Julian Philips_Swift Partitions_EP73505_Excerpts

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PHILIPS Swift Partitions for Baritone and Piano

EP 73505

JULIAN PHILIPS

Swift Partitions for Baritone and Piano (1998)

Poems by Emily Dickinson

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Swift Partitions I. An everywhere of silver, With ropes of Sand To keep it from effacing, The track called land.

Emily Dickinson

Julian Philips (1998)

Slow (h = c.50)

p legato

°? 2 Baritone ¢ 2

{

2 & 2 Œ.

Piano

pp

∑

5:4

bœ

œ œ.

5:4

5:4

bœ 5:4

bœ œ 2 & 2 bœ bœ œ œœœ nœ œ œœ ø °

°? 4 ˙ ¢ 4 4

{

4 & 4 b˙˙ n˙ ? 4 ˙˙˙ 4

Edition Peters 73505

Œ

œ œ bœ

3 2 Œ œ

An

Ev’ - ry

3

œ bœ bœ

˙.

where of

Sil

Ó

3 w ..

2 w w.

œ Œ œœ

Ó

#-˙

mp

With

Ropes

of

Sand,

Ó

n˙

. ‰ œ œ. #œj ‰ ‰ bœ œJ. ‰ œ. . . “‘ p dry and crisp

?

bœ

4 œ 4

œ œœ œ

5:4

bœ bœ °

4 4

#-œ To

‰ nœ #˙. œ ≈ ‰ mp

‰ ‰

5:4

p

3

˙

Œ.

-˙.

#-˙

4 4

ver

-

œœ œ Œ

#-œ

p legato

œ ˙

bw w ..

3 .

2 w

p legato

Œ ? #œ

(q = q)

3

œœ

≈Ó

#œ p

3

r r≈ ‰ 3 r r≈ ‰ Œ œ #œ œœ œ. œ.

Music© 2022 by Peters Edition Ltd, London.

Poems by Emily Dickinson used by arrangement with the publishers and the Trustees of the Amherst College from THE POEMS OF EMILY DICKINSON, Thomas H. Johnson, ed. Cambridge, Mass.: The Belknap Press of Harvard University Press, © 1951, 1955, 1979, 1983 by the President and Fellows of Harvard College. All rights reserved.

4

II. And made as He would eat me up As wholly as a Dew Upon a Dandelion's Sleeve And then - I started - too -

And Frigates - in the Upper Floor Extended Hempen Hands Presuming Me to be a Mouse Aground - upon the Sands -

And He - He followed - close behind I felt his Silver Heel Upon my Ancle - Then My Shoes Would overflow with Peal -

But no man moved me - till the Tide Went past my simple Shoe And past my Apron - and my Belt And past my Boddice - too -

Until We met the Solid Town No One He seemed to know And bowing - with a mighty look At me - The Sea withdrew -

With a lilt (q = c.100)

p like an old sea shanty

°? 3 ¢ 4

∑

?3 4

∑

1

I started Early - Took my Dog And visited the Sea The mermaids in the Basement Came out to look at me -

{

?3 ˙ 4 p

∑

œ.

J ‰

∑

˙

°? 2 œ œ œ œ œ œ 3 4˙ ¢ 4 6

{

?2 4

vi - si - ted the

? 2 œ. ‰ 4J

∑

œ.

J ‰

2 4

∑

2 4

∑

œ œ œ œ bœ 3 4‰ J I

3 4

Sea

‰ œj bœ œ œ œ œ œ 42 œ The Mer - maids in the

œ.

J ‰

3 4 Œ b ˙˙ -

∑

œ. œ. .

2 œ J ‰ 4 J ‰ J ‰ 43 ˙

Œ

3 4˙

star - ted Ear - ly

p misterioso

˙

œœ

b ˙˙-

œ œ œ.

Took my Dog

œ 3 œ 4

Base - ment Came

‰ 43 ˙

2 4

3 4

œœ

And

2 4

œ.

J ‰ 42

œœœ œ œ

out to

œ. œ.

J ‰ 42 œJ. ‰ J ˙˙ -

∑

˙

œ.

J ‰

œ

œ 2 J 4

look at

me

œ.

J ‰ ˙˙ -

10

III. Though the great Waters sleep, That they are still the Deep, We cannot doubt No vacillating God Ignited this Abode To put it out -

Slow (q. = c.50)

°? 6 ¢ 8

∑

?6 8

∑

1

{

pp

œ bœ œJ œ

œ.

Though the great Wa - ters

Œ.

>j ?6 Œ bœ œ ‰ œ 8 œ. œ œ œJ œ p

pp

Œ œ.

œ

5 & 8 bœ. œœ..

œ œ b œœ

5

{

?5 Œ 8 œ.

We

> bœj œ œ

6 A tempo °? 5 ∑ ¢ 8 9

? 5 œ.

8

œ

5 8

That they are still the

can

-

.

6 œ 8

bœ J

not

6 ˙˙..

8 b ˙-. ‰.

6 ˙.

8b˙ .

-

2 n˙ 4 ˙ p

≈ œr bœ. œ œ œ œj

No va - cil-la-ting God

j œ

bœ œ œ

œ œ

mp cresc

‰ ≈ œR bœ.

No va

bœ œ œ œ œ œ œ .

r œ≈ ‰ ‰ Œ

œ J

‰

‰

doubt

mp

5 & 8 œ . bœ œ œ œ œ œ œ . p

œ

2 b˙ 4 b˙˙ -

œ œ

6 œ. œ bœ œJ bœ 8 p

œ. œ 5 œœ 5 ‰ œ‰ œJ 68 œJ ‰ &‰ 8 8 ‰ œ‰ . b œ p >j >j >j bœ œ œ 5 6Œ bœ œ ‰ œ 58 Œ bœ œ 8 œ. œ œ œ ‰œ 8 œ œ œJ œ œ. œ œ œ J

bœ 2 J 4

Deep,

œ

sleep,

mp

°? 5 bœ. ¢ 8

{

.

5œ 8

bœ œ mp cresc. b -œ ≈ œR œ marcato

-

œ

∑

5 8

3 8

∑

5 8

3 8 œ.

bœ œ œ

5 8

œ bœ œ œ œ œ œ bœ œ œ 7 8

cil - la-ting God no va cil - la -

œ œ œ œ œ. œ œ

œ œ

3 8

poco rit.

b -œ ≈ bœ œ

bœ bœ .

ting

7 8 œœœ

b -œ ≈œ œ ‰

7 8

12

IV.

Very fast (e = c. 160)

°? 4 ¢ 8 1

{

The waters chased him as he fled, Not daring look behind A billow whispered in his Ear, "Come home with me my friend My parlor is of shriven glass, My pantry has a fish For every palette in the year" To this revolting bliss The object floating at his side Made no distinct reply -

2 8

∑

4 & 8 ‰ ≈ bœ bœ Œ p restless

4 &8 ‰ œ œ ≈

Œ

2‰ ≈ 8 2‰ 8

°? 4 Œ. ¢ 8

{

2 8

∑

4 8

2 ‰ ≈ 8 œ œ nœ nœ ≈ ‰ ≈ 28 œ œ bœbœ

∑

4 8

∑

4 8

∑

4≈ ≈ 8 b œ b œ nœ nœ ≈

4 8œœ ≈

bœ J

p

œ.

bœ

The

wa

(With delicate pedal)

5

4 8

∑

bœbœ

-

œ.

œ

œ bœ œ

ters chased

him

as

j œ.

he fled,

Not

4 ≈ œ ≈ œ ≈ bœ ≈ ≈ bœ ≈ ?bœbœ & 8 ≈ bœbœ ≈ œ œ ≈ œ œ ≈ œ œ ≈ bœbœ ≈ œ bœ nœ œ œ bœ n œ œ p 4 ≈ ≈ ≈ ≈ ≈ ≈ ?œ œ ≈ &8 œœ≈ œœ≈ œœ≈ œœ≈ œœ≈ œœ œœ œ œ bœbœ œ œ bœbœ

°? bœ. ¢

sfz

8

{

da

-

œ.

œ.

ring

look

? ≈ nœnœ ≈

nœnœ

œ. be

-

b -œ.

p legato

œ J

œ.

hind

A

bil

bœ ≈ bœ ≈ bœbœ ≈

œœ

≈

œœ

≈

œœ

nœ ≈ nœ & ® p

b œ b œ œ œ œ œ bœbœ ? bœbœ ≈ bœ ≈ œnœ ≈ œ œ ≈ ≈ ≈ ≈ ≈ bœ

-

low whis

# œ #œ œ#œœ

n œ.

legato

bœ

œ bœ . ®

-

pered

n œ # œ nœ œœ

œ bœ .

bœ

15

V. Water makes many Beds For those averse to sleep Its awful chamber open stands Its Curtains blandly sweep Abhorrent is the rest In undulating Rooms Whose Amplitude no end invades Whose Axis never comes.

œ ˙

b œ œ.

J

w.

Wa - ter

makes ma -

ny

Beds

{

? ?

Slow (h = c.50)

°? 4 Ó ¢ 2

sweep

? Œ. ˙

Œ. ˙

Œ.

j bœ ˙ ˙

Œ

Ó

#W

For those a - verse

to

sleep

4 2

∑

4 2

o

3 œ.

2

œ œ˙.

J

œj 4 Œ 2

˙ ˙

4Π2

œ

#˙ #˙

bœ

œ ∑ J Ó

pp

Œ. ˙

˙ ˙

œ

œ n -œ œ œ

is

p hymn-like

œ

œ bœ

˙-

Œ.

œ J

j bœ ˙ ˙

œ b˙

Ab - ho - rent

œ œ b-˙ œ #œ n˙

œ œ.

J

œ J

Its Cur - tains bland - ly

œ œ. bœJ œ.

J

p

bœ œ

Œ.

Œ

œ œ.

J

pp

- pen stands

j 3 œ 2 ˙ #˙

10 4 Ó.

2

4 2

∑

∏∏∏∏∏

#˙ #˙

∏∏∏∏∏

œ

∏∏∏∏∏

{

p

∏∏∏∏∏

j œ ˙ #˙

8

? w Ó

œ œ. bœJ ˙ J

Œ.

p

°? ˙ ¢

œ œ.

J

#œ

œ 3 œ. bœJ ˙ J 2

Its aw - ful cham - ber

?4 Ó 2 ? 4 Œ.

2 #˙

j œ œ.

Œ.

Œ

∏∏∏∏∏

{

p

∏∏∏∏∏

5

Ó

œ œ œ ˙.

œ

œ-

3 4

Œ̇.

œj

˙ ˙

∏∏∏∏∏

œ ˙

p

1

∏∏∏∏∏

°? ¢

∏∏∏∏∏

Freely

bœ

˙

the

Rest

.

3 ˙˙.

4

3 4 ˙.

4 2 4 2 4 2

17

VI. Three times - we parted - Breath - and I Three times - He would not go But strove to stir the lifeless Fan The waters - strove to stay.

That crawled Leagues off - I liked to see For thinking - while I die How pleasant to behold a Thing Where Human faces - be -

Three times - the Billows tossed me up Then caught me - like a Ball Then made Blue faces in my face And pushed away a sail

The Waves grew sleepy - Breath - did not The Winds - like Children - lulled Then sunrise kissed my Chrysalis And I stood up - and lived -

Very fast (e = c.180)

°? 4 ¢ 8 1

{

∑

∑

>3 ? 4 ‰ bœ bœ œ ≈ ≈ #œœ œœ bœœœ ‰ 8 œ. œ. > p urgent

?4 Π8

œ.

‰

œœœ≈ ‰ >

. œ. b>œ œ œ # œ œ b œ ≈ œœ œœ bœœ ≈ œ œœ bœœ . . >

3 > bœ bœ œ ≈

3

Œ

#œ >

∑

3

œœœ≈ ‰ >

œ.

p

°? ¢ 4

{

∑

# œ œ. >

‰

œ >

mp

j œ

‰

‰

œ

œ œ.

#œ.

œ

œ

> 3 >3 > 3 >3 >3 3 3 > > ? ‰ bœbœ œ ≈ œ œ œ ≈ œ œ œ ≈ bœ bœ œ ≈ œ œ œ ≈ œ œ œ ≈ œ œ œ ≈ ≈ #œœ œœ œœ ≈ œœ œœ œœ œ. œ. b>œ œ. œ. >œ Three

? Œ.

3

bœbœbœ >

°? #œ j ¢ J œ

p

{

I

Three

œ

œ

times

He

≈

3

nœbœbœ >

p 3

bœbœbœ >

≈

≈

3

œœœ >

would

3

œœœ >

‰

≈

par

3

œœœ >

œ.

bœ œ.

not go, But strove

to stir

. œ. b>œ œ b œ ≈ œ œœbœœ Œ nœ

≈

mp

bœ œ j J œ

œ.

>3 > 3 3 > ? ‰ bœbœ œ ≈ œ œ œ ≈ œ œ œ ≈ ? Œ.

we

-

ted Breath

and

mp

p

7

times

≈ œ œ

≈

œ.

the life

œ bœ œ

œ >.

b œ œ.

# œ œ. >

- less Fan

œ œ œ œ œ.

‰

œ >

œ œ # œ.

œ œ.

mp legato

œ.

‰

The

. œ œ ≈ #œ. & R p staccato . # j œR ≈ œ œ

22

VII. Fortitude incarnate Here is laid away In the Swift Partitions Of the awful Sea Babble of the Happy Cavil of the Bold Hoary the fruition But the Sea is old Edifice of Ocean Thy tumultuous rooms Suit me at a venture Better than the Tombs.

Moderate (q = c.84) mf with feeling

°? 4 œ œ b˙ ¢ 4

{

œ

1

For - ti - tude

in

4 & 4 bnœœ

bb˙˙

œ bœœ

? 4 bœ 4

bb˙˙

nœ bœ

mf with feeling

f

œ -

°? œ b œ ¢

œ

b˙ & b˙˙

˙ b˙˙

œ œœ

? b˙ b˙

bb˙˙

œœ

5

{

f

9

3 &4

3

Bab

bœ J

ble

-

way

In

the

bb˙˙

bb˙. ˙

b˙

b˙ b˙

j œ ‰ Œ œ

Œ

bœ

bb˙˙

b˙ ˙

˙ b˙

mf

p

is

laid

of the aw - ful

œ ‰ Ó œœ J

Œ

Sea

3 4

∑ p

3 4 ≈ bœ bœ œ bœ œ œ œ bœœ

j œœ ‰ Ó

b œ.

b˙ -

a

py

Ca

∑

-

œ

18

bœ 43 b˙ J

œ œ bœ .

of the Hap

? 3 ≈bœbœ œbœ œ œ œ œ 4 bœ

bœ

bœœ

œ œ œ

p

œ

Œ

œ

∑

b˙

bbb˙˙˙

Here

mp

p

œ

œ bœ œ œ

œ ‰ J

œœj ‰ Œ œ

car - nate

swift Par - ti - tions

°? 3 bœ. ¢ 4

{

œ

b˙

? b˙

Œ

-

∑

3 4

2 4

∑

3 4

2 3 4 œ bœ bœ œ bœ œ œ œ 4 b˙

bœ J

œ œ

vil

of the

bœ bœbœ œ œ œ

mp

œ bœbœ œbœ œ œ œbbœœbœ œ œ ≈ œbœ œ b˙ b˙

2 4

bœ

2 4 b˙

Bold

3 4

2 b˙bœ œ œbœ œ œ œ & 3 4 ≈ 4 2 4b˙

3 4

24

to Ricardo Da Silva Esteves

VIII. My River runs to thee, Blue Sea! Wilt welcome me?

My river waits

Fast (q = c.110)

°? 2 ¢ 4

∑

?2 4

∑

1

{

4 4

? 2 ≈ bœ bœ œ 4 >>

4

{

My Ri -ver runs, My ri - ver

mp

?3 ≈ r‰ 4 b˙ œ

pp

-œ

≈

bœ bœ

≈

°? 3 œ ¢ 4

mf

3 8 ‰ bœ

‰ œ œœ

My Ri - ver runs, My Ri - ver

œ œ

. bœ bœ œ

?3 ≈ r ‰ 4 b˙ œ

≈

bœ bœ

≈

-œ 3 4

runs

9 œ œ œ 16

‰ œœ œ

mp

≈ bœ bœ œ 43 My Ri - ver

3 œ œ œ œ œ. œ œ 4 R- pp >> >> > ≈ 4 bœ bœ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ 3 4 b˙ 4 > >> > > -

9 œ ≈ bœ bœ œ œ œ œ œ 16

runs

-œ.

4 bn˙˙ 4 ‰.

runs

œ œ 83 ‰ bbœœ-

œ œ

œ -œ.

Œ

mf

7

{

-œ œ R

‰.

My Ri -ver

> >> ≈ œ œ ≈ œ œ ≈ œ ≈ bœ bœ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ≈ 43 >> >> > >> >> > > > p

pp

? 3 œ bœ bœ œ .

4

mp

-œ

≈ bœ bœ œ œ œ œ œ 83 œJ ‰ ‰ 44 Ó

runs

?3 œ 4

-œ œ R

‰.

4 ≈ bœ bœœ œœ 4 - -

p fanfare like

°? 3 œ ¢ 4

-œ œ R

≈ bœ bœ œ 43

Ó.

∑

4 ‰.

4

mp

œ œJ bœ

2 -œ 4

to thee, Blue

Sea!

œ ‰ bbbœœœ

≈ 9 16 bbœœ bœ ‰ bœ J. mf

2 4 ‰. p

4 4

Œ -œ œ R

-œ

4

&4

≈ ≈ 2 ≈ 4 œ œ œ&4 4 b ˙ bœ bœ

Julian Philips

Photo © Jamie Smith

Julian Philips (b. 1969) studied music at Emmanuel College, Cambridge, and his compositions have been performed at major festivals and venues including the Proms, the Tanglewood Music Festival, Welsh National Opera and Glyndebourne. A significant composer of operatic music, Philips’ work includes Followers, The Yellow Sofa, and Knight Crew (libretto by Nicky Singer) commissioned by Glyndebourne (2010). Welsh National Opera commissioned two chamber operas, Dolffin and Wild Cat. Other works include two ballets for English National Ballet, Les Liaisons Dangereuses and The Snow Queen. Julian Philips is Honorary Fellow of, and was made Head of Composition at, the Guildhall School of Music in 2004. He has also taught at Cambridge.

Julian Philips (*1969) studierte Musik am Emmanuel College in Cambridge. Seine Kompositionen sind bei führenden Festivals und in renommierten Häusern erklungen, darunter die BBC Proms, das Tanglewood Music Festival, Welsh National Opera und das Opernfestival im englischen Glyndebourne. Philips ist ein bedeutender Opernkomponist, und seinen Schaffen umfasst die Bühnenwerke Followers, The Yellow Sofa sowie Knight Crew (2010), ein Auftragswerk für Glyndebourne auf ein Libretto von Nicky Singer.

Zwei Kammeropern, Dolffin und Wild Cat, entstanden im Auftrag der Welsh National Opera. Zu weiteren Werken gehören zwei Ballette für das English National Ballet, nämlich Les Liaisons Dangereuses und The Snow Queen. Julian Philips ist „Honorary Fellow“ der Guildhall School of Music, wo er 2004 zum Leiter der Kompositionsabteilung ernannt wurde. Außerdem lehrte er in Cambridge.

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