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) tuba

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

Dark was the night, Cold was the ground

Mark Viggiani q = 48           Clarinet in E b      

 Clarinet 1 in B b         pp

Clarinet 2 in B b           Bass Clarinet     in B b                ppp p pp pp  p            Flugelhorn 1      

Flugelhorn 2      

Euphonium      

Tuba        q = 48   suspended cymbals    Percussion 1   medium mallets    bass drum 2 suspended cymbals  crash cymbal    triangle          guiro    ppp p ppp Percussion 2 kick bass drum snare drum tam tam suspended cymbal 5 wood blocks      guiro  vibraphone 3 Percussion 3   vibraphone            3 toms      5 wood blocks      pp 5 3  mp 5 Percussion 4  glockenspiel 5 wood blocks tambourine      triangle 

6        Eb Cl.     

vib. gliss.    Cl. 1    mp

    Cl. 2         pp fp     B. Cl.                  mp  pp fp       Flug. 1     

Flug. 2     

Euph.     

Tba.              Perc. 1                pp mf mp

woodblocks     Perc. 2                         3    mp 3 mf  Perc. 3             3 mp

 glock  Perc. 4        mp 11

A 10      Eb Cl.     

3  Cl. 1            f  Cl. 2        pp

3 B. Cl.           f       Flug. 1         mp

Flug. 2        mp

  Euph.        pp mp mp

Tba.      

scrape with   end of stick  scrape   nat. Perc. 1              pp pp p

 3  Perc. 2                    ppp mf mp 5 3     3     Perc. 3                  p  5 5  mf f triangle Perc. 4         p 12

14      Eb Cl.     

      Cl. 1          sub. pp pp 

5 5    Cl. 2                 f   sub.  pp pp  3 B. Cl.                           mp p ppp       Flug. 1            mf p

 Flug. 2        p 5

 Euph.            3 pp f

Tba.         nat.     Perc. 1          pp 3

tam tam Perc. 2        pp    Perc. 3               pp  

Perc. 4      13 B

18  Eb Cl.     

           Cl. 1      f 3       Cl. 2           f 3 5

3     B. Cl.                        mp  f

  Flug. 1         p mf

Flug. 2                   p mf

    Euph.                mf

Tba.      

  Perc. 1       

Perc. 2         p



    

   Perc. 3                      p f   Perc. 4        mf 14

 C   22     Eb Cl.      

 Cl. 1          p

     Cl. 2        p

   B. Cl.                

         Flug. 1              pp

 Flug. 2              pp

   Euph.                  pp

 Tba.          pp        Perc. 1      

woodblocks  Perc. 2           mp ppp

3  Perc. 3         mp glock   Perc. 4              p mp  15    27     Eb Cl.    

gliss.     Cl. 1         f ff

gliss.     Cl. 2         f ff

 3 B. Cl.                           mp ff            Flug. 1    

 Flug. 2     

   Euph.                f

 Tba.          p mf        Perc. 1           pp mf

Perc. 2      mp mf

3 Perc. 3                    

Perc. 4     16

 D 30      Eb Cl.     f     Cl. 1         ff 

  3 Cl. 2           ff 

  B. Cl.                  ff  wah mute    Flug. 1       f

wah mute Flug. 2          f 3

Euph.             

Tba.                 triangle   Perc. 1               f pp

tam tam Perc. 2        p

 Perc. 3             ff         Perc. 4            f 17   34    Eb Cl.    

           Cl. 1          mp  5 p mf

5 5  Cl. 2                       3 p mp mf

 B. Cl.         pp   senza sord.    Flug. 1          pp senza sord. 3 3 Flug. 2                  pp  

Euph.           pp

Tba.         sus. cymb.   Perc. 1                 pp

Perc. 2    

Perc. 3       mp   

Perc. 4        18  E   37  3    s.        lis   E Cl.  g  b        p f passionately ff            Cl. 1          mp pp f    Cl. 2        pp

3 B. Cl.                   Flug. 1         fp fp

    Flug. 2                 fp fp

3      Euph.       mf

Tba.             triangle   Perc. 1               3   pp mp

Perc. 2          mf   Perc. 3         ff       Perc. 4             3 pp mf 19      42 . liss    . g       iss     gl E Cl.   b     3                           Cl. 1          3 3 mp f p              Cl. 2          3 3 mp f p solo, freely

B. Cl.        ppp           Flug. 1    fp

 Flug. 2           fp   Euph.    

   Tba.           mf  pp

   bass drum    l.v.    Perc. 1                 pp

Perc. 2      

              Perc. 3                 f p        Perc. 4            3  20 q = 116

47 senza misura    Eb Cl.   

Cl. 1   

Cl. 2   

     g  gl      lis B. Cl.   iss   s.     .          3    pp     p f p  f  senza misura   Flug. 1   

Flug. 2   

Euph.       mf

Tba.     q = 116 senza misura       Perc. 1           p  kick-bass drum  Perc. 2      mf

tom-toms med. mallets        Perc. 3                 mf tambourine  Perc. 4      mf 21

49  Eb Cl.       

Cl. 1             f

Cl. 2            f

B. Cl.             

 Flug. 1       

Flug. 2       

          Euph.                           f

Tba.             mf

 Perc. 1       

snare drum

Perc. 2            mp

Perc. 3                 

     Perc. 4                    mf 22

55 F  Eb Cl.     

Cl. 1                 p  f mf

Cl. 2                 f p mf

B. Cl.     

 Flug. 1     

Flug. 2            mp mf      Euph.                       mp 

Tba.              mf

 Perc. 1     

Perc. 2          mp

Perc. 3              p

 Perc. 4         p 23

59  Eb Cl.     

Cl. 1                      

Cl. 2                     

B. Cl.                   mp fpp

 Flug. 1          mf

  Flug. 2             mf     Euph.             mf  p f

Tba.                   p f

crash cymbals   Perc. 1       f

Perc. 2                           mp mf mf

Perc. 3          f

  Perc. 4           f f 24

G 63      Eb Cl.                               3 ff mf f

Cl. 1                        f ff

Cl. 2                              f ff

B. Cl.                  f

  Flug. 1              f f ff

Flug. 2                   f f       Euph.       f

Tba.        f

 Perc. 1     

  Perc. 2          mf f

3 Perc. 3                   3

  Perc. 4            ff 25

67 solo   Eb Cl.        mp

Cl. 1      

Cl. 2      

B. Cl.        ff

 Flug. 1       

Flug. 2           ff   Euph.        ff

Tba.         ff

triangle   Perc. 1             f p

   Perc. 2            p f mp 

woodblocks (woodblocks) Perc. 3                            mp  p   mp  p   (tom toms)

Perc. 4         p 26

H 72          E Cl.    b    espress.    

Cl. 1    

Cl. 2    

B. Cl.    

 Flug. 1    

Flug. 2    

Euph.    

Tba.     

 Perc. 1    

p       Perc. 2                                   p

Perc. 3                         

glock    Perc. 4         27

75   gliss.  E Cl.    b             mf  Cl. 1                   mp mf

Cl. 2                   mp mf

B. Cl.           mp

   Flug. 1                p mp

  Flug. 2              p

 Euph.             p

Tba.            p 

 Perc. 1     

      Perc. 2                                 mp

 Perc. 3                             mp  mp

Perc. 4          28 J 79           Eb Cl.                   mp mf 3     3 f  Cl. 1                mf

Cl. 2             

B. Cl.     

 Flug. 1                mp

Flug. 2              mp

Euph.     

Tba.      

guiro    Perc. 1              mf

Perc. 2            mf p

Perc. 3                              mf        Perc. 4    p 29   83                     Eb Cl.                    

           Cl. 1                f

  Cl. 2                     mf f

  B. Cl.             f    Flug. 1                       mf

Flug. 2                          mp mf     Euph.             mp

Tba.            mp      Perc. 1    

     Perc. 2                             mf f

Perc. 3    

triangle Perc. 4       mp 30   K    86        E Cl.  b      4  ff p       Cl. 1     4    ff p      Cl. 2     4 ff

  B. Cl.       ff p          Flug. 1        f pp

4  Flug. 2         f pp

   Euph.   f pp

Tba.       f pp     triangle Perc. 1          mf p   Perc. 2                      f pp

Perc. 3                                     p  p  glock       Perc. 4     p 31

L 90  Eb Cl.      

Cl. 1      

Cl. 2      

B. Cl.      

 Flug. 1                  f   p

Flug. 2                    p f  Euph.                 p f

Tba.                   f     f

guiro triangle  Perc. 1                              p f ff p f   Perc. 2                 

Perc. 3                    f ff tamb.       Perc. 4                              p f ff 32

95       Eb Cl.        f

  Cl. 1            f

 Cl. 2            f

     B. Cl.                                   mp ff  f 

3     Flug. 1                  mf 

3    Flug. 2                  mf           Euph.             mf 3

 3 Tba.                   mf   

crash c.   Perc. 1          f

mf f    Perc. 2                f   Perc. 3                 f

  Perc. 4              f 33

99                          Eb Cl.                      f 5 p                  Cl. 1                           f 5 p        Cl. 2                                      f 5  p           B. Cl.                                 f 5 p

   Flug. 1                 mf mf 

Flug. 2      

Euph.      

Tba.       

 Perc. 1      

 Perc. 2          

5  Perc. 3            

glock Perc. 4          mp 34

M 104               E Cl.      b         ff

     Cl. 1                        ff

     Cl. 2                        ff

   B. Cl.                   ff

 Flug. 1                  f     

  Flug. 2                         f

     Euph.                  f

Tba.                    f 

triangle  Perc. 1             p mf

           Perc. 2                mp f

  3 Perc. 3                       p f

tamb glock Perc. 4              f f 35

108                      E Cl.    b           3

 gliss.          Cl. 1                        fff  gliss.         Cl. 2                         ff

  B. Cl.                     

   Flug. 1                            ff

   Flug. 2                      

     Euph.                   

  Tba.                      

sus. cymb. med. mallet  Perc. 1         p

            Perc. 2               

3 Perc. 3                

tamb Perc. 4               f 36

gliss.   112         E Cl.     b     fff fff

       Cl. 1      fff

       Cl. 2      fff

    B. Cl.            fff    4        Flug. 1                ff 

 Flug. 2                       4   ff      Euph.        ff

Tba.           ff           (l.v.) triangle   Perc. 1             ff ff

            Perc. 2                              ff   ff  

Perc. 3              3 fff ff glock tamb         Perc. 4                          f 3 3 ff  37

117    E Cl.            b         

           Cl. 1                   pp f                     Cl. 2       pp f

B. Cl.                   

  Flug. 1              mp

Flug. 2                          mp    Euph.                   

Tba.                    

 Perc. 1      

Perc. 2      

Perc. 3      

Perc. 4       38

N 122                 Eb Cl.     f 3 ff                       Cl. 1         3 5 3 ff                Cl. 2                3 5 3 ff

B. Cl.     

 Flug. 1                   mf

Flug. 2                      mf

Euph.                  mp mf

Tba.                         mp mf

 Perc. 1     

Perc. 2     

Perc. 3     

Perc. 4      39 O 126                Eb Cl.                   ff p           Cl. 1                      ff p           Cl. 2                     ff p   

   B. Cl.               p

 Flug. 1                  pp

3 Flug. 2                   pp

        Euph.                  pp

Tba.                       pp

 Perc. 1      

pp  Perc. 2            pp

Perc. 3      

Perc. 4       40    flz.  131 flz.      E Cl.     b           ff flz. flz.       Cl. 1                ff

flz. flz.    Cl. 2                 ff   flz. flz.          B. Cl.             ff           Flug. 1                  4 f 4 3 Flug. 2                 f 

       Euph.        f

Tba.               f     Perc. 1      

 Perc. 2            f

Perc. 3                           ff

tamb Perc. 4             f 4 f 4 41

 P 136       Eb Cl.                                           p mf p mf p

                 Cl. 1                                        p mf p mf p

      Cl. 2                                 p

B. Cl.     

  Flug. 1                   pp   

Flug. 2                     pp ppp      Euph.                    pp ppp

Tba.                     pp    ppp   crash c.   Perc. 1       f

Perc. 2     

Perc. 3     

Perc. 4      42

140                                 Eb Cl.                                  f    

                                                         Cl. 1       f                                          Cl. 2                       f      

B. Cl.    

 Flug. 1    

Flug. 2         

  Euph.         

Tba.          

 Perc. 1    

Perc. 2    

Perc. 3     

Perc. 4     43

143  Eb Cl.                                    pp

Cl. 1                                    pp

Cl. 2                    pp               B. Cl.                   mf pp

 Flug. 1    

Flug. 2    

Euph.    

Tba.     

 Perc. 1    

woodblocks Perc. 2                                          p vibraphone        Perc. 3                           p   Perc. 4     44

Q 146  Eb Cl.      

Cl. 1      

Cl. 2      

solo     B. Cl.                     sfz  pp pp

solo  iss.  Flug. 1       gl   pp espress. p

Flug. 2      

Euph.      

Tba.       

sus cymb  Perc. 1          pp mp

Perc. 2                

       Perc. 3                           pp        

Perc. 4       45

151  Eb Cl.      

Cl. 1      

Cl. 2      

    B. Cl.                                   mf

   Flug. 1  gliss.                       mp

Flug. 2      

Euph.      

Tba.       

 Perc. 1      

Perc. 2      

Perc. 3       

Perc. 4       46

R 156  Eb Cl.    

        Cl. 1             pp p mf p

       Cl. 2             p f p  

             B. Cl.          5 mf p

    Flug. 1                      3 mf

Flug. 2    

Euph.    

Tba.     

 Perc. 1    

tam tam Perc. 2       mf   Perc. 3          mf  Perc. 4     47

159 S  Eb Cl.      

Cl. 1      

Cl. 2      

6 B. Cl.                   mf f pp

gliss.      Flug. 1        f f p

Flug. 2      

Euph.      

Tba.       

 Perc. 1      

Perc. 2       

         Perc. 3                                f mp p    

Perc. 4       48

164  Eb Cl.     

Cl. 1     

Cl. 2     

3 3 5 B. Cl.               ff    

3   3  Flug. 1                            mf f

Flug. 2     

       Euph.         p f

 Tba.                   p f

 Perc. 1     

Perc. 2     

Perc. 3          pp 

Perc. 4      49

168  Eb Cl.       

Cl. 1       

Cl. 2       

B. Cl.            

gliss.            Flug. 1                   7 ff

Flug. 2       

Euph.       

Tba.               f

bass drum    Perc. 1          pp mf

Perc. 2       

3 3       Perc. 3                    f      

Perc. 4        50

T 174  Eb Cl.    

Cl. 1    

Cl. 2    

B. Cl.                                       mp f

gliss.         Flug. 1        f

   Flug. 2       f ff

Euph.    

Tba.                  f    T mf

sus cymb    Perc. 1     pp

Perc. 2    

Perc. 3    

Perc. 4     51

177  Eb Cl.      

Cl. 1      

Cl. 2      

B. Cl.                   p         mp f mf 

         Flug. 1             mf mp p

3        Flug. 2              mp p pp

Euph.      

3 Tba.             pp ppp   p  

sticks            Perc. 1            p pp 

Perc. 2      

Perc. 3      

Perc. 4       52

182    Eb Cl.               ppp

Cl. 1    

Cl. 2    

3 B. Cl.      ppp    

    Flug. 1       pp

Flug. 2    

Euph.    

3 Tba.               ppp

     Perc. 1             ppp pppp 

Perc. 2    

 Perc. 3        ppp 

Perc. 4     53

185   Eb Cl.           3 

Cl. 1     

Cl. 2     

B. Cl.       

flz.    Flug. 1         pp p

   Flug. 2       pp

Euph.     

Tba.        

med. mallets    Perc. 1          ppp pp guiro    3    Perc. 2          pp

      Perc. 3   3 p pp

woodblocks

Perc. 4         ppp 

Mark Viggiani, November 2009 Melbourne

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

Mark Viggiani, Melbourne, 2010

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

Two Pieces for Guitar Trio

1. Prism Mark Viggiani

q = 80 Sombre yet expectantly  bisb. Guitar 1              mf p    pp          ppp

3 Guitar 2          mf             p pp   

Guitar 3                           mf p pp ppp

V   6                 1                   mf  p cresc.  pp molto vib.   3      2                          mf   p cresc. p ff ff

molto vib.     3                         f mf  

12   0  1          gliss.      mp  mf p       VII dim.   2               pp mp     bisb.   3             ff  p                 pp dim. mf © Copyright M. Viggiani 2009 - 10 62

A XII   17                    1                pp mf  mf

   2                          mf     3    3                                 ff 



 



       



    1         0   mp p

bisb.    2                          mp   VII pp  bisb. 3           pp mf                       pp mp pp

25  bis.  1           pp        mp

 2        mp    l.v.  bisb. 3       mp                           ppp pp ppp 63

   29               1                               pp p pp    2                pp p  

3              pp

   36                    1                        2                  pp  pp warmly, molto espress.  3              mp

   42                 1        mp 3 pp                    2                mp 3 

 3           64

gliss. 47                           1           mp p    3             2           mp p

3                  cresc. mf p

        53                      1     pp            2            

   3           mp 

  59                         1            pp mp f               2                mp f

     3       mp f 65

   65          1       mf mp                       2            mf pp   pp l.v.

(bisb.)  0 0



    



  

 

     

   3     

                                 ppp mf pp

rit.



  



70   



     



   



        1           p pp ppp

        2                     al niente  3                                                  al niente

Mark Viggiani, March 2009 Melbourne

2. Tricks of Light

q = 124         1             p

   2                     mf   

3                                             mf      (vib.)

A1 7      sim.            1                                          2                               

3                         

 12        1               3

 2                   

3                                         © Copyright M. Viggiani 2009 - 10 68

B1 17     1                          ah.        gliss.   2                              3   

3                        

A2 23            1                                     2                   p

3                             

28                     1                           3

2                     

3                            69

32                            1                              

 2                              f 

3                            

B2 36



                        1                      mf  f

 2                            p    

3                         

A3 42  1        

 2                                    f   

 3                            f   70

 47    1            pp mp        2                                     3 

3  3                           

B3 51   

     

  

    1                   f p 

   



     2                                     p pp  3 3                        mf pp

A4 58   

        

   

     1                f

2                                     cresc. ff

0 3                                   cresc.      sf 71

65                   1           

     2                              

 3               0  mp

69                    1                  

  2               mp

3                                            f 

74   gliss.                          1          

  2                            ff    3                     72 B4 78                1                     mf      2                           mf   3   3                   p              p  mf

83                                     1               

3 3 3 3 3     

            2                                    f p 3 3

3                         f             

88                                        1                  3

     2                                         3 3 3 3 p 3 3 3 3 3 mf pp pp  3                                  73

g ss. liss.  gli 92      . gl  s iss               glis .         1     

   2                                             3 3 p  3 3 3 3 3 3 3 3 3 pp f

3                            ff molto 

96                               1   p pp

2                                      3 3 3 3 3 3 3 3 3 3  pp

3             pp

 100                          1         3

tamb. tamb. 0       2                          

3 3                                     mp   74 C

  gliss.  105         iss.         gl     1         3

   (nat.)                 2                                               3                         mp

110                                             1        3

                2                                                             3  mp

sim.                    3                                                                    3

gliss. 114 gliss.                             1      

                2                           3  

            3                                             75

gliss.   gliss. 117                                 1                 

                                   2                                          

          3                                                       

120                                                  1       3

                      2                                                            3

     3                                                                       

(coda) 123                       1                    p ff pp tamb.         2                            ff  pp

3                    p    ff   76

127                      1                      ff

    2                          ff ff  3                    ff ff

poco rit. 131           1                      pp  mp

            gliss. 2                     pp mp

3           

Meno mosso ah.  135                     1      3 3 ppp

  molto vib.     2                                p ppp

3                          p   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”

Mark Viggiani, Melbourne, 2010

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 tuba timpani percussion 1 – bongo, suspended cymbal, wind chimes, triangle, pair of crash cymbals percussion 2 - vibraphone, tam tam celesta harp violins 1 violins 2 violas violoncellos contrabasses

Score in C For Antonietta Massola One Last Tango Mark Viggiani q = 80    Piccolo       

Flute 1 & 2        Oboe 1 & 2        Cor Anglais        Clarinet in B b 1 & 2        Bass Clarinet  in B b      

Bassoon 1 & 2       

Contrabassoon         Horn in F 1 & 2        2.   ppp Horn in F 3 & 4          3.    pp Trumpet in C 1       

Trumpet in C 2        Trumpet in C 3        Trombone 1 & 2        Bass Trombone       

Tuba         Timpani        sus. cymbal, soft mallets   Percussion 1              pp Percussion 2        

       Celesta        E§ F§ G§ A§§§  B C D § § §                 Harp mp                   q = 80 sul D  Violin 1                         mp 3 5

gliss Violin 2         .     p  mp     Viola                     pp pp pp pp  Violoncello                                     pp p mf pizz.  Contrabass              mp © Copyright M Viggiani 2010 82

7  Ob. 1 & 2        

Cl. 1 & 2              1. pp    p  B. Cl.                p 

2. 1.   Bsn. 1 & 2           pp  p

1.   Hn. 1 & 2               p pp

Hn. 3 & 4                    

 Timp.              p 

(sus. cym.)  Perc. 1           p  

Perc. 2         

                    Hp. mf              

3  Vln. 1                 mf 3

div.   Vln. 2                        pp mf mf

pizz. arco    Vla.                         pp mf mf

      Vc.                     3  3  mf f

arco pizz. Cb.                   f mf 83

14  Ob. 1 & 2       

 Cl. 1 & 2               2.  p

B. Cl.            

mf 1.            Bsn. 1 & 2                     2. mp

 Hn. 1 & 2                mf 4. Hn. 3 & 4              mp mf

 Timp.       

(sus. cym.)  Perc. 1         pp

Perc. 2        

      

Hp.       

       Vln. 1                       3    3 3 mp ff mf

unis. 3 3 3 Vln. 2                                           mf   f 

         3 Vla.                                    pp mf  3 3 3 3 3 f 3

        Vc.                           mf 3

pizz. arco    Cb.                     mf  84

Più mosso = 96 20 1. solo       Ob. 1 & 2                                mp f 2  mp mp

solo C. A.                      mp   

 2.   Bsn. 1 & 2                f

  Cbsn.                    f

 Hn. 1 & 2         p mf

Hn. 3 & 4        p mf

 Timp.         p mp

 Perc. 1     mp     

Perc. 2        

          E F G A Hp. § § b §§§ B§ C# D§                 f  mp Più mosso = 96      Vln. 1           p f  

 Vln. 2                                     f mp f   p

         Vla.                               3 3 3   p f mp f

pizz. arco         Vc.                          f  p f

arco pizz. arco       Cb.                            f    85 A accel. 26  Ob. 1 & 2       

C. A.       

B. Cl.       

Cbsn.       

 Hn. 1 & 2       

Hn. 3 & 4       

Tbn. 1 & 2       

B. Tbn.       

Tba.       

  Timp.                   ff      fp ff

(sus. cym.)   Perc. 1         p

A accel.

div. 3             Vln. 1                           3 ff 

div. unis. 3    Vln. 2                              3 ff   3

          3 Vla.                 3 3 ff

        Vc.                           ff fp ff

       Cb.                                ff fp ff 86

q = 132 32  Cl. 1 & 2                          mp                

                 B. Cl.         mp

a 2     Bsn. 1 & 2                        mf

Cbsn.       

 Hn. 1 & 2       

Hn. 3 & 4       

Tbn. 1 & 2       

B. Tbn.       

Tba.       

muffled         Timp.                        mf

 to windchimes   Perc. 1           mf

q = 132 pizz. unis.       Vln. 1                                      mp

pizz.      Vln. 2                                      mp sempre

Vla.                           f 

    Vc.                        f

Cb.             mf  87

38           Picc.                                 mp mf p

                                 Fl. 1 & 2          mp mf p

         Cl. 1 & 2                                    p  mf p

                           B. Cl.        p mf p

           Bsn. 1 & 2                              rfz

  Cbsn.                               mf  ff 3  

  Hn. 1 & 2              f mf  a 2  Hn. 3 & 4     gliss.           slow  mp f 1.  Tbn. 1 & 2               mf

B. Tbn.               mf

3 Tba.                    mf 

     Timp.                         mf f

 Perc. 1         

    Vln. 1                              mf

Vln. 2                        mf      

gliss.  Vla.                      slow                  rfz  

gliss.         slow               Vc.                      rfz

   Cb.                                 ff 3 mf 88

45   Ob. 1 & 2              f mp C. A.              f   mp     Cl. 1 & 2                                f    mp                      B. Cl.           f mp          Bsn. 1 & 2                 

Cbsn.                 Hn. 1 & 2                       pp mp mf f

Hn. 3 & 4                   pp mp mf  f con sord. senza sord. C Tpt. 1                             mf p mf

C Tpt. 2              mf

C Tpt. 3               mf  Tbn. 1 & 2           mfmf B. Tbn.            mf Tba.                mf    nat. Timp.                          mp

E§ F§ G# A§§§ B# C§ Db          Hp. f              Vln. 1                           f  mp f

Vln. 2                            f         mp f pizz.   Vla.                                           f mp f mp          Vc.                 

Cb.                    f 89 B 53 a2      Fl. 1 & 2                                     mp  5

 C. A.                                      mp  5

2.  Hn. 1 & 2                    mp           

Hn. 3 & 4                                  mp                  Tbn. 1 & 2             

B. Tbn.            

Tba.                              

Perc. 1        

Perc. 2        

       Hp.

        B arco                Vln. 1    mf f

arco Vln. 2                  f mf

Vla.       

 Vc.               f

   Cb.                                   f   90

59                 Fl. 1 & 2                                                                  

     C. A.                                                  

 Hn. 1 & 2                              

Hn. 3 & 4                                               

Tbn. 1 & 2       

B. Tbn.       

Tba.                                 

 Timp.       

Perc. 1        

Perc. 2        

       Hp.       

gliss.              Vln. 1  

gliss. Vln. 2              

Vla.       

    Vc.                  

        Cb.                           91

65    Picc.         f

        Fl. 1 & 2                                       5  pp f   Ob. 1 & 2                 mf 

      C. A.                          5 p 1. Cl. 1 & 2         f (a 2)  Bsn. 1 & 2            mf

 Cbsn.             mf    Hn. 1 & 2                                     mp  

Hn. 3 & 4                                                           mp   mf  1.     Tbn. 1 & 2                 2. mf 

Tba.                            mf  wind chimes  to bongo  



Perc. 1             p Perc. 2         

        Hp.                   Vln. 1          mf f

Vln. 2                   mf f

pizz.  arco Vla.           ff f

  Vc.                     mf f f    Cb.                             92

72        Picc.        ff 6 solo 1.                 Fl. 1 & 2   f ff 6  5                 Ob. 1 & 2                                          f ff 6 C. A.                 ff        Cl. 1 & 2                                           ff 6     B. Cl.                    ff Bsn. 1 & 2                                 ff      Cbsn.                        ff      Hn. 1 & 2                 

Hn. 3 & 4                               C Tpt. 1              ff  C Tpt. 2          ff  C Tpt. 3          ff   1.   ff    Tbn. 1 & 2              2.    ff    B. Tbn.             ff   

Tba.                                       ff     Timp.              low bongo, stick ff  to triangle Perc. 1           ff Perc. 2        gliss.                   Vln. 1  ff 6 6 gliss. Vln. 2                   ff         Vla.                                        ff                               Vc.                  ff         Cb.                               ff    93 C 77    Picc.          

  Fl. 1 & 2                Ob. 1 & 2           

C. A.            Cl. 1 & 2                    B. Cl.     

    Bsn. 1 & 2               Cbsn.             Hn. 1 & 2          f  Hn. 3 & 4          f 5 C Tpt. 1                    f mf   C Tpt. 2         mf

C Tpt. 3      

Tbn. 1 & 2      

 B. Tbn.           f 

Tba.          f

triangle to sus. cym.   Perc. 1         p  div. pizz.     Vln. 1                    fp  ff div. pizz.    Vln. 2                       fp ff pizz.    Vla.              fp ff pizz.    Vc.                ff pizz.    Cb.                 ff 94

82                                  Picc.           f 3 1.     3                                      Fl. 1 & 2           2.  3 f 1. f       Ob. 1 & 2                            f  3 

C. A.       

1. 3       Cl. 1 & 2                                                         f f  

B. Cl.       

 3 Bsn. 1 & 2                            f   3 Cbsn.                             f   Hn. 1 & 2       

Hn. 3 & 4       

  C Tpt. 1      f  C Tpt. 2           f 3 C Tpt. 3            f 3    Tbn. 1 & 2       f B. Tbn.        

Tba.       

 3 Timp.                  p f  Perc. 1       

Perc. 2         arco unis. div.                                    Vln. 1           f 3 arco unis. div.            Vln. 2                             f  3  arco                                Vla.           f 3 arco  3 Vc.                               f arco  3 Cb.                                f 95 D 88   Picc.             3 3 3 3 a 2              Fl. 1 & 2               5 3 3 f

3 3        Ob. 1 & 2                                            f  

C. A.                                 f    3  3 Cl. 1 & 2                  

B. Cl.                          solo 1.   3            Bsn. 1 & 2                                          3 3   Cbsn.                 3

2.   Hn. 1 & 2                     mp         mf  Hn. 3 & 4                                mp         mf C Tpt. 1         p mf p

C Tpt. 2         p mf p

C Tpt. 3         p mf p 1.   Tbn. 1 & 2       p mf p

B. Tbn.        

 3 Timp.                3 pp

  Vln. 1                      3 3 3 3 Vln. 2                   

Vla.             3 3 3           Vc.                                          3 3    Cb.                           3   96   95    Picc.        

 Fl. 1 & 2                   3 1.  3 Ob. 1 & 2               

3 C. A.           

2. Cl. 1 & 2                       mp               B. Cl.           mp

     Bsn. 1 & 2                                       2.  Hn. 1 & 2               mp     

Hn. 3 & 4               mp     

Tba.            mf     Timp.        

sus. cymbal, soft mallets to triangle      Perc. 1                 pp f Perc. 2         

        Hp.             unis.           Vln. 1      mf f

unis. Vln. 2               mf f

Vla.        

     Vc.                                               Cb.                     f  97   102  a 2                 Fl. 1 & 2        5

   Ob. 1 & 2                     

 C. A.              

   Cl. 1 & 2                         mp 5

               B. Cl.           5 1.              Bsn. 1 & 2                               

 Hn. 1 & 2                

Hn. 3 & 4                         

Tba.                         Timp.       

triangle Perc. 1              mp Perc. 2        

       Hp.                      Vln. 1     

Vln. 2            

Vla.       

              Vc.                               

  Cb.                     98

108 E         Picc.            5 5 f

                    Fl. 1 & 2        5 5 3 f a 2 3 a 2 3 3 3 3 Ob. 1 & 2                                      3   f 3

3 3 3 3 3 3 C. A.                                f 

3                                  Cl. 1 & 2              3 3 3 3 3 f   B. Cl.                  f

a 2    Bsn. 1 & 2                                 ff

  Cbsn.                   ff

 Hn. 1 & 2      

Hn. 3 & 4       a 2   Tbn. 1 & 2                  f   B. Tbn.                 f  Tba.           f       

to crash cym.   Perc. 1              Perc. 2        E 3                        Vln. 1                    ff 3 3 3 3 3 (div.) (unis.) 3            Vln. 2                                 3 3  3 3 3 ff 3                  Vla.                       ff 3 3 3 3 3      Vc.                                ff    Cb.                   ff 99

113                              Picc.                          5 ff 5 5 cresc. 3  5            5                                           Fl. 1 & 2          ffff 5 3 a 2 cresc.      a 2  Ob. 1 & 2                          3 3 cresc. 3  3 C. A.                           cresc.  3                                Cl. 1 & 2       cresc. 3 B. Cl.                     cresc.  Bsn. 1 & 2                      Cbsn.                        Hn. 1 & 2                                                      f ff Hn. 3 & 4                                                        f ff    C Tpt. 1        f   C Tpt. 2         f C Tpt. 3         f         Tbn. 1 & 2                  ff B. Tbn.                       ff Tba.                ff   Timp.             ff      

Perc. 1     tam tam   Perc. 2       p                    Vln. 1                cresc. 3 3                Vln. 2                    cresc. 3 3                   Vla.                 cresc. 3 3 Vc.                    cresc.   Cb.                      cresc.   100 F  117                       Picc.    fff 5 3 (1.)                                  Fl. 1 & 2  fff  5 3  a 2           Ob. 1 & 2                           fff 5 3

 3    C. A.                              fff 5                              Cl. 1 & 2    fff 3

B. Cl.                  fff   Bsn. 1 & 2                  fff   Cbsn.                  fff      Hn. 1 & 2                           fff      ff  Hn. 3 & 4                         fff      ff    C Tpt. 1     fff

C Tpt. 2        fff C Tpt. 3        fff    a 2 Tbn. 1 & 2        fff     B. Tbn.          fff         Tba.                fff       Timp.                fff  crash cymbal Perc. 1          ff ff  Perc. 2         p  f ff                Vln. 1                            fff 3                 Vln. 2                             fff 3                 Vla.                fff 3 Vc.                  fff  Cb.                  ff   101 122         Picc.            3      Fl. 1 & 2            3           Ob. 1 & 2           3   C. A.               3        Cl. 1 & 2             3 B. Cl.            Bsn. 1 & 2            Cbsn.               Hn. 1 & 2                             fff mf

Hn. 3 & 4                              fff mf  C Tpt. 1             f fff fff  C Tpt. 2             f fff fff  C Tpt. 3             f fff fff   Tbn. 1 & 2               fff B. Tbn.            Tba.             Timp.                 To Vib. Perc. 2          fff         E F G A Hp. §§§ b §§§ §§§ f B§§§C#D#                           Vln. 1                                    3 subito 5  pp             Vln. 2                                 3   pp subito 5            Vla.                   3 pp subito Vc.            Cb.             pp subito 102

128  Fl. 1 & 2                pp 

Cl. 1 & 2                pp   B. Cl.          pp mp 

Bsn. 1 & 2            pp

 Cbsn.            mp    

 Timp.               pp mp

Perc. 1         

Perc. 2         

        Cel.                

Hp.         div. unis. sempre             Vln. 1                          mp pp 5 mp

div. unis. sempre                         Vln. 2                mp pp 5 mp

Vla.        

Vc.        

pizz. arco pizz. arco  Cb.                   mp pp mf 103 G 135  Bsn. 1 & 2        

 Hn. 1 & 2         pp

3. Hn. 3 & 4            pp   4.  pp 1.     Tbn. 1 & 2         pp   2. pp

B. Tbn.       

Tba.       

 Timp.           mp  pp 

Perc. 1         Vibraphone Perc. 2        

sempre arpeggio



                                  

    

     3   p



Cel.   3



                                    

       Hp.        G                     repeat ad lib until cue, at varying speeds (never together) Vln. 1                          5 5 pp sf pp mp                repeat ad lib until cue, at varying speeds, (never together)       Vln. 2               pp 5sf pp 5 mp

Vla.       

Vc.       

Cb.               104

141 q = 88  C. A.       

Cl. 1 & 2       

B. Cl.       

Bsn. 1 & 2       

Cbsn.       

 Hn. 1 & 2           

Hn. 3 & 4           

      Tbn. 1 & 2     

 Timp.         

Perc. 1         slow motor   Vib.                      mp    



                                                               3

 pp

Cel.  3                                                                E§ F§ G§ Ab mf Hp. B§ C# D#                                  p div.a 3 slow  molto dim.    pp div.a 3  slow molto dim.    pp  Vla.       

 Vc.        pp 

Cb.          105

147 solo  3 C. A.                     mp 3 Cl. 1 & 2          2. solo   mp

B. Cl.       

Bsn. 1 & 2       

Cbsn.       

Perc. 1        

   Vib.                               

        Cel.

         

                   Hp.                                   pp p

 Vln. 1       

Vln. 2       

Vla.       

Vc.       

Cb.         106 H 153 1. solo 3 3       Ob. 1 & 2                  mp 

 C. A.            

3 Cl. 1 & 2                

1.  Hn. 1 & 2          p mp 

3. Hn. 3 & 4          p mp 

 Timp.       

Perc. 1        

Vib.        



   

    

      

       

     



 pp 



 Cel. 



   

                                         Hp.  l.v.                   H unis.              Vln. 1              pp mp pp

Vln. 2       

arco unis. div. pizz.      Vla.             mp pp

div. pizz.   Vc.          mp

Cb.         107 p mp 3 159 1.        Fl. 1 & 2             2. p

1. pp  Hn. 1 & 2          2.   pp 3. pp Hn. 3 & 4         4.     pp

   C Tpt. 1         pp

C Tpt. 2          pp C Tpt. 3        1.  2.   Tbn. 1 & 2      pp pp

B. Tbn.       

Tba.             pp  sus. cymbal, soft mallets   Perc. 1         pp

Vib.                    pp mp    

       Cel.                            f    Hp.                       p   Vln. 1                    pp

unis.

Vln. 2                pp

             Vla.        mp

Vc.       

pizz.  Cb.             pp 108 165 I   Fl. 1 & 2       

 Hn. 1 & 2        

Hn. 3 & 4        

 C Tpt. 1       

C Tpt. 2        

C Tpt. 3       

 Tbn. 1 & 2       

 Timp.       

 Perc. 1         

Vib.                   pp   

       Cel.                  Hp.         I solo            Vln. 1        p

solo               Vln. 2        p 5

Vla.       

arco Vc.             mp mf  Cb.                 mp 109

171  Vib.         

3                          Vln. 1          mf mp mf f

                 Vln. 2            mf mp mf f pizz.  Vla.           mp

Vc.         

Cb.         



179       Vib.          p            Vln. 1          mp p mp

                 Vln. 2      mp p mp

Vla.         

Vc.         

Cb.         

Mark Viggiani, June 2010 Melbourne

111

Mark Viggiani

John the Revelator

(2010)

baritone and chamber orchestra

112

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”

Mark Viggiani, Melbourne, 2010

113

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.

114

Text

Who's that writin'? John the Revelator! Who's that writin'? John the Revelator! Who's that writin'? John the Revelator! (Hey), book of the seven seals

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

115

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.

116

Instrumentation

baritone clarinet in B ¨ alto sax in E ¨ horn in F trombone electric guitar (wah-wah pedal) piano marimba drum kit

2 violins viola cello contrabass

Transposing score John the Revelator Blind Willie Johnson re-imagined Mark Viggiani q = 120

              Clarinet in B b                    mp f mp ff          Alto Saxophone                     mp f mp fff             Horn in F                             f                            Trombone              f

                                                   Electric Guitar                                                   f

                                         Piano ff                                               Marimba      snare hi-hat                               Drum Set           mf

Baritone    

 q = 120  pizz.        Violin 1            ff pizz.      Violin 2                 ff  pizz.       Viola            ff pizz.       Violoncello            ff

pizz.      Contrabass                  ff

4                  Cl.            ff f                 Alt. Sax.                       ff   f                 Hn.                            f f

                              Tbn.                f f

                                                molto vib. E. Gtr.                                                       p f ff

                                         Pno.

                                               Mar.      

 cymbal l.v.                                    Dr.               3  pp mf bass mf

Bar.      

        Vln. 1          

   Vln. 2                  arco    Vla.                   mp f arco         Vc.            mp f molto vib.      Cb.                   fff 119 A 9          Cl.                       mp f mp f          Alt. Sax.              mp f mp

                Hn.                                 3 mp ff cresc.        3                  Tbn.                        mp   cresc. ff

                                                          E. Gtr.                                                             mp cresc.                                     3 mp Pno. ff 3                                           Mar.                           Dr.            mp

 Bar.        

          Vln. 1                mp cresc. mf        Vln. 2                    cresc. mp mf  pizz.       Vla.                      mp cresc. mf pizz.          Vc.                mp cresc. mf

    Cb.               mf 120

14    B                      Cl.                        ff   ff     Alt. Sax.                            ff 

                           Hn.                      mf  cresc. f f                                      Tbn.             mf cresc. f

                                  E. Gtr.                                   

                 ff  Pno. mf                                     Mar.      h.-h. ped l.v.                      Dr.        3 p f mp mf ff         Bar.         Who's that wri tin'?- John

arco             Vln. 1                 f ff ff arco       Vln. 2                  f    ff ff

arco       Vla.                            f ff ff

arco        Vc.                f ff ff       Cb.                   f ff ff 121

18                                  Cl.             ff

g   liss.  Alt. Sax.        ff   Hn.               f 

Tbn.       

 E. Gtr.          f

        Pno.                                Mar.                   Dr.         p  f mp f               Bar.            the Re ve- la- tor- Who's that wri tin'?- Hey!       pizz.           Vln. 1             

pizz. Vln. 2                     

pizz.            Vla.                          

pizz.    Vc.                

Cb.             122

23   C             Cl.         ff

                 Alt. Sax.                         p f   Hn.             pp mf mf

     Tbn.                 f

                       E. Gtr.                            p cresc. f

         Pno. ff                 3                         ff Mar.       Dr.                ff ff          Bar.             What's John wri tin'?- That's the Re ve- la- - tion    arco             Vln. 1            p f

arco          Vln. 2              p ff

arco          Vla.                 p ff  arco   Vc.                    ff ff   Cb.         ff 123

27                            Cl.                3 3 3 ff

  3                Alt. Sax.                     ff 3 

  3 Hn.           ff   3       Tbn.                         f ff 

wah-wah       E. Gtr.                 ff                  Pno.                  ff                                 3  Mar. ff p                    Dr.                    3  3 3   ff     Bar.           What's John wri tin'?-                         Vln. 1                        3  3 3  ff   3 3           Vln. 2                         3       ff   3                       Vla.                     3  3  ff 3      Vc.                              ff   3

Cb.           124 D 33       Cl.        mp mf p

Alt. Sax.      

 Hn.      

Tbn.       

harm.   E. Gtr.        mf

                          Pno. mp                                           mp                 p Mar. f mf            Dr.       p

mp Bar.        Now

 Vln. 1      

Vln. 2      

Vla.      

  Vc.    

arco    Cb.        fp f n 125

38       Cl.        f

Alt. Sax.      

 Hn.      

       Tbn.           mp 3 p

 E. Gtr.     

     

Pno.                                                                f       Mar.      

Dr.      

f         Bar.      who art worthy? Cru --ci

     Vln. 1              p f    Vln. 2            p f

   Vla.           p f    Vc.          p f

     Cb.          p p f 126

43  Cl.             

Alt. Sax.     

 Hn.     

Tbn.      

fast wah  E. Gtr.      mp

    

Pno.

                  p                          f      Mar.                       f pp   Dr.         p

  Bar.                fied and Ho - - ly

 Vln. 1     

Vln. 2     

   Vla.            mf

 Vc.                                p 5 6 ff p

Cb.       p ff 127

47 E  Cl.     

Alt. Sax.     

  Hn.           ff

Tbn.      

 E. Gtr.               f ff

                                    Pno. p                                                         ff                           Mar. f p              Dr.     mf mp   Bar.        Bound up for

pizz.    Vln. 1         ff pizz.  Vln. 2          ff pizz.  Vla.             pp ff 

pizz. Vc.           ff

Cb.           pp 128

51  Cl.     

Alt. Sax.     

 Hn.     

Tbn.      

E. Gtr.     

           f Pno.                                                                                    Mar.    

Dr.     

      Bar.      some Son of our God?

arco  3 Vln. 1        mp arco 3 Vln. 2        mp arco Vla.       mp arco    Vc.       mp   Cb.      p f 129 F

55          Cl.      f 3

Alt. Sax.     

 3  Hn.          f

Tbn.          ff

E. Gtr.     

                                          Pno.  mf                                                 f     Mar.                   

Dr.     

f 3 Bar.            Daugh ter- of Zi -- on

 Vln. 1     

Vln. 2     

Vla.     

  Vc.   

Cb.           ff  130

59  Cl.     

Alt. Sax.     

   Hn.                   3 3          Tbn.            3 f

wah wah   E. Gtr.       mf

     Pno.                                                            Mar.                              

Dr.     

ff 3     Bar.         Ju - dah the Li --- on

pizz.     Vln. 1              

pizz.  Vln. 2                        f          pizz.       Vla.                           f  pizz.        Vc.                           f pizz.   Cb.                   f 131 G  63      Cl.          mp       Alt. Sax.       p ff p espress.

 Hn.      

Tbn.       

     E. Gtr.            ff

         mp Pno.                  p            Mar.                            Dr.              p f mp p  Bar.                         He re dee- meth-and He bought us with His blood. Tell me who's that a writin'?          Vln. 1             

Vln. 2                    Vla.               

   Vc.              

  Cb.             132

68                     Cl.                

            Alt. Sax.                    f

  Hn.             p  f

Tbn.       

molto vib. (fast)

E. Gtr.         mp

         Pno.                                              Mar.           Dr.                       

 Bar.     

arco           Vln. 1             p  mp  

  Vln. 2                  mp    

   Vla.                       mp      Vc.                  mp     Cb.                 mp   133

73 H   Cl.       

solo                                 Alt. Sax.                  p f molto espress.  Hn.     

Tbn.      

E. Gtr.     

        Pno.                              Mar.         Dr.                mp

Bar.     

      Vln. 1          p 3 arco   Vln. 2            p 3

 Vla.       

Vc.     

arco Cb.             p 134

87         Cl.          mf f

                  Alt. Sax.                    5

 Hn.     

Tbn.            f 

E. Gtr.               mf 

               Pno. mf                                                 Mar.                            Dr.                mf

Bar.     

           Vln. 1      mp p mp

         Vln. 2     mp p mp

Vla.     

Vc.     

Cb.                  f  p f 135

91 J  Cl.      

                          Alt. Sax.      ff 5

  Hn.       p

 Tbn.              f 

fast wah 3    E. Gtr.                                  

3                                                            Pno.   f                                                                         ff Mar.              Dr.                       3   f ff     Bar.          Who's that?

   Vln. 1          p f

  Vln. 2             mp

Vla.      

arco  Vc.          f

 Cb.                       p ff   f 136   96    Cl.       

Alt. Sax.       

  Hn.         f growl      Tbn.            

E. Gtr.       

3 3                                       3    Pno.                                       3 3 3        Mar.          3             Dr.                3 3                        Bar.           Who's that? Who's that? What's that he wri tin'?- Who's that? Who's that a writin'?                             Vln. 1        

              Vln. 2                 f

Vla.       

   3  Vc.                    3  3  

   3  Cb.                     3  3   K 137 102    Cl.      

Alt. Sax.      

         Hn.           p f f

     Tbn.         f

E. Gtr.      

      Pno.                       mp p                     Mar. mf f             Dr.      3                    Bar.                   John the Re ve- la- tor- great ad vo- ca- tor- gets 'em on the bat tle- of Zion Lord, tel lin'- the                  Vln. 1          f              Vln. 2               f mp arco Vla.            mp

Vc.      

Cb.        138

107                             Cl.      f ff 3                                 Alt. Sax.       3 f ff

3            Hn.                                             3

                                    Tbn.             3

wah 3     E. Gtr.          f molto vib

          3 Pno. ff 3                   Mar.            Dr.               ff 3 3          Bar.        sto - ry, ri sin'- in glory

 3   Vln. 1             3  ff 3  Vln. 2             3 ff 

3  Vla.             3  ff 

3 3  Vc.             ff   3 Cb.            ff   fp 139

112 L senza mizura   Cl.      

 Alt. Sax.      

  Hn.      

 Tbn.       

 E. Gtr.      

               Pno.                 fff        Mar.                 Dr.         pp f 3 p p espress. rubato    Bar.                    Cried "Lord, Lord, Lord senza mizura        Vln. 1   ppp pp    Vln. 2           ppp pp    Vla.           ppp pp  Vc.      

 Cb.        n 140 Meno mosso q = 108   118      Cl.            p   

 Alt. Sax.     

  Hn.     

 Tbn.      

P.M.  E. Gtr.        p          Pno. mp             Mar.           Dr.        subito pp (questioning) p cresc. ff 3                Bar.                   don't you love? Lord, Lord, Lord?" Tell me who's that a writin'?-     Meno mosso q = 108          Vln. 1  pp 3  Vln. 2         pp

Vla.      

pizz.    Vc.               mp pizz.   Cb.             mp 141

111  3 Cl.                     mf

    Alt. Sax.           p mf

 Hn.      

Tbn.       

E. Gtr.             P.M.            Pno.              Mar.       toms Dr.                    p (stronger) mp     Bar.            Who's that a writin'?-

            Vln. 1  

            Vln. 2     3

Vla.      

Vc.                                       

Cb.                  142 M 116  3     Cl.                       p mp f     Alt. Sax.                p mp f    Hn.             mp   Tbn.             mp

        E. Gtr.         p molto vib ff                           Pno.                 Mar.         Dr.                      3 ppp pp subito pp f       Bar.            Who's that a writin? Hey!

                  Vln. 1                           3 ff                Vln. 2                3 3 ff

pizz.      Vla.                      mp ff      Vc.                           mp ff      Cb.                        mp ff 143 N Tempo primo q = 120 121               Cl.       

          Alt. Sax.           ff

 Hn.                    ff

       Tbn.            ff                           E. Gtr.         ff

                                                  f      Pno.               ff   ff                                      f   Mar.              Dr.       p f cresc. molto ff             Bar.       Book of the se ven- seals, telltell me who?  Tempo primo q = 120                          Vln. 1       p ff ff                  Vln. 2          p ff arco                   Vla.         p ff arco Vc.        ff   arco  Cb.            ff 144

126                       Cl.      fff 3                  Alt. Sax.           fff 3

     Hn.                       ff 3

        Tbn.               ff  3

                                       E. Gtr.    fff molto vib.

                         3             Pno.                     fff     3                           ff                                             fff 3 Mar.               Dr.           ff

Bar.     

                  Vln. 1    fff 3                  Vln. 2   fff 3

                Vla.   fff 3

   Vc.                        fff 3    Cb.                          fff 3 145 O 130                      Cl.                3 3 3 sfz p f subito p                Alt. Sax.                   3 3 sfz p 3 subito p f

        Hn.                            3  3  3  subito p sfz p f

3 3      3   Tbn.                          subito p sfz p f            E. Gtr.        f P.H.                                                                          3 3 3 subito Pno. p sfz p f 3 3   3                                                                                                       3 3 sfz 3 Mar. p subito p f      

 subito p       Dr.                   mp mf 3  f p sfz

Bar.      

                        Vln. 1             3 3 sfz p f subito p                        Vln. 2             3 3 sfz p f subito p              Vla.                      3 3 f subito p sfz p 3   3     Vc.                             subito p sfz p f 3           Cb.                           subito   f 3  p sfz p 146

135  Cl.      

Alt. Sax.      

 Hn.      

Tbn.       

             E. Gtr.        3 P.H. 3 

         Pno.                                         mp                     Mar. pp         Dr.                 p mp

Bar.      

          Vln. 1       3 3 p pp     Vln. 2                3 3 p pp             Vla.        3 3 p pp

3 Vc.                3 pp p        Cb.          3 3 p 147

140  Cl.                                   p mf      

Alt. Sax.      

 Hn.      

Tbn.       

                              E. Gtr.         pp

      Pno.                                     p pp           Mar. p n      

Dr.      

Bar.      

 Vln. 1       

Vln. 2       

 Vla.     

Vc.       

Cb.        148

145 P  Cl.                                     

Alt. Sax.     

  Hn.         pp

Tbn.      

E. Gtr.     

     Pno.           Mar.     

Dr.     

p Bar.        Well,

  Vln. 1            pp

Vln. 2                          p p

      Vla.                p  p

pizz.       Vc.               p

Cb.       149

149  Cl.             

Alt. Sax.     

 Hn.     

Tbn.      

                      E. Gtr.        pp

     Pno.           Mar.     

Dr.     

    Bar.                  Mo- - ses to Mo- ses, watching the flock,

 Vln. 1     

   Vln. 2                 

Vla.                    

  Vc.                    

Cb.       150

153 Q   Cl.                 mp

  Alt. Sax.                  mp

  Hn.        

   Tbn.            mp

        E. Gtr.          pp

            mp Pno.                             p Mar.          Dr.          p p

3          Bar.                 saw the bush and had to stop. God told Mo-- ses

pizz. arco     Vln. 1             mp   pp pizz.  Vln. 2            mp

pizz.   Vla.              p mp   Vc.                     Cb.          151

158 rall.  Cl.                       Alt. Sax.          p

 Hn.       

Tbn.               p

fast wah wah                     E. Gtr.            pp

       Pno.                        pp Mar.         Dr.       p 3   3       Bar.                "Pull off your shoes, out of the flock, well, you I choose."

pizz. rall.    Vln. 1          p

pizz.   Vln. 2          p pizz.        Vla.             p pizz.     Vc.                p p mp pizz.

Cb.             p Mark Viggiani, Dec 2010 Melbourne

153

Mark Viggiani

Trio

(2010) for flute, piano and cello

154

Originally composed for members of the Chronology Ensemble.

First performance: Syzygy ensemble 21 August 2011. Kingston Arts Centre, Melbourne

Duration ca. 10'30

Mark Viggiani, Melbourne, 2011 155

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.

156

Guide to Notation

Flute

Piano

Cello

Trio for flute, piano and cello Mark Viggiani q = 120

     unevenly- as fast as possible, with occasional x rests         Flute    ff scorrevole            Piano fff             

Violoncello    

                  (sempre) 3                                                   mp f ff mp f              Inside piano  with fingertip               pp mf                       3 p f sf

  6                                 6 mf mp 6 p pp                     pp  mf  Inside piano with fingernail         

   

© Copyright M.Viggiani 2010 - 11 158 1. T  2. T          10 6"     9                            fp fp     3  6" 3                                     #       p mp p mp fff Nat.               fff  6"                 p

3. T    1. 2.   2.     2. 3.  14                            fp fp fp pp mf f                      Inside piano   ppp with fingertip                mp f sul pont.                    ppp poco a poco

rapido poco rit. 20                                           mf f

 3                         #     mf p  Nat. fff                                molto 159 q = 112   24         sempre                  ff mp f

damp with l.h. inside piano                               mp (creeping) mf mp   f       

       

2. 3. 2. 3. 2. 30   29                                   f fff

                           mp    p  Inside piano with fingertip                  pp   ff     

        

1. 40  hum upper note  35                     p fp n                                p     

         f

arco  pizz.                     f mp mf f pp pesante 160

2. tuh 42             ff

                Inside piano  p    with fingertip                          l.h. pizz. (pizz. ord.)                     f f

50 rit. A tempo 48 hum                   p                 mp fff                 pp mp                           pp 3  pp ff 

55 60   gliss.          n             mp                      ff 161 q. = 64 playfully (accel.) 61                                                  ppp mf overblow to sound harmonics cresc.         fff

       arco       fp

  65                                                          ff p                         p 4 4      

    

70     69                                                             f ff                f     

    162

 72                                                      ff                             

                      p  

    

  76                                            

                                                 p                 

         p

80                                                                   4 4 f       sul pont.                                                  mf mp 163

flz. 84   2                                   p      f                                              p damp with l.h. mf     f   inside piano        pizz. ord.                            f 4

88 90                                 f mp f                                                               arco                          mf 

 92                                   f                                  

Inside piano with fingertip                mf                                 p mf  164

100 97                                                                                  

                                                            

102                            f                                                 f mp                                          f

107 110      

                                                                              l.h. pizz.                                mp arco 165

      112                                                 

p f                                 f f                         pizz.                           mf

   115                           mp                                   4 4                  

arco                                     mp    f mf 120  118                                        f ff                 

              sul D         gl g gli       iss.  liss.  ss.            cresc.      f 166

    121                                                     

                                   f                                  pizz.   gli   ss.             ff 

     125                                                     ff marcato ff                               mf               

 arco                                    mp f ff

130   129                                                                      

                 

                        

arco  pizz.                     f mp 167

132                                  fff              p  mp             f pizz.                  f

precipitato q = 64 (calmo)  134                                        3                                 4:3   fff ppp         3                        4:3            arco     3                 ff ppp

139 140   3               p      3                             p                                           3 

  3                          p 168

145 150                      n 3 ppp mp

3 3                                     mp                                           3  ppp      3                              3      mp n pp

152                   p 3 mf



          

       

                                 3



 f mf



    

     

                                pp  sul C                  f mf

160  157                    mf hold back 3                                               3 ppp pp 3 mf misterioso                                   3   pizz.                          pp 169

163                   mf 3 3

3                         3 3 pp                arco sul pont.  3                       3       mp mp

170 168                         pp                            mp p pp                             ord.                       mp pp

172      gliss.           f   ppp ff



         



     

 

            

     



mf 



                       espress.                      mf   p f ff 170 5. T  6.T  4. T            178 180                           pp mp                 pp                

pizz.                   3  p f

7. T    (leggiero)  q. = 80 182                                                  n    p mf n        

        arco                                  mf p

188 190                   mp

                                                           pp  p 171

 195       1.     200                             mf pp mf

                                                            pp mp

202                                 p mp   mf                    mp mp                  

                               p p

210 208                                 p                                 mp                                                         mf mf f mp 172

215                            mf mf                                 mf f mp mf                             gliss.                        ff mp  mf 

220                      f                                           mp pp               pizz.                    mp

225                    p                       pp p mf                      pp  arco                    pp 173

230

                 mp                                mp p                                              mf  p

236 7. 240 7.                                         f       pp                 mp                                             f  3  3 mf pp

241                      mp                                 mp p  pp mp                       arco sul pont. pizz.                                    pp    p 174

246                               p mf               p                  ord. pizz.                pp sf

Mark Viggiani, May 2010 Melbourne 175

Mark Viggiani

The actual petals of a flower

(2009)

For choir S.S.A.T.B.

176

Duration ca. 6’

Mark Viggiani, Melbourne, 2009

177

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.

178

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.

The actual petals of a flower

Linnaeus/Song of Songs Mark Viggiani

q = 72  Soprano      

Soprano      

Alto      

p Tenor                    e -- go flos campi et li - p   Bass                       e -- go flos campi et li --

6 p  S.           li --li p S.          li -- li - p mp A.             li -- li - um mp       T.                li- um con- val - li - um mp      B.             - li - um con- val - li - um © Copyright M. Viggiani 2009 180

11 mp    S.             um con -- val - li - um si -- cut

mp S.                 - um con- val - li - um si -- cut

A.               con- val - li - um sicut li - li - um mp T.         si -

B.      

16 cresc. mf    S.                         li- li - um inter spinas sic a - mi - ca me- a inter

cresc. mf S.                        li- li - um inter spinas sic a - mi - ca me- a

cresc. mf A.                 inter spi -- nas sic a - mi - ca inter

cresc.  mf  T.                   - cut li- li - um inter spinas sic a- mi - ca

B.      181 A 20 f mp pp    S.                        fi - li - as The actual pe tals-

f mp pp   S.                          in - ter fi- li - as The actual petals

f mp pp A.                        fi - li - as The actual pe tals-

f mp pp     T.                              me - a in - ter fi- li -as The actual petals- ofa

p B.            fi - li -as

24 mf  mp mf p S.                    con tri-- bute no - thing to

p mf p mp S.                    flow'r no - thing to ge ne- ra- -

p p mf A.                      flow'r to ge ne- ra-tion-

mp mf pp       T.                  3  flow'r 3 no

p  B.              no - thing 182

29  f           S.      ge ne- ra-- tion ser -ving

mf f   S.                        - tion to ge ne- ra- tion- to ge ne- ra-- tion serving

f       A.                  to ge ne- ra-- tion to ge ne- ra- -tion, serving

f T.                  to ge - ne ra-- tion, serving

f  B.                  to ge- ne ra-- tion, serving

e = e 34 subito pp     S.              on ly- as the bride subito pp mf    S.                   on ly- as the bride which the great Cre a- - -

subito pp mp     A.                on ly- as the bride Cre ---

subito pp mp     T.                   on ly- as the bridal bed the great Cre -

subito pp mp           B.        on ly- as the bridal bed the great Cre - 183

39 f       S.        a-dorned with such

cresc. f f   S.                      tor has so glo -rious ly- pre- pared a-dorned precious with such

cresc. f f mp

A.                         -a tor- hasso glo -rious ly- pre- pared a-dorned with such pre -cious bed

mf f f T.               a - tor pre -pared a-dorned

mf f f    B.           a - -tor pre -pared a-dorned

Più mosso (  = 72) 44 dim. mp mf          S.                    3 pre -cious bed cur- tains and per- fum'd with so ma ny-sweet scents

mf dim. 3  S.                   pre -cious bed cur- tains with so ma ny-sweet scents

mf 3  A.               with so ma ny-sweet scents

pp  T.          fi - cus

pp   B.       fi - cus 184

49     S.                             in or der-that the bridegroom and bride may there in-

  S.                            in or der-that the bridegroom andbride therein-

 A.                              in or der-that the bridegroom and bride may there in-

    T.                  pro - tu - lit gros - sos suos vi-- ne

   B.                  pro- tu - lit gros - sos suos vi-- ne

53 f mp     S.                      ce le-- brate nup -tials with greater so lem- ni- ty-

f mp     S.                   ce le-- brate their nuptials withso lem-- ni - ty

f mp A.                          ce le-- brate their nuptials with greater so lem-- ni ty-

cresc.          T.           ae flo -- rent de- de - runt o- do - rem

cresc.     B.                   ae flo - rent de- de -runt o- do - rem surge 185

58  S.      

S.      

A.      

mf f   T.                       surge a - mi - ca me- a spe - ci- o - sa

f mf             B.                    a- mi - ca me- a spe - ci - o - sa me- a et ve -

B 63 pp p     S.                       sur - ge a- qui -lo et veni auster

pp p   S.           sur - ge sur - ge

pp A.         a - qui - lo

pp    T.               et veni veni ve - ni

pp               B.      ni et veni ve - ni ve - ni 186

f 69 mp            S.                  3 et veni auster perfla hor - tem meum et fluant

mp f S.                      et veni auster per - fla hor- tem fluant

p A.         a -

T.       

 B.      

74 mf 3 p      S.           a - ro - ma - ta il- li - us

mf 3 p S.               a - ro - ma - ta il- li - us

cresc. mf p 3 A.                           -- a - a -- a - ro - ma - ta il- li - us

pp T.         ve -

B.      187

poco rit. 78 pp ppp     S.               il - li - us ve - ni

pp ppp S.                  il - li - us ve - ni

pp ppp  A.                 il - li - us ve - ni ppp T.                 ni ve - ni

pp ppp          B.         ve - ni ve - ni C

Tempo primo (  = 72 ) 83 mp   S.           to em -

mp    S.               then is the time poco pp   A.                           When the bed hasthus been made rea dy- poco pp mp  T.                            When the bed thusbeen made rea dy- time for the bridegroom poco pp           B.          When the bed thusbeen made rea dy- 188

87 mf     S.       brace 'lov'd bride

mf S.           'lov'd bride

mp mf f   A.                        his be lo-- ved his be- lov'd bride to her

mf f  T.                    'lov'd bride him self- to her

mf       B.         and sur ren-- der himself

mp 92 f              S.            3 his be lo- ved- bride sur ren-- der. sur -

f 3 mp     S.                    his be lo- ved- bride sur ren-- der. sur -

mp A.                to her sur -

mf             T.        3   his be lo- ved- bride sur -ren - der. to her

    B.   to her 189

96  p pp  S.                      ren- der. sur ren-- der him - self

p pp  S.                   ren- der. sur ren-- der him - self

p pp  A.                   -ren - der sur ren-- der him - self

p pp   T.                    sur ren-- der him - self

mp pp    B.                  him -self to her him - self

Mark Viggiani February 2009

191

Mark Viggiani

Visionary Songs

(2011)

soprano and piano

192

Duration ca. 15’

Mark Viggiani, Melbourne, 2010

193

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.

194

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

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

195

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

196

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

197

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

198

1. O Virtus Sapientiae

Hildegard Mark Viggiani (Hildegard)

e = 148 (freely) mf    mp mf Soprano                               O O O vir - tus sa -pi - en --ti      Piano p      

f                           ae,- quae cir- cu i-- ens cir cu- i- sti- com pre-- hen den- do-

                      pp mf             

                          om ni-- a in u- na vi- a, quae ha bet- vi- tam,



   

                           mf p pp   ppp    © Copyright M. Viggiani 2011 200

mf p                                 tres a- las habens, qua rum- u na- in al tum- vo lat,-               pppp p pp n pp            

p pp                               et al te- ra- de ter ra-su - dat, et ter ti- a- un di- que- vo -                n ppp              

p                       lat. Laus ti bi- sit, sicut te de-O cet,                     pp n pp          201

           Sa pien- ti- - - a.                            pp pppp

            202 2. The actual petals of a flower

Linnaeus Mark Viggiani

q = 72  Soprano       

                          p Piano f                          p        

7 f          The

                        pp                              sost ped. *

11  3                       actual pe tals-of a flow'r con tri-bute- no - thing to ge - ne -

                                            * Where possible, catch low bass notes with sost ped. 203

14                  ra-- tion, serving o -nly as the

                                  

                           sost. sost.

17                   bridal bed which the great Cre a-- tor

                                 

                                   sost. sost.

20              has so glo - -rios ly- pre- pared,                                         pp pp                                 6    mf sost.  204

23 3                    a- dorned with such pre -cious bed cur- tains

                                pp                    

26                 and perfumed with so ma ny-

pp                       

pp               

29                  sweet scents in or der-that the bride - -groom and                                 

                                                     205

32           bride may therein- ce- le - brate their



                             

                                

 

 

    sost.

34                nuptials with grea -ter so- lem ni-- ty

                       6 p pp subito                          6 p  

37      

                           3

                                   sost. 206

42 3 3                  When the bed has thus been made rea dy- thenisthe

                         3 3

                          sost. sost.

45                  time for the bridegroom to embrace his belo-- ved

                              3

                                 sost. 

allarg. 48 3               bride and su- rren der- him- self to her...



  



                               

                                     sost. 3 sost. sost. 207

52 molto rall.     

                ppp                                   208 3. Heredity

Thomas Hardy Mark Viggiani

q = 80

p  Soprano                       I am the fam ily- face:                                     3 3 pp Piano pp ppp                                      

7  mf cresc.                              Flesh pe ri--I shes, live on,



  

                                3  3 mp ppp mf                      3 ppp

12 mf                Pro -jec - ting trait and                        5 mp p              209

16 f                          trace Through times to times a- non, And leaping from                                    5  mf p (sub.) f p                                 

20 3                        place to place o ver-o- bli - vion.  f             5                                     



  5  5    

mf  f  p  5 mp



 



                             pp   3 f  

24                                      5 6 mp pp mf                       p  5 210

28 rit. accel.                                             6 ppp 6

    

A tempo 31                                          6 5 pp pp p f                         5 

f 35                 The years - - -heired fea -   5                                   3 f 5 5 f 3                          5 f 211

38                          ture-that can in curve of voice and eye De -    mp                                 5 mf  5 p p                         5

41                              spise the human span of durance thatis I;

                  f

                  

45 mf              The e- ter ---                                       5  5 5 3 p mp ppp mf mp                     212

49  p                    -nal thing in man, That

                       pp mp p                      

53                      heeds no call to die.                            pp   3 ppp                                       4. No bird soars too high

William Blake Mark Viggiani

q. = 60

Soprano          

                     Piano pp                                       

9 mf mp                   No bird soars

           

                          

17                   too high,

                      p                          214

24    pp                      if he soars with his own wings.

                           mp p                    

33         

                                

pp                        

41 mf          When thou                             mf p                     215

47                          seest an eagle, thou seest a portion of Ge- nius:

                   

mf                         

54 f               lift up thy head!



   



               

                          f                          

60       

                                  mp p                            216

       

                             pp   

                               (sost.)

      

pp                              mp mf                               pp

     

                      p mf                                 217

     

                     

                                      

89 mp                    To create a lit tle- flow- er                              f mf p                           p

96                is the labour of a- ges.                             f pp

                   218

102         

  lontano                                 pp                              

110

                            

                    

117 pp                  One thought fills im- men si- ty-                   ppp                  219

124

       

                  

        

131 mp              Truth can ne ver- be told

            

                  pp  

140 mf f                 as to be under - stood and

               p                               220

147             not be believ'd

                          mp mf f                               

153

      

                                                         

159

                                                pp                            pp   221

167 mp                     What is now provedwas once on ly- i-- ma

                                      pp mp                    

173

         gin'd.

                     pp ppp

                       ppp 

180

     

      

                         5. There is grandeur in this view of Life

Charles Darwin Mark Viggiani

q =52 Solemnly mp  Soprano                     There is grandeur in this view of Life, with its se v'ral-powers                      Piano p pp                    

5                            ha ving-been o ri- gi- nal- ly- breathed in to- a few forms, or in to-                            3                        

8 f                          one; and that whilst this pla net- has gone cy cling- on ac cor- ding-to the         p                              mf                    223

11            fixed laws of gra vi- ty-

                                                 cresc.                                       sost.

14 rall. A tempo              From so sim ple- a be gin-- ning

   



 

                                               pp



           



      f molto      (al fine)

17                             endless forms most beau ti- ful- and most won der- ful- have been

   



   



       



       



           



       



   

     



 pp



  pp



 



   



          



  



     224

20 warmly                           and are be ---- ing O    

                          

ppp     

f 23                              O O

                      

    

27 Maestoso p                          O e ---- volv'd

      

ppppp             una corda Mark Viggiani August 2011 Melbourne

Mark Viggiani

Vorrei…

(2012)

for tenor, soprano, B¨ clarinet, B ¨ trumpet, guitar, percussion, violin, viola, cello and doublebass

226

Dedicated to the memory of Antonietta Massola.

Duration ca. 35’ in total

Mark Viggiani, Melbourne, 2012

227

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.

228

I. Vorrei… I. I would like…

Con te vorrei… I want to speak with you of love as the sun sets Parlare d’amore nell’ora in cui il sole, into the horizon and from every flower comes a Declina all’orizzonte e da ogni pianta smell like lilies and violets, and overhead the Fale un odore di gigli e di viole nightingale sings. E su tra I rame l’usignolo canta.

Ricordi Memories

Che dolci sere, che momenti belli What sweet evenings, what beautiful moments Quando tutto per campi e calmo e cheto when all of the fields are calm and silent, when Quando l’ultimo grido degl’uccelli the bird’s last song has ended, and I hold you. Finita, e a me ti stringo lieto.

Ma come sono ancor piu vaghi e belli But how are even more vague and beautiful Quei tramonti di sol quando in segreto those sunsets when we are alone in secret, Ebbri si bacia, in bocca, e sui capelli happily drunk with kissing, on the mouth, and La di letto del cor… Momento lieto! hair in the bed of the heart ... happy times!

E tu lo sai che mi comprendevi o cara And know it that you understand me, darling Quanto son dolci i baci e le caresse How sweet the kisses and caresses there among La fra i limoni e nell’ombra di sereta. the lemons and the fading light.

E lo sa questo cuor che ti prepara And know it that this heart which prepares for Affeti nuovi far novelle ebrezze you new affections and new intoxications, this is Questo cuore d’amante e di poeta. the heart of a lover and a poet.

229

II. Gelosia di Fiori II. Jealousy of the Flowers

Sai che m’odiano i fior del tuo giardino? Do you know that the flowers in your garden Me n’avvidi una volta a le parole hate me? I noticed one time some angry words D’ira che mi diceva un biancospino, that a hawthorn said to me, while all the violets Mentre, tutte piangevano le viole. cried.

“Ma che feci?” chiedevo: e un gelsomino “What did I do?” I asked, and a jasmine burst Mi singhiozzó: “Crudel, toglici il sole, into tears. “Cruel one, take away the sun, but Ma rendici il fulgor di quel visino return to us the splendour of that little face, Che ci rubasti tu con le tue fole. which you have stolen with your foolishness.

Rendeci lei che piu come una volta, Return her to us as before, she does not gladly Non torna lieta a prodigarci cure return to lavish care upon us, but this care is Ma questa cura or a te solo ha volta. now given only to you.

Dopo che ti conobbe del suo cuore; After this you knew of her heart; you made Lei fatto re con quelle tue parole yourself king with your words but you must know Ma lo devi saper l’odia ogni fiore!” that all of the flowers hate you.”

III. Belle Manine III. Beautiful Little Hands

Belle manine bianche affusolate, Beautiful little hands, white and tapering which Che sui ginocchi languide giacete, rest languidly and frozen on your knees, They Fatte di gigli e perle mi sembrate, seem to me like lillies and pearls, you are very Tanto gentile nel candor voi siete. kind and gentle.

Morbide come piume vellutate, Soft as a velvet feather, you win every Ogni bellezza al paragon vincete comparison of beauty when they abandon your Quando su le ginocchia abbandonate, knees and are confused amidst white flowers. In mezzo a bianchi fior in confondete. 230

Chi vi puo’ dire mai, chi vi puo’ dire Who, but who can tell you, that you awaken Che desideri in core mi destate, desire in my heart, beautiful little soft and Belle manine morbide e procaci?... provocative hands?

Vorrei di anelli splendidi coprire I would like to cover your fingers with splendid Le dita vostre e su le immacolato rings and on your immaculate palms stamp Palme stampare, ai mille a mille, i baci!... thousands and thousands of kisses.

IV. Carina!... IV. Sweetheart!

Sei carina e vezzosa: You are pretty and charming: There are stars in Hai negl’occhi le stelle, your eyes and the color of roses is in your E d’il color di rosa, beautiful cheeks. Su le tue guancie belle.

Davanti ai tuoi ginocchi Seated at your knee, as a child, I look into your Come un fanciullo, assiso, eyes I dream of paradise. Guardandoti negl’occhi, Io Sogno in paradiso.

Sui miei capelli ondi Your hands rest on my wavy hair, and between Le tue manine posa, your palms my worries disappear. E tra le palme ascondi La fronte mia pensosa!

Nell’estasi sublime, In sublime extasy, I will sing to you of love, of Ti cantero l’amore, the most beautiful rhymes that come from my Nelle piu belle rime heart. Che mi verran dal cuore.

E se (il dolce tema!) And if (oh sweet idea!) you give me a kiss I will Un bacio mi darai, write a poem that will never end. Lo scrivero un poema Che non mozza giammai. 231

V. Mattinata V. In the Morning

All'orrizonte il sol ridente appare The sun, smiling, appears on the horizon and E in alto assorge lieto e maestoso: slowly and majestically rises up high: the earth Al creator la terra il cielo e il mare the sky and the sea send a splendid festive hymn Mandano un inno fulgido, festoso. to the creator. They say that the flowers never Dicono i fior, che stan fra i verdi mai, stay among the grasses and the fragrant mists E i misti olezzi effondono d'intorno: infused around them. Oh father sun, who walks O padre sol e passeggiando vai the streets of the sky during the day, enter Per le vie del ciel durante il giorno, joyfully the little bedroom and re-awaken my Entra giulivo nella camerella beautiful Italia. Kiss her on the forehead and A ridestare la mia Italia bella. wake her up because the hour of love and joy Baciala in fronte, falla risvegliare, has arrived. Che giunta e l'ora di gioire e amare.

L'aura dice: Buoni di! Ti sei levata, The breeze says: Good morning! You have E d'al balcon t'affacci tutta lieta, arisen, and appeared in happiness on the Come una bianca visione di fata, balcony, like a white vision of a fairy, like a Come un soave sogno di poeta. sweet dream of a poet. My heart tells me that this Dice il mio cuor ch'e un bel giardin d'amore is a beautiful garden of love: in me germinates In me germoglia il fior dei sentimenti the flowers of feelings for your beautiful eyes of Dei tuoi begl'occhi al mistico splendore. mystical splendour. The earth and the sky Dicon la terra e il ciel coi lo concerti together say that you are sweet and very Che ogni tuo modo e pien di dolce incanto beautiful and all your movements are full of Tu sei tanto soave e bella tanto, sweet enchantment, that where you place your Che dove posi il piede spunta un fiore foot a flower sprouts and where you cast your E dove il guardo volgi spira amore.... gaze love breathes…

232

VI. Sei Libera!... VI. You are free! supposto che mi avesse.. lasciato Suppose you had left me...

Eh, non tremore piu, che l'ho distratto, Well, no more trembling, haven’t I destroyed the lo spettro del passato? spectre of the past? The letters, the hair, the Le lettere, i capelli, i fiori, tutto, flowers, everything, I have thrown them into the a le fiamme ho gettato. flames.

Sei libera: del sogno reo la traccia You are free: I have made the traces of the ho fatto disparire: dream disappear. I was shown your face even mostrare puoi superba ancor la faccia, more superb, and it doesn't fade. e non impallidire.

Che frati, che pensieri, che concetti, What phrases, what thoughts, what concepts, che soavi armonie, what sweet harmonies, lost in those tiny pages! perdute in quei minuscoli foglietti! What splendid lies...! Che splendide bugie!...

Sei libera: Serena puoi tuandare You are free! Serenely you can go on to sweet ai dolci incantamenti enchantments and still swear falsely on a E ancora tu la croce spergiurare crucifix that you do not feel love... l'amore che non senti...

Non piu nel folleggiare dei baci e amplessi No more in the folly of kisses and passionate ti piangera improviso embraces, will you cry unexpectedly. I spasm Io spasimo di gaudi a me concessi with the joys granted to me and I smile e il mio beffardo riso. mockingly.

Sei libera: Distratto fa una vampata You are free: I have destroyed with a blaze the la perfida menzogna: heinous lie: Your old lies are changed to a in mi pugno di cenere lo mutata handful of ashes. l'antica tua menzogna.

233

VII. Ricordi?... VII. Do you remember?

Era d'estate nel meriggio stanco It was summer, in the tired afternoon amongst Tra'l biancore dei fiori e nell' ardore, the whiteness of the flowers and our ardour, in Di quella calma, ti tenevo al fianco this calm, I held you by my side resting against Appoggiata al mio braccio e il tuo languore, my arm in your languidness. I couldn’t resist and Mi faceva morir tu lo sapevi, you knew it. I asked you for a kiss and you Io ti chiedevo un bacio e tu rideri... laughed...

Mi saliva a le nasi il dolce odore, The sweet smell of your hair came to my nose, Dei tuoi capelli, e l'alito gentile and the gentle breath from your queenly mouth De la tua bocca da regina, il cuore, made my heart jump. I lost courage and begged Mi faceva balzar, divenni vile, you on my knees, I adored you... You didn't Ti pregai in ginocchio, ti adorai... want to ... and I stole your kisses. Tu non volesti… e i baci ti subai

Sui fiori bianchi e sopra i tuoi capelli Butterflies flew among the white flowers and in Volaron le farfalle; mi dicesti your hair; you told me in the middle of kisses: In mezzo ai baci: come sono belli how beautiful are the flowers and butterflies... I fiori e le farfalle. Sorridesti... You smiled... Amid the white flowers of that In mezzo ai fiori bianchi di quel prato meadow tender Italia, how I kissed you... Tenera Italia quanto l'ho baciato...

Adesso dove sei? Ricordi ancora Where are you now? Do you still remember the Le carezze frementi che mendaci trembling caresses that I begged you with a Chiamavi sorridendo? T’addolora smile? Is the gentle memory of those kisses Il ricordo gentile di quei baci? painful to remember? I often catch myself Io colgo spesso il mio pensiero in fallo thinking of that small lost bunch of flowers... Sopra un mazzetto che non e piu quello... Texts by Ginese Triaca, 1902, Verona.

234

Instrumentation

soprano tenor 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 viola cello contrabass

Score in C 235

Vorrei…

I. Vorrei… / Ricordi

II. Gelosia di Fiori

III. Belle Manine

IV. Carina!..

V. Mattinata

VI. Sei Libera!...

VII. Ricordi?...

236

I. Vorrei... - Ricordi

Ginese Triaca Mark Viggiani

q = 64 reverently

Clarinet in B b      

Trumpet in B b      

                 Vibraphone                               mf mp     mf     (sempre) p a.h. XVIII 0 IV 0   IV 3 3 3 Guitar                           mf sempre legatissimo p  mf mf

 Soprano      

Tenor         q = 64 reverently

Violin        

Viola      

Violoncello       

Contrabass         

6           Vib.                                       mf mp p 

a a



    



Gtr.        

     

                p p  S.                  Con te vo rrei...- par la- re- d'a

p T.                   Con te vo rrei...- par la- re- d'a



12                        Vib.                               mp    



  



   Gtr.                     



        p mf mp  S.                     mo re- nell' o ra- in cui il so--- le,

T.                         mo re- nell' o ra- in cui il so--- le,



17        3 3 Vib.                        mp        pp mf    (pont.) 3



 3    

   

   Gtr.  0                                f   mp pp f

3   S.               all' o riz- zon- - te

mp 3 T.                        De cli- na- all' o riz- zon- - te 239

Cl.     

            Vib.                     3 f mf f  (nat.)            Gtr.                 5   ff p ff mf

mf  S.              gi gli- e viole

mf 3 3 T.                                  e da o- gni pian ta- fa le- un o do- re- di gi gli- e di viole



25 (espress.)  Cl.                          n mf

 3 3 Vib.                        3         pp  

  3     Gtr.              3 3    mp pp  

 S.     

T.       240 (Ricordi) q = 72 29               Cl.           3 n mf bird-like f

Vib.       

    Gtr.          mp

 S.       

p 3  T.                             e su tra i ra me- l'u si- gno- lo- can ta-



35                                Cl.              3 3 p mf p mf

     Vib.                   p

VII         Gtr.     0     p pp

 S.       

T.         241

41                   Cl.                  (growl) f p (lontano)

 Vib.                 pp           (slow)   XII         Gtr.           pp p (sinceramente)  T.                    Che dol ci- se re,- che mo men- ti- con sord.  Vln.               n p ppp con sord.     Vla.           n p ppp con sord.  Vc.              n p ppp con sord. Cb.              ppp



46              Cl.                              3 3

Vib.      

Gtr.      

   T.                                be lli-quan do-tu tto-per cam pi e-cal mo- e che to- quan do- l'ul- ti mo-

Vln.       gliss.           p pp p ppp  Vla.  gliss.              p pp p ppp

g  liss. Vc.               p pp p ppp

Cb.          p 242

51           Cl.                  pp

Vib.           mp

Gtr.      

string. f     T.                       gri do-de gl'u- cel-- li fi ni-- ta, e a me ti stringo lie to.-                       Vln.                 pp p (espress.) f

Vla.                      p mf 6

   Vc.        p mf

Cb.       



Cl.       

          Vib.                 mf p mp     Gtr.        mf mf  T.                                  Ma co me- so no-an cor-piu va ghi- e be lli- quei tra mon- ti- di sol           Vln.                   pp mp mf espress.

   Vla.                    pp mp pp

   Vc.      p     Cb.       p 243

Cl.       

    Vib.                        

Gtr.       

(con passione) f 3 3 T.                                         quan do- in se gre- to- eb bri- si ba cia,- in boc ca,- e su i- ca pel- li- la di let to- del cor... Mo men- to-

    Vln.            3 mf

3 3 Vla.                mf

Vc.       

Cb.           pp



Cl.       

 3      Vib.                               mp   p  Gtr.           mf p  T.                             lie to!- E tu lo sai che mi com pren- di-o ca ra- quan to-         Vln.                                pp p pp

     Vla.                          pp mf p pp   Vc.                   pp p  

Cb.         244

Cl.       

Tpt.        pp       Vib.           pp mf 0



      Gtr.    

                     mp  mp 3  T.                                        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.-   Vln.             p  ppp   Vla.             pp ppp

Vc.        ppp

Cb.         ppp

 80

Cl.        

Tpt.         p    Vib.           ppp mp

Gtr.        

p (con aspettazione) f   T.                                       E lo sa ques to- cuor che ti pre pa-- ra af fet- ti- nuo vi- far no vel- le- e -brez ze- ques to-

        Vln.                        pp pp fp

Vla.              pp pp fp     Vc.           pp pp fp

Cb.          pp 245

87 Cl.      

Tpt.          pp p

    Vib.            p  

Gtr.         mp

       T.              cuo re- d'a man- te- e di po e- ta.-

 Vln.         pp p

Vla.      

   Vc.      pp p

Cb.          pp p



92                  Cl.                        3 3 3 p (lontano) pp  Tpt.               ppp p n 3  Vib.               3  Gtr.              T.           Vln.       pp  Vla.      

   Vc.      Cb.        II. Gelosia di Fiori

Ginese Triaca Mark Viggiani

q. = 120 Clarinet in B b         

Trumpet in B  b          

 Temple Blocks                          fp f  mp  secco* slap strings and wood       with flat palm over soundhole               Guitar                                         pp f  Soprano         

Tenor           pizz.   Violin                                         p mf p pizz. Viola                                         p mf p pizz. arco pizz.  gliss.            Violoncello                         mp sf p mf p mp sf p pizz.        Contrabass                           mp sf p mf p



9          T. Bl.                                           f   mp p f                    Gtr.                                  mp 

mf       T.                    Sai che m'o dia-- no i fior del tuo giar -  Vln.                                                   Vla.                                                                  Vc.                                          Cb.                          

* cut off previous chord by placing fingers sharply and percussively on strings. 247

17    Cl.         mp

To Tri. Triangle  To T. Bl.       T. Bl.                               pp  f mf mp                             Gtr.                                            p

subito p (con minaccia) mf    T.                                  di- no? Me n'a vvi-di u na- vol ta- a- le pa ro- le- d'i ra-che mi di-

arco   Vln.                                     mp  p

arco    Vla.                                    mp p            Vc.                        mp f

Cb.                          mp



25      Cl.                           mp    f

Temple Blocks             Tri.                                    p mp p mf                      Gtr.                                                pp p mp

     T.                       ce va- un bian -co spi-- no, Men tre,- tutte pian- arco pizz.        Vln.                                  pp p fp pizz. arco     Vla.                                   f pp     mf arco          Vc.                                 pp p fp arco   Cb.                   pp fp 248 33                 Cl.           mf mp harmon mute              Tpt.                          pp mp

T. Bl.                    pp   mf

      Gtr.                            pp  T.                     ge va- no- le viole.

                            Vln.                     pp 

            Vla.                                      p 

gliss.    Vc.                         pp mp

Cb.                p sf



41 senza sord.  Tpt.               fp         T. Bl.                                          mp                             Gtr.                                                         pp mf      

f indignatamente       T.                       "Ma che feci?" chie de- vo:- e un gel -so mi-- no                   Vln.                                          mp     mf            Vla.                                mp mf    Vc.                 sf mf

     Cb.                              mp mf q = 120 ( q. = q) 249 49 Cl.       

Tpt.        To Tri.  T. Bl.                                                Gtr.                                      implorantemente f 3          S.                   "Cru - del, to gli-ci- il so le,-

T.                 mi sin ghioz-- zo: pizz.     Vln.                    f sf f f  pizz.      Vla.                             mf sf f f     pizz.         Vc.                 mf  sf f f pizz.  Cb.                           sf f



55  q. = 120      Cl.         pp Tpt.         pp p n Triangle  To S. D. T. Bl.             ppp p   Gtr.              p  sf p savagely   S.                              ma ren di- ci- il ful gor- di quel vi si- no- che ci un arco  vivo           Vln.                   pp p 6    sfz arco pizz. Vla.                              p pp p f arco  pizz.   Vc.                p pp f  Cb.                       p p f 250 62   Cl.             pp f mf    S.                                          ba sti- tu con le tu - e fo le.- Ren de- ci- lei che piu co me- u na-

sul pont. pizz.   Vln.                 p pp (pizz.) Vla.                                   mp

Vc.           

Cb.            



72  Cl.            p     S.                                          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 arco          Vln.                                        pp mp p    Vla.                                     arco    Vc.                   pp

Cb.           



81              Cl.                               p f mp mf

  S.                                  vol ta.- Do po-che ti co nob- be- del su -o cuo re:- pizz.   Vln.                                           p  f  p       Vla.                                              f mp pizz.  Vc.                         mp f p

Cb.             251 91          Cl.                               f        

Tpt.         

p f      S.                                  Lei fat to- re con quel le- tue pa ro- le- ma lo de vi- sa per- l'o di- a- og ni-

    Vln.                        

Vla.                          

arco     Vc.                                p  mp  

Cb.          



99 Cl.            solo        Tpt.                 f espress. mp f 3 

Snare Drum    S.D.              pp mf

 

    simile rasg.  

 

                  Gtr.                                                                                             mf f mf  S.               fiore!"

arco               Vln.                            mp ff mf

arco             Vla.                            mp ff mf    Vc.                     ff  arco Cb.                       ff     252  107         Cl.                    ff       Tpt.                                      mp f  ff    r.sh.          S. D.                                 p mf f               Gtr.                                                               Vln.                                p mf

                    Vla.                    p mf     Vc.                  mf ff  mf  Cb.                         ff 



115             Cl.                   Tpt.                            mp f 3  4 4  

   S. D.         pp mf pp

                Gtr.                                                                                                                          

                  Vln.      f                 Vla.           

                     Vc.                     ff  mf  Cb.                                fp 253 122

Cl.        

 Tpt.                                 p

    S. D.                     fp n

         Gtr.                                n      

    Vln.       p             Vla.                                          mp   f                     Vc.                                           mp f

Cb.                     f



129           Cl.         mf

Tpt.                   mf

S. D.          rasg. l.v.

 



     



      



    

Gtr. 

                     



         

         

   

 

  

          ff  

f p mf     S.                                Ren de- ci- lei che piu co me- u na- vol ta- non tor na- lie ta- a pro di- gar- ci-

f p mf        T.                             Ren de- ci- lei che piu co me- u na- vol ta- non tor na- lie ta- a pro di- gar- ci-

                 Vln.              f mp           Vla.           f              Vc.                   f  mp      Cb.                   254 137

Cl.        

Temple Blocks  S. D.                        mp

Gtr.              mp   S.                      cu re- ma que sta- cu ra- or a te so lo- ha volta.   T.                        cu re- ma que sta- cu ra- or a te so lo- ha volta.  Vln.        

Vla.        

    Vc.                     pizz.    Cb.                   mp  144              Cl.          p    T. Bl.                       p 



  

    

   

Gtr.    

          

    

       

mp mp    S.                       Do po- che ti co nob- be- del su o- cuo re:- Lei fat to- mp  T.                       Do po- che ti co nob- be- del su o- cuo re:-

 Vln.                    p 

Vla.                    p

              Vc.                    p       Cb.           mp 255 151

Cl.            

    T. Bl.                                 

Gtr.        

mf     S.                                 re con quel le- tue pa ro- le- ma lo de vi- sa per- l'o di- a- og ni- fio- re!"

T.         

 Vln.        

Vla.        

 Vc.                                     mp

Cb.               mp  256 III. Belle Manine

Ginese Triaca Mark Viggiani

q = 148 Teneramente

Clarinet in B  b           

bongos with fingertips      Percussion                                    ppp pp pp

Guitar           

 Soprano           

mp Tenor                     Bel le- ma nine- bian che- af fu- so--  Violin           

Viola            

pizz. Violoncello                                mp p

Contrabass             



11 To S. D. Bongos                       ppp  pp pp ppp

 T.                    late, Che sui gi noc-- chi lan guide- gia ce- te,-

pizz.    Vln.                                       mf mp mf pizz.



 

 



Vla.               

                         mf mp mf

Vc.                                 mf mp

Cb.     257 22      Cl.                 mp

Bongos           

 T.                         Fat te- di gigli e per le- mi sem bra-- te, Tan to- gen ti- le-

    Vln.                                 mf   arco punta d'arco     Vla.                                   p mf fp

Vc.                                p mf

Cb.            



Cl.            p f  Snare Drum snare off  Bongos              ppp

 T.                       nel can dor- voi siete. Mor -

arco       Vln.                             f nat.          Vla.                           mp  f

Vc.                                   f

Cb.    258

43  Cl.                                   f mf

        S. D.                  pp   pp p 

mf  T.                      bi de- co me- piu me- vel lu- ta-- te, o gni- bel lez- -

pizz.



    



Vln.                       p f  mp pizz.



 

  

  Vla.          

              p f mp mp

Vc.                            p   mf 

Cb.            



Cl.                                 p mf

To Crot. Crotales   S. D.                       n p

 T.                   za al pa ra- gon- vin ce-- te

 Vln.                     mf

   Vla.                        mf  

Vc.                            mp

Cb.             259

63            Cl.                                          f

To Bongos Crot.          

 T.                    Quan do- su gi noc-- chia a ban-- do na--- te,

    Vln.                           mf     Vla.                       mf  

Vc.                         mf 

Cb.          



71                     Cl.        mf

Crot.          

 f T.                    In mez zo- a bian chi- fior in con- fon -de te.-

 arco  



           Vln.                             p f arco punta d'arco nat.        Vla.                         fp mp f

arco         Vc.                          f

pizz. arco Cb.              mp f 260 80              Cl.               p

Crot.          

 p T.                Chi vi puo' di re-

        Vln.                mf p

       Vla.                           mp p 

          Vc.                                  mp p

Cb.                     p



Cl.           

Crot.           

string. f     T.                   mai, chi vi puo' dire Che de side- ri- in co -

         Vln.                 p f

  Vla.                       f        Vc.                            f

 Cb.                    f  261

99      Cl.                   p 3 mf

Bongos (fingers) To Crot.    Crot.              pp poco n

mp   T.                   re mi de sta-- te, Bel le- ma ni-- ne

  Vln.                          mp  p

 Vla.                      mp

  Vc.                     mp  p pizz.  Cb.                            p



rall. A tempo

109     Cl.       n mf

Crot.         

(appassionato) ff     T.                   mor bi- de- e pro ca-- ci? Vor- rei di a -

   Vln.                         f mf

  Vla.                         f mf

 Vc.                       f mf arco Cb.                 f mf 262

117   Cl.                     mp

Crot.         

mp   T.                      ne- lli splen di- di- co pri- re- le dita vos tre- e

 Vln.               

Vla.                                        

        Vc.                             

Cb.          



125

Cl.                          mf p Crotales Crot.             p

 S.          

T.                          su le im ma co- la-- re pal me-stam pa- re- ai mil le- a mil le- i

pizz.  Vln.                    mp pp  pizz.  Vla.                          mp pp pizz.   Vc.                     pp mp pp pizz. Cb.              p 263 134  Cl.          mf         pp mp

Crot.           

mp f  S.                           ai mil le- a mil le- i ba -- ci! ai mil le- a mil le- i

f mp f   T.                ba - ci! ai mil le- a mil le- i ba - ci!

   Vln.                mp  Vla.                      mp arco    Vc.                  pp

Cb.              



144 tongue slap        Cl.                     p          Crot.             p VII  IX   XII           Gtr.              p

 mp S.              baci! i baci! pp

T.                i baci!   Vln.                            mp p       Vla.                              mp p

Vc.  

 Cb.                  pp 264

155 allarg.    Cl.                  Crot.                 Gtr.        

p f  S.                 ai mil le- a mille i ba - ci!

p f T.                    ai mil le- a mil le- mil- le i ba ci!- allarg.



  

 

Vln.                 Vla.          

  Vc.               p f

Cb.           

 164 3   3      Cl.                     3    mf p   Crot.              p pp mp VII XII IX    (nat.) (vib)                  Gtr.      mp mf

 S.         

   T.             Vln.                    mf p   Vla.                 mf p    Vc.      

arco Cb.           pp mp IV. Carina Clarinet, Soprano & Contrabass tacet Ginese Triaca Mark Viggiani

q = 98 mute (wah)  Trumpet in B  b       mp

scrape sus. cymbal Wood Blocks  Percussion            p

Tenor      IX (bisb.)  l.v.                                                                 Guitar      mp ppp  pp

pizz. arco   Violin         mp pp pizz.  Viola      mp pizz.

Violoncello         mp

4 Tpt.       

Perc.       

p T.                            Sei ca ri- na- e vez zo- sa:- Hai negl' occhi le

 simile                                                      Gtr. 

     Vln.              mp pp mf ppp arco       Vla.           p mf

Vc.         266

10   Tpt.              mp fp pp

sus. cymbal scrape Cymbals  Perc.                 l.v. mp ppp mp

T.                      stelle, E d'il color di rosa, Su le

                                                               Gtr.  

pizz. arco     Vln.                       p mf ppp mf p pizz. arco      Vla.          mf mf p arco  Vc.            mf mf p

17 senza sord.  Tpt.              p pp soft mallets   Perc.         pp

mp   T.                     tu e-guan cie- bel le.- Da

            Gtr.            fp                    Vln.                    3 3 mf p pp

        Vla.        mf p pp      Vc.        p pp mf 267 q = 76

23 sempre rubato  3    T.                                         van 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--



  



  

 Gtr.           



     

        

        

            pp        mf mp   mp mp pp

30 mp     T.                                        di- so. Sui miei ca pel- li- ondi Le tue ma nine- po sa,- E tra le pal me- as -



     Gtr.                                                       pp  mp pp mp mf

37 mf mf      T.                con di- la fron te-mia pen so-- sa Nell'

pp      Gtr.                                                 mf

43 3   T.                                       e sta- si- su bli- me,- ti can te- ro- l'a mo-- re Nel le- piu bel le- ri me- che mi ver ran- dal

 



   Gtr.                                   

                      

50 subito p            T.                               cuore E se (il dol ce- te ma!)- Un ba cio-mi da rai,- Lo scri ve- ro-un po

     Gtr.                                          pp  mf   Vla.         268

57    T.                e- ma che non moz za- giam mai.-

 IX            Gtr.                   

arco espress.      Vla.         pp

63  T.          Gtr.                                                 mf mp

             Vla.   mp mf V. Mattinata Trumpet tacet Ginese Triaca M. Viggiani

q = 68 accel.  Clarinet in B b               pp con pedale   Vibraphone                              p    pp

Guitar        

p    Soprano                             All' o riz- zon- te- il sol ri den- te- ap pa- re- e in

Tenor             Violin       pp        Viola   pp n

Violoncello         pp   Contrabass             ppp mp  8   Cl.          mp n motor on (slow)             Vib.                             p 

mp   3    S.                                al to- as sor- ge- lie to- e maes to- so:- Al cre a- tor- la ter ra- il cie lo- e il

        Vln.  p    Vla.              p

Vc.                pp      Cb.             n p 270

15       Vib.                   

mf               S.                        ma re- man da- no-un inno ful gi- do- fest o-- so. Di co- no- i fior, che stan fra i

                        Vln.    pp mf p

Vla.      

Vc.      

Cb.        



20               Vib.                            

mp mf  S.                            ver di- mai, e i mi sti- o lez- zi- ef fon- do- no-d'in -tor no:-

mp T.                     O padre sol te pas se- gian- do-

                          Vln.        

      Vla.          p  

   Vc.       p

Cb.           p 271

To Finger Cym. 26  Vib.      

            S.                           O pa dre-sol te pas se- gian- -do vai du ran- te- il gior no.- en tra- giu li- -

mf      T.                            vai per le vie del ciel du ran- te- il gior no,- en tra- giu li- vo- nel la- ca me-

 Vln.       

  Vla.                

 Vc.            

Cb.      



31             Cl.                 p mf

Vib.    

  S.    vo-

f T.                    rel- la a ri de- sta- re- la mia I ta- lia- bel -- la.

 Vln.    

         Vla.          

Vc.           

Cb.      272

34 Cl.        

finger cymbals to vibraphone  Vib.          p   



 



 

Gtr.                    mp mp   mp    T.                          Ba -cia ta- in fron te,- fal la ri sve- glia- re- che

        Vln.                  f ppp

                  Vla.               f ppp mp

             Vc.           f ppp

Cb.        



40 Più mosso q =84 Cl.      

F. Cym.       

       Gtr.                              3   mf

f   T.                   giun ta- e l'o ra- di gio i-- re e a- ma - re

        Vln.                  mp  mf f     Vla.                         mf mp     Vc.         mp mp mf

Cb.            mp sf 273

F. Cym.        

Gtr.       

f     T.                              L'au ra- di ce:- Buo ni- di! Ti sei le va- ta,- E d'al bal con- l'af -

         Vln.                 mf 

Vla.                                            

                Vc.   

Cb.         



51 Vibraphone  F. Cym.                 p 5 0 l.v.    Gtr.                                      mp  3   f mp  S.           Ah ah

mf       T.                        foc ci- tut ta- lie-- ta, co me-u na- bian ca- vi sion-e-di fa ta,- co me-un

   Vln.                 

Vla.                                        p    Vc.       mf

Cb.            mp sf 274

57            Cl.                       pp mp

        Vib.                        

Gtr.            

    S.      

mp         T.                            soave so gno- di po e- ta.- Di ce- il mi o-cuor ch'e un bel giar din-d'a - pizz. arco          Vln.                    mp  pp pizz. arco          Vla.                            mp p pizz.        Vc.                    mp

Cb.         

 poco rit. 64     Cl.                              3      p 

Vib.        

 Gtr.            mp            T.                      mo re:- In me ger mo- glia- il fior dei sen ti- men- ti- Dei tuoi begl'          Vln.   p                          Vla.                              p arco   Vc.              mp mf pizz. Cb.            mp 275

A tempo 71

Cl.               

arco con pedale   Vib.             pp

XII 3  0 l.v. Gtr.            p  pp     3  T.                                    oc chi- al mi sti- co-splen do- re.- Di con-la ter ra-e il ciel coi lor con cer- ti;-

              Vln.                pp pp p        Vla.                      pp ppp p

           Vc.                        pp pp ppp pp arco  Cb.             pp ppp



78  Cl.                                    p  p

l.v. Gtr.                                   pp (echo) 

mf              T.                           Tu sei tan to- soa -ve e bel la-tan to,- che o gni- tuo mo do-i pie ni- i dol ce- in

   Vln.          ppp   Vla.         ppp

Vc.            ppp

Cb.        276

84    Cl.              pp p

Gtr.                                  p    

mp       T.                         can to- che dove po si- il piede spun ta- un fio - - -



poco rall. 89    Cl.        mp arco con pedale  Vib.       ppp mf

  Gtr.                              pp  

p    T.                        re- e do ve- il guardo vol gi- spi ra- a mo-- re... 277 VI. Sei Libera Ginese Triaca Mark Viggiani

q = 80 flz. Clarinet in B b                  f Trumpet in B b       

Tambourine       

 3



  



Guitar                              p f       mp Soprano       

mp mf f Tenor                            Sup po- sto- che mi a ves- se...- pizz.   Violin                 ppp f  ff mp pizz.     Viola                    ppp f  p ff mp             Violoncello                         p ppp f f pp fp pizz. pizz.  Contrabass                p ff

 q. = 120 come uno stornello (thumb)  shake 7        Tamb.                          pp sf mp pp



Gtr.                     mf  p T.                la scia-- to arco simile      Vln.                                    mp  p    leggiero simile arco         Vla.                                      p p leggiero  Vc.                              p

Cb.           278 15 Cl.                               mp       

Tamb.          

 S.          

mp           T.                         Eh, non tre mo- -re piu, che l'ho dis trat- to,- lo spet tro-del pas-

    Vln.                                                  p                fp 

           Vla.                                                         mp p

Vc.                                     

Cb.           



24 Cl.           

Tamb.          

 S.          

mf                 T.                    sa to?- Le let te- re,- i ca pel- li,- i fio ri,- tut to,-

         Vln.                                       mf 

              Vla.                                      mf

Vc.                                     

Cb.            279

33                       Cl.               p f mp f   Tamb.             p S.                T.                     a le fiam me- ho get ta-- to.

 4                    Vln.                                 4  4 4 4 f mp mf sfz mp                    Vla.                               4 f mp f mp f sf 4

Vc.                             

Cb.         



40        Cl.                          mp f mf     Tpt.              mp mf       Tamb.                              f p  f  S.               Sei li -be ra:- f      T.                    Sei li -be ra:- del so gno-re o- la molto espress.                   Vln.                            4 sf mp f

4 4 4        Vla.                                        mp  f mf arco     Vc.                             f mf    Cb.            280 48            Cl.        

          Tpt.                                            mp

      Tamb.                                      S.              Mos- tra re-           T.                   trac cia- ho fat to- dis po- ri-- re: Mos- tra re-

 Vln.                          Vla.                                   

         Vc.                       

Cb.         



55  Cl.                f

                Tpt.                                        p    mf  mf        Tamb.                                    

Gtr.        

  S.                           puoi su- per - ba an - cor la faccia,         T.                        puoi su- per - ba an - cor la faccia, e  Vln.           pp              Vla.                                  f mf  pp   Vc.                                   

Cb.          281 62       Cl.                          mp mf 

Tpt.        

  Tamb.              

         Gtr.                                 mf  S.        

T.                 non im pal- li- di-- re.     Vln.           mp    Vla.           mp

Vc.        

arco Cb.              mf 



69 Cl.         

Tpt.         strum                        Gtr.                                                                        mp    

mf   S.                                  Che fra ti,- che pen sie- ri,- che con cet- ti,- che soa ve- ar mo--

T.           Vln.        

Vla.        

Vc.                 Cb.            ff 282 76   Cl.                          mp        Tpt.                      p                                            Gtr.                                                                         S.                ni--- e f      T.             per du- te- in

                Vln.              p mp  f     Vla.                    mp f

Vc.            Cb.       



83     Cl.                          mf  

Tpt.                     mf   pp

     



                              Gtr.                                                                                              p  S.        

        T.                    quei mi ni- sco- li- fo- gliet - ti! Che splen di- de- bu gi- e!...-

               Vln.                 Vla.       

Vc.        

Cb.          283 90  Cl.                            f    Tpt.                        mp (thumb)      to cym. Tamb.                      p mp  Gtr.               mp  mp   S.              Sei li -be ra:- mp     T.              Sei li -be ra:-   Vln.              p Vla.             pizz.  p     Vc.              f p pizz.    Cb.              mf f  98

Cl.                  p 

Tpt.          

Tamb.          

Gtr.          

   S.                             Se re- na-puoi tu an da- re- ai dol ci- in canta--  T.          

     Vln.                                                     mp   Vla.                                                                Vc.                                  

Cb.             284

106                        Cl.                         pp fp pp fp simile fp fp fp mute Tpt.                                             pp mp  pp simile   To S. D.  sus. cym. (soft mallets)     Tamb.                ppp          Gtr.                                         mp p pp  S.          men ti- p T.           E                    Vln.      pp Vla.      

Vc.        pizz. Cb.               mp     p 

111                   Cl.                       fp fp fp

Tpt.                  

Cym.         Gtr.            S.       

T.                            an co- ra- tu la cro ce- sper-- giu                     Vln.           f n               Vla.                                                 p  pp               Vc.                        p pp

Cb.                   q. = q senza misura 285 117

Cl.  

Tpt.   (slow) 



 



Gtr.           mp   S.   mf molto espress. accell.     p               T.                         ra ah sper- giu - ra - - re l'a more-che non     Vln.       fp pp   Vla.       pp  arco   Vc.    pp arco Cb.             3 f

 Vivace q. = 156 122                Cl.          nat. f               Tpt.                 f Snare Drum          S. D.                        ppp p pp mf                Gtr.                                        fff  S.       

T.          senti...             Vln.                              mf                 Vla.                      mf             Vc.                               mf       Cb.                               286 128 q. = 120               Cl.       

        Tpt.                   

        S. D.                f p mf pp mf ff                 Gtr.                                   S.       f     T.         Non piu nel fol le--                Vln.                  f          Vla.                        f         Vc.                             f      Cb.                           f 

133

Cl.                              mf      

Tpt.         

Gtr.         

 S.         

            T.                             gia re- dei ba ci- e am ples- si- ti pian -ge ra- im pro-

      Vln.                                          mf        

          Vla.                                           mf     Vc.                        mf            pizz. Cb.             p 287 141

Cl.                  Tpt.                    p mp

Gtr.          

mf                 S.                  Lo spa si- mo- di gau di- a me con ces- si-

T.                   vi so- e il                   Vln.                                   mp mf mp                        Vla.                                mp mf mp

    Vc.                                       

Cb.                        mf p  f 150           Cl.     

       Tpt.                    mf   S. D.            p          Gtr.                           mf       f  S.               Sei li be-- ra: f    gliss.    T.                    mi- o bef far- - do ri- - so Sei li be-- ra:

         Vln.                          mf   f              Vla.                             mf    mf        Vc.                           f arco      Cb.                                   f 288 157           Cl.                     f           Tpt.                             S. D.                              mf                                         Gtr.                                                                                                   S.                        Di- strat to- fa u na- vam pa- ta- la per fi- da- men zo-- gna           T.                      Di- strat to fa u na- vam pa- ta- la per fi- da- men zo-- gna                           Vln.              Vla.                                                     Vc.                                  Cb.                                

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163       Cl.                   

     Tpt.                                 S. D.                                                               Gtr.                                                                                                    S.        in un pu -- gno di ce ne- re- lo mu-        T.                      in un pu -- gno di ce ne- re- lo mu-                               Vln.                       Vla.                                            f mf             Vc.                                            f mf        Cb.                                      289 170

Cl.           

     Tpt.          

    S. D.                               Gtr.                                     ff    S.                 ta - ta l'an ti- ca- tu a- men zo- - -    T.                  ta- ta l'an ti- ca- tu a- men zo- - -           Vln.             ff      Vla.                      f ff      Vc.                      f ff    Cb.                   

 175

Cl.       

Tpt.           S. D.           pp mp ppp p i m a 10:6  Gtr.                  f     S.       gna   T.        gna pizz.   Vln.                 mp pizz.    Vla.               mp  pizz.  Vc.                 mp pizz. Cb.              mp VII. Ricordi?... Ginese Triaca Mark Viggiani

q = 60     Clarinet in B   b     p

Trumpet in B  b        arco (l.v.)    Vibraphone          con ped. p mf p

Guitar         Soprano       

Tenor Solo              Violin                         p  pp p  Viola                                 p       Violoncello                                  p

Contrabass             p 

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7           Cl.           p mp (arco)    Vib.          pp mf mp

p  T. Solo                                        E ra-d'e sta-- te nel me rig- gio stan co Tra'l bian co- -re dei fio ri- e nell' ar -

Vln.                          Vla.                     Vc.                          pp  Cb.                291

13  Cl.             mp  Vib.     

Gtr.      

    T. Solo                             do re,- Di quel la- cal- ma ti te ne-vo-al fian co- a pog- gia- ta-al mi o-

      Vln.                           p    Vla.                        p 

 Vc.                            p  arco pizz.  Cb.               

 Allegro q = 120 18               Cl.                  mf mf   sticks      Vib.            subito sf   pp

Gtr.      

mf  T. Solo                                        brac 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 sul pont.           Vln.              p fp p fp

sul pont.       Vla.               p fp p fp                   Vc.                         fp arco pizz.    Cb.              f mp 292 Tempo primo 23 Cl.       

l.v. l.v.        Vib.                  mp 3

Gtr.       

f mp  mf T. Solo                     ba cio- e tu ri devi...- Mi sa

nat.     Vln.                                mp p p nat.      Vla.                                 mp p p         Vc.                               p p

Cb.               mp p

 Più mosso qqq = 68 29        Cl.             mf

arco   Vib.             pp mf p mf

Gtr.       

 T. Solo                                                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-

         Vln.                               mp  p

Vla.                                 mp  p mp  Vc.                              mp p

pizz. arco Cb.                     mp  293

35 3       Cl.                            ff p   mf

Vib.       

Gtr.       

subito f 3 pp     T. Solo                                        boc ca da re gi- na,- il cuo re,- Mi fa ce- va-bal zar,- di ven ni vi le,- Ti pre gai- in gi noc- chio,- ti

      Vln.               mp f  Vla.                       mp p f      Vc.                             mp f  p  pizz.  Cb.                             mp  f



41 rall. A tempo q = 68   Cl.             3 mf f

sticks l.v.   Vib.          mp mf

0 0



Gtr.    0           0     

  0   0 p f mf ff    T. Solo                     a do- rai... Tu non vo les- tis- e i ba ci-ti ru - bai

solo          Vln.           f molto espress.                  Vla.                                      mf 3

          Vc.                     p mf f

arco change bow discreetly   Cb.                  mp   f 294

46        Cl.      

Tpt.          pp mp         Vib.            3  mp f mp (con ped.) l.v. 0 0   Gtr.                      p f  f  T. Solo                   Sui fio ri- bian chi- e so pra-i tuoi ca -                Vln.     mp         Vla.                           mp f     Vc.                  3  3 mp

Cb.        mp 

50     Cl.       p mf

Tpt.           p pp mf                   Vib.                

Gtr.      

   T. Solo                                           pel li- Vo la-ron-le far fal- le;- mi di ces- ti- in mez zo ai baci: "Co me-sono bel li- i fio ri-e le far -   Vln.                 mf

Vla.              mf         Vc.     mf

Cb.         mf 295

55       Cl.         p mf mf    Tpt.         p mf                Vib.         p

Gtr.       

 3  3 T. Solo                                      fal le",- sor ri- des-- ti... in mez zo ai fio ri-bian chi di quel pra to- Te ne- re- I ta- - lia              Vln.                 f mp                    Vla.         f mp                Vc.       f

Cb.              



poco rall. 61 q = 54  Cl.                    ff molto espress. 3 Tpt.                      f molto espress. 3        Vib.         mp mf

Gtr.                                                mf   T. Solo               quan to- l'ho ba cia--- to...               Vln.                 ff molto espress. 3     Vla.                              3  molto espress. ff 3                Vc.                   f mp mf mp sempre     Cb.                  f 296 Allarg. A tempo q = 54 66         Cl.               Tpt.                 to sus. cym.        Vib.                  mf p mf

Gtr.                                                                           

T. Solo                           Vln.          Vla.                                Vc.                            Cb.               



70 q = 60       Cl.        f subito pp

Tpt.       

Vib.       

 



   Gtr.                              

 pp  p  T. Solo                     A des- so- do ve- sei? Ri-    sul pont.                 Vln.                        subito pp ppp    sul pont.         Vla.                           subito pp    ppp    con sord.    Vc.         f subito pp  pizz. Cb.              f p pp 297

solo 76                        Cl.                          3 p mp p mp f pp

Tpt.      

Vib.      

Gtr.      

 3 T. Solo                                      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-

con sord.  Vln.        

con sord. Vla.        

Vc.      

Cb.       

 81                              Cl.                              3 mf p mp p3 mp mf p

Tpt.       

Vib.       

3 Gtr.                p   pp     T. Solo                                       lo ra- Il ri cor-do-gen ti- le- di quei baci? Io col go-spes so- il mi o-pen sie- ro-in fal lo

 Vln.       

Vla.       

Vc.       

Cb.         298

87                              Cl.              3 3 mp

sus. cym. (soft mallets)   Vib.        pp

Gtr.             3   T. Solo                     so pra- un maz zet to- che non e piu quello...

 Vln.     

Vla.     

Vc.      

Cb.      



 91            Cl.                        mf p  pp

Vibraphone with bow To Vib.   l.v. (sempre)    Cym.       mp pp mp

5 5 Gtr.                     mf  mp pp p   S.                                vocalise Aah ah aah con sord.    Vln.                 ppp mp con sord.     Vla.              ppp  mp con sord.    Vc.             ppp mp

Cb.          299

98 Cl.       

      Vib.       mp

Gtr.               

p fp mp p mf      S.                          Ah Ah Ah

       Vln.                pp mp      pp           Vla.                   pp mp pp pizz.

  Vc.           mp

Cb.        



104    Cl.         pp mp

    Vib.       mf

Gtr.                mf mp mf            S.                  Ah Ah Ah Ah Ah Ah      pizz.  arco    Vln.                mf pp mf mp p     pizz.     Vla.              pp arco mp  Vc.            pp

Cb.         300

110 Cl.        

      Vib.      p p pp

Gtr.                 pp p    S.            Ah

T. Solo         

    Vln.            pp

Vla.        

Vc.        

Cb.         

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

Date: 2013

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

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