Julian Philips_Coronach_EP7992_Score_Extracts

Julian Philips Coronach for Mezzo-soprano and Viola Words by Olive Fraser

EP 7992

JULIAN PHILIPS

Coronach for Mezzo-soprano and Viola

Words by Olive Fraser

EIGENTUM DES VERLEGERS

· ALLE RECHTE VORBEHALTEN

ALL RIGHTS RESERVED

EDITION PETERS LONDON · FRANKFURT/M. · LEIPZIG · NEW YORK

to Iain Burnside, with gratitude

Commissioned by the BBC for the Fairest Isle songbook, January 1995

First performed by Helen Lothian (mezzo-soprano) with Simon Roland-Jones nd (viola) and broadcast on BBC Radio three on the 2 April 1995.

This score is a facsimile of the composer’s manuscript, reflecting the state of editorial work and correction as of 2007

JULIAN PHILIPS

Coronach for Mezzo-soprano and Viola Words by Olive Fraser

On a stoned and dying cygnet O King, dream not upon the fabulous air And, dreaming, beat, and beating, wounded wake.

I have a passion that my heart must bear And thou hast one that thine will break.

I weep for thee on thy last pool's last brink, The royal ruin'd head, bewrayèd wing, But in thy death 'tis of my kin I think With horror, grief past uttering.

Bedford 1946

from The Wrong Music by Olive Fraser (1909-77), by kind permission of Canongate Books Ltd.

Duration c. 8.5 minutes

to Iain Burnside, with gratitude

Coronach I.

Words: Olive Fraser (On a stoned and dying cygnet)

Music: Julian Philips

Free tempo (e = c.80)

                 3

Solo Viola

f improvisatory

  

   3     3

3 5                                              p pp 3

4

5





                      3

3

p

                         3 3 mf f rich

p with melancholy

arco 5              p pizz



      



                         mp f mf

7

      

pp harp-like

pizz 5 arco    5                                                    p   pp   mp pizz

10









 pp

arco



3    40                      3                

12

mf

mp sweetly

q            5    3           5                                             

14

f marked

ff more agitated

q            5                                  heavily q

16

17

   

7

  



                                                         pp       f p mp mf gradually relaxing q

q

attacca

III.

4 Free tempo (e = c.80)

                 3

Solo Viola

  

mp like a distant echo

3





                        3

3

p

      3                                         f

poco a poco rit pizz.

arco

pizz.

pizz.



ppp



pp drop-like p





mp with melancholy

arco  5    5                                          



           sul C



mf



         10 44

   

3



           

   3         

pp

ppp

London, January 1995