We Look to the Stars (cantata for SATB chorus, harp, percussion and vocal soloists)

Page 1

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. gliss.          


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 fftill theend  

         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)  

  

  





      


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