Edie Hill FOR PERUSAL ONLY...I. The Book of Hungers The book of hungers was conceived in an ancient...
Transcript of Edie Hill FOR PERUSAL ONLY...I. The Book of Hungers The book of hungers was conceived in an ancient...
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HP05-01
Edie Hill
Between the Limbs, Music
for
Soprano &
Piano
$25.00
3324 Grand Avenue South • M inneapolis , MN 55408 • 612 .825 .9794 • ed ieh ill .com
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Edie Hill
Between the Limbs, Music
Between the Limbs, Music is a set of four songs that deal with themes of love, life and death.
I. The Book of Hungers establishes the idea that we are part of a continuum. Our commonality is mortality and
what we long for in life is love. This is a circle that continues through the generations. The music in the first song
has an ancient, circular feel, as if a clock or a river were running underneath the vocal line, sometimes with the two
running in, out and across one another. Another important aspect is the contrast between this ‘clock’ or ‘river’
music and the music which proceeds the declaration “we carry it with us.” To me, these words mean that we all
carry or bear this book, and we do it with great strength of spirit.
II. Hummingbird moves into the wonderful realm of young love. I wanted this song to be like a watercolor – very
fluid, very colorful. I wanted the music to convey the type of love when one is young and feels completely free and
unscathed by life’s burdens – pure, fantastic passion.
III. Autumn Dusk tempers the carefree youthfulness of Hummingbird. This song is about mature love – a love that
has endured. The voice sings a slow lullaby and the piano is instructed to play the sparse gestures “like muffled
shapes at dusk.” At the very end of the song, the music and voice lift up into the air as the geese do in the poem,
flying away from the two lovers.
IV. Between the Limbs, Music opens with the music that accompanies “the book” music in the first song. It is
meant to be a call to attention before the singer begins more softly, singing on “ah,” and the “the heart’s song
resumes again after sleep…” As the voice enters, the clock or river music returns, running through the rest of the
song. This song imparts the idea that we are all “drifting on the promise of death” – and that this is the paradox of
life – there cannot be joy without sorrow, passion without solitude or life and love without death to drive us forward,
make us yearn. Even though we cannot have one without the other, the poet chooses to highlight joy, passion,
breathing and ecstasy – so I chose to end the song with a soaring “ah” – an expression of joy and passion.
-Edie Hill
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I. The Book of Hungers
The book of hungers
was conceived in an ancient language.
Past dayfall its pages turn,
moving between darkness and shadow.
We carry it with us,
its landscape bound with impenetrable thread.
The wind in the frost-withered leaves
recalls the persistent whisperings of lovers
skating afternoons
along the river’s edge,
wanting nothing but the pressure
of mouth on mouth,
the coolness of their faces
smooth as the flesh-caps of mushrooms.
The book lies open in our hands.
We carry it with us,
surrendering one by one
to the damp soil’s need.
How naked the spirit is
without the simple truth of the body.
“They spring up in bunches after rain,
frequently circling the dead.”
We pass the book like an invitation among us.
It shall not be rewritten.
II. Hummingbird
The hummingbird flies
like uneven breath.
His throat is the rare hue
of the cardinal flower.
See how the asparagus rises
before distributing
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its seed, and the scarred
moon barely visible
in the water, wreathed
by reflections of trees.
Let’s swim into the cold
where the black loons dive,
two by two, and later,
in the high grass, where
there can be no abstinence,
speak to me the way
a leaf does ascending
in a gust. Say again
how the hummingbird returns
to the same wild grove,
the same magnetic blossoms.
III. Autumn Dusk
Night enters the lake
with its black tongue
as slender reeds
rouse the wind.
In outlying fields,
the harvested earth
folds itself in darkness
and the gold lights
of farmhouses
turn on, one by one,
like thoughts
before sleep.
Lie down beside me
in the shore’s
deep shade
where high leaves
swirl and surrender
to the grass.
We will blend
more quietly
with autumn’s weight.
When we wake
to frost under
these chestnut branches
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geese will be passing
in strict formation
overhead, flying
in pairs away from
this common dream.
IV. Between the Limbs, Music
The heart’s song resumes again after sleep.
We drift on the promise of death, death’s waves,
the two of us rocking, while the small town
drowses around us – low train-whistles
and beyond the neighborhoods, the prairie
restoring itself after recent fires.
The fish dream of dawn under their island
which is water, and the lake glows with algae
under the unadorned stars. Night-Hunter,
I give you whatever I assume
for joy is more inclusive than sorrow
and passion encompasses solitude…
so we float, the land ever close to us,
drowning and breathing, hopeless and ecstatic.
JOAN WOLF PREFONTAINE
from her book of poems, The Divided Shpere
Floating Island Publications, 1985
text used by permission
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æ=76
æ=76Dolce, legato
∑
‰ œ œ œ ˙˙ œ œ œ œplight pedal
‰ jœ œ œ œ œ œ œ
rall.
rall.
∑
.˙ jœ ‰œ œ œ œ œ œ œw
œ œœ œ œ œ œ?
æ=56-58
æ=56-58
freely, flowing, keeping momentum
freely, flowing, keeping momentum
≈p œ œ œ œ œ Pœ p œ œThe book of hun - gers was con -
p≈ œ œ œ œ œ œ œ œ œ œ œ‰ jœ œ œ œ œœ &
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4 œ œ œ œ œ œ œ œ œ œ œceived in an an - - - cient
.œ̇ œ œ œ œjœ œ
œ œ œ œ œ
Pœ œ œ ≈pœ
lan - guage. Past
˙̇̇
œπœ
?
œ œP
.œp
œ œ œday - fall its pag - es
‰ . rœ œ œ œ ‰ jœ ‰P
jœœ≈ .Jœ œπœ œ œPœ p .œ œ œ
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&?
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7 Fœ œ œ œ œ œ pœturn, turn,
Fœ
œ œ œ œ œ œ œ œ
œ œ œ œœ œ œ œ œ &
œ œ œ œ œ œmo - ving be- tween
‰ . rœ œ .œ˙p
œ œ œ œ ?
rall.
rall.
pœ œ œ
Pœ œ œ
πjœ ‰dark - ness and sha - dow.
œ œ œ ˙‰ Jœ œ œ œn‰ . jœb œ≈ .Jœ ‰ .
Rœ ≈ ..Jœœ
πœœMusic Preparation byMusic Advantage952-448-7544
I. The Book of HungersJoan Wolf Prefontaine Edie Hill
for Carolyn Campfield
Music Services by Paul Gerike
Copyright © 1998, Edie Hill.Copyright © 2000, Hummingbird Press.
All Rights Reserved.
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æ=76-80
æ=76-80
With strength, like a chant or declarationaccel. poco a poco
accel. poco a poco
10 Œ Œ ‰ f jœ 3œ œ œWe car - ry it
‰ . . RÔœœ œœ œœ . .. .œœ Œ
œ œf
. .ϡ
* œœ œœ*
œœ . .. .œœ Œ
œ œ œ Œ ‰ jœwith us, We
Œ Œ Jœœœb ‰ Œ
Œ œœ°
œœœ Ó
3
œb œ œ œ œ ˙ ‰ Jœcar - ry it with us, its
Ójœ ..˙̇
Ó jœœ ..˙˙
°&
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æ=96
æ=96
rall. poco a poco
rall. poco a poco
13 œ#( ) œb .œ œb œ F˙bland - scape bound
‰jœn
Jœœœbb Œ Œ ® . .Jœb œ
‰ Jœb° œb
œb œb œb ˙? &
F œb œ œb œb œb œbpœb jœ ‰
with im - pen - e - tra - ble thread.
Dolce, legatoPœ œb œ œ ˙Œ ‰ Jœ œb œb
light pedal
‰ jœb œb œpœ œ œ œ
∑
.œ̇b œb œ œ œ œ œw
œb œbœ œb œb œb œ? &
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æ=56-58
æ=56-58
Delicately
Delicately
16 ≈ pœb œb œ .œ œb œ œ œ œbThe wind in the frost - with - ered
≈π
Rœb
‰ ≈ œb œb œb ≈ ≈ .jœ
‰ Jœb
‰ . . rKœb .œ œ œ œb.˙b
œbP
œp
œleaves re -
œ œb œb œb œ œ œ œb œbπœb œb œb
Pœb
2
grace notes arebefore the beat
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27 œb œ œfac - es
≈ Rœb ‰ Œ
≈ rœb°
‰ Œ &
œ œb œ œ œb œbsmooth as the
Œ Rœb
≈ ‰
≈ rœb°
‰ Œ ?
œb œb œ œflesh - caps of
Rœb
≈ rœb ≈ Rœb ‰ .
≈ rœb ≈ Rœb Œ
œ œb .œ ‰ Œmush - rooms.
‰ œb œ œ œ œ œ˙b œ œ œb∑
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31 ∑
˙b∏
.˙˙b .˙n˙̇bb ..˙̇
With strength, like a chant or declarationæ=88
æ=88
Œ Œ 3‰F
œb œThe book
‰ . . RÔœœbb œœbb œœ . .. .œœ
œb œb
f. .œb
°
œœbb œœbb œœ . .. .œœ
œb .œ œ œ œlies op - en in our
∑
∑
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34 ˙b ‰ jœbhands. We
‰ . œb
œbJœb ‰ Œ
‰ . Jœb ‰ Œ&
3œb œ œ œb œ œcar - ry it with us,
Óƒ
œb
œb
œ
œ
‰ ?
Ó ‰ ?
Ó 3‰f
œb œThe book
. .. .œœbb œœbb Rœœbb ‰ . Œ&
. .. .. .œœœbbb°
œœbb Rœœbb ‰ . Œ&
4
(°)FO
R PE
RUSA
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37 œb .œ œ œ œlies op - en in our
∑
∑
˙b ‰ Jœbhands. We
‰ .f
œb
œb
rœb ‰ . Œ
‰ . rœb ‰ . Œ
molto rall.
molto rall.
3
œb œ œ œb œ œ œ œUcar - ry it with us, sur -
Ó ‰ . . RÔœœbb œœbb > œœ ‰U
ÓFfading, more distant. .. .. .œœœbb°
œœb œœU? &
&
&
&
√
æ=50
æ=50
rall. poco a poco
rall. poco a poco
40
3
œb œ œ œb œ Pœb œ œren - der - ing one by one to the
®F
œb
°œb
œ
œ
b
b
‰ ≈P
œb ≈ œ ≈pR
œ
°
‰ Œ
®
molto rall.
molto rall.
pœ œ
π˙b
damp soil's need.
πœb
°
œ3œb œ œ ®
∏. .jœn Œ
Œ Œ ®. .jœn
Œ?
U
U
Recit. - very freely
Recit. - very freely
‰pjœn œ œ œ
Pœ
3
œ œ œ œ œHow na - ked the spir - it
∑
∑
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43 .œ P jœp
.œ œ œ œP
.œ œ œis with - out the sim - ple truth of the
∑
∑
Fœ œ œ PÓbod - y.
∑
∑
molto rall.
molto rall.
æ=56-58
æ=56-58
πœ œ œ œ œ œU“They spring up in bunch - es
π.œ̇ œb œ œ œ œ œU
∑
5
(°)
let fade before beginning m. 42
freely, moving forward
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45 œb œP
œ œ œaf - ter rain,
.‰̇ Jœ œbP
œ œ œ œ
∑ &
pœ œb œ œ œ œfre - quent - ly cir - cling the
‰ œb œ œ œ œ œp
˙ Jœ ‰‰ jœ ˙œb œ œ œ .œ
P˙ Jœ ‰dead.”
‰ œb œ œ œ œ œ˙ Jœ ‰
œ œb œ œ œ .œ
accel.
accel.
∑
.œ̇b œ œ œ œ œbF
œœ
œ œbœ œ œ œb?
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a bit faster
a bit faster
49 pœ œ œ œ œWe pass the book
Œ ‰ œ œn œ œœ ˙‰ œb œ œ œ œ œœ
rall.
rall.
œ œ œ œ œ œlike an in - vi - ta - tion
œ œŒ œœ ˙b
œb œ ‰ œ œn œœ œ
œ œ œ œ Jœ ‰ Œa - mong us.
wwbww
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.. ..
.. ..
.. ..
accel.
accel.
rall.
rall.
æ=56-58
æ=56-58
52 Pœ œ œ Fœ œ œIt shall not be re -
∑
∑ &
æ=80
æ=80
moving forward
moving forward
Pœ œ œ jœ ‰ Œ
writ - ten.
‰ œ œn œ ˙˙ œ œ œ œP
‰ jœ œ œ œ œ œ œ
æ=88
æ=88
∑
œ œ œ œ œ œ œw
œ œœ œ œ œ œ?
6
p sub.
repeat ad lib.to nienteFO
R PE
RUSA
L O
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√
æ=72-76
æ=72-76
Ó ‰ pJœ3
œ œ œ œThe hum - ming -
∏w æ w.œ æ°
.œ# jœ˙ æ ˙#? &
˙# Pœ#bird flies
˙ æ ˙6
œœ@πœœœ œ# œ
.˙ æ .˙#
œ pœ œ œ œ œ#like un - e - ven
.˙ æ .˙
.˙ æ .˙#
&
&
&
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˙# ‰ jœnbreath. His
.˙# æ .˙
.˙# æ°
.˙
poco cresc.œb 3œ œ œ œ œb œb3œ œn œn
throat is the rare hue of the
∏œ æ œb œ œ .œ .œb œ œ œ œ œ æ œ
3‰°œb œb œ° œb œ .œ
.œ œ œ œ œ œ°œ œ œ
&
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6 Pœn3
œ œ# œcar - - - di - nal
˙# æ ˙œ3
œ œ œ œ#
˙̇ æ°
˙˙
.˙# pÓflow’r.
3
œ# œ œ3
œ œ œ# œ# æœ œ œ œœbb œœ œœ æ œœœ æ°œ œ æœ# ‰ jœ
°œ# œ#
^
œ
molto rall.
molto rall.
∑
πœœ# æ œœ# P..˙̇
æ ..˙̇niente
‰πjœ
œ∏̇˙
?
7
Music Preparation byMusic Advantage952-448-7544
II. HummingbirdJoan Wolf Prefontaine Edie Hill
Music Services by Paul Gerike
as if darting through the air
Subtlety, like a watercolor throughout
Copyright © 1998, Edie Hill.Copyright © 2000, Hummingbird Press.
All Rights Reserved.
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æ=52
æ=52
poco accel.
poco accel.
poco rall.
poco rall.
9
œ œ œ œ œ œb œ œn œ# œ# œ œnSee how the as - par - a - gus ris - es be -
.˙ œ œ œ#pœ œ œ
π
œ6
œb œ œpœ œ œπ 6œ œ œpœ œ œπ 6œ# œ# œpœ œ œπœ œ
œœœbbb°
œœœnnn°
...œœœbbb°
œœœnnn°
˙̇̇
æ=æ.
æ=æ.
pœ PJœ4
œ# œ œn œfore dis - trib - u - ting its
∏
4œ œ œ œ4
œ œ œ œ4‰
°
œb œ œ4
œ œ œ œ
&
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æ.=80-100
(accel.)
11 p P.˙nseed,
œ œ œ œ œ œ œ œ œ
œ œb œ œ œ œ œ œ œ
lightly ad lib., irregularly
π
Œ . ‰ πœ
°
œand the
p.˙
scarred
jœπ.˙b
moon
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15 .œ œ œ œbbare - - ly
π as is..œœ°
l.v.
2
œœœ
œ œ œ œ œ œbvis - i - ble in the
2
ϡ
œ3
œ œ œ œ ‰&ad lib. (as before)
jœ
°
œb .œwa - ter,
œb œ œ œ œ œ œ œ œ
8
accel. into playing as fast as possiblead lib. (like a wash of color)
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æ.=60
æ.=60
28 π2œn œ .œ
lat - er,
∏œb œ œ œ œ œ œ œ œ œ œ œ
œ°œ œ œ œ œ& ?
œ œ œ Jœ œin the high
œb œ œ œ œ œ œ œœ œ œ œ
2
ϡ
œ 2œ œ&(ad lib., as fast as possible)
P .˙
°
grass,
œ œ œ œ œ œ œ œ œ œ
œ œb œ œ œ œ œ œ œ œ
&
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31 .œ Œ . Fœ
^
Jœ Jœ œbwhere there can
œ œ œ œ œ œ œ œœ
œ œb œ œ œ œ œ œ œ
f2
œ> œ
^
2
œ> œ .œbe no
œ œ œ œ œ
œ œ œ œ œ ?
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as is
34 p.œ œb œ .œ .œ
ab - sti - nence,
jœ .œ .œ jœ œb9
œb œ œ œ œ œ œ œ œ≈°
rœœ œœ ..œœ ..œœ
æ.=50
æ.=50
πintimately .œ-U œn œ .œ
speak to me
Œ .U∏œœœπJœœœ
Œ .U œœœ°
jœœœ°
&
pJœ ‰ Jœ œ œ œ
the way a
pJœœœ ‰ ‰ Œ .jœœœ°‰ ‰ Œ .
10
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37 Pœb œ œ .œ .œ ‰ ‰ pjœbleaf does as -
Œ . Œ .∏Jœœœnggggggggggggggggggg
▲ ‰ ‰ Œ .
Œ . Œ . jœœœb°‰ ‰ Œ .
=
=
a tempo (æ=72-76)
a tempo (æ=72-76)
3œ .œ3
œ œ œ Ḟcend - ing in a gust.
Ó Œ ‰niente
œ œ
Ó Œ ‰ œ°œ
Ó Œ ‰ pœ œSay a -
˙ æ∏˙ π
5
œœœ œ œ œæ œ
w æ w
&
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40 ˙ 3‰ œ œgain how the
.˙ æ .˙
.˙ æ .˙
3
œ œ œ œ œ# .œ Jœhum - ming - bird re -
w æ ww æ w
molto rall.
molto rall.
3œ œ œ œ œ#turns to the same wild
5
œœ@dartingπœ œ œ œœ@ œ æ œ
˙ æ ˙
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.œ jœbgrove, the
w æ w
œ æ°œ œ æœ
molto accel.
molto accel.
.œb jœbsame mag -
Œ œ œb
˙ æ°˙
œn œnfjœ ‰
net - ic
œœb æ l.v.Fœ Œ
œ æ^
l.v.
œ Œ ?
πmolto rall.
molto rall.
œ P.˙blos - soms.
p3
œ œ œ œPœp˙
l.v.œ°œ 3Jœœ 3œ#
^
œ œPœ œ&
∑
wπw
11
(°)
as if darting through the air
(°)sub. p
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Freely, with fluidity, like a strange lullabyæ.=c.50-52
æ.=c.50-52
p .œ# œ œ œNight en - ters the
∑
‰∏œœ°Œ .
.œ œ œ œlake with its
Œ .πœœœœ‰
∑
œb Jœ .œ œ jœblack tongue as
∑
‰∏œ Œ . Œ .
πœb Jœ .œslen - der reeds
‰∏œœœ œœœ ‰
‰ œœœ
°
œœœ ‰
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5 œ PJœp.œ œ jœ
rouse the wind. In
≈π
8
œ œb œ pœ œ œ œ πœ
‰ Œ . Œ .
® . .jœb°
‰ Œ . Œ .
poco accel.
poco accel.
pœ œ# œ .œ œ jœ
out - ly - ing fields the
Œ . ‰ ‰ jœœœœjœœœœŒ
≈∏..jœœ°‰ Œ . Œ .
rall.
rall.
œ œ# œP.œ .œ
har - vest - ed earth
≈ ....Jœœœœ ‰ Œ . Œ .
∑
&
&?
86
86
86
89
89
89
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8 œ#U œ œ œ œ œfolds it - self in
‰U Œ Œ .
‰U Œ Œ .
œb Jœ .œ Jœ, œ# œ
dark - ness and the
∑ ?
‰∏œœœ Œ . Œ .
molto accel.
molto accel.
πœ œ œ œ œ# œ œ œ
gold lights of farm - hous - es
p˙˙˙̇
3
‰jœ
∏Jœ ‰ Œ&
jœ˙̇°
Ó
12
Music Preparation byMusic Advantage952-448-7544
III. Autumn DuskJoan Wolf Prefontaine Edie Hill
Music Services by Paul Gerike
Like muffled shapes at dusk
sub. π
(°)Copyright © 1998, Edie Hill.
Copyright © 2000, Hummingbird Press.All Rights Reserved.
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Jœ ‰πJœn
We
∑
∑
æ=c.66
æ=c.66
œ œ œ œ œ œ œ œwill blend more qui - et - ly with
Ó œ œ œ œ∏œœ°
Œ Ó
rall.
rall.
slower
slower
œ# œ .œ∏jœ
au - tumn's weight, we
œ œ œ Œ
∑
&
&?
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44
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42
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85ˆ84
85ˆ84
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24 œ œ œ œ# œ# œ œ œwill blend more qui - et - ly with
Ó ≈ .jœ œœ œ# œ œ
œœ°
Œ Ó
œ œ .˙au - tumn's weight.
wwœ# œ# ˙ œ∑
æ=c.60
æ=c.60∑
≈very legato, very freely, rubato.jœ œ œ .œb œœ œ œ œ œn œn œ œ
very light pedal
πwb
∑
˙bœ œ œ˙
&
&?
85ˆ84
85ˆ84
85ˆ84
83
83
83
85ˆ84
85ˆ84
85ˆ84
86
86
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=
=
28 ∑
œ .œ œ œ .œœ œ# œ œ œ œ œ œ œ˙œn Œ . Ó
∑
...œœœ∑
molto rall.
molto rall.
∑≈ rœ ˙ œ œ .œ#œ œ# œ œ œ œ œ œ œ?
œœ ..œœ ˙̇
æ.=c.50
æ.=c.50
‰U πœ# œ#Pœ jœ
When we wake to
Jœ#U ‰ ‰ ‰ Jœ# ‰&∏jœœ°
U ‰ ‰ Œ .
14
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32
.œ# œ# œ œfrost un - der these
‰ Jœ#‰ Œ .
∑
.œ# .œ# .œ# .œ .œchest - nut branch - es
∑
∑
accel.
accel.
rall.
rall.
æ.=56
æ.=56
pœ œ# œ
Pœ œ
pœ
geese will be pass - ing in
Œniente
floating, soaring
œ œ πœœ
Œ œ°œ# œ œ
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poco accel.
poco accel.
35 pœn jœn
Pœ jœ#
strict for - ma - tion
œ œ œ œ# œ œœ œ œ œ œ œ&
poco rall.
poco rall.
pœ œ#
Pœ
p.œ
o - ver - head,
œ œ œ œ œ œ
œ œ œ œ# œn œ ?
accel.
accel.
æ=c.76
æ=c.76
œ œ# œ œ œ œ œ œfly - ing in pairs a -
πœ œ œ œ œœ œ œ
œœ°
œ œ œœ œ œ œ#&
&
&
&◊
38 œb œ œ œ œ œway from this com - mon
œ œ œ œ œ œ œ œ
œ œ# œ œ œ œ œ œ ?
accel.
accel.
∏wdream.
œn œ œ œ œb œb œ œπœœbb°œb œb œ œ œ œ œ&
rall.
rall.
Ó Œ ŒU
œb œb œb œ Jœ‰ ŒU
œb œb œb œb Jœb ‰ ŒU
15
(°)
(°)
(°)
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√
√
√
æ=96
æ=96
∑
ƒ. .. .œœbb >
œœbb . .. .œœb œœ Ó& ?. .. .. .œœœbbb >
°œœbb
^
. .. .œœbb œœ Ó& ?
∑
œœœœbbb Œœœb œœbb ‰ . Œ&
œb œb œb°
Œ œœbb œœb ‰ . Œ&
∑
f
œb
œb
œ
œ
b
b
® ‰ ŒF
œb
œb
œ
œ
b ® ‰ Œ
Œ Œ
&
&
&
43
43
43
4 ∑
ÓP
œb
œb
œ
œ
b
b® ‰ Œ
Ó Œ
rall.
rall.
∑
Ó Œp
œb
œb
œ
œ
b
b≈
Ó Œ ≈
∑
Óœb
œb
œb
Ó œb
æ=80-84
æ=80-84∑
dolce, legatoπw
œ œb œ œ œ œ œb œb
&
&
&
43
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43
86
86
86
44
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44
8 ∑
œb œb œb œb œ œb œ
∑
=
=
∑
‰ œb œb œ œb œ œ.œb œ ‰
light pedal
‰ œb œ .œb .œ
∑
‰ œb œb œ œb œ œ.œb œ ‰‰ œb œ .œb .œ ?
∑
.œ̇b œ œ œb œb œb œbœb œb œb Fœb Jœb
16
Music Preparation byMusic Advantage952-448-7544
IV. Between the Limbs, MusicJoan Wolf Prefontaine Edie Hill
Music Services by Paul Gerike
(°)
Copyright © 1998, Edie Hill.Copyright © 2000, Hummingbird Press.
All Rights Reserved.
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=
=
rall.
rall.
12 ∑
Œ ‰ œb œn œ œ œœb œœbπ
œb œb œ œ‰ œb œ œ œ
Pœ œb œœb Jœ ‰ &
æ=c.116
æ=c.116
∑
pœb œb œ œ œ œ œw
œb°
œb œ œb œb°œ œ œ
Ó Œ ‰p jœAh
œb œb œ œ œ œ œw
sim.
œb œb œ œb œb œ œ œ
&
&
&
15 œb œ œb œb ˙
œb œb œ œ œ œ œw
œb œb œ œb œb œ œ œ
Ṗ œb œ œb œ
œb œb œ œ œ œ œw
œb œb œ œb œb œ œ œ
pw
œb œb œ œ œ œ œw
œb œb œ œb œb œ œ œ
jœ ‰ Ó ‰P
JœbThe
œb œb œ œ œ œ œw
œb œb œ œb œb œ œ œ
&
&
&
19 ˙b .œ Jœheart's song re -
œb œb œ œ œ œ œw
œb œb œ œb œb œ œ œ
.œb Jœ3œ œ œ
sumes a- gain af - ter
œb œb œ œ œ œ œw
œb œb œ œb œb œ œ œ
wbsleep.
œb œb œ œ œ œ œw
œb œb œ œb œb œ œ œ
Jœ ‰ Œ Œ ‰Pjœ
We
œb œb œ œ œ œ œw
œb œb œ œb œb œ œ œ
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233œb œ œ 3œ œ œ
drift on the prom - ise of
œb œb œ œ œ œ œw
œb œb œ œb œb œ œ œ
.˙b Œdeath,
œb œb œ œ œ œœggg‡.˙ œb œb
œb œb œ œb œb œ l.v.œ°
œ?
œ .˙death's waves,
œœœ œ œ œb œb œ œ œœb œb œ
°
œ œ œ œ œ
&
&?
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26 ˙ œb œ œb œAh
œ œ œ œb œb œ œ œ
light pedal
œb œb œb œ œ œ œ œ
wbdolce
pœ œb œ .œ jœ œ œbœb œb œ œ Pœ œ œ œ
f.˙π
Œ
πœ œb œ œ œ œ œwbœb
°œb œ œ œb
°œ œ œ
&
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29 Œ ‰ p jœ 3œ œ œthe two of us
œ œb œ œ œ œ œwœb
°œb œ œ œb
°œ œ œ
3
œ œb œ ˙rock - ing,
œ œb œ œ œ œ œw
sim.
œb œb œ œ œb œ œ œ
P˙ Œ
pœ œ
while the
œ œb œ œ œ œ œwœb œb œ œ œb œ œ œ
18
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æ=c.126
æ=c.126
40 πwbdawn
Fœb œb œ œ œ œ œwb
œb°
œb Jœ ‰ jœb°‰ ‰ Jœ
Fw
.œb œb œ œ œb ‰ Jœbw
sim.
‰ Jœb Jœ ‰ ‰ Jœb Jœ ‰
p 3œb œ œ œb œ œb œun - der their is - land which is
‰ Jœb œ œ œb Jœb ‰
œ œ
œ œb œb œb œ œb œ œb ‰
&
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43
˙b ˙wa - - ter,
œb œb Jœb ‰ Jœb
‰
‰ Jœb œ œb œb œb ‰ Jœ
.˙ œb œand the
œb œb Œ œ œ œb œ
‰ Jœb œ œb jœb ‰ ≈ .Jœ
3œb .œ jœ ˙blake glows with al - - -
œb œb œb ‰œb œ œb œ
‰ Jœb œ œb jœb ‰ ‰ Jœ
&
&
&√
46
wbgae
Jœb ‰ œb œ œ œ ‰ Jœ
œb œb ‰ œ œb jœb ‰ Jœ ‰
P3
œb œF
œbP
œb œb œun - der the un - a - dorned
œb œb œb Jœb ‰ ‰œb œ
‰ œb œb ≈ .jœb ‰ jœb œb œb
Faccel.
accel.
Pwb
stars.
πœb
cresc.
œb œb œ œb œ œ œ
œb œ œb œ œb œb œ œ œ œb
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49 ∑œb œb œb œ œb œb œœ#n ƒ
œœ?
Ρ
œb œb œb°
œn œn°
œœnn?
æ=c. 100
æ=c. 100
Œ ‰ ÏRecit.Jœ œ œ œNight- Hun - ter,
ÏJœœœbb ‰ œœb
œœœbb ‰ Ó&
œb œbjœ
°‰ œœbb
°œœb ‰ Ó&
œb>3
œ> œ œ œb> œ œ œI give you what ev - er I as -
∑
∑
&
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52 ˙ ‰ jœbsume for
∑
∑ ?
æ=c.112
æ=c.112
p3œ œ# œ
f œnUjoy
Ó ŒU
light pedal
pœ# œ œ# œ
FœU œ.˙
œ œ# œ# œ œ œ œ œ#is more in - clu - sive than
∑.˙# ‰ Jœ œ œ# œ œ œ# œ# &
&
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43
43
43
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44
44
43
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43
44
44
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55P
œ .œ jœ#sor - row and
∑
‰ jœ# ˙Jœ ‰ œ œ# œ# œ
f3œ# œ# œ 3œ# œ œ
pas - sion en - com - pas - ses
Œp
œ# œ œ#3œ œ
Pœ
œ œ œ# œ œ œ#œ œ
Pœ# œ
p˙
sol - i - tude...
.˙
‰ jœ# œ# œ# œ œ.˙#
π̇ ˙so we
∏w
˙# ˙#w
21
sub. π
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Keeping momentum to end
Keeping momentum to end
æ=132-138
æ=132-138
59 pwfloat,
niente
œ œ œb œ œ œ œ œ
ϡ
œb œ œ œb°œ œ œ
.˙ œ Fœthe
Pœ œ œb œ œ œ œ œ
sim.
œ œb œ œ œb œ œ œ
f.œ œ œ .œ jœ
land ev - er close to
œ œ œb œ œ œ œ œ
œ œb œ œ œb œ œ œ
&
&
&
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43
43◊
62 wus,
œ œ œb œ œ œ œ œ
œ œb œ œœb œ œ œ?
ƒ̇.œ jœ
drown - ing and
Fœ
like rolling water
œ œb œ œ œ œ œ
œ œ œœb œ œ
3œ œ œ ˙breath - ing,
œ œ œb œ œ œ œ œ
œœ œb œ
.˙
œ œ œ œ œ œb
jœœœ
°
˙b
^
&
&?
44
44
44◊
66 Fœb ˙hope - less
œ œ œb œ œ œ
œ œ œœb œ
œb œƒœ> .œ Jœ ‰
and ec - stat-ic.
œb œ œ œ œ œ œ œ˙
œœ
Œ ‰ƒ
Jœ œsinging out, molto espressivoœ œ œ
Ah
œ œ œ œ œ œ œ œbœb œ
jœœœ
œ
w
œ œ œb œ œ œ œ œ
œ œ œœb œ
22
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70 œ œ œ œb ˙
œ œ œb œ œ œ œ œœb œ œ œ œ
œ
œ Œ 3œ œ œbAh
œ œ œ œ œ œ œ œ
œbœ œb œ& ?
.˙
œ œ œb œ œ œ
ϡ
œb œ œ œ œ^
&
&
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&
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43
43
√
◊ ◊
73 3œ- œ- œ-Ï̇
œb œ œ œ Œ ‰ . œn
œ˙ jœÏ
œœ°
‰ .? &
w
Jœœ>
‰ ‰ .œ
œJœœ
> ‰ ‰ . rœœœJœ> ‰ ‰ . Jœ> ‰ Œ ?
U
U
˙ Œ
œœœjœœœ ‰ Œ?
œœœb œœ œ œ jœ ‰ Œ
23
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Described as “flat out beautiful” and “full of mystery,” (Stereophile Magazine), Edie Hill’s music is performed all over the globe. Her music has been heard in such venues as Lincoln Center, Musis Sacrum in Arnhem, Holland, LA County Museum of Art, Library of Congress, Minneapolis’ Source Song Festival and Walker Arts Center, St. Paul’s Schubert Club, The Cape May Festival (NJ), The Downtown Arts Festival (NYC), Liviu Cultural Center (Romania), Feszek Müvészklub (Budapest), and concert halls in Bangkok (Thailand), Dublin (Ireland), Reykjavik (Iceland), Moscow (Russia) Brazil, Great Britain, Germany, Italy, France, Spain, the Baltic States and The United Arab Emirates.
She has been commissioned to compose for solo voice to choir, solo instrument to orchestra and mass band, miniature to full evening drama; and loves the challenge of exploring all combinations including electroacoustic and mixed media.
Featured internationally on radio broadcasts and podcasts such as The Portfolio Composer with Garrett Hope and Choir Chat with John C. Hughes to name a couple, Hill is a three-time McKnight Artist Fellow and a two-time Bush Artist Fellow. She has received grants from the Jerome Foundation, ASCAP, Meet The Composer and Chamber Music America. Her work has been recorded by PARMA Recordings (Clay Jug through imprint Navona Records), by Tantalus Guitar Quartet, Cantus, flutist Linda Chatterton, guitarist Kenneth Meyer and numerous choirs throughout the United States.
Mentorship is integral to Hill’s life as a composer. She served as Composer in Residence at St. Paul’s Schubert Club from 2005-2017 where she ran and grew the Mentorship Program for gifted high school composers, has served as a mentor at Source Song Festival, and is composer mentor for MN Varsity (a program for High School Composers run by Classical Minnesota Public Radio and the American Composers Forum). She has lectured at colleges, universities and various institutions in the States and abroad and keeps a small home studio of composition students.
After earning a B.A. from Bennington College in Vermont under the tutelage of Vivian Fine, Hill moved from her native New York to Minneapolis where she earned her M.A. and Ph.D. degrees at the University of Minnesota with principal composition teacher, Lloyd Ultan. She has also studied extensively with Libby Larsen.
Composing is a life-long love. Writing music is always an opportunity to research, learn, muse, reach down deep, and allow inspiration to come from the stuff of life. She lives in Minneapolis, Minnesota where she works freelance and runs Hummingbird Press through which all of her works are available for perusal and sale.
COMPLETE CATALOG AND ONLINE ORDERING
www.ediehill.com
3324 Grand Avenue South • Minneapolis, MN 55408 • USA [email protected]
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http://www.ediehill.com/mailto:[email protected]