ophelia - graphite publishing - graphite publishing€¦ · ~william shakespeare this piece is...

Ophelia Jocelyn Hagen pdf - $1.75 SATB div. a cappella printed - $3.25 JH - C018

Ophelia SATB div. a cappella choir

OPHELIA

There is a willow grows aslant a brook, That shows his hoar leaves in the glassy stream; There with fantastic garlands did she come Of crow-flowers, nettles, daisies, and long purples, That liberal shepherds give a grosser name, But our cold maids do dead men’s fingers call them: There, on the pendent boughs her coronet weeds Clambering to hang, an envious sliver broke; When down her weedy trophies and herself Fell in the weeping brook. Her clothes spread wide, And mermaid-like a while they bore her up: Which time she chanted snatches of old tunes, (Tomorrow is Saint Valentine’s

As one incapable of her own distress, Day, And I a maid at your

Or like a creature native and indued window, To be your Valentine.

Unto that element: but long it could not be You promised me to wed.)

Till that her garments, heavy with their drink, Pull’d the poor wretch from her melodious lay To muddy death. Too much of water hast thou, poor Ophelia, And therefore I forbid my tears: ~William Shakespeare

This piece is based on passages from Hamlet (Act IV, Scene 7) in which Queen Gertrude brings news of the death of Ophelia to her brother, Laertes. Ms. Hagen’s approach to this text is simple - purposely uncomplicated - allowing the text to be the focus. She keeps the vocal range quite small for most of the work, expanding only to word-paint certain passages such as those describing clothes filling with water. It is a lovely combination of precise text setting offset with surprising musical lines and dynamics that bring the varying emotions alternately receding into blank shock, and bubbling - even churning to the surface. Also subtly injected into the work is the little song of Ophelia who, sinking into madness, laments her lost love for Hamlet (Act IV, Scene 5). Ingeniously these lines, sung in the play, are the only ones Ms. Hagen sets without pitch; they are instead whispered as an eerie sort of accompaniment to the telling of her demented descent to the bottom of a pond. Laertes’ response to the news concludes the work; “Too much of water hast thou, Poor Ophelia, And therefore I forbid my tears.” ~Timothy Brown

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‰ jœ œ œThere is a

‰ jœ œ œThere is a

‰ jœ œ œ

There is a

‰ Jœ œ œ

There is a

‰ jœ œ œ

‰ Jœ œ œ

with rubato q = 69

(for rehearsal only)

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œ .œ jœ œ œwil low grows a

œ .œ jœ œ œwil low grows a

œ .œ Jœ œ œ

wil low grows a

œ .œ Jœ œ œ

wil low grows a

œ ..œœjœœ œ œ

œ ..œœ Jœœ œœ œœ

œ œ œ .œ œslant a brook, That

œ œ œ .œ œslant a brook, That

œ œ œ .œ œ

slant a brook, That

œb œ œ .œ œ

slant a brook, That

œ œ œ .œ œ

œœb œœ œœ ..œœ œœ

N.B.

N.B.

N.B.

N.B.

- -

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Ophelia

Jocelyn Hagen

a cappella SATB div. choir

William Shakespeare

for Paul, on his 27th birthdayJH - C018 pdf $1.75printed $3.25Finalist for the Sorel Medallion (2016)

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4œ œ œ œ œ œ œ

shows his hoar leaves in the

œ œ œ œ œ œ œshows his hoar leaves in the

œ œ œ œ œ œ œ

shows his hoar leaves in the


shows his hoar leaves in the4

œœ œœ œœ œ œ œœ œœœœ œœ œœ œœ œœ œœ œœ

œ œ ˙glass y stream;

œ œ ˙glass y stream;

œ œ# ˙glass y stream;

œ œ ˙

glass y stream;

œ œœ ˙˙

œœ œœ# ˙̇

‰ œ œ œ œ œ œ# œThere with fan tas tic gar lands

‰œ œ œ œ# œ œ œ

There with fan tas tic gar lands

œ œ œ œ œ œ œThere with fan tas tic gar lands


There with fan tas tic gar lands

‰ œœ œœ œœ œœ# œ œœ# œ


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7

œN œ .œ# jœdid she come Of

œb œ .œ jœdid she come Of

œ œ .œ jœdid she come Of

œ œ œ œdid she come Of

7

œœb œœ ..œœ# jœ

œœ œœ œ œ œ

p

p

p

p

p

œN œ œ jœ ‰crow flow ers,

œ# œ œj

œ‰

crow flow ers,

œ œ œ jœ ‰crow flow ers,

œb œ œ Jœ ‰crow flow ers,

œœN# œ œ œ

œœb

œœœ œœœ œœœ

œ .œ œnet tles,

œ .œN œnet tles,

œ .œb œnet tles,

œ .œ œ

net tles,

œ ..œœ œœœœœ ..œœb œœ

- - -

- - -

- - -

- - -

Ophelia / Hagen / Shakespeare

2

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œ# œ œ œ œ œ œ œ3

dai sies, and long pur ples,

œ# œ œ œ œ# œ œœ œœ3


œ œ œ œ œ œ œœ œœ3


œ œ œ œ œ œ# œ œ3

dai sies, and long pur ples,10

œœœ## œœ œœ œœ œœœœœ œœœ œœœ

3

œ œ œ œ œ œœ#

œœœ œœœ3

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P

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Jœ ‰ œ œb œ œ œ

There, on the pen dent boughs

jœ ‰ œœ œ œ# œn œ#There, on the pen dent boughs

Jœ# ‰ Œ ÓThere,

Jœ ‰ Œ ÓThere,

Jœœ ‰ œœœ œœb œœ# œœn œœ#

Jœœ#

‰ Œ Ó

F

F

F

F

F

œ œ œN œ œ œ#her cor o net weeds

œ œ œ œ œ œher cor o net weeds

.˙weeds

.˙weeds

œœ œ œœn œœ œœ œœ#

..˙̇

p

p

p

- - - - -

- - - - -

- -

- -

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13

œ œ œ œ œ .œ# ‰Clam ber ing to hang,

œ œ œ œ œb .œ ‰

Clam ber ing to hang,

œ œ .œ ‰to hang,

œ œ .œ ‰to hang,

13

œœ œœ œœ œœ œœb ..œœ# ‰

œ œ ..œœ ‰

‰ jœ œ# œn œ œ œ# Œan en vious sli ver broke;

‰ jœ œ œ œ œ œ œ#Œ

an en vious sli ver broke;

‰ jœ œb œ œ œ œn .œ Œan en vious sli ver broke;

‰ Jœ œ œ œ œ œb Œan en vious sli ver broke;

‰ jœœ œœ# œœn œœ œœ œœ# œ#Œ

‰ Jœœ œœb œœ

œœ œœ œœnb .œ Œ

π

π

π

π

π

‰ œ œN œ œ œ# œ œWhen down her weed y tro phies

‰ œ œ œ œ# œ œ œWhen down her weed y tro phies

Ó Œ œ# œtro phies

∑

‰ œ œœ œœ œœ# œœ# œ œ

Ó Œ œ# œ

p

p

P

p P

- -

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16

œ œb œ œœ-Œ

and her self Fell

œ œ œ œ-

Œ

and her self Fell

œ .œ

œ# œ œ œ# -Œ

and her self Fell

œ# œ œ# œ-Œ

and her self Fell16

œœ œœb œœ œœœ----------------

Œœ .œ

œœ##œœ

œœ œœ#Œ

f

f

f

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œN œ œ œin the weep ing

œœN œin the

œ# œin the

œ# œ

in the

œ œ œ œœœ œ

œb œ

p

p

p

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p

.˙ Œ

brook.

.˙#Œ

brook.

.˙ Œbrook.

.˙ Œbrook.

..˙̇#Œ

.˙ Œ

Œ ‰ jœ# œ œHer clothes spread

Œ ‰ jœ# œ œHer clothes spread

∑

∑

Œ ‰ jœ# œ œ

∑

w#

wide,

˙# .œJœ#

œ# .˙#wide,

.˙ œ#wide,

ww##wide,

w#˙# .œJœ#

.˙ œ#ww##

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œ œ# .˙˙ ˙

œ# .˙(wide)

.˙# œ#

(wide)

ww(wide)

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œ œ# .˙˙ ˙

.˙# œ#ww

Œ˙# œ#

Ah...

w#

œ# œ# .˙

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ww##

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˙# ˙ww##

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œN œ œ œ œ œ œ# œ œ#

3And mer maid like a while they bore her

Œ jœ# ‰ œ œ œ œ œ œ œ œN œ#3And mer maid like a while they bore her

.w

.w

.w

.

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œœ# ‰œœN œœ œœ œœ œœ œœ œœ# œœ œœ#

3

..ww

subito

subito

subito

subito

subito

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Pp

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- -


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up:˙# ˙

up:

wup:

.œJœ# œ œ#

they bore her

w#

w#

25 Œ.˙˙̇# ˙

.œJœ# œ œ#

ww##

subitop

w# w

w

up:

Œ œ œ œ œ œ œWhich time she chant ed

∑

www#

Œœ œ œ œ œ œ

unis.

subito

subito

p

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pP

‰ ‰JÛ Û Û Û Û Û

-Û Û

3 3To mor row is Saint Val en tine's

Ó ‰JÛ Û Û

To mor row

œ œ œ# œ œ œ œ œ œ3

snatch es of old tunes, As one in

Ó ‰ œ œ# œ#

As one in

∑

œ œ œ# œ œ œ œœ œœ œœ#3

STAGE WHISPER (with an eery quality)

STAGE WHISPER (with an eery quality)

P- - -

-

- - - -

- -

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28

Û Œ ‰ Û Û Û

Day, And I a

Û Û Û-

Û Û Û Œ3

is Saint Val entine's Day,

œ œ œ œ œ œ œ œ œ3 3

ca pa ble of her own dis tress,

œ# œ œ œ œ# œ œ œn œ3 3

ca pa ble of her own dis tress,28

∑

œœ# œœ œœ œœ œœ# œœ œœ œœn œœ3 3

Û Û ÛJÛ Û

JÛ

maid at your win dow, To

Œ œ œ œ#Or like a

Œ œ œ œ#

Or like a

Œ œ œ# œOr like a

Œ œ œ œ#

Œ œœœœ# œœ#

SINGINGF

F

F

F

Û Û Û Û Û ‰JÛ

be your Val en tine. You

œ œ .˙crea ture

œ# œ .˙

crea ture

œ œ œ œ .œ œN œcrea ture na tive and in

œ œ .˙

œœ# œœ œœ œ .œ œ œ

P

P

Û-

Û Û Û Û Ó

prom ised me to wed.

˙ œ# ˙na tive

˙ œ ˙

na tive

œ œ œ# œ œn œ ˙#

dued Un to that el e ment:

˙ œ# ˙

˙# œ ˙œ œ œ# œ œn œ ˙#

- - - - -

- - - - - - - - -

- -

- - - -

-


5

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32

Œ œ œ œbut long it

Œ œ œ œbut long it

Œ œ œ œ

but long it

Œ œ œ œ

but long it

32Œ œ œœ œ

Œ œ œœ œ

SINGINGp

p

p

p

p

œ œ œ ˙3

could not be

œ œ œ ˙3

could not be

œ œ œ ˙3

could not be

œ œ œ œ œb3

could not be

œ œœœ œœœ ˙˙˙3

œ œ œ œ œb3

œ œ œ œTill that her

œ œ œ œTill that her

œ œ œ œ

Till that her

œ œ œ œ

Till that her

œœ œœ œœ œ

œ œœ œœ œœ

P

P

P

P

P

œ œ œ> .œ œ œ œ

gar ments, heav y with their

œ œ œ> .œ œ œ œgar ments, heav y with their





œœ œœ œœ>>>>>>>>>>> .œ œ œœ œœœ œœ œœ

>>>>> ..œœ œœ œœ œœ

F

F

F

F

F

- -

- -

- -

- -

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36

˙ œ- œ-drink, Pull'd the

˙ œ- œ-drink, Pull'd the

˙ œ# - œ-

drink, Pull'd the

˙ œ- œ-

drink, Pull'd the

36

˙ œœ------ œœ------

˙̇ œœ# ------ œœ------

f

f

f

f

f

œ œ .œ jœ œ# œpoor wretch from her me

œ œ .œ# jœ œ œ

poor wretch from her me

œ .œ jœ œ œpoor wretch from her me

œ .œ Jœ œ œ

poor wretch from her me

œ œœ ..œœ# œ œœ# jœ

œœ .œ œ œ Jœ

œN œ .œ# jœlo dious lay To

œb œ .œ jœlo dious lay To

œ œ .œ jœlo dious lay To

œ œ .œJœ

lo dious lay To

œœb œœ ..œœ# jœ

œœ œœ .œJœœ

P

P

P

P

P

˙N - -̇mud dy

˙# - -̇mud dy

-̇ -̇mud dy

˙b - -̇mud dy

˙̇# ˙̇

˙˙b ˙̇

Quiet, yet strong

Quiet, yet strong

Quiet, yet strong

Quiet, yet strong

œ- ˙U ŒU

death.

.˙b

U

-ŒU

death.

-̇ ˙bU

death.

wU

death.

œ ˙U ŒU

.˙b

˙ ˙bU

w

- - -

- - -

- - -

- - -


6

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41

Œ ˙# œ œ

Poor

Œ ˙ œ œN

Poor

.˙

wNPoor

wPoor

41Œ ˙̇# œœ œœN.˙

wN

π

π

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œœ# œœ# œœ œO

œ œ œ œ

O

œ œ œ œ# œ

w

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w

˙̇ œœ œ#

phe li

˙ œ œ

phe li

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.˙

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˙˙˙ œœœ œœ#.œ œ Jœ

.˙

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a

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w,

a

w#

w,

w,

˙ ˙www##

w

Œ .œ#Jœ

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Œ .œ jœ#

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˙

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.˙

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Œ ..œœ# jœœ#˙

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p

p

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p

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œ œ œ œO

œ œ œ œN œ

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w

œœœ# œœœ# œœœ œœ œ œ œN œw

- - - -

- - - -

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˙ ˙phe li

œ# ˙ œphe li

w

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47

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.˙# jœ ‰a

.˙ Jœ ‰

.œ# Jœ .œ ‰phe li a

.˙ jœ ‰.˙# Jœ

.˙ jœ‰.œ# Jœ .œ

˙ œ œToo much of

˙ œ œToo much of

˙ œ# œToo much of

˙ œ œ

Too much of

˙̇ œœ œœ

˙̇ œœ# œœ

Faster, q = 84

œ œ œ œwa ter hast thou,

œ œ œ œwa ter hast thou,

œ œ œ# œ

wa ter hast thou,

œ# œ œ œ

wa ter hast thou,

œœ œœ œœ œœ

œœ# œœ œœ œœ

œ Œ œ- œ-poor O

œ Œ œ- œ-poor O

œ Œ œ- œ-poor O

œ Œ œ- œ-

poor O

œœ Œ œ------ œ------

œœ Œ œ------ œ------

molto

molto

molto

molto

molto

..˙̇ œœphe li

œ œ# œ# œphe li

.˙# œ

phe li

..˙̇ œœphe li

..˙̇ œœœ œ# œ# œn

...˙̇˙# œœœ

F

F

F

F

F

- -

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- - - -

- - - -

- - - -- - - -


7

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53..˙̇ œ œ

a, poor O

œ œ# œN œ œa, poor O

.˙ œ œ#

a, poor O

.˙ œ œ

a, poor O53

..˙̇ œ œœ œ# œN œ œ

..˙̇ œœ œœ#

..˙̇# œœphe li

œ# œ# œ œphe li

˙# ˙

phe li

..˙̇ œœphe li

..˙̇# œœœ# œ# œ œ

˙# ˙..˙̇ œœ

f

f

f

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f

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a, O

˙ œ œ# œa, O

œ œ œ# œN œ

a, O

.˙ œœ# œœ

a, O

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œ œ œ# œ œ.˙ œœ# œœ

cresc.

..˙̇# œœ

phe li

œ# œ# œ# œ .œ œ#

phe li

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phe li

..˙̇## œ

phe li

..˙̇# œœœ# œ# œ# œ .œ œ#

...˙̇˙## œœ

ƒ

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a,

œ œN - œ- œ-

a, And

w ,

a,

wN ,

a,

wwœ œ œ œ

wwN

molto rit.

molto rit.

molto rit.

molto rit.

molto rit.

molto

molto

molto

molto

molto

- - -

- - -

- - - - - -

- - -

- - -

- - - - - -

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46

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58˙# œ

there fore

œ œ œ

œ# œ .œ ‰

there fore

∑

∑

58œ# œ œœœ# œ ˙

∑

a little slower, q = 80p

p

p

.˙ .˙

œ# œ œthere fore

∑

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..˙̇œ# œ œ

∑

œ Œ Œœ

.˙œ œ# œthere fore

∑

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œœ Œ Œœ œ# œ.˙

∑

∑

w œ Œw# œ

˙ œ ˙˙ Œ

I for bid

∑

ww# œœ Œ

˙ œ ˙˙ Œ

p

wN -my

w-my

w-my

w-

my

wwN -ww-

p

wtears.

wtears.

ww#tears.

wtears.

ww

www#

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wU

wU

˙̇ ˙U

wwU

wwUUUUUU

˙̇ ˙U

ww

π

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π

π

-

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Independently published choral works by Jocelyn Hagen:

Agnus Dei, from amass SATB choir, piano (four hands) Agnus Dei, from Ashes of Roses TTB div. a cappella, Bar. solo April and the Sun SATB a cappella choir Benedictus, from amass SSAATTBB a cappella choir, SATB soli Divine Image treble choir, women’s choir, SSATB choir, oboe and piano Endless SATB choir, 2 violins and piano Forgotten SSA choir, oboe and piano Gloria, from amass SATB a cappella double choir In the Lavender Stillness of Dawn SSA choir, violin, cello and piano I Saw Two Clouds at Morning SSAATTBB a cappella choir Joyful, Joyful, We Adore Thee SSAATTBB a cappella choir Ladies in Green SSA choir and piano Moon Goddess SSA choir, 4-hand piano, percussion No Rain SSAATTBB a cappella choir, SSA soli Numeri Atque Voces TTBB and SATB choirs On My Dreams SATB div. choir, piano, opt. trap set Ophelia SATB a cappella choir Prayer SA div. choir, violin and piano Salve, Regina SSA a cappella choir Sanctus, from amass SSATBB a cappella choir, SA soli Someone Will Remember Us SSAA choir, violin, viola, cello and harp Trees Need Not Walk the Earth SATB choir, piano, marimba & rain stick Under the Stars, One Holy Night treble choir, women’s choir, 2 instruments in C and piano Veni, Sancte Spiritus SATB a cappella choir Vespertilians SATB a cappella choir

Extended works for chorus Ashes of Roses (48’) requiem for SATB choir, orchestra, and soloists amass (65’) SATB choir, STB soli, cello solo, cello quartet, guitar and percussion trio Swimming Into Winter (17’) SATB (divisi) choir, winds and percussion

Jocelyn Hagen

Jocelyn Hagen (b.1980), a native of Valley City, North Dakota, composes music that has been described as “dramatic and deeply moving” (Star Tribune, Minneapolis/St. Paul). Her first forays into composition were via songwriting, and this is very evident in her work. The majority of her compositional output is for voice: solo, chamber and choral. In 2012 she collaborated with choreographer Penelope Freeh to create “Slippery Fish,” a quartet for 2 dancers, soprano and viola, and the piece was reviewed as “completely original in all respects.” (Star Tribune, Minneapolis/St. Paul). Currently she is Artist-in-Residence at the North Dakota State University School of Music, where she teaches, writes curriculum and brings in collaborators to perform her work.

Jocelyn holds degrees in Theory, Composition, and Vocal Music Education from St. Olaf College, as well as a Masters degree in Composition from the University of Minnesota. Jocelyn has received grants and awards from ASCAP, the American Composers Forum, Minnesota Music Educators Association,

the McKnight Foundation, the Jerome Foundation, VocalEssence, the Yale Glee Club, the Lotte Lehman Foundation, the Sorel Medallion Competition, the Cincinnati Camerata, the University of Minnesota, and the San Francisco Song Festival. Her commissions include the American Choral Directors Association, Texas, Georgia and Connecticut Choral Directors Associations, the North Dakota Music Teacher’s Association, The Singers – Minnesota Choral Artists, Trio Callisto, the Murasaki Duo, Cantus, the Houston Chamber Choir, the Metropolitan Symphony Orchestra, the St. Olaf Band, NDSU Gold Star Band, the ND Army Band, and the Copper Street Brass Quintet. Her music is independently published through her website as well as through Graphite Publishing, Santa Barbara Music Publishing and Boosey and Hawkes.

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