Roxanna Panufnik: Tallinn Mass – Dance of Life (extract) by Edition Peters

Contemporary

PANUFNIK Dance of Life

for solo soprano, narrator, mixed choir, kannel, percussion and string orchestra Vocal Score

EP 72157e

ROXANNA PANUFNIK

Dance of Life for solo soprano, narrator, mixed choir, kannel, percussion and string orchestra

Vocal Score

EIGENTUM DES VERLEGERS

路

EDITION PETERS LONDON 路 FRANKFURT/M. 路 LEIPZIG 路 NEW YORK

Dance of Life Words: Doris Kareva & JĂźrgen Rooste Music: Roxanna Panufnik

Instrumentation Soprano solo Narrator Double choir (SSA & SSATB) Percussion (Tubular Bells, Vibraphone) Kannel (or Harp) Strings (minimum 5.4.3.2.1)

Duration: c. 60 minutes

Commissioned by Tallinn Philharmonic Society and European Capitol of Culture Tallinn 2011 with funds from the Tallinn 2011 Foundation

First performance on 30 June 2011 in St Johnâ&#x20AC;&#x2122;s Church, Tallinn, Estonia by the Tallinn Philharmonic Society and Youth Choirs and the Tallinn Chamber Orchestra, Patricia Rosario (solo soprano), Jaak Johanson (narrator), conducted by Eri Klas

This score reflects the state of editorial work and correction as at March 2013

Contents ACT I ~ Kyrie 1. JUTLEJA (The Speaker/priest/preacher) ....................... 1 KYRIE (Choir) ............................................................. 2 2. JUTLEJA (The Speaker/priest/preacher) ....................... 8 3. ELU (Life) ..................................................................10 4. KERJUS (The Beggar) ............................................... 20 5. ELU (Life) .................................................................. 22 6. NUHK (The Spy) .......................................................25 7. ELU (Life) ...................................................................27 ACT II ~ Gloria 8. LINNAPEA (The Mayor) .......................................... 46 9. ELU (Life) ..................................................................51 ACT III ~ Credo 10. PANKUR (The Banker) ............................................81 11. ELU (Life) .................................................................83 CREDO (Choir) ........................................................ 89 ACT IV ~ Sanctus & Benedictus 12. ELU (Life) ...............................................................104 13. MODELL/PROSTITUUT .......................................104 14. ELU (Life) ...............................................................106 SANCTUS (Choir) ...................................................109 ACT V ~ Agnus Dei 15. ELU (Life) ...............................................................123 16. ÕHUMÜÜJA, REKLAAMIMEES, MEEDIAGURU .. ja SUHTEKORRALDAJA (The air seller, ad man, media guru and PR man) ....124 AGNUS DEI (Choir) ................................................127 17. ELU (Life) ...............................................................133 ACT VI ~ Ita Missa est! 18. JUTLEJA (The Speaker/priest/preacher) .................. 152 19. ELU (Life) ...............................................................154

PERFORMANCE NOTES CHOIR: behind the orchestra ORCHESTRA: strings in the centre of the choir semi-circle with kannel and pitched percussion near the front on either side. Soprano solo at one side (in pulpit if possible) and Narrator on opposite side. Approximate diagram: Tenors B Basses B Altos B Altos A Sopranos 2B strings Sopranos 2A Sopranos 1B strings strings Sopranos 1A kannel* pitched perc. Soprano solo Conductor Narrator*

* Kannel and Narrator will need amplification

This cantata was commissioned by the Tallinn Philharmonic Society, with funds from the Tallinn 2011 Foundation, to celebrate Tallinn’s reign as European Capital of Culture, in 2011. This piece is the juxtaposition of two elements – the first is Tallinn Mass, a setting in Latin (with some important phrases reiterated in Estonian and English). The second element is “Dance of Life”, consisting of 19 new poems by Doris Kareva and Jurgen Rooste, inspired by the famous 15th century painting by Bernt Notke, “Dance of Death”, in Tallinn’s St Nicholas Church. The poets have taken this idea and transported its characters to the modern day, using their individual messages as a rich and dramatic framework to the Latin Mass movements (hence the piece being in 6 “Acts”). All musical ideas are inspired by Estonian culture and folklore – original folk songs from as early as the 1930s appear, as does the Estonian psaltery, the “kannel” which plays almost constantly (this has been written so it can be played on the harp if a kannel isn’t available). I have also used some of the church bell patterns of Tallinn’s churches to open and close the piece (it was the bells in my Westminster Mass which brought Heili Vaus-Tamm of the Tallinn Philharmonic to me, for this project). I have used two choirs, one of upper voices and the other of mixed voices to create a sense of space, a stereophonic effect and to represent the magnificent range of choral singing in Estonia. The Soprano soloist takes the role of ELU (LIFE) and the Narrator plays the other various characters. ELU’s role is that of appraiser, observer and comforter – she is like Mother Earth and Angel Gabriel, combined. This has been the most challenging piece I have ever written and I’ve loved every minute of it. There are many people I would like to thank: the Tallinn 2011 Foundation for supporting the commission and its premiére; to set 19 poems in a language I’d never come across before could not have been done without 2 different translations by Tiina Aleman – a literal one and a word-for-word one (vital for word-painting and also so I knew which words would need the most emphasis in a phrase); Doris Kareva and Jürgen Rooste for their brilliantly evocative and sensitive creations and for their patient explanations (they also made a special recording of each poem so I could take down the rhythms and accents of their speech); Jaan Tammsalu for his translations from Latin to Estonian of key phrases in the mass; soprano Kai Rüütel for spending nearly 5 hours checking my Estonian prosody; Herbert Tampere (posthumously), Erna Tampere and Ottilie Kõiva for their wonderful Anthology of Estonian Traditional Music; HE Dr Margus Laidre & Reet Remmel of the Estonian Embassy in London for their support and encouragement; and, most of all, Heili Vaus-Tamm of the Tallinn Philharmonic whose dream this is – thank you, Heili, for choosing me.

iii

MUSICAL & DRAMATIC SYNOPSIS ACT I ~ Kyrie We begin with 1. JUTLEJA (The Speaker/priest/preacher) introducing us to the piece and warning that ELU (Life) will be exposing any fraud. This is followed by the choir repenting for wasted lives with “Kyrie Eleison” (“Lord, have mercy”), imitating the different church bells of Tallinn, summoning us all to Mass. This music is dominated by the unique dotted, three-pitch Oleviste Kirik (St Olaf’s Church) peal (which continues to influence the rest of the piece) and also includes the Kaarli Kirik (Charles’) and Pühavaimu Kirik (Holy Spirit) churches. Their voices take a bell-like quality, in clarity of sound and attack. 2. JUTLEJA (The Speaker/priest/preacher) returns to extol the beauties of Tallinn and introduces 3. ELU (Life) who sings about her hometown with great pride and patriotism. She then invites you all to the Dance of Life, saying that it will be a wild and frenzied affair, everyone from the youngest to the oldest will be invited – even the poorest, including 4. KERJUS (The Beggar). He sings part of a folk song Joodiku Kojukutse (“The Drunkard is called back home”, from Hargla, 1957) which enhances his regret as he tells us his life story, saying on one hand he has complete freedom but on the other he is still needy – all over increasingly sad harmonies. 5. ELU (Life) reassures him with a gentle rocking accompaniment – but also berates him for accepting his fate so passively, telling him he must find strength, determination and passion to join in the Dance of Life. In creeps 6. NUHK (The Spy), accompanied by sliding strings in queasy chords, with little tremolo shivers on the kannel. 7. ELU (Life) responds with a mixture of caution and disdain, her rhythms are more sedate and reserved. This leads to the choir continuing with their pleas for mercy, in the remaining Kyrie and we end this act with the fading church bells of Tallinn. ACT II ~ Gloria This movement begins with 8. LINNAPEA (The Mayor). Doris Kareva told me that she envisaged a very rhythmic and mechanical delivery to evoke the aura of industrial power – she likened the mayor to the brutal puppet owner (and hence, string-puller) from the original Pinnochio book, Carrabas Barrabas. The folk song Kokku, koorekene! (“Thicken precious cream”, from Tori, 1961), which is more chanted than sung, seemed a perfect background - I liked especially the comparison of the greedy mayor consolidating his assets and ego to a background of rich, unctuous thickening cream… The Gloria responds to his self-congratulation with the resplendent herding shouts Helletused and hoots Huiked, originally used by herders from Kolga Jaani (1937) and Suure-Jaani (1961). 9. ELU (Life) teases him about his “powerful” nose, extending the Pinnochio analogy. She tells him that only God decides which music should play and that the real power belongs to Life. The choir sing the rest of the Gloria, in praise of Life with God. ACT III ~ Credo We then meet 10. PANKUR (The Banker), beleaguered and stressed, he has every luxury available to him but no time for Life or living. A nervous tremolando violin hints at his instability as the orchestral bells seem to toll his life away. 11. ELU (Life)’s harmonies darken as she sings of the evil temptations that the spoils of too much work can bring. Then she soothes him, as she did KERJUS (The Beggar), telling him to value living moments rather than his financial gain and reassuring him that there is a free spot on her dance card for him, when he is ready. As if to reaffirm the joy of Life and faith, the choir burst into a passionate declaration with the Credo – emphasizing the directness of each declaration in Estonian “Meie Usume!”, Latin “Credo” and English “We believe”. I have used the ancient plainsong Credo from my favourite Missa de Angelis, reducing the text to the main declarations of faith. The naturally swinging compound rhythms of the plainsong are emphasized by steady semi-quaver runs on the kannel and cross-rhythm bells.

iv ACT IV ~ Sanctus & Benedictus With a sense of anticipation, 12. ELU (Life) introduces our next character 13. MODELL/PROSTITUUT (No translation needed!). S/he boasts how she is always clean and well-dressed and most of her work is not as sleazy as people think. But then she acknowledges that as her looks fade, so will her professional appeal. She maintains that we are all selling ourselves in some way – including ELU (Life). Her music is a little jazzy and reaches its blues zenith in 14. ELU (Life), where we hear how underneath the MODELL/PROSTITUUT’s bravado lies intense vulnerability – ELU can hear her crying inside her house and blues music playing. Again, ELU takes on her role of comforter and assures the MODELL/PROSITUUT that there is a place on the dance card for her too. This leads straight into the Sanctus & Benedictus. It starts with a lyrical sense of awe at the power and might of our holy Lord but is still initially soothing in character. The music becomes increasingly joyful and exuberant using the jaunty folk song Imed (“Wonders” from Joëlähtme, 1937 – the original text sings about finding a wondrous farm, like nowhere else in the world.) for the “Hosanna”s. I take this a step further by transforming the message into a wondrous God “Holy, holy, holy Lord” – the feeling is of overwhelming happiness, sometimes profound and sometimes playful. ACT V ~ Agnus Dei 15. ELU (Life) introduces us to the 16. ÕHUMÜÜJA, REKLAAMIMEES, MEEDIAGURU ja SUHTEKORRALDAJA (The air seller, ad man, media guru and PR man). She wonders whether it is worth asking him to the dance as, like the MODELL/PROSTITUUT, he sacrifices his own life (and integrity) for others. She can’t decide and the music reflects this with a tremolando kannel and questioning harmonies. Little fanfares of overblown importance pepper the music for 16. ÕHUMÜÜJA (Air seller) but sinister undertones appear in the double bass, which precipitate the following Agnus Dei. This part of the mass has an ostinato throughout of the lightly limping bells of Jaani Kirik (St John’s Church, where this premiere is taking place), with a two-note pattern in which the second note is damped or muffled almost as soon as it is struck. Over this I have used the very haunting Käsikivi (The Grinding Stone, 1936), a Setu song (the polyphony and rhythms of Setu music are completely unique to this southern part of Estonia) that has a 5/8 rhythm which, with its strong beat followed by a weaker shorter one seems to imitate the limping effect of the Jaani Kirik Bells. Over the choir asking the Lamb of God to take away our sins and have mercy on us, 17. ELU (Life) sings of the chaotic pace of the lives we all lead and how we can only live fully when we stand still from our daily running around. She invites you, the listener, to join into the dance as the choir sing “grant us peace” and the bells of Oliviste Church, which opened this work take us immediately into.... ACT VI ~ Ita Missa est! The choir sing the opening bars of the Kyrie as we are brought back to the 18. JUTLEJA (Speaker) of the very beginning. He summarizes by asking how, through all the writings and advice we receive, can we find the true source of the information we need for Life. He tells us that no one knows the whole answer and that he who has the courage to ask is actually the smartest. He who has the most enquiring mind is “a true teacher”. In the final song, 19. ELU (Life) declares that despite all our daily struggles and weaknesses, there is pleasure to be had in the Dance of Life. She reiterates her deeply proud and patriotic feelings about Tallinn (the choir accompanies her with bell-like “Tallinn”s which, as a happy coincidence, I was told sounded like the words “ta linn”, meaning “his/her town”) and leads us, with all our music of strings, Tallinn’s bells and a rejoicing choir, flying higher and higher upwards, towards God. Roxanna Panufnik, 4th March, 2011

Dance of Life ACT I Kyrie Doris Kareva & Jürgen Rooste

Roxanna Panufnik

1. JUTLEJA/SPEAKER/PRIEST/PREACHER: Soprano 1A Soprano 2A Alto A

Soprano 1B Soprano 2B

Alto B Tenor B

Bass B

Life (soprano solo) RECITES: Narrator

Good people, mortal human beings Let me show you a simple vision. Now - I don't think we remember the creation, maybe we've heard of molecules and cells or else of ohms, mitrochondria, DNA, and ions...

But still, you are all human, You each have a cup of Life to drink. So that our existence does not wither, Abandoning the house of life to ruin, We need to tell this story, here, today It is imperative. Some lives among you have been shattered Thrown away in useless, wasteful pleasures! But let's leave death aside and celebrate a while, I urge you all - prepare now for our journey, and let us cast LIFE ITSELF in the speaker's role Why not?!

KYRIE 2

S.1A

q = 60

4 4

Chiming, bell-like attack om "K" and "R" mp

Ky ri

S.2A

Ky ri

Chiming, bell-like

4 4

Ky ri

S.1B

Chiming, bell-like

4 4

A.B

(Hum quietly, to get your next note)

Chiming, bell-like

KYRIE q = 60

4 4 Pno

3 3

ST CHARLES CHURCH

ppp

4 4

4 4 *) Choir A processing in - either just down aisle of audience/congregation or different voice groups (i.e S1A or S2A) from sides and back of auditorium. Choir B already on stage/behind orchestra/in situ. Both choirs should be together on stage by bar 15.

3 5

S.1A

S.2A Ky ri..Ky ri, Ky ri, Ky

HOLY GHOST CHURCH

ppp

A.A (Hum quietly, to get your next note)

cresc.

Ky ri.. Ky ri, Ky ri,

S.1B Ky ri

mp Chiming, bell-like 3

S.2B Ky ri

A.B ri

Pno

4 8

S.1A Ky

Ky ri

son, 3

S.2A

port. Ky

ri..Ky ri,Ky ri,

A.A e,

S.1B Ky ri

port.

S.2B Ky ri..Ky ri, Ky ri,

A.B Ky

Chiming, bell-like attack on "K" and "R" mp T.B Ky

Chiming, bell-like attack on "K" and "R" mp B.B Ky

Pno

5 mf

S.1A Ky ri..

mf port.

S.2A Ky

Ky ri..

Ky ri,

Ky ri

Ky ri,

A.A Ky ri..

mf 3

Ky ri,

S.1B Ky ri..

Ky ri,

Ky ri..

Ky ri,

Ky ri..

Ky ri,

S.2B Ky ri..

Ky ri,

Ky ri..

Ky ri,

A.B Ky ri..

Ky ri,

Ky ri..

Ky ri,

mf port.

T.B Ky

mf B.B Ky

Pno

Ky ri,

6 13

S.1A Ky ri.. Ky ri,

Ky ri...

f 3

S.2A Ky ri.. Ky ri,

Ky ri...

A.A Ky ri.. Ky ri,

Ky ri...

S.1B Ky ri.. Ky ri,

Ky ri

f 3

S.2B Ky ri.. Ky ri,

Ky ri,

A.B Ky ri.. Ky ri,

Ky ri,

f T.B ri

f B.B ri

Pno

a tempo

rall.

q = 60

S.1A son.

S.2A son.

p A.A e

son.

S.1B son.

S.2B son.

p A.B e

son.

p T.B e

son.

a.2 B.B e

son.

a tempo

rall.

Pno

q = 60

ACT II Gloria

q = 96

3 4

Alto A

mp *)

solo 3

(soloists can be placed strategically around the venue - then return to stage for bar 14)

**)

3 4

Bass B

mp solo

**) solo mp

4 4

S.2A Uu

4 4

A.A Uu

4 4

B.B

A.A

8. LINNAPEA/MAYOR

4 4 SPOKEN, with energy and a little aggression... ***) mf

S.1B

4 4

Kok Thick

S.2B

ku, en,

kok thick

ku, en,

koo re ke, pre cious cream,

mi da splish

4 4 *) Helletused - herding shout, Kolga Jaani (1937) **) Huiked - herding hoots, Suure-Jaani (1961) ***) Kokku, koorekene! Thicken, Precious Cream! Tori (1961)

m채 da splash,

di,

m채n but

na ter

ke! whisk!

mi da splish

m채 da splash,

di,

47 16

S.1B Ki ba di Clit ter

ko ba di, kok clat ter come

ku min to ge

gu, ther,

mi da di splish

mä da di, mät clumps splash,

tad tul must come,

gu,

S.2B Ki ba di Clit ter

ko ba di, clat ter

mi da di splish

mä da di, splash,

S.1B tae vast tul gu, sis come from the sky, get

se min gu, üm mer man na mit sa mat sa, lei in the butter, round the whisk, onto squish, squash,

va pea le lit sa lat sa, the bread split splat, 3

S.2B mit sa ma sa, squish, squash,

f like a grunt, from exertion

S.1B ah,

ah,

ah!

Las tel lõ bus tant su lü la, võid ja peh met lei ba sü ia, Fun for the child ren to dance a round, while eating their fresh baked bread and butter,

f slightly agressively S.2B ah,

ah,

ah!

f (grunt!)

port.

S.1B ah,

ah,

ah!

Mi nu

S.2B ah,

ah,

ah, ah!

SPOKEN: mechanical and sinister...

Kok ku, kok ku, koo Thick en, thick en, pre

re ke, cious cream,

LINNAPEA: f

Narr. (pitch of voice varies naturally but speaking in the mechanical rhythm provided)

My own town is my own thea tre

That is

all you

48 p

S.2B mi da di mä da di, splish splash,

mi da di mä da di, splish splash,

mit sa mat sa,mit sa mat sa, squish, squash, squish, squash,

Narr. need to know here.

make all

the big de ci sions,

My nose

tells me

S.1B mi da di mä da di, splish splash,

p 3

(as if about to sneeze: "ah-tchuu!") 3

S.2B mit sa mat... squish, squash,

mi da di mä da di, mat sa, splish splash, squash,

gliss.

lit sa lat sa, ah, split splat,

ah,

Narr. your po

si tion.

If my nose with a cold is fraught,

S.1B ah,

ah...

tchuu!

ah... (MAYOR waits for sneeze that never comes)

tchuu!

S.2B ah,

mi da di splish

Narr. Mat ters

then can end up

in court.

Start

the dance,

mä da di, splash,

49 37

S.1B mi da di splish

m채 da di, splash,

Ki ba di ko ba di, Clit ter clat ter

S.2B m채t tad tul gu, clumps must come,

Las tel l천 bus tant su l체 la, Fun for the child ren to dance a round,

Narr. a sim ple sys tem -

p whispered, menacingly, with MAYOR

S.1B di,

lit sa lat sa, split splat,

And

S.2B if

3 4

your dan cing's fine and free,

p whispered, menacingly, with MAYOR

And

re flec tion

4 4

Ki ba di ko ba di, Ki ba di Clit ter clat ter Clit ter

3 4

your dan cing's fine and free,

4 4

ko ba di, Ki ba di clat ter Clit ter

3 4

T.B

in ev(e)ry

4 4

Ki ba di Clit ter

3 4

Narr. rhy thm.

And

your dan cing's fine and free,

4 4 The pub

lic

CHOIRS and ORCHESTRA burst out into rapturous applause for the Mayor, who graciously acknowledges it.... 43

S.1B

4 4

ko ba di, Ki ba di ko clat ter Clit ter clat ter

S.2B

4 4

T.B

4 4

B.B

4 4

ko ba di, Ki ba di ko clat ter Clit ter clat ter

Narr.

4 4 cred

3 4 ba

di....

ko ba di, Ki ba di ko clat ter Clit ter clat ter

di....

ko ba di, Ki ba di ko clat ter Clit ter clat ter

3 4

3 4 ba

di....

3 4

di....

its

all

3 4

to me!

CHOIRS and ORCHESTRA burst out into rapturous applause for the Mayor, who graciously acknowledges it....

4 4

3 4

Pno

4 4

3 4

9. ELU/LIFE: 46

S.1A

3 4

mf *)

Glo

tutti mf

S.2A

3 4

S.1B

S.2B

T.B

Glo

9. ELU/LIFE:

3 4 Pno

3 4

Glo ri a,

cel

sis

cel

sis

Glo ri a,

Glo

3 4

Glo ri a,

Glo

3 4

Glo

3 4

cel

Glo ri a,

cel

Glo ri a,

cel

52 52

S.1A Glo

Glo

p S.2A Glo

tutti

Glo

A.A Glo ri a,

Glo

mp S.1B Glo ri a,

mp S.2B Glo ri a,

**)

A.B Glo

Glo

ri a,

Glo ri a,

mp **) T.B Glo ri a,

tutti

Glo ri a,

**)

B.B Glo

Glo

ri a,

Glo ri a,

ACT III Credo 10. PANKUR/BANKER: q = 78

Narrator

4 4

(spoken in the rhythm that the bells will copy)

Stressed...

I have

6 4 no

time _ no time _

4 4 no time,

10. PANKUR/BANKER: q = 78

4 4 Piano

6 4 p

p (gentle tremolo)

4 4

6 4

4 4

molto pedale

(wait for bells to play this) 5

Narr. at home I'm barely able to call out my 'good-bye!" when death's ever-ticking clock grabs at my throat. By the close of the day I am sure of only one thing:

if illness, accident or murder may not break me,

Still every moment that I live, I live only to die!

(wait for "die") Pno

82 (freely - let the music follow you)

Narr. My parked car takes up half the pavement, but the watch on my wrist counts my steps towards the grave.

Pno

rall.

Narr. Why am I so empty, why am I unable to live? I exercise - I care for my liver, lungs and heart,

and yet I feel the body blow of death's scythe As if it were just passing by, reaping.

rall.

before going to next bar, wait for: Pno

"...passing by, reaping."

Pno

11. ELU/LIFE: 22

Faster

q = 72

Life It is said:

Sa tan

Faster q = 72

Pno

Life lives

in the

de tail!

It is said:

Pno 3

ear ly to

port.

Life work

Pno

and late

bed.

It is

84 port.

Life or dered:

e vil

and spend

mo ney

and squan der

our

ma ny

Pno 3

with relish!

6 4

Life paths

lead us to go

4 4

shop ping!

6 4 Pno

4 4

p 3

pp 3

6 4

4 4

Life I'd

ra ther

tell

this sto

ther

wise

Pno 6

85 (going out of tune)

Life and

ven

sing

Pno 6

the

wrong

pitch

Life Each

mo ment

you

con

si der,

Pno

6 4

port.

Life weigh

ing

work may

plant

worm

wood

your

6 4 Pno

6 4

86 47

Life

6 4

4 4

soul,

6 4

4 4

Pno

6 4

4 4

the smallest fish to be given to cats or thrown away, mp

Life throw smal

ler

fish

stray cats,

Or hear

whales

sing ing

in the

Pno

port.

rall. 3

Life sea,

pon us all still

falls

the

rall.

Pno

q = 54 55

reassuringly (again!)

Life same

dar

kest

night!

q = 54

Pno 3

Life Now

fare well

dear

est bank

er,

Pno

port.

your

chor.

You

5 4 know I have a dance

5 4 Pno

lly think that death

Life is

if you rea

you,

5 4

card

with a

88 if, for this once, in you are ready for life, 65

Life free

waltz

4 4

for you,

you are rea dy

for liv ing,

when dan ger

4 4 Pno

4 4

rall. 69

Life passed.

Dear est ban

ker,

rall.

Pno

dear est

ban

ker.

has

CREDO Passionately! 73 q = 72

S.1A Me ie Meh yeh

u su me! oo soo me! 3

S.2A Me ie Meh yeh

u su me! oo soo me! 3

A.A Me ie Meh yeh

- su me! oo soo me!