PANUFNIK The Generation of Love for tenor, horn and piano
No. 72000
ROXANNA PANUFNIK
The Generation of Love A cycle of Sonnets for Tenor, Horn and Piano
Score
EIGENTUM DES VERLEGERS
路
ALLE RECHTE VORBEHALTEN
ALL RIGHTS RESERVED
EDITION PETERS LONDON
路 FRANKFURT/M. 路 LEIPZIG 路 NEW YORK
Commissioned by Jeremy Stuart-Smith and the Temple Music Foundation
This score is a facsimile of the composer’s manuscript, reflecting the state of editorial work and correction as of 3rd December 2009
ROXANNA PANUFNIK The Generation of Love A cycle of Sonnets for Tenor, Horn and Piano
Words by William Shakespeare
Contents 1. Shall I compare thee to a Summer’s Day? Interlude I – Hot blood, hot thoughts, and hot deeds? 2. Nothing Like the Sun Interlude II – A Woman Scorned 3. Winter’s Near in memory of Laura Stuart-Smith
Duration c. 22 minutes
Page 1 8 10 20 22
In 2008, the Temple Music Foundation commissioned a setting of Shakespeare’s sonnet 97, “How like a winter hath my absence been From thee,”. The commission was supported by Jeremy StuartSmith who, on liking the resulting work, “Winter’s Near”, decided to commission more. There are so many wonderful sonnets to choose from, so I settled on ones that could form a narrative about a love affair that goes wrong, culminating in the original commission. The title is a quote from Shakespeare’s epic Troilus and Cressida (Act 3, scene I, Pandarus: “Is this the generation of love? Hot blood, hot thoughts and hot deeds?”) as it describes a process or evolution of a romantic relationship and, also, because the remainder of the quote portrays the passion of a new relationship that manifests in the first Interlude. 1. Shall I compare thee to a Summer’s Day? (Sonnet 18) describes the marvel of new love. The music is languorous Summer village sounds, the piano pealing like church bells and warm, sunny basking harmonies. The warmth is somewhat increased in Interlude I – Hot blood, hot thoughts, and hot deeds?, which takes the love affair forward… 2. Nothing Like the Sun, (Sonnet 130) takes a much more grounded look at love – on the face of it highly uncomplimentary to his mistress but, declaring that despite her physical imperfections, he loves her all the more for the way she speaks and her personality. In Interlude II - A Woman Scorned, (taken from a quote attributed to Shakespeare but actually by his playwright contemporary, William Congreve) the mistress doesn’t see the sentimental side of that sonnet and leashes a furious tirade, on solo horn. You can hear her at the start, stuttering incredulously, “Nothing? Nothing… nothing… nothing like the sun?! (x 2) Far more red, than my lips… than my lips, than my lips, than my… than my lips RED?!” . She ends with a mournful rendition of melodic phrases from Shall I Compare thee to a Summer’s Day and the relationship and interlude ends, going straight into 3. Winter’s Near (Sonnet 97). This last song is a bleak but beautiful sonnet, with the singer, horn and piano often playing or singing on their own and only really synchronizing during the happier nostalgic lines. My thanks go to Jeremy Stuart-Smith and the Temple Music Foundation for commissioning this, to Christopher Cook for his insight into these sonnets and Andrew Littlemore for exposing the darker side of the French horn Roxanna Panufnik th 30 November, 2009
Shall I compare thee to a Summer’s Day? (Sonnet 18) Shall I compare thee to a Summer’s day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And Summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And oft' is his gold complexion dimm'd; And every fair from fair sometime declines, By chance or nature's changing course untrimm'd: But thy eternal Summer shall not fade Nor lose possession of that fair thou owest; Nor shall Death brag thou wanderest in his shade, When in eternal lines to time thou growest: So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee. Nothing like the Sun… (Sonnet 130) My mistress' eyes are nothing like the sun; Coral is far more red, than her lips red: If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damasked, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more pleasing sound: I grant I never saw a goddess go, My mistress, when she walks, treads on the ground: And yet by heaven, I think my love as rare, As any she belied with false compare. Winter’s near (Sonnet 97) How like a winter hath my absence been From thee, the pleasure of the fleeting year! What freezings have I felt, what dark days seen! What old December's bareness everywhere! And yet this time removed was summer's time; The teeming autumn, big with rich increase, Bearing the wanton burden of the prime, Like widow'd wombs after their lords' decease: Yet this abundant issue seemed to me But hope of orphans, and unfathered fruit; For summer and his pleasures wait on thee, And, thou away, the very birds are mute: Or, if they sing, 'tis with so dull a cheer, That leaves look pale, dreading the winter's near.
The Generation of Love 1. Shall I compare thee to a Summer’s Day? Roxanna Panufnik
WIlliam Shakespeare
e = 112
Langourous and dream-like, idyllic English Summer day
Tenor
Horn in F
Wonderously, miracle of first love p
Shall
Langourous and dream-like, idyllic English Summer day
e = 112
Piano
p
molto pedale, church-bells
mp 5
T.
Hn.
I
com
-
mp
Edition Peters No. 72000 © Copyright 2009 by Hinrichsen Edition, Peters Edition Limited, London
mf to a Sum
Pno.
( )
thee
p
sim.
pare
2
2
- mer’s 2
mp
2
day?
9
T.
Hn.
Pno.
Hn.
love
ly
and more
Hn.
Pno.
p
shake the dar ling 2 2 mp mp mf
winds
do
p
( )
buds
Rough
more
mp
tem - pe - rate:
art
Thou
4
-
16
T.
Pno.
13
T.
of
May,
2
2
20
T.
Hn.
Pno.
Hn.
mp
And Sum- mer’s
4 p
T.
Hn.
Pno.
3
shines,
And oft’
is his
3
3
gold com - ple xion dimmed; 3 3
hath all too short a date:
Some - time too hot the eye of hea ven
e = 120
28
lease
3
mp
Pno.
4
p
e = 120
p
24
T.
3
cresc.
And e - v(e)ry
fair
from
cresc.
cresc.
4
fair 31
T.
Hn.
Pno.
Hn.
3
some - time de -
clines,
mf chang - ing course
mp
dim.
Hn.
cresc.
cresc.
Tempo I
e = 112
un - trimm’d:
mp
But thy e -
mp
mp
Tempo I
mp e = 112
ter nal Sum - mer shall not 2 2
mf
37
T.
By chance or na - ture’s
molto rall.
molto rall.
Pno.
cresc.
dim.
34
T.
dim.
p
fade
2
mp
mp
Pno.
mf
5
41
T.
Hn.
Pno.
Hn.
Nor
lose
pos-
mp
se - ssion of the fair 4 45
T.
thou ow
-
mp
est;
Nor
4
4
p
mp
Pno.
2 shall Death brag thou wand
(e)rest
in
his
49
T.
Hn.
Pno.
-
shade, 2
p
2
6
53
T.
Hn.
Pno.
T.
Hn.
When
Hn.
Pno.
in
57 grow
-
mf
mp
So
long
as
or
eyes
4
2
thou
mf
time
e = 120
A dizzy happiness
p
e = 120
mp
men can breathe,
4
to
f
est:
4
lines
e - ter -nal
cresc.
60
T.
mp
Pno.
cresc.
can
see,
port.
3
64
T.
Hn.
So long
rit.
lives
this,
7
cresc.
and this gives life to
5
cresc.
rit.
Pno.
Exctatically
67 thee.
Hn.
mf 3
cresc.
3
rall.
e = 144 f
T.
3
Exctatically e = 144
Pno.
rall.
mf
Interlude I - "Hot blood, hot thoughts, and hot deeds?"
8
(Horn & Piano)
q =66
With great warmth...
71
Hn.
mf
mp
With great warmth...
q = 66
Pno.
78
Hn.
Hn.
Pno.
mf
p
p
rall.
p sub
mf
p sub
f
rall.
f
sim.
mf
Pno.
mf
88
Hn.
(spread these chords where necessary)
molto pedale
mp
mf
84
legato
mp
Pno.
9
A little slower
q = 54
93
Hn.
mp sub
mf
mp
A little slower q = 54 molto legato
Pno.
mp sub mf mp 97
Hn.
Pno.
molto rall.
molto rall.
Pno.
100
Hn.
mf
mf
p
p
10
2. Nothing like the Sun Mischievously
103 q = 120
T.
Hn.
mp Mischievously
q = 120
Pno.
107
T.
Hn.
Pno.
111
T.
Hn.
Pno.
( )
Rapturously mp
My
mf
3
mis - tress’
eyes
are
no - thing
like
disappointedly
3 mp
senza pedale
the
mp
sun;
3 3
3
114
T.
Hn.
T.
Hn.
Pno.
red,
121
Hn.
Pno.
mp
red:
3
3
T.
than her lips
more
co - ral is far
disdainfully
118
mf
3
Co ral,
mp wistfully
Pno.
11
Rapturously mp
If
p sub.
p sub.
12
snow 124
T.
Hn.
Pno.
3
Hn.
white
why
dun;
mp
Pno.
Hn.
Pno.
then
her
breasts
3
3
are
3
If
hairs,
mp wistfully
p
p mp
3 if hairs be wires, 131
T.
3 be
127 mf
T.
disappointedly
mf
mp
black
wires
disdainfully
3
grow on
her
3 mp 3
Pno.
mf
mp
mp
a tempo
rall.
138
Hn.
f
rall.
Pno.
Pno.
142
Hn.
mf
Hn.
134 f head.
T.
13
f
q = 120
p sub.
a tempo
q = 120
p sub.
molto pedale (until b177)
(half valve)
port.
14
I 146 p
T.
Hn.
Pno.
have
seen
mp
red
and
ses
port. -
da - masked,
ses
see
I
no
such
3
3
But
3
white,
Pno.
154
T.
-
Pno.
ro
ro
ro - ses
150
T.
3
in
her
( )
cheeks;
port.
3
15
3 3 p mp 3 158
T.
Hn.
Pno.
mp
162
T.
Hn.
Pno.
p
And
in
some
mp
per
-
fumes
p
mf
3 is there more de light Than in the 3
166
T.
Hn.
Pno.
3
3
3
16
port. breath
T.
Hn.
Pno.
that from
mp
3
my
mis
-
mp
tress
reeks.
half valve p
(no port.) 174
Hn.
170
3 3
Pno.
Hn.
Pno.
Rapturously mp
178
T.
p p
senza pedale
I
3
love
to
3
mf
hear
3
3
3
her
speak,
3
17
182
Hn.
Pno.
yet
Hn.
mf
Hn.
Pno.
plea
-
sing
sic,
mu -
sound:
-
mu
mp
189
T.
that
more
mp
mf p sub.
3 sic hath far
know
3 3
Pno.
well I
186
T.
mp
T.
mf
p
192
T.
Hn.
Pno.
Hn.
I
Pno.
T.
Hn.
I
ne ver
3
saw
a
god - dess
go,
mis - tress,
my mis - tress,
when
she
walks,
mp
mp
molto rall.
treads
on
the
ground:
3
3
3
molto rall.
Pno.
Proudly mf
My
200
grant
196
T.
Forgivingly mp
18
Freely - like recitative
And yet by 204
T.
Hn.
q = 90 mp
hea ven,
p
I
think my love as
19
rare,
As a - ny
she
Freely - like recitative q = 90
T.
Hn.
209 be -lied with false com - pare.
Pno.
p
214
Hn.
cresc.
Pno.
molto rall.
molto rall.
Pno.
mp
(half valve)
mp
20
Interlude II - "A Woman scorned..." (Horn solo) Very freely q = 120-ish 218 In disbelief Hn.
("No - thing? p
No thing, no - thing,
no - thing like mf
flutter
3
p
mf
red
sub ff
the
than my lips... sub p
sun?!")
230
Hn.
flutter
224
Hn.
than my lips,than my lips,than my,than my lips mp
("far more mf
red?!") mf
3 6 like the low rumble of a volcano before it erupts
235
Hn.
3
3
6
6
p
238
Hn.
6
6
3 3 3 3
241
Hn.
6
21
3 3 3 3 3
244
Hn.
3
3
3 3 3
flutter
248
Hn.
3
3
3
Hn.
3
3
252
3
mp
sub ff
f
a tempo q = 120-ish changing the tone from angry to desparately sad
rall.
256
Hn.
3
com -
day?")
pare
thee
molto rall.
268
Hn.
3
mp
("Shall
I com - pare
thee
lamenting the loss of their new love
262
Hn.
3
to
a
Sum
mer’s
attacca
port. p
in memory of Laura Stuart-Smith
22
3. Winter’s Near Very freely ... q=72
273
T.
Hn.
mp
3
Hn.
3
How mp
( )
like a win - ter
cresc. 3
hath my
ab - scence been
mf
From thee,
mf
mp
molto pedale
of the flee - ting
3
3
mp the plea - sure
3
mp
Pno.
284
Hn.
( )
p
T.
279
T.
mf
cool tone, with minimum vibrato
Very freely ... q=72
Pno.
year!
23
288
T.
Hn.
3 p
Hn.
rit.
Pno.
Hn.
Pno.
5
3
q = 54
mp
q = 54
p
have I
3 port.
what dark days seen!
p
mp
mf
felt,
What free - zings
294
T.
rit.
mp
3
291
T.
6
Pno.
6
mf
3
3
molto pedale
Hn.
What old De - cem - ber’s
Pno.
mp
T.
Hn.
Pno.
p
3
p
306 mf
-
mp
v(e)d
And yet this time
The tee - ming Au
sim.
-
tumn, big with rich in warmer tone
mp
q = 66
*) all large left hand chords with a leisurely, harp-like spread
re-
cresc., suddenly warmer
was sum -mer’s time;
suddenly warmer
slightly faster
Pno.
q = 66
port.
v(e)ry - where!
poco accel.
-
slightly faster
Hn.
e
3
*)
T.
ness
mo
poco accel.
mp
mp
-
cresc.
302
bare
cresc.
port.
T.
mf
297
24
3
T.
310
25
crease,
*) 310 f
T.
Hn.
f
crease,
*)
Hn.
Pno.
mf
prime,
a tempo
3
Bear - ing the
3
3
mp
mp
f
**)
of the
mf
poco rit.
mp
mp
Like wi - dowed
mf
wan - ton bur - den
poco rit.
mf
p sub.
mf
3
p sub.
Pno.
3
3
Bear - ing the
a tempo
Hn.
3
314mp sub.
T.
mf
wombs
mf
af - ter
their
p
mp
*) Ossias on this and other pages provide a lower alternative for tenor (affecting horn part also) **) "prime" = springtime
26
e = 112
lord’s de - cease:
T.
f
317
lord’s de - cease: f
317
Hn.
Hn.
Pno.
Pno.
mf
mf
e = 112
320
Hn.
T.
T.
*)
f
mf
Yet
this a - bun - dant is - sue
4
**)
*) long, slow spread **) back to normal speed spreads
2 2
seemed to me But
hope
of
or
-
phans,
mp
mf
sim.
325
T.
Hn.
rit.
a tempo
and un - fa
329 p
Hn.
mp
5
Pno.
332 rit.
T.
rit.
Pno.
p
p
3
mf
slower q = 54
3
6
mp
mp
For Sum - mer
p
3
slower q = 54
e = e mp 3
fruit;
a tempo
2
T.
thered
2
rit.
Pno.
-
27
e = e
and his
28
plea 335
T.
Hn.
-
-
T.
Hn.
Pno.
Hn.
Pno.
-
sures
way,
3
birds
are
mute:
5
if they sing,
3
3
mf
Or,
And,thou a -
becoming more despondent... 3
mp
becoming more despondent... mp
6
the ve - ry
port.
3
3
wait on thee,
p
341
T.
-
338
-
mf
Pno.
( )
3
a
p
’tis with so dull
3
mp
cheer,
3
29
rit.
346
T.
Hn.
Pno.
Hn.
Pno.
q = 54
Hn.
the
win - ter’s
a tempo
3
q = 54
p
3
3
rall.
ing
near.
win -ter’s
Pno.
p
**)
dread
rit.
353
T.
*)
That leaves look pale,
350
T.
3
a tempo
near.
rall.
3
mp
***)
*) agonizing pause - like you’re almost too upset to go on. **) deep breath, to further dramaticize this mental state, but also to prepare for the long note coming... ***) tolling, like a death knell...
pp
Photo © Keith Saunders
Roxanna Panufnik studierte an der Royal Academy of Music und schuf Kompositionen für Oper, Ballett und Musiktheater sowie Chor-, Kammer- und Filmmusik. Zu ihren wichtigsten Werken gehören: die Westminster Mass für den Westminster Cathedral Choir, entstanden zum 75. Geburtstag des Londoner Erzbischofs Kardinal Hume; Vertonungen nach Vikram Seths Beastly Tales für Patricia Rozario und die City of London Sinfonia, ein Auftragswerk der BBC; das Harfenkonzert Powers & Dominions; das Violinkonzert Abraham für Daniel Hope, das auch als Ouvertüre für das World Orchestra for Peace existiert und in dieser Form unter Valery Gergiev in Jerusalem uraufgeführt wurde; Schola Missa de Angelis (Chor der London Oratory School und Blechbläseroktett) sowie The Generation of Love, ein Zyklus von Shakespeare-Sonetten (Mark Padmore, Richard Watkins, Julius Drake).
Edition Peters No. 72000
w w w.e d i t i o n p e t e r s .c o m
The Generation of Love
Roxanna Panufnik studied at the Royal Academy of Music, and has written opera, ballet, music theatre, choral, chamber and film music. Key works include Westminster Mass, written for Westminster Cathedral Choir to mark Cardinal Hume’s 75th birthday, and settings of Vikram Seth’s Beastly Tales, commissioned by the BBC for Patricia Rozario and the City of London Sinfonia; harp concerto Powers & Dominions; violin concerto Abraham – for Daniel Hope – which exists also as an overture for the World Orchestra for Peace, premiered in Jerusalem under Valery Gergiev; Schola Missa de Angelis (choir of London Oratory School and brass octet); and The Generation of Love, a Shakespeare sonnet cycle (Mark Padmore, Richard Watkins, Julius Drake).
PANUFNIK
Roxanna Panufnik