Eriks Esenvalds Arrangements.pdf

choral anthology 2

for mixed choir (SATB)

M USICA

BALTICA

in collaboration with EP 72446

MUSICA BALTICA

ĒRIKS EŠENVALDS

5

Veltīts Rīgas Jauniešu korim Kamēr... / Dedicated to the Riga Youth Choir Kamēr...

AMAZING GRACE Traditional American tune arranged by Ēriks Ešenvalds (*1977)

John Newton (1725-1807)

q » 54

# 3 & 4Œ

p

Soprano solo

Soprano II

Alto I

Alto II

Tenor I

Œ

# & 43

∑

# & 43

∑

# & 43

A - maz legatissimo

Œ

∑

ª 7 S. solo

S. I

S. II

A. I

A. II

T. I

T. II

B. I

B. II

# &  &

#

wretch

œ

Mm,

∑

# V 43 Œ

,

œ œ

like

# & .

Œ

œ

Mm,

.

.

œ. œ

sweet

the

me,

œ

π 

Mm

Ó

cœ

œ

œ

# & .

.

cœ

# .

.

cœ

. ∑ ∑

© Copyright Musica Baltica, 2007

cœ ∑ ∑

c c

That

43  .

.

cw

43  .

cw

. 43

cw

. 43 

Œ

π

œ

Mm,

43 Œ

p

Œ

œ I

œ.

œ œ œ J

once

was



lost,

3 . 4

.

.

Mm,

œ

œ

œ

43  .

.

.

œ

œ

œ

43  .

.

.

œ

œ

œ

43  .

.

.

œ

œ

œ

. 43

.

.

3 . 4

.

.

A - maz - ing!

A - maz - ing!

A - maz - ing!

A - maz - ing!

œ

œ

œ

A - maz - ing!

∑ ∑

Mm,

Mm,

Mm,

Mm,

3 4 43

Mm,

∑ ∑

legatissimo

Œ

legatissimo

Œ

π 

π

.

Mm,



Mm,

œ œ

saved

cw

Œ

A - maz - ing!

sound

3 œœœ 4 3

.

legatissimo

œ



p

Œ

43  .

.

Œ

c

cw

.

π

œ

Mm,

cœ

cœ

?#

Œ

.

.

?#

legatissimo

∑

# & .

# .

.

∑

cœ

V

how

.



.

V

π

grace,

Œ

π

3

œ œ œœ 

Mm,

legatissimo

∑

π

œ

Œ

ing

∑

legatissimo

# V 43

œ œ 



œ

legatissimo

Tenor II

,

Semplice, limpido e con espressione

legatissimo

.

a

,

ª

œ

but

Commissioned by the Salt Lake Vocal Artists / Salt Lake Choral Artists, Brady Allred, Conductor

STARS STARS

Commissioned by the Salt Lake Vocal Artists / Salt Lake Choral Artists, Brady Allred, Conductor

»76–84 # ∑ ∑ ∑ 76–84Ó & # 22Espressivo e rubato q»

Sara Teasdale Sara Teasdale S S

A A T T B B Glasses Glasses

9

9&

##

Espressivo e rubato q

# & # 22

# 2 & # 2 # 2 & # 2 # V # 22 # V # 22 ? # # 22 ? # # 22 # # 2* ww & 2 # # 2* pww & 2 p

w

# & # Mm w # Mm & # w # & # Mm w # Mm V #  œœ œœ # night on a V #  œœ œœ

∑

∑ ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑ ∑

∑

∑ ∑

∑

wwww wwww

.

∑ ∑

∑

ww

∑

ww

œ

.

with

.

œ

œ

with

œ

Ó

Ó

p œ . p A œ - lone, . pA - lone, œ . p A œ - lone, .

Œ Œ Œ

∑ ∑

œ œ

- lone 

in œ the œ

wwww wwww

œ œ œ œ œ œ

a - lone

∑ ∑

∑

ww ww

œ

pines a - round me

œ

œa



œ œ œ œ œ a - lone in the Ó Œ œ œ œ œ œ ∑ A - lone, ∑ a - lone ∑ in the

pines a - round me œ

œ

œ

œ

∑

in the

∑ ∑

wwww wwww

∑

P   P  spic  - œœy and œœ still, spic - y and P still, œ œ œœ œœ  P œœ œœ



P  P night  P night œ œ P night œ œ

Ēriks Ešenvalds Ēriksp Ešenvalds

œ œ   p on a dark œ œ  hill,  p on a dark hill, œ œ pœ œ 

œ œ pœ œ  night ∑on a dark  hill,  p In  the  ∑ p   the  ∑ In p  In  the  ∑ ww wwww In the ww wwww on a

ww

 and

still, ww



ww still, ww

and

15

still,

dark hill,

Ó Ó

p p

 p Mm Ó  p Mm Ó  p Mm Ó  p  Ó Mm p Mm  Ó p  Ó Mm Mm

with pines a - round me spic - y and still, and œ œ œœ œœ   . œ œ œ œ œ P P p with pines a - round me spic - y and still, and still,  œ œ  ww  œœ œœ   ww P p P dark Mm spic still,  - œœy and  and  œ œ hill,  ww œœ still, ww p P hill, night on a dark Mm spic - y and P still, ww œ œ œœ œœ still,  and  ? ##  œ œ  w   œ œ P wp   P ww  œ  and  on a dark hill, Mm spic y and still, œ œ œ ? # # night  œ œ  œ œ still, w   œ œ  w  night on a dark hill, Mm w and still, w - y and wstill, # ww w wwww wwww wspic ww Mm w ww ww wwww wwww & # ww # # www w wwww wwww wwww wwww ww w w w w w & w w w w * Choose resonant glasses and use as little water to tune them as possible - the less water, the more resonant the sound. There must be wsome water, however,

*

as the glasses are played with wet fingertips. Every second singer plays a glass. The pitches of every glass-sound chord should be divided equally between the players. For bars 42-76 you may also add a few larger glass or Tibetan-type bowls with pitches D, E and A to add more lower sounds than the sounds produced by the glasses. Choose resonant glasses and use as little water to tune them as possible - the less water, the more resonant the sound. There must be some water, however, as the are played with wet fingertips. © glasses Copyright Musica Baltica 2011Every second singer plays a glass. The pitches of every glass-sound chord should be divided equally between the players. For bars 42-76 you may also add a few larger glass or Tibetan-type bowls with pitches D, E and A to add more lower sounds than the sounds produced by the glasses.

16

## P ww &

Ó

## P & w

Ó

## P w

Ó

16

Ah

Ah

P w ? ## w Ah

# ww & # ww P

P ww

p 

P ww

Ó

p 

P ww

p ww

p  

P w w

Mm

Ah

V

p 

Mm

Ó

Mm

Mm

ww

# w & # w

P 

##

P 

24

Oh

&

Ah

Oh

Ah

wwww

wwww ww



P œ œ 

œœ œœ

? ##  

P œœ œœ 

# ww & # ww

to - paz and

to - paz and

mist - y

and

p w Oh



p Œ œ

Oh

Ah

mist - y

# V # 

and

Ah

mist - y

ww

Ó

p Œ œ



heav - en, a



œ œ

heav - en, a

œ œ œ œ

heav-en full of

œ œ œ œ

heav-en full of



stars

stars

ww

ww

ww

w

ww

wwww ww

wwww ww

œœ œœ 

o - ver my

 head,

œ œ œ œ œ œ 

ww

o - ver my

head,





 

 

white and

white and

wwww ww

ww

Myr - i - ads with

w œ œ œ œ

beat -ing hearts of

red;

Oh

œ œ œ

fire

ea - ons can - not

vex or tire;

Myr - i - ads with

beat -ing hearts of

fire

vex or tire;

Oh

ea - ons can - not

œw œ œ œ red;

ww

œ œ . œ . œ ww

red;

Oh

mist - y

ww

red;

ww

Oh

wwww ww

wwww ww

wwww ww

 

œ œ

the

œ œœ

the

w œ œ œ œ

œw œ œ œ w

w œ œ œ œ

œ œ œ œ w

ww

ww

∑

ww

∑

ww wwww ww

vex or tire;

Mm

Mm

wwww ww

ww

20

Commissioned by the University of Louisville Collegiate Chorale and Cardinal Singers. Conductor: Kent Hatteberg

ONLY IN SLEEP TIKAI MIEGĀ Sara Teasdale (1884–1933)

Solo

P bbb 3 œ b b & b 4œ œ

On - ly in

S

» 80–86

Espressivo, con anima q

p bb b b 3 & b b 4  ..



œ



sleep

I

see

 ..

.

 ..

 ..

œ

Ēriks Ešenvalds

(*1977)

œ œ œ. ‰ œ œ œ

their fac - es,

œ

chil-dren I

œ

œ

played with

‰ œj œ œ œ when I was a

œ . 

 ..

œ .

 ..

 ..

 ..

 ..

 ..

 ..

 .



œ

Mm

A

p bb b b b 3 & b 4  ..

Mm

T

bb 3 V b b bb 4

b & b bbbb 

8 Solo

Œ

child,

S

A

T

B

∑

Mm

œ

œ

œ



Lou - ise comes back

bb & b b b b  . œ

∑

∑

∑

 ..

 .

Mm

œ œ œ œ

P  .

Mm

bb V b b b b  ..

 ..

 ..

P .

p .

 ..

P  ..

Mm

© Copyright Musica Baltica, 2012

 . .

An - nie with

œ  .

Ah

Ah

Ah

œ œ œ. ‰ ring - lets

 ..

Ah

.

∑

œ œ œ. ‰ œ œ œ

braid - ed,

P  . .

 ..

Mm

œ œ

with her brown hair

bb & b b b b ..

? bb b b bb

p .

Mm

œ

œ . 



 ..

. .

 . .

. .

œ

œ



unis.

Mm

 ..

Mm

 .

Mm

œ

IN MY LITTLE PICTURE FRAME

28

IN MY LITTLE PICTURE FRAMEMusic by Renārs Kaupers

Lyrics by Imants Ziedonis (*1933)

(*1974)

English transl. by Ieva Lešinska-Geiber Lyrics by Imants and Elaine SingleyZiedonis Lloyd (*1933)

Arranged by Ēriks Ešenvalds Music by Renārs Kaupers (*1977)

» c ∑ Con amore q » 108–112 π

(*1974)

English transl.Con by Ieva Lešinska-Geiber amore q 108–112 π Lloyd and Elaine Singley # 2 soloists S and T 2 soloists S and T SI

SI S II

S II S III

S III AI

AI A II

A II T

T B

B Perc.

Perc.

&

# &# & # &# & # &# & # &# & # &# & # & # V # V ?#

c cŒ

∑j j∑ œ œ. œ. œ œ œ j baM baM baM baM pa j cŒ œ œ œ. . œ œ œ œ c œ œ  œ œ œ baM baMœ œ baM baM œ œ pa ba da ba c ba da œbaM œ ba da baM  œ Œœ c Œœ œ ‰ j j œ .œ œ œ œ œ œ œ ba da baMœ œ ba da ba ba da baM ba da baM ba d ba daM cŒ Œ ‰ j j œ. œ œ œ œ œj c j œ œ j œ œ baœ daœ baMœ œ baœ œd baœ daMœ œ . c baj daM baj daM ba daM ba daM baj daM c œ œ œj œ œ œ œj œ œ œ œ. œba. daM baœ daM œ baœ daM œ baœ . daM ba daM baM baM baM c baM jbaM j œ œ œ œ œ œ . . c ∑ ∑ c c

baM

?# c & c &

SI S II

S II S III

S III AI

AI A II

A II T

T

c

#

baM

baM

∑ ∑

baM

baM

∑ ∑

∑

œ. œ  œœ

œ œ œ œ œœ œ œ œj œ œ œ œ. j œ œ.

© Copyright Musica Baltica 2011 © Copyright Musica Baltica 2011

∑ j œ œ. j baM ra baM œ Œ œ œ œ. œ œ ‰ j j œ. œ œ baM ra baM daM ba da baM œ œ ‰ j j œ. œ œ œ baœ daœ baMœ œ daM œ ba da baM ba da œ œ œ œ j œ œ œ . da baMœ œ baœ da ba baM baM baM j œj. œ œj œœ œ œ œ œbaM œ baM baM ba daM ba daM ba da j j œ œ œ ∑œ œ œ œ

Œ

œ

ba daM ba daM

∑ ∑

œ œ œœ Œ J œ œ œœ J œ œ œ Œœ œ œœ œ œ œ œŒ œ œ œ œ Œ œ œ j œ. œ œ. j œ œ. œj. œ  œ j œ œ ∑ ∑

ba da

j∑ œ œ œ baM baM baM j œ. œ œ œŒ œ œœ œ baMœ baM baM ba da ba daM Œ œ œœ œ œ  œ œ ba da ba daMœ baM ba da baM  œ œ œ j œ œ.  da baM baM ba baM baM j œœ œ . œ j œ . œ œ baM baM ba da ba daM œ œ œ œj œ . ∑ œ.

ba da

œ ‰ œj j œ‰ œ

œ œ. œ. œ J J œ œ. œ. œ Jj œ . œ œJ œ œœ j . œ œœ œœ œ  œ œ œ œ  œœ j œ œ œ œ. j œœ œ œ œœ œ . œ œ œ

œ

∑

œ .. Œ

∑

œ Œ

œ

j œ œ. j œ œ. œ

.. Œ œ .. œ œ œ œ œ œ Œ .. œ .. œŒ œ ‰œ j œj œ . œ œ œ œ œ œ œ œ .. Œ ‰ j j œ . œ œ j .. j œj œ œ  œ œ œ œ œ œ j . œj j œ . ... œj œ œjj œ œ œ œ œ œ. œ œ œ j j . j œ ∑ œ œ œ œ œ œ ∑ œ œ . ... Óœ . œ œ œ œ œ ∑

œ œ

∑ ∑

ba daM

∑∑

∑

œ

(*1977)

∑

∑∑

∑

œ.

œ œ

∑

∑∑

∑

# . & Œ œ Jœ œ 5 # . & # Œ œœ Jœœ œ & œ œ œ # & # Œœ œ ‰œ j œj œ .œ & œ œ # j . & # Œj ‰ œjj œ œ & œ œ œ œ œ # & # œj œ œjj œ œ & œ. œ œ œ # j & # œ. œ ∑œ œ V V

œ

∑∑

5 SI

∑

Arranged by Ēriks Ešenvalds

.. Ó

œ œ œ œ

In my lit - tle It’s a qui - et In my lit - tle It’s a qui - et

# j & # œ. œj & œ. œ # &#  &  # &# œ œœ & œ œ œœ # œ &# œ œ & œ œ œ # œ &# j & œj œ . # œ œ.  V# œ œ  œ frame V pic œ -ture

10 SI SI S II S II S III S III AI AI A II A II T T

œ œœ Œ œ œ œœ Œ œ œœ œ ‰ j œ œ œ œ œ ‰ œj œœ œ Œ œ œ œ œ Œ œ œœ œ j j œj œ . œ . œj œ œ. œ. œ j j  œj œ œj  œœ œ Œ Ó Œ Ó

10

af - ter - noon, pic- ture frame af - ter - noon,

# &# & # &# & # &# & # &# & # &# & # V# V

15 SI SI S II S II S III S III AI AI A II A II T T

Perc. Perc.

15

& &

Œ Œ œ œ

œ œ

‰ ‰ œ œ œœ œ œ œ. œ. j œj œ œ œ Ó Ó

œ Jœ J j œj œ œ œ

œ. œ.

j œj œ . œ œ.

∑

j œj œ œ œ œ œ œ œ Œ œ œœ œ Œ œœ œ œ œœ œœ

Œ œ Jœ œ . Œ œ Jœ œ . œ œ œ œ œ œœ œ œ œ œ œ Œ ‰ j œj œ . œ Œ ‰ j œj œ . œ j j œj œ œj œ œ œ  œ œ œ œ œ œ  j j œ œj œ . œ . œj œ . œ œ œ. œ œ œ Œ Ó œ œ œ œ Œ Ó œ - tures œ - erœ pic œ oth

jœ œ œj . œ. œ œ œ œ  œ œ  œ œ j œ œ œj œ . œ œ œ œ. œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ see. œ œ it is you I

sun is fad-ing it is you I sun is fad-ing

œ œJ J . œ œ œœ j œj œ. œ œœœ œ œ  œ œ  œ œ j j œj œ œ œj œ . œ œ œ œ œ. j œj œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ œ itsœ beau œ œ- ty. œ match œ not can in a tea - pot can not match its in∑ a tea - pot

œ. œ.

œ. œ.

spout. beau - ty. spout.

∑ ∑

out. see. out.

œ œ .. œ œ .. œ Œ .. œ Œ .. œ . œ œ œ .. œ œ . ..  ..  . j œj œ . .. œ œ. . Œ .. Œ ..

Œ Œ

œ œ œœ Jœ œ œ œ J œœ œ œœœ œœ œœ œ Œ œœ œ Œ œ œj œ . œ œj œ .

œ. œ.  

œ œ œ œ œ œ œ œ j œj œ .  . œ œ  Œ œ œ  Œ œ œ world in this 

You put dan - de - li - on blooms oth - er pic - tures in this world You put dan - de - li - on blooms

j œj œ . œ œ.

œ œ

œ œ œ œœ œ œ œ œ œ Œ ‰ j j œ. Œ ‰ œj œj œ . œ œ j j œj œ œj œ œ œ œ œ œ œ j œ . œj œ œ œ. œ œ œ ∑ ∑

.. œShaker œ œ J .. ‰œ œ ‰œ ‰ J ‰ Shaker

29

œ J œ J

œ ‰ œ ‰

œ J œ J

œ ‰ œ ‰

j œj œ œ œ

œ. œ.

œ  œ  œ œœ œ œœœ œ œ œ œœ œ œ œœ j œj œ . œ œ. œ J œ J

œ ‰ œ ‰

œ

J œ

J

œ ‰ œ ‰

œ J œ J

∑ ∑

œœ Œ œœ Œ

œœ œ ‰ j œ œ œ œ œ ‰ œj œ œ œ œ œ Œ œ œ Œ œ œœ œ j j œj œ . œ . œj œ œ. œ. œ j j  œj œ œj  œ œ œ œ ‰ œ ‰

œ J œ J

œ ‰ œ ‰

œ J œ J

œ ‰ œ ‰

j œj œ . œ œ.

œ œ

œ

J œ

J

œ ‰ œ ‰

œ J œ J

j œj œ . œ œ. œ œ œ œœ œ

∑ ∑

œ œ œ œ œ ‰ œ ‰

œ œ

œœ œœ œ J œ J

œ ‰ œ ‰

œ J œ J

ce�š (lyrics Long Road is the Long Road is English version of my recent choral composition T�ls Ce�š Latvianpoet poetPaul�ne Paul�neB�rda), B�rda), (text bybyLatvian and it is dedicated to Stephen Layton and Polyphony who first performed it on April 8th, 2010 in Trinity College Chapel Cambridge.

LONG ROAD

Paul�ne B�rda (1890-1983) English transl. by Elaine Singley Lloyd

S A

� � �� �

� �

��

I

love,

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choral anthology 2

For me, harmony is most important – how it flows and becomes a new harmony. The melodic line is secondary. Perhaps this is because my ear is trained primarily to perceive harmonies. Nevertheless I don’t want to write simple music . . . it is important for me to create sounds that I truly feel. I conclude that I am constantly changing, searching for new paths, but absolutely not, once having found them, massproducing them. Ēriks Ešenvalds

ĒRIKS EŠENVALDS

ĒRIKS EŠENVALDS

Born in 1977 in Priekule, Latvia, Ēriks Ešenvalds studied composition with Selga Mence at the Latvian Academy of Music. He has continued his studies with Michael Finnissy, Trevor Wishart, Richard Ayres and Jonathan Harvey, amongst others. For 2011–2013, he holds the position of Fellow Commoner in Creative Arts at Trinity College, University of Cambridge.

M USICA in collaboration with

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Edition Peters 72446

BALTICA

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