small reflections on a limitless faith - seafarer · pdf filesmall reflections on a limitless...

Elizabeth Alexander

Seafarer Press

SEA-123-00 - FULL SCORE $28.00

(PDF $20.00)

KindlingSmall Reflections on a Limitless Faith

for SATB choir and chamber ensemble


SATB and chamber ensemble *

Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Prologue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

I. First Touch . . . . . . . . . . . . . . . . . . . . . . . . . 6

II. Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

III. Chosen People . . . . . . . . . . . . . . . . . . . . 21

IV. So Much Radiance . . . . . . . . . . . . . . . . . 35

V. Strong Braid . . . . . . . . . . . . . . . . . . . . . . 46

VI. Where Belief Begins . . . . . . . . . . . . . . . 60

Epilogue: The Chalice of Our Hearts . . . . . 69

Composer Notes . . . . . . . . . . . . . . . . . . . . . . 74

* Chamber Ensemble Instrumentation:

Flute (opt Piccolo)

Horn in F

Piano

String Quartet

Duration: 25 minutes

Kindling may be performed with SATB and piano using the Choral Score (SEA-123-09)

Choral Scores and Instrumental Parts (SEA-123-08) may be ordered at www.seafarerpress.com

Also available as individual songs:

Pages (SEA-123-02)

Chosen People (SEA-123-03)

So Much Radiance (SEA-123-04)

Strong Braid (SEA-123-05)

The Chalice of Our Hearts (SEA-123-07)

Seafarer Press


Words and Music by Elizabeth Alexander

I. First Touch

Direct experience of that transcending mystery and wonder, affirmed in all cultures,

which moves us to a renewal of the spirit and an openness to the forces which create and uphold life.

The first touch brings astonishment, then delight:

Water, kitten belly, hydrangea blossom, warm mud.

New ears learn to decipher footsteps and music.

While watching a fuzzy caterpillar, small hearts lean towards God.

II. Pages

Words and deeds of prophetic women and men which challenge us to confront

powers and structures of evil with justice, compassion, and the transforming power of love

On the pages of the morning paper,

People rebuild shattered schools and restore lifeless lakes,

Knit reconciliation out of promise and pain,

And sing to the deathly ill and the newly born.

Constitutions are still being written,

And slaves freed, and truces forged.

We finish our breakfasts and roll up our own sleeves.

III. Chosen People

Jewish and Christian teachings which call us to respond to God's love by loving our neighbors as ourselves

As children we are enchanted by the apple, the ark, the whale,

The boy with the slingshot, the baby in the barn.

Later we grapple with forgiveness, resurrection and compassion.

Chosen people are everywhere now – in the market, under the bridge.

The next chapters are still being written.

IV. So Much Radiance

Wisdom from the world's religions which inspires us in our ethical and spiritual life

Once we set forth in the dark empty hours of the night,

In search of a Presence wondrous and unseen,

Guided only by a voice still and small.

Our outstretched hands soon encountered

The brass and grain of Cross and Menorah,

And our fingers traced their contours with reverence and joy.

Only now, as the rising sun illuminates

Wheel and Lotus, Yin and Yang, Star and Crescent, Eagle and Drum,

We begin to behold the Limitless:

So much Radiance within our reach – even more beyond.

V. Strong Braid

Humanist teachings which counsel us to heed the guidance of

reason and the results of science, and warn us against idolatries of the mind and spirit

Aloft in the heady air of faith,

Our senses heightened by incense and ether,

We may from time to time become ecstatic paper kites.

We dive and keel and rocket,

Riding each wayward gust with abandon,

Recklessly aspiring to Auroral heights —

Yet knowing all the while that we are safe,

Tethered to the ground by a strong braid, a steady hand,

And a mind that appraises the wind.

VI. Where Belief Begins

Spiritual teachings of earth-centered traditions which celebrate

the sacred circle of life and instruct us to live in harmony with the rhythms of nature

It comes down to this, in the end.

And in the beginning and middle as well:

Earth, generous and visceral,

Manifested in mountains and hidden within clouds,

Familiar to rhizomes and young knees.

Air and Water, faithful channels of change,

Whose currents and cycles nudge germination

All the way through to rot and back again.

What’s more, there’s Fire, dazzling and implausible,

Not only in the cores of planets and stars

But also in the hollow where belief begins.

Epilogue: The Chalice of Our Hearts

Our search for kindling takes us far beyond our selves –

There we gather Truth and Mystery.

We return in joy to tend the chalice of our hearts.

© 2015 by Elizabeth Alexander. All rights reserved.

Cover Art: “Girl with Dandelion” by Emily Roe

Emily Roe is an artist, photographer and avid do-it-yourself interior designer. Her popular blog, “Love

Emmie,” focuses on her role as a “military mom” bringing a sense of home to base housing wherever

her family is stationed. About this image, she writes: “This drawing is of my daughter. We were in a

field of daisies and dandelions, while living in Alaska. She made so many selfless wishes with each

dandelion, I felt it was a moment that I needed to capture.”

Tenderly (q = 120)Elizabeth Alexander

Conductors Score in C

© 2015 by Elizabeth Alexander

Prologue

Commissioned by First Unitarian Universalist Church of Houston

Kindling

Flute (opt. Piccolo)

Horn in F

S

A

T

B

Piano

Violin I

Violin II

Viola

Cello

10

Fl

Hn

Pno

Vln I

Vln II

Vla

Vc

22

22

22

22

22

22

22

22

22

22

22

22

p

cantabile

p

pp

pp

pp

p

mp

cantabile

p

p

p

Seafarer Press / SEA-123-00

18

Fl

Hn

Pno

Vln I

Vln II

Vla

Vc

24

Fl

Hn

Pno

Vln I

Vln II

Vla

Vc

32

32

32

32

32

32

32

32

p

p mp p

mp p

mp p

mp pSeafarer Press / SEA-123-00

Kindling - Conductors Score in C 5

28

Fl

Hn

Pno

Vln I

Vln II

Vla

Vc

A With awe (q = 120 )

I. First Touch

“Direct experience of that transcending mystery and wonder, affirmed in all cultures,

which moves us to a renewal of the spirit and an openness to the forces which create and uphold life”

31

Fl

Hn

T

Pno

Vln I

Vln II

Vla

Vc

32

32

32

32

32

32

32

32

32

32

32

32

32

32

32

32

32

22

22

22

22

22

22

22

22

22

attacca

3

attacca

attacca

attacca

3

attacca

attacca3

attacca

mp mp

mp

Solo or Tutti: p

The

mp mp

mp mp

mp mp

mp mp

mp mpSeafarer Press / SEA-123-00

Kindling - Conductors Score in C6

35

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

40

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

22

22

22

22

22

22

22

22

22

22

22

22

32

32

32

32

32

32

32

32

32

32

32

32

Solo or Tutti: p

The first touch

first touch brings a ston ish ment,

3

simile

sfz

("First Touch")

cantabile

brings a ston ish ment.

3 Tutti: mp

a

a

p

ston ish ment,

3

a ston ish ment,

3

a

Tutti: p

a ston ish ment,

3

a

a

mp

sfz



Opal Palmer Adisa, poet B Margaret & George Alexander, parents B Yehuda Amichai, poet B Bjorn Arneson, generous

web designer B Scott Bates, poet B Abbie Betinis, composer/colleague B Dennis Blubaugh, music dealer B Michael

deVernon Boblett, poet B Ray Bradbury, writer B Norbert Capek, visionary B e. e. cummings, poet B Philip Dacey,

poet B Emily Dickinson, poet B Evelyn Dudley, poet B Rob Eller-Isaacs, minister/writer B Sophia Lyon Fahs, writer

B Richard M. Fewkes, writer B Pesha Gertler, poet B Richard S. Gilbert, minister/writer B Jack Gallagher,

composer/teacher B Paul Gerike, proofreader B Steve Harper, technical advisor B Steve Hawkins, generous web

designer B Edie Hill, composer/colleague B Langston Hughes, poet B Mark Humphrey, piano technician B Karel Husa,

composer/teacher B Kalidasa, poet B Garrison Keillor, storyteller B Denise Levertov, poet B George Ella Lyon, poet

B Jonathan Machen, artist B Edna St. Vincent Millay, poet B J. David Moore, composer/colleague B Joan Wolf

Prefontaine, poet B Gerald Rich, poet B Carl Sandburg, poet B King Sigismund III, religious reformer B Steven

Stucky, composer/teacher B Rabindranath Tagore, poet B Howard Thurman, civil rights leader/writer B John

Greenleaf Whittier, poet B Theodore Chickering Williams, poet B Daniel Winter, pianist/teacher B Nancy Wood,

poet B Yehudi Wyner, composer/teacher B Paul Adams, technical advisor B Opal Palmer Adisa, poet B Margaret &

George Alexander, parents B Yehuda Amichai, poet B Bjorn Arneson, generous web designer B Scott Bates, poet B

Abbie Betinis, composer/colleague B Dennis Blubaugh, music dealer B Michael deVernon Boblett, poet B Ray

Bradbury, writer B Norbert Capek, visionary B e. e. cummings, poet B Philip Dacey, poet B Emily Dickinson, poet

B Evelyn Dudley, poet B Rob Eller-Isaacs, minister/writer B Sophia Lyon Fahs, writer B Richard M. Fewkes, writer

B Pesha Gertler, poet B Richard S. Gilbert, minister/writer B Jack Gallagher, composer/teacher B Paul Gerike,

proofreader B Steve Harper, technical advisor B Steve Hawkins, generous web designer B Edie Hill,

composer/colleague B Langston Hughes, poet B Mark Humphrey, piano technician B Karel Husa, composer/teacher

B Kalidasa, poet B Garrison Keillor, storyteller B Denise Levertov, poet B George Ella Lyon, poet B Jonathan Machen,

artist B Edna St. Vincent Millay, poet B J. David Moore, composer/colleague B Joan Wolf Prefontaine, poet B Gerald

Rich, poet B Carl Sandburg, poet B King Sigismund III, religious reformer B Steven Stucky, composer/teacher B

Rabindranath Tagore, poet B Howard Thurman, civil rights leader/writer B John Greenleaf Whittier, poet B

Theodore Chickering Williams, poet B Daniel Winter, pianist/teacher B Nancy Wood, poet B Yehudi Wyner,

composer/teacher B Paul Adams, technical advisor B Opal Palmer Adisa, poet B Margaret & George Alexander, parents

B Yehuda Amichai, poet B Bjorn Arneson, generous web designer B Scott Bates, poet B Abbie Betinis,

composer/colleague B Dennis Blubaugh, music dealer B Michael deVernon Boblett, poet B Ray Bradbury, writer B

Norbert Capek, visionary B e. e. cummings, poet B Philip Dacey, poet B Emily Dickinson, poet B Evelyn Dudley, poet

B Rob Eller-Isaacs, minister/writer B Sophia Lyon Fahs, writer B Richard M. Fewkes, writer B Pesha Gertler, poet

B Richard S. Gilbert, minister/writer B Jack Gallagher, composer/teacher B Paul Gerike, proofreader B Steve Harper,

technical advisor B Steve Hawkins, generous web designer B Edie Hill, composer/colleague B Langston Hughes, poet

B Mark Humphrey, piano technician B Karel Husa, composer/teacher B Kalidasa, poet B Garrison Keillor, storyteller

B Denise Levertov, poet B George Ella Lyon, poet B Jonathan Machen, artist B Edna St. Vincent Millay, poet B J.

David Moore, composer/colleague B Joan Wolf Prefontaine, poet B Gerald Rich, poet B Carl Sandburg, poet B King

Sigismund III, religious reformer B Steven Stucky, composer/teacher B Rabindranath Tagore, poet B Howard Thurman,

civil rights leader/writer B John Greenleaf Whittier, poet B Theodore Chickering Williams, poet B Daniel Winter,

pianist/teacher B Nancy Wood, poet B Yehudi Wyner, composer/teacher B Paul Adams, technical advisor B Opal

Palmer Adisa, poet B Margaret & George Alexander, parents B Yehuda Amichai, poet B Bjorn Arneson, generous web

designer B Scott Bates, poet B Abbie Betinis, composer/colleague B Dennis Blubaugh, music dealer B Michael






THE REST OF THIS PIECE IS NOT AVAILABLE ONLINE.

(YOU KNOW WHY.)

A COMPLETE PERUSAL COPY MAY BE PURCHASED

FROM ELIZABETH ALEXANDER AT

Seafarer PressSeafarer PressSeafarer PressSeafarer Presswww.seafarerpress.com

A LOT OF HARD WORK &CREATIVITY

WENT INTO BRINGING

THIS MUSIC TO YOU...

...AND SOME OF IT

WAS EVEN MINE.

B49

Fl

S

A

Pno

Vln I

Vln II

Vla

Vc

53

Fl

T

B

Pno

Vln I

Vln II

Vla

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22

22

22

22

22

22

22

22

22

22

mp

Wa

mp

ter,

Wa

mp

ter,

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mp

ter,

mp

( mf )pizz.

( mf )

mp

arco

mp

playfully

kit

mp playfully

ten bel ly,

kit

mp playfully

ten bel ly,

playfully

mparco

mp



57

Hn

S

A

Pno

Vln I

Vln II

Vla

Vc

61

Hn

T

B

Pno

Vln I

Vln II

Vla

Vc

mp

hy

blossoming!

dran gea blos som,

hy

blossoming!

dran gea blos som,

3 3 43

3

3

3

3

3

3

6

6

3 3 3 3 3

arco

mf

3

3

3

3

3

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3

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3 3 3 3 3

mf 6

mf

mf

warm

mf happily

mud, warm mud,

port.

warm

mf happily

mud, warm mud.

port.

mf

pizz.

pizz.

jauntily 33

3 3 3 3

jauntily



65

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

71

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

mf

New

mp

ears learn to de

3

ci pher foot steps and

3

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sic,While

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ears learn to de

3

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3

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mp

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arco

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3

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fluttertongue (opt.):

mp

watch ing a

3

fuz zy cat er pil lar, Small hearts

watch ing a

3


watch ing a

3


watch ing a

3


mp

6 6

6 6

mp

mp

mp

mpSeafarer Press / SEA-123-00


77

nonritardando(No fermata)

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

norm.

f

f

lean toward God.

f

lean toward God.

f

lean toward God.

f

lean toward God.

f

3

3

3

3

33

f6 6 6 6 3

f

f

f

f



C(q. = 60)

“Words and deeds of prophetic women and men which challenge us to confront

powers and structures of evil with justice, compassion, and the transforming power of love”

II. Pages

83

TB

Pno

Vln I

Vln II

Vla

Vc

92

Hn

SA

TB

Pno

Vln I

Vln II

Vla

Vc

68

68

68

68

68

68

68

On

p

the pag es of the morn ing pa per, Peo ple re

p

(no pedal change)

p

p

p

p

p

Peo

p

ple re store life less lakes,

build shat tered schools,

f5 5 5 5 5

( p )



98

Hn

SA

TB

Pno

Vln I

Vln II

Vla

Vc

103

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

on the pag es of the morn ing pa per. On the

on the pag es of the morn ing pa per.

5 5 5

p

pag es of the morn ing pa per Ah

pag es of the morn ing pa per Ah

On

mp

the pag es of the morn ing

On

mp

the pag es of the morn ing

















































(YOU KNOW WHY.)





WENT INTO BRINGING


...AND SOME OF IT

WAS EVEN MINE.

115 rallentando

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

meno mosso

121

poco accel.

Fl

Hn

Pno

Vln I

Vln II

Vla

Vc

f pp

and sing to the death

f

ly ill and the new ly born.

pp

and sing to the death

f


pp

pro mise, and sing to the death

f


pp

pro mise, and sing to the death

f


pp

f pp

f pp

f pp

f pp

f pp

p

p

p



D A Tempo

128

Fl

Hn

TB

Pno

Vln I

Vln II

Vla

Vc

136

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

pp

Con

p

sti tu tions are still be ing writ ten,

(no pedal change)

ppizz.

p

p

p

marcato

mp

Slaves

p

are still be ing freed,

Slaves

p

are still be ing freed,

Tru

p

ces are still

mp

be ing

Tru

p

ces are still

mp

be ing

arco



142

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

149

Fl

Hn

Pno

Vln I

Vln II

Vla

Vc

p

on

p

the pag es of the morn ing pa per,

on

p


forged on

p


forged on

p


pizz.

espress.

mp

mp

mp

mparco

mp



E154

Fl

Hn

T

B

Pno

Vln I

Vln II

Vla

Vc

162

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

mf p

mf p

We

We

mf p

mf p

mf p

mf p

mf p

con sordino

and roll up our own sleeves,

and roll up our own sleeves,

fin ish our break fasts and roll up our own sleeves, and roll up our

fin ish our break fasts and roll up our own sleeves, and roll up our



168

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

174

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

pp

and roll up our own sleeves, and roll up our own sleeves,

and roll up our own sleeves, and roll up our own sleeves,

own sleeves, and roll up our own sleeves, and roll up our own sleeves,

own sleeves, and roll up our own sleeves, and roll up our own sleeves,

pp

niente

niente

niente

niente

niente

niente

niente

niente



F

“Jewish and Christian teachings which call us to respond to God's love by loving our neighbors as ourselves”

(h= 60)

III. Chosen People

182

Pno

Vln I

Vln II

Vla

Vc

188

Fl

A

Pno

Vln I

Vln II

Vla

Vc

22

22

22

22

22

22

l.h.

p

mp

cantabile

(opt. higher note)

p

p

p

p

Solo or Tutti: p

As chil dren we are en chan ted by the



194

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

200

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

ap ple,

Solo or Tutti: p

As chil dren we are en

3 3 3 3 3 3 3 3

chan ted by the ark,

3 3 3 3 3 3

3

3

3

3 3 3



205

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

209

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

senza sordino

p

We

p

are en chan

mp

ted, we are en chan ted

Tutti: p

We are en chan

mp

ted, we are en chan ted

We

p

are en chan

mp

ted, We are en

Tutti: p

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mp

ted, We are en

3

3

3 3 3 3 3 3 3 3

3

3

3 3 3 3

mp

mp

mp

mp

mf

by the whale,

mf

We are en chan ted.

by the whale,

mf

we are en chan ted, we are en

chan ted by the whale,

mf

we

* with enthusiasm

are en

chan ted by the whale,

mf

* Tenors have cue-sized notes here; they may sing this line with basses if desired.

we

with enthusiasm

are en

3

3

3

mf

3

mf

mf

mf

mfSeafarer Press / SEA-123-00


213

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

the

p with awe

ba by in the

chan ted. the

p with awe

ba by in the

chan ted by the boy with the sling

f

shot,

port.

the

p with awe

ba by in the

chan ted by the boy with the sling

f

shot, the

p with awe

ba by in the

l.h.

r.h.

l.h.

r.h.

f

pizz.

f

arco

p (no crescendo)

pizz.

fp

arco

(no crescendo)

pizz.

f

arco

p

f

gliss. arco

p

















































(YOU KNOW WHY.)





WENT INTO BRINGING


...AND SOME OF IT

WAS EVEN MINE.

G226

Fl

S

A

Pno

Vln I

Vln II

Vla

Vc

231

Moving forward

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

32

32

32

32

32

32

32

32

32

32

32

La

p darkly

ter we grap ple with for give ness, for give ness,

La

p darkly

ter we grap ple with for give ness, for give ness,

p darkly

mp

espress.

darkly

p

darkly

p

p mp

espress.

p

p

darkly

p

3

re

mp

sur

We

p darkly

grap ple with

3

re sur rec tion,

mp

re sur

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p darkly

grap ple with

3

re sur rec tion,

mp

re sur

p



236

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

32

32

32

32

32

32

32

32

32

32

32

32

mf 6 6

mf

rec

mf

tion, re sur

rec

mf

tion, re sur

rec

mf

tion, re sur

rec

mf

tion, re sur

mf

1 4

mf

sfz

mf sfz

mf sfz

mf sfz



238 poco rit.

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

22

22

22

22

22

22

22

22

22

22

22

22

f3

f

rec

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tion. and

mp warmly

com

rec

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tion. and

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rec

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tion.

rec

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f

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espress.

3

espress.

f

f

espress.



HTempo meno mosso242

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

246

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

22

22

22

22

22

22

22

22

22

22

22

mp

pas sion, com pas sion,

pas sion, com pas sion, mp warmly

com

mp warmly

com

mp

mp

mp

mp

mp

la

p

ter we

la

p

ter we

pas sion, com pas sion, la

p

ter we

pas sion, com pas sion, la

p

ter we



rallentando

250

A Tempo

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

I256

Hn

Pno

Vln I

Vln II

Vla

Vc

p niente

grap ple with com pas sion.




pp niente

espress.

mp 3

pp niente

pp niente

pp niente

p

p

3 3

pp

pp

ppSeafarer Press / SEA-123-00


260

Hn

Pno

Vln I

Vln II

Vla

Vc

264

Fl

Pno

Vln I

Vln II

Vla

Vc

270

Fl

Hn

Pno

Vln I

Vln II

Vla

Vc

33

mf 3

mf

3 3 mf 3

mf

espress. 3

mf 3

mf

mp

mfmp

3

3



276

Hn

SA

Pno

Vln I

Vln II

Vla

Vc

J280

SA

Pno

Vln I

Vln II

Vla

Vc

284

SA

TB

Pno

Vln I

Vln II

Vla

Vc

pp

Cho

p tenderly

sen

p

p

p

p

p

peo ple are ev’ ry where now, are ev’ ry

where. ev’ ry where, Cho sen

in

p tenderly

the mar ket, un der the

3

bridge.



288

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

mp

3

peo ple ev’ ry where,

mf

peo

mp

ple are ev’ ry where

mf

Cho

mp

sen peo ple are

3

ev’ ry where

mf

are ev’ ry

are

mp

ev’ ry where,

mf

ev’ ry

3 3 3 3 3 3 3 3 3 3

3

3

3 3 3 3

mf3

mf

3

3 3

3 3 3 3 3 3 3 3



292 rall. meno mosso

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

297

Fl

Hn

SA

TB

Pno

Vln I

Vln II

Vla

Vc

mf pp

ev’ ry where,

pp expectantly

The

in the mar ket, un der the

3

bridge...

pp expectantly

The

where now, are ev’ ry where,

pp expectantly

The

where now, are ev’ ry where,

pp expectantly

The

pp3 3 33 3 3

3 3

3mf

3

3

3

mf pp

mf pp

mf pp

mf pp

pp

pp

next chap ters are still be ing

3

writ ten.

next chap ters are still be ing

3

writ ten.

glistening like drops of water

pp

pp

pp



K (q = 100)

"Wisdom from the world's religions which inspires us in our ethical and spiritual life"

IV. So Much Radiance

303

Fl

Vln I

Vln II

Vla

Vc

313

Fl

SA

Pno

Vln I

Vln II

Vla

Vc

321

SA

Pno

Vln I

Vln II

Vla

Vc

34

34

34

34

34

p

p

p

p

p

Once

p

we set forth in the dark emp ty hours of the

p

night, In search of a Pre sence won d’rous and un

7



329

Fl

SA

TB

Pno

Vln I

Vln II

Vla

Vc

335

Fl

SA

TB

Pno

Vln I

Vln II

Vla

Vc

mp

seen.

Guid

mp

ed on ly by a voice

mp

mp

mp

mp

p

whispered freely,unsynchronizedpp

yah - weh..... yah - weh...... yah - weh..... yah - weh...... yah - weh..... yah - weh......

mp pp

still and small.

p

murmurring

pp

murmurring

pp

pp



340

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

346

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

Our

p

out stretched hands soon en coun tered brass and grain of Cross

mp

and Me

Our

p

out stretched hands soon en coun tered brass and grain of Cross

mp

and Me

Our out stretched hands soon en coun tered brass and grain of Cross

mp

and Me

Our out stretched hands soon en coun tered brass and grain of Cross

mp

and Me

p

p

p

p

no rah, And our fin gers traced their con tours with




sfz

mf mp

mf mp

mf mp

mf mpSeafarer Press / SEA-123-00


352

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

L358

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

mp

rev

mf

’rence and joy.

rev

mf

’rence and joy.

rev

mf

’rence and joy.

rev

mf

’rence and joy. On

p

ly

mf murmuring

mf

murmuring

p

mf

murmuring

p

mf p

mfp

pp mp

pp mp

the

p

ri sing sun il lu

mp

mi nates,

the

p

ri sing sun il lu

mp

mi nates,

the

p

ri sing sun, il lu

mp

mi nates,

now as the ri sing sun, the ri sing sun, il lu

mp

mi mates,

mp mf

mp mf

mp mf

mp

















































(YOU KNOW WHY.)





WENT INTO BRINGING


...AND SOME OF IT

WAS EVEN MINE.

378

Fl

Hn

S

A

Pno

Vln I

Vln II

Vla

Vc

382

Fl

Hn

T

B

Pno

Vln I

Vln II

Vla

Vc

f

mf p

Wheel

mf brightly

and Lo tus,

Wheel

mf brightly

and Lo tus,

mf sfz

mf

mf

mf

mf

mf p

Yin

mf brightly

and Yang,

Yin

mf brightly

and Yang,

sfz



386

Fl

Hn

S

A

Pno

Vln I

Vln II

Vla

Vc

390

Fl

Hn

T

B

Pno

Vln I

Vln II

Vla

Vc

mf p

Star and Cres cent,

Star and Cres cent,

sfz

mf

mf mp

Ea gle and Drum,

Ea gle and Drum, We be

5 4 3 2 1 2

sfz sfz sfzsfz

sfz sfz sfz sfz

sfz sfzsfz

sfz

sfz sfz sfz sfz

sfz sfz sfz sfzSeafarer Press / SEA-123-00


M394

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

400

Picc.(opt.)

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

68

68

68

68

68

68

68

68

68

68

68

68

68

We be gin to be hold the Li mit less,

We be gin to be hold the Li mit less:

gin to be hold the Li mit less,

3 3

f

f

( mp ) f

So

f

much Ra di ance with in our reach, So much

So

f

much Ra di ance with in our reach, So much

So

f

much Ra di ance,

So

f

much Ra di ance,

f

(no pedalchanges)

f

f

f

fSeafarer Press / SEA-123-00


406

Picc.(opt.)

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

412

Picc.(opt.)

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

mp f

Ra di ance with in our reach, So much Ra di ance with in our

Ra di ance with in our reach, So much Ra di ance with in our

So much Ra di ance,

So much Ra di ance,

reach, and e ven more, and e ven more, be

reach, and e ven more, and e ven more, be

So much Ra di ance, and e ven more, and e ven more, be

So much Ra di ance, and e ven more, and e ven more, be



418

Picc.(opt.)

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

f

yond,

ff

be yond, be yond, be

yond,

ff


yond,

ff


yond,

ff


ff

(no pedal changes -- let ’er rip!)

ff

ff

ff

ff



424

Picc.(opt.)

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

ff

ff

ff

yond

yond.

yond

yond.



N

“Humanist teachings which counsel us to heed the guidance of reason and the results of science,

and warn us against idolatries of the mind and spirit”

V. Strong Braid

With Ecstasy

( h = 72 )

429

Fl

Pno

Vln I

Vln II

Vla

Vc

433

Fl

B

Pno

Vln I

Vln II

Vla

Vc

22

22

22

22

22

22

22

f

*

f 6 6

6 6

6 6

* Pianist, allow yourself to waft and whirl to your heart’s content, and use thelead-foot pedal technique that your piano teacher instructed you to eschew. - E.A.

6 6

mf

mf

mf

3 3 3 3 3 3 3 7

A

mf

6

6

6

66

6

6

6

mfSeafarer Press / SEA-123-00


437

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

441

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

”Stealth note” *

Ah

mfgliss.


Ah

mf

gliss.


Ah

mf

gliss.

Ah

mf

gliss.

loft

* Composer's Note: Whenever I need to “pull a note out of the air” (no pun intended), I try singing/humming along with a different voice part whose pitch helps me get a handle on my own pitch. In this song, I've suggested a few such “stealth notes” for the upper voices.

in the head y air,

6

66

6

6 6 6 66 6 6

6 6

3 3 3

A loft in the head y air of

66

6

6

6 6 6 66 6 6

6 6 6 6



445

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

448

Fl

Hn

S

A

T

B

Vln I

Vln II

Vla

Vc

32

32

32

32

32

32

32

32

32

32

32

3 3 3

*

Ah

gliss.

*

Ah

gliss.

*

Ah

mf

gliss.

Ah

gliss.

faith,

6 6 6 6 6 66 6 6 6 6

6 6 6 6

3

mf

A loft in the

3

head y air of

6 6 6 6 6 66 6 6 6 6 6

6 6 6 6 6 6



451

Fl

Hn

S

A

T

B

Vln I

Vln II

Vla

Vc

453

Fl

Hn

S

A

Vln I

Vln II

Vla

Vc

32

32

32

32

32

32

32

32

32

32

32

32

22

22

22

22

22

22

22

22

22

3 3 3 3 3 3 3 3

Ah

gliss.

Ah

gliss.

Ah

gliss.

faith, Ah

gliss.

Ah

gliss.

Ah

gliss.

6 6 6 6 6 66 6 6 6 6 6

6 6 6 6 6 6

5

Ah

gliss.

Our

p

Ah

gliss.

Our

p

Ah

gliss.

Our

p

6 6 6 6 6 6

6 6 6 6 6 6

6 6 6 6 6 6

















































(YOU KNOW WHY.)





WENT INTO BRINGING


...AND SOME OF IT

WAS EVEN MINE.

461

T

B

Pno

Vln I

Vln II

Vla

Vc

465

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

22

22

22

22

22

22

22

22

22

may from time to time be come ec



3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3

3 3 6 6

We

mf

We

mf

sta tic pa per kites.

mf

We


mf

We


mf

We

3 3 3 3 3 3 3mf

3 3 3 3 3

mp3

mp 3

mp



P469

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

473

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

dive and keel and rock et, We




3 33 3 3

3 3 3 3 3 3 3 3

f 3 3 3

f

f

f

f

mf

dive and keel and rock et,




3 3

3

3 3

3

3 6 3

3 6

3 3 3



477

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

481

rallentando

Fl

S

A

T

B

Vln I

Vln II

Vla

Vc

mp subito

Rid

mp a brief moment of stillness...

ing each

3way ward gust with a

3

ban don,

Rid


ing each


3

ban don,

Rid


ing each


3

ban don, a ban don,

Rid


ing each


3

ban don, a ban don,

6 6 6 6 6 6 6

mp subito

mp subito

mp subito

Reck less ly3

as pir ing, as pir ing, as pir ing to Au

Reck less ly

3

as pir ing, as pir ing, as pir ing to Au

Oh, as pir ing, as pir ing to Au

Oh, as pir ing, as pir ing to Au



A Tempo - with ecstasy!

485

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

f 6 6 6 6

f

ro

f

ral heights, Au ro

ro

f

ral heights, Au ro

ro

f

ral heights, Au ro

ro

f

ral heights, Au ro

6 6 6 6 6 6 6 6 6 6

f

f

f

f

f



490

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

496 poco rit.

T

Pno

Vln I

Vln II

Vla

Vc

marcato

ral heights,

ral heights,

ral heights,

ral heights,

6 6

marcato

marcato

Solo or Tutti: mp

Yet

espress.



Q a tempo503

Hn

T

Pno

Vln I

Vln II

Vla

Vc

509

Hn

T

Pno

Vln I

Vln II

Vla

Vc

514

Hn

T

Pno

Vln I

Vln II

Vla

Vc

con sordino (Think: "Strong braid")

p

know ing all the while that we are safe,

6 6 6 6

6 6 6 6

6 6 6 6

mp

p

(Think: "Strong braid")

p


p

p

Te

Solo or Tutti: mp

thered to the ground

6 6 6 6

6 6 6 6

6 6

by a strong braid,

6 6

6 6 6 6

6 6 6 6



519

Hn

B

Pno

Vln I

Vln II

Vla

Vc

525

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

Te

Tutti:

mp

thered by a stead y, stead y hand.

6 6 6 6 6 6 6 6 6 6 6 6


f

p

and

p

a mind that

molto cresc.

ap prais es the

and

p

a mind that

molto cresc.

ap prais es the

and

p

a mind that

molto cresc.

ap prais es the

and

p

a mind that

molto cresc.

ap prais es the

r.h.

f

6 6 6 6

l.h.

molto cresc. sfz

molto cresc.sfz sfz

molto cresc. sfz sfz

molto cresc.



531

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

535

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

3 3 3 3 3

wind.

f

Ah

gliss.

wind.

f

Ah

gliss.

gliss.

wind.

f

Ah

gliss.

wind.

f

Ah

gliss.

6 6

6 6

6 6

6 6

f

f

f

f

3 3 7 7

Ah

ffgliss.

gliss.

Ah

ff

gliss.

Ah

ffgliss.

gliss.

Ah

ffgliss.

6 6

66

6 6

6 6



539

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

ff 6 6 6 6

senza sordino

f

sf6

6

6

ff with “gust”o!

6

ff

ff

ff

ff



R

“Spiritual teachings of Earth-centered traditions which celebrate

the sacred circle of life and instruct us to live in harmony with the rhythms of nature."

Pensively (h = 60)

VI. Where Belief Begins

542

Pno

Vln I

Vln II

Vla

Vc

550

SA

TB

Pno

Vln I

Vln II

Vla

Vc

558

SA

TB

Pno

Vln I

Vln II

Vla

Vc

22

22

22

22

22

22

Crystal clear, like raindrops

p

(no pedal changes)

pp

pp

pp

pp

It

pp

It

pp

comes down to this in the

3

end. And in the be

3

gin ning and mid dle as

comes down to this in the

3

end. And in the be

3

gin ning and mid dle as



564

Hn

SA

TB

Pno

Vln I

Vln II

Vla

Vc

572

Fl

Hn

SA

TB

Pno

Vln I

Vln II

Vla

Vc

pp

well. It comes down to

3

this in the end: It comes down to

3

this

well. It comes down to

3

this in the end: It comes down to

3

this

pmp

6 6 5

in the end.

in the end.

5

2 1 3 4

66



S578

Fl

SA

Pno

Vln I

Vln II

Vla

Vc

582

Fl

SA

Pno

Vln I

Vln II

Vla

Vc

32

32

32

32

32

32

32

32

32

32

32

32

32

32

32

32

3

Earth,

mp

gen er ous and vis cer al,

3

6 6 6 6 6 6 6 6mp

mp

3 3 3 3 3 3 3 3

mp

3 3 3 3 3 3 3 3

mp

mp

man i fest ed in

3

moun tains and hid den with

3

in the clouds,

6 6 6 6 6 6 6 6 6

3 3 3 3 3 3 3 3 33 3 3 3 3 3 3 3 3



585

Fl

SA

Pno

Vln I

Vln II

Vla

Vc

588

Fl

Hn

SA

Pno

Vln I

Vln II

Vla

Vc

22

22

22

22

22

22

22

22

22

22

22

22

22

22

22

22

22

32

32

32

32

32

32

32

32

32

3 3 3

fa mi liar to

3

rhi zomes and young knees.

6 6 6 6 6 6 6 6

3 3 3 3 3 3 3 3 33 3 3 3 3 3 3 3 3

mp3

Earth.

tenderly

6 6 6 6 6 6 6

3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3



592

Fl

Hn

TB

Pno

Vln I

Vln II

Vla

Vc

595

Fl

Hn

TB

Pno

Vln I

Vln II

Vla

Vc

32

32

32

32

32

32

32

32

32

22

22

22

22

22

22

22

22

22

mf6 6 6 6

mf

Air

mp

and Wa

mf

ter,

6 6 6 6mf

pizz.

mfpizz.

mf

mf

mf

6 6

3

faith ful chan nels of

3change whose cur rents and

3

cy cles nudge

3 6

3

arco

arco



599

Hn

TB

Pno

Vln I

Vln II

Vla

Vc

602

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

f

ger mi na tion all

f

the way

3through to rot and back a

f

3 6

3 6 3 6

3 3 3

f

f

f

f

mp 3

p

What’s

mp

What’s

mp

gain. What’s

mp

gain. What’s

mp

6 6 6 6 6

4

6

p



T606

Fl

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

f

more, what's more, what's more, what's more, there’s




3 6 3 6 3 6

3 6mp

3 3 3 3

mp3 3

3 3

3 3

3



610

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

6 6 3 6

f

Fire,

f

daz zl ing

3

and im pro ba ble,

Fire,

f

daz zl ing

3

and im pro ba ble,

Fire,

f

there is Fire, im pro ba ble, not

Fire,

f

there is Fire, Ah! not

3 6

3 6 3

6

3 6

f 3

3 3 3

(Sul A)

f

f

f

f



614

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

rallentando molto

618

a tempo, meno mosso

S

A

T

B

Pno

Vln I

32

32

32

32

32

32

32

22

22

22

22

22

22

22

22

22

22

22

22

22

22

Oh stars,

Oh stars,

on ly in the core of pla nets and

3

stars,

on ly in the core of pla nets and

3

stars,

3 6

3 6

33

3

3

3 3

3

3 3 3

espress.

p

pespress.

p

But

p with a hushed tone

al so in the hol low where be lief be

attacca

But



attacca

But



attacca

But



attacca

p

very soft, but marcato

3

attacca

3

p

attacca



UUEpilogue: Kindling

Pensively (h = 60)624

S

A

T

B

Pno

Vla

Vc

630

SA

Pno

Vla

Vc

637

SA

Pno

Vln I

Vln II

Vla

Vc

22

22

22

22

22

22

22

22

gins.

Singers: Slowly close your folders and offerthis final song to the audience with love and grace.

gins.

gins.

gins.

p

(keep pedal depressed)

p

p

Our

p

search for kind ling takes us far be yond our selves. There we gath er

1 2

truth and mys te ry. We re turn with joy to tend the

p

p



644

Hn

SA

TB

Pno

Vln I

Vln II

Vla

Vc

650

Fl

Hn

SA

TB

Pno

Vln I

Vln II

Vla

Vc

p

cha lice of our hearts. Our search for

Our

p

search for kind ling takes us far be

mp

kind ling takes us far be yond our selves. There we gath er truth and mys te

yond our selves. There we gath er truth and mys te ry. We re turn



657

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

ry.

p

We re turn with joy Our search for

ry.

p

We re turn with joy to tend the cha lice of our

.

p

with joy to tend the cha lice of our hearts., our

.

p

with joy to tend the cha lice of our hearts, our

mp

boldly

boldly

mp



V664

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

670

Fl

Hn

S

A

T

B

Pno

Vln I

Vln II

Vla

Vc

kind

mf

ling takes us far be yond our selves. There we gath er truth and

hearts.

mf

Our search for kind ling takes us far be

hearts.

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Our

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search for

hearts.

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Our search for kind ling takes us far be yond our selves. There we

boldly

mf

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mys te ry. We re turn with joy to tend the

yond our selves. There we gath er truth and mys te ry. We re

kind ling takes us far be yond our selves. There we gath er truth and

gath er truth and mys te ry. We re turn with

















































(YOU KNOW WHY.)





WENT INTO BRINGING


...AND SOME OF IT

WAS EVEN MINE.

74

Composer Notes on Kindling

(Some small reflections on some small reflections)

by Elizabeth Alexander

Some commissions call me to grow spiritually, forcing me to grapple with questions I wouldn’t

necessarily have chosen for myself. Kindling was definitely one of those commissions. Although I had

set no fewer than 14 liberal religious texts to music – from Transylvania’s 16th century “Edict of Torda”

to Emerson’s “Oversoul” – I had never thought of Unitarian Universalism’s Six Sources as terrifically

inspiring. But when conductor Jason Oby handed me the ambitious goal of composing a cantata based

on these universal sources of inspiration and guidance, I knew I couldn’t say no. How compelling!

And...um....how intimidating. Unitarian Universalists don’t celebrate their faith with the ecstatic

abandon of Sufis, or the rich mysticism of the Eastern Orthodox. They lean more towards rational

thought – but geez, I didn’t want to compose a treatise, or a dissertation, or a polemic. (What is a

polemic, anyway?)

During long walks with my husband I waved my arms dramatically, lamenting: “The Six Sources? Who

are they kidding? A song about humanism? Good grief, I might as well set the IRS tax code to music.”

But over time, as I asked myself what the essential nature of each source was, a rhapsodic kernel within

each one gradually emerged – yes, even within humanism.

Thus, Kindling is not a manifesto, no grand statement containing ultimate truths and universal

revelations. It is a collection of small reflections on how experience, heritage and inspiration can

cultivate a faith of integrity, service and joy:

I. When my 2-year old son Oliver first felt a hydrangea blossom against his cheek, he exclaimed, “Mom,

that makes music!” My memory of witnessing that “First Touch” was all the inspiration I

needed.

II. For me, the reading of a newspaper brings many emotions in quick succession: joy, fear, sorrow,

inspiration and pain. I brought this shifting emotional terrain into “Pages,” along with the

patient, perseverant steps of many visionary souls.

III. My parents were deeply engaged with the vivid stories and heart-rending questions of the Judeo-

Christian tradition, and my childhood was better for it. The tenderness and passion in “Chosen

People” reflects my gratitude and affection for this rich tradition.

IV. The modest aspiration of “So Much Radiance” is to honor all of the religions in the universe. In

under 5 minutes. What’s a composer to do!? One thing I did was to use all the major chords of all

12 keys – often using more than one at a time!

V. Writing “Strong Braid” was challenging, because I had to face my own aversion to the word

“humanism.” This is mind-bogglingly ironic, because I sincerely value rational thought. After

many failed attempts, I decided to portray faith and humanism as interdependent, with humanism

keeping faith in its proper sphere and thus bringing out the best that it has to offer. I was

suddenly and inexplicably elated by this way of seeing things, imagining vast throngs of

worldwide humanists, challenging whatever self-serving and destructive “teachings” might creep

into their own religions from time to time. (I walked around for several days shouting

“humanism rocks!

(continued on next page)

75

(composer note, continued)

VI. One thing I’ve come to appreciate about Earth-centered religions is that their daily practices are often

profoundly simple: observation, acceptance, nurture, gratitude. From its spare opening bars,

this movement brings us back to “Where Belief Begins.”

Epilogue. As a 25-minute work, Kindling is a “special occasion” piece for accomplished musicians.

But this small epilogue can be sung by anyone, as a solo or as a canon. It seemed only right to

end this way.

By the way, I found out what a polemic was, because I just looked it up. It is an argument that

completely refutes other points of view. As it turns out, that’s exactly what Kindling is not. But I guess

that shouldn’t really be a surprise, since that’s also exactly what Unitarian Universalism is not.

Elizabeth Alexander grew up in the Carolinas and Appalachian Ohio. Her love of poetry nearly

eclipses her love of music – a passion which is reflected in her over 100 songs and choral works, which

have received thousands of performances worldwide. She lives in St. Paul, MN, where her frequent

commissions include works for orchestra, chorus, chamber ensembles and solo musicians.

A recent McKnight Fellow, she has received awards and fellowships from

the Jerome Foundation, New York Council on the Arts, Wisconsin Arts

Board, National Orchestral Association, International League of Women

Composers, and American Composers Forum. Her composition teachers

have included Jack Gallagher at The College of Wooster, and Steven

Stucky, Yehudi Wyner and Karel Husa at Cornell University, from which

she received her doctorate in music composition.

Elizabeth lives in Saint Paul, Minnesota, where she reads voraciously,

makes pretty good biscuits, looks for all kinds of excuses to visit her two

grown sons, and gardens during the three month period in Minnesota

which is not winter.

She believes she has the best job in the world.

For more information about Kindling, including a Study Guide,

recordings, and purchase information, visit:

www.seafarerpress.com/works/kindling

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