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.
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&
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-
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which light - ed
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), .( ( was
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sun and moon
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there
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there
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(
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which
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earth.
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13
1(.( ( (.( $ *
59
S. Solo
(( (
Ah
T. 1
! $ #
- , ( $1( ( 0$ 1 ( ( 1 ( $ ( p
an em - per - or An- ton -y
&
10 $
(( (
($
&
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Ah
&
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"
T. 1
), ! ( ), ( ( ( ( $ # there was
($
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B. D.
"
'
/
there
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-
was
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&
p ( .( $1( ( .( $ 1( ( .( $ ( ( 1 ( 1 ( ( 1( * ( 1( * * * *
&
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p
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an em - per- or, Ah there was an em
($ -
($
-$
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& -$
2 3
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an em - per - or Ah
mp buoyant
&
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&
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&
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-
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2 3
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Choir II
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p
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T. 2
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mp
T. 2
($
per or
& -$
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2 3 2 3 2 3 2 3 2 3
14
F
Tempo II q. = h = 54-60 ff legato
63
S. Solo
T. 1
7 2 $ 3 10 # His
Choir I
solo (falsetto) mf legato His legs
( 1( ;0 &
altri f
7 0 &
legs
' 2 170 .1070 & 3 f
B. 1
His
7 ' 2 10 " 31 0 f
B. 2
His
F
T. 1
T. 2 Choir II B.1
B.2
B. D.
! 2 $3 #
0$
His legs
! 2 5 $3 # f
T. 2
( ( 10
$ 23 5
legs
7 00 &
legs
15 1( $ .( ( ( $ 4 * 1( * 3 1( be - strid the oc - ean;
his reared
Crest - ed the world;
arm
Crest - ed the world; 3 mf
2 10 6 3
&
2 10 6 3
&
2 3 10 6
&
His
4 170 3
&
His face
70 70
His
4 70 3
&
His face
7 7 10 10
His
4 170 3
&
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& &
F Tempo II q. = h = 54-60 - 8 5$ / 23 5 $ mf
arm
7 7 0 10
his reared
His face
&
'2 " 3
3
1( ( ( 10
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&
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reared
15 reared
5 reared
15 reared
Tempo II q. = h = 54-60
2 $3 #
mf
4 3
&
4 3
&
4 3
&
4 3
&
-
8 34 5
&
arm
arm
arm
arm
2 170 70 & 3 f
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&
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7 2 10 1700 & 3 f
&
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&
2 7 70 & 3 10 f
His back
- 8 2 5$ 3
- 8
mp
G 67
$ &
S. Solo
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his
7 ! $ 0 # His 7 $ 0 # His
T. 1
T. 2 Choir II
' 70
B.1
His
"
B.2
B. D.
7 ' 10
His
T. 1
$ ! $ #
Choir II
$ #
B.1
'
T. 2
B. D.
&
arm
7 10 70
&
"
' /
(rhythms approximate)
was pro - per - tied
< 10 3
sub p
As all the
< 10 3
sub p
< .0 3
sub p
&
< 10 3
sub p
arm
< 3
10 .0 0 0 0
poco a poco accel.
0 .0 0 0 0 voice
His
6
poco a poco accel.
voice
His
&
poco a poco accel.
.0 10 0 0 0 voice
His
arm
7 10
c.6"
1( ( 1( ( ( ( ( (
0
His
arm
%
S. Solo
B.2
7 0
voice
< ( 1( 1( 3
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
/ 5$
70
1(1( ($ (
mp dolce
Freely, Dreamily
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poco a poco accel.
voice
&
& & 0& 0&
& 0&
w/fingers
6
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pp
c.6"
10
10
= 6
tuned spheres,
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c.6"
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c.6"
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mf
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and that to friends;
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poco a poco cresc.
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But when he meant
poco a poco cresc.
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voice poco a poco cresc.
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16
c.8" 73
$
S. Solo
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f
quail
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and
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mf
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5
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T. 2
mf
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(play continuously until m. 75)
B. D.
/
mf
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17
H
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Urgent h = c.72
75
S. Solo
T. 1
ff
2 $3
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orb,
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f ! 2 .7( 7( 7( 7( 7( 7( ( 7( 7( 6 $3 * * # But when He meant He meant He was
Choir I
B. 1
was
7 7( + )( 7 ( +( ( 5 as rat - tling
He meant He was He was
7, 7 7, 7 7 1(( (( (( (( (7( 1( ( 7( 7( 6
f 7 7 7 7 77 7 7 ' 2 .(( (( (( (( (((( (((( (( 6 * 3 *
7 7 7 7 77 7 7 ' 2 ..((, (( ((, (( (( (( (( (( (( 6 " 3
He meant He was He was
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& 7 .0 f
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H
T. 1
T. 2
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! 2 $3 #
Urgent h = c.72
&
$ 23 & #
6
He
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-
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6
B.2
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ff
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As before h = c.54-60
) 9
ff
l.v.
18 78
$
S. Solo
T. 1
! $ #
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legs
7 ' +0 " +0
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T. 1
$ #
Choir II
'
B.1
B. D.
"
'
/
4 7 3 0
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&
4 +70 3
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&
legs
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! 9 $ #
T. 2
B.2
&
legs
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mf
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7 0
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4 7 3 0
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7 $ +0 # His
Choir I
&
mf
& mf
T. 2
4 3
&
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&
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5 reared
5 reared
2& 3
&
0
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+(
There
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boun - ty
p
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4 3
&
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6
&
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arm
arm
arm
mf
7 0
2 70 +.070 3 7 20 30
mf
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2 3
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4 3
boun - ty,
&
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arm
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2 .5 $ 3
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&
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+(( +( 5 boun - ty
&
4 3 4 3 4 3 4 3
19
, $ 34 .( +( ($ +(* ( +( $
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 #
4 $3 #
an An - ton - y
&
it was
de - lights
&
&
&
&
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&
/ 34
&
mf
p
2 3 2 3 2 3
&
6
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&
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pp
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it;
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mf
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&
6
the more by reap - ing.
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mp
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de - lights
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&
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2 3
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p
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0$
mf
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p
+( 5 de - lights
&
20
I
0
85
S. Solo
T. 1
Slightly Faster, Joyful
$
0
f
) (1( ( (
Were dol
($ ( 0
-
= &
c. 5"
mf ) (1(
phin - like
($
dol -
( 10
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
dol
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
-
De
f
' .( +( ( +( ( +( ( 0 lights
-
7
' 1( .( ( +( ( +( ( 0 " lights
I
T. 1
-
7
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f
B. 2
1(
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$$
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lights
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7
lights
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&
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$$ 1( .( .( +( .( +( ( 0
Slightly Faster, Joyful
! $ #
7
1(
-
7
1( De -
$$ $$ $$
A FEW SOLOISTS: sing boxed phrase as desired (either part, or together as a duet), pausing 2-4" in between.
, ( , +( +(( +( .( * *
they showed his back ALL BUT TENORS AND SOPRANO SOLOIST (led by conductor): Repeat m. 86 multiple times, until Soprano cue "they showed his back"
T. 2 Choir II B.1
$ 6 # ' 6
f
- 1(
( .( 1( .( ( +( ( $$ 10
-
( +( ( +( ( $ 0 $
-
( +( ( +( ( $$ 0
-
De - lights
-
(
f
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B.2
' " 6
I B. D.
f
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Slightly Faster, Joyful
/ &
6
7
7
7
1(
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.(
( +( .( +( .( +( ( $$
De - lights
1(
7
7
( .( .( +( .( +( ( $$
De - lights
7
with brush: hit rim, then hit rim again, splattering on drum head.
-
8
f
$$ (), +
6
6
-
(
$$
21
c.20" Soprano: make upwards legato phrases on "Ah"using any combination of these pitches:
$
S. Solo
T.1
! $ #
+( ( +( +( ( .( + ( ( 1(
mp
mf
After c. 20" sing:
SOPRANO: Repeat as desired then re-align with chorus at fermata
( (= 1 ( 5 1 ( , , .( 1(
*CUE
, +( , ( +( +( they showed his back
ab - ove the
pp
1( .(1( .(.(+( (10
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lights
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B. 2
T.1
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lights
Choir II
B. D.
"
= &
7
they
= - 1(( 1(( +.(( 1(( 5 5 $$ 3
-
dol - phin - like
= 1( 1( .( ( 5 $ 3
were
dol - phin - like
= &
mf
6 0
they
pp
10
(lights)
pp
0
pp
'
0
(lights)
/
6
6
(lights)
B.2
= &
TENOR 1: When you hear Soprano cue, sing one more box then stop.
continue mf
'
B.1
6
were
1( .( .(+(.(+( ( 0
$ #
T. 2
7
0
pp
'
! $ #
7
pp
'
B. 1
el - e- ments
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
, ,
= - 1( ( .(1( .( ( +( ( 19
@
( (+( (+( ( +( ( 9 = -
@
De - lights
De - lights
7
7
De - lights
7
(switch to soft beater) n
@
= - 1( ( .( (+( ( +( ( 9 &
= &
22
J As before h = c.54-60 .( 6 $ 0$ 0
S. Solo
&
lived in.
T. 1
! 6 $ #
Choir I
"
'
B.2
B. D.
7 0
face
7 00
7 .00
mp
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5
9
&
7 .0
face
His
J
&
p
7 mp ' 70 .100 "
&
4 3
2 & 3
- 6
2 3
&
p 2 7 3 0
& &
In
7 0
&
voice
p 7 2 70 .100 & 3 His
4 3
0
&
His
4 3
6
p
p 2 70 3 0
His
voice
7 00
&
voice
As before h = c.54-60
7 $ 0 # His
'
&
&
mp
B.1
&
.( 1( ( ( .( 4 0 $ 3
&
! 0$ $ ( # lived in.
Choir II
0$
&
J
T. 2
10
Ah
'
B. 1
T. 1
5
$ #
T. 2
B. 2
pp distant (or a few voices)
4 3
& &
face
As before h = c.54-60
9 / pp
&
His
7 0
legs
07
170
&
His
legs
7 .00
7 00
His
9
legs
4 5$ 3
2 5$ 3
7 4 0 15 3
2 10 3
6
&
7 40 3
2 10 3
6
&
4 70 5 30 5
2 0 3 0
6
&
4 3 5$
2 9 3
His
His
&
His
reared
.5 reared
reared
6
arm
arm
arm
$
S. Solo
T. 1
9
! $ #
&
$ .0 # His
T. 2 Choir I
' .0
B. 1
His
B. 2
' " 00
His
T. 1
9
! $ # $ #
T. 2 Choir II
'
B.1
( ( ( - 6
( 5
His
de
mp
0$
boun - ty
His
1( .(( (( - 6
mp
boun - ty
His
(( ( ( - 6
4 0$ 3
+0 $ mp
0$
mp
0$
lights
( 5 de
lights
+( 5 de
lights
mp
- ( 0
&
His back
&
mp
- ( 10
&
His back
&
&
-
( 0
mp
His back
B.2
B. D.
"
'
/ 9
&
& 6
& 5& $
40 3
his
.5
4 3 0$
&
mf
&
mf
1( 1( 1( ( 1( .( 0 3
3
15
liv
1)0 $ mf
-
3
His
liv - er - y
1)0 $
3
mf
4 0$ 3
1)0 $
( 1( ( 0
His
liv - er - y
4 3 6$
mf
) 10 $
& 0&$
)& 0&$
mp
His
p
6 p
( 1( ( 0 liv - er - y
mf
er - y
( 1( ( 0
His
4 3
Walked
&
mf
40 3
1(
liv - er - y
15
15
4 0$ 3
( 1( ( 0 $
mp calmly
3
mf
4 30
40 3
( 5
boun - ty
&
mf 1)0 $
23
3
3
1(( ( (( 00 liv - er - y
& 5& $
pp
6 p
6
p
6
24
$ ( $ 1( * 1(
6 1( $ (*1( (
Slower and Freer, Recitative-Style
S. Solo
( 0$
crowns and crown - nets;
! $ #
a tempo
( 1( 23 10 15
5
realms and is - lands
were As
plates dropped
&
&
&
2 3
$ #
&
&
&
2 5 3
B. 1
'
&
B. 2
' 5$
T. 1
T. 2 Choir I
"
&
& 5& $
B. D.
5
from
his
& 5& $
a tempo
A
2 3
&
4 3 1( 0 $ mp
6
pock - et
5$
p
dropped
2 5 3
mm
&& 5 / $
p
plates
pock - et.
4 3
mp semplice
5$
Slower and Freer, Recitative-Style
from his
&
2 0 3
&
5$
pp
4 ( 1( 3 1( 1 ( 5
5 p
Ah
4 15 3
6
4 15 3
6
4 3
&
&
% S. Solo
K 2 $3 ( ! 2 $ 3 10 # Think
6
p tenderly
- 1( 10
Think you
BOTH CHOIRS UNTIL END p tenderly
T. 1
-1.0
p tenderly
T. 2 Choirs I & II B. 1
2 $ 3 10 # Think
p tenderly
' 2 10 3
Think
p tenderly
B. 2
'2 " 3 10
Think
&
you
.00
&
0
&
you
you
0
you
&
1( 1( $
0$ pp
there was
0
0
there
was
pp
& &
0
0
&
there
was
there pp
pp
0
there
was
10 was
4 3 10
.5
4 3 10
5
4 .0 3
5
a
a
&
($
or might be
a
10
0
, ( ( .( 34 5
4 3 0 a
man(n..)
man(n..)
man(n..)
15 man(n..)
(1( such
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
(( ( ( ( 3
3
or might be
3
= (( ( ( (( ( ( (( ( ( 0
(( ( ( (
3
or might be
3
3
or might be
3
(( ((
(( ((
(( ((
there was
there was
there was
= &
3
or might be
6
6
= &
6
6
= &
or might be
%
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
= &
, ( ( 1( 1( 3
a man as
this
= 9 ppp
= 1199 mm
= &
&
<3 "
&
<3 6$ "
-$
ppp
<3 6$ "
-$
= 19 mm
= &
Tempo I q. = c.54-60
= 19
ppp
mm
= &
L <3 "
ppp
= 19 mm
1( $ pp
Ah
1( $
pp
Ah
pp Choir I An - ton -y
<3 " 1($ ($ ( ( 1($ ( ( ($ ( ( ($ ( (
Choir II
An - ton -y
An - ton -y
An - ton -y
26
$ -$
S. Solo
1( $ I
! $ #
T. 1
Choirs I & II
dreamt
-$
of
6$ -$
($
"
'
-$
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