Such Another Sleep

LISA BIELAWA

Such Another Sleep for men’s double chorus (TTBB TTBB), Soprano Solo & optional Bass Drum

2012 Text by William Shakespeare

commissioned by Akademiska Sångföreningen

©2012 by Lisa Bielawa

LISA BIELAWA

Such Another Sleep (2012) commissioned by Akademiska Sångföreningen

for men’s double chorus (TTBB TTBB), Soprano Solo & optional Bass Drum

Text by William Shakespeare, from Antony and Cleopatra I dreamt there was an emperor Antony.

O, such another sleep, that I might see But such another man!...

His face was as the heavens, and therein stuck A sun and moon, which kept their course and lighted The little O o’th’earth….

His legs bestrid the ocean; his reared arm Crested the world; his voice was propertied As all the tuned spheres, and that to friends; But when he meant to quail and shake the orb, He was as rattling thunder. For his bounty, There was no winter in’t; an Antony it was That grew the more by reaping. His delights Were dolphin-like; they showed his back above The element they lived in. In his livery Walked crowns and crownets; realms and islands were As plates dropped from his pocket…

Think you there was or might be such a man As this I dreamt of?

Antony and Cleopatra, V.2.76-94

Program Note Shakespeare’s Antony and Cleopatra is among his most stylized plays, using language that coils meanings within meanings in a kind of ritual language-theater experience that seems at first to distance us from the tragedy, but then somehow seems to open up many layers of poignancy and grief within us. Most even hesitate to call the play a tragedy, since these characters are devastatingly human rather than epic or classically heroic. I suppose this is what makes it even more heartbreaking when Cleopatra describes her lost Antony in such elevated images at the end of the play, as Caesar’s men approach her with self-consciousness and nervous awe, even though they are the victors. They may have vanquished her lover and seized her kingdom, but through Shakespeare’s eyes they seem more emasculated than triumphant in her presence.

In the selection I’ve chosen, we find Cleopatra addressing these many men who were responsible for her lover’s demise, describing the god-like Antony – matchless in beauty, power, virility, kindness and ferocity – that appeared to her in her dream and asking them if any man like this could possibly exist, so far greater than any other man is he in so many aspects. But through her vivid images I feel I am witnessing not Antony’s greatness, but the greatness of her love for him. Isn’t any man just “such an Antony,” to one who loves him? I see the men’s chorus here in several roles at once – they could be Caesar’s men, to whom Cleopatra is speaking; but they could also be so many Antonys, a whole chorus of living answers to her question, “Think you there might be such a man as this?” These multiple, coiled identities allow the chorus to give voice – and face – to both Cleopatra’s lover and her captors.

Such Another Sleep William Shakespeare

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S. Solo

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/

there

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&

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Tempo II q. = h = 54-60 ff legato

63

S. Solo

T. 1

7 2 $ 3 10 # His

Choir I

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altri f

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legs

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4 170 3

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(rhythms approximate)

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&

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c.6"

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S. Solo

B.2

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voice

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15

Choir II/BD repeat boxed phrase independently as desired, pausing 2-3" between repeats, out of phase with one another, accelerating phrases gradually through m.74

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c.8" 73

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82

S. Solo

was no win - ter in

T. 1

T. 2 Choir I

B. 1

B. 2

T. 1

T. 2 Choir II

B.1

B.2

B. D.

! 45 $3 #

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85

S. Solo

T. 1

Slightly Faster, Joyful

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0

f

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c. 5"

mf ) (1(

phin - like

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phin like

A FEW SOLOISTS: sing boxed phrase as desired, pausing 2-4" in between. Do not align with one another.

! & $ #

f

) (1( ( (

After Soprano phrase above, add this box

($ ( 0

dol -

) ( 1(

phin - like

* ( $ ( 10

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phin like

ALL BUT TENORS AND SOPRANO SOLOIST (led by conductor): Repeat m. 86 multiple times, until Soprano cue* "they showed his back"

f

T. 2 Choir I B. 1

$ 1( .( 1( .( .( +( ( 10 # lights 7

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A FEW SOLOISTS: sing boxed phrase as desired (either part, or together as a duet), pausing 2-4" in between.

, ( , +( +(( +( .( * *

they showed his back ALL BUT TENORS AND SOPRANO SOLOIST (led by conductor): Repeat m. 86 multiple times, until Soprano cue "they showed his back"

T. 2 Choir II B.1

$ 6 # ' 6

f

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with brush: hit rim, then hit rim again, splattering on drum head.

-

8

f

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6

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21

c.20" Soprano: make upwards legato phrases on "Ah"using any combination of these pitches:

$

S. Solo

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! $ #

+( ( +( +( ( .( + ( ( 1(

mp

mf

After c. 20" sing:

SOPRANO: Repeat as desired then re-align with chorus at fermata

( (= 1 ( 5 1 ( , , .( 1(

*CUE

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pp

10

(lights)

pp

0

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6

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TENOR 1: When you hear Soprano cue, sing one more box then stop.

continue mf

'

B.1

6

were

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7

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TENOR 1: When you hear Soprano cue, sing one more box then stop.

continue mf

.0

3

after c. 10" put brush on drum head and roll w/hand

, ,

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@

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B.2

B. D.

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face

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pp distant (or a few voices)

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&

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arm

arm

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T. 1

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$ .0 # His

T. 2 Choir I

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B. 1

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B. 2

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T. 1

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T. 2 Choir II

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B.2

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15

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S. Solo

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! $ #

a tempo

( 1( 23 10 15

5

realms and is - lands

were As

plates dropped

&

&

&

2 3

$ #

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2 5 3

B. 1

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B. D.

5

from

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A

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6

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6

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K 2 $3 ( ! 2 $ 3 10 # Think

6

p tenderly

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Think you

BOTH CHOIRS UNTIL END p tenderly

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4 3 0 a

man(n..)

man(n..)

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15 man(n..)

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25

= $ $ .( 1( 0 $

molto rit.

S. Solo

! 0$ $ #

T. 1

B. 1

$ 0 # = ' 0

B. 2

= ' 0

T. 2 Choirs I & II

"

= &

6

a man

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3

or might be

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there was

there was

there was

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6

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6

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Freely, Very Slow

S. Solo

T. 1

T. 2 Choirs I & II B. 1

B. 2

2= $3 6 ! 2 $3 #

2 $3 # '2 3 '2 " 3

- % (1( ( $ pp

such

= &

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a man as

this

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= 19 mm

= &

Tempo I q. = c.54-60

= 19

ppp

mm

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L <3 "

ppp

= 19 mm

1( $ pp

Ah

1( $

pp

Ah

pp Choir I An - ton -y

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Choir II

An - ton -y

An - ton -y

An - ton -y

26

$ -$

S. Solo

1( $ I

! $ #

T. 1

Choirs I & II

dreamt

-$

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