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The Golem Psalms

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The Golem Psalms ANDREA CLEARFIELD THE GOLEM PSALMS CANTATA FOR BARITONE, SATB CHOIR AND ORCHESTRA (2006) INSTRUMENTATION 3 FLUTES (3 DOUBLES PICCOLO) 2 OBOES ENGLISH HORN 2 CLARINETS IN A BASS CLARINET 2 BASSOONS CONTRA BASSOON 4 HORNS IN F 3 TRUMPETS IN C 2 TENOR TROMBONES 1 BASS TROMBONE TUBA PERCUSSION (3 PLAYERS) TIMPANI HARP PIANO/CELESTA (1 PLAYER) STRINGS PERCUSSION LIST 3 Timpani I Marimba, 4 1/3 octave (share with II), Xylo, Vibes, Chimes, Sus Cymbal H, Sizzle Cymbal, Triangle, Slide Whistle, Snare Drum, Small Gourd Rattle, Slap Stick, Vibraslap, Claves, Crash Cymbal, Bell Tree, Suspended Crotale (E), Kalimba *bass bow required for bowed vibes and cymbal II Marimba (share with I), Glock, Sus Cymbal M, 2 Congas (H,L), 2 Bongos (H,L), Tam-Tam (M), 4 Timbales, Policeman's Whistle, Gourd Rattle, Temple Blocks (5 gradated), Suspended Triangle, Cowbell, Flexatone, Ratchet, Brake Drum or Anvil, Suspended Crotale (B), Mark Tree *bass bow required for bowed Tam-Tam III Vibes (Share with I), 3 Gradated Toms and B.D., Snare drum, Electronic Drum Set (Yamaha DTXPress) with powered speakers (or acoustic drum set), Sleigh Bells, Suspended Triangle, Hi-Hat, Tambourine, Small Tam-Tam, Sus. Cymbal L, Gourd Rattle, 4 small metal (player's choice) DURATION: 25 MINUTES TABLE OF CONTENTS PROLOGUE.................................................................................................................................Page 4 I CREATION............................................................................................................................Page 5 II ABRACADABRA.................................................................................................................Page 22 III THE DANGER OF THE NAME..........................................................................................Page 38 IV THE FOUNTAIN OF VOICES............................................................................................Page 57 V AMOK...................................................................................................................................Page 68 VI SOUNDS OF CLAY/ALAS POOR GOLEM......................................................................Page 77 VII THE UNCREATION OF THE GOLEM...............................................................................Page 81 Original texts by Ellen Frankel, Copyright ©2005 Excerpts from Psalms, taken from The JPS TANAKH, used by permission of The Jewish Publication Society This work was commissioned by Mendelssohn Club of Philadelphia under Music Director Alan Harler, with support from the Philadelphia Music Project, an Artistic Initiative of The Pew Charitable Trusts, administered by The University of the Arts. With gratitude to The MacDowell Colony, The Virginia Center for the Creative Arts and The Ragdale Foundation ©2006 BY ANDREA CLEARFIELD ALL RIGHTS RESERVED Score in C Commissioned by Mendelssohn Club of Philadelphia, Alan Harler, Music Director Ellen Frankel THE GOLEM PSALMS Andrea Clearfield April, 2006 PROLOGUE 1 Flute 1 U & Flute 2 U & Flute 3 U (Picc) & Oboe 1 U & Oboe 2 U & Cor Anglais U & 4 2 Clarinet 1 U & 4 4 Clarinet 2 U & Bass Clarinet U ? Bassoon 1 U ? Bassoon 2 U ? Contrabassoon U ? 1 Horn 1,3 U & 4 2 Horn 2,4 U & 4 4 Trumpet 1 U & Trumpet 2/3 U & Trombone 1/2 U ? Trombone 3 U ? Tuba U ? Percussion I U ÷ 4 2 Percussion II U ÷ 4 4 Percussion III U ÷ Timpani U ? U ? Harp U ? U ? Piano/ Celesta U ? 1 Baritone Solo U ? Soprano U & 4 2 Alto U & 4 4 Tenor U V Bass U ? Violin I U & Violin II U & 4 2 Viola U B 4 4 Celli U ? Double Bass U ? (pre-recorded) My name is Joseph, the Golem, but what does that tell you except that I am raw potential, waiting to be shaped by need? What does that tell you except that I am mute unless others speak for me, unless I am the shofar for my creator’s breath? What does that reveal except that I came into being by magic, and was kept secret by those who conjure under threat of death? Am I so different from you, shaped by the circumstances of your birth, subject to the whims of power, the burdens of history? Am I so different, invisible but for an act of grace, doomed to wait for redemption beneath a shroud of prayers? -5- I. CREATION Dark, with a quiet intensity 2 q = 116 3 4 5 6 7 8 Fl. 1/2 & Ob. 1 & 2 3 2 3 2 Cl. 1 & 4 8 4 8 4 Bsn. 1 ? C.Bsn. ? #˙ ˙ ˙ #˙ 2 3 4 5 6 7 8 Hn. 1,3 & a 2 straight mute Tbn. 1/2 ? j j j j ‰ Œ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ #œ > > > straightß mute p Tbn. 3 ? j ‰ Œ #œ (high pitched) Small Gourdß Rattle Perc I ÷ ˙ ˙ ˙ ˙ æ æ æ æ 2 Low Conga hard mallets 3 2 3 2 Perc.II ÷ œ œ ‰ œj œj ‰ œ œ ‰ œj œ œ ‰ œ œ ‰ œj œ œ ‰ œ œ ‰ œ œ p Sus. Cymbal 4 8 with wood l.v. 4 8 4 Perc. III œ œ œ ÷ J ‰ ‰ J ‰ ‰ J ‰ ‰ gl. gl. Timp. ? j j Œ æ æ æ œ ‰ ‰ æ æ æ œ ‰ ‰ #œ l.v. #œ œ œ > #œ œ œ > p p p ? A B C# D E# F G# Hp. f ß P ? Œ Œ l.v. #œ (play grace notes sharply) #œ j ? # œ œ j j j #œ ‰ Œ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ Pno./ > #œ . Cel. > Spp p ? j ‰ Œ j ‰ Œ #œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ > Vln. I ° * ° * & Vln. II & 2 3 2 3 2 Vla. B 4 8 col legno 4 8 4 Vc. ? j j j œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ p pizz. arco col legno D.B. j ? j ‰ Œ æ æ æ ‰ ‰ j ‰ Œ #œ #œ œ œ gl. œ. #œ ß p -6- 9 10 11 12 13 14 15 16 Fl. 1/2 & Ob. 1 & 2 3 2 3 5 2 Cl. 1 & 4 8 4 8 8 4 Bs.Cl. ? j j j œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ > sim.> > p Bsn. 1 ? C.Bsn. ? #˙ ˙ ˙ #˙ #œ œ. 9 10 11 12 13 14 15 p 16 Hn. 1,3 & (use trigger: 7-2) a2 1. 1. sim. gl. a2 gl. Tbn. 1/2 ? j j j 2. œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ #˙œ ‰ Œ ˙ œ œ œ > #œ œ œ > > J p p ß Tbn. 3 ? j ‰ Œ j ‰ Œ #œ #œ ß p Perc I ÷ ˙ ˙ ˙ ˙ æ æ æ æ 2 3 2 3 5 2 Perc.II ÷ œj ‰ œ œ ‰ œj œj ‰ œ œ œj ‰ ‰ œ œ ‰ œj œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œj Sus. Cymbal 4 B.D. soft mallets 8 with wood 4 8 8 4 Perc. III œ œ ÷ æ æ æ ‰ ‰ æ ‰ ‰ ˙ ˙ ˙ J l.v. ˙ J p p gl. gl. Timp. ? Œ j ‰ ‰ j ‰ ‰ #œ #œæ œæ œæ œ #œæ œæ œæ œ p p p j œ ? #œ ‰ ‰ ‰ #œ J Hp. ß P ? Œ Œ j ‰ ‰ Œ #œ #œ #œ j j ? #œ œ j j j #œ œ #œ ‰ Œ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ #œ ‰ ‰ Œ Pno./ > #œ . œ Cel. > Spp p p ? j ‰ Œ j ‰ Œ œ œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ #œ #œ (exaggerate dynamics) #œ œ œ œ œ * T ° * ° p V #œ œ œ œ œ In the be - gin - ning, p B ? #œ œ œ #œ œ In the be - gin - ning, Vln. I & Vln. II & a.2 2 3 2 3 5 pizz. 2 Vla. j j B #œ ‰ ‰ œ ‰ p 4 8 a.2 4 8 8 4 Vc. j j j ? œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ pizz. arco D.B. j j ? j ‰ Œ æ æ æ Œ æ æ æ Œ #œ #œ œ œ gl. œ. #œ œ œ gl. œ. P p p -7- 17 18 (3+3+2) 19 20 21 22 23 24 Fl. 1/2 & 2 3 8 2 6 9 5 6 Cl. 1 Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~~~ & j ‰ j ‰ ‰ #œ. œ #œ. œ 4 8 8 4 8 8 8 p P 8 p P Bs.Cl. ? j j j Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~~~ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ j ‰ j ‰ ‰ > > > #œ. œ #œ. œ a.2 p P p P Bsn.Bsn. 1/2 1 ? j ‰ ‰ j ‰ ‰ j‰ ‰ j ‰ j ‰ ‰ #˙ œ #˙ œ œ #œ. œ #œ. œ œ œ œ # œ. œ # œ. œ >p p> > p P p P C.Bsn. ? ˙ #w ˙ #œ. ˙. 17 18 p 19 20 21 p 22 23 24 1. Hn. 1,3 . & j ‰ j ‰ ‰ 3. œ. #œ œ. ##œ J J 2 3 8 2 6 9 5 2. p 6 Hn. 2,4 . p. & j ‰ j ‰ ‰ 4.##œœ. #œ ##œœ. #œ 1. gl. a 2 1. gl. a 2 4 8 8 4 8 8 8 J 8 J Tbn. 1/2 ? j j j p p œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ #œ œ œ > #œ œ œ > > p p Tbn. 3 ? j ‰ Œ j ‰ Œ #œ #œ Sizzle Cymbal fi fi Perc I œ. œ. ÷ ˙ ˙ Œ Œ. æ æ p 2 3 8 2 6 9 5 6 Perc.II ÷ œ œ ‰ œj ‰ œ œ œ œ ‰ œ œ ‰ œ œ œj ‰ œ œ ‰ œ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ ‰ œ œ ‰ œ œ œ ‰ œ 4 8 8 4 8 8 8 8 Perc. III ÷ œ ‰ ‰ œ ‰ ‰ Œ. Œ Œ ‰ ˙æ J ˙æ J œæ. œæ. p p p p gl. gl. gl. gl. Timp. ? j ‰ ‰ j ‰ ‰ j‰ ‰ j j #œæ œæ œæ œ #œæ œæ œæ œ œ œæ œæ bœ œæ œæ bœ. p p p P j œ œ j œ œ œ. fi œ. fi ? #œ ‰ ‰ ‰ ‰ J ‰ #œ ‰ ‰ ‰ ‰ Œ bbœœ. Œ bbœœ. Œ. #œ J #œ œ œ . & Hp. J J G n - f P ? ‰ ‰ Œ. Œ Œ ‰ ‰ Œ. Œ. Œ Œ. j j œ. œ. #œ #œ #œ j j ? j # œ œ j j #œ œ j j œ Œ #œ Œ Œ. Œ œ Œ œ Œ # œ ‰ ‰ Œ. Œ. œ ‰ ‰ Œ œ ‰ ‰ Œ ‰ Pno./ . œ . œ ##œœ ##œœ Cel. > > ? j ‰ Œ j ‰ Œ #œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ > > * p P T j j V #œ œ œ œ œ œ œ- œ #œ œ œ œ œ œ œ- œ œ œ #œ #œ ‰ œ œ #œ n#œ ‰ œ in the be - gin-ning was cha-os, in the be-gin-ning was cha-os, un - formed andJ mute,J wa-ter and wind, and p P j j B #œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ #œ #œ ? #œ œ- #œ œ- ## œœ #œ J ‰ ##œœ œœ#œ ‰ œ in the be - gin-ning was cha-os, in the be-gin-ning was cha-os, un - formed andJ mute, wa-ter and wind, and gl.
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