ph. d. vol 1 060313

Mark Viggiani

Volume 1

Folio of Original Compositions 2009-2012

198720184

651AA Ph. D. – Music

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

Philosophy (by creative work and dissertation)

February 2013

Melbourne Conservatorium of Music

The University of Melbourne

Abstract

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

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

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

be heard on the accompanying CD.

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

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

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

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

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

explored.

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

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

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

the compositional process itself.

Declaration

This is to certify that

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

in the Preface,

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

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

Signed Mark Viggiani

Preface

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

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

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

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

work of the same name.

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

Acknowledgements

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

amazing music.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Table of Contents

Dark was the night, Cold was the ground 1

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

euphonium, tuba, 4 percussion, 9’48”

Two Pieces for Guitar Trio 55

three guitars, 11’55”

1. Prism 61

2. Tricks of Light 67

One Last Tango 77

Orchestra, 8’01”

John the Revelator 111

baritone and chamber orchestra, 6’01”

text by Blind Willie Johnson

Trio 153

flute, piano and cello, 11’45”

The Actual Petals of a Flower 175

Choir S.S.A.T.B., ca. 5’

texts by Carl Linnaeus and Song of Solomon

Visionary Songs 191

soprano and piano, ca. 15’

1. O Virtus Sapientiae (Hildegard von Bingen) 199

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

3. Heredity (Thomas Hardy) 208

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

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

Vorrei... 225

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

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

texts by Ginese Triaca

I. Vorrei… / Ricordi 237

II. Gelosia di Fiori 246

III. Belle Manine 256

IV. Carina!.. 265

V. Mattinata 269

VI. Sei Libera!... 277

VII. Ricordi?... 290

Tracks of CD recording

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

Defence Force School of Music ensemble cond. Steven Stanke

Recorded live 6 November 2009, Macleod

2. Prism 7’16”

Dan McKay, Antony Field and Daniel Nistico - guitars

Recorded 17 August 2010, 3MBS Studios, Abbotsford

3. Tricks of Light 4’39”

As for track 2

4. One Last Tango 8’01”

Orchestra Victoria Con. Richard Mills

Recorded live 7 June 2010, Iwaki Auditorium, Melbourne

5. John the Revelator 6’01”

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

baritone Pierre Bodson

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

6. Trio 11’45”

Syzygy ensemble

Recorded live 21 August 2011, Kingston Arts Centre, Moorabbin

1

Mark Viggiani

Dark was the night,

Cold was the ground

(2009)

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

2 flugelhorns, euphonium, tuba

& 4 percussion

2

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

First performance: 6 November 2009. Watsonia

Duration. 9’40”

Mark Viggiani, Melbourne, 2009

3

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.

5

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.

6

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

7

Key to percussion symbols

q = 48

q = 48

© Copyright M. Viggiani 2009

Mark Viggiani

Dark was the night, Cold was the ground

Clarinet in Eb

Clarinet 1 in Bb

Clarinet 2 in Bb

Bass Clarinet

in Bb

Flugelhorn 1

Flugelhorn 2

Euphonium

Tuba

Percussion 1bass drum

2 suspended cymbalscrash cymbal

triangleguiro

Percussion 2kick bass drum

snare drumtam tam

suspended cymbal5 wood blocks

guiro

Percussion 3vibraphone

3 toms5 wood blocks

Percussion 4glockenspiel

5 wood blockstambourine

triangle

pp

ppp p

pp

pp

p

ppp

suspended cymbals

medium mallets

p

ppp

vibraphone

pp

mp

3

5 35

6

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

mp

vib.gliss.

pp fp

mp

pp fp

pp

mf

mp

woodblocks

mp mf

3

3

mp

3

mp

glock

10

10

AA

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

f

3

pp

f

3

mp

mp

pp mp mp

scrape withend of stick

pp

nat.

pp

scrape

p

mf

mp ppp

3

5

p

3 mf f5

3

5

triangle

p

11

14

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

sub. pp pp

f sub. pp

pp

5 5

mp p ppp

3

mf

p

p

5

f

3

pp

pp

nat.

3

tam tam

pp

pp

12

B

18

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

f

3

f

3 5

mp

f

3

p mf

p mf

mf

p

p

f

mf

13

22

CC

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

p

p

pp

pp

pp

pp

woodblocks

mp

ppp

mp

3

p

glock

mp

14

27

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

f ff

gliss.

f ff

gliss.

mp ff

3

f

p

mf

pp

mf

mp mf

3

15

30DD

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

f

ff

ff

3

ff

wah mute

f

wah mute

f

3

f

triangle

pp

tam tam

p

ff

f

16

34

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

p mp mf5

p mp mf

5 5

3

pp

pp

senza sord.

senza sord.

pp

3 3

pp

sus. cymb.

pp

mp

17

37

EE

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

ppassionately

f ff

gliss.

3

pp

mp f

pp

3

fp

fp

fp

fp

3

mf

3

triangle

pp mp

mf

ff

pp 3

mf

18

42

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

gliss

. 3

gliss.

mp f

p

3 3

mp f

p

3 3

solo, freely

ppp

fp

fp

mf

pp

l.v.

bass drum

pp

f

p

3

19

senza misura

senza misura

senza misura

47

q = 116

q = 116

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

f

gliss.

p

f

p

gliss.

pp3

mf

p

mf

kick-bass drum

tom-toms med. mallets

mf

tambourine

mf

20

49

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

f

f

f

mf

mp

snare drum

mf

21

55FF

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

f p mf

f

p mf

mp mf

mp

mf

mp

p

p

22

59

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

mp

f pp

mf

mf

mf

p f

f p

crash cymbals

f

mf mp mf

f

f

f

23

GG63

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

mf f

3 ff

f

ff

f

ff

f

f

f ff

f

f

f

f

mf

f

3

3

ff

24

67

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

solo

mp

ff

ff

ff

ff

f

triangle

p

f p mp

mp

woodblocks

mp(tom toms)p

(woodblocks)

p

p

25

HH72

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

espress.

p

p

glock

26

75

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

mf

gliss.

mp mf

mp mf

mp

p mp

p

p

p

mp

mp mp

27

79

JJ

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

mp mf f

3 3

mf

mp

mp

guiro

mf

mf p

mf

p

28

83

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

f

mf

f

f

mf

mp

mf

mp

mp

mf f

mp

triangle

29

86

KK

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

ff

4p

ff

4p

ff

4

ff p

f

pp

f pp

4

f pp

f pp

mf

triangle

f

p

pp

p p

p

glock

30

90LL

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

f

p

f p

f

p

f

f

p

guiro

f ff

triangle

p

f

f

ff

tamb.

p

f

ff

31

95

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

f

f

f

mp

ff

f

mf

3

mf

3

mf

3

mf

3

crash c.

f

f

mf

f

f

f

32

99

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

f

p5

f

p

5

f

p5

f

p5

mf

mf

5

glock

mp

33

104

MM

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

ff

ff

ff

ff

f

f

f

f

triangle

p mf

mp f

p f

3

tamb

f

glock

f

34

108

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

3

fff

gliss.

ff

gliss.

ff

sus. cymb.

p

med. mallet

3

f

tamb

35

112

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

fff

gliss.

fff

fff

fff

fff

ff

4

ff

4

ff

ff

ff

(l.v.)

triangle

ff

ff ff

ff

3 fff

f

glock

3 ff

tamb 3

36

117

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

pp f

pp f

mp

mp

37

122NN

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

f ff

3

3

ff5 3

3 ff5 3

mf

mf

mp mf

mp mf

38

126

OO

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

ff

p

ff

p

ff

p

p

pp

pp

3

pp

pp

pp

pp

39

131

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

flz.

ff

flz.

flz.

ff

flz.

flz.

ff

flz.

ff

flz. flz.

f

4

3

f 4

f

f

f

ff

f

tamb

f

4 4

40

136

PP

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

p

mf

p

mf

p

p

mf

p

mf

p

p

pp

pp

ppp

pp

ppp

pp

ppp

crash c.

f

41

140

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

f

f

f

42

143

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

pp

pp

pp

mf

pp

p

woodblocks

vibraphone

p

43

QQ146

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

pp

solo

sfz

pp

pp

solo

espress. p

gliss.

pp

sus cymb

mp

pp

44

151

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

mf

mp

gliss.

45

RR156

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

pp p mf p

p f p

mf p

5

3

mf

mf

tam tam

mf

46

159SS

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

mf f pp

6

f

f

gliss.

p

f

mp

p

47

164

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

ff

3 3 5

3

mf

f

3

p f

p f

pp

48

168

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

ff

gliss.

7

f

pp

bass drum

mf

f

3 3

49

174

T

T

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

mp f

gliss.

f

f ff

f mf

sus cymb

pp

50

177

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

mp f p mf

mf mp p

mp p

3

pp

p pp

3

ppp

sticks

p pp

51

182

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

ppp

ppp

3

pp

ppp

3

ppp

pppp

ppp

52

185

Eb Cl.

Cl. 1

Cl. 2

B. Cl.

Flug. 1

Flug. 2

Euph.

Tba.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

3

pp

flz.

p

pp

ppp

med. mallets

pp

pp

guiro3

p pp3

Mark Viggiani, November 2009 Melbourne

ppp

woodblocks

53

55

Mark Viggiani

Prism and Tricks of Light

(2009 – 10)

Two pieces for guitar trio

56

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

17 August 2010, 3MBS Studios, Abbotsford

Duration ca. 14’ in total


57

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.

59

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.

60

Two pieces for guitar trio

1. Prism 61

2. Tricks of Light 67

q = 80

Mark Viggiani

Two Pieces for Guitar Trio

1. Prism

© Copyright M. Viggiani 2009 - 10

Sombre yet expectantly

Guitar 1

Guitar 2

Guitar 3

6

1

2

3

12

1

2

3

mf p

ppppp

bisb.

mf p pp

3

mf p pp ppp

mf p

cresc. pp

V

mf

p

cresc.

p

molto vib.

ff ff

3

mf

f

molto vib.

mf p

0

gliss. mpdim.

pp

VII

mp

ff p

pp

bisb.

dim.

mf

A

17

1

2

3

21

1

2

3

25

1

2

3

mf

XII

pp mf

mf

ff

3

0

mp

p

mp pp

bisb.

pp

VII

mf pp

bisb.

mp pp

pp

bis.

mp

mp

ppp

mp

l.v.

ppp

bisb.

pp

62

29

1

2

3

36

1

2

3

42

1

2

3

pp p pp

pp

p

pp

pp

pp

warmly, molto espress.

mp

mp

3 pp

mp

3

63

47

1

2

3

53

1

2

3

59

1

2

3

gliss.

mp p

mp

p

3

cresc. mf p

pp

mp

pp mp f

mp f

mp f

64

65

1

2

3

70

rit.

1

2

3

mf

mp

mf

pp

pp l.v.

mf

pp

ppp

(bisb.)0 0

p

pp

ppp

al niente

Mark Viggiani, March 2009 Melbourne

al niente

65

2. Tricks of Light

q = 124

1

2

3

7

1

2

3

12

© Copyright M. Viggiani 2009 - 10

1

2

3

p

mf

mf

(vib.)

sim.

A1

3

17

1

2

3

23

1

2

3

28

1

2

3

B1

ah.

3

gliss.

A2

p

3

68

32

1

2

3

36

1

2

3

42

1

2

3

f

mf

B2

f

p

A3

f

f

69

47

1

2

3

51

1

2

3

58

1

2

3

pp

mp

3

3

f p

B3

p

pp

mf

3 pp

f

A4

cresc. ff

cresc.

sf

0

70

65

1

2

3

69

1

2

3

74

1

2

3

mp

0

mp

f

gliss.

ff

71

78

1

2

3

83

1

2

3

88

1

2

3

mf

B4

mf

p

3

mf

p

A5

f p

3 3 3

3

3

3

3

f

3

mf pp

p

pp3 3 3 3 3 3 3 3 3

72

92

1

2

3

96

1

2

3

100

1

2

3

gliss.

gliss.

gliss.gliss.

p

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

ff

molto

p pp

pp3 3 3 3 3 3 3 3 3 3

pp

3

tamb.

0

tamb.

mp

3

73

105

1

2

3

110

1

2

3

114

1

2

3

gliss.

gliss.

3

C

(nat.)

mp

3

mp

3

sim.

3

gliss.

gliss.

3

74

117

1

2

3

120

1

2

3

123

1

2

3

gliss.

gliss.

3

3

p

(coda)

ff

pp

ff

tamb.

pp

p ff

75

127

1

2

3

131

poco rit.

1

2

3

135

Meno mosso

1

2

3

ff

ff

ff

ff

ff

pp

mp

pp

mp

gliss.

3

ah.

3

ppp

ppp

p

molto vib.

p

Mark Viggiani, March 2009 Melbourne

76

Mark Viggiani

One Last Tango

(2010)

For orchestra

78

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”


79

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.

80

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

q = 80

Mark Viggiani

q = 80

For Antonietta Massola

© Copyright M Viggiani 2010

One Last Tango

Piccolo

Flute 1 & 2

Oboe 1 & 2

Cor Anglais

Clarinet in Bb 1 & 2

Bass Clarinet

in Bb

Bassoon 1 & 2

Contrabassoon

Horn in F 1 & 2

Horn in F 3 & 4

Trumpet in C 1

Trumpet in C 2

Trumpet in C 3

Trombone 1 & 2

Bass Trombone

Tuba

Timpani

Percussion 1

Percussion 2

Celesta

Harp

Violin 1

Violin 2

Viola

Violoncello

Contrabass

2.

ppp

3.

pp

sus. cymbal, soft mallets

pp

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

mp

mp

sul D

3 5

p mp

gliss.

pp pp pp pp

pp

p mf

mp

pizz.

7

Ob. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Timp.

Perc. 1

Perc. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

pp

1.

p

p

pp

2.

p

1.

pp

1.

p

p

(sus. cym.)

p

mf

mf

3

3

pp mf

div.

mf

pp mf

pizz. mf

arco

mf

f

3 3

arco

f

pizz.

mf

82

14

Ob. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Timp.

Perc. 1

Perc. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

p 2.

2. mp

1.

mf

mf

mp

4.

mf

(sus. cym.)

pp

mp

mfff

3 3 3

unis.

mf f

3 3 3

pp mf

f

3

3 3 3 3 33

mf 3

arco

mf

pizz.

83

20

Più mosso = 96

Più mosso = 96

Ob. 1 & 2

C. A.

Bsn. 1 & 2

Cbsn.

Hn. 1 & 2

Hn. 3 & 4

Timp.

Perc. 1

Perc. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

1. solo

mp f mp 2

mp

mp

solo

f

2.

f

p mf

p mf

p mp

mp

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

mp

f

p f

p

f mp f

p f mp f3 3 3

p f

pizz.

f

arco

arco pizz.

f

arco

84

A

A

26

accel.

accel.

Ob. 1 & 2

C. A.

B. Cl.

Cbsn.

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

B. Tbn.

Tba.

Timp.

Perc. 1

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

fp ff

(sus. cym.)

p

div.

ff

3

3

div.

ff

unis.

3

3

3

ff

3

3 3

ff fp ff

ff fp ff

85

32q = 132

q = 132

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Cbsn.

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

B. Tbn.

Tba.

Timp.

Perc. 1

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

mp

mf

a 2

muffled

mf

mf

to windchimes

pizz. unis.

mp

mp

pizz.

sempre

f

f

mf

86

38

Picc.

Fl. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Cbsn.

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

B. Tbn.

Tba.

Timp.

Perc. 1

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp mf p

mp mf p

p mf p

p mf p

rfz

mf ff

3

mf

f

mp

a 2

slow

f

gliss.

mf

1.

mf

mf

3

mf f

mf

mf

slow

gliss. rfz

slow

gliss. rfz

ff

mf3

87

45

Ob. 1 & 2

C. A.

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Cbsn.

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Tba.

Timp.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f mp

f mp

f mp

f mp

mf f

pp mp

mf f

pp mp

mf

con sord.

p

mf

senza sord.

mf

mf

mfmf mf

mf

nat.

mp

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

f

f mp f

f

mp f

pizz.

f mp f mp

f

88

53

B

B

Fl. 1 & 2

C. A.

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

B. Tbn.

Tba.

Perc. 1

Perc. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

a2

5

mp 5

mp

2.

mp

arco

mf f

mf

arco

f

f

f

89

59

Fl. 1 & 2

C. A.

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

gliss.

gliss.

90

65

Picc.

Fl. 1 & 2

Ob. 1 & 2

C. A.

Cl. 1 & 2

Bsn. 1 & 2

Cbsn.

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

Tba.

Perc. 1

Perc. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

pp f

5

mf

p

5

1.

f

(a 2)

mf

mf

mp

mp

2.

1.

mf

mf

mf

wind chimes

p

to bongo

mf f

mf f

pizz.

ff

arco

f

mf f

f

91

72

Picc.

Fl. 1 & 2

Ob. 1 & 2

C. A.

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Cbsn.

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff 6

solo 1.

f ff 6

f ff

5

6

ff

ff 6

ffff

ff

ff

ff

ff

ff 1.

2.ff

ff

ff ff

low bongo, stick

ff

to triangle

gliss.

ff 6

gliss.

ff

6

ff

ff

ff

92

C77

Picc.

Fl. 1 & 2

Ob. 1 & 2

C. A.

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Cbsn.

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Tba.

Perc. 1

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

f

f mf

5

mf

f

f

triangle

p

to sus. cym.

div.

fp

pizz.

ff

div.

fp

pizz.

ff

fp

pizz.

ff

pizz.

ff

pizz.

ff

93

82

Picc.

Fl. 1 & 2

Ob. 1 & 2

C. A.

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Cbsn.

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f 3

1.

f 2.

f

3

3

1.

f 3

f

1.

f

3

f

3

f

3

f

f

3

f

3

f

p f

3

arco unis.

f

div.

3

arco unis.

f

div.

3

arco

f 3

arco

f

3

arco

f

3

94

88

D

Picc.

Fl. 1 & 2

Ob. 1 & 2

C. A.

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Cbsn.

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Timp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

3 3

3

3

3

3

a 2

f 5

3 3

f

f

3

3

3

3

solo 1.

3

3

mp

2.

mf

mp

mf

p mf p

p mf p

p mf p

1.

p mf p

3

3 pp

3 3

3 3

3 3

3

3

3

3

95

95

Picc.

Fl. 1 & 2

Ob. 1 & 2

C. A.

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Tba.

Timp.

Perc. 1

Perc. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

3

1.

3

3

mp

2.

mp

mp

2.

mp

mf


pp f

to triangle

unis.

mf f

mf

unis.

f

f

96

102

Fl. 1 & 2

Ob. 1 & 2

C. A.

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Tba.

Timp.

Perc. 1

Perc. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

a 2

5

mp

5

5

1.

triangle

mp

97

108 E

E

Picc.

Fl. 1 & 2

Ob. 1 & 2

C. A.

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Cbsn.

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

B. Tbn.

Tba.

Perc. 1

Perc. 2

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

5 5

3

f

5 5

3

a 2

f3

a 23 3

3

3 3

3

f

33 3 3 3

f

3

3

3 3 3 3

f

ff

a 2

ff

f

a 2

f

f

to crash cym.

ff 3

3

3 3 3 3

ff

(div.) (unis.)

3

3

3 3 3 3

ff 3

3

3 3 3 3

ff

ff

98

113

Picc.

Fl. 1 & 2

Ob. 1 & 2

C. A.

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Cbsn.

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff cresc. 35 5

5

ffff cresc.

3

5 5

5

a 2

3cresc.

a 2

3

3

cresc.

3

3

cresc.3

cresc.

f ff

f

ff

f

f

f

ff

ff

ff

ff

tam tam

p

cresc.

3 3

cresc. 3 3

cresc. 3 3cresc.

cresc.

99

F117

Picc.

Fl. 1 & 2

Ob. 1 & 2

C. A.

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Cbsn.

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

fff

35

fff

(1.)

35

fff

a 2

35

fff

3

5

fff 3

fffffffff

fff

ff

fff

ff

fff

fff

fff

fff

a 2

fff

fff

fff

ff

crash cymbal

ff

f

pff

fff 3

fff 3

fff 3

fffff

100

122

Picc.

Fl. 1 & 2

Ob. 1 & 2

C. A.

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Cbsn.

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Tba.

Timp.

Perc. 2

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

3

3

3

3

3

fff mf

fff mf

f fff fff

f fff fff

f fff fff

fff

fff

To Vib.

E§§§§FbG§§§§A§§§§B§§§§C#D#

f

3 pp subito 5

3 pp subito 5

3 pp subito

pp subito

101

128

Fl. 1 & 2

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Cbsn.

Timp.

Perc. 1

Perc. 2

Cel.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

pp

pp

pp mp

pp

mp

pp mp

div.

mp

unis. sempre

pp mp5

mp

div. unis. sempre

pp mp5

mp

pizz. arco

pp mf

pizz. arco

102

135G

G

Bsn. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Tbn. 1 & 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Cel.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

pp

pp

3.

4.pp

pp

1.

2. pp

mp pp

Vibraphone

sempre arpeggio

p

3

3

pp sf pp mp

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

5 5

pp sf pp mp

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

5 5

103

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

Vib.

Cel.

Hp.

Vla.

Vc.

Cb.

mp

slow motor

pp

3

3

mf

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

p

molto dim.

div.a 3

pp

slow

molto dim.

div.a 3

pp

slow

pp

104

147

C. A.

Cl. 1 & 2

B. Cl.

Bsn. 1 & 2

Cbsn.

Perc. 1

Vib.

Cel.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

solo3

2. solo mp

3

pp

p

105

153H

H

Ob. 1 & 2

C. A.

Cl. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

Timp.

Perc. 1

Vib.

Cel.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

1. solo

3

3

3

p

1.

mp

3.

p mp

pp

l.v.

unis.

pp mp pp

div.

pizz.

mp

arco unis.

pp

div. pizz.

mp

106

159

Fl. 1 & 2

Hn. 1 & 2

Hn. 3 & 4

C Tpt. 1

C Tpt. 2

C Tpt. 3

Tbn. 1 & 2

B. Tbn.

Tba.

Perc. 1

Vib.

Cel.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

1.

p

2. p

mp3

1. pp

2.pp

3. pp

pp4.

pp

pp

pp

1.

2.

pp

pp


pp

pp mp

f

p

pp

unis.

pp

mp

pizz.

pp

107

165 I

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.

Cel.

Hp.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

pp

solo

p

solo

p 5

arco

mp mf

mp

108

171

Vib.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

179

Vib.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mf mp

mf

3

f

mf mp mf f

pizz.

mp

p

mp p mp

mp

p mp

Mark Viggiani, June 2010 Melbourne

109

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”


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!



(Hey), book of the seven seals

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



(Hey), book of the seven seals

Now who art worthy, Crucified and Holy

Bound up for some, Son of our God

Daughter of Zion, Judah the Lion

He redeemeth and He bought us with His blood

John the Revelator, great advocator

Gets 'em on the battle of Zion

Lord, tellin' the story, risin' in glory

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

Well, Moses to Moses, watching the flock

Saw the bush, well, he had to stop

God told Moses, "Pull off your shoes,

Out of the flock, well, you I choose”

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

© Copyright 2010 Mark Viggiani

Clarinet in Bb

Alto Saxophone

Horn in F

Trombone

Electric Guitar

Piano

Marimba

Drum Set

Baritone

Violin 1

Violin 2

Viola

Violoncello

Contrabass

mp f mp ff

q = 120

q = 120

mp f mp fff

f

f

f

ff

mf

ff

ff

ff

ff

ff

John the RevelatorBlind Willie Johnson re-imagined

Mark Viggiani

snare hi-hat

pizz.

pizz.

pizz.

pizz.

pizz.

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff f

4

fff

f f

f f

p f ff

pp mf mf

mp f

mp f

fff

molto vib.

l.v.

3

cymbal

bass

arco

arco

molto vib.

118

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

fmp f mp

A9

mp f mp

ff mpcresc.

ffmp

cresc.

mpcresc.

ffmp

mp

mp cresc. mf

mp cresc. mf

mp cresc. mf

mp cresc. mf

mf

3

3

3

3

pizz.

pizz.

119

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff ff

B14

ff

mfcresc. f f

mf cresc. f

mf ff

mp mf

p f

Who's

ff

that wri tin'?- John

f ff ff

f ff ff

f ff ff

f ff ff

f ff ff

h.-h. ped

l.v.

3

arco

arco

arco

arco

120

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

18

ff

f

f

p f mp f

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

gliss.

pizz.

pizz.

pizz.

pizz.

121

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

C23

p f

pp mf mf

f

p cresc. f

ff

ff

ff

What's

ff

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

p f

p ff

p ff

ffff

ff

3

arco

arco

arco

arco

122

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ff

27

ff

ff

f ff

ff

ff

ff p

ff

What's John wri tin'?-

ff

ff

ff

ff

3

3

3

33

3

3

wah-wah

3

3

3

3

3

3

3

3

3

3

3

33

3

3

123

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp mf p

D33

mf

mp

mp

f p mf

p

Now

mp

fp f n

harm.

arco

124

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

38

mp p

f

who art wor thy?- Cru

f

ci- -

p f

p f

p f

p f

p p f

3

125

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

43

mp

pf

f pp

p

fied and Ho - - ly

mf

p ff p

p ff

fast wah

5 6

126

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

E47

ff

fff

p

ff

fp

mf

Bound

mp

up for

ff

ff

pp ff

ff

pp

pizz.

pizz.

pizz.

pizz.

127

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

51

f

some Son of our God?

mp

mp

mp

mp

p f

arco

3

arco

3

arco

arco

128

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f

F

55

f

ff

mf

f

Daugh

f

ter- of Zi on- -

ff

3

3

3

129

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

59

f

mf

Ju

ff

- dah the Li on- - -

f

f

f

f

3 3

3

wah wah

3

pizz.

pizz.

pizz.

pizz.

pizz.

130

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

G

63

p ff p espress.

ff

mp

p

p f mp

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

p

Tell me who's that a writin'?

131

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

68

f

p f

mp

p mp

mp

mp

mp

mp

molto vib. (fast)

arco

132

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

H73

pmolto espress.

f

mp

p

p

p

solo

3

arco

3

arco

133

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mf f

87

f

mf

mf

mf

mp p mp

mp p mp

f p f

5

134

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

J91

ff

p

f

f

ff

f

Who's

ff

that?

p f

mp

f

p ff f

5

3fast wah

3

3

arco

135

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

96

f

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

f

growl

3

3

3

3

3 3

3

3

3

3

3 3

3

3 3

136

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

K

102

p f f

f

mp p

mf f

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

f

fmp

mp

3

arco

137

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

f ff

107

f ff

f molto vib

ff

sto - ry, ri

ff

sin'- in glo ry-

ff

ff

ff

ff

fffp

3

3

3

3

3

wah

3

3

3

3

3

3

3

3

3

3

3

3 3

3

138

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

senza mizuraL112

fff

pp f p

Cried

p espress. rubato

"Lord, Lord, Lord

ppp pp

senza mizura

ppp pp

ppp pp

n

3

139

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

p

Meno mosso q = 108

Meno mosso q = 108

118

p

mp

p

don't you love?

cresc.

Lord, Lord, Lord?"

ffsubito pp

Tell

(questioning)

me who's that a writin'?-

pp

pp

mp

mp

P.M.

3

3

pizz.

pizz.

140

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mf

111

p mf

p(stronger)

Who's

mp

that a writin'?-

3

P.M.

toms

3

141

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

p mp f

M116

p mp f

mp

mp

p molto vib ff

ppp pp

Who's

f

that a writin?

subito pp

Hey!

ff

ff

mp ff

mp ff

mp ff

3

3

3

3 3

pizz.

142

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

Tempo primo q = 120

Tempo primo q = 120N

121

ff

ff

ff

ff

f

ff ff

f

p f

Book

cresc. molto

of the se ven- seals, telltell

ff

me who?

p ff ff

p ff

p ff

ff

ff

arco

arco

arco

143

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

fff

126

fff

ff

ff

fff molto vib.

fff

ff

fff

ff

fff

fff

fff

fff

fff

3

3

3

3

3

3

3

3

3

3

3

3

144

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

subito psfz p f

O130

subito p sfz p f

subito p sfz p f

subito p sfz p f

f

sfz p fsubito p

sfzp fsubito p

mp mf

subito p

p sfz f

subito psfz p f

subito p sfz p f

subito p sfz pf

subito p sfz p f

subito p sfz p f

3

3

3

3

3

3

3

3

3

3

3

3

P.H.

3

3

3

3

3 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

145

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

135

mp

pp

p mp

p pp

p pp

p pp

ppp

p

3

3P.H.

3 3

33

3 3

3

3

3 3

146

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

p mf

140

pp

p pp

p n

147

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

P145

pp

Well,

p

pp

p p

p p

p

pizz.

148

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

149

pp

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

149

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

mp

Q153

mp

mp

pp

mp

p

p p

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

mp pp

mp

p mp

3

pizz. arco

pizz.

pizz.

150

Cl.

Alt. Sax.

Hn.

Tbn.

E. Gtr.

Pno.

Mar.

Dr.

Bar.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

rall. 158

p

p

pp

pp

p

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

p

rall.

p

p

p mpp

p

fast wah wah

3

3

pizz.

pizz.

pizz.

pizz.

pizz.

Mark Viggiani, Dec 2010 Melbourne

151

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


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

q = 120

Triofor flute, piano and cello

Mark Viggiani

© Copyright M.Viggiani 2010 - 11

Flute

Piano

Violoncello

3

6

ff scorrevole

unevenly- as fast as possible, with occasional x rests

fff

mp f

ff

mp f

(sempre)

Inside piano

with fingertip

pp mf

p f sf

3

mf

mp p pp6 6

Inside piano with fingernail

mf

pp

9 10

14

20poco rit.

6"

1. T

fp

2. T

fp

p

3

mp

6"

#fff

Nat.p

3

mp

fff

6"

p

fp

1.

fp

2.

fp

3. T

mf

2.

2. 3.

f

pp

Inside piano

with fingertip

ppp

mp

f

sul pont.

ppp poco a poco

mf

rapido

f

mf

p

3

#

Nat.

fff

molto

158

q = 112

24

2930

3540

sempre

ff mp

f

mp

damp with l.h. inside piano

(creeping)

mf

mp

f

f

2. 3. 2. 3. 2.

fff

mp

p

ff

pp

Inside piano

with fingertip

hum upper note

p

n fp

1.

p

f

pesante

f

mp

pizz.

mf

f

arco

pp

159

42

48

50rit. A tempo

55 60

tuh

ff

2.

p

Inside piano

with fingertip

l.h. pizz.

f

(pizz. ord.)

f

hum

p

mp

fff

pp mp

pp pp

ff

3

gliss.

n

mp

ff

160

61

q. = 64 playfully

65

69

70

ppp

(accel.)

mf overblow to sound harmonics cresc.

fff

arco

fp

ff

p

p 4 4

f ff

f

161

72

76

80

ff

p

p

p

f

4 4

mf

mp

sul pont.

162

84

88 90

92

p

flz.

f

2

damp with l.h.inside piano

f

p

mf

ord.

pizz.

f 4

f mp f

arco

mf

f

Inside piano

with fingertip

mf

p

mf

163

97

100

102

107 110

f

f

mp

f

mp

l.h. pizz.arco

164

112

115

118

120

p f

f

f

pizz.

mf

mp

4 4

arco

mp

f mf

f ff

cresc.

f

sul D

gliss.

gliss.

gliss.

165

121

125

129

130

f

gliss.

pizz.

ff

ff marcato

ff

mf

arco

mp f ff

pizz.

f

arco

mp

166

132

precipitato

134

q = 64 (calmo)

139 140

fff

p

mp

f

pizz.

f

fff

ppp

3

4:3

3

4:3

ff

ppp

arco3

p

3

p

3

3

p

3

167

145 150

152

157

160

n

ppp mp

3

mp

3

3

ppp

3

mp

3n

pp

3

p

mf3

f

mf

3

pp

sul C

f

mf

mf

mf

hold back

pp

3

misterioso

ppp

3

3

3

pizz.

pp

168

163

168

170

172

mf 3 3

3

3

3

pp

mp

arco

mp

3 sul pont.

3

pp

mp

p pp

mp

ord.

pp

f ppp ff

gliss.

mf

mf ff

espress.

p

f

169

178 180

182

q. = 80 (leggiero)

188 190

4. T

pp

5. T

6.T

mp

pp

pizz.

p

f

3

n

7. T

p

mf n

mf

arco

p

mp

pp

p

170

195 200

202

208

210

mf

pp

1.

mf

pp

mp

p

mp

mf

mp

mp

p

p

p

mp

mf

f

mp

mf

171

215

220

225

mf

mf

mf

f

mp

mf

ff

gliss.

mf

mp

f

pp

mp

mp

pizz.

p

p mf

pp

pp

arco

pp

172

230

236 240

241

mp

mp

p

mf

p

f

7.

pp

7.

mp

f

mf

pp

3 3

mp

mp

pp mp

p

pizz.

p

arco

pp

sul pont.

173

246

p

mf

p

ord.

pp

Mark Viggiani, May 2010 Melbourne

pizz.

sf

174

175

Mark Viggiani

The actual petals of a flower

(2009)

For choir

S.S.A.T.B.

176

Duration ca. 6’


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.


Soprano

Soprano

Alto

Tenor

Bass

q = 72

e

p

go- - flos cam pi- et li -

e

p

go- - flos cam pi- et li - -

S.

S.

A.

T.

B.

li

p

li- -

6

li

p

li- - -

li

p

li- - um

mp

-

li um

mp

- con val- li- um-

li- um

mp

- con val- li- um-

The actual petals of a flower

Mark ViggianiLinnaeus/Song of Songs

S.

S.

A.

T.

B.

um con

mp

val- - li- um- si cut- -

11

um

mp

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

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

si

mp

-

S.

S.

A.

T.

B.

li li- um

cresc.

- in ter- spi nas- sic a

mf

mi- ca- me a- in ter-

16

li li- um

cresc.

- in ter- spi nas- sic a

mf

mi- ca- me a-

in ter- spi

cresc.

nas- - sic a

mf

mi- ca- in ter-

cut- li li- um

cresc.

- in ter- spi nas

mf

- sic a mi- ca-

180

S.

S.

A.

T.

B.

fi

f

li- as-

mp

The

pp

ac tual- pe tals-

A20

in

f

ter- fi li- as

mp

- The

pp

ac tual- pe tals-

fi

f

li- as

mp

- The

pp

ac tual- pe tals-

me

f

a- in

mp

ter- fi li- as- The

pp

ac tual- pe tals- of a

fi

p

li- as-

S.

S.

A.

T.

B.

con

mp

tri- bute- no

mf

thing

p

- to

mf24

flow'r

p

no

mf

thing

p

- to

mp

ge ne- ra- -

flow'r

p

to

p

ge ne- ra- tion

mf

-

flow'r

mp

no

mf pp

no

p

thing-

3 3

181

S.

S.

A.

T.

B.

ge ne- ra- tion- ser

f

ving-

29

tion

mf

- to ge ne- ra- tion- to

f

ge ne- ra- tion- ser ving-

to ge ne- ra- tion- to

f

ge ne- ra- tion,- ser ving-

to

f

ge - ne ra- tion,- ser ving-

to

f

ge ne- ra- tion,- ser ving-

S.

S.

A.

T.

B.

on

subito pp

ly- as the bride

e = e34

on

subito pp

subito pp

ly- as the bride which

mf

the great Cre a- - -

on

subito pp

ly- as the bride Cre

mp

- - -

on ly- as the bri dal- bed

mp

the great Cre -

on

subito pp

ly- as the bri dal- bed

mp

the great Cre -

182

S.

S.

A.

T.

B.

a

f

dorned- with such

39

tor

cresc.

has so glo

f

rious- ly- pre pared- a

f

dorned- pre cious- with such

a

cresc.

- tor- has so glo

f

rious- ly- pre pared- a

f

dorned- with such pre

mp

cious- bed

a

mf

tor- pre

f

pared- a

f

dorned-

a

mf

tor- - pre

f

pared- a

f

dorned-

S.

S.

A.

T.

B.

pre

dim.

cious- bed cur tains- and per fum'd

mp

- with

mf

so ma ny- sweet scents

Più mosso ( = 72) 44

pre

dim.

cious- bed cur tains- with

mf


with

mf


fi

pp

cus-

fi

pp

cus-

3

3

3

183

S.

S.

A.

T.

B.

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

49

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

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

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

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

S.

S.

A.

T.

B.

ce le- brate- nup

f

tials- with great er- so

mp

lem- ni- ty-

53

ce le- brate- their

f

nup tials- with so lem- ni- ty

mp

-

ce le- brate- their

f

nup tials- with great er- so

mp

lem- ni- ty-

ae

cresc.

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

ae

cresc.

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

184

S.

S.

A.

T.

B.

58

sur ge- a

mf

mi- ca- me a- spe

f

- ci o- sa-

a mi

mf

- came a- spe ci- o-

f

- sa me a- et ve -

S.

S.

A.

T.

B.

sur

pp

ge- a qui- lo- et

p

ve ni- aus ter-

B63

sur

pp

ge- sur

p

ge-

a

pp

qui- lo-

et

pp

ve ni- ve ni- ve ni-

ni et

pp

ve ni- ve ni- ve ni-

185

S.

S.

A.

T.

B.

mp

et ve ni- aus ter- per fla- hor

f

tem- me um- et flu ant-

69

et

mp

ve ni- aus ter- per fla

f

- hor tem- flu ant-

a

p

-

S.

S.

A.

T.

B.

a

mf

ro- ma- ta- il li- us

p

-

74

a

mf

ro- ma- ta- il li- us

p

-

cresc.

a- - a- a

mf

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

p

-

ve

pp

-

3

3

3

3

186

S.

S.

A.

T.

B.

il

pp

li- us- ve

ppp

ni-

poco rit.

C

78

il

pp

li- us- ve

ppp

ni-

il

pp

li- us- ve

ppp

ni-

ni ve

ppp

ni-

ve

pp

ni- ve

ppp

ni-

S.

S.

A.

T.

B.

to

mp

em -

Tempo primo ( = 72 )83

then

mp

is the time

When

pp

the bed has thus

poco

poco

been made rea dy-

When

pp

the bed thus been made rea dy- time

mp

for the bride groom-

When

pp

the bed thus been

poco

made rea dy-

187

S.

S.

A.

T.

B.

brace 'lov'd

mf

bride

87

'lov'd

mf

bride

his

mp

be lo- ved- his

mf

be lov'd- bride to

f

her

'lov'd

mf

bride him

f

self- to her

and

mf

sur ren- der- him self-

S.

S.

A.

T.

B.

his

f

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

mp

-

92

his

f

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

mp

-

to her sur

mp

-

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

mf

her

to her

3

3

3

188

S.

S.

A.

T.

B.

ren der.- sur

p

ren- der- him

pp

self-

96

ren der.- sur

p

ren- der- him

pp

self-

ren- der- sur

p

ren- der- him

pp

self-

sur

p

ren- der- him

pp

self-

him

mp

self- to her him

pp

self-

Mark Viggiani February 2009

189

191

Mark Viggiani

Visionary Songs

(2011)

soprano and piano

192

Duration ca. 15’


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

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

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

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

solemnity.

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

and surrender himself to her…

Carl Linnaeus, Praeludia Sponsaliarum Plantarum, 1729

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


Soprano

Piano

O

mf

O O vir

mp

tus- sa pien-

mf

ti- -

e = 148 (freely)

p

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

f

- den- do-

ppmf

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

mf p pp

ppp

Hildegard

1. O Virtus Sapientiae

Mark Viggiani (Hildegard)

tres

p

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

mf

tum- vo lat,-

pp pppppp p

n

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

p

et

pp

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

n ppp

lat. Laus

p

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

pp pp

n

200

Sa pien- ti- - - a.

pppppp

201

Linnaeus

q = 72

Mark Viggiani

2. The actual petals of a flower

Soprano

Piano

7

11

fp

p

The

f

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

pp

sost ped. *

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

3

-

202

14

17

20

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

sost.

sost.

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

sost. sost.

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

pp pp

mf sost.6

203

23

26

29

a dorned- with such pre cious- bed cur tains

3

-

pp

and per fumed- with so ma ny-

pp

pp

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

204

32

34

37

bride may there in- ce le- brate- their

sost.

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

pp subito

p6

p6

3

sost.

205

42

45

48

When the bed has thus been made

3

rea dy- then is the

3

3

3

sost. sost.

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

3

sost.

bride and

allarg.

su rren- der- him self

- to her...

3

3

sost. sost. sost.3

206

52 molto rall.

ppp

207

Soprano

Piano

I

p

am the fam ily- face:

q = 80

pp ppp pp

Flesh pe ri- shes,- I

mf cresc.

live on,

7

mpmf

ppp

ppp

Pro

mf

jec- ting- trait and

12

mp p

Thomas Hardy Mark Viggiani

3. Heredity

3 3

3

3

3

5

208

trace Through times to times a non,- And

f

leap ing- from

16

mf p (sub.) f

p

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

20

f

f

mfmp p

pp f

24

mf mp pp

p

5

3

55

5

5

3

5 6

5

209

rit. accel.28

ppp

A tempo

31

pp p fpp

The

f

years heired- - - fea -

35

ff

f

6 6

6 5

5

5

5

53

3

5

210

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

38

p

mf

mp

p

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

41

f

The

mf

e ter- - - -

45

p mp pppmf mp

55

5

35 5 5

211

nal- thing in man, That

p49

pp mp p

heeds no call to die.

53

ppppp

3

212

Soprano

Piano

q. = 60

pp

No

mp

bird soars

mf9

too high,

17

p

William Blake Mark Viggiani

4. No bird soars too high

if he soars with

pp

his own wings.

24

pmp

33

pp

When

mf

thou

41

mf p

214

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

47

mf

lift up thy head!

f54

f

60

mp p

215

66

pp

(sost.)

73

mf

pp

mp

pp

79

p mf

216

84

To

mp

cre ate- a lit tle- flow er-

89

f mf p

p

is the la bour- of a ges.-

96

f pp

217

102

lontano

pp

110

One

pp

thought fills im men- si- ty-

117

ppp

218

124

Truth

mp

can ne ver- be told

131

pp

as

mf

to be un der- stood- and

f140

p

219

not be be liev'd-

147

mp mf f

153

159

pp

pp

220

What

mp

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

167

mppp

gin'd.

173

pp ppp

ppp

180

221

Soprano

Piano

There

mp

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

q =52 Solemnly

p pp

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

5

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

f

cling- on ac cor- ding- to the

8

p

mf

Charles Darwin

5. There is grandeur in this view of Life

Mark Viggiani

3

fixed laws of gra vi- ty-

11

cresc.

sost.

From so sim ple- a be gin- ning-

rall. A tempo14

f molto

pp

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

17

pppp

(al fine)

223

warmly

and are be ing- - - - O

20

ppp

f

O O

23

O e volv'd

p

- - - -

Maestoso27

ppppp

Mark Viggiani August 2011 Melbourneuna corda

224

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


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…

Con te vorrei…

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

Declina all’orizzonte e da ogni pianta

Fale un odore di gigli e di viole

E su tra I rame l’usignolo canta.

Ricordi

Che dolci sere, che momenti belli

Quando tutto per campi e calmo e cheto

Quando l’ultimo grido degl’uccelli

Finita, e a me ti stringo lieto.

Ma come sono ancor piu vaghi e belli

Quei tramonti di sol quando in segreto

Ebbri si bacia, in bocca, e sui capelli

La di letto del cor… Momento lieto!

E tu lo sai che mi comprendevi o cara

Quanto son dolci i baci e le caresse

La fra i limoni e nell’ombra di sereta.

E lo sa questo cuor che ti prepara

Affeti nuovi far novelle ebrezze

Questo cuore d’amante e di poeta.

I. I would like…

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

into the horizon and from every flower comes a

smell like lilies and violets, and overhead the

nightingale sings.

Memories

What sweet evenings, what beautiful moments

when all of the fields are calm and silent, when

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

But how are even more vague and beautiful

those sunsets when we are alone in secret,

happily drunk with kissing, on the mouth, and

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

And know it that you understand me, darling

How sweet the kisses and caresses there among

the lemons and the fading light.

And know it that this heart which prepares for

you new affections and new intoxications, this is

the heart of a lover and a poet.

229

II. Gelosia di Fiori

Sai che m’odiano i fior del tuo giardino?

Me n’avvidi una volta a le parole

D’ira che mi diceva un biancospino,

Mentre, tutte piangevano le viole.

“Ma che feci?” chiedevo: e un gelsomino

Mi singhiozzó: “Crudel, toglici il sole,

Ma rendici il fulgor di quel visino

Che ci rubasti tu con le tue fole.

Rendeci lei che piu come una volta,

Non torna lieta a prodigarci cure

Ma questa cura or a te solo ha volta.

Dopo che ti conobbe del suo cuore;

Lei fatto re con quelle tue parole

Ma lo devi saper l’odia ogni fiore!”

III. Belle Manine

Belle manine bianche affusolate,

Che sui ginocchi languide giacete,

Fatte di gigli e perle mi sembrate,

Tanto gentile nel candor voi siete.

Morbide come piume vellutate,

Ogni bellezza al paragon vincete

Quando su le ginocchia abbandonate,

In mezzo a bianchi fior in confondete.

II. Jealousy of the Flowers

Do you know that the flowers in your garden

hate me? I noticed one time some angry words

that a hawthorn said to me, while all the violets

cried.

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

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

return to us the splendour of that little face,

which you have stolen with your foolishness.

Return her to us as before, she does not gladly

return to lavish care upon us, but this care is

now given only to you.

After this you knew of her heart; you made

yourself king with your words but you must know

that all of the flowers hate you.”

III. Beautiful Little Hands

Beautiful little hands, white and tapering which

rest languidly and frozen on your knees, They

seem to me like lillies and pearls, you are very

kind and gentle.

Soft as a velvet feather, you win every

comparison of beauty when they abandon your

knees and are confused amidst white flowers.

230

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

Che desideri in core mi destate,

Belle manine morbide e procaci?...

Vorrei di anelli splendidi coprire

Le dita vostre e su le immacolato

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

IV. Carina!...

Sei carina e vezzosa:

Hai negl’occhi le stelle,

E d’il color di rosa,

Su le tue guancie belle.

Davanti ai tuoi ginocchi

Come un fanciullo, assiso,

Guardandoti negl’occhi,

Io Sogno in paradiso.

Sui miei capelli ondi

Le tue manine posa,

E tra le palme ascondi

La fronte mia pensosa!

Nell’estasi sublime,

Ti cantero l’amore,

Nelle piu belle rime

Che mi verran dal cuore.

E se (il dolce tema!)

Un bacio mi darai,

Lo scrivero un poema

Che non mozza giammai.

Who, but who can tell you, that you awaken

desire in my heart, beautiful little soft and

provocative hands?

I would like to cover your fingers with splendid

rings and on your immaculate palms stamp

thousands and thousands of kisses.

IV. Sweetheart!

You are pretty and charming: There are stars in

your eyes and the color of roses is in your

beautiful cheeks.

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

eyes I dream of paradise.

Your hands rest on my wavy hair, and between

your palms my worries disappear.

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

the most beautiful rhymes that come from my

heart.

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

write a poem that will never end.

231

V. Mattinata

All'orrizonte il sol ridente appare

E in alto assorge lieto e maestoso:

Al creator la terra il cielo e il mare

Mandano un inno fulgido, festoso.

Dicono i fior, che stan fra i verdi mai,

E i misti olezzi effondono d'intorno:

O padre sol e passeggiando vai

Per le vie del ciel durante il giorno,

Entra giulivo nella camerella

A ridestare la mia Italia bella.

Baciala in fronte, falla risvegliare,

Che giunta e l'ora di gioire e amare.

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

E d'al balcon t'affacci tutta lieta,

Come una bianca visione di fata,

Come un soave sogno di poeta.

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

In me germoglia il fior dei sentimenti

Dei tuoi begl'occhi al mistico splendore.

Dicon la terra e il ciel coi lo concerti

Che ogni tuo modo e pien di dolce incanto

Tu sei tanto soave e bella tanto,

Che dove posi il piede spunta un fiore

E dove il guardo volgi spira amore....

V. In the Morning

The sun, smiling, appears on the horizon and

slowly and majestically rises up high: the earth

the sky and the sea send a splendid festive hymn

to the creator. They say that the flowers never

stay among the grasses and the fragrant mists

infused around them. Oh father sun, who walks

the streets of the sky during the day, enter

joyfully the little bedroom and re-awaken my

beautiful Italia. Kiss her on the forehead and

wake her up because the hour of love and joy

has arrived.

The breeze says: Good morning! You have

arisen, and appeared in happiness on the

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

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

is a beautiful garden of love: in me germinates

the flowers of feelings for your beautiful eyes of

mystical splendour. The earth and the sky

together say that you are sweet and very

beautiful and all your movements are full of

sweet enchantment, that where you place your

foot a flower sprouts and where you cast your

gaze love breathes…

232

VI. Sei Libera!...

supposto che mi avesse.. lasciato

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

lo spettro del passato?

Le lettere, i capelli, i fiori, tutto,

a le fiamme ho gettato.

Sei libera: del sogno reo la traccia

ho fatto disparire:

mostrare puoi superba ancor la faccia,

e non impallidire.

Che frati, che pensieri, che concetti,

che soavi armonie,

perdute in quei minuscoli foglietti!

Che splendide bugie!...

Sei libera: Serena puoi tuandare

ai dolci incantamenti

E ancora tu la croce spergiurare

l'amore che non senti...

Non piu nel folleggiare dei baci e amplessi

ti piangera improviso

Io spasimo di gaudi a me concessi

e il mio beffardo riso.

Sei libera: Distratto fa una vampata

la perfida menzogna:

in mi pugno di cenere lo mutata

l'antica tua menzogna.

VI. You are free!

Suppose you had left me...

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

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

flowers, everything, I have thrown them into the

flames.

You are free: I have made the traces of the

dream disappear. I was shown your face even

more superb, and it doesn't fade.

What phrases, what thoughts, what concepts,

what sweet harmonies, lost in those tiny pages!

What splendid lies...!

You are free! Serenely you can go on to sweet

enchantments and still swear falsely on a

crucifix that you do not feel love...

No more in the folly of kisses and passionate

embraces, will you cry unexpectedly. I spasm

with the joys granted to me and I smile

mockingly.

You are free: I have destroyed with a blaze the

heinous lie: Your old lies are changed to a

handful of ashes.

233

VII. Ricordi?...

Era d'estate nel meriggio stanco

Tra'l biancore dei fiori e nell' ardore,

Di quella calma, ti tenevo al fianco

Appoggiata al mio braccio e il tuo languore,

Mi faceva morir tu lo sapevi,

Io ti chiedevo un bacio e tu rideri...

Mi saliva a le nasi il dolce odore,

Dei tuoi capelli, e l'alito gentile

De la tua bocca da regina, il cuore,

Mi faceva balzar, divenni vile,

Ti pregai in ginocchio, ti adorai...

Tu non volesti… e i baci ti subai

Sui fiori bianchi e sopra i tuoi capelli

Volaron le farfalle; mi dicesti

In mezzo ai baci: come sono belli

I fiori e le farfalle. Sorridesti...

In mezzo ai fiori bianchi di quel prato

Tenera Italia quanto l'ho baciato...

Adesso dove sei? Ricordi ancora

Le carezze frementi che mendaci

Chiamavi sorridendo? T’addolora

Il ricordo gentile di quei baci?

Io colgo spesso il mio pensiero in fallo

Sopra un mazzetto che non e piu quello...

VII. Do you remember?

It was summer, in the tired afternoon amongst

the whiteness of the flowers and our ardour, in

this calm, I held you by my side resting against

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

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

laughed...

The sweet smell of your hair came to my nose,

and the gentle breath from your queenly mouth

made my heart jump. I lost courage and begged

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

want to ... and I stole your kisses.

Butterflies flew among the white flowers and in

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

how beautiful are the flowers and butterflies...

You smiled... Amid the white flowers of that

meadow tender Italia, how I kissed you...

Where are you now? Do you still remember the

trembling caresses that I begged you with a

smile? Is the gentle memory of those kisses

painful to remember? I often catch myself

thinking of that small lost bunch of flowers...

Texts by Ginese Triaca, 1902, Verona.

Translated by Mark Viggiani and Linda Massola,

with special thanks to Elisabetta Lamanna

This translation copyright © M. Viggiani 2012

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


III. Belle Manine

IV. Carina!..

V. Mattinata

VI. Sei Libera!...

VII. Ricordi?...


Clarinet in Bb

Trumpet in Bb

Vibraphone

Guitar

Soprano

Tenor

Violin

Viola

Violoncello

Contrabass

q = 64 reverently

q = 64 reverently

mf

(sempre)

mp mfp

mf

IV

sempre legatissimo p mf mf

IV

I. Vorrei... - Ricordi

Mark ViggianiGinese Triaca

0 0

a.h. XVIII

3 3 3

Vib.

Gtr.

S.

T.

mf mp p

(Vorrei...)

6

p

Con

p

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

Con

p

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

Vib.

Gtr.

S.

T.

mp

12

p mf mp

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

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

Vib.

Gtr.

S.

T.

ppmp

mf

17

f mp pp f

all' o riz- zon- te-

De

mp

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

a

a

a

33

0

(pont.) 33

3

3

238

Cl.

Vib.

Gtr.

S.

T.

21

ff mf

ffp ff mf

gi

mf

gli- e vio le-

e

mf

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

Cl.

Vib.

Gtr.

S.

T.

n mf

(espress.)25

pp

mp pp

3

(nat.)

5

3 3

3

3 3

3

3 3

239

Cl.

Vib.

Gtr.

S.

T.

f bird-like

n mf

(Ricordi)

q = 72 29

mp

e

p

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

Cl.

Vib.

Gtr.

S.

T.

p mf p mf

35

p

p pp

3

3

3

3

VII 0

240

Cl.

Vib.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

(growl) f p (lontano)

41

pp

pp

Che

p

dol

(sinceramente)

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

n p ppp

n p ppp

n p ppp

ppp

Cl.

Vib.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

46

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

p pp p ppp

p pp p ppp

p pp p ppp

p

XII(slow)

con sord.

con sord.

con sord.

con sord.

3

3

gliss.

gliss.

gliss.

241

Cl.

Vib.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

pp

51

mp

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

string.

a me ti strin go- lie

f

to.-

pp p (espress.) f

p mf

p mf

Cl.

Vib.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

56

mf p mp

mf

Ma

mf

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

pp mp mf espress.

pp mp pp

p

p

6

242

Cl.

Vib.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

62

quan do- in se gre- to-

(con passione)

eb bri- si ba cia,- in boc

f

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

mf

mf

pp

Cl.

Vib.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

68

mp p

mf

lie to!- E

p

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

pp p pp

pp mf p pp

pp p

3 3

3

3 3

3

243

Cl.

Tpt.

Vib.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

74

pp

pp mf

mp mp

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.-

p ppp

pp ppp

ppp

ppp

Cl.

Tpt.

Vib.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

80

p

ppp mp

E

p

lo

(con aspettazione)

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

f

- ze- ques to-

pp pp fp

pp pp fp

pp pp fp

pp

0

3

244

Cl.

Tpt.

Vib.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

87

pp p

p

mp

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

pp p

pp p

pp p

Cl.

Tpt.

Vib.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

p (lontano) pp

92

ppp p n

pp

3

3

3

3

3

245

Clarinet in Bb

Trumpet in Bb

Temple Blocks

Guitar

Soprano

Tenor

Violin

Viola

Violoncello

Contrabass

q. = 120

fp f mp

secco*

pp f

p mf p

p mf p

mp sf p mf p mp sf p

mp sf p mf p

T. Bl.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

f mp p f

9

mp

Sai

mf

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

Ginese Triaca Mark Viggiani


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

slap strings and wood with flat palm over soundhole

pizz.

pizz.

pizz. arcogliss.

pizz.

pizz.

Cl.

T. Bl.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

mp

17

pp f mf mp

p

di no?-

subito p

Me n'a

(con minaccia)

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

mf

ra- che mi di-

mp p

mp p

mp f

mp

Cl.

Tri.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

mp f

25

p mp p mf

pp p mp

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

pp p fp

f pp mf

pp p fp

pp fp

To Tri.

Triangle To T. Bl.

arco

arco

Temple Blocks

pizz.

arco

pizz.

arco

arco

arco

247

Cl.

Tpt.

T. Bl.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

mf mp

33

pp mp

pp mf

pp

ge va- no- le vio le.-

pp

p

pp mp

p sf

Tpt.

T. Bl.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

fp

41

mp

pp mf

"Ma

f indignatamente

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

mp mf

mp mf

sf mf

mp mf

harmon mute

gliss.

senza sord.

248

Cl.

Tpt.

T. Bl.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

q = 120 (q. = q)49

"Cru

f implorantemente

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

mi sin ghioz- zo:-

f sf f f

mf sf f f

mf sf f f

sf f

Cl.

Tpt.

T. Bl.

Gtr.

S.

Vln.

Vla.

Vc.

Cb.

pp

q. = 12055

pp p n

ppp p

psf

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

p

che

savagely

ci un

p ppsfz

p pp p f

p pp f

p p f

To Tri.

3

pizz.

pizz.

pizz.

pizz.

Triangle

To S. D.

arco vivo

6

arco

pizz.

arco

pizz.

249

Cl.

S.

Vln.

Vla.

Vc.

Cb.

pp

62

ba sti- tu con le tu - e fo

f

le.- Ren

mf

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

ppp

mp

Cl.

S.

Vln.

Vla.

Vc.

Cb.

p

72

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

pp mp p

pp

Cl.

S.

Vln.

Vla.

Vc.

Cb.

p f mp mf

81

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

p f p

f mp

mp f p

sul pont. pizz.

(pizz.)

arco

arco

pizz.

pizz.

250

Cl.

Tpt.

S.

Vln.

Vla.

Vc.

Cb.

f

91

Lei

p

fat to- re con quel

f

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

p mp

Cl.

Tpt.

S.D.

Gtr.

S.

Vln.

Vla.

Vc.

Cb.

99

f espress. mp f

pp mf

mf f mf

simile

fio re!"-

mp ff mf

mp ff mf

ff

ff

arco

solo

3

Snare Drum

rasg.

arco

arco

arco

251

Cl.

Tpt.

S. D.

Gtr.

Vln.

Vla.

Vc.

Cb.

ff

107

mp f ff

p mf f

p mf

p mf

mf ff mf

ff

Cl.

Tpt.

S. D.

Gtr.

Vln.

Vla.

Vc.

Cb.

115

mp f

pp mf pp

f

ff mf

fp

r.sh.

3 4 4

252

Cl.

Tpt.

S. D.

Gtr.

Vln.

Vla.

Vc.

Cb.

122

p

fp n

n

p

mp f

mp f

f

Cl.

Tpt.

S. D.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

mf

129

mf

ff

Ren

f

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

p

tor na- lie ta- a pro

mf

di- gar- ci-

Ren

f

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

p

tor na- lie ta- a pro

mf

di- gar- ci-

f mp

f

f mp

rasg.

l.v.

253

Cl.

S. D.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

137

mp

mp

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

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

mp

Cl.

T. Bl.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

p

144

p

Do

mp

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

mp

fat to-

Do

mp

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

p

p

p

mp

Temple Blocks

pizz.

254

Cl.

T. Bl.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

151

re con quel

mf

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

mp

mp

255

Clarinet in Bb

Percussion

Guitar

Soprano

Tenor

Violin

Viola

Violoncello

Contrabass

q = 148 Teneramente

ppp pp pp

Bel

mp

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

mp p

Bongos

T.

Vln.

Vla.

Vc.

Cb.

ppp pp pp ppp

11

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

mf mp mf

mf mp mf

mf mp

Ginese TriacaMark Viggiani

III. Belle Manine

bongos with fingertips

pizz.

To S. D.

pizz.

pizz.

256

Cl.

Bongos

T.

Vln.

Vla.

Vc.

Cb.

mp

22

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

mf

p mf fp

p mf

Cl.

Bongos

T.

Vln.

Vla.

Vc.

Cb.

p f

32

ppp

nel can dor- voi sie te.- Mor-

f

mp f

f

arco punta d'arco

Snare Drum snare off

arco

nat.

257

Cl.

S. D.

T.

Vln.

Vla.

Vc.

Cb.

f mf

43

pp pp p

mf

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

p fmp

p f mp mp

p mf

Cl.

S. D.

T.

Vln.

Vla.

Vc.

Cb.

p mf

53

n p

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

mf

mf

mp

pizz.

pizz.

To Crot.

Crotales

258

Cl.

Crot.

T.

Vln.

Vla.

Vc.

Cb.

f

63

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

mf

mf

mf

Cl.

Crot.

T.

Vln.

Vla.

Vc.

Cb.

mf

71

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

f

- te.-

p f

fp mp f

f

mp f

To Bongos

arco

arco punta d'arco

nat.

arco

pizz.

arco

259

Cl.

Crot.

T.

Vln.

Vla.

Vc.

Cb.

p

80

Chi

p

vi puo' di re-

mf p

mp p

mp p

p

Cl.

Crot.

T.

Vln.

Vla.

Vc.

Cb.

89

mai, chi

string.

vi puo' di re- Che

f

de side- ri- in co -

p f

f

f

f

260

Cl.

Crot.

T.

Vln.

Vla.

Vc.

Cb.

p mf

99

pp poco n

re mi de sta- te,- Bel

mp

le- ma nine-

mp p

mp

mp p

p

Cl.

Crot.

T.

Vln.

Vla.

Vc.

Cb.

n mf

rall. A tempo109

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

(appassionato)

Vor rei

ff

- di a -

f mf

f mf

f mf

f mf

3

Bongos (fingers) To Crot.

pizz.

arco

261

Cl.

Crot.

T.

Vln.

Vla.

Vc.

Cb.

mp

117

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

mp

Cl.

Crot.

S.

T.

Vln.

Vla.

Vc.

Cb.

mf p

125

p

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

mp pp

mp pp

pp mp pp

p

Crotales

pizz.

pizz.

pizz.

pizz.

262

Cl.

Crot.

S.

T.

Vln.

Vla.

Vc.

Cb.

mfpp mp

134

ai

mp

mil le- a mil le- i ba

f

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

ba

f

ci!- ai

mp


f

ci!-

mp

mp

pp

Cl.

Crot.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

p

144

p

p

ba ci!- i

mp

ba ci!-

i

pp

ba ci!-

mp p

mp p

pp

arco

tongue slap

VII

IX

XII

263

Cl.

Crot.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

allarg.155

ai

p


f

ci!-

ai

p

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

f

ci!-

allarg.

p f

Cl.

Crot.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

pmf

164

p pp mp

mp mf

(vib)

mf p

mf p

pp mp

3

3

3

VII

XII

IX

(nat.)

arco

264

Trumpet in Bb

Percussion

Tenor

Guitar

Violin

Viola

Violoncello

mp

q = q = q = q = 98

p

mp

(bisb.)

ppp pp

mp pp

mp

mp

Tpt.

Perc.

T.

Gtr.

Vln.

Vla.

Vc.

4

Sei

p

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

simile

mp pp mf ppp

p mf

mute (wah)

Ginese Triaca Mark Viggiani

Clarinet, Soprano & Contrabass tacet

IV. Carina

sus. cymbal

scrape Wood Blocks

IX

l.v.

pizz. arco

pizz.

pizz.

arco

Tpt.

Perc.

T.

Gtr.

Vln.

Vla.

Vc.

mp fp pp

10

ppp mpmp

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

p mf ppp mf p

mf mf p

mf mf p

Tpt.

Perc.

T.

Gtr.

Vln.

Vla.

Vc.

p pp

17

pp

tu e- guan cie- bel le.- Da

mp

fp

mf p pp

mf p pp

mfp pp

sus. cymbal

l.v.

scrape

Cymbals

pizz. arco

pizz.

arco

arco

senza sord.

soft mallets

3 3

266

T.

Gtr.

van

sempre rubato

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

q = 76

23

mp

pp

mp pp mf mp

T.

Gtr.

di so.- Sui miei

mp

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

30

pp mp mfpp mp

T.

Gtr.

con

mf

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

mf37

pp

mf

T.

Gtr.

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

43

T.

Gtr.

Vla.

cuo re- E se

subito p

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

50

mfpp

3

3

267

T.

Gtr.

Vla.

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

57

pp

espress.

T.

Gtr.

Vla.

63

mpmf

mp mf

IX

arco

268

Clarinet in Bb

Vibraphone

Guitar

Soprano

Tenor

Violin

Viola

Violoncello

Contrabass

pp

q = 68

p pp

All'

p

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

pp

pp n

pp

ppp mp

Cl.

Vib.

S.

Vln.

Vla.

Vc.

Cb.

mp n

8

p

al

mp

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

p

p

pp

n p

accel.

Ginese Triaca

V. MattinataTrumpet tacet

M. Viggiani

con pedale

motor on (slow)

3

Vib.

S.

Vln.

Vla.

Vc.

Cb.

15

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

mf

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

pp mf p

Vib.

S.

T.

Vln.

Vla.

Vc.

Cb.

20

ver di- mai, e

mp

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

mf

- no:-

O

mp

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

p

p

p

270

Vib.

S.

T.

Vln.

Vla.

Vc.

Cb.

26

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

vai

mf

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

Cl.

Vib.

S.

T.

Vln.

Vla.

Vc.

Cb.

p mf

31

vo-

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

f

la.- -

To Finger Cym.

271

Cl.

Vib.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

34

p

mp mp

Ba

mp

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

f ppp

f ppp mp

f ppp

Cl.

F. Cym.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

Più mosso q =8440

mf

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

f

- re-

mp mf f

mf mp

mp mfmp

mp sf

finger cymbals

to vibraphone

3

272

F. Cym.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

45

L'au

f

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

mf

F. Cym.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

p

51

fmp

Ah

mp

ah

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

mf

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

p

mf

mp sf

Vibraphone

0

l.v.

5

3

273

Cl.

Vib.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

pp mp

57

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

mp

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

mp pp

mp p

mp

Cl.

Vib.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

p

poco rit. 64

mp

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

p

p

mp mf

mp

pizz.

arco

pizz.

arco

pizz.

3

arco

pizz.

274

Cl.

Vib.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

A tempo71

pp

p

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

pp

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

pp pp p

pp ppp p

pp pp ppp pp

pp ppp

Cl.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

p p

78

pp (echo)

Tu

mf

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

ppp

ppp

ppp

arco con pedale

0

XIIl.v.

3

3

arco

l.v.

275

Cl.

Gtr.

T.

pp p

84

p

can to- che

mp

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

Cl.

Vib.

Gtr.

T.

mp

poco rall. 89

ppp mf

pp

re- e

p

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

arco con pedale

276

Clarinet in Bb

Trumpet in Bb

Tambourine

Guitar

Soprano

Tenor

Violin

Viola

Violoncello

Contrabass

f

q = 80

p f mp

Sup

mp

po- sto- che

mf

mi

f

a ves- se...-

ppp f ff mp

ppp f pff mp

ppp f p f pp fp

p ff

Tamb.

Gtr.

T.

Vln.

Vla.

Vc.

Cb.

pp sf mp pp

q. = 120 come uno stornello

7

mf

la

p

scia- to-

pleggiero

mp

p p leggiero

p

flz.

Ginese Triaca

VI. Sei Libera

Mark Viggiani

3

pizz.

pizz.

pizz. pizz.

(thumb) shake

arco

simile

arco

simile

277

Cl.

Tamb.

S.

T.

Vln.

Vla.

Vc.

Cb.

mp

15

Eh,

mp

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

pfp

mp p

Cl.

Tamb.

S.

T.

Vln.

Vla.

Vc.

Cb.

24

sa to?- Le

mf

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

mf

mf

278

Cl.

Tamb.

S.

T.

Vln.

Vla.

Vc.

Cb.

p f mp f

33

p

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

f mp mf sfz mp

f mp f mp f sf

Cl.

Tpt.

Tamb.

S.

T.

Vln.

Vla.

Vc.

Cb.

mp f mf

40

mp mf

f pf

Sei li be- ra:-

f

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

sf mp f

molto espress.

mp f mf

f mf

4

4 4 44

4 4

4

4 4 4

arco

279

Cl.

Tpt.

Tamb.

S.

T.

Vln.

Vla.

Vc.

Cb.

48

mp

Mos tra- re-

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

Cl.

Tpt.

Tamb.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

f

55

mf p mf

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

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

pp

f mf pp

280

Cl.

Tpt.

Tamb.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

mp mf

62

mf

non im pal- li- dire.-

mp

mp

mf

Cl.

Tpt.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

69

mp

Che

mf

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

ff

arco

strum

281

Cl.

Tpt.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

mp

76

p

ni e- - -

per

f

du- te- in

p mp f

mp f

Cl.

Tpt.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

mf

83

mf pp

p

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

282

Cl.

Tpt.

Tamb.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

f

90

mp

p mp

mp mp

Sei li be- ra:-

mp

Sei li be- ra:-

p

p

f p

mf f

Cl.

Tpt.

Tamb.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

p

98

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

mp

(thumb)

to cym.

pizz.

pizz.

283

Cl.

Tpt.

Tamb.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

pp fp pp fp simile fp fp fp

106

pp mp pp simile

ppp

mp p pp

men ti-

E

p

pp

mp p

Cl.

Tpt.

Cym.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

fp fp fp

111

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

f n

p pp

p pp

mute

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

pizz.

284

Cl.

Tpt.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

q. = q senza misura117

mp

ra

molto espress.mf

ah sper giu- ra

accell.

- re- - l'a

p

more- che non

fp pp

pp

pp

f

Cl.

Tpt.

S. D.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

f

Vivace q. = 156122

f

ppp p pp mf

fff

sen ti...-

mf

mf

mf

(slow)

arco

arco

3

nat.

Snare Drum

285

Cl.

Tpt.

S. D.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

q. = 120128

f p mf pp mf ff

Non

f

piu nel fol le- -

f

f

f

f

Cl.

Tpt.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

mf

133

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

mf

mf

mf

p

pizz.

286

Cl.

Tpt.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

141

p mp

Lo

mf

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

vi so- e il

mp mf mp

mp mf mp

mf p

Cl.

Tpt.

S. D.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

f150

mf

p

mf

Sei

f

li be- ra:-

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

f

li be- ra:-

mf f

mf mf

f

f

gliss.

arco

287

Cl.

Tpt.

S. D.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

f

157

mf

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

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

Cl.

Tpt.

S. D.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

163

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

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

f mf

f mf

288

Cl.

Tpt.

S. D.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

170

ff

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

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

ff

f ff

f ff

Cl.

Tpt.

S. D.

Gtr.

S.

T.

Vln.

Vla.

Vc.

Cb.

175

pp mp ppp

f

gna

gna

mp

mp

mp

mp

m a

p i

10:6

pizz.

pizz.

pizz.

pizz.

289

Clarinet in Bb

Trumpet in Bb

Vibraphone

Guitar

Soprano

Tenor Solo

Violin

Viola

Violoncello

Contrabass

p

q = 60

con ped. p mf p

p pp p

p

p

p

Cl.

Vib.

T. Solo

Vln.

Vla.

Vc.

Cb.

p mp

7

pp mf mp

E

p

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

pp

Ginese Triaca

VII. Ricordi?...

Mark Viggiani

arco (l.v.)

(arco)

Cl.

Vib.

Gtr.

T. Solo

Vln.

Vla.

Vc.

Cb.

mp

13

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

p

p

p

Cl.

Vib.

Gtr.

T. Solo

Vln.

Vla.

Vc.

Cb.

mf mf

Allegro q = 12018

sf pp subito

brac

mf

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

p fp p fp

p fp p fp

fp

f mp

pizz. arco

sticks

sul pont.

sul pont.

pizz.arco

291

Cl.

Vib.

Gtr.

T. Solo

Vln.

Vla.

Vc.

Cb.

Tempo primo23

mp

ba

f

cio- e

mp

tu ri devi...- Mi

mf

sa

mp p p

mp p p

p p

mp p

Cl.

Vib.

Gtr.

T. Solo

Vln.

Vla.

Vc.

Cb.

mf

Più mosso qqqq = 6829

pp mf p mf

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

mp p

mp p mp

mp p

mp

l.v.

l.v.

3

nat.

nat.

arco

pizz. arco

292

Cl.

Vib.

Gtr.

T. Solo

Vln.

Vla.

Vc.

Cb.

ff p mf

35

boc ca da re gi- na,- il cuo

f

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

subito pp

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

mp f

f mp p

mp f p

f mp

Cl.

Vib.

Gtr.

T. Solo

Vln.

Vla.

Vc.

Cb.

mf f

rall. A tempo q = 6841

mp mf

p f

a

mf

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

ff

-

f molto espress.

mf

p mf f

mp f

3

3

pizz.

3

sticks

l.v.

0

0

0

0

0

0

solo

3

arcochange bow discreetly

293

Cl.

Tpt.

Vib.

Gtr.

T. Solo

Vln.

Vla.

Vc.

Cb.

46

pp mp

mp f mp (con ped.)

p f

Sui

f

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

mp

f mp

mp

mp

Cl.

Tpt.

Vib.

Gtr.

T. Solo

Vln.

Vla.

Vc.

Cb.

p mf

50

p pp mf

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

mf

mf

mf

mf

3

l.v.

0 0

3 3

294

Cl.

Tpt.

Vib.

Gtr.

T. Solo

Vln.

Vla.

Vc.

Cb.

p mf mf

55

p mf

p

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

f mp

f mp

f

Cl.

Tpt.

Vib.

Gtr.

T. Solo

Vln.

Vla.

Vc.

Cb.

ff molto espress.

poco rall. q = 5461

f molto espress.

mp mf

mf

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

ff molto espress.

ff molto espress.

f mp mf mp sempre

f

3 3

3

3

3

3 3

295

Cl.

Tpt.

Vib.

Gtr.

T. Solo

Vln.

Vla.

Vc.

Cb.

Allarg. A tempo q = 5466

mf p mf

Cl.

Tpt.

Vib.

Gtr.

T. Solo

Vln.

Vla.

Vc.

Cb.

f subito pp

q = 6070

pp

A

p

des- so- do ve- sei? Ri-

subito pp ppp

subito ppppp

f subito pp

f p pp

to sus. cym.

sul pont.

sul pont.

con sord.

pizz.

296

Cl.

Tpt.

Vib.

Gtr.

T. Solo

Vln.

Vla.

Vc.

Cb.

p mp p mp f pp

76

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-

Cl.

Tpt.

Vib.

Gtr.

T. Solo

Vln.

Vla.

Vc.

Cb.

mf p mp p mp mf p

81

p

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

pp

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

solo

3

3

con sord.

con sord.

3 3

3

297

Cl.

Vib.

Gtr.

T. Solo

Vln.

Vla.

Vc.

Cb.

mp

87

pp

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

Cl.

Cym.

Gtr.

S.

Vln.

Vla.

Vc.

Cb.

mf p pp

91

mp pp mp

mf pp

Aah

p

ah

mp

aah

ppp mp

ppp mp

ppp mp

3 3

sus. cym. (soft mallets)

5

3

To Vib. Vibraphone

with bow l.v. (sempre)

5 5

vocalise

con sord.

con sord.

con sord.

298

Cl.

Vib.

Gtr.

S.

Vln.

Vla.

Vc.

Cb.

98

mp

p p

Ah

fp

Ah

mp

Ah

mf

pp mp pp

pp mp pp

mp

Cl.

Vib.

Gtr.

S.

Vln.

Vla.

Vc.

Cb.

pp mp

104

mf

mf

Ah Ah Ah Ah

mp

Ah Ah

mf

mf pp mf mp p

pp mp

pp

pizz.

pizz. arco

pizz.

arco

299

Cl.

Vib.

Gtr.

S.

T. Solo

Vln.

Vla.

Vc.

Cb.

110

p p pp

pp

Ah

p

pp

Mark Viggiani September 2012

300

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

Terms and Conditions:

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

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

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

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

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

ph. d. vol 1 060313

Documents