Beruflich Dokumente
Kultur Dokumente
Commissioned by Chor Leoni to commemorate the 100th anniversary of the Armistice that ended World War I.
through the Diane Loomer Commissioning Fund.
Percussion II
Performance Notes
Unless otherwise indicated, the eighth note or quarter note always stays constant when time signatures change (e.g., when 4/4 changes to
6/8).
Throughout this piece, musical style is freely manipulated to fit texts of various periods. The singers and instrumentalists should feel free
to explore broad and varying timbres and playing styles to match the changing musical languages in this piece.
The glockenspiel is written two octaves below sounding pitch.
For proper balance, and depending on the size of the chorus, the string quartet may need to be amplified.
The in-place marching notated in the choral parts is optional. The piece may also include changes in standing position, and changes in
dress (for example, wearing a red poppy from measure 937 onward).
A square fermata is longer than usual, and a triangle fermata is shorter than usual.
The narrator part may be performed by multiple readers.
Where a crescendo begins with a ‘o’ symbol, it indicates that the sound should start from silence (dal niente). Where a decrescendo
terminates with a ‘o’ symbol, it indicates that the sound should diminish to silence (al niente).
+
The symbol 0 indicates that the percussion player should immediately muffle the sound.
“Port.” (portamento) indicates a latest-possible slide from one note to another, whereas “Gliss.” (glissando) indicates a more gradual sliding
of pitch.
Instrumentation
Male Chorus
Tenor soloist
Soprano soloist
Percussion I:
Bamboo chimes Tam-tam
Glockenspiel Tom-toms (set of four)
Snare Drum Vibraphone
Suspended Cymbal (large) [Bass Drum — at the end, move over to the second percussionist’s Bass Drum]
Percussion II:
Bass Drum
Brake Drum
Chimes
Marimba (five-octave — but if one isn’t available, the low writing may be transposed up an octave)
Small Brass Bells on a Chain (“Camel” bells or similar, as unpitched and high as possible)
Suspended Cymbal (medium)
Tenor Drum
String Quartet
Zachary Wadsworth’s “vivid, vital, and prismatic” music has established him as one of the leading composers of his generation, especially among those writing vocal, choral, and operatic
works. With recent performances by the choir of Westminster Abbey, the Washington National Opera Chorus, Boston Metro Opera, Long Leaf Opera, the Buffalo Philharmonic
Orchestra, and the Atlanta Philharmonic Orchestra, his works have been heard in venues around the world, from Washington’s Kennedy Center to Tokyo’s Takinogawa Hall.
As winner of the 2011 King James Bible Trust Award, Wadsworth’s anthem Out of the South Cometh the Whirlwind was performed at Westminster Abbey in the presence of Queen Elizabeth
II. Other recent honors include a Charles Ives Scholarship from the American Academy of Arts and Letters, three Morton Gould Young Composer Awards from ASCAP, and first-prize
recognition in competitions sponsored by the American Composers Forum, the Pacific Chorale, the Boston Choral Ensemble, and the Esoterics. Wadsworth’s music is widely broadcast and
distributed, with recent publications by Novello, G. Schirmer, and E.C. Schirmer, and broadcasts on NPR, BBC, and CBC.
Wadsworth earned graduate degrees from Cornell University (DMA) and Yale University (MM), and is an honors graduate of the Eastman School of Music (BM). Originally from
Richmond, Virginia, Wadsworth (b. 1983) has taught at Williams College, the Interlochen Center for the Arts and the University of Calgary, and he maintains an active performing life as
a tenor and pianist.
Percussion II
When There Is Peace
Text compiled and edited I. Prologue Music by
by Peter Rothstein and Erick Lichte Zachary Wadsworth (b. 1983)
j -
B. D. ¢/ Ó œ™ œ œ™ œœ™ œ ˙ Ú Ú Ú Ú Ú Ú
pp p o
rit.
13 14 15 16 17 18 19 20
Sm.
Bells / W W W W W W W W
o
24 25
> 3 3 j> 3 > 3 3 > 3
j 26
3
j > 3 3 j> 3
Ú œ ™ œœ œ œ œ ™ œœ Œ œœœœœ œ œ œ ™ œœ Œ Ó Ó Œ œ œ ™ œœ Œ œ œ ™ œœ 43
T. D. /
mp mf
33
. > 34
. > ææ 35 . 36 37
. >
T. D. / œœœœœ œ œ œ œœœœœ œ œ œ œ Œ Œ ∑ œœœœœ œ œ œ
mp f mp f mp mp f
38
.> ææ39 . 40
> 41 42
> 43 44
> ææ 45 .
T. D. / œœœœœ œ œ œ 42 œ Œ œ œ œ œ ∑ œ œ œ œ ∑ œ œ œ œœœ œ
mp f mp f f f p mf
46 D 47 48 51 52 55 56 57
° 3 3
Chim. & ∑ Œ œ Œ œ ∑ ∑ ∑
f
3 3 ææ . . æ
T. D. ¢/ ∑ ∑ ∑ œ œ œ Œ œ œæ
mp p mp mp p
58
. 59
. ææ 60
. 61
. ææ 62
. 63
E
8
Œ Œ Œ 4 3
T. D. / œ œ œ œ œ œ œ 4 4
mp mp p mp mp p mp
71 72 73 74 75
F ææ > . . > . . >j Œ Œ . > 76 . > æ77 . 78
T. D.
3
/4Ó œ œœœ œ œœœ œ œ ‰ ∑ œœœœœ œ œ œ œœœœœ œ œ œæ œ Œ Œ ∑
mf f mp f mp f mp
79
.> 80
.> ææ81 . ææ 82 . 83
. ææ 84 . Œ 85
. ææ 86 . Œ
T. D. / œœœœœ œ œ œ œœœœœ œ œ œ 42 œ œ œ Œ œ œ œ œ œ œ
mp f mp f mp p mp mp p mp mp p mp
. . . . rit.
87 ææ 88 89 90 ææ 91 92 93 2 95 2 12
T. D. / œ œ œ™ œ œ™ œ œ Œ œ œ œ™ œ œ™ œ œ Œ 8
mp p mp mp p mp
ææ ææ 3 3 3
B. D. ¢/ ˙ ˙ ∑ ∑ ∑
f
rit.
153 2 155 156 2 158 159 160 2 162 163
- 3
Chim. & Œ bœ ∑ ∑ 2
˙- ˙-
mf mp p
II. War.
3 ææ ææ 3 3 2
S. Cym. w w
(Med.) ¢/ ∑ ∑ 4 2
pp mf
283
°
284 285
U 286
>œ œ œ 2876 b >œ œ œ
Mar. & Ú Ú Ú ∑ Œ 4Ó Œ
mf mf
æ æ
B. D. ¢/ ∑ wæ wæ ∑
UÚ Ú 6
4 ∑
pp mf
rall.
288 289 2 291 3 294 295 296
° 3 4 √ √ 3
Mar. & ∑ 2 2 Ú Ú Ú 2
2 3 ææ √
ææ
3 4 W W √
Ú 3
B. D. ¢/ ∑ 2 2 2
p ff pp
6
418
CC
° 6 424 425 3 428 429
T. D. / ∑ Ó œœ œœœ œ œœ œ œ œ œ œ œ œ œ œ œ 68
mf
6 >. … 3
j 6
B. D. ¢/ œ ‰ Œ Ó ∑ ∑ 8
f
440
>>> 441 2 443 ææ 444
>>> ææ >>>
4 œœœ Œ Ó Ó ˙ 9 œ œ œ ‰ Œ ™ Œ ™ 4454 Ó ˙
446
9 œ œ œ ‰ Œ™ Œ™ 4
T. D. /4 8 4 8 4
f p f p f
DD
>j (The same tempo)
456 457 3 460
° 4
T. D. / 4 œ
‰ Œ Ó ∑
f
3 >. …
4 j Œ
B. D. ¢/ 4 ∑ œ ‰ Ó
f
8
>. rit.
461 7 468 j … 469 2 471 2 473
B. D. / œ ‰ Œ Ó U
∑
f
EE a tempo
4 >. … 9 >. … >. …
474 478
3 479
4 œj ‰ Œ Ó 480 489 j
œ‰ Œ Ó
490j
œ‰ Œ Ó
B. D. / 4 ∑ 4
f f f
œ
j‰ Œ
Ó 2 ˙ææ 4œ Œ Ó 3 3 7 4
B. D. ¢/ 4 4 ∑ 8 ∑ 4
f p ff
HH >. …
> >. > >.
513
6 ˙ææ™ 4 œ œ …Œ Ó
514 515 æ
6 ˙æ™ 4 œ œ …Œ Ó
516 517 2 519 j
œ ‰ Œ Ó
B. D. /8 4 8 4
p f p f f
Slower q = ca. 92 Faster q = ca. 112 Slower q = ca. 92 rit. Faster q = ca. 112
520 3 523
> >. … 524 525 526 527 4
B. D. / œ œ Œ Ó ∑ ∑ ∑
f
2 3
B. D. ¢/ 4œ Œ Œ ∑ œ Œ Œ ∑ œ Œ Œ ∑ ∑
ff mf
Mar.
? ∑ #˙ ™ ˙™ #˙ ™ ˙™ #˙ ™ ˙™ #˙ ™ ˙™ #˙ ™ ˙™ #˙ ™ ˙™ #˙ ™ ˙™ #˙ ™ ˙™
o ppp ghostly
9
Mar.
? #˙ ™ ˙™ #˙ ™ ˙™ #˙ ™ ˙™ #˙ ™ ˙™ #˙ ™ ˙™ #˙ ™ ˙™ ˙™
ææ
˙
ææ Œ
557 (not rolled) 558 - 559 - 560 561 562 563 564
JJ
- - œœ ˙˙ # œœ ˙˙
œ ˙˙ ##œœœ ˙˙˙ œœ ˙˙ # œœ ˙˙
? œœœ ˙˙
˙˙ #œœœ ˙˙ œ
###œœœ
˙˙
˙˙ #œœ ˙˙
nnœœ
˙˙
##œœ
Mar. œ ˙ #œœ ˙˙ ˙˙
œ
- - - - sim. mp
p
rit.
565 566 567 568 569 570 571 572 - 573 574
œœ ˙˙ -
œ ˙˙ œœ ˙˙ œ ˙˙ œœ ˙˙ œ ˙˙ ™™ ˙™
Mar.
? nœ ˙ #œœœ ˙˙ œ ˙ #œœœ ˙˙ œ #˙ #œœœ ˙˙˙
˙ ˙™ #˙˙˙ ™™ ˙™
˙™ #˙˙ ™
nœ ˙ œ ˙ œ ˙ ˙™ ™ ˙™ ™
- -
p mf p pp
soft mallets
595 596 597 598 a tempo 599 2 601 602
°? -œ œ 3
∑ ∑ Ó ˙
ææ Ó æ ææ ææbœææ ææ Œ
Mar.
˙æ œ œ n˙ ™
mp o p o
- B.D. Beater - 2
B. D. ¢/ œ œ Ó Ó œ œ ∑ ∑ ∑ ∑
mp mp
> >
603
3 wææ ™
604 605
2œ œ Ó 606 607
3 wææ ™ 608
2œ œ Ó 609 3
B. D. / ∑ 2 2 ∑ 2 2
p f p ff
10
rit. MM a tempo
652 653 654 655 656 657
w ™
Mar.
w ™™
? 23 n#w w™ 2 #w
2 æ w w w
ææ ææ æ ææ ææ ææ
p pp
rit.
658 659 660 661 662 a tempo 663
Mar.
? <#>w w œ æ˙˙ ##œœ œœ ˙˙ ##œœ #w w
ææ ææ ææ æ ææ ææ ææ ææ ææ ææ
mp pp
molto rit.
664 665 666 667 668 669 670 671
? <#>w w w w nœ Œ Ó ∑ ∑ 4 ∑
Mar.
ææ ææ ææ ææ 4 &
o
poco rit.
677 678 679 680 681 682 683
3 ∑ 4 bbœ-œœ Œ Ó 3 ∑ 4 bœ-œ Œ Ó 3 ∑ 4 bbœ-œœ Œ Ó 3 ∑ 3
Mar. &4 4 4 4 œ 4 4 4 2
pp
a tempo
727
? 728 729
Œ
730 4 6
Voice ˙™ œ œ ˙ ˙™ / 8
∑ œ ∑ ∑
know that we were gone.
rit.
soft but present, as though
the wind were rustling the bells
734 737 738 741 742 743
Sm. 6 3 5 6 3 ˙™ ˙™ √
˙™ 4
Bells /8 8 ∑ 8 2
o ppp o
III. Armistice.
G.P.
(long) SS Faster q = ca. 80
779 780 781 782 783 2 785 786 787
√
Chim. & ∑ w ∑ w w ∑ w
pp p
accel.
800 801 802 803 2 805 806 5 811 812
° ∑ 3 ∑ ∑ 4
Chim. & w w- 4 >˙™ 4
mf f ff
2 3 5 ææ ææ 4
S. Cym.
¢/ ∑ ∑ ∑ 4 ∑ ˙™ ˙™ 4
(Med.)
p
poco rit.
821 822 823 824 825
œ œ b >œ. 3
& b œ œ b œ œ nœ #œ nœ œ œ #œ Œ Ó
Mar. œ œ œ œ
œ œ ff
UU
828 a tempo 829 830 œ 831
>œ >œ œ b œ 3
bœ œ 3
Mar. & Œ œ> nœ bœ Œ Ó 4
bœ
mp f mp
14
879 880 881 882 883 884 885 886 887 888
3 4 ∑ 3 4 3 4 ∑ 3 4 ∑ 3 4 ∑ 3
Chim. & 4 ˙™ 4 4 ™ 4w 4 ˙™ 4 4 ˙™ 4 4 ˙™ 4 4
#˙
mf mp
rit.
898 899 900 901 902 903 904 905 906
4 ∑ 3 ∑ 4 ∑ 3 ∑ 4 ∑ 3 ∑ 4 ∑ 3 ∑ 4 ∑ ? 3
Mar. &4 4 4 4 4 4 4 4 4 4
Half as fast
XX Slower than before (still in Baroque style, though more distant) q = ca. 60
907 908 909 910 911 4 915 916 œ ™ 917- 918
Mar.
? 43 Œ œ™ j œ™ j œ™ œj -œ Œ Œ Œ œ ™ j œ- œ œ Œ Œ 44 ∑ 43
œ œ- œ œ- œ J
mp p pp mp p pp
15
a tempo rit.
970 4 974 8 982 983 984 2
? 3 ∑ 4 ∑ 3 4
Mar. 4 4 4 4
IV. Epilogue
DDD a tempo
°1044 1045 1046 1047 1048 1049 7 1056 1057 5
Sm.
Bells / w w w w ∑ ∑
pp starry, gentle
ææ 7 ææ 5
S. Cym.
¢/ ∑ ∑ ∑ ∑ ˙ œ Œ ˙ œ Œ
(Med.)
p mf p mf
rit.
1062 T. 1063 1064 1065 1066 1067
∑œ ™ ∑#˙ ∑œ ™ ∑#˙ ∑œ ™ ∑#˙
Chim. & œ œ œ œ œ œ œ œ œ &
Œ J œ Œ J œ Œ J œ
‹ We will re - mem - ber them, We will re - mem - ber them, we will re - mem - ber them.
4 ææ Uææ ææ Uææ
B. D. ¢/ ∑ ∑ ∑ U
∑ 2 Ú ∑ ˙ ˙ Ú ∑ ˙ ˙
o ppp o o pp o
molto rit.
1084 1085 1086 1087 1088 1089 1090
3 4 3 4 U √
Chim. & 2 w™ 2 Ú 2 w™ 2 Ú Ú Ú Ú
mp p