Musgrave THE VOICES OF OUR ANCESTORS

THEA MUSGRAVE

THE VOICES OF OUR ANCESTORS

© 2014 Novello & Company Ltd, London

THEA A MUSGR RAVE The T Voicees of Our Ancestorrs for Chorus, bbrass quintet and organ Comm missioned by JAM and thhe Edinburgh h Royal Chorral Union (ER ERCU), with fiinancial supp port from thee Britten-Pea ars Foundatiion and RVW W Trust.

First pperformed onn 9th July at St S Bride’s chuurch, Fleet Street S as part of the City oof London Festival, with a ssecond perfoormance on 11th July at A All Saints, Ly ydd, Kent as part p of JAM on the Marssh, given by The Chapel Choir of Sellwyn Collegee, Cambridge, Onyx Brass, Simon Hoogan, organ and Nicholass Cleobury, conductor. c

Dedicated D too Sarah and Ed Armitag ge

Throughh the ages man m has pond dered the quuestion of ou ur existence and, of couurse, there haave been many annswers to thhis question. One answeer comes from the Rigveeda which I had come across a by complette chance. The T written form f of this poem dates from 1500--1200 BC buut it almost certainly c existed in oral form m many centu uries before this date, perhaps even n as long agoo as 8,000 years BC, and wass passed dow wn the generrations in ann oral traditio on. This pooem spoke to t me so vividly that I knew I haad to find a way to sett it to musicc. I then searchedd for other ancient a poem ms that coulld accompan ny it: not only with poem ms about the eternal existenttial questionns but also with w poems expressing intimate hu uman feelinngs of love, despair, loss, andd enjoymentt. In the eend I found eleven otheer poems inn almost as many m langu uages - Vediic, Sanskrit,, Arabic, Hebrew w, Persian, Chinese, C Latiin, Greek annd Egyptian - though all translated into English h! All of them daate from ancient times. I feel they sttill speak viv vidly to us to oday. TJM

Duratioon: circa 30 minutes

THEA MUSGRAVE

The Voices of Our Ancestors POEMS

I. The Creation Hymn from the Rigveda (c. 1500-1200 BC): translated from Vedic by Ralph T. H. Griffiths (1826-1906). [NOTE: This hymn of creation, more accurately known as the Nasadija Sukta, is the 129th hymn of the tenth Mandala of the Rigveda. Though the Veda was codified about 2-3000 years ago, it almost certainly existed many centuries before that date, perhaps even as long ago as 8,000 years BC, and was passed down in an oral tradition.] II. Time by Bhartrihari (c. 500 AD): translated from Sanskrit by Paul Elmer More (1864-1937) III. Excerpt from The Royal Crown by Solomon ibn Gabirol (1021-1058): translated from Hebrew by Israel Zangwill (1864-1926) IV. Excerpt from the sacred book by Zoroaster (7th century BC): translated from Persian by A. V. Williams Jackson (18621937) V. Excerpt from Inscription on the City of Brass, anon (8th century?): translated from Arabic by E. Powys Mathers (1892-1938) VI. You will die from the Shi King or book of odes, anon (compiled c. 500 BC): translated from Chinese by H. A. Giles (1845-1935) VII. The Gift of Speech by Sa’di (1210-1292): adapted by Thea Musgrave from the translation of the Persian poem by Sir Edwin Arnold (1832-1904) VIII. Dido’s Lament by Virgil (70-19 BC): adapted from The Aeneid by Thea Musgrave IX. Excerpt from The Desolate City anon (8th century?): translated from Arabic by Wilfred Scawen Blunt (1840-1922) X. Age by Anacreon (6th century BC): translated from Greek by Abraham Cowley (1618-1667) XI. Let us drink by Alcaeus (610 BC): translated from Greek by John Hermann Merivale (1779-1844) XII. Excerpt from The Song of the Harper from the Egyptian Papyrus Harris 500 (c. 1539-1075 BC): translated by E. A. Wallis Budge (1857-1934)

© 2014 Novello and Company Ltd, London

It is presumed that the performance will be in a church, but if in a hall, the staging suggestions given may not be feasible for spatial or acoustical reasons. Hopefully some way can be found to preserve the essence of the idea. Everybody starts off “stage”. The conductor enters and in turn summons the various instruments and singers. Gradually everybody assembles. “Solo positions” and “normal” positions are indicated in the diagrams. Obviously the organ is positioned in different places in different venues…here it is placed “stage” right.

I. VEDIC The Creation Hymn from the Rig Veda (circa 1500 – 1200 BC). Translated by Ralph T. H. Griffiths (1826 – 1906) [NOTE: This hymn of creation, more accurately known as the Nasadija Sukta, is the 129th hymn of the tenth Mandala of the Rigveda. Though the Veda was codified about 2-3000 years ago, it almost certainly existed many centuries before that date, perhaps even as long ago as 8,000 years BC, and was passed down in an oral tradition.]

Enter conductor who summons tuba and Narrator. They go to “solo” positions. Main Chorus (SATB) and semichorus (TB) assemble at the back of the Hall. DIAGRAM ONE Narrator: Then was not non-existent nor existent: there was no realm of air, no sky beyond it. What covered in and where? And what gave shelter? Was water there, unfathomed depth of water? Death was not then, nor was there aught immortal: no sign was there, the day’s and night’s divider. That One Thing, breathless, breathed by its own nature: apart from it was nothing whatsoever. Darkness there was; at first concealed in darkness this ALL was indiscriminated chaos. All that existed then was void and form less: by the great power of Warmth was born that One. Thereafter rose Desire in the beginning, Conductor summons the two trumpets. They go to Desire, the primal seed and germ of Spirit. their “solo” positions up “stage” left and right. Sages who searched with their heart’s thought DIAGRAM TWO discovered the existent’s kinship in the non-existent. Transversely was their severing line extended: what was above it then, and what below it? There were begetters, there were mighty forces, free action here and energy up yonder. Who verily knows and who can here declare it, whence it was born and whence comes this creation? The Gods are later than this world’s production. Who knows then whence it first came into being? He the first origin of this creation, whether he formed it all or did not form it, whose eye controls this world in highest heaven, he verily knows it, or perhaps he knows it not..…

Exit Narrator. Circa 4’

II. SANSKRIT Time by Bhartrihari (circa 500). Translated by Paul Elmer More (1864-1937) Main and semichorus (TB): Conductor turns to face choruses who have assembled behind the audience Time is the root of all this earth; These creatures, who from Time had birth, Within his bosom at the end Shall sleep; Time hath nor enemy nor friend. All we in one long caravan Are journeying since the world began; We know not whither, but we know Time guideth at the front, and all must go. Like as the wind upon the field Bows every herb, and all must yield, So we beneath Time’s passing breath Bow each in turn, - why tears for birth or death.

Main chorus moves slowly to “normal” position. Semichorus remains at the back of the hall. DIAGRAM THREE

Narrator rejoins chorus. Conductor summons horn and trombone who go to their “solo” positions. Chorus sits. DIAGRAM FOUR c 2½’ [=6 ½’]

III. HEBREW Excerpt from The Royal Crown by Solomon ibn Gabirol (1021-1058). Translated by Israel Zangwill (1864-1926). Baritone soloist UNSUMMONED by the conductor moves to “solo” position beside the conductor. Baritone solo with TB from both choruses. Thou existest, but hearing of ear cannot reach Thee, nor vision of eye, Nor shall the How have sway over Thee, nor the Wherefore and Whence. Thou existest, but for Thyself and for none other with Thee. Thou existest, and before Time began Thou wast, And without place Thou didst abide. Thou existest, and Thy secret is hidden and who shall attain to it? “So deep, so deep, who can discover it?” Baritone soloist rejoins chorus. Chorus sits. c 2’ [=8 ½’] IV. PERSIAN Excerpt from The Sacred Book 7th Century BC by Zoroaster. Translated by A. V. Williams Jackson (18621937) Soprano solo: Soprano soloist moves to “solo” position beside the This I ask thee-tell it to me truly, Lord! conductor. Who the Sire was, Father first of Holiness? Who the pathway for the sun and stars ordained? Who, through whom is’t moon doth wax and wane again? This and much else do I long, O God, to know. This I ask thee-tell it to me truly, Lord! Who benignant, made the darkness and the light? Who benignant, sleep and waking did create? Who the morning, noon and evening did decree As reminders to the wise, of duty’s call?

c 2’ [=10½’]

V. ARABIC Excerpts from Inscription on the City of Brass. Anon (8th Century ?). Translated by E. Powys Mathers (1892-1938) Soprano with S & A main chorus. Women stand. O sons of men, You see a stranger upon the road, You call to him and he does not stop. He is your life Walking towards time, Hurrying to meet the kings of India and China, Hurrying to greet the sultans of Sina and Nubia, Who were blown over the mountain crest By a certain breath, Even as he. O sons of men, Lean death perches upon your shoulder Looking down into your cup of wine, Looking down on the breasts of your lady. You are caught in the web of the world And the spider Nothing waits behind it. Where are the men with towering hopes? They have changed places with owls, Owls who live in tombs And now inhabit the palace.

Soprano rejoins chorus.

c 3¾’ [=14]

VI. CHINESE You Will Die from the Shi King or Book of Odes, anon Chinese (compiled c 500 BC). Translated by H. A. Giles (1845-1935). Tuba turns to trumpets who “answer” and then move to “normal” positions. Chorus stand. S &A: You have coats and robes, DIAGRAM FIVE But you do not trail them; You have chariots and horses, But you do not ride them. By and by you will die, Semi- And another will enjoy them. chorus. Tuba turns to horn who “answers” and then moves to “normal” position. T & B: You have courtyards and halls, DIAGRAM SIX But they are not sprinkled and swept; You have bells and drums, But they are not struck. By and by you will die, Semi- And another will possess them. chorus. Tuba turns to trombone who “answers” but does NOT move SATB: You have wine and food; Why not play daily on your lute, That you may enjoy yourself now And lengthen your days? Conductor summons the semichorus (except the By and by you will die, solo tenor who remains in place) who then move Semi- And another will take your place. slowly to join the main chorus. chorus DIAGRAM SEVEN c 3’ [=17]

Tuba turns to the trombone who “answers” and then moves to “normal” position. Tuba also goes to the “normal” position. Solo tenor follows the trombone, but moves much more slowly and goes to a new position near the front of the audience. DIAGRAM EIGHT

Solo soprano moves to the “solo” position and watches the tenor as he moves. He is unresponsive, he slowly lifts his head and with his back to the audience gazes into the far distance.

VII. PERSIAN The Gift of Speech from the Gulistan by Sa’di (1210-1292). Adapted by Thea Musgrave from the translation by Sir Edwin Arnold (1832-1904) Soprano solo: with T and B [who remain sitting] Today thou hast the gift of speech so let us hear thy words. Tomorrow death will summon thee And thou wilt leave us, unheard.

c 1’ [=18].

VIII. LATIN Dido’s Lament by Virgil (70-19 BC). Adapted from The Aeneid English (a book in the public domain) by Thea Musgrave Soprano seeing no response from the tenor sadly rejoins the chorus. Mezzo soprano gives a withering glance at the soprano and moves to solo position. Mezzo soprano solo: Even when I am gone I shall be at your side. Even when cold death has taken me I will haunt you with towering flames. Wherever you go my ghost will follow. With a scornful glance at the tenor, mezzo soprano sweeps round and rejoins chorus c 1 1/4’ [= 19 1/4] IX. ARABIC The Desolate City (excerpt), anon Arabian (8th century?). Translated by Wilfred Scawen Blunt (18401922) Tenor slowly lifts his head and moves to the solo position. Tenor solo, with S and A chorus (who remain seated) Dark to me is the earth, Dark to me are the heavens. Where is she that I loved, the woman with eyes like stars? Desolate are the streets. Desolate is the city, A city taken by storm, where none are left but the slain. ……

Speak, O desolate city! Speak, O silence in sadness! Where is she that I loved in my strength, that spoke to my soul? Where are those passionate eyes that appealed to My eyes in passion? Where is the mouth that kissed me, the breast that I laid to my own? …….. Therefore Earth is dark to me, the sunlight blackness, Therefore I go in tears and alone, by night and day; Therefore I find no love in Heaven, no light, no beauty, A Heaven taken by storm, where none are left but the slain! Tenor rejoins chorus

c 4 [=23 1/4]

X. GREEK Age by Anacreon (6th century BC). Translated by Abraham Cowley (1618-1667) Baritone limps to solo position. He is bent almost double over his cane. Baritone solo (with a cane?!) with S and A chorus [remain sitting] Oft am I by the women told, “Poor Anacreon! Thou grow’st old: Look! how thy hairs are falling all; Whether I grow old or no, By the effects I do not know; But this I know, without being told, ‘Tis time to live, if I grow old; ‘tis time short pleasure now to take, Of little life the best to make, And manage wisely the last stake. Baritone turns to face the chorus c 1 1/2’ [=24 3/4] XI. GREEK Let us drink by Alcaeus (circa 610 BC). Translated by John Hermann Merivale (1779-1844) Baritone solo: Now let us drink! With a big gesture, the baritone signals for the chorus to stand. Tutti chorus stand. Now, now let us drink! T solo: Why wait? With another big gesture, he signals for the brass to play. He then rejoins the chorus. Full chorus: Why wait we for the torches’ lights? Now let us drink, while day invites, In mighty flagons hither bring The deep-red blood of many a vine That we may largely quaff, and sing The praises of the god of wine, The son of Jove and Semele, Who gave the jocund wine to be A sweet oblivion to our woes. Fill, fill the goblet, one and two; Let every brimmer, as it flows, In sportive chase the last pursue.

c 1 3/4 [=26 1/2]

XII. EGYPTIAN Excerpt from Song of the Harper Papyrus Harris 500 (c 1539-1075 BC). Translated from Egyptian by E. A. Wallis Budge (1857-1934) Full chorus: Enjoy thyself more than thou hast ever done before, And let not thy heart pine for lack of pleasure. ………. Never shall the cries of grief cause To beat again the heart of man who is in his grave. ……….. Therefore occupy thyself with thy pleasure daily, And never cease to enjoy thyself. c 2 1/2 [=29] The End

1.

2.

3.

4.

5.

6.

7.

8.

PERFORMANCE NOTE In some churches the organ may be placed differently than in the diagrams given in the score. The staging indicated by these diagrams may not be possible in some halls/churches for spatial or acoustical reasons. Hopefully some way can be found to preserve the essence of the idea. ALL soloists [soprano, mezzo-soprano, tenor and baritone] and Narrator should be chosen from the chorus if it is a professional chorus. The Narrator should be male and chosen for clarity of speech, and with as low a voice as possible. [He may need to have a mic which can be removed when he exits before figure 8. He then rejoins the chorus (around figure 15) as they process up the aisle]. The soprano and baritone soloists have several different sections to sing: they do NOT necessarily have to be sung by the same performer. [The baritone soloist at figure 18 is not necessarily the same singer as the baritone at figure 99, or even the one at figure 125. The soprano soloist at figure 27 is not necessarily the same singer as the one at figure 70]. If, however, the work is sung by an amateur chorus and “outside� soloists need to be engaged, then all these solo parts should be sung by the same performers. The semi-chorus, also drawn from the main chorus, should be a small one, but it must include the tenor soloist. Thea Musgrave

THE VOICES OF OUR ANCESTORS Score at actual pitch

Thea Musgrave

Empty stage. Enter the conductor; he summons the narrator and tuba. The chorus assemble at the back of the hall

I – The Creation Hymn Misterioso h = 48

Trumpet 1 (in Bb)



 

Trumpet 2 (in Bb)



 





 





Horn (in F)



 





 





Trombone



 





 







 





Tuba (or Bass Trombone)

1



 





 

pp

NARRATOR



 







   

p





pp

mysterious, unrushed





Then was not non-existent nor existent, There was no realm of air, no sky beyond it.



 





 





ALTO



 





 





TENOR



 





 





BASS



 





 





 





SOPRANO

Organ



 



 

I – The Creation Hymn Misterioso h = 48



8' Salicional*

 hollow, mysterious ppp

 

* organ stops as used at firstperformance

Pedals



 

uncoupled 16'

  pp

© 2015 Novello & Company Limited

 

  



 

  

   







 pp

ppp

 

2



5

Tba.

 





p

Narr.



 

 



 

  

    







Narr.



(in tempo)



          

5

       

     







 



 

Ped.

 









Death

was

not

then

  



pp

[ ]



 



nor

[ ]





No sign was there, the day’s and night’s divider. That One Thing, breathless, breathed by its own nature...

was there aught immortal.

[]







   

 



[ ]   

ppp

p

ppp

 





     





5

Org.

[ ]



ppp mysterious

5

]

  

pp watery

1 

5

     



  







5



flutes 8' & 2' + tierce

[

pp

 

] 

Was water there, unfathomed depth of water?

 



1  

[





What covered in, and where? And what gave shelter?

10

Tba.





Org.

Ped.



ppp

 



 



[]



[ ]



pp watery 5

       

     

     

5

   ppp mysterious

 

5



 

3

15

Tpt. 1



Tba.



2  





pp

Narr.

 





 





 



p

The conductor summons trumpets 1 & 2, who go to their solo positions, remaining standing



 











 



Ped.



 



20

Tpt. 2

1

2

‘void’

‘Warmth’

 

 



 



     

Org.

 

Ped.

 

 



 







       

    

  

   

 

con sord.



         pp sfpp

 



sfpp



pp



          sfpp pp

 



       

 

3

2





  

   

ppp

ppp mysterious







(poco accel.) void and formless: by the great power of Warmth was born that One.

 



5

3 after ‘One’ con sord.                 sfpp pp

 

 

 







3

 

  1

Narr.

 

  









Tpt. 1

          

pp



 

5



Org.





...All that existed then was

...Darkness there was, at first concealed in darkness this all was indiscriminated chaos.





(slowly)



2

  



ppp

 ...apart from it was nothing whatsoever.



Thereafter rose Desire in the beginning, Desire, the primal seed and germ of Spirit.

         









3 

brassy – match trumpets



  pp

   





   



 



    

p





 



pp





   

 

pp









 



4

24

Tpt. 1

   

   sfpp

Tpt. 2

Tba.

Narr.

    







 



      

   







 



 

  

sfpp







 



pp

 





   





   





 

p

 

 soft 8' reed (duet with tuba)















Transversely was their severing line extended:

hollow, mysterious

 



pp

      

ppp



Sages who searched with their heart’s thought discovered the existent’s kinship in the non-existent.





p





pp

Org.

   

 



   

Ped.

   



           sfpp pp



           sfpp

















  

   





ppp

    



ppp

    



pp

Tpt. 1

4  





Tpt. 2

 





29

Tba.

  

  



 

] 

         pp

[ ]



3

pp

Narr.

[

  

 

          pp

[]





  





  









[ ]

   







[ ]



     







  

  ppp

add 16'

Ped.





ppp

Org.





     

[ ]



[ ]



 

        pp

[ ]

  



p

[]



There were begetters, there were mighty forces,

 



         pp





...what was above it then, and what below it?

4    



] 

[ ]

3

pp

p

[





brassy

    mf   



[ ]



 ppp





[ ]      [ ] [ ]















5

5       







      







 



 

34

Tpt. 1

Tpt. 2

Tba.

   

 

Org.

mf

   

             pp

[ ]



          pp







   





[]



[ ]



[ ]



        

           

[ ]  

    



    



[ ]



[]



3

[]

brassy



ppp  ]     [  

    

       

 

accel.



...whence it was born and whence comes this creation?

   

[]







p



Who verily knows and who can here declare it... [ ]   

     

[]     





slowly



 

     



pp

mysterious



    

    

p

free action here, and energy up yonder.

5        

] 

[ ]   

pp

Narr.

[



[ ]







mf

mf

[ ]                   [ ]



ppp

[ ]





ppp

Ped.

     



[ ]





     

 

[]

 



8' only

 



[]





pp

poco accel.

Tpt. 1

Tpt. 2

Tba.

39 6     







                       

    







               

 









 









   









  

p

pp

Narr.

 

  















               

 

deliberate





p

pp



                       



The Gods are later than this world’s production.

6     

poco accel.





 









brassy pp

   

  



mf

Org.

Ped.



 pp









pp





   



   

 











6

a tempo

 

44

Tpt. 1





 









 









7 













sfpp

Tpt. 2

 



sfpp

Tba.

  



 









pp

Narr.







Who knows then whence it first came into being?



 



mf

Org.

 



Ped.



   



hollow, mysterious (8' Salicional)

p





 

  









 



 

  

 

16' (uncoupled)





Tpt. 1

 







Tpt. 2

 











[ ]





pp



[ ]







[ ]

Ped.

     

 

  



 











 



[ ]



 []

 

  



lunga



 



 





 



pp



hesitate

 [ ]



 



[]

slowly

...or, perhaps he knows it not.

whether he formed it all or did not form it, whose eye controls this world in highest heaven, he verily knows it, or...

Org.





  



p dim.





  





 

 







[ ]

  

He, the first origin of this creation,





49

Narr.



 

pp

Tba.



p



ppp

  





7

a tempo

   









lunga



 



    

     



  

  

   





  



7

8

Conductor turns to face chorus Narrator exits

54

Tpt. 1

Tpt. 2

Tba.

 



(sempre con sord.)



    

 

    

 

     

pp

 



 



II – Time Poco più mosso h = 60

poco rit.

(sempre con sord.)



     pp

 



   

con sord.

















 





p

pp

T. B. (Semi.)

 

SEMICHORUS *

 

MAIN CHORUS

















p







Time, T. B.















Org.

 

 

 

  









      



   





   



  

8

  

poco rit.



 

 



Time,

* At the first performance, since the chorus was a small one, several singers were added to the semichorus, but only for the section from fig. 8 to fig. 16

     

p

II – Time Poco più mosso h = 60

  

    









 





  

pp match muted tuba Ped.

 











 



8'





pp

60

Tpt. 1







Tpt. 2







Tba.

   



 



is

the

of

all

    

  

       

   

 







p

         root

















   

sfp

pp





this











earth;

mf



These



p

 



3







pp

3

3



    pp

9



pp

Time

T. B.







pp

T. B. (Semi.)

(con sord.)



  

crea - tures,

3

3

       

who from

Time

had

    

 

Time,



9 









Org.

   Ped.





   



   















 

 

   







   



pp







pp



8

The conductor summons the main chorus (SATB, including the baritone soloist), and they slowly move up the aisles to the normal position. The semichorus (including the tenor soloist) remains in place. The conductor should time signal so that the main chorus is already moving when the word ‘caravan’ is sung at fig 11. The chorus should time the speed of their walk so as to arrive in place between figs. 16 & 17

10

67

Tpt. 1

            







  









pp

Tpt. 2

Tba.

 

    pp

   















T. B. (Semi.)



birth,

T. B.

3



3

3

3

shall

his



bo - som

 

at the end



shall





    



              

with - in







          

pp

p

     





    pp

    pp

        



      



  

  

    

    







Time

 

hath nor

en - e - my

nor

   

   

  

   

     

one

one

All we in



 

pp

mf

sleep; p





long



long



 

friend,

10 

 Org.

Ped.







 



11 





Tpt. 2

      p





    









  











    pp



   





   



         



 



are jour- ney - ing



  pp

since

   



the world be -

gan;



  

p



Time





    



          



 

Org.



 





12 







   

hath

nor

en - e - my

nor

 

    pp

       

  

 

         

  

We know not

but

mf



whi - ther,





friend,

12 

pp



  

 



11 



       



 





pp









pp

  



pp



    

    

      



  pp



car - a - van

T. B.



  











Tpt. 1

T. B. (Semi.)

 pp

75

Tba.



 







 

 







   





 

 



pp Ped.

 















   







9

82

Tpt. 1

Tpt. 2

Tba.

       





 mf



  

  





we

T. B.





p



at

the front and















mf

    

p

all





  



p

guid - eth



     





mf

mf

must

f

         



go.

Like as the



 

    

Time

hath nor

en - e - my

p



13     



          

mf 3                               

Time



mf

     





mf

mf

3

  

know

 



       



   



  



mf

mf

T. B. (Semi.)

  



    



mf         

wind

up - on the

     nor



    

field





friend,

13 

 Org.

Ped.

   









  



 



    

       

p

p

  Bows

mf

     

   

ev - ’ry herb





     









  



must

 



 

  







 

The main chorus should be in place. The narrator joins the chorus

 





 

          

p





p

yield,

  

  

So

we

  

 

 



   





   

So we be - neath



  

           

        



   

     



f

be - neath

       

must yield,



     

p

     

and all



   

 

Time’s

pass - ing

  





Bow

  



        



breath p

T. B.



p

         





p

  



     





p

       

p

T. B. (Semi.)

   

    p

Tba.



14

90

Tpt. 2







pp

Tpt. 1



       

     

Time

hath nor

each in

mf

en - e - my



nor friend.

14  Org.

 



    



 







      

 

   

 



  

 

 





 



p Ped.

 

 







     p

 

  

   

 

  

 



 

10

The conductor summons the horn and trombone, who go to their solo positions.

15 99

Tpt. 1

          f

Tpt. 2

poco rit.

    



mf

    



16



   

           p

  mf



   

Poco meno h = 48



 





 





pp

        



The chorus sits

p

 pp

con sord. Hn.





















   p

Tbn.

Tba.

T. B. (Semi.)











  













turn.



f

 Why         Why







con sord.







 

p

mf

(con sord.)







 

p

mf





    

mf

       

tears

for





birth

    or

  

     



death. Chorus sit

f T. B.

 

  





Bow each

in

turn,

   

mf



      Why tears for

  

birth

   

   

or

     



death.

16 15  Org.

poco rit.



     

 









Poco meno h = 48













  p

Ped.





pp

mysterious

  



 mf



  



 

 watery (as at fig. 1)

 

   



    

16'



 

11

Tpt. 1

poco accel.

17

107





 

senza sord.







Baritone soloist becomes alert



 



sfzpp Tpt. 2





senza sord.



sfzpp















sfzpp

sfzpp Hn.

 

   

sfp Tbn.







   



p



   







p mysterious

  Org.

Ped.

8' + 2' p

 

3

3

    

   

3

     



   







  p



 

 

sfp

 



pp





3

  



3

p

 

   



   

(16')





poco accel.

17



 

pp



pp





mf



 



    

 



sfp

sfp

mf

 

pp

sfp

 

  

 



sfp Tba.



   



mf







  

    

3

   

     





3



3

   

3

mf

III – The Royal Crown Poco più mosso, animato h = 66

18 115

Tpt. 1

Tpt. 2









 



 





p

 







 















 





senza sord.

Tba.









p





















 

mf excited

   





(SEMICHORUS)





(MAIN CHORUS)

T. B.

 

 pp

 

 

Thou

18

Thou

ex - ist

Ped.

 

-

 

 

-





     







     









3   3             

mf

Thou ex - ist - est,

but hear - ing of ear can - not





















est,

 

19          

mf





 

ist - est,

 







p

     

     

III – The Royal Crown Poco più mosso, animato h = 66

    Org.

ex

p







    

 



 

    



p

pp



pp











Thou ex - ist - est, T. B. (Semi.)



senza sord.





p

The baritone stands, unsummoned by the conductor, and moves to solo posiiton beside the conductor Bar. Solo

      p



sfzpp

senza sord.







 

p

p

Tbn.

    

sfzpp

p Hn.



19 

 

3 3

3

    







pp



          3

3

    3

 



p

   



 















12

20 

122

Tpt. 1

  



 





        p

sfzpp Tpt. 2

  

 









Hn.

Tbn.

Tba.

           

 

 



   

  



 





       







  



reach Thee,

vi - sion of

eye,

3

nor

p T. B. (Semi.) T. B.







p

 Thou    

ex



Thou

     



ex - ist



-

-



shall

the



ist

    





-

3

 

 3     

 

Tpt. 2





How have sway ov er Thee,



nor the



   

            



  

p

Where - fore



  









 

 

 

  



Bar. Solo

T. B. (Semi.)

T. B.

 















p







   





   

Thou

- ist

ex

 -

-

ist







-

ex -



Org.

Ped.





   







 p









p

    















Thy -





 

       but for







 







p







        



and for none

with



self





oth - er





est,

p











est,







Thou

21

                            3           



ist - est,







        

 



p

Thou



  





mf

  







3

3

    

p





 

-

     

mf







 



   





ex 3

p



p Tba.









3







pp

p Tbn.



and Whence.

3





 



Thou

3

3

    



   



p

   





p

Hn.

 

p

21





est,

     

129





      

pp

Tpt. 1





pp



    p





20

3



 



3



 



  

     mf

 



est,



Org.

Ped.

Nor



    



  



pp







        

p





pp

Bar. Solo



pp



 





pp

 

sfzpp



  

3













p







 p

  



  



 



  

ex

3

   

   3

warmer sound

        3





13

136

Tpt. 1

Tpt. 2

Hn.

Tbn.

Tba.

Bar. Solo



 

  



  





  



 

      - ist

  

 ex

 -



-

ist

-



-

 







 





 





f

 









 



 

est,

and

be - fore







3

3

3



Hn.





3

3

Tbn.



Tba.



Bar. Solo



mf



   



mf























 Org.

 Ped.



 

   



 





   3

 



 

3

3





  



with - out







place

 

 be

-



    Thou



     

   

    3



    



  

(8')

 







 









p



 







 

p









  











bide.

  







Thou

ex

   -

ist - est,

  and Thy







   







wast.

f

   

-

  

wast.

Thou





        Thou didst a

gan

 



3



   



  





3

p



gan

23      

   

    







p

 

 

 

    

  



mf

Time

be -





 

  



 

Time

mf

  



And

   





p





mf

be - fore T. B.

 

 

wast,

T. B. (Semi.)

 





  



 



mf





Thou

8'  



p

 





     

3



 



mf

  

f

 



         

       

     

 



mf

be - gan





p



 

mf

         







    

Time



3

mf







f

 

  





23

Tpt. 2



be - fore

22        







 







mf



3



 

f

p

Tpt. 1



est,







est,



     

141

 

f





3

Ped.







Thou ex - ist





   

 

Thou

Org.









  





   

p

T. B.





Thee. T. B. (Semi.)















  

22  





  

   



mf

     

 

  dim. a niente



 

 

 p

14

24  

25

147

Tpt. 1

     







  













pp Hn.

Tbn.

Tba.

Bar. Solo







T. B.















hid -









Thy

se

 

 











    





p

  



   







-

cret

is

hid - den.

pp





Thy

se



 

So



So

-

cret is



p

 

 deep,

so

dis

so

    Thy

deep.

So

cov

-



 

se

   

deep.

Thy



 se

- cret

25  



























 







 

    





  





pp

26 156

Tpt. 1





cup mute





poco rit.

 

   



sfpp

Tpt. 2





cup mute







Hn.



   





Tba.



  







      is

T. B.







   















     

 p





sfpp





espr.

sfpp







     p

espr.









 





 



 



    

 



pp

 







so



   

   











pp



Baritone rejoins chorus





 16'



pp



 





{ pp  

    





  

deep.

        

      

   

   







  

deep.

so





     pp



deep.







so

   

    so



  





deep.

Org.



   

Who?

hid- den





      

   

26





 

 

    

hid- den

is

Ped.





sfp





 



   



Who? T. B. (Semi.)



sfp

 

pp Bar. Solo



sfpp

pp Tbn.

 sfpp

sfpp

   

er it?

- cret

pp





-

  

pp

deep.

      p

can





So

deep,

hid - den.

  

 

deep.

    

p

   

  



Who



  

  

  

deep, p

  

pp



So



pp

p



 



and who shall at - tain to it?



 

 







3               









den, pp

24  

 Ped.

is

   



Org.











 pp

    





p

se -cret T. B. (Semi.)





poco rit.



    

       



     



15

27

Tpt. 1

Tpt. 2

   

p



 

 

 

   

164

IV – From the Sacred Book h = h. Svegliato (h. = 66)





 2

   





  



 







p

2





con sord.







  

2

2 2





pp

 





  

2

2





 





2

 2





p





pp

p

Hn.



pp

 









pp











p

S. Solo

 





 

surprised pp

Soprano stands

Soprano solo stirs













ah

27       

  Org.

IV – From the Sacred Book h = h. Svegliato (h. = 66)

     

    

      

      



Ped.

    

 





pp

              



  

4

4

         

   

2' *

 

 4

flutes 8' & 4'



    

2

p



 















  



* couple down from manual

28 4

170

Tpt. 1

Tpt. 2

 

 











 







4



4







4





 

 







4



 

   





   





4

4

Soprano moves to solo position beside the conductor

mf S. Solo





4



p





4

   

4



  Org.





            

 

2

4

4           













    

 



   







mf





This

I

   



p

















4

Ped.





ah

28             





  

  







 

16

29

175

Tpt. 1















 

 

 

























Ped.

Tpt. 1

Tpt. 2

   3

    

    

179















      

   

    Fa



 

Org.

 







 

 

 



p

pp

p

  



-









Lord!



   

ther

 

first of

   



Ho

-

 







3

  





  

p

  



 



Who

the

Sire

3

3

  

 









         

  



  



3

3

      

 

3





























who

the

path

















p

pp











3









-

way













for

the





p

 













 



3





was

3



Who,

3 3



29                  

p



   





p

pp









3











pp

pp



li - ness?

    

3

 

  



3

   













oh



3

Ped.







p



  

tru - ly,

  

3





   



pp

S. Solo



p

3

3

  





pp



    



3

watery pp



Tell it to me

      







pp

ask Thee –

Org.



p

p

S. Solo



pp

pp

Hn.



p

pp

Tpt. 2



  











17

30

183

Tpt. 1

Tpt. 2

   











  

 

Hn.

and

 

     

stars

       Org.





Ped.





or

 

 

 



- dained?



 

30     



3

     

3

 







 pp

Tpt. 2



 



 pp

Hn.

 























 











a

-

gain?

wane

Ped.

    

  







   

moon

doth

 



wax

  and

 

   



    















pp

 















p



31         



3 3

3

     

3







This

                 Org.

 

 



  

p











   





 





p





31   





                             



pp

S. Solo

p

       

  









whom is it

3

p



      

    

188

Tpt. 1

   through

3



   

 

        





Who,

                  



 







     sun

    

 

pp

p

S. Solo

    



pp







pp

 

  

p

 



 

  and much





 

else





do

I

long,

3

        3







       3



3



oh

          

3











3





                mf





18

192

Tpt. 1

  

2







     









   to

know.











 





























    



   

3

  (2')



ah

p





 

















 

 



3

   

  

3

 



p



 





p



3



 

2

Org.





p





   

   



2



 mf

God,

Ped.



2

  

   





2



p

S. Solo

 

2

p

2

Tpt. 2



   

  

  



3







32   

196

Tpt. 1









  





Hn.

2





mf

 



2

mf

Tpt. 2



 



 



S. Solo

   

2





This

S.

 









mf



 

I

ask





















   

Thee –





tru -

ly,

oh



   





   







ah pp





   





pp





p

tell it to me

 











 



 



p

stay sitting A.



p

p

  



p

2

 



p

2





ah

32   

















      (2')    











 



   





3

3

    

    

3

3

pp

Org.

Ped.

                 3

    













  



 





19



199

Tpt. 1













mf

Tpt. 2

Hn.





























33   





 



mf

mf

 



























 

 













 









p

mf

S. Solo









Who

Lord.

S.

 





mf



 





be - nig

-

nant

 









 

made

the







dark - ness







   













   











and

the

   

     

ah A.

 



 ah

              

     3

   

 

    

Tpt. 2

Hn.

   



3



3

      





 





  



 

 















 

pp

 











S. Solo

 



p



light?

Who

sempre pp S.

  

 

















be - nig

-

nant









  

   

 

 



 

      

 



 











  sleep

and





wak - ing





  

p

     did

 



cre - ate?





Who



  

 



























  

ah



 

   

  

 

 

 



 



        

           



   



(2')

 





3

                            

  









  

3



3

Ped.



 



ah

Org.



ah

      



 



ah sempre pp A.

 

pp





3

p







      



pp







3

p







3









3

  

3





   

3

 



202

Tpt. 1

3

3

pp

Org.

Ped.

3

33       

 3



20

34     

206

Tpt. 1





 

p Tpt. 2

 



 

      









senza sord.

senza sord.

 





pp



p

Hn.

     

















  



  





p

mf

























 







pp



   





  





  



 



pp





pp

mf

 

    

 

mf

pp

senza sord.

pp

Tba.

 

35  



pp

S. Solo

        the

S.

morn- ing,



   

  

noon

and



   

eve - ning

  





did de - cree





  



Ped.



 



pp

    



Tpt. 1

 



 











Hn.

S. Solo





  





 





 











 -

-

Ped.



   









 





3

3 3  3                      3 3



3

     





3

3















 













 

   







  

   







 









 













 turn to S. & A. of chorus



call? p





 





   







 



mf



ah







 



   









 



ah

                



3

       3

3





3

   

mf

f

 

 



3

        3

3



(2')

   sempre pp

   





mf





ah

                





ah

p

pp

3



of





ty’s

pp

      

wise



 

ah

Org.



mf



ah

A.

the

mf

 du

S.



to

ah

mf Tpt. 2



               



212



35

    





ah

                             

 

ers

ah

34     mf

-

       

ah

Org.

mind

ah

   



As re -





pp

ah

A.

    



3



3

 

  

   

  

    

3

    3

   



21

V – Inscription on the City of Brass Lo stesso tempo <h. = h> (= 66)

36 215

Tpt. 1

Tpt. 2









2

2



 

Hn.

p



2

 

 



  

 2

2



Tba.

   









 











 













  











O







senza sord.



     

 

pp

p



















 pp

 



 sfzp

p



 

sfzp

   



mf S. Solo



p

mf

Tbn.

   



sons





of

 

 

3





men,

O

3



sons





of

men,

 

S. & A. stand in response

S.

A.





   

 

 



   



 





p









O

sons

of

men

p





O

sons

   of





    You see







men

    You see

T.















B.















36 



  



V – Inscription on the City of Brass Lo stesso tempo <h. = h> (= 66)

  

   



3

    



3

   

  

 

3

Ped.



  

3



 

   





 

pp

3

Org.





(2')

   3

pp





     3

3



 

    

  3







3



a

    

a

22

220

Tpt. 1

Tpt. 2

Hn.





 

 

 

37

    



             











 















  

 



sfzp







        



sfzp









p

Tbn.









  



  

 

  



  

sfp



  

sfp













p

Tba.

    







   





p





3



3



 You

T. (Semi.)













pp

p

S. Solo

    

 



see

a







stran - ger,



   You

   

mf





call

You







 call,



pp



A

{ SEMICHORUS B. (Semi)















pp



A

S.

 

   



stran - ger

A.

 





up- on the road,

    



stran - ger









  

You

call

to him





  

You

call

to him





up- on the road,





  

  and he



does

 



not

  

and he

does

not

mf











stop. mf



stop.

T.













B.













37 







Ped.

 









 

 

  

       

pp

Org.



 



  (2')

  

 3



 









3

3



  

 

3



3

 

  3



  

 3

     

3



23

38

   



225

Tpt. 1



   





   

Hn.

Tbn.

   



   





 





 

 











   



 



 



-

S.

A.

T.

-

is

your

  



He

is

  



He

is





Ped.

  



 Walk -







 









 













 



pp





A

stran





A

stran

   

   





-

ger

to - wards



mf

   

time.







time.

 



mf

 

   

time.













-





ger

 



mf

 

to - wards

  

walk - ing

time,

mf

 

to - wards

3









time.

time.







3





3

     

  

    



mf



    



time,



3





3

ppp



 



                        

3





walk - ing



  

 





 

3

3



life.



 



 

to - wards







p

  

ing





pp

to - wards











  pp











your



3

  





life.





 3



mf



your

           



  

p



38

Org.



Walk - ing



  





pp B.







life

ger











p





Walk - ing

p

 





mf





 



ger

  stran







stran

B. (Semi)



p

He

T. (Semi.)



p

pp

S. Solo







  

sfp



pp

Tba.



mf





sfp

  





  

p

mf

Tpt. 2



3

3





24

230

Tpt. 1

     p

Tpt. 2

  

 

 

 



 

  

 

  



 



pp

   

   

 





 

mf

      

 p

Tbn.

 

 

 



  













 







 



       Hur- ry - ing

T. (Semi.)

B. (Semi)



to meet

 

the



 



A.



to meet

the

mf

   

 



kings

of

p

     In - di - a



A

stran

p





A

stran





    

kings

of

 -



 -

 

T.

B.

 

  



-

Org.

 

Ped.







 





 

ger

In - di - a





 

























 









  and Chi

walk

-

ing





walk

-



to - wards

     ing

mf



  

time. mf





to - wards

 -



    

 

time.









na.











       



 

 



       





     

A stran - ger,

walk - ing

pp

  

   



walk - ing

   pp





   

 



 

to - wards

   



to - wards

mf





mf







 

time,

time.





mf





time.



    3



 

time,

         

3





hur- ry - ing,



3



na.

A stran - ger.

 







pp



 



ger

   

Hur- ry - ing,





pp

and Chi





       Hur- ry - ing





mf

S.

  p

p

S. Solo

 



pp



mf



p

p

Tba.



sfp

mf





sfp

p

Hn.



       

 

3

3



3



25

39 234

Tpt. 1



      



 

p

Tpt. 2

Hn.

  

 

p







       

       

   

   

 





       



         

          



        

   





mf



mf







p

Tbn.



Tba.

  









mf

S. Solo

        Hur- ry - ing

T. (Semi.)

B. (Semi)



to greet

the



Sul - tans

 of

 Si

3

-

  











   Who were

na and Nu - bia,





blown















        Hur- ry - ing

A.

3





mf

S.







to greet



the

mf

 

   

3



Sul - tans

   

Hur- ry - ing,

hur- ry - ing,

 of

 Si

3

-

  





na and Nu - bia,

   





hur- ry - ing,





Who

were





Who

were



 blown



 blown

T.

 











B.

 











39  







Org.

  

  

 

   









p

 

3

        

 



  







  



3

Ped.













26

    

40

237

Tpt. 1



                   mf

p

Tpt. 2



          





  p

    







       

Hn.

Tbn.



   



 

        





S. Solo







o - ver

T. (Semi.)

B. (Semi)





the

moun

 

 -

tain





pp



p

   



pp













  By





























  



o - ver

A.



 

  

crest

f

S.



 f



   

   

mf

p









pp

mf

pp

Tba.



mf



   

mf





pp

mf

p

    

   

  



o - ver





the

moun







the

moun

-







p



  

crest

tain

 

 -

  

 

tain



By a cer - tain

    

crest, the







 breath,

p



  

moun tain - crest



By a cer - tain





breath,

T.















B.















    



Org.

 

     

 





  

 

 

40  

 

 

 

           



{ on same manual: Flutes 8' & 4' (breathy – Lieblich flute)

*



                     * start slowly and accelerate, do not coordinate hands

Ped.









a







27

41 242

Tpt. 1

con sord.





  

  



Tpt. 2

con sord.





  

  



Hn.

  

   

 



Tba.













  



  



        

 



     

p

  

      









breath

T. (Semi.)

B. (Semi)

S.

E - ven as



 

    

p

  



he.

O

    

sons

of







men,





































  

 

  



 

breath,

  

E - ven



breath,



as



as







he.

mf



 

Lean



 

 

E - ven





 





he.







p

    sons of

mf















men,

sons of



men,



   

  

   

up - on your

perch - es

 

 Lean

      O



death





   

perch - es

  

p





death

Lean

O

B.

sfzp



   



    



a

T.



sfzp



a

A.



p



  



sfzpp

mf

S. Solo



sfzp

            

 



       

   

sfzpp



pp

p





pp









sfzpp

pp



con sord.





pp

p

  

p

Tbn.



pp

p

 

p

pp

p



   



up- on your



death

 

 Lean



death

41

Org.

Ped.

8' diapason



     

   mf dim. poco a poco a niente



 





 























p

   

 



 

28

42     

251

Tpt. 1

 

   

   



  



43 



Hn.

    

   

  

         

 

 

    

   















p

mf

      





 





   





 

p

mf

Tpt. 2







mf

Tbn.





con sord.











pp

Tba.

    







S. Solo







   





3

Look - ing down

  



in - to your

cup

   

















p













  





shoul - der,

A.

Look

      

 

 

       



on

  





 3



            3

3







are caught,









 

 

look











-

ing



down,

 

look

-





















ing

your shoul - der,

     

p



    

your shoul - der,

watery

Ped.

mf

down,

down,

  







43

42     

on

ing



          perch - es

Org.

-

 

down,

ing

  

Look

perch - es

B.

-





shoul - der,

T.

  



mf

You

S.



     

 





are caught,

You

B. (Semi)



wine,

of

p T. (Semi.)

    

p

mf





   



3



     

 

   



    3

  3

    

3





3

     



     

 





        3

mf





3

3



    3

29

258

Tpt. 1



    

poco accel.

44

   







senza sord.





mf

Tpt. 2

   



pp

   







senza sord.





mf

Hn.

 

p

Tbn.







  



p





    

      

   

pp

Tba.

  



mf









     

    pp







p

senza sord.



  

pp

      

 

  

















 

pp

mf S. Solo

 

 

Look - ing

3



  down



on

 the



   









mf

B. (Semi)



S.

 



 



down,

A.

 



caught,

 

p

mf



       

you

are

caught,







in



the

   in

the



 



web

of the

world



 



web

of the

world

   

   





























 





 

Org.

     



  

caught



p









   

44 





p



3

3

3









       



are

caught,

caught

caught,



 

in

the

caught

 web





of

the

 





in the

web

of

(div.)



the

poco accel.

   

  p

                   3

        

are

You

Ped.



down,



 



caught

You

B.





down,

down,

T.

are

p



p

        

you







breasts of your la - dy.

p T. (Semi.)



   

   























30

45 265

Tpt. 1

rit.

    



    



    

 



sord. senza  

a tempo (h = 66)













46 















mf

Tpt. 2

mf

Hn.



 

Tbn.



p

Tba.

     



pp

mf

 



   





mf

          



mf



p

 



 

  







  

    

 

p

    





p

mf

 

 





mf

sfzp





    







pp

  







p

 p

mf

Soprano reacts to the ‘spider’ and rapidly retreats to rejoin the chorus. S. Solo







       

 

mf



  







  







waits

be - hind

mf

 



No - thing





pp







mf

No - thing

spi - der.

And the



pp

ff

      

 



spi - der.

And the

B. (Semi)



ff

mf T. (Semi.)



waits

be - hind





it,







no - thing,

       it,

no - thing,

S.





















A.























  

ff

mf

T.

 

        

world

B.

 





pp

spi - der.

And the

No - thing

world



  





spi - der.

And the

No - thing







waits

be - hind

pp

ff

mf        

mf

 waits

mf

 

be - hind





it,







no - thing,

        it,

no - thing,

45   









 







mf

  





             



ff

p

Org.

Ped.

 

 

46

a tempo (h = 66)

rit.

{ pp

as before

 

        16'

 

pp







  

 

 

Gt. to sharp mixture



 



ff

  

    

31

poco accel. 272

Tpt. 1









 

 

3





3



pp

Tpt. 2





p





























3

3

3

3



 



 

    





p

Tbn.

Tba.







   





mf

p

sfpp





p

mf

p sub.

T. (Semi.)













3







3















  





  











p









mf

sfpp





      









-

3





no



p







p



 



 3

3

pp





mf







 3

pp

Hn.



thing.

p sub.

B. (Semi)

no

-

thing.

S.













A.























      









p sub.

T.

 

no

 -

thing.

p sub.

B.

no

-

thing.

poco accel.

 



pp

Org.

Ped.

    

 

   





 (16')

  p

    

 8' mf strs. & cel.



 

    

    

       



 

      

   

    



     





    

     

     







32

47 277

Tpt. 1



48 rit.

Poco più mosso



a tempo

   













  











 



f

Tpt. 2

  f

Hn.

  

 



con sord.





 







 



pp



  



mf

Tba.

   



 









           















   

  









p

sfzpp







mf





  

mf

f

T. (Semi.)



pp

f

Tbn.

con sord.





p





p

    





They have changed optional: add main Chorus B. (Semi)













p

    





They have changed

f

S.

   

 

Where,

f

A.

Where,

f

T.



 

B.

f  Where,

are

   

oh where are



Where,

 

oh where



  

 

 

the

 men

3        

with flow - er - ing

the

with flow - er - ing

     the

 

    

 

the

oh where are

men



oh where are



   



men

men



  





































hopes?

 

with flow - er - ing





hopes?

3

  



hopes?

   

with flow - er - ing

hopes?

47

48

Poco più mosso

















f





a tempo

    

f

Org.

Ped.

   

rit.

  





      







  mf







pp

           

{ as before

   

 



     





  

33

283

Tpt. 1

49

con sord.

 



 pp

Tpt. 2

Hn.

Tbn.





 







sfpp

mf

     mf   



     







  



  

 

 





  



    





     







T. (Semi.)



    

with

     pla -ces





with



owls,







Owls

     owls,



Owls





who live

in

tombs

    who live





       



   







tombs



pal

the

Tpt. 1

 



   

 

   

     

-

 





pal

-





ace.

ace.



ppp

          a niente 

   

   





 





p











p

lunga

VI – You will die Determined q = 152



 



 















 



























senza sord.





niente Tpt. 2

 



49

50    



