Barnson: Scheherazade from Genesis

______________________________

Scheherazade from

Genesis for Choir ______________________________

Edition 030311/041911-II

______________________________

Scheherazade from

Genesis – for Choir –

(2011) ______________________________ Edition 030311/041911-II

© 2011 hic sunt leones publishing

______________________________ Genesis was composed in the Fall of 2010 and more earnestly in the late Winter of 2011 for Volti. It is dedicated to them and their artistic director, Robert Geary. ______________________________

For up-to-date program notes and biographical information, please visit matthewbarnson.net.

______________________________ Duration: 30 minutes (Scheherazade: 10 min.) ______________________________

II. Scheherazade Tell me about the dream where we pull the bodies out of the lake and dress them in warm clothes again.

How it was late, and no one could sleep, the horses running until they forgot that they are horses.

It’s not like a tree where the roots have to end somewhere, it’s more like a song on a policeman’s radio, how we rolled up the carpet so we could dance, and the days were bright red, and every time we kissed there was another apple to slice into pieces.

Look at the light through the windowpane. That means it’s noon, that means we’re inconsolable.

Tell me how all this, and love too, will ruin us.

These, our bodies, possessed by light.

Tell me we’ll never get used to it.

Richard Siken

PRESS “Matthew Barnson’s Genesis was the highlight of the evening. The effect could only be described as searing.” (Stark Insider) “Matthew Barnson provided an emotional roller-coaster, radiating electricity of frightening amperage. This is explosive music of high theater.” (artssf.com)

Program Note Genesis re-imagines the Biblical stories of creation through a triptych of poems by Ted Hughes, Richard Siken and Alec Derwent Hope. Like three panels of an altarpiece, the three tableaux are independent of one another but together draw parallels in the telling of a story. In this case, the trio is wholly dependent on the Book of Genesis to give it meaning, but each is a subversive exegesis of the stories and themes of birth, death, sin and obedience and disobedience and each posits a slight, but vital alternative to the traditional narrative that changes the outcome of the myth in ways that are sometimes insignificant (but poignant) and sometimes darkly different.

The outer movements of the triptych retell stories from the Bible. In Ted Hughes’ Lineage, the creation of the world is retold in a dark send-up of the genealogical lists found throughout the Old and New Testaments. Alec Derwent Hope’s Paradise Saved imagines a scenario where Adam does not partake of the fruit offered by Eve. The middle movement is a setting of Richard Siken’s Scheherazade from his brilliant, ecstatic and anxious book of poetry, Crush.

Lineage is declaimed with short, violent, unison motives reflecting the stark shock delivered by Hughes’ verse. As the work progresses, the motive expands in length and in harmonic content culminating on the word “Crow,” where the chorus launches into a devastating, visceral, slow descent ending in muttering.

The story of Scheherazade is obviously not found in Genesis. But Siken’s poem is replete with images of the Biblical Eden. Furthermore, the history of sacred music is replete with erotic interludes drawing parallels to sacred subjects: settings from the Song of Songs since the Fourteenth Century attest to this. Thus, in referencing Scheherazade, Siken reminds us that she wove tales for a thousand and one nights to assuage and seduce her captor, lover and would-be executioner: she wove her tales to fend off death. Siken’s lover (captor, murder?), addressing his lover (whose kiss always yields more apples), admits that love will ruin them. Indeed, Siken’s poem is addressed to a teller or tales. Originally, the model for Genesis was Schütz’s Musikalische Exequeim and while the expansive assemblage of a first movement was not used, the two remaining were used as reference points. The second movement, written for eight-part chorus is set, as in the Schütz, as though it were a motet. The third movement too emulates Schütz’s structure but also memorializes another composer, Fausto Romitelli.

In Paradise Saved separation is made audible: the third movement is composed for two separated choirs. The antiphonal choir, composed of higher, all female voices sings a series of wordless, descending chromatic, chordal sighs against a chorale-chaconne sung by altos, tenors and basses narrating the non-fall of Hope’s proud Adam.

Paired with Siken’sScheherazade the works reflect a common theme of humankind’s futile attempts to defer death.

In Siken’s case by filling weaving tales, in Hope’s by avoiding the cause altogether. Hope’s Adam refuses to eat the fruit, thereby assuring his immortality. But his sinless Adam, justified and impotent, watches as God’s mercy bestows another helpmeet on his fallen Eve, his obedience seemingly overlooked, her disobedience craving and receiving companionship and mercy.

_____________________________________ Choir Sopranos Altos Tenors Basses (SAB divide) _____________________________________

II.Scheherazade (...another apple...)

Richard Siken

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25

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26

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f

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hors - es are run- ning, the hors - es are run- ning, the hors - es are run- ning, the hors - es are run - ning the

>œ bœ œ >œ œ œ >œ œ œ >œ œ œ bf>œ œ œ œ œ œ œ œ œ œ œ œ

(poco a poco cresc.)

& ‹ hor - ses,

T.

?

the hor - ses, the hor - ses, the hor - ses, the hors - es are run- ning, the hors - es are run- ning, the f (poco a poco cresc.)

œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ

run- ning, are run- ning, are run- ning, are run- ning, the hors - es are run- ning, the hors - es are run - ning

B.

¢

? œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ ‰ Ó™ (poco a poco cresc.)

f

run- ning, are run- ning, are run- ning, are run- ning, the hors - es are run- ning,

‰

28

° & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 62

S.

run- ning, the hors - es are run- ning, the hors - es are run- ning, the hors - es are run- ning, the hors - es are

& œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ

run- ning, the hors - es are run- ning, the hors - es are run- ning, the hors - es are run - ning the hors - es are

& bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ A.

run- ning, are run- ning, are run- ning, are run- ning, are run- ning, are run- ning, are run- ning, are run- ning, are

& œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ

hors - es are run- ning, the hors - es are run - ning the hors - es are run- ning, the hors - es are run - ning the

T.

bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ & ‹ hors - es are run- ning, the hors - es are run- ning, the hors - es are run- ning, the hors - es are run- ning, the ? Œ™

B.

Œ

œ œ œ œ œ œ J ‰ Œ

the hors - es are run - ning

? œ œ œ œ œ ‰ Œ™ ¢ hors - es are run - ning

Œ

œ œ œ J ‰ Œ

the hors - es

œ œ œ ‰ Œ J

the hors - es

œ œ œ œ J

the hors - es, the

œ œ œ ‰ Œ J

the hors - es

œ J

the

29 64 ff >œ ° œ œ œ œ œ œ & œ œ œ œ ‰

22

∑

> & œ œ œ œ œ œ œ œ bœ œ œ ‰

22

∑

& bœ œ œ œ œ œ œ œ œ >œ œ ‰

22

∑

& œ œ œ œ œ œ œ œ œ >œ œ ‰

22

∑

œ bœ œ œ bœ œ œ œ œ >œ bœ pœ & ‹ hors - es are run - ning, the hors - es are run - ning, the >œ ff œ p œ œ œ ? œ œ œ œ œ œ œ

22 œ œ œ œ œ œ œ œ

run - ning, the hors - es

S.

are run - ning, are run - ning

ff

run - ning, the hors - es ff

are run - ning, are run - ning

run - ning, are run - ning, are run - ning, are run - ning,

A.

ff

hors - es

are run - ning, the hors - es

are run - ning

ff

T.

B.

¢

e = e (h = 108)

>œ

hors - es ff

œ

are run - ning, the hors - es

œ

are run - ning, the p

hors - es

are run - ning, the hors - es

are run - ning, the

? œ

œ

œ

œ

œ

œ

œ

œ œ

hors - es

run - ning, hors - es

run - ning,

22 œ œ œ œ œ œ œ œ hors - es

run - ning, hors - es

run - ning,

hors - es

run - ning, hors - es

run - ning,

22 œ œ œ œ œ œ œ œ

30

° Œ 3 b˙ & p

66

un

S.

˙ -

p

& Œ b˙ 3

un 3

un

& Œ

3

n˙ -

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un

-

3

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til

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3

œ

3

<b>œ

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3

œ

they

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bœ

˙

that

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for - get

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they

3

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for - get

they

til

p

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p

& Œ b˙ A.

til

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3

nœ

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3

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for - get

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for - get

that

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3

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that

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‹ hors-es run- ning, hors-es run- ning, hors-es run- ning, hors-es run- ning, hors-es run- ning, hors-es run- ning,

T.

? 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.

¢

?

hors - es run - ning, hors - es run - ning, hors - es run - ning, hors - es run - ning, hors - es run - ning, hors - es run - ning,

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

hors - es run - ning, hors - es run - ning, hors - es run - ning, hors - es run - ning, hors - es run - ning, hors - es run - ning,

° b˙ & 69

3

they

S.

& b˙

3

& ˙

they

œ

3

nœ are

3

œ

are

bw

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˙

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hors

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˙

w

mp

are

they

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are

they

& b˙

œ

3

31

mp

bw -

-

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mp

-

-

-

mp

w

hors

mp

es.

nw

bw hors

es.

-

-

-

es.

w

es. es

pp

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‹ hors - es run- ning, hors - es run- ning, hors- es. hors- es. hors- es. hors- es. hors- es. hors- es. hors- es. hors- es.

T.

? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ mp

B.

¢

?

pp

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œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

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œ œ Œ hors - es.

Œ

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hors - es.

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32

Tempo I

° w & 72

S.

pp

w

& <b>w

pp

& w

o

w

pp

& w

o

w

h = 60 mf

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22

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22

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22

It's mf

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It's

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ‹ hors - es. hors - es. hors - es. hors - es. hors - es. hors - es. hors - es. hors - es. hors - es.

T.

B.

o

w

pp

A.

o

œ œ Œ

Ó

22

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33

° 2 & 2 b˙

bœ œ b˙

& 22 b˙

bœ œ b˙

& 22 b˙

bœ œ b˙

not

like a

& 22 b˙

bœ œ

75

not

S.

not

A.

not

& 22 ‹

T.

B.

& 22 ‹

¢

like a

like a

like a

∑

tree

tree

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œ bœ œ œ b˙ ™ roots

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nœ œ

˙

tree

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˙

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tree

where the roots

∑

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have to

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have to

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∑

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some - where

œ bw

œ œ ˙™

have to

w

bœ bw

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w

end

w

some - where

∑

Ó

Œ

mf

bœ b˙

It's more

∑

∑

∑

∑

Ó

Œ

mf

bœ b˙

It's more

?2 2

∑

? 22

∑

∑ ∑

∑ ∑

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Œ bœ b˙ mf

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Œ bœ b˙

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34

° & 81

∑

∑

∑

mf

3 ˙ œbœ œ 3 bœ ˙ 3 bœ œ œ œ œ 3

how we rolled up

the car - pet so we could

S.

∑

&

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3 3 3 3 b œ ˙ œ b œ b œ œ œ ˙ œ œ œ

how we rolled up

∑

&

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∑

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mf

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how we rolled up

A.

∑

&

∑

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mf

the car - pet so we could

3 3 b œ b œ œ ˙ œ œ œ ˙ œ œ œ 3

3

how we rolled up 3 bœ bœ œ œ 3œ œ n˙ ™ & ‹ song on the po - lice

T.

3 3 bœ b˙ ™ œ œ & œ nœ œ ‹ song on the po - lice 3 3 œ ? nœ œ nœ œ bœ b˙ ™

song

B.

¢

song

- man's

nœ - man's

œ

on the po - lice - man's

? œ bœ œ bœ œ bœ n˙ ™ 3

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bœ

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Œ

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∑

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35

° œ 3 bœ œ ˙ & 86

rall.

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dance, and the

3 œœ œ˙

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days

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3 œ 23 Œ Œ Ó

Ó

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& ˙

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dance,

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& bœ œ œ ˙ A.

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days

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and the days,

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B.

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days,

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23

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3

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& ˙

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days,

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were bright

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b˙ days,

Ó

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36

Maestoso q = 88

° Œ œ bœ œ w &

˙™ b œ Œ

bœ w™

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90

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37

° 2 3 & 2 œbœ œ œ œ œ w 94

S.

3

eve - ry time we

2 &2 Ó & 22

A.

kissed 3

Œ bœ œbœ œ œ œ œ w and

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T.

B.

3

∑

˙

time we kissed

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∑

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& 22

œ œ b˙

w

was an - oth - er

w

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38

° bw & 100

p

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∑

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32 bw 23

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39

° 2 pp w &2

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104

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in

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piec

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∑

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40

q = 88 pp

° 2w &2 110

˙

Look

S.

at

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41 117 ° œo & Œ Ó

S.

& &

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T.

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means

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¢

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23

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o & œ Œ Ó

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∑ ∑ ∑ ∑

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22 j œ œ œ œ™ œ ˙

22 Ó

noon,

23

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∑ ∑

22 Ó 22 Ó

pp sotte voce

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-

sol - a - ble,

,

that means we're in - con pp sotte voce

-

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,

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,

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that

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Œ œ 23 ˙™ Œ Œ

,

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œ œ

23 23

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means

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we're in - con

sol - a - ble,

,

42

° ˙ & 123

ppp

˙

in - con

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sol

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n˙ œ œ ˙

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light,

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light

3

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¢

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the

Œ

a - ble.

-

a - ble.

light,

Ó

look at the

light!

œ 3œ œ 3 Ó 2

>˙

f

look at the

light

#>˙

n œ 3œ œ

f

Œ

Look!

Œ

3

Look!

>˙

Look!

Ó

look at the

mf

œ w

f

3 ˙ bœ œ œ 2 ˙ #>˙

mf

Œ

mf

Œ

23 Ó

>˙

œ˙

at the

Ó

Ó

light

f

3

b>˙

look at the

light

#œ œ œ 3 Ó 2 Ó

3

Ó

43

° w & 129

sub. p

œ

light

œ

3

œ 4 #w ™ 2 mf

through the

S. sub. p

& w

œ

light

œ

3

sub. p

3

œ bœ

& w

light

win

-

œ 4 w™ 2

dow

mf

through the

-

win

-

dow

œ 42 nw

˙

win

-

-

23

∑

22 bw

23

∑

23

∑

pane.

22 b˙

˙

dow

22 w

pane.

b˙

mf

through the

p

˙

-

˙

pane.

A. sub. p

&

w

œ

light

T.

& Ó ‹ ? Ó

B.

? Ó ¢

p

œ œœ œ 3

3

œ

42 Œ #œ œ w ™ > œ fp

through the

œ

3

œ 4 #˙ ™ 2Œ

win

p

fp

œ œœ œ

˙™ œ bœ 42 Œ

look at the light through the

win

p

fp

bœ œ œ œ 3

œ

3

œ 4 Œ >œ#œ w™ 2

look at the light through the

light

˙

˙

That means it's

fp

3

pp

light

look at the light through the

3

3

22 #˙ #œ œ n˙ 23 ˙ 3

˙ -

dow

˙ -

˙ -

˙ dow

-

22 #˙ ™

pane.

22

˙™ pane.

22 ˙™

œ 3 pp ˙ 2

˙

pp

˙

˙

That means it's

bœ

23

b˙

˙

That means it's

pp

bœ 3 b˙ 2

˙

˙

That means it's

44

° >œ b œ ™ w & J 133

f

p

˙

Ó

Ó

Ó

Œ #œ œ

noon,

S.

b >œ œ ™ w & J f

that means we're

p

˙

Ó

Ó

Ó

Œ #œ œ

noon,

> ™ & #œJ œ w f

œ b œ œ œ œ bœ ™ nœ J œ

that means we're

p

˙

Ó

Ó

Ó

Œ #œ œ

noon,

œ

in

-

con - sol - a -

œ œ œ œ ™ j bœ bœ in

-

con - sol - a -

œ ™ #œj

œ #œ ˙

that means we're

in

˙

˙

-

con - sol - a -

A.

& #w ™

#˙

˙

˙

#w

noon,

that

means

we're

in

#w ™

˙

˙

˙

#w

that

means

we're

in

w™

#˙

˙

˙

nw

noon,

that

means

we're

in

˙

˙

˙

#w

that

means

we're

in

& ‹ noon,

T.

?

B.

¢

? nw ™ noon,

-

con

-

˙ -

con

-

con

con

-

sol

sol

-

sol

a -

œ -

a -

#œ -

#˙ ™

˙ -

-

˙™

˙

˙ -

-

-

sol

#œ

#˙ ™

˙

˙ -

-

#˙ ™

a -

œ -

a -

45

Tempo I

accel.

h = 60 mf

sotte voce pp

° #U w™ &

3

pp

22 #œ œ œ #œ #œ œ œ #œ 22 #œ 3œ œ #œ nœ œ #˙

137

ble.

Tell

˙

me,

S.

U Ó

& nw

mf

3

pp

#œ œ œ #œ 2 #œ 3œ œ #œ nœ œ #w 2

22

∑

U Ó

22

∑

∑

22

∑

∑

U Ó

22

∑

∑

22

∑

∑

ble.

& #w

sotte voce pp

ble.

Tell

me,

A.

& #w ble.

& #˙ ‹ ble.

T.

? #w

pp sotte voce

U w

Tell

mf

pp

22 œ œ #œ #œ #œ œ œ #œ 22 #œ 3œ œ #œ nœ œ #œ #˙ ™ 3

me,

U Ó

22

∑

∑

22

∑

∑

U Ó

22

∑

∑

22

∑

∑

ble.

B.

¢

? #w ble.

46

° #w &

3 œ 3œ #œ œ œ œ #œ

142

Tell

S.

A.

¢

˙

me,

˙

œ #3œ œ

Tell

&

∑

∑

∑

∑

&

∑

∑

∑

∑

3 3 œ œ #œ œ œ œ #œ

& #w ‹ Tell

T.

B.

œ

œ

3

œ

˙

œ

3

me,

?

∑

∑

˙

œ #3œ œ

Tell

∑

∑

= ° #œ œ #œ œ œ œ #œ œ œ #œ œ œ & 146

3

me

S.

3

3

how

f

3

all

˙

this,

p

#˙

3

all

œ #˙

Ó

this,

23

&

∑

∑

∑

∑

23

A.

&

∑

∑

∑

∑

23

T.

œ #œ œ œ œ #œ œ œ #œ œ œ ˙ # œ & ‹ me how all this, 3

B.

¢

?

3

∑

3

f

∑

3

p

#˙ all

∑

3

œ #˙

Ó

this,

∑

23 23

47

° 3 pp œ ˙™ &2 150

S.

™ & 23 œ ˙ all

this,

pp

all

this,

3 &2 Ó A.

& 23

Ó

˙

mp

and

love

too,

˙

b˙

mp

and pp

love

too, mp

and

love

too,

p

mp

˙

∑

˙ #˙

love

˙™ & 23 œ ‹ all this, pp

T.

B.

˙™

˙

Π22

∑

∑

∑

23

Π22

∑

∑

∑

23

Π22

∑

∑

∑

23

n˙ ™

Π22

∑

∑

∑

23

˙™ ˙™

˙™

˙

˙

mp

sub.pp

and

love

too,

will

3

œ 2 œ œ œ bœ œ 2 ru

-

-

w

23

w

in

?3 2

∑

∑

22

∑

∑

∑

23

?3 ¢ 2

∑

∑

22

∑

∑

∑

23

48

° 3 &2 155

S.

Morendo h = 54 (q = 108)

& 23

A.

& 23 ˙ ‹ us.

T.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Ó

Ó

mf

ppp possibile

hmm.

? 3 w™ ¢ 2 w™ mf

° S. & 160

&

∑

22

∑

22

& & ‹ ?

B.

our

bod - ies,

3 œ œ 3 œ # œ œ #œ œ #œ œ Œ #˙ 3

our

bod

w™

w™

w™

w™ w™

w™ w™

w™ w™

w™ w™

∑

23

∑

23

∑ ∑

-

∑

∑

∑

ppp possibile

<#>w -

w™

? w™ ¢ w™

22

∑ ˙ ies,

∑

23

∑

#w™

22 Ó #˙

˙ 23

22 w

23 w™

our

22 w w

˙™

bod - ies

23 w ™ w™

ppp possibile

#w™

∑

œ #œ œ œ#˙ ™ 3

pos - sessed

w™ w™ w™

hmm.

œ #w by

-

∑

hmm.

A.

T.

#˙

#œ ˙™

3

w™

ppp possibile

hmm.

=

∑

These,

?3 2 w™ B.

#w ™

ppp possibile

˙

w™ w™ w

light.

w™ w™ w™

o

Œ œ pos-

w™ w™ w™

pp possibile (1-2 very quiet, very high sopranos could sing this)

° &

3

166

∑

∑

Œ

bœ œ œ œ œ œ œ œ ˙ Tell

S.

∑

A.

∑

∑

&

& <#> w ™ & ‹ ?

T.

#w ™

sessed

w™

? w™ ¢ w™ = 171 ° 3 S. & 2 B.

A.

¢

∑

light.

w™

w™

o

w™ w™

3 &2

∑

3 &2

∑

? 23 ? 23

w™ w™

get

22

∑

23

Ó

Ó

22

∑

23

22

∑

23

Œ bœ w Tell

∑

∑ ˙

w

Tell

w™ ∑

Ó

Ó

∑

23

22

∑

32 Œ œ3 bœ œ œ œ œ œ bw ™

22

∑

∑ 3

Tell

3 32 Œ 3 œ# œ œ œ œ œ œ # w ™

22 ˙ ™ #œ 23 w™

Tell

used

22 w 22 w

Ó

to

Tell

22

∑

23

22 ˙

#˙

23

me

22 w 22 w

Ó

Œ ˙˙ ™™

me...

U w™ U w™

w™

U w™

w™

U w™

it.

32 3 ˙ w œ 32 hmm. w™

˙˙

o

˙

hmm.

22

˙

Ó

me

∑

#w ™

by

∑

& 23 œ b˙ ™ ‹ nev - er

T.

w™

3

Tell

∑

o

3

Œ #œ œ œ œ œ œ œ œ ˙ 3

49

Ó

me

pp possibile

&

B.

3

3

w™

U w™

we'll

23 23

U Ó