ONE FLOCK - Jake Runestad

JR0059

Jake Runestad

ONE FLOCK SATB choir, soloists, piano, & percussion

Music jakerunestad.com

Libretto One Flock by Todd Boss Look, overhead! A thousand starlings! A murmuration!

One f lock, wing to wing, they twist and sing and pitch and roll.

A living smoke, pulsing dark across the sun– grounding us in our earthly home.

Home is where the voices of the world become one.

–Whose nest is best, lover?

–Our nest.

–Our nest.

–Whose breast restores you, lover?

–Your breast.

–Yours.

Everything we own is earned.

Everything we own was ours to be won.

Everything under the sun belongs to us.

That’s where he proposed to me, under that tree, sweet memory– This is where your mother is buried, all she carried lifted free– Here, at this bend in the river, here is where I’ll build our next house– There on the corner, in the lamplight, that’s where I first saw her– Fire!

Wildfire!

The trees, the water, the sky is on fire!

Flames! Cinder! A roar of thunder, the terror draws nearer…a furor of fire!

Our nest, lover! No … !

Where are you going? Wait! Wait!

Everything we own is burned … !

Our tree is crowned in f lame … !

The churchyard an inferno … !

To the river! Hurry!

My corner of paradise! Gone …

Everything we own is burned.

The home we loved is in ruins, ashes.

Our nest. Our rest. Our comfort. Gone.

We must f ly, we must f ly away– Lift our weary wings and go.

Maybe we are like the birds all over the war-torn world, one f lock of humanit y, one f lock.

One.

Performance Time

c. 11:00

About the Work Commissioned by Dr. Deborah King and Schola Cantorum on Hudson.

One Flock, by poet Todd Boss, was commissioned by the composer for this work.

Percussion: suspended cymbal & bass drum

Creative Team Considered “highly imaginative…with big ideas” (Baltimore Sun) and “stirring and uplifting” (Miami Herald), award-winning composer Jake Runestad (b. 1986) 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 Dayton Philharmonic Orchestra, the Virginia Arts Festival, the Santa Fe Desert Chorale, and Craig Hella Johnson and Conspirare.

Dubbed a “choral rockstar” by American Public Media, Jake is one of the most frequently performed composers in the U.S.A. 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. A native of Rockford, IL, Mr. Runestad currently lives in Minneapolis, MN and his music is published by Boosey & Hawkes and JR Music.

Find out more at: JakeRunestad.com

Todd Boss is a poet, public artist and film producer based in Minneapolis. His poetry collections are TOUGH LUCK (2017, W. W. Norton & Co.), PITCH (2012) and YELLOWROCKET (2008). His poems have appeared in THE NEW YORKER, AMERICAN POETRY REVIEW, POETRY, and NPR. He is the recipient of McKnight and Minnesota State Arts Board grants, the Midwest Booksellers’ Choice Award, and the Emily Clark Balch Prize from VIRGINIA QUARTERLY REVIEW. His large-scale public artworks include a 2012 installation in the Mississippi River in downtown Minneapolis to mark the 5th anniversary of the 35W Bridge collapse, and a block-wide projection of poetry films onto the 3D surface of Saint Paul’s historic Union Depot. He has created several works specifically for musical settings and frequently collaborates with composer Jake Runestad.

Todd Boss is the founding Executive and Artistic Director of Motionpoems, a nonprofit that partners with major publishers and film companies to turn great contemporary poems into short films.

Learn more at: toddbosspoet.com

Perusal Score

Please purchase scores at: JakeRunestad.com/store

Important: This score is not licensed for performance.

Unauthorized reproduction is prohibited by law. Š 2015 Jake Runestad. All rights reserved.

Commissioned by Schola Cantorum on Hudson. Deborah King, conductor.

ONE FLOCK The choir, gathered at the front of the space, looks up and sees a murmuration of starlings and shouts various comments in amazement while excitedly discussing with each other: "Wow," "Look," "Oh my goodness," etc. The sopranos and altos continue these exclamations until they enter at measure 4.

Todd Boss (b. 1968)

Lively q=72 Repeat ad lib.

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Copyright © 2016 Jake Runestad, JR Music (ASCAP). Ver. 3.19.16 All rights reserved. International copyright secured.

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This score is intended for perusal use and is not licensed for performance.

Further dissemination of this copyrighted work is ILLEGAL. Purchase scores at: JakeRunestad.com

2

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This score is intended for perusal use and is not licensed for performance.

Further dissemination of this copyrighted work is ILLEGAL. Purchase scores at: JakeRunestad.com

Slower q=60

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Further dissemination of this copyrighted work is ILLEGAL. Purchase scores at: JakeRunestad.com

4

° 4 & b4 œ 15

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° &b œ 21

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Alto 1&2 join Soprano 1&2, respectively.

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6

° &b œ

rit.

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The choir & piano should repeat this figure several times before the soloists enter. During this repetition, soloists emerge from the choir and begin walking to their locations around the space. The first set of soloists should be in the front right of the space and begin singing while the others are slowly walking to their locations.

Once the soloists enter, change the starting dynamic of the choir refrain to "p" and crescendo to "mp." The sound should fade to this dynamic and not be an abrupt change.

q=70

° 3 ™ & 4 ™ #œœ ™™ 30

Pno.

Home

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j œœ # œœ

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q=70

3 & 4 ™™ #˙˙ ™™ n ˙™ ? 43 ™™ ˙ ™™ n˙

30

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is where the

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Choir

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pp

Ped. freely *Bass 2s stagger breathing.

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be - come

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Œ

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one.

˙˙ ˙

mm

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Piano continues with the choir throughout the following section.

#˙˙ ™™ ˙™ ˙™

™™ 44

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7

Soloists begin randomly during a repetition of the choir & piano's chorale figure (do not begin at the beginning of the choir's figure). Soloists are in their own tempo and time signature, separate from the choir and piano. Solos can be sung by all voice t ypes at the conductor's discretion.

Two soloists from the front right of the space:

q=68

° 4 ‰ #œ &4 J 34

Solo

Soloist 1: mf sweetly

œ œ œ

Solo

4 &4

Œ

˙

lov - er?

∑

Choir

?4 ¢ 4 34

mp sweetly

Soloist 2:

‰

j œ œ #œ ˙

° 4 &4

∑

4 & 4 ‰ #œJ

œ œj œ™ #œ œ

Œ

4 4

∑

nest.

2 4

w

nest.

œ #˙

#œ œ™ ˙™

Whose breast re - stores you,

lov - er?

3

Œ

Your breast.

N

Solo

2 4

˙™

∑

4 4

2 4

4 4

2 4

4 4

Soloists look fondly at each other and embrace.

38

Solo

œ

Our

Our

4 &4

œ

ot Per fo us r P al er Sc fo or rm e an ce

Whose nest is best,

#œ œ™

mp

˙™

#w

*

∑

*

∑

Yours.

Œ

˙™

w

Yours.

4 &4 Choir

?4 ¢ 4 38

*After each soloist finishes his/her lines, begin singing the motives in measure 69.

Sing them softly, at random, and in your own tempo. Do not sync with the soloists near you. This applies to each soloist through to measure 69. Continue singing these motives as indicated in measure 69.

This score is intended for perusal use and is not licensed for performance.

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8 Another soloist, from the center/middle of the space:

March-like q=112

> ° >œ ™ œ œ œ œ™ & 43

Solo

Soloist 3: f aggressively with hubris

Eve - ry - thing we own

?

° 4 >œ &4 48

Solo

3

œ

Choir

?4 ¢ 4 48

was ours to

∑

∑

>œ

œ

3

œ

Eve - ry - thing un - der

4 &4

Eve - ry - thing we own

∑

∑

43

Œ

> 3 > j bœ œ œ #˙ œ be

2 4œ

won.

∑

Œ

œ

the

∑

> bœ

‰™

r œ #œ

sun

‰

be - longs

∑

j œ

> w

to

us.

˙

4 4

2 4

4 4

2 4

4 4

ot Per fo us r P al er Sc fo or rm e an ce

Choir

>œ ™ > œ œ œ œ™

is earned.

∑

& ¢

> j b˙ ™ œ

Over-use shadow vowels!

Ó

3 4 3 4 3 4

Another soloist, from the rear left of the space, gesturing to a "tree."

N

q=63

° 3œ &4

Soloist 4: mp sweetly

52

Solo

That's

œ œ œ œ œ™ œ ˙ 3

where he pro - posed to me,

Œ

4 œ #œ œ 4 œ 3

un - der that tree,

j 2˙ œ ‰ 4

sweet

mf

4 œ #œ œ ˙ 4

2 4

3

mem - o - ry...

3 &4

4 4

2 4

4 4

2 4

?3 ¢ 4

4 4

2 4

4 4

2 4

Choir

52

This score is intended for perusal use and is not licensed for performance.

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Grave q=70

° 2 &4 ˙ 57

2 &4

Solo

Choir

4 ˙ 4 Soloist 5: mp with great sorrow

4 #œ 4

∑

This

2 &4

4 4

?2 ¢ 4

4 4

° & œ #œ œj ‰ œ 60

car - ried

is

where

œ

œ

your

3

œ #œ

mo - ther

q=90

œ

œ

œ

is

#œ

‰

œ

bur - ied,

j œ

œ

œ

all

she

Soloist 6: mf with energy

œ

Here,

Choir

?

60

w

∑

free.

∑

& ¢

œ

w

lift - ed

&

Solo

œ

∑

Another soloist, from elsewhere in the space.

57

Solo

Ó

ot Per fo us r P al er Sc fo or rm e an ce

Solo

9

Another soloist, from the front left of the space.

‰ œ #œ œ

at this bend

œ œ œ œ œ™ œj ‰ #œ in the riv - er,

here

œ œ œ œ œ œ #œ ˙ 3

is where I'll build our next house!

Another soloist, from elsewhere in the space.

q=80

There

& ˙™

Solo

Choir

¢

œ œ œ #œ œ œ œ 42 œ #œ 3

3

N

° œ & 64

Solo

Soloist 7: mf fondly

in the corn - er

float

j 4 #œ œ œ ‰ 4

in the lamp - light,

Œ

2 4

∑

that's where I first

4 4

&

2 4

4 4

?

2 4

4 4

64

œ œ #˙

3

∑

#œ ˙ 3

˙

˙™

Œ

saw her.

∑

∑

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10

Each soloist chooses one of these motives to sing at random in his/her own octave. Stagger entrances and try not to sing in sync with the other soloists.

Each soloist can sing this in his or her own tempo.

This begins with the first soloists at measure 37.

° œ ™ #œ œ œ ˙™ & 69

Solo

3

U

12 8

U

12 8

U

12 8

U

12 8

U

12 8

Home.

3

Home.

& #œ ™ œ œ # œ ˙™ 3

Solo

Home.

Choir

¢

Perc.

?

°

/

¢/

{

&

Pno.

?

69

∑ ∑

N

&

Perc.

ot Per fo us r P al er Sc fo or rm e an ce

& œ™ œ #œ œ ˙™

Solo

∑ ∑

Large sus. cym. soft mallet

U w ææ

12 8

Bass Drum soft mallet

U w ææ

12 8

w ææ o w ææ o

U o #w

#w

U #w

Depress sus. pedal through to m. 80

U #w

12 8 12 8

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11

The choir and soloists suddenly hear and see a wildfire coming from behind them. They begin to shout in fear, surprise, and awe of the powerful blazes. They're calling out to their friends and families to make sure everyone is okay. They are moving about the space as if they are hurriedly searching for people, gathering belongings, etc. There is an intense sound of chaos from all of the calling, yelling, and chatter matched with the roaring fire.

If possible, lighting could be used to show the color of the f lames.

° 12 & 8 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ™™ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ™™

S.

12 & 8 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ™™ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ™™ ‹

T.

Perc.

¢

? 12 8 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ™™ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ™™

° 12 œ / 8 J

‰

fff

12 ¢ / 8 œJ

{

12 &8

Pno.

? 12 8

73

fff

‰

‰

‰

#w ™

Ϊ

Ϊ

˙™ ææ

like a roaring fire

mf

Chaotic q.=88

fff

Ϊ

Ϊ

™™ w ™ ææ

™™

™™ w ™ ææ

™™

like a roaring fire

f

N

Perc.

Repeat ad lib.

12 & 8 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ™™ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ™™

A.

B.

Chaotic q.=88

ot Per fo us r P al er Sc fo or rm e an ce

73

f

™™

Repeat ad lib.

∑

™™ #w ™

∑

f

#w™

#w™

™™ ™™

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12

° & ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Œ ™ 75

S.

The soloists continue to shout and move around the space through measure 80.

>j & ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ œ mf

B.

& Ó™ ‹ mf > ? œJ ¢

Fire!

Perc.

Perc.

Pno.

°

/ wæ ™ æ

?

75

mf

& ˙™ & ‹

T.

B.

Perc.

Perc.

Pno.

¢

˙™

™ ? ˙

°

Ϫ Ϫ Ϫ Ϫ

77

#w ™

#w™

Œ Œ

The

trees,

f

j #œ

> #œ ™ >œ ™

The

trees,

f

#œ J

#w™

Œ

>Ϫ trees,

w™ ææ

j œ

the

Œ

trees,

j œ

f

Œ

#w ™

>œ ™

The

Œ

w™ ææ

j œ

f

The

/ wæ ™ æ

?

w™ ææ

Continue the intensit y but vary the sound and dynamics to mimic the ebb and f low of wildfire.

™ ¢ / wæ

{

˙™

w™

Continue the intensit y but vary the sound and dynamics to mimic the ebb and f low of wildfire.

#w ™

Ϫ

w™

˙™

mf

° ˙™ &

A.

Ϫ

Fire!

Fire!

Fire!

Continue the intensit y but vary the sound and dynamics to mimic the ebb and f low of wildfire.

77

S.

#œ

Ϫ

#œ

mf

™ ¢ / wææ

{

>œ J

œ

Ϫ

œ

ot Per fo us r P al er Sc fo or rm e an ce

T.

mf

N

A.

mf #>œ J

j œ

the

Œ Œ

j œ

>œ J

#œ

>j œ

œ

Œ

>j œ

œ

Œ

wa - ter,

wa - ter,

#œ J

>œ J

wa - ter,

w™ æ

#w™

#w ™

œ

#w™

œ J

the

wa - ter,

the

the

Œ

j œ

the

j œ

the

Œ

œ J

the

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13

sky

> & #˙ ™

A.

sky

& ‹

T.

B.

Perc.

Perc.

¢

>˙™ sky

? #>˙ ™ sky

°

/ wæ ™ æ

™ ¢ / wæ

{

& Ϊ

Pno.

?

79

œ

#w ™

> #w w ™™ ff

>œ

#>œ

is

on

fire!

> œ

> œ

ff

is

on

fire!

>œ

#>œ

is

on

>˙ ™

Ϫ

Ϊ

ot Per fo us r P al er Sc fo or rm e an ce

S.

>˙ ™

œ

œ

œ

>œ

>œ

is

on

#>˙ ™

Ϫ

ff

Ϊ

fire!

ff

> w™

fire!

w™ ææ

f

w™ æ

f

œ œ #>œœœ ™™™ # œ œ # œ œ œ œ #œ œ œ # œ œ œ œ œ #œ œ

N

° & 79

ff

#w™

Œ

#œ œ œ œ œ œ œ œ œ

f

œj #œ œ œ œ œ œ œ œ œ

w™ w >™ ø Depress sus. pedal through to m. 96

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14

∑

f

> & #œ œ œ

A.

Flames! f

> & #œ œ œ ‹

T.

Flames!

Perc.

Perc.

¢

? w™

°

/ wæ ™ mp

¢/

{

&

Pno.

w™ ææ mp

Cin - der! A

roar

of thun - der, the

> > >œ œ œ œ œ œ œ œ #œ

Cin - der! A

> > > œ œ œ ‰ œ œ œ œ #œ

roar

of thun - der, the

ter - ror draws near - er,

> > œ œ œ

a

fu - ror of

fi - re!

> > > œ œ œ #œ œ œ œ œ ‰

ter - ror draws near - er,

a

fu - ror of

fi - re!

∑

w™ æ w™ ææ

#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 w™ 81 w ™

œ #œ œ w™ w™

œ œ œ œ œ œ œj Œ

œ mf

N

B.

> > > > > œ œ œ œ œ œ #œ œ œ # œ œ œ

ot Per fo us r P al er Sc fo or rm e an ce

S.

81 ° w w ™™ &

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15

83

S.

f

Flames!

&

A.

>

œ #œ œ

Flames!

> & #œ œ œ ‹

T.

Flames!

Perc.

Perc.

¢

Flames!

°

/ wæ ™ æ

{

w™ ææ

¢/ &

Pno.

œ

? Œ w™ 83 w >™

Cin - der! A

roar

of thun - der, the

> > > œ œ œ ‰ œ œ œ œ #œ

ter - ror draws near - er,

>

> > > > #œ œ œ # œ œ œ œ œ œ œ œ œ

Cin - der! A

roar

of thun - der, the

> > >œ œ # œ œ œ œ œ œ œ

Cin - der! A

roar

of thun - der, the

>œ œ œ >œ œ # œ >œ œ œ

Cin - der! A

a

fu - ror of

fi - re!

> > > œ œ œ ‰ œ œ œ œ #œ

roar

of thun - der, the

ter - ror draws near - er,

> > œ œ œ

fu - ror of

fi - re!

> > > œ œ œ #œ œ œ œ œ ‰

ter - ror draws near - er,

>œ œ >œ

a

a

fu - ror of

fi - re!

>œ œ œ #>œ œ œ >œ œ ‰

ter - ror draws near - er,

a

fu - ror of

fi - re!

w™ ææ w™ ææ

#œ œ œ œ œ œ œ œ œ œ œ

N

B.

f

> ? #œ œ œ

> > > > > œ œ œ œ œ œ #œ œ œ # œ œ œ

ot Per fo us r P al er Sc fo or rm e an ce

° > & #œ œ œ

œj #œ œ œ œ œ œ œ œ œ

œ #œ œ

œ œ œ œ œ œ œ œ œ

œ #œ œ w™ w™

œ œ œ œ œ œ œj Œ

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16 Soloist from before, speak/shout these lines while hectically moving about the space, enter before the preceeding soloist has finished.

The number corresponds to the soloist who should be speaking the line, based on the order of entrances from the previous solos.

Continue the lines at random, overlapping each other and building in intensit y while keeping the sound constant.

° &

1. Our nest, lover! No...!

85

Solo

3. Everything we own is burned...!

2. Where are you going? Wait! Wait!

S.

Flames!

A.

&

> Ϫ

mp intense

Flames!

B.

Perc.

& Œ™ ‹ ? ™ ¢ Œ °

/ wæ ™ æ mp

Perc.

{

¢/ &

Pno.

w™ ææ

mp

2

j œ

2

‰

> j œ œ

‰

> j œ œ

‰

2

Cin - der!

‰

> #œ ™

mp intense

Flames!

> Ϫ

mp intense

Flames!

j œ

Ϫ

œ

2

‰

fi - re!

j œ

2

of

j œ œ

j œ

2

œ

j œ œ

‰

œ

A

Cin - der!

j œ j œ

2

‰

2

>j œ œ

roar

2

j œ

Ϫ

A

roar

‰

2

Cin - der!

2

‰

œ

>j œ œ

‰

Cin - der!

2

j #œ

of

fi - re!

A

Ϫ

roar

œ

j œ

Ϫ

œ

A

roar

2

2

œ

j œ œ

of

fi - re!

œ

j œ œ

of

fi - re!

w™ ææ w™ ææ

œ #œ œ œ œ

œ œ œ

œ œ œ

œ

œ #œ œ œ œ œ œ œ œ œ œ

œj #œ œ

œ œ œ

œ œ œ

œ

œ #œ œ œ œ œ œ œ œ œj Œ w™ w™

p

? Œ w™ 85 w >™

N

T.

j œ

4. Our tree is crowned in f lame...!

ot Per fo us r P al er Sc fo or rm e an ce

> & Ϫ

mp intense

5. The churchyard, an inferno...!

œ

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17

Soloists should continue moving about the space and shouting their lines.

° & 87

S.

6. To the river! Hurry!

> & Ϫ

Flames!

A.

> & Ϫ

Flames!

B.

Perc.

Perc.

& œj ‹

°

{

2

‰

w™ ææ œ #œ

? Œ w™ 87 w >™

> j œ œ

‰

‰

> j œ œ

‰

2

j œ

j œ

> Ϫ

j œ

2

‰

Ϫ

A

2

Cin - der!

> #œ ™

Flames!

/ wæ ™ æ

¢/

‰

j œ

2

‰

Cin - der!

Flames!

? œj ¢

&

Pno.

2

2

2

j œ œ

j œ

2

roar

‰

œ

of

2

j œ

Ϫ

A

œ

roar

>j œ œ

‰

>j œ œ

‰

2

Cin - der!

2

œ

‰

Cin - der!

2

j #œ

Ϫ

A

roar

j œ

Ϫ

A

roar

œ

of

fi - re!

j œ

2

j œ œ

‰

fi - re!

œ œ

2

2

œ

j œ œ

of

fi - re!

œ

j œ œ

of

fi - re!

w™ ææ w™ ææ

œ œ œ

œ œ œ œ œ œ

œ

œ #œ œ œ œ œ œ œ œ œ œ

œj #œ œ

œ œ œ œ œ œ

œ

œ #œ œ œ œ œ œ œ œ œj Œ w™ w™

N

T.

j œ

ot Per fo us r P al er Sc fo or rm e an ce

Solo

7. My corner of paradise! Gone...

œ

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19

° & 91

S.

>™ & œ

œ J

Flames!

A.

> & Ϫ

j œ

Flames!

B.

Perc.

Perc.

& œœJ ‹

? œJ ¢ °

2

/ wæ ™

™ ¢ / wæ

{

&

Pno.

2

œ #œ

‰

? ‰ ‰ w™ 91 w >™

2

>œ ™

‰

>j œ œ

‰

Cin - der!

‰

‰

2

>Ϫ

Flames!

2

Cin - der!

œ J

Flames!

Ϫ

œ J

œ #˙˙ ™™

œ

œ J

2

2

‰

A

roar

2

j œ

Ϫ

A

roar

#œ>œ œœ J

‰

>œ œ J

‰

Cin - der!

‰

Cin - der!

œ

2

2

œ J

Ϫ

A

roar

œ J

Ϫ

A

roar

2

of

fire!

œ

j œ œ

of

fi - re!

œ

j œ

œ

2

œ

2

of

#œœ J

fire!

2

2

œ

Ϫ

of

fire!

‰ ‰

w™ æ w™ æ

œ œ œ

N

T.

2

> ‰ #œœJ œœ

ot Per fo us r P al er Sc fo or rm e an ce

Solo

œj #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 œj Œ w™ w™

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20

° &

Soloists begin to fade their lines and find their places amongst the choir.

Solo

™ & w

S.

˙™

> œ #œ œ

f

&

T.

> & #œ œ œ ‹

Flames! f

Flames!

Perc.

? w™

°

/ wæ ™ æ

Cin - der! A

roar

of thun - der, the

ter - ror draws near - er,

a

fu - ror of

fi - re!

Cin - der! A

roar

of thun - der, the

ter - ror draws near - er,

a

fu - ror of

fi - re!

> > >œ œ œ œ œ œ œ œ #œ

> > œ œ œ ˙™

> > > œ œ œ #œ œ œ œ œ ‰ Œ™

#œ ™

w™ ææ

™ ¢ / wææ

{

> > > œ # œ œ œ ‰ œ œ œ œ

Of

&

Pno.

> > > > > # œ œ œ #œ œ œ œ œ œ œ œ œ

œ

? ‰ w™ 93 w >™

w™ ææ

#œ œ œ œ œ œ œ œ œ œ œ

œ #œ œ

œ œ œ œ œ œ œ œ œ

œj #œ œ œ œ œ œ œ œ œ

œ #œ œ w™ w™

œ œ œ œ œ œ œj Œ

N

Perc.

¢

Ϫ

Of

A.

B.

Ϊ

ot Per fo us r P al er Sc fo or rm e an ce

93

‰

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21

° ˙™ & 95

S.

Ϫ

œ

>œ #œ ˙ ™

Ϫ

Œ

fire!

The

> œ #œ œ Flames!

> & #œ œ œ ‹

T.

Flames!

Perc.

Perc.

¢

fire!

°

/ wæ ™ æ

™ ¢ / wæ

{

&

Pno.

œ

? ‰ w™ 95 w >™

> > > œ œ œ œ œ œ #œ œ œ

Cin - der! A

roar

of thun- der, the

> > >œ œ # œ œ œ œ œ œ œ

Cin - der! A

roar

#œ ™

of thun- der, the

œ

> > #œ œ œ

ter - ror draws near - er,

> > œ œ œ

a

fu - ror of

fi - re!

> > > œ œ œ #œ œ œ œ œ ‰

ter - ror draws near - er,

>œ œ ˙™

a

fu - ror of

Ϫ

fi - re!

Œ

œ J

The

w™ ææ w™ æ

#œ œ œ œ œ œ œ œ œ œ œ

N

B.

? ˙™

> > > œ œ œ ‰ œ œ œ œ #œ

ot Per fo us r P al er Sc fo or rm e an ce

&

A.

œ J

‰ œj #œ œ œ œ œ œ œ œ œ

œ #œ œ œ #œ œ w™ w™

œ #œ œ œ œ œ œ œ #œ j #œ œ œ œ œ œ œ œ ø

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22

97

sky

Perc.

¢

œ

sky

is

/ wæ ™ æ

™ ¢ / wæ

{

œ™ & #œœ ™™ >

Pno.

f

>œ ™ ? œ™

97

on

Œ

fire!

Œ

> ? œ

°

œ #˙>˙ ™™

Œ

& Œ™ ‹

T.

Perc.

is

& Ϊ

A.

B.

œ

œ J

The

> œœ ™™

j > œ œ

œ

œ

The sky

is

on

>œ

œ

œ #œ>œ ™™

The sky

is

on

œ J

œ ˙>˙ ™™ on

>œ

œ

sky

is

œ #˙>˙ ™™ on

œœ ™™

fire!

Œ

fire!

Œ

œœ ™™

Œ

fire!

Œ

fire!

j œ The

> œœ ™™

j > œ œ

œ

œ

The sky

is

on

>œ

œ

œ #œ>œ ™™

The sky

is

on

œ J

>œ

œ

The

sky

is

œ J

œ ˙>˙ ™™

on

fire!

fire!

Œ

fire!

œ J

The

w™ ææ w™ æ

>œ ™ #œœ ™™

N

S.

ot Per fo us r P al er Sc fo or rm e an ce

° >œ &

&

œ™ #>œœ ™™

œœ ™™ >œ ™

>œ ™ ? #œ ™

>œœ ™™ œ™

#>œœœ ™™™

>œ ™ #œœ ™™

œ ™™ #>œœ ™ >œœ™™

&

œ™ #>œœ ™™

œœ ™™ >œ ™

>œ ™ ?#œ ™

>œœ ™™ œ™

#>œœœ ™™™

&

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23

S.

99 ° >œ #œ &

œ

œ

œ

œ #˙ ™

˙™

Œ

sky

& œœ ™™

Perc.

¢

> ? œ sky

°

/ wæ ™ æ

¢/

{

&

Pno.

&

99

w™ ææ

> #w w w ™™™

Œ

œ

œ #œ

œ

œ

œ

˙™

Œ

is

on

#>œ

> œ

is

on

>œ

>œ

is

on

#>œ

>œ

is

on

bb bb

œ

sky

œ J

>œ #œ

The

sky

œ

˙™

œ

œ

œ

œ

#˙ ™

Œ

˙™

Œ

bb

bb

w™ ææ w™ ææ

>™ #w w w ™™

N

Perc.

The

™ & œœ ™ ‹

T.

B.

Œ

œ #œ

#>œœ

ot Per fo us r P al er Sc fo or rm e an ce

A.

j > œ œ

>œ

∑

#>˙˙˙ ™™™ Œ™

#>˙˙˙ ™™™ Œ™

>œ œœœ J

‰

‰

Ϊ

‰

‰

Ϊ

ff

#>œœ œ J ø

bb ?

bb

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24

> ™™ ° bb w w &

˙˙ ™™

*

b & b <b>ww ™™

˙˙ ™™

*

b w ™™ &b w ‹ fi(re)!

˙˙ ™™

*

101

S.

ff

fi(re)! ff

A.

fi(re)!

> w ™™ ? bb bw ¢ ff

Perc.

Perc.

°

fi(re)!

/

¢/

{

b &b

Pno.

w™ ææ

°

*

Ϊ

Ó™

˙˙ ™™

>¿ù ¿ù ‰ J

‰

Ϊ

Ϊ

/

¢/

ä Œ™

>¿ù ¿ù J ‰

‰

Ϊ

Ó™

˙˙ ™™

>¿ù ¿ù J ‰

‰

Ϊ

Ϊ

Ϊ

‰

‰

Ϊ

Ϊ

crash with butt of stick

‰

‰

Ϊ

˙™ ææ

fff

w™ ææ

> œ J

ff

fff

∑

w ww ™™™

™ w w™

ä â

>™ œ

mp

∑

w ww ™™™

â

˙˙ ™™

œ J

™ w w™

w ww ™™™

ø

*Gliss. throughout the full duration of the note.

Open interaction with the BD and piano.

Big swells, creating a chaotic soundscape of raging fire.

™™ w ™ ææ ™™ w ™ ææ

w™ ææ w™ ææ

Open interaction with the cym. and piano.

Big swells, creating a chaotic soundscape of raging fire.

Open interaction with the percussion.

Big swells, creating a chaotic soundscape of raging fire.

Pno.

‰

w™ ææ

ff

∑

ff

>¿ù ¿ù J ‰

Repeat as needed until the choir has f led their "home" and are able to face toward the stage, looking at their burning houses. Once a singer arrives at his/her new place, begin snapping fingers to create a burning/crackling effect. If possible, hide hands behind folders or close to one's body so the effect isn't easily seen. The chaos will be intense and then gradually die down throughout the repeats until a steady burning/crackling sound remains.

104

Perc.

mp

? bb w ™ ™ w >

101

Perc.

w™ ææ

˙˙™™

N

B.

˙˙ ™™

ot Per fo us r P al er Sc fo or rm e an ce

ff

T.

The choir begins to rush about the space to f lee the f lames in their home. They scatter throughout the audience and other places within the room, all the while they are shouting and calling to each other. Some singers are helping others to f lee, maybe carrying some to safet y.

?b ™ { b ™ w™ w™ 104

w ™ w ww ™™™

w™ w™

w ™ w ww ™™™

w™ ææ w™ ææ w™ w™

After several repeats of loud intensit y, begin to gradually fade to a low roar.

w™ ææ

w ™ w ww ™™™

w™ ææ w™ w™

™™ ™™

w ™ w ww ™™™

™™

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26

° bb & œœ ™™

Ϊ

? bb œœ ™™ ¢

Ϊ

113

Perc.

Perc.

°

/

{

¢/

w™ æ w™ ææ

˙˙ ™™

Our

w w ™™

mp

w™ ˙™ -

mp

˙˙ ™™

œœ

mm

œœ

is

on

œ œ

œ œ

œ œ

home

mm

is

on

w™ æ

∑

home

˙˙™™

p

Our

˙™ ˙™

˙™

o

œœ

w™ ææ

o

4 4 4 4 4 4

ot Per fo us r P al er Sc fo or rm e an ce

Choir

p

∑

4 4

b ™ 4 &b w œ œ œ œ œ œ œ œ œ œ œ œ w œ ™œ œ œ œ œ œ œ œ œ œ œ w œ ™œ œ œ œ œ œ œ œ œ œ œ 4

Pno.

p

œ œ œ œ œ œ œ œ œ œ œ œ w™ œ œ œ œ œ œ œ œ œ œ œ œ w™ œ œ œ œ œ œ œ œ œ œ œ œ 4 ? bb w™ 4

113

q=60

° b4 &b 4 w w 116

fire.

Choir

Pno.

{

˙˙ ™™

N

? b4 w ¢ b4w

rit.

fire.

q=60

rit.

b4 &b 4 w œ

œ

œ

œ

œ

œ

œ

œ

? b 44 œw b

œ

œ

œ

œ

œ

œ

œ

116

Œ

˙ ™™ ˙

Œ

˙˙ ™™

Œ

˙˙™™

Œ

ø

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27

The finger snapping slowly fades to silence at m. 120.

Choir

q=60

rit.

° bb & w w 118

p

˙˙ ™™

mm

mm

q=60

rit.

{

° bb & 120

p

Pedal freely

œ

œ

œ œ

œœ J

˙˙™™

œ ? bb 42 œ

b œœ

b2 &b 4

˙˙ ™™

? b 42 œ˙ b ˙

is

œœ

4 œ nœ 4œ œ

j œœ

‰

œœ

4 œœ nœœ 4

œœ J

‰

in

3

is

œ

œ

œ

in

œ œ

ru - ins,

ru - ins,

œ

4œ 4 4 Œ˙ 4˙

œ

œ œ

œ

œœ ™™

œ

œœ™™

The home

œœ ‰ J

we

œ

œ

œ

œ œ œ

œ

œœ

œœ

œœ

-œ œ

œœ

œœ

ash - es.

2 4 œ bœ œ œ œ œ œ œ

Œ ˙˙

œ

œ œ

œ

bœ

œ

‰

œ &

Πw

2 4

p

j œ

Our

˙˙™™ œ

2 4

loved

˙˙ ™™

ash - es.

œ

loved

we

Πbw w

œ

2 4

b œœ ˙˙ J

The home

œ

œ

œ

j bœœ ˙˙

mp

œ

œ

3

œ œ Œ w w

N

œ

œ

œ

œ

‰ œœ J

is burned.

œ œ œ œ œ

œ

bœœ

123

œ

œ

Longingly q=60

° b2 œ &b 4 œ

{

Πw w

is burned.

Eve - ry - thing we own

? bb Œw w

¢

œ

œ

œ

œœ J

mp ? bb œ œ œ œ œ™ ¢

{

œ

œ

œ

œ œ™ œ œ œ

123

Pno.

œ

œ

Longingly q=60

mp

120

Choir

œ

Eve - ry - thing we own

b &b

Pno.

œ

? bb Œw w

118

Choir

œ

ot Per fo us r P al er Sc fo or rm e an ce

Pno.

o Œ

˙˙ ™™

p

?b ¢ b w w b &b

o Œ

‰ œ

œ œ

œ

œ œ

j œ

p

Our

œ

œ œ

?

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28

rit.

Freely

° b &b œ™ 126

nest.

Choir

? bb Ϫ

{

Œ ? bb ˙˙

° bb & ˙ 129

? bb ˙ ¢

{

? bb

Our rest.

mp

œ

œ

œ

œ

œ

Our

3

gone.

b˙

com - fort,

œ

bœ bœ

œ

w

gone.

Œ b b ˙˙

œ

Œ ˙˙

mp

w ? bb w ¢ b

Œ

˙˙

3

œ œœ

a tempo

? bb b

p

w w

b˙ œ b˙˙

œ

˙˙ ˙

b œfi œ

œœ b œ œœ

œ

œ œ

œ

˙ ˙

Œ

œ œœ

we must

b ˙˙

We must

We must

f ly

mp

j œ ‰ œ

a - way.

œ œœ œ n œ œ œ œ œ

œ œ

bbb

mp

œœ

bbb

Lift our wea - ry wings and mf

bœ bœœ œ œœ œœ

œœ ‰ J

a - way.

mf

Lift our wea - ry wings and

molto rit.

w w

∑

∑

˙ ™™ ˙

molto rit.

œœ™™ œœ ˙ ˙

œ œœ

f ly,

In time q=60

f ly

3

Œ

∑

œ™ nœ ™ bœœ ˙˙

3

f ly,

3 œ Œ bœœ œ

˙˙

mp

b˙˙

∑

p

˙ ˙

˙˙

bbb

˙˙

Slowly with a lilt q.=44

Œ

bbb

b ˙˙˙

Ϊ

mf

12 w ™ 8 w™

˙˙ ™™

œœ ™™

pp

mf

w ™™ 12 w 8

˙˙ ™™

œœ ™™

pp

œœ ™™

™ œœ ™™ ˙˙œ™™ œ ™

w w

Go.

˙™ ˙™

go.

b w &b b w

œ

œ

In time q=60

N

go.

Choir

133

˙

p

w

Freely

a tempo

° bb w & bw 133

{

b˙

com - fort,

œ J

∑

129

Pno.

Ϫ

We must

bw &b w

Pno.

Our

˙

rit.

126

Choir

œ J

nest.

bœ &b

Pno.

Our rest.

œ

3

ot Per fo us r P al er Sc fo or rm e an ce

¢

j œ

j œ œ™

p

p

Œ

˙˙

˙ œ œ

w w

Ϊ

Go.

w w w w w

Slowly with a lilt q.=44

w w w w

ww w w w

12 ™ 8 œœ ™

œœ ™™ ˙˙ ™™

12 œœœ™™™ œœ ™™™ 8 œ mp

˙˙ ™™ ˙™

œœ ™™ œœ ™™ œ™ œ ™

˙˙ ™™ ˙™

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29

° bb & b œœ 139

mp

œœ

May - be

mp May - be

Choir

œ ? bb œœ™ œœ ¢ b

{

b & b b œœ ™™ ? bb œœœ™™™ b

139

mp

œœ

œœ ™™

we

are

we

are

œœ

œœ ™™ œ™

œœ

œœ œœ ™™

like the birds

like

œœ

œœ

‰

the birds

œœ œœ ™™ œ™

œœ ‰ œ

œœ

œœ ™™

œœ ™™

œœ ™™ œœ ™™ œ ™

*Bass 2s stagger breathing.

˙ ™™ ˙ ˙˙ ™™ œ™

œœ ™™

2

œœ

œœ ™™

o - ver the war - torn

world.

all

o - ver the

world.

œœ œJ

war - torn

œœ ™™ œœ œœ œœ œ ™ œ™

2

œœ

œœ ™™ œ™

j œœ œœj œ

Home

œœ ™™

Ϫ

œœ œœ

œœ

all

mm

N

Pno.

*Home

ot Per fo us r P al er Sc fo or rm e an ce

Choir and soloists begin this refrain and continue to repeat it throughout the remainder of the piece.

Slowly, each choir member turns around and walks through the audience/space and through the rear doors continuing to sing this refrain throughout the journey. The soloists will lag behind and continue their own phrases before walking to rejoin the choir.

œœ ™™ œ™

2

2

‰

‰œ J

mm

œœ ™™ œœ ™™ œ™

˙˙ ™™ œ™ ˙™ œ™

Ϫ Ϫ

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30

After several repetitions of the chorale, the soloists begin to sing these lines at staggered entrances, in one's own octave, but in the same tempo as the choir and the same rhythmic displacement as written below (2 beats). Soloists will hold the final Ab of the phrase freely before singing the motive again.

141

Solo

One

Solo

b & b b Ó™ b &b b b &b b

Choir

?b ¢ bb

{

b &b b

Pno.

? bb b

141

œ œ œ™

f lock

of

œ œ œ™

˙™

hu - man - i - t y.

œ

One

∑

N

Solo

j œ œ

ot Per fo us r P al er Sc fo or rm e an ce

° bb œ & b

j œ œ œ œ

f lock

of

Ϫ

œ œ

Ϫ

˙™

hu - man - i - t y.

œ

j œ œ œ œ œ™

One

f lock

of

œ œ œ™

hu - man - i - t y.

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° b ™ &b b ™ 143

Solo

Solo

b & b b ™™

™™

b & b b ™™

™™

b & b b ™™ Choir

?b ™ ¢ bb ™

{

b & b b ™™

Pno.

™™

Repeat ad lib.

ot Per fo us r P al er Sc fo or rm e an ce

Solo

31

Repeat ad lib.

? bb ™™ b

dim. poco a poco al niente

143

All soloists gradually transition to this motive and repeat ad lib.

This should be a similar concept to the motives at m. 69.

Continue singing this motive at random and not in sync with the other soloists. This motive should be sung while the soloists are moving to the rear of the space. Once exited, all of the singers should continue the chorale and this motive and gradually fade to silence so it is barely audible by the audience -- as if the f lock has f lown away into the distance.

145

Solo

N

° bb & bœ

One.

b &b b Choir

?b ¢ bb 145

œ œ œ™

˙™

™™ ™™ ™™ ™™

√ √ √

March 19, 2016 Rockford, IL