John Harbison
NORTH AND SOUTH (Six Poems of Elizabeth Bishop) 1999
from the G. Schirmer Rental Library date of printing___________
Associated Music Publishers, Inc. New York, NY
John Harbison
NORTH AND SOUTH (Six Poems of Elizabeth Bishop) 1999 Book I: I. Ballad for Billie I.........................................1 II. Late Air....................................................11 III. Breakfast Song........................................17 Book II: I. Ballad for Billie II......................................28 II. Song..........................................................39 III. “Dear, My Compass…”............................44
Commissioned by The Chicago Chamber Musicians
Associated Music Publishers, Inc. New York, NY
Instrumentation English Horn Clarinet in B= Bassoon Solo Voice Violin Viola Violoncello Contrabass duration ca. 20’
Program Note: North and South is a cycle of six settings of poems by Elizabeth Bishop. It is divided into two books, each of similar proportion. Book One, dedicated to Lorraine Hunt Lieberson, begins with the first of Bishop’s Four Songs for a Colored Singer. In an interview with Ashley Brown, Bishop said, “I was hoping someone would compose the tunes for them. I think I had Billie Holiday in mind. I put in a couple of big words just because she sang big words well… As for music in general; I’d love to be a composer.” After this rhetorical opening comes a setting of a typically elusive love-and-loneliness Bishop incantation, Late Air. The third song, Breakfast Song, was never published. It was transcribed, in progress, by Lloyd Schwartz during a visit to Bishop’s hospital room during one of her last illnesses. Book Two, dedicated to Janice Felty, begins with another, even more emphatic, declamation from Songs for a Colored Singer. It is followed by Song, a poem from the time of North and South, Bishop’s first book, but published later. Finally, another very private lyric, “Dear, My Compass...”, which was discovered by Lloyd Schwartz in an inn in Ouro Preto, Brazil, an 18th century mountain town where Bishop bought a house in 1965. Schwartz writes, “Here is the unmistakable voice of Elizabeth Bishop, here the fairy-tale vividness and coloring-book clarity of images… ; the geographical references – and restlessness – of the world traveler, the delicate yet sharply etched jokes… the apparent conversational casualness disguising the formality of the versification; the understated yet urgent sexuality; even the identification with animals.”
Songs for a Colored Singer, Late Air, and Song from THE COMPLETE POEMS OF ELIZABETH BISHOP 1927-1979, Elizabeth Bishop. Copyright © 1979, 1983 by Alice Helen Methfessel. Used by arrangement with Farrar, Straus & Giroux, Inc. All rights reserved. Poems from Breakfast Song and Dear, My Compass… from unpublished writings by Elizabeth Bishop. Used by arrangement with Farrar, Straus & Giroux, LLC on behalf of the Estate of Elizabeth Bishop. Copyright © 2000 by Alice Helen Methfessel. All rights reserved.
North and South, Book I:
North and South, Book II:
Ballad for Billie (I) from Songs for a Colored Singer
Ballad for Billie (II) from Songs for a Colored Singer
A washing hangs upon the line, but it’s not mine. None of the things that I can see belong to me. The neighbors got a radio with an aerial; we got a little portable. They got a lot of closet space; we got a suitcase.
The time has come to call a halt; and so it ends. He’s gone off with his other friends. He needn’t try to make amends, this occasion’s all his fault. Through rain and dark I see his face across the street at Flossie’s place. He’s drinking in the warm pink glow to th’accompaniment of the piccolo.*
I say, “Le Roy, just how much are we owing? Something I can’t comprehend, the more we got the more we spend…” He only answers, “Let’s get going.” Le Roy, you’re earning too much money now. I sit and look at our backyard and find it very hard. W hat have we got for all his dollars and cents? –A pile of bottles by the fence. He’s faithful and he’s kind but he sure has an inquiring mind. He’s seen a lot; he’s bound to see the rest, and if I protest Le Roy answers with a frown, “Darling, when I earns I spends. The world is wide; it still extends… I’m going to get a job in the next town.” Le Roy you’re earning too much money now.
Late Air From a magician’s midnight sleeve the radio-singers distribute all their love-songs over the dew-wet lawns. And like a fortune-teller’s their marrow-piercing guesses are whatever you believe. But on the Navy Yard aerial I find better witnesses for love on summer nights. Five remote red lights keep their nests there; Phoenixes burning quietly, where the dew cannot climb.
The time has come to call a halt. I met him walking with Varella and hit him twice with my umbrella. Perhaps that occasion was my fault, but the time has come to call a halt. Go drink your wine and go get tight. Let the piccolo play. I’m sick of all your fussing anyway. Now I’m pursuing my own way. I’m leaving on the bus tonight. Far down the highway wet and black I’ll ride and ride and not come back. I’m going to go and take the bus and find someone monogamous. The time has come to call a halt. I’ve borrowed fifteen dollars fare and it will take me anywhere. For this occasion’s all his fault. The time has come to call a halt. *Jukebox
Song Summer is over upon the sea. The pleasure yacht, the social being, that danced on the endless polished floor, stepped and side-stepped like Fred Astaire, is gone, is gone, docked somewhere ashore. The friends have left, the sea is bare that was strewn with floating, fresh green weeds. Only the rusty-sided freighters go past the moon’s marketless craters and the stars are the only ships of pleasure
Breakfast Song My love, my saving grace, your eyes are awfully blue. I kiss your funny face, your coffee-flavored mouth. Last night I slept with you. Today I love you so how can I bear to go (as soon I must, I know) to bed with ugly death in that cold, filthy place, to sleep there without you, without the easy breath and nightlong, limblong warmth I’ve grown accustomed to?
–Nobody wants to die; tell me it is a lie! But no, I know it’s true. It’s just the common case; there’s nothing one can do. My love, my saving grace, your eyes are awfully blue early and instant blue.
“Dear, My Compass…” Dear, my compass still points north to wooden houses and blue eyes,
but crab-apples ripen to rubies, cranberries to drops of blood,
fairy-tales where flaxen-headed younger sons bring home the goose,
and swans can paddle icy water, so hot the blood in those webbed feet.
love in hay-lofts, Protestants, and heavy drinkers… Springs are backward,
–Cold as it is, we’d go to bed, dear, early, but never to keep warm .
NORTH AND SOUTH to Lorraine Hunt Lieberson BOOK I Elizabeth Bishop
John Harbison
Ballad For Billie I
Free and easy
= 88
English Horn
dim. Clarinet in B
dim. Bassoon
dim.
3
3
Voice
A wash ing hangs u pon the line,
but it’s not
Violin
Viola
Violoncello
Contrabass 3
3
dim.
5
3
3
3
3
E.H. Cl. in B
Bn.
3
3
Voice
mine.
None of those things
that I can see
Vn.
Va.
Vc.
Cb.
Copyright Š 2001 by Associated Music Publishers (BMI), New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.
be long to me.
2 9 E.H.
Cl. in B
Bn.
3
3
Voice
The neigh bors got
a ra
di o
with an ae ri al;
Vn.
Va.
Vc.
Cb.
13 E.H.
Cl. in B
Bn.
3
Voice
we Vn.
Va.
Vc.
Cb.
got
a lit tle
3
por ta ble.
They got a lot
of
clo set space;
we got a
3 17 E.H. marcato
cresc.
marcato
cresc.
marcato
cresc.
Cl. in B
Bn.
3
3
3
3
Voice
suit case.
I
say
“Le Roy, just how much
are we ow
Vn. marcato
cresc.
marcato
cresc.
marcato
cresc.
Va.
Vc.
pizz. Cb. cresc.
21 E.H.
cresc. Cl. in B
cresc. Bn.
3
3
3
cresc.
cresc. 3
3
3
3
Voice
ing?
Some thing I can’t com pre hend,
the more we
Vn.
cresc. Va.
cresc. Vc.
cresc. Cb.
cresc.
pizz.
got
the
4 25 E.H.
cresc. Cl. in B
cresc. Bn.
cresc. 3
Voice
more
we
spend…”
He on ly answers,
Vn.
cresc.
misterioso
Va.
cresc.
(pizz.) Vc.
cresc. Cb.
cresc.
29 E.H. 3
3 3
3
3
3
3
Cl. in B 3
3
3
3
3
3
3
3
3
Bn. 3
3
3
3
3
3
3
3
3
3
3
3
3
Voice
“Let’s
get
go ing.”
Vn.
Va. 3
Vc.
Cb.
3
3
5 33 E.H. 3
3
3
3
3
dim.
3 3
Cl. in B
dim.
3
Bn. 3 3
3
3
3
3
3
dim.
3
dim.
Voice
Le Roy
you’re earn ing
too
much mo ney
now.
Vn. 3
3
3
3
3
3
3
Va. 3
arco
3
Vc. 3
arco
3
3
3
Cb. 3
3
3 3
3
dim.
37
3
3
3
3
E.H. 5
Cl. in B
Bn. 5
cresc.
Voice
I sit and look Vn.
Va.
Vc.
Cb.
at
our back yard
and find it
ve ry hard.
What have we
6 41 E.H. 5
Cl. in B
5
Bn.
Voice
got for all
his
dol lars and cents?— A pile of
bot tles
by
the fence.
He’s
Vn.
Va.
Vc.
Cb.
45 E.H.
cresc.
5
cresc.
Cl. in B
5
cresc.
cresc. 5
Bn.
cresc.
cresc. 3
cresc.
Voice 3
faith Vn.
Va.
Vc.
Cb.
ful and he’s kind
but he sure
has
an in quir
ing mind.
7 49
3
3
E.H. 3
Cl. in B
3
3
3
3
3
3
Bn.
Voice
He’s seen a
lot;
he’s bound to see the
rest,
and
if
Vn.
Va.
Vc.
Cb.
53 E.H. 3
3
3
3
3
3
Cl. in B
Bn.
3
3
3
Voice
I
pro test
Le Roy an swers with a frown,
“Dar ling,
when I
Vn. misterioso Va. 3
pizz. Vc.
pizz. Cb.
3
8 57 E.H. 3
3
3
3
Cl. in B
3
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
Bn. 3
3
3
3
3
cresc.
The world is
wide;
3
3
Voice
earns
I spends.
it
Vn.
Va. 3
3
3
3
3
3
3
3
Vc.
Cb.
61 E.H. 3
dim.
Cl. in B 3
dim.
Bn. 3
dim. 3
Voice
still
ex
tends…
I’m going to pizz.
Vn.
Va.
dim. Vc. sub. Cb.
9 64 E.H. 3
cresc.
3
cresc.
3
3
3
3
3
cresc.
3
cresc.
3
Cl. in B 3
3
Bn. 3
3
cresc. cresc. 3
3
cresc.
3
3
Voice
get
a
job
in
the
next
town.”
arco Vn.
Va. 3
3
cresc.
arco
3
3
cresc.
3 3
Vc. 3
cresc.
cresc. 3
arco Cb. 3
sub. cresc.
cresc.
Più sostenuto
67 E.H. 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
Cl. in B 3
3
Bn. 3
Voice
Le
Roy,
you’re earn
ing
too
much
mo ney
Vn. 3
3
3
3
3
3
3
3
Va. 3 3
3
Vc. 3 3
3
3
3
Cb. 3
3
3
10 70 E.H.
dim. Cl. in B
dim. Bn.
dim. Voice
now. Vn.
Va.
Vc.
Cb. 3
dim.
73
3
3
3
3
3
rit.
E.H.
Cl. in B
Bn.
Voice
Vn.
Va.
Vc.
pizz. Cb.
arco
Moderately fast
= 92
11
Late Air
English Horn
6
Clarinet in B 3
6
6
6 6
Bassoon 6
Voice
Violin (loco) Viola 6
6
6
Violoncello
Contrabass
3 E.H.
Cl. in B 3
6
Bn.
esuberante
3
3
Voice
From a Vn.
Va. sost. Vc.
Cb.
ma
gi cian’s
mid night
sleeve
the
12 6
6
E.H. 3
3
Cl. in B 6
6
Bn.
3
3
Voice
ra
di o sin gers
dis trib ute all
their love songs
Vn. (loco) 0
Va.
Vc. sost. Cb.
9 E.H. 3
6 6
Cl. in B
Bn. 6
Voice
o Vn.
Va.
Vc.
Cb.
3
ver the dew
wet
lawns.
13 11 E.H. 6
Cl. in B 6
6
6
Bn. 6
3
3
Voice
And like a
for tune tel ler’s
their mar
Vn.
Va.
Vc.
Cb.
14 E.H.
Cl. in B 3
Bn.
Voice
row– pierc ing gues ses
are what e ver
Vn.
cresc. Va.
cresc. Vc.
cresc. Cb.
you
be lieve.
14 18 E.H. 6
Cl. in B 6
6
6
6
Bn. 6
cresc. 6
6
Voice
Vn. sul C Va. 3
3
sost.
3
Vc. 3
Cb.
20
6
6
E.H.
Cl. in B 6
Bn.
3
3
3
Voice
But on the Na
3
vy Yard ae ri al
I find
Vn.
pizz. 0
0
Va. sul G Vc. sul G Cb. sost.
sost.
bet ter
15 23 E.H. 6
6
Cl. in B 3
6
6
Bn. 3
Voice
wit nes ses
for love
on sum mer
Vn. sost.
(pizz.)
loco
0
Va.
Vc.
Cb.
26 E.H.
Cl. in B 6
Bn.
Voice
nights.
Five
re
mote
red
lights
keep their nest there;
Vn. marc. arco Va. marc. Vc. marc. sul A Cb. marc.
sul E
sul D
sul E
sul G
sul G
16 31 E.H.
Cl. in B
Bn. dolce 3
cresc.
3
3
Voice
Phoe
nix es
burn
ing
qui
et
ly,
Vn.
pizz. Va. 3
3
3
3
3
3
Vc.
pizz. Cb. 3
35 E.H.
Cl. in B
Bn.
dim. Voice
climb.
Vn. (pizz.) Va.
Vc.
Cb.
3
3
3
3
where the dew can not
17
Breakfast Song Gently flowing
= 32 ( = 96)
English Horn
Clarinet in B
Bassoon
Voice
Violin
Viola
Violoncello
Contrabass
5 E.H.
Cl. in B
Bn.
Voice
My
love,
Vn.
arco Va.
Vc.
Cb.
my
sav
ing
18 10 E.H.
Cl. in B
cresc. Bn.
cresc. cresc.
3
Voice
grace,
your
eyes
are
aw
ful ly
blue.
Vn.
Va.
cresc. Vc.
Cb.
15 E.H.
Cl. in B
Bn.
dim. Voice
I Vn.
Va.
Vc.
Cb.
kiss
your
fun ny
face,
your
19 20 E.H.
Cl. in B
Bn.
Voice
cof fee
fla vored
mouth.
Last
night
I
slept
with
Vn.
Va.
Vc.
Cb.
25 E.H.
Cl. in B
Bn.
Voice
you.
Vn.
Va.
Vc.
Cb.
To
day
I
love
you
so
20 30 E.H.
dim. Cl. in B
dim. Bn.
dim. Voice
how
can
I
bear
to
go
(as
Vn.
dim. Va.
dim. Vc.
dim. Cb.
35 E.H.
Cl. in B
Bn.
Voice
I
must,
I
Vn.
Va.
Vc.
arco Cb.
know)
to
bed
soon
21 40 E.H.
Cl. in B
Bn.
Voice
with
ug
ly
death
in
that
cold,
Vn.
Va.
Vc. marc. Cb. marc.
45 E.H.
Cl. in B
Bn.
Voice
fil
Vn.
Va.
Vc.
Cb.
thy
place,
to
22 50 E.H.
Cl. in B
Bn.
Voice
sleep
there
with
out
you,
with
al sord. Vn.
Va. al sord. Vc.
Cb.
55 E.H.
Cl. in B
Bn.
Voice
out Vn.
Va.
Vc.
Cb.
the
ea
sy
breath
and
night
long,
23 60 E.H.
Cl. in B
Bn.
Voice
limb
long
warmth
I’ve
grown
ac
cus
tomed
Vn.
Va.
Vc.
Cb.
64
Mysterious
E.H.
Cl. in B
Bn.
agitato Voice
to? Vn.
Va. (accomp.) con sord. Vc. legatissimo Cb.
—No bo
dy
24 69 E.H.
Cl. in B
Bn.
Voice
wants
to die;
tell me
it
is
a
lie!
con sord. Vn. legatissimo Va.
Vc.
Cb.
74 E.H.
Cl. in B
Bn.
Voice
But
no,
I
know
it’s true.
Vn.
Va. 3
Vc.
Cb.
3
25 79 E.H.
Cl. in B
Bn.
Voice
It’s just the com mon case; Vn. 3
3
Va. 3
3
3
3
3
Vc.
Cb.
ritardando
83 E.H.
Cl. in B
Bn.
Voice
there’s no thing one can via sord. Vn.
Va. 3
Vc.
Cb.
3
3
do.
My
26 88
a tempo
E.H.
Cl. in B
Bn.
cresc. Voice
love,
my
sav
ing
grace,
your
eyes
are
Vn.
Va. via sord. Vc.
Cb.
93 E.H.
cresc. Cl. in B
cresc.
cresc.
Bn.
cresc.
cresc. cresc.
3
Voice
aw
ful ly
blue
ear
ly
and
senza sord. Vn.
cresc. Va.
cresc.
cresc. senza sord.
Vc.
cresc. Cb.
27
ritardando
98
a tempo
E.H.
dim. Cl. in B
dim. Bn.
dim. dim. Voice
in
stant
blue.
Vn.
dim. Va.
dim. Vc.
dim. Cb.
103
molto rit.
E.H.
dim. Cl. in B
Bn.
Voice
Vn.
dim. Va.
Vc.
dim. Cb.
28
to Janice Felty
BOOK II Ballad For Billie II Lilting
= 104 3
English Horn solo Clarinet in B 3
6
Bassoon
Voice solo 6 Violin
Viola
Violoncello
Contrabass
5 E.H.
Cl. in B solo Bn. 6
Voice
Vn. 6
solo Va. 3
Vc.
Cb.
6
29 9 E.H.
Cl. in B
Bn.
3
Voice
The time has come to call a
halt;
Vn.
Va.
Vc.
Cb.
13 E.H.
Cl. in B
Bn.
Voice
and
so
it
ends.
He’s gone
Vn.
Va.
Vc. 6
Cb.
30 solo
17
6
E.H. 3
6
Cl. in B 6
Bn.
3
3
Voice
off
with his oth er
friends.
He need n’t
try
to make a
mends,
this
oc
Vn.
Va.
Vc.
Cb.
21 E.H.
Cl. in B marc. Bn. marc. Voice
ca sion’s
all his fault.
Through rain
and dark
Vn.
Va.
Vc. solo Cb. 6
3
3
31 26 E.H.
Cl. in B
cresc. Bn.
cresc.
cresc.
Voice
I see his face
a cross the street
at Flos sie’s place.
He’s drink ing
Vn.
Va.
Vc.
Cb. 3
3
3
3
cresc.
3
31 E.H.
Cl. in B
Bn. 3
3
3
Voice 3
in
the warm 3
3
pink
glow
3
to the ac com pani ment 3
3
of the pic co lo.* 3
3
Vn. 3
3 3
3
3
3
3 3
3
3
Va. 3
3
Vc.
Cb.
*jukebox
3
3
3 3
3
3
3 3
3
3
3
3 3 3
3
3
3
3
32 34 E.H. 3
3
3
3
3
3
solo
Cl. in B 3
3
3
3
3
3 6
Bn. 3
3
3
3
3
3
Voice solo
The
Vn. 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Va. 3
Vc. 3
3
Cb.
38 E.H.
Cl. in B
3
3
3
3
Bn.
3
Voice
time
has come
to
call a halt.
Vn. solo Va. 6
Vc.
Cb.
33 42 E.H. 3
3
3
Cl. in B
Bn.
3
Voice 3
I met him walk ing with Va rel la
and hit him twice with my um brel la.
Per haps
Vn. 3
Va. 3
3
Vc.
Cb. 3
solo
46 E.H. 3
6
Cl. in B 3
Bn. 3
3
3
Voice
that oc
ca sion
was
my
fault,
but
Vn. 3
Va. 3 6
Vc.
3
Cb.
the time has
34 50 E.H.
Cl. in B
Bn. 3
Voice
come
to call a halt.
Go drinkyour wine 3
and 3
3
Vn. 3
dim. 3
3
Va. 3
dim.
3
Vc.
3
(open)
Cb. 3
54 E.H.
Cl. in B
Bn. 3
Voice
go get tight.
Letthe pic co lo play.
I’m
sick 3
3
3
of all your 3
3
3
3
3
Vn.
3
Va.
3
3 3
3
3
3
Vc. 3
3 3
Cb. 3
3
3
3
3
35 57
3
3
E.H. 3 3
Cl. in B 3
3
3
Bn.
Voice 3
fus sing
a ny way.
3
3
3
3
Now
I’m pur
su ing
my own
way.
I’m
Vn.
Va. 3
3
Vc.
Cb.
61 E.H.
Cl. in B
Bn.
Voice
leav ing Vn.
Va.
Vc.
Cb.
on
the
bus
to night.
Far
down the high way
36 65 E.H.
Cl. in B 3
3
3
Bn. 3
3
3 3
Voice
wet and black
I’ll ride
and ride
and not come back.
Vn.
Va. 3
3
Vc. 3
3
3
3 3
3
3
Cb. 3
3
3
3 3
69 E.H.
Cl. in B 3
3
Bn. 3 3
Voice
I’m
going to
go
and take the bus
and find
some one mo
Vn.
Va.
Vc. 3
3 3
3
Cb. 3
3
37 73 E.H. solo Cl. in B 5
dim.
Bn.
3
Voice 3
no ga mous.
The time has come to call a halt. pizz.
Vn.
dim.
pizz. Va.
dim.
pizz. Vc.
dim.
pizz. Cb.
dim.
77 E.H.
Cl. in B
Bn.
Voice
I’ve bor rowed
fif teen dol lars
fare
and it will take me a ny
where.
For this oc
Vn.
arco Va. marc. arco Vc.
arco
marc.
Cb. 3
3
3
3
3
38 82 E.H. 3
solo
3
Cl. in B
3 3
Bn. 3
Voice
ca sion’s
all
his fault.
The time
has come
to call
a
halt.
Vn.
Va.
Vc. 3
Cb. 3
3
3
86 E.H.
Cl. in B solo Bn. 3
dim. Voice
arco Vn.
Va.
Vc.
Cb.
3
Calm
39
Song
= 42–48
English Horn (col Vn.) Clarinet in B non sost. Bassoon 3
3
3
Voice
Sum mer is
o
ver up on the
sea.
The
Violin
Viola
Violoncello pizz.* Contrabass
5 E.H.
Cl. in B
Bn.
3
3
3
3
Voice
plea
sure yacht, the
so
cial
Vn.
Va.
Vc.
Cb. *Contrabass with extension should play the lower octave.
be
ing,
that danced
on the end less pol ished
40 9 E.H.
cresc. Cl. in B
cresc. Bn.
cresc.
cresc.
Voice
floor,
stepped
and side stepped like Fred
As taire,
is gone,
Vn.
cresc. Va.
cresc. Vc.
cresc. Cb.
cresc.
rit. molto
13 E.H.
dim. Cl. in B
dim. Bn.
dim. 3
Voice
is gone,
docked some where a
shore.
Vn.
dim. Va.
dim.
legato
Vc.
dim. arco Cb.
dim.
41
a tempo
18 E.H.
Cl. in B
Bn. 3
3
3
3
Voice
The friends have
left,
the
sea
is
bare
that
was
Vn.
Va.
Vc.
pizz. Cb.
23 E.H.
Cl. in B
Bn.
3
3
3
3
3
Voice
strewn
Vn.
Va.
Vc.
Cb.
with
float ing,
fresh green weeds.
On ly the
42 27 E.H. dolce
dim.
Cl. in B
dim.
dolce Bn. dolce
cresc.
3
dim.
dolce
3
3
3
mar ket less
cra ters
Voice
rus
ty sid ed freight ers go
past
the moon’s
Vn.
dim.
dolce Va. dolce
dim.
Vc.
dim.
dolce Cb.
dim.
31
Poco piĂš sostenuto
poco cedendo
E.H.
Cl. in B
Bn.
3
Voice
and
Vn.
Va.
Vc.
Cb.
the
stars
are
the
on
ly
43
rit. molto
35 E.H.
Cl. in B
dim. Bn.
dim. Voice
ships
of
plea
sure
Vn.
dim. Va.
dim. Vc.
dim. arco Cb.
dim.
39
a tempo
E.H.
Cl. in B
Bn.
Voice
Vn.
Va.
Vc.
pizz. Cb.
rit.
44
“Dear, My Compass” Grazioso, leggero
= 66
English Horn
Clarinet in B
Bassoon
Voice
Dear,
my
Violin
Viola
Violoncello
Contrabass
4 E.H.
Cl. in B
Bn.
Voice
com pass still Vn.
Va.
Vc.
Cb.
points
north
to
45
cedendo
7 E.H.
Cl. in B
Bn.
Voice
wood en
hou
ses
and
blue
eyes,
Vn.
Va.
Vc.
Cb.
10
a tempo
E.H.
Cl. in B
Bn.
Voice
fai ry tales
where
Vn.
Va.
Vc.
pizz. Cb.
fla
xen head
ed young er
sons
bring home
the
46 13 E.H.
Cl. in B
Bn.
Voice
goose,
love
in
hay
Vn.
Va.
Vc.
Cb.
cedendo
16 E.H.
Cl. in B
Bn.
Voice
Pro tes tants, Vn.
Va.
Vc.
arco Cb.
and
hea
vy
drink
ers‌
lofts,
47 19
a tempo
E.H. Cl. in B Bn.
Voice
Springs
are
Vn.
Va.
Vc.
Cb.
22 E.H. Cl. in B Bn.
cresc. Voice
back ward, Vn.
Va.
Vc.
Cb.
but
crab
ap
ples
ri
pen
to
ru
48 25 E.H.
Cl. in B
Bn.
Voice
bies,
cran
ber ries
to
drops
of blood,
Vn.
cresc. Va.
cresc. Vc.
cresc. Cb.
cresc.
28
cedendo
a tempo
E.H.
Cl. in B
Bn.
Voice
and swans Vn.
Va.
Vc.
pizz. Cb.
can
pad dle
i
cy
49 32 E.H.
Cl. in B
cresc.
Bn.
cresc.cresc. Voice
wa ter,
so
hot
the
blood
Vn.
cresc. Va.
Vc.
cresc. Cb.
35 E.H.
cresc. Cl. in B (cresc.)
Bn. (cresc.) (cresc.) Voice
in those Vn. (cresc.)
Va.
cresc. Vc. (cresc.) Cb.
webbed
feet.
50 39 E.H.
Cl. in B
Bn. dolce Voice
Cold
as
it
is,
we’d
go
to bed,
dear,
ear
Vn.
Va. open 0
Vc. arco, sul D sul G Cb.
rit.
43 E.H.
Cl. in B
Bn.
Voice
ly,
but
ne
ver
to keep
warm. IV
III
I
II
Vn. I III Va.
Vc. ord. Cb.
II