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Page 1

Roxanna panufnik

sc or

for choir

e

Two Poems by Wendy (SSATBB)

pe ru

sa l

Words by Wendy Cope

Score

EIGENTUM DES VERLEGERS

ALLE RECHTE VORBEHALTEN

ALL RIGHTS RESERVED

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


When conductor Paul Hiller asked me if I’d write a piece for The National Chamber Choir of Ireland, I was delighted at his suggestion of Wendy Cope texts. This will be the fourth collaboration between Wendy and I and although these poems were already written, Some Rules hadn’t yet been published.

e

The words of the homeless hammer were inspired by the poet hearing Boulez’s Le Marteau san Maître (“The Hammer without a Master”). Wendy has drawn on their highly esoteric nature and so I’ve echoed this hazy elusiveness in the music. Musically, there is a hint of serialism in furious objects but I find the text rather sad and beautiful in second sight in Brockwell Park. When I read solitary beer-mat it immediately conjured the jollity of the music hall, so my music for this verse is an affectionate tribute to this genre.

sc or

When I first read Some Rules, the reoccurrence of “Stop” and “Don’t” kept catching my eye – my ear was hearing a rhythmic ostinato (repeated pattern) of those words which, as a result, have become the backbone of this setting.

pe ru

sa l

This piece was commissioned for the Seminar on New Choral Music 2010 by the Cork International Choral Festival and The National Chamber Choir of Ireland, with funds provided by An Comhairle Ealaíon (The Arts Council). The National Chamber Choir will premiere this work at the festival on 30th April 2010, with conductor Paul Hillier. Roxanna Panufnik 12th February 2010

Commissioned for the Seminar on New Choral Music 2010 by the Cork International Choral Festival and The National Chamber Choir of Ireland, with funds provided by An Comhairle Ealaíon (The Arts Council). This work was premiered at the festival on 30 April 2010 by The National Chamber Choir, conductor Paul Hillier.

Duration: c. 5 minutes


CONTENTS

1. the homeless hammer

e

I  furious objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

sc or

II  second sight in Brockwell Park . . . . . . . . . . . . . . . . . . . . . . . . . 4 III  solitary beer-mat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

pe ru

sa l

2. Some Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

This score reflects the state of editorial work and correction as at February 2010


the homeless hammer

Some Rules

I furious objects the sick umbrella underneath the council chamber and a cow in the washbasin I rage, a cushion in captivity the teapot will not break its bonds

Stop, if the car is going “clunk” Or if the sun has made you blind. Don’t answer emails when you’re drunk.

e

Don’t live with thirty years of junk – Those precious things you’ll never find. Stop, if the car is going “clunk”.

pe ru

sa l

III solitary beer-mat the clock has lost its knitting, it needs a woman eyes in the paving-stones are weeping to see pink elephants in Norwood Road

Don’t hide your face with too much gunk, Especially if it’s old and lined. Don’t answer emails when you’re drunk.

sc or

II second sight in Brockwell Park my toenails listen to the soggy grass mankind – a wind-tossed ice-cream wrapper life a melancholy bus I walk, I have these visions and they are really quite depressing

You fire off something fierce. You’re sunk. It’s irretrievable. It’s signed. You feel your spirits going “clunk”.

Don’t fall for an amusing hunk, However rich, unless he’s kind. Don’t answer emails when you’re drunk. In this respect, I’m like a monk: I need some rules to bear in mind. Stop, if the car is going “clunk”. Don’t answer emails when you’re drunk. Wendy Cope


Two Poems by Wendy Roxanna Panufnik

Wendy Cope

1. the homeless hammer I furious objects Deadly serious q=90

  *) Sopranos 1&2   



solo f

Haphazardly

(slightly hysterically)

sick

   *)

Alto

    solo

mp

3  tutti mf gravely           

un - der - neath

coun - cil cham ber

       

um -

Tenors

    *)

Basses 1&2

solo

mf

the

   mp

tutti

co

*)

 

the

    

ru sa ls

   

solo pp

- brel - la *) conductor gives choir an A - and the singers repeat, tuning themselves pretentiously and trying out a few of the phrases to follow . . .

 mp    

S.1&2

and a cow

A.

 

Cond.

T.1&2

 

in

  

 in

  

- sin

like a fading echo

the

mp

and a cow

B.1&2

 

pe

7

   

wash

-

tutti

    

coun - cil cham ber

     

mf gravely

 

coun - cil cham ber

 

ba - sin, ba - sin, ba - sin, ba - sin,

mf gravely

 p        o r t .     

coun -cil cham- ber

re

    *)

Conductor

 

tutti mf gravely

mf

 por

t.

I

mf

 I

mp

  

 

and a cow mp

in

      

and a cow

the

  in



t.   por

mf

ba -

the

Edition Peters No. 72053 Music © Copyright 2010 by Hinrichsen Edition, Peters Edition Limited, London Text © Copyright by Wendy Cope. Reproduced by permission of the author.

mf

I

 port I

.


    ff

*)

13

rage,

A.

T.

B.1&2

mp

a

solo

mp

     mp

   

  

 

         3

3

3

- ti - vi - ty ti - vi - ty ti - vi - ty

 tutti

       mp

      mf

 

tea - pot

ru sa ls

T.

pe

f       21

- pot

     

mp

will not break

the

          3 3 mp

the tea

              

mp  3                         ti-vi - ty - ty - ty - ty -ty - ty

the

p

the

mp

tea

tea

tea

-

tea

           

-

    

tea

tea

     

           tea

tea

tea

tea

tea

tea

tea

tea

tea

tea

tea

tea

     

                         

will not break

will not break

will not break

will not

                                            

A.

                         tea tea tea tea tea tea - pot tea tea                        tea

T.

B.1&2

tutti mf

cap -

S.1&2

- ti - vi - ty

cu - shion *) doesn’t matter which note - just as high and as angry as possible

 

     

mf

A.

B.1&2

mf 3

in

    

solo

 

17

S.1&2

solo

re

S.1&2

co

2

tea

tea - pot tea

tea

tea

tea

tea

tea tea

tea tea

tea

tea

tea

tea

                     

tea

tea - pot tea - pot tea

tea

tea

tea

tea

tea

tea

tea

tea

tea - pot tea

tea

tea

tea

tea

tea

tea

tea

tea

tea - pot

                      tea


S.1&2

25    

break

  

A.

tea

T.

  

 

 

will

not

break

 

tea

 

tea

 

tea

 

  will

tea

 

tea

 

 

tea

tea

 

tea

not

 

tea

tea

tea

 

break

 

 

tea

 

tea

 

 

tea

 

 

will

tea

 

tea

  

  

tea - pot

not

tea

tea

     

  

 

 

tea

tea

tea

S.1&2

break

A.

tea

      tea

T.

B.1&2

     tea

   

pe

    

rall.

ru sa ls

       27

co

re

B.1&2

     tea    

3

tea

   

tea

    tea

its

bonds.

whispered - no pitch

its

bonds.

whispered - no pitch

its

bonds.

whispered - no pitch

its

bonds.

whispered - no pitch

OPTIONAL: Recorded sound of distant waves crashing on rocks, slowly dying away....

 



 



 



 




II second sight in Brockwell Park No emotion - just let the harmony do the talking... breathing as discreet as poss - maybe staggered? 31 q=60

S.1&2

   

  

A.

     to the sog - gy

 

grass

            My toe-nails lis - ten to the sog - gy

 grass

man - kind

an

A.



an

T.

B.1&2

   an  

an

  

-

-

-

 

cho

-

cho

-



cho

-

to the sog - gy

-



I

walk,

 port. 

ly

bus



ly

bus

I

walk,

bus

I

walk,

 

 

ly

-

ly

bus

I

and

A.

they

 



   and

and

T.

 B.1&2  

and

 

they

port.

are

are

 

rea

rea

they

are

rea

 

 

 

they

 

are

rea

-

-

 

walk,

 

-

    

-

a wind -tossed wrap - per life a mel

      

-

a wind -tossed wrap - per life a mel



I

have

these

vi - sions

I

have

these

I

have

 

 

I



lly



quite

   lly

quite



-

lly

quite

-

 

 

lly

quite







have

morendo

de - pres - sing

morendo



de - pres - sing

morendo

de - pres - sing

 



 

de - pres - sing

-

-

wrap - per life a mel

 port. 

 port.   port. 

 

these

these

vi - sions

vi - sions

vi - sions

OPTIONAL: wind machine

40

S.1&2

man - kind



cho

grass

  

pe

S.1&2

     port.     

-

co

37

   

ru sa ls

  

toe - nails lis - ten

  

              My

man - kind

mp

B.1&2

 

a wind -tossed wrap - per life a mel

mp

mp

T.

mp

re

4

morendo

       

-


5

III solitary beer-mat

  

(cheeky chappy pub song)

44 q=112

S.1&2

p

          cha, cha,  p    T.        cha, cha,  p         B.1&2      A.

cha, um - cha,

cha,

S.1&2

cha,

the

 

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

       

cha, um - cha,

re

Um - cha, um - cha, um - cha, um - cha,

                      

clock has lost its knit - ting,

it needs a wo man

            mp

co

47

                     cha, um - cha, cha, cha, cha, um - cha,                   

Um - cha, um - cha, um - cha, um - cha,

 

  

mf

eyes

cha,

cha,

cha, um - cha,

A.

cha,

ru sa ls

     mf                                      mp

cha,

cha,um - cha,

cha,

cha,

cha, um - in

the pav ing-stones are weep - ing to

                                   T.          cha, cha, cha,um - cha, cha, cha, cha, um - cha, cha, cha, cha, um - cha, mp                                   B.1&2               

pe

mp

Um - cha, um- cha, um - cha, um - cha, Um - cha, um - cha, um - cha, um - cha, Um - cha, um - cha, um - cha, um - cha,

S.1&2

50      

cha,

        

cha,

         

A.

cha, um - cha,

see pink el - e -phants

T.

B.1&2

      cha,     

      

cha,

 

3      

pink e - le - phants

 

    in...

cha, um - cha,

       

Um - cha, um - cha, um - cha, um - cha,

Profile for Edition Peters

Panufnik, Roxanna; Two poems by Wendy  

SSATBB choir, 5 minutes Sets poetry by Wendy Cope EP72053

Panufnik, Roxanna; Two poems by Wendy  

SSATBB choir, 5 minutes Sets poetry by Wendy Cope EP72053