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No. 72264

PHILIPS Body of Water

for solo tenor, chorus, brass quintet & organ

Score

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JULIAN PHILIPS

Body of Water for solo tenor, chorus, brass quintet & organ

Score

EIGENTUM DES VERLEGERS

ALLE RECHTE VORBEHALTEN

ALL RIGHTS RESERVED

PETERS EDITION LTD A member of the Edition Peters Group FRANKFURT/M. 路 LEIPZIG 路 LONDON 路 NEW YORK


JULIAN PHILIPS

Body of Water for solo tenor, chorus, brass quintet & organ Text by Simon Christmas Instrumentation Solo Tenor Chorus (SATB) Brass Quintet (2 Trumpets, Horn, Trombone, Tuba) Organ Duration: c16 minutes Performance Notes SOLO TENOR The solo tenor should be onstage, positioned in the conventional way. At figure 35, however, he turns and steps into the choir, joining the tenors. From fig. 35 to the end, he sings with tenor 1. CHOIR The male voices of the choir should be on-stage; the female voices unseen, preferably spaced out around the audience to create a surroundsound effect. BRASS At the opening, the two trumpets should be offstage, trumpet one to the south calling to trumpet two in the north. At figure 23 (3. Reliving), the trumpets should move onstage, returning to their offstage positions at fig. 31.2, in time for their entries at fig. 33. Horn and trombone should be onstage throughout; tuba should ideally be unseen, aurally associating it with the organ sound. Figure 27 to 29 •From figure 27 to 29, sopranos and altos create a cloud of spoken text. •Each voice should find 2-3 moments during the sections indicated to state the individual words, leaving space between each repetition. •The alto text is intended as a response to the soprano text, with verbs answering nouns (salt…burns etc). •As the number of words increase so should the level of activity: together with dynamic and intensity, this should increase towards the sung word ‘push’ at figure 29. Figure 30 to end •Each figure is equal to approximately 12 seconds e.g. fig. 30-30.1 = 12 seconds, while the whole of figure 30 (30-31) = 60 seconds. •Each voice should sing individually throughout, unsynchronised from one to another. The only shared detail within a section is the pitch content. •When each section divides into three, the voices should divide up so as to ensure roughly equal numbers. •When each section divides into six, e.g. figure 38, the same general rule applies. However should there be more than six in a section, additional voices should assigned as evenly as possible, beginning again from 1 (e.g. an extra soprano 1 not an extra soprano 6 and so on). •Should there be less than six voices in a section (e.g. tenors), then parts should be omitted from the bottom (e.g. omit tenor 6 rather than tenor 1 and so on). •The squiggly lines are intended to give a rough sense of how long the patterns repeat; when the lines stop, the voices should peter out e.g. the overlapping of the sopranos and altos into figure 31. •From figure 38.1 to the end, the choral sound morphs from a sung texture, to speech and then finally to pure breath sounds. The final organ and brass crescendo should just be about to drown out the breath sounds as the conductor cuts the piece off.

Commissioned by JAM in memory of Russ Patrick First performance was on 22 March 2012 at St. Bride’s Church, Fleet Street, London and was given by the Choir of Selwyn College, Cambridge and Onyx Brass conducted by Nicholas Cleobury This score reflects the state of editorial work and correction as at March 2012


1

BODY OF WATER for solo tenor, chorus, brass quintet & organ 1.Recall

Text: Simon Christmas

Music: Julian Philips

Free tempo, based on q = c.45

(offstage)*

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Edition Peters No. 72264 Copyright Š 2012 by Hinrichsen Edition, Peters Edition Limited, London

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Philips - Body of Water