Catalog no. 1218 | Gregorio | To My Brother
Joseph
GREGORIO
To My Brother for TTBB chorus a cappella
ARETÉ MUSIC IMPRINTS www.aretemusicimprints.com info@aretemusicimprints.com
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
I was browsing at the newsstand and I saw you. I always do a brief glimpse at a life with none of the detail. I ’m not sure when I first realized The rainbow-colored elephant; it was just something we left dangling in the air, unsaid an unbreakable barrier. I never really told you how much I admired you. I always thought that, between us, you were the stronger one. When I was biking a mile, you were unicycling two. Where I was shy, you were fearless. When I imagined your future, I saw the world at your feet. You were one noisy kid. I remember walking inside and the most beautiful sounds of Tchaikovsky and Mozart would waft through every room. It is so quiet now. You were youth, potential just beginning to unfold. You were beauty, fleeting and marvelous. I know there was pain, and I’m sorry for that, but you were joy, too. You were never alone; it just felt like it. You were so easy to love, with your kind eyes and gentle heart. You will always be my sweet, tender little brother. Your voice, your smile, tiny hands clinging to mine. I will never let go.
— James Clementi Text ©2012 James Clementi and used by kind permission of the author.
Commissioned by Cantus with funding from 143 supporters through a Kickstarter campaign and a gift from special friends of Cantus. Duration approx. 5’ 45” This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
Commissioned by Cantus with funding from 143 supporters through a Kickstarter campaign and a gift from special friends of Cantus Dedicated to the memory of Tyler Clementi
To My Brother James Clementi
Joseph Gregorio
Slow, introspective; flexible throughout (q = 63) p simply; without vibrato
3
3 4
TENOR
2 4 was brows ing I p simply; without vibrato
at the
news stand
2 4 I
3
was brows ing
at the
news stand
I
2 4
3 4
3 4
2 4
3 4
3
al ways
2 4 and I saw
3
3
3 4 you.
I
3
2 4 2 4
3
al ways
3 4 3 4
3
3
3 4
T.
you.
3 4
3
3 4
3 4
7
3
2 4
and I saw
Slow, introspective; flexible throughout (q = 63) Keyboard (for rehearsal only)
3
3
3 4
BASS
3 4
2 4 do –
a brief glimpse at
a
3 4 life
with
2 4 none
of the de tail.
I'm not
3
3 4
B.
2 4 do –
14
a brief glimpse at
a
3 4 life
with
2 4 none
I'm not
mp
3
3 4
T. sure when I first real ized the
rain
bow col ored
3 4
B. sure when I first real ized the
3
T.
e le phant; mp
3 4
3
B. dan gling in the
air,
un p
bow col ored
e
3
3
3
un
3
3
le phant;
it was just some thing we left
Holding back
mf
mp
4 4 said –
an un break a ble bar mf 3
3 4 air,
it was just some thing we left
2 4 rain
p
dan gling in the
3
2 4
3
20
of the de tail.
said –
rier.
3
an un break a ble bar
I mp
nev er real ly
I
nev er real ly
4 4 rier.
Copyright © 2015 Areté Music Imprints. All rights reserved. Text © 2012 James Clementi; used by permission of the author. www.aretemusicimprints.com | info@aretemusicimprints.com | Cat. no. 1218
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
2
25
In tempo, but slower than before (q = 54) pp
p
3
mf
mp
3 4
T. told you how much I ad mired you.
pp
I al ways thought that, be tween us, you p mf
3
were the strong er one. When mp
3 4
B. I told you how much I ad mired you.
pp
I al ways thought that, be tween us, you
p
3
were the strong er one. When
mf
mp
3 4
B. II told you how much I ad mired you.
I al ways thought that, be tween us, you
were the strong er one. When
In tempo, but slower than before (q = 54)
3 4 3 3
Kbd.
3 4
Accelerating slightly
29
T.
3
3
3 4
4 4 I
was bik ing a mile, you
were
5 4 un
i cyc ling two.
Where I
was shy,
you were
3
B. I
3
3 4
4 4 I
was bik ing a mile, you
were
5 4 un
i cyc ling two.
Where I
was shy,
you were
3
B. II
3 4
3
4 4 I
was bik ing a mile, you
Accelerating slightly
were
un
i cyc ling two.
Where I
was shy,
you
5 4 were
3
3 4
4 4
5 4 3
Kbd.
3
3
3 4
4 4
AretĂŠ Music Imprints | Cat. no. 1218
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5 4
3
(q = 72) 33
3
5 4
T.
4 4 fear less.
When I im ag ined your
fu
ture,
I saw the
4 4 fear less.
When I im ag ined your
B. II
fear less.
4 4
world f
at your
feet.
fu
ture,
I saw the
4 4
When I im ag ined your
3
Kbd.
4 4
world
at your
feet.
mp
T. I
4 4
T. II
4 4
poco f
fu
ture,
I saw the
4 4
world
at your
feet.
B. I
B. II
Slower (q = 60)
3 4
4 4
4 4
3 4
4 4
3
pp sweetly
re mem ber walk ing in side 3
and the most beau pp sweetly
3 4
4 4
I mp
re mem ber walk ing in side 3
re mem ber walk ing in side 3
and the most beau pp sweetly
and the most beau pp sweetly
re mem ber walk ing in side
and
the
most
3
3 4
4 4
3 4
Kbd.
ti
ful
ti
ful
beau ti
ful
4 4 I
4 4
ful
4 4
3 4 one nois y kid.
ti
4 4 I mp
one nois y kid.
were
4 4
3 4
4 4
You
4 4 I mp
one nois y kid.
were
3 4
3 4 one nois y kid.
You
3
5 4
38
were
poco f
(q = 72)
5 4
You
3 4 f
3
5 4
poco f
3 4
3
5 4
B. I
Slower (q = 60)
f
4 4 3
4 4
AretĂŠ Music Imprints | Cat. no. 1218
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
4
Holding back
43
(q = 50)
mf
2 4
T. I sounds of Tchai kov sky
and
Mo
zart
would waft
through
eve
ry
mf
2 4
T. II sounds
of Tchai kov sky
would waft
through
eve mf
ry
2 4
B. I sounds
of Tchai kov sky
would waft
through
eve
ry
mf
2 4
B. II sounds of Tchai kov sky
would waft through eve
Holding back
ry
(q = 50)
2 4 Kbd.
2 4
48
T. I
p
2 4
5 4
5 4 It
room.
is
4 4 so
qui
et
T. II
5 4 It
2 4
is
4 4 so
qui
et
5 4 It
B. II
is
so
qui
et
5 4 It
is
qui
5 4
now.
et
were
p
3 4
4 4 so
2 4 You
2 4 You
pp
5 4 room.
5 4
now.
4 4
were
p
3 4
p
2 4
You
pp
5 4
room.
2 4
now.
p B. I
5 4
pp
5 4
room.
p
3 4
p
2 4
As before (q = 60)
pp
were
p
3 4
5 4
now.
2 4 You
were
As before (q = 60)
2 4
5 4
5 4
4 4
3 4
5 4
2 4
2 4
5 4
5 4
4 4
3 4
5 4
2 4
Kbd.
Areté Music Imprints | Cat. no. 1218
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5 55
3
2 4
T. I
youth,
3 4 ten tial
po
2 4
T. II
3
4 4 just be gin ning to un fold.
po
were beau
ty,
fleet ing and
3
4 4
youth,
You
ten tial
3 4
just be gin ning to un fold.
You
were
beau
ty,
3
2 4
B. I
3
4 4
youth,
po
3 4 ten tial
just be gin ning to un fold.
You
were
beau
ty,
fleet ing and
3
2 4
B. II
4 4
youth,
po
3 4 ten tial
just be gin ning to un fold.
You
were beau
ty,
3
2 4
3 4 3
Kbd.
2 4
3 4 mf
3
mar vel ous. 3
3 4 poco f
mf
3
I
fleet ing and mar vel ous,
mf
mar vel ous.
I mp
3
3 4
mf
3
fleet ing and mar vel ous,
3
2 4
3
3
mp
3 4
mar vel ous.
3
2 4 I
know
3
3
3 4
there was 3
3 4
2 4
3 4
2 4
3 4
3 3
3 4 3
3 4 know there was
3
3 4 3
3 4
know there was
I
poco f
3
3
3
mar vel ous. 3
know there was
2 4
3 4 mar vel ous,
3 4
mp
3
3 4
Kbd.
2 4
3 4
3
B. II
3
3 4 poco f
B. I
mp
3
3 4 mar vel ous,
T. II
3
4 4 poco f
59
T. I
3
4 4
3
Areté Music Imprints | Cat. no. 1218
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3 4
6 63
3
3 4
T. I
pain,
3 4 and I'm
3 4
but
sor ry f
and I'm
mp
for
that,
and I'm
you
were
joy
mf
mp
for
that,
but
you
were
mp
joy
mf
3 4 sor ry
for
that,
but
you
were
2 4
3 4
2 4
3 4
joy (q = 92)
Accelerating quickly
3
3 4
joy
mf
but
2 4 pain,
were
3 4 sor ry f
3
3 4
you
3 4
2 4 pain,
B. II
that,
f
3
B. I
for
2 4 pain,
mf
3 4 sor ry
and I'm
(q = 92)
mp
2 4
3
T. II
Accelerating quickly
f
3
Kbd.
3 4
Holding back 69
As before (q = 60) mp gently
3
2 4
T. I too.
You were
nev
er
a
lone;
it just
mp gently
felt
like it.
3 4 You were
3
2 4
T. II too.
You were
nev er mp gently
a
lone;
it just
felt
like it.
3 4 You were
3
2 4
B. I too.
You were
nev
er
a
lone;
mp gently
it just
felt
like it.
3 4 You were
3
2 4
B. II too.
You were Holding back
nev
er
a
lone;
As before (q = 60)
it just
felt
like it.
3 4 You were
3
2 4
3 4
2 4
3 4
3
Kbd.
AretĂŠ Music Imprints | Cat. no. 1218
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
7 75
3
3 4
T. I
4 4 so
y
eas
love,
with your
3
3 4
T. II
to
so
eas
y
2 4 kind
eyes
and
gen
4 4 to
love,
with your
3 4 tle heart.
2 4 kind
eyes
and
3 4 gen
tle heart.
3
3 4
B. I
4 4 so
eas
y
to
love,
with your
2 4 kind
eyes
and
3 4 gen
tle heart.
3
3 4
B. II
4 4 so
eas
y
to
love,
with your
2 4 kind
eyes
and
3 4 gen
tle heart.
3
3 4 Kbd.
Slowing
79
will
al
ways
be my
2 4
3 4
sweet,
3 4 ten
der lit tle
will
al
ways
be my
sweet,
der lit tle
al
ways
be my
You
will
al
ways
Slowing
broth er.
sweet,
3 4 ten
der lit tle
broth er.
sweet,
3 4 ten
der lit tle
3 4 Your
4 4 broth er.
3 4 Your
(q = 50)
3
3 4
4 4 p
4 4
be my
3 4 Your
poco
3
3 4
4 4 p
4 4 will
3 4 Your
poco
3 4 You
broth er.
3 4 ten
p
4 4 p
4 4 3
Kbd.
(q = 50)
poco
3 4 You
B. II
4 4
4 4 3
B. I
3 4
poco
3
3 4 You
T. II
2 4
3
3 4
T. I
4 4
4 4
3 4
4 4
3 4
4 4
3 4
4 4
3 4
3
3 4
AretĂŠ Music Imprints | Cat. no. 1218
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8 84
less
3
3 4
T. I
4 4
voice,
3 4 smile,
your
ti
ny
hands
cling ing to
mine.
I will
less
3
3 4
T. II
4 4
voice,
your
3 4 smile,
ti
ny
hands
cling ing to
mine.
I will
3
less
3 4
B. I
4 4
voice,
your
3 4 smile,
ti
ny
hands
cling ing to
mine.
I will
3
less
3 4
B. II
4 4
voice,
your
3 4 smile,
ti
ny
hands
cling ing to
mine.
I will
3
3 4 Kbd.
3 4
4 4
3 4
3
3 4
88
T. I
4 4
Slowing until the end
3 4
pp
3 2 nev
er let
go,
I
will
nev
er
let
go.
will nev
er
let
go.
will
er
let
go.
er
let
go.
pp T. II
3 4
3 2 nev
er let
go,
I
pp B. I
3 4
3 2 nev
er let
go,
I
nev
pp B. II
3 4
3 2 nev
er let
go,
I
will nev
Slowing until the end
3 4
3 2
3 4
3 2
Kbd.
AretĂŠ Music Imprints | Cat. no. 1218
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Duration approx. 5’ 45�
Composer’s note On September 22, 2010, eighteen-year-old Tyler Clementi, a freshman at Rutgers University, committed suicide after discovering that his roommate, Dharun Ravi, and a hallmate, Molly Wei, secretly used a webcam to broadcast an encounter between Tyler and another man. Tyler’s death sparked nationwide outrage, kindled a national discussion about bullying of LGBTQ youth and cyberbullying in general, and ultimately resulted in the creation of the Tyler Clementi Foundation (www.tylerclementi.org) by Tyler’s parents, Jane and Joseph Clementi. Tyler’s brother James penned a series of letters to his deceased brother, which were published in Out Magazine in 2012 and which express by turns James’s bereavement and his admiration, affection, and love for Tyler. The text of To My Brother is drawn from these letters, and from James’s introduction to them, with certain minor adjustments to punctuation and tense for consistency. I thank James for his kind permission in allowing me to set his beautiful words to music, and Jane and Joseph Clementi for their support of this collaboration. I am also grateful to Ilene Wong, who adapted and arranged James’s words into poetic form. — J.G.
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