!!!!!! THE FOOTSTEPS DIE OUT FOR EVER (2016) FOR NARRATOR, DRUM SET, AND ORCHESTRA!!!!!!! A THESIS IN Music Composition!

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1 THE FOOTSTEPS DIE OT FOR EVER (201) FOR NARRATOR, DRM SET, AND ORCHESTRA A THESIS IN Music Comosition Presented to the Faculty o the niversity o MissouriKansas City in artial ulillment o the requirements or the degree MASTER OF MSIC by ANDREW HARISON M, Caliornia State niversity, Fullerton, 2007 Kansas City, Missouri 201

2 201 ANDREW AMES HARISON ALL RIGHTS RESERVED

3 THE FOOTSTEPS DIE OT FOR EVER (201) FOR NARRATOR, DRM SET, AND ORCHESTRA Andre ames Harbison, Candidate or the Master o Music Degree niversity o MissouriKansas City, 201 ASTRACT A Tale o To Cities, serialized in eekly and monthly installments and inally ublished as a single volume in November 189, is one o Charles Dickens s bestloved and mostanalyzed novels In The Footstes Die Out For Ever, I have sought to ay homage to Dickens s ork, heightening and extending the drama o the story by riting music or drum set and orchestra to accomany the narrator, ho recites text dran rom the novel The Footstes Die Out For Ever begins ith a brie lourish on the tubular bells, introducing the iece s scalar material, and the narrator reciting the oening aragrah o A Tale o To Cities: It as the best o times, it as the orst o times This text sets the stage or the action and commentary to ollo in the narrative, as ell as reminding the listener o his or her on lace in time Dickens comares the eriod o the French Revolution to the resent eriod, a conceit hich makes the ork relevant not only to his time, but just as much to our o iii

4 The rest o the comosition s text is an edited version o the novel s inal chater, titled The Footstes Die Out For Ever The music uses recurring motives to reresent characters, themes, and ideas, and serves as background illustrating much o the action, including the tumbrils that carry the risoners o the Revolution, the guillotine s grim ork, an intimate conversation beteen Sydney Carton and a seamstress, Carton s recollection o Christ s declaration I am the resurrection and the lie, Carton s execution, and his rohetic last thoughts oreseeing the end o the Revolution and its evils In those inal ords, Carton s thoughts turn to the lives or hich he is laying don his lie, and end ith the amous concluding ords o the novel: It is a ar, ar better thing that I do, than I have ever done; it is a ar, ar better rest that I go to than I have ever kno iv

5 APPROVAL PAGE The aculty listed belo, aointed by the Dean o the Conservatory o Music and Dance, have examined a thesis titled The Footstes Die Out For Ever (201) or narrator, drum set, and orchestra, resented by Andre Harbison, candidate or the Master o Music degree, and certiy that in their oinion it is orthy o accetance Suervisory Committee ames Mobberley, DMA, Committee Chair Conservatory o Music and Dance Andre Granade, PhD Conservatory o Music and Dance Chen Yi, DMA Conservatory o Music and Dance v

6 CONTENTS ASTRACT iii INSTRMENTATION vii PROGRAM NOTES viii PERFORMANCE NOTES AND DRATION ix MOTIVES x TEXT xi THE FOOTSTEPS DIE OT FOR EVER 1 VITA 2 vi

7 Instrumentation 2 Flutes 2 Oboes (Oboe 2 doubles English horn) 2 Clarinets in b (Clarinet 2 doubles bass clarinet) 2 assoons (assoon 2 doubles contrabassoon) Horns in F 2 Trumets in b Tenor trombone ass trombone Tuba Timani (E2, A2, b2, E) 2 Percussionists: Percussion 1 Percussion 2 Tubular bells (CF) ass drum rake drum Temle blocks (shared ith Perc 1) Marimba (ive octaves) (otional) Large tam tam Crotales (C7C8) Temle blocks (shared ith Perc 2) Drum set Narrator Piano Strings vii

8 Program Notes A Tale o To Cities, serialized in eekly and monthly installments and inally ublished as a single volume in November 189, is one o Charles Dickens s bestloved and mostanalyzed novels In The Footstes Die Out For Ever, I have sought to ay homage to Dickens s ork, heightening and extending the drama o the story by riting music or drum set and orchestra to accomany the narrator, ho recites text dran rom the novel In A Tale o To Cities, Charles Darnay is the Marquis St Evrémonde (though he has renounced the title), an aristocrat and emigrant rom France living in England ith his ie Lucie, daughter, and atherinla Sydney Carton is Darnay s doelgänger; a ne erdoell ho has asted his lie, he is in love ith Lucie as ell Conessing his hoeless love to her, he states that he ould embrace any sacriice or you and or those dear to you In the latter hal o the novel, Darnay returns to Paris and is unjustly imrisoned and sentenced to death in the renzied ervor o the French Revolutio Folloing Darnay to Paris, Carton contrives to exchange laces ith him on the night receding his execution; Darnay escaes, and Carton dies in his lace The Footstes Die Out For Ever begins ith a brie lourish on the tubular bells, introducing the iece s scalar material, and the narrator reciting the oening aragrah o A Tale o To Cities: It as the best o times, it as the orst o times This text sets the stage or the action and commentary to ollo in the narrative, as ell as reminding the listener o his or her on lace in time Dickens comares the eriod o the French Revolution to the resent eriod, a conceit hich makes the ork relevant not only to his time, but just as much to our o The rest o the comosition s text is an edited version o the novel s inal chater, titled The Footstes Die Out For Ever The music uses recurring motives to reresent characters, themes, and ideas, and serves as background illustrating much o the action, including the tumbrils that carry the risoners o the Revolution, the guillotine s grim ork, an intimate conversation beteen Sydney Carton and a seamstress, Carton s recollection o Christ s declaration I am the resurrection and the lie, Carton s execution, and his rohetic last thoughts oreseeing the end o the Revolution and its evils In those inal ords, Carton s thoughts turn to the lives or hich he is laying don his lie, and end ith the amous concluding ords o the novel: It is a ar, ar better thing that I do, than I have ever done; it is a ar, ar better rest that I go to than I have ever kno viii

9 Perormance Notes The narrator may be male or emale The text should be soken naturally and directly, ith inlection and exression, never overdramatically Some dierentiation can be made in the dialogue beteen Carton and the seamstress, through a slight loering and slight raising in itch, but the narrator should not give discrete voices to the characters As noted in measures 1 and 17, the box around the narrator s text seciies the aroximate length o time it should take the narrator to seak the text (regardless o here the text ends ithin the box) Soken text should alays begin slightly ater the donbeat o the measure, and alays inish by the end o the last measure in hich the box aears, and closer to the box s end i ossible Soken text inishing earlier than the end o the box is alays accetable The marimba art may be omitted I a marimba is available but is smaller than ive octaves, the octaves in measures 12 and 29 may be layed an octave higher Duration ca 18 minutes ix

10 Motives Tumbrils { # strings strings, inds, brass b bassoons b n # # b # # # b b n # # b # # Guillotine Heaven esus stoed horns, cumuted trumets lute and clarinet b # Y # æ brake drum tubular bells sustained, slomoving harmonics in violins and violas Peace lute # i # Crods violins, violas, clarinets asynchronously b b b KnittingWomen { bass clarinet b b b b b b b b b bassoon contrabassoon b b b b b b b b b b b x

11 Text by Charles Dickens (189) Edited by A Harbison (201) [ook the First: I The Period] Text It as the best o times, it as the orst o times, it as the age o isdom, it as the age o oolishness, it as the eoch o belie, it as the eoch o incredulity, it as the season o Light, it as the season o Darkness, it as the sring o hoe, it as the inter o desair, e had everything beore us, e had nothing beore us, e ere all going direct to Heaven, e ere all going direct the other ay in short, the eriod as so ar like the resent eriod, that some o its noisiest authorities insisted on its being received, or good or or evil, in the suerlative degree o comarison only [ook the Third: XV The Footstes Die Out For Ever] Along the Paris streets, the deathcarts rumble, hollo and harsh Six tumbrils carry the day's ine to La Guillotine All the devouring and insatiate Monsters imagined since imagination could record itsel, are used in the one realisation, Guillotine And yet there is not in France, ith its rich variety o soil and climate, a blade, a lea, a root, a srig, a eercorn, hich ill gro to maturity under conditions more certain than those that have roduced this horror Crush humanity out o shae once more, under similar hammers, and it ill tist itsel into the same tortured orms So the same seed o raacious license and oression over again, and it ill surely yield the same ruit according to its kind Six tumbrils roll along the streets As the sombre heels o the carts go round, they seem to lough u a long crooked urro among the oulace in the streets Ridges o aces are thron to this side and to that, and the loughs go steadily onard So used are the regular inhabitants o the houses to the sectacle, that in many indos there are no eole, and in some the occuation o the hands is not so much as susended, hile the eyes survey the aces in the tumbrils Here and there, the inmate has visitors to see the sight; then he oints his inger, ith something o the comlacency o a curator or authorised exonent, to this cart and to this, and seems to tell ho sat here yesterday, and ho there the day beore There is a guard o sundry horsemen riding abreast o the tumbrils, and aces are oten turned u to some o them, and they are asked some questio It ould seem to be alays the same question, or, it is alays olloed by a ress o eole toards the third cart The horsemen abreast o that cart, requently oint out one man in it ith their sords The leading curiosity is, to kno hich is he; he stands at the back o the tumbril ith his head bent don, to converse ith a mere girl ho sits on the side o the cart, and holds his hand He has no curiosity or care or the scene about him, and alays seaks to the girl Here and there in the long street o St Honore, cries are raised against him I they move him at all, it is only to a quiet smile, as he shakes his hair a little more loosely about his ace He cannot easily touch his ace, his arms being bound The clocks are on the stroke o three, and the urro loughed among the oulace is turning round, to come on into the lace o execution, and end The ridges thron to this side and to that, no crumble in and close behind the last lough as it asses on, or all are olloing to the Guillotine In ront o it, seated in chairs, as in a garden o ublic diversion, are a number o omen, busily knitting The tumbrils begin to discharge their loads The ministers o Sainte Guillotine are robed and ready Crash A head is held u, and the knittingomen ho scarcely lited their eyes to look at it a moment ago hen it could think and seak, count One The second tumbril emties and moves on; the third comes u Crash And the knittingomen, never altering or ausing in their Work, count To The suosed Evrémonde descends, and the seamstress is lited out next ater him He has not relinquished her atient hand in getting out, but still holds it as he romised He gently laces her ith her back to the crashing engine that constantly hirrs u and alls, and she looks into his ace and thanks him "ut or you, dear stranger, I should not be so comosed; nor should I have been able to raise my thoughts to Him ho as ut to death, that e might have hoe and comort here today I think you ere sent to me by Heave" "Or you to me," says Sydney Carto "Kee your eyes uon me, dear child, and mind no other object" "I mind nothing hile I hold your hand I shall mind nothing hen I let it go, i they are raid" "They ill be raid Fear not" The to stand in the astthinning throng o victims, but they seak as i they ere alone Eye to eye, voice to voice, hand to hand, heart to heart, these to children o the niversal Mother, else so ide aart and diering, have come together on the dark highay, to reair home together, and to rest in her bosom "rave and generous riend, ill you let me ask you one last question I am very ignorant, and it troubles me just a little" "Tell me hat it is" "I have a cousin, an only relative and an orhan, like mysel, hom I love very dearly What I have been thinking as e came along, and hat I am still thinking no, as I look into your kind strong ace hich gives me so much suort, is this: I the Reublic really does good to the oor, and they come to be less hungry, and in all ays to suer less, she may live a long time: she may even live to be old" "What then, my gentle sister" "Do you think:" the uncomlaining eyes in hich there is so much endurance, ill ith tears, and the lis art a little more and tremble: "that it ill seem long to me, hile I ait or her in the better land here I trust both you and I ill be merciully sheltered" "It cannot be, my child; there is no Time there, and no trouble there" "You comort me so much Am I to kiss you no Is the moment come" "Yes" She kisses his lis; he kisses hers; they solemnly bless each other The sare hand does not tremble as he releases it; nothing orse than a seet, bright constancy is in the atient ace She goes next beore him is gone; the knittingomen count TentyTo xi

12 "I am the Resurrection and the Lie, saith the Lord: he that believeth in me, though he ere dead, yet shall he live: and hosoever liveth and believeth in me shall never die" The murmuring o many voices, the uturning o many aces, the ressing on o many ootstes in the outskirts o the crod, so that it sells orard in a mass, like one great heave o ater, all lashes aay TentyThree ***** They said o him, about the city that night, that it as the eaceullest man's ace ever beheld there Many added that he looked sublime and rohetic One o the most remarkable suerers by the same axe a oman had asked at the oot o the same scaold, not long beore, to be alloed to rite don the thoughts that ere insiring her I he had given any utterance to his, and they ere rohetic, they ould have been these: "I see long ranks o the ne oressors ho have risen on the destruction o the old, erishing by this retributive instrument, beore it shall cease out o its resent use I see a beautiul city and a brilliant eole rising rom this abyss, and, in their struggles to be truly ree, in their triumhs and deeats, through long years to come, I see the evil o this time and o the revious time o hich this is the natural birth, gradually making exiation or itsel and earing out "I see the lives or hich I lay don my lie, eaceul, roserous and hay, in that England hich I shall see no more "I see that I hold a sanctuary in their hearts, and in the hearts o their descendants, generations hence "It is a ar, ar better thing that I do, than I have ever done; it is a ar, ar better rest that I go to than I have ever kno" xii

13 The Footstes Die Out For Ever is dedicated to my amily: To my ather, ho as never less o a ather to me than Manette as to Lucie, and oten as more; To my mother, the Mrs Manette hom Lucie never kne, but hom I have the rivilege to kno; To my brother, a ello DarnayCarton along the ath; To my ie, my on Lucie and so much more; And to my daughter, my on little Sydney: may she in her ay u in the ath o lie ell

14

15 Transosed Score The Footstes Die Out For Ever ased on the inal chater o A Tale o To Cities by Charles Dickens Charles Dickens (189) A Harbison (201) Flutes " q = 90 Oboes 1 2 Clarinet in b 1 Clarinet in b 2 # ass Clarinet # assoons 1 2 Horns in F 1 2 Horns in F Trumets in b 1 2 # Trombones Tuba Timani Percussion 1 Percussion 2 æ Tubular ells medium leather mallets i j i # i b to rake Drum ass Drum rake Drum hard yarn mallets Drum Set drumsticks Narrator () æ æ It as the best o times, it as the orst o times, it as the age o isdom, it as the age o oolishness, it as the eoch o belie, it as the eoch o incredulity, it as the season o Light, it as the season o Darkness, it as the sring o hoe, it as the inter o desair, e had everything beore us, e had nothing beore us, e ere all going direct to Heaven, e ere all going direct the other ay in short, the eriod as so ar like the resent eriod, that some o its noisiest authorities insisted on its being received, or good or or evil, in the suerlative degree o comarison only { Piano Violin I Violin II Viola 1012" q = 90 Violoncello div Double ass div 1

16 Fl 1 2 # 7 # m rit A q = 70, esante, detached Ob 1 2 # # # # m Cl s 1 2 H 1 2 H Tt 1 2 Tbns Tba Tim r D D # # # æ n # # # ## æ to Tub b b b b b b # b æ æ b æ b æ b æ Tubular ells to Marimba Marimba medium yarn mallets to r D Temle locks { P () æ æ æ æ æ æ æ æ j i m # # div # 7 m div # b b # # # # # # m m rit A q = 70, esante, detached b b b b D b b b b 2 b b # m b b m

17 s b # b n b # b n b # b n b # H 1 2 Tt 1 2 Tba cu mutes Mar rake Drum æ æ Tl l sot yarn mallets i j i j i j i j i j i j i j i j i j i j i j i j i j i j i j i j i j i j i div # unis div # div # unis div b # # Along the Paris streets, the deathcarts rumble, * hollo and harsh # b # # Six tumbrils carry the day's ine to La Guillotine # b # # # # # D = s 1 2 H b n b # # b n b # Tt 1 2 T Tb Tb Tba cu mute b cu mute # # r D Tl l æ æ j i j i j i j i j i i j i j i j i j i j i All the devouring and insatiate Monsters imagined since imagination could record itsel, are used in the one realisation, Guillotine # # b # D # b # * The end o the box, rather than the end o the last line o text, shos the aroximate timing o the soken text # # # b # # # b 7 #

18 Ob 1 2 s b # # b # # b n b # b n b # b b # b # # # H 1 2 I o H # n # b IV Tba Tl l j i j i ij æ to D ass Drum, almost inaudible i j i j i j i j æ i i i i # b b # # 7 m # b # b b soter, more introsectively; ith motion, not too sloly And yet there is not in France, ith its rich variety o soil and climate, a blade, a lea, a root, a srig, a eercorn, hich ill gro to maturity under conditions more certain than those that have roduced this horror 7 m b # # # # b D = Ob b b # b # # # # H 1 2 I I II b o m # H r D # # : m : D i i i i j i j i j æy æy Crush humanity out o shae once more, under similar hammers, and it ill tist itsel into the same tortured orms more quickly and intensely So the same seed o raacious license and oression over again, and it ill surely yield the same ruit according to its kind cresc oco a oco b # b # cresc oco a oco b cresc oco a oco cresc oco a oco # b # n

19 H 1 2 = Tim r D D D Fl 1 2 Ob Cl s 1 2 H 1 2 Tbns Tba D D 7 # æ æ æ j C m m m m C m m D m m m close m hihat Six tumbrils roll along the streets As the sombre heels o the carts go round, they seem to lough u a long crooked urro among the oulace in the streets D # # to T l # # # b n # b # # # 7 # b b # b # b # # # # b div j # j j # j # j j # j div izz j # j 7 m m, murmuring # # # # i j # # # b n # b n I # æ # i j æ æ i æ ij i æ ij ij # b (cu mutes) Temle locks æ b b æ asynchronously reeat attern until the end o the solid line, vary rhythms, bo changes ad lib # b # # # b # # m # # m div # # # m b i j i j i j i æ ij b b # i n b b # b b b # b # # b n b # # i j i j i j i j i j æ i j b æ æ i j i #

20 Ob 1 2 Cl s 1 2 H = Tbns Tba T l D Ob 1 2 Cl s 1 2 H 1 H T Tb Tb Tba T l D 1 unis 7 m # # j # # b b b b b b m # # # Ridges o aces are thron to this side and to that, and the los go steadily onard asynchronously,, murmuring asynchronously reeat attern until the end o the solid line, vary rhythms, bo changes ad lib E E m, murmuring asynchronously, æ æ æ æ i ij ij So used are the regular inhabitants o the houses to the sectacle, that in many indos there are no eole, and in some the occuation o the hands is not so much as susended, hile the eyes survey the aces in the tumbrils b b b b n Clarinet 2 asynchronously reeat attern until the end o the solid line, vary rhythms, breathe as needed Here and there, the inmate has visitors to see the sight; then he oints his inger, ith something o the comlacency o a curator or authorised exonent, to this cart and to this, and seems to tell ho sat here yesterday, and ho there the day beore b n n n b b b b i j i j i j æ i i j æ i j i j asynchronously,, murmuring asynchronously reeat attern until the end o the solid line, vary rhythms, bo changes ad lib # b b b, murmuring # # i j i j b b, murmuring b b b div unis b b b b m to Cl 2 Ÿ # Ÿ n Ÿ n Ÿ j n # # # j # j # #, murmuring b b b b b # # m m b m # m # b i j ij j i i j ij ij j i i j j i æ æ æ i i æ æ æ æ i æ ij ij j i b b b n b b b b

21 Ob 1 2 Cl 2 # # # b b s 1 2 H Tb Tba T l # # # # b # b b j i æ i j i j i j i j i j # b æ æ ij # # # b i j i j ij i j There is a guard o sundry horsemen riding abreast o the tumbrils, and aces are oten turned u to some o them, and they are asked some questio It ould seem to be alays the same question, or, it is alays olloed by a ress o eole toards the third cart D m m b b b b # # b = Ob # # # b b Cl 2 s 1 2 H Tb # # # # # b # # # Tba T l b b j i æ i j æ æ i j R j i r i j ij R i j i j i j i j b # b i j i j The horsemen abreast o that cart, requently oint out one man in it ith their sords The leading curiosity is, to kno hich is he; he stands at the back o the tumbril ith his head bent don, to converse ith a mere girl ho sits on the side o the cart, and holds his hand b # D b b b # b 7

22 Fl 1 2 Ob 1 2 Cl 2 s 1 2 H 1 2 H = Tb Tba T l D Cl 2 s 1 2 H 1 2 Tt 1 2 T Tb Tb Tba r D T l D 72 # # # # # # # 78 Ÿ n Ÿ # Ÿ n Ÿ n # # # b b b # b b b # b : m æ æ æ F # asynchronously, m m, murmuring, murmuring m m m still esante and detached m F, murmuring : : (cu mutes) remove mutes m m still esante and detached + m I + + b + b # He has no curiosity or care or the scene about him, and alays seaks to the girl Here and there in the long street o St Honore, cries are raised against him asynchronously reeat attern until the end o the solid line, vary rhythms, breathe as needed I they move him at all, it is only to a quiet smile, as he shakes his hair a little more loosely about his ace He cannot easily touch his ace, his arms being bound asynchronously, # # # # # (cu mute) (cu mute) # # # # # # ij j i i æ ij still esante and detached # # æ æ ij # b b # # # # b b b j ij i æ b b i j i j i j i j i j b b # # # b b b i j i j O b The clocks are on the stroke o three, and the urro loughed among the oulace is turning round, to come on into the lace o execution, (short ause) and end # Ÿ # Ÿ n Ÿ n Ÿ n # # b i j i j i j i j i j O i j b b b i j i j i j i j i j i j j b b b b i i j ij æ i j i j # # i j i j b b b 8 b b b b b i j i j i j i j b b # # i j i j i j i j j i b æ æ b b # i j æ i j i j # b #

23 Ob 1 8 G Ÿ # ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ n ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ n ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j b b b m b n Ob 2 Ÿ n ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ b ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ n ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # # # b # m m Cl 2 < h to Cl ass Clarinet b b b b s 1 2 I # # # # # # b b H 1 2 # # + H # # n : : T Tb b # # Tb # Tba b b b b # b r D æ æ æ T l i j ij ij i j i j i j i j i j i j i j ij i j i j i j ij i j i j i j æ æ i j i j i j j i æ i j i j æ æ i j i j R The ridges thron to this side and to that, no crumble in and close behind the last lough as it asses on, or all are olloing to the Guillotine In ront o it, seated in chairs, as in a garden o ublic diversion, are a number o omen, busily knitting G b b # b b # # b b # b D b b # b b # b b # 9

24 Fl H Ÿ n ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b # # # m, no cresc sub * The conductor should cue the donbeat o measure 9, then cue the narrator or "A head is held u," and then cue the orchestra or beat three o the measure Ob 1 2 Ÿ n ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b # b b m m, no cresc sub Ÿ n ~~~~~~~~~~~~~~~~~ Ÿ n ~~~~~~~~~~~~~~~~~~~~~~~ # # # # m m, no cresc sub Cl b b b # # # # # s 1 s 2 H 1 2 H Tt 1 2 Tbns Tba Tim r D T l # b b b b m Contrabassoon # # o # # sub # o oen # remove mutes oen to D b b j b æ j æ æ b j j ass Drum i j j halvalve gliss æ æ æ æ æ æ æ æ j m, no cresc sub The tumbrils begin to discharge their loads The ministers o Sainte Guillotine are robed and ready on beat 12; not too loudly or dramatically Crash A head is held u, and the knittingomen ho scarcely lited their eyes to look at it a moment ago hen it could think and seak, { P n j # # # # # # # # b j # # H < h # sul G b sul A Ÿ n ~~~ Ÿ n ~~~~~~~~~ Ÿ b ~~~~~~~~~~~ Ÿ n ~~~~~~~~~~~~ Ÿ b ~~~~~~~~~~~~ # # m b # izz «n j Ÿ n ~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ n ~~~~~~~~~~~~~~~~~~ Ÿ b ~~~~~~~~~~~~ izz «# # m b j < h Ÿ b ~~ Ÿ b ~~~~~~~~~~~~~~~~~~ Ÿ # ~~~~~~~~~~~~~~~~~~ izz «arco j m arco sul G izz «b j D izz «arco b b # b b j # sul A 10

25 Fl I b Ÿ n ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # # # # m, no cresc sub Ob 1 2 Cl Ÿ n ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # b # m, no cresc sub Ÿ n ~~~~~~~~~~ # # # # # # # # # # # # m, no cresc sub sub # # # # s 1 # # # # # # sub # # Cbs H 1 2 H Tt 1 2 Tbns Tba Tim r D D # # m o # cu mutes remove mutes # # # # # j j æ æ j m sub j j # # # oen # j j Tamtam æ æ æ æ æ, no cresc æ æ æ j sub count One The second tumbril emties and moves on; the third comes u on beat 12; not too loudly or dramatically Crash And the knittingomen, never altering or ausing in their Work, (short ause) count To { P D I # # # # arco «# j arco «# j # izz izz «arco izz # # ««j m arco b izz «m arco # m m 11 «j «j izz «j izz «j arco to soli (stagger bo changes)

26 Fl q = 0 bb bb n b j Ob 1 b b n j Ob 2 b b to Eng H b j i English Horn b j i b b m, dolce Cl b b # # b to Cl 2 b b b Clarinet 2 b b b b j b b b b b j b b j b b b s 1 b b # # Cbs b # H 1 2 b b b b b bb b b Tt 1 2 cu mutes I I II b j bb Tamtam æ lv æ lv to T l æ sot mallets æ Y brushes continuous circular see on snare drum ta ith a slightly soter and gentler tone The suosed Evrémonde descends, and the seamstress is lited out next ater him { P b b q = 0 bb b arco div in b b b b b b b b b b b m unis izz b b b b b b b m b b b b b D b 12 arco tutti stagger bo changes

27 Fl 1 2 Ob 1 Eng H Cl 2 s 1 H 1 2 D 11 b b b j b b b b i b b b j i b m m b b b b b j b b He has not relinquished her atient hand in getting out, but still holds it as he romised j b b + + K b b b j b b # ## # He gently laces her ith her back to the crashing engine that constantly hirrs u and alls, and she looks into his ace and thanks him K + + b "ut or you, dear stranger, I should not be so comosed; b b b b b b b b b b b b b b b b b b b b b b b j b b j b b b b b arco nno arco arco b O n n O j O nno O = Fl b accel to m 1 b i b b b b Ob 1 Eng H Cl 2 b n b b b b m b j b b j b b j j to Ob 2 s 1 H 1 2 Tt 1 2 Tamtam D b b b b b b b I+ + + b b b b "nor should I have been able to raise my thoughts to Him ho as ut to death, that e might have hoe and comort here today Ȯ Ȯ j "I think you ere sent to me by Heave" Temle locks to D accel to m 1 stagger bo changes cu mutes "Or you to me," says Sydney Carto "Kee your eyes uon me, dear child, and mind no other object" Ȯ Ȯ Ȯ Ȯ # # ## j # æ j æ j do not seed u along ith orchestra "I mind nothing hile I hold your hand b æ b 1 b b b

28 Fl L q = 70 b bbbb n b Ob 1 2 b b b b b bb bb 7 2 b s 1 Cbs H 1 2 ọ + + I II + o b b b b b b m H Tt 1 2 remove mutes b b b n b b b b m oen b b b b b b b n b b n n 7 m b b b b b i b b n b b T Tb b b b b b b b b b b b b b b Tb b b b Tba b b j b j b j r D æ æ æ æ æj æ m to Tub T l ass Drum to Tamtam drumsticks, choke cymbal j i æ æ { P "I shall mind nothing hen I let it go, i they are raid" "They ill be raid Fear not" b æ b æ b L q = 70 b b div b b æ b æ b æ b div b b æ b æ b æ div b b b b «b j arco b j D izz «arco b j 1 b j

29 Fl 1 2 Ob H 1 18 b m b m nb m b i j # = Fl 1 2 = Ob 1 Ob 2 Cl 2 Eng H Cl 2 H M M m m m 17 i j b m, dolce The to stand in the astthinning throng o victims, but they seak as i they ere alone m 7 m Eye to eye, voice to voice, hand to hand, heart to heart, these to children o the niversal Mother, else so ide aart and diering, have come together on the dark highay, to reair home together, and to rest in her bosom to Eng H English Horn i j # one brush and one stick see "rave and generous riend, ill you let me ask you one last question I am very ignorant, and it troubles me just a little" N m N m + + m unis stagger bo changes stagger bo changes "Tell me hat it is" "I have a cousin, an only relative and an orhan, like mysel, hom I love very dearly unis "What I have been thinking as e came along, and hat I am still thinking no, as I look into your kind strong ace hich gives me so much suort, is this: b bb izz b # ij i # " I the Reublic really does good to the oor, and they come to be less hungry, and in all ays to suer less, she may live a long time: she may even live to be old" unis stagger bo changes j j b j j j b b b b b 1 b

30 Fl O Ob 1 Eng H b b m Cl 2 j j j j j H r D "What then, my gentle sister" "Do you think:" the uncomlaining eyes in hich there is so much endurance, ill ith tears, and the lis art a little more and tremble: "that it ill seem long to me, hile I ait or her in the better land here I trust both you and I ill be merciully sheltered" b b O cresc oco a oco cresc oco a oco cresc oco a oco b cresc oco a oco = Fl 1 2 Eng H 17 i b m i b n i b b b b bn 7 m Cl 2 r D Tubular ells to r D j j j m drumsticks æ m "It cannot be, my child; there is no Time there, and no trouble there" "You comort me so much "Am I to kiss you no "Is the moment come" b b b b b 1 b

31 Fl P b b j b bb m Ob 1 b b Eng H bb b b m i b b Cl 2 to Cl ass Clarinet b b b n b n s 1 b b Cbs b b Tt 1 2 b b m æ æ æ m m quietly "Yes" She kisses his lis; he kisses hers; they solemnly bless each other The sare hand does not tremble as he releases it; nothing orse than a seet, bright constancy is in the atient ace { P b b sub, no cresc P bb bb b div bȯ Ȯ Ȯ ~ b sub, no cresc m div b b div unis b b b div m arco b b izz m b b b b b b b b D izz m 17 b b b b b b b b

32 Cl 19 b m m Q n b s 1 b n b b m Cbs b n b m H 1 2 ọ o b R H bb R Tbns r Tba Tub rake Drum r æ m to Crot Crotales sot rubber mallets asynchronously; reeat this attern in a airly steady temo as ritten until the end o the solid line, but do not line u ith meter or other instruments b D Tamtam æ æ semre æ æ æ æ æ our sot mallets (roll one cymbal ith each hand) Y æ Y æ Y æ Y æ Y æ Y æ m semre She goes next beore him is gone; (short ause) the knittingomen count TentyTo sloly, quietly, reverently, not overdramatic "I am the Resurrection and the Lie, saith the Lord: { P r bb m b b b < b b n à la "La Cathédrale engloutie," loating and muted Q ##Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ div unis b # Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ b «arco R b Ȯ Ȯ Ȯ Ȯ D b arco «stagger bo chgs R b 18

33 Crot Tamtam P D 208 to T l { "he that believeth in me, though he ere dead, yet shall he live: "and hosoever liveth and believeth in me shall never die" nbȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ # Ȯ b n Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ æ Y æ æ Y æ æ Y æ æ Y æ æ Y æ æ Y æ Ȯ Ȯ Ȯ nnȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ æ Y æ æ Y æ æ Y æ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ Ȯ bȯ Ȯ Ȯ Ȯ æ Y æ = Cl s 1 Cbs Tb Tba Crot Tamtam b b # # b R 218 lv to D # # # Temle locks i m, intensely but not too loudly m æj æ i j i ass Drum æ æ i, almost inaudible # # æ # i # i i # j # j b æ æ to r D m b b b b æ æ m Y æ drumsticks æ, almost inaudible æ æ The murmuring o many voices, the uturning o many aces, æ æ æ { P D b b b b b b b b * R b unis asynchronously, as beore unis asynchronously, as beore b b b, murmuring m m unis asynchronously, as beore n b b b, murmuring m m, murmuring m m m stagger bo changes b b stagger bo changes # 19

34 Fl slight accel # # b # # b a temo " Ob 1 2 Cl # # # b m m m b # # # 7 # # # # # # # # b n # # # 7 7 # # # s 1 Cbs H 1 2 b b b b # # b m b b b n # b # # b m # H m # Tt 1 2 # # # # 7 m T Tb b # m Tb Tba r D D m m m m rake Drum æ æ æ æ æ m m m j æ m m i j i j gaining seed, volume and intensity until m 229 the ressing on o many ootstes in the outskirts o the crod, so that it sells orard in a mass, like one great heave o ater, æ ij ij quietly, not too dramatically all lashes aay to Tub æ m j æ æ æ i j æ Tenty Three { P D b b slight accel gliss to highest ossible itch during last beat b < b b b kee general contour o line, but begin to move it higher ith each reetition (exact itches are not imortant) kee general contour o line, but begin to move it higher ith each reetition (exact itches are not imortant) h" kee general contour o line, but begin to move it higher ith each reetition (exact itches are not imortant) h" accent individual staggered bo changes b b G G G G G etc accent individual staggered G bo changes G G G G etc 20 h" gliss to highest ossible itch during last beat gliss to highest ossible itch during last beat a temo 1 R 1 R 1 R "

35 Eng H 2 S q = 0 i 2 2 T # Cl to Cl 2 H 1 2 i j I I II # H Tub Tubular ells b i j S q = 0 div 2 b b b 2 III T sot mallet div in div # D = Ob Eng H i one brush and one stick see m m They said o him, about the city that night, that it as the eaceullest man's ace ever beheld there Many added that he looked sublime and rohetic One o the most remarkable suerers by the same axe a oman had asked at the oot o the same scaold, not long beore, to be alloed to rite don the thoughts that ere insiring her { P b semre 2 b 2 b b b b 2 b 2 b div in 2 # # # # unis b D 21

36 H 1 2 H = Tbns Tim Tub D P D Fl H 1 2 H Tt 1 2 Tbns 28 Tba Tub D P D b æ b æ b æ { 2 o + # # # ō # + o # ō # # # # # # # # # # I # to Crot "I see a beautiul city and a brilliant eole rising rom this abyss, and, in their struggles to be truly ree, in their triumhs and deeats, through long years to come, I see the evil o this time and o the revious time o hich this is the natural birth, { < # # i # # # # * m m m m m m m m m i i 2 I he had given any utterance to his, and they ere rohetic, they ould have been these: 2 m m m m drumsticks "I see long ranks o the ne oressors ho have risen on the destruction o the old, erishing by this retributive instrument, beore it shall cease out o its resent use b b b b < unis stagger bo changes stagger bo changes div to Tamtam m m begin slightly ater beat 2 "gradually making exiation or itsel and earing out # # i # n # m # # n n i æ b b æ n m n b b # # # # i j I # nn # # # ij 22 i j i j i i j O i j æ quick cymbal scrae

37 Fl 1 2 V 27 # Eng H # i # to Ob 2 2 D # # # ## # Cl 2 to Cl Tamtam æ our sot mallets (roll one cymbal ith each hand) æ "I see the lives or hich I lay don my lie, eaceul, roserous and hay, in that England hich I shall see no more V "I see that I hold a sanctuary in their hearts, and in the hearts o their descendants, generations hence # div # # div unis div # # i # div div D div = Tub 282 W Crotales asynchronously; lay given notes in given octave randomly, not too ast, until the end o the solid line # b Tamtam æ æ æ æ æ æ æ YY æ W "It is a ar, ar better thing that I do, than I have ever done; YY æ stagger bo changes as needed "it is a ar, ar better rest that I go to than I have ever kno" raise head, lit eyes b~ b Ȯ O bb~ Ȯ O bb~ Ȯ O stagger bo changes as needed YY æ YY æ ~ ~ Ȯ Oj O r ~ ~ O Ȯ YY æ YY æ YY æ stagger bo changes as needed # ~ ~ O j # Ȯ ~ O # Ȯ ~ stagger bo changes as needed ~ ~ O Oj Ȯ ~ O Oj Ȯ ~ stagger bo changes as needed ~ ~ ~ stagger bo changes as needed O Ȯ Ȯ O O ~ R ~ ~ Ȯ O O ~ O Ȯ ~ 2

38 Fl 1 2 Ob 1 2 Cl s 1 Cbs H 1 2 H Tt 1 2 T Tb Tb Tba Tim Crot Tamtam b # b { P D 289 #~ # ~ ~ ~ Ȯ X X lv to D lutter tongue # 9 8 Ÿ b ~~~~~~ b # # Ÿ b ~~~~~~ b # # ass Clarinet # ass Drum dam b # b b # bb # bb # b # b b # # b# # b æ 9 8 sul G sul G sul G sul C sul C sul C b # # b # b # b b izz «b # # b # b # b b sul E # b# # b b # # izz «# b# # b b # # # # # # # b # b # b b # b # b b b # b # b # to Mar æ drumsticks Marimba # # b # æ Y æ æ b b æ æ b b æ æ 7 bo head, close eyes ~ ~ ~ ~ Ȯ b æ æ # # # # æ # # # b b æ # b # æ # nn æ ~ ~ ~ ~ Ȯ ~ ~ ~ ~ Ȯ # ~ ~ ~ ~ Ȯ ~ ~ ~ ~ Ȯ 2 æ sul G # # choke cymbal, # # Kansas City, 201

39 VITA Andre ames Harbison as born on December 2, 198, in Abington, Pennsylvania He as homeschooled throughout his elementary and secondary education and graduated rom high school in 2001 He received a toyear scholarshi to study iano at Caliornia State niversity, Fullerton, in Fullerton, Caliornia, and studied iano and comositio He as selected or the Men s Chorus Aard in 200 or his musical excellence and leadershi in that ensemble under the direction o Robert Istad, and as also one o the irst three reciients o the Alan A Mannason Scholarshi in Comosition at the university The aculty o the music deartment chose him to be the student seaker reresenting the deartment at the university s College o the Arts commencement ceremony in May 2007, here he graduated ith summa cum laude honors His degree as a achelor o Music in Comositio Andre has comosed in various styles and genres, including concert music, o songs, and music or theatre and ilm He received his irst aid commission in 2009, or the Hutchins Consort, a Neort each, Caliorniabased string ensemble In December o that year, he became a ublished comoser hen Kallisti Music Press in Philadelhia ublished his art song Ne Hoe He released a CD o original acoustic rock music in December 2010 entitled Songs From My Shel, hich he rote, recorded and roduced himsel Kansas City ianist Lamar Sims remiered his Five Scenes or solo iano in May 201 along ith choreograhy created or the iece by 2

40 Stehanie Whittler, and the iece ill be erormed by ames Gibson on World Oceans tour throughout Euroe during the summer o 2017 A Magic Like Thee, or SAT chorus, as chosen by The Singers, a Minneaolisbased choral ensemble, out o nearly 00 submissions to be one o our ieces to receive its remiere in May 201 as ell In 201 LieHouse Theater (Redlands, CA) remiered Paul: The Road To Damascus, a ulllength musical theatre roduction ith music and orchestration by Harbiso He also received an Insiration Grant rom ArtsKC Regional Arts Council in 201 to ulill a commission rom Fuseox Ne Music to comose a ork or the students o Harmony Project KC, here in 201 he ill begin a toyear ComoserinResidence rogram Andre is a lietime member o the Pi Kaa Lambda Proessional Music Honor Society, the Golden Key International Honour Society, and the National Society o Collegiate Scholars He is also a member o the American Society o Comosers, Authors and Publishers (ASCAP) and the American Comosers Forum All o his music is selublished by A Harbison Music 2