Valentina V.
2021–2022
harp, immersive audio, video, and lighting
ca. 30'
for Hope Cowan and the Rice Electroacoustic Music Labs
Documentation
List of Performances
harp, immersive audio, video, and lighting
ca. 30'
for Hope Cowan and the Rice Electroacoustic Music Labs
Documentation
List of Performances
Valentina V. is a work for solo harp and multichannel electroacoustic sound, video, and lighting, and revolves around an original concept based on research conducted over several years. The work is conceived as a multimedia monodrama in which the solo harpist acts as a stand-in for Valentina Visconti, an actual 14th-century European noblewoman whose short life ended in tragedy and exile. All elements of the piece coalesce to engender an atmosphere not unlike that of a psychological thriller, whose narrative unfolds as a loose succession of “scenes” exploring various mental and emotional states of the protagonist.
Valentina Visconti (1371–1408) was the daughter of Giangaleazzo Visconti, head of Milan’s ruling family. She was also a well-renowned harp virtuoso and connoisseur of new art and music. Valentina married Louis d’Orleans, brother to the King of France, but was forced to flee Paris after others at the royal court accused her of witchcraft. Valentina V. presents an imagined scene near the end of her life in which she is confined to her chamber with only her precious harp to confide in. Musical materials are in part derived from Jacob de Senleches’s chanson “La harpe de melodie,” which had likely been composed as a virtuosic solo piece to showcase Valentina’s abilities. The music of “La harpe” is at times referenced directly. At other times, it emerges in a fragmented or distorted form, representing Valentina’s reminiscences as they are filtered through her fractured psyche.
The opening movement’s title “dans les dents de la guivre” (“in the teeth of the viper”) is taken from Victor Hugo’s poem “Canaris,” which enumerates coats of arms of various world powers. The line refers to the Visconti family’s coat of arms: a serpentine, dragon-like creature devouring an infant. This horrifying image symbolized the Visconti’s despotic stranglehold over the city of Milan and was depicted in nearly every artwork and manuscript they commissioned. Acting as an introduction to the larger work, “dans les dents de la guivre” establishes an atmosphere of isolation and psychological distance and intersperses fragments of “La harpe de melodie” with sounds imitative of the mythical beast. Ultimately, moments of calm contemplation are usurped by anxiety and terror.
The second movement is Jacob de Senleches’s original virelai “La harpe de melodie.” Working from a transcription by musicologist Nors Josephson, I arranged the music for voice and harp. The cantus is presented in the electronics, a disembodied representation of Valentina’s inner thoughts.
The third movement’s title “Tearsong: rien ne m’est plus, plus ne m’est rien” is taken from an article by Dr. Anna Klosowska. This movement comments on the chanson and serves as a dénouement for the piece, as Valentina resigns herself to loneliness.
Valentina Visconti (1371–1408) was the daughter of Giangaleazzo Visconti, head of Milan’s ruling family. She was also a well-renowned harp virtuoso and connoisseur of new art and music. Valentina married Louis d’Orleans, brother to the King of France, but was forced to flee Paris after others at the royal court accused her of witchcraft. Valentina V. presents an imagined scene near the end of her life in which she is confined to her chamber with only her precious harp to confide in. Musical materials are in part derived from Jacob de Senleches’s chanson “La harpe de melodie,” which had likely been composed as a virtuosic solo piece to showcase Valentina’s abilities. The music of “La harpe” is at times referenced directly. At other times, it emerges in a fragmented or distorted form, representing Valentina’s reminiscences as they are filtered through her fractured psyche.
The opening movement’s title “dans les dents de la guivre” (“in the teeth of the viper”) is taken from Victor Hugo’s poem “Canaris,” which enumerates coats of arms of various world powers. The line refers to the Visconti family’s coat of arms: a serpentine, dragon-like creature devouring an infant. This horrifying image symbolized the Visconti’s despotic stranglehold over the city of Milan and was depicted in nearly every artwork and manuscript they commissioned. Acting as an introduction to the larger work, “dans les dents de la guivre” establishes an atmosphere of isolation and psychological distance and intersperses fragments of “La harpe de melodie” with sounds imitative of the mythical beast. Ultimately, moments of calm contemplation are usurped by anxiety and terror.
The second movement is Jacob de Senleches’s original virelai “La harpe de melodie.” Working from a transcription by musicologist Nors Josephson, I arranged the music for voice and harp. The cantus is presented in the electronics, a disembodied representation of Valentina’s inner thoughts.
The third movement’s title “Tearsong: rien ne m’est plus, plus ne m’est rien” is taken from an article by Dr. Anna Klosowska. This movement comments on the chanson and serves as a dénouement for the piece, as Valentina resigns herself to loneliness.
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Performances
- DMA Lecture-Recital (only partial premiere) — Wortham Theater at the Shepherd School of Music, Rice University. Hope Cowan, harp. Timothy Roy, electronics. Chapman Welch, live sound. Kurt Stallmann, lighting.