Lipsy Larsen Tey Te, a ' : i Good. Ning g Last Words of the Wives of Henry VII For Solo Soprano and PianoLibby Barsen Biocrarny “Music exists in an infinity of sound. I think of all music as existing in the substance of the air itself Ie isthe composer's task to order ‘and make sense of ound, in time and space, to communicate something about being alive through music.” Libby Larsen Libby Larsen (b. 24 December 1950, Wilmington, Delaware) is one of Americ#’s most prolific and most performed living composers. She has ceated a catalogue of over 200 works span- ning virtually every genre from intimate vocal and chamber music to massive orchestral and ‘choral scores. Her music has been praised for its dynamic, deeply inspired, and vigorous con- temporary American spirit. Constantly sought after for commissions and premieres by major artists, ensembles and orchestras around the world, Libby Larsen has established a permanent place for her works in the concert repertory Larsen has been hailed as “the only English-speaking composer since Benjamin Britten who ‘matches great verse wit fine musi so intligently and expressively” (USA Tedey); 28a composer who has made the ar of symphonic writing very much her own.” (Gramephone); as "a mistress oF orchestration” (Times Union); and for “assembling one of the most impresive bodies of music of ‘our time” (Harsford Courant). ier music has been praised for its “lear textes, easly absorbed shythms and appealing melodic concours that make singing seem the most natural expression imaginable.” (Philadelphia Inquirer “Libby Larsen has come up with a way (o make contempo- rary opera both musically current and accesible to the average audience.” (The Wall Siret Journal “Fer ability co write memorable new music completely within the confines of tradi ‘ional harmonic language is most impressive.” (Fanfie) Libby Larsen has received numerous awards and accolades, including a 1994 Grammy as pro- ducer ofthe CD: The Art of Arlene Augér, an aclaimed recording that features Larsen's Sonnets _from the Portuguese. Hier opera Frankenstein, The Modern Prometheus was elected as one ofthe ‘ight bes classical music events of 1990 by USA Tday. Te first woman to serve as a resident ‘composer with a major orchestra, she has hel residencies withthe California Institue of the ‘Ants, the Arnold Schoenberg Instcute, the Philadelphia School of the Arcs, the Cincinnati Conservatory, the Minnesota Orchestra, the Charlotte Symphony, and the Colorado Symphony. Larseis many commissions and recordings area testament to her Fruitful collabo- rations with a long list of world-renowned artists, including The King’s Singers, Benita Valente, and Frederica von Stade, among others. Her works are widely recorded on such labels as Angel/EMI, Nonesuch, Decca, and Koch International. In 2001, «wo new recordings were released on Koch Incernational: Love Afer 1950, performed by mezzo-soprano Susanne Mentzer (for whom the song cycle was written), with Craig Rutenberg, piano; and an album of her orchestral works, including the world premicre of her fifth symphony, Solo Symphony, per- formed by the Colorado Symphony under the direction of Marin Alsop. Libby Larsen isa vigorous, articulate champion of the music and musicians of our time. In 1973, she co-founded (with Stephen Paulus) the Minnesota Composers Forum, now the ‘American Composers Forum, which has been an invaluable advocate for composers in a dificult, transitional time for American arts. Larsen's commitment tothe wider issue of music in society has led her to activity on a national level: she has served on the boards of the ‘American Symphony Orchestra League, Meet the Composer, and on the Music Pane! of the National Endowment for che Arts. She has been Vice President of the American Music Center and a director of the College Music Sociery. Consistently sought-after asa leader in the generation of millenium thinkers, Libby Larsens music and ideas have refreshed the con- cert music tradition and the composer’ role in it.Lippy Larsen Tey Me Goo Hing Last Words of the Wives of Henry VIII For Solo Soprano and PianoTry Te, Good, Hing Lipsy Larsen Premiered by Meagan Milles, soprano, and Brian Zeger, piano, at che Juilliard ‘Theatre on 19 January 2001 for the Marilyn Horne Foundations Eighth Annual New York Recital Program Note Divorce, behead, die, divorce, behead, dic. This grade-school memory game is how I first came to know about the six wives of Henry VIII, King of England from 1509-1547. Since then, I've been fascinated with the personal consequences of power that befell che Tudor family and the circle of political intrigue of both church and state, which caused such turmoil in the private lives of Henry and his queens. Try Me, Good King isa group of five songs drawn from the final leer and gallows speeches of Katherine Aragon, Anne Boleyn, Jane Seymout, Anne of Cleves, and Katherine Howard. Henry's sixth wife, Katherine Parr, outlived him and brought some domestic and spiritual peace into Henty’s immediate family. Although her ‘written devotions are numerous, her role in the story of the Henrys wives is chat of 4 peaceful catalyst. In these songs I chose to focus on the intimate crises of the heart that affected Henrys first five wives. In a sense, this group of songs is a monodrama of anguish and power. Tve interwoven 2 lute song into each song, including John Dowland’ “In darkness lec me dwell” (Katherine of Aragon and Katherine Howard), Dowland!s “IF my complaints” (Anne Boleyn), Michael Praetorius’ “Lo, how a Rose eer blooming” (ane Seymour), and Thomas Campion’s “I care not for these ladies’ (Anne of Cleves). These songs were composed during the reign of Elizabeth I, and while they are cast a some of the finest examples ofthe golden age, they also create a tapestry ‘of unsung words, which comment on the ral situation of each doomed queen. ‘Two other musical gestutes unify the songs: fis, the repeated note recalls che lure and creates psychological tension; second, an abstract bell-colling punctuates each song and releases che spiritual meaning of the words. Ieis an honor to create new work for Meagan Miller and Bri to the ongoing vision of the Marilyn Horne Foundation. Zeger and contribute —Libly LarsenTRY ME, Goop KING Last Words of the Wives of Henry VIII For Solo Soprano and Piano Katherine of Aragon Katherine of Aragon to Henry VIII, T January 1536 Libby Larsen legato, pedal ad lib — ‘and husband, the hour of my death now draw - ing ————_>_— nf Ped In darkness Jet me dwell," John Dowland © Onford University Pres, ne 2002 Assigned to Onford University Pres 2010 Printed in the USA.‘ently the ten - der love T owe you 1 ee 2 ee gradually becoming stern ——3s—— es to com-mend my - self _— = Ped. Il ——e = —SSS Sa te F SSS put you in re - mem - brane ofthe health ‘and wel - fare of your ‘In darkness let me dwell”freely-.---20-e20eeeeneee 4 Ss you have cast me in-to man la mi ties and your- self bellolt f —— ¥ x = 2 ———— Ie SS =—S For my art, pardon you In darkness let me dwell”ev "ry - thing. : God apo bello — that He will s__- Ped. It Ped.fath - er unto her. ————<—_ ——— 3 lvinly f = fe SS See WJ I make this vow, that my eyes de-sire you eo — SS SSS above bello to endAnne Boleyn ‘Anne Boleyn to Henry VII, 6 May 1536; Libby Larsen Henry’s love letter to Anne Boleyn; ‘Anne Boleyn execution speech, 19 May 1536 freely J= 138 Sariously fen -e- mies sit as my ac - cu-sers and jud-ges. and let not my — ————— atempo — me, good king, Jet me re-ceive an for my truth shall fear no a tempo Ne-ver a prince hada wife more loy - al, ‘more loy-al_ in all ane-ver a prince had a wife 24 freely than you have found in Anne Bu-len, J=80 freely adel hhave chos-en_me from low es-tate_ mp 28 freely —s— tempo “to be your wife and com-pan - ion. freely le strum Do you not re -mem-ber the words of your own true hand? atempo. ‘tempo Jed ‘asa lute song, simply “My own 35 freely wisylly for 1 think it longsince I kissed you, freely accel, 9 slowly tng my mis - tess and my friend.” slowly nf accel, words of your own tue hand?have found fa-vor —_in your sight, yo f hhas been pleas-ing 0 your ears, hhave found fa-vor in your sight, —_~ ~~ Pe12 58 pleading to your ears, me ob - tain this re ~ quest —_~ and my in ~ no-cence shall be Let me ob- tain this re - accel. P in desperation o nee = in no-cence shall_be cleared, Ty13, freely, recitative 73 (4 pulse) Good Christian peo-ple, come hith-er 10 die freely, recitative me (Spats) Re P and by the law I am judged to die, 81 — half voiced I pray God save the King, (I puise) —s— hhear the ex - © - cu-tion-er's good, ‘and my neck is so lit - te, (4 puts)4 Jane Seymour Jane Seymour to the Council, Libby Larsen 12 October 1537; “Tudor Rose,” Anonymous d=82 Right, trust - y and Well Be-lov-ed,— we greet you well, push ahead ‘as be the in - es-ti-ma-ble good-ness of AT might-y God, push ahead - * Lo, how a Rose e'te blooming.” Michael Praetoriusn it poco animato prince. ‘poco animato | aenay nf ra rT 1s (luli)16 21 push ahead Joyed may ‘push ahead belloll. b. bello. ——— rit SO 23 rit.” bello c 25 tempo (Hum) —_ rit beltol, oAnne of Cleves to Henry VII, 11 July 1540 formed by cer - tain ques - tions which have been "1 care not for these ladies,” Thomas Campion Anne of Cleves maj - es ty 7 Libby Larsen ‘asa matter of fact T have been in ~ of the doubts and18 with irony as amaner of fact though this case be most hard have. bse the ler - gy for my by clergy hath giv-en their sen hath given their4 oufoxing them 1 my-self for your grac - e's wife, — bf mf20 53 winking slegily maj = es-ty's most hum ~ ble daugh-ter of Cleves.21 Katherine Howard Recorded at her execution Libby Larsen by an unknown Spaniard, 13 February 1541 J=c.60 J=0.60 wth an expec fear bets a 4 p like afrightened child hhave mer-cy on my soul 6 S desperaely 1 beg you pray forme. *°In darkness let me dwell,” John Dowland2 pp sub. 10 freely, recitative atempo Thave not wronged the King freely, recitative 1 have not wronged the King, 1 have not wronged the King. ba23 2 J=80 freely, recitative before by the King took me, 1 loved Tho-mas Cul-pep-er. 1=80 be long freely, recitative f 18 atempo(d=c.60) becoming more anguished —s— as Cul pep - er wished me, ‘a tempo (d= c. 60) Ap poco a poco eresc 20 push ahead = for at the time the King want-ed me, Cul’ - pep - er urged me push ahead 2 rit Liistesso tempo say that Twas pledged to him, Liistesso tempo Psu.24 F 27 Tempo primo (4 = c. 60) poco a poco accel. 1 wish poco a poco accel. ———= poco a poco eres.25 J = 80 freely, recitative franicaly 9 was pledged to him, If I had done ashe wished me, freely, recitative wf should not 36 ‘Tempo primo molto agitato ‘molto agitato if a 38 Tempo primo ‘molto agitato hhave mer-cy on my soul ‘Tempo primo ‘molto agitato fz =26 40 Tempo primo Good peo = pl — me. ‘Tempo primo be OOS J 41 molto agitato ip accel. eee Ts: ‘molto agitato ne 42 freely, recitative 1 dea queen would rath-er die the wife of Cul - pep - er, freely, recitative attacea 43, molto agitato, accel. ‘molto rit, ‘molto agitato, accel. molto rit B gener SF In darkness let me dwell”Libretto Katherine of Aragon (1485-1536) Queen from June 1509 to January 1533 Katherine of Aragon, formerly Queen of England, to King Henry VII, 7 January 1936 ‘My most deat Lord, King, and Husband, ‘The hour of my death now drawing on, the tender love I owe you forces me. « to commend myself unto you and to put you in remembrance of the health and ‘welfare of your soul... You have cast me into many calamities and yourself into ‘many coubles. For my part, I pardon you everything, and I wish ro devoutly pray God that He will pardon you also. For the rest, I commend unto you our daughtes, Mary, beseeching you to bea good father unto her... Lastly, I make this vow, chat my eyes desire you above all things. ‘Anne Boleyn (15022-1536) ‘Queen from January 1533 to May 1536 Letter from Anne Boleyn, Queen of England, to Henry VIII, 6 May 1536: Excerpt from swe leter from Henry VIII to Anne Boleyn; Anne Boley speech at her exeeution, 19 May 1536 “Try me, good king, ... and let me havea lawful ial and let not my ... enemies sicas my accusers and judges... Lt me receive an open tral for my truth shal fear no open shame. ... Never a prince hada wife more loyal in ll duty, «inal true affection, than you have ever found in Anne Bulen .... You have chosen me fiom low esate 1 be your wife and companion ... Do you not remember the words of your own hand? “My own dating... would you were in my arms for {think it long since I kissed you. My mistress and friend...” Try me, ood king... Fever Ihave found favor in your sight —if ever the name of Anne Bulen has been pleasing to your ears—then lec me obtain this request... and my innocence shall be... known and... eared, Good Christian People, I come hither to die, ... and by the law I am judged todie, ... | pray God save the King. I hear the executioner’ good, and my neck. isso liceJane Seymour (€1506-1537) Qucen from May 1536 to October 1537 Jane Seymour, Queen of England, tthe Council, 12 October 15375 “Tudor rose” (Anonymous) Right trusty and Well-Beloved, we greet you well... foras much as be the ines- timable goodness... of Almighty God, we be delivered... of a prince, .. ove the rose both rd and white. ‘To hea of them is my delight! Joyed may we be, Our prince to see, ‘Ad roses three! Anne of Cleves (1515-1557) Queen from January 1540 t Jly 1540 Anne of Cleve, Queen of England, to Henry VI, 1 July 140 Thave been informed ... by certain lords... of che doubts and questions which have been . found in our marriage... Ie may please your majesty ro know that though this case. be most hard... and sorrowful... I have and do accept {the clergy) for my judges. So now... the clergy hath... given their sentence, 1... approve... Tneither ean nor will pute myself for your grace’ wife. yet twill please your highnes co take me for your sister, For which I mose humbly thank you. Your majesty most humble sister, ‘Anne, daughter of Cleaves: Katherine Howard (1521-1542) Queen from July 1540 to February 1542 ‘Recorded at her execution by an unknown Spaniard, 3 February 1542 God have mercy on my soul. Good people, I beg you pray for me. By the journey ‘upon which I am bound, brothers, Ihave not wronged the King, But itis true that long before the King took me, I loved [Thomas] Culpeper... wish to God I had done as Culpeper wished me, for atthe time the King wanted ... me, {Culpeper} urged me to say that I was pledged to him. If [had done as he wished me I should not di this death, nor would he. ... God have mercy on my soul. Good people, 1 bbeg you pray for me...I die a Queen, but I would eather die the wife of Culpeper.The Solo Vocal Music of Libby Larsen Available from Oxford University Press Beloved, show hast brought me flowers Mezzo-soprano, cello, and piano 0-19-386128-3 Love after 1950 Mezzo-soprano and piano 0-19-3863.45-6 Margaret Songs Soprano and piano 0-19-386171-2 ME (Brenda Ueland) Soprano and piano o-19-386155-0 Songs from Letters: Calamity Jane to Her Daughter Janey, 1880-1902 Soprano and piano 0-19-385976-9 Sonnets from the Portuguese Soprano and piano 0-19-385981-5 ‘Try Me, Good King: Last Words of the Wives of Henry VIII Soprano and piano 0-19-386418-5 Music for Solo Voice Hvatlable from Oxford University Press Rebecca Clarke Songs with Piano Voice and piano (0-19-386420-7, Songs with Violin Voice and violin 0-19-386370-7, Peter Saltzman A "Song of Songs” Gyele Voice and piano 0-19-386263-8 Hilary Tan Arachne Soprano, unaccompanied 0-19-386351-0 A Girl’ Song to Her Mother Solo voice and oboe (or other melody instrument) 0-19-386352-9 The Moor Soprano and mezzo-soprano, ‘unaccompanied 0-19-386150-x Mother and Son Soprano, Eb clarinet (or violin), viola, and cello 0-19-386057-0OXFORD SNAG Ray Saco 1S8N i 19. il 4 Il ole MH!