From Behind the Caravan / Abbie Betinis SSAA chorus & soloists, viola or cello, hand drums $5.00 AB B E T I N I S

Transcription

1 From Behind the Caravan / bbie Betinis chorus & soloists, viola or cello, hand drums $5.00 B04902 B B I E B E T I N I FROM BEHIND THE CRVN: ONG OF HÂFEZ chorus, s. a. soloists, viola or cello, Persian hand drums, optional Oud I. we have come II. suffer no grief III. closer to the fire IV. boatpeople V. we have come (reprise) The Music of bbie Betinis web: phone: abbie@abbiebetinis.com

2 From Behind the Caravan: ongs of Hfez Commissioned by The Rose Ensemble (aint Paul, Minnesota); Jordan ramek, artistic director Premiered March 2007 on Candlelight Concert: Mystics, Prophets, ages & eers Program Note: Johann Wolfgang Goethe once wrote, Only with you, Hfez, do I wish to compete, for the older you get the younger you become... nd religion is no obstacle, for if the word Islam means to submit to God, we all live and die in Islam. Khwajeh hams aldin Muhammad Hfeze hirazi (ca ) was born in hiraz, Persia (Iran). He wrote nearly 400 lyric poems, called ghazals, and is the undisputed master of that particular poetic form. His mystical writing is based on ufism, a tradition of Islam that is associated both with the unni and hi a denominations, as well as many other currents of Islam. I was particularly drawn to these four ghazals because of the elegant way they depict longing longing for Truth, longing for Reason, longing for Kindness, Love, and always longing for the Beloved. lso, as I was reading, I found that many of Hfez s poems seem to have in common beautiful metaphors of transience: fire, breath, breeze. bove all, I have tried desperately to remain true to the intonation of the language, and to Hfez s poetic instinct. Each poem unfortunately had to be shortened to create a concert piece, but I encourage anyone to seek out the original poems in their entirety. pecial thanks to my friend Behrooz lavi for his insights into Hfez s poetry, its pronounciation, and its rich performance practice. The music is my own, and not authentically Persian. It is my interpretation of an assortment of influences, including my study of Persian speech, scales and modes, but perhaps also from my distant memory of being four years old and dancing joyfully and tirelessly with my Greek relatives to music that whirled feverishly around me. From Behind the Caravan: ongs of Hfez is dedicated, with great admiration, to The Rose Ensemble. bbie Betinis Performance Notes & Ideas: Language: mazingly, the Persian (Farsi) language has remained nearly unchanged since the 9th century, and Hfez s poetic tradition remains strong, particularly in Iran. If possible, query your local Irani community for a native speaker to coach your singers on these beautiful texts. Instrumentation: The instrumentation of this piece can be easily modified. The conductor may choose viola or cello as the primary accompanying instrument, with the option of doubling oud on mvts. I, III & V, or improvised Persian ney flute. Transposed parts for soprano sax (mvts I, III, V only) are available from the composer upon request. Hand percussion on mvts I, II & V should improvise where indicated. Percussion instruments recommended: Mvt. I = Riq or tambourine Mvt. II = Tombak. (Daf, or other frame drum, is also possible.) Mvt. III = Tombak, handclaps, or other highpitched, sharp percussive sounds. Mvt. IV = none Mvt. V = Riq or tambourine Programming: Each of the poems has a traditional way of being sung, so it is possible to introduce each movement with a bit of the beautiful sung text in the traditional manner. Instrumental interludes performed in the Persian style between some or all movements have also proven to be a rich addition to the concert piece. Resources: Resources for learning the spoken text and recordings of the full concert piece are available at

3 TRNLITERTION GUIDE Printed letter IP s Pronounced in merican English Persian Example and Translation a = falala qam (grief) = thought m, Hfez (we, Hfez) e = chaotic ke (such that / for) = unstressed, neutral vowel, sung as shadow vowel dush (last night) i = deed didam (I saw) o = obey shokre (thanks) u = too Yusofe (Joseph) ey = sail (diphthong) pey (pursuit) g = give golestn (rose garden) j = mirage jange (war) kh, q = as in the cottish Loch Ness barkhiz (arise) r = flipped r rhi (road) = glottal onset as in uhoh! made im (we have come) TEXT ND TRNLTION * (movement titles are followed by metrical marks denoting the traditional Persian scansion of the poem) I. we have come (from #366) // // // M, bedin dar, na peye heshmato jh... made im; azbade hdese, inj, bepanh, made im. Rahroe manzele eshqimo ze sarhadde adam, t, beeqlime vojud, inhame rh... made im. Langare helme to, ey kashtiye tofiq, kojst? ke, dar in bahre karam, qarqe gonh... made im. Hfez, in kherqeye pashmine biyandz, ke m azpeye qfele, b tashe h... made im! We, to this door, seeking neither pride nor glory... we have come. For shelter from illfortune, here... we have come. Traveling along love's journey, from the borders of nothingness, Now into states of being, all this way... we have come. O ship of grace, where is thy anchor of forbearance? For in this ocean of generosity, immersed in sin... we have come. Hfez, throw off your woolen kherqe [ufi cloak], for we, from behind the caravan, with the fire of sighing "ah!"... we have come. II. suffer no grief (from #255) // // // Yusofe gomgashte bzyad be Kan n. Qam makhor. Kolbeye ahzn shavad, ruzi, golestn. Qam makhor Darbibn, gar, beshoqe Ka be, khhi zad qadam, sarzaneshh, gar konad khre moqiln, Qam makhor Joseph, forsaken, shall return to Canaan. uffer no grief. From the thorny stalks of family grief, one day, a rose garden. uffer no grief If you desire the Way and plant your pilgrim foot in the desert, then if the mighty rabian thorn makes reproofs, uffer no grief * Translations compiled by the composer from those of Wilberforce Clarke (1891) and Michael Boylan (1988).

4 Qam makhor, qam makhor, ey del. Vin sare shuride bzyad besmn. Qam makhor O ey del, dele qamdide, ey! ey! Qam makhor Hich rhi nist, kanr nist payn. uffer no grief, suffer no grief, O heart. Back to reason, comes this distraught head. uffer no grief O heart, despairing heart, O! O! uffer no grief There is no road that has no end. III. closer to the fire (from #184) // // // Dush didam ke malyek dare meykhne zadand; gele dam besereshtando be peymne zadand. Jange haftdo do mellat, hame r ozr beneh; chon nadidand haqiqat, rahe afsne zadand. Âtash, Âtash!!! hokre izad ke mine mano u solh oftd, sufian raqs konn, sqare shokrne zadand. Âtash, Âtash!!! Last night I saw the angels beating at the door of the tavern, The clay of dam they shaped, and into the mould they cast it. The churches war among themselves, forgive them; When they cannot see the truth, the door of fable they beat. Fire, Fire! Oh! Oh! Thanks be to God, for between me and Him, peace chanced, ufis, dancing, cast their cups of thankfulness! Fire, Fire! Oh! Oh! IV. boatpeople (from #5) // // // Del miravad ze dastam, shebdeln khod r; Dard ke rze penhn, khhad shod shk r. Barkhiz, barkhiz ey bde Âsyeshe do giti tafsire in do harfast: B dustn morov at, b doshmann modr. Kashtishekastegnim, ey bde shorte barkhiz Bshad ke bz binam, didre sna r. Bengar! My heart falls from grasp! Come to my cry, for God s sake; O the pain that Love s hidden mystery should be disclosed! rise, arise O breeze To ease the pain of the world, live by these words: With friends, give kindness; with enemies, courtesy. hipwrecked are we, O fair breeze, arise! o that, again, we may behold the face of the Beloved. Behold! V. we have come (reprise) (from #366) // // // M, bedin dar, na peye heshmato jh... made im; azbade hdese, inj, bepanh, made im. Hfez, in kherqeye pashmine biyandz, ke m azpeye qfele, b tashe h... made im! We, to this door, seeking neither pride nor glory... we have come. For shelter from illfortune, here... we have come. Hfez, throw off your woolen kherqe [ufi cloak], for we, from behind the caravan, with the fire of sighing "ah!"... we have come!

5 FROM BEHIND THE CRVN: ONG OF HÂFEZ I. w e h a v e c o m e chorus, s. a. soloists, viola or cello, Persian hand drum* Hfez bbie Betinis Freely (1x = oloist #1, 2x = tutti) tately, slowly, in rhythm from the gut oloist #1 (cont'd) rit. M, bedin (n) dar, (uh) na pey e hesh mato jh... (huh) Quickly, eagerly () 116 sub sub sub ma de'im; az bad sub ma de'im, ma de'im, ma de 'im, ma de ma de'im, ma de ma de'im, ma de ma de 'im, ma de'im, sub 'im, 'im, 'im, * Note: Composer suggests riq or another kind of tambourine. Trans'n: We, to this door, seeking neither pride nor glory... we have come. bbie Betinis (CP), February 2007

6 2 BETINI: FROM BEHIND THE CRVN I. we have come e h de se, 'in j, bepa nh, ma de 'im., sempre beltissimo azbad e h dese, 'in, sempre beltissimo azbad e h dese, 'in, sempre beltissimo azbad e h dese, 'in improvise improvise 12 oloist #2 ben with wonder azpey e q fele, b ' tash e 'h....1 j, bepanh, ma de 'im..2 j, bepanh, ma de 'im. j, bepanh, ma de 'im. improvise Trans'n: For shelter from illfortune, here... we have come. / From behind the caravan, with the fire of sighing "ah!"...

7 BETINI: FROM BEHIND THE CRVN I. we have come 3 16 ma de 'im!.1 az bad e h dese, 'in j, bepa nh, ma de 'im..2 az bad e h dese, 'in j, bepa nh, ma de 'im. az bad e h dese, 'in j, bepa nh, ma de 'im. drum: continue to improvise improvise 20 oloist #3 longingly Rah ro e man zele 'eshqim o drum: continue to improvise 25 ze sar hadde 'adam, t, be e qlim e vo jud, in ha me rh... 3 drum: continue to improvise Trans'n: Traveling along love's journey, from the borders of nothingness, now, into states of being, all this way...

8 4 BETINI: FROM BEHIND THE CRVN I. we have come ma de'im. cresc. made'im, cresc. cresc. made'im, made 'im, ma de 'im, ma de 'im, ma de'im, made'im, ma de 'im, ma de'im, ma de 'im, improvise 32 oloist #4 repentantly Langar e helm e to, ey kash ti drum: continue to improvise 37 ye to fi qo ko jst? ke, dar in bahr e karam qarq e go nh... drum: continue to improvise Trans'n: O ship of grace, where is thy anchor of forebearance? For in this ocean of generosity, immersed in sin...

9

10 6 49 oloist #5 (or #2) confidently BETINI: FROM BEHIND THE CRVN I. we have come Hfez, in kherq eye pashmi ne bi yan d zo ke.1.2 made'im,made'im, made'im, made'im, made'im, ma de m 'im, add oloist #6 made'im, made'im, made az pey e q fele, b ' tashe 'h... made'im, made'im, made 'im, made 'im, made'im, made'im, made'im. made'im, made'im, made Trans'n: Hfez, throw off your woolen kherqe, for we, from behind the caravan, with the fire of sighing "ah!"...

11 BETINI: FROM BEHIND THE CRVN I. we have come 7 56 'h... 'h... ' ma de 'im! (muh).1 az bad e h de se, 'in j, be pa nh, ma de'im. (muh).2 'im. az bad e h de se, 'in j, be pa nh, ma de'im. (muh) 'im. az bad e h de se, 'in j, be pa nh, ma de'im. (muh) tutti poco accel. 'h... 'h... 'h... 'h... ma de 'im! (muh) ma de 'im! (muh) 'h... 'h... ma de 'im! (muh) Trans'n:...we have come. For shelter from illfortune... We have come.

12 8 Hfez FROM BEHIND THE CRVN: ONG OF HÂFEZ II. s u f f e r n o g r i e f chorus, alto soloist, viola or cello, Persian hand drum* bbie Betinis op. low walk () 52 lto Yu sofe gom gash te b z yad be Kan 'n. unis. Yu sofe gom gash te b z yad be Kan 'n. Qam Qam ma khor! ma khor! 5 cresc. poco a poco Kol be ye ah zn sha vad, ru zi, gole stn. cresc. poco a poco Qam ma khor! Kol be ye ah zn sha vad, ru zi, go le stn. Qam ma khor! 9 * Hand percussion: tombak (though daf or other frame drum is also possible) Trans'n: Joseph, forsaken, shall return to Canaan. uffer no grief. From the thorny stalks of family grief, one day, a rose garden. uffer no grief. bbie Betinis (CP), February 2007

13 BETINI: FROM BEHIND THE CRVN II. suffer no grief 9 13 cresc. poco a poco Dar bi bn, gar, beshoq e Ka' cresc. poco a poco be, kh hi Dar bi bn, gar, beshoq e Ka' be, kh hi zad zad qa dam, qa dam, improvise, perhaps on this theme: 3 cresc. poco a poco 17 ar za nesh h, gar konad khr e moqiln, Qam ma ar za nesh h, gar konad khr e mo qi ln, Qam ma 21 With more motion () 72 unis. khor! Qam ma khor, Qam ma khor, Qam ma khor, ey del, khor! unis. Qam ma khor, Qam ma khor, Qam ma khor, ey del, Trans'n: If you desire the way and plant your pilgrim foot in the desert, Then if the mighty rabian thorn makes reproofs, suffer no grief, suffer no grief... O heart...

14 BBIE BETINI MUIC CO. PO BOX INT PUL, MN U THI PGE has been intentionally LEFT BLNK in the hopes that you might buy this score Look, see how nice I am? I m thinking: Please respect composers (and copyright law) by paying for this sheet music. and thank you so very much. order sheet music online at:

15 41 BETINI: FROM BEHIND THE CRVN II. suffer no grief 11 del, Ma! Qam ma khor, ey ey del, Qam ma khor, Qam ma khor, ey Qam ey del, makhor, Qam ma khor, khor, ey del, Ma! Qam 45 del. del. ey del. ma khor, ey del.

16 12 BETINI: FROM BEHIND THE CRVN II. suffer no grief 50 sweetly cresc. qam di de, O O sweetly ey ey del, del cresc. del, del e e qam qam di di de, de, 54 G.P. ey! ey! unis. Qam ma khor! G.P. ey! ey! Qam ma khor! G.P. G.P. Trans'n: O heart, O despairing heart, O! O! uffer no grief...!

17

18 14 FROM BEHIND THE CRVN: ONG OF HÂFEZ III. c l o s e r t o t h e f i r e chorus (or trio), viola or cello, Persian hand drum* op. lto Hfez Powerfully () unis. Du sho gel e Du sho gel e di di dam ke dam be dam ke dam be unis. ma l yek dare meykh ne se reshtand o be pey m ne ma l yek dare meykh ne se reshtand o be pey m ne bbie Betinis za dand; za dand. za dand; za dand. second time only 5 9 Jange cho no Jange cho no haf na td did haf na td did o do mel lat, and ha qi qat, o do mel lat, and ha qi qat, hame r rah e af hame r rah e af oz s ro ne oz s ro ne beneh; za dand. beneh; za dand. second time only * Note: Composer suggests Tombak, handclaps, and/or other highpitched, sharp percussive sounds. Trans'n: Last night I saw the angels beating at the door of the tavern; The clay of dam they shaped, and into the mould they cast it. The churches war among themselves, forgive them; When they cannot see the truth, the door of fable they beat. bbie Betinis (CP), February 2007

19 13 BETINI: FROM BEHIND THE CRVN III. closer to the fire  tash,  tash,  tash!  tash,  tash,  tash!  tash,  tash!!!!! Joyously! ho kre i zad ke mi ne man o u sol ho oftd. ho kre i zad ke mi ne man o u sol ho oftd. 25 sufi an* raq so ko nn, s qare sho kr ne zadand. sufi an* raq so ko nn, s qare sho kr ne zadand. Trans'n: Fire, Fire! Oh! Thanks be to God, for between me and Him, peace chanced; ufis, dancing, cast their cup of thankfulness! * ome manuscripts read "hourian" (angels) rather than "sufian" (ufis).

20 16 BETINI: FROM BEHIND THE CRVN III. closer to the fire 29  tash,  tash,  tash!  tash,  tash,  tash!!!  tash,  tash!!! sub  tash, Âtash,  tash,  tash, Âtash,  tash, Âtash, Âtash!!! sub  tash,  tash,  tash,  tash,  tash,  tash,  tash,  tash! sub!!  tash,  tash,  tash, Âtash,  tash,  tash, Âtash, Âtash!!! sub Trans'n: Fire, Fire! Oh! Oh! Fire, fire, fire, fire... Oh! Oh!

21 Hfez FROM BEHIND THE CRVN: ONG OF HÂFEZ IV. b o a t p e o p l e chorus, s. a. soloists, viola or cello 17 bbie Betinis / Calmly, with motion () 92 Mm... Viola lto olo 9, smoothly, longingly Oo... / ( ) barkhiz, * / 16 bar khiz, ey bd e bar khiz, ey bd e bar khiz, * Note: on "barkhiz" ostinato: very soft consonants, mumbled even, as if in a dream Trans'n: rise, arise... O breeze arise bbie Betinis (CP), February 2007

22 18 BETINI: FROM BEHIND THE CRVN IV. boatpeople lto olo 21 Del mi ra vad ze das Oh... bar khiz, bar khiz, ey bd e bar khiz, barkhiz, ( ) lto olo 26 tam, s heb de ln kho d Oh... Oh... bar khiz, ey bd e bar khiz, bar khiz, bar khiz, Trans'n: My heart falls from grasp! Come to my cry, for God's sake;

23 BBIE BETINI MUIC CO. PO BOX INT PUL, MN U THI PGE has been intentionally LEFT BLNK in the hopes that you might buy this score Look, see how nice I am? I m thinking: Photocopying this sheet music without my permission is against the law. Please support my work by buying directly from me at the link below. and thank you so very much. order sheet music online at:

24 BETINI: FROM BEHIND THE CRVN IV. boatpeople poco rit. shod shk r. bar khiz, Ey, bar khiz!.2 poco rit. ey ey bar khiz, Ey, bar khiz!.1 poco rit..2 ey ey ey ey bar bar khiz, khiz, Ey, poco rit. Ey, bar khiz! bar khiz! poco rit. op. olo 49 a tempo  s yesh e do gi ti taf a tempo a tempo bar khiz, bar khiz, ( ) bar khiz, bar khiz, bar khiz, bar khiz, bar khiz, barkhiz, ey bd e short e a tempo espressivo Trans'n: To ease the pain of the world...

25 BETINI: FROM BEHIND THE CRVN IV. boatpeople 21 op. olo 54 sir e in do harf ast: taf sir e ( ) bar khiz, Mm... bar khiz, bar khiz, Mm... lto olo 59 Freely, out of time rit. B dustn mo rov 'at, b dosh mann mo d r. freely Trans'n:...live by these words: With friends, give kindness; with enemies, courtesy.

26 22 61 a tempo Kash Kash BETINI: FROM BEHIND THE CRVN IV. boatpeople ti she kas te ti she kas te 65 gn im, gn im, she kas ey t'ey bd e short e gn im, ey ey bd e short e Kash ti she kas te gnim, bd e short e 3 cresc. molto op. olo 70 B B shad ke shad ke bz bi nam, di dr bz bi nam, di dr unis. e e B shad ke bz bi nam, di dr e Trans'n: hipwrecked are we, O fair breeze, arise! o that, again, we may behold the face of the Beloved.

27 op. olo 76 s na r. BETINI: FROM BEHIND THE CRVN IV. boatpeople 23 s s na r. na bar khiz, bar khiz, ey bd e short Ey, e 81 decresc. molto s decresc. molto na r. unis. bar khiz, bar khiz, s na r. decresc. molto 87, as still as possible Ben, as still as possible gar Ben gar Trans'n: Behold...

28 24 FROM BEHIND THE CRVN: ONG OF HÂFEZ V. w e h a v e c o m e (r e p r i s e) chorus, s. a. soloists, viola or cello, Persian hand drum* Hfez bbie Betinis Freely 1x = oloist #1; 2x = Tutti; 3x = oloist #1, beltissimo oloist #1 (cont'd) M, be din (n) dar, (uh) tately, slowly, in rhythm na pey rit. e hesh mato jh... (huh) 5 Quickly, eagerly () 116 sub made 'im;.1.2 sub sub sub ma de 'im, made 'im, ma de made 'im, ma de 'im, ma de 'im, made 'im, made ma de ma de'im, * Note: Composer suggests riq or another kind of tambourine. Trans'n: We, to this door, seeking neither pride nor glory... we have come. bbie Betinis (CP), February 2007

29

30 b ' tashe 'h... made'im, made'im, made'im. BETINI: FROM BEHIND THE CRVN V. we have come (reprise) 'im, made 'im. made'im, made'im, made 'im. 'h... 'h... az bad e h az bad e h az bad e h.1 16 ' ma de'im! (muh) accel. al fine accel. al fine.2 dese, 'in j, be pa nh, ma de'im. (muh) accel. al fine dese, 'in j, be pa nh, ma de'im. (muh) accel. al fine dese, 'in j, be pa nh, ma de'im. (muh) accel. al fine Trans'n:...with the fire of sighing "ah!"... we have come. For shelter from illfortune, here... we have come.

31 BETINI: FROM BEHIND THE CRVN V. we have come (reprise) 'h....2 'h... 'h... ossia 'h... 'h... 'h... ma de 'im! ma de 'im! (muh) ma de 'im, ' ma de 'ma de 'im! (muh) ma de ma de 'im! (muh) 'ma de 'im! (muh) Glissando Trans'n:..."ah!"... we have come, we have come, we have come!

32 lso by bbie Betinis... The Burt Family Carols eries: (bbie is the grandniece of composer lfred Burt, and carries on the tradition of writing a new carol every year) Behind the Clouds TB a cappella The Music of bbie Betinis B059C8 Hail, Christmas Day! TB a cappella Fred Bock Music F2354 Prayer for Peace TB a cappella, s./t. solos Fred Bock Music F2358 Run, Toboggan, Run TB div., a cappella Fred Bock Music F2356 ong of the Pines TB a cappella The Music of bbie Betinis B041C5 elected Choral Works: The Babe of Bethlehem, arr. TB div., a cappella The Music of bbie Betinis Text and tune: William Walker in outhern Harmony B03101 Bar xizam (Upward I rise) TB div., s. a. t. b. solos, a capp. The Music of bbie Betinis Text: Hfez (in Persian) B05200 Dormi, Jesu (leep Jesus) TB a cappella G. chirmer Text: traditional Latin Cat. No Carmina mei cordis TB div., a cappella The Music of bbie Betinis Text: traditional Latin B03001 Cedit, Hyems (Be gone, winter!) TB div. (or div.), flute G. chirmer Text: Prudentius (in Latin) Cat. No Chant for Great Compassion div., a cappella The Music of bbie Betinis Text: traditional Chinese B05701 Jerusalem Luminosa a cappella Kjos Music Text: Thomas a Kempis (in Latin) Cat. No Long Time Trav ling TB div., tenor duet anta Barbara Music Pub. Text: traditional merican shapenote texts BMP702 pell of the Elements TB double chorus, piano The Music of bbie Betinis Text: Elizabeth Jennings (in English) B05300 Yhinx: n ncient Greek Love Charm TTBB a cappella, t. t. b. solos The Music of bbie Betinis Text: Theocritus & ancient Greek stone (in Greek) B01801 Reviewed as audacious edgy and thrilling, the music of bbie Betinis is being performed increasingly in the United tates and abroad. Born in 1980, bbie has been commissioned by more than 40 music organizations including the Dale Warland ingers, Cantus, The Rose Ensemble, and The chubert Club McKnight Fellow, she has also won a Jerome Commissioning Grant, the Craig and Janet wan Composer Prize, and awards from the merican Composers Forum, CP, Minnesota Music Educators ssociation and the orel Organization. Ms. Betinis studied composition at t. Olaf College, the University of Minnesota, and the European merican Musical lliance in Paris, France, where faculty from Juilliard and the Paris Conservatory teach harmony and counterpoint in the tradition of Nadia Boulanger. bbie s music is primarily selfpublished (The Music of bbie Betinis) and is distributed internationally, with additional scores published by Fred Bock Music, Graphite Publishing, Kjos, anta Barbara Music Publishing, and, most recently, in G. chirmer s Dale Warland eries. ince 2005, bbie has been ComposerinResidence for The chubert Club. he has also held residencies with The ingers Minnesota Choral rtists and The Rose Ensemble. three time cancer survivor, she lives in t. Paul, Minnesota. The Music of bbie Betinis web: phone: abbie@abbiebetinis.com