JR0086 - RUNESTAD: THE WAYS OF STARS
Jake Runestad
THE WAYS OF STARS SATB choir (divisi), piano, & percussion
jakerunestad.com
Text The morning was as beautiful as morning could be. Our instruments consisted of an equatorially mounted telescope of four inches aperture, a small one of two and a half inches, and a perfect little instrument of three inches. We must try colored glasses; we must examine clamps; we must test screws; we must adjust focus. The moon was expected to appear at a point 122 degrees from the vertex of the sun. There were seconds of breathless suspense, and then the inky blackness appeared on the burning limb of the sun. Born a woman–born with the average brain of humanit y– born with more than the average heart– if you are mortal, what higher destiny could you have? No matter where you are nor what you are, you are a power. As the moon moved on, the crescent sun became a narrower golden curve of light. Light clouds drifted toward the sun; a sickly green spread over the landscape; Venus shone brightly on one side of the sun, and as the last rays of sunlight disappeared… the corona burst forth, it encircled the sun and sent streamers for millions of miles into space! We rejoiced with Nature, we loved the light! Give me the ways of wandering stars to know the depths of heaven above and the earth below. (Virgil) [Writings by Maria Mitchell, collected and adapted by the composer.]
Instrumentation
Performance Time
c. 17:00
SATB Choir Piano 1 Percussionist: vibraphone, small and medium suspended cymbals, glockenspiel Percussion (played by choir members): Handbells (ideally 2 or 3 sets) Mark Tree (bell chimes) Medium and large suspended cymbals 3 very small triangles (ideally of slightly different sizes)
Performance Notes It is imperative that all triplets are stretched (think jazz) and never verge on sounding like a shorter, duple note value. Err on the side of making them too long (especially if there’s a rest on the first triplet)! The English should be pronounced with an American accent (no f lipped Rs). Lighting effects are encouraged when the performance space allows – these should all be gradual changes from one cue to another, mimicking that of celestial phenomena. It is preferred that no graphic or video projections of celestial bodies are used, in hopes of fostering freer interpretations for the audience members. Supertitles are always welcome.
About the Composer Considered “one of the best of the younger American composers” (Chicago Tribune), award-winning composer and conductor Jake Runestad has received commissions and performances from leading ensembles and organizations including Voces8, Washington National Opera, the Philippine Madrigal Singers, the Netherlands Radio Choir, the Louisiana Philharmonic Orchestra, Seraphic Fire, the Dallas Symphony Chorus and Orchestra, the Pacific Chorale, and the Santa Fe Desert Chorale. “The Hope of Loving,” the first album dedicated to Runestad’s choral music, recorded by Craig Hella Johnson and Conspirare, received a 2020 GR AMMY® Award nomination. In 2019, Jake became one of the youngest composers ever awarded the prestigious Raymond C. 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. Learn more at: JakeRunestad.com
Maria Mitchell, painting by H. Dasell, 1852
Program Note In August of 1869, American astronomer Maria (muh-rye-uh) Mitchell and a cohort of her students from Vassar College traveled to Burlington, Iowa to observe a total solar eclipse (when the moon passes in front of our view of the sun). Mitchell, a respected educator and an important mind in the astronomical communit y, was the first woman to become a world-renowned professional astronomer, and the first woman elected as a fellow of the American Academy of Arts and Sciences. She discovered a comet at the age of 29, which awarded her a gold medal prize from King Christian VIII of Denmark. She was an official calculator for the Nautical Almanac of the United States, and an endlessly-curious Renaissance woman. In October of 1869, Mitchell published her account of the eclipse in the popular monthly Hours at Home. This account serves as the main source of text for “The Ways of Stars,” along with additional quotes and writings by Mitchell. December 14, 2020 was the final total solar eclipse of a tumultuous year and, fittingly, the day I completed this piece. I was glued to the live stream of the eclipse and struck by the metaphors swirling in my brain – of Maria Mitchell, of wonder, of challenges, of the global pandemic, of covered light, and the continued fight for equalit y. Mitchell’s life was a constant battle for the equalit y of women, and she inspired countless students to push beyond societ y’s boundaries to be their very best and brightest. Through it all, she continued to wonder, to work, and to shine her light. “You are a power, your inf luence is incalculable.” - Maria Mitchell
[Please include this page when printing to accommodate the proper page layout for the score.]
This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com
Full Score
Commissioned by the Atlanta Master Chorale. Eric Nelson, artistic director.
THE WAYS OF STARS Maria Mitchell (1818-1889)
P ot eru fo sa rP lS er co fo re rm an ce
Jake Runestad (b. 1986) Lights at normal, "concert brightness."
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Freely, lightly q=50
Soprano
Alto
Tenor
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Copyright © 2020 Jake Runestad, Jake Runestad Music LLC (ASCAP). Ver. 6.22.22 All rights reserved. International copyright secured.
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This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com
2
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This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com
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This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com
4
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This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com
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sub. mp
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This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com
6
rit.
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This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com
° bb b j & bb œ 17
S
a
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This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com
8
° bb b Œ & bb 19
A
T
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Pno.
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This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com
9
° bb b & bb 22
S
A
Slower q=60
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B
Pno.
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was
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moon
b & b bbb œ
3
œ
œ
œ
œ
° bb b 3 œ & b b4 ‹ point ? bb b 3 œœ ¢ b b4
point
N
{
∑
2 4
∑
3 4
œ
œ
ex - pect
œœ
œ
ed
-
? bb b 3 b b4
24
œœ
nnœœ
ex - pect
œ
3
? bb b bb
bb 3 œ &b b b 4
Pno.
3 4
3
œ
œ
to
ap
œœ
-
ed
-
œœ #œœ
3
to
ap
Slower q=60
24
B
∑
œ
22
T
2 4
2 4œ
œ
2œ 4 nœ
œœ
pear
3
œ
œ
at
a
œœ
œœ
at
a
3
œ
3 4
P ot eru fo sa rP lS er co fo re rm an ce
T
bb & b b b nœ ‹ moon
∑
ø
œ
3
pear
nœ nœ # œ nœ nœ #œ
2 4 bœ bœ nœ
∑
2 4
3
3
ø
œ
œ
one
hun
œœ
nœœ
one
hun
nœ
-
œ ø
œ
œ
œ
dred
and
twen
œœ
œœ
œœ
dred
and
twen
3
-
3
-
3
3
œ
œ ∑
œ
œ
ty
-
œœ
-
œ bœ
ty
-
3
œ
3 4
3 4 3 4
∑
ø
-
3
œ
œ
two
de
œœ
œœ
two
de
œ
-
-
4 4 4 4 4 4 4 4
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10
° bb b 4 Œ & b b4 25
A
T
B
‰ œ œ #œ œ œj ‰ 42 #œ 3
from the ver - tex
of
ww
sub. mp
the
sun.
mp
bb 4 &b b b 4 Œ
sub. mp
‰ bœ œ nœ œ œj ‰ 42 #œ
from the ver - tex
bb 4 œ &b b b 4 ‹ grees œ ? bb b 4 œ ¢ b b4
of
‰ œ œ nœ œ œJ ‰ 42 nœ
from the ver - tex
of
4 #nw 4 w
œ
4 ##w 4 w
w w
sub. mp
4 n#ww 4
the
ww
sun.
2 4 æ˙ æ
Small Sus. Cym.
∑
sun.
sun.
œ
of
w w
sub. mp
the
œœ3 œœ #nœœ œœ œœ #œœ 2 ‰ ‰ J 4
from the ver - tex
##œœ the
3
° bb b 4 ¢& b b 4
{
4 ##ww 4
#œ
3
grees
Vib.
a tempo
P ot eru fo sa rP lS er co fo re rm an ce
S
rit.
mp
p
4 4
rit.
œ– ‰ Œ J
mf
#˙ #œ #œ # œ # œ b n œ œ 2 #œ 4 #˙ b 4 & b b b 4 œ œ œ œ œ œ #œ#œ#œ#œ#œ 4 #œ nœ#œ#œ #œ œ 4 ? bb b 4 b b4
25
3
ø
N
Pno.
3
3
3
∑
ø
3
2 4
∑
4 4
ø
∑
w ææ
Med. Sus. Cym.
p
“” #œ #œ #œ #œ
a tempo
3
Ó
nœ #œ #œ #˙ nœ #œ #œ #˙ 3
∑
This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com
° bb b & bb Ó
Œ
bb &b b b Ó
Œ
29
S
A
mp
#œ
There mp
#œ
There
B
Vib.
Pno.
? bb Ó ¢ bbb
Œ
° bb b choke ¿ ‰ ¢& b b J
{
<“> > #w b b #w & b b b #w ? bb b bb
Œ
ø
° bb b 3 & b b 4 #œ ™
#-œ nœ
œ
There mp
were sec - onds
There
were sec - onds
#œ
b-œ n œ
œ
œ
œ
œ nœ
#˙
Œ
œ
n˙
Œ
of breath - less sus - pense,
œ nœ
œ
3
œ nœ
œ
œ bœ
3 4
nœ
3 4
bœ
3 4
and
of breath - less sus - pense, 3
#œ
and
and
˙
bœ
of breath - less sus - pense,
3 4
and
3 4
∑
œ
the
in
the
in
-œ
N
œ J
then
-
-
-œ
œ J
? bb b 3 #œ ™ ¢ b b4
? bb b 3 Πb b4
in
j œ
p ethereal
bb 3 &b b b 4
œ
the
in
-
-
œ
ky
œ
ky
#œ
black
nœ
black
œ
œ
ky
black
œ
n-œ
ky
black
&
3
-
3
-
3
‰
ness
‰
ness
3
˙
-
ness
˙ ˙
‰
j œ j œ j œ
ap
‰
œ J
ap
∑ Œ
4
ap
˙
ness
?3
ap
˙
-
3 4
> bn˙˙
Ó
˙
∑ mp
>˙˙
Ó
∑
the
bb 3 & b b b 4 nœ ™ ‹ then
32
Œ
∑
j œ
p ethereal
bb 3 & b b b 4 nœ ™
{
œ
∑
p ethereal
Pno.
œ
3
w w w
then
B
œ
Ó
then p ethereal
T
œ
were sec - onds
#˙
of breath - less sus - pense,
#œ
(L.H.)
mf
32
A
#œ
were sec - onds
Œ
œ
mf
29
S
Œ
mp
œ
3
œ #œ #œ nœ
P ot eru fo sa rP lS er co fo re rm an ce
T
bb &b b b Ó ‹
#œ #œ
11
n˙ n˙
-
-
-
-
4 4 4 4 4 4 4 4 4 4 4 4
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12 molto rit.
° bb b 4 & b b 4 nœ
strengthening
34
S
a tempo mf
3
peared
on the burn - ing limb of the
strengthening
bb 4 & b b b 4 nœ
3
œ œ œ œ œ œ nœ œ 3
peared
on the burn - ing limb of the
strengthening
T
b 4 & b bbb 4 œ ‹
mf
œ œ œ nœ nœ œ œ œ 3
3
peared
on the burn - ing limb of the
strengthening
B
? b b 4 nœ ¢ b b b4
3
on the burn - ing limb of the
° bb b 4 ¢& b b 4
{
∑
sub. mp
molto rit.
N
? bb 4 Πb b b4
34
nw w
sun.
sub. mp
nw w
sun.
sub. mp
ww
sun.
(med. sus. cym.)
w ææ p
bb 4 &b b b 4
Pno.
mf
nœ œ œ nœ œ œ œ nœ 3
peared
Vib.
mf
sun.
P ot eru fo sa rP lS er co fo re rm an ce
A
sub. mp
œ n nww œ œ œ bœ nœ nœ nœ 3
>œ œ >œ œ
a tempo
∑
Œ
6
mf
˙™ ˙™
6
œ œ nœ nœ œ nœ nœ bœ œ œ œ œ ∑
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13 Broadly q=76
accel.
° bb b ww & bb 36
A
T
B
Vib.
bb w &b b b w
ff
bb w w &b b b ‹
ff
w ? bb b w ¢ bb ° bb b ¢& b b
{
upwards release
∑
upwards release
∑
b b
upwards release
b
ff
upwards release
b œ– ‰ J
w ææ
Œ
Broadly q=76
6
6
{
N
Pno.
3
nœ ‰ b w œœ w >ø
œ >œ
36
>œ œ
>œ œ
>œ œ 3
6
3
6
œœœ
6
œœœœœœœœœ
6
œœœ
œœ
rit.
> w w
6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈w nœ ?b ‰ œ œ w œ w > > ø ø 38 3
> œ œ
ff majestically
>œ œ
> œ œ
> n˙ n˙
6
6
? bb b Ó bb
>œ &b œ
Ó
mf
accel.
38
∑
b
>œ n œ n œ œ œ œ œ bb nœ œ œ œœœ b œ & b b b nœnœ œ œnœ œ œ œ œ bœ œ œ
Pno.
∑
P ot eru fo sa rP lS er co fo re rm an ce
S
ff
œ œ œ nœ œ œ œ œ nœ œ
œ œ œ œ
&
œ
œ œ œ
œ œ
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14
{
Slower, Introspectively q=48
“”
U w
nœ œ œ œ œ œ œ œ œ œ &b
40
Pno.
3
° ¢& Ó
{
œ œ
œ œ
rit.
mp expressively
Ϫ
j œ
Born
a
S&A:
∑
a tempo
av - er - age
a tempo
œ œ
?
50
œ
w ø sim.
œ
Œ
3
˙
˙
œ
3
œ
œ œ œ
born
a tempo
∑
N &
rit.
with the
rit.
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 œ œœ
w ø
w
p softly falling, like snow
° ¢& œ ™ œ œ 50
w w
˙ ˙
œ œ
˙ ˙
wo - man—
rit.
?
{
w w
∑
a tempo
œ
47
Pno.
n 3
w & w
SA
œ œ
œ œ
P ot eru fo sa rP lS er co fo re rm an ce
˙ & ˙
47
Pno.
œ œ
mp expressively, freely
3
44
SA
p
U w
œ œ nœ œ œ œ œ œ œ œ &b
40
Pno.
3
3
n œœ
œ
rit.
3 œ œ œ œ œ œ
œ
œ
œ œ œ
œ œ œ
œ œ œ
brain of
hu - man - i - ty—
œ
œ œ œ
œ
œ
w
Œ
j œ
Ϫ
born
œ
œ œ œ
with
rit.
œ
œ œ œ
œ
œ œ œ
œ
This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com
15
° ¢& œ
a tempo
52
SA
{
a tempo
œ œ
œ œ œ œ œ œœ œ
œ
j ™ œ œ
if
you
3
˙
œ
‰ œj
are mor - tal,
œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
w
° œ ¢&
{
œ œ œ
œ
œ
55
œ
what
œ œ œ œ œ œ œ œ œ œ œœ œ
w w w
w
œ
high - er
œ œ & œ
Pno.
˙
‰
j œ œ
P ot eru fo sa rP lS er co fo re rm an ce
?
52
SA
œ œ™ œ œ
œ
Œ
more than the av - er - age heart—
&
Pno.
3
œ
Ϫ
3
œ œ
œ
œ
des - ti - ny
œ œ œ
3
œ
could
œ œ œ
œ
œ
you
œ œ œ
œ
w
have?
bœ bœ œ
œ bœ œ œ
bœ
œ œ œ
bœ œ bœ œ
œ
bbw w bw
? w w w
55
° ¢& ˙ 57
{
Œ
Pno.
œ œ bœ bœ œ & œ œ œ bœ œœ œ ? ˙˙ ˙
57
œ
no
N
SA
bœ œ œ œ œ bœ œ œ œ œ bœ œ œ œ
b˙ ˙˙
3
j bœ b˙ ™ œ ˙
mat - ter where you are nor what you
> > b œ œ bœ bœ œ œ bœ œ œ bœ b œ œ œ b œ œ œ ‰ œ œ bœ œ J œ >œ
Œ
are,
bœ œ œ bœ œ bœ œ œ œ œ œ œ œ bœ œ
mp
w w
bœ
bw bw
œ
This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com
16
° bœ ¢& b œœ
Pno.
{
you
bœ œ bœ b œ & b œ ‰ J œ mf ? ˙™ ˙™ 60 rit.
° œ & œœ 62
SA
are
¢
? Œ
{
Œ b˙˙ a
pow'r.
Œ
p
w bnww w
bœ˙b œ
...a
œ œ bœ œ œ bœ œ bœ œ
ww w w
ff
w ww w
ff
a tempo
accel.
b œ œ# œ n œ œ œ # œ # # b œ œ # ## bœ œ œ œ œ œ œ b œ œ 6 bœ bœ œ œ œ œ
∑
Ó
Faster q=76
6
6
Œ bœ œbœ œ œ bœ ˙™ b˙ ˙™ b˙ > ff
#œ
65
oo
Vibes
Œ
sub. mp shimmering
nw nw >ø with ped.
6
#œ #>œ
œ
Œ
œœœœ
#### #
Alto Solo: mp pure, match vibraphone
œœ
œœœœ
œœ
œœœœ
œœ
œœœœ
6
œœ
œœœœ
œœ
œœœœ
bow
œ
mp
Faster q=76
N ? #### #
6
6
° #### Ó ¢& #
“>” w w ‰
#### #
#### #
pow'r.
° #### ∑ ¢& # Ó
{
pow'r,
œ
b ˙˙˙ ™™™
Πb bw w bw f
a
accel.
nbnww w w
? bw bw
#### & #
Pno.
œ
are
bœ œ œ œ
bœ bœ œ
œ œ œ bœ
p
rit.
65
Vib.
you
a tempo
62
SA
‰
bœ bœ
bw bw bœ ˙ ™ & œ
Pno.
pow'r,
bœ œ œ
œ
mp
TB
a
3 > œ bœœ œ ˙˙ œœ œ bœœ b˙
P ot eru fo sa rP lS er co fo re rm an ce
SA
œœ œ œ œ œ bœœ œœ œœ
> bœ b œœ f
j œœ œ
3
60
œœ
œœœœ
6
œœ
œœœœ
œœ
œœœœ
œœ
œœœœ
6
œœ
œœœœ
œœ
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17
° #### Ó™ ¢& # w 66
Vib.
Pno.
° #### ¢& # œ—
{
66
Œ
œœ
œœœœ
6
œœ
œœœœ
œœ
œœœœ
Vib.
Pno.
œœ
œœœœ
6
w w
œœ
œœœœ
œœ
œœœœ
mp
œœ
œœœœ
6
œœ
œœœœ
œœ
œœœœ
œœ
œœœœ
6
œœ
œœœœ
œœ
p pure, match vibraphone
° #### Ów ¢& #
ah
Sop. Solo 2:
° #### œ– ¢& #
{
œ
Œ
67
SA
œ
oo
## & # ## œœœœ ? #### #
p pure, match vibraphone
P ot eru fo sa rP lS er co fo re rm an ce
SA
Sop. Solo 1:
# ## & # # œœœœ ? #### #
˙–
Œ
œœ
œœœœ
6
œœ
œœœœ
œœ
œœœœ
˙
mp
œœ
œœœœ
6
œœ
œœœœ
œœ
œœœœ
œœ
œœœœ
6
œœ
œœœœ
œœ
œœœœ
œœ
œœœœ
6
œœ
œœœœ
œœ
67
mf with energy
° #### w & # Ó™ 68
SA
?# # ¢ # ## Ó
Pno.
{
## & # ## œœœœ ? #### #
68
3
Tutti:
Œ
N
TB
‰
œœ
As
œ
the
œ
œ œ
œ œ
mf with energy
‰
3
œœœœ
6
œœ
œœœœ
œœ
œœœœ
œœ
œœœœ
6
œœ
œœœœ
œœ
œœœœ
œœ
œœœœ
6
œœ
œœœœ
œœ
œœœœ
œœ
As
the
œœœœ
œœœœ
6
œœ
œœ
This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com
18
° #### ˙ & # œ
SA
?# # œ ¢ # ##
{
œœ
6
œœ
œœœœ
the
on
œœ
œœœœ
œœ
œœœœ
6
œœ
-Ó œ
œ
œ
cres - cent
œ œJ
3
œ
moved
œœœœ
j œ
on
j œ
moon
## & # ## œœœœ
œ
moved
3
3
-œ
cres - cent
œœœœ
œœœœ
œœ
œœ
œœœœ
œ
sun
be
-œ
œ
the
œ œ
œ
sun
6
œœ
œœœœ
-
be
œœ
œœœœ
œœ
œœœœ
6
œœ
-
œœœœ
œœ
P ot eru fo sa rP lS er co fo re rm an ce
Pno.
œJ
3
moon
TB
o
(soloist)
69
? #### #
mf
69
° #### & # 70
SA
TB
came
{
a
œ
? #### # ¢
œœœœ
? #### #
3
œ
œ
œ
œ
nar - row - er
-œ
œ J
3
came
# ## &# #
Pno.
j œ œ
3
œ
3
a
nar - row - er
œ
gold
-œ
gold
3
-
2 4 Œ
œ
2 4 Œ
en
3
-
j œ œ
curve
œ J
en
curve
2 4 œœœœ
œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ 6
6
6
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 2 4 6
4 4
œ
of
œ
4 4
of
4 œœœœ œœœœ œœœœ œœœœ œœœœ 4
œœ 6 œœ œœ œœ 6 œœ 4 4
70
° #### 4 & #4 72
SA
nw ww
n #ww w ? #### 4 n w #4 ¢
{
light.
## 4 & # ## 4
Pno.
? #### 4 #4
72
Ó
f
w w >
˙˙˙ ™™™
˙˙˙˙™™™
light.
N
TB
Lights begin slowly fading to a greenish hue.
Œ
â ä
Œ
â ä
œ nœ œ œ œ œ œ œ œnœ œ œ œ œ œ œ nœ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6
L.H.
sim.
6
6
w w
6
6
6
This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com
19
° #### œ & # 74
S
-cresc. poco a poco 3 œ œ œ œ œ 43 œ
mp hushed intensity
œ
Light
clouds
#### & # nœ
drift - ed
œ
mp hushed intensity
A
Light
clouds
## & # ## œ ‹ Light
‰
a poco -œcresc. poco œ œ œ3 œ 3 nœ 4
‰
œ
3
? # ## ¢ # #
clouds
toward the sun;
drift - ed
-œ
mp hushed intensity
œ
Light
clouds
6
° #### 4 nœ & #4
green
# ## 4 & # # 4 #œ
green
B
## 4 & # ## 4 #œ ‹ green
? #### 4 nœ #4 ¢
N
° #### 4 n˙ #4 Glock. ¢&
green
Pno.
sick -
ly
œ
œ
sick -
ly
-œ
œ
a
œ
œ œ3 œ 3 bœ 4
drift - ed
œ J
‰
toward the sun;
a
sick -
ly
-œ
œ
sick -
ly
3 4 ˙™
6
mp hushed intensity
76
T
œ
4 4 4 4 4 4 4 4 4 4
œ œ œ #### œ nœ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 n œ œ#œnœ œ œ œ œ œ œ œ œ œ œ œ 4 4 4 {& # 74
A
œ J
toward the sun;
mp
S
a
cresc. poco a poco
œ
° #### Glockenspiel # w Glock. ¢& Pno.
j œ
œ-
P ot eru fo sa rP lS er co fo re rm an ce
B
œ
a
3 œ œ œ 4 nœ
drift - ed
mp hushed intensity
T
toward the sun;
cresc. poco a poco
œ
œ J
‰
œ
spread
œ
spread
œ
spread
œ
spread
œ
6
œ œ #œ
o - ver the land
œ
3
œ œ
-
œ œ nœ
-
œ œ bœ
#˙
scape;
œ
-
6
œ J
‰
j œ
‰
scape;
6
6
2 n-œ 4
œ
2 4 nœ
œ
2 bœ 4
œ
2 b-œ 4
œ
3
-œ
-œ 3œ -œ
ve - nus shone bright - ly on
scape;
œ
3
o - ver the land
scape;
œ
3
o - ver the land
œ
-
œ
o - ver the land
œ
œ
3
ø
6
cresc. poco a poco
3
-œ
-œ 3œ -œ
ve - nus shone bright - ly on
œ J œ J
‰
3
œ
- 3 œ œ œ
ve - nus shone bright - ly on
‰
3
-œ
-œ 3œ -œ
ve - nus shone bright - ly on
2 ˙ 4
3 8 3 8 3 8 3 8 3 8
nœ œ nœ œ #œ œ #### 4 # œ n œ #œ#œnœ # œ n œ œ#œnœ n œ # œ nœ œ#œ œ œ œ œ œ 2 n œ œ #œnœ œ œ œ œ œ œ 3 4 8 {& # 4 6 6 6 6 6 6 ø sim. 76
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20
° #### 3 bn-œœ & #8
-œ œ
78
S
one
side
#### 3 & # 8 bœ
A
one
B
#### 3 n-œ & #8 ‹ one ? #### 3 nn-œœ #8 ¢
Pno.
# ## 3 & # #8
80
last
# ## 3 & # #4 œ
last
## 3 & # ## 4 bœ ‹ last
T
B
? # ## 3 bnœœ ¢ # #4
last
Pno.
-œœ
of
side
of
° #### 3 œ ¢& # 4
{
œ the
œœ
‰
2 bœj 4
‰
2 nœj 4
‰
≈
sun,
≈
sun,
≈
sun,
## 3 & # ## 4
80
œœ
the
2 #œ 4 n œJ
‰
œœ
œœ
œœ
and
as
the
œ
œ
œ
and
as
the
œ
œ
œ
and
as
the
and
as
the
2 ˙ 4
3
œœ
œœ
nœœ
rays
of
sun
3
œ
œ
nœ
rays
of
sun
œ
3
œ
bœ
rays
of
sun
œœ
œœ
rays
of
3
3
œ nœ
œ # œ nœ 6
-
-
3 4 3 4 3 4
n˙
œ
6
œœ
light
dis
œ
œ
light
dis
œœ
light
-
œœ
3 4 3 4
6
œœ
light
-
œœ
œ œ œ #œ nœ œ #œ nœ #œ œ 3 4
œ
bnœœ
sun
œœ
≈
sun,
molto rit.
N
Glock.
the
œ
6
° #### 3 ##œœ & #4
A
of
œ
2 nœ 4 n œJ
#œ œ #œ nœ #œ nœ #œ #œ œ œ œ 2 4
78
S
side
the
œ
side
° #### 3 #œ ™ ¢& # 8 {
of
-œ
one
Glock.
œ
œœ
P ot eru fo sa rP lS er co fo re rm an ce
T
œœ
molto rit.
bœ
dis
bbœœ
dis
œœ
ap
-
-
œ
ap
-
same
#œ
ap
-
same
n#œœ
ap
-
-
-
-
4 4 4 4 4 4 4 4 4
/4
nœ #œ nœ
œ #œ nœ 6
œ #œ nœ
œ #œ nœ 6
4 4
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21 Lights begin slowly fading to a 360-degree sunset.
Freely, Very Slowly, Suspended (ca. q=50)
a tempo
° #### 4 bnœœ & #4 81
S
(gradually shift from one vowel to the next)
ff
Œ
peared...
Œ
# ## 4 & # # 4 nœ ‹
Œ
? #### 4 œ # 4 nœ ¢
Œ
°
˙™ ææ
œ
bœ
nœ
aw
(gradually shift from one vowel to the next)
˙ ˙˙
ah
œ
nœ
#˙
aw
Óœœ
bnœœ
n#œ̇
nœ
aw
Med. Sus. Cym.
/
On opposite side of the space from the other cym.
4 Π4
p
æ ˙æ™
# ## 4 ¢/ # #4 Œ
{
nœ
(gradually shift from one vowel to the next)
peared...
N
? #### 4 Π#4
81
Med. Sus. Cym.
p
a tempo
#### 4 Π& #4
Pno.
˙
ah
ff
Cym.
#nœœ
aw
ah
peared...
Perc.
nnœœ
(gradually shift from one vowel to the next)
ff #### 4 bœ & #4 ff
B
bbœœ
ah
peared...
T
nnœœ
P ot eru fo sa rP lS er co fo re rm an ce
A
˙˙
b >˙ ™ nb n˙˙˙˙ ™™™
w ææ
æ bwæ
Freely, Very Slowly, Suspended ◊ÿ (ca. q=50)
˙ ˙˙˙˙
3
dig in!
ff
n˙ ™ n>˙ ™
‰
b œ b œ b œ nœ nœ
w w
œ nœ bœ bœ 6
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22
molto rit.
° #### nbœœ & #
nnœœ
#### & # nœ
bœ
#### no dim.! & # nœ ‹
#œ
no dim.!
83
S
bbœœ
nœ
oh
T
oo
?# # œ ¢ # ## #œ
nnœœ
##œ̇
oh
Pno.
{
bb
f
:◊;
molto rit.
6 #### & # bœ bœ nœ nœ œ nœ
? #### #
83
nœ
f
æ wæ
¢/
bb
oo
w ææ
/
b œ b œ b œ b œ nœ 6 nœ œ nœ bœ bœ bœ bœ œ œ œ nœ bœ b œ 6
6
bb
no dim.! 6
6 œ œ nœ nœ œ œ n œ # œ n œ # œ b œ b œ n œ n œ nœ œ œ nœ bœ nœ #œ œ œ œ 6 “‘
N
Cym.
°
bb
oo
no dim.!
Perc.
bœ
n˙
oh
B
bb
oo
no dim.!
A
nœ
P ot eru fo sa rP lS er co fo re rm an ce
oh
nnœœ
6
bb
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23
Lights faded, carrive at 360-degree sunset, with night sky above. Choir members begin slowly and gracefully walking into the audience to completely encircle them. Handbells may be placed at the front of the stage and singers can grab them as they walk by into the audience.
Ethereal q=56
pp ° bb sub. & w
™™ w
w
w
™™ w
w
w
™™ w
w
™™ ä
stagger breathing (enter and exit imperceptibly)
™™ w
w
™™ â
Handbells -- played by members of the choir, spread equally throughout the space. If possible, two or three sets of bells are recommended.
ææ w w
™™
84
S
Repeat this section if necessary for extra time for choir's movement into audience.
soft, ethereal hum
stagger breathing (enter and exit imperceptibly)
sub. pp soft, ethereal hum
stagger breathing (enter and exit imperceptibly)
w
mm
b &b w
A
mm
b &b w ‹ mm
sub. pp soft, ethereal hum
¢
B
sub. pp soft, ethereal hum
? bb w
{
Tri.
w
mm
b &b
H-bells.
mf
w ? bb w w æ
° / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Play gently at random, spacious intervals, as if gently sparkling stars in the distance.
> ¿ ‰ J
/
Œ
ff
æ ˙æ
w ™™ w w æ
w w w æ
Three very small triangles of different sizes, played by choir members spread equally throughout the space.
choke
ææ ™™ w w
ææ w w
ææ*Singing bell technique w w
Large Sus. Cym.
Perc.
™™ â
P ot eru fo sa rP lS er co fo re rm an ce
T
stagger breathing (enter and exit imperceptibly)
™™ ä
‘
æ wæ
Very soft mallets Roll just enough that we barely hear the shimmer of the cym.
pp
™™
™™
w w w æ
‘
™™
‘
æ wæ
æ ™™ wæ
™™
Vibraphone (no motor)
¢/
N
Cym.
>j ¿ ‰ & bb Œ
choke
ff
Very light tremolo -- we shouldn't hear the attacks, just a hum of sound. Trem. between the 4ths, not the octaves.
˙ ˙
p
˙ ˙
w w
w w
Ethereal q=56
Pno.
b {& b w >ø 84
w
*Using a wooden dowel, lightly tap the bell to initiate the sound (on the downbeat), then scrape the dowel around the outside of the bell in a circular motion, using friction to achieve a vibrating, ethereal, "singing" sound. Careful that the bells do not become shrill.
™™ w w ™™
w
w w
w w
w
w w
l.v.
o
™™ ™™
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24
° bb & w w 88
SA
(mm)
?b w w ¢ b
H-bells.
{
ææ w w w ?b w b wæ æ /
æ wæ
/
Cym.
¢
Vib.
‘
b &b
Cym.
Vib.
w w
w w
w w
w w
w w
w w
w w
ææ w w w w wæ æ
‘
ææ w w w ? bb w wæ æ b &b
°
/ /
æ wæ
‘
b ¢& b œœ Œ Ó 96
‘
æ wæ
ææ w w w w wæ æ
‘
æ wæ
œœ– œ– — Œ œ— Œ
bow
æ wæ
œœ Œ
(sim. l.v.)
Ó
mp
∑
w
w ?b w ¢ b
{
ææ w w w w wæ æ
ææ w w w w wæ æ
ææ w w w w wæ æ
ææ w w w w wæ æ
Ó
‘
œœ Œ
æ wæ
‘
æ wæ
œœ Œ
Ó
‘
æ wæ
‘
œœ Œ Ó
œ Œ Ó œ
Pedal down through m. 128
N
Tri.
w w
∑
96
H-bells.
w w
∑
° bb w & w
TB
w w
Motor to ca. 68-72 RPM
88
SA
w w
æ wæ
b {& b w
Pno.
w w
ææ w w w w wæ æ
(mm)
b &b
°
Tri.
w w
P ot eru fo sa rP lS er co fo re rm an ce
TB
w w
∑
∑
∑
∑
∑
w w
w w
w w
w w
w w
w w
w w
w w
w w
w w
w w
w w
ææ w w w w wæ æ
æ wæ Ó
‘
œœ Œ
ææ w w w w wæ æ
æ wæ Ó
ææ w w w w wæ æ
‘
œœ
Œ
æ wæ œœ
‘
œ Œ œ Œ
ææ w w w w wæ æ
æ wæ Ó
‘
œœ Œ
ææ w w w w wæ æ
æ wæ
˙– ˙—
‘
Ó
ææ w w w w wæ æ
æ wæ
‘ ∑
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25
° bb & w w 103
SA
TB
?b w w ¢ b
{
Pno.
/
æ wæ
b Ó ¢& b
œ Œ œ
œ ˙™ b œ ˙™ { & b œ ˙™ 103
TB
w ? bb w
{
ææ w w H-bells. w ? bb w wæ æ ° Tri. / ææ w Cym. /
Pno.
¢
w w
w w
w w
w w
w w
w w
w w
w w
w w
ææ w w w w wæ æ
b &b
˙ ˙ ˙ b {& b 111
‘
æ wæ
æ wæ
∑
ææ w w w w wæ æ
ææ w w w w wæ æ
ææ w w w w wæ æ
ææ w w w w wæ æ
ææ w w w w wæ æ
‘ ∑
˙ œ ˙ œ ˙ œ
˙ ˙ ˙
‘
æ wæ œ œ œ Œ œ Œ
æ wæ
w w w
˙ ˙ ˙
‘
‘
∑
∑
Œ
Ó
3 œœœ w œœœ w œœœ w
æ wæ
œ œ Œ
w w w
3
w w
w w
w w
w w
w w
w w
w w
w w
∑ ˙ ˙ ˙
œ œ Œ
w w w
w w
‘
‘
Ó
w w
œ œ œ ˙ œ œœ œœ ˙˙ œ 3
Ó
œ œ
æ wæ
‘
w w
æ wæ
3
æ wæ
‘
w w
ææ w w w w wæ æ
b &b
N
Vib.
w w
mf ethereal, peaceful
° bb & w w ¢
w w
˙™ ˙™ ˙™
111
SA
w w
P ot eru fo sa rP lS er co fo re rm an ce
Vib.
w w
ææ w w w w wæ æ
ææ w w H-bells. w ? bb w wæ æ °/ Tri. ‘ b &b
Cym.
w w
ææ w w w w wæ æ
æ wæ
‘
œ œ Œ Œ œœ w w w
ææ w w w w wæ æ
æ wæ
˙ ˙ ˙
‘
ææ w w w w wæ æ
æ wæ
∑
Ó
œ œ œ œ œ œ
w w w
‘
œ œ Œ
ææ w w w w wæ æ
æ wæ
œ œ Ó w w w
ææ w w w w wæ æ
‘
œ œ
æ wæ
œ œ
w w w
â ä o â ä
‘
Œ Ó
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26 Lights slowly brighten to corona.
Choir arrives in position to fully surround audience.
Slowly Rising q=40
° bb w & 118
S
b &b w
A
{
b &b
Tri.
ah
˙˙
ah
ææ w w
°/ /
ẇ
˙
˙
ah
mp cresc. poco a poco
∑
˙
unis.
â ä
˙
stagger breathing
˙
˙
w
stagger breathing
stagger breathing
˙˙ ˙
w w
stagger breathing
˙˙
œ̇ œ
˙
˙
˙
˙
˙˙
˙˙
˙˙
˙˙
ææ w w
ææ w w
ææ w w
ææ w w
w w wæ æ
w w wæ æ
w w wæ æ
w w wæ æ
j œ—‰ Œ Ó Œ Ó
‘
‘
‘
‘
∑
∑
∑
∑
∑
soft mallets
∑
w
w
p
N
{
˙˙
‘
b œ b & œ ¢ b &b
Pno.
∑
ah
mp cresc. poco a poco
w ? bb w wæ æ
Cym.
Vib.
˙˙
?b ¢ b Ó
H-bells.
mp cresc. poco a poco
P ot eru fo sa rP lS er co fo re rm an ce
B
˙™
o Œ
mp cresc. poco a poco
b &b Ó ‹
T
˙™
o Œ
Slowly Rising q=40
∑
pp
? bb w w 118 ø
∑
w w
w
w
œ œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
∑ ∑
o
fiœ œ
mp cresc. poco a poco
w w
œ
œ
œ
œ
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27 Corona appears in full radiance.
molto rit.
° bb & 123
Solo
∑
T
¢
B
H-bells.
Cym.
˙™
? bb
ẇ
? bb
¢&
{
œ
f
w ˙™
f full, but not overpowering
œ
˙
f full, but not overpowering
w
w œ
˙
? bb
123
f full, but not overpowering
˙
w
unis.
f full, but not overpowering
˙
w
unis.
f full, but not overpowering
œ
w
˙
unis.
Ÿw~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (If this is too loud, bells can be shaken w with the arm down at the player's side.) w w
ææ w w w w w æ æ wæ
pp
bb
œ˙ ™
˙w
œ
ææ w w w w w æ æ wæ
b &b
°/
œ
˙
˙
w
w
˙
Shake bells to trill
w w w æ j œ— ‰
p
˙ ˙˙ ø
fi œ œ
˙ ˙˙ ø
Œ
˙
˙
˙
fi œ œ
˙ ˙˙ ø
Ó
w w
w w
f
> > > >œ œ œ œ >œ >œ œ œ œ œ œ œ
a tempo, Grand, Sweeping
> œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œœœœ
œ œœ œœœœœœœœœœœ œœ
fi œ œ
(continue singing bell)
f
molto rit.
b &b
Pno.
œ ‰ J
(ah)
N
Vib.
Œ
w
˙
˙
b &b ‹
{
œ
˙
˙
b &b
A
Ó
mf
P ot eru fo sa rP lS er co fo re rm an ce
b &b
Solo Sop.
ah
b &b S
a tempo, Grand, Sweeping
œ œ œ > >œ ø
ff
‰ œ w w >ø
3
6
œ œ œ œ œœ œ œ œœœ œœ œœ œ œ œ œ 3
6
6
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28
˙™
j ° bb & ‰ œ 126
Solo
w
ah
A
T
¢
B
H-bells.
Vib.
w
ä
b w &b
w
â
b &b w
w
b w &b ‹
w
? bb w
w
{
P ot eru fo sa rP lS er co fo re rm an ce
S
b w &b
&
<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w w w b b w w
w ? bb w wæ æ
{
>œ œ
N
Pno.
w w
° bb w ¢& w b &b
w w wæ æ
œ >œ >œ >œ >œ œ œ œ œ œ
? bb ‰ œ œ œ w œ 126 w >ø 3
> > œ >œ œ œ >œ œ œ œ œ œ 3
6
w w
w w
3 6
œ œ œ œn œ œ œ œ œ œ œ œ œœ œ œ ‰ w œ w > ø 6
>œ >œ >œ >œ œ œ œ œ
>œ œ
6
>œ œ
6 œœœœ 3 b œ œ œ œ œ œ œœ œœœœ œœ œ 6
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29 accel.
° bb ˙ &
mp (Return to choral part.)
128
Solo
Ó
mp
b ˙ &b
S
mf ecstatic
œ ‰ J
3
‰ œ œ
∑ -œ
The co - ro
mp
mf ecstatic
j œ ‰
3
‰ œ œ
Vib.
{
&
-œ
œ burst
œ
œ
œ
œ œ œ 3
forth,
it
œ
œ
en -
œ œ œ
‰ œ œ
mp
mf ecstatic
œ J ‰
‰
œ œ
-œ
œ
œ
burst
œ
œ
3
forth,
it
-œ
œ
na
-
-œ
3
burst
na
-
œ
œ œ œ 3
forth,
it
en -
3 œ œ œ
-œ
œ
en -
<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w w w b b w w
? bb w w wæ æ ° / wææ
The co - ro
Med. Sus. Cym.
p
forth,
it
en -
Ó
w w
w w
q=48
N ? bb ‰ œ™ œ œ™ 128 > ø
Œ
‰
mf
w w
burst
na
-
w w wæ æ j œ—
b w b w ¢&
{
3
The co - ro
>accel. ˙ b ˙ &b Œ
Pno.
mf ecstatic
œ ‰ J
? bb ˙ ¢
H-bells.
Cym.
mp
b ˙ &b ‹
B
œ
na
-
œ
The co - ro
T
œ
P ot eru fo sa rP lS er co fo re rm an ce
b &b ˙
A
q=48
œœœ œ
œœŒ 3
3
>œ œ
œ œ œœœœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ 6
œœ œ‰ œ ˙ œ ˙ >ø 3
œ œ > ø
6
w w > ø
6
œ
œ
6
6
œ
œ
œ
œ
œ
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30
S
130 ° bb œ œ3 œ œ &
j œ
‰
- 3 b œ œ b œ œ &
j œ
‰
- 3 b œ œ œ œ &b ‹ cir - cled the sun
j œ
cir - cled the
A
T
- 3 ? bb œ œ œ -œ ¢
B
cir - cled the
{
&
H-bells.
Cym.
Vib.
‰
œ œ œ
- 3 - 3 j œ œ œ œ œ œ œ
‰
sent stream - ers for mil - lions of miles
and
3
and
œ
in - to
œ
sent stream - ers for mil - lions of miles
œ
in - to
‰
œ J
sun
j œ
3 -œ 3œ œ -œ œ œ œ J
‰
œ œ œ
-œ 3œ œ -œ 3œ œ œ J
‰
3
œ
sent stream - ers for mil - lions of miles
and
3
‰
and
sent stream - ers for mil - lions of miles
? bb w w wæ æ
œ
in - to
œ
œ
in - to
œ œœ ø
pp
w w
6
œ œ
6
œ
w w
w w
œ œ œœ œ œ œ œ œ œ
N ? bb
æ wæ
∑
b w b ¢& w
130
œ
w w wæ æ
°/
{
œ
<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w w w b b w w
b œ &b
Pno.
sun
-œ 3œ œ -œ 3œ œ œ J
P ot eru fo sa rP lS er co fo re rm an ce
cir - cled the
sun
j œ
3
œ
œ
6
œ
œ
œœ œ
œ
6
œ
œ
œœ ø
œ œ œ œœ œ œœ œ œ
œ
6
œ œ
6
œ
œ
6
œ
œ
œœ œ
œ
6
œ
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31
° bb ˙ ™ & 132
S
‰
space!
H-bells.
œ
˙
œ
œ
j -j 3 œ œ œ
3
j 3‰ j œ œ œ œ œ 3
with na - ture
re - joiced
j œ J
we loved
œ œ
œ œ
the
œœ
œ J
‰
œ
We
f
œ
œ
œœ
re - joiced
3
with na - ture
the
∑
pp
æ wæ
j œ— ‰
Œ
Ó
f
w w
w b w b ¢& b &b œ
œœ
N ø
we loved
∑
pp
œœ
œ 3‰ œ œ œ œ J J
œ -œ 3 œ J J
3
<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w bb w w
? bb
œ
ah
space!
°/
132
f
‰
? bb w w wæ æ
{
˙
P ot eru fo sa rP lS er co fo re rm an ce
{
&
Pno.
œ We
? bb ˙ ¢
B
Vib.
‰
b w &b ‹ space!
T
œ
œ̇ f
j œ
space!
Cym.
j œ ah
b &b ˙
A
f
œ
6
>œ > >œ >œœ œ 6 œ œ > œ œ œ œ > œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œ œœ > 6 6 > 6
œ œœ œ
œœ
6
œ
œ ø
w w
w w
6
œœ ø
œ
6
Œ
‰ w w >ø
j œ
œ
œ
œ
œ
&œ
œ
?
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32
° bb ‰ & 134
S
j œ
œ
œœ
œ œ
œ
œœ
j œ œ œœ œ œ ‰ J
˙˙
3
ah
b &b ˙
A
j œ
b &b ‰ ‹
T
j œ J
light!
H-bells.
Vib.
Pno.
b {& b °/
w b w b ¢&
{
-œ
3
re - joiced
3 œ -œ œ J J
with na - ture
3 œ ‰ œj œ J œ
we
3
loved
the
j œœ
the
œœ
œ œ
œœ
œ
œœ
œ˙
œ
œ ‰ œj œ œ œ J 3
œ J
‰
œ-
We
œ-
œ-
re - joiced
∑
∑
w w
3
œ -œ 3 œ J J
we
3
loved
œ 3 œ œ J ‰ J
with na - ture
we
3
loved
the
œ J
the
∑
æ wæ
mp
w w
w w
>œ > >œ > >œ œ œ 6 > > œ œ œ œœ œ œ >œ œ >œ œ œ œ œ > > œ œ 6 œ œ œ œ > œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœ œ œ œœœœœ œ &b > >œ œ >œ œ œ œœ œ œ 6 6 6 6 6 6 > œ j œ œ œ œ j œ œ œ ‰ ? bb ‰ ? œ œ œ œ &œ w œ w w 134 w >ø sim. >
N
Cym.
We
œ-
ah
? bb ˙ ¢
B
œ-
3
loved
P ot eru fo sa rP lS er co fo re rm an ce
light!
‰
we
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33
° bb & 136
rit.
w
˙
U ˙
mp
mp
˙
U ˙
mp
˙˙
U ˙˙
˙˙
U ˙˙
mp
˙˙
˙ ˙U
mp
Ó
U Ó
æ ˙æ
æ ˙æ
b˙˙
U ˙˙
light.
S
b &b
w light.
P ot eru fo sa rP lS er co fo re rm an ce
b & b bw w
A
light.
b w & b bw ‹ light.
T
¢
B
H-bells.
Cym.
Vib.
? bb bbww
light.
b {& b ° ¢
/
j œ—
f
b &b
{
‰
Œ
Ó
∑
rit.
bœ
“”
p
˙˙
p
pp
bU ˙ b œ œ œ b œ œ 6 œ b œ 6 bœ œ œ œ œ bœ œ œ œ œ b œ œ b œ œ œ œ œ bœ œ œ 3 3 6 mp ” “ (loco) U bœ ˙ b œ b œ œ œ b œ b œ œ œ œ & bœ œ bœ œ
N
b &b
Pno.
∑
Π? bb bbw bw w
136
3
3
U ˙˙
pp
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35 Lights arrive at night sky (dark with subtle, projected stars, if possible).
° bb & 151
Solo
Freely
∑
∑
Treble soloist at the front, center of the space, facing the choir and audience.
mf present, yet not forceful
œ ˙
Give me
b &b w
pp softly, ethereal oo
S
b &b w
oo
b &b w
pp softly, ethereal
Tri.
w
w
know
w œ œ œ œ œ
ww
œ
˙™
w
Œ
w
stagger breathing, keep sound constant
w
?b w ¢ b
w
{
to
stagger breathing, keep sound constant
w
pp softly, ethereal
H-bells.
wœ ˙™
w
b &b w ‹ oo
oo pp softly, ethereal
B
w
œ ˙˙™
T
the ways of wan - der - ing stars
œ œ œ œ ˙™
stagger breathing, keep sound constant
w
A
œ œ œ œ œ ˙
P ot eru fo sa rP lS er co fo re rm an ce
pp softly, ethereal
œ
3
oo
°/
Begin singing bell technique
˙˙ ™
w
w
w
w w
w w
stagger breathing
w w
˙
œ œ ww
ææ w w w w wæ æ
ææ w w w w wæ æ
ææ w w w w wæ æ
ææ w w w w wæ æ
Three very small triangles of different sizes, played by choir members spread equally throughout the space.
œ— ¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯
w w
stagger breathing
w w
ææ w w w w wæ æ
ææ w w mp w ? bb w wæ æ b &b
œ
‘
‘
‘
‘
‘
‘
‘
‘
‘
∑
soft mallet
As before: Play gently at random, spacious intervals, as if gently sparkling stars in the distance.
Mark tree
/
M.tree
¢
{
∑
N
Vib.
b &b
¯¯¯¯¯¯¯¯¯¯¯¯¯
Move fingers slowly and gently through the top 1/3 of chimes.
Pno.
Freely
˙™
pp
w b w &b
w w
w w
w w ø
w w
w w
? bb
151
œ
œ ˙™
w
w w
w w
w w
w w
pp
Ó
˙
bow
p
∑ ∑
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36
° bb & Ó 157
Solo
œ
œ
the
depths
œ
of
- 3 œ œ œ
heav - en
Ó
w
a - bove
˙
˙™
w
œ
œ
w
w
˙™
w w
ẇ
A
b & b ww
wœ
T
b &b w ‹
w
w
w
B
?b w ¢ b w
w w
w w
w w
w w wæ æ
w w wæ æ
w w wæ æ
{
b &b
Tri.
M.tree
Vib.
ææ w w
˙™
ææ w w
? bb w w wæ æ
the
œ
ææ w w
œ
˙
ææ w w
°/
‘
‘
‘
‘
/
‘
‘
‘
‘
– bb œJ ‰ Œ & ¢
N
H-bells.
œ
P ot eru fo sa rP lS er co fo re rm an ce
b &b ˙
w
œ
and
unis.
b & b ˙˙ S
œ
157
mf
˙
p
œ– J ‰ Œ
mf
Ó
Ó
˙
p
œ– J ‰ Œ
mf
Ó
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37 rit.
° bb & ˙™ 161
Solo
w
˙™
w
w
w
w
w w
w w
w
w
? bb w w ¢
w w
w w
w ? bb w w æ ° /
w w w æ
w w w æ
œ
earth
b &b w
S
b & b ˙™ w
T
b &b w ‹
{
H-bells.
Tri.
b &b
/
M.tree
Vib.
¢
-
low.
ä
â
P ot eru fo sa rP lS er co fo re rm an ce
b &b w
A
B
be
Œ
b &b
œ
ææ w w
ææ w w
ææ w w
‘ ‘ ∑
‘ ‘
Ó
˙
p
œ– J
mf
‘
‰
Œ
‘ ˙ p
Play these individual pitches at random, in varying dynamic levels and rhythmic values, as if twinkling stars (not too busily!).
N
Pno.
b b & { 161
∑
∑
◊ÿ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mp
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38 All sopranos and altos will gradually transition from their choral part and begin singing the boxed melody in their own time. Entrances should be sporadically sprinkled amongst the choir and throughout the space. Singers should continue holding their whole note pitch until they enter on the melody. Take rests/breaks as needed, and don't worry about singing it in an exact tempo -- be free! Tenors & basses gradually fade to silence as noted. During the repeats, all singers should slowly walk through the audience and exit through the rear of the space, while continuing to sing the melody and play the bells. Once out of the space, singers can slowly fade to silence. The triangle players should stay in the space, and gradually fade their vocal part before the other singers leave the room.
Slowly, Freely (ca. q=38) Repeat ad lib
° bb ™ & ™œ 164
Give
S
unrushed
œ
œ
œ
œ
œ
œ
3
œ œ œ
œ œ œ œ œ
‰
3
œ œ
P ot eru fo sa rP lS er co fo re rm an ce
Solo
mp
b & b ™™ w
me
the
ways of wan - der - ing
stars
to
know
the
w
A
b & b ™™ w w
T
b ™ Gradually fade to silence once you've exited the space. b & ™w w ‹
w w
?b ™ ¢ b ™w
Gradually fade to silence once you've exited the space.
w
unis.
B
{
Those not playing the written pitches below: softly ring the highest octave of bells in the key of Bb Major at random, and with space in between rings, as if twinkling stars in the distance.
b ™ wææ b & ™w H-bells. w ? bb ™™ w w æ °/ ™™ Tri.
Vib.
/
œ– b J ‰ ™ ¢& b ™ mf
Pno.
b ™ {& b ™ 164
‘
™™
N
M.tree
ææ w w w w w æ
‘
‘ ‘
Play these individual pitches at random, in varying dynamic levels and rhythmic values, as if twinkling stars (not too busily!).
Œ
Ó
Slowly, Freely (ca. q=38) Repeat ad lib
Glock.
œ œ œ œ œ œ œ œ œ
p
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39 Lights slowly fade, stars remain.
° bb œ & 166
Solo
depths
œ
of
œ
3
œ
heav - en
œ
œ
a - bove
‰
3
œ
and
œ the
Ϫ
earth
j œ
be -
˙
low.
™™ ™™
S
b &b w
w
A
b &b w w
w w
T
b &b w ‹
w
™™
B
?b ¢ b w
w
™™
P ot eru fo sa rP lS er co fo re rm an ce
{
b &b
H-bells.
™™
ææ w w
ææ w w
w ? bb w wæ æ
™™ ™™
w w wæ æ
°/
‘
‘
M.tree
/
‘
‘
Glock.
¢&
Pno.
™™ ™™
bb
™™
b b & {
™™
N
Tri.
166
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40
P ot eru fo sa rP lS er co fo re rm an ce
Lights arrive to just the stars overhead. Begin this section once the singers have exited through the rear of the space.
°/
Tri.
M.tree
Glock.
Repeat ad lib
™™
‘
‘
‘
‘
™™
™™
‘
‘
‘
‘
™™
U ∑
b ™ ¢& b ™
™™
U ∑
b ™ b ™ & {
™™
U ∑
168
/
gradually become more sparse with each repeat and fade al niente
gradually become more sparse with each repeat and fade al niente
Repeat ad lib
168
gradually become more sparse with each repeat and fade al niente
U ‘
gradually fade to silence
December 14, 2020 Minneapolis, MN
N
Pno.
Lights slowly fade to black.