By Anna Pidgorna | For Vocalist and Percussion Quartet | 13′

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From the composer:

Weeping for a dead love draws on the now rare rural Ukrainian tradition of mourning songs known as gholosinnia: half-chanted, half-cried laments sung by women at funerals and over grave sites. They consist of small melodic cells, which expand and contract to fit varying phrases of text. The text is semi-improvised; the singer borrows commonly used formulas filling in her own details to describe her loved one, the manner of his or her death, her own reaction to it, and the realities and fears of life without this person. The overall effect is simultaneously meditative and devastatingly emotional. These laments offer opportunities both for individual and collective grieving. 

Anna Pidgorna discovered this tradition through archival recordings while doing fieldwork in Ukraine in the fall of 2012. Mesmerized by its sonic qualities and emotional power, she has drawn on this tradition in multiple vocal and instrumental works. This particular piece mourns the death of a romantic relationship rather than a person. Just like other mourners before her, Pidgorna makes use of common formulas to tell her own story, working through her own emotions and offering a collective grieving experience.

The piece was written for a vocal timbre reminiscent of Ukrainian folk signing (more chesty or mixed). It can be performed by a more classically trained singer, but should not sound too operatic. The low range should be more in the chest. Vibrato should be more of  an ornament than a constant. The voice should be  amplified to balance with percussion.  

The vocalist can choose to sing in whatever range is most suitable to her voice, transposing the piece  accordingly. Be sure to match the pitches of the Noah Bells to your chosen tonality. 

The piece is ritualistic and theatrical. Some basic staging is indicated in the score. Fill in details  according to your own feeling and interpretation.  

The percussionists start the piece at different corners of the hall, hidden out of sight of the audience. The vocalist is hidden behind the audience. Everyone  enters according to the entrance diagram [provided in the score]. Vocalist,  Percussionist I, II and IV exit according to the exit diagram [provided in the score]. Percussionist III remains on stage.  

Premiere: First performed on May 19, 2015 at Taplin Auditorium, Princeton University, Princeton, NY by Anna Pidgorna (voice) and Sō Percussion.
Recording: