FLOWERS FADED AND GONE FOR SATB CHOIR
DUNCAN TUOMI
DTM021
DUNCANTUOMI.COM
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Flowers Faded and Gone A Bowl of Calendula Flowers Their petals curl and shrivel, They lean on the dark, They are like wet velvet. Now we must let them go . . . They are just leaving us. Star-splashes of rain on velvet, Crumpled fingers of tired hands, They are a people I do not know From another country: What they are thinking is in my heart, But without words. Already they sigh under their strained gold For the wind to scatter them. Their look is blurred . . . They wait for the wind. Hilda Conkling Performance Notes Dashed arrows indicate a vowel morph that should begin immediately, completing the transition to the next vowel on the beat at which a new vowel is indicated in the text underlay. Glissandi are to be performed over the full duration of the note from which they originate. Ex. The alto, tenor, and bass glissandi in measure two will be one quarternote in duration, as the glissandi originate from the quarter note on beat three. Letters or small groups of letters contained within parentheses, Ex. “Thei(r)” are not to be pronounced. The entrances of the surrounding voices complete the words that are begun by other voices, with the exception of the letter “r”, which does not require explicit pronunciation to be intuited by the listener. These entrances should be clearly articulated so that the completed words can be understood.
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
In loving memory of Dick Walters (August 30, 1930-January 18, 2021) and Lenora Tuomi (March 31, 1938-April 8, 2021)
Flowers Faded and Gone For the Choral Arts Initiative PREMIERE| Project, 2022 Hilda Conkling (1910-1986)
° 3‰ &4
q = 60 molto rubato
mf solo; senza vibrato
SOPRANO
3 &4
ALTO
œ #œ J ooh
BASS
{
3 & 4 ‰
Rehearsal Piano
œ #œ J
pp
∑
" Their petals curl and shrivel"
5
S.
a tempo
non rubato
Œ
nd_shriv -
4 &4 Œ
T.
j 4 &4 ‰ œ œ ˙ ‹ Their 'tals cur(l)
œ pp
pe(t)
3
#œ œ œ ˙
A.
pp
pp
j œ œ™
el,
˙™
ooh
l_a(nd)
˙™
ooh
˙˙ ™™
?4 w ¢ 4w
pp
B.
Pno.
{
Thei(r)
4 & 4 ‰
a tempo
? 4 w 4 w
œ -œ ™ J ˙-˙ ™™™ ˙
j œ œ œ
œ œ #œ
3
œ
œ
˙˙ ™™ ˙™ ˙˙ ™™
œ J
‰
o p Œ œ
œ #œ J
o Œ œ
p
Œ
oh
œ J
-œ
œ
U˙™ œ ˙ ‰ -J u -œ U˙ œ ˙ ‰ œJ ˙
4 4
4 4
œ ™ œj œ œ b œ œ
w
oooh mp Œ ‰ œj #œ ‰ œj œ œ ˙™ - œ
o Œ
4 4
- U ‰ œJ ˙
poco rall.
-˙ ™ ˙˙™™
4 4
- U ‰ œJ ˙
oh
ooh non rubato
oh
4 4
oh
-˙™
œ
ooh
3
? 3 4
° 4 &4 Ó
-˙
-œ œ œ
oh
-˙ ™
œ
ooh pp
œ
oh
œ ˙ ‰ -J u oh U ‰ œj ˙ -
œ J
4 4
U- pp ˙ ™ tutti
œ
-˙™
œ
-˙
q = 60 molto rubato
œ #œ J
-œ
ooh
ooh pp
∑
œ J
‰
-˙
∑
?3 ¢ 4
-œ ™
œ J pp
∑
3 &4 ‹
TENOR
-œ 3œ œ
œ
Duncan Tuomi (b.1994)
poco rall.
they lean mp
on
they lean
on
the dark,
j ‰ œ -œ < n>œ ‰ œ œ œ ˙™ J
they lean on the pp
Œ
pp
Œ
the dark,
w w
j bœ ™ œ œ œ œ œ
the(y)
ooh they lean on the
p
w œ #œ J œj œ w w
œ™ œ ‰ œJ œ œ ˙ ™ ‰ œj œ œ b ˙œ ™ œ ™
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j nœ œ œ b œ œ œJ œ œ œ œ
solo
° œ & 9
S.
mp
œ œ ˙™
œ bœ bœ
dark, they're like wet mp
j & ‰ œ œ
A.
they are mp
T.
B.
¢
& ‰ b œJ œ ‹ they are mp
? bœ
Pno.
{
j ? bœ bœ
A.
T.
B.
ah mf
œœ
œ
œ ‰ œ œ œ ˙™ J œ ‰ œ œ œ ˙™ J
œ
like
œ œ
wet vel - vet.
wet vel - vet.
ah mf
œ ‰ œJ
{
let
œ œ œ œ b œ œ œ bb œ̇ œ œ b œ œJ œœ ™™ bœ 3 u 3 3 œ™
oh
j œ bœ ™
oh
ooh
œ bœ ™ J
Ϫ Ϫ
˙˙
œ œ œ œ
˙ ˙
Œ
œ
˙˙
Œ
mf
Leav
go.
3
rall.
U ˙
bb œ̇ b ˙ œ bœ
2 4
-
2 4œ -
2 4œ -
ing
Œ
us.
˙™
œ œ œ œ œ œ 3
3
Œ
us.
˙
3
3
œ œ œ œ
Flow - ers fad - ed and
œ
mp
ing
œ
4 4 ˙™
mp
Œ
us.
˙
3
3
œ œ œ œ
Flow - ers fad - ed and
Œ
us.
˙
3
3
œ œ œ œ
Flow - ers fad - ed and
a tempo
? 3 nnœœ ™™ 4 œ™
pp
3
nœ œ œ œ œœ ™™ œ™
4 j 4 œ œ™
‰ œj œ #œ 24 œ
4 ˙˙ 4 ˙
Œ
p
œœ œ
2 œœ 4 œ
œ 44 ˙™
3
œ œœ œ
4 ˙˙ ™™ 4 ˙™
3 4
Flow - ers fad - ed and
4 4 ˙™
ing
3 4
U 3 U nœ b œ œ 43 bœ œ ™ b œ u U˙ 3 ˙ 4
3
mp
œ
3
mm
mp
œ
3 4
3 4
mm
bb ˙˙
4 4
U b œœ
U ˙
3 2 4 4 œ -œ œ 4 ˙™
just leav - ing
œ
mm
ooh
œ̇ b œ œ œ bb ˙˙
j œ bœ
œ b˙ J
oh
œ
mm
ooh
œ bœ ™ J
U
3
œ b˙ J
oh
3
œ œ œ œ
ooh
j œ œ™
œ œ̇ œ œœ
a tempo
Now
rall.
3
œ œ
ah
wet vel - vet.
b œœ b œ œ J œœ
œ
tutti pp
j 3 & 4 ‰ œ #œ
Pno.
vel - vet.
o p 3 ° 3 j j 4 & 4 ‰ œ #œ œ -œ œ œ 4 œj œ ™ ‰ œ œ #œ go. They are Now we must let them o p pp 3 4 Œ &4 4 ™ ™ œ œ -œ -˙ Leav Now let go. o p pp 3 4 Œ & 4 œ™ 4˙ œ™ œ ‹ Now Leav let go. o p pp 4 ?3 Œ 4˙ œ ¢ 4 œ™ -œ ™ 13
S.
œ
ah mf
like
dark, they're like
mp
mf
j œ ‰ œ œ œ ˙™
œ
& œ
ah
Œ
œ
mp
˙˙ ˙
Œ
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œ œ œ œ œ
3
3
œœ œœ œœ œœ œ œ œ œ 3
3
4
° & œ ˙˙ 18
S.
3 ™ œ 4˙
gone... ah
& w
A.
gone...
gone...
B.
Pno.
gone...
˙™
6 8
œ nœ ˙™
6 8
œ
p
œœ œ œ œ œ ‰ ‰
stah
stah
stah
œœ œ œ œ œ ‰ ‰
stah
stah
stah
∑
∑
∑
∑
∑
∑
œ nœ
˙˙™™
q = q.
#œ 6 œ œ œ 8 œ œ
6 8
œ
#œ œ œ œ œ
œ œ œ #œ œ œ
∑
∑
∑
#œ ™
Ϫ
#œ ™
Ϫ
#œ ™
Ϫ
#œ ™
Ϫ
#œ ™
stah
stah
stah
stah
stah
stah
stah
stah
stah
stah
& œ œ œ œ œ œ ‰ ‰
A.
stah
T.
¢
?
{
?
stah
∑
& ‹
&
Pno.
6 8 ‰ œ œ œ‰ œ œ
° œ™ &
stah stah stah stah
B.
˙˙ ™™ ˙™
3 ™ 4 Œ̇ #œ œœ œœ ah
3 4 œ̇ œ #˙
24
S.
3 4 œ œ#˙ 3 4˙
¢ bw
{
˙˙ ™™
p
? w bw w
#œ ™
Ϫ
ah
?
& œ ˙˙
#œ ™
Ϫ
stah stah stah stah stah stah bell-tones, mfp sempre stah stah stah stah stah stah stah stah stah stah stah stah
3 4 Œ #œ œœ ™ œ J ah
#œ ™
6 Ϫ 8
q = q. bell-tones, mfp sempre
p
p
& w ‹
T.
˙™
p
∑ œ
#œ œ œ œ œ ∑
stah stah stah stah
stah stah stah stah
stah stah stah stah
œ œ œ œ œ œ ‰ ‰
œ œ œ œ œ œ ‰ ‰
œ œ œ œ œ œ ‰ ‰
-˙™
-œ
stah
stah
mp
Star mp
-˙ ™
-
Star
-
œ œ ˙˙ ™™
-
-
œ #œ œ œ
stah
stah
stah
stah
stah stah stah stah
œ œ œ œ œ œ ‰ ‰ stah
œ
œ
-˙
œ
œœ ™™
splash - es
of
rain
-˙
on
vel
rain
on
b-œ
œ
splash - es
œ œ bœ
œ
of
#œ œ œ œ œ œœ
œœ
œ
œ œ œ #œ œ œ ˙˙
œœ
œ
stah
œœ -
‰
vet,
œ œ J
‰
vel - vet,
œ œœœ ™™
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#œ œ œ œ œ œ œœœ J
‰
° œ œ œ -œ œ œ œ & 29
S.
mf
œ bœ œ bœ J
œ œ J
2
star - splash - es of rain
on vel - vet, rain
mf
T.
B.
¢
& Œ™ ‹
star mf
Ϫ
-
star
-
mf
? Ϊ
{
Ϫ
-
star
œ œ œ œœ &
Pno.
? Ϊ
B.
Pno.
splash - es
of
bœ
bb œœ
? 9 œ™ ¢ 8
{
fin
-
-
9 bœ & 8 ‰ bb œœJ ? 9 b œœ ™™ 8
2
œœ
Ϫ
gers
from
œ ™ bœ ™
gers
œœ ™™
œ™ bœ ™
rain,
œœ b œœ J
U 6 bœ ##˙˙ ™™ 8
6 8
hands, mp
U n˙ ™
hands, mp
6 8 6 8 6 8
b œœ ™
2
, #-œ -œ
They are
U™ ˙
hands,
U™ ##˙˙ ™™ n˙ n˙U˙ ™™ ˙™
mp
vel - vet,
b˙™
crum
-
pled
2
9 8
I
do not
know,
-œ -œ
œ
œ
peo - ple
-œ ™
,#œ ™
are
Ϫ
#-œ ™
-
They
are
peo
-
#œœ
œœ
œœ ™™
bb ˙˙ ™™ 2
peo - ple
a
peo
#œœ ™™
Ϫ
I
ple
Ϫ
ple
œœ ™™
˙™
,
Ϫ
don't
™ -œ
˙™
,
Ϫ
Ϫ
-˙ ™
,
I
don't
know,
œ œ I
œ
9 8
b œœ bb œœ b œœœ œœœ ‰ 98 J
œ
They
##œœ ™™
2
9 8
b˙™
pled
-œ
#-œ -œ
œœ
b˙™
-œ #œ
œ
Ϫ
œœ
fin - gers
-
2
#-œ ™
#œ
‰
rain
2
a
j2 ‰ 9 œ b-œ œ œ 8
crum sub. p
œ œ œœ œœ œœ ‰ Œ ™ b œ J 2 2 œ b œ œœ b œ œ œ b œœ ™ œ œœ b˙™ ‰ j œ œ œœ
They are
,
mp
on
5
2
crum - pled
p œ b œ œ œ ‰ bsub. ˙™
2
fin - gers
2
splash - es of
, #-œ -œ
U n˙˙ ™™
hands,
from
œ ™ ˙˙ ™™ œ ™ b ˙™
œœ
on vel - vet,
2
2
crum - pled
-œ b œ œ œ ™ œ
bœ ™
mp
6 8
Ϫ
2
vel - vet,
sub. p2
splash - es of rain
of
œ
j 2 ‰ Œ™ bœ œ œœœ -
œ œ
-œ œ b œ œ
œ
j œ œœ b œœ
tired
2 9 ‰ b œj ˙ ™ &8 b˙™
9 & 8 bœ ™ ‹ fin
œ
splash - es
œœ nœœ œ bœ
from tired
T.
œ
° 9 bb œjœ œ ™˙ ™ œ ™ &8 ‰ J from
A.
œ
2
35
S.
œœ ™™
2
splash - es of rain on vel - vet rain
bœ
œ œ œ ‰ Œ ™ b-œ b œ b œb œœ œœJ ‰ 98 sub. p2
2
on vel - vet,
j & œ ‰ œ œ œ bœ œ œ œ œ œ -
A.
2
do
œ
-˙™
not
know,
œœ ™ #œ œ ™ œ œœ ™
œ œ™ œ
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know,
˙˙ ™™ ˙™ ˙™
,
6
° œ nœ œ & 41
S.
mf
From mf
& Ϫ
A.
From
& œ™ ‹ From mf
T.
B.
¢
A.
Ϫ
bœ ™
Ϫ
? Ϫ
From
an - oth - er
mf
{
œœ ™™ ? œ™ mf
Ϫ
œœ ™™ œ™
œ
bœ ™
4 &4
heart,
œ
Œ
b -œ œ
Ϫ
œ bœ
bb œœœ ™™™
° 4 & 4 b œœ œœ Œ ™ my heart, 46
S.
an - oth - er
an - oth - er
& œ nœ
Pno.
Ϫ
U bœ 9 œ bœ œ bœ œ b œ 8 b œ˙ ™œ œ ™ Œ ™ u oth - er count - ry: U ™ 9 8 bœ ™ œ ™ Œ œ ™ œ ™ b˙™ bœ™ 2
an -
T.
bœ œ
bœ
B.
Pno.
{
-
U 9 b˙™ 8
Ϊ
U œ ™ 98 ˙ ™
Ϊ
b˙™
count
-
bœ ™
ry:
ry:
bœ
™ bbb œœœ ™™
œ
bœ
Ϫ
words.
Œ 3b 4 ‰ œ̇ œ œ
3 4œ œ œ
Ó
2 bœ 9 8 bb œœ ™ œ œœ ™™ bœ™ p
9 b ˙˙ ™™ 8
U ˙™ U ˙™
But with - out words.
3 4œ œ œ
Ó
U ˙™
But with - out words.
U 3 4 bœ œ œ b˙™
Ó
my heart,
But with - out words.
4 œ & 4 b œœ b œ
Œ bœ œ œ œ œœ œœ Ó
? 4 b œœ 4
œœ
Ó
3
bœ
œ
3b 4 œ̇œ
œœ
œœ
3 4 b œœ
œœ
œœ
slower; chantlike, non rubato sotto voce think - ing
is in my
œj œ œ 4 7 bœ œ 8 b œœ œœ œœ œœ œœ œœ œœ 4 ‰
‰
p
What they are think - ing is in p sotto voce
7 8 bœ bœ
4 œœ œœ œœ œœ œœ œœ 4
7 bœ 8
œ œ œ œ œ œ 44
What they are think - ing is in psotto voce
What they are think - ing is in
psotto voce
7 bœ 8
œ œ œ œ œ œ 44
What they are think - ing is in
But with - out words.
my heart,
? 4 b-œ œ ¢ 4
œ
But with-out 3
count
œ
count - ry:
œœ ™™ œ™
my heart,
4 & 4 -œ œ ‹
mpsolo what they are
U ˙˙ ™™
U™ b ˙˙ ™
Ϊ
œ
œj œ œœœœ œœœœ
slower; chantlike, non rubato
œ 7 bœ 8 bb œœœ bœ
7 bb œœ 8
œ ‰ œœœœ œœœœ œœ
œœ
‰ œœœœ œœ
œ 4 œœœœ 4
œœ œœ œœ 4 4
o p 3 j j 4 2 ‰ j ‰ œ #œ œ œ œ 4 4 œ # œ œ - œ œ -œ ™ go. They are Now we must let them o p mp 4 2 Œ 4 4 ™ ™ œ œ -œ -˙
Tempo I mp
Now
let
go.
Ϫ
-œ ™
let
4 4˙ -
Ϫ
-œ ™
4 4˙ -
mp
Now
mp
Now
let
Tempo I
‰ œj #œ
mp
œœ ™™ œ™
go.
o Œ
Leav -
p
œ
p
œ
3
2 4 2 4
Leav -
go.
œ œ œ œ œœ ™™ œ™
o Œ
Leav -
4 j 4 œ œ™
‰ œj œ #œ 24
4 ˙˙ 4 ˙
Œ
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p
œœ œ
2 4
3 ° 2 4 & 4 œ -œ œ 4 ˙™
51
S.
just leav - ing
A.
T.
B.
Pno.
2 &4
œ
ing
2 &4 œ ‹
?2 ¢ 4œ
{
2 & 4 œ
Œ
˙™
ing
œ
4 4 ˙™
Œ
4 ˙™ 4
Œ
pp
Pno.
'dy the(y)
4 ˙˙ ™™ 4 ˙™
‰
pp
Œ
to scat - ter
j œ
3
3
{
Fo(r)
? w w
œ
œ œ #œ
œ œ œ œ
For
œ œ ˙
oh
o Œ
oh
o Œ
˙˙ ™™
œ œ œ
œ
‰ ‰
œ œ
œœ nœ œ b œœ
œ œ
œ
p
˙˙ ™™ ˙™
the wind to scat -ter them, mf
Œ
‰ b-œ œ b œ œ J
Œ
them.
ooh For
œJ œ œj œ
o Œ
‰ b œJ œ œ
scat - ter them,
mf
Œ
Œ
- œ b˙ bœ œ œ œ œ œ œ
? w ¢ w
ooh
oh
w w
‰ œj œ œ - œ
œ
œ
˙˙ ™™
The(y)
mp j œ œ -œ < n> œ ‰ œ -œ œ œ œ ˙ ‰ & ‹ For the wind to scat - ter them.
& w œ œ #œ
p
˙™
w w
p
B.
sigh un - de(r)
mf
For the wind
T.
˙
œ œ œ œ bœ œ œ œ b˙
& ‰ œ œ #-œ
o Œ
˙™
pp
° & w mp
A.
œ œ œ œ
3
Al
us.
œœ œ
3
œ
us.
œ
œ
#œ
‰ œj œ œ œ ˙
Œ
55
S.
pp
Œ
rea(d)
œ
3
Œ
7
their strained gold
4 4 ˙™
œ
Ó
us.
ing
? 2 œœ 4 œ
Œ
us.
4 4
œ
" Already they sigh under their strained gold" pp
mf
˙œ œ
bœ œ
œ
œ
œ
b˙ bœ J mf
œ
œ
œ
b˙
-œ œ
-œ b œ œ œ
scat - ter,
scat -ter them,
scat - ter
b-œ
the wind to scat -ter them,
œ˙ œ
scat - ter,
b-œ b œ bœ
scat - ter
œ bœ œœ b œ
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j œ b œ œœ œ bœ
œ œ
bb œœ b œ
8
° ‰ œ & J
mp
58
S.
Their
œ œ œ
œ œ ˙
look
blurred
mp
A.
j & ‰ œ œ Their look mp
T.
& œ ‹ them,
œ
? ¢ ˙
{
is
is
Œ
j ˙ nœ
° 5 #œ &8
œœ œ œ œ ‰ J j œ ‰ œœ J œ œ œ œ
we must let
A.
T.
B.
5 &8 5 &8 ‹
?5 ¢ 8
{
ppp
ppp
œœ nœ
them
∑ ∑
ppp
∑
-˙
b˙
They wait
Œ œ
b˙
They wait
œ
œ̇
Œ
œ
˙˙
œ J
5 #œ 8
Œ
˙˙ ˙ ˙
‰
œ
go,
pp
nœ œ œ œ
3
œ
half-whispered
They are sigh - ing, half-whispered
∑
ppp
œœ œ
œœ œ
œœ œ
p
5 8
U œj 5 œœ bb œ̇ œ b œ b œ œ 8 bœ p u œœ bU 5 bw w 8 3
3
them
∑
3 4
ptutti ‰ œj 44
œ œ™ J go,
Now
3 3 ‰ œj œ œ œ œj ‰ 4 4 4 -
3 4 ‰ œJ
-œ 3œ œ -œ J ‰
4 4
3 œ 4‰ J
-œ 3œ œ -œ J ‰
4 4
They wait for the wind.
half-whispered 2 ‰ œ œ -œ œ 5 4 8
œœ 2 ‰ œ 4
5 8
They wait for the wind.
2 ‰ œ œ -œ œ 5 4 8
œ J
U 5 8 b œœ
the wind. 3
∑
Now
œ bU w
3
œ œ œ œ œ
we must let
wind.
5 8
the wind.
œ̇ b œ bb ˙˙
bœ
œj
p solo
U œ bw
3
3
2‰ œ œ œ œ 5 4 8 -
‰
the
for
œ
wind
œ b˙
3
Now
2 œ 4
3
for
-˙
pp
the
for
∑
They are sigh - ing,
chantlike; molto rubato
? 5 8
2 4
˙
They wait
Œ œ
˙
œœ œ
-˙
They are sigh - ing,
5 #œ & 8
Pno.
pp
blurred
62 chantlike; molto rubato
S.
Œ œ
blurred
for
wait
pp
blurred
j ‰ œœ J mp
?
They
˙
œ
3
Œ œ
‰ œj œ nœ ˙
them,
&
Pno.
‰ œj œ
look
mp
B.
is
3 3 U -œ œ œ b œ œ œ b œ œ b œ œj œœ ™™
pp
They wait for the wind.
5 #œ 8 5 8
3
œ œ œJ œ œ ∑
3 4 œJ œ ™ œœ œ 3 4 ‰ J
ppp
œœ œ
œœ œœ œ œ 3
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‰ œj
œœ œ ‰ J p
4 4 4 4
° 4 j & 4 œ #œ 66
S.
non rubato
we
4 &4
A.
9
j œ -œ œ œ œ œ 3
must let
Now
˙
let
˙
go,
4 &4 ˙ ‹ Now
˙
let
˙™
go,
˙
˙™
?4 ¢ 4˙ p
B.
{
Now
non rubato
j œ
œ
? 4 ˙˙ 4 ˙
° & œ 69
S.
&
A.
B.
Pno.
¢
œ
œ
œ
go...
˙™
?
Œ
Œ
Œ
˙˙ ™™ ˙™
? ˙˙ ™™ ˙™
‰
Œ
w w w
j œ #œ
œ
ppp
Œ
go,
pp
w w w
Œ
˙™
go,
∑ ˙˙ ™™ ˙™
let
w
go...
w
o
let
go...
w
U w
o
ppp
Œ
œ
o
U
w
U w
let
∑
œ
∑
ppp
w
œ
œ
∑ Œ
˙™
w
rit.
Œ
Œ
∑
˙™
let
˙™
w
let
pp
go,
w
go,
let
˙™
& œ
w
them
let
ppp
let
& ˙™ ‹ go,
let
w
Œ
pp
Œ
must
let
˙™
o
w
pp
{
3
œ
rit.
˙™
Œ
go,
˙˙ ˙
go,
T.
now we
˙™
let
4 j & 4 œ #œ
Pno.
go,
p
p
T.
them
˙™
‰ œj #œ œ œ -œ œ œ
Œ
go...
∑
w w w
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∑ U w w w
About the Composer: Duncan Tuomi (b. 1994) is a choral conductor and award-winning composer based in Los Angeles, California. He currently studies choral music in the Master of Music program at the University of Southern California and studies composition with Dr. Frank Ticheli. In recent years, Tuomi has assisted the leadership of numerous middle and high school choral ensembles around the Portland, Oregon area, most notably the Tsunami Chorus of the Pacific Youth Choir, worked as a soloist with Portland’s Bach Cantata Choir, and served as the Tenor/ Bass Repertoire and Resources chair for Oregon’s chapter of the American Choral Director’s Association (ACDA). He holds a Bachelor of Music Degree in Vocal Music Education from St. Olaf College, where he studied under Dr. Anton Armstrong and Dr. Christopher Aspaas, among many others. He has also worked as a section leader with the Corvallis Repertory Singers, and as a performer with Eugene Opera. As a composer, Tuomi was the first-place winner of the American Choral Director’s Association’s Raymond W. Brock Memorial Student Composition Competition for 2021. He has had works premiered by the Pacific University Chamber Singers under the direction of Dr. Scott Tuomi, and the University of Portland Chamber Singers under the direction of Dr. Michael Connolly, and was commissioned to compose for the 10th annual Brothers, Sing On! Tenor/Bass Choir Festival in 2018.
About the Piece: "Flowers Faded and Gone was composed for the PREMIERE|Project of Choral Arts Initiative's 2022 season. The text, by child poet Hilda Conkling, depicts the wilting of a bowl of calendula flowers. There is a profound innocence and wisdom to the poem, which I used in this case to represent my experience with the loss of my grandparents, Dick Walters and Lenora Tuomi, both of whom passed in 2021. The soprano solo in this work represents an amalgam of Conkling, and myself as a child, extending love and consolation to my mother and father, each of whom had just lost their own father and mother respectively. The music moves through keys as it navigates the path between grief and acceptance, ultimately never finishing in a defined home key, as even acceptance does not mark the end of grief, just the point at which living feels possible again.
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.