Harbison NORTH AND SOUTH

John Harbison

NORTH AND SOUTH (Six Poems of Elizabeth Bishop) 1999

from the G. Schirmer Rental Library date of printing___________

Associated Music Publishers, Inc. New York, NY

John Harbison

NORTH AND SOUTH (Six Poems of Elizabeth Bishop) 1999 Book I: I. Ballad for Billie I.........................................1 II. Late Air....................................................11 III. Breakfast Song........................................17 Book II: I. Ballad for Billie II......................................28 II. Song..........................................................39 III. “Dear, My Compass…”............................44

Commissioned by The Chicago Chamber Musicians

Associated Music Publishers, Inc. New York, NY

Instrumentation English Horn Clarinet in B= Bassoon Solo Voice Violin Viola Violoncello Contrabass duration ca. 20’

Program Note: North and South is a cycle of six settings of poems by Elizabeth Bishop. It is divided into two books, each of similar proportion. Book One, dedicated to Lorraine Hunt Lieberson, begins with the first of Bishop’s Four Songs for a Colored Singer. In an interview with Ashley Brown, Bishop said, “I was hoping someone would compose the tunes for them. I think I had Billie Holiday in mind. I put in a couple of big words just because she sang big words well…

As for music in general; I’d love to be a composer.” After this rhetorical opening comes a setting of a typically elusive love-and-loneliness Bishop incantation, Late Air. The third song, Breakfast Song, was never published. It was transcribed, in progress, by Lloyd Schwartz during a visit to Bishop’s hospital room during one of her last illnesses.

Book Two, dedicated to Janice Felty, begins with another, even more emphatic, declamation from Songs for a Colored Singer. It is followed by Song, a poem from the time of North and South, Bishop’s first book, but published later.

Finally, another very private lyric, “Dear, My Compass...”, which was discovered by Lloyd Schwartz in an inn in Ouro Preto, Brazil, an 18th century mountain town where Bishop bought a house in 1965. Schwartz writes, “Here is the unmistakable voice of Elizabeth Bishop, here the fairy-tale vividness and coloring-book clarity of images… ; the geographical references – and restlessness – of the world traveler, the delicate yet sharply etched jokes… the apparent conversational casualness disguising the formality of the versification; the understated yet urgent sexuality; even the identification with animals.”

Songs for a Colored Singer, Late Air, and Song from THE COMPLETE POEMS OF ELIZABETH BISHOP 1927-1979, Elizabeth Bishop. Copyright © 1979, 1983

by Alice Helen Methfessel. Used by arrangement with Farrar, Straus & Giroux, Inc. All rights reserved.

Poems from Breakfast Song and Dear, My Compass… from unpublished writings by Elizabeth Bishop.

Used by arrangement with Farrar, Straus & Giroux, LLC on behalf of the Estate of Elizabeth Bishop.

Copyright © 2000 by Alice Helen Methfessel. All rights reserved.

North and South, Book I:

North and South, Book II:

Ballad for Billie (I) from Songs for a Colored Singer

Ballad for Billie (II) from Songs for a Colored Singer

A washing hangs upon the line, but it’s not mine.

None of the things that I can see belong to me.

The neighbors got a radio with an aerial; we got a little portable.

They got a lot of closet space; we got a suitcase.

The time has come to call a halt; and so it ends.

He’s gone off with his other friends.

He needn’t try to make amends, this occasion’s all his fault.

Through rain and dark I see his face across the street at Flossie’s place.

He’s drinking in the warm pink glow to th’accompaniment of the piccolo.*

I say, “Le Roy, just how much are we owing?

Something I can’t comprehend, the more we got the more we spend…”

He only answers, “Let’s get going.”

Le Roy, you’re earning too much money now.

I sit and look at our backyard and find it very hard.

W hat have we got for all his dollars and cents?

–A pile of bottles by the fence.

He’s faithful and he’s kind but he sure has an inquiring mind.

He’s seen a lot; he’s bound to see the rest, and if I protest Le Roy answers with a frown, “Darling, when I earns I spends.

The world is wide; it still extends…

I’m going to get a job in the next town.”

Le Roy you’re earning too much money now.

Late Air From a magician’s midnight sleeve the radio-singers distribute all their love-songs over the dew-wet lawns.

And like a fortune-teller’s their marrow-piercing guesses are whatever you believe.

But on the Navy Yard aerial I find better witnesses for love on summer nights.

Five remote red lights keep their nests there; Phoenixes burning quietly, where the dew cannot climb.

The time has come to call a halt.

I met him walking with Varella and hit him twice with my umbrella.

Perhaps that occasion was my fault, but the time has come to call a halt.

Go drink your wine and go get tight.

Let the piccolo play.

I’m sick of all your fussing anyway.

Now I’m pursuing my own way.

I’m leaving on the bus tonight.

Far down the highway wet and black I’ll ride and ride and not come back.

I’m going to go and take the bus and find someone monogamous.

The time has come to call a halt.

I’ve borrowed fifteen dollars fare and it will take me anywhere.

For this occasion’s all his fault.

The time has come to call a halt. *Jukebox

Song Summer is over upon the sea.

The pleasure yacht, the social being, that danced on the endless polished floor, stepped and side-stepped like Fred Astaire, is gone, is gone, docked somewhere ashore.

The friends have left, the sea is bare that was strewn with floating, fresh green weeds.

Only the rusty-sided freighters go past the moon’s marketless craters and the stars are the only ships of pleasure

Breakfast Song My love, my saving grace, your eyes are awfully blue.

I kiss your funny face, your coffee-flavored mouth.

Last night I slept with you.

Today I love you so how can I bear to go (as soon I must, I know) to bed with ugly death in that cold, filthy place, to sleep there without you, without the easy breath and nightlong, limblong warmth I’ve grown accustomed to?

–Nobody wants to die; tell me it is a lie!

But no, I know it’s true.

It’s just the common case; there’s nothing one can do.

My love, my saving grace, your eyes are awfully blue early and instant blue.

“Dear, My Compass…”

Dear, my compass still points north to wooden houses and blue eyes,

but crab-apples ripen to rubies, cranberries to drops of blood,

fairy-tales where flaxen-headed younger sons bring home the goose,

and swans can paddle icy water, so hot the blood in those webbed feet.

love in hay-lofts, Protestants, and heavy drinkers…

Springs are backward,

–Cold as it is, we’d go to bed, dear, early, but never to keep warm .

NORTH AND SOUTH to Lorraine Hunt Lieberson BOOK I Elizabeth Bishop

John Harbison

Ballad For Billie I

Free and easy

= 88

English Horn

dim.

Clarinet in B

dim.

Bassoon

dim.

3

3

Voice

A wash ing hangs u pon the line,

but it’s not

Violin

Viola

Violoncello

Contrabass 3

3

dim.

5

3

3

3

3

E.H. Cl. in B

Bn.

3

3

Voice

mine.

None of those things

that I can see

Vn.

Va.

Vc.

Cb.

Copyright Š 2001 by Associated Music Publishers (BMI), New York, NY International Copyright Secured. All Rights Reserved.

Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

be long to me.

2 9 E.H.

Cl. in B

Bn.

3

3

Voice

The neigh bors got

a ra

di o

with an ae ri al;

Vn.

Va.

Vc.

Cb.

13 E.H.

Cl. in B

Bn.

3

Voice

we Vn.

Va.

Vc.

Cb.

got

a lit tle

3

por ta ble.

They got a lot

of

clo set space;

we got a

3 17 E.H. marcato

cresc.

marcato

cresc.

marcato

cresc.

Cl. in B

Bn.

3

3

3

3

Voice

suit case.

I

say

“Le Roy, just how much

are we ow

Vn. marcato

cresc.

marcato

cresc.

marcato

cresc.

Va.

Vc.

pizz.

Cb. cresc.

21 E.H.

cresc.

Cl. in B

cresc.

Bn.

3

3

3

cresc.

cresc.

3

3

3

3

Voice

ing?

Some thing I can’t com pre hend,

the more we

Vn.

cresc.

Va.

cresc.

Vc.

cresc.

Cb.

cresc.

pizz.

got

the

4 25 E.H.

cresc.

Cl. in B

cresc.

Bn.

cresc.

3

Voice

more

we

spend…”

He on ly answers,

Vn.

cresc.

misterioso

Va.

cresc.

(pizz.)

Vc.

cresc.

Cb.

cresc.

29 E.H. 3

3 3

3

3

3

3

Cl. in B 3

3

3

3

3

3

3

3

3

Bn. 3

3

3

3

3

3

3

3

3

3

3

3

3

Voice

“Let’s

get

go ing.”

Vn.

Va. 3

Vc.

Cb.

3

3

5 33 E.H. 3

3

3

3

3

dim.

3 3

Cl. in B

dim.

3

Bn. 3 3

3

3

3

3

3

dim.

3

dim.

Voice

Le Roy

you’re earn ing

too

much mo ney

now.

Vn. 3

3

3

3

3

3

3

Va. 3

arco

3

Vc. 3

arco

3

3

3

Cb. 3

3

3 3

3

dim.

37

3

3

3

3

E.H. 5

Cl. in B

Bn. 5

cresc.

Voice

I sit and look Vn.

Va.

Vc.

Cb.

at

our back yard

and find it

ve ry hard.

What have we

6 41 E.H. 5

Cl. in B

5

Bn.

Voice

got for all

his

dol lars and cents?— A pile of

bot tles

by

the fence.

He’s

Vn.

Va.

Vc.

Cb.

45 E.H.

cresc.

5

cresc.

Cl. in B

5

cresc.

cresc.

5

Bn.

cresc.

cresc.

3

cresc.

Voice 3

faith Vn.

Va.

Vc.

Cb.

ful and he’s kind

but he sure

has

an in quir

ing mind.

7 49

3

3

E.H. 3

Cl. in B

3

3

3

3

3

3

Bn.

Voice

He’s seen a

lot;

he’s bound to see the

rest,

and

if

Vn.

Va.

Vc.

Cb.

53 E.H. 3

3

3

3

3

3

Cl. in B

Bn.

3

3

3

Voice

I

pro test

Le Roy an swers with a frown,

“Dar ling,

when I

Vn. misterioso Va. 3

pizz.

Vc.

pizz.

Cb.

3

8 57 E.H. 3

3

3

3

Cl. in B

3

3 3

3

3

3

3

3

3

3

3

3

3

3

3

3

Bn. 3

3

3

3

3

cresc.

The world is

wide;

3

3

Voice

earns

I spends.

it

Vn.

Va. 3

3

3

3

3

3

3

3

Vc.

Cb.

61 E.H. 3

dim.

Cl. in B 3

dim.

Bn. 3

dim.

3

Voice

still

ex

tends…

I’m going to pizz.

Vn.

Va.

dim.

Vc. sub.

Cb.

9 64 E.H. 3

cresc.

3

cresc.

3

3

3

3

3

cresc.

3

cresc.

3

Cl. in B 3

3

Bn. 3

3

cresc. cresc.

3

3

cresc.

3

3

Voice

get

a

job

in

the

next

town.”

arco Vn.

Va. 3

3

cresc.

arco

3

3

cresc.

3 3

Vc. 3

cresc.

cresc.

3

arco Cb. 3

sub. cresc.

cresc.

Più sostenuto

67 E.H. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3 3

Cl. in B 3

3

Bn. 3

Voice

Le

Roy,

you’re earn

ing

too

much

mo ney

Vn. 3

3

3

3

3

3

3

3

Va. 3 3

3

Vc. 3 3

3

3

3

Cb. 3

3

3

10 70 E.H.

dim.

Cl. in B

dim.

Bn.

dim.

Voice

now.

Vn.

Va.

Vc.

Cb. 3

dim.

73

3

3

3

3

3

rit.

E.H.

Cl. in B

Bn.

Voice

Vn.

Va.

Vc.

pizz.

Cb.

arco

Moderately fast

= 92

11

Late Air

English Horn

6

Clarinet in B 3

6

6

6 6

Bassoon 6

Voice

Violin (loco) Viola 6

6

6

Violoncello

Contrabass

3 E.H.

Cl. in B 3

6

Bn.

esuberante

3

3

Voice

From a Vn.

Va. sost.

Vc.

Cb.

ma

gi cian’s

mid night

sleeve

the

12 6

6

E.H. 3

3

Cl. in B 6

6

Bn.

3

3

Voice

ra

di o sin gers

dis trib ute all

their love songs

Vn. (loco) 0

Va.

Vc. sost.

Cb.

9 E.H. 3

6 6

Cl. in B

Bn. 6

Voice

o Vn.

Va.

Vc.

Cb.

3

ver the dew

wet

lawns.

13 11 E.H. 6

Cl. in B 6

6

6

Bn. 6

3

3

Voice

And like a

for tune tel ler’s

their mar

Vn.

Va.

Vc.

Cb.

14 E.H.

Cl. in B 3

Bn.

Voice

row– pierc ing gues ses

are what e ver

Vn.

cresc.

Va.

cresc.

Vc.

cresc.

Cb.

you

be lieve.

14 18 E.H. 6

Cl. in B 6

6

6

6

Bn. 6

cresc. 6

6

Voice

Vn. sul C Va. 3

3

sost.

3

Vc. 3

Cb.

20

6

6

E.H.

Cl. in B 6

Bn.

3

3

3

Voice

But on the Na

3

vy Yard ae ri al

I find

Vn.

pizz.

0

0

Va. sul G Vc. sul G Cb. sost.

sost.

bet ter

15 23 E.H. 6

6

Cl. in B 3

6

6

Bn. 3

Voice

wit nes ses

for love

on sum mer

Vn. sost.

(pizz.)

loco

0

Va.

Vc.

Cb.

26 E.H.

Cl. in B 6

Bn.

Voice

nights.

Five

re

mote

red

lights

keep their nest there;

Vn. marc. arco Va. marc.

Vc. marc. sul A Cb. marc.

sul E

sul D

sul E

sul G

sul G

16 31 E.H.

Cl. in B

Bn. dolce 3

cresc.

3

3

Voice

Phoe

nix es

burn

ing

qui

et

ly,

Vn.

pizz.

Va. 3

3

3

3

3

3

Vc.

pizz.

Cb. 3

35 E.H.

Cl. in B

Bn.

dim.

Voice

climb.

Vn. (pizz.)

Va.

Vc.

Cb.

3

3

3

3

where the dew can not

17

Breakfast Song Gently flowing

= 32 ( = 96)

English Horn

Clarinet in B

Bassoon

Voice

Violin

Viola

Violoncello

Contrabass

5 E.H.

Cl. in B

Bn.

Voice

My

love,

Vn.

arco Va.

Vc.

Cb.

my

sav

ing

18 10 E.H.

Cl. in B

cresc.

Bn.

cresc. cresc.

3

Voice

grace,

your

eyes

are

aw

ful ly

blue.

Vn.

Va.

cresc.

Vc.

Cb.

15 E.H.

Cl. in B

Bn.

dim.

Voice

I Vn.

Va.

Vc.

Cb.

kiss

your

fun ny

face,

your

19 20 E.H.

Cl. in B

Bn.

Voice

cof fee

fla vored

mouth.

Last

night

I

slept

with

Vn.

Va.

Vc.

Cb.

25 E.H.

Cl. in B

Bn.

Voice

you.

Vn.

Va.

Vc.

Cb.

To

day

I

love

you

so

20 30 E.H.

dim.

Cl. in B

dim.

Bn.

dim.

Voice

how

can

I

bear

to

go

(as

Vn.

dim.

Va.

dim.

Vc.

dim.

Cb.

35 E.H.

Cl. in B

Bn.

Voice

I

must,

I

Vn.

Va.

Vc.

arco Cb.

know)

to

bed

soon

21 40 E.H.

Cl. in B

Bn.

Voice

with

ug

ly

death

in

that

cold,

Vn.

Va.

Vc. marc.

Cb. marc.

45 E.H.

Cl. in B

Bn.

Voice

fil

Vn.

Va.

Vc.

Cb.

thy

place,

to

22 50 E.H.

Cl. in B

Bn.

Voice

sleep

there

with

out

you,

with

al sord.

Vn.

Va. al sord.

Vc.

Cb.

55 E.H.

Cl. in B

Bn.

Voice

out Vn.

Va.

Vc.

Cb.

the

ea

sy

breath

and

night

long,

23 60 E.H.

Cl. in B

Bn.

Voice

limb

long

warmth

I’ve

grown

ac

cus

tomed

Vn.

Va.

Vc.

Cb.

64

Mysterious

E.H.

Cl. in B

Bn.

agitato Voice

to?

Vn.

Va. (accomp.) con sord.

Vc. legatissimo Cb.

—No bo

dy

24 69 E.H.

Cl. in B

Bn.

Voice

wants

to die;

tell me

it

is

a

lie!

con sord.

Vn. legatissimo Va.

Vc.

Cb.

74 E.H.

Cl. in B

Bn.

Voice

But

no,

I

know

it’s true.

Vn.

Va. 3

Vc.

Cb.

3

25 79 E.H.

Cl. in B

Bn.

Voice

It’s just the com mon case; Vn. 3

3

Va. 3

3

3

3

3

Vc.

Cb.

ritardando

83 E.H.

Cl. in B

Bn.

Voice

there’s no thing one can via sord.

Vn.

Va. 3

Vc.

Cb.

3

3

do.

My

26 88

a tempo

E.H.

Cl. in B

Bn.

cresc.

Voice

love,

my

sav

ing

grace,

your

eyes

are

Vn.

Va. via sord.

Vc.

Cb.

93 E.H.

cresc.

Cl. in B

cresc.

cresc.

Bn.

cresc.

cresc. cresc.

3

Voice

aw

ful ly

blue

ear

ly

and

senza sord.

Vn.

cresc.

Va.

cresc.

cresc. senza sord.

Vc.

cresc.

Cb.

27

ritardando

98

a tempo

E.H.

dim.

Cl. in B

dim.

Bn.

dim. dim.

Voice

in

stant

blue.

Vn.

dim.

Va.

dim.

Vc.

dim.

Cb.

103

molto rit.

E.H.

dim.

Cl. in B

Bn.

Voice

Vn.

dim.

Va.

Vc.

dim.

Cb.

28

to Janice Felty

BOOK II Ballad For Billie II Lilting

= 104 3

English Horn solo Clarinet in B 3

6

Bassoon

Voice solo 6 Violin

Viola

Violoncello

Contrabass

5 E.H.

Cl. in B solo Bn. 6

Voice

Vn. 6

solo Va. 3

Vc.

Cb.

6

29 9 E.H.

Cl. in B

Bn.

3

Voice

The time has come to call a

halt;

Vn.

Va.

Vc.

Cb.

13 E.H.

Cl. in B

Bn.

Voice

and

so

it

ends.

He’s gone

Vn.

Va.

Vc. 6

Cb.

30 solo

17

6

E.H. 3

6

Cl. in B 6

Bn.

3

3

Voice

off

with his oth er

friends.

He need n’t

try

to make a

mends,

this

oc

Vn.

Va.

Vc.

Cb.

21 E.H.

Cl. in B marc.

Bn. marc.

Voice

ca sion’s

all his fault.

Through rain

and dark

Vn.

Va.

Vc. solo Cb. 6

3

3

31 26 E.H.

Cl. in B

cresc.

Bn.

cresc.

cresc.

Voice

I see his face

a cross the street

at Flos sie’s place.

He’s drink ing

Vn.

Va.

Vc.

Cb. 3

3

3

3

cresc.

3

31 E.H.

Cl. in B

Bn. 3

3

3

Voice 3

in

the warm 3

3

pink

glow

3

to the ac com pani ment 3

3

of the pic co lo.* 3

3

Vn. 3

3 3

3

3

3

3 3

3

3

Va. 3

3

Vc.

Cb.

*jukebox

3

3

3 3

3

3

3 3

3

3

3

3 3 3

3

3

3

3

32 34 E.H. 3

3

3

3

3

3

solo

Cl. in B 3

3

3

3

3

3 6

Bn. 3

3

3

3

3

3

Voice solo

The

Vn. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Va. 3

Vc. 3

3

Cb.

38 E.H.

Cl. in B

3

3

3

3

Bn.

3

Voice

time

has come

to

call a halt.

Vn. solo Va. 6

Vc.

Cb.

33 42 E.H. 3

3

3

Cl. in B

Bn.

3

Voice 3

I met him walk ing with Va rel la

and hit him twice with my um brel la.

Per haps

Vn. 3

Va. 3

3

Vc.

Cb. 3

solo

46 E.H. 3

6

Cl. in B 3

Bn. 3

3

3

Voice

that oc

ca sion

was

my

fault,

but

Vn. 3

Va. 3 6

Vc.

3

Cb.

the time has

34 50 E.H.

Cl. in B

Bn. 3

Voice

come

to call a halt.

Go drinkyour wine 3

and 3

3

Vn. 3

dim. 3

3

Va. 3

dim.

3

Vc.

3

(open)

Cb. 3

54 E.H.

Cl. in B

Bn. 3

Voice

go get tight.

Letthe pic co lo play.

I’m

sick 3

3

3

of all your 3

3

3

3

3

Vn.

3

Va.

3

3 3

3

3

3

Vc. 3

3 3

Cb. 3

3

3

3

3

35 57

3

3

E.H. 3 3

Cl. in B 3

3

3

Bn.

Voice 3

fus sing

a ny way.

3

3

3

3

Now

I’m pur

su ing

my own

way.

I’m

Vn.

Va. 3

3

Vc.

Cb.

61 E.H.

Cl. in B

Bn.

Voice

leav ing Vn.

Va.

Vc.

Cb.

on

the

bus

to night.

Far

down the high way

36 65 E.H.

Cl. in B 3

3

3

Bn. 3

3

3 3

Voice

wet and black

I’ll ride

and ride

and not come back.

Vn.

Va. 3

3

Vc. 3

3

3

3 3

3

3

Cb. 3

3

3

3 3

69 E.H.

Cl. in B 3

3

Bn. 3 3

Voice

I’m

going to

go

and take the bus

and find

some one mo

Vn.

Va.

Vc. 3

3 3

3

Cb. 3

3

37 73 E.H. solo Cl. in B 5

dim.

Bn.

3

Voice 3

no ga mous.

The time has come to call a halt. pizz.

Vn.

dim.

pizz.

Va.

dim.

pizz.

Vc.

dim.

pizz.

Cb.

dim.

77 E.H.

Cl. in B

Bn.

Voice

I’ve bor rowed

fif teen dol lars

fare

and it will take me a ny

where.

For this oc

Vn.

arco Va. marc. arco Vc.

arco

marc.

Cb. 3

3

3

3

3

38 82 E.H. 3

solo

3

Cl. in B

3 3

Bn. 3

Voice

ca sion’s

all

his fault.

The time

has come

to call

a

halt.

Vn.

Va.

Vc. 3

Cb. 3

3

3

86 E.H.

Cl. in B solo Bn. 3

dim.

Voice

arco Vn.

Va.

Vc.

Cb.

3

Calm

39

Song

= 42–48

English Horn (col Vn.) Clarinet in B non sost.

Bassoon 3

3

3

Voice

Sum mer is

o

ver up on the

sea.

The

Violin

Viola

Violoncello pizz.* Contrabass

5 E.H.

Cl. in B

Bn.

3

3

3

3

Voice

plea

sure yacht, the

so

cial

Vn.

Va.

Vc.

Cb. *Contrabass with extension should play the lower octave.

be

ing,

that danced

on the end less pol ished

40 9 E.H.

cresc.

Cl. in B

cresc.

Bn.

cresc.

cresc.

Voice

floor,

stepped

and side stepped like Fred

As taire,

is gone,

Vn.

cresc.

Va.

cresc.

Vc.

cresc.

Cb.

cresc.

rit. molto

13 E.H.

dim.

Cl. in B

dim.

Bn.

dim.

3

Voice

is gone,

docked some where a

shore.

Vn.

dim.

Va.

dim.

legato

Vc.

dim. arco Cb.

dim.

41

a tempo

18 E.H.

Cl. in B

Bn. 3

3

3

3

Voice

The friends have

left,

the

sea

is

bare

that

was

Vn.

Va.

Vc.

pizz.

Cb.

23 E.H.

Cl. in B

Bn.

3

3

3

3

3

Voice

strewn

Vn.

Va.

Vc.

Cb.

with

float ing,

fresh green weeds.

On ly the

42 27 E.H. dolce

dim.

Cl. in B

dim.

dolce Bn. dolce

cresc.

3

dim.

dolce

3

3

3

mar ket less

cra ters

Voice

rus

ty sid ed freight ers go

past

the moon’s

Vn.

dim.

dolce Va. dolce

dim.

Vc.

dim.

dolce Cb.

dim.

31

Poco piĂš sostenuto

poco cedendo

E.H.

Cl. in B

Bn.

3

Voice

and

Vn.

Va.

Vc.

Cb.

the

stars

are

the

on

ly

43

rit. molto

35 E.H.

Cl. in B

dim.

Bn.

dim.

Voice

ships

of

plea

sure

Vn.

dim.

Va.

dim.

Vc.

dim. arco Cb.

dim.

39

a tempo

E.H.

Cl. in B

Bn.

Voice

Vn.

Va.

Vc.

pizz.

Cb.

rit.

44

“Dear, My Compass” Grazioso, leggero

= 66

English Horn

Clarinet in B

Bassoon

Voice

Dear,

my

Violin

Viola

Violoncello

Contrabass

4 E.H.

Cl. in B

Bn.

Voice

com pass still Vn.

Va.

Vc.

Cb.

points

north

to

45

cedendo

7 E.H.

Cl. in B

Bn.

Voice

wood en

hou

ses

and

blue

eyes,

Vn.

Va.

Vc.

Cb.

10

a tempo

E.H.

Cl. in B

Bn.

Voice

fai ry tales

where

Vn.

Va.

Vc.

pizz.

Cb.

fla

xen head

ed young er

sons

bring home

the

46 13 E.H.

Cl. in B

Bn.

Voice

goose,

love

in

hay

Vn.

Va.

Vc.

Cb.

cedendo

16 E.H.

Cl. in B

Bn.

Voice

Pro tes tants, Vn.

Va.

Vc.

arco Cb.

and

hea

vy

drink

ers‌

lofts,

47 19

a tempo

E.H. Cl. in B Bn.

Voice

Springs

are

Vn.

Va.

Vc.

Cb.

22 E.H. Cl. in B Bn.

cresc.

Voice

back ward, Vn.

Va.

Vc.

Cb.

but

crab

ap

ples

ri

pen

to

ru

48 25 E.H.

Cl. in B

Bn.

Voice

bies,

cran

ber ries

to

drops

of blood,

Vn.

cresc.

Va.

cresc.

Vc.

cresc.

Cb.

cresc.

28

cedendo

a tempo

E.H.

Cl. in B

Bn.

Voice

and swans Vn.

Va.

Vc.

pizz.

Cb.

can

pad dle

i

cy

49 32 E.H.

Cl. in B

cresc.

Bn.

cresc.cresc.

Voice

wa ter,

so

hot

the

blood

Vn.

cresc.

Va.

Vc.

cresc.

Cb.

35 E.H.

cresc.

Cl. in B (cresc.)

Bn. (cresc.) (cresc.)

Voice

in those Vn. (cresc.)

Va.

cresc.

Vc. (cresc.)

Cb.

webbed

feet.

50 39 E.H.

Cl. in B

Bn. dolce Voice

Cold

as

it

is,

we’d

go

to bed,

dear,

ear

Vn.

Va. open 0

Vc. arco, sul D sul G Cb.

rit.

43 E.H.

Cl. in B

Bn.

Voice

ly,

but

ne

ver

to keep

warm.

IV

III

I

II

Vn. I III Va.

Vc. ord.

Cb.

II