Earth: The Beloved William Alden Scott Rand 2021
The Intentions:
To name the harm we have inflicted on our planet. To renew and repair our relationship with Mother Earth To unite the wisdom of the Earth with our own bodies, hearts, minds, and souls. To fall into the love that surrounds us in the womb of life.
With unending gratitude for all of those who walked with me on this journey…
Viveka Hall-Holt
Evan Strong
Mom and Dad (Tom and Elizabeth Rand)
Renée Audette
Alistair Rand
Elijah Schouten
Jorge Lockward
Grandmother and Grandaddy (Bill and Ginny Scott)
Katie Reimer
Barbara Coleman
Tesfa Wondemagegnehu
Christy, Olaf, and Elle Hall-Holt
Sannah Arvidson-Hicks
Charles Taliaferro
Jorie Van Nest
Justin Merritt
Gratitude for the teachers, guides, mystics, and poets that I encountered in writing, song, and prayer… John Phillip Newell Christ of the Celts Jan Richardson Circles of Grace John O’Donohue To Bless the Space Between Us Christine Vaulters Painter Earth: Our Original Monastery Thomas Merton New Seeds of Contemplation Robin Wall Kimmerer Braiding Sweetgrass Margaret Silf Inner Compass Peter London Drawing Closer to Nature Douglas Christie The Blue Sapphire of the Mind Joby Talbot Path of Miracles Craig Hella Johnson Considering Matthew Shepard Iain Stuart Earth: The Biography INSTRUMENTATION Soprano, Mezzo Soprano, Tenor, and Bass Solo SSSAATTBB Chorus* Divided into a double chorus in the final movement (SSATB, SSATB)
Percussion Timpani (2), Crotales, Bell Tree, Djembe, Triangle, Tubular Bells, Glockenspiel Clarinet English Horn Violin 1 Violin 2 Cello Double Bass Harp Piano
Libretto 1.
Invocation
O Ground of Life O Sky of Lights O Teacher of the Way O Mother Earth Sacred Birth We beseech you.
2. Out of Chaos In the beginning Out of chaos. Earth was a formless void. Chaos covered the face of the deep. Chaos crying out for you. I cry out for You.
In the beginning, Earth was formless chaos bleeding violence Crying out for birth All life is born from chaos Begotten of the beginning infused with breath and encircled in light
3. Do You Remember When? Do you remember when you were born? Do You Remember when? Do you remember when the skies carried you? When the tall grass cradled you? Do You Remember when? When the sea bore your soul to life? When the sunlight slowly lifted your eyelids? Do You Remember when? Do you remember when the womb held you close? When the sphere of life moved you from home to home? Do You Remember when? I bet your bones do. Your body stores memory. Your heart remembers when it first beat. Do You Remember? Do you remember when the song sang you into life? Do you remember when love knit you together? Do You Remember when? Do you remember when we lived in the garden? When we tended and cared with all life. Do you remember harmony? Do you remember the sound of your birth song?
Life enfolds chaos Chaos suffering is life suffering Violence erupts from the depths Longing for life
Do you remember when?
Crying out for birth
Do you remember when this became our story? When we chose this as our story? (schism)
How long, O God? Will you forget me forever? How long will you hide your face from me? How long must I bear this pain in my soul?
When we were thrown out of the garden? When we were told that we don’t belong?
When we forgot the song of our birth?
4. Ground of Life: Molten solid In the beginning, Chaos covered the face of the deep and a wind from God and a sound swept across the face of the waters. “LET THERE BE LIGHT” Born of chaos. All who are created are sacred. Sacred birth.
O Ground of Life Where we are born Space for all life to dance and grow Ground of life, sacred stone, You who stores the secrets of all time Trouble us with your story Igneous rock from the heart of the world
magma that cools solid made of crystals resembling core light storms wear away each layer of love making new what is old, making old what is new Sedimentary rock bears the scars of the land of weather, death, and decay. carrying the stories of land rock that was once born of magma buries these stories deep in the earth. In time these fragments of old Metamorphosize with heat and pressure building new mountains moving the land with ground made new This storied ground is born of core for all ground is sacred born of light and fire bearing stories of eternity carrying songs of creation solid in center molten in essence forever moving and changing shaping the world to become. O Ground of Life, teach us to love with hearts that are strong yet soft in their depth Teach us to live sustained by our core moving in grace, hearing the sound of creation, and living with gratitude for new and old
5. The Song of the Wind and Waters
6. Song of the Seasons
(Awake the sound and come alive)... Of life’s first breath Spiritus Novus! Spring sprouts of hope Of luscious green. My work is slow Yet waxes effusive My showers grow flowers And flowers grow showers Blooms abound meadows And forests sing of new. All of life is new. Song of the Summer I am bright light. Heat waves. Loud storms. Rejuvenation. Peak season of life. An ode to trees: breathing life. You are gentle, yet mighty. Towering over all of life. A gazing fortress in the sky. Sanctuary of love. You are tall saints of power. Living your purpose throughout time. You balance the whole web of life. You are the still center. Your leaves are the guardians of the air. We breathe your labors. You make space for all of life simply by breathing. You are shade for the weary Those who are lost and afraid. For the wanderers and wonderers. You are protection
Song of the Spring Awake, the ground and come alive. I come with warmth and promised birth.
You are gentle, yet mighty. Towering over all of life. A gazing fortress in the sky. Sanctuary of love.
My seeds at rest take root and nest in slumberous brown my life roots down
You are ancient strength Forever praising Always praying Ever breathing.
In anchored ground I find the sound
Life for the world To breathe.
I am in motion I am Autumn I move upon the trees and raise their true colors to light I am soft, golden light and crisp cool mornings. I am gentle change ever so slowly releasing the tired trees. I mean no harm but I cannot be resisted I come in the rhythms of the air. Do not dread me Do not fear me. I bring the promise of coming rest for life dearly needs to sleep I release in a blaze of light an illumination of glory a spectacle of color gold, tiger, and ruby Falling Slowly Gently In peace. Rest easy, good and faithful servants. Take heart, dear ones, and look into the golden light. I am winter. I am rest.
slow snow gently protecting the dead. hardening icing closing waiting Rest from labors of life from breathing. Death from life from life from death. Finished.
7.
Song of the Sky
Sky Light Star light Sunlight The home of Light Unfailing light Eternal light Cradling light Sky Light Star light Sunlight Deep pool of blue Azure Sapphire hue Nebulous realm Everlasting, Infinite sphere A place to dream To wonder To soar She says Lose yourself in awe, wonder reverence She cries Be brave Be light Be hope Song of the Sunset Be violet Be mauve Be lilac Be moonlight. Be dark. Pass through the night. And unravel in your shadow. 8. Song of Lament
Human being remembering their inner child presence: Oh mother Earth, I have done you wrong. Forgive my forgetting soul.
Come home. Mother Earth in deep pain, who looks at the child with still compassionate eyes: Oh my child, be still. Be held in my calm waves. Let my slow breeze cool your anxiety. Let my gentle waves caress your weary soul. Let my tall mountains give you courage. Let my clear skies give you hope. The Community of Human Beings: Oh mother Earth, we have done you wrong. Forgive our consuming souls. Mother Earth: I must speak honestly You have forgotten me. We have been torn apart. You have hurt me deeply. My soil is lifeless I am burning faster I am choking in plastic My beloved creatures are dying.
The despairing, human child: Oh mother Earth, We have done you wrong. Forgive our severing souls. Mother Earth: Please hear my still small voice. My cry is silence My tears fall as rain My anger roars in thunder Please listen to me.
There I stood in the citadel of my soul the waters of life calling my name These, the waters of the womb waters breathing through me waters of Mother Earth within me calling me back to me What must I shed so that I may float, enwombed in these waters?
My fear? My control? My disconnection from Love itself? Love is the Water, the sound of creation The birth that I choose Surrounded by all of life. Love is the chaos of creation Swirling as I shed what no longer serves me Returning to my own Sacred birth. Cry out! In the beginning… Out of chaos… What no longer serves me…
Listen, dear child to me Remember me as I remember you. Let me welcome you home again. I am calling you back to you
Darkness and first light and rocks of cooled magma and rivers and mountains and valleys.
The whole Earth community: I remember you/Please remember me.
We are all birth songs and blue skies and tall grass and oceans and sunlight and heartbeat.
9. Sacred Birth Deep pool of blue azure sapphire. The waters came to life Calling, “remember” Out of the deep, I heard my name Spoken softly gently
We are all seeds and all tall trees and dead leaves and blossoms that open at first light. Whale songs and bird calls and Butterflies dancing We are all kin. I see all of life before me. All life is beautiful. Mothers and fathers and flocks, hives, voleries, and Siblings, grandmothers, Grandfathers.
Beloveds and kindreds and dears ones and wild ones connected as One. All of life is one being. We are beloveds, Creating with all life, And held in a love beyond breathing.
I see you, I breathe you, I smell you, I feel you, I touch you, I taste you, I know you, I remember You. O Ground of Life, O Sky of Lights, O Teacher of the Way, O Mother Earth, breathless love, womb of life Sacred Birth. We return to you.
-William Rand October 29, 2021 Northfield, Minnesota
I. Invocation William Rand Stage Directions: The soloists may stand in any visible place. The choir is invited to process in at m. 10
= 66
1 singer ad lib.
9
Perc.
B♭ Cl.
Vln.
O
seech you.
16 S.
T.
B.
B♭ Cl.
To Triangle
(Ah)
Sky of lights,
O
Vln. 2
Vc.
teach er
3
3
Moth er
Earth,
(Oh)
O
Ground of Life,
O
Ground
O
Ground of Life,
of
O
Ground of Life,
Life,
Sa cred
Birth,
We be
1.
seech you.
Sky of lights,
Sky of lights,
Sky
O
O
Sky of lights,
of
Lights
6
teach er
teach er
Way.
of the
O
teach er
teach er
of the
of the
O
Way.
O
of
Way.
the
Way
© 2021 William Rand. All Rights Reserved.
O
(Oh)
6
Moth er Earth,
O
Way.
of the
1
E. Hn.
Vln.
(Ooh)
A.
tutti
O
Vln. 2
Vc.
Ground of Life,
2.
1
E. Hn.
2 more singers join in a visible space to the audience.
S.
Moth er Earth,
B.
Moth
Trgl.
B♭ Cl.
Vln. 1
Vln. 2
Vc.
E. Hn.
Vln.
2
Moth er Earth,
Moth
er
er
Moth
3
Moth
er
er
Sac
red
Birth,
red
Birth
Moth er
We be
We be
Moth er
Moth er
Earth
3
Moth er
Earth.
O
Earth.
Earth.
3
O
O
O
Sus. Cymbal O
Slightly slower With increasing passion
3
3
Moth er
Moth er
Earth.
Timpani
seech you.
Earth.
seech you.
Earth
seech you.
We be
mmm.
Birth,
seech you.
Birth.
Earth.
er, Moth
Earth.
Earth,
We be
red
Birth, Sac
poco rit. - - - - A Tempo
Sac
Vln. 2
Pno.
Moth er Earth,
1
Vc.
T.
B♭ Cl.
Sac red
Earth,
Moth
Timp.
A.
B.
Earth,
Earth,
er
28 S.
Moth er
Moth er
Sac red
T.
Earth,
Moth er Earth,
Moth er
A.
23
poco rit. - - - - A Tempo
35 S.
Ground of
A.
Ground of
T.
Life,
Ground of
B.
Life,
Life,
Ground of
Life,
O
O
O
Sky
of
lights,
O
of
lights,
of
lights,
S.
Birth,
A.
Birth,
T.
Birth
B.
Birth.
O
teach er
of lights,
poco rit. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
41
teach er
Sky
O
Sky
teach er
Sky
teach er
of
Way.
of
of
the
the
the
of
the
Way.
Way.
Way.
O
We
be
seech
We
be
seech
We
We
be
be
seech
seech
you.
you.
you.
you.
er
O
er
Moth
A Tempo
Moth
O
Moth
Moth
er
er
Earth,
Moth
er
Earth,
Earth,
Moth
er
Earth,
Moth
Earth
er
Sac
Earth,
Sac
Earth
Sac
Earth,
red
red
red
3
II. Out of Chaos = 80 Timpani
Percussion
Violoncello
Contrabass
Piano
6 Perc.
Vc.
Cb.
Pno.
Vc.
Cb.
Pno.
chaotic
gliss.
sub.
sub.
sub.
(Oh)
chaotic
gliss.
(Oh)
Perc.
T.
B.
10 A.
hard felt mallets
Will Rand
poco cresc. sempre gliss.
poco cresc. sempre gliss.
poco cresc. sempre
(Oh)
poco rall. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
18 S.
A.
B.
Perc.
B♭ Cl.
Vln. 1
B♭ Cl.
Vln. 1
2
gliss.
gliss.
(Ah)
(Ah)
gliss.
(Ah)
In
the
be
In
the
be
the
be
In
gin
gin
gin
ning.
ning.
ning.
ning.
Be
Be
gin
gin
ning.
gin
In
the
be
In
In
be
the
the
be
gin
ning.
gin
ning.
ning.
Ah
Ah
ning.
ning.
be
the
In
gin
ning.
gin
gin
be
be
the
the
In
In
(Ah)
Vc.
Pno.
Vln. 2
Cb.
gliss.
gliss.
gliss.
(Oh)
T.
Perc.
gliss.
A.
B.
gliss.
25 S.
gliss.
Vc.
Pno.
Vln. 2
Cb.
T.
Tempo Primo
molto rall. - - - - - - - - - - - - - - - - -
32 S.
A.
T.
B.
Perc.
Vc.
Cb.
In
the
In
the
Vc.
Cb.
Pno.
Out
5
of
5
cha os,
5
gin
A.
T.
B.
Vc.
Cb.
Pno.
ning.
5
5
5
was
a
5
5
5
5
5
and
os
and
cha
form
5
co
cha
vered
os
co
vered
5
5
5
5
5
5
5
the
face
the
of
face
5
5
5
5
5
5
void.
5
5
5
5
5
5
5
5
gliss.
(Ah)
the
deep.
of
5
pizz.
5
5
less
= 80
less
form
5
5
5
5
a
3
3
was
earth
earth
brass mallets
To Crotales
47 S.
ning.
cha os,
be
of
(Oh)
gin
Out
A.
43
be
(Oh)
Pno.
S.
the
deep.
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
gliss.
5
5
5
5
3
52 S.
A.
gliss.
T.
B.
Crot.
Vc.
Cb.
Pno.
S.
I
I
cry,.
Vln. 2
Vc.
Cb.
Pno.
4
I
To Timpani
I
cresc.
(Ah)
I
cresc.
(Ah)
I
I
cry,
Vln. 1
B♭ Cl.
Timp.
gliss.
gliss.
cry,
B.
I cry,
T.
55
A.
cresc.
gliss.
(Ah)
gliss.
Rall. - - - - - - - - - - - - - - - - - - - - - - - - - - - = 72
cry,
I
cry,
I
cry,
I
cry,
I
sub.
cry
cha os
cry
cha os
sub.
cry
sub.
ing,
cry
ing,
cha os
cry
ing,
sub.
cry,
cha os
cha
brighter inflection
cry,
cry
ing,
cha
os
cry
os,
cha
cha
os,
os,
cry
ing,
cry
ing,
cry
cry
cry
ing,
cry
cry
ing
ing
ing
ing
ing,
out
for
cry
out
Molto rall A tempo
(Ah)
cry
cry
out
cry
you.
you.
for
Out of
for
Out of
cha os,
cha os, out of
cha os,
sim.
you.
out
you.
for
64 S. Solo
S.
A.
Crot.
B♭ Cl.
Vln. 1
Vln. 2
cha
os, Out
out
of
cha
os
out
Vln. 1
Vln. 2
Pno.
cha
os
of
cha
of
cha
out
of
os
of
3
Out
of
Out
of
3
cha
os.
cha
os
cha
3
3
out of
os out of
3
cha os
out of
6
pizz.
6
3
6
6
6
6
3
cha os
out of
cha
cha
os, Out of
cha
os
of
cha os.
Out
of
Out
6
6
6
6
6
Out
gliss.
Out
3
cha os.
of
cha
of
cha
os.
os.
3
3
cha os
os
3
os out of
cha
of
cha os.
3
of
Out
gliss.
3
6
3
6
Out of
6 6 6 6 6 6 6 6 pizz.
cha os.
6
Out
os
6
os out of
os
cha
6
os.
os, Out of
3
cha
cha
of
cha
of
3
Out
Out of
Out
cha
cha os.
os, Out of
cha
cha
os
Out of
of
os
Out
cha
os, Out
out
a few voices
Vc.
Cb.
of
Out
T.
B♭ Cl.
os.
A.
B.
cha
69 S.
of
To Crotales
Vc.
Cb.
of
T.
B.
Out
Out
Out
Out
Out
of
of
of
of
5
74 S. Solo
S.
cha os.
I
A.
cha os.
T.
cha
B.
cha
Crot.
cry
os.
out
cry
cry
Vc.
Cb.
for
you for
cantabile
for you for you
you.
for you for you
for you for you
for
you
for
you
you
you
for
for you for you
for
for you for you
for you for you
for you for you
for you for you
you.
you
you
gliss.
out
out
cry
Vln. 2
os.
cry
subtle
for
out
for
cry
I
out
*tremolo slowing consistently
Vln. 1
I
(cry)
I
1 singer
'Life enfolds chaos "In the beginning,
Monologue: repeat continuously until each section has been spoken.
A.
How
long?
How
A.
T.
B.
Vln. 1
Pno.
6
long?
How
103
S.
long?
long?
Pno.
Violence erupts from the depths
infused with breath
How
B.
bleeding violence
Longing for life
Crying out for birth..."
T.
Chaos suffering is life suffering
Begotten of the beginning
and encircled in light..." out for birth" Crying
95 S.
Earth was formless chaos
= 63
83
Pno.
"All life is born from chaos
2
2
long, O
2
2
How
long?
How
long, O
long?
2
God
God
How
long?
How
2
long, O
2
How
2
long, O
long?
How
How
How
God
2+2+3
How
long?
How
long?
How
How
God
long?
How
How
long?
2
How
long,
O
long?
2
O
God?
God?
God?
God?
2
long,
long?
How 2
God?
God?
S.
How
A.
long?
How
B.
How
Crot.
Vln. 1
Vln. 2
Vc.
Cb.
A.
T.
long?
Vln. 1
Vln. 2
Vc.
Cb.
long,
T.
B.
B♭ Cl.
E. Hn.
long?
O God How long O God?
How long,
Will
O God How long O God? How long,
pizz.
God
How long O God?
O
God
How long O God?
O
God
How long O God?
get me for ev er?
long
O God How long O God? How
long,
O
Will
How long,
you
God
for
O God How long O God? How
long,
How
get me for ev
How long O God?
er?
long,
long,
O
God How long O God?
O
God How long O God?
O
God
How long
O God?
O
God
How long
How
long will you hide
How
long must I bear this
long,
O
God
in
my soul? How
How long O
O
How
long,
God?
O
God?
in
my soul? How
God
How long
How long
O
God
God?
I
pain
How
3
long must
How
How
How
your face from me?
How long O God? How
3
O
long,
How
How
O God?
pizz.
O God
God
O God How long O God? How long,
pizz.
pizz.
long,
God How long O God? How
O God How long O God? How long will you hide your face from me?
O
long, O
How
How long O God?
pizz.
How long,
pizz.
long,
pizz.
for
with wooden sticks
To Djembe
O God How long O God? How
you
Life?
O
Ground of
2
O
long,
Djem
long,
A.
How
126 S.
long,
Djem
long?
long,
B.
How
long?
long?
121 S.
How
long?
long?
How
How
T.
112
bear this
pain
How
How
How
7
130 S.
long,
O
long,
O
long,
B.
Djem
B♭ Cl.
E. Hn.
Vln. 1
O
How
8
O
God?
How
How
long,
How
O
O
long,
O
God
God
God
God
long,
long,
How
God?
O
God?
O
O
How long
O
God?
How long
How long
How long
How long
O
God?
O
God?
O
God?
(pizz.)
How
long?
How
simile
simile
simile
simile
simile
simile
simile
simile
long?
How
long?
How
long?
How
arco
How
Will you
long?
How
How
How
long?
long?
arco
How
long?
arco
rhythm only
*tap rhythm on available surface
Pno.
long?
Cb.
How long
How
Vc.
long?
How long
long?
Djem
God?
How long
T.
O
Vln. 2
How
Vln. 1
A.
E. Hn.
God
B♭ Cl.
How
B.
God
134 S.
Vc.
Pno.
long,
Vln. 2
Cb.
O
God
T.
God
A.
for
long?
long?
long?
get me for ev er?
How long will you hide
your face from me?
How
139 S.
long must I bear this pain
A.
B.
Vln. 1
Cb.
Pno.
play
long,
How
long,
How
How
long,
long,
long, O God How long O God?
long?
How
long?
long, O God How long O God?
long?
How
long?
How
long?
How
How
long?
long?
How
long?
How
How
T.
A.
long, O God How long O God?
How
How
How
Pno.
O God How long O God? How
long, O God How long O God?
147
Cb.
Vc.
Vc.
O God How long O God? How
Vln. 2
Djem
E. Hn.
B.
How long,
B♭ Cl.
S.
Djem
in my soul? How long,
T.
O
God?
O
God?
God?
God?
To Glockenspiel
9
( = ) 162 S.
A.
In
T.
B.
Glock.
B♭ Cl.
Vln. 1
Vln. 2
Vc.
Cb.
Timp.
B♭ Cl.
E. Hn.
Vln. 1
Vln. 2
Vc.
Cb.
Pno.
10
cry
ing,
ing,
cha
cha
ing,
cha
os
os,
In
cry
ing,
cry
ing,
os,
cry
ing,
Molto Rall
cry
cry
ing
ing
cry
ing
cry
ing
ning
Out of
Out of vio lence.
cha os.
In the beg in
= 80
Cry
you!
you!
for
you!
for
you!
for
for
cha os
sub.
out
cry
cha os
cry
I
sub.
out
out
To Timpani
cha os
Cry
cry,.
sub.
I
cha os
cry
I
cry,
sub.
I
cry,
out
I
cry
Cry
I
Cry
cry,
I
I
ning
ning
In the beg in
ing,
the beg in
cry
os,
cha
ing,
ning.
cry
B.
cry
T.
in
cry
A.
beg
170 S.
the
175 S.
out
T.
Cry
B.
Timp.
B♭ Cl.
E. Hn.
Vln. 1
Vc.
Pno.
for
out
for
S. Solo
S.
B.
Timp.
Vc.
Cb.
Pno.
And
a
And
And
wind
a
wind
a
from
from
wind
from
wind
you!
a
And
you!
T.
A.
179 ( = )
you!
out
Vln. 2
Cb.
Cry
for
you!
out
for
Cry
Cry
A.
from
God.
God.
God.
God.
and
a sound
(Ah)
(Ah)
(Ah)
(Ah)
11
= 50
185 S. Solo
dancing
(Ah)
S.
A.
B♭ Cl.
E. Hn.
Vln. 1
Vln. 2
Vc.
Cb.
S.
(Ah)
3
Swept
a
3
cross
the
3
face of the
wa
face of the
3
In the be gin ning.
3
Swept
S. 4
A.
T.
B.
Timp.
B♭ Cl.
E. Hn.
Vln. 1
Vln. 2
Vc.
Cb.
12
Let
there
be
Let
there be
3
3
3
3
(Ah)
3
3
3
3
be
3
3
3
3
3
3
3
3
cross
3
Swept
3
the
a
face of the
3
cross
Swept
a
3
the
cross
3
Swept
a
light
3
To Suspended Cymbal with brushes
3
there
3
Let
3
3
light.
Let there be light
3
3
3
3
Let there be light.
light
3
S. 3
3
a
S. 2
3
(Ah)
3
3
Let there be light.
3
3
3
3
3
Letthere be light
(Ah)
(Ah)
ters.
3
= ) (
wa ters.
the
(Ah)
a cross
cantabile
192 S. Solo
swept
B.
T.
3
3
3
197 S. Solo
S.
S. 2
S. 3
S. 4
A.
T.
B.
Cym.
B♭ Cl.
E. Hn.
Vln. 1
Vln. 2
Vc.
Cb.
wa
cross
ters.
3
face of the wa
3
the
3
face of the wa
sempre cresc.
Let
ters.
there
be
sempre cresc.
Let
3
3
3
there
be
light
light
3
3
be
light.
Let
3
there
Let
3
there
floating
Let there be light
be
sempre cresc.
sempre cresc.
3
3
3
Let there
(Ah)
ters.
3
3
3
sempre cresc.
3
3
face of the wa
the
3
(Ah)
3
3
3
ters.
light.
Let
be
light.
Let
sempre. cresc.
3
Let there
be
3
Let there
3
Let there
be
light.
light
be
3
light
3
3
Let there
be
3
there
3
there
be
light.
be
3
Let
there
Let
there
light.
be
3
Timpani
light
Let
3
3
be
light.
be
light.
3
there be
3
3
there
light.
there
Let
3
Let
3
3
13
202 S. Solo
S.
(Ah)
3
3
3
Let
there
molto cresc.
be
light.
be
molto cresc.
light.
Perc.
B♭ Cl.
E. Hn.
Vln. 1
Cb.
3
3
All
T.
B.
Perc.
Vc.
Cb.
14
All
a
cre
3
ted
ted
be
3
3
a
a
cre
a
there
Let
light.
Let
ted
ted
are
are
3
sac
sac
3 3
light.
born of cha os
red.
red.
be
light.
3
3
born of cha
os
cred
Sa
cred
3
born of cha os
birth.
birth.
red
os
3
born of cha
3
os
Sac
born of cha
3
3
3
3
Sac
3
3
3
3
3 3
Sa
3
light.
born of cha os
3 3
be
light.
red.
there
be
cred.
sac
sac
Let
there
3
be
Let
there
there
light.
be
there
be
who are cre
3
3
Let
sound.
who are cre
All
All
there
Let
Let
A.
210 S.
Vln. 2
Vc.
be
3
light.
molto cresc.
B.
3
molto cresc.
light.
there be
3
Let
there be
3
there
molto cresc.
3
Let
T.
Let
light.
A.
3
S. 2
molto cresc.
birth.
Sac
red
red
Sac
red
birth.
birth.
birth.
Sac red birth. Sac red birth.
III. Do You Remember When? Mezzo Soprano Solo
Choir
Percussion
9
Solo
Choir
A Tempo
Do you
16 Solo
Choir
tall
Do you
24
Solo
Choir
Cym.
Vln. 1
sun
Do you
Choir
Vc.
Cb.
grass
re mem ber
crad led
when?
re mem ber
you?
when?
you.
re mem ber
3
re mem ber
eye
lids.
sea
ten.
Do you
When
re
when?
mem
the
2020 William Rand
soul
you.
to
ber
re mem ber
sphere
Do
you
re
mem
ber
cresc.
when?
cresc.
When the
when?
held you
held
womb
womb
When the
when?
life
born.
of
re mem ber
youwere
when?
when the
when?
life?
mem ber when
re mem ber
Do you
when?
Do you
re mem ber
Do you
Do you
re mem ber
ried
bore your
car
sub.
re mem ber
close to n
ten.
re
Do you
sub.
when?
skies
Do you
when the
when?
When the
Do you
ted your
Do you
lif
ber
when?
mem
Do you
re mem ber
ten.
slow ly
Do you
A Tempo
light
Tubular Bells
when?
Do you re
poco rall
close.
when?
re mem ber
re mem ber
Do you
To Suspended Cymbal
33 Solo
= 80
William Rand poco rall
Solo
S.
A.
moved you
moved you
B.
Cym.
Vc.
Cb.
Solo
Choir
Cme.
B♭ Cl.
Vln. 1
Vln. 2
bones
(Ooh)
home
to
home.
do.
re mem ber
re mem ber
bo
bo
stores
stores
To Tubular Bells
dy
home.
dy
I bet your
home.
Your
A Tempo
home.
when?
to
home.
Home
when?
Your
to
Home
Rall. - - - - - - - - - - -
Home to
home.
Do you
bet your bones
when?
Do you
re mem ber
when?
home.
I
re mem ber
Do you
do,
to
2
home
pizz.
Cb.
pizz.
Vc.
from
46
to
Do you
Home to
to
home
moved you
home
home.
from
from
to
moved you
home
from
from
moved you
T.
37
cresc.
mem'
cresc.
cresc.
ry
Your
mem'ry
Solo
Choir
B♭ Cl.
heart
Vln. 2
Vc.
59
Solo
Choir
Vc.
Cb.
Do
you
pizz.
Broader = 70
3
life?
life?
life?
life?
Vln. 1
Vc.
Cb.
3
Do you re
mem
3
Do you re
3
mem
mem
3
re
mem
3
re
ting.
3
bea
Do you re
B.
life?
T.
A.
S.
ber?
first
mem
Do
3
re
love
knit
you
to
ber
when
love
knit
3
3
you
3
ber
when
love
knit
you
3
ber
when
love
knit
you
the
song
when
ber
when
Ooh
when
ber?
ber
ber
mem
love
3
knit
you
to
to
to
to
ge
ge
ge
ge
first
beat
sang
3
you
to
ther?
ge
mem
pizz.
you
beat,
re
first
beat,
you
arco
Do
em
rem
beat.
arco
first
64
Solo
it
when
bers
mem
Cb.
re
(Ooh)
Vln. 1
54
ther?
ther?
Tempo Primo
Do you
re
ther?
ther?
3
69 Solo
Choir
Vln. 1
Vln. 2
Vc.
mem
Choir
Cme.
B♭ Cl.
Vln. 1
Vln. 2
Vc.
Cb.
4
ber
when we
(Oh)
3
3
mo
re mem ber
O Ground of
ny?
3
When we
when?
Life!
3
har mon y, har mo ny,har mon y, har mo ny
Do you
har
To Timpani
3
mo
ny?
3
gliss.
with all
Do you
re
ber
3
whoa
ooh
mem
3
mo ny!
Re
3
3
ber?
har
gliss.
life?
cared
cared
re mem
3
ten ded and
when
3
3
Do you re mem ber
har
Do you
3
gar den?
a
mem ber
in
Soprano Soloist
lived
Doyou re
3 3 3 3
76
Solo
3
pizz
82 Solo
S.
A.
T.
B.
Timp.
B♭ Cl.
Vln. 1
Vln. 2
Vc.
Cb.
mem
ber?
The sound
Sound,
Sound,
3
your
3
T.
3
3
har mon y, sound
of
B.
sound
Timp.
B♭ Cl.
Vln. 1
Vln. 2
Vc.
Cb.
of
your
your
birth
har mon y, har mon y, har mon y, har mon y,
har mon y, har mon y, har mon
3
3
birth
(Ooh)
Do
Do
Do
Do
3
3
you
re
3
you
re
3
you
3
you
re
re
3
3
3
3
3
The
y,
The
3
3
3
sound
song?
The
har mon y, har mon y, har mon
song?
birth
song.
your
3
3
3
birth
3
har mon y, har mon y,
3
of
song.
your
sound
song.
y,
The
birth
of
har mon y, har mon y, song.
sound
The
The
3
3
3
3
of
song?
birth
sound
A.
y,
3
3
3
3
your
of
har mon y, har mon y, har mon
88 S.
poco rall - - - - - - - - - A Tempo
3
3
3
3
3
3
3
5
S.
mem
ber
A.
ber
mem ber mem
B.
Pno.
Solo
Choir
Vln. 1
Vln. 2
Pno.
6
ber
3
3
gar
den?
gar
den?
7
3
7
7
tenor soloist
when
3
7
3
95
Vc.
Cb.
when
mem
T.
92
we
were
thrown
were
thrown
When
we were told that
When
we were told that
thrown
7
don't
we
don't
3
3
we
of
out
of
out
of
the
7
the
7
spoken in a hiss
schi
sm
long.
7
the
long.
the
3
7
be
7
be
3
of
thrown
3
out
out
3
3
we
3
7
7
98 Solo
Choir
(Soprano)
(Alto)
T.
Tenor
Do
Timp.
Vln. 1
Vc.
Cb.
Pno.
Choir
T.
B.
Cme.
B♭ Cl.
Vln. 1
Vln. 2
Vc.
Cb.
Pno.
sto
7
ry?
you
ber
mem
ber
ber
when
when
when
when opt.
when
when
this
be
came
this
be
came
this
be
came
our
we
chose
we
chose
we
chose
this
this
this
as
as
our
as
our
our
sto
sto
sto
ry?
ry?
ry?
spoken
spoken
spoken
other voices
schi sm
schi sm
schi sm
schi sm
schi sm
schi sm
When we
for
schi sm
schi sm
To Tubular Bells
this as our
ry?
sto
chose
ry?
our
ry?
sto
we
sto
our
7
mem
re
103 Solo
re
you
Do
mem
re
Do
Vln. 2
you
Bass
B.
7
107 Solo
Choir
T.
B.
Cme.
Vln. 1
Vln. 2
Vc.
Cb.
8
got
the
sound
of
our
birth.
Soprano
Alto
when we chose
when we chose
when we chose
this
this
this
as
as
as
our
our
our
sto ry?
sto ry?
sto ry?
pizz
pizz
pizz
pizz
Soloists and Choir
IV. Ground of Life Tenor Solo
= 70
Violoncello
Contrabass
O
Vo.
B♭ Cl.
grow.
Vln. 1
Vln. 2
Vc.
Cb.
Vln. 2
Vc.
Cb.
18
Vo.
Vc.
Cb.
are born.
pizz.
life,
sa cred
stone.
You who store the
3
3
se
3
crets
3
3
pizz
Tenor Solo rall.
3
Ig ne ous
3
3 3 3 3
3
3
of all time.
pizz.
pizz.
arco
Sopranos and Altos
life to dance and
3
3
arco
A Tempo
rock
espressivo
Ig ne ous
Bass Solo 3
3 3 Trou ble us with your sto ry Trou ble us with your sto ry. 3 3 3 3 3 3 3
12
Vo.
3
Space for all
pizz.
Tutti Altos
Ground of
where we
6
Ground of Life
O
Ground of Life
Bass Solo
O Ground of Life
Violin 1 Violin 2
William Rand
rall. - - - - - - - - - -
rock
poco rit; ad. lib.
in the
3
heart ofthe
24
Vo.
B♭ Cl.
A Tempo
world.
Vc.
Cb.
Mag ma that
31
Vo.
B♭ Cl.
E. Hn.
Vln. 2
Vc.
Cb.
41
Vo.
Vc.
Cb.
2
Storms
wear a
way
stals
each
lay er
of love.
what is
old,
di men ta
ry
what is
new.
A Tempo
ma king old
new.
rock
what is
ma king old
poco rall; ad lib
old,
3
what is
Se
light.
new
core
Mak ing new
re sem bling
cry
made of
lid.
so
cools
Vln. 2
3
Vln. 1 E. Hn.
sub.
3 3
3 3
bearsthe scars of the
3
50
Vo.
Vln. 1 Vln. 2
Vc.
Cb.
B♭ Cl.
land
of
once
Vln. 2
born of mag ma.
Vc.
Cb.
B♭ Cl.
Vln. 2
Cb.
3 3
3
bur ies these sto ries deep in
the
Earth.
3
3
3
Car ry ing
3
land.
Rock that was
of the
3
3
ries
sto
3
3 3 3
3
3
In time these frag ments of
old
With
me
ta mor pho size.
heat
and
me
pres
ta
sure.
mor pho size.
Heat
me
and
ta
mor pho size,
pres
sure.
Heat
met
and
a
mor pho size.
pres
sure.
3
Build ing
poco a poco accelerando e cresc.- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - A Tempo
Vc.
Vln. 1 E. Hn.
64
Vo.
pizz
pizz
cay.
Vln. 1 E. Hn.
wea ther, death and de
55
Vo.
3
new
3
3
68
Vo.
B♭ Cl.
moun
3
tains
Vln. 2
Vc.
Cb.
Vln. 1
Vln. 2
Vc.
Cb.
T.
B.
B♭ Cl.
Vc.
Cb.
4
3
Mo ving the
light
ground
and
fire,
is
born of
sa
cred,
light
and
fire.
3
Bea ring
Bea ring
fire,
and
isborn of
This sto ried ground
light
of
born
3
new.
3
3
with ground made
all
For
3
10
land
Vln. 1
Vln. 2
79
Vo.
3
core.
B♭ Cl.
10
74
Vo.
leggiero
Vln. 1 E. Hn.
3
sto
born
of
of
ries
of
3
ries
sto
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
stagger breathe
86
S.
e ter ni ty e ter ni ty
3
3
e ter ni ty e ter ni ty
e ter ni
T.
3
e
Vc.
Cb.
ty
ter
E. Hn.
e ter ni ty e ter ni ty e ter ni ty 3
e
B.
ty
ter
3
3
cre
a
3
3
A.
tion cre
a
tion cre
3
cre
a
3
ty.
ni
tion cre
a
tion cre
a
cre
B♭ Cl.
Vc.
Cb.
e ter ni ty
3
tion cre
a
tion
3
a
a
tion cre
a
tion
3
cre
a
3
tion cre
a
tion cre
3
a
3
tion cre
a
tion
3
3
cre
a
tion cre
a
tion.
tion.
3
3
tion cre
3
a
tion cre
a
tion
e ter ni ty e ter ni ty e ter ni ty
3
3
3
3
of
Car ry ing songs
3
e ter ni ty e ter ni ty e ter ni ty
Car ry ing songs
3
e ter ni ty
3
e ter ni ty
ty.
3
cre
B.
e ter ni ty 3
T.
a
3
3
e ter ni ty
ni
3
e ter ni ty e ter ni ty e ter ni ty
90
S.
e ter ni ty
3
A.
e ter ni
of
3
cre
a
tion cre
3
a
3
tion cre
a
3
tion cre
a
tion
3
3
cre
a
tion cre
a
3
3
tion cre
a
tion cre
a
tion
3
3
3
5
3
3
3
3
93
S.
cre a tion cre a tion cre a tion cre a tion
3
A.
3
3
3
cre a tion cre a tion cre a tion cre a tion
B.
Timp.
B♭ Cl.
E. Hn.
Vc.
Cb.
T.
3
so lid in
3
3
cen ter,
A.
T.
B.
Timp.
Vc.
Cb.
6
and
chan ging,
sha ping the world to
sha ping the world to
be
be
come.
chan ging,
for ev er mo ving
come.
for ev er mo ving
and
chan ging,
sha ping the world to
be
and
chan ging,
sha ping the world to
be
Sha ping the world to
come.
for ev er mo ving
come.
for ev er mo ving
and
sence.
es
mol ten in
100
S.
mol ten in
so lid in
3
cen ter,
be
come.
sha ping the world to
be
107
S.
A.
Vc.
yet
sub.
soft
yet
soft
strong,
S.
A.
T.
core
core.
B.
Timp.
Cb.
yet
core our
core.
sub.
122
sub.
strong,
soft
with gravity
core
sus
Mo ving in
grace.
core.
grace.
our
core.
grace.
3
in
O
O
O
Ground of Life.
Ground of Life.
their
their
their
depth.
depth.
their
core
depth.
depth.
sus
tained 3
Mo ving ingrace.
3
Mo ving in
3
teach us to
teach us to
Teach us
to
to
Teach us
core
live,
live,
and
li
li
3
3
3
3
our
by
our
3
ving
grat
it
ude
ving
grat
it
ude
3
ude liv ing with grat it ude
by
3
our
ude li ving with grat it ude
3
tained
3
li ving with grat it
Mo ving in
Mo ving in
sus
grace.
3
our
by
by
tained
live
sus
stained
3
stained
sus
live
Mo ving in grace.
live,
sus
li ving with grat it
3
live
to
3
hearts that are
to
hearts that are
Teach us
love,
3
3
love with hearts that are
3
love,
Teach us
by
love,
teach us to
with hearts that are
love,
3
3
= 66
Ground of Life
poco a poco crescendo
tained by 3
Ground of Life.
in
O
in
rit. - - - - - - - - -
Ground of Life
in
O
soft
yet
B.
strong,
T.
sub.
A.
strong,
O Ground of Life
114
come.
Vln. 2
S.
Vln. 1
Cb.
T.
B.
= 72
7
S.
li
ving with grat
li
ving
Timp.
li
ude liv
ving
it
ude liv
hea
grat
ude
it
it
Vln. 1
liv
A.
3
liv ing
B.
ing
liv
T.
ing
Cb.
with grat
it
for
new
3
3
liv ing with grat it ude
B.
B♭ Cl.
8
cre
a
cre
a
tion the
sound of
cre
a
tion the sound of
cre
a
for
new
for
3
it
ude
and
3
liv
3
3
ing with grat
it
ude liv
and
and
and
old.
old.
for
new and
for
new and
old.
3
ing with grat
it
ude
3
liv
3
ing with grat
it
ude liv
3
3
ing with grat
it
ude
old.
old
old
tion the
a
old
new
cre
and
3
tion the
tion
a
3
cre
3
tion
3
3
a
cre
of
3
tion the sound of
of
sound
a
sound
3
cre
3
3
tion the sound of
3
sound of
new
tion the
new
for
a
cre
ude liv ing with grat
3
3
3
135
T.
3
A.
the
3
3
tion the sound of
S.
ring
3
a
3
sound of
ring
for
Vc.
the
ude
132
S.
ude
it
cre
3
ing with grat
3
sound of
Cb.
3
ude
Vc.
it
Vln. 2
hea
grat
ing with grat
3
3
3
li
B.
it
ving with grat
T.
3
3
3
A.
3
129
Piano
V. Song of the Wind and the Waters
11
Pno.
Pno.
Pno.
Pno.
William Rand
( = )
A Tempo 2
3
3
3
3
Molto rall.
(Oh)
3 3 3 3
3
3 3 3 3 3 3 3 3 3 3 3 3
3
(triplet = ) 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 decresc. 3 3 3 3 3 3 3 3 3 3 3 3
53
Ch.
43
Ch.
pedal harmonically
36
Pno.
17
30
Pno.
poco rall
24
Pno.
= 72
= 60
(Nnn)
© 2020 William Rand
(Nnn)
(Oh)
57
Ch.
Pno.
(Ooh)
Pno.
(Oh)
Pno.
Pno.
Pno.
2
(Oh)
(Oh)
Calm waters
(Oh)
poco rall.
( = )
(Nnn)
(Nnn)
73
Ch.
66
Ch.
63
Ch.
(Ah)
60
Ch.
© 2020 William Rand
(Oh)
82
Ch.
Pno.
(Ah)
Pno.
Pno.
Pno.
Pno.
(Ah)
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3 3 3 3
3
(Oh)
3
(Oh)
poco rall
3 3 3 3 3 3 3 3 3 3 3 3 3 3
3
(Whoa)
decresc. 3 3 3 3 3
(triplet = )
3 3 3 3 3 3 3
(Ooh)
(Oh)
107
Ch.
2
A Tempo
101
Ch.
(Nnn)
(Oh)
94
Ch.
87
Ch.
3
Molto rall.
© 2020 William Rand
3
VI. Song of the Seasons Will Rand
SPRING
= 80
Tubular Bells
Chimes
B♭ Clarinet
English Horn
Violin 1
Violin 2
Violoncello
Contrabass
Cme.
B♭ Cl.
E. Hn.
Vln. 1
Vln. 2
Vc.
Cb.
Cme.
B♭ Cl.
Vln. 1
Vln. 2
Vc.
Cb.
5
5
pizz
pizz arco 5
Sopranos and Altos
A
wake,
the
pizz.
ground
and
pizz.
arco
arco
come
5
pizz
a
5
live!
5
5
Solo
3
pizz.
8
Solo
Cme.
B♭ Cl.
E. Hn.
Vln. 1
A.
B.
B♭ Cl.
E. Hn.
Vln. 1
Vln. 2
Vc.
Cb.
2
= 72
brown,
Rall
my life roots
prom
ised
down.
= 60
3 voices
In
an chored
at
1 voice
3
(Ah)
sound.
3
A
10
pizz.
I find the
pizz.
pizz.
wake thesound
takeroots at
last.
In slum brous
arco
live.
of life'sfirst
and come a
Suddenly Slowing
rest
ground,
Myseeds
birth.
and
13
S.
I come with warmth
Vc.
Solo
Vln. 2
Cb.
20
Solo
S.
A.
T.
B.
Cme.
Vln. 1
Spi ri tus
S.
Spi ri tus
A.
T.
Spi ri tus
B.
Djem.
Spi ri tus
No
vus.
No
vus.
No
vus.
No
vus.
hope
S.
vus.
A.
Spi ri tus No
vus.
T.
Spi ri tus No
vus.
B.
Djem.
Vln. 2
Vc.
Spi ri tus No
vus.
vus.
Spi ri tus No
3
Spi ri tus
vus.
vus.
vus.
Spi ri tus
No
green.
vus.
vus.
Spi ri tus No
vus.
vus.
Spi ri tus No
vus.
Spi ri tus No
Spi ri tus No
vus.
No
No
No
No
vus.
To Djembe
vus.
vus.
Spi ri tus No
Spi ri tus
Spi ri tus No
my work is
vus.
vus.
Spi ri tus No
vus.
vus.
Spi ri tus No
vus.
Spi ri tus No
vus.
No
Spring sprouts
vus.
No
vus.
No
vus.
Spi ri tus
No
vus.
= 130
of
Spi ri tus
3
Spi ri tus No
Spi ri tus No
vus.
Rall - - - - - - - - - - - - - - - - - - - - - - - - - - -
Spi ri tus
vus.
vus.
Spi ri tus
vus.
vus.
Spi ri tus No
Spi ri tus
Spi ri tus
Spi ri tus No
Spi ri tus
vus.
Spi ri tus No
Spi ri tus No
Spi ri tus No
vus.
No
Spi ri tus No
vus.
3
vus.
No
Spi ri tus No
vus.
Spi ri tus
Spi ri tus No
breath.
vus.
No
of life's first
Spi ri tus No
vus.
2 voices
(Ah)
Spi ri tus
and lus cious
Spi ri tus No
birth
warmth and pro mised
Spi ri tus No
No
29
Solo
vus.
Spi ri tus
No
Spi ri tus
vus.
Spi ri tus
No
Spi ri tus
vus.
25
Solo
No
breath.
slow, yet...
3
wax es ef fu sive
3
3
35
S.
B.
B♭ Cl.
Vln. 2
Vc.
41
S.
3
E. Hn.
Solo
3
fu sive ef fu sive ef fu sive my
3
A.
3
3
fu sive ef fu sive ef fu sive my
T.
3
3
3
fu sive ef fu sive ef fu sive
B.
Trgl.
4
3 3 3
fu sive ef fu sive ef fu sive
show ers
show ers
= 70
grow
grow
flow ers
my
flow ers
my
ef fu sive
3
3
wax es
ef fu sive
3 3
3
wax es
wax es
wax es
fu sive.
ef
fu sive.
3
ef fu sive
ef fu sive ef fu sive ef
3 3 3 3
ef
3
3
flow ers
flow ers
grow
grow
show ers
my
show ers
my
3
All
show ers
show ers
All
ef
fu sive ef fu sive ef fu sive ef
3
3
3
Glockenspiel
grow
of
flow ers
my
flow ers
my
of
life
grow
3
3
fu sive ef fu sive ef fu sive ef
3
3
3
ef
3
ef fu sive ef fu sive ef
wax es
3
ef fu sive
3
3
3
In one
3
Poco rallentando
3
Triangle
wax es
3
3
Djem.
T.
3
3
wax es ef fu sive
A.
life
flow ers
flow ers
grow
grow
is
is
show ers
show ers
my
my
new.
new.
50
S.
A.
show ers grow
show ers grow
T.
B.
Glock.
B♭ Cl.
E. Hn.
Vln. 1
Vln. 2
Vc.
Cb.
59
S.
mea dows and
A.
mea dows and
T.
mea dows and
B.
mea dows and
Glock.
B♭ Cl.
E. Hn.
Vln. 1
Vln. 2
Vc.
Cb.
flow ers
my
flow ers
for ests sing of
for ests sing of
for ests sing of
for ests sing of
my
show ers
life
life
grow
is
is
flow er
show ers
new.
new. of new
new.
new.
Timpani
my
of new
my
show ers
of
show ers
of
my
flow ers
my
new.
new.
grow
Bells
flow ers
All
my
grow
All
flow ers
of new
flow ers
grow
flow ers
grow
show ers
my
show ers
my
flow ers
flow ers
my
blooms
show er
show er
my
blooms
my
blooms
my
blooms
show ers
grow
show ers
grow
flow ers
my
flow ers
my
All
All
a bound
a bound
a bound
a bound
show ers
grow
show ers
grow
of
of
5
S.
flow ers
A.
my
B.
B♭ Cl.
E. Hn.
Vln. 1
Vln. 2
Vc.
Cb.
A.
show ers
grow
show ers
T.
B.
B♭ Cl.
E. Hn.
Vln. 1
Vln. 2
Vc.
Cb.
6
is
my
grow
new.
new.
new.
flow ers
my
flow ers
my
All
my
flow ers
my
of
flow ers
grow
flow ers
grow
All
of
All
of
flow ers
grow
life
is
is
my
life
show ers
my
grow
show ers
flow ers
Molto cresc. e accelerando - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
of
show ers
my
show ers
my
life
All
flow ers
grow
show ers
grow
life is new.
75
S.
life
show ers
show ers
my
grow
show ers
flow ers
grow
my
flow ers
flow ers
T.
68
life
show ers
show ers
grow
grow
flow ers
flow ers
= 70 81 Sub.
SUMMER
S.
A.
Cym.
B♭ Cl.
E. Hn.
Vln. 1
Vln. 2
Cym.
Vln. 1
Vln. 2
Vc.
Cb.
gliss.
s. glis
light.
gliss. gliss.
gliss.
gliss.
(sop. 2 no decresc.)
Sum
Sum
heat
waves
Loud
heat
waves
storms!
heat
gliss. gliss.
waves
Loud
To Timpani
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
juv
en
3
Re
Re
3
juv
I am
storms!
storms!
Loud
I am
storms!
Loud
mer
gliss.
mer
gliss.
gli ss. gliss. gliss. gliss. gliss. gliss.
gliss. sul tasto
sul tasto
Djembe
sul tasto
sun
B.
light.
T.
sul tasto
sun
A.
91
S.
To Suspended Cymbal
Vc.
Cb.
en
3
a
tion
3
a
tion
Peak
6
7
100
S.
A.
an ode to trees...
T.
3
sea son of life.
B.
Hrp.
S.
fort ress
in
the sky.
A.
fort ress
in
T.
fort ress
in
the sky
fort ress
the sky
the whole web of
the whole web of
the whole web of
124
space for all
space
T.
B.
space
space
8
life.
bal lance
A.
S.
life.
life.
B.
the whole web of
bal ance
life.
life.
life.
life.
3
3
gen tle,
gen tle,
love.
life, life.Sim ply by breath ing.
breath ing.
breath ing.
tall saints
You are
Rall - - -
cen ter.
cen ter.
3
Your leaves
Your leaves
Your leaves
breath ing.
breath ing.
breath ing.
in
car nate.
in
in
car nate.
car nate.
in
car nate.
Tow er ing ov er all
life.
of
Tow er ing ov er all
3
3
out
Li ving your pur pose through
3
3
Li ving your pur pose through
air.
air,
air.
air.
for the wea ry,
for the wea
wea
ry
ry
You
You
time.
time.
You
la bors.
You
You make
la bors.
la bors.
You make
la bors.
those who are
for the wea ry, wea ry wea ry
nn
time.
We breathe your
out
air. We breathe your
time.
We breathe your
A ga zing
out
out
life.
Li ving your pur pose through
of
Li ving your pur pose through
air,
3
migh ty.
shade
A ga zing
life.
nnn
A ga zing
3
Tow er ing ov er all
You are
3
You are shade
of
migh ty.
3
A ga zing
guar di ans of the
life.
3
of
3
Tow er ing ov er all
migh ty.
are guar di ans of the
3
migh ty.
are guar di ans of the
Your leaves are
yet
are guar di ans of the
gen tle,
A Tempo
poco rall
3
A Tempo
Sim ply by breath ing.
tall saints
Ooh
tall saints
You are
tall saints
You are
Ooh
You are
You are
yet
love.
yet
You are the still
Sim ply by breath ing.
You are
You are the still
You are
love.
yet
love.
life,
tu a ry of
bal lance
T.
Sanc
(Ooh)
A.
3
bal ance
3
117
S.
in
tu a ry of
(Ooh)
B.
3
gen tle,
Sanc
3
the sky.
You are
109
= 50
lost
and a
(Ooh)
Lost
and a
Lost
and a
133
S.
fraid.
A.
For the
(Ooh)
T.
fraid.
B.
fraid.
poco rall
141
S.
migh ty.
A.
migh ty.
T.
migh ty.
B.
migh ty.
S.
For the
prais ing,
T.
B.
wan der ers
and the won der ers,
wan der ers
and the won der ers,
and the won der ers,
and the
A Tempo
Tow er ing ov er all
of
life.
You are pro
tec tion
You are pro
you are pro
ers,
tec tion
of
life.
3
of
tec tion
3
of
tec
fort ress
in
fort ress
in
the sky.
A ga zing
fort ress
in
the sky
life.
tion (Ooh)
A ga zing
fort ress
in
the sky
Sanc
tu a ry of
3
3
Sanc
tu a ry of
(Ooh)
tion (Ooh)
(Ooh)
(Ooh)
You are
gen tle, yet
gen tle, yet
gen tle, yet
You are
love
You are
love
You
A Tempo
tec tion.
tion (Ooh)
the sky.
You are pro
tec
tion
life.
tec
tec
A ga zing
poco rall - - - - -
3 3
A ga zing
Tow er ing ov er all
der
tec tion
Tow er ing ov er all
you are pro
3 Tow er ing ov er all
won
3
pray ing,
al ways
al ways
prais ing,
prais ing
ev
molto
For ev er
an cient strength.
cient strength.
gen tle, yet
For ev er
ev
er brea thing ev
er brea thing.
3 3
thing.
thing.
thing.
Life for the wor ld to
molto
er
molto
pray ing ev
er brea thing,
brea
ev er
pray ing ev
er brea thing, ev
ev er molto
pray ing,
A Tempo
Molto rall
prais ing,
A.
wan der ers
2 or 4 sopranos
149
So.
For the
er
brea
brea
brea
thing.
Life for the wor ld to
3
3
Life for the wor ld to
3 3
3
3
Life for the wor ld to
breathe.
Breathe.
breathe.
Breathe.
breathe.
breathe.
Breathe.
Breathe.
9
156
So.
S.
A.
T.
B.
Hrp.
B♭ Cl.
E. Hn.
Vln. 1
Vln. 2
Vc.
Cb.
Breathe.
Breathe.
3
mo
S.
tion
T.
B.
B♭ Cl.
E. Hn.
Vln. 1
Vln. 2
Vc.
Cb.
10
I
am in
3
tion I am in mo
tion
mo
tion I am in
3
3
I am in mo
3
3
tion
slow tremolo
I
mo
I
3
am 3
3
am
in mo
in mo
am
in
mo
tion
tion I
am in mo tion
3
*close mouth
I am aut umn, I am
aut
umn,
umn,
pizz
pizz
pizz
pizz
aut
I am in
3
(open) 3
3
*
3
tion.
I am aut umn,
tion
3
tion I
3
slow tremolo
6
slow tremolo
3
slow tremolo
I am in mo
3
6
3
gliss. gliss.
3
gliss.
3
I am in mo
A.
165
Alto Solo
= 60
So.
en dehor
Breathe.
stagger breathe.
Breathe.
AUTUMN
3
6
170
S.
aut
umn,
aut
umn,
T.
aut
umn,
*
B.
aut
B♭ Cl.
E. Hn.
umn,
Vc.
177
trees
B.
trees
Timp.
Vln. 2
Vc.
6
*
aut umn
*
andraise their
andraise their
pizz
col ors
true
true
col ors
to
light!
3
move u pon the
5
am
soft subito
subito
am
move u pon the
flautando
3
I
I
I
To Glockenspiel
3
I
light!
(Ooh)
3
I am in mo tion
3
light!
3
to
mo tion(nnn)
to
I am in
col ors
3
3
I am in mo tion (nnn)
3
I am in mo tion
3
3
flautando
I am in mo tion
pizz
3
3
arco
3
pizz
aut umn
arco
flautando
Vln. 1
arco
pizz
T.
arco
pizz
A.
Vln. 2
S.
pizz
Cb.
*
au tumn
poco ad. lib
pizz
Vln. 1
aut umn
*(closed)
*
(open)
A.
(open)
soft
subito
soft
morn ing
light,
morn ing
light,
and
morn ing
light,
and
11
183
So.
A.
Hrp.
E. Hn.
Vln. 1
Vln. 2
morn ings.
crisp, cool
morn ings.
Cb.
189
T.
B.
Hrp.
Vln. 1
Vln. 2
Vc.
Cb.
12
harm,
3
gen tle change
but I can not be re
3
3
sis ted.
3
3
3
off the string
theair.
off the string
weakly
dread me.
sub.
I mean no
trees.
Do notdread me.
rhy thms of
3
I come in
the tir ed
3 3
3
(Ooh)
3
sing.
sing.
Bass Soloist
3
3
3
Ev er slow ly re lea
3
3
mo tion(Ooh)
3
3
3
mo tion(Ooh)
Ev er slow ly re lea
3
3
3
3
Suspended Cymbal
I am in
3
3
I am
3
I am in mo tion I am in
(Ooh)
crisp, cool
Vc.
So.
B.
T.
Glock.
S.
Donot fear me.
I bringthe
Donot fear me.
I bringthe
195
Solo
S.
T.
prom ise
B.
Hrp.
lease,
T.
E. Hn.
Vln. 1
Vln. 2
Vc.
Cb.
ing
rest.
For
I re
flautando
lease
I re
lilting
in a
lease
in a
lease.
Re
lease
Re
lease
of light.
blaze
of light.
of light.
of light.
blaze
blaze
blaze
Re
lease.
lease
lilting
sleep.
Ooh
(Ooh)
I re
I re
lease,
life dear lyneeds to
lease,
Ooh
re
In a
blaze
of
(Ooh)
light
ss. gli
I re
(Ooh)
(Ooh)
(Ooh)
ss. gli
B♭ Cl.
ofcom
A.
Hrp.
rest.
I re
Cym.
ing
lease,
B.
ofcom
208
S.
Vc.
Cb.
Vln. 2
B♭ Cl.
Vln. 1
prom ise
13
S.
A.
B.
E. Hn.
Vln. 1
Vln. 2
gliss.
A.
T.
B.
E. Hn.
Vln. 1
Vln. 2
Vc.
Cb.
14
ss. gli
B♭ Cl.
A
spec
A
spec
A
A
An
il
lum
in
il
lum
in
il
An
3 3
spec
spec
ta
ta 3
cle
ta 3
cle
cle
ta
(C - C#)
cle
of
col
or.
of
of
3
col
3
col
or. Spec
3
col
or. Spec
tion.
il lum
An
il lum
3
3
ta cle
of col or.
3
ta cle
of col or.
3
a
tion.
in
tion.
ss. gli
a
in
tion.
An
a
or.
3
tion.
a
a
of
in
lum
tion.
ss. gli
a
Gold,
ti
ger and ru
by
Gold,
ti
ger and ru
by
Gold,
ti
ger and ru
by
Gold,
ti
ger and ru
by
A spec 3 ta cle
3
ss. gli
Hrp.
216
S.
Vc.
Cb.
in
D,E,F#,G#,A,B, C
lum
ss. gli
B♭ Cl.
il
An
An
ss. gli
Hrp.
T.
gli ss.
= 80
214
ss. gli
pizz
pizz
pizz
A spec ta cle
gli ss.
S.
T.
B.
Hrp.
Vln. 1
Vln. 2
Vc.
Cb.
3
iss .
spec 3 ta cle of
A
of co
lor.
A
ss. gli
spec
of co
T.
lor.
B.
Cym.
Hrp.
Vln. 1
Vln. 2
Vc.
Cb.
spec
gli
ss.
ti
3
Spec 3 ta cle
lor.
co
3
lor.
Spec ta cle
3
of col
or.
3
spec 3 ta cle
of col
or.
3
spec 3 ta cle
3
lor.spec ta cle
lor.
of col
or.
3
of col
or.
3
of
co
lor.
of
Spec
co
3
lor.
ta cle
s. glis
Subito = 60
Fal ling slow ly, gent ly,
pizz
pizz
co
Fal ling slow ly, gent ly,
in peace.
in peace.
Fal ling slow ly,
Fal ling slow ly, gent ly,
lor.
gli ss.
in peace. Fal ling slow ly, gent ly,
lor.
To Chimes
co
3
of
of
spec 3 ta cle
3
gli ss.
co
3
3
lor. of
lor. Spec 3 ta cle
co
Spec 3 ta cle
of
3
lor.
3
gli ss.
co
lor. Spec 3 ta cle
Spec 3 ta cle
3 3
3
spec 3 ta cle
3
of
co
ss. gli
of
ta cle of co
by
3
Spec 3 ta cle of co
by
ger and ru
ss. gli
Gold,
ger and ru
3
lor.
3
3
3
co
of
spec 3 ta cle of co
ta cle
3
ti
lor.
3
of
3
A.
3
pizz
of co
lor.
Gold,
glis s.
222
S.
spec 3 ta cle
co
lor.
3
lor.
co
of co
gl
spec ta cle of
a
3
3
3
a
A.
219
arco
15
226
S.
Fal ling slow ly,
A.
gent ly, in peace.
T.
B.
Vc.
in peace.
S.
Vln. 1
Vln. 2
Vc.
Cb.
variable tremolo speeds sul pont
in peace.
Rest well,
I
am
ter,
ones, and
ones, and
ones, and
look
rest.
To Vibraphone
strumming as fast and lightly as possible
gol den light.
look
am
I
look
look in to the
simile
ones, and
dear
dear
Rest well,
win
dear
1 voice
Rest well,
Solo
dear
Rest well,
in peace.
ly,
with brushes
ly,
gent ly, inpeace.
slow ly, gent
To Suspended Cymbal
in peace. Fal ling slow ly,
ly,
Fal ling slow ly, gent
A.
Vln. 1
244
Hrp.
Vc.
Cym.
Fal ling
with increasing vibrato
Vln. 2
Cb.
= 60 ( = )
234
16
gent
252
S.
A.
T.
Vib.
Hrp.
Vln. 1
Vln. 2
Vc.
Cb.
Solo
A.
T.
B.
Vib.
Hrp.
B♭ Cl.
E. Hn.
Vln. 1
Vln. 2
Vc.
Cb.
am
win
I
am
I
am
take breaths as needed
I
take breaths as needed
ly
win
am
with brushes
I
gent
bowed
pizz strumming
To Suspended Cymbal
snow
slow
snow
Slow
263
S.
Solo
win
win
ter,
ter,
ter,
ter,
to sul pont
prot
I
am
I
am
I
I
am
am
rest.
the
snow,
snow,
Slow
Slow
dead.
rest.
gradually increase/decrease speed
rest.
ing
rest.
ect
(harmonic gliss.)
ss. gli
gli ss.
17
slow
A.
T.
B.
Cym.
Hrp.
B♭ Cl.
slow
Vln. 2
Cb.
gliss.
gli ss.
Vln. 1
281
S.
A.
T.
B.
B♭ Cl.
Vln. 1
Vln. 2
Vc.
Cb.
18
gli ss.
gli ss.
en
gli ss.
cing.
Clo
I
cing.
sing.
gliss .
Clo
sing.
sing.
ss. gli
Wai
ss. gli
gli ss.
ting.
Wai
Wai
Wai
with a triangle beater scrape
gli ss.
To Cymbal
sing.
s. glis
Clo
cing.
I
I
dead.
ing,
gli ss.
Clo
en
gli ss.
cing.
ing,
dead.
the
ting
I
en
Hard
ing,
ss. gli
ting
the
ing,
ting
en
Hard
tec
ting
Hard
pro
tec
Hard
ss. gli
bowed
gli ss.
tly
To Vibraphone
pro
tly
gen
snow,
gen
E. Hn.
snow,
gli ss.
gli ss.
S.
gli ss.
271
ting.
ting.
ting.
292
T.
B.
Vln. 2
Vc.
Cb.
Rest
B.
Hrp.
Vln. 2
Cb.
B.
Hrp.
Vln. 2
Cb.
of
life,
life,
brea
from
Death
from
brea
death.
death.
from
from
brea
from
brea
thing,
thing,
life,
life,
from
thing,
thing,
brea
from
thing
from
Death
thing
life,
from
brea
from
from
from
la bors
306
T.
from the
300
T.
1 voice
spoken, hushed
Fin ished
spoken, hushed
Fin ished
19
VII. Sky of Lights
= 60
Violin 1
Violoncello
Harp
Piano
8 S/A
Crot.
Vln. 1
Vln. 2
Vc.
Cb.
Hrp.
con sord. pizz
Crot.
Vln. 1
Vln. 2
Hrp.
pizz.
pizz.
sul pont.
flautando
flautando
flautando arco
poco accel - - - - - - - -
= 70
(ah)
Sky
light,
light,
star
Sun
light.
Sky
light,
star
light,
sun
( = .)
light.
Vc.
Cb.
sul pont.
arco
con sord.
15 S/A
Violin 2
Contrabass
con sord.
William Rand
pizz.
arco
22 S/A
T/B
Vln. 1
T/B
Vln. 1
Vln. 2
Vc.
Cb.
Pno.
T/B
Vln. 1
Un
falsesetto as needed
fail
ing
light,
Un
pizz.
E
light
nal
light,
cantabile
ter
ing
fail
E
Crad
nal
light
en dehor
l
Crad
Cb.
Hrp.
Pno.
2
ing
ing
light.
Sky
light,
star
light,
sun
Vc.
l
Vln. 2
ter
37 S/A
light.
of
30 S/A
home
Vc.
Hrp.
The
Vln. 2
Cb.
pizz.
arco
44 S/A
T/B
Crot.
Vln. 1
Vln. 2
Vc.
Cb.
Hrp.
Pno.
T/B
Crot.
Vln. 1
Vln. 2
Hrp.
Pno.
Home
2
of
light
senza sord.
senza sord.
senza sord.
senza sord.
Az
ure
Az
ure
Timpani
pool
of
pool
of
Deep
Deep
blue.
blue.
Sap
phire
Vc.
Cb.
51 S/A
light.
3
57 S/A
Deep
pool
Vln. 1
Vc.
Hrp.
Pno.
Vln. 1
Vln. 2
Vc.
Cb.
Hrp.
Pno.
Vln. 1
Vln. 2
Vc.
Cb.
Hrp.
Pno.
4
Az
ure.
Az
ure
Sap
phire
Sap
4
phire
phire
hue.
4
Altos
Tenors
ting space.
In
fin ite
( = )
sphere.
A
place
to
dream,
a
Sopranos
Neb
to
dream
ul ous realm,
to
place
4
Sap
ev er las
T/B
69 S/A
4
hue.
T/B
64 S/A
blue
4
Cb.
Vln. 2
of
T/B
73 S/A
won
Vln. 1
Vln. 2
Vc.
Cb.
Hrp.
der,
to
T/B
Vln. 1
Vln. 2
Vc.
Cb.
3 3 3 3 6
6
6
3
in
in
3
3
won
She says
won
6
der
der
6
lose your self
S/A
T/B
Vln. 1
Vln. 2
Vc.
Cb.
Hrp.
in
in
flautando
rev
erence.
in
rev
erence.
in
pizz
2
She cries
lose your self
4
2
2
2
be
brave,
be
6
85
6
flautando
6
6
Hrp.
6
Cb.
3
6
awe
6
6
Vc.
6
6
6 6 6
Vln. 2
soar!
awe
Vln. 1
to
T/B
82 ( = ) S/A
der,
won
77 S/A
light.
2
she
cries
2 2
5
89 S/A
be
T/B
Vln. 1
Vln. 2
Cb.
Hrp.
Pno.
brave,
Vc.
T/B
Vln. 1
Hrp.
Pno.
be
T/B
Vln. 1
Pno.
2
6
2
be
be
brave,
light,
4
arco
She
2
2
cries
she
2
2
cries
be
brave,
be
2
molto crescendo poco a poco
light
2
2
2
hope.
Be
light.
Be
2
2
2
2
2
be
Cb.
Vc.
cries
light,
be
Vln. 2
she
brave,
97 S/A
Cb.
Vc.
2
Vln. 2
light,
93 S/A
be
attacca
brave,
light.
2
2
be
2
2
2
2
103 Vln. 1
Vln. 2
Vc.
Cb.
2
Vio
Vln. 1
Vln. 2
Vc.
Cb.
Hrp.
T/B
Vln. 1
Vc.
Cb.
Pno.
2
be
blossom
mauve.
Be
Be
dark.
light.
moon
Vln. 2
2
2
li
lac.
Be
pizz
110 S/A
let,
T/B
107 S/A
2
Be
dark.
7
115 S/A
Pass
A.
T/B
Vln. 1
Vln. 2
Pno.
Pass
ord.
Vc.
Cb.
through
through
A.
Vln. 1
Cb.
Pno.
8
the
Pass
night.
gliss.
(Ah)
S.P.
gliss.
through the
night.
gliss.
night
pizz
gliss.
night
3
pizz
Pass
gliss.
night
Pass
Pass
through
the
the
through
the
through
night.
night.
Vc.
night.
Vln. 2
the
night.
T/B
120 S/A
and
un ra vel,
un ra vel,
un ra vel
un ra
vel
pizz
un ra vel
un ra vel,
in
un ra vel
your
shad ow.
2
in 2 your
un ra vel
pizz
shad ow.
VII. Song of Lament
= 48
Soloists
English Horn
Harp
Piano
8
Solo
Vc.
Cb.
Pno.
Hrp.
I
waves.
havedone you
3
A Tempo
15
Solo
Vc.
Let
simile
3
3
3
7
7
Soprano
soul.
7
7
O
3
an xi
3
e
ty.
7
3
3
3
7
my
child be still.
3
3
Let 7
my gen tle waves
in my calm
held
7
Be
3
poco rit.
poco
3 3
3
7
7 7 7 7 7 7
my slow breeze cool your
3
3 3 3 3 3 simile
3 3 3 3 simile 3
7
Cb.
Earth
For give my for get ting
3
sub.
ther
3 3
wrong.
3
Mo
O
3 3 3 Vln. 1 simile
Vln. 2
rall - - - A Tempo
poco
Mezzo Soprano
poco
William Rand
car
3
3
3
3
3
3
20
Solo
essyour wea ry soul.
Vc.
3
3
Solo
hope.
Hrp.
Vln. 1
3
3
3
3 3 3
Cb.
3
31
7
7
3
3
3
7
7
3
7
7
7
7
3
3
3
A Tempo
Earth
3
Vc.
2
Vln. 2
Pno.
26
Vc.
3 3 3 3 3 3
Cb.
Hrp.
3
7
Mezzo Soprano
7
clear
3
3
3
3 3
poco
O
Mo
fade and release before fermata ends
We
3
have done
you
wrong.
rall - - - - -
giveyou
3
poco rall.
skies
3
3
7
my
3 3 3
7
3
Let
3 3 3
moun tains give youcour age.
3 3 3 3 3 3
Vln. 2
Solo
my tall
Let
Hrp.
ther
3
3
34
Solo
Timp.
Hrp.
Vln. 2
Vc.
Cb.
Pno.
3
For give our con sum ing
Vln. 1
Vln. 2
Vc.
Cb.
Timp.
Vc.
Cb.
3
torn
3
3
3
You
gliss.
is
life less,
pizz.
3
gliss.
3
I
am
arco
deep ly
tremolo slowing
gliss.
am
I
gliss.
me
deep ly.
Scrape
(S.P.)
gliss.
chok
3
ing
in
(S.P.)
My
pizz
fas ter
s.
S.P.
ing
arco
hurt
6
S.P.
tremolo slowing
have
glis
burn
3
You
Suspended Cymbal
S.P.
gliss.
got ten me.
tremolo slowing
You have for
3
ord.
3
ord.
3
me
3
3 ord.
3
hurt
have
sul pont.
3
3
I mustspeak hon est ly
3
Timpani
sul pont.
pizz.
3
tremolo slowing
pizz.
soil
a part.
3
Vln. 1 Vln. 2
47
Solo
gliss.
3
3
3
Soprano Solo
souls.
We have been
Timp.
40
Solo
3
plas tic.
*increase bow pressure until sound is just scraping
*
3
Solo
S.
A.
Timp.
Suf
5
fo
52
cat
ing
in
Vln. 2
Cb.
E. Hn.
4
3
ed crea tures are
3
My be
lov
3
3
For give our sev er ing
3
3
3
Oh Ah
ed
3
crea tures are dy ing.
3
My be
3
= 100
3
S.P.
3
dy ing.
souls.
3
3
ed crea tures are
dy
ing.
3 3
3
My
be
3
lov
3
3
3
3 3
3
lov
ed crea tures are dy ing.
3 3 3
lov
3
ed crea tures are dy ing.
3
3
3
we havedone youwrong.
poco rall. - - - - - - - - - - - - - - - - - - - - A Tempo
be
3
O Mo ther Earth
My
3
3
A Tempo
ing.
Mezzo Soprano rall
dy
poco
Oh
3
ed crea tures are
3
ord
lov
Vln. 1 Vc.
Ah
3
62
Solo
lov
slow tremolo
Vln. 1 Vc.
slow tremolo
56
A.
slow tremolo
S.
be
3
My
Suspended Cymbal scrape
Solo
on.
3 3
Vc.
Cb.
carb
Vln. 1
A.
E. Hn.
Hrp.
Vln. 1
Vln. 2
Vc.
87
Solo
S.
still
A.
still
B.
E. Hn.
Hrp.
Vln. 1 Vln. 2
T.
small
small
voice.
voice.
my
still
small
voice.
Please
small
hear
my
still
small
still
small
Please
hear
my
Please
hear
my
Please
Please
Please
voice.
still
small
hear
my
still
my
Please
Please
Please
voice.
my
voice.
hear
voice.
hear
1 voice
still
Tutti
Please hear
my
hear
Please
Solo
76
small
5
94
Solo
hear
my
still
hear
my
small
still
small
still
small
Please
hear
hear
voice.
my
still
small
voice.
my
still
S.
Please
A.
hear
my
T.
B.
E. Hn.
voice.
Vln. 1 Hrp.
Vln. 2
Vc.
T.
B.
Timp.
Hrp.
hear
Vln. 1
109
Solo
S.
A.
T.
B.
6
hear
my
still
small
voice.
Please
hear
my
still
small
voice.
hear
my
voice.
still
Please
still
hear
small
voice.
my
my
still
Please
hear
still
small
voice.
voice.
my
small
still
Please
small
hear
my
small
voice.
in
still
thun
Please
hear
voice.
small
still
small
my
still
Please
Please
small
Please
still
my
der.
voice.
voice.
hear
Please
small
still
my
voice.
my
my
voice.
small
small
my
voice.
still,
hear
small
My
rolls
hear
my
still
ger
Please
Please
still
small
fall
hear
hear
Please
voice.
voice.
small
an
my
small
still
tears
Please
My
My
hear
lent
still
my
si
voice.
my
hear
Please
Please
lent
small
Hear
si
Please
is
cry
still
is
my
voice.
small
cry
hear
hear
Please
Please
My
My
voice.
voice.
still
rain.
small
voice.
still
voice.
as
A.
S.
102
Solo
voice.
Hear
hear
small
my
voice.
Solo
Mezzo Soprano
118
= 50
Vln. 1 Vln. 2
Vc.
Cb.
Lis
Cb.
3
3
3
128
Solo
Vc.
am
cal
3
3
ling
3
3
you back
Mezzo
3
Soprano
to
Please
I
3
3
me
me.
Mezzo Soprano
You
3
3
3 3
re mem
3
3
mem
3
3
3
3
3
3
ber
you.
cal
ling
3
3
3
3
me back
3
3 3
3
3
3 3
to
3
you.
3
3
Soprano
3
3
Cal ling your
3
3
3
me.
are
ber
ber
3
re
3
3
I
as
re mem
3
ber
Re mem
3 3 3
Cb.
me.
3 3
home.
Vln. 2
to
Vc.
child
I
Vln. 2
dear
124
Solo
ten,
you.
3 3 3 3
segue...
3 3 3 3 3
3
3
3
7
IX. Sacred Birth Soprano
Alto
Tenor
Bass
Timpani
Violin
Violoncello
Contrabass
= 50
3 3
S.
A.
T.
B.
Timp.
Vln.
Vc.
Cb.
Sap phire
Sap phire
Sap phire.
Sap phire.
Deep
pool of
blue.
Deep
Deep
The wat ers
Deep
blue.
pool of
pool of
blue.
came to life
cal ling rem
The wat ers came to
life
cal ling,"rem em
The wat ers came to
life
em ber.
cal ling,"rem em ber."
ber."
Out
Out
Out
Out
Az ure
Az ure,
Az ure
Az ure,
Az ure,
Az ure,
Az ure,
Az ure,
blue.
simile 3 3 3 3 3
pool of
simile (segue...) 3 3 3 3 3 3 3 simile 3 3 3 3 3 3 3
8
William Rand
of
the
of
the
of
the
of
the
deep,
deep,
deep,
deep,
S.
Hrp.
Vln.
Vln.
Vc.
Cb.
heard,
I
I
I
I
S.
A.
T.
B.
Timp.
Hrp.
Vln.
Vc.
2
heard
name.
my
name.
my
name.
loo doo loo doo loo doo loo doo
soft
ly,
1 voice
gent
ly.
spo ken
soft ly,
loo doo loo doo loo doo loo doo
spo ken
soft ly,
"Come
"Come
"Come
"Come
home."
home."
home."
home."
"Come
"Come
home."
home."
home."
home."
"Come
"Come
home."
"Come
home."
spo ken
Poco piú mosso = 58
"Come
loodoo
loo doo loo doo loo doo loo doo
tly.
loo doo loo doo loo doo loo doo
gen
only a few voices on top split
my
loo doo loo doo loo doo loo doo
I
20
S. Solo
heard
heard,
heard
loo doo loo doo loo doo loo doo
heard,
I
my
heard,
I
heard
T.
B.
I
A.
molto legato
15
26
S. Solo
Spoken: There I stood
bend pitch down
Cry
in the citadel of my soul the waters of life calling my name These, the waters of the womb waters breathing through me waters of Mother Earth within me calling me back to me
What must I shed so that I may float, enwombed in these waters? My fear? My control? My disconnection from Love itself?
Love is the Water, the sound of creation The birth that I choose Surrounded by all of life.
Pno.
Timp.
Hrp.
Vln.
Vln.
Vc.
Cb.
... Returning to my own
Love is the chaos of creation Swirling as I shed what no longer serves me...
scrape
gliss.
lowest note
wait for final word of monologue
Cymbal ToSuspended
dampen quickly tempo can fluctuate quite fluidly ad. lib.
Sacred birth.
gliss.
gliss.
To Timpani
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
scrape
6
scrape
6
3
29
S. Solo
S.
A.
Pno.
B♭ Cl.
Timp.
Cb.
4
In
the
be
spoken
spoken
Out
of
gin
cha
os
What
no
lon
6
ger
ning.
serves
sound of
me.
5
cre at
ion
s. glis
Vc.
out!
ss. gli
Hrp.
gliss.
gliss. gliss.
gliss.
gliss.
5
5
gliss.
gliss.
gliss.
gliss.
gliss.
gliss. gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
S.
31
Pno.
E. Hn.
B♭ Cl.
Timp.
Vln.
Vc.
Cb.
sound of
spoken
sound of
5
cre
5
cre
at
at
ion
Rem
em
em
ber
3
Rem
ion
3
ber
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
To Bell Tree
ss. gli
Vln.
spoken
ss. gli
Hrp.
T.
B.
A.
Tempo primo = 50
gliss.
gliss.
random bell plates
5
35
S.
A.
Dark ness
and first light
Dark ness
T.
B.
E. Hn.
B♭ Cl.
Vln.
Vln.
Vc.
Cb.
S.
41
and first light
and rocks
ofcooled mag ma
and
riv ers
and moun tains
and
val leys.
and rocks
ofcooled mag ma
and
riv ers
and moun tains
and
val leys.
and first light
B.
oce ans and sun light and
3
S.
heart beat.
heart beat.
but
3
3
ter
3
3
We are all
We are all
3
flies dan cing...
We
3
all
3
tall trees and
kin. (Doo)
3
I
3
A.
T.
B.
6
but
ter
but
ter
but
ter
3
3
3
flies dan cing...
3
flies dan cing...
3
flies dan cing...
We
We
We
are
all
kin.
are
all
kin.
are
all
kin.
3
3
3
see
3
of
3
3
(Doo)
3
op en at first light.
3
life
3
3
3
3
3
3
3
3
3
3
Whale songs and bird calls and
be fore me.
3
3
Whale songs and bird calls and
3
op en at first light.
3
Whale songs and bird calls and
3
op en at first light.
Whale songs and bird calls and
3
3
(Doo)
3
(Doo)
3
3
3
3
3
3
all
blue skies and tall grass and
op en at first light.
3
blue skies and tall grass and
3
3
We are all birth songs and
3
3
S. 2
3
dead leaves and blos soms that
3
blue skies and tall grass and
dead leaves and blos soms that
are
seeds and all tall trees and
We are all birth songs and
3
dead leaves and blos soms that
heart beat.
3
3
3
3
dead leaves and blos soms that
seeds and all tall trees and
3
oc eans and sun light and
seeds and all tall trees and
3
3
We are all
3
oce ans and sun light and
3
3
3
3
heart beat.
3
47
3
blue skies and tall grass and
3
3
3
3
3
We are all birth songs and
3
3
= 69
S. Solo
3
3
val leys.
oce ans and sun light and
T.
val leys.
and
3
A.
and
and moun tains
and moun tains
riv ers
riv ers
and
and
ofcooled mag ma
ofcooled mag ma
and rocks
Dark ness
and rocks
and first light
Dark ness
3
S. Solo
S.
S. 2
A.
All
B.
S.
S. 2
A.
T.
B.
E. Hn.
B♭ Cl.
Vc.
Cb.
3
3
3
and fath
ers
and
3
3
Moth ers
er
3
ies
and
3
ers
and
3
all
life.
3
3
3
sib
flocks,
lings
vol
hives,
3
ers
and
er
ers, grand
3
ies
3
fath
ers
fath
3
3
Be
eds
lov
and
sib
lings,
grand
vol
er
and
fath
and
3
flocks, hives,
3
Moth ers
3
3
lov
3
are all
We
Be
We
We
We
ers.
3
grand moth
3
Moth
3
3
all life is beau ti ful.
3 3
3 3
of
and fath
flocks, hives, vol
3
3
3
kin.
3
3
(Doo)
3
kin.
kin.
3 3
3
3
see
3
Moth ers
3
3
I
3
3
3
ful.
3
3
61
beau ti
3
is
life
3
A. 2
T.
53
3
eds
are all
are all
are all
and
and
moth
ers,
grand
3
3
ies
3
ers
and
and
3
3
7
65
S.
S. 2
A.
T.
B.
E. Hn.
B♭ Cl.
Vc.
Cb.
8
dreds
and
fath
kin
kin
sib
flocks,
3 3
dreds
3
ers.
and
dear
3
ones
ies
wild
ones
and
wild
ones
3
er
and
ers,
and
3
moth
vol
3
ones
3
dear
grand
hives,
3
ones
3
dear
and
lings,
3
wild
3
con
3
as
ted
as
3
3
3
con
ers.
and
sib
lings,
3
ted
nec
fath
con
grand
nec
3
ones
nec
ted
as
grand
3
moth
3
ers,
grand
One.
One.
One.
fath
3
ers.
68
S.
All of C H A. O All of I R T. All
1
B.
All
S.
C H A. O I R T. 2
B.
Perc.
of
of
life
life
life
life
be ing.
is one
is one
is one
be ing.
is one
be ing.
All
of
All
of
All
All
To Timpani
of
of
life
life
life
life
All
of
life
of
All
All
be ing.
All
of
of
life
life
life
is one
is one
is one
is one
be
be
be
be
of
is one
be ing.
All
of
life
All
of
All
is one
be ing.
is one
All
be ing.
of
ing.
be ing.
ing.
is one
ing.
life
ing.
is one
is one
life
life
is one
is one
9
S.
A.
T.
B.
S.
A.
T.
B.
E. Hn.
B♭ Cl.
Timp.
Vln.
Vln.
Vc.
Cb.
10
All
of
life
is one
life
is one
life
life
is one
is one
be ing.
cresc. poco a poco
3
We are
be lov eds, cre
be ing.
be ing.
be ing.
3
3
3
at ing with all life, and
I
see
a love bey ond
see
3
3
held in
I
you,
3
3
breath
ing.
We are
breathe
I
breathe
you,
I
be ing.
be ing.
be ing.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
be
I
you,
be
3
We are
I
you,
be ing.
of
All
All
of
All
of
75
3
3
3
3
3
S.
A.
T.
B.
E. Hn.
B♭ Cl.
Vln.
Vln.
Vc.
Cb.
lov eds,
cre
at
3
3
lov eds,
cre
feel
you,
feel
you,
at
ing
with
3
ing
3
3
3
all
and held in
3
all
life,
I
know
you.
I
know
you.
5
3
3
and held in
a
3
life,
with
3
cresc. poco a poco - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
82
a
I
I
3
3
lovebey ondbreath ing. I
3
3
lovebey ondbreath ing.
I
know you,
I
breathe you,
you,
3
3
I
3
see
you.
3
heldin
I
3
deep lovethat is
see
you.
see
I
you.
3
I
3
I
3
made with in ten tion and
breathe you,
Weare be lov eds all
I
see
3
3
3
know you,
you,
I
3
I
see
breathe you,
I
know you,
3
3
11
S. Solo
S.
A.
T.
B.
S.
A.
T.
B.
E. Hn.
B♭ Cl.
Vln.
Vln.
Vc.
Cb.
12
feel
breath less.
feel
you,
see
I
see
you,
see
I
you, 3
We are be
3
We are be
lov eds, cre
at
at
3
3
We are be
3
We are be
3
lov eds
I
3
ing with
ing with
3
all made with
3
lov eds
in
3
all made with
breathe
I
lov eds, cre
3
3
breathe you,
you,
in
you,
I
know
3
all life and held in
a
3
3
all life and held in
a
love
bey
ond
love
3
3
ten tion and held in deep love
3
3
3
3
that
3
that
ond
3
3
bey
ten tion and held in deep love
3 3 3 3
3
3
3
3
3
3
3
3
re
you,
3
breath ing.
breath ing.
re
mem
ber
you.
re
mem
ber
you.
re
mem
Re
ber
mem
ber
you.
Re
mem
ber
3
breath less.
3
3
3
you.
ber
you.
mem
ber
Re
O
mem
you.
Re
(Ah)
3
I
you.
breath less.
ber
I
mem
is
is
I
you,
I
know
you,
I
you,
know
breathe
know
I
you,
I
breathe you,
I
see
I
3
you.
you.
feel
3
you.
Molto cresc. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Molto Rall.
88
you.
95
S. Solo
S.
A.
T.
B.
S.
A.
T.
B.
Vln.
Vln.
Vc.
Reverently = 56
Ground of Life,
Ground of Life,
O
Ground of Life,
(Ah)
(Ah)
(Ah)
Way.
O
teach er
of the
Way.
teach er
of the
Way.
O
Sky of lights,
(Ah)
O
teach er
Sky of lights,
Sky of lights,
Ground of Life,
O
Sky of lights,
O
teach er
of the
of the
Way.
(Ah)
Moth er Earth,
Moth er
Moth er Earth,
Earth,
Moth er Earth,
Moth er Earth
Ooh
Ooh
Sac red
O
Moth er
Sac red
O
Earth,
O
Breath less
love
Breath less
love
Breath less
love
Breath less
love
womb of
life,
womb of
life
womb of
life
womb of
life
13
101
S. Solo
S.
A.
S.
T.
Hrp.
Vln.
Vln.
Vc.
sac
red
red
birth.
sac
red
birth.
S.
A.
B.
14
Moth
er
Earth,
er
Earth,
Moth
Moth
er
er
Earth,
Earth,
Moth
Moth
er
Earth,
Moth
Moth
er
er
Earth,
Moth
er
Earth,
Moth
er
Earth,
Earth,
Moth
er, Moth
Moth
Moth
er
er
er
er
Earth.
Earth.
Earth.
Earth.
ten ten
Sa
cred
Sa
cred
Sa
cred
Were
Birth.
Birth.
Birth.
Birth.
O
A Tempo
Sa cred
with tremendous emotion ad. lib.
(Oh)
(Oh)
(Oh)
Molto Rall. - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Moth
T.
109
S. Solo
birth.
birth.
(Ooh)
mem ber you.
(Ooh)
We re
mem ber you.
red
sac
sac
We re
Birth,
A.
B.
Birth,
T.
B.
turn
to
115
S. Solo
S.
A.
T.
B.
B♭ Cl.
Timp.
Vln.
Vln.
Vc.
Cb.
you.
Sac
red
Sac
red
3
3
Birth.
3
3
3
3
Birth.
red
Birth.
Sac
red
Birth.
Sac
3
Birth
Birth
Birth
Birth
15
A companion essay to Earth: The Beloved Will Rand Spring 2021 Retelling Our Stories: Finding Oneness with All Life Wilderness is the essence of Earth’s very being: the ground of life’s beginning, thriving, suffering, and returning. This untamed space is regenerative and chaotic. In the wilderness, everything cycles in the biotic community with equitable right to breathe, consume, reproduce, be consumed by another, and share the world. For humankind, this wild space has been a source of curious intrigue that devolved into trepidation, ultimately becoming a subject to struggle against and subdue at perilous cost to the web of life. Through the ages, humanity has created a buffer between itself and the natural world by building safe containers to protect people from having to encounter the ever-changing nature of the wild outdoors. This divisive attitude has positioned humans in a perilous disconnection from the rest of the biotic community to the ultimate peril of humanity itself. In addition, the stories that humanity has continued to tell assume a posture outside and above the natural world. This position is perhaps founded on other stories that espouse fears of scarcity and facing unknown forces that threaten humanity’s self-centrism. Such fears belie a different story: one of longing for the wilderness and the connection to all of life. Spiritual life force is enmeshed in the heart of the human soul and glimmers steadfastly underneath a web of ensnared fear that defiantly drowns out the sounds of its own life force by beating a drumbeat of selfassured destruction of the wild. Ultimately, humankind is destroying the wild spaces of Earth out of fear rooted in separation. This separation has led to a crisis that requires a spiritual awakening through contemplative ecology drawing humankind into awareness of the oneness of all life. The tendrils of the fear of wilderness stretch deep into our ancestry. They reach back to the earliest stories that we have ever told. In the course of our lifetime, we find moments when this fear comes alive in us like a violent summer storm erupting over a rolling prairies. One such moment is documented by Peter London, an artist and ecologist who facilitates Encountering Nature retreats to invoke a sense of intimacy between his participants and the Earth. On one particular retreat, London recounts that he invited the participants to engage in a partner activity where one person closed their eyes and was guided by their senses and another person to encounter nature in a different manner. London shares that one participant froze and became deeply upset by the activity. She cried out, “I can’t do this. I can’t close my eyes… [out here]. I can hardly breathe thinking that without my eyes open to warn me, something from the forest will come out and—I know this is juvenile—hurt me.” London finishes retelling this story by simply stating, “Do not be afraid” (London 44-45). This story bears to light the fear place that erupts when the safety of sight is taken away in the woods. This plunges us into dark vulnerability and we perceive an opportunity for the unknown to attack. By saying, “I know this is juvenile”, we find the personal roots of this fear. We first encounter our fear of wild places when we are young and vulnerable to all the big, bad dangers of the world. Undergirding this early experience in the world are the formational stories that we were told when we were children. These stories often shape how we interact with the world for the rest of our lives. There is no more powerful a story for a collective people than their cosmology: the story of their origin on the Earth. Robin Wall Kimmerer shares, “Like Creation stories everywhere, cosmologies are a source of identity and orientation to the world” (Kimmerer 7). Many societies find their origin story rooted in their religious traditions. In the Western Christian tradition, the story of Genesis is the collectively shared cosmology. According to the common telling of the story, the world begins with a benevolent, creative Source who evokes light, water, land, living creatures, and bountiful vegetation within a sustaining humus. The storytelling
hits the rocks when it is considered that Adam, the original man, was to have complete dominion over the Earth. Moreover, it is told that Eve, the original woman, disobeyed her Creator, tricked the innocent first man, and became the cause of humankind’s banishment from paradise (NRSV, Genesis 1). The way that this story materialized over the centuries engendered grounds for Christianity to be dogmatically anthropocentric. Lynn White Jr. comments on Christianity’s particular focus on dominion, disobeying God, and banishment from paradise. He claims that Western Christianity (stemming from the Latin church in particular), carried a dualistic banner isolating “man as separate from nature” (White 59). Through the ages, children learned of the fall from paradise and the bleak imagery of Adam and Eve, “exile[s], just passing through an alien world on a rough road to [their] real home in heaven” (Kimmerer 7). Thus the western Christian philosophy became a story that proclaimed people to be wretches who disobeyed a once benevolent God and who journey through a wild, unforgiving Earth. The dogma of salvation proclaims that with proper belief and ritual, believers can redeem themselves enough for afterlife in heaven. The common identity adopted through the telling of this story was ultimately separateness from Earth and from God with the underlying given that humans were yet made in the image of God with rights for dominion over the Earth. In contrast to the potentially polarizing and dualistic elements of the Genesis story, there are multitudes of other cosmologies that have defined other cultural identities around the world. One such cosmology was shared by indigenous tribes of people across the Great Lakes Region: the story of Skywoman Falling. In essence, Skywoman fell to Earth to co-create a new land with the creatures of the Earth. The creatures of the water hospitably brought elements of the humus from under the water to help build a land for Skywoman to dwell upon. Skywoman and the animals built the land together by utilizing each of their gifts. In thanksgiving for their work together, Skywoman shared the seeds of life with all of the creatures so they could grow the ground into a plentiful place where they could live together. (Kimmerer 5-7). Robin Kimmerer describes how this story shaped the identity of many peoples who originally lived with the land in a much more intimate and abundant way knowing that their care for the Earth would nurture them as well. The story of Skywoman and the story of Adam and Eve had to dialogue with each other when the people carrying both stories met on the same land. Many bloody trails of tears commemorate this meeting. To be clear, it is important to discourage any notion that the Western Christian tradition was dichotomous to the living ways of Native Americans. The relationships between individuals and their environments are much more nuanced than the the macro characterizations ascribed to different groups of people and their traditions. That being said, the overarching stories that have defined these two different cultures have left behind vastly different historical imprints. In particular, the scars of the meeting between the people carrying Adam and Eves’ story and those who were defined by Skywoman’s still haunt the American identity as a whole. Perhaps this can be best illustrated by looking at the dominating culture between these two in the aftermath of hundreds of years of massacres, wars, treaties, segregation, and sequestering. Different disciplines would attribute the dominance of white culture as a result of newer technologies, biological warfare of diseases brought over from Europe, and economic reinforcement for the charge into Native American territory. Underneath these claims there is an underlying cultural philosophy: the people that were banished from Eden held the axiom that conquering the wild world was succeeding to fight off a punishing landscape while holding fast to a faith that their toil would lead them to an eventual salvation. It is almost as if the more one struggled against such an environment, the more one would prove to God that they were worthy of eternal life with God. Whether mowing down tribes of people or grasslands, the mindset of the conquerer was instilled from the closing of the gates of Eden. Two more compounding factors draw out this story further. For one, the story of Genesis first introduced the doctrine of original sin. It is claimed that Eve’s disobedience to God’s command is the original sin, which led to the banishment from the garden
and the “fall from Grace” into a world of pain and suffering. J. Philip Newell extrapolates on the historical implications by claiming, “the doctrine of original sin was a convenient ‘truth’ for the builders of empire. They could continue to conquer the world and subdue peoples” (Newell 20). This haunting indictment of the Roman Empire begins to show the wider political motivations of perpetuating such a story in this way. Another compelling element of the expulsion from Eden was the pressure to produce enough to consume. In other words, the world was not seen as a place that was naturally sustaining and reproducing in abundance, rather it was seen as a hard and unpredictable land that must be tamed to yield enough to survive. Kimmerer explains, “In order to eat, [Adam] was instructed to subdue the wilderness into which she was cast” (7). The bearers of the story of Genesis lived in an economy of scarcity. As a result, humans in this tradition turned to the Earth as a resource, a commodity, and a wild landscape destined for taming. These cosmological stories that define cultural identity have a sublimated a pervasive entrenchment in the ethos of a culture. The resulting actions from these stories create a lasting impact on the wellbeing of the world. The very future of human life hangs in the balance as a result. The totality of destruction to wild spaces on Earth is almost immeasurable. Humans have destroyed layers of the atmosphere, every biome of the land, the oceans, waterways, and many species of life. I propose that this amount of destruction has transpired, in large part, because of a people invested in conquering out of fear of scarcity and who destroy out of a self ostracism from the Earth community. The magnitude of the damage can be illustrated in a few sobering examples of critical destruction to the biotic environment. The first illustration is the destruction of the soil. Soil is the basic foundation for life on land. Nutrients, root systems, and microorganisms of all kinds make this land a stable biome for life. The soil also traps carbon dioxide through the roots of plants thereby acting as a balancing force for the climate, according to Kristin Ohlson. Industrialized farming has been a death sentence for the integrity of the soil. Farming practices, such as tilling, tear the soil apart. Industrial agriculture sprays chemical pesticides, which kills a healthy microbiome in the soil. As the tilling pulls the soil apart, the chemicals kill all of the nutrients that infuse the crops grown by the soil. Thus, the need to genetically modify the plants to be less dependent on organic nutrients in the soil to grow. Kiss the Ground, a movement that has grown up in the wake of the documentary by the same name, seeks to educate farmers about healthier farming practices that support the ecosystem and increase their crop yield. According to this organization, the United States contracted with Friz Haber, the chemist who concocted the gas that murdered millions during the Holocaust. Haber created the first chemical fertilizer as well as the first chemical pesticides, which were also utilized as chemical weapons in World War II (12:00-14:00). The rapid rise of agricultural industrialization went on to create factory farms that separated farm animals from their grazing lands and confined them to small, crowded paddocks. Farming fields became streamlined machines that produced a single crop in a yield: the age of the monoculture. In essence, the industrialized farm worked against the rhythms of the Earth in order to serve efficiency and push the possibilities of commerce to higher levels. The fear of running out of food fueled a toxic process of enslaving the land and suffocating any remaining life out of the soil. Over time, this lifeless farming practice has worn the soil into a fine dirt in the long-term process of desertification. The once fertile heartlands of bounty are wilting into barren deserts. Another example of destruction of critical habitat can be found in the waters of the Earth. The oceans are the cradle of life itself. As large wombs of new life, the oceans are the origins of the entire land ecosystem. They also stabilize the entire climate system by absorbing carbon in phytoplankton and forests of sea plants. Healthy oceans create a vital and healthy Earth community. At the moment, the oceans are rapidly becoming more diseased as the pH levels lower, plastic pollution chokes the life from multitudes of creatures, and overfishing threatens the basic vitality of coral reefs. Industrial fishing groups are one of the greatest threats to the ocean because removing fish from the ocean in such a rapid rate is equivalent to deforesting on land in levels of biotic destruction and carbon release. According to the investigative journalism
of the recent controversial1 documentary Seaspiracy, “per acre, marine plants can store up to 20 times more carbon than plants on land”. (41:20) On a global level, the oceans store 93 percent of the world’s carbon. For perspective, 25 million acres of forest are lost per year as opposed to 3.9 billion acres of sea floor demolished by large trawling fishing nets alone (42:00). Not only is the release of carbon devastating to the climate, but the loss of 20 pounds of bycatch to every 1 pound of target species catch is utterly destroying entire ecosystems (SeaWeb para 10). In addition to the devastation of over-fishing, the acidification of the oceans, primarily perpetrated by the top 88 oil companies around the globe, is leading to coral bleaching and the perishing of sea creatures with exoskeletons (Licker para 8). This catastrophic damage to wild environments in the ocean is perilous to the future of life on Earth. Many scientists and climate change activists have been scrambling to find solutions to begin to repair the significant damage. In rebuttal to proposals that humans should simply refrain from consuming seafood, critics highlight that most underdeveloped nations around the world depend on a steady diet from the oceans and redirect the scrutiny of harvesting practices to monopolizing multi-national fishing corporations (Allen 11). There are layers of complexity to untangle in understanding the level of trauma inflicted on the oceans, but it is abundantly clear that the place of life’s first awakening on this planet is in absolute danger of collapse. The fear of scarcity has perhaps driven humanity into a plundering frenzy to the peril of the very spaces where the future of human life is dependent: the soil and the water. After gazing over the wreckage of a demolished wild, it seems impossible to have the courage or the even the will to even lift one’s head. The totality of the chaotic forces of destruction at the hands of our very own species leaves one in absolute despair. It is here where one wonders: what are we missing? The answer only begins to become clear when the murky waters that continue telling old stories in monolithic ways begin to still and let the sediment settle to the bottom. Only then is the heart fully open and deep longings are free to rise and be heard. These longings perhaps do not come with words. John O’Donohue expresses, “what is nearest to the heart is often farthest from the word” (XIV). Perhaps it is a moment to return to the earlier critique of imperialist Christianity and look at a different story unfolding. A quiet, yet persistent corner within the history of Genesis unfolding in the larger Western Christian community. The Genesis story that was most pervasive in the history of Christianity was not the only one told and internalized by some cultures. The Celts in particular took a completely different approach to their internalization of this story. The teachers of Celtic spirituality opposed the otherwise widely accepted doctrine of original sin. “One of the earliest Christian writers in the Celtic world, Pelagius from Wales, foresaw the consequences [of the doctrine of the original sin] in the fourth century”, writes J. Phillip Newell. He was concerned that the church would define humans as basically sinful, which would undermine and pervert our self image and damage our journey to wholeness. (Newell 19). The profundity of this recollection of an early Celtic Christian writer reveals that there was noncompliance to blindly following in the imperial path of the church in the early centuries. It is possible to see how Pelagius’ warning translated into future centuries of societies acting out of the imperial Christian doctrine on two different levels: the level of the empire operating out of an almost divine right to conquer and subdue at will, and the level of the human unconscious narrative of self-worthlessness. The empire at large was not pleased at Pelagius’ rejection of their doctrine, and thus they began a series of actions to banish Pelagius from the public sphere. The Roman Empire called multiple imperial councils to deliberate charges for disturbing the peace and eventually excommunicate him. Ultimately, their final weapon was to publicly misrepresent Pelagius as someone who he was not 1
This source has been considered controversial for the conclusions that it draws. Other scholars have claimed that the facts presented are still important to the elevation of the important issue of ocean protection. (McVeigh para 17)
(Newell 20-21). This demonstrated both the willpower of the empire to subdue any force that undermined its very foundations of power and authority along with the stubborn and quiet perseverance of one who saw beyond the doctrinal power plays of the empire. It can also be determined that Pelagius was not easy to put down by the empire due to a large number of supporters who were moved by his teachings. This might indicate a broader narrative of what it means to be in spiritual community in the early centuries, which complicates the homogenous narratives of Christian doctrine that were enforced by the empire. We can follow this story a bit further. The Celtic image of a Creating One inspired a different, counter-cultural story that managed to continue breathing and teaching in the midst of vastly different empirical regimes. This refutes the claims made earlier by Lynn White Jr. in reference to Christianity being a singly-faceted entity. In reference to White’s strong claims about the proliferation of a singular telling of Genesis, Peter Harrison remarks that, “White’s thesis is not concerned with the meaning of the text as such, with how it was understood by the community in which it first appeared, or with what modern biblical scholars have made of it, but rather with what the text was taken to mean at certain periods of history,… how it came to sanction a particular attitude toward the natural world.” (Harrison 89). While White does extol the natural integration between the life and teaching of St. Francis of Assisi (White 61), he overlooks a whole culture of people led by spiritual teachers who understood that the natural world was deeply intertwined with the spiritual world in total opposition to the dominating narratives of the church. To illustrate this further, in the ninth century, John Scotus Eriugena invited the Celtic tradition to celebrate the relationship between nature and grace. He says that nature is, “the gift of being,”, whereas grace is, “the gift of well-being,”. Newell synthesizes that “nature and grace are viewed as flowing together from God,” (Newell 9). This is perhaps an answer to the question: what are we missing? The Celts might suggest that we are not listening to an inner presence, a deep wellspring of wisdom that is not entirely our own. A “still small voice” that perhaps sounds like the song of a chickadee or the trickle of a mountain stream; a glimmering spiritual center created of nature and grace. This calling from the wild that resonates deep inside us dares to ask: what are we really afraid of? The multi-faceted crisis at hand can viewed in one sweep as a crisis of inner deafness. There is a lack of listening to the inner wisdom of our bodies and spiritual centers. The way we have told the old stories along with the prevalence of harmful societal norms have created a thick smog within the soul that prevents us from sensing the deeper resonances that make up our core. Douglas Christie laments that, “much of contemporary discourse about the meaning of the ecological crisis is often framed almost exclusively in terms of biological, economic, or political necessities, sometimes in ways that deny the spiritual dimension of our relationship with nature altogether,” (3). The absence of spiritual awareness as a valuable dimension for addressing life’s necessities may be detrimental to combatting the crisis of wilderness destruction. Christie suggests that a means of reintegrating spirituality into our consciousness may come in the adoption of a contemplative ecology. The very act of contemplation for spiritual mystics is layered with complexity and specificity. Thomas Merton wrote of contemplation, “it is a deep resonance in the inmost center of our spirit in which our very life loses its separate voice and re-sounds with the majesty and the mercy of the Hidden and Living One…this answer is divine life, divine creativity, making all things new” (Merton 3). In other words, contemplation is a spiritual act of deep and probing awareness to the presence of God in our innermost lives. Contemplation requires practice, patience, and quietude in order to find a place of center and absolute awareness. Merton warns that cogito ergo sum (I think, therefore I am, attributed to Descartes) is an absolute antithesis to contemplation. “This is the declaration of an alienated being, in exile form his own spiritual depths, compelled to seek some comfort in a proof of his own existence based the observation that he ‘thinks’,” (Merton 8). This challenge provokes the common enlightened human that seeks to absolve all discrepancies in the head. Merton insists on a deeper consciousness: one that makes all things new.
Defining contemplation in such specific ways does not exclude the absolute necessity of integration. Indeed, finding solutions to such complex problems demands complex and amalgamative answers. Christie asserts that pursuing contemplative ecology does not negate the absolute importance of scientific ecology. “[contemplation] takes seriously both the ecology of organisms in their environment and the web of associations and meanings arising from careful attention to this ecological reality,” (Christie 5). Christine Vaulters-Painter teaches that, “Earth is the original monastery, the original teacher of contemplative practice…Everything in creation becomes a catalyst for my deepened self-understanding,” (Painter xiii; x). The image of Earth as our teacher is profoundly helpful in providing a new orientation towards the living world. Seeing all natural things as teachers that can deepen our own self awareness is a practice of living that begins a mutually-sustaining healing journey. Christie offers that, “One could learn to live in the world as a healing presence, attentive and responsive to the lives of other beings and capable of helping to reknit the torn fabric of existence,” (Christie 7). This practice invites a spirit of healing to overtake all that is hurting in the world. Contemplative ecology looks like radical awareness to the presence of the life of the world. Such awareness requires practice and gentleness. David Whyte queries, “Why are we the one terrible part of creation privileged to refuse our own flowering” (351). This call to awareness points towards our most natural instincts and our deepest desires. Perhaps the refusal to flower is rooted in the same fear that keeps us from interacting with our deepest spiritual callings. Contemplative ecology gently moves the human soul in the pursuit of liberation from fear. Christie defines the nature of this awareness as he explains, “to give one’s conscious attention fully and deeply to a place, an animal, a tree, or a river is already to open oneself to relationship and intimacy with another… To experience this Other as part of “a larger whole”,…a vibrant and complex ecology,” (8). This radical awareness, attention, and openness gently wears away at the obstructive obscurity of all that blocks our spiritual core. Building relationship with the Earth by observing a contemplative ecology purposefully deepens our connection with our inner spiritual self. We may find that this deepening is also a broadening of our awareness of our relationship with the larger whole. In other words, a dawning realization that all of life is deeply interconnected. Returning to the question “what are we afraid of?”, we might pursue the possibility that our fear originates in a deep sense of separation. Our core separation from all of life places the rest of the living world in the category of other. We fear what we feel disconnected from. We see ourselves as above and apart from the fabric of the Earth community. Peter London emphasizes, “We have cut ourselves off from Nature in our minds, our hearts, and our bodies…This schism is killing all of us,” (31). Indeed this schism of sorts is our greatest crisis. Our separation from the “biotic community” (as Aldo Leopold refers to) is killing all of the life on this planet. We are on a collision course that seems to hurtle forward at greater velocities by the day due to our catastrophic practice of destruction of the natural world. If we would see ourselves as a shared partner in the cycles of life along with all other living creatures, we would learn to thrive together. Christie emphasizes that,“What it is to become aware of oneself as alive in the living world and how to cultivate this awareness for the sake of the world remains one of the most pressing spiritual concerns of our time,” (6). We can indeed play a part in the healing work that is awareness of the resonances of all life if we simply return from our separateness into a place of Oneness with the biotic community. This may be the essential secret to living on our planet. Awareness begins with remembering. Remembering draws us back to our beginnings, to our first stories. Craig Hella Johnson reminds us why these stories have so much meaning. “We tell each other stories so that we will remember Try and find the meaning in the living of our days. Always telling stories, wanting to remember Where and whom we came from
Who we are … We’re listening and confessing What we have forgotten In the story of us all - Craig Hella Johnson The stories that begin our lives are the stories that carry us to the end of our lives. We choose how to interact with these stories and how we will change these stories. However, the first task of the journey is to remember our stories and where we came from. When we remember the stories, we remember our origins, our own creation stories. These stories also show us our first encounters with the Earth. Reliving these encounters draws us closer to nature and to our deeper selves. Growing a contemplative ecology begins with the revelation of these stories. They restore our memory, our roots, and our relationship to the land. Robin Kimmerer brilliantly explains, “we can’t meaningfully proceed with healing, with restoration, without ‘re-story-ation2.’ In other words, our relationship with land cannot heal until we hear its stories,” (9). Kimmerer invites us to consider retelling our stories. Remembering and contemplating does not stop with the memories and the awareness. Rather, a response is invited: a retelling of the story in a new way that unifies our consciousness with that of the living land. In the same vain, it is critical to remember and retell our collective stories. As a whole, the Celtic spiritual teachers spoke of a unitive source between grace and nature. The Celts, along with St. Francis of Assisi particularly preached a gospel of the wild. For the collective western Christian culture at large, it is critical to retell the story of Genesis in a way that restores our relationship with the land rather than continuing along the path of destruction. Peter London shares, in contrast to an origin of exile from the garden, “We have yet to compose a story in which humans are entwined with the rest of creation in a new mutuality, in a story that has us still at home, still living in a garden, in the midst of an infinite web of life,” (London 40). This retelling has the power to undo the fear born of separateness that has threatened the fabric of life. There is power in a new story of unity and mutuality that can become a common, shared cosmology. The mantle of retelling an ancient story falls heavy on the shoulders of all who care about a sustained future on planet Earth. One may even wonder how to begin or who has the authority to take up such a mighty task. My answer is that each and every person has the power of re-weaving this story within the fabric of their own story to make a new, creating story. Artists, storytellers, politicians, economists, philosophers, scholars, scientists all have the opportunity to share their story enmeshed with a new creating story for the thriving of all life. Kimmerer shares that such a retelling, “…is an intertwining of science, spirit, and story—old stories and new ones that can be medicine for our broken relationship with Earth…healing stories that allow us to imagine a different relationship, in which people and land are good medicine for each other,” (x). This reinforces that we are absolutely meant to be here. We simply have to remember why and return to our place in the biosphere as equal partners with all members of life. Re-story-ing our relationship with Earth begins with the work of contemplative ecology, a work that seeks to unearth our inner spiritual awareness of all life around us and the stories that make us who we are. The wild is a part of us and we cannot separate from it. We can only draw near and realize we are one with all the wild spaces. Wilderness is not simply critical space for the physical bio-diverse existence of creatures and climate systems on the Earth, it is also absolutely crucial for our own shared living experience. Simply put, if the wilderness dies, then so do we, for we are inseparable from all that is alive.
2 1 “Re-story-ing” is attributed to Gary Nabhan.
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