A SILENCE HAUNTS ME (choir & orchestra) - Jake Runestad

Jake

ToddLibrettoRunestadBossFullScore

A SILENCE HAUNTS ME for Piano, Chorus & Orchestra Music

JR0073 - RUNESTAD: A SILENCE HAUNTS ME

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 typographical 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.

Instrumentation 2 Flutes 2 Oboes 2 Clarinets in Bb 2 Bassoons 4 Horns in F 2 Trumpets in D (Parts in C also available) 2 StringsChorusTimpaniBassTrombonesTrombone

Duration: ca. 13:00 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 i n 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 i s 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 i n 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

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 flight 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.

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 University to commemorate the 500th anniversary of Luther nailing his Ninety-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 flabbergasted 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 infirmity 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.”

Audience Introduction: It is requested that this introduction is spoken to the audience immediately before each performance of the work, as part of the performance itself: 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 disability, 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.

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)

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 University where he studied with Pulitzer Prize-winning composer Kevin Puts.

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 eternity, 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.

. Boss frequently collaborates on libretti for choral and dramatic works with awardwinning composer Jake Runestad. Together, they have written commissioned works for the Choral Arts Society of Washington D.C., the Larimer Chorale & Orchestra, Cal State University - Fullerton, among others. Learn more at: toddbosspoet.com

Learn more at: JakeRunestad.com 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, Tough Luck in 2017, and Someday the Plan of a Town in 2022, 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

Creative Team: Jake Runestad, Composer Considered “one of the best of the younger American composers” (Chicago Tribune), award-winning composer and conductor Jake Runestad has received commissions and performances from leading ensembles and organizations such as Voces8, Washington National Opera, the Philippine Madrigal Singers, the Netherlands Radio Choir, the Louisiana Philharmonic Orchestra, Seraphic Fire, the Dallas Symphony Chorus and Orchestra, the Pacific Chorale, and the Santa Fe Desert Chorale. “The Hope of Loving,” the first album of Jake’s choral music, recorded by Craig Hella Johnson and Conspirare, received a 2020 and a GRAMMY® nomination. In 2019, Jake became one of the youngest composers ever awarded the prestigious Raymond C. Brock commission by the American Choral Directors Association. His ground-breaking choral symphony, “Earth Symphony,” has garnered an EMMY® Award nomination and has received performances around the globe.

Note to the Performers: A Silence Haunts Me should be approached with great sensitivity and theatricality. 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 styles. 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 dramatically-suspended moments of silence. All breaths have been provided with rests in the score and none should be added. While tempi may fluctuate 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 University 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).

To those words, Runestad has brought his full array of dramatic understanding and compositional skill; A Silence Haunts Me sounds more like a selfcontained monologue from an opera than a traditional choral piece. Runestad, who has published three operas to date, shows his flair 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.”

This page has been left blank to accommodate proper page turns. Please include this page when printing the score.

NotPerusalScoreforPerformance ° ¢ { ° ¢ ° ¢ ° ¢ ° ¢ { Copyright © 2018 & 2022 Jake Runestad, Jake Runestad Music LLC (ASCAP). Ver. 8.16.22 All rights reserved. International copyright secured. 1Flute 21Oboe 2 Clarinet 1 in Bb 21Bassoon 2 Horn 1 in F 3 Horn 2 in F 4 Trumpet 1 in D 21Trombone 2 BassVioloncelloTromboneTimpaniChoirPianoViolinIViolinIIViolaContrabass Painfully aggressive q=60 accel. molto rit. a tempo ff harsh mp ° Painfully aggressive q=60 accel. a tempomolto rit. 1 2 3 4 5 6 7 Pno.ASTB Hear mp me broth p ers I have a con mf fes sion pain ful to Hear mp me broth p ers I have a con mf fes sion pain ful to Hear mp me broth p ers I have a con mf fes sion pain ful to Hear mp me broth p ers I have a con mf fes sion pain ful to f 8 9 10 11 12 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 & #### Todd Boss (b. 1968) for Dominick Argento Commissioned by the American Choral Directors Association and the Raymond W. Brock Foundation A SILENCE HAUNTS ME Jake Runestad(b.1986) & #### & ###### ∑∑ ∑∑∑ ∑ ∑∑ ?#### & ##### & ##### ∑∑ ∑∑∑ ∑ ∑∑ & ## ?#### ?#### ∑∑ ∑∑∑ ∑ ∑∑ ? & #### ?#### & #### > > >> > > > > > > > ?#### ∑ ∑∑∑ ∑ ∑∑ & #### ∑∑ ∑∑∑ ∑ ∑∑ & #### B #### ?#### ∑∑ ∑∑∑ ∑ ∑∑ ?#### & #### 33 & #### 33 & ‹ #### 33 ?#### 3 3 & #### > > ?#### | It is illegal to photocopy this score beyond the amount purchased/licensed. Please purchase scores from JakeRunestad.com œ œ ˙ ˙ œ œ n # w w # w w w w n # œ œ œ œ n # œ œ œ œ w w w w # Œ œ œ j ‰Ó œ œ ŒÓŒ œ œ œ œ œ œ œ ŒÓŒŒ œ œ œ œ œ j ‰Ó œ œ ŒÓŒ œ œ œ œ œ œ œ ŒÓŒŒ œ œ œ œ œ j ‰Ó œ œ ŒÓŒ œ œ œ œ œ œ œ ŒÓŒŒ œ œ œ œ œ J ‰Ó œ œ ŒÓŒ œ œ œ œ œ œ œ ŒÓŒŒ œ œ œ w w w w w w Œ ˙ ˙ œ œ n # w w =

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NotPerusalScoreforPerformance ° ¢ { ° ¢ ° ¢ ° ¢ { ° ¢ ° ¢ 1Fl. Vn.Vn.Pno.AS2IIIVa.Vc.Cb. pp sweetly, distant o pp Slowly, freely q=40 accel. q=4828 oo pp sweetly o oo They p lightly, with shame ask me Do you hear theshep herd sing ing far off soft Do you p delicately hesitant ø ø pp ethereal pp Slowly, freely q=40 accel. q=48 pp ethereal pp pp ethereal pp pp ethereal pp pp 28 29 30 1Fl. Vn.Vn.Pno.AS2IIIVa.Vc.Cb. o o hear a dis tant flut ing danc ing joyous ly a loft* ø pp pp pp pp pp 31 32 33 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 4 4 2 4 4 4 4 4 2 4 4 4 4 4 2 4 4 4 4 4 2 4 4 4 4 4 2 4 4 4 4 4 2 4 4 4 4 4 2 4 4 4 4 4 2 4 4 4 4 4 2 4 4 4 4 4 2 4 4 4 & #### & #### & #### 33 3 3 & #### 3 3 3 3 ?#### 3 3 3 3 & #### & #### B #### ?#### ?#### ∑ ∑ & #### & #### & #### 3 3 3 3 & #### 3 ?#### 3 & #### & #### B #### ?#### ?#### *Delicate release. œ œ œ œ œ œ œ œ œ œ œ œ œ œ w w Œ œ œ œ œ œ œ œ œ œ œ œ w Œ œ œ ‰ œ j œ œ œ ‰ œ œ œ œ j œ œ œ j œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œ w ˙ Œ ˙ w ˙ Œ ˙ w ˙ Œ ˙ w ˙ Œ ˙ œ œ œ œ œ œ ˙ ˙ ˙ ˙ œ œ œ ˙ ˙ œ œ œ œ œ j œ ‰ œ œ œ œ œ œ œ j ˙ w ˙ œ œ ˙ w ˙ œ ˙ w œ Œ w w œ Œ w œ Œ w w œ Œ w w œ Œ = 6 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

NotPerusalScoreforPerformance ° ¢ { ° ¢ { ° ¢ ° ¢ Vn.Vn.Pno.ASTBIIIVa.Vc.Cb. q=54 rit. I p sotto voce, lightly, breathy, slightly hastening thinkso I hesitating thinkso No p sotto voce, lightly, with shame No p No pp defeatedly No p sotto voce, lightly, with shame No p No pp defeatedly pp o q=54 rit. o o o o 34 35 36 1Fl. 2 Cl. 1 in Bb Timp.2Pno.Vn.IVn.IIVa.Vc.Cb. p Painfully q=68 poco accel. rit. p p f aggressive, harsh ø p Painfully q=68 poco accel. rit. p p p p 37 38 39 40 41 42 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 & #### U U & #### U U3 3 & ‹ #### U U ?#### U U & #### U U ?#### U U & #### U U & #### U U B #### U U ?#### U U ?#### U U & #### 1. bbb & ###### 1. b ? ∑ ∑ ∑ ∑ ∑ & #### > > > >> > >>> bbb ?#### ∑ ∑ ∑ Pedal freely > > > > > bbb > > & #### > bbb & #### > bbb B #### bbb ?#### bbb ?#### bbb Œ ŒÓÓ Œ‰‰ œ j œ œ ≈ ŒŒ‰‰ œ j œ œ ≈ ŒÓÓ œ Œ œ Œ Œ Œ ˙ œ Œ Ó œ Œ Œ Œ ˙ Ó w ˙ œÓÓ w ˙ œ ˙ ˙ w ŒÓÓ w ŒÓÓ w Ó ŒÓÓ w ŒÓÓ w ŒÓÓ æ æ æ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ n # œ œ œ œ n n ˙ ˙ # œ nœ ˙ n˙ nw w w w w ‰ nœ j bœ bœ nœ bœ bœ nœ Ó = 7 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

NotPerusalScoreforPerformance° ¢ { ° ¢ ° ¢ ° ¢ 1Fl. 21Ob. 2 Cl. 1 in Bb 21Bn. 2 Hn. 1 in F 3 Hn. 2 in F 4 D Tpt. B.Timp.Tbn.SATBPno.Vn.IVn.IIVa.Vc.Cb. mp intense, blend to piano mp a tempo43 mp intense mp intense, blend to piano mp intense mp intense mp intense mp intense mf God f intense am I Pro me the us ex iled in chains for God f intense am I Pro me the us ex iled in chains for God f intense am I Pro me the us ex iled in chains for God f intense am I Pro me the us ex iled in chains for f intense ø ø ø mp intense, blend to piano a tempo mp intense, blend to piano mp intense mp intense mp intense 43 44 45 & bbb 2. 1. 3 3 3 3 3 3 3 3 3 3 3 3 & bbb 1. > > > > > 3 > & b 2. 1.3 3 3 3 3 3 3 3 3 3 3 3 ? bbb & bb 1. > > > > > 3 > & bb 2. > > > > > 3 > & bbbbb a2 > > a2 b > > > 1. > 3 > ? bbb > > > > > > > > ? ∑ ∑ & bbb > > > > > 3 > & bbb > > > > > 3 > & ‹ bbb > > > > > 3 > ? bbb > > > > > 3 > & bbb > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > 3 3 3 3 3 3 3 3 3 3 3 3 ? bbb > > > > > > > > “’ & bbb 3 3 3 3 3 3 3 3 3 3 3 3 & bbb 3 3 3 3 3 3 3 3 3 3 3 3 B bbb > > > > > 3 > ? bbb > ? bbb > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ J œ ˙ Œ œ œ œ ‰ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j œ j œ ˙ Œ œ œ œ ‰ œ j œ œ j œ œ j œ ˙ Œ œ œ œ ‰ œ j œ œ J bœœ œ j œœ œ ˙ Œ œ œ œ ‰ œ j ˙ œ œ œ œ j ‰ œ œ ˙ ŒÓ œ œ J œ J œ ˙ Œ œ œ œ ‰ œ j œ œ J œ œ J œ œ ˙ Œ œ œ œ ‰ œ j œ œ J œ J œ ˙ Œ œ œ œ ‰ œ j œ œ J œ œ J œ œ ˙ Œ œ œ œ ‰ œ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ b b œ œ œ œ œ œ œ œ ˙ ˙ œ œ ˙ ˙ œ œ b˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ j œ ˙ Œ œ œ œ ‰ œ j ˙ œ œ ˙ œ œ ˙ ˙ œ œ ˙ œ œ ˙ 8 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

NotPerusalScoreforPerformance° ¢ { ° ¢ ° ¢ ° ¢ 1Fl. 21Ob. 2 Cl. 1 in Bb 21Bn. 2 Hn. 1 in F 3 Hn. 2 in F 4 D Tpt. B.Timp.Tbn.SATBPno.Vn.IVn.IIVa.Vc.Cb. p molto rit. Intense q=76 p p mp mf mf mf gift ing hu man kind my fire gift ing hu man kind my fire gift ing hu man kind my fire gift ing hu man kind my fire ø ø f mf molto rit. Intense q=76 mf mf mf mf 46 47 & bbb > 3 3 3 3 & bbb > > > > & b > 3 3 3 3 ? bbb 1. & bb > > > > & bb > > > > & bbbbb > > > > ? bbb > ? & bbb > > > > & bbb > > > > & ‹ bbb > > > > ? bbb > > > > & bbb > > > > > > > > > > > > > > >3 3 3 3 ? bbb > “ <> > > > >>> > >>> 3 3 & bbb > > >3 3 3 3 & bbb > > > 3 3 3 3 B bbb > > > > >> ? bbb > > > > >>> > >>> 3 3 3 ? bbb > > > > >>> > >>> 3 3 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ ˙ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Œ ˙ œ œ œ œ œ œ ˙ Œ œ œ œ œ œ ˙ Œ œ œ œ œ œ ˙ Œ ˙ œ Œ œ œ œ œ œ ˙ Œ œ œ œ œ œ ˙˙ Œ œ œ œ œ œ ˙ Œ œ œ œ œ œ ˙˙ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œœ œ œ ˙ ˙ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ j œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ ˙ œ œ j œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ 9 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

NotPerusalScoreforPerformance ° ¢ { ° ¢ ° ¢ ° ¢ { ° ¢ ° ¢ 1Bn. Vn.Vn.Pno.AS2TBIIIVa.Vc.Cb. mf sf Intense, with unwanted restraint q=11248 Ex f harsh iled in chains sf for gift sf ing hu man Ex mp harsh ile* chains sf for gift sf ing hu man ff f Intense, with unwanted restraint q=112 f harsh sf sf f sf f f 48 49 50 1Fl. 21Ob. 21Bn. Vn.Vn.Pno.AS2TIII f sf sf mf mf kind my fire sf ah my Ex f harsh iled in chains sf for gift sf ing hu man kind my kind my fire for gift ing hu man kind mf f harsh sf sf sf sf mf 51 52 53 54 ? bbb a2 > > > > tr & bbb > > > > > & bbb & ‹ bbb > > > > > ? bbb ∑ ∑ ∑ & bbb > *This is correct -- "exile," not "exiled." ? bbb > ∑ ∑ & bbb > & bbb > > > tr > > B bbb > > > > tr ? bbb > ? bbb > & bbb a2 tr & bbb ? bbb & bbb > > > > & bbb > > > > > > > & ‹ bbb > > > > & bbb ? bbb ∑ ∑ ∑ ∑ & bbb > > > tr > > & bbb ˙ ˙ ˙b œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ ˙ ˙ œ œ œ œ œ w w w w w w œ œ ŒÓ œ ŒÓ ˙ œ œ ˙ œ œ œ œ œ œ ˙ ˙ œ œ œ œ ŒÓ œ ŒÓ w w Œ œ œ ˙ œ Œ ˙ œ œ œ œ ŒÓ ˙ œ œ œ œ œ œ œ ˙ Œ ˙ œ œ ˙ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙ ‰ J œ œ œ œ œ œ œ œ œ œ œ ˙ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ = 10 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

NotPerusalScoreforPerformance° ¢ { ° ¢ ° ¢ ° ¢ 1Fl. 21Ob. 2 Cl. 1 in Bb 21Bn. 2 Hn. 1 in F 3 Hn. 2 in F Vn.Vn.Pno.A4STBIIIVa.Vc.Cb. mf mf sf sf sf mf mf fire chains hu man kind my fire fire sf for gift ing hu man kind fire Ex f harsh iled in chains sf for gift sf ing hu man kind my fire sf my mf sf mf sf mf sf 55 56 57 58 59 & bbb & bbb a2 & b a2 > tr ~~~ ? bbb & bb a2 & bb a2 & bbb > > > > > & bbb > > > & ‹ bbb > > > > > >> ? bbb & bbb ∑ ? bbb & bbb & bbb B bbb > > tr ~~~ > > ? bbb > > tr > > ? bbb œ ŒÓ Œ œ œ œ œ ŒÓ œ œ ŒÓ Œ œ œ œ œ ŒÓ w œ œ œ ŒÓ œ ŒÓ Œ ˙ œ Œ ˙ œ ˙ Œ œ ˙ œ œ ˙ Œ œ ˙ œ w œ œ œ œ œ ˙ œ œ ˙ Œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ œ J ‰Œ Ó œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ‰ŒÓ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ ˙ œ œ ŒÓ Œ ˙ œ œ œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ ŒÓŒ œ ˙ œ œ ˙ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ 11 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

NotPerusalScoreforPerformance° ¢ { ° ¢ ° ¢ Hn. 1 in F 3 Hn. 2 in F 4 D B.Tbn.Tpt.12Tbn.Timp.SATBPno.Vn.IVn.IIVa.Vc.Cb. mp mp harsh sf sf p mf ah ah Ex f harsh iled in chains for gift sf ing hu man kind fire ah Ex f harsh iled in chains sf for gift sf ing hu man kind my sf sf sf sf mf harsh sf sf mf harsh sf sf 60 61 62 63 & bb >>> & bb >>> & bbbbb a2 >>> ? bbb 1. > > > > > > > > ? bbb > >> ? >>> & bbb & bbb > sf > > > > & ‹ bbb ? bbb > > > > > > & bbb > > > > ? bbb > > > & bbb > > > > & bbb tr ~~~~ > > > > B bbb > > > > ? bbb > > > > > > ? bbb > > > > > > ˙ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ œ Œ œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œb œ œ ˙ œ œ ˙ œ œ œ œ ŒŒ œ œ œ ŒÓ œ ŒŒ œ œ œ œ œ œ œ œ œ w œ Œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ ˙ Œ ˙ Œ œ w œ œ w ˙ œ œ ˙ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ n n ˙ ˙ œ œ œ œ ˙ ˙ œ œ œ œ œ œ œ œ œ œ nœ œ œ b b œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ w w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œb œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œb œ œ 12 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

NotPerusalScoreforPerformance° ¢ { ° ¢ ° ¢ ° ¢ 1Fl. 21Ob. 2 Cl. 1 in Bb 21Bn. 2 Hn. 1 in F 3 Hn. 2 in F 4 D B.Tbn.Tpt.12Tbn.Timp.SATBPno.Vn.IVn.IIVa.Vc.Cb. mp mf sfzmp f molto rit. (q=60) mp mf sfz sfzmp f mp mf sfz sfz sfzmp f mp mf p increasingly more labored f mp mp mf sfz sfzmp mf mp mf p increasingly more labored mf mp mf mf mf mf sf sf sf sf f ah sfz sfzmp ff Ex iled in chains ah sfz sfzmp ff Ex iled in chains in chains increasingly more labored in chains in chains in chains in chains in chains in chains. ff fire in chains in chains increasingly more labored in chains in chains in chains in chains in chains in chains. ff f f sfz sfzmp f molto rit. (q=60) sf sf sfz sfzmp f mp increasingly more labored f mp increasingly more labored f mf mf mf mf mf 64 65 66 67 68 9 8 9 8 9 8 9 8 9 8 9 8 9 8 9 8 9 8 9 8 9 8 9 8 9 8 9 8 9 8 9 8 9 8 9 8 9 8 9 8 9 8 & bbb a2 n & bbb 1. > > n > & b 1. > > > > b > ? bbb a2 > > > > > > > > > > > > > & bb > >> a2 >> >> >> & bb > > ∑ ∑ a2 >> >> >> & bbbbb > > > > b > > > > > > > ? bbb > > > > > > a2 > > > > > > > > > > > > > ? bbb > ∑ >> > > > ? > > > >> >> >> & bbb b > > n > & bbb > >> > > > b > & ‹ bbb > > >> >>>>>>> >> >> >> > ? bbb > >> > > > > > > > > > > > > > > > & bbb > > > > > > > > > > > > > > > ? bbb > > > b > > > >> b > > > >> > & bbb > > div. n > & bbb div. > > b > B bbb > > > > > > > > > > > > > > ? bbb div. > > > > > > > > > > > > > > ? bbb >> > > > ˙ œ œ œ J ‰ œ œ œ œ œ œ ww ww ˙˙ Œ ˙ œ œ ˙ Œ œj ‰ œ œww ww ˙˙ Œ ˙ œ œ ˙ Œ œj ‰ œ Œ œ ˙˙ ww ˙˙ Œ ˙w œ œ ˙ ˙ ‰ J œ œ ‰ bnœœ J œ œ ‰ œœ J œ œ bnœœ œ œ œœ œ œ œœ œ œ œœ ˙ Œ œ Œ ˙w Œ œ œ œ œ œ œ w w Œ œ œ œ œ œ œ w w Œ œ ˙˙ ww Œ œ œœ œ œ œ œ œ œ œ œ n ˙w œ œ ˙ ˙ ‰ J œ œ ‰ bnœœ J œ œ ‰ œœ J œ œ bnœœ œ œ œœ œ œ œœ œ œ œœ ˙ Œ œ ŒÓ Œ ˙ œ œ œ œ j ‰ œ ˙ œ œ ŒÓŒ œ ÓŒ æ æ æ ˙ æ æ æ œ æ æ æ œ æ æ æ ˙ æ æ æ œ æ æ æ œ œ œ œ œ œ œ w ˙ ˙ Œ œ œww ww ˙˙ Œ ˙ œ œ w Œ œ ˙˙ ww ˙˙ Œ ˙ œ œ ‰ œ J ‰ œ J œ ‰ œ J œ œ œ œ œ œ œ Œ ˙ Œ œ ˙ œ ‰ J œ œ ‰ bnœœ J œ œ ‰ œœ J œ œ bnœœ œ œ œœ œ œ œœ œ œ œœ ˙ Œ ˙ ˙ œ œ œ œ ˙ b˙˙ Œ œ œ œ œ œ œ nww b˙˙ Œ œ œ œ œ œ œ œ œ œ œ œ œ n n œ œ ˙ ˙ Œ ˙ ˙ Œ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ œ œ w ˙ œ œww ww ˙˙ Œ œ Œ ˙w Œ œ ˙˙ ww ˙˙ Œ œ Œ‰ œ œ œ ŒŒ‰ œ J ‰ œ J œ ‰ œ J œ œ œ œ œ œ œ Œ œ ŒÓÓŒ‰ J œ œ ‰ bnœœ J œ œ ‰ œœ J œ œ bnœœ œ œ œœ œ œ œœ œ œ œœ ˙ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ˙ œ œ ˙ œ ˙ œ 13 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

NotPerusalScoreforPerformance° ¢ { ° ¢ ° ¢ ° ¢ 1Fl. 21Ob. 2 Cl. 1 in Bb 21Bn. 2 Hn. 1 in F 3 Hn. 2 in F 4 D B.Tbn.Tpt.12Tbn.Timp.SATBPno.Vn.IVn.IIVa.Vc.Cb. p p mf Intense q.=60 q.=q rit. a tempo69 mp mf p p mf mp mf mf p mp mp mf majestic mf p mp mp mf majestic mf mp mf mp mp mf mp mf mp p mp mf f mp mf Take f pleading my feel ing take my sight take my wings mid flight butlet me *hear let me Take f pleading my feel ing take my sight take my wings mid flight butlet me *hear let me Take f pleading my feel ing take my sight take my wings mid flight butlet me *hear let me Take f pleading my feel ing take my sight take my wings mid flight butlet me *hear let me f ff mp mf Intense q.=60 q.=q rit. a tempo mp mf mp mf mp mf mf mf mp mf 69 70 71 72 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 9 8 4 4 & bbb 1. 2. 1. a2 #### > > 3 3 3 3 3 3 3 3 3 3 3 & bbb a2 >> >> 3 > > #### > > a2 >> 3 & b 1. 2. 1. a2 >###### >3 3 3 3 3 3 3 3 3 3 3 ? bbb a2 > > > > >> 3 > > #### > > > > > 3 & bb a2 a2 > >>##### > > & bb a2 > >>##### > > & bbbbb a2 > >## > > a2 > > 3 ? bbb > #### > > > a2 > > 3 ? bbb > > #### >> >> ? >>> > & bbb >> >> >> 3 > > >#### > > >> 3 & bbb >> > > >> 3 > > >#### > > >> 3 & ‹ bbb >> >> >> 3 > > >#### > > >> 3 ? bbb >> > > >> 3 > > #### > > > > > 3 & bbb #### > > >333 3 33 3 3 33 3 ? bbb > > > #### > > > *Equal, 3-part splits amongst SA & TB, respectively. 2 2 2 & bbb 3 > > #### > > > > 3 & bbb >> >> 3 > > >#### > 3 3 3 3 B bbb #### > > 3 3 3 3 3 3 3 3 3 3 3 ? bbb #### 2 2 2 ? bbb > > > #### > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J bœœ œ ‰ œ œ J œ bœ œ œ J ‰Œ œ œ œ œ œ œ œ J œ œ b œ œ œ œ œ œ ˙ ˙ # n Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J bœœ œ ‰ œ œ J ˙ b˙ Œ œ œ œ œ œ bœ œ œ J œ œ œ œ œ œ œ ˙ ˙ n # Œ #nœœ œ nœ œ nbœ Œ œ w w ˙ ‰ J œ J ‰ ˙ ˙ œ Œ œ w ˙ ˙ ‰ J œ œ J ‰ ˙ ˙ œ œ Œ Œ ŒŒ‰ œ J ˙ nn˙ Œ ŒŒ‰ œ J œ bœ œ œ ˙ ˙ n # Œ ˙ œ ‰ œ j œ œ œ j ‰ ˙ œ Œ Œ Ó ‰ j œ œ œ œ J œ ‰ œ œ J Œ œ œ œ J œ œ œ œ Œ œ œ J œ œ ‰ œ œ J ˙Œ œ œ œ œ j œ œ œœ #˙ Œ œnœ # œ œ œ J œ ‰ œ œ J Œ œ œ œ J œ œ œ œ Œ œ œ J œ œ ‰ œ œ J ˙ Œ œ œ œ œ J œ œ œœ ˙ ##˙ Œ #nœœ œ nœ ‰ œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œ œ œ œ œ œ w œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ w w w n## œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ‰ œ j œ œ œ œ w w œ œ ‰ œj œ œ œ ˙ ˙ b b œ œ ‰ j œ œ œ œ œ œ œ œ w w ‰ œ j œ œ œ œ œ œ ˙ œ ˙ Œ œ œ œ J œ œ œ œ Œ œ œ œ œ J œ ‰ œ œ J Œ œ œ œ œ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ j œ œ œ œ ‰ œ J œ œ œ œ œ ‰ J œ œ œ œ‰ œ j œ œ œ œ œ œ ˙ œ w 14 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

NotPerusalScoreforPerformance° ¢ { ° ¢ ° ¢ ° ¢ 1Fl. 21Ob. 2 Cl. 1 in Bb 21Bn. 2 Hn. 1 in F 3 Hn. 2 in F 4 D B.Tbn.Tpt.12Tbn.Timp.SATBPno.Vn.IVn.IIVa.Vc.Cb. f o rit. Lunga f o f o f o mp mf o mp mf o mf o mf o mf o f ff hear let me hear ff thesear ing roar of air be fore I scorethe ground mp hear let me hear ff thesear ing roar of air be fore I scorethe ground mp hear let me hear ff thesear ing roar of air be fore I scorethe ground mp hear let me hear ff thesear ing roar of air be fore I scorethe ground mp mp f mp pp o rit. Lunga f mp pp o f mp pp o f mp pp o f mp pp o 73 74 75 76 77 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 3 4 2 4 4 4 & #### > > > √ 3 3 3 & #### > > a2 >> > ∑ ∑ √ & ###### a2 > > > √3 3 3 ?#### a2 > > > > √ & ##### > a2 > > > √ & ##### > a2 >> > √ & ## > > a2 > > > √ ?#### > > a2 > > > √ ?#### > > > √ ? >> ∑ ∑ √ & #### > > >> > > > (Let piano fade to silence) √3 & #### > > > > > > √3 & ‹ #### > > >> > > > √3 ?#### > > > > > > √3 & #### > > √ 3 3 3 ?#### > > > √ l.v. silenceto & #### div. > > unis. div. > > > unis. div. √ & #### div. >> > unis. unis. √ 3 3 3 B #### div. > unis. √ 3 3 3 ?#### > > √ ?#### > > > √ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ Ó Œ ˙œ œ œj ‰ œ œ ˙ ˙ œŒ J œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ Œ ˙ œ J ‰ œ œ ˙ ˙ Œ Œ œ œ œ œ J ‰ œ œ ˙ ˙ Œ Œ œ œ œ œ J ‰ œ œ ˙ ˙ Ó Œ ˙œ œ œj ‰ œ œ ˙ ˙ Ó œŒ J ˙œ œ œj ‰ œ œ ˙ ˙ Œ œ J ˙ œ j ‰ œ ˙ Ó Œ Œ œ Œ ˙œ œ œj ‰ œ œ œ œ œ œ œ œ J œ‰ œ j œ œ œ œ ˙ œŒ J ˙ œ j ‰ œ œ œ œ œ œ œ œ œ j œ ‰ œ j œ œ œ œ ˙ Œ ˙œ œ œj ‰ œ œ œ œ œ œ œ œ J œ‰ œ j œ œ œ œ ˙ œŒ J ˙ œ J ‰ œ œ œ œ œ œ œ œ œ J œ ‰ œ J œ œ œ œ ˙ Œ ‰ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙˙ ˙ ˙ ˙˙ ˙ ˙ ˙˙ ˙˙ ˙ ˙ œœ œ œœ œ œ ˙ ˙ ‰ œj œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙œ œ œj ‰ œ œ ˙ ˙ œ œ ˙ ˙ œ œ œ ˙˙ œœ œ J œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙˙ ˙˙ œœ œ ˙ œ ‰ œ J œ œ œ œ œ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ œ 15 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

NotPerusalScoreforPerformance° ¢ { ° ¢ { TBSA Why mf sotto tremblingvoce, Why mp sim. Why fade to a trembling whisper Si mp lence- is God's re plyFreely q=66 Lunga 78 78 79 80 81 TBSA and mf intense, crazed (still sotto voce) so I beg me continue intensity over rest -- don't let down take my life take a sobbing, half-whispertrembling(unpitched) my dim. to whispereda sob life Lunga 82 83 84 85 86 87 Pno.TBSA pp sotto voce, softly emerging when Freely q=52 pp as an echo in the distance 88 89 90 Pno.ASTB af pp sotto voce, softly emerging ter all rit. Freely q=48 and pp sotto voce, softly emerging feel a ring ing in me af ter all lo I hear a grace and feel a ring ing in me af pp sotto voce, softly emerging ter all lo I hear a grace and feel a ring ing in me af ter all pp 91 92 93 9495 96 2 4 2 4 4 4 4 4 4 4 4 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 ?#### All Singers (at written octave)* U U √ ?#### *Soprano and alto voices that cannot sing notes out of their range should leave them out, yet still mouth the words. U √ ## ?## Basses & Tenors Only â ä & ## ?## ∑ ∑ ∑ & ## & ## & ‹ ## 3 ?## 3 & ## ?## œ Œ œ Œ ˙nÓ œ œ ≈ Ó œ œ ‰ œ J J ‰Œ ‰ œ J œ œ œ Œ œ ‰ J J ‰Œ ¿ J ‰Œ ¿ J ‰Œ ¿ J ‰ŒÓ Œ‰ œ J ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w w œ œ ˙w Ó‰ œ j œ œ œ œ ‰ œ j œ Œ œ œ ˙ w œ j ‰‰ j ˙ œ œ Œ‰ œ j œ œ œ œ ‰ œ j œ Œ œ œ ˙w œ J ‰‰ J ˙ œ œ Œ‰ œ J œ œ œ œ ‰ œ J œ Œ œ œ ˙w w w w w w w ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ = = = 16 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

NotPerusalScoreforPerformance ° ¢ { ° ¢ ° ¢ { ° ¢ ° ¢ ° ¢ Vn.Vn.Pno.ASTBIIIVa.Vc.Cb. so pp cresc. poco a poco nowas leaves of au tumn fall Imake mymark and sign my nameand rit. Slowly e=66 rit. a tempo rit. 98 so pp cresc. poco a poco nowas leaves of au tumn fall Imake mymark and sign my nameand so pp cresc. poco a poco nowas leaves of au tumn fall Imake mymark and sign my nameand so pp cresc. poco a poco nowas leaves of au tumn fall Imake mymark and sign my nameand p flowing, cresc. poco a poco ø pp legato rit. Slowly e=66 rit. a tempo rit. pp legato pp legato pp legato pp legato 97 98 99 1Ob. 2 Cl. 1 in Bb 21Bn. 2 B.Vn.Vn.Tbn.SATBPno.IIIVa.Vc.Cb. p a tempo molto rit. Soaring e=70 poco rit. p p p turn a gain totouch my flame of mu mf sic tothe world turn a gain totouch my flame of mu mf sic tothe world turn a gain totouch my flame of mu mf sic tothe world turn a gain totouch my flame of mu mf sic tothe world mf ø ø p mp a tempo molto rit. Soaring e=70 poco rit. p mp p mp p mp p mp 100 101 & ## 3 3 & ## 3 3 & ‹ ## 3 3 ?## 3 3 & ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ?## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ## ∑ & ## B ## ?## ∑ ?## ∑ & ## 1. & #### a2 ?## ?## & ## & ## & ‹ ## ?## & ## > 3 6 6 6 œ œ œ œ œ œ œ œ > œ œ > œ œ ?## > Pedal freely œ œ œ œ œ œ > œ > œ œ & ## div. & ## div. B ## div. unis. div. ?## ?## ˙ Œ œ œ œ œ œ j œ œ œ j ≈ œ r œ œ œ œ j œ œ œ j ≈ œ r ˙ Œ œ œ œ œ œ j œ œ œ j ≈ œ r œ œ œ œ j œ œ œ j ≈ œ r ˙Œ œ œ œ œ œ j œ œ œ j ≈ œ r œ œ œ œ j œ œ œ j ≈ œr ˙ Œ œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ j ≈ œ œr œ œ œ œ œ œ œ œj œ œ œ œ œ œj ≈ œ œr w w w w w w w w w w w w w w w œ œ œ œ œ J ‰ œ œ œ œ nœœ œœ J ‰ œ œ œ œ œ œ œ œ œ bœ œ œ J ‰ ˙ œ œ j ‰ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ J ‰ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œœ j ‰ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ J ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ J ‰ œ œ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ ˙ ˙ ≈ œ œ ˙ ˙ ˙ œb œ ‰ j œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ J ‰ œ œ œ œ œ œ œ œ œ œbœ œœ j ‰ œ œ œœ œ œ œ œ œ œ J ‰ œ œ œ œ œ œ œ œ œ bœ œ œ J ‰ œ œ œ œ œ ˙ œ œ J ‰ = 17 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

NotPerusalScoreforPerformance° ¢ { ° ¢ ° ¢ ° ¢ 1Fl. 21Ob. 2 Cl. 1 in Bb 21Bn. 2 Hn. 1 in F 3 Hn. 2 in F 4 D B.Tbn.Tpt.12Tbn.SATBPno.Vn.IVn.IIVa.Vc.Cb. mp mf f a tempo molto rit. a tempo 103 p mf f p mf f p f p f p f p f p f legato p f legato mu f sic tothe world ah ff mu f sic tothe world ah ff mu f sic tothe world ah ff mu f sic tothe world ah ff f mf ff legato a tempo molto rit. a tempo mf ff legato mf ff legato mf ff legato mf ff legato 102 103 & ## a2 & ## 1. a2 a2 & #### a2 n ?## a2 & ### a2 a2 n & ### a2 n n & a2 a2 a2 ?## a2 ?## & ## & ## n & ‹ ## b n ?## & ## 6 6 6 6 6 6 6 6 ?## > > & ## unis. div. unis. div. unis. & ## unis. div. unis. div. n B ## unis. div. b n ?## div. ?## œ œ œ œ œ œ œ œ ‰ œ œ J ˙ ˙ œ œ œ œ œ œ œ œ œ œ ‰ œ J ˙ ˙ Œ œ œ œ œ œ œ œ œ œ œ nœœ ‰ œœ J ˙ ˙ œ œ œ œ œ œ œ œ œ œ ˙ b˙ ‰ œ J œ œ œ˙ œ œ œ œ nœœ ‰ œ J ˙ œ œ œ œ œ œ ˙ n˙ ‰ œ J œj œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ ‰ œ J ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ b˙ ‰ œ J œ œ œ˙ ˙ ˙ œ œ œ œ œ œ j ‰ œ œ œœ œ œ œ œ ‰ œ J ˙ ˙ œ œ œ œ œ œ œ œ œ œ œbœ ‰ œ J ˙ ˙ œ œ œ œ œ œ ˙ ‰ œ J œj œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ ˙ b˙ ‰ œ J œ œ œ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ ˙ ˙ ≈ œ œ ˙ ˙ ˙ œb œ ‰ j ˙ ˙ œ œ ‰ œ j ˙ ˙ ˙ b œ œ ‰ j œ œ œ œ œœ œ œ œ œ ‰ œ J ˙ ˙ œ œ œ œ œ œ œ œ œ œ œbœ ‰ œ J ˙ ˙ œ œ œ œ ˙ ‰ œ J œj œ œ œœ œ œ œ œ œ œ œ œ ˙ b˙ ‰ œ J œ œ œ˙ ˙ ˙ ˙ ˙ 18 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

NotPerusalScoreforPerformance° ¢ { ° ¢ ° ¢ ° ¢ 1Fl. 21Ob. 2 Cl. 1 in Bb 21Bn. 2 Hn. 1 in F 3 Hn. 2 in F 4 D B.Tbn.Tpt.12Tbn.SATBPno.Vn.IVn.IIVa.Vc.Cb. dim.dim. dim.dim.dim.dim.dim.dim.dim. ah ah dim. dim. ah ah (ah) ah dim. ah ah ah dim.dim.dim.dim.dim.dim.dim. 104 105 & ## a2 & ## a2 & #### n # ?## & ### a2 n # & ### n & a2 a2 ?## ?## & ## & ## b # & ‹ ## b ?## & ## 6 6 6 6 6 6 6 6 ?## > > & ## div. unis. div. & ## unis. b div. # B ## b ?## unis. ?## ˙ ˙ ‰ œ œ œ œ œ ‰ œ œ J bœœ œ œ J ˙ ˙ ‰ œ œ œ œ œ ‰ œ œ J œ œ œ j œ œ œ œ œ œ œ œ ˙ œ j ‰ ˙ ‰ œ J œ œ œ œ œ œj ‰ œ œ œœ œ J ‰ œ œ œ œ œ œ œ œ j J‰ œ œ œ œ œ œ œ œ ˙ œj ‰ ˙ ‰ œ J œ œ œ œ J ‰ œ œ ˙ œ J ˙ œ j ‰ œ ˙ ˙ ˙ ˙ ‰ œ œ œ œ œ ‰ œ j œbœ œ œ j œ œ œj ‰ œ œ œœ œ J ‰ œ œ œ œ œ œ œ œ j J‰ œ œ œ œ ˙ ˙ œ j ‰ œ ˙ ˙ ‰ œ œ œ œ œ ‰ œ œ J œ œ œ j œ œ œ œ œ œ œ œ ˙ œ j ‰ ˙ ‰ œ J œ œ œ œ J ‰ œ œ ˙ œ J ˙ œj‰ œ ˙ ˙ œ œ œj ‰ œ œ œœ œ J ‰ œ œ œ œ œ œ œ œ j J‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ ˙ ˙ ‰ œ j ˙ ˙ ˙ b œ œ ‰ j ˙ ˙ œ œ ‰ œ j ˙ ˙ ˙ b œ œ ‰ j œ œ ˙ ˙ ‰ œ œ œ ˙ ˙ œ œ œ j œ œ œ œ œ œ œ œ œ w ˙ œ œ ˙ œ œ ˙ œ J ˙ œ ˙ ˙ ˙ œ œ œ œ˙ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ 19 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

NotPerusalScoreforPerformance° ¢ { ° ¢ ° ¢ ° ¢ 1Fl. 21Ob. 2 Cl. 1 in Bb 21Bn. 2 Hn. 1 in F 3 Hn. 2 in F 4 D B.Tbn.Tpt.12Tbn.SATBPno.Vn.IVn.IIVa.Vc.Cb. mf p molto rit. mf mf p mf p mf p mf p mf p mf p mf mf mm mp mf mm mf mm ah mf mm mp mf mp molto rit. mf mf mf mp mf mp 106 & ## & ## & #### a2 ?## 1. a2 & ### & ### nn & ?## 1. ?## & ## & ## mp & ‹ ## bn mp ?## & ## 6 6 6 6 ?## > & ## unis. & ## mp unis. B ## bn mp unis. ?## ?## ˙ ˙ œ ‰ œ œ b J ˙ ˙ œ ‰ œ J ˙ œœ ‰ œ j ˙ œ ‰ œ J ˙ œœ Œ œ˙ œ œœ Œ Œ ˙ ˙ œ œ Œ ˙ œ Œ ˙ œ Œ ˙ ˙ œ ‰ œ J ˙ œœ ‰ œ j œ˙ œ œœ ‰ œ J ˙ œ ‰ œ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ‰ œ j ˙ ˙ œ œ ‰ œj œ ˙ ˙ œ ‰ œ J ˙ œœ ‰ œ j œ˙ œ œœ ‰ œ J ˙ œ ‰ œ J ˙ œ ‰ œ J 20 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

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NotPerusalScoreforPerformance ° ¢ { ° ¢ Vn.Vn.Pno.ASTBIIIVa.Vc.Cb. bro ken man as best I can a tempo rit. bro ken man as best I can bro ken man as best I can bro ken man as best I can ø ø p a tempo rit. p p o p o o 108 & ## & ## & ‹ ## ?## & ## 6 6 6 3 ?## & & ## & ## B ## ?## ?## œ œ œ œ j ≈ œr œ œ œ œ œ œ j ≈ œ r œ œ œ œ œ œ œ J ≈ œ R œ œ œ œ œ œ J ≈ œ R œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ 22 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

NotPerusalScoreforPerformance ° ¢ { ° ¢ ° ¢ { ° ¢ Vn.Vn.Pno.ASTBIII nn Slowly, signing off q=52 109 nn as p sotto voce ev er Faith ful ly Yours as p sotto voce ev er Faith ful ly Yours ppp Slowly, signing off q=52 ppp 109 110 111 Vn.Vn.Pno.ASTBIII Faster q=80 p sotto voce, with sudden, intense, uncertain hope, mostly whispered a bell a softer, breathier bell p sotto voce, with sudden, intense, uncertain hope, mostly whispered a bell a softer, breathier bell o Faster q=80 o 112 113 114 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 & ## U All singers gradually lower heads, arriving fully lowered at "Yours" (while still able to see the conductor peripherally for the cue at 112). U U U & ## U U U U & ‹ ## U U stretch U U3 ?## U U stretch U U 3 & ## U U U U & ## U U U U & ## no vib. U U U U & ## no vib. U U U U & ## 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. The conductor should make this gesture small and hidden so not to alert the audience to this moment.

√ & ## √ & ‹ ## U ∑ √ ?## U ∑ √ & ## √ & ## ∑ ∑ ∑ √ & ## √ & ## √ ˙ ˙ ˙ œ œ ˙ œ œ ˙ ˙ ˙ œ œ ˙ œ œ Œ‰ œ j œ œ ŒŒ œ œ œ Œ Œ‰ œ J œ œ ŒŒ œ œ œ Œ ˙ ˙ ˙ œ œ ˙ œ œ ˙ ˙ ˙ œ œ ˙ œ œ ˙ ˙ ˙ œ œ ˙ œ œ ˙ ˙ ˙ œ œ ˙ œ œ ˙ w w ˙ w w Œ‰ œr J ‰‰ œr œ J ‰Œ Œ‰ œ R J‰‰ œ R œ J‰Œ ˙ w w ˙ w w = 23 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

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

NotPerusalScoreforPerformance° ¢ { ° ¢ ° ¢ ° ¢ 1Fl. 21Ob. 2 Cl. 1 in Bb 21Bn. 2 Hn. 1 in F 3 Hn. 2 in F 4 D B.Tbn.Tpt.12Tbn.Timp.SATBPno.Vn.IVn.IIVa.Vc.Cb. mp Slower q=54 molto rit. a tempo 117 mp mp mp mp p pp softly be well mp pp softly be well mp Hear pp softly me and be well mp Hear pp softly me and be well mp mp pp mp Slower q=54 molto rit. a tempo pp mp pp mp pp mp mp 115 116 117 118 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 2 4 4 4 & ## a2 & ## ∑ ∑ a2 & #### a2 ?## ∑ ∑ a2 & ### 1. Player 3 physically mimic playing this line but do not make any sounds. & ### ∑ ∑ a2 Physically mimic playing this line but do not make any sounds. & 1. Player 2 physically mimic playing this line but do not make any sounds. ?## ∑ ∑ a2 Physically mimic playing this line but do not make any sounds. ?## Physically mimic playing this line but do not make any sounds. & & ## Choir should exaggerate mouth movement on "be well" starting here. Pianist should also exaggerate body movement starting here. & ## & ‹ ## ?## & ## b n & ## ∑ ∑ ? & ## con sord. & ## con sord. B ## con sord. ?## con sord. ?## con sord. Ó œ œ œ œ ˙ œ œ ˙ Ó œ œ œ œ ˙ œ œ ˙ œ œ ˙ ¿ ¿ ¿ ¿ Y œ œ œ œ ˙ ¿ ¿ ¿ ¿ Y ¿ ¿ ¿ ¿ Y w ˙ w ˙ Œ w ˙ w ˙ Œ œ Œ œ w ˙ Œ œ Œ œ ˙ w ˙ Œ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ w w w w w w ˙ w ˙ Œ ˙ w ˙ Œ w ˙ Œ ˙ w ˙ Œ w ˙ Œ 24 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

NotPerusalScoreforPerformance° ¢ { ° ¢ ° ¢ ° ¢ 1Fl. 21Ob. 2 Cl. 1 in Bb 21Bn. 2 Hn. 1 in F 3 Hn. 2 in F 4 D B.Tbn.Tpt.12Tbn.SATBPno.Vn.IVn.IIVa.Vc.Cb. p pp p pp p pp p pp be p well be pp well o be p well be pp well o be p well be pp well o be p well be pp well o p pp p pp o p pp o p pp o p pp o p pp o 119 120 121 122 & ## 1. Player 2 physically mimic playing this line but do not make any sounds. & ## 1. Player 2 physically mimic playing this line but do not make any sounds. Silence. All players mimic playing. & #### 1. Player 2 physically mimic playing this line but do not make any sounds. ?## 1. Player 2 physically mimic playing this line but do not make any sounds. & ### sim. & ### sim. & sim. ?## sim. ?## sim. & ## & ## & ‹ ## ?## & ## b n b n ?## — — una corda (through to the end) & ## 3 Otherplayersplayers mimic playing without making sound. & ## 3 Otherplayersplayers mimic playing without making sound. B ## 3 Otherplayersplayers mimic playing without making sound. ?## 3 Otherplayersplayers mimic playing without making sound. ?## Solo, no vib. (but don't play "soloistically") Other players mimic playing without making sound. œ œ œ œ ˙ œ œ œ œ ˙ œ œ ˙ ¿ ¿ Y Ó œ œ œ œ ˙ Ó œ œ ˙ Ó œ œ ˙ Ó œ œ œ œ ˙ ¿ ¿ ¿ ¿ Y ¿ ¿ ¿ ¿ Y ¿ ¿ ¿ ¿ Y ¿ ¿ ¿ ¿ Y ¿ ¿ ¿ ¿ Y ¿ ¿ ¿ ¿ Y ¿ ¿ ¿ ¿ Y ¿ ¿ ¿ ¿ Y ¿ ¿ ¿ ¿ Y ¿ ¿ ¿ ¿ Y ˙ ˙ ˙ Œ ˙ ˙ ˙ Œ ˙ ˙ ˙ Œ ˙ ˙ ˙ Œ ˙ ˙ Œ ˙ ˙ Œ ˙ ˙ ˙ ˙ ˙ ˙ Œ ˙ ˙ ˙ ˙ ˙ ˙ Œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ w w w ˙ ˙ ˙ Œ ˙ ˙ ˙ Œ ˙ ˙ ˙ Œ ˙ ˙ ˙ Œ ˙ ˙ Œ ˙ ˙ Œ ˙ ˙ ˙ Œ ˙ ˙ ˙ Œ ˙ ˙ ˙ Œ ˙ ˙ ˙ Œ 25 This score is intended for perusal use and is not licensed for performance. Unauthorized reproduction is prohibited by law. Purchase scores at: JakeRunestad.com

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. Silence. All players mimic playing. Silence. All players mimic playing. & ## sim. & #### sim. Silence. All players mimic playing. ?## sim. Silence. All players mimic playing. & & ?## ?## & ## Small group of singers - sing "ng" while mouthing "be well" (no more than 12 singers) Small group of singers (no more than 12 singers) Mouth the words, but do not sing. group:Small Solo voices only - sing "ng" while mouthing "be well" (remainder of voices mouth words with choir) b & ## Mouth the words, but do not sing. & ## Mouth the words, but do not sing. & ‹ ## Mouth the words, but do not sing. ?## Mouth the words, but do not sing. & ## Depress the keys of the notated pitches only, yet continue with the same physical gestures as if playing all pitches. b n

ppp disappearing o ppp disappearing o (beng pp well) o be well be pp well ppp sotto voce (beng well) o be well be well be well be well be well be well be well be well ppp pppp o pp disappearing o pp disappearing o pp disappearing o pp disappearing o pp disappearing o 123 124 125 126

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. b (silence) n ?## & ## Solo, no vib. (but don't play "soloistically") Other players mimic as before. Silence. All players mimic playing. & ## Solo, no vib. (but don't play "soloistically") Other players mimic as before. Silence. All players mimic playing. B ## Solo, no vib. (but don't play "soloistically") Other players mimic as before. Silence. All players mimic playing. ?## Solo, no vib. (but don't play "soloistically") Other players mimic as before. Silence. All players mimic playing. ?## Silence. All players mimic playing.

& ##

NotPerusalScoreforPerformance° ¢ { ° ¢ ° ¢ ° ¢ 1Fl. 21Ob. 2 Cl. 1 in Bb 21Bn. 2 Hn. 1 in F 3 Hn. 2 in F 4 D B.Tbn.Tpt.12Tbn.SATBSATBPno.Vn.IVn.IIVa.Vc.Cb.

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