Thea Musgrave
From Darkness into the Light A Contemplation (2017) for solo violoncello and chamber orchestra
Full score
NOVELLO
Thea Musgrave FROM DARKNESS INTO THE LIGHT A Contemplation Commissioned by Dr. Pamela Ashurst in memory of her husband Ron Ashurst for their dear friend cellist Josephine Knight
Duration circa 21 minutes
Instrumentation 2 Flutes (2nd doubling Piccolo) 2 Oboes (2nd doubling Cor Anglais) Clarinet in B Bassoon 2 Horns in F Percussion (1 player): Triangle, Bell tree, Tubular Bells, Vibraphone, Tam-tam, Snare Drum, Tenor Drum, Bass Drum
Strings (5.4.3.2.1)
Orchestra Layout
Programme Note From Darkness into the Light: a contemplation is a reworking of Journey into Light (2005) and in this new form is written specially for the cellist Josephine Knight. This work is commissioned by Dr. Pamela Ashurst who was present at the world premiere of Journey into Light in Southampton. Everything about this new piece has been unusual and exciting for me. When Dr. Ashurst approached me to write a work for the excellent British cellist Josephine Knight, she explained that she was seriously ill but that she wanted to commission a work “to add something beautiful to the classical musical canon” she loved so much. She then explained that she and her late husband had attended the premiere of Journey into Light in 2006 and had been very moved by it. This request certainly grabbed my attention and, though I felt a little daunted, I couldn’t resist dropping everything and starting to explore some ideas right away! I have several times reworked my compositions, but it has always been to re-orchestrate rather than to create something entirely different. But From Darkness into the Light– though closely based on Journey into Light – is quite new, a state necessitated by the absence of the voice. In its place the unique properties of the cello, together with the addition of a clarinet and percussion to the orchestra, have taken the piece and its ideas in a different direction. In the original work the “darkness” refers to hell, and the “light” is the light of salvation. These ideas are drawn from one anonymous fifteenth-century poem and two others by the Scottish poet William Dunbar (1460?-1513?). In his poems, Dunbar describes the promise of salvation after life’s dark passage, while each of the three poems set echoes the thought that the poet can overcome the fear of his inevitable death with the certainty of salvation. This previous work also has its “dark” moments, but the overall mood is one of calmness and peace. It seemed to me that in my new work the “darkness” could represent ANY of those dark, frightening moments that all of us face from time to time and that, in life, those moments have to be confronted and come to terms with, before peace and well-being can be restored. In both works there are three sections and in each section an important musical theme is introduced: in the first section a dark theme that originally accompanied the words “Terribilis mors conturbat me”, in the second section the famous medieval chant “Dies Irae”about the Day of Judgement, and in the third section, the theme accompanying the words “Since endly joy abidès never, Work for the joy that lastès ever”. What changes the feeling of the whole work is not just the fact of a different colour of the solo cello, but the dramatic way I wanted to use it in the three cadenzas which I have added. The first cadenza led by the cello is mostly dark and brooding: it links the first two sections. Here the clarinet, which has not sounded a single note thus far, adds a low E-natural. This eventually leads to the cello “inviting” the clarinet to join in with its voice in the next section, thus giving another colour to the dark implications of the “Dies Irae” chant. In the second cadenza which links the second and third sections the cello introduces a new light-hearted figure which the oboes will embrace in the third section. The third section becomes more and more confrontational as the themes mentioned above all reappear in counterpoint to the oboes. But the “Dies Irae” now always played by the horns takes a central position – each of its three phrases becoming more urgent, more insistent. In response the cello becomes more and more agitated, even angry. The third and final cadenza is the culmination of this confrontation between the cello and the antagonistic and challenging horns. The cello, however, confronts their outburst in a serious, thoughtful, but above all, calm way. This calm response allows the dialogue to be restored and a peaceful coda ensues resolving into a “luminous” final cadence. Thea Musgrave
To Josephine Knight
From Darkness into the Light Score at actual pitch
A Contemplation
I – Dark h = 52 Flute 1
Flute 2 / Piccolo
Oboe 1
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Oboe 2 / Cor Anglais
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Thea Musgrave
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Percussion
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Vc.
p
Cb.
tutte
pp
p
pp
p
pp
f
p
pp
Vla.
p
pp
Vln. II
f
mf
Solo Vc.
pp
pp
p
p
pp
pp
p
18
245
Fl. 1
p
Fl. 2
Ob. 1
mf
mf
40
sfzpp
mf
sfzpp
3
mf
Ob. 2
mf
en dehors
Cl.
p
sfz
Bsn.
mf
p
sfz
Hn. 1
sfz mf
pp
p
mf
Vc.
p
mf
40
p
div.
mf
0
pp
unis.
p
pp
mf
Cb.
p
mf
Vla.
mf
Vln. I
Vln. II
pp
p
mf
Solo Vc.
pp
pp
pp
Bell-Tree
Tam-tam Perc.
pp
mf
Hn. 2
p
p
pp
pp
pp
p
pp
19
251
Fl. 1
pp
p
pp
Ob. 1
p
Fl. 2
mf
Ob. 2
Cl.
p
Bsn.
ff
ff
Hn. 1
Hn. 2
pp
p
p
Vln. I
p
mf espr.
0
mf
Solo Vc.
f
f
solo
p
Vln. II
Vla.
Vc.
p
Cb.
p
pp
pp
pp
pp
p
p
pp
p
f
T.D. Perc.
mf
mf
20
41
256
Fl. 1
p
Ob. 1
mf
mf
p
mf
f
f
f
en dehors
Cl.
f
f
Ob. 2
fltr.
p
f
sfz
Bsn.
mf
p
sfz
Hn. 1
sfz
41
mf
(solo)
p
tutti div.
sul pont.
pp
mf
mf
p
sfz
mf
mf
p
mf
div. unis. sfz p mf
Cb.
pp
sola
Vc.
p
p
mf
Vla.
sfpp
mf
sul pont.
sfzpp
Vln. I
f
Vln. II
mf
Tam-tam
Solo Vc.
p
Hn. 2
Perc.
mf
sfz
pp
pizz.
pp
sfz
21
263
Fl. 1
42
f
Fl. 2
f
Ob. 1
mf
Ob. 2
mf en dehors Cl.
ff
Bsn.
Hn. 1
p
mf
Hn. 2
Perc.
T.D.
Vla.
Tam-tam
Vc.
p
Cb.
sfz
p
mf
p
arco
f
pizz. mf
p
tutte
div.
mf
arco
Bell Tree
mf
p
sfz
solo ord.
tutti div. sul pont.
pp
sul pont.
p
p
pp
sola
p
p
mf
arco
pizz.
mf
f
mf
f
sfz
mf
mf
sfz
sfz
p
mf
42 Vln. I
Vln. II
mf
sfz
f
mf
Solo Vc.
f
ff
sfz
p
22
43 269 Fl. 1
sfz
Fl. 2
f
sfz
f
Ob. 1
mf
Ob. 2
mf
Cl.
Hn. 1
p
f
pp
Perc.
S.D. cc
mf
ord. unis.
0
ord.
tutte Vla.
pp
mf
solo
mf
Vln. II
mf
p
p
p
pp
p
sffz f
sffz f
sola
sffz f
pp
tutti div.
p
mf
sffz f
p
Cb.
p
mf
Vc.
mf
sfz
43 Vln. I
mf
Solo Vc.
sfp
p
Hn. 2
pp
23
274
Fl. 1
p
f
Fl. 2
44
mf
mf
fltr.
sfz
f
f
Cl.
Ob. 2
Bsn.
f
ff
T.D.
pp
mf
Solo Vc.
Vln. I p
p
Tam-tam
p
Vc.
Cb.
cuivré
Tubular Bells
44
solo
p
mf
tutti
mf
f
div.
p
pp
mf
p
mf
p
mf
p
p
div.
mf
T.D.
p
pp
dramatic!
mf
mf
f
p
mf
mf
Vla.
p
mf
f
Vln. II
mf
cuivré
mf
mf
f
sfz
p
Perc.
sfz
mf
mf
en dehors
ff
Hn. 1
Hn. 2
f
mf
f
mf
Ob. 1
pp
mf
pizz.
p
pp
unis.
24
poco accel.
Fl. 1
281
Fl. 2
Ob. 1
f
Ob. 2
f
Cl.
ord.
Perc.
Solo Vc.
p
f
f
f
p
ff
p
mf
f
f
p
mf
f
mf
f
p
mf
poco accel. Vln. I
Vln. II
pp
Vla.
pp
Vc.
Cb.
mf
pp
pp
p
unis.
p
p
p
mf
mf
mf
p
mf
mf
25
45 285 Fl. 1
rit.
a tempo
p
mf
p
Fl. 2
f
Cl.
f
p
mf
Hn. 1
ord.
Vln. II
f
Vla.
f
arco Vc.
f
Cb.
f
pizz.
p
f
solo
mf
p
mf p
div.
mf
p
mf
mf
sola
p
p
p
arco
sfz
p
mf
p
sfp
p
p
a tempo
Tam-tam
rit.
mf
mf
f
f
mf
45 Vln. I
T.D.
sfz
p
p
ord.
f
Solo Vc.
en dehors
ff
Cymbal Perc.
sfz
fp
Hn. 2
ff
Bsn.
mf
Ob. 2
mf
Ob. 1
mf
p
p
26
46 290 Fl. 1
Fl. 2
Ob. 1
mf
Ob. 2
mf
Bsn.
Hn. 1
Hn. 2
fp
p
pp
pp
pp
Bell Tree
Perc.
mf
Solo Vc.
sfz
46 Vln. I
p
mf
tutti
div.
sfp
p
tutte
p
unis.
p
Cb.
sfp
Vc.
Vla.
p
Vln. II
pp
p
pp
p
sola
p
pp
pp
pp
p
p
p
27
294
Fl. 1
Fl. 2
accel.
47
f
f
Ob. 1
Ob. 2
[sit]
p
[sit]
mf
mf
Cl.
Bsn.
mf
cuivré Hn. 1 pp
Hn. 2
cuivré pp
mf
Tubular Bells
mf
p
Vln. II
mf
p
47
dramatic!
pp
pizz.
Vla.
sfz
mf
Vc.
sfz
sfz
arco
arco
arco
mf
f
tutte pizz.
Cym.
pp
mf
f
f
f
f
mf
f
mf
mf
Cb.
mf
f
sfz
accel.
sfz
f
pizz. unis.
pp
subito f
Vln. I
f
p
Solo Vc.
ff
mf
f
p
p
Perc.
28
rit. 299
Fl. 1
sfz f
Fl. 2
p
Bsn.
sfz p
pp
f
mf
Cl.
pp
f
Ob. 2
pp
sfz p
p
sfz p
sfz f
Ob. 1
48 a tempo q = 60
mf
p
mf
Solo Vc.
Bell Tree
f
f
ff
Vln. II
Vc.
48
solo
a tempo q = 60
p
mf
mf
mf
ff
Vla.
mf
rit.
mf
ff
Vln. I
mf
Perc.
pp
p
pp
p
pp
pp
29
49 304
Fl. 1
mf
f
p
Fl. 2
fltr.
p
mf
p
Ob. 1
Bsn.
Ob. 2
mf
mf
con sord.
con sord.
mf
sim. p p
p
mf
p
Hn. 1
Hn. 2
f
mf
sim.
p
Perc.
S.D. cc
pp
Solo Vc.
Vln. I p
Vln. II
p
Vla.
p
Vc.
mf
Cb.
mf
p
mf
p
mf
49 f
p
f
p
mf
p
f
p
p
mf
sfz p
sfz mf
p
p
p
sfz p
p
mf
f
p
mf
p
sfz
p
mf
mf
div.
sfz
sfz f
mf
sfz f
mf
f
sfz f
f
sfz p
sfz p
30
50 Poco più mosso q = 72
accel. 311
Fl. 1
sfz f
f
Fl. 2
f
p
mf
sfz
f
sfz f
f
sfz
sfz
sfz f
f
p
f
sfz f
f
Cl.
f
Ob. 2
f
sfz
f
Ob. 1
p
f
sfz
sfz
sfz
Bsn.
Hn. 1
f
mf
Hn. 2
T.D.
Perc.
f
senza sord.
senza sord.
Tam-tam
S.D.
pp
pp
mf
p
Vc.
mf
mf
div.
pp
Cb.
p
p
unis. ord.
pp
p
mf
p
sfz f
p
p
sfz f
p
p
p
f
sfz
ff
sfz f
p
f
Poco più mosso q = 72
f
f
f
ff
50
sfz
mf
accel.
Vla.
sfz
f
mf
sfz
Vln. II
f
f
f
Vln. I
sfz
f
sfz
mf
Solo Vc.
sfz
f
mf
sfz f
sfz
sfz f
f
sfz f
sfz
f
sfz
sfz
31
318 Fl. 1
rit.
a tempo q = 60
51
mf
mf
Fl. 2
mf
Ob. 1
mf
Ob. 2
mf
mf
Cl.
Bsn.
Hn. 2
Perc.
Solo Vc.
mf
p
mf
p
Vla.
p
Vc.
mf
Tam-tam
mf
sfz
cuivré
p
mf
mf
cuivré p
S.D.
pp
51
rit.
p
mf
mf
a tempo q = 60
f
mf
mf
sfz
p
sfz
mf
sfz
mf
mf
mf
Cb.
mf
f
mf
ff
Vln. I
Vln. II
p
sfz
T.D.
mf
p
f
mf
Hn. 1
pp
div. unis.
p
p
p
pp
pp
pp
mf
mf
mf
32
324
Fl. 1
Fl. 2
sfz f
sfz f
sfz f
Ob. 1
mf
mf
mf
sfz f
Bsn.
mf
mf
Hn. 2
sfz mf
p
(p)
p
ord.
div.
mf
sfz
unis.
sfz
sfz
sfz
unis.
f
mf
f
unis.
mf
sfz
sfz
mf
(mf)
sfz
mf
mf
div.
Vc.
f
mf
mf
div.
Vla.
f
f
sfz
Vln. I
Vln. II
ord.
sfzp
Solo Vc.
f
mf
Hn. 1
Perc.
mf
mf
sfz f
mf
sfz f
Cl.
sfz f
sfz f
Ob. 2
f
f
sfz
33
52
327
Fl. 1 X
Fl. 2
Ob. 1
Ob. 2
Cl.
pp
sfz ff
X
sfz ff
sfz ff
pp
X
pp
X
sfz ff
pp
X
**
sfz
agitato molto rubato ad lib.
sfzp
Hn. 1 X
5 sfz
dramatic!
X
dramatic!
mf
Solo Vc.
X
f
X
sfz ff
X
mf
sfz ff
**
mf
calm
p
pp
pp
sfz ff
*
p molto espr.
mf
X
O
*
Vln. I X
Vla.
poco rit.
*
Vln. II
f
p
p
sfz
Cym. Perc.
sfz mf
f
Hn. 2
[agitato]
mf
pp
O Cello Solo is basically in a slower tempo are arrows for the conductor
than the Horns till after 55
are cues from player to player
53
328
Hn. 1
mf
Hn. 2
sfz
p
p
p
mf
Vln. I
sf mf
Vln. II
Vla.
sf mf
mf
mf
f p
mf
p
mf
p
pp
sf mf
5
mf
mf
Solo Vc.
poco rit.
pp
pp
34
54 Hn. 1 329
Hn. 2
Solo Vc.
mf
mf
Vln. I
mf
p
pp
pp
sfp
Vla.
mf
sfp
Vln. II
f
5
mf
rit.
sfp
pp
55 330 Hn. 1
p
Hn. 2
calmer
p
mp
mf
p
Solo Vc.
3
5
p
mf
[
]
mf
cresc.
35
56
Peaceful q = 60
Fl. 1 331
pp
Ob. 1
Ob. 2
pp
p
mf
f
f
p
p
p
actual pitch
pp
p
pp
pp
p
mf
mf
pp
p
pp
pp
pp
p
pp
p
p
pp
p
Cb.
pp
Vc.
p
p
Vla.
pp
Vln. II
Vibraphone with bow
Vln. I
pp
Solo Vc.
pp
p
Perc.
pp
Hn. 1 Hn. 2
p
Bsn.
57
p
Fl. 2
p
pp
p
Ob. 1 338
Ob. 2
Bsn.
ppp
ppp
Cl.
58
pp
p
Hn. 1
p
Solo Vc.
Vc.
pp
p
con sord.
p pp
p
p
sul tasto
pp
pp
p
sul tasto
p
p Cb.
mf
pp
mf
div.
pp div.
p
p
Vla.
p
Vln. I Vln. II
p
con sord.
p Hn. 2
p
36
59
poco rit. 345
Fl. 1
pochiss. meno mosso Luminous
Fl. 2
pp
pp
pp
Ob. 1
pp
Hn. 1
Perc.
pp
pp
Bsn.
p
sempre con sord.
p
(Vib.)
gliss.
s.
Cl.
gli s
Ob. 2
with bow
p
pp
Solo Vc.
59
poco rit.
ord.
ord.
Vla.
Vc.
Cb.
div.
pp
p
pochiss. meno mosso Luminous unis.
Vln. I
Vln. II
pp espr.
mf
pp
pp
pp
37
349 Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl.
rit.
pp
p
pp
pp
pp
pp
Hn. 1
pp
( )
pp
mp
Hn. 2
pp
Perc.
Triangle
mf
Solo Vc.
mf
rit.
*
Vln. I
mf
* Vln. II
mf
* Vla.
mf
Vc.
*
Cb.
sola
mf
* gliss. on harmonics on the A string, gradually getting higher. Bowing ad lib.
pizz.
pp
pizz.
pp
pizz.
p
pp solo pizz.
pp
p
pp
mf
*
solo
pp
p
pp
solo
pp
p
pizz. p