WE LOOK TO THE STARS
Cantata for SATB Chorus, percussion (3 players) and harp with vocal soloists (2 sopranos, 1 mezzo-soprano, 1 alto, 1 tenor)
Music by Juhi Bansal; Texts adapted from… Kabir (15th Century, Indian) Onakatomi no Sukechika and Nyogo Kishi Joō (10th Century, Japanese) Abu Bakr Al-Turtushi (11th Century, Andalusian, translated in Spain) Ibn Hamdis (11th Century, Sicilian Arab) H.P. Lovecraft (20th Century, American) Jalāl ad-Dīn Muhammad Rūmī (13th Century, Persian) Sara Teasdale (20th Century, American) Eihei Dōgen Kigen (13th Century, Japanese) Sarah Williams (19th Century, English)
Duration - 60 minutes
Commissioned by Los Angeles Opera
With gratitude to Stacy Brightman, Jennifer Phillips, Rodger Guerrero, Maria Fortuna-Dean, Nancy Sulahian and Pasadena City College.
Copyright Š2019 by Juhi Bansal Music All rights reserved
www.juhibansal.com
version current as of 10/5/2019
We Look to the Stars - Program Note
“For millennia, the nighttime sky has been a tablet upon which we’ve inscribed our histories. It contains a richness that transcends those visible points of light, with multiple narratives layered atop the same glittering framework.” Nadia Drake
For much of human existence, the night sky was such a great mystery that perhaps it’s natural our stories about the stars are as much stories about us as people. We have looked at the stars and seen ways to navigate through sea and over land; we have seen hopes, dreams and inspiration; we have seen love found and love lost; grief and fear; life and death.
It is fascinating how much similarity there is in stories from all around the globe, centuries apart. Myths that began in one place ended up thousands of miles distant, told with different names in different countries; poetic imagery about the stars in one place has hundreds of analogues from other places and other languages. While the words in which we have described our relationship to the stars are as diverse as the people they came from, the stories themselves have overlapping themes, ideas and images. We Look to the Stars brings together some of these myths, poems and excerpts of prose to celebrate not only the night sky, but also with it the things that unite us in the human experience.
Table of Contents PAGE Percussion Details O. Stars – Travelling Music (optional – use as needed for staging, leading the audience into the hall) (for SATB octet with wine glasses)
1
I. Prologue - We Look to the Stars (for SATB chorus (with additional small section of SAT); harp and percussion)
4
II. Like the Fire in the Flame (for SATB chorus, (with additional small section of SAT); vocal soloists, percussion) Text adapted from Kabir (15th Century, Indian)
13
III. Heaven’s River (duet for alto and tenor with harp) Text by Onakatomi no Sukechika and Nyogo Kishi Joō (10th Century, Japanese)
49
IV. Absence (for unaccompanied SATB chorus) Text by Abu Bakr Al-Turtushi (11th Century, Andalusian; translated in Spain)
76
V. Eclipse (for SATB chanting chorus with percussion) Text by Ibn Hamdis (11th Century, Sicilian Arab)
92
VI. The Shattered Stars (aria for tenor with percussion) Text by H.P. Lovecraft (20th Century, American)
108
VIIa. The Night Wears Black (trio for two sopranos and mezzo-soprano) Text by Jalāl ad-Dīn Muhammad Rūmī (13th Century, Persian)
122
VIIb. Trails of Stars (for harp solo)
141
VIII. Winter Stars (aria for alto with SSSAA choir [or SSSAA quintet]) Text by Sara Teasdale (20th Century, American)
146
IX. Hung the Sky with Stars (for all soloists, SATB chorus, harp and percussion) Text by Eihei Dōgen Kigen (13th Century, Japanese)
156
X. Epilogue – In Perfect Light (for unaccompanied chorus) Text by Sarah Williams (19th Century, English)
188
Percussion Details:
Percussion is written for three players, separated into Percussion 1, 2 and 3 to limit moving around instruments.
Percussion instruments needed are: Perc 1: -
Crotales [2 octave set if available, a single octave can substitute if not] (shared with Perc. 2 & 3) 3 tom-toms Large tam-tam Suspended cymbal 2 suspended triangles Vibraphone (shared with Perc. 2)
Perc 2: -
Vibraphone (shared with Percussion 1) 3 tom-toms (these are in addition to the three played by Perc. 1), Crotales [2 octave set if available, a single octave can substitute if not] (shared with Perc. 1 & 3)
Perc 3: -
Bass Drum Marimba Crotales [2 octave set if available, a single octave can substitute if not] (shared with Perc. 1 & 2)
While there are many possible ways of setting up the instruments to allow for each to be reached as needed, one possible setup is shown below. (Depending on staging and location of singers, harp, soloists, this can be modified as needed):
Singers – Percussion Requirements
Certain movements require the singers to play small hand-held percussion instruments. These take three forms:
Hand held bells (in I. Prologue – We Look to the Stars and IX. Hung The Sky with Stars) These may be either “proper” bells or any variety, or found objects that create a metallic, ringing sound. Some examples include garden chimes/ wind chimes, bits of glass or old soda bottles that can be struck with chopsticks, small spoons, cocktail stirrers, etc. No specific pitches are needed.
Handheld pitched bells These are needed for the three solo singers in VIIa. Night Wears Black. They may be of any type, and the three singers may have bells of the same or of different timbres. The pitches needed are D#, C#, G# (in any octave). Some options may include prayer bowls, individual crotales, or handbells.
Pitched wine glasses (in 0. Stars – Travelling Music and VIII. Winter Stars) Pitches required are E F# G# A and B (in any octave). 0. Stars Travelling Music is for octet, with each singer playing one wine glass. VIII. Winter Stars is for alto soloist with either SSSAA chorus or SSSAA quintet. If performed with a quintet, 5 wine glasses will be needed (one for each pitch). If performed as a chorus, a sufficient number of glasses will be needed to be heard through the ensemble.
1
0. Stars – Travelling Music for SATB octet with pitched wine-glasses
This piece can be used to lead the audience into the hall prior to the on-stage performance.
Notes: • Each singer is given a fragment of music (on the next page) to perform while moving. (The staging will be decided at a later date.) You may repeat phrases or words out of the fragment at any time, at your discretion. • Interpret the rhythms very freely – taking extra time on notes and words when desired, moving quickly through rhythms when desired; varying the tempo and dynamic as you repeat the phrase. There should be no attempt to synchronize between singers. • You may begin singing your fragment at any time; repeat the fragment as many times as you like; and then stop singing and rest in silence for as long as you choose. You may then restart your fragment. The movement is completed after each singer has reached the physical location demanded by the staging. At that point drop out one by one to end the music. • During this movement, when you are singing your fragment, your eyes should be up to the audience. In the moments when you are not singing (which should be frequent and long so as to keep the combined ensemble texture clear) drop your eyes and bring your arms into a withdrawn, introspective position. • Each singer will need a wineglass tuned (with water) to the indicated pitch. Play this by wetting a fingertip and running it around the rim of the glass.
2 Soprano 1
Soprano 2
Alto 1
Alto 2
3 Tenor 1
Tenor 2
Bass 1
Bass 2
4
I. We Look to the Stars for SATB chorus (with an additional small section of SAT); harp, vibraphone, crotales and bass drum
5
Notes Choir • The additional small section of SAT should be pulled from the main body of the chorus. • Improvisation Figures in boxes are guidelines for improvisation. (e.g. soprano and tenor at rehearsal 3, alto and bass at rehearsal 4.) The rhythms/pitches/gestures in the box are to be repeated freely, at your own pace, for the duration of the marked arrow. There should be no attempt to synchonize within a section. Until rehearsal 10 (where "In Strict Time" is marked) this movement is aleatoric. The conductor will cue when to move to each subsequent rehearsal number.
• Stars Text: Each singer, at their discretion, may choose from three options wherever "Stars Text" is required: 1) A sentence or two written by each individual singer (in the language of their choice) describing what they see when they look at the night sky. 2) The words "We look at the same stars" in English 3) A translation of the above phrase in the language of your choice
• Bells Each singer needs to have an object they can strike while speaking to create a bell-like sound. These could be actual bells of any type (as long as they are capable of producing soft dynamics), but could also be found objects. Anything that produces a resonant, ringing sound and a soft dynamic will work well. Some examples might include: - Garden chimes/ wind chimes - Bits of glass or old soda bottles that can be struck with chopsticks, small spoons, cocktail stirrers, etc. - A resonant bowl or small glass struck with a slim piece or glass or metal.
6
1
Soprano
8-10 seconds
X
12 - 16 secs.
2
We look
Alto
X
Bass
X
1 D C B / E F# G# A
the
to
the
to
the
We look
to
the
2
(hum)
stars.
Harp
Perc. 1 (Crotales)
X
n
stars.
(hum)
3
pppp
pppp Stars text. Whispered slow, amorphous. Leave lots of rest and empty space.
(staggered breathing) pppp
Improvise freely on these pitches, using a variety of rhythms and grace notes to create melodies.
X
Stars text. Whispered slow, amorphous. Leave lots of rest and empty space.
(staggered breathing) pppp
stars.
(Dictated, follow conductor) pppp
stars.
(Dictated, follow conductor) pppp
We look
X
to
(Dictated, follow conductor) pppp
We look
Tenor
pppp
(Dictated, follow conductor) pppp
30 secs.
3
Improvise freely on these pitches, using a variety of rhythms and grace notes to create melodies.
X n
pppp
Improvise freely on these pitches, using a variety of rhythms and grace notes to create melodies. Perc. 2 (Vibraphone)
X n
pppp
30 secs.
4
5
mp
S.
A.
T.
B.
7
30 secs. poco a poco cresc.
poco a poco cresc.
Stars text. Spoken, faster, more rhythmic. Growing denser in texture. Each singer move freely between these figures at your own pace, repeating fragments at your discretion. poco a poco cresc. mp poco a poco cresc.
mp poco a poco cresc. Stars text. Spoken, faster, more rhythmic. Growing denser in texture. Each singer move freely between these figures at your own pace, repeating fragments at your discretion. poco a poco cresc.
poco a poco cresc.
mp
poco a poco cresc.
(Each soprano singing the gesture in this box individually, not synchronized.) mp poco a poco cresc. Small section (sopranos).
Small section (altos)
Small section (tenors)
4
Perc. 2 (Vib.)
We
look
to
the
stars
(Each alto singing the gesture in this box individually, not synchronized.) mp poco a poco cresc.
We
look
to
the
stars
(Each tenor singing the gesture in this box individually, not synchronized.) mp poco a poco cresc.
look
to
the
stars
5
poco a poco cresc.
Perc. 1 (Crot.)
We
Hp.
mp poco a poco cresc. (alternate playing these notes as a plucked scale with glissandi on these same pitches.)
poco a poco cresc.
mp
poco a poco cresc.
poco a poco cresc.
mp
poco a poco cresc.
8
6
S.
A.
30 secs.
7
poco a poco dim. fff (Shouting, chaotic, frenetic)
fff
(speaking, calming down)
poco a poco dim.
fff poco a poco dim. (Shouting, chaotic, frenetic)
T.
B.
Small section (sopranos).
Small section (altos)
Small section (tenors)
fff
fff
fff
6
Hp.
Perc. 1 (Crot.)
Perc. 2 (Vib.)
(speaking, calming down)
fff
n
n
n
7
fff
poco a poco dim.
fff
fff
15 secs.
n
n
n
9
45 - 60 secs.
8
p
Stars text. Whispered. Slow, delicate. Leave lots of rest and empty space.
(Bells) Sparse. Bells echoing gently across the stage.
S.
p
A.
pppp
(Bells)
Sparse. Bells echoing gently across the stage. pppp
p
T.
Stars text. Whispered. Slow, delicate. Leave lots of rest and empty space.
(Bells)
pppp
Sparse. Bells echoing gently across the stage.
p (Bells)
B.
Sparse. Bells echoing gently across the stage.
pppp
8
Hp.
pppp
Perc. 1 (Crot.)
Perc. 2 (Vib.)
n
10
9
40 - 45 secs.
pppp Each singer move freely between these figures at your own pace, repeating fragments at your discretion.
gliss.
(hum)
gliss.
S.
n
(bells drop out)
pppp
A.
n (bells drop out)
pppp Each singer move freely between these figures at your own pace, repeating fragments at your discretion.
T.
(hum)
gliss.
gliss.
n (bells drop out)
pppp
B.
9
n (bells drop out)
Perc. 1 (Crot.)
Perc. 2 (Vib.)
Hp.
10 S.
A.
T.
(humming) (pppp)
poco a poco dim.
(humming) (pppp)
poco a poco dim.
(humming) (pppp)
poco a poco dim.
(humming) (pppp)
poco a poco dim.
B.
10
11
h = 120 - 140 In strict time
14
h = 120 - 140 In strict time
14
Perc. 1 (Crot.)
Perc. 2 (Vib.)
Perc. 3 (B. D.)
Hp.
n
12 15
S.
A.
T.
B.
n
Perc. 1 (Crot.)
Perc. 2 (Vib.)
Perc. 3 (B. D.)
n
n
Hp.
n
attacca
13
II. Like The Fire in the Flame For SATB chorus, additional section of SAT singers, vocal soloists (two sopranos, mezzo-soprano, alto and tenor) with percussion (3 players)
Text adapted from Kabir
14
Notes on Performance Chorus The additional section of SAT singers can be pulled from within the main choir. Size of the section should be chosen to balance well with the body of SATB singers. This movement should be very theatrical, with dramatic contrasts in articulation and dynamics. Enunciate the f's of "fire" and "flame" for drama. The word 'fire' is often pronounced as two syllables, fah-yer. Percussion Percussion 1: Vibraphone (motor off throughout) • Muted Vibraphone: (Lay heavy cloth/plastic/tarp over the bars and play directly on this (rather than on the keys).
Percussion 2: Tom toms and suspended cymbal (played with light-medium sticks, able to play on the rim as well as head of the toms, and on suspended cymbal. The sticks should create a percussive, round, not-overly-sharp attack, and be able to balance with vibraphone.)
Percussion 3: Bass Drum (with beaters capable of a clear attack on fast eighth notes as well as a wide dynamic range.)
Text Like the fire in the flames, the stars are within you. Find them if you can. Adapted from the Indian mystic poet and saint, Kabir, written somewhere between 1398 and 1518.
II. Like the Fire in the Flame
15
5 h = 120 - 130
Soprano
Pitched whispers, percussive mp
Like the
Alto
Tenor
Alto (small section)
Tenor (small section)
Like the
Pitched whispers, percussive mp
Like the
Pitched whispers, percussive mp
fi - re in the flame.
fi - re in the flame.
Like the
Pitched whispers, percussive mp
fi - re in the flame.
h = 120 - 130
5
Solo Tenor
Perc. 1
2 Solo Sopranos
Solo Mezzo-soprano
Solo Alto
Perc. 2
Bass Drum
Perc. 3
ffff
h = 120 - 130
(for rehearsal only) Piano
ffff
ffff
Like the
Soprano (small section)
fi - re in the flame.
Like the
Bass
5
(Only play if needed for the singers)
mp
16 7
S.
9
fi - re in the flame.
A.
B.
fi - re in the flame.
Like the
fi - re in the flame.
Like the
Like the
Like the
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
Like the
Like the
fi - re in the flame.
fi - re in the flame.
Like the
Small section S.
Small section A.
Small section T.
9
Solo M-S..
Solo A.
Solo T.
2 Solo S.
Perc. 1
Perc. 2
Perc. 3
Tom -toms, like fire crackling x = rim; regular notehead = drumhead On rim
5
p
5
5
Vibraphone Muted (see notes on performance) (like fire crackling)
cresc.
9
5
cresc.
p
(Only play if needed for the singers)
Pno.
Like the
fi - re in the flame.
fi - re in the flame.
Like the
T.
Like the
13 12
S.
17
16
Pitched whispers, percussive mp
Like the
A.
fi - re
T.
B.
in
Small section A.
2 Solo S.
Solo M-S..
Solo A.
in
the
Perc. 1
Perc. 2
Perc. 3
stars
stars
The
f
The
stars
stars
stars
The
13
f
f
The
5
5
16
mf
mf
ffpppp
f
star
f
star
f
f
The
Pno.
Pitched whispers, percussive mp
flame.
f
The
Solo T.
Like the
The
Small section T.
flame.
fi - re
Small section S.
the
13
ffff
16
mp
18 17
S.
fi - re in the flame. Pitched whispers, percussive mp
A.
T.
Like the
Like the
Like the
fi - re in the flame.
Like the
fi - re in the flame.
Like the
fi - re in the flame.
Like the
Small section S.
Small section A.
Small section T.
21
Solo M-S..
Solo A.
Solo T.
2 Solo S.
Perc. 1
Perc. 2
Perc. 3
(Tom -toms) x = rim; regular notehead = drumhead On rim
p
p
(Only play if needed for the singers)
Pno.
21
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
Like the
Like the
Like the
fi - re in the flame.
fi - re in the flame.
fi - re in the flame. Pitched whispers, percussive mp
B.
Like the
21
19 22
S.
Like the
A.
B.
Small section S.
Small section A.
Like the
fi - re in the flame.
f
The
2 Solo S.
Solo M-S..
Solo A.
f
f
The
Perc. 1
Perc. 2
Perc. 3
Pno.
5
stars
f
stars
stars
mf
mf
(Only play if needed for the singers)
stars
f
5
stars
5
5
The
star
cresc.
f
5
The
f
cresc. 5
25
The
f
The
Solo T.
star
The
Small section T.
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
Like the
Like the
fi - re in the flame.
fi - re in the flame.
T.
25
ffpppp
25
20
29 27
S.
Pitched whispers, percussive mf
Like the
A.
T.
B.
fi - re in the flame.
Pitched whispers, percussive mf
Like the
Pitched whispers, percussive mf
Like the
Like the
Like the
Like the
Like the
fi - re in the flame.
Like the
Small section A.
Small section T.
2 Solo S.
Solo M-S..
Solo A.
Solo T.
Perc. 1
Perc. 2
Perc. 3
Pno.
On rim
mp
mp
fi - re in the flame.
Small section S.
29
fi - re in the flame.
fi - re in the flame.
fi - re in the flame. Pitched whispers, percussive mf
ffff
29
mf
21
32
S.
Like the
A.
B.
Small section S.
Small section A.
The
stars
are
The
stars
are
mf
Small section T.
mf
The
stars
are
32
mf
2 Solo S.
Solo M-S..
Solo A.
Solo T.
Perc. 1
Perc. 2
Perc. 3
The
stars
are
mf
The
stars
are
mf
The
stars
are
mf
The
stars
are
with
with
with
with
fi - re in the flame.
f
mf
f
The
mf
you.
f
The
mf
you.
The
36
f
mf
you.
f
The
mf
you.
- in
Like the
- in
you.
- in
with
- in
with
- in
with
Like the
- in
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
The
f
mf
you.
- in
The
f
mf
you.
The
mf
5
5
ffpppp
mf
mf
ffff
32
Pno.
Like the
Like the
Like the
Like the
mf
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
Like the
Like the
Like the
fi - re in the flame.
fi - re in the flame.
T.
36
36
22 37
S.
fi - re in the flame.
A.
Like the
T.
Like the
Small section S.
stars
Small section A.
Small section T. stars 2 Solo S.
stars
Solo M-S..
stars
Solo A.
with
with
are
with
with
f
- in
f
f
- in
- in
f
you.
- in
f
you.
are
The
stars
are
mf
The
stars
are
you.
stars
mf
you.
fi - re in the flame.
mf
40
The
stars
are
mf
The
stars
are
mf
The
stars
are
mf
The
stars
are
mp cresc. mf Perc. 3
Perc. 1
On rim
cresc.5
mp
5
5
5
Like the
The
you.
Like the
mf
you.
Like the
fi - re in the flame.
f
- in
you.
- in
with
f
fi - re in the flame.
fi - re in the flame.
Like the
are
stars
fi - re in the flame.
- in
are
stars
Solo T.
with
are
are
with
are
Like the
fi - re in the flame.
are
stars
Like the
Like the
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
B.
Like the
40
5
5
mf
Perc. 2
fpppp
Pno.
40
23 42
S.
Like the
A.
B.
Small section A.
with
2 Solo S.
Solo M-S..
Solo A.
with
Perc. 1
Perc. 2
Perc. 3
Pno.
-
-
with
-
with
-
-
with
-
f
Like the
you.
f
in
in
The
f
f
you.
f
Like the
The
stars
are
mf
The
stars
are
The
stars
are
mf
The
stars
are
mf
The
stars
are
f
mf
The
stars
are
in
you.
you.
Like the
in
fi - re in the flame.
fi - re in the flame.
are
mf
44
fi - re in the flame.
with
-
with
-
-
-
-
-
mf
44
in
in
with
in
with
in
with
in
with
-
with
in
in
fpppp
stars
mf
you.
fi - re in the flame. mf
you.
you.
Like the
f
in
in
Like the
Like the
in
with
Solo T.
-
with
Small section T.
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
Small section S.
Like the
Like the
Like the
fi - re in the flame.
fi - re in the flame.
T.
44
24
Sung, percussive 47
S.
fi - re
A.
48 sfz
in the flame.
B.
in the flame.
sfz
Like the
Small section S.
Small section A.
Small section T.
2 Solo S.
Solo M-S..
Solo A.
Solo T.
Perc. 1
Perc. 2
Perc. 3
Pno.
you.
ff
(sung) mf
in the flame.
Like the
ff
in the flame.
f
you.
48
f
ff
you.
f
mf
Like the
sfzp
sfzp
fi - re
f
(sung)
51
in the flame.
fi - re Sung, percussive
Sung, percussive sfz
sfzp
fi - re
ff
in the flame.
Sung, percussive sfz
fi - re
fi - re
Like the
T.
sfzp
you.
f
you.
f
you.
f
you.
mf
51
The
mf
The
mf
The
mf
The
fff
48
sfz
51
mf
25 52
S.
fi - re in the flame.(sung)
A.
Like the
Small section S.
Small section A.
Small section T.
2 Solo S.
stars
Solo M-S..
are
stars
Solo T.
Perc. 1
Perc. 2
Perc. 3
Pno.
are
- in
you.
with
with
55
f
Like the
mf
The
stars
are
mf
The
stars
are
The
stars
are
mf
you.
- in
with
- in
are
stars
with
fi - re in the flame.
fi - re in the flame.
f
Like the
Like the
Like the
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
are
stars
Solo A.
Like the
Like the
Like the
fi - re in the flame.
fi - re in the flame.
fi - re in the flame. (sung) mf
B.
Like the
T.
Like the
mf
55
f
you.
- in
f
you.
mf
5
5
mf
55
26 57
S.
Like the
A.
B.
Like the
Small section S.
Small section A.
with
2 Solo S.
Solo M-S..
Solo A.
-
with
Small section T.
-
with
-
in
f
f
Like the
Like the
Like the
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
Like the
fi - re in the flame.
Like the
fi - re in the flame.
you
f
you
you
in
Like the
in
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
Like the
Like the
fi - re in the flame.
fi - re in the flame.
T.
59
The
stars
are
mf
The
stars
are
mf
The
stars
are
mf
The
stars
are
with
- in
with
- in
with
- in
Perc. 2
Perc. 3
Perc. 1
Pno.
Solo T.
mf
59
59
with
- in
27 62
S.
63
fi - re in the flame.
A.
Like the
Like the
T.
Like the
Small section S.
Small section A.
Small section T.
f
2 Solo S.
Like the
fi - re in the flame.
63
The
stars
are
The
stars
are
mf
The
stars
are
mf
fi - re in the flame.
ff
fi - re in the flame.
Like the
Like the
Like the
mf
Like the
fi - re in the flame.
Like the
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
B.
fi - re in the flame.
ff
fi - re in the flame.
with
- in
with
- in
with
Like the
f
you.
f
- in
you.
f
you.
you.
Solo M-S..
Solo A.
Solo T.
Perc. 1
Perc. 2
Perc. 3
Pno.
f
you.
f
you.
f
you.
mf
mf
5
5
ffppp
63
28
67 S.
sfz
sfzp
fi - re
sfzp
fi - re
T.
B.
Small section S.
Small section A.
Small section T.
ff
in the flame. sfzp
fi - re
in the flame.
ff
fi - re
in the flame.
(sung, percussive) f
fi - re
Like the
in the flame.
ff
ff
ff
The
Solo A.
Solo T.
ff
sfz
70
67
Solo M-S..
Pno.
The
(sung, percussive) f
Like the
Perc. 3
(sung, percussive) f
The
Perc. 2
(sung, percussive) f
Like the
67
Perc. 1
2 Solo S.
Like the
ff
sfzp
fi - re sfz
in the flame.
sfz
70
in the flame.
sfz
A.
ff
70
f
29 72
S.
73
fi - re in the flame.
A.
Like the
Like the
Like the
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
Small section T.
Like the
ff
The
stars
stars
Solo M-S..
Solo A.
Solo T.
Perc. 1
Perc. 2
73
5 5
Pno.
mf
are
The
stars
are
f
The
stars
are
f
The
stars
are
ff
with - in
you.
with - in
ff
you.
ff
with - in
you.
76
with - in
ff
you.
73
stars
f
f
Perc. 3
The
mf
The
ff
The
ff
f 2 Solo S.
fi - re in the flame.
star
Small section A.
fi - re in the flame.
Like the
Like the
Like the
Like the
Small section S.
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
B.
Like the
Like the
T.
76
76
30
78
77
S.
Like the
A.
B.
Like the
Like the
Like the
Like the
Like the
Like the
Like the
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
Small section S.
fi - re in the flame.
fi - re in the flame.
T.
81
fi - re in the flame.
fi - re in the flame.
Like the
fi - re in the flame.
Like the
fi - re in the flame.
ff
The
star
Small section A.
Small section T.
2 Solo S.
Solo M-S..
Solo A.
Solo T.
Perc. 1
Perc. 2
Perc. 3
Pno.
stars
ff
The
stars
78
f
The
stars
are
The
stars
are
f
The
stars
are
f
f
The
stars
are
mf
5 5
f
81
ff
you.
ff
with - in
you.
you.
with - in
The
ff
with - in
ff
you.
ff
with - in
mf
78
81
31 82
S.
83
fi - re in the flame.
A.
fi - re in the flame.
B.
stars
Like the
Like the
Like the
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
Like the
Small section S.
Like the
Like the
T.
86
fi - re in the flame.
Like the
Like the
Like the
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
Like the
ff
star
Small section A.
Small section T.
The
Solo M-S..
Solo A.
Solo T.
Perc. 1
Perc. 2
Perc. 3
83
The
stars
are
The
stars
are
f
The
stars
are
The
stars
are
f
f
mf
5 5
f
with - in
The
ff
ff
you.
ff
with - in
you.
you.
with - in
ff
86
f
83
Pno.
The
stars
2 Solo S.
ff
with - in
ff
you.
mf
86
32
88
87
S.
Like the
A.
B.
Like the
Like the
Like the
fi - re in the flame.
fi - re in the flame.
Like the
stars
stars
Like the
fi - re in the flame.
Like the
fi - re in the flame.
star
Small section A.
Small section T.
2 Solo S.
Solo M-S..
Solo A.
Solo T.
Perc. 1
Perc. 2
Perc. 3
Pno.
88
f
The
stars
are
The
stars
are
f
The
stars
are
f
f
The
stars
are
mf
f
with - in
ff
ff
you.
with - in
you.
with - in
you.
with - in
(remove mute)
ff
ff
you.
5
5
88
ffppp
Like the
Like the
Like the
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
Small section S.
fi - re in the flame.
fi - re in the flame.
T.
92 sfz
sfzp
S. fi
-
re
in
fi
B.
fi
re
in
in
re
-
in
ff
ff
G.P.
G.P.
ff
G.P.
the flame.
Intense, theatrical sfzp
the flame.
sfzp
re
96
Flame
Intense, theatrical sfzp
Fire Intense, theatrical sfzp
Fire
G.P.
Small section S.
G.P.
Small section A.
G.P.
Small section T.
92
96
G.P.
G.P.
Solo M-S..
G.P.
Solo A.
G.P.
Solo T.
G.P.
G.P.
G.P.
2 Solo S.
Perc. 1
Perc. 2
Perc. 3
ff
92
Pno.
sfz
33
Flame
the flame. sfzp
-
sfz
sfzp
fi sfz
T.
G.P.
the flame.
sfz
A.
ff
Intense, theatrical sfzp
(without muting) Intense, theatrical
sfz p
96
sfzp
sfz
sfzp
p
34
97
S.
A.
sfzp
99
Flame
sfzp
Flame
T.
B.
sfzp
Fire
sfzp
Small section A.
Small section T.
2 Solo S.
Solo M-S..
Solo A.
Solo T.
Perc. 1
Perc. 2
sfzp
Fire
Pno.
Flame
sfzp
Flame
sfzp
Fire
Fire
f
Stars mf
f
f
Stars
99
f
101
In
the
f
In
the
f
In
the
f
In
the
(Suspended cymbal)
p
sfz p
Perc. 3
sfzp
101
sfzp
mf
Stars
sfzp
Fire
Flame
mf
Flame
sfzp
Fire
Small section S.
sfzp
sfz p
sfzp
sfz p
sfz p
99
sfzp
sfz p
mf
sfz p
101
f
35
S. 102
A.
T.
sfzp
Fire sfzp
B.
Fire
sfz
sfzp
105
fi - re in the flame.
Flame
sfz
sfzp
fi - re in the flame. sfz
fi - re in the flame. sfz
fi - re in the flame.
Flame
sfzp
Fire sfzp
Fire
sfzp
Fire sfzp
Fire
Small section S.
Small section A.
Small section T.
2 Solo S.
105
stars.
Solo M-S..
stars.
Solo A.
stars
Solo T.
Perc. 1 Perc. 2
stars.
(no trem.)
sfz p Perc. 3
Pno.
sfz
sfz
p
sfz
105
sfzp
sfzp
sfzp
p
36
S.
sfzp 107
Flame
sfzp
A.
sfzp
108
Flame
Flame
T.
B.
sfzp
Fire
Small section A.
Small section T.
2 Solo S.
Solo M-S..
Solo A.
Solo T.
Perc. 2
Flame
sfzp
Flame
sfzp
Fire
sfzp
sfzp
Fire
Fire
Fire
f
f
Stars
mf
f
Stars
108
f
110
In
the
f
In
the
f
In
the
f
In
the
(Suspended cymbal)
stars.
stars.
stars
stars.
ppp
Pno.
sfzp
mf
sfz p
Perc. 3
110
Stars
Perc. 1
sfzp
sfzp
Flame
sfzp
Fire mf
Small section S.
sfz p
sfz p
108
sfz p
mf
sfz p
110
f
114 112
S.
sfz
fi - re
A.
T.
B.
the
in
the
fi - re sfz
in
fi - re
in
the
the
f
f
Fire
sfzp
flame.
Fire
sfzp
flame.
sfz
sfzp
flame.
sfz
fi - re
in
37
116
Fire sfzp
flame.
Fire
p poco a poco cresc. Small section S.
Small section A.
Small section T.
2 Solo S.
Solo M-S..
Solo A.
Solo T.
Perc. 3
114
Fire
p poco a poco cresc.
Fire
flame
p poco a poco cresc.
Fire
flame
p poco a poco cresc.
Fire
flame
(no trem.)
p poco a poco cresc.
pppp poco a poco cresc.
114
116
flame
p poco a poco cresc.
p poco a poco cresc.
Fire
Fire
Pno.
Fire
Perc. 1 Perc. 2
p poco a poco cresc.
p poco a poco cresc.
116
sfz
38
118 117
S.
A.
120
sfzp
f
Flame
sfzp
Like the
f
mf
Flame
T.
B.
f
sfzp
Flame
f
Like the
sfzp
mf
Flame
Small section S.
Small section A.
flame
flame
Small section T.
2 Solo S.
Solo M-S..
Solo A.
Solo T.
Perc. 1
flame
Perc. 2
Perc. 3
Pno.
Fire
Fire
flame
120
sfz
flame
flame
flame
Fire
flame
flame
118
Fire
Fire
flame
Fire
Fire
118
120
sfz
39
S. 122
124
fi - re in the flame.
A.
mf
Like the
T.
B.
fi - re in the flame.
Small section A.
Small section T.
2 Solo S.
122
Perc. 1
Perc. 2
Perc. 3
flame
Fire
flame
124
Like the
ff
flame
fi - re in the flame.
fi - re in the flame.
flame
Like the
Like the
flame
flame
126
The
stars
are
ff
The
stars
are
ff
The
stars
are
ff
The
stars
are
mf
flame
122
Pno.
Like the
Fire
Fire
Solo T.
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
Fire
Fire
Solo A.
Like the
Fire
Fire
Solo M-S..
Like the
Like the
fi - re in the flame.
fi - re in the flame.
mf
Like the
Small section S.
Like the
126
124
sfz
ff
ff
126
40
127
S.
Like the
A.
T.
B.
Like the
Small section A.
Small section T.
2 Solo S.
Solo A.
-
with
-
-
in
The
Like the
f
Like the
stars
are
The
stars
are
ff
The
stars
are
ff
129
mf
fi - re in the flame.
with
-
with
-
with
-
you.
Perc. 2
Perc. 3
Pno.
in
you.
in
Perc. 1
in
you.
in
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
ff
you.
in
-
in
with
with
Solo T.
with
Solo M-S..
Like the
f
Like the
Like the
f
mf
fi - re in the flame.
Like the
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
Small section S.
Like the
Like the
f
fi - re in the flame.
fi - re in the flame.
129
129
41 132 S.
134
fi - re in the flame.
A.
mf
Like the
T.
B.
fi - re in the flame.
Small section A.
Small section T.
Like the
Like the
Like the
fi - re in the flame.
fi - re in the flame.
mf
Like the
Small section S.
Like the
Like the
Like the
2 Solo S.
Solo T.
Perc. 1
Perc. 2
Perc. 3
Pno.
you.
you.
ff
Like the
you.
ff
if
you
if
you
if
ff
them
Find
them
ff
them
Find
Solo A.
fi - re in the flame.
Find
Solo M-S..
Like the
fi - re in the flame.
134
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
Find
On bell of cymb.
them
if
you
you
mf
mf
mp
134
42
138
f
137
S.
Like the
A.
fi - re in the flame.
B.
Like the
f
Like the
Small section A.
Like the
ff
The
2 Solo S.
Solo M-S..
can
ff
The
Perc. 1
Perc. 2
Perc. 3
Pno.
can
(bell of cymbal and tom)
mf
mf
them
if
you
if
you
if
them
138
them
mf
them
Find
Find
Find
can
Solo T.
Like the
Like the
fi - re in the flame.
ff
ff
The
Find
fi - re in the flame.
138
can
Solo A.
The
stars
mf
stars
The
Small section T.
fi - re in the flame.
fi - re in the flame.
star
ff
f
Like the
Like the
Like the
mf
mf
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
Small section S.
Like the
f
fi - re in the flame.
T.
mf
if
ff
can
The
can
you
can
you
can
mf
mf
43
S. 142
fi - re in the flame.
A.
Like the
T.
B.
fi - re in the flame.
Like the
Like the
stars
Like the
Small section T.
stars
Perc. 1
Find
Perc. 2
Perc. 3
fi - re in the flame.
Like the
star
ff
them
ff
can
The
if
you
if
you
them
you
if
stars
stars
146
them
Find
can
them
Find
can
Find
can
you
f
if
them
Find
them
mf
mf
mf
Like the
ff
142
Pno.
fi - re in the flame.
them
Find
Solo T.
them
Find
Solo A.
Like the
The
Find
Solo M-S..
f
The
142
2 Solo S.
star
Small section A.
fi - re in the flame.
f
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
146
Like the
fi - re in the flame.
fi - re in the flame.
Like the
Small section S.
Like the
f
mf 146
44
mf
147
S.
Like the
A.
B.
Like the
Like the
Small section T.
2 Solo S.
Solo M-S..
Solo A.
Solo T.
Perc. 1
Perc. 2
Perc. 3
Pno.
Like the
if
you
if
you
if
if
if
you
if
them
can
if
Like the
fi - re in the flame.
them
them
fi - re in the flame.
Like the
149
you
you
can
you
can
you
can
Sus Cymbal and tom
f
f
fi - re in the flame.
Find
Like the
Like the
Find
fi - re in the flame.
Find
Small section A.
Like the
mf
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
mf
Like the
mf
fi - re in the flame.
Small section S.
fi - re in the flame.
fi - re in the flame.
T.
149
f
149
45
S. 152
155
fi - re in the flame.
A.
Like the
T.
B.
Small section S.
Small section A.
Like the
fi - re in the flame.
Like the
Like the
f
Like the
Like the
can
Like the
Find
Perc. 1
Perc. 2
Perc. 3
you
if
you
if
them
them
them
152
can
if
if
them
if
can
can
you
can
f
them
you
if
Like the
155
f
f
Pno.
if
them
Find
Solo T.
them
Find
Solo A.
Find
Find
Solo M-S..
can
152
2 Solo S.
mf
Find
fi - re in the flame.
fi - re in the flame.
Find
can
Small section T.
Like the
Like the
f
fi - re in the flame.
mf
mf
fi - re in the flame.
fi - re in the flame.
fi - re in the flame.
f
mf
fi - re in the flame.
fi - re in the flame.
f
f
155
46 157
S.
Like the
A.
fi - re
T.
B.
Like the
Small section T.
2 Solo S.
Solo M-S..
Solo A.
fi - re
in
can
you
Perc. 1
Perc. 2
Perc. 3
Pno.
The
The
star
star
star
ff
star
star
159
star
ff
ff
pp
ff
The
mf
f
star
can
can
you
the flame.
The
Solo T.
the flame.
the flame.
you
Small section A.
in
in
fi - re
159
the flame.
fi - re
Small section S.
in
ffppp
159
47 162
S.
A.
163
(Loud whispers, no pitch) f
Like the fi - re in the (Loud whispers, no pitch) f
Like the
T.
B.
fi - re
fi - re
fi - re
star
Solo A.
star
Solo T.
star
Small section A.
Small section T.
2 Solo S.
Solo M-S..
Perc. 1
Perc. 2
star
Perc. 3
star
star
163
mf f
ffff
Pno.
ffppp
163
ffff
the
Like the
star
in
f (Loud whispers, no pitch)
Small section S.
the
f (Loud whispers, no pitch)
Like the
in
in
the
48
167
S.
A.
T.
B.
Small section S.
2 Solo S.
Solo T.
Perc. 1
Fi - re
in
the
Fi - re
in
the
Fi - re
in
the
Fi - re
in
the
flame.
flame.
flame.
flame.
star
167
star
star
f
Perc. 3
Perc. 2
fffppp
167
Pno.
star
Solo A.
star
Solo M-S..
f
star
Small section T.
f
star
Small section A.
f
f
ffff
49
III. Heaven's River for Alto, Tenor and Harp
50
• All grace notes (in voices and in harp) are ON the beat.
Harp • While the indicated glissando starting and ending pitches are desirable, they are not strictly necessary. Prioritize the gesture and rhythms over the exact pitches.
Text Chinese and Japanese traditions tell a story of the Tanabata festival (called the Qixi festival in China) which commemorates the myth of the lovers Zhinu and Niulang. There are many versions of the story (and even modified versions told in Indian and Sri Lankan tradition), but the central theme tells of the two falling in love. This was forbidden, and so they were banished to opposite sides of the milky way (Heaven's River). Zhinu became the star Vega; Niulang became the star Altair. Celestial magpies took pity on the couple, and one night a year, on the 7th day of the 7th lunar month, the magpies would fly to create a bridge across the milky way for the lovers to reunite. The text of this duet is adapted from two Japanese poems about the Tanabata festival:
Rare are the waves on Heaven's river, rare are the nights my love is near. If only I could keep the stars from fading In the brightening sky. (Adapted from a poem by Nyogo Kishi Joō, written during the Heian period, between the years 929 - 925 AD) Through rifts in the clouds I gaze across skies Where stars meet. My heart echoes the breaking waves of Heaven's River. (Adapted from a poem by Onakatomi no Sukechika, written during the Heian period, between the years 954 and 1038 AD.)
51
III. Heaven's River
4 Molto espressivo
Tormented, plaintive, q = 110 - 120
Alto
Tenor
Harp
f
Rare
D C Bb/ Eb F G A Tumultous, aggressive glissandi
f
are
the
(Thunder effect) fff
8
5
A.
T.
waves
Hp.
on
hea
-
ven's
ri - ver,
rare
are the night's
my
52
10
A.
love
T.
is
near
Hp.
sffz
15
A.
Molto espressivo f
T.
Hp.
Rare
are the
waves
on
hea
-
ven's
ri ver,
sffz
19
rare
are the
53
20
A.
T. nights
Hp.
24
A.
my
love
is
Hp.
fff
n
(l.v.)
are the
free gliss.
28
mf
Rare
T.
near
mf
waves
54 A.
30
mf
Rare
mf T. Rare Hp.
35
A.
are the
36
Hp.
n
mf
Rare
are the
n
Bisbigliando
mf
waves
are the waves,
Rare
mf
Bisbigliando
waves
waves
Rare
T.
Bisbigliando
are the
Rare
are the
are the waves,
n
mf
Bisbigliando
55
43
41
A.
waves,
T. Hp.
Rare
are
Rare
the nights
Losing strength mf
46
A.
Losing strength mf
are
the nights
Losing strength
n
mf
my
love
is
my
love
is
Hp.
mf
free gliss.
sffz
51
near.
T. near.
n (l.v.)
If
mf
56
52
A.
I
could keep the stars from fa - ding
T.
Hp.
4
Bisbigliando
mf
4
If
I
could keep the stars from
n
mf
Bisbigliando
59
58
A.
T.
fa - ding,
Hp.
Hesitant p
If
on - ly
F - F#,
Eb - E
n
Bisbigliando
pp
4
I could
4
keep the stars from
fa ding.
sfz
57
63
A.
T.
Hp.
68
Hp.
If
on - ly
I could keep
4
dim.
keep the stars from
sfz
I could keep
the
the
(on the beat)
sfz
71
stars
from
stars
from
4
fa -
ding.
fa - ding.
(freely, fast to slow)
If
4
fa - ding.
4
p
on - ly
4
I could
If
4
on - ly
T.
p
sfz
A.
p
E - Eb, F# - F
4
P.d.l.t.
ppp f sub.
Sons etouffée
4
58
72
A.
Adamant mf
If
Adamant mf
T.
If
Hp.
on - ly
on - ly
I could
I could keep
78
A.
4
4
4
4
keep
T. Hp.
4
4
mf
4
If
on - ly
I could
keep
the
59
83
A.
T.
Through
rifts
ord. Tumultuous
I
fa -
ding
4
in the clouds
from
gaze
where
f
a - cross the
stars
mf
ord.
skies
T.
87
A.
stars
Hp.
mf
meet.
F - F#
Hp.
f
60
91
A.
T.
Hp.
(on the beat) sffz
on - ly
I
could
keep,
Hp.
If
mf
T.
4
ech oes
My heart
95
A.
mf
mf
cresc.
my
heart
mf cresc.
If
on - ly
4
I
could
ech oes
the
61
99
A.
keep
the
T. break -
ing
stars
ff
from
waves
on
hea
fa ding
ff
-
ven's
ri - ver.
(on the beat)
Hp.
f
103
A.
mp
p
mp
Rare
T.
sffz
are
the waves
on
p
Rare
are
the
Losing force
Hp.
p
62
107
A.
Hea
T.
-
waves
ven's
ri ver,
on
Hea
-
rare
are
the nights
ven's
ri ver,
my
rare
are
the
Hp.
114
111
A.
freely, rit.
love
T. nights
is
near.
my
love
is
near.
(on the beat)
Hp.
mp
If
115
A.
(espressivo, finishing each other's thoughts)
4
on - ly
I
could
63
118
(espressivo, finishing each other's thoughts) mp
T.
Hp.
120
A.
T.
fa - ding,
4
fa - ding,
If
on - ly
122
4
keep the stars from
Hp.
4
keep the stars from
I
4
If
on - ly
I
could
mp
4
keep the stars from
could
64 A.
125
X
T. X fa - ding X
Hp.
X
A.
p
pp
ff
128
X
(Follow tenor to downbeat of mm126; this aleatoric figure may be extended by as many repetitions as needed.)
X
pp
3 T. X on- ly I could
Hp.
If
X 127
(Follow alto to downbeat of mm129; this aleatoric figure may be extended by as many repetitions as needed.)
pp
ff
65 In strict time p
129
A.
T.
Hp.
If
on
Hp.
ly
I
pp
X
could
T.
-
131
A.
3
X
X
X
F# - F pp
ff
sfz
132
66
A.
pp keep the stars
T.
fa
-
pp
3
X
on - ly
I
could
X
X
pp
(freely, slow)
T. X
Hp.
ding
138
A.
If
Hp.
from
136
pp
ff
sfz
67
139
A.
pp T. keep the
Hp.
stars
fa
-
pp
ding.
(freely, slow)
from
143 Very slightly slower Timidly hopeful, espressivo p
A.
If I could keep Timidly hopeful, espressivo p
T.
If
Hp.
I
could
the
if
stars
I
from
could
keep
the
stars
pp
68
147
A.
T.
fa
-
ding
from
fa
-
I
could
keep
the
stars
I
could
ding
Hp.
150
A.
from
T.
keep
the
stars
fa
-
I
could
ding
from
fa
-
ding
Hp.
69
153
A.
keep
T.
Hp.
T.
Hp.
the
stars
I
could
keep
from
the
fa
-
ding,
stars
from
156
A.
fa
I
could
keep
the
-
ding
stars
I
could
keep
from
the
stars
70
159
A.
fa
T.
Hp.
-
ding,
from
162
A.
from
T.
keep
160
the
stars
fa
I
could
keep
the
-
ding
fa
-
stars
I
could
I
could
ding
from
fa
-
ding
Hp.
71
165
A.
keep
T.
the
stars
I
from
could
keep
the
stars
fa
-
ding
from
Hp.
168
A.
from
T.
fa
-
ding
fa
-
-
-
from
-
-
fa
-
-
-
-
-
Hp.
72
A.
171 X
ding.
T. X ding.
fast
fast
Hp.
slow slow X
X
ff
172
176
Determined mp
A.
If Determined mp
T. If
Hp.
3
on - ly
mf
I
I
mf cresc.
G.P.
could
mf
3
on - ly
p
keep
the
mf cresc.
G.P.
could
keep
the
Tumultuous
G.P.
mf
sffz
73
178
A.
stars
from
T. stars
Hp.
dim. poco a poco
fa
from
f
-
f
-
-
dim. poco a poco
fa
-
-
-
dim. poco a poco
f
sfz (softer than before)
184
A.
-
T.
Hp.
-
-
-
-
ding.
-
ding.
192
74
190
A.
rit.
In time mp
In
rit. T.
Hp.
rit.
In
the
sky
bright - ening
T.
Hp.
In
the
In
the
sky
p
196
A.
bright - ening
In time Clear, articulate mp
the
In time mp
bright - ening
sky
bright - ening
sky
200
In
the
In
the
bright - ening
bright - ening
X
202
A.
T. X X
Hp.
X
sky p p
sky
pp
75
ff
pp
76
IV. Absence for unaccompanied SATB chorus
Text adapted from Abu Bakr Al-Turtusi (translated by Emilio Garcia Gomez)
77
Text - Absence I walk, my eyes the sky, hoping to find the star you see. I stop each traveler that passes, hoping one might have breathed your scent. I turn my face to blowing winds, hoping they'll bring me news of you. I wander roads, here and there, passing songs whisper your name. I look at strangers' faces, I look away Hoping for a trace of you.
IV. Absence
78 Plaintive, haunted h = 58 - 66 p
SOPRANO
I
walk,
p
ALTO
p I
TENOR
BASS
my
I
p I
eyes
to
For rehearsal Piano only
5 5
S.
the
sky,
3
walk,
my
eyes
to
the
sky,
3
walk,
my
eyes
to
the
sky,
3
Pno.
the
find
5
the
find
the
find
B.
3
hop - ing
hop - ing
hop - ing
f
star
f
f
star
see
you
f
the
star
you
star
see
you
see
you
see
f
to
3
3
to
3
hop - ing
to
3
to
3
3
to
T.
sky,
eyes
find
A.
the
my
p
3
walk,
Plaintive, haunted h = 58 - 66
p
3
12 p
10
S.
A.
B.
Pno.
B.
Pno.
T.
p
12
hop - ing
one
3
hop - ing
one
hop - ing
one
might
3
hop - ing
one
might
17
3
I
stop
each
p
I
stop
each
p
I
stop
each
p
f
have
trav' - ler
3
trav' - ler
3
trav' - ler
3
trav' - ler
3
79
that
pass
that
pass
that
pass
that
pass
-
es
-
es
-
es
-
es
have
your
scent.
breathed
f
your
your
f
have
breathed
p
breathed
f
p
f
have
breathed
might
3
3
might
each
3
3
17
stop
p
p
3
I
16
A.
p
T.
S.
p
your
scent.
p
scent.
p
scent.
p
80
22 22
A.
Pno.
22
27
4
T.
4
4
I
I
turn
4
my
face
to
I
4
my face
turn,
blow - ing
4
26
4
to
winds,
I
pp
I
4
turn
turn
turn
pp
I
I pp
29
pp
winds
26
winds,
blow - ing
blow - ing
A.
turn
pp
to
Pno.
turn my face
S.
B.
I
T.
I pp
S.
B.
Bring out melody "I turn my face to blowing winds" in each part 4 pp 4
I
turn,
29
4
4
I
32 32
turn
turn
A.
B.
Pno.
S.
T.
my face
32
Pno.
I
I
face
to
blow - ing
turn
turn,
winds,
4
38
I pp
I
turn
to
blow - ing
winds,
I
4
4
4
4
turn,
38
4
my face
35
41
4
my
turn
winds,
I
81
4
4
blow - ing
4
B.
to
turn,
T.
4
37
A.
4
S.
35
pp
I
pp
turn
4
turn
41
my face
to
4
82
42
S.
(unis) pp
I
44
turn
I
A.
blow - ing winds,
T.
4
pp
pp
I
my
I
4
turn
face
to
4
blow - ing
winds,
B.
Pno.
4
44
I
turn,
4
4
47 47
S.
(unis.)
turn
A.
I
Alto
pp
I
pp
I
turn
4
my face to
4 blow - ing
50
winds,
I
83
turn
4
my face to
blow ing winds,
4
turn
turn
turn
T.
turn
pp
I
turn,
B.
Pno.
47
4
4
pp
50
I
pp
turn,
4
4
53
84
Gaining momentum
52
S.
poco a poco cresc.
to
blow
(unis.)
A.
ing
winds,
poco a poco cresc.
4
-
ing
-
4
-
ing
53 Gaining momentum 4
4
4
S.
blow
4
winds,
blow
4 blow - ing
4
4
winds,
blow
-
4
4
-
4
-
4
-
blow
ing
4
ing
4
-
ing
4 blow
-
ing
-
winds,
ing
winds,
4
4
4
61 4
winds,
ing
4
-
blow
4
ing
4
blow
-
winds,
winds,
blow
4
winds,
4
ing
blow
ing
ing
4
4
blow
winds,
4
ing
winds,
57
-
-
winds,
winds,
blow
ing
winds,
4
4
winds,
T.
Pno.
ing
A.
B.
-
57 57 4
4
-
blow
blow
ing
poco a poco cresc.
winds,
winds,
poco a poco cresc.
to
4
blow
blow
blow
(unis.)
Pno.
-
wind,
(unis.)
poco a poco cresc.
to
B.
4
to
T.
61
4
4
4 62
S.
winds,
A.
blow
-
ing
4
T.
winds,
B.
-
winds,
ing
winds,
-
ing
-
fff
blow - ing,
4
blow
4
fff
winds,
blow - ing
blow
4
blow - ing
85
65
blow
fff
winds,
blow
4 fff
blow - ing,
blow
wind,
Pno.
4 4
4
4
4
4
65
fff
winds,
ing
winds,
Bass ossia
ing
-
winds,
ing
-
(cut off still fff )
67
S.
69
86
p
A.
T.
B.
(bass ossia)
Pno.
S.
A.
T.
B.
(bass ossia)
Pno.
of
pp
of
p
Freely, plaintive 3
pp
you. (long)
you.
(long)
74
A tempo p
I
p
I
(long)
(long)
news
69
(long)
me
pp
(staggered breathing) pp
news
p
I
p
I
Slow
me
pp (staggered breathing)
pp
Slow
hop - ing they'll bring
3
(Dramatic dim.)
72
p
hop - ing they'll bring
(Dramatic dim.)
3
(cut off still fff )
Freely, plaintive
74 A tempo
p
3
wan - der
roads 3
wan - der
roads,
3
wan - der
roads
3
3
wan - der
3
3
here and
there
3
here and
there,
roads
3
3
87
78
3
I
wan - der
3
3
3
3
77
S.
A.
T.
B.
I
I
here and there,
Pno.
wan - der
I
78
3
wan - der
roads
3
roads
here and there, 3
roads
here and there,
wan - der
3
roads
3
here and there,
3
3
3
3
S.
82 82
3
I
3
3
82
I
A.
I
T.
B.
I
Pno.
3
wan - der
wan - der
wan - der
wan - der 3
3
roads,
I
3
roads,
roads
here and there,
3
3
3
roads,
roads
3
I
wan - der
roads
3
3
here and there,
wan - der
wan - der
here and there,
3
I
3
roads
86
3
I
wan - der
86
3
3
roads
88
87
S.
89 3
I
A.
3
here and there,
3 here and there,
T.
B.
Pno.
I
I
3
here and there,
wan - der
3
I
3
wan - der roads 3
wan - der roads
3 wan - der
3
3
here and there
3
3
pp
S.
3
here and there,
3 3
3
3
95 pp I
pp
A.
Pass - ing
T.
B.
Pno.
songs
3
whis - per your
name.
I
pp
I
pp
I
pp
3
3
here and there
roads
92
roads,
3
89
pp
95
look
look
look
look
at
at
at
at
stran - gers'
stran - gers'
stran - gers'
stran - gers'
97
S.
fa - ces,
A.
I
T.
B.
Pno.
- ces,
I
I
Pno.
ff
hop
(echo)
mf
-
-
ing,
mp
-
ing,
mp
-
-
ing,
mp
hop
-
-
-
-
-
ing,
mf
-
ing,
mf
hop
ing, mf
ff
way
mp
(echo) mf
hop
-
-
-
ing,
100
ff
ing,
mp
mp
hop
-
mp
hop
-
mp
-
-
ing,
p
-
ing,
p
-
-
ing,
p
mp
hop
mp
hop
p
-
mf
3
-
3
(echo) mf
B.
-
hop
ff
-
hop ff
ff
way
a
-
look
(echo) mf
a
mf
way
(echo) mf
T.
-
3
hop
a
89
ff
ff
look
hop
way ff
A.
look
102
-
3
fa - ces,
S.
I
a
look 3
fa - ces,
fa
3
100
ff
ing,
p
106 pp
hop
-
-
ing,
106
pp
90
108 108
S.
(staggered breathing)
pp
3
A.
hop
T.
B.
3
-
- ing,
hop
-
-
pp
3
hop
-
-
for you,
for you,
for you,
for you,
108
(staggered breathing)
Pno.
pp
3
3
pp
ing,
for you,
pp
3
ing,
for you,
3
3
114
S.
A.
T.
B.
Pno.
pp
hop - ing
for
pp
for
pp
a
a
pp
for
a
pp
for
a
trace
ppp
of
trace
ppp
of
trace
you,
you,
ppp
you ppp
trace
you
ppp
91
120
S.
of
you,
A.
of
T.
B.
Pno.
of
you,
pp
Hop - ing
pp
you.
for
pp
you
you.
for
you.
you.
of
you
Slightly slower
for pp
for
Slightly slower
pp
126
S.
a
A.
a
a
T.
B.
Pno.
a
trace
ppp possible
of
trace
ppp possible
of
trace
you.
ppp possible
you
you
ppp possible
trace
you
ppp possible
92
V. Eclipse for 4-part chorus and 3 percussionists
Text adapted from Ibn Hamdis
93
Notes on vocal parts The choral parts in this movement are all spoken, not sung. Parts are written on two lines to show relative high and low pitches. Some specific notes: 1) The word "fire" appears frequently in this text. It is to be spoken as two syllables "fah-yer" 2) This movement features spatial effects between S, A, T and B. Some spatial separation between the voice groups is desirable. 3) Towards the end of the movement, an x notehead is used to indicate clapping.
Notes on Percussion Percussion 1 and 2 each need a setup of three tom toms with relative high, medium, low pitches. These should be played with beaters that allow for a round, full sound with clear articulation and a wide dynamic range. Percussion 3 needs a bass drum. The drums could easily drown out the voices - make sure to play on the softer side of written dynamics except where the drums are alone.
Text - Eclipse In the night, as the last of the flood-tide was ebbing an eclipse snatched away half the moon. It became like a blacksmith's mirror With the red of fire fading into black. This text is an adaptation of a poem by Ibn Hamdis, a Sicilian Arab writing in the 11th Century. This movement is intended to capture the gut-wrenching, visceral, frightening discomfort of watching a fixture of the world as you know it disappear.
94
V. Eclipse
Text adapted from Ibn Hamdis
Fast and aggressive, q = 160- 176
Soprano
ff
In the
Alto
ff
In the
Tenor
ff
In the
ff
Bass
In the
Fast and aggressive, q = 160- 176
ff Percussion 2 (Tom toms) ff Percussion 3 (Bass Drum) Percussion 1 (Tom toms)
5
night,
A.
night,
T.
night,
B.
night,
Perc. 1
as the last
as the last
mf Perc. 2
eb - bing, As the
eb - bing, As the
eb - bing, As the
eb - bing, As the
was
eb - bing As the
flood-tide
was
eb - bing
flood-tide
was
eb - bing
mf
mf Perc. 3
flood-tide
8
eb - bing, As the
was
was
was
flood-tide
(Always behind voices)
was
of the flood - tide
5 (Always behind voices)
8
was
of the flood - tide
as the last
of the flood - tide
as the last
of the flood - tide
ff
n
S.
95
flood
A.
flood
12
p
10
S.
-
tide
was
-
tide
eb - bing
In
p
p
was
the
night
p
eb - bing
In
the
night
in
the
night,
p
T.
In
the
night,
in
the
p
night,
In
p B.
Perc. 1
In
12
the
pp
pp
p
night
the
mf Perc. 3
In
p
Perc. 2
the
pp
(barely audible, just a rumble in the background)
n
18 16
15
S.
p
ff
In
the
night,
In
the
night,
as
of
the last
the
flood - tide
was
ff
A.
In
the
night
in
the
night,
In
the
night,
as
of
the last
the
flood - tide
T.
night
in
the
night,
In
the
night,
as
of
the last
the
flood - tide
B.
night
Perc. 1
In
16
p
Perc. 2
Perc. 3
the
night,
as
of
the last
the
was
ff
was
ff
flood - tide
was
18
mf
p
f f
96
21
20
S.
p
eb - bing,
A.
eb - bing,
Perc. 3
night
In
the
night
In
the
night
In
the
night
In
the
night
In
the
night
21
night
In
the
night
In
the
In
the
night
(barely audible, just a rumble in the background)
n
ff
the
night
In
the
night,
In
the
night,
In
the
night,
In
the
night,
In
Perc. 1
25
p
Perc. 2
Perc. 3
the
night,
27
as the last
of the
as the last
of the
as the last
of the
as the last
of the
flood - tide
was
flood - tide
was
flood - tide
was
ff
pp
night
B.
the
ff
T.
In
ff
p
In
A.
pp
25
the
S.
In
p subito
B.
Perc. 2
p subito
eb - bing,
Perc. 1
p
eb - bing,
T.
flood - tide
was
eb - bing, An
e -
eb - bing, An
e -
eb - bing, An
e -
eb - bing, An
e -
27
mf
p
f f
97
30 S.
B.
clipse
A.
clipse
T.
clipse
clipse
Perc. 1
Perc. 2
Perc. 3
snatched a - way
clipse
An
half the moon. An
snatched a - way
e - clipse
f
f
p sub.
half
snatched a - way
half
Perc. 1
Perc. 2
Perc. 3
34
e
e
e
fff
- clipse
- clipse
- clipse
An
the moon.
the moon. An
half
- clipse
p
the moon. An e p sub.
the moon.
An
B.
e -
half
snatched a - way
p T.
e - clipse
fff
snatched a - way
An
half the moon. An
e -
fff
fff
snatched a - way
half the moon.
(dead stroke) 30 (dead stroke)
clipse
fff
snatched a - way
fff
half the moon.
snatched a - way
34 S. A.
fff
n
snatched a - way
half the moon. fff
snatched a - way
half the moon.
fff
snatched a - way
half the moon.
fff
snatched a - way
half the moon.
fff
fff
98
40 ff
38
S.
In the
night, as the last
of the flood - tide
was
ff
A.
In the
night, as the last
of the flood - tide
was
ff
T.
In the
night, as the last
of the flood - tide
was
ff B.
In the
(dead stroke)
Perc. 1
f
Perc. 2
ff
of the flood - tide
S. eb - bing, In
the
43
was
ff
dim.
42
ff
f
Perc. 3
night, as the last
40
mp dim
night
eb - bing, In
dim. A.
eb - bing,
eb - bing
In
the
night
dim. T.
eb - bing
eb - bing,
In
the
night
dim.
B.
Perc. 1
43
eb - bing
mf dim.
Perc. 2
Perc. 3
the
In
mp dim.
night
the
47
99
50 p dim.
S.
night
eb - bing, In
the
mp dim
A.
night
pp dim.
eb - bing, In
the
night
eb - bing, In
the
p dim
T.
eb - bing
In
the
night
p dim B.
Perc. 1
eb - bing
47
In
the
night
pp dim.
p dim.
Perc. 3
50 p dim.
Perc. 2
(barely audible, just a rumble in the background)
n
54 ppp
52
S.
In the
ppp
A.
night
ppp
T.
eb - bing In the
night
B.
Perc. 1
Perc. 2
In the
ppp
Perc. 3
as the last
of the flood - tide
as the last
of the flood - tide
as the last
of the flood - tide
as the last
of the flood - tide
was
was
night,
was
ff
ppp
night,
ff
eb - bing In the
ff
ppp
night,
In the
pp dim.
ff
night,
54 f f
was
eb - bing, An
e -
eb - bing, An
e -
eb - bing, An
e -
eb - bing, An
e -
f
100
clipse
A.
T.
B.
Perc. 2
Perc. 3
snatched a- way
came
A.
T.
B.
It
It
It
be -
like a mir- ror It
f
be -
be - came,
like a mir- ror
be -
like a mir- ror
like a mir- ror It
be -
mf
mf
like
a
black
like
a
black
like
a
black
like
a
came
f
59
be - came,
half the moon.
came
It
be - came,
came
It
fff
(dead stroke) (dead stroke) f f
61
half the moon.
snatched a- way
be - came,
fff
f sub.
half the moon.
snatched a- way
S.
It
fff
clipse
Perc. 1
half the moon.
clipse
f sub.
snatched a- way
clipse
59
fff
57 S.
black
-
-
-
-
-
-
-
-
smith's
smith's
smith's
mir - ror
It
be
mir - ror
It
be
-
-
mir - ror
smith's
mir - ror
61 Perc. 1
Perc. 2
Perc. 3
mf
mf
Strike center of drum
(normal playing position)
101
66 S.
came
like
a
black
A.
came
T.
B.
Perc. 1
Perc. 2
like
a
black
A.
71
T.
came
B.
came
smith's
-
like
a
black
like
a
black
-
-
-
-
smith's
Perc. 1
Perc. 2
Strike center of drum
Perc. 3
mf
be
f
It
be
It
be
It
be
76 - came - came
76
mir - ror
smith's
mir - ror
71
It
f
f
f
mir - ror
mir - ror
smith's
mf
-
66
S.
-
Strike center of drum
Perc. 3
-
Strike center of drum
mf
102 77
S. like
A.
like
a
black
a
81 red
of
p sub.
-
black
smith's
-
mir - ror, with the p sub.
smith's
mir - ror
ff
red
fi - re ff
of
fi - re ff
p
T.
With the
red
of
fi
p B.
Perc. 1
Perc. 2
red
Perc. 3
p sub.
82
S.
with the red
p sub.
A.
with the red
T.
red
of
red
Perc. 1
of
ff
p
(continue p) Perc. 2
(continue p)
Perc. 3
ff
with the
p sub.
with the
red
p sub.
with the
red
of
fi - re
ff
red
of
ff
fi -re
In the
ff
p
of
ff
fi -re
fi -re
in the night,
ff
B.
In the night,
fi -re
p
fi -re
ff
- re, with the
of
fi
85
of
of
p
ff
- re, with the
p sub.
81
Strike center of drum
ff
with the
p sub.
fi -re
with the
85
103 ff
86
S.
In the night, in the night, p ff
A.
89
ff
with the red
of
fi -re
In the ff
night, as the last
of the
In the
night, as the last
of the
ff
T.
night,
in the night,
In the night,
ff B.
red
of
fi -re
p
in
the night,
ff
with the red
of
fi - re
89 Perc. 1
Perc. 2
Perc. 3
flood - tide
A.
was
flood - tide
was
e - clipse
eb - bing an
f
f
eb - bing an
f
n
90
S.
e - clipse
snatched
a - way
snatched
half
the
a - way
half
the
93
moon.
moon.
ff
T.
B.
Perc. 1
f Perc. 2
f Perc. 3
In the night, as the
(D.S)
(D.S)
p
with the
93
mf
104 ff
94
S.
p
A.
last
B.
Perc. 1
red
of
fi -re
fi - re
was eb - bing an p
e - clipse
Perc. 3
night,
fi -re
of
fi - re
half
the moon.
In the p
with the
(always mf )
(always mf )
as the last
of the flood - tide p
A.
of
with the red
98 S.
with the red
snatched a - way ff
mf Perc. 2
ff
of the flood - tide ff (clap)
of
In the
p
(clap)
ff
with the red
T.
with the
red
was
of
fi -re
eb - bing an e - clipse
ff
snatched
a way
p
half
the
ff
with the
red
of
fi -re
ff
T.
night,
eb - bing,
ff B.
Perc. 1
Perc. 2
Perc. 3
red
of
fi - re
98
p
eb - bing,
p
ff
with the red
of
fi - re
In the night,
p
In the
p
with the
105
102 S.
moon.
It be - came
like
ff
Perc. 1
Perc. 3
red
of
fi -re
red
of
fi - re
102
(always p)
106 S.
night, It be came
like
a black smith's
p
A.
ff
with the red of
with the
with the red
of
fi -re
108
mir ror,
B.
Perc. 1
Perc. 2
Perc. 3
ff
red
of
fi re -
106
with the red of
p
It be came ff
with the red
of
fi re -
a black - smith's
p
p
fi -re
with the
like
black smiths' mir-ror
ff
p
fi -re
ff
of
with the
mir ror,
108
like
fi -re
It be - came
ff
red
ff T.
ff
104
In the
p
p
ff
mir- ror.
In the night,
Perc. 2
eb - bing,
ff
night,
B.
a black - smith's
with the
T.
104
p
A.
a black smith's p
mir ror.
with the red
Blacksmith's ff
of
fi -re
106
111 S.
p
ff
With the red
p
(clap)
of
fire
A.
red
of
fi -re
p
with the
p
T.
p
with the
Perc. 1
Perc. 2
Perc. 3
111
red
of
poco a poco cresc.
of
red
of
p
with the
p
(clap)
fire
With the red ff
p
fi -re
with the
fire
ff
fi -re
of
ff
With the red ff
mir- ror.
B.
With the red
ff
ff
red
of
of
fi -re
115 p
ff
S. With the red
of
A.
red
of
fi -re
ff
T.
Perc. 1
Perc. 2
Perc. 3
115
With the red
of
fire
with the
red
of
fi -re
With the red
of
with the
red
of
with the
p
With the red
of
with the
red
of
ff
fi -re
p
p
fire
ff
ff
p
ff
p
ff
p
fire
B.
fire
ff
p
fi -re
107
119 p
ff
S.
With the red
of
fire
ff A.
red
of
fi -re
ff
T.
Perc. 1
Perc. 2
Perc. 3
119
with the
red
of
fi -re
With the red
of
with the
red
of
fi -re
cresc.
cresc.
of
of
With the red
of
with the
red
of
fi -re
ff
fire
fa - ding
fa - ding
ff
ff
in - to
fire
fa - ding
ff
ff
fire
fa - ding
black.
(whisper) p
ff
fire
(whisper) p
ff
in - to
black.
(whisper) p
in - to
black. (whisper) p
in - to
black.
126
Strike center of drum
Perc. 3
p
fi -re
with the
Perc. 2
fire
p
Perc. 1
with the
fire
123
126
ff
B.
p
ff
p
ff
ff
T.
fire
red
of
With the red
A.
With the red
p
123 S.
ff
ff
p
p
ff
p
fire
B.
p
ffp
fff
fff
fff
108
VI. The Shattered Stars Aria for tenor, two percussionists and harp
Text adapted from H.P. Lovecraft
109
Notes on performance Percussion Percussion throughout this movement is used to create a pad of effects and resonance beind tenor and harp. The percussion throughout this movement must remain entirely in the background, always softer in dynamic than harp and tenor.
Perc 1 needs: - Large tam-tam Perc 3 needs: - Bass drum (Perc. 2 is tacet for this movement) Both percussion instruments are asked to improvise on friction rolls. Take careful note of the start and end points for improvisation - these must be carefully adhered to. [E.g. mm 1 in Percussion 1 and mm 43 in Percussion 2.] Dynamic indications given for improvisation refer to the prevailing dynamic. For example, although the indication for Percussion 1 in mm 1 is pp,it is expected that the improvisation will include slight crescendo, diminuendo, hairpins, etc within that very quiet dynamic range. Harp • All harmonics sound an octave higher than written. • The indications "tremolo rit." and "tremolo accel." refer only to the speed of the tremolos, not to the prevailing tempo. Speed up and slow down the given figures where indicated. (e.g. mm 12 - 13)
Text - The Shattered Stars
I felt the blackness of this overwhelming universe, my days were nothing to the shattered stars. I felt the blackness of a universe where each action is in vain, and even grief a wasted thing. (adapted from The Night Ocean by H.P. Lovecraft. Currently public domain in the U.S.)
110
VI. The Shattered Stars
h = 65 Dark, haunted
Tenor
molto espressivo, with minimal vibrato except where desired for expressive purposes. Use the full gamut of vocal expression - wretched and weak, more sung than spoken all the way through to a clear, lyrical tenor.
One large and one small superball mallet Move freely over the surface of the tam tam, creating a series of long, slow wails. Leave lots of silence in between strokes to let the tam tam ring.
Percussion 1 (Large Tam-tam)
Percussion 3 (Bass Drum)
Harp
7
Perc. 1 (Large T.-t. ) T.
Perc. 3 (B. D.)
Hp.
D C B / E F# G A
9
(l.v.)
mp
(Harmonics sound an octave higher than written.)
pp
3
Bisbigliando 3 p
111
12 p I
T.
Perc. 1 (Large T.-t. )
Perc. 3 (B. D.)
Hp.
felt
the
black
-
pp
tremolo. rit.
ness,
n
mp
20 17
T.
Perc. 1 (Large T.-t. )
Perc. 3 (B. D.)
Hp.
mp
I
felt
the
(l.v.)
112
22
T.
black -
25
ness
Perc. 1 (Large T.-t. )
Perc. 3 (B. D.)
Hp.
Perc. 1 (Large T.-t. )
Perc. 3 (B. D.)
o
-
-
ing
u
-
3
30
my
days
were
(l.v.)
pp
tremolo. rit.
ni - verse,
p
this
3
of
ver - whelm
Bisbigliando
Hp.
mp
26
T.
n
mp
113
31
T.
no -
thing
to
the
shat
-
tered
stars.
Perc. 1 (Large T.-t. )
Perc. 3 (B. D.)
Hp.
Perc. 3 (B. D.)
Hp.
T.
Perc. 1 (Large T.-t. )
36
38
mp
I
(l.v.)
pp
Bisbigliando 3 3 p
114
40
T.
Perc. 1 (Large T.-t. )
felt
the
black
-
43
ness
I
(l.v.)
pp
Superball mallet (friction roll) Move freely over the drumhead, creating a series of long, slow groans. Perc. 3 (B. D.)
Hp.
Perc. 1 (Large T.-t. )
Perc. 3 (B. D.)
Hp.
felt
the
black
-
47
ness,
(l.v.)
Bisbigliando
n
n
pp
tremolo. rit.
44
T.
of
this
o
-
ver -
tremolo. rit.
pppp
115
52 49
T.
Perc. 1 (Large T.-t. )
Perc. 3 (B. D.)
Hp.
Hp.
-
ing
u
-
ni - verse,
My
days
were
(l.v.)
pp
T.
Perc. 3 (B. D.)
whelm
54
Perc. 1 (Large T.-t. )
n
to
the
shat
-
tered
no thing
tremolo. accel.
n
stars.
mp
tremolo. rit.
mf
116
T.
Perc. 1 (Large T.-t. )
Perc. 3 (B. D.)
Hp.
58
(l.v.)
pp
(l.v.)
pp
mf
mp
ss. gli
ss. gli
mp
(rapid gliss, amorphous)
62
T.
63
I
felt
the
black - ness
mp
Perc. 1 (Large T.-t. )
Perc. 3 (B. D.)
3
pp
Hp.
ppppp
p
Gong effect. Slap strings with palm of hand. (Square noteheads indicate a rough register of the harp only, not specific pitches.)
117
65
T.
Perc. 1 (Large T.-t. )
Perc. 3 (B. D.)
Hp.
Hp.
a
u
-
ni - verse
of
u
a
-
ni -
verse
T.
Perc. 3 (B. D.)
of
70
Perc. 1 (Large T.-t. )
68
71
a
u - ni verse
mp
(p )
each
ac
-
tion
is
in
74
where
n (l.v.)
tremolo. rit.
D - D#
pppp
118
75
T.
Perc. 1 (Large T.-t. )
Perc. 3 (B. D.)
Hp.
77
vain
p
and
e
-
ven
(l.v.)
pp
p
n
(l.v.)
79
T.
grief
Perc. 1 (Large T.-t. )
Perc. 3 (B. D.)
Bisbigliando 3 3
Hp.
p
ppp
(l.v.)
119
83 e
T.
-
ven
Perc. 1 (Large T.-t. )
Perc. 3 (B. D.)
Hp.
T.
Perc. 1 (Large T.-t. )
Perc. 3 (B. D.)
Hp.
87 e
ppp
Bisbigliando 3
ven
grief
a
3
Bisbigliando
91
3
(l.v.)
3
grief
-
was - ted
(l.v.)
ppp
O
120
92
Perc. 3 (B. D.)
Hp.
thing
T.
Perc. 1 (Large T.-t. )
93
e
f
-
ven
grief
(l.v.)
(l.v.)
mf
mp
(l.v.)
ted
D# - D
-
p
p
mp
wast
O
a
O
O
(l.v.)
98 97
Perc. 3 (B. D.)
Hp.
mf poco dim.
thing.
T.
Perc. 1 (Large T.-t. )
e
mp
(l.v.)
-
ven
grief
a
wast
poco dim.
mp (l.v.)
O
(l.v.)
(l.v.)
ted
pp
pp
-
O
mp
(l.v.)
(leave ringing)
p
121
102 thing.
T.
Perc. 1 (Large T.-t. )
Perc. 3 (B. D.)
Hp.
pppp
pppp
p
(dying away) p
105
T.
Perc. 1 (Large T.-t. )
Perc. 3 (B. D.)
Hp.
(dampen with the natural decay of the harp)
n (dampen with the natural decay of the harp)
n
mf
p
122
VII. Night Wears Black for two Sopranos and Mezzo soprano (each playing a pitched bell) (with optional crotales - 1 player)
Text adapted from Jalāl ad-Dīn Muḥammad Rūmī
123
Text Night wears black to mourn the dead stars. This movement should sound very ritualistic and prayer-like. Although the vocal style is influenced by Indian folk music, the atmosphere should be more reminiscent of traditional buddhist chanting. The overall effect should be that of a meditation or a prayer to the night. As such, each part should be sung with minimal vibrato (except where desired for expressive effect). • The ornaments in the vocal line are in the style of Indian folk singing, and should be very subtle, small flips to the primary note rather than clearly articulated pitches. Where indicated, they should be performed with glissandi or portamenti to the primary note. [The opening of the Lata Mangeshkar song "Ae dil e nadaan" (available on Youtube) is a good example of this kind of ornamentation.] • All grace notes fall on the beat. Feel free to elaborate and decorate the given line further in this same style. • The pitched bells needed for each part may be of any type: hand-bells, crotales, prayer bowls, etc that give the correct pitch (in any octave). The bells for each singer do not need to match in timbre, although they should complement each other.
124
h. = 50
VII. Night Wears Black
Always p
The
5
night
Soprano 1 Solo
(D# Bell) Always p
Soprano 2 Solo
(C# Bell)
Mezzo-soprano solo
(Optional) Crotales
(G# bell)
(with medium-hard mallets; delicate, ringing, without becoming piercing)
6
S1. Solo
4
9
Always p
The
night
S2. Solo
M-S.
Crot.
125 11
13
Always p
the
night
4
S1. Solo
Always p
4
4
night
S2. Solo
M-S.
Crot.
16
night
4
17
wears
S1. Solo
Night
4
wears
S2. Solo
M-S.
Crot.
21
126
4
Night
4
wears
Night
25
wears
black
S1. Solo
4
Always p
Night
wears
black
S2. Solo
Night
M-S.
Crot.
Always p
29 26
Night
4
wears
S1. Solo
S2. Solo
wears
M-S.
Crot.
127
33 31
Night
4
wears
black
S1. Solo
p
Night
4
wears
S2. Solo
M-S.
Crot.
37
36
S1. Solo
Night
4
wears
black
S2. Solo
Night
M-S.
Crot.
wears
128
41
S1. Solo
S2. Solo
45
Night
4
wears
black
to
black
M-S.
Crot.
to
49
46
mourn
S1. Solo
to
S2. Solo
mourn
M-S.
Crot.
to
129 51
53
to
S1. Solo
mourn
M-S.
to
to
mourn
mourn
S2. Solo
mourn
Crot.
mourn
57
56
mourn
S1. Solo
mourn
S2. Solo
mourn
mourn
M-S.
Crot.
mourn
61
130
mourn
65
Night
S1. Solo
mourn
S2. Solo
mourn
Night
Always p
mourn
M-S.
Crot.
Night
66
wears
S2. Solo
to
black
mourn
wears
M-S.
Crot.
black
wears
S1. Solo
69
(blend into ensemble sound seamlessly)
n
131 71
to
73
mourn
to
S1. Solo
mourn
black
M-S.
Crot.
to
S2. Solo
pp sempre
76
77
mourn
to
mourn
S1. Solo
S2. Solo
to
mourn
to
M-S.
Crot.
132
S1. Solo
81
S2. Solo
to
mourn
to
mourn
To
Crot.
mourn
M-S.
To
85
mourn
to
mourn
86
89
mourn
S1. Solo
to
to
M-S.
Crot.
mourn
to
mourn
S2. Solo
mourn
the
133 1 ossia) 93 (Soprano
S1. Solo
the
S2. Solo
the
dead
stars
dead
stars
M-S.
(still p)
stars.
Crot.
dead
stars
dead
96
S1. Solo
97
stars
S2. Solo
dead
stars
dead
dead
stars
dead
stars
stars
stars
M-S.
Crot.
134
101
dead
105
stars
S1. Solo
dead
S2. Solo
M-S.
Crot.
stars
dead
dead
stars
dead
stars
dead
dead
stars
106
109
mourn
the
dead
S1. Solo
stars
S2. Solo
Crot.
stars
M-S.
dead
dead
stars
stars
the
dead
mourn
135 111
mourn
S1. Solo
the
3
dead
stars
the
mourn
mourn
stars
M-S.
dead
dead
S2. Solo
Crot.
113
116
mourn
S1. Solo
3
stars
dead
dead
3
M-S.
Crot.
the
S2. Solo
the
136
121 pp
125
stars
S1. Solo
pp
pp
stars
S2. Solo
pp
pp
Crot.
pp
stars
M-S.
126
129
S1. Solo
S2. Solo
pp
mourn
M-S.
Crot.
4
the
dead
n
137
133 131
pp
4
mourn
4
the
dead
the
dead
stars
stars
pp
stars
M-S.
Crot.
mourn
S1. Solo
S2. Solo
pp
4
mourn
the
137
136
p
Night
S1. Solo
Crot.
p
Night
black
to
to
wears
black
p
dead
wears
wears
Night
S2. Solo
M-S.
black
to
138
141
mourn
S1. Solo
mourn
S2. Solo
M-S.
stars,
dead
mourn
the
dead
stars,
to
dead
the
Crot.
the
145
to
stars,
to
146
mourn
S1. Solo
mourn
dead
the
dead
M-S.
mourn
the
dead
stars,
Crot.
the
S2. Solo
149
to
stars,
to
stars,
to
139 151
mourn
S1. Solo
the
mourn
M-S.
dead
mourn
the
to
dead
ppp
stars,
stars,
the
ppp
dead
S2. Solo
Crot.
153
to
ppp
stars,
to
157
156
mourn
S1. Solo
Crot.
the
the
dead
dead
mourn
mourn
S2. Solo
M-S.
the
dead
140
161
stars.
S1. Solo
stars.
S2. Solo
M-S.
stars.
Crot.
Db C# B / E F# G# A Espressivo, with great rhythmic freedom Sharp, brittle, icy fast > slow x5
(x) 8
Harp
Hp.
fast > slow x5
dim.
x8
fff
x3
x2
x2
pp
x3
dim.
slow > fast x3
fff
(x) 8
Hp.
141
VIIb. Trail of Stars (Interlude )
(ca 5 secs)
fff
pp
x2
cresc.
pp
slow > fast x3
Hp.
x2
(Try different types of tremolo here...)
Hp.
p
f
x8
p
(ca 5 secs)
A - A# Db - D#
fff
ff
142
rit.
p
Hp.
Hp.
Steady, rolling, tumultuous ( q. = 90 ) x4 x4
n
pp
A# - A
Hp.
poco a poco cresc.
Hp.
x5 Gaining momentum Hp.
Very freely, stretch out melodies expressively (10-12 secs) f
X
Hp.
X
Bisbigliando
mp
(7-10 secs)
Hp.
dim.
X
pp
Bisbigliando
G# - G
(5-7 secs.)
(7-10 secs)
pp
X
dim.
(10-12 secs)
Bright mp
Hp.
rit.
Hp.
143
(7-10 secs)
(5-7 secs.)
Growing frenetic
(5-7 secs.)
Hp.
cresc.
(x) 8 Hp.
(x) 8
A - A#
p
f
p
G - G#
(3-5 secs)
(4-6 secs)
f
ff
rit. 144
n
p
Hp.
Hp.
( )
Hp.
( )
(x)
mf
p
X
Hp.
(X)
(5-7 secs.) speeding up, frenetic
E - Eb
(x) 8
C# - C
f
G# - G sfzpp Bisbigliando
pp
(10-12 secs) Growing faster and frenetic, out of sync
X
(X)
F# - F
Hp.
4
p subito
Hp.
cresc.
Gentle
8
pp
If L.H. is awkward, make gliss instead of arpeggio
Hp.
Steady, rolling, tumultuous ( q. = 90 )
D# - D
Hp.
Hp.
A# - A x3
F - F#
145 B - Bb
Hp.
Bb - B
Eb - E
x5 x3
x8
Hp.
x2
Hp.
G - G# C - C#
Hp.
slow > fast x5
Hp.
x2 x3 cresc. slow > fast D - D# x13
Hp.
(7-10 secs)
X
ff
X gliss. sffz
liss. g sffz
n
146
VIII. Winter Stars for Alto solo with small SSSAA choir (or SSSAA quintet) with wine glasses
Text by Sara Teasdale
Notes on Performance
147
Chorus • A small group of singers from the choir needs to play tuned wine glasses while singing. Required pitches are E, F#, G# A and B. • The choir should sound as if singing from a distance. (This effect may be supported by staging.) The dynamic balance should be always with the alto in the foreground, wine glasses and chorus both in the background. • While the chorus will remain in strict time, the alto solo line is extremely free, with lots of rubato and improvisation. Make no attempt to stay with the alto measure to measure. The solo part is notated rhythmically above the chorus only as an aid to ensemble rehearsal, if needing to start somewhere other than the beginning of the piece. In actual fact, the alto solo will float very freely above the strict rhythms in the choir. Simply repeat the figure given at 64 until you hear the soloists hum, and then move to the final chord to finish the piece. Alto • The alto solo should be treated with extreme expressive freedom. The solo part is notated rhythmically above the chorus only as an aid to ensemble rehearsal, if needing to start somewhere other than the beginning of the piece. Tick barlines are used to show approximately where words might line up with the choir, but these should in no way be taken literally. The impression through this movment should be of a very folk-like, rhythmically-free melody for the soloist, with a static repetitive pad (the unchanging stars) behind it in chorus and wine glasses. Feel free to stretch rhythms, ornaments, etc as appropriate to deliver the text. The choir repeats the gesture at rehearsal 64 as needed waiting for the soloist, so there is no neccessity to stay together measure by measure. • Grace notes in the alto solo are to be sung molto espressivo, as light inflections to the main notated pitches. In general, they should not be sung too fast. • Grace notes written as 16th notes are to be placed before the beat; grace notes written as 8th notes are to be placed on the beat. • A solid line is used to indicate glissando; a dashed line to show a more subtle portamento. Text I went out at night alone; The young blood flowing beyond the sea Seemed to have drenched my spirit's wings, I bore my sorrow heavily. But when I lifted up my head From shadows shaken on the snow, I saw Orion in the east Burn steadily as long ago. From windows in my father's house, Dreaming my dreams on winter nights, I watched Orion as a girl Above another city's lights. Years go, dreams go, and youth goes too, The world's heart breaks beneath its wars, All things are changed, save in the east The faithful beauty of the stars.
148
SSAA - Slow ( q = 60-70), static, strictly in time. Make no attempt to stay with the alto. Solo Alto - out of time, soaring above with extreme freedom. Make no attempt to stay with the choir.
Alto Solo
Soprano 1
ppp (portamento)
mmm ppp (portamento)
mmm ppp (portamento)
mmm ppp (portamento)
Soprano 3
Alto 1
Wine glasses (small group from the choir)
mmm ppp (portamento)
Soprano 2
Alto 2
mmm
mmm
S. 2
S.3
A.1
A.2
Wine Glasses
mmm
mmm
mmm
mmm
pp
S. 1
5
A. Solo
mmm
mmm
mmm
mmm
mmm
Slow, improvisatory, soaring with minimal vibrato mp
I
mmm
mmm
mmm
mmm
mmm
went
A. Solo
9 out
149
at night
S. 1
a -
mmm
mmm
S.3
mmm
A.1
mmm
A.2
Wine Glasses
A. Solo
3
seemed to have
S. 1
mmm
13
Wine Glasses
mmm
mmm
mmm
drenched
spi - rit's
mmm
my
16
3
wings
I
bore
mmm
mmm
mmm
mmm
A.2
the sea
mmm
A.1
yond
mmm
mmm
S.3
be -
mmm
S. 2
mmm
The young blood flow - ing
S. 2
lone;
mmm
mmm
my sor - rows
19
150
17
A. Solo
3
(gentle but clearly in the foregound) mf
3
hea - vi - ly.
S. 1
But when I lift - ed always pp
mmm
mmm
S. 2
mmm
mmm
S.3
mmm
mmm
A.1
A.2
Wine Glasses
A. Solo
mmm
mmm
22
from sha -
S. 1
S.3
A.1
A.2
Wine Glasses
ooo
ooo
ooo
mmm
dows sha - ken
ooo
24
ooo
S. 2
mmm
mmm
mmm
mmm
on
ooo
ooo
ooo
ooo
mmm
ooo
my head
ooo
ooo
mmm
ooo
mmm
ooo
mmm
mmm
mmm
mmm
ooo
ooo
saw
ooo
ooo
ooo
mmm
ooo
mmm
ooo
mmm
mmm
ooo
mmm
mmm
O - ri
mmm
I
mmm
ooo
mmm
mmm
the snow
ooo
mmm
ooo
mmm
mmm
ooo
mmm
ooo
always pp
up
ooo
always pp
mmm
ooo
always pp
ooo
always pp
-
mmm
mmm
mmm
mmm
mmm
151
27
A. Solo
-
S. 1
on in
East
the
ooo
S. 2
S.3
A.1
ooo
Wine Glasses
A. Solo
mmm
ooo
mmm
ooo
ooo
ooo
mmm
ooo
ooo
S. 2
S.3
ooo
A.1
ooo
mmm
ooo
mmm
ooo
mmm
mmm
ooo
ooo
mmm
long
a - go.
ooo
mmm
ooo
mmm
ooo
ooo
mmm
mmm
ooo
3
3
mmm
34
dream - ing dreams in win - ter nights,
mmm
mmm
ooo
mmm
ooo
ooo
mmm
mmm
fa - ther's house,
mmm
mmm
as
mmm
31
S. 1
Wine Glasses
From win dows in my
A.2
stead - i - ly
ooo
ooo
A.2
burn
mmm
ooo
29 3
mmm
mmm
ooo
ooo
ooo
ooo
ooo
mmm
I
mmm
mmm
mmm
mmm
mmm
ooo
ooo
ooo
ooo
ooo
152 3 3 3
35
A. Solo
watched O - ri
S. 1
S. 2
Wine Glasses
A. Solo
A.1
A.2
mmm
A.1
A.2
Wine Glasses
mmm
S.3
ooo
mmm
mmm
mmm
mmm
mmm
ooo
ooo
ooo
mmm
mmm
mmm
goes
ooo
ooo
mmm
mmm
mmm
ooo
too
ooo
ooo
mmm
ooo
mmm
ooo
mmm ooo
mmm ooo
mmm
mmm ooo
youth
ooo
3
ooo
mmm ooo
ooo
mmm
mmm
ooo
go,
ooo
dreams
ooo
mmm
ooo
ooo
mmm
ooo
ooo
mmm
ooo
go,
mmm
S. 2
ooo
lights
ooo
mmm
mmm
Years
mmm
ooo
mmm
a - bove a - no - ther ci - ties
mmm
a girl
ooo
as
mmm
39
S. 1
on
mmm
S.3
-
mmm
The
ooo
ooo
ooo
ooo
mmm
ooo
44 A. Solo
world's heart breaks be - neath its
S. 1
S. 2
S.3
Wine Glasses
A. Solo
mmm
mmm
mmm
mmm
A.1
A.2
mmm
49
S. 1
ooo
ooo
Wine Glasses
of (still pp)
the
of (still pp)
the
of (still pp)
the
of
the
A.1
A.2
the
S.3
ooo
mmm
mmm
ooo
mmm
ooo
ooo
mmm
ooo
mmm
ooo
mmm
mmm
ooo
ooo
52
of (still pp)
S. 2
mmm
ooo
ooo
ooo
mmm
things are changed save
ooo
All
mmm
ooo
wars
The faith - ful
pp) (still
beau
-
ty
of the
stars
faith ful
of
stars
of
stars
stars
stars
in
the East
mmm
ooo
mmm
ooo
mmm
ooo
mmm
ooo
mmm
ooo
stars
153
beau - ty of the
the
stars
the
of
the
of
the
of
the
stars
stars
stars
stars
154
A. Solo
55 54 3 3 stars
S. 1
S. 2
A.1
Wine Glasses
of
of
S.3
A.2
faith ful
beau - ty
of
of
the
of
the
the
stars,
S. 1
S. 2
S.3
A.1
A.2
Wine Glasses
stars
stars
stars
Of
3
3
the
stars
stars
stars
stars
stars
stars
61
beau - ty of
stars
59
A. Solo
the
of
faith ful
stars
the stars
the
58 3 3
of
the
of
the
of
the
of
the
of
the
the
of
the
of
the
of
the
of
the
of
the
3
of
the stars,
stars
stars
stars
stars
stars
155
(Chorus repeat this figure as many times as needed
64 waiting for the alto to finish) A. Solo mmm
S. 1
S. 2
S.3
A.1
ooo
Wine Glasses
mmm
ooo
ooo
A.2
ooo
ooo
mmm
mmm
mmm
mmm
156
IX. Hung the Sky with Stars
Text by Eihei DĹ?gen Kigen (13th Century, Japanese)
157
Notes on Performance Each singer in the choir will need a bell, these will be played beginning at mm133. These may be of any type, and can be found objects with a resonant, metallic ring as well as "proper" bells. As appropriate for balance, the conductor may choose for some (rather than all) singers to have bells.
Text (adapted from Eihei Dōgen Kigen) For four and fifty years (four and forty, three and thirty, two and twenty years, for so many years) I've hung the sky with stars. Now I leap through.
Dōgen (1200–1253) was a Japanese Buddhist priest, writer, poet and philosopher, heavily influenced by his studies in China. He founded the Soto school of Zen in Japan. His poem, which exists in many different translations, was written in 1253, when he was seriously ill and expecting his death. What strikes me most in his words is the anticipation and fearlessness in the face of the unknown. This is not a sad defeat in the face of illness, but a bold desire to see what lies beyond.
158 Energetic, articulate and crisp
Soprano
q=120 - 134
f
5
For
Alto
Bass
f
f
For
For
f
four
and
fif - ty
fif - ty
years
I've
hung
q=120 - 134 Suspended Cymbals
Perc. 1
Always ff
q=120 - 134 D# C# B / E F# G# A
Always ff
ff Marimba (choose mallets with a deep, round, articulate sound) Perc. 3
5
5
Vibraphone (with medium beaters - round and articulate)
Harp
hung
Solo Alto
Perc. 2
and fif - ty
years
four
Solo Mezzo-soprano
Solo Tenor
I've
and
and fif - ty
q=120 - 134
2 Solo Sopranos
four
four
For
Tenor
5
159
S.
6
years
A.
years
T.
B.
7
I've
I've
Solo M-S..
Solo A.
f
four
and
years
fif - ty
years
Perc. 3 (Mar.)
and fif - ty
years
I've
and fif - ty
years
I've
hung
For
hung
9
For
9
7
7
four
I've
I've
Perc 1 (Sus Cym., triangles)
f
and
7
fif - ty
four
For
Hp.
Solo T.
Perc. 2 (Vibr.)
hung
f
9
For
four
2 Solo S.
hung
For
f
9
160
11
S.
hung
hung
T.
B.
four
Solo A.
Solo T.
and fif - ty
and fif - ty
years
years
I've
I've
four
and fif - ty
four
and fif - ty
years
I've
years
I've
15
hung
hung
hung
For four and for - ty, three and thir - ty,
hung
for four and for - ty, three and thir - ty,
11
Solo M-S..
For
four
2 Solo S.
For
A.
15
15 Perc 1 (Sus Cym., triangles)
Perc. 2 (Vibr.)
Suspended cymbals (soft mallets, without covering the choir)
11
Perc. 3 (Mar.) 11
Hp.
mf
15
S.
16
A.
legato
I've
hung
legato
I've
legato B. two and twen - ty years,
2 Solo S.
Solo M-S..
Solo A.
Solo T.
Perc 1 (Sus Cym., triangles)
Perc. 2 (Vibr.)
Perc. 3 (Mar.)
the
sky
the
sky
the
sky
the
hung
17
with
sky
with
stars
with
with
stars
stars.
stars.
17
Hp.
I've
hung
legato I've hung two and twen - ty years,
T.
161
17
p
17
f
Triangles (with light triangle beaters)
f
n
162
21
S.
22
Articulate and crisp f
For
A.
T.
Articulate and crisp f
For
Solo A.
Solo T.
22
four
and
fif - ty
years
I've
Articulate and crisp f
For
Solo M-S..
For
B.
2 Solo S.
Articulate and crisp f
four
and
fif - ty
years
I've
22 Perc 1 (Sus Cym., triangles)
Perc. 2 (Vibr.)
Perc. 3 (Mar.)
Hp.
ff
Always ff
22
Always ff
163
26
S.
four
A.
four
T.
B.
and fif - ty
years
and fif - ty
years
hung
Solo A.
hung
For
I've
hung
four
and
four
fif - ty
fif - ty
and fif - ty
I've
hung
Perc 1 (Sus Cym., triangles)
30
Perc. 3 (Mar.) Perc. 2 (Vibr.)
26
30
26
and fif - ty
hung
years
I've
and
four
years
four
For
For
Solo T.
Hp.
26
Solo M-S..
I've
For
hung
2 Solo S.
30
30
164
S.
31
years
I've
A.
B.
I've
Solo M-S..
Solo A.
hung
For
four
four
and fif - ty
and fif - ty
years
years
Perc. 3 (Mar.)
four
and fif - ty
four
and fif - ty
I've
years
years
I've
For
I've
hung
I've
Perc 1 (Sus Cym., triangles)
For
Hp.
Solo T.
Perc. 2 (Vibr.)
34
For
For
2 Solo S.
hung
years
T.
hung
34
For
34
34
36
S.
hung
A.
hung
B.
four and for - ty, three and thir - ty,
two and twen - ty years,
Solo A.
Perc. 2 (Vibr.)
Perc. 3 (Mar.)
hung
legato
hung
36
the
sky
the
sky
the
sky
with
sky
with
with
with
p
mf
hung
38
the
38
I've
Suspended Cymbals
Hp.
I've
36 Perc 1 (Sus Cym., triangles)
legato
Solo M-S..
Solo T.
I've
36
2 Solo S.
legato
legato four and for - ty, three and thir - ty, two and twen - ty years, I've hung
T.
165
38
38
f
n
166
41
S.
43
Articulate and crisp light f (without covering the soloists)
stars
For
A.
stars
stars.
T.
B.
Articulate and crisp light f (without covering the soloists)
For
four
and
fif - ty
2 Solo S.
For
f
For
Solo M-S..
f
For
Solo A.
four
and
for
four
and
for
four
years,
-
-
ty
-
-
ty
years,
-
-
ty
ty
years
and fif - ty
f
For
Solo T.
43
I've
Articulate and crisp light f (without covering the soloists)
stars.
years
four
and
For
four
and
f
for
for
-
-
years
43 Perc 1 (Sus Cym.)
Perc. 2 (Vibr.)
Perc. 3 (Mar.)
Hp.
Triangle
f
Always ff
43
ff
167
S.
46
47
four
and
fif - ty
years
B.
hung
years
2 Solo S.
Solo M-S..
Solo A.
Solo T.
Perc 1 (Sus Cym.)
Perc. 2 (Vibr.)
Perc. 3 (Mar.)
Hp.
I've
I've
four
fif - ty
For
For
three
and
thir
For
three
and
For
three
and
For
three
and
-
thir
-
-
thir
-
-
thir
-
-
-
years
I've
hung
four
and fif - ty
years
ty
years,
ty
years,
ty
years
ty
and fif - ty
For
hung
four
hung
and
47
years
For
and fif - ty
four
I've
For
years
For
For
For
47
hung
For
I've
For
T.
Articulate and crisp light f (without covering the soloists)
A.
47
ff
(continue with all chords unbroken)
168
51
S.
years
A.
B.
and fif- ty
I've
For
four
I've
2 Solo S.
Solo M-S..
Solo A.
Solo T.
and fif - ty
twen
-
ty
years,
two
and
two
and
twen
-
ty
years,
and
two
two
and
-
I've
ty
years,
twen
-
ty
years,
and fif - ty
Perc. 2 (Vibr.)
Perc. 3 (Mar.)
51
Hp.
I've
four
and fif - ty
For
so
For
so
For
so
I've
54
so
ma - ny
hung
years,
For
ma - ny
ma - ny
ma - ny
years
For
years
For
years
For
54
years
For
years
For
51 Perc 1 (Sus Cym.)
hung
four
-
and fif - ty
years
four
For
For
twen
hung
hung
51
years
For
54
hung
four
T.
Suspended Cymbals (with light-weight sticks)
soft f, without covering singers
54
169
S.
56
58
hung
B.
I've
four
so
ma - ny
Solo A.
Perc 1 (Sus Cym.)
years,
years
so
ma - ny
Perc. 3 (Mar.)
years
58
so
For
so
I've
so
ma - ny
ma - ny
For
ma - ny
years
years
For
For
years
so
ma - ny
58
58
I've
hung
four
and fif ty
years
I've
hung
hung
the
years,
years
For
so
ma - ny
For
years
For
years
I've
hung
and fif ty
ma - ny
four
so
Perc. 2 (Vibr.)
Hp.
ma - ny
I've
so
Solo T.
years
and fif - ty
For
and fif - ty
Solo M-S..
four
hung
For
2 Solo S.
years
T.
For
A.
For
so
ma - ny
so
ma - ny
so
ma - ny
170
61
S.
A.
B.
2 Solo S.
Perc 1 (Sus Cym.)
Perc. 2 (Vibr.)
Perc. 3 (Mar.)
Hp.
the
sky
the
sky
(light, floating)
sky
I've
hung
the
sky
(light, floating)
hung
the
sky
hung
the
sky
hung
the
sky
(light, floating)
(light, floating)
I've
with
stars
with
stars
with
stars.
with
stars
hung
the
sky
hung
the
sky
hung
the
sky
hung
the
sky
(light, floating)
with
stars
with
stars
with
stars.
with
stars
hung
the
sky
hung
the
sky
hung
the
sky
hung
the
sky
with
stars
with
stars
with
stars.
with
stars
hung
the
sky
hung
the
sky
hung
the
sky
hung
the
sky
mp
62
light, legato (disappear into the choir's chord)
mp light, legato (disappear into the soloists' chord)
To Vibraphone
62
I've
years
(light, floating)
I've
with
with
with
with
62
years
Solo T.
(light, floating)
years
Solo A.
sky
years,
Solo M-S..
the
hung
T.
62
(light, floating)
171
66
S.
stars
A.
stars
stars.
T.
B.
Solo M-S..
Solo A.
stars
66
2 Solo S.
hung the
sky
hung the
sky
hung the
Solo T.
Perc 1 (Sus Cym.)
Perc. 2 (Vibr.)
with
stars
with
with
stars
stars
with
with
stars.
with
stars
sky
hung the sky
hung the
sky
hung the
sky
sky
hung the
sky
hung the
with
stars
with
stars
with
stars
with
with
stars.
with
stars.
with
stars
with
stars
hung the
sky
hung the
sky
sky
hung the
sky
hung the
with
hung the
sky
ppp
hung the
sky
ppp
sky
hung the
sky
hung the
ppp
with
ppp
66
pp
stars
pp
stars
pp
stars.
pp
stars
n
Perc. 3 (Mar.)
To Crotales
n
66
Hp.
A - A#; B - B#
172
71
S.
A.
T.
B.
75
71 2 Solo S.
75
Gentle, floating p
For
Solo M-S..
Solo A.
Solo T.
Vibraphone diamond notehead = with bow; regular notehead = with medium mallet Perc 1 (Vibr.)
Perc. 2 (Vibr.)
Perc. 3 (Crot.)
years
I've
years
I've
I've
75
years
Always pp
pp
I've
Gentle, floating p
For
Gentle, floating p
For
71
years
Gentle, floating p
For
very soft mallets (blending into harp gliss.)
pp
Bowed Crotales
pp
71
Hp.
75
Gentle, rolling Gliss freely, keeping to the register indicated by the sketched line.
Always pp
gli gliss. ss.
Move smoothly through all bracketed notes. (These are given only to clarify register)
gliss. gliss.
173
79 S.
76
Gentle, floating p
For
A.
T.
B.
2 Solo S.
Solo M-S..
Solo A.
Solo T.
hung
the
hung
the
hung
the
hung
the
Perc 1 (Vibr.)
Perc. 2 (Vibr.)
Perc. 3 (Crot.)
Hp.
hung
the
years
I've
hung
the
years
years
79
I've
I've
hung
the
hung
the
sky
sky
sky
sky
Gentle, floating p
For
I've
Gentle, floating p
For
Gentle, floating p
For
years
79
(with medium mallet) (bring out)
pp
79
174
S.
81
83
sky
A.
sky
T.
sky
B.
2 Solo S.
sky
p
For
Solo M-S..
Perc. 2 (Vibr.)
Perc. 3 (Crot.)
For
Perc 1 (Vibr.)
years
years
p
years
p
For
Solo T.
p
For
Solo A.
83
years
83
Hp.
I've
hung
I've
hung
I've
hung
I've
hung
the
sky
the
sky
the
sky
the
sky
(continue bringing out all notes played with mallets)
pp
Bowed Crotales
pp
83
175
S.
86
p
For
A.
B.
2 Solo S.
years
p
For
T.
87
years
p
For
years
p
For
years
87
I've
hung
I've
hung
I've
hung
I've
hung
the
sky
the
sky
the
sky
the
sky
p
For
Solo M-S..
p
For
Solo A.
p
For
Perc 1 (Vibr.)
Solo T.
Perc. 2 (Vibr.)
Perc. 3 (Crot.)
87
pp
p
For
87
pp
Hp.
176
91
S.
p
For
A.
T.
B.
years
Solo M-S..
years
Solo A.
years
Solo T.
years
91
Perc. 2 (Vibr.)
Perc. 3 (Crot.)
hung
the
I've
p
For
years
I've
p
hung
the
I've
hung
the
hung
the
sky
sky
I've
sky
years
95
sky
I've
I've
I've
Perc 1 (Vibr.)
91
2 Solo S.
I've
years
For
For
years
p
95
95
pp
pp
95
91
Hp.
Bring out F# from here onwards, frequently keeping it as the lowermost pitch.
177
S.
96
A.
T.
B.
2 Solo S.
hung
the
hung
the
hung
the
hung
the
99
sky
sky
sky
sky
p
For
Solo M-S..
Perc 1 (Vibr.)
Perc. 2 (Vibr.)
Perc. 3 (Crot.)
years
years
years
99
I've
hung
the
I've
hung
the
I've
hung
the
I've
hung
the
pp
pp
Hp.
p
For
years
p
For
Solo T.
p
For
Solo A.
99
99
178
S.
101
p
For
A.
B.
2 Solo S.
years
years
p
years
p
For
For
p
For
T.
103
years
103
I've
hung
I've
hung
I've
hung
I've
hung
the
sky
the
sky
the
sky
the
sky
sky
Solo M-S..
sky
Solo A.
sky
Solo T.
Perc 1 (Vibr.)
Perc. 2 (Vibr.)
Perc. 3 (Crot.)
sky
To Bass Drum
103
pp
Hp.
103
179
S.
106
107
p
For
A.
p
For
T.
B.
2 Solo S.
p
For
p
For
p
For
Solo M-S..
107
years
I've
p
For
years
I've
hung
the
hung
the
sky
sky
Alto ossia
Solo A.
p
For
Solo T.
Perc. 3 (Crot.)
Hp.
years
I've
p
For
Perc 1 (Vibr.) Perc. 2 (Vibr.)
years
I've
107
pp
107
hung
the
hung
the
sky
sky
111
180
S.
115
cresc. years
I've
cresc.
A.
years
I've
sky
Now
Powerful
sky
f
Now
Powerful
hung
the
sky
f
Now
115
111
Perc 1
(Vibr.)
115
111
cresc.
f (without covering choir)
Bass Drum
Tam-tam
To tam-tam
cresc.
p
Hp.
Powerful f
Solo A.
Perc. 3 (B. D.)
Solo M-S..
Perc. 2 (Vibr.)
111
Solo T.
Now
the
years
2 Solo S.
hung
sky
the
I've
cresc.
B.
hung
years
the
I've
cresc.
T.
hung
Powerful f
n
p
n
mp
n
mp
n
mf
n
f
mf
mp
f
f
115
Solo
fff (Thunder effect)
181
S.
116
I
A.
B.
I
Solo M-S..
Solo A.
Solo T.
through
I
119
f
I
leap
119
119
continue f
I
f
I
Now
Perc. 2 (Vibr.)
Now
I
Now
Now
through
119
Now
through
leap
Hp.
leap
Perc. 1 (T.-t.)
Perc. 3 (B. D.)
through
leap
I
2 Solo S.
leap
I
T.
182
S.
121
leap
A.
B.
leap
Solo M-S..
I
leap
Perc. 1 (T.-t.)
Perc. 2 (Vibr.)
Perc. 3 (B. D.)
123
leap
leap
through
Now
leap
Always f
3
I
Always f
Now
I
leap
through
through
I
leap
leap
I
123
I
Hp.
Now
Now
Always f
f
leap
through
through
Now
Solo T.
I
leap
I
123
I
Now
I
Now
Now
through
Now
Solo A.
through
f
123
Now
through
leap
2 Solo S.
through
leap
T.
183
S.
126
127
through
A.
Now
through
through
T.
B.
127
Now
Solo T.
I
Always f
leap
Now
I
I
leap through
through
Now
leap
3
I
through
I
leap
I
leap
through
Now
I
through
through
through
Now
To Crotales
leap
127
leap
through
through
Now
through
leap
leap
leap
3
127
I
I
Now
Perc. 2 (Vibr.)
Hp.
leap
through
Perc. 1 (T.-t.)
Perc. 3 (B. D.)
I
Now I
leap
Solo A.
Now
through
Solo M-S..
Now
I
Now
through
2 Solo S.
133 Like the sound of shattering ff (Bells)
184
131
S.
I
leap
A.
B.
leap
I
leap
131 2 Solo S.
leap
Now
Perc. 1 (T.-t.)
Perc. 2 (Crot.)
Perc. 3 (B. D.)
Now
I
I
leap
through
Now
I
133
Maintain ff till the end
Now
I
Now
To Vibraphone
ff
D# - D
leap
through
I
Maintain ff till the end Crotales (Two octave set if available, otherwise adjust pitches as need to fit within available crotales)
131
through
through
leap through
Maintain ff till the end
leap
ff
I
I
through
Maintain ff till the end
leap
leap
Now
131
Hp.
I
Bells growing sparser and less frequent as they diminuendo.
Maintain ff till the end
leap through
Solo T.
3
Maintain fftill theend
Now
through
Solo A.
Bells growing sparser and less frequent as they diminuendo.
133
I
Solo M-S..
Like the sound of shattering ff (Bells) Bells. chaotic, dense
leap
Bells growing sparser and less frequent as they diminuendo.
Like the sound of shattering ff (Bells) Bells. chaotic, dense
I
Like the sound of shattering ff (Bells) Bells. chaotic, dense
Bells growing sparser and less frequent as they diminuendo.
I
T.
Bells. chaotic, dense
133
S.
136
A.
T.
B.
2 Solo S.
mf
mf
mf
mf
Solo A.
Now
Perc. 1 (T.-t.)
Perc. 2 (Crot.)
Perc. 3 (B. D.)
I
through
I
leap
through
I
leap
through
Now
leap
I
leap
through
Now
I
Now
I
leap through
leap
137
through
leap
leap
Now
137
Hp.
3
Now I
Solo T.
137
leap
Solo M-S..
185
137
186
(Bells sparse)
141
S.
p
p
p
p
(Bells sparse)
A.
(Bells sparse)
T.
(Bells sparse)
B.
141
2 Solo S.
Now
Solo M-S..
3
I
leap
through
Now
Solo T.
I
I
leap
Now
Solo A.
I
leap
leap
through
through
Now
I
leap
through
through
Now
Now
I
I
leap
through
leap
141
Perc. 1 (Vibr.)
Vibraphone (with bow)
Maintain ff till the end
Perc. 2 (Crot.)
Perc. 3 (B. D.)
141
Hp.
145
S.
A.
T.
B.
Only the occasional hint of a bell heard. pp
Only the occasional hint of a bell heard. pp
Only the occasional hint of a bell heard. pp
145
2 Solo S.
Now
Solo M-S..
Solo A.
3
I
leap
Now
I
leap
through
n
n
n
I
leap
(still ff )
(still f )
Now
I
145
(breaking off abruptly)
leap
through
through
Hp.
through
leap
145
Perc. 3 (B. D.)
Perc. 1 (Vibr.)
Perc. 2 (Crot.)
(breaking off abruptly)
(still f )
I
n
through
Now
Solo T.
187
Only the occasional hint of a bell heard. pp
(breaking off abruptly)
(breaking off abruptly)
(breaking off abruptly)
188
X. Epilogue - In Perfect Light for unaccompanied SATB chorus
Text by Sarah Williams
189
Text Though my soul will set in darkness, it will rise in perfect light. I have loved the stars too fondly to be fearful of the night. adapted from The Old Astronomer by Sarah Williams (English, 19th Century)
190
X. Epilogue - In Perfect Light Slow, h = 50-60 Gentle, serene
SOPRANO
Piano
S.
7 7
T.
B.
Pno.
ness,
soul
will
set
in
Though
my
soul
will
set
in
dark
ness,
p
-
Though
my
soul
will
set
in
dark
-
ness,
p
Though
my
soul
will
set
in
Though
my
soul
will
Though
my
soul
(long)
set
-
my
7
dark
Though
will
ness,
p
soul
A.
-
set
my
Though
dark
Slow, h = 50-60 Gentle, serene
For rehearsal only
in
will
p
BASS
soul
TENOR
my
Though
ALTO
(long)
p
dark
-
ness,
dark
ness,
-
set
in
dark
ness,
-
will
set
in
dark
-
ness,
in
S.
12 12
Though
T.
B.
will
set
Though
my
soul
will
set
in
Though
my
soul
will
set
in
soul
will
set
soul
Though
Pno.
my
A.
my
12
in
dark
-
ness,
dark
-
ness,
dark
ness,
-
in
dark
-
ness,
191
S.
17 17
it
A.
it
it
T.
B.
it
Pno.
17
will
mf
rise
mf
in
per
will
rise
in
per
mf
will
rise
in
per
mf
will
rise
mf
in
per
-
-
fect
fect
-
fect
-
fect
light.
p
my
Though
my
p
Though
my
p
Though
my
light.
light.
p
Though
light.
21
21 p
192
in
dark
22
S.
soul
A.
soul
soul
T.
B.
soul
Pno.
will
set
will
set
in
dark
will
set
in
dark
will
set
in
dark
-
-
it
will
it
will
ness,
it
will
ness,
it
will
ness,
-
-
ness,
26
26
f
rise
in
per
27
S.
f
A.
T.
B.
rise
in
per
f rise
in
per
in
per
f rise
Pno.
f
-
-
fect
light.
fect
-
light.
fect
light.
fect
light.
-
30
p
Though
my
soul
will
p
my
soul
will
my
soul
will
my
soul
will
Though
p
Though
p
Though
30
p
32
S.
set
A.
T.
B.
Pno.
in
set
in
dark
set
in
dark
set
in
dark
per
per
T.
B.
Pno.
-
fect
-
fect
-
it
will
rise
in
ness,
it
will
rise
in
ness,
it
will
rise
in
ness,
it
will
rise
in
ness,
fect
35
39
I
loved,
f
have
mf
mp
I
fect
light. (long) ff
mf
I
loved,
have
have
light.
(long)
-
light. (long) ff
-
-
-
-
193
light. (long) ff
per
(long) ff
per
A.
37
S.
dark
35
ff
39
f
mf
mp
43
194 42
S.
A.
Pno.
p
have
loved
the
stars
have
loved
the
stars
I
have
loved
the
have
I
p cresc.
I
I
p cresc.
I
43
p cresc.
have loved
mp
B.
p
loved.
T.
p cresc.
p cresc.
p
too
too
stars
too
loved
the
stars
too
46
S.
fond
fond
fond
T.
fond
Pno.
-
A.
B.
f
f
-
-
-
-
-
-
48 cresc.
ly,
I
cresc.
have
loved
the
stars
I
have
loved
the
stars
I
have
loved
the
ly,
I
have
48
ly,
-
ly,
cresc.
cresc.
cresc.
too
too
stars
too
loved
the
stars
too
195
(soprano ossia)
ff 51
fond
ff
S.
-
fond
-
-
-
-
fond ff
-
fond
-
-
B.
Pno.
B.
of
the
of
the
of
of
Pno.
the
-
ly,
-
ly,
night
night
night
to
be
fear
ff sempre
to
be
fear
ff sempre
to
be
fear
ff sempre
to
be
fear
ff sempre
ff sempre
night.
the
-
ly,
ly,
ff
T.
-
-
A.
-
55
S.
-
ly,
fond
-
-
-
ff
-
-
ff
T.
-
A.
58 ff
I
have
ful
-
ful
-
ful
-
ful
f
loved
f
I
-
rit.
have
loved
58 rit.
ff
f
196
a tempo 60
S.
A.
mf
62
mp
T.
B.
mf
I
have
loved
have
loved
the
stars
loved
the
stars
too
have
I
have
loved
the
stars
too
mp
I
have
loved
the
stars
too
mp
I
mp
I
mp
I
have loved
mp
too
a tempo
Pno.
mf
mp
62
mp
65
S.
fond
A.
fond
fond
T.
B.
fond
Pno.
-
67
ly
to
be
fear
-
-
-
ly
to
be
fear
ly
to
be
fear
ly
to
be
fear
67
-
-
-
-
ful
of
the
ful
of
the
ful
of
the
ful
of
the
molto rit. 70
S. Solo
p
night.
night.
p
night.
T.
p
B.
pp
A.
Gentle, serene
p
S.
night.
S. Solo
S.
A.
stars
stars
stars
T.
B.
p
75
loved
the
Pno.
stars
stars
pp
I
have
have
loved
the
loved
I
have
loved
the
pp
have
loved
the
have
loved
the
I
pp
too
fond
79 -
ly
too
fond
too
fond
ly,
I
too
fond
ly,
I
-
fond
too
I
72 pp
Solo soprano pp
I A tempo Gentle, serene
molto rit.
Pno.
197
72 A tempo
ly,
-
I
ly,
I
79
198
Solo soprano ossia
S. Solo
I
have
S.
have
T.
B.
Pno.
have
have
S. Solo
fond
S.
ly
A.
-
ly
ly
ly
T.
B.
ly
Pno.
loved
the
stars
loved
the
stars
loved
the
stars
to
to
be
fear
to
be
fear
to
be
fear
86
-
-
-
-
too
fond
too
fond
-
too
fond
-
too
fond
-
ful
of
the
night, ppp
ful
of
the
fear
-
-
night, ppp
ful
of
the
ful
of
the
ful
of
the
night,
too
ppp
be
stars
stars
fear
the
be
too
stars
loved
to
86
85
loved the
have
A.
loved
night, ppp
night, ppp
ppp
91 90
S. Solo
S.
A.
T.
B.
199
Slow, deliberate
to
be
fear
(ppp)
to
be
fear
(ppp)
-
-
ful
of
the
night.
ful
of
the
night.
ful
of
the
night.
ful
of
the
night.
ful
of
the
night.
(ppp)
to
be
fear
(ppp)
to
be
fear
to
be
fear
(ppp)
-
-
-
91
Pno.
Slow, deliberate
(ppp)