NLV Theses, Dissertations, Proessional Paers, and Castones 5-2010 Antonin Dvorak, Biblial Songs, O 99: A transrition or ind orhestra ith historial ontext and transrition method Raymond T Bron niversity o Nevada, Las Vegas ollo this and additional orks at: htt://digitalsholarshiunlvedu/thesesdissertations Part o the Musi Commons Reository Citation Bron, Raymond T, "Antonin Dvorak, Biblial Songs, O 99: A transrition or ind orhestra ith historial ontext and transrition method" (2010) NLV Theses, Dissertations, Proessional Paers, and Castones 887 htt://digitalsholarshiunlvedu/thesesdissertations/887 This Dissertation is brought to you or ree and oen aess by Digital Sholarshi@NLV It has been aeted or inlusion in NLV Theses, Dissertations, Proessional Paers, and Castones by an authorized administrator o Digital Sholarshi@NLV or more inormation, lease ontat digitalsholarshi@unlvedu
ANTONIN DVORAK, BIBLICAL SONGS, O99: A TRANSCRIPTION OR WIND ORCHESTRA WITH HISTORICAL CONTEXT AND TRANSCRIPTION METHOD by Raymond Thomas Bron Bahelor o Musi Eduation Brigham Young niversity-idaho; Rexburg, Idaho 200 Master o ine Arts, Orhestral Conduting Bard College; Annandale-on-Hudson, Ne York 2005 A dotoral doument submitted in artial ulillment o the requirements or the Dotor o Musial Arts Degree Deartment o Musi College o ine Arts Graduate College niversity o Nevada, Las Vegas May 2010
Coyright by Raymond Thomas Bron 2010 All Rights Reserved
THE GRADATE COLLEGE We reommend the dotoral doument reared under our suervision by Raymond Thomas Bron entitled Antonin Dvorak, Biblial Songs, O 99: A Transrition or Wind Orhestra ith Historial Context and Transrition Method be aeted in artial ulillment o the requirements or the degree o Dotor o Musial Arts Musi Thomas Leslie, Committee Chair Timothy ones, Committee Member Taras Krysa, Committee Member Anthony LaBounty, Committee Member erey Koe, Graduate aulty Reresentative Ronald Smith, Ph D, Vie President or Researh and Graduate Studies and Dean o the Graduate College May 2010 ii
ABSTRACT Antonin Dvorak, Biblial Songs, O 99: A Transrition or Wind Orhestra ith Historial Context and Transrition Method by Raymond Thomas Bron Thomas G Leslie, Examination Committee Chair Proessor o Musi niversity o Nevada, Las Vegas This doument inludes a transrition or ind orhestra o ive movements rom the voal solo Biblial Songs, O99 by Antonin Dvorak An overvie o the historial bakground o the omoser and the transrition method are rovided iii
TABLE O CONTENTS ABSTRACT iii LIST O MSICIAL EXAMPLES v PREACEvi ACKNOWLEDGEMENTS viii CHAPTER ONE CHAPTER TWO APPENDIX HISTORICAL BACKGROND1 PROCESS OR WIND ORCHESTRA TRANSCRIPTION: Problems and Solutions16 Details o Movement I, Psalm 97: 2-619 Details o Movement II, Psalm 119: 114,115,117,12024 Details o Movement III, Psalm 55: 1, 2, 4, 6, 7, 8 29 Details o Movement IV, Psalm 2: 1-4 Details o Movement V, Psalms 144-145 4 ANTONIN DVORAK S BIBLICAL SONGS: WIND ORCHESTRA TRANSCRIPTION SCORE9 BIBLIOGRAPHY 72 VITA75 iv
LIST O MSICIAL EXAMPLES EX 1 17 EX 2 18 IG 1 MOVEMENT I, MEASRES 1-19 IG 2 MOVEMENT I, MEASRES 1-15 20 IG MOVEMENT I, MEASRES 15-18 21 IG 4 MOVEMENT I MEASRES 25-29 22 IG 5 MOVEMENT I MEASRES -5 2 IG 6 MOVEMENT II MEASRES 4-9 25 IG 7 MOVEMENT II MEASRE 19 27 IG 8 MOVEMENT II MEASRES 19-20 28 IG 9 MOVEMENT II MEASRES 22-2 29 IG 10 MOVEMENT III MEASRES 5-8 29 IG 11 MOVEMENT III MEASRES 22-25 0 IG 12 MOVEMENT III MEASRES 42-48 1 IG 1 MOVEMENT III MEASRES 55-61 2 IG 14 MOVEMENT IV MEASRES 1-5 IG 15 MOVEMENT IV MEASRES 11-12 IG 16 MOVEMENT IV MEASRES 5-10 4 IG 17 MOVEMENT V MEASRES 1-5 5 IG 18 MOVEMENT V MEASRES 1-5, PERCSSION 6 IG 19 MOVEMENT V MEASRES 42-48 7 v
PREACE The goal o this doument and transrition is eduate musiians about the lie and ork o a great omoser through a biograhial sketh, analysis and transrition that ill bring quality musi ith a voal soloist into the ind orhestra reertoire When seleting voal musi or a suessul ind orhestra transrition, it is imortant to onsider three questions irst, do the tehniques that the string instruments use translate to the ind and erussion instruments Seond, ill introduing this ork inrease the listeners aareness o the omoser, his style, or musial era inally, is the quality o the musi exetional and ill that quality translate to urrent ind orhestras 1 Beause Biblial Songs, O 99 (omosed in Marh 1894) by Antonin Dvorak reresents a unique examle o Czeh musi, inororates a voal soloist, and translates idiomatially to ind and erussion instruments, a transrition o Biblial Songs ill be an asset to the ind orhestra reertoire Biblial Songs is most oten erormed in its original medium: voie and iano It is reognized or its unique seeh-like rhythms and is ublished or both high and lo voie The original iano and voie omosition has ten movements, eah ith a duration o to to ive minutes or unknon reasons, Dvorak arranged only the irst ive movements or orhestra These ive movements also translate ell to the ind orhestra and thereore have been seleted or transrition 1 rank Battisti, The Winds o Change (Halesville, Meredith Musi, 2002) 4 vi
or ind orhestra diretors, Dvorak s Biblial Songs, O 99 oers: 1 Musi that has many ontrasts in dynamis, omositional tehniques, and moods that sueed in oering dramati musial variety throughout its ive movements 2 A erormane time o only thirteen minutes ith minimal ensemble rehearsal time required Sentimental musi that orks ell in the middle o a onert rogram 4 A voal soloist, hih is rarely used in the ind orhestra medium, onneting musiians aross genres 5 A introdution to the Czeh omoser Antonin Dvorak Any musi that is being onsidered or transrition should be transribed only i the musi is exetional and that its quality an be suessully translated Considering Dvorak s skill as a omoser, the unique Amerian history o Biblial Songs, and the omositional tehniques that an be emloyed to adust the ork to the modern ind orhestra, Biblial Songs meets the riteria to ustiy the transrition eort Other imortant asets disussed in this doument inlude the history o Antonin Dvorak (1841-1904), ho he heled solidiy the Czeh musial voie in lassial musi 2 and the bakground and transrition roess o Biblial Songs, O 99 (Marh 1894) 2 David Huritz, Dvorak: Romanti Musi s Most Versatile Genius, (Milaukee, WI: Amadeus Press, 2005), 1 vii
ACKNOWLEDGEMENTS Thank you to Proessor Thomas Leslie or his onidene and guidane toard unloking my artisti abilities Thank you to Proessor Harold arberman or his ounsel on onduting and analytial skills Thank you roessors Dr Timothy ones, Anthony La Bounty and Taras Krysa or your insights and examles Thank you to my suortive amily: to my arents, Thomas and Rosemary Bron or your enouragement toard lie-long learning, questioning, and your loving guidane Thank you to my hildren, Marellus, Neva and Asher or your love and atiene inally, thank you to my loving ie Marianne, or your enouragement, unavering suort, onidene, and honest oinions viii
CHAPTER ONE HISTORICAL BACKGROND Antonin Dvorak as born on Setember 8, 1841, in Nelahozeves, Czehoslovakia, a small ton 15 miles north o Prague that lies on the banks o the Moldau (Vltava) River His ather, rantisek Dvorak (1814-1894), and aternal grandather, an Neomuk Dvorak (1764-1842), oerated inns and buther shos The Dvorak amilies oten struggled or survival and aed roblems suh as aying their buther sho s lease and the inanial tragedy o their amily inn burning don an Neomuk Dvorak enouraged his sons in their musi interests, hih inluded studying the violin, viola and iano In addition to laying the violin, rantisek layed the zither and even omosed a e olk songs As young Antonin beame interested in musi, his ather gave him his irst violin lessons and enouraged him to ursue his musial studies Antonin s mother, Anna Dvorakova, enoyed musi but as not knon as a erorming musiian 1 Antonin s arents lanned or their son to ontinue the amily trade in his adult years, but they ontinued to enourage his musial training In 1847, at the age o six, Antonin began studying musi rom the village shoolmaster and organist, ose Sitz Antonin rogressed quikly and as his natural talent emerged he began laying violin in both the village band and loal hurh At age 12, he arentied ith his ather, learning the buther s trade hile he ontinued his musial studies by laying the violin and entertaining the atrons at his ather s inn 2 1 ohn Claham, Dvorak (Ne York: WW Norton, 1979), 9-11 2 Hans-Hubert Shonzler, Dvorak (Ne York: Marion Boyars, 1984), 4 1
In 1854, Antonin as sent to live ith his unle, Antonin denek, ho as a steard to Count Kimsky at lonie This move as to give him the oortunity to study ith Antonin Liehmann, a musi teaher ith a reseted reutation Within a year, Liehmann had extended Dvorak s skills as an instrumentalist beyond the violin to inlude the viola, iano, and organ, along ith learning various elements o musi theory nortunately, rantisek s business ventures needed assistane and young Antonin set aside most o his musial studies and as sent to ork at the buther sho or to years he orked at the slaughterhouse onneted to the buther sho and used every ree moment to ratie and study ith Liehmann On Sundays he ontinued to lay the organ or the lonie hoir In 1857, ith his nle denek s vo to assist inanially, 16 year-old Antonin let the amily buther business and traveled to Prague to study at the Shool o Organ- Playing He studied diligently or to years and let ith a letter o reommendation stating that he had exellent talent as a erormer and tehniian, but had some eakness in musi theory His diiulty omrehending some o the elements o musi theory may be artially due to the at that the instrution as in German German as the oiial language o the Austro-Hungarian Emire, but Dvorak struggled ith it his entire lie reerring to ommuniate and rite in his native Czeh His omosition erormane notes and diretion are in Czeh and tie Dvorak s musi to Czeh Patriotism, or hih he is ell knon Antonin made riends ith Karel Bendl, a ello student, ho oned a iano and had a library o orhestral sores These sores exosed Dvorak to the ull range o olor Viktor ishl, The Lie o Antonin Dvorak, in Antonin Dvorak: His Ahievement, (Westort, CT: Greenood Press, 1970), 8-9 2
ound in the orhestra He also layed viola or the St Ceilia Soiety s seial orhestra onerts These onerts ut him in the ath o ranz Liszt, Hans von Bulo, Rihard Wagner, and Clara Shumann This aer ontends that this ontat ith these roessional musiians and the urther studying o the orhestral reertoire not only strengthened his mastery o musi theory and orhestral instrumentation, but also insired him to ork diligently toard beoming a orld-lass omoser Ater graduating rom the Shool o Organ-Playing, Dvorak as able to ind ork as a musi teaher and erormed in loal restaurants Hoever, erorming and teahing to ay or daily exenses, made it diiult to ind time and energy to ork on his omositions 4 Dvorak ontinued to develo as a omoser and reate imortant ne onnetions In 1860, the Austro-Hungarian Emire loosened restritions, alloing alaimed omoser Bedrih Smetana and other artists exiled or anti-government sentiments to return to their homeland Smetana heled ound the Soiety o Arts (meleka Beseda), hih enouraged and ommissioned Czeh nationalisti musi When Smetana beame the ondutor o the soiety s Czeh National Theatre Orhestra, Dvorak as hired to lay violin During his tenure ith the Czeh National Theater Orhestra, Dvorak enlisted his olleagues to read through drats o his oeras Alred (1870) and The King and the Collier (1871) In 1874, he reorked the musi to The King and the Collier and Smetana remiered the ork in Prague 5 In 187, Dvorak beame engaged to 19 year-old Anna Cermakova, ho as a ormer uil o Dvorak and a ontralto in the Soiety o Art s oera horus Dvorak s 4 ohn Claham, Antonin Dvorak: Musiian and Cratman (Ne York: St Martin s Press, 1966), 4-6 5 Ale Robertson, Dvorak s Songs, in Musi and Letters, (XXIV 194), 18-20
suess ith Hymnus: The Heirs o the White Mountain (1872) on her arents blessing Although Anna did not ontinue her musial training, she as an asset in Dvorak s business and inanial aairs She motivated Dvorak to seek a ublisher, get his larger orks ublished, and ursue higher ay or his ork 6 In 1874, Dvorak let the Czeh National Theater Orhestra to take a more lurative osition as an organist at St Adalbert s Churh That year he also submitted his Symhony No and Symhony No 4 into a grant ontest sonsored by the government to hel Young, Poor, and Talented Artists His aliation stated that he as married, ith one hild to suort, and earned 186 guldern (about 90 S dollars) a month The aliation as suessul and the aard sulemented his inome by 400 guldern (about 200 S dollars) 7 Throughout his omositional areer, Dvorak imosed high standards Beause o his high exetations, Dvorak ould not send any omosition to the ublishers that did not satisy him omletely or examle, Smetana onduted Dvorak s Symhony No in E lat on Marh 0, 1874 (omosed in une 187) Hoever, Dvorak, unhay ith the inal rodut, did not send the symhony to be ublished He is also said to have burned many o his early orks, hih may exlain the disaearane o a violin sonata that as erormed in 1875 and never heard o again 8 When Dvorak s remarked, I alays have enough aer to make a ire, he shoed ho ommitted he as to ublishing nothing but quality orks 9 6 Shonzeler 55 7 Neil Butterorth, Dvorak: His Lie and Times (Kent, England: Midas Books, 1980), 28-1 8 Karel Homeister, Antonin Dvorak, (Westort, CT: Greenood Press, 1970), 17-18 9 Butterorth, 19 4
Dvorak s orks, suh as his Symhony No and Symhony No 4, ontinued to gain suess and bring reognition to the young Czeh In 1874, ith the inanial suort o the government, he as able to omose more vigorously, riting his ith symhony, a grand oera, a string quintet, a iano trio, a iano quartet, the Serenade in E, and our Moravian Duets These omositions got the attention o the ne Commissioner o the Austrian State Prize, ohannes Brahms Later, Brahms suessully requested that the government rene Dvorak s stiend as a romising omoser or a third year (Dvorak reeived this stiend or a total o ive years) 10 Brahms sa the high quality o Dvorak s omositions and understood that they needed to be internationally ublished and erormed Brahms rote to his ublisher, ritz Simrok, in Berlin and reommended that Dvorak s Moravian Duets and a e other small orks be ublished Simrok agreed and ommissioned Dvorak s irst set o Slavoni Danes, O 46 in 1878 These danes earned Dvorak the attention o the German eole In at, this omosition as so suessul that or the seond set o ommissioned danes the omoser s ee ent rom 00 (about 120 S dollars) to,000 German marks (about 12,000 S dollars) 11 Ater sudden suess o Slavoni Danes, Simrok as interested in ublishing similar omositions In late autumn o 1878, Dvorak submitted many smaller omositions, inluding Serenade No 2 in D minor, O 44 or a hamber ensemble that inluded to oboes, to larinets, to bassoons, ontrabassoon, three horns, ello, and 10 Butterorth, 50 11 ohn Claham, Antonin Dvorak, 7-9 5
bass This omosition demonstrated Dvorak s ability ith the ind and brass instruments unique olors In to months the irst rintings sold out 12 Dvorak s next maor orks earned him inreased reognition ith ell-knon musiians, omosers, and orhestras Dvorak dediated his Symhony No 5 in to the amed Wagnerian ondutor Hans von Bulo Bulo thanked Dvorak, saying that next to Brahms he onsidered Dvorak the most God-gited omoser o the resent day 1 Dvorak s international reutation ontinued to exand ith the remiere o his Symhony No 6, O 60 (1881) in Prague The ork as erormed in London in 1882 and a year thereater in Vienna by Hans Rihter, to hom the ne symhony as dediated 14 Thomas 15 The Ne York remiere, also in 188, as onduted by Theodore Dvorak then aeted an invitation to Dresden to erorm his ne oera, Dimitri, O 64 (1881-1882) Dvorak s time in Germany inreased the ultural and nationalisti ressures that ushed him to abandon his Czeh heritage He as invited to be the honored guest at the German Artists Club in London, but he delined, stating he as not German As a result o his desire to remain identiiably Czeh, Dvorak had to rite multile oreul letters to his ublisher, Simrok, exlaining hy he anted his irst name to be rinted as the Czeh Antonin or at least to be rinted in the ontrated orm o Ant, instead o the German orm Anton Other musiians, eseially in the ity o Vienna, reommended that he rite in the German language i he anted his oeras to be more suessul In 1884, the General Intendant o the Court Oera o Vienna, Baron Homan, oered to 12 Paul Stean, Anton Dvorak, 101 1 Paul Stean, Anton Dvorak, 67-68 14 ishl, 22-25 15 Robertson, 42-4 6
German libretti to Dvorak No omletely rustrated ith the ressure o German nationalism, he reeted the libretti and reahed out to the English ommunity aeting an invitation to ondut some o his omositions ith the Philharmoni Soiety o London 16 The irst invitation to travel to England (he ourneyed to England a total o nine times) ame rom Henry Littleton, the seretary o the Philharmoni Soiety In Marh 1884, English nesaers armly elomed Dvorak He rote to his ather about the overhelming size o London He stated that all o the Czeh inhabitants throughout Bohemia ould not math the number o those ho lived in London and ould not even ill the Royal Albert Hall, here the irst o three English onerts as held Ater three highly suessul onerts, Dvorak returned to Prague on Marh 29, 1884 He also returned ith a ommission, valued at 2,000 ounds (about 9,700 S dollars), or a horal ork to be erormed at the Birmingham Musi estival On une 14, the Philharmoni Soiety o London eleted him an honorary member and ommissioned him to rite a symhony 17 Dvorak returned to England in the autumn o 1884 to guest ondut the Three Choirs estival in Worester On Setember 11, he resented his sixth symhony, ith 27 year-old Edard Elgar in the irst violin setion During this seond tour, Dvorak met Amerian omoser, Dudley Buk, and reeived an invitation to erorm in a onert tour o the nited States 18 In Deember 1884, Dvorak rote onerning the eet that England had on him: 16 ohn Claham, Antonin Dvorak, 10-11 17 Shonzeler, 108 18 Butterorth, 51-58 7
I have ust omleted the seond movement andante o my ne symhony, and I am ust as hay and blissul in this ork again as I alays as beore, and ith God s hel I shall ontinue to be so, or my motto is and ill be, God, love, motherland! and that alone ill lead to the hay goal! 19 Dvorak s third tri to England as in Aril and May o 1885, ust one month ater he omleted his seventh symhony On Aril 22, the London Philharmoni Soiety remiered the Symhony in D minor to great alaim England had embraed Dvorak and his Czeh-inluened musi Dvorak had beome suh a elebrity that autograh seekers ould oten searh or him at the loal market Ater reeiving ressure to onede to the German ulture, the arm reetion o the English ubli onirmed Dvorak s ommitment to omose and reresent his native Czeh language and ulture nortunately, roblems arose ith Simrok about ublishing Dvorak s seventh symhony Simrok oered,000 marks or the ork only i Dvorak ould also omose another set o Slavoni Danes He reasoned that higher sales rom the smaller orks ere required to oset inanially the larger orks that did not sell enough to ay Simrok s on exenses Dvorak exlained that i he agreed ith Simrok, there ould be no oint in riting symhonies and that i he only omosed a e danes, iano iees, lieder, and other ublishable things, it ould diminish himsel as an artist In the end, Simrok agreed to ay 6,000 marks or the symhony, hile reeiving a romise rom Dvorak to onsider strongly riting more Slavoni Danes Dvorak reiterated that his irst name as Antonin and should not be rinted as the German Anton Simrok s omromise as that Dvorak s irst name ould be rinted Ant, hih ould be 19 ishl, -5 8
interreted either German or Czeh and that the title ould be in both languages In a letter dated Setember 1885, Dvorak exlained that he, as an artist, ound strength and insiration in his homeland and that not ublishing his Czeh name denied that heritage Hoever, hen the ublished sore as delivered to Dvorak, he ound that Simrok had ublished the title only in German and had again given Dvorak the German name o Anton 20 Dvorak returned to Prague or the remiere o his ne oera, The Setre s Bride (1885) With his groing international suess, Dvorak as able to buy a modest house in hih his amily, omrised o his ie and ive hildren, ould send their summer months The small armstead as lose enough to the oodlands or Dvorak to enoy his morning alks, lose enough to the village to enoy disussions ith others, and ar enough rom ton to ontinue his hobby o raising igeons 21 During his ourth visit to England in August 1885, Dvorak reared or the English remiere o The Setre s Bride in Birmingham Within one year, the oera as being erormed in Manhester, England; Milaukee, Wisonsin, SA; and Melbourne, Australia The Setre s Bride as suh a suess that Dvorak traveled home ith a ommission or an oratorio or at the next year s estival 22 On Otober 15, 1886, Dvorak returned to remiere his oratorio St Ludmilla This oratorio as inluened by Handel s multi-movement Messiah and as another English suess Beteen his travels to England, Dvorak as aarded the Austrian Order o the Iron Cross and as given a rivate audiene ith Emeror ranz ose I 2 20 Stean, 101 21 ohn Claham, Dvorak, 7-76 22 Shonzeler, Dvorak, 116-118 2 Homeister, 42-44 9
In 1888, Pyotr Ilyih Thaikovsky traveled to Prague and invited Dvorak to give a series o onerts in Russia On Marh 11, 1890, Dvorak onduted a olletion o his orks ith the Tsarist Musial Soiety in Moso While at a banquet held in his honor, Dvorak learned that the Aademi Senate o Charles niversity in Prague had aarded him an honorary Dotorate o Philosohy 24 Dvorak as oered the Chair o Musial Comosition and Instrumentation at the Prague Musi Conservatory in 1891 ose Suk remembered that Dvorak as a diiult and demanding teaher Dvorak s students stated that he as a teaher and an artist hose teahing style as harsh yet rearding 25 Dvorak s, international ame as a omoser, ouled ith his skill as a teaher, attrated the attention o Amerian hilanthroist eannette Thurber, the ie o a ealthy groer In 1885, she ounded the Amerian Oera Comany and the National Conservatory o Musi In 1891, Thurber sent a telegram rom Vienna, oering Dvorak the osition o Diretor o the National Conservatory o Musi in Ne York Her vision as to exand Amerian musi by onneting it to the extensive musi history o Euroe Her goals ere to hire a highly trained and aomlished aulty and onnet them to the most romising Amerian students The shool enouraged all students to aly, ithout reudie o gender or rae (a ontroversial and advaned ideal or 1891) At every level o study, talented students ere oered inanial sholarshis, inluding omen and Arian Amerians 26 24 ishl, 47-48 25 Butterorth, 81-88 26 oseh Horoitz, Dvorak and the Ne World: A Conentrated Moment in Dvorak and his World, (Prineton, Ne ersey: Prineton niversity Press, 199), 92-9 10
At irst, Dvorak did not sho any interest in the oer In une 1891, she sent another telegram rom Paris, adding that the osition ould also involve onduting six onerts o his omositions The ontrat arrived six eeks later, stating that he ould teah three hours a day, reare our student onerts, and ondut six onerts o his on musi in Amerian tons 27 As Dvorak areully onsidered Thurber s oer, he struggled ith the idea o leaving his Czeh homeland that had given him insiration or many omositions Anna, Dvorak s ie, as the irst one interested in moving to Ameria; she sa the ratiality o a steady inome The Prague Conservatory aid 1,200 gulden a year (less than 600 S dollars), as omared ith Thurber s oer o 5,000 gulden (about 15,000 S dollars) and inluded our months vaation In November 1891, the amily agreed to go to Ameria or to years (This ontrat as eventually extended or an additional year) 28 At irst, Dvorak and Anna took only the to eldest hildren, eeling it as neessary to leave the younger hildren ith amily in their homeland The small grou traveled to Ameria on the SS Saale, arriving at Staten Island on Setember 26, 1892 on their arrival in Ne York, the shool oiials exitedly greeted the Dvorak amily The amily moved into an aartment at 27 East 17 th Street, hih as urnished ith a git o a grand iano rom the Steinay Comany The ity as home to a substantial number o Czeh immigrants; hoever, Ne York City as muh noisier and busier than Dvorak as austomed 29 27 ohn Claham, Antonin Dvorak: Musiian and Cratman, 17-18 28 Otakar Dvorak, Antonin Dvorak, My ather (Ioa, Czeh Historial Researh Center, In, 199), 12-14 29 Shonzeler, 146-148 11
Dvorak rodued many notable students at the National Conservatory o Musi He taught Arian Amerian students Henry Thaker Burleigh (Burleigh brought Dvorak material about many Negro sirituals) and Will Marion Cook (Cook as later a teaher o the amous azz musiian and omoser Duke Ellington) During his time in North Ameria, Dvorak beame enamored ith the ossibilities ound in Arian Amerian olk melodies He stated in The Ne York Herald: In the Negro melodies o Ameria I ind all that is needed or a great and noble shool o musi They are atheti, tender, assionate, melanholy, bold, merry, gay or hat you ill There is nothing in the hole range o omosition hih annot be sulied rom this soure I am satisied that the uture musi o this ountry must be ounded on hat are alled the Negro melodies 0 The Amerian northeast had develoed a ne devotion to the arts, and Dvorak attended many rehearsals and onerts o the ensembles in the area In Ne York City there ere three maor orhestras: the Philharmoni, onduted by Anton Siedl; the Symhony Orhestra, onduted by Walter Damrosh; and the Metroolitan Oera, hih had oened 10 years earlier in 188 Outside o Ne York, Antonin traveled to Boston to see Arthur Nikish, diretor o the Boston Symhony Orhestra, ho onduted Dvorak s Requiem 1 In 189, Dvorak sent or the rest o his hildren He announed to his amily that they ould send their summer in a ton alled Sillville, Ioa, hih had been settled by Czeh immigrants The break rom the ity, ouled ith the amiliarity o the Czeh 0 Robertson, 170 1 Butterorth, 94-96 12
eole, insired Dvorak to omose his String Quartet in Maor, O 96 He also traveled to Chiago to ondut several o his orks at Czeh Day at the World Exhibition 2 While in Sillville, Dvorak as able to study Native Amerian melodies rom a small grou o Iroquois Indians led by Chie Big Moon By Dvorak s request, they gave a rogram o native songs and danes, hih as so ell reeived that they erormed it a seond time Aterards they alloed Dvorak to take itures o the instruments and erormers In 189, Dvorak rote his most rominent ork, Symhony No 9 rom the Ne World Although some alled it a lot o Indian musi, there as no truth in the rumors that he had used original Amerian melodies and Dvorak alled the symhony genuine Bohemian musi Even ith suh suess, Dvorak reuted the rumors that he lanned to stay indeinitely in the nited States, voing that he ould soon see his homeland again 4 Dvorak s last six months in Ameria ere onsumed ith teahing and omosing Biblial Songs, O 99, omosed beteen Marh 5 and Marh 26, 1894, as the sixth omosition in Dvorak s three-year tenure in Ameria His deision to omose on a sared subet may have been inluened by the assing o ello omosers Pyotr Ilyih Thaikovsky, Charles Gounod, and ondutor Hans von Bulo, ho had hamioned many o Dvorak s orks In addition, Dvorak reeived nes that his ather, rantisek, as ill rantisek died on Marh 28, 1894, only to days ater Biblial Songs as omleted Dvorak reeived the nes o his ather s death ater the 2 ishl, 52-55 Dvorak, 2-24 4 Stean, 204-207 1
uneral had already taken lae and thereore ould not attend or the text o Biblial Songs, Dvorak used the Czeh version o the Book o Psalms Ater omleting the ten songs that made u the omlete iano and voal ork, he arranged the irst ive songs (omosed beteen anuary 4 and 8, 1895) or symhony orhestra 5 Dvorak delined Thurber s requests to again extend his stay in Ameria The at that she as oten behind in aying his ees did not enourage the homesik omoser to extend his tenure Dvorak and his amily let Ameria on Aril 16, 1895, boarding the same shi on hih they had traveled to Ameria, the SS Saale 6 By November 1895, Dvorak had reaquainted himsel ith the diretions and interests o the Czeh musial organizations He returned to teahing at the Prague Conservatory and omosed a olletion o tone oems based on Czeh olklore The irst three ere omosed or the iano and then orhestrated The Water Goblin (earlier translated as The Watersrite) as omleted on ebruary 11, The Noon With on ebruary 27, and The Golden Sinning Wheel on Aril 25, 1896 He inished this series ith The Wild Dove, hih he omleted in Otober 1898 These tone oems onneted Dvorak s love o oera and his suess ith the orhestra Dvorak ontinued traveling and onduted the remiere o his Cello Conerto in B minor on Marh 19, 1896, on the same rogram ith the irst ive movements o the nely orhestrated Biblial Songs in London 7 Dvorak s last symhoni oem as Heroi Songs (1897) Although the ork does not have a seii storyline, it is believed to be autobiograhial Gustav Mahler, 5 Antonin Dvorak, Biblike Pisne, o 99 (Statni Hudeni, Praha: Solenost Antonina Dvoraka, 196), IX-X 6 Shonzeler, 166-167 7 ohn Claham, Dvorak, 14-15 14
the ne ondutor o the Vienna Philharmoni Orhestra, asked or the honor to remiere the symhoni oem The erormane as so suessul that Mahler onduted The Wild Dove the next season Ater the death o Brahms in 1897, Dvorak as aointed to the Austrian State Prize Board that had suorted him during the early years o his areer On Marh 14, 1901, Dvorak as one o to Czeh artists eleted to the Austrian Senate Ironially, Dvorak as thrilled to ind a great seletion o enils at the Senate that he ould use hen omosing at home 8 On Marh 25, 1904, Dvorak suddenly ell sik during a rehearsal o his ne oera Armida (1902-190) and as diagnosed ith arterioslerosis o the brain arteries Although there as a hoe that his health ould imrove, Antonin Dvorak assed aay on May 1, 1904 at the age o 62 9 8 Butterorth, 121-129 9 Otakar Dvorak, 101-102 15
CHAPTER TWO PROCESS OR WIND ORCHESTRA TRANSCRIPTION Problems and Solutions There are to areas o ous that ere imortant or the adatation o Biblial Songs (1894) to beome a untional ork or the ind orhestra The irst ous oint as ho to address the hange o instruments rom the symhony orhestra to the ind orhestra The seond ous oint as ho to best translate the imortant omositional tehniques in eah o the ive movements These tehniques and motives ill be disussed searately in the movement details later in this hater Beause o the length o the multi-movement ork, the ous ill be on the rinile roblems and solutions The irst hallenge o the transrition roess as ho to suessully manage the dierenes in instrumentation rom a symhony orhestra to a ind orhestra In orhestra, the string setions may inlude more than 40 musiians, hih arries a ull symhony ith deth When omaring an orhestral ork to its ind orhestra transrition, the arts are oten doubled or the ind orhestra to ahieve a ull sound that more aurately resembles the sound o a symhony orhestra This as done in all o this transrition s ive movements A maor onern ith the transrition o Biblial Songs as that the instruments must balane to the voie The voalist must be alloed to use a ull range o dynamis and exression hile in ront o the large ind orhestra, eseially in the soter setions, and must not be overoered by the dynami strength o the ind orhestra By taking advantage o the exressive moments that our hen the voie rests, the ind orhestra shoases its on strengths by emhasizing the olor or mood o the text in eah movement 16
Examle 1 is the instrumentation in Dvorak s original orhestral sore Ex 1 lute I lute II Clarinet in A/B-lat I Clarinet in A/B-lat II Horn in I Horn in II Trumet I Trumet II Timani Triangle Har Violin I Violin II Viola Cello Double Bass Voie Examle 2 lists the ind orhestra instrumentation and the orresonding symhony orhestra arts to hih they ere rimarily onneted 17
EX 2 Wind Orhestra lute I lute II Oboe I Oboe II Bassoon I Bassoon II Clarinet in B-lat I Clarinet in B-lat II Clarinet in B-lat III Bass Clarinet Contrabass Clarinet Alto Saxohone I Alto Saxohone II Tenor Saxohone Baritone Saxohone Trumet in B-lat I Trumet in B-lat II Trumet in B-lat III Horn in I Horn in II Horn in III Horn in IV Trombone I Trombone II Bass Trombone Euhonium Tuba Cello Double Bass Har Timani Bass Drum Snare Drum Crash and Susended Cymbals Triangle Marimba, or to layers Voie Symhoni Orhestra lute I, Violin I lute II, Violin I and II Violin I, Clarinet I Violin I and II, Clarinet II Cello, Horn in I Double Bass, Horn in II Clarinet in A/B-lat I, Violin I Clarinet in A/B-lat II and I, Violin II Clarinet in A/B-lat II, Viola Cello, Double Bass Double Bass Violin I and Clarinet in A/B-lat I Violin II and Clarinet in A/B-lat II Viola and Horn in II Cello, Bass Trumet I, Violin I Trumet I and II, Violin I and II Trumet II, Violin II Horn in I, Violin II and Viola Horn in II, Viola Horn in I, Violin II and Viola Horn in II, Cello Viola, Cello and Horn in II Viola, Cello and Double Bass Cello and Double Bass Cello Double Bass Same as Orhestral version Same as Orhestral version Same as Orhestral version Same as Orhestral version See olloing aragrah See olloing aragrah See olloing aragrah Same as Orhestral version Har, String arts Same as Orhestral version The bass drum, snare drum, ymbals ere added to the instrumentation to reinore the rhythms and aents that ere originally in the string arts and ere used 18
rimarily in the exlamatory setions o the irst and ith movements Dvorak rarely omosed or these instruments His use o the ymbals in his Symhony No 9 rovided a model or the transrition The marimba, hih as not available to Dvorak in his lietime, as added to ulill several roles and is layed by to musiians, eah ith to mallets The marimba adds armth through the middle and lo ranges, an erorm tremolos ithout the ingering onerns o the ind instruments (movement II) and is able to hel artiulate the izziatos o the stringed instruments Details or Movement I, Psalm 97:2-6 The irst movement uses a time signature o /8, is in the key o G maor and is marked Andante, hih hen ombined ith the text reates a mood that is grandiose, onident and regal Dvorak begins the ork by introduing the rimary motive that roels the movement The motive is built on a C hal-diminished seventh hord, C being the tritone o the key o G Although Dvorak is oten onsidered a omoser ho used the tehniques o the ast, by resenting the main motive in a distant or unrelated key (the tritone is as ar as ossible rom the toni key), he demonstrated his oresight to use tehniques that ere later emloyed by many 20 th entury omosers (see ig 1) ig 1 m 1 19
This C hal-diminished 7th hord, in measure 1, is susended and ats as a seondary leading tone (vii) hord to the D7 (dominant) hord in measure 10 That D7 hord again resents the motive and is susended until measure 15 Here the ork inally arrives at the toni (G Maor) and the motive is layed or the third time (see ig 2) ig 2 m 15 In the orhestral version, eah time the three-measure theme ours (measures 1, 8, 15, 45), the inds, eseially the horns, strengthen the loer range o the orhestra The omositional gesture uses large leas don, starting at the C in the ellos to the G three and a hal otaves loer in the basses In the transrition, the trombones and tubas strengthen the ellos and basses resetively on these register hanges Beause these reeating measures are ithout the voie, they rovide an oortunity to shoase the ind orhestra s dynami strength Soring the measures or the entire ensemble at orte hels to onvey darkness and thunderlouds in the text (see ig ) 20
ig m 4 21
In the orhestral version at measure 25, the aomaniment sithes to the violas and ellos In the transrition, this is aomlished by moving the arts to a solo trombone and euhonium hile retaining the ellos in their original role Marking the trombone and euhonium as solo allos the musiians to balane more easily ith the voalist (see ig 4) ig 4 m 25 The ind orhestra gros in intensity as it aroahes measure This one measure ats as the dynami aex o the movement and uses the ull ind orhestra Ater the dynami arrival, the instruments diminuendo, alloing the text by the voal soloist to be heard (see ig 5) The movement ends ith the rimary motive ombined ith the same C hal-diminished seventh hord that as used in measure 1 (see ig ) 22
ig 5 m 2
Details or Movement II, Psalm 119:114, 115, 117, 120 The seond movement uses the key o e minor, a 4/4 time signature and is marked Andante, hih hen ombined ith the text In ear and trembling and Lord, I ear Thy udgment exeedingly reates an uneasy and nervous mood When Dvorak uses the relative maor o G, the mood beomes relaxed and omorting, hih arallels the text Lord my shield, my reuge and hoe and May my delight be all in Thy ommandments ever The orhestral version begins ith a quartet, using to lutes and to larinets, hih an be diretly emloyed in the ind orhestra transrition Hoever, in measure 4, the oodind quartet sithes to the string instruments, texturally ontrasting the setions To kee the ontrast Dvorak intended, the ind orhestra transrition moves the string arts to the brass instruments, aomanied by the saxohones The lo brass instruments, emhasizing the trombones (historially used in hurh musi), ontinue to aomany the sared text And in Thy ord ut I my trust (see ig 6) 24
ig 6 m 1 25
ig6 (ontinued) m 7 26
A unique omositional tool used in the seond movement is the tremolo Tremolos are metered in the iano sore, hile Dvorak s orhestral transrition (and this ind orhestra transrition) emloys both metered and unmetered tremolos The string setions erorm the tremolos in measure 19 o the orhestral sore (see ig 7) These tremolos translate ell to the loer larinets and bassoons, as these instruments an erorm tremolos more naturally than brass instruments (see ig 8) The oodind instruments an maneuver the trill in a manner that suorts the ear and trembling reerred to in the text ig 7 m 19 27
ig 8 m 19 To inish the movement, Dvorak marked the trill motive erdendosi, meaning to ade and die aay In the transrition, the marimba, ith hard mallets, as emloyed beause the notes in the loer register are distintly audible and the armth o the instrument blends ith the mood set by the text ( ear exeedingly ) (see ig 9) 28
ig 9 m 25 Details or Movement III, Psalm 55:1, 2, 4, 6, 7, 8 The third movement is set in the key o B-lat, marked Andante and uses a /4 time signature, hih reates relaxed a altz This movement has a striter temo, as the aster rhythms (eighth notes) under the melody lessen the amount o rubato ossible In measure 5 o the orhestral version, the violins and violas lay these eighth notes The trombones erorm this rhythmi aomaniment in the ind orhestra transrition (see ig 10) ig 10 m 5 At measure 22, the irst oboe relaes irst violin laying in a high range ith a ianissimo dynami that balanes ell ith the voal soloist To reinore this ountermelody, the seond oboe and alto saxohones are added an otave loer The horns are added to the rhythmi trombones to assist ith the melodi sell (see ig 11) 29
ig 11 m 22 At measure 42, the bassoons, bass larinets, and ontrabass larinets ontinue the eighth-note rhythms; this hange in instrumentation kees the texture light enough to balane the voie s melody and lute s ountermelody (see ig 12) 0
ig 12 m 42 At measure 55, the movement intensiies by dividing the driving eighth notes into sixteenth notes, adding a resendo, and rising in ith The gesture reverses at measure 58; the omound sixteenth notes quikly desend in ith, and slo hords end the movement (see ig 1) 1
ig 1 m 55 2
Details or Movement IV, Psalm 2:1-4 In the key o B maor, ith a 4/4 time signature, and marked Andante, the ourth movement has a ree-loing omositional style shoing the introsetive nature o the movement The horns begin the ork and introdue the quasi reitative voal soloist (see ig 14) ig 14 m 1 The unique motive that ours throughout the movement (measures 11, 19 and 0) is the ornamented eighth note ombined ith to sixteenth notes (see ig 15) The motive onnets the verses o the salm hile assisting ith the astoral eeling o the text, In the sot astures green and beside aters lear ig 15 m 11
In the orhestral version, the strings are rimarily used as hordal aomaniment The melody is irst given to the lute in measure 6, hile the string setions lay susended hords Assigning the string arts to the saxohone setion kees the aomaniment homogeneous hile aenting the unique instruments available to the ind orhestra (see ig 16) ig 16 m 6 Details or Movement V, Psalms 144-145 sing the key o A-lat maor, a 4/4 time signature, and marked Risoluto Maestoso, Dvorak reates an energeti and marh-like movement to bring Biblial Songs to a lose The ith movement is similar to the irst movement, beginning ith a striking motive that returns throughout the ork (measures 1, 11, 21, 1, 48) The motive is stated in the orte dynami and then is reeated in the iano dynami As in the irst movement, the voalist rests during these exlamatory interludes enabling the entire ind orhestra to erorm the motive ith energy and at ull volume (see ig 17) 4
ig 17 m 1 5
The har and triangle are only used in this movement; their unique olors bring brilliane to the ensemble sound The marimba is transribed to aent the har and an be used instead o the har i one is not available or erormane (see ig 18) ig 18 m 1 In measures 42 to 48, the omound trilet eighth notes gradually gro in dynami (rom ianissimo to ortissimo) and exand into higher and loer registers (see ig 19) The registers sread until measure 48 here it arrives in the toni (A-lat) The reeating motive (see ig 17) then returns and resents multile lagal adenes (IV to I), also knon as the Amen Cadene, that gently loses the ork reminding the listener o the sared text, Everyday I ill bless Thy name and I shall sing to my Savior 6
ig 19 m 42 7
ig 19 (ontinued) m 46 8
APPENDIX ANTONIN DVORAK S BIBLICAL SONGS: WIND ORCHESTRA TRANSCRIPTION SCORE 9
Sore lute 1 Andantino 8 Biblial Songs or Lo Voie and Wind Orhestra Antonin Dvorak, o 99 Mvt 1 Transribed by Raymond Bron Psalm 97: 2-6 lute 2 8 Oboe 1 8 Oboe 2 Bassoon 1 Bassoon 2 8 8 8 z dim dim Clarinet in Bb 1 Clarinet in Bb 2 Clarinet in Bb Bass Clarinet Contrabass Clarinet 8 8 8 8 8 z dim dim dim dim dim Alto Sax 1 Alto Sax 2 Tenor Sax Baritone Sax Voie Trumet in Bb 1 Trumet in Bb 2 Trumet in Bb Horn in 1 Horn in 2 Horn in Horn in 4 Trombone 1 Trombone 2 Bass Trombone Euhonium Tuba Cello Double Bass Timani Perussion 1 Perussion 2 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 Bass Drum/Crash Cymbals z Dark - ness and thun - der louds are round a - bout dim dim Him Marimba 8 8 ç dim 1 2 4 5 6 7
l 1 l 2 Ob 1 Ob 2 Bsn 1 Bsn 2 Bb Cl 1 Bb Cl 2 Bb Cl B Cl Cb Cl n A Sx 1 A Sx 2 T Sx B Sx Bb Tt 1 Bb Tt 2 Bb Tt Hn 1 Hn 2 Hn Hn 4 Tbn 1 Tbn 2 B Tbn Euh Tuba V DB Tim Per 1 Per 2 udg - ment is His a - bode Right - eous - ness b b His Mrb ç b 8 9 10 11 12 1 14
l 1 l 2 Ob 1 Ob 2 Bsn 1 Bsn 2 B b Cl 1 B b Cl 2 B b Cl B Cl Cb Cl A Sx 1 A Sx 2 T Sx B Sx B b Tt 1 B b Tt 2 B b Tt Hn 1 Hn 2 Hn Hn 4 Tbn 1 Tbn 2 B Tbn Euh Tuba V DB Tim Per 1 Per 2 Thro - ne ire and lame He doth send, His en - em - ies - de - R R R R R R r r r R R R R r r r r R r R R R R R Mrb 15 16 r R 17 18 19 20 21
l 1 Poo iu mosso ḟ l 2 b ḟ b b b Ob 1 b P b res R ḟ Ob 2 Bsn 1 Bsn 2 Bb Cl 1 Bb Cl 2 Bb Cl B Cl Cb Cl A Sx 1 A Sx 2 T Sx B Sx Bb Tt 1 b res res res res stroy - - - eth in light - ning and thun - der And through theorld his stor-my lightninglashed, - b b R res b b b b R res res n n res res res res n n R res n n R res res n n n R res res b b R n n n R res n R n R b b n n n n n n res n n n n res res r n n res n b b n b n n n b n n n earth sa and Bb Tt 2 Bb Tt Hn 1 res res r Hn 2 Hn Hn 4 Tbn 1 b res res res n res res res r n r n r n b n b b b Tbn 2 B Tbn Euh Tuba V DB Tim res res res res n n b b b R n res res res res b R n R r b solo b b n n b b b b b b Per 1 Per 2 Mrb b b b b b res res b n b R 22 2 24 b 25 b 26 b 27 b 28
l 1 Meno mosso, quasi Temo I ritard dim l 2 dim Ob 1 dim Ob 2 Bsn 1 Bsn 2 dim B b Cl 1 B b Cl 2 B b Cl B Cl Cb Cl res res dim dim dim A Sx 1 res A Sx 2 T Sx B Sx res res B b Tt 1 B b Tt 2 B b Tt Hn 1 Hn 2 Hn Hn 4 Tbn 1 Tbn 2 B Tbn Euh Tuba V b trembled tutti n n b tutti n tutti n n n n Tremb - ling-ly ait-ed on His ord Mount - ains melt like ax hen they be- hold the R r r R b R b R r res res ḟ res dim dim dim n DB Tim Per 1 Per 2 Snare D, Bass D res res Mrb 29 res R 0 1 2 res 4 5
l 1 oo rit l 2 Ob 1 Ob 2 Bsn 1 Bsn 2 B b Cl 1 B b Cl 2 B b Cl B Cl Cb Cl n n A Sx 1 n A Sx 2 T Sx B Sx Lord, ho is God o R earth and heaven, - hen themight - y One om-eth The heav'ns de-lare His right - eous-ness and the B b Tt 1 B b Tt 2 B b Tt Hn 1 n Hn 2 Hn Hn 4 Tbn 1 Tbn 2 B Tbn Euh Tuba V DB Tim P b B Per 1 Per 2 Mrb 6 7 8 9 40 41 42
l 1 l 2 Ob 1 Piu mosso in temo Ob 2 Bsn 1 Bsn 2 B b Cl 1 B b Cl 2 B b Cl B Cl Cb Cl A Sx 1 A Sx 2 T Sx B Sx u r B b Tt 1 B b Tt 2 B b Tt earth his glo - ry Hn 1 Hn 2 Hn Hn 4 Tbn 1 Tbn 2 B Tbn Euh Tuba V B DB Tim Per 1 Per 2 Mrb ç 4 44 45 46 47 48 49 50
lute 1 Andante Biblial Songs Mvt 2 Psalm 119: 114, 115, 117, 120 oo ael lute 2 Oboe 1 Oboe 2 Bassoon 1 Bassoon 2 Clarinet in Bb 1 legato Clarinet in Bb 2 Clarinet in Bb Bass Clarinet Contrabass Clarinet Alto Sax 1 - Alto Sax 2 Tenor Sax - - Baritone Sax - Voie Lord my shield, my reugeand hoe artthou AndinThy ord ut I my trust A-vaunt rom me ye ho Trumet in Bb 1 Trumet in Bb 2 Trumet in Bb P - Horn in 1 - P Horn in 2 Horn in Horn in 4 Trombone 1 Trombone 2 - P - - - Bass Trombone Euhonium Tuba Cello Double Bass Timani Marimba 1 2 4 5-6 7
l 1 in temo l 2 Ob 1 P Ob 2 Bsn 1 P Bsn 2 Bb Cl 1 Bb Cl 2 Bb Cl B Cl Cb Cl A Sx 1 A Sx 2 T Sx B Sx ev - il do ra-tise Thy ord is la and I ill love the Lordmy Sav - - - - iour Lord,giveme strength Bb Tt 1 Bb Tt 2 Bb Tt Hn 1 Hn 2 Hn Hn 4 Tbn 1 Tbn 2 B Tbn Euh Tuba V DB Tim Mrb 8 9 10 11 12 1 14
l 1 l 2 ael Ÿ~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~ Ob 1 Ÿ~~~~~~~~~~~~~~~~~~~~~ Ob 2 Ÿ~~~~~~~~~~~~~~~~~~~~ Bsn 1 Bsn 2 Bb Cl 1 Bb Cl 2 Bb Cl B Cl Cb Cl A Sx 1 A Sx 2 T Sx B Sx P Kee me rom ev P - il May my de - lightbeall in Thyom-mandments - ever - In ear and trembling - I stand hereinthy sight Bb Tt 1 Bb Tt 2 Bb Tt Hn 1 Hn 2 Hn Hn 4 Tbn 1 Tbn 2 B Tbn Euh Tuba V DB Tim Mrb 15 16 17 18 19 20 21
l 1 in temo erdendosi l 2 Ob 1 Ob 2 Bsn 1 Bsn 2 Bb Cl 1 Bb Cl 2 Bb Cl B Cl Cb Cl A Sx 1 A Sx 2 T Sx B Sx iu or I ear Thy udg - ment, Lord, I ear ex - eed - - - - ing - ly Bb Tt 1 Bb Tt 2 Bb Tt Hn 1 Hn 2 Hn Hn 4 Tbn 1 Tbn 2 B Tbn Euh Tuba V DB Tim Mrb 22 2 24 25 26
lute 1 lute 2 Oboe 1 Oboe 2 Bassoon 1 Bassoon 2 Clarinet in Bb 1 Andante 4 b 4 4 4 b 4 4 b 4 n n Biblial Songs Mvt Psalm 55: 1, 2, 4, 6-8 Clarinet in Bb 2 4 b n Clarinet in Bb 4 b n Bass Clarinet Contrabass Clarinet 4 4 b b n n Alto Sax 1 Alto Sax 2 Tenor Sax Baritone Sax 4 n 4 4 4 n Voie 4 n Hear, - - - - oh hear my rayer, Lord my Trumet in Bb 1 Trumet in Bb 2 4 b 4 n Trumet in Bb 4 Horn in 1 b 4 Horn in 2 b 4 b Horn in b 4 Horn in 4 Trombone 1 Trombone 2 Bass Trombone b 4 b 4 4 b 4 b b n b Euhonium Tuba Cello 4 b 4 b 4 b Double Bass 4 izz Timani 4 Perussion 1 4 Perussion 2 4 Marimba 4 b 4 b 1 n n 2 4 5 6 7 8
l 1 l 2 Ob 1 Ob 2 Bsn 1 Bsn 2 n n Bb Cl 1 Bb Cl 2 Bb Cl B Cl Cb Cl A Sx 1 A Sx 2 T Sx B Sx n ḟ God and hide - - - not Thy - sel rom my en - trea - Bb Tt 1 Bb Tt 2 Bb Tt Hn 1 b Hn 2 b Hn b Hn 4 b Tbn 1 Tbn 2 B Tbn Euh Tuba ṗ b V aro DB Tim ṗ aro Per 1 Per 2 Mrb 9 10 11 12 1 14 15 16
l 1 l 2 Ob 1 Ob 2 Bsn 1 Bsn 2 Bb Cl 1 b n ṗ b b b b b b b n n n n b b Bb Cl 2 b Bb Cl B Cl Cb Cl n n A Sx 1 A Sx 2 T Sx B Sx b n b n b b n b b ty Hear my rayer, oh hear myrayer To the voie o my Bb Tt 1 straight mute b b b b Bb Tt 2 straight mute b b b b Bb Tt b Hn 1 b - b Hn 2 b - b n n Hn b - b Hn 4 Tbn 1 Tbn 2 B Tbn Euh Tuba b ṗ - b b b n n n n n n n n V DB izz ṗ izz b n n n n Tim Per 1 Per 2 Mrb 17 18 19 20 21 22 v b 2 n n n n 24
l 1 l 2 Ob 1 Ob 2 Bsn 1 Ż n n b n b n b b b b b b b b b b b b b b b b b b Bsn 2 Bb Cl 1 Ż b b b b Bb Cl 2 b b b b Bb Cl b b b B Cl Cb Cl Ż Ż b b b b A Sx 1 A Sx 2 T Sx B Sx Ż n n b n b b n b b b b b b n n b b b b b b b b b n n mourn - ing give ear Oh Lord, hear my rayer Pained and sore is my Bb Tt 1 b b b oen Bb Tt 2 b b b oen Bb Tt b Hn 1 b b Hn 2 b b Hn b b Hn 4 Tbn 1 Tbn 2 b b b b b b b b b b B Tbn Euh Tuba Ż Ż b b b ṗ b n n V b b n n DB b Tim b Per 1 Per 2 Mrb 25 b b b 26 b b 27 b b 28 b 29 b 0 b 1 2
l 1 l 2 Ob 1 Ob 2 Bsn 1 Bsn 2 Bb Cl 1 ḟ n n n b n n n n n n Bb Cl 2 Bb Cl B Cl Cb Cl A Sx 1 A Sx 2 ḟ ḟ n n T Sx B Sx n n heart, - - the ear odeath lies hea - vy u-on me and ter - ror hath en-om - assed me And thus I sake Bb Tt 1 Bb Tt 2 Bb Tt Hn 1 b n Hn 2 b n Hn Hn 4 Tbn 1 Tbn 2 B Tbn Euh Tuba V DB b b ḟ ḟ n n n n n n b n n n n B n n n n n n n Tim Per 1 Per 2 Mrb 4 5 n 6 7 n 8 9 40
l 1 l 2 un oo iu mosso Ÿ~~~~~~~~~~ Ob 1 Ob 2 Bsn 1 Bsn 2 Bb Cl 1 Bb Cl 2 Bb Cl B Cl Ḟ Cb Cl A Sx 1 A Sx 2 T Sx B Sx Oh, had I ings - - - like a sil - ver dove, I ould ly ar a - ay and be at rest Bb Tt 1 Bb Tt 2 Bb Tt Hn 1 b Hn 2 b Hn b Hn 4 b Tbn 1 Tbn 2 B Tbn Euh Tuba V izz DB Tim Per 1 Per 2 Mrb 41 42 4 44 45 46 47 48
l 1 l 2 Ob 1 Ob 2 Bsn 1 Bsn 2 Bb Cl 1 Bb Cl 2 Bb Cl B Cl Cb Cl A Sx 1 A Sx 2 T Sx B Sx n b b n n b n b b b b b b b b b b b b b b b b rit b b string res b b b b b b res res b P b b b b b b b b b b b b b b Ah, ar ould I ly b and b b b b b rest me The ild - er - ness my home ould I make I ould es-ae ar rom the storm - - - inds, Bb Tt 1 Bb Tt 2 Bb Tt b b b b b b b b b b b Hn 1 b Hn 2 b Hn b Hn 4 Tbn 1 Tbn 2 B Tbn Euh Tuba V DB Tim b aro b n b n n n b b b b b b b b b b b b b b b b b b b b b Per 1 Per 2 Sus Cymb Bass Drum Mrb n b 49 50 51 b 52 5 54 55 56
l 1 l 2 Ob 1 Rit b in temo n b b b b b n n b b b b b n b b b b oo a oo ritard Ob 2 Bsn 1 Bsn 2 Bb Cl 1 Bb Cl 2 Bb Cl B Cl Cb Cl A Sx 1 A Sx 2 T Sx B Sx b n b b b b n b n b b b b n b b b b b Tem-est or the ear o death Bb Tt 1 Bb Tt 2 b Bb Tt Hn 1 b b b Hn 2 Hn Hn 4 Tbn 1 Tbn 2 B Tbn Euh Tuba V DB Tim b b b b b b b b b b b b b Per 1 Per 2 Mrb b 57 58 b 59 60 61 62