Incessabili Voce by Lisa Bielawa

LISA BIELAWA

Incessabili Voce for soprano and chamber ensemble Texts from Te Deum Laudamus; Xenophon’s Anabasis (tr. Tim Rood) and Heinrich Heine, The North Sea (tr. Emma Lazarus)

2013 TRANSPOSED SCORE Commissioned by Radio France for Ensemble Variances

LISA BIELAWA

INCESSABILI VOCE (2013)

Commissioned by Radio France for Ensemble Variances

duration c. 15:00 TRANSPOSED SCORE Instrumentation: Soprano Solo Clarinet in Bb / Bass Clarinet Alto Saxophone / Tenor Saxophone Violin Cello Piano

PERFORMANCE NOTES: Accidentals hold through the measure, where there are measures, or through the box, where there are boxes, or through the phrase, where there are free-floating phrases. Arrows: - Large, bold arrows show the length of time that a boxed or repeated phrase should be played. Cue to stop is either a musical cue or, in some cases, an actual-time marking in seconds. When you hear a musical cue to end an arrow-indicated section, finish playing the boxed or repeated phrase, then stop. - Smaller, dotted arrows indicate cues given/received between particular musicians that may not affect all other musicians. Backstage Piano: If available, a piano or keyboard with organ sounds should be placed backstage, in the wings but out of sight, for the pianist to play at the end of the piece. If one is not available, pianist stays onstage for this section. Boxes: play boxed phrase(s) any number of times, in any order (if there are more than one), for the entire arrow-indicated time, pausing in between. Length of pauses is indicated in each instance, and will vary, ranging from “very brief” to “long,” and sometimes with a time range given in seconds. Cadenza: During the cadenza (rehearsal letter “R”), vocalist may deliver certain phrases directly to a particular player. If a player wishes to respond musically, s/he may improvise a phrase to play as an answer, using or adapting phrases from the piece itself. Independent Repeats: Like music in boxes, phrases within independent repeat signs can be played for entire arrow-indicated time, but without pauses in between. Independent Tempi: If you have a personal metronome marking, play with rhythmic regularity but do not be influenced by others’ tempi unless there are explicit instructions to align pulses. Spatial set-up and movement - Instrumentalists begin backstage, Soprano is alone onstage at beginning. - Clarinet and Saxophone begin in opposite wings backstage. - If possible, Piano should occupy the opposite side of the stage from the rest of the musicians, who should be in a separate, self-contained group. - Instructions for movement onstage are given in boxed text. - Soprano turns and sometimes moves towards individual players to “send” phrases.

TEXTS From Te Deum Laudamus, Liber Usualis, tr. Book of Common Prayer Te Deum Laudamus: te Dominum confitemur.

We praise thee O God; we acknowledge thee to be the Lord.

Te aeternum Patrem omnis terra veneratur.

All the earth doth worship thee, the Father everlasting.

Tibi omnes Angeli, tibi Caeli et universae Potestates:

To thee all Angels cry aloud; the Heavens and all the Powers therein;

Tibi Cherubim et Seraphim Incessabili voce proclamant:

To thee Cherubim and Seraphim continually do cry.

Sanctus: Sanctus…

Holy Holy…

From Xenophon, The Anabasis, tr. Tim Rood When the men in from reached the summit, there was much shouting. Xenophon and the rear guard heard it and thought that there were some more enemy attacking in front. … But as the shouting kept on becoming louder and closer and the successive groups going forward kep on running towards the men in front who kept on shouting, and the more there were of them the more shouting there was; … and soon they heard the soldiers shouting ‘Thalatta! Thalatta!’ … Then they began to run, the rearguard and all, … When they all had got to the top, they embraced each other, and the generals and captains, crying…

From Heinrich Heine, The North Sea, tr. Emma Lazarus Second Cyclus, “I. Salutation to the Sea.” Motto, Xenophon’s Anabasis – IV. V. Thalatta! Thalatta! All hail to thee, thou Eternal sea! All hail to thee ten thousand times From my jubilant heart, As once thou wast hailed By ten thousand Grecian heart. Misfortune-combating, homeward-yearning, World-renowned Grecian hearts. The waters heaved, They heaved and roared. The sun poured streaming downward Its flickering rosy lights. The startled flocks of sea-mews Fluttered away with shrill screams; The coursers stamped, the shields rattled, And far out, resounded like a triumphal paean, Thalatta! Thalatta!

INCESSABILI VOCE Program Notes When I was invited by Ensemble Variances to write a piece on the theme of “The Cry” as “an expression of a basic language shared by all human beings as well as a majority of animals,” a specific memory from my early childhood came up: singing the Book of Common Prayer translation of the Te Deum in my mother’s Episcopal church choir: To thee Cherubim and Seraphim continually do cry.” I remember wondering about these terrifyingly large, animal-like angels, and how they managed this continual crying for joy. Didn’t they ever get tired? Or need to eat something? The idea of multitudes of beings crying for joy reminded me then of the story of the 10,000 Greek soldiers in Xenophon’s Anabasis who trudged through enemy territory for weeks, forces decimated and leaders slain, trying to get home. When the front line of soldiers saw the Sea, they also cried out for joy. While the angels cry out “Sanctus! Sanctus!” (Holy! Holy!), the soldiers cry out “Thalatta! Thalatta!” (The sea! The sea!), because once the see the water they know the way home, and they know they will get there. While at the Radcliffe Institute in Cambridge, MA, I met a Classics scholar who wrote an entire book on this cry of the 10,000 Greeks, and its resonance throughout literature ever since. Tim Rood’s studies led me to Heinrich Heine’s The North Sea, in which he meditates on this epic moment. As vocal soloist in my own work, I wanted to explore some of the performance implications of these various texts that had entered my process. In designing material for the voice, I thought about singing in church, the ecstatic singing of angels, the roar of soldiers, the mannerisms of Greek storytelling in the great oral tradition, the traditions of Gregorian and Anglican chant. The vocal part coaxes cries of various sorts out of the instruments. The texture of the ensemble writing bears witness to my preoccupation, still as lively as when I was six years old, with the sloppy joyfulness of a multitude crying ceaselessly all together – whether angels or soldiers. I let all of these images, texts, traditions and energies enter the piece and mingle together, without strict dramatic intent. It is more of a dreamscape than a story, more cry than word.

Incessabili Voce

Te Deum Laudamus; Xenophon (tr. T. Rood); Heinrich Heine (tr. E. Lazarus)

commissioned by Radio France for Ensemble Variances

Lisa Bielawa

Plainchant FACE FORWARD

% % ! """" """"" # # $ " " " " " "# # & mp semplice

Soprano Solo

! Violin ! " S. Solo

Te De - um lau - da

! " " " *" " " #

mus:

% &

om - nis ter - ra ven - e - ra - tur.

Vln.

S. Solo

! "!

te Dom - i - num con - fi - te - mur.

% '

" " " " " " "

Cl.

! !

"! ! Vln. ! "

Alto Sax.

S. Solo

! &

! Cl. ! "! ! Vln. ! "

' '

" " " "

ge - li,

ti - bi Cae - li

use either box as desired pause briefly between

" " " " " " " " " #

et un - i - ver - sae Po - test - a - tes:

NB: Clarinet and Alto Sax should be in opposite wings

)(( pp

% '

! " " " " " " " # #

Te ae - ter - nam Pat - rem

BACKSTAGE

Ti - bi om - nes An

*( (

"" " " ""#

Ti - bi

BACKSTAGE

Cher - u - bim et Ser

aph - im

interject boxed phrase as desired, with long pauses between

+" +" " )"*# mp calling out

BACKSTAGE

PIANIST ENTERS

" " " "

, +" +" " " #

interject boxed phrase as desired, with long pauses between

mp calling out

" " " " # #

in - cess - a - bi - li voc - e pro - clam - ant:

+" +" " ) " ) # )"

q. = 66 mp crisply

+ + -% "# "# "# " " " #

In - cess - a - bi - li voc - e

% .

Alto Sax.

' Copyright ÂŠ 2013

2 3

! ! Cl. !

S. Solo

Alto Sax.

c. 10"

). n

BACKSTAGE

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optional (use only sometimes)

q. = c. 66

Vc.

BACKSTAGE

S. Solo

Cl.

Alto Sax.

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! Vln. ! Vc.

Pno.

! 0

+" "

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q. = c. 66

+" "

q. = c. 66

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f espr.

Pno.

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f espr.

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In - cess - a - bi - li voc - e

+" +" " )" # +" +" " ") " ) # / f

interject boxed phrase as desired, with long pauses between

Ti - bi om - nes An ge - li,

, +" +" " " #

interject boxed phrase as desired, pausing 3-5" in between

% '

freely

, " ," , " " , " " / #

voc - e pro - clam - ant, voc - e

c. 5"

use either box as desired, pause briefly in between

mp pause briefly in between

c. 5" mp

interject boxed phrases as desired, pausing 2-4" in between

% '

! '

S. Solo

! Cl. !

"! ! Vln. !

freely

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Ti - bi Cher - u - bim et Ser aph - im

" " " " " " " " # # & " " " " " 32

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% ' % '

CLARINET: stop and walk to place onstage

SAX: stop and walk to place onstage

Alto Sax.

Vc.

Pno.

S. Solo

Pno.

Vln.

Vc.

Pno.

mf espr.

2 3

% '

2 3

Undulating q = 100

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! 32 " # # 3

! 2 !3 02 " 3

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3 3

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""" ### """ ### "" ## """ "" 2 !3 / mp legatissimo """ 0 2 """ ### """ ### # "" # / "" 3

2 3

add this box

S. Solo

2 3

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CELLO: stop and walk to place onstage

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2 3 2 3

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VIOLIN: stop and walk to place onstage

Sanc - tus:

How -

mf dolce

+ )+" +" "

freely q = 100

mf dolce

. .

,,. .

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4 12

change to head voice

! " " ""#

S. Solo

e - ow - e - ah

q. = 66 mf bold TURN TO FACE VIOLIN

% &

1 78 + + 4 " # " # " " " " " " "- "

oo q. = 66 1-3x as desired

When the men in front reached the sum - mit,

ad lib. ! CLARINET sets pulse % # # & ' $# # # Cl. ! )"+ # "+ # *"+ #)" " 1" " " # p crisply

Alto Sax.

q. = 66 1-3x as desired

1 % ## )"+ # +" # *+" # " " "/ " ##&

q. = 66 1-3x as desired

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Alto Sax.

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Vc.

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! !

! 0

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there was

align rhythmically with piano

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much

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chest voice f brash

shout - ing.

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1 + + % ## )" # " # )+" # " " "/ " ##&

sim. 1-3x

! ! 5

TURN TO FACE CELLO

ad lib.

p crisply

f calling out

S. Solo

ad lib.

q. = 66 1-3x as desired

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p crisply

% 5 .

ad lib.

p crisply

! " Vln. ! " " " ," " # /

Vc.

freely, out of time

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mp 5

f calling out

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' +" # +" # * +" # +" * +" +" * " 78 / 4 Steady, Strict q. = 66

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"# "#

S. Solo

Cl.

Alto Sax.

Vln.

Vc.

Pno.

! ! "! ! ! "

4:3

as before.

q. = 66 1-3x

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Vc.

Pno.

p crisply

+ * +" * +" +" " " /

+" * " " # /

)"+ "+)"+)" " +

)"+ " " # mf

p crisply

" " " " "# : # "# / ow

as before.

4:3

- ee - ow - ee - ow

q. = 66 1-3x

+# +# 1 % ## " " "# " " "/ " ##&

" "," " #

f bright, brash

4:3

5 "#

and the rear - guard heard it

freely, out of time

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! " )" " " " #

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1 TURN TO FACE SAX 1 + $ # " " " " # " # + "" " "# " mf

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! "#

S. Solo

Alto Sax.

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5 &# !

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! " " ," " " #

5 chest voice f

ee - ow - ee - ow

" "# " " " " "

TURN TO FACE CLARINET

and thought that there were some more

freely, out of time

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f brash

' '

+ +4:3+ + 1 ! " ")" " " # *" # "# " # " #

S. Solo

! Cl. ! Alto Sax.

en - em - y at - tack - ing

Pno.

as before.

D f

! Cl. !

Alto Sax.

! 78 " # ! 4 "+ # "

" ")" " )"/ " " # +")" "+ +" " + 4:3

5:3

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the shout - ing kept on

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as before.

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q. = 66 1-3x

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p crisply

- # " " 1" " #&" "

"+ # ad lib.

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," "" "" "" "" , " 4:3

" """

ad lib.

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1freely ,"

" "" "

D , " "" "" "" "

be - com - ing loud - er and clos - er

1 % ## +" # +" # "+ # " " " " ##& /

1 ,"" ## "" ',("" "" "" + /

5 !

Pno.

5:3

1-3x

Vc.

with voice

Vln.

+with violin + 1"# " #'*(" " " "

But

- # % ## # # "+ "+ *" # " " 1" " #& p 1-3x " " " +"9 +"9 1" # + + 1 % ## " # " #*" # " " "/ " ##&

1-3x

," ," " " " " # +9 +9 1 f

! )"+ # "+ # "+ # "+ "+ "+ "

S. Solo

mf dolce

5:3

+" # +" # *+" # +" +" +" " / !

4:3

q. = 66 1-3x

p crisply

+ +" +")+" ")" " /

freely

1 + + % ##*" # " # )+" # " " "/ " ##& "#

& "!

front.

! Vln. ! G & Vc.

MOVE CLOSE TO VIOLIN

sim.

" "+ "+ "+ + sim.

4:3

" "1 1" 1" 1

! $

S. Solo

! Cl. ! Alto Sax.

Vln.

Vc.

S. Solo

and

clos - er,

+ ,,""

+" "

+""

*" *" " " " " ," ," sim. sub pp

+" #

and

the

78 $ # "! 4

" " 5:3 " " " " suc - cess - ive

Vc.

Pno.

"" ##

* " ! " 1 1 0 ,,"" /

groups

+" /

ing

for

" 1 *1"

" 1 ,1"

+" -

ward

" )" " " " " " "

harm. gliss on C

"# "# "" ##

" 1 ff ,1"

5:3

,* ""

"" ,"" "" "" "" ""

" " " " "

" )" " " "" $# " " "

," "

sim.

" " " $# " " "

align metrically

*+"" ##

" )" " " #

## ##

! !

(listen for piano pickup to m.29)

" * "+ "+ "+ +

" " " ! 78 " " $# Cl. ! 4 " " "

Vln.

align metrically

Alto Sax.

(listen for piano pickup to m.29)

! $ !

Pno.

loud - er

1" 1" 1 1 " *" )" " / "

chest voice

< ## ## ## ##

bow as needed sim.

+" " /

+""

1" # *1" # "#

S. Solo

! Cl. ! Alto Sax.

" # "# "#

freely

molto vib. gliss. mf

kept on

")" ")" ","*" , " * " " " ) " " ) " ","*" ")" freely

# "! &

)" ""

"" " "

align metrically

! $#

Pno.

0 $#

! Cl. ! Alto Sax.

," ! ,,""

Pno.

," " "# " " "

*""- "" ## " " #

"" ,, "" "" ## 0 ," " " # /

"# "" " "# "" ##

"" ## ," # con 6

pause briefly between

*"" ## " #

,, "" ### "

"" ## "#

78 &# 4

use boxed phrases as desired, pause briefly between

vary mp-f

Broader, Molto Rubato

ff expansive

align with piano

" *" ""/ "" * "" , "" " " / )# #

use boxed phrases as desired, pause briefly between

," " "# " " "

," # ,,"" ##

fast, breathless

gliss.

molto vib.

,1" #*1" # # # ," #*" # # #

in - cess-a - bi - li

freely

")" " , " * "

fast, breathless

," " "# " " "

*1" # 1" # # # *" # " # # #

"" ##

! *" #

fast, breathless

! Vln. ! Vc.

gliss.

! ,1"" ##)1"" ## "" ## *"" ## " ## " ## ," " Vln. ! Vc.

run - ning ah

0 78 4

vary mp-f

% '

use boxed phrases as desired, pause briefly between vary mp-f

," " " # ,,","" *""" """ ,*"" *"" "" ## /

## ## # # ## ## # # $#

,"# , "# 1

"" ,, "" * "" " "" "" ## ," " " **"" )" " # / ## ##

" # ," *"- # # "" ##,,"" "" ## ## "" ## "" ,, "" ## ## " # ," "/ # #

S. Solo

Cl.

Alto Sax.

Vln.

Vc.

Pno.

! !

"# "# " " " "#

cess - ab - i - li

! !

(at "...abili" finish phrase and stop)

q. = 66 1-3x

p crisply

(at "...abili" finish phrase and stop)

! *"" ## ,"" ## f # # , 0 ,"" #,* "" #

"# "# "" ##

## ## ## ##

"+ # "+ # *" # *"+ " *"+ " + + mf ,+" # +" # *+" # ,+"*+" ,+" *" /

Steady, Strict Again q. = 66

" # "# " " " # #

freely

5 "#

* " ! " ,"" "" ## ## ## + + # # 0 ,,"" ,* "" "" # ## # / f

")")" ")" #

"+ # " # " #

,+" # *" # " # mp

"# "#

*"+ " *"+ + ,+" *+" ,+"

kept

" " )1" " ##&

% ## )" # " # " # + + + p

p crisply

who

as before.1-3x

q. = 66 1-3x

MOVE BACK TO CENTER

towards the men in front

% '

+ + 1 % ## " # " # " # " " "/ " ##&

as before.

% '

1 % ## +" # +" # "+ # " " " " ##& "# /

in - cess - a - bi - li

as before.

! Vln. !

Pno.

! Cl. !

Vc.

" *"

(at "...abili" finish phrase and stop)

Alto Sax.

)" #

S. Solo

)")")"*" mp

1 ! )" "- " #

S. Solo

shout - ing

Cl.

Alto Sax.

! &# ! "!

! Vln. !

Vc.

Pno.

5 # " &

ad lib 3-4 gestures from previous material - high, fast and loud

% ##

+" # +" # "#

+ + + : # ,"/ # " # ," # "

" ")" "

1# " " .

and

soon they heard

" +" # +" # = 1"/ ," "# / 4

% ##)" # +

9 9

"+ # )" # " " ##&

,+" +" " " )" *" # * ! /

align metrically

+" # +" # +" # " " " #

+" #

with voice + + + + +" # * +" # +" +" +" # , "" ## "" ##,, "" ## ""

+" #

+" # *+" # +" +" +" # ,+"" ## "" ## ," ## +"" + , "+

mf 4:3

the sol - diers

align metrically

f any 3 gestures - loud, fast. then stop.

" " 1" " # / #&

ff with piano FACE FORWARD

freely

q. = 66 1-3x

shout - ing there was,

align metrically

q. = 66

## ""

the more

,+"9 +"9 " "*+" # +" #)+" # " "

mf 4:3

:# " "

# " #&

ad lib 3-4 gestures from previous material - high, fast and loud

1 1 1 ! " " " ," #

5 78 # Vc. " 4*

and the more there were of them q. = 66 1-3x

- # )"+ # "+ # " # " " 1" " #& p

% ##

! Vln. !

chest voice

q. = 66 1-3x

1" )" Alto Sax. ! / "

+ +4:3 + + 1 : " " " " " )"*" # mf

! % ## )"+ # "+ # " # " " " + 1 mp

! )"+ # "+ # "+ #)"+ "+)"+ " " #

! Cl. !

Pno.

+" # +" # * +" # +" * +" +" * " " # / !

S. Solo

ad lib 3-4 gestures from previous material - high, fast and loud

&# as before.

FACE SAX

shout - ing

# = ))# 4

= $# 4

= )#))# 4

"# )

## ) = 4 +" +" # +" # , 1" , " " # " "# "# " " "# / = / 4 +"" /

1 "" ## ""+ ## =4 ,"" ,"" "" ## / +

*" #

f joyful

S. Solo

11 Broader q. = 54

" "

c. 5"

% '

" "

Tha - lat - ta!Tha - lat - ta!

! Cl. !

)+" # +" +" +" # +" +"

Any Tempo q. = 54 or faster pause briefly between

f joyful

Alto Sax.

c. 3"

+" # +" +" +" # +" +"

Any Tempo q. = 54 or faster

f joyful

! Vln. !

Any Tempo q. = 54 or faster

Vc.

! ! &#

0 Vc. " &

c. 2"

% '

Tha - lat - ta!Tha - lat - ta!

# Alto Sax. ! & "

Pno.

c. 3"

"# " " "# " "

% '

3 : "/ *" # " > *" " " " " 4 4 e = e ff

All hail to

WW & Str: do not align rhythmically with one another

thee, thou Et - er - nal

)+" # + + +" # + + "" ""

% '

> 4

*+" # +" +" +" # +" +"

3 4

% '

3 4

> 4

)"+ #)"+ "+ ) +" #)+" +"

% '

3 4

> 4

3 4

> 4

! # Cl. ! &

Vln.

pause briefly between

f joyful

S. Solo

) +" # )+" +" +" # +" +"

% '

pause briefly between

f joyful Any Tempo q. = 54 or faster

% '

pause briefly between

)"+ # )"+ "+ "+ # "+ "+

% '

"+ # +" #

"+ "+ +" +"

% '

% ' % '

3$ 4 3$ 4

*" # : *"" >4 *"" ## *"" *"" / f joyful : )"- >4 )" # )" )" ) " ) "# ) ") "

Take Soprano's Tempo

8 " !4

S. Solo

! 8 Cl. ! 4 Alto Sax.

sea!

)" " " # " " " very fast

' mf

Vln.

Vc.

Pno.

# "! % # ! ! 0

$ "

" # " +" ##&

% ##

very brief pauses

% ## " #

% ##

very brief pauses

*% . *. .

% ). ).

)" # " " " # " "

% ##

##&

% '

. 1#

" " ##&

. # 1#

. . 1 . .

2 4

Tha - lat - ta!Tha - lat - ta!

q. = 54

2 4

2 ,## ## 4 mp

1 #

2 4 )# #

"# " " # #&

" +" ##&

#& ""#

" +" ##&

% ## " #

" +" ##&

) " " "# " " "

1# #

% ##

very brief pauses

very fast

% '

Alto Sax.

)" " "# " " "

! 84 )" )" ))"")" ) ") " "

! Cl. !

% ##

" **""" " 8 * " ! 4 " *" *"

S. Solo

)" " " # " " " very fast

very fast

08 Vc. " 4

Pno.

very brief pauses

! 8 Vln. ! 4

" "% &#

Tha - lat - ta!Tha - lat - ta!

8 "! 4

" # )" " " #

c. 5"

$# $#

2 ,. 4 " # " # "# " " "/ " q. = 54

2 )"# "# "# " " "- " 4) .

c. 3"

57 p

"# "# ! " " " "

S. Solo

! ! &#

as before. pp

# Alto Sax. ! & "

! # Vln. ! & Vc.

Pno.

% '

3 4

> 4

*+" # +" +" +" # +" +"

% '

3 4

> 4

% '

3 4

> 4

% '

3 4

> 4

% '

3$ 4

) +" #)+" +" +" # +" +"

q. = 54 or faster

as before. pp

" 8 !4

8 Alto Sax. ! 4 " ! 8 Vln. ! 4 08 Vc. " 4

sea!

" #)" " " # " " % &#

' ' '

" *"" " ! 84 *"" *" *" *"

8 ! 4 )" )" ))"")" " ) ") "

)" " " # " " " very fast

)" " " # " " "

All hail

% ##

very brief

*## *# ff

))##

% . .

% .

" 3"

" # " +" ##&

cue off piano chords

p cue off piano chords

% ## " # p

% ##

" +"

#& % ## "# ##& "" # ""

cue off piano chords

J Eloquent q = 72 1 . 3 ,. . 3 . 0

3 3

1 *.

ten thous - and times

cue off piano chords

very brief

% .

" )"

to thee

"# + % ## " " ##&

very brief

ff very fast

) " " "# " " "

3$ 4

3 $ )" " " " " 3

)" " "# " " "

*" # : *"" >4 *"" ## *"" *"" / p : )"- >4 )" # )" )" ) " ) "# ) ") "

with piano mf dolce

very fast

thee, thou Et - er - nal

Eloquent q = 84

very fast

c. 5"

Tha - lat - ta!Tha - lat - ta!

All hail to

% '

! 8 Cl. ! 4

Pno.

)"+ #)"+ "+ "+ # "+ "+

S. Solo

q. = 54 or faster

as before.

0 &#

% '

q. = 54 or faster

as before.

e = e

)+" # + + +" # + + "" ""

Tha - lat - ta!Tha - lat - ta!

Cl.

3 : "/ *" # " > *" " " " " 4 4

c. 2"

% ##

1 . .. 1 . .

"# " " # #&

##&

14 65

! #

S. Solo

! % # "# " " # # #& Cl. ! From

" 3= " " )" " # my

! "

S. Solo

Alto Sax.

Pno.

= ## 3 *,. .

+" "- 3" " 3 " /

,, . . ##

thous - and

"+ #

"+ # , " # " "

," " 3

! .. ,. 0 ,. ,. .

*" "

p dolce

##&

3. 3. . 3. 3

,"+ "+ *"+ p

. . . p

,. .

MOVE CLOSE TO VIOLIN

hearts,

+" # +" #

q. = 54 or slower

p dolce

q. = 54

wast hailed

getting slower

" ," ten

mp dolce

! Vln. ! Vc.

)"+

q = c.72

! Cl. !

% ## *" #

thou

q. = c.54

p dolce

= 3

" ,"

+" # +" # *+" # " " #

"# 0 # " " ##& % # Vc. " 1 .. . ! Pno. 1 . 0 . .

As once

##&

3 $ *" " " 3

jub - il - ant heart,

# +" # +" " ##& Alto Sax. ! % # " ! # "# Vln. ! % #

" # " 3

)" # " #

"+ # " "

3 q = 72 3 ," "+ +

' #

" " # "

"# " #

q. = 54 or slower

? "# "#

*. .

)). .

' '

K 71

! &

S. Solo

Cl.

15 align with Sax p 3

! !

"! ,"+ ! Vln. !

Pno.

-" "

" -3" "+ "+ "

78 4

* " # " # "# " "

pause briefly between

q. = 66

"# "# " # " " "#

q. = 66

"+ # "+ # *" # "+*" + + p )+" # +" # +" # )+" +"

" # "# "#

" # " # $ # " )"/ ,# # mf

home - ward yearn - ing,

world - re - nowned

con sord. with Voice

q. = 66 1-3x

1 % ## +" # +" # "+ # " " " " ##& "# / p crisply

"## "## ," # " " "## " " "# " " "

*" *" " " " " ," ," sim. mf legatissimo

Mis - for - tune - com - bat - ting,

as before.

0 !

with Violin mp

% ## " # " # " "- ##& + + "+ # " 1 " p crisply

take mute

! 78 # Vln. ! 4 :

Pno.

"+ "+

! !

q. = 66

Vc.

q. = 66 1-3x as before.

78 ! 4 :#

S. Solo

Alto Sax.

78 4

Cl.

"# 0 "

Grec - ian hearts,

Alto Sax.

Vc.

" " " #

" # ," # " # "# "# "#

" # " # # , "" )"" ,# ## "# "# $ / ,# mf

take mute

" * "+ "+ "++ sim.

*" "

," # " # ," # !

S. Solo

! Cl. !

Alto Sax.

Pno.

! Vln. ! "

Pno.

" "

% ? ## ##

mute off

e = 104 or slower

"+ # ,"+ "+ "+ # "+ "+

con sord.

e = 104 or slower

"# " " "# " "

brief pauses

' '

" )" #

All

hail

" >4 "

)" " 84 )" * " "

thee, thou Et - er - nal

% '

3 4

> 4

% '

3$ 4

> )"" ## 4* "#

% '

3$ 4

: *" " mp ,, "" : /

brief pauses

e = 112

3: 4

"+ # " " "+ # " " ++ ++

"# "" "# " " "# " #, "" "" "# " # "" "" mp

brief pauses

e = 104 or slower brief pauses

e = 104 or slower

% '

" "

align with Voice

c. 3"

MOVE TO CENTER

c. 8"

Tha - lat - ta!Tha - lat - ta!

% ? L ! " " " " *" " ### ## #

S. Solo

Pensive e = 104

mp FACE FORWARD

% ? ##

Grec - ian hearts.

! ,,"" ## *" # ," # "# "# Vln. ! Vc.

"# , > "# 4

' *"" * " *" ,, "" ,, """

sea!

8 4

8 4 * "" *"" *)""" , "" ,, "" "" , 8 " 4

*"" , ""

M 84

S. Solo

! Cl. ! Alto Sax.

! Vln. ! Vc.

Pno.

Cl.

"# " " "#

getting faster

= 4

$ ," ,"+ # "+ "+ ,"+ #,"+ "+ $ # 3>

= 4

"+ "+ "+ # "+ " "

brief pauses

)" " "# " " " " " "# " " "

brief pauses

; ; ; 3; ; " " " # " " ";

getting faster senza sord. 3

brief pauses

The wat - ers heaved

getting faster

M % . ! *). . % . , 0 .

> 3

> " ,"+ # "+ "+ ,"+ # "+ "+ $ # 3 mp

- +" # + + +" # + + " *" " " "

> 3

" "+ # "+ "+ "+ # "+ "+ mp

> 3

e = e

! 3>

+ : "/

! > !3 $

> Vc. ! 3 $ " > !3 0> 3

+" + " "

@" "

1 : ,+" +" +" # # / mf 1 : ,+" +" +" # # / mf + +" + 1# # : "/ " " # #

They heaved and roared.

> "! 3 $ ! > Vln. ! 3 $

accel.

$ "- "# " " mp

= 4

"+ "+ "+ # "+ " "

Alto Sax.

Pno.

Brighter e = 120

% " " &#

Tha -- lat - ta!Tha - lat - ta! getting faster brief pauses

S. Solo

c. 5"

The sun poured

: "- *"+ " *# # + + 1 mf ' '

")" ) "# " " ")" ")"

$ '

1 "#"*" "*" " "")" ")" "

$ 1

"*" "*" "*" "

)" *" ," " " ," "

3 3

@,"9,"+ 33 f

@,"9 " 33 + f 9 @ " +" 33 f

@ " " 33 9 + f

3 3 3 3

S. Solo

N Flowing q 92 . 3 !3

= 84

! 3 ## Cl. ! 3

sfz

! 3 sfz ## ## Vln. ! 3 sfz

; ##

con ff

ing

down

)# -

ward

!0 Vc. " ,.

Pno.

6 6 1" 5 * " " , " " ," ," ," " " " " " " " " " " "*" " *" " " ! )")")"*" ")" " " ") " "" *" " *" "1 1 *" *" 1

S. Solo

f lush 5

03 3

! Vc. ! "

Pno.

sfz

N Flowing q = 84 *" " ," ," *" " ," " *" " ," ," *" " ," " 3 ! 3 " ," ," " " " " " ," " " " " ," ," " " " " " ," " " "

S. Solo

bow as needed, release harmonic slowly

3 ; Vc. ! 3 . "

Stream

To Ten. Sax.

3 ## Alto Sax. ! 3 "

Pno.

" )" " ) "

)" /

Its

flick

* 3" -

" -

molto rit.

' *"

ing

ros

molto rit.

" 3

lights.

" " ," ," *" " ," " *" " ," ," *" " ," " ! " ," ," " " " " " ," " " " " ," ," " " " " " ," " " " 0

S. Solo

Ten. Sax.

Vc.

Pno.

The

! "!

Cl.

Ten. Sax.

led flocks

of sea - mews

Tenor Sax

"+ "+

*"+

mp dolce

,"," *" , " " "," * " ," ," 5:4

3 -3 " " " 1" ##

O Lilting q = h = 48 *" " " "," ," " "*" " " "," " . " , " ! " " ," "

mp 5

# ! ))

! !

Flut

3 " " " # 1 )#

tered a - way

, "with shrill

f shrill ad lib

mf 1

* "-

screams

,","*" , " " "," * " ,"," # 1 " 1 " ," ," " " 1" " ," ," / *"-- *"-/ / "!

(whole step, while glissing) 3 3 !0 BCCCCCCCCCCCCCCC Vc. # " " " " " # )# 1

! 0

5:4

,1. 1 ) " ) " )1" " )" " " )" / / mf

" 1" 1

3 3

ad lib.

5:4

,+"

# 1 mf

,"," ," * " ,"," *" , " " " : * " ," ," ,"

mp dolce 5:4

5:4

Pno.

p dolce 5:4

101 goat trill

S. Solo

start

!0 "

O Lilting q = h = 48 5 3 1)" " ## " *" ")" " *" # " *" " " " /

,+" +"

+" +"

) +" ) +" +" f

3 3

" * " " * " 1" "

5:4

*"+

3 3

"+ "+

20 105

A ee -

)"9

ad lib.

" "

: *"/

The cours - ers

*" ," , " ," ," " * " ," ," *" , " " " ! , " , " +" ,+" ," ," " " " : , " , " Cl. ! ," *" " 5:4 f cantabile 5:4 5:4 mf + ," # *+" ). ' Ten. Sax. ! " ! Vln. ! $ Vc.

Pno.

0 "

',( ) +" !

," ," ,"

f cantabile

1"-

1,"-

+")+" + " ,"

) +#

) +"

)#+

108

S. Solo

, " ,"

stamped,

" ," : / the

shields

* " " )" ! ) " * " )" 3 *" + )" )" Cl. ! " ++ " ff appass. " " 3 ! $ ) " Vln. ! )" " )" *" ff appass. # # 0 & Vc. "

Pno.

P ',( )# !

" "

" " )" *" " ). *" 3 )" " " " *" "

" " " " / 3

ff cantabile

) ,")

rrr

" ," " -

& &

rat tled,

*"+

"+ *"+

" *1" # gliss. /

mf ,1" And

far

To B. Cl. ," ," ," , " " , " + + ) " * " " "+ )" )" ," / *" # " + + *" mf mp +" +" + , " ," +")+" + " " 3 " * , " " " , " ," )" " *" " )" f mp 3

' "

" " #

' "

" mf

" " ," " " ,"

1" " " " /

) +" ) +" +" : /

# #

" "

, " ," # ," ," #

" "

" )" # / " *" #

21 111

S. Solo

! ,,/.; Vln. ! Vc.

Pno.

Ten. Sax.

Pno.

, +" ,"

" " " " / 3

con

! "!

mp 5

molto rit.

! /; Vln. ! . " , 0 " Vc. "

Pno.

+" "

*" " " "," ," " "*" " " "," " ","*" " " "," ," " "*" " " " ," " " , " ! " " " " ," ," ," ,"

113

Ten. Sax.

/.; +" ,"

out,

+ + " ")+" + " " " *+" +, " " *"

, " ## ," # # /

molto rit.

*" " ," ," *" " ," " *" " ," ," *" " ," " ! " ," ," " " " " " ," " " " " ," ," " " " " " ," " " " 5

(release Ped. gradually) - - - - - - - - - - - - - - - - - - senza

q = h = 48

115 + + + + + + ! ," +" +, " " +" +, " ," +" +, " " +" +, " ," : +, " " : +, " ,+" : *" " *" " *" " *" " / "! *" " *" "

mp 5:4

! 0

5:4

+" , +" +"9 +"9 , +"9 +" / : / : /

5:4

q = h = 48

' '

" ,"

3 " ," "- " " ,"- ## " , " " " ," , " # 3

' 5

" *" ,""", " *" "

, 1" #

R 119

S. Solo

5:4

Pno.

0 % .

very fast

! $

+9 3+ +9 9 " $ " " oo

! )#

% #

- nnn

pae - an moderate 131 mp

! *" #

tu - u - us

9 9 9 " )" )" &

ee -ow-ee - ow

rrrre -

sound

"9 "9 #

*",", " ,"* " "

grander, broader

molto vib.

" )" )" )" " "

oo oo

$ ,") )

very free uvular tremolo p

% *# $ ) )

"9 "9 #

oo oo oo moderate mp 3

fluh

3 $ ,"," " "," "

like a tri - umph - al pae -

; ; ; ; ; ; mfvibrant ? mp ? % 1 " + + + ++ : $ )" - " " " " )" " " " " ( - "# "# "# " " " " "- , " " tri - umph - al harmonic gliss.

Ti - bi om - nes An - gel - i

ff screechy

rrr

129

5++ ?% " ")" " " " 3 " " *" " " " " )) *" " "" ""

11 @ 9 9 " " " #

)) " $ , # !

127

pushing forward uvular tremolo mp

126

S. Solo

)3"9 "9 ") " )")"*" " " )" " " " "

! #

S. Solo

more relaxed

124 chest voice

S. Solo

ah ah eh eh eh

Sanc

S. Solo

? mf )" " # # ) " " % & " " # " " ! #" 4-6x

123

S. Solo

Tha - lat - ta Tha - lat - ta

Sah

S. Solo

ALL INSTRUMENTS EXCEPT PIANO may improvise musical responses when SOPRANO delivers a phrase or gesture directly to them. PIANO keep pedal down throughout cadenza.

121

S. Solo

) ? BCCCCCCCCC ")" . "#

9 9 39 9 9)" *" " " # " )"

% " :)"/ :)"/ $ "# - "# "" " #

CADENZA: as written or improvised, very free SOPRANO MAY MOVE AROUND STAGE, ad lib sing phrases/gestures to instrumentalists

mp repeat as desired

,# ee

In - cess - a - bi - li vo - ce

" ) " )"

*" " "

)" "' " " " " )" "

doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo doo

rit.

faster

1 - "# - $ ")")" ," " # " *" " "" "#

Tha - lat - ta Tha - lat - ta

repeat as desired

Tha

lat - ta

3 3

S S. Solo

q = 96

c. 8"

132

! 33 "# - $ " "

SOPRANO: ad lib phrases from Te Deum chant or Xenophon, using these chant tones:

Tha - lat - ta!

! 3 B. Cl. ! 3

D $ "

slap

' '

134 accel.

S. Solo

* * * * * ad lib.

* * * * "#

* * * * * * D

* * * * * *

* * * *

," ,+ 9

poco a poco cresc. "" * * * * * * * poco a poco cresc.

q = 112

3& 3

Ten. Sax.

## " # "- " $ % ! + + "

! #arco Vln. ! % # "# "- " "#

Pno.

"+ # "- " $ ##& +

D $ "

$ $ ""

arco 0 % ## " # "- " # "- " # Vc. "

3 - 3 $ & , "+ # " " + *

accel.

D D 0 % ## $ ##& $ ," "9 ,+ 9

% '

"" $

line up with bass cl. as written

$ ##&

##&

pizz.

* * * *

" )" # "

All

WW and Strings: start repeated phrases as desired, independently, staying with pulse. Repeat until all instruments align at * then go on.

B. Cl.

- * * * ""

after c.6" add: arco

! %# ! # - $ ##& , "+ # " " +

* * "+ # "+ " * * * * * poco a poco cresc.

after c.4" add: arco

ad lib.

mf mute with thumb on string ad lib.

* * * *

after c.5" add:

pizz.

" # #

" "

* * * * * , "+ # " " poco a poco cresc. +

* * * * * * *

$ "" " p "

03 3

after c.3" add:

ad lib.

! 33

* * * * * *

ad lib.

03 Vc. " 3 Pno.

slap

! 3 Vln. ! 3

" " " #

ALL INSTRUMENTS: enter as indicated, then play boxed phrases as desired, staying with the pulse, pausing 2-4 beats in between.

Bass Clarinet

3 Ten. Sax. ! 3 "

hail

> 3 " " "

to thee, thou et -

, "+ , "+ # mp

* "+ # "- 33 " $ & +

$ "+ +" #

3 $ & "# " 3 "

mf arco

*" #

" 33 " $ &

," ,+ 9

3 3

q = 112

D 3$ 3 ," & 9

> -3 "+

"+ 3>

"+ )""+ ##

- 3> "

$ +" ,+" # arco

' '

" 3> /

> 3 > 3

137

S. Solo

B. Cl.

Ten. Sax.

Vln.

Vc.

> ! 3 )" " )#

! > !3

)" " " ""

)). .

" " ," "

"# ,"+ #

Alto Sax.

Vc.

: "- *" # "

"" mf

##& % ##,,"" "" ** "" ##"" ""

mf pause 2-4" in between

ord.

, "9 + , 1 senza 6

," "

% " " ""

All hail to thee, thou et - er - nal sea!

$ Alto Sax

q. = 66 (cue off piano)1-3x

1 % ## +" # +" # "+ # " " " " ##& / p crisply (cue off piano)

!0 "

pause briefly in between

*" ## " ## " # " " " # * "+ "+ "+ # " " " # 1 f

Pno.

" # ," # " " "- # "+ # , "+ # " " " # 1

! "" " # & # *" B. Cl. ! 1" " " "

% '

p crisply

% '

% ## # # "+ "+ "+ # " "

as before 1-3x

139

S. Solo

," "

Tha - lat - ta!

To Alto Sax.

T very fast 3 #& % ## )" " ) " " ) "" ##"" ""#

0> 3

,. ).

! 3>

Pno.

" , " , "+ "+

*" " "+ "+

0> " 3 "

Tha - lat - ta!

1 "#

q. = 66

> "! 3 *" ! > !3

1 "# ," "

Tha - lat - ta! Tha - lat - ta!

er - nal sea!

1 1 % ," # *" " " # " " $ #

0 f

, "+ # "+ #

n pause 1-2" in between

U Steady, Strict Again q. = 66 78 " # " # *" # *" " *"- " " # 4 + + + ++ + mf 78 ,+" # +" # *+" # ,+"*+" ,+"/ *" " # 4

! B. Cl. ! 141

"" ) " )" $# Alto Sax. ! " " " Vln.

Vc.

Pno.

! !

% ##

q. = 66 1-3x

- ##& "+ # "+ # " # " " 1" " "# p crisply

0 &#

$ "

! ## 0 ##

! 78 B. Cl. ! 4

q. = 66 1-3x

+ + % ## " # " #

p crisply

" # " " 1"/ " ##&

Vln.

78 "! 4

" ) " " ," *" " )" " )" " ," *"

mf legatissimo

## ##

*"+ # " # " # " #

## ##

" )" "

" ," *" )" " ," *" " )"

cresc.

," # ! ,,"" ##

"# 0 ,"" ## con 6

,##

gliss.

," $ 1" # /

"" ,, "" "" ### ," " " /

" ," *" " )" " ," *" " " ) " )" ad lib. gliss.

## ### # $#

)# # f

cresc. bow as needed

" # , "/ $

"#gliss.

gliss.

," " " # ,,","" *""" """ ,*"" *"" "" ## /

*""" ## """ *""" ,,","" *""" """ ## ### ## # / # #

"" ## ,, "" ### * "" , "" "# " " " /

ff expansive

," *"

"" *"" ++

" ," *"

" )" " )" " )" " , " * "

mf legatissimo

bow as needed

"# "" ##

*"+

,+" # *" # " # " # ,+" *+" ,+" mp

ad lib. gliss.

! 78 !4

"" ##

Grand q. = 72

078 # Vc. " 4 &

Pno.

"# "#

*"+ " *"+ *" ," "+ " + f +" * " + + + , ," *" ," ," , " /

144

Alto Sax.

,"# , "# 1

" ,, "" * " " " " # ,"" " "" **"" )*"" "" ## / ## ##

! ! 147

B. Cl.

Alto Sax.

" /$

Pno.

gliss.

0 ##

Vln.

Vc.

/ $

" /$

! ## !

"# "# "" ##

&# '

## ## ## ##

"+ # "+ # *" # "+ " "+ " " # + + mf ,+" # +" # *+" # ,+"*+" ,+" *" " # /

W mf 1 1 $ " " ##

p crisply

q. = 66 1-3x

% ##

q. = 66 1-3x

- #& "+ # "+ # " # " " 1" " # " #

p crisply

* " ," " # *"+ " *"+ "+ * "" "" ## + f + + + ,"*" ," ,"- ," " # ,"*" ," ,,""+ *,"" " #

Steady, Strict Again q. = 66

0 ##

+" # +" # " # " " 1" " " # / ##& % ## $# $#

++ + 1 % ## " # " # " # " " "/ " ##& " # $ #

0 $#

gliss.

q. = 66 1-3x

p crisply

! !

*" # ," # "# "# f ,,"" ##,* "" ##

1 % ## +" # +" # "+ # " " " " ##& "# ! " /

1" )1"

) " 1" 1"

cresc.

In - cess -a

! ##

Pno.

," *" " )"

Alto Sax.

gliss. " ," *" " )" " )" " )" " ," *"

" ," *" , "

)" ## / ::

S. Solo

)" "

" # ," *"- # # ! "" ## ,,"" "" ## ## " # " ,, "" ## ## 0 "" ## ,"" " # # /

150

B. Cl.

," *" )" " )" "

! "# Vln. ! Vc.

" )" " , " * " " ) "

# # ## ## ## ##

W 1" # 1" # " # , "" ### "" ### "" ### # $ *" # " # " # " # " " " * "+ # " # " # " # mf cantabile mp 1" # 1" # "# # ,"+ # *" # "# "# $

+") +" +" "" "" "" " "" +" * +" +"

27 f

! ##

)" "

154

S. Solo

B. Cl.

Alto Sax.

! !

Pno.

! B. Cl. !

Pno.

"" ## +" +" +"

"# )" # " #

"" ## "# 1 "# "" ## 1

"# ""##

1 1 h. $ " " " )"

$ ," " "# 11 mf

bi - li

" " "" /

1 1

" # " # *" " " "

= 4 gliss". ,"

,"*" ")" .

gliss " " ," *" " )"

"# "# $ # " # "# "# " ," " ,"" ## "# " ," # " # " # "+ "+ "+ , " # "" ## "" mf

1" 1 1" "

"" ""

$# ,, . . ##

= *" ")" ")" " 4 q.

= 4

" $ / " " 1" "" 1"

, " *1 "

q. )" " , " * "

= - $ 4 "

gliss.

" " 1" "" 1"

, 1" , 1" 1"

)" $

, 1" 1" ## mf

1" *1" 1"

"1 1" ","*"")" ")" " mf

"# " ## "# " ## "# " ## ""- "" ### "" ### "" ### ""* "" "" " ## " ## " " " " " " " "+ "+ "+ , "" # "" #"" mp

# ," *,. / "#

," *" " )" " )"

" , " ,"

)" #

"" ## "#

," $ /

*1" 1" ##

1- 1 , "" # " "# 1 ff"" # *" "# 1

q. " ) " " , " , 1 "" , " *" " " ) " " ) " , " * " "

h. gliss.

gliss. h.

0 ##

# 1" 1" " h.

"! ! Vln. !

" ," *" " )"

In -cess-a

Alto Sax.

Vc.

" "# " "" ## "" ##

1 1 $ ! *" " # #

S. Solo

)1" 1" " " )"

157

1 )"""-## " ""# " ## ! 1 1 1 1 0 "" ## "" ##

bi - li

WW & STR: realign with meter

! Vln. ! Vc.

= "# 4

= *" " "" 4 + + + + = )+" +" ) "" 4

1" 1"

*1" 1" 1" f

1" 1 1" ," f

"" + +" "

"" "" +1 +" 1 " ""

! Alto Sax. ! " 161

Frantic, in no Meter

+"q. # = 84-104 +" # +" # " " 1" # /

! # Vln. ! Vc.

Pno.

p dolce

% .

) +"

. ! . mp 0 . .

1 " " " "/ # /

mp obsessive

+" # +" #

Alto Sax.

Vln.

Vc.

! !

mp dolce

! ! "

p obsessive

* +"

+" # " " +" # /

Vc.

Pno.

! 0

" " " " " "/ " " " /

poco a poco cresc.

Piano: cue off cello q. = 84-104

# #

,""" ## """ ##,,""" ## *,""" ,""" *,""",### + + + # + + + mf

1 "" " "# / /

poco a poco cresc.

1" # /

mf 4:3

+" # +" # " # "# "# "#

+" +" +" " " ) +"9 +"9 1" , # # /

To Clarinet in Bb

(ad lib add 8va)

+ 0 "

1 " " " "/ # /

1 " " " "# / /

165

! Vln. !

) +"

p obsessive

"+ # "+ # "# " " " # 1

! . B. Cl. ! Alto Sax.

q. = 84-104

+" # " " +" # /

+" # +" #

"! &

" # /

Bass Cl: cue off cello q. = 84-104 163

B. Cl.

q. = 84-104

+" +" +" 1" " /

" /

" 3

1" # " / 3

' '

,""" ,,""" *""" + + + f

+"9 " *" ,#

! Alto Sax. ! " 167

! Vln. ! Vc.

Pno.

f calling out

+ 0 ,"

78 ! 4 :#

78 "! 4

0 78 " 4

Then they be - gan to run,

" "',(" " " " " " " *" " " " " " " " " " " " 3

the rear - guard and all,

Clarinet in Bb

, +"

.# +"

+" . #

+" ) +" .#

"" ## +"" ## +"" ## "" "" "" "" "" "" "" ) "" , ## ## /

. . ##

(with Voice)

mf legatissimo

1" /

+- + + " # " # " # " " " " " " " )" *# #

Y 78 ! 4 ""*" ""*" ," ," sim. 0 78 4

(with Violin)

! 78 "# Vln. ! 4

Pno.

con

! 78 Cl. ! 4

Vc.

" /

q. = 72

*" /

f calling out

1 , 1" 1 1 1+ ! ,,"""* ""*""" """ """/ ,### 1 4:3

168

Alto Sax.

,+"9 " "

S. Solo

SOPRANO MOVES CLOSE TO VIOLIN

*" * "+ "+*"+ + '

+" .# "*"*"

sim.

Plainchant

% ! .#

171

S. Solo

mf storytelling

FACE FORWARD

" " " " """ "

% .#

. ! % . ## Vln. ! pp

% Vc. ! . # "

% ! " " " " " " ### ### p % 0 '

% ,( ! ( (

and the gen - er-als and cap - tains,

cry

% ( ! *((

Z Undulating q = 100 FACE CLARINET 5 3 3 2 " # # """""" # " " 4 3 3

ing.

," # "/ ##

+ +" +")+" " " 32 " # 5

,# ,#

"- 2 """ ### 3

2 *""" ### 3 mp

ing

cry

"" " "" "" " *,## / 1 pp legatissimo p " # " # " " " " 2 "# "# 3 " # " # "" ## "/ "" " ,# ,# 1

Thal - at - ta!Thal - at - ta!

$ - " "# " *. .

cry

pp crisply

,,. .

ing.

"# 2 )" # " " &# 3 *" "

p solo, tender

4 ! 3 #" # 04 3

# # 2 """ ## """ ## "" ## 3

! 34 " " " *" "

"""""

! 4 Cl. ! 3 ' "

Pno.

p tender

176

S. Solo

% ( *((

! $ " " " "" " # # &

0000000000000000

Pno.

% ,( ( (

174

S. Solo

they em - braced each oth - er

0000000000000000

Pno.

" " " " " "

WW & Str: cut off on arpeggiated piano chord

When they had all got to the top,

! % .# Cl. ! Alto Sax.

""" ### """ ###

4 3 4 3

" " 34

Thal - at - ta!Thal - at - ta!

+ +" +")+" " " " # 5

" " "" ## "" "" "" *,## / 1 """ """ # "" # / "" ,, ## 1

" " 34

4 3 4 3

4 *" # ! 3 $ *" mp

178

S. Solo

Vln.

Pno.

hail

04 3

,"# # "/ #

" . .

,,. .

,, ##

sea.

3 3

% '

3 3

% '

3 3

% '

! $

Pno.

0 ).

Pno.

;

)"*"

! )( 1 0 ).

)" "

" )"

"" ' ).

" *" " " " *" "

)( 1

6 sim. p

;

*" "

fast, almost off the string sul tasto

;; )" " " " " ) " )" "

) BCCCCCCCCCCCC 3 *" " " " )" " " " # #

! "

! Vln. ! "

(open gradually to "ah") mp 5:4

183

S. Solo

;;;; """"

)# " )"

MOVE TO CENTER

," *" " "," )" *" " "#

sim.

," , " " , " " * " ) " * " #

;;;;;; ! "" Vln. ! " """ """

c. 5"

pp sotto voce

,. 3. 3E E 3

Meditative, Very Free

c. 5"

181

S. Solo

! 34 #" #

3% " " )" " 3 .

to thee! thou et - er - nal

! 4" "! 3 )" *" " " ! 4 "! 3

" *#

FACE FORWARD p

All

Cl.

" " " " $ """ " 3

da da da da

)" ).

; ," , " " " ; ," " " " 1 ,( .

da da da da

32 185

Cl.

Alto Sax.

! ! "!

! Vln. ! Vc.

! "

S. Solo

; "

= 3 &#

" )" )"

= 3 $

da da da da da da

"" ," ," " "

; "

! "

! *" ," ," Cl. ! ,"

ee - ow - ee -

" " Alto Sax. ! " " / : ! Vln. ! Vc.

)" "

= 3

;; " " ""

;; )" " " "

""""

;; """"

"* " ee

"" *

4 * * 3

""""

;; """"

If there is a backstage piano or keyboard available, pianist goes offstage.

;; "" ")" " "

" " ," " 9 9 " " -

" ; "

ah - oo

+" ," 4 " *+" " , " " ," + 3 ," ;

*" "

sim.

;; )" " " "

+" * +" " " " * +" "# " , " 4 / / 3

4 * * 3

4 3 #

" : *")")#

sim.

1 = ). 3

(ow)

)" *" ," *" " "

mp espr.

= 3 )" "

S. Solo

= 3

mp espr.

" " )"

0 .

187

da da da da

ord.

1 , ( !

Pno.

" $ " " " " 3= .

"""

Floating h = 54 BB (gradually switch to chest voice)

oo -

+ " +" "

" : , " ,+" +" " / ,"

+")+" * "

33 189

! Cl. ! "!

! Vln. !

5:4

BCCCCCCCC + ," " " " " # " , " +" +" , " # f

5:4

"""" * ," " 3

* * *

" * "

* * *

Vc.

& BCCCCCCCCCCCCCCCCCCCC " ," " , " " " * " " " " " "

! .

S. Solo

Alto Sax.

;

! "

S. Solo

! *" # Cl. ! Alto Sax.

! Vln. ! Vc.

Pno.

! 0

$ ;

" ; "

+ ) +" " " )+" " "

"" * " ;; ; """" " * "

"" "

;

" " " "

; ; 3 """ * * * * * " ," " ; ;; ; ," " " " * * * * *" " " "

ee - ow - ee - All

$ $

" " +" " 3 # 3

* *

* * *

; )< "" " *

Offstage Piano or Keyboard (if available):

" " )"*" )")" *" " # the an - gels

& )" pp

bow as needed

" "" 3 3 "" " * * )" " sub mp

mp semplice

3 . 3 .

mp espr.

3 /. 3

CC 3 ). 3 .

" " +" * +"

Broader q = 84

3 "# 3

" " +" * +" . 3 3

"" " " " -

" " )" " " " # ow e - ow - ee - ow+ " ) +" ) +" , +" +" +" " # : )" " )" " :

CC 191

)" " pp

SAX: begin to walk offstage

)# # # #

* * n

# #

)# )#

34 194

! #

S. Solo

$ *" *" #

Alto Sax.

! / Vln. ! . Vc.

Pno.

S. Solo

! )..

! Cl. ! &

CLARINET: stop, turn to audience, play

Vln.

Pno.

! / "! .

! ,.. 0 ,. .

to Thee

SAX: continue to walk off

," " ," """"""" ," "$ &

' )## ##

' # ,# ,# #

. ,.

,,. . ,* . .

))## #

,# # ,# #

con - tin - u - al - ly

"" """ "" "

con - tin - u - al - ly

con - tin - u -al - ly

/. . . ,. .

/. ## ,##

,## ,##

backstage:

/. ,# # ,##

)" *" " 3

cry.

ad lib 8vb

CLARINET: continue to walk off

" " ," "5:4" " " ," " "5:4" " " " 5:4 ," " "," "3 " ,#

Cher - ub - im, Ser - aph im

Alto Sax.

*" " ," *" )"

Cher-ub-im

SAX: stop, turn to audience, play

)). . ). .

0 ). .

! ,"

& '

all thePow'rs there-in

CLARINET: begin to walk offstage

Cello: leave stage

200

" " ," *" ," .

all theHeav'ns

! )" " " " " " " " )" " $ Cl. !

& ," " ," & ," ,"

the

)" " " " " " pp

)" " " " " "

/. *## ##

All

)). . )). .

Chant DD Anglican % , " mp ")" $ ,% # ! )" $ " " "

205

S. Solo

! Cl. !

earth,

all the heav - en - ly

"! ! / Vln. ! . "

Alto Sax.

Pno.

! . . 0 . . ! ," " "

! Cl. !

all

Pno.

,"" "" " " ,"

"" . . " *. . ## .

Alto Sax.

Vln.

Pno.

tin - ual - ly do

cry.

! / "! .

! " " " " ,. . " " " ) " ppp 0 "" "" "" "" ,,. .

(1st x only)

## &

$ '

% & $ % /. % ,. . % ,,. .

,,". " , " " " " " " -

## ##

' /.

. . . .

' ," " " " " " ," "

con -

.. . .

$ "" " """"""" " " $ &

## /.

dim. throughout

dim. throughout (first time only)

% '

SOPRANO and PIANO: walk offstage slowly

% ,#

the Heavens, and

# # # # # *# # #

" " " """"""" " " ## $ $ &

," " " " " "

% . . pp . E

3-4x ppp

! " " " " .

! Cl. !

% ' % '

% /.

216

S. Solo

""""" " "" ""$ & Alto Sax. ! "

! ,"" 0 ,,""

% .

To thee Cherubim and Ser - aph

the pow'rs there - in.

! / Vln. ! . "

,# % To thee all Angels" " cry " " " " "a " "- " loud; "" & $ $& pp mf n % ' ' ' % VIOLIN: walk offstage while playing /. /. /. % cue off Soprano ,# ,. ,# ,. ,# # ,,.. p ,% . ,# # ,,. . ,# ,. ,#

210

S. Solo

' ""

## ##

(omit last time)

$ $

," " " " " " ' ' '

## ## ## ##