Panufnik - The Generation on Love by Edition Peters

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

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 composerâ&#x20AC;&#x2122;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

molto pedale, church-bells

  mp     5

Hn.

   





com



   -



                                      

mf    to a Sum

          

                          Pno.





( )

thee

 

sim.

 



pare

 





                                 

                                                      

  

          

            

  - mer’s 2



 

                           

     day?    



Hn.

Pno.

 

Hn.

  

                            love    

and more





Hn.

Pno.



    

               shake the dar ling 2 2                   mp                            mp                                  mf

    





 

winds



         

  

    

          ( ) 

buds





                   

Rough



             

tem - pe - rate:

art



 



  



Thou

                 

 4      

 -

       

     

                                            



  

                       

Pno.

 

                            





                         

 

 



 

May,



 

  

                           

       



Hn.

 Pno.

 

Hn.



  

    

And Sum- mer’s



                          

 



4            p

Hn.



Pno.

                     





 

  

 

            

                

              





 3     

     shines,

And oft’

is his

     



                                                             

           gold com - ple xion dimmed;  3           3



hath all too short a date:

Some - time too hot the eye of hea ven

e = 120                                         

lease

  3       

Pno.

 4          

              

e = 120

 



                       24

  

   



      

 

cresc.



And e - v(e)ry

fair



from



cresc.

                        

             

cresc.



 

          

 

    fair 31

Hn.

Pno.

 



Hn.

 



some - time de -

clines,



                             



 mf      chang - ing course   

  

 

   

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                            

 



   

    



By chance or na - ture’s

molto rall.

Pno.









     

cresc.

dim.

fade



 

                                      mp

Pno.

  

                                                                               

         

Hn.

  

            Pno.

           





        



 

Hn.

 

  

Nor





 

lose

pos-

  



                                  mp

                                              

               se - ssion of the fair 4       45

 



  

thou ow

   



   

est;

Nor

           4

                                        

Pno.

                                                               2         shall Death brag thou wand   



 

(e)rest

his

Hn.

Pno.



  shade, 2

 p

                                          





         

                                                                        

  



Hn.

Pno.

Hn.



        

When





Hn.

Pno.

    

 in

  



                                        57     grow

  

            

 

               -

                                                             

   





   

           So

long

    

 



   

  or

eyes

thou

              mf

                   

            



time

e = 120

 



  

     

A dizzy happiness

                  e = 120

     mp



 



               

men can breathe,

                

  









est:

lines



                     

      



e - ter -nal

cresc.

 



Pno.

cresc.

can

see,

port.         

                                             3                  

    64

Hn.

  



            

So long

rit.





lives

this,

       cresc.

and this gives life to

              



cresc.

rit.

Pno.

 

                    

 

Exctatically

67     thee.

Hn.

 

     mf 3

     

 



cresc.

  



rall.

e = 144 f

                                 

   

 3



 



  



  



 

Exctatically e = 144

Pno.

       

rall.

                                            

   





      



 





                     mf          

   

 

Interlude I - "Hot blood, hot thoughts, and hot deeds?"

(Horn & Piano)

 q =66       

With great warmth...

        

Hn.

   

With great warmth...

 

q = 66

Pno.

 

  78

Hn.



Hn.

Pno.



      

        







    





  

  

 

 

  



  

  

                 

  

    

                                   

  

    

rall.

p sub

             

 

  

  

p sub

  



rall.

    



      

          f

  

  



   

   sim.                                 

Pno.



  

Hn.

 

                 

(spread these chords where necessary)

  

 



molto pedale

     mp      

 

 

  



          

legato

               Pno.





  

A little slower

 

q = 54

Hn.



   mp sub





  



   mp

A little slower q = 54 molto legato

Pno.

                                                  mp sub mf mp                                   97

Hn.

 Pno.



   

  

molto rall.



molto  rall.

   Pno.

        



   100

Hn.

 

 



  

   

   

   



  mf



  

      

     

  

 

  

       



   

   

         







 p

 

    

2. Nothing like the Sun Mischievously

    

103 q = 120

Hn.











                                                         mp Mischievously

 











 











q = 120

Pno.

  























107

Hn.

Pno.

           

    111

Hn.

Pno.



 



( )

 



Rapturously mp

  My



 3

mis - tress’

eyes

                                



   



are

no - thing

disappointedly

              

                   3 mp 



senza pedale

 the

  

sun;

                              3 3                            



 





  

      114

Hn.

               

 

   

Hn.

  

Pno.

red,

   

       

   121



Hn.

Pno.



  







  

      

  







red:

       

               

   





                               



         

   





than her lips



 



                                      

           

 

co - ral is far

disdainfully

        

    

                                            

 

118

Co ral,

     





mp wistfully



 

Pno.

   

       



  

Rapturously mp

 If

            p sub.                     



   

p sub.



    snow 124

Hn.

Pno.







Hn.



white

why



    dun;   

Pno.

Hn.

Pno.





then

    her

 breasts

                       



    3



 

are











hairs,

mp wistfully



                      p 



                                               p mp         

  3     if hairs be wires, 131



                         3                          be

127 mf



disappointedly

 

           mp









black

        

wires



 

disdainfully

 3 

grow on



her

             

3                                                      mp                     3

Pno.

 







                mf

          

          



              

   mp

                              

a tempo

  

rall.

138

Hn.

rall.

Pno.

  

    

Pno.

                         

  

142

Hn.

      

     

      

 

          

      





Hn.

134 f        head.



 



  





f             



  

  

q = 120

 



p sub.



a tempo

         q = 120

p sub.

 



  

molto pedale (until b177)

(half valve)

  

 port. 

                                 



    I 146 p

Hn.

    

Pno.



have

seen

 

   red

and

ses

  

port. -



 





da - masked,

   





  





      







ses

  





see

 

                      



such

                       3





But



   

white,

  Pno.





    

154







Pno.

    ro



  

                   

  

 





ro - ses



    





150



 



    







 







her

( )







cheeks;

               

port.



3        



      

        3 3                  p mp                                 3 158

Hn.

Pno.

         162

Hn.

Pno.









  





And

some



    

 

   



per



fumes









 

  

                                          mf

         3               is there more de light Than in the                                           3

166

Hn.

Pno.









 

 

 

 

           

  port.      breath

Hn.

    

Pno.



that from





 

mis



  

   



tress

reeks.







half valve     p

                       

         



(no port.)                174

Hn.



  

170



   



   



3  3             

  

                     

 

Pno.



    

Hn.

Pno.



  

Rapturously mp

178

  







               p              p

     

senza pedale



  I

         3







love



hear







her

speak,

                              

                            3        



    182

Hn.

Pno.

 

yet

   

Hn.





Hn.

 Pno.



  plea

 

  

sing

  

    



   

  



sic,

 mu -



sound:

               

 





           

  









     

                      mp

189

that





                                



                                

 

           







        



                      mf p sub.

        











  3     sic hath far  



know

            3 3         

 Pno.



well I

186

 





  

  

       

 

    192

Hn.

Pno.

Hn.

                           I



 Pno.



Hn.

 

  

ne ver

         3              



saw

god - dess

go,

                                               











  

mis - tress,



my mis - tress,





when

she

walks,

                                            mp 



molto rall.







treads

the

ground:

    





      



                      

 

 

    

      





molto rall.

Pno.





Proudly mf

 

 



                                           

    200

grant



     



 

196



Forgivingly mp

   

  

  



     

 



        

   

Freely - like recitative

       And yet by     204

Hn.

   

q = 90 mp

hea ven,

    

    I

think my love as



       

rare,

As a - ny

      





 

   



she





Freely - like recitative q = 90

Hn.

  

209               be -lied with false com - pare.    

    

 



Pno.

   

 

 

214

Hn.





 

 

cresc.

 Pno.













 

       

 

             molto rall.



  

    

  

molto rall.

  

 

  

  

 

   



Pno.

  



    





(half valve)

 

    mp

    



       



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

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.

     

238

Hn.



                 6

       3 3 3 3                                

241

Hn.

       

   

           3 3 3 3 3                                         

244

Hn.

     3  3                               3

  

flutter

248

Hn.

      

     

252



       

 

sub ff

         f

a tempo q = 120-ish changing the tone from angry to desparately sad

rall.

                                             

256

Hn.

    

com -

  



day?")



pare







thee

molto rall.

268

Hn.

    

  mp

("Shall

I com - pare

 thee

lamenting the loss of their new love

262

Hn.



   



  to

    





Sum

mer’s

attacca

     port.  p



in memory of Laura Stuart-Smith

3. Winter’s Near Very freely ... q=72

     273

Hn.



     





  

   

Hn.

 









 









     How mp

  

      





( )

 

like a win - ter

   

 cresc.     3

hath my



ab - scence been



From thee,







 



                  mp

molto pedale









  

of the flee - ting



mp                the plea - sure





    

Pno.



  



284

Hn.

 



( )









 

279

             mf

cool tone, with minimum vibrato

Very freely ... q=72

Pno.





 





year!

    288

Hn.

3         p

Hn.



 rit.  

Pno.

Hn.

Pno.







     

q = 54

 



   

  



 



   

          

        

q = 54

  p





have I







 







3   port.     



what dark days seen!

     p

              



  



      felt,



   

What free - zings

294





rit.

 

  



 











291

  

                            6

  Pno.







            



  



    3

  



 

molto pedale

 

    

      

Hn.

    

What old De - cem - ber’s

 Pno.





Hn.

Pno.

 

  





  





   

306 mf



 



 

v(e)d

     

 

    

And yet this time

          

     The tee - ming Au



  

       

 

sim.

        -

tumn, big with rich in warmer tone

 

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.



             

ness



  

     mo

    

poco accel.

  



    

     

    



cresc.

302

bare

    



cresc.

port.



 

297





 

     



310

 

 crease,



*) 310 f

Hn.

  

  

     

crease,

 

  

   *)

Hn.

Pno.





    prime,

a tempo

   

   

Bear - ing the

      3

 



   



     

   

 



      

        



  **)

of the

  





     mf

poco rit.

 

   

  

Like wi - dowed



wan - ton bur - den



  

poco rit.



         p sub.

              mf



p sub.

Pno.



   3         

  

  

Bear - ing the

              

a tempo

Hn.





            3

314mp sub.



wombs

           

  

  

af - ter

their

           p

 



 

 

*) Ossias on this and other pages provide a lower alternative for tenor (affecting horn part also) **) "prime" = springtime

 



e = 112

        lord’s de - cease:

317



 

  

        lord’s de - cease: f

317

Hn.

Pno.



Pno.







          



 







 

       



 





    

 



  

 

 



 

  

 

                   

e = 112

  

 

320

Hn.





 

 

   







     *) 

  

       

Yet

this a - bun - dant is - sue



              

**)

*) long, slow spread **) back to normal speed spreads

2      2

seemed to me But



      

hope



 -

phans,

       

                                                      mp

    



   

  sim.  



  



 

  



    325

Hn.

   

rit.



a tempo

and un - fa

329 p

Hn.

            5

Pno.

      

332 rit.

rit.

 Pno.

 

    

  



    

 

   p





  













                         mf



slower q = 54  

 



mp    





For Sum - mer

  





   3

     





slower q = 54





e = e                     mp 3



  





                      

   

   fruit;

  

a tempo

  thered

2         

rit.

Pno.

  

e = e



  

 



    

and his

  



    plea 335

Hn.

  

Hn.

Pno.

Hn.

Pno.

sures

    

    way,

    3

 



     

  





    

  



birds

are

   mute:







             5              



 

       





       



if they sing,

       3



 mf

Or,

    

And,thou a -



 

      

becoming more despondent... 3            

  

   

becoming more despondent... mp





       

the ve - ry

port.

   



wait on thee,

341

  

 

338

    



      Pno.



( )

  

   3

    





  

   p

  

     

’tis with so dull



cheer,

 



 

  

       

  

rit.

346

Hn.

Pno.



     

Hn.

Pno.

 

     q = 54

Hn.



  





 

the

win - ter’s





a tempo



 





















         3 

q = 54





     3

 



    







rall.

    



    



 

ing

near.

   win -ter’s

 

Pno.



**)

dread



rit.



353



*)       

    

 

That leaves look pale,

350

   



3       



a tempo

 









 





 

near.

 rall.



 

   





  



 ***)



*) 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  

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