Joun Apams HARMONIUM Setting of texts by Joln Donne and Emily Dickinson for Chorus and Orchestra (full score) IM-Betsat Guat bap Fes Dew ok ML Wight crens Commision te San rnc Spon oer the naga aon of the Tse Deis Syphon Hal, Parmnine ddted oH de Wat, Tah seg hele and th est pefermans Api, nd Editon cored 200 Associated Music Publishers, Inc.4 Fates (244 dobling Pion 2,5 [ae Pee. 5 Clavintn B at (Clara doting Clarina in, Cl dosbing Bossi) 1 Banoon Grd doubling Cotesbsoeon) HorsinE 4 Trampetin (Tp tdoublng Ba ond, ‘pte sand doubling 88a) {Trombones Trabe Pereuaion players rarimban metallophone,xylaphone tubular el, roan, lockeneilauapended cymbal tlecynba cosh tea wing bas drm, Pano (Sache) Stings) raion ca 5 mites Notes Dynamic markings inthe fratiomearares of Negative Lave may need o te adjusted ved om the acount! nace ofthe performance venue ‘The weiten indications shoud be une to guide the general blac Recording: "he Ser Foman Spin nll ds War oer ‘The Son Fancice Symphony and Chr, Joh Adan condor "Newel (CD on) (un eaableon Nonench 94 on Adon “Eane") seGraenena smut nace ee‘COMPOSER'S NOTE Hamann beg with snp ly Formed menage ha af single tone emerging ota na mpey ee ds by mene ofa onl eteing, ering into ec, ottng ae oso. Thiworee prover ceton "rene dence the opening the pee, ondie wer fed in ‘my mind's ye lng before {had ever ade the decison ‘whether or ae couse stent Some ne praed before es Te ope beyond chi ital image {had a nuton of ‘wbat the work woul ed ik, bt | cold ot locate the occ voiceto give hape When Illy did seteon + fexfor thine wasn ther sured by the iy ‘ny shoe. Avalon she ne ine happened upon at hscure pom withtbe irae" Negve Love” ‘the reaary Enlist Joba Does ane pom ‘theag!cenary America Emily Dicinnon which opto ‘wihehe Dona por seppeced completed waity efor Snmecning In other wor writen shoo th ne iets Harman (Common Toes in Simple Tine fr orchesr, Shker Loop {oenrng an Prypis Cts ins) noch afte msi interest cme sour ara rea of tlanceberween bance ‘atl andthe tnventon deny ofthe snd race” Lge harmonically able key areas often governed by 2 single mode or evens single chord, wore trouphntolieand Impeled forward by on ian pl ad by» constantly ‘tlving wavelibemanipltion ofthe surface tare (A ‘ay version forsig guar Ff Shae Lape was ia as, ‘Sepopiey eed Wasmaber) Melody, when igor, sis sedom a genecstor of frm, atin alos allot {hnelmuc Rather twarboen ou ofthe angi harnon ssh Bow of the continua. One coudeven goo faearrcal anager ofthe mus sterture Neverthe aby na mesnsahset or unipors ‘harmonic shyt (the ae of cngesIeween aeonies) radical sewed dows, modelton took on + ewandexcingmesning nd fownd thx when propery ele, could accomplish the tet of shin of let _ershiltog A voccerfolprformanceofony one ofthese ‘pecrsboal giveth etingeweling- someting, ‘ometimestarely cling bt nontlesr sey mowing Fenvardvervas ether imaginary terns Changesin lemony, aormally » matter of measure to mensure srl in mos onl mest en inthe Western sword) become diferent materwhen een thismaanen ound, for example, that could ue harmonic change in ‘sowey ferent way Onc way wasting inane bey {eu alioet on thw aly, sterching the embiguty out oe cha length fine tet he tener would badly atce thats change bad taken pce (you Bad yours in anew Inndscape tus you doc now how you pv thee) Anse spprsch wat to intsodace rsdn choge of hey forall. the swale owe of surprise andbeghtened eatcone {sion that ight peridot inthe scceanve staff ey Gotcha ein Wild Nigh bap rane shack continously acserating eae Of cone Harmonia idee from all my other works econ it ara ten Inthe Dickinson poe am tera) strctre i already opsrent and I ook advantage of the ‘ire nemacopapicunfliogofimapery in" Bectse Tpuld Not Stop for Deh” to once again wlize the cxpesve power changesof key andinthiscasechangee ‘fmodesswell) The" placing” ofthe speakerinaslonly ‘movingcarog rhe the ight sed "cing ote spel “igatlowly movingearapewhiletheightand soundest ice ie goaduaily pos her by emda ivsiable ‘etait for dosed shy contin. *sNegtve Love, on the other hand, prosete different robinson th locrpreive a weer the agnnry Feel What aerated me tothe form wea its vases Everytime endtit seme omen something diffe. ‘The poem realy is sbou he mili love, ad my rerponsewartoseeitaakind of vectors arom pointing Ieseenward Ts the opening of Negative Love ith siplingwevesofcrchona and choral sound erin mtion {Tse trace tht buds contauousty td inexony to barmonic culmination post some eb mite te ‘Throwghoutthemovementdhemusiininsconsant ate sapiaton The temp ir always quickening the ample [rowing ude andthe vara density ating pes tad ‘Busrunliereachesitspeakon the words ‘Yayo decipher best ‘Wn ca tour le cn ho Lethin tacks ht thn. [Ac this pio the ete mas hifi emooty buck othe ‘ningtompoed oping simone Lee Lv ean ond “Ree image bout hearst fine," Wid Night embrace Ueaho the former themes with oticintensity ha eat nce violeme and texuel and ful ofthat longing for Forgets which wat the core of all Dickinson werk Hegel fom being ome Kind of Apoloian eeity fenton her Eden the seth iver chee ‘SktbeUnconsios an immnene nocturnal oan of elng ‘hereshe stow ereaing Foner aige ofthe cei For ow yields tothe pele unimpeded "rowing" fhe Rial REE Joba Ada May, 984 Copyright Joke AdamsNegative Love of The Nothing Saldom that wich sat niger ‘Thanvirtororthe indo sei what gies ful tothe ie Mylove shanghai imo aes, Fermayl miss whence cove [enon yet would ave hate sna peice Whe aly epee Bostic myo s SEAT loon. What we now ac, elena know, Niyetmy encanto FET geen Tei shirt John Donne Because could not op for Death, He kindly nopped forme ‘Thecarage baru ouslves ‘nd emeliy Werke dot bekore nan, foiled coy Forhisevlny. ‘We prs the col where len played Avorentingta ‘Gregus he lds of psig gen, Wepredthesetingsa ‘We pagsedbnfore sour tha seme swe ofthe own Nevoaleaesentely vile, ‘Thecomice bts mowed Sine then ie cevarie bach Fechner te Tipe ete bate Weretwardeeaty Weetebaees ‘Wild Nigh shouldbe Ourlasany anew the Eompasee Boschi ea owing a Een igi fot moor-Tonight- Emily Dikinzoner EDO DE WAART HARMONIUM Negative Love John Adams Jon Donne, sso 31 gyson 5ons =ooe eo1 Sop. 2aaa.Toes ‘whch soe n0 Maher Tm Heat Eeceee porn) geek Potnoe menemeu| |mene Reetm.Ht Blccoef cayToo ono on eee es co Ooene am a8 sim, mn pees by m0“es rely inating sted ant amps atm mm ma mee a2282 Ee £ 2d GGG Th FE eg 8 a en ne a a—, as!i 5 io no [pon mo ono] mssonononn ao a anataeed =1s0 ot met te me retent 7 wf Te (fact caoo 1)aie a i ig tt of a 7, aia Gi a ft ot of ic ge‘ida ett ot t_Lat: ree madegetalgae“ 2. Because I Could Not Stop For Death Emily Dickinson ep » ro Be comet cota sp Tr dat, He vin JI a ‘he carving | tld ete aves A ‘he carringe WLM srou ~ xen AdAit tater(2eton = Ce tant ag en 3 tt morales = aaimoofaret =| 9. “ ia waiter 09 rl ag Alte fasterd-108)racarriage pat enragesens = re ur seven wane ~ ates{pit aowsyan] ttn] — aylect sa Varese vere Pe Aitgg eesSe te et the wa# a Pe) 2 a SSS SS SS =3. Wild Nights 7 iy Dickinson val:wieTayJ. 00 noe)‘Wie Nigh Wid Nae "wi Ni Whe Ralns wis pee fouls oe Niger foul Be "ies WHE Nigh =Soud e(accelerando and eescnde wth tbs Wile gis sui be persue (aceeertdo and. erscendo) ete!-ontinally seelerating popeTatasAdds so ekFutorig|- roe] comin song Tang, rong, Towing, olay rSing, Ong, td ng i ns,mie Hing, ant Jeong aceon reins, and fowins, ant ola eo swing, eming, amt_[rowing, and fow-ing, ant ron=iagl—and rowing oringand coring] advent at rowing antiga | onings ant rowing, ama aie —| orig ine[rowning ia fow-ig tncong] sowing i, fowsne sow] wingFocie ite necfngla © = dm, forragin s~e, Forgas,seo. 2m2 Tm font sop se.