oft, in the stilly night

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VOCAL SCORE

Oft, in the stilly night

Unaccompanied Part Song composed for the Eton College Musical Society, October 1866

Set to Music by

C. Hubert H. Parry

Poem by Thomas Moore

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Cover Image: “The Blessed Damozel” by Dante Gabriel Rossetti, 1878

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The “renaissance” in English music is generally agreed to have started in the late Victorian period, beginning roughly in 1880, and was most notable for compositions by C.V. Stanford, C. Hubert H. Parry, Edward Elgar, Henry Walford Davies, Harold Darke and others. Public demand for major works in support of the annual choral festivals held throughout England at that time was considerable which led to the creation of many large scale works for orchestra with soloists and chorus. Although a number of those works found their way into print and are regularly performed today, a considerable number of compositions, both large-scale and more intimate works, are not available. These works either were never published or were published but are no longer available in the publishers’ catalogues. While the existence of these works is documented in biographies of the composers, the ability to study and, most importantly, to perform these compositions is not possible.

Changes in the International copyright laws in the mid-1970’s played a pivotal role in creating this void, opening a significant number of musical compositions to public access. As a result, music publishers lost the ability to generate revenue from the sale/rental of such music. Performance score inventories of these works were eliminated. In addition, for many compositions, the only published material were vocal scores - full scores and orchestra parts were hand notated for the premiere of a work and then were ‘recycled’ for future performances. While full score autograph manuscripts are now accessible through the major music libraries in the UK, the hand-notated parts have long since been lost. These autograph full score manuscripts along with copies of the published vocal scores are now the only resources available for studying and performing these works.

The English Heritage Music Series has been created to ensure that these compositions are preserved, are accessible for scholarly research and, most importantly, are available for performance by future generations. Its mission is to:

• Source unpublished/out-of-print English composer compositions that are in the U.S. public domain• Preserve these compositions through the preparation of performance scores using notation software• Provide open Internet access to the scores to facilitate study, performance and sharing of

performance material (program notes, audio, reviews, etc.)

In preparing the English Heritage Music Series editions, every effort has been made to adhere strictly to the notation contained in the manuscripts. Because of the passage of time and its effect on the condition of the manuscript, the absence of clear information often times by the composer in notating divided instruments, and with emendations in the composer and other hands resulting from use of the manuscript in performance, there were numerous circumstances which required interpretation and decisions for notes, accidentals, dynamics, articulations and tempi. Should questions arise in the use of these editions, the composers’ autograph manuscripts and the Novello vocal scores should be consulted for clarification.

Matthew W. MehaffeyEditor

Professor of Music University of Minnesota - School of Music

Minneapolis, Minnesota USA

Autograph Manuscript: Royal College of Music, London MS 4767Vocal Score: UnpublishedRoyal College of Music Library Michael Mullen, Ass’t. Librarian - [email protected] Oxford University, Bodleian Music Section, Weston Library Martin Holmes, Curator of Music - [email protected] Transcription & Score Preparation David Fielding - [email protected]

Source Information

Notation Software: Finale v. 26 Audio Software: Garritan Personal Orchestra 5 Graphic Software: Adobe Photoshop CS5 Document Software: Adobe In Design CS5 Music Notation Reference: Behind Bars by Elaine Gould, Faber Music © 2011

Reference Material and Software

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Thomas Moore (1779 – 1852) was an Irish poet, singer, songwriter, and entertainer.

In the early years of his career, Moore’s work was largely generic and had he died at this point he would likely not have been considered an Irish poet. From 1806–1807 Moore dramatically changed his style of writing and focus. Following a request by a publisher he wrote lyrics to a series of Irish tunes, in collaboration with John Stevenson, which were published in several volumes. Moore became best known for these Irish Melodies which were enormously popular containing songs such as The Minstrel Boy, The Last Rose of Summer, Believe Me If All Those Endearing Young Charms and Oft, in the Stilly Night.

Moore is considered Ireland’s National Bard and is to Ireland what Robert Burns is to Scotland.

Oft, in the stilly night,Ere slumber’s chain has bound me,Fond memory brings the lightOf other days around me;

The smiles, the tears,Of boyhood’s years,The words of love then spoken;

The eyes that shone,Now dimm’d and gone,The cheerful hearts now broken!

Thus, in the stilly night,Ere slumber’s chain hath bound me,Sad memory brings the lightOf other days around me.

When I remember allThe friends, so link’d together,I’ve seen around me fall,Like leaves in wintry weather;

I feel like oneWho treads aloneSome banquet-hall deserted;

Whose lights are fled,Whose garlands dead,And all but he departed!

Thus in the stilly night,Ere slumber’s chain has bound me,Sad memory brings the lightOf other days around me.

Eton College, Berkshire, England

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Soprano 1

Soprano 2

Tenor

Bass

œ jœ jœ œ œOft, in the stil ly

œ jœ jœ œ œOft, in the stil ly

œ Jœ Jœ œ œOft, in the stil ly

œ Jœ Jœ œ œOft, in the stil ly

œ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œ

p

p

p

p

p

.˙ œnight, Ere

œ œ œ œ œnight, Ere

œ œ œ œnight, Ere slum ber's

.˙ œnight, Ere

.˙ œœ œ œ œ œœ œ œ œ.˙ œ

œ œ œ œslum ber's chain has


œ œ œ œchain has


œ œ œ œœ œ œ œœ œ œ œœ œ œ œ

˙ œ œbound me, Fond

œ œ œ œbound me, Fond

œ œ# œ œbound me, Fond

˙ œ œbound me, Fond

˙ œ œœ œ œ œœ œ# œ œ˙ œ œ

œ œ œ œmem 'ry brings the





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6 .˙ œlight of

.˙ œlight of

.˙ œlight of

œ œ œ œlight of

6 .˙ œ.˙ œ.˙ œœ œ œ œ

œ œ œ œoth er days a





˙ œ œround me; The

˙ œ Œround me;

˙ œ Œround me;

œ œ œ Œround me;

˙ œ œ˙ œ Œ˙ œ Œœ œ œ

π

π

.˙ œsmiles, the

Œ œ ˙The smiles,

Œ œn ˙The smiles,

∑

.˙ œŒ œ ˙

Œ œn ˙

π

π

.˙ œtears, the

Œ œ œ œthe tears, the

Œ œ œ œthe tears, the

Œ œ .œ jœThe smiles, the

.˙ œŒ œ œ œ

Œ œ œ œœ .œ Jœ

π

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Oft, in the Stilly NightPart Song composed for the Eton Music Society

MUSIC BY

C. Hubert H. ParryOctober 1866

POEM BY

Thomas Moore1815

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11 œ œ œ œ#words of love then

œ œ œ œwords of love then

œ œ œ# œwords of love then

œ œ œ œtears of boy hood's

11

œ œ œ œ#œ œ œ œœ œ œ# œœ œ

œ œ

˙# œ Œspo ken;

˙ œ Œspo ken;

˙ œ œspo ken; the

˙ œ Œyears.

˙# œ Œ˙ œ˙ œ œ˙ œ Œ

Ó Œ œThe

Ó Œ œThe

œ œ œ œeyes that

Ó Œ œthat

Ó Œ œœœ œ œ œÓ Œ œ

œ œ œ œ#eyes that

.˙ œeyes that

œ# œ œ œshone, now dimm'd, now

.˙ œshone, now

œ œ œ œ#.˙ œœ# œ œ œ.˙ œ

œ œ œ œshone, now dimm'd and

˙ ˙shone, dimm'd

˙ ˙#dimm'd and

˙ ˙dimm'd and

œ œ œ œ˙ ˙˙ ˙#˙ ˙

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16 ˙ œ œgone, The

˙ œ œgone, the

˙# œ œgone, the

.˙ œgone, the

16 ˙ œ œ.˙ œ

˙# œ œ.˙ œ

˙ ˙cheer ful

˙ ˙cheer ful

˙ ˙ncheer ful

˙ ˙cheer ful

˙ ˙˙ ˙˙ ˙n˙

˙

˙ œ œhearts now

.˙ œhearts now

˙n œ œhearts now

.˙ œhearts now

˙ œ œ.˙ œ˙n œ œ.˙ œ

wbro

˙ ˙bro

wbro

wbro

w˙ ˙ww

˙ Óken!

˙ Óken!

˙ Óken!

œ œ œ œken, the cheer ful

˙ Ó˙

˙ Óœ œ œ œ

dim.

dim.

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21 Œ œ œ œNow bro

Œ œ ˙Now bro

Œ œ ˙Now bro

.œ jœ ˙hearts now bro

21 Œ œ œ œœ ˙Œ œ ˙.œ Jœ ˙

wken!

wken!

wken!

wwken!

wwww

œ jœ jœ œ œThus in the stil ly

œ jœ jœ œ œThus in the stil ly

œ jœ Jœ œ œThus in the stil ly

œ Jœ Jœ œ œThus in the stil ly

œ œ œ œ œœ œ œ œ œ

œ œ œ œ œœ œ œ œ œ

p

p

p

p

a tempo

pa tempo

.˙ œnight, Ere

œ œ œ œ œnight, Ereœ œ œ œ

night, Ere slum ber's

.˙ œnight, Ere







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˙ œ œbound me, Sad

œ œ œ œbound me, Sad

œ œ# œ œbound me, Sad


26







.˙ œlight of

.˙ œlight of

.˙ œlight of

œ œ œ œlight of oth er

.˙ œ.˙ œ

.˙ œœ œ

œ œ



œ œn œ œoth er days a

œ œ œ œdays a

œ œ œ œœ œ œ œœ œn œ œœ

œ œ œ

rallentando

rallentando

˙ ˙round me.

œ œ ˙round me.

˙ ˙round me.

˙ ˙round me.

˙

˙ ˙œ œ ˙˙ ˙˙ ˙

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œ jœ jœ œ œnWhen I re mem ber

œ jœ jœ œ œWhen I re mem ber

œ Jœn Jœ œn œWhen I re mem ber

∑

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œ œ œ œ œnœ œ œ œ œœ œn œ œn œ

p

p

a tempo

p

a tempo

p

.œ jœ ˙all the friends,

œ œ œ œall the friends, so

.˙ œ#all the

Ó œ œall the

.œ jœ ˙œ œ œ œ

.˙ œ#Ó œ œ

p

œ œ œ œso link'd to

œ œ œ œlink'd to

œ œ œ œfriends so link'd to

.œ jœ œ œfriends so link'd to

œ œ œ œœ œ œ œœ œ œ œ.œ Jœ œ œ

.œ jœ œ œgeth er, I've

˙ œ œgeth er, I've

˙# œ œgeth er, I've

˙ œ œgeth er, I've

.œ jœ œ œ˙ œ œ˙# œ œ˙ œ œ

.˙ œseen a

œ œ œ œseen a round me

.˙ œseen 'roundœ œ œ# œseen a round me

.˙ œœ œ œ œ.˙ œœ œ œ# œ

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36 œ œ œ œ#round me fall like

˙# œ œfall like

œ œ œ œme fall like

.˙ œfall like

36 œ œ œ œ˙# œ œœ œ œ œ.˙ œ

œ œ œ œleaves in win try

œ œ œ œleaves in win try

œ œ œ œnleaves in win try

œ œ œ œleves in win try

œ œ œ œœ œ œ œœ œ œ œnœ œ œ œ

˙ œ œweath er; I

˙ œ Œweath er;

˙n œ Œweath er;

˙ œ Œweath er;

˙ œ œ˙ œ Œ˙n œ Œ˙ œ

.˙ œfeel who

Œ œ ˙I feel,

Œ œn ˙I feel,

∑

.˙ œŒ œ ˙

Œ œn ˙

.œ Jœ œ œtreads a lone some

Œ œ œ œa lone some

Œ œ œ œa lone some

Œ œ .œ jœa lone some

.œ jœ œ œŒ œ œ œ

Œ œ œ œœ .œ Jœ

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41 œ œ œ œ#ban quet hall de

œ œ œ œban quet hall de

œ œ œ# œban quet hall de

œ œ œ œban quet hall de

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œ œ œ œ#œ œ œ œœ œ œ# œœ œ

œ œ

˙# œ œsert ed, Whose

˙ œ Œsert ed,

˙ œ Œsert ed,

˙ œ Œsert ed,

˙# œ œ˙ œ Œ˙ œ Œ˙ œ

œ œ œ œlights are

Ó Œ œare

Ó Œ œwhose

Ó Œ œwhose

œ œ œ œÓ Œ œ

Ó Œ œœ

.˙# œfled, whose

œ ˙ œfled whose

œ œ œ œlights are

˙ œ œlights are

.˙# œœ ˙ œœ œ œ œ˙ œ œ

œ œ œ œgar lands

œ œ œ œgar lands

œ# œ œ œfled whose gar lands

œ œ œ œ#fled whose gar lands

œ œ œ œœ œ œ œœ# œ œ œœ œ œ œ#

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46 ˙ œ œdead, and

˙ œ œdead and

œ œ œ œdead and

˙ œ œdead and

46 ˙ œ œ.˙ œœ œ œ œ.˙ œ

˙ ˙all but

˙ ˙all but

˙ ˙nall but

˙ ˙all but

˙ ˙˙ ˙˙ ˙n˙

˙

˙ œ œhe de

.˙ œhe de

˙n œ œhe de

.˙ œhe de

˙ œ œ.˙ œ˙n œ œ.˙ œ

wpart

˙ ˙part

wpart

wpart

w˙ ˙ww

˙ Óed!

˙ Óed!

˙ Óed!

œ œ œ œed, and all but

˙ Ó˙˙ Óœ œ œ œ

dim.

rallentando

dim.

rallentando

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51 Œ œ œ œHe de part

Œ œ ˙de part

Œ œ ˙de part

.œ jœ ˙he de part

51 Œ œ œ œœ ˙Œ œ ˙.œ Jœ ˙

wed!

wed!

wed!

wed!

wwww

œ jœ jœ œ œThus, in the still y

œ jœ jœ œ œThus, in the still y

œ jœ Jœ œ œThus, in the still y

œ Jœ Jœ œ œThus, in the stil ly

œ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œ

a tempo

a tempo

.˙ œnight, Ere

œ œ œ œ œnight, Ere

œ œ œ œnight, Ere

.˙ œnight, Ere

.˙ œœ œ œ œ œœ ˙ œ.˙ œ

.˙ œslum bers

œ œ œ œ œslum bers

œ œ œ œslum bers

.˙ œslum bers







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œ œ œ œbound me, Sad

œ œ# œ œbound me, Sad


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œ œ œ œmem ry brings the



.˙ œlight of

.˙ œlight of

.˙ œlight of

œ œ œ œlight of oth er

.˙ œ.˙ œ

.˙ œœ œ

œ œ



œ œn œ œoth er days a

œ œ œ œdays a

œ œ œ œœ œ œ œœ œn œ œœ

œ œ œ

wround

œ œ œ œround

wround

wround

wœ œ œ œww

rallentando

rallentando

wme.

wme.

wme.

wwme.

wwww

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Catalog Number

1.18/02

ehms.lib.umn.edu

oft, in the stilly night

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