My last duchess
Composed in 2015
For baritone, bass clarinet, trumpet, and trombone
Duration: 8:00
Text: Robert Browning (public domain)
I've been fascinated by Browning's "My Last Duchess" for years, and had long ago attempted to set the poem to music. Something never seemed quite right about those earlier attempts, but I revisited the poem when I was presented with the opportunity to compose for loadbang, whose unique sound, flair for the dramatic, and intensity of approach all suggested they would be the perfect ensemble to bring off a musical setting of this poetic classic. In particular, I was inspired by Jeff's ability to make even abstract, plotless texts come alive through his vocal delivery, and I felt sure that he could find a way to fully inhabit the central character of this dramatic monologue, that of the imperious Duke, busy negotiating a second marriage contract, who during the course of his speech reveals the chilling circumstances that led to the demise of his last duchess.
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That’s my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now; Fra Pandolf’s hands
Worked busily a day, and there she stands.
Will’t please you sit and look at her? I said
“Fra Pandolf” by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, ’twas not
Her husband’s presence only, called that spot
Of joy into the Duchess’ cheek; perhaps
Fra Pandolf chanced to say, “Her mantle laps
Over my lady’s wrist too much,” or “Paint
Must never hope to reproduce the faint
Half-flush that dies along her throat.” Such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had
A heart—how shall I say?— too soon made glad,
Too easily impressed; she liked whate’er
She looked on, and her looks went everywhere.
Sir, ’twas all one! My favour at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool
Broke in the orchard for her, the white mule
She rode with round the terrace—all and each
Would draw from her alike the approving speech,
Or blush, at least. She thanked men—good! but thanked
Somehow—I know not how—as if she ranked
My gift of a nine-hundred-years-old name
With anybody’s gift. Who’d stoop to blame
This sort of trifling? Even had you skill
In speech—which I have not—to make your will
Quite clear to such an one, and say, “Just this
Or that in you disgusts me; here you miss,
Or there exceed the mark”—and if she let
Herself be lessoned so, nor plainly set
Her wits to yours, forsooth, and made excuse—
E’en then would be some stooping; and I choose
Never to stoop. Oh, sir, she smiled, no doubt,
Whene’er I passed her; but who passed without
Much the same smile? This grew; I gave commands;
Then all smiles stopped together. There she stands
As if alive. Will’t please you rise? We’ll meet
The company below, then. I repeat,
The Count your master’s known munificence
Is ample warrant that no just pretense
Of mine for dowry will be disallowed;
Though his fair daughter’s self, as I avowed
At starting, is my object. Nay, we’ll go
Together down, sir. Notice Neptune, though,
Taming a sea-horse, thought a rarity,
Which Claus of Innsbruck cast in bronze for me!
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First Performance: December 7th, 2015
The DiMenna Center for Classical Music, New York, NY
loadbang:
Jeffrey Gavett, baritone voice
Carlos Cordiero, bass clarinet
Andy Kozar, trumpet
William Lang, trombone
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