THE WAYS OF STARS - Jake Runestad

JR0086 - RUNESTAD: THE WAYS OF STARS

Jake Runestad

THE WAYS OF STARS SATB choir (divisi), piano, & percussion

jakerunestad.com

Text The morning was as beautiful as morning could be.

Our instruments consisted of an equatorially mounted telescope of four inches aperture, a small one of two and a half inches, and a perfect little instrument of three inches.

We must try colored glasses; we must examine clamps; we must test screws; we must adjust focus.

The moon was expected to appear at a point 122 degrees from the vertex of the sun.

There were seconds of breathless suspense, and then the inky blackness appeared on the burning limb of the sun.

Born a woman–born with the average brain of humanit y– born with more than the average heart– if you are mortal, what higher destiny could you have?

No matter where you are nor what you are, you are a power.

As the moon moved on, the crescent sun became a narrower golden curve of light.

Light clouds drifted toward the sun; a sickly green spread over the landscape; Venus shone brightly on one side of the sun, and as the last rays of sunlight disappeared… the corona burst forth, it encircled the sun and sent streamers for millions of miles into space!

We rejoiced with Nature, we loved the light!

Give me the ways of wandering stars to know the depths of heaven above and the earth below. (Virgil) [Writings by Maria Mitchell, collected and adapted by the composer.]

Instrumentation

Performance Time

c. 17:00

SATB Choir Piano 1 Percussionist: vibraphone, small and medium suspended cymbals, glockenspiel Percussion (played by choir members): Handbells (ideally 2 or 3 sets) Mark Tree (bell chimes) Medium and large suspended cymbals 3 very small triangles (ideally of slightly different sizes)

Performance Notes It is imperative that all triplets are stretched (think jazz) and never verge on sounding like a shorter, duple note value. Err on the side of making them too long (especially if there’s a rest on the first triplet)! The English should be pronounced with an American accent (no f lipped Rs).

Lighting effects are encouraged when the performance space allows – these should all be gradual changes from one cue to another, mimicking that of celestial phenomena. It is preferred that no graphic or video projections of celestial bodies are used, in hopes of fostering freer interpretations for the audience members.

Supertitles are always welcome.

About the 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 including 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 dedicated to Runestad’s choral music, recorded by Craig Hella Johnson and Conspirare, received a 2020 GR AMMY® Award nomination. In 2019, Jake became one of the youngest composers ever awarded the prestigious Raymond C. 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.

Learn more at: JakeRunestad.com

Maria Mitchell, painting by H. Dasell, 1852

Program Note In August of 1869, American astronomer Maria (muh-rye-uh) Mitchell and a cohort of her students from Vassar College traveled to Burlington, Iowa to observe a total solar eclipse (when the moon passes in front of our view of the sun). Mitchell, a respected educator and an important mind in the astronomical communit y, was the first woman to become a world-renowned professional astronomer, and the first woman elected as a fellow of the American Academy of Arts and Sciences. She discovered a comet at the age of 29, which awarded her a gold medal prize from King Christian VIII of Denmark. She was an official calculator for the Nautical Almanac of the United States, and an endlessly-curious Renaissance woman. In October of 1869, Mitchell published her account of the eclipse in the popular monthly Hours at Home. This account serves as the main source of text for “The Ways of Stars,” along with additional quotes and writings by Mitchell.

December 14, 2020 was the final total solar eclipse of a tumultuous year and, fittingly, the day I completed this piece. I was glued to the live stream of the eclipse and struck by the metaphors swirling in my brain – of Maria Mitchell, of wonder, of challenges, of the global pandemic, of covered light, and the continued fight for equalit y. Mitchell’s life was a constant battle for the equalit y of women, and she inspired countless students to push beyond societ y’s boundaries to be their very best and brightest. Through it all, she continued to wonder, to work, and to shine her light.

“You are a power, your inf luence is incalculable.” - Maria Mitchell

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Full Score

Commissioned by the Atlanta Master Chorale. Eric Nelson, artistic director.

THE WAYS OF STARS Maria Mitchell (1818-1889)

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Copyright © 2020 Jake Runestad, Jake Runestad Music LLC (ASCAP). Ver. 6.22.22 All rights reserved. International copyright secured.

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8

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9

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Slower q=60

bb &b b b [3-Part Split in T&B]

B

Pno.

œ

œ

was

? b n#œœ ¢ b bbb

{

3

œœ

œœ

3

was

moon

b & b bbb œ

3

œ

œ

œ

œ

° bb b 3 œ & b b4 ‹ point ? bb b 3 œœ ¢ b b4

point

N

{

∑

2 4

∑

3 4

œ

œ

ex - pect

œœ

œ

ed

-

? bb b 3 b b4

24

œœ

nnœœ

ex - pect

œ

3

? bb b bb

bb 3 œ &b b b 4

Pno.

3 4

3

œ

œ

to

ap

œœ

-

ed

-

œœ #œœ

3

to

ap

Slower q=60

24

B

∑

œ

22

T

2 4

2 4œ

œ

2œ 4 nœ

œœ

pear

3

œ

œ

at

a

œœ

œœ

at

a

3

œ

3 4

P ot eru fo sa rP lS er co fo re rm an ce

T

bb & b b b nœ ‹ moon

∑

ø

œ

3

pear

nœ nœ # œ nœ nœ #œ

2 4 bœ bœ nœ

∑

2 4

3

3

ø

œ

œ

one

hun

œœ

nœœ

one

hun

nœ

-

œ ø

œ

œ

œ

dred

and

twen

œœ

œœ

œœ

dred

and

twen

3

-

3

-

3

3

œ

œ ∑

œ

œ

ty

-

œœ

-

œ bœ

ty

-

3

œ

3 4

3 4 3 4

∑

ø

-

3

œ

œ

two

de

œœ

œœ

two

de

œ

-

-

4 4 4 4 4 4 4 4

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10

° bb b 4 Œ & b b4 25

A

T

B

‰ œ œ #œ œ œj ‰ 42 #œ 3

from the ver - tex

of

ww

sub. mp

the

sun.

mp

bb 4 &b b b 4 Œ

sub. mp

‰ bœ œ nœ œ œj ‰ 42 #œ

from the ver - tex

bb 4 œ &b b b 4 ‹ grees œ ? bb b 4 œ ¢ b b4

of

‰ œ œ nœ œ œJ ‰ 42 nœ

from the ver - tex

of

4 #nw 4 w

œ

4 ##w 4 w

w w

sub. mp

4 n#ww 4

the

ww

sun.

2 4 æ˙ æ

Small Sus. Cym.

∑

sun.

sun.

œ

of

w w

sub. mp

the

œœ3 œœ #nœœ œœ œœ #œœ 2 ‰ ‰ J 4

from the ver - tex

##œœ the

3

° bb b 4 ¢& b b 4

{

4 ##ww 4

#œ

3

grees

Vib.

a tempo

P ot eru fo sa rP lS er co fo re rm an ce

S

rit.

mp

p

4 4

rit.

œ– ‰ Œ J

mf

#˙ #œ #œ # œ # œ b n œ œ 2 #œ 4 #˙ b 4 & b b b 4 œ œ œ œ œ œ #œ#œ#œ#œ#œ 4 #œ nœ#œ#œ #œ œ 4 ? bb b 4 b b4

25

3

ø

N

Pno.

3

3

3

∑

ø

3

2 4

∑

4 4

ø

∑

w ææ

Med. Sus. Cym.

p

“” #œ #œ #œ #œ

a tempo

3

Ó

nœ #œ #œ #˙ nœ #œ #œ #˙ 3

∑

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° bb b & bb Ó

Œ

bb &b b b Ó

Œ

29

S

A

mp

#œ

There mp

#œ

There

B

Vib.

Pno.

? bb Ó ¢ bbb

Œ

° bb b choke ¿ ‰ ¢& b b J

{

<“> > #w b b #w & b b b #w ? bb b bb

Œ

ø

° bb b 3 & b b 4 #œ ™

#-œ nœ

œ

There mp

were sec - onds

There

were sec - onds

#œ

b-œ n œ

œ

œ

œ

œ nœ

#˙

Œ

œ

n˙

Œ

of breath - less sus - pense,

œ nœ

œ

3

œ nœ

œ

œ bœ

3 4

nœ

3 4

bœ

3 4

and

of breath - less sus - pense, 3

#œ

and

and

˙

bœ

of breath - less sus - pense,

3 4

and

3 4

∑

œ

the

in

the

in

-œ

N

œ J

then

-

-

-œ

œ J

? bb b 3 #œ ™ ¢ b b4

? bb b 3 Πb b4

in

j œ

p ethereal

bb 3 &b b b 4

œ

the

in

-

-

œ

ky

œ

ky

#œ

black

nœ

black

œ

œ

ky

black

œ

n-œ

ky

black

&

3

-

3

-

3

‰

ness

‰

ness

3

˙

-

ness

˙ ˙

‰

j œ j œ j œ

ap

‰

œ J

ap

∑ Œ

4

ap

˙

ness

?3

ap

˙

-

3 4

> bn˙˙

Ó

˙

∑ mp

>˙˙

Ó

∑

the

bb 3 & b b b 4 nœ ™ ‹ then

32

Œ

∑

j œ

p ethereal

bb 3 & b b b 4 nœ ™

{

œ

∑

p ethereal

Pno.

œ

3

w w w

then

B

œ

Ó

then p ethereal

T

œ

were sec - onds

#˙

of breath - less sus - pense,

#œ

(L.H.)

mf

32

A

#œ

were sec - onds

Œ

œ

mf

29

S

Œ

mp

œ

3

œ #œ #œ nœ

P ot eru fo sa rP lS er co fo re rm an ce

T

bb &b b b Ó ‹

#œ #œ

11

n˙ n˙

-

-

-

-

4 4 4 4 4 4 4 4 4 4 4 4

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12 molto rit.

° bb b 4 & b b 4 nœ

strengthening

34

S

a tempo mf

3

peared

on the burn - ing limb of the

strengthening

bb 4 & b b b 4 nœ

3

œ œ œ œ œ œ nœ œ 3

peared

on the burn - ing limb of the

strengthening

T

b 4 & b bbb 4 œ ‹

mf

œ œ œ nœ nœ œ œ œ 3

3

peared

on the burn - ing limb of the

strengthening

B

? b b 4 nœ ¢ b b b4

3

on the burn - ing limb of the

° bb b 4 ¢& b b 4

{

∑

sub. mp

molto rit.

N

? bb 4 Πb b b4

34

nw w

sun.

sub. mp

nw w

sun.

sub. mp

ww

sun.

(med. sus. cym.)

w ææ p

bb 4 &b b b 4

Pno.

mf

nœ œ œ nœ œ œ œ nœ 3

peared

Vib.

mf

sun.

P ot eru fo sa rP lS er co fo re rm an ce

A

sub. mp

œ n nww œ œ œ bœ nœ nœ nœ 3

>œ œ >œ œ

a tempo

∑

Œ

6

mf

˙™ ˙™

6

œ œ nœ nœ œ nœ nœ bœ œ œ œ œ ∑

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13 Broadly q=76

accel.

° bb b ww & bb 36

A

T

B

Vib.

bb w &b b b w

ff

bb w w &b b b ‹

ff

w ? bb b w ¢ bb ° bb b ¢& b b

{

upwards release

∑

upwards release

∑

b b

upwards release

b

ff

upwards release

b œ– ‰ J

w ææ

Œ

Broadly q=76

6

6

{

N

Pno.

3

nœ ‰ b w œœ w >ø

œ >œ

36

>œ œ

>œ œ

>œ œ 3

6

3

6

œœœ

6

œœœœœœœœœ

6

œœœ

œœ

rit.

> w w

6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈w nœ ?b ‰ œ œ w œ w > > ø ø 38 3

> œ œ

ff majestically

>œ œ

> œ œ

> n˙ n˙

6

6

? bb b Ó bb

>œ &b œ

Ó

mf

accel.

38

∑

b

>œ n œ n œ œ œ œ œ bb nœ œ œ œœœ b œ & b b b nœnœ œ œnœ œ œ œ œ bœ œ œ

Pno.

∑

P ot eru fo sa rP lS er co fo re rm an ce

S

ff

œ œ œ nœ œ œ œ œ nœ œ

œ œ œ œ

&

œ

œ œ œ

œ œ

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14

{

Slower, Introspectively q=48

“”

U w

nœ œ œ œ œ œ œ œ œ œ &b

40

Pno.

3

° ¢& Ó

{

œ œ

œ œ

rit.

mp expressively

Ϫ

j œ

Born

a

S&A:

∑

a tempo

av - er - age

a tempo

œ œ

?

50

œ

w ø sim.

œ

Œ

3

˙

˙

œ

3

œ

œ œ œ

born

a tempo

∑

N &

rit.

with the

rit.

œ œ œ œ œ œ œ œ ‰ œJ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œœ

w ø

w

p softly falling, like snow

° ¢& œ ™ œ œ 50

w w

˙ ˙

œ œ

˙ ˙

wo - man—

rit.

?

{

w w

∑

a tempo

œ

47

Pno.

n 3

w & w

SA

œ œ

œ œ

P ot eru fo sa rP lS er co fo re rm an ce

˙ & ˙

47

Pno.

œ œ

mp expressively, freely

3

44

SA

p

U w

œ œ nœ œ œ œ œ œ œ œ &b

40

Pno.

3

3

n œœ

œ

rit.

3 œ œ œ œ œ œ

œ

œ

œ œ œ

œ œ œ

œ œ œ

brain of

hu - man - i - ty—

œ

œ œ œ

œ

œ

w

Œ

j œ

Ϫ

born

œ

œ œ œ

with

rit.

œ

œ œ œ

œ

œ œ œ

œ

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15

° ¢& œ

a tempo

52

SA

{

a tempo

œ œ

œ œ œ œ œ œœ œ

œ

j ™ œ œ

if

you

3

˙

œ

‰ œj

are mor - tal,

œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ

w

° œ ¢&

{

œ œ œ

œ

œ

55

œ

what

œ œ œ œ œ œ œ œ œ œ œœ œ

w w w

w

œ

high - er

œ œ & œ

Pno.

˙

‰

j œ œ

P ot eru fo sa rP lS er co fo re rm an ce

?

52

SA

œ œ™ œ œ

œ

Œ

more than the av - er - age heart—

&

Pno.

3

œ

Ϫ

3

œ œ

œ

œ

des - ti - ny

œ œ œ

3

œ

could

œ œ œ

œ

œ

you

œ œ œ

œ

w

have?

bœ bœ œ

œ bœ œ œ

bœ

œ œ œ

bœ œ bœ œ

œ

bbw w bw

? w w w

55

° ¢& ˙ 57

{

Œ

Pno.

œ œ bœ bœ œ & œ œ œ bœ œœ œ ? ˙˙ ˙

57

œ

no

N

SA

bœ œ œ œ œ bœ œ œ œ œ bœ œ œ œ

b˙ ˙˙

3

j bœ b˙ ™ œ ˙

mat - ter where you are nor what you

> > b œ œ bœ bœ œ œ bœ œ œ bœ b œ œ œ b œ œ œ ‰ œ œ bœ œ J œ >œ

Œ

are,

bœ œ œ bœ œ bœ œ œ œ œ œ œ œ bœ œ

mp

w w

bœ

bw bw

œ

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16

° bœ ¢& b œœ

Pno.

{

you

bœ œ bœ b œ & b œ ‰ J œ mf ? ˙™ ˙™ 60 rit.

° œ & œœ 62

SA

are

¢

? Œ

{

Œ b˙˙ a

pow'r.

Œ

p

w bnww w

bœ˙b œ

...a

œ œ bœ œ œ bœ œ bœ œ

ww w w

ff

w ww w

ff

a tempo

accel.

b œ œ# œ n œ œ œ # œ # # b œ œ # ## bœ œ œ œ œ œ œ b œ œ 6 bœ bœ œ œ œ œ

∑

Ó

Faster q=76

6

6

Œ bœ œbœ œ œ bœ ˙™ b˙ ˙™ b˙ > ff

#œ

65

oo

Vibes

Œ

sub. mp shimmering

nw nw >ø with ped.

6

#œ #>œ

œ

Œ

œœœœ

#### #

Alto Solo: mp pure, match vibraphone

œœ

œœœœ

œœ

œœœœ

œœ

œœœœ

6

œœ

œœœœ

œœ

œœœœ

bow

œ

mp

Faster q=76

N ? #### #

6

6

° #### Ó ¢& #

“>” w w ‰

#### #

#### #

pow'r.

° #### ∑ ¢& # Ó

{

pow'r,

œ

b ˙˙˙ ™™™

Πb bw w bw f

a

accel.

nbnww w w

? bw bw

#### & #

Pno.

œ

are

bœ œ œ œ

bœ bœ œ

œ œ œ bœ

p

rit.

65

Vib.

you

a tempo

62

SA

‰

bœ bœ

bw bw bœ ˙ ™ & œ

Pno.

pow'r,

bœ œ œ

œ

mp

TB

a

3 > œ bœœ œ ˙˙ œœ œ bœœ b˙

P ot eru fo sa rP lS er co fo re rm an ce

SA

œœ œ œ œ œ bœœ œœ œœ

> bœ b œœ f

j œœ œ

3

60

œœ

œœœœ

6

œœ

œœœœ

œœ

œœœœ

œœ

œœœœ

6

œœ

œœœœ

œœ

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17

° #### Ó™ ¢& # w 66

Vib.

Pno.

° #### ¢& # œ—

{

66

Œ

œœ

œœœœ

6

œœ

œœœœ

œœ

œœœœ

Vib.

Pno.

œœ

œœœœ

6

w w

œœ

œœœœ

œœ

œœœœ

mp

œœ

œœœœ

6

œœ

œœœœ

œœ

œœœœ

œœ

œœœœ

6

œœ

œœœœ

œœ

p pure, match vibraphone

° #### Ów ¢& #

ah

Sop. Solo 2:

° #### œ– ¢& #

{

œ

Œ

67

SA

œ

oo

## & # ## œœœœ ? #### #

p pure, match vibraphone

P ot eru fo sa rP lS er co fo re rm an ce

SA

Sop. Solo 1:

# ## & # # œœœœ ? #### #

˙–

Œ

œœ

œœœœ

6

œœ

œœœœ

œœ

œœœœ

˙

mp

œœ

œœœœ

6

œœ

œœœœ

œœ

œœœœ

œœ

œœœœ

6

œœ

œœœœ

œœ

œœœœ

œœ

œœœœ

6

œœ

œœœœ

œœ

67

mf with energy

° #### w & # Ó™ 68

SA

?# # ¢ # ## Ó

Pno.

{

## & # ## œœœœ ? #### #

68

3

Tutti:

Œ

N

TB

‰

œœ

As

œ

the

œ

œ œ

œ œ

mf with energy

‰

3

œœœœ

6

œœ

œœœœ

œœ

œœœœ

œœ

œœœœ

6

œœ

œœœœ

œœ

œœœœ

œœ

œœœœ

6

œœ

œœœœ

œœ

œœœœ

œœ

As

the

œœœœ

œœœœ

6

œœ

œœ

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18

° #### ˙ & # œ

SA

?# # œ ¢ # ##

{

œœ

6

œœ

œœœœ

the

on

œœ

œœœœ

œœ

œœœœ

6

œœ

-Ó œ

œ

œ

cres - cent

œ œJ

3

œ

moved

œœœœ

j œ

on

j œ

moon

## & # ## œœœœ

œ

moved

3

3

-œ

cres - cent

œœœœ

œœœœ

œœ

œœ

œœœœ

œ

sun

be

-œ

œ

the

œ œ

œ

sun

6

œœ

œœœœ

-

be

œœ

œœœœ

œœ

œœœœ

6

œœ

-

œœœœ

œœ

P ot eru fo sa rP lS er co fo re rm an ce

Pno.

œJ

3

moon

TB

o

(soloist)

69

? #### #

mf

69

° #### & # 70

SA

TB

came

{

a

œ

? #### # ¢

œœœœ

? #### #

3

œ

œ

œ

œ

nar - row - er

-œ

œ J

3

came

# ## &# #

Pno.

j œ œ

3

œ

3

a

nar - row - er

œ

gold

-œ

gold

3

-

2 4 Œ

œ

2 4 Œ

en

3

-

j œ œ

curve

œ J

en

curve

2 4 œœœœ

œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ 6

6

6

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ 2 4 6

4 4

œ

of

œ

4 4

of

4 œœœœ œœœœ œœœœ œœœœ œœœœ 4

œœ 6 œœ œœ œœ 6 œœ 4 4

70

° #### 4 & #4 72

SA

nw ww

n #ww w ? #### 4 n w #4 ¢

{

light.

## 4 & # ## 4

Pno.

? #### 4 #4

72

Ó

f

w w >

˙˙˙ ™™™

˙˙˙˙™™™

light.

N

TB

Lights begin slowly fading to a greenish hue.

Œ

â ä

Œ

â ä

œ nœ œ œ œ œ œ œ œnœ œ œ œ œ œ œ nœ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6

L.H.

sim.

6

6

w w

6

6

6

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19

° #### œ & # 74

S

-cresc. poco a poco 3 œ œ œ œ œ 43 œ

mp hushed intensity

œ

Light

clouds

#### & # nœ

drift - ed

œ

mp hushed intensity

A

Light

clouds

## & # ## œ ‹ Light

‰

a poco -œcresc. poco œ œ œ3 œ 3 nœ 4

‰

œ

3

? # ## ¢ # #

clouds

toward the sun;

drift - ed

-œ

mp hushed intensity

œ

Light

clouds

6

° #### 4 nœ & #4

green

# ## 4 & # # 4 #œ

green

B

## 4 & # ## 4 #œ ‹ green

? #### 4 nœ #4 ¢

N

° #### 4 n˙ #4 Glock. ¢&

green

Pno.

sick -

ly

œ

œ

sick -

ly

-œ

œ

a

œ

œ œ3 œ 3 bœ 4

drift - ed

œ J

‰

toward the sun;

a

sick -

ly

-œ

œ

sick -

ly

3 4 ˙™

6

mp hushed intensity

76

T

œ

4 4 4 4 4 4 4 4 4 4

œ œ œ #### œ nœ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 n œ œ#œnœ œ œ œ œ œ œ œ œ œ œ œ 4 4 4 {& # 74

A

œ J

toward the sun;

mp

S

a

cresc. poco a poco

œ

° #### Glockenspiel # w Glock. ¢& Pno.

j œ

œ-

P ot eru fo sa rP lS er co fo re rm an ce

B

œ

a

3 œ œ œ 4 nœ

drift - ed

mp hushed intensity

T

toward the sun;

cresc. poco a poco

œ

œ J

‰

œ

spread

œ

spread

œ

spread

œ

spread

œ

6

œ œ #œ

o - ver the land

œ

3

œ œ

-

œ œ nœ

-

œ œ bœ

#˙

scape;

œ

-

6

œ J

‰

j œ

‰

scape;

6

6

2 n-œ 4

œ

2 4 nœ

œ

2 bœ 4

œ

2 b-œ 4

œ

3

-œ

-œ 3œ -œ

ve - nus shone bright - ly on

scape;

œ

3

o - ver the land

scape;

œ

3

o - ver the land

œ

-

œ

o - ver the land

œ

œ

3

ø

6

cresc. poco a poco

3

-œ

-œ 3œ -œ

ve - nus shone bright - ly on

œ J œ J

‰

3

œ

- 3 œ œ œ

ve - nus shone bright - ly on

‰

3

-œ

-œ 3œ -œ

ve - nus shone bright - ly on

2 ˙ 4

3 8 3 8 3 8 3 8 3 8

nœ œ nœ œ #œ œ #### 4 # œ n œ #œ#œnœ # œ n œ œ#œnœ n œ # œ nœ œ#œ œ œ œ œ œ 2 n œ œ #œnœ œ œ œ œ œ œ 3 4 8 {& # 4 6 6 6 6 6 6 ø sim.

76

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20

° #### 3 bn-œœ & #8

-œ œ

78

S

one

side

#### 3 & # 8 bœ

A

one

B

#### 3 n-œ & #8 ‹ one ? #### 3 nn-œœ #8 ¢

Pno.

# ## 3 & # #8

80

last

# ## 3 & # #4 œ

last

## 3 & # ## 4 bœ ‹ last

T

B

? # ## 3 bnœœ ¢ # #4

last

Pno.

-œœ

of

side

of

° #### 3 œ ¢& # 4

{

œ the

œœ

‰

2 bœj 4

‰

2 nœj 4

‰

≈

sun,

≈

sun,

≈

sun,

## 3 & # ## 4

80

œœ

the

2 #œ 4 n œJ

‰

œœ

œœ

œœ

and

as

the

œ

œ

œ

and

as

the

œ

œ

œ

and

as

the

and

as

the

2 ˙ 4

3

œœ

œœ

nœœ

rays

of

sun

3

œ

œ

nœ

rays

of

sun

œ

3

œ

bœ

rays

of

sun

œœ

œœ

rays

of

3

3

œ nœ

œ # œ nœ 6

-

-

3 4 3 4 3 4

n˙

œ

6

œœ

light

dis

œ

œ

light

dis

œœ

light

-

œœ

3 4 3 4

6

œœ

light

-

œœ

œ œ œ #œ nœ œ #œ nœ #œ œ 3 4

œ

bnœœ

sun

œœ

≈

sun,

molto rit.

N

Glock.

the

œ

6

° #### 3 ##œœ & #4

A

of

œ

2 nœ 4 n œJ

#œ œ #œ nœ #œ nœ #œ #œ œ œ œ 2 4

78

S

side

the

œ

side

° #### 3 #œ ™ ¢& # 8 {

of

-œ

one

Glock.

œ

œœ

P ot eru fo sa rP lS er co fo re rm an ce

T

œœ

molto rit.

bœ

dis

bbœœ

dis

œœ

ap

-

-

œ

ap

-

same

#œ

ap

-

same

n#œœ

ap

-

-

-

-

4 4 4 4 4 4 4 4 4

/4

nœ #œ nœ

œ #œ nœ 6

œ #œ nœ

œ #œ nœ 6

4 4

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21 Lights begin slowly fading to a 360-degree sunset.

Freely, Very Slowly, Suspended (ca. q=50)

a tempo

° #### 4 bnœœ & #4 81

S

(gradually shift from one vowel to the next)

ff

Œ

peared...

Œ

# ## 4 & # # 4 nœ ‹

Œ

? #### 4 œ # 4 nœ ¢

Œ

°

˙™ ææ

œ

bœ

nœ

aw

(gradually shift from one vowel to the next)

˙ ˙˙

ah

œ

nœ

#˙

aw

Óœœ

bnœœ

n#œ̇

nœ

aw

Med. Sus. Cym.

/

On opposite side of the space from the other cym.

4 Π4

p

æ ˙æ™

# ## 4 ¢/ # #4 Œ

{

nœ

(gradually shift from one vowel to the next)

peared...

N

? #### 4 Π#4

81

Med. Sus. Cym.

p

a tempo

#### 4 Π& #4

Pno.

˙

ah

ff

Cym.

#nœœ

aw

ah

peared...

Perc.

nnœœ

(gradually shift from one vowel to the next)

ff #### 4 bœ & #4 ff

B

bbœœ

ah

peared...

T

nnœœ

P ot eru fo sa rP lS er co fo re rm an ce

A

˙˙

b >˙ ™ nb n˙˙˙˙ ™™™

w ææ

æ bwæ

Freely, Very Slowly, Suspended ◊ÿ (ca. q=50)

˙ ˙˙˙˙

3

dig in!

ff

n˙ ™ n>˙ ™

‰

b œ b œ b œ nœ nœ

w w

œ nœ bœ bœ 6

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22

molto rit.

° #### nbœœ & #

nnœœ

#### & # nœ

bœ

#### no dim.! & # nœ ‹

#œ

no dim.!

83

S

bbœœ

nœ

oh

T

oo

?# # œ ¢ # ## #œ

nnœœ

##œ̇

oh

Pno.

{

bb

f

:◊;

molto rit.

6 #### & # bœ bœ nœ nœ œ nœ

? #### #

83

nœ

f

æ wæ

¢/

bb

oo

w ææ

/

b œ b œ b œ b œ nœ 6 nœ œ nœ bœ bœ bœ bœ œ œ œ nœ bœ b œ 6

6

bb

no dim.! 6

6 œ œ nœ nœ œ œ n œ # œ n œ # œ b œ b œ n œ n œ nœ œ œ nœ bœ nœ #œ œ œ œ 6 “‘

N

Cym.

°

bb

oo

no dim.!

Perc.

bœ

n˙

oh

B

bb

oo

no dim.!

A

nœ

P ot eru fo sa rP lS er co fo re rm an ce

oh

nnœœ

6

bb

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23

Lights faded, carrive at 360-degree sunset, with night sky above.

Choir members begin slowly and gracefully walking into the audience to completely encircle them.

Handbells may be placed at the front of the stage and singers can grab them as they walk by into the audience.

Ethereal q=56

pp ° bb sub. & w

™™ w

w

w

™™ w

w

w

™™ w

w

™™ ä

stagger breathing (enter and exit imperceptibly)

™™ w

w

™™ â

Handbells -- played by members of the choir, spread equally throughout the space. If possible, two or three sets of bells are recommended.

ææ w w

™™

84

S

Repeat this section if necessary for extra time for choir's movement into audience.

soft, ethereal hum

stagger breathing (enter and exit imperceptibly)

sub. pp soft, ethereal hum

stagger breathing (enter and exit imperceptibly)

w

mm

b &b w

A

mm

b &b w ‹ mm

sub. pp soft, ethereal hum

¢

B

sub. pp soft, ethereal hum

? bb w

{

Tri.

w

mm

b &b

H-bells.

mf

w ? bb w w æ

° / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Play gently at random, spacious intervals, as if gently sparkling stars in the distance.

> ¿ ‰ J

/

Œ

ff

æ ˙æ

w ™™ w w æ

w w w æ

Three very small triangles of different sizes, played by choir members spread equally throughout the space.

choke

ææ ™™ w w

ææ w w

ææ*Singing bell technique w w

Large Sus. Cym.

Perc.

™™ â

P ot eru fo sa rP lS er co fo re rm an ce

T

stagger breathing (enter and exit imperceptibly)

™™ ä

‘

æ wæ

Very soft mallets Roll just enough that we barely hear the shimmer of the cym.

pp

™™

™™

w w w æ

‘

™™

‘

æ wæ

æ ™™ wæ

™™

Vibraphone (no motor)

¢/

N

Cym.

>j ¿ ‰ & bb Œ

choke

ff

Very light tremolo -- we shouldn't hear the attacks, just a hum of sound.

Trem. between the 4ths, not the octaves.

˙ ˙

p

˙ ˙

w w

w w

Ethereal q=56

Pno.

b {& b w >ø 84

w

*Using a wooden dowel, lightly tap the bell to initiate the sound (on the downbeat), then scrape the dowel around the outside of the bell in a circular motion, using friction to achieve a vibrating, ethereal, "singing" sound. Careful that the bells do not become shrill.

™™ w w ™™

w

w w

w w

w

w w

l.v.

o

™™ ™™

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24

° bb & w w 88

SA

(mm)

?b w w ¢ b

H-bells.

{

ææ w w w ?b w b wæ æ /

æ wæ

/

Cym.

¢

Vib.

‘

b &b

Cym.

Vib.

w w

w w

w w

w w

w w

w w

w w

ææ w w w w wæ æ

‘

ææ w w w ? bb w wæ æ b &b

°

/ /

æ wæ

‘

b ¢& b œœ Œ Ó 96

‘

æ wæ

ææ w w w w wæ æ

‘

æ wæ

œœ– œ– — Œ œ— Œ

bow

æ wæ

œœ Œ

(sim. l.v.)

Ó

mp

∑

w

w ?b w ¢ b

{

ææ w w w w wæ æ

ææ w w w w wæ æ

ææ w w w w wæ æ

ææ w w w w wæ æ

Ó

‘

œœ Œ

æ wæ

‘

æ wæ

œœ Œ

Ó

‘

æ wæ

‘

œœ Œ Ó

œ Œ Ó œ

Pedal down through m. 128

N

Tri.

w w

∑

96

H-bells.

w w

∑

° bb w & w

TB

w w

Motor to ca. 68-72 RPM

88

SA

w w

æ wæ

b {& b w

Pno.

w w

ææ w w w w wæ æ

(mm)

b &b

°

Tri.

w w

P ot eru fo sa rP lS er co fo re rm an ce

TB

w w

∑

∑

∑

∑

∑

w w

w w

w w

w w

w w

w w

w w

w w

w w

w w

w w

w w

ææ w w w w wæ æ

æ wæ Ó

‘

œœ Œ

ææ w w w w wæ æ

æ wæ Ó

ææ w w w w wæ æ

‘

œœ

Œ

æ wæ œœ

‘

œ Œ œ Œ

ææ w w w w wæ æ

æ wæ Ó

‘

œœ Œ

ææ w w w w wæ æ

æ wæ

˙– ˙—

‘

Ó

ææ w w w w wæ æ

æ wæ

‘ ∑

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25

° bb & w w 103

SA

TB

?b w w ¢ b

{

Pno.

/

æ wæ

b Ó ¢& b

œ Œ œ

œ ˙™ b œ ˙™ { & b œ ˙™ 103

TB

w ? bb w

{

ææ w w H-bells. w ? bb w wæ æ ° Tri. / ææ w Cym. /

Pno.

¢

w w

w w

w w

w w

w w

w w

w w

w w

w w

ææ w w w w wæ æ

b &b

˙ ˙ ˙ b {& b 111

‘

æ wæ

æ wæ

∑

ææ w w w w wæ æ

ææ w w w w wæ æ

ææ w w w w wæ æ

ææ w w w w wæ æ

ææ w w w w wæ æ

‘ ∑

˙ œ ˙ œ ˙ œ

˙ ˙ ˙

‘

æ wæ œ œ œ Œ œ Œ

æ wæ

w w w

˙ ˙ ˙

‘

‘

∑

∑

Œ

Ó

3 œœœ w œœœ w œœœ w

æ wæ

œ œ Œ

w w w

3

w w

w w

w w

w w

w w

w w

w w

w w

∑ ˙ ˙ ˙

œ œ Œ

w w w

w w

‘

‘

Ó

w w

œ œ œ ˙ œ œœ œœ ˙˙ œ 3

Ó

œ œ

æ wæ

‘

w w

æ wæ

3

æ wæ

‘

w w

ææ w w w w wæ æ

b &b

N

Vib.

w w

mf ethereal, peaceful

° bb & w w ¢

w w

˙™ ˙™ ˙™

111

SA

w w

P ot eru fo sa rP lS er co fo re rm an ce

Vib.

w w

ææ w w w w wæ æ

ææ w w H-bells. w ? bb w wæ æ °/ Tri. ‘ b &b

Cym.

w w

ææ w w w w wæ æ

æ wæ

‘

œ œ Œ Œ œœ w w w

ææ w w w w wæ æ

æ wæ

˙ ˙ ˙

‘

ææ w w w w wæ æ

æ wæ

∑

Ó

œ œ œ œ œ œ

w w w

‘

œ œ Œ

ææ w w w w wæ æ

æ wæ

œ œ Ó w w w

ææ w w w w wæ æ

‘

œ œ

æ wæ

œ œ

w w w

â ä o â ä

‘

Œ Ó

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26 Lights slowly brighten to corona.

Choir arrives in position to fully surround audience.

Slowly Rising q=40

° bb w & 118

S

b &b w

A

{

b &b

Tri.

ah

˙˙

ah

ææ w w

°/ /

ẇ

˙

˙

ah

mp cresc. poco a poco

∑

˙

unis.

â ä

˙

stagger breathing

˙

˙

w

stagger breathing

stagger breathing

˙˙ ˙

w w

stagger breathing

˙˙

œ̇ œ

˙

˙

˙

˙

˙˙

˙˙

˙˙

˙˙

ææ w w

ææ w w

ææ w w

ææ w w

w w wæ æ

w w wæ æ

w w wæ æ

w w wæ æ

j œ—‰ Œ Ó Œ Ó

‘

‘

‘

‘

∑

∑

∑

∑

∑

soft mallets

∑

w

w

p

N

{

˙˙

‘

b œ b & œ ¢ b &b

Pno.

∑

ah

mp cresc. poco a poco

w ? bb w wæ æ

Cym.

Vib.

˙˙

?b ¢ b Ó

H-bells.

mp cresc. poco a poco

P ot eru fo sa rP lS er co fo re rm an ce

B

˙™

o Œ

mp cresc. poco a poco

b &b Ó ‹

T

˙™

o Œ

Slowly Rising q=40

∑

pp

? bb w w 118 ø

∑

w w

w

w

œ œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ

∑ ∑

o

fiœ œ

mp cresc. poco a poco

w w

œ

œ

œ

œ

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27 Corona appears in full radiance.

molto rit.

° bb & 123

Solo

∑

T

¢

B

H-bells.

Cym.

˙™

? bb

ẇ

? bb

¢&

{

œ

f

w ˙™

f full, but not overpowering

œ

˙

f full, but not overpowering

w

w œ

˙

? bb

123

f full, but not overpowering

˙

w

unis.

f full, but not overpowering

˙

w

unis.

f full, but not overpowering

œ

w

˙

unis.

Ÿw~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (If this is too loud, bells can be shaken w with the arm down at the player's side.) w w

ææ w w w w w æ æ wæ

pp

bb

œ˙ ™

˙w

œ

ææ w w w w w æ æ wæ

b &b

°/

œ

˙

˙

w

w

˙

Shake bells to trill

w w w æ j œ— ‰

p

˙ ˙˙ ø

fi œ œ

˙ ˙˙ ø

Œ

˙

˙

˙

fi œ œ

˙ ˙˙ ø

Ó

w w

w w

f

> > > >œ œ œ œ >œ >œ œ œ œ œ œ œ

a tempo, Grand, Sweeping

> œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œœœœ

œ œœ œœœœœœœœœœœ œœ

fi œ œ

(continue singing bell)

f

molto rit.

b &b

Pno.

œ ‰ J

(ah)

N

Vib.

Œ

w

˙

˙

b &b ‹

{

œ

˙

˙

b &b

A

Ó

mf

P ot eru fo sa rP lS er co fo re rm an ce

b &b

Solo Sop.

ah

b &b S

a tempo, Grand, Sweeping

œ œ œ > >œ ø

ff

‰ œ w w >ø

3

6

œ œ œ œ œœ œ œ œœœ œœ œœ œ œ œ œ 3

6

6

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28

˙™

j ° bb & ‰ œ 126

Solo

w

ah

A

T

¢

B

H-bells.

Vib.

w

ä

b w &b

w

â

b &b w

w

b w &b ‹

w

? bb w

w

{

P ot eru fo sa rP lS er co fo re rm an ce

S

b w &b

&

<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w w w b b w w

w ? bb w wæ æ

{

>œ œ

N

Pno.

w w

° bb w ¢& w b &b

w w wæ æ

œ >œ >œ >œ >œ œ œ œ œ œ

? bb ‰ œ œ œ w œ 126 w >ø 3

> > œ >œ œ œ >œ œ œ œ œ œ 3

6

w w

w w

3 6

œ œ œ œn œ œ œ œ œ œ œ œ œœ œ œ ‰ w œ w > ø 6

>œ >œ >œ >œ œ œ œ œ

>œ œ

6

>œ œ

6 œœœœ 3 b œ œ œ œ œ œ œœ œœœœ œœ œ 6

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29 accel.

° bb ˙ &

mp (Return to choral part.)

128

Solo

Ó

mp

b ˙ &b

S

mf ecstatic

œ ‰ J

3

‰ œ œ

∑ -œ

The co - ro

mp

mf ecstatic

j œ ‰

3

‰ œ œ

Vib.

{

&

-œ

œ burst

œ

œ

œ

œ œ œ 3

forth,

it

œ

œ

en -

œ œ œ

‰ œ œ

mp

mf ecstatic

œ J ‰

‰

œ œ

-œ

œ

œ

burst

œ

œ

3

forth,

it

-œ

œ

na

-

-œ

3

burst

na

-

œ

œ œ œ 3

forth,

it

en -

3 œ œ œ

-œ

œ

en -

<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w w w b b w w

? bb w w wæ æ ° / wææ

The co - ro

Med. Sus. Cym.

p

forth,

it

en -

Ó

w w

w w

q=48

N ? bb ‰ œ™ œ œ™ 128 > ø

Œ

‰

mf

w w

burst

na

-

w w wæ æ j œ—

b w b w ¢&

{

3

The co - ro

>accel. ˙ b ˙ &b Œ

Pno.

mf ecstatic

œ ‰ J

? bb ˙ ¢

H-bells.

Cym.

mp

b ˙ &b ‹

B

œ

na

-

œ

The co - ro

T

œ

P ot eru fo sa rP lS er co fo re rm an ce

b &b ˙

A

q=48

œœœ œ

œœŒ 3

3

>œ œ

œ œ œœœœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ 6

œœ œ‰ œ ˙ œ ˙ >ø 3

œ œ > ø

6

w w > ø

6

œ

œ

6

6

œ

œ

œ

œ

œ

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30

S

130 ° bb œ œ3 œ œ &

j œ

‰

- 3 b œ œ b œ œ &

j œ

‰

- 3 b œ œ œ œ &b ‹ cir - cled the sun

j œ

cir - cled the

A

T

- 3 ? bb œ œ œ -œ ¢

B

cir - cled the

{

&

H-bells.

Cym.

Vib.

‰

œ œ œ

- 3 - 3 j œ œ œ œ œ œ œ

‰

sent stream - ers for mil - lions of miles

and

3

and

œ

in - to

œ

sent stream - ers for mil - lions of miles

œ

in - to

‰

œ J

sun

j œ

3 -œ 3œ œ -œ œ œ œ J

‰

œ œ œ

-œ 3œ œ -œ 3œ œ œ J

‰

3

œ

sent stream - ers for mil - lions of miles

and

3

‰

and

sent stream - ers for mil - lions of miles

? bb w w wæ æ

œ

in - to

œ

œ

in - to

œ œœ ø

pp

w w

6

œ œ

6

œ

w w

w w

œ œ œœ œ œ œ œ œ œ

N ? bb

æ wæ

∑

b w b ¢& w

130

œ

w w wæ æ

°/

{

œ

<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w w w w w b b w w

b œ &b

Pno.

sun

-œ 3œ œ -œ 3œ œ œ J

P ot eru fo sa rP lS er co fo re rm an ce

cir - cled the

sun

j œ

3

œ

œ

6

œ

œ

œœ œ

œ

6

œ

œ

œœ ø

œ œ œ œœ œ œœ œ œ

œ

6

œ œ

6

œ

œ

6

œ

œ

œœ œ

œ

6

œ

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31

° bb ˙ ™ & 132

S

‰

space!

H-bells.

œ

˙

œ

œ

j -j 3 œ œ œ

3

j 3‰ j œ œ œ œ œ 3

with na - ture

re - joiced

j œ J

we loved

œ œ

œ œ

the

œœ

œ J

‰

œ

We

f

œ

œ

œœ

re - joiced

3

with na - ture

the

∑

pp

æ wæ

j œ— ‰

Œ

Ó

f

w w

w b w b ¢& b &b œ

œœ

N ø

we loved

∑

pp

œœ

œ 3‰ œ œ œ œ J J

œ -œ 3 œ J J

3

<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w bb w w

? bb

œ

ah

space!

°/

132

f

‰

? bb w w wæ æ

{

˙

P ot eru fo sa rP lS er co fo re rm an ce

{

&

Pno.

œ We

? bb ˙ ¢

B

Vib.

‰

b w &b ‹ space!

T

œ

œ̇ f

j œ

space!

Cym.

j œ ah

b &b ˙

A

f

œ

6

>œ > >œ >œœ œ 6 œ œ > œ œ œ œ > œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œ œœ > 6 6 > 6

œ œœ œ

œœ

6

œ

œ ø

w w

w w

6

œœ ø

œ

6

Œ

‰ w w >ø

j œ

œ

œ

œ

œ

&œ

œ

?

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32

° bb ‰ & 134

S

j œ

œ

œœ

œ œ

œ

œœ

j œ œ œœ œ œ ‰ J

˙˙

3

ah

b &b ˙

A

j œ

b &b ‰ ‹

T

j œ J

light!

H-bells.

Vib.

Pno.

b {& b °/

w b w b ¢&

{

-œ

3

re - joiced

3 œ -œ œ J J

with na - ture

3 œ ‰ œj œ J œ

we

3

loved

the

j œœ

the

œœ

œ œ

œœ

œ

œœ

œ˙

œ

œ ‰ œj œ œ œ J 3

œ J

‰

œ-

We

œ-

œ-

re - joiced

∑

∑

w w

3

œ -œ 3 œ J J

we

3

loved

œ 3 œ œ J ‰ J

with na - ture

we

3

loved

the

œ J

the

∑

æ wæ

mp

w w

w w

>œ > >œ > >œ œ œ 6 > > œ œ œ œœ œ œ >œ œ >œ œ œ œ œ > > œ œ 6 œ œ œ œ > œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœ œ œ œœœœœ œ &b > >œ œ >œ œ œ œœ œ œ 6 6 6 6 6 6 > œ j œ œ œ œ j œ œ œ ‰ ? bb ‰ ? œ œ œ œ &œ w œ w w 134 w >ø sim. >

N

Cym.

We

œ-

ah

? bb ˙ ¢

B

œ-

3

loved

P ot eru fo sa rP lS er co fo re rm an ce

light!

‰

we

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33

° bb & 136

rit.

w

˙

U ˙

mp

mp

˙

U ˙

mp

˙˙

U ˙˙

˙˙

U ˙˙

mp

˙˙

˙ ˙U

mp

Ó

U Ó

æ ˙æ

æ ˙æ

b˙˙

U ˙˙

light.

S

b &b

w light.

P ot eru fo sa rP lS er co fo re rm an ce

b & b bw w

A

light.

b w & b bw ‹ light.

T

¢

B

H-bells.

Cym.

Vib.

? bb bbww

light.

b {& b ° ¢

/

j œ—

f

b &b

{

‰

Œ

Ó

∑

rit.

bœ

“”

p

˙˙

p

pp

bU ˙ b œ œ œ b œ œ 6 œ b œ 6 bœ œ œ œ œ bœ œ œ œ œ b œ œ b œ œ œ œ œ bœ œ œ 3 3 6 mp ” “ (loco) U bœ ˙ b œ b œ œ œ b œ b œ œ œ œ & bœ œ bœ œ

N

b &b

Pno.

∑

Π? bb bbw bw w

136

3

3

U ˙˙

pp

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35 Lights arrive at night sky (dark with subtle, projected stars, if possible).

° bb & 151

Solo

Freely

∑

∑

Treble soloist at the front, center of the space, facing the choir and audience.

mf present, yet not forceful

œ ˙

Give me

b &b w

pp softly, ethereal oo

S

b &b w

oo

b &b w

pp softly, ethereal

Tri.

w

w

know

w œ œ œ œ œ

ww

œ

˙™

w

Œ

w

stagger breathing, keep sound constant

w

?b w ¢ b

w

{

to

stagger breathing, keep sound constant

w

pp softly, ethereal

H-bells.

wœ ˙™

w

b &b w ‹ oo

oo pp softly, ethereal

B

w

œ ˙˙™

T

the ways of wan - der - ing stars

œ œ œ œ ˙™

stagger breathing, keep sound constant

w

A

œ œ œ œ œ ˙

P ot eru fo sa rP lS er co fo re rm an ce

pp softly, ethereal

œ

3

oo

°/

Begin singing bell technique

˙˙ ™

w

w

w

w w

w w

stagger breathing

w w

˙

œ œ ww

ææ w w w w wæ æ

ææ w w w w wæ æ

ææ w w w w wæ æ

ææ w w w w wæ æ

Three very small triangles of different sizes, played by choir members spread equally throughout the space.

œ— ¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯

w w

stagger breathing

w w

ææ w w w w wæ æ

ææ w w mp w ? bb w wæ æ b &b

œ

‘

‘

‘

‘

‘

‘

‘

‘

‘

∑

soft mallet

As before: Play gently at random, spacious intervals, as if gently sparkling stars in the distance.

Mark tree

/

M.tree

¢

{

∑

N

Vib.

b &b

¯¯¯¯¯¯¯¯¯¯¯¯¯

Move fingers slowly and gently through the top 1/3 of chimes.

Pno.

Freely

˙™

pp

w b w &b

w w

w w

w w ø

w w

w w

? bb

151

œ

œ ˙™

w

w w

w w

w w

w w

pp

Ó

˙

bow

p

∑ ∑

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36

° bb & Ó 157

Solo

œ

œ

the

depths

œ

of

- 3 œ œ œ

heav - en

Ó

w

a - bove

˙

˙™

w

œ

œ

w

w

˙™

w w

ẇ

A

b & b ww

wœ

T

b &b w ‹

w

w

w

B

?b w ¢ b w

w w

w w

w w

w w wæ æ

w w wæ æ

w w wæ æ

{

b &b

Tri.

M.tree

Vib.

ææ w w

˙™

ææ w w

? bb w w wæ æ

the

œ

ææ w w

œ

˙

ææ w w

°/

‘

‘

‘

‘

/

‘

‘

‘

‘

– bb œJ ‰ Œ & ¢

N

H-bells.

œ

P ot eru fo sa rP lS er co fo re rm an ce

b &b ˙

w

œ

and

unis.

b & b ˙˙ S

œ

157

mf

˙

p

œ– J ‰ Œ

mf

Ó

Ó

˙

p

œ– J ‰ Œ

mf

Ó

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37 rit.

° bb & ˙™ 161

Solo

w

˙™

w

w

w

w

w w

w w

w

w

? bb w w ¢

w w

w w

w ? bb w w æ ° /

w w w æ

w w w æ

œ

earth

b &b w

S

b & b ˙™ w

T

b &b w ‹

{

H-bells.

Tri.

b &b

/

M.tree

Vib.

¢

-

low.

ä

â

P ot eru fo sa rP lS er co fo re rm an ce

b &b w

A

B

be

Œ

b &b

œ

ææ w w

ææ w w

ææ w w

‘ ‘ ∑

‘ ‘

Ó

˙

p

œ– J

mf

‘

‰

Œ

‘ ˙ p

Play these individual pitches at random, in varying dynamic levels and rhythmic values, as if twinkling stars (not too busily!).

N

Pno.

b b & { 161

∑

∑

◊ÿ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

mp

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38 All sopranos and altos will gradually transition from their choral part and begin singing the boxed melody in their own time. Entrances should be sporadically sprinkled amongst the choir and throughout the space. Singers should continue holding their whole note pitch until they enter on the melody. Take rests/breaks as needed, and don't worry about singing it in an exact tempo -- be free! Tenors & basses gradually fade to silence as noted. During the repeats, all singers should slowly walk through the audience and exit through the rear of the space, while continuing to sing the melody and play the bells.

Once out of the space, singers can slowly fade to silence. The triangle players should stay in the space, and gradually fade their vocal part before the other singers leave the room.

Slowly, Freely (ca. q=38) Repeat ad lib

° bb ™ & ™œ 164

Give

S

unrushed

œ

œ

œ

œ

œ

œ

3

œ œ œ

œ œ œ œ œ

‰

3

œ œ

P ot eru fo sa rP lS er co fo re rm an ce

Solo

mp

b & b ™™ w

me

the

ways of wan - der - ing

stars

to

know

the

w

A

b & b ™™ w w

T

b ™ Gradually fade to silence once you've exited the space. b & ™w w ‹

w w

?b ™ ¢ b ™w

Gradually fade to silence once you've exited the space.

w

unis.

B

{

Those not playing the written pitches below: softly ring the highest octave of bells in the key of Bb Major at random, and with space in between rings, as if twinkling stars in the distance.

b ™ wææ b & ™w H-bells. w ? bb ™™ w w æ °/ ™™ Tri.

Vib.

/

œ– b J ‰ ™ ¢& b ™ mf

Pno.

b ™ {& b ™ 164

‘

™™

N

M.tree

ææ w w w w w æ

‘

‘ ‘

Play these individual pitches at random, in varying dynamic levels and rhythmic values, as if twinkling stars (not too busily!).

Œ

Ó

Slowly, Freely (ca. q=38) Repeat ad lib

Glock.

œ œ œ œ œ œ œ œ œ

p

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39 Lights slowly fade, stars remain.

° bb œ & 166

Solo

depths

œ

of

œ

3

œ

heav - en

œ

œ

a - bove

‰

3

œ

and

œ the

Ϫ

earth

j œ

be -

˙

low.

™™ ™™

S

b &b w

w

A

b &b w w

w w

T

b &b w ‹

w

™™

B

?b ¢ b w

w

™™

P ot eru fo sa rP lS er co fo re rm an ce

{

b &b

H-bells.

™™

ææ w w

ææ w w

w ? bb w wæ æ

™™ ™™

w w wæ æ

°/

‘

‘

M.tree

/

‘

‘

Glock.

¢&

Pno.

™™ ™™

bb

™™

b b & {

™™

N

Tri.

166

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40

P ot eru fo sa rP lS er co fo re rm an ce

Lights arrive to just the stars overhead.

Begin this section once the singers have exited through the rear of the space.

°/

Tri.

M.tree

Glock.

Repeat ad lib

™™

‘

‘

‘

‘

™™

™™

‘

‘

‘

‘

™™

U ∑

b ™ ¢& b ™

™™

U ∑

b ™ b ™ & {

™™

U ∑

168

/

gradually become more sparse with each repeat and fade al niente

gradually become more sparse with each repeat and fade al niente

Repeat ad lib

168

gradually become more sparse with each repeat and fade al niente

U ‘

gradually fade to silence

December 14, 2020 Minneapolis, MN

N

Pno.

Lights slowly fade to black.