Peters Contemporary Library
HOWARD The Anvil for Soprano, Bass-baritone, Chamber Choir, Youth Choir, Chorus and Orchestra
Full Score
EP 73386
EMILY HOWARD
The Anvil for Soprano, Bass-baritone, Chamber Choir, Youth Choir, Chorus and Orchestra An Elegy for Peterloo (2019) Text by Michael Symmons Roberts
Full Score
POD PETERS on demand ALLE RECHTE VORBEHALTEN
· ALL RIGHTS RESERVED
EDITION PETERS L E I P Z I G · L O N D O N · NEW YORK
CONTENTS
Programme Note . . . . . . . . . . . . . . iv
The Order Comes . . . . . . . . . . . . . 59 Soprano
Instrumentation . . . . . . . . . . . . . . . v
Were we quickened from brick-dust . . . . 59 Baritone
Performance Notes . . . . . . . . . . . . . vi
Sabred and stabbed . . . . . . . . . . . . . 59 Soprano, Baritone, Chamber Choir, Chorus
Texts . . . . . . . . . . . . . . . . . . . .viii
The field turns inside out . . . . . . . . . . 64 Chamber Choir, Youth Choir, Chorus
The Anvil Grid . . . . . . . . . . . . . . . . x Some of Our Cry is Their Cry . . . . . . 92 Weave Heavy stone harvest . . . . . . . . . . . . 1
Chamber Choir, Chorus
Now, when you see a blush . . . . . . . . . 97
Chorus
Soprano, Chorus
Pelt of rough turf . . . . . . . . . . . . . 13
Ghosts conjured from cotton smoke . . . . 98
Soprano
Baritone, Chorus
Battered shuttles . . . . . . . . . . . . . . 15
Our shibboleth . . . . . . . . . . . . . . 100
Baritone, Chamber Choir, Chorus
Soprano, Baritone, Chamber Choir, Youth Choir, Chorus*
The Commissioner for Paving . . . . . . 36 Soprano
RISE Fife drums love command liberty . . . . . 38 Chamber Choir, Youth Choir, Chorus
A lake of hats . . . . . . . . . . . . . . . . 42 Soprano, Chamber Choir, Youth Choir, Chorus
We walk in communion . . . . . . . . . . 50 Baritone, Chamber Choir, Youth Choir, Chorus*
We ask for sustenance and suffrage . . . . . 54 Baritone, Chamber Choir, Youth Choir, Chorus*
* A Community Choir may be used to augment the Chorus. See performance notes for more information
iv PROGRAMME NOTE The Anvil is about the universal longing for suffrage, protest, liberty. It takes as its starting-point the 1819 Peterloo massacre in Manchester, England. A wide range of choral forces and soloists enabled Emily to conjure the complex web of voices in a mass protest, held together by the soprano as narrator, plus bassbaritone and choirs as one or many voices from the crowd and hustings. Musical influences for the score ranged from early 19th Century hymn tunes to the power and terror of mill machinery. The idea of Michael making a large grid or woven text as part of the libretto came when we began to research Peterloo and found the repeated occupation ‘weaver’ in inventories of the dead and injured. The finished text was not meant to be read only in a straightforward linear way – though it can be – but also as a vertical and horizontal ‘weave’. Like the protesting crowds it evokes, it contains multiple voices and registers, from lists of injuries to slogans on banners, declarations of political will to shouts of protest, prayers to cries for help and snippets of stories. This huge ‘Anvil Grid’ became a starting-point and resource for Emily’s music, but we felt another kind of text was needed, one with a narrative thread. So Michael wrote ‘The Stones of Peterloo’ and that became the spine of the piece. Why the title? We chose it partly because the scrap ground where Peterloo took place was anvil-shaped, but mainly because of its resonances with work being done, with futures being forged. The Anvil is, we hope, a universal cry for suffrage and democracy. Emily Howard and Michael Symmons Roberts
ACKNOWLEDGEMENTS Thanks to the BBC and Manchester International Festival for incredible support during the creation of this work. Particular thanks are due to ANU, BBC Singers, BBC Philharmonic, the Hallé Choirs, Ben Gernon, Matthew Hamilton, Rachel Johnson, Carole Keating, Tracey Low, John McGrath, Stuart Overington, Christopher Purves, Kate Royal, Jonathan Schofield, Katie Vine and Simon Webb. In addition, Emily and Michael would like to thank the many collaborators, commissioners, producers, researchers, conversationalists, artists, performers, proofreaders, publicists, friends and colleagues who have helped to create The Anvil.
Commissioned by BBC Radio 3 and Manchester International Festival and first performed by Kate Royal (soprano), Christopher Purves (baritone) and the BBC Philharmonic, BBC Singers, Hallé Choir, Hallé Youth Choir and Hallé Ancoats Community Choir, conducted by Ben Gernon at the Bridgewater Hall, Manchester, on 7th July 2019
First broadcast on BBC Radio 3 on 16th August 2019, the 200th Anniversary of Peterloo
v INSTRUMENTATION 3 Flutes (3rd doubling Piccolo) 3 Oboes 3 Clarinets in B- (3rd doubling Bass Clarinet) 3 Bassoons (3rd doubling Contrabassoon) 5 Horns in F 3 Trumpets in B2 Tenor Trombones Bass Trombone Tuba Timpani Percussion (3 players): 1. Large Bass Drum, Kit 1[5 Tom-toms (very low, low, medium, high, very high), 2 Tam-tams, (medium, very high)], Metal Reibstock 2. Kit 2 [Tenor Drum, 5 pieces of highly resonant Trash Metal (very low, low, medium, high, very high), medium Suspended Triangle, 3 Woodblocks (low, medium, high), Suspended Cymbal (very high)], Metal Reibstock, Double Bass bow 3. Pair of Large Cymbals, Kit 3 [large Thundersheet, 2 Tam-tams (low, high), 1 piece of highly resonant Trash Metal (very high), 3 Suspended Cymbals (low, medium, high)], Metal Reibstock, Double Bass bow
Solo Soprano Solo Baritone Chamber Choir Youth Choir Chorus Strings (recommended: 14–12–10–8–6)
Score in C
Duration: 40ʹ
vi PERFORMANCE NOTES Vibrato Vibrato is graded throughout the work in the following way: senza vibrato (s.v.): play without vibrato poco vibrato: play with a very small amount of vibrato molto vibrato (m.v.): play with a lot of vibrato wide vibrato (w.v.): play with a wide exaggerated vibrato (a¯¯¯¯¯¯¯¯¯¯¯¯ large deviation from Bb B µ ˜ the central pitch). It is notated with the following sign: ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
∑
∑
Percussion / very wide vibrato (v.w.v.): play with an even wider, very exaggerated vibrato (an extremely large deviation from the central pitch). It is notated with the following sign: ¯¯¯¯¯¯¯¯¯¯¯¯
Percussion
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ∑ /
∑
∑
Bb B µ ˜ ∑
∑
Quarter tones Quarter tones are notated as follows:
¯¯¯¯¯¯¯¯¯¯¯¯ Bb three-quarter Bb B µ ˜quarter tone sharp B µ ˜ ¯¯¯¯¯¯¯¯¯¯¯¯ tone flat ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ Bb B µquarter ¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯ Bb B µ ˜ three-quarter tone sharp ˜ tone flat ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ∑ ∑ /ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ∑∑ ∑∑ ∑∑ Percussion ion / ∑ ∑ / ∑∑ ∑∑ ∑∑ Percussion / Percussion Throughout the score, it can be assumed that Percussion 1 plays Kit 1, Percussion 2 plays Kit 2 and Percussion 3 plays Kit 3. The only exceptions to this are when Percussion 1 plays Bass Drum (single line stave) and Percussion 3 uses a pair of Cymbals (single line stave). 2 Tam-tams
5 Tom-toms
Kit 1
VL
L
M
M
H
VH
œ œ
œ œ œ œ œ
/
Kit 2
3 Wood Blocks
5 Trash Metal*
L VL L
/ 2
M
H
œ œ œ œ œ
H
œ
œ
Suspended Cymbal
Triangle
M
œ
H
œ
¿
1
3 Suspended Cymbals
2 Tam-tams
/
M
œ
VH
Tenor Drum
Kit 3
H
Trash Metal*
œ
L
M
¿
¿
H
¿
6 Thundersheet
* The pieces of Trash Metal should cover a wide range of resonance. The Trash Metal used in Kit 3 should be the highest pitch.
∑ ∑
∑ ∑
vii PERFORMANCE NOTES Vocal Solo Baritone Our shibboleth Select a starting point within the last 9 rows of The Anvil Grid (see page x). Very slowly, sing the text in the rows as it comes on/around a monotone low C+ (dynamics as in score). Pause between the words or some of the words. The reading should feel chaotic, disconnected. Feel free to descend steadily in pitch throughout.
Chamber Choir Sabred and stabbed Square noteheads indicate that half of the singers on this line should sing above the pitch by c. ¹/₆ tone and half of the singers should sing below the pitch by c. ¹/₆ tone.
Community Choir A Community Choir can augment the Chorus line in We walk in communion, We ask for sustenance and suffrage and Our shibboleth. Denoted by ‘Chorus*’ on the contents page.
Chorus The field turns inside out This passage is separated into six vocal sections: Section 1 Section 2 Section 3 Section 4 Section 5 Section 6
Bars 625–657 Bars 665–698 Bars 707–739 Bars 742–754 Bars 757–769 Bars 772–784
Grid columns 1–23 Grid columns 3–21, row 4 onwards Grid columns 5–19, row 7 onwards Grid columns 7–17, row 10 onwards Grid columns 9–15, row 13 onwards Grid columns 11–13, row 16 onwards
begin o begin P begin p begin m begin M begin f
For each section, each singer independently chooses an appropriate column from The Anvil Grid (see page x). Beginning at the conductor’s cue, they should sing the text in their column with increasing speed throughout the section until the conductor’s cue to end. Text can be repeated if the end of the column is reached before the end of a section. Each section has its own set of four pitches notated below the grid poem. These pitches can be sung in any register. Roughly, travel from the lowest pitch that you can sing within the section’s set and cycle upwards throughout the section ending on the highest pitch that you can sing. This is an approximate guide only and it will not matter if your pitching is not exact. There is a general crescendo throughout each section from quieter (different for each section, see above) to extremely loud (G)
viii TEXTS The text for The Anvil came from two sources: the poem-sequence The Stones of Peterloo and The Anvil Grid (represented on pages x–xi). Note that the bold lines, numbers and pitches are additions by the composer to assist with the performance of The field turns inside out (bars 625–784).
The Stones of Peterloo (i) i) Pelt of rough turf, wasteland, scrap-belt, brick-strewn spew from building sites, a place of open light, edgeland, shape of an anvil seen from a height, stony ground, too thin for seeds to take. ii) The Commissioner for Paving comes at dawn to glean all hand-sized stones – like bulbs too-shallow-sown, like tubers – never to be thrown. iii) A lake of hats, bonnets, sprigs of laurel, liberty-black-caps raised on poles. Banners shiver and fade beneath merciless sun. Speeches. Children mewl. Sole-nails spark and scuff on stones. Two Ancoats skylarks in a backwards corkscrew rise above the field. iv) The order comes. Now horseshoes, kicks, stray shanks, high flanks that fell you, now sabres, now a scattering, a funnelling away of people that looks from the sky like rings from a stone cast into a lake. v) By force of fear, you are thrown against the Quaker graveyard wall, its blackened, moss-topped brick that keeps the living from the dead. Climb. You try. You fall. The field turns inside-out. vi) Hotels, offices took footings from those stones, new roads were cut. Now, when you see a blush, a bloom, a rush of blood, the face on a front-page caught mid-chant, mid-rage, in burnt-out squares of distant cities, that rouge is the dust of Mancunian brick. vii) Our shibboleth. Our half-remembered badge of pride, our massacre, our mob, our dinner-plate-sized pale blue plaque. A piece of grit lodged in a tooth.
ix
(ii) Were we quickened from brick-dust, leached out of pig-iron like rust in rain, were we stones raked from bare fields, ghosts conjured from cotton smoke, a film of soot on the lap of a lake, did we fall from this city’s cloud-lid, to be brushed like flies from the faces of demigods like these, were our fingers spent fuses, our eyes unlit beacons, our hearts battered shuttles were we summoned or are we called?
Text © 2019 by Michael Symmons Roberts
x
The Anvil Grid The Anvil Grid for use in “The field turns inside out” 1
2
3
4
5
6
1
2
3
4
5
6
7
8
9
10
11
heavy
a
stone
cap
harvest
of
picked
liberty
from
all
Peter’s
taxation
we
without
would
representation
walk
wrong
a
unjust
day
and
hearts
dance
in
our
hope
course
soar
to
like
liberty
petrels
because
no
this
flags
was
in
our
black
gala
and
day
with
now
our
children’s
laurel
voices
cuts
lift
as
ours
harbingers
mancunian
our
dun
stitched
veil
communion
lifted
flag
in
night
our
famine
we
bellies
heads
cut
raised
me
cheer
quick
all
o
our
sun
banner
by
inspires
march
hopeful
bears
steps
lions
joy
sing
step
in
with
bleach
will
clad
with
progress
honour
you
city
this
greets
night
its
as
citizens
two
with
wake
fife
so
we
stead
the
fast
not
our
cowed
hearts
ours
sore
rebels
hand
we
in
lack
one
weapons
clasped
just
in
drums
wave
turn
of
flat
bright
bow
banners
heads
with
all
hands
stand
held
tie
failing
o
vast
ropes
hands
fasten
unity
love
sticks
we
bread
ask
smocks
for
frocks
clemency
claim
liberty
new
in
out
the
light
kings
body
name
with
we
will
command
as
spin
looms
those
your
anyone
eyes
but
cross
ours
hatched
defiance
o
not
be
deference
lean
gifts
love
people
not
liberty
staffs
we
and
ask
boots
for
march
sustenance
on
and
human
sabred
tattered
and
torn
stabbed
and
sabred
sewn
and
rest
crushed
as
rise
summer
white
salt
dress
some
caught
sixty
on
thousand
both
o
arms
to
broken
raked
and
across
much
o
harmed
staves
we
on
ask
the
saint
tongue
peter
make
rock
good
cut
torn
on
be
left
set
eye
it
brow
no
and
sing
fall
this
white
bankside
o
spill
stones
of
stand
green
right
o
elbow
used
slashed
full
severely
o
his
truth
finger
out
we
day
flag
blood
down
no
carts
well
and
land
thrown
offer
down
as
with
alive
hurt
we
trampled
be
by
of
recite
link
we
armed
from
hopers
full
wishers
stay
thought
three
mercy
blade
dressings
cuts
demanding
in
march
face
sound
head
history
these
condemns
raise
riders
rooves
judges
and
on
in
that
knocked
withhold
from
for
strong
to
arms
live
lost
until
his
makers
our
kissers
song
lovers
join
weavers
taken
masons
memory
tailors
man
retribution
chest
raw
was
be
dreadfully
until
crushed
we
spat
left
litanies
ankle
scales
shattered
us
by
out
shot
of
fell
woman
before
was
wounds
pierced
listened
fallen
all
her
see
right
of
our
umbrellas
liberties
seamstresses
burnt
readers
lack
thinkers
them
seers
trampled
we
by
look
some
to
yeoman’s
the
horse
resurrection
so
all
every
our
justice
banners
of
were
peace
buried
sheriff
or
equal
die
representation
now
beats
o
death
servitude
o
here
unite
fall
name
with
o
ashes
right
in
then
our
all
throats
œ œ bœ nœ
2
œ œ b œ œ
3
ppp
ffff
pp
p
& bœ #œ bœ œ
5
1
& ?
cresc.
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cresc.
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w 4
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cresc.
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mp
w
cresc.
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nœ œ bœ œ
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cresc.
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cresc.
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xi
12
13
14
15
16
17
18
19
20
21
22
23
we
field
need
our
shield
disarmed
against
battleground
sun
now
burn
rise
to
tyranny
hear
no
the
corn
white
laws
hat
cry
guest
banners
o
song
spare
pledge
me
equality
harm
cries
ignite
go
history
up
white
we
skulls
wore
cross
fine
bones
fustian
clenched
and
fists
corduroy
when
of
they
peace
rise
a
like
patriotic
plumes
unity
above
o
stray
honour
witness
so
weave
elysian
now
field
our
crops
future
blaze
we
praise
stand
for
up
him
charms
skies
from
can
our
bear
dogs
with
words
stand
the
all
beasts
to
fight
be
servitude
counted
become
countless
immortal
uncounted
rise
hymned
like
cloud
musket
be
heads
witnesses
we
drum
met
voices
held
raise
hands
the
made
dazzling
promises
stars
we
these
hold
souls
release
no
talismans
less
barrels
beloved
o
let
tune
pipes
blades
foundation
breath
stones
this
sword
ceaseless
kills
cry
truth
the
hard
true
from
hearts
hammers
o
and
over
brushes
over
shuttles
and
then
strength
and
all
cast
pitched
lots
at
win
freedom
spoils
fair
won
representation
rights
o
voice
carry
faith
their
peace
last
rest
solitude
silence
in
hear
for
now
must
the
dusk
riot
earth
act
begins
from
no
work
such
in
books
ill
heads
lit
words
rooms
universal
o
one
in
I
quaker
fall
graves
many
we
rise
fall
suffrage
lives
not
sorely
servitude
mis
bread
handled
not
o
king
darken
such
sabred
brutality
culled
am
shot
now
sabred
loved
bled
true
trampled
some
sabbath
nail
lovers
blades
taken
made
into
cotton
one
bloom
field
plenitude
in
in
blood
here
body
o
legs
darkness
sore
o
hurt
of
hymns
ages
friends
o
hope
pray
suffer
for
good
us
people
cannot
right
the
hand
in
side
keeper
her
helps
head
save
o
our
like
pass
ring
Lord
upon
bless
ring
us
just
o
sing
be
clean
other
cut
his
off
arms
by
hide
sharp
us
sabre
cry
lies
for
out
help
poor
hope
broken
for
heart
sanctuary
o
held
crowds
o
of
name
fleeing
our
men
wounds
women
a
children
is
keepers
ages
change
like
makers
made
hope
mass
seekers
recovery
leave
in
left
let
arm
as
hurt
memory
by
o
musket
printed
strike
their
field
pleas
o
oaks
poor
sing
weavers
for
found
resistance
no
keeping
mother
the
trampled
only
under
bearer
hooves
stones
and
calico
perished
cry
founders
unheard
mothers
our
blacksmiths
o
plasterers
multitude
labourers
o
takers
by
blood
bones
for
together
a
raise
fortnight
that
so
shroud
poor
time
into
arrest
cellars
downtrodden
wound
we
dressers
can
helped
triumph
out
men
eye
tell
1 with
2point
custodian
of 3
bear
drawn
in
steel
to
traitors
fallers
people
forever
citizens
of
all
us &
œ bœ nœ
we
flesh cresc. or
dead ffff shall
living
calf
ppp
indemnified
in
our
honour
burnt
wealth
and
? stories
fifteen
into
to
constable
w be
coopers
œ
?
w
bare p or
our her cresc. ffff be handed
free
prophet
no
names
borough
memory
mongering
stand
street
with
cellars
us
into
o
light
& bœ #œ bœ œ cresc.
stripped and cresc. ffff pp hidden forever
œ bœ hawkers œ bœ only
thinkers
sing
4
mp
œ œ drinkers march b œ œ
ffff
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nœ œ bœ œ
6
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Edition Peters For more than 200 years, Edition Peters has been synonymous with excellence in classical music publishing. Established in 1800 with the keyboard works of J. S. Bach, by 1802 the company had acquired Beethoven’s First Symphony. In the years following, an active publishing policy enabled the company to expand its catalogue with new works by composers such as Brahms, Grieg and Liszt, followed in the twentieth century by Richard Strauss, Arnold Schoenberg and John Cage. Today, with its offices in Leipzig, London and New York publishing the work of living composers from around the world, Edition Peters maintains its role as a champion of new music. At the same time, the company’s historic and educational catalogues continue to be developed with award-winning critical and pedagogical editions. The offices of Edition Peters in Talstraße, Leipzig Geschäftssitz der Edition Peters in der Leipziger Talstraße
Seit über 200 Jahren steht die Edition Peters für höchste Qualität im Bereich klassischer Notenausgaben. Gegründet im Jahr 1800, begann der Verlag seine Tätigkeit mit der Herausgabe von Bachs Musik für Tasteninstrumente. Schon 1802 kamen die Rechte an Beethovens erster Sinfonie hinzu. In der Folgezeit wuchs der Katalog um neue Werke von Komponisten wie Brahms, Grieg und Liszt sowie – im 20. Jahrhundert – Richard Strauss, Arnold Schönberg und John Cage. Als Verleger zahlreicher zeitgenössischer Komponisten aus aller Welt ist die Edition Peters mit ihren Standorten Leipzig, London und New York auch weiterhin Anwalt neuer Musik. Zugleich wird das Verlagsprogramm im klassischen wie im pädagogischen Bereich kontinuierlich durch vielfach preisgekrönte Ausgaben erweitert.
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