Candey | PROTOCOL

R E SC O U SA L PE R

P R O T O C O L a song cycle in three movements for eight TTBB voices

by Griffin Candey — composed for Cantus Vocal Ensemble texts by Kaveh Akbar + Hieu Minh Nguyen + Aiden Feltkamp

PE R U SA L SC O

R E

a song cycle for TTBB voices

by Griffin Candey

SC O

o n p o e t r y b y: Kaveh Akbar Aiden Feltkamp Hieu Minh Nguyen

R E

P R O T O C O L

written for the voices of Cantus

U SA L

movements 1. S e l f - M a d e

2. T h e M e n W h o W o r e L i o n s

3. P r a y e r f o r t h e U n c e r t a i n A n i m a l can be performed separately or attacca

PE R

—

i n s trumentation TTBB vocal ensemble —

length Approx. 10 minutes

____________________________________

p e r f ormance

notes

____________________________________

SC O

R E

As noted, each of these movements can be performed separately or ​attacca.

There are a fair number of ​soli ​throughout — I have not assigned these to specific members of the ensemble to give you all the freedom to parcel them out according to the needs of your concerts, i.e. not wearing out any one member. Also, feel very free to play with any neutral syllables throughout (your ​mm​s and your ​ahh​s) — alter them as necessary for cohesion of sound, for the needs of a performance space, for audibility’s sake, et al. Similarly, feel free to play with ​tempi (and alterations to ​tempi​) for the benefit of text comprehension. Beyond that, don’t be afraid to mess around with different sorts of vocalism, esp. in the solo bits — many of them are fairly intimate, and that can sometimes benefit from a freer, less strictly-classical approach. In short: play with it as much as you’d like in order to make it feel like yours! j __________________________________

n o t es on the piece

U SA L

__________________________________

PE R

When I started discussing the aims for this piece, a set of songs for Cantus that dig into how we learn and unlearn toxic masculinity, the two thoughts that kept ringing in my head were (​a​) ​“there are so, so many ways to approach this subject” and (​b​) ​“this is going to be hard as hell.” ​It became immediately clear that we would not be able to encompass this thing, a whole planet of hurt, in three songs and ten minutes: we needed to find a specific route in.

That route came immediately into focus once I started discussing the cycle with three incredible poets — all of whom wrote entirely new texts for this. …..

The route: ​certainty and uncertainty. W ​ e discussed how men in this country are so rarely taught to say, ​“I don’t know” or ​“you’re right, I never thought of it that way.” We model ourselves on the men that we see, in our lives and in the media, portrayed as strong when they are ​uncompromising and weak when they take their foot off the pedal. As such, we’re constantly hurtling forward. Without my guidance, the texts all formed an arc: Aiden exploring how we learn this behavior, Kaveh guiding us through an almost allegorical image of certainty making us blind instead of reliable, and Hieu painting a way forward that doesn’t require us to always know the answers.

As much as this concept frightened me at the outset, it’s been fruitful; and I’m forever thankful to Cantus for the opportunity to dig into this subject, and for their willingness to explore this rich space together. ​xx — Griffin .

____________________________________

poetry ____________________________________

.

SC O

R E

Each of these poets came sort of piecemeal to this project with Cantus. Aiden and I have been friends for years and often joke that we’re brothers. They played the lead in the first opera I ever wrote, and that began a long stretch of dumb jokes and big dreams (that I don’t imagine will let up any time soon.) For the others, I’ve admired Kaveh’s poetry for many years now and finally worked up the bravery to reach out to him. Over the phone, he very warmly agreed to be part of the project — and when I asked for recommendations of other poets who might be interested in tackling this dense subject matter, he immediately said Hieu. I looked up Hieu’s work and was fully, honestly smitten. The three of them created a kind of narrative whole that I couldn’t have dreamt up in a million years. I’m deeply grateful to have each of their very generous, personal voices woven into ​Protocol​. They make the piece what it is. ____________________________________

U SA L

Self-Made Aiden Feltkamp

PE R

Wrap myself tight: clean slate for a face, wrists straight as steel, voice pitched low (commanding), hands direct, full of purpose even when uncertain.

Wind myself tight, modeled after the men who roam the Earth like machines: measured, cogs moving fast but unfeeling, predictable, and steady even when uncertain.

This is the protocol.

This is the man I’m not sure I want to be. ____________________________________

The Men Who Wore Lions Kaveh Akbar Over the men’s heads, a bird spoke:

The thing you hoped might save you had better save you soon.

SC O

The men stood, staring at the sky like desperate plants.

R E

The sun is in the mountains; above it is the moon.

Courage: a long shadow scattered over the horizon like salt tossed over a shoulder.

U SA L

Over their shoulders, the men wore lions.

They wore lions like men wearing lions.

PE R

Mane blended into beard, making the men glow

with mannish light.

The men approached the mountain that had sunshine seeping out its cracks.

When they got close enough, the mountainlight illuminated each man’s face.

Terrible light.

Inside the core of the sun inside the core of the mountain was a single white plant, six

fists high, with its roots growing straight up in the air.

The men never found it.

The men could only see themselves.

Prayer for the Uncertain Animal Hieu Minh Nguyen

R E

____________________________________

SC O

All my life, I was taught to make the world small in my hands, to let it dissolve like a pill on my tongue,

a mark in the sand. We think we know what we know cannot change. We pin our wonder to logic.

We nail our feet to the floor. We dance on a schedule.

We dream with our eyes closed.

U SA L

We are so certain it makes us lonely.

We are so certain it makes us scared

of the water, of the worlds that can prove us small.

We map the world to make us feel large at the center.

PE R

Sometimes men will touch a thing as if they’re doing it a favor.

Sometimes men will burn down a city just to be its savior.

Boys will be boys will be back before dawn.

Boys will be boys will not dance along to songs they don’t know.

Let magic be magic without looking for the strings. Let the light shine on everything.

Let us be small among the impossible trees.

Let us dream ourselves small with our eyes wide open. ____________________________________

PE R U SA L SC O

R E

Score

1. Self-Made

________________________________________________________________________

text: Aiden Feltkamp — music: Griffin Candey — for: Cantus accel.

{q = c 66-69}

grow in viciousness, brighten sound until the a tempo in m. 6

Tenor 2

Baritone

V 46

∑

44 Ó

V 46

∑

44

?6 4

∑

4 4 œ.

p

≈

œ

bœ

œ.

∑

V

? >œ ? bœ

(oh)

œ 3œ b œ >œ œ

no

subito

no

to divisi:

>œ

43 Œ

subito

Ï 34 >œ no

> œ œ œ œ œ 3

Ï 3 >œ 4 no

œ

œ

œ

bœ

œ

œ bœ œ œ

p> ˙

œ œ bœ œ j œ œ

b œ˙ .

Œ

P

3 œ- œ- œ-

F œ-

Wrap my - self

tight:

Œ

œ.

>˙ .

Wrap

no

no

>˙ no

Œ

Œ

solo

Œ

Œ

Œ

P

œ

F œ- œ- b œ œ 3

Wrap my - self

∑

Œ œ œ J

my - self

>˙ .

no

Œ

œ

a faint echo

∑

œ

3

a piacere — a quiet statement

∑

p

3

3

˙

œ J

œ œ œ

w˙

U SA L 43

œ

œ bœ.

J

œ.

>œ 3 >˙ .

J 4

(oh)

B

œ

V œ

PE R Bar

j œ bœ

divisi

∑

(oh)

T2

4 4 œw.

œ.

j œ œ

œ bœ œ j œ bœ

oh

V

V ˙

(oh)

T2

p

oh

{q = c 60-66} Ï 3 to divisi: > œ 3 >œ œ œ œ b >œ Œ Œ Œ 4

5

T1

j œ bœ

(oh)

No

T1

π

œ

œ

∑

oh

?6 U 4 w.

Bass

Œ

SC O

Tenor 1

p œ

R E

clandestinely — stark

tight:

>˙ no

Œ

Œ ∑

VŒ

T1

T2

V

3

clean slate for a

˙.

>.

V˙

Bar

>˙

B

?Œ

13

T1

V V

3

clean slate for a

solo

F ˙ voice

˙.

P - - - ‰ Jœ œ œ œ 3

clean slate for a

pitched

T2

Bar

no

V œ

˙

no

F > ? œ bœ. œ F ? >œ

voice

for a

no

>˙

fœ

no

Œ

face,

f œ-

Œ

face,

pitched

œ

f ˙.

low,

straight

œ œ œ

‰ ˙

face,

straight

44 ˙ .

Œ Œ

34 >œ Œ Œ

as

steel,

>œ 44 œ œ > no no P > 44 œ b œ œ . œ

bœ 3

> œ œ

pitched

com

.

43 ˙

no

no

43 Œ

œ

f

no

˙

P

wrists

44 œ

wrists

straight

œ

œ

straight

-

man - ding

f

as

> 34 œ Œ Œ

bœ œ

as

oh

steel,

œ

no

no

low,

˙ > low,

‰ ≈ œr 44 b œj œ . >

Œ

com

-

man - ding,

man - ding,

oh,

j œ œ

œ

di - rect,

no

Œ

-

œ.

œ bœ œ

> ‰ ≈ œ 44 œJ b œ .

R com

to unis.

no

œ

œ b˙.

di - rect,

no

44 œ

no

œ 3œ b œ 3 >œ Œ Œ 4

44 ˙ .

f œ ˙

ƒ

to unis.

steel,

œ

no

no

ƒ >œ œ . b >˙

voice

B

>œ

f to unis.

34 >œ Œ Œ

{q = c 66-69} ƒ 3 r 4 . œ œ ˙ ‰ ≈ œ 4 bœ œ œ bœ œ œ œ œ œ >

PE R

T2

P - œ- œ- b œœ ‰ J

wrists

œ œ œ 4 œ.

4

˙

œ

no

Π3

slate

Vœ

?Œ

face,

>˙ .

tight,

no

T2

Œ

P 44 œ

R E

T1

f œ-

SC O

P - - - ‰ Jœ œ œ œ

9

U SA L

2

f f

œ. œ ˙

œ bœ œ

œ. œ ˙.

bœ

hands

hands

di - rect,

di - rect,

3

full of

oh

1. Self-Made

T1

V

˙œ .

b ˙˙ oh

V œ ˙

˙

œ ˙

˙

3

T2

pur - pose,

Bar

?

œ 42 œœ J

42 ‰ b œ œ œ

e - ven when

bœ œ œ 42 ‰

3

3

oh

V ˙

21

T1

T2

V bœ.

œœ

2 œ 4 œ

Bar

? w

no

B

p ? bw

no

œœ

œ

cer

-

tain,

un

44 b œ

œ

œ

œ

bœ bœ œ bœ

p

p 44 b œJ b œ .

un

-

œ

cer - tain,

cer - tain,

Oh,

j bœ bœ

bœ

bœ

no —

∑

tain.

cer - tain,

oh

œ J

b˙.

bœ

bœ

b w˙ .

bœ

{q = c 69-72}

pressing forward — militant

accel.

>˙

-

b˙

oh

F bœ.

Wind

œ J

œ

my - self

Wind

œ

my - self

>˙

F bœ.

œ J

no —

Wind

F bœ.

œ bœ J

my - self

Wind

œ J

my - self

˙. >

no —

˙

Œ

no —

43

-

oh

43 ˙ . > no — π ˙.

43 π 3 4 œ

cer

un

œ.

F 4 b b ˙w 4

-

un

π

b˙

PE R

no

e - ven when

-

b˙

U SA L

? ˙.

un 3

pur - pose,

B

bœ

SC O

17

{q = c 60-66} p suddenly adrift bœ Nœ œ 44 œ .

J

R E

rit.

3

œ P >˙ . no —

F bœ.

œ

to divisi:

1. Self-Made

4

{q = c 72-76} f to divisi: b œ n ˙ . . ‰ bœ

accel.

‰ œ œ œ. œ œ

V bœ

‰ bœ œ bœ. œ bœ

? bœ

‰ bœ œ bœ. œ

tight,

T2

mo - deled af - ter the

mo - deled af - ter the 3

tight,

B

mea - sured,

# >œ # ˙ V ˙

mea - sured,

B

? #˙. oh

men

who roam

bœ.

œ bœ. bœ J

the

men

who roam

bœ.

œ œ. œ J

mo - deled af - ter the

men

œ œ

b˙ b œ. oh

unis.

# >œ # œ .

J

œ œ.

cogs

> ˙

who roam

the

œ.

Earth

Œ

#œ. # œ. >

Cogs

like

‰ bœ. bœ

œ.

Earth

ma - chines:

like

ma - chines:

bœ bœ

œ. œ

Earth

like

the

f n˙.

f nœ nœ.

ma - chines:

œ

œ J

b˙ b˙

f

œ. œ nœ. œ. œ n œ.

oh,

like

ma - chines:

#œ J

j #œ œ #œ oh

mo - ving

#œ #œ.

J

œ 3œ # œ # œ # œ .

J

#œ #œ.

˙

œ #œ œ #œ #œ œ #œ œ œ

# >œ

#œ œ.

#œ

Cogs

mo - ving

fast,

cogs

PE R

mea - sured,

Bar

œ bœ. bœ J

bœ.

U SA L

> # œœ ˙˙ V >

? # >œ

bœ

oh

29

T2

3

? b˙ b˙ tight,

T1

3

3

tight,

Bar

3

R E

T1

3

SC O

V bœ

25

mo - ving

j unis.œ . #œ œ mo - ving

fast,

but un - feel - ing,

fast,

pre -

3

fast,

#œ.

œ œ

but un - feel - ing,

#œ

œ # 3œ # œ # œ # œ .

J

but un - fee - ling,

j œ œ

oh

pre -

#œ pre

-

#˙. oh

1. Self-Made

5

T2

V

#œ.

#œ œ.

dic - ta - ble,

and

V #œ. #œ œ. ? #œ. dic

B

-

-

cer

Bar

? #˙

cer

B

-

? #˙

oh

-

and

j #œ œ

oh

stea - dy,

œ #œ #œ #œ. oh

˙˙

#œ

#˙

Œ #œ #œ.

Oh

tain.

tain.

œ

œ

#œ

œ

Oh

tain.

j œ ˙

Oh

œ œ nœ

œ.

j œ ˙

œ.

#œ.

oh

e - ven when un

œ #œ.

J

U SA L

V #˙

F #œ.

PE R

T2

stea - dy,

#œ

37

cer

F #œ #œ œ

Œ

œ œ

stea - dy,

ta - ble and

? ˙

V ˙˙

and

#œ #œ #œ J

(oh)

T1

stea - dy

F j j œ #œ #œ.

dic - ta - ble,

Bar

œ

-

cer - tain,

p ‰ Jœ 44 # œ . un

-

cer

p œ #œ #œ #œ œ 4 #œ nœ.

4 J

œ

j œ œ.

3

e - ven when un

#˙

œ œ œ J

tain, un -

-

œ œ

cer - tain,

p 44 n # ˙˙

un -

j #œ

œ.

oh

no

rit.

œ

œ.

j #œ #œ oh

j œ #œ #œ

œ

œ

oh

˙

oh

œ.

œ

Œ #œ #œ.

#w j œ #˙

-

un -

R E

T1

F #œ #œ œ.

J J

SC O

33

{q = c 69-72} p 3 ‰ # œ œ # œ œ 44 # œJ œ . œ œ

rit.

j œ

w

oh

œ œ œ

j œ

6

Bar

B

V œ ? #œ ? œ

45

T1

T2

V

This

œ

This

#œ J

œ.

is

the

f œ.

#œ J

is

the

f œ #œ

œ

This

the

is

œ

f œ.

This

is

˙

Bar

? #œ #œ

the

Œ #œ #œ 3

œ #œ #œ 3

œ

(mm)

B

? #˙

(mm)

pro

-

œ.

-

j #œ ˙

œ

œ

œœ

unis.

to - col.

to - col.

F divisi j # œ . # œœ ˙˙ J

pro

solo

#œ ˙ J

-

to - col.

F divisi j #œ œ # œ .. œj ˙

PE R

(mm)

F #œ.

pro

I'm not

V ˙

pro

rit.

-

to - col.

‰ Œ

Mm

œ.

œ

#˙

sure

# >œ . > ˙

j œ ˙ >

This

is the man

P œ #œ.

J

œ.

mm

œ #˙

unis.

œ

œ

Mm

j #œ œ

P #˙

œ

œ œ œ al niente

#œ

œ

œ.

mm

P œ #˙ J

œ.

mm

œ J

œ

#œ

rit.

come to almost a complete stop, then quietly return

œ #w

I want to

œ

#œ

Mm

œ œ œ.

j œ œ

{q = c 66-69} ˙ œ # 3œ # œ œ

R E

T2

œ

F #œ.

SC O

T1

f

U SA L

V œ

41

a tempo

43 œ .

be.

p œ.

p #w

j œ #œ #œ

∑

‰ Œ

44

3 4 ˙.

44

3 ˙.

4

4 4

43 Œ

π ‰ j # œ œ 44 #œ Oo

7

B

π V 44 # œ π ? 44 Œ

œ

œ

#œ

#œ.

(oo)

V œ

œ œ

Bar

(oo)

B

? ˙.

(oo)

œ.

œ J

#˙

œ #œ J

p œ #w J

P

œ.

p #œ #w J

œ.

P ? œ #œ #œ. (oo)

œ J

P

œ J

œ

p œ.

#œ

j œ

œ.

π 64 w .

œ #œ #œ J

#œ

œ

Œ

#œ

opt. divisi

œ

œ #œ.

oo

œ J

w

oo

include final measure if performing attacca into second mvmt; otherwise, end at m. 53

44

U w

44 Uw

π #˙.

64 œ ˙.

46 ˙ .

œ œ œ

#œ

oo

π 46 w .

p #w #w

œ

oo

stretch to the end

PE R

T2

V

P

w

U SA L

T1

#œ

œ

œ.

(oo)

œ œ œ 3

Oo

π ?4 ˙ 4

52

œ

Oo

Oo

Bar

#œ

rit.

R E

T2

œ

SC O

T1

{q = c 60-66} π unis.

49 4 ‰ œj ˙ V4 Œ

˙ Œ

Ó

44 44

U w

∑

Score

2. The Men Who Wore Lions

________________________________________________________________________

text: Kaveh Akbar — music: Griffin Candey — for: Cantus

{q = c 52-60}

surreal — brightly lit

Baritone

Bass

3 V8

5

3 V8

Oo

?3 4 ?3 4 œ. (oo)

Oo

T1

T2

T2

44

Bar

∑

? 38 œ .

(oo)

B

bird

42

˙.

3 4

al niente

π ˙

œ

solo

∑

∑

43

˙.

43 ˙.

43

spoke:

to divisi:

2 4 Œ

42 ˙ ∑

3

O - ver

42 Œ

to divisi:

42 Œ

.

24 œ 42

.

3 ˙ 4

24 œ

∑

.

43 ˙

(oo)

? 38 œ .

U w

44

∑

43

3 V 8 œ.

3 V8

π 2 ˙ 4

w 4 U 4

π ˙.

43 Ó̇ .

R E

π 3 ˙.

V4

PE R

T1

44 # w

SC O

Tenor 2

V 43

π ˙ 24 ˙

U w

U SA L

Tenor 1

π ˙.

P ‰ P ‰

P ‰

∑

œ

43

œ

43

the men's

œ J œ J

The

The

œ J œ J

The

‰

p

j 38 œ

p ‰ œ J p ‰ œ J

˙ ˙

heads,

a

{q = c 69-72}

sing-songy — unsettling

œ.

œ J

œ

œ

3 #œ.

4

is

#œ J

in

the

is

in

the

34 # œ .

#œ J

œ

43

sun

sun

.

43 ˙ oo

˙.

43 sun

43

oo

is

∑

œ

in

38

œ

œ the

38 38

2

T1

moun - tains;

T1

œ V J #œ.

moun - tains;

T2

T2

V

œ ‰ J

#œ.

a - bove

a - bove

˙.

˙.

(oo)

œ ‰ J

œ V J #œ.

moun - tains;

Bar

œ ‰ J

#œ.

a - bove

? ˙.

˙.

œ- œ- œJ rit.

# ˙-

it

is the

moon.

# œJ œ- œit

is the

# œJ œ- œit

is the

(oo)

,

-̇

,

moon.

a tempo

œ.

œ J

The

thing

you hoped might

œ ‰ J œ ‰ J

The

˙.

,

-̇

œ ‰ J

#œ.

#œ J

thing

moon.

The

˙.

œ œ

œ œ

you hoped might

˙.

R E

œ V J

œ.

#œ.

SC O

œ.

9

thing

˙.

#œ J

œ

œ

you hoped might

44 4 4 44 44 4 4

(optional: basses can double tenor + baritone drone)

T1

T1

œ

œ

save

you

V 44 œ # œ save

4 V4 w

œ. œ œ 2 ‰ J 4 J

you

had

œ

T2

V 44 œ # œ save

Bar

? 44 w

you

œ

bet - ter

43

˙

œ

save

you

‰ # œj 42 # œj œ .

43 ˙

2 4 ˙

3 .

4 ˙

‰ # œj 42 # œj œ .

43 ˙

had

PE R

T2

œ

U SA L

V 44

13

rit.

had

bet - ter

bet - ter

˙ 42

save

save

˙.

43

œ

you

64 # w

soon.

46 w

soon.

you

" Ó

44

" Ó

44

6 .

4 w mm

œ

hold drone briefly — then soloist enters, a piacere:

46 œ œ . ˙ . soon.

w.

46 mm

4 4 "Ó

44 44

2. The Men Who Wore Lions

V 44 w

(mm)

? 44 w

24 ˙

(mm)

œ.

? 44 ‰ ≈ œ œ R

solo (same voice)

B

The men

20

T2

Bar

B

V

w

V w

? #˙.

plants.

2 ˙ V4

24

∑

Œ

∑

PE R

T1

∑

ƒ

? w

(ah)

f f f

V 42 œ b œ œ œ œ œ 43 œj œ . o - ver

Bar

the ho

-

ri - zon

? 42 œ œ œ œ 3œ œ 3 # œj œ .

4 o - ver

B

œ œ œ 3

sta - ring

at

the ho

-

ri - zon

? 42 œ œ œ œ 3œ œ 3 # œj œ .

4 o - ver

the ho

the

-

ri - zon

ah

œ œ

sky

like

>œ >œ .

J

Cou - rage:

j >œ . œ >

Cou - rage:

P œ ‰ ≈ Rœ

œ bœ.

J

a long

sha - dow

œ bœ.

J

scat - tered

a long

sha - dow

scat - tered

rit.

f 44 b œ-

salt

salt

f œ œ 4 œ 4 like

salt

Œ

œ œ.

J

2 4

œ J œ.

2 4

w p - - ‰ Jœ œ œ œ 3

tossed o - ver the

42

œ- œ- .

J

œ Œ

42

Œ

42

Œ

42

shoul - der.

Œ

p - - œ œ œ œ ‰ J

œ- œ- .

J

œ

Œ

p - - œ- b œ- œ- . ‰ Jœ œ œ J 3

œ

3

tossed o - ver the

42 2 4

œ bœ.

J

scat - tered

f b œ œ 4 œ 4 like

œ œ.

J

sha - dow

mm

like

despe - rate

a long

Í 44 w

œ œ

œ œ.

w

P ‰ ≈ Rœ œ

Cou - rage:

3

˙

44 n ˙

P ‰ ≈ œr œ

>œ >œ .

J

˙.

43

3

T2

œ œ.

f press forward P w

U w

ƒ

(ah)

44 ˙

U SA L

T1

stood,

(remain still, quiet)

42

‰

ah

œ

R E

Bar

j œ œ œ

SC O

T2

44 œ .

42 ˙

17

shoul - der.

tossed o - ver the shoul - der.

2. The Men Who Wore Lions

a tempo

F 3 œ œ - œ ≈ b œ >œ 2 4 œ œ œ œ V4 - - - 4 O - ver their

T2

shoul - ders,

shoul - ders,

3

V 43

T2

œ. (ah)

V 43 ˙

men

Bar

men

B

? 43

˙.

(ah)

the men

F œ- œ- œ- 44 œ- b œ œ ≈ œ œ > 3 O - ver their

Nœ œ J

shoul - ders

œ 4 w 4

Nœ œ.

44 j #œ œ.

Nœ œ.

44 # œ œ .

J

wea - ring

PE R

? 43 ˙

shoul - ders,

wea - ring

li - ons.

li - ons.

44 ˙

li - ons.

œ

f

(Ah)

j œ œ œ. œ œ >li - ons.

They wore f > œ . œ œ3 œ œ J

wore

>œ

3

li - ons.

wore

f j œ œ. >

œ >

the men

wore

accel.

U SA L

?2 Π4

32

T1

the men

œ >

F - - ? 42 Œ œ œ œ 44 œ œ- œ ≈ œ >œ O - ver their

B

wore

F 3 > V 42 Œ œ- œ- œ- 44 œ- œ- œ ≈ œ b œ O - ver their

Bar

the men

j œ œ. >

F œ

They wore

SC O

T1

f

>œ

28

li - ons.

42

∑

slight gliss. — push loudly, decisively into next section

œ

Œ

P œ œ

P ˙

mm

(mm)

P 24 ˙

(mm)

œ 24 J œ .

43

2 3 4 œ bœ œ œ 4 li - ons

like

24 œ b œ œ œ 43

R E

4

˙

li - ons

F 2 4 ˙

like

(Ah)

3 4

{q = c 72-76} P 44 # w

43

F 44 #˙

43

oh

Mane

#œ œ œ #œ blen - ded

in - to

42 ˙

F 44 # ˙

#œ œ œ #œ

43

42 ˙

F 44 #˙.

œ œ

43

Mane

Mane

blen - ded

in - to

in - to

2. The Men Who Wore Lions

oh,

T2

? 43 ‹ œ .

‰ # œ œ œ 44 # œ œ

? 43

‰ œ œ œ 44 # œ .

#œ.

beard,

4 #œ œ œ 4 #œ #œ men

glow

with man - nish

. œ œ œ #œ

3

ma - king the

men

glow

with man - nish

j œ œ

3

ma - king the

#œ

men

#œ

glow

with

T1

men

T2

4 # >˙ V4

men

Bar

ap - proached the

œ œ #œ.

? 44 # ˙ . >

men,

œ

œ.

#œ J

the

œ

the

moun

light.

f j #œ # # œœ .. # œ œ

œ œ #œ

#œ œ œ œ #œ œ

-

that had 3

that had

#œ ˙ J

-

œ

tain,

3

sun - shine

sun - shine

sun - shine,

nœ

The

# >œ 44 J The

œ 3œ œ œ

see - ping out 3

œ œ.

J

tain,

# >œ 44 J

24 # œ- .

œ

3

j 4 #œ 4 >

24 # œ- .

œ œ #œ

#œ. #˙

f # œ . # œJ œ œ light.

42 œœ ..

#œ

moun - tain

moun

The

#œ œ #œ #œ œ #œ

moun - tain

#œ #œ

ap - proached the

men,

B

#œ

#œ #œ.

PE R

? 44 # >˙

œ

U SA L

> 4 #˙ V4

light.

light.

with bravado — keep tempo moving forward

40

24 œ ‰ # >œ 44 J

f œ œ œ # œ . # # ww

3

ma - king the

œ.

with man - nish

‰

beard,

B

œ œ

3 V 4 ‹œ.

beard,

Bar

44 # ˙

œ J

a tempo

SC O

T1

f rit. #w

R E

3 V 4 œ #œ #œ.

36

5

see - ping out

œ.

of its

#œ J

ah

w

ah

2. The Men Who Wore Lions

‰ #œ œ #œ

V #˙

F

close e-nough,

‰ #œ œ œ

when they got

#œ. œ œ

close e-nough,

Bar

? #œ. (ah)

B

?

˙

(ah)

T1

when they got

œ #œ J

when they

œ

#œ

lu - mi - na - ted

T2

V œ.

œ œ œ œ

? œ.

œ œ #œ œ

PE R

lu - mi - na - ted

Bar

lu - mi - na - ted

B

?

Nœ.

F

#œ

V œ. #œ œ nœ œ

F #œ. œ œ #œ.

f divisi j 24 œœ- œœ- œœ‰ œ œ

moun - tain light

the

œ œ

the

j #œ œ œ

f

œ œ œ œ

lu - mi - na - ted

24 # œ-

œ- œ

24 # œœ

œœ- œœ

moun - tain,

f

divisi

œ-

42 œ

44 #œ #˙.

œ-

2 4 œ

each

each

œ-

each

œ.

j œ

44 ˙˙

œœ . .

j œ

man's

42 œ

œ-

man's

œ-

the

moun - tain light

44 ˙ ˙

man's

œ-

man's

rit.

face.

face.

44 . ˙

face.

il -

il

-

Œ

˙.

(Oo)

œ- # œ-

2 4

(Oo)

N œ-

(Oo)

42 42

-̇

wœ

il -

œ œ

# œ- # œ-

face.

4 ˙ 4

il -

44 # >œ . # œ # œ œ œ œ

{q = c 66-69}

44 w

each

44 ˙

moun - tain light

the

24 œ # œ

œ-

œ- œ

moun - tain light

the

close e-nough,

got

rit.

47

œ. œ œ

SC O

cracks

T2

f œ ‰ Jœ 42 # œ

U SA L

T1

F

V ˙

43

R E

6

œ-

œ

œ-

42

2. The Men Who Wore Lions

˙˙

T1

œ œ œ 4 n ww 4

˙˙

π ˙

44 w

w

œ œ œ

Ter

T2

3

ri - ble

-

P 2 œ V4

light.

3

Ter

Bar

3

3

-

p ? 42 ˙

ri - ble

(Oo)

B

44

T2

V V˙

.

? ˙.

PE R

the core of the

V˙

.

44 w

? ˙.

(Oo)

Bar

(Oo)

B

?˙

#œ

six

fists

4 n˙.

4

high,

˙.

34 ˙ .

˙.

F a piacere, very loose œ œ 3œ œ ˙ ‰ œ 43 œ .

J J

, ‰ Jœ

œœ

˙˙-

white

plant

Œ

the core of the sun,

Œ œœ œœ a

œ 3œ n œ J ‰ was

a

œœ œœ .. œœ 43 sin - gle

3 .

4 ˙ 34 ˙ .

34 œ b œ .

with its

—

˙.

œ

# ˙-

white

plant,

œ

sin - gle

43

˙.

3 ˙.

4

Œ

∑

divisi

w 3 ‰ œ œ #œ

in -

˙.

w

4 w 4

∑

very faint; line up with bass soloist

3

moun - tain

rit.

7

˙.

43

In - side

was

3

side

T2

π

divisi

œ. œ œ œ # œ 44 # œJ J

? œ.

60

Œ

44 w

(Oo)

B

Ó

4 w 4

(Oo)

Bar

∑

solo — same voice

U SA L

T1

(Oo)

44 Ó

∑

56

π

light.

p ? 42 ˙

{q = c 66-69} ∑ 43

R E

w 44 # w

π Ó

a tempo

SC O

P 51 œ 2 V4

slow, stretch to final note

roots

œ œ.

grow-ing

œ

œ-

œœ- b œ3

straight up in the

3 œ.

4 air.

42 2 4

‰ Œ

2 4

2. The Men Who Wore Lions

T1

T1

T2

T2

Bar

2 V4 Œ 2 V4 Œ 2 V4 Œ

P œ ‰ J

sing-songy again — biting

P œ ‰ J

The

P ‰ œJ

The

P œ ‰ J

The

The

˙ ? 42 ˙

43

˙

œ œ.

men

ne - ver

3 #˙ 4

men

œ œ.

44 J

men

3 #˙ 4

˙.

34 ˙ .

The

œ œ.

4 œ #œ.

4 J

œ

œ œ.

œ

ne - ver

4 œ œ.

4 J

ne - ver

4 œ #œ.

4 J

œ

found it.

found it.

œ œ.

men

œ ‰ J

found it.

ne - ver

3 ˙ 4

œ

found it.

w 44 w

œ J ‰

The

‰ Jœ

The

œ ‰ J

The

(optional: basses can double baritone divisi)

(Oo)

42

œ.

œ J

men

could

2 #œ.

4

men

4 4

œ J

4 4

#œ J

4 4

could

2 œ.

4

men

could

2 #œ.

4

men

could

˙ 24 ˙

44

#œ J

R E

V 42 Œ

64

SC O

a tempo

8

44

include if performing attacca into third mvmt; otherwise, cut off at fermata in m. 71

T1

on - ly

œ

see

them

V 44 œ œ œ

œ

œ

V 44 œ œ œ

œ

V 44 œ œ œ

œ

see

PE R

on - ly

T2

on - ly

T2

on - ly

Bar

B

œ

w ?4 w 4 ?4 Ó 4

U 64 # w .

44 w

U̇

w.

6 U

44 w

U̇

44 w

U

44 w

U

w 4 w 4

˙˙

U SA L

T1

œ œ œ

rit.

V 44

68

see

see

unis.

π Œ

them

-

-

œ

them

œ (mm)

4

selves.

64 U w.

selves.

œ

them

selves.

-

w.

64 U

selves.

U w.

6 w.

4 U 64 w .

(mm)

Ó

(mm)

(mm)

Ó

al niente

al niente

w

(mm)

w

(mm)

44

∑

Ó

al niente

∑

2. The Men Who Wore Lions

Score

3. Prayer for the Uncertain Animal

________________________________________________________________________

text: Hieu Minh Nguyen — music: Griffin Candey — for: Cantus

Tenor 1

Tenor 2

V 44

π U 4 V4 w

∑

P w

∑

? 44

∑

a tempo

4 V 4 ˙.

6

T1

ß 4* V 4 œ œ.

∑

T2

˙.

Bar

˙.

? 44 Ó

œ

ß* œ œ. œ œ no

p ˙.

œ ≈ œ œ œ. œ (n) no

œ

ß œ ≈ œ œ œ. œ (n) no

(oh)

* all appoggiatura like this throughout this movement should pierce through the texture — like little stings

œ œ w

œ

˙ œ P ˙

œ œ

œ

∑

44

2 4

∑

4 4

∑

44

F œ ˙

oh

no

F œ œ.

oh

œ œ œ

oh

˙

no

F œ œ.

oh

44

π 42

π 42

U

Mm

oh

(oh)

(n) no

B

p

F

P Œ ˙

‰ œ œ ˙.

p ß ? 44 ‰ ≈ œ *œ œ . œ œ œ .

R no

w

3

24 U̇

π

F U w

P

Œ

PE R

(mm)

Mm

Mm

F U w

w

U SA L

Bass

?4 4

p

∏ ˙

Ó

∑

ß p *œ œ . œ œ ˙ œ

Mm

Baritone

∑

quietly, a hanging thread

rit.

R E

distant — under duress

SC O

{q = c 66-69}

F

no

˙

no

j œ ˙ œ ˙ J ˙

2

T2

Bar

V œ ? œ

œ œ

f P > œ ˙

no

f P >œ ˙

no

V w

14

T1

life,

T2

V w

no

B

?Ó

œ

œ

no

a

no

a

no

œ

42 ‰ œ œ 3

42 œ œ œ

all

to

my

life,

make the world

P œ . œ 85 œ . œ œ- .

24 œ .

42 # œ

w

∑

F -. œ # œ œ .

5 œ œ.

8

I was taught

p œ œ

my

∑

no

I was taught 3

œ J

w

ß subito p w no

P œ.

solo

All

ß subito p œ w J

f j œ œ œ œ œ œ >

P œ œ. >

PE R Bar

œ

f >œ

Ó

Œ

no

no

p ß ? œ œ. œ œ œ ˙ no

œ.

˙.

U SA L

? œ

f > œ œ œ

oh no

f

ß

œ

œ

oh no

no

B

a tempo

R E

T1

f >œ

rit.

SC O

V œ

10

f P >œ ˙

to

œ J

to

œ to

make the world

P . œ œ œ- .

85 P

make the world

85 œ . œ œ- .

make the world

P

44 ˙

œœ œ œ 3

small

in my hands,

p 44 ˙

˙

small,

p 44 ˙

oh

small,

oh

44 . œ

j œ œ

p

small,

œ

oh

œ œ

3. Prayer for the Uncertain Animal

3

T1

to let it dis - solve

T2

œ

V œ

(oh)

Bar

? œ

œ œ œ 42 b œ 3

3

œ

like a

42

œ

˙.

T1

sand.

T2

V 44 b w

(Mm)

B

mark

π b b ˙˙ .. π b˙.

π divisi ww

b ww

ww

˙.

mm

Ó

?4 4 w

Ó

F bœ ‰ œj b œ

solo

We think we

We think we

f œ

mm

bœ

Í ˙

know

know,

P bœ. ˙ œ bœ

œ bœ bœ ˙ 3

what we know

œ.

can - not change,

j bœ oo

œ bœ

44 44 44

Oo

Oo

œ 4 4

in the

mm

b b ˙w.

43

œœ 3

π œ b˙

b ww

? 4 ww 4

(Mm)

43 n n ˙˙ ..

a

ww

π divisi

F bœ ‰ œj b œ

(Mm)

˙.

b˙

a tempo

PE R Bar

divisi

tongue,

U SA L

w 4 V4

22

43

˙

P 42 b ˙

œ ˙ J

(oh)

P

˙

‰ œj

rit.

SC O

? œ.

on my

P 24 b ˙˙

(oh)

B

pill

œ œ œ 43 3

R E

œ V ‰ œJ œ œ œ

18

b˙

42 42 2 4 42

3. Prayer for the Uncertain Animal

4

F 44 # œ œ œ # œ œ Won - der,

(oo)

V 42 œ b œ œ œ

F #œ #œ œ #œ œ 44 won - der

We pin our

Bar

B

#œ ? 42 ‰ # œJ œ ? 42 œ .

We pin our

our

won - der

{q = c 69-72} ß 29 # >œ œ . œ # œ œ V Œ

PE R

F ? #˙

Bar

floor.

P ? ˙

divisi

B

oh

-

gic —

-

to

ß #œ œ. no

lo

-

œ

—

3

feet

to the

#˙. no

œ

P ‰ # œj œ œ

Ó

Œ

P

˙.

#œ

We

f #œ Œ

3

on a sche - dule. no

œ J

p œ

We nail our

œ œ œ

to divisi:

j œ˙ ‰ # œ œ .

œ

(o)

P #œ œ # œ œ ‰ J

gic

no

#œ œ. œ.

no

œ

œ #œ #œ œ œ ˙

dance

#˙

#˙

gic

œ ‰ Jœ We

oh

p

#œ

˙.

ß > V #œ œ. ˙. no

lo

F 44 n œ # œ œ œ #œ

no

T2

to

œ

U SA L

T1

lo

won - der

#œ J

(oo)

#œ

#˙

SC O

T2

our won - der —

F 44 # œ # œ .

J

unis.

#œ

pressing forward

R E

b ˙˙ 2 V4

26

T1

p ˙

unis.

>˙

œ

We

We dream

˙œ .

P #˙.

unis.

œ J

‰ œ J

We

3. Prayer for the Uncertain Animal

T1

V

F V #œ.

dream,

dream,

Bar

B

?

V

dream

˙

p #w No

eyes

œ œ œ

p œ

closed.

with our

j œ œ

œ #œ œ 3

we

dream

with our

no

eyes

Œ

closed.

opt. divisi

˙

eyes

œ

œ

3 N œ- ˙

œ

?

∑

p w

∑

Ó

it makes us

lone - ly.

No

to unis.

‰

to unis.

F 3 ‰ #œ œ œ

solo

Œ

unis. # œ

#˙

V œJ # œ .

?

œ

We are so

œ. ˙

No

#˙

˙

#˙

˙

closed.

w

œ

œ.

œ

w

œ #œ œ.

œ

eyes,

p #˙

œ

˙

P œ #œ œ #˙

PE R B

with our

3

cer - tain

Bar

œ œ œ

with our

take time, stretch

T2

3

p #˙

we dream

3

˙.

dream,

T1

we

F ? œ.

35

œ J

œ

#œ ˙ J

U SA L

T2

˙

we dream

dream,

F >œ # V

œ J

p #œ.

R E

T1

F # >œ .

SC O

32

5

a tempo

rit.

No

˙ 42

then: press forward

œ

p

˙

No

Œ

unis. F

44

42 ‰ œ œ # œ

44

42 ‰

44

3

F 3 œ œ #œ

We are so

F

We are so

3 24 œ œ œ #œ

We are so

44

3. Prayer for the Uncertain Animal

6

œ

T2

No

j V 44 # œ # œ .

cer - tain

Bar

? 4 #œ #œ.

4 J

cer - tain

B

? 4 j #œ.

4 #œ

cer - tain

T1

small,

T2

V #˙.

P œ œ œ œ œ œ

Bar

it makes us

it makes us

oh

scared,

it makes us

ß #œ œ. ˙ no

ß #œ œ. no

Œ

#œ

#œ

oh

scared

‰ #œ œ 3

of the wa - ter,

scared

˙

no

3

œ

œ œ œ œ œ

œ

œ œ #œ œ œ

that can make us

˙

of the wa - ter,

F j 42 ‰ # œ œ .

We map

the

Œ

the

œ

#œ

oh

expansive, then diminishing

œ œ œ œ œ 43 3

world

P 44 # œ

oh

P #œ #œ 24 ‰ # œ œ .

44 J We map

3

that can make us

{q = c 60-66}

œ 4 #˙ 4

42 ˙

42 œ

3

that can make us

of the worlds

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small.

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small,

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˙

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T1

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38

to make us feel

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œ

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43

world,

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oh

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43

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43

3. Prayer for the Uncertain Animal

3 V4 ˙

Bar

B

? 43

T1

T2

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˙

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cen

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will touch

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ter.

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no

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no

strongly cresc.

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-

somewhat a piacere, following soloist

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œ

cen - ter.

j œ

{q = c 66-69}

solo

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at the

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oh

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p

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at the

slowly drastically towards fermata

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T1

3

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44

as if they're

a

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44

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œ.

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44

44

œ J

j 4 œ 4 a

43 # œ œ œ œ .

3

do - ing it

a

{q = c 69-72} brisk, pressing forward to next fermata f F > # œ j œ œ œ Nœ ‰ 44 J œ . œ œ. œ f > ‰ 44 œ # œ .

J

œ

œ.

#˙

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men

men

˙

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men

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down

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down

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down

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men

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burn

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a

a

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3. Prayer for the Uncertain Animal

3

ci - ty

just

> œ œ

V # œ œj œ 3

T2

ci - ty

just

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œ œ

oh

oh

just

be its

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be its

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˙

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sa - vior.

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44 w

back

r œ œ

be - fore

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œ œ œ 43 œ .. back

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be - fore

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Œ

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3 œ œ œ 4 œ ..

r œ œ

5 V 4 ˙.

œ œ œ 43 œ ..

3

will be

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boys

boys

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to be its

No

˙

42 œ

(oh)

Bar

42 œ œ œ œ 44 œ ˙ 3

? #œ 3 œ œ œ œ œ J

61

T2

f subito p

24 >œ

ci - ty,

T1

sa - vior.

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B

to be its

f subito p 3 #œ œ 4 œ ˙ ˙ 4

3

Bar

f subito p 24 œ œ # œ œ 44 œ 3 ˙ œ >œ U w

SC O

T1

> œ œ

V œœœ œ

56

π

˙.

Boys

3

will be 3

will be

back

be - fore

dawn.

dawn.

P 44 ˙ .

dawn.

π 42 ˙

45

π 42 œ

3 œ œ œ 45

Boys

p œ 42

will be

R E

8

Œ

Boys

42

œ œ œ 5 4 3

will be

45

∑

˙

> œ

Ó

P to divisi: 3 > œ œ œ œ 45

Ó Ó

Boys

to divisi:

3 œ œ œ 45

will be

Boys

will be

Boys

will be

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will be

P to divisi: >œ œ 3œ œ 5 4 P >œ œ 3œ œ 5 4

3. Prayer for the Uncertain Animal

T1

boys

T1

T2

5 V 4 #œ #˙ > boys F 5 V 4 ˙. boys,

T2

Bar

5 V 4 #œ #˙ > boys F ? 45 # ˙ . boys

Bar

? 45 # ˙ .

no

˙

T2

3 4 #œ. #œ œ.

œ œ œ

#œ.

43

will not

Bar

3

will not

3 4 œ.

œ œ œ

43 # œ

44 ˙ .

f œ

dance

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œ f œ

Let

4 ˙.

4

œ

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44 # ˙

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44 # ˙ .

Let

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Let

œ

Let

f œ

Let

Let

no

no

>œ

to

songs

j œ

no

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to

songs

a - long

to

j #œ

songs

to

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songs

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they don't

œ #œ J

know

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#˙

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know

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know

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to

songs,

a tempo

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.

43 # œ œ œ 43 œ œ œ .

be

.

3 4 #œ œ œ

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ma - gic

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be

43 # œ œ œ . #œ œ œ.

be

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be

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know

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43

4 œj 4 #œ.

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3 4

ma - gic

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43

œ œ œ

43

44 œJ # œ .

with - out

with - out

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be

44 # œj œ .

43 ˙

œ

44 #˙.

Oh

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43 J ma - gic

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j 4 j œ 4 #œ œ.

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44 œj #œ.

j j œ 44 œ # œ .

ma - gic

43

#˙

rit.

˙.

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they don't

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dance

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a - long

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dance

44 # ˙

oh

B

dance

V œ #œ #œ

oh

˙

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a - long

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3

44 ˙ .

V ˙. >œ # V

˙

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T2

dance

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U SA L

T1

V

> 34 # œ

will not

3

# >˙ .

j œ

43 # œ . # œ œ .

œ œ œ

will not

boys

T1

no

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F ? 45 #˙.

69

oh

3

3

boys

B

34 # >˙ .

#œ

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˙

3

SC O

F 54 ˙ .

V

65

ma - gic

(oh)

with - out

œ

43

œ

43

œ

43

9

3

T1

look - ing

T1

for the

j V 43 œ œ .

T2

Bar

B

4 4 #˙

for the

j V 43 # œ œ .

look - ing

œ œ œ

look - ing

for the

3

#œ. ? 3 œJ 4

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for the

3

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look - ing

for

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strings,

strings,

44 #˙ 4 #˙ 4

T1

# œ-

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light

shine

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T2

T2

Bar

>œ .

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on

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ry - thing.

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eve

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shine,

Bar

B

? œ ?

shine

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shine

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on

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on

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shine

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light

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œ

let

œ 3

œ-

shine

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the

light

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let

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the light

rit.

ry - thing.

œ-

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on

eve

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œ-

˙. >

-

shine,

˙.

shine,

œ

œ

œ

the

light

solo — same voice as first solo

Œ

#˙

#˙

F 3 #œ œ œ Let us

œ

˙.

p

Oh

˙ #˙.

œ ry

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ry

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ry

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thing.

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thing.

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thing.

p

be

p

Oh

j #œ #˙

the

shine,

˙

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ry - thing.

>˙ .

eve

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light

ry - thing.

eve

on

the

light

eve

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? # ˙-

the

3

let

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on

˙.

let

strings,

on

shine

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> ˙

‰ œ œ

œ

œ

œ

light,

j #œ #˙

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‰

let

# >œ .

V œ

Œ

strings,

œ

shine

Œ

# >˙

44 ˙

œ

PE R

T1

V

œ

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strings,

stretch slightly ------------------------- a tempo 76

œ

strings,

44 ˙

for

œ

Œ

3

U SA L

Bar

œ œ œ 3

look - ing

T2

44 #˙.

for the

V 43 œJ # œ .

strings,

œ œ œ 3

look - ing

44 #˙.

R E

œ œ œ

SC O

V 43 œJ # œ .

73

10

œ

Oh

p p p

T1

T2

V

a - mong the im - pos - si - ble

˙

œ

Oh

V ˙

œ

V ˙

˙

Oh

T2

Oh

Bar

? œ

œ

? n˙

œ

? n˙

œ

Oh

4 V4 w

83

T1

small

4 V 4 œ ˙.

T2

43 ˙

P w œ

œ #œ

with our

44 b ˙

eyes

4 V4 w

(oo)

42 œ

44 œ b˙.

4 V 4 œ ˙.

2 4 ˙

? 44 w

(oo)

œ

˙.

œ

4 ˙ 4

? 44 ˙ .

˙ 42 jœ œ Nœ P

2 4 ˙

(oo)

B

˙ 42

P #œ ˙.

œ

3

(oo)

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w

trees.

œ

42 Œ œ b œ

(oo)

T2

43 b œ .

3

œ.

PE R

T1

42 Œ œ œ

U SA L

Oh

B

œ

#œ

Oh

Bar

œ

œ

w

œ

42 œ 2 4 œ

ah

œ

ah

4 w 4

ah

œ œ

2 4 ˙ œ 42

Let us

dream

44 b w

ah

4 4 bw

ah

œ

œ œœ œ wide

b˙

P P P P P

44

œ

44

our - selves

oo

43 ˙ . oo

3 4 ˙

œ

n˙.

43

42 œ

œ ˙

oo

43 ˙ .

˙

π w 46

3

bw bw

π .

6 U 4 w

w bw b˙˙

to unis.

44

to unis.

44 44

oo

π w.

6 U 4 π U 46 w .

o - pen.

4 4

oo

œ

π U 64 b w . π 6 U 4 w. bw.

opt. divisi

44

œ

oo

œ 43 n ˙ .

J

42 œ .

˙

œ œ J

R E

small

11

SC O

T1

{q = c 52-60} 79 j œ 3 œ œ . 3# œ œ œ œ V œ.

all decresc. to niente

Ó