Copyright by Christopher Skinner Prosser 2017

Copyright

by

Christopher Skinner Prosser

2017

The Dissertation Committee for Christopher Skinner Prosser certifies that this is the approved version of the following dissertation:

Vision and Prayer for flute, clarinet, percussion, piano, violin, cello, soprano and bass

baritone

Committee:

Yevgeniy Sharlat, Supervisor

Russell Pinkston

Donald Grantham

Bruce Pennycook

Kurt Heinzelman


baritone

by

Christopher Skinner Prosser, B.S.; B.M.; M.M.

Dissertation

Presented to the Faculty of the Graduate School of

The University of Texas at Austin

in Partial Fulfillment

of the Requirements

for the Degree of

Doctor of Musical Arts

The University of Texas at Austin May 2017

Dedication

To my amazing and absolutely essential church community at The Austin Stone

Community Church. I could not have written this piece without your love, kindness, and

patient guidance in showing me what it means to walk with the Lord and follow his son

Jesus Christ. I love you all and will be praying.

v

Acknowledgements

My most heartfelt thanks belong to my parents, Pete and Peggy Prosser, who have

always greatly and so lovingly encouraged me to pursue my passion for music, the result

of which has led me to composition. Mom and Dad, I love you, and I’m so thankful and

blessed for your support and unconditional love during my time in academia. Thanks also

go to the exceptional faculty of The Butler School of Music who have guided me along

this path towards completing my degree, and nurtured my development as an artist and

composer. To Dr. Russell Pinkston, thank you for your calm demeanor, keen intellect,

and most excellent and insightful comments on my music during our lessons. To Dr.

Donald Grantham, thank you for your gentle and kind spirit. I always felt at ease and

undaunted with my work after leaving a lesson with you. To Dr. Bruce Pennycook, thank

you for your generosity and honest opinions of my music. Your work with various forms

of media, especially projection and dance, has opened my eyes to new forms of

expression that can be achieved through our art. All the best for the future of CAET. To

Dr. Kurt Heinzelman, thank you for serving on my committee. I will never forget our

conversation about Vision and Prayer, and how you patiently and with great kindness

allowed me to explain my reading of the poem. To Dr. Yevgeniy Sharlat, it is difficult for

me to find words that truly express how thankful I am for you, so I’ll say that working

with you in lessons, on the dissertation, and with CLUTCH has been transformative.

Thank you for your friendship, for always challenging me, and for pointing me towards

different avenues of exploration in my work. Your zeal and energy for music, the arts,

and our program is truly inspiring.

vi


baritone

by

Christopher Skinner Prosser, D.M.A

The University of Texas at Austin, 2017

Supervisor: Yevgeniy Sharlat

Vision and Prayer is a forty-minute song cycle for small chamber ensemble,

soprano, and bass-baritone. The work is a setting of Dylan Thomas’s poem of the same

name, and encompasses seven songs. It is conceived in two parts: “The Vision,”

comprised of four songs beginning with an instrumental Prelude, and “The Prayer,”

comprised of three songs beginning with an instrumental Interlude. The cycle is a

programmatic work whose meaning and message stems from my own interpretation of

the poem. This interpretation coincides with my idiosyncratic beliefs and faith in Jesus

Christ found in the New Testament gospels of the Bible. Three themes are found running

throughout the poem. They are an awakening of faith, fleeing from this newly found

faith, and an utter acceptance and submission to Jesus Christ. The music attempts to

convey these three themes by way of gesture, motive and text painting. My ultimate goal

vii

in writing Vision and Prayer is to use this work as a vehicle to share the gospel of Jesus

Christ with others.

viii

Table of Contents

List of Tables ...........................................................................................................x

List of Figures ........................................................................................................ xi

Chapter 1. Precompositional Considerations ..........................................................11.1 Introduction ...............................................................................................1 1.2 Testimony .................................................................................................3

Chapter 2. Thomas's Influence in My Previous Work .............................................72.1 Three Dark Songs of Dylan Thomas .........................................................72.2 4 Clarinet Miniatures ..............................................................................11

Chapter 3. Vision and Prayer - The Poem .............................................................14 3.1 Scholarship .....................................................................................14 3.2 My Interpretation ...........................................................................15

Chapter 4. Analysis of the Music ...........................................................................23 4.1 Introduction ....................................................................................23 4.2 Prelude ...........................................................................................26 4.3 Song I: Who Are you .....................................................................28 4.4 Song II: I Must lie ..........................................................................33 4.5 Song III: When The wren Bone writhes down ..............................36 4.6 Song IV: There Crouched bare ......................................................39 4.7 Interlude .........................................................................................42 4.8 Song V: In the name of the lost .....................................................43 4.9 Song VI: Forever falling night .......................................................45 4.10 Song VII: I turn a corner of prayer ..............................................48 4.11 Conclusion ...................................................................................51

Appendix A Vision and Prayer - The Poem .........................................................52 Appendix B Vision and Prayer - Full Score .........................................................64

ix

Bibliography ........................................................................................................188

x

List of Tables

Table 1.Songs and corresponding stanzas in Part I Vision and Prayer ................23

Table 2. Songs and corresponding stanzas in Part II of Vision and Prayer ...........24

xi

List of Figures

Figure 1. Vocal Glissando from “Here Lie the Beasts” ...........................................8

Figure 2. Vocal glissando from “Who Are you” .....................................................9

Figure 3. Clarinet double trill .................................................................................13

Figure 4. 1st stanza excerpt from Vision and Prayer ..............................................16

Figure 5. 2nd stanza of Vision and Prayer ..............................................................18

Figure 6. Rhythmic motive from Prelude, mm. 1-2 ...............................................26

Figure 7. Rhythmic motive in winds and strings, mm. 113-117 ...........................27

Figure 8. Introduction of awakening motive, mm 7-10 .........................................28

Figure 9. m3/M3 sequential passage, mm. 152-154 ..............................................29

Figure 10. Text painting representing pain of child birth ......................................31

Figure 11. Pentatonic scales from vocal line, mm. 226-240 ..................................32

Figure 12. Instrumental gestures from Song II, mm. 9-11 .....................................34

Figure 13. B section of song II ...............................................................................35

Figure 14. Melisma on word “dazzler” ..................................................................37

Figure 15. Piano chord from song III of Vision .....................................................37

Figure 16. Scale of hexachord (013579) ................................................................38

Figure 17. Beginning of third stanza of Vision and Prayer ...................................38

Figure 18. Beginning of song IV ...........................................................................41

Figure 19. Beginning of Interlude ..........................................................................42

Figure 20. Harmonic progression from B section of song VI ................................46

Figure 21. Text painting on “arise” from song VI .................................................48

Figure 22. Cello solo from song VII ......................................................................50

1

Chapter 1 Precompositional Considerations 1.1 Introduction

As a composer who is very much interested in and reliant upon writing programmatic

music, I am often drawn to the written word, be it poetry or prose, for inspiration. Over

the past several years, the works of Welsh poet Dylan Thomas have provided a treasure

trove of extra-musical fodder to satiate my program-hungry compositional cravings.

When I read Thomas’s poems, musical materials are instantaneously born and run free

inside my head. His words are raw and more often than not go to very dark places and

dwell there, wallowing in the muck and slime. I am sometimes very surprised to find

myself attracted to these words that conjure such grotesque domains, but there also exists

a simplistic austerity in his word choice, which I find very attractive and concise. He also

has the uncanny ability to organically jump from one thematic extreme to the next. For

example, his poem “Here Lie the Beasts,” begins with a dead man delightfully describing

a hellishly deranged feast in the first stanza of the poem, and in the blink of an eye, that

same dead man is mourning the loss of his lover, “who made of my pale bed/ The

heaven’s house.” This striking juxtaposition of extremes coupled with his stark

presentation and use of literary motifs contrasting darkness with light, resonates with me

as a composer, and is the reason why I’m consistently drawn to his work as a source of

much inspiration in my compositions.

2

When I was considering what type of work to compose for my dissertation, my

first thought was a piece for very large forces, perhaps my first symphony, or a piece for

wind ensemble. My advisor, Dr. Yevgeniy Sharlat, very wisely commented that during

my time at The Butler School of Music, I had written a variety of successful works for

small chamber ensemble, solo pieces, and art songs, two of which were inspired by Dylan

Thomas poems. In contemplating this decision, I began looking back on my

compositional output over the previous years to find works with which I was most

satisfied. The works I settled on were my solo clarinet piece entitled, 4 Clarinet

Miniatures, my piano quartet, Hammer Striker, and my short collection of three art songs

for soprano and piano entitled, Three Dark Songs of Dylan Thomas. Obviously, Thomas

inspired the latter work, but the solo clarinet piece was also inspired by Thomas’s words.

Later in this document, I will provide a more lengthy discussion of these two works and

how they served as a stepping off point for my interest in using Thomas’s poems for

inspiration in my music. It soon became clear to me that composing a song cycle

accompanied by a small chamber ensemble would be the perfect synthesis of my

previous compositional output, and would provide a most welcome challenge.

Finding a text was the next logical step, and I immediately began pouring over

Dylan Thomas poems. Due to my choice of composing for a smaller instrumentation, the

length of the piece needed to be substantial, which meant selecting a much lengthier text.

Before I read Vision and Prayer, I knew that there was something special about this poem

due solely to its presentation on the page. The poem is an excellent example of shape

poetry. Each stanza of text is presented in the form of a specific geometric shape. Vision

3

is comprised of twelve stanzas; the first six take the shape of a diamond, and the

remaining six, an hourglass. To view the diamond and hourglass shapes, please refer to

Appendix A, where the poem has been reprinted in its entirety with permission from New

Directions Publishing. A more detailed discussion of the poem will follow in Chapter 3.

After reading through the poem several times, I knew my search was over. I also came to

the realization that this text, and my subsequent setting of it, could be used as a vehicle to

share the gospel of Jesus Christ.

The themes I find represented in Vision, articulate my programmatic aim of

pointing others to God. In the book of Ephesians (2:8) the Apostle Paul writes, “For by

grace you have been saved by faith. And this is not your own doing; it is the gift of God.”

This Christian belief that faith is a gift freely given by God to all lies at the heart of my

decision to use this work as a vehicle to share the gospel. What follows is my own

personal story of how this transpired in my life.

1.2 Testimony

The testimony is a Christian’s story of how a person who previously did not

believe in God came to know Him. It is a defining moment in the life of an individual as

their entire worldview changes in the sense that a believer no longer lives for himself or

herself and the things of this world, but views life under the lens of the word of God

found in the Bible. More often than not, this is a slow process that can take many years of

searching to come to fruition, but the moment of redemption is very clear, profound, and

unforgettable. This happened to me, and I include my testimony in this document first

4

and foremost as an encouragement to all who might read it, and because I believe that my

humble story of salvation is essential to understanding why a composer in today’s ever

increasingly secular world would endeavor to write music that glorifies God, shares His

word with others, and whose ultimate aim is to lift high the name of Jesus.

Both my mother and father are practicing Catholics, and during my childhood, I

was raised in the Catholic faith. I received the sacraments of Baptism as a baby, First

Communion in the second grade, and Confirmation right before high school. At the end

of my high school years, I had completely lost interest in all things related to faith. In

searching for reasons why this might have happened, I now believe it to be the repetitive

ritualistic nature of the Catholic Mass, which at the time, did not hold the interest of my

high school self.

Fast forward to my second year as a doctoral student, a colleague invited me to

attend a church service. Up until this point, I considered myself agnostic and had very

little interest in religion or anything related to spirituality. I replied to my colleague that I

would attend this church service, but made the decision to try and get something out of

this experience for myself. The service was a Non-denominational or Evangelical service,

which as I soon found out, was very different from the Catholic Mass. I was immediately

struck by the number of people in the congregation who were singing loudly and lifting

their hands in worship, several of who were crying. I had never experienced this while

attending church, and it made a lasting impression on me. After the singing, the pastor

delivered a message or homily that was very much founded on Biblical texts, but at the

same time, seemed very relatable to me and spoke to situations I had experienced in the

5

past and was currently experiencing. I enjoyed it very much, so much so, that I decided to

return the following week.

Over the next several months, I continued to attend church, and began to learn

more about Jesus and His great message of love, peace, and reconciliation. This was not

new material. I had known about Jesus from my Catholic upbringing, but had never taken

the time to look beneath a surface level of understanding. Also, the Christian doctrine

regarding Jesus’ humanity which states that He became man and experienced life on

earth, but was also the Son of God who lived a perfect sinless life, was rejected by those

He came to serve, and suffered and died on the cross for the salvation of all mankind, had

never been presented to me in such a poignant way that urgently spoke to and made sense

of the world around me. Simply put, our broken world needed a savior. At the same time,

I realized that walking this path was going to be very difficult and meant denying myself

things that I had become accustomed to doing in my everyday life. I also realized that,

with the exception of my colleague, I did not know anyone at this church, and I began

having doubts and questioning why I kept showing up every Sunday.

During these months of searching, I began training a newly hired employee who

was to be my replacement at work, and a mutual friend mentioned to her that I attended

church. Upon hearing this news, she very kindly and enthusiastically asked me if I would

like to join her group Bible study. At this point, I was on the verge of walking away from

pursuing God and was unsure of how to reply, but in the end, I decided to take a chance

and agreed to join the Bible study. I was immediately welcomed into this group with

open arms and great hospitality. The one thing that stood out and kept me coming back

6

was their strong faith in God. Every person put their trust in Him, and as a result,

received an acute sense of peace and humility that seemed to sustain them despite the

difficulties and challenges in each individual’s life. This group of believers very quickly

became some of my closest friends, but it was more than friendship, closer to family. I

know that God placed this co-worker in my life during a very precarious moment when I

was about to turn my back on Him.

Soon after, I began to read the Bible and continued to learn more about God, His

character, and what it looked like to entrust my life to Him. As this process continued, I

began to experience joy, profound joy that I had never in my life known before. I can

remember the day I gave my life to the Lord very clearly. It was November of 2015. We

were in church singing worship songs, and I was so overcome with emotion that I

couldn’t sing a single word. I stopped what I was doing and told Him “Lord, I give my

life to you.” It was at that moment I knew I was saved, and my sins were forgiven. To

this day, I am so thankful for this gift of faith by grace. The peace and joy that come from

knowing God is what motivates believers to want to share their faith with others. We

want everyone to experience this joy, freedom, and peace that can only come from having

a personal relationship with the Lord. This is why it is so important that the music I write

points others to God.

7

Chapter 2

Thomas’s Influence in My Previous Work

Prior to working on Vision, I used Thomas’s poetry as inspiration in two earlier

works. The first of these was a collection of three short art songs entitled Three Dark

Songs of Dylan Thomas, completed early in the spring of 2013. The second was a work

for solo clarinet entitled 4 Clarinet Miniatures, completed a few months later. Themes

and imagery found within each poem also exist in Vision. Discussing these

commonalities will shed light on what drew me to Thomas’s work from the beginning,

and will also show how certain words generate similar musical materials that are used in

both the older works and in my setting of Vision.

2.1 Three Dark Songs of Dylan Thomas

The three poems I chose to set for this short collection of art songs were, “Here

Lie the Beasts,” “Was There A Time,” and “Written for a Personal Epitaph.” Each poem

presents images of death and terror, but also contains sweet or sad reminiscences of

fonder times past. In the case of “Here Lie the Beasts,” death is a man who attends a feast

whose menu items include man-beast meat, venomous blood, and breast milk from the

devil. The same dead man then speaks mournfully of angels, the milk of buried flowers,

and a lost lover “who made of my pale bed/ The heaven’s house.” This stark

juxtaposition of a grotesquely macabre feast with such a sorrowful remembrance is very

8

compelling to me as a composer, and clearly articulates the darkness and light motifs that

are so prevalent in many of Thomas’s poems. To musically depict the feast, I used cluster

chords played forcefully with the palm of the hand running up and down the piano, piano

glissandi on the strings inside the piano’s lowest octave, frequent use of the tritone, and a

long vocal glissando beginning on the lowest note and rising up to the highest note and

back down to the lowest note in the singer’s range on the word “Hell.”

Figure 1. Vocal Glissando from “Here Lie the Beasts”

I depicted the dead man’s mournful remembrances by using similar techniques, but

instead of pounding out clusters with the palm, the cluster chords returned softly under

the fingertips. Major seventh chords replaced the tritone, and the piano glissandi on the

piano strings now occur in the instrument’s middle range producing a more somber and

melancholic sonority.

In Vision, vocal glissandi occur in songs I, III, V, VI, and VII on action words like

“writhes,” “stream,” “burn,” “falling,” and “arise” and also on important nouns like

“you” and “ghost.” As in “Here Lie the Beasts,” this vocal technique is employed to

increase the drama in each song by accentuating these particular words to propel the

meaning of the text forward.

9

Figure 2. Vocal glissando from “Who Are you”

Glissandi played on the strings inside the piano are found in the instrumental Prelude and

song II. In the Prelude, this effect creates an atmosphere of uncertainty and suspense,

similar to its use in the opening of “Here Lie the Beasts,” while in song II, the glissandi,

used throughout the entire song, create a similar mood found in the somber section.

The second poem of the short cycle, “Was There A Time,” reverses the motivic

presentations of darkness and light found in “Here Lie the Beasts.” In the first three lines

of this single stanza poem, a question ponders if circus minstrels/dancers could curb their

troubles. The question is answered with the following response, “There was a time they

could cry over books.” There is a fondness for better days gone by here, but also a

sadness to this question-and-answer pairing that foreshadows trouble on the horizon. In

the remaining six lines of the poem, Thomas depicts a nightmarish scenario where

maggots and rotting things pursue the living, where ignorance is preferred and considered

safe, where those without limbs “Have cleanest hands,” and “the blind man sees best.”

Again, these stark juxtapositions of light and darkness captivate my imagination and

jumpstart my creative impulses.

The opening piano accompaniment for “Was There A Time,” consists of

oscillating major and minor triads played in close position capturing the whimsical feel of

Thomas’s first three lines of text. The meter, a dancelike 6/8, which represents the

10

characters of the minstrels or dancers, further enhances the setting of these lines of text.

In the second half of the song, the dotted quarter note becomes the quarter note, and the

rhythm of the accompaniment changes from eighth notes to sixteenth notes, making it

appear as though the tempo has increased. The pianist plays octaves instead of triads,

which along with the apparent tempo change, increases tension and lets the listener know

that something foreboding is right around the corner. The nightmarish environment

conjured by Thomas’s remaining six lines of text are successfully represented in the

piano accompaniment by intuitively combining octaves and dissonant minor second and

major seventh intervals and by exploring the lower range of the piano.

In song III of Vision, entitled “When The wren Bone writhes down,” the entire

piano part, with the exception of an eight measure tremolo used to represent a storm for

text painting purposes, consists of oscillating triads performed in close to relatively close

position just as in the opening of “Was There A Time.” The quality of the triads

alternates between minor and augmented. This creates a strong feeling of disorientation,

as if one has lost their way.

In the final poem of Three Dark Songs of Dylan Thomas, entitled “Written for a

Personal Epitaph,” a man has died, is buried, and is blaming his mother for giving birth to

him from inside the grave. There is very little light to be found within this dark poem, but

I thought the final two lines were striking, because there seems to be a change of speaker.

The dead man has fed the worms, blamed his mother numerous times for his death, and is

now rotting away, but then it seems the voice of death speaks and says, “I am man’s reply

to every question, His aim and destination.” Again, there is little light to be found in this

11

statement, but the change of tone at death’s words and the inevitability of their message

contained a sobering truth that I knew would provide a fitting end to this short collection

of songs.

I used long extended vocal melismata to accentuate certain words in setting this

text. Specifically, the words “worm,” “mother,” “life,” “labour’s” and “rot” were given

this treatment. In Vision, I also used this technique on specific words that recur

throughout the poem. The setting of the words “dazzler,” and “light,” from song III return

in song V on the word “dazzling” and “light” and in song VI on the word “light.” This

recurrent relationship will be explored in greater detail during my analysis of these songs

in Chapter 4.

2.2 4 Clarinet Miniatures

The clarinet is one of my favorite instruments to write for because it has such a

wide range and color palette. It is also capable of producing many interesting effects by

way of extended techniques. I knew that I wanted to explore one or two of these

techniques in each movement of this collection of miniatures. In searching for inspiration,

I turned to Thomas’s most famous poem “Do not go gentle into that good night.” It is

structured as a villanelle, whose refrain “Rage, rage against the dying of the light” is like

a gallant call crying out defiantly against our march toward inevitability. Each movement

of the clarinet piece gets its title from the refrain and is shown below.

12

I. “Rage,” I. “rage against” II. “the dying” III. “of the light”

It was important to me that each extended technique assisted in elevating the text

associated with each movement. In “Rage,” I used timbral trills to depict this emotion.

The swiftly shifting repeated notes varying in intonation by an eighth or quarter-tone

sound extremely violent, especially when performed fortissimo in the extreme registers of

the instrument. In the third movement, entitled “the dying,” I chose to explore clarinet

glissandi. In the altissimo register of the clarinet, wide intervallic glissandi are akin to a

vocal scream. There are many such gestures in this movement, which uphold the spirit of

the refrain, however, the movement ends very softly with the opening melodic idea dying

away representing the gradual fade of our own inner light.

In my setting of Vision, I employed both glissandi and timbral trills mentioned

above. One timbral trill in particular, the double trill, is used in both works. My good

friend and colleague Ben Stonaker, a composer and clarinetist who specializes in

extended techniques, introduced me to the double trill. The double trill is so named

because of how it is performed and notated. It resembles a traditional trill but has an

additional wavy trill line underneath. Following contemporary trill notation, there are two

notes in parenthesis next to the beginning note instead of one. The performer begins the

trill on the note given, moves to the first note in parenthesis, then back to the original

note, then on to the second note in parenthesis, and back to the original note. The

sequence is repeated as fast as possible.

13

Figure 3. Clarinet double trill

This trill is particularly successful due to the fingerings used, which allow the performer

to execute the gesture with great rapidity, and the resulting sound is squeamish and

slightly unsettling. A brief instrumental Interlude separates the first and second halves of

Vision. The double trill in Figure 4 begins and ends the Interlude, which begins the

second half of the piece. A more detailed analysis of the Interlude will be presented in

Chapter 4.

Compositional devices, gestures, and techniques from my previous work inspired

by Dylan Thomas’s poetry have clearly resurfaced in my setting of Vision. These

similarities highlight my own inclinations and choices as a composer in setting Thomas’s

words, which I find particularly interesting because four years have past since I wrote the

three art songs and the miniatures. Also, my worldview completely changed during that

time period, and yet I am still drawn in to Thomas’s words just as powerfully as before,

though the lens by which I view their meaning has changed.

14

Chapter 3

Vision and Prayer – The Poem

3.1 Scholarship

As was mentioned earlier, my interpretation of Thomas’s Vision and Prayer stems

from my own reading of the poem as viewed through my idiosyncratic Christian beliefs,

though there are scholars who agree that this is one of Thomas’s most Christian poems.1

In his article “The Poetry of Dylan Thomas,” David Daiches paints a similar picture to

my interpretation of the poem. He claims that the child from the first stanza is Jesus

Christ, and the poet becomes swept up in his message and mission. Daiches claims that in

the second half of the poem, the poet prays for Jesus to return to the womb, but in the end

is overcome by Christ’s glory.2 Another article in support of my reading comes from

Sister M. Roberta Jones’s “The Wellspring of Dylan.” I acknowledge that as a woman of

the cloth, her interpretation may be slightly biased, but I also find it fascinating that her

appraisal of Vision follows mine almost to the letter. She also finds the speaker or

“searcher” finding his faith, rejecting it, and submitting in the end.3 Bernard Knieger,

writing in College English, states, “Thomas is a significant religious poet. Among the

explicitly religious poems in his Collected Poems are… ‘Vision and Prayer’.”4

1 Bernard Knieger, “The Christianity of the ‘Altarwise by Owl Sequence’,” College English 23 (May 1962): 627. 2 David Daiches, “The Poetry of Dylan Thomas,” The English Journal 7 (October 1954): 354-355. 3 Roberta M. Jones, “The Wellspring of Dylan,” The English Journal 1 (January 1966): 81-82. 4 Knieger, “Christianity,” 627.

15

At the same time, others claim that the spiritual rebirth is used metaphorically to

represent Thomas’s true intent of rebirth found in the natural world.5 In his discussion of

Vision from his book, A Reader’s Guide to Dylan Thomas, William York Tindall claims

that Thomas references Jesus as a convenient way to make comparisons to matters

deemed sacred in the secular world.6 William T. Moynihan’s article, “Dylan Thomas and

the ‘Biblical Rhythm’,” gives a description of Thomas’s intent in using Biblical

references in works like Vision.

We have in Thomas… a poet continually striving to transmute out of the natural signs of perpetuity a vision of man’s generic immortality… Thomas gives us glimpses of what that “other” state of existence might be like. But it is a condition which he as poet and we as readers must look upon from afar. Like Moses, we all stand atop Mt. Pisgah and gaze toward a promised land… which owes much to literary tradition, to the Bible, to modern psychology, to animism, and to numerous other occult and theological positions whose presence is more a matter of tone than of demonstrable certainty.7

3.2 My Interpretation

Rather than provide a detailed line-by-line rendering of the poem, for the

purposes of this document, I will discuss and show examples in the poem that clearly

articulate three central themes running throughout the work. The themes are an

awakening of faith, doubt and rejection, and an ultimate acceptance of faith and belief in

Jesus Christ. The first half of the poem focuses on an awakening of faith and slowly

introduces thoughts of confusion and fright at what has been awakened. Stanzas 7

5 William York Tindall, A Reader’s Guide to Dylan Thomas (New York: Syracuse University Press, 1996), 239. 6 Tindall, A Reader’s Guide, 239. 7 William T. Moynihan, “Dylan Thomas and the ‘Biblical Rhythm’,” PMLA 79, no. 5 (December 1964): 642-643.

16

through 11 are centered on feelings of doubt and rejection of faith, and the final stanza

completely embraces faith. In a way, these themes are semi-autobiographical, as I

experienced my own version of the three central themes in my journey to faith.

Before my discussion of the text begins, picture a man (henceforth, the speaker)

in a room that is perhaps open to the outside world listening to a woman give birth in an

adjacent room. The walls are very thin, and he can hear with vivid detail the sounds of a

new life coming into the world. The poem begins with a long question.

Figure 4. 1st stanza excerpt from Vision and Prayer

VISION AND PRAYER By DYLAN THOMAS

I

Who

Are you Who is born

In the next room

So loud to my own That I can hear the womb

Opening and the dark run Over the ghost and the dropped son

Behind the wall thin as a wren's bone?

In the birth bloody room unknown To the burn and turn of time

And the heart print of man

Bows no baptism But dark alone

Blessing on The wild

Child.

This content downloaded from 128.83.63.20 on Mon, 13 Mar 2017 22:56:46 UTCAll use subject to http://about.jstor.org/terms

17

I believe the speaker is witnessing the birth of Jesus, but is also experiencing the

beginning of his own awakening of faith. Words like “and the dark run/ Over the ghost”

represents sin fleeing from the Holy Spirit at Jesus’ birth, and “the dropped son” is Christ

being sent down by God from heaven. The final line of this excerpt, “Behind the wall…”

is a reference to the veil of the temple in Jerusalem that separated the Israelites from the

most holy inner sanctuary where the Ark of the Covenant was kept. Jesus was sent to tear

down the veil, or “wall thin as a wren’s bone,” thus issuing in a new covenant by his

death and resurrection. A second question is found in the stanza’s first three words.

“Who/ Are you,” is the central question of the poem. It is constantly being pondered and

developed in the mind of the speaker, and is answered in the final stanza of the poem.

18

Figure 5. 2nd stanza of Vision and Prayer

In the second stanza, the speaker is transfixed by the miracle he is witnessing and “Must

lie/ Still as stone.” His own awakening of faith continues as “the turbulent new born/

Burns me his name and his flame.” At the end of the stanza, the birthing is over, and the

child has been born. Sin suffers a defeat at his arrival as “the dark” is “thrown/ From his

loin/ To bright/ Light.”

414 VISION AND PRAYER

I

Must lie Still as stone

By the wren bone

Wall hearing the moan Of the mother hidden

And the shadowed head of pain

Casting tomorrow like a thorn And the midwives of miracle sing

Until the turbulent new born Burns me his name and his flame

And the winged wall is torn

By his torrid crown And the dark thrown

From his loin

To bright

Light.


19

Stanzas 1 and 2 both end with a period, however, there is no punctuation in

between stanzas 3 and 4, and as such, I couple them together. In stanza 3, the first

glimpse of confusion and fear is seen by the speaker who feels he must “run lost in

sudden/ Terror.” He is clearly emotional over what has been revealed to him and is

“Crying in vain.” In stanza 4, his awakening of faith is beginning to sink in as he refers to

his pre-faith identity by stating, “For I was lost.” He is still quite emotional and is

“Crying at the man-drenched throne,” which in my opinion, is a clear reference to Jesus

being the Son of Man or Messiah. The speaker again references his pre-faith identity, but

now he has found a safe resting place, though the dust is still settling as he says “For I

was lost who have come/ To dumbfounding haven.” He is dumbfounded and his cry is

stifled by the profound realization of Jesus’ death on the cross as he says “And the high

noon/ Of his wound/ Blinds my/ Cry.”

Both stanzas 5 and 6 are also coupled together, and in the beginning of stanza 5,

the awakening of faith is proclaimed. The speaker is “Crouched bare/ In the shrine/ Of his

(Jesus’) blazing/ Breast,” and says “I shall waken.” He wakens to a new horizon, a

changed worldview that has completely shaken up his life and is not unlike an “uncaged

sea bottom.” Thomas then alludes to Jesus’ resurrection with “the cloud climb of the

exhaling tomb,” and “O spiral of ascension.” At the end of stanza 5 and into stanza 6, the

pace quickens to a frenzied climax as the speaker references a myriad of Biblical truths.

Exclamation marks abound as he proclaims the Biblical creation of the world, “The land/

And/ The/ Born sea/ Praised the sun,” the resurrection of saints, “The sky stride of the

always slain/ In battle!” and the Old Testament prophets predictions about Jesus coming

20

true, “the happening/ Of saints to their visions!” In the final four lines of stanza 6 it

would seem that the speaker has become completely overwhelmed by his awakening of

faith even to the point of death as he says “And the whole pain/ Flows open/ And I/ Die.”

This death is not of the flesh, but is the kind of death that the Apostle Paul writes about in

his letter to the Galatians (2:20), “I have been crucified with Christ. It is no longer I who

live, but Christ who lives in me. And the life I now live in the flesh I live by faith in the

Son of God, who loved me and gave himself for me.”

In part two of Thomas’s Vision, the second theme, doubt and rejection of faith, is

seen as the speaker begins in prayer. He doesn’t pray to God, rather his prayer is, “In the

name of the lost who glory in/ The swinish plains of carrion.” It would seem that he is

reconsidering his awakening of faith in this prayer that is addressed to such dour

company. We learn at the end of stanza 7 that this is not the case, as he clearly states that

“I belong/ Not wholly to that lamenting/ Brethren for joy has moved within/ The inmost

marrow of my heart bone.” Despite this statement, in stanza 8, doubt is beginning to set

in as he prays to “return…To the birth blood room/ Behind the wall’s wren/ Bone and be

dumb” and likens Christ’s birth to a “dazzling prison/ Yawn.” At the end of stanza 8, he

again prays “In the name of the wanton/ Lost,” and as stanza 9 begins, his prayer reveals

the speaker’s desire for Christ’s resurrection to have never taken place as he says “let the

dead lie though they moan/ For his briared hands,” and “Endure the stone/ Blind host to

sleep/ In the dark/ And deep/ Rock.” This rejection of and doubt in the most important of

all Christian beliefs continues and intensifies throughout stanzas 9, 10, and 11. His final

prayer begins “In the name of the fatherless…the unborn…the undesirers…Of no one/

21

Now or/ No/ One to/ Be.” Christ has become no one, and as his prayer continues, he asks

for the “crimson/ Sun” to “spin a grave grey/ And the colour of clay/ Stream upon his

martyrdom.” He is praying that sin would cover Jesus’ tomb and stifle his ultimate

sacrifice. Adam is often referred to as clay, and the fall of Adam in chapter three of the

book of Genesis brought sin and our separation from God into the world.

In the final stanza of the poem, we see the gradual emergence of the third and

final theme, an ultimate acceptance of faith and submission to Jesus Christ, though it is

not immediate. After an initial wakeup call in which the speaker states “I…burn/ In a

blessing of the sudden/ Sun,” there is a moment of turning away as he says “In the name

of the damned/ I would turn back and run/ To the hidden land.” This is fleeting as the

message of the gospel is too overpowering and “Christens down/ The sky.” The next

three words, “I/ Am found,” are the speaker’s final proclamation of faith and submission

to Jesus Christ. This is the answer to the question asked back in the very first stanza of

the poem, “Who/ Are you?” The answer is “I/ Am found,” in Jesus. This is the speaker’s

new identity. His heart has been changed, and there was nothing he could have done to

prevent this from happening. In the final lines of the poem, the Holy Spirit of God is

rushing and running over the speaker, completely overwhelming him, which according to

the gospel of John (14:16-17), is Christ’s promise to all who follow Him—that He will

send the Holy Spirit to reside in the hearts of those who believe. Any feelings of doubt

and uncertainty that emerged from his prayers that were made “In the name of the lost,”

have now been completely turned upside down, for now the speaker has become “lost in

the blinding/ One.” As I began composing the music to Vision, these three themes—

22

awakening of faith, doubt and rejection of faith, and ultimate acceptance of faith in Jesus,

created a compelling narrative arc that provided a clear way forward in terms of formal

considerations from song to song and for the entire cycle as a whole.

23

Chapter 4

Analysis of the Music

4.1 Introduction

Before presenting my analysis, I will briefly discuss several practical

considerations related to the planning and performance of the piece. Vision and Prayer is

a song cycle comprised of seven songs presented in two parts. The first part is called

“The Vision” and is a setting of the first six stanzas of the poem. It begins with an

instrumental introduction, or “Prelude,” followed by four songs. Part two is called “The

Prayer” and is a setting of the remaining six stanzas of the poem. It also begins with an

instrumental introduction, or “Interlude,” followed by three songs.

Vision and Prayer

Part I – The Vision

Initial Tempo

Marking

Stanza(s) of Poem Voice Type

Prelude Dotted Half = 72 N/A N/A

Song I Quarter = 108 1 Soprano (S)

Song II Quarter = 60 2 Bass-baritone (BB)

Song III Quarter = 60 3, 4 S

Song IV Senza Misura 5, 6 S, BB

Table 1. Songs and corresponding stanzas in Part I of Vision and Prayer

24

Vision and Prayer

Part II – The Prayer

Initial Tempo

Marking

Stanza(s) of Poem Voice Type

Interlude Senza Misura N/A N/A

Song V Quarter = 60 7, 8, 9 BB

Song VI Quarter = 84 10, 11 S

Song VII Quarter = 60 12 S, BB

Table 2. Songs and corresponding stanzas in Part II of Vision and Prayer

The tables above show the songs of Vision, their initial tempo markings, the poem

stanza(s) set within each song, and voice type(s) that sings each song. My decision to

assemble the twelve stanzas of the poem into seven songs was purely based on stanza-

ending punctuation. As seen in the table above, stanzas 1, 2, 4, 6, 9, 11, and 12 end with a

period, thus forming seven songs in the cycle. Incidentally, the number seven is used

throughout the Bible to represent God’s perfection. I find it curious that a song cycle

whose primary aim is to share the gospel would happen to contain seven songs.

In regards to performance, I would strongly recommend that Vision be conducted.

Due to the length of the piece and its wide-ranging tempi, the assistance of a conductor

would greatly reduce the amount of time needed in rehearsal and would increase

efficiency. In addition, the Interlude uses repeated gestures contained within boxes that

rely on conductor’s cues to coordinate alignment.

I chose to alternate two singers for two reasons, which stem from practical

considerations regarding the longer length of the piece and the physical demands of the

25

vocal parts. I did not want the performer’s voices to become overly taxed. In this way,

both soprano and bass baritone will have time to rest while the other is singing. There are

three exceptions to this alternation. In song two, the soprano briefly joins the bass

baritone to color his repetition of two words, and in songs four and seven, they both sing

together throughout.

My choice of instrumentation, “Pierrot plus percussion,” was twofold. With the

exception of choral music and songs with piano accompaniment, I have never written for

voice and other instruments. I thought this would be a welcome challenge, as I have

always enjoyed this particular combination of instruments. The homogeneous voice of

the strings combined with a wide variety of colors from both the flute and clarinet plus

the seemingly limitless diversity of percussion instruments avail a composer many unique

opportunities to explore various combinations in orchestration. The second reason I chose

to write for this collection of instruments was more practical. My friend and colleague

James Burch performs with Hear No Evil, a new music ensemble located in Austin, TX.

Their instrumentation is flute, clarinet, piano, percussion, violin, and cello, also known as

“Pierrot plus percussion,” and I hope to have them perform the work in the not too distant

future.

For my analysis of Vision, I will focus the discussion on my use of gestures and

motives and how these musical materials are intuitively melded together to articulate the

form and pacing of each song. I will also comment on my use of orchestration and text

painting and how they aid in heightening the delivery and meaning of the text. Due to its

length, I do not believe a measure-by-measure analysis of the piece is warranted for the

26

purposes of this document, however, I will comment on specific areas of harmonic

interest.

4.2 Prelude

The instrumental Prelude that begins Vision, is through composed and built

entirely upon two motives—one rhythmic and one melodic, found within its first ten

measures. Motive one, a two measure rhythmic motive, is first heard in percussion on

low tom.

Figure 6. Rhythmic motive from Prelude, mm. 1-2

This motive is found all throughout the Prelude in various percussive and instrumental

combinations and transformations, which are conceived intuitively. Prominent examples

can be found in percussion, clarinet, and cello (mm. 18-19) and percussion, violin, and

cello (mm. 28-29). Both the winds and strings also frequently use it melodically.

27

Figure 7. Rhythmic motive used melodically in winds and strings, mm. 113-117

Though used more frequently, the rhythmic motive is secondary in importance to the

melodic motive. It plays a more supportive role by providing the rhythmic drive that

propels the piece forward between statements of the melodic motive, which is shown in

Figure 8 at its introduction in the winds, piano, and strings. I have labeled this motive the

“awakening” motive, because it represents the awakening of faith that will soon take

place in the heart of the poem’s speaker.

&

&

ã&

?

Fl.

Bb Cl.

Perc.

Vln.

Vc.

113 œ> œ>‰ Jœb > ‰ Jœ>

œb > œ> ‰ Jœn > ‰ Jœ>

∑œ> œ>

‰ Jœb > ‰ Jœ>

œb > œ>‰ Jœn > ‰ Jœ>

ƒ

ƒ

ƒ

ƒ

Jœ>

‰ Jœn >‰ œb >

Jœb >‰ Jœb > ‰ œn >

∑Jœ>

‰ Jœ> ‰ œb >

Jœb >‰ Jœb >

‰ œn >

.˙

.˙

∑.˙

.˙

.˙

Jœ ‰ Œ Œœ œ ‰ Jœ ‰ Jœ

.˙

.˙

Suspended Cymbal

p

π

Jœ ‰ Œ Œ

œ œ œ œ œ œ

œ œ œ

Jœ ‰ Œ Œ

Jœ ‰ Œ Œ

L.V.

π

π

π

P

&&ã&?

Fl.

Bb Cl.

Perc.

Vln.

Vc.

118

∑∑∑∑∑

∑∑∑∑∑

12

28

Figure 8. Introduction of awakening motive, mm 7-10

Through various transformation of the awakening and rhythmic motives

combined with repeated eighth note ostinatos in the strings and piano, the Prelude is

meant to represent a burst of spiritual energy that kick starts both the soul and audience

members to life. The end of the Prelude leads directly into the first song of the cycle.

4.3 Song I: “Who Are you”

“Who Are you” is the shortest song in the cycle and features soprano. The form is

A B Aʹ ending with a coda. The mode of the A section is centered around D minor, and

&

&ã

&?

&?

434343

4343

4343

424242

4242

4242

Fl.

Bb Cl.

Perc.

Vln.

Vc.

Pno.

√

7

œb œb ˘ ‰ Jœ ‰ Jœœb œ ‰ Jœ ‰ Jœ

œ œ œ

œœbb œœbb ˘ ‰ Jœœ ‰ J

œœœœbb œœbb fl

‰ jœœfl‰ jœœflœb œb ˘ ‰ Jœ ‰ Jœ

œb œb ˘ ‰ Jœ ‰ Jœ

ƒ

ƒ

ƒƒ

f

f

œb œb ˘ ‰ Jœb ˘‰ Jœb ˘

œb œ ‰ Jœ ‰ Jœb ˘

œ œ œ> œ œ>

œœbb œœbb ˘ ‰ Jœœbb ˘

‰ Jœœbb ˘

œœbb œœbb fl‰ jœœbb fl

‰ jœœbb flœb œb ˘ ‰ Jœb ˘

‰ Jœb ˘

œb œb ˘ ‰ Jœb ˘‰ Jœb ˘

œb œb ˘ ‰ Jœ ‰ Jœœb œ ‰ Jœ ‰ Jœ

œ œ œ

œœbb œœbb ˘ ‰ Jœœ ‰ J

œœœœbb œœbb fl

‰ jœœfl‰ jœœflœb œb ˘ ‰ Jœ ‰ Jœ

œb œb ˘ ‰ Jœ ‰ Jœ

.-

.-

œ> œ> œ> œ> œ> œ>

..˙-

..˙-

.-

œ. œ. œ. œ. œ. œ.

&&ã&?

&?

42424242424242

43434343434343

Fl.

Bb Cl.

Perc.

Vln.

Vc.

Pno.

(√)

11

˙˙

œ> œ> œ> œ>

˙

˙˙

!

.˙

.˙

Jœ> ‰ Œ Œ..˙

..˙

.˙

.!

ƒ

Jœ ‰ Œ Œ

Jœ ‰ Œ Œ∑

..˙

..˙Jœ ‰ Œ Œ

.!

pp

p

∑∑∑

Œ œb œb?

Œ ˙b∑

.!

f

∑∑∑

œ œ œ

˙ œ∑

.!

∑∑

.˙

.˙

.˙∑

.!

Tam Tam

p

p

2

29

the character of the opening twenty-six bars (mm. 144-171) is chaotic. The singer repeats

the first three words of the poem ten times in the midst of a driving ostinato from the

piano, fast ascending and descending flutter-tongue runs in the flute, and clarinet

glissandi. I wanted to drive home the importance of the question asked in these three

words “Who Are you,” and the struggle that the speaker goes through in finding his

answer. A rising three-note motive traversing a major third is stated in octaves in the

cello and clarinet on the pitches A-B-C# in mm. 144-146. The ascending motive is

restated in the next three measures by the violin and piano left hand on the pitches A-Bb-

C-natural, but this time, traversing a minor third. This minor (m3) major (M3) third

relationship is used throughout the beginning of the song. A prominent example is shown

below in Figure 9.

Figure 9. m3/M3 sequential passage, mm. 152-154

The chaotic energy of the opening briefly settles down, as the strings and

marimba take up the ostinato in the form of an oscillating M3 (violin) and m6 (cello),

which becomes M6 by the second half of m. 157, thus, by inversion, the m3/M3

relationship is maintained. Due to the repetition of the text “Who Are you,” and to

provide variety to the phrase, I decided to add the syllable “wah” after the word “you,”

& 83 43 83S

m3 m3 m3M3 M3152

‰ Jœ. œb > œ. œb . œn -Who Are you Who Are

œ> œ# œ.you Who

œn - -Are you

& 83 44S

155 .œ œ# >Œ Ó

(wah)

30

30

which is subtly present at the end of its pronunciation. An example of this setting can be

found in Figure 2 on p. 9 of this document.

In m. 173, the tempo slows considerably and the tone of the music becomes much

more tranquil and calm with rolled minor ninth add eleven chords heard in the piano

supported by the winds and strings. Again, the m3/M3 relationship is seen in the wind’s

sustained notes in mm. 174-175 and the string tremolos in mm. 176. This atmosphere of

tranquility is presented in anticipation of the birth of Jesus, which assumedly is not

without physical pain, as Thomas’s description of what the speaker hears in the next

room is described as “loud.” As seen below in Figure 10, this pain is represented through

text painting with the gradual building of a dissonant chord (pitches F, F#, G), throughout

the ensemble leading up to the word “loud” in m. 182. The energy increases in

anticipation of the birth with thirty-second note scalar runs spanning an octave or more

from clarinet, flute, violin, cello, and piano over the text “hear the womb/ Opening and

the dark run/ Over the ghost.”

31

Figure 10. Text painting representing pain of child birth

Another effective use of text painting occurs in mm. 217-225. I believe Thomas is

pointing to a strong tenet of the gospel, which states that sin resides in the heart of every

man with the words, “And the heart print of man/ Bows no baptism/ But dark alone.” As

the soprano sings the word “alone,” the winds drop out in m. 221, and the violin’s

repeated D becomes a dissonant minor second double stop on (C# and D). This resolves

to a minor third on the pitches B and D, and the cello sustains a low B-natural. The

strings are sounding together as one voice, alone.

&&&??

&

&

?

Fl.

Bb Cl.

Perc.

S

Vln.

Vc.

Pno.

177

jœ ‰ Œ Ójœ ‰ Œ Ó

∑∑∑

œ œb-

Who Are you

w wb.˙b .˙ œb œb

ππ

p

∑∑∑

Œ ....˙˙˙bbbgggggggggggggggggg

-

Œ ....˙bbbb -˙ Œ œ œ3

Who is

w wb

wb wb

∑∑

Ó Œ œ>

Ó ˙˙bbbggggggggggggggggggg

-

Ó ˙bbb -.˙b - ‰ Jœ

born In

œ œb .˙b .˙b

wb wb

Vibraphone

f

F

∑∑

w

∑ &

∑œ Jœn œ ‰ Jœ œ

3the next room

œb œb .˙ .˙wb wb

&

&

&

&?

&

&

?

Fl.

Bb Cl.

Vib.

S

Vln.

Vc.

Pno.

181

Œ .˙

‰ Jœ# .˙

Ó Œ œœ## >

Œ ‰ Jœœ> ˙

∑.˙ ‰ jœ# -

So

œœâŒ ‰ jœ œ

œœ# ä Œ ˙

Í

Í

f

Í

Í

f

f

f

p F

Jœ# >‰ Œ Œ œ

Jœ> ‰ Œ ‰ jœ œ

Jœœ> ‰ Œ Ów>Jœ#

‰ Œ Ó∑

jœ œ> ‰ œ œ œ œloud to my own

jœœ#>

‰ Œ ˙

jœœ# > ‰ Œ ˙b

f

f

f

f

p

p

Í

Í

ƒ f

˙# œ# œ œ œ œ œ œ œ œ#

œ# œ# œ œ œ# œ# œ# œ œ# œ# œ> .œ œ

Œ œ# ˙#

∑∑

‰ jœ œ# œ# œ œn ≈ œ jœ ‰3

That I can hear the womb

jœ>‰ Œ Ó

Jœœ# > ‰ Œ Ó

f

f

f

L.V.

84

ª

32

In the final fifteen measures of the song, a blessing is bestowed upon the newborn

child. The final five words of the stanza, “Blessing on/ The wild/ Child,” are repeated

five times by the singer. This was done to mirror the repetition of “Who Are you” at the

beginning of the song, which provides a subdued perception of symmetry. The vocal line

sings what are essentially inverted pentatonic scales starting twice on B, (though the

second time through, the pitch G# is added, which gives the scale a more Dorian mode

feel), then C#, E, and F#.

Figure 11. Pentatonic scales from vocal line, mm. 226-240

The blessing begins small with strings and voice in octaves beginning in m. 226. Clarinet

& 86 44 86226

jœ œ œ jœ#Bless ing on The

p ˙ jœ ‰ œwild Child.

w Jœ ‰ Œ ÓP-

& 86 44 86230

jœ œ œ jœ#Bless ing on The

.œ# œ ‰ œwild Child.

.˙ Œ-

& 86233 jœ# œ œ# jœ

Bless ing on The

F œ> ‰ œ# > ‰wild Child.-

&235 jœ œ# œ Jœ

Bless ing on The

œ# > ‰ .œ>wild Child.-

&237 ‰ œ# œ œ Jœ#

Bless ing on The

f .œ> Jœ Œwild

.œ# > Jœ œ#Child.

Jœ œ .œƒ

-

Score

33

is soon added and by the third repetition, the entire ensemble has joined in the blessing.

At the fourth repetition, an accelerando begins and the blessing has now become a joyful

song of praise till the end.

4.4 Song II. “I Must lie”

In song II, and in the remaining songs of the cycle, I began to think about form in

terms of musical gesture and orchestration. The form of “I Must lie,” is A B Aʹ Bʹ Aʹʹ,

and each instrument in the ensemble is limited to one musical gesture per formal section.

For example, in the A sections and shown below in Figure 12, piano only plays glissandi

across the strings, clarinet sustains long tones spanning a minor third, percussion only

plays vibraphone and is always paired with flute, which colors the top note of its three

note figure.

34

Figure 12. Instrumental gestures from Song II, mm. 9-11

This is consistent throughout each A section. The overall atmosphere of the A sections is

calm serene, and peaceful, which is meant to depict the birth of the baby Jesus who is

called “Prince of Peace,” by the prophet Isaiah in his foretelling of Jesus’ birth in Isaiah

9:6. However, this is also an actual birth, which is not without pain, especially at that

point in history, and text painting in the B sections represents this real-life parturition.

The B section begins after the vocalist sings the line “hearing the moan” in m. 13.

This is the moan of the mother as she gives birth. The specific orchestration assignments

of section A fall away, and all instrumentalists converge on the note C beginning with the

&

&

&&?

&?

&

?

Fl.

Bb Cl.

Vib.

S

B

Vln.

Vc.

Pno.

9

Jœ ‰ Œ Ó

∑

∑Œ .

Œ œœ

œœ

œœ>

∑

wbstone

..˙æ œœb œœb >

.æ œb œœb >

π

F

F

p f

∑

Œ ‰ Jœ ˙

∑

∑∑∑

œb .œ œ .œ JœbBy the wren bone

œœ ..˙æœœ ..˙

æ

p

f

Ó ≈ .Jœb œ .œ

œ .˙

Ó œb œ .œbœb œ .œ

∑∑∑

œ .˙bWall

wwæwwæ

p

p

&

&

&&?

&?

&

?

4242424242424242

42

4444444444444444

44

Fl.

Bb Cl.

Vib.

S

B

Vln.

Vc.

Pno.

12 œ œ .œ> ˙

œ œ .˙

œœ œb .œ Ó

∑∑∑∑

˙æ ‰ jœœbb œœ˙

æ ‰ Jœœb œœ

π

π

sul tasto, non vib.

sul tasto, non vib.

f

p

p

F

Fw

Jœ ‰ Œ Ó

∑

∑∑∑

‰ jœ œ œb œ ˙b3

hear ing the moan

wwww

p

Jœ ‰ Œ

∑

∑

∑∑∑

˙

∑

Œ œ-

π

π

Ó -∑

∑

∑∑∑

Jœ ‰ Œ Ó

∑

w

π

-

2

35

cello on beat two of m. 14. The tension builds from this single note, which is colored with

sul ponticello in the strings and flutter tongue in the flute. In m. 17, the soprano briefly

joins the bass-baritone for four measures as they sing the word “moan” four times in

counterpoint. The dissonance increases in the vocal lines (Bb, Cb, and Db) under the

backdrop of pitch C being passed around the ensemble, which represents the mother’s

increased discomfort while giving birth.

Figure 13. B section of song II

&

&

&&?

&

?

&

?

Fl.

Bb Cl.

Vib.

S

B

Vln.

Vc.

Pno.

ord. sul pont

ord. sul pont

ord. sul pont

ord.

ord.

cresc.

cresc.

16

.˙ Œ

Ó Œ œ-w

∑∑

∑

Œ œ- œb œmoan

∑

œ Œ Œ œ-

π

π

p

Œ œ- æ

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‰ jœ- œ œb œbmoan

.˙ œ- œbmoan

Ó -

œ ˙ œord.

flz.

p

œ Œ Œ œ-Ó

-

.- œ

∑∑

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œ œ ‰ .œb -moan

˙ œ Œ

Œ - œ

arco

ord.

f

æ œ ‰ Jœ-

w

Ó Œ œ-∑∑

œ œb - œb ˙moan

˙b œb - œ œbmoan

Œ - œ

˙ œ ‰ jœ-

ord.

ord.

flz.

&

&

&&?

&?

&

?

Fl.

Bb Cl.

Vib.

S

B

Vln.

Vc.

Pno.

sul pont

sul pont

20 ˙ æ

Œ .-

.˙ Œ

∑∑

.˙ Œœ œb ˙ Œ

.˙ œ

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flz.

ff

w

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œ

∑

∑

w

w

ƒ

ƒ

ƒ

sim.

œ Jœ ‰ Ó.˙ œ œ

∑‰ Œ Óœ

∑

Œ ‰ Jœn œ œb œ œb -3

hear ing the moan

Jœ ‰ Œ Ó

jœ ‰ Œ Óπ

π

π

ord.

ord.

F

‰ œ œb .œ

w

≈œ œb œ œ œb œ œb œ

œb œ œ œ

∑∑∑

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œœb - œœb - ˙-

œœb - œœb - ˙-p

p

f

f

p

p F

-

97

ª

36

The B sections returns in m. 49, but instead of representing the moan of the mother

giving birth, it represent darkness or sin that is thrown down at the birth of Jesus from the

text “And the dark thrown/ From his loin.”

4.5 Song III. “When The wren Bone writhes down”

Song III is the most through-composed of all the songs in Vision and contains the

greatest amount of text painting. As in song II, its form relies on intuitively assembled

gestures resulting from choices in orchestration. With very few exceptions, flute and

clarinet play the same rhythmic figures, either ascending or descending scalar runs that

usually span an octave, together in parallel fourths throughout the entire song. Piano and

percussion have a much more prominent roll providing the driving rhythmic pulse of the

song. The strings, seen primarily as accented double and triple stops that provide

emphasis to certain moments, are used very sparingly throughout the song.

Examples of text painting in the vocal part are seen as glissandi on the words

“writhes,” “maiden,” and “terror,” and as melismata on the words “Crying,” “cauldron,”

“spin,” “spuming,” and “Cyclone.” The word “stream” contains both a melisma and a

glissando. These words imply specific actions, or represent a particular experience or

state of mind. Thus, they require special treatment. A particularly important melisma

occurs on the word “dazzler,” in m. 28. This is the longest melisma in the cycle and is

meant to depict the light of Christ that now resides in the heart of the speaker. The

melisma returns in both songs V and VI.

37

Figure 14. Melisma on word “dazzler”

Another example of text painting comes from the piano’s first chord in m. 9. The

chord is comprised of two triads in root position, G minor in the left hand and Ab

augmented in the right. The chords are spaced a minor ninth apart, and their collection of

pitches form the hexachord (013579). This chord, with very few exceptions, and by way

of transposition, encompasses the entirety of the piano’s musical and pitch materials in

song III.

Figure 15. Piano chord from song III of Vision

If the pitches of the hexachord are arranged in a scale, they fall one semitone short of

completing a whole-tone scale.

& 83 43 44 43 44S

21

œ œœ œ œb .œ ˙ Œf

Œ œ œ œ œ‰ jœonthekingdomcome

∑ ∑ Ó Œ œ œOfthe

& 43S

28

œ œ œ œ œ ˙#daz

œ œ ˙ œ#3

œ œ œ œ œ œ# œ œzler

˙ ‰ jœ œ> œof hea ven- - - - - - - -

3

&?Piano

œœœbœœœb

&?Pno.

2 ∑∑

Score

38

Figure 16. Scale of hexachord (013579)

Due to its particular arrangement of whole and half steps, this scale conjures a feeling of

disorientation, which is maintained when played as a chord. In the poem, the speaker

states two times, “For I was lost,” referencing his past when he was spiritually lost before

he received the awakening of faith. This chord represents that period in his life.

The final instance of text painting I will discuss is the musical depiction of a

storm. I thought it was appropriate to include a musical storm because at the beginning of

the poem’s third stanza, a set of conditions is established that all lead up to the word

“storm.”

Figure 17. Beginning of third stanza of Vision and Prayer

& œ œb œb œ œ œ

&Pno.

2 ∑

Score

DYLAN THOMAS

When The wren

Bone writhes down

And the first dawn

Furied by his stream

Swarms on the kingdom come

Of the dazzler of heaven

And the splashed mothering maiden Who bore him with a bonfire

His mouth and rocked him like a storm

I shall run lost in sudden

Terror and shining from The once hooded room

Crying in vain In the caldron

Of his Kiss


39

The storm begins after the vocalist sings the word “storm.” The percussionist plays a soft

tremolo on bass drum in m. 44, and the piano breaks from its (013579) hexachord and

plays a low tremolo in octaves on the note F# in the following measure. The winds break

from their gesture and play their own lines for the first time. As this texture is building,

the strings enter in m. 50 with double stops in sixths, C and A in the cello and Bb and Gb

in the violin, displaced by a quarter note triplet. At the height of the storm, the winds

return to their scalar runs in fourths rhythmically displaced by an eighth note, and the

piano returns to the hexachord moving by whole or half step in quarter note triplets

culminating in a very loud and dissonant arrival of the downbeat of m. 54. Once

everything mentioned in Figure 17 has taken place, the speaker states, “I shall run lost in

sudden/ Terror.” He is running from what he has just witnessed, both the physical birth

and his personal spiritual awakening, which has become his own inner storm.

4.6 Song IV: “There Crouched bare”

The fourth song is unique to the cycle. Its form is derived from the poem’s

diamond shape, and uses aleatory to determine its rhythmic structure. As such, every

performance of song IV will be different from one to the next. Due to its aleatoric nature,

I would not recommend that this song be conducted, as a conductor could potentially

stifle the spontaneous and random character inherent in the song. Since the shape of the

poem is what attracted me to Vision and Prayer from the beginning, I wanted one song in

the cycle to reflect its unique layout on the page. In order to accomplish this, I created a

40

graphic score that resembles the poem’s diamond shape. In Thomas’s Vision, the creation

of this shape is facilitated by an additive system of syllables. The first line of each stanza

in the first half of the poem always contains one word that is comprised of one syllable.

The second line contains two syllables; the third contains three, and so on until the eighth

(stanza 5) or ninth (stanza 6) line is reached. After the eighth or ninth line, a subtractive

system of syllables begins until only one remains. I incorporated this additive/subtractive

system using pitches just as Thomas used syllables. The first word of the song “There,” is

set to one pitch because it contains one syllable. This system continues until the middle

line of the stanza is reached. After the middle line, pitches are subtracted until only one

remains. Soprano and bass-baritone alternate singing each line of text, and an instrument

is paired with each line as well. As seen in Figure 18 below, stems have been removed

from pitches in the score. The vocalist provides the rhythm for the pitches associated with

each text setting, and the instrumentalist mimics the rhythms of the vocalist by playing

the notes given inside their respective boxes. In several cases, longer and shorter rhythms

have been suggested by including dotted note heads and open and closed note heads. The

instrumentalist repeats its boxed gesture until the middle line of the stanza is reached. At

the middle line, all performers leave their boxes and converge on this line to sing or play

the pitches provided as an ensemble tutti. After the tutti line, all instrumentalists return to

their respective boxes and repeat their gestures fortissimo until the vocalist is ready to

continue. As the piece continues down, instrumentalists drop out one by one as directed

in the opposite order they were added, which allows the successful formation of the

diamond shape. This entire process is repeated for the sixth stanza, however, instead of

41

the vocalists singing lines in alternation, they now sing each line together in intervals,

creating an even larger diamond. Song IV is the last song in “The Vision.”

Figure 18. Beginning of song IV

125

IV. There Crouched bare

&Soprano œ.There

p

&S

2 ∑

IV. There Crouched BareScore

& .. ..Flute œ.p&S

2 ∑


?Baritone

œ- œ-Crouched bare

p P

?S

2 ∑


& .. ..Clarinet in Bb œ- œ-p P&S

2 ∑


&S œ œ -In the shrine

FP

&S

2 ∑


& .. ..Violin œ œ ˙P F

&S

2 ∑F


?B

.œ œ œ> œ -Of his blaz ing Breast

F f-

?S

2 ∑


& .. ..Marimba .œæ œæ œæ œæ œæF f&S

2 ∑


?B .œ- œ œ> œ œ

I shall wa ken

F f-

?S

2 ∑


? .. ..Cello .œ œ œ- œ œp F

?S

2 ∑


42

4.7 Interlude

The second half of Vision, entitled “The Prayer,” begins with a brief instrumental

Interlude that creates an atmosphere of uncertainty, setting the stage for the feelings of

impending doubt that are about to bloom in the heart of the speaker. The awakening

motive from the Prelude returns in the Interlude, but its character is transformed.

Figure 19. Beginning of Interlude

&

&

&

&?

&

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Flute

Clarinet in Bb

Violin

Cello

Marimba

Piano

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~œ# œ œ

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jœ>

w# œ œ

ƒJet Whistle

*) Repeat this pattern of notes when performing double trill

1

Senza Misura, Eerie, Unsettling

sempre

R A

Bb trR A

Bn tr

Inside Piano (sempre)

( , )fπ πjœœœœbb >

jœœbb >

Jœœ>

ƒ

ƒ

ƒ

2

pizz.

pizz.

L.V. sempre wwbb ¿ ww¿π πf

3

129

Interlude

Part II.

The Prayer

43

There is no specific tempo marking, (senza misura), and each instrument is assigned a

particular musical gesture, which is cued by the conductor at his or her discretion. The

opening gesture involves a flute jet whistle and the clarinet double trill that was

previously mentioned in Chapter 2, and taken from the first movement of my solo

clarinet piece. The second gesture involves a cluster chord played fortissimo on marimba

(pitches F, G, Ab, Bb) sounding together with string pizzicato double stops on the same

notes, F and G in cello and Ab and Bb in violin. These pitches were derived from the first

four notes of the awakening motive. The third gesture is a marimba tremolo using the

sticks of the mallets on the same pitches listed above. The fourth gesture involves two

conducted measures of 4/4 at quarter note equals 60. Here the piano plays the first four

notes of the awakening motive in octaves. Violin and cello join half way through the

measure with natural harmonics that become natural harmonic trills transitioning from

ordinario bowing to sul ponticello. These four gestures are repeated twice at different

pitch levels, which again are derived from the notes found in the awakening motive.

Under the backdrop of these accompanimental figures, the motive sounds weak and

unsteady. This unsteadiness represents the speaker’s feelings of doubt and uncertainty

that stem from his awakening of faith.

4.8 Song V: “In the name of the lost”

In the fifth song of Vision, the speaker begins to doubt and reject his awakening of

faith by praying, not to God, but to the “lost who glory in/ The swinish plains of carrion.”

44

He also prays to have never received his newly found faith and for Jesus to have never

been born. As a follower of Jesus, this prayer goes against everything I believe in, and

because of that, I decided to set these sections of the song in an ironic or comic fashion. I

realize that others do not share my beliefs, and I want to make it clear that I’m not

mocking people who have differing beliefs and values by setting the text in this way. This

is done purely on the basis of what I hold to be true.

The form of song V is A B Aʹ Bʹ Aʹʹ. Each section is very clearly delineated by

changes in tempo. In the A sections, the violin and cello sustain a drone in fifths on open

strings (D cello, A violin), which is punctuated by fifths in tubular bells. The piano

doubles the D in its lowest octave. This combination of low piano, open string drone, and

tubular bells establishes a solemn, reverent, medieval chant-like setting for the

forthcoming prayer.

The B sections are treated ironically, and begin in m. 20 and 62 as the tempo

dramatically increases from quarter note equals 60 to quarter note equals 172. I used four

very obvious gestures to create an ironic setting. The first gesture was my use of

percussion. I called for instruments that I felt would contrast greatly with the solemn and

dignified fifths of the tubular bells. These instruments include a whistle, temple blocks,

guiro, vibra slap, claves, and castanets. The second gesture was a spritely melody in G

major performed by piccolo instead of flute. The use of piccolo heightens the comedic

effect due to its extremely bright timbre and great facility in performing rapid passages.

The third and fourth gestures go together and come from the piano and vocal parts. In the

piano left hand, an insistent chord progression in G major bangs along in quarter notes,

45

while the right hand supports the vocal line, which is strophic and sardonic. This

progression is repeated two times in the key of G major. On its third repetition, the key

changes to G minor and after a molto ritard through three measures, returns to the A

section material. The juxtaposition of contrasting solemn and ironic A and B sections

vividly communicates the inner struggle that is taking place within the speaker as he

grapples with the gift of faith he has received.

There are two motives used for text painting purposes that return in the vocal part

of song V from other songs in the cycle. In the poem, the word “ghost,” appears in the

eighth line of stanza 1 and in the eighth line of stanza 7. Each of these stanzas are the first

in their respective halves of the poem, and I don’t believe this happened by coincidence.

In Song I, the setting for the word “ghost” is a vocal glissando descending a minor third

for soprano (high A to F#). Likewise, in song V, the setting for “ghost” is also a vocal

glissando descending a minor third for bass baritone (high E to C#). A second motive

returns on the word “dazzling.” The long melisma in m. 54 is an exact copy of the setting

of the word “dazzler,” from song III mentioned above. It is used here as a reminder to the

rebellious speaker that the light of Christ still resides within him.

4.9 Song VI: “Forever falling night”

In the sixth song of Vision, the speaker is still running from his newly found faith.

As in song V, this is portrayed by the juxtaposition of two very different sound worlds,

which contain their own musical gestures combined intuitively to create the form of the

song. The form of song VI is A B Aʹ Bʹ Aʹʹ C. Gestures from the A sections include

46

clarinet glissandi, string pizzicato and col legno battuto, and accented chords and single

note attacks in the extreme registers of the piano. The harmony is centered around E

harmonic minor with occasional F-naturals. The texture is thin with a wide variety of

dynamic contrast from one gesture to the next.

The B section is richer harmonically and contains two harmonic progressions

happening simultaneously in string triple stop chords and marimba beginning in m. 23.

The harmonic progression is below in Figure 20.

Figure 20. Harmonic progression from B section of song VI

Remaining B section gestures include clarinet triplet and flute sixteenth-note rhythmic

patterns that outline triads from the progression above. At the end of Bʹ, the speaker

begins a final prayer, “In the name of the fatherless…unborn… and undesirers.” This text

is set to the same music from the beginning of song V and foreshadows the final section

of song VI, in which the speaker offers his final prayer in opposition to his awakening of

faith. This section begins in m. 91, (formal section C), and I decided to set this final

prayer by returning to the music of the A sections of song V. The orchestration is the

same: strings in fifths, tubular bells in fifths with the lower note doubled by piano in its

bottom octave. The only difference occurs in the strings. I wanted to alter the sound in

&?

Cello

Marimba œœœbb œœœœ#n œœœœn œœœœ œœœœbbbœœœb œœœn œœœ œœœ œœœb

œœœbb œœœœœœœœ œœœœn œœœ##

œœœb œœœb œœœ œœœœœœn

&?

Pno.

3 ∑3 ∑

Score

47

this final presentation, so I included a note for the strings to “press and lift finger at nut

altering the pitch by eighth or quarter tone when playing open strings, ad lib, quasi-

glissando.” Ending song VI in this way binds both songs together due to their shared

messages of doubt and rejection of faith.

In stanza 10, the speaker mentions Lazarus, Jesus’ friend who became sick, died,

and was raised from the dead by Jesus in the gospel of John. The speaker asks that

Lazarus would pray “Never to awake and arise.” I thought this would be an excellent

moment for text painting. As the vocalist sings the word “arise,” at the end of m. 49, she

ascends a major seventh (Bb to high A) via vocal glissando on the syllable “rise.” She

sustains the A and rises even higher to high Bb, depicting Lazarus’ resurrection, but

cannot ascend further and must fall back down to earth. This fall takes the form of a

chromatic scale, which is colored by flute an octave higher and displaced rhythmically by

an eighth note.

48

Figure 21. Text painting on “arise” from song VI

4.10 Song VII: “I turn a corner of prayer”

In the final song of the cycle, the speaker completely surrenders his life to the

awakening of faith that began back in song I. Thomas depicts this in a visceral way by

using words like “burn,” “loud,” “scald,” and “drown.” The potency of these words is

portrayed through orchestration in the various sections of the song, which I will discuss

in turn. The form of song VII is less clearly defined than previous songs, though loosely

&

&ã&?

&

&

?

4242424242

42

42

42

4444444444

44

44

44

Fl.

Bb Cl.

Perc.

S

Vln.

Vc.

Pno.

50

Jœb . ‰ ‰ .œ œ#

Jœn .‰ œ

∑∑∑

œb œri

œ# œ œ œ

œ œ œ œb

f

f

f

f

Jœ

‰ Œ Ó

Jœ ‰ Œ Ó∑∑∑

w>

Jœ ‰ Œ Œ ‰ jœœœJœ ‰ Œ Œ œœœ

pizz.

pizz.

f

f

poco rubato

ƒ

ƒ

ƒ

ƒ

ƒ

Œ ‰ Jœ

‰ Jœb ˘

‰ Jœ

‰ Jœ

‰ Jœb ˘

3 3

∑∑∑∑

Œ Jœ ‰ Jœb ˘ ‰ Jœ ‰ Jœ ‰ Jœb ˘ ‰3 3

a a a a a

∑

∑

ƒ‰ J

œ‰ Jœ# ˘

‰ Jœn ˘ œ. œb . œ. œb . œ. œ. œb .3 3

∑∑∑∑

Jœ ‰ Jœ# ˘ ‰ œn œ œb œ œb œ œ œb œ3 3

a a a

∑

∑

&

&ã&?

&

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Bb Cl.

Perc.

S

Vln.

Vc.

Pno.

accel.54 w

‰ Jœ .˙

∑∑∑

w

Ó Œ ‰ jœœœÓ Œ œœœ

∏

ff

F

Jœ ‰ Œ Óœ œ# œ# œ œn œ# œ# œn œn œ œ œn œb œ œ

∑∑∑

‰ jœ .˙ise

Ó Œ ‰ jœœœÓ Œ œœœ

π

ƒƒ

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w∑∑∑

wjœœœ œœœ œœœ œœœ

jœœœœœœ œœœ œœœ œœœ

q = 92

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∑jœ ‰ Œ Ó

∑∑∑

jœ ‰ Œ Ójœœœ œœœ œœœ œœœ

jœœœœœœ œœœ œœœ œœœ

π

π

ª

49

adheres to this arrangement: A, B, Aʹ, Bʹ, C, Aʹʹ, Bʹʹ. The final Bʹʹ is much longer than all

previous sections and continues to extend and develop its materials.

The A sections are defined by a call and response from strings and clarinet. This

is presented in a Webernesque pointilistic texture whose pitches form a twelve tone row.

The notes of the row are G#, E, Db, G, F#, F, A, Bb, Eb, B, C, and D. The row is

presented three times in four groupings of three notes alternating among the three

instruments. The harmony is dissonant and unsettling and represents the lingering

feelings of doubt that are hanging on from the previous two songs. The awakening

motive returns in the A section in crotales. The shimmering quality of the crotales timbre

is well suited for a motive that represents the light of Christ.

B sections are marked by an increase in tempo, and dissonant repetitive rhythmic

gestures in the flute, piano, and crotales, which quickly become more clearly defined

harmonically as the text turns from themes of darkness to light. This dissonant,

consonant, dissonant harmonic progression is typical of the B sections, and is greatly

extended in Bʹʹ.

In the middle of the final stanza of the poem are the words “I/ Am found.” This is

the moment when the speaker lets go and accepts God’s gift of faith. It is stated so simply

and in my opinion, is a beautiful and humble way of articulating belief in God. The

speaker cannot take any of the credit as his statement implies that God did all the work in

bringing about salvation. Section C paints this picture of faith beginning in m. 42. After a

gentle tam-tam strike, soft tremolos from marimba provide an accompaniment for a high

cello solo on the “Who Are you” motive from song I.

50

Figure 22. Cello solo from song VII

The return of this motive recalls the defining question of the cycle, which is answered by

the vocalists as they repeat, “I/ Am found” five times.

The final section of the song is meant to depict the Holy Spirit of God running

over and through the speaker, which according to the gospel of John (14:16-17) is Jesus’

promise to all who believe in Him. This is accomplished musically by various harmonic

transformations of the B section gestures and by a role reversal. In m. 98, the strings and

clarinet take up the rhythmic gestures that were previously found in flute and piano,

while the piano plays soft chords and flute sustains long tones that crescendo and

decrescendo. To my ear, natural and artificial string harmonics aurally conjure images of

light especially when repeated at a fast tempo. The final line of the song is, “The sun

roars at the prayers end.” I wanted to recreate a literal roar, which was successfully

accomplished by a tam-tam crescendo to fortissimo and a wide vocal glissando from both

vocalists on the word “roar.” After the roar, the winds and strings create a static texture

by sustaining a minor ninth chord on the pitches Ab, G, C, and F that crescendos up to

fortissimo and back down to pianissimo, while the percussionist bows the crotales on

pitches taken from the awakening motive. The combination of bowed crotales, natural

and artificial string harmonics, and high woodwind timbres all performing hairpin

? 44Cello Ó Œ œ&solo, molto espr.

p œ œb- .˙ œb

Pw Jœ ‰ Œ Óπ

&Vc.

6

w œ œb .˙ w œ Œ ˙

VII.I turn a corner of prayer

51

dynamics from very soft to very loud is the final representation of the Holy Spirit

residing the heart of the speaker as the song comes to a close.

4.11 Conclusion

In many ways the process of writing Vision and Prayer has been a defining

moment in my life as a composer. The music contained within it showcases my

tendencies and musical inclinations more than any previous work and has substantially

grown my love for setting text to music. I have wholeheartedly poured myself and my

abilities as a composer into this work, and I am so very thankful first to Dylan Thomas

for writing such a powerful poem, and secondly to have had the opportunity to set his

words to music. But more importantly, Vision and Prayer has shown me that the greatest

use of my abilities as an artist and composer is to write music that glorifies God and lifts

high the name of His son Jesus. For me there is no greater endeavor. As I was working on

song VII and setting the text “I/ Am found,” I could not stop crying tears of joy, not at the

notes and rhythms that I was writing, but in knowing that I too am found in Jesus. I have

never experienced such an overwhelming emotional reaction while composing, and I am

certain that it comes from knowing a God who has loved me despite my many flaws, has

forgiven my sins and, has prepared for me a place in eternity. Going forward, I know that

not every piece I write will serve this aim, but it will certainly be a defining characteristic

in my work as an artist and composer, and for that, I am forever grateful.

52

Appendix A

Vision and Prayer – The Poem

''Vision and Prayer'' By Dylan Thomas, from THE POEMS OF DYLAN THOMAS, copyright ©1946 by New Directions Publishing Corp. Reprinted by permission of New Directions Publishing Corp.

VISION AND PRAYER By DYLAN THOMAS

I

Who

Are you Who is born

In the next room

So loud to my own That I can hear the womb

Opening and the dark run Over the ghost and the dropped son

Behind the wall thin as a wren's bone?

In the birth bloody room unknown To the burn and turn of time

And the heart print of man

Bows no baptism But dark alone

Blessing on The wild

Child.


53


I

Must lie Still as stone

By the wren bone

Wall hearing the moan Of the mother hidden

And the shadowed head of pain

Casting tomorrow like a thorn And the midwives of miracle sing

Until the turbulent new born Burns me his name and his flame

And the winged wall is torn

By his torrid crown And the dark thrown

From his loin

To bright

Light.


54

DYLAN THOMAS

When The wren

Bone writhes down

And the first dawn

Furied by his stream

Swarms on the kingdom come

Of the dazzler of heaven

And the splashed mothering maiden Who bore him with a bonfire

His mouth and rocked him like a storm

I shall run lost in sudden

Terror and shining from The once hooded room

Crying in vain In the caldron

Of his Kiss


55


I n

The spin Of the sun

In the spuming Cyclone of his wing

For I was lost who am

Crying at the man-drenched throne

In the first fury of his stream And the lightnings of adoration

Back to black silence melt and mourn

For I was lost who have come

To dumbfounding haven And the finding one

And the high noon Of his wound

Blinds my

Cry.


56

DYLAN THOMAS 417

There

Crouched bare

In the shrine

Of his blazing Breast I shall waken

To the judge blown bedlam Of the uncaged sea bottom

The cloud climb of the exhaling tomb

And the bidden dust upsailing With his flame in every grain.

O spiral of ascension From the vultured urn

Of the morning Of man when

The land And


57


The Born sea

Praised the sun

The finding one And upright Adam

Sang upon origin! O the wings of the children!

The woundward flight of the ancient

Young from the canyons of oblivion!

The sky stride of the always slain

In battle! the happening Of saints to their vision!

The world winding home !

And the whole pain

Flows open A n d I

Die.


58

DYLAN THOMAS 419

II

In the name of the lost who glory in

The swinish plains of carrion Under the burial song

Of the birds of burden

Heavy with the drowned

And the green dust

And bearing The ghost

From

The ground

Like pollen On the black plume

And the beak of slime

I pray though I belong Not wholly to that lamenting

Brethren for joy has moved within

The inmost marrow of my heart bone


59

42? VISION AND PRAYER

That he who learns now the sun and moon

Of his mother's milk may return

Before the lips blaze and bloom

To the birth bloody room Behind the wall's wren

Bone and be dumb

And the womb

That bore

For

All men The adored

Infant light or The dazzling prison

Yawn to his upcoming. In the name of the wanton

Lost on the unchristened mountain

In the centre of dark I pray him


60

DYLAN THOMAS 421

That he let the dead lie though they moan

For his briared hands to hoist them

To the shrine of his world's wound

And the blood drop's garden Endure the stone

Blind host to sleep In the dark

And deep Rock

Awake

No heart bone

But let it break On the mountain crown

Unsummoned by the sun

And the beating dust be blown

Down to the river rooting plain

Under the night forever falling.


61

2 VISION AND PRAYER

Forever falling night is a known Star and country to the legion Of sleepers whose tongue I toll

To mourn his deluging Light through sea and soil

And we have come

To know all

Places

Ways Mazes

Passages Quarters and graves

Of the endless fall. Now common lazarus

Of the charting sleepers prays Never to awake and-arise

For the country of death is the heart's size


62

D Y L A N T H OMAS 423

And the star of the lost the shape of the eyes.

In the name of the fatherless In the name of the unborn And the undesirers

Of midwiving morning's

Hands or instruments

O in the name

Of no one

Now or No

One to

Be I pray May the crimson

Sun spin a grave grey

And the colour of clay Stream upon his martyrdom

In the interpreted evening And the known dark of the earth amen.


63


I turn the corner of prayer and burn

In a blessing of the sudden Sun. In the name of the damned

I would turn back and run

To the hidden land But the loud sun

Christens down

The sky. I

Am found.

O let him Scald me and drown

Me in his world's wound.

His lightning answers my

Cry. My voice burns in his hand.

Now I am lost in the blinding One. The sun roars at the prayer's end.


64

Appendix B

Vision and Prayer – Full Score

Part I: The Vision

Prelude ...................................................................................................................68

Song I: Who Are you .............................................................................................83

Song II: I Must lie ..................................................................................................99

Song III: When The wren Bone writhes down ....................................................109

Song IV: There Crouched bare ............................................................................125

Part II: The Prayer

Interlude ...............................................................................................................133

Song V: In the name of the lost ...........................................................................137

Song VI: Forever falling night .............................................................................150

Song VII: I turn a corner of prayer ......................................................................166

Total Duration: 40 minutes

Completed: April 2017

Transposed Score

65

Instrumentation

Flute (doubling piccolo) Clarinet in Bb Piano Soprano Bass Baritone Violin Cello Percussion, 1 player:

Low Tom, Middle Tom, Brake Drum, Large Suspended Cymbal, Tam-tam, Marimba, Vibraphone, Slapstick, Crotales, Triangle, Bass Drum, Snare Drum, Splash Cymbal, Tubular Bells, Guiro, Claves, Castanets, Vibra Slap, Whistle, Temple Blocks

Percussion Key

Prelude

Song I: Who Are you

Crotales, Marimba, Vibraphone

Song II: I Must lie

Vibraphone

ã œ œ œ œ ¿Tam-tam Low Tom Middle Tom Brake Drum Large Suspended Cymbal

ã œSlapstick

ã œ œ œ œ ¿Bass Drum Low Tom Snare Drum Triangle Splash Cymbal

ã œ œ œ œ œVibra Slap Castanets Claves Guiro Whistle

œ œ œ œ œTemple Blocks

ã œTam-tam

ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vision and Prayer Percussion Key


ã œSlapstick




ã œTam-tam

ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑


66

Song III: When The wren Bone writes down

Song IV: There Crouched bare

Marimba

Interlude

Marimba

Song V: In the name of the lost

Tubular Bells

Song VI: Forever falling night

Marimba, Tubular Bells

Song VII: I turn a corner of prayer

Crotales, Marimba


ã œSlapstick




ã œTam-tam

ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑



ã œSlapstick




ã œTam-tam

ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑



ã œSlapstick




ã œTam-tam

ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑


67

Performance Note

Song IV: There Crouched bare

Song IV is a setting of stanzas 5 and 6 from Vision and Prayer, and is unique to the cycle both in presentation and performance. It is a graphic score whose layout was determined from the diamond shaped stanzas in the first half of the poem. The rhythms of the song rely on aleatory determined solely by the vocalists. Each line of text is paired with a box containing a musical gesture. After the vocalist sings his or her line, instrumentalists repeat their boxed gestures mimicking the rhythms sung by the vocalists they are paired with until the central line of text is reached. It is imperative that performers continue to repeat their gestures with no longer than one second in between repetitions. The central line of text in both stanzas is an ensemble tutti. The tutti is cued by the bass baritone in stanza 5 and by both vocalists in stanza 6. At the end of the tutti in stanza 5, instrumentalists return to their stanza 5 boxes and perform their gestures fortissimo, gradually fading to their written dynamics. Vocalists continue to their next line of text as instrumentalists begin to diminuendo. At the end of the tutti in stanza 6, instrumentalists return to their stanza 6 boxes and perform their gestures fortissimo, gradually fading to their written dynamics. Vocalists continue to their next line of text as instrumentalists begin to diminuendo. Open, closed, dotted, and un-dotted note heads suggest a possible duration, but ultimately it is up to the vocalists to determine the rhythms of each line of text.

&

&

ã

&

?

&

?

43

43

43

43

43

43

43

42

42

42

42

42

42

42

43

43

43

43

43

43

43

42

42

42

42

42

42

42

43

43

43

43

43

43

43

42

42

42

42

42

42

42

43

43

43

43

43

43

43

Flute

Clarinet in Bb

Percussion

Violin

Cello

Piano

∑

∑

œ œ ‰ Jœ ‰ Jœ

∑

∑

∑

∑

h. = 72

p

Low Tom

Awake!

∑

∑

Jœ ‰ Jœ ‰

∑

∑

∑

∑

∑

∑

œ œœ

œ ‰ Jœ

∑

∑

∑

∑

cresc.

Brake Drum

∑

∑

œœ

œ œ œ

∑

∑

∑

∑

∑

∑

œ œœ

œœ

œ

∑

∑

∑

∑

∑

∑

œœ

œœ

∑

∑

∑

∑

68

Vision and Prayer

Music composed by Christopher S. Prosser (b. 1978)

Copyright © 2017 by Christopher S. ProsserAll Rights Reserved. Printed in USA

Transposed Score

a song cycle for flute, clarinet, percussion, piano, violin, cello, soprano, and bass baritone

Part1:

Prelude

Text written byDylan Thomas (1914 - 1953)

The Vision

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&

ã

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43

43

43

43

43

43

43

42

42

42

42

42

42

42

43

43

43

43

43

43

43

Fl.

Bb Cl.

Perc.

Vln.

Vc.

Pno.

√

7

œb œb ˘‰ Jœ ‰ Jœ

œb œ‰ Jœ ‰ Jœ

œ œ œ

œœb

b œœb

b ˘‰

Jœœ˘

‰Jœœ˘

œœb

b œœb

bfl

‰ jœœfl

‰ jœœfl



ƒ

ƒ

ƒ

ƒ

f

f

œb œb ˘‰ J

œb ˘‰ J

œb ˘

œb œ‰ J

œ‰ J

œb ˘

œ œœ>

œœ>

œœb

b œœb

b ˘‰ J

œœb

b ˘‰ J

œœb

b ˘

œœb

b œœb

bfl

‰jœ

œbb

fl‰ jœ

œbb

flœb œb ˘

‰ Jœb ˘

‰ Jœb ˘

œb œb ˘‰ J

œb ˘‰ Jœb ˘



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œœb

b œœb

b ˘‰

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‰Jœœ˘

œœb

b œœb

bfl

‰ jœœfl

‰ jœœfl



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.-

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.

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˙

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43

43

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43

43

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Fl.

Bb Cl.

Perc.

Vln.

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(√)

12

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p

p

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f

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p

p

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42

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43

43

43

43

43

43

43

Fl.

Bb Cl.

Perc.

Vln.

Vc.

Pno.

gliss.

17

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.˙

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scrapeL.V.

f

Inside piano

p

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p

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42

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Bb Cl.

Perc.

Vln.

Vc.

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22

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f

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fl‰ jœb

fl

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70

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42

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43

43

43

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43

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42

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42

42

43

43

43

43

43

43

43

Fl.

Bb Cl.

Perc.

Vln.

Vc.

Pno.

27

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f

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Bb Cl.

Perc.

Vln.

Vc.

Pno.

32

∑

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71

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Bb Cl.

Perc.

Vln.

Vc.

Pno.

√

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f

f

f

f

f

œn > œ œb œb œ œ.

œn >œ œb œ œ œ.

∑





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œb ˘‰ J

œb ˘

œb œ ‰ Jœ ‰ Jœb ˘

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‰

œb œb ˘‰ J

œb ˘‰ J

œb ˘

œb œb ˘‰ J

œb ˘‰ Jœb ˘

œb œb ˘‰ J

œb ˘‰ J

œb ˘

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œb ˘‰ Jœb ˘

œb > œb œb œ. œ œ

œb > œ œb œ.œ œ

∑





Jœn ‰ Œœn > œ#

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Œ Œœn > œ#

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42

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43

43

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Fl.

Bb Cl.

Perc.

Vln.

Vc.

Pno.

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Bb Cl.

Perc.

Vln.

Vc.

Pno.

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47

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42

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43

43

43

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43

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Fl.

Bb Cl.

Perc.

Vln.

Vc.

Pno.

(◊)

√

52

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73

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Perc.

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Vc.

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ã

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Bb Cl.

Perc.

Vln.

Vc.

Pno.

62

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>

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f

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f

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3

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f

f

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42

42

42

42

42

42

43

43

43

43

43

43

43

Fl.

Bb Cl.

Perc.

Vln.

Vc.

Pno.

√

67

œ œ# œ œ#Jœ# >

‰

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∑

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p

p

- --

102

ª

&

&

&

&

?

&

?

&

?

45

45

45

45

45

45

45

45

45

44

44

44

44

44

44

44

44

44

Fl.

Bb Cl.

Vib.

S

B

Vln.

Vc.

Pno.

31

Œ ‰ œ> œ> .œ>

∑

Œ ≈œ

œb œ>

œ œb œ œ> œ œb œ .œ>

∑

‰ œ

œ

œ

œ

œ

œ

‰ Œ

∑

∑

∑

∑

p f

p

p f

w

Œ .˙

∑

∑

∑

∑

Ó Œ ‰ œb œAnd the

ww>

ww>

f

f

f

f

P

Jœ

‰ Œ Ó

œ œ .˙

∑

∑

∑

∑

œ œ ˙ ‰ Jœ

mid wives of

‰ ..œœ ˙b

‰ .œ ˙b

p

p

p

p

∑

w

∑

∑

∑

∑

œ- œ# œ œ- œ3

mi ra cle sing

˙n - ˙-

˙n --

f

F

- - -

&

&

&

&

?

&

?

&

?

Fl.

Bb Cl.

Vib.

S

B

Vln.

Vc.

Pno.

35

‰ œ œ.œ#

jœ ‰ Œ ‰ Jœ œ

≈œ œ œ œ

œ œ œ œ œ# œ#œ#

Œ

∑

∑

∑

Jœ ‰ œn œ œ œ œ œ# œ3sing

˙æ ˙#-

æ-

p p

Fp

p

w

.˙ œb

∑

∑

∑

∑

˙ ˙

œ œ# œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

6 6 6 6

P

P

FJœ

‰ Œ Ó

w

∑

∑

∑

∑

‰ Jœ œ# œn œ- œ- œ-3

Un til the tur bu lent

œœ œœ

- œœ# œœn œœ# œœ

œœ œ- œ# œn œ# œ

f

F

F

π

f

- - -

103

ª

&

&

&

&

?

&

?

&

?

Fl.

Bb Cl.

Vib.

S

B

Vln.

Vc.

Pno.

38

Ó ‰œ#

Jœ

Jœ ‰ Œ Ó

Ó ≈ œ œ œ# œ œ# œ œ

∑

∑

∑

‰ Jœ .˙

new born

œœ# - œœ œœ#>

˙æ

œ- œœ>

˙æ

p

p

pJœn >

‰ Œ Ó

Ó ‰ .œ#

Jœn >‰ Œ Ó

∑

∑

∑

‰ Jœn > œ œ œ œ œ œ œ>

3

Burns me his name and his flame

jœœ>‰ œœn ˙#

jœn >‰ œb ˙n

p

f

f

f

p

π

ƒ∑

˙ ˙#

∑

∑

∑

∑

œ œ œ# œ œ œ œ#

3

‰jœœ## œœ œœ œ# œ#

‰ Jœ œ jœ œ jœ œ œ# œ3

33

&

&

&

&

?

&

?

&

?

Fl.

Bb Cl.

Vib.

S

B

Vln.

Vc.

Pno.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

ÈŸ41

∑

.˙ Jœ ‰

‰J

œœœœ##

> ....˙˙

æ

∑

∑

∑

.˙ Jœ ‰

œ# œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

6 6 6 6

p

πf

p

Œ .˙

Œ.˙ .˙

œœœœ>

....˙˙˙æ

∑

∑

∑

Ó Œ ‰ œn œ

And the

.œ# jœ ˙n

œ œ ˙


f

f

p

pœ ˙ ˙ œ œ#

œ œ ˙ ˙ œ# œ

∑

œœœœb

œœœœb

∑

œ- œ œ- ˙

winged wall

œ ˙b œn

œ ˙b œn

f

p

p

104

ª

&

&

&

&

?

&

?

&

?

43

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

44

Fl.

Bb Cl.

Vib.

S

B

Vln.

Vc.

Pno.

44

˙ ˙# ‰ œ Jœ

˙# ˙ ˙ ˙

Ó ≈ œb œ œ œ œœb œ

Ó Œ ‰

Ó ‰ œ

œ

œ

œ

∑

‰ jœ .>

is torn

˙ -

˙ -

p

p

F

F

œ œ ˙

∑

œœ œ œ

Œ Œ

‰ Œ Œœ

∑

Jœ ‰ Œ Œ

œ‰ jœœ#

>œœ

œ ‰ jœœ>œœ

f

f

f

p

p

p

.˙ Jœ ‰

∑

∑

∑

∑

∑

œ# œ œ œ .œ# Jœ

By his tor rid

˙æ ‰ jœœ>œœæ

˙æ ‰ jœœ# >œœæ

p

P

∑

∑

œ>....

˙˙˙bbbæ

∑

∑

∑

œ# - œ œ# ˙

crown

‰ œœ##jœœ œœ

jœœ œœjœœ œœ

3 3 3 3

jœ# œ œ œ

jœ

f sub.p

-

&

&

&

&

?

&

?

&

?

Fl.

Bb Cl.

Vib.

S

B

Vln.

Vc.

Pno.

48

∑

∑

Ó Œœ

∑

∑

∑

Jœ ‰ Œ Ó

˙ jœœ‰ Œ

˙j

œ‰ Œ

p

π

π

∑

Ó-

œœœœœbbb ....˙˙˙˙

∑

∑

∑

∑

∑

Ó -

p

p

sul tasto, non vib.

non vib.

Œ.-

˙ Ó

Ó Œœ

∑

∑

∑

∑

w-

˙ Ó

arco

p

p

sul tasto, non vib.

non vib.

π

˙Jœ

‰ Œ

Œ .-

˙ ˙

∑

∑

∑

‰ jœ œ jœb .œ Jœb -3

And the dark thrown

œ Œ Ó

w-

p F

F

π

π

105

ª

&

&

&

&

?

&

?

&

?

Fl.

Bb Cl.

Vib.

S

B

Vln.

Vc.

Pno.

ord. sul pont ord. sul pont

ord. sul pont

cresc.

cresc.

52

w

.˙ Jœ ‰

œŒ Ó

∑

∑

∑

w

∑

œŒ Ó

π

œŒ ˙

∑

Œ .˙

∑

∑

∑

Œ œ- œb œ

thrown

Ó˙

w-

ord.

p

p

p

π

π

˙æ

˙

Œ .˙

Ó Œ œ

∑

∑

‰ jœ- œ œb œbthrown

.˙ œ- œb

thrown

.˙ œ

Œ ˙ œ

arco

ord.

flz.

π

p

F

p

π

π

Jœ ‰ Œ˙

æ

.˙ jœ ‰

˙ œ Œ

∑

∑

œb - œb œ œ œ ‰ Jœb -

thrown thrown

œ œ ‰ .œb -

thrown

Œ..

˙˙

˙ œ Œord.

flz.

π

π

f

π

π

π

&

&

&

&

?

&

?

&

?

Fl.

Bb Cl.

Vib.

S

B

Vln.

Vc.

Pno.

sul pont

ord. sul pont

ord. sul pont

56 ˙ ˙æ

Ó ˙

Ó Œœ

∑

∑

œ œ œb ˙

˙b ‰ Jœ- œb œb

thrown

˙˙

œœ Œ

.˙ œ

ord.

flz.


π

p

π

π

Jœ

‰ Œ Ó

˙æ

˙

˙ œŒ

œœœœbb

œœœœbbb

w

œn œ œn ˙

Œ˙ œ

˙ œŒ

ord.

flz.

π

f

f

∑

Jœ ‰ Œ Ó

∑

∑

Ó Œ ‰ œ

œ

Jœ ‰ Œ Ó

Jœ

‰ Œ Ó

w

∑

f

f

π

sim.

∑

∑

∑

‰ Œ Óœ

∑

‰ Jœ œJœb .œ J

œb -3

And the dark thrown

jœ‰ Œ Ó

∑

ord.

f

F f

106

ª

&

&

&

&

?

&

?

&

?

Fl.

Bb Cl.

Vib.

S

B

Vln.

Vc.

Pno.

60

∑

∑

∑

∑

∑

∑

.˙Jœ

‰

‰ œb>

œb >.œ

>

Ó Œœb >

p

p

p

∑

∑

∑

∑

∑

∑

Ó ‰ œ Jœb

From his

.œjœœbb

>˙æ

.œ>Jœ> ˙

æ

P

Œ ≈.Jœb œ .œb œ .œ

Œ ‰ Jœ ˙

Œœ

œb.œb

œb œb.œb

œœ

.œ

∑

∑

∑

.˙b Jœ ‰loin

wwæ

wæ

π

F

F

ord.

F π

&

&

&

&

?

&

?

&

?

Fl.

Bb Cl.

Vib.

S

B

Vln.

Vc.

Pno.

63

w

.˙ œ

∑

∑

∑

∑

Œœ >

To bright

wwæ

wæ

falsettoto end

f

Jœ

‰ Œ Ó

w

∑

∑

∑

∑

œ‰ J

œb - ˙

Light.

˙æ ˙b -

˙æ ˙b -

F

π‰

œb œ œJœb >

Jœ ‰ Œ Ó

≈ œb œbœb œ

œœb

œ œœ œ

œ œ

œœ

œb>

Œ ‰

Œ œ

œ

œ

œ

œ

œ>

∑

.˙Œ

..˙æ œœœœb >

.˙æ

œ œœb>

π

F

F

F

F

p f

107

ª

&

&

&

&

?

&

?

&

?

Fl.

Bb Cl.

Vib.

S

B

Vln.

Vc.

Pno.

66

w

Ó˙

∑

∑

∑

∑

.˙b - .œ œ

bright

œœ œœ œœbæ

˙˙æ

œœ œœ œœbæ

˙æ

π

ƒ

Jœ ‰ Œ Ó

.˙ œ œ

∑

∑

∑

∑

˙ œ œb œ

wwæ

wwæ

π∑

w

∑

∑

∑

∑

œ‰ J

œb - ˙

Light.

wwbb -

wwb-

F

sul tasto, non vib.

sul tasto, non vib.

f

∑U

wU

∑U

∑U

∑U

∑U

wU

wwUU

wwU

f

f

108

&

&

ã

&

?

&

&

?

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

Flute

Clarinet in Bb

Percussion

Soprano

Violin

Cello

Piano

∑

∑

wæ

∑

∑

∑

∑

∑

π

q = 60

Bass Drum

Mysterious

∑

∑

wæ

∑

∑

∑

·

Owp

p

I.

∑

∑

Œ ˙.˙æ

∑

∑

˙ œ œ

When The

‚ ‚> ‚ ‚

Oœ Oœ> Oœ Oœ

p

pTriangle

∑

∑

‰ œ ‰ œ.˙æ

∑

∑

.œ .œwren Bone

‚ ‚> ‚ ‚ ‚>

Oœ Oœ> Oœ Oœ Oœ>

∑

∑

Œ ˙.˙æ

∑

∑

˙ ‰ Jœ>

writhes

‚ ‚> ‚ ‚

Oœ Oœ> Oœ Oœ

f

∑

∑

.æ

∑

∑

.˙

.·

..O

&

&

ã

&

?

&

&

?

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

Fl.

Bb Cl.

Perc.

S

Vln.

Vc.

Pno.

7

∑

∑

Œ ˙.˙

æ

∑

∑

œ ‰ .œdown

‚ ‚> ·

Oœ Oœ> O

p

∑U

∑U

.æU

∑U

∑U

.˙U

.·U

..OU

Œ Œ ‰œ œb œ

3

Œ Œ ‰œ œ œ

3

∑

œœœb œœœbb œœœ œœœ

3

œœœb œœœb œœœ œœœ3

∑

J‚ ‰ Œ Œ

JOœ

‰ Œ Œ

q = 120

f

f

f

Aggressive

ƒ

ƒ

ä

‰ Jœ> œ œ œb œ œ œb œ

7

ä‰ J

œ> œ œ œ œ œ œ œ7

∑

œœœb œœœ#n# œœœnbn ˙3 ?

œœœb œœœbbb œœœ ˙3

∑

∑

∑

109

III.When The wren Bone writhes down

ª

&

&

ã

?

?

&

&

?

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

83

83

83

83

83

83

83

83

Fl.

Bb Cl.

Perc.

S

Vln.

Vc.

Pno.

11

Jœ.

‰ œ œb œ œ. ‰œ œb œ

3 3

Jœ. ‰ œ œ œ œ. ‰

œ œ œ

33

∑

œœœb >œœœ.

œœœ.œœœ>

œœœ>œœœ.

œœœb>

œœœ.œœœ.

œœœ>œœœ>

œœœ.

∑

∑

∑

œä

Œ Ó

œäŒ Ó

‰ Jœ>

œ œ œ œ œ œ

œœœb .œœœ.

œœœ.œœœ.

œœœ.œœœ.

œœœ.œœœ.

œœœb .œœœ.

œœœ.œœœ.

œœœ.œœœ.

œœœ.œœœ.

Ó Œ œ œAnd the

∑

∑

p

f p

f

ƒ

ƒSnare Drum, on rim

∑

∑

œ œ œ œ œ œ œ œ

œœœb .œœœ.

œœœ.œœœ.

œœœ.œœœ.

œœœ.œœœ.

œœœb .œœœ.

œœœ.œœœ.

œœœ.œœœ.

œœœ.œœœ.

œ .-first dawn

∑

∑

∑

∑


œœœb .œœœ.

œœœ.œœœ.

œœœ.œœœ.

œœœ.œœœ.

œœœb .œœœ.

œœœ.œœœ.

œœœ.œœœ.

œœœ.œœœ.

Œ œ> œ œ œFur ied by his

∑

∑

-

&

&

ã

?

?

&

&

?

83

83

83

83

83

83

83

83

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

Fl.

Bb Cl.

Perc.

S

Vln.

Vc.

Pno.

15

œ œ œ œb œb œ œ œ œ

9

œ# œ œ œ# œ œ œ œ# œ

9

‰ jœ>

‰

œœœb> ‰

œœœb

œœœb>

‰ œœœb

.œ

∑

∑

f

p

p

f

Low Tom

Jœ>

‰ Œ Ó

Jœ>

‰ Œ Ó

‰ jœ>

Œ Ó

Jœœœ#n# >

‰ Œœœœnbn œœœbb œœœ œœœ

jœœœbbb>

‰ Œ œœœb œœœn œœœ œœœ

Œ - œstream

∑

∑

p

ƒ

ƒ

f

∑

∑

∑

œœœb œœœbb œœœ œœœ œœœ œœœ#n#

œœœb œœœb œœœ œœœ œœœ œœœbb

.˙

∑

∑

∑

∑

∑

œœœnbn œœœbb œœœ œœœ œœœ œœœ#n#

œœœb œœœb œœœ œœœ œœœ œœœbb

jœ ‰ Œ Œ

∑

∑

p

110

ª

&

&

ã

?

?

&

&

?

83

83

83

83

83

83

83

83

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

Fl.

Bb Cl.

Perc.

S

Vln.

Vc.

Pno.

19

∑

∑

œ>

œ œ œ œ œ

‰jœœœnbn .

œœœ.œœœ.

œœœ.œœœ.

‰ jœœœb .œœœ.

œœœ.œœœ.

œœœ.

∑

∑

∑

f p

(on rim)

∑

∑

œ œ œ œ œ œ

œœœb .œœœ.

œœœ.œœœ.

œœœ.œœœ.

œœœb .œœœ.

œœœ.œœœ.

œœœ.œœœ.

Œ>Swarms

∑

∑

f

∑

∑

œ œ œ œ œ œ

œœœb .œœœ.

œœœ.œœœ.

œœœ.œœœ.

œœœb .œœœ.

œœœ.œœœ.

œœœ.œœœ.

œ œ œ œ œb

∑

∑


9


9

œ œ>

œ

œœœb> ‰

œœœb>

œœœb>

‰ œœœb>

.œ

∑

∑

p

p

ß

f

Jœ>

‰ Œ Œ

Jœ>

‰ Œ Œ

∑

‰ Jœœœbb œœœb œœœ#n# œœœnbn œœœ

‰ jœœœb œœœb œœœbb œœœ œœœn

˙ Œ

∑

∑

ƒ

ƒ

f

&

&

ã

?

?

&

&

?

44

44

44

44

44

44

44

44

43

43

43

43

43

43

43

43

44

44

44

44

44

44

44

44

Fl.

Bb Cl.

Perc.

S

Vln.

Vc.

Pno.

24

∑

∑

œ>

œ œ œ œ œ Jœ> ‰

Jœœœb>

‰ Œ Ó

jœœœb>

‰ Œ Ó

Œ œ œ œ>œ ‰ jœ>

on the king dom come

∑

∑

f p f

(on rim)

Œ Œ ‰œ œb œ

3

Œ Œ ‰œ œn œ

3

Œ Œ œ>

œœœb œœœbb œœœ œœœ3

œœœb œœœb œœœ œœœ3

∑

∑

∑

f

f

f

ä

Ó

äÓ

∑

Jœœœ#n# >

‰ Œ Ó

jœœœbbb>

‰ Œ Ó

∑

‰ jœœ# >œœ.

œœ.œœ.

œœ.œœ.

œœ.

‰ Jœœb > œœ

. œœ. œœ

. œœ. œœ

. œœ.

ƒ

Í

Í

∑

∑

∑

∑

∑

Ó Œ œ œOf the

œœ# .œœn >

œœ.œœ.

œœ.œœ.

œœ.œœ.

œœb . œœn > œœ. œœ

. œœ. œœ

. œœ. œœ

.

f

ß

ß

-

111

ª

&

&

ã

?

?

&

&

?

43

43

43

43

43

43

43

43

Fl.

Bb Cl.

Perc.

S

Vln.

Vc.

Pno.

28

∑

∑

Œ .˙æ

∑

∑

œ œ œ œ œ ˙#

daz

œœ.œœ.

œœ.œœ#>

œœ.œœ.

œœ.œœ>

œœ. œœ

. œœ. œœ

> œœ. œœ

. œœ. œœ

>

f

∑

∑

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39

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56

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Fl.

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66

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Fl.

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Fl.

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81 -

‰ Jœ> œ œ œb œ œ œb œ

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86

43

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Fl.

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84

∑

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Fl.

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98


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Fl.

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Vln.

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112

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114

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124

ª

125

IV. There Crouched bare

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p

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2 ∑


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2 ∑


?Baritone

œ- œ-Crouched bare

p P

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2 ∑


& .. ..Clarinet in Bb œ- œ-p P&S

2 ∑


&S œ œ -In the shrine

FP

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2 ∑


& .. ..Violin œ œ ˙P F

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2 ∑F


?B

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2 ∑


?B .œ- œ œ> œ œ

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2 ∑


126

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2 ∑


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2 Œ Œ Œ Œ Œ Œ


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- œ- ˙Of the un caged sea bot tom

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2 ∑


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2 Œ Œ Œ Œ Œ Œ


&

?Tutti

√

◊

œ œ- œ œ- ˙ œ œ œ > --

UThe cloud climb of the ex hal ing tomb

œ œ- œ œ- ˙ œ œ œ > - -UThe cloud climb of the ex hal ing tomb

f

f ƒ

ƒ p

p

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2 ∑∑

Vision and Prayer Song 4

&Clarinet in Bb œ- œ-p P&S

2 ∑Instrumentalists, return to boxesGradually fade to written dynamics.Vocalist, continue as dynamics fade.

ƒ

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?B

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2 ∑

IV. There Crouched BareScore&Clarinet in Bb œ- œ-p P

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Piano LH out

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Marimba out

Violin outClarinet out

Flute out


&Sœ œ .- œ œ- œ -

With his flame in eve ry grain.

F f p-

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2 ∑


127

?B

œ- .œ> œ œ œ - ˙O spi ral of as cen sion

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2 ∑




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2 ∑




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?B

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IV. There Crouched BareScore&Clarinet in Bb œ- œ-p P&S


ƒ

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?B

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p

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128

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w-The

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p

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2 ∑∑


& .. ..Bb Cl. œ- œ œ- œp F p

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2 ∑


&

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˙ œb wb -Praised the sun

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F

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2 ∑∑


& .. ..Vln. ˙ œb œb œb œP F

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2 ∑


&

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B

œb .- œ wb -The find ing one

œb .œ- .œb œ wb -The find ing one

F

F f

f p

p-

-

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S

B

2 ∑∑


129

& .. ..Mrb. œb æ ˙b æ œb æ- œæ œæfp p&S

2 ∑


&

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B

œb œ> ˙ ˙b - œ .˙b >And up right A dam Sang

œb œb > ˙ ˙b - œb .˙b >And up right A dam Sang

f

f

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B

2 ∑∑


? .. ..Vc. ˙b > œb - œ œb - œb -f p

?S

2 ∑


&

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B

œ ˙b - .˙b - œb ˙u pon or i gin!

œb - .˙b - œb ˙u pon or i gin!

f

f- - -

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&?

S

B

2 ∑∑


& .. ..Pno. RH œ. œb . œb . œb . œ. œb .f p

&S

2 Œ Œ Œ Œ Œ Œ


&

?

S

B

- œb .˙b - ˙b œb > .˙O the wings of the chil dren!

˙b - œ .- ˙b œ ˙b > .˙O the wings of the chil dren!

f

f

P

P

F

F

p

p-

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&?

S

B

2 ∑∑


130

? .. ..Pno. LH œ œb œb . œb . œ. œb . œb .p f

?S

2 Œ Œ Œ Œ Œ Œ


&

?Tutti

√

◊

œb ˙b - ˙ œ> .˙b œb œb ˙b - ˙ wThe wound ward flight of the an cient Young

œb ˙b - ˙ œ> .˙b œb œb ˙b - ˙ wThe wound ward flight of the an cient Young

p f p

p f p

Ossia

Ossia

- -

- -

&?

2 ∑∑


&

?Tutti

√

◊

œb œb - .˙ œ œ œb - œb œb œb .˙from the can yons of ob liv i on!

œb œb - .˙ œ œ œb - œb œb œb .˙from the can yons of ob liv i on!

p

p

ƒ

ƒ

Ossia

Ossia

- - - -

- - - -

&?

2 ∑∑




ƒ

Piano LH out


&

?

S

B

œb œb - œ .- œ œb œb œb wb -The sky stride of the al ways slain

œb - .œb - .œb œ œ œ œ - ˙bThe sky stride of the al ways slain

p

p

F

F

f

f

p

p-

-

&?

S

B

2 ∑∑




ƒ

Piano LH out


Marimba out


Flute out


131

&

?

S

B

œ ˙b > ˙ œ œb > œb œIn bat tle! the hap pen ing

œb ˙b > ˙ œ œb > œ œbIn bat tle! the hap pen ing

f

f- - -

- - -

&?

S

B

2 ∑∑




ƒ

Piano LH out


Marimba out


Flute out


&

?

S

B

œb - œb œb ˙b - ˙Of saints to their vi sion!

œ ˙b - œb œ ˙b - ˙Of saints to their vi sion!

F

F

f

f

p

p-

-

&?

S

B

2 ∑∑




ƒ

Piano LH out


Marimba out


Flute out


&

?

S

B

œb - œ- œb - ˙The world wind ing home!

œb ˙b - œ- œ wb -The world wind ing home!

P

P

F

F

p

p-

-

&?

S

B

2 ∑∑




ƒ

Piano LH out


Marimba out


Flute out


&

?

S

B

œb œ - - ˙bAnd the whole pain

œb œb œ- œb ˙b - ˙bAnd the whole pain

p F

p F

&?

S

B

2 ∑∑




ƒ

Piano LH out


Marimba out


Flute out


132

&

?

S

B

˙b > œb - .˙Flows o pen

˙b > œ- .˙bFlows o pen

f

f-

-

&?

S

B

2 ∑∑




ƒ

Piano LH out


Marimba out


Flute out


&

?

S

B

œ .-And I

œ .˙b -And I

f ƒ

f ƒ

&?

S

B

2 ∑∑




ƒ

Piano LH out


Marimba out


Flute out


&

?

S

B

wâDie.

wäDie.

Ï

Ï


&

&

&

&

?

&

?

Flute

Clarinet in Bb

Violin

Cello

Marimba

Piano

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~œ# œ œ

°

œ*)

jœ>

w# œ œ

ƒ

Jet Whistle

*) Repeat this pattern of notes when performing double trill

1

Senza Misura, Eerie, Unsettling

sempre

R A

Bb tr

R A

Bn tr

Inside Piano (sempre)

( , )

fπ π

jœœœœbb>

jœœbb>

Jœœ>

ƒ

ƒ

ƒ

2

pizz.

pizz.

L.V. sempre

wwbb ¿ ww¿π πf

3

with shaft

133

Interlude

Part II.

The Prayer

&

&

&

&

?

&

?

44

44

44

44

44

44

44

Fl.

Bb Cl.

Vln.

Vc.

Mrb.

Pno.

√

Ÿ~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

ord. sul pont.

ord. sul pont.

∑

∑

∑

Jœœb

b œœb

b - œœ- .

.œœ-

jœœb

b œœb

b-

œœ-

.

.œœ-

Œ ..‚- ‚ ‚

Œ . .‚- ‚# ‚

q = 60,

arco

arco

( )

( )

p

p

p

IV.

∏

π

Distant

II.

∑

∑

∑

∑

∑

O

O

ƒ

ƒ

jœ# >

w# œ œ

Senza Misura,

Jet Whistle

( , )

ƒ

π f π

4Anxious

&

&

&

&

?

&

?

Fl.

Bb Cl.

Vln.

Vc.

Mrb.

Pno.

Jœœœœbbb >

jœœbb >

Jœœ

b >

pizz.

pizz.

ƒ

ƒ

ƒ

5

wwbb ¿ w¿π f π

6

with shaft

134

ª

&

&

&

&

?

&

?

44

44

44

44

44

44

44

Fl.

Bb Cl.

Vln.

Vc.

Mrb.

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

√

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~

ord. sul pont.

ord. sul pont.

∑

∑

∑

Jœœb

b œœb

b - œœb

b - ..

œœb

b -

jœœb

b œœb

b-

œœb

b-

.

.œœb

b-

Œ . .‚# - ‚ ‚

Œ . .‚- ‚ ‚

p

p

( )

( )

II.

III.

arco

arco

p

q = 60, Cold

∑

∑

∑

∑

∑

O

O

ƒ

ƒ

jœ>

w œ œb

ƒ

Jet Whistle

Senza Misura,

( , )

f π

7

π

Numb

&

&

&

&

?

&

?

Fl.

Bb Cl.

Vln.

Vc.

Mrb.

Pno.

pizz.

pizz.

jœœœœbb>

jœœb>

Jœœ>

ƒ

ƒ

ƒ

8

wb ¿ wwb¿

π f π

9

with shaft

135

ª

&

&

&

&

?

&

?

44

44

44

44

44

44

44

Fl.

Bb Cl.

Vln.

Vc.

Mrb.

Pno.

Ÿ~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~ord. sul pont.

ord. sul pont.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

√

∑

∑

∑

Jœœb

b œœb

b -œœ-

Jœœ œ

œ-jœ

œbb œ

œbb

-œœ-

jœœ œ

œ-

Œ . .‚- ‚ ‚

Œ . .‚# - ‚ ‚

q = 60,

( )

( )

p

p

p

π

π

Far Off

I.

III.arco

arco

∑

∑

∑

∑

∑

O

O

ƒ

ƒ

jœ>

w#

U

œ œ

ƒ

Jet Whistle

Senza Misura,

10Alone

fπ π( , )

R A

Bb tr

R A

Bn tr

attacca

136

&

&

&

?

?

&

?

44

44

44

44

44

44

44

43

43

43

43

43

43

43

44

44

44

44

44

44

44

Piccolo

Tubular Bells

Bass-Baritone

Violin

Cello

Piano

◊

∑

ww>

∑

w

°-

∑

Ó Œ œ

Ó Œ œ

f

q = 60

p

p

p

∑

ww>

∑

w-

∑

jœ- œ jœ- œ œ- œ

Jœ- œ Jœ

- œ œ- œ

L.V. sempre

Solemn, but Irreverent

∑

∑

∑

∑

Ó ‰ œ œ œ œ œ3

In the name of the

œ œ- œ jœ- œ jœ-

œ œ- œ Jœ- œ Jœ

-

P

∑

Œ Œ œœ>

∑

Œ Œœ-

.-

lost

œ jœ- œ jœ-

œ Jœ- œ Jœ

-

F

∑

∑

∑

∑

‰ Jœ œ œ œ œ

who glo ry in The

œ jœ- œ jœ-

œ Jœ- œ Jœ

-

-

&

&

&

?

?

&

?

44

44

44

44

44

44

44

Pic.

T. b.

B

Vln.

Vc.

Pno.

(◊)

6

∑

∑

∑

∑

.œ-Jœ .œ

Jœswi nish plains of

œ jœ- œ jœ- œ

œ Jœ- œ Jœ

- œ

f

∑

Ó Œ œœ>

∑

Ó Œœ-

œ# > œ œ# œ ˙3

car ri on


Jœ- œ Jœ

- œ œ- œ

∑

∑

∑

∑

Jœ ‰ œ œ œ œn œ œ œ3 3

Un der the bu ri al song



-

Fp

∑

‰ jœœ>Œ Ó

∑

‰ jœ-Œ Ó

Jœ ‰ ‰ œ œ .œJœ

Of the birds of

œ jœ- œ jœ- œ

œ Jœ- œ Jœ

- œ

- - - - - -

137

V.In the name of the lost

ª

&

&

&

?

?

&

?

Pic.

T. b.

B

Vln.

Vc.

Pno.

II.

II.

(◊)

10

∑

Œ ˙> œœ>

∑

Œ˙°*- œ-

œ> œ .˙

bur den

jœ- œ jœ-œ œ- œ

Jœ- œ Jœ

- œ œ- œ

f

P

P

∑

..˙> œœ>

∑

.- œ-

‰ Jœ> œ œ œ œ œ-

‰ œ œ

Heav y with the drowned And the


-


-

I.

I.

∑

Ó Œ œœ>

∑

Ó Œœ-

.œ- .œ> œ

green dust

œ Jœ- œ Jœ

- œ

œ Jœ- œ Jœ

- œ

∑

ww>

∑

w-

‰ Jœ œ œ œ œ- œ3

And bear ing the ghost

Jœ- œ Jœ

- œ œ- œ

Jœ- œ Jœ

- œ œ- œ

ƒ

- - -

&

&

&

?

?

&

?

Pic.

T. b.

B

Vln.

Vc.

Pno.

(◊)

14

∑

Ó ˙>

∑

Ó˙

* °-

˙# Jœ ‰ ‰ œ œ

From The


œ œ- œJœ- œ Jœ

-

II.

II.

p

p

p

∑

Ó Œ ‰ jœœ>

∑

Ó Œ ‰ jœ-

œ- ‰ Jœ œn> œ œ

ground Like pol len

œ jœ- œ jœ- œ

œ Jœ- œ Jœ

- œ

F

∑

∑

∑

∑

jœ ‰ .œ œ .œb -jœ

On the black plume


Jœ- œ Jœ

- œ œ- œ

P

∑

Ó ˙>

∑

Ó-

.˙ ‰ œ œAnd the



-

-

138

ª

&

&

&

?

?

&

?

Pic.

T. b.

B

Vln.

Vc.

Pno.

(◊)

Increase bow pressure


18

∑

Ó ˙>

∑

Ó-

.> œbeak of

œ jœ- œ jœ- œ

œ Jœ- œ Jœ

- œ

∑

Ó Œ œœ>

∑

Ó Œœ-

˙b - ˙slime


Jœ- œ Jœ

- œ œ- œ

f

f

f

∑

Ó Œ œ>

∑

∑

w

w

w

q = 172 Absurdly Exuberant

∑

œ>œ> œ>

œ>

∑

∑

w

w

w

∑

œ>œ>

>

Ó Œ œœœ>

∑

Jœ ‰ Œ Ó

jœ>

‰ Œ Ó

Jœ> ‰ Œ Ó

ƒ

f

ƒ

ƒ

ƒ

&

ã

&

?

?

&

?

Pic.

Perc.

B

Vln.

Vc.

Pno.

√

23

∑

œ œ ‰ Jœ œ Jœ>

‰

œœœ>œœœ>

œœœ>œœœ>

œœ

.

.˙˙

∑

∑

∑

Whistle

f

∑

œ œ ‰ Jœ .œ Jœ

œœœ>œœœ>

œœœ>œœœ>

.

.˙˙ œ

œ

Ó Œ œI

∑

∑

f

œ œ œ œ# œ œ œ œ œ. œ. œ œ.

jœ

>‰ Œ Œ j

œ

>‰œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

.˙ œœœ œœ œœ œœ

Œ œœœ-œœœ-

œœœ-ww

&

.> œ

pray though

∑

∑

Í

Temple Blocks

F

F

œ> .œ œ. œ. œ œ œ. œ œ.

œ-

Œ Óœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

.œ jœ œ œœœœ œœœ œœ œœ

œœœ-œœœ-

œœœœ-œœœœ-

.œ-Jœ œ œ

I be long Not

∑

∑

f

-

139

ª

&

ã

&

&

?

&

?

Pic.

Perc.

B

Vln.

Vc.

Pno.

(√) √

27 œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ

Œœ-

Œ jœ ‰œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ# œ œ œœœœ œœ œœ œœ

œœœœ-œœœœ# -

œœœ-

œœœœ-

œ- œ# œ œ œ

whol ly to that la

∑

∑

F

œ. œ. œ œ œ. œ. œ œ#Jœ>

‰

jœ

>‰ ‰ j

œ

>Œ j

œ

>‰œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œœœ œ œœ œœ

œœœ-œœœ-

œœœ-œœœ-

?

œ> œ œ œ œ

ment ing Breth ren

∑

∑

f∑

œ œ ‰ jœ .œ

jœ

Jœ ‰ Œ Ó

œœœ>œœœ>

œœœ>œœœ>

Ó Œœœ

Ó Œ œfor

∑

∑

f

f

- - - -

&

ã

&

?

?

&

?

Pic.

Perc.

B

Vln.

Vc.

Pno.

(√)

30

œ œ œ œ# œ œ œ œ œ. œ. œ œ œ.

œ-

Œ Œ œ-



Œ œœœ-œœœ-

œœœ-ww

&

.> œ

joy has

∑

∑

F

Í

F

œ> œ# œ œ œ> œ œ œ œ œ œ. œ œ œ.

Œ Œ œ-

Œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ


œœœ-œœœ-

œœœœ-œœœœ-

.œ-Jœ œ œ

moved with in The

∑

∑

f‰

œ œ œ œ œ œ œ œ œ œ# œ œ œ œ

Œ œ-

Œ Œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ# œ œ œ œœœœ œœ œœ œœ


œœœ-

œœœœ-?

œ- œ# œ œ œ œ

in most mar row of my

∑

∑

F

- - -

140

ª

&

ã

&

?

?

&

?

Pic.

Perc.

B

Vln.

Vc.

Pno.

(√) √

33œ œ œ. œ. œ œ#

Jœ>

‰ Œ

œ- Œ Œ œ

-œ œ

œ œ œ œœ œ œ œ œ œ œ œ œ

˙˙ œœœ>

Œ

Œ ˙>

œœœ>-

œ Œheart bone

∑

∑

f∑

œ

>œ ‰ j

œ .œ- j

œ

Jœ ‰ Œ Ó

œœœ>œœœ>

œœœ>œœœ>

...˙˙ œ

œ

Ó Œ œThat

∑

∑

f

f

œ œ# œ œ. œ œ œ œ œ œ œ. œ.

jœ ‰ Œ Óœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ


Œ œœœ-œœœ-

œœœ-ww>

&

.> œ

he who

∑

∑

F

Í

F

&

ã

&

&

?

&

?

Pic.

Perc.

B

Vln.

Vc.

Pno.

(√)

36 œ> .œ œ œ# œ œ œ œ œ. œ œ œ.

Ó ‰ jœ Œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ


œœœ-œœœ-

œœœœ-œœœœ-

.œ-Jœ œ œ

learns now the

∑

∑

f

œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ




œœœ-

œœœœ-

œ- œ# œ œ œ

sun and moon Of his

∑

∑

F

œ. œ. œ œ œ. œ# . œJœ.

‰

Œ .˙-



œœœ-œœœ-

œœœ-œœœ-

?

œ- œ œ œ œ

moth er's milk may

∑

∑

-

141

ª

&

ã

&

?

?

&

?

Pic.

Perc.

B

Vln.

Vc.

Pno.

molto rit.

√

39

∑

œ

>œ ‰ j

œ .œ- j

œJœ ‰ Œ Ó

œœœ>œœœ>

œœœ>œœœ>

Ó Œœœ

Ó Œ œre

∑

∑

f

Œ œ œ œ œ# ˙# -

jœ ‰ Œ ‰ j

œ œ-

œ œ œœ œ Jœ ‰ Œ

.˙ œbœœ œœ œœ œœ

Œ œœœœœœ

œœœbww

&

.˙ œb

turn Be

∑

∑

F

F‰ J

œ. œ# . œ. .œJœ.

Œ Œ ‰ jœ œ

-œ œ œ

œ œ Jœ ‰ Œ

.œ jœb œb œœœb œœ œœ œœ

œœœb œœœb œœœœb œœœœ

.œJœb œb œ

fore the lips

∑

∑

- -

&

&

ã

&

&

?

&

?

Pic.

T. b.

Perc.

B

Vln.

Vc.

Pno.

(√)

42œ œ œ# . œ. œ# œ œ œ œ.

∑

Œ Œ ‰ jœ œ

-œ œ œ œ œ Jœ ‰ ‰ Jœ

œ œn œb œ œœœb œœ œœb œœ

œœœœb-

œœœœ-œ

œœb -œœœ-

œ> œn œb > œ œ

blaze and bloom To the

∑

∑

œ. œ œ# œ# . œ. -

∑

œ-

œ-

Œ œ-

‰ Jœ ‰ Jœœ œ œ œ

˙ œ œbœœ œœ œœ œœ

œœœ>œœœ>

˙>

?

- œ- œb -

birth blood y

∑

∑

f∑

Ó Œ œœ>

œ Œ Ó

www>

www>

.-‰ Jœ

room Be

∑

∑

q = 60

L.V. sempre

p

f

f

ƒ F

Becoming Small

∑

Ó ˙>

∑

∑

∑

.œb - œ - œ œhind the wall's wren

∑

∑

- -

142

ª

&

&

&

?

?

&

?

Pic.

T. b.

B

Vln.

Vc.

Pno.

III.

III.

◊

46

∑

Ó ˙>

∑

∑

œ œ ˙ ‰ œ œ3

Bone and be

∑

∑

∑

Ó Œ œœ>

∑

∑

.˙b jœ ‰dumb

Ó Œ œ

Ó Œ œ

f

p

f

f

∑

ww>

∑

w

°-

Ó Œ .œ œAnd the


Jœ- œ Jœ

- œ œ- œ

p

P

p

p

∑

∑

∑

∑

.œ- Jœ>

womb That bore



-

II.

II.

F

&

&

&

?

?

&

?

Pic.

T. b.

B

Vln.

Vc.

Pno.

(◊)

50

∑

ww>

∑

w-

œ ‰ Jœœ œ-

For All men

œ jœ- œ jœ- œ

œ Jœ- œ Jœ

- œ

f

F

F

∑

ww>

∑

w-

Œ ‰ œ œ œ œ œThe a dored In fant


Jœ- œ Jœ

- œ œ- œ

sub.p

sub.

sub.

π

π

∑

Ó Œ œœ>

∑

Ó Œœ-

œ œ# œ# œ œ Jœ# œ3 3

light



-

∑

ww>

∑

w-

˙ ‰ œJœ

or The

œ jœ- œ jœ- œ

œ Jœ- œ Jœ

- œ

F

- -

143

ª

&

&

&

?

?

&

?

Pic.

T. b.

B

Vln.

Vc.

Pno.

II.

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31 œbæ

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33 w>

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Bibliography

Daiches, David. “The Poetry of Dylan Thomas.” The English Journal 43 (October 1954): 349-356. Jones, Roberta M. “The Wellspring of Dylan.” The English Journal 55 (January 1966): 78-82. Knieger, Bernard. “The Christianity of the ‘Altarwise by Owl Sequence’.” College English 23 (May 1962): 623-628. Moynihan, William T. “Dylan Thomas and the ‘Biblical Rhythm’.” PMLA 79 (December 1964): 631-647. Tindall, William York. A Reader’s Guide to Dylan Thomas. New York: Syracuse University Press, 1996.

Copyright by Christopher Skinner Prosser 2017

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