Flowers Faded and Gone | Duncan Tuomi | MusicSpoke

FLOWERS FADED AND GONE FOR SATB CHOIR

DUNCAN TUOMI

DTM021

DUNCANTUOMI.COM

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Flowers Faded and Gone A Bowl of Calendula Flowers Their petals curl and shrivel, They lean on the dark, They are like wet velvet.

Now we must let them go . . .

They are just leaving us.

Star-splashes of rain on velvet, Crumpled fingers of tired hands, They are a people I do not know From another country: What they are thinking is in my heart, But without words.

Already they sigh under their strained gold For the wind to scatter them.

Their look is blurred . . .

They wait for the wind.

Hilda Conkling Performance Notes Dashed arrows indicate a vowel morph that should begin immediately, completing the transition to the next vowel on the beat at which a new vowel is indicated in the text underlay.

Glissandi are to be performed over the full duration of the note from which they originate. Ex. The alto, tenor, and bass glissandi in measure two will be one quarternote in duration, as the glissandi originate from the quarter note on beat three.

Letters or small groups of letters contained within parentheses, Ex. “Thei(r)” are not to be pronounced. The entrances of the surrounding voices complete the words that are begun by other voices, with the exception of the letter “r”, which does not require explicit pronunciation to be intuited by the listener. These entrances should be clearly articulated so that the completed words can be understood.

This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.

In loving memory of Dick Walters (August 30, 1930-January 18, 2021) and Lenora Tuomi (March 31, 1938-April 8, 2021)

Flowers Faded and Gone For the Choral Arts Initiative PREMIERE| Project, 2022 Hilda Conkling (1910-1986)

° 3‰ &4

q = 60 molto rubato

mf solo; senza vibrato

SOPRANO

3 &4

ALTO

œ #œ J ooh

BASS

{

3 & 4 ‰

Rehearsal Piano

œ #œ J

pp

∑

" Their petals curl and shrivel"

5

S.

a tempo

non rubato

Œ

nd_shriv -

4 &4 Œ

T.

j 4 &4 ‰ œ œ ˙ ‹ Their 'tals cur(l)

œ pp

pe(t)

3

#œ œ œ ˙

A.

pp

pp

j œ œ™

el,

˙™

ooh

l_a(nd)

˙™

ooh

˙˙ ™™

?4 w ¢ 4w

pp

B.

Pno.

{

Thei(r)

4 & 4 ‰

a tempo

? 4 w 4 w

œ -œ ™ J ˙-˙ ™™™ ˙

j œ œ œ

œ œ #œ

3

œ

œ

˙˙ ™™ ˙™ ˙˙ ™™

œ J

‰

o p Œ œ

œ #œ J

o Œ œ

p

Œ



oh

œ J

-œ

œ

U˙™ œ ˙ ‰ -J u -œ U˙ œ ˙ ‰ œJ ˙

4 4



4 4

œ ™ œj œ œ b œ œ

w

oooh mp Œ ‰ œj #œ ‰ œj œ œ ˙™ - œ

o Œ

 4 4

- U ‰ œJ ˙

poco rall.

-˙ ™ ˙˙™™

 4 4

- U ‰ œJ ˙

oh

ooh non rubato

oh

 4 4

oh

-˙™

œ

ooh

3

? 3 4

° 4 &4 Ó

-˙

-œ œ œ

oh

-˙ ™

œ

ooh pp

œ

oh

œ ˙ ‰ -J u oh U ‰ œj ˙ -

œ J

 4 4

U- pp ˙ ™ tutti

œ

-˙™

œ

-˙

q = 60 molto rubato

œ #œ J

-œ

ooh

ooh pp

∑

œ J

‰

-˙

∑

?3 ¢ 4

-œ ™

œ J pp

∑

3 &4 ‹

TENOR

-œ 3œ œ

œ

Duncan Tuomi (b.1994)

poco rall.

they lean mp

on

they lean

on

the dark,

j ‰ œ -œ < n>œ ‰ œ œ œ ˙™ J

they lean on the pp

Œ

pp

Œ

the dark,

w w

j bœ ™ œ œ œ œ œ

the(y)

ooh they lean on the

p

w œ #œ J œj œ w w

œ™ œ ‰ œJ œ œ ˙ ™ ‰ œj œ œ b ˙œ ™ œ ™

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j nœ œ œ b œ œ œJ œ œ œ œ

solo

° œ & 9

S.

mp

œ œ ˙™

œ bœ bœ

dark, they're like wet mp

j & ‰ œ œ

A.

they are mp

T.

B.

¢

& ‰ b œJ œ ‹ they are mp

? bœ

Pno.

{

j ? bœ bœ

A.

T.

B.

ah mf

œœ

œ

œ ‰ œ œ œ ˙™ J œ ‰ œ œ œ ˙™ J

œ

like

œ œ

wet vel - vet.

wet vel - vet.

ah mf

œ ‰ œJ

{

let

œ œ œ œ b œ œ œ bb œ̇ œ œ b œ œJ œœ ™™ bœ 3 u 3 3 œ™

oh

j œ bœ ™

oh

ooh

œ bœ ™ J

Ϫ Ϫ

˙˙

œ œ œ œ

˙ ˙

Œ

œ

˙˙

Œ

mf

Leav

go.

3

rall.

U ˙

bb œ̇ b ˙ œ bœ

2 4

-

2 4œ -

2 4œ -

ing

Œ

us.

˙™

œ œ œ œ œ œ 3

3

Œ

us.

˙

3

3

œ œ œ œ

Flow - ers fad - ed and

œ

mp

ing

œ

4 4 ˙™

mp

Œ

us.

˙

3

3

œ œ œ œ

Flow - ers fad - ed and

Œ

us.

˙

3

3

œ œ œ œ

Flow - ers fad - ed and

a tempo

? 3 nnœœ ™™ 4 œ™

pp

3

nœ œ œ œ œœ ™™ œ™

4 j 4 œ œ™

‰ œj œ #œ 24 œ

4 ˙˙ 4 ˙

Œ

p

œœ œ

2 œœ 4 œ

œ 44 ˙™

3

œ œœ œ

4 ˙˙ ™™ 4 ˙™

 3 4

Flow - ers fad - ed and

4 4 ˙™

ing

 3 4

U  3 U nœ b œ œ 43 bœ œ ™ b œ u  U˙ 3 ˙ 4

3

mp

œ

3

mm

mp

œ

 3 4

 3 4

mm

bb ˙˙

4 4

U b œœ

U ˙

3 2 4 4 œ -œ œ 4 ˙™

just leav - ing

œ

mm

ooh

œ̇ b œ œ œ bb ˙˙

j œ bœ

œ b˙ J

oh

œ

mm

ooh

œ bœ ™ J

U

3

œ b˙ J

oh

3

œ œ œ œ

ooh

j œ œ™

œ œ̇ œ œœ

a tempo

Now

rall.

3

œ œ

ah

wet vel - vet.

b œœ b œ œ J œœ

œ

tutti pp

j 3 & 4 ‰ œ #œ

Pno.

vel - vet.

o p 3 ° 3 j j 4 & 4 ‰ œ #œ œ -œ œ œ 4 œj œ ™ ‰ œ œ #œ go.

They are Now we must let them o p pp 3 4 Œ &4 4 ™ ™ œ œ -œ -˙ Leav Now let go. o p pp 3 4 Œ & 4 œ™ 4˙ œ™ œ ‹ Now Leav let go. o p pp 4 ?3 Œ 4˙ œ ¢ 4 œ™ -œ ™ 13

S.

œ

ah mf

like

dark, they're like

mp

mf

j œ ‰ œ œ œ ˙™

œ

& œ

ah

Œ

œ

mp

˙˙ ˙

Œ

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œ œ œ œ œ

3

3

œœ œœ œœ œœ œ œ œ œ 3

3

4

° & œ ˙˙ 18

S.

3 ™ œ 4˙

gone... ah

& w

A.

gone...

gone...

B.

Pno.

gone...

˙™

6 8

œ nœ ˙™

6 8

œ

p

œœ œ œ œ œ ‰ ‰

stah

stah

stah

œœ œ œ œ œ ‰ ‰

stah

stah

stah

∑

∑

∑

∑

∑

∑

œ nœ

˙˙™™

q = q.

#œ 6 œ œ œ 8 œ œ

6 8

œ

#œ œ œ œ œ

œ œ œ #œ œ œ

∑

∑

∑

#œ ™

Ϫ

#œ ™

Ϫ

#œ ™

Ϫ

#œ ™

Ϫ

#œ ™

stah

stah

stah

stah

stah

stah

stah

stah

stah

stah

& œ œ œ œ œ œ ‰ ‰

A.

stah

T.

¢

?

{

?

stah

∑

& ‹

&

Pno.

6 8 ‰ œ œ œ‰ œ œ

° œ™ &

stah stah stah stah

B.

˙˙ ™™ ˙™

3 ™ 4 Œ̇ #œ œœ œœ ah

3 4 œ̇ œ #˙

24

S.

3 4 œ œ#˙ 3 4˙

¢ bw

{

˙˙ ™™

p

? w bw w

#œ ™

Ϫ

ah

?

& œ ˙˙

#œ ™

Ϫ

stah stah stah stah stah stah bell-tones, mfp sempre stah stah stah stah stah stah stah stah stah stah stah stah

3 4 Œ #œ œœ ™ œ J ah

#œ ™

6 Ϫ 8

q = q. bell-tones, mfp sempre

p

p

& w ‹

T.

˙™

p

∑ œ

#œ œ œ œ œ ∑

stah stah stah stah

stah stah stah stah

stah stah stah stah

œ œ œ œ œ œ ‰ ‰

œ œ œ œ œ œ ‰ ‰

œ œ œ œ œ œ ‰ ‰

-˙™

-œ

stah

stah

mp

Star mp

-˙ ™

-

Star

-

œ œ ˙˙ ™™

-

-

œ #œ œ œ

stah

stah

stah

stah

stah stah stah stah

œ œ œ œ œ œ ‰ ‰ stah

œ

œ

-˙

œ

œœ ™™

splash - es

of

rain

-˙

on

vel

rain

on

b-œ

œ

splash - es

œ œ bœ

œ

of

#œ œ œ œ œ œœ

œœ

œ

œ œ œ #œ œ œ ˙˙

œœ

œ

stah

œœ -

‰

vet,

œ œ J

‰

vel - vet,

œ œœœ ™™

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#œ œ œ œ œ œ œœœ J

‰

° œ œ œ -œ œ œ œ & 29

S.

mf

œ bœ œ bœ J

œ œ J

2

star - splash - es of rain

on vel - vet, rain

mf

T.

B.

¢

& Œ™ ‹

star mf

Ϫ

-

star

-

mf

? Ϊ

{

Ϫ

-

star

œ œ œ œœ &

Pno.

? Ϊ

B.

Pno.

splash - es

of

bœ

bb œœ

? 9 œ™ ¢ 8

{

fin

-

-

9 bœ & 8 ‰ bb œœJ ? 9 b œœ ™™ 8

2

œœ

Ϫ

gers

from

œ ™ bœ ™

gers

œœ ™™

œ™ bœ ™

rain,

œœ b œœ J

U 6 bœ ##˙˙ ™™ 8

6 8

hands, mp

U n˙ ™

hands, mp

6 8 6 8 6 8

b œœ ™

2

, #-œ -œ

They are

U™ ˙

hands,

U™ ##˙˙ ™™ n˙ n˙U˙ ™™ ˙™

mp

vel - vet,

b˙™

crum

-

pled

2

9 8

I

do not

know,

-œ -œ

œ

œ

peo - ple

-œ ™

,#œ ™

are

Ϫ

#-œ ™

-

They

are

peo

-

#œœ

œœ

œœ ™™

bb ˙˙ ™™ 2

peo - ple

a

peo

#œœ ™™

Ϫ

I

ple

Ϫ

ple

œœ ™™

˙™

,

Ϫ

don't

™ -œ

˙™

,

Ϫ

Ϫ

-˙ ™

,

I

don't

know,

œ œ I

œ

9 8

b œœ bb œœ b œœœ œœœ ‰ 98 J

œ

They

##œœ ™™

2

9 8

b˙™

pled

-œ

#-œ -œ

œœ

b˙™

-œ #œ

œ

Ϫ

œœ

fin - gers

-

2

#-œ ™

#œ

‰

rain

2

a

j2 ‰ 9 œ b-œ œ œ 8

crum sub. p

œ œ œœ œœ œœ ‰ Œ ™ b œ J 2 2 œ b œ œœ b œ œ œ b œœ ™ œ œœ b˙™ ‰ j œ œ œœ

They are

,

mp

on

5

2

crum - pled

p œ b œ œ œ ‰ bsub. ˙™

2

fin - gers

2

splash - es of

, #-œ -œ

U n˙˙ ™™

hands,

from

œ ™ ˙˙ ™™ œ ™ b ˙™

œœ

on vel - vet,

2

2

crum - pled

-œ b œ œ œ ™ œ

bœ ™

mp

6 8

Ϫ

2

vel - vet,

sub. p2

splash - es of rain

of

œ

j 2 ‰ Œ™ bœ œ œœœ -

œ œ

-œ œ b œ œ

œ

j œ œœ b œœ

tired

2 9 ‰ b œj ˙ ™ &8 b˙™

9 & 8 bœ ™ ‹ fin

œ

splash - es

œœ nœœ œ bœ

from tired

T.

œ

° 9 bb œjœ œ ™˙ ™ œ ™ &8 ‰ J from

A.

œ

2

35

S.

œœ ™™

2

splash - es of rain on vel - vet rain

bœ

œ œ œ ‰ Œ ™ b-œ b œ b œb œœ œœJ ‰ 98 sub. p2

2

on vel - vet,

j & œ ‰ œ œ œ bœ œ œ œ œ œ -

A.

2

do

œ

-˙™

not

know,

œœ ™ #œ œ ™ œ œœ ™

œ œ™ œ

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know,

˙˙ ™™ ˙™ ˙™

,

6

° œ nœ œ & 41

S.

mf

From mf

& Ϫ

A.

From

& œ™ ‹ From mf

T.

B.

¢

A.

Ϫ

bœ ™

Ϫ

? Ϫ

From

an - oth - er

mf

{

œœ ™™ ? œ™ mf

Ϫ

œœ ™™ œ™

œ

bœ ™

4 &4

heart,

œ

Œ

b -œ œ

Ϫ

œ bœ

bb œœœ ™™™

° 4 & 4 b œœ œœ Œ ™ my heart, 46

S.

an - oth - er

an - oth - er

& œ nœ

Pno.

Ϫ

U bœ 9 œ bœ œ bœ œ b œ 8 b œ˙ ™œ œ ™ Œ ™ u oth - er count - ry: U ™ 9 8 bœ ™ œ ™ Œ œ ™ œ ™ b˙™ bœ™ 2

an -

T.

bœ œ

bœ

B.

Pno.

{

-

U 9 b˙™ 8

Ϊ

U œ ™ 98 ˙ ™

Ϊ

b˙™

count

-

bœ ™

ry:

ry:

bœ

™ bbb œœœ ™™

œ

bœ

Ϫ

words.

Œ 3b 4 ‰ œ̇ œ œ

3 4œ œ œ

Ó

2 bœ 9 8 bb œœ ™ œ œœ ™™ bœ™ p

9 b ˙˙ ™™ 8

U ˙™ U ˙™

But with - out words.

3 4œ œ œ

Ó

U ˙™

But with - out words.

U 3 4 bœ œ œ b˙™

Ó

my heart,

But with - out words.

4 œ & 4 b œœ b œ

Œ bœ œ œ œ œœ œœ Ó

? 4 b œœ 4

œœ

Ó

3

bœ

œ

3b 4 œ̇œ

œœ

œœ

3 4 b œœ

œœ

œœ

slower; chantlike, non rubato sotto voce think - ing

is in my

œj œ œ 4 7 bœ œ 8 b œœ œœ œœ œœ œœ œœ œœ 4 ‰

‰

p

What they are think - ing is in p sotto voce

7 8 bœ bœ

4 œœ œœ œœ œœ œœ œœ 4

7 bœ 8

œ œ œ œ œ œ 44

What they are think - ing is in psotto voce

What they are think - ing is in

psotto voce

7 bœ 8

œ œ œ œ œ œ 44

What they are think - ing is in

But with - out words.

my heart,

? 4 b-œ œ ¢ 4

œ

But with-out 3

count

œ

count - ry:

œœ ™™ œ™

my heart,

4 & 4 -œ œ ‹

mpsolo what they are

U ˙˙ ™™

U™ b ˙˙ ™

Ϊ

œ

œj œ œœœœ œœœœ

slower; chantlike, non rubato

œ 7 bœ 8 bb œœœ bœ

7 bb œœ 8

œ ‰ œœœœ œœœœ œœ

œœ

‰ œœœœ œœ

œ 4 œœœœ 4

œœ œœ œœ 4 4

o p 3 j j 4 2 ‰ j ‰ œ #œ œ œ œ 4 4 œ # œ œ - œ œ -œ ™ go.

They are Now we must let them o p mp 4 2 Œ 4 4 ™ ™ œ œ -œ -˙

Tempo I mp

Now

let

go.

Ϫ

-œ ™

let

4 4˙ -

Ϫ

-œ ™

4 4˙ -

mp

Now

mp

Now

let

Tempo I

‰ œj #œ

mp

œœ ™™ œ™

go.

o Œ

Leav -

p

œ

p

œ

3

2 4 2 4

Leav -

go.

œ œ œ œ œœ ™™ œ™

o Œ

Leav -

4 j 4 œ œ™

‰ œj œ #œ 24

4 ˙˙ 4 ˙

Œ

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p

œœ œ

2 4

3 ° 2 4 & 4 œ -œ œ 4 ˙™

51

S.

just leav - ing

A.

T.

B.

Pno.

2 &4

œ

ing

2 &4 œ ‹

?2 ¢ 4œ

{

2 & 4 œ

Œ

˙™

ing

œ

4 4 ˙™

Œ

4 ˙™ 4

Œ

pp

Pno.

'dy the(y)

4 ˙˙ ™™ 4 ˙™

‰

pp

Œ

to scat - ter

j œ

3

3

{

Fo(r)

? w w

œ

œ œ #œ

œ œ œ œ

For

œ œ ˙

oh

o Œ

oh

o Œ

˙˙ ™™

œ œ œ

œ

‰ ‰

œ œ

œœ nœ œ b œœ

œ œ

œ

p

˙˙ ™™ ˙™

the wind to scat -ter them, mf

Œ

‰ b-œ œ b œ œ J

Œ

them.

ooh For

œJ œ œj œ

o Œ

‰ b œJ œ œ

scat - ter them,

mf

Œ

Œ

- œ b˙ bœ œ œ œ œ œ œ

? w ¢ w

ooh

oh

w w

‰ œj œ œ - œ

œ

œ

˙˙ ™™

The(y)

mp j œ œ -œ < n> œ ‰ œ -œ œ œ œ ˙ ‰ & ‹ For the wind to scat - ter them.

& w œ œ #œ

p

˙™

w w

p

B.

sigh un - de(r)

mf

For the wind

T.

˙

œ œ œ œ bœ œ œ œ b˙

& ‰ œ œ #-œ

o Œ

˙™

pp

° & w mp

A.

œ œ œ œ

3

Al

us.

œœ œ

3

œ

us.

œ

œ

#œ

‰ œj œ œ œ ˙

Œ

55

S.

pp

Œ

rea(d)

œ

3

Œ

7

their strained gold

4 4 ˙™

œ

Ó

us.

ing

? 2 œœ 4 œ

Œ

us.

4 4

œ

" Already they sigh under their strained gold" pp

mf

˙œ œ

bœ œ

œ

œ

œ

b˙ bœ J mf

œ

œ

œ

b˙

-œ œ

-œ b œ œ œ

scat - ter,

scat -ter them,

scat - ter

b-œ

the wind to scat -ter them,

œ˙ œ

scat - ter,

b-œ b œ bœ

scat - ter

œ bœ œœ b œ

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j œ b œ œœ œ bœ

œ œ

bb œœ b œ

8

° ‰ œ & J

mp

58

S.

Their

œ œ œ

œ œ ˙

look

blurred

mp

A.

j & ‰ œ œ Their look mp

T.

& œ ‹ them,

œ

? ¢ ˙

{

is

is

Œ

j ˙ nœ

° 5 #œ &8

œœ œ œ œ ‰ J j œ ‰ œœ J œ œ œ œ

we must let

A.

T.

B.

5 &8 5 &8 ‹

?5 ¢ 8

{

ppp

ppp

œœ nœ

them

∑ ∑

ppp

∑

-˙

b˙

They wait

Œ œ

b˙

They wait

œ

œ̇

Œ

œ

˙˙

œ J

5 #œ 8

Œ

˙˙ ˙ ˙

‰

œ

go,

pp

nœ œ œ œ

3

œ

half-whispered

They are sigh - ing, half-whispered

∑

ppp

œœ œ

œœ œ

œœ œ

p

5 8

U œj 5 œœ bb œ̇ œ b œ b œ œ 8 bœ p u œœ bU 5 bw w 8 3

3

them

∑

3 4

ptutti ‰ œj 44

œ œ™ J go,

Now

3 3 ‰ œj œ œ œ œj ‰ 4 4 4 -

3 4 ‰ œJ

-œ 3œ œ -œ J ‰

4 4

3 œ 4‰ J

-œ 3œ œ -œ J ‰

4 4

They wait for the wind.

half-whispered 2 ‰ œ œ -œ œ 5 4 8

œœ 2 ‰ œ 4

5 8

They wait for the wind.

2 ‰ œ œ -œ œ 5 4 8

œ J

U 5 8 b œœ

the wind.

3

∑

Now

œ bU w

3

œ œ œ œ œ

we must let

wind.

5 8

the wind.

œ̇ b œ bb ˙˙

bœ

œj

p solo

U œ bw

3

3

2‰ œ œ œ œ 5 4 8 -

‰

the

for

œ

wind

œ b˙

3

Now

2 œ 4

3

for

-˙

pp

the

for

∑

They are sigh - ing,

chantlike; molto rubato

? 5 8

2 4

˙

They wait

Œ œ

˙

œœ œ

-˙

They are sigh - ing,

5 #œ & 8

Pno.

pp

blurred

62 chantlike; molto rubato

S.

Œ œ

blurred

for

wait

pp

blurred

j ‰ œœ J mp

?

They

˙

œ

3

Œ œ

‰ œj œ nœ ˙

them,

&

Pno.

‰ œj œ

look

mp

B.

is

3 3 U -œ œ œ b œ œ œ b œ œ b œ œj œœ ™™

pp

They wait for the wind.

5 #œ 8 5 8

3

œ œ œJ œ œ ∑

3 4 œJ œ ™ œœ œ 3 4 ‰ J

ppp

œœ œ

œœ œœ œ œ 3

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‰ œj

œœ œ ‰ J p

4 4 4 4

° 4 j & 4 œ #œ 66

S.

non rubato

we

4 &4

A.

9

j œ -œ œ œ œ œ 3

must let

Now

˙

let

˙

go,

4 &4 ˙ ‹ Now

˙

let

˙™

go,

˙

˙™

?4 ¢ 4˙ p

B.

{

Now

non rubato

j œ

œ

? 4 ˙˙ 4 ˙

° & œ 69

S.

&

A.

B.

Pno.

¢

œ

œ

œ

go...

˙™

?

Œ

Œ

Œ

˙˙ ™™ ˙™

? ˙˙ ™™ ˙™

‰

Œ

w w w

j œ #œ

œ

ppp

Œ

go,

pp

w w w

Œ

˙™

go,

∑ ˙˙ ™™ ˙™

let

w

go...

w

o

let

go...

w

U w

o

ppp

Œ

œ

o

U

w

U w

let

∑

œ

∑

ppp

w

œ

œ

∑ Œ

˙™

w

rit.

Œ

Œ

∑

˙™

let

˙™

w

let

pp

go,

w

go,

let

˙™

& œ

w

them

let

ppp

let

& ˙™ ‹ go,

let

w

Œ

pp

Œ

must

let

˙™

o

w

pp

{

3

œ

rit.

˙™

Œ

go,

˙˙ ˙

go,

T.

now we

˙™

let

4 j & 4 œ #œ

Pno.

go,

p

p

T.

them

˙™

‰ œj #œ œ œ -œ œ œ

Œ

go...

∑

w w w

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∑ U w w w

About the Composer: Duncan Tuomi (b. 1994) is a choral conductor and award-winning composer based in Los Angeles, California. He currently studies choral music in the Master of Music program at the University of Southern California and studies composition with Dr. Frank Ticheli. In recent years, Tuomi has assisted the leadership of numerous middle and high school choral ensembles around the Portland, Oregon area, most notably the Tsunami Chorus of the Pacific Youth Choir, worked as a soloist with Portland’s Bach Cantata Choir, and served as the Tenor/ Bass Repertoire and Resources chair for Oregon’s chapter of the American Choral Director’s Association (ACDA). He holds a Bachelor of Music Degree in Vocal Music Education from St. Olaf College, where he studied under Dr. Anton Armstrong and Dr. Christopher Aspaas, among many others. He has also worked as a section leader with the Corvallis Repertory Singers, and as a performer with Eugene Opera.

As a composer, Tuomi was the first-place winner of the American Choral Director’s Association’s Raymond W. Brock Memorial Student Composition Competition for 2021. He has had works premiered by the Pacific University Chamber Singers under the direction of Dr. Scott Tuomi, and the University of Portland Chamber Singers under the direction of Dr. Michael Connolly, and was commissioned to compose for the 10th annual Brothers, Sing On! Tenor/Bass Choir Festival in 2018.

About the Piece: "Flowers Faded and Gone was composed for the PREMIERE|Project of Choral Arts Initiative's 2022 season. The text, by child poet Hilda Conkling, depicts the wilting of a bowl of calendula flowers. There is a profound innocence and wisdom to the poem, which I used in this case to represent my experience with the loss of my grandparents, Dick Walters and Lenora Tuomi, both of whom passed in 2021. The soprano solo in this work represents an amalgam of Conkling, and myself as a child, extending love and consolation to my mother and father, each of whom had just lost their own father and mother respectively. The music moves through keys as it navigates the path between grief and acceptance, ultimately never finishing in a defined home key, as even acceptance does not mark the end of grief, just the point at which living feels possible again.

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