Coming Back
15. Waves (orchestra)
16. Song of the Pool (Soprano, orchestra)
17. Wall of Voices (Donna, Uomo, Soprano, Msopr., Bar., Bs.)
18. Third Voice (Donna)
19. Finale (orchestra)
“Coccioli succeeding even in surprising us, thanks particularly to a skilful exploitation of electronic techniques. …Themes a little ambitious certainly, in the confines of a lyrical work, but which Coccioli seizes the essence of, with a certain poetry and beautiful suggestive moments.” Nicola Gandolfi, Opera International, June 1998
“If there is one strength in particular that Magma can claim, it is the (one might almost say ‘Berianesque’) capacity of the composer to establish his own style, whatever the historical and ‘geographic’ diversity of the sonic means at his disposal. And a highly theatrical characteristic of this style derives from the dramatic skills of the score, which never allows the tension to lapse.” Enrico Girardi, L’Opera, May 1998
“It is a music rich with its own strong, communicative immediacy, combined with a search seemingly for the roots of an original, primordial vocabulary. It refers to diverse experiences and languages, bearing in mind perhaps above all the lessons of Berio, but in an autonomous fashion, with a play of interactions where the tension never dips (for instance, in the highly effective ending)” Paolo Petazzi, L’Unita’, 23 March 1998
“Last Friday, with astonishing simultaneity, two in different ways memorable premieres: at Genoa Venus and Adonis, by Hans Werner Henze, and at Lugo di Romagna by contrast the first opera of a ‘de luxe’ debutant, Lamberto Coccioli, pupil of Luciano Berio and Azio Corghi… An archetypal trajectory, oneiric, perhaps a nightmare that Coccioli, thanks also to Sebastian Schloessingk’s edged and aphoristic text, reads with wide open eyes, so multiplying vertiginously the languages and ‘materials’ of the performance: song, speech, acoustic sound, artificial sound, film, stage design, all rigorously deprived of their centre, their functionality. But loosened into each other by the most limpid and organised discipline of metamorphosis.” Guido Barbieri, Il Gazzettino di Venezia
“Magma, or The See-Through Wilderness, a new opera by the young composer Lamberto Coccioli, presents a music of such lambent sensuality and richly dramatic colour that it cannot but convince even those weaned on an exclusive diet of bel canto…
But it is Coccioli’s music, from the shimmering soundscape of the Introduzione to the pounding heartbeat of the Finale, that insists that this work find a place in the international repertoire, redefining ‘Italian opera’.” Adrian Dannatt, The Independent, 27 March 1998
Translated from Italian and French by Sebastian Schloessingk
Marc Augé, Nonluoghi
Walter Burkert, Mito e rituale in Grecia
Joseph Campbell, Il potere del mito
Elias Canetti, Massa e potere
Bruce Chatwin, The Songlines
Georges Lapassade, Stati modificati e transe
Claude Lévi-Strauss, Tristes tropiques
Claude Lévi-Strauss, Du miel aux cendres
Camille Paglia, Sexual Personae, Art and Decadence from Nefertiti to Emily Dickinson
Clarissa Pinkola Estés, Donne che corrono coi lupi
Julien Ries (a cura di), I riti di iniziazione
Gilbert Rouget, Musica e trance
Curt Sachs, Le sorgenti della musica
André Schaeffner, Origine degli strumenti musicali
Marius Schneider, La musica primitiva
Stith Thompson, La fiaba nella tradizione popolare
Victor Turner, Antropologia della performance
Victor Turner, Dal rito al teatro
Valerio Valeri, voce Rito nell’Enciclopedia Einaudi
Arnold Van Gennep, I riti di passaggio
Elémire Zolla, Aure
Magma is about ritual and our relationship with nature. The traditional rites of passage from nature to culture – once powerful instruments of social integration and knowledge – do not exist anymore. Yet, humans still need rituals. To be meaningful today a rite of passage needs to take the inverse route, and go from culture back to nature.
In Magma a woman lives through different experiences that bring her close to an unexpected understanding of nature, as a frenzied, violent and irrational force, as a living magma perpetually regenerating. When her “inverted” rite of passage is over, the woman realises that her new awareness cannot be shared, and that there is no going back.
An old Nordic folktale introduces and frames the action. It sets the mythical mould that forms the basis of the woman’s behaviour, and allows a better understanding of the ritual dimension of the plot.
The idea for this work came from my personal experiences in a faraway country, while music and narrative evolved from the desire of setting up a reaction between different cultures, using – in a kind of inverted ethnology – the cultural criteria of so-called primitive societies to analyse and unmask our own behaviour.
The text of the libretto is by the Germano-Irish poet and writer Sebastian Schloessingk.
In Magma there are a number of musical and theatrical issues that I wanted to explore:
The relationship between speech and song, and the way to convey meaning in operatic writing: there are two actors on stage, and their speech is measured, without being rhythmically altered. At the same time key words from their text are sung by two singers for each actor. The singers are like added dimensions to the stage characters, and project musically the meaning of the words.
Real-time control of electronics in performance. The production of Magma took advantage of a new tool for live electronics, the MSP set of audio objects for the Max programming environment for the Macintosh. MSP had just come out in 1998, and in Magma it is used among other things for real-time convolution of voices and percussion with different sound sources. Magma is the first major Italian music production to use MSP.
Research in dynamic harmonic fields: they become elastic entities that follow closely the dramatic structure of the work. While writing an opera for the stage, compositional procedures should be closely related to, and even dependent from the dramatic structure of the work. Harmonic fields become here elastic, continuously self-modifying entities, that adhere as a second skin to the dramatic surface of the opera. On top of their fundamental harmonic identity, these fields may acquire – according to the dramatic situation – other dimensions. A historical one, in the shape of a direct intersection with patterns of notes clearly belonging to a given style, or a geographical one, where musical elements from distant cultures are integrated in the harmonic structure of the fields.
* * *
Commissioned by CIDIM, the Italian National Music Committee, together with the Rossini Theatre in Lugo di Ravenna and the Toscanini Foundation in Parma, Magma was premiered in Lugo in March 1998, with the following interpreters:
actors
Francesca Brizzolara, Donna
Gabriele Volpi, Uomo
Denise Fedeli, conductor
Gigi Dall’Aglio, stage direction
Tiziano Santi, stage design Tempo Reale, live electronics
Orchestra del Teatro Rossini di Lugo
This is the original libretto of the opera by Sebastian Schloessingk. An Italian translation of the libretto, by Susanna Basso, Sebastian Schloessingk and myself, was used for the performance in Lugo di Ravenna.
INTRODUCTION
Cottongrass
CHILD
GIRL
WOMAN
OLD WOMAN
Once upon a…
princess
princess
Look she’s
playing, I’m
playing
again
in the meadows
near home
the lovely meadows
in my little white gown
her crown and her
gold heart on a chain
When out of
the forest, look!
an elk!
an elk!
an elk!
an elk!
no fear
It’s coming! Look
How big!
and its muzzle
I’m stroking! Mum! I’m…
stroking
the big strong elk
Can I go with you?
Can I go with you?
but all the dangers
but I want to see
the world
the world
the dangers
and you
will protect me
the elk thought and said
the elk thought and said
OK
OK
OK
OK
yes!
cool!
Mum! The elk
says so
[PAUSE]
[PAUSE]
[PAUSE]
[PAUSE]
the elk
and me
go on a journey
go on a journey
into the forest
the hills
and softlands
forest
hills
softlands
forest
going through all
funny places
a tufted marsh
Careful princess
it’s full of
funny people
Careful dear
What are they, elk?
Elves. They’re elves
elves!
elves!
pretend
they’re not there
Who are you, who…? [quiet]
Careful now
what’s your name?
what’s your name? [getting louder]
Come on, what’s…?
Come on, what’s…?
no!
Careful princess!
your name?
Who are…?
Hey, help, my crown!
Got it [delayed echo]
Got it [delayed echo]
Help!
And keep it
And keep it
First Time Around
First Time Around
First Time Around
The Princess Lost Her Crown
The Princess Lost Her Crown
The Princess Lost Her Crown
[PAUSE]
[PAUSE]
[PAUSE]
[PAUSE]
Then in the marsh
an island where
My Elkie lives
please
let me sleep
the princess put
near to you
her gown on a tree
and slept
and slept
naked
because the elk
is keeping
watch
and the next day
the princess said
the princess said
I’ll go bare
naked
naked
naked
all day and
hold the gown
in her hand
Careful dear
I want to see
more and more
of the world
and up
she goes
and the elk runs
like the wind
like the wind
like the wind
yes!
cool!
into the wood
your head down!
so fast
watch the branches!
watch the branches!
Ow!
the branches
whip the princess
whip the princess
slow down, elk!
down slows the elk
[audible breath]
moss and lichen
on the stones
like a rug
all the colours
all the colours
all the colours
all the colours
[audible breath]
but it is
spooky
what’s that
moving
there and
there, it’s
haunted, deary
behind the trees
its eyes
ice green
A haunted wood
and mouth
blood red
witch [flat quiet]
of the wood
careful!
careful!
Hallo!
what’s your name?
[silence]
little girl!
Cottongrass
It’s Cottongrass
And what a lovely
careful (whisper)
careful (whisper)
dress. Do let me
no
the material
Don’t! (whisper)
Don’t! (whisper)
Go on
Don’t!
Don’t!
Just let me
Don’t!
Don’t!
touch, look, just
Go on then
Hmmm
Now give it
not bad
back, I said
ha! ha! [violent, harsh]
too late
ha! ha! [diminuendo]
And the second time around
And the second time around
And the second time around
She lost her gown
She lost her gown
She lost her gown
[PAUSE]
[PAUSE]
[PAUSE]
[PAUSE]
She didn’t like that
Not fair
Even the elk
was angry about it
But they pressed on
Not fair
till night
ever deeper
into the forest
and when the sun
found them out
the girl is asleep
trusting and naked
again
and the elk
unsleeping
keeping an eye
wakes me up
wake up!
where we going?
It is the time
the pool
What pool?
No human
has ever
seen it
What pool?
Deep
in the forest
the leafy pool
the leafy pool
we’ll soon be there
it’s so dark
what is?
the water
careful
all the princess
is wearing now
her golden heart
on a chain
I gave to her
my little chain
careful dear
Look if I look
down into the pool
don’t
you can see
my little heart
getting closer
to the dark
shiny
pool
careful!
Oops!
I knew it
I gave it
my little heart!
sidling down
to the bottom
my little heart!
of course
of course
of course
I want it
it’s gone
it’s gone
where is it?
forget it
it’s there!
forget it
forget it
somewhere, Elk!
what is it?
Find it!
Can’t
Elk! Elk!
What is it?
Don’t go
Then come
Then come
Then come
But elk!
Then come [quieter]
But elk!
What is it?
But elk!
[silence]
But elk…[quiet]
PARTING
Girl Woman 1 soprano, mezzo-soprano
body body body body body body body body body add! body head body head body goes to the head to the head head head add! add! heart oh heart body body to the head heart and! and! regret heart regret body regret and! and! add! add! sex sex head sex head sex heart regret head sex her sex
Girl Woman 2 soprano, basso
body body body body body add! hope body body body body
hope hope hope hope weight hope hope weight sex sex weight her sex head sex sex sex sex her sex weight hope sex sex sex her sex head sex heart regret heart! sex weight sex weight heart! weight sex weight sex heart
Couple Talk Woman, Man mezzo-soprano, baritone
Let’s play that game…
Can I come in? It suits you, it really… Let’s play that game… I prefer you Amazing meal Leave me alone
Ooh cold feet Course I do Let’s talk, right? Big or little? Just give me some reasons You’re so good to me
Satisfied? About when you were a child… You go So? So?
If you ever fucking… Remember that time…
She’s pretty, isn’t she? Don’t be like, don’t…
Is that supposed to be a joke? Come on, we’re late You’re mad, you’re fucking… Put your hand Where you ringing from? OK you can look Do you never ever stop to think… Because you are an exception Is it for me?
Relax, take it easy… Your father would turn… So what did you make of them? Because I’m crying
You’re so impolite But I like to touch
If you’ll let me finish…
Darling, don’t worry, OK?
He’s only my friend Nothing, nuh-thing
You talk so much crap Sleep now, sleep
Your turn, go on And shut the door Feeling better? Here we go, over and over The keys, where the pissing…? It’s your lover And don’t wake me up Give me time, OK?
I don’t believe it Can we turn over?
Yeah yeah
So where to this year? Shut the fuck… I like it when you…
Who says? It’s cosy Listen, you have your friends and… Look at that view I could fucking sue.. Let’s stay in bed You do what you want Don’t answer it No need to shout ‘Cos I’m fond, I’m really… Keep doing that For you or for me? [pause] Men.
Yes, I do care Stop looking at yourself, will you? And your first boyfriend? I’m reading. Reading. Look at me will you So. Did you like the film? Where’ve you been? Who was that? [pause] Peace I want peace
You’re just a bastard. Tell them the story Words words words Don’t give me that Just a goodnight kiss I like your body You’re looking tired Cunt. Don’t change the subject I’ve always known Go fuck somebody else Why are we stopping? What about your mother? Because I say so Look, it’s still dirty Are you being sarcastic? The old wonderbra You’re so stupid How much did it cost? Don’t ever use that word in my hearing… At least I tried Not like that It’s your bare tummy, drives me… How could you Words words words Well, look after yourself Don’t be pathetic Your hands. Is what I noticed first Is this a wind-up? Typical fucking woman Brilliant You’re getting fatter Didn’t you once said you loved me?
O.K.! O.K.! I was worried about you
You fucking try Let’s, yeah, come on, let’s…
The things we… Go. Go. Go. Go!
And then?
Those legs of yours Get out of my life Answer the question Just like your fucking family You look so young Just piss off, leave… We can’t afford it It’s my body You never talk like… You’re lying again Promise? And then you rang Don’t touch me Shush, I know, I know The night we were talking… Men just need to Let me breathe That’s great, that’s perfect Inside or out?
You choose No really you were the best-looking… Don’t pressurize me OK? A bit higher… a bit lower… You’re all arseholes
Girl Woman 3 soprano, basso
heart heart heart heart sex sex regret body regret body sex regret body body regret sex body head body body body head body body body body hope body body regret body body regret body body hope body body body body and! and! trees sex and! trees heart weight trees sex trees heart trees trees
EDGE
Ironic Chorus singers Woman, Man
So, the woman has started. Fat hope. What’s she after? She is ill-advised. But she is not happy. Strange to say. And will she get happy like this? Who can tell? Who can say? But we say , fat hope. But she is not happy. And who can blame her? We can, we blame her. Who are you? We men. Which men? The new men. Who? Who try. We’ve read about you. And about her? She’s out there and who knows? Search me. Search me. Search me. Search me.
Monologue Woman
I’m speaking to no-one It was so hard to go that I couldn’t. It was goodbye to all that built… Inviting, protecting and unreal. I didn’t fit, I did not fit. What I came up with was mostly nothing. The way it went, I was the enemy. To them and to me and… An enemy learning to see, I suppose. In the night, or asleep. I could see but I couldn’t move. You’d say it had the shape of trees. When I went, which I did. If it wasn’t such crap. I’m told it’s crap. What I was after. And a long time till their voices… Gave me the space. Space, and difficulty. Trees for women, is different. But not to say, that’s not to say…
COMING BACK
Third Voice Woman
I don’t know, I’m so far behind it You’re very quiet. I like that But it’s not easy to have been You won’t see many, of the things, you just won’t Don’t look at me like that, like all alone. We both are Anyway you wouldn’t appreciate … where You’re so far away, your eyes are all big and hurt. No, stay there, I’m thinking I’m thinking. Later, later. I won’t be like this forever Come here
Song Of The Pool soprano
Beyond the woods Whichever way you come With a harder looking face There is a pool Surrounded by woods. Divided by ripples If any. Scarcely broken by the ripple, or lit. Loosened ties, wooden tears stain my face and spear the water slum it and clear it.
Wall Of Voices singers Woman, Man
Went of her own free will. Trees shed leaves because of wind. Didn’t desert him. Because of the wind otherwise hitting and knocking the whole body down. Now I doubt if he exists. Alone in the forest and going all animal or one sad human? Never want to see her again unless she comes and knocks and says and not even then. Think you’ll be snapped out of it soon enough by B-roads crossing the wood, saved and saddened? Think again. It’s not something done with other women. The B-roads and stretches of sodium lights have slunk away forever. I never had the attention span to read enough into the difference. A month in nature becomes grotesque. After a month do you still say ‘I’? Until I was suddenly casually ready to sort for myself the moon size problems. If he calls me here, will I pick it up? Or pity the repetitive sound of a small creature no worse than the rest. It’s not the shadow of the heart you fool. Group nature? Group nature? There is less reason to be afraid even in the night than in the suburbs. And it’s an outrage when from way off a face with the right hair turns and refuses. The wilderness so matter-of-fact. I am not for him and not against him. The automatic spurts of animal fright. If they ever ganged up, but they don’t. Sunlight is an omission by clouds. If my footsteps make no noise, what then? Trees and nerves and lungs and needs…
The title of this work for large orchestra is the last line from Boys And Girls Between The Wars, a poem by Sebastian Schloessingk that I also set to music. The original work for voice and four instruments is the starting point for …the sun is out, the sun is out . The instrumental gestures and the vocal line from the chamber music work are projected and expanded in a vast orchestral space, and acquire a completely new dimension. This process of transcription, of reading again and translating the same material in different forms, obviously inspired by the lesson of Berio, has always fascinated me.
In Boys And Girls Between The Wars I wanted to use Sebastian Schloessingk’s poem – both its phonetics and content – as the source of all the musical ideas. The text generates a form for the composition, and the music occupies a vast territory between onomatopeia and metaphor, bringing to life contrasting musical objects held together by subtle harmonic relations. This piece serves also as the model for a later orchestral piece, …the sun is out, the sun is out.
Finally, Boys And Girls Between The Wars is also a profoundly felt homage to the wonderful Chansons madécasses by Maurice Ravel, one of the highlights of vocal music of all times, written for the same instrumental ensemble.
Written in 1994 and revised in 2001, Boys And Girls Between The Wars was premiered by Sarah Busfield, voice, and the Thallein Ensemble conducted by Liz Johnson on 27 June 2001, Birmingham Conservatoire, Recital Hall.
* * *
Clouds move in parallel rows granting the sun stern terms, true? So when the clouds pull off in all directions, like torture horses, a camera’s shutter, birds from shot, salt water from a rock, this is childish. A big child in a garden of bouncy foliage. Look. Original sky, fat bombers slog across it, the child is a boy. Great flowers dash up to the bombers’ lumber and pry decorating round their legs, the child is a girl, the sun is out, the sun is out.