Ji Heng Lee

the caged bird sings‌ for mezzo-soprano, oboe and horn

2018

Score in C

Text se'ing In this piece, I imagine a dramatic response to American poet Maya Angelou’s Caged Bird: A free bird leaps on the back of the wind and floats downstream till the current ends and dips his wing in the orange sun rays and dares to claim the sky. But a bird that stalks down his narrow cage can seldom see through his bars of rage his wings are clipped and his feet are tied so he opens his throat to sing. The caged bird sings with a fearful trill of things unknown but longed for still and his tune is heard on that distant hill for the caged bird sings of freedom. The free bird thinks of another breeze and the trade winds soft through the sighing trees and the fat worms waiting on a dawn bright lawn and he names the sky his on. But a caged bird stands on the grave of dreams his shadow shouts on a nightmare scream his wings are clipped and his feet are tied so he opens his throat to sing. The caged bird sings with a fearful trill of things unknown but longed for still and his tune is heard on that distant hill for the caged bird sings of freedom. “Caged Bird” from SHAKER, WHY DON’T YOU SING? by Maya Angelou Copyright © 1983 by Maya Angelou Used by permission of Random House, an imprint and division of Penguin Random House LLC. All rights reserved.

The text appears to already possess a ‘verse-refrain’ structure, which readily lends itself for songseFing. I have remained faithful to the original layout of Angelou’s text for most parts of the piece. However, I have decided not to repeat the refrain (‘The caged bird sings…’) per se at the end, in the spirit of maintaining a teleological narrative. In the first instance of the refrain (bb. 46–58), I removed the final word—‘freedom’—as a symbolic gesture; freedom cannot be not sung of. It is in this light that the listener subsequently arrives at the end of the penultimate stanza (‘…opens his throat to sing…’; b. 78), whose open-ended verbal syntax allows for a direct ‘splice’ into the final line of the refrain (‘…of freedom.’; bb. 80–83). This happens as the oboe and horn speed through bb. 77–80 with a desperate ‘caged bird’s tune’, which was previously properly sung in bb. 46–58. Imaginatively, this frees the caged bird of his ‘melodic baggage’, so he can move on to ‘sing of freedom’.

*

*

*

Note to future self I wrote this piece for three friends—Rosanna Cooper (mezzo-soprano), Flic Cowell (oboe), and Alexander Oon (horn)—who were taking the Contemporary Music in Action module (in Royal College of Music). I knew that they needed a piece intended for the purposes of examination (think ‘showcase’ of technical mastery), yet at the same time I wanted to find a reasonable purpose, or a kind of ‘contextual grounding’, for the use of extended instrumental techniques. Crudely speaking, I had at my disposal a physical human voice, an air column, and a coil of metal; the laFer two can be pushed to sound like distorted or ‘repressed’ voices. I pursued this thread and started from a somewhat oblique angle by sourcing for poems with themes such as ‘freedom’, ‘oppression’, ‘unheard voices’, etc. After rounding up several potentially suitable texts, Angelou’s proved particularly appealing, with the additional animated metaphor of a bird—two in fact; one caged (in whom I see Angelou) and the other free (possibly Angelou’s ideal image of herself). This offered numerous opportunities for the use of multiphonics. Singing into the horn reflects not only two sonic forces (horn’s voice and player’s voice) aFempting to overcome each other, but also a conceptual ‘caging' (trapping the player’s voice within the metallic instrument). Angelou’s text was simply calling out to be set. In allusion to the themes of ‘freedom’ and ‘oppression’, and also to the socio-political zeitgeist in which Angelou lived and breathed, I quoted the tune from ‘We Shall Overcome’, a gospel hymn turned protest song of the American Civil Rights Movement. The hymn becomes the ‘caged bird’s tune’, which the mezzo-soprano timidly sings in bb. 46–58, but does not complete the final line. Deprived of the final line’s melodic notes to set the remaining words, the singer is unable to ‘sing of freedom’.


Symbols used in notation Mezzo-soprano

Sprechgesang (at bb. 59–63, 76–78) : Aim for something between singing and speaking. Notes are not at definite pitches. The specified pitches (despite their accidentals) serve as a guide for vocal inflection and intonation.

Oboe Lip position:

tip of reed

just below heart

Lip pressure:

weak lip pressure

Air pressure:

weak air pressure

at string

strong lip pressure (biting)

Fingering diagrams, as well as symbols, have been indicated above the relevant multiphonics. Normal note-heads (e.g. b. 1) denote pitch to be sounded louder in multiphonics (as opposed to smaller note-heads).

tongue as quickly as possible

bisb. bisbigliando n.

normal (i.e. play normally, without fluFer-tongue or bisbigliando) (as in bb. 14–15)

Horn flz.

fluFer-tongue

t.t.

timbral trill

n.

normal (i.e. play normally, without fluFer-tonguing or timbral trill) (as in b. 20)

Diamond note-heads ( ) indicate notes to be sung. In this score (in C), these notes are wriFen at sounding pitch. In the part score, they have been transposed up a perfect fifth. (It may be helpful to think of them as though they are ‘played’ notes.)

Duration: ca. 6’00

FINAL (17 Mar 2018)

Score in C Text by Maya Angelou (1928-2014)

the caged bird sings . . . Ji Heng LEE

Well-paced q = ca. 56 (2017)

Mezzo-soprano

3 &4

∑

4 4

∑

∑

∑

`1345 `!23 F

> ÍÍÍÍÍÍÍÍÍÍÍÍ .... #œ ˙ œ # œ. œ ææ . #œ. œ. œ œ . .

C

bisbigl. staccatissimo

Oboe

. œ. œ. # œ ° 3 I b ee ee ee ®‰ Œ &4 I

œ. œ. œ. ee ee ee ®‰ I

# œ. œ. œ. Ib#œe. œe. œe. b ee ee ee eee≈ Œ I

œ. œ. œe. œe. œ. œ. œ. # œ. œ. œ. # œ. œ. œ. œ. œ ˙ ee ee ee ee ee ® 4 ‰ ® ee 4 p

mf f

p like a bird's chirp

ff

pp

p f

Horn

3 ¢& 4

∑

4 4

∑

∑

∑ f

5

A ‰ j 44 œ œ œ #œ p

3 4

∑ M-s.

&

6 4 Ó™

∑

Œ

Œ

>œ ≈#œ œ œ

('metamorphic' multiphonics)

A

`1@345 >. >. <#>.... œ # œ ≈# œ ≈ U ææ ° Œ œ 43 œ & ê ffz pp subito

free

bird

leaps

on

the

F

Ob.

ÍÍÍÍÍÍÍ > > > ˙ # œ. œ. œ. œ. œ. e. e. be e e e I e e œ œ œ. œ. œ. œ. ≈ Œ I f o

bisb.

C

I

#˙ b EE

œ

6 4

I mf

4 Œ œ œ b œ œ #œ. r ‰™ Œ 4 œ pp mf

(slow down slightly, B to emerge) straight mute on throughout (breath accent)

∑ Hn.

¢&

3 4

6 4 ˙

#œ œ

Œ #œ œ

˙™

œ

4 4> w

>

mf

p f

o pp hauntingly

pp mf

p

FINAL (17 Mar 2018)

2 f

o Ó

p

9

M-s.

j œœ # œ &

œ #œ nœ œ œ ™ œ #œj œ

˙

mf lightly

5 4 ‰

j #œ

œ. #œ nœ œ œj œ . .

≈ œ œ #œ œ œ œ ™ 44 œ 3

3

back

of

the

wind

till the curr - ent ends and

and oats down stream brillante # -œ ™ ~~~~~~~ Ÿ 3 5 j ‰ œ œ #œ œ œ œ ™ #œ œ nœ œ œ œ#œ œ 45 #œ G#

Ob.

° &

Ó

Œ

pp

# œj

>œ

‰ ‰ œ. œ. #œ œ. œ. œ. œ. ‰

4 4

mf 3

o p mf mf

ff

(cut off as soon as oboe strikes)

(straight mute still on)

Hn.

¢&

j ‰ œ o

Œ

5 4 # œr ≈ ‰ Œ ê>

‰ #˙ o

j #œ ˙

œ

p mf

Œ

4 4

Œ œ p

fz

f

p

ff

œ œ

5 ˙™ 4

p

f mf

12 p

M-s.

œ #œ ™ œ œ ≈ œ™ œ œ #œ #œ 3

4 & 4 #œ ™ œ œ œj œ ≈ <#>œ ™ œ#œ ™ dips his wing

in

the o - range sun

rays

and dares to claim

the

4 4

Ó

∑

sky. embellish sustained note as indicated:

n.

œ

œ

.... bisb. .... n. .... bisb. æ æ æ œæ œ œæ œ œæ œ

.... æ œæ

n.

˙

(breath accents)

Ob.

° 4 œJ &4

. . . ‰ #œ œ œ œ œ

>

> ˙

œ ‰ J

Œ

#˙ # œ 5 # œ œ œœœ œ 4 #œ ™

˙™

˙

4 4

p spaciously p

pp

#.... œ æ Œ J ‰

6

fp

f

p

f

œ œ >

j‰ œ o

f p

(straight mute still on)

Hn.

4 > (breath accents) > ¢& 4 <#> w f

p f

> p

> f

fp

fp

œ p

Œ

5 4

∑

4 4

∑

FINAL (17 Mar 2018)

3 16

∑ M-s.

Ob.

∑

&

. . # œ. . . œ. ° ‰ #œ œ ‰ ≈ œ œ R ≈ ‰ Œ &

3 4

∑

∑

∑

3 4

∑

∑

∑

# œ. # œ. ‰ Œ

Ó

p ppp pp embellish sustained note as indicated:

t. t. ÍÍÍÍÍÍÍÍÍÍ j œ œ

n. t. t. ÍÍÍÍÍÍÍ n. (straight mute still on)

Hn.

j œ œ

mute off; OPEN

¢& Ó

Œ

≈ #œ >

œ

# œ #>œ œ™ œ

> U œ ‰ ‰ j J #œ # œ

3 œ œ 4 œ™ œ™ # œ œ >

˙™

p

f

pp

f

p

f

p

mf

ê fz

f

B (enter immediately a er horn cuts off)

, p ‰ ≈ œ œ<n>œ œ œ #œ œ ‰ j <n>œ œ #œ pp

p pp

mf

21 p very delicately

M-s.

& ‰ #œj œ™# œ œ but

Ob.

° &

œ

a bird;

∑

a bird

∑

that

stalks

down

his

na

f

mf

j œJ. ‰ ‰ ≈ r 44 #œ <#> œ # ˙

‰ ≈ r 44 œ œ #œ #œ #œ ™ -

rrow cage

∑

can

sel

-

4 4

∑

dom see;

can

sel

œ

3 4

œ -

dom

see

∑

4 4

3 4

Œ #œ >

. 4 œ™ œ œ œ #œ œ#œ. œ. œ 3 4 4 . .

∑

ÍÍÍÍÍÍ (cut off precisely)

Hn.

> œ‰ Œ ¢& J

#œ ™ nœ œ œ ?

Œ

∑

∑

#œ

4 œ≈‰ Œ 4R

p 3 3

mf f

f

p

FINAL (17 Mar 2018)

4 p f

f

27

3 &4 œ œ

M-s.

#˙ œ bœ

f

mf

pp

Œ

Œ

œ œ™

mf

‰ j œ #œ œ

œ™ œ œ

œ ≈ ™ ˙ > œ #œ œ œ

œ™ œ œ ™ œ œ

3 3

through his bars

of

rage;

his

wings

are clipp - ed

and his feet are tied

he o -

so

(emphasise plosive)

Ob.

Hn.

° 3 &4

∑

. ?3 œ ¢ 4

œ.

∑

œ. œ. œ. œ. œ. œ. œ. œ. œ. ?

∑

∑

Œ voicef (sing in this octave) >œ >œ#>œ. œ. œ. # œ. œ. œ. œ. œ. #>˙ # O ‰ Œ Œ

∑

∑

f (voice)

p 3j ‰ Œ˙ # 3 Œ

# ˙ #3

#œ™ Œ

Œ

3 6 5

f

mf

3

p ff furiously

C spaciously

33 p

o Ó

pp f

& œ #œ ™ Œ

M-s.

pens;

-

‰ j 44 #˙ #œ he

o

œ #œ œ ≈# œ n˙ -

pens

his

3 #œ ˙ nœ ‰ œj 4 œ

throat

to

4˙ 4

∑

sing.

# œj Ob.

° &

∑

4 4

∑

∑

3 4

∑

4 4

∑

D# Ÿ # œ~~

Œ

œj

‰ ‰ pp

(cut off on '-pens') (voice only)

? <#> O Hn.

™

4O 4

‚j

#œ œ ‰ Œ

∑

3 4Œ

> 4 œ™ #œ œ 4

. œ# œ. œ. œ. œ. # œ œ

>z. ˙ ææ

D# Ÿœ~~

Πp

Œ

æ œæ

¢ 6

f p p f

p

FINAL (17 Mar 2018)

5 39

∑ M-s.

∑

∑

∑

∑

& 5 D# slow Ÿ~~~~~~~~~~~~~~~~~~~~ (gradually D# trill down) # œ ˙ ~~~~~~~~~~~~~~~~~ œ jŸ #œ œ œ ‰ #œ œ œ™ Ó J o 3 pp f p (gradually slow trill down)

D#

# œj Ob.

° Ó &

# Ÿœ~~

D# ~~ j Ÿ #œ #œ

Œ ‰ mf

ΠΠo f

# œ œ œ ŸD #~~~~~~~~~~~~~~ ‰ œ #œ œ ™ ‰ ™ #œ œ pp

f 3

‰ # 3j # œ œ ˙ ææ

z.

Hn.

Œ ? œ ¢ æ æ

f

3 #3 3 3 #3 ˙™

ææ æ æ #œ ™ œ œæ

Ó o

Œ

f

>æ # #æ

Œ 3 > œ™ œ #æ˙ # œ æ #œ œ œ œ œ f

ff

ff

Œ Œ ‰ #œ œ o

ff

pp

p

f

3

f

D 44 pp timidly

∑ M-s.

∑

Ó

Œ

&

‰ œ 44 œ ™ J e

caged

œ #œ œ œ œ™ œ bird sings

with

a

D#

Ÿ~~ Ob.

° Ó &

Œ

#œ

œ

3

‰

‰ #œJ œ ™ œ

‰ Œ

j #œ

# œ # œ. œ. œ. o f

p

f

slow trill down; Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (gradually end trill on D#) .œ # œ. œ. <#> œ. œ. œ. œ. œ. œ. œ. œ ˙ 4 Ó 4 3 3 o p

p z.

Hn.

œ ? #œ #œ œ ™ œ œ œ ¢ œ

œ #œ ™ œ œ #œ ææ ‰ #œ œ œ œ

œ™ ææ

‰ œ˙ ææ ææ

≈

æ 3æ

æ 3æ

>fpæ(breath accents)>fpæ 3æ #æ™ 4 ˙™ œ 4æ ææ æ

Œ

3 3

o f f p

f 3

p

f p

pp

FINAL (17 Mar 2018)

6 now yearning

p

Ÿ~~~~~(only a little) œ #œ œ ‰ ‰ œ

48 3

& #œJ œ

M-s.

fear- ful

trill

of

f

p p p f

œ ™ œ #œ œ™ œ œ œ things un - known

but

#œ ™ Œ œ ™ œ #œ #œ

longed

œ ™ œ œ ™ #œ œ™ #œ œ ™ œ œ

œ™ œ œ

Œ

for still

and his tune

is

heard

that dis -

on

D#

Ob.

intensity throughout; Ÿ~~~~~~~~~~~> (keep > #œ œ end trill on D#) J ‰ ∑

° Ó &

fp

(gradually slow trill down; œ œ ˙ Ÿ~~~~~~~~~~~~~~~~~~ end trill on D#) J #œ œ œ ‰ Ó ‰ J J p like distant echoes o mf D#

#œ ™

fz

Ó o

pp

z.

# œz. ˙ ‰ æJ ææ

z.

Hn.

#œ ? ‰ æJ ¢

˙™ æ

∑

#œ ‰ ææJ

Ó

o

pp

œ ææ

˙™ ææ

Œ

Œ

o

pp

pp

like distant echoes

pp mf p

53 f

ff

mf

p

#œ

œ#œ ™ œ#œ œ œ

Ó

œ #œ œ œ™ #œ œ œ œ

#œ

&

M-s.

œ#œ œ. Œ ‰

≈ #œ œ ™<#>œ. ‰

#œ œ r œ. ≈ ‰

‰ œ

3 3

tant

hill

for

the caged

bird

sings

of;

sings

of;

sings

of;

sings;

('metamorphic' multiphonics, as before)

Ob.

œ ˙™ ° ‰ J &

Ó

‰ œj œ

I

Œ ˙

œ

œ

#œ b ee

œ. œ. œ. >e. >e. >e. >e. ee ee ee eœ eœ eœ eœ ® Œ

I

>. >. >. >. >. >. >. >. . . . bI #œe œe œe bI #œe œe œe b# eœ eœ eœ eœ eœ e e e ®‰ Œ ‰ e e eI I e e e e e ‰

o pp

p f mf f

pp subito

ff

ff (B to emerge)

z. (normal)

<#> œ ? Hn.

¢

Πo

Œ

#œ ‰ ææJ pp

˙™ ææ

Πo

Œ

œ ˙ ‰ J ppp

(put straight mute on)

˙™ Œ o

∑

FINAL (17 Mar 2018)

suddenly frenetic

7 mf

f

E 58 pp f

p [Sprechgesang]

Ó & œ

M-s.

œ œ ç œç œç > #œ œ#œ œ #œ ™ ç #œ 3 3

Œ

#œ œ

of a - no

e free bird thinks

Ob.

#>˙P f

‰

œ œ ™ #œ œ œ œ 44 ç ç ç ç ç ç 3

≈#œç nœç <#>œ ™ ç 3

ther

breeze

and the trade

winds

so

through the

D#

Ÿ~~~~~~~~~~~ b œ >Ÿ~~~~~~~~~~~~~~~~~~~~~ > œ œ œ œ#œ œJ ‰ Œ

bend

5 4 #ύ

D# Ÿ # œ~~~~~ ~~~~~~~~~ Ÿ J ‰ <#>œ#œ œ. ‰ 45 ‰ #œ#œ œ œ œ. ≈ œ

D# C#

° Œ &

-

j nœ

Ó

4 4

œ™ #>œ œ

4 4 o

p p ffp

>œstraightœmute on J

? ∑

mf

f

fz

Œ

‰

Π&

Hn.

5 4 Ó

‰ j œ

¢ fz

p

fz

fz

p ff p f

61

mf

f 3

>˙ 4 œ. ç 4

6

M-s.

> 4 & 4 #œç ™ œç œç œç œç #œç ™

œ. #>œç ç

ύ <#>ύ ύ ύ ύ ύ #ύ

2 ™ œ. ç 4 œç

# œ. ç œç ™

ç çœ nœç ™ <#> œç œ .

Ó

3 4

3

3

sigh - ing trees and the fat

worm wait - ing

on a

bright

morn - ing

lawn

and

he names

the sky

his

own;

frenetically

Ob.

° 4 & 4 #œ

.... œ ææJ

> b œ. n œ. #œ œ œ. # œ œ œ. œ. #œ. œ. . . œ. œ.

p

bœ ‰

2 4œœ

œ. œ #>œ ™

œ. œ. œ .

œ. #>œ. 4 tacet subito ∑ œ. >œ. œ > 4 >.

3 4

fz f mp f

ff

ffz

(straight mute still on) 6

6

tacet subito 6

4 Hn. ¢& 4 Œ #œ >

6 2 4 œ. œ œ œ 4 . . . œ œ. œ. œ. œ œ œ. œ. œ œ #œ. #œ. # œ. œ. œ. œ. œ. œ. >œ. >œ. > > > 4 . . . . >

p ff

ffz f

ff

∑

3 4

FINAL (17 Mar 2018)

8

F 64 pp very solemnly

mf

[sung]

3 &4

M-s.

4 4

∑

3 4

∑

∑

5 4 œ #œ œ ™

Ó #œ

‰ j 43 œ ™ œ œ Œ #œ

‰ Œ

Ϫ

‰ ‰ œ<n>œ 3

But

Ob.

° 3Ó &4 #œ o

4 4˙

3 4˙

˙

Œ

a bird;

5 4

∑

a

caged bird

stands

on the

∑

3 4

∑

∑

∑

3 4

∑

∑

o p

f

4˙ 4

Ó o

pp

(straight mute still on)

>˙ ™ 3 # Hn. ¢& 4 ff

3 3 #>œ #>œ ˙ 4J

pp

(take mute off)

˙

ff

5 4

Πo

?

pp

brillante ( rst hit a pitch approximately E, then gliss. upwards to the top of your voice, making a very loud shriek, and cut off sharply)

f

fffz

71 p

pp mf gliss.

j œ ‰ ‰ #œj #œ

& bœ

M-s.

grave

of

Œ

‰

Œ # œ nœ ™ œ œ

dreams;

his

sha - dow

4 œ™ œ ¿ 4

j ‰ ‰ #œ œ œ œ. 3 shouts

on a

night

-

-

>¿ J ‰

3 4

mare scream

con forza

>. œ. e e e ‰ Œ

bI #œe Ob.

° &

∑

Œ

. 3œ. œ. e e ‰ e e e 44 Ó

œ. œ. œ. œ. œ. œ. œ. œ.

bI #œe

∑

Ó

3 4

Πff sempre

p f p con forza # œ. œ. œ. œ. œ. œ. œ. œ.

OPEN

- . ? œœ ‰ Œ

-œ œ. œ. Œ

∑

Œ

œ ≈Œ

Ó

Hn.

4 œJ ‰ Œ 4

3 4

Œ

¢ f sempre p f p f p f

FINAL (17 Mar 2018)

9 f

ff

mf f

76 [Sprechgesang]

M-s.

3 &4 ‰

≈

r ύ

#ύ

ύ #ύ ύ

ç œ

ç œ

ύ

<#>ύ

ύ

ύ ύ ύ

6 6

his

Ob.

wings

<n> œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. ° 3 &4

are

clipped

œ. œ. . . œ œ

and

his

feet

are

tied

so

nœ nœ œ #œ ™ ç ç ç 3 o - pens his throat

he

œ #œ to

4 4

sing

œ. œ. œ. #œ.

œ. ≈

œ.

œ. œ œ œ œ Ó . . . .

4 #œ. 4

‰ ff

Hn.

# œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. <#> œ. œ. n œ. œ. ?3 ¢ 4

œ.

œ. # œ. œ.

œ. œ. œ. œ. ≈

Ó

‰

œ. œ. œ. œ. 4 4 f

M-s.

G 78 4<#>œ &4 J

œ. œ. œ. Ob.

° 4 &4

‰

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. #œ. œ. ‰ œ. œ. œ. ‰ œ. œ. ff

œ. œ. œ. ‰

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FINAL (17 Mar 2018)

10 ff broadly and boldly

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FINAL (17 Mar 2018)

11 87

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