Lansing McLoskey PROCESSIONE DI LACRIME (PAVAN) FOR STRING TRIO AND ALTO SAXOPHONE
Lansing McLoskey Written for Chameleon Arts Phili Stäudlin as art of the Italian-American Dance Suite Proect with Comosers in Red Sneakers and Dal Suono Sommerso PROCESSIONE DI LACRIME (PAVAN) Violin, Viola, Cello, Alto Saxohone P E R F O R M A N C E N O T E S : Accidentals aly to the octave in which they aear and hold throughout the measure The ensemble is divided into three searate arts uer strings, cello, and sax each of which lays their own ostinati and/or solo arts in different temi As such, none of the arts align throughout the iece Entrances and sections are coordinated by means of the layers giving cues to each other, as detailed in the instructions in the erformance score Aroximate duration: 6 ½ minutes 2009 Odhecaton Z Music (MI) On the cover: A coule deicted dancing the avane, from Orchésograhie (1589) by Thoinot Arbeau de Révérence
- NOTES - In Processione di lacrime ( Procession of Tears ) I took various characteristics of the avan and incororated them into the iece: slow temo, rocessional, simle reetitive, dule meter, and a feeling of longing or melancholy In this rocession, however, nobody marches in lock-ste: Each layer lays a reeated ostinato figure in dule time, but in different temi simultaneously, so that the arts do not align The result is both simle yet comlex, like two eole dreaming of dancing together but never actually dancing in real life LM ACKGROUND AOUT THE PAVAN The avan (avane, aven, avin, avian, avine, avana, adovana, aduana) is a slow rocessional dance common in Euroe during the Renaissance, also known as le grand bal because it was rimarily used on state occasions It was one of the earliest social dances in Euroe Almost since its incetion, however, there has been confusion surrounding the origin and name of the dance; During the Renaissance it was thought to have originated in Sain, and that the name was derived from avón (S) or avone (It) both meaning eacock because the women swee their trains much like a eacock swees its tail It s creation was even attributed to a secific erson: Ferdinand Cortez Alternatively, it was suggested that the name derived from adovana/avana (It), signifying a dance from the region of Padua Recent scholarshi has indicated that the latter is the case, and that the origins are a solemn ceremonial dance from Padua dating to circa 1508 1, although the name may actually be a conflation of the two The avan was a very solemn coules gliding dance done with long gliding (walking) stes in rocession with many curtsies, retreats and advances The lady rests her hand on the back of the man's, with ceremonial dignity Sain's new fashions in dress led the way for the avan, and consisted of gentlemen dressed with cas and swords, Princes in their mantles, and ladies in gowns and long trains dancing with a kind of strut-like motion; doubtless the cause for the eacock comarisons The dance fell out of favor in the early 17 th century The music of the avan was in a dule meter, and quite simle and reetitive, with the redominant rhythm being minim-crotchet-crotchet ( ) Likewise, the form was simle, consisting of many reetitions of a musical eriod, sometimes with minor variations like a theme-and-variations, but seldom with elaborate, virtuosic ornamentations The avan was often aired with the Galliard, a lighter, quicker dance in six that often included musical references to the receding avan After the actual dance form of the avan fell out of use, the musical form continued, becoming associated with sadness and mourning The tradition of this emotional character linked to the avan continued well into the 20 th century, the two most famous examles being ohn Dowland's Lachrimae, or Seven Tears Figured in Seven Passionate Pavans (1604) and Ravel's Pavane our une infante défunte (1899); neither of which were intended to be danced to, nor very dance-like at all 1 rown, Alan Pavan The New Grove Dictionary of Music and Musicians Ed S Sadie and Tyrrell London: MacMillan, 2001
Performance score Violin Viola Largo q = 52 4 4 PROCESSIONE DI LACRIME (PAVAN) Ó Ó x2 # Lansing McLoskey b 1 x2 Give cue to cello Cello starts laying together with uer strings right at cue (but will not align after that) b # 2 Give cue to sax to start solo (begin together) Reeat until cue from sax b Odhecaton Z Music (MI), 2009
# Cue from sax When sax gives cue, violin immediately stos laying ostinato wherever s/he is and begins violin solo (start of violin solo should overla with final long note of sax solo) Viola continues laying ostinato until s/he reaches the next rest, then starts the viola ostinato q = c60 Violin solo, with freedom > b b b P b, b > # F # b b b b # b U 4 b cue sax π Viola ostinato Reeat until end of violin solo (should actually only take one lay through or less) Largo q = 52 # # b # b b # At end of violin solo ( 4 ), violin viola reoin and lay original ostinato, reeating until end When sax solo ends at cue 5, bass lays final reetition of bass ostinato When bass stos, violin viola lay one more reetition of ostinato Largo q = 52 2 b #
CELLO PART Violin and viola begin alone Cello begins ostinato at cue from violin Reeat this ostinato until cue at end of 2 nd sax solo (should be aroximately 7 or 8 times) When sax gives cue : If you are in the first measures of the ostinato, continue from where you are to the cadence, then sto; if you are in the last measures, reeat ostinato one final time Reetitions of the ostinato should not all be layed exactly the same cue cue cue Sax solo starts Violin solo starts 2 nd sax solo
ALTO SAX PART Violin and viola begin alone Cello starts at cue Sax starts at cue 4