Embed Size (px)
Citation preview
EIGHTEEN SONNETS BY HENRY WADSWORTH LONGFELLOW
FOR SOPRANO, MEZZO-SOPRANO, TENOR, AND BARITONE
SOLO VOICES AND ORCHESTRA
A DISSERTATION
SUBMITTED TO THE GRADUATE SCHOOL
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE
DOCTOR OF ARTS
BY
ERIC CHARLES EDWARD WILSON
APPROVED BY:
_______________________________________________ _________
Dr. Eleanor Trawick, Committee Chairperson Date
_______________________________________________ _________
Dr. Jody Nagel, Primary Area Committee Member Date
_______________________________________________ __________
Dr. Mei Zhong, Secondary Area Committee Member Date
_______________________________________________ __________
Dr. John Scheib, School of Music At Large Committee Member Date
_______________________________________________ __________
Dr. Paul Chandler, University At Large Committee Member Date
_______________________________________________ __________
Dr. Robert Morris, Dean, Graduate School Date
BALL STATE UNIVERSITY
MUNCIE, INDIANA
DECEMBER, 2011
EIGHTEEN SONNETS BY HENRY WADSWORTH LONGFELLOW
FOR SOPRANO, MEZZO-SOPRANO, TENOR, AND BARITONE
SOLO VOICES AND ORCHESTRA
A DISSERTATION
SUBMITTED TO THE GRADUATE SCHOOL
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE
DOCTOR OF ARTS
BY
ERIC CHARLES EDWARD WILSON
DISSERTATION ADVISOR: DR. ELEANOR TRAWICK
BALL STATE UNIVERSITY
MUNCIE, INDIANA
DECEMBER, 2011
ABSTRACT
This dissertation is a tonal modular work for soprano, mezzo-soprano, tenor, and
baritone solo voices and large orchestra (3343, 4331, Timp.+4, Hp., Pno., Strings) with
an accompanying narrative. The text is drawn from eighteen of Henry Wadsworth
Longfellow’s sonnets. This work consists of four interlocking song cycles, one for each
solo voice, and two added songs for the combination of two or more of the solo voices.
There are shared tonal and thematic relationships across the work as a whole as well as
within and among the individual song cycles. The unique modular nature of the work
allows for performance of the whole, but also allows for extracting the individual song
cycles—or even individual sonnets from the work as free-standing pieces, complete in
themselves. The modular nature of this work makes it attractive as a programming
option for orchestras and choirs with featured guest soloists, and also as an addition to
singers’ repertoires.
Chapters 3–7 of the narrative address the songs in each individual module or
cycle, thus providing a useful reference for a singer wishing to program one or more of
the songs for her or his voice classification. The complete transposed orchestral score
follows the conclusion of the narrative. This dissertation holds potentially helpful
information for research on the topics of contemporary classical music, Indiana
composers, and/or orchestral song cycles.
i
Table of Contents
Page
ACKNOWLEDGEMENTS iii
LIST OF FIGURES v
CHAPTER 1—THE CONCEPT, REVIEW OF LITERATURE, AND 1 HISTORICAL PERSPECTIVE
CHAPTER 2—METHODOLOGY OVERVIEW AND ORDER OF SONNETS 9
CHAPTER 3—METHODOLOGY FOR THE SOPRANO SONNETS 14 Autumn The Sound of the Sea A Summer Day by the Sea The Tides
CHAPTER 4—METHODOLOGY FOR THE MEZZO-SOPRANO SONNETS 24 A Shadow Sleep Eliot’s Oak Moods
CHAPTER 5—METHODOLOGY FOR THE TENOR SONNETS 34 The Evening Star The Cross of Snow Venice St. John’s, Cambridge
CHAPTER 6—METHODOLOGY FOR THE BARITONE SONNETS 43
Dante A Nameless Grave The Poets Wapentake
CHAPTER 7—METHODOLOGY FOR THE SONNETS FOR 49 TWO OR MORE VOICES
The Galaxy The Broken Oar
CHAPTER 8—CONCLUSION 52
BIBLIOGRAPHY 54
ii
MUSICAL SCORE 55
APPENDIX—COMPLETE TEXTS OF THE SONNETS 207
iii
ACKNOWLEDGEMENTS
I wish to thank each of my committee members for your guidance, wisdom, and
sacrifice of time. I owe a special debt of gratitude to my committee chair, Dr. Eleanor
Trawick, and Dr. Jody Nagel for advising me during the creation process, and your
exceptional instruction through the years. I treasure your friendship, patience, and
brilliance.
Thanks to the many outstanding instructors with whom I have had the opportunity
to study at Ball State University and elsewhere; especially Dr. Jeffrey Ballard, Dr.
Harvey Chiles, Dr. Phillip S. Ewart, Mr. David Foley, Mr. Joseph Levitt, Mr. Thomas
Osborne, Dr. Ernesto Pellegrini, and Mr. Benjamin Wiseman.
Thanks to my family and friends for your unfailing support, encouragement, and
prayers. This achievement belongs to each of you as surely as it belongs to me. My most
sincere appreciation goes to my dear friend and brother, Mr. Stephen M. Fleck, whose
request that I set a text for him led to this work. Thanks to my dear, sweet father,
Clifford C. E. Wilson (1920–2009). You gave me the distinction of your middle names,
and the model of what it means to be a man—loving unconditionally, slow to anger,
quick to forgive, tender, brave, strong, and tough when each of these were needed.
Thanks to my mother, Della P. Wilson, for your love, sacrifice, and guidance through the
years. You have the biggest heart on earth.
To my beautiful and talented wife, Melissa—words fail to express my gratitude to
you. I am amazed and humbled that I am blessed to spend my life with you. You are the
inspiration for every tender sentiment contained herein. Thanks to my lovely and gifted
iv
daughter, Katherine. I am proud beyond expression to be your father. Melissa and
Kate—I love both of you with my very life and soul.
Most of all, I thank my Lord and Savior, Jesus Christ. He is my strength and my
salvation. May all I do reflect His love, truth, and grace—the glory is His alone.
v
LIST OF FIGURES AND EXAMPLES
Page
Figure 2.1: Sonnets’ Order and Keys 11
Figure 2.2: Reductive Sketch of Entire Work 13
Example 3.1: The Sound of the Sea mm. 9–13 18
Example 3.2: The Sound of the Sea mm. 30–32 19
Example 3.3: A Summer Day by the Sea mm. 65–69 22
Example 4.1: A Shadow mm. 20–23 27
Example 4.2: A Shadow mm. 68–76 27
Example 5.1: The Evening Star mm. 1–2 36
Example 5.2: The Cross of Snow mm. 17–22 37
Example 5.3: The Cross of Snow mm. 82–86 38
CHAPTER 1
THE CONCEPT, REVIEW OF LITERATURE, AND HISTORICAL
PERSPECTIVE
Introduction
The song cycle is one of my favorite genres of music as both a composer and a
singer. I have set herein eighteen of the sonnets of Henry Wadsworth Longfellow (1807–
1882) for solo voices and orchestra. The solo voices are soprano, mezzo-soprano, tenor,
and baritone. I also combined solo voices for two of the settings: a duet for the soprano
and mezzo-soprano, and a quartet setting. This prose portion of the dissertation provides
information about each sonnet from a literary and historic standpoint, about the
compositional processes involved in its setting, and about the song’s relationship to the
rest of the work.
The sonnets of Henry Wadsworth Longfellow are personal and introspective.
Most of them are drawn from the poet’s life experience (e.g. A Nameless Grave and The
Evening Star) or composed in homage to his fellow literary giants (Dante, Shakespeare,
Milton, etc.) I find his sonnets very beautiful in language and structure. His descriptive
and vibrant eloquence is conducive to musical text painting. Longfellow exclusively uses
2
the 4-4-3-3 line scheme of the Petrarchan form in his sonnets.1 The Petrarchan sonnet
form, so named for fourteenth-century poet Francis Petrarch, is Italian in origin (a
significant element discussed later in the current chapter), and is divided into two
segments: the first eight lines, or octave, and the last six lines, or sestet.2 There are many
variations available, but the exact rhyme scheme favored by Longfellow is most often:
abba cddc efg efg. It is interesting to note that the Petrarchan, or Italian form, is not as
often employed in English sonnets. There are differences in the language structure that
allow the Petrarchan form to work well in Italian, namely fewer different noun endings in
Italian than in English, which make the rhyme scheme somewhat easier than in English.3
The following sonnets are set to music in my composition: The Evening Star;
Autumn; Dante; The Cross of Snow; The Galaxy; The Sound of the Sea; A Summer Day
by the Sea; The Tides; A Shadow; A Nameless Grave; Sleep; Eliot’s Oak; Venice; The
Poets; St. John’s, Cambridge; Moods; Wapentake; and The Broken Oar. This list is the
chronological order as they appear in publication, and also the order in which they appear
in the composition. The first four sonnets were published together in an earlier
collection, but the remainder is drawn from the work published collectively as A Book of
Sonnets in 1875. Most of the sonnets from this collection share only the date of
publication in common with one another. There is little linkage and interaction among
them thematically, other than very broad categories, such as those composed in homage
to other writers.
1 Cecil B. Williams, Henry Wadsworth Longfellow (New York: Twayne Publishers, Inc., 1964): 144.
2 Elisabeth W. Schindler, Albert L. Walker, and Herbert E. Childs, eds., The Range of Literature, 3
rd ed.
(New York, Cincinnati, Toronto, London, Melbourne: D. Van Nostrand Company, 1973): 517–518. 3 Maurice B. McNamee, James E. Cronin, and Joseph A. Rogers, Literary Types and Themes, 2
nd ed. (New
York: Holt, Rinehart and Winston, Inc., 1971): 584.
3
Longfellow’s prowess as a sonneteer is rarely questioned—even by those who
otherwise criticize his work. Paul Elmer Moore printed an article in The Nation
(ca.1907) upon Longfellow’s centenary calling for publication of the sonnets as a
collection. The task was undertaken by Ferris Greenslet. Greenslet arranged the sonnets
in three groups: Personal Sonnets (twenty-one); Nature (seventeen); and The Life Letters
(twenty-four).4 Many sonnets, however, fit into more than one of these categories. There
are themes of nature in some of the personal sonnets, and personal and literary references
in the nature sonnets. Greenslet’s count of the sonnets also falls short of the at least
eighty written by Longfellow.
Greenslet’s appraisal of the sonnets ranks no single sonnet as great as those of
Shakespeare, Milton, or Wordsworth’s finest examples, but Greenslet finds the average
of excellence across the body of Longfellow’s sonnets to be incomparably high.5
Greenslet notes Longfellow’s dignity, repose of mood, nobly impassioned language, and
vivid imagery, among other traits, as hallmarks of his sonnets.6
Most of the sonnets are products of Longfellow’s later years. The earliest sonnet
is Mezzo Cammin (not one of the settings for this project), written in Longfellow’s thirty-
fifth year. Of the sonnets that I set to music, the two earliest are Dante and The Evening
Star, both written three years after Mezzo Cammin. Longfellow wrote half his sonnets
4 Edward Wagenknecht. Henry Wadsworth Longfellow: His Poetry and Prose (New York: Ungar Publishing
Company, 1986): 151–152. 5 On a personal note, I respectfully disagree with Mr. Greenslet on this issue. I have set Shakespeare texts
many times over the course of my career, and I find Longfellow’s sonnets every bit as beautiful, descriptive, artful, and excellent as those of Shakespeare, at least in this composer’s humble opinion. 6 Wagenknecht, 152.
4
between 1872 and 1876, and he continued to turn out the occasional sonnet until his
death.7
Cecil B. Williams illuminates Longfellow’s strong ties to things Italian. Several
of the sonnets have Italian locales, one of which, Venice, is included in this work.
Longfellow even composed one sonnet, Il Ponte Vecchio di Firenze, not in my
composition, in English, and to maintain his proficiency in Italian, translated his English
text into Italian.8 The sonnet in homage to Dante, which is included in this composition,
is perhaps the result of Longfellow’s many translations of the former writer’s works into
English.
The very concept of the sonnet is usually grounded in romantic love, but
Longfellow is not comfortable with the intimate language associated with romantic love
and sexuality in his sonnets.9 The Evening Star is his sole venture into the subject of
romantic love, evoking images of his second wife preparing to retire for the night.
Although Longfellow seems to be much more at home with themes other than romantic
love, his themes were no less personal and intimate, according to Arvin, who refers to
Longfellow’s themes of friendship, the love of children, and the bitterness of personal
bereavement.10
Various criticisms of Longfellow’s poetry notwithstanding, he is
repeatedly credited in the literature as the finest American sonneteer of the nineteenth
century.
7 Wagenknecht, 152.
8 Williams, 146.
9 Wagenknecht, 153–154.
10 Newton Arvin, Longfellow: His Life and Works (Boston, Toronto: Little, Brown and Company, 1962):
304–305.
5
The Concept
The idea for this project began with a commission to write a song setting for
baritone and piano for a recital. I was given free rein on musical language and the choice
of text. I began reading through the Longfellow sonnets and I was immediately taken
with them. Each new sonnet seemed to me as extraordinary as the one before it. I
ultimately selected A Nameless Grave for that initial project, with the idea that I would
someday set more of the sonnets, either as an extension of the setting of A Nameless
Grave, as a different project altogether, or even as multiple projects. This work is the
ultimate result.
There is a need for this work because it fills a niche between art song and
oratorio. The flexibility of the settings makes the work adaptable to the grandeur of the
concert hall as well as—in a projected piano reduction—to venues as intimate as the
coffee house. Singers may use these songs as staples in their repertoire for recitals, and
orchestras or choirs may program them for variety and to further spotlight guest vocal
soloists who are hired for other pieces on a program. The demands of the physical
development of the singer are likely to make these sonnets favorite pieces for more
advanced singers. I am also a singer, so I am sensitive to writing vocal lines the way I
believe most singers want to see them on the printed page and to how they prefer to sing
them; nevertheless, some of the songs require mastery and control of extremes of both
upper and lower ranges and long phrases, and thus require professional-level singers for
successful performance.
6
A significant and distinguishing feature of this project is its modular concept. The
cycle as a whole contains tonal, thematic, and harmonic relationships. In addition, each
module of four songs for each individual voice classification can be extracted, providing
a complete song cycle for that particular voice with these same kinds of relationships. On
an even smaller scale, each song, though related in some way to the greater whole, also
has the ability to stand complete on its own, so that one or a few songs may be selected to
suit concert or recital needs. Additionally, the songs for combined voices may be used
individually as a feature for soloists during a choral or symphonic concert.
Review of Literature/Historical Perspective
This work draws from experience with traditional oratorio and art song, and
influences from both combine to create something I believe is fresh, yet accessible. One
of the great challenges in the creation of a worthwhile new work is to create something
original using familiar musical language.
Works that have influenced my composition include some of the cantatas of
Johann Sebastian Bach for solo voices and multiple instruments. The chamber pieces for
voice and one or more instruments by Benjamin Britten and Ralph Vaughan Williams in
the twentieth century are undeniably influential to me at some level, since several of
these works are part of my voice repertoire. Four Hymns for tenor, viola, and piano, as
well as On Wenlock Edge, for tenor, piano, and string quartet are two Vaughan Williams
cycles I have performed in recital. I regularly use his Songs of Travel for students in my
voice studio. Britten’s Canticles series, originally written for tenor Peter Pears, is another
example of repertoire of this type. The oratorios of Felix Mendelssohn and George
7
Frederick Handel are influential models of large works for voices and orchestra.
Mendelssohn’s Elijah and Handel’s oratorios Samson, and, of course, Messiah are prime
examples of oratorio influence. The primary differences between these oratorios and this
work are the absence of a chorus in the current work and the lack of a cohesive story line
as is usually found in an oratorio.
Other German composers contributed large-scale song cycles: Ludwig van
Beethoven is believed to have written the first true modern song cycle with An die ferne
Geliebte. (This cycle of six songs with no break between them is also in my voice
repertoire.) Robert Schumann’s Liederkreis and Dichterliebe, as well as Franz
Schubert’s Die schöne Müllerin and Winterreise are extensive song cycles that
masterfully integrate complex relationships from song to song.
There is also an influence on my compositional voice from the piano
accompaniments by some of the greatest art-song composers. The Lieder of Richard
Strauss and of Schubert are often infused with orchestral qualities, as are the songs of
some of the French composers—Claude Debussy, Henri DuParc, and Gabriel Fauré. The
piano is a significant voice in my orchestra for this work. Its important role alludes to the
strong ties between voice and piano in art song over the past two-and-a-half centuries.
As for other settings of Longfellow’s sonnets, Michael Hovland’s bibliography
cites 1,223 works that take Longfellow’s poetry as their text. Of these, only three
employ any of the sonnets I chose for the current project. The Sound of the Sea was set
8
by Louis Coerne in his 1894 work Ten Songs, and by John Heiss in his cycle Songs of
Nature in 1978, and Frederic Walton composed a setting of Venice in an undated work.11
An interesting work that is similar in some ways to the proposed project is
William Bolcom’s setting of William Blake’s Songs of Innocence and Experience,
composed intermittently between 1956 and 1983. Bolcom set all of the poems in this
Blake collection using chorus, orchestra, and solo voices. It is a massive work that
requires large forces and extra, non-traditional instruments in the orchestra.12
11 Hovland, Michael, ed. Musical Settings of American Poetry. (New York: Greenwood Press, 1986):
177–238. 12
William Bolcom, Songs of Innocence and Experience vocal score/orchestral reduction (Milwaukee, WI: Hal Leonard Corporation, 1983).
CHAPTER 2
METHODOLOGY OVERVIEW AND ORDER OF SONNETS
Methodology Overview
This work presented myriad challenges. One of the first decisions to be made was
voice assignment for each text. It is important to choose which voice type is best suited
to color, or to communicate each text, and to best express the composer’s intentions for
each setting. As an example, I chose the tenor to sing The Evening Star, the only true
“love” sonnet Longfellow ever wrote, dedicated to his second wife. I wanted this setting
to be something very tender and lovely. I wanted the persona to be a male voice,
knowing that this poem was a personal sonnet from Longfellow to his wife, and even
though Longfellow reputedly possessed a big, deep voice in his speech a light lyric tenor
seemed to be the more appropriate choice to express the sentiment of the text.
Another challenge was the sheer size of the task. This work required a lot of
orchestration and formatting in addition to the compositional demands of the actual
setting of the texts. This is the largest single work in my career to date, comprising
approximately an hour and fifteen minutes of music.
The application of a variety of musical forms within the literary structure of the
fourteen lines of the sonnet afforded stimulating possibilities and challenges in setting the
10
sonnets. For example, for some sonnets it seemed most appropriate to use a modified
strophic form, setting up a kind of verse-chorus song form, while it seemed more
appropriate to through-compose some others.
Order of Sonnets
One of the many details over which I pondered was the order of the sonnets
within the work. I decided to divide the sonnets among the voices according to each
sonnet’s primary literary theme. Just as Greenslet divided the sonnets into categories of
personal, nature, and life letters,13
I devised a system of five broad categories, and
assigned to each category its own voice or voices. The soprano sonnets are primarily
nature-themed; there is some mystical element to each of the mezzo-soprano sonnets; the
tenor sonnets comprise Longfellow’s lone love sonnet and those concerned with places;
the baritone sonnets are all in homage to various people; finally the sonnets for two or
more voices are miscellaneous in their literary theme, but serve well as texts to be shared
between or among multiple voices.
I chose to put the sonnets in chronological order of original publication for the
purposes of the work as a whole. This arrangement does create asymmetry regarding the
placement of voices throughout the work; the first mezzo-soprano solo does not appear
until mid-way through the entire work; some voices have songs one after another; and
there are other small issues in that vein. Ultimately, however, the solo voices sing an
equal number of sonnets.
13
Edward Wagenknecht, Henry Wadsworth Longfellow: His Poetry and Prose (New York: Ungar Publishing Company, 1986): 152.
11
Even though each sonnet can be free-standing, I structured the entire eighteen-
song composition so that each separate module would have a logical tonal structure, and
so that the entire work—consisting of those interlocking modules—would also constitute
a tonally logical whole in the key of G.
This key arrangement is shown in figure 2.1:
Figure 2.1
Sonnets’ Order and Keys Overall work: Key of G 1. The Evening Star—Tenor—G 2. Autumn—Soprano—A 3. Dante—Baritone—Gm 4. The Cross of Snow—Tenor—Em 5. The Galaxy—Duet (Soprano and Mezzo)—Am 6. The Sound of the Sea—Soprano—F#m/A 7. A Summer Day by the Sea—Soprano—E 8. The Tides—Soprano—Am 9. A Shadow—Mezzo-Soprano—D 10. A Nameless Grave—Baritone—Cm 11. Sleep—Mezzo-Soprano—F 12. Eliot’s Oak—Mezzo-Soprano—A 13. Venice—Tenor—D 14. The Poets—Baritone—Bb 15. St. John’s, Cambridge—Tenor—Bm 16. Moods—Mezzo-Soprano—F#m 17. Wapentake—Baritone—D 18. The Broken Oar—Ensemble—Gm
Key Structure of Each “Module”
Soprano (A)—A, F#m/A, E, A
Mezzo-Soprano (D/Dm)—D, F, A, F#m
Tenor (G)—G, Em, D, Bm
Baritone (Gm)—Gm, Cm, Bb, D
Duet/Ensemble—Am, Gm (Incidental, but functions within the overall
scope of the work.)
12
The tonal centers of the opening and closing songs are G. Sonnet No. 2 uses the
supertonic as its tonal center, while sonnet No. 3 returns to G as its home key, although in
minor mode. Sonnet No. 4 in the work is in E minor, the relative minor of G. From
there, I decided to develop tonal areas of mediant-related keys: Sonnet No. 5’s tonal
center is A, and sonnet No. 6, The Sound of the Sea, explores two separate tonal areas
simultaneously—F-sharp minor in the “treble” sonic areas, and A major in the lower-
pitched register. Of course, these keys share the same key signature, so the effect is more
of an extended-chord major key area of A, rich with sevenths and ninths, yet very
consonant. Sonnet No. 7 breaks the mediant-related progression, and begins the climb
toward the overall dominant. Sonnet No. 9 is in the key of A, or the V/V, and arrives at
the work’s dominant, D, at the mid-way point for sonnet No. 9. Sonnet No. 10’s tonal
center is C, the subdominant of G, while C’s subdominant, F, is the tonal area for the
sonnet No. 11. Sonnets No. 12 and 13 return to A and D, respectively, to reiterate the
dominant of G. Sonnets No. 14 and 15 explore the minor and major mediant pitch
classes in a G-centered triad. Sonnet No. 16 is centered on F#, the leading tone to G,
moving to the final dominant in sonnet No. 17, and finally back to the overall tonal center
of G in sonnet No. 18.
Each individual song cycle also has a tonal plan. The soprano cycle tonal scheme
is: A–F#m/A–E–A, or tonic–submediant/tonic–dominant–tonic in A. The mezzo-soprano
tonal scheme is: D–F–A–F#m, outlining the D major and minor triads, or the dominant
in the overall tonal plan. The tenor tonal scheme is: G–Em–D–Bm, highlighting the
“home key” of G and its diatonic mediants. The baritone sonnets outline G minor with
their tonal scheme of Gm–Cm–Bb–D, or tonic–subdominant–mediant–dominant.
13
Finally, the sonnets for two or more voices are tonally unconnected to each other, but
function within the overall tonal scheme of the work. Figure 2.2 shows the tonal
relationships and progression in a brief reductive graph:
Figure 2.2: Reductive Graph of Entire Work:
CHAPTER 3
METHODOLOGY FOR THE SOPRANO SONNETS
The soprano’s sonnets are all nature-themed poems—especially texts with some
element of the sea as their catalyst. One distinctive feature of the soprano sonnets is the
pervasive text painting in the orchestration: the instrumental accompaniment takes time
to breathe a bit and create an atmosphere of the sea in a state of rest in The Sea and A
Summer Day by the Sea, and to evoke a stark, harsh emptiness of a vacant shore. The
text painting in the orchestration as well as the frequent meter changes create a
whimsical—almost playful—setting in Autumn, where the goal was to allude to the burst
of color of the season, the falling leaves, and the harvest. The overall range of the
soprano sonnets is B3(optional A3)–B5.
Autumn
1) Thou comest, Autumn, heralded by the rain,
2) With banners, by great gales incessant fanned,
3) Brighter than the brightest silks of Samarcand,
4) And stately oxen harnessed to thy wain!
5) Thou standest, like imperial Charlemagne,
6) Upon thy bridge of gold; thy royal hand
7) Outstretched with benedictions o’er the land,
8) Blessing the farms through all thy vast domain!
9) Thy shield is the red harvest moon, suspended
10) So long beneath the heaven’s o’erhanging eaves;
11) Thy steps are by the farmer’s prayers attended;
12) Like flames upon an altar shine the sheaves;
13) And, following thee, in thy ovation splendid,
14) Thine almoner, the wind, scatters the golden leaves!
15
Autumn is forthright in its text, simply expounding on the beauty and
characteristics of the season. There does not appear to be any sub-text intended by
Longfellow himself, though the reader could interpret it as a commentary on the beauty
of the human experience as we age. I have chosen to address it at face value—a sonnet
about the colors and changes brought about by autumn.
I interpret this sonnet as a bit whimsical, and so chose to set it in mixed meter.
The piano is the primary accompaniment for the first half of the piece—this time not
because of the parlor song allusion that is so prevalent in some of the other sonnets, but
rather for the sake of the piano on its own merit. The pizzicato bass doubling the piano’s
left hand for the first part of the piece and sounding an octave below is written not only
for the sake of reintroducing the lower register, but to reinforce the rhythmic foundation
as well.
The harmonic structure remains largely diatonic, despite the occasional borrowed
chord, with a few notable exceptions. There is a prolonged area of C in mm. 36–48,
followed by a combination of circle-of-fifths progression and mediant-related common
tone chords until m. 53, when the diatonic dominant returns, setting up the authentic
cadence in A in m. 56.
The brief ostinato in the strings, mm. 76–88, in the relative minor under the text
from line 12, “Like flames upon the altar shine the sheaves;” is meant to suggest a dance,
as would possibly be found in the culture of some indigenous peoples, without resorting
to caricature. The conspicuous absence of percussion, with the exception of piano and
tambourine, is to deliberately avoid caricature. The chord structure under the last few
16
lines, 13 and 14, is intended to build tension and prolong pre-dominant harmony (II6,
Fr+6/V, iii6, V
7) before returning to the opening motif.
Autumn is related to the rest of the soprano cycle and to the work as a whole
through its tonality. I intentionally did not employ in this setting any themes or motives
that are shared with others in order to provide a bit of contrast in style and tempo within
the soprano songs.
The Sound of the Sea
1) The sea awoke at midnight from its sleep,
2) And round the pebbly beaches far and wide
3) I heard the first wave of the rising tide
4) Rush onward with uninterrupted sweep;
5) A voice out of the silence of the deep,
6) A sound mysteriously multiplied
7) As of a cataract from the mountain’s side,
8) Or roar of winds upon a wooded steep.
9) So comes to us at times, from the unknown
10) And inaccessible solitudes of being,
11) The rushing of the sea-tides of the soul;
12) And inspirations, that we deem our own,
13) Are some divine foreshadowing and foreseeing
14) Of things beyond our reason or control.
The Sound of the Sea is one of the shorter settings in the composition, but no less
substantial than any of the longer pieces. I employed a modified strophic form for this
sonnet. The piano is featured prominently in this sonnet to suggest early twentieth-
century parlor song, a recurring element in the work as a whole. The piano also provides
a point of reference for the location of the split between diatonic polytonal areas: F#
minor above middle C, and A Major below middle C. The piano provides a convenient
and tasteful way to lend a sense of cohesiveness to the harmonic and melodic structures,
while still enabling the two simultaneous tonal areas to function independently of one
17
another. The frequent vertical sonority of first-inversion chords with added color tones is
reminiscent of French art songs by Fauré and Duparc.
From a literary standpoint, the sonnet suggests, like a voice rising from the
rushing of the sea, a waterfall gushing from the side of a mountain, or the roar of wind
through a wooded thicket, that the inspirations we believe to be our own are divinely
granted to us beyond our reason or control. The string section creates effects to suggest
some of these descriptive elements of the text.
One significant feature of this piece is found in mm. 9–11, and is a good example
of text painting in the orchestration. The text for these measures is from line 3, “I heard
the first wave of the rising tide.” A rising sixteenth-note figure creates a sweeping effect
through these measures—a wave. The dynamic reflects an ebb and flow as well,
beginning softly, swelling to mezzo-forte, and then trailing off to pianissimo.
Another area of interest follows in the treatment of line 4, “Rush onward with
uninterrupted sweep.” The text “…uninterrupted sweep” is deliberately set in a
syncopated rhythm, across the bar lines and somewhat against the prevailing meter, as
though to will that the wave not be interrupted.
18
Example 3.1: The Sounds of the Sea mm. 9–13
One last feature of note in this sonnet is a continuation of the colorful orchestration in
mm. 30–32. The text is line 11, “The rushing of the sea-tides of the soul;” and I used a
mixture of tremolo in the lower strings with a jagged intervallic and rhythmic line that
covers a wide range in the first violins, along with a dynamic swell and quick
decrescendo to suggest a wave crashing against the jagged rocks.
19
Example 3.2: The Sound of the Sea mm. 30–32
This sonnet is a bit more intimate in its setting and orchestration than some of the
others in this work. It shares no thematic material with the others, and although the two
keys are relatives of each other, it is nonetheless polytonal by definition. These
exceptions aside, it has stylistic elements in common with other pieces in the work; the
strophic form that is used in a few of the other sonnets, the genteel melodic lines that are
not unlike lines in The Evening Star and in a few other sonnets, and its tonal function
within the overall harmonic structure.
20
A Summer Day by the Sea
1) The sun is set; and in his latest beams
2) Yon little cloud of ashen gray and gold,
3) Slowly upon the amber air unrolled,
4) The falling mantle of the Prophet seems.
5) From the dim headlands many a lighthouse gleams,
6) The street-lamps of the ocean; and behold,
7) O’erhead the banners of the night unfold;
8) The day hath passed into the land of dreams.
9) O summer day beside the joyous sea!
10) O summer day so wonderful and white,
11) So full of gladness and so full of pain!
12) For ever and for ever shalt thou be
13) To some the gravestone of a dead delight,
14) To some the landmark of a new domain.
A Summer Day by the Sea is another of Longfellow’s nature sonnets that slowly
unfurl one picturesque element after another. I reflect this pacing in the musical setting
with the pedal tones in the low strings. While Longfellow wrote many nature sonnets
simply for the sake of extolling nature’s attributes, this sonnet has a bit of a twist in the
last two lines that, in my opinion, gives it a little more depth than some of the other
nature sonnets. “To some the gravestone of a dead delight,” could mean that Longfellow
is making note of simple pleasures, like a summer day by the sea, that are taken for
granted or forgotten—or perhaps it means that the things once enjoyed fade to those who
no longer find joy in life or have experienced tragedy. But then he counters that line with
something much more optimistic in the hope and promise of, “To some the landmark of a
new domain.” I find nothing in the literature that clarifies this passage one way or
another, so for the purposes of this setting, I leave the listener to her or his interpretation.
The pedal drone on a P5 in the low strings is inspired by the first words of the
sonnet, “The sun is set;” and is meant to evoke a sense of serenity. The first harmony
21
heard is a polychord: F#m over the pedal tonic and dominant. This lush voicing resolves
to tonic and oscillates between the two sonorities throughout the introductory measures.
This setting is about nuance—the small things that unfurl slowly over time, just as
Longfellow accomplishes the same with the text.
An important connecting feature happens in mm. 65–69, the setting of lines 9 and
10, “O summer day beside the joyous sea! O summer day so wonderful and white.” This
passage is shared with the line in A Nameless Grave, “Thou unknown hero sleeping by
the sea In thy forgotten grave!” A few modifications, besides the obvious change in key,
were required to adapt this passage to A Summer Day by the Sea; the most important
adjustment is to the meter, which is 3/4 in A Nameless Grave, but changes to a 4/4 meter
to better accommodate the flow of the text in A Summer Day by the Sea. This brief but
harmonically dense tonal area is the vehicle for antithetical texts, yet it works well in both
settings.
22
Example 3.3: A Summer Day by the Sea mm. 65–69
One more connection between this and another piece in the work is a loose
sharing of melodic content with The Broken Oar. The melody for line 13, “To some the
gravestone of a dead delight,” in mm. 75–77 in A Summer Day by the Sea is closely
related to the treatment of line 13 of The Broken Oar, “He wrote the words, then lifted up
his head.”
23
The Tides
1) I saw the long line of the vacant shore,
2) The sea-weed and the shells upon the sand,
3) And the brown rocks left bare on every hand,
4) As if the ebbing tide would flow no more.
5) Then heard I, more distinctly than before,
6) The ocean breathe and its great breast expand,
7) And hurrying came on the defenceless land
8) The insurgent waters with tumultuous roar.
9) All thought and feeling and desire, I said,
10) Love, laughter, and the exultant joy of song
11) Have ebbed from me for ever! Suddenly o’er me
12) They swept again from their deep ocean bed,
13) And in a tumult of delight, and strong
14) As youth, and beautiful as youth, upbore me.
The Tides is one of Longfellow’s sea-themed nature sonnets with implications of
a meaning that goes beyond the observation of the tidal ebb and flow of the ocean. In
writing about the long line of the distant shore, and the sea-weed, shells, and rocks laid
bare, Longfellow paints a stark portrait of traits that transcend the physical into the realm
of human despair. I found no literary criticism, historical information, or analyses for
this sonnet, but given the sheer number of hardships the poet faced in his lifetime, it is
easy to imagine that this sonnet was a product of Mr. Longfellow’s deeply personal pain.
The musical setting is as stark and bleak as the poem itself. The long, sustained
bass notes, punctuated by woodwind motifs that seem to stab at nothingness, seem to
create a sense of emptiness. The sustained vocal line on the tonic also gives a forlorn
sense of crushing despair—someone who has nothing left within them. This through-
composed sonnet contains one more noteworthy feature in mm. 33–42. Lines 9–11 are
set to the notes of a whole-tone scale, which is a useful tool for creating a sense of
starkness. The contrast of a moment of abandon in the lush chords of mm. 52–55
24
provides a brief respite from the harsh loneliness of the darker parts of the sonnet, only to
suddenly cut off to leave the voice alone to finish the last two words of the text before
finishing the setting with a strong punch in the orchestra.
This sonnet relates to the others in the tonal relationship it enjoys within the work,
and in sharing a countermelody accompaniment motif that later appears in the ensemble
sonnet, The Broken Oar. The very high accompaniment figure in the piccolo and flute,
mm. 24–29, recurs in The Broken Oar both as introductory material and for the last
measures.
CHAPTER 4
METHODOLOGY FOR THE MEZZO-SOPRANO SONNETS
The sonnets for mezzo-soprano perhaps feature the most eclectic mixture of styles
within any of the modules in this work. They are also perhaps my favorite single song
cycle within the work. Two of the sonnets—Moods and Sleep, are marked by a
distinctive jazz element. A Shadow uses the rich color palette of the woodwind section,
and Eliot’s Oak suggests Native American elements using a pentatonic collection. The
mezzo-soprano sonnets contain some of the most memorable melodies in the work as
well. The mezzo-soprano sonnets all have a metaphysical theme in some way.
The range of the mezzo-soprano sonnets is A3(optional down to E3)–A5.
A Shadow
1) I said to myself, if I were dead,
2) What would befall these children? What would be
3) Their fate, who now are looking up to me
4) For help and furtherance? Their lives, I said,
5) Would be a volume wherein I have read
6) But first chapters, and no longer see
7) To read the rest of their dear history,
8) So full of beauty and so full of dread.
9) Be comforted; the world is very old,
10) And generations pass, as they have passed,
11) A troop of shadows moving with the sun;
12) Thousands of times has the old tale been told;
13) The world belongs to those who come the last,
14) They will find hope and strength as we have done.
26
A Shadow ponders the welfare of those we leave behind when we depart this life.
The sonnet is plain-spoken in its content and intent. It begins with the anxiety the writer
has over whether or not he had provided well enough for his children in the event of his
passing. The poem, however, progresses in a positive vein—first expressing wonder at
the potential of their lives in lines 4–8, and then taking comfort in the fact that
generations have come and gone from the beginning of time—they will continue to come
and go and find strength to make it through the adversity that is this life.
I chose to use the palette of color from the woodwinds to begin this piece. This
scoring allowed me to introduced a new timbre into the orchestration every few seconds
throughout the introduction—an awakening of sorts. I wanted to be sure that even
though the first vocal lines ponder the question about what happens to those in our care
after we pass on, it is by no means a dark or morbid dwelling on the subject. Death is not
the enemy in this instance, but rather the inevitable fate that awaits us all. The opening
line, “I said unto myself, if I were dead…” is repeated three times in the setting, with
emphasis placed on a different part of the phrase in each delivery. This varied repetition
conveys a pondering of the query in a factual manner rather than a brooding about
tragedy or the inevitability of death. The bassoons provide the harmonic framework from
the entrance of the vocal line in m. 12 through the first forty-three measures. Their
constant presence gives warmth to the texture against the other woodwinds, which are
heard in turn.
The accompaniment figure introduced in the clarinets in mm. 20–23 is important
to the development of this setting.
27
Example 4.1: A Shadow mm. 20–23
It returns as a more prominent feature in mm. 44–51 in the strings, and is used to
modulate to the dominant, and it is used in mm. 69–71, where it is used to return to the
home key.
In my opinion, one of the more memorable melodies in the entire work is the
vocal line in mm. 68–76—the setting for lines 9–11 of the sonnet, “Be comforted; the
world is very old, And generations pass, as they have passed, A troop of shadows moving
with the sun;” distill into a few lines the entire meaning of the poem.
Example 4.2: A Shadow mm. 68–76
This piece is connected to the other sonnets in its tonal function within the work
as a whole, and, although there are some recurring elements, it is through-composed. The
most significant connection it has to the work as a whole is that it is the midpoint of the
work, and also the arrival of the dominant.
28
Sleep
1) Lull me to sleep, ye winds, whose fitful sound
2) Seems from some faint Æolian harp-string caught;
3) Seal up the hundred wakeful eyes of thought
4) As Hermes with his lyre in sleep profound
5) The hundred wakeful eyes of Argus bound;
6) For I am weary, and am overwrought
7) With too much toil, with too much care distraught,
8) And with the iron crown of anguish crowned.
9) Lay thy soft hand upon my brow and cheek,
10) O peaceful sleep! until from pain released
11) I breathe again uninterrupted breath!
12) Ah, with what subtle meaning did the Greek
13) Call thee the lesser mystery at the feast
14) Whereof the greater mystery is death!
Sleep is a sonnet that imparts tidings of comfort and peace, while still pondering
larger issues of life and death. Longfellow, as he does with some of his other sonnets,
refers to the gods of Greek mythology14
in this sonnet. This is another multi-faceted text
that can simultaneously mean both literal sleep and sleep as a metaphor for death.
Longfellow asks the question forthrightly in the final lines. I believe this poem to be yet
another personal reflection of Longfellow’s pain and trials in life, to the point of
embracing and welcoming the sweet release of death.
The setting for this sonnet uses the language of jazz in its instrumentation and
harmonic progressions—specifically the influence of the so-called “sweet” stylings of the
Big Band-era jazz orchestras of Glenn Miller, Harry James, and Benny Goodman.
Despite the ancient references to Greek mythology, jazz seemed to be the right idiom to
14
The character Hermes was the god of many different aspects of Greek life, but his primary role was as the messenger to Zeus. According to the story, Io, who was the love of Zeus, was turned into a cow to disguise and protect her from the goddess Hera. When Hera took possession of Io, the giant Argus (usually spelled “Argos”) was the herdsman assigned to watch Io. Hermes was instructed by Zeus to steal Io back from Hera (which is why Hermes is also the god of thievery), but when he was found out, he was forced to slay the giant. Atsma, Aaron J. “Hermes: Greek God of Herds, Trade and Athletics, Herald of the Gods Mythology with Pictures” http://www.theoi.com/Olympios/Hermes.html
29
convey both the conflict within the author and the peacefulness imparted by sleep. The
traditional orchestra, including the orchestra for this work, does not typically use the
saxophone, a staple of jazz ensembles. Nevertheless, I still wanted to create the effect of
a saxophone section for the first few bars of the introduction. I scored the double reeds in
a typical sax–section voicing with the melody doubled at the octave and the harmonies
sandwiched tightly within that octave span of the melody. The effect is only used in the
first four bars, but it is enough to create the desired result. Besides the double reed “sax
section” described above, the prominent instruments in this movement are the piano, the
vibraphone, solo pizzicato bass, brushed snare drum, and muted trumpet. The harp is also
used at the beginning of the piece to soften the lines and set the piece up as a kind of
lullaby for adults.
The piece is a ternary form, comprising an A section in mm. 7–34 and lines 1–8, a
through-composed B section in mm. 35–55 and lines 9–11, and a C section from m. 56
through the end, and using lines 12–14 .
One of the important features within the work is the chromatic descending bass
line, idiomatic of jazz ballads. It creates momentum to push through the progression, and
has a variety of specific uses: as an introduction, as an instrumental tag at the end of the
“verses” of the strophic portion of the first half of the sonnet, and as a foundation for the
trumpet solo featured in the middle of the work. Although the piece is in F, there is a
strong turn toward d minor every time the descending bass line sets up the framework for
the progression Dm—A7/C#—D m7/C—Dm/B—? Each occurrence of the progression
ends differently. The first time, beginning in m. 5, it progresses to BbM7—C7—F. The
30
second time it occurs, beginning in m. 20, it goes to G7—C7—F. The third and final
time it appears, under the trumpet solo, it ends with BbM7—Am—G7—C—F.
Another area of harmonic interest occurs in mm. 35–39, employing a circle-of-
fifths progression with some chromatic inflection. A circle-of-fifths progression is again
used to return to the tonic in mm. 52–56. The last three measures employ quartal
harmony with the tonic as the foundation to provide a sense of completion of the sonnet,
yet maintaining a sense of open-endedness to color the last three lines of the text, “Ah,
with what subtle meaning did the Greek Call thee the lesser mystery at the feast Whereof
the greater mystery is death!”
Sleep is connected to the other pieces in the work because of its contribution to
the development of the tonal scheme. It is also connected to Moods because of its use of
jazz elements, and it is connected, too, to the final jazz-infused chords in the piano in
Dante.
Eliot’s Oak
1) Thou ancient oak! whose myriad leaves are loud
2) With sounds of unintelligible speech,
3) Sounds as of surges on a shingly beach,
4) Or multitudinous murmurs of a crowd;
5) With some mysterious gift of tongues endowed,
6) Thou speakest a different dialect to each;
7) To me a language that no man can teach,
8) Of a lost race, long vanished like a cloud.
9) For underneath thy shade, in days remote,
10) Seated like Abraham at eventide
11) Beneath the oaks of Mamre, the unknown
12) Apostle of the Indians, Eliot, wrote
13) His Bible in a language that hath died
14) And is forgotten, save by thee alone.
31
The subject of Eliot’s Oak is John Eliot, seventeenth-century missionary to the
American Indians, who undertook the task of translating the Bible into Native American
languages.15
He was called “The Indian Apostle.” This sonnet is about an old oak tree
whose age and location, in the poet’s imagination, might have allowed Eliot to write
“underneath [its] shade.”
The most distinctive feature of this piece is the division of strings into two
groups—one group for pitch content, and another group to provide an underlying
“murmur” throughout the entire piece by playing col legno passages in contrasting
rhythms. The note content and precise rhythms for the col legno group are not important.
The murmur effect is shaped by varying the dynamic level, density, and pitch content
strata throughout the score. To clarify, although the individual pitches played by the col
legno group are not clearly heard, the general range in which they are playing will be
perceived. There is a modulation to E Major in mm. 55–6 8, and it is there that the col
legno group rises by the interval P5. While exact pitch content is still of secondary
importance, the overall tessitura of the murmur is raised enough for listeners to perceive a
difference in timbre. The change in tessitura of the col legno happens again in m. 69,
after the return to the tonic key. The col legno strings are used as introductory material,
and they are also the last thing heard in this setting.
This piece is connected to the rest of the work primarily through its tonality
within the overarching tonal scheme and its use of text painting in the orchestration.
15 Curtis, Ken “John Eliot Apostle to Indians” http://www.christianity.com/ChurchHistory/11630089/
32
Moods
1) O that a Song would sing itself to me
2) Out of the heart of Nature, or the heart
3) Of man, the child of Nature, not of Art,
4) Fresh as the morning, salt as the salt sea,
5) With just enough of bitterness to be
6) A medicine to this sluggish mood, and start
7) The life-blood in my veins, and so impart
8) Healing and help in this dull lethargy!
9) Alas! Not always doth the breath of song
10) Breathe on us. It is like the wind that bloweth
11) At its own will, not ours, nor tarries long;
12) We hear the sound thereof, but no man knoweth
13) From whence it comes, so sudden and swift and strong,
14) Nor whither in its wayward course it goeth.
Moods is the second setting in this work that alludes to jazz elements, this time
mostly in its harmonic language. The instrumental emphasis in Moods is primarily on the
piano and voice, with English horn added as the primary color instrument. The very first
line of the sonnet, “O that a song would sing itself to me,” was an obvious invitation to
join verse and music together. The title and content of the sonnet inspired me to strive to
set up something a bit off-kilter and hypnotic. The 5/4 meter at the beginning helps
create a flow that absorbs the listener and pushes the music forward until it gets to the
contrasting section later in the piece. Like Sleep, this setting is a jazz ballad, but more in
the vein of standards-singers such as Billie Holiday, Ella Fitzgerald, and Sarah Vaughan.
The piece is in ternary form. The A section, mm. 1–70, opens with modified
strophic structure for the first four lines of the sonnet which are then repeated. These
lines are set as recurring “verses,” the term here applied in reference to recurring material
found in popular song structure (i.e., verse—chorus). The move toward a whole-tone
collection in m. 71, the beginning of the B section, is used to temporarily obscure a tonal
33
center for lines 9–11, “Alas! Not always doth the breath of song Breathe on us. It is like
the wind that bloweth At its own will, not ours, nor tarries long.” The use of the whole-
tone collection in this sonnet serves the same purpose as the use of the whole-tone
collection in The Tides—to impart a sense of starkness. The piano reenters in m. 83,
signaling a return to the home key, and the start of the A' section. The pining line “O
that a song would sing itself to me!” is played out in fragments in mm. 106–113.
This song is connected to the work as a whole because of its tonality. It is
connected to the setting of Sleep because of its heavy jazz influence and the circle-of-
fifths progression in portions of the piece. One other connection is the undulating minor
second accompaniment patterns in the viola in mm. 2–4, which are also found in one
form or another in The Evening Star and The Broken Oar.
CHAPTER 5
METHODOLOGY FOR THE TENOR SONNETS
The tenor sonnets have places or love as their theme. The first two, The Evening
Star, and The Cross of Snow are about Longfellow’s second wife, Fanny. The former is
Longfellow’s one “love” sonnet, and the latter is a reflection upon her memory eighteen
years after her tragic passing. St, John’s, Cambridge, and Venice are both sonnets about
locations. The tenor sonnets contain moments of great tenderness, unspeakable sadness,
as well as moments of power and admiration. The Evening Star is the first sonnet
performed if the work is performed in order. The range of the tenor’s songs extends from
D3(optional down to B2)–D5.
The Evening Star
1) Lo! In the painted oriel of the West,
2) Whose panes the sunken sun incarnadines,
3) Like a fair lady at her casement, shines
4) The evening star, the star of love and rest!
5) And then anon she doth herself divest
6) Of all her radiant garments, and reclines
7) Behind the sombre screen of yonder pines,
8) With slumber and soft dreams of love oppressed.
9) O my beloved, my sweet Hesperus!
10) My morning and evening star of love!
11) My best and gentlest lady! even thus,
12) As that fair planet in the sky above,
13) Dost thou retire unto thy bed at night,
14) And from thy darkened window fades the light.
35
The Evening Star, as mentioned in chapter 1, is the only true love sonnet
composed by Longfellow. The sonnet expresses the beauty Longfellow finds in his
second wife, Fanny—both that beauty which is physically seen and that which radiates
from within, described in the simplicity of the routine of preparing to sleep for the night.
Indeed, Fanny is “the evening star” or as Longfellow borrows from Greek mythology, his
“sweet Hesperus.” To add another layer of meaning to the metaphor, the star in question,
“Hesperus,” is actually the planet Venus, which of course is named for the goddess of
love.
In The Evening Star, the gentleness and lilt of a lyric tenor voice conveys the
tender expressions of love. The color palette of the woodwind section is significant in
accomplishing a shimmering background of interwoven contrapuntal lines in
coordination and on an equal footing with the vocal line. The orchestra is not merely
there for accompaniment in this sonnet, but rather is an equal collective voice expounding
on the text through tones. The Evening Star is the very first sonnet in the entire work,
and the piano is prevalent throughout this sonnet, introducing the allusion to early
twentieth-century parlor song that is heard throughout the composition.
A word or two regarding the significance of the role of the piano in this sonnet:
the piano introduction establishes G as the tonal center not only for this sonnet, but also
for the work. This introduction, in 3/4 meter, also establishes the aforementioned parlor
song element. The piano part gives way to the harp part beginning in m. 24, in order to
represent the transformation of the piano into an almost dream-like state along with the
added colors of the woodwinds in counterpoint. The piano reenters in m. 39 in order to
36
be present for the return of the introductory material at the end. We see later how this
introductory piano theme is inverted and differently employed in The Cross of Snow.
Example 5.1: The Evening Star mm. 1–2
A feature that connects this song with the larger work is found in mm. 13–14,
where the viola begins an oscillation between B and middle C. This undulating pattern
returns in mm. 37–40, and is a recurring accompaniment element that appears in various
forms, sometimes at the interval of a minor second, and sometimes as a major second in
some of the sonnets throughout the work. Other sonnets using this motif are The Cross of
Snow, Moods, and The Broken Oar. Other instruments are gradually added in as the
piece progresses to create the sense of an awakening or a blossoming.
The form of this sonnet is a modified strophic song form. The first strophe
encompasses lines 1–4 of the sonnet; the second strophe sets lines 5–8. The third
strophe, using lines 9–12, finds the established melody (which to this point, had been in
the vocal line) in the flute, while the tenor has a newly-composed countermelody. Lines
13 and 14, set in mm. 41–47, are modifications of the closing measures of each of the
strophes. The closing measures are a return to and slight embellishment of the piano
introduction.
37
The Cross of Snow
1) In the long, sleepless watches of the night,
2) A gentle face—the face of one long dead—
3) Looks at me from the wall, where round its head
4) The night-lamp casts a halo of pale light.
5) Here in this room she died; and soul more white
6) Never through martyrdom of fire was led
7) To its repose; nor can in books be read
8) The legend of a life more benedight.
9) There is a mountain in the distant West
10) That, sun-defying, in its steep ravines
11) Displays a cross of snow upon its side.
12) Such is the cross I wear upon my breast
13) These eighteen years, through all the changing scenes
14) And seasons, changeless since the day she died.
The Cross of Snow was written eighteen years after the tragic death of
Longfellow’s second wife, Fanny, who is both the subject and the dedicatee of The
Evening Star. His grief, no less palpable nearly two decades after her passing, is poured
into these fourteen lines.
This piece is through-composed. The setting is purposely stream-of-
consciousness driven, as though the text is being spoken, or in this case sung, for the first
time. This effect is accomplished by lingering on some key words in the sonnet, as
illustrated in the following examples.
Example 5.2: The Cross of Snow mm. 17–22
38
Example 5.3: The Cross of Snow mm. 82–86
The piano introduction from The Evening Star is inverted, now in the key of E minor, and
used as an introduction in the oboes. The inverted theme is used as an accompaniment
figure in m. 7, again in the oboe. It appears once more as a transitional idea in mm. 23–
26, still retained in the oboes. The inverted theme happens in mm. 32–34 in the first
clarinet. It is truncated and modified, but clearly derived from the opening material, and
the final appearance of the theme is again in the oboes in mm. 94–95.
The stream-of-consciousness element factors into certain lines that seemed
particularly relevant and painful. The first part of line 5, “Here in this room she died,”
required some space—as though it is still too horrific to state. Similarly, the contrast
between the “soul more white” and “martyrdom of fire” that plays out over the course of
mm. 27–62, is a programmatic microcosm of the terrible event. The excursion into A
minor at m. 47 raises the dramatic tension of both the text and the music, leading to the
arrival at the dominant, B minor, at m. 53 before “burning down and cooling” through
m. 58.
A unifying motif is used in mm. 71–74 for line 10, “That, sun-defying, in its deep
ravines.” The same melodic line is used, in a different key, in line 3 of The Galaxy:
“Like gold and silver sands in some ravine.”
39
The climax of the piece occurs in mm. 75–78, with line 11, “Displays a cross of
snow upon its side.” The high C in the tenor, and the temporary change of mode to E
major gives a moment of repose and hope to the otherwise darkness of the sonnet.
Measures 82–93 return to the stream-of-consciousness component in the repetition of
text. Measures 87–92 sustain the minor dominant, with the repeated B in the vocal line to
illustrate line 14, “And seasons, changeless since the day she died.”
Venice
1) White swan of cities, slumbering in thy nest
2) So wonderfully built among the reeds
3) Of the lagoon, that fences thee and feeds,
4) As sayeth thy old historian and guest!
5) White water-lily, cradled and caressed
6) By ocean streams, and from the silt and weeds
7) Lifting thy golden filaments and seeds,
8) Thy sun-illumined spires, thy crown and crest!
9) White phantom city, whose untrodded streets
10) Are rivers, and whose pavements are the shifting
11) Shadows of palaces and strips of sky;
12) I wait to see thee vanish like the fleets
13) Seen in mirage, or towers of cloud uplifting
14) In air their unsubstantial masonry.
Venice is one of the sonnets about which I could find no historical information. I
can only assume that its text can be taken at face value, in praise of the city, and that it is
the product of Longfellow’s affinity for all things Italian.
The form of my setting is best described as irregular rounded binary, in that the
first eight lines are a modified strophic form, musically connected through lines 1–4 and
5–8, and the sestet, lines 9–14, is through-composed. The beginning descriptive lines for
the city, “White swan of cities…White water lily…White phantom city,” along with the
40
truncated fragment of line 12, “I wait to see thee,” are drawn together with the motivic
idea from the strophic material.
The harmonic language of this sonnet is simple and direct, yet noble. One area of
harmonic interest is mm. 5–6. A descending mediant progression is used. D: vi—iv—
V/V. A circle-of-fifths progression plays out in mm. 9–11. F#(V/vi)—B7(V7/ii)—
E(V/V)—A7(V
7)—D(I
6). This same progression is found in mm. 23–25. The first chord
of m. 26 may be interpreted two different ways—either as V/vi with an added sixth, or as
a first-inversion I+7. Its dominant function to B is the same regardless of which
interpretation is chosen, setting up another circle-of-fifths progression into m. 27. A
Fr+6 begins m. 29, setting up the strong authentic cadence. Both the area in mm. 3–13
and that in mm. 20–31 are areas of prolongation—deliberately avoiding a strong
authentic cadence. Even when the root position I is encountered during these passages, it
is always either in the form of a I7 (m. 11), suspension (m. 28), or heard very briefly and
immediately destabilized with a non-chord tone (mm. 8 and 25).
The change of mode in m. 36 is preceded by another small harmonic ambiguity.
The last half of m. 34 is a deliberately misspelled augmented sixth chord in the harp that
sounds like a suspension. It is actually an incomplete Fr+6 with the tonic missing,
moving to a complete It+6. The reappearance of D major in mm.40–45 begins another
interplay of the circle-of-fifths and mediant-related chord structures: D7—G—B
7—Em—
G—C—E-flat—C7—Fm
9—Am. The return to D major begins in m. 46: V/V—It+6—
Fr+6—V—I.
This sonnet is connected to the rest of the work because of its tonal implications
within the framework of the rest of the cycle.
41
St. John’s, Cambridge
1) I stand beneath the tree, whose branches shade
2) Thy western window, Chapel of St. John!
3) And hear its leaves repeat their benison
4) On him, whose hand thy stones memorial laid;
5) Then I remember one of whom was said
6) In the world’s darkest hour, ‘Behold thy son!’
7) And see him living still and wandering on
8) And waiting for the advent long delayed.
9) Not only tongues of the apostles teach
10) Lessons of love and light, but these expanding
11) And sheltering boughs with all their leaves implore,
12) And say in language clear as human speech,
13) ‘The peace of God, that passeth understanding,
14) Be and abide with you for evermore!’
St. John’s, Cambridge is a location sonnet, reflective in thought and purpose.
This sonnet is infused with elements of the sonnets themed nature and mystical. Its
central theme is that God is found all around us in that even the trees impart His peace.
I chose to use elements of Celtic music in this setting, constructing a folk-like
melody and using a solo “fiddle” and flute/piccolo as the primary colors in the
orchestration—along with a floor tom to allude to the bodhran, which is a Celtic drum.
The flute and fiddle lines are embellished with grace notes—a typical feature found in
Celtic music. The strophic melody is deliberately rigid in that there is some discontinuity
between text painting and the “will of the tune” to progress. I took care to accentuate text
properly by emphasizing more important words by a change in register or note duration.
The demands of the tenor are extensive in this setting, which requires use of both lower
and extreme upper registers. This setting is for a professional-level singer. In m. 91, the
strophe is given to the solo fiddle and piccolo while the tenor has a newly-composed
countermelody—a feature found in some of the other sonnets as well. The break away
42
from the strophic material occurs at m. 119, with a lush wash of strings and a simple,
plaintive melody sung by the tenor using the text, “Not only tongues of the apostles teach
lessons of love and light.” The mode change from B minor to B Major happens in m.
146, and lasts until m. 172. The orchestra plays the introductory figure in mm. 175–180
in the original mode, but ending with a Picardy third.
This sonnet is connected to the rest of the work through its place in the tonal
scheme, as well as sharing the characteristic of the countermelody in the voice singing
over a previously introduced primary melody in the accompaniment.
CHAPTER 6
METHODOLOGY FOR THE BARITONE SONNETS
The texts chosen for the baritone sonnets were written by Longfellow in homage
to a person or persons. Dante was written for its namesake, Wapentake was dedicated to
Alfred Tennyson, A Nameless Grave was written in memory of an unknown Union
soldier, and The Poets was written in homage to Longfellow’s predecessors. The idea for
this entire work began with the setting of A Nameless Grave. The range of the baritone
sonnets is G2–F4(optional up to G4).
Dante
1) Tuscan, that wanderest through the realms of gloom
2) With thoughtful pace, and sad, majestic eyes,
3) Stern thoughts and awful from thy soul arise ,
4) Like Farinata from his fiery tomb.
5) Thy sacred song is like the trump of doom;
6) Yet in thy heart what human sympathies,
7) What warm compassion glows, as in the skies
8) The tender stars their clouded lamps relume!
9) Methinks I see thee stand, with pallid cheeks,
10) By Fra Hilario in his diocese,
11) As up the convent-walls, in golden streaks,
12) The ascending sunbeams mark the day’s decrease;
13) And, as he asks what there the stranger seeks,
14) Thy voice along the cloister whispers, ‘Peace!’
44
Dante, in homage to the great Italian poet Dante Alighieri, references several of
Dante’s characters found in his Divine Comedy. The Tuscan is Dante himself. Farinata, a
real person who was also written into Dante’s work as a character, was “posthumously
executed,” along with his wife in that their bodies were exhumed and burned. Fra Hilario
is another character found in the Divine Comedy.
The piece is in G minor, and remains largely diatonic throughout, with the
exception of a few embellishing chords interspersed throughout the setting. Although
there are some repeated motifs, the piece is through-composed, with a constant dramatic
build to m. 45, which ends line 12, “The ascending sunbeams mark the day’s decrease.”
There is a distinctive piano figure in mm. 37–44 with the quick rolled-chord eighth-note
triplets, leading to the fuller rolled-chord release of m. 45 to the end, where jazz voicings
are employed.
The triplet accompaniment figure that runs through this setting from the very
beginning is also used elsewhere in the cycle. One other element, besides the tonal center,
that connects this piece to the rest of the work is the use of jazz harmonies in the piano
part in the last few measures, which create a connection to Sleep and Moods.
45
A Nameless Grave
1) ‘A soldier of the Union mustered out,’
2) Is the inscription on an unknown grave
3) At Newport News, beside the salt-sea wave,
4) Nameless and dateless; sentinel or scout
5) Shot down in skirmish, or disastrous rout
6) Of battle, when the loud artillery drave
7) Its iron wedges through the ranks of brave
8) And doomed battalions, storming the redoubt.
9) Thou unknown hero sleeping by the sea
10) In thy forgotten grave! With secret shame
11) I feel my pulses beat, my forehead burn,
12) When I remember thou hast given for me
13) All that thou hadst, thy life, thy very name,
14) And I can give thee nothing in return.
This sonnet was written in homage to an unknown Union soldier. Like so many
of the other sonnets, it was personal to Longfellow. His son was severely wounded in the
American Civil War. He was believed to be dead for weeks. Longfellow eventually
found out he was, indeed, alive but badly wounded. The tragedy of the war affected
some of his other writings, but it is this sonnet that speaks so vividly of the war and the
sorrow left in its wake, as is told in lines 5 and 6, “…Shot down in skirmish or disastrous
rout / Of battle when the loud artillery drave / Its iron wedges through the ranks of
brave…”
Compositionally, the setting is dictated by the coloration of the very descriptive
text. I chose long, lyrical lines in both the vocal and instrumental parts to contrast
sharply against more percussive, staccato, and harsher elements to illustrate both the state
of rest in the grave, albeit forgotten and neglected, and the reason for the grave in the first
place—the violence that ended this soldier’s life. For example, the staccato eighth note
and two sixteenth notes, followed by a full quarter note figure that occurs in mm. 24–26
46
in the strings, muted trumpets, and snare drum are meant to emulate the drums and bugle
calls of war. The challenge was to create this type of allusion without resorting to cliché.
Putting the figure in the strings and muting the trumpets soften the figure and give it a
misty background effect—just as a photograph fades through the years and develops a
patina with age. Other descriptive elements are found in the death knell of the chimes
and the artillery of the bass drum hits.
Although the first eight lines are treated strophically as two “verses,” the text still
dominates and dictates slight differences between the two. For example, the second
“verse” that begins line 5, “Shot down…” has a different phrase structure from that of its
counterpart in the previous verse, and breath and phrase markings are used to indicate the
differences in phrase structure between the two strophes. This element also gives a
somewhat syncopated irregular metrical phrase against the strict 3/4 meter in the
accompaniment, making the line more musically interesting as well as adding to the
dream-like quality to the text. The high note and the climax in the song comes on the
final word of the dramatic lines 12 and 13, “When I remember thou hast done for me /
All that thou hadst, thy life, thy very name.” “Name” is the most important single word
of the entire sonnet. This sonnet, a message to this soldier, tells him that even though he
gave everything—even his very name—for the cause, he will not be forgotten. The vocal
line ends on scale-degree 2 so there is no true resolution. The ending, with its lack of
resolution, demonstrates the many emotions the author feels for the soldier, those of
sorrow, gratitude, and reverence, and is a reminder that these feelings for the soldier have
no ending.
47
This setting was the very first one composed—prompting the concept for the
entire work. A Summer Day by the Sea contains a line that is set with material from line
9, mm. 34–38 of A Nameless Grave.
The Poets
1) O ye dead poets, who are living still
2) Immortal in your verse, though life be fled,
3) And ye, O living poets who are dead
4) Though ye are living, if neglect can kill,
5) Tell me if in the darkest hours of ill,
6) With drops of anguish falling fast and red
7) From the sharp crown of thorns upon your head,
8) Ye were not glad your errand to fulfill?
9) Yes; for the gift and ministry of Song
10) Have something in them so divinely sweet,
11) It can assuage the bitterness of wrong;
12) Not in the clamour of the crowded street,
13) Not in the shouts and plaudits of the throng,
14) But in ourselves, are triumph and defeat.
The Poets was written in homage to all the great poets who came before
Longfellow. The text is straightforward and requires no elaboration.
The setting is majestic, with much pomp. The key of B-flat works well for brass,
the chief family of instruments used for this setting. This setting takes advantage of the
full scope of the brass section. Elsewhere in the composition, I typically cross-fade
instruments so that the orchestration flows freely in one continuous stream. This piece,
however, required setting one family of instruments against another—namely, brass and
percussion versus the strings. This technique yields something akin to terraced dynamics,
used mostly in music from the Baroque era, where there is no crescendo/decrescendo, but
rather sudden changes in dynamics. The song is through-composed, with the brass
48
introduction recurring in a ritornello-like fashion throughout. Harmonically, the
movement is mostly diatonic, with occasional mode-mixture and embellishing chords.
Wapentake To Alfred Tennyson
1) Poet! I come to touch thy lance with mine;
2) Not as a knight, who on the listed field
3) Of tourney touched his adversary’s shield
4) In token of defiance, but in sign
5) Of homage to the mastery, which is thine,
6) In English song; nor will I keep concealed,
7) And voiceless as a rivulet frost-congealed,
8) My admiration for thy verse divine.
9) Not of the howling dervishes of song,
10) Who craze the brain with their delirious dance,
11) Art thou, O sweet historian of the heart!
12) Therefore, to thee the laurel-leaves belong,
13) To thee our love and our allegiance,
14) For thy allegiance to the poet’s art.
Wapentake was written in homage of Alfred Tennyson, and speaks of
Longfellow’s respect and admiration for his fellow poet’s art. While most of the sonnets
build up to an identifiable apex, this sonnet starts off with a literary bang, and retains the
energy of praise for Tennyson throughout the piece.
One distinctive feature of this setting is the complete lack of an introduction. The
baritone begins with the orchestra from the very first note to give a punch to the word
“Poet” at the outset of the piece.
An important unifying feature is found in mm. 37–49. The same music,
transposed of course, underscores line 9, “Not of the howling dervishes of song;” as is
used in line 12 of Autumn, “Like flames upon the altar shine the sheaves.” The vocal lines
of the two songs are nearly identical as well.
CHAPTER 7
METHODOLOGY FOR THE SONNETS FOR TWO OR MORE VOICES
The Galaxy
1) Torrent of light and river of the air,
2) Along whose bed the glimmering stars are seen
3) Like gold and silver sands in some ravine
4) Where mountain streams have left their channels bare!
5) The Spaniard sees in thee the pathway, where
6) His patron saint descended in the sheen
7) Of his celestial armour, on serene
8) And quiet nights, when all the heavens were fair.
9) Not this I see, nor yet the ancient fable
10) Of Phaeton’s wild course, that scorched the skies
11) Where’er the hoofs of his hot coursers trod;
12) But the white drift of worlds o’er chasms of sable,
13) The star-dust, that is whirled aloft and flies
14) From the invisible chariot wheels of God.
The Galaxy, a duet for soprano and mezzo-soprano, mixes elements of nature and
mysticism in its literary theme. Greek mythology is referenced again in Phaeton, son of
the sun god Helios. When Phaeton steals the sun chariot fails to control its course, Zeus
strikes him down in order to save the earth from being destroyed. The poem is in homage
to the galaxy.
The setting begins in A minor, and moves to F minor in m. 11, and eventually
toward the dominant beginning in m. 26, then finally back to the main tonic in m. 35.
Aside from a few embellishing chords, the movement finishes out in A.
50
An important feature connecting it to the other sonnets, besides the key
relationship, is the sharing of the music in the passage in mm. 10–13, set to the text,
“Like gold and silver sands in some ravine” with a similar portion of text in line 10 in
The Cross of Snow, “That, sun-defying, in its steep ravines.”
The Broken Oar
1) Once upon Iceland’s solitary strand
2) A poet wandered with his book and pen,
3) Seeking some final word, some sweet Amen,
4) Wherewith to close the volume in his hand.
5) The billows rolled and plunged upon the sand,
6) The circling sea-gulls swept beyond his ken,
7) And from the parting cloud-rack now and then
8) Flashed the red sunset over sea and land.
9) Then by the billows at his feet was tossed
10) A broken oar; and carved thereon he read,
11) ‘Oft was I weary, when I toiled at thee’;
12) And like a man, who findeth what was lost,
13) He wrote the words, then lifted up his head,
14) And flung his useless pen into the sea.
The Broken Oar is the final sonnet in the work as a whole, and fittingly so. Its
text serves as a postscript or epitaph and commentary on the rest of the sonnets that come
before it. The text speaks of a poet wandering a desolate beach, pondering the meaning
of life and his pursuit of perfection in his work. When the oar, inscribed with the
message thereon, washed up at his feet, he writes them as the final words to close his
work, realizing that we are all here but a short time, and one day our works will be
something that passed the time while we were here. I read the sonnet as something
bittersweet in that, to paraphrase King Solomon, there is no meaning under the sun, but at
the same time, we are all part of the same humanity that came before us and will come
after us.
51
Because The Broken Oar is the last piece in the work, I deliberately wove into it
elements from several other sonnets. The flute motif at the beginning and end of the
piece is derived from a similar motif in The Tides; the oscillating accompaniment figure
found in various versions in The Cross of Snow and Moods is present through the
introduction in the clarinets; the triplet motif that begins in the harp in m. 17 and
reappears throughout the orchestra and throughout the setting is taken directly from
Dante; and this same triplet figure appears inverted in the bassoon and bass clarinet in
mm. 45–48.
The Broken Oar is through-composed, with some distinctive passages. The
extended introduction serves to evoke the image of the writer walking the long, cold,
solitary shore. The baritone gives voice to the poet with an introductory section that sets
lines 1–4. The other voices join in to express the text for line 5, which begins, “The
billows…” and the energy created by the contrapuntal texture in this section lasts until
the reading of the text upon the oar in line 11, when the listener is given time to ponder
the weight of the seemingly simple line, “Oft was I weary when I toiled at thee.” The
soprano (melody) line ends on scale degree 2 to give a sense of unrest, even after the
conclusion of the text. I employed this technique in A Nameless Grave and Moods as
well. The music from the introduction returns to round out the setting.
CHAPTER 8
CONCLUSION
In closing, the Longfellow sonnets provided an excellent vehicle for me to
explore a range of musical expression and development. Because of my great respect for
Longfellow’s verse, it was a humbling experience to set his words to music. Every
composer who sets text written by another person makes judgments and decisions that
impose the composer’s interpretation upon the text. My intention was to set each sonnet
in a way that would honor Longfellow’s poetry.
The interplay of musical and literary forms was a challenge. Employing various
musical forms to the 14-line sonnet structure was interesting. The outstanding quality of
Longfellow’s verse kept the project fresh for me.
The modular construction of the work is unique among other compositions that
might be considered in the same genre. There are other works that have similar qualities
to this composition, but there are none I have found that employ exactly the same
modular concept.
The musical language is fresh and varied, even though it is a tonal work, and the
piece exemplifies my personal compositional voice. There has been a renewed interest in
tonal music over the past several years. It was not long ago that most modern scholarly
53
compositions were expected to be exclusively atonal or experimental in nature. It
is this composer’s opinion that the current trends indicate that there is still more
musically to say in tonal music, just as there is more to say in other musical languages as
well.
Most of all, the orchestrations are descriptive and the orchestra serves just as
much as do the voices to paint the texts of the sonnets. While the forces of the orchestra
needed for the work are relatively large, the scoring at any given moment is more likely
to be for a chamber orchestra. My orchestrations are more often about subtleties in the
combination of timbres rather than a wall of sound—although there are those moments in
this work as well. I prefer to have a wide variety of combinations available, even though
I may not use every color in every piece.
This work, with its large scope, has helped prepare me to write even larger works
in the future. One of my professional goals is to write opera—both music and libretti.
Intense exposure to Longfellow has served to sharpen my literary sensibilities. I believe
that soaking in great writing, even with language that is sometimes archaic, is beneficial.
Working with voices in a large-scale work has broadened my compositional palette. I
have gained a greater awareness of balancing the orchestra with solo voices.
I have thoroughly enjoyed writing this project. Longfellow’s text always
refreshed my creative sensibilities, and I hope that others will find the beauty of his
words amplified by their settings in this work.
54
BIBLIOGRAPHY
Arvin, Newton. Longfellow: His Life and Works. Boston: Little, Brown and Company,
1962.
Atsma, Aaron J. “Hermes: Greek God of Herds, Trade and Athletics, Herald of the Gods
Mythology with Pictures” http://www.theoi.com/Olympios/Hermes.html
Bolcom, William. Songs of Innocence and Experience. Milwaukee, WI: Hal Leonard
Corporation, 1983.
Curtis, Ken “John Eliot Apostle to Indians”
http://www.christianity.com/ChurchHistory/11630089/
Hovland, Michael, ed. Musical Settings of American Poetry. New York: Greenwood
Press, 1986.
McNamee, Maurice B., James E. Cronin, and Joseph A. Rogers Literary Types and
Themes, 2nd
ed. New York: Holt, Rinehart and Winston, Inc., 1971.
Schindler, Elisabeth W., Albert L. Walker, and Herbert E. Childs, eds. The Range of
Literature, 3rd
ed. New York: D. Van Nostrand Company, 1973.
Solomon, Samuel Z. How to Write for Percussion: A Comprehensive Guide to
Percussion Composition, 1st ed. New York: S. Z. Solomon, 2002.
Wagenknecht, Edward. Henry Wadsworth Longfellow: His Poetry and Prose. New York:
Ungar Publishing Company, 1968.
Williams, Cecil B. Henry Wadsworth Longfellow. New York: Twayne Publishers, Inc.,
1964.
55
Eighteen Sonnets by Henry Wadsworth Longfellow
for Soprano, Mezzo-Soprano, Tenor, and Baritone
Solo Voices and Orchestra
Music by
Eric C. E. Wilson
56
INSTRUMENTATION
Piccolo Flutes (2) Oboes (2) English Horn B Clarinets (3) B Bass Clarinet Bassoons (2) Contrabassoon Horns in F (4) B Trumpets (3) Trombones (2) Bass Trombone Tuba Timpani (4—32″, 26″, 23″, 20″) Percussion (4 players—Glockenspiel, vibraphone, snare drum, floor tom, bass drum, tambourine, chimes, crash cymbals, suspended cymbals) Harp Piano 1st Violins (12) 2nd Violins (12) Violas (10) Violoncellos (8) Double Basses (8) Duration: Approximately 75 Minutes.
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
ã
ã
ã
&
?
&
?
V
&
&
B
?
?
#
#
#
# #
# # #
# # #
# # #
#
#
# #
# #
# # #
# # #
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Tenor
Violin I
Violin II
Viola
Violoncello
Double Bass
Harp
Piano
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ˙ œ
œ œ œ œ œ˙ œb œ
∑
∑
∑
∑
∑
∑
Espressivo
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œœ œœ œ œ œ
œ œ œœ œ
∑
∑
∑
∑
∑
∑
q»§º∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œœ œœ œ œœ œ œ œœœ
œ œ œ œ
Jœ ‰ œ œ œ œLo! in the paint ed
∑
∑
∑
∑
∑
FTenderly
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ œ œœœ œœœ#œœ œœ
œ œ œ œ œ
.œ œ œ œ œor ri el of the
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙œ œ œ
œ œ œ
œ ‰ jœWest, Whose
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œœœ œœ
œ œ
œ œ œ œpanes the sunk en
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ jœ œ œœœ œœ œœœ
œ œ œ œ
.œ Jœ œ œsun in car na
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ œ3
œ ˙
œ œ œ œ œ
œ Œ œ œ œ3
dines, Like a fair
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œœ œ œ
œ œ œb
œ œ œ œ œ œla dy at her case ment,
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œœ œœœ
œ œ œ œ œ œ œ œ˙
œ
.œ Jœ œ œshines The even ing
∑
∑
∑
∑
∑
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
..œœ œ œ œœœ œœ#
˙
œ ≈ œ œ œstar, the star of
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œœbœ œN œ
˙N œœ
˙ œlove and
∑
∑
∑
˙ œ
∑π
p
- - - - - - - - -
57
The Evening Star
Music by
Eric C. E. Wilson
(b.1968)
Sonnet by
Henry Wadsworth Longfellow
(1807-1883)
Tenor and OrchestraScore
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
ã
ã
ã
&
?
&
?
V
&
&
B
?
?
#
#
#
# #
# # #
# # #
# # #
#
#
# #
# #
# # #
# # #
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
13 ∑
∑
∑
∑
∑
∑
˙ Œ
∑
∑13 ∑
∑
∑
∑
∑
∑
∑13 ∑13 ∑
∑
∑
∑13 ∑
∑13
œ œ œ œ œ œ œ˙ œ
œ œ œ œ œ˙ œb œ
13
˙ Œrest!
13 Œœ-
Œ
Œ œ- Œ
œ œ œ œ œ œ œ œ œ œ œ œ
˙ œb œ
∑
P
π p
Pmolto legato
P
F
P p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œœ œœ œ œ œ
œ œ œœN œ
∑
Œ œ- Œ
Œ œ- Œ
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
∑
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ˙ œœ
œ œ œ
‰ Jœ œ œ œ œAnd then an on she
Œœ-
Œ
Œ œ- Œ
Œ œ- Œ
œ œ œ œ
∑
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œœœ œœ œœ#œœ œ
œ ˙
.œ œ .œ jœdoth her self di
Œ œ- Œ
Œ œ- Œ
Œ œ- Œ
œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œœœœ œ œ
œ œ œ
œ ‰ jœvest Of
Œ œ
Œ œ
Œ œ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œœ œœ œ
œ œ œ
œ œ œ œall her rad iant
œ œ
˙
œ œ
œ œ
∑
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ œœœ œ œœœœ
œ œ œ œ
.œ Jœ œ œgar ments, and re
Œ œ- Œ
Œ œ- Œ
Œ œ- Œ
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó œ
‰ jœ œ œ .œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ jœ .œ œœœ œœ œœ
œ œ œ œ œ
.œ Jœ .œ œclines be hind the
Œ œ- Œ
Œ œ- Œ
Œ œ- Œ
œ œ œ œ œ
Ó œ
p P
p
œ œ œ œ œ œ
œœ œœ œœb œœ œœ œœ
∑
∑
∑
∑
∑
∑
œ œ œb
œ ˙.˙
.˙œ œ œb∑
∑
∑
∑
∑
∑
œ œ œ œ œ
œ
∑
∑
∑
∑
∑
œ œ œ œ œ œœ œ œ
œœ œœ œœbb
œ œ œ œ œ œsom bre screen of yon der
∑
∑
∑
œ œ œb
œ œ œb
P
P
p
p
Glock.
.˙
..˙
∑
∑
∑
∑
∑
∑
œ œœ
..˙
..˙
∑
∑
∑
∑
∑
∑
.˙
∑
∑
∑
∑
∑
œœœ œœ œœ œœ˙ œ
˙ œ
œ ‰ Jœ œ œpines. With slum ber
˙ Œ
˙ Œœ œ Œ˙ Œ
œ œ œ œ ˙œ œ
œ
œ œœ
π
π
P
div.
F P
div.
∑
∑
∑
∑
∑
∑
∑
∑
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œœœ œœ#
˙
œ œ œ œand soft dreams of
∑
∑
∑
Ó˙
˙
∑
∑
∑
∑
∑
∑
∑
Œ œ œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œœœb
Ó œœ
˙ œœbœ œN œ
˙N œœ
˙ œlove op
∑
∑
∑
˙ œ
˙ œ
p
P
1.
unis.
Œ œ œ œ. œ œ œ. Œ
∑
∑
∑
∑
∑
∑
˙ œb œ
˙ œb œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
œœ œ œ œ
∑
∑
∑
œ œ œ œ œ œ œ˙ œœ
œ œ œ œ œb œ
œ œ œ œ œ œ œ˙ œ
œ œ œ œ œ˙ œb œ
˙ Œpressed.
‰ Jœ œ œ œ œ
‰ Jœ œ œ œ œ
‰ Jœ œ œ œ œ
˙ œb œ
˙ œb œ
molto legato
molto legato
molto legato
P
P
P
F
F
unis.
F
- - - - - - - - - - -
The Evening Star
58
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
ã
ã
ã
&
?
&
?
V
&
&
B
?
?
#
#
#
# #
# # #
# # #
# # #
#
#
# #
# #
# # #
# # #
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
26 Œ ‰ œ. œ. œ. œ. œ.3 3
∑
∑
∑
∑
∑
∑
˙ œN œ
˙ œN œ26 ∑
∑
∑
∑
∑
∑
∑26 ∑26
œ
œœ
œ œ
∑
∑
∑26
œ œ œ œœ œœ œ œ œ
œ œ œœN œ26
œ œ œ œœ œœ œ œ œ
œ œ œœN œ
26 ∑26 ‰ Jœ œ œ œ œ
‰ Jœ œ œ œ œ
‰ Jœ œ œ œ œ
œ œ œN œ
œ œ œN œ
1.
Œ œ œ œ. œ œ œ. Œœ œ œ œ œ
∑
∑
∑
∑
∑
˙ œ
˙ Œ
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ
∑
∑
∑
œ œ œœ œœ œœ œœ œœ
œ œ œ œ
˙ Œ
˙ Œ
‰ Jœ œ œ œ œO my be lov ed,
‰ Jœ œ œ œ œ
‰ Jœ œ œ œ œ
‰ Jœ œ œ œ œ
˙ Œ
˙ Œ
P
p
p
p
π
π
P
π
f
p
p∑
.œ œ œ œ œ
∑
∑
∑
∑
∑
˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ
∑
∑
∑
œ œ œœ œœ œœ œœ œ
œ œ œ œ œ
∑
∑
‰ Jœ œ œ .œ œmy sweet Hes per
‰ Jœ œ œ œ œ
‰ Jœ œ œ œ œ
‰ Jœ œ œ œ œ
∑
∑
π
π
π
∑
œ ‰ Jœ
∑
∑
∑
∑
∑
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙
∑
∑
∑
œœ œœ
œ œ œ
∑
∑
œ ‰ jœus! My
∑
∑
∑
∑
∑
∑
œ œ œ œ
∑
∑
∑
∑
∑
œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ3
œ œ
œ œ
∑
∑
œ œ œ œ œ3
morn ing and eve ning
∑
∑
∑
∑
∑
∑.œ
Jœ .œ œ
∑
∑
∑
∑
∑
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
..œœ œœ œ œ œ œœ œ œœ
œ œ œ œ
∑
∑
.œ œ ˙star of love!
∑
∑
∑
∑
∑
∑˙ œ œ œ
3
œ œ œ œ œ œ œ3
∑
∑
∑
∑
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œœ œœ œœ œœœœggggœ œ œ œ œ
∑
∑
Ó œ œ œ3
My best and
∑
∑
∑
∑
∑
p F1.
∑
œ œ œ œ œ
œ œ œ œ œ œ
∑
∑
∑
∑
œ œ œb
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œœ ˙œ œ œ
œœ œ œ œœ œb
∑
∑
œ œ .œ Jœgent lest la dy!
∑
∑
∑
∑
∑
∑
.˙
..œœ Jœœ œœ œœ
∑
‰ jœ œ œ œ œ
∑
∑
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œœ
œ œ œ œ œ œ˙
œ
∑
∑
œ œ œ ≈ œ œ œev en thus, As that fair
∑
∑
∑
∑
∑
P
both
∑
œ œ jœ ‰ Œ
œ ≈ œ œ œJœ ‰ Œ
∑
œ œ œ
∑
∑
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œœœ œ
œ œ œ
∑
∑
œ œ œ œpla net in the
∑
∑
∑
∑
∑
Œ Œ Œ
Œ Œ Œ
˙ œœ
Œ œ œb
œ œ œ
Œ Œ Œ
˙ œ
˙ œ
Œ œ œ
Œ œœ œœb
Œ œ œŒ Œ Œ
Œ Œ Œ
Œ Œ Œ
Œ Œ Œ
Œ Œ Œ
Œ Œ Œ
Œ Œ Œ
Œ Œ Œ
Œ Œ Œ
Œ Œ Œ
œœœœggg œœœggg œœœbggg
œ œœœ
Œ Œ Œ
Œ Œ Œ
˙ œ œsky a
Œ Œ Œ
Œ Œ Œ
Œ Œ Œ
Œ œ œ
Œ œ œ
P
p
p
p
p
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
∑
œ œ œ œ œ œ œ
˙ Œ
˙ Œ
˙ Œ
˙ Œ
˙ Œ
˙ Œ
˙ Œ
˙ Œ
˙ Œ
Œ œ- Œ
Œ œœ- œœ Œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ˙ œœ
œ œ œ œ œb œ
∑
∑
.˙bove.
Œœœ- Œ
‰ Jœœ- œœ- œœ- œœ- œœ-
œ œ œ œ œ œ œ œ œ œ œ œ
˙ œb œ
˙ œb œ
P
P
π
P
P
p
p
div.
div.
p
p
molto legato
molto legato
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
∑
œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ- Œ
Œ œœ- Œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œœ œœ œ œ œ
œ œ œœN œ
∑
∑
∑
Œ œœ- Œ
‰ jœ- œ- œ- œ- œ-‰ Jœ- œ- œ- œ- œ-
œ œ œ œ œ œ œ œ œ œ œ œ
˙ œN œ
˙ œN œ
- - - - - - - - - - -
The Evening Star
59
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
ã
ã
ã
&
?
&
?
V
&
&
B
?
?
#
#
#
# #
# # #
# # #
# # #
#
#
# #
# #
# # #
# # #
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
41
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
39 ∑
œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑39 ∑
∑
Œ œ- Œ
Œ œœ- œœ Œ
∑
∑
∑39 ∑39 ∑
∑
∑
∑39
œ œ œ œ œ œ œ˙ œœ
œ œ œ œ œb œ39 œ œ œ œ œ œ œ˙ œ
œ œ œ œ œ˙ œb œ
39 ∑39 Œ
œœ- Œ
‰ Jœœ- œœ- œœ- œœ- œœ-
œ œ œ œ œ œ œ œ œ œ œ œ
˙ œb œ
˙ œb œ
P
P
∑
œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ- Œ
Œ œœ- Œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œœ œœ œ œ œ
œ œ œœN œ
œ œ œ œœ œœ œ œ œ
œ œ œœN œ
∑
Œ œœ- œ œ œ œ œ œ œ7
‰ Jœœ- œœ- œœ- œœ- œœ-
œ œ œ œ œ œ œ œ œ œ œ œ
˙ œN œ
˙ œN œ
π
unis.
œ œ œ3
œ œ œ3
∑
∑
∑
∑
∑
∑
∑
œ œ œ3
œ
œœ
∑
∑
œœ
œ
œ
∑œ
∑
∑
∑
œ œ œ3
œœœ œ œ
3
œœ
œœœ œ œ
3
Dost thou reœ œ œ3
œ œ œ3
œ œ œ3
œ
œ
F
p
p
p
p
π
P
Pœ œ œ œ œ œ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œœ ˙
œ ˙œ œ œ∑
∑
œœ ˙
œ œ œ
œ œ œ
∑œ œ œ
∑
∑
∑
œ œ œ œ œ œ
œœ œœ œœœ œ œ œ œ œœœ œœœ œœ
œœ œœ œœœ œ œ œ œ œ
tire un to thy rest atœ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ
œ œ œœ( )
P
P
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
..˙
..˙
∑
∑
..˙
.˙
.˙∑
..˙
˙
∑
∑
∑
.˙
..˙...˙ œ œ œœœ
‰° œ œ œ œ œ œ œ
..˙
.˙night,.˙
.˙
.˙
.˙
..˙( )
F
pP
P p
p π
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
ww
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwww
ww *
‰ Jœ œ œ œ œ œ œAnd from thy dark ened win doww
w
w
w
ww( )
π
π
π
π
π
- - - -
The Evening Star
60
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
ã
ã
ã
&
?
&
?
V
&
&
B
?
?
#
#
#
# #
# # #
# # #
# # #
#
#
# #
# #
# # #
# # #
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
45 ∑
∑
∑
∑
∑
∑
∑
∑
∑45 ∑
∑
∑
∑
∑
∑
∑45 ∑45 ∑
∑
∑
∑45 ∑
∑45 ˙ œœbœ œ œ
˙ œœ
45 ˙ œfades the
45 Œ Œ œ
Œ Œ œb
œ ˙
˙ œ
˙ œ
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ˙ œ
œ œ œ œ œ˙ œb œ
.˙light.
˙ œ œ
.˙
˙ œ
˙ œb œ
˙ œb œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œœ œœ œ œ œ
œ œ œœN œ
˙ Œ
˙ œ
œ œ œ
œ œ œ œœ œ œ
˙ œN œ
˙ œN œ
div.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ˙ œ
œ œ œ œ œ˙ œb œ
∑
˙ Œ
˙ Œ
˙ Œœ œ
˙ œb œ
˙ œb œ
π
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œœ œœ œ œ œ
œ œ œœN œ
∑
∑
∑
∑
˙ œN œ
˙ œN œ
rit.
rit.
rit.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œœ
œ
œ
œ
∑
∑
∑
Œ œœ œœ....˙
..˙
Œ œœ œœ....˙
....˙
∑
.˙
.˙
.˙
.˙
.˙
p
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑..˙
˙
∑
∑
∑..˙....˙
..˙
..˙
....˙
....˙
.˙∑
.˙
.˙
.˙
.˙
.˙
The Evening Star
61
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
ã
&
?
&
?
&
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # #
# # # # #
# # # # #
# # #
# # #
# # # #
# # # #
# # # # #
# # # # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Soprano
Violin I
Violin II
Viola
Violoncello
Double Bass
Harp
Piano
∑
∑
∑
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œ∑
jœ. Œ jœ. Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œœ œœ ‰ œœ œœ
.œ .œ
∑
∑
∑
∑
∑
jœ Œ jœ Œ
Eighth note constant throughout e»™¡º
pizz.
F
F
P
F
Tambourine
f
∑
∑
Œ . ‰ œ œ
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œ
∑
jœ. Œ Jœ. Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œœ œœ ‰ œœœ œœœ
.œ .œ
∑
∑
∑
∑
∑jœ Œ Jœ Œ
f
∑
∑
œ œ
∑
œ œ
œ œ∑
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ œœœœ œ œ
∑
∑
∑
∑
∑
œ œ œ
∑‰ œ œ ‰ œ œ‰
œ‰
œ
.œ œ jœ
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œ∑
jœ. Œ jœ. Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œœ œœ ‰ œœ œœ
.œ .œ
∑
∑
∑
∑
∑
jœ Œ jœ Œ
F
∑‰ œ œ ‰ œ œ‰ œ
‰œ œ
.œ .œ
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œœ œœ∑
jœ. Œ Jœ. Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œœ œœ ‰ œœœ œœœ.œ .œ
∑
∑
∑
∑
∑jœ Œ Jœ Œ
∑œœ œœ
∑
∑
œ œ
œœ œœ
∑
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ œœœ
œ œ œ
∑
∑
∑
∑
∑
œ œ œ
∑..˙
∑
∑
.œ .œ
..œœ ..œœ
∑
œ ‰ Œ .
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œœ œœ ‰ œ œ
œ Jœ.œ
.œ .œThou
∑
∑
∑
∑
œ Jœ.œ
P
F
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œœ œ œœ
œ œ
œ œcom est,
∑
∑
∑
∑
œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œœ œœ œ œœ œœ
œjœ .œ
.œ .œAut umn,
∑
∑
∑
∑
œjœ .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ.œ ..œœ.œ œ œ œ
.œ .œ
∑
∑
∑
∑
.œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ
œ œ
∑
∑
∑
∑
∑
œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ
.œ .œ .œ
.œ .œ .œher ald ed
∑
∑
∑
∑
.œ .œ .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ œœœœ
œ œœ œ
by the
∑
∑
∑
∑
œ œ
- - - -
62
AutumnMusic by
Eric C. E. Wilson
(b.1968)
ScoreSoprano and Orchestra
Sonnet by
Henry Wadsworth
Longfellow
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
ã
&
?
&
?
&
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # #
# # # # #
# # # # #
# # #
# # #
# # # #
# # # #
# # # # #
# # # # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
14 ∑
∑
∑
∑
∑
∑
∑
∑
∑14 ∑
∑
∑
∑
∑
∑
∑14 ∑14 ∑
∑
∑14 ∑14 ∑
∑14 ‰ œœ œœ ‰ œœ œœ
.œ .œ14 .œ Œ .
rain,
14 ∑
∑
∑
∑
.œ .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œœ œœ ‰ œœœ œœœ
.œ .œ#
Œ . ‰ ‰ JœWith
∑
∑
∑
∑
.œ .œ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ œœœœ œœ œ
ban ners,
∑
∑
∑
∑
œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# œ œ# œ œ œ œ œ
.œ .œ#
Œ . ‰ ‰ JœBy
∑
∑
∑
∑
.œ .œ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œœ œœ ‰ œœ œœ
.œ .œœ œ œ œ œ œ .œgreat
∑
∑
∑
∑
.œ .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœœœ ‰ jœœœ
œ œœ œ œ œgales
∑
∑
∑
∑
œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œœ œœ ‰ œœ œœ
.œ .œ
œ Jœ œ œ œ œ œ œin ces
∑
∑
∑
∑
.œ .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ
.œ .œ
œ ‰ œ œ œ œ œ œ œsant... in ces
∑
∑
∑
∑
.œ .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœœœ ‰ jœœœ
œ œœ ‰ Jœ
sant... by
∑
∑
∑
∑
œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œœœ œœœ ‰ œœœ œœœ
.œ œ jœœ œ œ œ œ œ œ œ œgreat gales
∑
∑
∑
∑
.œ œ jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œœœ œœœ ‰ œœœ œœœ.œ œ jœ
œ œ œ Jœ œin ces sant
∑
∑
∑
∑
.œ œ jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œœ œn œœ
˙
œ Œfanned
∑
∑
∑
∑
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œn jœ
œ œ œ œn œ œn
œ Jœ Jœn œBright ter
∑
∑
∑
∑
œ œ œ œn œ œn
- - - - - - - - -
Autumn
63
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
ã
&
?
&
?
&
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # #
# # # # #
# # # # #
# # #
# # #
# # # #
# # # #
# # # # #
# # # # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
27 ∑
∑
∑
∑
∑
∑
∑
∑
∑27 ∑
∑
∑
∑
∑
∑
∑27 ∑27 ∑
∑
∑27 ∑27 ∑
∑27
œ œ œ œ jœœ œ œ œ œ œ
27 œ œ œ œ Jœthan the silks of
27 ∑
∑
∑
∑
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œœœœb œœœ œ
Sam ar
∑
∑
∑
∑
œb œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ jœ œ œ œ
œ jœ œ Jœ#.œ Œ Jœ
cand, And
∑
∑
∑
∑
œ jœ œ Jœ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œa œ œ œ œ œ
.œ .œœ œ œ œ œ ‰
state ly ox en
∑
∑
∑
∑
.œ .œ
∑
∑
Œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ œœœœ œœ œ œ œ
har nessed to thy
∑
∑
∑
∑
œ œ
1.
∑‰ œ œ ‰ œ œ‰
œ‰
œ
.œ œ jœ
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œ∑
jœ. Œ jœ. Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰œ œ
‰œ œ
∑
∑
∑
∑
∑
‰ œœ œœ ‰ œœ œœ
.œ .œ
.œ Œ .wain!
∑
∑
∑
∑
.œ .œ
F
F
1.
∑‰ œ œ ‰ œ œ‰ œ
‰œ œ
.œ .œ
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œœ œœ∑
jœ. Œ Jœ. Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰œ œ
‰œ œ
∑
∑
∑
∑
∑
‰ œœ œœ ‰ œœœ œœœ
.œ .œ
∑
∑
∑
∑
∑
.œ .œ
∑œœ œœ
∑
∑
œ œ
œœ œœ
∑
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
∑
∑
∑
∑
∑
œœœ œœœœ œ œ
∑
∑
∑
∑
∑
œ œ œ
∑..˙
∑
∑
.œ .œ
..œœ ..œœ
∑
œ ‰ Œ .
œ Jœ.œ
Œ ≈ rœœ ..œœ
Œ ≈ rœœ
.
.œœ
Œ ≈ Rœ .œ
Œ ≈ rœœ ..œœ
Œ ≈ Rœœ ..œœ
Œ ≈ rœ .œ
Œ ≈ rœ .œ∑
.Ͼ Π.
∑
∑
∑
∑
∑
œ œœ œœ ‰ œ œ
œ Jœ.œ
.œ .œThou
∑
∑
∑
∑
œ Jœ.œ
P
P
P
P
P
P
P
∑
∑
∑
∑
∑
∑
∑
∑
.œ .œn
‰ œœ. œœ
. œœ. œœ
. œœ.
‰ œœn . œœ. œœ. œœ. œœ.‰ œ. œ. œ. œ. œ.
‰ œœn . œœ. œœ. œœ. œœ.‰ œœ. œœ. œœn . œœ. œœ.
‰ œn . œ. œ. œ. œ.
‰œ. œ. œn . œ. œ.
∑
∑
∑
∑
∑
∑
∑
œn œ œn œn œœ œœ.œ .œn
œn œn œ œstand est like im
∑
∑
∑
∑
.œ .œn
p
p
p
p
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
œn œn∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœnn œœœœn œn
.œ œ œpe ri al
∑
∑
∑
∑
œn œn
∑
∑
∑
∑
∑
∑
∑
∑
.œ .œn
‰ œœ. œœ. ‰ œœn . œœ.‰ œœn .
œœn. ‰ œœ. œœ.
‰ œ. œ. ‰ œn . œ.
‰ œœ. œœn . ‰ œœ. œœ.‰ œœ. œœ. ‰ œœn . œœ.
‰ œn . œ. ‰ œ. œ.
‰ œ. œ.‰ œn . œ.
∑
∑
∑
∑
∑
∑
∑
‰ œœ œœn ‰ œœ œœ
.œ .œn
Œ Jœ .œ œ œim pe ri al
∑
∑
∑
∑
.œ .œn
- - - - - - - - - - - -
Autumn
64
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
ã
&
?
&
?
&
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # #
# # # # #
# # # # #
# # #
# # #
# # # #
# # # #
# # # # #
# # # # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
39 ∑
∑
∑
∑
∑
∑
∑
∑
.œ .œn .œn39 ∑
∑
∑
∑
‰ œœn . œœ. ‰ œœn . œœ. ‰ œœ. œœ.
‰ œ. œ. ‰ œ. œ. ‰ œn . œ.
‰œ. œ.
‰œn . œ.
‰ œn . œ.39 ∑39 ∑
∑
∑39 ∑39 ∑
∑39
œn œ œ œn œ œ œ œn œ
.œ .œn .œn39 .œn .œ .œ
Char
39 ∑
∑
∑
∑
.œ .œn .œn
∑
∑
∑
∑
∑
∑
∑
∑
œn œn
Œ ‰ Jœœn .
Œ ‰ Jœœn .
Œ ‰ Jœ.
Œ ‰ Jœœnn .
‰ Jœœn . ‰ Jœœbn .
‰ jœn . ‰ Jœ.
‰ jœn .‰ jœ.
∑
∑
∑
∑
∑
∑
∑
œœn œn œœœbn œ
œn œn
œn œnle
∑
∑
∑
∑
œn œn
∑
∑
∑
∑
∑
∑
∑
∑
.œn œn Jœ
œœnn ‰ Œ .
œœn ‰ Œ .
œn ‰ Œ .
œœn ‰ Œ .
œœn . ‰ Œ .
œn . ‰ Œ .
œn . ‰ Œ .
∑
∑
∑
∑
∑
∑
∑
œœn œn œ jœœ œœ
.œn œn Jœ
.œn Œ Jœmagne, Up
∑
∑
∑
∑
.œn œn Jœ
∑
∑
∑
∑
∑
∑
∑
∑
.œ .œn
Œ . Œ Jœœb
Œ . Œ jœœnn
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œœn œ œ œœn œ.œ .œn
œ œ œn œn œ .œ œon thy bridge of
∑
∑
∑
∑
.œ .œn
∑
∑
∑
∑
∑
∑
∑
∑
˙b˙n
˙nn
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œb œ œ œb
˙bœb Œ
gold;
∑
∑
∑
∑
˙b
∑
∑
∑
∑
∑
∑
∑
∑
œ jœ .œn
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
jœn œn œ œ œn
œ jœ .œn
Œ œ œn Jœn œthy roy al
∑
∑
∑
∑
œ jœ .œn
∑
∑
∑
∑
∑
∑
∑
∑
.œn .œn
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œœn œ œœN œœn œœn.œn .œn
Jœ œ œn .œ œhand Out
∑
∑
∑
∑
.œn .œn
∑
∑
∑
∑
∑
∑
∑
∑
.œn jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœn œn œ œ
.œn jœ
œ ‰ Jœstretched.. Out
∑
∑
∑
∑
.œn jœ
∑
∑
∑
∑
∑
∑
∑
∑
œ jœn œ jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œn œ œ ...œœœnn Jœ œ
œ jœn œ jœ.œ .œn
stretched with
∑
∑
∑
∑
œ jœn œ jœ
∑
∑
∑
∑
∑
∑
∑
∑
.œn .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
....˙nn
.œn ..œœœ œ œ œ Jœn
be ne dic tions o'er
∑
∑
∑
∑
.œn .œn
∑
∑
∑
∑
∑
∑
∑
∑
œn œn∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙bnn
œn œnœ œb
the
∑
∑
∑
∑
œn œn
∑
∑
∑
∑
∑
∑
∑
∑
.œn .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
....˙nnb
.œn .œ
.œ Œ .land.
∑
∑
∑
∑
.œn .œ
- - - - - - - - - - - - - - - -
Autumn
65
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
ã
&
?
&
?
&
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # #
# # # # #
# # # # #
# # #
# # #
# # # #
# # # #
# # # # #
# # # # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
89
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
87
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
51 ∑
∑
∑
∑
∑
∑
∑
∑
œb jœ jœn œ51 ∑
∑
∑
∑
∑
∑
∑51 ∑51 ∑
∑
∑51 ∑51 ∑
∑51 ....œœœœbbn jœœœn œœœœa#
œb jœ jœn œ51 œb .œn œ Jœ œ#
Bless ing...
51 ∑
∑
∑
∑
œb jœ jœn œ
∑
∑
∑
∑
∑
∑
∑
∑
.œa .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
....˙
.œa .œ
‰ œ œ œ Jœ œ#Bless ing...
∑
∑
∑
∑
.œa .œ
∑
∑
∑
∑
∑
∑
∑
∑
.œ .œ .œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
...œœœ ...œœœ ...œœœ
.œ .œ .œ
‰ œ œ œ œ œ œ œ JœBless ing the farms through
∑
∑
∑
∑
.œ .œ .œ
∑
∑
∑
∑
∑
∑
∑
∑
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙œ œ
˙
œ œall thy
∑
∑
∑
∑
˙
∑
∑
∑
∑
∑
∑
∑
∑
˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ˙
˙.œ
Jœvast do
∑
∑
∑
∑
˙
∑‰ œ œ ‰ œ œœ œ
∑
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œ∑
jœ. Œ jœ. Œ
œ ‰ jœ. Œ
∑
∑
∑
∑
∑
∑
∑
∑
‰œ œ
‰œ œ
∑
∑
∑
∑
∑
‰ œœ œœ ‰ œœ œœ
.œ .œ
.˙main!
‰ œ œ ‰ œ œ
‰ œ ‰ œ‰ œ ‰ œ
.œ .œ
.œ .œ
F
F
P
F
F
F
F
F
F
Œ . ‰ œ œ
‰ œ œ ‰ œ œœ œ
Œ . ‰ œ œ
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œ
∑
jœ. Œ Jœ. Œ
jœ. Œ Jœ. Œ
∑
∑
∑
∑
∑
∑
∑
∑
‰œ œ
‰œ œ
∑
∑
∑
∑
∑
‰ œœ œœ ‰ œœœ œœœ
.œ .œ
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œ œ
‰ œ ‰ œ œ
.œ .œ
.œ .œ
f
Fœ œœœ œœ
œ œ
∑
œ œ
œ œ∑
œ œ œ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
∑
∑
∑
∑
∑
œœœ œœœœ œ œ
∑
œ œ
œ œ
œ œœ œ œ
œ œ œ
.œ œ Jœ
‰ œ œ ‰ œ œ‰
œ‰
œ
.œ œ jœ
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œ∑
jœ. Œ jœ. Œ
jœ. Œ jœ. Œ
∑
∑
∑
∑
∑
∑
∑
∑
‰œ œ
‰œ œ
∑
∑
∑
∑
∑
‰ œœ œœ ‰ œœ œœ
.œ .œ
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œ‰ œ ‰ œ
.œ .œ
.œ .œ
.˙
‰ œ œ ‰ œ œ‰ œ
‰œ œ
.˙
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œœ œœ∑
jœ. Œ Jœ. Œ
jœ. Œ Jœ. Œ
∑
∑
∑
∑
∑
∑
∑
∑
‰œ œ
‰œ œ
∑
∑
∑
∑
∑
‰ œœ œœ ‰ œœœ œœœ.œ .œ
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œ œ
‰ œ ‰ œ œ
.œ .œ
.œ .œ
∑œœ œœ
∑
∑
œ œ
œœ œœ
∑
œ œ œ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
∑
∑
∑
∑
∑
œœœ œœœ
œ œ œ
∑
œ œ
œ œ
œ œ
œ œ œ
œ œ œ
∑œœ Œ Œ .
∑
∑
œ Œ Œ .
œœ Œ Œ .
∑
œ Œ Œ .
œ Œ Œ .
∑
∑
∑
∑
∑
∑
∑
∑
œ
ΠΠ.
∑
∑
∑
∑
∑
œœœ Œ Œ .
œ Œ Œ .
œ œ .œThy shield
œ œ œ. œ. œ.
œ œ œ. œ. œ.‰ Jœ ‰ Jœ .œ
œ œ œ. œ. œ.
œ œ œ œ œ
P
P
P
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ œ œ Jœis the red har vest
œ œ œ. œ. œ.
œ œ œ. œ. œ.
‰ Jœ ‰ Jœ .œ
œ œ œ. œ. œ.
œ œ œ œ œ
- - - - - - -
Autumn
66
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
ã
&
?
&
?
&
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # #
# # # # #
# # # # #
# # #
# # #
# # # #
# # # #
# # # # #
# # # # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
64 ∑
∑
∑
∑
∑
∑
∑
∑
∑64 ∑
∑
∑
∑
∑
∑
∑64 ∑64 ∑
∑
∑64 ∑64 ∑
∑64 ∑
∑64 ˙ Œ .
moon,
64
œ- œ. œ- œ. œ. œ. œ.
œ œ- œ. .œ
œ- œ. œ- œ. œ. œ. œ.œ œ œ œ. œ. œ.
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ .œsus pend ed...
œ œ œ œ. œ. œ.
‰ jœ ‰ jœ .œ
‰ jœ ‰ jœ .œ
œ œ œ œ œ. œ. œ.œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ Jœsus pend ed So
œ œ œ. œ. œ.‰ jœ œ- œ. .œ‰ Jœ ‰ Jœ .œ
œ. œ œ jœ
œ œ œ jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ .œlong...
œ- œ. œ- œ. œ. œ. œ.
‰ jœ ‰ jœ .œ
‰ jœ ‰ jœ .œ
œ œ œ Jœ
œ œ œ Jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ Jœso
œ- œ. œ- œ. œ. œ. œ.
œ œ .œ
œ œ œ Jœ
œ œ œ Jœ
œ œ œ Jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œJœ
long be
œ- œ. œ- œ. œ œ œ œ
œ œ œ ‰
œ œ œ ‰
œ œ œ Jœ
œ œ œ Jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ œ œ œ ‰ œneath the heav en's... be
œ- œ.œœ œœ .œ-
Œ œ œ .œ-
Œ œ# ¨ œ ..œœ-
œ œ œ# . œ. œ.
œ œ œ# œ œ
ƒ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ œ œ œ# œ œneath the heav en's o'er hang
œ- œ.œœ œœ Jœ# œ
Œ œ œ Jœ œ
Œ œ# ¨ œ Jœ œ
œ œ Jœ œ
œ œ Jœ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ# Œ .ing eaves;
œ œ# .œ
‰ Jœ ‰ Jœ .œ#
‰ Jœ# ‰ Jœ .œ
˙ œ. œ# . œ.˙ œ œ# œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ# œ JœThy steps are
œ œ œ. œ. œ.
œ œ œ# . œ. œ.‰ Jœ# ‰ Jœ œ. œ. œ.
œ œ œ œ Jœ
œ œ œ œ Jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ œ œ œ# Jœby the farm er's prayers at
œ œ jœ œ
œ œ jœ œ
‰ Jœ ‰ Jœœ Jœ# œ
œ œ œ jœ
œ œ œ jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ Œ Œ .tend ed;
œ- œ. œ- œ. œ. œ. œ.
˙ .œ
˙ .œ
œ œ- œ. œ. œ. œ.œ œ œ œ œ œ
- - - - - - - - - - - - -
Autumn
67
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
ã
&
?
&
?
&
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # #
# # # # #
# # # # #
# # #
# # #
# # # #
# # # #
# # # # #
# # # # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
76 ∑œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑76 ∑
∑
∑
∑
∑
∑
∑76 ∑76
œ œ
‰ jœæ
Ͼ
œ œ œ
∑
∑76 ∑76 ∑
∑76 ∑
∑76 ∑76 œ œ ‰ jœ œ œ œ œ
œœ œ ‰ jœ œ œ œ œ
œœ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ œarco
f
∑
˙ Ó
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
‰ jœæ
Ͼ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ‰ jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œ
œœ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
f
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
˙Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
‰ jœæ
Ͼ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
Ó Œ . jœLike
œ œ ‰ jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œ
œœ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
f
F
∑
∑
˙ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
‰ jœæ
Ͼ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
.œ œ œ œ œ .œ œflames up on an al tar
œ œ ‰ jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œ
œœ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
‰ jœæ
Ͼ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ Œshine the sheaves;
œ œ ‰ jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œ
œœ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
‰ jœæ
Ͼ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ Œshine the sheaves;
œ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ
œ œ ‰ Jœ œ œ œ
œ œ ‰ Jœ œ œ jœ ‰
œœ œœ ‰ jœœ œœ œœ œœ œœ
∑œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Ó œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
‰ jœæ
Ͼ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
‰ jœ œ Óthe sheaves;
œ œ ‰ jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œ
œœ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
- -
Autumn
68
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
ã
&
?
&
?
&
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # #
# # # # #
# # # # #
# # #
# # #
# # # #
# # # #
# # # # #
# # # # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
83 ∑
˙ Ó
œ œ œ œ œ œ œ œ ˙
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ∑
∑
Ó œ œ œ œ œ œ œ œ
Ó œ œ œ œ œ œ œ œ83 ∑
∑
∑
∑
∑
∑
∑83 ∑83
œ œ
‰ jœæ
Ͼ
œ œ œ
∑
∑83 ∑83 ∑
∑83 ∑
∑83 ∑83
œ œ ‰ jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œ
œœ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
∑
∑
∑
∑
˙Ó
∑
∑
œ œ œ œ œ œ œ œ ˙
œ œ œ œ œ œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
‰ jœæ
Ͼ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
Ó Œ . jœLike
œ œ ‰ jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œ
œœ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
‰ jœæ
Ͼ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
.œ œ œ œ œ .œ œflames up on an al tar
œ œ ‰ jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œ
œœ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
‰ jœæ
Ͼ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ Œshine the sheaves;
œ œ ‰ jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œ
œœ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
‰ jœæ
Ͼ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ Œshine the sheaves;
œ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ
œ œ ‰ Jœ œ œ œ
œ œ ‰ Jœ œ œ jœ ‰
œœ œœ ‰ jœœ œœ œœ œœ œœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
‰ jœæ
Ͼ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
‰ jœ œ Óthe sheaves;
œ œ ‰ jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œ
œœ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
Œ Ó
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ
∑
∑
∑
∑
w
w
w
w
w
π
π
π
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œw
∑
∑
∑
∑
w
w
w
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Ó
Ó ˙
∑
∑
Ó Œ . jœAnd,
œ œ œ œ œ
œ œ .˙
w
˙ ˙
.˙ œ
- -
~~~~~~~~~~~~~~~~~~Autumn
69
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
ã
&
?
&
?
&
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # #
# # # # #
# # # # #
# # #
# # #
# # # #
# # # #
# # # # #
# # # # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
92 ∑
∑
∑
∑
∑
∑
∑
∑
∑92 ∑
∑
∑
∑
∑
∑
∑92 ∑92 ∑
∑
∑92 ∑92 ∑
∑92 ∑
∑92
œn œ œ .œb Jœn3
fol low ing thee, in
92
wn
wn
w
wb
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ Jœb œn œthy o va tionw
w
w
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ# ˙splen did,w
w
w
w
w#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó. œ#Thinew
w
w
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ Jœ œ ‰ Jœal mon er, the
w
w
w
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwind,
w
w
w
w
w
∑
∑
∑
∑
Ó œ œ Œ
Ó œœ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó.œ
∑
∑
∑
œ œ œ Óscat ters...
∑
∑
∑
∑
∑
F
F
F
∑
∑
∑
∑
Ó œ ŒÓ œ œ
Œœ Œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ .˙∑
∑
Œ œ œ œ œ œscat ters the
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ .œ Jœ
gold en
∑
∑
∑
∑
∑
- - - - - - - - - - - -
~~~~~~~~~~~~~~~~~~~~~~~~
Autumn
70
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
ã
&
?
&
?
&
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # #
# # # # #
# # # # #
# # #
# # #
# # # #
# # # #
# # # # #
# # # # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
86
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
101 ∑
∑
∑
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œ∑
jœ. Œ jœ. Œ
∑101 ∑
∑
∑
∑
∑
∑
∑101 ∑101 ‰
œ œ
‰œ œ
∑
∑101 ∑101 ∑
∑101 ‰ œœ œœ ‰ œœ œœ
.œ .œ101 .˙
leaves!
101 ∑
∑
∑
∑
∑
F
F
P
2.
∑
∑
Œ . ‰ œ œ
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œ
∑
jœ. Œ Jœ. Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰œ œ
‰œ œ
∑
∑
∑
∑
∑
‰ œœ œœ ‰ œœœ œœœ
.œ .œ
.˙
∑
∑
∑
∑
∑
f
∑
∑
œ œ
∑
œ œ
œ œ∑
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
∑
∑
∑
∑
∑
œœœ œœœœ œ œ
∑
∑
∑
∑
∑
∑
∑‰ œ œ ‰ œ œ‰
œ‰
œ
.œ œ jœ
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œ∑
jœ. Œ jœ. Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰œ œ
‰œ œ
∑
∑
∑
∑
∑
‰ œœ œœ ‰ œœ œœ
.œ .œ
∑
∑
∑
∑
∑
∑
F
∑‰ œ œ ‰ œ œ‰ œ
‰œ œ
.œ .œ
∑
‰ œ œ ‰ œ œ
‰ œ ‰ œœ œœ∑
jœ. Œ Jœ. Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰œ œ
‰œ œ
∑
∑
∑
∑
∑
‰ œœ œœ ‰ œœœ œœœ.œ .œ
∑
∑
∑
∑
∑
∑
both
∑œœ œœ
∑
∑
œ œ
œœ œœ
∑
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
∑
∑
∑
∑
∑
œœœ œœœ
œ œ œ
∑
∑
∑
∑
∑
∑
∑..˙
∑
∑
.œ .œ
..œœ ..œœ
∑
œ ‰ Œ .
∑
∑
∑
∑
∑
∑
∑
∑
∑
.æ
∑
∑
∑
∑
∑
...˙
.˙
∑
∑
∑
∑
∑
∑
Autumn
71
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
&
ã
ã
&
?
&
?
?
&
&
B
?
?
?
?
bb
bb
bb
b
bb
bb
b
b
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Baritone
Violin I
Violin II
Viola
Piano
Violoncello
Double Bass
Harp
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
œ ˙ œ Œ "3
œ ˙ œ Œ "3
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
.˙ Œ "
Ó . œ "
.˙ Œ "
Ó . œ "div.
div.
pizz.
pizz.
F
F
F
F
F
F
unis.
unis.
Intensely
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
œ ˙ œ œ "3
œ ˙ œ œ "3
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
∑ "
.˙ Œ "
Ó . œ "
.˙ Œ "
Ó . œ "
∑
∑
∑
Œ œ œ ˙3
∑
∑
˙ ˙
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
∑
˙ ˙
∑
F
P
Punis.
Andante q»•¢∑
∑
∑
Œ œ œ œ œ œ3
3
∑
∑
˙ ˙
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
∑
˙ ˙
∑
∑
Œ œ œ œ œ œ3
3
∑
˙ Ó
∑
∑
˙ ˙
˙ ˙
∑Ó Œ œ œ
3
∑∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
∑
˙ ˙
∑
f
p
∑
˙ Ó
Ó Œ œœ
∑
∑
∑
w
w
∑
œ œ œ ˙3
∑∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
w
∑
F
∑
∑
œœ œœ œœ ˙3
∑
∑
∑
w
w
w
ww
www
ww
∑
∑
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wæ
wæ
wæwæ
∑
wæ
∑
P
P
P
P
P
P
P
P
P
P
P
∑
∑
˙ ˙
∑
∑
∑
˙ ˙
˙ ˙
˙ ˙
.˙ œ˙ ˙#
˙˙
˙˙
.˙ œ
˙ ˙#
∑
∑
˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.æ œæ
æ æ
æ ˙#ææ æ
∑
æ æ
∑
∑
∑
.˙ œ˙ ˙#
∑
∑
∑
˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙˙ ˙
˙#
˙ ˙
˙ ˙#
∑
∑
˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
æ ˙
æ ˙#
æ ˙
æ ˙
∑
æ ˙
∑
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
rall.
a tempo
∑
∑
w ∑∑
∑
∑
w
w
www
wwjœ ‰ Œ Ó
jœœ^ ‰ Œ Ó
∑
∑
∑
∑
w
w
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
∑
w
∑
w
∑
p
p
F
F
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
a tempo
Chimes - 2 mallets
∑
∑
w ∑∑
∑
∑
w
w
www
ww
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
∑
˙ Ó
∑
˙ Ó
∑
p
P
p
p
π
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ .œ jœ œ œTus can, that wander est
∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
∑
˙ ˙
˙ ˙
˙ ˙
˙ ˙
f
P
P
P
P
P
- -
72
DanteMusic by
Eric C. E. Wilson
(b.1968)
Sonnet by
Henry Wadsworth Longfellow
(1807-1883)
Baritone and OrchestraScore
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
&
ã
ã
&
?
&
?
?
&
&
B
?
?
?
?
bb
bb
bb
b
bb
bb
b
b
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Pno.
Vc.
D.B.
Hp.
13 ∑
∑
∑
∑
∑
∑
∑
∑
∑13 ∑
∑
∑
∑
∑
∑
∑13 ∑13 ∑
∑
∑
∑13 ∑
∑13 ∑
∑13 œ œ ˙ œ
through the realms of
13 ∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
∑
˙ ˙
˙ ˙
˙ ˙
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ‰ jœ œ œgloom With thought ful
∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
∑
˙ ˙
˙ ˙
˙ ˙
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ œpace, and
∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
∑
˙ ˙
˙ ˙
˙ ˙
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ Jœ œ œsad, ma jest ic
∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
∑
˙n ˙
˙n ˙
˙n ˙
˙n ˙
∑
∑
∑
∑
∑
∑
Ó˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ Œeyes,
Óœ œ œ œ œ œ3 3
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
∑
˙ ˙
˙ ˙
˙ ˙
˙ ˙
P
p
∑
∑
∑
∑
Œ œ œ œ œ œ3
3
∑
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ .œ jœ œ œStern thoughts and aw ful
œ œ œ œ œ œ œ œ œ œ œ œ3
3 3 3
wæ
Ó œ œ
˙ ˙
˙ ˙
˙ ˙
˙ ˙
F
P
P
∑
∑
∑
Œ œ œ œ œ œ3
3
œ œ œ œ œ œ3 3
∑
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙ œfrom thy soul ar
œ œ œ œ œ œ œ œ œ œ œ œ3
3 3 3
wæ
wæ
˙ ˙
˙ ˙
˙ ˙
˙ ˙
F
∑
∑
∑
œ œ œ œ ˙
w∑
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œ œ3
3
∑
∑
∑
˙ Œ œise, Like
œ œ œ œ œ œ œ œ œ œ œ œ3
3 3 3
wæ
wæ
˙ ˙
˙ ˙
˙ ˙
˙ ˙
f
∑
∑
∑
œ œ œ œ œ œ3 3
w∑
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ3 3
∑
∑
∑
.œ Jœ œ œFa ri na ta
œ œ œ œ œ œ œ œ œ œ œ œ3
3 3 3
wæ
wæ
˙ ˙
˙ ˙
˙ ˙
˙ ˙
- - - - - - - -
Dante
73
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
&
ã
ã
&
?
&
?
?
&
&
B
?
?
?
?
bb
bb
bb
b
bb
bb
b
b
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Pno.
Vc.
D.B.
Hp.
Ÿ~~~~~~
Ÿ~~~~~~
Ÿ~~~~~~
22 ∑
∑
∑
œ .˙
˙ œ œ∑
w#∑
∑22
˙ ˙∑∑
Ó ˙n∑
∑
∑
∑
∑22 ∑22 ∑
∑
∑
∑22
w∑
22 ∑
∑22 œ œ œ œ
from his fie ry
22
œ œ œ œ œ œ œ œ œ œ œ œ3 3
3
3
wæ
æ æ
˙n ˙
˙n ˙
˙n ˙
˙n ˙
p
p
Ó . œ œ œ œ œ œ6
Ó . œ œ œ œ œ œ6
∑
w
w∑
wÓ ˙
Ó ˙
ww
ww∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ Œtomb.
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3
3
wæ
wæ
˙ ˙
˙ ˙
˙ ˙
˙ ˙
F
Funis.
P2.
P
pp
w
w
ww
œ œ ˙
w
œ œ ˙w
˙ œ œ
˙ œ œ
˙ œ œ
œ œ ˙w
ww
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œThy sac red
w
wæœ œ ˙
˙ œ œ
∑
˙ œ œ
∑
F
F
F
F
F
F
F
F
F
˙ œ œ#
˙ œ œ#
˙ œœ œœ
˙ œ œ#
˙ œ œ
˙ œœ œœ#
˙ œ œ
˙ œ œ
˙ œ œ
˙ œœ œœ#
w œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ Jœ œ œ#song is like a
˙ œ œ#
˙ œ œ
˙ œ œ
˙ œ œ
∑
˙ œ œ
∑
.œ Jœ ˙
.œ Jœ ˙
..œœ Jœœ ˙
.œ Jœ ˙
.œ jœ ˙
..œœ jœœ ˙
.œ jœ ˙
.œ jœ ˙
.œ jœ ˙
ww
ww
Ó . œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ Jœ ˙trump of doom;
.œ Jœ ˙
.œ Jœ ˙
.œ Jœ ˙
.œ jœ ˙
∑
.œ jœ ˙
∑
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
..œœjœœ ˙
..œœjœœ ˙
.œ Jœ ˙
..œœ jœœ ˙
..œœ jœœ ˙
.œ jœ ˙
.œ jœ ˙
.œæ Jœ œ œæ
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œYet in thy˙ -
˙ -
˙ -
.œ Jœ ˙
∑
.œ Jœ ˙
∑
F
F
F
F
F
F
F
∑
∑
∑
∑
w
ww
w
w
www
ww
∑
∑
∑
∑
wwæ
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ œheart what
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
w
∑
w
∑
P
P
P
P
P
P
P
P
π
P
P
∑
∑
∑
∑
.˙ œ
˙ ˙#w
w
w
w˙ ˙n.˙ œ
ww
∑
∑
∑
∑
wwæ
∑
∑
∑
∑
∑
∑
∑
∑
.œ Jœ .œ Jœhu man sym pa
œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ
w
∑
w
∑
∑
∑
∑
∑
w
ww
w
w
www
ww∑
∑
ww
w
w
wæ
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ œthies, With
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
w
∑
w
∑
P
P
∑
∑
∑
∑
w
˙ ˙w
w#
w#
w#ww#
˙ ˙w
∑
∑
ww
w#
w#
wæ
∑
∑
∑
∑
∑
∑
∑
∑
œ# œ .œ Jœsoft com pas sion
œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ
w#
∑
w#
∑
- - - - - - -
Dante
74
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
&
ã
ã
&
?
&
?
?
&
&
B
?
?
?
?
bb
bb
bb
b
bb
bb
b
b
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Pno.
Vc.
D.B.
Hp.
32 ∑
∑
∑
∑
w
ww
w
w
w32 ww
www
wwww
w
w32
wæ32 ∑
∑
∑
∑32 ∑
∑32 ∑
∑32 ˙ ‰ Jœ œ œ
glows, as in the
32 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
w
∑
w
∑
P
P
F
F
ƒ
‰œ. œ. œ.
‰œ. œ. œ.
‰œœb . œœ. œœ. ‰
œœ. œœ. œœ.
‰ œœbn . œœ. œœ. ‰ œœb . œœ. œœ.
‰ œb . œ. œ. ‰ œ. œ. œ.
‰ œb . œ. œ. ‰ œ. œ. œ.
‰ œœb . œœ. œœ.‰ œœb . œœ. œœ.
‰ œ# . œ. œ. ‰ œ. œ. œ.œb œ œb œ‰ œn . œ. œ. ‰ œ. œ. œ.
‰ œn . œ. œ.‰ œ. œ. œ.
wbœb œ œb œ
wwn‰ œ. œ. œ. ‰ œ. œ. œ.
‰ œœbb . œœ. œœ. ‰ œœ. œœ. œœ.
‰ œœb . œœ. œœ. ‰ œœ. œœ. œœ.
‰ œn . œ. œ.‰ œ. œ. œ.
∑
∑
∑
∑
∑
∑
Œœ
˙n∑
∑˙ Œ œ
skies The
‰œ. œ. œ.
‰œ. œ. œ.
‰ œb . œ. œ. ‰ œ. œ. œ.
‰ œb . œ. œ. ‰ œb . œ. œ.
‰ œn . œ. œ.‰ œ. œ. œ.
∑
‰ œn . œ. œ.‰ œ. œ. œ.
∑
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
f
f
f
f
f
f
‰œ. œ. œ.
‰œ. œ. œ.
‰œœ. œœ. œœ. ‰
œœ. œœ. œœ.
‰ œœA . œœ. œœ. ‰ œœ. œœ. œœ.
‰ œ. œ. œ. ‰ œ. œ. œ.
‰ œ. œ. œ. ‰ œ. œ. œ.
‰ œœ. œœ. œœ. ‰ œœ. œœ. œœ.‰ œN . œ. œ. ‰ œ. œ. œ.‰ œ
œA .œœ.
œœ.
‰ œœ.
œœ.
œœ.
‰ œA . œ. œ.‰ œ. œ. œ.
ww
wwA‰ œ. œ. œ. ‰ œ. œ. œ.
‰ œœ. œœ. œœ. ‰ œœ. œœ. œœ.‰ œœ. œœ. œœ. ‰ œœ. œœ. œœ.
‰ œA . œ. œ.‰ œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ ˙ œ
ten der stars their
‰œ. œ. œ.
‰œ. œ. œ.
‰ œ. œ. œ. ‰ œ. œ. œ.
‰ œ. œ. œ. ‰ œ. œ. œ.
‰ œA . œ. œ.‰ œ. œ. œ.
∑
‰ œA . œ. œ.‰ œ. œ. œ.
∑
Jœ.
Œ . Jœ.
Π.
Jœœ# .
Œ . Jœœ. Œ .
Jœœ. Œ . J
œœb . Œ .
Jœ# . Œ . Jœ. Œ .
Jœ. Œ . Jœ. Œ .
jœœ# . Œ . jœœb . Œ .
jœ. Œ . jœ. Œ .jœ
œ#
.Œ . jœ
œ.Œ .
jœ.Œ . jœ.
Π.
jœœ# . Œ . jœœb . Œ .
jœœ.‰ Œ jœœ.
‰ Œ
Jœ. Œ . Jœ. Œ .
jœœ# . Œ . jœœb . Œ .
Jœœ# . Œ . Jœœb . Œ .
jœ.Œ . jœ.
Π.
jœ.Œ . jœ.
Π.
Jœ. Œ . Jœ. Œ .
∑
Jœ. Œ . Jœ. Œ .
∑
∑
∑
∑
∑
∑
œ œb œ# .œ Jœcloud ed lamps re
‰œ# œ# œ œ œ œ œ œ œ# œ œ œ# œ œ œ œ œ œ# œ3 3 3 3 3
3
jœ. Œ . jœb . Œ .
jœ# . Œ . jœ. Œ .
jœ.Œ . jœ.
Π.
∑
jœ.Œ . jœ.
Π.
∑
Glock.
f
∑
∑
∑
∑
.˙ Œ
.˙ Œ
.˙ Œ
..˙ Œ
.˙ Œ
..˙ Œ
..˙ Œ
.˙ Œ
..˙ Œ
∑
.˙ Œ
∑
wæ..˙
˙
> Œ
.> Œ
∑
∑
wwwwwggggggggggggggggggggggwww
∑
∑ &
˙ ‰ Jœ œ œlume! Me thinks I
w
‰ œ. œ. œ. ‰ œ. œ. œ.
w &
w
∑
w
∑
unis.
p
p
p
p
p
p
f
F
p
p
p
p
p
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg3 3 3 3
œ œ œ œ œ œ œb œ œ œ œ œ3 3 3 3
œ œ .œ Jœ œ œsee thee stand, with pal lid
‰ Jœ. œ. œ.
‰ Jœ. œ. œ.
‰ Jœœ. œœ. œœ.‰ Jœœ. œœ. œœ.
‰ Jœ. œ. œ. ‰ Jœb . œ. œ.
∑
∑
∑
∑
π
p
π
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg3 3 3 3
œ œ œ œ œ œ œn œ œ œ œ œ3 3 3 3
œ ‰ Jœ œœ( ) œœ( )cheeks, By Fra Hi
‰ Jœ. œ. œ.
‰ Jœ. œ. œ.
‰ Jœœ. œœ. œœ.‰ Jœœ. œœ. œœ.
‰ Jœ. œ. œ. ‰ Jœn . œ. œ.
∑
∑
∑
∑
~~~~~~~~~~~~~~~~~G
lissando
- - - - - -
Dante
75
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
&
ã
ã
&
?
&
&
?
&
&
&
?
?
?
?
bb
bb
bb
b
bb
bb
b
b
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Pno.
Vc.
D.B.
Hp.
39 ∑
∑
∑
∑
∑
∑
∑
∑
∑39 ∑
∑
∑
∑
∑
∑
∑39 ∑39 ∑
∑
∑
∑39 ∑
∑39 œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg
3 3 3 3
œœA œœ œœ œœ œœ œœ œœ# œœ œœ œœ œœ œœ3 3 3 3
39 œ œ ˙ œ œla ri o in his
39 ‰ Jœ. œ. œ.
‰ Jœ. œ. œ.
‰ Jœœ. œœ. œœ.‰ Jœœ. œœ. œœ.
‰ JœœA . œœ. œœ. ‰ Jœœ# . œœ. œœ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œœ œ œ œ œ3 3
∑œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg3 3 3 3
œœNb œœ œœ œœ œœ œœ œœn œœ œœ œœ œœ œœ3 3 3 3
œ œ œ ‰ Jœ œ œdi o cese, As up the
‰ Jœ. œ. œ.
‰ Jœ. œ. œ.
‰ Jœœ. œœ. œœ.‰ Jœœ. œœ. œœ.
‰ JœœNb . œœ. œœ. ‰ Jœœn . œœ. œœ.
∑
∑
∑
∑
F
∑
∑
Œ œ œ œ œ œ3 3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
œœ
œ
∑
∑
˙ ˙b
∑œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg3 3 3 3
œ œ œ œ œ œ œb œ œ œ œ œ3 3 3 3
œ œ .œ Jœ œ œcon vent walls, in gold en
‰ Jœ. œ. œ.
‰ Jœ. œ. œ.
‰ Jœœ. œœ. œœ.‰ Jœœ. œœ. œœ.
‰ Jœ. œ. œ. ‰ Jœb . œ. œ.
∑
∑
∑
∑
1.
p
P
∑
∑
œ œ œ œ œ œ3
3
Œ œ œ œ œ œ3
3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
œœ
œ
∑
∑
˙ ˙n
∑œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg3 3 3 3
œ œ œ œ œ œ œn œ œ œ œ œ3 3 3 3
˙ ‰ œ œ œ œstreaks, The as cend ing
‰ Jœ. œ. œ.
‰ Jœ. œ. œ.
‰ Jœœ. œœ. œœ.‰ Jœœ. œœ. œœ.
‰ Jœ. œ. œ. ‰ Jœn . œ. œ.
∑
∑
∑
∑
p
∑
∑
˙ ˙
œ œ œ œ œ œ œ3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
˙A ˙
∑œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg3 3 3 3
œœA œœ œœ œœ œœ œœ œœ# œœ œœ œœ œœ œœ3 3 3 3
œ œ œ œ ˙sun beams mark the day's
‰ Jœ. œ. œ.
‰ Jœ. œ. œ.
‰ Jœœ. œœ. œœ.‰ Jœœ. œœ. œœ.
‰ JœœA . œœ. œœ. ‰ Jœœ# . œœ. œœ.
∑
∑
∑
∑
- - - - - - - - - -
Dante
76
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
&
ã
ã
&
?
&
&
?
&
&
&
?
?
?
?
bb
bb
bb
b
bb
bb
b
b
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Pno.
Vc.
D.B.
Hp.
√
√
€
44 ∑
∑
w
w
∑
∑
∑
∑
∑44 ∑
∑
∑
∑
∑
∑
∑44 ∑44 ∑
∑
∑
∑44
˙b ˙∑
44 œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg œœœggg3 3 3 3
œœNb œœ œœ œœ œœ œœ œœn œœ œœ œœ œœ œœ3 3 3 3
?
44 ˙ .œ Jœde
44 ‰ Jœ.
œ.
œ.
‰ Jœ.
œ.
œ.
‰ Jœœ.
œœ.
œœ.
‰ Jœœ.
œœ.
œœ.
‰ JœœNb.
œœ.
œœ.
‰ Jœœn.
œœ.
œœ.
B
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwwwgggggggggggggggggggwww
wwwwggggggggggggggggggggggwwwww
crease.
∑
∑
∑w
∑
∑
∑
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œggggggggggggggggggg
œ œ ˙3
œ œ?
wwww∑
∑
∑
∑œ œ œ ˙3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
ww‰ Jœ œ œ .œ Jœ
And, as he asks what
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
ww.œ Jœ œ œ
there the strang er
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
www#
www
seeks,
Ó -
∑
∑
∑
∑
∑
∑
p pP
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w˙ ˙ &
wwwN
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œ œ3
3
wwwww°Œ œ œ œ
Thy voice am
∑
∑
∑
∑
∑
∑
∑
pR.H.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ3
3
wwwwwœ œ œ œ œ
ong the clois ter
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œ œ3
3
∑Œ œ œ œ œ œ3
3
w
wwwww.˙ Œ
∑
∑
∑
∑
∑
∑
∑
p
L.H.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ3
3
∑
œ œ œ œ œ œ3
3
wwwww∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œ œ3 3
∑Œ œ œ œ œ œ
33
w
wwwwwœ œ .˙
whis pers,
∑
∑
∑
∑
∑
∑
∑
R.H.
p- - - - -
Dante
77
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
&
ã
ã
&
?
&
?
?
&
&
B
?
?
?
?
bb
bb
bb
b
bb
bb
b
b
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
bb
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Pno.
Vc.
D.B.
Hp.
(√)
(€)
56 ∑
∑
∑
∑
∑
∑
∑
∑
∑56 ∑
∑
∑
∑
∑
∑
∑56 ∑56 ∑
∑
∑
∑56
œ œ œ œ œ œ3
3
∑56
œ œ œ œ œ œ3
3
wwwww *56 ∑56 ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
w
°∑
w'Peace!'
∑
∑
∑
∑
∑
∑
∑
R.H.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
w
wwwwwn
w
w
w
w
wwn
∑
w
∑
π
π
π
πdiv.
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
w
wwwwwn
*w
w
w
w
ww
∑
w
∑
Dante
78
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
ã
&?
&?
V
&
&
B
?
?
#
#
#
#####
###
###
#
#
#######
###
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Tenor
Violin I
Violin II
Viola
Violoncello
Double Bass
Piano
Harp
∑
∑œœœœ œœ œœ œœ œœ œœ
‰ Jœ œ œ∑
∑
∑
.˙
.˙˙ œœ
˙ œœ∑
∑
∑
∑
∑
˙ œ
.˙
∑
∑
∑
∑
˙ œ∑
∑
∑
∑
∑
∑
∑
∑
F
F
P
P
F
pChimes (two mallets)
π
F
F
Snare Drum
q»§¢ ∑
∑
œ œ œ œ œ œœ œ œ œ œ
.œ jœ œ∑
Ó œœ∑
˙ œ
˙ œ˙ œœ
˙ œœ#∑
∑
∑
∑
∑
˙ œ
Œ Œ œ
∑
∑
∑
Œ œ œ œ œ
˙ œ∑
∑
∑
∑
∑
∑
∑
∑
P
∑
‰ Jœ œ œ œ
œœœœ œœ œœ œœ œœ œœ
‰ jœ œ jœ ‰
∑
∑
∑
.˙
.˙˙ œœ
˙ œœ∑
∑
∑
∑
∑
˙ œ
.˙∑
∑
∑
....˙ggggg˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
F1.
∑˙ œ
œ œ œ œ œ œœ œ œ œ œ‰ jœ œ œ
∑
Ó œœÓ œ
œ œ œ œ œ
œ œ œ œ œ
˙ œœ
˙ œœ#∑
∑
∑
∑
∑
˙ œ
∑
∑
∑
∑
‰ jœ œ œ œ œ
˙ œ∑
∑
Œ Œ .œ œIn the‰ jœ. œ. œ. œ. œ..‰ Jœ. œ. œ. œ# . œ..
‰ jœ. œ. œ. œ. œ.‰ jœ. œ. œ. œ. œ.Œ Œ œ
Œ Œ œ
Div.
π
ππ
P
P
F
pp
∑
˙ Œ
˙ Œœ œ œ œ œ œ
˙ Œ
œ œ œ œ œ œ
˙ œœ˙ Œ
˙ œ
˙
Œ
˙ Œ
˙ Œ
∑
∑
∑
∑
∑
˙ Œ˙ Œ
∑
∑
∑
˙gggggŒ
˙ œ
∑
∑
˙ œ œlong sleep less
.˙ .˙
.˙
.˙
.˙
.˙
P
PP π
π
π
p
p
p
pp
p
p
p
p
p
∑
∑Ó œ œœ œ œ
∑
œ œ œ
œœ ˙Ó œ œ
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ
∑
∑
œ œ œ .œ œwatch es of the
∑
∑
‰ jœ œ œ œ œ∑
∑
Solo
P
F
∑Ó œ œ
∑œ œ œ œ œ œ œ˙ Œ
∑
œ œ œ
œ œ œœ ˙˙ œ
˙ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ∑
∑œ Jœ ‰ ‰ Jœnight, A
∑
∑
œ œ œ œ- œ œ- œ∑
∑
π
∑œ œ œ œÓ
œ
˙ œ œ∑
œ œ œ œ œ
Jœ ‰ Œ Œjœ ‰ Œ ŒJœ ‰ Œ Œ˙ œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ
∑
∑˙ œ
gen tle
∑
∑
.˙∑
∑
P
P
∑œ œ œ˙ œ
˙ œÓ
œ
˙ Œ
∑
∑
.˙
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ
∑
∑
œ Œ ‰ jœface the
∑
∑
∑
∑
∑
∑œ œ œ œ œ œœ œ œ œ
œ œ œœ œ œ œ
∑
∑
∑
˙ Œ
˙ œ
∑Œ œ œ œŒ Œ œŒ Œ œœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ
∑
∑
œ œ œ œ œface of one long
‰ jœ. œ. œ. œ. œ.‰ jœ. œ. œ. œ. œ.‰ jœ. œ. œ. œ. œ.‰ jœ. œ. œ. œ. œ.‰ jœ. œ. œ. œ. œ.
P
P
P
PP
tutti
PP
∑.˙ .˙
.˙ .˙
∑
∑
∑
∑
‰ Jœ ˙
∑..˙
..˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœœ ˙
∑
∑˙ ‰ Jœ
dead looks
œ œ œ
œ œ œ œ
œ œ œ œ
‰ jœ> ˙‰ Jœ> ˙
p
p
- - - - -
79
The Cross of SnowMusic by
Eric C. E. Wilson
(b.1968)
Text by
Henry Wadsworth Longfellow
(1807-1883)
Tenor and OrchestraScore
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
ã
&?
&?
V
&
&
B
?
?
#
#
#
#####
###
###
#
#
#######
###
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pno.
Hp.
√
◊
~~
~~
12 ∑
∑
∑
∑
∑
∑
∑
∑
∑12 ˙nn œœ
˙n œœ∑
∑
∑
∑
∑12 ∑
12 ∑
∑12 ∑
∑12 ∑
∑12 ∑
∑12 œ œ œ .œ œ
at me from the12 œb œn œ
œn œ œ˙ œ
˙b œ
˙b œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœa œœ œœ
˙ œœ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ ‰ Jœ œ œ
wall, where round its
œa œ œ
œ œ œœ œ œ
œa œ œœa œ œœ( )
∑‰ jœ œ œ œ œ œ œ œ
3
Œœn œ œb œ œ œ œ
3
∑
∑
∑
∑
∑
∑
∑..˙ œœ
˙n œb œ.˙n œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ jœ œ œ œ œ œ3
head the night lamp casts a
.˙ œ
˙n œb œ.˙ œ
.˙ œ
.˙ œ
P
∑œ œ œ œ œ.˙
∑
∑
∑
∑
∑
∑
∑
˙ œœ#..˙N
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œha lo of pale
œ œ œ
.˙N
˙ œ
˙ œ#
˙ œ#
∑..˙
∑
∑
∑
∑
∑
∑
∑.˙ œ#
.˙ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œlight.
œ ˙
.˙a
.˙
˙ œ#
˙ œ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ
˙ Œ
‰ jœ. œ. œ. œ. œ.‰ jœœ. œœ. œœ. œœ. œœ.
∑
∑
∑
∑
˙ œ
∑
∑
∑
∑
∑˙˙˙˙˙>K ‰ J
œœœœ˙ œœœ
‰ Jœ œ œ œHere in this room...
˙ Œ
˙ Œ
˙ Œ
˙ œ˙ œ
ten.
F
P
p
p
P
P
π
π
π
π
π
Mute
Mute
- Harmon, stem out
- Harmon, stem out
∑
∑
∑
∑
Œ œ œŒ Œ
œŒ ˙˙ œ
∑
∑
∑
∑
‰ jœ. œ. œ. œ. œ.
‰ jœœ. œœ. œœ. œœ. œœ.∑
∑
∑
∑
˙ œ
∑
∑
∑
∑
∑˙˙˙˙˙>K ‰ J
œœœœ
˙ œœœ‰ Jœ œ œ œ
Here in this room
∑
∑
∑
˙ œ
˙ œ
ten.
P
P
p
p
PP
P
∑
∑
∑
∑
œ ˙
œœ ˙
œ œ œ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ
∑
∑
∑
∑
∑
˙ œœœ œ œœœ œœœ œœ#‰ Jœ Œ Œ
she...
∑
∑
∑
œ œ œ#
œ œ œ#
∑
∑
∑
∑
˙ Œ
œ œ#Œ
˙ Œ˙ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ# œ˙ œœ
œ œ œ
‰ Jœ œ œ œHere in this room
∑
∑
∑
œ œ œN
œ œ œN
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œN œ œ˙ Œœ œ œ
‰ Jœ Œ Œshe
∑
∑
∑œ œ œ
œ œ œ
∑ "
∑ "
∑ "
∑ "
Œ ˙U"
Œ ˙U"
Œ ˙U "
Œ ˙U "
Œ ˙U "
∑
∑
œ u"
œœ ˙u"
Œ ˙u"
Πu"
Πu"
ΠU"
Œ ˙u "
∑
∑
∑
Œ ˙˙˙U "
Œ ˙u"
œœœœ ˙˙˙U
œ ˙u
‰ JœU"
died;
∑
∑
∑
œu"
œu"
F
ππ
F.T.
F.T.
p
p
p
p
P
P
p
p
pp
p
p
π
π
π
π
π
∑
Œ œ œ œ
œœœœ œœ œœ œœ œœ œœ
˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
FP
1.
P
- -
The Cross of Snow
80
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
ã
&?
&?
V
&
&
B
?
?
#
#
#
#####
###
###
#
#
#######
###
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pno.
Hp.
24 ∑œ œ œ Jœ ‰œ œ œ œ œ œœ œ œ œ œ
œ œ œ œ œ∑
∑
∑
∑
∑24 ∑
∑
∑
∑
∑
∑
∑24 ∑
24 Œ Œ œ
Œ Œ œ œ œ œ œ
24 ∑
∑24 ∑
Ó œ24 ∑
∑24 ∑24 ∑
∑
∑
∑
Ó œpizz.
P
P
P
∑.˙
œœœœ œœ œœ œœ œœ œœ
‰ Jœ œ œ œ
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
.˙∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ
.˙
p
p
∑œ œ œ
œ œ œ œ œœ œ œ œ œ
˙ œ∑
∑
œ œ œ œ œ œ œ œ œ œ œ œŒ Œ œŒ Œ œ
∑
∑
∑
∑
∑
∑
∑
∑
Œ Œ œœ œ œ œ œ œ œ œ œ œ
3
∑
∑
∑
˙ œ∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ
˙ œarco
P
P
P
1.
∑˙
Œ
˙ Œ
œ Ó
∑
∑
œ Œ Œ
œ ˙
œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ
œ Œ Œ
∑
∑
∑
œ Œ Œ
∑
∑
‰ jœ œ œ œand soul more white
‰ Jœ. œ. œ. œ. œ.
‰ Jœ. œ. œ. œ. œ.
‰ Jœ. œ. œ. œ. œ.
‰ Jœ. œ. œ. œ. œ.
œ ˙
P
p
pp
p
P
PP
P
∑
∑
∑
∑
∑
∑
∑
œ œ œ
œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ Œ œ œ œ
3
Nev er, Nev er through
‰ Jœ. œ. œ. œ. œ.
‰ Jœ. œ. œ. œ. œ.
‰ Jœ. œ. œ. œ. œ.
‰ Jœ. œ. œ. œ. œ.
œ œ œp
pp
p P
PP
P
∑
∑
∑
∑
∑
∑
∑
œn œ# œ œ
œn œ# œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œb œ œ œmar tyr dom ofœ œb œ œ œ
œb ˙œ ˙
œn œ# œ œ
œn œ# œ œ
∑
∑
∑
∑
>Ó
˙>
Ó
>Ó
>œ œ
>œ œ
˙>
Ó
˙>
Ó
> Ó
˙>Ó
˙> Ó
>Ó
>Ó
œ œ ˙ Ó
˙> Ó
˙æ> Ó
∑
∑
∑
∑
∑
>˙ Ó
.œ jœ œ œ œ œfire was led To its re
æ> œ œ œn
æ> œ œ œ
æ> ˙
æ> œ œ
æ> œ œ
Í
Í
Í
Í
Í
Í
Í
Í
F
F
Í
Í
ÍÍ
∑
∑
∑
∑
∑
∑
∑
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ ‰ Jœ œ œpose; nor can in.˙
.˙
.˙
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
œ œ œ œœ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ .œ jœbooks be read The
œ ˙
œ ˙œ œ œ
œ œ œ œœ œ œ œ
∑
∑
∑
∑
∑
∑
∑
œ œ œ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œle gend of a.˙
˙ œ.˙
œ œ œ
œ œ œ
- - - - - -
The Cross of Snow
81
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
ã
&?
&?
V
&
&
B
?
?
#
#
#
#####
###
###
#
#
#######
###
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pno.
Hp.
34 ∑
∑
∑
∑
∑
∑
∑
˙ œ
˙ œ34 ∑
∑
∑
∑
∑
∑
∑34 ∑
34 ∑
∑34 ∑
∑34 ∑
∑34 ∑
∑34 œ œ œ œ œ
life more be ne
34 œ œ œ
.˙œ œ œ œ
˙ œ
˙ œ
∑
∑
∑
Ó œ œ
∑
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ Jœ ‰ œ œdight. and
œ œ œ œ œ œ œ œ œ œ œ œ
.˙
.˙
.˙
.˙
F
∑
∑
∑
œ œ œ œ œ œ
∑
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
.æ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œsoul more
œ œ œ œ
˙ œ
œ œ œ œ œ œ
œ œ œ œœ œ œ œ
π
∑
∑
Ó œ œ
œ jœ ‰ œ œ
∑
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.Œ œ œ
∑
∑
∑
∑
∑
∑
.æ
∑
∑
∑
∑
∑
∑
∑
∑
œ Jœ ‰ œ œwhite, and
œ œ œ œ
˙ œ œ
œ œ œ œ
˙ œ
˙ œ
P1.
F2.
∑
∑
œ œ œ œ œ œœ œ œ œ œ œ
∑
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
.æ
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œsoul more
œ œ œ œ
œ œ œ œ œ œœ œ œ œ œ œ
œ œ œ œœ œ œ œ
∑
∑
œ œ œ ‰ Jœ
˙ Œ
‰ jœ œ Œ
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.Œ œœ œœ
Œ œœ œœ
∑
∑
∑
∑
∑
.æ
∑
∑
∑
∑
∑
∑
∑
∑˙ ‰ Jœ
white And
œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
˙ œ
˙ œ
P
both
F
F1.
∑
∑œ œ œ œ œ œ
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
.æ
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œsoulœ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œœ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
∑
∑œ œ œ œ œ œ
3
∑
∑
∑
∑œ. œ.. œ. œ. œ. œ. œ. œ. œ# . œ. œ. œ.
œ. œ.. œ. œ. œ. œ. œ. œ. œ# . œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
æ œ
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ
3
more white Nev er through
œ œ œ œ œ œ œ
œ œ œ œœ œ œ œ
œ œ œ#
œ œ œ#
- - -
The Cross of Snow
82
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
ã
&?
&?
V
&
&
B
?
?
#
#
#
#####
###
###
#
#
#######
###
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pno.
Hp.
Ÿ~~~~~~~~
Ÿ~~~~~~~
Ÿ~~~~~~~~
Ÿ~~~~~~~~
Ÿ~~~~~~~~~√
42
˙ œ#
˙ œœ
œ œ œ œ œ∑
∑
∑
∑œ. œ. œ. œ. œ. œ. œ. œ. œœ. œ. œ. œ. œ. œ. œ. œ. œ
42 ∑
∑
∑
∑
∑
∑
∑42 æ œ
42 ∑
œ œ œ œ œ œ œ œæ42 ∑
∑42 ∑
∑42 ∑
∑42 œ œ œ œ œ
mar tyr dom of
42 ˙ œ# -
˙ œ-
˙ œ
˙ œ˙ œ
P
P
P
œŒ Œ
œœ Œ Œ
˙ Œ
∑
∑
∑
∑
œ œ œ œ
œ œ œ œ
.˙
˙ œ
∑
∑
Ó œ œ œ3
∑
∑
œ œ œ œ œ œ œ
∑
œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
œ jœ ‰ œ œ œ3
fire... Nev er through
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ œ œ œ
œ œ œ œ
P
P
P
P
1.
2.
P1.
∑
∑
∑
∑
∑
∑
∑
œ œ œœ œ œœ œ œ#
.˙∑
∑œ œ œ œ œ œ
∑
∑
œ œ œ œ
∑
œ œ œ œ œ œæ∑
∑
∑
∑
∑
∑
œ œ œ œ œ œmar tyr dom of
œ. œ. œ. œ. œ. œ. œ. œ. œ# . œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ# . œ. œ. œ. œ. œ. œ. œ.
œ œ œœ œ œ
∑
∑
∑
∑
∑
∑
∑
œ œ œ
œ œ œ
œ œ œ
˙ œ
∑
∑
˙ Œ
∑
∑
œ œ œ œ œ œ œ
∑
œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
œ jœ ‰ œ œ œ#3
fire... Ne ver through
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ œ œ
œ œ œ
Ó Œ œ œ œ œ
∑
∑
∑
∑
∑
∑
w
w˙ œ œ œ
œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
˙ œ œ œ œ
∑
œ œ œ œ œ œ œ œ œ œ œ œæ∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œmar tyr dom of
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
w
w
Frœœ œ œ œ œ œœœ
Œ Œœœ Œ Œœ Œ Œœ Œ Œ
œœ Œ Œ
œ œ œœ œ œ
œ œ œœ œ œ œ œ œœ œ œ œ œ œ
œ œ œ œ œ œœ œ œ œ œ œœ Œ Œœœ Œ Œ
œœ Œ Œ
œ œ œ
œ œ œœ œ œ
∑
œ œ œ œ œ œ œ œæ∑
∑
∑
∑
∑
∑œ Œ ‰ Jœ
fire... ofœ- œ œ œ œ œ
œ- œ œ œ œ œœ- œ œ œ œ œ
œ œ œ
œ œ œ
both
both
F
F
Open
Open
P
P
rœœ œ œ œ œ œœœ
Œ Œœœ Œ Œœ Œ Œœ Œ Œ
œœ Œ Œ
˙ œ˙ œ
˙ œœ œ œ œ œ œœ œ œ œ œ œ
œ œ œ œ œ œœ œ œ œ œ œœ Œ Œœœ Œ Œ
œœ Œ Œ
˙ œ
˙ œ˙ Œ
∑
œ œ œ œ œ œ œ œæ∑
∑
∑
∑
∑
∑œ Ó
fire...œ- œ œ œ œ œ
œ- œ œ œ œ œœ- œ œ œ œ œ
˙ œ
˙ œ
∑
∑
∑
∑
∑
∑
œ œ œ
œ œ œ
œ œ œ∑
∑
∑
∑
∑
œ œ œ
œ œ œ∑
∑
œ œ œ œ œ œ œ œ œæ∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ œ œfire...œ œ œ œ œ œ
œ œ œ œ œ- œ
œ œ œ œ œ
œ œ œ
œ œ œ
- - - - - - - -
The Cross of Snow
83
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
ã
&?
&?
V
&
&
B
?
?
#
#
#
#####
###
###
#
#
#######
###
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pno.
Hp.
50 œ. œ. œ. œ. œ. œ. œ. œ. œ
œ. œ. œ. œ. œ. œ. œ. œ. œ
œ. œ. œ. œ. œ. œ. œ. œ. œ
∑œ œ œ œ œ
œœ œœ œœ
œ œ œ
œ œ œ
œ œ œ50 ∑
∑
∑
∑
∑
œ œ œ
œ œ œ50 ∑
50 ∑
œ œ œ œ œ œ œ œæ50 ∑
∑50 ∑
∑50 ∑
∑50 ∑50 œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œœ œ œ œ œ œ
œ œ œ
œ œ œ
f
f
f
F
F
Unis.
∑
∑
∑
∑
∑
∑
œ œ œ
œ œ œ
œ œ œ∑
∑
∑
∑
∑
œ œ œ
œ œ œ∑
∑
œ œ œ œ œ œ œ œ œæ∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ œ œfire...œ œ œ œ œ œ
œ œ œ œ œ- œ
œ œ œ œ œ
œ œ œ
œ œ œ
∑
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ-Ó œ
Ó œœ#
œ. œ. œ. œ. œ. œ. œ. œ. œ-œ. œ. œ. œ. œ. œ. œ. œ. œ-œ. œ. œ. œ. œ. œ. œ. œ. œ-Ó œœ#
Ó œœœ œ œ œ œ œ œ œ œ
Ó œœ#
∑
Ó œÓ œ
∑
∑
œ œ œ œ œ œ œ œæ∑
∑
∑
∑
∑
∑
Ó œofœ œ œ œ œ
œ œ œ œ œ#œ œ œ œ œ
œ. œ. œ. œ. œ. œ. œ. œ. œ-œ. œ. œ. œ. œ. œ. œ. œ. œ-F
F
f
ff
f
F
∑
∑
∑
∑
œ Œ œ
œœ Œ œœ#
œ- œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ
œ- œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ
œ- œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ.
œœ Œ œœ#œœ Œ œœœ œ œ# œ œ œ
œœ œ œ# œ œ œœ
∑
œ Œ œœ Œ œ
∑
∑
œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑œ Œ œ
fire ofœ- œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ- œ. œ. œ. œ. œ. œ. œ. œ# . œ. œ. œ.œ- œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ- œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ.
œ- œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ.
P
P
P
∑
∑
∑
∑
œ Œ œ
œœ Œ œœ
œ- œ. œ. œ. œ. œ.œ- œ. œ. œ. œ. œ.œ- œ. œ. œ. œ. œ.œœ Œ œœ
œœ Œ œœœ œ œ# œ œ œ
œœ œ œ# œ œ œ
∑
œ Œ ‰ jœœ Œ ‰ jœ
∑
∑
œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑œ Œ œ
fire ofœ- œ. œ. œ. œ. œ.
œ- œ. œ. œ. œ. œ.œ- œ. œ. œ. œ. œ.
œ- œ. œ. œ. œ. œ.œ- œ. œ. œ. œ. œ.
∑
∑
∑
∑
œ Œ Œ
œœ Œ Œ
œ œ œ œ œ œœ œ œ œ œ œ
œ œ œ œ œ œœœ Œ Œ
œœ Œ Œ
∑
∑
∑
˙ œ
˙ œ∑
∑
œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
œ Ófire
˙ œ
œ œ œ œ œ#.˙
œ œ œ œ œ œ
œ œ œ œ œ œ
∑
∑
∑
∑
Œ œ œŒ œœ œœ
.˙
.˙
.˙˙ Œ
˙Œ
˙ Œ˙ Œ
˙ Œ
˙ Œ
˙ Œ
˙ Œ
∑
∑
.˙æ∑
∑
∑
∑
∑
∑
˙ Œfire...
.æ
.æ
.æ
.æ
.æ
p
pp
p
p
∑
∑
∑
∑
Œ œ œŒ œœ œœ
∑
∑
∑
˙ Œ
œ œ Œ˙ Œ˙ Œ
œ œŒ
˙ Œ˙ Œ
˙Œ
˙Œ
∑
∑
.˙æ∑
∑
∑
∑
∑
∑
˙ Œfire...
.æ
.æ
œæ œæ œæ.æ
.æ
∑
∑
∑
∑
‰ œ œ œ œ œ‰ jœœ œœ œœ
∑
∑
∑
˙ Œ
œ œŒ
˙ Œ˙ Œ
œ œŒ
˙ Œ˙ Œ
˙ Œ
˙Œ
∑
∑
.˙æ∑
∑
∑
∑
∑
∑
˙ Œfire...
.æ
.æœæ œæ œæ.æ
.æ
∑
‰ Jœœ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ ˙
œœ ˙..˙
.˙
.˙∑
∑
œ Œ Œ
∑
∑
∑
∑
∑
∑
‰ jœ œ œ œand soul more white
.˙
.˙
.˙
.˙
.˙
1.
The Cross of Snow
84
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
ã
&?
&?
V
&
&
B
?
?
#
#
#
#####
###
###
#
#
#######
###
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pno.
Hp.
Ÿ~~60 ∑
œ œ œ œ œb .œ œ3
∑
∑
∑
∑
∑
∑
∑60 ∑
∑
œ œ œ
.˙œ œ œb .œ œ
œ œ œ
œ œ œ60 ∑
60 ∑
∑60 ∑
∑60 ∑
∑60 ∑
∑60
œ œ œ œ œb .œ œ3
nev er through mar tyr dom of
60
œ œ œ
.˙œ œ œb .œ œ
œ œ œ
œ œ œ
2.
1.
œ œÓ
.œ Jœ œ œ .œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ
˙ ˙˙ ˙
.˙ œ
.˙ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ jœ œ œ .œ œfire was led to its re
˙ œ œ
˙ ˙
˙ ˙
.˙ œ
.˙ œ
F∑
.œ‰ Ó
Œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
w
ww
w
w∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ‰ Jœ œ œpose; Nor can in
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.w
w
P
∑
∑.œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ œ œ œ œ
books be read The
.˙
˙ œ
.œ œ œ œ
.˙
.˙
F
∑
Œ . Jœ œ œ
œ œ Œ ‰ Jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ Œ ‰ Jœ
leg end... The
œ œ œ œ œ œ
œ œ œ œœœ œ œœ œ œ œ
œ œ œ œ
P
∑œ œ œ œ œ œœ œ œ œ œ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ#
leg end of a life
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ#. œ.
œ œ# œ œœ œ# œ œ
F
∑œ œ œ œ œ œ
œ œ œ# œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ# œ œmore be ne
œ œ œ œ œ
œ œ œ œN
˙# œ
˙ œ
˙ œ
∑˙ Œ˙ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ Œ
dight.
œ œ œ œ œ œ œ œ œ6
.˙
˙ œ
˙ œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ œ
‰ jœ œ œ œ# œ
∑
∑
˙Ó
œ œ ˙ Ó
∑
œ œ ˙ Ó
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ œThere is a moun tain
œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ
‰ Jœ œ œ œ œ
‰ Jœ œ œ œ# œ
˙ œ œ
˙ œ œ
P
P
P
P2.
P
-- - - - - - - -
The Cross of Snow
85
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
ã
&?
&?
V
&
&
B
?
?
#
#
#
#####
###
###
#
#
####
###
###
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pno.
Hp.
69 ∑
∑
∑
∑
∑
∑
∑
∑
∑69 ∑
∑
‰ Jœ œ œ œ œ œ
‰ Jœ œ œ œ œ∑
∑
˙Ó
69
œ œ ˙ Ó
69 ∑
œ œ ˙ Ó69 ∑
∑69 ∑
∑69 ∑
∑69 ‰ Jœ œ œ œ œ œ
There is a moun tain
69 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‰ Jœ œ œ œ œ œ
‰ Jœ œ œ œ œ
˙ œ œ œ œ
˙ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œn œ ˙
œn œ œ œ œ ˙
∑
∑
∑
œ œ ˙ Ó
∑
œ œ ˙ Ó
∑
∑
∑
∑
∑
∑
œ œ œ œb œ ˙in the dis tant
œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œb œ ˙
œb œ œ œ œ ˙
.œ jœ œ. œ. œ. œ.
.œ jœ œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ Œ œ
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ Œ œ
West That,
œb œb œJœ œ œ œ œ
œ œ ˙ œw
œ œ ˙
œ œ ˙
‰œb œ œ œ œ œb œ œ œb Jœ ‰ Œ3 6
∑
∑
∑
œn . œ. œ. œ. œ. œ. œ. œ.œœb . œœ. œœ. œœ. œœ. œœ. œœ. œœ.œn . œ. œ. œ. œ. œ. œ. œ.
∑
∑
œœbb .œœ.
œœ.œœ.
œœ.œœ.
œœ.œœ.
œœb .œœ.
œœ.œœ.
œœ.œœ.
œœ.œœ.œb œ œn œn œ
∑
∑
∑
˙b ˙b∑
∑
∑
∑
∑
∑
∑
∑
∑œb œ œn œb œ
sun de fy ing,
‰ Jœb œb ˙
wwbbw
˙b ˙b˙b ˙b
P
P
Div.
P
PP
FÓ
œb œb œ œ œ œ œ œ
∑
∑
∑
œ. œ. œn . œ. œ. œ. œ. œ.œœn . œœ. œœ. œœ. œœn .
œœ.œ. œ.
œ. œ. œ. œ. œn . œ. œn . œ.∑
∑
œœ.œœ.
œœb .œœ.
œœ.œœ.
œœ.œœ.
œœn . œœ. œœ. œœ. œœb .œœ.
œœn .œœ.
œ œ œn œ œn
∑
∑
∑
˙b ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œb œ œbin its deep rav
‰œ œ œb œb œ œ œ œ œ œn œ œ œb œb œ œ œ œ œ œ
wœ .˙bwb
˙b ˙
˙b ˙
- - - - --
The Cross of Snow
86
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
ã
&?
&?
V
&
&
B
?
?
#
#
#
#####
###
###
#
#
#######
###
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pno.
Hp.
Ÿ~~
Ÿ~~74 œn œ œ œn œ œ
œ œ œ œœ œ œ œ
œ œ
∑
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ.
œœn . œœ. œœ. œœ. œœ. œœ. œœ. œœ.œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑74
œœn .œœ.
œœ.œœ.
œœ.œœ.
œœ.œœ.
œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ..˙n Œ
∑
∑
∑
w74 ∑
74 ∑
∑74 ∑
∑74 ∑
∑74 ∑
∑74
.˙n Œines
74 œn œ œ œn œ œœ œ œ œ
œ œ œ œœ œ
wwn
w
w
w
œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Œœœn œœ œœ
Œ œœ œœ œœ
Œ œn œ œ
w
wwnwn
œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.œn . œ. œ. œ. œ. œ. œ. œ.
wwn
wwnŒ œ œ œ
Œ œœn œœ œœ
œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
œn . œ. œ. œ. œ. œ. œ. œ.œn . œ. œ. œ. œ. œ. œ. œ.
∑
∑
wæ∑
∑
∑
∑
∑
∑
Œ œ .œ JœDis plays a
œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
wwn
w
wn
wn
p
p
p
p
p
π
p
p
Œœ
>
..˙ œœ œœ
..˙ œœ œœ
.˙ œ œ
wwwwww
..˙ œœ œœ
.˙ œ œwwww.˙ œ œ
..˙ œœ œœ
..˙ œœ œœ
.˙ œ œ
.˙ œ œ∑
∑
wæ∑
∑
∑
∑
∑
∑œœ( ) œœ ..œœ( ) Jœcross of
Œœ
>
www
w
w
ƒ
F
F
P
P
F
F
FP
ŒœN œ œ œ
..œœ Jœœ œœ œœ#a
..œœ Jœœ œœ œœ#
.œ Jœ œ œa
.˙ œw
.˙ œ#˙ ˙
.˙ œ#˙ ˙
œ œ œ œœ œ œ œ
˙ ˙
.˙ œw
.˙ œ#˙ ˙
.œ Jœ œ œ#
..œœ Jœœ œœ œœ
œ œ œ œœ œ œ œ
˙ ˙
˙ ˙
∑
∑
wæ∑
∑
∑
∑
∑
∑œ œ œ œ œ#snow up on its
ŒœN œ œ œ
.˙ œ#w
.˙ œ
˙ ˙˙ ˙
www#
ww
w#
ww#
wwwwÓ œœ# œœ
Ó œ œ
ww#
www
ww#
ww#
w
w∑
∑
wæ∑
∑
∑
∑
∑
∑w
side.
w
www#
w
w
f
p
p
π
p
p
p
p
p
p
p
p
p
π
p
π
p
p
p
p∑
∑
∑
∑
∑
∑
∑ww#
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ Œ Ó
∑
∑
∑
∑
∑
∑
Œ œ œ œ#Such is the
∑
∑
∑
∑
∑
F
F
∑
∑
∑
∑
∑
∑
∑ww
w#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ# Jœ œ œ œ#
cross I wear up
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# œœ# œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# œon my
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ Œ
Œ ‰ jœœ œœ œœ∑
˙ Ó˙ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
∑
∑
∑
œ ‰ Jœ œ œbreast These eight een
æ æwæwæwæwæ
P
P
π
π
pp
p
p
P
p
--- -
The Cross of Snow
87
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
ã
&?
&?
V
&
&
B
?
?
#
#
#
#####
###
###
#
#
#######
###
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pno.
Hp.
83 ∑
∑
∑
∑
œ œ œ œ œ œ Œ
œœ‰ jœœ œœ œœ
∑
∑
∑83 ∑
∑
∑
∑
∑
∑
∑83 ∑
83 ∑
∑83 ∑
∑83 ˙ ˙
∑83 ∑
∑83 œ ‰ Jœ œ œ
years, These eight een83
æ æ
æ æ
æ æwæwæ
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ
œœ‰ jœœ œœ œœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
∑
∑
∑
œ ‰ Jœœ œ
years, These eight een
æ æwæwæwæwæ
∑
∑
∑
∑
w
˙ Ó
∑
Œ ‰ Jœ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
∑
∑
∑œ ‰ Jœ œ œ œ œ
years. through all the chang
æ æ
æ æ
æ æwæwæ
p
P1.
∑
∑
∑
∑
∑
∑
∑œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ ‰ Jœ
ing scenes And.æ.æ.æ.æ.æ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œ∑
∑
œ œ Œ Ósea sons,
∑
∑
‰ jœ. œ. œ. œ. œ. Œ
∑
wπ
π
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œ∑
∑
œ œ Œ ‰ Jœ Œchange less since
∑
‰ jœ. œ. œ. œ. œ.Œ
‰ jœ. œ. œ. œ. œ. Œ
‰ Jœ. œ. œ. œ. œ. Œ
w
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œ∑
∑
≈ œ œ Jœ ‰ Óthe day
‰ jœ. œ. œ. œ. œ.Œ
‰ jœ. œ. œ. œ. œ.Œ
‰ jœ. œ. œ. œ. œ. Œ
‰ Jœ. œ. œ. œ. œ. Œ
w
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œ∑
∑
‰ Jœ ≈ œ œ œ œ Œsince the day she‰jœ. œ. œ. œ. œ.
Œ‰ Jœ. œ. œ. œ. œ. Œ‰ jœ. œ. œ. œ. œ.
Œ
‰ jœ. œ. œ. œ. œ. Œ
‰ Jœ. œ. œ. œ. œ. Œ
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œ∑
∑
Ó . .œ œsince the‰
jœ. œ. œ. œ. œ.Œ
‰ Jœ. œ. œ. œ. œ. Œ‰ jœ. œ. œ. œ. œ.
Œ
‰ jœ. œ. œ. œ. œ. Œ
‰ Jœ. œ. œ. œ. œ. Œ
w
- - --
The Cross of Snow
88
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
ã
&?
&?
V
&
&
B
?
?
#
#
#
#####
###
###
#
#
#######
###
#
#
#
#
#
#
#
#
#
#
#
#
#
#
#
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pno.
Hp.
◊
√
◊
92 ∑
∑
∑
∑
∑
∑
∑
∑
∑92 ∑
∑
∑
∑
∑
∑
∑92 ∑
92 ∑
∑92 ∑
∑92 ∑
w92 ∑
∑92 ˙ .œ Jœ
day she
92 ‰jœ. œ. œ. œ. œ.
Œ‰ Jœ. œ. œ. œ. œ. Œ‰ jœ. œ. œ. œ. œ.
Œ
‰ jœ. œ. œ. œ. œ. Œ
‰ Jœ. œ. œ. œ. œ. Œ
w
F
FF
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœ œ ˙died.
∑
∑
∑
∑
∑F
∑˙ œ œ
œœ
œœ œœ œœ œœ œœ œœ
‰ Jœ œ œ∑
˙ œ˙ œ˙ œœ
∑
˙ œœ
˙ œœ∑
∑
∑
∑
∑
˙ œ
∑
œ œ œ œ œ œ œ œ œ œ œ œ
3
∑
∑
‰œ œ œ œ œ œ
∑
∑
∑
∑
.˙
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ
.˙
F
2.
p
F
p
p
2.
p
p
p
p
P
p
∑˙ œ
œ œ œ œ œ œœ œ œ œ œ
.œ jœ œ∑
œ œ œ˙ œ#˙ œœ
∑
˙ œœ
˙ œœ#∑
∑
∑
∑
∑
æ œ
∑
œ œ œ œ œ œ œ œ œ œ
3
∑
∑œ œ œ œ œ œ œ œ œ œ œ œ œœœœ#
6 6
Ó œ
∑
∑
∑
.˙
∑
∑
œ œ œ œ œ œ œ œ œ#
˙ œ
∑
.˙
..˙
.˙
.˙
..˙
.˙
..˙
.˙
..˙
..˙
.>
..˙>..˙
.˙
.˙
.æ
..˙
.˙æ∑
∑.....
˙˙˙...˙
∑
∑
∑
.˙
∑
∑
.˙
.˙
.˙
Í
Í
bothp
P
.˙
.˙ .˙
..˙
.˙
.˙
..˙˙ Œ
..˙
.˙
..˙
..˙
.˙
..˙˙..˙
.˙
.˙
.˙
..˙
œ Œ Œ
∑
∑.....
˙˙˙...˙
.....˙˙˙...˙
∑.˙.˙
.˙ .˙
.˙ .˙
..˙ .˙
.˙
π
The Cross of Snow
89
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
&
?
ã
&
?
&
?
&
&
&
&
B
?
?
#
# #
# #
# #
#
#
# #
# #
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 3
Soprano
Mezzo-Soprano
Violin I
Violin II
Viola
Violoncello
Double Bass
Harp
Piano
Percussion 2
€
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œœ
Œœ
Ρ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
ƒ
ƒ
q»•¢ ∑
∑
Ó Ó
˙ .œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ w>w
w
∑
w w
˙
∑
w>
w>∑
∑
∑
∑
∑
w
wπ
π
ƒ
π
Marimba
P
Bass Drum - Do not dam, let it ring.
ƒ
Chimes - 2 Mallets
ƒMedium Mallets
∑
∑Ó .
œ˙ ˙
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w w
∑
w
w∑
∑
∑
∑
∑
w
w
p
ππ
∑
∑
œ œ œ .˙w
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
∑
w
w∑
∑
∑
w
w
w
w
π
π
pp
∑
∑
˙Ó
˙ Ó
˙ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
w *∑
∑
w
w
w
w
w
p
π
π
π
∑
∑
œ œ œ .œ jœ3
˙ ˙
∑
˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙w
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ ‰ jœ3
Tor rent of light andœ œ œ .œJœ
3
œ œ œ .œJœ
3
œ œ œ .œJœ
3
œ œ œ .œJœ
3
˙ ˙
P
P
P
P
P
f
F
F
F
F
F
P
P
F
F
F
F
F
F
F
œ- œ- œ- œ œ œ3
3
œ- œ- œ- œ œ œ3
3
œ œ œ œ œ œ3 3
œ œ œ œ œ˙ ˙
∑
˙ ˙
˙ ˙
˙ ˙˙ ˙œ œ ˙
˙ ˙˙ ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙œ œ ˙
w
˙ ˙˙ æ
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œriv er of the
œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
˙ ˙
F
F
˙ ˙
˙ ˙
..˙ ‰ jœœ
Ó œ œ
w
˙ ˙w
www
w˙ ˙w
www
wwww
w
ww
∑
∑
∑
∑œ
œ >∑
Ó ˙>
∑
.˙ ‰ jœair, A
œ œœ œ
œ œ ˙
œ œ˙
œ œ ˙
w
f
œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œœ œ .œ Jœ
œ œ .œ jœœ œ œ œ
˙ .œ jœ
˙ .œ Jœ
˙ ˙˙ œ œ
˙ ˙∑
˙ ˙
∑
∑
∑
∑
∑
˙ ˙
˙ ˙w
∑
∑
∑
∑
∑
∑ &
∑
∑
∑
œ œ .œ jœlong whose bed theœ œ .œ Jœ
œ œ œ œ œ œ œœ œ œ œ œ œ œ
˙ ˙
˙ ˙
˙ Ó˙ Óœ œ œ œ
œ œ œ œ œ œ œ3
œ œ .œ Jœ
˙ œ œ˙ ˙
œ œ .œ jœ˙ .œ Jœ
˙# œ œ
∑
˙# œ œ
∑
∑
∑
∑
∑
˙# œ œ
˙# œ œœ œ œ Œ
œ
œœ
œ#œ
œœ
œ
∑
∑
∑
œ œ œ œ# œ œ œ œ
œ œ œ œ# œ œ œ œ
∑
∑
∑
œ œ œ œ œ œ œ3
glim mer ing stars areœ œ œ œ
˙ .œ jœ
˙ .œ Jœ
˙# œ œ
˙# œ œ
F
Glock.
F
∑∑w
˙ Ó
˙ Ó
˙ Ó
˙ Ó
˙ ˙
∑
˙ ˙
∑
∑
∑
∑
∑
˙ ˙
˙ ˙
∑˙
˙
∑
∑
∑˙ ˙
˙ ˙ ?
∑
∑
∑
˙ Œ œseen Like
w
˙ œ œb
w
˙ ˙
˙ ˙
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~
~~~~~~~~~~
~~~~~~~~
~~~~~~~~
~ ~~~~~~~~~~~~~~~~~
- - - - -
90
The GalaxyMusic by
Eric C. E. Wilson
(b.1968)
Sonnet by
Henry Wadsworth Longfellow
(1807-1883)
Score
Soprano, Mezzo-Soprano, and Orchestra
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
&
?
ã
&
?
&
?
&
&
&
&
B
?
?
#
# #
# #
# #
#
#
# #
# #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 3
S
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
Perc. 2
11 Œ œb œ œ œb œb œ œ œb œ œ œ œ œ œ œ7 7
Œ œb œ œ œb œb œ œ œb œ œ œ œ œ œ œ7 7
∑
∑
wn
wwn
˙n ˙n∑
˙b ˙b11 ∑
∑
∑
∑
∑
˙b ˙b
˙b ˙b11 ∑11 ∑11
w wb
wb wb
∑11 wwwwbbb
wwb˙b ˙b11 ∑
∑11 ∑11 œb œ œ œb œ
gold and sil ver
11 wb
w
w
˙b ˙b˙b ˙b
unis.
P
∑
∑
∑
∑
w
œ .˙nw
˙ ˙∑
˙ ˙∑
∑
∑
∑
∑
˙ ˙
˙ ˙∑
∑
w w
˙ ˙ ˙ ˙
∑
wwœ .˙b
˙ ˙
∑
∑
∑
.œ Jœb œ œsands in some ra
w
œ .˙b
w
˙ ˙
˙ ˙
∑
∑Ó ‰ jœ œ œ
∑∑
w
ww
w∑
w∑
∑
∑
∑
∑
w
w∑
Ó ˙
w w
w w
∑Ó ˙wwwwww
∑
∑
∑
˙ Œ œvine Where
.˙ œ œ œ œ œ
w
w
w
w
P
P
∑
∑œb œ ˙ œbœ œb œb ˙
.˙ œb
∑
∑
∑
œ œ œb ˙
∑
∑
∑
∑
∑
∑
œ œ œb ˙
œ œ œb ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œb œ ˙ œbmoun tain streams haveœb œ ˙ œb
œ œb œb ˙
.˙ œb
œ œ œb ˙
œ œ œb ˙
F
F
F1.
∑
∑
œ œb œ œb œ˙ œb œbœ œb œ œ
∑
∑
∑
œ œ œb œ
∑
∑
∑
∑
∑
∑
œ œ œb œ
œ œ œb œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œb œ œb œleft their chan nels
œ œb œ œb œ
˙ œb œbœ œb œ œ
œ œ œb œ
œ œ œb œ
∑
∑
ww
wb
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
w
w.æ œ.
∑
wwb æ
wwæ
.˙æ œ
.
∑
∑
∑
∑
∑
˙b( )Ó
bare!
w
w
wb
w
w
P
P
P
PSnare Drum
P p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ ˙
∑
jœœb .‰ ˙æ
jœœ. ‰ ˙æ
œ œ œ .œæ Jœ
∑
∑
∑
∑
∑
∑
jœ. ‰ ˙
jœ.‰ ˙
jœb . ‰ ˙
jœ. ‰ ˙
jœ. ‰ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
˙b œœbn∑
∑
∑
Jœ. ‰ Œ jœ. ‰
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ
3
∑
∑
∑
∑
∑
∑
‰ œ œ œb . œ. œb- œ
jœ.‰ œ œb
jœb . ‰ œ œb
jœ ‰ Œ jœ ‰
jœ ‰ Œ jœ ‰
straight mute
straight mute
pizz.
pizz.
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ
..˙b∑
∑
∑
Jœ. ‰ Œ jœ. ‰
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ
3
∑
∑
∑
∑
∑
∑
‰ œ œ œb . œb . œb- œ
jœ.‰ œ œb
jœb . ‰ œ œb
Jœ ‰ Œ jœ ‰
Jœ ‰ Œ jœ ‰
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
˙b œœbn∑
∑
∑
Jœ. ‰ Œ jœ. ‰
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ
3
∑
∑
∑
∑
∑
∑
‰ œb œ œb . œb . œ- œb
jœ.‰ œ œb
jœb . ‰ œ œb
Jœ ‰ Œ jœ ‰
Jœ ‰ Œ jœ ‰
~~~~~~~~
~~~~~~
- - - -
The Galaxy
91
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
&
?
ã
&
?
&
?
&
&
&
&
B
?
?
#
# #
# #
# #
#
#
# #
# #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 3
S
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
Perc. 2
21 ∑
∑
∑
∑
∑
∑
∑
∑
∑21 ∑
∑
˙ œ
..˙b∑
∑
∑21
æjœ. ‰
21 ∑21 ∑
∑
œ œ œ œ œ œ œ œ œ œ
3
21 ∑
∑21 ∑
∑21 ∑21 ∑21
˙ Œ
jœ.‰ ˙
jœb . ‰ ˙
jœ ‰ Œ jœ ‰
jœ ‰ Œ jœœ ‰
π
∑
∑
∑
∑
∑
∑
∑‰ jœ œb œb œ- œJœ. ‰ Œ Jœ. ‰
Jœ. ‰ Œ Jœ. ‰
∑
∑
‰ œ œ œb . œ. œn- œ
˙b œœbn∑
∑
∑
˙ Œ
∑
˙b æ œœbb æ
˙æ œœæœ œ œ œ œ œ œ œ œ œ
3
∑
∑
∑
∑
‰ jœ œ œThe Span iard
∑
∑
jœ.‰ ˙
jœb . ‰ ˙
jœ ‰ Œ jœ ‰
jœ ‰ Œ jœ ‰
straight mute
p
p
both
p
F
∑
∑
∑
∑
∑
∑
∑‰ jœ œb œb œ- œbJœ. ‰ Œ Jœ. ‰Jœ.
‰ Œ Jœ. ‰
∑
∑
‰ œ œ œb . œb . œn- œ
..˙b∑
∑
∑
∑
∑
..˙b æ˙bæ œœæœ œ œ œ œ œ œ œ œ œ
3
∑
∑
∑
∑
.œ Jœb .œb œbsees in thee the
∑
∑
jœ.‰ œ œb
jœb . ‰ œ œb
Jœ ‰ Œ jœ ‰
Jœ ‰ Œ jœ ‰
∑
∑
∑
∑
∑
∑
∑‰ œb œ œb œ œ œbJœ. ‰ Œ Jœ. ‰Jœ.
‰ Œ Jœ. ‰
∑
∑
‰ œb œ œn . œb . œ- œn
˙b œœbn∑
∑
∑
∑
∑
˙b æ œœbb æ˙bæ œœæœ œ œ œ œ œ œ œ œ œ
3
∑
∑
∑
∑
œ œb œ œpath way where His
∑
∑
jœ.‰ œ œb
jœb . ‰ œ œb
Jœ ‰ Œ jœ ‰
Jœ ‰ Œ jœ ‰
∑
∑
∑
∑
∑
∑
∑
˙ Œ˙ Œ˙ Œ
∑
∑
˙ Œ
..˙b∑
∑
∑
∑
∑
..˙b æ
..˙æ
œ œ œ œ œ œ œ œ œ œ
3
∑
∑
∑
∑
œb œb .œ Jœpat ron saint de
∑
∑
jœ.‰ œ œN
jœb . ‰ ˙
jœ ‰ Œ jœ ‰
jœ ‰ Œ jœœ ‰
∑
∑
∑
∑
∑
∑
Œ ˙∑
∑
∑
∑
‰ œ. œ. œ. ˙3
‰ œœN . œœ. œœ. ˙3
∑
∑
∑
∑
∑
jœœbb .‰ ˙n æ
jœœ. ‰ ˙N æ
œ œ œ œ œ œ œ œ œ œ
3
Ó œ œ
∑
∑
∑
œb œb Œ œ œscend ed in the
∑
∑
jœb . ‰ ˙jœb . ‰ ˙
jœ ‰ ˙N
jœ ‰ ˙Narco
arco
P
F
Œ ˙#
‰ jœ ˙Œ . Jœ œ
.˙# Œ ˙
œ# œ œ œ œ.˙#
Œ . jœ œ
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ#œ
œ
..˙#ggggggggggggggg ..˙
∑
œ# œ œ œ œ
∑
∑
∑
˙# œsheen of
∑
œ# æ> ˙
œ œæ> œ
.˙
.˙
.˙
p
p
p
Pp
p
f
p2.
f
œ Óœœ# Ó
œœ## Ó
œ# Ó
œ# Œ Œ
œ Œ Œ
˙ œ œ#∑
Œ œ œ œ#
œ œ# œ˙ œ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
jœœœ##‰ ˙#
˙ œ œ#
∑
∑
.œN Jœ œ œ#his ce les tial
∑
jœ# ‰ ˙
jœ ‰ ˙jœ# ‰ ˙#
˙ œ œ#
˙ œ œ#
π
π
π
π
π
π
p
π
∑
∑
∑
∑
∑
∑
jœ# ‰ .œ jœ
∑
Jœ# ‰ .œ Jœ
˙## Œ
∑
∑
∑
∑
∑
∑
∑
‰ Jœ ˙#
∑
∑
∑jœœœœ### ‰ ˙
jœœ##‰ ˙
jœœœœ### ‰ ˙jœœ##
‰ ..œœjœ#
œ# ˙ar mour,
∑
jœ# ‰ ˙
jœ ‰ ˙jœœ## ‰ ˙
jœ# ‰ .œ jœ#jœ# ‰ .œ
jœœ##
div.
P π
P
∑
∑
∑
∑
∑
∑
.˙#∑
.˙#
Jœœ# - ‰ ˙#
Ó œ#∑∑
∑
∑
∑
∑
∑
‰ Jœ ˙#
∑
∑
∑
∑
∑
....˙###
..˙##
Ó œ œon ser
∑
.˙#
.˙
..˙##
.˙#
.˙#
P p
p
P
∑
∑
∑
∑
∑
∑
œ# ˙#∑
∑
..˙
.˙.˙#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ ‰ œene And
∑
.˙
.˙
.˙# .˙#
œ# ˙#
œ# ˙#
p
p
p
p
p
p
∑
∑
∑
∑
∑
∑
œ œ# œ# œ œ œ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ ˙qui et
∑
.˙#
.˙
.˙# .˙#
œ œ# œ# œ œ œ#
œ œ# œ# œ œ œ#
- - - - - - - - - - -
The Galaxy
92
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
&
?
ã
&
?
&
?
&
&
&
&
B
?
?
#
# #
# #
# #
#
#
# #
# #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 3
S
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
Perc. 2
33 ∑
∑
∑
∑
∑
∑
˙# œ# œn
∑
∑33 ∑
∑
∑
∑
∑
∑
∑33 ∑33 ∑33 ∑
∑
∑33 ∑
∑33 ∑
∑33 œ ‰ Jœ œ# œ#
nights, when all the
33 ∑
33
œ# Jœ. ‰ œ# œ# œ œ œ# œ#6
˙ œ#
˙# œ œ#˙# œ
˙# œ# œn
˙# œ# œn
∑
∑
∑
∑
∑
∑
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# œ .œ Jœ#heav ens were
∑
œ# œ .œ Jœ#
.˙
œ œ# œ#
.˙
.˙
unis.
F
F
F
F
F
f
∑
∑
∑
∑
∑
∑
.˙∑
∑
‰ jœœ# . œœ. œœ. œœ. œœ.‰ jœœ. œœ. œœ. œœ. œœ.
∑
∑
∑
∑
∑
Œ ‰ Jœ œ œ
∑
∑ ?
∑
∑
∑
∑
∑
∑
.˙fair.
∑
.˙
.˙
.˙#
.˙
.˙
P
P
F
F
rit.
rit.
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ- Œ jœœ ‰
œœ-Œ jœœ ‰
‰ œ. œ. œ. œ. œ œ
‰ œœ. œœ. œœ. œœ. œœ œœ
œœ Œ œœ
œ Œ œ
œ Œ œ
œ Œ œ
∑
œœ Œ œœ
œœ Œ œœ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
open
open
Allegro {m q = c 120}
P
P
P
F
F
P
P
P
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ Œ jœœ# ‰
œœ Œ jœœ ‰
‰ œ. œ. œ. œ. œ œ
‰ œœ. œœ.œœ. œœ. œœ œœ#
œœ Œ œœ
œ Œ œ
œŒ
œœ Ó
∑
œœ Œ œœ
œœŒ œœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ Œ jœœ ‰
œœ Œ jœœ ‰
‰ œ. œ. œ. œ. œ œ
‰ œœ. œœ. œœ. œœ. œœ œœœœ Œ œœ
œ Œ œ
œ Œ œ
œ Œ œ
∑
œœ Œ œœ
œœ Œ œœ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ Œ œœ#
œœ Œ œœœ œ œ œ
œœ œœ œœ œœ#
œœ Œ œœ#
œ Œ œ
œ Œ œ
œ Œ œ
∑
œœ Œ œœ#
œœ Œ œœ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ
‰ œ. œ. œ. œ. œ œ
˙ œ
˙ Œ
˙ Œ
˙ Œ
˙ Œ
˙ Œ
˙ Œ
˙Œ
˙ Œ
∑
˙æ Œ &
˙æ Œ
∑
∑
∑
∑
∑
Œ Œ œNot
Œ Œ œNot
∑
∑
∑
∑
∑
P
p
p
P
F
F
∑
∑
∑
∑
∑
∑
˙ œ œ
‰ œ. œ. œ. œ. œ œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œthis I
œ œ œ œ œthis I
œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
P
∑
∑
∑
∑
∑
∑
˙ œ œ
‰ œ. œ. œ. œ. œ œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ Œ œsee, nor
œ Œ œsee, nor
œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# œ œœ œ œ
.˙
∑
∑
‰ œ. œ. œ. œ. œ- œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ# œ œ œyet the an cient
.œ œ œ œyet the an cient
œ œ# œ œ œ# œ œ œ œ œ œ œ#
∑
∑
∑
∑
straight mute
-
--
The Galaxy
93
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
&
?
ã
&
?
&
?
&
&
&
&
B
?
?
#
# #
# #
# #
#
#
# #
# #
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 3
S
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
Perc. 2
44 ∑
∑
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ.
œ œ ˙
œ. œ. œ. œ. œ. œ.
44 ∑
∑
∑
∑
∑
∑
∑44 ∑44 ∑44 ∑
∑
∑44 ∑
∑44 ∑
∑44 œ œ Œ œ
fa ble Of
44
œ œ Œ œfa ble Of
44 œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œb‰ Jœ.œ. œ. œ. œ.
‰ jœœ# . œœ. œœ. œœ. œœ.∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œbPhae ton's wild
œ œ œbPhae ton's wild
œ. œ œ œ. œ. œb . œ.
∑
∑
Œ œ œ
Œ œ œ
p
p
P
P
f
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œœ#.
œ.
œ.
œ.
œ.
œ.
œœ. œœ. œœ. œœ. œœ. œœ.∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ Œ ‰ jœcourse, Of
œ Œ ‰ jœcourse, Of
œ œ œ œ# œ œ œ# œ œ œ œ œ
∑
∑
˙ Œ
˙ ŒF P
F P
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œb œ‰ Jœ.œ. œ. œ. œ.
‰ jœœ# . œœ. œœ. œœ. œœ.∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œb œPhae ton's wild
œ œ œ œPhae ton's wild
œ. œ œ œ. œ. œb œ
∑
∑
Œ œ œ
Œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# Œ Œœ#.
œ.
œ.
œ.
œ.
œ.
œœ## . œœ. œœ. œœ. œœ. œœ.∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# Œ ‰ Jœcourse, that
œ# Œ ‰ Jœ#course, thatœ# œ# œ# œ œ œ# œ œ œ# œ œ œ# œ œN œ œ
3 3 3 33
∑
∑
œ# Œ Œ
œ# Œ ŒP
P
F
F
f
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ Œ ‰ jœ#
∑
∑
∑
∑
∑
Ӝ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œN œ# ˙#scorched theskies
.œ# œ ˙#scorched theskies
.œ œ# œ# . œ. œ# . œ#
∑
∑
œ œ Œœ œ œ.
1.
pizz.
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œN œ# ˙#
Œ Œ œ
∑
∑
∑
∑
Ӝ.
œ œ œ> Œ Œ
∑
∑
∑
∑
∑
∑
∑
∑
Œ Œ ‰ JœNthat
Œ Œ ‰ jœthat
.œ œ# œ#‰ JœN
∑
∑
œ œ Œ
œ œ œ.
2.
arco pizz.
ƒ
∑
∑
Ó ‰ œœ œœ# œœ
∑
∑
∑
∑
∑
∑
..˙
..˙b
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
.œb œN œ ‰ Jœ œ œscorched theskies Wher e'er the
.œ œ œb ‰ jœ œ œscorched theskies Wher e'er the
.œb œN œ- œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.œb . œ. œ. œ. œ. œ. œ. œ.
œ- œ. œ. œ. œ. œ. œ. œ.
œ- œ. œ. œ. œ. œ. œ. œ.
both
both
arco
p
- - - -
- - - -
The Galaxy
94
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
&
?
ã
&
?
&
?
&
&
&
&
B
?
?
#
# #
# #
# #
#
#
# #
# #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 3
S
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
Perc. 2
52 ∑
∑
..œœ Jœœ# œœ
∑
∑
∑
∑
∑
∑52 ∑
∑
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ.52 .æ52 ∑52 ∑
∑
∑52 ∑
∑52 ∑
∑52 .œ Jœ# œ
hoofs of his
52
.œN jœ œhoofs of his
52 œ œ œ œ# œ œ œ# œ œ œ œ œ œ# œ œ œ3 3 3 3 3
œ. œ. œ. œ. œ. œ.œN . œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
∑
∑
œœ œœ# œœ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ.œ œ œ Œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ# œ#hot cours ers
œ œ œhot cours ersœ œ œ œ# œ œ# œ
œ. œ. œ. œ. œ. œ.
œ. œ. œ# . œ. œ. œ.
œ. œ. œ. œ. œ# . œ.
œ. œ. œ. œ. œ# . œ.
F
∑
∑
œœ ‰ Jœœ œœ## œœa
∑
∑
∑
∑
∑
∑
‰ œœ. œœ. œœ Œ
‰ œœ. œœ. œœ Œ
‰ œ. œ. œ Œ
‰ œœ. œœ. œœ Œ
‰ œœ. œœ. œœ Œ
‰ œ. œ. œ Œ
œ. œ. œ. œ. œ. œ.œ œ œ Ó
∑
∑
∑
∑
∑
∑
∑
∑
œ ‰ Jœ œ# œ#trod; Wher e'er the
œ ‰ Jœ œ œtrod; Wher e'er the
œ œ œ œ œ# œ#
œ. œ. œ. œ. œ. œ.
œ. œ. œ# . œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
F
F
F
F
F
F
P
open
∑
∑
..œœ JœœN œœ
∑
∑
∑
∑
∑
∑
‰ Jœœ. œœ. œœ. œœ. œœ.
‰ jœœ. œœ. œœ. œœ. œœ.
‰ Jœ. œ. œ. œ. œ.
‰ Jœœ. œœ. œœ. œœ. œœ.
‰ Jœœ. œœ. œœ. œœ. œœ.
‰ Jœ. œ. œ. œ. œ.
‰ jœ. œ. œ. œ. œ.‰ Jœ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
.œ Jœ œhoofs of his
.œ jœ œhoofs of his
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3 3
‰ Jœœ. œœ. œœ. œœ. œœ.
‰ Jœ. œ. œ. œ. œ.
‰ Jœ. œ. œ. œ. œ.
‰ Jœ. œ. œ. œ. œ.
p
p
p
p
p
p
p
p
p
p
p
div.
p
∑
∑
œœ œœ œœ#
∑
∑
∑
∑
∑
∑
œœ- œœ- œœ-
œœ- œœ- œœ# -
œ- œ- œ-
œœ- œœ- œœ# -
œœ- œœ- œœ-
œ- œ- œ-
œ- œ- œ-œ Œ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œhot cour sers
œ œ œ œhot cour sers
œ- œ- œ-
œ- œ- œ-œ- œ- œ-œ- œ- œ# -
œ- œ- œ-
œ- œ- œ-
F
F
F
F
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
rit.
F
F
F
F
F
F
F
f
F
∑
∑
ww
∑
∑
∑
∑
∑
∑
ww
www
ww
ww
.˙ œ
.˙ œ
.æ Œ
∑
wwæ
wæ.æ œæ∑
∑
∑
∑
∑
wtrod.
wtrod.
œ œ. œ. œ œ œ œ œ
ww
w
.˙ œ
.˙ œ
p
P
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
www
ww
ww
w
w∑
∑
wwæ
wwæ
∑
∑
∑
∑
∑
∑
∑
w
ww
w
w
w
∑
∑
∑
∑
w
ww
w
∑
∑
ww
www
ww
ww
w
w∑
∑
wwæ
wwæ
∑
∑
∑
∑
∑
Œ œ œ œBut the white
∑
w
ww
w
w
w
p
p
p
p
p
p
p
π
π
π
π
P
∑
∑
∑
∑
œ .˙
œ .˙w
œ .˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ .œ œ ˙drift of worlds
∑
Ó .œ
∑
∑
œ .˙
œ .˙
P
∑
∑
∑
∑
∑
∑
˙ ˙
˙ ˙
˙ ˙∑
∑
∑
∑
∑
Ó ˙
Ó ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ Œo'er cha sms
∑œ œ œ œ
Œ
∑
∑
˙ ˙
˙ ˙( )
- - -
- - --
The Galaxy
95
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
&
&
?
ã
&
?
&
?
&
&
&
&
B
?
?
#
# #
# #
# #
#
#
# #
# #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 3
S
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
Perc. 2
◊
62 ∑
∑
Ó . œ
∑
∑
∑
w
˙ ˙
˙ ˙62 ∑
∑
∑
∑
∑
w
˙ ˙62 ∑62 ∑62 ∑
∑
∑
62 ∑
∑62 ∑
∑62 Œ . Jœ œ œ œ
of sa ble,
62 ∑
62 ‰ Jœ œ œ œ œ
Ó æÓ œæ œæÓ æ
˙ ˙
˙( ) ˙
P
P
P
∑
∑œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Ó
∑w
wæwæwæ
w
w
∑
∑
˙ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó . ‰ Jœ
∑
∑
∑
∑
∑œ œ œ œ .œ Jœ
wæwæwæ
w
w
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#œ œ
œœ
œ œ
œ
∑
˙ ˙∑
˙ Óœ# œ œ œN œ œ œ œ
∑
∑
∑
Œ . jœ œ# œThe star dust
Œ . jœ œ œThe star dust
w
w# w
w
w
w
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ#œ œ
œœ
œ œ
œ
∑
˙ ˙∑
œ# œ œ œ œ œ œ œ
∑
∑
∑
‰ œ œ .œ# œ œ Œthat is whirled a loft
‰ œ œ .œ œ œ Œthat is whirled a loft
w
ww
w
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
wwww#
∑
∑
∑
Ó ˙#and
Ó ˙#and
w
ww
w
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwww#ggggww
∑
∑
w#flies
wflies
w#
ww
w
w
w
f
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ .œ œ œFrom the in vi si ble
‰ Jœ œ œ .œ œ œFrom the in vi si ble
w
ww
w
www
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ ‰ . œ# . œ. œ- Œ
Œ ‰ . œœ. œœ. œœ- Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ Œ œcha riot wheels of
œ œ œ Œ œœ( )cha riot wheels of
œ œ>æ Jœ ‰
œ
œœ œœæ>
Jœœ ‰œœ
œ œ#æ Jœ ‰ œ
œ œ œæ œ
œ œ œæ œ
f
f
Ó œ# . œ. œ. œ.
Ó œœ# . œœ. œœ. œœ.
Ó œœ# . œœ. œœ. œœ.
Ó œ œ
Ó œ# . œ. œ. œ.
Ó œ. œ. œ# .œ.
Ó œ œ
Ó œ. œ.. œ# . œ# .Ó œ. œ.. œ# . œ# .Ó œ. œ.. œ# . œ# .Ó œ. œ. œ# .
œ.
Ó œ œÓ œ# . œ. œ. œ
.Ó œ œÓ œ# . œ. œ. œ.
Ó œ. œ. œ# .œ.
Ó œ œ
Ó œœ# .œœ..
œœa . œœ# .Ó œ. œ.. œ# . œ# .Ó œ. œ.. œ# . œ# .œæ jœ. ‰ œ œ
Ó œ
œ
œ
œ
∑
∑
∑
œ œ
œ œ
∑
∑w
God.
ww#( )God.w
ww#
w
œæ> Jœ. ‰ œ. œ. œ# . œ# .œæ> Jœ. ‰ œ. œ. œ# . œ# .
f
f
f
f
f
f
f
f
F
f
f
f
f
f
f
f
f
ƒ
ƒ
Chimes - 2 Mallets
f
ƒ
w
ww#
ww#
ww
w# w
w
w
www#
www
w# www
w
wwæ>w
w# w
w wYæ
w
∑
∑
w w
∑
∑w
ww#
w
w
wß
ß
ß
ß
ß
ß
ß
ß
ß
ß
ß
ß
ß
ß
ß
ß
ß
ß
ß
ß
ß
ß
ß
ßsus. cym.
ß
Jœ>
‰ Œ Œ
Jœœ# >
‰ Œ Œ
Jœœ# > ‰ Œ Œ
Jœ> ‰ Œ Œ
Jœ> ‰ Œ Œjœœ#
> ‰ Œ Œ
jœ>‰ Œ Œ
jœ> ‰ Œ Œ
jœ> ‰ Œ Œ
Jœœ# > ‰ Œ Œ
jœœ> ‰ Œ Œ
Jœ> ‰ Œ Œjœœ#
> ‰ Œ Œ
Jœœ> ‰ Œ Œ
jœ> ‰ Œ Œ
jœ>‰ Œ Œ
jœ> ‰ Œ Œ
Jœ
œ
>‰ Œ Œ
Jœœ# > ‰ Œ Œ
jœœ>‰ Œ Œ
Jy> ‰ Œ Œ
Jœœ>
‰ Œ Œ
jœœ>‰ Œ Œ
Jœœœœ# > ‰ Œ Œ
Jœœ> ‰ Œ Œ
Ó .
Ó .
Jœ>
‰ Œ Œ
Jœœ# >
‰ Œ Œ
Jœ> ‰ Œ Œ
jœ> ‰ Œ Œ
jœ> ‰ Œ Œƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
-- - ---
~~~~~~~~~~~~~~~~ ~~~~~~~~
~~~~~~~~
~~~~~~~~~~~~~~~~~ ~~~~~~~~~~
~~~~~~~
- - - - - - -
The Galaxy
96
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
&
?
&
?
&
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # #
# # # # #
# # # # #
# # #
# # #
# # # #
# # # #
# # # # #
# # # # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Soprano
Violin I
Violin II
Viola
Violoncello
Double Bass
Harp
Piano
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
ww
∑
‰ Jœ œ œ .œ Jœ
∑
∑
∑
∑
solo
F
F
q»§º ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ# ˙˙
˙ ˙
∑
œ œ .œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
www
∑
.œ Jœ œ œ
∑
∑
.œ Jœ œ œ
∑
solo
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ jœ œœœ œœœœ#˙
˙ ˙ww
∑
œ œ œ œ œ œ œ œ#
Ó. œœ˙ ˙œ œ œ œ œ œ œ œ œ
˙ ˙
P
P
P2 desks
2 desks
2 desks
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œœ œœ œœ œœ œœ œ œœÓ ˙ww
‰ jœ œ œ œ œ œ œThe sea a woke at mid night
w
ww
w
w
w
p
p
p
p
p
P
P F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ ˙œœ œœœ#˙ ˙
œ œ œ œ ˙from its sleep,
∑
∑
∑
∑
∑
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
ww
‰ jœ .œ œ œ œ œ œAnd round the peb bly beach es
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ# ˙œœ œœœ œœ# œœœ‰ jœ œ ˙˙#
œ œ œ œ# ˙far and wide
∑
∑
∑
∑
∑
F P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
œœœ œœœ ˙˙gggggg
‰ jœ .œ œ œ œ œ œ œI heard the first wave of the
Ó œ œ œ œ œ œ œ œ
Œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Ó ˙
Ó ˙˙( )
divisi and/or multi-stop as needed
divisi and/or multi-stop as needed
p
p
p
p
p
tutti
tutti
tutti
tutti
tutti
- - - -
97
The Sound of the SeaMusic by
Eric C. E. Wilson
(b.1968)
Score
Sonnet by
Henry Wadsworth Longfellow
(1807-1883)
Soprano and Orchestra
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
&
?
&
?
&
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # #
# # # # #
# # # # #
# # #
# # #
# # # #
# # # #
# # # # #
# # # # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
10 ∑
∑
∑
∑
∑
∑
∑
∑
∑10 ∑
∑
∑
∑
∑
∑
∑10 ∑10 ∑
∑
∑10 ∑
∑10 œœ œœ œœ œœ œœœggg œœœgggg
ww10 .œ Jœ œ .œ œ
ris ing tide Rush
10 œ œ œ œ œ ˙
.œ Jœ ˙
œ œ œ œ œ ˙
ww
ww
F
F
F
F
F
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ‰ jœ œ œ˙wwww
œ œ œ œ œ œ œ œ œon ward with un in
˙ Ó
˙ Ó
˙ Ó
˙ Ó
˙ Ó
π
π
π
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwww
˙ ˙
.œ œ œ œ œ œ œ œ œ œ œter rupt ed sweep;
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œœ œœ œœ œœ œœ œœwww
˙ ˙
œ œ ˙ Œ
∑
∑
∑
‰ œ œ œ œ œ œ œ œ œ
∑P
solo
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œœ œœ œœ œœ œ3
....˙
˙ ...˙
‰ jœ œ œ œ œ œ œ3
A voice out of the si lence
Œ œ- Ó.
∑
∑
œ Œ Ó Œ
∑
psolo
π
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙# ˙Œ œ œN ˙( )˙N ˙
˙
œ œ œ œ ˙of the deep,
œ œ Œ ‰ Jœ œ
∑
∑
˙ ˙
˙ ˙p pP
p pP
tutti
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ ˙#˙# ˙
‰ jœ .œ œ œ œ œ3
A sound my ster ious ly
œ Œ ˙
Œ . jœ ˙#
Œ .˙
∑
∑
tutti
P
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ ˙#www
œ œ œ œ# ˙mul ti plied
Œ œ ˙
Œ œœ ˙
Œ œ ˙#
Œ œœ ˙
Œ œœ( ) ˙( )
p
p
p
p
p
F
F
F
F
F
div.
div.
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œ œ œœœ œ
˙ ˙
‰ jœ œ œ œ œb œ .œ œ3
As of a cat a ract from the
œ œ ˙
˙ ˙
˙ ˙
˙ ˙
˙˙
subito p
subito p
subito p
subito p
subito pdiv.
π
π
π
π
π
subito P
- - - - - - - - - - - - - -
The Sound of the Sea
98
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
&
?
&
?
&
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # #
# # # # #
# # # # #
# # #
# # #
# # # #
# # # #
# # # # #
# # # # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
19 ∑
∑
∑
∑
∑
∑
∑
∑
∑19 ∑
∑
∑
∑
∑
∑
∑19 ∑19 ∑
∑
∑19 ∑
∑19 ‰ jœ œ œ ˙wwww
wwww19 .œ Jœ œ ≈ œ œ
>œ .œ œ
moun tain side, Orroar of
19 ∑
∑
∑
Ó. œœæ
>Ó. œœ( )
æ>
P
P
f ten.
ten.
ten.
∑
∑
∑
∑
‰ Jœ œ œ œ œ œ œ œ œ œ œ œ œ‹
Ó ˙Ó ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œœœ œœœœ#
œ œ œ œ œ œ œ œ
œ ≈ œ œ œ œ œ œ œwinds up on a wood ed
∑
∑
∑
˙ ˙
˙( )˙( )
p
p
P
∑
∑
∑
∑
w
ww
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙wwwwggggggœ œ .˙
steep.
‰ Jœ œ œ œ œ œ œ
∑
‰ Jœ œ œ .œ Jœ
w
w
solo
P
p
solo
p
p
π
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œœ# ˙˙
˙ ˙
∑
œ œ œ œ ˙
∑
œ œ .œ œœœœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
˙ ˙
∑
‰ Jœ œ œ œ œb œ œ œ3
∑.œ Jœ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwwwwwww
∑.œ J
œ .œ œ œ œ .œ œ
∑
‰ Jœ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwww
ww
∑
.œ œ œ œ œ œ œ œ œ œ œÓ
œ œ
Ó œ œœœ œ œ œ œ œ œ œ#
‰ Jœ- œ- œ- ˙
Ó. œ
2 desks
P
P
P
P
2 desks
2 desks
∑
∑
∑
∑
w
ww
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwww
ww
‰ jœ œ œ œ œ œ œSo comes to us at times, from
œ œ .˙w
w
w
ww
w
p
p
p
p
∑
∑
∑
∑
œ œ‹ ˙
œ .˙˙ ˙˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ jœ ‰ Œthe un known
∑
∑
∑
w ˙
˙ ˙
- - - -
The Sound of the Sea
99
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
&
?
&
?
&
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # #
# # # # #
# # # # #
# # #
# # #
# # # #
# # # #
# # # # #
# # # # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
√
28 ∑
∑
∑
∑
w
w ˙
w
∑
∑28 ∑
∑
∑
∑
∑
∑
∑28 ∑28 ∑
∑
∑28 ∑
∑28 ∑
∑28 ‰ jœ œ œ œ œb œ œ œ
3
And in ac cess i ble sol i
28 ∑
∑
∑
˙ ˙w
w
∑
∑
∑
∑
w
ww
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑ &
.œ jœ œ œtudes of be ing,
∑
∑
∑
˙ ˙
w
π
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œœ œœ œœ œœ œœ œœ
˙gggg ˙ggggg‰ Jœ œ œ œ œ œ œ
The rush ing of the
Ó ‰ œ œ œ œ œ œ œ œ œ3
3 3
Ó œæ œæ œæ
Œ .æwwæ
wæ
p
p
P F
f
P
tutti
tutti
tutti
tutti
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ œœ œœ œœ œœ œ œ
˙gggggœœœ œœœœ#
œ œ œ œ œ œ œsea tides of the
œ œ œ œ œ œ œ œ œ ˙3
˙ œ œ#
˙ œ œ
œ œ ˙˙ ˙
˙ ˙F
F
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
œœœ œœœ‰ jœ œ˙?
˙ Ósoul;
w
w
w
ww
w
p
p
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ˙œ œ ˙
‰ jœ œ œ œ œ œ œAnd in spi ra tions that we
˙ œ œ
w
˙ ˙
œ œ ˙
w
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œœ# ˙˙
˙ ˙
œ œ œ œ ˙deem our own,
œ œœ# ˙
˙ ˙
˙ ˙
˙ ˙
˙ ˙
- - - - - - - - - - - -
The Sound of the Sea
100
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
&
?
&
?
&
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # #
# # # # #
# # # # #
# # #
# # #
# # # #
# # # #
# # # # #
# # # # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
35 ∑
∑
∑
∑
∑
∑
∑
∑
∑35 ∑
∑
∑
∑
∑
∑
∑35 ∑35 ∑
∑
∑35 ∑
∑35 œœœœ ˙
‰ jœ œ œœœ.˙35 ‰ jœ œ œ .œ œ
And some di vine fore
35 jœ ‰ ˙
jœ ‰ ˙
Jœœ ‰ ˙
œ œ œ œ.˙
.˙
π
π
π
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwwwgggggggggggggg www
.œ Jœ .œ Jœsha dow ing and
ww
ww
ww
ww
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwww#ggggggggggggggggwww
‰ Jœ œ œ .œ œfore see ing
w
ww
ww#
ww
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwwggggggggggggggggwwwŒ ‰ Jœ œ œ œ
Of things be
w
wwww
wwww( )
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
˙ ˙
œ œ œ œ œ œ œyond our rea son
˙ ˙
˙ ˙
˙ ˙w
˙ ˙
˙( ) ˙( )
pizz.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ . œ œor con
∑
∑
‰ Jœ. œ. œ œ œ œ‰ jœ. œ. œ œ œ œJœ.
‰ Œ Ó
jœ.‰ Œ Ópizz.
arco
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑‰ jœ œ œ œ œ œœ˙ ˙#
˙ ˙
wtrol.
˙ ˙#
˙ ˙
˙ ˙
˙ ˙
˙ ˙arco
arco
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ œœ œœ œœœœ ˙
www
w
ww
w
w
w
w
- - - - - - - - -
The Sound of the Sea
101
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# # # #
# # # #
# # # #
# # # # ## # # # # #
# # # # # #
# # # # # #
# # # #
# # # ## # # # ## # # # ## # # # # #
# # # # # #
# # # #
# # # #
# # # #
# # # #
# # # #
# # # ## # # #
# # # ## # # #
# # # #
# # # #
# # # #
# # # #
# # # #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Soprano
Violin I
Violin II
Viola
Violoncello
Double Bass
Harp
Piano
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
- œ-
- œ-- œ-˙- œœ-- œ-
p
p
P
P
P
q»¶§ ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
- œ-
- œ-- œ-˙- œœ-- œ-
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
.˙
.˙˙- œœ-- œ-
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
.˙
.˙˙- œœ-- œ-
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
- œ-
- œ-- œ-˙- œœ-- œ-
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
- œ-
- œ-- œ-˙- œœ-- œ-
œ œ‰ Œ ‰ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
.˙
.˙˙- œœ-- œ-
Fœ œ Œ œ
∑
∑
Œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
.˙
.˙˙- œœ-- œ-
F
œ Œ Œ
∑
∑
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ
Œ ˙
Œ ˙
˙- œœ-- œ-
∑
∑
∑
˙ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ
œ ˙œ ˙
˙- œœ-- œ-
Œ œ œ œ œ œ. œ. œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
Œ ˙Œ ˙
˙- œœ-- œ-
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ
Œ ˙
Œ ˙
˙- œœ-- œ-
∑
∑
∑
∑
œ œ œ
œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ
œ ˙œ ˙
˙- œœ-- œ-
2.
F
F
∑
∑
∑
∑
.˙
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ ˙
Œ ˙
Œ ˙
˙- œœ-- œ-
∑
∑
Ó œ œ œ œ
∑
˙ Œ
˙ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ
Œ ˙Œ ˙
˙- œœ-- œ-
F
∑
∑˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
- œ-
- œ-- œ-˙- œœ-- œ-
∑
∑
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó œThe
- œ-
- œ-- œ-˙- œœ-- œ-
F
102
A Summer Day by the SeaMusic by
Eric C. E. Wilson
(b.1968)
Score
Sonnet by
Henry Wadsworth Longfellow
(1807-1883)
Soprano and Orchestra
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# # # #
# # # #
# # # #
# # # # ## # # # # #
# # # # # #
# # # # # #
# # # #
# # # ## # # # ## # # # ## # # # # #
# # # # # #
# # # #
# # # #
# # # #
# # # #
# # # #
# # # ## # # #
# # # ## # # #
# # # #
# # # #
# # # #
# # # #
# # # #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
18 ∑
∑
˙ Œ
∑
∑
∑
∑
∑
∑18 ∑
∑
∑
∑
∑
∑
∑18 ∑18 ∑
∑
∑18 ∑18 ∑
∑18 ∑
∑18 ˙ œ
sun is18
- œ-
- œ-- œ-˙- œœ-- œ-
p
p
pp
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙set;
- œ-
- œ-- œ-˙- œœ-- œ-
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ ‰ jœ œ œand in his
- œ-
- œ-- œ-˙- œœ-- œ-
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œlat est beams
- œ-
- œ-- œ-˙- œœ-- œ-
Œ œ œ œ œ œ. œ. œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ‰ jœYon
- œ-
- œ-- œ-˙- œœ-- œ-
P
π
ππ
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œlit tle cloud
∑
∑
∑
˙- œœ-- œ-
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œof ash en
∑
∑
∑
˙- œœ-- œ-
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œgray and
∑
∑
∑
˙- œœ-- œ-
∑
∑
∑
Œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙gold,
∑
∑
∑
˙- œœ-- œ-
P
∑
∑
∑
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙- œœ-- œ-
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ
∑
∑
∑œ œ œ œ œ
Slow ly up
œ œ œ œ
œ œ œ œ.˙
œ œ œ
œ œ œ œ
F
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ
∑
∑
∑
œ œ œ œ œon the am ber
œ ˙
œ ˙˙ œ
˙ œ
˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙
∑
∑
∑
œ œ ˙air un rolled,
.˙
œ ˙.˙.˙
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó ‰ JœThe
Ó œ
.˙#œ œ œn
.˙
.˙n
- - - - - - -
A Summer Day by the Sea
103
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# # # #
# # # #
# # # #
# # # # ## # # # # #
# # # # # #
# # # # # #
# # # #
# # # ## # # # ## # # # ## # # # # #
# # # # # #
# # # #
# # # #
# # # #
# # # #
# # # #
# # # ## # # #
# # # ## # # #
# # # #
# # # #
# # # #
# # # #
# # # #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
32 ∑
∑
∑
∑
∑
∑
∑
∑
∑32 ∑
∑
∑
∑
∑
∑
∑32 ∑32 ∑
∑
∑32 ∑32 ∑
∑32 ∑
∑32 œ œ œ œ œ œ œ œ œ
fall ing...32
œ œ œ. œ.
˙ œ. œ.œn œ œ. œ.œ œ œ. œ.
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ œ œ œ œ œThe fall
œ. œ. ˙
œ. œ. ˙
œ. œ. ˙œ. œ. ˙
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ Œ ‰ Jœing... The
œ œ. œ. œ. œ. œ.
œ œ. œ. œ. œ. œ.
œ œ. œ. œ. œ. œ.œ œ. œ. œ. œ. œ.œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ œ œ œ œ œ
fall ing
œ ˙
.˙
œ ˙.˙
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œman tle of the
œ œ. œ. œ. œ. œ.œ œ. œ. œ. œ. œ.œ œ. œ. œ. œ. œ.œ œ. œ. œ. œ. œ.
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ Œ ‰ jœPro phet... the
œ œ. œ. ‰ œ
œ œ. œ.‰ œ
œ œ. œ. ‰ œœ œ. œ. ‰ œ
œ œ œ œ œ
∑
∑
Ó œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œPro phet
œ œ œ
œ œ œ˙ œœ œ œ˙ œ
P
∑
∑˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œœ œ œ
‰ jœ ˙.˙∑
∑
.˙seems.
.˙
.˙
.˙
.˙
.˙
f
∑
Ӝ
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œ‰ jœ ˙.˙
∑
∑
∑
.˙
.˙
.˙
.˙
.˙
P
f
∑˙ œ
œ ‰ jœ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œ‰ jœ ˙.˙
∑
∑
∑
.˙
.˙
.˙
.˙
.˙
∑.˙
œ œ ˙∑
Ó œ
∑
∑
Ó œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œ‰ jœ ˙.˙
∑
∑
∑
˙ œ œ œ
˙ œ œ œ
˙ œ œ œ
.˙
.˙
f
P
P
∑œ ‰ Jœ œ œ
˙ Œ
∑
œ ˙
∑
∑˙ œ
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œœ œ œ
‰ jœ ˙.˙∑
∑
∑.˙
.˙
.˙
.˙
.˙
p
p
∑œ œ ˙
∑
∑
.˙∑
∑.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œ‰ jœ ˙.˙
∑
∑
∑.˙
.˙
.˙
.˙
.˙
F
F
- - - - - -
A Summer Day by the Sea
104
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# # # #
# # # #
# # # #
# # # # ## # # # # #
# # # # # #
# # # # # #
# # # #
# # # ## # # # ## # # # ## # # # # #
# # # # # #
# # # #
# # # #
# # # #
# # # #
# # # #
# # # ## # # #
# # # ## # # #
# # # #
# # # #
# # # #
# # # #
# # # #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
Ÿ~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~
45 ∑˙ Œ
∑
∑
œ œ œ∑
∑œ ‰ Jœ œ œ
.˙45 ∑
∑
∑
∑
∑
∑
∑45 ∑45 ∑
∑
∑45 ∑45 Œ œ œ œ œ
‰ jœ ˙.˙45 ∑
∑45 ∑45 .˙
.˙
.˙
.˙
.˙
p
∑
∑
∑
∑
.˙∑
∑œ œ ˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œ‰ jœ ˙.˙
∑
∑
∑.˙
.˙
.˙
.˙
.˙
∑
∑
∑
∑
˙ Œ
∑
∑
˙ Œ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœflœœœfl
œœœflœ œ œ
∑
∑
Ó œ œFrom the
œ œ œ
œ œ œœ œ œ
œ œ œ
œ œ œ
F
f
p
p
P
∑
∑
∑
∑
∑
∑
∑
∑jœ ‰ jœ ‰ jœ ‰
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑jœœœ ‰ jœœœ ‰ jœœœ ‰jœ ‰ jœ ‰ jœ ‰
∑
∑
œ œ œ œ œdim head lands
Jœ ‰ Jœ ‰ Jœ ‰
Jœ ‰ Jœ ‰ Jœ ‰
Jœ ‰ Jœ ‰ Jœ ‰
Jœ ‰ Jœ ‰ Jœ ‰jœ ‰ jœ ‰ jœ ‰
∑
∑
∑
∑
∑
∑
∑
∑
jœ ‰ jœ ‰ jœ ‰
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑jœœœ ‰ jœœœ ‰ jœœœ ‰
jœ ‰ jœ ‰ jœ ‰
∑
∑
œ Œ œ œ œ3ma ny a
Jœ ‰ Jœ ‰ Jœ ‰
Jœ ‰ Jœ ‰ Jœ ‰
Jœ ‰ Jœ ‰ Jœ ‰
Jœ ‰ Jœ ‰ Jœ ‰
jœ ‰ jœ ‰ jœ ‰
∑
∑
∑
∑
∑
∑
∑
∑
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ# œ‰ jœ ˙.˙
∑
∑
œ œ# œ œlight house gleams,
˙ œ œ œ œ œ œ# œ7
œ ˙#.˙.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ# œ‰ jœ ˙.˙
∑
∑.˙.˙
.˙#
.˙
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ˙ œ
∑
∑
‰ Jœ ˙gleams,
‰ Jœ œ œ œ œ
.˙
.˙
.˙
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ ˙
œ ˙
∑
∑
‰ JœN œ œ œThe street lampsœ œ œ œ œ
œ œ œN œœ œ œ œœ œ œ œ
œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
œ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ ˙n
œ ˙∑
∑
œ œ œ œ œ œof the oc ean;
œ ˙
œ ˙nœ ˙
œ ˙
œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ#∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ ˙˙˙
œ œ œ œ#∑
∑
‰ œ œ ˙and be hold,
œ ˙
œ ˙œ ˙œ ˙
œ œ œ œ#
∑
∑
∑
Œ ˙
∑
∑
∑
∑
œ œN œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ ˙
œ œN œ œ∑
∑
‰ œ œ ˙and be hold,
œ ˙
œ ˙œ ˙œ ˙
œ œN œ œ
P
- - - - - - -
~~~~~~~ ~~~~
A Summer Day by the Sea
105
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# # # #
# # # #
# # # #
# # # # ## # # # # #
# # # # # #
# # # # # #
# # # #
# # # ## # # # ## # # # ## # # # # #
# # # # # #
# # # #
# # # #
# # # #
# # # #
# # # #
# # # ## # # #
# # # ## # # #
# # # #
# # # #
# # # #
# # # #
# # # #
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~
57 ∑
∑
∑.˙
∑
∑
∑
∑
œ œ œ57 ∑
∑
∑
∑
∑
∑
∑57 ∑57 ∑
∑
∑57 ∑57 ...˙ggg
œ œ œ57 ∑
∑57 ‰ Jœ .œ œ œ œ
O'er head the ban ners
57
.˙
.˙
.˙
.˙
œ œ œ
∑
∑
∑
˙ œ œ
∑
∑
∑
∑
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ œ
.˙
∑
∑œ œ œ œ œ œ
of the night un
.˙
.˙
.˙
.˙
.˙
f
∑
∑
∑
.œ œ œ ‰ Jœ
∑
∑
∑
∑
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ
˙ œ
∑
∑.œ œ œ ‰ Jœ
fold; un
.˙
.˙˙ œ˙ œ
˙ œ
∑
∑
∑
.œ œ ˙‹∑
∑
∑
∑
˙# œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œœ#
˙# œ#∑
∑.œ œ ˙#
fold;
.˙
.˙
˙ œ
œ ˙
˙# œ#
P
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙# œœœ
˙ œ
∑
∑
‰ Jœ# œ œ œThe day hath passed
˙ œ
˙ œ˙# œ œ˙ œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ
œN œ œ œ
∑
∑
œ œ .œ œ .œ œin to the land of
œ œ œ
œ œ œœ œ œœ œ œ
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ.∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ
∑
∑
.˙dreams.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
poco rit.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙‰ jœœ œœ œœ œœ œœ˙ œœŒ ‰ Jœ œ œ
O sum mer
œœ. œœ. œœ. œœ. œœ. œœ.
œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œn œ œ œ œ œ˙ œœœ œœ œœnn
œn œ œ œ œday be side the
.˙n
˙n œ
˙ œ
œ œ œn
œ œ œn
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œn œ œ# œ œ œ œ‹œœn œœ œ œ œœœ##œœnn ˙ œœ##
œn œ œ ‰ Jœ œ œ‹joy ous sea! O sum merÈ .œ Jœ‹
œn œ œ œ œ#œ œ œ# œ œœœn ˙ œ#
œn ˙ œ#
- - -- - - - - -
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
A Summer Day by the Sea
106
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# # # #
# # # #
# # # #
# # # # ## # # # # #
# # # # # #
# # # # # #
# # # #
# # # ## # # # ## # # # ## # # # # #
# # # # # #
# # # #
# # # #
# # # #
# # # #
# # # #
# # # ## # # #
# # # ## # # #
# # # #
# # # #
# # # #
# # # #
# # # #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
68 ∑
∑
∑
∑
∑
∑
∑
∑
∑68 ∑
∑
∑
∑
∑
∑
∑68 ∑68 ∑
∑
∑68 ∑68 ∑
∑68 œœœa‹# œœœ œœœœ‹ ...œœœ œ .œ œœœœÅ
˙aa œœNN œœ‹‹68 .œa Jœa .œ œ .œ œ#
day so won der ful and68 .œa Jœa .œ œ .œ œ#
œ‹ œ œ‹ œ œœ# œ œ œ‹ œ
˙a œN œ‹
˙a œN œ‹
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
....˙˙˙#a..˙aa
œ ‰ Jœ œ œwhite, So full of.˙a
..˙a
..˙˙#.˙a
.˙a
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ
glad ness and so˙ œ œ œ
˙ œ.˙
œ œ œ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# œ œ ‰ Jœfull of pain! For˙ œ
œœ œ ˙œ# œ œ œ œ
œ ˙
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ .œ Jœ ‰ .œ œ
ev er and for
˙ œ
œ œ œ˙ œ˙ œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ .œ œ œev er shalt thou
˙ œ
˙ œ˙ œ
˙ œ
˙ œ
rit.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
be
.˙
.˙œ ˙
.˙
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœ œ ≈ œTo some the
˙
˙˙˙
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ .œ œgrave stone of a dead de
œ œ œ œ .œ œ
œ œ œœœ œ œœ ˙
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
light,
˙ œ
..˙˙.˙..˙˙
.˙
- - - - - - -
A Summer Day by the Sea
107
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# # # #
# # # #
# # # #
# # # # ## # # # # #
# # # # # #
# # # # # #
# # # #
# # # ## # # # ## # # # ## # # # # #
# # # # # #
# # # #
# # # #
# # # #
# # # #
# # # #
# # # ## # # #
# # # ## # # #
# # # #
# # # #
# # # #
# # # #
# # # #
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
78 ∑
∑
∑
∑
∑
∑
∑
∑
∑78 ∑
∑
∑
∑
∑
∑
∑78 ∑78 ∑
∑
∑78 ∑78 ∑
∑78 ∑
∑78 ‰ Jœ œ ≈ œ œ œ œ œ œ
To some the land mark of a78 ˙ ˙
w˙ ˙˙ ˙
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.æ jœ.U ‰
∑
∑
∑
∑
∑
∑
∑
∑..˙( ) œœU( ) œ
new do
.æ ‰U ‰
.æ ‰U ‰
.æ ‰U ‰
.æ ‰U ‰
.æ ‰U ‰
p
ƒ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œœ∑
∑
∑
∑
∑
∑
∑
∑.˙
main.
- œ-
- œ-- œ-˙- œœ-˙-
œœ-
p
P
P
P
a tempo
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œœ∑
∑
∑
∑
∑
∑
∑
∑
∑
- œ-
- œ-- œ-˙- œœ-˙-
œœ-
œ œ‰ Œ ‰ œ œ
∑
∑
Œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œœ∑
∑
∑
∑
∑
∑
∑
∑
∑
- œ-
- œ-- œ-˙- œœ-˙-
œœ-
F
P
œ œ Œ œ
∑
∑
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œœ∑
∑
∑
∑
∑
∑
∑
∑
∑
- œ-
- œ-- œ-˙- œœ-˙-
œœ-
.˙
∑
∑
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œœ∑
∑
∑
∑
∑
∑
∑
∑
∑
- œ-
- œ-- œ-˙- œœ-˙-
œœ-
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
..˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
.˙
.˙
..˙
..˙
- -
A Summer Day by the Sea
108
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
&
?
&
?
&
&
&
B
??
#
# #
# #
# #
#
#
# #
# #
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Soprano
Violin I
Violin II
Viola
Violoncello
Double Bass
Harp
Piano
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wF
p
q»•¢ ∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œœ œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
w
f
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œœ œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œœ œ œ œ ˙
∑
∑
Ó ‰ jœ œ œI saw the
∑
∑
∑
∑
w
F
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ œ œ œlong line of the
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ .œ jœvac ant shore,
∑
∑
∑
∑
w
Œ ‰ œ œ œœ œ œ
Œ
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
w
π
F∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙# ˙n
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó ‰ jœ œ œI saw the
∑
∑
∑
∑
w
π
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ œ œ œlong line of the
∑
∑
Ó ˙
w
w
p
π
π
-
109
The TidesMusic by
Eric C. E. Wilson
(b. 1968)
Score
Sonnet by
Henry Wadsworth Longfellow
(1807-1883)
Soprano and Orchestra
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
&
?
&
?
&
&
&
B
??
#
# #
# #
# #
#
#
# #
# #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
12 ∑
∑
∑
∑
∑
∑
∑
∑
w12 ∑
∑
∑
∑
∑
∑
∑12 ∑12 ∑
∑
∑12 ∑
∑12 ∑
∑12
œ œ œ .œ jœvac ant shore,
12 Ó ˙
w
w
w
w
π
π
π
‰ œ œ œœ œ œ
Óœ œ œ œ œ œ œ. œ. œ. œ.
Œ Ó
∑
∑
Œ ‰ œ œ œœ œ œ Œ
∑
∑
Ó ‰ œ œ œœ œ œ
Ó. œ œ œœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó œ œ œœ œ œ ‰
Œ œ œ œœ œ œ
‰ Œ
∑
w
w
w
w
w
w
F
F
F
F
F
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ‰ Œ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ . jœ
Ó Œ . jœ
Ó Œ . jœThe
˙ Œ . Jœ
˙ Ó
˙ Ó
˙ Œ . jœ
˙ Œ . jœ
P
P
PP
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œsea weed and the
œ œ œ œ œ
˙ œ
œ œ œ œ
œ œ œ œ œœ œ œ œ œ
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó. œ∑
∑
∑
∑
∑
∑
.œ Jœb œ œ œ
œ ˙ œ.œ Jœb œ œ œ
shells up on the.œJœb œ œ œ
œ ˙ œ œ#
œ ˙ œ
.˙ œ
.˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Ó
∑
∑
∑
∑
∑
∑
˙ ˙
˙ œœ œ
˙ ‰ œ œ œ œsand, And the brown rocks
w
w
˙ ˙
˙ œ œ
˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙˙˙ œœœ œœœ
˙ œ œ
œ ‰ jœ œ ‰ Jœleft bare on
˙ ˙
˙˙ œ œ
˙ ˙
˙ œ œ
˙ œ œ
div. unis.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ .˙˙ Ó˙ Ó
œ œ ˙ Œev ery hand,
w
˙ ˙
œ œ œ ˙
˙ ˙˙ ˙
∑
∑
∑
‰ Jœ œ œ œ œ œ
∑
∑
∑Œ œ œ ŒŒ
˙Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœ œ œ œ œ œAs if the eb bing tide
∑
Ó œ œ Jœ ‰
Ó. œ œ
‰ Jœ œ œ Óœ Ó ‰ Jœ
pizz.
pizz.
pizz.
pizz.
p
p
- - - - -
The Tides
110
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
&
?
&
?
&
&
&
B
??
#
# #
# #
# #
#
#
# #
# #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
21 ∑
∑
∑
œ œ œ œ œ œ
∑
∑
Ó Œ œ#Ó œ œ.˙ œ
∑21 ∑
∑
∑
∑
∑
∑
∑21 ∑21 ∑
∑
∑21 ∑
∑21 ∑
∑21
.œ jœ œ œ œ œœ( )would flow no more.
21 ‰ Jœ œ œ
Ó
∑
œ Œ Ó
Ó. œ#œ ‰ jœ Œ œ#
pizz.
P
∑
∑
∑
˙ Ó
w
w ∑
w˙ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙( ) Ó
w
w
‰ Jœ œ œ œ œ œ
œŒ œ œ œœ œ œ œ
w
arco
arco
arco
Farco
div.
Farco
F
P
F
P
P
∑
∑
∑
∑
w
.˙ œÓ. œ#
œ œ ˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
.˙ œœ#
.œ Jœ œ œ œ œ˙ œ œœ œ œ œ œ œ
œ œ ˙ œ œ
Óœ œ
Óœ œ
∑
∑
w
www
∑
w
Ó ‰ Jœœ œœ œœ
Ó ‰ jœœ œœ œœ
‰ Jœ. œ. œ .œ œ. œ.
∑
∑
w
w
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœ œ œ œ ‰ œ œThen heard I, more dis
w
ww
wwww
P
Pstraight mute
F
P
PP
P
P
1.
P
π
P
p
p
P
f
œ œ œ
œ ˙
∑
∑
.˙
..˙
.˙
∑
.˙
..˙
..˙
œ. œ œ œ. œ.
∑
∑
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œtinct ly than be
∑
∑
∑
∑∑
˙ œ œœ œ œ œ
∑
∑
w
www
∑
www
ww
w
œ œ œ œ œ œ œÓ. ‰ Jœ
∑
w
w
∑
∑
∑
∑
∑
∑
∑
∑
wfore,
∑
∑
∑
∑∑
p
p
pp
P
œ Œœ œ
œ Œœ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ ˙
œ œ œ œ˙ ˙
Ó ‰ Jœœ. œœ-
Ó ‰ Jœ. œ-
Ó ‰ jœ. œ-∑
∑
∑
∑
∑
∑
∑
∑
‰ jœ œ œ ˙The oc ean breathe
∑
∑
∑
∑∑
F
F
F
P
œ œ .œ Jœ
˙ .œJœ
∑
∑
∑
∑
∑
∑
∑‰ œ œ œ .œ jœ˙ .œ Jœ
œ œ .œ jœ˙ .œ Jœ
‰ œ œ œ .œ Jœ
œ œ .œ jœ˙ .œ Jœ
˙ ..œœ Jœœ
˙ .œ jœ
˙ .œ jœ
∑
∑
∑
∑
∑
∑
∑
∑
‰ œ œ œ .œ Jœand its great breast ex
∑
∑
∑
∑∑
open
p
p
˙#Ó
˙Œ
œ œ œ#3
Œ . Jœ# œ œ œ
Œ œ ˙
‰ jœ# œ œ ˙Ó œ œ# œÓ. œ
∑
∑ B
∑
w# w
www#
wwww
w
w∑
∑
∑
∑
∑
∑
∑
∑
w#pand,
‰ œ# œ œ œ œ# œ œ .˙#7
‰. Rœœ# . ..˙
‰. Rœ. .˙
‰. Rœ. .˙‰. Rœ. .˙
F
F
F
F
F
fP
f
f
ff
div.
f
F
ƒ
- - - - -
The Tides
111
&
&
&
&
&
&
&
B
?
&
&
&
&
?
?
?
?
ã
ã
ã
&
?
&
?
&
&
&
B
?
?
#
# #
# #
# #
#
#
# #
# #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
30 ∑œ œ œ# œ# œ œ œ œn œn œ3 3
∑
∑
∑
∑
∑
Œ ‰ Jœœ# œœ œœn œœ œœ œœ3
∑30 ˙# œ œ#œ œ œ œN
œ# œ œ œœ œb œ œ
∑
∑
∑
∑
∑30 ∑30 ∑
∑
∑30 ∑
∑30 ∑
∑30 Œ ‰ Jœ# œ œn œ œ œ
3
And hur ry ing came
30 ∑
∑
∑
∑
∑
p
p
f
∑œ Œ Ó
∑
∑
∑
∑
∑
œœ œœ œœ œœ œœ œœ œœ œœ
∑
˙ œ# œœ œ œ œ
˙ œ œœ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œon the defence less land
∑
∑
Ó Œ œ
∑
∑
F
∑
∑
∑
∑
∑
∑
∑
œœ ‰ œœ# œœ œœ œœ# œœ œœœ œ œ# œ œ œ
∑
œœ Œ Ó
œœ Œ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ ‰ œ# œ œ œ# œ œThe in sur gent wat ers
∑
∑
œ œ# œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ3 3 3 3 3 3
∑
∑
∑
∑
∑
∑
∑
∑
∑‰ œ# œ œ œ ˙‰ œ œ œ œ ˙#
∑
∑
∑
∑
∑
∑
∑
∑
Ó œ# >æ œ>
∑
∑
∑
∑
∑
∑
∑
‰ œ# œ œ œ ˙with tu mul tuous roar.
Óœœ#
æ>
Jœœ
‰
Óœœ#æ>
Jœœ ‰
œ œ œ œ œ ˙
Ó Œ ‰ œ>œ# œœ œœ# œ7
Ó Œ ‰ œ>œ# œœ œœ# œ7
f
ƒ
ƒ
Í
Í
f
f
div.
∑
∑
∑
∑
∑
∑
∑‰ œ œ œ œ œ œ œ‰ œ œ œ œ œ# œ œ ?
∑
∑
∑
∑
∑
∑
∑
∑
Ó ‰ Jœæ> œ>
∑
∑
∑
Ó ‰ œ œ œœ œ œ
∑
∑
∑
‰ œ œ œ œ œ œ œWith tu mul tuous roar.
Œ . jœ œ# œ œ
Œ œ ˙
Œ . jœ œ œ
Ͼ>
Jœ ‰ œ œ œ
œ>æ Jœ ‰ œ œœ( ) œ
ß
F
∑
∑
∑
∑
œ# œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ. œ. > Ó
∑
∑
∑
œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
∑
∑
∑
∑
∑
∑
œ œ œ œœ œ œ œ
subito p
A little slower
p
pizz.
p
pizz.
p
- - - - - - - - - -
The Tides
112
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
&
?
&
?
&
&
&
B
??
#
# #
# #
# #
#
#
# #
# #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
36 ∑
∑
∑
∑
œ# œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑36 ∑
∑
∑
∑
∑
∑
∑36 ∑36 ∑
∑
∑36 œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
36 ∑
∑36 ‰ jœ œ œ œ œ œ œ œ
All thought and feel ing and de
36 ∑
∑
∑
œ œ œ œœ œ œ œ
F
∑œœ# œœ œœ œœ
Ó ‰ Jœœ# œœ œœ
∑
œ# œ œ œ# œ œ œ œ œ œ œ. œ œ œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ
œœœ#ggggœœœgggg
œœœggggœœœgggg
∑
∑
œ œ œ œ Œsire, I said,
∑
∑
œ œ œ œ
œ œ œ œœ œ œ œ
p
p
pizz.
P
both
∑œœ#
‰. Rœœ œœ# œœ œœ œœ
œœ# œœ# œœ ..œœ ‰
∑
œ# œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ
œœœ#ggggœœœgggg
œœœggg œœœggg
∑
∑
jœ ‰ œ œ ≈ œ œ œ œ# œLove, laugh ter, and the ex ult ant
∑
∑
œ œ œ œ
œ œ œ œœ œ œ œ
∑œœ œœ# œœ œœ# Œ
‰ Jœœ# œœ# œœ œœa
∑
.œ> œ# .œ jœ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ# .œ Jœ
œœœggg œœœggg œœœggg
∑
∑
.œ œ# .œ Jœjoy of song Have
Œ.œ œ# Jœ ‰
Œ .œ œ Jœ ‰
Œ.œ# œ Jœ ‰
Œ .œ œ# jœ ‰Œ .œ œ# jœ ‰
F
F
F
FF
arco
arco
arco
‰ œ œ œ œ‰ J
œ
‰ œœ# œœ œœ# œœ‰ J
œ
Ó Œ . Jœœ
Ó Œ . Jœ
œ œ ˙ ‰ Jœ
Ó Œ . Jœœ
Ó. œ
Ó. œœ
Ó. œ>Ó Œ . jœœ
Ó Œ . jœœ
Ó Œ . Jœ
Ó Œ . Jœœ
Ó Œ . Jœœ
Ó Œ œ>Ó. œ>
∑
∑
∑
∑
œ œ ˙ œœœœœœgggg
œœœggggœœœgggg
œœ
∑
∑
œ œ ˙ ‰ Jœebbed from me for
‰œ# œ œ# œ
Œ
∑
∑
∑∑
π
P
P
F
P
P
P
P
P
P
P
P
P
P
P
F
F
1 or 2 players
f
œ œ œ‰ J
œ
œœ œœ œœ‰ J
œœ
œœ# œœ œœ ‰ Jœœ
œ œ œ ‰ Jœ
œ œ œ ‰ Jœ
œœ# œœ œœ ‰ Jœœ
œ œ œ
œœ œœ œœ
Ó œ>œœ# œœ œœ ‰ J
œœ
œœ œœ œœ ‰ jœœœ œ œ ‰ Jœ
œœ# œœ œœ ‰ Jœœ
œœ œœ œœ ‰ Jœœ
Ó œ>Ó œ>
∑
∑
∑
∑
œœœ# œœœ œœœ
œœ œœ œœ
∑
∑
œ œ œ ‰ Jœev er! For
∑
∑
∑
∑∑
F
F
F
F
F
F
F
F
F
F
F
ƒ
œ œ ˙Œ
œœ œœ ˙Œ
œœ œœ ˙ Œ
œ œ ˙ Œ
œ œ ˙ Œ
œœ œœ ˙˙ Œ
œ œ œ Œ
œœ œœ œœ Œ
Ó. œœœ œœ ˙ Œ
œœ œœ ˙ Œœ œ ˙ Œ
œœ œœ ˙ Œœœ œœ ˙
Œ
∑
∑
∑
∑
∑
∑œœœ œœœ œ>
œœ œœ œœ œ>∑
∑œ œ ˙ Œ
ev er!
Ó Œ œœ
Ó Œ œœÓ Œ œÓ Œ œÓ Œ œÓ Œ œ
f
p
p
p
pp
f
f
f
f
f
f
f
f
f
f
f
f
f
tutti
F
~~~~~~~~~~~~~~~~~~~~~
- - - - - - - - -
The Tides
113
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
&
?
&
?
&
&
&
B
??
#
# #
# #
# #
#
#
# #
# #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~
43 ∑
∑
∑
∑
∑
∑
∑
∑
.˙43 ∑
∑
∑
∑
∑
∑
∑43 ∑43 ∑
∑
∑43 ∑
∑43 ∑
∑43 Œ œ œ œ œ
3
Sud den ly
43 ..˙
..˙
.˙
.˙ .˙
.˙
Fintensely
∑
∑
∑
∑
‰ œ œ œ œ œ œ œ œ œ œ3 3 3
Œ ‰ œ œ œ œ œ œ œ œ œ3
3 3
Œ ‰ jœ œ œ
Ó ‰ œ œ œ3
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ œ œ œo 'er me they
..˙˙
..˙
.˙
.˙ œ
˙ œ
F2.
1.
P
P
p
∑
∑
Œ Œ œ œ œ œ œ œ3 3
‰ œ œ œ œ œ œ œ œ œ œ3
3 3
∑
œ Œ Œ
.˙œ œ œ œ œ œ ˙3 3
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ œ œ œ œswept a gain from the
..˙˙
..˙
.˙
œ œ œœ œ œ
œ œ œ
F
F
P F
F
∑
∑
Jœ ‰ Œ Œ
∑
∑
∑
˙ œ˙ œ˙ œ
∑
∑
∑
∑
˙ Œ
˙ œ
˙ œ∑
∑
∑
∑
∑
∑
∑
˙ œœœ œ œ
deep oc cean
∑
∑
∑
˙ œ˙ œ
f
both
∑
∑
∑
∑
∑
∑
œ jœ‰ Œ
œ jœ ‰ Œ
œ Jœ ‰ Œ
∑
∑
∑
∑
œ jœ ‰ Œ
œ jœ ‰ Œ
œj
œ‰ Œ
∑
∑
∑
∑
∑
∑
∑
œœjœœ
‰ Œ
˙ ‰ œ œbed, And in
∑
∑
∑
œ œ œ œœ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œtu mult of de
.˙œ œ œ
.˙
.˙
œ œ œ œ
œ œ œ œ
π
π
π
div.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ‰ Jœlight, And
.˙ .˙
.˙#
.˙
œ œ œ œ
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ œ œ˙ œ
.œ œ œ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ œ œ ‰ Jœ
strong As youth, andjœ-
‰ œ œJœ-
Jœ- ‰ œ œ
Jœ- ‰ œ œ#
œ œ œ
œ œ œ
f
f
P
P
f
unis.
P
ff
ƒ fmore serene
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œœ ˙
œ œ œœ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œbeau ti ful as
œ œ œ œ
œ œ œ œ
œ œ œ œ œ
œ œ œœ œ œ
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
..˙
..˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙youth,
.˙
..˙
œ- œ œ
œ œ œ œ œ œœ œ œ œ œ œ
div.
rit.
rit.
rit.
rit.
rit.
rit.
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
..˙
..˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
..˙
..˙
.˙
.˙
.˙
div.
∑
∑
∑
∑
∑
∑
∑
∑
∑
..˙
..˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
..˙
..˙˙
.˙
.˙
.˙
- - - - - - - - -
The Tides
114
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
&
?
&
?
&
&
&
B
??
#
# #
# #
# #
#
#
# #
# #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
55 ∑
∑
∑
∑
∑
∑
∑
∑
∑55 jœœ# ‰ Œ Œ
jœœ ‰ Œ Œ
∑
∑
∑
∑
∑55 ∑55 ∑
∑
∑55 ∑
∑55 ∑
∑55 ‰ jœ# ˙
up bore
55
Jœœ ‰ Œ Œ
jœœ# ‰ Œ Œ
jœ ‰ Œ Œ
Jœ ‰ Œ Œ
Jœ ‰ Œ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙me.
∑
∑
∑
∑∑
∑
∑
∑
∑
œ œ œ
œœ ˙
œ œ œ œ
∑
œ œ œ œ
˙ œœ ˙
œ œ œœ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ
œ œ œ œ
œ œ œ œ œ
œ œ œ œœ œ œ œ
f
f
f
f
f
p
p
F
F
p
p
∑
∑
∑
∑
œ ˙
˙ œœ ˙
œ œ œ∑
œ œ œœ ˙#˙ œ
œœ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ#
œ œ œ
œ œ œ œ
œ œ œœ œ œ
∑
∑
∑
∑
.˙
..˙
.˙∑
.˙
..˙
..˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.æ>
.æ>
.æ>
.æ>
.æ>
∑
∑
∑
∑
jœ ‰ Œ Œ
jœœ ‰ Œ Œ
jœ ‰ Œ Œ
∑
jœ ‰ Œ Œ
Jœœ ‰ Œ Œ
jœœ ‰ Œ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Jœ ‰ Œ Œ
Jœ ‰ Œ Œ
Jœ ‰ Œ Œ
jœ ‰ Œ Œjœ ‰ Œ Œ
P
P
P
PP
P
P
-
The Tides
115
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Mezzo-Soprano
Violin I
Violin II
Viola
Violoncello
Double Bass
Harp
Piano
w
∑
wŒ œ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
P
π
q»•§ w
wŒ œ œ œ œ
..œœ Jœœ œœ œœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
P
F
w
..œœ Jœœ œœ œœ
˙ Ó
∑wŒ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
F
p
P
pw
˙ Ó
∑
∑
..œœ Jœœ œœ œœ
∑
∑
Ó œ œ
∑
w
∑
∑
∑∑w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
p
F
π
π
1.
Fsolo
π∑
∑
∑
∑
˙ Ó
∑
∑.œ Jœ œ œ
∑˙ ˙
˙ ˙∑
∑˙˙
˙˙
˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
p
p
π2.
∑
∑
∑
∑
∑
∑
∑œ œ œ .œ Jœ
∑˙ ˙
˙ ˙∑
∑˙ ˙w
˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
p
p
p
∑
∑
∑
Œ œ .œ jœ
∑
∑
∑
w
∑
w
w
∑
∑˙ ˙w
˙ ˙#∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ƒ
F
Ó œ œ
w
ww
w
w
ww
ww
∑
w
w∑
∑ww
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
P
F
π
π
π
π
π
π
π
p
π
π1.
.œ Jœ œ œ
˙ ˙
ww
∑
˙ ˙
ww
˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
p
p
p
p
p
œ œ œ .œ Jœ˙ ˙
˙ ˙
∑
˙ ˙
˙ ˙
˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
F
π
w
∑
œ œ .œ jœw∑
w
ww
w∑
.œ œ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ œI
∑
∑
∑
∑
∑
F
p
w
œ œ Jœ ‰ œ œ Jœ ‰
ww∑
w
ww
www
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ jœ œ œsaid un to my
∑
∑
∑
∑
∑
P
P
P
P
p
π
π
πboth
- -
116
A ShadowMusic by
Eric C. E. Wilson
(b. 1968)
Score
Sonnet by
Henry Wadsworth Longfellow
(1807-1883)
Mezzo-Soprano and Orchestra
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
13 ∑œ œ œ œ ˙
ww
∑
∑
∑
∑
ww
w13 ∑
∑
∑
∑
∑
∑
∑13 ∑13 ∑
∑
∑13 ∑13 ∑
∑13 ∑
∑13
wself,
13 ∑
∑
∑
∑
∑
∑
œ œn œ# œ# œ œ œ œ
œb œ œ œn œ œ œ œ#œn œb œb œ
∑
∑
∑
∑ww#
wb
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œn .œ jœif I were
∑
∑
∑
∑
∑
∑w
ww
∑
∑
∑
∑wœ .˙
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wdead...
∑
∑
∑
∑
∑
∑œ œ œ ˙
ww
∑
∑
∑
∑w ˙
˙ ˙#∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ .œ jœif I were
∑
∑
∑
∑
∑
∑w
ww
∑
∑
∑
∑œ .˙w
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wdead...
∑
∑
∑
∑
∑
∑w
ww
∑
∑
∑
∑
.˙ œww
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ. jœ œ œ œif I were
∑
∑
∑
∑
∑
∑w
ww
∑
∑
∑
∑ww
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ ˙dead,
∑
∑
∑
∑
∑
p
∑œ œ œ œ œ œ œ œ
∑
∑
jœ ‰ œ jœ ‰ œjœ ‰
œ jœ ‰ œ∑
˙ ˙
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ .œ jœWhat would be
∑
∑
∑
∑
∑
p
p
∑œ œ .˙
∑
∑
œ œ .˙
œ œ .˙∑
œ œ ˙w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œfall these
∑
∑
∑
∑
∑
p
∑
∑œ œ œ œ œ œ œ œ
∑∑
jœ ‰ œjœ ‰ œ
jœ ‰œ
jœ ‰ œ∑
˙ ˙
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙child ren?
∑
∑
∑
∑
∑
P
∑
∑.˙ Œ
Ó . œ œ œ œ
∑
œ œ .˙
œ œ .˙∑
œœ œœ œœ œœ ˙
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑Œ œ œ œœ œ œ œ
∑
w
ww∑
ww
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œWhat would be
∑
∑
∑
∑
∑
- - -
A Shadow
117
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
25 ∑
∑
..˙# œœ
∑
w
ww∑
w# ˙ ˙
w25 ∑
∑
∑
∑
∑
∑
∑25 ∑25 ∑
∑
∑25 ∑25 ∑
∑25 ∑
∑25
.˙# œfall these
25 ∑
∑
∑
∑
∑
∑
∑
œœ ..˙
Ó œ œ œ
œ .˙
œœ ..˙∑
w ˙
wÓ . œ
Ó . œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ Óchild ren?
∑
∑
∑
∑
∑
π
π
1.
2.
P
p
∑
∑
∑
œ œ œ œ
∑
∑
∑
w ˙
wœ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œWhat would
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œ
∑
∑
∑œ œ œ œ œ œ˙ ˙
wœ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œbe Their
∑
∑
∑
∑
∑
∑
∑
∑
˙ Ó
∑
∑
∑wœ œ ˙
ww
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ œfate, who
∑
∑
∑
∑
∑
p
∑
∑
∑
∑
∑
∑
∑œœ ..˙
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ jœ œ œ œnow are look ing
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œ
∑
∑œ œ ˙œn œ œ œ
wn
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ œup... who
∑
∑
∑
∑
∑
P
∑
∑
∑
∑
w
∑
∑
œœ œœ œœ œœ œœ œœ
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ jœ œ œ œnow are look ing
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œŒ
œ œ œ œÓ œ œ
∑œœ œœ ˙
w#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ Óup...
∑
∑
∑
∑
∑
P
∑
∑
∑
∑w
ww
∑ww
wN
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ .œ jœlook ing up to
∑
∑
∑
∑
∑
∑Œ œ .œ œ œ
∑∑
∑
∑
∑
∑www
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wme...
∑
∑
∑
∑
∑
P
∑w
∑∑
∑
∑
∑
∑ww
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œlook ing up to
∑
∑
∑
∑
∑
- - - - -
A Shadow
118
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
37 ∑
Œœœ ..œœ œœ œœ
Œ œœ ..œœ œœ œœ
∑
∑
∑
∑ww
w37 ∑
∑
∑
∑
∑
∑
∑37 ∑37 ∑
∑
∑37 ∑37 ∑
∑37 ∑
∑37 œ œ ˙
me...37 ∑
∑
∑
∑
∑
P
P
∑ww
ww∑
∑
∑
∑œœ œœ ˙
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ .œ Jœlook ing up to
∑
∑
∑
∑
∑
∑ww#
ww∑
∑
∑
∑ww#
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙# Œ œme for
∑
∑
∑
∑
∑
∑ww
ww∑
∑
∑
∑ww
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
whelp
∑
∑
∑
∑
∑
∑ww
ww∑
∑
∑
∑ww
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ .œ jœand fur ther
∑
∑
∑
∑
∑
∑ww
wwŒ œ .œ œ œ
∑
∑
www
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wance?
w
w
w
w
w
F
P
π
π
π
π
π
P
P
P
P
P
∑..˙ Œ
..˙ Œ
.˙ Œ
.˙ Œ
..˙ Œ
.˙ Œ
..˙ Œ
.˙ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
P
P
p
p
p
p
p
p
p
p
p
p
p
p
p
∑œœ œœ œœ œœ œœ œœ œœ œœ
∑
∑
jœ ‰ œ jœ ‰ œjœœ
‰œœ
jœœ‰ œœ
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Jœ ‰ œ Jœ ‰ œ
Jœ ‰ œ jœ ‰ œ
Jœ ‰ œ Jœ ‰ œ
jœ ‰ œ jœ ‰ œjœ ‰ œ jœ ‰ œ
P
P
P
∑œœ œœ ..˙
∑
∑
œ œ .˙
œ œ .˙w.˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ .˙
œ œ .˙w
.˙ Œ
.˙ œ
p
F
∑
∑œ œ œ œ œ œ œ œ
∑∑
jœ ‰ œjœ ‰ œ
jœ‰
œjœ
‰œJœ ‰ œ Jœ ‰ œ
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Jœ ‰ œ Jœ ‰ œ
jœ ‰ œ Jœ ‰ œ
Jœ ‰ œ Jœ ‰ œ
jœ ‰ œ jœ ‰ œ
Jœ ‰ œ Jœ ‰ œ
P
P
Œœ ˙
∑.˙ Œ
Ó . œ œ œ œ
∑
œ œ .˙
œœ œœ ..˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ .˙
œ œ .˙
œ œ .˙
ww
P
p
w
∑Œ œ œ œ# œœ œ# œ œ œ
∑
jœ# ‰ œ jœ ‰ œjœœ
‰œœ#
jœœ‰ œœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Jœ# ‰ œ Jœ ‰ œ
Jœ ‰ œ jœ ‰ œ
Jœ ‰ œ Jœ ‰ œ
jœ ‰ œ jœ ‰ œjœ ‰ œ jœ ‰ œ
P
- - -
A Shadow
119
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## #
# ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
49
w
∑
ww∑
œ œ# .˙
œ œ .˙w∑
∑
∑49 ∑
∑
∑
∑
∑
∑
∑49 ∑49 ∑
∑
∑49 ∑49 ∑
∑49 ∑
∑49 ∑
49 œ œ# .˙
œ œ .˙w
.˙ Œ
.˙ œ
p∑
∑
∑
∑
jœ ‰ œjœ ‰ œ
jœ‰
œjœ
‰œJœ ‰ œ Jœ ‰ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Jœ ‰ œ Jœ# ‰ œ
Jœ ‰ œ# Jœ ‰ œœ
Jœ# ‰ œ Jœ ‰ œ
Jœ ‰ œ Jœ ‰ œ
jœ ‰ œ jœ ‰ œ
∑
∑
∑
∑
œ œ .˙
œœ œœ ..˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ# .˙
œ œ .˙
œ# œ .˙
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ. œœ. œœ. œœ. J
œœ. ‰ Œ
œœ. œœ. œœ. œœ.jœœ. ‰ Œ
œ. œ. œ. œ. Jœ. ‰ œ
œœ. œœ. œœ. œœ. Jœœ. ‰ œœ
œœ. œœ. œœ. œœ. Jœœ. ‰ œœ
œ. œ. œ. œ. jœ. ‰ œ
œ. œ. œ. œ.jœ.
‰œ
æ jœ. ‰ Œ
∑
∑
∑
∑
∑
∑
∑
∑
Ó . œTheir
œ. œ. œ. œ. Jœ. ‰ œ
œ. œ. œ. œ. Jœ. ‰ œ
œ. œ. œ. œ. Jœ. ‰ œœ
œ. œ. œ. œ. Jœ. ‰ œ
œ. œ. œ. œ. jœ. ‰ œ
f
π
pp
p
p
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ# œ œ œ
œœ œœ œœ# œœœœ œœ œœ œœ
œ œ œ œ
œ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# ‰ jœ œ ‰ jœlives, I said, Their
œ# œ œ œ
œ œ œ œœœ œ œ# œ
œ œ œ œ
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ# ˙
œœ œœ ˙œœ œœ ˙
œ œ ˙
œ œ ˙œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
œ œ# œ œ œ .œ œ3
lives would be a
œ œ# ˙
œ œ ˙œ œ ˙œ œ ˙
œ œ ˙
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œvol ume where in I haveœ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙ œ œ˙ œ œ˙ œ œ
˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ Œ ˙∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ ˙3
read But the first
œ œ œ œ ˙3
œ œ œ œ ˙3
œ œ œ œ ˙3
œ œ œ œ ˙3
.œ Jœ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wæ∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ Óchap ters,œ œ œ. œ. œ. œ. œ. œ
œ œ œ. œ. œ. œ. œ. œœ œ œ. œ. œœ. œ. œ. œœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
π
- - -
A Shadow
120
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## #
# ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~
58 ∑
∑
∑
∑
∑
∑
∑
∑
∑58 ∑
∑
∑
∑
∑
∑
∑58 wæ58 ∑
∑
∑58 ∑58 ∑
∑58 ∑
∑58 Œ ‰ œ œ œ œ œ
3
and no long er
58
w
ww˙ ˙
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wæ∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ Œ ‰ œ œ3
see... and no
w
w#ww
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wæ∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œlong er see to
w
www
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Ó
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œread the rest of their dear
˙ œ œ
.˙ œ˙ œ œ#˙ œ œ#˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w∑
∑
∑
∑
∑
∑
∑
∑
.œ œ .˙his to ry,
.œ œ œ. œ. œ. œ. œ. œ.
.œ œ œ. œ. œ. œ. œ. œ.
.œ œ œ. œ. œ. œ. œ. œ.
.œ œ œ. œ. œ. œ. œ. œ.
.œ œ œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ œtheir
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑.œ œ .˙
his to ry,
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œSo full of beu ty
.˙ œ
.˙ œ
.˙ œ
.˙ œ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑w
..˙ Œ
..˙ Œ
..˙ Œ
..˙ Œ
.˙ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wæ>
wwnb æ>ww# >
w>
wb >wæ
∑
∑
∑
∑
∑
∑
∑
∑
Œ œn œ .œ œn œband so full of
wæ
wb æ
w# æ
wæwb æ
Í
ÍÍ
Í
Í
Í
F.T.
F.T.
Í
ÍÍ
Í
Í
ππ
ππ
π
- - - - - - -
~~~~~~
~~~~~~~
~~~~~~
~~~~~~~
A Shadow
121
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
68 ∑
∑
∑
∑
∑
∑
∑
∑
∑68 ∑
∑
∑
∑
∑
∑
∑68 w68 ∑
∑
∑68 ∑68 ∑
∑68 ∑
∑68
.˙ ‰ Jœdread. Be
68 jœ ‰ œ jœ ‰ œjœ ‰
œ jœ ‰ œjœ ‰ œ jœ ‰ œjœ ‰ œ jœ ‰ œjœN ‰ œ jœ ‰ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ. œ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ .˙3
com fort ed;
œ œ .˙
œ œ .˙w
w
.˙ œ
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
Œ ‰ Jœ œ œ œ œ3
the world is ve ry
jœ ‰ œ jœ ‰ œjœ ‰
œ jœ ‰ œjœ ‰ œ jœ ‰ œjœ ‰ œ jœ ‰ œjœ ‰ œ jœ ‰ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
wold,
w
ww
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœ œ œ œ œ œ œ3
And gen er a tions
w
ww
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ‰ jœ .œ œpass, as they have
.˙ œ
.˙ œ
.˙ œ
.˙ œ
.˙ œœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ‰ jœ œ œpassed, A troop of
w
ww˙ ˙
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ .œ œ œ .œ œœ( )sha dows mov ing with the
œ œ .œ œ
œ œ œœ œ œ
œ œ œ œ
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww( )sun.
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ# . œ. œ. œœ.œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
P
PP
P
P
- - - - - - - -
A Shadow
122
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## #
# ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
78 ∑
∑
∑
∑
∑
∑
∑
∑
∑78 ∑
∑
∑
∑
∑
∑
∑78
wæ78 ∑
∑
∑78 ∑78 ∑
∑78 ∑
∑78
œ œ# œ œ œ œ œ œThou sandsof times has the
78 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ. œ. œ. œ. œ. œ. œ. œ.œœ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wæ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ ˙old tale been told;œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ. œ. œ. œ. œ. œ. œ. œ.œœ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wæ∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ. jœTheœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wæ∑
∑
∑
∑
∑
∑
∑
∑
˙ .œ œ œ œworld be longs toœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
˙# ‰ jœ .œ œthose who come theœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ# . œ. œ. œ. œ. œ. œn . œ.œ. œ. œ. œ. œ. œ. œ. œ.
œ# . œ. œ. œ. œ. œ. œn . œ.œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ Jœ œ Œ
∑
∑
∑
∑
∑
∑
∑
∑
wlast,
œ. œ. œ. œ. œ. œ. œ. œ. œ Œ
œ. œ. œ. œ. œ. œ. œ. œ. œ Œœ. œ. œ. œ. œ. œ. œ. œ. œ Œ
œ. œ. œ. œ. œ. œ. œ. œ. œ Œ
œ. œ. œ. œ. œ. œ. œ. œ. œ Œ
- -
A Shadow
123
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
84 ∑
∑
∑
∑
∑
∑
∑
∑
∑84 ∑
∑
∑
∑
∑
∑
∑84 .œ Jœ œ Œ84 ∑
∑
∑84 ∑84 ∑
∑84 ∑
∑84 ∑84 œ. œ. œ. œ. œ. œ. œ. œ. œ Œ
œ. œ. œ. œ. œ. œ. œ. œ. œ Œœ. œ. œ. œ. œ. œ. œ. œ. œ Œ
œ. œ. œ. œ. œ. œ. œ. œ. œ Œ
œ. œ. œ. œ. œ. œ. œ. œ. œ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
Ó ‰ jœ œ œThey will find
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
‰ jœ ‰ jœ ‰ jœ ‰ jœ
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
˙ .œ jœhope andw
w
w
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w#strengthœ œ ˙n
w#w
œn œ ˙
wb
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ. jœ œ œU œas we haveœ. œ. œ. œ. Jœ- ‰ Œ
œ. œ. œ. œ. jœ- ‰ Œ
œ. œ. œ. œ. Jœ- ‰ Œ
œ. œ. œ. œ. Jœ- ‰ Œ
œ. œ. œ. œ. jœ- ‰ Œ
w
∑
wŒ œ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wdone.
∑
∑
∑
∑
∑
P
πw
wŒ œ œ œ œ
..œœ Jœœ œœ œœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó . œ œ œ
∑
P
F
p
w
..œœ Jœœ œœ œœ
˙ Ó
∑wŒ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙∑
F
p
P
pw
˙ Ó
∑
∑
..œœ Jœœ œœ œœ
∑
∑
Ó œ œ
∑
w
∑
∑
∑∑w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w∑
w
˙ ˙∑
p
F
π1.
Fsolo
π
π
π
π
∑
∑
∑
∑
˙ Ó
∑
∑.œ Jœ œ œ
∑˙ ˙
˙ ˙∑
∑˙˙
˙˙
˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
˙ ˙
˙ ˙˙ ˙
∑
p
π2.
p
π
∑
∑
∑
∑
∑
∑
∑œ œ œ .œ Jœ
∑˙ ˙
˙ ˙∑
∑˙ ˙w
˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
˙ ˙
˙ ˙
w ˙∑
p
p
p
p
p
p
∑
∑
∑
Œ œ .œ jœ
∑
∑
∑
w
∑
w
w
∑
∑˙ ˙w
˙ ˙#∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
˙ ˙w
w ˙#∑
ƒ
F
A Shadow
124
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
&
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
96 Ó œ œ
w
ww
w
w
ww
ww
Ó œ œ96 w
w∑
∑ww
w
∑96 ∑96 ∑
∑
∑96 ∑96 ∑
∑96 ∑
∑96 ∑96
.˙ Œ
.˙ Œ
w
ww
Ó œ œ
F
π
π
π
π
π
p
π
π1.
f
π
π
p
.œ Jœ œ œ
˙ ˙
ww
∑
˙ ˙
ww
˙ ˙∑
˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑wœ œ œ œ
Ó ˙Ó
œ œ
˙ ˙ww ˙
˙ ˙
p
p
p
p
p
π
π
P
œ œ œ .œ Jœw
˙ ˙
∑
˙ ˙
˙ ˙
˙ ˙∑
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑wœ .˙wœ œ œ œ
˙ ˙˙˙ ˙
˙ ˙
π
rit.
p
p
wœœ Œ
œœ Œ
œœ Œ œœ Œ
œ Œ œ Œ
œ Œ œ Œ
œœŒ œœ
Œ
œ Œ œ Œ
œœ Œ œœ Œ
œ- Œ œ- Œ
œœ Œ œœ Œ
œœ Œ œœ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ Œ œ Œ
œ Œ œ Œœ Œ œ Œœœ Œ œœ Œ
œ- Œ œ- Œ
both
both
π
π
π
π
π
both
both
π
π
π
π
π
π
ππ
π
www
ww
w
w
wwwwww
ww
ww∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
wwww
w
P∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑jœœ( ) ‰ Œ Ó
pizz.
P
A Shadow
125
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
ã
&?
&?
?
&
&
B
?
?
b b b
b b b
b b b
b b
b
b
b
b b b
b b bb b
b b
b
b
b b b
b b b
b b b
b b bb b b
b b b
b b b
b b bb b b
b b b
b b bb b b
b b b
b b b
b b b
b b b
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Baritone
Violin I
Violin II
Viola
Violoncello
Double Bass
Harp
Piano
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
Œ.
Œ.
‰ Œ
‰ Œ
‰ Œ
‰ Œjœ œ œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
‰ Œ
F
Solemnly
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ œ œ œ œ≈°
œ œ œ œ œ*.˙
∑
.˙
œ œ ˙Œ œ œ œ
.˙∑
π
π
π
π
Solo
Solo
Solo
Solo
Glockenspiel
Chimes (2 mallets)
Snare
Bass Drum/Suspended Cymbal
q»§º∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ .œ œ≈°
œ œ œ œn œ*˙ œ œ œb
∑
.˙
œ œ œ œn œ
.˙
˙ œ œ œb∑
p
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œœ ˙≈
°œœ œ œ
*.˙∑
œ œ œ œ œ
œ ˙.˙
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œn‰
°jœb œ œ
*˙ œ∑
.œ jœ œ œn
œ œb œ‰ jœb œ œ
˙ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ œœ œœ œœb œœn
‰ jœ œ œb œ œ˙ œ œN∑
˙ œ œ
˙ œb œn‰ jœ œ œb œ œ
˙ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœœ œœ œœ œœ œœ≈
œ œ œ œ˙ œÓ œ
'A
‰ jœ œ œ œ œ‰ jœ œ œ œ‰ jœ ˙
˙ œ∑
P
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œœ œœœ œ œœœ‰ jœ œ œ˙ œ œ œœ œ œ œ œsol dier of the
˙ Œ
˙Œ
˙ Œ
˙ Œ
∑π
π
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œœœ œ œœ‰ jœ œ œ˙ œ œœ œ œ œ œUn ion mus tered
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœœ œœ œœ
œ œ œ œ œ
œ œ œ œ œout' is the in
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ œœ œœœ œ œ œn˙ œ œœ œ œ œ œ
scrip tion on an
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œœ œb œ œb
œ œ œœ œ œ œ œbun known
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œ œœ œ œ
œ œ œ œnœ ‰ Jœ œ œ
grave At New port
∑
∑
∑
‰ jœ œ œ œ œ
∑p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œœœ œœ œœœœ œ œ œœ ‰ Jœ œ œ
News, be side the
∑
∑
∑œ ‰ Jœ œ œ
∑P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœœ ˙
œ œ œ œ œ œ
œ œ ˙salt sea wave,
‰ Jœ ˙
‰ Jœ ˙
‰ Jœ ˙
œ œ ˙
∑
P
P
P
- - - - - - - - -
126
A Nameless GraveMusic by
Eric C. E. Wilson
(b.1968)
Score
Baritone and OrchestraSonnet by
Henry Wadsworth Longfellow
(1807-1883)
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
ã
&?
&?
?
&
&
B
?
?
b b b
b b b
b b b
b b
b
b
b
b b b
b b bb b
b b
b
b
b b b
b b b
b b b
b b bb b b
b b b
b b b
b b bb b b
b b b
b b bb b b
b b b
b b b
b b b
b b b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn.
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
◊
15 ∑
∑
∑
∑
∑
∑
∑
∑
∑15 ∑
∑
∑
∑
∑
∑
∑15 ∑15 ∑15 ∑
∑
∑15 ∑
∑15 ‰ Jœœ œœœ œœ
œ œ .œ Jœ15 ∑15 ‰ Jœ œ œ
‰ Jœ œ œ‰ Jœ œ œ
∑15 ∑
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ œœœœ œœœœ œ œ œ œ œœ œ œ œ
Name less and
œ œ œ
œ œœ œ˙ œœ œ œ œ
∑
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ œœœ œœœ œœ œ œ œœ œ œ Jœ ‰
date less;
œ .œ jœ
˙ œ œ.˙
œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœb œœœn œ œœœnœœ œœb œœ œœn
œ œb œ œsen ti nel or
œb œn œ œ
œ ˙œ œ œnœ œb œ œ
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ œœ œœ œœb œœn
‰ jœ œ œb œ œ˙ œ œN˙ Œ
scout
˙ œ œ
˙ œb œn‰ jœ œ œb œ œ˙ œ œN
∑
F
F
F
F
F
Solo
F
∑
∑
∑
Ó œ∑
∑
∑œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑..˙
°∑
∑
∑
∑
‰ jœœ œœ œœ œœ œœ≈
œ œ ˙˙ œÓ œ
Shot
‰ jœ œ œ œ œ‰ jœ œ œ œ‰ jœ ˙
˙ œ∑
P F
P
P
P
P
F
F
f
‰ œ œ œ. œ. œ œ œ œ
∑
∑
œ œ œ œ œ
∑
∑
∑
˙ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑* ∑
∑
∑
∑
œœ œœ œœœ œ œÓ œœ‰ jœ ˙˙ œ œ œœ œ œ œ œdown in
.˙
.˙
œ œ .œ ‰
˙ œ œ œ
∑
P
π
π
p
p
Fœ œ œ œ œ œ œ œ œ. œ. œ.
∑
∑
œ œ œ œ œ
∑
∑
∑œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œœœ œ œœ‰ jœ ˙˙ œ œœ œ ‰ œ œ œ œ
skir mish or dis as trous
.˙
.˙
œ œ ˙
˙ œ œ∑
P
˙ Œ
∑
∑
˙ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœœ œœ œœ
œ œ œ œ œ
œ œ œ œ œrout, Of bat tle
˙ Œ
˙ Œ
‰ jœ œ œ œ œ
.œ Jœ œ œ
∑
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ. œ. œ. œ œ
œ.. œ.. œ.. œ. œœ.
œ.
œ.
œ œ œ œ#∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ
œ œ ˙
∑
∑œœ œœ œœŒ œ œ œ œn˙ œ œœ œ œ œ œ
when the loud ar
œ. œ. œ. œ œ
œ. œ. œ. œ œ
œ. œ. œ. œ œ œ œn
œ. œ. œ. œ œ œ
∑
p
p
Straight Mute
Straight Mute
p
p
πBass Drum
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ. œ. œ. œ œb
œ. œ.. œ.. œ. œ œbœ.
œ.
œ. œ œ
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œæ
œ œ ˙
∑
∑
œ œœ œb œ œb
œ œ œœ œ œ œ œbtil ler y
œ. œ. œ. œ œb
œ. œ. œ. œ œ œbœ. œ. œ. œ œœ. œ. œ. œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ. œ. œ. œ œ
œœ.œœ.
œœ.œœ œœ œœ
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ
œ ˙
∑
∑
œ œ œ œŒ œ œ œ
œ œ œ œnœ œ œ œ œdrave Its ir on
œ. œ. œ. œ œ
œ. œ. œ. œ œ œœ. œ. œ. œ œ œœ. œ. œ. œ œ œn
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ
..˙Œ œ> œ˙
>Œ ‰ jœ> œŒ ‰ jœ> œ
∑
∑
Π>
°œ œ œ œ œæ
œ œ ˙
∑
∑
œ œ œ œ œ œœœ œœ œœœ œ œ œœ œ Œ œ œ
wedg es throughthe
˙ œ
.˙
.˙
.œ Jœ œ∑
ß
ß
ß
P
P
P
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ. œ. œ. ˙
œœ.œœ.
œœ. ˙
∑
∑
∑
∑
∑
Ó .*
œ œ œ œ œ œæ∑
∑
∑
‰ Jœœ ˙
œ œ œ œ œ œ
œ œ ˙ranks of brave
œ. œ. œ. ˙
œ. œ. œ. ˙œ. œ. œ. ˙
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ. œ. œ. œ Œ
œœ.œœ.
œœ. œœ Œ
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œæ∑
∑
∑
‰ Jœœ œœœ œœœ œ œ œ œ
∑
œ. œ. œ. œ œ
œ. œ. œ. œ œœ. œ. œ. œ œ
œ œ ˙
∑
F
- - - - - - - - - - - - -
A Nameless Grave
127
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
ã
&?
&?
?
&
&
B
?
?
b b b
b b b
b b b
b b
b
b
b
b b b
b b bb b
b b
b
b
b b b
b b b
b b b
b b bb b b
b b b
b b b
b b bb b b
b b b
b b b
b b b
b b b
b b b
b b b
b b b
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn.
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno. Ÿ~~~~ Ÿ~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~
Ÿ~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~
Ÿ~~~~ Ÿ~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~
Ÿ~~~~ Ÿ~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~
Ÿ~~~~ Ÿ~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~
◊
30 ∑œœ œœ œœ
∑
∑
∑
∑
∑
∑
∑30 ∑
∑
∑
∑
∑
∑
∑30 ∑30 ∑30 œ
°œ œ
.˙æ∑
30 œœœggg œœœœggg œœœggg
∑30 œœœ œœœœ œœœ
œ œ œ œ œ œ30 œ œ œ œ
And doomedbat
30 œ œ œ
œ œœ œ˙ œœ œ œ œ œ œ
30 ∑
P
P
P
P
∑œ œ œ Œ˙
Œ ‰ jœ œ œ
∑
Ó œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ ˙.˙æ
∑œœœggg ˙ggg
∑
œœœ œœœ œœœ œœ œ œ œ
œ œ œ Jœ ‰tal ions,
œ ˙
˙ œ œ.˙
œ œ œ œ
∑
P
P
f
∑
∑
œ œb œ œ∑
œb œ œ œ#∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ∑
œ œ jœ ‰ Ó
∑
∑*
œ Œ Œ
œ> œ> ˙
∑
∑
œœb œœœn œ œœœnœœ œœb œœ œœn
œ œb œ œstorm ing the re
œb œn Œ
œ œ Œ
œ œ Œ
œ œ œ œ∑
tutti
F
P
P
∑
∑
˙ Œ
∑
˙ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œN∑
∑
∑
∑
∑
∑
∑
∑
œœœ œœ œœ œœb œœn
‰ jœ œ œb œ œ˙ œ œN
˙ Œdoubt.
œœ œ œ œ œ
œ œ œ œ œb œn
‰ jœ œ œb œ œ
˙ œ œN
˙ œ œN
F
tutti
tutti
tutti
tutti
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ ‰ Jœ œ œ
∑
∑
∑
∑
˙ œÓ œ
œ œ .>∑
∑
∑
œ> œ> ˙
∑
∑
‰ jœœ œœ œœ œœ œœ≈
œ œ ˙˙ œ
Œ ‰ Jœ œ œThou un known
‰ Jœ œ œ œ
‰ Jœ œ œ œb œn
‰ jœ ˙
˙ œ
˙ œ
P
agitato
agitato
agitato
agitato
agitato
F
P
agitato
P
∑
∑
∑
∑
∑
∑
∑
∑
∑œb œ œ œ œ.˙b
..˙
∑
∑
∑
œ œ œb
œ œ œb∑
∑
∑
∑
∑
∑
∑
œb œ œ œ œ œ˙ œœœ œœ œœbbœb œ œ œ œhe ro sleep ing
.˙b
˙ œ
.˙
œ œ œb
œ œ œb
F
f
F
F
F
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
œb œ œ ‰ jœ#˙b œn
˙b œœnn
∑
∑
∑
œb œ œn
œb œ œn∑
∑
∑
∑
∑
∑
∑
œb œ œn œ œ œ#œœb œœ œ œœœnnœœbb œœ œœnn
œb œ œ ‰ Jœ#by the sea In
˙ œ œ#n
œ ˙n
œb œ œ œ
œb œ œn
œb œ œn
∑
∑
∑
∑
∑
∑
∑
∑
∑œN œ œN œ œnœN œA œ
œœ#n œœ# œœ
∑
∑
∑
œ œ œ#
œ œ œ#∑
∑
∑
∑
∑
∑
∑
œœœN#n œœœœ# œ œœœœ#œœNN œœ œœ##
œN œ œN œ œnthy for got ten
œ œ œN œ œn
˙n œ.˙b
œ œA œ#
œ œA œ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
wÓ ˙Ó ˙n
∑
∑
∑
˙ œ œ œ œ
˙ œ œ œ œ
∑
∑
∑
∑
∑
Ó ˙˙˙ngggg∑
Ó ˙˙˙nggg≈ œ œ œ œ œ œ œ˙ œ œ œ œ
wgrave!
w
∑
∑
˙ œ œ œ œ
˙ œ œ œ œ
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑∑
w
wwn∑
∑
∑
˙ Ó
.˙ œn
Ó . œæ
∑
∑
∑
∑
∑
∑‰ . rœ œ ˙wwwn˙ œœ œ
n
Ó ‰ Jœ œ œWith se cret
∑
∑
∑
.˙ œn
.˙ œn
p
π
Intensely
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
wæ
∑
∑
∑
∑
∑
∑
www
w˙A œ œ œ œshame I feel my
wæwæ
wæ
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wn
wæ∑
∑
∑
∑
∑
∑
www
wn
œ œ œ ‰ Jœ œ œpuls es beat,my fore head
wæwæwæ
wn
wn
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙n œ#n
∑
∑
∑
∑
∑
∑
∑
...˙# œœœœn#n
.˙n œ#n
˙n œ œ œ#burn,
.˙#æ œ
.æ œ
.æœn
.˙n œ#n
.˙n œ#n
p F
- - - - - - - - - - - -
~~~~~~~~~
A Nameless Grave
128
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
ã
&?
&?
?
&
&
B
?
?
b b b
b b b
b b b
b b
b
b
b
b b b
b b bb b
b b
b
b
b b b
b b b
b b b
b b bb b b
b b b
b b b
b b bb b b
b b b
b b b
b b b
b b b
b b b
b b b
b b b
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn.
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
43 ∑
∑
∑
∑
∑
∑
∑
∑
∑43 ∑
∑
∑
∑
∑
∑
˙ œ œ œ œ43 Œ ‰ JœN ˙43 ∑43 ∑
∑
∑43 ∑
∑43 œ œ œ ˙œœ œœ œœb ˙
˙ œ œ œ œ43 ˙ ‰ Jœ œ œ
When I re
43 œ œ œ œ œ œ œ
.œ Jœb ˙œ œ œ œ ˙
˙ œ œ œ œ43
˙ œ œ œ œ
P
F
cresc. poco a poco
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ∑
∑
∑
∑
∑
∑
∑˙ œœ œœ œœ œœ
œ œ œ œ œœ œ œ œ .œ œ
mem ber thou hast giv en
œ œ œ œ œ œ
˙ œ œ œ œ
.˙ Jœ ‰
œ œ œ œ œœ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ∑
∑
∑
∑
∑
∑
∑
œœ œœ œœ œœ ˙
œ œ œ œ˙ ‰ Jœ œ œme All that thou
œ œ œ œ ˙
œ œ œ œ ˙
Ó ˙
œ œ œ œ
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ∑
∑
∑
∑
∑
∑
∑
œ ‰ jœœ ˙Jœ œ œ
œœ œœ œœ œœ
œ ‰ Jœ ˙hadst, thy life,
Œ. Jœ æ
Œ. Jœ æŒ. Jœ œ œ
œ œ œ œ
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ#∑
∑
∑
∑
∑
∑
∑
œœ œœ œœ œœœ œ#
‰ Jœ œ œthy ve ry
Jœ ‰ Œ
Jœ ‰ Œ
Jœ ‰ Œ
œ œ œ œ#
œ œ œ œ#
Ó ‰U ‰ Œ
Ó ‰U ‰ Œ
Ó ‰U ‰ Œ
Ó ‰U ‰ Œ
Ó ‰U ‰ Œ
Ó ‰U ‰ Œ
Ó ‰U ‰ Œ
Ó ‰U ‰ Œ
Ó ‰U ‰ Œ
Œ ‰ . Rœœ J
œœU ‰ Œ
Œ ‰ . rœœnbjœœ
U‰ Œ
Œ ‰ . Rœ JœU ‰ Œ
Œ ‰ . rœœb jœœU ‰ Œ
Œ ‰ . rœn jœU ‰ Œ
Œ ‰ . rœn jœU ‰ Œ
˙n jœnU ‰ Œ
Œ ‰ . rœn jœUæ ‰ Œ
Ó ‰U ‰ Œ
Ó ‰U ‰ Œ
Ó ‰U ‰ Œ
Ó ‰U ‰ Œ
Ó ‰U ‰ Œ
Ó ‰U ‰ Œœœœ ...œœœ œœœœb jœœœœ
U‰ Œ
˙n jœœnnU ‰ Œ
˙ œU œ œ œname, And I can
Œ ‰ . rœœb jœœU
‰ Œ
Œ ‰ . Rœ JœU ‰ Œ
Œ ‰ . rœ jœU ‰ Œ
˙n jœU ‰ Œ
˙n jœU ‰ Œ
ƒ F
f
F
F
F
F
F
F
F
Open
Open
∑
∑
Ó . œœ œœ
∑
Œ œ œ œ œ œ œ œ œ œ
œœ œœ œœ œœ
œ œ œ œ
∑
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
‰ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
œ œ œ œ œ œ œ œ
∑
‰ œ œ œ œ œ œ œ œ œ œ
œœœ œœœ œœœ œœœœ œ œ œ .œ œ
give thee no thing in re
∑
∑
Ó œ œ
œ œ œ œ
∑
P
F
P
PP
P
P
P
∑
‰ œ œ œ œ œ ˙
œ œ œ ˙œ œ œ œ ˙
∑
œ œ œ œ œ œ œ œ
œœ œ œœ ˙˙œ œ œ ˙
∑œ œ œ ˙
Ó ‰ Jœ œ
∑
∑
∑
∑
∑
∑
∑œ œ œ ˙
∑
∑
∑œœ œœœ œœœœ œœœœ
œœœœœ œ Ó .Œ œ œ ˙œœ œœœ œœœœ ˙˙˙œ œœœœ œ œ ˙
˙ ‰ Jœ œ œturn. And I can
œ œ œ ˙
œ œ œ œ ˙˙ ˙
œ œ œ ˙
∑
F P
p
1.
∑
∑
˙ jœœ ‰ Œ
∑
˙ jœ ‰ Œ
˙ jœœ ‰ Œ
˙ jœ‰ "Œ
∑
˙ jœ ‰ Œ
˙ Jœ ‰ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙
Jœœœœ ‰ "Œ
˙ jœ ‰ " Œ
˙ jœœœœ ‰ "Œ˙ jœœ ‰ "Œœ œ œ œ " œ œ
give thee no thing in re
˙ jœ ‰ "Œ
˙ jœ ‰ "Œ
˙ Jœ ‰ " Œ
˙ jœ ‰ "Œ
∑
- - - - - - - -
A Nameless Grave
129
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
ã
&?
&?
?
&
&
B
?
?
b b b
b b b
b b b
b b
b
b
b
b b b
b b bb b
b b
b
b
b b b
b b b
b b b
b b bb b b
b b b
b b b
b b bb b b
b b b
b b b
b b b
b b b
b b b
b b b
b b b
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn.
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
52 ∑
∑
∑
∑
∑
∑
∑
∑
∑52 ∑
∑
∑
∑
∑
∑
∑52
˙ œ œ52 ∑52 ∑
∑.Xæ
52 ∑
∑52
œœœ œœ œœ œœ œœ
≈ œ œ œ œ œ œ˙ œ œ52
.˙turn.
52
.˙
‰ Jœ œ œ œ œ
‰ Jœ œ œ œ
˙ œ
52 ∑
p
π
p
p
p
πSus. Cym. - Soft Mallets
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ
∑
∑
∑.Xæ
∑
∑
‰ Jœœ œœ œœ œœ œœ
≈ œ œ ˙˙ œ &
Ó œMm.˙
‰ Jœ œ œ œ
‰ Jœ œ œ œ œ
˙ œ
∑
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.X
∑
∑œœ œœ œœ œœ œœ œœ
œœœ œœœ œœœœ œ œ œ œ
.˙
œ œ œœ œ œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ œœ œœ œœ œœ œœ œœn
˙ œœœ ?
œ œ œ œ œ.˙
˙ œ˙ œ
˙ œn
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ∑
∑
∑xæ X
∑
∑≈ œ œœ œœ œ œœœ ?
‰ jœ œ œ œ œ˙ œ.˙.˙
œ. œ. œ. œ- Œ
œ. œ. œ. œ- Œ
˙ œ∑
PSticks - on crown
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ∑
∑
∑
∑
∑
∑
≈ œ œœ œœ œ œœn‰ jœ œ œ œ œ˙ œ
.˙
.˙
œ. œ. œ. œ- Œ
œ. œ. œ. œ- Œ
.˙
.˙p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ
∑
œœ°
jœœU
∑
∑
∑
∑
œœœ UJœœœ
œœU jœœ
Œ ‰
Œ U ‰
œU jœ
œU jœ
œU jœ
œ jœU
p
A Nameless Grave
130
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
&
B
?
?
b
b
b
#
#
#
b
b
#
#
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Mezzo-Soprano
Violin I
Violin II
Viola
Violoncello
Double Bass
Harp
Piano
∑
∑œœ œœ œœ œœœ œ œ œ
∑
∑
∑œœ œœ œœ œœ
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
...˙ggg∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œpizz.solo
F
P
P
P
P
Vibraphone-motor on
FSnare Drumwith brushes
Glockenspiel
q»§¢ ∑
∑
œœ œœ ˙
œ œ# ˙
∑
∑
∑œœ# œœ ˙˙
.˙#
∑
∑
∑
∑
∑
∑
∑
∑
∑
....˙˙#gggg∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# œ œ œ
∑
∑œœ œœ œœ œœœN œ œ œ
∑
∑
∑œœ œœ œœ œœ
.˙N
∑
∑
∑
∑
∑
∑
∑
∑
∑
....˙˙˙Ngggg∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙N œ
∑
∑..˙
.˙
Œ ˙Œ ˙˙#Œ ˙
..˙
.˙n
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œn œ œn œ œ œ œ3
p
pp
p
p
p
ƒ
∑
∑
∑
∑
.˙
.˙ œN˙ œ
∑˙A œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œA œ œA œ œ
P
P
P
∑
∑
∑
∑
.˙
.˙ œ
.˙
∑.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ
∑
∑
∑
∑
.˙
..˙
.˙
∑.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙∑
Œ œœ œœ
œ œ ˙
∑
∑
œ œ œ œLull me to
∑
∑
∑
∑
.˙
F
F
p
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œœ œœ
œ œ œ œ œ∑
∑
˙ œsleep, ye
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œœ œœ#œ œ ˙
∑
∑
.˙winds,
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œœ œ œNœœœgggœ œ œ
∑
∑
œ ‰ jœ œ œNwhose fit ful
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ# ˙˙
˙ œ
∑
∑
œ Œ œ œ œ3
sound Seems from some
∑
∑
∑
∑
∑
-
131
SleepMusic by
Eric C. E. Wilson
(b.1968)
Score
Sonnet by
Henry Wadsworth Longfellow
(1807-1882)
Mezzo-Soprano and Orchestra
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
&
B
?
?
b
b
b
#
#
#
b
b
#
#
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
12 ∑
∑
∑
∑
∑
∑
∑
∑
∑12 ∑
∑
∑
∑
∑
∑
∑12 ∑12 ∑12 ∑
∑12
œœ œœœ œœœ
.˙#12 ∑
∑12
œ œ œ œ œfaint Æ o lian
12 ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœggg œœœ#ggg œœœœngggg˙ œN
∑
∑
œ ˙harp string
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œA œ œ œ œ
˙ œ∑
∑
.˙caught;
‰ Jœ œ. œ. œ. œ.
‰ Jœ œ. œ. œ. œ.
‰ Jœœ œœ . œœ . œœ . œœ .
‰ Jœ œ. œ. œ. œ.
˙ œ œ œ
π
π
π
π
π p
p
p
parco
tutti
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙˙
œ œ œ∑
∑
œ Œ œ œ œ3Seal up the
‰ Jœ œ. œ. œ. œ.
‰ Jœ œ. œ. œ. œ.
‰ Jœœ œœ . œœ . œœ . œœ .
‰ Jœ œ. œ. œ. œ.
˙ œP
P
P
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœœ œœœ œœœ
œ œ œ œ∑
∑
œ œ œ œhun dred wake ful
.˙
œ œ œ
∑
∑
.˙
ππ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœœ œœœ œœœ
œ# œ œ# œ∑
∑
œ œ œ ‰ jœeyes of thought As
.˙
.˙
.˙
∑
.˙#
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙gggg œœœgggg
œN œ œN œ∑
∑
œ œ œ œ œHer mes with his
.˙
.˙
.˙
∑
.˙N
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙gggg œœœggg
œn ˙n
∑
∑
˙ ‰ jœltre in
.˙
.˙
.˙
∑
.˙n
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙nggggœœœœgggg
.˙∑
∑
˙ œ œsleep pro
.˙
.˙
.˙
.˙n
.˙π
p
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
....˙˙˙Agggg.˙
∑
∑
.˙found
˙ .œ œ œ œ3
˙ .œ œ œ œ3œ œ œ œ
œA œ ˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑....˙˙˙gggg
.˙
∑
∑
Ó ‰ jœThe
œ œ œ. œ. œ.
œ œ œ. œ. œ.œ œ œ. œ. œ.
œ œ œ. œ. œ.
œ œ œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œœ œœ
œ œ ˙
∑
∑
œ œ œ œ œhun dred wake ful
∑
∑
∑
Œ œ œ œ
∑
solo
P
- - - - - - - - -
Sleep
132
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
&
B
?
?
b
b
b
#
#
#
b
b
#
#
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
24 ∑
∑
∑
∑
∑
∑
∑
∑
∑24 ∑
∑
∑
∑
∑
∑
∑24 ∑24 ∑24 ∑
∑24 Œ œœ œœ
œ œ œ œ œ24 ∑
∑24
œ œ œ œ œeyes of Ar gus
24 ∑
∑
∑œ œ œ œ œ œ
∑F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙# œ œNœœœ
œ œ œ œ∑
∑
œ ‰ jœ œ œbound; For I am
∑
∑
∑˙# œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ# ˙˙
˙ œ
∑
∑
œ œ œ ‰ œ œwea ry and am
∑
∑
∑˙# œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œœœ œœœ
.˙#∑
∑
œ œ œ œ œov er
∑
∑
∑˙ œ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ œœœ# œœœœn œœœœœbœ œ œ
∑
∑
œ Œ œ œ œ3
wrought With too much
∑
∑
∑˙ Œ
∑P
∑
∑
‰ œ œ œ œ
∑
Œ œ- œ œ- œ
..˙
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ
∑
∑...˙gggg
œ œ œ œ∑
∑
œ œ œ œtoil, with too much
∑
∑
∑
∑
∑
F
PP
P
solo
F
∑
∑
œ œ œ œ œ
∑
˙ œ
..˙˙.˙#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙#
∑
∑...˙˙gggg
œ# œ œ# œ∑
∑
œ œ jœ ‰ œ œ œ3
care dis traught, And with the
∑
∑
∑
∑
∑
∑
∑
‰ œ œ œ œ
∑
Œ ˙
œ ˙‰ œ œ ˙
œN ˙#∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œN
∑
∑....˙ggggg
œN œ œN œ∑
∑
œ œ œ œ œir on crown of
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ
∑
.˙
..˙˙#
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ
‰ Jœ œ œ œ œ
∑....˙˙ngggg
œn ˙n
∑
∑
œ œ œ œan guish
∑
∑
∑
∑
∑
P
∑
∑
.˙
∑
.˙
..˙N
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ
∑.....˙˙˙Aggggg
.˙∑
∑
.˙crowned.
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
..˙
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œœ œœ∑
....˙˙˙Agggg
.˙
œ- œ œ- œ œ- œœ œœ œœœÓ œ
∑
∑
∑
∑
∑
Ó œ
π
π
π
pizz.solo
F
p
- - - - - - -
Sleep
133
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
&
B
?
?
b
b
b
#
#
#
b
b
#
#
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
35 ∑
∑
∑
∑
∑
∑
∑
∑
∑35 ∑
∑
∑
∑
∑
∑
∑35 ∑35 ∑35
œœœœb ˙˙
n
∑35 ∑
∑35
œ œb œ ˙n3
œœœb ˙œb œ# ˙
35
œ œb œ œn œ œ3Lay thy soft hand up
35 ∑
∑
∑
∑
œ# œ# œ œ
F
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œb œ œb œ œb....˙bbggggg∑
∑
∑œb œ œ œb œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œb œ œ œ œœb œb ˙
œ ˙ œ œb œ3 3
on my brow and
∑
∑
∑
∑
˙b œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙˙˙bgggggœœœœ
∑
∑
∑
œ œb œœ œb œœœ
˙ œ
œ Œ œ œ œb3cheek, O peace ful
∑
∑
∑
∑
œ œb œb œ œ œ3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙Aggggœœœœbggggg
∑
∑
∑
œ œ œ œœ œœ œb œ3
˙˙˙ œœœb˙ œ
œ ‰ Jœ œb œsleep! O peace ful
∑
∑
∑
∑œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó œ œ œ3
∑
∑
∑
∑
∑
∑
œ œ .œ œ œœœœ#gggg‰ œ
.œ
.œ
.œ
.œ
-3
∑
∑
œœœA œœœ œœœ˙N œ#
˙ Œsleep!
∑
∑
∑
∑
œN œ œ œ#
Harmon -stem outMute
f
solo
brushes
. = stroke
_ = scrape
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ# œ œn œ œ œb œ
∑
∑
∑
∑
∑
∑
œœœœgggg ˙˙˙gggœ
-œ
-œ
-
∑
∑
œœœœggggœ œ œ œœ œœ3
.˙
∑
∑
∑
∑
∑
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ ‰ Jœ
∑
∑
∑
∑
∑
∑
œ# œ œœœ œœœœ
-œ
-œ
.œ
.œ
.œ
.œ
.3
∑
∑rœ œ œ œ œ œ œ œœ# œœ œœ
3
.˙#
∑
∑
∑
∑
∑
œ# œ œ#œ œ
- - -
Sleep
134
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
&
B
?
?
b
b
b
#
#
#
b
b
#
#
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
42 ∑
∑
∑
∑
∑
∑
∑
∑
∑42 ∑
∑
œ œ# œ œn œ œ œ
∑
∑
∑
∑42 ∑42 ∑42
˙˙˙Nggg œœœœœ
-œ
-œ
-
42 ∑
∑42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œN œ
.˙N42 ∑42 ∑
∑
∑
∑
œN œ œN œ
subito p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ3
∑
∑
∑
∑
∑
∑
....˙nggggœ
-œ
-œ
.œ
.œ
.3
∑
∑
œœœœn œœœ œœœ œœœ œ œœ œœn3
.˙n
∑
∑
∑
∑
Œ ˙n
˙n œ œ œ3
p
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ3
∑
∑
∑
∑
∑
∑
˙Agggg œœœœ
-œ
-œ
-
∑
∑
œœœ œœœ œœœ œœ.˙A
∑
.˙
.˙
.˙
.˙A
˙A œ œ
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ ‰ œ œ œ œ œ œ3
∑
∑
∑
∑
∑
∑
..˙œ
-œ
-œ
.œ
.œ
.3
∑
∑
œ œ œ œ œ œ œ3
œ œ œœ.˙
∑
.˙
.˙
.˙
.˙
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ3
∑
∑
∑
∑
∑
∑
....˙nœ
-œ
-œ
-œ
.
∑
∑
œ œ œ œ œ œnœœn œœœ œœ
.˙∑
.˙
.˙
.˙n
.˙
œ œ œn œ
P
P
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑
∑
∑
∑
..˙ ..˙A
œ
-œ
-œ
-
∑
∑.œ œ œ œ œ œ...˙˙Aggg
.˙
∑
.˙
.˙
..˙A
..˙
.˙
p
p
p
p
P
∑œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ
∑
∑
∑
œ œ ˙ œœœœ œ œ œ
‰ jœ œ ‰ jœun til from
∑
∑
∑
∑
∑
P
p
∑œb œ œ œœ œ œb œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ .œb œ œœb œ œœ œœœn œ œ œ
œ œ .œb œ œpain re leased
∑
∑
∑
∑
∑
F
- -
Sleep
135
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
&
B
?
?
b
b
b
#
#
#
b
b
#
#
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
50 ∑œœb œœ
∑
∑
∑
∑
∑
∑
∑50 ∑
∑
∑
∑
∑
∑
∑50 ∑50 ∑50 ‰ Jœ
.œb œ
∑50 ∑
∑50
œœœœbA œœœœb œ# œ
50 ‰ jœ .œb œI breathe a
50 ∑
∑
∑
∑
∑
P
∑.œ ˙n
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œn œ œ œ œ
∑
∑
∑
œœœn œœœn œœœ?
œ œ œ œ œœn œ œ œ œgain un in
∑
∑
∑
∑
∑
∑.˙b ˙ œb
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œb œ
3
∑
∑
∑œœœœbb ˙˙˙
˙b œbœ œ œ œb œ
3
ter rupt ed
∑
∑
∑
∑
∑
∑..˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙˙˙bggggg ‰ Jœ
∑
∑
∑....˙˙˙
.˙˙ ‰ jœ
breath! un
∑
∑
∑
∑
∑
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ jœ œ œ œ œ3 3
..˙n
∑
∑
∑œœœn ˙
˙ œ
œ jœ œ œ œ œ3 3
in ter rupt ed
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ ˙œœœA ˙˙
∑
∑
∑œœœA ˙˙˙
˙ œœ œ ˙
breath!
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ œ œ œ œ œ˙ œœœœ
∑
∑
∑...˙
&
.˙‰ Jœ> ˙
Ah,
‰ Jœ œ. œ. œ. œ.
‰ Jœ œ. œ. œ. œ.
‰ Jœ œ. œ. œ. œ.
.˙∑
π
p
p
p
p
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ œ œ œ œ œ
....˙∑
∑
∑
∑
∑
‰ œ œ œ .œ œ œ3
with what sub tle mean
‰ Jœ œ. œ. œ. œ.
‰ Jœ œ. œ. œ. œ.
‰ Jœ œ. œ. œ. œ.
œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
œ œ Œ ‰ œ œing did the
‰ Jœ œ. œ. œ. œ.
‰ Jœ œ. œ. œ. œ.
‰ Jœ œ. œ. œ. œ.
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
œ œ œ .œ œGreek Call thee the
‰ Jœ œ. œ. œ. œ.
‰ jœ œ. œ. œ. œ.‰ Jœ œ. œ. œ. œ.
œ œ œ
∑
- - - - - - - - - - -
Sleep
136
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
&
B
?
?
b
b
b
#
#
#
b
b
#
#
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
60 ∑
∑
∑
∑
∑
∑
∑
∑
∑60 ∑
∑
∑
∑
∑
∑
∑60 ∑60 œ œ œ œ œ œ œ œ œ œ œ œ60 ∑
∑60 ∑
∑60 ∑
∑60
œ œ œ .œ œ œles ser mys ter y
60 ‰ Jœ œ. œ. œ. œ.
‰ jœ œ. œ. œ. œ.
‰ jœ œ. œ. œ. œ.
˙ œ œ œ œ3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.æ
∑
∑
∑
∑
∑
∑
œ œ œ œ ‰ jœ3
at the feast Where
.æ
.æœæ æ
.æ
∑
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ œ œ .œ œof the great er mys ter
.æ
.æ
.ææ œæ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œy
.æ
..˙æ
..˙æ
.æ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó jœ ‰is
æ Œ
˙æ Œ˙
æ Œ
æ Œ
∑
π
π
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ .œn œb œb .œ
∑
∑
∑
∑
∑
∑
....˙˙
bbggggggœ
-œ
-œ
-
Ó ‰ jœb‰ jœ œb œb œ œb
.˙∑
∑
Œ ˙death!
∑
∑
∑
∑
∑
brushes
pf
F
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œb œb œ œb œ
∑
∑
∑
∑
∑
∑....˙
˙bbbbggggggœ
-œ
.œ
.œ
.œ
.Ͼ
.˙
.˙
.˙∑
∑
.˙∑
∑
∑
∑
œ œb œb œb œ œ3
3F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑
∑
∑
∑....˙
˙.˙æ.˙.˙.˙
∑
∑
∑
∑
∑
∑
∑
.˙
P
π
- - - - - - -
Sleep
137
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
&
&
&
B
?
?
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # ## # # # ## # # # ## # #
# # #
# # # #
# # # #
# # # # ## # # # ## # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Mezzo-Soprano
Violin I
Violin II
Viola
Violoncello
Double Bass
Violin I-Group B
Violin II-Group B
Viola-Group B
Violoncello-Group B
Double Bass-Group B
Harp
Piano
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œcol legno battuto
col legno battuto
col legno battuto
π
π
π
Tempo ad lib - follow flute solo, not too fast
Rhythms should not be precise across section-
effect should be a constant background murmur throughout this sonnet.
Rhythms should not be precise across section-
effect should be a constant background murmur throughout this sonnet.
Rhythms should not be precise across section-
effect should be a constant background murmur throughout this sonnet.
Rhythms should not be precise across section-
effect should be a constant background murmur throughout this sonnet.
Rhythms should not be precise across section-
effect should be a constant background murmur throughout this sonnet.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
œ œ œ œ œ œ œ œ3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
Solo - freely, tempo ad lib
f
∑
˙ ‰ Jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑œ œ œ œ œ œ œ œ
3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
˙ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ
3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
˙ ‰ Jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
138
Eliot's OakMusic by
Eric C. E. Wilson
(b.1968)
ScoreMezzo-Soprano and OrchestraSonnet by
Henry Wadsworth Longfellow
(1807-1882)
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
&
&
&
B
?
?
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # ## # # # ## # # # ## # #
# # #
# # # #
# # # #
# # # # ## # # # ## # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Vln. I-B
Vln. II-B
Vla.-B
Vc.-B
D.B.-B
Hp.
Pno.
15 ∑œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑15 ∑
∑
∑
∑
∑
∑
∑15 ∑15 ∑
∑
∑15 ∑
∑15 ∑
∑15 ∑15 ∑
∑
∑
∑
∑15 ∑
∑œ œ œ œ œ
3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑˙ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
‰ Jœ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
‰ Jœ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
Œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
˙ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ
3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
Eliot's Oak
139
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
&
&
&
B
?
?
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # ## # # # ## # # # ## # #
# # #
# # # #
# # # #
# # # # ## # # # ## # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Vln. I-B
Vln. II-B
Vla.-B
Vc.-B
D.B.-B
Hp.
Pno.
26 ∑
.˙∑
∑
∑
∑
∑
∑
∑26 ∑
∑
∑
∑
∑
∑
∑26 ∑26 ∑
∑
∑26 ∑
∑26 ∑
∑26 ∑26 ∑
∑
∑
∑
∑26 ∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
‰ jœ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ
∑
∑
∑
∑
∑
∑
‰ jœ ˙‰ jœ ˙‰ jœ ˙‰ jœ ˙‰ Jœ ˙
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
PFloor Tom
P
P
P
P
P
q»¶§ ∑
˙ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ
∑
∑
∑
∑
∑
∑
.˙
.˙
.˙
.˙
.˙
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
‰ jœ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ
∑
∑
∑
∑
∑
∑
‰ jœ ˙‰ jœ ˙‰ jœœ ˙˙
‰ jœ ˙
‰ Jœ ˙
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ
∑
∑
∑
∑
∑
∑
.˙
.˙..˙˙
.˙
.˙
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ
∑
∑
∑
∑
∑
∑
.˙
.˙
.˙
.˙
.˙∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ
∑
∑
∑
∑
∑
∑
.˙
.˙
.˙
.˙
.˙∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ
∑
∑
∑
∑
∑
‰ jœ œ œ œ œThou an chient
∑
˙ ˙˙ ˙œ œ œ œ œ œ œ
w∑
∑œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
F
p
p
P
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ
∑
∑
∑
∑
∑
œ œ ˙ ‰ jœoak! whose
∑
ww
œ œ œ œ œ œ œ œ
w∑
∑œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ3
myr i ad leaves are
w
ww
œ œ œ œ œ œ œ3
w∑
∑œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ
∑
∑
∑
∑
∑
œ œ ˙ ‰ œ œloud With
w
w∑
œ œ ˙ ‰ Jœ
.˙ œ
∑
∑œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ
∑
∑
∑
∑
∑.œ œ œ œ œ œ œ œ œ œ
sounds of un in tel li gi ble
˙ œ œ
˙ ˙∑
.œ œ œ œ œ œ œ œ œ œ
˙ œ œ∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
- - - - - - - -
Eliot's Oak
140
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
&
&
&
B
?
?
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # ## # # # ## # # # ## # #
# # #
# # # #
# # # #
# # # # ## # # # ## # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Vln. I-B
Vln. II-B
Vla.-B
Vc.-B
D.B.-B
Hp.
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
38 ∑
∑
∑
∑
∑
∑
∑
∑
∑38 ∑
∑
∑
∑
∑
∑
∑38 ∑38 ∑
œ œ œ œ œ œ
∑38 ∑
∑38 ∑
∑38
œ œ .˙speech,
38
œ œ .˙
œ .˙wœ œ .˙
w38 ∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ œ œ œSounds as of surg es...
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.
wœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
F
F
F
F
col legno battuto
π p
p
p
p
π
π
π
P
P
P
2.
1.
π
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
w∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ œ œ œSounds as of surg es
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
wœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
p
p
p
F
F
F
Fp
π
π
π
p
p
p
p
p
p
F
F
F
p
p
p
P π
p
π p
www
ww
ww
ww
www
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œ œ œ œ œ œ œ œ œ œ œon a shin gly beach,
w
ww
w
wœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
p
p
p
p
π
π
π
p
p
p
p
p
p
p
p
p
π
π
www
ww
ww
ww
www
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ . jœOr
w
ww
w
wœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
p
p
p
p
p
p
p
p
p
P
P
P
P
P
P
P
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ ‰mul ti tudi nous mur murs...
w
w
w
w
wœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
- - - -- - -
Eliot's Oak
141
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
&
&
&
B
?
?
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # ## # # # ## # # # ## # #
# # #
# # # #
# # # #
# # # # ## # # # ## # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Vln. I-B
Vln. II-B
Vla.-B
Vc.-B
D.B.-B
Hp.
Pno.
44 ∑
∑
∑
∑
∑
∑
∑
∑
∑44 ∑
∑
∑
∑
∑
∑
∑44 ∑44 ∑
∑
∑44 ∑
∑44 ∑
∑44 Ó.
œ œ ‰mur murs
44 w
ww
w
w44 œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
F
F
F
π
π
π
F π
F π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó ‰ jœœ( ) œœ( ) œœ( )of a
w
˙ ˙w
w
˙ ˙œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
F
F
F
π
π
π
F π
F π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww( )crowd;
w
ww
w
w∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
‰ Jœ œ œ. Ó
‰ Jœœ œœ œœ. Ó
‰ Jœœ œœ œœ. Ó
‰ Jœ œ œ. Ó
∑
˙ œ œ‰ jœ œ œ œ œ œ
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Jœ ‰ Œ Ó
∑
˙ œ œ‰ jœ œ œ œ œ œw
∑
∑
∑
w
wwn
w
w∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
F
F
F
F
P
P
P
P
∑
∑
∑
∑
∑
˙ œ œ‰ jœ œ œ œ œ œ œ
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ‰ jœ œ œ œ œ œ œw
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
∑
∑
‰ .œ ˙
∑
∑
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
P
∑
∑˙ œ œ œ œ
∑
∑
œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œœ œ œ œ œœ œ œ œ œ
∑
∑
∑
∑
∑
∑ &
∑
∑
∑
∑œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
F
∑
∑
.˙ Œ
∑
∑
.˙ Œ
.˙ Œ
.˙ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ Œ
..˙ Œ
∑
∑
‰ jœ .œ œ œ œWith some mys ter iousw
ww
w
w
w∑
∑œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
P
P
P
P
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ jœ œ œgift of tongues enw
ww
w
w
w∑
∑œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
∑
Ó œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Ódowed,w
ww
w
.˙ œ œ
w∑
∑œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
Solo
f
- - - -
Eliot's Oak
142
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
&
&
&
&?
?
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # ## # # # ## # # # ## # #
# # #
# # # #
# # # #
# # # # ## # # # ## # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Vln. I-B
Vln. II-B
Vla.-B
Vc.-B
D.B.-B
Hp.
Pno.
54 ∑
‰ Jœ œ œ# œ Œ
∑
∑
∑
∑
∑
∑
∑54 ∑
∑
∑
∑
∑
∑
∑54 ∑54 ∑
∑
∑54 ∑
∑54 ∑
∑54 ‰ Jœ œ œ# œ Œ
Thou speak est
54˙
Ówœ œ ˙
w
˙ ˙
˙ ˙#54 ∑
∑œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
∑
‰ Jœ œ œ# œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ# œ œ œThou speak est a
∑w
˙ ˙#
˙ ˙
œ œ œ# œ œ œ .œ œ
∑œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
∑
œ# œ œ œ œ œ œ ‰ jœ#∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# œ œ œ œ œ œ ‰ jœ#dif ferent di a lect to
∑œ œ œ œ œ œ œ œ#
˙# ˙
w
w
∑œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
∑
œ œ œ Ó
∑
∑
∑
∑
∑
∑
∑‰ jœœ. œœ. œœ. œœ. œœ. œœ. œœ.‰ jœ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ Œ ‰ jœeach; To
∑
œ œ .˙
w B
ww
˙ œ œ œ œœ œ œ œ œ œ œ# œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
2.
p Pp P
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœœ œœ ˙
‰ jœ œ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ œ œ œ œ œme a lan guage that
∑w
w
ww
˙ œ œ œ œœ œ œ œ œ œ œ# œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
p
p
∑
∑
Œ œ .œ œ œ#
∑
∑
∑
∑
∑
∑‰ jœœ# . œœ. œœ. œœ. œœ. œœ. œœ.‰ jœœ. œœ. œœ. œœ. œœ. œœ. œœ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ ‰ œ œ3
no man can teach, Of a
∑w#w
ww
˙ œ œ œ œœ œ œ œ œ œ œ# œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
both
P
P
P F
∑
∑w
∑
∑
∑
∑
∑
∑
‰ jœœ#N œœ ˙‰ jœœ œœ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# œ ‰ Jœ œ œ œ œ œlost race long van ished like a
∑˙ ˙N
w#ww
˙ œ œ œ#œ œ œ œ œ œ œ# œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑‰ jœœ# . œœ. œœ. œœ. œœ. œœ. œœ.‰ jœœ. œœ. œœ. œœ. œœ. œœ. œœ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ ‰ Jœ œ# œ ‰ œ œcloud... long van shed like a
∑
w#www
˙ œ œ œ œœ œ œ œ œ œ œ# œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
P
P
∑
∑
‰ œ œ œ œ œ œ ˙
∑
‰ œ œ œ œ œ œ ˙
∑
∑
∑
∑
‰ jœœ œœ ˙‰ jœœ œœ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ ‰ Jœcloud. For
∑wwww
wœ œ œ œ œ œ œ# œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
p
p
F
F
- - - - - - - -
Eliot's Oak
143
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
&
&
&
B
?
?
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # ## # # # ## # # # ## # #
# # #
# # # #
# # # #
# # # # ## # # # ## # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Vln. I-B
Vln. II-B
Vla.-B
Vc.-B
D.B.-B
Hp.
Pno.
63 ∑
∑
∑
∑
∑
∑
∑
∑
∑63 ‰ jœœ# . œœ. œœ. œœ. œœ. œœ. œœ.
‰ jœœn . œœ. œœ. œœ. œœ. œœ. œœ.∑
∑
∑
∑
∑63 ∑63 ∑
∑
∑63 ∑
∑63 ∑
∑63
.œ# œ œ œn œ ‰ Jœun der neath thy shade, in63 ∑˙ ˙#˙# ˙wn ˙
˙ ˙63
œ œ œ œ œ œ œ# œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
P
P
∑
∑
∑
Ó .œ Jœ
∑
∑
∑
∑
∑
ww
wwa∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ Œdays re mote,
∑ww
ww
wœ œ œ œ œ œ œ# œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
p
p
F
∑
∑
∑
˙ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# œ œ .œn œ œ .œ œ3
Seat ed like A bra ham atw
˙ ˙#
˙ ˙
˙# ˙
˙n ˙œ œ œ œ œ œ œ# œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
∑
∑
Ó .œ Jœ
Ó .œ Jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ .œ œ œ œev en tide Be neath thew
wN
ww
wœ œ œ œ œ œ œ# œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
∑
∑
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ ‰ œ œ3
3
oaks of Mam re, the unw
w
w
w
wœ œ œ œ œ œ œ# œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œ
..˙ œœ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ œ œ .œ œ œ œknown A pos tle of the In dians,w
w
w
˙ ˙
wœ œ œ œ œ œ œ# œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ Jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
pp
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œ
..˙ œœ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ ˙3
El i ot...w
www
wœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œ œ3
El i ot, wrote˙ ˙
˙ ˙w˙ ˙
˙ ˙œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œ
..˙˙ œœ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ Œ œ œ3
hisBib le in a
w
ww
w
w
∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
- - - - - - - - - - - - - - - - - --
Eliot's Oak
144
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
&
&
&
B
?
?
&
&
B
?
?
# # #
# # #
# # #
# # # #
# # # # ## # # # ## # # # ## # #
# # #
# # # #
# # # #
# # # # ## # # # ## # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
# # #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Vln. I-B
Vln. II-B
Vla.-B
Vc.-B
D.B.-B
Hp.
Pno.
72 ∑
∑
∑
∑
∑
∑
∑
∑
∑72 ∑
∑
˙ ˙
˙ ˙∑
∑
∑72 ∑72 ∑
∑
∑72 ∑
∑72 ∑
∑72 œ œ œ œ œ œ œ
lan guage that hath died72 ˙ œ œ
˙ ˙˙ ˙
œ œ ˙˙ œ œ
72 ∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
ww∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ‰ jœ ‰ œ œAnd is for
w
w
w
w
w
∑
∑œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ
˙˙ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ Œ ‰ œ œ3
got ten, save by
˙ Œ
˙ Œ
˙ Œ
˙ Œ
˙ Œ
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ ‰ jœthee a
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ ‰ Jœ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.lone.
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙œ œ œ œ œ œ œ œ
3
œ ˙œ œ œ
Óœ œ
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
.˙
.˙
.˙
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
.˙
.˙
.˙
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
π
π
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ3
‰ Jœ ‰ jœ ‰ Jœ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ jœ ‰3
‰ Jœ ‰ jœ Œ
œ œ œ œ jœ ‰
π
π
π
- - - -
Eliot's Oak
145
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
ã
&
?
&
?
V
&
&
B
?
?
# #
# #
# #
# # #
# # # #
# # # #
# # # #
# #
# #
# # #
# # #
# # # #
# # # #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Tenor
Violin I
Violin II
Viola
Violoncello
Double Bass
Harp
Piano
≈
≈
≈
≈
≈
≈
≈
≈
≈rœœrœœ
≈
≈
≈
≈
≈
≈
≈
≈
≈
≈
≈
≈
≈
≈
≈
≈
≈
≈
≈
≈
Majestically q»¶§
F
F
∑
∑
∑
∑
∑
∑
˙ ˙
∑
∑
˙ ˙
˙ ˙
∑
∑
∑
∑
∑
œ œ ˙ ˙
∑
∑
∑
∑
˙ggg ˙gggg˙ ˙
∑
∑
Œ œ .œ JœWhite swan of
∑
∑
∑
∑
∑
f
P
P
P
F
F
P
∑
∑
∑
∑
∑
∑
w
∑
∑
ww
ww∑
∑
∑
∑
∑
wæ∑
∑
∑
∑
œœ œ œœœ œœœ
w
∑
∑
œ œ Óci ties,
∑
∑
∑
∑
∑
π
∑
∑
∑
∑
∑
∑
w∑
∑
˙ ˙
wœ œ ˙
∑
∑
∑
∑
∑
˙ ˙
∑
∑
∑
∑
˙ggggg˙ggggg
˙ ˙
∑
∑
œ œ œ œ œ3
slum ber ing in thy
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w∑
∑
ww
ww
∑
∑
∑
∑
∑
wæ
∑
∑
∑
∑
wwwgggg
w
∑
∑
wnest
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w∑
∑
ww
ww
∑
∑
∑
∑
∑
wæ∑
∑
∑
∑
wwwggggw
∑
∑
Œ . Jœ œ œ œ3
So won der fully
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
∑
∑
œœ œ ˙a
˙n ˙#
∑
∑
∑
∑
∑
˙ œ œ
∑
∑
∑
∑
˙bgggg ˙#Ngggg˙ ˙
∑
∑
.œ Jœ œ œbuilt a mong the
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w∑
∑
ww
ww
∑
∑
∑
∑
∑
wæ
∑
∑
∑
∑
˙ggggg˙ggggg
w
∑
∑
˙ œ œ œ3
reeds Of the la
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ
∑
∑
˙ ˙
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ jœ ˙˙ ˙
˙ œ œ
∑
∑.œ ‰ Œ . Jœ
goon, that
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙∑
∑
w# ˙
˙ ˙˙ œ œN
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙# ˙n
˙ ˙
∑
∑
œ œ œ .œ Jœfen ces thee and
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ œ∑
∑
w .˙ œ
.˙ œ.˙# œ œn
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
...˙# œœœœn
˙ œ œ œ
∑
∑
wfeeds,
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
∑
∑
ww
˙ ˙w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
˙ ˙
∑
∑
Œ œ œ œ œ œAs say eth thy
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙
∑
∑
ww
˙ ˙œ œ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
œ œ ˙
∑
∑
.œ Jœ œ œold his to ri
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙∑
∑
ww
˙˙ ˙
˙∑
∑
∑
∑
∑
Ó œ œ
∑
∑
∑
∑
˙ ˙
˙ ˙
∑
∑
œ Œ œ œan and thy
∑
∑
∑
∑
∑
- - - - - - - - - - - -
146
VeniceMusic by
Eric C. E. Wilson
(b.1968)
Score
Sonnet by
Henry Wadsworth Longfellow
(1807-1883)
Tenor and Orchestra
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
ã
&
?
&
?
V
&
&
B
?
?
# #
# #
# #
# # #
# # # #
# # # #
# # # #
# #
# #
# # #
# # #
# # # #
# # # #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
14 ∑
∑
∑
∑
∑
∑
˙ Ó
∑
∑14 ˙ ˙
˙˙ ˙
˙∑
∑
∑
∑
∑14 ˙ Ó14 ∑
∑
∑
∑14
œœ œ œ œ œ œ
˙ ˙
14 ∑
∑14
wguest!
14 ∑
∑
∑
∑
∑
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
˙ ˙œ œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œœ œœ˙ œœœ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
˙˙ ˙
˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œ œ œ œ œ
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó . œ∑
∑
ww
w ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑....œœœœ jœœœœ ˙
˙ œœ œ∑
∑
∑
∑
∑
∑
∑
∑
P
∑
∑
∑
∑
∑
∑
˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ .œ jœœœ œœœ ˙
˙ ˙
∑
∑
Œ œ .œ JœWhite wat er
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ œœœ œœœ œœœ
˙ ˙∑
∑
œ œ œ Óli ly,
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœgggg œœœgggg ˙gggg
œ œ œ œ œ
∑
∑
œ œ œ .œ Jœcra dled and car
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œœœ œœœ
w
∑
∑
.œ Jœ œ œessed By oc ean
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑‰ jœ œ œ œœ œœwww
w
∑
∑
˙ Œ . Jœstreams, and
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙# ˙n
˙ ˙
∑
∑
œ œ .œ Jœfrom the silt and
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
...˙# œœœœn
˙ œ œ œ
∑
∑
œ Œ œ œ œ3
weeds Lift ing thy
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ œ œ œ
∑
∑
∑
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ jœ ˙˙ ˙
œ œ œ œ
∑
∑.œ Jœ œ œ œ
gold en fil a ments
∑
∑
∑
∑
∑
p1.
∑
∑
˙ ˙
∑
∑
∑
œ œ œ œ œ‰ Jœ œ œ œ# œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœ# œœœœn œœœ# œœœ
œ œ œ œ œ
∑
∑
.œ Jœ ˙and seeds,
∑
∑
∑
∑
Ó . œ œπ
1.
p
- - - - - - - - -
Venice
147
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
ã
&
?
&
?
V
&
&
B
?
?
# #
# #
# #
# # #
# # # #
# # # #
# # # #
# #
# #
# # #
# # #
# # # #
# # # #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
27 ∑
∑
∑
∑
∑
∑
˙Ó
w
∑27 ∑
∑
∑
∑
∑
∑
∑27 ∑27 ∑
∑
∑
∑27 Œ œ œ œ˙ ˙
˙ ˙27 ∑
∑27 Œ œ œ œ
Thy sun il
27 ∑
∑
œ œ œ œ œ œ œ œ
∑
˙ ˙
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ jœ ˙˙ ˙
œ œ œ œ
∑
∑
.œ Jœ ˙lu mined spires,
∑
∑
œ œ œ œ œ œ œ œ
Ó œ œœ œ œ œ
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙# ˙
˙b œ œ
∑
∑
Œ œb .œ JœThy sun il
∑
∑
œ# œ œ œ œ œ œ œ
˙ ˙˙b œ œ
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙N ˙
˙N ˙
∑
∑
.œ Jœ ˙lu mined spires,
∑
∑
œN œ ˙
˙ ˙˙N ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ œœ ˙Ó œ œ
œ œ œ œ
∑
∑
Œ œ œ œthy crown and
∑
∑
.˙ œ
œ œ œ œœ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œ œ œ œ œ
˙ ˙
∑
∑
wcrest!
‰ Jœ œ œ ˙
‰ Jœ œ œ ˙
˙ ˙
˙ ˙˙ ˙
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œœ œœ˙ œœœ œ
∑
∑
∑
‰ Jœ œ ˙
‰ Jœ œ ˙
˙ ˙
˙ œ œ˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œ œ œ œœb œœ
˙ ˙b
∑
∑
∑
‰ Jœ œ œ ˙#
‰ Jœ œ œ œ œ
.˙ œn
˙ ˙b˙ ˙b
∑
∑
∑
∑
∑
∑
∑
∑
Ó œ œ
∑
∑
∑
∑
∑
∑
∑
Ó Œ . jœ
∑
∑
Ó Œ . JœæÓ Œ . j
œ
‰ jœœœN œœœ œœœ œœœ œœœ
w
∑
∑
∑.˙ œ
w
w
ww
π
∑
∑
∑
∑
∑
∑
∑
∑
.œ Jœ ˙n
∑
∑
∑
∑
∑
∑
∑
˙ Ó
∑
∑
œ ‰ œ œ œ œæ œ œ œ œ
˙
Ó
˙n Ó
˙ Ó
∑
∑
Œ œ ‰ Jœn œ œWhite phan tom
˙n ˙
˙ ˙n
˙ ˙
.œ Jœ ˙n
.œ Jœ ˙n
P
‰ œn œb œ œ œn œ .œ Jœ
∑
∑
∑
∑
∑
∑
∑
œn œn œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œæ œæ œ
∑
∑
∑
∑
∑
œ œ ‰ jœ œ œ œ œci ty, whose un trod den
‰ Jœn œ œ œ œ œ#
‰ jœ œ œ œ œ œ
‰ Jœ œ œ œ œ œ
‰ Jœ œ œn œ œ œ
œn œn œ œ
F˙n Ó
∑
∑
∑
∑
∑
∑
∑
wb
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œæ œ œ œ œ œ œ
∑
∑
∑
∑
∑
.œ Jœb œ œ œstreets Are riv ers,
w
˙n œ œb
w
˙n ˙
wb
- - - - - - - - - - -
Venice
148
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
ã
&
?
&
?
V
&
&
B
?
?
# #
# #
# #
# # #
# # # #
# # # #
# # # #
# #
# #
# # #
# # #
# # # #
# # # #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
Ÿ ~~~~~~~~~~~
39 ∑
∑
∑
∑
∑
∑
∑
∑
w39 ∑
∑
∑
∑
∑
∑
∑39 ∑39 ∑
∑
œ œ œæ œ œ œæ∑
39 ∑
∑39 ∑
∑39 ‰ Jœn œ œ œn œ œ
and whose pave ments
39 ‰ Jœ œ œ ˙
‰ Jœn œ œ ˙
‰ Jœ œ œb ˙
‰ Jœ œ œ ˙
w
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œæ œ œæ œ œ œ œ œ œ
3 3
∑
∑
∑
∑
∑
.œ œ œn œ œ œn œN œ# œ œ œare shift ing Sha dows of
‰ Jœn œ œ ‰ Jœ# œ œ
‰ Jœ œ œ ‰ Jœn œ œ
‰ Jœ œ œ ‰ Jœ œ œ
‰ Jœ œ œ ‰ Jœ œ œ˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
œa œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œæ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
œ œ œ œ œ .œ œ3
pa la ces and strips of
Œ œ œ œ
Œ ˙ œ#
Œ œn œ œ
œa œ œ œ
œa œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œn œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙æ∑
∑
∑
∑
∑
wsky;
˙ œ œ œ œ œn
œ œ œ œ.˙ œ
w
˙ œ œn œ œ
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ Œ Ó
∑
∑
∑
∑
∑
‰ Jœ œ œ œ œ œI wait to see thee
œ œ œ œœ
œ œ œ œn
œ œ œ œ
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œn œ Ó œ œvan ish like the
˙ œ œb œn
˙n œb œn œb˙n ˙
œn œ œn œ œb œ œ œb
œn œ œn œ œb œ œ œb
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œn œ œb œb œn ‰ jœnfleets Seen in mir age, or
˙nn ˙N
˙b ˙Nœ œn ˙n
œb œ œn œ œ œ
œb œ œn œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ .œ# Jœtow wers of cloud up
˙ ˙#
˙# ˙
˙ œ œ œ
œ œ ˙b
œ œ ˙b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ œ# œ œ ˙
lift ing In the air
˙ œ œ
˙ ˙
œ œ ˙
œ œN œa œ œ œ
œ œN œa œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ# œ œ œn œ ˙
w
w
w
w
- - - - - - - - - -
Venice
149
&
&
&
&
&
&
&
?
?
&
&
&
&
?
?
?
?
ã
ã
ã
ã
&
?
&
?
V
&
&
B
?
?
# #
# #
# #
# # #
# # # #
# # # #
# # # #
# #
# #
# # #
# # #
# # # #
# # # #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
# #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
49 ∑
∑
∑
∑
∑
∑
∑
∑
∑49 ∑
∑
∑
∑
∑
∑
∑49 ∑49 ∑
∑
∑
∑49 ∑
∑49 ∑
∑49 ‰ jœ .œ œ œ œ œ
their un sub stan tial
49
wæ
wæ
wæwæ
∑
π
π
π
π
∑
∑
∑
∑
∑
∑
∑
∑
Ó . œwœ œ ˙
œ œ ˙œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ Jœ ˙ma son ry.
wæ
œæ .æ
œæ œæ æœ
æœ
æœ
æ œæ
Ó . œ
π
π
p
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙˙ ˙œ œ œ ˙
.˙ œœ œ œ .œ Jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ .œ JœWhite swan of
æ æ
.æ œæœæ œæ œæ æœæ œæ œæ .œ Jœæ
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
w
ww
ww
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ .˙ci ties,
wææ æ
wæ
wæwæ
w
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
˙ ˙œ œ œ ˙
.˙ œœ œ œ .œ Jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ .œ JœWhite wa ter
æ æ
.æ œæœæ œæ œæ æœæ œæ œæ .œ Jœæ˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑œ œ .œ Jœ
ww
w ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ .˙li ly,
wææ æ
wæ
wæ
æ æœ œ .œ Jœ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ# œ œ˙ ˙w
œ œ ˙˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ .œ JœWhite phan tom
˙ ˙
œ œ ˙
w
˙ œ œ
œ œ# œ œ
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙˙ ˙w
.˙ œœ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ .˙ci ty,
˙ ˙
.˙ œ
w
œ œ ˙
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
www
ww∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œI wait to
w
w
w
w
w
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ. Œ
˙ œœ. Œ
˙ œœ.Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ œsee thee.
˙ œ. Œ
˙ œ. Œ
˙ œ. Œ
˙ œ. Œ
˙ œ. Œ
∑
∑
∑
∑
˙ ˙
ww
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ
˙ ˙
∑
∑
w
∑
∑
∑
∑
∑
p
p
p
∑
∑
∑
∑
˙ ˙
˙ ˙
˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ
˙ ˙
∑
∑
˙ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ . .œ
˙ . .. .œœ
˙ . .œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ . .œ
˙ . .. .œœ∑
∑
∑
∑
∑
∑
∑
∑
- - - - - - - - - -
Venice
150
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Baritone
Violin I
Violin II
Viola
Violoncello
Double Bass
Harp
Piano
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œæœæ œæ œ œ œ œ œ œ
æ jœ.
‰ Œœ œ ˙
œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
f
f
f
fTriangle (small)
PCymbals
Bass Drum
Snare Drum
q»¶™ ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑Ó Œ. jœ>∑
∑
∑
œ œ œ œ œ œ
œæ œæ œæ œ œ œ œ
æ jœ.
‰ Œœ œ ˙
œ œ œ œ
‰ jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ. œ. œ. œ. œ. œ. œ. œ œ‰ jœ> œ> ˙Ó ‰ Jœ>
œ>w>
Ó ‰ Jœ>œ>
Œ. Jœ> >Ó ‰ jœ> œ>œ œ œ œ œæœæ œæ œ œ œ œ œ œ
œ œ œæ
œ
˙ Ó
œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
f
f
f
f
F
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ œ..
œ. œ. œ
.œ œ. œ
. œ. œ.
œ.
œ.
œ.
œ.
œ œ.
œ. œ
.œ.
œœ œ. œ
.œ.
œ. œ œ. œ
.œ. œ.œ
.œ.
œ. œ
.œ œ
.œ.
œ.
œ. œ
œ. œ. œ. œ. œ. œ. œ
œ. œ. œ. œ. œ. œ. œ. œ.œ œ ˙
œæ œæ œæ œ œ œ œ
œ œ œæ
œ œ
∑
œ œ œ œ
‰ jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ. œ. œ. œ. œ Œ
œœ œœ. œœ. œœ. œœ. œœ Œœœ œœ. œœ. œœ. œœ. œœ Œ
œ œ. œ. œ. œ. œ Œ
œ œ. œ. œ. œ. œ Œ
œ œ œ œ œ œæ Œ
œ œ œ œ œ œ œ œ œ œ œ œ
3
œ œ œ œ œ œæ j
œ.‰
œ œ ˙
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ. œ. œ œ Jœ ‰ œ. œ. œ. œ.
œœ œœ. œœ. œœ. œœ. œœ Œœœ œœ
.œœ.
œœ.
œœ.
œœ ‰ jœŒœ œ. œ. œ. œ. œ Œ
œ œ. œ. œ. œ. œ Œ
œ œ œ œ œ œ. œæœ œ œ œ œ œ œ œ œ œ œ œ
3
œ œ œ œ œ œæ j
œ.‰
œ œ .œ Jœ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ. œ. œ. œ. œ. œ. œ œ‰ jœ œ œ. œ. œ. œ
.œ.
œ. œ. œ‰ Jœ œ ‰ Jœ œ
wÓ ‰ Jœ œ
Œ. Jœ ˙
Ó ‰ jœ> œ>œ œ œ œ œæœæ œæ œ œ œ œ œ œ
œ œ œæ
œ
˙ Ó
œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ.
œ. œ
. œ. œ.
œ. œ. œ
.œ. œ
.œ.
œ. œ. œ. œ. œ
.œ œ œ œ
.œ. œ œ œ œ. œ.œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ
œ. œ. œ. œ. œ. œ. œ
œ. œ. œ. œ. œ. œ. œ. œ.œ œ œ œœæ œæ œæ œ œ œ œ
œ œ œæ
œ œ
∑
œ œ œ œ
‰ jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
151
The PoetsMusic by
Eric C. E. Wilson
(b.1968)
Score
Baritone and OrchestraSonnet by
Henry Wadsworth Longfellow
(1807-1883)
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
9 ∑
∑
∑
∑
∑
∑
∑
∑
∑9 ∑
∑
œ œ. œ. œ. œ œ Jœ ‰ œ œ3
œœ œœ. œœ. œœ. œœ œœ jœœ ‰ œœ œœ3
œœ œœ œœ Jœœ ‰ œœ œœ
œ œ œ Jœ ‰ œ œ
œ œ œ jœ ‰ œ œ9 œ œ œ œ œæ9
œ œ œ œ œ œ œ œ œ œ œ œ
3
œ œ œ œ œ œæ j
œ.‰
œ œ ˙
9
œ œ œ œ œ œ
9 ∑
∑9 ∑
∑9 ∑9 ∑
∑
∑
∑9 ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ. œ. œ. œ œ Jœ ‰ œ œ
3
œœ œœ. œœ
. œœ. œœ œœ
jœœ ‰ œ œ3
œ œ œœœ œœ œœ Jœœ ‰ œœ œœ
œ œ œ œ ‰ jœ
œ œ œ œ ‰ jœœ œ œ œæ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
3
œ œ œ œ œ œæ
œ œ
œ œ ˙
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
..˙ ‰ . Rœœ
..˙ ‰ . rœœ˙ Ó
˙ Ó˙ Ó
˙ Ó
˙Ó
˙ Ó
˙ Ó
˙
Ó˙ Ó
˙
Ó
∑
∑
∑
∑
Ó Œ. JœO
∑
∑
∑
∑
∑
P
P
ƒ
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ ‰ . rœœ œœ ‰ . R
œœ
œœ ‰ . rœœ œœ ‰ . rœœ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ Œ. JœYe! O
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ ‰ . rœœ œœ ‰ . R
œœ
œœ ‰ . rœœ œœ ‰ . rœœ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ Œ. JœYe! O
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ œœ œœ
œœ œœ œœ3 3
œœ œœ œœ œ
œ œœ œœ3 3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ ŒYe dead po ets,
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œœ Œ˙ œœ Œ
∑
∑
Ó Œ. jœ>∑∑
∑
Ó Œ. Jœ
Ó Œ. Jœ
∑
∑
∑
∑
∑
∑
∑
‰ œ œ œ œ ˙who are liv ing still
∑
∑
∑
∑
∑
f
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
‰ œ. œ. œ.
œ. œ. œ. œ
.œ.
œ. œ. œ
.Ó ‰ Jœ œw‰ Jœ œ œ
.œ.
œ.
œ.
œ
‰ jœ œ œ œ œ‰ jœ œ œ œ œœ œ œ œ œæœ œ œæ œ œ œ œ œ œ
œ œ œæ
œ œ
œ œ ˙
œ œ .œ
jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
f
f
f
f
f
P
P
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ. œ. œ. œ. œ Œœœ œœ. œœ. œœ. œœ. œœ Œœœ œœ. œœ. œœ œœ œœ Œ
jœ ‰ œ œ œ Œ
jœ ‰ œ œ œ Œ
œ œ œ œæ Jœ. ‰
œ œ œ œ œ œ œæ Jœ. ‰
3
Ͼ
œ œ œ œ œ
.˙ œ
œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
..˙ ‰ . Rœœb
˙ œb ‰ . rœœ.˙œ œ. œ. œ. œ. œ Œœœ œœ. œœ. œœ. œœ. œœb Œœœ œœ. œœ. œœ œœ œœ Œ
jœ ‰ œ œ œ Œ
jœ‰
œ œ œŒ
œ œ œ œ œ œæ jœ. ‰
œ œ œ œ œ œ œæ Jœ. ‰
3
Ͼ
œ œ œ
Œ˙ ˙
œ œ œ œ
Œ
∑
∑
∑
∑
Ó Œ. JœO
∑
∑
∑
∑
∑
ƒ
P
P
- -
The Poets
152
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
19 ∑
∑
∑
∑
∑
∑
∑
∑
∑19 œœb ‰ . rœœ œœ ‰ . R
œœ
œœ ‰ . rœœb œœ ‰ . rœœ∑
∑
∑
∑
∑19 ∑19 ∑
∑
∑19 ∑19 ∑
∑19 ∑
∑19 ˙ Œ. Jœ
Ye! O19 ∑
∑
∑
∑19 ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœb ‰ . rœœ œœ ‰ . R
œœ
œœ ‰ . rœœb œœ ‰ . rœœ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙b Œ. JœYe! O
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœb œœb œœ
œœ œœ œœ3 3
œœ œœ œœb œ
œ œœ œœ3 3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ ŒYe dead po ets,
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙N œœN Œ˙ œœ Œ
∑
∑
Ó Œ. Jœ
∑
∑
Ó Œ. Jœ
Ó Œ. Jœ
∑
∑
∑
∑
∑
∑
∑
‰ œ œN œ œ ˙who are liv ing stil
∑
∑
∑
∑
∑
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
‰ œ. œ. œ.
œ. œ. œ. œ
.œ.
œ. œ. œ
.Ó ‰ Jœ œw‰ Jœ œ œ
.œ.
œ.
œ.
œ
‰ jœ œ œ œ œ‰ jœ œ œ œ œœ œ œ œ œæœ œ œæ œ œ œ œ œ œ
œ œ œæ
œ œ
œ œ ˙
œ œ .œ
jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
f
f
f
f
f
P
P
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ. œ. œ. œ. œ Œœœ œœ. œœ. œœ. œœ. œœ Œœœ œœ. œœ. œœ œœ œœ Œ
jœ ‰ œ œ œ Œ
jœ ‰ œ œ œ Œ
œ œ œ œæ Jœ. ‰
œ œ œ œ œ œ œæ Jœ. ‰
3
Ͼ
œ œ œ œ œ
.˙ œ
œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ. œ. œ. œ. œ Œœœ œœ. œœ. œœ. œœ. œœ Œœœ œœ. œœ. œœ œœ œœ Œ
Jœ ‰ œ œ œ Œ
jœ ‰œ œ œ Œ
œ œ œ œ œ œæ jœ. ‰
œ œ œ œ œ œ œæ Jœ. ‰
3
Ͼ
œ œ œ
Œ˙ ˙
œ œ œ œ
Œ
∑
∑
∑
∑
Ó Œ. JœIm
∑
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ ‰ Jœ
mor tal in your verse, though
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œœ. œœ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ. œ.
p
p
p
1.
1.
1.
p
p
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ œ. œ. œ. œb . œ.
œ. œ. œ. œ. œ. œ. œ. œN .
∑
∑
∑
∑
œ. œ. œ. œ. œ. œb . œ. œ. œ.
œ. œ. œ. œ. œ. œb . œ. œ. œ.∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œb ‰ Jœnlife be fled, though
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ œ. œ. œ. œœb . œœ.œ. œ. œ. œ. œ. œ. œ. œN .
œ. œ. œ. œ. œ. œb . œ. œ. œ.
œ. œ. œ. œ. œ. œb . œ. œ. œ.
- - - -
The Poets
153
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
28
œ. œ. œ. œn . œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
œ. œ. œ. œ. œN . œ. œ. œ.
œ. œ. œ. œ. œN . œ. œ. œ.28 ∑
∑
∑
∑
∑
∑
∑28 ∑28 ∑
∑
∑28 ∑28 ∑
∑28 ∑
∑28 œ œ œ œ œ œn œ ‰ jœ
life be fled, And28
œ. œ. œ. œn . œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œN . œ. œ. œ.28
œ. œ. œ. œ. œN . œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ ≈ œ œ œ œ œ ‰ œ œye, O liv ing Poets, who areœ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
∑
œ œ œ œb œ œ œ œ œ œ œ œ œ œb œ œ∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ Œ Ódead
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œœ.œœ.
œœ.œœ.
œœ.œœ.
œœ.œœ.
œœ.œœ.
f
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
∑
œ œ œ œb œ œ œ œ œ œn œ œ œ œ œ œ
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ œ œ œThough ye are liv ing,œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œ œ œ œ œ Œif ne glect can kill,œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰
∑
œ œ œ œ œ œ œ œ œ jœ ‰
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ jœ ‰
œ. œ. œ. œ. œ. œ. œ. œ. œ jœ ‰
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ ≈ œ œ œ œ .œ œTell me if in the dark est
œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰
œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰
œ. œ. œ. œ. œ. œ. œ. œ. œ jœ ‰
œ. œ. œ. œ. œ. œ. œ. œ. œ jœ ‰
œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰
∑
œ œ œ œ œ œ œ œ œ jœ ‰
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ jœ ‰
œ. œ. œ. œ. œ. œ. œ. œ. œ jœ ‰
Ó ..œœ>œœ>
œœ>Ó .œ> œ> œ>Ó .œ> œ> œ>Ó ..œœ> œœ> œœ>Ó ..œœ> œœ> œœ>
Ó .œ> œ> œ>Ó
.œ> œ> œ>∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ œ Óhours of ill
œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰
œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰
œ. œ. œ. œ. œ. œ. œ. œ. œ jœ ‰
œ. œ. œ. œ. œ. œ. œ. œ. œ jœ ‰
2.
f
f
f
f
f
f
f
- - - - -
The Poets
154
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
◊
35 œb . œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰
∑
œ œ œb œ œ œ œ œ œ jœ ‰
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ jœ ‰
œ. œ. œ. œ. œ. œ. œ. œ. œ jœ ‰35 ∑
∑
∑
∑
∑
∑
∑35 ∑35 ∑
∑
∑35 ∑35 ∑
∑35 ∑
∑35 ‰ Jœb œ ≈ œ œ œb œ .œb œ
Tell me if in the dark est35 œb . œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰
œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰
œ. œ. œ. œ. œ. œ. œ. œ. œ jœ ‰35
œ. œ. œ. œ. œ. œ. œ. œ. œ jœ ‰
œb . œ. œ. œ. œ. œ. œ. œ. œb Jœ ‰œb . œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰
∑
œb œ œ œ œb œ œ œ œ jœ ‰
∑
∑
œb . œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰
œb . œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰
Ó ..œœb >œœ>
œœ>Ó ..œœb
>œœ>
œœ>Ó .œb > œb > œ>
Ó ..œœb > œœb > œœ>
Ó ..œœbb> œœb > œœ>
Ó .œb > œ> œ>Ó .œb > œ> œ>
∑
∑
∑
∑
∑
∑
∑
∑
∑.œb œb œ Ó
hours of ill
œb . œ. œ. œ. œ. œ. œ. œ. œb Jœ ‰
œb . œ. œ. œ. œ. œ. œ. œ. œ jœ ‰œ. œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰
œb . œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰
œb . œ. œ. œ. œ. œ. œ. œ. œ Jœ ‰
both
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœb .œ œ œb œ ŒWith drops of an guish...
œ œb œ œb œb œ œ œ œb œ œ œ œ œ œ œb
∑
∑œœb œœ œœ œœ œœ œœœb œ œ œ œ œ
pizz.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ∫ .œ œ œb œ ŒWith drops of an guish...
œ∫ œb œ œb œb œ œ œ œb œ œ œ œ œ œ œ
∑
∑œœ∫b œœ œœ œœ œœ œœœb œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œ œb .œb œ œn œn œ œ œWith drops of an guish fall ing
œb œA œN œn œ œ œ œ œ œ œ œ œ œ œ œ
œ œb œ œ œ œ œ œœ œ œ œ œ œœœAb œœ œœ œœ œœ œœ
œb œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ ‰ œn œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œn œn œ Œ ‰ œ œ3
fast and red From the
œb œA œN œn œ œ œ œ œ œ œ œ œ œ œ œ
œ œb œ œ œ œ œ œœ œ œ œ œ œœœb œœ œœ œœ œœ œœ
œb œ œ œ œ œ
1.
F
- - - - -
The Poets
155
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
41 ∑
∑
∑
∑
∑
∑
∑
∑
∑41 ∑
∑
∑
∑œn œ œ œ .œb œ œ œ
∑
∑41 ∑41 ∑
∑
∑41 ∑41 ∑
∑41 ∑
∑41 œn œ œ œ .œb œ œ œ
sharp crown of thorns up on your41 ∑
œn œ œ œ .œb œ œ œœ œ œ œ œ œ œ
œœb œœb œœ œœ œ œ œn
41
œb œ œ œ œ œ œ
arco
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ ‰ Jœ œ œ
head, Ye were not
œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œn . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ .œ œ
glad your er rand
œ œ œ .œ œ
œ œ œ .œ œœn œ jœn .œœ œ
Jœ .œ
œ œ jœ .œn
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑Ó ‰ jœ∑
∑
∑
Ó ‰ Jœ
Ó ‰ Jœ
Ó ‰ jœ
∑
∑
∑
∑
∑
∑
œn œ ˙to ful fil?
œn œ ˙
œ œ ˙œ œ ˙
œ œn ˙
œ œœ ˙
F
F
F
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ. œ. œ. œ. œ. œ. œ. œ œ‰ jœ> œ> ˙Ó ‰ Jœ>
œ>w>
Ó ‰ Jœ>œ>
Œ. Jœ> >Ó ‰ jœ> œ>œ œ œ œ œæœæ œæ œ œ œ œ œ œ
œ œ œæ
œ
œ œ ˙
œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
f
f
f
f
F
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ œ..
œ. œ. œ
.œ œ. œ
. œ. œ.
œ.
œ.
œ.
œ.
œ œ.
œ. œ
.œ.
œœ œ. œ
.œ.
œ. œ œ. œ
.œ. œ.œ
.œ.
œ. œ
.œ œ
.œ.
œ.
œ. œ
œ. œ. œ. œ. œ. œ. œ
œ. œ. œ. œ. œ. œ. œ. œ.œ œ ˙
œæ œæ œæ œ œ œ œ
œ œ œæ
œ œ
œ œ ˙
œ œ œ œ
‰ jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ. œ. œ. œ. œ Œ
œœ œœ. œœ. œœ. œœ. œœ Œœœ œœ. œœ. œœ. œœ. œœ Œ
œ œ. œ. œ. œ. œ Œ
œ œ. œ. œ. œ. œ Œ
œ œ œ œ œ œæ Œ
œ œ œ œ œ œ œ œ œ œ œ œ
3
œ œ œ œ œ œæ j
œ.‰
˙ Ó
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ. œ. œ œ Jœ ‰ œ. œ. œ. œ.
œœ œœ. œœ. œœ. œœ. œœ Œœœ œœ
.œœ.
œœ.
œœ.
œœ ‰ jœŒœ œ. œ. œ. œ. œ Œ
œ œ. œ. œ. œ. œ Œ
œ œ œ œ œ œ. œæœ œ œ œ œ œ œ œ œ œ œ œ
3
œ œ œ œ œ œæ j
œ.‰
∑
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
- - -
The Poets
156
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
49 ∑
∑
∑
∑
∑
∑
∑
∑
∑49 ∑
∑
œ œ œ œ. œ. œ. œ. œ. œ. œ œ‰ jœ œ œ. œ. œ. œ
.œ.
œ. œ. œ‰ Jœ œ ‰ Jœ œ
wÓ ‰ Jœ œ
Œ. Jœ ˙
Ó ‰ jœ> œ>49
œ œ œ œ œæ49
œæ œæ œ œ œ œ œ œ
œ œ œæ
œ
œ œ ˙
49
œ œ œ œ œ
49 ∑
∑49 ∑
∑49 ∑49 ∑
∑
∑
∑49 ∑
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ.
œ. œ. œ. œ
.œ. œ. œ
.œ. œ
.œ.
œ. œ. œ
. œ. œ.
œ œ œ œ.
œ. œ œ œ œ
.œ.œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ
œ. œ. œ. œ. œ. œ. œ
œ. œ. œ. œ. œ. œ. œ. œ.œ œ œ œœæ œæ œæ œ œ œ œ
œ œ œæ
œ œ
œ œ .œ Jœ
œ œ œ œ
‰ jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ. œ. œ. œ œ Jœ ‰ œ œ3
œœ œœ. œœ. œœ. œœ œœ jœœ ‰ œœ œœ3
œœ œœ œœ Jœœ ‰ œœ œœ
œ œ œ Jœ ‰ œ œ
œ œ œ jœ ‰ œ œœ œ œ œ œæœ œ œ œ œ œ œ œ œ œ œ œ
3
œ œ œ œ œ œæ j
œ.‰
œ œ ˙
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ. œ. œ. œ œ Jœ ‰ œ œ
3
œœ œœ. œœ
. œœ. œœ œœ
jœœ ‰ œ œ3
œ œ œœœ œœ œœ Jœœ ‰ œœ œœ
œ œ œ œ ‰ jœ
œ œ œ œ ‰ jœœ œ œ œæ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
3
œ œ œ œ œ œæ
œ œ
œ œ ˙
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ƒ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Ó
˙ Ó˙ Ó
˙ Ó
˙Ó
˙ Ó
˙ Ó
˙
Ó˙ Ó
˙
Ó
∑
∑
∑
∑˙( ) ‰ œ œ œ œ
Yes; for the gift andw
w
w
www
F
F
F
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑Ó œ œ œ œ œ
3
∑∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ œ œ ‰ œ œ .œ œ
3
min i stry... min i stry ofw
w
w
˙ ˙ww
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ .˙œ .˙œœ ..˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ ‰ œ œ œ œ œ
3
Song Have some thing in themœ .˙
œ .˙œ .˙
œœ œœ ˙
œ .˙
P
P
pp
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œ œ œ .œ Jœ3
so di vine lyw
ww
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ Œ œ œ œ3
sweet, It can as˙ ˙
˙ ˙
˙ ˙
w
˙ ˙
- - - - - - - -
The Poets
157
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
58 ∑
∑
∑
∑
∑
∑
∑
∑
∑58 ∑
∑
∑
∑
∑
∑
∑58 ∑58 ∑
∑
∑58 ∑58 ∑
∑58 ∑
∑58 .œ Jœ ‰ œ œ œ
3
suage the bit ter ness58 wæ
æ æwæ
æ æ58 wæ
subito p
subito p
subito p
subito p
subito p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ Œ ‰ jœ œof wrong;.æ œæ
wææ æ
æ æ
æ æ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœ œ œ œ œ ‰ œ œ3
3
Not in the shouts and the
wæwæwbæwæwbæ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ .œ œ ˙
plaud its of the throng,
æ æ
æ ˙næ˙bæ ˙næ˙bæ æ
æ ˙bæ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ ‰ JœBut in our selves, are
wn æ
æ æwæwæwæ
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ. jœœÓ Œ. jœœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ( œœ œœ œœ) Œ .œ œtri umph and de
æ ˙Aæ
wæwæwæ
æ æ
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ ‰ . rœœ œœ ‰ . rœœ
œœ ‰ . rœœ œœ ‰ . rœœ∑
∑
w
w
w∑
∑
∑
∑
∑
∑
∑
∑
∑.˙ Œ
feat.
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
P
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ .œ œ œ ‰ . rœ3
œ .œ œ œ ‰ . Rœ
œœ ..œœ œœ œœ ‰ . rœœ∑
∑
œ œ œ Œ
œ œ œ Œ
œ œ œ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ. JœO
∑
∑
∑
∑
∑
ƒ
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ ‰ . rœœ œœ ‰ . R
œœ
œœ ‰ . rœœ œœ ‰ . rœœ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ Œ. JœYe! Owæœæ œæ œæ œæ
Ó .œ
æ
∑ B
∑
π
π
p
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ ‰ . rœœ œœ ‰ . R
œœ
œœ ‰ . rœœ œœ ‰ . rœœ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ Œ. JœYe! Owæwæœæ .æœ
æœ
æ œæ œæ
∑p
- - - - - -
The Poets
158
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
B
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
68 ∑
∑
∑
∑
∑
∑
∑
∑
∑68 œœ œœ œœ
œœ œœ œœ3 3
œœ œœ œœ œ
œ œœ œœ3 3
∑
∑
∑
∑
∑68 ∑68 ∑
∑
∑68 ∑68 ∑
∑68 ∑
∑68
œ œ œ œ œ œ ŒYe dead po ets,
68 wæwæwæwæ
68 ∑
F
F
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œœ Œ˙ œœ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œ œ œ œ ˙who are liv ing still.˙ œ
ww
w ?
˙ œ œnF
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ ŒIm mor talw
www
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ . Rœ œ .œ œ œ œ œ#Im mor tal in yourœ œ ˙#
˙ ˙w˙ ˙
˙ ˙b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ ‰ Jœœ
verse, though life...w
ww
w
œ œ œ œ
- - - - - -
The Poets
159
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
73 ∑
∑
∑
∑
∑
∑
∑
∑
∑73 ∑
∑
∑
∑
∑
∑
∑73 ∑73 ∑
∑
∑73 ∑73 ∑
∑73 ∑
∑73 œ ‰ Jœ œ œ œ
though life...73 w
˙ ˙ww
73 œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ Ó
.˙ œ
˙ œ# œ˙# œ œn
˙ ˙
˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ .œ Jœthough life be˙ ˙
wœ œ ˙
.œn Jœœ ..œœ Jœb
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑Ó Œ. jœ>∑
∑
∑
Ó Œ. Jœ
Ó Œ. Jœ
∑
∑
∑
∑
∑
∑
∑
‰ Jœ .˙fled...w
www
w
f
f
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ. œ. œ. œ. œ. œ. œ. œ œ‰ jœ> œ> ˙Ó ‰ Jœ>
œ>w>
Ó ‰ Jœ>œ>
Œ. Jœ> >Ó ‰ jœ> œ>œ œ œæ œ œ .œ œ
œ œ œæ œ œ œ œ œ œ
œ œ œæ
œ œ
œ œ ˙
œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
f
f
f
f
ff
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ
œ œ..
œ. œ. œ
.œ œ œ œ œ œœ
.œ.
œ.
œ.
œ œ.
œ.
œ.
œ.
œ œ œ
œ œ. œ.
œ.
œ. œ œ œœ
.œ.
œ. œ
.œ œ
.œ.
œ.
œ.
œ œ
œ. œ. œ. œ. œ. œ. œ œ
œ. œ. œ. œ. œ. œ. œ œœ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œæ
œ œ œ œ œ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
rit.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑w
wwww
w
wwæ
wæ
wæ
w
wæ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑jœ. ‰ Œ Ó
Jœ. ‰ Œ Ó
jœ.
‰ Œ Ó
∑
jœ. ‰ Œ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
The Poets
160
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
V
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Tenor
Violin I
Violin II
Viola
Violoncello
Double Bass
Harp
Piano
Œ
œ œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
Œ
œ œŒ
œ
Œ
Œ
F
F
F
Solo "fiddle"
Solo
q»¡™º ∑rœ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
...˙gg
.˙
∑
∑
∑
rœ œ œ œ œ œ∑
rœ .˙
∑
∑
p
F
p
Floor Tom
Bass Drum
∑˙ rœ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
...˙ggg
.˙
∑
∑
∑
˙ rœ œ
∑
rœ .˙
∑
∑
∑rœ ˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
....˙˙˙ggg
˙ œ
∑
∑
∑
rœ ˙ œ∑
rœ .˙
∑
∑
∑rœ ˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ
.˙
....˙˙˙#ggg.˙#
∑
∑
∑
rœ ˙ œ œ∑
.˙#
∑
∑
∑
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
˙ggg œœœggg.˙
∑
∑
∑
.˙∑
rœ .˙
∑
∑
∑
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
...˙ggg
.˙
∑
∑
Ó œ œI
.˙∑
.˙
∑
∑
P
P
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœ œ œ œ œ œ
.˙
∑
∑
œ œ œ œ œstand be neath the
∑
∑
∑
∑
∑
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑œ œ œ œ œ œ
.˙
∑
∑
œ Œ œtree, whose
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœœ œ œ œ œ œ
.˙∑
∑
˙ œbranch es
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ
∑
œœœ# œ œ œ# œœ œ
˙ œ∑
∑
˙ œ œshade Thy
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœ œ œ œ œœ œ
.˙
∑
∑
˙ œwest ern
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœN œ œ œ œ œ
.˙
∑
∑
œ ˙win dow,
∑
∑
∑
∑
∑
- - - -
161
St. John's, CambridgeMusic by
Eric C. E. Wilson
(b.1968)
Score
Tenor and OrchestraSonnet by
Henry Wadsworth Longfellow
(1807-1883)
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
V
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
13 ∑
∑
∑
∑
∑
∑
∑
∑
∑13 ∑
∑
∑
∑
∑
∑
∑13 ∑13 ∑
œ> œ œ œ œ
∑13
œœ œ œ œ œ œ
.˙13 ∑
∑13
œ œ œ œChap el of St.
13 ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œ œ œ œ œœ# œ
œ œ œ
∑
∑
œ ‰ jœ œ œJohn! And hear its
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ
∑
œœ œ œ œ œ œ
˙ œ
∑
∑
œ œ œ œ œleaves re
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑œ œ œ œ œ œ
˙ œ∑
∑
˙ œpeat their
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœ œ œ œ œ œ
.˙∑
∑
˙ œben i
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœœ# œ œ œ# œœ œ
˙ œ∑
∑
˙ œ œson On
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœ œ œ œ œœ œ
.˙
∑
∑
œ Œ œhim, whose
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ
∑
œœN œ œ œ œ œ
.˙
∑
∑
˙ œhand thy
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœ œ œ œ œ œ
.˙
∑
∑
˙ œstones me
∑
∑
∑
∑
∑
Ó œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ
∑
œ œ œ œ œœ# œ
œ œ œ
∑
∑
œ œœ( ) œœ#( ) œœ( )mo ri al
Ó œ œ
∑
∑
∑
Ó œ
f
pizz.
F
F
1st two desks
rœ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
œœ œ œ œ œ œ
.˙
∑
∑
˙( ) Œlaid;
rœ œ œ œ œ œ
.˙
∑
∑
.˙
Solo
F
˙ rœ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
œ œ œ œ œ œ
.˙
∑
∑
∑˙ rœ œ
rœ ˙ œ
∑
∑
.˙
rœ ˙ rœ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
œœœ œ œ œ œ œ
.˙∑
∑
∑rœ ˙ rœ œ
˙ œ
∑
∑
.˙
- - - - - - -
St. John's, Cambridge
162
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
V
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
26 ˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑26 Œ œ œ
∑
∑
∑
∑
∑
∑26 ∑26 ∑
œ> œ œ
.˙
26
œœœ# œ œ œ# œœ œ
˙ œ26 ∑
∑26 ∑26 ˙ œ œ
.˙#
∑
∑
˙ œ
FSolo
rœ ˙ œ
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
œœ œ œ œ œœ œ
.˙
∑
∑
∑rœ ˙ œ
˙ œ
∑
∑
.˙
rœ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
œœN œ œ œ œ œ
.˙
∑
∑
∑rœ œ ˙
.˙
∑
∑.˙
œ œ œ rœ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
œœ œ œ œ œ œ
.˙
∑
∑
∑
œ œ œ rœ œ
˙ œ
∑
∑
.˙
œ ‰ Jœ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ
.˙
œ œ œ œ œœ# œ
œ œ œ
∑
∑
∑œ ‰ Jœ œ œ
œ Œ rœ œ#
∑
∑
œ œ œ
rœ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
œœ œ œ œ œ œ
˙ œ
∑
∑
∑rœ œ œ œ œ œ
.˙
∑
∑
˙ œ
rœ ˙ œ
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
œ œ œ œ œ œ
˙ œ∑
∑
∑rœ ˙ œ
rœ ˙ rœ œ
∑
∑
˙ œ
P
rœ ˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
œœ œ œ œ œ œ
.˙∑
∑
∑rœ ˙ œ
.˙
∑
∑
.˙
rœ ˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ
.˙
œœœ# œ œ œ# œœ œ
˙ œ∑
∑
∑rœ ˙ œ œ
˙# œ
∑
∑
˙ œ
rœ ˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
œœ œ œ œ œœ œ
.˙
∑
∑
∑rœ ˙ œ
.˙
∑
∑
.˙
rœ ˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
œœN œ œ œ œ œ
.˙
∑
∑
∑rœ ˙ œ
rœ .˙
∑
∑.˙
rœ ˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
œœ œ œ œ œ œ
.˙
∑
∑
∑rœ ˙ œ
.˙
∑
∑
.˙
~~~~~
St. John's, Cambridge
163
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
V
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
38 rœ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑38 ∑
∑
∑
∑
∑
∑
∑38 ∑38 ∑
œ> œ œ
.˙
38
œ œ œ œ œœ# œ
œ œ œ38 ∑
∑38 Œ ‰ jœ œ œ
Then I re38 rœ œ ˙
˙ œ#
∑
∑
œ œ œ
f
.˙
∑
∑
∑
∑
∑
∑
∑
∑
..˙
..˙
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
.˙
œœ œ œ œ œ œ
.˙
∑
∑
œ œ œ œ œmem ber the
.˙
rœ .˙∑
∑
.˙
P
P
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
..˙
..˙
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑œ œ œ œ œ œ
.˙
∑
∑
˙ œone of
∑
∑
∑
∑
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ.˙
..˙
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœœ œ œ œ œ œ
.˙∑
∑
˙ œwhom was
∑
∑
∑
∑
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑˙# œ
œ#˙ œœ
∑
∑
∑
∑
∑
∑
∑
œ> œ œ
∑
œœœ# œ œ œ# œœ œ
˙ œ∑
∑
˙ œ œsaid In the
∑
∑
∑
∑
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ œ œ
..˙
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœ œ œ œ œœ œ
.˙
∑
∑
œ œ œ œ œworld's dark est
∑
∑
∑
∑
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑..˙N
..˙
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœN œ œ œ œ œ
.˙
∑
∑
œ Œ œhour, 'Be
∑
∑
∑
∑.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑..˙
..˙˙
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœ œ œ œ œ œ
.˙
∑
∑
˙ œhold thy
∑
∑
∑
∑
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œœ œœ#
œœœœ
œœ∑
∑
∑
∑
∑
∑
∑
œ> œ œ
∑
œ œ œ œ œœ# œ
œ œ œ
∑
∑œ ‰ jœ œ œ
son!' And see him
∑
∑
∑
∑
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑..˙
..˙
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœ œ œ œ œ œ
˙ œ
∑
∑
œ œ œliv ing
∑
∑
∑
∑
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
..˙
..˙
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑œ œ œ œ œ œ
˙ œ∑
∑
œ œ ‰ jœstill, and
∑
∑
∑
∑
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ.˙
..˙
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœ œ œ œ œ œ
.˙∑
∑
œ œ œ œwand dering
∑
∑
∑
∑
.˙
- - - - - -
St. John's, Cambridge
164
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
V
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
√
50 ∑
∑
∑
∑
∑
∑
∑
∑
∑50 ˙# œœ
˙ œœ
∑
∑
∑
∑
∑50 ∑50 ∑
œ> œ œ
∑50
œœœ# œ œ œ# œœ œ
˙ œ50 ∑
∑50 œ ‰ Jœ œ œ
on And wait ing50 ∑
∑
∑
∑
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑..˙
..˙
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœ œ œ œ œœ œ
.˙
∑
∑˙ œfor the
∑
∑
∑
∑
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑..˙N
..˙
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœN œ œ œ œ œ
.˙
∑
∑˙ œad vent
∑
∑
∑
Œœ œ
.˙F
Solo
∑
∑
∑
∑
∑
∑
∑
∑
∑..˙
..˙˙
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
œœ œ œ œ œ œ
.˙
∑
∑˙ œlong
∑
∑
∑˙ œ
.˙
Ó œ œ
Ó œ œ
Ó œœ# œœ
Ó œ
Ó œ œ
Ó œ# œœÓ œ
Ó œ
Ó œ
œœ œœ œœ#
œœœœ
œœ∑
∑
∑
∑
∑
∑
Ó œæœ> œ œ
∑
œ œ œ œ œœ# œ
œ œ œ
Ó œœ# œ
Ó œ
œ œ œ œde
Ó œ œ
Ó œ# œ
Ó œœ œ œ œ
Ó œ
Ftutti
FF
arcotutti
F
F
F
F
F
F
F
arcotutti
F
tutti
tutti
P
F
œ œ œ œ œ
œ œ œ œ œ
œœ œœ œœ œœ œœ
œ œ œ œ œœ œ œ œ œ
œœ œœ œœ œœ œœ.˙.˙
.˙
..˙
..˙
∑
∑
∑
∑
∑
.˙œ œ œ œ œ
œ> œ œ œ œ
˙ œ
˙ œœœ
.˙œœ œ œ œ œ œ
.˙
˙ Œlayed.œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ.˙
.˙
tutti
F
P
P
˙ œ
˙ œ
˙ œœ
˙ œ˙ œ
˙ œœ.˙.˙
.˙
∑
∑
∑
∑
∑
∑
∑
.˙œ œ œ œ
œ> œ œ œ œ
.˙
...˙
.˙œ œ œ œ œ œ
.˙
∑˙ œ
˙ œ
˙ œ.˙
.˙
˙N œ
˙N œ
˙N œœ
˙ œ˙N œ
˙˙
œœ
.˙
.˙
.˙∑
∑
∑
∑
∑
∑
∑
.˙œ œ œ œ œ
œ> œ œ œ œ
˙ œ
˙˙˙ œœœœ
.˙œœœ œ œ œ œ œ
.˙∑
˙N œ
˙ œ
˙ œ.˙
.˙
˙ œ œ
˙ œ œ
˙ œœ# œœ
˙ œ˙ œ œ
˙ œ# œ˙ œ
˙ œ˙ œ
˙ œ∑
∑
∑
∑
∑
∑
∑
˙ œ
œ œ œæœ> œ œ
˙ œ
˙# œœœœ
˙ œœœœ# œ œ œ# œœ œ
˙ œ∑
˙ œ œ
˙ œ# œ
˙ œ
˙ œ
˙ œ
˙ œ
˙ œ
˙ œ.˙
.˙˙ œ
..˙
.˙
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
.˙œ œ œ œ œ
œ> œ œ œ œ
˙ œ
˙ œœœ
.˙œœ œ œ œ œœ œ
.˙
∑˙ œ
.˙
.˙
.˙
.˙
œN ˙
œN ˙
œœN ˙N
œ ˙œN ˙
œœ ˙N.˙.˙
.˙
∑
∑
∑
∑
∑
∑
∑.˙
œ œ œ œ
œ> œ œ œ œ
.˙
˙N œœœœ.˙
œœN œ œ œ œ œ
.˙
∑œN ˙
œ ˙Nœ ˙
.˙
.˙
œ œ œ œ
œ œ œ œ
œ œ œ œ˙ œ
œ œ œ
œ œ œ œ
˙ œœ œ œ.˙.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ
œ> œ œ œ œ
˙ œ
˙ œœœ.˙
œœ œ œ œ œ œ
.˙
∑
œ œ œ œ
˙ œ
œ œ œ
.˙
.˙
œ ‰ Jœ œ œœ ‰ Jœ œ œœœ ‰ Jœœ œœ# œœ
œ ‰ Jœ œ œœ ‰ Jœ œ œ
œœ ‰ jœœ œœ# œœœ œ œœ œ œ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
Œ œ œ
œ œ œæœ> œ œ
˙ œ
˙ œœœ#
œ œ œ
œ œ œ œ œœ# œ
œ œ œ
∑œ ‰ Jœ œ œ
œ ‰ Jœ œ# œœ ‰ Jœ œ œœ œ œ
œ œ œ
- - -
St. John's, Cambridge
165
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
V
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
(√)
63 œ œ œ œ œ
œ œ œ œ œ
œœ œœ œœ œœ œœ
œ œ œœ œ œ œ œ
œ œ œ œ œœ œ œ˙ œ˙ œ
˙ œ63 ∑
∑
∑
∑
∑
∑
∑63 ˙ œ63
œ œ œ œ œ
œ> œ œ œ œ
˙ œ
63 ˙ œœœ˙ œ
63 œœ œ œ œ œ œ
˙ œ63 ∑63 œ œ œ œ œ
œ œ œ œ œ
œ œ œ˙ œ
˙ œ
˙ œ
˙ œ
˙ œœ œ œ
œ œ œ
˙ œ
œ œ œœ œ œ
˙ œ˙ œ
˙ œ∑
∑
∑
∑
∑
∑
∑
˙ Œ
œ œ œ œ
œ> œ œ œ œ
.˙
œœœ œœœ œœœ
˙ œœ œ œ œ œ œ
˙ œ∑
˙ œ
œ œ œ
œ œ œ
˙ œ
˙ œ
˙ œ
˙ œ
˙ œœ.˙
˙ œ
˙ œ.˙
.˙
.˙
.˙∑
∑
∑
∑
∑
∑
∑
.˙œ œ œ œ œ
œ> œ œ œ œ
˙ œ
˙ œœœ
.˙œœ œ œ œ œ œ
.˙∑
˙ œ
˙ œ.˙
.˙
.˙
˙ œ œ
˙ œ œ
˙ œ œœ œ# œ
œ# œ œ˙ œ œ
œœ# œœ œœ
˙ œ˙ œ
˙ œ∑
∑
∑
∑
∑
∑
∑
˙ œ
œ œ œæœ> œ œ
˙ œ
˙# œœœ
˙ œœœœ# œ œ œ# œœ œ
˙ œ∑
˙ œ œ
œ œ# œœ# œ œ
˙ œ
˙ œ
˙ œ
˙ œ
˙ œ.˙
.˙˙ œ
..˙
.˙
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
.˙œ œ œ œ œ
œ> œ œ œ œ
.˙
œœœggggœœœgggg
œœœggg
.˙œœ œ œ œ œœ œ
.˙
∑˙ œ
.˙
.˙
.˙
.˙
˙ œ˙ œ˙ œ.˙
.˙˙ œ
..˙
.˙
.˙
.˙
∑
∑
∑
∑
∑
∑
∑.˙
œ œ œ œ
œ> œ œ œ œ
.˙
....˙Ngggg
.˙
œœN œ œ œ œ œ
.˙
∑˙ œ
.˙
.˙
.˙
.˙
˙ œ
˙ œ
˙ œ.˙
.˙˙ œ
..˙
.˙
.˙
.˙
∑
∑
∑
∑
∑
∑
∑.˙
œ œ œ œ œ
œ> œ œ œ œ
.˙
....˙ggggg
.˙
œœ œ œ œ œ œ
.˙
∑˙ œ
.˙
.˙
.˙
.˙
œ ˙
œ ˙
œ ˙˙ œ#
˙ œœ ˙
˙ œœ#œ œ œœ œ œ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
Œ œ œ
œ œ œæœ> œ œ
œ œ œ
œœœ œœœ œœœ#
œ œ œ
œ œ œ œ œœ# œ
œ œ œ
Ó œ œI
œ œ œ œ œ#
œ œ œ œ
˙ œ
œ œ œ
œ œ œ
.˙
.˙
..˙
.˙
.˙
..˙
.˙
.˙
.˙
∑
∑
Œ œ œ œ œ
∑
∑
∑
∑
.˙œ Œ Œ
œ> œ œ œ œ
.˙
...˙
.˙œœ œ œ œ œ œ
.˙œ œ œ œ œ
stand be neath theœ. œ. œ. œ. œ. œ.
œœ. œœ. œœ. œœ. œœ. œœ.
œ. œ. œ. œ. œ. œ.
.˙
.˙
P
P
P
P
P
P
P
P
P
F
p
p
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
∑
∑œ œ œ œ œ œ
.˙œ Œ œ
tree, whoseœ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
∑
∑
œœœ œ œ œ œ œ
.˙˙ œ
branch esœ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ
∑
∑
∑
∑
∑
∑
œ> œ œ
∑
∑
∑
œœœ# œ œ œ# œœ œ
˙ œ˙ œ œ
shade Thyœ# . œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
˙ œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œ œ. œ.
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
∑
∑
œœ œ œ œ œœ œ
.˙˙ œ
west ernœ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
.˙
.˙
- - -
St. John's, Cambridge
166
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
V
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
(√)
76 ∑
∑
∑
∑
∑
∑
∑
∑
∑76 ∑
∑
.˙N
∑
∑
∑
∑76 ∑76 ∑
œ> œ œ œ œ
∑76 ∑
∑76
œœN œ œ œ œ œ
.˙76 œ ˙
win dow,76 œN . œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
∑
∑
œœ œ œ œ œ œ
.˙
œ œ œ œœ( )Chap el of St.œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ Ó
∑
∑
∑
∑
∑
∑
œ> œ œ
∑
∑
∑
œ œ œ œ œœ# œ
œ œ œœ ‰ Jœ œ œ
John! And hear itsœ. œ. œ. œ. œ# . œ.
œ. œ. œ. œ. œ. œ.œ. œ. œ. œ. œ. œ.
œ œ œ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œ
Œ œœ œœ œœ œœ
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
∑
∑
œœ œ œ œ œ œ
˙ œœ œ œ œ œleaves reœ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
˙ œ
˙ œ
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
..˙
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
∑
∑œ œ œ œ œ œ
˙ œ˙ œ
peat theirœ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
˙ œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
∑
∑
œœ œ œ œ œ œ
.˙˙ œ
ben iœ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ
Œ œœ# œœ
∑
∑
∑
∑
∑
œ> œ œ
∑
∑
∑
œœœ# œ œ œ# œœ œ
˙ œ˙ œ œ
son Onœ. œ. œ. œ. œ# . œ.
œ. œ. œ. œ. œ. œ.
œ# . œ. œ. œ. œ. œ.
˙ œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œ œ. œ.
˙ œœ œœ. œœ.
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
∑
∑
œœ œ œ œ œœ œ
.˙œ Œ œ
him, whoseœ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙N
..˙
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
∑
∑
œœN œ œ œ œ œ
.˙˙ œ
hand thyœN . œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ
Œ œœ œœ
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑
∑
∑
œœ œ œ œ œ œ
.˙˙ œ
stones meœ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ
Œ œœ œœ#Ó œ œœ œ
Ó œ œ
ΠΠϷ
∑
œ> œ œ
∑
∑
∑
œ œ œ œ œœ# œ
œ œ œ
œ œ œ œmo ri alœ- œ- œ# -
œ- œœ- œ-
œ- œ- œ-
œ- œ- œ-
œ- œ- œ-
P
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
..˙œœ œœ œœ œœ œœ
œ œ œ œ œ
.˙∑
∑
œ> œ œ œ œ
˙ œ
∑
∑
...˙
.˙
˙ Œlaid;.˙
..˙
.˙
.˙
.˙
F
F
F
- - - - - - - -
St. John's, Cambridge
167
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
V
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
(√)
88 ∑
∑
∑
∑
∑
∑
∑
∑
∑88 ∑
∑
∑
∑..œœ ‰
œœ
œ œ œ œ œ
˙ œ88 ∑88 ∑
œ> œ œ œ œ
˙ œ
88 ∑
∑88 ∑
∑88 ∑88 ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œœ œ œ œ œ œ
œ œ œ œ œ œ
˙ œ#∑
∑
œ> œ œ œ œ
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ ‰ Jœ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œœ œ œ œ œ
œ# œ œ œ
œ# œ œ∑
Ó œæœ> œ œ
œ œ œ
∑
∑
∑
∑
‰ Jœ œ œ œThen I re
Œ ‰ Jœ œ œ
∑
∑
∑
∑
Solo "fiddle"
Tambourine
F
f
P
Prœ œ œ œ œ œ
∑
∑
∑
Œ œ œŒ œ œ
∑‰ œ œ œ. œ. œ. œ
.Jœ. ‰ Œ Œ
.˙
∑
∑
∑
∑..˙
.˙
.˙∑
œ
>œ œ œ œ
œ> œ œ œ œ
.˙
∑
∑
∑
∑œ œ Œ
mem ber
rœ œ œ œ œ œ
∑
∑
∑
∑
P
P
FF
2.
P
P
rœ ˙ rœ œ
∑
∑
∑
Œ œ œŒ œ œ
∑‰ œ œ œ. œ. œ. œ
.Jœ. ‰ Œ Œ
.˙
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ œ œ
œ> œ œ œ œ
∑
∑
∑
∑
∑
‰ Jœ œ œ œthe One of
rœ ˙ rœ œ
∑
∑
∑
∑
rœ ˙ œ
∑
∑
∑
Œ œ œ
Œ ˙∑
‰ œ œ œ. œ. œ. œ
.Jœ. ‰ Œ Œ
.˙∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ œ œ
œ> œ œ œ œ
∑
∑
∑
∑
∑œ œ œ œwhom was saidrœ ˙ œ
∑
∑
∑
∑
rœ ˙ œ œ
∑
∑
∑
œ Ó
œ Ó
∑‰ œ œ œ
. œ# . œ. œ.
Jœ#. ‰ Œ Œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œæ
œ> œ œ
∑
∑
∑
∑
∑
Œ œ œ œ3
In the
rœ ˙ œ œ
∑
∑
∑
∑
rœ œ œ œ œ œ
∑
∑
∑
Œ œ œŒ œ œ
∑‰ œ œ œ. œN .
œ. œ.Jœ. ‰ Œ Œ.˙
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ œ œ
œ> œ œ œ œ
∑
∑
∑
∑
∑
œ œ œ œworld's dark est
rœ œ œ œ œ œ
∑
∑
∑
∑
rœ ˙ œ
∑
∑
∑
Œ œ œŒ œ œ
∑‰ œ œ œ. œ. œ. œ
.Jœ. ‰ Œ Œ
.˙
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ œ œ
œ> œ œ œ œ
∑
∑
∑
∑
∑
œ Œ œhour, 'Be
rœ ˙ œ
∑
∑
∑
∑
rœ ˙ œ
∑
∑
∑
Œ œ œŒ œ œ
∑‰ œ œ œ. œ. œ. œ
.Jœ. ‰ Œ Œ
.˙
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ œ œ
œ> œ œ œ œ
∑
∑
∑
∑
∑˙ œ
hold thyrœ ˙ œ
∑
∑
∑
∑
œ ‰ Jœ œ œ
∑
∑
∑
œ ˙
œ ˙˙ œ∑
œ œ œ œ œ˙ œ#œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œæ
œ> œ œ
∑
∑
∑
∑
∑œ Œ œ œ œ
3
son!' And see him
œ ‰ Jœ œ œ
∑
∑
∑
∑
Both
- - - -
St. John's, Cambridge
168
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
V
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
99 rœ œ œ œ
∑
∑
∑
Œ œ œŒ œ œ
∑‰ œ œ œ. œ. œ. œ
.Jœ. ‰ Œ Œ˙ œ
99 ∑
∑
∑
∑
∑
∑
∑99 ∑99
œ
>œ œ œ œ
œ> œ œ œ œ
∑99 ∑
∑99 ∑
∑99 œ œ ˙
liv ing still,99 rœ œ œ œ
∑
∑
∑
∑
2.
p
p
rœ œ œ ‰ Jœ
∑
∑
∑
Œ œ œŒ œ œ
∑‰ œ œ œ. œ. œ. œ
.Jœ. ‰ Œ Œ˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ œ œ
œ> œ œ œ œ
∑
∑
∑
∑
∑
‰ Jœ œ œand wand eringrœ œ œ ‰ Jœ
∑
∑
∑
∑
œ œ œ rœ œ
∑
∑
∑
Œ œ œ
Œ ˙∑
‰ œ œ œ. œ. œ. œ
.Jœ. ‰ Œ Œ
.˙∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ œ œ
œ> œ œ œ œ
∑
∑
∑
∑
∑
œ Œ œon And
œ œ œ rœ œ
∑
∑
∑
∑
œ ‰ Jœ œ œ
∑
∑
∑
œ Ó
œ Ó
∑‰ œ œ œ
. œ# .œ. œ.
Jœ#. ‰ Œ Œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œæ
œ> œ œ
∑
∑
∑
∑
∑
˙ œwait ingœ ‰ Jœ œ œ
∑
∑
∑
∑
rœ ˙ œ
∑
∑
∑
Œ œ œŒ œ œ
∑‰ œ œ œ. œN .
œ. œ.Jœ. ‰ Œ Œ.˙
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ œ œ
œ> œ œ œ œ
∑
∑
∑
∑
∑
˙ œfor the
rœ ˙ œ
∑
∑
∑
∑
rœ ˙ œ
∑
∑
∑
Œ œ œŒ œ œ
∑‰ œ œ œ. œ. œ. œ
.Jœ. ‰ Œ Œ
.˙
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ œ œ
œ> œ œ œ œ
∑
∑
∑
∑
∑œ ˙ad ventrœ ˙ œ
∑
∑
∑
∑
rœ ˙ œ
∑
∑
∑
Œ œ œŒ œ œ
∑‰ œ œ œ. œ. œ. œ
.Jœ. ‰ Œ Œ
.˙
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ œ œ
œ> œ œ œ œ
∑
∑
∑
∑
∑
Œ ˙longrœ ˙ œ
∑
∑
∑
∑
œ œ œ rœ œ
∑
∑
∑
œ ˙
œ ˙˙ œ∑
œ œ œ œ#œ œ œ œ œ
œ œ œ
Ó œ œ
∑
∑
∑
∑
∑
∑
∑
œ
>œ œæ
œ> œ œ
∑
∑
∑
∑
∑
˙ œ#de
œ œ œ rœ œ
∑
∑
∑
∑
Both
Solo
F
rœ ˙ Œ
∑
∑
∑
.˙
..˙∑
..˙
.˙˙ œ
∑
∑
∑..˙
.˙
∑
∑
œ Œ Œ
œ> œ œ œ œ
∑
∑
∑
∑
∑
.˙layed.
rœ ˙ Œ
∑
∑
∑
∑
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œ
∑
∑
∑..˙
.˙∑
∑
∑
œ> œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ
∑
∑
∑..˙
.˙∑
∑
∑
œ> œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Óœœ œœ
∑
∑
∑
∑
∑
∑
∑
œ ˙
∑
∑
∑..˙#
.˙∑
∑
∑
œ> œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
- - - - -
St. John's, Cambridge
169
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
V
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
111 ∑˙ œœ
∑
∑
∑
∑
∑
.˙
∑111
˙ Œ
∑
∑
∑..˙
.˙∑
111 ∑111 ∑
œ> œ œ œ œ
∑111 œ œ œ œ....˙gggggggggg .˙
111 ∑
∑111 ∑111 ∑
∑
∑
∑
∑
F
P
∑˙ œœ
∑
∑
∑
∑
∑
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑œ ˙...˙gggggggggg .˙
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œœ
∑
∑
∑
∑
∑
.˙∑
Œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑œ œ œ...˙ggggggggggggg .˙
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ# ˙
Ó œœ œœ
Ó œ
∑
∑
∑
.˙∑
˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ> œ œ œ œ
∑œ œ œ œ....˙#gggggggggggg .˙
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ Œ˙ œœ
œ œ œ œ
∑
∑
.˙
.˙∑
.˙
∑
∑
∑
∑
∑
∑
∑
∑
.˙
∑
....˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
p
∑
∑˙ œœ
˙ œ
∑
∑
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œœ
˙ œ œ
∑
∑
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ# ˙
œ ˙
∑
∑
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
..˙
.˙
∑
∑
.˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ
Not on ly
Œœœ œœ
..˙˙
..˙
..˙
.˙
Í
Í
Í
Í
pizz.
P
F
tutti
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œtongues
Œœœ œœ
..˙˙
..˙
..˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œof the a
Œœœ œœ
..˙˙
..˙
..˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ ˙
pos tles
Œœœ œœ
..˙˙
..˙
..˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó œteach
Œœœ œœ
..˙˙
..˙
..˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ Œles sons
Œ ˙
..˙˙
..˙
..˙
.˙
parco
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó œof
˙ œ
˙˙ œœ
˙ œœ˙ œœ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ
love and
œ œ
œœ œœœœ œœœœ œœ
œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑˙ Œ
light,
Œœœ œœ
..˙
..˙
..˙
..˙( )
pizz.
P
P
- - - -
St. John's, Cambridge
170
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
V
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
Ÿ~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~
128 ∑
∑
∑
∑
∑
∑
∑
∑
∑128 ∑
∑
∑
∑
∑
∑
∑128 ∑128 ∑
∑
∑128 .˙
∑128 ∑
∑128 ∑128 Œ
œœ œœ
..˙
..˙
..˙
..˙( )
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑
∑
Œœœ œœ
..˙
..˙
..˙
..˙( )
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑
∑
Œœœ œœ
..˙
..˙
..˙
..˙( )
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑œ œ œ
Not on ly
Œœœ œœ
..˙˙
..˙
..˙
.˙
∑
∑
∑
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑
œ œ œ œtongues
Œœœ œœ
..˙˙
..˙
..˙
.˙
F
∑œ œ œ
∑
œ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑
œ œ œ œof the a
Œœœ œœ
..˙˙
..˙
..˙
.˙
F1.
∑
œ œ œ œ
∑
œ œ œ œ
∑
∑
∑
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑œ ˙
pos tles
Œœœ œœ
..˙˙
..˙
..˙
.˙
F1.
∑
œ œ œ œ
∑
œ œ Œ
∑
∑
∑
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑
Ó œteach
Œœœ œœ
..˙˙
..˙
..˙
.˙
∑œ œ Œ
∑
∑
∑
∑
∑
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑........
˙˙˙˙˙ggggggggggggggggg...
˙˙
∑
∑œ œ Œles sons
Œ ˙
..˙˙
..˙
..˙
.˙
parco
∑
∑
∑
∑
∑
∑
∑
œ œ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙˙˙˙˙˙ Œ˙˙ Œ
∑
∑
Ó œof
˙ œ
˙˙ œœ
˙ œœ˙ œœ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ
love and
œ œ
œœ œœœœ œœœœ œœ
œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑.˙
light,
Œœœ œœ
..˙
..˙
..˙
..˙( )
pizz.
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑.˙
Œœœ œœ
..˙
..˙
..˙
..˙( )
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑
∑
Œœœ œœ
..˙
..˙
..˙
..˙( )
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑
∑
Œœœ œœ
..˙
..˙
..˙
..˙( )
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ
∑
∑
∑
‰ jœ œ œ œbut these ex
Π>
.>œœ œœ œœ œœ œœ œœ
.˙
.˙
arco
π
π
π
P
π
- - - - -
~~~~ ~~~~ ~~~~St. John's, Cambridge
171
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
V
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
144 ∑
∑
∑
∑
∑
∑
∑
∑
∑144 ∑
∑
∑
∑
∑
∑
∑144 ∑144 ∑
∑
∑144
œ œ œ œ œ œ
∑144 ∑
∑144
œ œ œ œpand
144 .˙
.˙œœ œœ œœ œœ œœ œœ
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ
∑
∑
∑
œ œ Œing,.˙
.˙œœ œœ œœ œœ œœ œœ
.˙
.˙
F
P
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œb œb œ œ œ œ
∑
∑
∑
‰ jœ œ œ œbut these ex
Œ œ>
œ œ œ œ œ œ# ˙
œ> ˙œœ œœ# œœ œœ œœ œœ
.˙#
.˙#
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ
∑
∑
∑
œ œ# œ œpan.˙
.˙œœ œœ# œœ œœ œœ œœ
.˙
.˙
G# An
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# œ# œ œ œ œ
∑
∑
∑
œn œ Œing,.˙
.˙œœ œœ# œœ œœ œœ œœ
.˙
.˙
f
F
F
F
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙∑
∑
‰ jœ# œ œ œbut these exœ# œ ˙
œ ˙#.˙
˙ œ œ#
˙ œ œ#
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
F
D# C# B E F# G# An
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
∑
∑
∑
œ# œ œ œpan ding and
œ œ œ# œ œ œ# œ# .˙
œ œ# œ# œ œ œ# œ .˙
œ# œ œ œ# œ# œ œ .˙#
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ#shel tering.˙
.˙˙ œ#
˙# œ
˙# œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙# ‰ Jœboughs with˙ œ
˙ œ
œ œ œ œ
˙ œ#
˙ œ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œall their.˙
.˙
.˙
˙ œ˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ# œ œ œleaves imœ œ# œ œ œ
œ# œ œ œ œœ##
œ œ# œ# œ
˙ œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œplore,.˙
œœ## œ œnœ ˙#
œ œ œ
œ œ œ
- - - - - --
~~~~ ~~~~ ~~~~ ~~~~ ~~~~ ~~~~ ~~~~~ ~~~~ ~~~~ ~~~~ ~~~~ ~~~~ ~~~~ ~~~~ ~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
St. John's, Cambridge
172
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
V
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
156 ∑
∑
∑
∑
∑
∑
∑
∑
∑156 ∑
∑
∑
∑
∑
∑
∑156 ∑156 ∑
∑
∑156 ∑
∑156 ∑
∑156 ‰ Jœ# œ œ œ#
their leaves im156 œ œ# œ œ œ#
œ# œ ˙œ œ ˙
˙ œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ# ‰ Jœ œ# œ
plore, And say in
.˙#
.˙
.˙#
œ# œ# œ œ
œ# œ# œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œlan guage.˙
.˙
.˙
œ# œ œ
œ# œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙# œ#
clear as.˙#
.˙
.˙#
.˙#
.˙#
ƒ
f
f
f
f
f
rit.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# ˙hu man.˙
.˙
.˙
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙speech,.˙
..˙#
..˙#
.˙N
.˙N
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
.˙
..˙
..˙
.˙
.˙
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
..˙
.˙
.˙
..˙( )
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
..˙
.˙
.˙
..˙( )
P
P
P
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ'The peace of
Œœœ# œœ#
..˙##
..˙#
.˙
.˙
pizz.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙
God,Œ œœ# œœ#
..˙
..˙
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œ
thatŒ œœ# œœ#
..˙
..˙
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ‰ Jœ œ œpass eth un derŒ œœ# œœ#
..˙
..˙
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ Œstand ing,Œ œœ# œœ#
..˙
..˙
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# ‰ œ œ .œ œBe and a bide withŒ œœ# œœ#
..˙
..˙
.˙
.˙
- - - - - - - -
St. John's, Cambridge
173
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
&?
&?
V
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
T
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
171 ∑
∑
∑
∑
∑
∑
∑
∑
∑171 ∑
∑
∑
∑
∑
∑
∑171 ∑171 ∑
∑
∑171 ∑
∑171 ∑
∑171
.˙#you
171 Œ œœ# œœ#
..˙
..˙
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ#for ev er
∑
Jœœ## ‰ Œ Œ
Jœœ# ‰ Œ Œ
jœ ‰ Œ Œ
jœ ‰ Œ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙more!'
∑
∑
∑
∑
∑
Óœ œ
Óœ œ
Ó œ œ
∑
Ó œ œ∑
∑
∑
∑
Ó œ œ
∑
Ó œ œ
Ó œœ œœ
∑
∑
∑
∑
Ó œæ∑
∑
Óœ œ
∑
Ó œ œ
∑
˙ Œ
Óœ œ
∑
∑
∑
∑
arco
f
f
f
f
f
f
a tempo
F
F
F
F
F
Dn Gn
˙ œ œ
˙ œ œ
˙ œ œ.˙
.˙
˙ œ œ
..˙
.˙
..˙
.˙˙ œ œ.˙
..˙˙ œ œ
˙ œœ œœ..˙
.˙
.˙
.˙œ œ œ œ œ
œ œ œ œ œ
.˙
˙ œ œ..˙
‰ jœ œ œ œ.˙
˙ œ œ..˙‰ jœ œ œ œ
.˙∑
˙ œ œ
..˙
..˙
.˙
.˙
f
f
f
f
f
f
f
f
f
F
F
FF
f
F
F
˙ œ
˙ œ
˙ œ.˙
.˙
˙ œ
..˙
.˙
..˙
.˙˙ œ
.˙
..˙˙ œ
˙ œœ
..˙
.˙
.˙
.˙œ œ œ œ œ
œ œ œ œ œ
.˙
˙ œ..˙
‰ jœ œ œ œ.˙
˙ œ..˙‰ jœ œ œ œ
.˙∑
˙ œ
..˙
..˙
.˙
.˙
˙ œ
˙ œ
˙ œ˙ œ
.˙
˙ œ
..˙
.˙œ œ œ.˙
.˙˙ œ.˙
..˙˙
œ
˙ œœœ œ œ.˙
.˙
.˙
.˙œ œ œ œ œ
œ œ œ œ œ
˙ œ˙ œ...˙
‰ jœ œ œ œ.˙
œ...˙
‰ jœ œ œ œ.˙
∑˙ œ
..˙
..˙
.˙
.˙
œ œ œ
œ œ œ
œ œ œ.˙#
.˙
œ œ œ
..˙#
.˙
..˙
.˙œ œ œ.˙
..˙#œ œ œ
œœ# œœ œœ..˙
.˙
.˙
.˙œ œ œ œ œ œ œ œ œ
3 3 3
œ œ œ
˙ œ
œ œ œ...˙#
œ œ œœ œ œ...˙#
œ œ œ∑
œ œ œ
˙ œ.˙..˙#
.˙
.˙
.>
.>
..˙>
.˙# >
.>
..˙# >
.>
..˙#
.>
..˙# >
..˙>
.>
..˙# >
..˙# >
.>
.>
.æ>
.˙æ>
.æ>
.˙>∑
.˙
....˙>
.>.>
∑.æ>
..˙#æ>
..˙æ>
.æ>
.æ>
ffp
ffp
ffp
ffp
ffp
ffp
ffp
ffp
ffp
ffp
ffpffp
ffp
ffp
ffpÍ
Í
Í
Í
ÍÍ
Í
ffp
Í
Í
˙
˙
˙
˙#
˙
˙#˙˙#
˙
˙#
˙˙
˙#˙#
˙
˙˙˙
˙
˙
˙ Œ
∑˙
˙
∑˙
˙#˙
˙
˙
f
f
f
f
f
f
f
f
f
f
ff
f
f
ff
f
f
f
ff
f
f
f
f
f
f
- -
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
St. John's, Cambridge
174
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
&?
&?
&
&
&B?
?
###
###
###
######################
###
#####################
###
###
######
###
######
######
###
###
###
###
###
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in B b 1
Clarinet in B b 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in B b 1
Trumpet in B b 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Mezzo-Soprano
Violin I
Violin II
Viola
Violoncello
Double Bass
Harp
Piano
Ÿ ~~~~
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙ œ œ...˙ ˙
Œ œ œ Œ œ.˙ ˙
∑
∑
∑
∑
∑
∑
F
Glockenspiel
Cymbals
Bass Drum
q»¡™º ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙ œ œ œ..˙ ˙
Œ œ œ Œ œ.˙ ˙∑
∑
∑
Ó . œ œ œ œ
∑
∑
Solo
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙ œ# œœœ ˙ ˙˙˙
Œ œ œ Œœ.˙ ˙
∑
∑
∑
œ œ œ œ œ œ œ# œ œ œ
∑
∑
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑...˙˙ ˙#
Œœ œ œ œ.˙ œ œ
∑
∑
∑
œ œ œ œ œ œ ˙
∑
∑
∑
∑
∑.˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ œœ œœ œ œ..˙ ˙Œ œ œ ˙.˙ ˙
∑
∑
∑
.˙ Ó
∑
∑
F
π
∑
∑
∑
˙ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ œœ œ œ œ˙ œœ ˙Œ œ œ ˙.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ# œœ ˙.˙# œ œ#Œ œ# œ ˙Nœ# ˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœœœ œ œ ˙˙˙#
œ œ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ œ..˙ ˙
œ œ œ ˙
˙ œ œ œO that a
∑
∑
∑
∑
∑
P
F
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œ œ œœ œ œœœ ˙
œ œ œ ˙
˙ œ œ œSong would sing it
∑
∑
∑
∑
∑
-
175
MoodsMusic by
Eric C. E. Wilson
(b.1968)
Mezzo-Soprano and OrchestraSonnet by
Henry Wadsworth Longfellow
(1807-1882)
Score
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
&?
&?
&
&
&B?
?
###
###
###
######################
###
#####################
###
###
###
###
###
######
######
###
###
###
###
###
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
11 ∑
∑
∑
∑
∑
∑
∑
∑
∑
11 ∑
∑
∑
∑
∑
∑11 ∑11 ∑11 ∑
∑
∑11 ∑
∑11
.˙ ˙..˙## œ œ#
œ œ# œ ˙11
.˙ ˙self to
11 ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
...˙ ˙˙˙#
œ œ œ œ œ.˙ Ó
me
Œ œ. œ. œ# - œ-Œ œ. œ. œ- œ-Œ œ. œ. œ- œ-
œ œ œ œ# œ∑
p
pp
PSolo
Tutti
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ œ..˙ ˙
œ œ œ ˙
˙ œ œ œO that a
.˙ Ó
.˙ Ó
.˙ Ó˙ œ œ œ
∑
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œ œ œœ œ œœœ ˙
œ œ œ ˙
˙ œ œ œSong would sing it
∑
∑
∑
œ œ œ œ œ .œ Jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ‹ œ œ# ˙Ó . Ó∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ ˙..˙## œ œ#
œ œ# œ ˙
.˙ ˙self to
∑
∑
∑.˙# œ œ#
∑
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
..˙ ˙#
..˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
...˙ ˙˙˙#
œ œ œ œ œ.˙ Ó
me
∑
∑
∑.˙ Ó
∑
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
..˙ ˙
..˙ ˙#∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ...˙ ˙#
œ œ œ ˙Ó œ œ œ
Out of the
œ œ œ œ œ
œ Ó œ Œœœ Ó œ# Œ
∑
œ œ œ ˙
pizz.
pizz.
pizz.
pizz.
p
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ ˙n.˙ œ œ
.˙ ˙.˙ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑...˙ œœ œœ˙n
œ œ œ ˙˙ œ œ œ Jœ ‰heart of Na ture,
œ Ó œœ œœ
œ Ó œn Œœ Ó œ Œ
∑
œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙ ˙.˙ ˙œ ˙# œ œnœ ˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙ ˙œ ˙# œ œn
œ œ œ ˙œ œ ˙ ˙or the heart of
œ œ œ Œ œ Œ
œ œ Œ œ Œœ œ# Œ œ œn
∑
œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ ˙.˙ ˙
œ ˙ ˙.˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ...˙ ˙
œ ˙ ˙.˙ Ó
man,
œ œ œ œ œ œ
œ Ó œ Œœœ Ó œœ Œ
∑
œ ˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
..˙ ˙
..˙ ˙#∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ...˙ ˙#
œ œ œ ˙Ó œ œ œ
the child
œ œ œ œ œ
œ Ó œ Œœœ Ó œ# Œ
∑
œ œ œ ˙
- -
Moods
176
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
&?
&?
&
&
&B?
?
###
###
###
######################
###
#####################
###
###
###
###
###
######
######
###
###
###
###
###
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
22 ∑
∑
∑
∑
∑
∑
∑
∑
∑
22 .˙ ˙n.˙ œ œ.˙ ˙.˙ œ œ
∑
∑
∑
∑22 ∑22 ∑22 ∑
∑
∑22 ∑
∑22 ...˙ œœ œœ˙n
œ œ œ ˙22 ˙ œ œ Jœ ‰
of Na ture,22 œ Ó œœ œœ
œ Ó œn Œœ Ó œ Œ
∑
œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙ ˙.˙ ˙œ ˙# œ œnœ ˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙ ˙œ ˙# œ œn
œ œ œ ˙.˙ ˙
not of
œ œ œ Œ œ Œ
œ œ Œ œ Œœ œ# Œ œ œn
∑
œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ ˙˙ œ ˙˙ œ# œ œ
.˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ ˙˙˙˙ œœœ# œ œ
.˙ ˙˙ Œ ˙
Art Fresh
œ œ œ œœ Œ
œ Œ œ# œ œœ Œ œ œ Œ
∑
.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ ˙.˙ ˙œ ˙ ˙.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
...˙˙˙ œ œœ ˙ ˙˙˙˙ œ ˙˙ œ œ œ œ
as the morn ing,
œœ Ó œ œ
œ œ Œ œœ Œ
œ Ó œœ Œ
∑˙ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ ˙.˙# œ œ
.˙ ˙˙ œ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ# œ œ œ œ..˙ ˙
˙ œ ˙Œ - œ œ œ
salt as the saltœ# œ œ œœ Œ
œ Ó œ œ
œœ Ó œœ Œ
∑˙ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ ˙
˙ œœ ˙
˙ œ œ œ#.˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ ˙˙˙˙ œ œ œ#
.˙ ˙
.˙ Ósea,œ œ œ œœ Œ
œ Œ œ œ œ#œ Œ œ œ Œ
∑.˙ ˙
ten.
F
∑
∑Œ œ œ œ œÓ . œ œ
∑
∑
∑
∑
∑.˙ ˙
..˙ Ó
..˙ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ œ..˙ ˙
œ œ œ ˙.˙ œ œ
O that a
œ Ó Ó
œ Ó Ó
œ Ó Ó
∑œ Ó Ó
p
p
F
∑
∑˙ œ ˙.˙ œ œ
∑
∑
∑
∑
∑.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œ œ œœ œ œœœ ˙
œ œ œ ˙
˙ œ œ œSong would sing it
∑
∑
∑
∑
∑
∑
∑˙ œ ˙œ# œ œ œ# œ œ œ# œ
∑
∑
∑
∑
∑.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ ˙..˙## œ œ#
œ œ# œ ˙
.˙ ˙self to
∑
∑
∑
∑
∑
∑
∑.˙ Ó.˙ Ó
∑
Ó . œ œ œ œ‹∑
∑
∑œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
...˙ ˙˙˙#
œ œ œ œ œ.˙ Ó
me
∑
∑
∑
∑
∑
P
∑
∑
∑
∑
œ œ œ œ œ œ œ œ# œ œ
∑
∑
∑
œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ...˙ ˙
œ œ œ ˙#
Œ œ œ œ œOut of the heart
∑
∑
∑
∑
∑
- - -
Moods
177
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
&?
&?
&
&
&B?
?
###
###
###
######################
###
#####################
###
###
###
###
###
######
######
###
###
###
###
###
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
Ÿ ~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~
Ÿ ~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~
Ÿ ~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~Ÿ ~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~
33 ∑
∑
∑
∑œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
œ œ œ ˙
33 ∑
∑
∑
∑
∑
∑33 ∑33 ∑33 ∑
∑
∑33 ∑
∑33 ...˙ œœ œœ˙n
œ œ œ ˙33 œ œ œ œ Œ œ œ
of Na ture, or the
33 ∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ# œ œ œ œ œ œ
∑
∑
∑
œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ ˙ ˙œ ˙# œ œn
œ œ œ ˙
œ œ œ Œ œheart Of man, the
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ œ
∑
∑
∑
œ ˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ...˙ ˙
œ ˙ ˙œ œ œ œ Œ
child of Na ture,
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ
∑
∑
∑
œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ...˙ ˙#
œ œ œ ˙Œ œ œ œ œ
not of Art,
∑
∑
∑ &
∑ B
∑
∑
Œ œœ# œœ œœ# œœŒ œœ# œœ œœ# œœ
∑
Œ ˙ ˙Œ ˙˙# ˙˙
.˙ œ œ
.˙ œ œ
.˙ œ œ
Œ ˙## ˙Œ ˙ ˙
∑
∑
∑
.˙ œ œ
.˙ œ œ∑
∑
∑
∑
Œ˙˙˙###gggggggggggggg
˙˙˙
Œ ˙˙˙## ˙˙˙
œœ Œ Ó Œ
œ Œ Ó Œ
Œ œ# œ œ œFresh as the
Œ˙# ˙
Œ ˙ ˙
Œ ˙# ˙
Œ˙ ˙
.˙ œ œ
P
P
P
P
P
P
P
P
P
P
F
F
FF
F
arco
arco
arco
ƒ
arco
∑œœ ˙## Óœœ ˙## Ó
∑
Œ ˙ ˙Œ ˙˙# ˙˙˙# œ œ œ˙# œ œ œ
˙# œ œ œ
Œ ˙## ˙Œ ˙ ˙
∑
∑
∑
˙# œ œ œ
˙# œ œ œ∑
∑
∑
∑
Œ ˙##gggggggggggggg
˙
Œ ˙˙˙## ˙˙˙
∑
∑œ ˙# Ó
morn ing,
Œ ˙ ˙
Œ ˙# ˙
Œ ˙ ˙
Œ˙# ˙
˙# œ œ œ
∑
∑
∑
∑
˙ œ œ# œa
..˙˙# ˙
.˙ œ# œ œ
.˙ œ# œ œ
.˙ ˙
˙ œ œ# œa.˙‹ ˙#
..˙# ˙
∑
∑
∑
.˙ Ó
.˙ Ó
∑
∑
∑
∑
∑
∑œœœœ## œ# œ œœ# œœn
.˙ œ# œ œŒ ˙# œ# œn
salt as the
Œ ˙# œ# œn
.˙ œ œ
.˙ œ# œ Bœ# œ# œ œ œ
.˙ œ# œ œ
∑
∑
∑
∑
∑
∑
œ œ# œ œœ œ# œœ œ# œ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑....˙˙#
œ œ# œ#
œ ˙#salt
œ ˙#
œ# ˙œ ˙
œ ˙ Ê
œ œ# œ#
Œ˙ œ œ
Œ˙ œœ œœ
∑
˙ œ œ œ∑
∑
.˙ ˙
.˙ ˙
.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ œ..˙ ˙œ œ œœ ˙
.˙ Ósea,
.˙ Ó
.˙ Ó
.˙ Ó
.˙ Óœ œ œ Ó
F
pizz.
P
P
.˙ ˙
..˙ ˙
∑
˙ œ œ œ∑
∑
.˙ ˙
.˙ ˙
.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œ œ œœ œ œœœ ˙
œ œ œ ˙
∑
∑
∑
∑
∑
∑
- - -
Moods
178
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
&?
&?
&
&
&BÊ
?
###
###
###
######################
###
#####################
###
###
###
###
###
######
######
###
###
###
###
###
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
43 .˙# ˙.˙# œ œ#.˙ ˙
∑
.˙ ˙∑
∑
.˙ ˙
.˙ ˙
.˙ ˙
43 ∑
∑
∑
∑
∑
∑43 ∑43 ∑43 ∑
∑
∑43 ∑
∑43
.˙ ˙..˙## œ œ#
œ œ# œ ˙43 ∑43 ∑
∑
∑
∑
∑
.˙ Ó
..˙Ó
.˙ ˙.˙ œ œ
.˙ Ó
∑
∑
.˙ ˙
.˙ ˙
.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
...˙ ˙˙˙#
œ œ œ œ œ∑
Œ œ. œ. œ# - œ-Œ œ. œ. œ- œ-Œ œ. œ. œ- œ-Œ œ. œ. œ- œ-Ó . œ- œœ-
P
PP
P
P
Tutti
arco
∑
∑˙ œ œ œœ œ œ ˙
Ó œ œ œ∑
∑
.˙ ˙
.˙ ˙
.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ œ..˙ ˙
œ œ œ ˙
∑
.˙ Ó
.˙ Ó
.˙ Ó
.˙ Ó
.˙ Ó
∑
∑˙ œ œ œœ œ œ ˙
˙ œ œ œ œ
∑
∑
.˙ ˙
.˙ ˙
.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œ œ œœ œ œœœ ˙
œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑.˙ ˙.˙ œ œ#
œ# œ œ œ œ œ∑
∑
.˙ ˙
.˙ ˙
.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙ ˙˙˙..˙## œ œ#
œ œ# œ ˙
∑
∑
∑
∑
∑
∑
∑
∑..˙ Ó
.˙ Ó
∑
∑
.˙ ˙
.˙ ˙
.˙ Œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑...˙ Ó
œ œ œ Ó
∑
Œ œ. œ. œ# - œ-
Œ œ. œ. œ- œ-
Œ œ. œ. œ- œ-
Œ œ. œ. œ- œ-
œ œ œ œ œœ
ppp
ppizz.
P
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó ‰ jœ .œ œ œWith just e nough
.˙ œ œ
∑
.˙ œ œ
.˙ œ œœœ œ œ ˙
Freely
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ ˙of bit ter ness.˙ œ œ œ
∑.˙ œ œ œ
.˙ œ œ œ
œœ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó . Œ œ œto be.˙ ˙
.˙ ˙
.˙ Ó
.˙ ˙
˙ œ ˙
∑
Ó . œ œ#
∑
∑
Ó . œ œ
∑
∑
∑˙ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙ Œ œ œmed i cine to this.˙ œ œ#
.˙ œ œ#
∑
.˙ œ œ#
˙ œ œ œ
1.
P
P
- - - - -
Moods
179
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
&?
&?
&
&
&BÊ
?
###
###
###
######################
###
#####################
###
###
###
###
###
######
######
###
###
###
###
###
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
53 ∑œ œ œ ˙
∑
∑œ œ œ ˙
œ ˙ ˙
∑
∑
œ œ œ ˙
53 ∑
∑
∑
∑
∑
∑53 ∑53 ∑53 ∑
∑
∑53 ∑
∑53 ∑
∑53
œ œ ˙ ‰ Jœ œslug gish mood, and start
53˙ œ œ œ œ
˙ œ œ Œ
Ó . Œ œ œ
˙ œ œ œ œ
œœ œ œ ˙
2.
F
F
F
∑œ œ œ ˙
∑
∑œ œ œ ˙
œ œ ˙ œ œ#
∑
∑
œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœ œ œ œ œ#The life blood in myœ œ œ ˙
∑œ œ œ ˙œ œ œ ˙
œœ œ œ ˙
∑œ œ œ ˙
∑
∑œ ˙ ˙
.˙ œ œ
∑
∑.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙ ‰ Jœ œ
veins, and soœ œ œ œ œ œ œ
Ó . œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ
.˙ ˙
∑.˙ œ œ#
∑
∑.˙ ˙
˙ œ ˙œ ˙ ˙
∑
∑˙ œ œ œ
∑
∑
∑
∑
Ó Œ ˙
Ó Œ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ ˙ Óim part
œ œ œ œ œ œ œ#
œ œ œ œ œ ˙
œ œ œ œ œ ˙
œ œ œ œ œ ˙˙ œ ˙arco
both
F
π
π
∑œ œ œ œ œ˙ œ œ œ œ
∑
∑˙ œ œ œ
∑
∑
∑
œ œ œ œ œ
∑
∑
∑
∑..˙ ˙
.˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ ‰ Jœ ˙
Heal ing and help
œ œ œ œ œ œ
˙ œ œ œ
˙ œ œ œ œ
.˙ ˙
.˙ ˙
both
F
∑˙ Œ Ó
∑
∑˙ Œ Ó
∑
∑
∑
œ œ œ œ œ#
∑
∑
∑
∑..˙ ˙
.˙ œ œ#
∑
∑
∑
∑
∑
∑
∑
Ó . œœ œœ
Ó . œ œ#
‰ jœ œ Œ œ Œin this dull˙ œ œ œ Jœ ‰
.˙ ˙
.˙ œ œ
.˙ œ œ#
.˙ œ œ#
P
P
P
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ
∑
∑
∑
∑.˙ œ œ.˙ ˙
.˙ ˙
∑
∑
∑
∑
∑
∑
∑œ œ ˙ ˙..˙ œ œ
œ œ œ œ œ
œ œ ˙ Óleth ar gy!
œ œ ˙ ˙
œ ˙ œ œœ œ ˙ ˙
.˙ ˙
.˙ ˙
P
P
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ
∑
∑
Ó . ˙
Ó . ˙œœ ˙
Ó.˙ Ó
∑
∑
∑
∑
∑
∑
∑....˙ ˙
œ œ œ œ œŒ œ œ œ ˙
Heal ing and help,.˙æ>
.˙ æ>
œ œ ˙ æ>
.˙ æ>
.˙ æ>
ππ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ
∑
∑
.˙ œ œ
..˙ ˙
..˙ ˙
.˙ ˙
.˙ ˙∑
∑
∑
∑
∑
∑œ œ œ œ œ˙ œœ œœ œœ
œ œ œ œ œ‰ Jœ .œ œ œ ‰ Jœ œ
Heal ing and help in this
œ œ œ œ œ
˙ œ œ œ
˙ œ œ œ œ
.˙ ˙
.˙ ˙
ππ
π
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ#
∑
∑.˙ ˙
.˙ ˙.˙ œ œ‹
..˙ ˙
.˙ œ œ#
.˙ œ œ#∑
∑
∑
∑
∑
∑˙ œ œ œœ œœ..˙ ˙
œ œ œ œ œ#
Œ ˙ ‰ Jœ œdull in this˙ œ œ Jœ ‰
.˙ ˙
.˙ œ œ
.˙ œ œ#
.˙ œ œ#
- - - - - - - -
Moods
180
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
&?
&?
&
&
&BÊ
?
###
###
###
######################
###
#####################
###
###
###
###
###
######
######
###
###
###
###
###
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
46
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
√
63 ∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ
63 ∑
∑.˙ ˙
.˙ œ œ.˙ ˙
..˙ ˙
.˙ ˙63
.˙ ˙63 ∑63 ∑
∑
∑63 ∑
∑63 œ œ ˙ ˙..˙ œ œ
œ œ œ œ œ63 Œ ˙ ‰ Jœ œ
dull, in this
63 .˙ ˙
œ ˙ œ œœ œ ˙ ˙
.˙ ˙
.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ
∑
∑.˙ ˙
..˙ ˙
..˙ ˙
.˙ ˙
.˙ ˙∑
∑
∑
∑
∑
∑....˙ ˙
œ œ œ œ œ.˙ œ œ œ
dull leth ar gy
˙ Œ ˙
.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
P
P
p
pP
P
p
p
P p
∑
∑
∑
∑
∑
∑
∑
∑˙ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑...˙˙˙ œ œœ ˙ ˙˙˙
˙ œ ˙
.˙ Ó
˙ œ œ œ œ˙
œ ˙ ˙˙.˙ ˙
˙ œ ˙
˙ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑˙ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ# œ œ œ œ..˙ ˙
˙ œ ˙
œ œ ˙ Óleth ar gy
˙ œ œ œ
..˙# œ œœ ˙ œ œ
˙ œ ˙
˙ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œœ ˙gggg˙
.˙ ˙Œ œ œ œ ˙
leth ar gy!
.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
∑
∑œœ# œœ œœ œœ# œœ œœ œœ œœa
∑
∑
∑
∑
œ œ œ œ œ œœ Ó Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ Œ œ# œ œ
œ°˙n# ˙
*∑
.˙ ˙
.˙n ˙
..˙# ˙
.˙ ˙
.˙ ˙
F
f
F
∑
∑œœ Œ Œ Ó
∑
œ# œ œ œ œ œ œ œaœ œ œ œ# œ œ œ œ
∑
œ œ œ# œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙ ˙
œ°˙n# ˙
*∑
∑
∑
∑
∑
∑
F
F
œ œ œ œ Jœ# ‰ œ œ œœ# œ œ œ J
œ‰
œ œ œ
∑
∑
.˙ Ó
.˙ Ó
œ œ œ œ œ œœ Œ Ó Œ
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
f
FF
f
˙ Œ Œ Œ œ œ#˙ Œ Œ Œ œ# œ
∑
∑
∑
∑
œ œ œ# œ œ œ œ∑
œ œ œ# œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó . Œ Œ ‰ JœA
∑
∑
∑
∑
∑
fmore strictly
- - - - - - -
Moods
181
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
&?
&?
&
&
&BÊ
?
###
###
###
######################
###
#####################
###
###
###
###
###
######
######
###
###
###
###
###
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
72 .˙ Ó.˙# Ó
∑
∑
∑
∑
œ Œ Ó Œ
œ# . œ. œ. œ. œ. œ. ‰ œ œ œœ Œ Ó Œ
72 ∑
∑
∑
∑
∑
∑72 ∑72 ∑72 ∑
∑
∑72 ∑
∑72 ∑
∑72 .˙ Œ ‰ Jœ
las! A
72 œ œ œ œ œ ˙
Œ œ œ ˙Œ œ# œ ˙Œ œ œ ˙
..˙# ˙pizz.
P
pp
p
P
∑
∑
∑
∑
∑
∑
∑
œ# . œ. œ. œ. œ. œ. ‰ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ Œ ‰ jœ# œ œlas! not al waysœ# œ œ œ œ ˙
Œ œ œ ˙Œ œ œ ˙
Œ œ# œ ˙..˙ ˙
∑
∑
∑
∑
œ œ œ œ œ# ˙
œ# œ œ œ œ ˙∑
œ œ œ œ# œ œ ‰ jœ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ# ˙doth the breath of song.˙ œ œ
œ œ œ œ œ# ˙
œ# œ œ œ œ ˙
.˙ œ œ#
..˙# ˙#
F
F
P
P
F
F
∑
∑
∑
∑
œ# œ ˙ Ó
œ œ ˙ Ó
∑
‰ Jœ ˙ Ó
∑
∑
∑
∑
Œ œœ# œœ ˙
Œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ# œ ˙ ÓBreathe on us..˙ œ# œ œ œ
œ# œ ˙ Óœ œ ˙ Ó
.˙ œ œ œ# œ
..˙# ˙
P
P1.
‰ œ œ# œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
œ# . œ. œ. œ. œ. œ. ‰ œ œ œ∑
∑
∑
‰ œ œ# œ œ œ œ œ œ œ
Œ œœ œœ ˙Œ œ œ ˙#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ œ œ# œ œ œ œ œ œ œIt is like the wind thatœ œ œ œ œ# œ
∑
∑
œ# œ œ œ œ œ..˙# ˙
Straight Mute
F
Fœ œ Œ Œ Œ ‰ Jœ
∑
∑
∑
∑
∑
∑
œ# . œ. œ. œ. œ. œ. ‰ œ œ œ∑
∑
∑œ œ Œ Ó Œ
Œ œœ œœ ˙Œ œ# œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ Œ Œ Œ ‰ Jœ
blow eth the
œ Œ Ó Œ
∑
∑œ Œ Ó Œ
..˙ ˙
œ œ œ œ# ˙ œ œ œ
∑
∑
∑
∑
∑
∑œ œ œ œ# œ œ ‰ jœ œ
∑
∑
∑
∑..˙# Ó.˙ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ# ˙ œ œ œwind that
‰ jœ# œ œ ˙‰ jœ œ œ ˙‰ Jœ œ œ ˙
‰ jœ œ œ ˙..˙# ˙#
p
p
P
P
PP
- - -
Moods
182
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
&?
&?
&
&
&BÊ
?
###
###
###
######################
###
#####################
###
###
###
###
###
######
######
###
###
###
###
###
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
79œ œ# Œ Ó Œœ. œ# œ œ. œ œ œ# . œ.
Jœ
‰ Œ
∑
∑œ# . œ œ œ. œ œ œ. œ. J
œ‰ Œ
∑
∑
‰ Jœ ˙ Ó
∑
79
œ œ œ œ œ œ# œ œ
∑
∑
∑
∑
∑79 ∑79 ∑79 ∑
∑
∑79 ∑
∑79 ∑
∑79 œ œ# Œ ‰ jœ œ œ
blow eth At its own79 ‰ jœ# œ œ ˙
‰ jœ œ œ ˙‰ Jœ œ œ ˙
‰ jœ œ œ ˙..˙# ˙
P
P
P F1.
∑
∑
∑
∑
∑
∑
∑
‰ jœ. œ. œ. œ. œ. ˙∑
˙ ‰ jœ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ‰ jœ ˙will, not ours,
.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙arco
∑
∑
∑
∑
∑
∑
∑
‰ jœ ˙ Ó
∑
‰ Jœ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœ œ œ ˙nor tar ries long;
.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙#
˙# œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ JœN œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœN œ œ œ ˙nor tar ries
œ œ œ ˙œ ˙ ˙œN ˙ ˙
œ ˙ œ œ.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ ˙ ˙Œ ˙ ˙Œ ˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œ œ∑
œ ˙ Ólong;
.˙ œ œ
œ ˙ ˙œ œ œ œ œ.˙ ˙
.˙ ˙
.˙ ˙
both
p
pp
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
..˙ Ó
..˙ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ# œ œœœ#
Ó . ˙#∑
œ œ œ# ˙
.˙ œ œ
˙# œ œ œ.˙ ˙
.˙ ˙#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙ œ œ....˙˙˙ ˙
Œ œ œ Œ œ.˙ ˙
∑.˙ ˙
..˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙ œ œ œ..˙ ˙
Œ œ œ Œ œ.˙ ˙∑
˙ œ ˙
..˙ ˙
..˙˙ ˙˙
.˙ ˙
.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙ œ# œœœ ˙ ˙˙˙
Œ œ œ Œœ.˙ ˙
∑.˙ œ# œ
œ ˙ ˙..˙ œ œ#
.˙ ˙
.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑...˙˙ ˙#
Œœ œ œ œ.˙ œ œ
∑.˙ ˙
..˙˙ ˙#.˙ ˙
.˙ œ œ
.˙ œ œ
- - -
Moods
183
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
&?
&?
&
&
&BÊ
?
###
###
###
######################
###
#####################
###
###
###
###
###
######
######
###
###
###
###
###
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
89 ∑
∑
.˙ œ œ
.˙ œ œ∑
∑
∑
∑
∑
89 ∑
∑
∑
∑
∑
∑89 ∑89 ∑89 ∑
∑
∑89 ∑
∑89 œœ œœ œœ œ œ..˙ ˙
Œ œ œ ˙.˙ ˙89 ∑89
.˙ Ó
.˙ Ó
.˙ Ó
.˙ ˙
.˙ ˙
F
F2.
∑
∑
.˙ œ œ˙ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœ œœ œ œ œ˙ œœ ˙Œ œ œ ˙.˙ ˙
∑
Œ œ. œ. ˙
Œ œ. œ. ˙
Œœ. œ. ˙
.˙ ˙
.˙ ˙
∑
∑
˙# œ œ œ#.˙ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ# œœ ˙.˙# œ œ#Œ œ# œ ˙Nœ# ˙ ˙
∑
Œ œ. œ. ˙
Œ œ. œ. œ- œ#
Œ œ# . œ# . ˙
œ# ˙ ˙
.˙ ˙
∑
∑
Œ ˙ ˙#Œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœœœœ œ œ ˙˙˙#
œ œ œ œ œ∑
.˙ ˙#
.˙ ˙
.˙ ˙
.˙ œ œ
.˙ œ œœ
Œ œ œ .œ Jœ
∑Œ œ œ .œ jœ.˙ Ó
.˙ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ∑
∑œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
....˙˙˙gggg ˙˙˙
.˙ ˙Œ œ œ .œ jœ
We hear the˙ œ œ œ ˙
.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
P
p
p
p
p
PF
F
p
œ œ ˙ ‰ Jœ
∑
œ œ ˙ ‰ jœ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ∑
∑œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
œ œ ˙ ‰ jœsound there of, but
.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
P
P
œ œ œ œ Œ ‰ Jœ
∑
œ œ œ œ Œ ‰ jœ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ∑
∑œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
œ œ œ œ Œ ‰ jœno man know eth From
.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
˙ œ œ œ œ œ
∑˙ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
Ó . Œ . jœ∑
∑
∑
∑
∑
œ œ œ œ œ∑
∑œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑˙ œ œ œ œ œwhence it comes, so.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
Open
F
- -
Moods
184
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
&?
&?
&
&
&BÊ
?
###
###
###
######################
###
#####################
###
###
###
###
###
######
######
###
###
###
###
###
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
Ÿ ~~~~~~~~~~~~97 œ œ Œ ‰ œ œ œ œ œ>
∑
œ œ Œ ‰ œ œ œ. œ. œ>
∑
∑
∑
∑
∑
∑
97 ∑
∑œ œ œ œ. œ. œ. œ. œ.
œ. œ. œ>
Ó . œœ. œœ. œœ>∑
∑97 ∑97 ∑97
œ œ œ œ œ œ œ œ œæ>
∑
∑97 œ œ œ œ œ œ œœ œœ œœ>
∑97 ∑
∑97
œ œ Œ ‰ œ œ œ œ œ>sud den and swift and strong,
97 œ œ œ œ. œ. œ. œ. œ.œ. œ. œ>
œ œ œ. œ. œ. œ. œ. œ. œ. œ>œ œ œ. œ. œ. œ. œ. œ. œ>
.˙ œ œ>
.˙ œ œ>
F
.˙Ó
∑.˙ Ó
∑
∑
∑
∑
∑
∑
..˙> ˙
..˙> ˙
.˙ Ó
..˙ Ó
..˙> ˙
.> ˙
.>˙
œ œ .>Ó
.æ Ó
.> Ó
.˙> Ó
..˙Ó
...˙> Ó
∑
∑.˙ Œ ‰ jœ
Nor.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
f
f
f
f
ƒ
f
f
f
f
f
subito p
subito p
subito p
subito p
subito p
f
f
Í
Í
Í
Í
π
π
π
π
π
f
f
f
f
Í
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ Ó Œ œ œwhith er in its
.˙ .œ Jœ
.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
∑œ œ œ# œ œ œ ˙
œ œ œ œ œ# ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ# œ œ œ ˙
way ward courseœ œ œ# œ œ œ ˙œ# œ œ œ ˙˙ œ œ ˙œ œ œ œ œ ˙
˙ œ# ˙
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œN Œ Œ œ œit go eth.
.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ ˙ Œ œ œFresh as the
œ œ œ Ó
œ œ œ Ó
œ œ œ Óœ œ œ Ó
.˙ ˙
pizz.
pizz.
pizz.
pizz.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ ˙ Ómorn ing,
Œ œ œ œ Œ
Œ œ œ œ Œ
Œ œ œ œ Œ
Œ œ œ œ Œ
.˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ ˙ œ œ œsalt as the salt
.˙ ˙
.˙ ˙œ ˙ ˙
.˙ ˙
.˙ ˙#
arco
arco
arco
arco
arco
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ Ósea...
.˙ ˙
.˙ ˙
.˙ ˙‹
.˙ ˙#
.˙ ˙
ten.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ œ..˙ ˙
œ œ œ ˙
˙ œ œ œO that a
.˙ Ó
.˙ Ó
.˙ Ó
.˙ Ó
.˙ Ó
P
a tempo
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œ œggggggggggggg
œ#œ œ œœœ ˙
œ œ œ ˙
.˙ Ósong...
∑
∑
∑
∑
∑
ten.
- - - - -
Moods
185
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
ã
ã
&?
&?
&
&
&BÊ
?
###
###
###
######################
###
#####################
###
###
###
###
###
######
######
###
###
###
###
###
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Mezzo
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
108 ∑
∑
∑
∑
∑
∑
∑
∑
∑
108 ∑
∑
∑
∑
∑
∑108 ∑108 ∑
108 ∑
∑
∑108 ∑
∑108 .˙ œ œ..˙ ˙
œ œ œ ˙108 .˙ œ œ
O that a108 ∑
∑
∑
∑
∑
a tempo
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑...˙ œœgggggggggggggg
œœ#œ ˙ ˙˙
œ œ œ ˙‹
.˙ Ósong...
∑
∑
∑
∑
∑
ten.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœœœ ˙˙˙ ˙˙˙œœ œœ œœœ ˙
Ó œ œ œO that a
∑
∑
∑
∑
∑
a little slower than Tempo I
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœœœ ˙˙˙ ˙˙˙œœ ˙ ˙œ Œ œ œ œ
song would sing it
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑Ó . ˙˙˙gggg œ œ#
∑œgggg
œ œ ˙˙˙ggg.....˙˙˙##œ œ#
œ ˙ ˙.˙ ˙
self to
∑
∑
∑
∑
∑
ten.
p
∑
∑
∑
˙ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑....˙ggggg Ó
∑˙ œ œ œ..˙ ˙
œ œ œ ˙
.˙ ˙me!
∑
∑
∑
∑
∑
Tempo I
∑
∑
∑
˙ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ œ œ œœ œ œœœ ˙
œ œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙ ˙..˙## œ œ#
œ œ# œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ#
..˙ ˙
œ œ œ œ œ∑
∑
∑
∑
∑
∑
rit.
∑
∑
∑
.˙ ˙∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.....˙˙˙ggggg ˙˙˙.˙ ˙
∑
∑
∑
∑
∑
Ó . ˙pizz.
Solo
F
-
Moods
186
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## #
# ## #
# #
# ## #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Baritone
Violin I
Violin II
Viola
Violoncello
Double Bass
Harp
Piano
>Œ
˙>Œ
˙> Œ> Œ> Œ
˙> Œ
> Œ
˙> Œ
>Œ
˙> Œ
˙> Œ> Œ
˙> Œ˙> Œ> Œ
>Œ
œ œ .>
∑
∑
∑
∑
∑
∑
∑
∑œ> œ Œ œ œ œ
3
Po et! I come to.>
.>
.>
> Œ
.>
ƒ
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
F
Snare Drum
Crash Cymbals
q»¶™ ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ .œ Jœn
œœ ..œœ œ œJœn∑
∑
∑
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œb
touch thy lance withœ œ œ œ œb
œ œ œ œœ œ œ œn
œ œ œ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
..˙a∑
∑
∑
æ œ. œ.∑
∑
∑
∑
∑
∑
∑
∑˙ Œ
mine;
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œa . œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
œ.. œ.. œ.. œ.. œ.. œ..
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
æ œ∑
∑
∑
∑
∑
∑
∑
∑
Ó œ œ œ3
Not as a
‰ Jœ. œ. œ. œ. œ.
‰ Jœ. œ. œ. œ. œ.
‰ Jœ. œ. œ. œ. œ.
œ œ. œ. œ. œ. œ.
œ œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙n ‰ Jœ
knight, who
˙ œ œb
˙b œ œn˙n œ œ
œn œ œn œb œ
œn œ œn œb œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œb œn œ œ3
on the list ed
˙b
˙n˙
˙n
˙n
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ œ œ Œ
∑
∑
∑
∑
∑
∑
∑
∑œ œ# œ œn
field Of tour ney
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œn . œ.
œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ.
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œa ˙3
touched his
˙a
œ# œœ œ œ
˙a
œ œ œ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ# œ œ œ#
3
ad ver sa ry's
˙#
œ œ#˙
˙
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙
∑
∑
∑
∑
∑
∑
∑
∑˙#
shield
œ. œ. œ. œ.
œ. œ. œ. œ.
œ. œ. œ. œ.
œ# . œ. œ. œ.
˙
- - - - - -
187
WapentakeMusic by
Eric C. E. Wilson
(b.1968)
Score
Baritone and OrchestraSonnet by
Henry Wadsworth Longfellow
(1807-1883)
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## #
# ## #
# #
# ## #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
11 ∑
∑
∑
∑
∑
∑
∑
∑
∑11 ∑
∑
∑
∑
∑
∑
∑11 ∑11 ∑
∑
∑11 ∑11 ∑
∑11 ∑
∑11 ‰ . Rœ œ œ œ
3
In to ken de
11 œ>æ œ œ œ# œ œ œ6
æ
æ˙#æœ> œæ œæ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ>æ
∑
∑
∑
∑
∑
∑
∑
∑œ> œ> Œfi ance,œ> œ>
Œœœ> œœ> Œ
œ> œ> Œœ> œ> Œ
œ> œ> Œ
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙∑
∑
∑
∑
∑
∑
∑
∑
Œ. Jœbut
Œ. Jœ
˙
˙˙
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ .œ œ
in sign Of
œ œ .œ œ
œ œ˙
˙˙
˙#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ ‰ œ œ
3
hom age to the
œ œ œ
˙
˙˙
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ .œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑.œ œ œ ‰ Jœ
mas ter y, the
œ# œ œ
œ ˙
˙ œœ œ œ#
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ∑
∑
∑
∑
∑
∑
∑
∑..œœ( ) œ œ
mas ter y
˙
˙˙œ œ
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ# œ œ œ3
which is thine,
œ œ
œ œ œ
œ# œ œœ œ œ œ
œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ
In Eng lish
.˙
.˙
.˙
.˙
.˙
P
P
P
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑˙ Œ
song;
‰ Jœ. œ. œ. œ. œ.
‰ Jœ. œ. œ. œ. œ.
‰ Jœ. œ. œ. œ. œ.
‰ Jœ. œ. œ. œ. œ.
‰ jœ. œ. œ. œ. œ.
P
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœœ. œœ. œœ. œœ. œœ.
‰ Jœœ. œœ. œœ. œœ. œœ.
∑
∑
∑
∑
∑
.æ
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ œ œ œ œnor will I
.˙
.˙
.˙
.˙
.˙
p
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœœn . œœ. œœ. œœ. œœ.
‰ Jœœn . œœ. œœ. œœ. œœ.
∑
∑
∑
∑
∑
.æ∑
∑
∑
∑
∑
∑
∑
∑
.œ œ ˙keep con cealed,
.˙
.˙n
.˙b
.˙
.˙
- - - - - - - - - -
Wapentake
188
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## #
# ## #
# #
# ## #
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
23 ∑
∑
∑
∑
∑
∑
∑
∑
∑23 ‰ J
œœab . œœ. œœ. œœ. œœ.
‰ Jœœa . œœ. œœ. œœ. œœ.
∑
∑
∑
∑
∑23 .æ23 ∑
∑
∑23 ∑23 ∑
∑23 ∑
∑23 ‰ Jœ œ œ œ œ
nor wil I
23 .˙
.˙a
.˙N
.˙
.˙b
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœœ. œœ. œœ. œœ. œœ.
‰ Jœœ. œœ. œœ. œœ. œœ.
∑
∑
∑
∑
∑
.æ∑
∑
∑
∑
∑
∑
∑
∑.œ œ œ ‰ Jœ
keep con cealed, And
.˙
.˙
.˙
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœœ. œœ. œœ. œœ. œœ.
‰ jœœ. œœ. œœ. œœ. œœ.∑
∑
∑
∑
∑
.æ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ Œ ‰ œ œvoice less as a
.˙
.˙
.˙
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœœbb . œœ. œœ. œœb . œœ.
‰ jœœb . œœ. œœ. œœ. œœ.∑
∑
∑
∑
∑
.æ
∑
∑
∑
∑
∑
∑
∑
∑
œn œb œn œb œ ‰ Jœriv u let... a.˙b
œb ˙b
.˙œb ˙b
.˙b
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ jœœnn . œœ. œœ. œœ. œœ.‰ jœœn . œœ. œœ. œœ. œœ.
∑
∑
∑
∑
∑
.æ∑
∑
∑
∑
∑
∑
∑
∑
œn œ œb œb œ ‰ Jœriv u let... And.˙
.˙b
.˙b
.˙n
.˙b
∑
∑
∑
∑
∑
∑
∑
∑
∑
..˙nn
..˙n∑
∑
∑
∑
∑œ œ Œ Œ
∑
∑
∑
∑
∑
∑
∑
∑œb œ œ œ œ œn
voice less as a.˙
.˙
.˙
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ œ œ Ó
∑
∑
∑
∑
∑
∑
∑
∑
.œb œ œ œ œ œ œnriv u let frost conwbæwb æwb æwæ
˙b .œ œ œn
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ .˙
∑
∑
∑
∑
∑
∑
∑
∑
.˙gealed.˙
.˙
.˙b
.˙
.˙
p
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
≈ œN œ œ œ œn œ œ œ œ
.˙∑
∑
Œ ‰ Jœ .œ œMy ad mi
∑
∑
∑
∑
.˙
f
p
- - - - - - - - - - - -
Wapentake
189
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
32 ∑
∑
∑
∑
∑
∑
∑
∑
∑32 ∑
∑
∑
∑
∑
∑
∑32 ∑32 ∑
∑
∑32 ∑32 ≈ œ œ œ œ œ œ œ œ œ
.˙32 ∑
∑32 œ œ ‰ Jœ .œ œ
ra tion... My ad mi32 ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœn œœœ œœœ
.˙n∑
∑œ œn ‰ Jœ œ œ œra tion... My ad mi
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œœœ# œœœ
˙∑
∑œ œ œ œra tion for thy
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙a œœœœN
œ œ œ∑
∑˙ œ
verse di
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó œæ∑
∑
∑œœœ œœœ œœœ
.˙∑
∑.˙
vine.
∑
∑
∑
∑
∑
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ œ œ
>œ œ
>œ
>œ œ œ
∑
∑
∑
wwwwggggggggggggggggwww
∑
∑
∑œ œ ‰ Jœ œ œ œ œ
œœ œ ‰ jœ œ œ œ œœœ œ ‰ Jœ œ œ œ
œ œ ‰ Jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
a little faster
F
F
F
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ œ œ
>œ œ
>Ͼ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ‰ Jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œœœ œ ‰ Jœ œ œ œ
œ œ ‰ Jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ œ œ
>œ œ
>œ
>œ œ œ
∑
∑
∑
∑
∑
∑
∑
Ó ‰ jœ œ œNot of the
œ œ ‰ Jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œœœ œ ‰ Jœ œ œ œ
œ œ ‰ Jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ œ œ
>œ œ
>Ͼ
∑
∑
∑
∑
∑
∑
∑.œ œ œ œ œ .œ œ
howl ing
œ œ ‰ Jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œœœ œ ‰ Jœ œ œ œ
œ œ ‰ Jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ œ œ
>œ œ
>œ
>œ œ œ
∑
∑
∑
∑
∑
∑
∑
‰ Jœ> œ œ œ Œder vish es...
œ œ ‰ Jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œœœ œ ‰ Jœ œ œ œ
œ œ ‰ Jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
- - - - - - - - - - -
Wapentake
190
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
42 ∑
∑
∑
∑
∑
∑
∑
∑
∑42 ∑
∑
∑
∑
∑
∑
∑42 ∑42
œ
>œ œ œ œ
>œ œ
>Ͼ
∑
∑42 ∑42 ∑
∑42 ∑
∑42 ‰ Jœ> œ œ œ Œ
der vish es42 œ œ ‰ Jœ œ œ œ
œ œ ‰ jœ œ œ œ
œ œ ‰ Jœ œ œ œ
œ œ ‰ Jœ œ œ Jœ ‰œœ œœ ‰ jœœ œœ œœ œœ œœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
>œ œ œ œ
>œ œ
>œ
>œ œ œ
∑
∑
∑
∑
∑
∑
∑
‰ jœ œ Óof song,
œ œ ‰ Jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œœœ œ ‰ Jœ œ œ œ
œ œ ‰ Jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
∑œ œ ‰ Jœ œ œ œ œ
œœ œœ ‰ Jœœ œœ œœ œ œœ
∑
œ œ ‰ jœ œ œ œ
∑
œ œ ‰ jœ œ œ œ œ∑
∑
∑
∑
œ œ ‰ Jœ œ œ œ œ
œœ œœ ‰ jœœ œœ œœ œ œœ∑
∑
œ œ‰ jœ œ œ œ œ
∑
œ
>œ œ œ œ
>œ œ
>Ͼ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ‰ Jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œœœ œ ‰ Jœ œ œ œ
œ œ ‰ Jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
p
p
p
1.
p
p
p
p
∑œ œ ‰ Jœ œ œ œ œ
œœ œœ ‰Jœœ œœ œœ œ œœ
∑
œ œ ‰ jœ œ œ œ
∑
œ œ ‰ jœ œ œ œ œ∑
∑
∑
∑
œ œ ‰ Jœ œ œ œ œ
œœ œœ ‰ jœœ œœ œœ œ œœ∑
∑
œ œ‰ jœ œ œ œ œ
∑
œ
>œ œ œ œ
>œ œ
>œ
>œ œ œ
∑
∑
∑
∑
∑
∑
∑
Ó ‰ jœ œ œNot of the
œ œ ‰ Jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œœœ œ ‰ Jœ œ œ œ
œ œ ‰ Jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
∑œ œ ‰ Jœ œ œ œ œ
œœ œœ ‰Jœœ œœ œœ œ œœ
∑
œ œ ‰ jœ œ œ œ
∑
œ œ ‰ jœ œ œ œ œ∑
∑
∑
∑
œ œ ‰ Jœ œ œ œ œ
œœ œœ ‰ jœœ œœ œœ œ œœ∑
∑
œ œ‰ jœ œ œ œ œ
∑
œ
>œ œ œ œ
>œ œ
>Ͼ
∑
∑
∑
∑
∑
∑
∑.œ œ œ œ œ .œ œ
howl ing
œ œ ‰ Jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œœœ œ ‰ Jœ œ œ œ
œ œ ‰ Jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
∑œ œ ‰ Jœ œ œ œ œ
œœ œœ ‰Jœœ œœ œœ œ œœ
∑
œ œ ‰ jœ œ œ œ
∑
œ œ ‰ jœ œ œ œ œ∑
∑
∑
∑
œ œ ‰ Jœ œ œ œ œ
œœ œœ ‰ jœœ œœ œœ œ œœ∑
∑
œ œ‰ jœ œ œ œ œ
∑
œ
>œ œ œ œ
>œ œ
>œ
>œ œ œ
∑
∑
∑
∑
∑
∑
∑
‰ Jœ> œ œ œ Œder vish es...
œ œ ‰ Jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œœœ œ ‰ Jœ œ œ œ
œ œ ‰ Jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
∑œ œ
‰ Jœ œ œ œ
œœ œœ ‰ Jœœ œœ œœ œœ
∑
œ œ ‰ Jœ œ œ jœ ‰
∑
œ œ‰ jœ œ œ œ œ
∑
∑
∑
∑œ œ ‰ Jœ œ œ œ
œœ œœ ‰ jœœ œœ œœ œ œœ∑
∑
œ œ‰ j
œ œ œ œ œ∑
œ
>œ œ œ œ
>œ œ
>Ͼ
∑
∑
∑
∑
∑
∑
∑
‰ Jœ> œ œ œ Œder vish esœ œ ‰ Jœ œ œ œ
œ œ ‰ jœ œ œ œ
œ œ ‰ Jœ œ œ œ
œ œ ‰ Jœ œ œ Jœ ‰œœ œœ ‰ jœœ œœ œœ œœ œœ
∑œ œ ‰ Jœ œ œ œ œ
œœ œœ ‰Jœœ œœ œœ œ œœ
∑
œ œ ‰ jœ œ œ œ
∑
œ œ ‰ jœ œ œ œ œÓ Œ ‰ jœ
∑
∑
∑
œ œ ‰ Jœ œ œ œ œ
œœ œœ ‰ jœœ œœ œœ œ œœ∑
∑
œ œ‰ jœ œ œ œ œ
∑
œ
>œ œ œ œ
>œ œ
>Ͼ
∑
∑
∑
∑
∑
∑
∑
‰ jœ œ Œ ‰ jœof song, Who
œ œ ‰ Jœ œ œ œ œ
œ œ ‰ jœ œ œ œ œœœ œ ‰ Jœ œ œ œ
œ œ ‰ Jœ œ œ œ
œ œ ‰ jœ œ œ œ œ
- - - - - - -
Wapentake
191
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## ## ## #
# #
# ## #
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
50 ∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ ‰ Jœ
∑50 ∑
∑
∑
∑
∑
∑
∑50 ∑50
œ Œ Ó
Ó . x
∑50 ∑50 ∑
∑50 ∑
∑50 œ œ œ œ œ œ œ œ ‰ Jœ
craze the brain... Who50 ˙ ˙
œ œ ˙
œ œ ˙
˙ ˙œ œ œ œ œ œ
F
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó x x
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ#craze the brain with their de
˙ œ œ
œ œ œ œ
œ ˙ œ œ#
˙ œ œ
œ œ œ œb
∑
∑
∑
∑
∑
∑
∑.œ Jœ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
X X
∑
∑
∑
∑
∑
∑.œ Jœ ˙
li rioous dance,.œ Jœ ˙
.œ Jœœ ˙˙
.œ Jœ ˙
.œ Jœ ˙
.œ jœ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ ‰ JœArtœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ Jœ œ œ
thou, O sweet hisœ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œœ# œ œ œ œ œ œn œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ Jœ ˙
to ri an
.œ Jœ ˙
.œ Jœ ˙
.œ Jœ ˙
.œ Jœ ˙œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ œ œ ˙
of the heart!
.œ Jœ ˙
.œ Jœœ ˙
.œ Jœ ˙
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ Jœ ˙
.œ Jœ ˙
.œ Jœ ˙
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ ‰ JœThere.œ Jœ ˙
.œ Jœœ ˙
.œ Jœ ˙
œ œ œ œ ˙œ œ œ œ ˙
rit.
- - - - - -
Wapentake
192
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
ã
ã
ã
ã
&?
&?
?
&
&
B
?
?
# ## ## ## # #
# # # #
# # # #
# # # #
# ## ## # #
# # #
# # # #
# # # #
# ## ## ## #
# #
# ## #
# ## #
# ## #
# #
# ## #
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
Bb Cl. 1
Bb Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
Bb Tpt. 1
Bb Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
◊
59 ∑
∑
∑
∑
∑
∑
∑
∑
∑59 ∑
∑
∑
∑
∑
∑
∑59 ∑59 ∑
∑
∑59 ∑59 ∑
∑59 ∑
∑59
Jœ ‰ ‰ Jœ œ ‰ Jœfore, to thee the
59 wæwæwæ
wwæ
wæ
tempo I
π
π
π
π
π
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ .œ .œ œ ˙lau rel leaves be long,wæwæwæ
wwæ
æ œæ œæ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ ‰ Jœ .œ JœTo thee ourwæ
wæwæwwææ æ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ ‰ Jœ .œ œ
love and our alwæ
wæwæwæ
.æ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ Œ ‰ Jœ
.œ œle giance, For thy al.æ .œ œ
æ œæ .œ œ
æ œæ .œ œ
æ œæ .œ œ
æ œæ .œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ Œ ‰ œ# œle giance to the
æ œ> œ# œ
æ œ> œ
æ œ> œ
æ œ> œ
æ œ> œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œpo et'sœæ
œæ œ
œæ œæ œ
œæ œæ œ
œæ œæ œ
œæ œæ œ
F
F
F
F
F
ƒ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑wart.w
w
w
w
ww
f
f
œ>Œ Ó
œœ> Œ Óœœ> Œ Ó
œ> Œ Óœ> Œ Óœœ> Œ Ó
œ> Œ Óœœ> Œ Ó
œ>Œ Ó
œœ> Œ Óœœ> Œ Óœ>
Œ Óœœ> Œ Ó
œœ> Œ Ó
œ>Œ Ó
œ>Œ Ó
œ> Œ Ó
∑
∑
∑
∑
∑
∑
œœœœ>Œ Ó
œœ>Œ Ó
∑œ>
Œ Óœ> Œ Óœ> Œ Ó
œ> Œ Ó
œœ>Œ Ó
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
- -- - - - - -
Wapentake
193
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
V?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Piccolo
Flute 1, 2
Oboe 1, 2
English Horn
Clarinet in Bb 1
Clarinet in Bb 2, 3
Bass Clarinet
Bassoon 1, 2
Contrabassoon
Horn in F 1, 3
Horn in F 2, 4
Trumpet in Bb 1
Trumpet in Bb 2, 3
Trombone 1, 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Soprano
Mezzo-Soprano
Tenor
Baritone
Violin I
Violin II
Viola
Violoncello
Double Bass
Harp
Piano
∑œœ œœ œœ œœ
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
∑
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wF
F
F
P
Glockenspiel
Chimes - 2 mallets
Bass Drum/Suspended Cymbal/Crash Cymbal
q»ª™ ∑œœ œœ œœ œœ
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
Ó. Œ jœ3
.˙ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œœ
P
∑œœ œœ œœ œœ
∑
∑
jœ ‰ ‰ Ó.3
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
2.
∑œœ œœ œœ œœ
∑
∑
Ó. Œ jœ3
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
∑œœ œœ œœ œœ
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
jœ ‰ ‰ Œ Ó3
w#∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwnn
∑œœ œœ œœ œœ
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
Ó. Œ jœ3
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
∑œœ œœ œœ œœ
w
∑
jœ ‰ ‰ Œ Ó3
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
wN∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwAA
1.
P
194
The Broken OarMusic by
Eric C. E. Wilson
(b.1968)
Score
Soprano, Mezzo-Soprano, Tenor, Baritone, and OrchestraSonnet by
Henry Wadsworth Longfellow
(1807-1883)
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
V?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Mezzo
T
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
8 ∑.˙ œw
˙ ˙#
Œ œ œ œ
Ó. Œ jœ3
œ œ œ œ œ œ ˙3 3
w∑
∑8 ∑
∑
∑
∑
∑
∑
∑8 ∑8 ∑8 ∑
Ó. ‰. rœ
8 ∑
∑8 ∑
∑
∑8 ∑
∑
∑8 ∑
∑
∑
∑
ww
F
f
PBass Drum
œ œ œ œ
œœ œœ œœ œœ
˙ œ œ œ3
˙ œ œ œ3
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
jœ ‰ ‰ Œ Ó3
w∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ w
∑
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
f
f
F
F
œ œ œ œ
œœ œœ œœ œœ
w
œ œ œ œ œ œ3
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
Ó. Œ jœ3
.˙ œ∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œœ
œ œ œ œ
œœ œœ œœ œœ
.œ Jœ œ œ
˙ œ œ œ3
jœ ‰ ‰ Œ Ó3
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
œ œ œ œœœ œœ œœ œœ
w
˙ .œ Jœ
Ó. Œ jœ3
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
œ œ œ œ
œœ œœ œœ œœ
˙ .œ Jœ
.œ jœ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
jœ ‰ ‰ Œ Ó3
w#∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwnn
œ œ œ œ
œœ œœ œœ œœ
w
w
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
Ó. Œ jœ3
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
œ œ œ œ
œœ œœ œœ œœ
˙ .œ jœw
˙ .œ Jœ
jœ ‰ ‰ Œ Ó3
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
wN∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑wæ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwAA
both
f
π
Sus. Cym. - medium mallets
The Broken Oar
195
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
V?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Mezzo
T
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
16 .˙ œ
œ œ ˙#œ œ ˙
w˙ ˙˙ ˙
∑
œ œ œ œ œ œ œ œ3 3
w∑
∑16 ∑
∑
∑
∑
∑
∑
∑16 ∑16 ∑16 ∑
wæ16 ∑
∑16 ∑
∑
∑16 ∑
∑
∑16 Ó. œ#
∑
∑
∑
ww
π
Solo
œ Œ Óœœ Œ Ó
ww
w∑
jœ ‰ ‰ Œ Ó3
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑w
Œ œœ œœœœ œœ œœ
3
3
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
∑
∑
∑
w
ƒ
P
P
P
P
f
∑
∑
∑
∑
∑
∑
.˙ œœ œ œ .œ œ œ3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
∑
∑
∑
.˙ œœ
fF1.
∑
∑
∑
∑
∑
∑
ww
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ w
Œ œœ œœœœ œœ œœ
3
3
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
∑
∑
∑
ww
P
∑
∑
∑
∑
∑
∑
wŒ . Jœ œ œ
Œ . Jœ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó. ‰. Rœ
ww∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
‰ jœœ>œœ œœ.
‰ jœœ>œœ œœ.
‰ jœ> œ œ. ‰ jœ> œ œ.‰ Jœ
> œ œ. ‰ Jœ> œ œ.
ww
pp
p
F
∑
∑
∑
∑
∑
∑
w#www
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑w
wwwwn∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
‰ jœœ>œœ œœ.
‰ jœœ>œœ œœ.
‰ jœ> œ œ. ‰ jœ> œ œ.‰ Jœ
> œ œ. ‰ Jœ> œ œ.
wwnn
both
f
Ó œ œ
Ó œœ œœ
∑
∑
Ó. Œ jœ3
∑
w˙ Ó˙ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwwwA∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ ˙3 3
‰ jœœ>œœ œœ.
‰ jœœ>œœ œœ.
‰ jœ> œ œ. ‰ jœ> œ œ.‰ Jœ
> œ œ. ‰ Jœ> œ œ.
ww
p
p
P
P
œ œ œ œ
œœ œœ œœ œœ
˙ .œ jœw
˙ .œ Jœ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
∑
wN∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwww∑
∑
∑
∑
∑
∑
∑
‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ.
‰ jœ> œ œ.‰ jœ> œ œ. ‰ jœ> œ œ.‰ Jœ
> œ œ. ‰ Jœ> œ œ.
wwAA
P
P
P
P
all
The Broken Oar
196
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
V?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
42
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Mezzo
T
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
24 .˙ œ
˙ ˙#w
w˙ ˙˙ ˙
œ œ œ œ œ œ œ œ3 3
∑
w∑
∑24 ∑
∑
∑
∑
∑
∑
∑24 ∑24 ∑24 ∑
∑24 ‰ œ œ œ œ œ œ# œ œ œ œ œœ#
3
3 3
3
w24 ∑
∑
∑24 ∑
∑
∑24 ‰ jœ> œ œ. ‰ jœ# > œ œ.
‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ. ‰ Jœ
> œ œ.
‰ Jœ> œ œ. ‰ Jœ> œ œ.
ww
f
f
www
ww
w
w∑
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
œ œ œ œ œ œ œ œ œ œ œ œN3
3
3 3
ww∑
∑
∑
∑
∑
∑
‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ. ‰ jœ> œ œ.‰ Jœ> œ œ. ‰ Jœ> œ œ.
w
F
F
F
F
P
p
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
œ œ œ œ œ œ œ œ œ œ œ œ3
3
3 3
ww∑
∑
∑
∑
∑
∑
‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ. ‰ jœ> œ œ.‰ Jœ> œ œ. ‰ Jœ> œ œ.
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œN3
3
3 3
ww∑
∑
∑
∑
∑
‰ Jœ œ œ œ œOnce up on
‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ. ‰ jœ> œ œ.‰ Jœ> œ œ. ‰ Jœ> œ œ.
w
f
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ3
3
3 3
ww∑
∑
∑
∑
∑
œ œ ˙Ice land's
‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ. ‰ jœ> œ œ.‰ Jœ> œ œ. ‰ Jœ> œ œ.
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œN3
3
3 3
ww∑
∑
∑
∑
∑
‰ Jœ œ œ œ œ œ œ3
sol i tar y
‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ. ‰ jœ> œ œ.‰ Jœ> œ œ. ‰ Jœ> œ œ.
ww
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ3
3
3 3
ww∑
∑
∑
∑
∑
œ ‰ Jœ œ œstrand A po et
‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ. ‰ jœ> œ œ.‰ Jœ> œ œ. ‰ Jœ> œ œ.
ww
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
www˙n ˙wn
∑
∑
∑
∑
∑œ œ œ œ ‰ œ œ3
3wan dered with his
‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ. ‰ jœ> œ œ.‰ Jœ> œ œ. ‰ Jœ> œ œ.
wwnn
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙
˙∑
∑
∑
∑
∑
œ ‰ Jœbook and
‰ jœ> œ œ.‰ jœ> œ œ.‰ jœ> œ œ.‰ Jœ
> œ œ.
˙
- - - - - - -
The Broken Oar
197
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
V?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Mezzo
T
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
33 ∑
∑
∑
∑
∑
∑
∑
∑
∑33 Œ œ œ œ
∑
∑
∑
∑
∑
∑33 ∑
33 ∑33 ∑
∑33
œ œ œ .œ œ œ œ œ œ3
wA33 ∑
∑
∑33 ∑
∑.˙ Œ
pen33 ‰ jœ> œ œ. ‰ jœ> œ œ.
‰ jœ> œ œ. ‰ jœ> œ œ.‰ jœ> œ œ. ‰ jœ> œ œ.‰ Jœ> œ œ. ‰ Jœ> œ œ.
wwAA
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwww
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ3
3 33
.˙ œ∑
∑
∑
∑
∑œ œ œ œ œ œ3 3
Seek ing some fi nal
˙ ˙
ww
w
.˙ œ
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œœ œœ œœ
œœ œœ œœ œœ#∑
∑
∑
∑
∑
∑
∑
∑
∑
œœœ œœœ œœœ œœœn
œ œ œ œ∑
∑
∑
∑
∑œ ‰ Jœ œ œ
word, some sweet A
˙ ˙
œ ˙ œnœ œ œ œœ œ œ œ
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwn
ww∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œn œ œ œ œ œ œ œ œ œ3 3 3 3
w∑
∑
∑
∑
∑w
men,
wn
ww
w
w
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙A ˙
˙ œ œ∑
∑
∑
∑
∑
Ó œ Jœ Œ Jœ3 3
Where with to
œA œ ˙
wwwA
˙ œœ œœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙#
˙ ˙∑
∑
∑
∑
∑œ œ œ œ ‰ Jœclose the
.˙ œ
˙ ˙#
˙ ˙
˙ ˙
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙#˙ œ œ
w∑
∑
∑
∑
∑œ œ œ .œ Jœ
vol ume in his
w
˙ ˙
˙ ˙
˙ ˙#
ww
∑..œœ Jœœ œœ œœ
∑
∑
Œ œ œ œ œ œ3
3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwww
∑
∑
∑
∑
∑œ œ .˙
hand.
w
ww
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
wpizz.
f
p
∑..˙
Œ
Œ œ œ œ œ œ3
3
∑
œ œ œ œ œ œ3 3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
w
f1.
Œœ œ œ œ œ3 3..œœ Jœœ œœ œœ
œ œ œ œ œ œ3
3
∑
˙ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
˙ ˙
fœ œ œ œ œ œ3 3..˙ œœ
˙ Ó
∑
∑
œ œ œ œ œ œ3 3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
www
warco
f
- - - - -
The Broken Oar
198
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
V?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Mezzo
T
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
44 ˙ Óww
∑
∑
∑
˙ Ó
∑
∑
Ó ˙44 ∑
∑
∑
∑
∑
∑
∑44 ∑
44 ∑44 ∑
∑44 ∑
∑44 ∑
∑
∑44 ∑
∑
∑44
˙ ˙
˙ ˙
˙ œ œ
w
w
P
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ œ œ3 3
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œ
˙ œ œ œ3
w
w
w
f
1.
F
∑
∑
∑
∑
∑
∑
Œ œ œ œ œ œ3 3
œ œ œ œ œ œ3 3
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
˙ œ œ
˙ œ œ
.˙ œ
w
f
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ3
3
˙ .œ Jœ
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑w
www
w
∑
∑
∑
∑
∑
∑
˙ .œ Jœ˙ ˙
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ ˙
˙ ˙
˙ œ œ
w
w
∑
∑
∑
∑
∑
∑
˙ ˙w
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ . JœThe.˙ œ
˙ œ œ œ3
w
w
w
f
∑
∑
∑
∑
∑
∑
w
∑
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó. œThe
∑
∑œ œ œ œ œ œ œ œ
bilw
ww
w
w
f
p
p
p
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙bil lows...
‰ jœ œ œ œThe bil lows...
Œ Œ ‰ jœThe
œ œ œ ‰ Jœlows... The
∑
∑
∑
∑
∑
f
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó œ œ œThe bil lows...
‰ jœ œ œ œ ŒThe bil lows...
œ œ œ œ œ œ œ œbil lows...œ œ œ œ œ œ œ œbil lows...
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ Œ ‰ Jœ
Œ Œ ‰ Jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ
œ œ œ Œbil lows...
˙ ‰ jœThe
˙ ‰ JœThe
∑
∑
∑
∑
∑
F
F
∑
∑
Ó. œ
∑
∑
∑œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
∑
‰ Jœ œ œ œ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó. œThe
‰ jœ œ œ œ ŒThe bil lows...
œ œ œ œ œ œ œ œbil lows...
œ œ œ œ œ œ œ œbil
∑
∑
∑ &
∑
∑
F
F
∑
∑
œ œ ˙
∑
∑
∑
˙ ‰ Jœ
œ œ œ ‰ Jœ
∑
‰ Jœ œ œ œ
∑
∑
∑
∑
∑
∑
Ó ‰ Jœ
∑
∑
∑
∑
∑
∑
∑
œ œ ˙bil lows...
‰ jœ œ œ œThe bil lows...
˙ ‰ jœThe
œ œ œ ‰ Jœlows... The
Ó ‰ Jœ
Ó ‰ Jœ
Ó ‰ Jœ
Ó ‰ jœÓ ‰ Jœ
π
π
π
π
π
π
- - - - - - -
-
- -
- - -
-
-
-
-
The Broken Oar
199
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
V?
&
&
&
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Mezzo
T
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
56 ∑
∑
Ó œ œ œ
∑
∑
∑œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
∑56 ‰ Jœ œ œ œ Œ
∑
∑
∑
∑
∑
∑56 œ œ Œ Œ . Jœ56 ∑56 ∑
∑56 ∑
∑56 ∑
∑
Ó œ œ œThe bil lows...
56 ‰ jœ œ œ œ ŒThe bil lows...
œ œ œ œ œ œ œ œbil lows...œ œ œ œ œ œ œ œbil lows...
56 œ œŒ Œ . Jœ
œ œ Œ Œ . Jœ
œ œ Œ Œ . Jœ
œ œ Œ Œ . jœœ œ Œ Œ . Jœ
p
p
p
p
p
p
∑
∑
˙ Ó
∑
∑
∑
˙ Ó
˙ Ó
∑
Jœ .œ Ó
∑
∑
∑
∑
∑
∑
œ œ Œ Œ ‰ Jœ
∑
∑
Ó. ‰ jœ
∑
∑
∑
∑
˙ ‰ Jœ œ .œThe bil lows
œ œ œ Óbil lows...
˙ Ó
˙ Óœ œ
Œ Œ . Jœ
œ œ Œ Œ . Jœ
œ œ Œ Œ . Jœ
œ œ Œ Œ ‰ jœœ œ Œ Œ . Jœ
P
P
P
P
P
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wæ∑
∑
˙ .œ
jœ
∑
∑
∑
∑œ œ œ œ œ œ œ œ ˙rolled...
∑
Ó ‰ Jœ œ .œThe bil lows
∑œ œ Œ Œ . Jœ
œ œ Œ Œ . Jœ
œ œ Œ Œ . Jœ
œ œ Œ Œ . jœ
œ œ Œ Œ . JœF
F
F
F
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.æ œæ
∑
∑
˙ .œ
jœ
∑
∑
∑
∑
‰ Jœ œ .œ .œ œ œ .œThe bil lows rolled, The bil lows
‰ jœ œ .œ .œ œ œ .œThe bil lows rolled, The bil lows
œ œ œ œ œ œ œ œ œ ≈ œ œ .œrolled... The bil lows
‰ Jœ œ .œ .œ œ œ .œThe bil lows rolled, The bil lowsœ œ Œ Œ . Jœ
œ œ Œ Œ . Jœ
œ œ Œ Œ . Jœ
œ œ Œ Œ . jœ
œ œ Œ Œ . Jœ
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙ Ó
∑
∑
w
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ Œrolled
œ œ œ œ œ Œrolled
œ œ œ œ œ œ œ Jœ ‰rolled
‰ Jœ> œ œ œ œ œ œ œrolled andw
˙ ˙
˙ ˙ B
œ œ ˙
˙ .œ jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ Jœ .œ œ œ œ œn œand plunged up on the
‰ jœ .œ œ œ œand plunged up on the
‰ Jœn .œ œ œ œ œ œand plunged up on the
˙ Œ . jœ#plunged the˙ œ# œn œ
.˙# œœn
.˙ œ
˙ Ó
œ œ# œ# œn .œ jœ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Ósand
˙ Œ . jœsand, The
˙ Ósand,
˙ Ósand,
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ
¥œ. œ. œ. œ> œ œ. œ. œ.
sul CGliss repeatedly from a high harmonicto low harmonic, tempo ad lib.
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œn œ œ œ œ œ œ œ œcir cling sea
∑
∑
œ œ œn œ œ œ œ œ œ œ œ
œn œ œ œ œ œ œ œ œ œ œ œn œ œ œ œœn œ œn œ œ œ œ œ œ œ œ œ
¥¥œn . œ. œ. œ> œ œ. œ. œn .
p
p
-
-
- -
-
-
-
- -
- -
- -
-
-
- -
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
- -
The Broken Oar
200
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
V?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Mezzo
T
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
64 ∑
∑
∑
∑
∑
∑
∑
∑
∑64 ∑
∑
∑
∑
∑
∑
∑64 ∑64 ∑64 ∑
∑64 ∑
∑64 ∑
∑
∑64
œ œn œ .œ œn .œ Jœgulls swept be yond his
∑
∑64
œ œn œ .œ œn .œ Jœ
œn œ œ œ œ œ œ œ œ œ œ œn œ œ œ œœn œ œn œ œ œ œ œ œ œ œ œ¥¥œn . œ. œ. œ> œ œ. œ. œn .
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Óken,
Ó ‰ Jœ œ œnAnd from the
∑
œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ
œn œ œ œ œ œ œn œ œ œn œ œ œ œ œ œ
œ Œ ‰ Jœ œ œn¥¥œ. œ. œ. œ> œ œ. œ. œ.
F
subito p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œn œ œ œn œ œ œ œ œ œ œ
part ing cloud rack now
∑
œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ
œn œ œ œ œ œ œn œ œ œn œ œ œ œ œ œœn œ œ œn œ œ œ. œ œ œ œ
¥œ. œ. œ. œ> œ œ. œ. œ.
Œ ‰ Jœn> œ
Œ ‰ Jœœn# > œœ
Œ ‰ Jœœ#n> œœ
Œ ‰ jœ# œ
Œ ‰ Jœ# > œ
Œ ‰ jœœ## > œœŒ ‰ jœ# > œŒ ‰ J
œœ## > œœ
Œ ‰ jœ> œ∑
∑
Œ ‰ Jœ# > œ
Œ ‰ Jœœ## > œœ
Œ ‰ Jœœ## > œœ
Œ ‰ Jœn> œ
Œ ‰ jœ> œ‰ Jœn> œ> ‰ Jœ
>
œ œ œ# œn œ# œ
Œ ‰ Jœœn œœ
Œ ‰ Jx>
x
∑
∑
∑
∑
Œ ‰ Jœn> œFlashed...
Œ ‰ jœ# > œFlashed...
œ œ œ# Œand then
Œ ‰ Jœ> œFlashed...
œ. œ. œ. œ. œ. œ. œn . œ. œ. œ. œ. œ.
œn . œ. œ. œ. œ. œ. œ# . œ. œ. œ. œ. œ.œ œ œ# œ> œ œ.
Œ ‰ Jœ> œ œ.
œ ‰ Jœ> œ œ.
FF
F
F
ƒ
ƒ
ƒ
F
FF
F
FF
F
F
F
F
F
F
F
F
F
F
FCr. Cym.
‰ Jœn> œ‰ J
œ# >
‰ Jœœn# > œœ ‰ Jœœ# >
‰ Jœœ#n> œœ ‰ J
œœ#n >
‰ jœ# œ ‰ Jœn
‰ Jœ# > œ ‰ Jœ# >
‰ jœœ## > œœ ‰ Jœœ## >
‰ jœ# > œ ‰ jœ# >‰ J
œœ## > œœ ‰ Jœœn# >
‰ jœ> œ ‰ Jœn>
∑
∑
‰ Jœ# > œ ‰ Jœ# >
‰ Jœœ## > œœ ‰ Jœœ## >
‰ Jœœ## > œœ ‰ J
œœn# >
‰ Jœn> œ ‰ jœn>‰ jœ> œ
‰ jœn>œ> ‰ Jœn> œ>
œ# œn œ# œ œ œ#æ
‰ Jœœn œœ ‰ J
œœ#n
‰ Jx>
x ‰ Jx>
∑
∑
∑
∑
‰ Jœn> œ ‰ Jœ# >Flashed... Flashed
‰ jœ# > œ ‰ Jœn>Flashed... Flashed
‰ Jœ# > œ ‰ Jœn>Flashed... Flashed
‰ Jœ> œ ‰ Jœn>Flashed... Flashed
œ. œ. œn . œ. œ. œ. œ. œ. œ. œ. œ# . œ.
œn . œ. œ# . œ. œ. œ. œ. œ. œ. œ. œn . œ.
œ# . œ# > œ œ> œ œn>
œ.œ> œ œ> œ œ# >
œ. œ> œ œ> œ œn>
ƒ
˙Œ
˙Œ
˙ Œ
˙ Œ˙ Œ
˙ Œ
˙ Œ˙ Œ
˙ Œ
∑
∑˙ Œ˙ Œ˙ Œ
˙ Œ
˙ Œ
.˙næ
æ Œ˙ Œ
X Œ
∑
∑
∑
∑˙ Œ
˙ Œ˙ Œ
˙ Œœ# . œ. œ. œ. œ. œ. œ. œ. œ# . œ. œ. œ.
œn . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ œn . œ. œ. œ# . œ.
œ œ# . œ. œ. œ. œ.
œ œn . œ. œ. œn . œ.
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ# œ œ œ œ œ# ‰ Jœ
..œœ## œœ œœ# œœ œœ œœ ‰ jœœ∑
∑
∑
œnæ œæ œæ æ
∑
∑
∑
∑
∑
∑
∑.œ# œ œ œ œ œ# ‰ Jœ
Flashed the red sun set... the
.œn œ œ œ œ œ ‰ JœFlashed the red sun set... the
.œn œ œ# œ œ œ ‰ JœFlashed the red sun set... the
.œn œ# œn œ œ œ ‰ JœFlashed the red sun set... the.œ# œ œ œ œ œ# ‰ Jœ
.œn œ œ œ œ œ ‰ Jœ
.œn œ œ# œ œ œ ‰ Jœ
.œn œ# œn œ œ œ ‰ Jœ
œn . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œn .
--
- -
-
-
-
-
The Broken Oar
201
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&&
ã
&?
&?
&
&
V?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Mezzo
T
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
71 ∑
∑
∑
∑
∑
∑
∑
∑
∑71 ∑
∑œ# œ œ œ œ œ œ œ
œœ## œœ œœ œœ œœ œœ œœ œœ∑
∑
∑71 wnæ71 ∑71 ∑
∑71 ∑
∑71 ∑
∑œ# œ œ œ œ œ œ œ
red sun set ov er71 œn œ œ œ œ œ œ œ
red sun set ov er
œn œ œ œ œ œ œ œred sun set ov er
œn œ œ œ œ œ œ# œred sun set ov er
71 œ# œ œ œ œ œ œ œ
œn œ œ œ œ œ œ œ
œn œ œ œ œ œ œ œ
œn œ œ œ œ œ œ# œœn . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ# Jœ ˙
..œœ jœœ# ˙
∑
∑
∑
œ œn æ
∑∑
∑
∑
∑
∑
∑.œn Jœ ˙
sea and land.
.œ jœ ˙sea and land.
.œn Jœ ˙sea and land.
œ œn ˙sea and land.
.œn Jœ œ. œ. œ. œ. œ. œ. œ. œ.
.œ jœ œ. œ. œ. œ. œ. œ. œ. œ.
.œn Jœ œ. œ. œ. œ. œ. œ. œ. œ.
œ œn œ. œ. œ. œ. œ. œ. œ. œ.
œ œn œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑..œœn J
œœ œœ# Œ..œœ
jœœ œœ## Œ
Ó Œ . œ œ#
Ó Œ . œœ## œœ..œœn
Jœœœœ# Œ
.œ jœ œn Œ
.œ jœ œn Œ
æ ˙næ
∑∑
∑
∑
∑
∑
∑
Ó Œ ‰ œ œ#ov er
Ó Œ ‰ œn œov er
Ó Œ ‰ œn œov er
Ó Œ ‰ œ# œov er
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ# . œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œn . œ. œ. œ. œ. œ. œ. œ.
œn . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ# . œ. œ. œ. œn . œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œn . œ. œ. œ.œn . œ. œ. œ.
f
f
f
f
f
f
f
f
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ# Jœ ˙
..œœ# jœœ ˙
∑
∑
∑
œ œn æ
∑∑
∑
∑
∑
∑
∑.œn Jœ ˙
sea and land.
.œ jœ ˙sea and land.
.œn Jœ ˙sea and land.
œ œn ˙sea and land.
.œn Jœ œ. œ. œ. œ. œ. œ. œ. œ.
.œ jœ œ. œ. œ. œ. œ. œ. œ. œ.
.œn Jœ œ. œ. œ. œ. œ. œ. œ. œ.
œ œn œ. œ. œ. œ. œ. œ. œ. œ.
œ œn œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑..œœn J
œœ ˙#
..œœjœœ ˙N
∑
∑..œœ Jœœ ˙#
.œ jœ ˙n
.œ jœ ˙
wæ
∑∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ. œ. œ. œ. œ. œ. œ. œ. œ# . œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œn . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
∑
∑
∑
∑
∑
∑
∑
∑
∑ww
ww#
∑
∑ww
w#
w
˙ Ó
∑∑
∑
Œœœ œœ
œœ## œœ œœ3
3
∑
∑
∑
∑
∑
∑˙ œ œ
Then by the
wwæw# æwæœ ˙ œ
œ ˙ œ
subito p
subito p
subito p
subito p
subito p
F
subito p
subito p
subito p
subito p
subito p
π
π
π
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑∑
∑
œœ œœnn œœ## œœ œœ œœ3
3
∑
∑
∑
∑
∑
∑.œ# Jœn ˙
bil lows
wwæw# æwæœ ˙ œ
œ ˙ œ
∑
Œœ œ œ# œ œ3 3
Œ œ œ œ# œ œ3
3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑∑
∑
ww∑
∑
∑
∑
∑
∑
Œ œ œn œ# œat his feet was
wwæw# æwæœ ˙ œ
œ ˙ œ
p
p
-
- -
- -
- -
-
-
-
- -
The Broken Oar
202
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
V?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Mezzo
T
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
79 ∑
œ œn œ# œ œ œ3 3
œ œn œ# œ œ œ3 3
∑
∑
∑
∑
∑
∑79 ∑
∑
∑
∑
∑
∑
∑79 ∑
79 ∑79 ∑
∑79 ∑
∑79 ∑
∑
∑79 ∑
∑w
tossed79 wwæ
w# æwæœ ˙ œ#
œ ˙ œn
∑
wN
wN∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œA bro ken
wæwæwæœ ˙ œ
œ ˙ œ
∑
∑
∑
∑
Œ jœ œ jœ Œ jœ œ jœ3 3 3 3
Œ jœœ œœ jœœ Œ jœœ œœ jœœ3 3 3 3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.˙ Œ
oar;
wæwæwæœ ˙ œ
œ ˙ œ
p
p
∑
∑
∑
∑
Œ jœ œ jœ Œ jœ œ jœ3 3 3 3
Œ jœœ œœ jœœ Œ jœœ œœ jœœ3 3 3 3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wæwæwæœ ˙ œ
œ ˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ# œ œ3
3
∑
∑
Œœœ œœ
œœ## œœ œœ3
3
∑
∑
∑
∑
∑
∑˙ œ œ
Then by the
wwnæww## æ
wæœ ˙ œ
œ ˙ œ
P
∑
∑
∑
∑
∑
∑
∑
Œ œ œ œ# œ œ3 3
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œn œ# œ œ œ3 3
∑
∑
œœ œœnn œœ## œœ œœ œœ3
3
∑
∑
∑
∑
˙ œ œThen by the
∑.œ# Jœn ˙
bil lows
wwnæww## æ
wæœ ˙ œ
œ ˙ œ
F
Œœ œ œ# œ œ3 3
∑
∑
∑
∑
∑
∑
œ œn œ# œ œ œ3
3
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
ww∑
∑
∑
∑
.œ# jœn ˙bil lows
˙ œ œThen by the
Œ œ œn œ# œat his feet was
wwnæww## æ
wæœ ˙ œ
œ ˙ œ
pœ œn œ# œ œ œ3 3
∑
∑
∑
∑
∑
∑
w
∑
Œ œ œ œ# œ œ3
3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œThen by the
Œ œ œn œ# œat his feet was
.œ# jœn ˙bil lowsw
tossed
wwnæww## æ
wæœ ˙ œ
œ ˙ œ
p
w
Œœ œ œ# œ œ3 3
∑
∑
Œ œ œ œ# œ œ3 3
∑
∑
∑
∑
œ œn œ# œ œ œ3 3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ# jœn ˙bil lows
wtossed
Œ œ œn œ# œat his feet was
∑wwnæww## æ
wæœ ˙ œ
œ ˙ œ
∑
œ œn œ# œ œ œ3 3
∑
∑
œ œ# œ# œ œ œ3 3
∑
∑
∑
∑
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œn œ# œat his feet was
∑
wtossed
∑wwnæww## æ
wæœ ˙ œ
œ ˙ œ
∑
w
∑
∑
w∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wtossed
∑
∑
∑wwnæww## æ
wæœ ˙ œ#
œ ˙ œn
- -
-
-
-
The Broken Oar
203
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
V?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Mezzo
T
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
90 ∑
∑
∑
∑
∑
∑
∑
∑
∑90 ∑
∑
∑
∑
∑
∑
∑90 ∑90 ∑90 ∑
∑90 ∑
∑90 ∑
∑
Œ œ œ œA bro ken
90 Œ œ œ œA bro ken
Œ œ œ œA bro ken
Œ œ œ œA bro ken
90 wæwæwæœ ˙ œ
œ ˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ Œoar;
.˙ Œoar;
.˙ Œoar;.˙ Œoar;
.æ Œ
.æ Œ
.æ Œ
œ ˙ œ
œ ˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ . jœ œ œand carved there
∑
∑
∑w
w#
wn
wnw
π
π
π
π
π
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ ‰ jœ œ# œnon, and carved there
Œ ‰ jœn œ œand carved there
Œ . Jœ# œn œand carved there
Œ . Jœ œ œand carved therew
w
w
ww
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ jœn ˙on he read
.œn jœ# ˙on he read
œ# œn ˙on he read.œ Jœ ˙on he readw
w
w
ww
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ# œ'Oft was I
Œ œ# œ œ'Oft was I
Œ œ œ œ'Oft was I
Œ œ œn œ#'Oft was Iw
w
w#
ww
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œn œ .˙wea ry,
œ# œ .˙wea ry,
œ œ .˙wea ry,
œ œ .˙wea ry,w
w
w
ww
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ# œ .œ Jœwhen I toiled at
Œ œ œn .œ# jœnwhen I toiled at
Œ œ œ .œ Jœwhen I toiled at
Œ œ œ .œ Jœwhen I toiled at˙ .œ
Jœ
˙ .œ Jœ
˙ .œ Jœn
˙ .œ jœ˙ .œ jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wthee';
wnthee';
˙ ˙thee';
wbthee';w
w
wn
wb
wb
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ œ# œ'Oft was I
Œ œ# œ œ'Oft was I
Ó. œ'Oft
Œ œ œn œ#'Oft was Iw
w
w#
ww
F
F
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œn œ .˙wea ry,
œ# œ .˙wea ry,
œ œ œ œ œwas I wea ry,
œ œ .˙wea ry,w
w
w
ww
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ# œ .œ Jœwhen I toiled at
.œ jœn œ# œnwhen I toiled at
Œ œ œ .œ Jœwhen I toiled at
Œ œ œ .œ Jœwhen I toiled at˙ .œ
Jœ
˙ .œ Jœ
˙ .œ Jœn
˙ .œ jœ˙ .œ Jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wthee';
.œ jœ ˙Athee';
wthee';
wNthee';w
w
wA
w
w
-
-
-
-
- -
-
-
-
-
-
-
-
-
-
-
-
The Broken Oar
204
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
V
?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Mezzo
T
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
103 ∑
∑
∑
∑
∑
∑
∑
∑
∑103 ∑
∑
∑
∑
∑
∑
∑103 ∑
103 ∑103 ∑
∑103 ∑
∑103 ∑
∑
Œ œ# œn œ'Oft was I
103 Ó. œ#'Oft
Ó. œ'Oft
Œ œ œn œ#'Oft was I
103
w
w
w#
ww
P
P
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œn œ .˙wea ry,
.œ# jœ œ œ œwas I wea ry,
œ œ œ œwas I wea ry,
œ œ .˙wea ry,
w
w
w
ww
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œ# œ .œ Jœwhen I toiled at
Œ œ œn .œ# jœnwhen I toiled at
Œ œ œ .œ Jœwhen I toiled at
Œ œ œ œ œwhen I toiled at
˙ .œJœ
˙ .œ Jœ
˙ .œ Jœn
˙ .œ jœ˙ .œ jœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wU "thee';
wU "thee';
wU "thee';
wU "thee';wU
"wU"wU"
wU "
wU "
p
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑w#
œ# œ œ œ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ œn œ# œAnd like a
∑
∑
∑
∑
∑
∑
π
π
F
a little slower
∑
∑
∑
∑
∑
∑
∑
∑
∑wÓ. œ#
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ Œ œ#man, who
∑
∑
∑
∑
∑
∑
F
∑
∑
∑
∑
∑
∑
∑
∑
∑wœn .˙
wŒ œ .œ# Jœ#∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œn œ œ .œ# Jœnfind eth what was
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑œ# œ# .œ jœ#w#ww#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wlost,
∑
∑
∑
∑
∑
∑
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww##wwnn
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó ‰ jœ# .œ œHe wrote the
∑
∑
∑
∑
∑
∑
∑
∑
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œn ‰ jœ# œn œ# .œ œwords, then lift ed up his
wnOo
˙n ˙#Oo
œn œ# œ# œnOo
∑
∑
∑
∑
∑
p
p
p cresc.
cresc.
cresc.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙# ‰ Jœn œn œhead, And flung his
˙# ‰ jœ œ œAnd flung his
˙n ‰ Jœ œ œ œAnd flung his
˙ ‰ Jœ œ œAnd flung his
∑
∑
∑
∑
∑
F
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑.œ JœN ˙
use less pen
.œ jœ ˙use less pen
.œ Jœ ˙use less pen
.œN Jœ ˙use less pen
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ . Jœ .œ Jœin to the
Œ . jœ .œ jœ#in to the
Œ . Jœ# .œ Jœin to the
Œ ‰ Jœ .œ JœNin to the
∑
∑
∑
∑
∑
-
-
-
- - -
- -
- -
- -
-
-
The Broken Oar
205
&
&
&
&
&
&
&?
?
&
&
&
&?
?
?
?
&
&
ã
&?
&?
&
&
V?
&
&
B
?
?
b b
b b
b b
b
b b
b b
b
b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
b b
Picc.
Fl. 1, 2
Ob. 1, 2
E. Hn.
B b Cl. 1
B b Cl. 2, 3
B. Cl.
Bsn. 1, 2
C. Bn.
Hn. 1, 3
Hn. 2, 4
B b Tpt. 1
B b Tpt. 2, 3
Tbn. 1, 2
B. Tbn.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
S
Mezzo
T
B
Vln. I
Vln. II
Vla.
Vc.
D.B.
Hp.
Pno.
116 ∑
∑
∑
∑
∑
∑
∑
∑
∑116 ∑
∑
∑
∑
∑
∑
∑116 ∑
116 ∑116 ∑
∑116 ∑
∑116 ∑
∑
wsea.
116
wNsea.
˙ ˙Nsea..˙A œsea.
116 ∑
∑
∑
∑
∑
œ œ œ œ
œœ œœ œœ œœ
∑
∑
∑
∑
∑
∑
www
ww∑
∑
∑
∑
wwæœ œ œ œ
w
∑
∑
∑
∑
∑
w
w
ww
∑
∑
∑
∑
w
Tempo I
f
f
F
P
P
P
p
p
F
F
œ œ œ œ
œœ œœ œœ œœ
Œ .˙
Ó ˙
∑
∑
∑
∑
.˙ œ˙ ˙
˙ ˙
Ó Ó
∑
∑
∑
.˙ œwæœ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œœ
F1.
F
œ œ œ œ
œœ œœ œœ œœ
œ œ œ œ.˙ œ
∑
∑
∑
∑
w˙ ˙
˙ ˙w∑
∑
∑
∑
wwæ
œ œ œ œ
wwœ œ w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
f
f
FSus. Cym.
œ œ œ œœœ œœ œœ œœ
w
˙ ˙
∑
∑
∑
∑
www
ww∑
∑
∑
∑
wwæœ œ œ œ
∑
Ó Ó œ
3
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
œ œ œ œ
œœ œœ œœ œœ
˙ œ œ œ3
˙ œ œ œ3
∑
∑
∑
∑
wnœ œ ˙w
wwn∑
∑
∑
∑
wnw
œ œ œ œ
∑w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwnn
œ œ œ œ
œœ œœ œœ œœ
˙ œ œ œ3
˙ œ œ
∑
∑
∑
∑
w˙ œ œwœ œ ˙w
∑
∑
∑
∑
w˙ œ œ
œ œ œ œ
∑œ œ w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
œ œ œ œ
œœ œœ œœ œœ
w
˙ œ œ
∑
∑
∑
∑
wAw ˙
˙ ˙wA∑
∑
∑
∑
wAw
œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
wwAA
.˙ œ
œ œ ˙#œ œ ˙
œ œ ˙
w
∑
∑
∑
∑
w˙ ˙#
˙# ˙w∑
∑
∑
∑
ww
.˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
F
F
F
F
P
w
ww
ww
w
w
ww
www
www
www
wwww
w
wwæ
wæww
∑wwwwwggggggggggggggggwwww
wwwwww
∑
∑
∑
∑
wæ
wæ
wæ
wwæ
wæ
both
Í
Í
Í
Í
Í
Í
ÍÍ
Í
Í
Í
ÍÍ
Í
Í
ÍÍ
Í
f
f
Í
Í
Í
Í
f
Í
w
ww
ww
w
w
ww
www
www
www
wwww
w
ww
w
w
∑wwwwwwwww
wwwwww
∑
∑
∑
∑
w
wwww
w
P
The Broken Oar
206
207
APPENDIX
COMPLETE TEXTS OF THE SONNETS
The Evening Star
Lo! In the painted oriel of the West,
Whose panes the sunken sun incarnadines,
Like a fair lady at her casement, shines
The evening star, the star of love and rest!
And then anon she doth herself divest
Of all her radiant garments, and reclines
Behind the sombre screen of yonder pines,
With slumber and soft dreams of love oppressed.
O My beloved, my sweet Hesperus!
My morning and evening star of love!
My best and gentlest lady! even thus,
As that fair planet in the sky above,
Dost thou retire unto thy bed at night,
And from thy darkened window fades the light.
Autumn
Thou comest, Autumn, heralded by the rain,
With banners, by great gales incessant fanned,
Brighter than the brightest silks of Samarcand,
And stately oxen harnessed to thy wain!
Thou standest, like imperial Charlemagne,
Upon thy bridge of gold; thy royal hand
Outstretched with benedictions o’er the land,
Blessing the farms through all thy vast domain!
Thy shield is the red harvest moon, suspended
So long beneath the heaven’s o’erhanging eaves;
Thy steps are by the farmer’s prayers attended;
Like flames upon an altar shine the sheaves;
And, following thee, in thy ovation splendid,
Thine almoner, the wind, scatters the golden leaves!
208
Dante
Tuscan, that wanderest through the realms of gloom
With thoughtful pace, and sad, majestic eyes,
Stern thoughts and awful from thy soul arise ,
Like Farinata from his fiery tomb.
Thy sacred song is like the trump of doom;
Yet in thy heart what human sympathies,
What warm compassion glows, as in the skies
The tender stars their clouded lamps relume!
Methinks I see thee stand, with pallid cheeks,
By Fra Hilario in his diocese,
As up the convent-walls, in golden streaks,
The ascending sunbeams mark the day’s decrease;
And, as he asks what there the stranger seeks,
Thy voice along the cloister whispers, ‘Peace!’
The Cross of Snow
In the long, sleepless watches of the night,
A gentle face—the face of one long dead—
Looks at me from the wall, where round its head
The night-lamp casts a halo of pale light.
Here in this room she died; and soul more white
Never through martyrdom of fire was led
To its repose; nor can in books be read
The legend of a life more benedight.
There is a mountain in the distant West
That, sun-defying, in its steep ravines
Displays a cross of snow upon its side.
Such is the cross I wear upon my breast
These eighteen years, through all the changing scenes
And seasons, changeless since the day she died.
209
The Galaxy
Torrent of light and river of the air,
Along whose bed the glimmering stars are seen
Like gold and silver sands in some ravine
Where mountain streams have left their channels bare!
The Spaniard sees in thee the pathway, where
His patron saint descended in the sheen
Of his celestial armour, on serene
And quiet nights , when all the heavens were fair.
Not this I see, nor yet the ancient fable
Of Phaeton’s wild course, that scorched the skies
Where’er the hoofs of his hot coursers trod;
But the white drift of worlds o’er chasms of sable,
The star-dust, that is whirled aloft and flies
From the invisible chariot wheels of God.
The Sound of the Sea
The sea awoke at midnight from its sleep,
And round the pebbly beaches far and wide
I heard the first wave of the rising tide
Rush onward with uninterrupted sweep;
A voice out of the silence of the deep,
A sound mysteriously multiplied
As of a cataract from the mountain’s side,
Or roar of winds upon a wooded steep.
So comes to us at times, from the unknown
And inaccessible solitudes of being,
The rushing of the sea-tides of the soul;
And inspirations, that we deem our own,
Are some divine foreshadowing and foreseeing
Of things beyond our reason or control.
210
A Summer Day by the Sea
The sun is set; and in his latest beams
Yon little cloud of ashen gray and gold,
Slowly upon the amber air unrolled,
The falling mantle of the Prophet seems.
From the dim headlands many a lighthouse gleams,
The street-lamps of the ocean; and behold,
O’erhead the banners of the night unfold;
The day hath passed into the land of dreams.
O summer day beside the joyous sea!
O summer day so wonderful and white,
So full of gladness and so full of pain!
For ever and for ever shalt thou be
To some the gravestone of a dead delight,
To some the landmark of a new domain.
The Tides
I saw the long line of the vacant shore,
The sea-weed and the shells upon the sand,
And the brown rocks left bare on every hand,
As if the ebbing tide would flow no more.
Then heard I, more distinctly than before,
The ocean breathe and its great breast expand,
And hurrying came on the defenceless land
The insurgent waters with tumultuous roar.
All thought and feeling and desire, I said,
Love, laughter, and the exultant joy of song
Have ebbed from me for ever! Suddenly o’er me
They swept again from their deep ocean bed,
And in a tumult of delight, and strong
As youth, and beautiful as youth, upbore me.
211
A Shadow
I said to myself, if I were dead,
What would befall these children? What would be
Their fate, who now are looking up to me
For help and furtherance? Their lives, I said,
Would be a volume wherein I have read
But first chapters, and no longer see
To read the rest of their dear history,
So full of beauty and so full of dread.
Be comforted; the world is very old,
And generations pass, as they have passed,
A troop of shadows moving with the sun;
Thousands of times has the old tale been told;
The world belongs to those who come the last,
They will find hope and strength as we have done.
A Nameless Grave
‘A soldier of the Union mustered out,’
Is the inscription on an unknown grave
At Newport News, beside the salt-sea wave,
Nameless and dateless; sentinel or scout
Shot down in skirmish, or disastrous rout
Of battle, when the loud artillery drave
Its iron wedges through the ranks of brave
And doomed battalions, storming the redoubt.
Thou unknown hero sleeping by the sea
In thy forgotten grave! With secret shame
I feel my pulses beat, my forehead burn,
When I remember thou hast given for me
All that thou hadst, thy life, thy very name,
And I can give thee nothing in return.
212
Sleep
Lull me to sleep, ye winds, whose fitful sound
Seems from some faint Æolian harp-string caught;
Seal up the hundred wakeful eyes of thought
As Hermes with his lyre in sleep profound
The hundred wakeful eyes of Argus bound;
For I am weary, and am overwrought
With too much toil, with too much care distraught,
And with the iron crown of anguish crowned.
Lay thy soft hand upon my brow and cheek,
O peaceful sleep! until from pain released
I breathe again uninterrupted breath!
Ah, with what subtile meaning did the Greek
Call thee the lesser mystery at the feast
Whereof the greater mystery is death!
Eliot’s Oak
Thou ancient oak! whose myriad leaves are loud
With sounds of unintelligible speech,
Sounds as of surges on a shingly beach,
Or multitudinous murmurs of a crowd;
With some mysterious gift of tongues endowed,
Thou speakest a different dialect to each;
To me a language that no man can teach,
Of a lost race, long vanished like a cloud.
For underneath thy shade, in days remote,
Seated like Abraham at eventide
Beneath the oaks of Mamre, the unknown
Apostle of the Indians, Eliot, wrote
His Bible in a language that hath died
And is forgotten, save by thee alone.
213
Venice
White swan of cities, slumbering in thy nest
So wonderfully built among the reeds
Of the lagoon, that fences thee and feeds,
As sayeth thy old historian and guest!
White water-lily, cradled and caressed
By ocean streams, and from the silt and weeds
Lifting thy golden filaments and seeds,
Thy sun-illumined spires, thy crown and crest!
White phantom city, whose untrodded streets
Are rivers, and whose pavements are the shifting
Shadows of palaces and strips of sky;
I wait to see thee vanish like the fleets
Seen in mirage, or towers of cloud uplifting
In air their unsubstantial masonry.
The Poets
O ye dead poets, who are living still
Immortal in your verse, though life be fled,
And ye, O living poets who are dead
Though ye are living, if neglect can kill,
Tell me if in the darkest hours of ill,
With drops of anguish falling fast and red
From the sharp crown of thorns upon your head,
Ye were not glad your errand to fulfill?
Yes; for the gift and ministry of Song
Have something in them so divinely sweet,
It can assuage the bitterness of wrong;
Not in the clamour of the crowded street,
Not in the shouts and plaudits of the throng,
But in ourselves, are triumph and defeat.
214
St. John’s, Cambridge
I stand beneath the tree, whose branches shade
Thy western window, Chapel of St. John!
And hear its leaves repeat their benison
On him, whose hand thy stones memorial laid;
Then I remember one of whom was said
In the world’s darkest hour, ‘Behold thy son!’
And see him living still and wandering on
And waiting for the advent long delayed.
Not only tongues of the apostles teach
Lessons of love and light, but these expanding
And sheltering boughs with all their leaves implore,
And say in language clear as human speech,
‘The peace of God, that passeth understanding,
Be and abide with you for evermore!’
Moods
O that a Song would sing itself to me
Out of the heart of Nature, or the heart
Of man, the child of Nature, not of Art,
Fresh as the morning, salt as the salt sea,
With just enough of bitterness to be
A medicine to this sluggish mood, and start
The life-blood in my veins, and so impart
Healing and help in this dull lethargy!
Alas! Not always doth the breath of song
Breathe on us. It is like the wind that bloweth
At its own will, not ours, nor tarries long;
We hear the sound thereof, but no man knoweth
From whence it comes, so sudden and swift and strong,
Nor whither in its wayward course it goeth.
215
Wapentake
Poet! I come to touch thy lance with mine;
Not as a knight, who on the listed field
Of tourney touched his adversary’s shield
In token of defiance, but in sign
Of homage to the mastery, which is thine,
In English song; nor will I keep concealed,
And voiceless as a rivulet frost-congealed,
My admiration for thy verse divine.
Not of the howling dervishes of song,
Who craze the brain with their delirious dance,
Art thou, O sweet historian of the heart!
Therefore, to thee the laurel-leaves belong,
To thee our love and our allegiance,
For thy allegiance to the poet’s art.
The Broken Oar
Once upon Iceland’s solitary strand
A poet wandered with his book and pen,
Seeking some final word, some sweet Amen,
Wherewith to close the volume in his hand.
The billows rolled and plunged upon the sand,
The circling sea-gulls swept beyond his ken,
And from the parting cloud-rack now and then
Flashed the red sunset over sea and land.
Then by the billows at his feet was tossed
A broken oar; and carved thereon he read,
‘Oft was I weary, when I toiled at thee’;
And like a man, who findeth what was lost,
He wrote the words, then lifted up his head,
And flung his useless pen into the sea.
![[Livro] ARIE Mezzo Soprano Celebri Arie DOpera Per Mezzo Soprano Et Contralto](https://img.dokumen.tips/doc/110x75/55cf92c3550346f57b995c89/livro-arie-mezzo-soprano-celebri-arie-dopera-per-mezzo-soprano-et-contralto.jpg)
