Horns in F

Flute

gering the left-hand keys results in a microtonal glissando between C# and D#. A more complex result is achieved when the right-hand trill motion is not rhythmically

Resultant pitch l.h. chromatic/ r.h. alternate D, D# trill keys

Clarinet / Bass Clarinet

Left hand plays notated pitches whilst right hand holds down/ trills the B key as indicated by the graphic. This microtonally alters the pitch when the key is depressed or interrupts/distorts the pitch when the key is trilled at different speeds.

Strings

same string to produce looping harmonic ripple, Movement of singer from hall to stage The singer is located within the body of the audience (or similar position in hall) and later moves to the stage to join the orchestra. Audience participation The audience are invited to sing at Letters L and M (bars 100-107); they are free to sing/hum along to the basic pitches in these bars reinforcing the resonances of tor plays a role in making the experience warmly invitational, non-threatening and hopefully, joyful and natural (!) The intention, especially in the context of a performance of the full triptych, is that the audience is offered an opportunity to add their voices to the music. This is the central message of the triptych: hearing is an act struction in the hall—in any case, the general audience should not feel coerced—they are free to sing or not sing as they wish. Acknowledgements With gratitude to Harry Vogt for his immense support and trust in commissioning and producing the premiere and recording of the full cycle of works. Thanks to Pete Readman and Stuart MacRae for typesetting work and to the team at Ricordi including Marco Mazzolini, Silke Hilger, Max von Aulock and Martha Agostini, Lasse Müller, Henrik Almon, Jascha Zube and Verena Berger for supporting me over the three years of the composition of the triptych during pandemic times! Copyright by G. Ricordi & Co. / For perusal only

I. Sappho/ Bioluminescence II. Mary/ Transcendence after Trauma III. Fatimah/ Flowers of Jubilation

also commentaries on ecological, spiritual and transcultural themes in our times. Fatimah/ Jubilation of Flowers (2021–2022) For soprano, orchestra and singing audience. This work forms the third part of a cycle of orchestral works called Annunciation Triptych (2019–2022) which celebrates three female spiritual leaders: Sappho, Mary radiates into the world. resilience that rises above violence. The words for me condense lamentation and love into lyric space. on stage. A little later, there is a section of audience participation where the listeners are invited to join in singing/humming to the resonance of the orchestra – a very simple, natural and hopefully non-coercive gesture (!) Fatimah/ Jubilation of Flowers is dedicated to her memory. Text: She moved through crowds breathless was I like a young mare she was a light-wave through my hands nations were at war and men falling faster than leaves on that Indian summer but she was the beginning of the day believe me they rise and never bend they use colours as we use words they recite poems in my ears they never die, oh no! we only cease to see them . . . as I stopped seeing her in my dreams. [Excerpt from (The Post-Apollo Press 1990) is used with permission granted by The Estate of Etel Adnan. All rights reserved.] Copyright by G. Ricordi & Co. / For perusal only