Lascia fare mi composed June 14 August 7, 2018 by Jeremy Gill for Mandy Wolman

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2 Lascia are mi comosed June 14 August by Jeremy Gill or Mandy Wolman When violinist Mandy Wolman aroached me about comosing Lascia are mi she oered a rather unusual roosition: she wanted me to comose a musical counterart to Bernardo Bertolucciʼs 197 ilm Last Tango in Paris which starred a 19-year old Maria Schneider and 48-year old Marlon Brando engaged in an unlikely and tragic aair. The ilm caused a scandal when it was released and has since endured new orobrium as contemorary revelations about Schneiderʼs treatment by both Bertolucci and Brando have come to light. I was reluctant to engage with the movie given this but Mandy had long loved this ilm or reasons that I ound comelling and was urthermore unaware o the scandal. Mandy is ardently drawn to Brandoʼs work and her love o acting in general runs in her blood as her mother was a celebrated actor. I decided to exlore the ilm rom her ersective (I had never seen it) and see what I could do. Around the same time I was inishing reading Willi Aelʼs The History o Keyboard Music to 17 and had taken an interest in several works based on a shared motive: la sol a re mi or given in Italian lascia are mi translated oten as leave me alone. Clearly as misanthroic a sentiment as that engendered by Bertolucciʼs ilm I wedded the ideas or the resent work. My Lascia are mi is a 1-minute antasy or two violins that lays in nine uninterruted scenes. They are roughly insired by those scenes rom Last Tango in Paris in which the characters o Jean (Schneider) and Paul (Brando) aear alone and which take lace almost entirely within a sarselyurnished aartment rented by the air to host their assignations. These scenes reveal their evolving relationshi ounded on the remise that they would never know anything about one another beyond what they exerienced together in that room. As they inevitably come to know one another more conventionally their interactions grow increasingly more assionate and more violently antagonistic. Musically Lascia are mi is nearly exclusively based on the la sol a re mi motive which is subjected to a handul o ermutations: it is heard (ater the Renaissance manner) in the natural hard and sot hexachords transosed (according to tonal rinciles) chromaticized and using all these basic orms resented in inversion and retrograded and occasionally stacked u into chordal sonorities. At the same time and corresonding to the revelations that Jean and Paul make about their lives beyond their rented room historical reminiscences o the la sol a re mi motive aear throughout my work lea-rogging back through history. These reminiscences take the orm o largely intact quotations rom works based on la sol a re mi by Johann Jakob Froberger ( ) Giovanni Cavaccio ( ) Girolamo Frescobaldi ( ) and Josquin de Prez (c ). Bertolucciʼs ilm concludes with an extended and increasingly deserate tango which Jean ultimately ends with a gunshot. Lascia are mi relaces the tango with a seguiriya (acknowledging Mandyʼs lamenco work) that eatures a relentless and obvious ostinato on la sol a re mi; at this oint in the work the many ermutations o the motive have allen away and we are let with the cold imlacable simlicity o identity where nothing is hidden and thus nothing more is desired.

3 2 Violins 7 Scene 1: Entrada q = 72 or Mandy Lascia are mi oco accel. ten. ten. oco a oco Jeremy Gill (218) ten. ten. temo 12 ten. ten. temo Scene 2: Dierences 18 q = 66 rit. temo ( q = 72 ) esr. Coyright 218 by Jeremy Gill. All rights reserved. cant. n.

4 2 25 oco esr. oco esr. cant. 5 iù esr. rit. q = 66 sonoro 4 44 un oco arettando iù molto ten. trem. trem. temo molto molto q = 14 Scene : Rules secco m secco m

5 49 sub. oco Scene 4: Animals come un uccello come un luo * m *use extreme ressure; note breaks u 64 normal ressure normal ressure sub. oco a oco oco a oco 5 come un luo 5 * m 69 dim. dim.

6 Scene 5: Memories a temo ( q = 14 ) norm. m norm. m 86 9 " ressante 9 (r.h.) un oco stentando over-ressure over-ressure m ressante iù iù iù iù

7 96 99 iù echo iù < q = h = 14 > iù meno iù echo rit. echo sim.

8 6 114 h = 84 m 117 m h = intimo intimo rit. rit. " h = 58 in stilo antico senza vibrato trem. quasi sul ont. 124 in stilo antico semre 128 trem. quasi sul ont. iù Scene 6: Secrets q = 72 sub. sord. 1 sord. n. iù (echo) stent.

9 < q = q + q. = 72 > e = e 149 m iù iù m sub. iù non ar. e = e non ar. non ar. meno iù non ar. sub. 164 oco simile oco 7

10 8 oco 17 oco sim. sim. e = e 176 < q. = h = 12 > ma bravura on the string ma bravura

11 e = e 2 " q + q. = 72 come rima iù iù e = e 28 oco a oco oco a oco 212

12 sonoro esr. Scene 7: Dierences < q. + q = q = 72 > 5 5 n. iù esr. cant. 2 sz 5

13 2 iù sim. semre accel. oco a oco al sub. sim. semre q = 116 semre arettando Scene 8: Revelation 246 q = 1 (trem.) 25 con gran assione sub. sub. sonoro 254 dim. dim. intimo

14 oco oco oco 261 rit. semre m m Scene 9: Seguiriya 265 q = q q = 14 " IV 271 rit. q = 72 III sim. rit. come una memoria senza sord. 277 senza sord. oco a oco 28 temo ( q = 14 ) come rima s s s norm. IV IV oco III IV dim. oco a oco sim. III *oco *slight downward gliss at end o duration

15 288 oco a oco oco a oco iù 1 29 iù ancora iù ancora iù 297 IV ( ) 1 5 III m dim. ma urgente urgente m sim.

16 14 8 oco meno 11 come rima dim q = 72 sub. oco oco a oco oco a oco molto < q = q + q. = 72 > molto

17 s 4 non ar. iù non ar. s 48 iù iù meno molto 54 meno molto < q. + q = q = 72 > accel. oco a oco

18 16 (accel.) 6 65 q = 14 sub. IV IV sonoro III s q = c. 116 accel. rub. quasi accel. sim. s come rima s come rima come rima s s s s s s