Contemporary
PHILIPS The Yellow Sofa Chamber Opera in One Act
Full Score
EP 71987
JULIAN PHILIPS
The Yellow Sofa Chamber Opera in One Act Full Score
ALLE RECHTE VORBEHALTEN
· ALL RIGHTS RESERVED
EDITION PETERS L E I P Z I G · L O N D O N · NEW YORK
dedicated to Ricardo Da Silva Esteves
THE YELLOW SOFA
Music: Julian Philips Libretto: Edward Kemp after the novella, Alves e Cia. (1887) by Eça de Queirós (1845-1900) Portuguese translations: Ricardo da Silva Esteves
2
CAST AMARELA - A yellow sofa (low mezzo) GODOFREDO ALES - a small businessman (high baritone) LUDOVINA (LULU) - his wife (soprano) MARGARIDA - their maid (mezzo) MACHADO - Godofredo's business partner (tenor) NETO - Ludovina's father (medium baritone) TERESA - Ludovina's sister (soprano) MEDEIROS - (bass) ) friends of Godofredo CARVALHO - (low baritone) ) NUNES VIDAL - Machado's second (tenor)
ORCHESTRA 6 violins 2 violas 2 violoncelli 1 double bass Piano* Guitar Portuguese Guitar
* The piano requires some preparation just for the 'clock chime' listed below - ideally, a strip of light metal chain that inteferes with the piano strings, creating a gentle metallic rattle in the sound.
First performed at Glyndebourne Festival Opera on the 20th August 2009, with the Britten Sinfonia conducted by Leo McFall, directed by Freddie Wake-Walker. Revived at Glyndebourne Festival Opera in August 2012, prior to a UK regional tour.
1. Overture (mobile 1)
3
on stage: GODOFREDO, LUDOVINA, MARGARIDA off stage: NUNES
The Overture presents a sequence of domestic harmony - the continuum which this chamber opera interrupts. It should run for approximately 5-6 minutes in duration, while the audience members enter the performance space and find their seats. Detailed instructions follow below, but the Overture's overiding quality should be ordinary, uneventful and low key leaving us with the impression that the sequence could go on in this way forever. THEATRICAL CONTENT The comings and goings of GODOFREDO, his wife LUDOVINA and their maid, MARGARIDA. The movement style throughout should be gentle, slow, even listless; nothing should be projected out to the audience - this is the inner world of the opera which the observer is allowed to eavesdrop on. Entrances: GODOFREDO/LUDOVINA: each enters the performing space (3 times) when the door motif (3a below) sounds in the lower strings. This motif is heard intermittently throughout but both GODO/LULU should pick just three statements to trigger their entrances. MARGARIDA: a more constant presence, she spontaneously weaves her entrances around GODO and LULU. On-stage business: GODOFREDO/LUDOVINA: Each entrance should have been motivated by a minor domestic concern, neither particularly urgent or pressing. If/when both on stage, LULU should notice GODO, but GODO not LULU. For three of GODOFREDO's entrances, he is held on stage by the clock chiming. This is triggered spontaneously by the pianist. For two of LULU's entrances, she should glide towards the piano, and lean wistfully on the end of it; this triggers the pianist to play a snatch of the waltz tune that is associated with her (see below). Neither the clock chime nor Lulu's Waltz can happen simultaneously; they must be events spaced out across the Overture. MARGARIDA: is more animated than GODO/LULU but no more purposeful. She should definitely, even sulkily, acknowledge both GODO and LULU; only LULU notices her. When on stage, MARGARIDA should vocalise freely around the "Once in Lisbon" tune, singing to herself in an absent-minded, random way. Exits: GODOFREDO/LUDOVINA: Only exit the stage when the door motif (3b below) sounds, cued by the conductor. MARGARIDA: Comes and goes as she pleases. All entrances & exits should be casual and ordinary. MUSICAL CONTENT Constant sounds: 1. CLOCK TICK-TOCK - metronome 2. AMBIENT TWITTERING - 6 violins 3. DOOR MOTIF - lower strings 4. 'ONCE IN LISBON' - vocalised freely, MARGARIDA Intermittent sounds: 1. CLOCK CHIMES - 3 times, prepared piano 2. STREET CRY - sung 3 times, NUNES (off-stage) 3. LULU'S WALTZ - played twice, piano N.B. There should always be space between the clock chimes and LULU's waltz.
4
CONSTANT SOUNDS 1. Clock (metronome) q = 60 Cl.
tick
tock
tick
tock
etc.
2. Ambient twittering (3 x 2 violins, players 1/2, 3/4, 5/6) - canons Violins 1-2: Play canon up to three times or until conductor signals the stop; the second time the sequence should be read backwards. Player 2 should imitate player 1 in close canon, varying and responding to what s/he hears.
A
Vln
Freely repeat two cells in alternation; slow feel
(isolated single notes)* etc.
(random patterns of repeated notes) etc. c. 30"
c. 5"
c. 15"
c. 10"
(rapid quarter-tone vib.)
c. 10"
c. 10"
c. 20"
sempre pppp
* highest possible note
B Freely repeat two cells in alternation; slightly faster feel
c. 20"
(isolated single tremolandi)
Vln
etc.
(random patterns of repeated tremolandi)
etc.
(free gliss., upper half of E string)
C Freely repeat two cells in alternation; again, a little faster
(isolated single glissandi)
Vln
c. 15"
etc.
(random patterns of repeated high glissandi)
Edition Peters No. 71987 Music © Copyright 2009 by Hinrichsen Edition Peters Edition Limited, London Libretto © Copyright Edward Kemp Translations © Copyright Ricardo da Silva Esteves
etc.
c. 15"
c. 5" (rapid pattern, sul pont.)
c. 25"
5
Violins 3-4: start when Vlns 1-2 reach letter B Play canon up to three times or until conductor signals the stop; the second time the canon should be read backwards. Player 4 should imitate player 3 in close canon, varying and responding to what s/he hears.
D
Freely repeat two cells in alternation; slow feel c. 5"
Vln
c. 10"
(rapid quarter-tone vib.)*
c. 15"
sempre pppp
(isolated single notes) etc.
(random patterns of repeated notes)
c. 30"
etc.
* highest possible note
E
Freely repeat two cells in alternation; slightly faster feel c. 10"
Vln
c. 10" (free gliss., upper half of E string)
c. 20"
etc.
(random patterns of repeated tremolandi)
etc.
Freely repeat two cells in alternation; again, a little faster c. 15"
(isolated single tremolandi)
F
Vln
c. 20"
c. 5"
c. 25"
(rapid pattern, sul pont.)
c. 15"
etc.
(isolated single glissandi)
(random patterns of repeated high glissandi)
etc.
Violins 5-6: start when Vlns 3-4 reach letter E Play canon up to three times or until conductor signals the stop; the second time the canon should be read backwards. Player 4 should imitate player 3 in close canon, varying and responding to what s/he hears.
G
Freely repeat two cells in alternation; slow feel c. 5"
* highest possible note (isolated single notes)*
Vln
H
etc.
I
(isolated single glissandi)
c. 15"
(rapid quarter-tone vib.)*
sempre ppp
c. 20"
c. 20"
etc.
c. 10"
(random patterns of repeated tremolandi)
etc.
(free gliss., upper half of E string)
Freely repeat two cells in alternation; again, a little faster c. 15"
Vln
etc.
sempre pppp
(isolated single tremolandi)
c. 10"
Freely repeat two cells in alternation; slightly faster feel c. 10"
Vln
c. 30"
(random patterns of repeated notes)
c. 15"
(random patterns of repeated high glissandi)
etc.
c. 25"
c. 5" (rapid pattern, sul pont.)
6
3. Door motif (lower strings, cued by conductor)
gliss., flautando
a) OPEN
p
Vla
p
p
ppp
gliss., flautando
ppp
gliss, flautando
p
ppp
p
ppp
gliss., flautando
ppp
gliss., flautando
Vc.
Db.
gliss., flautando
p
b) CLOSE
p
p
ppp
ppp
gliss., flautando
ppp
gliss., flautando
p
gliss., flautando
ppp
gliss., flautando
p
ppp
7
4. 'Once in Lisbon' (MARGARIDA) MARGARIDA should only sing isolated phrases or even fragments, and not the complete melody. The tune can be embellished or even altered ad lib., and sung in any key(s). This vocalisation should simply be one part of her stage presence.
Sempre molto rubato
Ma.
Em
Lis
-
bo
-
3
3
a
mo - ra
- va
um
fil
-
3
ho
de
nin
- guém
mu - dar
o
fa
Ma.
3
po
-
rem
re - ce
- beu
dos
3
pais
un
no - me
na
vi
3
pa - ra
-
do
Ma.
3
Na - da
de
no
-
3
bre
-
da
tin
-
3
ma
re
ha
fei
-
-
-
-
Ma.
-to
fo
-
ra'o
3
- fre
- cer
a
mul - her um so - fá
a
3
-
-
-
lo
Ma.
o
-
fe
-
re
-
cer,
o
-
fe
-
re
-
cer,
Ma.
a
mul - her
3
um
so
-
fá
a
3
-
-
-
ma
re
-
-
lo
8
INTERMITTENT SOUNDS 1. Clock chime (prepared piano) - play 3 times, but only when GODOFREDO is on stage. Play this first and third:
q = 60
mf mechanical (with preparation)
Pno
Play this second:
q = 60
Pno
mf mechanical (with preparation)
1
2
3
4
5
6
7
8
9
10
11
Oh
Oh
2. Street cry (NUNES) - sing 3 times, all off-stage 1st time: heard as p, in the distance 2nd time: heard as mf, nearby 3rd time: heard as p, in the distance again The melody must be sung each time at the pitch level indicated below.
Nun.
Oh
Oh
Oh
pe
-
dra
pe
-
dra
9
3. LUDOVINA's Waltz - piano, play twice This Waltz should only be played when LUDOVINA leans on the end of the piano; it should always be well separated from the clock chimes. 1st time: play bars 1-13 (with the repeat as required) 2nd time: play bars 13 (upbeat) to the end (plus the Da Capo as required)
Wistful e = c.100-110
1
Pno
pp
(sim.)
@
5
p dolce
5
9 Pno
Fine
5
Pno
15
Da capo al segno
rit.
(sim.)
5
10
ENDING THE OVERTURE The Overture should last for 5-6 minutes; its precise duration will obviously vary from show to show, depending on the audience. When the time comes to begin, the clock stops ticking; at this signal, all other musical elements stop. SILENCE which must be allowed to register theatrically. LUDOVINA then gets up and winds up the clock. Once she has wound it, the Prologue (no. 2) begins. . .
11
2. Prologue Slow, rhapsodic h = c.35-40
Am.
Lisboa tuning (D/d, A/a, Bb, E/e, A/a, B/b)
f
f
Slow, rhapsodic h = c.35-40
Db.
6
6
6
Gtr
Port. Gtr
f
6
5
5
5
5
pizz. Db.
VII
5
5
5
f
5
in
Once
rit.
Poco più animato
f
3
Ritenuto
rit.
Gtr
Port. Gtr
Am.
5 Poco più animato
Ritenuto
3 3 12 Am.
lived a some -one
who was
Gtr mf
Poco più mosso
1 h = c.45 Db. mf
no
-
one
6
mf
3
Port. Gtr
Lis -bon
3
3
though his pa - rents
5
gave
theirson
3
a
name
3
to
3
con - jure
fame
3 6
3
più mosso 1 Poco h = c.45
II
12
2
Am. 19
Lu.
p pure
Go
-
p pure
Ter.
Ma.
Go
-
p pure
Go
-
p pure
Nun.
Go
Go
-
p pure
Mach.
Ne.
p pure
Go
Car.
Me.
Port. Gtr
-
p pure
Go
-
-
- fre
do
-
- fre
do
-
- fre
do
-
do
-
do
-
do
-
do
-
-
-
- do
-
- do
- fre
-
- do
- fre
-
- do
- fre
-
- fre
-
- do
- fre
- do
- do
2 Db.
do
Gtr
-
p pure
Go
-
-
He
had
ne - ver,
3 3
- do
f
mf
mf
3
3
3
mf
e - ver
done
One
thing
3
3
no
-
ble
in
3
3
his
Db.
to
buy his wife a yel - low
so - fa
3
6
rit.
A tempo h = c.45
To
f
wife,
3
f
his
più f
buy
Poco più mosso
4 h = c.50
Gtr
to
3
ten.
Port. Gtr
ex -cept
3
life
rit.
3 26 Am.
A tempo h = c.45
f
mf
3
buy his
wife
to
3
mp
mp
Poco più mosso
4 h = c.50 mp
rit.
3
3
bus' - ness
Port. Gtr
Neat his fan -
cies
5
Gtr
mf
mf
5 A tempo Db. mf
46 Am. Lu.
Ma.
Nun.
Mach.
Ne.
Port. Gtr
Gtr
3
Go p pure
do-
-
- fre
Go
do-
-
- fre
do-
-
- fre
do-
-
do-
-
Go p pure
do-
-
Go p pure
do-
-
Go
do-
-
-
Go p pure
Go p pure
-
6
- fre
-
- fre
- fre
- fre
-
-
-
5
E -ven in
-
-
-
f
his
his
wild - est dreams
Ritenuto
3
3
he
wished
for
no -thing ex -
Al
Al
Al
Al
Al
-
- do
-
- do
-
- do
-
Al
-
Al
-
-
- do
Al
-
- do
3 3 3
3
- do
f
f
- do
-
f
- do
- fre
small
A tempo primo h = c.45
p pure
fice
3
p pure
mf
-
Go p pure
so - fa
mf
6
low
mf
rit.
of
Db.
his
treme
Me.
-
3
Car.
6
3
as
Ter.
-
3
yel
Am.
a
3
5 A tempo
40
buy his wife
3
Db.
to
Ritenuto 3
Gtr
3
wife
Port. Gtr
buy his
13
più f 5
3
Am. 33
A tempo primo h = c.45
f
Who
had
ves
ves
ves
ves
ves
ves
ves
ves
3
3
mf
mf
mf
14
7 3 Am.
rit.
ne - ver,
Port. Gtr
e - ver
seemed
3
7 Db.
at all
no - ta - ble
6
Gtr
3
in
3
his
3
3
3
3
life
ex -cept
3
53
he
bought his wife,
3
rit.
he
A tempo h = c.45 più f
yel
so
-
fa
A tempo h = c.45
3
mf
He
- low
Gtr
Db.
3
f
buy his wife a
3
Port. Gtr
ten.
58
Am.
più mosso 8 Poco h = c.50
f
f
bought
3
his
wife
ex - cept
he
mp
mp
più mosso 8 Poco h = c.50
mp
3
his
wife
he
Gtr Db.
bought his wife
3
3
5
rit.
a
yel
-
6 3
3
-
-
-
-
low
mf
f
mf
Molto rubato (colla voce)
attacca
so - fa
mf
3
Port. Gtr
bought
3
A tempo h = c.45
più f
63 Am.
Molto rubato (colla voce)
rit.
f
A tempo h = c.45
attacca
f
15
3. A Scene Mach.
God.
Allegro scherzando q = c.150
Port. Gtr.
Gtr
f
f metallico
Allegro scherzando q = c.150
Vln 1-3
p leggiero
Vln 4-6
Vc 1-2
pizz. Db.
p leggiero
f
p leggiero
p leggiero
Vla 1-2
f
f
3
f
f
mf
mf
arco
mf
8 Mach.
Vln 1-3
Vln 4-6
9
9
Vc 1-2
Db.
mf
Don't
too
late
my
mp poco marcato
work
mp poco marcato
mp poco marcato
mf
Vla 1-2
mf
mp poco marcato
pizz.
mp poco marcato
16
Mach.
10
15
God.
Vln 1-3
friend
Vla 1-2 Vc 1-2 Db. Vln 4-6
A
mf
You're
mp leggiero
off?
It's
not
yet
10 a3
mf
1.
a3
p leggiero
mp
mf
p leggiero
mp
4.
1.
four
1.
f
a2
mp
22 Mach. lit - tle af-fair I must at - tend to.
Pno
why
don't
you
1-3
mp
mp
Vc 1-2
mp
1.
sfzp
4.
mp
a2
Vla 1-2
mf
your - self?
6
mp
Vln Vln 4-6
go
sfzp
3. 1. 2.
5.
1. 2. mp
17
Mach. Close up the shop,
mf slightly more forceful
29
go catch a show
più legato
I
know
your
wife
will
un - der - stand
A
f
Pno
Vln 1-3
mf
tutti
Vln 4-6
mf
Vla 1-2
mf
Vc 1-2
f
mf
(pizz.)
mf
f
pizz.
mf
f
pizz.
f
mp legato
pizz.
f
mf
mf
mf
tutti
tutti
Db.
mp
3
f
f
pizz.
f
11 cresc. Mach. man 35
11 Vln 1-3
Vln 4-6
can work
too
hard
arco
arco
sure
p poco a poco cresc.
Db. arco
p poco a poco cresc.
grin - ding down
mf
And
p poco a poco cresc.
arco
p poco a poco cresc.
Vc 1-2
I'm
arco
p poco a poco cresc.
Vla 1-2
the
mp
mp
gan - der
Is no
use
mf
pizz.
f
pizz.
pizz.
f
3
f
pizz.
f
mf
18
Rubato (colla voce) 12 A tempo
Mach.
God.
3
Db.
f
Good
day
Ma
-
cha -
do.
arco
arco
pizz.
mf poco marcato
mf poco marcato
work
arco
and no
p dolce
mf poco marcato
All
pizz.
mf poco marcato arco
p
A tempo
Vc 1-2
Vln 1-3
Vla 1-2
to the goose.
Rubato (colla voce) 12
Vln 4-6
p dolce flautando
f
42
pizz. p
p dolce
p
Mach. play 49
God.
Vln 1-3
Vln 4-6 Vla 1-2
mf blunt
Good
day
(now offstage)
poco più f
All
work
Ma
-
cha
no
play,
-
mp
mp
mp
mp
3
mp
play
no
and
- cha - do
Ma
do
3
3
and
(mf)
13
13
Vc 1-2
Db.
Machado leaves
Good
14
God. 56
Mach.
day
Vln 1-3
Vla 1-2
Vc 1-2
Db.
mp piu leggiero
A lit - tle af- fair
Vln 4-6
a fair
one
mf
I'll
bet
f
Ma -
a3 14 1. p leggiero
1.
pizz.
f
mp
pizz.
arco
p leggiero
mp
f
mp pizz.
arco
mp
f
a 2, pizz.
f
19
63
cha
Port. Gtr.
-
Molto ritenuto
do
God
3
what a
p dolcissimo (falsetto)
dog
Lis
- bon's
accel. 3
own
Don
Juan
God.
Rubato (colla voce)
p leggiero
Vla 1-2
Vc 1-2
Vln 4-6
Db.
6
p leggiero
mf
Pno
Vln 1-3
Gtr
1. arco
3
p dolcissimo
arco
p leggiero
1. arco
p dolcissimo
p leggiero
3
arco
(pizz.)
p
A tempo primo
70 God. Port. Gtr.
Gtr Vln 1-3
Vln 4-6
Vla 1-2
Db.
girl
for
e
His
life
mf
mf
p
mf arco
mf
p
A tempo primo
15 (q = c.150) a 3 (arco) p
a 2 (arco)
p ma poco a poco cresc.
noon
af - ter
v'ry
3
mf
-
A
Vc 1-2
15 (q = c.150) f bitter
pizz.
pizz.
pp poco a poco cresc.
20
God. 77
Gtr
Pno
life
would
pesante
pizz.
mp
p
Db.
mp
mp
mp
God.
Port. Gtr.
Pno
Vln 1-3
Vln 4-6
Vla 1-2
arco
mf
f
f
17 A little slower q = c.130
p
3
3
pp
3
3
3
Have
dar -
3
p
p dolce
p dolce
p
3
1. arco
p
p
p
pp dolce, flautando
Sul G
mf
f
rit.
f
3
but I,
I,
fff
I
Db.
I
But
84
f
f
mf
arco
mf poco a poco più dolce
arco
mp
pizz.
out
Vc 1-2
me
Vla 1-2
life would wear
Vln 1-3 Vln 4-6
His
16
His
f
God.
Port. Gtr.
Pno
91
-
Lu - do
3
3
3
(1.)
3
(5.)
3
3
3
3
(1.)
Db.
ling
(4.)
Vla 1-2
vi
Vln 1-3
Vln 4-6
-
3
3
3
3
3
3
3
3
pi - ning
for
at
na
3
-
3
3
-
3
3
3
3
3
21
me
98 God.
home
3
my
lit - tle
Lu
-
-
all
a - lone
lu
Pno
Vln 1-3
Vln 4-6
Vla 1-2
3
3
3
3
3
3
3
(Sul G)
Db.
3
Sul D
3
3
3
3
3
3
3
3
3
3
3
3
3
3
-
3
3
u
Port. Gtr.
22
God. 105
-
our
pon
Port. Gtr. 3 Pno
Vln 1-3
(1.)
3
3
(5.) (Sul G)
low
3
-
3
(tutti)
Vc 1-2 p Db.
3
Oh
3
fa
3
3
(1.)
Vla 1-2
so
-
3
yel
(4.)
Vln 4-6
how I
3
3
2.
pp
3
God.
112
Lu
Port. Gtr.
Pno
Vln 1-3
Vla 1-2
-
-
3
lu,
3
3
Db.
-
lu,
O
3
3
3
Lu
3
pp
18
(prepare piano)
6.
How?
3
Vln 4-6
-
you,
ppp flautando
love
3
3
3
3
3
q = 60, precisely
The clock strikes four
mf mechanical
18
Ritenuto (colla voce)
A tempo primo
19 (q = c.150) God.
How,
a3
how,
A tempo primo (q = c.150)
19 Vln 1-3
p cresc.
Vln 4-6
p
117
unis.
p cresc.
Vla 1-2
Vc 1-2
Db.
I
for
-
get
the
f
f
mf
f
could
f
a2
how
f
23
f
20 A tempo
123
Am.
God.
3
The ninth
(without preparation)
mf poco marcato
Vc 1-2
Db.
mf poco marcato pizz.
mf poco marcato
-
ding
an
-
ni
3
mf
How
we
- ver - sa - ry
mf
f
mf poco marcato
wed
mf poco marcato
of May
Vla 1-2
3
20 A tempo Vln 1-3 Vln 4-6
their
3
day?
Pno
21
mp (mimicking Godofredo's Lulu song)
mp
p
3
3
p dolce
mp poco marcato
mp poco marcato
mp poco marcato
3
3
p dolce
could
mp poco marcato
mp poco marcato
24
God. 130
Vln 1-3
both
have
let
that
slightly more forceful
3 3
pass
3
Ma -cha -do's right
I work too
più legato
3
hard
We spend too
ma
-
ny
mf
mf
mf
Vln 4-6
Vla 1-2
Vc 1-2
Db.
mf
mf
mf
mp
mp
mp
mp legato
3 137 God.
Pno
hours
a -
22
part
f
f
Vc 1-2
f
Db.
f
to
make
a -
mends
f bright
arco
arco
arco
time
arco 1.
f
pizz.
the
now's
pizz. arco
Well
Vla 1-2
f
pizz.
f
Vln 4-6
f
f
22
Vln 1-3
pizz.
f determined
f
God.
143
1-3
a 3 (arco)
f
f marcato
flowers
f marcato
f marcato
p
cakes
f marcato
p
p
p
Port. Gtr.
He's given a small box of cakes
A tempo primo
A
He's given a card in an envelope
card
mp
And
then,
mp
Gtr
Vln 1-3
Vla 1-2
Vc 1-2
f marcato
f marcato
p
p
p
p
Recitativo
f marcato
Vln 4-6
f marcato
f marcato
f marcato
p
p
p
p
148 God.
Recitativo
A tempo primo
mp
p
p
p
Some
p
25
Recitativo
He is handed flowers
23
f marcato
Vc 1-2
f marcato
Vla 1-2
some
Vln Vln 4-6
A tempo primo
23 Recitativo
24
26 153 God.
The
gol - den brace
f
-
let
by
door
the
f
p
Gtr
Port. Gtr.
p poco marcato
In
Can - tanh -
p
Pno
Vla 1-2
Vc 1-2
Db.
f
pp sempre leggiero
f
p
f
3
pizz.
pp sempre leggiero pizz.
pizz.
pp
f
Vln 4-6
Vln 1-3
mp
pp sempre leggiero
160 Am.
God.
Gtr
ede's
Db.
mp
p
p
p
p
on
its
mp
A
sign
that
p
mp
tail
bi - ting
ser - pent
store
3
Vc 1-2
Vln 1-3
Vla 1-2
3
jew'll - ry
Vln 4-6
The
Pno
mp
love
ne - ver
will
27
Am. 166
cresc.
But
will
en
-
dure
fail
For
Gtr
But
e
-
ver
will
en
-
-
3
for
e - ver
1.2
Vln 1-3
3.
4.
mf
3
Lu - do - vi
-
3
more
-
Pno
dure
more
3
cresc.
God.
na
f
mf
mf
mf
mf
arco
pp
arco
pp
pp
5
5
5
Vln 4-6 5.6
Vla 1-2
Vc 1-2
Db.
3
pp
unis.
mf
5
arco
arco
pp
pp
pp
mf
mf
mf
5
5
5
attacca
28
Am. 172
God.
25 Molto ritenuto (colla voce)
f
3
Lu - do -
vi
-
-
3
na,
Lu - do - vi
5
f
Pno
-
-
na!
5
25
(3.)
6
fff
(4.)
6
fff
attacca
molto rit.
gliss.
fff Vln 1-3
fff
6
(1.2)
molto rit.
p flautando, dolcissimo (falsetto) 3
Godofredo opens the door
(On the threshold)
p
ff
gliss.
p
ff
gliss.
p
ff
Vln 4-6 (5.6)
6
gliss.
fff
6
Vla 1-2
Vc 1-2
6
Db. 6
fff
fff
p
ff
gliss.
fff
(div.)
p
ff
gliss.
p
ff
gliss.
ff
p
29
4a. Tableau 1 The picture of Ludovina and Machado on the sofa is created
26 Senza misura, free tempo From fig. 26 - 30, the choral voices are freely synchronised, remaining very much a background effect until the crescendo at fig 29 brings the sound to the surface. MARGARIDA/NUNES/MEDEIROS should sing the precise number of notes indicated, spaced out across the bar OTHER VOICES should freely repeat their patterns, varying the gaps between each statement LULU/MACHADO/GODOFREDO - notes/rhythms are simply are guide; the three characters deliver their dialogue freely over the wash of choral sound.
Ludovina
breathy, forced sighs
Go
-
-
do
fre
-
do
hard interjections
Machado
Al
Godofredo
Margarida
p molto legato
LU
Piano
Vln 4-6
Vla 1
Vla 2
Vc. 1-2
Db.
-
DO
-
gently repeat, ad lib.
VI
gently repeat, ad lib.
-
NA
LU
LU
gently repeat, ad lib.
LU
p sempre poco gliss.
p
LU
gently repeat, ad lib.
DO
LU
DO
LU
Vln 1
Vln 2-3
p sempre poco gliss.
misura, free tempo 26 Senza 1.
pp 2.
3.
pp
pp
4.
5.6 a 2
supressed shouts
What?
LU
Carvalho
Medeiros
Neto
LU
Nunes
LU
Amarela
ves
p
p molto legato
Teresa
-
pp
pp
pp
pp
pp
pp
Scratch tone, (pitchless noise) Imitate Ludovina's words:
sempre mf
Go
-
do
-
fre
-
do
Imitate Machado's words:
Sharp stabs sul pont. (pitchless noise) sempre sfz
Al
-
ves
Slap body of instrument sempre ff
Imitate Godofredo's words:
What?
30
2
Lu.
Mach.
God.
Ma.
27
It's...
Not...
Not
You...
DO
Ter.
DO
DO
Am.
LU
Nun.
Ne.
-
DO
repeat, ad lib.
-
-
VI
NA
DO
VI
DO
DO
Me.
-
DO
Car.
repeat, ad lib.
repeat, ad lib.
DO
repeat, ad lib.
VI
DO
27 Vln 1
VI
LU
DO
It's
Vla 1
Db.
not
Not
You...
31
3
Lu.
28
You...
Mach.
You
God.
Ma.
It's
It's...
Not...
VI
LU
-
DO
-
-
VI
-
NA
VI
Nun.
Ne.
repeat, ad lib.
VI
Car.
VI
Me.
VI
repeat, ad lib.
NA
DO
VI
VI
VI
Am.
VI
repeat, ad lib.
NA
Db.
repeat, ad lib.
NA
LU
28 Vln 1
Vla 1
NA
Ter.
DO
VI
you
You
it's
It's...
Not...
32
4
Lu.
29
almost fainting
Ah!
Mach.
I
f intense
God.
Ma.
Don't
NA
Ter.
-
VI
-
LU
DO
VI
repeat, ad lib.
NA
Am.
LU
-
DO
NA
Nun.
Ne.
NA
repeat, ad lib.
LU
DO
VI
NA
repeat, ad lib.
NA
Me.
NA
NA
Car.
NA
repeat, ad lib.
NA
LU
DO
VI
NA
LU
29 Vln 1
(quivering glissando effect, scratch tone)
Ah!
(enter imperceptibly, cresc. molto) a2
Vlns 2-3
pp
(enter imperceptibly, cresc. molto)
Vlns 4-6
pp
Vla 1
I
(enter imperceptibly, cresc. molto)
Vla 2
pp
Db.
33
In tempo q = c.150
30 (preceding scene) God.
5
Gtr
sul pont.
ff
tempo q = c.150 30 In (preceding scene) unis. Vlns 1-3
ff
mf
Vlns 4-6
Vla 1-2
mf
mf ff unis.
mf
mf
ff
3 God.
Gtr
Vlns 1-3
mf
-
mf
ff
mf
-
ff
-
15 God.
Pno
Vlns 1-3
3
One
of
you
ff
ff
ff
f
3
3
re - turn
mf
mf
mf pizz.
mf
ff
mf
will
be
Vla 1-2
Vc. 1-2
mf poco a poco dim.
mf poco a poco dim.
gone
mf poco a poco dim.
mf
Db.
ff
ff
When I
ff
He goes out
mf
Vlns 4-6
gain
ff
Db.
mf
ff
ff
ff
a
mf
VIII
Vc. 1-2
out
Vla 1-2
Vlns 4-6
ing
ff molto marcato
-
ff
10
go
mf
mf
ff
ff
I'm
ff
ff
mf
ff
mf
ff
Db.
ff
ff
Vc. 1-2
34
Godofredo opens the door once again
19 God.
Pno
rit.
rit.
pp
rit. rit.
1.2
gliss.
gliss.
gliss.
mf
Vlns 1-3
4.
pp
3.
mf
mf
gliss.
gliss.
Vlns 4-6
5.6
Vla 1-2
pp
mf
gliss.
mf
Vc. 1-2
mf
Db.
arco
mf
gliss.
Julian Philips Julian Philips (b. 1969) studied music at Emmanuel College, Cambridge, and his compositions have been performed at major festivals and venues including the Proms, the Tanglewood Music Festival, Welsh National Opera and Glyndebourne. A significant composer of operatic music, Philips’ work includes Followers, The Yellow Sofa, and Knight Crew (libretto by Nicky Singer) commissioned by Glyndebourne (2010). Welsh National Opera commissioned two chamber operas, Dolffin and Wild Cat. Other works include two ballets for English National Ballet Les Liaisons Dangereuses and The Snow Queen. Julian Philips is Honorary Fellow of, and was made Head of Composition at, the Guildhall School of Music in 2004. He has also taught at Cambridge. Photo © Jamie Smith
Julian Philips (*1969) studierte Musik am Emmanuel College in Cambridge. Seine Kompositionen sind bei führenden Festivals und in renommierten Häusern erklungen, darunter die BBC Proms, das Tanglewood Music Festival, Welsh National Opera und das Opernfestival im englischen Glyndebourne. Philips ist ein bedeutender Opernkomponist, und seinen Schaffen umfasst die Bühnenwerke Followers, The Yellow Sofa sowie Knight Crew (2010), ein Auftragswerk für Glyndebourne auf ein Libretto von Nicky Singer. Zwei Kammeropern, Dolffin und Wild Cat, entstanden im Auftrag der Welsh National Opera. Zu weiteren Werken gehören zwei Ballette für das English National Ballet, nämlich Les Liaisons Dangereuses und The Snow Queen. Julian Philips ist „Honorary Fellow“ der Guildhall School of Music, wo er 2004 zum Leiter der Kompositionsabteilung ernannt wurde. Außerdem lehrte er in Cambridge.
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