SATB a cappella
ﮔﻠﯽ از دﺳت ﺑرﻓت “Golī az dast beraft”
by
Daniel Sabzghabaei (2017)
Poem and Translation ﮔﻠﯽ از دﺳت ﺑرﻓت و ﺧﺎر ﻣﺎﻧده ﺑﮫ ﻣن ﺟور و ﺟﻔﺎ ﺑﺳﯾﺎر ﻣﺎﻧده ﺑﮫ دﺳﺗم ﻣﺎﻧده طﻔل ﺷﯾر ﺧواری ﻣرا اﯾن ﯾﺎدﮔﺎر ﯾﺎر ﻣﺎﻧده Golī az dast beraft
A flower was lost
Golī az dast beraft-o khār mānde Be man jūr-o jafā besyār mānde Be dastam mānde tefle shīrkhārī Marā īn yād-e gāre yār mānde.
A flower slipped from my hand; what remains is a thorn. What remains is pain and suffering. In my hands remains an infant: This is my Belovèd's memorial.
- Tradtional Persian lullaby text
-translated by Daniel Sabzghabaei
Performance Notes For this opening humming gesture, singers should gently and slowly gliss together around the indicated pitches at almost a whisper.
Program Notes This short and somber Persian lullaby, in the form of a rubaiyat, tells of the loss of a lover and what remains in the shadow of this loss. The text is presented in three iterations, bookended by ethereal, gentle humming. The first presentation acts as a hushed and fragile recount of the speaker's loss, the sighing nature of the leaps in the melodic structure emphasized by the limping, hollow unisons. The second presentation offers a partial harmonization of various stressed and unstressed syllables and words with a slightly stronger, more intense dynamic. The final presentation is a full harmonization and elegiac declaration which descends into a muted and muddled finish, wandering, humming, soothing. -Daniel Sabzghabaei (2017)
c.a. 5’30”
Farsi Pronunciation Guide -Although strange to wrap the tongue around for those who have never spoken or sung in it, Farsi has relatively few rules to follow that, once memorized, make pronunciation and recognition much easier. -Most English speakers find the gutturals in Farsi to be the most troublesome of any hurdle to get over when learning to speak or sing the language. They can be clumsy and strange for unfamiliar mouths, but with a little practice, Persian gutturals can be learned quickly and effectively. -Below is a detailed description of the phonetic spelling system that is used throughout the score: The H h is always sounded unless at the end of a word. The R r is slightly rolled.
Ā ā is like the a in tall. A a is like the a in ham. E e is like the e in let. I i is like the i in him.
To ease the language learning process, recordings of a native speaker reciting the poetry are also available from the composer.
Ī ī is like the ee in feed. U u is like the oo in food. J j is like the J in Jolly. G g is like the g in get. Gh gh is like a guttural g. Kh kh is like a forward guttural k. Q q is like a swallowed guttural k.i Ch ch is the ch in change.
for the VocalEssence Ensemble Singers
گلی از دست برفت "Golī az dast beraft" Traditional Persian lullaby text
Soprano
Daniel Sabzghabaei
Wandering, slow and overcome Slow, stock-still q = 50 ∏ extremely delicate, ethereal ∏ weak, a bit off the voice U " 5 breathy, œ œ œ œ 4 œ œ & œ œ œ bœ bœ œ ˙ 4 œ œ œ œ bœ bœ œ 4 ˙. Mmm
Alto
Go - lī az
∏ extremely delicate, ethereal & ˙ ˙ ˙
be - raft - o
U" 5
b˙
Mmm
dast
œ n ˙˙
khār mān
-
de.
44 Ó
∑
4
Œ Œ
∏ ‰ œ Be
∏ extremely delicate, ethereal ∏ weak, a bit off the voice œ œ œ U " 5 breathy, œ œ bœ œ œ œ bœ ˙ 4 œ œ œ œ œ œ b œ b œ œ 44 ˙ . V falsetto
Tenor
Mmm
Bass
?
&
Ó
Œ
& œ œ œ œ œ œ bœ bœ œ man
T
jūr - o ja - fā
˙. Ó
? œ œ œ œ œ œ bœ bœ œ man
jūr - o ja - fā
˙.
bes - yār mān - de.
Œ
khār mān
-
p œ œ œ œ J rit.
mān - de
das - tam
p œ œ œ œ J
mān - de
45
© Daniel Sabzghabaei, 2017
∑
de.
4 Ó 4
Œ
∏ ‰ œ Be
a tempo
π U ‰ œ 44 œ œ b œ œ . ˙ tef
-
le
shir - khā-rī
44
∑
∏ ‰ # œ 45 œJ œ Be
breathy, weak, a bit off the voice
B
Œ
das - tam
45
Œ
bes - yār mān - de.
∑
V
be - raft - o
∑
∏ ‰ # œ 45 œJ œ Be
breathy, weak, a bit off the voice
A
dast
5 4
∑
∑
4
S
Go - lī az
Œ
∑
π U ‰ œ 44 œ œ b œ œ . ˙ tef
-
44
le
shir - khā-rī
∑
45 45 45 45
2
& 45
S
A
∏ flowing 5 & 4 œ- œ . # œ - œ. œ œ. œ œ œ Ma - rā
T
B
&œ
‰
&œ
œ
man
Vœ
‰
?œ
œ
man
īn
mān
œ œ ‰
œ
‰ œ
‰
mān
œ
jūr - o
fā
œ œ œ
œ bœ bœ
ja - fā
44 -
‰
yār
bes - yār
œ
mān
Go - lī az
œ
de.
-
p # ‰ œ
de.
Be
#˙.
( p) U -
˙.
de.
( p) U œ ˙.
bes - yār
az
( p) U
œ bœ bœ
ja - fā
Œ p ‰ œ
de.
mān
dast
dast
-
de
U
p ‰ œ
de
Be
œ ‰ 44 ˙ .
raft
khār
U
œ œ 44 ˙ .
be - raft - o
khār mān
-
Œ
de
-
de.
p ‰ œ
U
de.
œ œ œ jūr - o
khār mān
Œ
p 44 œ ˙ " 5 ‰ œ- ‰ œ ‰ b œ Œ b œ- ‰ 4 U 4 4 ˙. œ- œ ˙ œ
fā
yār
be - raft - o
p 54 œ- œ œ œ œ œ œ b œ Go - lī az
jūr - o
‰
dast
p œ- ‰ œ ‰ œ Œ az
∑
œ
œ
U " 5 4 ‰ œ ˙
œ- œ ˙
( p) U ‰ ˙.
œ œ ‰
Slower, warmer q = 45 p U 54 œ- œ œ œ œ 4 œ œ bœ bœ œ 4 ˙.
∑
44
yā - de gā - re yār
jūr - o
man
B
yā - de gā - re yār
flowing ∏ ? 45 œ œ . # œ œ . œ œ . œ œ œ -
man
T
‰ œ
∑
12
A
īn
V 45
Ma - rā
S
44
∑
8
Be
Œ
dast
raft
khār
de
rit.
œ- œ 45 J das - tam
p 45 ‰ œ
tam
45 # œJ n œ
das - tam
p 54 ‰ œ
tam
Be
a tempo
P œ œ œ œ J
p ‰ œ
j œ ˙
Œ
44
P bœ œ œ œ J
p ‰ œ
44
œ ˙ J
Œ
mān - de
P
(mmm)
mān - de
(mmm)
P
44
tef -
tef -
44
3
rit.
œ œ b œ- œ . & 44
15
S
le
A
& 44 œ ‰ ‰
B
˙
-
rī.
p 54 œ- œ . Ma - rā
p
45 œ- œ .
lunga
Ma - rā
U
œ
œ œ shir - khā
-
rī.
lunga
p 54 œ- œ . Ma - rā
dast
be - raft - o
khār mān
dast
be - raft - o
khār mān
rit. e rubato
˙
#œ
īn
# œ-
īn
flowing
œ. œ œ. œ œ
yā - de gā - re yār
˙
īn
# œ-
īn
œ
‰
œ
Œ
flowing
œ. œ œ. œ œ
œ
‰
-
de.
44 ˙ -
de.
P œ ‰ œ œ œ œ Āh
f
Be
man
P ‰ œ œ
-
be - raft - o
de.
de.
-
œ œj œ
Āh
Āh
œ bœ œ
44 œ-
œœ
de.
j Nœ œ. (mm)
˙
bes - yār mān - de.
œ œ
œ.
(mm)
œ œ bœ bœ œ (mm)
" 5 4
U
" 45
U
" 45
U
" 5 4
˙ ˙
rit.
jūr - o ja - fā
khār mān
dast
-
œ- œ de.
‰ œ œ œ œ œ œ œ bœ bœ œ œ
bœ œ
Go - lī az
œ
a tempo
44 ˙
-
U
˙
de.
44 ˙
mān
P 44 œ b œ œ ‰ œ œ œ œ
khār mān
œ
mān
44
˙
de.
yā - de gā - re yār
F ? 45 œ œ œ œ œ œ œ bœ
be - raft - o
44
yār
44 b ˙ .
dast
Œ
(add a few altos if necessary)
yār
F 5 V4 œœœ œ œ œ œ œ œ œ œ Go - lī az
B
U
œ
lunga
F 5 &4 œ œ œ œ œ œ œ œ œ œ œ Go - lī az
T
45 œ- œ .
Slow and intense q = 40 rubato F 18 œ & 45 œ œ œ œ œ œ b œ b œ œ Go - lī az
A
U
shir - khā - rī.
? 44 œ ‰ ‰
p
Ma - rā
shir - khā
le
S
œ
œ œ
œ œ b œ- b œ . V 44 le
bœ
lunga
shir - khā - rī.
le
T
U
a tempo
˙˙
f
jU œ ˙
42
U
42
mān - de.
˙
f
jU œ b˙
42
mān - de.
œ.
f U œ b ˙˙ J
mān - de.
42
4 a tempo
f f
A
T
B
Be
das - tam
Be
? 42
with weight
Be
œ- # œ-
S
A
Ï UF U ‰ œ 44 œ œ b œ- b ˙
de.
T
œ-
de.
tef
-
-
le shir - khā - rī.
Ma - rā
lunga
Ma - rā
lunga
le shir - khā - rī.
œœ
U
˙˙ ..
U
" œœ Œ " Œ
π ‰ œ œ œ œ œ œ bœ Hmm
π œ œ œ œ œ œ bœ Hmm
īn
Ma - rā
j bœ
yā - de gā - re yār
œ
īn
Œ
p
‰ œ
mān -
Œ
yā - de gā - re yār
P - flowing U 54 N œ- # œ . œ n œ . œ œ . œ œ œ
Hmm
Hmm
īn
Pflowing 54 œ œ . # œ- œ . œ œ . œ œ Uœ
le shir - khā - rī.
π " ‰ œ œ œ œ œ œj b œ
˙. ˙
de.
B
mān - de
U U
V ˙ ?
tef
-
a tempo
yā - de gā - re yār
ƒ raw, soloistic œ54 œ œ œ ˙
mān - de.
œœ
īn
mān - de
tef
Wandering, slow and overcome breathy, hollow π U U U" Œ bœ œ œ œ œ œ œ bœ œ œ œ
rit.
œœ -
Ma - rā
Ï F U U œ œ ‰ œ 44 œ œ œ- b ˙
das - tam
& Ó &
le shir - khā - rī.
ƒ raw, soloistic œ- œ 45 œJ œ b œJ œ das - tam
with weight
-
rit. Pflowing œ œ . # œ- œ . œ œ . œ œ Uœ 45
mān - de
Be
26
tef
lunga
flowing Ï UF U U lunga P U œ 4 œ 5 œ ‰ œ œ 4 œ œ 4 N œ- # œ . n œ- # œ . œ œ . œ œ œ
das - tam
- œœ2 œ V4 f
mān - de
ƒ raw, soloistic j 45 œ- œ œj ˙
with weight
& 42 œ œf
a tempo
Ï F ƒ raw, soloistic -œ œ œ œ œ œ U‰ œ 4 œ œ b œ- U˙ 45 œJ # œ b œœJ n œ œ 4
- & 42 œ # œ
22
S
rit.
with weight
‰ œ
yā - de gā - re yār
‰ #œ œ œ œ œ œ œ Hmm
j œ œ
‰
œ b œ œj œ bœ œ œ
p
#œ œ œ œ œ œ
mān -
44 44
Hmm
#œ œ nœ œ
44
‰ #œ œ œ œ œ
44
‰
Hmm
Hmm
5
bœ & 44 œ œ œ œ J œ
‰
29
S
A
T
B
& 44 œ
S
& 45 œ
A
& 45
œ œ œ bœ œ J
œ- .
V 45 ˙ . ? 45 œ œ
Hmm
Hmm
‰
œ
‰
Hmm
œ œ œ œ œ
˙-
#œ
œ œ œ œ œ
œœ
œœ
U lunga
œœ
Hmm
"
j œ- œ- .
œ-
Hmm
45
Hmm Hmm
œ
‰
˙˙ -
Hmm
44 wU w 44 wU w
˙˙ œ ∏ with extreme delicacy
∏ with extreme delicacy 44 U w-
∑ Œ
œœ -
Hmm
Hoo
" Ó.
45
˙-
with extreme delicacy
Hoo
U lunga
Hmm
∏ with extreme delicacy œ44 U w Hoo
45
Hmm
rearticulate hmms where noted
In no hurry, carressing ∏ - with extreme delicacy U lunga " Œ ˙ ˙˙ Ó Œ œ ∏
Hoo
Hmm
Hmm
œ œ œ œ œ
#œ
Hmm
˙. Ó
j œ-
rearticulate hmms where noted
œ œ œ
œ œ.
j œ- œ .
rearticulate hmms where noted
Hmm
œ
œ ˙˙ -
œ
Hmm
∏ with extreme delicacy U lunga " -
Hmm
Hmm
B
œ
˙-
˙-
Hmm
T
‰
œ œ œ #œ
Hmm
œ bœ œ œ
? 44 œ œ J
32
‰
j œ œ-
œ-
œ œ œ œ œ
#œ
Hmm
œ œ œ bœ œ
V 44 œ œ œ
œ œ.
rearticulate hmms where noted
45