a product message image
{' '} {' '}
Limited time offer
SAVE % on your upgrade

Page 1

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

ALLE RECHTE VORBEHALTEN

ALL RIGHTS RESERVED

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 John’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


ii

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...

Edition Peters No. 72157e Music © Copyright 2011 Hinrichsen Edition, Peters Edition Limited, London Text © Copyright 2011 Doris Kareva & Jürgen Rooste

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?!


2

KYRIE 2

S.1A

q = 60

*)

4 4

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

Ky ri

S.2A

3

3

e,

Ky ri

Chiming, bell-like

4 4

e

mp

3

Ky ri

S.1B

e,

Chiming, bell-like

4 4

mp

Ky

A.B

ri

mp

(Hum quietly, to get your next note)

Chiming, bell-like

Ky

KYRIE q = 60

4 4 Pno

mp

3

3

3 3

e,

ST CHARLES CHURCH

ppp

4 4

3

3

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


3 5

S.1A

3

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

ri

e,

HOLY GHOST CHURCH

ppp

mp

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

cresc.

3

Ky

ri

mf

3

e

Ky ri.. Ky ri, Ky ri,

S.1B Ky ri

mp Chiming, bell-like 3

S.2B Ky ri

e,

A.B ri

Pno

3

e,

3

3

3

3

3


4 8

mp

3

3

S.1A Ky

ri

e,

Ky ri

e

le

i

son, 3

S.2A

port. Ky

ri..Ky ri,Ky ri,

A.A e,

Ky

S.1B Ky ri

e,

3

port.

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

Ky

ri

e,

A.B Ky

ri

e,

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

ri

e,

ri

e,

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

3

Pno

3

mf

3

3

3

3


5 mf

11

3

S.1A Ky ri..

mf port.

S.2A Ky

ri

e,

Ky ri..

Ky ri,

Ky ri

e,

Ky ri

e,

Ky ri

e,

3

Ky ri,

mf

3

A.A Ky ri..

mf 3

Ky ri,

3

3

S.1B Ky ri..

Ky ri,

Ky ri,

Ky ri..

Ky ri,

mf

Ky ri,

Ky ri..

Ky ri,

3

Ky ri,

3

S.2B Ky ri..

Ky ri,

mf

Ky ri,

Ky ri..

Ky ri,

3

Ky ri,

3

A.B Ky ri..

Ky ri,

Ky ri,

Ky ri..

Ky ri,

mf port.

T.B Ky

ri

e,

Ky

mf B.B Ky

ri

e,

Ky

3

Pno

3

3

3

Ky ri,


6 13

f

3

S.1A Ky ri.. Ky ri,

Ky ri...

e

le

i

le

i

le

i,

le

i

le

i

le

i,

e

le

i

e

le

i

f 3

S.2A Ky ri.. Ky ri,

Ky ri...

e

f

3

A.A Ky ri.. Ky ri,

Ky ri...

e

f

3

S.1B Ky ri.. Ky ri,

Ky ri

e,

e

f 3

S.2B Ky ri.. Ky ri,

Ky ri,

e,

e

f

3

A.B Ky ri.. Ky ri,

Ky ri,

e,

e

f T.B ri

e,

f B.B ri

e,

3

Pno

3

f

3

3


15

7

a tempo

rall.

q = 60

S.1A son.

S.2A son.

p A.A e

le

i

son.

S.1B son.

S.2B son.

p A.B e

le

i

son.

p T.B e

le

i

son.

p

a.2 B.B e

le

i

son.

a tempo

rall.

Pno

q = 60

3

3

3

3

mf

mp


46

ACT II Gloria

q = 96

3 4

Alto A

mp *)

solo 3

3

3

Uu

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

**)

3 4

Bass B

mp solo

Uu

**) solo mp

8

4 4

S.2A Uu

Uu

4 4

3

A.A Uu

4 4

B.B

14

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)

di

m채 da splash,

di,

m채n but

na ter

ke! whisk!

mp

mi da splish

di

m채 da splash,

di,


47 16

3

3

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

18

3

3

ko ba di, clat ter

3

3

mi da di splish

3

3

3

mä da di, splash,

3

3

3

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

3

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

21

f like a grunt, from exertion

3

3

3

3

S.1B ah,

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,

24

ah,

ah,

ah!

f (grunt!)

port.

S.1B ah,

ah,

ah,

ah!

Mi nu

mp

f

p

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

28

p

3

3

3

3

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.

I

make all

the big de ci sions,

My nose

tells me

p

31

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

p 3

3

pp

3

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.

gliss.

lit sa lat sa, ah, split splat,

ah,

Narr. your po

si tion.

If my nose with a cold is fraught,

f

34

ff

S.1B ah,

ah...

tchuu!

f

ff

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

tchuu!

p

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

mp

m채 da di, splash,

Ki ba di ko ba di, Clit ter clat ter

3

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 -

40

3

3

My

p whispered, menacingly, with MAYOR

S.1B di,

lit sa lat sa, split splat,

And

if

S.2B if

3 4

your dan cing's fine and free,

p whispered, menacingly, with MAYOR

And

re flec tion

pp

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,

pp

4 4

ko ba di, Ki ba di clat ter Clit ter

3 4

T.B

in ev(e)ry

pp

4 4

Ki ba di Clit ter

3 4

Narr. rhy thm.

And

if

your dan cing's fine and free,

4 4 The pub

lic


50

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

S.1B

mf

4 4

3

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

S.2B

mf

4 4

ba

T.B

4 4

B.B

4 4

mf

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

Narr.

4 4 cred

3 4 ba

di....

3

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

p

di....

3

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

mf

3 4

3 4 ba

di....

3 4

3

ba

di....

ff

3

its

it

all

3 4

to me!

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

4 4

3

3 4

f

Pno

4 4

3 4


51

9. ELU/LIFE: 46

S.1A

3 4

mf *)

3

Glo

tutti mf

S.2A

3 4

3

ri

S.1B

mf

3

S.2B

mf

3

T.B

mf

3

Glo

9. ELU/LIFE:

3 4 Pno

3 4

Glo ri a,

in

ex

a,

Glo ri a,

Glo ri a,

in

ex

3

cel

sis

De

o.

cel

sis

De

o.

sis

De

o.

sis

De

o.

sis

De

o.

3

ri

a,

Glo ri a,

Glo ri a,

in

ex

3

Glo

3 4

Glo ri a,

3

ri

Glo

3 4

a,

3

Glo

3 4

3

3

cel

3

ri

a,

Glo ri a,

Glo ri a,

in

ex

3

cel

3

ri

a,

Glo ri a,

Glo ri a,

in

ex

cel


52 52

mp

p

S.1A Glo

ri

a,

Glo

mp

p S.2A Glo

tutti

ri

a,

Glo

mp

p

mp

A.A Glo ri a,

Glo

ri

a,

Glo

mp S.1B Glo ri a,

mp S.2B Glo ri a,

mf

**)

mf

mp

**)

A.B Glo

ri

a,

Glo

ri a,

Glo ri a,

mp

mp **) T.B Glo ri a,

tutti

mf

Glo ri a,

mf

mp

**)

B.B Glo

ri

a,

Glo

ri a,

Glo ri a,


81

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

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)

10

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

Pno

rall.

14

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."

18

Pno

3

3

mf

3

3


83

11. ELU/LIFE: 22

Faster

mp

q = 72

mf

Life It is said:

Sa tan

Faster q = 72

pp

Pno

3

3

25

3

3

3

3

3

3

3

3

3

mp

3

3

mf

3

Life lives

in the

de tail!

It is said:

Pno 3

3

28

3

3

3

3

3

3

ear ly to

3

3

3

3

mp

port.

Life work

Pno

and late

3

3

to

3

bed.

3

It is

3

3

3

3

3

3

3

3


84 port.

31

3

Life or dered:

do

e vil

and spend

mo ney

and squan der

our

ma ny

3

Pno 3

3

3

3

3

3

3

3

3

3

3

3

with relish!

34

6 4

Life paths

lead us to go

4 4

shop ping!

mp

6 4 Pno

4 4

p 3

3

3

3

pp 3

6 4

3

3

3

3

3

6

4 4

6

mp

37

mp

3

Life I'd

ra ther

tell

this sto

ry

o

ther

wise

Pno 6

6

6

6

6

6


85 (going out of tune)

40

Life and

e

ven

sing

Pno 6

it

at

6

6

the

wrong

6

pitch

_

6

6

43

Life Each

mo ment

you

con

si der,

mp

Pno

6

6

6

6

45

6 4

port.

Life weigh

ing

if

work may

plant

more

worm

wood

in

your

6 4 Pno

6

6

6

6

6 4


86 47

Life

6 4

mf

4 4

soul,

6 4

4 4

Pno

6

6 4

49

6

6

4 4

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

Life throw smal

ler

fish

to

stray cats,

Or hear

whales

sing ing

in the

Pno

port.

rall. 3

52

Life sea,

U

pon us all still

falls

the

rall.

Pno


87

q = 54 55

mf

reassuringly (again!)

Life same

dar

kest

night!

q = 54

Pno 3

58

3

mp

3

3

3

Life Now

fare well

to

3

dear

est bank

er,

3

mf

Pno

port.

3

mf

3

your

an

chor.

You

3

3

5 4 know I have a dance

5 4 Pno

lly think that death

p

Life is

if you rea

3

3

62

you,

5 4

card

with a


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

3

3

Life free

waltz

4 4

3

for you,

If

you are rea dy

for liv ing,

when dan ger

4 4 Pno

4 4

rall. 69

p

Life passed.

Dear est ban

ker,

rall.

Pno

dear est

ban

ker.

has


89

CREDO Passionately! 73 q = 72

ff

3

S.1A Me ie Meh yeh

ff

u su me! oo soo me! 3

S.2A Me ie Meh yeh

ff

u su me! oo soo me! 3

A.A Me ie Meh yeh

ff

- su me! oo soo me!

3

mf with bell-like clarity and attack

S.1B Me ie Meh yeh

ff

u su me! oo soo me! 3

Cre do in u num De

mf with bell-like clarity and attack

S.2B Me ie Meh yeh

ff

u su me! oo soo me!

3

Cre do in u num De

mf with bell-like clarity and attack

A.B Me ie Meh yeh

ff

su me! - soo me! 3

Cre do in u num De

mf with bell-like clarity and attack

T.B Me ie Meh yeh

ff

u su me! oo soo me! 3

Cre do in u num De

mf with bell-like clarity and attack

B.B

Passionately! q = 72

Pno

p

Me ie su me! - soo me! Meh yeh *) "We believe" in Estonian

Cre do in u num De


104

ACT IV Sanctus & Benedictus

12. ELU/LIFE: with a sense of anticipation q = 104

4 4

Elu/Life

mf

mp 3

In

3

this next

verse

I seek a wo man

be

yond

reach:

q = 104

4 4 Piano

4 4

p

4

3

Life a

mo

del

a

pros

ti

tute

be

comes

Life's

Pno

13. MODELL/PROSTITUUT/MODEL/PROSTITUTE: q = 120 (sarcastic and sharp!) 7 Life Bride!

q = 120

3

3

3

3

ff

Pno mf 3

3

3

3

3

3

3


105 12

MODELL/PROSTITUUT:

Narr. No! - I want to argue, to oppose it When I display my body, Not everything's for sale, not yet!

My open lips may give you a fake sigh, But now I would rather rampage and roar: His evil glances sicken me like slaps; Would you not like to see me safe inside a cosy home?

div.

p sub. Pno

(wait for "...not yet!")

(wait for "...cosy home?")

16

Narr. I fear to wear the same clothes for two days, I live in terror of my life, I fear Every sign of him - recurring, weakening, until I am worn out, I sell my liquidated charm for cash.

Pno

mp

(L.H. keep playing these notes in the same rhythm until Narr, says "...ongi surm;")

(STILL RECITING TEXT FROM PREVIOUS BAR....)


106 21

(Narr. ad lib over the next passage)

rall.

Narr. on minu ele sisuks, rahaks vahetada v채limine hurm!

But please do understand, dear blessed LIFE That you yourself aren't acting like a monk, Collecting extra points for saving souls...

Each wrinkle in the corner of my eye the substance of my life is A symbol of my fast exchanging my exterior charm for money! approaching death; If cancer took me now, it's far better than letting me dry up -

rall.

Pno

(wait for "...for cash!" before going on to next bar)

(wait for "...saving souls." before going on to next bar)

14. ELU/LIFE: 27 q = 56

port.

mp

Life Yes,

you

have

learned

your

les sons

too

q = 56

p

Pno

mf

30

Life But,

Pno

some times if I'm here,

strol ling

a round

mf

your gate way,

well,


107 34

mp

port.

mf

Life Then I can hear you weep

Pno

mp

ing.

Hea vy

blues are

play

ing.

mf

38

mp

3

Life A

new born

moon is ri

sing

A bove

us,

a

Pno

bove

us.

mp

If you ever take the steps, come along,

43

3

Life Then

Pno

3

If you should e

ver

have


108 47

3

mf

Life time to join me

come a

long,

I

have a dance

re served for

you,

You know you won't

mf

Pno

3

mp

51

Life re gret it!

I try with

cru

el

ty

and I

try

with

mp

Pno

55

port.

Life good

3

6 4 ness.

Think

for your

selves:

you

may find

4 4 you

6 4

4 4

6 4

4 4

Pno


58

Life

109

mf

rall.

mp

4 4 know

her,

know

her,

you

rall.

4 4 mf

Pno

2 4

2 4 mp

4 4

2 4

SANCTUS Warm, gentle but with intense wonder 62

B.B

2 4

Warm, gentle but with intense wonder mf solo or tutti mp

q = 48

Sanc

2 4

Life

know

2 4

tus,

sanc

tus,

sanc

p

her.

q = 48

p

Pno

2 4 (spread all large chords in LH)

69

B.B Do

Pno

mi

nus

De

us

Sa

ba

oth.

tus


110 mf

76

3 4

3

B.B ple ni

sunt

cĂŚ li

et

ter

ra

glo

ri

a

mp

tu

2 4 a.

3 4

2 4

3 4

2 4

Pno

81

S.1A

tutti

2 4

mp

glo ri

S.2A

A.A

S.1B

2 4 2 4

glo ri a, mp

glo ri a

glo ri a,

glo ri a

Dom ni

nus

*)

Ho san na, ho san na in ex cel sis,

mp

2 4

glo ri

S.2B

a,

mp

a,

2 4 Do mi nus

A.B

T.B

B.B

2 4 2 4

mp

*)

glo ri mp

a,

glo

ri a

glo ri

a,

glo

ri a

Ho san na, ho san na in ex cel sis,

2 4 2 4

Pno

2 4 *) Imed (Wonders), JoÍlähtme 1937


123

ACT V Agnus Dei 15. ELU/LIFE:

4 4

Life

q = 72 mp

mp

mf

Here's one more in vi ta

tion

to the dance. And who could be fit to

re ceive it?

15. ELU/LIFE:

4 4 Piano

5 4

3

The one who

mf

q = 72

5 4

mp

4 4

5 4 mp

5

Life

5 4

gives his own

Pno

mf

4 4

3

life for o thers,

To ex

change

5 4

4 4

5 4

4 4

8

mp

5 4

Life ja oks? for?

But

I hear strings

it

of his

3

shi ver with in

5 4 Pno

3

3

own vo

li tion,

self less

4 4

mf

Ham mer ing and poun

4 4

mp

4 4

ding,

3

mp

5 4

ly?

3


124 12

f

mf

5 4

Life And cla ri ty

in

truth

4 4

3

di

sap pears.

5 4

3

3

4 4

mf

Pno

mp mp

5 4

with a twinkle in you eye mp 3

15

4 4

f

3

Life If

on ly he would take

my card

and

o pen it him

3

mf Pno

mp

16. ÕHUMÜÜJA, REKLAAMIMEES, AIR SELLER, AD MAN, MEEDIAGURU ja SUHTEKORRALDAJA: MEDIA GURU and PR MAN: 19 (q = 72)

Pno

f (no pedal)

3

mf

self!


125

23

Narr.

Work is just work and my work is just this: From behind the dam I set free an openflow of thought.

The world takes new momentum from my spin. It's quite safe, you know. It won't cause any accidents.

mp

Pno

25

Narr. God has spoken to us, I would stop the waste of time, But I tell a different story! the movement through time Yest sometimes on a fragile day It seems that life is liquid, like a swamp. To you this might seem brutal, or malicious, I do not know who weaves time's fabric, but if I could (for that machine has a handle),

Pno


126 28

Narr. But if we're imitating truth, a state of some sincerity, There's no room in my restless skull for that.

Like a child now, here, on my knees before God, I ask: If all things must be empty air and false, Then what remains on earth that's true or real?

p

Pno

31

5 8

Narr. Even on the hottest day, at home under my blankets, My body shakes with paralysing chills.

5 8 Pno

pp

5 8


127

AGNUS DEI With a heavy heart... 33

S.1A

e = 144

mp

5 8

Ag

S.1B

**) p

5 8

Ag nus De i,

S.2B

nus

De i, Ag nus De i, Ag nus De i, Ag nus De

**) p

5 8

Ag nus De i, Ag nus De i, Ag nus De

A.B

**) p

5 8

De

T.B

i,

De

i,

De

**) p

5 8

De

With a heavy heart... e = 144

5 8 Pno

5 8

p (no pedal)

**) K채sikivi (The Grinding Stone), Setu (1936) - this was sung by women grinding flour. They woud do a dance which had them walking round in a circle with their right hands in the centre holding an imaginary stick. If there is room for any of the choir to do this in performance, it could be quite mezmerising...


128 41

S.1A i

De

Qui

mp S.2A Ag

nus

De

i,

Ag

nus

De

i,

mp A.A

S.1B i, Ag nus

De i,

De i,

Ag

nus De i,

Ag

nus De i,

Ag

nus De

i,

Ag

nus De i,

Ag

nus De i,

Ag

nus De

i, Ag nus

i,

De

i,

De i,

De

i,

i,

De

i,

De i,

De

i,

S.2B i,

A.B

T.B

Pno


129 47

2

S.1A tol

lis

pec ca ta

mun

di:

mi se re

re

no

bis.

mp

2

S.2A pec

ca ta mun

di:

mi se re

re

no

bis.

mp

2

A.A pec

ca ta mun

di:

mi se re

re

no

bis.

S.1B Qui tol

lis

i, Ag nus De i,

De i, Ag

nus De i,

Ag

nus De i,

S.2B De i,

De i, Ag

nus De i,

Ag nus De i, Ag nus De

i,

Ag

nus De i,

Ag nus De i, Ag nus De

i,

A.B De

2

T.B De

i,

De

i,

De

mi se re

re

no

bis.

2

p B.B mi se re

re

no

bis.

Pno

2


130 54

S.1A Ag

nus

De

S.2A *) O le mei le

ar mu

li

ne...

ar mu

li

ne...

A.A *)

O le mei le

S.1B Ag

nus De i,

Ag nus De

i,

Ag

nus De i,

Ag nus De

i, Ag nus

i,

De i,

De

S.2B De i,

De i,

Ag nus De i,

Ag

nus De i,

De

i,

Ag nus De i,

Ag

nus De i,

De

i,

A.B i,

T.B

B.B

Pno

*) "have mercy on us" in Estonian

De

i,


131 60

S.1A i

Qui

tol

lis

pec ca ta mun

mp S.2A Ag

nus

De

i,

nus

De

i,

Qui

tol

lis

mp A.A Ag

pec

(p ) S.1B Ag nus De i,

De i, Ag nus De i, Ag nus De i, Ag

nus De

i, Ag nus

nus De

i,

De

i,

(p ) S.2B Ag nus De

i,

Ag nus De i, Ag nus De i, Ag

(p ) A.B Ag nus De

i,

De

i,

De i,

p T.B De

Ag

nus

De

i,

Qui tol

lis,

Ag

nus

De

i,

Qui tol

lis,

p B.B

Pno

pec


132 67

2

S.1A di:

mi se

re

re

no

bis.

mp

2

S.2A mi se

re

re

no

bis.

2

A.A ca ta mun

di:

mi se

re

re

no

bis.

S.1B De i,

De i, Ag

nus De i, Ag

nus De i, Ag nus De

i,

Ag

nus De i, Ag

nus De i, Ag nus De

i,

S.2B

A.B De

i,

De i,

De

i, Ag nus De i,

2

T.B mi se

re

re

no

p

bis.

2

B.B ca ta mun

di:

mi se

re

re

no

bis.

Pno

2

Ag nus De

Ag nus


147

ACT VI Ite, Missa est! 18. JUTLEJA/SPEAKER: q = 60

Soprano 1A

mp

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

4 4

3

Ky ri e,

18. JUTLEJA/SPEAKER: q = 60

4 4

3

p

Piano

3

3

mp

4 4

6

3

S.1A Ky ri

Chiming, bell-like

e

mp

3

S.2A Ky ri

e,

ppp A.A

Chiming, bell-like

mp

cresc.

3

3

(Hum quietly, to get your next note) mf

S.1B Ky

ri

e,

Ky ri

e

mp

Chiming, bell-like

3

S.2B ppp

mp

Ky ri

Chiming, bell-like

A.B (Hum quietly, to get your next note) 3

Pno

Ky

ri

3 3

3

3

3


148 mp

9

3

3

S.1A Ky

ri

e,

Ky ri

3

port.

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

ri

e,

mp A.A ri

Ky

3

S.1B Ky ri.. Ky ri, Ky ri,

Ky ri

e,

S.2B e,

A.B e,

3

Pno

Ky

3

3

3

3

3


149 12

S.1A e

le

i

son,

3

port.

S.2A Ky

ri..Ky ri, Ky ri,

Ky

ri

e,

A.A e,

Ky

3

S.1B Ky ri..Ky ri, Ky ri,

3

port.

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

Ky

ri

e,

A.B ri

e,

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

T.B Ky

ri

e,

Ky

ri

e,

ri

e,

Ky

ri

e,

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

3

Pno

mf

3

3

3

3

3


Photo © Keith Saunders

Dance of Life

Roxanna Panufnik (b. 1968) 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

Roxanna Panufnik ( *1968) 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 72157e

w w w.e d i t i o n p e t e r s .c o m

Profile for Edition Peters

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

Vocal Score EP72157E www.editionpeters.com

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

Vocal Score EP72157E www.editionpeters.com