A SILENCE HAUNTS ME - Jake Runestad

JR0073

Jake Runestad

A SILENCE HAUNTS ME SATB choir & piano

Music jakerunestad.com

Text:

A Silence Haunts Me after Beethoven’s Heiligenstadt Testament

by Todd Boss

Hear me brothers I have a confess i on pa i nful to make S i x years I have endured a curse that deepens every day They say that soon I ’ll cease to hear the very mus i c of my soul What should be the sense most perfect in me fa i ls me shames me taunts me A s i lence haunts me They ask me Do you hear the shepherd s i ng i ng faroff soft They ask me Do you hear a d i stant flut i ng danc i ng joyously aloft No I th i nk so N o I th i nk so No God am I Prometheus ex i led i n cha i ns for g i ft i ng humank i nd my f i re Take my feel i ng Take my s i ght Take my w i ngs m i dfl i ght but let me hear the sear i ng roar of a i r before I score the ground Why S i lence is God ’s reply and so I beg me take my l i fe when lo I hear a grace and feel a r i ng i ng in me after all So now as leaves of autumn fall I make my mark and s i gn my name and turn aga i n to touch my flame of mus i c to the world a broken man as best I can As ever Faithfully Yours A bell A bell Hear me and be well *For reproduction in concert programs and other media, the poet requests that this poem be printed and rendered as a static photo image if at all possible, so as to keep the format intact. A photo for this use is available at JakeRunestad.com

About the Text, from poet Todd Boss: This loose adaptation of Ludwig van Beethoven’s famous Heiligenstadt Testament was unusually difficult to write.

Jake suggested the subject matter in a phone call while I was traveling Europe, and it literally haunted me for days afterward, waking me in the middle of the night. I wrote the words “Hear me” and “A silence comes for me” in London between the hours of 2am and 4am. A few days later, I spent the entire 7-hour span of a transatlantic f light writing and rewriting, developing the poem’s unusual shape and format. I finished it several weeks later while in Vienna, and a visit to Heiligenstadt became part of my journey with the piece. I was often in tears during the process.

I myself was traveling alone, and so the process was uniquely intense. I was six years into the loss of everything I held most dear, and so I swear I inhabited Beethoven’s state of mind bodily, muscles quaking, unsettled for hours after each of the poem’s twelve major revisions.

I invented many things that don’t appear in Beethoven’s letter. The plea “Take my feeling, take my sight, etc.,” occurred to me as a way of declaiming the terrible irony of Beethoven’s loss, a momentary bargaining as happens as a stage of grief. Comparisons of his plight to that of the accursed Prometheus, Jake’s idea, are in reference to The Creatures of Prometheus, the ballet Beethoven finished a year prior to his sojourn at Heiligenstadt. “A bell” tolls at the end of the letter, and it might be he suddenly hears one, it might be his tinnitus, or it might be a figurative acknowledgement of a newfound hope.

The poem is set in italics to mimic handwriting and arranged against ragged margins to look like a letter. I’ve isolated the letter i wherever it appears, and further isolated nouns that refer to people (I, You, me, brothers, etc.) with nine spaces on either side to isolate them, in recognition of Beethoven’s isolation from himself and others, and in honor of his nine completed symphonies. No punctuation is utilized. All these odd t ypographical choices force the reader to read the poem with a halting brokenness, just as one might read very old handwriting, but they also attempt to relay the halting and broken frame of mind Beethoven must have been in when he wrote his very sad letter to his brothers.

Program Note: In 2017, Jake Runestad travelled to Leipzig, Germany to be present at the premiere of Into the Light, an extended work for chorus and orchestra commissioned by Valparaiso Universit y to commemorate the 500th anniversary of Luther nailing his Ninet y-Seven Theses to a door in Wittenberg, thereby kicking off the Reformation. While traveling after the concert, Runestad found himself in the Haus der Musik Museum in Vienna, where he encountered a facsimile of Ludwig van Beethoven’s Heiligenstadt Testament.

It was the first time he had read the famous text, which is almost equal parts medical history (including Beethoven’s first admission to his brothers that he was going deaf), last will and testament, suicide note, letter of forgiveness, and prayer of hope. Runestad was f labbergasted and found himself thinking about Beethoven, about loss, and about the tragedy of one of the greatest musicians of all time losing his hearing. Beethoven put it this way, “Ah, how could I possibly admit an infirmit y in the one sense which ought to be more perfect in me than others, a sense which I once possessed in the highest perfection, a perfection such as few in my profession enjoy or ever have enjoyed.”

When the American Choral Directors Association offered the Raymond W. Brock Commission to Runestad for the 2019 National Conference, he took many months to settle on a topic, finally deciding on setting Beethoven’s words. While researching Beethoven’s output around the time of the letter, Runestad discovered that Beethoven wrote a ballet, Creatures of Prometheus, just a year before penning his testament. “Beethoven must have put himself into Prometheus’ mindset to embody the story,” Runestad noted. “Just as Prometheus gifted humankind with fire and was punished for eternit y, so did Beethoven gift the fire of his music while fighting his deafness, an impending silence. What an absolutely devastating yet inspiring account of the power of the human spirit. In the moment of his loss –when he wrote the Heiligenstadt Testament – he had no idea how profound his legacy would be” (“legacy” being one of the themes of this ACDA’s anniversary conference).

Because of the length of the letter, a verbatim setting was impractical; Runestad once again turned to his friend and frequent collaborator, Todd Boss, to help. Boss’s poem, entitled A Silence Haunts Me — After Beethoven’s Heiligenstadt Testament creates a scena – a monologue in Beethoven’s voice for choir. The poem is both familiar and intimate; Boss has taken the fundamentals of Beethoven’s letter and spun it into a libretto that places the reader/listener into the same small, rented room as one of the most towering figures of the Romantic Era. To those words, Runestad has brought his full array of dramatic understanding and compositional skill; A Silence Haunts Me sounds more like a self-contained monologue from an opera than a traditional choral piece. Runestad, who has published three operas to date, shows his f lair for melding music with text even more dramatically than in familiar settings like Let My Love Be Heard and Please Stay. He sets the poetry with an intense, emotional directness and uses some of Beethoven’s own musical ideas to provide context. Stitched into the work are hints at familiar themes from the Moonlight Sonata, the 3rd, 6th, and 9th Symphonies, and Creatures of Prometheus, but they are, in Runestad’s words, “filtered through a hazy, frustrated, and defeated state of being.”

In wrestling with Beethoven, with legacy, and with loss, Runestad has done what he does best–written a score where the poetry creates the form, where the text drives the rhythm, where the melody supports the emotional content, and where the natural sounding vocal lines, arresting harmony, and idiomatic accompaniment – in this case, piano in honor of Beethoven – come together to offer the audience an original, engaging, thoughtful, and passionate work of choral art.

Program note by Dr. Jonathan Talberg (please credit this writer in all uses of the program note)

Note to the Performers: A Silence Haunts Me should be approached with great sensitivit y and theatricalit y. As this is a dramatic work, the performers should engage deeply with the character of Beethoven, both visually and sonically, and seek to embody the notated vocal colors and st yles. It is highly preferred that this work is performed from memory and that the ensemble engages a stage director for coaching on dramatic stage presence. A mere sing-through will not do the piece justice. The spaces created with the fermatas should be respected as notated so as to create tense, uncomfortable, and dramaticallysuspended moments of silence. All breaths have been provided with rests in the score and none should be added. While tempi may f luctuate depending on the ensemble and the space, it is requested that they follow as closely as possible to the notated tempi. The pianist is the symbolic embodiment of Beethoven and should assume the character of the music throughout. See the composer’s website for a performance by the Capital Universit y Chapel Choir – the composer worked closely with this ensemble on the interpretation and recommends it as a guide. Please read the “Audience Introduction” immediately before each performance of the work (see next page).

Audience Introduction: It is requested that this introduction is spoken to the audience immediately before each performance of the work: In 1802, Ludwig van Beethoven wrote a letter to his brothers. In it, he despairs over his increasing deafness, confesses to thoughts of ending his life, and expresses his desire to overcome his hearing loss and continue his creative legacy. This letter, now called the Heiligenstadt Testament, was found after his death having never been sent.

14 years after penning the letter, Beethoven was completely deaf. Despite his disabilit y, he continued with his art and created countless works that have become cornerstones of Western music. The work you’re about to hear, written in 2018 by poet Todd Boss and composer Jake Runestad, is a musical adaptation of that letter. This new work invites you to empathize, for a time, with the great composer, as he agonizes over the impending loss of the asset he holds most dear.

Creative Team: Jake Runestad, Composer Considered “one of the best of the younger American composers” (Chicago Tribune), awardwinning composer and conductor Jake Runestad has received commissions and performances from leading ensembles and organizations such as Washington National Opera, the Netherlands Radio Choir, the Louisiana Philharmonic Orchestra, the Cincinnati Vocal Arts Ensemble, Seraphic Fire, the Dallas Symphony Chorus and Orchestra, Dayton Philharmonic Orchestra, the Virginia Arts Festival, the Pacific Chorale, the Santa Fe Desert Chorale, and Grammy-winning Conspirare. He is one of the youngest composers ever awarded the prestigious Raymond W. Brock commission by the American Choral Directors Association.

Dubbed a “choral rockstar” by American Public Media, Jake is one of the most frequently performed composers in the world and has traveled to work with ensembles on all but one continent. Jake Runestad holds a Master’s degree in composition from the Peabody Conservatory of the Johns Hopkins Universit y where he studied with Pulitzer Prize-winning composer Kevin Puts. He has also studied extensively with acclaimed composer Libby Larsen.

Learn more at: JakeRunestad.com

Todd Boss, Librettist Todd Boss, a critically-acclaimed poet, librettist, public artist, and film producer, holds a diverse career with a passion for collaboration. His works for both page and stage have been read and produced throughout the world. Boss’s 2008 poetry debut, Yellowrocket was followed

by Pitch in 2012 and Tough Luck in 2017, all from W. W. Norton & Co. Todd’s poems have appeared in Poetry, American Poetry Review, The London Times, The New Yorker, NPR, Best American Poetry, and Virginia Quarterly Review. Boss frequently collaborates on libretti for choral and dramatic works with award-winning composer Jake Runestad. Together, they have written commissioned works for the Choral Arts Societ y of Washington D.C., the Larimer Chorale & Orchestra, Cal State Universit y - Fullerton, among others.

Learn more at: toddbosspoet.com

For more information, including a recording of this work, please visit: JakeRunestad.com

Commissioned by the American Choral Directors Association and the Raymond W. Brock Foundation

A SILENCE HAUNTS ME for Dominick Argento

Jake Runestad (b. 1986)

Todd Boss (b. 1968)

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œ

> ˙™

œ

in

chains

for

sf

∑

f harsh >˙ b b & b ‹ Ex -

-

?b ¢ bb

{

> œ

Œ

Intense q=76

œ œ >

œ œ bœœœ .

f

‰

œ >œ

Intense, with unwanted restraint q=112

48

Œ

. . œ œ

œœ œ.

‰

3

œ œ œ œ > > > >

sf

> œ

gift

œœ ™™ >œ ™

œœ œ

-

bœ

>œ

ing

hu

∑

b>˙ ™

œ

n>œ

ile*

chains

for

gift

∑

3

>œ >œ >œ

œ

-

man

-

œ

nœ. œ.

∑

>˙

sf

nœ >œ

sf

∑

-

œ

>œ

ing

hu

-

man

-

∑

Intense, with unwanted restraint q=112

b &b b w w > ff ? bb bœ 48 >œ

w w Œ

Ó

w w ∑

∑ *This is correct -- "exile," not "exiled."

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8

> ° bb > œ b œ œ & œ œ

> ˙™

sf

51

S

kind

my

fire

> œ

sf

˙

œ

ah

> ˙™

. . sf> œ œœ œ

> œ

œ

œ

˙

œ

> nœ

> œ

nœ

> œ

œ

my

bœ

N O P T E FO RU R SA PE L RF SC O O RM R E AN CE

f harsh > b &b b ˙

œ

Œ

A

Ex

T

B

Pno.

b >˙ b & b ‹ - kind

œ

iled

-

in

chains

for

gift - ing

‰ œJ œ œ nœ œ œ œ œ

œ

> nœ

œ

for

gift - ing

my

?b ¢ bb

fire

∑

{

hu - man

> œ

hu

∑

-

kind

my

. . > œ nœ œ ˙™

Œ

man - kind

-

∑

b & b b œ. œ. œ. œ. œ. œ œ œ . . . n œ. œ. œ. œ. œ. œ œ. œ . . mf ? bb ∑ ∑ b

∑

œ. œ œ œ. . œ. . œ. œ. œ.

œ. bœ œ. œ œ. œ œ. . . . œ.

∑

∑

51

° bb > & b ˙™ 55

S

Œ

fire

b > &b b w

Ó

fire

T

B

Pno.

?b ¢ bb

{

b˙

œ

-

> ˙™

sf

œ

iled in

∑

gift

55

∑

.. œ nœ œ œ

-

-

sf

chains

for

∑

∑

gift - ing

> ˙

Œ

hu - man - kind

.. > > œ œ œ œ bœ œ œ

. . . . . . . . œ b b œ œ œ & b b œ ‰ Œ œÓ œ œ œ nœ œ. œ. œ. œ œ œ. œ . . . . .J ? bb b

> œ œ

˙

> n˙ ™

for

f harsh

b > &b b ˙ ‹ Ex

œ

chains

sf

A

> b˙ ™

hu - man -

my

œ œ ˙

ing hu - man - kind

> > œœœ œ ˙ kind

∑

œ. œ. œ. œ œ. œ. œ. . œ. ∑

œ

my

∑

j œ. ‰ Œ

> ˙

œ nœ

fire

> œœ˙

Œ

fire

> ˙

sf

fire

˙

my

∑

Ó

∑

œ. œ. œ. œ. œ. œ. nœ. . œ nœ œ œ œ œ nœbœ nœ . . . . . . . .

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9

° bb w & b 60

S

œ œ

> ˙™

in

chains

f harsh

b > &b b œ

ah

sf

œ

˙™ sf

œ

> œ

œ bœ œ œ œ œ œ nœ

œ œ

> œ

ah

> ˙™

œ

Œ

N O P T E FO RU R SA PE L RF SC O O RM R E AN CE

œ

œ

nœ

Œ

A

Ex

T

iled

-

b &b b ˙ ‹ fire

> ? bb ˙ ¢ b

Œ

œ

ah

f harsh

B

Pno.

{

Ex

-

œ

œ

iled

in

° bb w & b

b˙˙

w

>˙ ™

> œ œ. œ. œ

sf

> Œ œ >

sfz

B

Pno.

for

b > b & b˙

> > œ œ

b > &b b ˙ ‹ Ex

? bb >˙ ¢ b

{

> > œ œ

b>˙ ™

Œ

>˙

œ

gift - ing

œ. œ œ. . œ. œ œœ œ

hu - man -

kind

>œ

> nœ

. . œ nœ œ w œ

hu - man

œ. œ œ. . œ. œ œ œ œ

in

chains

>œ

nœ nœ

sfzmp

ww

bœ bœ

œ

my

>œ. >œ. n>œ. œ œ nœ

>œ œ

>œ œ

>. . œ. œ œ. œ. œ œ œ œ œ œ

molto rit.

(q=60)

˙˙™™

ff

˙˙™™

ff

> increasingly > >more>labored> > > > > > > > > > ‰ œJ bœ ‰ œJ œ ‰ œJ bœ œ œ œ œ œ œ œ b˙ ™ in chains

Œ Œ

> œ

ff

Œ

in chains in chains in chains in chains in chains in chains.

>œ >œœ bnœ>œ >œœ œ>œ >œœ bnœ>œ >œœ œ>œ >œœ œ>œ >œœ œ>œ n>˙˙ ™™ n ‰J ‰ J ‰J increasingly more labored

> > > in chains in chains in chains in chains in chains molto rit. >˙ œ œ œ Œ œ > œ œ ww b ˙ ∑ &b b œ œœ b˙˙˙ Ó œ> > f > > > > > œ ˙ œ œ ˙˙˙ ? bb ˙˙˙ œœœ œœœ Œ Œ b b ˙ ™ ˙ ™ ˙ bœ ™ ˙> ˙> ™ ˙ œ œ ˙ 64 > > > > fire

kind

-

ww

> b˙˙

bœ

9 8 9 8

ah

- iled in chains

>œ

œ œ

nww >

> Œ œ >

> w

œ. œ .

sfzmp

sfz

Ex - iled in chains

T

sf

chains

ah

A

gift - ing

n˙ ™

b & b b œ œ. œ. œ. œ. œ œ œ . . . . n œ. œ. œ. œ. œ. œ . ? bb ˙ ˙™ œ œ b ˙™ œ œ ˙ > 60 64

S

for

ff

Œ

in chains in chains.

> œœœ œ œ >

9 8 9 8

>œ >œ >œ >(q=60) œ>> Œ œ œ œ œ œœ nnœœ 98 ˙˙˙ ™™™ ˙™ ˙™ >

œ >œ

9 8

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Further dissemination of this copyrighted work is illegal. Please purchase scores at: jakerunestad.com/store.

10

Intense q.=60

S

q.=q

rit.

° b 9 >œ œb>œ œ >œ œ 4 b>˙ ‰ & b b8 J J4 f pleading

69

>3 > b>œ ™ Œ œ œ

Take my feel-ing take my sight

take my wings

> Ϫ

> > > # > œ œ œ œ œ ## # n˙ J

>3 #>œ # Œ œ

> j > >œ œ>œ #### #˙ œ bœ œ #˙

> > Œ #nœœ nœœ

mid-f light but let me

*hear

let

me

N O P T E FO RU R SA PE L RF SC O O RM R E AN CE

f pleading >œ œ >œ œ >œ œ 4 > b 9 ‰ & b b8 J J4˙

a tempo

A

> > Œ œ œ 3

Take my feel-ing take my sight

take my wings

>3œ >œ b>œ ™ Œ

f pleading > > > b 9 4> & b b 8 œ œJbœ œ ‰ œ œJ 4 b˙ ‹ Take my feel-ing take my sight

T

take my wings

> > > > ? bb 9 œ œJ œ œ ‰ œ œJ 4 ˙ 4 ¢ b8 f pleading

B

Pno.

{

Take my feel-ing take my sight

Intense q.=60

f

° #### & ## &##

A

> ˙œ >

2

me

3 > > Œ #œ #œ

œ bœ >œ >œ œ>œ # ## ##>˙˙ J #

> n>œ Œ#nœœ œ

mid-f light but let me

*hear

mid-f light but let me

let

me

3

*hear

rit.

let

me

q.=q

a tempo

2

œ

## &## ‹

T

¢

? ####

{

## &## ? ####

73

hear

>˙

hear

>rit.

3

‰ œj œ œ œ œ œ œ w *Equal, 3-part splits amongst SA & TB, respectively. w > Lunga

ff

hear the sear -ing roar of

mp

air

be - fore I score the ground

air

be - fore I score the ground

mp > >3 j j ‰ > >œ 3 œ ™ œ >œ œ œ œ œ œ 42 œ ‰ œj œ œ œ œ 44 ˙™ 4 œ™ ff

> ˙

> ˙œ >

ff

3 œœj ‰ >œ >œ 3 >œ™ œ >œ œ >œ œj 2 œ ‰ œj œ œ œ 4 œ 4 ˙™ 4 4 J

let me

hear

Pno.

take my wings

let

œ œ >œ >œ >œ #### n>˙ J

? bb 9 ‰ œj œ œ œ œ 4 ‰w œj œ œ bœ œ œ ‰ bœj œ œ bœ œ œ #### 4 b8 ˙ ™ œ b˙ ™ œ™ œ œ w b˙™ ˙™ œ™ œ œ 69 > > > > > rit.

2

hear

B

>Ϫ

*hear

> > # > 3 3 3 3 3 3 3 ™ œ b9 œ # nw œ œ œ 4 & b b 8 œœœ ™™™ œ œ œ œ œ œ œ œ 4 œ bœ œ œ œ œ œ œ œ œ œ œ œ bœbœ œ œ œ œ œ œbœœ œ # # ##nw w œ œœ œ œ œœœ w w w ‰ ‰ 3 3 3

73

S

>3œ >œ Œ

mid-f light but let me

3

let me

œ

hear the sear -ing roar of

3 œœj ‰ >œ >œ 3 >œ™ œ >œ œ >œ œj 2 œ ‰ œj œ œ œ 4 œ 4 ˙™ 4 4 J

ff

let me

hear the sear -ing roar of

mp

air

be - fore I score the ground

ff œ ‰ >œ >œ 3 >œœ ™™ œ >œ œ >œ 3 œ 2 œ ‰ œ J J 4 4 J

let me

hear the sear -ing roar of

˙˙˙ ™™™ œ œ œ œ œ œ œœ œœ 3 >˙˙˙ ™™™ ™ œ œ œ œ 4˙ ™ ‰̇ 3 3 3 j œ œ œ œ 3 ‰ œ 4 ˙™ ˙™ œ ˙™ œ ˙™ > > >

air

2 ˙ 4 ˙˙˙ 2 4 ˙ ˙

œ œ œ œ 4 ˙™ 4 mp

be - fore I score the ground

˙ ˙˙˙

4 4 ˙˙ ™™ ˙˙ ™™ mp

˙ ˙

4 4 ˙™ ˙™

√ Œ

(Let piano fade to silence)

√ Œ √ Œ √ Œ

√ œœœ œ

Lunga

√ œ œ

l.v. to silence

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11

Freely q=66 All Singers (at written octave)*

j √ ‰ œJ nœ ‰ Œ

N O P T E FO RU R SA PE L RF SC O O RM R E AN CE

mp sotto voce, trembling

SA TB

? #### œ

Œ

Why

78

SA TB

? #### 2 ‰ 4

82

Pno.

Œ

Why

Why

mf intense, crazed (still sotto voce)

œ

œ

nœ

and

I

beg

me

œ J

œ

so

°? # ## 4 ¿j ‰ Œ ¢ # 4

{

U Ó

n˙

a sobbing, trembling half-whisper (unpitched)

86

SA TB

œ

fade to a trembling whisper

j ¿ ‰ Œ

take

my

∑

? #### 4 4

∑

T

B

° ## &

∑

## 4 4

# &#

∑

Ó

# j j & # œ ‰ ‰ nœ ˙ œ œ Œ 3 ‹ lo I hear a grace

? ## œ ‰ ‰ nœJ ˙ J ¢

{

lo

I hear

3

œ œ Œ a grace

? ##

91

∑

*Soprano and alto voices that cannot sing notes out of their range should leave them out, yet still mouth the words.

U Œ

‰

2 4

4 4

life

Basses & Tenors Only

∑

## 4 4

˙ ˙

˙ ˙

˙ ˙

∑

in me

‰ œj œ œ œ œ ‰ œj œ Œ in me

‰ œJ œ œ œ œ ‰ œJ œ Œ and feel a ring-ing

w w

Œ

w w

∑

∑

Freely q=48

j ‰ œ œ œ œ œ ‰ œj œ Œ

and feel a ring-ing

Ó

pp as an echo in the distance

∑

and feel a ring-ing

‰ œJ â ä

pp sotto voce, softly emerging

when

pp sotto voce, softly emerging

∑

nœ.

J

my

∑

˙ ## 4 ˙ 4

√ Ó

w w

re - ply

n œ.

J

‰

Freely q=52

∑

w # w &#

Pno.

œ

rit.

91

A

God's

Freely q=52

86

S

is

Lunga

Pianist begin without conductor

Lunga

√ Ó

Ó

Si - lence

take

life

Ó

œ

Œ

Lunga

##4 & # #4

œ

continue intensity over rest -- don't let down

j √ ¿ ‰ Œ Ó

dim. to a whispered sob

-œ œ U ≈ Ó

in me

rit.

pp sotto voce, softly emerging

2 4œ œ

˙

all

4 4w

2 4œ œ

˙

4 4w

af - ter

af - ter

2 4œ œ

af - ter

2 4œ œ

af - ter

2 4

4w 4

˙

all

4w 4

˙

all

Freely q=48

˙ 2˙ 4 ∑

all

pp sotto voce, softly emerging

∑ ∑

∑

œ œ œ œ 4 œœ œœ œœ œœ 4

4 4

pp

∑

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12

Slowly e=66

rit.

° ## & ˙ 97

œ

œ

so

now

œ

œ

œ

œ

œ

œ

j œ œ

3

œ

-j œ

œ

-j œ

œ

-j œ

a tempo

≈ r œ œ

rit.

œ

œ

œ

œ

j œ œ

3

œ

-j œ

œ

≈ r œ

-j œ

≈ r œ

œ

-j œ

≈ œr

N O P T E FO RU R SA PE L RF SC O O RM R E AN CE

S

pp cresc. poco a poco

Œ

rit.

A

# &#˙

T

# &#˙ ‹

B

¢

Œ

so

{

now

œ

œ

so

now

œ

so

turn

T

B

? ## œœ ¢

{

turn

# &#

Pno.

a - gain

œ

ø

j œœ œœ

a - gain

œ

œ

- gain

œ

f lame

of

œ

œœ

œ œ

œœ

mu - sic

to

the

f lame

œ œ œ œ

œ

œ

œ

-œ

œ

mf

œ

the

œ

-œ

œ

of

mu - sic

to

the

-œ

-œ

mf

œœ

-œ œ

œœ

f lame

of

mu - sic

to

the

>œ œ

>œ œ œ >

and sign my name

j œœ œœ

-œ œ

Soaring e=70

>œ œ J

and

-j œœ

œœ

r ≈ œœ

and sign my name

and

rit.

œ

œ

and

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

poco rit.

œ-œ

mf

œ

œ wœ ø

œ

-œ

mf

-œ œ

œ œ

œ

Soaring e=70

- œ œœ œœ -œ œœ

œ

to

molto rit.

œ

œ

mu - sic

f lame

to touch my

œ œ

œ

œ

of

œ

j œ œ

3

I make my mark

œ

œœ œœ

a - gain

œ

œ

and

and sign my name

3

œœ

œœ

j œ œ

a tempo

œ

œ

œ

to touch my

œœ ™™

œœ

œ

œ

to touch my

Ϫ

r -œ ≈ œœ œ

of au - tumn fall

œ

œ

œ

I make my mark

œ

œ œ

Ϫ

œ

r ≈œ œ

-j œœ

œœ

and sign my name

3

I make my mark

rit.

to touch my

a tempo

? ## œ œ

100

œ œ

Ϫ

œ

## -œ œ & ‹ turn a

œ

≈ r œ œ

of au - tumn fall

3

molto rit.

100

A

œ

wœ

a tempo

# &#œ

œœ

as leaves

œ

∑

turn

j œ œ

p flowing, cresc. poco a poco

97

S

œ

I make my mark

of au - tumn fall

3

Slowly e=66

? ##

° ## & œ

œœ

now

rit.

j œ œ

as leaves

œœ

w ## w & w

Pno.

œ

pp cresc. poco a poco

Œ

of au - tumn fall

3

as leaves

pp cresc. poco a poco

Œ

? ## ˙

as leaves

pp cresc. poco a poco

-œœ

world

bœœ

œœ J

‰

j œœ

‰

œœ J

‰

œœ J

‰

world

n-œœ

world

b-œœ

world

poco rit.

6 œ œ bœœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œœœœœœ bœ œ 6 mf ‰ n œj bœ ˙ ≈ œ œ œ œ ˙˙ œ ˙ œ >œ ˙ >ø Pedal freely 3

6

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molto rit.

a tempo

° ## -œ &

œ

œ-œ

œœ

-œœ

mu - sic

to

the

world

ah

j œ

102

# &#œ

œ

œ

bœœ

to

the

world

‰

œ J

13

˙˙

œœ

œ œ œ

˙˙™™

f

œ

N O P T E FO RU R SA PE L RF SC O O RM R E AN CE

S

a tempo f

A

œ

mu - sic

# &#œ ‹ mu

T

B

? ## -œœ ¢

{

œ

-œ

- sic

to

œœ

-œ œ

mu - sic

to

a tempo

œ

n-˙˙

the

world

œœ

the

‰

ah

# &#œ

A

œ

(ah)

# œ & # œJ ‹

T

B

Pno.

¢

? ## œœ

{

œ ‰

œ

œ

˙ ™œ

world

nœœ

œ J

œ

œ

œ˙

bœ

a tempo

ah

œ œ bœœ œ œ œ œ œ 6 œ œ œœœœ œœ œ œ œœ œ œ œ œ œ œ œ bœ œ œ œ 6 f ‰ n œj ˙ bœ œ œ ‰ j œ ˙˙ œ ˙ ˙ > dim. j œœ œ ‰ œœ œ bœœ ™™ J

œ nœ œœ

j œ̇

bœ J

6

6

dim.

œ̇j

dim.

‰

ah

ah

˙

‰

œœ bœ

œœ J

œ ‰

dim.

œ

œJ

œœ

œ

j œ J

‰

ah

ah

‰

œ

œ

œ

b˙˙

ah

6 ## œ œ bœœ œ œ œ œ œ 6 œ œ œ & œœ œœœœ œœ œ œ œœœœ œœ bœ œ œ œ 6 ‰ n œj ˙ bœ œ œ ? ## ‰ j œ ˙ œ ˙ ˙ 104 ˙ > 6

bœœ

bœ

ah

molto rit.

nœ ™

‰œ

œœ

f

‰

ah

œœj

œœ

ah

b-˙˙

bœ

œœj J

f

‰

6 ## œ œ bœœ œ œ œ œ œ 6 œ & œ œ œœ œ œ œ œ œ œ œ œ œœœœ œœ bœ œ œ œ 6 Pno. ‰ n œj ˙ bœ ≈ œ œ œ ? ## œ ˙˙ œ ˙ 102 ˙ > 104 ° ## ˙˙ œ œ nœ bœœ ‰ S & 6

nœœ

œ

ah

œ

6 œ œ œœ œ œ bœœ œ œ œœ œ œ œ œ œ œ œœ œœœœ œ œ œb œ œ œ œ œ 6 ‰ n œj dim. ˙ bœ œ œ ‰ j œ ˙ œ ˙ ˙ ˙ > 6

6

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14

molto rit.

° ## & ˙˙ 106

# &#

bœœ

e=52

mp

j œ

‰

rit.

p

a tempo rit.

j œ

bœ

˙

p

r ≈ œ

mm

mf

a

mp

p

˙™

p

N O P T E FO RU R SA PE L RF SC O O RM R E AN CE

S

mf

A

B

# & # œ˙ ‹

¢

œ

bnœœ

p

œ J

‰

a

˙™

mp

≈ œr

œ J

p

≈ œR

mm

mf

a

mp

œ

? ## ˙

{

j œ

mm

mf

T

‰

œœ

˙

j œ

p

œ J

‰

ah

œ

˙

œ J

p

≈ œR

mm

a

e=52

molto rit.

rit.

a tempo rit.

6 6 ## œ œ œ œ œ œ œ œ#œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œnœ œ œ œ n œ b œ œ œ œ œ & œœ œœœœ œœœœ œœ œ œ œ bœ nœ œ œ 6 6 6 6 6

Pno.

6

? ## ‰ ˙ 106 ˙ >

° ## & œ 108

S

j œ

œ

a tempo

œ

bro - ken

# &#œ

A

œ

# &#œ ‹ bro

B

¢

? ## -œ

{

≈

œ

j œ

≈

œ J

≈

œ J

≈

man

-œ

œ

bro - ken

a tempo

man

Pno.

6

? ## œ

108

ø

œ

&

œ

r œ

œ

as

best

r œ

6

œ

&

œ

œ

nœ

œ ø

can

I

can

œ

œ

best

n-œ

œ-

as

best

b-œ

I

-œ

can

best

I

can

œ R œ R

œ

œ

I

œ

œ

œ

as

as

rit.

œ œ œ # œ œ œ œ œ œ &#

œ ø

j œ

-œ

- ken

bœ

rit.

man

œ

œj

p espress.

œ

œ

man

bro - ken

T

œ

‰ ˙˙

œ-œ

œ œ œ bœ œ œ bœ œ œ œ œ œ œJ 6

œ

œ ø

3

œ

œ

œ

?

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15 Slowly, signing off q=52

° ## U & ˙

All singers gradually lower heads, arriving fully lowered at "Yours" (while still able to see the conductor peripherally for the cue at 112).

109

S

nn

˙

˙

˙

U ˙

œ

U œ

œ

U ˙

œ

U œ

2 4

œ

U œ

2 4

œ

U Œ

2 4

œ

U Œ

2 4

N O P T E FO RU R SA PE L RF SC O O RM R E AN CE

## U & ˙

˙

U œ

A

nn

T

B

Pno.

¢

# U &#Ó ‹

Œ

? ## U Ó

{

Œ

‰ ‰

Slowly, signing off q=52

## U ˙ & # U &#˙

j œ

œ

as

ev - er

œ J

-œ

œ

as

ev - er

p sotto voce

Œ

œ

p sotto voce

Œ

U Œ U Œ

stretch

œ nœ

U Ó

œ nœ

U Ó

3

Ϫ Ϫ

Faith - ful - ly stretch

3

Yours

Faith - ful - ly

Yours

˙

˙

U œ

œ

U ˙

œ

U œ

˙

˙

U œ

œ

U ˙

œ

U œ

2 4 2 4

109

On the downbeat, all singers suddenly look up with a sharp motion, eager to see a bell they thought they heard in the distance. Each singer's gaze should look to the upper reaches of the space behind the audience -- as if looking at the top of a bell tower.

° ## 2 Faster q=80 & 4˙ 112

S

A

T

B

Pno.

{

#2 & #4 #2 & #4

112

U w

4 4w

p sotto voce, with sudden, intense, uncertain hope, mostly whispered

‰™

-r œ a

4 bœj 4

‰

‰™

Faster q=80

a

U™ ‰

bell

p sotto voce, with sudden, intense, uncertain hope, mostly whispered

-œ R

?# 2 ¢ #4 Œ

U w

4 4w

#2 & #4 ˙ #2 & #4 Œ ‹

Pregnant pause: filled with hopeful anticipation -- as if he might actually hear a bell tolling -- and then succumbing to the realit y of deafness. Faces return to conductor on cue for measure 115.

4 bœJ 4

bell

‰

U™ ‰

-r œ

-j œ

a

bell

-œ R

-œ J

a

bell

softer, breathier

‰

Œ

U ∑

‰

Œ

U ∑

softer, breathier

∑

4 4

∑

∑

4 4

∑

U ∑ U ∑

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16 Choir should exaggerate mouth movement on "be well" starting here.

Pianist should also exaggerate body movement here.

Slower q=54

° ## & w

molto rit.

a tempo

mp

pp softly

115

2 4˙

4 4w

˙™

Œ

˙™

Œ

˙™

Œ

˙™

Œ

N O P T E FO RU R SA PE L RF SC O O RM R E AN CE S

A

# &#w

T

# & # bœ ‹ Hear

pp softly

B

¢

pp softly

? ## bœ

{

Hear

# &#

Pno.

be

well

pp softly

mp

2 4˙

4 4w

2 4 b˙

mp

4w 4

2˙ 4

mp

be

Œ

œ

œ

me

and

œ

me

Slower q=54

# &#

be

œ

Œ

well

and

well

4w 4

be

molto rit.

well

∑

2 4

∑

∑

2 4

∑

a tempo

4Ó 4 ˙˙ ˙˙

?

115

° ## & ˙ 119

S

A

# &#

p

be

well

˙

˙

p

be

# & # b˙ ‹ be p

T

?# ˙ ¢ #˙ p

B

{

be

# Ó &#

Pno.

? ## w w w

119

˙

well

˙

Œ

˙™ ˙˙ ™™

well

˙˙

Œ

well

œ œ œ

p

œ œ œ

œ œ bœ

mp

Œ

˙™

œ œ nœ

˙ ˙ ˙

∑

œ œ nœ

œ œ bœ

œ œ œ

4w 4w w Œ

˙™

œ œ œ

˙ ˙ ˙

w w w

pp

be

˙

well

˙™

˙

be

˙

well

˙™

b˙

˙

˙™

be

well

˙

pp

pp

˙˙

pp

well

˙ ˙ ˙

œ œ œ

o Œ o Œ o Œ

˙˙ ™™

˙˙

be

o Œ

œ œ œ

œ œ bœ

œ œ nœ

pp

∑

una corda (through to the end)

˙ ˙ ˙

∑

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17 The desired effect is that sound slowly disappears as if one's sense of hearing is finally dissipating. There should be a gradual fade to silence, while maintaining all physical gestures so as to appear that the choir and pianist are still creating sound normally.

N O P T E FO RU R SA PE L RF SC O O RM R E AN CE

Conductor continues to conduct throughout the silence, with a long fermata at the very end.

Conductor slowly drops arms at the end of the cutoff.

Small group of singers - sing "ng" while mouthing "be well" (no more than 12 singers)

° ## & ˙˙ ˙˙ 123

Small group: SA TB

pp

ng (be

be

be

# &#

˙˙˙ ™™™

ppp sotto voce

b˙ Œ ˙˙ ˙˙˙

well

ng (be well)

Mouth the words, but do not sing.

Y Y

be

# &#

well

well

ΠY Y

Y™

be

Mouth the words, but do not sing.

Y Y

be

well

# & # bY Y ‹ be well

Y™

Œ

well

Y Y

be

well

?# Y Y ¢ #Y Y

{

be

? ##

123

well

be

well

˙˙˙ ™™ ™

bY ΠYY YYY

Y™

ΠY Y

Y™

Œ

be

be

bY Œ ™™ YY YYY

well

well

Y Y

be

YYY ™™™

well

be

Y™

Œ ™™ Y

√ Y

YYY ™™™

Œ ™™ YYY

√ YYY

Y™

Œ ™™ Y

√ Y

Y™

Œ ™™ Y

√ Y √ Y √ YY

1.

2.

well

Y™

Œ ™™ Y Y

Y™

Œ ™™ Y Y

Y™

Œ ™™ Y

YY ™™

Œ ™™ YY

be

be

well

well

Y™

ΠbY Y

Y™

YY ™™

ΠYY YY

YY ™™

ΠYY YY

YY ™™

Œ ™™ YY YY

be

well

be

ppp

∑

Mouth the words, but do not sing.

ΠbY Y

˙ œ œ œ œ˙ ## ˙˙ œ œ bœ¿ nœ¿ ˙Y ¿ ¿ &

Pno.

be

Y™

Y™

well

Mouth the words, but do not sing.

B

Y™

Œ ™™ Y Y

Œ ™™bY Y

Mouth the words, but do not sing.

T

ΠY Y

Solo voices only - sing "ng" while mouthing "be well" (remainder of voices mouth words with choir)

Small group of singers (no more than 12 singers)

? ## b˙˙˙ ˙˙˙

A

˙™ ˙™

Mouth the words, but do not sing.

well)

pp

S

o ΠY Y

∑

be

well

be

well

be

well

be

Pianist continues moving fingers over the notated keys -- as if playing -- but does not depress the keys.

Exaggerate this gesture so the audience believes you are still playing but they hear nothing.

˙ œ œ œ ¿ Y ˙ ¿ ¿ ¿ ¿ Y Y ¿ ¿ b¿ n¿ Y pppp

o(silence)

∑

∑

Y ¿ ¿ ¿ ¿ Y Y ¿ ¿ ¿ ¿ Y Y ¿ ¿ b¿ n¿ Y

∑

∑

well

well

Y ¿ ¿ ¿ ¿ Y Y ¿ Y ™™ Y ¿¿ ¿¿ b¿¿ n¿ Y

√ ¿ ¿ Y ¿ Y ™™ b¿¿ n¿ Y

™™

™™ Ó

1.

∑

∑

2.

√ Ó

November 24, 2018 Minneapolis, MN