Composer's Note:
"If You Were Coming in the Fall" began as an art song. I loved the poetry, and the melody came to me almost immediatly after reading it. Once it was through, it seemed to lend itself well to ensemble singing, so I set it for treble and mixed choirs.
Emily Dickinson’s poignant poem If You Were Coming in the Fall, captures the tender longing and emotional complexity of waiting for a loved one. Dickinson’s text, written in her characteristic style of concise yet profound imagery, explores themes of love, anticipation, and the passage of time. The poem’s speaker muses on the hypothetical return of a beloved, measuring the wait in vivid metaphors—from counting seasons to unraveling the threads of time itself.
Emily Dickinson (1830–1886) was an American poet whose innovative and enigmatic verse made her one of the most important figures in American literature. Born in Amherst, Massachusetts, she lived a largely reclusive life, producing nearly 1,800 poems, though only a handful were published during her lifetime. Her poetry is characterized by unconventional punctuation, slant rhyme, and concise, striking imagery that explored themes of death, immortality, nature, love, and the inner life of the soul. Though she withdrew from public life, her work reveals a keen intellect and emotional depth, blending wit and intensity in ways that were ahead of her time. After her death, her poetry was gradually published and came to be recognized as foundational to modern American poetry.
Rehearsal Notes:
The form is strophic, and every voice part gets a chance at the tune in both the verse and refrain. Singers should always be mindful of dynamics in this piece, as the melody is shared among all voices throughout.
The piano part is both supportive and artstically independent, and players should pay special attention to the left hand, being sure not to play it too softly.
Vocal c-flat (as in measure 8, but also throughout) is worth isolating in the first rehearsal, so as to establish the minor iv chord (with a V in the bass). This harmonic vocabulary is the essence of the entire piece, as it evokes longing and, perhaps, an acknowledgement of the eventual outcome.
That said, the final cadence of the piece is noncommital (both lyrically and harmonically), and is intended to leave both performers and listeners to wonder (or to decide for themselves) how the story ends.
Text:
If you were coming in the fall, I would brush the summer by with half a smile and half a spurn as housewives do a fly.
If only centuries delayed, I'd count them on my hand.
If certain when this life was out that yours and mine would be, I'd taste eternity.
If I could see you in a year, I would wind the months in balls, and put them each in separate drawers until their time befalls.
If only centuries delayed, I'd count them on my hand.
If certain when this life was out that yours and mine would be, I'd taste eternity.
But now, uncertain of the length of this that is between, I offer thee that love is life and immortality.
If only centuries delayed, I'd count them on my hand. If certain when this life was out that yours and mine would be, I'd taste eternity.
If you were coming in the fall, if I could see you in a year, if only centuries delayed...
3:30
Withquietreflectionq=76
Pedal harmonically throughout
mp
Ifyouwerecoming - inthefall, Iwouldbrushthesummer - by simile &bbb mp
Ifyouwerecoming - inthefall, Iwouldbrushthesummer - by simile &bbb mp
Ifyouwerecoming - inthefall, Iwouldbrushthesummer - by simile
mp
pocorit.
If mfon ly - cen-turies - delayed, - I'dcountthemon my hand. If -
If mfon ly - cen-turies - delayed, - I'dcountthemon my hand. If -
If mfon ly - cen-turies - delayed, - I'dcountthemon my hand. If -
cer-tainwhen thislife wasout thatyoursandminewouldbe, I'dtasteeter - -ni ty. mp -
cer-tainwhen thislife wasout thatyoursandminewouldbe, I'dtasteeter - -ni ty. mp -
cer-tainwhen thislife wasout thatyoursandminewouldbe, I'dtasteeter - -ni ty. mp
∑ mplegato
If I could see you, if I could &bbb
∑ mplegato
If I could see you, if I could &bbb
If mf I melody couldseeyouina year, Iwouldwindthemonthsinballs,
&bbb ?bbb mp &bbb
see you sep'rate - drawersuntil - theirtimebe falls. non.dim.&bbb
see you sep'rate - drawersuntil - theirtimebe falls. non.dim.&bbb andputthemeachinsep'rate - drawers until - theirtimebe falls. non.dim.&bbb ?bbb
pocorit.
If mfon-lycen-tur-ies delayed, - I'dcountthem onmy hand. , If -
If mfon-lycen-tur-ies delayed, - I'dcountthem on my hand., If -
If mfon-lycen-tur-ies delayed, - I'dcountthem on my hand.
cer-tainwhenthislife wasout thatyoursandminewouldbe, I'dtasteeter - -ni ty. non.dim. -
certain - whenthislife wasout thatyoursandminewouldbe, I'dtasteeter - -ni ty. non.dim. -
cer-tainwhenthislife wasout thatyoursandminewouldbe, I'dtasteeter - -ni ty. non.dim. -
But f now, appassionato
*uncer - -tainofthe length of this, thatis between, legato I
But f now, appassionato
*uncer - tain - of thelengthof this, thatis between - I legato
But f now, appassionato *uncer - -tainofthe length of this, thatis between, I legato
moltorit. moltorit.
on ly - cen tur - -ies delayed - I'dcount themon my hand, , if -
on ly - cen tur - -ies delayed - I'dcount themon my hand, , if
on ly - cen tur - -ies delayed - I'dcount themon my hand,, if -
certain - whenthis lifewas out we would be, I'dtasteeter - -ni ty. mf -
cer-tainwhen thislife wasout thatyoursandminewouldbe, I'dtasteeter - -ni ty. mf -
cer-tainwhen thislife wasout thatyoursandminewouldbe, I'dtasteeter - -ni ty. mf -
If mf you dolce werecoming - inthefall, if Icouldseeyouina year,
