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Steve Rouse, composer
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WAITING FOR DAYLIGHT for soprano and orchestra.....a story of domestic violence text by Anne Shelby soprano and orchestra - 1997 - c.25:00 Program Note Text Reviews
On April 4, 1997, the Louisville Orchestra, conducted by Max Bragado-Darman and featuring soprano Edith Davis, premiered Waiting for Daylight, a new orchestral work by Louisville Meet The Composer Resident Composer, Steve Rouse. The text, written specifically for the composition by well-known Kentucky author and playwright, Anne Shelby, tells the story of unchecked spouse abuse, which ultimately results in the death of an abusive husband at the hands of his wife in her last, desperate attempt to protect her children and herself. Anne Shelby worked closely with composer Rouse in capturing their vision of this story. The Louisville Residency is grateful to Dr. Pat Gagné, Professor of Sociology at the University of Louisville, who shared excerpts from her dissertation research, including interviews with women imprisoned for killing their abusers. Domestic violence is such a disturbing issue that we all too frequently divert our attention...the issue is too intensely painful to attend to for long. Unfortunately, the terrible statistics tell us that domestic violence is more prevalent and pervasive in our society and throughout the world than we are willing to acknowledge. The few who have escaped its impact frequently don't want to think about it, and the issue is virtually taboo in discussion. Domestic violence is everywhere though, and is an equal opportunity horror having no barriers--not income, race, social status, geographic location, or age. Waiting for Daylight was created to focus attention on domestic violence through the power of drama, music and the sound of the singing voice -- expressions beyond words alone. The emotional commentary of the music and the powerful narrative story of Waiting for Daylight combine to draw the listener into its world of domestic violence. We feel our character's pain and fear, share her hope, and understand the depth of her despair and torturously conflicting impulses. Because this is art, we know that we are safe. We are moved to understanding, empathy, and perhaps healing or even action--but we are safe. This is the power of Waiting for Daylight. We willingly focus our attention where we would not, and unwavering attention is an essential key to finding solutions to the plague of domestic violence. The premiere performance prompted efforts by local support and advocacy agencies for women and families, which were coordinated by the University of Louisville Women's Center led by Judi Jennings. Activities included a pre-concert discussion event, hosted by television personality Dawn Ghee, which brought together several women of the BOSCH group--women who had been convicted of killing their abusers, but were granted clemency by former Governor Brereton Jones. The Governor had been drawn to their plight by the group's patchwork quilt of "pain" exhibited at the State Fair and through the efforts of activist Marsha Weinstein. Jefferson County Judge-Executive Dave Armstrong was also honored for his initiatives and efforts to prevent domestic violence. In the story of Waiting for Daylight, the woman begins a courtship full of dreams of a peaceful, happy life together with her "man with gentle hands." The general idea of this music, with its tolling low pedal points and rhythmically regular chordal writing, returns throughout the score, with each subsequent occurrence altered psychologically by the progressive distortions of the relationship. Even at the outset, her dream is suspect, as when the man says, "You are mine now. You belong to me." Before long her new husband begins to use physical force, and we witness the cyclical nature of the alternation of violence and apologies, violence and repentance. The violence is heard in the music with the repeated return of an aggressive music, with agitated strings, sinister woodwinds and brass, and angry percussion writing. At the peak of the drama, the woman faces one of the most horrifying dilemmas imaginable: watch her husband beat and abuse her children or shoot him. Although she shoots him, it is not so much a conscious act as a blind, sudden reaction to the terror of the moment. Afterward, she is shocked and traumatized. In the final "scene" she sings from the prison, where she "waits for daylight" and longs to be with her children again, "safe." The Louisville Residency emphasizes that the violent solution to abuse in this story is the worst possible choice, and in no way does anyone associated with this work condone violence, for there are far superior and effective solutions to the problem of abuse. However, such situations as these do occur, and perhaps by acknowledging the worst, we will be persuaded to find more and better solutions, and to use more of our resources to promote and support those that already exist. Residency goals include plans to offer a tape and text of the work to agencies and organizations throughout the region that confront issues of domestic violence. Additionally, composer Rouse will be creating a piano reduction of the original orchestral version of the work, and performances of this new version will be offered to these groups and interested others.
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