The Consolation of Apollo | Kile Smith | MusicSpoke by MusicSpoke

The Consolation Of Apollo SATB, percussion

Kile Smith

†

AU.IMPRINTS

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The Consolation of Apollo Kile Smith SATB with Crotales, Bass Drum played by singers Duration: 35 minutes The Bass Drum is mounted horizontally so that, in movement 5, two can easily play it simultaneously. For balance with the choir, it may be necessary to use a drumhead dampener, in addition to dampening with the players’ hands. A muffled sound throughout would be ﬁne.

Commissioned by Eric Owens for The Crossing, Donald Nally, conductor, The Consolation of Apollo premiered at Princeton University, Wolfensohn Hall, on October 10th and 11th, 2014, and at The Church of the Holy Trinity, Rittenhouse Square, Philadelphia, on October 12th. When he approached me with the idea that became The Consolation of Apollo, The Crossing’s conductor Donald Nally had been looking for a companion piece to David Lang’s The Little Match Girl Passion. They had been performing it since it won the Pulitzer Prize in 2008, and were looking for a work, that, with the Lang, would comprise an evening’s concert. So, along with an otherwise unaccompanied chorus I used some of the percussion and, significantly, the context of Christmas from the Lang work. The spine of Apollo is Nally’s vision for some use of the 1968 Christmas Eve broadcast by the crew of Apollo 8, as they became the first astronauts to leave Earth’s orbit, circle the moon, and photograph the entire Earth. With the transcript of their communications I interspersed selections from The Consolation of Philosophy by Boethius (480–524). Philosopher, Christian apologist, and translator of Aristotle, Boethius was one of the greatest thinkers and authors prior to the Middle Ages, combining Classical thought and theology. In the Consolation he considers good and evil, our place in creation and on fortune’s wheel, and, at times, Apollo (Phœbus), the mythical charioteer of the sun. A consul to the Ostrogoth Emperor Theodoric, he wrote this while imprisoned by Theodoric, who suspected him of treason, as Boethius attempted to improve relationships with Constantinople. Boethius was executed shortly after completing the Consolation. The Consolation is not overtly Christian and mentions God, as a higher power, only briefly. In this it is a cousin to the Seneca texts I set in The Waking Sun, also composed for The Crossing. In my selections from Boethius, I attempted to highlight his appreciation of myth, but also his judgment of it as inadequate. The compelling translation/adaptation attributed to King Alfred has the rhythmic and imaginitive power of Beowulf. It and the lyrical James and Cooper translations provide textured counterpoint to the Apollo 8 transmissions. That 1968 Christmas Eve television broadcast famously (and in some quarters, infamously) included the recitation by the astronauts of the first ten verses of Genesis, “In the beginning, God created the heaven and the earth….” This text is mixed together with the prosaic chatter among the crew and Houston as they position the craft for what are now the iconic photos of Earth. The setting of the prose was the tallest musical hurdle for me, as I wanted to convey the informal, even chaotic quality of the speech without sacrificing lyricism. The model that offered a solution was the sung Passion, where three singers of different ranges portray Christ, the narrator, and the crowd. I assigned Commander Frank Borman to the basses, Command Module Pilot James Lovell to the tenors, and Lunar Module Pilot William Anders to the altos. Astronaut Ken Mattingly, on the support team in Houston, is voiced together by the altos, tenors, and basses. The distance and low-quality sound of the transmission was something I wished to approximate. I was unwilling to use percussion for this purpose mainly because of the length of the text, as percussion quickly tires the ears. After rejecting some vocal techniques, I decided to employ the sopranos in a halo of pre- and post-echoes of the lower three voices. In the Genesis reading the lower three sometimes switch this sonic role with the sopranos. Again, a hurdle in Genesis 1 is the length of a not obviously musical text. One technique I used—interesting to me, anyway—is bitonality, or the sounding of two tonal centers at the same time, the idea coming from the description of God’s dividing the light from darkness, and the firmament from the waters. At one point the women are in one key, the men in another; or I combine the sopranos and basses in one key, and the altos and tenors in another. The bass drum drives the rhythm here and there, and the crotales are mostly simple—even simplistic—bell-like heralds of the astronauts, resolving into an evocation of the sincerest of wishes for a Merry Christmas for all. This, I believe, is the emotional center of the piece. Philadelphia, October 1st, 2014

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The Consolation of Apollo Kile Smith SATB with Crotales, Bass Drum played by singers Duration: 35 minutes 1. Thou may’st know, if thou wilt notice p. 5 from Metres of Boethius, XXXI adapted by King Alfred the Great (849-899) from The Consolation of Philosophy by Boethius (480-524) and translated by Walter John Sedgefield, 1900 Thou may’st know, That many creatures Fare over earth With gait and colour And aspects also Queer and common. With all their body No wings them help; Nor pace the earth, Some on two feet Some are four-footed; Wing ’neath the clouds. Is drooping earthward, On the ground looking, Man only goeth With gait upright, This is a token His trust and his mind To the heavens above, Like beasts earthward. That the mind of a mortal While his face he holdeth

if thou wilt notice, of various kinds with unlike motions, quite diverse, of endless kinds, Some creep and crawl bound to the ground; on feet they walk not, as was them appointed. fare o’er the ground, some in flight Yet each creature stooping downward, longing for earth. of all God’s creatures gazing upwards. that he shall turn more up than down, lest he bend his thoughts It is not meet should remain below up to heaven.

3. Wings are mine p. 18 The Consolation of Philosophy, Book 4, Song 1 Boethius, trans. H. R. James, 1897 Wings are mine; above the pole Far aloft I soar. Clothed with these, my nimble soul Scorns earth’s hated shore, Cleaves the skies upon the wind, Sees the clouds left far behind. Soon the glowing point she nears, Where the heavens rotate, Follows through the starry spheres Phœbus’ course, or straight Takes for comrade ’mid the stars Saturn cold or glittering Mars; Thus each circling orb explores Through Night’s stole that peers; Then, when all are numbered, soars Far beyond the spheres, Mounting heaven’s supremest height To the very Fount of light. There the Sovereign of the world His calm sway maintains; As the globe is onward whirled Guides the chariot reins, And in splendour glittering Reigns the universal King.

2. Yes, it’s beautiful p. 10 The crew of Apollo 8, December 24th, 1968 Hither if thy wandering feet Borman: How’s that steam pressure, Bill? Find at last a way, Anders: Good. Here thy long-lost home thou’lt greet: Lovell: Frank. ‘Dear lost land,’ thou’lt say, Anders: It isn’t even boiling yet. Yes, we just started. ‘Though from thee I’ve wandered wide, Borman: Here it comes! Hence I came, here will abide.’ Anders: Okay. Borman: Oh boy! Yet if ever thou art fain Lovell: Get a good shot of her? Visitant to be Borman: Yes, see it? Of earth’s gloomy night again, Lovell: Well, keep the camera there. Keep the camera. Surely thou wilt see Anders: Here it comes. Here it comes. But you’re not on yet. Tyrants whom the nations fear You got it... you got to do something. Pitch up or yaw. Dwell in hapless exile here. Borman: Yaw right? Anders: Yaw right. Lovell: Oh, Jesus. ... Houston, Apollo 8. Anders: Roll her a little bit. Roll her a little bit to the... to the right. Lovell: Here, you want me to fly it just to come a... Anders: That one’s got it, the roll. Yes, yes. It’s the roll that’s got it. Roll right, if you can. Lovell: We’re rolling. Anders: Come on, gang. Lovell: We’re going to radial out. Are we... you got her coming up? You see her, Frank? Borman: Yes, it’s beautiful. This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

4. The Sea of Tranquility p. 25 Anders: Houston. Lovell: Houston. Go ahead, go ahead. Mattingly: Loud and clear and an initial look at your systems are good. Anders: Houston, Apollo 8. Over. Mattingly: We’ve got a picture, Apollo 8. Anders: Roger. We’ve got the T... Roger. We’ve got the TV... Lovell: Roll... roll left. Anders: Huh? Borman: Roll left a little, can you? Lovell: Yes. Borman: Did he say it was a good picture? Anders: How’s the picture look, Houston? Mattingly: Loud and clear. Anders: The TV look okay? Mattingly: That’s very good. Lovell: Welcome from the Moon, Houston. Borman: And the world. Mattingly: Thank you. Anders: Is this our landing site we’re going over now? Lovell: Yes, this is our landing site right down here. Anders: We’re now going over our... Lovell: Approaching our landing site. Anders: ...approaching one of our future landing sites... Lovell: Right now. Anders: ...selected in this smooth region to... Lovell: Called the Sea of Tranquility. 5. While the bright sun Metres of Boethius, VI While the bright sun Gleaming in heaven, Over the world For their light is nought, When set against When softly bloweth The wind ’neath heav’n, The flowers of the field, But the stiff storm-wind, From out of the north-east, The rose’s beauty! The spacious ocean Till strongly heaving Alas, that in the world Firm and lasting

p. 32

of the deep. And the spirit of God moved upon the face of the waters, and God said, “Let there be light.” And there was light. And God saw the light, that it was good, and God divided the light from the darkness. And God called the light Day, and the darkness he called Night. And the evening and the morning were the first day. And God said, “Let there be a firmament in the midst of the waters. And let it divide the waters from the waters.” And God made the firmament and divided the waters which were under the firmament from the waters which were above the firmament. And it was so. And God called the firmament Heaven. And the evening and the morning were the second day. And God said, “Let the waters under the Heavens be gathered together in one place. And let the dry land appear.” And it was so. And God called the dry land Earth. And the gathering together of the waters called he seas. And God saw that it was good. And from the crew of Apollo 8, we close with good night, good luck, a Merry Christmas and God bless all of you... all of you on the good Earth. 7. The stars shine p. 53 Consolation, Book 3, Song 1 trans. W. V. Cooper, 1902 The stars shine with more pleasing grace when a storm has ceased to roar and pour down rain. After the morning star has dispersed the shades of night, the day in all its beauty drives its rosy chariot forth. So thou hast looked upon false happiness first; now draw thy neck from under her yoke: so shall true happiness come into thy soul.

most clear is beaming, gloom enwrappeth all other bodies; nothing at all, the sun’s great brightness. from south and west then soon wax fain to be able. when it strongly bloweth how soon it nippeth By the northern blast is helpless spurned it striketh the beach. nothing weareth long on this earth!

6. In the beginning p. 38 Borman: Hey, why don’t we start reading that thing... Lovell: No, we’ve got to go into it very nicely. Why don’t we... as we go into sunset... Anders: Right. Lovell: ...or is it sunrise? This is sunrise, yes. We’re approaching lunar sunrise. Anders: We are now approaching lunar sunrise, and for all the people back on Earth, the crew of Apollo 8 has a message that we would like to send you. In the beginning, God created the Heaven and the Earth. And the Earth was without form and void, and darkness was upon the face

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Commissioned by Eric Owens, for The Crossing

The Consolation of Apollo SATB with Crotales, Bass Drum played by the singers

Kile Smith

1. Thou may’st know, if thou wilt notice Metres of Boethius, XXXI adapted by King Alfred the Great (849-899) from The Consolation of Philosophy by Boethius (480-524) and translated by Walter John Sedgefield, 1900 Steady (q = c.68) Sopranos

° 3 ‰ fœ œ œ &4 J Thou f

Altos

Basses

may’st

˙™

œ ‰ ‰ œj œ J

˙™

bœ know,

if thou wilt

‰ œj œ œ

thou may’st know,

if thou wilt

f œ ˙™ 3‰ œ œ œ œ ˙ &4 J ‹ may’st know, Thou œ œ ˙ f ˙™ ? 43 ‰ œJ œ ¢

may’st

‰ œj œ œ œ

thou may’st know, p

may’st

Thou

p œ j ‰ ‰ J œ œ

know,

j 3 & 4 ‰ œ œ œ œ ˙™ Thou

Tenors

˙™

b˙ ™

œ ‰ ‰ j œ œ J

j œ ‰ œ œ œ

thou may’st know, p œ J ‰ ‰ œJ œ

˙™

know,

if thou wilt

œ ‰ œ œ œ J

thou may’st know,

if thou wilt

Bass Drum

Percussion

3 j / 4 >œ. ‰ Œ Œ

∑

œ.

∑

œ. mp

œ. œ. p

f dampened

° j & œ œ ‰ œ œ œ

j œ œ ‰ œ œ œ

That man - y

no - tice,

crea - tures

j & œ œ ‰ œ œ œ

crea - tures

Fare

o - ver

earth

œ œ

Fare

o - ver

earth

œ œ

Fare

o - ver

earth

var - ious kinds

j œ œ ‰ œ œ œ

j & œ œ ‰ œ œ œ ‹ no - tice, That man - y ? œ œ œ

œ œ

var - ious kinds

j œ œ ‰ œ œ œ

That man - y

no - tice,

var - ious kinds

œ œ œ

œ™

œ y

crea - tures of

var

œ.

œ œ J

¢ no - tice, That

/ œ.sim.

œ.

man

œ.

ious

œ.

with un - like

‰ œj œ œ with un - like

j ‰ œ œ œ with un - like

œ œ œ œ œ œ

kinds

‰ œj œ œ

Fare

œ.

o - ver earth with

œ.

6 11

mf sub.

° j & œ œ ‰ œ œ œ œJ œ™ With gait and

mo - tions,

œ œ ˙

col - our

With gait and

œ œ ˙

col - our

pects

j œ œ œ

al - so

of end -

j œ œ œ œ œ œ

œ œ™

And

quite di - verse,

j j œ œ œ

œ œ™

And mf sub.

quite di - verse,

j & œ œ ‰ œj œ œ œ œ™ mo - tions,

pects

al - so of

end

mf sub.

j œ œ œ™ œ œ ˙ & œ œ ‰ œJ œ œ œ œ™ ‹ motions, With gait and col - our And quite di - verse, as mfœ œ œ™ œ ? œ œ œ œ ‰ œ œ œ œ œ œ œ ¢ J un

With gait and col - our quite diverse, And

like mo - tions,

/ œ.

œ.

œ. Œ

œ.

œ œ œ œ œ œ œ J -

pects

al - so of

end -

œ œ œ œ J

œ œ

pects

œ. œ. Œ

al - so of

end - less

œ.

‰ œj œ œ

° œ &

less

kinds, p

j œ œ œ

& œ™ -

Queer

œ œ

& ˙™ ‹ less ? ˙™

and common.

‰

kinds, p

less

j j œ œ œ ‰ œ œ

‰ œ

Queer

kinds, p

Queer

œ.

Queer

œ.

j ‰ œj œ œ œ œ

j œ œ™

Some

creep and

j œ œ œ ‰ œJ œ

œ œ™ J

œ J

¢ / œ.

creep and

and common.

‰ œ

kinds,

Some

and common.

‰ œ

j œ œ™

Some

creep and

œ œ ‰ œJ œ

œ œ™ J

and common.

œ.

Some

crawl

œ.

With all their

‰ œ œ

crawl

œ œ

‰ œj œ œ

œ œ

With all their

‰ œJ œ œ

crawl

œ.

j œ œ œ With all their

crawl

creep and

œ.

œ œ

With all their

œ.

° & œ œ œ bod - y

Œ Œ œ

bound to the ground;

& œ œ œ bod - y

œ œ ˙™

˙™

Œ Œ œ

wings them help;

œ œ

Œ Œ œ

bound to the ground;

& œ œ œ œ œ ˙™ ‹ bod - y bound to the ground; ? œ œ œ œ œ ˙™

Œ Œ œ No

˙™

œ œ

wings them help;

˙™

Œ Œ œ

œ œ

wings them help;

˙™

œ œ

Œ Œ

œ œ Œ

feet they walk not,

Œ Œ œ

œ œ ˙™

œ œ œ

œ œ Œ

œ œ feet they walk not,

œ œ œ

œ œ Œ

feet they walk not,

œ œ œ

Œ Œ

œ œ Œ

¢ bod - y

/ œ.

bound to the ground;

œ.

œ. œ. Œ

wings them help;

∑

œ. œ. Œ

feet they walk not,

∑

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∑

Kile Smith—The Consolation of Apollo

7 33 29

° & œ ˙ Nor pace

& œ ˙ Nor pace

œ ˙

œ œ œ

the earth,

as was them

œ ˙

œ œ œ

the earth,

as was them

˙™

f j œ œ Œ ‰ œ™ œ œ œ J ap- point - ed. Some, f j œ j Œ ‰ œ œ™ œ œ œ

ap- point - ed.

some on two mp

œ™ œ œ œ Œ ‰ œ œ J J

œ ˙

œ œ œ

the earth,

as was them

œ ˙

œ œ œ œ œ ™ œ œ œ Œ ‰ fœ œ J J

Nor pace

the earth,

as was them

ap- point - ed.

œ ‰ ‰ œj J œ œ

˙™

Some, f

& œ ˙ ‹ Nor pace ? œ ˙

mp œ J ‰ ‰ œj œ œ

some on two mp

˙™

œ J ‰ ‰ œj œ œ

Some,

some on two

˙™

mp œ J ‰ ‰ œJ œ œ

¢ /

∑

ap- point - ed.

∑

Some,

œ. œ.

∑

some on two

œ. œ. Œ

œ. mp

œ.

f 36

° j & œ œ

j œ œ œ

feet

fare o’er

& œj œ feet j & œ œ ‹ feet œ ? J œ

fare o’er

the ground,

fare o’er

œ.

° & œ œ ˙

œ™

Some are

‰ œj œ

the ground,

j œ œ œ

feet

Some are

‰ œj œ

j œ œ œ

¢ / œ.

the ground,

j œ œ œ fare o’er

‰ œj œ

j œ œ

œ œ œ™

four - foot - ed; some

Some

are

four

œ.

ﬂight

foot - ed;

Wing

’neath

ﬂight

Wing

’neath

œ œ œ œ œ œ

some

œ.

’neath

ﬂight

œ œ œ -

Wing

j œ œ

œ œ œ™

j œ œ

œ œ œ™

the ground,

œ.

Some are

œ.

ﬂight

Wing

œ.

the

clouds.

& œ œ ˙ the

‰ œ Yet mf

œ™

‰ œ

clouds.

Yet mf

& œ œ œ œ ‹ the clouds.

œ™

? œ œ ˙

œ™

‰ œ Yet

œ œ œ each crea

œ œ œ

‰

œ œ ‰ œ œ œ œ œ J -

ture

droop - ing earth - ward,

j œ œ ‰ œ œ œ œ œ -

ture

droop - ing earth - ward,

œ œ ‰ œJ œ œ œ œ -

droop - ing earth - ward,

œ œ œ œ œ œ œ ‰ J

Œ œ œ œ

stoop - ing down - ward,

Œ œ œ œ

stoop - ing down - ward,

Œ œ œ œ

stoop - ing down - ward,

Œ œ œ œ

¢ ’neath the

/ œ.

clouds.

œ. Œ

Yet

œ. œ. Œ

each crea

∑

ture

∑

droop - ing earth - ward,

stoop - ing down - ward,

∑

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. Kile Smith—The Consolation of Apollo

∑

8 52 46

° ‰ j & œ œ œ On

the ground

& ‰ œ œj œ On

look p

œ ing,

‰ ˙

the ground

look p

the ground

look

∑

˙™

‰ œ œ œ œ J long

‰ œ

Man on - ly go - eth f

˙™

‰ œJ œ œ œ œ

˙™

earth.

˙™

Man on - ly go - eth f

˙™

long - ing for

∑

‰ œJ œ œ œ œ

˙™

earth.

ing for

Man on - ly go - eth f

˙™

œ ˙

j œ œ

f ‰ œJ œ œ œ œ

˙™

earth.

long - ing for

ing,

j œ œ

ing,

˙™

long - ing for

j œ œ ˙ & ‰ œ œ œ ‹ On the ground look - ing, p ? ‰ œ œj œ ˙ œ ¢ On

j œ œ

‰ œ

œ œ ‰ œJ œ œ

˙™

earth.

∑

Man on ly go - eth

∑

j ‰ Œœ. > f

∑

° œ œ œ & ‰ J

œ œ ‰œ œ œœ J

of all God’s crea - tures

& œ of

œ œ

œœ J

With gait up - right,

j œ œ œ

all God’s crea - tures With

œ gait

œ J

œœ J

˙™

wards.

gaz - ing up

œœœ

up - right,

˙™

gaz - ing

j œ ‰œœœ œ œ ‰J œ œ This is a

wards. This

that he shall

bœ œ

˙™ œ œ œ œ œ ‰œ œ œœ œœ œœ ‰ J J & J J ‹ up - right, gaz - ing up of all God’s crea - tures œ œ œWith gait ˙™ œ œ œ œ œ œ œ ˙ ? J J

to - ken

œœ œ œ

œ œ

is a

he shall

to - ken that

œ ‰œœ œ œ J œ œ œ ‰J œ wards.

that he shall œ œThis isœ œa toœ - ken œ œ œ œ

¢ of

all God’s crea - tures With

∑

gait

up - right

gaz-ing up

∑

wards. This

∑

is a

to - ken that

∑

he shall

∑

° œ & œ œ

œ œ œ Œ œ

turn his trust

and his mind

œ œ œ Œ œ

& œ œ œ turn his trust

& œ œ œ ‹ turn his trust

and his mind

œ™

œ œ œ Œ œ

? œ œ œ

œ™

œ œ œ Œ œ and his mind

œ™

œ ˙ J

œ œ œ œ™

œ œ ‰ œ J

j œ

than down,

To the heav - ens

a - bove,

lest p

j œ ˙

j ‰ œ œ œ œ œ

j œ

than down,

To the heav - ens a

lest p

œ J ˙

œ œ œ œ™

œ œ ‰ œ J

j œ

than down,

To the heav - ens

a - bove,

œ ˙ J

œ œ œ œ™

œ œ ‰ œ J

∑

and his mind

Œ œ Œ .

œ J

than down,

To the heav - ens

a - bove,

œ. Œ

bove,

lest p

¢ turn his trust

œ œ œ™

œ.

Œ œ Œ .

œ. Œ

œ.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Œ œ . p

lest

Kile Smith—The Consolation of Apollo

9 65

° & œ œ

Œ œ

bend his thoughts Like

earth - ward.

bend his thoughts Like

& œ œ ‹ bend his ? œ œ

beasts

It f

beasts

is not

‰ œJ œ œ

œ œ ‰ J œ

earth - ward.

meet

That

the

mind

meet

That

the

mind

is not

meet

That

the

mind

meet

That

the

mind

œ œ ˙™

¢ bend his thoughts Like

It f

œ œ ˙™

thoughts Like

is not

‰ œj œ œ

earth - ward.

œ œ ˙™

beasts

œ œ ˙™ Œ

& œ œ

‰ œJ œ œ

beasts

∑

earth - ward.

∑

œ.

∑

œ.

is not

˙™ > open

œ.

˙™

° œ œ œ &

œ Œ œ

should

a mor - tal

& œ œ œ

œ Œ œ

re - main

œ ˙

œ œ œ

œ™

j œ œ œ

be - low

While

his face

to heav - en,

˙™

œ ˙

œ œ œ œ œ™

j œ œ œ

While

his face

to heav - en,

˙™

œ ˙

œ œ œ

œ™

While

his face

to heav - en,

˙™

œ ˙

œ œ œ

œ™

œ œ œ J

While

his face

to heav - en,

œ œ Œ

œ œ œ

should

a mor - tal

˙™

œ œ Œ

œ œ œ

re - main

be - low

œ œ œ Œ œ œ œ œ œ œ Œ & œ ‹ a mor - tal should re - main be - low œ œ œ œ œ œ œ œ ? œ œ Œ Œ

hold - eth

hold - eth up

hold - eth

œ œ œ J

¢ should

a mor - tal

∑

Œ ˙ >

re - main

be - low

Œ Œ œ >

˙™

hold - eth

∑

ff ° œ œ ‰ & J

up ff

j & ‰ œ œ up ff

œ œ ‰ & J up ‹ ff ? ‰ œJ œ ¢

œ œ to

˙™

heav

˙™

œ to

˙ heav

en.

bœ

˙™

œ ‰ Œ J

b˙ ™

˙™

œ ‰ Œ J

˙™

œ J ‰ Œ

j œ. ‰ Œ >

˙™

en.

˙™ -

˙™

en.

Œ ∑

œ ‰ Œ J

en.

˙™

heav

j ‰ Œ œ / >.

˙™

∑

œ.

ff dampened

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies. Kile Smith—The Consolation of Apollo

2.Yes, it’s beautiful

The crew of Apollo 8, December 24th, 1968 Same tempo q = c.68

staggered breathing for the sopranos throughout

div. pp sempre

Sopranos

° bb b 4 & b4

w w

∑

˙˙ ™™

w w

∑

œ œ

Good p

How Alto 1

b b4 &b b 4

sim.

∑

Frank

j ‰œ ˙

∑

Good. Alto 2

b b4 &b b 4

∑

‰ œj ˙™

‰ œj It

Good. Tenor 1

b b4 &b b 4 ‹ Tenor 2 b 4 & b bb 4 ‹ Bass 1 ? bb b 44 b

˙ ∑

∑

Ó Frank. p

∑

‰ œJ œ

Frank. p

œ 3œ œ œ

œ ∑

∑

steam pres - sure, Bill?

How’s that Bass 2

p 3

? b b4 ¢ bb4

∑

œ œ œ œ œ ˙

∑

Crotales l.v. sempre

∑

How’s that steam pressure, Bill?

b 4 & b bb 4 œ œ œ

œ œ ˙™

w ∑

p sempre 89

° bb b œ & b œ

˙˙™™

w w

b & b bb ‰

Ó ˙˙

w w

Yes

w w

Here

j œ

œ œœ œ œ œ œ œ

is - n’t e - ven boiling yet.

‰ œ œJ œ œ œ ˙ Ó Yes, we

∑

∑ ∑

just start - ed.

b & b bb œ œ œ œ œ œ œ is-n’t e -ven boil - ing

b & b bb ‹ b & b bb ‹ ? bb b b

yet.

‰ œ œœ œ œ J J J Yes,

œ ˙ Ó

we just start - ed.

œ J

‰

∑

œ J

‰

∑

∑ œœœœœœ Here

? bb ¢ bb

∑

it comes!

œ œ œ œ œJ œ Here

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œ J

it comes!

Kile Smith—The Consolation of Apollo

11 94

° bb b ˙ & b ˙

˙˙

w w

bb &b b Ó

∑

kay.

Œ ˙™

˙ O

kay.

bb ∑ &b b ‹ b ∑ & b bb ‹ ? bb b œJ œ™ œ Œ b

∑

Get

a good

shot of her? 3

∑

‰ œJ œ œ œ a

Get

œ ™ œ œ œ œœ œ ˙

good

shot of

her?

∑ boy!

œ œ œœœ

œ œ œ œ

œ œ ˙™

œ 3œ œ ˙

‰ œ œJ œ

? b b ˙™ ¢ bb

w w

Get

j œ œ™ œ Œ

‰ œ™

bb &b b Ó

˙ ˙

w w

œœ™ ˙

œœ w

∑

boy!

° bb b & b w w

w w

˙˙

w w

Well

Yes

b & b bb

∑

b ∑ & b bb b & b bb œ Œ Ó ‹ b & b bb œ Œ Ó ‹ ? bb b Œ œ œ œ Œ b

∑

3 œ œ œ œ Œ˙ œ œ œ œJ J ‰ J

yes,

Yes,

Œ œ

see,

see

œ œ œ œ œ œ œ œ œ™

Well,

keep the, keep the cam - er - a

Œ ‰ œ œ J ˙ Well, Ó

œ œ œ œ keep the, keep the

there.

Yes,

Œ œ œ œ œ ‰ œœ œ œ J

cam - er - a there.

∑

it?

yes,

see,

Œ ˙ œ ˙ see

it?

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Keep the

j œ œœ œ œ ‰ œ

? bb b œj œ™ ¢ b

œ‰ œ œ J

∑

Keep

12 106 104

° bb b w & b w

Ó ˙˙

w w

Here

bb &b b

∑

œ œ œ ‰ œj œ œ œ

œœœ

it comes.

Here

bb &b b

∑

it comes.

Here

bb &b b œ œ œ œ Ó ‹ cam - er - a. b b &b b œ œ œ œ Ó ‹ the cam-er - a. ? bb b ∑ b ? bb ¢ bb

∑

‰œ

œœ œ œœ œ

œ œ œJ œ™

Here

comes.

œ j œ œ œ œ J œ™

Here

≈ œ œ

comes.

But you’re

≈œ œ œ

But you’re not

∑

109

° bb b w & b w

w w

b ™ & b bb œJ œ

œœ J yet.

not on

œ œ œ ‰ œj œ J You got

it…

you got

œ œ œ

do some-thing,

‰ œj œ

you got

œ 3œ œ ‰ j œ do some - thing.

Pitch

3 3

b & b bb œ ™

œ œ œ œ œ ‰ œj œ œ œ œ œ ‰ J yet. You got it…

b & b bb ‹ b & b bb ‹ ? bb b b ? bb ¢ bb

you got

do some - thing,

j œ you

j œ

œ œ œ œ œ‰ œ got

do some-thing.

∑

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Pitch

Kile Smith—The Consolation of Apollo

13 112

° bb b ˙˙ ™™ & b

œ œ

w w

Yaw

bb j & b b œ œ™

œ œ œ œ œ™ œ

bb &b b œ

yaw…

œ œ œ œ œ œ™ or

bb &b b ‹ bb &b b ‹ ? bb b b

∑

œ œ™ ˙

Yaw

right.

yaw…

œ œ™ ˙

Yaw

right.

∑

œ™

3 œ œœœ

Yaw

right,

œœ

œ œ™ J

yaw

right?

? bb ¢ bb

∑

œ œœœ

Yaw

right,

œ œ œ œ

œ œ ˙

yaw

right?

116

120

° bb b w & b w

div. a4

w w

∑

œœ œœ

œœ

˙˙ ™™ Je

Oh,

w w w w sus.

div. pp

b & b bb œ ˙™

∑

j ‰ œœ œœ

œœ

Oh, div. pp

b & b bb w

∑

œœ

˙˙

‰ œj œ œœ

œœ

Oh,

sus.

œœ

˙˙ -

w w

sus.

pp div.

b & b bb ‹ b & b bb ‹ ? bb b w b

˙™ ∑

∑

∑ Oh, pp

∑

∑ Oh,

˙ ∑

œœ

Oh,

∑

˙˙

∑

œœ ™™ œœ œœ J

œœ

Oh,

sus.

ww -

sus.

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w w

∑

˙ Ó

w w

sus.

˙˙ ™™

div. pp

? bb b w ¢ b

˙˙

˙˙ sus.

˙˙

pp div.

˙˙

Je div.

w ∑

˙˙

14 130 123

° bb b ww w & b w

˙˙˙˙™™™™

div. a2 pp

∑

w w Roll

bb w &b b w

w w

˙˙

∑

bb &b b w w

w w

˙˙

∑

w w

˙˙™™

bb &b b ‹ b & b bb ‹

unis. p

Œ Ó w w

˙˙ ™™

œ™ œ ˙ J

Œ œ

A - pol - lo

Hou - ston, unis. p

œ Hou - ston,

w ? bb b w b

? bb b ww ¢ b

œ œ ˙™ b & b bb œ œ œ

˙ Ó

∑

Eight.

j œ œ ˙

‰ œ ˙™ J Eight.

A - pol - lo

œ w

j œ™ œ ˙

∑

‰ œJ ˙ ™

œœ ˙ J

˙˙ ˙˙

w ∑

∑

131

° bb b w & b w

w w 3

bbb pœ œ3 œ œ œ œ b & Roll her a

w w

lit - tle bit. 3 p

œ 3œ œ œ œ œ œ Roll her

œ œ œ ˙

œœœ œ

a lit - tle bit

to the,

to the right.

3 3

b & b bb Œ

œ œ œ œœœ Œ Roll her

b & b bb ‹ b & b bb ‹ ? bb b b ? bb ¢ bb

lit - tle bit.

œ œ œ œœœ œ Roll her a lit - tle bit

œœœ ˙ to the,

œ œ œ to the right.

∑

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Kile Smith—The Consolation of Apollo

134

° bb b & b w w

w w

That

Here

bb & b b ˙™

∑

‰™ œ R

œ œ œ œ™

That one’s got it,

bb & b b ˙™

the

r œ œ

™ œ œ œ œ™ ‰

∑

That one’s got it,

the roll.

bb &b b Ó ‹ b & b bb Ó ‹ ? bb b b ? bb ¢ bb

œ™ œ œ œ œ

Here, you want me to

ﬂy

œ it

j œ ˙

œ œ œ™ just

to come

a…

œ™

j œ œ™

œ œ œ œ œ œ œ œ œ you want me to ﬂy

Here,

just

come

a…

∑

137

° bb b w & b w

w w

˙˙

w w

b & b bb ˙

3 ‰ œ œ œ™

‰ œJ œ œ œ

roll.

Yes,

yes.

œ œ œ™ J J

It’s the roll

that’s got it.

œ œ

œ™ œ ˙™

Roll right,

if you can.

b & b bb œ ‰ œJ œJ œ ™ Yes,

b & b bb ‹ b & b bb ‹ ? bb b b ? bb ¢ bb

yes.

∑

‰œ œ œ

œ œ œ œ œ œ œ œ™ œ w

It’s the roll

that’s got

∑

it.

Roll right, if you can.

∑

‰ œJ œ We’re

∑

œ œ™ roll - ing.

j ‰ œ œ We’re

∑

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143 141

° bb b w w & b bb &b b œ

œ œ™ œ

Œ Œ

w w

Come

gang.

œ œ™

˙™

Come on,

bb & b b ˙™ ‹ b & b bb œ œ™ ˙ ‹ roll - ing. ? bb b b ? bb b ¢ b

œ ‰ J j œ ‰

Come on,

bb &b b œ

w w

gang.

œ We’re

œ 3œ œ œ œ œ œ Œ

œ 3œ œ

go - ing to ra - di - al out,

go - ing to

∑

œ œ œ œ œ œ œ Œ

œ We’re

go - ing

ra - di - al out,

∑

144

° bb b w & b w

w w

bb &b b b & b bb

∑

∑ 3

b & b bb œ œ œ œ Œ ‹ ra - di - al out.

≈ œ œ œ œ œ œ

œ œ œ J Are we…

you got her com - ing

œ J

‰

≈ œ œ œ

up?

You see her,

3 3

b & b bb œ œ œ œ œ œ œ Œ ‹ go - ing to ra - di - al out. ? bb b ∑ b ? bb ¢ bb

∑

j œ œ Are we…

≈ œ œ œ œ œ œ you got her com-ing

j œ

‰

up?

∑ ∑

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Kile Smith—The Consolation of Apollo

17 146

° bb b w & b w

w w

˙ ˙

˙˙ Yes

bb &b b

∑

bb &b b

∑

3 b b w ‰ œ œ œ œ &b b œ ‹ you see her, 3 b b ™ ‰ &b b ≈ œ œ œ œ œ œ œ œ ˙ ‹ you You see her, see her, ? bb b ∑ ∑ b

∑ Frank?

∑

˙™

Frank? p

w ∑

∑ Yes, p

˙™

? bb ¢ bb

∑

Œ Yes,

151

° bb b & b w w b & b bb b & b bb

w w

∑

b œ & b bb Œ Ó ‹ b & b bb œ Œ Ó ‹ ? bb b ˙™ Œ b

˙ Ó

œ œ œœœ

it’s

œ™

∑ it’s

∑

œ Œ Ó

∑

œ w J

œ Œ Ó

∑

beau - ti - ful.

? bb b ˙™ ¢ b b & b bb

w w

beau

∑

ti - ful.

∑

œ œ œ œ

œ ˙™

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3. Wings are mine

Boethius The Consolation of Philosophy, Book 4, Song 1 trans. H. R. James, 1897 Same tempo q = c.68 158

° b 2 mfœ™ & 4

œ œ

Wings mf

2 & b4 œ ™

are

œ œ œ œ

œ™

soar.

œ œ œ œ

œ™

the pole

a - loft

soar.

pole

œ œ

Far

a - bove

mine;

a - loft

Far

œ œ œ œ œ œ œ œ œ œ œ™ 2 ™ J & b4 œ œ œ ‹ Wings are mine; a - bove, a - bove the pole Far a - loft I œ œ œ mf œ ™ œ œ œ ? b 42 Œ œ œ œ œ ¢ Wings

‰

a - bove the

mine;

œ œ

Wings mf

œ œ œ œ

the

are mine; a - bove

pole

Far

a - loft

‰

œ™

‰

soar.

163

° b œ™ œ œ & &b œ™ œ œ

soul

nim

œ J

œ™

œ J

with

these,

nim

Scorns

earth’s

ble soul

œ œ œ œ nim - ble soul

œ ˙

ble

soul

ted

j œ œ

j œ

Scorns

earth’s

Scorns

earth’s

j œ œ nœ œ ha - ted

shore,

œ œ œ

shore,

œ J

œ œ J

œ œ œ œ

œ™ œ œ œ œ œ Clothed with these, my

œ™

œ œ œ

œ œ my

Clothed with these,

my nim - ble

Clothed with these,

™ &b œ ‹ Clothed ? b œJ ‰ ¢

œ œ œ œ

ted

œ nœ

shore,

œ œ

œ œ œ

œ Scorns

earth’s

ha - ted

Cleaves

œ Œ

shore,

169

° bœ &

Cleaves the

&b œ

Cleaves the

œ nœ œ™ nœ œ™j ≈ skies

up - on

™ œ œ

skies

up - on

™ & b œ nœ œ œ œ ‹ the skies up - on ? b œ œ nœ œ œ ™ Cleaves the

skies

up - on

the wind,

j œ œ™ ≈ the wind,

œ Sees

œ œ œ œ J the clouds

left

Sees

far

j œ œ œ œ™ œ ˙

the clouds

far

left

œ œj œ J

the clouds

left

far

œ Œ

be - hind.

œ œ œ œ™ J œ ˙ far

œ Œ

be - hind.

œ nœ œ ™ œ ˙

left

œ Œ

be - hind.

j œ nœ œ œ

œ œ ™ ≈ œ œ œ œ œ œ J J the wind,

nœ œ œ œ™ œ ˙ J

œ Œ

be - hind.

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Kile Smith—The Consolation of Apollo

176

° b œ™ & Soon

&b œ™ Soon

™ &b œ ‹ Soon ? Œ ¢ b

œ œ the

glow

œ œ the

the

glow

œ™ Soon

point

œ J

she

nears,

œ™

‰

the heav’ns ro - tate,

œ œ J

the

‰

œ œ J

hea - vens

nears

œ™

the heav’ns ro - tate,

Where

she

Where

glow - ing point

the

Where

œ J

ing point she

ing

œ nears,

ing point she

glow

œ œ

œ™

‰

ro - tate,

Where the heav’ns ro -

tate,

181

° b œ™ &

œ œ

the

Fol - lows through

&b œ™

œ œ

star - ry

Fol - lows through

œ œ œ œ

spheres

Phœ - bus’

œ œ œ

the

star

™ œ™ œ &b œ J ‹ Fol - low through ? b œJ ‰ œ™ œ œ œ ¢ Fol - low through the

course

ry spheres

Phœ

œ œ œ œ

star

spheres

Phœ -

course

œ J

bus’

straight

œ œ œ

course

œ œ

j œ œ nœ œ

bus’

straight

j œ

œ œ J

star - ry spheres Phœ -

the

œ ˙

j œ œ

œ œ œ œ

œ J

œ œ œ™

nœ

straight

Takes

œ œ œ

œ Œ

course or

straight

187

poco

° b œ œ œ nœ œ™ nœ j ≈ œ™ & Takes for com - rade ’mid

the stars

œ Sa

œ œ œ œ J -

turn cold

nœ œ œ œ œ ˙ J glit

t’ring

j œ ‰ Œ

Mars; poco

j & b œ œ œ œ œ ™ œ œ™ ≈ Takes for com - rade ’mid

the stars

j œ nœ œ œ

œ Sa

turn cold

j œ œ œ œ œ ˙ glit

t’ring

j œ ‰ Œ

Mars; poco

j ™ œ œ œ œ nœ œ œ ˙ & b œ nœ œ œ œ œ œ™ ≈ œ œ œ J ‹ for com - rade ’mid the stars Sa - turn cold or glit - t’ring Mars; n œ ?b œ œ œ œ ™ œ œ œ œJ œ œ œ œ œJ œ œ œ œ ˙ ¢ Takes for com - rade ’mid

the stars Sa

turn

cold

glit

t’ring

Mars;

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j œ ‰ Œ

poco

œ ‰ Œ J

20 194 194

° # mpœ & Thus mp

# & œ Thus

œ œ™ J

each

circ - ling

orb

j œ œ™

each

circ - ling

orb

each

œ œ™ J

orb

circ - ling

œ œ

Through Night’s stole that

ex - plores

œ œ

- plores

œ œ œ™ J J

ex - plores

Through Night’s

Far

Then,

Through Night’s stole that

œ œ J

peers;

œ œ

œ Œ

peers;

Through Night’s stole that

ex - plores

# mp œ œ œ œ œ & œ œ ‹ Thus each ex circ - ling orb mp œ œ ?# Œ œ œ œ œ œ œ œ ¢ Thus

œ Œ

peers;

œ ˙ J

œ™

stole

that

œ Œ

peers;

202

° #œ &

Then, when

# & œ

all are

j œ œ™

when

all are

num -

bered, soars;

num -

œ œ -

yond the

bered, soars;

Far be - yond

the

spheres,

œ œ

Far

‰ œ J Mount-

spheres,

œ œ œ œ œ œ ˙

‰ œj Mount-

# œ ˙ œ & œ œ œ œ œ ‹ Then, when all are num - bered, soars; ?# œ œ œ œ œ œ œ œ œ œ œ J ¢ Then, when

all are

num - bered, soars;

œ œ J

Far

yond the

spheres,

œ ˙ J

œ™

be - yond

‰ œ J

the

Mount-

‰ œj

spheres,

Mount-

210

° #œ œ ˙ & œ œ œ œ œ œ - ing heaven’s su - prem - est

height

˙ Œ œ œ œ œ To the ver - y

Fount

# & œ œ œ œ œ œ œ œ ˙ -

ing heaven’s su - prem - est

height

# & œ œ œ œ œ œ œ œ ˙ ‹ - ing heav-en’s su - prem - est height ?# œ œ œ œ œ œ œ œ ˙ ¢ -

ing heaven’s su - prem - est

height

Œ œ œ œ œ

To the ver - y

Fount

Œ œ œ œ œ

To the ver - y

Fount

œ œ œ œ Œ To the ver - y

˙ Fount

œ œ™ J of

j œ œ™ of

œ œ™ J of

œ œ

œ Œ

light.

œ œ light.

œ œ

Œ light.

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Kile Smith—The Consolation of Apollo

220

° # mpœ œ & There the

œ™

Sov’ - reign

the

world

His

calm

sway

œ J

# mp & œ œ There the

œ ‰ œ J

main - tains;

œ™

j œ œ

Sov’ - reign

the

world

His calm

the

world

His

calm

sway

main - tains;

œ™

œ ˙ J

j œ

# mp & œ œ ‹ There the mp ?# œ œ

œ œ

Sov’

reign

œ œ J

œ œ œ œ œ œ

¢ There the

Sov - ’reign

the world

His

j j œ œ œ™ main

sway

œ œ J

calm

sway

tains;

œ ‰ œJ

main - tains;

228

° #œ & J œ the # j & œ œ the

œ œ œ™

globe

on - ward whirled

œ œ œ™

globe

on - ward whirled

#œ œ œ & J œ œ œ œ œ ‹ the globe is on - ward œ œ œ ?# œ œ œ œ œ œ ¢ the

globe

œ œ

Guides

the

char - iot

reins,

œ œ

whirled

Guides

the

char - iot

on - ward whirled

the

œ™

œ œ J

Guides

reins,

œ œ œ œ œ ˙

Guides the

œ œ J

char

And

œ ‰ œ J

˙ reins,

œ ˙ J iot

œ ‰ œ J And j œ ‰ œ

And

œ ‰ œj

reins,

And

236

° #œ & œ œ

in splen - dour

# & œ œ œ

in splen - dour

œ œ œ œJ ˙

‰ œ

glit - ter - ing

œ œ œ œJ ˙

Reigns the p

‰ œ

glit - ter - ing

# & œ œ œ œ œ œ œ œJ ˙ ‹ in splen - dour glit - ter - ing

j œ œ œ

Reigns the p

‰ œ

u - ni - ver f

j œ œ œ

Reigns the

in splen - dour

œ œ œ œJ ˙ glit - ter - ing

œ ‰

Reigns the

sal

œ œ™ J

u - ni - ver

sal

œ œ™ J

œ œ œ J

sal

j œ œ™

u - ni - ver

?# œ œ œ ¢

u - ni - ver f

œ œ œ J

œ œ™ J

sal

œ œ

œ Œ

King.

œ œ King.

œ œ

Œ King.

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22 246 246

° b pœ™ &

œ œ

Hith - er p

&b œ™

thy

œ œ

Hith - er p

™ &b œ ‹ Hith ? Œ ¢ b

wan - dering

œ J thy

œ œ - er

œ™

thy

if p

œ™

Hith

wan

feet

thy

wan

œ J

œ™ way,

dering

feet

last

Find

last

way,

œ™

last

way,

‰

œ™

feet

Find

feet

Find

last

way,

dering

Find

œ œ

dering

‰

251

° bmpœ™ œ œ &

Here the long mp

lost

&b œ™ œ œ

œ J lost

‘Dear

lost

land,’

j œ œ

œ œ

œ J

home thou’lt greet:

Here the long

home

œ thou’lt greet:

thou’lt

j œ

‘Dear lost

œ œ J

say,

j œ œ

land,’

nœ

thou’lt

say,

mp 3

™ &b œ ‹ Here

œ J

œ™

the

long

œ J

œ ‘Dear

lost home thou’lt greet:

lost

œ œ3 œ J J

œ J

œ œ J

land,’

thou’lt

say,

mp 3

? b œJ ‰ œ™ œ œ ¢ Here

the long - lost

home

thou’lt

greet:

œ ‘Dear

œ œ3 œ J J

œ œ lost

land,’

thou’lt

say,

œ œ

nœ J

256

° bœ &

œ Œ ‘Though

&b œ

& b œ nœ ‹ ‘Though ?b œ Œ ¢

nœ

œ™

from

thee

I’ve

wan

‘Though

from

thee

I’ve

wan

nœ

œ™

from

thee

I’ve

wan

œ™

I’ve

wan

nœ œ

‘Though

from

thee

œ™

nœ

≈ œ

j œ™

Hence

≈

dered wide,

œ -

j œ™

Hence

dered wide,

œ -

œ ≈

dered wide,

œ -

j œ™

œ™ J

dered wide,

œ Hence

œ œ J I

came,

j œ nœ I

here

came,

here

œ œ œ œ

≈ Hence

came,

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

j œ

œ œ

came,

œ œj J I

here

œ œ

œ J

here

Kile Smith—The Consolation of Apollo

261

° bœ j & J œ œ™

j œ ‰ Œ

œ ˙

will

a - bide.’

j j & b œ œ œ™

j ‰ Œ œ

a - bide.’

j b nœ œ ™ œ & J ‹ will

j œ ‰ Œ

œ ˙ a - bide.’

œ ˙

will

a - bide.’

œœ œœ nœœ œœ

œœ ™™ œœ œœ Yet if f div.

ev - er

œ™ œ™

œ œ

thou art

Yet

œœ

fain

Vis

j nœœ œœ

œœ

œ ™ œœ œœ œœ

Yet

j ‰ œœ œ div. f

? œ œ œ™ ¢ bJ J

œœ ™™ œœ œœ

Yet div. f

œ ˙

will

div. f

œœ nœœ œœ œœ

thou

art

œœ™™

œœ J

œœ nœœ J

thou

art

fain Vis

œ œ nœ œ œ œ nœ œ

œ œ

art

ev - er

thou

fain

œœ J it -

œ œ fain

267

° b œœ &

& b nœœ Vis

œœ

nœœ

ant

œœ

œœ -

& b nœœJ ‹ ant ? b œœ Vis

>Of œœ

œœ

ant

œœ J

nœœ

> œœ

œ œ

ant

œ œ it

œœ

> bœœ

œœ

earth’s

œœ

gloom

œœ

earth’s

gloom

>œ ™ œ™ Of

œœ

night

j œœ

œœ ™™

œœ

œœ ™™

œœ

j œœ

œœ™™

œœ J earth’s œ œJ

gloom

earth’s

gloom - y

œ œ

night

275 271

° b œœ &

unis.

œœ

gain,

Sure

œ œ

˙ ˙

thou

wilt

see

œ œ

œ™

œ J

Œ Ty

& b œœ œœ night

œœ

œœ Sure

a - gain,

œ œ &b œ œ ‹ night ? b œ œœ ¢ œ

œœ

a - gain,

œ œ

a - gain,

œœ

thou

œœ Sure

œ œ Sure

œœ œœ J -

œ œ -

œœ

thou

nœœ

see

Ty ff

œœ

œ œ

wilt

see

wilt

œœ

thou

œ œ

œœ

˙ ˙ ff

œ œ

wilt

see

œ œ

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˙˙

œœ ™™

œ œJ

276

° b œ™ &

œ J

œ™

rants

whom

œ J

œ nœ

j œ™

the

na - tions

fear

œ ≈ Dwell unis.

& b œœ ™™ -

œ™ b & œ™ ‹ ? œ ™™ ¢ bœ

j nœœ nœœ ™™

j œœ nœœ

rants

j œœ ™™

œœ

whom

the

na - tions

œ œ J

œœ™™

œ œ J

œ œ

rants

whom

the

na - tions

œ œ J

œ™ œ™

œ œ J

œ œ

rants

whom

the

na - tions

œ Dwell

nœ ™ J

œœ

≈ œ

> unis. œ œJ J

œ œ

Dwell

fear

œ J

Dwell

hap

less

œ less

j œ nœ

≈

fear unis.

œ J

hap

œ J

hap

nœ J ex -

j œ ex -

œ less

œ J

hap

less

œ J ex -

281

° bœ &

œ -

&b œ

œ -

here,

œ dwell mp

j œ ‰ Œ

dwell mp

j œ ‰ Œ

dwell mp div.

?b œ

œ -

œ œ ‰ œ J

˙ here,

ile

nœ

here,

ile

here,

ile

& b œ nœ ‹ ex -

ile

j œ ‰ Œ

œ œ J

œ J

hap

less

œ less

œ in

hap

œ J

hap

nœ nœ in

dwell

nœ

nœ J ex -

j œ ex -

œ less

œ œJ

œœ

hap

less

œœ J ex -

286

° bœ &

‰

œœ

Œ œœ

˙˙

‰

œœ

j œœ

˙˙

œœ

˙˙

œœ

˙˙

œœ

here.

ile

j œ here. p

ile div.

&b œ

p div.

& b œœ ‹ ex

nœœ

œœ

ile

œœ

˙˙

œœ

j ‰ nœœ here. p

? b œœ

œœ

nœœ ile

œ œ

˙ ˙

œ œ

‰

j œœ here.

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Kile Smith—The Consolation of Apollo

4. The Sea of Tranquility The crew of Apollo 8 Same tempo q = c.68 293

° bb bSopranos 4 & b4 ∑

div. pp sempre

staggered breathing as before

w w

Hew Alto 1

b b4 &b b 4

∑

Hou p

Alto 2

b b4 &b b 4

∑

˙™

œ -

Œ Ó

∑

Œ Ó

∑

ston.

œ œ ˙™

∑

Hou - ston. Tenor 1

b b4 &b b 4 ∑ ‹ Tenor 2 bbb 4 ∑ b & 4 ‹ Bass 1 ? bb b 44 ∑ b

∑

‰ œJ ˙

Hou - ston. p

œ 3œ œ ˙

Go a - head,

∑

‰ œJ œJ œ™

a - head. 3

œ œ œ ˙

Hou - ston.

œ œ œ ˙

Go a - head,

a - head.

∑

Bass 2

? b b4 ¢ bb4

∑

Crotales l.v. sempre

b 4 œ œ œ œ ˙™ œ & b bb 4

p sempre 298

° bb b j ‰ ˙ ™ ˙™ & b œœ

w w

Loud 3

b & b bb œ œ ˙

Œ Œ Œ

? bb œ œ ˙ ¢ bb

Loud and clear

in - i - tial

œ are

Œ œ

look at your sys - tems

are

look at your sys - tems

good.

œ Œ Œ œ good.

are

œ Œ Œ œ good.

in - i - tial

in - i - tial 3

in - i - tial

look at your sys - tems

œ are

œ Œ

look at your sys - tems

are

œ Œ Œ œ good.

look at your sys - tems

œ are

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œ Œ Œ œ

œ œ œ œ œ œ œ œ œ œ J and an

3 œ œ œ œ3 œ œ œ œ œ œ J

and an mp 3

Loud and clear mf

in - i - tial

look at your sys - tems

3 j œ œ œ œ œ œ œ œ œ œ

and an mp 3

œ œ œ œ œ œ œ œ œ œ J and an 3 mp

in - i - tial

j œ œ œ œ œ œ œ œ œ œ and an mp 3

Loud and clear mf

b & b bb œ œ ˙ ‹ Loud and clear bbb mf b œ œ ˙ & ‹ Loud and clear mf ? bb b œ œ ˙ b

3 j œ œ œ œ œ œ œ œ œ œ

and an mp 3

Loud and clear mf

b & b bb œ œ ˙

œ Œ Œ œ good.

304 302

etc.

° bb b w & b w

œ œ œ œ

w w

Hou - ston p

bb &b b ˙

Hou p

bb &b b ˙

Œ ‰ œ œ J

ston,

Œ ‰ œ œ œ™ J J

≈ œ œ œ ˙ A - pol - lo Eight.

œ ≈œ œ œ œ

ver.

‰ œJ œ

A - pol - lo Eight.

Hou - ston.

œ ˙™ J

‰ œ

˙™

O - ver.

bb ˙ &b b ‹ b & b bb ˙ ‹ ? bb b ˙ b

∑

? bb ˙ ¢ bb

∑

307

° bb b w & b w

œœ ˙ ™ ˙™

w w

Rah 3

b & b bb œ œ œ We’ve got mf 3

pic - ture,

3 j ‰ œ œ œ œ œ œ ≈ œ œ œ œ ˙ J

we’ve mp

got

pic - ture,

A - pol - lo

‰ œJ œJ ‰

Eight.

Rog - er. p

pic - ture,

‰ œj œ œ œ œ œj ≈ œ œ œ œ ˙ we’ve mp

got

pic - ture,

got

pic - ture,

Rog - er.

pic - ture,

A - pol - lo

Eight.

got

pic - ture,

A - pol - lo

Eight.

3 3

Eight.

3 j ‰ œ œ œ œ œ œ ≈ œ œ œ œ ˙ J

we’ve mp

Œ œ

A - pol - lo

‰ œJ œ œ œ œ œJ ≈ œ œ œ œ ˙ we’ve mp

pic - ture,

‰ œ œœ ‰ J

‰ œJ œ œ œ œ œJ ≈ œ œ œ œ ˙ we’ve mp

got

? bb œ œ œ ¢ bb We’ve got

b & b bb œ œ œ ‹ We’ve got a 3 bbb mf b œ œ œ & ‹ We’ve got a mf ? bb b œ 3œ œ b We’ve got mf 3

b & b bb œ œ œ We’ve got mf 3

pic - ture,

A - pol - lo

Eight.

‰ œ œ œ œ œ œ ≈ œ œ œ œ ˙ J J we’ve

got

pic - ture,

A - pol - lo

Eight.

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Kile Smith—The Consolation of Apollo

310

° bb b w & b w

œœ

˙˙ ™™

w w

Roll

bb &b b ≈

œ œ œ œ We’ve got the

bb &b b ≈

œ œ™

Rog

T…

œ œ œ œ

We’ve

got

≈ œ œ œ œ™ œ œJ ‰ Œ

er.

We’ve got the

œ Œ

er.

the T… Rog

∑

V…

œ œ œ™ œ ‰ Œ J

≈ œ We’ve

got

the T

∑

V… p

bb &b b ‹ b & b bb ‹ ? bb b b

∑

? bb ¢ bb

∑

j œ œ™

Œ œ œ œ™ œ J roll

Roll… p

∑

Ó ˙

left.

Œ ˙

Roll…

roll

left.

313 313

° bb b & b w w

˙˙

œœ ˙ ™ ˙™

Yes

b œ & b bb ≈ œ™ J J‰Ó

˙˙

˙ ˙

Did

∑

How

∑

Huh?

How’s

b & b bb ≈ œ œ œJ ‰ Ó Huh? b b & b b œJ ‰ Œ Ó ‹ b j & b bb œ ‰ Œ Ó ‹ p 3 3 ? bb b Œ œœ œ œœœ œœ œ b Roll p

left

a lit - tle,

∑

œ How’s

∑

j œ œ™

j œ ‰ Œ

∑

j œ ‰ Œ

∑

Yes.

∑ ˙ Yes.

œ œ Œ Ó

can you?

3 œ œ™ 3 œ œ œ œ œ œ œ œ œ

Did he say it was

a good pic - ture?

œ œœ œ œœœ œœœ œ Œ Ó Roll

3 3

? bb Œ ¢ bb

left

a lit - tle,

can you?

œ œ œ œ œ œ œ œ œ™ œ œ Did he say it was

a good pic - ture?

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317

° bb b w & b w

˙˙ ™™

w w

œœ Loud

bb &b b ˙

œ™

œ J

œ œ œ

the

pic - ture

œ J

‰

look,

Hou

œ œ ˙ ston?

bb & b b œ™

œ œ™ J

j œ

œ œ œ

the

bb &b b ‹ b & b bb ‹ ? bb b b ? bb b ¢ b

pic - ture

œ J

‰

look,

j œ œ

œ œ J

Hou

ston?

∑

320 320

° bb b w & b w

œœ ˙ ™ ˙™

˙˙™™

œœ

The mf

w w

That’s

mp 3

b & b bb Œ

œ œ ˙

Loud and clear. mf

The p

œ™

œ œ œ œ œ Œ J T

œ That’s mp

V look o - kay?

œ œ œ œ ‰ œ J ver - y

good.

b & b bb Œ

œ™ œ œ ˙ Loud and clear. mf

b & b bb Œ ‹ b & b bb Œ ‹ ? bb b Œ b

œ œ ˙

The

œ œ™ J T

j œ œ œ œ œ Œ V

∑

look o - kay?

That’s mp

Loud and clear. mf

œ œ ˙

∑

œ œ ˙ Loud and clear.

œ That’s mp

∑

œ That’s mp

Loud and clear. mf

? bb Œ ¢ bb

œ That’s mp

Loud and clear. mf

œ œ ˙

∑

œ That’s

j œ œ œ œ ‰ œ ver - y

good.

œ œ œ œ ‰ œ J ver - y

good.

œ œ œ œ ‰ œ J ver - y

good.

œ œ œ œ ‰ œ J ver - y

good.

œ œ œ œ ‰ œ J ver - y

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good.

Kile Smith—The Consolation of Apollo

29 324

° bb b w & b w

Œ œœ w w

w w

Well

bb &b b ˙ Ó

And

∑

bb &b b ˙ Ó

U w w

w w

∑

U Ó

∑

U Ó

œ™ œ ˙ J

œ œ

come

from

œ œ ˙

the

Moon, Hou

j œ™ œ œ œ™ J

˙ come

œ w

Hou - ston. p

∑

Œ And p

? bb ˙ Ó ¢ bb

∑

Œ œ Thank mp

Œ œ

∑

Thank mp

U ˙

œ œ™ w J

from the Moon,

Thank mp

ston.

Œ œ

U ˙

bb ˙ Œ œ w &b b ‹ Wel p b œ œ ˙™ & b bb ˙ Œ ‹ Wel ? bb b ˙ Ó ∑ b

Œ ˙ And

Œ œ

U mpThank œ œ œ Œ œ short

the

world.

Thank U mp short Œ œ œ œ œ the

world.

Thank

331

335

° bb b ˙˙ ˙ w ˙ Ó & b ˙ w ˙ Thank

w w

Is p 3

b & b bb w

w w

∑ œ œ

you.

Is this p

œ œ œ œ our land-ing

œ™

we’re

site

œ œ œ œ ˙™ -

ing

o - ver

now?

b & b bb w

∑ w w you.

b & b bb w ‹ b & b bb w ‹ ? bb b w b

j œ Is

j œ

œ œ œ

this

our

land - ing site

œ œ we’re

œ œ œ œ œœ ˙ go - ing o

w w ∑

∑

you.

w w you.

? bb w ¢ bb

w w you.

b & b bb ∑

∑ œ œœ œ œ ˙ ™

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∑

ver now?

30 337

° bb b w & b w

w w

w w We

Yes

3 3

bb &b b ˙

∑

œ œ œ J J

œ œ™ œ œ

We’re now go - ing o -

bb &b b ˙

ver

∑ œ œ™ œ œ œ

We’re now go - ing o - ver

bb &b b ‹ bb &b b ‹ p ? bb b œ b

∑

œ œ 3 3 œ œ œ œ œ œ œJ ‰ œ this is our land - ing site,

Yes, p

our…

œ our…

˙ Ó

right down

here.

3 3

? bb ¢ bb œ Yes,

œ œ œ™ œ œ œ œ œ œ œJ ‰ œ J this is our land - ing site,

right down

here.

340

° bb b w & b w

˙˙

w w

˙˙ Right

Uh 3

b & b bb ˙

‰

j œ œ œ Ap - proach - ing

œ œ œ œ one of

our fu

b & b bb ˙ b & b bb ‹ b & b bb ‹ ? bb b ‰ b

‰

œ ture

land - ing sites…

j œ œ™ œ œ

j œ œ œ œ œ

Ap - proach - ing one

of our

∑ œ œ

fu - ture land - ing sites…

∑

œ œ 3œ œ œ œ œ J

œ œ œ ˙™ ‰J

Ap -proach - ing our land - ing site…

Right

? bb b ‰ ¢ b

∑

œ œ œ œ

œ œ œ œ œ œ œ J

now.

j ‰ œ œ œ ˙™

Ap -proach - ing our land - ing site…

Right

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now.

Kile Smith—The Consolation of Apollo

31 343

345

° bb b w & b w

w w

Called mf 3

bb &b b Œ

‰ œj œj œ ™ …se - lec - ted

œ œ œ œ

j œ œ

in this smooth

re - gion

to…

bb &b b Œ

‰ œj œ™ …se - lec

œ œ

˙ Called

the mf

j œ œ

j j œ œ œ œ

ted

this

Œ Œ

œ œ œ

smooth

re - gion

œ œ

˙ Called

to…

the mf

bb &b b ‹ b & b bb ‹

∑

Called the

˙™

œ œ the mf

Sea,

∑

Called the

? bb b ˙™ b

œ œ the mf

Sea,

˙™

œ œ

∑

Called the

? bb ¢ b b ˙™

˙™

∑

Called the

the mf

Sea,

˙™

œ œ the

Sea,

347

° bb b & b w w

Tran

b & b bb ˙ ™

˙™

Sea

Tran

b & b bb ˙ ™

˙™

Sea

Tran

b ™ & b bb ˙ ‹ Sea b & b bb ˙ ™ ‹ Sea ? bb b ˙ ™ b

˙™

Tran

˙™

Tran

˙™

Tran

Sea

? b b ˙™ ¢ bb

Sea

b & b bb

œœ œœ œœ w w

˙˙ ™™ -

∑

œ Œ Ó

∑

w w

œ Œ Ó

∑

œ Œ Ó

∑

œ Œ Ó

∑

œ Œ Ó

∑

quil - i - ty.

œ œ œ w -

œ Œ Ó

quil - i - ty.

œ œ œ w -

quil - i - ty.

œ œ œ w

˙™ Tran

œ œ œ w -

∑

quil - i - ty.

œ œ œ ˙ -

œœ Œ Ó

quil - i - ty.

œ œ œ w -

w w

quil - i - ty.

œ œ ∑

∑

œ œ

œ ˙™

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5. While the bright sun Metres of Boethius, VI

In 2, driving q. = c.56 353

° ### 6 & 8

∑

œ™

‰ œ œ œ While the bright mf

### 6 & 8

∑

‰ œ œ œ

∑

most clear

sun

œ™

While the bright

# #6 &#8 ‹ ? ### 68 ¢

œ œ œ is

œ œ œ most clear

sun mf

œ œ œ œ™

∑

While the bright sun mf

∑

œ œ œ œ™

∑

While the bright sun Bass Drum, mounted horizontally, perhaps with drumhead dampener; played by 2 people. Player 1 = Upstems, use small hard felt mallets. Player 2 = Downstems, 8th notes played with thumbs, preceeded by rolled fingers as grace notes, before the beat. Use both hands together. Player 2’s notes should be slightly heavier than Player 1’s, perhaps further toward center of the drum. Player 2 may keep hands on the drum between beats to further dampen it. p sim.

6 œ œ œ œ -œ œ œ œ œ œ œ œ œ -œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 J J J J J J p

356

° ### œ & beam

œ œ J -

## &# œ beam

ing,

j œ œ -

‰

Gleam - ing in

‰

ing,

### œ œ œ œ & ‹ most clear is beam ? ### œ œ œ œ ¢

œ™ œ œ œ™ œ œ œ œ œ œ œ œ heav

heav

œ œœœœœ œœœœ J J

heav

‘

‰ œ œ œ While the bright

∑

en,

™ œ™ œ œ œ™ œ œ œ œ œ œ œ œ œ ˙

most clear is beam - ing, Gleam - ing in

en,

‰ œ œ œ While the bright

œ™ œ œ œ ™ œ œ œ œ œ œ œ œ œ ˙™

- ing, Gleam - ing in

œ J

en,

œ™ œ œ œ™ œ œ œ œ œ œ œ œ œ ˙™ Gleam - ing in

j œ

˙™

∑

en,

‘

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Kile Smith—The Consolation of Apollo

33 361

° ### œ™ &

œ œ œ

sun

most clear

### & œ™

œ œ œ

sun

most clear

### œ œ œ & ‹ While the bright ? ### œ œ œ ¢

sun

While the bright

sun

œ œ œ œ beam - ing,

Gleam

j œ œ

œ beam

most clear

‘

Gleam

ing in

heav

ing in

heav

œ œ œ ‰ œ œ ™ œ œ œ™ œ œ œ œ œ œ œ œ œ™ J J J

is beam - ing,

œ œ œ œ

œ™

œ™ œ œ ™ œ œ œ œ œ œ œ œ œ œj œ œ

‰ œ™

ing,

œ œ œ œ

œ™

™ ‰ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ™

Gleam - ing in

heav

œ œ œ œ ™ œ œ œ ™ œ œ œ œ œ œ œ œ œ œ œJ J J ‰ J

is beam - ing,

Gleam - ing in

‘

heav

‘

366

368

° ### œ™ &

œ™

˙™

‰ œ

en,

gloom

œ œ œ

œ œ œ œ™

œ œ œ

en - wrap - peth

O - ver the world

œ œ œ

œ œ œ #œ ™

œ œ œ

en - wrap - peth

O - ver the world

gloom

en - wrap-peth

œ œ œ

œ œ œ œ™

en - wrap - peth

O - ver the world

‰ œ gloom

en - wrap-peth

### j & œ œ œ™ en,

gloom

# # œ™ œ™ &# ‹ en, ™ œ ? ### J œ œ ¢

˙™ ‰ œ gloom

‰

‰ œ

œ œ œ

gloom

en - wrap-peth

˙™ œ œ œ œ œ™ œ œ gloom en - wrap - peth O - ver the world > ™ . Œ œœœœœ ‰ ‰ ∑ J ‰ œ

en,

‰ œ

˙™

‘

œ œ œ gloom en - wrap-peth > ™ . œœœœœ ‰ ‰ Œ J ‰ œ

371

° ### & œ œ œ ## &#

j j œ œ œ œ œ œ

O - ver the world

all

œ œ œ

j j œ œ œ œ œ œ

O - ver the world

all

œ™

Œ™

∑

Œ™

∑

oth - er bod - ies;

œ™

oth - er bod - ies; mp

## &# œ œ œ œ ‹ O - ver the world ? ### œ œ œ œ ¢ O - ver the world

œ œ œ œ œ œj J all

œ™

∑

‰ ‰ œ œ

oth - er bod - ies;

For their mp

œ œ œ œ œ #œ J J all

œ™

‰ œ œ œ œ œ

Œ™

oth - er bod - ies;

For their

œœœœ

Œ™

∑

œ ‰ ‰ J

œœœœ

œ œ œ

œœœœ

>œ. ‰ J

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light

‰ Œ™

34 375

° ### Œ &

œ œ™

œ™

their light

nought,

‰ ‰

‰ œ œ œ œ œ œ œ œ œ™ œ™

œ For

for their light

## &# ‰

œ œ œ For

j œ œ œ

their light

## & # œ™ ‹ light ? ### œ œ J ¢

œ™

nought,

for their

∑

œ™ œ ™

œ œ œ œ œ œ œ™

œ™ is

light

œ œ œ œ™

‰ œ œ œ œ œ

‰

œ™ œ™

for their light

‰ œ œ

nought,

œ™

‰ œ œ œ œ œ œ œ œ œ™

‰

∑

˙™

nought,

œ™

light

∑

nought,

œ™

∑

380

° ### œ™ &

‰ œ œ œ™

œ ‰

œ œ J

œ œ >œ œ™ J J

set

a - gainst

the sun’s

œ œ J

œ œ™ J

set

a - gainst

the sun’s

great

œ œ œ œ œ œ œ™

>œ ™

œ œ œ œ™ is

nought,

### ™ & œ

no - thing p

When f

all,

œ™

‰ œ

œ ‰ œ œ œ œ™ no - thing p

nought,

### ™ & œ ‹ ? ### œ™

œ ‰

all,

When

œ™

œ œ œ œ ‰ œJ J no - thing p

all,

‰

œ™

When

set

a - gainst

œ œ J

sun’s great œ œ >œ œ ™ J J

When

set

a - gainst

the sun’s

œ œ œ œ™ no - thing

∑

all,

∑

the

>™ œ

˙™

¢ /

great

∑

385

Fine

° ### >œ ™ & bright

##> & # œ™

œ >œ J - ness. > œ œ J

˙™

œ™

œ ‰ ‰ J

‰

‰ œ When mp

˙™

œ™

j œ ‰ ‰

‰

‰ œ

## &# ‹ ? ###

bright

>œ ™

œ >œ J

When mp

ness.

bright

>œ ™

œ >œ J

˙™

œ™

œ ‰ ‰ J

‰

When mp

ness.

˙™

œ™

‰ œ

œ J ‰ ‰

‰

‰ œ

¢ bright

When

ness.

> > > >.j Fine œœœœœ œ œ œ œ œ œ œ œ -œ œ œ œ œ œ œ œ œ ‰ ‰ J J J f > > > >. f

∑

œœœœ

œ. ‰ ‰ œ œ œ œ œ. ‰ ‰ J J

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Kile Smith—The Consolation of Apollo

35 389 389

° ### & œ

j œ œ

soft

## &#

blow - eth

j œ œ

œ soft

## &# œ ‹ soft ? ### œ

soft

blow - eth

from

and

south

from

and

œ œ œ œ

j j ‰ œ œ œj œ

west

∑

j œ œ

œ then

j œ œ

œ œ ‰ œj œ J J

west

and

The wind ’neath heav - en,

then

The wind ’neath heav - en,

œ™

œ œ™

south

j œ œ

The wind ’neath heav - en,

œ œ™

south

from

west

œ œ œ œ œ œ

œ œ œ œ

blow - eth

and

south

œ œ™

blow - eth

œ J

from

j œ œ

j œ œ œ œ œ œ œ œ œ ‰ œj œ

œ œ™

œ œ œ J ‰J

west

œ J

then

The wind ’neath heav - en,

∑

then

∑

393

° ### j & œ œ œ œ œ œ™ soon

### &

wax

j œ œ œ soon

wax

j œ œ ‰ ‰ œ œ™

œ œ œ

the ﬂow

j œ œ™ the ﬂow

ers of

the

œ œ œ

‰ ‰ œj œ ™ œ œ

ers of

˙™

ﬁeld,

the

fain to be p

wax

The ﬂow - ers of,

the ﬂow - ers of

∑

fain to be

˙™

ble.

j œ f

ble.

‰ ‰ œ But

œ™ Œ™ œ™

ﬁeld,

∑

œ œ œ œ

ﬁeld,

the

˙™

### œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ™ & œ™ ‹ wax The flow - ers of, the flow - ers of the field, soon œ ˙™ ? ### œ œ œ œ œ œ œ œ œ œ œ œ J ¢ soon

j œ

œ œ œ œ

œ™

fain

∑

398

° ### fœ œ œ & ‰ But the stiff

### f & ‰œ œ œ But the stiff

œ J storm -

œ J

wind,

when

œ J

wind,

when

œ J storm -

### œ œ œ œ œ & J ‹ the stiff storm-wind, fœ™ œ™ ? ###

œ œ J it strong

œ œ œ

when it

strong

œ J

œ œ œ œ J

blow - eth From out of

œ œ œ œ J

blow - eth From out of

œ J

œ œ œ œ™

blow - eth From out

œ œ œ

œ œ œ >œ ™ >œ ™

œ œ œ œ J

the north- east,

> > œ œ œ œ™ œ™ the north- east,

œ >œ ™ >œ ™ J of the north- east, œ œ œ >œ ™ >œ ™ œ

¢ But

the

stiff

storm

wind, when it

strong

ly blow - eth From out of

the north- east,

œœœœ

∑

-œ œ œ œ œ J

œœœœ

-œ œ œ œ œ J

‘

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‘

36 402

° ### >œ ™ >œ ™ œ ™ &

‰ ‰

it nip - peth The p

how soon

##> > & # œ™ œ™ œ™

‰ ‰

>œ ™ œ™

ro - se’s

beau

ro - se’s

œ™ œ ™

beau

¢ how soon

‘

4 4

∑

4 4

˙™

∑

4 4

˙™

∑

4 4 4 4

ty!

œ™

∑ ˙™

˙™

ty!

. . œ™ ™ œ™ j œ œ™ œ œ œ œ it nip - peth The ro - se’s beau - ty! p . . Œ™ ‰ ‰ œj œ œ œ œ ™ œ ™ œ ™ œ ™ it nip - peth The ro - se’s beau - ty! > ™ . Œ ‰ ‰ œœœœœ ∑ ∑ J Œ™

>œsoon ™ œ™

œ™ œ™

œ™

j . . œ œ œ œ œ ™ œ™ it nip - peth The p

how soon

# # >œ ™ &# ‹ how >™ ? ### œ

. . œ™ œ™ j œ œ œ œ

‰ ‰

∑

408 q=q 408

° ### 4 mpœ œ œ œ ˙™ & 4 By

# #4 &#4

the north - ern blast mp

∑

œ ˙

The spac - ious

spac

∑

ious

˙™ cean

the

spac

˙™

œ œ œ

the north - ern blast

∑

œ ˙

The spac - ious

œ œ œ

œ œ œ œ ˙™

∑

the

œ œ œ œ ˙™

∑

cean,

By the north - ern blast mp

# #4 &#4 ‹ ? ### 4 4 ¢

˙™

˙ œ œ œ

The spac - ious

∑

cean

Œ œ œ By

the

˙™ the

414

° ### & ˙™

˙™

cean

Œ œ is

œ œ ˙ help - less

spurned

### & ˙

˙™

˙™ -

### & ˙ ‹ spac

ious

? ### œ œ œ œ

˙™

˙ ious

œ œ ˙ o

œ ˙™

cean

Œ œ is p

˙ ˙

spac - ious

œ œ ˙ help - less

spurned

¢ north - ern blast The

cean

Œ œ

cean

Œ œ is

œ œ ˙ help - less

spurned

œ œ ˙ help - less

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spurned

Kile Smith—The Consolation of Apollo

37 420

° ### œ ‰ ˙ & J

œ ˙

Till strong - ly

œ œ œ œ œ ˙™

ing

strik - eth the

∑

beach.

### j & œ‰˙

œ ˙

Till strong - ly

### œ ˙ & J‰ ‹ Till ? ### œJ ‰ ˙ ¢

heav -

œ ˙™

heav -

Œ Ó œ ˙™

œ œ œ œ ˙

ing

it strik - eth the

∑

beach.

œ ˙

strong - ly

heav -

œ ˙

œ ˙™

Œ œ œ œ œ ˙™

∑

ing

it strik - eth

œ ˙™ ∑

œ Œ Ó

the

beach.

œ w

œ œ

∑ œ

Till strong - ly

heav -

ing

it strik - eth the beach.

427

° ### & Ó

## &# Ó

œ™

las,

œ™

A p

las,

œ™

A -

las,

œ œ ˙

‰ Œ

A p

las,

‰ Œ

### & Ó ‹

‰ Œ

that mp

the

world

no - thing

‰ Œ

œ™

las,

that mp

œ™

œ A

las,

the

world

no - thing

œ œ ˙

‰ Œ

œ œ œ

œ œ ˙ in

that

the

œ œ œ

‰ Œ

world

no - thing

œ™

¢ A -

las,

œ œ œ

œ œ ˙

‰ Œ that

the

wear-

œ™

œ Œ

œ œ

? ### Ó

wear-

world

no - thing

wear-

œ wear-

rall. a piacere 432

(attacca al)

° ### œ &

˙ -

### & œ

eth

Œ ˙ eth

œ œ

Firm

and

last - ing

Firm

and

Firm

and

D.C. al Fine

˙™ œ

long

last - ing

long

this

earth!

this

earth!

this

earth!

this

earth!

### œ ˙ & ‹ - eth ? ### œ ˙

˙™

last - ing

eth

long

œ Firm

and

˙™

¢ -

last - ing

long

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6. In the beginning

The crew of Apollo 8 Tempo I (q = c.68) staggered breathing as before pp sempre

437

° bb bSopranos 4 & b4

div.

˙ ˙

∑

˙ ˙

Hey Alto 1

b b4 &b b 4

∑

Alto 2

b b4 &b b 4 Tenor 1

3 3 j œ œ ‰ J œ œ œ œ

b b4 &b b 4 ‹ Tenor 2 b 4 b &b b 4 ‹ Bass 1 ? bb b 44 Ó b Bass 2

? b b4 Ó ¢ bb4

∑

No, p

∑

‰ œ œ J p œ œ œ œ3 œ œ œ3 œ œ No, 3 œ œ œ ™ Ó Œ ‰ œ œ R Hey, why don’t we start read - ing that thing, p 3 ™ œ œ œ œ Ó Œ ‰™ œ œ œ œ œ J R

Crotales l.v. sempre

∑

we’ve got to

Hey, why don’t we start

read

ing

˙™

œ œ œ b 4 & b bb 4 œ

that

œ we’ve

thing,

p sempre

440

° bb b w & b w b & b bb b & b bb

w w

∑

œ ˙ b œ œ œ ˙ œ Œ ‰™ œ œ œ œ Œ œ œ œ œ œ œ & b bb œ œ œ R ‹ y nice - ly. Why don’t we… as we go in - to in - to it ver 3 3 3 bbb j 3 j œ œ ™ œ œ™ œ b œ œ œ Œ ‰ œ œ œ ‰ œ œ œ & œ œ œ œ œ œ œ œ J R J ‹ ly. Why don’t we… as we go in got to go in - to it ver - y nice ? bb b ∑ ∑ ∑ ∑ b ? bb ¢ bb

∑

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Kile Smith—The Consolation of Apollo

445 444

etc.

œ œœ ™™ œ J

° bb b ˙ & b ˙

˙˙ ˙˙

Right

w w

bb &b b Ó

œ J

‰

∑

œ J

‰

∑

Right. p

bb &b b Ó

Right.

bb & b b œJ œ™ ‹ sun - set…

œ ‰ Œ J

or is it sun

b j & b bb œ œ œJ œJ ‰ Œ ‹ to sun - set… ? bb b ∑ b ? bb ¢ bb

≈ œ œ œ œ œ ˙

or is it sun

rise?

≈ œ œ œ ˙

∑

This is sun

rise?

-œ 3-œ -œ œ™

œ ˙ J -

- -3 œ œ œ œ™ This is sun

rise,

œ ˙ J -

rise,

∑

448

° bb b & b w w

w w

œœ ˙˙™™

w w

b & b bb

∑

b & b bb

∑

œ™ œ œ ˙

œ œ™ J

-œ œ œ b b Œ ‰ J J ‰ &b b ‹ yes. bbb œ Œ ‰ -œ œ ‰ Ó b & J J ‹ yes. ? bb b ∑ b ? bb ¢ bb

∑

œ œ œ œ œ œJ œ™ We’re ap - proach - ing

Œ œ œ œ We’re ap - proach

˙™

œ -

ing

nar sun

rise.

∑

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j œ œ™

œ œ œ™ œ œ ˙ lu

rise.

40 453

453

° bb b w & b w

w w

œ œ œ œ œ™ œ ˙

œ™ œ ˙ J

bb &b b

∑

œœœœ

ap - proach - ing lu - nar sun

We are now

rise,

bb &b b

∑

Ó œœœœ

œ œ œ œ œ™ œ ˙ ap - proach - ing lu - nar sun

We are now

bb &b b ˙ ‹ bb &b b ˙ ‹ ? bb b b ? bb b b

˙™

rise,

∑

™ œ ˙

œ œ œ b & b bb œ

w ∑

œ œ œ

461 458

° bb b w & b w

w w

œ™ œ ˙ J

œ œ™ ˙ J

3 ‰ œJ œ œ œ œ

mp 3 bbb œ œ3 œ œ b œ œ œ œ œ &

the peo - ple back

and for all

the crew of A - pol - lo mp 3

Earth,

3 3

b j & b bb œ œ œ œ œ œ œ the peo - ple

and for all

œ™

j œ ˙

‰ œJ œ œ œ œ

j œ œ™ ˙

back

∑

Œ œ ˙ the crew, pp

œ Eight

œ Eight 3

‰ œ œ œœ œ the

crew

of A 3

mp 3

∑

Œ œ ˙ the crew, pp

∑

Œ œ ˙ the pp

? bb ¢ bb

∑

œ ˙

œ œ œ ˙

‰ œ œ œœ œ the

crew

of A -

œ J

‰

crew, mp

Œ œ ˙ the

b & b bb œ

the crew of A - pol - lo mp 3

Earth, pp

b & b bb ‹ b & b bb ‹ ? bb b b

œ J

crew,

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Kile Smith—The Consolation of Apollo

41 462

° bb b mp w & b w

w w

bb w &b b

œ ‰ Œ Œ mfœ œ œ™ œ Œ ‰ œ œ™ œ œ 3œ œ J J J J L

w w

has a mess - age,

bb &b b w

mess - age that we would

3 mf œ ‰ Œ Œ œ œ œ™ œj Œ ‰ œj œ™ œj œ œ œ c J

has a mess - age, mf

bb ™ w &b b œ œ ˙ ‹ pol- lo Eight b ˙ ˙ & b bb œ œ ˙™ ‹ pol- lo Eight ™ mp ? bb b œ œ œJ œ ™ œ œ œ œ ˙ b

mess - age that we would

œ ‰ Œ Œ œ œ œ ™ œ Œ ‰ œ œ ™ œ œ 3œ œ J J J J L has a mess - age, a mess - age that we would

mf 3 œ ‰ Œ Œ œ œ œ™ œ Œ ‰ œ œ™ œ œ œ œ c J J J J

œ œ ˙™

has a mess - age,

mess - age that we would

œ œ œ œ™ œ œ œ ™ œ œ 3œ œ J‰Œ Œ J Œ ‰J J

L the

crew of

A - pol - lo

Eight

has a mess - age,

the

œ œ ™ œ ˙™ Jœ œ œ œ A - pol - lo

crew of

mess - age that we would

mf œ œ œ œ™ œ œ œ™ œ œ 3œ J‰Œ Œ J Œ ‰J J œ c

? bb ¢ bb œ

Eight

has a mess - age,

mess - age that we would

470 ff 468

° bb b & b

w w ∑

œœ

∑

œœ J ‰

œœ

God

Send Altos 3

>™ bbdiv. ™ b & b œœ ™ œœ ˙˙™

œœ™™

œœ ˙˙ J

w w

œœ ‰ œ œ œ œœ œœj œœ œ œ œ J In the be - gin - ning,

you.

like to send

> div. œ ™ bbb œ ™ œ ˙˙ ™™ b & > ‹ like to send > Basses div. œ ™ œ ˙ ™ ? bb ¢ b b œ ™ ˙™ >

Tenors

œœ ™™ œœ ˙˙ J

œœ ‰ œœ œœ3 œœ œœ 3 œœ œœ J J

In the be - gin - ning,

you. ff

œ ™ œœ ˙˙ œ™ J

3 œœ 3 J ‰ œœ œœ œœ œœ œœJ œœ

In the be - gin - ning,

you.

like to send

Crotales

b & b bb

∑

œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœ ˙ ff Bass Drum

Œ /

∑

>>>> œœœœ ˙

>>>> œœœœ ˙™

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œœœœ

472

° bb b ˙˙ & b bb &b b Œ

œœ œœ œœ œœ

œ œ

œœ

cre - a - ted

the

Hea

œœ œœ œœ œœ

œœ

bb &b b Œ ‹ ? bb Œ ¢ bb

œœ

œœ œœ œœ œœ cre - a - ted

God

œœ œœ œœ œœ

œœ

the

œœ

the

Hea

the

w w

ven and the Earth.

œ œ œ œ œœ œ œ œ œ

Hea

w w

ven and the Earth.

œœ œœ œœ œœ œœ

œ œ ‰ œ œ J

w w

ven and the Earth.

œœ œœ œœ œœ œœ

Hea

œœ

cre - a - ted

God

j ‰ œœ œœ

cre - a - ted

God

œœ œœ œœ œœ œœ

w w

ven and the Earth.

bbb œ œ œ œ œ œ œ œ œ œ œ œ w b œ œ œ œ & /

>> > > œ œ œ œ ˙™

∑ >>>> >>>> œ œ œ œ œ œ œ œ œ œ—

475

480 mp

° bb b & b Ó

œœ

˙˙

œœ œœ œœ œœ œœ cre - a - ted

God

œœ œœ œœ œœ œœ œœ w w

the

œœ ‰ Œ Ó J

∑ â ä

j ‰ Œ pp˙ œœ ˙

w w

Hea - ven and the Earth.

mf 3 j b b œ œ b Œ œ œ œ b & œ œ œ œ œ œœ

In the be gin - ning,

bbb Œ mfœ 3œ œ œ3 œ œ b œœœœ œ œ & J ‹ In the be gin - ning, mf ? bb b Œ œœ 3œœ œœ œœ3 œœ œœ ¢ b J

In the be gin - ning,

b & b bb

∑

Œ œœ œœ œœ œœ œœ œœ God

cre - a - ted

œœ œœ œœ œœ œœ œœ ww

the

Hea - ven and the Earth.

And

mp w Œ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ œœ œœ w J

God

cre - a - ted

œœ ‰ Œ pp ˙˙ ww J

the Hea - ven and the Earth.

And

œ w Œ œ œ œœ œ œœ ‰ œœ œœ œœ œœ œœ œœ œœ w œ œ J mp

God

cre - a - ted

∑

œœ ‰ Œ ˙ J ˙

the Hea - ven and the Earth.

∑

w w

And

œ˙ w Œ œ œœ

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∑

Kile Smith—The Consolation of Apollo

43 481

Soprano 1

485 p

° bb b Œ œ œ ˙ & b And the Earth

œ œ

œ œ ˙

Œ form

was with - out

and

œ œ œ œ

void,

and dark - ness

Sopranos 2, 3 div. p

œœ ˙

up - on

the

œœ œ ˙˙ œ

œœ

up - on

the

was

bb & b b Œ œœ œœ ˙˙ And the Earth b b &b b w w

œœ œœ Œ ˙˙

œœ œœ ˙˙

form

was with - out

and

˙™ ˙™

w w

œœ œœ œœ œœ

void,

and dark - ness

was

Œ œœ w w

w w

And

bb & b b ww ‹ ? bb w bb w

˙˙ ™™

w w

˙™ ˙™

Œ œœ w w

w w

And

w Œ œœ w

w w

And 487

490

° bb b ˙ & b face

b & b bb ˙˙ face

œ œ œ ‰ ˙™ J of

deep.

the

And

j œœ œœ œœ ‰ ˙ ™ ˙™ of

˙ ˙

And

w w

∑

the spir

God

‰ œ ™™ œ œ œœ œœ œœ ‰ œœj ˙˙ œ œ œ

deep.

the

b w & b bb w

‰ œ™ œ œ œ œ œ ‰ œJ ˙

the spir

˙˙

God

w w

œ œ œ J J moved up-

œœ œœ œœj J moved up-

And

b & b bb ‹ ? bb b b

w w

∑

And

w w

∑

And 493

496

° bb b ˙ ™ & b

œ ˙

œ œ ˙

œœ Œ

œ ˙™

Œ ˙

and

God said,

“Let

˙˙

œœ ˙˙ ™™

Œ ˙˙

and

God said,

“Let

œ ˙™ L

b ™ & b bb ˙˙ ™ on

b w & b bb w

the

face

œœ ˙ ˙ the

face

of the

wat

œœ œœ ˙˙ of the

œœ Œ Ó

wat

ers,

œœ œ Œ œ -

Œ ˙˙ ™™

ers,

there

œœ

œœ ˙˙ ™™

there

w w

And

b w & b bb w ‹ ? bb w ¢ bb w

œœ Œ Ó

Œ ˙˙ ™™ And

œ Œ Ó œ

Œ ˙˙ ™™ And

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44 500

° bb b Ó pp˙ ˙˙ & b

w w w

˙˙ ˙˙˙ ˙˙˙ ™™ Œ Œ ˙˙ ™™ ˙ ™ ˙™

∑

light.” div. a3 pp

And there

bb & b b Ó ˙˙˙

w w w

˙˙ ˙

∑

light.”

was

And there

w w w

∑

bb 43

w w w

∑

bb 43

light.

˙˙ ™™ Œ Œ ˙˙˙™™™ ˙™

˙˙ ˙

˙˙ ˙˙˙ ˙

was

light.

…light.” ppp pp

And p possibile

Solo

bb &b b ‹ ? bb bb

w ˙ ˙˙ Ó pp the others, div.a3

∑

˙w Ó w w

˙˙ ™™ ∑ ˙™ Œ

∑

w ˙˙˙ Ó

3 4

And p possibile div. a3

And pp

∑

˙˙∑ ™™™ ˙ Œ

∑

˙ ˙

˙™ Œ ˙™

w w

∑

Œ ˙˙ ™™ ˙™

∑

˙˙ ˙

And And

509 Faster (q = c.92) 509

unis. p

° bb 3 ˙ & 4

œ œ œ

And div. a2 p

saw the

God

b 3 & b 4 ˙˙

œœ œœ œœ

œœ

And

saw the

God

light,

œ œ œ

that

˙˙

light,

˙™

Œ Œ œ

it was good,

œ œœ œœ

that

and

˙˙ ™™

Œ Œ œœ

it was good,

and

œ œ œ

God di - vi - ded the

œœ œœ œœ

God di - vi - ded the

All, unis.

Œ b 3˙ & b bb 4 Œ ˙ ‹ the others, unis.pAnd

˙™ ∑ God

˙™

And

God

? b b3 Œ ¢ bb4

Œ œ œ saw the div. a2

Œ œœ œœ saw the

œ œ œ

light,

that

˙˙ light,

that

Œ Œ œ

was good,

œ œœ œœ

˙™

œ œ œ

and

˙˙ ™™

Œ Œ œ

was good,

God di -

œ œœ œœ

and

God di -

517

° bb œ œ ™ & light from

b œ™ & b œœ œ ™ light from

œ ˙ J

˙™

Œ ˙ And mp

the dark - ness.

j œœ ˙˙

œ œ œ œ God

called the

œ ˙™

˙ Œ

light

Day,

œœ ˙˙ ™™

˙˙

mp All, unis. Œ Œ ˙ œ œ™ œ ˙ œ ˙ ˙ ˙ œ œ œ ˙ œ ˙ ˙ œ J Œ Œ mp

œœ

˙˙ ™™

˙˙

Œ ˙˙

the dark - ness.

œœ œœ œœ œœ

And

called the

God

˙˙ light

Day,

Solo And p

b & b bb œ œ œ ‹ vi - ded the ? bb b œ œœ œœ ¢ b œ vi - ded the

light from the dark - ness.

œ œœ™™ œœ ˙˙ œœ ˙˙ J light from the dark - ness.

God

the others, unis. And mp

Œ Œ

˙ ˙

˙™ ˙

And

God

called the light

Day,

œœ œœ œœ ˙˙ œœ ˙˙ called the light

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

Day,

Kile Smith—The Consolation of Apollo

Slower than before (q = c.60) 526

° bb mpœ œ œ œ œ ™ j ˙ ™ & œ and the mp

dark - ness he

dark - ness he mp

œ ˙™

˙™

∑

˙˙

And the 3 2 Solos pp

œœ ˙˙ ™™

called

‰ œ œ œ œ

Night.

called

b j & b œœ œœ œœ œœ œœ ™™ œœ ˙˙ ™™ and the

pp 3

533 Solo

∑

˙˙ ™™

eve - ning

‰ œœ œœ œœ œ œ

Night.

And the pp 3

eve - ning

Solo

bb &b b ‹ ? bb ¢ bb

œ œ œ

∑

and the dark mp

œ œ œœ

∑

and the dark

œ œ™ œj ˙ -

ness

Œ ˙™

he called

ness

∑

Night.

œ œ ™ œœ ˙˙ œ œ™ J -

˙™

And the 3 2 Solos pp

Œ ˙˙™™

he called

˙˙™™

∑

And the

Night.

∑

eve - ning

‰ œœ œœ œœ œœ

eve - ning

˙™

b & b bb

‰ œ œ œ œ

∑ p

536 Moving ahead (q = c.76) 534

œ œ œœ ™™ j œ œœ œœ œ œ œ

° bb œ œ œ œ œ œ œ œ 44 œ ˙ & 3

and the morn - ing were

the

˙˙

ﬁrst day.

And God All, unis. mf

b 4 & b œœ œœ œœ œœ œœ œœ œœ œœ 4 œœ ˙˙ and the morn - ing were

the

bbbb Œ ˙

ﬁrst day.

b 4 & b bb œ œ œ œ œ œ œ œ 4 œ ˙ ‹ the ﬁrst day. and the morn - ing were ? bb b œœ 3œœ œœ œœ 3œœ œœ œœ œœ 44 œœ ˙˙ ¢ b and the morn - ing were

the

˙˙

said,

“Let there

˙ Œ

œ œ

And All mf

God

said,

Œ ˙

œ œ

And

God

Œ said,

unis. mf

˙ b b

ﬁrst day.

And

˙ ˙ God

said,

a ﬁr - ma -

œ œ ˙ “Let there be,

˙ Œ

œ œ ˙ “Let there be,

œ œ œ™ œj œ œ “Let there

a ﬁr - ma -

539

° bb ˙˙ & ment

œœ

the

midst

œœ œœ ˙ ˙

˙˙

of the

ers.

j œ œ ˙

b œ œœ & b bb Œ J let

˙ ˙

there

ﬁr

wat -

œ œ ˙™ -

, ˙ ˙

œœ

œœ œœ œ œ œœ œœ œœ œœ

œ œœ 43 œ

, And let it di - vide the wa -œ™ ters from the œ œ œ 43 Œ œ œœœ œ ˙ œ J

ment.

And

let it

di - vide,

let

di - vide the

, j œ œ ˙

b œ œœ & b bb Œ J ‹ there be a let ˙ œ ˙ ? bb œ ¢ ment

the

midst

ﬁr

œ œ ˙™ -

Œ œ œœœ œ ˙

ment.

And

let it

di - vide

œ œ™

œ œ œ 43 J

let

di - vide the

œ œ ˙

˙ , ˙

œ œ œ œ œ œ œ

of the

ers.

let

wat -

And

di - vide the

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ters

œ div.œœ 3 4 from the

46 547 Ahead more, raw (q = c.82) 545

° bb 3 ˙ & 4˙

f bbbb ˙

œœ œœ Œ Œ

wa -

b b3 &b b 4 ˙

ters.”

And div. f

œ œ Œ Œ

wa -

made the

God

˙˙

œœ œœ

And

ters.”

œ œ™ œ œ œ œ œ œ œ œ ˙ J

œ œ œ

and di - vi - ded the

wa - ters.

j œœ œœ ™™ œœ œœ œœ œœ œœ œœ œœ œœ ˙˙

œœ

made the

God

ﬁr - ma - ment

and di - vi - ded the

œ œ

wa - ters.

b b3 &b b 4 ˙ ‹ wa

œ œ Œ œ -

?b 3˙ ¢ b 4˙ wa -

ters.”

œ ˙

And, f

œ œ unis.Œ bœ œ œ ters.”

and

œ bbbb ˙ and

And,

553 ° bb b œ œ œ ™ œ œ œ™ œ œ Œ & b J J

which were un - der the unis.

ﬁr - ma - ment

b œ™ œj œ œ™ œ œ & b bb Œ œ œ J which were un - der the

ﬁr - ma - ment

œ œ™ œJ œ œ œ œ œ œ œ ˙

God made the

ﬁr - ma - ment

and di - vi - ded the

wa - ters.

œ œ œ œ ™ œJ œ œ œ œ œ ˙

God made the

ﬁr - ma - ment

and di - vi - ded the

wa - ters.

œ div.œœ œœ œœ unis. œ ˙ œ™ œ œ œ Œ Œ Œ œ œ ˙ œ œŒ J from the wa - ters

which were a - bove

the

ﬁr - ma-ment.

j œ ™ œ œ œ Œ Œ 44

Œ œ œ ˙ œ œŒ œ œ œ œ œ ˙ from the wa - ters

which were a - bove

the

ﬁr - ma-ment.

b œ œ™ œj œ Œ œ œ ˙ œ œ Œ œ œ œ ˙ œ™ œ œ œ Œ Œ œ & b bb Œ œ œ œ™ œJ œ J ‹ which were a - bove the ﬁr - ma-ment. which were un - der the ﬁr - ma - ment from the wa - ters œ œ ˙ œ œ ? bb b Œ œ œ œ ™ œ œ œ™ œ œ Œ œ œ ˙ œ œ Œ œ œ œ œ™ œJ ŒŒ J J ¢ b which were un - der the

ﬁr - ma - ment

from the wa - ters

which were a - bove

4â 4ä

the

4 4 4 4

ﬁr - ma-ment.

563 Same tempo 563

Soprano 1

° bb b 4 & b4

∑

and div. mp

Sopranos 2, 3

b 4 & b bb 4

∑

b 4 & b bb 4 œ œ ˙ And it was

Ó Ó

˙ ˙ God

˙˙

and

God

called

˙˙ called

œ ˙ the

ﬁr

œ -

œœ ˙˙ the

ﬁr

ma - ment

hea p

œœ -

˙˙

ma - ment

w w w

˙˙ ˙

so.

2 4

w w

2 4

w w w

2 4

˙˙˙™™™ hea

ven.

œœ

˙˙™™ hea p

p div. a3

w w w

˙™ ˙

ven.

œœœ -

ven.

So.

bbb 4mpœ œ ˙ b & 4 ‹ And it was mp ? bb b 4 œ œ ˙ ¢ b4

p div.

And it was

so.

w w

Solo

w w

w ˙˙

w w

˙ ˙

w Ó

∑

2 4

∑

2 4

so. p div.

w w

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Kile Smith—The Consolation of Apollo

47 571 Slow (q = c.60) 570

3 3

° bb b 2 ∑ & b4

Solo pp b 3 b 4Œ ‰ œ œ œ œ œ œ

And the eve - ning

and

the morn - ing

pp 3

b b2 &b b 4 ∑

œ œ œ œ œ œ œ™ œ ˙ 42 œ Œ

2 Solos bb 43 Œ ‰ œœ œœ œœ œ œ œœ œ œ

And the eve - ning

the morn - ing

3 Œ Solo ‰ œ œ œ 4 œ œ œ

b b2 &b b 4 ∑ ‹ ? b b2 ∑ ¢ bb4

And the eve - ning 3 2 Solos pp

3 4Œ

and

were

the morn - ing

the

bbbb 44

sec - ond day.

were

the

4 4

sec - ond day.

And the eve - ning

sec - ond day.

œ œ œ œ œ œ œ ™ œ ˙ 42 œ Œ œœ œœ œœ œœ œœ œœ œœ™™ œœ ˙˙ 2 œœ Œ 4

‰ œœ œœ œœ œœ œœ œœ

™ 3˙ 4

b 2˙ & b bb 4

the

œœ œœ œœ œœ œœ œœ œœ ™™ œœ ˙˙ 42 œœ Œ

and

pp 3

were

4 4

and

the morn - ing

were

the

4 bb 4

sec - ond day.

∑

2 4 ∑

∑

4 4

575 Faster than before at 536 (q = c.92) 575

œ œœ 2 œ ™ œ 3 œ œ œ œ œ 4 œ ™ œJ 4 œ œ œ œ

All, div. mf

° bb 4 ˙˙ & 4

˙˙

And God All, unis. mf

said,

“Let the

b 4 ˙ & b bb 4 Œ nœ œ œ œ œ God

And All, unis. mf

wat - ers

un - der the

Œ 42 œ œ 43 ˙

said,

“Let the

œj œ ™ œ œœ œœ œœ œœ 44 œ œ ™ œJ

œ™ œ™

hea - vens

j œœ

un - der the

hea

œ ‰ œ

wat - ers

be gath - ered to - geth - er

in,

œ œ œ œ œ 44 J J -

vens,

in,

b 4 j ˙ œ œ œœ œ4 ‰ œ Œ 42 œ œ 43 ˙ œ ˙ & b bb 4 Œ nœ œ œ œ œ œ œ J 4 J ‹ God said, “Let the wat - ers un - der the hea vens, in, in And œ™ All, unis. mf˙ œ j j ?b 4 ˙ œ œ œ œ 4 œ œ 42 œ 43 œ œ ™ œ™ œ ˙ œ œ 4 ¢ b 4 œ J And

God

said,

“Let the

wat - ers

un - der the heav - ens

be gath - ered to - geth - er

in,

587 Same tempo 582

° bb 4 œ œ œœ œœ œœ ˙˙ & 4 one, in

one place. And

œœ œœ œ œ let

the

˙˙

œœ ˙˙ ™™

˙˙ ™™

dry

land

˙˙

pear.” mp

b 4 & b bb 4 œJ œ™ one

Œ œ œ œ œ ‰ nœJ œ œ œ œ œ œ ˙

place.

And

let,

and

let

the

dry

land

œ nœ œ™ ‰ bb ap-pear.”

b 4 Œ œ œ œ œ ‰ nœJ œ œ œ œ œ œ ˙ œ nœ œ™ ‰ bb & b bb 4 œJ œ™ ˙ ‹ place. And let, and let the dry land ap-pear.” one œ œ œ ˙ œ œ w div. ˙ œ™ ‰ œ ? bb 4 œ œ œ œ œ 4 ˙ œ™ ¢ one, in

one place. And

let

the

dry

land

ap -

pear.”

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œ œ ˙ And it mp

was

œ œ ˙ And it mp

was

œ œ ˙ And it

was

â ä

48 588 Soprano 1

° bb Ó &

Solo:

œ ˙

Sopranos 2, 3

and div. mp

b &b Ó

God

called

the

dry

land

Earth. 2 Solos:

œœ œœ

˙ ˙

the

land

˙˙

and

God

called

dry

œ œ

˙˙

Earth.

div. a3 p

b &b w w w

˙˙ ˙

w w w

∑

so. div. p

b &b ‹ ?b ¢ b

Solo pp

˙™

w w

˙˙

w w

∑

And so. p

w w

˙ ˙

w w

∑

so.

593 Slow (q = c.60)

594

593

All, div. a3 p

Solo p

œ™ œ œ œ œ™

° bb œ œ œ & And the 2 Solos p

gath

œ Œ ‰ œ J J

er - ing to - geth - er

b ™ ™ & b œœ œœ œœ œœ™ œœ œœ œœ œœ™ er - ing to - geth And the gath b ∑ &b

œ œ ˙

the wat

œœ Œ ‰ œœj J - er

œ œ œ Œ Œ œœ œ

the wat

∑

called

˙˙˙

seas.

œœ œœ œœ Œ Ó

œœ œœ ˙˙

ers,

˙˙˙

ers,

∑

∑ All, div. a3 pp

bw &b ‹ ? bb

∑

˙˙˙ ™™™

And All, div. pp

∑

˙™ ˙™ And

598

pp ˙˙ œœ œœ ˙˙˙ ˙˙˙ ˙ œ œ

° bb & œœœ Œ Ó

˙˙ ˙˙ ˙ ˙

And God All, div. a3 p

b &b

∑

˙˙ ˙

saw

˙˙˙

And God

b &b ‹ ? bb

w w w

˙˙˙ ™™™

˙˙ ˙ saw

that it

∑

was pp

˙˙˙

w w w

˙˙˙ ˙˙˙

w w w

bbbb

w w w

bbbb

w wœ b˙ ™

w w w

bbbb

w w w

bbbb

good.

w w œœœ œœœ w that it

w w w w w w

˙˙˙ good.

was

∑

Ó ˙˙˙

w ww

good. div. a3

w w

˙™ ˙™

∑

Ó ˙˙ ˙

w w w

good.

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Kile Smith—The Consolation of Apollo

607 Tempo I q = c.68 607

div. a2 pp

° bb b & b

∑

w w

∑

w w

And

∑

œœ œœ œœ ˙˙

3 j œ ‰ J œ œ œœ œœ œœ

div. a2 p

bb &b b

j ‰ œœ œœ œœ ˙˙

œœ

the crew of A - pol - lo

and from the crew,

And from the crew,

3 div. mp

unis. p

bb w w &b b w ‹

œœ ‰ Œ œ J

w w w

Œ œ ˙

‰ œ œœ œœ œœ œœ ‰ 3

the crew, unis. p

? bb ¢ bb

Eight,

∑

the

crew

A-

Œ œ ˙

the

œ J

‰

crew,

Crotales

b ˙ & b bb

w ∑

∑

p 611

° bb b w & b w

w w

b w & b bb w

w w

œœ Œ Œ ‰ œœ œœ J

w w w

w w

œœ œœ œœ ‰ œœ œœ Œ ‰ œœ œœ œœ J J

we close with good night,

good luck,

a Mer - ry

b ™ & b bb œœ œœ ˙˙™ ‹ pol - lo Eight,

œœ Œ Œ ‰ œœ œœ œœ œœ œœ ‰ œœ œœ Œ ‰ œœ œœ œœ J J J

w w

we close with good night,

good luck,

a Mer - ry

™ ? bb b œœ œœ œœJ œ ™™ œ œ œœ œœ ˙˙ ™ ¢ b div.

the

crew

A - pol - lo

Eight,

œœ

œœ œœ œœ œœ œœ ‰ œœ œœ Œ ‰ œœ œœ œœ Œ Œ ‰J J J we close with good night,

good luck,

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a Mer - ry

50 616

° bb b mfw w & b w

w w w

∑

b b mfœ ™ b & b œ™

œœ >œœ

>œ œ

>˙ ˙

and God

bless

all

> œœ œœ >

> œ >

and God

bless

œœ Œ J

Christ - mas,

‰ œœ œœ™™ J a

Mer

œœ J -

œœ

Christ - mas 3

b b œœ ™™ œœ Œ b & b J ‹ Christ - mas,

j f œ œ J

j ™ ‰ œJ œœ ™

Mer

Christ - mas 3

> œ œ œ œ >

mf f

œœ œœ ™™ ‰ J

œœ J

œ 3

Christ - mas,

œœ ˙˙ J of you,

>˙ ˙

œ ™™ œœ ˙˙ œ J

™ ? bb b œœ ™ œœJ Œ ¢ b

œœ™™

Mer

Christ - mas

and God

> œ

of you,

all

>˙ ˙

œ ™ œœ ˙˙ œ™ J

> bless

of you,

all Crotales

b & b bb

∑

œœœœœœœœ

ff 620

° bb b w w & b

œœ

œœ J ‰

œœ

˙˙

œœ œœ œœ

all

all,

of you

ff 3

b w & b bb w

œœ ‰ œ œ œœ ˙˙ œ œ J

all of you,

œœ all

œœ œœ œœ of you

œœ ‰ œœ œœ3 œœ ˙˙ J

b ww & b bb ‹

all of you,

œœ all

œœ œœ œœ of you

w ? bb b w ¢ b

œœ 3 J ‰ œœ œœ œœ ˙˙ all of you,

œ œ œ œ œ˙ b & b bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œœ all

œœ œœ œœ of you

œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Bass Drum

Œ /

œœœœ˙

œ œ œ œ ˙™

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Kile Smith—The Consolation of Apollo

625 623

° bb b œ & b œ

œœ

œœ œœ œœ œœ

the good

b b ‰ œj œ b & b œ œ

œœ œœ œœ œœ

w w

œœ

Earth.

God mf

the good

b b œœ b & b ‹ on

w w

j j œœ œœ œœ ™™

‰ œœ

Earth.

Mer

ry Christ - mas

œœ

œœ œœ œœ œœ the good

œ ? bb b ‰ œ œ ¢ b J œ

w w

‰ œœ

Earth.

Mer

œœ J -

œœ J

œœ™™

ry Christ - mas

œ œ œ œœ œ œ œ the good

w w

‰ œœ

Earth.

Mer

bbb w b &

∑

œœœœœ

œœ™™

ry Christ - mas

∑

œœ J

∑

œœœœœ

626

° bb b ˙˙ & b

œœ œœ œœ bless all

œœ œœ œœ œœ™™ of you on

œœ œœ ˙˙ ™™ J

œœ œœ ‰ Œ J

the good Earth.

œœ œœ Mer - ry

j b & b bb ‰ œœ œœ

œœ œœ œœ bless all

and God

bbb ‰ mpœ œ œ œ œœ b œ œ œ œ & J ‹ bless all and God mp ? bb b ‰ œœ œ œ œ œœ ¢ b J œ œ œ bless all

and God

b & b bb

∑

œœ œœ œœ œœ ™™ of you on

œœ œœ œ œœ ™™ œ of you on

œ œœ œ œœ ™™ œ œ of you on

∑

j œœ œœ ˙˙ ™™

j œœ œœ ‰ Œ

the good Earth.

Mer - ry

œj œœ ˙˙™™ œ

œœ œœ ‰ Œ J

the good Earth.

œœ œœ ‰ Œ J

the good Earth.

œœ œœ Mer - ry

œœœœœ

œ ˙™

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œœ œœ Mer - ry

œ œ ˙˙ ™™ œJ œ Ó

œœ œœ

630 630

° bb b œœ & b

unis.

œœ œœ

œœ

Mer - ry

Christ - mas,

œœ

Christ - mas

œ œ

œ™

j œ œ œ œ œ

and

God bless

all,

and

œ œ

and

God bless

all,

œœ œœ

œœ and

God bless

all,

œ œ

œ œ œ œ

˙ ˙

and

God bless

all,

unis.

bb & b b œœ

œœ œœ

œœ

Mer - ry

Christ - mas,

œœ

Christ - mas

˙™

œ and

unis.

bb œ œ œ &b b œ œ œ ‹ Christ - mas, ? bb b œœ ¢ b

œœ

Mer - ry

œœ œœ

œ œ

Mer - ry

Christ - mas,

bbb œ b &

œœ

œ ˙ œ œ

œœ

Christ - mas

œœ

Christ - mas,

œ œ

w ˙

634

° bb b & b œ œ œ™

j œ œ œ œ œ œ and God

God bless all,

b & b bb œ œ ˙

˙™

œ œ and God

God bless all,

b ˙ & b bb ‹

œ ˙

bless all

you

œ™ œ ˙ J on

˙ div.˙˙

the good

œ ˙

œ œ™ œj ˙

bless all

of you

U w w

Earth.

˙ ˙

the good

U w

Earth.

∑

U ∑

∑

U ∑

∑

U ∑

all.

? bb b ˙˙ ¢ b

˙ ˙

w ˙

ww ˙

all.

b ˙™ & b bb

˙™

œ ˙™

œ œ ˙

œ w

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Kile Smith—The Consolation of Apollo

7. The stars shine Boethius The Consolation of Philosophy, Book 3, Song 1 trans. W. V. Cooper, 1902 Somewhat faster (q = c.72) 641

or two Tenors ° bb b 4 one Œ ‰ & b b4 Ó ‹ the others b 4 b Œ ‰ & b b b4 Ó ‹ one or two Basses ? b b 44 ∑ bbb

j œ ˙

The stars p legato; no obvious breaks

j œ œ

œ™

˙™

œ œ Œ ‰ J

? bb4 Ó ¢ b b b4

storm

œ œ J

when

œ™

œ ˙ J

a storm has

shine p legato; no obvious breaks

the others

j œ œ

œ ˙ J

The stars shine with more pleas - ing grace p

‰ œJ ˙

Œ when has

œ œ J

The stars shine with more pleas - ing grace

œ œ J

when

a storm has

Bass Drum

4 œ œ ˙™ 4 p. .

∑

œ. œ. ˙ ™

∑

dampened but l.v. sempre

645

647 one or two Sopranos

p legato

° bb b & bb

∑

‰

∑

‰

∑

‰

∑

‰

the morn - ing

j œ œ œ œ

∑

‰

œ j œ œ œ Af - ter

œ™ has

œ œ œ œ

star

has dis - persed

w œ

Af - ter the morn - ing p legato; no obvious breaks

the others

b & b bbb

j œ œ œ œ Af - ter p legato

one or two Altos

b & b bbb

morn Af - ter the p legato; no obvious breaks

the others

b & b bbb

j œ œ œ ˙

the morn - ing

star

œ œ œ œ

star

has dis - persed

dim.

b œ ‰ & b bbb ‹ b ™ & b bbb œ ‹ ceased ? bb b ˙ bb ? bb b œ™ ¢ bb ceased

œ ˙ J

w ∑

to roar dim.

œ œ™ J to roar

j œ w and

∑

œ. œ. ˙ ™

∑

pour dim.

Œ ‰ œ w J œ œ ™ and œ J œ J to roar

dim.

and pour down

∑

rain.

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molto rit. 649

° bb b ˙ & bb

Œ œ w of

bb &b b b œ œ ˙ the shades

beau

œ ˙ of

the day in

all

its beau - ty

the shades

drives

its

ros - y char - iot

œ‰ J

forth.

˙™

j‰ œ

j œ ™ œ œ œ œ œ ˙™

j œ‰

forth.

j œ œ œ

œ œ œ œ œ™

night,

∑

forth.

night

œ ˙

ros - y char - iot

œ‰ J

j ˙™ œ™ œ œ œ œ œ

the

bb b œ ˙ ¢& b b œ

j œ œ œ

œ œ œ œ œ™

night,

bb j & b b b ‰ œ ˙™

œ ™ ‰ œ œ œ œ ˙™

the day in

all

its beau - ty

∑

drives

its

ros - y char - iot

Œ œœ œ . . p

∑

forth.

œ- œ- œ >œ >œ >œ >œ >œ

654 Steady (q = c.68) Soprano 1 654

° bb b f >œ & bb So

>œ

œ œ

hast looked up - on

thou

false

hap - pi - ness

˙ Œ

ﬁrst;

now

Soprano 2

b & b bbb Ó Alto 1 > bbb f b & bœ So

> œ

>œ

thou

œ œ

hast looked up - on

œ œ

hast looked up - on

thou

œ œ œ œ

false

œ œ œ œ

false hap - pi - ness ﬁrst;

hap - pi - ness

˙ now

ﬁrst;

˙ now

Alto 2

> œ

thou

b & b bbb Ó Tenor 1

f> b b &b b b œ ‹ So Tenor 2 b & b bbb Ó ‹ Bass 1 f ? bb b >œ bb

> œ

œ œ

hast looked up - on

œ œ

hast looked up - on

thou f

> œ

>œ

thou

œ œ

>œ

? bb Ó ¢ bbb

œ œ

thou

œ œ œ œ

Œ œ

false hap - pi - ness ﬁrst;

false

hap - pi - ness

œ œ œ

hast looked up - on

now

œ œ œ œ

˙ now

hap - pi - ness

œ œ œ

ﬁrst;

˙ œ

false

˙ Œ

false hap - pi - ness ﬁrst;

˙ now

>œ œ

hast looked up - on

thou

Bass 2

œ œ œ

Œ ﬁrst;

now

œ œ œ œ

˙ Œ

false hap - pi - ness ﬁrst;

now

Crotales l.v. sempre

bbb œ œ œ œ œ œ œ œ ˙ b & b

œœœœœœœœ˙ ∑

∑

/ f

>œ

>˙

œ œ ˙ > > > Kile Smith—The Consolation of Apollo

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660

° bb b œ -œ œ -œ œ œ œ œ ˙ J & bb J 658

draw thy neck from un - der her yoke:

b b œ -œ œ -œ œ œ œ œ ˙ b & bb J J

˙ Ó

-œ œ -œ ™ œ ˙ ˙ Ó J shall true hap - pi - ness, - œ œ -œ ™ œj ˙ ˙ Ó

-œ so ff

-œ

-œ -œ -œ -œ ™ œ ˙ J

neck from un - der her yoke:

draw thy neck from un - der her yoke:

-œ -œ -œ -œ ™ œ ˙ J

Œ œ œ œ so shall true p

˙ Ó

draw thy neck from un - der her yoke:

˙ Ó

∑

™ >œ >œ ˙

˙ Ó

ff open

˙ Ó

œ œ œ so shall true

∑ w

∑ œ. œ. ˙ ™ p dampened

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œ œ œ so shall true p

∑ w

œ œ œ so shall true p

so shall true hap - pi - ness,

b & b bbb

œ œ œ so shall true p

so shall true hap - pi - ness,

- œ -œ -œ ™ œ ˙ ff œ J Œ

œ œ œ so shall true p

so shall true hap - pi - ness,

-œ œ œ œ œ ˙

œ œ œ so shall true p

so shall true hap - pi - ness, ff

œ œ œ so shall true p

so shall true hap - pi - ness, ff

neck from un - der her yoke:

œ ˙ ? bb b œ œ œ œ œ œ œ J ¢ bb J

so shall true hap - pi - ness, ff

draw thy neck from un - der her yoke:

-œ œ œ œ œ ˙

-œ -œ -œ -œ ™ œ ˙ J

b & b bbb œJ œ œJ œ œ œ œ œ ˙ Œ draw thy neck from un - der her yoke: b j j b &b b b œ œ œ œ œ œ œ œ ˙ Œ -œ œ œ œ œ ˙

so shall true hap - pi - ness, ff

draw thy neck from un - der her yoke:

bbb œ -œ œ b & bJ J ‹ draw thy bbb œ -œ œ b & bJ J ‹ draw thy œ -œ œ ? bb b J J bb

-œ -œ -œ -œ ™ œ ˙ J

664

° bb b œ ™ œ ˙ & bb J

hap - pi - ness

bb & b b b œ ™ œJ ˙

hap - pi - ness

b j & b bbb œ ™ œ ˙

hap - pi - ness

b & b bbb œ™ œj ˙

œ ˙ J

pi - ness

j œ ˙

come in - to

thy

soul,

œ œ œ

come in - to

thy

soul,

œ œ œ

come in - to

thy

soul,

œ œ œ

come in - to

thy

soul,

œ œ œ

come in - to

thy

soul,

œ œ œ

come in - to

thy

soul,

œ œ œ

come in - to

thy

soul,

hap - pi - ness

b & b bbb œ ™ ‹ hap b & b bbb œ ™ ‹ hap -

œ œ œ

pi - ness

œ œ œ

come in - to

thy

soul,

œ œ œ

come in - to

thy

soul,

œ œ œ

come in - to

thy

soul,

œ œ œ come in - to

thy

soul,

œ œ œ

come in - to

thy

soul,

thy

soul,

œ œ œ come in - to

˙ ? bb b œ ™ œ ˙ bb J

hap - pi - ness

? bb j ¢ b b b œ™ œ ˙

Ó ˙

Œ œ œ œ come in - to

hap - pi - ness

œ œ œ come in - to

thy

˙ ˙

œ œ œ thy

soul,

b & b bbb

∑

œ. œ. ˙ ™ p

∑

soul,

come in - to

∑ œ. œ. ˙ ™ p

thy

soul,

∑ ∑

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Kile Smith—The Consolation of Apollo

670 pp 670

div.

° bb b Œ & bb

œ œ œ w

˙˙

thy div. ww

˙˙ Ó

thy

U ∑

unis. pp

Ó ˙˙

thy

unis. pp

div. ww

˙˙

thy

wdiv.w

unis. pp

˙˙ Ó

thy

∑

w soul. unis. pp

w œ œ œ w

b & b bbb

w soul.

div.

come in - to

w soul.

œ œ œ w come in - to

˙˙ Ó

œ œ œ w come in - to

w soul. pp unis.

œ œ œ w come in - to

w soul.

div.

? bb Œ ¢ bbb

unis. pp

œ œ œ w come in - to

? bb b Œ bb

soul.

div.

b & b bbb Œ ‹

U ∑

thy

œ œ œ w come in - to

b & b bbb Œ ‹

unis.

˙˙

div.

b & b bbb Œ

soul. pp

œ œ œ w come in - to

b & b bbb Œ

Ó come in - to

bb &b b b Œ

unis.

w w

˙ ˙

thy

w soul.

∑

˙ Œ œ œ œ

œ ˙™

U w

œ. œ. ˙ ™ p

∑

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∑

U ∑