Julian Philips_Vertue_EP7990_Score_Extracts

philips Vertue SATB and Organ

EP 7990

JULIAN PHILIPS

Vertue SATB and Organ

EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN ALL RIGHTS RESERVED

PETERS EDITION LTD A member of the Edition Peters Group FRANKFURT/M. · LEIPZIG · LONDON · NEW YORK

for Tim Brown and the choir of Clare College

Commissioned by the Choir of Clare College, Cambridge

First performance June 1988 by Clare College Choir - Tim Brown; at the Clare College Chapel, Cambridge

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

JULIAN PHILIPS

VERTUE for Choir and Organ (1988)

Words by George Herbert

Duration c.8 minutes

VERTUE Sweet day, so cool, so calm, so bright, The bridall of the earth and skie: The dew shall weep thy fall to night; For thou must die.

Sweet rose, whose hue angrie and brave Bids the rash gazer wipe his eye: Thy root is ever in its grave, And thou must die.

Sweet spring, full of sweet dayes and roses, A box where sweets compacted lie; My musick shows ye have your closes, And all must die.

Onely a sweet and vertuous soul, Like season’d timber, never gives; But though the whole world turn to coal, Then chiefly lives.

George Herbert (1593-1633)

The anthem Vertue was completed while I was an undergraduate at Emmanuel College, Cambridge, and was specially commissioned by Tim Brown and the choir of Clare College. It was completed early in 1988.

The work is a setting of a poem by the metaphysical poet, George Herbert (1593-1633), which contrasts the transience of earthly beauty with the permanence of spiritual virtue which "though the whole world turns to coal, Then chiefly lives."

Each of the poem's four stanzas centres on a single poetic image - "Sweet day", "Sweet rose", and "Sweet Spring" culminating in the "Sweet and vertuous soul". This progression through a series of interlinked metaphors leading to a single idea, is carefully reflected in the music, which is built out of four transformations of a single harmonic cell, which gradually lighten in colour towards the radiance of G major and A major, combined in the final stanza.

The first and four stanzas are closely linked and form a structural arch to the piece. The second is scored for mens' voices only who sing of the rose's "hue angry and brave" while the third is for alto solo who sings of sweet spring's "sweet dayes and roses" over a tapestry of birdlike trills and arabesques. In the final stanza the different musical elements are gently combined building to an ecstatic climax. `

Julian Philips (1996)

for Tim Brown and the choir of Clare College

VERTUE Words by George Herbert

  

Julian Philips

Slow and meditative

 



 

 



  

 



  

 



  

Slow and meditative

    p

 

     

      6

S.

   

     bright, bright,

T.

B.



Sweet mp

day,

     



  



  



bright,

 

    

       



 

cool,

 

    

so

cool,

  



so

so



mp





 



Sweet

day,

    so

cool,

so



mp



   

 



Sweet

day,

so

cool,

so

day,

  

   

 







         

  



bright, A.



Sweet

Choir

ORGAN

mp

   

so

  

calm,

so

calm,

calm,

 

 

so





so



calm,



so













 















 







 

  

The

bri - dall

of

the



The





bri - dall

of

the











The

bri - dall

of

   



  

     

   

   

  

   

 

    

Edition Peters No. 7990 © Copyright 2007 by Hinrichsen Edition, Peters Edition Limited, London



The

 

  





the

bri - dall

of

the



  





   





2

    



Earth

and

     



mf

9

S.

mf

A.

B.

     Earth



  

mf 

and

skie:



  

Earth

and

skie:

 



 



    

S.

weep

  

A.

weep

Ped.

thy

 



 

    weep thy

T.

B.



thy



skie:

  mp      

fall

    



   







-

   

-

night;

 

   

fall

to

-



 

     

weep

thy

fall

to

-

         

mf

 

must



      for

 

thou

 

must

     



for

thou

night;

 

for

 

thou





 

Poco allargando









 







  



  

shall







The

dew

shall







The

dew

shall







The

dew

shall









  

thou

   

dew

 

for



 

The

 







     





 







 



      

night;

 

 



Poco allargando

night;

 









to

to



     

     

fall

   

   





13

 

  

and

  

Ped.

skie:

Earth mf

T.

  

sfp





    







  





must

die.





die. sfp

die.

sfp

 

  

must

die.



sfp













   f







5

   

T.

B.



   root

  



Thy

root

is

e





is



 

e - ver

in

e

T.

   



36

     thou,

    

-

ver



  

in

its

its

 

ver

in









  



and

thou

must

die.



f

must

die.





and

thou



 

and

thou

    

 



 

     f

die.

     

          

f

       

     



 f

  

      

grave,



 

And

And

thou,

     

    

f

  thou,

   

cresc.

 

   

 

  



  



  



        

(REDUCE)

  

poco a poco dim.

         

 and

            

   

 

  

must

  

 f



 

f

its

  

grave,



  

grave,

  



              Ped.



-



                                                  

Ped.







it



B.

 

mf

 

32



       



 mf

6

40

Ped.

         

poco a poco dim e rall





    

          

      



   

        









7

     Ped.







  47

Solo Alto



     

  

50

Solo Alto

dayes





 

 





 



   

 

of

sweet

spring,

  



 

 

3

 full



     



  

3







-

3





       

and

ro



   Ped.





rall.



mf bright

       

6



   

    

 



   

Sweet

      

            

    

B Meno mosso (Solo) f     

 5

Ped.



    







44

         





  

ses,



3   

  



       3



A

  

 

  

 





 

box



7

          

cresc.

Solo Alto

   

where sweets com - pac - ted



    



     

       3     dim.

Solo Alto

ye have your clo - ses,







   59

Solo Alto

mf

   and



all

3

cresc.



 3









3

 

  

   

3

your

 



must

die,

    





molto rall.

  

  







must

die.

 

molto rall.

3

     



mp

   

     

62

pp

 

    

 

     

       



 

   dim.

    



  





clo - ses,

   

  



3

ses,

mp



sick shows

3        

3

   

-

3

f

your clo -

mu

   

      #     #          

    



 



   

  3

  più f

My

 

mf



 

lie;



56

 

3

53

 

 deliberate



   

  





   



8

C

  65

Slow and meditative (tempo primo)







2 Solo Sopranos











 



a

sweet,

a

sweet and

vir

mp









mf

   a





Solo Alto



mp







a

 

S.

       p

One - ly

 

A.

  

B.



 

p

a

   



  

   



  

   

sweet and ver - tuous soul,

p      One - ly

a







 



Ped.



 

  











mp





mp





mp



Like









mp

Like

 



 

 

 

 

p

  

vir - tuous

Like

C   

3

vir - tuous soul,

sweet and ver - tuous soul,

Slow and meditative (tempo primo)

tuous

Like

sweet and ver - tuous soul,

       One - ly

a sweet and



-

  

sweet and ver - tuous soul,

           a

  

   

   

p

One - ly

T.

a

sweet,





sweet and

 

3

     





mp



9

   70

 







soul

2 Solo Sopranos

mp

       like

 



 

 







sea - son'd tim - ber,



  

soul

Solo Alto

like



mp





  

like

 

S.

  

    

sea - son'd tim - ber, ne

 

A.

  

   

sea - son'd tim - ber, ne

Ped.



 

 

   

sea - son'd tim - ber, ne

-

     



     



    



ber,

ne - ver

  

   



ver

gives;

gives;





ver

gives;

 

ne - ver







mp





But



mp



 

But



mp

 



But

    







mp



But

 

 



    

 

 







 









gives;



ver

    

  

    

          sea - son'd tim - ber, ne - ver gives;

T.

B.

-

tim -

   

gives; 3

tim - ber,

 

 -

sea - son'd



ne - ver

mf





     



3



mp





12

  

cresc.



82



3

turn



rall.



 

to

coal



 

to

coal

chief

2 Solo Sopranos

3



 

turn



Solo Alto



 

lives,



S.

chief



A.

-

ly



  



 

lives,







lives,

 

T.

B.





chief

-

-



   

 ly

lives,



lives,

  

  

  

  

Ped.





 f

3

      

     



-

-

-

-

-







-



ly

   

  



ly

 -



ly

 -



ly

  -



ly



 chief

rall.

-



ly

 

  chief

 

 

-

  chief



-



ly



 chief

 

-

  chief



-

  chief

 









 

Courtesy of Glyndebourne Productions/Photographer: David Illman

Vertue

Julian Philips 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.

philips

Julian Philips

Julian Philips 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.

Edition Peters 7990

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