The Ballad of Barnaby

Music by Students of the Wykeham Rise School in Washington, Connecticut

Realization by CHARLES TURNER

Music by Students of the Wykeham Rise School in Washington, Connecticut

Realization by CHARLES TURNER

Cover drawing by Edward Gorey

Reprinted with pennission from The New Yor. Review of Books

© 1969 The: New York Review

© Copyright 1970 by G. Schirmer, Inc. International Copyright Secured Printed in U.S.A. J,.6795c

All rights of any kind with respect to this work and any part thereof, including but not limited to stage, radio, television, motion picture, mechanical reproduction. translation, printing, and selling, ?-re strictly reserved.

I

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NoteIn the autumn of 1968 I asked W. H. Auden if he might be interested in writing something, based on the medieval legend of The Juggler of Notre Dame, for which music would be composed by my students at Wykeham Rise School in Washington, Connecticut. The work would be produced by the school using student performers: actors, dancers, singers, instrumentalists.

Mr. Auden very kindly sent us a narrative text, entitled The Ballad of Barnaby; and music for the drama was composed by eleven girls between the ages of fourteen and eighteen: Vivian Beard, Kate Blair, Melissa Ehrlich, Carleen Embovitz, Mary Harris, Susan Howe, Mary Jo Matel, Susan Riley, Susan Sheldon, Janet Spangler, and Brooke Thomson. The first performances in May, 1969, at St. John's Church in Washington, Connecticut, were staged and choreographed by Rhoda Levine of New York. Some additional words for music were written by Helen Emmit, a student. To our surprise, there was a considerable favorable reaction outside the village where the production took place, and I was asked to prepare a score for pUblication.

The work was conceived for performance in a church by young people; and it can be adapted to almost any combination of male and treble voices. as long as a few treble voices are used. It can by performed with piano or organ; and a small group of instruments, parts for which are available from the publisher, (Violin, Cello, Flute, Clarinet, Guitar and percussion) may be used for Entrance of the Townspeople, Tumbler's Music, Snake Eyes, Bird Carol, Jubilate Deo, Adoramus Te and Alleluia Cantata.

The performance time is about 45 minutes.

Charles Turner

The Cast

Narrator-An abbot

Barnaby-A tumbler, brightly dressed

Dark Barnaby-Similar in appearance and costume to Barnaby Accolyte

Troubadour

Townspeople-simply dressed

Ravens-in black costumes

Brother Maurice Brother Alexander Poet Monk

Brother from Picardy

The Virgin-richly dressed Good and Evil Angels

The choir and other musicians are dressed in monks habits.

Time: The Middle Ages.

Snake Eyes, Bird Carol and Alleluia Cantata should be sung by everyone in the cast who is able to perform it, except the two Barnabys ana the Virgin.

w. H. Auden

(To Guitar Accompaniment)

Listen, good people, and you shall hear A story of old that will gladden your ear, The Tale of Barnaby, who was, they say, The finest tumbler of his day.

In every town great crowds he drew, And all men marvelled to see him do The French Vault, the Vault of Champagne, The Vault of Metz, and the Vault of Lorraine.

His eyes were blue, his figure was trim, He liked the girls and the girls liked him: For years he lived a life of vice, Drinking in taverns and throwing the dice.

It happened one day he was riding along Between two cities, whistling a song, When he saw what then was quite common to see, Two ravens perched on a gallows-tree.

"Barnaby," the first raven began, "Will one day be as this hanging man": "Yes," said the other, "and we know well That when that day comes he will go to Hell."

Then Barnaby's conscience smote him sore; He regretted all he had done heretofore: "Woe is me! I will foresake This wicked world and penance make."

The evening air was grave and still When he carne to a monastery built on a hill: As its bells the Angelus did begin, He knocked at the door and they let him in.

(Choral Music)

The monks in that place were men of parts, Learned in the sciences and the arts: The Abbot could logically define The place of all creatures in the Scheme Divine.

Brother Maurice then wrote down all that he said In a flowing script that it might be read, And Brother Alexander adorned the book With pictures that gave it a beautiful look.

There were brothers there, who could compose Latin sequences in verse and prose, And a brother from Picardy, too, who sung The praise of Our Lady in the vulgar tongue.

(Choral Music)

Now Barnaby had never learned to read, Nor Paternoster knew nor Creed: Watching them all at work and prayer, Barnaby's heart began to despair.

Down to the crypt at massing-time He crept like a man intent on crime: In a niche there above the altar stood A statue of Our Lady carved in wood.

"Blessed Virgin," he cried, "enthroned on high, Ignorant as a beast am I: Tumbling is all I have learnt to do; Mother-of-God, let me tumble for you."

Straightway he stripped off his jerkin, And his tumbling acts he did begin: So eager was he to do Her honor That he vaulted higher than ever before.

(Ballet Music)

The French Vault, the Vault of Champagne, The of Metz and the Vault of Lorraine, He did them all till he sank to the ground, His body a-sweat and his head in a swound.

Unmarked by him, Our Lady now Steps down from her niche and wipes his brow. "Thank you, Barnaby," she said and smiled; "Well have you tumbled for me, my child."

From then on at the Office Hours, Barnaby went to pay Her his devoirs: One brother thought to himself: "Now where Does Barnaby go at our times of prayer?"

And so next day when Barnaby slipped Away, he followed him down to the crypt: When he saw how he honored the Mother-of-God, This brother thought: "This is very odd."

may be well; I believe it is, But the Abbot, surely, should know of this": To the Abbot he went with reverent mien And told him exactly what he ·had seen.

The Abbot said to him: "S.ay no word To the others of what you have seen and heard: I will corne to-morrow and watch with you Before I decide what I ought to do."

Next day behind a pillar they hid, And the Abbot marked all that Barnaby did; Watching him leap and vault and tumble, He thought: ''This man is holy and humble."

(Ballet Music)

"Lady," cried Barnaby, "I beg of Thee To intercede with Thy Son for me!"

Gave one more leap, then down he dropped, And lay dead still, for his heart had stopped. Then grinning demons, black as coal, Swarmed out of Hell to seize his soul: "In vain shall be his pious fuss, FOr every tumbler belongs to us."

(Ballet Music)

But Our Lady and her angels held them at bay, With shining swords they drove them away, And Barnaby's soul they bore aloft, Singing with voices sweet and soft.

Chorus: Gloria in excelsis Deo

The Eleven Composers of Barnaby

BROOKE THOMSON

SUSAN SHELVON

The Ballad of Barnaby

Narrati ve text by W. H. Auden

Realization by CHARLES TIJRNER

Hodie of music composed by students

(If performed in a church, the tower bells should be rung to announce the performance. When the house lights dim the monks should be heard singinFL!he Rodie in the rear of or outside the chw"ch. They should be out of sight until the organ entrance at LAl ,when they proceed down the aisle at a natural walking pace.)

Freely Mary Jo Matel

(Throughout this scene the monks are mere bystanders, although they should be placed where they can be seen by the audience. They only react not act to the stage business. The Townspeople bounce ill, the younger Olles skipping, greeting the audience It Good evening!" It How are you?" ItGlad to see etc. They take places in the stage area.)

Entrance of Townspeople

Repeat, if necessary.

(The Abbot is brought in by an acolyte carrying a crozier. They are accompanied by a guitarist and a Soprano soloist. She sings The Troubadour's Song during their entrance. The Abbot, goes to the pulpit.)

Br.ooke

The Troubadour's Song

ABBOT

Listen, good people, and you shall hear A story of old that will gladden you ear, The Tale of Barnaby, who was, they say, The finest tumbler of his day.

Vivian Beard

Tumbler's

Janet Spangler

ABBOT

In every town great crowds be drew, And all men marvelled to see him do The French Vault, the Vault of Champagne, The Vault of Metz, and the Vault of Lorraine.

(TIte Townspeople applaud, cheer, tIIld repeat: French Vmdl# zlleVaJllt of Champag1Je1 the Vault of Meu,. tlJe Vault of Lorraine."

Tile Tumbler's Music is repealed ",hile Barnaby performs. Tie croad adores him.)

ABBOT

His eyes were blue, his figure was trim, He llked the girls and the girls liked him.

{Barooby flirts with-. the girls. The guitarist plilys the cItords of the Troubadour Son'.J

ABBOT

F or years he lived a life of vice, Drinking in taverns and throwing the dice.

(Barnaby drinks and gambles, while Snake Eyes is sung. At the end of the second verse the Townspeople exit. Then The Bird Carol is sung.)

Snake Eyes

Helen Emmit

Quickly J. = 104

Susan Howe P (with pointed rhy hm)

act, stay, jaun ty hip, whis key lips, soar ing hitch_ kick ra di tot ter- ing hosts-smile. Years pass ates by. his Bar coun- te -nance, na by

1. Cur-tains a -ris en, now his 2. Wel come toasts, towns boast his

glo ry all a round him. Care-free he blows his kiss es dear, rolls his dice.

Snake eyes! His pleas -ure nev er sa ti - ates,

12

charm ing,

court bait

ing. ing.

Bar na by__ tum ble. No need fqr heed he knows,_

Now don't he

ing.

Mary Jo Mate}

*

ABBOT

It happened one day he was riding along Between two cities, whistling a song,

When he saw what then was quite common to see, Two ravens perched on a gallows-tree.

(The Ravens enter.)

"Barnaby," the first raven began, trW ill one day be as this hanging man." "Yes," said the other, "and we know well That when that day comes he will go to Hell."

(The Ravens torment Barnaby. The Tumbler's Music is played here.)

Then Barnaby's conscience smote him sore : He regretted all he had done heretofore: "Woe is me! I will forsake This wicked world and penance make."

If so desired, the words of the two Ravens may be spoken by themselves.

(Barnaby exits and Dark Barnaby enters, riding in the same way Barnaby did when he entered. The Townspeople appear. The Tumbler's Music is repeated for Dark Bamaby's entrance.)

Barnaby's Vision of Hell

(The music that accompanies this action should be improvised by the organist in the style of the follou'ing music. Dark Barnaby imitates as exactly as possible what Barnaby did in his performance for the Townspeople before, but this time they are indifferent and do not applaud. When Dark Barnaby tries to flirt, the girls turn away. His drinking and gambling friends reject him•• He becomes more and more frustrated and desperate, while the crowd jeers at him.)

Vision of Hell

The scheme of this improvisation is black notes played by one hand, white notes by the other; shift back and forth. See rn. This should be interchanged with each phrase of the Townspeople's music, played for two bars followed by an improvisation. See rn .

Vivian Be ard

Bell Improvisation

Instruments required:

1. Several bells of the best available tone quality. A bell is held in the left hand and struck with a metal striker in the other hand. Any clappers in bells must be silenced by securely fastening tape or cloth around them. The bells should differ from each other in timbre and pitc h.

2. One or two woodblocks.

3. 4. 5. A triangle of good quality. A gong of good quality. A castanet.

6. A suspended cymbal, to be struck with a wooden stick or metal rod.

Do not use instruments with a tinny or cheap, toy-like quality. The total effect must be elegant, beautifully delicate and mysterious, even oriental.

There are two groups of performers: (1) walking Monks, carrying an instrument in their left hand and a striker in their right, play set patterns while walking-out a simple choreography in the stage area; and (2) other Musicians, (choir members and orchestra players, if there is an orchestra) who play at random, off-stage.

WALKING MONKS: The improvisation is 36 bars of 4/4 time at a slow walking tempo of J =60. Each Monk must silently count out the 36 bars. The Leading Monk is followed by the others in single file. With his first steps he gives the cue to start and the tempo. His first left step is the first courit, his first right step is the second count, and so on, throughout the 36 bars. Other monks should not need to watch the Leader's feet after a count or two, as they all keep in step with the Leader, but quietly and naturally (never in military fashion).

A simple, dignified choreography is suggested, such as: Make a circle or two around the stage; then form a line facing the audience and stand still for 10 or 15 bars; then turn and walk to the back of the stage and make a line facing backward, in preparation for Barnaby's entrance as soon as the impro 'dsation is finished.

OTHER MUSICIANS: These players should not count out the 36 bars but should improvise at random patterns that seem esthetically pleasing and interesting. Patterns may be complicated, but no one should sound too "busy": make many rather long pauses at first and gradually these pauses should grow shorter. A crescendo is made during the last few bars. Near the end, players should watch the Leading Monk so that all will stop together.

No one instrument or pattern should predominate in either group of players; and there should be a fine blend of sounds, as in a symphony. No player should seem like a soloist, particularly not the Leading Monk.

The evening air was grave and still

When he came to a monastery built on a hill: (The Monks enter.)

Patterns for Walking Monks

(Everyone begins pp. Make a very slow crescendo throughout. The last few bars should be about mf. Do not dampen any instrument. )

Bar 1 Bar 2 J = 60

Leading Begin at bar 1

2nd Monk Begin at bar 2

3

3rd Monk Begin at bar 3

5

4th Monk 4

Begin at bar 4

5th Monk Begin at bar 5 3

6th Monk Begin at bar 6

7th Monk 4 4

8th Monk

Begin at bar 7

Begin at bar 8

9th Monk Begin at bar 9

10th Monk 4

11th Monk 4

· Begin at bar 10

Begin at bar 11

12th Monk

· Begin at bar 12

·

ABBOT

As its bells the Angelus did begin, He knocked at the door and they let him in.

(Barnaby enters.)

(The Monks kneel as the Ave Maria is sung.)

Jo Mate}

Peace

Helen Emmit Melissa Ehrlich

Susan Sheldon

ABBOT

The monks in that place were men of parts, Learned in the sciences and the arts: The Abbot could logically define

The place of all creatures in the Scheme Divine.

Improvisation for the Cosmic Lecture by the Abbot

Any players who do this improvisation must be able to see the Abbot's silent lecture on the cosmos, and what they play should correspond to his gestures: upward gestures would require upward moving pitches, downward ones lower notes; circular or spiral gestures may elicit circular or spiral tone patterns, etc. The Abbot might end his lecture with a long held movement of pointing into the distance.

The organist should base what he is doing on fifths, white keys only. The percussion player should use suspended cymbals and timpani, if available. Any other players of instruments with pitches should base what they do on fifths, white notes only. The lecture should be short ani funny. Players should begin softly and simply, and end with a crescendo to a fortissimo.

ABBOT

Brother Maurice then wrote down aU that he said In a flowing script that it might be read,

Deo

And a brother from Picardy, too, who sung The praise of

Lady in the vulgar tongue.

Pardonnez

Charles Turner

ABBOT

Now Barnaby had never learned to read, Nor Paternoster knew nor Creed:

Improvisation

During this organ improvisation, Barnaby tries to do some of the things he has seen the monks do. He attempts to paint and ruins a painting by the Painting Monk. He attempts to write but blots the copybook and spills the ink. He takes a book (the music stops for this) and haltingly tries to read.

Triumphantly he says: "Curious liason Kyrie eleison:" says the monk, correcting him scornfully. (The music resumes.)

Scheme for improvising: In 4/4 time, a sort of light comic march at J = 132. Begin, perhaps, as in the example, on the white keys only, using many 4ths and 5ths. After a few bars, change to G -flat major, which means simply using all the black keys and two white ones, band f. Later return to using white keys only. The music and action can be synchronized by deciding how many bars of 4/4 are needed and then counting them out.

Lightly, scherzando J = 132

ABBOT

Watching them all at work and prayer, Barnaby's heart began to despair.

Down to the crypt at massing time He crept like a man intent on crime:

(Barnaby goes to the crypt while the following is sung. The Virgin is now visible.)

Lento J = 66

Ave Maria

MaryJo M atel

r o espressivo IU'! IS r D If ---a J

e IrTI r I gr r r r r

A - ve Ma-ri- a, A - ve Mari- a, A - ve Ma ri a, A ve Ma-ri a,

A - ve Ma-ri- a,

I t:t r Ma-ri- a, Ma-ri a, Ma-ri a,

I

JMa-ri a. II

ABBOT

In a niche there above the altar stood A statue of Our Lady carved in wood.

" Blessed Virgin," he cried, "enthroned on high, Ignorant as a beast am I: Tumbling all I have learnt to do: Mother of God, let me tumble for you."

Straightway he stripped off his jerkin, And his tumbling acts he did begin. So eager was he to do Her honor That he vaulted higher than ever before.

(Barnaby performs before the Virgin af: the Tumbler's Music [pdges 5-:6J is played.)

ABBOT

The French Vault, the Vault of Champagne, The Vault of Metz, and the Vault of Lorraine, He did them all till he sank to the ground, His body a - sweat and his head in a swound.

A

Ma ri

ve Ma ri

Come, Laurel Adorned

(The following is spoken over the mus ic played by the organ.)

ABBOT

Unmarked by him, Our Lady now Steps down from her niche and wipes his brow. "Thank you, Barnaby," she said and smiled; "Well have you tumbled for me, my child."

Kate Blair

ABBOT

From then on at the Office Hours, Barnaby went to pay Her his devoirs:

One brother thought to himself:" Now where Does Barnaby go at our times of prayer?"

And so next day when Barnaby slipped Away, he followed him down to the crypt:

When he saw how he honored the Mother of God, This brother thought: "This is very odd. "

"It may be well; I believe it is, But the Abbot, surely, should know of this": To the Abbot he went with reverent mien And told him exactly what he had seen.

The Abbot said to him:" Say no word To the others of what you have seen and heard: I will come tomorrow and watch with you Before I decide what I ought to do. "

Next day behind a pillar they hid, And the Abbot marked all that Barnaby did; Watching him leap and vault and tumble, He thought:" This man is holy and humble."

Lady," cried Barnaby, "I beg of Thee To intercede with Thy Son for me!" Gave one more leap, then down he dropped, And lay dead still, for his heart had stopped.

This dialogue is spoken during the playing of Crypt Music, and should be timed accordingly.

Janet Spangler

ABBOT

Then grinning demons, black as coal, Swarmed out of Hell to seize his soul: "In vain shall be his pious fuss, For every tumbler belongs to us. "

Angelic Battle

(Angelic Battle is a real choreographic scene in u'hich the Good and Bad Angels battle for the soul of Barnaby. It should be performed in various areas of the church the aisles, balcony, stage area, etc. )

ORGAN TIMPANI (ad

Vivian Beard

(When the battle is over the Good Angels make the Sign of th,e Cross with their swords.)

ABBOT

But Our Lady and her angels held them at bay, With shining swords they drove them away, And Barnaby's soul they bore aloft, Singing with voices sweet and soft.

Laurel

Helen Emmit

Kate Blair

(During the Alleluia Cantata, a tableaux is slowly formed by the entire cast. Thf Virgin takes a position in the center with the two Barnabys on either side of her. They remain in this position until the beginning of the Canon at which point all slowly begin the Recessional out of the church. Everyone in the cast who is able to sing the Cantata should do so, except the Virgin and the two Barnabys, who should not sing. The organ should have dropped out by the time the company is nearly out of the church, and the remainder of the work should be sung outside the church.

The accompaniment for the Thomas Tallis hymn may be improvised by the organist from [A] to [[].)

Alleluia Cantata

Carleen Embovitz

God, this night for the bless-ings of the light. Keep me, a keep me,

God, this night for all the bless-ings of the light. Keep me, a keep me,

God, this night for alI

bless-ings of the light. Keep I keepthe me, a me,

God, thiE night for all the bless-ings of the light. Keep me, a keep me,

King of Kings, Be neath Thine own al might- y wings. Praise God, from Whom all

King of Kings, Be neath Thine own al might y wings. Praise God, from Whom all

King of Kings, Be

neath Thine own al might- y Wings. Praise God, from Whom all

King of Kings, Be neath Thine own al might -y wings. Praise God, from Whom all

bless-ings flow, Praise Him, all crea -tures here be low; Praise Him a bove, ye

bless-ings flow, Praise Him, all crea-tures here be low; Praise Him a - bove, ye

blessings flow, Praise Him, all crea -tures here be low; Praise Him a bove, ye

bless -ings flow, Praise Him, all crea-tures here be low; Praise Him a - bove, ye

heav'n-ly host, Praise Fa ther, Son, and Ho ly Ghost. Praise God, from Whom all

heav'n-ly host, Praise Fa ther, Son, and Ho ly Ghost.

heav'n-ly hpst, Praise Fa ther, Son, and Ho ly Ghost.

heav'n -ly host, Praise Fa ther, Son, and Ho ly Ghost.

Samuel Barber Leonard Bernstein

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