Sorowfull Songes for SATB a Cappella

Contemporary Philips Sorowfull Songes for SATB a cappella

No. 72301 I. The lover hopeth of better chance

He is not dead, that somtime had a fall. The Sun returnes, that hid was under clowd. And when Fortune hath spit out all her gall, I trust, good luck to me shall be alowd. For, I have seen a ship in haven fall, Sir Thomas Wyatt After that storme hath broke both maste, & shroud, Julian Philips The willow eke, that stoupeth with the winde, Doth rise againe, and greater wood doth binde. Contemplative q = c.50

Stood forward from the ensemble mp Solo    Tenor    He  Chorus: humming with slighly open mouth. Plain, instrumental sound. pp lontano (sim.)     Soprano               mm mm mm mm mm pp lontano

Alto      mm

Tenor     Bass      

5 dolce e espressivo  T. Solo                                 is not dead, that some- time had a fall.  S.               mm mm mm mm mm (sim.)    A.                mm mm mm mm pp lontano

T.       mm B.   

9 1   3 T. Solo                        The Sun re -turnes, that hid was under

 S.                mm mm mm mm mm

A.               mm mm  mm    T.             mm mm mm

pp lontano  B.         mm mm

mf più marcato 13 3        T. Solo                    clowd. And when For - tune hath spit out poco cresc. S.               mm mm mm mm mm mm

poco cresc. A.                  mm mm mm mm

(sim.) poco cresc. T.          mm mm poco cresc.   B.         mm 7 II. To his love whom he had kissed against her will.

Alas, Madame, for stealing of a kisse, Have I so much your minde therein offended? Or have I done so grievously amisse: That by no meanes it may not be amended? Revenge you then, the rediest way is this: Sir Thomas Wyatt Another kisse my life it shal have ended. Julian Philips For, to my mouth the first hart did suck: The next shal clene out of my brest it pluck.

Soulful poco rit. (q = c.84) p pp                  A - las,  a - las,  Tenor  p pp                        A - las, a - las, p pp          Bass A ------las,

p pp          A ------las,

1 Now faster (q = c.112) 4 mf p leggiero                    a - las, for stealing of a kisse, T.  mf p leggiero                   for stealing of a kisse, mf mp leggiero p leggiero                     a - las, Ma -dame, for stealing of a kisse, B. mf mp leggiero p leggiero                     a - las, Ma -dame, for stealing of a kisse, 8

7 mp più legato e dolce mf                   Have I so much your minde there-of in -fen -  ded? T.  mp più legato e dolce mf                   Have I so much, minde there-of in -fen - ded?

mp più legato e dolce mf                Have I so much, minde of- fen - ded? B. mp più legato e dolce mf              so much, minde of - fen - ded?

10 2 p leggiero mp                      Or have I done so grie-ly vous - a- misse: That T.

p leggiero mp                     Or have I done so grie-ly vous - a- misse: That

mp p leggiero                Or have I done so grie-ly vous - a- misse: That B.

p leggiero                  Or have I done so grie-ly vous - a- misse: 13 III. Of sodaine trusting

Driven by desire I did this dede To danger my self without cause why: To trust thuntrue not like to spede, To speake and promise faithfully: But now the proofe doth verifie, Sir Thomas Wyatt That who so trusteth ere he know, Julian Philips Doth hurt himself and please his foe. Secretive chorale (q = c.60)

pp hushed

Soprano                        Dri -bydeven -sire I did this dede To pp hushed Alto                          Dri -bydeven  -sire I did this dede To pp hushed Tenor                           Dri -bydeven -sire I did this dede To pp hushed Bass                           Dri -bydeven -sire I did this dede To

4 pp  3  S.                           dan -ger my- self without cause why: To trust thun - true not pp 3  A.                            dan -ger my- self without cause why: To trust thun - true not

pp  3  T.                                dan -ger my- self without cause why: To trust thun - true not 3 pp   B.                                dan -ger my- self without cause why: To trust thun - true not 14

7 p S.                  like to spede, To speake and promise p A.                   like to spede, To speake and promise p T.                   like to spede, To speake and promise p

B.                    like to spede, To speake and promise

2 Poco più animato 10 pp ma cresc. 3  S.                     faith -ful - ly: But now the proofe doth pp ma cresc. 3  A.                      faith -ful - ly: But now the proofe doth pp ma cresc. 3   T.                      faith -ful - ly: But now the proofe doth pp ma cresc. 3  B.                   faith -ful - ly: But now the proofe doth

13 mp S.                             ve- ri - fie, That who so trusteth ere he know mp A.                           ve- ri - fie, That who so trusteth ere he know mp  T.                           ve- ri - fie, That who so trusteth ere he know mp   B.                              ve- ri - fie, That who so trusteth ere he know 16 IV. A riddle of a gift geven by a Ladie. A Lady gave me a gift she had not, And I received her gift which I toke not, She gave it me willingly, and yet she would not, And I received it, albeit, I could not, If she give it me, I force not, And if she take it againe she cares not. Conster what this is and tel not, Sir Thomas Wyatt For I am fast sworne I may not. Julian Philips Playful (q = c.120) Soprano    

Solo p Alto     had

p leggiero  Tenor                        A La- dy gave me a gift she had p leggiero  Bass                          A La- dy gave me a gift  she had



5 2 soli sfz p A.         not, toke

p T.                     And I re ceived her gift which I toke

p     B.                     And I re ceived her gift which I toke 17 9 1 sfz Tutti: A.        not, mp ten. molto legato   T.                       She gave it me wil-ling - ly, and yet, she mp ten. molto legato        B.               She gave it me wil-ling - ly, and yet, she  13 p sfz S.       would not,

p sfz A.      would not,  mp       T.                would And I received it, al- be -I it, mp                B.        would And I received it, al- be -I it,

 17 2 p sfz p mf  S.              could not, force not, p mf p sfz A.             could not, force not, marcato  mf               T.  could If she give it me, I force  mf marcato               could If she give it me, I force  mf marcato              B. could If she give it me, I force  mf marcato            could If she give it me, I force 21

V. The lovers sorowfull state maketh him write sorowfull songes, but (Souche) his love may change the same.

Marvell no more altho The songes, I sing do mone: For other life then wo, I never proved none.

And in my hart also, Is graven with letters depe A thousand sighes and mo: A flood of teares to wepe.

How may a man in smart Finde matter to rejoyce? How may a moorning hart Set foorth a pleasant voyce.

Play who so can, that part: Nedes must in me appere: How fortune overthwart Doth cause my moorning chere.

Perdy these is no man, If he saw never sight: That perfitly tell can The nature of the light.

Alas: how should I than, That never taste but sowre: But do, as I began, Continually to lowre.

But yet perchance some chance May chance to change my tune: And when (Souch) chance doth chance: Then shall I thank fortune.

And if I have (Souch) chance: Perchance ere it be long: For (Souch) a pleasant chance. To sing some pleasant song. Sir Thomas Wyatt Julian Philips Flowing q = c.112 p  Soprano                      Mar vell- no more al tho- The songes, I sing do

p                               Mar vell- no more al tho- The songes, I sing do Alto p         do 22 5 mp p S.                   mone: For o- ther life than wo, I never pro - ved mp p                          mone: For o- ther life than wo, I never pro - ved A. mp p                          mone: o -ther life than wo, than wo never pro - ved

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9 1 p                     none. And in my hart also, Is graven S. p                     none. And in my hart also, also, p                I never proved none. A. p            none.  Is graven

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13 mp p                      with letters depe A thou- sand sighes and mo: A S. mp p                              letters depe thou-sand sighes and mo, A

mp p                          A. letters depe thou-sand sighes and mo, and mo: mp p                     with letters depe A thou- sand sighes and mo: A Contemporary Phili ps Julian Philips

Julian Philips studied music at Emmanuel College, Cambridge, and his compositions have been performed at major festivals and venues including the Proms, the Tanglewood Music Festival, Welsh National Opera and Glyndebourne. A significant composer of operatic music, Philips’ work includes Followers, The Yellow Sofa, and Knight Crew (libretto by Nicky Singer), commissioned by Glyndebourne (2010). Welsh

National Opera commissioned two chamber operas, Dolffin Songes Sorowfull and Wild Cat. Other works include two ballets for English National Ballet, Les Liaisons Dangereuses and The Snow Queen. Julian Philips is Honorary Fellow of, and was made Head of Composition at, the Guildhall School of Music in 2004. He has also taught at Cambridge.

Julian Philips studierte Musik am Emmanuel College in Cambridge. Seine Kompositionen sind bei führenden Festivals und in renommierten Häusern erklungen, darunter die BBC Proms, das Tanglewood Music Festival, Welsh National Opera und das Opernfestival im englischen Glyndebourne. Philips ist ein bedeutender Opernkomponist, und seinen Schaffen umfasst die Bühnenwerke Followers, The Yellow Sofa sowie Knight Crew (2010), ein Auftragswerk für Glyndebourne auf ein Libretto von Nicky Singer. Zwei Kammeropern, Dolffin und Wild Cat, entstanden im Auftrag der Welsh National Opera. Zu weiteren Werken gehören zwei Ballette für das English National Ballet, nämlich Les Liaisons Dangereuses und The Snow Queen. Julian Philips ist „Honorary Fellow“ der Guildhall School of Music, wo er 2004 zum Leiter der Kompositionsabteilung ernannt wurde. Außerdem lehrte er in Cambridge. Edition Peters No.Edition 72301