Some Favored Nook by Eric Nathan

ERIC NATHAN

Some Favored Nook Adapted from texts by Emily Dickinson and Thomas Wentworth Higginson For Soprano, Baritone and Piano

P U B L I S H E D B Y N A T H A N A R T S (ASCAP) WWW.ERICNATHANMUSIC.COM | Providence, RI USA | (914) 391-8394 *PLEASE NOTIFY NATHAN ARTS OF ALL PERFORMANCES*

This work was composed: during a Frederic A. Juilliard/Walter Damrosch Rome Prize Fellowship at the American Academy in Rome (2013-14), while in residence at Copland House, Cortlandt Manor, New York, as a recipient of the Copland House Residency Award (2017), and as part of a Visiting Artist residency at the American Academy in Rome (2017)

***

Some Favored Nook is composed for, and dedicated to, Jessica Rivera, Andrew Garland and Molly Morkoski

***

First workshop performance at Yellow Barn As part of a Visiting Artist Residency September 19-23, 2017 Jessica Rivera (soprano) Andrew Garland (baritone) Molly Morkoski (piano)

Music by Eric Nathan Dramaturgy by Mark Campbell Texts by Emily Dickinson and Thomas Wentworth Higginson, adapted by Mark Campbell and Eric Nathan

TABLE OF CONTENTS: PART I I. To tell me what is true? …………………………………………………...p. 1 II. The nearest dream recedes unrealized ……………………………….p. 9 III. Could you tell me how to grow? ……………………………………..p. 14 IV. They shut me up in Prose ..............................................................p. 18 V. My barefoot rank is better ...............................................................p. 28 PART II VI. To see if we were growing ...............................................................p. 31 VII. War feels to me an oblique place ………………………..................p. 37 VIII. There suddenly arose ………………………………………................p. 40 IX. Emancipation ...................................................................................p. 42 X. All sounds ceased ...............................................................................p. 46 XI. There came a wind like a bugle .....................................................p. 53 XII. Attending to the wounded ……………………….……….................p. 55 XIII. That shamed the nation ..............................................................p. 59 PART III XIV. These are my introduction ……………………………....................p. 62 XV. My Wars are laid away in Books / No Prisoner be ..................p. 72

Total Duration: c. 45 minutes

TEXTS By Emily Dickinson (1830-1886) and Thomas Wentworth Higginson (1823-1911) Adapted by Mark Campbell (b. 1953) and Eric Nathan (b. 1983) (Note: The source of each text is cited in the footnotes. In many cases, the text used in the libretto has been adapted from the original, with the frequent omission of words for dramatic and artistic purposes. However, the words used have not been altered from the original, except in rare cases, which are noted in the footnotes. Emily Dickinson’s poetry is given below in italics).

PART I I. To tell me what is true? [Dickinson letter to Higginson, received April 16, 1862; and Higginson’s commentary in “Emily Dickinson’s Letters,” in the Atlantic Monthly, October 1891] 1 DICKINSON: Mr. Higginson, Are you too deeply occupied to say if my verse is alive? The mind is so near itself It cannot see distinctly, And I have none to ask. Should you think it breathed, And had you the leisure to tell me, I should feel quick gratitude. HIGGINSON: The letter was postmarked “Amherst,” In a handwriting so peculiar As if the writer might have taken her first lessons By studying fossil bird-tracks. DICKINSON: If I make the mistake, That you dared to tell me Would give me sincerer honor toward you. HIGGINSON: Of punctuation there was little; She used chiefly dashes 1

Adapted from Thomas Wentworth Higginson, “Emily Dickinson’s Letters,” Atlantic Monthly, October 1891.

But the most curious thing Was the total absence of a signature. As if the shy writer wished to recede As far as possible from view —in pencil, not in ink. DICKINSON: I inclose my name, asking you, If you please, sir, To tell me what is true? HIGGINSON: The name was Emily Dickinson. DICKINSON: That you will not betray me It is needless to ask, Since honor is its own pawn.

II. The nearest dream recedes unrealized HIGGINSON: Inclosed in the letter were poems. One with an aerial lift that bears the ear upward with the bee it traces DICKINSON: The nearest dream recedes unrealized. The heaven we chase, Like the June bee Before the schoolboy, Invites the race, Stoops to an easy clover, Dips–evades–teases–deploys– Then to the royal clouds Lifts his light pinnacle, Heedless of the boy Staring, bewildered, at the mocking sky. Homesick for steadfast honey,– Ah! The bee flies not Which brews that rare variety.

HIGGINSON: The bee himself did not evade the schoolboy More than she evaded me; It is hard to say what answer was made by me— I remember to have ventured on some criticism…

III. Could you tell me how to grow? [Letter to T. W. Higginson, received April 26, 1862]2 DICKINSON: Mr. Higginson, Your kindness claimed earlier gratitude, But I was ill, and write to-day from my pillow. Thank you for the surgery; It was not so painful as I supposed. I bring you others, as you ask, Though they might not differ. While my thought is undressed, I can make the distinction; But when I put them in the gown, They look alike and numb. I would like to learn. Could you tell me how to grow, Or is it unconveyed, like melody or witchcraft? HIGGINSON/DICKINSON: Your friend, E. Dickinson.

IV. They shut me up in Prose [Poem, “They shut me up in Prose,” ca. 1862]3 DICKINSON: They shut me up in Prose— As when a little Girl They put me in the Closet— Because they liked me “still”— 2

Adapted from Emily Dickinson, published in Thomas Wentworth Higginson, “Emily Dickinson’s Letters,” Atlantic Monthly, October 1891. 3 Reprinted with permission from Harvard University Press. THE POEMS OF EMILY DICKINSON, edited by Thomas H. Johnson, Cambridge, Mass.: The Belknap Press of Harvard University Press, Copyright © 1951, 1955 by the President and Fellows of Harvard College. Copyright © renewed 1979, 1983 by the President and Fellows of Harvard College. Copyright © 1914, 1918, 1919, 1924, 1929, 1930, 1932, 1935, 1937, 1942, by Martha Dickinson Bianchi. Copyright © 1952, 1957, 1958, 1963, 1965, by Mary L. Hampson.

Still! Could themself have peeped— And seen my Brain- go round— They might as wise have lodged a Bird For Treason—in the Pound— Himself has but to will And easy as a Star Abolish his Captivity— And laugh—No more have I— [Essay, “Repression at Long Range”]4 HIGGINSON: The most gifted woman, Is like a single plant Trying to sustain itself Where the soil is not yet fitted for its reception, And it is only in some favored nook That it manages to exist at all.

V. My barefoot rank is better [Letter to Higginson, received June 8, 1862]5 DICKINSON: Dear Friend, I have had few pleasures so deep as your opinion, And if I tried to thank you, my tears would block my tongue. I smile when you suggest That I delay “to publish,” That being foreign to my thought As firmament to fin. If fame belonged to me, I could not escape her, My barefoot rank is better. Would you have time to be the “friend” you should think I need? I have a little shape: it would not crowd your desk, Nor make much racket as the mouse that dents your galleries.

Adapted from Thomas Wentworth Higginson, “Repression at Long Range,” in Concerning All of Us (New York: Harper & Brothers, 1982), 204. 5 Adapted from Emily Dickinson, published in Thomas Wentworth Higginson, “Emily Dickinson’s Letters,” Atlantic Monthly, October 1891.

PART II VI. To see if we were growing [From “Introduction,” in Army Life in a Black Regiment] 6 HIGGINSON: I did not seek the command Of colored troops, But it sought me. I had always looked for the arming of the blacks, I had been an abolitionist too long, And had known and loved John Brown too well, Not to feel a thrill of joy At last on finding myself In the position where he only wished to be. I obtained from the War Department, Permission to report to General Saxton, Thenceforth my lot was cast Altogether with the black troops, Mine lay among hundred men Suddenly transformed From slaves into soldiers A battalion of black soldiers A spectacle since so common Seemed then the most daring of innovations. I felt sometimes as if We were a plant trying to take root But constantly pulled up To see if we were growing.

VII. War feels to me an oblique place [Letter to Higginson, received in the winter of 1862–3]7 DICKINSON: Dear Friend, I should have liked to see you before you became improbable. War feels to me an oblique place. 6

Adapted from Thomas Wentworth Higginson, “Introduction,” in The Writings of Thomas Wentworth Higginson: Army Life in A Black Regiment, 4–7. University of California: Riverside Press, 1900. 7 Emily Dickinson, published in Thomas Wentworth Higginson, “Emily Dickinson’s Letters,” Atlantic Monthly, October 1891.

Should there be other summers, Would you perhaps come? Should you, Before this reaches you, Experience immortality, Who will inform me of the exchange? HIGGINSON/DICKINSON: Your Gnome.

VIII. There suddenly arose [Diary entry from the evening of January 1, 1863]8 HIGGINSON: The President’s Emancipation Proclamation was read. There suddenly arose A strong male voice Cracked and elderly Into which two women’s voices instantly blended, Singing, As if by an impulse That could no more be repressed Than the morning note of the song-sparrow.– I never saw anything so electric; It made all other words cheap; It seemed the choked voice of a race at last unloosed. After it was ended, Tears were everywhere. These souls burst out in their lay, as if they were by their own hearths at home!

IX. Emancipation [Poem, “No rack can torture me,” ca. 1862. Titled “Emancipation” in Todd/Higginson publication, 1890]9 DICKINSON: Emancipation 8

Adapted from Thomas Wentworth Higginson, The Writings of Thomas Wentworth Higginson: Army Life in A Black Regiment, 54–56. University of California: Riverside Press, 1900. 9 Poems by Emily Dickinson. Edited by Two of Her Friends, Mabel Loomis Todd and T. W. Higginson. [First Series.] Boston: Roberts Brothers, 1890.

No rack can torture me, My soul's at liberty Behind this mortal bone There knits a bolder one You cannot prick with saw, Nor rend with scymitar. Two bodies therefore be; Bind one, and one will flee. The eagle of his nest No easier divest And gain the sky, Than mayest thou, Except thyself may be Thine enemy; Captivity is consciousness, So's liberty.

X. All sounds ceased [From “Up the St. Mary’s,” in Army Life in a Black Regiment]10 HIGGINSON: It was after midnight. The moonlight— The woods— Drew a pistol— Took aim— “Charge in upon them! Surround them!” Confused— Rifle-shots— Advancing guard— A man fell at my elbow— As if a tree had fallen— Confusion— Scattering— Firing rapidly— Hail-storm of bullets Pattered precisely Upon the iron cannon— I gave the order— All sounds ceased— And left us in peaceful possession of the field. 10

Fragments excerpted from Thomas Wentworth Higginson, The Writings of Thomas Wentworth Higginson: Army Life in A Black Regiment, 100, 109. University of California: Riverside Press, 1900.

XI. There came a wind like a bugle [Poem (excerpted), “There came a wind like a bugle,” no date;11 Poem (full), “They dropped like Flakes,” ca. 186212] DICKINSON: There came a wind like a bugle; It quivered through the grass, And a green chill upon the heat So ominous did pass They dropped like Flakes— They dropped like Stars— Like Petals from a Rose— When suddenly across the June A Wind with fingers— goes— They perished in the Seamless Grass— No eye could find the place— But God can summon every face On his Repealless— List.

XII. Attending to the wounded [From “Up the St. Mary’s,” in Army Life in a Black Regiment]13 HIGGINSON: Attending to the wounded— Making stretchers for those to be carried— One man killed instantly by ball through the heart— Seven wounded, One of whom will die. Another, with three wounds— One of which may cost him his life Would not report himself till compelled to do so by his officers. While dressing his wounds, he quietly talked of what they had done, And of what they yet could do. He is perfectly quiet and cool, 11

Excerpted from manuscript, Amherst College, no. 458. (www.edickinson.org) Reprinted with permission from Harvard University Press. THE POEMS OF EMILY DICKINSON, edited by Thomas H. Johnson, Cambridge, Mass.: The Belknap Press of Harvard University Press, Copyright © 1951, 1955 by the President and Fellows of Harvard College. Copyright © renewed 1979, 1983 by the President and Fellows of Harvard College. Copyright © 1914, 1918, 1919, 1924, 1929, 1930, 1932, 1935, 1937, 1942, by Martha Dickinson Bianchi. Copyright © 1952, 1957, 1958, 1963, 1965, by Mary L. Hampson. 13 Adapted from Thomas Wentworth Higginson, The Writings of Thomas Wentworth Higginson: Army Life in A Black Regiment, 102104. University of California: Riverside Press, 1900. 12

But takes this whole affair with the religious bearing Of a man who realizes that freedom is sweeter than life. [Poem, “A death-blow is a life-blow to some,” 1865]14 DICKINSON: A death-blow is a life-blow to some; Who, till they died, did not alive become; Who, had they lived, had died, But when they died, vitality begun.

XIII. That shamed the nation [From “Conclusion,” in Army Life in a Black Regiment]15 HIGGINSON: We had touched the pivot of the war. Whether this vast and dusky mass Should prove the weakness of the nation or its strength, Must depend in great measure, We knew, upon our efforts. Till the blacks were armed, There was no guaranty of their freedom. It was their demeanor under arms That shamed the nation into recognizing them as men.

PART III XIV. These are my introduction [Letter to Higginson, no date, prior to August 16, 1870]16 DICKINSON: Dear Friend, You were not aware that you saved my life. To thank you in person has been since then one of my few requests.

Emily Dickinson, published in Thomas Wentworth Higginson, “Emily Dickinson’s Letters,” Atlantic Monthly, October 1891. Adapted from Thomas Wentworth Higginson, The Writings of Thomas Wentworth Higginson: Army Life in A Black Regiment, 359. University of California: Riverside Press, 1900. 16 Emily Dickinson, published in Thomas Wentworth Higginson, “Emily Dickinson’s Letters,” Atlantic Monthly, October 1891. 15

[From Higginson’s commentary “Emily Dickinson’s Letters,” Atlantic Monthly, October 1891] 17 HIGGINSON: At last after many postponements, On August 16, 1870, I found myself face to face With my hitherto unseen correspondent At her father’s house. I heard an extremely faint and pattering footstep Like that of a child, in the hall, And in glided, almost noiselessly, A plain shy little person, with eyes, As she herself, said, HIGGINSON/DICKINSON: “Like the sherry the guest leaves in the glass,” HIGGINSON: She came toward me with two day lilies DICKINSON: These are my introduction Forgive me if I am frightened. I never see strangers And hardly know what I say HIGGINSON: But soon she began to talk— almost constantly— DICKINSON: If I read a book and it makes My whole body so cold No fire can ever warm me, I know that is poetry. HIGGINSON: Interspersed with these confidences Came phrases— Putting into words what the most extravagant Might possibly think without saying.

DICKINSON: 17

Adapted from Thomas Wentworth Higginson, “Emily Dickinson’s Letters,” Atlantic Monthly, October 1891.

If I feel physically as if The top of my head were taken off, I know that is poetry. HIGGINSON: We met only once again We corresponded for years She sometimes enclosed18 flowers Or fragrant leaves With a verse or two.

XV. My Wars are laid away in Books / No Prisoner be [Poem, “My Wars are laid away in Books,” no date]19 DICKINSON: My Wars are laid away in Books— I have one Battle more— A Foe whom I have never seen But oft has scanned me o'er— And hesitated me between And others at my side, But chose the best— Neglecting me—till All the rest, have died— How sweet if I am not forgot By Chums that passed away— Since Playmates at threescore and ten Are such a scarcity— HIGGINSON: My Wars are laid away in Books— DICKINSON: My Wars are laid away in Books—

Tense changed from the original. Reprinted with permission from Harvard University Press. THE POEMS OF EMILY DICKINSON, edited by Thomas H. Johnson, Cambridge, Mass.: The Belknap Press of Harvard University Press, Copyright © 1951, 1955 by the President and Fellows of Harvard College. Copyright © renewed 1979, 1983 by the President and Fellows of Harvard College. Copyright © 1914, 1918, 1919, 1924, 1929, 1930, 1932, 1935, 1937, 1942, by Martha Dickinson Bianchi. Copyright © 1952, 1957, 1958, 1963, 1965, by Mary L. Hampson. 19

[Poem, “No Prisoner be,” ca. 1863]20 DICKINSON/HIGGINSON: No Prisoner be— Where Liberty— Himself—abide with Thee.

Reprinted with permission from Harvard University Press. THE POEMS OF EMILY DICKINSON, edited by Thomas H. Johnson, Cambridge, Mass.: The Belknap Press of Harvard University Press, Copyright © 1951, 1955 by the President and Fellows of Harvard College. Copyright © renewed 1979, 1983 by the President and Fellows of Harvard College. Copyright © 1914, 1918, 1919, 1924, 1929, 1930, 1932, 1935, 1937, 1942, by Martha Dickinson Bianchi. Copyright © 1952, 1957, 1958, 1963, 1965, by Mary L. Hampson.

Composed for, and dedicated to, Jessica Rivera, Andrew Garland and Molly Morkoski Duration: 4 minutes 30 seconds

Part I I. To tell me what is true? Music by ERIC NATHAN (b. 1983)

Adapted from Texts by EMILY DICKINSON (1830-1886) and THOMAS WENTWORTH HIGGINSON (1823-1911) Libretto and Dramaturgy by MARK CAMPBELL (b. 1953) and ERIC NATHAN

Luminous, alive, bird-like q = c 80

Soprano

& 44

∑

Baritone

? 44

∑

. ‰ # œr ≈ Œ

Ó # œŒ. ≈ . RÔ œ w J

& 44 Ó

p crystalline, playful, delicately, with inner life,

Piano

poco

crisply articulate, fidgety, meticulous

& 44 # œ- # œ .. ˙ . ‰ # œ- .

w w

œ œ

# œ- œ œ . #œ œ P

˙˙˙

& 42

˙˙

& 42 ˙˙

44 44

˙˙

p meekly, inquisitively, timidly

& 43 ‰ # œ œ # œ- œ œ œ 3

Mis - ter Hi - ggin - son,

3 & 4 ˙˙ ...

& 43 ˙˙˙ .. .

# œ≈ . RÔ p

# œ # œ # œ # œ œœ

œ.

42 42

.j U .r ≈ . r ≈‰ j . r ‰ ‰ Œ ≈ Œ # œÓ #œ #œ #œ aœ Œ ‰#œ 2 ˙ .. œ œ œ w w œ w w 4 ˙ Œ ‰ # œJ ˙ . delicately – like fossil bird-tracks p π U 24 U www ˙˙˙ w˙w. # œ www # œ- # œ .. œ˙ . # ˙˙ rit.

11 Freely, quasi recitative q = 72

senza ped., sempre

œ #œ #œ #œ

˙.

a tempo

p ‰ # œj # œ . -

. .r .r r ≈ ≈ j ‰ #œ ‰ œ #œ #œ Œ ˙˙ .. ‰. ˙˙ .. π crisply, delicately, inquisitively ˙˙˙ .. .

. too ‰ # œj # œr ≈ Œ

Are you

˙ .. Œ̇

œ œ œ œ # œ- # œ œ œ 3

‰ # œJ

dee - ply

Œ ˙˙ .. ˙ .

j œœ

poco

. ‰ # œj r ≈ Œ #œ

o - ccu - pied

Œ ˙.

‰

say

j œ œ

I. To tell me what is true?

# >˙ . 5 œ ≈œ œ & # œ # œ # œ .# œ œ 4 >>

if my verse

is a

& ˙

5 4

& ˙˙˙˙

live?

to say if my verse is

p & #œ #œ ˙.

œ-

œ œ- # œ ˙

®# œ # œ # œ # œœ œœ .

The

œ . # œ-

#œ ˙ . œ #œ

& œ

& ˙

œ œ # œ # œ # œ #œ œ

˙ w

#œ ˙.

& 44 œ œ œ œ œ # œ œ 45 Œ 3

mind

& 44 w w

delicately

is so near it - self

# œ- # œ 4 .. &4 Œ

. ≈Œ œœ

45 45

U œ

43 ˙

#œ w 5

#œ œ # œ # œœ œœ

w www

can - not see

#œ ˙

. r ≈ Œ UŒ ‰ 43 ˙ œ .

p poco 3 ‰ œj œ œ œ œ

23 S

Œ ‰ j 44 #œ

a - live?

22 In time, flowing

3 4 Ó

∑

a - live?

# >œ >œ Uœ 4 ˙ . # .. # œ Œ‰ œ 4 p F f 5 U 4 Œ‰ # œ # œ # œ #œ œ 4 w œ > °

poco p œU 4 Œ 4 ‰ œ œ œ œ œ . œ œ ≈œ # œ œ ˙ J J

with sudden life

œ #œ #œ #œ

˙˙

44 44

œ . œ 43 # œ œ ˙

Kr ‰ .. œ- # œ

stinct - ly

. 43 œ˙ .

43 ˙˙˙ .. ˙ ..

œ . # œ- # œ . œ # œ P *

I. To tell me what is true?

& &

‰

& &

# ˙-

#œ

‰

U œ

#œ #œ œ

j #œ #œ

you

# œ- # œ ‰ J p

œ- # œ

my verse

œ-

‰

too

j a œ-

Œ ?

dee - ply

#œ #œ

˙˙

43 ‰

‰ # œœ 3

> # # œœ ..

# œJ p j œ-

‰

>œœ J

œœ

4 4

j #œ to

œ # œ- # œ ‰

œ- # œ ‰ # œ # œ-

rit.

∑

œ- œ J F

#œ #œ #œ œ # œ #œ #œ ‰ œ #œ #œ & #œ œ #œ 3 3

œ-

# œ-

‰

o - ccu - pied

‰ ‰ # œœJ 43 ‰

œ J

is a - live?

œ ..

3 3 4 #œ #œ #œ œ

j #œ œ°

œ . œ # # œœ

‰ & 44 ‰ 3 P 3 4 ‰ & 4 #œ #œ ‰ œ. œ œ-

œ ‰

‰ # œj œ

say

œ-

œ ≈ ® #˙

# ˙π

F 3 œ #œ #œ œ œ œ œ œ #˙

& 44 œ

to ask

with nervous expectation, moving forward

œ œ

π Ó

poco

œ #œ œ

œ.

I have none

Are

4 4 w

4 ˙ 4

œ- . p

#œ ˙ #œ #œ œ

& Ó

4 œ œ œ œ 4 and

∑

43 43

œœ ..

∑

I. To tell me what is true?

35 Slower q = 60

4 Œ ‰ 3 &4 # œ # œ œ . # œj œ . warmly, pearly

Should you think

breathed

& 44 * & 44

∑ p

‰ #œ œ œ I should feel

# # # wwww4 &4 p

and had you the

lei

œœ 45 œœ

# œ # œ # œ œj ‰ Ó 3

œ œ J 3

quick

gra - ti - tude

& 44 # # # # # wwwww -

sure

tell

# œœ- .. œ. j œœ # œœœ ... J °

rall.

j œœœœœ # # # # # œœœœœ -

˙˙˙˙˙

4 4

#œ ≈. #œ œ.

œœœœ # # # œœœœJ

˙˙˙˙

45 ‰ # œ # œ# œ # œ ˙˙ J

poco

lightly

p poco p 3 3 3 j 5 j ‰ ‰ # œ œ œ œ 4 œ # œj œ # œ # œ ˙ #œ

œ # # ˙˙- .. # ˙˙ .. π tenderly Œ # # # ˙˙˙ .. - . °

& 44

44 44

∑ # # # œœœœ- ... . π

œœœœ

# œ- ˙ J

# # # # # œœœœœ .... -

œœœœœ

j œ- ˙ *

41 Luminous, alive, as before (quasi recit.) q = 80 a tempo S

? Ó

∑ f F narratively, with confidence ‰# œJ œ œ œ œ œ # œ œ Œ 5

Œ. & Ó p crisply, delicately & # œ # œ .. ‰̇#. œ- ˙ J

senza ped., sempre

# œ≈ . RÔ œ J

poco

F 3 ‰ œ œ œ œ œ œ œ # œ . œœ œJ

.r ‰ Œ #œ ≈Ó w π

The le-tter was post-marked "Am-herst,"

∑

In a hand-wri-ting so pe - cu - liar

œ ˙˙

∑ ‰ Ó

- # œœ œœ # œ œ. P

# œ a œ# œ #œ ®

# œ # œ # œ # œ œœ 3

I. To tell me what is true?

p F P -œ œ> ? ≈# œ œ œ œ œ œ œ œ œ œ œ # œ œ . 2 œ# œ œ œ œ 4 œ #œ Œ Ó 4 4 J 3

3 4

Ó w

K ≈ . œr - #œ.

As if the wri - ter might have ta - ken her first le - ssons

& ww p

Soprano timidly

48 S

& 44 Œ

‰ #œ œ œ œ œ œ 3

If I make - the mis - take,

?4 4

π. 48 ‰w # œr ≈ Œ & 44 w

∑ Ó

∑

sin - ce - rer ho - nor toward you.

∑

& www

2 ˙˙ 4

4 ˙˙ 4

2 4 ˙˙

4 œ .. œ ˙ 4 #œ ˙. #˙ -

Œ‰

‰ #œ œ œ. œ #œ œ Œ -

# ˙˙˙-˙ ... .

≈ œ

tell me

œ œ

Would give me

. ‰- œj . j ‰ # œj œj Œ #˙. #œ π

p Œ # ˙˙˙ ... -

∑

p F Œ ‰ œj œ œ œ œ 44 Œ # ˙˙- ..

4 4

˙˙ ... ˙

∑

Baritone

# >œ > ˙ 34 ‰ .. RÔ f F > # œ œ # ˙˙ 43 # œ˙œ. œ

3 4

That you dared to

4 4

Œ# œ #œ 3 ˙. - #œ œ. œ 4 J 4 4

# www

bird - tracks.

.r ≈ j .r ‰œ œ ≈ Ó ww‰ # œ

p P 3 & # œ œ œ œ- œ- œ- # œj Œ 43

œ ‰ J

By stu-dy-ing fo -ssil

∑

& 44 www

∑

Of punct - u - a - tion

∑

F p œ œ#œ œ Œ

42 42

there was little;

44 Œ p

j #œ

œ. ‰ JÓ

œ œ ˙˙ 44 # œ # œ # œ

42 aœ œ œ œ œ 2 4

I. To tell me what is true?

? 42

∑

p P œ œ œ œ 5 œœ ‰J Œ 4

43 Œ

Œ#œ œ œ

F #œ

j ‰ j # œ ˙ œ ‰̇ # œ . j # œ # œ. # œ #œ œ. œ 55 œ œ .œœ # œ 2 ‰ J‰ J 3 ‰ J 5 R ≈ 4 Œ &4 4 . She used chie-fly

˙˙ 2 &4

? ‰

˙. 34 # œ- ˙ ‰J

p #œ œ œ œ 3

of a

& w Ó

‰ œJ œ

? œœ œ œ

π ‰ # œJ # œ œJ # œ œ œ‰ œ œj ‰Œ J

& œ

& Ó w

œ#œ#œ#œ#œ#˙

far as

‰ #œ ≈ Œ #œ

≈

œ. #œ #œ

po - ssi - ble from view

w Ó

œ #œ œ œ

j .r œ ‰ œ ˙ ‰# œ ‰ . J

œ˙

. . j‰ ‰ # œ ≈ œ œ ‰ # œJ- ˙

p dolce #œ œ œ œ œ #œ œ ‰ 3

the shy wri - ter

Ó w

π 2 4 #œ 4 ‰ # œJ œ œ ‰ 4 ‰ # œ œ J ‰ 3

–in pen -cil,

42 ˙ Œ ‰ # œ ≈ 42 #œ

∑

œ wished

‰ #œ ≈ Ó #œ

to re -cede

4 4

ri - ous thing

As if

˙ Œ w

œ 44 ˙ Œ Œ

œ- .

sig - na - ture.

# œ- œ ‰ J

‰

w & Ó

But the most cu

Ó 54 # w

#œ œ œ a œ œ ‰ Œ

#œ Œ

Was the total ab - scence

da - shes

p œ #œ œ #œ 44 J‰ Ó

#œ #œ ‰

not in ink.

44 œ

‰ œ œ#œ#œ#˙

44 Ó

‰

#œ œ

≈Œ ?

I. To tell me what is true?

∑

∑ œ œ # œ-

& ˙. ? ‰ #œ #œ ≈ Œ

∑

w w

œ #œ ≈ ‰ Œ

œ #œ #œ œ ˙. #œ œ ‰

#œ #œ

≈Ó

P p œ #œ #˙ œ #œ p

Soprano

& Ó

# w- # ˙ . & Œ p Œ & #w #˙. °

in - close

∑

please,

? 44 Ó

w 4 & 4 ‰ # œJ œ

& 44

‰

j # œ œ w

# wŒ p Œ

jU #œ ˙

U̇

46 ?

46 # # ww ..

‰

3 œœ .. 4

#˙.

3 4 œ. œ.

molto dolce, with magical beauty

#œ #œ

tell

‰ # œj ˙ . π

what

œ is

44 w 44 w w

∑

44 #œ #œ

j œ œ

œ J

true?

∑

˙.

44 # w

If you

#˙.

∑ Ó p

43 ˙

76 a tempo

#œ #œ To

œ J

you,

∑

molto rall.

# œ- # œ œ 3

ask - ing

sir,

name,

∑

P 74 & 44 œ .

warmly

∑

w ‰ # œR ≈ Œ π. ‰ r≈ Œ œ.

∑

70 Tenderly q = 50

rall.

Ó # wπ # w-

44 4 4 4 4

œ π œ ‰ J

p ‰ #œ œ œ ‰ J 3

The name was

I. To tell me what is true?

80 Senza misura q = c 72 Sung freely, quickly, hushed – with the natural cadence of speech

∑

π ? #œ œ œ Œ #œ œ œ Œ Em - i - ly

∑

& ?

# ˙π -̇

Dick - in - son.

& #œ œ œ œ œ #œ 5

Since ho - nor is its own

#œ

pawn.

U̇

? ˙

U̇

#œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ ≈ Œ 5

That you will not be - tray me

# ˙-

∏ # ˙-

∑ w w

is need - less to

ask,

II. The nearest dream recedes unrealized

Duration: 3 minutes

ERIC NATHAN (b. 1983)

EMILY DICKINSON (1830-1886) THOMAS WENTWORTH HIGGINSON (1823-1911) Adapted by MARK CAMPBELL (b. 1953) and ERIC NATHAN Senza misura (recit.)

Soprano

Baritone

& ∑

„

& ∑

∑

bee it tra - ces.

# œæ # œæ # ˙æ & -

∑

rit.

∑

p delicately, pearly ‰ # œj œ œ # ˙ . The near - est

∑

w æ

dream

w æ ∑

œ #œ #˙.

œæ -

æ # œæ # œæ # œæ # œ - - ∑

∑

Ó #œ Œ π

re - cedes

w æ

π ∑

Œ #œ Ó π

that bears the ear up - ward with the

6 Tenderly, with a sense of stillness q = 60

∑ œ ˙. æ æ ∏ ∑

lift

4 4 æ œ L.H. p 44

∑

P ‰ # œJ œ œ œ # œ œ œ œ œ

R.H. trem. (unmeasured)

p ? #œ œ œ œ Ó J

One with an ae - ri - al

„

∑

in a normal speech rhythm, ad lib. pU p P P ? # œ œ œ œ œ œ œ # œ Œ œ œ œ œ œ œ 44 # œ- Œ Ó œ -

4 4

∑

In - closed in the le - tter were po - ems

Piano

2 Delicately rising q = 72

p ‰ # œj # ˙ . un - rea

w æ

#œ -

∑

lized.

Ó #œ Œ π

∑

œæ # œæ - -

p π œ œ‰Œ ‰ j J #œ ∑

œœ œ Ó æ π Œ #˙. æ ∏

The

II. The nearest dream recedes unrealized

# ˙-

-̇

very delicately

hea

ven

# ˙we

#w & æ ∏ œ Œ Œ #œ & π ∏

w æ

œ. #œ ˙ J chase,

Like the

w æ ∏ # œ Œ Ó π

# œ-

& 45 # œ

j j œ ‰ ‰ œ œ œ

school - boy,

& 45 w æ

In - vites the

œ æ

& 45

∑

#œ #œ #˙ & æ æ æ

& œ

∑

œ #œ #œ

œ ˙ J

˙ æ

#œ # ˙æ

bee

w æ

# œ Œ π

F 44 # œ Œ >

# œπ

44 # œæ # œæ > sub. f 44 # ˙ œ œ > >

≈

5 4 #œ œ œ Be - fore the

5 4

œæ # œæ

œ # œœ œ > >

∑

U w

æ p

œ # œ #æœ #æœ æ æ # œœ # œœ ˙ # œ #œ > > > >

q = 138

p playfully #œ œ œ œ ˙.

Stoops

∑

æ ∏

5 4

∑

22 q = 72

w #œ #œ #œ

∑

race,

∑ æ

June

17 Suddenly faster, agitated q = c 138

accel. 16

Œ ‰ #œ œ

# œ- .

#œ œ œ #œ æ æ æ æ &

œ # ˙œ . # œ # œ # œ > > > >

P œ #œ œ

to an ea - sy

clo - ver,

∑

Œ œ æJ *

‰ ?

II. The nearest dream recedes unrealized

25 Agitated, playfully, darting q = 138

F simile 24 U r Œ ‰. ¿ ¿ ‰ Ó & Ó. J Ÿ~~~~~~~~~ > ev - vades– Dips– œ œ (œ )œ Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~ > 24 œ >œ # ˙- (# œ ) #U ˙ . (# œ ) aœ aœ #œ #œ J ‰ Œ J J # ‰ Œ & # ˙ (œ ) œ J ‰ ‰ f p p p p π f f playfully Ÿ~~~~~~ # œ # œ œœ # œ. U > > # œ ? Ó. # œ # œ ‰ Œ Œ œ # œ # œ # œ ‰ & # œ œ œ œ . (# œ ) œ œ œ # >œ ‰ Œ j ‰ ‰ J #œ J J #œ > # >œ œ 6 > 3 π f f f p f f p 3 f * ped. ad lib. ° anxiously, with excitement F breathlessly, with an airy sound and not much pitch Œ j‰ Ó ∑ #¿

f #¿ ¿ Œ

∑

>œ œ # œ œ #œ J ‰ ‰ p f Ÿ~~~~~~~~~~~~ >œ # œ # œ # œ # œ (œ ) J ‰ Z p 3 f

tea - ses–

~~~~~~~~~~~ > # >œ 28 œ œ ‰ & f & #œ œ ‰ œ œ p

?‰

f ¿ #¿ ‰

∑

# >œ œ œ œ f

>œ # & J f

√> œ œ J ƒ > œ #œ #œ #œ #œ J

Ÿ~~~~~~~~~~~~~~~ # ˙ (# œ )

Ÿ~~~~ # œ (œ ) ‰ Œ f

de - ploys–

Ó Œ

∑

√Ÿ~~~~~~~~~~~~ # œ- (# œ ) œ J ‰ f

Ÿ~~~~~ # œ- (# œ ) Œ p

Ÿ~~~~~~~~ > j ‰ œ œœœ? Œ # œ # œ- ( ) œ f f p Ó

∑

Ÿ~~~~~~ -̇ ( œ )

p Ÿ~~~~~ # œ- (# œ ) Œ p

œœ #œ

Ÿ~~~~~ # œ-( # œ ) p

∑

Ÿ~~~~~~~~ Ÿ~ Ÿ~~~~~~~ # ˙ (# œ ) Ÿ~~~~~ Ÿ~~~~~~~~~~ Ÿ~~~~~~~ #Ÿ~~~ (œ ) œ # œ ( ) œ ‰ # œ (# œ ) ˙ ( œ ) ˙ ( # œ ) œ( # œ ) œ f >œ > j # œ > > > j ‰ ? # œœ ‰ # # œœ ‰ Œ & œ ‰ Œ # œœ ‰ ## œœ ‰ Œ œ ‰ # œJ ‰ Œ J #œ J > > f °

II. The nearest dream recedes unrealized

rall.

∑

q = 72

37 With a sense of stillness q = 60

rit.

∑

Œ #œ œ œ œ œ norm.

√

π #w

sub.

delicately, pearly, with a magical beauty

π # ˙4 &4

-̇

# w-

(√) w

his

# œ- Ó 4 Œ &4 π

& œ

light

˙ æ

4 &4 æ

be - wild - ered,

˙ æ & #œ

œ-

# œ-

œ- .

œ J

the

#˙ æ Œ

˙. æ

œ-

# œ- œ œ

P # ˙-

mock - ing

sky.

# >˙

loco

∑

boy

#œ æ

w p #◊

# œ-

the

∑

w æ Œ

#œ œ œ œ #˙

Heed - less of

# œ- œ œ . œ œ- œ œ

& æ

#˙ ◊

∑

(√) w

#˙ æ

˙ 42 æ

pinn - a - cle,

Œ #œ Ó π

Sta - ring,

# œ- œ œ ˙ . 3

Lifts

Then to the ro - yal clouds

~~~~~~~~~~~~~~~~~~~~~~~~ U̇. ˙. w #œ #œ #œ #œ œ œ #œ œ #œ ˙. #œ 35 J ‰ æ æ æ & with restraint p π ∏ singing, (in counterpoint to voice) U # œ ? ∑ Ó & ∑ & Œ #w π ◊

∑

# œ-

æ f

# >˙

∑ >˙

44 44

II. The nearest dream recedes unrealized

∑

# >˙ 49 & æ

# >˙ æ

∑

æ p

‰

bee flies not

&æ

#œ

æ π ∑

j œ œ

#œ

for stead - fast

ney,–

#œ.

Ah!

∑

j œ œ œ œ œ œ œ œ œ

Which brews that rare

Home - sick

œ œ ˙ ˙

∑

51 q = 72

va - ri - e - ty.

U w

æ ∏

∑

with resignation

j œ

The

14 Duration: 3 minutes

III. Could you tell me how to grow? EMILY DICKINSON (1830-1886) THOMAS WENTWORTH HIGGINSON (1823-1911) Adapted by MARK CAMPBELL (b. 1953) and ERIC NATHAN

Luminous q = 80

Soprano

Baritone

Piano

& 44

∑

? 44

∑

j # œ 4 #œ ‰ ˙ œ ˙˙ &4 Œ ‰ .. # œ ‰ .. RÔ # œ p crystalline, delicately RÔ ®# œ # œ œ # œ ˙ . & 44 # œ œ .. ˙ . w senza ped.

F > ? 43 N œ N œ . ‰ œ b œ œ J vade

& 43

the school - boy

Œ j # œj ‰ Œ ˙. œ

More than she e - va - ded

‰ # œ # œ≈ Œ ˙.

& 43 # # ˙˙˙ .. .

p P . ‰ N œJ œ œ N œ ≈ œ œ . œ 43

w#œ ˙ œ .. .

The bee him - self

≈

Ó w

did not e -

#œ œ

‰ Œ

43 43

# œ www

Œ 44

∑

‰ .r ≈ Ó œ

Œ w

p p P œ ‰ N œ œ œ œ œ œ N œ- Œ J

ERIC NATHAN (b. 1983)

∑

me;

œ #œ ˙ # œ j ®Œ 44 Œ # œ ‰ œ œ .. p Œ ‰ .. œœœ œœœ .... # œ œ 44 w‰ # œ . ˙ . œ .. œ RÔ

˙˙˙ .. .

43 43

F p p P- p # œ œœ 4 œ œ≈œ œ œ œ œ œ ? 43 Œ ‰ # œ œ œ œ # œ ≈ œ œ œ œ œ œ œ . ‰ J 4

. & 43 ˙Œ Œ

& 43 # ˙˙˙. ..

It is hard to

# œ-

say

˙˙ . . ˙˙˙ .. .

what an - swer was made by

me–

I re

˙.œ ‰ R. ≈ Œ Œ ˙˙˙ .. .

mem - ber

44 w # œ ˙ . ‰ J 44 w ww

to have ven - tured on some

III. Could you tell me how to grow?

p F ? # œ- œ œ œ œ

∑ Ó

# w> œ œ ˙. > F # # # www >

. ≈ # œR ‰ Ó

& œ

2 4

∑

cri - ti - ci - sm...

2 4

∑

& www

p P 3 4 # œ œ œ œ œ 5 # œ- œ œ œ &4 4 J #œ œ œ

kind - ness

45 œ .

4 &4 w

5 4 œ.

& 44 œ œ N œ œ Ó

rit.

∑

3 4 œ

j #œ ˙.

q = 72

45 Ó

#œ

34 # ˙ .

& 44 ˙˙˙

˙.

45 ?

w #œ #œ

45 œ # œ # œ 5

#œ. you

2 4 œ 2 4

p 3 Œ # œj 44 ∑

Your

4 4 44 4 4

p 3 j ‰ ‰ # œ œ œ œ œ œ 44

ill,

43 œ

42 # ˙ π 2 4 #˙

3 4 ˙˙ ..

Thank

& 44 www

∑

43 ˙˙ ..

But I was

llow

Mis - ter Higg - in - son

p P Œ ‰ # œj œ œ 43 œ- . # œ œ .

#œ ˙. J p

∑

3 4

∑

42 # ˙˙ π 2 4 # # ˙˙ °

gra - ti - tude,

& 44 w

claimed ear - li - er

p P 3 # œ œ œ4 ‰ #œ œ lightly

and write to - day from my

Œ # # œœœ p Œ #œ # # œœ °

˙˙˙ .. .

4 4

˙˙˙ ...

P F 4 œ œ 4 #œ. œ œ Œ #œ œ œ œ

for the

sur - ge - ry;

44 # w 44 w

It was not so

˙ p #˙

III. Could you tell me how to grow?

j 5 #œ 4 œ

& œ œ œ #œ. œ #œ.

a tempo

rit.

P p Œ ‰ j œ œ #œ œ. Œ #œ

Œ 44 Ó

Œ Ó

pain - ful as I su - pposed.

& œ˙ # œ

˙. œ #œ

w ? œ œ

˙.

P & #œ œ. œ

Kr .. ‰ œ ˙

Œ & w

#˙

& Œ

#œ

#œ they

œ œ œ #œ œ œ 3

#œ

# ˙- .

rit.

π 45 œ Œ Ó

. 43 ˙˙˙ ..

p ‰ œ œ 44 œ .

˙.

π ∑

as you

œ œ #œ œ œ

thought

is un - dressed,

44 ww w

43 œ̇ . # ˙

44 w w

36 Slower q = 60

P p richly, dolce ‰ j 43 # œ œ - N œ- œ # œ- œ -̇ #œ But

45 ˙ ∑

F 43 œJ ‰ Œ

œ œ

® # œj.. œ p #˙

While my

˙w. # ˙ . œ˙ .

bring you o - thers,

#œ #œ #˙.

might not di - ffer.

can make the dis-tinc - tion;

π P 5 w œ œ œ 5 #œ œ œ. nœ ˙ 44 # œ # œ 4

p π œ œ œ œ œ œ œ I

&w p ?

Though

54 œ # œ œ œ # œ ˙ œ œ

ask,

when

43 # œp 43 # ˙- .

put them in

N œ-

# œ-

the

gown,

-̇ . P ˙.

œ- œ œ They look a -

III. Could you tell me how to grow?

& œ œ # ˙-

‰ #œ œ œ

like and numb.

& ‰ œJ œ p ? ˙.

#œ π

grow,

44 œ .

& # ˙- . F ? ˙.

4 4 œ.

48 S

Your

? 44 Ó

‰

N ˙F ‰ Œ #œ °

friend,

p œ Your

34 ˙ .

? 44

˙.

œ # œ-

you

tell

œ-

N ˙- .

œ #œ œ ˙

˙.

Dick - in - son.

how

N œ-

∑

me - lo - dy or witch - craft?

N ˙-

# ˙- . #˙.

œ Nœ -

# œ-

# œP

j œ # œ- œ œ- œ œ

œ #œ œ ˙

˙.

# œp

˙.

44 4 4

˙. π

˙.

π U̇.

˙. 43

# œ-

Could

# ˙-

3 œ 4

friend,

w & 44

43 œ -

˙.

un - con - veyed,

43 œ Œ # œ

˙.

is it

41 Even Slower q = 50

learn.

# œp œ-

3 œ 44 œ Œ 4 # œ œ J N œ- œ # œ- . Nœ -

& # œ- . œ œ .

p 4 & 4 #œ

F j œ #œ

I would like

rit.

Dick - in - son.

˙.

U̇-

π U # ˙- .

18 Duration: 4 minutes

IV. They shut me up in Prose ERIC NATHAN (b. 1983)

EMILY DICKINSON (1830-1886) THOMAS WENTWORTH HIGGINSON (1823-1911) Adapted by MARK CAMPBELL (b. 1953) and ERIC NATHAN

Fidgeting q = 120

Soprano

Baritone

Piano

& 43 ? 43 3 &4

∑

trem. (unmeasured) as fast as possible

& 43 # ˙æ. ∏ °

#œ œ ® œ Nœ ®≈Œ & & ˙æ. *

∑

& & Œ & ˙æ.

˙æ.

‰ *

œ #œ π

‰

#œ

˙æ. *

˙æ.

œ Nœ

≈ Œ

π very dry, bird-like *

œ # œ ‰ ≈ Œ

˙æ.

∑

‰

∑

≈ Œ ˙æ.

‰

Nœ œ

aœ œ

≈ Œ Œ ‰ ˙æ. °

p 44 ‰ œ œ . J

#œ #œ œ œ œ œ #œ œ #œ œ œ œ p

44 wæ

me up in

∑

∏

˙æ. F

œ œ œ 43 # ˙ . J >

They shut

˙æ. ∑

resolute, with anger

≈ Œ

∑

≈Œ ‰

∑

° p

Prose–

43 # œ- Œ Œ p 43 ˙æ. ∏

‰ ˙æ.

#œ œ π

∑ ≈Œ

IV. They shut me up in Prose

& Œ

P p j Œ ‰ # œj 44 œ . œ # œ # œ . œ 43 œ . > p

œ Nœ

& ‰ π

when

4 Ó 4

≈Œ Œ

p & œ.

& ‰

& ˙æ.

#œ œ π

≈ Œ

3 4 Œ ‰ 43 ˙æ.

#œ #œ π

#œ

F 4 #œ œ œ œ œ 3 œ œ ˙ 4 4 3

They

≈Œ

put me

4 4

in the clo

œ.

cause

they

∑

˙.

liked

non vib.

& & ‰

& ˙æ.

Nœ œ

˙æ.

∑ ‰

≈Œ

"still"–

∑

˙æ.

∑ ≈Œ

‰

Nœ

#œ #œ

œ- Œ F ˙æ. ∏

≈ Œ ˙æ.

‰

≈ Œ ˙æ.

‰

œ #œ

non vib.

Still!

≈Œ

∑ ˙æ.

p p j ‰ vib. (ord.)œ œ œ

∑ œ Nœ

˙.

-̇ .

set–

3 #œ 4 p 43 ˙æ.

44 æw

∑

˙æ.

‰ #œ

Girl

li - ttle

#œ

44 wæ

& ˙æ.

‰

Could them - self

∑ ˙æ. p

œ ∑

˙æ.

IV. They shut me up in Prose

& œ.

œ.

sub.

#˙

have

˙.

trem. w/both hands

& # ˙æ.

passionately

˙æ.

seen

# ww

#˙ & œ 3

˙˙ ..

? #˙

#˙

˙.

p w

˙.

And

seen

Brain– go round–

˙˙˙ w

> . # œœ œ . œ J p

#˙ ˙ a ˙

#˙ #˙ >

P # œ- # œj ˙ .

>˙ # # ˙

œ #œ œ

a ˙˙

# # ˙˙

round–

regaining composure

˙.

ƒ # >˙

#˙

#œ œ# œ ˙

# ˙ . # # œœ œ # # œœ œ ˙˙ .. ˙

44 ˙æ

# ww

P œ Œ

œ.

‰

44 wæ

Brain–

#w F

˙ >

> & #w ƒ ? ˙ ˙ >

ƒ # >˙

Œ #˙ 3

44 ˙

And

35 Slightly faster, Passionately (feel in 2) h = 72

ƒ > #w

peeped–

& # ˙æ. P

# # ˙˙˙

P #w

Ó ˙

˙˙˙ # ˙ w

IV. They shut me up in Prose

P œ œ

They

might

# # œœœ # œ ˙˙ .. &

‰

& ?

Trea

(√)

‰

> ? N œœœ J ƒ

have

lodged

√ > #œ œ

≈ ‰

> nœ œ

≈ ‰ N >œ N œ

˙ >

œœ > œœ # œ # œ œ œ > > œ # >œ œœ œ

# >œ # œ # œ œ # œ œ # œ œ ƒ

‰ œœ

‰

≈ ‰

> #œ œ

≈ ‰

f # >œ

angrily

œœ ..

‰.

> aœ #œ

the

Pound–

>œ #œ loco

‰.

‰ #œ ˙˙

aœ

≈

‰.

>˙ # œ >

Œ #œ > in

#œ œ œ œ #œ œ

≈

> aœ #œ ww

#>œ # œ

son–

#œ œ œ.

# ˙˙˙

w p

Bird

˙˙ # ˙

N N ˙˙ >

& #œ >

For

wise

œ œ J

F sub. p œ œ. #˙ J

f passionately #˙.

? #w

œ.

#˙.

Nœ Nœ

‰ ˙.

f ˙˙ ..

≈ ‰

> #œ aœ

≈

IV. They shut me up in Prose

p & œ

& ‰

œ #œ

≈‰

#œ #œ #œ

#œ

Him - self

≈Œ

‰

? w p

& #œ.

#œ œ

has

but

≈‰

#œ #œ

j #œ œ

nœ

will

≈‰ œ≈

# œœ- œœ # œœ œœ # œ-œ œœ œ œ œ œ P 3

N˙ N N ˙˙ P

œ œ œ œ 44

Œ #˙ And

ea - sy as a

# œœ œœ 6 # # œœ œœ œœ œœ œœ œœ # ˙˙ N œ # œ œ # œ œ œ a # œ œ œ œ # œ œ œ a œ œ œ œ œ bœ 4 bœ œ œ œ œ œ ˙ & œ- œ œ œ - œ # œ œ œ # œ œ œ œ œ

? œ

N˙ œ N ˙ œ

Nœ N œ

ƒ #˙. 4 &4

57 S

œ bœ

64 Nb ˙˙

∑

& 44

‰

?4 4 Nœ Nœ >

# œœ œœ # œœ # œœ # Nœ œ œ œ œ # # œœ #œ 3

#˙. N ˙.

Åw # w-

˙˙

ƒ #œ > A

N ˙ A # ˙˙ N ˙

Star

œœ -œ 3

f #œ 6 œ J 4

Nœ.

œ #œ. J

will

≈‰ œ

aœ

# œ- .

F F #œ œ ‰ aœ J J

Œ œ #œ

œ œ œ > >

44 44

bo - lish

3 3 3 3 3 # œ # œ # œ #œ œ œ #œ œ œ œ œ œ œ œ œ œ œ 46 # œ #œ #œ œ œ œ 3 3

w w

6 4

IV. They shut me up in Prose

& 46 œ

ƒ >œ >œ >œ ˙ 4 # ˙ œ 4 > 3

#˙ his

Cap

ti - vi - ty–

6 4 #˙ œ œ œ œ # œœœ œœœ œœœ œœ œœ œœ œœ & 4 # œ # œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ ˙ ˙˙ 4 ˙˙ # ˙ # œœœ œ œœœ œ œœœ œ œœœ œ # œ œœ œœ œœ œœ œœ œœ œ > œ #œ ƒ F ? 46 44 # œ . ˙ . Nw N w> #œ #w. >

63 Relaxing S

P œ

& Œ

And

laugh–

#˙

œ œ œ

more have

I–

π Œ

˙.

molto rall.

∑

& # œœ# œœœœœœœœœœœœœœœœœœœœœœ # œœ# œœœœœœœœœœœœœœœœœœœœœœ # œœ# œœœœœœœœœœœœœœœœœœœœœœ # œœ# œœœœœœœœœœœœœœœœ π p bw ? w w w w w w 3

∑

68 Resolute h = 60

∑ ‰.

f declamatory > b œ >œ R The most

& # œœ # œ œœ œ œœ œ N œœ œ œœ œ œœ œ

? w

b >œ gif

>œ -

ted

∑ >œ >œ .

wo - man,

b œœ œœ œœ b œœ œœ œœ œœ b b œœ œœ œœ œœ œœ œœ œœ œœ œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ > p f

b b ww >

IV. They shut me up in Prose

F Œ

? ˙.

∑

F > > ‰ . œR œ

>œ

Is like

& b b œœ œœ œœ œœ b œœ œœ œœ œœ b b œœ œœ œœ œœ œœ œœ œœ œœ # N œœ œœ œœ œœ # œœ œœ œœ œœ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ Nœ œ œ œ œ œ œ œ > p f bw b ˙w ? Ó N ww b w N bw >

? >œ >œ .

sin - gle

f b >˙

plant

F œ œ œ. Try - ing

œ sus -

& # # œœ œœ œœ œœ œœ œœ œœ œœ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ Nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ π b w? w Nw w N w

> # w ?

76 B

tain

& # # œœ œœ œœ œœ œœ œœ œœ œœ Nœ œ œ œ œ œ œ œ ? bw

f œ

N œit

-̇

self

#œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ# œœœœœœœœœœœœœœœ œ# œœœœœœœœœœœœœœœ p f # ˙ ˙˙ N N ww-

IV. They shut me up in Prose

p ˙

P Nœ

#œ œ œ œ œ œ œ œ œ# œœœœœœœœœœœœœœœ

f > ? ˙ #œ ˙

the

P #œ œ œ

cep - tion,

œ œ œ œ

so - il

not

yet

fi - tted for

its

re -

#œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ# œœœœœœœœ œœœœœœœ œ# œœœœœœœœœœœœœœœ π #˙ #˙ N ˙ N ˙ N N ˙˙

? Nw N w 82

Where

œ œ.

And it

#œ œ œ

on - ly

œ œ œ 3

some

œ #˙ 3

fa - vored

f #œ nook

& # # œœ œœ œœ # œNœ œ œœœ œœœ # # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ # # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ # # œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œ œ œ œ œ œ œ p f # ˙w #˙ ? ˙˙ ww N ˙˙-

˙.

f Œ bœ œ 3

in some

b b œœ œœ œœ œœ œœ œœ & # œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ bœbœ œ œ œ œ œ œ œ > f ? #w b ww >

bœ n˙ 3

fa - vored

b b œœ œœ œœ œœ œœ œœ œœ œœ b b œœ œœ œœ œœ œœ œœ œœ œœ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ ww

IV. They shut me up in Prose

nook

P bœ

bœ.

some

bœ

œ. -

vored

nook

& b b œœ œœ œœ œœ œœ œœ œœ œœ b b œœ œœ œœ œœ œœ œœ œœ œœ b b œœ œœ œœ œœ œœ œœ œœ œœ b b œœ œœ œœ œœ œœ œœ œœ œœ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ ?

94 B

b ww

f w

b ww p

P bœ

That

& b œœ œœ œœ œœ œœ œœ œœ œœ bœNœ œ œ œ œ œ œ œ P ? Nw N w-

? bœ

man

b œœ œœ œœ œœ b A œœ œœ œœ œœ b b œœ œœ œœ œœ œœ œœ œœ œœ b b œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œN œ œ œ œ œ œ œ œ N œ œ œ œ œ œ œ œ ww

b b ww-

b˙.

a - ges

xist

& b b œœ œœ œœ œœ œœ œœ œœ œœ b b œœ œœ œœ œœ œœ œœ b b œœ œœ œœ œœ œœ œœ b b œœ œœ œœ œœ œœ œœ Nœ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ p ? w ww ww w b b ww 3

IV. They shut me up in Prose

103 Tenderly

p bw

? bw

102

108

? w

108

? ˙ ˙˙

w w w

b˙

rall. B

bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ œ

bœ œ œ œ b œ œ œ œ b œ- œ- œ- œbœ œ œ œ bœ œ œ œ

114

all.

bœ œ œ œ & b b œœ œœ œœ œ œ b œ œ œ œ œ b œœ œ œ œ π ? w w bw b w-

π b˙

∑

w w w

∏

˙.

b œ- œ- œ- œ-

118 Morendo q = 72 molto rall.

∑

q = 40

∑

[lead into next movement, continuing voice leading in R.H.]

- - - - - - - - - - - & b œ- œ- œ- œ- b œ- œ- œ- œ- b œ- œ- œ- œ- b œ- œ- œ- œ- b œ œ œ œ b œ œ œ œ b œ œ œ œ w ∏ Ø

114

? w

attacca

28 Duration: 2 minutes

V. My barefoot rank is better ERIC NATHAN (b. 1983)

EMILY DICKINSON (1830-1886) THOMAS WENTWORTH HIGGINSON (1823-1911) Adapted by MARK CAMPBELL (b. 1953) and ERIC NATHAN

Delicately, intimately q = 72

p intimately, buoyant œ 44 w

5 &4 ∑

Soprano

Dear

# œ .. w 5 N œ &4 π 5 &4 Ó # œ .. ˙ Nœ

Piano

senza ped.

poco

j & # œ- œ ˙

Friend,

44 Ó

œ ..

4 #w #œ 4 p 44 wœ

P & œ . # œJ œ œ 44 w

would block my

. & ˙˙ .

& # ˙˙ ..

p Œ ‰ # œJ œ œ

tongue.

.j ˙ w 44 œw. # œ w P . 44 w˙ œ . # œj # ww

˙˙ . .

Œ̇

j œ œ œ œ poco

to thank

you,

I smile

w .r w #œ #˙. ‰. w˙

˙˙ .

œ ≈ #œ #˙

‰ .j # œ # ˙˙ .

43 ˙˙ ..

œ .. # œ ˙

deep as your o -

3 4 ˙˙ .

tried

3 4

plea - sures

34 ˙˙ ..

p ≈ # œ œ œ 43 # œ And if I

& ˙˙ .

I have had few

#œ ww 44 w RÔ # ˙ Œ ‰ .. p 4 # w 4 wÓ Œ ‰ .. # œ w RÔ

pin - ion,

œ Œ œ œ œ œ 43 œ- # œ œ ‰ œj # œ . œj œ . œ poco

˙˙ . 43 œ # œ œ œ

F # œ 3 ˙˙ .. œ. #œ 4 .

‰ # œJ .

P #œ œ œ œ œ

when you su - ggest

˙. 34 ˙

tears

That I de -

V. My barefoot rank is better

p & ˙.

œ œ # œ œj œ

lay

"to pu - blish,"

œ˙ ... # œ # ˙

˙˙ .

& &

œ̇ .

p If

∑

& &

fame be - longed to

˙.

& œ

˙.

N˙. p

& b b ˙˙ ..

# œ-

˙.

#œ œ œ œ 3

˙. ˙˙ ..

j œ œ

the

∑

œ œœ

you should

#˙ n n ˙˙

˙.

"friend"

∑

‰ œ œ

#˙

˙- . °

bare - foot rank is be - tter.

∑ ˙.

fin.

p π U 3 j j ‰#œ #œ œ œ œ œ œ ˙. - My

# œ-

˙.

fir - ma - ment to

3 ˙˙ .. 4

I could not es - cape her,

∑

thought As

34 ˙˙ ..

me,

Would you have time

44 # ww p 4 ww 4 P j œ ‰ # œ œ œ œ œ # œ- œ

# œ-

# œp

27 Luminous q = 72 S

œ .. œ

& Œ Œ ‰ j # œ œj # œ œj # œœ dolce

That be - ing fo - reign to my

˙˙ ..

20 Slower q = 60 S

π p 4 œ ‰ # œj œ œ œ œ œ œ 3 4 4 # œ . œj # œ œ œ œ ˙. π

P œ .. # œ #œ

∑

˙.

#œ œ ˙ think

U̇. U

˙˙ ..

need?

V. My barefoot rank is better

31 More intimately q = 60 S

π j œ ‰ ≈ # œ œ œ œ- œ œ

I have a

N˙.

li - ttle shape:

& #œ make

& ˙. ? ˙˙ ..

˙. Œ

π N˙. & N ˙.

π ˙

œ œ

œ much

ra - cket

œ œ œ as the house

œ that

≈ #œ œ œ #œ it would not

˙. ˙.

b N ˙˙

˙˙ . .

#œ

dens your

˙. ˙˙ ..

π œ

œ ˙

π ‰ # œj

crowd your desk,

N˙

œ œ œ œ 3

34 Slower q = 50

Nor

ga - ller - ies.

#˙. π N˙. N ˙.

∏ j œ ‰ Œ √ N˙ N ˙

π œœ N N ˙˙ &

∑ ˙. ˙. ˙˙ . . End of Part I

31 Duration: 3 minutes

Part II VI. To see if we were growing ERIC NATHAN (b. 1983)

THOMAS WENTWORTH HIGGINSON (1823-1911) Adapted by MARK CAMPBELL (b. 1953) and ERIC NATHAN

2 Stately, quasi recit. q = c 80

With gusto q = c 138

?4 4

Baritone

? 4 N >œ 4 b œ f ? 44 > bœ bœ

Piano

#œ N # œ >œ > > > Nœ N œ n œ

Ped. ad lib.

? 43 œ

2 4

∑

co - lored

F œ œ

#œ œ œ n œœœ œ > > > > œ œœ . œ. J nœ œ

troops,

sought

But

. & 43 ˙˙ . ? 43

7 B

2 ˙ 4 ˙ > ƒ > 24 bb ˙˙˙

˙˙ .. ˙.

f 24 b ˙

& ## ww > f ? ww> w

‰ ‰

f œ œ bœ œ œ œ b˙

I had al - ways looked for the

œœ .. œ.

co - mmand

5 œ. 8 œ.

œ œ

3 4

58 œœœ ...

œœ œ

44 œ

44 œ N œ œ > >œ ƒ > 44 bb œœ >œœ

œ #œ œ N œ > œœ N >œ

œ nœ #œ œ bœ œ > >

‰

arm - ing of the blacks,

œ. œ.

not seek the

3 4

me.

24 œœœ ... F bœ œ œ œ

did

6 With gusto q = c 138

Stately, quasi recit. q = c 80

? Ó 7

∑

. 42 œœ .

f 5 bœ œ œ œ œ œ œ 8

‰ œ b œ n œœ .. > f ‰ b œ œ .. bœ œ >

Nœ b œ >œ > F f œ œ bœ œ œ œ œ bœ œ œ œ œ 3

I had

been an a - bo - li - tion - ist

œœ

œ œ

w w

too long,

43 43 43

VI. To see if we were growing

F ‰ ‰ #œ œ œ

? 3 œJ 4

rit.

And had known and

3 & 4 œ #œ. N œ- # œ . F ? 43 œ œ . œ- œ .

loved

˙˙ ˙˙

44 w w

43 ˙˙

‰-̇ b œj ˙ ? ˙. .

˙. ˙.

F # œ ?

? # www p

œ ˙. J

wished to be.

ww w

poco F b œ- œ œ œ œ- . œ œ œ . ‰ R

joy

At last on

Œ Œ

find - ing

# ww F

ww w-

p ˙. ˙˙ .. ˙˙ .. ˙.

Œ Œ

4 œJ ‰ Œ 4

>œœ b b œœ

Œ ? 44 w wP 44

> b bb œœœ

Nw N w-

P ‰ ≈ N œ œ œ œ œJ œ œ 3

my - self

In the po - si - tion

ww w

ww w ∑

#œ œ œ # œ œ œ œœ # œœ N >œ œ > >

p b œ œ œ œ œNot to feel the thrill

With gusto q = c 138

∑

13 a tempo

too well,

3 4 ˙ ˙

P 14 b ˙œ b œ . ? J of

John Brown

4 4 w w

π 3 œ #œ ˙ 4

p dolce Nœ. œ #˙ 4 J 4 sub.

n œœœ œ >

> > > > œ œ œœ œ nœ œ .. J nœ

œ- œ œ 3

where he on - ly

∑ > w w b ww ƒ

p. . . . . . . b œœ .. N # œœ œœ ≈ œœ œœ ≈ œœ œœ ≈ œœ bw

VI. To see if we were growing

∑

>œ N >œ œ > œœ œ œ # œ œ n >œ # >œ œ œ N # œœ œœ b n œœ œ

ww & ww

ƒ . . ? # œœw ≈ œœ œœ ≈ œœ œœ ≈ œœ œœ .. œœ b œ . . . . . . b œ >œœ œœ N >œ œ N œœ bœ > > > ? œ.

War

œ œ œ

De - part - ment,

& w w

‰.

œ R

œ œ

Per - miss - ion

#w w #w w > f p .. .. .. . . .. .. . . œœ .. b œœ œœ ≈ œœ œœ ≈ œœ œœ ≈ œœ b œœ ≈ œœ œœ ≈ œœ œœ ≈ œœ œœ w w >

œ œ œ œ œ

œ œ

to re - port

Gen' - ral

∑

r ? ‰ . b œ œ ≈ œ œ ≈ œ œ ≈ œ ‰ . b b œœœ. œœ œœ œœ œœ œœ b œœ. œœ. R . . . . . sub. f sub. f p ? ww b bb www w > >

Sax - ton,

œ œ

∑ œœœ. ≈ œœœ.

. ≈ œœ

bœ œ ˙. Œ

? b œœ

. . . . . . . . . . . . . . . . . . . . ? b œœ ≈ œœ œœ ≈ œœ œœ ≈ œœ œœ ≈ œœ b œœ ≈ œœ œœ ≈ œœ œœ ≈ œœ œœ ≈ œœ b œœ ≈ œœ œœ ≈ œœ w w w 29

œ œ

I obtained from the

w w

‰

F bœ œ œ

. . . ≈ œœ œœ ≈ œœ

∑ œœœ. ≈ œœœ.

œœœ. ≈ œœœ. b b œœœ. ≈ œœ. œœ ≈ œœ œœ ≈ œœ œœ ≈ œ b œ œ. œ. œ. œ. œ. b œœ . π p ww w

VI. To see if we were growing

‰ . # N œœr œœ N œ. œ. F

N N ww >

rit.

∑

with the black troops,

F œ- œ œ ˙ 3

Sudd - en - ly

? 45

f b >˙ .

molto rall.

>œ trans

j œ ‰ Nœ . œœ N œœ # œœ . > F j‰ œœ N N œœ œœ .. >

& N N ww N wF ? N N ww-

& 45

Thence - forth my lot was cast

∑

œœ œœ

43 -

˙˙

43 ˙ ˙

P œ Œ Ó

œ bœ œ œ bœ Nœ ˙ J 3

Mine lay

˙˙ ˙˙

Œ Œ

œ.

> 44 b N ˙œ . . > f 44 bw bw > °

a - mong a hun - dred men

˙˙ ..

j‰ œœ

˙˙ ..

j‰ œœ N ˙˙ N # ˙˙ >

N ˙˙F

b ˙˙ >f

41 Churning q = 120 a tempo

formed

F bœ œ

∑

? 45 Œ

œ œ #œ œ œ

≈ œœ œœ ≈ n b œœ œœ ≈ # œ # œ ≈ n œ œ ≈ œ œ ≈ œ œ ≈ # œ œ. œ. œ. œ. n œ. .. . . N œ. N œ. b œ. œ. π "

Al - to - ge - ther

P " Œ Nœ "

P F bœ œ Œ Nœ œ œ œ œ œ œ

34 Stately, quasi recit. q = c 80

‰ Ó nœ ˙ J >

∑

> #œ

œ. ˙. >

> Nœ. Nœ œ. >

>j #œ ˙ ˙. ˙.

#œ >

45 45

VI. To see if we were growing

∑

∑ >j œ ˙ ˙.

œ. ˙ >

? ˙˙

? j œ œ #œ. >

˙ >˙

f N >˙ ‰ N œJ

> #˙

˙ œ Nœ. J >

œ >

w> ˙w > Ï

? 44 ? 44

N NN ˙˙˙ ... >

b˙ b˙ >

? Nœ œ œ ‰ œ J co - mmon

>œ ? œ

#˙. #˙. >

> #˙ ˙.

#˙ > f

Seemed

#œ > ƒ # >œ

black

> a˙ a˙

b˙ b˙ >

b >œ œ

˙Œ . >

spect - a - cle

the most dar - ing of inn - o - va - tions.

ww ww ww w

since

N ˙˙˙

> œ >

#˙. > ˙.

œ œ

w ẇ ˙

rall.

w w

#œ #œ >

> b˙

‰ b œJ œ œ œ

sold - iers

f œ J ‰ #œ œ œ œ œ œ œ œ œ #w # # www > Ï # www >

Ó 54 b ˙ >

> bœ

then

in - to sold - iers

w ˙.

w w

f b œ œ œ œ œ >œ N œ œ ‰

b >œ >œ œ œ > > b œ œ J Œ 45

> ˙ ˙

A ba - tta - lion

46 Pesante q = 66 rall.

From slaves

w œ ˙. >

48 a tempo

? 44

rall.

p Œ

54 Distant q = 50

p ‰ . # œR œ

Nœ ˙ œœ ˙˙ Œ ‰ J b ww π p b b ww

I felt

43 43

VI. To see if we were growing

? 3 #œ œ œ œ œ œ œ œ 4

5 4

Œ #œ œ œ œ œ

some - times as if We were a plant

˙. ˙ .. 3 ˙ &4 ˙˙ ..

? ˙

5 4

59 Delicately, slowly q = 40 molto rall.

43 Œ

Œ #œ

œ ˙. b œ ˙. 58 b œ ˙. & ‰ J π ? w w

˙. 43 b ˙ . p 43 b ˙ . b˙.

But con - stant - ly pulled up

#œ ˙ # œ ˙ #œ ˙ &‰ J π

Ó #w p

5 4 Nw N w

rit.

Œ ‰ # œJ œ œ œ œ œ

try - ing to take root

?3 4 ˙. ˙.

4 4

44 ww 44 w w

4 4 4 4

œœ

# ww p

N N ww

61 a tempo

44 # œ # œ # œ N œ see

were

π sotto voce # œ- . # œ ˙ J

grow

w w w w

˙.

ing.

NU w N N ww

∏ U

w w

∏

37 Duration: 2 minutes

VII. War feels to me an oblique place ERIC NATHAN (b. 1983)

EMILY DICKINSON (1830-1886) Adapted by MARK CAMPBELL (b. 1953) and ERIC NATHAN

Delicately, with a solemn presence underneath q = 80

Soprano

4 &4

∑

Baritone

?4 4

∑

Piano

& 44 # w p ? 44

tolling, distantly

# w°

p cyrstalline, delicately, bird-like

& 43 # œ

Dear

& 43

˙.

˙˙. 3 &4

j œ ‰ Œ ≈ #œ œ

˙ Friend,

# œ -̇ ‰ .. RÔ P œ .. œ # ˙ .

# œ- # œ # œ # œ œ

˙.

∑

3 4

∑

3 4

w p

P œ ‰ # œ- # œ . ˙

# œ- # œ .. ˙ .

5 Slightly slower q = 72

#œ ‰ - œ.

. Œ̇ ‰ # œr ≈

rall.

w œ #˙ Œ ‰ .. RÔ

3 3 3 44 j j œ # œ œ œ- œ œ . œ œ œ œ # œ # œ œ œ œ ˙ 3

I should have

liked to see you

be - fore you be - came im - pro - ba - ble.

44 w

45 45

VII. War feels to me an oblique place

& 45 Œ # œ

5 &4

War

43 ˙

j œ œ #˙ 3

feels

∑

#œ

3 4 -̇ . P tolling 43 . -̇ ◊ œ

Should there

& &

˙˙ . . œ

œ #œ #œ œ #œ œ

& #œ œ œ œ Would you

˙.

. & ˙˙ .

per - haps

#œ

#œ ‰ .. RÔ # ˙ p ˙. Œ p ‰

œ.

come?

‰

P ® #œ #œ #œ #œ .. J ®

Œ ˙˙

#œ.

#œ RÔ

‰ ..

p cyrstalline, delicately, bird-like #œ œ. ˙ œ

∑

. # ˙-

˙.

With more life q = 80

∑

o - ther summ - ers,

˙. P

˙. Œ̇

˙.

P œ œ œ #œ

place.

˙˙ . .

#œ

Œ̇ # ˙. π

π 13

rall.

an o - blique

w 5 &4

P 3 ‰#œ œ #˙

.r ‰̇ œ ≈Œ . Œ ˙.

œ # œ ..

#œ #œ #œ #œ œ p

∑

˙. Œ ˙˙ . .

Œ #œ

rit.

‰.

#œ R p

VII. War feels to me an oblique place

21 Slightly slower q = 72 S

& Œ

Should

Be - fore

3 4 & 4 # œ- œ œ œ œ- .

pe - ri - ence

P 25 # ˙4 &4 w

∑

& ?

wπ tolling, distantly w-

rea - ches

you,

œœ ..

4 4

F j œ œ- œ œ ˙ .

-̇ w

F # ˙-

#œ

˙.

Your

Gnome.

π #w w w

43 Œ

P ‰ # œj 44

j # œœ ˙˙ J

3 4 ?

4 4

-̇ . p tolling

# ˙- . ◊

poco

#œ œ œ œ œ œ

œ œ œ #œ Œ Ó

Who will in - form

of the ex - change?

π # ww

# ww

∑

24 Slower q = 60

Ex -

P j # œ # œ ˙˙ J

∑

im - mor - ta - li - ty,

w ∑

this

44 œœ ..

-̇

w (◊)

˙˙ . .

? 44

44 # œ #œ œ ˙. poco

˙˙ ..

˙˙ . & .

j #œ #œ œ

you,

˙˙ ..

rall.

œ.

#œ

Your

w w #w w

∑

˙. Gnome.

w w

40 Duration: 3 minutes

VIII. There suddenly arose ERIC NATHAN (b. 1983)

THOMAS WENTWORTH HIGGINSON (1823-1911) Adapted by MARK CAMPBELL (b. 1953) and ERIC NATHAN

With fanfare, quasi recit. q = 104

?4 4

Baritone

P f > > > > 3 Œ Œ ‰ œ 4 œ œ œ œ ≈ œ œ . œ œ œ œ œ œ œ œ œ œ ˙ UÓ 4 J 4

∑

Piano

? 44

> 3 ˙ .. 4 ˙

4 &4 w f

ƒ ˙. 43

a fanfare!

j œ

° (hold ped. throughout)

6 With magic q = 60 B

rall.

p delicately ? ‰ œ œ- œ œ œ œ . J ∑

? ˙

? ‰

π delicately bœ œ bœ

& Œ

strong

Pre - si - dent's

E - man - ci - pa - tion

44 w

U w

œ J ‰ Œ

π bœ œ œ ‰ J J sotto voce

which

œ œ J

two wo - men's

voi - ces

- œ. œ ‰ œ œ. J π cantabile, stoicly,

œœ J

Quotation from "America"

œ-

eld - er - ly

∑

stoicly, distantly singing

œ-

œ œ œ œ bœ œ J 3

in - stant - ly

œ œ

œ- b œœœ

œ œ

œ-

‰ Œ

∑

œ-

œ bœ œ œ œ.

Cracked and

b ˙-

poco

male voice

∑

8 Otherworldly, with beauty q = 48

œ b ˙J

œ bœ œ J J 3

read.

U w

[Ped. throughout, ad lib.]

was

w w

œ-

œœ

œŒ

œ-

œ45

blend - ed,

œ- œ œ œ J

with beauty

œ-

Pro - cla - ma - tion

4 w 4 w

b ˙-

p-̇

In - to

b œ- .

œ J

There sudd-en - ly a - rose

The

œ-

œ œœ- œœ b œœ .. œœ .. œœ œœ œ 45 J 3 p singing out, with more freedom 45 œ-

œ-

VIII. There suddenly arose

p π sotto voce ‰ bœ œ œ ≈ œ œ œ œ

? 45 Ó

œ b œœœ

5 œœ œœ &4 J

?5 4 ? 44

œ-

œ. œ.

["My coun - try

œ- ˙ œ ˙

œ-

p bœ œ œ œ œ œ œ œ ≈ 5

œ œ- œ- ˙ 4 &4 œ œ œ ˙

? 44

œ-

18 B

œ œ- . œ bœ.

œ-

poco

4 4

sparr - ow.–

œ-

œ- œ- œ-

∑

so e - lec - tric

bœ œ p

4 4

œœ bœ œ œ

œ. œ.

œ œ J

sotto voce

œ-

œ. œ.

π œ-

b >œ œ >œ œ >œœ œ œ œ œ J

sub. espress.

œ â

œ-

pulse

w w

œ-

˙ ˙

ne - ver saw an - y - thing

œ œ J

Than the morn - ing note of the song

∑

œ-

œ. œ.

œ- œ- œ-

œ œ

œœ J

p œ œ œ œ œ œ œ œ œ œ œ œ J ≈

>œ œ >œ œ >œœ œœ .. >œ œ œ œ œ œ œ œ ‰ & f espress. forcefully ?

bœ œ bœ J

by an im

bœ œ œ œ œ œ œ œ

Œ ≈

œ œœ- . œ . J

As if

œ. œ.

œ-

of thee"],

œ-

'tis

œœ

poco

œ-

That could be no more be re - pressed

œ b œ œ œJ ‰ ‰ œ œ œ œ œ

Sing - ing,

œ-

VIII. There suddenly arose

? Œ

≈

& ?

œœ b >œœ œœ J

It made all o - ther words cheap;

œœ

œ œ

œ-

? Œ

œ-

were by their own hearths at

home!

w & w

w w

œ-

P ? œ œ œ œ œ œ œ b œ . œJ ˙ .

œ-

œ- œ- œ-

œ œœ œ œœ

œ.

It seemed the choked voice of a race at last

œœ J π

œ-

Tears were e - very - where.

œ b œœ œ J

œœ

œ-

π Œ

œ-

œ- œ- œ- œ- œ- œ-

œ-

œ œ

œ- œ bœ œ J

œ-

œ œ ˙. œ œ- ˙ . π œ-

œ-

These souls burst out in their lay,

∑

5 œ . œj œ b œ œ. œ œ œ- œ b œ œ œ -p

œ-

œ œ œ œ œ œ œœ œ œ

∑

un - loosed.

œ-

œ œ.

œ b œ- œ œ- œ- œ œ- œ- œ œœ œ œ œ œ œ bœ œ

‰ b œ œ œ œ œ œj ‰ ‰ b œ 3

π ‰ Œ

œ œ

œ œ- ˙ œ bœ ˙ J 3 F

œ- œ œ œ J

Af - ter it was end - ed,

œ b œ- œ . & œJ b œ œ . 3 P ?

œ œ œ. œ œ œ.

π 3 j œ œ œ œ b œ œ œj ‰ Œ

≈œ œ œ œ

œ œ

p sotto voce

pœ œ œ œ œ œ œ œ

œ-

as if they

œ œœ œ J 3 p œ-

rall. a fine

∑

w w

∑ w w

∏

œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-

attacca

43 Duration: 3 minutes

IX. Emancipation EMILY DICKINSON (1830-1886)

ERIC NATHAN (b. 1983)

Delicately, intimately q = 66

& 43 Œ

Soprano

p with life œ bœ.

3 &4 Piano

? 43

& œ

man

ci - pa

˙. -

tion.

˙. -̇ . p intimately, but resonant

˙.

-̇ . π

b ˙- . °

˙.

b ˙- .

˙.

me,

˙. ˙.

˙.

œ b˙

Œ bœ

soul

b ˙- . p

b ˙- .

bœ.

rack

4 ˙. 4

sub.

œ ‰ Œ bœ J

-̇ .

b ˙- .

can

j œ

tor - ture

œ π

bell-like

˙.

√ b ˙- .

œ J

Œ ˙.

lovingly, cant.

π œ̇ Œ .

œ œ J

p œ

soul's

44 ŒÓ ?

œ √

-̇

˙- . b˙. P -̇ 44 Œ Œ & b˙. °

b œ 43 at

43 43

li - ber - ty

œ-

˙ 3 &4

p œ-

3 &4

& 45 b ˙ .

˙.

? 45

˙˙

#˙. # # ˙˙ .. P # ˙˙ . . p

n ˙˙ .. n˙. p

n n ˙˙ ..

‰ Œ

ww w ww

bone

j bœ œ œ 3

You

prick

‰

Œww

# œ-

&‰

√ œ. bœ.

Œ #œ

Two

√#w

#˙ Ó æ p ∏

# w◊

# ˙bo

loco

cantabile

œ- . ‰ # œ- œ œ -̇ -

dies

there - fore

# ˙p

-̇

bell-like

5 4 ?

saw,

Nor

j‰ œœ # ˙˙ .. œ #˙. P j‰ œœ # ˙ . # ˙. ° p Œ œ #œ œ œ J 3

Bind one,

p bell-like # ˙˙. w æ

Ów æ

w æ

be;

There

5 4

bœ

p ˙

j œ œ

with

Œ √ b˙

Ó b b b www P Ó ww

23 a tempo

œ.

can - not

Ó ww w

with scy - mi - tar.

& œ œ œ ? œœ

π Ó

4 4 œw Œ w pÓ 44 w & b ˙ w

one

rit.

44 j ‰ œ # # ˙˙ .. œœ ˙. F 44 j œœ ‰ ˙ . ˙. °

j #˙ œ œ œ œ

-̇

a bold - er

rend

this mor - tal

b ˙ b˙ π Œ b˙ ˙°

j 4 œ 4 œ b˙. -

j4 œ œ b œ- œ 4 b œ .

knits

& 45 ˙ ˙˙

œ.

˙.

j œ œ -

Be - hind

(√) ˙

p p œ Œ bœ

P 3 œ- œ œ ˙ &4

IX. Emancipation

˙.

# œ-

and

IX. Emancipation

p P lightly, buoyant 27 # œj & #œ ˙.

3 4 Œ

one

will flee.

>j #œ 27 #w ‰ Œ & æ F π

Ó ?

& œ œ œ œ #œ ˙ 3

ea - si - er

˙. p resonant

œ 33

∑

& 44 Œ

& 44

Œ ˙. æ

w æ ƒ # >w #w

f ‰ # œJ # œ

gle

p #œ

#œ

Ó 44 w æ

44 # ˙ >

∑

œ #œ J

Than may - est thou

gain

F 43 ‰ # œJ ˙. 43 æ 43

Ex - cept

thy - self

∑

œ #œ #˙ ˙. æ F

Œ Œ

#œ

∑

44 44

. 43 ## ˙˙ . >

may

pœ

˙. 43 æ

#˙ #˙ >

˙ ˙ >

43 # ˙

sky,

w æ

˙ ˙ >

œ #œ

F > #˙

the

nest

# œp

44 Ó

> ˙

˙ >

# w> 44 æ f 44 # ˙ #˙ >

∑

his

p ‰ # œj

with intensity

34 æ˙ .

& 44

4 #œ #œ #œ 4

And

#w & æ

The

di - vest

poco

#˙

34 æ˙ .

& #w >

p œ

˙. ˙. æ ∑

40 S

& Œ Œ #œ

#œ œ œ ˙

˙. & æ p ?

˙. æ

# ˙- .

œ Œ #œ

en - e - my;

#˙. # ˙- . π

˙.

˙. 46 & 43 æ

ww 44 w π 44 w w π

So's

˙. ? 43 ˙ . ˙˙ . .

ti - vi - ty

˙. æ ˙. ˙.

44 N œ .

#œ œ œ œ œ 3

Cap

˙. æ

& 43 b ˙ .

Thine

IX. Emancipation

j œ ˙ -

ber - ty.

3 4 4 #œ #œ œ ˙

w 4 4 æ

w æ

con - scious - ness,

j #œ ˙. ‰# œ ˙. # wwp

4 4 w w

w ww w w w

Œ Ó

espress.

∑

U w

w w

3 4 3 4 3 4

47 Duration: 2 minutes 30 seconds

X. All sounds ceased ERIC NATHAN (b. 1983)

THOMAS WENTWORTH HIGGINSON (1823-1911) Adapted by MARK CAMPBELL (b. 1953) and ERIC NATHAN

Mysteriously, with suspense q = 72

π p Nœ. bœ ˙ # œ Œ‰ J J

rit.

Baritone

? 44

π 3 a tempo p U œ œ œ œ # œ œJ œ Œ Ó

∑

It was af - ter mid - night.

4 & 4 #œ œ #œ nœ œ ˙ p freely, pearly

Piano

? 44

? b˙. &

? Ó

p 11 ? ˙

Drew a

Œ # ˙˙˙ p N b b ˙˙˙

www ?

pis - tol–

Œ N N ˙˙˙

œœœ

p 3 a N N ˙˙˙ ...

34 ˙˙˙ ...

The

œ Nœ Nœ bœ nœ p

∑

˙ ˙ Œ b˙ -. ˙ N ˙ N ˙ ..

Ó œ-

∑ œ-

b œwww www

∑

P bw ‰ œJ 44 Took

aim–

44 ˙˙˙ ...

œœœ

44 Ó f with haste œ œ œ

"Charge

œ-œ œ-œ œ-œ

b b www # n n www > π L.H. sub. ƒ wildly

R.H.

∑

b b www

sub.

#œ ˙

∑

13 Suddenly fast and frantic q = 138

rall.

π nœ Œ‰ J

moon - light–

∑

43 ˙˙˙ ...

œw b œ& ww

woods–

œ Nœ Nœ #œ œ #œ ˙ p

p ∏ 7 Œ 43 ‰ b œ œ N œ œJ œ

∑

˙.

The

# ˙˙˙

up - on

b œœ b œœ

œ them!

# n n www ∑

X. All sounds ceased

∑

œ J

‰

bœ

œ 3

Su - rround

& b b www sub. ƒ

& Ó

# n n www

b b www

˘œ œ ‰ J Œ ß

sub.

18 With Bravura B

them!"

# n n www

b b www

∑

& 43 N ˙ . > ƒ

b b b ˙˙˙˙ ...

44 Nw

b b b wwww

#œ N œœœ >

? 3 j Nœ 4 b œ # N n œœœ b b œœ > >

ww> b 4 ww 4

n N >œœœ Nœ J

3 4

# n n www

F ˘œ œ ‰ J Œ ß

? 43

∑

∑ b b b www

b www ww

con ped., ad lib.

& Nw ƒ > ? bb œœœœ n œœœ J >œ

∑

∑ b www

j œ b œœœ œœœœ b bb œœœœ n œœ > > b >œœ

Nw wwÓ ww >

∑

b www

r . b œ ‰ . b œœœ œœœœ ...

œœ œœ

b œœ .. b œœw.. www

œœ œœ

œœ .. œœ ..

b www œœ œœ

œœ .. œœ ..

œœ œœ

œœ .. œœ ..

œœ œœ

X. All sounds ceased

25 With hushed energy

∑

a sense of breathlessness, F with restless energy ‰ ≈ # œR œ Œ Ó

œ œ.

Con - fused–

b www

& Nw b ? b www w

œœ .. œœ œœ .. œœ

œœ .. œœ ..

œ ?3 J ‰ Œ 4

œœ œœ

œœ .. œœ ..

œœ œœ

œœ .. œœ ..

œœ œœ

4 Œ 4

shots–

3 & 4 ˙.

4 4 œ b N œœ

b ˙˙ ..

? 43 Œ

˘œ ˘œ b œ Nœ b Œ œJ ‰ 44 œJ ß ß *

? #œ

N ˙˙˙ ...

˙.

‰

#œ œ R

‰.

b N www

& w b ˘œœ Nœ ßJ *

b ˘œœ ‰ & bœ

#œ œ œ œ Ó

A man

√ ˘ N N œœ ‰ Nœ

w ‰

b N www

fell

? Œ

˘œ œ œ ‰ Ó J ß °

Ad - van - cing guard–

˙˙ ..

œ b œœœ ˙ . ˘œ œ œ ‰ J ß *

œ œ R

‰.

Ri - fle -

b www

w fÍ b ˘œ N œœ J ‰ Œ ß * °

3 4

el - bow–

b ˘œœ ‰ & bœ J ß

b ˘œœ Nœ ßJ *

‰ œ œ J As

b N www ˘ Œ N # œœœœ ‰ ß *J

‰

‰ œ œ œ J a

b N www ∑

tree had

X. All sounds ceased

?œ œ Œ

∑

fall - en–

&˙ ?Œ

b N ˙˙˙

b >œœ >œ 36 b œœ n œœœ & J ?

> b bb wwww

N˙

b˙

A˙

∑ ˙.

j œ b œ b b œœœ # n nn œœœœ n N œœœ > > >

b ww w

N ˙˙˙

∑

N >œœ # # N œœ

j b œœ # n œœ b œœ # n œœ > >

>œ œ n œœ

>œ œ n a œœ J

con ped., ad lib.

>œ # >œ >œ # œœœ # # œœœ a n >œœœ N œ J œ N œœ

∑

˙˙ .. ˙.

& Œ ? b b œœ n n œœ b œœ # n œœ > >

œœ n œœ >

>œ œœœ

∑

# >œœ >œ >œ # # # œœ n œœœ n œœ Nœ 43 J

j b œ b b œœœ # # ## œœœœ 43 > >

∑

>œ # >œ > # œœœ # # œœœ a n œœœ ‰ J œ ‰

˙ ˙ b N ˙˙

∑

˙˙˙

b ˘œœ œ ‰ Ó J ß * °

35 With Bravura

>˙ . # ˙˙˙ ...

∑

>œ > # œœœ 4 # # ˙˙˙˙ J 4

>œ # >œ > œœœ # œœ n œœ n >œ # œ N œœ # œœœ

>œ n >œ >œœ b b >œœœ > b œ 44 # œœ b œœœ # # n œœœ n œœ b œ œ

42 Suddenly Faster q = 160

f œ œ œ ‰. R

>œ œœœ # # # >œœœ ‰ ‰ >œœœ b b œœ ‰ ‰ a a n n œœœœœ œœ . œœ œœ . œœ œœ . # œœ ... œ.œ œ.œ ... œ.œ œ.œ ... #œ œ b œœ > > fl Ï p b >œœ > > œ > > b œ n b œ n œ # ˘œœ b >œœ b >œœ b œœ # n œœ b œœœ n œœœ b œœ # ˘œœ ‰ b œœ b œ ‰ n œ J ‰ J ‰ Ó b œœ J J ° ß ß *

Con - fu - sion–

œœœœ œœœœ ... œœœœ . . . .

X. All sounds ceased

? Ó

œ œ œ

œ œ œ bœ œ œ Ó

∑

Scatt - er - ing–

& # œœ. œœ ....

? Œ

œœœœ # œœœœ ... . . .

œœœœ œœœœ ... . . .

˘ b œœ J ‰ Ó ß * ° œ œ

œ œ

bu - llets

Fi - ri - ng

œœœœ # # œœœœ ... œœœœ œœœœ ... . . . . . . ˘ b N œœ J Œ ß *

. .. œœ. œœ. .. œœ. œœ. .. œœ. œœ. .. œœ. # # # œœœ. .. œœœ. œœœ. .. œœœ. # œœœœ. ... # œ # œ œ œ.œ œ. œ . . œ œ. œ œ. œ œ. œ &

? ° ?

∑

3 4

œ œ. œœœœ. œœœœ. ... .

˘ ˘ # œœ # œœ J ‰ J ‰ Œ ß ß * °

∑

ra - pid - ly–

. œœœœ œœœœ ... œœœœ # œœœ ... . . . ˘ N œœ J Œ ß *

œœœœ # œœœœ ... œœœœ œœœœ ... œœœœ # # œœœœ ... œœœœ œœœœ ... . . . . . . . . ˘ b N œœ ‰ J ‰ Œ Ó ß °

∑

Hail - storm

>. . b ˙ . # œ ... . . # œ b ˙ . . # œ œ . . . . # œ œ œ œ N ˙ 49 œ œ œ œ œ œ . . . . œ œ œ œ œ œ œ b ˙ . # # # œœœ ... œœœ œœ .. œœ . & 43 ƒ # ˘œœ j œ ? J ‰ Œ œœ œœ Ó j 43 # b œœ n n œœ œœ n >œ b * b œ # n œœ > > > ° con ped., ad lib.

Patt - ered

pre - cise - ly

œœœœ. # # # # œœœœ. ... œœœœ. œœœœ. ... œœœœ. œœœœ. ... . . .

b >œœ >œ >œ b œœ n œœœ # œœœ # # >œœœ J #œ J

‰

. œœœœ. # œœœœ ...

œœœœ.

∑

b >˙˙ .. b ˙˙ ..

œ #œ œ ‰ ≈R

œœœ.

∑ >œ # œœœ

˙˙ ˙ ˙

∑

4 4

>œ >œ > œœœ # œœ # œœ >œ J œ # # œœ n œœœ 44 J

j b œ b œ n œœj N N ˙˙˙ ... œ bœ . # œœœ b œœœ b >œœ # >œœ N >˙ > >

X. All sounds ceased

? 44

& 44

˘œ . œœ .. œ.

œœ. œœ

?4 4 œ & œœœ > °

œœ. .. œœ ..

>˙ . ˙.

∑

œœ. œœ. .. œœ œœ ..

œœ. œœ ?

? Ó

œœ. œœ. .. œœ œœ ..

œœ. .. œœ ..

œœ. œœœ. .. œœœ. œœœ. .. œœœ. œœœ. .. œœœ. œœ œ .. œ œ .. œ œ .. œ &

b b ˙˙˙ b˙ >

f œ ‰J U

∑

>˙ ˙

œ œ œœ œ œ -

pon the

i - ron

ww> ww

∑

ww ww

. . œ. œ. . œ. œ. . œ. œ. . œ. œ. . œ. œ. . œ. œ. . œ. œ. . œ. œ œ œœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ w w

b b www bw >

molto rall.

∑

œ. œ. . œ. b œ. . œ. œ. . œ. œ. . œ. œ. . œ. b œ. . œ. œ. . œ. œ. . œ. œ. . œ. œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ ?

∑

ca - nnon–

. . œ. œ. . œ. b œ. . œ. œ. . œ. b œ. . œ. œ. . œ. œ. . œ œ & œœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ... œœœ œœœ ...

∑

b b œœœ bœ >

>œ œœ œ

bn ˙˙˙˙ >

64 q = 80

f >œ >œ ‰J I

gave

> b bb œœœœ

b >˙˙ .. b ˙˙ .. molto rall.

> ‰ œJ the

ƒ >œ >œ Œ

or - der–

b œœ. . œœ. œœ. . œœ. œœ. . œœ. œœ. . œœ. b >œœ . >œœ >œœ . >œœ >œœ . >œœ >œœ . >œœ b >œœ . >œœ >œœ . >œœ >œœ . >œœ >œœ . >œœ b >œœ . >œœ >œœ . >œœ >œœ . >œœ >œœ . >œœ & œœ ... œœ œœ ... œœ œœ ... œœ œœ ... œœ œœ ... œœ œœ ... œœ œœ ... œœ œœ ... œœ œœ ... œœ œœ ... œœ œœ ... œœ œœ ... œœ œœ ... œœ œœ ... œœ œœ ... œœ œœ ... œœ

˙˙ ˙˙ &

(Ped.)

√ ˙ # ˙˙˙

ww ww

˙˙ ˙˙

∑

X. All sounds ceased

66 q = 40 B

√ U # www 66 w & Ï ? U ¬¬¬¬¬¬ √

∑

[chromatic cluster)

(Ped.)

67 Senza misura q = c 72

p œ œ œ bœ.

All sounds

ceased–

‰ Œ

π œ œ œ œ

bœ œ œ œ œ œ œ œ œ œ ‰ J J 3

And left us

peace - ful po - ssess - ion

∑

of the field.

∑

attacca [let ring into next movement]

54 Duration: 2 minutes

XI. There came a wind like a bugle ERIC NATHAN (b. 1983)

EMILY DICKINSON (1830-1886) Adapted by MARK CAMPBELL (b. 1953)

Delicately, intimately q = 66 rit. p

& 43

Soprano

44 #˙

∑

Piano

[Ped. held from previous movement]

& ˙ & #w ?

upon the heat

# ˙-

œ 3

So om - i - nous

# œ-

w p

œ #œ ˙. ˙

did pass

-̇

œ 3

-̇ . p

through the grass,

œ-

43 ˙

‰

43 œ # ˙

œ-

P impassioned # Œ ‰ œJ œ œ

wF w-

They dropped like Flakes–

And a

‰ # œJ w w

gle,

# ˙- .

N ˙- # œ-

green chill

44 ˙ 44

44 # œ # ˙ . #œ œ

˙.

#˙

14 Slightly faster q = 72

4 4

-̇ . p

j #œ œ #˙ .

with more restlessness

-̇

∑

N œ- . # œ- . # œ- ˙ . p poco

j & œ #œ œ œ œ ‰ œ œ œ œ

qui - vered

‰ # œ œ 44 # ˙

like a

3 4 ˙.

poco

wind

[Ped.}

Œ œ #œ œ œ

wπ

∑

came

4 4 w

a tempo

j 43 # ˙ . œ

œ.

There

3 & 4 #˙. p ? 43 ∑

w F œ œ ‰ œ J

They dropped like Stars– Like

XI. There came a wind like a bugle

& #œ œ œ œ œ œ. ˙.

Pe - tals

& ?

‰

˙. w

˙.

goes–

j j & 44 # œ œ n œ œ ˙ 3

eye could find the place–

They

∑

in the

3 4

But God can summ - on ev - ery

face

œ #˙. π ∑

˙. P ‰ # œj 44

with

˙.

3 4

-̇

Seam - less Grass–

#œ œ œ # œ #œ Nœ œ #œ

œ 45 ˙ œ #œ nœ #œ œ p poco Ó 45

œ œ

wind

-̇ P

p π Œ ‰ œj #œ œ œ œ œ œ #˙

∑

per - ished

5 # œ œj ˙ œœ œ 4

4 œ 4 # œ œ Œ ‰ œj # œ œ ˙

? 44

June

œ 44 w # œ n œ œ #œ p freely, pearly 44

& 44

the

a - cross

p j œ ‰ ‰ œj 43 # ˙

œ œ # œj # ˙

When sudd - en - ly

# œ-

fing - ers–

from a Rose–

& #œ œ ˙ &

F ‰ #œ œ œ œ œ. J

19 Slower q = 66

rit.

∑

28 a tempo

∏ Œ

j‰ #œ œ œ œ œ œ #˙. w

On his Re - peal - less–

œ œ

∑

List.

˙ Ó

-̇ π

-̇

w attacca

56 Duration: 2 minutes 30 seconds

XII. Attending to the wounded EMILY DICKINSON (1830-1886) THOMAS WENTWORTH HIGGINSON (1823-1911) Adapted by MARK CAMPBELL (b. 1953) and ERIC NATHAN

Quasi recit., solemn q = c 80

Soprano

Baritone

Piano

& 43

∑

? 43 # ˙˙ .. p ? 43 -̇ .

tten - ding

44 ww 44

? Œ

? #˙.

? 44

One man killed in - stant - ly

œ œ

ball

˙ ˙ Ó

? 44 # # # www # ww w-

through the heart–

œ . # œ- 5 4

? 44

#œ œ œ œ œ #˙.

One of whom will

die.

Ó w-

œ . œ 45 # ww œ . # œ# w-

P ‰ œJ # œ œ œ œ # œ œJ œ 3

œœœ .. ≈ # # œœœ . R

# ˙˙˙ F

r œœ .. ≈ # œœ ˙˙ œ. œ- # ˙-

A - no - ther,

ww w

ca - rried–

34 ˙

with three wounds–

ww w

œ . œ-

43 ˙ ˙

? ˙. # ˙- . B

Ma - king stret - chers for those to be

# w-

to the wound - ed–

œ #œ

∑

Œ # œ œ œ œ œ œ œ œ 43 # œ œ ˙

w w-

#œ œ œ œ œ œ 3

∑

P ? 43 Œ Œ ‰ # œJ 44 # œ œ œ œ œ œ œ œ

Ped. ad lib.

∑

ERIC NATHAN (b. 1983)

œ .. # œ œ œ-

#œ œ œ œ œ Se - ven wound - ed,

œ . œ- 4 4 j œœ .. ≈ 44 œ.

P œ ‰ Œ #œ œ œ œ œ 3 J 4 3

# ## www cresc.

N N ww-

One of which may

43 43

XII. Attending to the wounded

F ? 3 #œ œ œ #˙ 4

cost him his life

? 3 ˙˙˙ 4

? 43

œœ .. # œ-

? #œ œ œ œ

o - ffi - cers.

w ? ww

‰ œJ

he qui - et - ly

œœ # ˙- . œ ‰ # # ˙˙ .. J

by his

talked of what

˙˙ ˙

they had done,

œœ # # œœ- # œœœ ≈ #œ # œ œœ ≈ # # œœ œœ - -

˙˙

‰ 45 45 45

f 44 Œ ‰ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ J

? 45 ‰ # œ œ œ œ œ œ ˙ 3

? 45 www

œœ œ

œœ

to do

j‰ œ #˙. œ # ˙- .

And of what they yet could do.

w ww

till com - pelled

F ‰ ‰ # œJ œ œ œ # œ œ œ œ œ œ œ .

While dress - ing his wounds,

w w

? 45

re - port him - self

œ œ œ œ œ œ œ

p . œ œ œ #œ

Would not

ww -

œ #œ œ œ

œœ .. # œ- 4 # # wwœ. 4 #w cresc.

˙˙

F p œ ‰ ‰ #œ œ œ œ œ œ J J

4 4

He is per - fect - ly qui - et and cool,

44 # wwf 44 ww w-

ww ww w

But takes this whole a - ffair with the re -

XII. Attending to the wounded

? œ œ J

#œ œ J

li - gious

& ?

ww w rall.

free

? www w

30 Quotation of "America"

& bœ

death - blow

www w w w

∑

man

www w

www w w w

ww w

45 45

www w

45 w w

œ œ

www w

4 b˙. 4

˙˙˙ ... ˙.

43 ˙ . ˙.

Œ bœ

distantly

∑

3 ˙. 4 43

till

∑

44 44

π A

w w

Who,

œœœ œ

#w # w-

some;

∑

29 Freely

# w # w # # ww π until sound dies

that

www w

∑

than life.

5 4 œ b˙

life - blow

∑

rea - li - zes

w w

w w œ

who

œ #œ ˙.

is sweet - er

œ œ œ œ

∑

œ ‰ J #œ œ œ

#˙

w w

w w-

w w

∑

N www p

dom

Slower q = 60

p œ

œ œ. J

œ œ

w w >

∑

P ˙

# www> w ƒ

bear - ing

? ww

www w

44 w w

they

∑

XII. Attending to the wounded

& ?

˙.

died,

did

not

www w

& bœ. died,

˙˙˙ ... ˙. ˙. ˙.

œ bœ

a - live

b˙. -

www w

w w

w w ‰ Nœ

But

2 4 œ

when

42 42

b˙

bœ

come;

Who,

had

they

www w

w w œ

they

∑ ∑

3 4 ˙

3 4 bœ.

œ.

j œ œ

li - ty

‰ bœ

lived,

3 4

had

˙˙˙ ... ˙.

43 ˙ . ˙.

w w

died,

œ b˙

∑

b˙.

gun.

∑

XIII. That shamed the nation

Duration: 2 minutes

ERIC NATHAN (b. 1983)

THOMAS WENTWORTH HIGGINSON (1823-1911) Adapted by MARK CAMPBELL (b. 1953) and ERIC NATHAN

Solemn, intimate q = c 60

? 43 Œ ‰ b œ œ 3

Baritone

44 Œ ‰ b œj œj œ œ

& 43 b ˙ . π delicately ? 43 b ˙ .

? Ó

the pi - vot

p œ œ œ œ

& b ˙˙

˙ -̇ b ˙˙˙

? b ˙˙˙ ?6 4

and dusk-y mass

4 4

Should prove

bb Ó

& 46

˙ -̇ ? 46 b b ˙˙˙˙

˙ -̇ ˙˙˙˙

the weak - ness

‰

or its strength,

b ˙-˙

˙˙˙˙

F bœ œ œ

˙˙˙˙

P œ œ œ œ- œ

˙˙ F 44 bb ˙˙˙˙

˙ -̇ ˙˙˙

b˙ ˙b ˙˙b˙

in great mea - sure,

˙ -̇ ˙˙˙

of the na - tion

-̇˙

Must de - pend

F P œ œ œ œ œ œ œ œ bœ J

˙ ˙ ˙ F œ Œ

b ˙˙ -̇˙ b ˙-˙ ˙ -̇ p like a slow procession b ˙˙- ˙-̇ b ˙˙- ˙-̇

-̇˙

b ˙ ˙ b˙

˙.

b ww b ww-

b ˙-˙

P ‰ œ œ ˙.

of the war.

œ œ œ œ œ œ œ bœ

Whe - ther this vast

44 b ww 44 b w

con ped. ad lib.

Œ ‰ bœ œ

We had touched

Piano

poco rit. 4 Poco più mosso q = 72

46 46

XIII. That shamed the nation

? œ œ œ

˙ & b ˙˙ ? bb ˙˙˙

?4 4

œ œ œ œ œ œ

knew,

# >œ œ # œ œ >œ J # œj œ

? 44

gg ggg g

˙ ˙ ˙ >

Œ œ œ œ œ œ

# >˙˙ 19 # ˙˙ 4 &4 ƒ 19 & 44 Ó ggg # ww ggg w >

P œ œ œ

Till the

j 3 œ œœ œ

It was their de - mea - nor

œœ .. N # >œœ œœ œœ ..

> N˙ j Nœ ˙ > f

blacks

˙˙ -̇ ˙˙

6 ˙ ˙˙ 4 ˙ -̇ -̇ with increasing tension ˙64 b ˙ ˙ ˙

their

>œ œ >œ œ # a # œ . # œ œ # œj # >œœ œœ œ œ # >œœ j œ. #œ ggg N ˙˙ ggg N ˙ >

f ˙

f >œ

un - der arms

That

œœ N œ>j >œœ œœ œœ >j > J J œ œœ œœ 3

˙. ˙. > ˙ ˙˙

3 4

j œ >

N˙ >

> ˙

˙˙ -̇ ˙˙

4 4

∑

4 4

# >œ . >œ # >œ œ > . œœ # œ # œj >œœ œ 43 œJ # œj # œœ # œ ƒ j 3 g ˙. œ. g œ ˙ 4 gg N ˙ . œœ .. ggg œœ ˙˙ ggg ˙ . gg > >

free - dom.

> œ ‰ ‰ œ bœ più

shamed

>œ . œ œ . >œj >œœ ˙˙ œ J 3

œ œ Nw Nw > ˙

were armed,

f œ ‰ ‰œ œ # œ ˙ J 3

ggg # ˙˙ ggg ˙ >

f w

œ œ 46

There was no guar-an - tee

œ b ˙˙ ˙b ˙˙b˙

F ≈œ œ œ œ œ œ œ

. & 44 ggg œœœj # œœ . ggg b œ- > ggg f ? 4 ggg # ˙ 4 gg ˙ ggg ˙ g >

up - on our e - fforts.

˙˙ -̇ ˙˙˙

poco

the

>j œ

>œ œ

na - tion

>œ ˙ œ N œ N >œ œ b œ ˙ b œ œ

b˙ b˙ > N˙ >

>œ œ J

˙.

> ˙ j œ ˙ > bœ >

44 4 4

XIII. That shamed the nation

f >˙

‰ bœ œ œ œ œ œ

>j bœ

& ?

>˙ ˙

in - to

re - cog - ni - zing them

œ œ J

& 44

>œ . œ.

ww> ww

6 4

men

molto rall. al fine

>œœ œœ

œ œœ >

∑

sonorous, f bell-like, brilliantly

>œœ œœ

œ œœ >

www> w

U w

ww >

4 4

as men.

www .. w ..

>œœ œœ

Nœ w ‰ J

b b ˙˙˙˙

64 b bloco ww F 6 b b ww . 4 ww . w.

∑

b ww bw >

6 4

? 44 w www > °

w ˙

ƒ œ N˙ ‰ J

√> b wwww

w w

26 Deliberate q = 60

? 44

>j œ

molto rall.

∑

f b ˙˙ ˙

√U ww> ww

Ï U ww>

∑

lunga

4 4 44 4 4

Part III XIV. These are my introduction

Duration: 5 minutes

ERIC NATHAN (b. 1983)

EMILY DICKINSON (1830-1886) THOMAS WENTWORTH HIGGINSON (1823-1911) Adapted by MARK CAMPBELL (b. 1953) and ERIC NATHAN

Wistfully q = c 80

Soprano

& 44

∑

Baritone

? 44

∑

Ó # œŒ. ≈ . RÔ œ w J

& 44 Ó

. ‰ # œr ≈ Œ

œ œ

p crystalline, playful, delicately, with inner life,

Piano

poco

crisply articulate, fidgety, meticulous

& 44 # œ- # œ .. ˙ . ‰ # œ- .

w w

# œ- œ œ . #œ œ P

˙˙˙

# œ # œ # œ # œ œœ

& 42

˙˙

& 42 ˙˙

˙˙ p

U ‰ .r ≈Œ Ó #œ a tempo

Œ # œœ .. œ œœ ww # œ ˙ . Œ‰ J π

44 # œ- # œ .. œ˙ . # ˙˙

w˙w.

11 Freely q = 72

p warmly

& 43 # œ

Dear

3 & 4 ˙˙ ..

& 43 ˙˙˙ .. .

Friend,

. ‰- # œr ≈ ‰ # ˙˙ .. π

# # # ˙˙-˙ ...

# œ www π Œ

. .r ≈ j r #œ œ ‰ . # œ ˙˙ .. ˙˙˙ .. .

# œ≈ . RÔ p

œ.

42 42

senza ped., sempre

rit.

œ #œ #œ #œ

‰ . r ≈‰# œj . r ≈ Œ ‰ . r ‰ j . r ≈ U̇ aœ œ ≈ ˙# œ # œ Œ ww# œ ˙ ˙

www

˙˙˙ p

P #œ œ œ œ œ You were not

˙˙˙

a - ware

‰ # œ-j ˙ ˙˙ ..

˙˙˙ .. œ- ˙ ‰. J

# œ- # œthat

you

XIV. These are my introduction

& # œ- . # œ œ

F # w4 œ ≈œ 4

˙ & ˙˙

saved

& ˙˙˙ ˙ P & œ

saved

j # ˙- . œ

To thank

œ # œπ

few re - quests.

∑

? ˙. ?

˙˙ .. ˙.

N ˙- . ˙˙ .. -̇ .

œœ œœ -

poco

N œœ œœ # œ œ . œ . N N œ- . - # œ- œ .

my life.

& #œ. œ ˙.

espress.

N œœ

π b œœ b œ-

you

#œ.

per

b N œœ b N b œœœ -

45 Ó

˙˙ ˙

U ˙

˙˙ ˙

œœ

œ œ -

son

& &

‰ œ œ 3

∑

Œ. 45 Ó p crisply, delicately 45 # œ # œ œ . w‰ # œ- ˙ . J *senza ped., sempre

œ œ œ œ

has

been

since

then one of my

# œ-

œœ œ

œ n n # œœœ -

˙˙ ˙˙

N œ3

af - ter ma - ny post

# œ-

≈® œ poco

pone - ments,

44 wŒ 44 ww

f p œ œ œ œ œ 44 # œ œ Œ

F ‰ #œ œ J

that you

œœ

24 Moving forward (quasi recit.) q = 80

At last

˙ ˙

Œ #œ œ œ œ œ

œœ ˙˙ .. -

p j j œ ‰ ‰ #œ œ. œ œ œ

˙˙ ..

œ- œ # œ- œ . #œ ˙.

(Con ped. – ad. lib.)

? ˙. ?

44 Œ

You were not a - ware

# œ- .

44 Œ

˙.

life.

n œœ œ∑

F ‰ œj œ œ œ

. ‰ # œr ≈ Ó π

On Au - gust Six -

F œ- œ œ- œ

? # œ- Œ

poco

teenth,

XIV. These are my introduction

#œ

œ ‰ Œ J

Eigh - teen Se - ven - ty,

26 - # œœ ˙˙ # œ & œ œ.

˙ ˙

& ww

With my hi - ther - to un - seen

& # œ œ .. ? 42

˙˙ 2 &4

& 42 ˙˙-̇

∑

˙ & ˙ p

œœ # œ # œ # œ # œ ˙˙

F # œœ # œ œ œ œ œ œ ? J ‰ ‰

œ. ˙

‰

# ˙˙

∑

44 œ œ . œ π

#œ.

#œ J

Ó U

Œ Ó

delicately, playfully

44 # œ . œ Œ UÓ #œ #œ. °

#œ aœ #œ

œ # œ œ œ- .

Ó 34 ˙ . 43

p ‰ #œ #œ œ #œ J

P ‰ œ œœ 3

found my - self

K ≈ ® œr - #œ.

Œ w

#œ œ

p 44 Œ ‰ # œ œ # œ œ 3

corr - es - pon - dent

face to face

p #œ Œ

œ Œ

At her fa - ther's house.

‰ # œ # œ . 4 ww 4 π

44 ww w

˙˙ ... ˙

#œ. #œ

p π ‰ # œJ œ œ œ œ œ 43 # œ 5

œ. Œ

œ #œ. #œ œ. Œ

heard an ex - treme - ly

43 Œ

faint

Œ œ

#œ. #œ œ. p

Œ Œ

43 Œ # œ œ . # œ œ . Œ

XIV. These are my introduction

p ‰ # œJ # œ œ œ

?Œ

&‰

#œ œ.

foot

œ œ J

‰

step

#œ. œ #œ. . . # œ œ # œ # œ œ . . . # œ œ œ œ œ œ Z flutter ped.

F ? 44 œJ ‰

p œ œ œ œ 4 J 4

‰

#œ #œ. œ . . œ # œ œ # œ . . œ œ. œ . œ œ #œ. œ #œ #œ

‰ œ #œ.

& ‰ œ #œ. Œ

Pœ.

and patt - er - ing

37 Lively q = 92

œ nœ.

that

‰

4 4

π #œ. œ #œ. #œ œ. #œ ‰

of a

ord.

p ‰ #œ

œ 5 4

child,

And

. œ #œ. . œ #œ. . œ œ. œ #œ. # œ # œ œ # œ # œ . . . # œ œ # œ œ œ œ œ . . œ #œ #œ. #œ œ œ 4 ‰ ‰ ‰ &4 p π π F . œ #œ. . œ œ. œ œ. # œ œ # œ # œ . . . . . 4 # œ œ œ # œ œ # œ œ œ # œ . . . œ œ œ ‰ ‰ œ & 4 ‰ #œ œ œ

Z flutter ped.

accel.

?5 œ 4

gli

& 45

ded,

#œ œ. #œ œ.

#œ œ. 5 &4 Z flutter ped.

‰

P #œ œ œ

œ œ.

œ œ. œ œ.

al - most noise - less

œ #œ. #œ œ.

p œ #œ. œ #œ.

œ -

ly,

q = 112

œ œ.

œ #œ.

Z (flutter ped.)

ord.

42 q = 84

2 4

√ œ #œ #œ œ œ œ 6

42 42

∑

π #˙ ◊

4 4

44 ord.

XIV. These are my introduction

43 Fresh, brilliantly B

?4 Ó 4

F with excitement ‰ # œJ œ Ó

F #˙

A plain,

& 44

f #œ #œ # œ ?4 > 4 5

& 44

p #œ œ- # œ 5

F ‰ # œJ # œ

? 44 Ó & 44 P

#œ #œ œ ? 44 -

. œ # œ #æœ æ˙ 6

#˙. œ #œ æ

poco

#œ #œ œ 5 4

poco

4 4

poco

5 4 œ œ œ

"Like the she - rry the guest leaves in the

p œ ‰ ‰#œ œ œ œ œ œ J 3

As she her - self said,

#˙. # œ œ æ #œ

Œ ‰#œ œ œ œ œ œ

F 6 œ- # œ # œ

#w #œ œ æ poco

P #œ œ œ œ œ J

with eyes,

‰ # œ œ œ œJ 44

li - ttle per - son,

∑

5 4 Ó

shy,

∑

#˙. œ #œ æ

œ œ œ 5 4

poco

"Like the she - rry the guest leaves in the

w æ

45 ∑

XIV. These are my introduction

5 & 4 #œ Œ Ó

glass,"

? 45 œ Œ ≈

glass,"

5 wæ &4

œ æ

∑

& ˙. ? ˙.

œ Œ #œ #œ

#œ

œ. # œ œ æ ‰ f *

p ‰ œ œ œ œ œ œ J 3

For - give me

∑

w p delicately, intimately # w-

ne - ver see stran - gers

p like distant bells œ- w

∑

# œ-

#œ œ œ

œ œ œ æ æ #œ œ

in - tro - duc - tion.

p ‰ œ œ œ œ œ # œj œ J

p #œ œ œ ‰ Ó & J J

These are my

∑

poco

frigh - tened.

#œ 6

p poco p œ œ œ œ œ #œ œ œ ‰ J J

# wF with clarity # w-

? U #w #w ° 56

#œ 4 Œ #œ œ 4

∑

#U w

∑

#œ œ #œ æ

53 Simply, intimately q = 72

4 æœ 4

∑ Ó

li - lies

sub.

∑

She came toward me with two day

?5 4

4 4

F œ œ œ œ œ 4 # œJ œ Œ 4

p œ œ

a tempo

accel.

j j œ ‰ ‰ #œ œ œ œ œ œ #˙. 3

# w-

And hard - ly

know what I

say.

π # w-

w (From here until the end, change ped. a beat or two late, as indicated, ad lib. allowing the previous and new pitches to bleed into each other briefly)

XIV. These are my introduction

∑

# w-

poco

3 4 Œ ‰ &4 #œ œ œ œ œ œ

?4 4

45 Ó

warm me,

˙ 4 &4 ˙

42 ˙

π # ˙- .

# ˙P # ˙-

√ œ #œ w

œ 45 # œ w

-̇

p œ # ˙3

43 43

44 # w -

know

3 4

F 44 # œ- œ œ œ œ # œ- œ- 3 J

‰ j # œ- -̇

3 3 Œ 4 ‰ # œj # œ œj œ œ œ œ 44

∑

so cold

∑

al - most con - stant - ly

-̇ .

π w

poco

& 44 # œ œj ˙ .

? 44

to talk–

and it makes My whole bo - dy

∑

# w4 &4 p ? 44 w

she be - gan

∑

π ‰ # œ œ # œ œ œ 42 œ Œ poco

p P 3 Œ ‰ #œ œ œ œ œ œ œ œ œ #˙

If I read a book

soon

∑

p œ ‰ Œ J

But

œ œ œ œ œ

∏ # w-

64 S

π ‰ # œJ œ

∑

fi - re

∑

can e - ver

#œ

4 4

p œ‰Œ Ó J

-̇

# ˙-

that is po - e - try.

sub.

# ˙-

π -̇

XIV. These are my introduction

& 45

∑

? 45 Œ # œ œ œ œ œ œ œ œ œ œ œ

In - ter - spersed with these con - fi - den - ces

5 &4

P ? ‰ œJ œ œ œ œ œ . œ # œ

what

the most ex - tra - va - gant

Might

∑

P œ ‰ #œ œ œ œ #œ. J

44 Œ ‰ # œ # œ œ œ J J 3 Came phra - ses–

p ? 5 # w4

Pu - tting in - to words

# ˙-

4 w4

œ3#˙ p 3 #˙ œ

4 # w4

cresc.

# ˙-

p #œ œ œ œ ≈ œ œ

po - ssi - bly

think

with - out

π œ Œ

œ œ

say

ing.

‰

# ˙-

P resolutely # ˙-

(Ped. change directly on beat)

79 S

& #œ œ œ œ œ #œ œ ?

p If

& ˙

≈ œ œ œ #œ œ œ #œ œ ‰ œ œ œ œ poco

I feel phy - si - cally

∑

œ J

as if The

œ- .

π j # œ- . œ

top of my head

˙ ˙

∑

œ Œ

were ta - ken off,

# ˙-

œ.

P # ˙-

œ.

∑

p Œ ‰ j # œ- # ˙-

# œ- ˙ J p j # œ- ˙

know

w w

j‰ œ œ- œ3

∑

that is

XIV. These are my introduction

& # œ- œ œ ˙ . po - e - try.

& ?

œ.

w#w

# ˙- . # ˙. p # ˙- . # ˙.

espress.

#w # w-

‰ Ó

∑ œ œ œ œ

(Ped. change directly on beat)

# œ- ˙ . & œœ œ ˙ . π with inner life # # œœ ˙˙ .. ?œ

# ˙ # ˙

œœ # œ- œ π

œœ œ œ

# # ˙˙

94 Quasi recit. (senza misura) q = c 88 B

? Ó

w w

# œ # œ

#œ # œ-

w w

N w-

œ œ œ

j j œ œ œ ‰ ‰ œ

on - ly once

a - gain

#w ◊

π resonant

(Ped. change directly on beat)

# ˙-

N ˙-

#œ œ œ œ œ. co - rres - pon - ded

∑ w # wp # w-

π but very present, resonant

p r ‰. #œ #œ

met

# wN w-

œ œ for years

XIV. These are my introduction

molto rall. al fine

? Œ

j ‰ #œ œ œ œ œ œ 3

She some - times

en - closed

#œ œ œ ‰ ‰ œ œ œ œ J J J 3

flow - ers

œ #œ œ œ. œ

fra - grant leaves

With a verse

q = 40

π #œ.

or two...

‰

∑

U w

w (◊)

& ?

This page intentionally left blank

74 Duration: 3 minutes

XV. My Wars are laid away in Books / No Prisoner be EMILY DICKINSON (1830-1886) Adapted by MARK CAMPBELL (b. 1953)

q = c 50

rall.

*ossia below f p p π p π U U U̇ -̇ . , 3 > U j œ . œ 4 ( ˙-̇ .. ) œ U 4 N˙ Œ œ 5 4 5 ww ) Œ œ ∑ œ œ ( ) ( & Nœ 4 4 #˙ 4 J 4 œ 4 œ #œ

Soprano

? Œ 44 My

Baritone

Wars

∑

9 Freely, stoicly S

poco

& 43 ‰ j # œ- œ œ œ . -̇ œI have one ba-ttle

& œ-

And

18 q = c 72

But chose

∑

j œ

Wars

A Foe

∑

whom

I have

Ne - glec - ting me–

π sotto voce ∏ ∏ j j j & 43 ‰ œ œ œ œ œ œ œ œ œ . œ ‰ ‰ œ œ How sweet if I

am not

∑

‰.

for - got

seen

P j ‰ œ œJ- œ 3

be - tween

≈ œ #œ œ œ

ne-ver

And

o - thers

r œ œ- œ œ œ poco

till

All

the rest,

22 q = c 72 S

Books–

œ œ œ. œ œ

By Chums that passed a - way–

But oft

œ œ œ 3

at my

rall.

j ‰ œ have

∑

œ-

j œ

has scanned me

q = c 60

œ- # œj œ 3

3 4

∑

q = c 76

p œ œ-

π sub.

the best–

Wars are laid a - way in

accel.

he - si - tat - ed me

∑

π p π P 3 U 4 p j Œ 4 ‰ j # œ œ œ œ œ œ- œ . œ œ . ‰ 43 ‰ œ œ- œJ œ- - 3

π ‰ œj œ- œ œ œ œ- .

j œ œ

p P & ‰ # œj œ

more–

Wars

rit.

o - ver–

ERIC NATHAN (b. 1983)

side,

q = c 50

∏ 44 ˙ .

died–

π p 3 Œ Œ ‰ j j œ œ œ #œ œ œ œ œ

Since Play - mates at three - score and

XV. My Wars are laid away in Books / No Prisoner be

∏

ten

Are such a

&œ Wars

are

laid

œ 44 ( J

a - way

4 4

∑

p dolce ˙-̇ ..

*ossia below

j œ œ œ.

#œ

dolce

Wars are laid a - way in

a tempo

P -̇

rit.

3 jœ œ 4 Œ Œ œ œ 4 #œ œ œ

scar - ci - ty–

rit.

& # œ- Œ ≈ œ œ œ # œ œ œ œ Œ

œœ

)

( )

(

˙˙ ..

)

Books–

pa tempo P 5 ˙ UÓ 4 œ

Books–

π U œ ˙.

rit.

∏

Books–

∑

Ó.

5 4

Ó.

a tempo

Ó.

38 S

& 45

p P p 3 -œ œ œ œ œj # œ œj 44 . -̇

a tempo

rit.

∑

œ- . œ ˙ . . œ œ ? 45 œ # œ œ œJ J J falsetto

Wars are laid a - way

44 Slowly q = 50 S

a tempo

molto rall.

No pri - son - er be– Where Li - ber

π w

∑

Books–

*ossia below

3 -œ . œ- 4 # ˙- . # #( œœ ) 5 ( ˙˙ . ) 6 & 4 # œ # œ œ œ # œ- # œ4 4 J -

- ? 46 # œ # œ- œ œ # œ- # œ- œ . œJ 44 w -

Wars are laid a - way

Books–

No pri - son - er be– Where Li - ber

π U̇ 54 .

molto rall. al fine p # œ - Œ 43 # œ . ‰ œ 44 # œ- . ‰ # ˙ Him

self–

bide

with

p œ- 3 # œ- . œ- 4 # œ- . # ˙Œ ‰ 4 ‰ 4 Him

self–

bide

with

# w-

Thee.

U-

π π

∑

Thee.

September 2013 July 22, 2017 Roma, Italia Williamstown, MA Cortlandt, NY Providence, RI Roma, Italia