TRY ME, GOOD KING: LAST WORDS OF THE WIVES OF HENRY VIII


Movements:
I. Katherine of Aragon II. Anne Boleyn III. Jane Seymour IV. Anne of Cleves V. Katherine Howard

Instrumentation:
Soprano, piano

Text: Katherine of Aragon, Anne Boleyn, Jane Seymour, Anne of Cleves, Katherine Howard

Duration: 15 minutes

Commissioned By:
The Marilyn Horne Foundation

Premiere:
January 19, 2001, Juilliard Theatre, New York City; Meagan Miller, soprano, Brian Zeger, piano

Available From:
Oxford University Press, Cat. No. 9780193864184. Distributed by C.F. Peters.

Composer's Notes:

Divorce, behead, die, divorce, behead, die. This grade school memory game is how I first came to know about the six wives of Henry the VIII, King of England from 1509 to 1547. Since then, I’ve been fascinated with the personal consequences of power that befell the Tudor family and the circle of political intrigue of both church and state which caused such a wrenching in the private lives of the seven people—Henry and his six wives.

Try Me, Good King is a group of five songs drawn from the final letters and gallows speeches of Katherine of Aragon, Anne Boleyn, Jane Seymour, Anne of Cleves, and Katherine Howard. Henry’s sixth wife, Katherine Parr, outlived him and brought some domestic and spiritual peace into Henry’s immediate family. Although her written devotions are numerous, and her role in the story of the six wives of Henry VIII is that of a peaceful catalyst. In these songs I chose to focus on the intimate crises of the heart that affected the first five of the six wives. In a sense, this group is a monodrama of anguish and power.

I’ve interwoven a lute song into each song, including John Dowland’s “In Darkness Let Me Dwell” (Katherine of Aragon and Katherine Howard), Dowland’s “If My Complaints” (Anne Boleyn), Praetorius’ “Lo, how a Rose E’er Blooming” (Jane 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 as some of the finest examples of the golden age, they also create a tapestry of unsung words which comment on the real situation of each doomed queen.

Two other musical gestures unify the songs, firstly, the repeated note, which recalls the lute and creates psychological tension. The second device I created is abstract bell-tolling, which punctuates each song and releases the spiritual meaning of the words.

It is an honor to create new work for Meagan Miller and Brian Zeger, and contribute to the ongoing vision of the Marilyn Horne Foundation.

- Libby Larsen

Additional Information:
Available on the CD "Love Lies Bleeding: Songs by Libby Larsen" Eileen Strempel, soprano; Sylvie Beaudette, piano; Centaur Records CRC 2666

Score Errata:
Mvt. II, m. 59, piano, treble clef: first beat, F# should be F natural.

Mvt. II, m. 66, sop, last note should be D natural.

Mvt. III, m. 22, piano, treble clef: last A should be A-flat.

The ending: There exists an alternate ending, written for and recorded by Eileen Stremple. Dr. Larsen prefers the ending published in the Oxford University Press score.

Mvt. V, m. 18, the F in the bass clef is tied to the F in the treble clef in m. 19.

Mvt. V, m. 39, RH: The bottom note of the third eighth note should be D natural instead of D#. The same is true of the bottom note of the seventh eighth-note.

Mvt. V, m. 39, piano, bass clef: beat seven (C#) should be C-natural.

Mvt. V, m. 45, piano RH should be in bass clef.