. effect is achieved by using the flesh of the fingertips to create a sort and nebulous texture in

which individual attacks are almost inaudible.

9. In Tricks of Light, players should feel free to accentuate the falling minor thirds by bending the string

slightly to sharpen the pitch.

10. The repeated chord semiquaver patterns do not need to be absolutely precise regarding balance of

strings. The technique used is inspired by funk guitar strumming patterns. Rhythm is the most

important aspect here.

11. It is important to realize the glissandi correctly. If two pitches joined by a gliss. are also connected by

a slur, the second note should sound as a result of the gliss., and not be articulated with the right hand.

Two pieces for guitar trio

1. Prism 61

2. Tricks of Light 67

q = 80

Mark Viggiani

Two Pieces for Guitar Trio

1. Prism

Sombre yet expectantly

Guitar 1

Guitar 2

Guitar 3

mf p pp

mf p pp ppp

cresc. pp

cresc.

molto vib.

gliss. mpdim.

pp p pp

warmly, molto espress.

gliss.

cresc. mf p

pp mp f

pp l.v.

(bisb.)0 0

al niente

Mark Viggiani, March 2009 Melbourne

al niente

2. Tricks of Light

q = 124

(vib.)

gliss.

cresc. ff

cresc.

gliss.

pp3 3 3 3 3 3 3 3 3

gliss.

gliss.gliss.

pp f3 3 3 3 3 3 3 3 3 3 3

pp3 3 3 3 3 3 3 3 3 3

gliss.

(nat.)

gliss.

(coda)

poco rit.

Meno mosso

gliss.

molto vib.

Mark Viggiani, March 2009 Melbourne

Mark Viggiani

One Last Tango

(2010)

For orchestra

Composed for Orchestra Victoria (Symphony Australia) in fulfillment of participation in the

2010 Orchestra Victoria Composer’s School.

First performance:

Orchestra Victoria conducted by Richard Mills,

Iwaki Auditorium, ABC Centre Southbank, Melbourne,

7 July 2010.

Duration 8’00”

Composer’s note

This work is dedicated to my grandmother Antonietta Massola. I wanted to write music that she would

enjoy; this is definitely a piece about raging against the dying of the light.

Instrumentation

piccolo

2 flutes

2 oboes

cor anglais

2 B¨ clarinets

bass clarinet

2 bassoons

contrabassoon

4 horns in F

3 trumpets in C

2 trombones

bass trombone

timpani

percussion 1 – bongo, suspended cymbal, wind chimes, triangle, pair of crash cymbals

percussion 2 - vibraphone, tam tam

celesta

violins 1

violins 2

violas

violoncellos

contrabasses

Score in C

q = 80

Mark Viggiani

q = 80

For Antonietta Massola

One Last Tango

Piccolo

Flute 1 & 2

Oboe 1 & 2

Cor Anglais

Clarinet in Bb 1 & 2

Bass Clarinet

Bassoon 1 & 2

Contrabassoon

Horn in F 1 & 2

Horn in F 3 & 4

Trumpet in C 1

Trumpet in C 2

Trumpet in C 3

Trombone 1 & 2

Bass Trombone

Timpani

Percussion 1

Percussion 2

Celesta

Violin 1

Violin 2

Violoncello

Contrabass

sus. cymbal, soft mallets

E§ § § § F§ § § § G§ § § § A§§§§B§ § § § C§ § § § D§

gliss.

pp pp pp pp

Ob. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Perc. 1

Perc. 2

Vln. 1

Vln. 2

(sus. cym.)

pizz. mf

Ob. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Perc. 1

Perc. 2

Vln. 1

Vln. 2

(sus. cym.)

3 3 3 3 33

Più mosso = 96

Ob. 1 & 2

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Perc. 1

Perc. 2

Vln. 1

Vln. 2

1. solo

mp f mp 2

E§ § § § F§ § § § Gb A§§§§B§ § § § C# D§

f mp f

p f mp f3 3 3

arco pizz.

accel.

Ob. 1 & 2

B. Cl.

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

B. Tbn.

Perc. 1

Vln. 1

Vln. 2

(sus. cym.)

ff fp ff

32q = 132

q = 132

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

B. Tbn.

Perc. 1

Vln. 1

Vln. 2

muffled

to windchimes

pizz. unis.

sempre

Fl. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

B. Tbn.

Perc. 1

Vln. 1

Vln. 2

mp mf p

p mf p

gliss.

gliss. rfz

Ob. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Vln. 1

Vln. 2

con sord.

senza sord.

mfmf mf

E§ § § § F§ § § § G# A§§§§B# C§ § § § Db

f mp f

f mp f mp

Fl. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

B. Tbn.

Perc. 1

Perc. 2

Vln. 1

Vln. 2

Fl. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

B. Tbn.

Perc. 1

Perc. 2

Vln. 1

Vln. 2

gliss.

Fl. 1 & 2

Ob. 1 & 2

Cl. 1 & 2

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

Perc. 1

Perc. 2

Vln. 1

Vln. 2

wind chimes

to bongo

Fl. 1 & 2

Ob. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Perc. 1

Perc. 2

Vln. 1

Vln. 2

solo 1.

f ff 6

low bongo, stick

to triangle

gliss.

Fl. 1 & 2

Ob. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Perc. 1

Vln. 1

Vln. 2

triangle

to sus. cym.

Fl. 1 & 2

Ob. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Perc. 1

Perc. 2

Vln. 1

Vln. 2

arco unis.

Fl. 1 & 2

Ob. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Vln. 1

Vln. 2

solo 1.

p mf p

Fl. 1 & 2

Ob. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Perc. 1

Perc. 2

Vln. 1

Vln. 2

to triangle

Fl. 1 & 2

Ob. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Perc. 1

Perc. 2

Vln. 1

Vln. 2

triangle

Fl. 1 & 2

Ob. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

B. Tbn.

Perc. 1

Perc. 2

Vln. 1

Vln. 2

a 23 3

33 3 3 3

3 3 3 3

to crash cym.

3 3 3 3

(div.) (unis.)

3 3 3 3

Fl. 1 & 2

Ob. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Perc. 1

Perc. 2

Vln. 1

Vln. 2

ff cresc. 35 5

ffff cresc.

3cresc.

cresc.

cresc.3

cresc.

tam tam

cresc.

cresc. 3 3

cresc. 3 3cresc.

cresc.

Fl. 1 & 2

Ob. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Perc. 1

Perc. 2

Vln. 1

Vln. 2

fffffffff

crash cymbal

Fl. 1 & 2

Ob. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Perc. 2

Vln. 1

Vln. 2

fff mf

f fff fff

To Vib.

E§§§§FbG§§§§A§§§§B§§§§C#D#

3 pp subito 5

3 pp subito

pp subito

Fl. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Perc. 1

Perc. 2

Vln. 1

Vln. 2

unis. sempre

pp mp5

div. unis. sempre

pp mp5

pizz. arco

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

B. Tbn.

Perc. 1

Perc. 2

Vln. 1

Vln. 2

Vibraphone

sempre arpeggio

pp sf pp mp

repeat ad lib until cue, at varying speeds (never together)

pp sf pp mp

repeat ad lib until cue, at varying speeds, (never together)

141 q = 88

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

Perc. 1

slow motor

E§ § § § F§ § § § G§ § § § AbB§ § § § C# D#

molto dim.

div.a 3

molto dim.

div.a 3

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Perc. 1

Vln. 1

Vln. 2

2. solo mp

Ob. 1 & 2

Cl. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Perc. 1

Vln. 1

Vln. 2

1. solo

pp mp pp

arco unis.

div. pizz.

Fl. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Perc. 1

Vln. 1

Vln. 2

Fl. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

Perc. 1

Vln. 1

Vln. 2

Vln. 1

Vln. 2

Vln. 1

Vln. 2

mf mp mf f

mp p mp

Mark Viggiani, June 2010 Melbourne

Mark Viggiani

John the Revelator

(2010)

baritone and chamber orchestra

Commissioned by the Ars Musica International Contemporary Music Festival

for the Mons Kinky Pinky Orchestra.

First performance: 16 March 2011. Théâtre Royale, Mons (Belgium)

Duration 5'30”

Composer's note

This work is based on the 1930 recording by Blind Willie Johnson of John the Revelator. I have retained

most of his version of the text, and the melody from the repeated chorus. I have used these materials to

generate tonal structures and the basic form of the piece.

The work explores call and response structures and models of dominance and submission.

Who's that writin'? John the Revelator!

(Hey), book of the seven seals

What's John writin'? That’s the revelation!

(Hey), book of the seven seals

Now who art worthy, Crucified and Holy

Bound up for some, Son of our God

Daughter of Zion, Judah the Lion

He redeemeth and He bought us with His blood

John the Revelator, great advocator

Gets 'em on the battle of Zion

Lord, tellin' the story, risin' in glory

Cried, "Lord, don't you love?"

Well, Moses to Moses, watching the flock

Saw the bush, well, he had to stop

God told Moses, "Pull off your shoes,

Out of the flock, well, you I choose”

Performance note

Drum Kit

Sticks should be used throughout. High hat is closed unless followed by a tie or L.V.

It is possible for the drummer to be given some freedom to elaborate tastefully on the intentionally sparse

given part.

Electric Guitar

A clean amplified sound is required, in addition to a wah-wah pedal. The player may also find a volume

pedal useful in maintaining a sensitive dynamic in relation to the ensemble.

Instrumentation

baritone

clarinet in B¨

alto sax in E¨

horn in F

trombone

electric guitar (wah-wah pedal)

marimba

drum kit

2 violins

contrabass

Transposing score

Clarinet in Bb

Alto Saxophone

Horn in F

Trombone

Electric Guitar

Marimba

Drum Set

Baritone

Violin 1

Violin 2

Violoncello

Contrabass

mp f mp ff

q = 120

mp f mp fff

John the RevelatorBlind Willie Johnson re-imagined

Mark Viggiani

snare hi-hat

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

p f ff

pp mf mf

molto vib.

cymbal

molto vib.

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

fmp f mp

mp f mp

ff mpcresc.

cresc.

mpcresc.

mp cresc. mf

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

mfcresc. f f

mf cresc. f

that wri tin'?- John

f ff ff

h.-h. ped

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

p f mp f

the Re ve- la- tor- Who's that wri tin'?- Hey!

gliss.

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

pp mf mf

p cresc. f

What's

John wri tin'?- That's the Re ve- la- - tion

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

What's John wri tin'?-

wah-wah

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

mp mf p

f p mf

fp f n

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

who art wor thy?- Cru

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

fied and Ho - - ly

p ff p

fast wah

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

up for

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

some Son of our God?

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

ter- of Zi on- -

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

- dah the Li on- - -

wah wah

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

p ff p espress.

p f mp

He re dee- meth- and He bought us with His blood.

Tell me who's that a writin'?

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

molto vib. (fast)

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

pmolto espress.

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

mp p mp

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

p ff f

3fast wah

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

Who's that? Who's that? What's that he wri tin'?- Who's that? Who's that a writin'?

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

John the Re ve- la- tor- great ad vo- ca- tor- gets 'em on the bat tle- of Zion Lord, tel lin'- the

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

f molto vib

sto - ry, ri

sin'- in glo ry-

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

senza mizuraL112

pp f p

p espress. rubato

"Lord, Lord, Lord

ppp pp

senza mizura

ppp pp

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

Meno mosso q = 108

don't you love?

cresc.

Lord, Lord, Lord?"

ffsubito pp

(questioning)

me who's that a writin'?-

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

p(stronger)

that a writin'?-

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

p mp f

p molto vib ff

ppp pp

that a writin?

subito pp

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

Tempo primo q = 120

Tempo primo q = 120N

cresc. molto

of the se ven- seals, telltell

me who?

p ff ff

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

fff molto vib.

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

subito psfz p f

subito p sfz p f

sfz p fsubito p

sfzp fsubito p

subito p

p sfz f

subito psfz p f

subito p sfz p f

subito p sfz pf

subito p sfz p f

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

Mo ses- - to Mo ses,- wa tching- the flock,

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

saw the bush and had to stop. God told Mo ses- -

pizz. arco

Alt. Sax.

E. Gtr.

Vln. 1

Vln. 2

rall. 158

"Pull off your shoes, out of the flock, well, you I choose."

fast wah wah

Mark Viggiani, Dec 2010 Melbourne

Mark Viggiani

(2010)

for flute, piano and cello

Originally composed for members of the Chronology Ensemble.

First performance: Syzygy ensemble

21 August 2011. Kingston Arts Centre, Melbourne

Duration ca. 10'30

Composer’s note

This work evolved from a brief sketch workshopped at the University of Melbourne by members of

ensemble Chronology in late 2010. The pitch material was developed from harmonics produced on the

flute, and the piece explores the interface between subtle extended technique and musical idea.

Guide to Notation

q = 120

Triofor flute, piano and cello

Mark Viggiani

Violoncello

ff scorrevole

unevenly- as fast as possible, with occasional x rests

(sempre)

Inside piano

with fingertip

p f sf

mp p pp6 6

Inside piano with fingernail

20poco rit.

Inside piano

with fingertip

sul pont.

ppp poco a poco

rapido

q = 112

sempre

damp with l.h. inside piano

(creeping)

2. 3. 2. 3. 2.

Inside piano

with fingertip

hum upper note

pesante

50rit. A tempo

Inside piano

with fingertip

l.h. pizz.

(pizz. ord.)

gliss.

q. = 64 playfully

(accel.)

mf overblow to sound harmonics cresc.

sul pont.

damp with l.h.inside piano

f mp f

Inside piano

with fingertip

107 110

l.h. pizz.arco

cresc.

gliss.

ff marcato

mp f ff

precipitato

q = 64 (calmo)

139 140

145 150

ppp mp

hold back

misterioso

mf 3 3

3 sul pont.

f ppp ff

gliss.

espress.

178 180

q. = 80 (leggiero)

188 190

195 200

gliss.

236 240

sul pont.

Mark Viggiani, May 2010 Melbourne

Mark Viggiani

The actual petals of a flower

(2009)

For choir

S.S.A.T.B.

Duration ca. 6’

Composer’s note

This motet is a setting of writings by the eighteenth century Swedish naturalist Carl Linnaeus, in

juxtaposition with excerpts from the Song of Solomon. These texts reflect the inspiration I receive from

the miraculous which is to be found in the natural world.

All accidentals affect the given note for the duration of the bar.

The actual petals of a flower contribute nothing to generation, serving only as the bridal bed which the

great Creator has so gloriously prepared, adorned with such precious bedcurtains, and perfumed with so

many sweet scents in order that the bridegroom and bride may therein celebrate their nuptials with greater

solemnity. When the bed has thus been made ready, then is the time for the bridegroom to embrace his

beloved bride and surrender himself to her…

Praeludia Sponsaliarum Planturum 1729, Linnaeus

ego flos campi et lilium convallium.

sicut lilium inter spinas sic amica mea inter filias.

Song of Solomon, 2:1 & 2

I am the rose of Sharon, and the lily of the valleys. As the lily among thorns, so is my love among the daughters.

ficus protulit grossos suos vineae florent dederunt odorem

surge amica mea speciosa mea et veni.

surge aquilo et veni auster perfla hortum meum et fluant aromata illius.

Song of Solomon, 4:13 & 16

The fig tree putteth forth her green figs, and the vines with the tender grape give a good smell. Arise, my love, my fair

one, and come away. Awake, O north wind; and come, thou south; blow upon my garden, that the spices thereof may

flow out.

Soprano

q = 72

go- - flos cam pi- et li -

go- - flos cam pi- et li - -

li- - -

li- - um

- con val- li- um-

li- um

- con val- li- um-

The actual petals of a flower

Mark ViggianiLinnaeus/Song of Songs

um con

val- - li- um- si cut- -

- con val- li- um- si cut- -

con val- li- um- si cut- li li- um-

li li- um

cresc.

- in ter- spi nas- sic a

mi- ca- me a- in ter-

li li- um

cresc.

- in ter- spi nas- sic a

mi- ca- me a-

in ter- spi

cresc.

nas- - sic a

mi- ca- in ter-

cut- li li- um

cresc.

- in ter- spi nas

- sic a mi- ca-

li- as-

ac tual- pe tals-

ter- fi li- as

ac tual- pe tals-

li- as

ac tual- pe tals-

ter- fi li- as- The

ac tual- pe tals- of a

li- as-

tri- bute- no

flow'r

ge ne- ra- -

flow'r

ge ne- ra- tion

flow'r

thing-

ge ne- ra- tion- ser

- to ge ne- ra- tion- to

ge ne- ra- tion- ser ving-

to ge ne- ra- tion- to

ge ne- ra- tion,- ser ving-

ge - ne ra- tion,- ser ving-

ge ne- ra- tion,- ser ving-

subito pp

ly- as the bride

e = e34

subito pp

ly- as the bride which

the great Cre a- - -

subito pp

ly- as the bride Cre

on ly- as the bri dal- bed

the great Cre -

subito pp

ly- as the bri dal- bed

the great Cre -

dorned- with such

cresc.

has so glo

rious- ly- pre pared- a

dorned- pre cious- with such

cresc.

- tor- has so glo

rious- ly- pre pared- a

dorned- with such pre

cious- bed

tor- pre

pared- a

dorned-

tor- - pre

pared- a

dorned-

cious- bed cur tains- and per fum'd

- with

so ma ny- sweet scents

Più mosso ( = 72) 44

cious- bed cur tains- with

so ma ny- sweet scents

in or der- that the bride groom- and bride may there in-

in or der- that the bride groom- and bride there in-

in or der- that the bride groom- and bride may there in-

pro tu- lit- gros sos- su os- vi ne- -

ce le- brate- nup

tials- with great er- so

lem- ni- ty-

ce le- brate- their

nup tials- with so lem- ni- ty

ce le- brate- their

nup tials- with great er- so

lem- ni- ty-

cresc.

flo rent- - de de- runt- o do- rem-

cresc.

flo - rent de de- runt- o do- rem- sur ge-

sur ge- a

mi- ca- me a- spe

- ci o- sa-

- came a- spe ci- o-

- sa me a- et ve -

ge- a qui- lo- et

ve ni- aus ter-

ge- sur

qui- lo-

ve ni- ve ni- ve ni-

et ve ni- aus ter- per fla- hor

tem- me um- et flu ant-

ve ni- aus ter- per fla

- hor tem- flu ant-

ro- ma- ta- il li- us

cresc.

a- - a- a

- - ro- ma- ta- il li- us

li- us- ve

poco rit.

li- us- ve

ni- ve

Tempo primo ( = 72 )83

is the time

the bed has thus

been made rea dy-

the bed thus been made rea dy- time

for the bride groom-

the bed thus been

made rea dy-

brace 'lov'd

'lov'd

be lo- ved- his

be lov'd- bride to

'lov'd

bride him

self- to her

sur ren- der- him self-

be lo- ved- bride sur ren- der.- sur

to her sur

his be lo- ved- bride sur ren- der.- to

to her

ren der.- sur

ren- der- him

ren der.- sur

ren- der- him

ren- der- sur

ren- der- him

self- to her him

Mark Viggiani February 2009

Mark Viggiani

Visionary Songs

(2011)

soprano and piano

Duration ca. 15’

Composer’s note

The texts used in this cycle of five songs for soprano and piano explore and contrast different modes of

wisdom. All musical material is derived from motifs used by Hildegard of Bingen in her chant O virtus

Sapientiae. An arrangement of this chant serves as the first song, a paean to wisdom in its heavenly

aspect. This is followed by a setting of text by the Swedish naturalist Carl Linnaeus which describes the

incredible process of plant reproduction. The third song is a setting of a poem by Hardy, which marvels at

the way that characteristics are passed on through subsequent generations – a form of received wisdom. A

selection of William Blake’s Proverbs of Hell provide satirical, yet still mystical practical advice, and the

cycle concludes with words of Charles Darwin, from the most developed current account of life on this

planet – the theory of evolution.

1. O Virtus Sapientiae

O virtus Sapientiae, quae circuiens circuisti comprehendendo omnia in una via, quae habet vitam, tres

alas habens, quarum una in altum volat, et altera de terra sudat,et tertia undique volat. Laus tibi sit, sicut

te decet, O sapientia.

(O strength of Wisdom, who, circling, circled, enclosing all in one lifegiving path, three wings you have: one soars to the

heights, one distils its essence upon the earth, and the third is everywhere. Praise to you, as is fitting, O Wisdom.)

Hildegard von Bingen (1098-1179)

2. The actual petals of a flower

The actual petals of a flower contribute nothing to generation, serving only as the bridal bed which the

great Creator has so gloriously prepared, adorned with such precious bedcurtains, and perfumed with so

many sweet scents in order that the bridegroom and bride may therein celebrate their nuptials with greater

solemnity.

When the bed has thus been made ready, then is the time for the bridegroom to embrace his beloved bride

and surrender himself to her…

Carl Linnaeus, Praeludia Sponsaliarum Plantarum, 1729

3. Heredity

I am the family face:

Flesh perishes, I live on,

Projecting trait and trace

Through time to times anon,

And leaping from place to place

Over oblivion.

The years-heired feature that can

In curve and voice and eye

Despise the human span

Of durance - that is I;

The eternal thing in man,

That heeds no call to die.

Thomas Hardy, 1840-1928

4. No bird soars too high

No bird soars too high, if he soars with his own wings.

When thou seest an eagle, thou seest a portion of Genius: lift up thy head!

To create a little flower is the labour of ages.

One thought fills immensity.

Truth can never be told so as to be understood, and not be believ'd.

What is now proved was once only imagin'd.

William Blake, selections from Proverbs of Hell,

from the Marriage of Heaven and Hell, 1790

5. There is grandeur in this view of Life

There is grandeur in this view of Life, with its several powers, having been originally breathed into a few

forms, or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity,

from so simple a beginning endless forms most beautiful and most wonderful have been, and are being,

evolved.

Charles Darwin, Origin of Species, 1859

Visionary Songs

1. O Virtus Sapientiae (Hildegard von Bingen) 179

2. The actual petals of a flower (Carl Linnaeus) 182

3. Heredity (Thomas Hardy) 188

4. No bird soars too high (William Blake) 193

5. There is grandeur in this view of Life (Charles Darwin) 202

Soprano

O O vir

tus- sa pien-

e = 148 (freely)

ae,- quae cir cu- i- ens- cir cu- i- sti- com pre- hen

- den- do-

om ni- a- in u na- vi a,- quae ha bet- vi tam,-

mf p pp

Hildegard

1. O Virtus Sapientiae

Mark Viggiani (Hildegard)

a las- ha bens,- qua rum- u na- in al

tum- vo lat,-

pp pppppp p

et al te- ra- de ter ra- su - dat,

ter ti- a- un di- que- vo -

lat. Laus

ti bi- sit, si cut- te de cet,- O

Sa pien- ti- - - a.

pppppp

Linnaeus

q = 72

Mark Viggiani

2. The actual petals of a flower

Soprano

* Where possible, catch low bass notes with sost ped.

sost ped. *

ac tual- pe tals- of a flow'r con tri- bute- no thing- to ge ne-

ra tion,- - ser ving- o nly- as the

bri dal- bed which the great Cre a- tor-

sost. sost.

has so glo rios- - ly- pre pared,-

mf sost.6

a dorned- with such pre cious- bed cur tains

and per fumed- with so ma ny-

sweet scents in or der- that the bride groom- - and

bride may there in- ce le- brate- their

nup tials- with grea ter- so lem- ni- ty-

pp subito

When the bed has thus been made

rea dy- then is the

sost. sost.

time for the bride groom- to em brace- his be lo- ved-

bride and

allarg.

su rren- der- him self

- to her...

sost. sost. sost.3

52 molto rall.

Soprano

am the fam ily- face:

q = 80

pp ppp pp

Flesh pe ri- shes,- I

mf cresc.

live on,

jec- ting- trait and

Thomas Hardy Mark Viggiani

3. Heredity

trace Through times to times a non,- And

leap ing- from

mf p (sub.) f

place to place o ver- o bli- vion.-

mfmp p

mf mp pp

rit. accel.28

A tempo

pp p fpp

years heired- - - fea -

ture- that can in curve of voice and eye De -

spise the hu man- span of du rance- that is I;

e ter- - - -

p mp pppmf mp

35 5 5

nal- thing in man, That

pp mp p

heeds no call to die.

Soprano

q. = 60

bird soars

too high,

William Blake Mark Viggiani

4. No bird soars too high

if he soars with

his own wings.

seest an ea gle,- thou seest a por tion- of Ge nius:-

lift up thy head!

(sost.)

cre ate- a lit tle- flow er-

f mf p

is the la bour- of a ges.-

lontano

thought fills im men- si- ty-

can ne ver- be told

to be un der- stood- and

not be be liev'd-

mp mf f

is now proved was once on ly- i ma- -

gin'd.

pp ppp

Soprano

is gran deur- in this view of Life, with its se v'ral- po wers-

q =52 Solemnly

ha ving- been o ri- gi- nal- ly- breathed in to- a few forms, or in to-

one; and that whilst this pla net- has gone cy

cling- on ac cor- ding- to the

Charles Darwin

5. There is grandeur in this view of Life

Mark Viggiani

fixed laws of gra vi- ty-

cresc.

From so sim ple- a be gin- ning-

rall. A tempo14

f molto

end less- forms most beau ti- ful- and most won der- ful- have been

(al fine)

warmly

and are be ing- - - - O

O e volv'd

- - - -

Maestoso27

Mark Viggiani August 2011 Melbourneuna corda

Mark Viggiani

Vorrei…

(2012)

for tenor, soprano,

B¨ clarinet, B¨ trumpet,

guitar, percussion,

violin, viola, cello and doublebass

Dedicated to the memory of Antonietta Massola.

Duration ca. 35’ in total

Composer’s note

The poems on which this cycle is based were composed by my maternal great-grandfather Ginese Triaca

in northern Italy around 1902. They were selected from a hand-written notebook entitled Raccolta Di

Poesie e Racconti Scritti nel tempo del mio Servizio militare. The poems are dedicated to his young

fiancée Italia.

I. Vorrei…

Con te vorrei…

Parlare d’amore nell’ora in cui il sole,

Declina all’orizzonte e da ogni pianta

Fale un odore di gigli e di viole

E su tra I rame l’usignolo canta.

Ricordi

Che dolci sere, che momenti belli

Quando tutto per campi e calmo e cheto

Quando l’ultimo grido degl’uccelli

Finita, e a me ti stringo lieto.

Ma come sono ancor piu vaghi e belli

Quei tramonti di sol quando in segreto

Ebbri si bacia, in bocca, e sui capelli

La di letto del cor… Momento lieto!

E tu lo sai che mi comprendevi o cara

Quanto son dolci i baci e le caresse

La fra i limoni e nell’ombra di sereta.

E lo sa questo cuor che ti prepara

Affeti nuovi far novelle ebrezze

Questo cuore d’amante e di poeta.

I. I would like…

I want to speak with you of love as the sun sets

into the horizon and from every flower comes a

smell like lilies and violets, and overhead the

nightingale sings.

Memories

What sweet evenings, what beautiful moments

when all of the fields are calm and silent, when

the bird’s last song has ended, and I hold you.

But how are even more vague and beautiful

those sunsets when we are alone in secret,

happily drunk with kissing, on the mouth, and

hair in the bed of the heart ... happy times!

And know it that you understand me, darling

How sweet the kisses and caresses there among

the lemons and the fading light.

And know it that this heart which prepares for

you new affections and new intoxications, this is

the heart of a lover and a poet.

II. Gelosia di Fiori

Sai che m’odiano i fior del tuo giardino?

Me n’avvidi una volta a le parole

D’ira che mi diceva un biancospino,

Mentre, tutte piangevano le viole.

“Ma che feci?” chiedevo: e un gelsomino

Mi singhiozzó: “Crudel, toglici il sole,

Ma rendici il fulgor di quel visino

Che ci rubasti tu con le tue fole.

Rendeci lei che piu come una volta,

Non torna lieta a prodigarci cure

Ma questa cura or a te solo ha volta.

Dopo che ti conobbe del suo cuore;

Lei fatto re con quelle tue parole

Ma lo devi saper l’odia ogni fiore!”

III. Belle Manine

Belle manine bianche affusolate,

Che sui ginocchi languide giacete,

Fatte di gigli e perle mi sembrate,

Tanto gentile nel candor voi siete.

Morbide come piume vellutate,

Ogni bellezza al paragon vincete

Quando su le ginocchia abbandonate,

In mezzo a bianchi fior in confondete.

II. Jealousy of the Flowers

Do you know that the flowers in your garden

hate me? I noticed one time some angry words

that a hawthorn said to me, while all the violets

cried.

“What did I do?” I asked, and a jasmine burst

into tears. “Cruel one, take away the sun, but

return to us the splendour of that little face,

which you have stolen with your foolishness.

Return her to us as before, she does not gladly

return to lavish care upon us, but this care is

now given only to you.

After this you knew of her heart; you made

yourself king with your words but you must know

that all of the flowers hate you.”

III. Beautiful Little Hands

Beautiful little hands, white and tapering which

rest languidly and frozen on your knees, They

seem to me like lillies and pearls, you are very

kind and gentle.

Soft as a velvet feather, you win every

comparison of beauty when they abandon your

knees and are confused amidst white flowers.

Chi vi puo’ dire mai, chi vi puo’ dire

Che desideri in core mi destate,

Belle manine morbide e procaci?...

Vorrei di anelli splendidi coprire

Le dita vostre e su le immacolato

Palme stampare, ai mille a mille, i baci!...

IV. Carina!...

Sei carina e vezzosa:

Hai negl’occhi le stelle,

E d’il color di rosa,

Su le tue guancie belle.

Davanti ai tuoi ginocchi

Come un fanciullo, assiso,

Guardandoti negl’occhi,

Io Sogno in paradiso.

Sui miei capelli ondi

Le tue manine posa,

E tra le palme ascondi

La fronte mia pensosa!

Nell’estasi sublime,

Ti cantero l’amore,

Nelle piu belle rime

Che mi verran dal cuore.

E se (il dolce tema!)

Un bacio mi darai,

Lo scrivero un poema

Che non mozza giammai.

Who, but who can tell you, that you awaken

desire in my heart, beautiful little soft and

provocative hands?

I would like to cover your fingers with splendid

rings and on your immaculate palms stamp

thousands and thousands of kisses.

IV. Sweetheart!

You are pretty and charming: There are stars in

your eyes and the color of roses is in your

beautiful cheeks.

Seated at your knee, as a child, I look into your

eyes I dream of paradise.

Your hands rest on my wavy hair, and between

your palms my worries disappear.

In sublime extasy, I will sing to you of love, of

the most beautiful rhymes that come from my

heart.

And if (oh sweet idea!) you give me a kiss I will

write a poem that will never end.

V. Mattinata

All'orrizonte il sol ridente appare

E in alto assorge lieto e maestoso:

Al creator la terra il cielo e il mare

Mandano un inno fulgido, festoso.

Dicono i fior, che stan fra i verdi mai,

E i misti olezzi effondono d'intorno:

O padre sol e passeggiando vai

Per le vie del ciel durante il giorno,

Entra giulivo nella camerella

A ridestare la mia Italia bella.

Baciala in fronte, falla risvegliare,

Che giunta e l'ora di gioire e amare.

L'aura dice: Buoni di! Ti sei levata,

E d'al balcon t'affacci tutta lieta,

Come una bianca visione di fata,

Come un soave sogno di poeta.

Dice il mio cuor ch'e un bel giardin d'amore

In me germoglia il fior dei sentimenti

Dei tuoi begl'occhi al mistico splendore.

Dicon la terra e il ciel coi lo concerti

Che ogni tuo modo e pien di dolce incanto

Tu sei tanto soave e bella tanto,

Che dove posi il piede spunta un fiore

E dove il guardo volgi spira amore....

V. In the Morning

The sun, smiling, appears on the horizon and

slowly and majestically rises up high: the earth

the sky and the sea send a splendid festive hymn

to the creator. They say that the flowers never

stay among the grasses and the fragrant mists

infused around them. Oh father sun, who walks

the streets of the sky during the day, enter

joyfully the little bedroom and re-awaken my

beautiful Italia. Kiss her on the forehead and

wake her up because the hour of love and joy

has arrived.

The breeze says: Good morning! You have

arisen, and appeared in happiness on the

balcony, like a white vision of a fairy, like a

sweet dream of a poet. My heart tells me that this

is a beautiful garden of love: in me germinates

the flowers of feelings for your beautiful eyes of

mystical splendour. The earth and the sky

together say that you are sweet and very

beautiful and all your movements are full of

sweet enchantment, that where you place your

foot a flower sprouts and where you cast your

gaze love breathes…

VI. Sei Libera!...

supposto che mi avesse.. lasciato

Eh, non tremore piu, che l'ho distratto,

lo spettro del passato?

Le lettere, i capelli, i fiori, tutto,

a le fiamme ho gettato.

Sei libera: del sogno reo la traccia

ho fatto disparire:

mostrare puoi superba ancor la faccia,

e non impallidire.

Che frati, che pensieri, che concetti,

che soavi armonie,

perdute in quei minuscoli foglietti!

Che splendide bugie!...

Sei libera: Serena puoi tuandare

ai dolci incantamenti

E ancora tu la croce spergiurare

l'amore che non senti...

Non piu nel folleggiare dei baci e amplessi

ti piangera improviso

Io spasimo di gaudi a me concessi

e il mio beffardo riso.

Sei libera: Distratto fa una vampata

la perfida menzogna:

in mi pugno di cenere lo mutata

l'antica tua menzogna.

VI. You are free!

Suppose you had left me...

Well, no more trembling, haven’t I destroyed the

spectre of the past? The letters, the hair, the

flowers, everything, I have thrown them into the

flames.

You are free: I have made the traces of the

dream disappear. I was shown your face even

more superb, and it doesn't fade.

What phrases, what thoughts, what concepts,

what sweet harmonies, lost in those tiny pages!

What splendid lies...!

You are free! Serenely you can go on to sweet

enchantments and still swear falsely on a

crucifix that you do not feel love...

No more in the folly of kisses and passionate

embraces, will you cry unexpectedly. I spasm

with the joys granted to me and I smile

mockingly.

You are free: I have destroyed with a blaze the

heinous lie: Your old lies are changed to a

handful of ashes.

VII. Ricordi?...

Era d'estate nel meriggio stanco

Tra'l biancore dei fiori e nell' ardore,

Di quella calma, ti tenevo al fianco

Appoggiata al mio braccio e il tuo languore,

Mi faceva morir tu lo sapevi,

Io ti chiedevo un bacio e tu rideri...

Mi saliva a le nasi il dolce odore,

Dei tuoi capelli, e l'alito gentile

De la tua bocca da regina, il cuore,

Mi faceva balzar, divenni vile,

Ti pregai in ginocchio, ti adorai...

Tu non volesti… e i baci ti subai

Sui fiori bianchi e sopra i tuoi capelli

Volaron le farfalle; mi dicesti

In mezzo ai baci: come sono belli

I fiori e le farfalle. Sorridesti...

In mezzo ai fiori bianchi di quel prato

Tenera Italia quanto l'ho baciato...

Adesso dove sei? Ricordi ancora

Le carezze frementi che mendaci

Chiamavi sorridendo? T’addolora

Il ricordo gentile di quei baci?

Io colgo spesso il mio pensiero in fallo

Sopra un mazzetto che non e piu quello...

VII. Do you remember?

It was summer, in the tired afternoon amongst

the whiteness of the flowers and our ardour, in

this calm, I held you by my side resting against

my arm in your languidness. I couldn’t resist and

you knew it. I asked you for a kiss and you

laughed...

The sweet smell of your hair came to my nose,

and the gentle breath from your queenly mouth

made my heart jump. I lost courage and begged

you on my knees, I adored you... You didn't

want to ... and I stole your kisses.

Butterflies flew among the white flowers and in

your hair; you told me in the middle of kisses:

how beautiful are the flowers and butterflies...

You smiled... Amid the white flowers of that

meadow tender Italia, how I kissed you...

Where are you now? Do you still remember the

trembling caresses that I begged you with a

smile? Is the gentle memory of those kisses

painful to remember? I often catch myself

thinking of that small lost bunch of flowers...

Texts by Ginese Triaca, 1902, Verona.

Translated by Mark Viggiani and Linda Massola,

with special thanks to Elisabetta Lamanna

Instrumentation

soprano

clarinet in B¨

trumpet in B¨

percussion (one player):

vibraphone, 5 temple blocks, triangle, snare drum, crotales, suspended cymbal, finger cymbals,

tambourine. Will also need double bass bow.

classical guitar

violin

contrabass

Score in C

Vorrei…

I. Vorrei… / Ricordi

III. Belle Manine

IV. Carina!..

V. Mattinata

VI. Sei Libera!...

VII. Ricordi?...

Clarinet in Bb

Trumpet in Bb

Vibraphone

Guitar

Soprano

Violin

Violoncello

Contrabass

q = 64 reverently

(sempre)

mp mfp

sempre legatissimo p mf mf

I. Vorrei... - Ricordi

Mark ViggianiGinese Triaca

a.h. XVIII

mf mp p

(Vorrei...)

te vo rrei...- par la- re- d'a

p mf mp

mo re- nell' o ra- in cui il so le,- - -

f mp pp f

all' o riz- zon- te-

cli- na- all' o riz- zon- te-

(pont.) 33

ffp ff mf

gli- e vio le-

da o gni- pian ta- fa le- un o do- re- di gi gli- e di vio le-

(espress.)25

(nat.)

f bird-like

(Ricordi)

q = 72 29

su tra i ra me- l'u si- gno- lo- can ta-

p mf p mf

(growl) f p (lontano)

(sinceramente)

ci- se re,- che mo men- ti-

n p ppp

be lli- quan do- tu tto- per cam pi e- cal mo- e che to- quan do- l'ul ti- mo-

p pp p ppp

XII(slow)

con sord.

gliss.

gri do- de gl'u- cel- li- fi ni- ta,- e

string.

a me ti strin go- lie

pp p (espress.) f

mf p mp

co me- so no- an cor- piu va ghi- e be lli- quei tra mon- ti- di sol

pp mp mf espress.

pp mp pp

quan do- in se gre- to-

(con passione)

eb bri- si ba cia,- in boc

ca,- e su i- ca pel- li- la di let to- del cor... Mo men- to-

lie to!- E

tu lo sai che mi com pren- di- o ca ra- quan to-

pp p pp

pp mf p pp

sour dol ci- e fa ci- e le ca re- sse- la fra i li mo- ni- e nell' om bra- di se ra- ta.-

pp ppp

ppp mp

(con aspettazione)

sa ques to- cuor che ti pre pa- ra- af fet- ti- nuo vi- far no vel- le- e brez

- ze- ques to-

pp pp fp

cuo re- d'a man- te- e di po e- ta.-

p (lontano) pp

ppp p n

Clarinet in Bb

Trumpet in Bb

Temple Blocks

Guitar

Soprano

Violin

Violoncello

Contrabass

q. = 120

fp f mp

secco*

p mf p

mp sf p mf p mp sf p

mp sf p mf p

T. Bl.

f mp p f

che m'o dia- no- i fior del tuo giar -

Ginese Triaca Mark Viggiani

* cut off previous chord by placing fingers sharply and percussively on strings.

slap strings and wood with flat palm over soundhole

pizz. arcogliss.

T. Bl.

pp f mf mp

di no?-

subito p

Me n'a

(con minaccia)

vvi- di u na- vol ta- a- le pa role- d'i

ra- che mi di-

p mp p mf

pp p mp

ce va- un bian co- spi- no,- Men tre,- tu tte- pian-

pp p fp

f pp mf

pp p fp

To Tri.

Triangle To T. Bl.

Temple Blocks

T. Bl.

ge va- no- le vio le.-

T. Bl.

f indignatamente

che fe ci?"- chie de- vo:- e un gel so- mi- no-

harmon mute

gliss.

senza sord.

T. Bl.

q = 120 (q. = q)49

f implorantemente

- del, to gli- ci- il so le,-

mi sin ghioz- zo:-

f sf f f

mf sf f f

T. Bl.

q. = 12055

pp p n

ma ren di- ci- il ful gor- di quel vi si- no-

savagely

p ppsfz

p pp p f

p pp f

To Tri.

Triangle

To S. D.

arco vivo

ba sti- tu con le tu - e fo

le.- Ren

de- ci- lei che piu co me- u na-

vol ta- non tor na- lie ta- a pro di- gar- ci- cu re- ma que sta- cu ra- or a te so lo- ha

pp mp p

p f mp mf

vol ta.- Do po- che ti co nob- be- del su o- cuo re:-

mp f p

sul pont. pizz.

(pizz.)

fat to- re con quel

le- tue pa role- ma lo de vi- sa per- l'o di- a- og ni-

f espress. mp f

mf f mf

simile

fio re!"-

mp ff mf

Snare Drum

mp f ff

p mf f

mf ff mf

pp mf pp

de- ci- lei che piu co me- u na- vol ta- non

tor na- lie ta- a pro

di- gar- ci-

de- ci- lei che piu co me- u na- vol ta- non

tor na- lie ta- a pro

di- gar- ci-

cu re- ma que sta- cu ra- or a te so lo- ha vol ta.-

T. Bl.

po- che ti co nob- be- del su o- cuo re:- Lei

fat to-

po- che ti co nob- be- del su o- cuo re:-

Temple Blocks

T. Bl.

re con quel

le- tue pa role- ma lo de vi- sa per- l'o di- a- og ni- fio re!"-

Clarinet in Bb

Percussion

Guitar

Soprano

Violin

Violoncello

Contrabass

q = 148 Teneramente

ppp pp pp

le- ma nine- bian che- af fu- so- -

Bongos

ppp pp pp ppp

la te,- Che sui gi noc- chi- lan guide- gia ce- te,-

mf mp mf

Ginese TriacaMark Viggiani

III. Belle Manine

bongos with fingertips

To S. D.

Bongos

Fat te- di gi gli- e per le- mi sem brate,- Tan to- gen ti- le-

p mf fp

Bongos

nel can dor- voi sie te.- Mor-

arco punta d'arco

Snare Drum snare off

pp pp p

bi de- co me- piu me- vel lu- ta- te,- o gni- bel lez- -

p f mp mp

za al pa ra- gon- vin ce- te-

To Crot.

Crotales

Quan do- su gi noc- chia- a ban- do- na- te,- -

In mez zo- a bian chi- fior in con fon- de

- te.-

fp mp f

To Bongos

arco punta d'arco

vi puo' di re-

mai, chi

string.

vi puo' di re- Che

de side- ri- in co -

pp poco n

re mi de sta- te,- Bel

le- ma nine-

rall. A tempo109

mor bi- de- e pro ca- ci?-

(appassionato)

Vor rei

- di a -

Bongos (fingers) To Crot.

ne lli- splen di- di- co pri- re- le di ta- vos tre- e

su le im ma co- la- re- pal me- stam pa- re- ai mil le- a mil le- i

pp mp pp

Crotales

mfpp mp

mil le- a mil le- i ba

ci!- - ai mil le- a mil le- i

ci!- ai

ba ci!- i

ba ci!-

tongue slap

allarg.155

mil le- a mil le- mil le- i ba

allarg.

p pp mp

(nat.)

Trumpet in Bb

Percussion

Guitar

Violin

Violoncello

q = q = q = q = 98

(bisb.)

ppp pp

ca ri- na- e vez zo- sa:- Hai negl' oc chi- le

simile

mp pp mf ppp

mute (wah)

Ginese Triaca Mark Viggiani

Clarinet, Soprano & Contrabass tacet

IV. Carina

sus. cymbal

scrape Wood Blocks

pizz. arco

mp fp pp

ppp mpmp

ste lle,- E d'il co lor- di ro sa,- Su le

p mf ppp mf p

mf mf p

tu e- guan cie- bel le.- Da

mf p pp

mfp pp

sus. cymbal

scrape

Cymbals

pizz. arco

senza sord.

soft mallets

sempre rubato

ti- ai tuoi gi noc- chi- Co me- un fan ciul- lo,- as si- so,- Guar dan- do- ti- negl' oc chi,- Io so gno- in pa ra- -

q = 76

mp pp mf mp

di so.- Sui miei

ca pel- li- on di- Le tue ma nine- po sa,- E tra le pal me- as-

pp mp mfpp mp

di- la fron te- mia pen so- sa- Nell'

e sta- si- su bli- me,- ti can te- ro- l'a more- Nel le- piu bel le- ri me- che mi ver ran- dal

cuo re- E se

subito p

(il dol ce- te ma!)- Un ba cio- mi da rai,- Lo scri ve- ro- un po

e ma- che non moz za- giam mai.-

espress.

Clarinet in Bb

Vibraphone

Guitar

Soprano

Violin

Violoncello

Contrabass

q = 68

o riz- zon- te- il sol ri den- te- ap pa- re- e in

ppp mp

to- as sor- ge- lie to- e maes to- so:- Al cre a- tor- la ter ra- il cie lo- e il

accel.

Ginese Triaca

V. MattinataTrumpet tacet

M. Viggiani

con pedale

motor on (slow)

ma re- man da- no- un in no- ful

gi- do- fest o- so.- Di co- no- i fior, che stan fra i

pp mf p

ver di- mai, e

i mi sti- o lez- zi- ef fon- do- no- d'in tor

- no:-

pa dre- sol te pas se- gian- do-

O pa dre- sol te pas se- gian- do- vai du ran- te- il gior no.- en tra- giu li- -

per le vie del ciel du ran- te- il gior no,- en tra- giu li- vo- nel la- ca me-

rel la- a ri de- sta- re- la mia I ta- lia- bel

la.- -

To Finger Cym.

cia- ta- in fron te,- fal la ri sve- glia- re- che

f ppp mp

F. Cym.

Più mosso q =8440

giun ta- e l'o ra- di gio i- re- e a ma

mp mf f

mp mfmp

finger cymbals

to vibraphone

F. Cym.

ra- di ce:- Buo ni- di! Ti sei le va- ta,- E d'al bal con- l'af -

F. Cym.

foc ci- tut ta- lie ta,- - co

me- u na- bian ca- vi sion- e- di fa ta,- co me- un

Vibraphone

soa ve- so gno- di po e- ta.- Di

ce- il mi o- cuor ch'e un bel giar din- d'a -

poco rit. 64

mo re:- In me ger mo- glia- il fior dei sen ti- men- ti- Dei tuoi begl'

A tempo71

oc chi- al mi sti- co- splen do- re.- Di

con- la ter ra- e il ciel coi lor con cer- ti;-

pp pp p

pp ppp p

pp pp ppp pp

pp ppp

pp (echo)

sei tan to- soa ve- e bel la- tan to,- che o gni- tuo mo do- i pie ni- i dol ce- in

arco con pedale

XIIl.v.

can to- che

do ve- po si- il pie de- spun ta- un fio - - -

poco rall. 89

ppp mf

do ve- il guar do- vol gi- spi ra- a more...-

arco con pedale

Clarinet in Bb

Trumpet in Bb

Tambourine

Guitar

Soprano

Violin

Violoncello

Contrabass

q = 80

p f mp

po- sto- che

a ves- se...-

ppp f ff mp

ppp f pff mp

ppp f p f pp fp

pp sf mp pp

q. = 120 come uno stornello

scia- to-

pleggiero

p p leggiero

Ginese Triaca

VI. Sei Libera

Mark Viggiani

pizz. pizz.

(thumb) shake

simile

non tre more- piu, che l'ho dis trat- to,- lo spet tro- del pas-

sa to?- Le

let te- re,- i ca pel- li,- i fio ri,- tut to,-

p f mp f

a le fiam me- ho get ta- to.-

f mp mf sfz mp

f mp f mp f sf

mp f mf

Sei li be- ra:-

Sei li be- ra:- del so gno- re o- la

sf mp f

molto espress.

mp f mf

4 4 44

Mos tra- re-

trac cia- ho fat to- dis po- ri- re:- Mos tra- re-

mf p mf

puoi su per- ba- an - cor la fac cia,-

puoi su per- ba- an - cor la fac cia,- e

f mf pp

non im pal- li- dire.-

fra ti,- che pen sie- ri,- che con cet- ti,- che soa ve- ar mo- -

ni e- - -

du- te- in

p mp f

quei mi ni- sco- li- fo gliet- ti!- Che splen di- de- bu gi- e!...-

Sei li be- ra:-

Se re- na- puoi tu an da- re- ai dol ci- in canta- -

(thumb)

to cym.

pp fp pp fp simile fp fp fp

pp mp pp simile

mp p pp

men ti-

fp fp fp

an co- ra- tu la cro ce- sper giu- -

sus. cym. (soft mallets)To S. D.

q. = q senza misura117

molto espress.mf

ah sper giu- ra

accell.

- re- - l'a

more- che non

Vivace q. = 156122

ppp p pp mf

sen ti...-

(slow)

Snare Drum

q. = 120128

f p mf pp mf ff

piu nel fol le- -

gia re- dei ba ci- e am ples- si- ti pian ge- ra- im pro-

spa si- mo- di gau di- a me con ces- si-

vi so- e il

mp mf mp

li be- ra:-

mi o- bef far- - do ri so- - Sei

li be- ra:-

gliss.

Di strat- to- fa u na- vam pa- ta- la per fi- da- men zo- gna-

Di strat- to fa u na- vam pa- ta- la per fi- da- men zo- gna-

in un pu gno- - di ce ne- re- lo mu-

ta - ta l'an ti- ca- tu a- men zo- - -

ta ta- l'an ti- ca- tu a- men zo- - -

pp mp ppp

Clarinet in Bb

Trumpet in Bb

Vibraphone

Guitar

Soprano

Tenor Solo

Violin

Violoncello

Contrabass

q = 60

con ped. p mf p

p pp p

T. Solo

pp mf mp

ra- d'e sta- te- nel me rig- gio stan co Tra'l bian core- dei fio ri- e nell' ar -

Ginese Triaca

VII. Ricordi?...

Mark Viggiani

arco (l.v.)

(arco)

T. Solo

do re,- Di quel la- cal ma- ti te ne- vo- al fian co- a pog- gia- ta- al mi o-

T. Solo

Allegro q = 12018

sf pp subito

cio- e il tu o- lan guo- re- Mi fa ce- va- mo rir- tu lo sa pe- vi;- I o- ti chie de- va- un

p fp p fp

pizz. arco

sticks

sul pont.

pizz.arco

T. Solo

Tempo primo23

cio- e

tu ri devi...- Mi

mp p p

T. Solo

Più mosso qqqq = 6829

pp mf p mf

li va- a le na si- il dol ce- o do- re,- Dei tuoi ca pel li- e l'a li- to- gen ti- le- De la tu a-

mp p mp

pizz. arco

T. Solo

ff p mf

boc ca da re gi- na,- il cuo

re,- Mi fa ce- va- bal zar,-

subito pp

di ven ni vi le,- Ti pre gai- in gi noc- chio,- ti

f mp p

mp f p

T. Solo

rall. A tempo q = 6841

do- rai... Tu non vo les- tis- e i ba ci- ti ru bai

f molto espress.

p mf f

sticks

arcochange bow discreetly

T. Solo

mp f mp (con ped.)

fio ri- bian chi- e so pra- i tuoi ca -

T. Solo

p pp mf

pel li- Vo la- ron- le far fal- le;- mi di ces- ti- in mez zo ai ba ci:- "Co me- so no- bel li- i fio ri- e le far -

T. Solo

p mf mf

fal le",- sor ri- des- ti...- in mez zo ai fio ri- bian chi di quel pra to- Te ne- re- I ta- lia-

T. Solo

ff molto espress.

poco rall. q = 5461

f molto espress.

quan to- l'ho ba cia- to...- -

ff molto espress.

f mp mf mp sempre

T. Solo

Allarg. A tempo q = 5466

mf p mf

T. Solo

f subito pp

q = 6070

des- so- do ve- sei? Ri-

subito pp ppp

subito ppppp

f subito pp

f p pp

to sus. cym.

sul pont.

con sord.

T. Solo

p mp p mp f pp

cor di- an co- ra- Le ca rez- ze- tre men- ti- che men da- ci- chai ma- vi- sor ri den- do?- l'ad do-

T. Solo

mf p mp p mp mf p

lo ra- Il ri cor- do- gen ti- le- di quei ba ci?- Io

col go- spes so- il mi o- pen sie- ro- in fal lo

con sord.

T. Solo

so pra- un maz zet to- che non e piu quel lo...-

mf p pp

mp pp mp

ppp mp

sus. cym. (soft mallets)

To Vib. Vibraphone

with bow l.v. (sempre)

vocalise

con sord.

pp mp pp

Ah Ah Ah Ah

mf pp mf mp p

pizz. arco

T. Solo

p p pp

Mark Viggiani September 2012

Minerva Access is the Institutional Repository of The University of Melbourne

Author/s:

VIGGIANI, MARK

Title:

Folio of original compositions 2009 - 2012

Citation:

Viggiani, M. (2013). Folio of original compositions 2009 - 2012. PhD thesis, Melbourne

Conservatorium of Music, VCA & MCM, The University of Melbourne.

Persistent Link:

http://hdl.handle.net/11343/38368

File Description:

Volume 1: Folio of Original Compositions 2009 - 2012

Terms and Conditions:

Terms and Conditions: Copyright in works deposited in Minerva Access is retained by the

copyright owner. The work may not be altered without permission from the copyright owner.

Readers may only download, print and save electronic copies of whole works for their own

personal non-commercial use. Any use that exceeds these limits requires permission from

the copyright owner. Attribution is essential when quoting or paraphrasing from these works.

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