Judith Weir blue hills beyond blue hills for SATB chorus and string quartet
words by
Alan Spence
CHESTER MUSIC
Oct. 19
blue hills beyond blue hills words by Alan Spence I first warmth of spring I feel as if I have been asleep
summer rainstorm the afternoon raga quickening
crocuses where last week the slow lay thick
all night long that single mosquito
spring snow trying its best not to fall
big bruised clouds the colour of the storm
all morning the drip (of) melting snow from the trees
letting go of all the misery – swimming in the ocean
suddenly spring – my heart and the river full to bursting
swimming in the ocean – catching the wave, being caught by it
sun after rain after sun after rain
unbearable heat – the sudden rush of rain brings ease
blue hills beyond blue hills beyond blue hills
soothing me asleep the hush of the rain
that sweet cacophony (these) chirping birds this clear morning
dapple of light on the page making this poem
bright morning that bird I can’t name singing singing singing
dumb bumblebee bumps the windowpane again again again
Insects on a bough floating down river still singing II I’m falling up into it – big summer sky that old/new smell of fresh cut grass the yellow gorse making the sky more blue honeysuckle? jasmine ? the faintest trace in the night air drift of incense shimmer of sitar music long ago
the setting sun turns every window to stained glass [Kobayashi Issa] only the wind in the trees the far blue hills the late bee drowned in a jar of honey watching the sky darkening the moon brightening III Middle of the night – the thin time between worlds. The blinds are open. The moonlight streams in.
suddenly shivering my clothes are too thin – the first yellowing leaf
not light till nine/ dark again at four/ and in between/ rain
an apple rotting just where it fell the smell of autumn
dark already – the icy rain incessant
every autumn that has ever been – the tree half green half gold
it fades, it fades, the last light of the year
late evening light just touching the tops of the trees
another birthday – never mind the cold, fling the window open!
over the wall of the cemetery – sunflowers
My name in the book – year of my birth, a hyphen and then that blank space waiting to be filled in.
footballers training in the autumn rain – the new season why this ? why that ? (all night the rain on fallen leaves) as if any of it (mattered) – the autumn wind scrabbling, a mouse (behind) the skirting board (cold october night) cloud (of) starlings turning as one (in the evening light) (sleeping alone) all night that gate banging in the wind
And then it will be over, as over as it is for Shakespeare, Mozart, Lao Tsu, my mother and father and all the rest. V winter solitude in a world of one colour the sound of wind new year dawn red sun rising out of the black sea bright winter morning – how simple it all seems, how clear
autumn night the unanswered phone in the next room
snow falling everything in its place
IV
snow on snow making not a sound
turning back the clocks – how dark the night how cold making tea as if nothing had happened Last quarter, last third of my life? Either way it’s autumn, shading, shading into winter
[Matsuo Basho]
Let it all go. The new year enters. The earth turns in space. The waves crash on the shore. Let it all go.
Words by Alan Spence © Copyright, Alan Spence. All Rights Reserved. Reproduced by permission. Words by Kobayashi Issa and Matsuo Basho © Copyright, The Essential Haiku – versions of Basho and Issa, trans. Robert Hass, Bloodaxe Books, 2013 www.bloodaxebooks.com All Rights Reserved. Reproduced by permission.
Commissioned by BBC Radio 3 and first performed by the BBC Singers and the Ligeti Quartet conducted by Sofi Jeannin at Milton Court, London on 18th October 2019.
Duration c. 35 minutes
COMPOSER’S NOTE This 35-minute oratorio for choir and string quartet sets to music around 55 brief poems by the Scottish poet Alan Spence, mostly haiku, with occasional tanka (another, slightly longer, Japanese form). I have also included a couple of quotations from the historical Japanese poets Issa and Basho. Spence’s poems are taken from three collections (Seasons of the Heart, Clear Light and Morning Glory – mainly the latter two) which follow the progress of a year, and portray the passing of time through small changes in nature and everyday life. I have selected poems from these collections to create a five-movement cycle which approximately follows the seasons, starting with Spring, through Summer, Autumn, Winter and ending with a hymn to the New Year. The role of the string quartet is not generally to accompany the singers, but rather to punctuate their statements and to provide moments of repose or reflection. Alan Spence’s poems in their published form usually appear one to a page with a lot of clear space around them, and that is also the intention in this musical version. J.W.
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p
b œ b œ œ œ 3 œ. n œ ™ 4
mp
nœ
p
mp
nœ
mp
Ó Ó
˙
mf
œ bœ œ œ œ
3 4 bœ
œ
p
œ bœ bœ œ œ mp
œ
3 4 ˙™
mf
mp
˙
˙
mp
4 &4 Ó
Œ
p faint, distant
œ
The
4 &4 Ó ‹
Œ
?4 ¢ 4Ó
Œ
° 4œ &4
˙
mf
f
(foreground)
œ
4 & 4 œ nœ œ nœ œ œ œ
new
bœ
b˙
new
p faint, distant
œ
˙
new
p faint, distant
bœ
The
œ
œ
new
n˙
Ó
˙
Ó
n˙
Ó
p mf
œ
f
mf
p mf
f
mf
bœ
the
mf
˙™
Œ
year,
mf
œ
œ
the
˙™
œ
Œ
year,
˙ œ
bœ
the
p mf
(foreground) œ œ ? 44 œ œ œ œ œ ¢
Œ
year,
œ
mf
œ
the
˙™ ˙™
Œ
year,
(foreground)
B 44 ˙
f
b˙
p
Ó
˙
p faint, distant
The
œ
˙
œ œ p mf
˙
˙ œ bœ œ
bœ bœ œ œ œ
œ
bœ bœ œ œ œ
˙ ˙
˙ œ bœ œ
p
p
3 ™ 4 ˙
˙
mf
Œ
mf
p
œ
#œ
œ #œ œ #œ œ
mf
Vla.
œ nœ bœ œ œ œ
mf
nœ
œ
° 4Ó &4
(foreground)
Vln. 1
nœ #œ nœ œ #œ
nœ #œ
˙
Ϫ
mf
mp
The
T.
mp
f
615
S.
œ œ #œ œ
f
B Ó ¢
œ œ œ œ œ #œ œ
mf
& ˙
Vla.
Vlc.
p
œ #œ #œ œ œ
° œ &
Vln. 2
œ œ œ œ ˙
˙
mf
612
Vln. 1
œ œ œ
63
œ
˙
4 4 4 4 4 4 4 4
86 "
,
"
#
,
0
0
#
2
2
"
2
#
!
!
2
!
!
,
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
#
,
,
,
#
0
,
0
, !
!
#
#
0
0
0
#
0
0
0
0
0
8
!
"
#
!
, 1
0
!
, 1
0
!
, 1
0
#
!
, 1
0
"
#
#
% $ #
% $ #
% $ #
% $ #
#
#
!
#
#
88
"
!
"
#
#
!
,
0
,
,
,
0
,
0
0
0
#
0
#
,
!
0
,
0
#
,
#
!
#
!
#
!
89
,
,
"
,
#
#
#
2
2
"
#
#!
0
0
0
0
0
0
, 1
0
!
, 1
0
!
, 1
0
!
, 1
0
0
0
#! #
#! #
#! #
!
!
!
2
!
2
2
!
2
"
!
#
2
,
!
2
8
"
#
#
#
0
"
0
#
#
0
0
#!
#!
#!
#!
0
0
0
0
0
#
%
0
%
#
0
0
!
%
#!
#!
#!
%
#!
#
!
#!
#!
#!
#!
69
° & 647
S.
f
˙
let
go,
it
f
A.
& ## œœ
œœ
œœ
let
it
all
f
3
& #œ œ ‹ let it
T.
f
? # œœ B. ¢ Vln. 1
° &
Vla.
¢
let
œœ
˙˙
it
all
go,
‰
? # œj
‰
Vln. 1
° & &
Vln. 2
B
Vla.
œ
mp sub.
Vlc.
¢
?
œ. ‰ J
Œ
j œœ ‰ .
Œ
it
j œ. ‰
∑
Œ Œ
-˙ ˙ -˙
Œ
-˙
all
j œœ ‰ .
Œ
œ ‰ J
Œ
œœ ‰ Œ J
Œ
j œ ‰ Œ
it
pizz.
Œ
pizz.
Œ
pizz.
Œ
pizz.
mf
j œ ‰ œ j ‰ œ
mf
j œ ‰
mf
Œ
mf
Œ
˙ -˙
all
Œ Œ
j ‰ Œ œ j ‰ Œ œ
œ
˙
#˙ ™
it
all
go.
n ˙˙
# œœ it
#œ
3 4 œœ
œœ
let
™™
f
˙˙ ™™
™™
˙™
™™
˙˙ ™™
™™
f
3 4 nœ
let
all
go. f
˙
it
all
go. f
˙˙
it
all
go.
3 4 n˙™
∑
™™
mp sub.
3 4 ˙™
∑
f
œ
™™
˙-
œ
3 4 ˙™
∑
™™
#œ
3 n˙™ 4
∑
™™
˙ # -˙
#œ
f
mp sub.
-˙
f
mp sub.
-˙ f
all
it
Œ
let
mf
mp sub.
˙
Œ
Œ
all
mf
∑
go,
#œ
˙˙
Œ
all
#œ
mf
∑
go,
it
œ
˙
Œ
all
let
-˙
mf
∑
it
˙˙
mp sub.
3 4 œ œ
Œ
˙
œœ
f
mf
œ
let
go,
œœ
œ
˙˙
Let
œ
Œ
# ˙˙
3
œ
f
3
3 4 œ
mf
# œœ
-˙
mp
B.
all
mp sub.
it
? ¢ ˙˙ ™™
it
f
mf
Let
let
œ
mp sub.
all
œœ
#œ
-˙
3
œœ
˙ # -˙
f
it
## œœ
f
Œ
Let
& ˙™ ‹
go,
#œ
mf
mp
T.
let
let
mp
Let
˙
f
Œ
˙
& ˙˙ ™™
A.
œœ
B # œj
mf
˙
3
‰
° ˙™ &
go,
mf
œ #3œ # œ
f
Œ
# ˙˙
go,
j #œ
Œ
mf
all
‰
651 mp
S.
œ
j œ
&
Vln. 2
Vlc.
all
3
f
mf
œ #3œ # œ
p dolce
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
go.
Œ
˙˙
Œ
p dolce
˙˙
go.
Œ
˙
Œ
p dolce
˙
go.
Œ
˙˙
Œ
p dolce
˙ ˙
go.
∑
Œ
arco
Œ
arco
Œ
arco
Œ
arco
˙
mp still
∑
˙
mp still
∑
˙
mp still
∑
˙
mp still
˙™
˙™
˙™
˙™
˙™
˙™
˙™
˙™
˙™
˙™
˙™
˙™
CHESTER MUSIC part of The Music Sales Group 14/15 Berners Street, London W1T 3LJ www.musicsalesclassical.com