JR0073
Jake Runestad
A SILENCE HAUNTS ME SATB choir & piano
Music jakerunestad.com
Text:
A Silence Haunts Me after Beethoven’s Heiligenstadt Testament by Todd Boss
Hear me brothers I have a confess i on pa i nful to make S i x years I have endured a curse that deepens every day They say that soon I ’ll cease to hear the very mus i c of my soul What should be the sense most perfect in me fa i ls me shames me taunts me A s i lence haunts me They ask me Do you hear the shepherd s i ng i ng faroff soft They ask me Do you hear a d i stant flut i ng danc i ng joyously aloft No I th i nk so N o I th i nk so No God am I Prometheus ex i led i n cha i ns for g i ft i ng humank i nd my f i re Take my feel i ng Take my s i ght Take my w i ngs m i dfl i ght but let me hear the sear i ng roar of a i r before I score the ground Why S i lence is God ’s reply and so I beg me take my l i fe when lo I hear a grace and feel a r i ng i ng in me after all So now as leaves of autumn fall I make my mark and s i gn my name and turn aga i n to touch my flame of mus i c to the world a broken man as best I can As ever Faithfully Yours A bell A bell Hear me and be well *For reproduction in concert programs and other media, the poet requests that this poem be printed and rendered as a static photo image if at all possible, so as to keep the format intact. A photo for this use is available at JakeRunestad.com
About the Text, from poet Todd Boss: This loose adaptation of Ludwig van Beethoven’s famous Heiligenstadt Testament was unusually difficult to write. Jake suggested the subject matter in a phone call while I was traveling Europe, and it literally haunted me for days afterward, waking me in the middle of the night. I wrote the words “Hear me” and “A silence comes for me” in London between the hours of 2am and 4am. A few days later, I spent the entire 7-hour span of a transatlantic f light writing and rewriting, developing the poem’s unusual shape and format. I finished it several weeks later while in Vienna, and a visit to Heiligenstadt became part of my journey with the piece. I was often in tears during the process. I myself was traveling alone, and so the process was uniquely intense. I was six years into the loss of everything I held most dear, and so I swear I inhabited Beethoven’s state of mind bodily, muscles quaking, unsettled for hours after each of the poem’s twelve major revisions. I invented many things that don’t appear in Beethoven’s letter. The plea “Take my feeling, take my sight, etc.,” occurred to me as a way of declaiming the terrible irony of Beethoven’s loss, a momentary bargaining as happens as a stage of grief. Comparisons of his plight to that of the accursed Prometheus, Jake’s idea, are in reference to The Creatures of Prometheus, the ballet Beethoven finished a year prior to his sojourn at Heiligenstadt. “A bell” tolls at the end of the letter, and it might be he suddenly hears one, it might be his tinnitus, or it might be a figurative acknowledgement of a newfound hope. The poem is set in italics to mimic handwriting and arranged against ragged margins to look like a letter. I’ve isolated the letter i wherever it appears, and further isolated nouns that refer to people (I, You, me, brothers, etc.) with nine spaces on either side to isolate them, in recognition of Beethoven’s isolation from himself and others, and in honor of his nine completed symphonies. No punctuation is utilized. All these odd t ypographical choices force the reader to read the poem with a halting brokenness, just as one might read very old handwriting, but they also attempt to relay the halting and broken frame of mind Beethoven must have been in when he wrote his very sad letter to his brothers.
Program Note: In 2017, Jake Runestad travelled to Leipzig, Germany to be present at the premiere of Into the Light, an extended work for chorus and orchestra commissioned by Valparaiso Universit y to commemorate the 500th anniversary of Luther nailing his Ninet y-Seven Theses to a door in Wittenberg, thereby kicking off the Reformation. While traveling after the concert, Runestad found himself in the Haus der Musik Museum in Vienna, where he encountered a facsimile of Ludwig van Beethoven’s Heiligenstadt Testament. It was the first time he had read the famous text, which is almost equal parts medical history (including Beethoven’s first admission to his brothers that he was going deaf), last will and testament, suicide note, letter of forgiveness, and prayer of hope. Runestad was f labbergasted and found himself thinking about Beethoven, about loss, and about the tragedy of one of the greatest musicians of all time losing his hearing. Beethoven put it this way, “Ah, how could I possibly admit an infirmit y in the one sense which ought to be more perfect in me than others, a sense which I once possessed in the highest perfection, a perfection such as few in my profession enjoy or ever have enjoyed.” When the American Choral Directors Association offered the Raymond W. Brock Commission to Runestad for the 2019 National Conference, he took many months to settle on a topic, finally deciding on setting Beethoven’s words. While researching Beethoven’s output around the time of the letter, Runestad discovered that Beethoven wrote a ballet, Creatures of Prometheus, just a year before penning his testament. “Beethoven must have put himself into Prometheus’ mindset to embody the story,” Runestad noted. “Just as Prometheus gifted humankind with fire and was punished for eternit y, so did Beethoven gift the fire of his music while fighting his deafness, an impending silence. What an absolutely devastating yet inspiring account of the power of the human spirit. In the moment of his loss –when he wrote the Heiligenstadt Testament – he had no idea how profound his legacy would be” (“legacy” being one of the themes of this ACDA’s anniversary conference). Because of the length of the letter, a verbatim setting was impractical; Runestad once again turned to his friend and frequent collaborator, Todd Boss, to help. Boss’s poem, entitled A Silence Haunts Me — After Beethoven’s Heiligenstadt Testament creates a scena – a monologue in Beethoven’s voice for choir. The poem is both familiar and intimate; Boss has taken the fundamentals of Beethoven’s letter and spun it into a libretto that places the reader/listener into the same small, rented room as one of the most towering figures of the Romantic Era. To those words, Runestad has brought his full array of dramatic understanding and compositional skill; A Silence Haunts Me sounds more like a self-contained monologue from an opera than a traditional choral piece. Runestad, who has published three operas to date, shows his f lair for melding music with text even more dramatically than in familiar settings like Let My Love Be Heard and Please Stay. He sets the poetry with an intense, emotional directness and uses some of Beethoven’s own musical ideas to provide context. Stitched into the work are hints at familiar themes from the Moonlight Sonata, the 3rd, 6th, and 9th Symphonies, and Creatures of Prometheus, but they are, in Runestad’s words, “filtered through a hazy, frustrated, and defeated state of being.” In wrestling with Beethoven, with legacy, and with loss, Runestad has done what he does best–written a score where the poetry creates the form, where the text drives the rhythm, where the melody supports the emotional content, and where the natural sounding vocal lines, arresting harmony, and idiomatic accompaniment – in this case, piano in honor of Beethoven – come together to offer the audience an original, engaging, thoughtful, and passionate work of choral art. Program note by Dr. Jonathan Talberg (please credit this writer in all uses of the program note)
Note to the Performers: A Silence Haunts Me should be approached with great sensitivit y and theatricalit y. As this is a dramatic work, the performers should engage deeply with the character of Beethoven, both visually and sonically, and seek to embody the notated vocal colors and st yles. It is highly preferred that this work is performed from memory and that the ensemble engages a stage director for coaching on dramatic stage presence. A mere sing-through will not do the piece justice. The spaces created with the fermatas should be respected as notated so as to create tense, uncomfortable, and dramaticallysuspended moments of silence. All breaths have been provided with rests in the score and none should be added. While tempi may f luctuate depending on the ensemble and the space, it is requested that they follow as closely as possible to the notated tempi. The pianist is the symbolic embodiment of Beethoven and should assume the character of the music throughout. See the composer’s website for a performance by the Capital Universit y Chapel Choir – the composer worked closely with this ensemble on the interpretation and recommends it as a guide. Please read the “Audience Introduction” immediately before each performance of the work (see next page).
Audience Introduction: It is requested that this introduction is spoken to the audience immediately before each performance of the work: In 1802, Ludwig van Beethoven wrote a letter to his brothers. In it, he despairs over his increasing deafness, confesses to thoughts of ending his life, and expresses his desire to overcome his hearing loss and continue his creative legacy. This letter, now called the Heiligenstadt Testament, was found after his death having never been sent. 14 years after penning the letter, Beethoven was completely deaf. Despite his disabilit y, he continued with his art and created countless works that have become cornerstones of Western music. The work you’re about to hear, written in 2018 by poet Todd Boss and composer Jake Runestad, is a musical adaptation of that letter. This new work invites you to empathize, for a time, with the great composer, as he agonizes over the impending loss of the asset he holds most dear.
Creative Team: Jake Runestad, Composer Considered “one of the best of the younger American composers” (Chicago Tribune), awardwinning composer and conductor Jake Runestad has received commissions and performances from leading ensembles and organizations such as Washington National Opera, the Netherlands Radio Choir, the Louisiana Philharmonic Orchestra, the Cincinnati Vocal Arts Ensemble, Seraphic Fire, the Dallas Symphony Chorus and Orchestra, Dayton Philharmonic Orchestra, the Virginia Arts Festival, the Pacific Chorale, the Santa Fe Desert Chorale, and Grammy-winning Conspirare. He is one of the youngest composers ever awarded the prestigious Raymond W. Brock commission by the American Choral Directors Association. Dubbed a “choral rockstar” by American Public Media, Jake is one of the most frequently performed composers in the world and has traveled to work with ensembles on all but one continent. Jake Runestad holds a Master’s degree in composition from the Peabody Conservatory of the Johns Hopkins Universit y where he studied with Pulitzer Prize-winning composer Kevin Puts. He has also studied extensively with acclaimed composer Libby Larsen. Learn more at: JakeRunestad.com
Todd Boss, Librettist Todd Boss, a critically-acclaimed poet, librettist, public artist, and film producer, holds a diverse career with a passion for collaboration. His works for both page and stage have been read and produced throughout the world. Boss’s 2008 poetry debut, Yellowrocket was followed by Pitch in 2012 and Tough Luck in 2017, all from W. W. Norton & Co. Todd’s poems have appeared in Poetry, American Poetry Review, The London Times, The New Yorker, NPR, Best American Poetry, and Virginia Quarterly Review. Boss frequently collaborates on libretti for choral and dramatic works with award-winning composer Jake Runestad. Together, they have written commissioned works for the Choral Arts Societ y of Washington D.C., the Larimer Chorale & Orchestra, Cal State Universit y - Fullerton, among others. Learn more at: toddbosspoet.com
For more information, including a recording of this work, please visit: JakeRunestad.com
Commissioned by the American Choral Directors Association and the Raymond W. Brock Foundation
A SILENCE HAUNTS ME for Dominick Argento
Jake Runestad (b. 1986)
Todd Boss (b. 1968)
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{
> œ
Œ
Intense q=76
œ œ >
œ œ bœœœ .
f
‰
œ >œ
Intense, with unwanted restraint q=112
48
Œ
. . œ œ
œœ œ.
‰
3
œ œ œ œ > > > >
sf
> œ
gift
œœ ™™ >œ ™
œœ œ
-
bœ
>œ
ing
hu
∑
b>˙ ™
œ
n>œ
ile*
chains
for
gift
∑
3
>œ >œ >œ
œ
-
man
-
œ
nœ. œ.
∑
>˙
sf
nœ >œ
sf
∑
-
œ
>œ
ing
hu
-
man
-
∑
Intense, with unwanted restraint q=112
b &b b w w > ff ? bb bœ 48 >œ
w w Œ
Ó
w w ∑
∑ *This is correct -- "exile," not "exiled."
This score is intended for perusal use and is NOT licensed for performance. Further dissemination of this copyrighted work is illegal. Please purchase scores at: jakerunestad.com/store.
8
> ° bb > œ b œ œ & œ œ
> ˙™
sf
51
S
kind
my
fire
> œ
sf
˙
œ
ah
> ˙™
. . sf> œ œœ œ
> œ
œ
œ
˙
œ
> nœ
> œ
nœ
> œ
œ
my
bœ
N O P T E FO RU R SA PE L RF SC O O RM R E AN CE
f harsh > b &b b ˙
œ
Œ
A
Ex
T
B
Pno.
b >˙ b & b ‹ - kind
œ
iled
-
in
chains
for
gift - ing
‰ œJ œ œ nœ œ œ œ œ
œ
> nœ
œ
for
gift - ing
my
?b ¢ bb
fire
∑
{
hu - man
> œ
hu
∑
-
kind
my
. . > œ nœ œ ˙™
Œ
man - kind
-
∑
b & b b œ. œ. œ. œ. œ. œ œ œ . . . n œ. œ. œ. œ. œ. œ œ. œ . . mf ? bb ∑ ∑ b
∑
œ. œ œ œ. . œ. . œ. œ. œ.
œ. bœ œ. œ œ. œ œ. . . . œ.
∑
∑
51
° bb > & b ˙™ 55
S
Œ
fire
b > &b b w
Ó
fire
T
B
Pno.
?b ¢ bb
{
b˙
œ
-
> ˙™
sf
œ
iled in
∑
gift
55
∑
.. œ nœ œ œ
-
-
sf
chains
for
∑
∑
gift - ing
> ˙
Œ
hu - man - kind
.. > > œ œ œ œ bœ œ œ
. . . . . . . . œ b b œ œ œ & b b œ ‰ Œ œÓ œ œ œ nœ œ. œ. œ. œ œ œ. œ . . . . .J ? bb b
> œ œ
˙
> n˙ ™
for
f harsh
b > &b b ˙ ‹ Ex
œ
chains
sf
A
> b˙ ™
hu - man -
my
œ œ ˙
ing hu - man - kind
> > œœœ œ ˙ kind
∑
œ. œ. œ. œ œ. œ. œ. . œ. ∑
œ
my
∑
j œ. ‰ Œ
> ˙
œ nœ
fire
> œœ˙
Œ
fire
> ˙
sf
fire
˙
my
∑
Ó
∑
œ. œ. œ. œ. œ. œ. nœ. . œ nœ œ œ œ œ nœbœ nœ . . . . . . . .
This score is intended for perusal use and is NOT licensed for performance. Further dissemination of this copyrighted work is illegal. Please purchase scores at: jakerunestad.com/store.
9
° bb w & b 60
S
œ œ
> ˙™
in
chains
f harsh
b > &b b œ
ah
sf
œ
˙™ sf
œ
> œ
œ bœ œ œ œ œ œ nœ
œ œ
> œ
ah
> ˙™
œ
Œ
N O P T E FO RU R SA PE L RF SC O O RM R E AN CE
œ
œ
nœ
Œ
A
Ex
T
iled
-
b &b b ˙ ‹ fire
> ? bb ˙ ¢ b
Œ
œ
ah
f harsh
B
Pno.
{
Ex
-
œ
œ
iled
in
° bb w & b
b˙˙
w
>˙ ™
> œ œ. œ. œ
sf
> Œ œ >
sfz
B
Pno.
for
b > b & b˙
> > œ œ
b > &b b ˙ ‹ Ex
? bb >˙ ¢ b
{
> > œ œ
b>˙ ™
Œ
>˙
œ
gift - ing
œ. œ œ. . œ. œ œœ œ
hu - man -
kind
>œ
> nœ
. . œ nœ œ w œ
hu - man
œ. œ œ. . œ. œ œ œ œ
in
chains
>œ
nœ nœ
sfzmp
ww
bœ bœ
œ
my
>œ. >œ. n>œ. œ œ nœ
>œ œ
>œ œ
>. . œ. œ œ. œ. œ œ œ œ œ œ
molto rit.
(q=60)
˙˙™™
ff
˙˙™™
ff
> increasingly > >more>labored> > > > > > > > > > ‰ œJ bœ ‰ œJ œ ‰ œJ bœ œ œ œ œ œ œ œ b˙ ™ in chains
Œ Œ
> œ
ff
Œ
in chains in chains in chains in chains in chains in chains.
>œ >œœ bnœ>œ >œœ œ>œ >œœ bnœ>œ >œœ œ>œ >œœ œ>œ >œœ œ>œ n>˙˙ ™™ n ‰J ‰ J ‰J increasingly more labored
> > > in chains in chains in chains in chains in chains molto rit. >˙ œ œ œ Œ œ > œ œ ww b ˙ ∑ &b b œ œœ b˙˙˙ Ó œ> > f > > > > > œ ˙ œ œ ˙˙˙ ? bb ˙˙˙ œœœ œœœ Œ Œ b b ˙ ™ ˙ ™ ˙ bœ ™ ˙> ˙> ™ ˙ œ œ ˙ 64 > > > > fire
kind
-
ww
> b˙˙
bœ
9 8 9 8
ah
- iled in chains
>œ
œ œ
nww >
> Œ œ >
> w
œ. œ .
sfzmp
sfz
Ex - iled in chains
T
sf
chains
ah
A
gift - ing
n˙ ™
b & b b œ œ. œ. œ. œ. œ œ œ . . . . n œ. œ. œ. œ. œ. œ . ? bb ˙ ˙™ œ œ b ˙™ œ œ ˙ > 60 64
S
for
ff
Œ
in chains in chains.
> œœœ œ œ >
9 8 9 8
>œ >œ >œ >(q=60) œ>> Œ œ œ œ œ œœ nnœœ 98 ˙˙˙ ™™™ ˙™ ˙™ >
œ >œ
9 8
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10
Intense q.=60
S
q.=q
rit.
° b 9 >œ œb>œ œ >œ œ 4 b>˙ ‰ & b b8 J J4 f pleading
69
>3 > b>œ ™ Œ œ œ
Take my feel-ing take my sight
take my wings
> Ϫ
> > > # > œ œ œ œ œ ## # n˙ J
>3 #>œ # Œ œ
> j > >œ œ>œ #### #˙ œ bœ œ #˙
> > Œ #nœœ nœœ
mid-f light but let me
*hear
let
me
N O P T E FO RU R SA PE L RF SC O O RM R E AN CE
f pleading >œ œ >œ œ >œ œ 4 > b 9 ‰ & b b8 J J4˙
a tempo
A
> > Œ œ œ 3
Take my feel-ing take my sight
take my wings
>3œ >œ b>œ ™ Œ
f pleading > > > b 9 4> & b b 8 œ œJbœ œ ‰ œ œJ 4 b˙ ‹ Take my feel-ing take my sight
T
take my wings
> > > > ? bb 9 œ œJ œ œ ‰ œ œJ 4 ˙ 4 ¢ b8 f pleading
B
Pno.
{
Take my feel-ing take my sight
Intense q.=60
f
° #### & ## &##
A
> ˙œ >
2
me
3 > > Œ #œ #œ
œ bœ >œ >œ œ>œ # ## ##>˙˙ J #
> n>œ Œ#nœœ œ
mid-f light but let me
*hear
mid-f light but let me
let
me
3
*hear
rit.
let
me
q.=q
a tempo
2
œ
## &## ‹
T
¢
? ####
{
## &## ? ####
73
hear
>˙
hear
>rit.
3
‰ œj œ œ œ œ œ œ w *Equal, 3-part splits amongst SA & TB, respectively. w > Lunga
ff
hear the sear -ing roar of
mp
air
be - fore I score the ground
air
be - fore I score the ground
mp > >3 j j ‰ > >œ 3 œ ™ œ >œ œ œ œ œ œ 42 œ ‰ œj œ œ œ œ 44 ˙™ 4 œ™ ff
> ˙
> ˙œ >
ff
3 œœj ‰ >œ >œ 3 >œ™ œ >œ œ >œ œj 2 œ ‰ œj œ œ œ 4 œ 4 ˙™ 4 4 J
let me
hear
Pno.
take my wings
let
œ œ >œ >œ >œ #### n>˙ J
? bb 9 ‰ œj œ œ œ œ 4 ‰w œj œ œ bœ œ œ ‰ bœj œ œ bœ œ œ #### 4 b8 ˙ ™ œ b˙ ™ œ™ œ œ w b˙™ ˙™ œ™ œ œ 69 > > > > > rit. 2
hear
B
>Ϫ
*hear
> > # > 3 3 3 3 3 3 3 ™ œ b9 œ # nw œ œ œ 4 & b b 8 œœœ ™™™ œ œ œ œ œ œ œ œ 4 œ bœ œ œ œ œ œ œ œ œ œ œ œ bœbœ œ œ œ œ œ œbœœ œ # # ##nw w œ œœ œ œ œœœ w w w ‰ ‰ 3 3 3
73
S
>3œ >œ Œ
mid-f light but let me
3
let me
œ
hear the sear -ing roar of
3 œœj ‰ >œ >œ 3 >œ™ œ >œ œ >œ œj 2 œ ‰ œj œ œ œ 4 œ 4 ˙™ 4 4 J
ff
let me
hear the sear -ing roar of
mp
air
be - fore I score the ground
ff œ ‰ >œ >œ 3 >œœ ™™ œ >œ œ >œ 3 œ 2 œ ‰ œ J J 4 4 J
let me
hear the sear -ing roar of
˙˙˙ ™™™ œ œ œ œ œ œ œœ œœ 3 >˙˙˙ ™™™ ™ œ œ œ œ 4˙ ™ ‰̇ 3 3 3 j œ œ œ œ 3 ‰ œ 4 ˙™ ˙™ œ ˙™ œ ˙™ > > >
air
2 ˙ 4 ˙˙˙ 2 4 ˙ ˙
œ œ œ œ 4 ˙™ 4 mp
be - fore I score the ground
˙ ˙˙˙
4 4 ˙˙ ™™ ˙˙ ™™ mp
˙ ˙
4 4 ˙™ ˙™
√ Œ
(Let piano fade to silence)
√ Œ √ Œ √ Œ
√ œœœ œ
Lunga
√ œ œ
l.v. to silence
This score is intended for perusal use and is NOT licensed for performance. Further dissemination of this copyrighted work is illegal. Please purchase scores at: jakerunestad.com/store.
11
Freely q=66 All Singers (at written octave)*
j √ ‰ œJ nœ ‰ Œ
N O P T E FO RU R SA PE L RF SC O O RM R E AN CE
mp sotto voce, trembling
SA TB
? #### œ
Œ
Why
78
SA TB
? #### 2 ‰ 4
82
Pno.
Œ
Why
Why
mf intense, crazed (still sotto voce)
œ
œ
nœ
and
I
beg
me
œ J
œ
so
°? # ## 4 ¿j ‰ Œ ¢ # 4
{
U Ó
n˙
a sobbing, trembling half-whisper (unpitched)
86
SA TB
œ
fade to a trembling whisper
j ¿ ‰ Œ
take
my
∑
? #### 4 4
∑
T
B
° ## &
∑
## 4 4
# &#
∑
Ó
# j j & # œ ‰ ‰ nœ ˙ œ œ Œ 3 ‹ lo I hear a grace
? ## œ ‰ ‰ nœJ ˙ J ¢
{
lo
I hear
3
œ œ Œ a grace
? ##
91
∑
*Soprano and alto voices that cannot sing notes out of their range should leave them out, yet still mouth the words.
U Œ
‰
2 4
4 4
life
Basses & Tenors Only
∑
## 4 4
˙ ˙
˙ ˙
˙ ˙
∑
in me
‰ œj œ œ œ œ ‰ œj œ Œ in me
‰ œJ œ œ œ œ ‰ œJ œ Œ and feel a ring-ing
w w
Œ
w w
∑
∑
Freely q=48
j ‰ œ œ œ œ œ ‰ œj œ Œ
and feel a ring-ing
Ó
pp as an echo in the distance
∑
and feel a ring-ing
‰ œJ â ä
pp sotto voce, softly emerging
when
pp sotto voce, softly emerging
∑
nœ. J
my
∑
˙ ## 4 ˙ 4
√ Ó
w w
re - ply
n œ. J
‰
Freely q=52
∑
w # w &#
Pno.
œ
rit.
91
A
God's
Freely q=52
86
S
is
Lunga
Pianist begin without conductor
Lunga
√ Ó
Ó
Si - lence
take
life
Ó
œ
Œ
Lunga
##4 & # #4
œ
continue intensity over rest -- don't let down
j √ ¿ ‰ Œ Ó
dim. to a whispered sob
-œ œ U ≈ Ó
in me
rit.
pp sotto voce, softly emerging
2 4œ œ
˙
all
4 4w
2 4œ œ
˙
4 4w
af - ter
af - ter
2 4œ œ
af - ter
2 4œ œ
af - ter
2 4
4w 4
˙
all
4w 4
˙
all
Freely q=48
˙ 2˙ 4 ∑
all
pp sotto voce, softly emerging
∑ ∑
∑
œ œ œ œ 4 œœ œœ œœ œœ 4
4 4
pp
∑
This score is intended for perusal use and is NOT licensed for performance. Further dissemination of this copyrighted work is illegal. Please purchase scores at: jakerunestad.com/store.
12
Slowly e=66
rit.
° ## & ˙ 97
œ
œ
so
now
œ
œ
œ
œ
œ
œ
j œ œ
3
œ
-j œ
œ
-j œ
œ
-j œ
a tempo
≈ r œ œ
rit.
œ
œ
œ
œ
j œ œ
3
œ
-j œ
œ
≈ r œ
-j œ
≈ r œ
œ
-j œ
≈ œr
N O P T E FO RU R SA PE L RF SC O O RM R E AN CE
S
pp cresc. poco a poco
Œ
rit.
A
# &#˙
T
# &#˙ ‹
B
¢
Œ
so
{
now
œ
œ
so
now
œ
so
turn
T
B
? ## œœ ¢
{
turn
# &#
Pno.
a - gain
œ
ø
j œœ œœ
a - gain
œ
œ
- gain
œ
f lame
of
œ
œœ
œ œ
œœ
mu - sic
to
the
f lame
œ œ œ œ
œ
œ
œ
-œ
œ
mf
œ
the
œ
-œ
œ
of
mu - sic
to
the
-œ
-œ
mf
œœ
-œ œ
œœ
f lame
of
mu - sic
to
the
>œ œ
>œ œ œ >
and sign my name
j œœ œœ
-œ œ
Soaring e=70
>œ œ J
and
-j œœ
œœ
r ≈ œœ
and sign my name
and
rit.
œ
œ
and
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
poco rit.
œ-œ
mf
œ
œ wœ ø
œ
-œ
mf
-œ œ
œ œ
œ
Soaring e=70
- œ œœ œœ -œ œœ
œ
to
molto rit.
œ
œ
mu - sic
f lame
to touch my
œ œ
œ
œ
of
œ
j œ œ
3
I make my mark
œ
œœ œœ
a - gain
œ
œ
and
and sign my name
3
œœ
œœ
j œ œ
a tempo
œ
œ
œ
to touch my
œœ ™™
œœ
œ
œ
to touch my
Ϫ
r -œ ≈ œœ œ
of au - tumn fall
œ
œ
œ
I make my mark
œ
œ œ
Ϫ
œ
r ≈œ œ
-j œœ
œœ
and sign my name
3
I make my mark
rit.
to touch my
a tempo
? ## œ œ
100
œ œ
Ϫ
œ
## -œ œ & ‹ turn a
œ
≈ r œ œ
of au - tumn fall
3
molto rit.
100
A
œ
wœ
a tempo
# &#œ
œœ
as leaves
œ
∑
turn
j œ œ
p flowing, cresc. poco a poco
97
S
œ
I make my mark
of au - tumn fall
3
Slowly e=66
? ##
° ## & œ
œœ
now
rit.
j œ œ
as leaves
œœ
w ## w & w
Pno.
œ
pp cresc. poco a poco
Œ
of au - tumn fall
3
as leaves
pp cresc. poco a poco
Œ
? ## ˙
as leaves
pp cresc. poco a poco
-œœ
world
bœœ
œœ J
‰
j œœ
‰
œœ J
‰
œœ J
‰
world
n-œœ
world
b-œœ
world
poco rit.
6 œ œ bœœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œœœœœœ bœ œ 6 mf ‰ n œj bœ ˙ ≈ œ œ œ œ ˙˙ œ ˙ œ >œ ˙ >ø Pedal freely 3
6
This score is intended for perusal use and is NOT licensed for performance. Further dissemination of this copyrighted work is illegal. Please purchase scores at: jakerunestad.com/store.
molto rit.
a tempo
° ## -œ &
œ
œ-œ
œœ
-œœ
mu - sic
to
the
world
ah
j œ
102
# &#œ
œ
œ
bœœ
to
the
world
‰
œ J
13
˙˙
œœ
œ œ œ
˙˙™™
f
œ
N O P T E FO RU R SA PE L RF SC O O RM R E AN CE
S
a tempo f
A
œ
mu - sic
# &#œ ‹ mu
T
B
? ## -œœ ¢
{
œ
-œ
- sic
to
œœ
-œ œ
mu - sic
to
a tempo
œ
n-˙˙
the
world
œœ
the
‰
ah
# &#œ
A
œ
(ah)
# œ & # œJ ‹
T
B
Pno.
¢
? ## œœ
{
œ ‰
œ
œ
˙ ™œ
world
nœœ
œ J
œ
œ
œ˙
bœ
a tempo
ah
œ œ bœœ œ œ œ œ œ 6 œ œ œœœœ œœ œ œ œœ œ œ œ œ œ œ œ bœ œ œ œ 6 f ‰ n œj ˙ bœ œ œ ‰ j œ ˙˙ œ ˙ ˙ > dim. j œœ œ ‰ œœ œ bœœ ™™ J
œ nœ œœ
j œ̇
bœ J
6
6
dim.
œ̇j
dim.
‰
ah
ah
˙
‰
œœ bœ
œœ J
œ ‰
dim.
œ
œJ
œœ
œ
j œ J
‰
ah
ah
‰
œ
œ
œ
b˙˙
ah
6 ## œ œ bœœ œ œ œ œ œ 6 œ œ œ & œœ œœœœ œœ œ œ œœœœ œœ bœ œ œ œ 6 ‰ n œj ˙ bœ œ œ ? ## ‰ j œ ˙ œ ˙ ˙ 104 ˙ > 6
bœœ
bœ
ah
molto rit.
nœ ™
‰œ
œœ
f
‰
ah
œœj
œœ
ah
b-˙˙
bœ
œœj J
f
‰
6 ## œ œ bœœ œ œ œ œ œ 6 œ & œ œ œœ œ œ œ œ œ œ œ œ œœœœ œœ bœ œ œ œ 6 Pno. ‰ n œj ˙ bœ ≈ œ œ œ ? ## œ ˙˙ œ ˙ 102 ˙ > 104 ° ## ˙˙ œ œ nœ bœœ ‰ S & 6
nœœ
œ
ah
œ
6 œ œ œœ œ œ bœœ œ œ œœ œ œ œ œ œ œ œœ œœœœ œ œ œb œ œ œ œ œ 6 ‰ n œj dim. ˙ bœ œ œ ‰ j œ ˙ œ ˙ ˙ ˙ > 6
6
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14
molto rit.
° ## & ˙˙ 106
# &#
bœœ
e=52
mp
j œ
‰
rit.
p
a tempo rit.
j œ
bœ
˙
p
r ≈ œ
mm
mf
a
mp
p
˙™
p
N O P T E FO RU R SA PE L RF SC O O RM R E AN CE
S
mf
A
B
# & # œ˙ ‹
¢
œ
bnœœ
p
œ J
‰
a
˙™
mp
≈ œr
œ J
p
≈ œR
mm
mf
a
mp
œ
? ## ˙
{
j œ
mm
mf
T
‰
œœ
˙
j œ
p
œ J
‰
ah
œ
˙
œ J
p
≈ œR
mm
a
e=52
molto rit.
rit.
a tempo rit.
6 6 ## œ œ œ œ œ œ œ œ#œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œnœ œ œ œ n œ b œ œ œ œ œ & œœ œœœœ œœœœ œœ œ œ œ bœ nœ œ œ 6 6 6 6 6
Pno.
6
? ## ‰ ˙ 106 ˙ >
° ## & œ 108
S
j œ
œ
a tempo
œ
bro - ken
# &#œ
A
œ
# &#œ ‹ bro
B
¢
? ## -œ
{
≈
œ
j œ
≈
œ J
≈
œ J
≈
man
-œ
œ
bro - ken
a tempo
man
Pno.
6
? ## œ
108
ø
œ
&
œ
r œ
œ
as
best
r œ
6
œ
&
œ
œ
nœ
œ ø
can
I
can
œ
œ
best
n-œ
œ-
as
best
b-œ
I
-œ
can
best
I
can
œ R œ R
œ
œ
I
œ
œ
œ
as
as
rit.
œ œ œ # œ œ œ œ œ œ &#
œ ø
j œ
-œ
- ken
bœ
rit.
man
œ
œj
p espress.
œ
œ
man
bro - ken
T
œ
‰ ˙˙
œ-œ
œ œ œ bœ œ œ bœ œ œ œ œ œ œJ 6
œ
œ ø
3
œ
œ
œ
?
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15 Slowly, signing off q=52
° ## U & ˙
All singers gradually lower heads, arriving fully lowered at "Yours" (while still able to see the conductor peripherally for the cue at 112).
109
S
nn
˙
˙
˙
U ˙
œ
U œ
œ
U ˙
œ
U œ
2 4
œ
U œ
2 4
œ
U Œ
2 4
œ
U Œ
2 4
N O P T E FO RU R SA PE L RF SC O O RM R E AN CE
## U & ˙
˙
U œ
A
nn
T
B
Pno.
¢
# U &#Ó ‹
Œ
? ## U Ó
{
Œ
‰ ‰
Slowly, signing off q=52
## U ˙ & # U &#˙
j œ
œ
as
ev - er
œ J
-œ
œ
as
ev - er
p sotto voce
Œ
œ
p sotto voce
Œ
U Œ U Œ
stretch
œ nœ
U Ó
œ nœ
U Ó
3
Ϫ Ϫ
Faith - ful - ly stretch
3
Yours
Faith - ful - ly
Yours
˙
˙
U œ
œ
U ˙
œ
U œ
˙
˙
U œ
œ
U ˙
œ
U œ
2 4 2 4
109
On the downbeat, all singers suddenly look up with a sharp motion, eager to see a bell they thought they heard in the distance. Each singer's gaze should look to the upper reaches of the space behind the audience -- as if looking at the top of a bell tower.
° ## 2 Faster q=80 & 4˙ 112
S
A
T
B
Pno.
{
#2 & #4 #2 & #4
112
U w
4 4w
p sotto voce, with sudden, intense, uncertain hope, mostly whispered
‰™
-r œ a
4 bœj 4
‰
‰™
Faster q=80
a
U™ ‰
bell
p sotto voce, with sudden, intense, uncertain hope, mostly whispered
-œ R
?# 2 ¢ #4 Œ
U w
4 4w
#2 & #4 ˙ #2 & #4 Œ ‹
Pregnant pause: filled with hopeful anticipation -- as if he might actually hear a bell tolling -- and then succumbing to the realit y of deafness. Faces return to conductor on cue for measure 115.
4 bœJ 4
bell
‰
U™ ‰
-r œ
-j œ
a
bell
-œ R
-œ J
a
bell
softer, breathier
‰
Œ
U ∑
‰
Œ
U ∑
softer, breathier
∑
4 4
∑
∑
4 4
∑
U ∑ U ∑
This score is intended for perusal use and is NOT licensed for performance. Further dissemination of this copyrighted work is illegal. Please purchase scores at: jakerunestad.com/store.
16 Choir should exaggerate mouth movement on "be well" starting here. Pianist should also exaggerate body movement here.
Slower q=54
° ## & w
molto rit.
a tempo
mp
pp softly
115
2 4˙
4 4w
˙™
Œ
˙™
Œ
˙™
Œ
˙™
Œ
N O P T E FO RU R SA PE L RF SC O O RM R E AN CE S
A
# &#w
T
# & # bœ ‹ Hear
pp softly
B
¢
pp softly
? ## bœ
{
Hear
# &#
Pno.
be
well
pp softly
mp
2 4˙
4 4w
2 4 b˙
mp
4w 4
2˙ 4
mp
be
Œ
œ
œ
me
and
œ
me
Slower q=54
# &#
be
œ
Œ
well
and
well
4w 4
be
molto rit.
well
∑
2 4
∑
∑
2 4
∑
a tempo
4Ó 4 ˙˙ ˙˙
?
115
° ## & ˙ 119
S
A
# &#
p
be
well
˙
˙
p
be
# & # b˙ ‹ be p
T
?# ˙ ¢ #˙ p
B
{
be
# Ó &#
Pno.
? ## w w w
119
˙
well
˙
Œ
˙™ ˙˙ ™™
well
˙˙
Œ
well
œ œ œ
p
œ œ œ
œ œ bœ
mp
Œ
˙™
œ œ nœ
˙ ˙ ˙
∑
œ œ nœ
œ œ bœ
œ œ œ
4w 4w w Œ
˙™
œ œ œ
˙ ˙ ˙
w w w
pp
be
˙
well
˙™
˙
be
˙
well
˙™
b˙
˙
˙™
be
well
˙
pp
pp
˙˙
pp
well
˙ ˙ ˙
œ œ œ
o Œ o Œ o Œ
˙˙ ™™
˙˙
be
o Œ
œ œ œ
œ œ bœ
œ œ nœ
pp
∑
una corda (through to the end)
˙ ˙ ˙
∑
This score is intended for perusal use and is NOT licensed for performance. Further dissemination of this copyrighted work is illegal. Please purchase scores at: jakerunestad.com/store.
17 The desired effect is that sound slowly disappears as if one's sense of hearing is finally dissipating. There should be a gradual fade to silence, while maintaining all physical gestures so as to appear that the choir and pianist are still creating sound normally.
N O P T E FO RU R SA PE L RF SC O O RM R E AN CE
Conductor continues to conduct throughout the silence, with a long fermata at the very end. Conductor slowly drops arms at the end of the cutoff.
Small group of singers - sing "ng" while mouthing "be well" (no more than 12 singers)
° ## & ˙˙ ˙˙ 123
Small group: SA TB
pp
ng (be
be
be
# &#
˙˙˙ ™™™
ppp sotto voce
b˙ Œ ˙˙ ˙˙˙
well
ng (be well)
Mouth the words, but do not sing.
Y Y
be
# &#
well
well
ΠY Y
Y™
be
Mouth the words, but do not sing.
Y Y
be
well
# & # bY Y ‹ be well
Y™
Œ
well
Y Y
be
well
?# Y Y ¢ #Y Y
{
be
? ##
123
well
be
well
˙˙˙ ™™ ™
bY ΠYY YYY
Y™
ΠY Y
Y™
Œ
be
be
bY Œ ™™ YY YYY
well
well
Y Y
be
YYY ™™™
well
be
Y™
Œ ™™ Y
√ Y
YYY ™™™
Œ ™™ YYY
√ YYY
Y™
Œ ™™ Y
√ Y
Y™
Œ ™™ Y
√ Y √ Y √ YY
1.
2.
well
Y™
Œ ™™ Y Y
Y™
Œ ™™ Y Y
Y™
Œ ™™ Y
YY ™™
Œ ™™ YY
be
be
well
well
Y™
ΠbY Y
Y™
YY ™™
ΠYY YY
YY ™™
ΠYY YY
YY ™™
Œ ™™ YY YY
be
well
be
ppp
∑
Mouth the words, but do not sing.
ΠbY Y
˙ œ œ œ œ˙ ## ˙˙ œ œ bœ¿ nœ¿ ˙Y ¿ ¿ &
Pno.
be
Y™
Y™
well
Mouth the words, but do not sing.
B
Y™
Œ ™™ Y Y
Œ ™™bY Y
Mouth the words, but do not sing.
T
ΠY Y
Solo voices only - sing "ng" while mouthing "be well" (remainder of voices mouth words with choir)
Small group of singers (no more than 12 singers)
? ## b˙˙˙ ˙˙˙
A
˙™ ˙™
Mouth the words, but do not sing.
well)
pp
S
o ΠY Y
∑
be
well
be
well
be
well
be
Pianist continues moving fingers over the notated keys -- as if playing -- but does not depress the keys. Exaggerate this gesture so the audience believes you are still playing but they hear nothing.
˙ œ œ œ ¿ Y ˙ ¿ ¿ ¿ ¿ Y Y ¿ ¿ b¿ n¿ Y pppp
o(silence)
∑
∑
Y ¿ ¿ ¿ ¿ Y Y ¿ ¿ ¿ ¿ Y Y ¿ ¿ b¿ n¿ Y
∑
∑
well
well
Y ¿ ¿ ¿ ¿ Y Y ¿ Y ™™ Y ¿¿ ¿¿ b¿¿ n¿ Y
√ ¿ ¿ Y ¿ Y ™™ b¿¿ n¿ Y
™™
™™ Ó
1.
∑
∑
2.
√ Ó
November 24, 2018 Minneapolis, MN