Fairouz: The Second Coming by Peermusic Classical

The Second Coming SATB, Secular

Mohammed Fairouz

MOHAMMED FAIROUZ THE SECOND COMING for mixed chorus (SATB) a cappella On the poem by W.B. Yeats

peermusic C L A S S I C A L NEW YORK . HAMBURG

The Second Coming Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. Surely some revelation is at hand; Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of Spiritus Mundi Troubles my sight: somewhere in sands of the desert A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Reel shadows of the indignant desert birds. The darkness drops again; but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born? —W.B. Yeats

Mohammed Fairouz, born in 1985, is one of the most frequently performed, commissioned, and recorded composers of his generation. Hailed by The New York Times as “an important new artistic voice” and by BBC World News as “one of the most talented composers of his generation,” his large-scale symphonies, operas and oratorios all engage major geopolitical and philosophical themes with persuasive craft and a marked seriousness of purpose. Fairouz’s solo and chamber music attains an “intoxicating intimacy,” according to New York’s WQXR. A composer who describes himself as “obsessed with text,” he has been recognized by New Yorker magazine as an “expert in vocal writing” and described by Gramophone as “a post-millennial Schubert.” His principal teachers in composition include György Ligeti, Gunther Schuller, and Richard Danielpour, with studies at the Curtis Institute and New England Conservatory. Recordings of his music are available on Deutsche Grammophon, Naxos, Sono Luminus, and Bridge. Fairouz’s works are published by Peermusic Classical. He lives in New York City.

The Second Coming W. B. Yeats q = 72

Soprano

Alto

Tenor

Bass

& 12 8

∑

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∑

Mohammed Fairouz (2015)

œ œ œ œ œ bœ œ œ œ. œ œ >. œ

Turn-ing and Turn-ing and Turn-ing and Turn-ing and

nœ œ œ œ œ œ œ œ œ bœ œ œ >

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∑

Turn -ing and Turn -ing and Turn -ing and Turn - ing and

œ œ œ œ œ bœ œ œ œ. œ œ >. œ

Turn - ing and Turn - ing and Turn - ing and Turn - ing and

Turn -ing and Turn -ing and Turn -ing and Turn - ing and

Turn -ing and Turn - ing and Turn - ing and Turn - ing and

ƒ &œ œ >œ œ œ b >œ œ œ >œ œ œ > œ

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Œ.

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Turn

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ing

∑

& œ œ œ œ œ œ bœ œ œ œ œ œ > > > >

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> > V œ œ œ bœ œ œ bœ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ bœ œ œ > > > Turn -ing and Turn -ing and Turn -ing and Turn - ing and Turn -ing and Turn -ing and Turn -ing and Turn - ing and j ? œœ œœ œœ .. œœ .. Œ. bœ bœ. œ œ œ. œ œ œ œ œ œ œ œ œ. œ. œ ﬂ > Turn - ing Turn -ing and Turn - ing and Turn - ing and Turn - ing and © Copyright 2015 by Songs of Peer, Ltd. International Copyright Secured. All Rights Reserved.

2 7

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∑

Turn - ing and Turn - ing and Turn -ing and Turn - ing and

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Turn - ing and Turn - ing and Turn - ing and Turn - ing and

> > V œ œ œ bœ œ œ bœ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ bœ œ œ > > > ?

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œ œ bœ bœ. œ œ œ. œ œ œ œ

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œ œ bœ bœ. œ œ œ. œ œ œ œ

Turn - ing and Turn - ing and Turn - ing and Turn - ing and

œ œ œ bœ. bœ œ bœ œ œ œ œ bœ. bœ œ bœ œ œ bœ œ œ bœ. bœ œ œ

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& œ œ >œ œ œ b >œ œ œ >œ œ œ > œ

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> > V œ œ œ bœ œ œ bœ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ bœ œ œ > > > ?

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Turn

b œœ. n œ œ &

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j Turn - ing œœ. œ œ n œœ . œ b œ œœ . œ b œœ œ œ ‰ Œ . bœ œ

ing

and

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œ œ œ œ bœ œ bœ œ ‰ Œ. > œ > œ > œ

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> > V œ œ œ bœ œ œ bœ œ œ œ œ œ > > ?

œ œ ‰ Œ.

. . .

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Turn - ing

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bœ bœ. œ œ œ. œ œ œ œ œ œ œ

bœ bœ œ œ œ œ œ œ œ œ œ œ

3 13

∑

V .

p but intense ‰ b œœ b œœ œœ .. œœ œœ b ww ..

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wi - den - ing

gyre

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& Œ.

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the

in the wi - den - ing

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˙.

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ƒ ‰ bœ bœ œ. œ œ bœ œ œ bœ bœ œ nœ.

ƒ . V ‰ b œœ b œœ œœ .. œœ œœ b ˙˙ . ƒ

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gyre

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wi - den - ing gyre

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and

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.

and Turn - ing

& bœ bœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ > > > >

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> > V b œœ œœ œœ œœ œœ œœ b œœ b œœ œœ œœ œœ œœ œ œ œ b œ œ œ b œ œ œ œ œ œ > > Turn - ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing and j ? œœ œœ œœ .. Œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. ﬂ > Turn - ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing

4 19

∑

& œ. œ œ œ œ œ bœ œ œ œ. œ œ œ œ œ œ œ œ bœ œ œ œ œ œ > > > > >

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> > V nœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ bœ œ œ œ œ œ > > >

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? œœ .. œ >.

Turn

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ing

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∑

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Œ.

∑

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> > V nœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ bœ œ œ œ œ œ > > > ?

Turn - ing and Turn - ing and Turn -ing and Turn - ing and Turn -ing and Turn -ing and Turn -ing and Turn - ing and

œ bœ bœ. œ œ œ. œ œ œ œ bœ bœ. œ œ œ. œ œ œ œ œ œ œ œ

Turn -ing and Turn - ing and Turn - ing and Turn - ing and Turn -ing and Turn - ing and Turn - ing and Turn - ing and

ƒ terrifying bœ. bœ œ œ. œ œ œ œ œ œ. œ œ bœ. bœ œ bœ œ œ œ œ bœ œ œ bœ. &

Turn - ing and Turn - ing and Turn -ing and Turn - ing and Turn - ing and Turn -ing and Turn -ing and Turn - ing and

& œ. œ œ œ œ œ bœ œ œ œ. œ œ >

Turn - ing and Turn -ing and Turn -ing and Turn - ing and

V nœ œ œ œ œ œ œ œ œ bœ œ œ > ?

œ œ >œ œ œ b >œ œ œ >œ œ œ > œ

Turn - ing and Turn -ing and Turn -ing and Turn - ing and

œ >

> œ œ œ >œ œ œ b œ œ b œ œ >

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Turn - ing and Turn -ing and Turn -ing and Turn - ing and

Turn -ing and Turn - ing and Turn - ing and Turn - ing and

Turn - ing and Turn - ing and Turn - ing and Turn - ing and

bœ bœ. œ œ œ. œ œ œ œ œ œ œ

bœ. bœ œ bœ œ œ bœ œ œ

Turn

œ œ œ b œœ. n œ œ

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& œ. œ œ œ œ œ bœ œ œ œ. œ œ œ œ œ > >

j œ œœ. œ œ œ . œ b œ œœ . nœ œ bœ and

ing

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Turn -ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing and

Turn - ing

œ œ & bœ œ ‰ Œ.

.

∑

& bœ œ ‰ Œ.

.

∑

V œ œ ‰ Œ.

.

Turn - ing

.

p but intense ‰ b œœ b œœ œœ .. œœ œœ

p but intense ? œ bœ bœ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ Turn - ing

in the

wi - den - ing

Turn - ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing and

∑

œ bœ bœ œ œ

the

in the wi ƒ ‰ b œœ b œœ œœ .. œœ œœ b ˙˙ ..

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S bœ bœ œ nœ. &

˙.

œ.

œ œ J

S & œ nœ bœ œ nœ œ bœ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ den - ing

gyre

den - ing

gyre

The

p ‰  œœ œœ œœ .. œœ œœ œœ ..

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in the

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gyre

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f &œ

fal

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fal

œ œ bœ œ œ. J con

can - not

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hear,

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hear,

n œœ œœ  œœ œœ œœ . . J

the

con

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hear,

the

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& 68 b œ .

œ œ œ

fal - con -er;

ƒ œ b œ 12 œ 8 the

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the

fal - con -er;

the

. V 68 œœ .

? 68 œ b œ

b œœ œœ œœ

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œ œ

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œ œ

and Turn - ing and

ƒ 12 8 œ

fal

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fal

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f ?œ œ œ œ bœ œ œ œ œ œ œ œ fal

98 œ

9 œœ 8

œ œ bœ œ œ J con

can - not hear

con

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con

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hear

n œœ œœ  œœ œœ œœ J

the

b œœ J

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con

the

j nœ œ œ œ œ œ bœ

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98 98

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ƒ ? bœ bœ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ œ œ

Mere

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loosed

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bw.

world,

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& bw.

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bw.

b˙.

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bœ.

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œ.

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mere

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œ.

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loosed

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the

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the

j œ bw. j œ b˙.

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bœ. Turn

& bœ.

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V bœ.

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˙.

∑

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ing

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& .

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& V

∑

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very

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where

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The

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10 55

p œ. p

œ. bœ. -

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re - mo

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œ. -

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? j œ œ

∑

Œ.

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The

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j œ

∑

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∑

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12 67

∑

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∑

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> > V nœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ bœ œ œ œ œ œ > > > ?

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œ >

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.

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∑

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14 79

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.

∑

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∑

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∑

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Turn 89

b œœ. n œ œ Turning and

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16 91

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The

& œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p œ.

Turn - ing and Turn -ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing and Turn - ing and

∑

. .

Œ. Œ.

p œ.

The

& bœ.

121

best

œ.

lack

œ.

œ bœ œ J J

while

the

Turn - ing and Turn - ing and Turn -ing and Turn - ing and

bœ œ J

œ.

best

lack

all

con

œ.

best

œ.

lack

œ.

worst

all

œ œ. J

con

œ. bœ.

Are full

Turn -ing and Turn - ing and Turn -ing and Turn -ing and

V bœ.

worst

? œ.

worst

œ.

œ œ œ œ œ œ œ œ œ œ œ œ

œ œ

j œ œ

vic - tion,

ƒ œ œ œ pas - sio- nate

œ.

œ. bœ.

œ.

while

the

œ.

while

in - ten

the

œ œ. J

si - ty.

œ œ œ œ œ œ œ œ œ œ œ

Turn - ing and Turn -ing and Turn -ing and Turn - ing and

œ œ. J

œ.

ƒ bœ œ œ

Are full

œ.

ƒ œ œ œ

pas-sio - nate

Are full

pas-sio - nate

œ œ. J

œ.

vic - tion,

ƒ & nœ œ œ œ œ œ œ œ œ œ œ œ œ

125

œ.

Turn - ing and Turn - ing and Turn - ing and Turn - ing and

V bœ.

123

œ.

con - vic - tion,

all

& œ bœ œ œ œ œ œ œ œ œ œ œ

œ.

& œ œ œ œ œ œ œ œ œ œ œ œ

œ. œ.

in - ten

si - ty.

in - ten

si - ty.

œ. œ.

q = 50

U w.

U 

j œ œ œ. ˙.



? w.



Turn -ing

œ œ. J

 U, 44

V w.

Turn - ing and Turn - ing and Turn - ing and Turn - ing and

œ œ. J

∑

4 U 4

∑ ∑

p œ œŒ

Sure - ly

p &˙

128

œ œ œ

Sure - ly some re

œ 3 œ œ bœ œ œ œ 44 w 4 -

∑

& V

∑

ve - la - tion is at

∑

3 4

∑

p 44 ‰ j œ œ œ œ œ hand;

Some re - ve - la - tion

∑

4 4

& 43

V 43  œ ?3 4

∑

la - tion

136

hand;

44 ‰ j œ œ œ œ œ

∑

œ œ 44  w

is at

&˙

œ œ œ œ.

4 4

hand;

œ œ œ œ. œ œ œ ∑

Co - ming

Sure - ly the Se- cond

Co - ming

ƒ bœ œ ‰  œj œ œ

is at

Sure - ly the Se- cond

Co - ming

ƒ 43 œ œ œ œ œ 44 b œ œ œ œ b œ 4 4

∑

V˙ ?

rit.

Sure - ly the Se- cond

œ œ œ

Co - ming!

3 4

∑

œ œ œ œ.

The Se -cond

re - ve -

∑

&˙

hand.

œ œ 43

some

Co - ming!

p œ bœ œ

∑

The Se -cond

∑

hand.

ly some re -

ƒ 43 œ œ œ œ œ 44 œ œ œ œ œ

3 4

∑

œ œ œ

hand.

œ 3 4

ƒ 34 œ œ œ œ œ 44 œ œ œ œ œ b œ

Some re - ve - la - tion

bœ

œ œ œ

q = 72

& 43 œ  œ b œ œ œ œ 44 w ve - la - tion is at

Sure

Sure - ly

∑

132



∑

‰

œ œ

p œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ

The Se - cond Co - ming! Hard - ly are those words

When a 3

out

When a

23 140

q = 50

∑

4 ˙. 4

p 34 œ œ œ œ œ

Spi - ri - tus Mun - di

∑

vast

3 œ œ. œ œ 4 œ œ œ œ œ i - mage out of

Trou

bles my sight:

Trou

bles my sight:

44 ˙ .

Spi - ri - tus Mun - di

Trou

3 œ œ. œ œ 4 œ œ œ œ œ i - mage out of

œ bœ w

j 44 œ œ œ œ œ w . œ

Spi - ri - tus Mun - di

V˙ ?

p 3 œ œ œ œ œ 4

4 4 ˙.

Spi - ri - tus Mun - di

Trou

3 4

∑

43 ˙ .

hum(m)

43 ˙ .

œ œ

3 4 ˙˙ ..

4 4

bles my sight:

hum(m)

43 œ  œ b œ œ œ œ œ b œ œ . œ .

& 44 w

43 ˙ .

3 4 ˙.

˙˙

43 ˙˙ ..

some - where in sands of the

V 44 w ? 44 w w

de-sert,

some - where in sands of the

hum(m)

& ˙.

hum(m)

of the

de - sert

44 ˙.

V ˙.

44 ˙ .

? ˙. ˙.

4 w 4 w

hum(m)

A shape

43 œ

3 4

˙. ˙. ˙˙ ..

with li - on

shape with

43 œ

de-sert,

j œ

j œ œ œ 44 œ  œ . œ œ œ œ œ 43

j & b œ œ œ œ 44 œ œ . œ ‰ œ œ œ 43 b œ .

149

sands

œ œ w

p 4 & 4 œ œ bœ œ œ œ œ bœ œ. œ

145

4 4

shape with

∑

bo - dy

and the

4 3 œ œ 4 œ œ. œ œ œ œ 4 li - on

bo - dy

and the

li - on

bo - dy

and the

œ œ 44 œ œ . œ œ œ œ 43 4  4

Œ œ œ 43 and the

3 & 4 bœ.

j œ  œ œ œ œ 44 ˙

& 43 œ

4 œ œ œ 4 n˙

œ œ œ

V 43 ˙

œ œ œ 44 ˙

œ œ œ

?3 ˙ 4

4 œ œœ 4 ˙

œ œ œ

153

head

of a

head

& 43

156

œ œ œ nœ

sun,

& 43  ˙

sun,

3 V4 ˙

sun,

160

œ sha

œ

mo - ving

its

slow

œ œ

mo - ving

œ

mo - ving

its

slow

its

the

ƒ œ

blank

ƒ œ

in - dig

blank

nœ.

œ J

thighs,

while

V œ

sha

œ -

? œ sha

dows of

dows

œ -

dows

the

in - dig

œ œ œ œ œ of

the

in - dig

œ œ œ œ œ of

the

in - dig

and

œ œ œ œ

pi - ti - less as

the

œ œ œ œ

43 3 4

and

pi - ti - less as

the

œ œ œ œ

pi - ti - less as

the

44 œ  œ œ . n œ œ  œ œ all

a - bout

it Reel

while

44 œ

œ

4 œ 4

all

bout

œ œ

all

bout

it Reel

thighs,

all

while

œ

4 œ 4

thighs,

while

nœ

œ œ

nant

de - sert

nant

œ -

as the

and

birds.

& œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ sha

pi - ti - less

œ

thighs,

slow

œ nœ œ œ œ

dows

slow

œ

? 43  ˙

its

mo - ving

sun,

œ

and

blank

A gaze

blank

A gaze

man,

œ œœ œ œ œ œ 3 J 4

ƒ œ

gaze

A gaze

man,

of a

˙

man,

of a

head

œ œ œœ œ

man,

of a

ƒ œ.

nant

sert

œ -

sert

œ -

sert

 U w  U w  U w

œ œ

bout

it Reel

∑ ∑

birds.

∑

birds.

 U w

birds.

∑

25 163

∑

That

twen

The dark - ness drops a

& 44 œ

œ œ

167

sto

& 44  œ . sto

V 44 œ . ? 44

169

sto

œ.

sto

cen - tu - ries

gain; but now I know That

twen

cen - tu - ries

twen

cen - tu - ries

‰

sleep

cresc.

j œ œ œ bœ œ œ œ œ bœ

sleep

œ J

Were

sleep

Were

j œ bœ.

j 4 œ 4 ˙.

That

œ œ

sleep

Were

œ

vexed

œ 43 œ . œ œ œ œ 44 3 4 œ 4 œ. œ œ œ œ 4

œ bœ

cresc.

œ bœ œ

night

vexed

cresc.

j œ œ

œ.

vexed

night

œ.

œ J

cresc.

vexed

night

œ œ

mare

by a

mare

œ œ

by a

œ œ

mare

by a

œ œ

mare

by a

rit.

(cresc.)

œ œ

œ œ œ bœ œ

œ œ œ œ bœ œ œ œ

œ. œ

œ bœ œ œ œ

œ œ

œ bœ œ œ œ vexed

œ œ œ œ bœ œ œ œ

to night - mare by a rock

œ. œ

j œ œ

œ œ

œ.

j œ œ

œ œœ

j œ œ

œ. œ

œ œ J

œ œ

œ œ J

œ œ œ œ.

œ œ J

œ. œ

& œ œ œ bœ œ rock

twen

œ bœ

cen - tu - ries

That

43 ˙

hum(m)

3 4 œ œ 4 œ. œ œ œ œ 4

pj Œ ‰ œ œ œ œ .  œ 43  œ œ œ b œ œ œ 44 b ˙ . V p ? w

œ 43 œ . œ œ œ œ 44

pj ‰ œ 44 ˙

3 4 

∑

p ‰ œ 44 b ˙ . J

3 4 

ing cra - dle, were

(cresc.)

rock

(cresc.)

V œ.

rock

? (cresc.) œ. rock

ing cra - dle, were

vexed

œ. vexed

to night - mare by a rock

œ.

to night - mare by a rock

ing cra - dle, And

ing cra - dle

And

ing cra - dle, And

· & œ

172



œ.



œ.

what

rough



œ.

what



œ.

what

· V œ

what

· ? œ

œ &J

175

rough

beast,

rough

beast,

rough

beast,

œ J

œ.

œ œ

Slou - ches

towards Beth

- le - hem

Slou - ches

towards Beth

- le - hem

j &œ œ j Vœ œ

Slou - ches

? j œ œ

Slou - ches

U.S. $2.95

HL00147630

j œ œœ .. j œ œ.

towards Beth

j œ œ.

towards Beth

œœ œœ œ œ

- le - hem

œ œ

- le - hem

j œ

its

j œ

its

j œ

Ëœ

hour

come

round

last,

hour

come

round

last,

its

hour

come

round

last,

its

j œ

bœ

hour

come

round

last,

U w

 43

œ œœ

3  4 

œ œœ U w œ œ œ 44 w

to be

born?

to be

born?

to be

born?

to be

born?

43 

U œ œ œ 44 ww

3 4 

4 U œ œ œ 4 ww

peermusic C L A S S I C A L NEW YORK . HAMBURG

¶ ¶ ¶ ¶