SSAA a cappella, with divisi Duration ca. 5’15”
MUSIC BY Katerina Gimon WORDS BY Lauren Peat
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
For the singers of Sirens Choir I caught a glimpse of her image in my garden, and for weeks tilled sand, silt, and soil, losing myself to the earth—still I could not root her there. I caught a glimpse of her image in a nearby glade; for hours I rushed past the thin limbs of trees, confusing my breath with their whispering: you will never reach her there. I rushed as far as a far-off cataract, and caught a silver glimpse of her image there. How many times my arms parted its waters—relentless waters that declined to release her there. I caught a glimpse of her image in a fountain; with a frantic hand I split the stillness to retrieve her there. I had all but lost her image, when something in me settled, then glanced back— as if it were simply this she had been waiting for. Or as if I too had waited, and been patient there.
Note from the poet: Every choir is by definition a collective, and therefore a community—of voices, of course, but also of personalities and occupations, of pasts, presents, and futures. A community, in short, of stories. The beauty of every choir, I think, lies in this fundamental contradiction: that it exists as both “one voice” and “many voices.” In Her Image is at once a celebration of sisterhood, in honour of Sirens Choir, and an exploration of what it means to be a unison of “one” and “many.” As with most of my writing, I had to walk through this poem in order to arrive at its ending; I too had to move through the garden, the glade, and the waterfall, in order to settle into the idea that togetherness is, perhaps, less a quest than an acknowledgment of what is already present. Togetherness might be something like a four-part, SSAA choir: a collective that recognizes its different stories, and lends its voice to celebrating them. A fountain that lifts many currents to form a pool that “glances back.”. Note from the composer: Mirroring the poem and the journey it describes, through the music I tried to evoke a sense of curiousity, longing, and at times, uneasiness. To convey this, as the piece unfolds it explores a number of musical ideas and textures, all the while with a steady growing sense of unease underneath (as the search for "her image" continues). Eventually, she sees a glimpse of what she has been searching for somewhere unexpected. The music then begins to shift and settle as she discovers "her image" quite close to where she began her journey.
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
Katerina Gimon
Lauren Peat
p (feeling of 8/8 with 123 123 12 subdivision) bb 4 & b 4 œ œ œ œ œ œ œ œ œ- œ > > q = 80
S
b 4 &bb 4
A
Dun
da day ah
dun
da day ah
w
p
dah
∑
(feeling of 8/8 with 123 123 12 subdivision)
œ œ œ œ œ œ œ œ œ- œ > >
Dun
ª 3 S
A
&
bbb
simile
œ
dun
b &bb w ª
S2
A
da day ah
œ œ œ
&
w
da day ah
dah
œ
œ
I
da day ah
œ œ œ
caught a glimpse
œ
dun
œ œ œ
da day ah
œ
dah
da day ah
dah
w
dun
b &bb œ bbb
dun
œ
œ œ œ
œ
b &bb Œ
dun
œ
dun
divisi
simile
P œ
5 S1
œ œ œ
da day ah
œ œ œ
da day ah
œ œ œ œ.
of her
i - mage,
œ
˙.
œ
dun
œ œ œ
da day ah
Œ
œ
œ
dah
œ œ
in
my
œ œ dah
œ œ œ œ œ œ œ œ œ
dun
œ
da day ah
dun
da day ah
Music © Katerina Gimon, September 2019 | Text © Lauren Peat, 2019 Please report performances at www.katerinagimon.com
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
dah
divisi
4
b & b b œœœ
7 S1
A1
A2
˙
bb
dun da day ah dun da day ah dah
& b w & b w
b & b b œ.
S2
A1
A2
& &
bbb
sand,
˙
bbb
b &bb
œ
dun
A1
A2
œ œ œ
& &
bbb
œ
-
-
œ œ.
œ
da day ah
bbb
&
j œ
‰
P
œ œ œ
œ
dun da day ah dun da day ah dah
œ œ œ
œ
los
los
-
-
-
dun
œ
œ œ œ
da day ah
œ
dah
Œ
œ
œœ
˙.
dah
œ œ œ -
-
œ
œ
-
œ œ œ -
œ œ œ
dun
œ
bbb
‰
œ
b &bb œ
12
S2
j œ
w
ª S1
and soil
tilled
dah
dun da day ah dun da day ah dah
silt,
‰œ œ
œ œ w
œ œ œ œ œ œ œ œœ
œ œ œ œ
œ
weeks
dun da day ah dun da day ah dah
ª S1
and for
œ
œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œœ
bb
10
œ œ œ œ.
Œ
b & b b œ œ œ œ œ œ œ œ œ œ ˙. gar - den
S2
˙.
œ
da day ah
dun
-
ing
-
œ œ
œ -
œ œ œ
da day ah
Ó
Œ
self
dun
dun da day ah dun dah
Œ
P œ œ œ œ w
da day ah dah
œœ œœ œœ œœ œ œ
œ œ œ œ
P
dun da day ah
j œ œ œ œ œœ
dah
œœ œœ œœ œœ ww
to the earth;
Œ
œ
œ œ œ œ œ
dun da day ah
dah
œ œ œ ˙
to the earth;
to the earth;
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œ
œ
my -
œ
ing
w
self
œ
œ
Í w
earth
w
Í w
earth
my -
œ
f f f f
F b &bb œ œ œ œ œ œ œ
A S1
S2
A1
A2
bb
still I could not root her there
& b
∑
&
bbb
∑
b &bb
∑
ª
S1
A1
A2
P w ah
b & b b 42 ∑
P 44 œ œ œ œ œ œ œ œ
b &bb œ b &bb œ
dun
A1
A2
caught a glimpse of her
dah
dun
œ
dun
dah
dun da day ah dun da day ah
œ
dah
˙.
œ
œ œ œ
dun
da day ah
œ
dah
œ
dun
w
œ œ
glimpse of her i-mage,
in
da day ah
œ œœœ œ
da day ah
œ œœœ œ
œœœ œ
da day ah
da day ah
da day ah
œ œ œ
da day ah
dun
dun
dun
dah
œœœ œ
dah
da day ah
dah
Œ
‰
œ œ œ
œ
dun
da day ah
œ
dah
dun
œ
da day ah
œ œ œ
dah
œ
dun
œ
da day ah
œ œ œ
dun
œ
da day ah
œ œ œ
dah
dun
œ œ œ
œ
œ œ œ
œ
dun
œ
da day ah
œ œ œ
dun
œ
da day ah
œ œ œ
dah
da day ah
dah
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
a
œœœ œ œ
œ œ œ
dun
2 4
w
da day ah
da day ah
2 4
w
dun
b &bb œ
2 4
œ œœœ œ
dun
œ
2 4
œ œ œ œ œ.
˙
glade;
da day ah
i-mage,
œ œ
dun da day ah dun da day ah
œ œ œ
j œ œ- œ root her
œ œ œ œ œ œ œ.
dun da day ah dun da day ah
near - by
S2
œ
P 44 œ œ œ œ œ œ œ œ
b &bb œ œ œ
root her
œ.
b 2 &bb 4 ∑
22
j œ œ- œ-
œ.
P 44 œ œ œ œ œ œ œ œ
b 2 &bb 4 ∑
œ- œroot her
dun da day ah
P w
F a tempo bb b 2 ˙ 44 ˙ & 4
ª S1
P œ œ œ œ œ œ œ œ œœ œ œ œ œ
ah
I
S2
˙.
dun da day ah dun da day ah dah
B
5
P molto rit. Œ œ œ œ œ œ- œ- w still I could not root her...
a tempo
œ œ
œ J
for
œ
6 24 S1
b ˙ &bb
b &bb œ œ œ œ œ œ œ œ hours
S2
A2
bb
dun
da day ah
da day ah
dun
b &bb œ
da day ah
26
-
S2
b &bb œ
A2
dun
dun
-
dun
A1
A2
da day ah
œ
dah
da day ah
œ
œ œ œ
œ
œ œ œ
œ
-
dah
œ -
œ
dun
da day ah
dun
œ œ œ
da day ah
œ
œ
œ œ œ
œ
œ œ œ
œ
&
bbb
dun
-
da day ah
dun
b &bb Ó &
bbb
da day ah
Œ
F
dun
da day ah
dah
œœœ ˙ my
breath
dun
da day ah
dah
j œ œ
limbs
of trees
œ œ œ œ
dun
da day ah
dun
œ
‰ œ œ œ
con - fu -
œ œ œ œ œ
da day ah
dun
œ œ œ œ
dun
con - fu -
dun
œ œ œ œ
da day ah
da day ah
dun
da day ah
my
breath
œ
œ œ
œ
œ
œ
dun
œ œ œ
da day ah
œ
dun
da day ah
œœ
œœ œœ œœ
œ
œ
my
œ
dah
dah
dun
breath
da day ah
œ
f ˙
-
f
f
˙
dun
p ˙ p
m subito
˙
p
m subito
˙
m
œœ
dah
œ œ œ œ
dah
per - ing: subito
dah
Œ
œ œ œ
C
œ
Œ
œ
sing
dah
œ œ œ œ œ
œ
˙
œ œ œ œ œ œ œ œ œ da day ah
thin
p f œœ œœ œœ œœ œœ œœ .. œ ˙
œ œ œ œ œ œ œ œ œ
dun da day ah
the
‰ œ œ œ
œ œ
with their whis
b &bb Πb &bb
-
œ œ œ œ œj
œ.
œ
œ
sing
œ
-
28
S2
dah
œ œ œ
ª S1
da day ah
b &bb œ -
A1
œ
& b œ œ œ œ œ œ œ œ
ª S1
I rushed past
b &bb œ œ œ œ œ œ œ œ dun
A1
œ œ œ
‰
my
breath
∑ ∑
Ó
Œ
œ œ
You will
œ- œ œ œ œ œ œ
You will ne - ver reach her there.
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31 S1
S2
A1
bb
‰
∑
& b b &bb Ó
œ- œ œ œ
Ne - ver reach her
b &bb œ - œ œ œ ˙ ne - ver reach her
A2
b &bb w
ª
S1b
S2a
S2b
A2
˙. w w
subito
F
3 4 ˙.
divisi
You
divisi 34 œ- œ ˙. ne - ver F 34 œ œ- œ œ œ œ You will ne - ver reach her F 3 4 ˙. You
p >œ œ . œ
, ƒ f subito p * j j bbbb & ˙. ˙. ˙ œ œœ œ. œ œ. œ > > there there ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I f , ƒ bb bb b j j bb & ˙. ˙. ˙. ˙ œ œthere
A1
You will ne - ver
F
ƒ , * >œ œ . ˙ ˙ œ -j b b b ˙. J œ b there there ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ there ~~~~~~~~~~~~~~~~~~~~~~~~~ I f subito p ƒ , * -j b b > bb œ œ œ. œ ˙ ˙ ˙ œ . . b & J œ bb there there ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I ,ƒ f j b j bbbb œ œ œ œ ˙ œ . œ œ- œ œ œ œ &bb œ œ œ œ œ œ œ > Ne - ver reach her Ne - ver reach her Ne - ver reach her there I f , jƒ b b bb b jœ b b œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ f b &bb œ
34 S1a
œ œ œ- ˙
7
Ne - ver reach her
Ne - ver reach her
Ne - ver reach her there
I
bbb
there
I
*hold the initial "there" (on beat 1) then re-enter individually with the boxed idea (on beat 2 as notated or anytime after). Repeat the boxed idea until the line with the arrow ends. Increase the frequency of entries as you crescendo to fortissimo.
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44 44 44 44 44 44
8 D S
bb 4 &bb 4 œ œ >
œ
rushed as
A1
far
bb 4 &bb 4 œ œ >
A2
b & b b b 44 j ‰ œ > rushed
œ
œ œ œ
œ
as
œ
rushed as
œ œ œ
far
as
Œ
S2
A1
A2
& ª
A1
j œœ -
‰
F j œ-
rushed
as
‰
b & b bb ‰
far
b j & b bb œ œ >far
a
œ
œ
œ
œ
sil - ver glimpse
œ
sil - ver glimpse
Œ
‰
œ
caught
œ a
œ
rushed as
far
j œœ ‰ > œœ
par
œ
œ
sil - ver glimpse
œ œ œ
œ
œ
œ
as
œ a
Œ
‰
j œœ I
œI
j œ-
rushed
œ
‰
-
œœ œ œœ œœ œœ œ
ted its wa - ters,
i - mage there,
j œœ >
cat - ar - act,
œ œ
of her
j œœ -
As
œ œ œ œ œ
of her
of her
œ œ œ
sil - ver glimpse
Œ
œ
Ó Œ
a far - off
rushed
˙. Œ
œ
‰
œ œ
Œ
and caught
I
my arms
‰
a
œ
I
F ‰ œ œ
F j œœ -
‰
man - y time
bb &bb œ œ œ
Œ
œ
cat - ar - act,
Œ œ œ.
and
and caught
œ
œ
œ
j œœ ‰ > far
œ œ œ
as a far - off
œ œ œ. œ
and caught
œ
œ >
I
j ‰ Œ œ > rushed
b & b bb œ
œ
œ
her i - mage there.
œ œ œ œ œ œ
i - mage there,
A2
Œ
i - mage there,
How
S2
cat - ar - act,
Œ
42
S1
a far - off
œ œ œ œ
b & b bb œ > bbbb
‰
i - mage there,
b & b bb œ œ œ œ &
œ œ œ
cat - ar - act,
F r ‰ ≈ œ œ œ œ œ ˙.
40
bbbb
‰
As
ª S1
a far - off
œ œ œ
divisi
œ Œ
‰
Œ
‰ œj
re -
‰ œj
re -
‰ œj
F subito p œ œ œ œ œ
re -
par - ted its wa - ters,
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9
ß p (subito) >œ œ .. ˙ .. bbb œ ˙ œ œ œ œ . . œ œ œ œ b œ. œ œ œ œ œ. œ œ &
44 S1
p
subito
S2
A1
A2
ww
subito p Í bb b & b œ. œ œ œ œ œ. œ œ œ. œ œ œ œ œ. œ œ w lent - less
&
bbbb
wa
-
ters
that de - clined
to
re - lease her
wa
-
ters
that de - clined
to
re - lease her
w
b & b bb ˙
wa
-
ters
Œ
that de - clined
to
re - lease her
œ œ œ. œ œ œ œ œ. œ œ
that de - clined
to
re - lease her
ƒ
there
subito
lent - less
ƒ
there
Í p œ. œ œ œ œ œ. œ œ œ. œ œ œ œ œ. œ œ w
lent - less
ƒ
w
Í
there
w
ƒ
w
there
ª E S
b & b bb Œ
œœ I
œœ œ œœ œœ œ
œœ œœ œœ œœ .. œœ Œ œœ œœ œœ œœ œœ ˙˙ ..
caught a glimpse of her
b & b b b ww
ah...
ª
f j. . œ œ œ b œ œ œ œ & b b b Œ œœ œœ œœ œœ œ œ œ œ œ . Jœ œ œ
52 S
With a fran - tic
A
b & b b b ˙w.
hand
in a
I split
ww
F Œ œœ œœ œœ
the still - ness
to
ww
œœ ˙˙ ..
p divisi œœ Œ Ó
re - trieve here there.
gradually warm sound as you dim. to F
œ
˙w
˙
ww
Ó
foun - tain
ww
strong, full, bright, bagpipe-esque
A
i - mage,
˙˙
ww
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www
10
p
F S1
bb & b b œ œ œ œ œ. œ œ œ. I
S2a
S2b
A
bb &bb
∑
bb &bb
∑
& ª
bbbb
π ww
S2a
S2b
œ I
poco a poco cresc.
P
had all but lost
bb &bb Ó
p
∑
œ I
œ œ
œ œ. œ œ œ.
had all but lost
her i - mage
ww
P
I
bb & b b œ. œ œ œ. ˙
˙
bb & b b ww
ww
her i - mage
œ I
her i - mage
œ œ had
all
œ
but
F
her i - mage
I
had all but
had all but lost
˙
œ œ œ œ
her i - mage
œ œ œ œ œ. œ œ œ. I
had all but lost
˙
I
P
œ œ. œ œ œ.
œ. œ œ œ œ œ . œœ
w
lost
œ œ
F
her i - mage
had all but
∑
ww
œ œ œ œ œ œ. œ œ . ˙
bb &bb w
lost
A
p
ah...
I
S1b
her i - mage
bb & b b œ œ œ œ œ. œ œ œ.
60 S1a
had all but lost
w
divisi
P
had all but lost
her i - mage
w
œ œ œ œ œ. œ œ œ. ˙ I
had all but
lost
her i - mage
ww
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f
bb ˙ &bb
63 S1a
S1b
f
S2b
A
&
bbbb
œ
her i - mage
œ œ f
œ
bbb œ . œ œ œ . ˙ b & her i - mage
b & b bb w b & b bb œ . œ ˙ .
A
&
bbbb
&
bbbb
œ. œ ˙.
set - tled
ww
œ œ. œ œ œ. œ
œ all
but lost
œ
her i - mage
I
had
i-mage
her
all but lost
I
had
œ œ œ
I had all but
œ œ. œ œ. œ
œ œ
I had
all but lost
her i - mage
her
F
when some - thing
˙
in
me
set - tled
ƒ f œ. œ œ œ œ œ. œ œ œ œ.
ƒ f œ. œ œ œ œ œ. œ œ œ œ.
some - thing
some - thing
me
œ. œ œ œ œ œ. œ œ
all but lost when some - thing
ƒf œ. œ œ œ œ œ. œ œ œ œ. some - thing
in
in
me
ww
w
ww
œ
F j œ œ . œ ‰ œ œ œ. œ œ œ œ œ. œ œ œ œ
ww
set - tled
S2b
her i - mage
b & b b b ww
lost
S2a
had
I had all but lost
66
S1b
I
œ œ
F
her i - mage
lost
F
˙
œ œ œ œ. œ œ œ. œ œ œ œ œ œ
ª S1a
f
but
all
œ œ. œ œ œ.
I had all but lost
b & b bb Œ
œ œ œ
I had
b œ. œ & b bb œ . œ œ lost
S2a
œ
œ. œ œ œ. ˙
11
in
in
me
me
set - tled
set - tled
ƒ œœ œœ .. -
set - tled
f œ œ œ f œ œ J
p ˙.
subito
and glanced
f œ œ J f j œœ œœ
p ˙. p ˙.
Œ
nnnb
Œ
nnnb
Œ
nnnb
back:
p ˙˙ ..
subito
and glanced
nnnb
back:
subito
and glanced
Œ
back:
subito
and glanced
nnnb
back:
subito
and glanced
f œ œ J
p ˙.
Œ
back:
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12
P & b ‰ œJ œ œ œ œ œ œ
G S
q = 60
œ œ œ œ œ œ œœ
P & b ‰ œJ œ œ œ œ œ œ
as if it were sim - ply this
A
74 Solo
S1
S2
A1
A2
she had been wait - ing for.
œœ œ œ œ
as if it were sim - ply this
ª
∑
& b œ. ‰ Ó
∑
∑ & b œ. ‰ Ó P & b œ. ‰ œ œ w œ œ and been pat - ient
ª
Ó
S1
S2
A1
ã
Œ œ œ œ œ œ. œ œ œ . œ œœ œ œ
divisi
Or as if
∑
dah
w
wæ
&b w
& b œ œ œ œ- œ ˙ &b ˙
P Ó œ œ œ œ œ > > dun da day ah dun
and glanced back.
wæ
S1b fade out by the end of the bar
divisi
œ œ œ œ œ œ œ œ œ- œ w > >
dun da day ah dun da day ah dah
w
œ œ œ œ w
and been pat - ient
too had wait - ed
w when something in me settled...
& b wæ
I
p repeat text individually on given pitch (vary rhythm/speed) ˙æ wæ
dun da day ah dun da day ah
there.
da day ah dah
A2
˙˙
too had wait - ed
[dun da day ah dun da day ah dah] P œ œ œ œ œ œ œ œ œ- œ w > >
78
Solo
œ œœ
I
divisi
Solo (spoken): I had all but lost her image...
a tempo
& b œ. ‰ Ó
Œ œ œ œ œ Nœ. œ œ œ œ Or as if
she had been wait - ing for.
H q = 80
ã
˙˙
rit.
there.
œ œ œ œ œ œ œ œ œ- œ > > dun da day ah dun da day ah dah F ˙
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
œ
and
œ œ œ
been pat - ient
81 S1a
S1b
S2
& b wæ &b Œ
A1
A2
œ
œ œ œ
F &b œ œ œ œ œ œ œ œ > > dun
I
da day ah
œ
caught a glimpse
dun
œ- œ
da day ah
dah
&b w
83 Solo
S1a
ã
& b œ œ.
i - mage,
S1b
S2
A1
A2
P œ œ œ ˙
&b w & b ww
there.
œ œ
caught a glimpse
of her
˙
w
F œ œ œ œ >
da day ah
œ œ œ œ > dun da day ah œ œ
and
œœ
been
P œ œ œ
da day ah
da day ah
œ
œœ
œ œ
dah
pat - ient
U w
w
U
oo
œ œ œ œ œ>
dun
œ-
w
ww
P
oo
&b œ œ œ œ > dun
Œ
œ
i - mage,
œ œ œ
molto rit.
something in me settled and glanced back.
&b Œ
œ œ œ œ.
˙
there
œ
I
of her
dun
&b w
ª
F œ
Œ
F œ
13
dah
œ
U
w
P œ œ œ œ œ œ œ œ œ > dun da day ah and been pat - ient P ˙ ˙ œ œ œ œ and been
pat - ient
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.
ww
U
w
there.
U
w
there.
Named as one of Canada's ‘hot 30 classical musicians under 30’ by the Canadian Broadcasting Company; composer, improviser, and vocalist Katerina Gimon's uniquely dynamic, poignant, and eclectic compositional style is rapidly gaining her a reputation as one of the most distinctive emerging voices in contemporary Canadian composition. Katerina’s music has been described as “sheer radiance” (Campbell River Mirror), “imbued...with human emotion” (San Diego Story), and capable of taking listeners on a “fascinating journey of textural discovery” (Ludwig Van). Her works have been performed across Canada, the United States, Europe, and Asia at prominent venues such as Carnegie Hall, Orpheum Theatre, and the Hong Kong Cultural Centre. Although originally from Southern Ontario, she is currently based in Vancouver, British Columbia, Canada.
Lauren Peat is a British-Canadian teacher, writer, translator, and lyricist. She began singing with the renowned Hamilton Children’s Choir, and most recently sang with the rising women’s ensemble Myriad. After studying modern languages and literatures at the University of Toronto, she completed an MFA in poetry from Boston University. Her poems have been featured at Boston’s Faneuil Hall, as well as in publications such as The Puritan and If You're Not Happy Now, an anthology by Broadstone Books. She is currently travelling and writing in Mexico, thanks to a Robert Pinsky Global Fellowship.
This score is not licensed for performance. Please visit MusicSpoke.com to purchase performance copies.