The Choral Music of Julian Marshall

The Choral Music of Julian Marshall

Julian Marshall

MS8211 Julian Marshall Brochure v7.indd 15

22/1/18 16:34

OHN KEATS

q = 72

ah

5 4

mf of

thing

A

5 4

q = 72

4 4

Piano (for rehearsal only)

5 4

4 4 WILLIAM BLA

er,

-

er,

-

ev

er,

for

 

BASS





5

& Company Ltd. © 2016 Novello hire by third parties or Not for rental

ong

Cradle S

E

M BLAK







 

hout





oh





sleep,

p, sleep, slee

oh,

  

-

oh

 

oh

Rose,









Rose,

 



 



 



f





         art

thou

joys of



sick. f

  

 

Rose,

oh

 

  Rose





    





ty

  

oh,



pp

Rose,

 

 









for

Oh,

  

RSHALL





oh,

 

4 4

 

 

for

   

beau





 





t throughou









oh



MA JULIAN



 slee  p!

 

Sleep!

to throug

mp very lega

  

to

y lega mp–mf ver





q = 78

 

OR LO

 



for

oh,

ev - er mp oh,

q = 48

 

Piano (for rehearsal only)

RSHALL





ev - er mp

4 pp  4    ev - er, Oh, 4 oh, 4

Oh,

  

TENOR

JULIAN MA

for



mp

4 4

pp



The Sick Rose

ev - er

4 4

 

-

for ev

joy

a

is

er, beau - ty

pp

  

ALTO

mf



for

er, oh, - Oh,

for ev

joy

a

is

er, beau - ty

-

ev

 

SOPRANO

-

ev

 

TENOR SOL er, O

-

ev

for

q = 48

mp

4 4

KE

4

ev

joy

a

beau - ty is

5 4

4 4

BASS

for

er,

for ev -

joy

5 4

mf

4 4

TENOR

a

of beau - ty is

thing

A

4 4

ALTO

5 4

mf

4 4

SOPRANO

        

   Rose    thou, thou joys of  HALL  p, art sick.

ARS slee  N M p, slee f        sleep!   Sleep!       e very legato throughout     oh   s of joy Rosmp Rose     sleep, thou art Sick p,, sick. eep  sleep, slee TheR      p!  slee NO  TE     f Sleep!        ty  hout to throug oh,          mp very lega beau oh     Rose, Rose sleep,            thou sleep, art sick.  WI   LLIAM p!      Infant Jo BASS  BLAKE oh slee       Sleep!  y / Infant                  Sorrow         Wi th  sp   yet rel  oh, q = 78            e,    q=  a cri   Ros ax ed synco            116 TENOR     pation  SO    LO           oh                           © 2016Nov         Piano (for oh, ello Company nly)       Ltd.  rehearsalo e,   Not for rental or &hire SOPRAN    Rosby third parti O  oh,     es   oh       pp   Oh,    ,  Sleep! oh           oh,    off night; ALTO 6  pp      joys  o’er  the oh,     Rose,

ANO

p!

Sleep! slee to mp very lega

  

ALTO



Oh,

 

JULIA

i ing

-

i dream - ing





 

 



ht,, nigght



 

   Oh,





 

o’er    







 



  of 



sleep,

night;

  



night;

 

TENOR

sleep,

 

   



        

o’er





sleep,

joy







 



58

ovel re by 16 N or hi © 20 r rental fo Not

38

mp

swee How

tI

om ed fr roam

mp

field

38

from amed t I ro swee How p m

68

field

38

from amed t I ro swee How mp

68

SS

58

38

e = 90

68

or ano (fly) rsal on

78

68

78

-

pride, mer's

's - mer sum

78

78

58

pride,

prince the

I

Till

Till

68

pride,

58

I

Till

68

the

I

Till

of

prince

the

I

the





thee;

   

 

  

Sweet

    





at



 

rest





th - in 

wi

 

be - fall

thee!

  

    



    



thee!

      - fall thee!            joy be - fall



 

 

WILLI

AM BL

thee!

 An   st   d my brea 

 

      

 

ANO

78

of

hill,

78

be

4 68 4 - ca’s All the night in woe Ly

ld, ALTO - he

58 be

love

TENOR

ld, - he

58

love

38

be

BASS -

held,

58

Piano (for rehearsal only)

8

  

5

4 4 68 4 4 6 48 4

par - ents go



4

   

mp



68

  ©2

Mer -

mp





 





  



Love,

  

  



oh



  





L





oh



   

  

 

 

             d Love , All 

To M er - cy mp su , Pi - ty, Pe ace, an b. ah mp su b.





ah

mp su b.







ah

  

SHAL



oh

mf

oh

oh

 





 

Love,

 



oh

   

 



 



oh



and Lo ve,



 



   

ccy, Pi - ty t , Pe ace, an d

      

 

and Lo ve,

ah

 



   

ccy, Pi - ty t , Pe ace, an d

      

throughout q = 98 With 6 a persistent groove

4 8 4

   

the O - ver val - leys deep While Mer ccy, Pi - tty, Pe mp ace,

Mer -

 



mp



ah

 

   

JULIAN MARSHALL



 

and Lo ve,

MAR



oh





Peace,





and Lo ve,

q. = 80

3



Peace,

Peace,



Pi ty t ,

  



Pi ty,



JULIAN



Pi ty,

   

- cy,

- cyy,,

  mf     

Piano (fo ( r rehearsa l only) ly

The Little Girl Found

third hire by © , tal orNO ldSOPRA ren for Nothe be -

38 of

BASS

68 E WILLIAM BLAK throughout q = 98 With a persistent groove Ltd mpany parti mfes lo & Co

love



mage



   

- cy,

mf

mf

R

Mer

78

58



Mer

   

TENO

hill,

the

68

  

mf

Mer

hill,

ivine I

q. = 80

  

SOPR

 



The D

AKE

  

TENO R SOLO

78

the

all

LL



ALTO

8 MS8211 Julian68Marshall Brochure v7.indd 16 4 3

's - mer sum

     

I call

on the is heard - ing the laugh all

38

prince



  



 © 2016 No Not for ren vello & Company Ltd heart is tal or hire by third My parties hill,

78

love

38

joy



58 vel 2016 No

of

prince





l ed al tast And

68

38

68

pride,

's - mer sum

field,

38

68 sum

68



78 68 the

all

Sweet

6 8

AL L

ed tast And

field,

to

ARSH

ed tast And

68

58

field

38

ed tast - 5 And

68

to

NM

r Piano (fo only) rehearsal

68

58

field

from amed t I ro swee How

JULIA

field,

to

      q. = 72





field,

to

ht;

MARSHA

            joy

     

 I cal SHALL With a criJULIAN MAR l thee; Sweet sp yet rel axed syn q = 116 copation   Sweet

JULIAN





  mp     

BASS



f

      

  



 d oame   et I LRtd. e w S   ow ny H lo & Compathird parties

5



joys



dream - ing

ht,, nigght

oh

oh,

68

 s of jo joy 





o’er



  

nig  joys of  rse’s Song  u      N      Piano      sleep, rehearsal (for       only)  p, slee    en and    BLinAKthyE  the gre    mp  heard on        ILLIAM sick. q. = 72  ild- ren are Wp,      slee     ch  t        ar p, s of slee f    voi - ce 6       the  , 5 n  bright  R  8    Whe     NO  TE     ou             ose  th     SO LO           .  R si  ck 6      art      f 8    O        SOPRAN   p   thou   Ltd 6 any  . o & Comp d parties llo  vell ck8 No , si 6 thir mp  by ou 201 TO ©th  ALart tall or hire nta       Not for ren Heart, thou  f        p          Rose  6 Sweet    joy  I call 8       thee;  TENOarRt sick. Heart,       mp  Sweet joy oh     be - fall   p     thou      6                I call 8     Rose the   e; BASS    art,    He  

Rose

= 90



  

oh

ingg -in dream --i



 

  







ht,, nigght

 









am Dream

bright,

 



 

 

48

sleep, t throughou

mp su b.

  

ah



22/1/18 16:34

Julian Marshall Julian Marshall has a wealth of experience as a songwriter, composer, teacher, lecturer, mentor and musician. Following education at Dartington Hall School and the Royal College of Music, he became internationally known as the co-creator (with Kit Hain) of the 1970s group Marshall Hain, whose single Dancing in the City went platinum in 1978.

He was also a member of the band The Flying Lizards and scored a top ďŹ ve UK hit with their version of the well-known song Money in 1979.

In the 1980s he formed the group Eye to Eye with American songwriter and performer Deborah Berg. The group recorded two classic albums for Warner Brothers produced by Steely Dan producer Gary Katz and a latter-day third album produced by Roxy Music producer Rhett Davies.

During the 1980s and 90s, as well as writing and recording his own music, Marshall produced records, played as a session musician on both sides of the Atlantic and worked in A&R for Boulevard Records in LA and Polydor Records in the UK. Since the early 1990s, he has run his own highly successful teaching, mentoring and coaching practice. He has taught and lectured at Dartington College of Arts, Plymouth University, Middlesex University and Dartington International Summer School. From 2010 to 2015 he co-launched and was creative director of London Song Company, an organization for songwriters offering a range of training and opportunities across a wide stylistic brief. Currently, he is a Teaching Fellow at the Institute of Contemporary Music Performance (ICMP) in London.

Today, composing music takes a centre-stage role in his creative life. As well as the many songs for Marshall Hain and Eye to Eye, Marshall has also composed music for film, theatre and the concert hall. This includes Old Enough, an Orion Pictures film directed by Marissa Silver, the short film Still Life directed by Emma George, and the score for the play Shakespeare’s Will at Theatre Clwyd (2010).

In recent years, he has turned his attention to choral music, composing a cantata for mixed voices, 2 celli and mezzo-soprano, Out of the Darkness (for Melanie Pappenheim), a follow-up work, for mixed voices, six cellos and tenor, The Angel in the Forest (for James Gilchrist), a series of Christmas carols on traditional texts including In the bleak midwinter and The holly and the ivy, and a collection of William Blake settings, Dark Disputes and Artful Teasing. He has an ambitious and varied roster of work in progress.

The music of Julian Marshall is published by Novello & Co. Ltd. www.julianmarshall.co.uk https://soundcloud.com/julian-marshall-projects www.musicsalesclassical.com

MS8211 Julian Marshall Brochure v7.indd 1

22/1/18 16:34

Dark Disputes and Artful Teasing Notes from the composer:

of ten songs in any particular order, except to suggest that, perhaps, The Little Girl Found makes a rather good starting number and The Voice of the Ancient Bard is a good finisher. However, the order is truly at the bidding of the choir.

Since childhood, I have been intrigued, perplexed and, more latterly, awed by the poetry and paintings of William Blake. I shall leave it to writers such at Kathleen Raine to bring us closer to understanding the depth of Blake’s spiritual vision, but, to me, as a musician and composer, he quite simply throws down the most inspiring of gauntlets.

How sweet I roamed is the odd one out of the set, taking its text not from the Innocence and Experience collection but from two other Blake poems: Song – from Poetical Sketches and I Heard an Angel from Manuscript Lyrics between Innocence and Experience.

His Songs of Innocence and Experience have long been a draw to composers. In fact, Blake himself, I understand, is known to have walked around his house singing these poems as improvised songs.

The writing style in ‘Singing Mr Blake’ varies considerably between a quasi ‘American Spiritual’ style on the one hand and a more genteel legato, though harmonically sonorous, non-jazzy style, on the other. I encourage you to explore and enjoy these differences and not to be afraid of ‘doing your thing’ with the interpretation as you see fit.

In 2011, I sat down to set the first few songs in this collection for a community choir project that saw its premiere at a meeting of choirs at St James’s Church, Piccadilly – the church near Blake’s birth place where he was baptized. In 2012 and then again in 2016 I returned to set more of the poems and, this time, more with the ‘chamber choir’ sound in mind. I do not, however, present this collection

The Chimney Sweeper SATB NOV165913

Cradle Song weeper imney S The Ch WILLIA

M

BLAKE

With sa

4 4

O SOPRAN

dness

mp

ALTO

TENOR

BASS

d my ng, An ve - ry you I was

died

mp

moth When my

-er

4 4

died

MARSHA

while sold me

fa - ther

fa - ther

d my ng, An ve - ry you I was

dness

Tenor/SATB NOV165924

mp

ng, ve - ry you I was

Fa - ther

With sa

The Divine Image

while sold me

mp

Died

4 4

Tenor/SATB

LL

NOV165847

= 84 cence q and inno

moth -er When my

4 4

JULIAN

sold

me while

The Echoing Green

= 84 cence q and inno

Unison Upper Voices

4 4

r Piano (foy) onl rehearsal

NOV165935

4 4

5

- ly cry uld scarce gue Co yet my ton

gue yet my ton

rce - ly Could sca

cry

rce - ly Could sca tongue yet my

‘weep,we

ep, weep,

weep,’

eep, and s I sw chim - ney So your

weep.’ ep, weep,

and in TENOR SOLO

and in sweep, neys I r chim SOPRANO So you

cry

‘weep,we

ep, weep,

Cradle Song

KE

Sweep, ‘weep,we

in

WILLIAM BLA

weep,’

chim So your

 

q = 78

  

and in sweep, neys I ALTO

mp very legat o throu





any Ltd s tie & Comp Novello hire by third par © 2016 rental or Not for



 bright,

MS8211 Julian Marshall Brochure v7.indd 2

 





 



sleep! mp very legat o throughout





 



  

 

 

    Dream





  

-

ing





 

o’er

  



the











 

 



 joys









 



  

of night;

 

   

beau - ty





 

joys of

 

   

  ty

 





   

-

joys of

sleep,

sleep,

SHALL

joys of



sleep,



  









beau

sleep,



sleep,

    





sleep, sleep,

sleep!

  



sleep,

sleep!



ghout

sleep!

sleep, sleep,





   legato throughout        Sleep!

6





Sleep!

ghout

Sleep!

  

q = 78

Piano (for rehearsalonly)



sleep, o throughout

 

Sleep! mp very

BASS



JULIAN MAR

mp–mf very legato throu



Sleep! sleep! mp very legat

  

TENOR





      

  

Sleep!

22/1/18 16:34

The Echoing Green WILLIAM BLAKE

JULIAN MARSHALL

q. = 48 mp

6 8

SOPRANO / ALTO

The Sun does a - rise, And make hap -py the skies. The mer - ry bells ring

To

5

wel - come the Spring. The

sky - lark and

thrush,

poco rit.

8

loud - er

The birds

of

the bush,

a tempo

a - round, To the bells’ cheer - ful sound, While our sports shall be seen

E - cho - ing Green, the

On the

a tempo

poco rit.

11

Sing

mf

E - cho - ing Green.

Old John with white hair

does

15

laugh

a - way care,

Sit - ting

un - der the

oak,

A

-

mong the old folk. They

18

laugh

at our

play,

And

soon they all

say,

Such, such were the joys, When we

© 2016 Novello & Company Ltd Not for rental or hire by third parties

MS8211 Julian Marshall Brochure v7.indd 3

22/1/18 16:34

The Sick Rose

WILLIAM BLAKE TENOR SOLO SOPRANO

 

q = 48

 



ALTO

TENOR



pp



 

Oh, oh,

  

pp

  

Oh,

pp

Piano ((for rehearsal only only) 5

oh,

 

oh

  





 





  





oh

  

      



  

pp

oh,

oh

 

thou



Rose



  

Rose



Rose,







Rose,







thou

 



thou

      

 

 











f



 

  

e Gave the

life

life

vello & Co © 2016 No tal or hire Not for ren

 

© 2016 Novello & Company Ltd. Not for rental or hire by third parties

MS8211 Julian Marshall Brochure v7.indd 4

life

e Gave the

sick.

   

and

life

e Gave the





f

ocent

4 4

e Gave the



 

Lamb, Lit - tle

5

     

                 

Lamb, Lit - tle

4 4

Piano (for only) rehearsal

sick.

 

mp

4 4

art

sick.

Lamb, Lit - tle

4 4

With inn



art

w

Lamb, Lit - tle mp

4 4

mp

sick. f

  

oc

q ent awe

mp

BASS

         

art

4 4

ALTO

       



With inn

O SOPRAN

TENOR

 



  

WILL

AKE IAM BL

Rose,



art

T



    



thou







oh

 

Rose



 

oh



f

  



oh

 



thou,



  

  



oh,



oh,

Rose,



Oh,



Rose



oh,



 

 

  







 





oh

oh,

   



  



q = 48

 





Oh,

BASS



oh,



 

JULIAN MARSHALL

22/1/18 16:34

WILLIAM BLA KE

Swing feel q.

6 8

SOPRANO SOLO

6 8

SOPRANO

-

men ’Twas on mp

-

-

men

-

men

6 8 6 8

b The 6Lam With inn

4 4

ANO

reh

mp

Lamb, Lit - tle

4 4

Piano (for y) earsal onl

Infant Joy/Infant Sorrow

a ho - ly

Tenor/SATB

The Lamb SATB The child - ren walk - ing two and two, in

NOV165946

The child - ren walk - ing two and two, in

e,

thee,

The Little Girl Found

The child - ren walk - ing two and two, in

SATB NOV165957

The child - ren walk - ing two and two, in

e q = 68

London

© 2016 Novello Not for rental & Company Ltd. or hire by third parties

SATB

5

and

life

e Gave the

’Twas on

LL

thee,

de who ma Thurs - day, their stintho- unoknow Do - cent fa - ces clean, de thee? who ma

ocent aw

4 4

e Gave the

MARSHA

de the who ma know their inu - no - cent Dost tho fa - ces clean ,

Thurs - day, de thee? who ma

Lamb, Lit - tle

With inn

men

Thurs - day, know st thouin - no - cent Dotheir fa - ces clean de thee? , who ma

Lamb, Lit - tle

4 4

NOV165869

a ho - ly

NOV165880 JULIAN

de who ma

mp

BASS

’Twas on mp

-

de thee, who ma u know Thurs - day, Dost tho their in - no e?

- cent fa - ces made the clean,

who

Lamb, Lit - tle mp

4 4

TENOR

men

e q = 68

mp

4 4

ALTO

ocent aw

-

A

= 80

SATB

a ho - ly

mp

mf

A

BLAKE

A

f

Swing feel q.

Piano (for ( rehearsal only) only

’Twas on

mf

6 8

How sweet I roamed

a ho - ly

men

f

A

BASS

NOV165858

A f

6 8

Soprano/SATB

RSHALL

mp

A

TENOR

JULIAN MA

= 80

f

6 8

ALTO

Holy Thursday

Holy Thursda y

life

e Gave the

life

bid

bid

thee

the

By

feed

am the stre

By

d thee fee

stream

NOV165891

the mead,

o’er

o’er

am the stre

By

d thee fee

bid

life

e Gave the

d thee fee

bid

and

the stream

By

o’er

Nurse’s Song

the mead,

Tenor/SATB

the mead,

NOV165902 o’er

the mead,

A Poison Tree SATB NOV165968

mpany Ltd ties vello & Co d par © 2016 No tal or hire by thir Not for ren

The Sick Rose Tenor/SATB NOV165979 JULIAN

g ’s Son Nurse AM WILLI

E BLAK

68

R TENO SOLO

SOPR

mp

q. = 72

68

ANO

68

ALTO

R TENO

childs of voi - ce

the When

d e hear ren ar

MAR

L SHAL

n e gree on th

The Voice of the Ancient Bard

and

SATB NOV165990

p

Heart,

68

p

Heart, p

68

BASS

The Voice

q. = 72

68

(for Piano ly) l on rehearsa

68 art My he

5

e on th heard ing is laugh-

of the Anc

WILLIAM BLAKE Sopranos always legaand Altos to each side to, like a dist of JULIAN MA ant bell. Brethe stage – they sho uld athing sho RSHALL uld be stag sing sotto voce thr q. = 56 oug gered app ropriately. hout, pp SOPRAN O

Heart,

is

at

rest

- in with

east my br

    

And

hill,

BASS



doo

pp     

   

TENOR

hill,



doo

ALTO



Piano (for rehearsal only ) hill,

      

    



  

MS8211 Julian Marshall Brochure v7.indd 5

d pany Lt es

   

do



do



do



do

  



do

doo p

   

Youth of



 do

  

 

de - light com e

    p

Youth of

6

    



doo





 

doo



doo



q. = 56

hill,

doo



doo





doo



doo







doo



doo



    



doo



doo

ient Bard

 

 









 

de - light com e







 

22/1/18 16:34

Other Unaccompanied Choral Works

The holly and the ivy

The annual ritual of A Festival of Nine Lessons and Carols – on Christmas Eve at King’s College, Cambridge – was a deeply adhered to and important event in my family life growing up.

SATB NOV295812

In dulci jubilo SATB

I have always found the service magical.

When I was twelve years old, The Rite of Spring and Miles Davis rocked my world; but carols transported me, and composing them is now one of my favourite things. The three published so far feature settings of well-known texts – a particular challenge I enjoyed giving myself.

NOV296791

In the bleak midwinter SATB NOV295801

A thing of beauty

A thing of beauty was written for the wedding of my daughter Gabriel and my son-in-law Wesley. As with the carol settings, it was both a challenge and a great joy to set such a well-known text.

SATB NOV165836

For G abriel JOHN

the Ivy

lly and

The Ho Joyful,

116 ality q =

with vit

        mf

SOPRAN

O

ALTO

    

TENOR

BASS

the

  

hol - ly,

              ly and the The mf

hol -

The mf

  

  

r Piano (fo only) rehearsal

           full   both they are en Wh vy,    i       full both    They are  vy,    i   full      both  are y When the vy,   i        full both  They are

116 ality q = with vit   Joyful,  

  

 

 

  

-

i

hol - ly,

The

SOPR

ALL

MARSH

               

 

 

q





 

      



  



           

                                     

  

. any Ltd & Comp rd parties Novello thi hire by © 2016 rental or Not for

  

 



  

O

    

4 4

-

the bleak mid - win

In

In

win

4 4

the bleak mid - win

In

Piano (for rehearsal only )

-

4 4 4

-

pp

With great

MS8211 Julian Marshall Brochure v7.indd 6

-

ter

ter

er,

LL

for

thing

45

of

45

44

44

beau -

ty is

a

joy

45

ev

-

4 4

er, for

is

is

a

a

joy

joy

for ev

for ev

-

-

4 4

er,

44

er,

4 4

for

4 4

mp

ev - er mp

for

ev - er mp

ev - er mp

for

for

ev - er , for

44

Frost - y wind made moan,

Frost

4 pp 4

BASS

for ev -

RSHA

er,

ird pa rties

4 pp 4

TENOR

joy

N MA

pp

In

ALTO

45 A

for

 

JULIA

45

a

45 ev



      SOP RAN

is

mf

4

2

  

of beau - ty

q = 72

Pi rehearsaano (for l only)

vy,

     

thing

ah

44

ev   In the bleak er, be au     midwinter ty  CH   RISTINbeAars theTT ROSSE    I  ly l  ho    , The  ev  od wo  5 in the    , beau   JULIANer are  t mf MARSHALL With great tha - ty es tenderness  O 1  4the the tre   q = 66  SOPRAN Of all bears 4 SOL      l -Oly grown, ev         the wood, The ho    in       er, that are    es  the tre        the Of all bears SOPRANlO- ly     4 grown, e ho 2      od, Th SOLO 4     the wo  in       that are es        the tre  the Of all bears hol - ly     grown, , The    woodALT © 2016 the O 4 SOLO in  Not fo Novello & t are 4    tha  r rent  trees al or hi Company Lt      All the re by d.     th



A

mf

4 4

TENO R

eauty

mf

4 4

to Lizzie

grown,

g of b

= 72 44

ANO

BASS

and W esley on August the occasion 30th 20 of their weddin 15 g

A thin

S

ALTO



    and

hol - ly

The mf

JULIAN

KEAT

win

tenderness

-

ter

ter

wind made moan,

Frost - y wind made

Frost

moan,

wind made moan,

q = 66

22/1/18 16:34

In dulci jubilo SOPRANO

6 8

ALTO

6 8

TENOR

6 8

BASS

6 8

q. = 48

JULIAN MARSHALL

mp

In dul - ci ju - bi - lo mp

Now sing with hearts

In dul - ci ju - bi - lo

Now sing with

p

a - glow!

hearts a - glow! mp

ah p

glow! mp

ah

glow!

6

Our de-light

and plea - sure Lies in prae - se - pi - o,

Like sun-shine is

Our de-light

and plea - sure Lies in

prae - se - pi - o,

sun-shine is

our

Our de - light and plea - sure Lies in prae - se - pi - o,

sun-shine is

our trea - sure

prae - se - pi - o,

sun-shine is

our trea - sure

our trea - sure

trea - sure

SHALL

for

Our de-light

and plea - sure Lies in

12

mf

Ma - tris in

gre - mi -

o.

Ma - tris in

gre - mi -

o.

p

Al - pha es mf

et

O!

Al - pha es

et

O!

O p

Al - pha es

et

O!

Al - pha es

et

O!

O

et

O!

Al - pha es

et

O!

et

O!

Al - pha es

et

O!

mf

Ma - tris in

gre - mi

-

o.

Al - pha es

mf

Ma - tris in

gre - mi -

o.

Al - pha es

Š 2017 Novello & Company Ltd Not for rental or hire by third parties

MS8211 Julian Marshall Brochure v7.indd 7

22/1/18 16:34

MS8211 Julian Marshall Brochure v7.indd 8

22/1/18 16:34

The Kolmar Cantatas A brief note on the life of Gertrud Kolmar.

Gertrud Chodziesner was born on 10 December 1894 into a Jewish family in Berlin.

After training as a teacher, she worked with orphaned and disadvantaged children until an ill-fated love affair with a non-Jewish army officer resulted in an abortion and subsequent suicide attempt. After the Armistice in 1918, she found work as a private tutor and governess until the autumn of 1927 when she attended a vacation course at Dijon University.

But her time in France was curtailed when she was obliged to return home to nurse her mother. Following her mother’s death in March 1930, Gertrud assumed full-time responsibilities for the family household in Finkenkrug, an idyllic rural suburb of Berlin.

While living in Finkenkrug, Gertrud (under the pen-name Kolmar) composed nearly all her important works: not only the novel Die Jüdische Mutter (The Jewish Mother, 1930), the drama Cécile Renault (1935), the historical study on Robespierre (Das Bildnis Robespierres, 1934) and the dramatic legend Nacht (Night, 1938), but also her eight cycles of poetry: – the nineteen sonnet (plus one) Bild der Rose (Image of the Rose, c.1932), the nineteen poem cycle Napoleon und Marie, the forty-five poem cycle Robespierre, the fifty-three poem cycle Alte Stadwappen, (Old Municipal Coats of Arms), the seventyfive poem cycle Weibliches Bildnis (Female Portraits), the twenty-nine poem cycle Mutter und Kind (Mother and Child), the forty-eight poem cycle Tiertraüme (Animal Dreams) and finally Welten (Worlds), the seventeen poem cycle which she wrote between 17 August and 30 December 1937. Although she would subsequently write the extraordinary novella Susanna (1940), Welten was to be her last collection of poetry.

In July 1941, Gertrud was conscripted to a munitions’ factory. Just over a year later, her father was deported to Theresienstadt and finally, in late February 1943, Gertrud herself was arrested and deported to Auschwitz where, had she managed to survive the nightmare journey east, she would have been selected, on arrival, for immediate extermination. © Philip Kuhn 29 September 2010/8 January 2012 This short note is extracted from Sein Antlitz ist Lei/ His Countenance is Sorrow, Philip Kuhn’s full length essay on the life and work of Gertrud Kolmar, originally published in a limited edition by itinerant press to mark the world premiere of Julian Marshall’s Out of the Darkness.

Out of the Darkness Soprano/SATB/2 Cellos Gertrud Kolmar Vocal Score – NOV166254-01 Full Score – NOV166254 Cello Parts – NOV166254-02

MS8211 Julian Marshall Brochure v7.indd 9

22/1/18 16:34

Julian Marshall – Writing Out of the Darkness In November 2008 I stumbled across the poetry and letters of Gertrud Kolmar and was at once struck by what a remarkable woman and poet she was.

Her poetry is strikingly full of life, colour and vibrancy – revealing a life of vivd, awakened experience – and her poem, Aus dem Dunkel (Out Of The Darkness – from her Welten cycle), is surely one of the most stirring. Written in 1937 the poem evokes powerful, dream-like images of crumbling and decay – serving as an eerie foretelling of the imminent tidal wave of horror about to hit the world. Deeply moved by this poem, I felt almost compelled to write a piece in service to what occured to me as being her extraordinary capacity to stand powerfully in her experience of life whilst, at the same time, expressing this with exquisite powers of perception.

I decided to set Out of the Darkness as a cantata for chamber choir, mezzo soprano soloist and two cellos. To begin with, I imagined that I’d settle on a musical language that might somehow meet the darkness in the poem. But as I began to compose, quite different stylistic voices seemed to suggest themselves. Influences of Tango and Bossa Nova, as well as more abstract ideas, all seemed ironically appropriate. The result is a cantata of a little under 40 minutes.

Form Out of the Darkness is divided into seven sections – including an off-stage Prologue.

The sixth song, The River, features the line, ‘Far off, the river speaks with its banks’, but this song is also the only section of the piece that uses text other than Kolmar’s poem. The text used here is taken from two Sephardic ballads – La Serena and A La Nana.

I have allowed myself this poetic licence as The River allows a brief time for reflection away from the journey of the main text. And why Spanish? Well, Kolmar was a linguist, the Jewish culture is multinational, and the words are not only incredibly beautiful, but also, in the case of A La Nana, painfully ironic.

MS8211 Julian Marshall Brochure v7.indd 10

A La Nana A la nana, a la buba, Lullaby, baby, Se durma la criatura, the child sleeps.

El Dio grande que los guarde May great God guard them, A los niños de los males.

Keep the children from evil.

La Serena Si la mar era de leche If the sea were milk, Los barquitos de canela the boats of cinnamon, Yo me mancharia entera would quite dip in Por salvar la mi bandiera.

To save my banner.

Out of the Darkness was premiered in Winchester Cathedral in November 2009 and was followed by six more performances in the UK and one in Germany over the following several months.

First performances, and subsequent recording, were conducted by Howard Moody and featured Melanie Pappenhem (solo mezzo-soprano), Sophie Harris (cello), Lucy Railton (cello) and the Schoolhouse 6 Ensemble.

The CD is available on the MMC label (MMC101) and on Spotify.

The Angel in the Forest Tenor/ATB (12-piece ensemble recommended)/ 6 Cellos Gertrud Kolmar (trans. Philip Kuhn and Ruth von Zimmerman) Vocal Score – NOV166243-01 Full Score – NOV166243

The Angel in the Forest, which is also taken from Welten, serves as the text for Julian’s second Kolmar Cantata and offers a disturbing if understated glimpse into the nightmare world about to engulf Europe. As with Out of the Darkness. The Angel in the Forest suggests that a new life can be found in an escape from the City. But refuge is to be discovered not in

22/1/18 16:34

MS8211 Julian Marshall Brochure v7.indd 11

22/1/18 16:34

the mountains but in the countryside which holds the promise of an innocent, perhaps even prelapsarian world, with its “musing fields” flowers and grass: a place where the animals “don’t speak evil”. And yet at the heart of this poem, is something perhaps even more disturbing than Out of the Darkness because the early promise of hope bound up with the protagonists’ ability to escape, is slowly eroded at every turn.

The Angel in the Forest appears to offer its readers little or no solace other than the imagined possibility that comfort-from-hardship could still be found in a steadfast companion.

But even that promise appears to be cut away at the end of the poem. “We will thirst and hunger, suffer together, / Together, one day, sink down by the dusty wayside verge and weep …”. And yet this powerful ending seems also to suggest an allusion to the opening of Psalm 137: “By the rivers of Babylon/ There we sat/ sat and wept / as we thought of Zion”.

And if this was Kolmar’s conscious intent then it is precisely through this final reference that the poem succeeds in turning its moment of despair into yet another promise of something “other”. By transposing the allusion away from the waters of Babylon onto the dusty wayside of a seemingly infinite road Kolmar might well be suggesting that even at the depth of despair this place of the poem’s ending is, in fact, merely a resting place: a place to take stock, to remember “Zion”, to mourn for what is lost and thus, through renewed strength, continue onwards.

This is Marshall’s second passionate engagement with another significant fragment from Kolmar’s neglected and often forgotten writings. As in his first cantata, Julian has again paid tribute to the poet’s remarkable and powerful feminine creativity and, in so doing, succeeds in commemorating Kolmar’s life so cruelly silenced at the very moment she seemed to be about to peer into and articulate its very depth. © Philip Kuhn, September 2017 – abridged from original programme note.

Form and style The piece is in five sections (or movements), lasting around thirty minutes in total.

They are: 1. Give me your Hand 2. Come, Autumn 3. Because the Sun 4. Perhaps 5. Your Arms As in Out of the Darkness, the musical style of The Angel in the Forest is richly varied – embracing or ‘framing’ the text with a broad range of stylistic hues as the piece develops.

The composer says: “After completing Out of the Darkness, it wasn’t long before I felt myself powerfully drawn to compose a second piece from Kolmar’s Welten, this time aided by wonderful new English translations of the entire cycle by Philip Kuhn and Ruth Von Zimmermann. The poem I chose for this second cantata setting was Der Engel im Walde – The Angel in the Forest.

I decided to set the piece for Tenor solo (purposely confusing the typically assumed gender of the protagonist), cello sextet and a small choir comprising Altos, Tenors and Basses. The role of the choir in The Angel in the Forest varies considerably from that in Out of the Darkness. Instead of the choir being fully engaged with communicating the unfolding narrative it functions more as a kind of Greek Chorus or backing vocals ensemble – pointing towards the core of the piece rather than coming from it. It might be fair to suggest that the emotional pulse of the piece tends to slightly hover over rather than plunge in – again, as it were, pointing to rather than coming from. My purpose here is more to frame or embrace the poem than it is to express the meaning of it.”

The Angel in the Forest received its first full premiere at St James’s Church, Piccadilly in January 2010 with James Gilchrist (tenor solo), a cello sextet led by Sophie Harris and the Schoolhouse 6 (vocal) Ensemble conducted by Ian Belton.

Julian’s text for The Angel in the Forest is taken from Philip Kuhn’s & Ruth von Zimmermann’s translation of Welten published by Shearsman Books.

For further information on all aspects of the Kolmar cantatas, please contact the composer. (www.julianmarshall.co.uk)

MS8211 Julian Marshall Brochure v7.indd 12

22/1/18 16:34

17

M-S. solo

5 mp

S.

Out of the dark -ness I

mp - kel Aus

A.

dem

Dun - kel

mp - kel Aus

T.

dem

Dun - kel

mp - kel Aus

B.

dem

mp

Dun - kel Aus dem Dun kel Aus dem Dun - kel Aus

Vc. 1

Dun - kel

dem

Dun - kel

Vc. 2

The Divine Im KE

WILLIAM BLA



q. = 80

 

TENOR SOLO SOPRANO

  

    

  

    

TENOR

S.



T.

Pi - ty,

Mer - cy, mf

  





  





come

Piano (for rehearsal only)

3

 

  

 

t Peace, c Pi - ty, Mer - cy,

ty, Peace, Mer - cy, Pi -

mp           

6 8

O SOPRAN

mp

m med fro et I roa How swe

6 8

ALTO

d from et I roame How swe

6 8

d from et I roame How swe

6 8 ( Piano (for only) rehearsal

e, mer's prid

n

Londo AM WILLI

E

BLAK

         each   thro’ - der Rhy

SO

  

street, ar-ter’d

ch

I wan

  

ALTO



BASS





Wan

4

  

 

 

es does

 

  

does

   



does



MS8211 Julian Marshall Brochure v7.indd 13

    does







A

thing

ev

-

is

-

a

er,

joy

for ev

-



my

with

my



 

 

  

I was

friend;

I was

an - gry

with

my

friend;

  

mp

  

  

wrath,





my wrath did

end.

©





ntal

 



 









oh,

oh,

  





pp

They trac ’d the des - ert,





for

  

oh,



days

Oh,

  



  oh,

  

    





 

      art f

thou





oh



  

  oh



oh,

Oh,





er,



oh,



sev - en

Rose

Hoarse wit h mak - ing ,

pp

8



 

thou

eet

With

q = 11 6

  

  



ll

 

Swee







t

 

 

thee!





  

 

 



 







  



    



- fa ll



- fa      ll   

joy



be





     

t joy

Swee

   



joy

  

thee;

thee;

t

n





be fall

   

        be   fall

Swee

patio

                              





thee;

  

 



thee;

      I ca

with my  foe: 

lo & C or hi ompany re by L third td partie s

  

   

call



synco



   

call

m

    

xed



 p   

t rela



for



     

I ca ll

p ye



for







joy

a cris



 





I

I





for

  mp      Sw for

 

I

joy



joy



2016an - gry Novel INwas ot for re

 

Sick 

     

q=4



joy

I

t

 

t



a

The



h, oh be - gone, , pp

Rose



I

44 

Swee



Swee





8

pp

Oh,

 

S

  

 ev - er,   

I

4 4



my

 

ev - er mp

4 4

for

friend;

12 8

told my

BASS

5

with





q=4

 AN M  AR  SHALL 

 

4 4



an - gry

deep Wh ile th

E

 

  

in arm,

Novel loT N for re for evO-Rpa ntal &EC er or hi om re by ny Ltd. mp third partie s

er,

friend;

woe,

4 of

  

with

BAS



ev - er P mp rehear iano (f ( sal on or ly)

12 8



4

44

q. = 96 Swaggering swing feel



  

an - gry

MARSHA

LAK

  

O

for ev -

beau - ty Ros is e

N MARSHALL for JULIA ev er,

f

k of wea

5 4 

er, be au - ty

is a e joy A Poison Tre

JULIAN

sick. ,      f thou         WIL oh 5 LIAM art    BLA 4   si ck KE .

Infan  Rose t J f  o y W   / it Infan   h 5 T  4 oh, ENOR SOLO  q = 116a crisp yet re thou t So    laxe art rro    oh d syn sickw  copa .    tion   Rose  SO  f  JULIA     PRANO  NM         thou              mp art      sick.

4AL        4 TO  © 20   16

6 8

5 8

er,

er, be au - ty



oh

6 8 5 

5 8

3 8

MB

ALT

5

5 4 

of

Not

-

is

6 8

-

I was

12 8



Face

flow.

  

-

© 2016 was an - gry Not for NoIvello & Co rental f or hir mpany Ltd. e by thi rd parti es

Piano (for rehearsal only) woe. of





- held,mf

f

12 8

woe.

of

Face

flow.

12 8







flow.

ev

f     12 8 ,  BASS - ness

Marks

m



Face







ALTO

       eet,

face I

ark in And m

   

 



TENOR

          eve - ry

flow.

SOPRANO

  



5 8

3 8

4 4

of beau - ty

out q = 98

Tired and woe - be, Owoe -

P rehear iano (for sal on ly) JU LI

5 4

6 8

- held,

ILLIA

4 4 TENOR

Arm

a © 2016 No joy Nod,t for ren vello & Company - hel Ltd tal or hire by third parties

be

love

6 8

er, q. = 96 Swaggering swing feel

 

 

  

WILLIAM BLAKE

where

der

-

 

mf





  



= 72

4 4

2 4

8

5 8

for

ev

ev

where

der

74 ut q =

too ta

 

   

Tham





-

-

-

not , but

mic Rhyth   

 



p

ev



 -

-

-

-

Wan

  

(for Piano ly) l on rehearsa



p

4 4

where

der

-

-

-

-

Wan

  

R

TENO



p

of

ce the prin q

2 4

4 mpany Ltd ties vello & Co d par © 2016 No tal or hire by thir Not for ren





I

6 8

7 8

L

M

Till

weep.

briel an d Wesley on the oc S. ca August 30th 20 sion of their we dding 15

be

love

 W

4 SOP 4 RANO   

107 8

thing

Dun -

q = 98





TEN O SOL R O

2 4

the

5A 8mf

ah

3 8

4 4

Pian ( 6r rehearsa o (fo l only) 8

        - ter’d     char e th e  wher Near

74 ut q =

too ta

t not

, bu thmic

mp

O PRAN

JULIAN

I

3 8

of

ce the prin

BASS

pride,

7 8 AL ARSH

Till

6 8

mer's sum -

4 4

TENO R

 

 

des - erts

mf

dem

O - ver val - leys





   

S.

held,

be

love



A thing mak - ing of moan, 6 beauty

5 8

be -

love

4 4 38 of

ce the prin

I

Till

6 8

of

ALTO

6 8

pride,

mer's sum -

7 8

344 8



  

4 4

7 8

For Ga

q = 72

ce the prin

I

Till

pride,

mer's sum -

7 8

6 8

SOPRAN O

-

sum

7 8

5 8

5 3 JOHN 8 8 KEAT S

6 8 6 8

7 8

5

6 8

 



the

all

Aus

go

th a pe Wi rsistent groove thr 4 oughout 4 ah

7 8

- ed And tast

field,

to

field

3 8

e = 90

6 8

Dun - kel

4 4  ah 4 4mp sub.

5

7 8

all

- ed And tast

field,

to

5 8

3 8

mp

6 8

Piano rehearsal ((for only) 

   

7 8

the

- ed all And tast Ltd. llo & Company field, © 2016 Nove parties or hire by third Not for rental

5 8

field

6 8



 

dem





ah

BASS



the

Aus

mp sub.



oh

 -  kel Dun

44

4  4



oh

7 8

  

  tast - ed  all   And      

 



to

field

d from et I roame How swe

BASS



field,

5 8 3 8

mp

ah

to

field

3 8

mp

6 8

TENOR

5 8

3 8

e = 90

man

ah All the nig ht in wo mp sub. e Ly - ca’ s par - ent s

TENOR



Love, ty, Peace, and Mer - cy, Pi LL MARSHA JULIAN mp

WILL

man

-

  dem  

Aus



ALTO



mp            oh and Love,

6 8

man

To Mer - cy, With a pe rsistent mp sub. mf groove thr ough

SOPRAN O



            oh Lo e,, and Love

AKE IAM BL

-

car- ry a

  L mf    The  ittle Girl  E   BLAK WILLIAM Found  and Love, All Pi - ty, Peace,





mp

med eet I Roa  How Sw 

I

-



Dun - kel

Vc. 2





wo

wo

     

  

dem

  

 

Vc. 1



man

oh

Aus

  

  

-



wo

 

B.

ah

q. = 80

 

wo

oh

and Love,

Peace,

3

a

oh

and Love,



come

   

BASS



oh

come

Peace, A.

Pi - ty,

Mer - cy, mf



come

and Love,

Peace,

SHALL

JULIAN MAR



  



Pi - ty,

Mer - cy, mf

ALTO

21

M-S. solo

  

    

mf

age

thee!

thee!

  



thee!

     22/1/18      

16:34 

 



For further information on music published by Novello please email promotion@musicsales.co.uk or contact your local Music Sales office.

Hire Material UNITED KINGDOM Email: hire@musicsales.co.uk Telephone: +44 1284 705705 REST OF WORLD musicsalesclassical.com/rental

Julian Marshall Material on Sale UNITED KINGDOM AND REST OF WORLD (EXCEPT NORTH AMERICA) Novello Publishing Limited The Music Sales Group Sales and Distribution Centre Newmarket Road, Bury St Edmunds Suffolk IP33 3YB, UK Telephone: +44 1284 702600 Email: sales@musicsales.co.uk musicsalesclassical.com NORTH AMERICA Music Sales America Distributed by Hal Leonard Corporation 7777 W. Bluemound Road PO Box 13819 Milwaukee WI 53213 Email: sales@halleonard.com halleonard.com

CAT08217

MS8211 Julian Marshall Brochure v7.indd 14

22/1/18 16:34