Philips MELODYS OF EARTH AND SKY

PHILIPS

Melodys of Earth and Sky (2024)

Suite for Narrator and Ensemble

Full Score

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JULIAN PHILIPS

Melodys

of Earth and Sky (2024)

Suite for Narrator and Ensemble

Poems and prose by John Clare, incorporating nine ‘melodys’ from the fiddle-books of John Clare

Full Score

LEIP ZI G · L ONDO N · NE W YOR K

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INSTRUMENTS

Narrator

Flute (doubling Piccolo)

Clarinet (B-, A, E- and Bass)

Piano

3 Violins

2 Violas

Violoncello

Double Bass

PROGRAMME NOTE

Not just one of the most powerful poetic voices of nineteenth century rural England, poet John Clare was also an accomplished fiddle-player and collector of traditional folk melodys, ‘pricking’ down 263 in two books of fiddletunes. Melodys of Earth and Sky is an ongoing creative project that investigates the interrelationship between these two sides of Clare’s nature – the poet and the musician.

In its first version, Melodys was conceived as an instrumental songbook of selected Clare tunes which Philips creatively transcribed in 2021 for just clarinet and violin. For its subsequent NMC Recording, released in March 2021, the nine movements of Melodys were interspersed with Clare readings, recorded by actor Toby Jones, chosen thematically to resonate with the themes and character of the music.

This new version of Melodys, now a suite for actor and a larger ensemble of 10 players, seeks to bring these chosen Clare texts into closer alignment with the music. Clare’s words are no longer separate; they are embedded within the fabric of the music, thereby releasing their musicality. With a richer colour palette, Melodys’ sequence of Clare pictures is intensified, ranging from melancholy to sorrow, from wonder to inebriation and comedy, from intrigue to exuberant joy.

Melodys of Earth and Sky celebrates the legacy of Clare as poet and musician, while also offering vivid snapshots of rural life in Clare’s early nineteenth-century England – its ways of life and traditions gradually disappearing in the throes of industrial revolution.

PERFORMANCE NOTE

The intention is for an immediate and intimate relationship between words and music with the words not waiting for the music and vice versa. For the listener, this allows John Clare’s texts to feel intertwined with the music in a natural and organic way.

Ideally, the ensemble should make minimal use of vibrato with the style of string playing a hybrid of baroque violin and folk fiddle.

The original chamber version of Melodys of Earth and Sky is available on NMC Recordings (NMC D271) performed by Kate Romano (clarinets) and Ionel Manciu (violin), with Clare extracts read by Toby Jones.

Duration: c. 45 minutes

Commissioned by Presteigne Festival of Music and the Arts Limited, with generous funding from the Colwinston Charitable Trust

First performed on 22 August 2024 at St Andrew’s Church, Presteigne, by Anton Lesser (narrator) with the Presteigne Festival Ensemble, conducted by George Vass

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CONTENTS

1. Song’s Eternity (Melody: The Garden Gate) 2

2. First Love (Melody: Young Hussar) 11

3. ‘the edge of the orison’ (Melody: Morgiana in Ireland) 18

4. The Toper’s Rant (Melody: Polka) 26

5. The Mother’s Advice (Melody: I’ll be married on Sunday) 43

6. On Gypseys (Melody: Morgan Rattler) 50

7. August, from ‘The Shepherds Calendar’ (Melodys: Hornpipes) 61

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Whatissong’seternity? Comeandsee; Canitnoiseandbustlebe? Comeandsee; Praisessungorpraisessaid Canitbe? Waitawhileandthesearedead Sighsigh; Betheyhighorlowlybred Theydie.

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Whatissong’seternity? Comeandsee; Melodiesofearthandsky Heretheybe; SongsoncesungtoAdam’sears Canitbe?

–Balladsofsixthousandyears Thrive,thrive; Songsawakenedwiththespheres, Alive!

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Dreamerslistthehoneybee Markthetree; Wherethebluecaptootletee Singsaglee SungtoAdamandtoEve, Heretheybe; WhenfloodscoveredeveryboughNoah’sArk Heardthatballadsingingnow Hark,hark!

Mightysongsthatmissdecay, Whatarethey? Crowdsandcitiespassaway Likeaday; Booksarewritandbooksareread, Whatarethey? Yearswilllaythemwiththedead, Sigh,sigh. Triflesuntonothingwed, Theydie.

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Tootletootletootletee, Canitbe? Prideandfamemustshadowsbe, Comeandsee; Everyseasonownherown Birdandbee; Singcreation’smusicon: Nature’sglee IsineverymoodandtoneEternity.

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>Withlovesosuddenandsosweet,

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Myfaceturnedpale,adeadlypale,

>Mylegsrefusedtowalkaway, Andwhenshelooked,whatcouldIail? Mylifeandallseemedturnedtoclay.

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Andthenmybloodrushedtomyface

Andtookmyeyesightquiteaway; Thetreesandbushesroundtheplace Seemedmidnightatnoonday.

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Icouldnotseeasinglething,> >WordsfrommyeyesdidstartTheyspokeaschordsdofromthestring, Andbloodburntroundmyheart.

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Ineversawsosweetaface

AsthatIstoodbefore:

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Ilovedthissolitarydispositionfromaboyandfeltacuriosityto wanderaboutspotswhereIhadneverbeenbefore.Iremember oneincidentofthisfeelingwhenIwasveryyoung.Itcostmy parentssomeanxiety.

ItwasinsummerandIstartedoffinthemorningtogetrotten sticksfromthewoods,butIhadafeelingtowanderaboutthefields andIindulgedit.IhadoftenseenthelargeheathcalledEmmonsales stretchingitsyellowfurzefrommyeyeintounknownsolitudes,when Iwentwiththemereopeners,andmycuriosityurgedmetostealan opportunitytoexploreitthatmorning.

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Ihadimaginedthattheworld’sendwasattheedgeoftheorisonandthataday’sjourneywas abletofindit,soIwentonwithmyheartfullofhopes,pleasuresanddiscoveries,expecting whenIgottothebrinkoftheworldthatIcouldlookdown,likelookingintoalargepit,and seeintoitssecrets,thesameasIbelievedIcouldseeheavenbylookingintothewater.

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SoIeagerlywanderedon,andrambledamongthefurzethewhole day,tillIgotoutofmyknowledge–whentheverywildflowersand birdsseemedtoforgetme,andIimaginedtheyweretheinhabitants ofnewcountries.Theverysunseemedtobeanewoneandshining inadifferentquarterofthesky.Still,Ifeltnofear:mywonderseekinghappinesshadnoroomforit.

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Iwasfindingnewwonderseveryminuteandwaswalkingina newworld,oftenwonderingtomyselfthatIhadnotfoundthe endoftheoldone.Theskystilltouchedthegroundinthedistance asusual,andmychildishwisdomswaspuzzledinperplexities.

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NightcreptonbeforeIhadtimetofancythemorningwasbye,when thewhitemothhadbeguntoflutterbeneaththebushes,theblack snailwasoutuponthegrass,andthefrogwasleapingacross therabbittracksonhiseveningjourneys,

thelittlemicewasnimblingaboutandtwitteringtheirlittleear-piercing song,withthehedgecricketwhisperingthehourofwaking spiritswasathand–whichmademehastentoseekhome.

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IknewnotwhichwaytoturnbutchanceputmeintherighttrackandwhenIgotintomy ownfieldsIdidnotknowthem.Everythingseemedsodifferent.Thechurchpeepingover thewoodscouldhardlyreconcileme.

WhenIgothome,Ifoundmyparentsinthegreatestdistress,andhalfthevillageabouthuntingme.

Come,come,myoldcronesandgayfellows, Thatlovestodrinkaleinahorn; We’llsingracysongsnowwe’remellow Whichtoperssungerewewereborn. Forourbottlekindfateshallbethanked, Andlinebutourpocketswithbrass, We’llsoonersuckalethroughablanket Thanthimblesofwinefromaglass.

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Awaywithyourproudthimbleglasses Ofwine,foreignnationssupply; Wetopersne’ertodrinktothelasses, Overdraughtsscarceenoughforafly. Clubuswiththehedgerandditcher Orbeggarthatmakeshisownhorn, Tojoinuso’erbottleorpitcher Foamingo’erwiththeessenceofcorn.

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Wecarenotwithwhomwegettipsy, Orwherewithbrownstoutweregale; We’llweatherthestormwithagipsy Ifhebealoverofale. We’llweatherthetougheststormweary Althoughwegetwettotheskin, Iftheoutsideourcottagelooksdreary We’rewarmandrighthappywithin.

We’llsittillthebushesaredropping Likethespoutofawateringpan; Fortillthedram’sdrankthere’snostopping, We’llkeepuptheringtoaman. We’llsittillDameNatureisfeeling Thebreathofourstingosowarm, Andbushesandtreesbeginreeling Inoureyesliketoshipsinastorm.

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We’llsitfromthreehoursbeforeseven,>

>Whenlarkswakethemorningtodance; Tillnight’ssootybroodofeleven, WhenwitchesrideovertoFrance. We’llsititinspiteoftheweather, Tillwetumbleourlengthontheplain, Whenthemorningshallfindustogether, Toplaythegameoveragain.

RetuneIVtoG

5.TheMother’sAdvice (Melody:I’llbemarriedonSunday)

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Comecome,myboyRobin,bewiseladandvalue Anoldwoman’scounselthatwishesyewell: Ne’erplaywithyourwatchchainnorstand‘shillI,shallI?’ MakeyourmindupatonceboyandwinKittyFell; Ne’erlettheabsenceofbeautypreventye, Thatbirdlimethatcatchesatcharm-smittenmen; She’shorsesandcowsboy,andmoneyinplenty Tomakeafacetemptingatthreescoreandten.

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Ayecowsonthepastureandsheepatthefold Andhorsestoyokeatthewaggonorplough, Andlandthatwouldevengrownguineasofgold Andbetterthecrowneverfliesovernow; Heryard’sneveremptyofpoultryandswine, Oftheflitchandtheham,boy,herwall’sneverbare –Whenthegristbagistorn–there’sthebottomoftwine Andthebestofallbeautyismuchandtospare.

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Whatpuckeryourbrowboy?Andwillyebescorning Amother’sgoodcounsel–welltakeyeawife Asfineasyeplease,buthearthisasawarning: Thatlovewithoutmoneybringswinterforlife. Finewenches,Iknow,inthespring’ssunnyweathers, Looksweetastheglad-singinglinnetsinspring; Butbirdsarenotvaluedforfine-paintedfeathers, Thesweet-singinglarkswearsaplainrussetwing.

*ThisFnaturalshouldbe31centsflat,effectivelyaseptimalminorseventhonafundamentalofconcertG(IV)

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What,still,areyesilent?OfieonyeRobin! Toscoffatamotherthatwishesyewell. WereIinyourplaceIwouldsaddleolddobbin AndnotloseamomenttowinKittyFell; Butthou’rtwonbyshowandit’snouseadvising, YetRobinbewarehowthingsglitterandshine: Andold-fashionedgineauismoreworththeprizing Thananew-mintedpenny,thougheversofine.

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Thosefinedressydames,thoughsogayandbewitching, Thatshowtheirfinehuesasapeacockhistail, Arejustasmuchuseinacottager’skitchen Asplumbsinapiecrustandsugarinale. Sotakeyourowntrundle-I’llsitandcontentme TothinkthatI’vetoldyethebestinmypower, Anddoasyeplease,sincethere’snoughttopreventye, Butmindthatyedon’tpluckaweedforaflower.

There’smanyafopta’enbydazzleanddressing, Thatturnsuphisnoseatagirlgettingold; Stilltheproverbistruethatmightlearnyealesson: ‘Alwayscreep’neathanoldhedgetogetfromthecold’. The‘pietrustsherdwellingontreeshighandairy, Justasweakchancesandstormsmightagree, Butlarks,Robinharkye,rightcautiousandwary, Ensureasnughomeattherootofthetree.

*ThisFnaturalshouldbe31centsflat,effectivelya septimalminorseventhonafundamentalofconcertG(IV)

*ThisconcertFnaturalshouldbe31centsflat,effectivelyaseptimalminorseventhonafundamentalofconcertG

AtthesefeastsandmerrymakingsIgotacquaintedwiththeGipseysandoftenassociatedwiththemattheir camps,tolearnthefiddle,ofwhichIwasveryfond.ThefirstacquaintanceImadewaswiththeBoswell’s Crew–astheywerecalled–apopulartribe,wellknownabouthereandfamousforfiddlersandfortune-tellers.

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TheSmithsgangofgipseyscameandencampednearthetown,andasIbeganto beadecentscraperwehadadecentroundofmerrimentforafortnight,sometimes goingtodanceordrinkatthecamp,andatothertimesatthepublichouse.

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Onceinthesemidnightrevelswe escapedagreatdangerverynarrowly

Ongoingforaleatthedancing,aquarrel ensuedwhenonepartydeterminedon cheatingtheotherbyrunningoffwiththebeer.

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Iwasone,andwegotintoanoldbarntohideourselveswhilewe drankit(takingalanthornfromthepublichouse)whichhadbeen opentotheweatherforyears,andhadbeenfallingalongtime

Wesawnodangerandhuggedourselvesoverourbottle tillwehadfinishedit...AndthenextdaywhenIpassed theplace,thegableendwehadsatunderwasdown, andaheapofrubbish.

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IusedtospendmySundaysandsummereveningsamong them,learningtoplaythefiddleintheirmannerbytheear, andjoiningintheirpastimesofjumping,dancingandother amusements.Ibecamesoinitiatedintheirwaysandhabits thatIwasoftentemptedtojointhem.

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Theirdescriptionsofsummerrevellings, theirtalesoftheiryearlyjourneystoKent, andtheirrendesvousesat>

>Norwoodwheretheygotswarmsofmoneybyfiddlingor fortune-telling...wereticklingtemptationstomyfancy.

Brisk(tempoprimo) q=c.120

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7.August

(Melodies:TheDevilamongtheTaylors, SavourysHornpipe,MissDouglasMoncrief) 108

Harvestapproacheswithitsbusyday Thewheattansbrownandbarleybleachesgrey Inyellowgarbtheoatlandintervenes andtawneygloomsthevalleythrongedwithbeans

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Silentthevillagegrowswoodwanderingdreams Seemnotsolonelyasitquietseems

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Thedustthatwinnowsneaththebreezesfeet Isallthatstirsaboutthesilentstreet Fancymightthinkthatdesertspreadingfear Hadwhisperedterrorsintoquietsear Orplunderingarmiespasttheplacehadcome anddrovethelostinhabitantsfromhome

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Thereapersleavetheirrestbeforethesun andgleanersfollowinthetoilsbegun Topickthelitteredearthereaperleaves andgleaninopenfieldsamongthesheaves

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Thefieldsareallalivewithsultrynoise Oflabourssoundsandinsectsbusyjoys Thereapersoertheirglitteringsicklesstoop Startlingfulloftthepartridgecoveysup

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Someo’ertherustlingscythegobendingon andShockersfollowwheretheirtoilshavegone Reapingtheswathsthatrustleinthesun

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Leavingtheirtenderyounginfearsalarm

Lastupinnestofchimbledgrasseswarm

Hopingforsafetyfromtheirflightinvain

Whiletherudeboyorchurlishheartedswain

Pursuewithliftedweaponso’ertheground andspreadaninstantmurderallaround

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Whenthesunstoopstomeetthewesternsky andnoonshothourshavewanderdwearybye Theyseekan’awthornbushorwillowtree Forrestingplacesthatthecoolestbe

Wherebasketsheapdandunbroachedbottleslye Whichdogsinabsencewatchdwithwaryeye Tocatchtheirbreathawhileandsharetheboon Whichbeaveringtimeallowstheirtoilatnoon

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Allgatheringsitonstubbsorsheavesthehour Wherescarletpoppyslingerstillinflower

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Nexttoherfavouredswainthemaidensteals Blushingatkindnesswhichhislovereveals Whomakesaseatforherofthingsaround anddropsbesideher

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Eachswainsoakshard–themaidenereshesips Shreaksattheboldwhaspsetttlingonherlips Thatseemsdeterminedonlyherstogreet Asifitfanciedtheywerecherriessweet

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Amidthebroilsofharvestwearyreign

Howsweetthesabbathwakesitsrestagain andoneachwearymindwhatrapturedwells

Tohearoncemoreitspleasantchimingbells

Thatfromeachsteeplepeepinghereandthere

Murmurasoothinglullabytocare

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Theshepherdjournyingonhismorningrounds Pausesawhiletoheartheirpleasingsounds Whilethegladchildernfreefromtoilsemploy Mimicthedingdongsoundsandlaughforjoy

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Thefieldsthemselvesseemhappytobefree Whereinsectschatterwithunusualglee Whilesolitudethestubbsandgrassamong Appearstomuseandlistentothesong

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Julian Philips

Julian Philips (b. 1969) studied music at Emmanuel College, Cambridge, and his compositions have been performed at major festivals and venues including the Proms, the Tanglewood Music Festival, Welsh National Opera and Glyndebourne. A significant composer of operatic music, Philips’ work includes Followers, The Yellow Sofa, and Knight Crew (libretto by Nicky Singer) commissioned by Glyndebourne (2010). Welsh National Opera commissioned two chamber operas, Dolffin and Wild Cat. Other works include two ballets for English National Ballet, Les Liaisons Dangereuses and The Snow Queen. Julian Philips is Honorary Fellow of, and was made Head of Composition at, the Guildhall School of Music in 2004. He has also taught at Cambridge.

Julian Philips (*1969) studierte Musik am Emmanuel College in Cambridge. Seine Kompositionen sind bei führenden Festivals und in renommierten Häusern erklungen, darunter die BBC Proms, das Tanglewood Music Festival, Welsh National Opera und das Opernfestival im englischen Glyndebourne. Philips ist ein bedeutender Opernkomponist, und seinen Schaffen umfasst die Bühnenwerke Followers, The Yellow Sofa sowie Knight Crew (2010), ein Auftragswerk für Glyndebourne auf ein Libretto von Nicky Singer. Zwei Kammeropern, Dolffin und Wild Cat, entstanden im Auftrag der Welsh National Opera. Zu weiteren Werken gehören zwei Ballette für das English National Ballet, nämlich Les Liaisons Dangereuses und The Snow Queen. Julian Philips ist „Honorary Fellow“ der Guildhall School of Music, wo er 2004 zum Leiter der Kompositionsabteilung ernannt wurde. Außerdem lehrte er in Cambridge.