______________________________
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
° 2 Soprano & 2
∑
∑
∑
23
∑
22
∑
∑
∑
23
& 22
∑
∑
∑
23
∑
22
∑
∑
∑
23
Misterioso h = 60
Alto
pp
w & 22 ‹ Tell
Tenor
Bass
=
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œ w
˙™
∑
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∑
23
∑
23
∑
3
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22 w
3
Tell,
22
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∑
∑
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∑
23
° 3 S. & 2
∑
22
∑
∑
∑
∑
23
3 &2
∑
22
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∑
∑
∑
23
∑
22 ˙™
8
A.
T.
B.
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f
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∑
22
me
∑
∑
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p
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∑
23
16
° 3Ó &2 13
pp
w
œ 3œ œ œ 3œ œ œ #œ
∑
Tell
S.
pp
& 23
Ó
w
∑
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w
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& 23
∑
pp
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Tell
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3
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22
∑
22
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∑
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Tell
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T.
pp
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∑
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∑
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∑
&
∑
∑
∑
23
∑
18
A.
T.
B.
¢
œ #œ bœ œ #˙ ™ & ‹ me a - bout the dream ?
∑
œ
œ bœ œ nœ where we
∑
pull
22 22
bœ nœ #œ bœ 23 bœ œ
22
23
22
bod - ies
∑
17
out
of
the
∑
=
° 2 &2
∑
& 22
∑
22
S.
2 &2 A.
¢
∑
∑
∑
23
∑
23
∑
23
22 Ó
22 Ó
∑
23
and
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Œ
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∑
dressed them
in
warm
22 Ó
∑
clothes
a
3
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How it was late, pp
3 22 Ó w #œ œ œ
22 nœ bœ bœ œ œ #œ nœ nœ 23 œ bœ bœ œ nœ # œ b œ w
lake
B.
∑
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∑
2 & 2 ˙™ ‹
∑
∑
∑
& 22
T.
∑
pp
-
How it was late, pp 3
bœ œ œ
w
How it was late, pp 3
œ œœ
w
How it was late,
∑
gain.
œ bœ bœ œ œ #œ nœ nœ 3 œ 2 bœ bœ œ nœ #œ bœ 22 w
pp
and
dressed them
∑
in
warm
∑
23
clothes
a
∑
-
22
gain.
w ∑
∑
18
° & w 28
23
22 Ó
∑
S.
& w
23
& w
23
3
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23 Ó
& w
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pp
∑
22 Ó
∑
22 Ó <n> œ œ œ # w
Ó
22 Œ #œ w
3
œ 3 2w & Œ #œ bœ 2 œ œ bœ ˙ #œ 2 ‹ How it was late, and no one could sleep,
no one could sleep, 3
T.
?
32 w ™
pp
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¢
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∑
23 Ó
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° -œ œ œ -œ œ #œ b-œ & 3
34
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f
3
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f
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3
3
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p
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f
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20
° & 39
S.
accel.
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out
Tell
out
p
me a - bout the dream where we pull bod - ies
œ œ œ œ œ ˙
me a - bout the dream where we pull bod - ies
out
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of the
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lake
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∑
∑
∑
œ #œ œ œ œ œ
and dress them in warm
p
∑
and dress them in warm p
#œ nœ œ œ œ œ
and dress them in warm
p
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˙ #œ œ œ #œ nœ #œ nœ #œ œ #œ œ bœ nœ bœ bœ n˙ & ‹ Tell me a - bout the dream where we pull bod- ies out of the lake ?
p
#œ œ bœ œ #œ œ œ œ œ œ
œ œ œ œ #œ ˙
Tell me a - bout the dream where we pull bod - ies sub.p
∑
mf
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˙ & ‹ Tell
¢
out
& ˙
p
T.
∑ mf
a - bout the dream where we pull bod - ies
sub.p
∑
and dress them in warm p
nœ #œ œ œ œ
and dress them in warm
∑
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21
° & 45
∑
∑
∑
∑
pp
Œ œ
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the
S.
mp
p
& œ œ #œ œ bœ œ œ œ clothes a - gain.
& œ œ #œ œ
How it
mp
˙
clothes a - gain.
p
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How it
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could sleep,
pp
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the
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A.
& œ œ #˙
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How it
mp
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T.
p
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How it
mp
p
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∑
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B.
¢
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non div. pp
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the
could
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pp
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the
could
sleep,
œ
22
° œ & 50
h = 72
œ
hors - es
S.
& œ
œ
hors - es
& bœ
œ
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A.
& œ
œ
hors - es
œ
& ‹ hors -
T.
? œ B.
œ es
œ
hors - es
¢
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œ
hors - es
œ
œ
œ
Ó
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œ
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hors - es
œ
Ó
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œ
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bœ
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Ó
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run - ning, hors - es
œ
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hors - es
run - ning, hors - es
œ
œ
hors - es
run - ning,
œ
œ
hors - es
run - ning,
œ
œ
œ
œ
run - ning, hors - es
œ
œ
run - ning,
œ
œ
run - ning,
œ
œ
run - ning,
œ
œ
hors - es
œ
œ
hors - es
œ
œ
hors - es
œ
œ
‰ ‰ œJ
Œ
3
run - ning,
œ
œ
the
3 ‰ ‰ œJ
Œ
run - ning,
œ
œ
the
œ œ œ
‰ ‰ œj 12 8
the
3
the
œ
œ
œ 3œ œ
œ
œ
œ 3œ œ
run - ning, run - ning, run - ning, the
œ
œ
12 8
Œ
3
run - ning, run - ning, run - ning, the
œ
12 8
‰ ‰ œ J
run - ning,
œ
12 8
Œ
run - ning,
œ
h = h.
œ
œ
œ 3œ œ
run - ning, run - ning, run - ning, the
12 8 12 8 12 8
23
° 12 œ œ œ œ pœ ‰ Œ™ &8
Œ
& 12 8 œ œ œ œ œ ‰ Œ™
Œ
12 & 8 bœ œ œ œ œ ‰ Œ ™
Œ
& 12 8 œ œ œ œ œ ‰ Œ™
Œ
52
S.
f
h. = 72
hors - es are run - ning f p
hors - es are run - ning f p
A.
hors - es are run - ning p f
hors - es are run - ning
T.
the hors - es are run - ning
j œ œ œ œ œ œ ‰ Œ™
Œ
œ J
Ϊ
the
Œ
œ J
the hors - es are run - ning
œ bœ œ œ œ œ ‰ Œ ™ J
the hors - es are run - ning
j œ œ œ œ œ œ ‰ Œ™
the hors - es are run - ning
the
Œ
j œ
the
f œ œ œ œ pœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 12 &8 ‹ hors-es are run- ning, the hors-es are run- ning, are run- ning, are run- ning, the hors-es are run- ning, are
? 12 8 B.
œ œ œ œ œ œ ‰ Œ™ J
œ œ œ œ pœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
f
hors - es are run - ning, the hors - es are run - ning, are
run - ning, are run - ning, the hors- es are run - ning, are
? 12 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ 8 f
p
hors - es are run - ning, the hors - es are run - ning, are
run - ning, are run - ning, the hors- es are run - ning, are
24
° œ œ œ œ œ ‰ Œ & 54
œ œ œ œ œ œ ‰ Œ J
hors - es are run- ning,
S.
& Œ
the hors - es are
œ œ œ œ œ œ ‰ Œ J
the hors - es are run- ning,
& bœ œ œ œ œ œ œ œ ‰ Œ hors - es are run- ning, are run- ning,
A.
& œ œ œ œ œ ‰ Œ hors - es are run - ning
the hors - es are run- ning, the
bœ bœ œ œ œ œ ‰ Œ J the hors - es are run- ning,
œ œ œ œ J
the hors - es are
j œ œ œ œ bœ œ œ œ œ bœ œ œ œ
the hors - es are run- ning, the hors - es, the hors - es are
bœ œ œ œ œ œ ‰ Œ J the hors - es are
run- ning,
j œ œ œ œ œ œ bœ p
the hors - es are run- ning, the
œ 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, the hors - es
T.
? B.
run- ning,
œ œ œ œ œ œ bœ J
are run- ning, are run- ning the hors - es are run- ning, are run- ning, are run- ning, the
œ 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, the hors - es are run- ning, are run- ning the hors - es are run- ning, are run- ning, are run- ning, the
¢
? œ 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, the hors - es are run- ning, are run- ning the hors - es are run- ning, are run- ning, are run- ning, the
25
° œ œ œ >œ bœ ‰ Œ ™ & 56
hors - es are run - ning,
S.
>œ & bœ ‰ Œ run - ning,
Œ
poco a poco cresc.
œ œ œ œ œ œ œ œ œ œ œ œ œ J
the hors- es are run - ning, the hors - es are run - ning, are poco a poco cresc.
œ œ œ œ œ œ ‰ ‰ ‰ bœ œ œ œ œ œ œ >œ œ œ J J
the hors - es are run - ning,
the hors - es are run - ning, the hors - es are
poco a poco cresc.
& œ œ œ œ œ œ œ œ bœ œ œ bœ bœ œ œ œ œ œ œ œ œ >œ œ œ
run - ning, are run - ning, the hors - es are run - ning, the hors- es are run - ning, the hors - es, the hors - es are poco a poco cresc.
A.
& b>œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ bœ 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 œ œ œ œ œ œ œ œ œ œ œpocoœa poco œ œcresc.œ œ œ œ œ œ >œ œ œ
& ‹ hors - es
T.
? B.
are run - ning, are run - ning, are run - ning, the hors- es are run - ning, are run - ning, the hors - es are
œ œ œ œ œ œ œ œ œ œ œ œpocoœa poco œ œcresc.œ œ œ œ œ œ >œ œ œ
hors - es are run - ning, are run - ning, are run - ning, the hors- es are run - ning, are run - ning, the hors - es are
¢
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 œ
hors - es are run - ning, are run - ning, are run - ning, the hors- es are run - ning, are run - ning, the hors - es are
26
(poco a poco cresc.) ° œ œ œ œ œ œ >œ bœ œ œ œ œ œ bœ œ >œ bœ œ œ œ œ œ bœ œ & 58
run- ning, are run- ning, the hors - es are run- ning, are run- ning, the hors - es are run- ning, are run - ning the (poco a poco cresc.)
S.
> > & bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
run- ning, the hors - es are run- ning, are run- ning, are run- ning, the hors - es are run- ning, are run- ning, the (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 œ
run- ning, the hors - es are run- ning, the hor - ses, the hors - es, the hors - es, the hors - ses are run- ning, the
A.
(poco a poco cresc.)
& b>œ œ œ bœ œ œ bœ œ œ bœ œ œ bœ œ œ œ œ œ œ œ bœ 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 œ œ œ bœ œ œ œ œ >œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ
(poco a poco cresc.)
& ‹ run- ning, the hor - ses,
T.
? B.
¢
the hor - ses, the hor - ses, the hor - ses, the hor - ses, the hor - ses, the hor - ses, the
œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
(poco a poco cresc.)
run- ning, are run- ning, are run- ning, the hors - es are run- ning, are run- ning, are run- ning, are run- ning, are (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 œ
run- ning, are run- ning, are run- ning, the hors - es are run- ning, are run- ning, are run- ning, are run- ning, are
27 a poco cresc.) fj ° (poco > œ œ œ œ œ œ œ b œ œ œ œ œ ‰ ‰ œ œ œ œ œ œ œ œ œ œ & > > 60
S.
hors - es are run- ning, are run- ning, are run- ning, the (poco a poco cresc.) f
the hors - es are run- ning, the hors - es are
>œ > & bœ 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, are run - ning the hors - es are run- ning, are run- ning, are run- ning, the hors - es are (poco a poco cresc.) f
& >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ ™ hors - es are run- ning, are run- ning, are run- ning, are run- ning, are run- ning, are run- ning,
A.
(poco a poco cresc.)
f
& œ œ bœ œ œ œ œ œ œ œ œ œ >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
>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˙ -
˙
un
-
3
˙
til
˙
3
œ
3
<b>œ
˙
3
œ
they
˙
˙
œ ˙ 3
bœ
˙
that
˙
œ b˙ 3
for - get
˙
3
they
3
œ
for - get
they
til
p
œ they
til
p
& Œ b˙ A.
til
˙ -
3
nœ
˙
that
˙
3
œ ˙
for - get
˙
3
œ
˙
for - get
that
˙
3
œ ˙
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
hors
˙
-
-
-
bw
hors
œ <b>˙ 3
˙
w
mp
are
they
A.
œ <b>˙
are
they
& b˙
œ
3
31
mp
bw -
-
-
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
hors - es run - ning, hors - es run - ning, hors - es. hors - es. hors - es. hors - es. hors - es. mp pp
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.
œ œ Œ hors - es.
Œ
œ œ
hors - es.
Œ
32
Tempo I
° w & 72
S.
pp
w
& <b>w
pp
& w
o
w
pp
& w
o
w
h = 60 mf
Ó
Œ
Ó
Œ
Ó
Œ
Ó
Œ
? œ œ Œ
Ó
hors - es.
¢
?
œ œ
hors - es.
œ œ Œ
Ó
hors - es.
Œ
Ó
œ œ
hors - es.
œ
22
œ
22
œ
22
œ
22
It's mf
It's mf
It's mf
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
Ó
22
Ó
22
hors - es.
Œ
Ó
œ œ
hors - es.
Œ
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
œ œ where the
œ bœ œ œ b˙ ™ roots
œ œ b˙ where the roots
nœ œ
˙
tree
where the roots
˙
œ œ b˙
tree
where the roots
∑
œ
bw
have to
end
some - where,
have to
end
some - where,
œ œ b˙ ™
œ bw
end
∑
w
some - where
œ bw
œ œ ˙™
have to
w
bœ bw
œ bœ bœ n˙ have to
w
end
w
some - where
∑
Ó
Œ
mf
bœ b˙
It's more
∑
∑
∑
∑
Ó
Œ
mf
bœ b˙
It's more
?2 2
∑
? 22
∑
∑ ∑
∑ ∑
∑ ∑
Ó Ó
Œ bœ b˙ mf
œ bœ like a
œ œ like a
œ œ
It's more mf
like a
It's more
like a
Œ bœ b˙
œ œ
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.
∑
&
∑
∑
mf
3 3 3 3 b œ ˙ œ b œ b œ œ œ ˙ œ œ œ
how we rolled up
∑
&
∑
∑
the car - pet so we could
mf
3 3 bœ œ 3 bœ ˙ 3 œ œ ˙ œ œ œ œ
how we rolled up
A.
∑
&
∑
∑
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
œ
3
bœ
on the po - lice - man's
œ 3œ œ ˙
˙™
ra
-
di - o,
˙
3
œ ˙
ra
-
di - o,
˙
3
œ ˙
˙™
ra
-
di - o,
˙™
œ b3œ œ ˙ ra
-
di - o,
˙™
the car - pet so we could
Œ
∑
Œ
∑
Œ
∑
Œ
∑
35
° œ 3 bœ œ ˙ & 86
rall.
p
dance, and the
3 œœ œ˙
œœ œ˙ 3
days
and the days,
and the days,
3 œ 23 Œ Œ Ó
Ó
S. p
& ˙
œ bœ œ b˙
dance,
p
and the
& bœ œ œ ˙ A.
3
dance, and the
days
dance,
and the
p
œ œ œ Œ
3
œ3 œ ˙
œ3 œ œ
Œ
Œ Œ
and the days,
œ œ ˙ days,
B.
and the
and the days,
œ3 œ ˙ and the
œ œ3 œ
days,
and the
œ
bœ œ ˙
and the days,
and the days,
? Ó ¢
Œ
and the days,
Œ Œ bœ œ b˙ 3
and the
days,
23
23
3 œ œ œ 23
and the
ff
3
˙
were bright
Ó
œ 3œ œ œ œ œ œ 3
days,
˙
6
œ œ œ œœœœœœ
32 œ Œ Ó
p
b œ3 œ b œ
were bright
days,
f
3
6
23 w ™
œ œ œ 23 b˙
days,
œ œ œ œœœœœœ 3
days
3
œ œ3 œ ˙
œ œ3 œ ˙
3
and the
and the days,
and the days,
p
? Œ
and the
p
and the
œ bœ œ ˙
œ bœ œ b˙
Œ
œ bœ3 œ 3 b˙ 2
3
3
days,
and the days,
& Ó ‹
days,
and the days,
œ œ ˙
œ
and the
œ bœ œ ˙ 3
& ˙
T.
days,
œ3 œ ˙
3
p
& Œ ‹
œ
3
were bright
œb œ œ œ œ œ œ œ œ 3
6
were bright
b˙ days,
Ó
Ó
36
Maestoso q = 88
° Œ œ bœ œ w &
˙™ b œ Œ
bœ w™
bright red,
bright red,
bright red,
ff
90
S.
ff
&
f
bw
Œ
red,
& Œ œ bright
A.
˙
w™
bright red,
bright
red,
bw red,
bright red,
f
red,
bright
œ & Œ ‹ bright
w
red,
? w
Œ bœ
bright
f
bright
? Œ bœ 3œ œ w ¢ w
bright red,
p
b˙
bright
œ b˙ ™
f
Œ bœ œ ˙
ff
22
∑
22
∑
22
∑
∑
22
∑
∑
22
œ Ó Œ
˙™
red,
Œ
bright red,
& w ‹ red,
red,
∑
bright red,
b˙
Œ bœ 22
Ó
and
p
f
Œ
red,
ff
˙
Ó
œ b˙ ™
f
Œ œ bœ ˙
ff
B.
œ bœ b w
ff
ff
p
p
Œ œ b˙ ™
& w
T.
f
3
bœ Œ Ó
red,
˙
bw
p
red,
bright
w w ™™
˙
bw
w™
22
™ bbw w™
22
red,
w w
bb˙˙
bright
red,
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
eve - ry time we
T.
B.
3
∑
˙
time we kissed
Œ bœ œbœ œ œ œ œ bw eve - ry time we
∑
˙
3
3
and
2 &2 ‹
w
Œ bœ œ œ œ bœ œ œb˙ Ó
∑
kissed
∑
œ
?2 ¢ 2 bbw w
hmm.
hmm.
∑
∑
∑
∑
Œ Ó
∑ 3
3
bw
bœ œ œ œ œ œ
there
? 2 bw 2
∑
kissed
3
and eve - ry
∑
∑
we kissed
3
∑
& 22
œ œ b˙
w
was an - oth - er
w
w
w
w
w
w w
w w
w w
w w
w w
38
° bw & 100
p
ap
S.
-
∑
& p
& w ap
A.
∑
& T.
& bw ‹ ap ?
B.
-
-
bw ap
-
ap
-
? ¢ bw
32 bw 23
ple
22 w 22
Ó
ple
ple,
ap
p
ap
˙
3
22 œ œ œ œ w
an - oth
-
er
ap
22 w
23 b w ™
22
ple
-
3
23 bw ™ ple
-
∑
22 #w
∑
23 b˙
23
∑ p
∑
23 w 23
22
Ó
-
ap
-
w
-
ap
nw 23
23
22
∑
22
Ó
ple
22
∑
23 #w ple
23 ˙
ple,
22
Ó
22 œ œ ˙ bœ œ 3
3
an - oth
-
er
23 w™
22
23
22
ple
w™
ple
39
° 2 pp w &2
bw
104
S.
2 &2
ap
-
∑
pp
A.
2 &2
ap
-
w ∑
pp
T.
?2 2w
-
pp
B.
?2 ¢ 2
ap pp
w
ap
-
-
∑
∑
22
∑
∑
∑
∑
22
∑
∑
∑
∑
22
∑
∑
∑
∑
22
U b˙
22
ple
∑
& 22 ‹ apw
∑
ple
∑
& 22 w
∑
w
ple,
w
bw to
bw
˙
slice
in
-
#˙
˙
to
piec
-
es.
∑
∑
∑
∑
22
∑
∑
∑
∑
22
ple
w
ple
40
q = 88 pp
° 2w &2 110
˙
Look
S.
at
pp
2 &2 w
˙
Look
Look
A.
2 &2 w
pp
Look
pp
& 22 #w ‹ Look
T.
pp
? 2 bw 2
˙ ˙
pp
¢
? 22 w
Look
the
the
light
j œ™ œ w
at
the
at
the
light
˙
the
3
˙ nœ ˙ mp
3
˙ nœ ˙ mp
w
w
light
˙ bœ ™ œ bw J at
mp
light
j œ™ œ #w
at
˙ nœ ˙ 3
light
˙ #œ ™ œ #w J
Look
B.
the
j œ™ œ #w at
pp
& 22 w
œ™ œ #w J
mp
mp
w
light
œ œ
w
at the
light
mp
˙ œ˙ 3
pp
23 #w
˙ the
pp
23 bw ™
nœ ™ œ w J
p non cresc.
22 b˙
win
-
dow- pane.
22 ˙ #œ ™ œ #˙ J win
pp
p
23 #w
˙
22 b˙
-
dow- pane.
pp
nœ ™ bœJ b˙
win - dow -
22 non cresc. ˙™ œœ w
23 ˙
22 ˙ ™
p
win
˙
˙
through the
win
win
n˙
dow- pane.
pp
œ œ n˙ -
Ó
dow- pane.
p
32 w™ pp
-
mfp
22 b˙ ™
pp
23 #w
Ó
pane.
23 w ™ pp
Ó
pp
œœ ˙ -
dow- pane.
p
22 œ bœ n˙
win - dow
Ó
pp
˙
-
pane.
Ó
41 117 ° œo & Œ Ó
S.
& &
∑
∑
& Ó ‹
T.
?
∑
∑
That
means
∑
B.
¢
?
∑
23
∑
Œ œ ˙™ ∑
23
∑
o & œ Œ Ó
A.
23
∑
23
œ œ 3 w™ 2 it's
∑ ∑ ∑ ∑
23
Œ œ 23 ˙ ™
œ œ 2 œ™ œ ˙ 2 J œ
22 Ó
Œ œ 23 ˙ ™
œ œ 22 œ™ œ ˙ œ J
22 Ó
3 Œ œ 2 ˙™
bœ œ 22 nœ ™ œ ˙ œ J
22 Ó
Œ œ 23 ˙ ™
22 j œ œ œ œ™ œ ˙
22 Ó
noon,
23
22 Ó
∑ ∑
22 Ó 22 Ó
pp sotte voce
that means we're in - con pp sotte voce
-
sol - a - ble,
,
that means we're in - con pp sotte voce
-
sol - a - ble,
,
that means we're in - con pp sotte voce
-
sol - a - ble,
,
œ œ œ 2 #œ ™ œJ ˙ , 2
that means we're in - con pp sotte voce
-
sol - a - ble,
-
sol - a - ble,
that means we're in - con pp sotte voce
-
sol - a - ble,
that
-
Œ œ 23 ˙™ Œ Œ
,
˙™
that means we're in - con pp sotte voce
œ œ
23 23
˙™
means
œ œ
#œ œ 2 œ ™ œ ˙ , J 2 œ œ 22 <n>œ ™ œ ˙ J
we're in - con
sol - a - ble,
,
42
° ˙ & 123
ppp
˙
in - con
˙™ -
sol
-
œ #w
n˙ œ œ ˙
f
a - ble.
Look
light,
œ #w
#˙ œ œ ˙
f
a - ble.
Look
light
3
3
at
the
w
& ˙
˙
in - con
ppp
& b˙
˙™ -
-
˙™
n˙
in - con
sol
-
sol
-
˙™
œ w -
a - ble.
3
3
at
3
the
3
˙ œœ˙ Look
at
the
˙ 3 œ œ3 ˙
23 <n>˙
˙ 3 œ œ3 ˙
look
S. ppp
˙ 23
w
at
look
f
23 ˙
bw light
the
at
the
3
3
˙ œœ˙
look
at
the
A. ppp
&
˙
˙
in - con
& ‹
˙ #˙
in - con
ppp
? #˙ B.
¢
-
-
-
sol
? ˙ <n>˙ -
sol
œ w
-
œ #>œ œ ˙
a - ble.
Look, look
œ #w
mf >˙ n Œ
a - ble.
#œ #w
˙™
ppp
in - con
sol
˙™
˙
in - con
-
#˙ ™
ppp T.
sol
f
3
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