John Harbison
DARKBLOOM: Overture for an Imagined Opera
From the Rental Library of G. Schirmer, Inc. Date of printing:
Associated Music Publishers, Inc. New York, NY
John Harbison
DARKBLOOM: Overture for an Imagined Opera
commissioned by the Boston Symphony Orchestra James Levine, Music Director
Associated Music Publishers, Inc. New York, NY
Instrumentation 3 Flutes (3rd doubling Piccolo) 2 Oboes English Horn 3 Clarinets in B= (3rd doubling Bass Clarinet) 3Bassoons (3rd doubling Contrabassoon) 4 Horns in F 2 Trumpets in C 2 Trombones Tuba Timpani 3 Percussion 1. Marimba, Flexatone, Wind Chimes, Temple Blocks 2. Xylophone, Glockenspiel, Suspended Cymbal
3. Bass drum, Tom-toms, Bongos, Tambourine
Piano Harp Strings duration circa 7 minutes
Darkbloom: Overture for an Imagined Opera is what persists of an opera project I chose not to continue. Since material made for specific characters and situations has never been, for me, transferable, I am very fortunate to be able to collect up strands of the music in this overture, commissioned by the Boston Symphony for James Levine’s first season as Music Director. Vivian Darkbloom is just a secondary character in a famous and infamous American novel. I borrowed Darkbloom as a title because it affectively conjures up the mood of this overture. It serves as an emblem or anagram for the complex tragi-comic spirit of the story and its author. The overture begins with a theme, actually a weave of themes, associated with the male protagonist. Soon a long melody with simple accompaniment, allied with the young female lead, spins out until interrupted by a brief obsessive dramatic interlude, which concludes by alluding to the music of the opening. Then comes a short balletic scene, in which two young women play tennis, interrupted by laughter, and eventually invaded by the observing, controlling presence of the man. The opening music is then, for the only time, elaborated, until replaced by the long melody, attenuated, interrupted by the obsessive outburst again, eventually dissolving into a frail epiphany. I have no regrets about relinquishing the project. I no longer have interest in composing unproduceable operas. Nor do I have any difficulty in understanding why certain material, even in the realm of opera (which has harbored fratricide, patricide, incest and rape) is untenable on our present-day stages regardless of its artistic merit or its rendering. Though I regard my earlier engagement with this project as mis-guided, nevertheless I am as reluctant as any artist to part with good material and am grateful for the Boston Symphony’s invitation to write a short piece for its 2004-2005 season.
—John Harbison
DARKBLOOM: Overture for an Imagined Opera Andante, ansioso
John Harbison
= 54
1 2 Flute 3
1. Oboe
1 2
English Horn (English Horn)
3
1 2 Clarinet in B
(Bass Clarinet)
Bass Clarinet 3
2. 1 2 Bassoon
Contrabassoon
3 (Contrabassoon)
1 2 Horn in F
1. al sord. (brass) 2. al sord. (brass)
1. con sord. (brass)
3. con sord. (straight)
3. via sord.
3 4
Trumpet in C
1 2
Trombone
1 2
Tuba
Timpani
1
Percussion
2
3
Piano
E FGA B CD
Harp
Andante, ansioso
= 54
I
Violin II
Viola
Violoncello
pizz. Contrabass
Copyright Š 2005 by Associated Music Publishers, Inc. (BMI), New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.
Property of: G. Schirmer Rental Library Bellvale Road Chester, NY 10918 SUPPLIED ON LOAN ONLY
2 7 1 2 Fl. 3
a2 Ob.
ten.
1 2
E.H.
Cl. in B
1 2
B.Cl.
(2.) Bn.
1 2
Cbn. 2. con sord.
1. via sord. 1 2 Hn. in F
a2, senza sord.
ten. 4. al sord.
3 4
Tpt. in C
1 2
Tbn.
1 2
Tba.
Timp.
1
Perc.
2
3
Pno.
Hrp.
I Vn. II ten. Va.
Vc.
(pizz.) Cb.
3 13
a2
1 2 Fl. 3
(a2) Ob.
1 2
E.H.
Cl. in B
1 2
B.Cl.
Bn.
1.
1 2
Cbn.
(2.) 1 2 Hn. in F 3 4
Tpt. in C
1 2
Tbn.
1 2
Tba.
Timp.
1
Perc.
2
3
Pno.
Hrp.
I Vn. II
Va.
Vc.
Cb.
4., con sord.
via sord.
4 19
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
a2
1 2 Fl. 3 (a2) Ob.
ten.
1 2
E.H.
a2 Cl. in B
1 2
B.Cl. (1.) Bn.
1 2
Cbn.
(2., con sord.)
ten.
via sord.
1 2 Hn. in F 3 4 1. Tpt. in C
1 2
Tbn.
1 2
ten.
Tba.
Timp.
1
Perc.
2
3
Pno.
Hrp.
I
Vn. II ten. Va.
Vc.
Cb.
ten.
5 deliberato
25 1 2 Fl. 3
Ob.
1 2 cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
E.H.
Cl. in B
1 2 (2.) sost.
B.Cl.
(1.)sost. Bn.
1 2 cresc.
cresc.
cresc.
Cbn. cresc.
cresc.
cresc.
1 2 Hn. in F 3 4
Tpt. in C
1 2
Tbn.
1 2
Tba.
Timp.
1
Perc.
2
3
Pno.
Hrp.
deliberato I accomp.
Vn. II accomp. Va.
Vc. accomp.
Cb.
6 Con anima 32
a2
= 80
=
1 2 Fl. 3
Ob.
1 2 (cresc.)
E.H.
Cl. in B
1 2 (cresc.)
to Clarinet B.Cl. (cresc.)
Bn.
1 2 (cresc.)
Cbn.
(cresc.)
Hn. in F
1 2
3 4
Tpt. in C
1 2
Tbn.
1 2
Tba.
Timp.
1
Perc.
2
3
Pno.
Hrp.
Con anima = I Vn. II
Va.
Vc.
Cb.
= 80
7 38 1 2 Fl. 3
Ob.
1 2
E.H.
1 2 Cl. in B 3
Bn.
1 2
Cbn.
1 2 Hn. in F 3 4
Tpt. in C
1 2
Tbn.
1 2
Tba.
Timp.
1
Perc.
2
3
Pno.
Hrp.
I Vn. II
Va.
Vc.
Cb.
8 44
(a2)
1 2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Fl. 3 3
Ob.
1 2
E.H.
1 2 Cl. in B 3
Bn.
1 2
Cbn.
1 2 Hn. in F 3 4
Tpt. in C
1 2
Tbn.
1 2
Tba.
Timp.
1
Perc.
2
3
Pno.
Hrp.
I 3
Vn. II 3
3
3
3
3
3
3
3
3
3
3
3
3
Va. 3
Vc.
Cb.
3
3
3
3
9 50
(a2) 3
1 2 Fl. 3
3
Ob.
1 2
E.H.
1 2 Cl. in B 3
Bn.
1 2
Cbn.
1 2 Hn. in F 3 4
Tpt. in C
1 2
Tbn.
1 2
Tba.
Timp.
Mar.
3
1
Perc.
2
3
Pno.
Hrp.
3
I
Vn. II 3
3
Va. 3 3
Vc.
Cb.
10 55
Subito pi첫 mosso
(a2) 3
= 108
1 2 3
Fl.
3
3 3
Ob.
1 2 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
E.H.
1 2 Cl. in B 3
Bn.
1 2
Cbn.
a2, senza sord. 1 2 Hn. in F
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 4
Tpt. in C
Tbn.
1 2
1 2
Tba.
Timp. 3 3
3
secco
3
3
3
3
1 3
Perc.
2
3
Pno.
Hrp.
Subito pi첫 mosso 3
I 3
Vn. II 3
3
3
3
3
Va. 3
Vc.
Cb.
= 108
3
3
3
3
11 3
60
Allegro subito ( = 80) =
1 2 Fl. 3
Ob.
1 2 3
E.H. 3
1 2 Cl. in B 3
Bn.
1 2 3
Cbn.
(a2)
(open)
1 2 Hn. in F
3
3
a2 3 4
Tpt. in C
1. to straight mute 2. to Harmon mute, stem removed
1 2
3
chuisi
3
Tbn.
1 2 3
Tba.
Timp. 3
3
3
3
3
3
3
dim.
3
3
3
3
3
3
3
3
3
(Mar.)
1
Xyl. Perc.
3
3
3
3
3
2 cresc. 3
3
Pno.
staccatiss., cresc.
3
3
3
3
Hrp.
3
Allegro subito ( = 80) =
I Vn. II
Va.
Vc.
Cb.
3
12 pressando
66 1 2 Fl. 3
Ob.
1 2
E.H.
1 2 Cl. in B 3
Bn.
1 2
Cbn.
(a2) 1 2 Hn. in F
(a2)
3
3
3
3
3
3
cuivré
3 4 1., with straight mute
cuivré Tpt. in C
1 2 secco
Tbn.
1 2
Tba.
Timp.
(Mar.)
3
3
3
1 (Xyl.) Perc.
2 Tom-toms 3
Pno.
Hrp.
pressando I Vn. II
Va.
Vc.
Cb.
13 Pi첫 animato
73
= 95
1 2 Fl. 3
Ob.
1 2
E.H.
1 2 Cl. in B
Clarinet in B 3
Bn.
1 2
Cbn.
1 2 Hn. in F
3
3 4 3
(1.) Tpt. in C
1 2 secco 2., with Harmon mute, stem out
Tbn.
1 2
Tba.
Timp.
3
1
Perc.
2 Tamb. 3
Pno.
Hrp.
Pi첫 animato
= 95
pizz. I Vn.
pizz. II
pizz. Va.
pizz. Vc. (pizz.) Cb.
14 79
a2
1 2 Fl. 3 a2 Ob.
1 2
E.H. a2 1 2 Cl. in B 3 a2 Bn.
1 2
Cbn.
Hn. in F
1 2
3 4
Tpt. in C
1 2
Tbn.
1 2
Tba.
Timp.
1 (Xyl.) Perc.
2
(Tamb.) 3
Pno.
Hrp.
(pizz.)
I Vn.
(pizz.) II (pizz.)
Va. (pizz.) Vc. (pizz.) Cb.
15 L’istesso tempo 85
= 63
=
1 2 Fl. 3
Ob.
1 2
E.H.
1 2 Cl. in B 3
Bn.
1 2
Cbn.
1., open 1 2 Hn. in F 3 4 1. to Harmon mute Tpt. in C
1 2
Tbn.
1 2
a2, to cup mute
to mute Tba.
Timp. Mar. 1
(Xyl.) Perc.
2
B.D. 3
Pno.
Hrp.
L’istesso tempo arco I Vn.
arco II arco
Va. arco Vc.
Cb.
=
= 63
16 = 58 poco rit.
calmando
91
=
1 2 Fl. 3 2. Ob.
1 2
E.H.
1 2 Cl. in B 3
Bn.
1 2
Cbn.
(1.)
2., open
a2, al sord.
1 2 Hn. in F
3.
4.
3 4 chiuiso Tpt. in C
1 2
Tbn.
1 2
chiuiso
Tba.
Timp. (Mar.) 1
Perc.
2
3
Pno.
dim.
E F G A B C D
Hrp.
= 58 poco rit.
calmando = I
dim.
Vn. II
dim. Va. dim. Vc.
dim. (pizz.) Cb. dim.
17 Ballando, leggero
= 54
animando
97 1 2 Fl.
cresc. 3 cresc.
Ob.
1 2 cresc.
E.H. cresc. 1 2 Cl. in B
cresc. 3 cresc.
Bn.
1 2 sonoro
cresc.
sonoro
cresc.
Cbn.
Hn. in F
1 2
3 4 Tpt. in C
1 2 with cup mute
4
4
Tbn.
1 2 leggero with mute 4
4
Tba.
leggero coperto 4
4
4
Timp. dim. Flexatone 1
Sus. Cym. Perc.
2
Bongos 3 cresc.
Pno.
l.v. (lunga)
Hrp.
Ballando, leggero
= 54
animando
gl. I cresc.
(dim.)
Vn.
gl. II cresc. (dim.) Va. gl. (dim.)
sul C
cresc.
gl.
Vc. gl. (dim.)
cresc. arco
Cb. sonoro
cresc.
18 Pi첫 mosso
102
= 63
calmando
1 2 (cresc.)
Fl. 3
2.
(cresc.) Ob.
1 2 (cresc.)
E.H. (cresc.) a2 1 2 Cl. in B
(cresc.)
ridente
3 (cresc.)
Bn.
1 2 (cresc.)
Cbn. (cresc.) con sord. 1 2 Hn. in F
ridente 3 4 with Harmon mutes
Tpt. in C
1 2 (with mute (cup))
ridente
Tbn.
4
4
1 2 (with mute)
dim.
4
4
Tba. dim. 4
4
Timp. dim.
T.Blk. 1
Glock. Perc.
2
3 (cresc.)
Pno.
dim.
Hrp.
Pi첫 mosso
= 63
calmando
I (cresc.)
Vn.
dim.
II (cresc.)
dim.
Va. (cresc.) dim. Vc. (cresc.) pizz.
dim.
Cb. (cresc.)
dim.
19 Ballando 108 1 2 Fl. 3 cresc. Ob.
1 2 cresc.
E.H. cresc. 1 2 Cl. in B
cresc. 3 cresc.
Bn.
1 2 sonoro
cresc.
sonoro
cresc.
Cbn.
Hn. in F
1 2
3 4
Tpt. in C
1 2
Tbn.
1 2 (dim.)
4
4
4
4
Tba. (dim.) 4
4
Timp. (dim.) Flex. 1
Sus. Cym. Perc.
2
Bongos 3
Pno.
l.v..
Hrp.
Ballando gl. I (dim.)
Vn.
gl. II cresc. (dim.) Va. gl. (dim.)
sul C
cresc.
gl.
Vc. gl. (dim.)
arco
Cb. sonoro
cresc.
20 112
Pi첫 mosso
animando
= 63
calmando
1 2 cresc.
Fl. 3
(cresc.) Ob.
2.
1 2 (cresc.)
E.H. (cresc.) a2 1 2 Cl. in B
(cresc.)
ridente
3 (cresc.)
Bn.
1 2 (cresc.)
Cbn. (cresc.) (con sord.) 1 2 Hn. in F
ridente 3 4 (Harmon mutes)
Tpt. in C
remove mutes
1 2 ridente
4
(with mute) Tbn.
1 2 (with mute)
4
Tba.
(coperto) Timp.
T.Blk. 1 Glock. Perc.
2 (Bongos) 3 cresc.
Pno.
Hrp.
animando
Pi첫 mosso
= 63
calmando
I cresc.
Vn. II
(cresc.) Va. (cresc.) Vc. cresc. pizz. Cb. (cresc.)
4
21 117 1 2 cresc.
Fl. 3
cresc. Ob.
1 2 cresc.
E.H. cresc. 1 2 Cl. in B
cresc. 3 cresc.
Bn.
1 2 cresc.
Cbn. cresc.
1 2 Hn. in F 3 4
Tpt. in C
1 2 4
remove cup mute, to straight mute Tbn.
1 2 4
Tba.
4
ord.
Timp. Flex. 1
Perc.
2 Bongos 3
Pno.
Hrp.
l.v.
I cresc.
Vn. II
cresc.
Va. cresc.
Vc. cresc. arco Cb. cresc.
22 122 1 2 (cresc.)
Fl.
cresc.
3
Ob.
(cresc.)
cresc.
(cresc.)
cresc.
1 2
E.H. (cresc.)
cresc.
(cresc.)
cresc.
1 2 Cl. in B 3
Bn.
(cresc.)
cresc.
(cresc.)
cresc.
(cresc.)
cresc.
1 2
Cbn.
1 2 Hn. in F 3 4
Tpt. in C
1 2
Tbn.
1 2
Tba.
Timp.
1
Perc.
2 (Bongos) 3 cresc.
Pno.
Hrp.
I cresc.
(cresc.)
Vn. II
(cresc.)
cresc.
(cresc.)
cresc.
Va.
Vc. (cresc.)
cresc. div.
Cb. (cresc.)
cresc.
23 127
a2
1 2 Fl. 3 a2 Ob.
1 2
E.H.
a2 1 2 Cl. in B
to Bass Clarinet 3
Bn.
1 2
Cbn.
a2, con sord. 1 2 Hn. in F
a2, con sord. (glass) 3 4
Tpt. in C
1 2
Tbn.
1 2
with straight mutes
accomp. Tba.
Timp.
1
Glock. Perc.
2 dolce
3
Pno.
Hrp.
I Vn. II
Va.
Vc.
Cb.
24 132 1 2 Fl. 3
Ob.
1 2
to Oboe E.H.
Cl. in B
1 2
B.Cl.
Bn.
1 2
Cbn. cresc. (a2, con sord.) 1 2 Hn. in F
(a2, con sord.) 3 4
Tpt. in C
1 2 (with mute)
Tbn.
1 2
Tba.
Timp.
1
Perc.
2
3
Pno.
Hrp.
I Vn. II
Va.
Vc.
(div.)
unis.
Cb. cresc.
25 137
animando
pi첫 mosso
rit.
1 2 Fl. 3
1 2 Ob. 3
Cl. in B
1 2
B.Cl.
Bn.
1 2 to Bassoon
Cbn.
via sord. 1 2 Hn. in F
via sord. 3 4 a2, open
Tpt. in C
1 2
Tbn.
1 2
(with mute)
remove mutes
(with mute)
remove mute
Tba.
Timp.
1
Perc.
2
3
Pno.
Hrp.
animando I Vn. II
Va.
Vc.
Cb.
pi첫 mosso
rit.
26 A tempo primo
= 54
142
a2
1 2
4
Fl. 3
a2 1 2 Ob. 3
a2 Cl. in B
1 2
4
cresc.
Bass Clarinet
B.Cl.
a2
5
1 2 3
Bn.
cresc.
Bassoon
3
a2, senza sord. 1 2 Hn. in F
a2, senza sord. 3 4
Tpt. in C
1 2
Tbn.
1 2
4
Tba.
Timp.
1
Perc.
2
3
Pno.
Hrp.
A tempo primo
= 54
I 4
Vn. II 4 4
Va. 5
Vc. 3
Cb.
27 147 1 2
5
3
dim.
Fl. 3
1 2 4
dim.
Ob. 3
Cl. in B
1 2
5
3
dim. B.Cl. dim. 1 2 dim.
Bn. 3
dim.
1 2
4
Hn. in F
dim. a2 3 4
Tpt. in C
1 2
Tbn.
1 2
Tba.
Timp.
1
Perc.
2
3
Pno.
Hrp.
I
5
3
dim.
Vn. II
5
3
dim.
Va.
4
dim.
Vc. dim. Cb.
28 con anima 152
(a2)
=
1 2 cresc.
Fl. 3
(a2) 1 2 Ob.
cresc. 3
(a2) Cl. in B
1 2 cresc.
B.Cl. cresc. (a2) 1 2 cresc.
Bn. 3
cresc. (a2) 1 2 Hn. in F
cresc. (a2) 3 4 cresc. a2, to straight mute
Tpt. in C
1 2 cresc. without mute
Tbn.
1 2 without mute
cresc.
Tba. cresc.
Timp. cresc. 1
Perc.
2
3
Pno.
Hrp.
con anima 1 solo I cresc.
Vn. II
cresc.
Va. cresc. Vc. cresc. Cb. cresc.
=
29 158 1 2 Fl. 3
1 2 Ob. 3
Cl. in B
1 2
B.Cl.
1 2 Bn. 3
1 2 Hn. in F 3 4
Tpt. in C
1 2
Tbn.
1 2
Tba.
Timp.
1
Perc.
2
3
Pno.
Hrp.
(1 solo) I
Vn.
1 solo II
1 sola Va. 1 solo
Vc. 1 solo Cb.
30 Allegro subito, brutale 165
= 80
a2
(a2)
1 2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Fl. 3
a2
3
(a2)
1 2
3
Ob.
Oboe 3
a2 Cl. in B
3
(a2)
1 2
3
B.Cl.
1 2 Bn. 3
a2 1 2 Hn. in F
3
3
3
3
3
3
3
3
3
3
a2 3 4 with mute
Tpt. in C
1 2
Tbn.
1 2
a2
Tba.
Timp.
Mar.
3
3
3
3
3
1
Xyl. Perc.
2
T.-t. 3
Pno.
Hrp.
Allegro subito, brutale tutti, div.
= 80 unis.
I
Vn.
tutti, div. II
tutte, div.
3
unis. 3
unis.
Va. 3
tutti Vc.
tutti, div. Cb.
31 170
Con anima = 80
3
1 2
3
3
3
3
3
3
3
3
3
Fl. 3
to Piccolo
3 3 3
1 2 3
Ob.
3
to English Horn
3 3
Cl. in B
1 2
3
3
3
3
3
3
3
3
3
3 3
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
B.Cl.
a2 1 2 3
3
Bn.
3
3
3
3
3
3
3
3
1 2 Hn. in F
3
3
3
3
3
3
3 4
Tpt. in C
1 2
Tbn.
1 2
a2
3
frullato
Tba.
Timp.
3
3
3
3
3
3
1
Perc.
2
3
Pno.
EFG A B C D
Hrp.
3
3
3
3
3
I
3
3
3
3
3
3
3
3
3
3
3
Vn.
3
3
3
3
3
II
3
3
3
3
3
3
3 3
Va.
3
3
3
3
3
3
3
3
3
3
3
3
3
Vc. 3
Cb.
Con anima = 80
3 3
3
3
3
3
3
3
3
3
32 175
=
Picc.
Fl.
1 2
Ob.
1 2
1., solo
E.H.
Cl. in B
1 2
B.Cl.
1 2 Bn. 3
1 2 Hn. in F 3 4
Tpt. in C
1 2
Tbn.
1 2
Tba.
Timp.
Mar. 1
Xyl. Perc.
2
3
Pno.
col.
Hrp.
l.v.
E G
G
G
E
= I Vn. II
Va.
Vc.
Cb.
33 181
Piccolo
Picc.
Fl.
1 2
Ob.
1 2
English Horn E.H.
Cl. in B
1 2
B.Cl.
1 2 Bn. 3
1 2 Hn. in F 3 4
Tpt. in C
1 2
Tbn.
1 2
Tba.
Timp.
1
Perc.
2
3
Pno.
Hrp.
I Vn. II
Va.
div. a2, pizz. Vc.
div. a2, pizz. Cb.
34 animato
lunga
187 Picc.
Fl.
1 2 (1.)
Ob.
1 2
E.H.
Cl. in B
1 2
B.Cl.
1 2 Bn. 3
1 2 Hn. in F 3 4
Tpt. in C
1 2
Tbn.
1 2
Tba.
Timp. Wind Chimes 1 3
Glock. Perc.
2 l.v. sempre
3 8va
Pno.
3
3
3
3
3
3
3
3
3
3
3
3
8va
Hrp.
animato I Vn. II
Va.
Vc.
Cb.
lunga