ĒRIKS EŠENVALDS choral anthology 2
for mixed choir cho ir (SATB) (SATB)
M USICA
BALTICA
in collaboration with
EP72446
5
Velt ī ts Rī gas Jauniešu korim Kamē r... / Dedicated to the Riga Youth Choir Kamē r...
AMAZING GRACE Traditional American tune arranged by Ēriks Ešenvalds (*1977)
John Newton (1725-1807)
54 Semplice, limpido e con espressione legatissimo
3 3
Soprano solo
A - maz legatissimo
ing
grace,
how
sweet
the
sound
That
saved
a
Soprano II
Mm,
legatissimo
Alto I
Mm, legatissimo Alto II
Mm, legatissimo Tenor I
Mm, legatissimo Tenor II
Mm,
ª
ª
7 S. solo
wretch
like
me,
I
once
was
legatissimo S. I
Mm
A - maz - ing!
Mm,
A - maz - ing!
Mm,
A - maz - ing!
Mm,
A - maz - ing!
Mm,
A - maz - ing!
Mm,
A - maz - ing!
Mm,
S. II
A. I
A. II
T. I
T. II
legatissimo
B. I
legatissimo
Mm,
B. II
Mm, © Copyright Musica Baltica, 2007
lost,
but
15
Commissioned by the Salt Lake Vocal Artists / Salt Lake Choral Artists, Brady Allred, Conductor
STARS Ēriks Ešenvalds
Sara Teasdale
Espressivo e rubato
76–84
S
A - lone,
a - lone
in the
night
on a
dark
hill,
A - lone,
a - lone
in the
night
on a
dark
hill,
In
the
In
the
A
T
B
Glasses
9
Mm
with pines a - round me
spic - y and
still, and
still,
Mm
Mm
with pines a - round me
spic - y and
still, and
still,
Mm
night
on a
dark
hill,
Mm
spic - y and
still, and
still,
Mm
night on a
dark
hill,
Mm
spic - y and
still, and
still,
Mm
Choose resonant glasses and use as little water to tune them as possible - the less water, the more resonant the sound. There must be some water, however, as the glasses are played with wet fingertips. Every second singer plays a glass. The pitches of every glass-sound chord should be divided equally between the players. For bars 42-76 you may also add a few larger glass or Tibetan-type bowls with pitches D, E and A to add more lower sounds than the sounds produced by the glasses.
© Copyright Musica Baltica 2011
16
16
Ah
Mm
Ah
and
heav - en, a
heav-en full of
stars
o - ver my
head,
Ah
Mm
Ah
and
heav - en, a
heav-en full of
stars
o - ver my
head,
Ah
Mm
Ah
Oh
white and
Ah
Mm
Ah
Oh
white and
24
Oh
mist - y
Myr -i - ads with beat -ing hearts of
fire
red;
ea - ons can - not
vex or tire;
fire
vex or tire;
ea - ons can - not
vex or tire;
Oh
the
Myr -i - ads with beat -ing hearts of
Oh
mist - y
red;
Oh
the
to - paz and
mist - y
red;
Oh
Mm
to - paz and
mist - y
red;
Oh
Mm
20 Commissioned by the University of Louisville Collegiate Chorale and Cardinal Singers. Conductor: Kent Hatteberg
ONLY IN SLEEP TIKAI MIEGĀ Sara Teasdale
Ēriks Ešenvalds
(1884–1933)
(*1977)
80–86
Espressivo, con anima Solo On - ly
in
sleep
I
see
their fac - es,
chil-dren I
played with
when
I was a
S Mm
A Mm
T Mm
8 Solo child,
Lou - ise comes back
with her brown hair
braid - ed,
An - nie with
ring - lets
S Mm
Ah
Mm unis.
A Mm
Ah
Mm
Mm
Ah
Mm
Mm
Ah
Mm
T
B
© Copyright Musica Baltica, 2012
3
38 15
I
S A
Choir
T B
star.
I
S A long -
Group
er road leads to your
heart,
which to
me
seems dis-tant
as
a star,
to me.
T B
20
Few S and A ...love
you
night and day
star
in the
dis-tant sky. Ah
star
in the
dis-tant sky. And I
star
in the
dis-tant sky.
S A
love,
Choir
I love you
night and day
as a
mourn for this one thing a -
T B ...love
you
night and day
I
25
Few S and A A long short.
road
to
A long...
S A
Choir
lone
that to
love,
our life-time
was so short,
so
short.
...road
to heav-en's
...road
to
T B
ĒRIKS EŠENVALDS For me, harmony is most important – how it flows and becomes a new harmony. The melodic line is secondary. Perhaps this is because my ear is trained primarily to perceive harmonies. Nevertheless I don’t want to write simple music . . . it is important for me to create sounds that I truly feel. I conclude that I am constantly changing, searching for new paths, but absolutely not, once having found them, mass producing them.
Ēriks Ešenvalds
Ē R I K S E Š E N V A L D S
c h o r a l a n t h o l o g y 2
Born in 1977 in Priekule, Latvia, Ēriks Ešenvalds studied composition with Selga Mence at the Latvian Academy of Music. He has continued his studies with Michael Finnissy, Trevor Wishart, Richard Ayres and Jonathan Harvey, amongst others. For 2011–2013, he holds the position of Fellow Commoner in Creative Arts at Trinity College, University of Cambridge.
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