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Moorland Elegies / Lageda Laulud for choir and strings by Tõnu Kõrvits: a conductor's guide

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Moorland Elegies / Lageda Laulud for choir and strings by Tõnu Kõrvits: a conductor's guide

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Content MOORLAND ELEGIES / LAGEDA LAULUD
FOR CHOIR AND STRINGS BY TÕNU KÕRVITS:
A CONDUCTOR’S GUIDE
by
Alex Belohlavek
A Dissertation Presented to the
FACULTY OF THE USC THORNTON SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF MUSICAL ARTS
May 2024
Copyright 2024 Alex Belohlavek

ii
Month after month, year after year,
My harp has poured a dreary strain -
At length a livelier note shall cheer,
And pleasure tune its chords again.
What though the stars and fair moonlight
Are quenched in morning dull and grey?
They were but tokens of the night,
And this, my soul, is day.
— Emily Brontë

To Gregory Fuller, Tõnu Kõrvits, and The Southern Chorale,
without whom my musical life would be much poorer.
iii

ACKNOWLEDGEMENTS
This dissertation was made possible by the support and guidance of numerous faculty,
mentors, family, and friends. Thank you to my committee members, Dr. Tram Sparks, Dr.
Cristian Grases, and particularly Dr. Chris Rozé, for your feedback and guidance throughout this
process. I am grateful to Dr. Gregory Fuller for his immense influence on my conducting and
musical thinking, and for introducing me to Tõnu Kõrvits and his remarkable music. Special
thanks to Tõnu, for creating art that has left an indelible mark on my life, for welcoming me to
Estonia, and for generously sharing some of your “secrets” with me. To the many musical
mentors throughout my education and career, particularly Dr. Jonathan Kilgore, Dr. Julia Thorn,
and Lori Cole, you have each molded me into the musician and person I am today, and I aspire
to be the kind of teacher and mentor you were to me. I would not have endured grad school
without the love and support of my closest friends: John, Caitie, David, Shelby, Emily, and Collin.
Thank you for so many years of companionship, inspiration, encouragement, laughter, and
adventure, which have enriched my life immeasurably. Most importantly, I owe the greatest debt
of gratitude to my parents, Mary and Bruce, who raised me to believe that I was capable of any
goal I set my mind to, and who then supported me while I achieved those goals. This degree
would not have been possible without your endless generosity. Thank you.
iv

TABLE OF CONTENTS
Epigraph ..........................................................................................................................................ii
Dedication.......................................................................................................................................iii
Acknowledgements..........................................................................................................................iv
List of Tables..................................................................................................................................vii
List of Figures ...............................................................................................................................viii
List of Musical Examples................................................................................................................ix
Abstract...........................................................................................................................................xi
Introduction
Composer Biography ...............................................................................................1
Chapter 1: Moorlands & Moorland Elegies
Moorland Ecology ...................................................................................................5
Moorlands & Cultural Aesthetics.............................................................................9
Genesis...................................................................................................................14
Performances..........................................................................................................19
Reception ...............................................................................................................21
Chapter 2: Overview of Moorland Elegies
Structure ................................................................................................................22
Performing Forces ..................................................................................................26
Scores & Recordings ..............................................................................................28
Chapter 3: Theoretical Analysis of Moorland Elegies
I. Come, Walk With Me.........................................................................................29
II. Silent is the House.............................................................................................33
III. The Night is Darkening Round Me.................................................................38
IV. Fall, Leaves, Fall................................................................................................43
V. She Dried Her Tears..........................................................................................48
VI. Moonlight, Summer Moonlight ......................................................................54
VII. The Sun Has Set ............................................................................................58
VIII. The Starry Night Shall Tidings Bring ..........................................................63
IX. Month After Month.........................................................................................68
Chapter 4: Conductor’s Guide to Moorland Elegies .........................................................................72
v

Conclusion
Summary................................................................................................................93
Future Research .....................................................................................................94
Bibliography...................................................................................................................................95
Appendices.........................................................................................................................................
Appendix A: Catalog of Major Works for Choir...................................................98
Appendix B: Text & Translation............................................................................99
Appendix C: Piano Reduction.............................................................................103
vi

LIST OF TABLES
Table 2.1 Compositional Structure................................................................................................23
Table 2.2 Performing Forces by Movement ...................................................................................26
vii

LIST OF FIGURES
Figure i Author Alex Belohlavek (left) and Composer Tõnu Kõrvits (right)....................................3
Figure 1.1 Haworth Moor................................................................................................................6
Figure 1.2 Map of Lahemaa National Park, Viru bog circled in red ..............................................8
Figure 1.3 Aerial photo of Viru bog ................................................................................................8
Figure 1.4 Early Sketch of Moorland Elegies Mvt. I: “Come, Walk With Me” ................................18
Figure 3.1 Silent is the House, Original Poem (left) and Text Used in Moorland Elegies (right).......34
viii

LIST OF MUSICAL EXAMPLES
Musical Example 3.1 Moorland Elegies Mvt. I: “Come, Walk With Me” mm. 1-8........................................29
Musical Example 3.2 Moorland Elegies Mvt. I: “Come, Walk With Me” mm. 49-61....................................30
Musical Example 3.3 Moorland Elegies Mvt. I: “Come, Walk With Me” mm. 14-15....................................31
Musical Example 3.4 Moorland Elegies, Mvt. II: “Silent is the House,” mm. 1-5 ..........................................33
Musical Example 3.5 Moorland Elegies Mvt. II: “Silent is the House” mm. 68-70........................................36
Musical Example 3.6 Moorland Elegies Mvt. II: “Silent is the House” mm 19-20.........................................37
Musical Example 3.7 Moorland Elegies Mvt. III: “The Night is Darkening Round Me” mm. 14-22............40
Musical Example 3.8 Moorland Elegies Mvt. III: “The Night is Darkening Round Me” mm. 41-45............41
Musical Example 3.9 Moorland Elegies Mvt. III: “The Night is Darkening Round Me” mm. 5-7................42
Musical Example 3.10 Moorland Elegies Mvt. IV: “Fall, Leaves, Fall” mm. 1-4 ............................................44
Musical Example 3.11 Moorland Elegies Mvt. IV: “Fall, Leaves, Fall” mm. 5-10 ..........................................45
Musical Example 3.12 Moorland Elegies Mvt. IV: “Fall, Leaves, Fall” mm. 20-29 ........................................46
Musical Example 3.13 Moorland Elegies Mvt. IV: “Fall, Leaves, Fall” mm. 9-10 and 43-44 .........................47
Musical Example 3.14 Moorland Elegies Mvt. V: “She Dried Her Tears,” mm. 1-12....................................49
Musical Example 3.15 Moorland Elegies Mvt. V: “She Dried Her Tears” m. 34...........................................50
Musical Example 3.16 Moorland Elegies Mvt. V: “She Dried Her Tears” mm. 24-27 ..................................51
Musical Example 3.17 Moorland Elegies Mvt. VI: “Moonlight, Summer Moonlight” mm. 2-15 .................55
Musical Example 3.18 Moorland Elegies Mvt. VI: “Moonlight, Summer Moonlight” mm. 26-29 ...............57
Musical Example 3.19 Moorland Elegies Mvt. VII: “The Sun Has Set” mm. 15-20 .....................................59
Musical Example 3.20 Moorland Elegies Mvt. VII: “The Sun Has Set” mm. 37-38 .....................................59
Musical Example 3.21 Moorland Elegies Mvt. VII: “The Sun Has Set” mm. 77-82 .....................................61
Musical Example 3.22 Moorland Elegies Mvt. VIII: “The Starry Night Shall Tidings Bring” mm. 1-8 .......63
Musical Example 3.23 Moorland Elegies Mvt. VIII: “The Starry Night Shall Tidings Bring” mm. 59-66 ...64
ix

Musical Example 3.24 Moorland Elegies Mvt. VIII: “The Starry Night Shall Tidings Bring” mm. 44-48 .......
......................................................................................................................................................................65
Musical Example 3.25 Moorland Elegies Mvt. VIII: “The Starry Night Shall Tidings Bring” mm. 94-100 .....
......................................................................................................................................................................65
Musical Example 3.26 Moorland Elegies Mvt. VIII: “The Starry Night Shall Tidings Bring” mm. 140-154 ...
......................................................................................................................................................................66
Musical Example 3.27 Moorland Elegies Mvt. IX: “Month After Month” mm. 7-12....................................68
Musical Example 3.28 Moorland Elegies Mvt. IX: “Month After Month” mm. 19-32..................................69
Musical Example 4.1 Moorland Elegies Mvt. I “Come, Walk With Me” mm. 17-24.....................................75
Musical Example 4.2 Moorland Elegies Mvt. I “Come, Walk With Me” mm. 31-32.....................................76
Musical Example 4.3 Moorland Elegies Mvt. III “The Night is Darkening Round Me” mm. 1-4.................80
Musical Example 4.4 Moorland Elegies Mvt. III “The Night is Darkening Round Me” mm. 65-69.............81
Musical Example 4.5 Moorland Elegies Mvt. IV “Fall, Leaves Fall” mm. 3-4................................................82
Musical Example 4.6 Moorland Elegies Mvt. IV “Fall, Leaves Fall” mm. 41 .................................................83
Musical Example 4.7 Moorland Elegies Mvt. IV “Fall, Leaves Fall” mm. 21-23............................................84
Musical Example 4.8 Moorland Elegies Mvt. VII “The Sun Has Set” mm. 22-24 ........................................88
Musical Example 4.9 Moorland Elegies Mvt. VII “The Sun Has Set” mm. 53-54 ........................................88
Musical Example 4.10 Moorland Elegies Mvt. VII “The Sun Has Set” mm. 77-82 ......................................89
Musical Example 4.11 Moorland Elegies Mvt. VIII “The Starry Night” mm. 110-117.................................90
x

ABSTRACT
This dissertation exists to document the history of Estonian composer Tõnu Kõrvits’s
Moorland Elegies (Lageda Laulud) for choir and strings in order to encourage and enable scholarly
performances of the work. The nine-movement Moorland Elegies is the first in a trilogy of large
choral-orchestral works which span seven years of the composer’s career and represent his
largest, most influential undertakings. Moorland Elegies is set to English poetry by Emily Brontë,
and the title references the ecological landscapes shared by the poet in nineteenth century
England and the composer in modern Estonia.
This study provides a biography of Kõrvits’s career, chronicles the impetus and genesis of
Moorland Elegies through recollections of the composer, and describes the record of existing
performances, recordings, and the work’s reception. It describes the ecology of the moorlands
central to the work and the composer, and situates this ecology in the cultural aesthetics of
modern day Estonia. An analysis of each of the nine movements highlights important structural
components and compositional elements of Moorland Elegies, which are defining characteristics of
Kõrvits’s compositional idiom. The analysis describes the modal construction of each movement,
the importance of the text setting, and the techniques Kõrvits uses in his defining style of
impressionism.
The intention is for this document to provide critical context, analysis, practical tools, and
commentary to enable thoughtful score study and preparation for the performance of Moorland
Elegies while illuminating the quiet yet persistent genius of the work while situating it within the
composer’s oeuvre.
xi

INTRODUCTION
COMPOSER BIOGRAPHY
Tõnu Kõrvits follows in the footsteps of renowned Estonian composers Veljo Tormis
(1951-2017), Erkki-Sven Tüür (b. 1959), and Arvo Pärt (b. 1935), composing contemporary music
to widespread acclaim. Born in 1969, Kõrvits graduated from the Estonian Academy of Music
and Theatre in 1994 before completing his master’s degree with Jaan Rääts (b. 1932). In addition
to a career as a composer and arranger, Kõrvits has lectured on composition and instrumentation
at the Estonian Academy of Music and Theatre since 2001.1
At the outset of his compositional career, Kõrvits wrote primarily for instruments in a
neo-Romantic style. His popular Concerto semplice, composed in 1992 for solo guitar and string
orchestra, exemplifies this early period. Over the following decade, his music became increasingly
complex, and the composer marks The Detached Bridge, composed for saxophone quartet and
chamber orchestra in 1998, as a transformational turning point in his compositional technique.2
At the turn of the century, the influence of Estonian folk music became a prominent
factor in Kõrvits’s musical thinking. He frequently incorporates folk tunes in his melodic
construction, with particular interest in the religious folk songs of Estonian Swedes from western
Estonia, and the Seto tunes from the southeastern border with Russia. Old folk elements like 3
descending melodies fashioned after natural Estonian speech intonation are combined with wide
“Tõnu Kõrvits,” Eesti Muusika Infokeskus, 2016, https://www.emic.ee/? 1
sisu=heliloojad&mid=58&id=34&lang=eng&action=view&method=biograafia.
Ibid. 2
Kristel Pappel, “Tõnu Kõrvits’ Songs for the Orchestra,” Liner notes for Hymns to the Nordic Lights, by Tõnu 3
Kõrvits, Estonian National Symphony Orchestra, Risto Joost, Ondine ODE 1349-2, CD, 2020.
1

melodic leaps from newer instrumental folk idioms. In addition, Kõrvits often uses the orchestra
to imitate the plucked kannel, a traditional Baltic string instrument.
These folk elements were used to reflect the imagery of the Estonian landscapes in a
series of major works throughout the 2000s. These works revolved around the ancient, mythical
northern land of Thule, thought to be the island of Saaremaa off the western coast of mainland
Estonia. Kõrvits employed “archaic and exotic melodies with subtle colouring and harmonic 4
texture” to elaborate a new sound world characterized by Estonian folk song and mythological
subtexts. Natural landscapes, particularly those of Estonia, now play a central role in Kõrvits’s 5
creative output.
Kõrvits’s mature style “stands out as highly poetic, full of visionary fantasies. His music
carries the listener along on hypnotic journeys through the landscapes of nature and folk
tradition, human soul and subconscious. Calm but suggestive melodies in his works are integrated
into [a] rich and refined spectrum of harmony and timbre colours.” All of these elements are 6
combined in Kõrvits’s defining idiom, which musicologist Evi Arujärv calls “magical
impressionism.”7
His works are frequently performed by professional orchestras and choirs within Estonia,
with a growing prominence in the repertory of major European ensembles. While his star rises
over the United States with select performances of mainly orchestral works, choral and choralorchestral works remain a rarity this side of the Atlantic. In addition to contemporary classical
Cornelius Hasselblatt, "Ultima Thule — Liegt Die Lösung in Estland?,” Osteuropa 35, no. 3 (1985): 153-57. 4
“Tõnu Kõrvits,” Eesti Muusika. 5
Ibid. 6
Evi Arujärv, “Moorland Elegies,” Liner notes for Moorland Elegies, by Tõnu Kõrvits, Estonian Philharmonic 7
Chamber Choir, Tallinn Chamber Orchestra, Risto Joost, Ondine ODE 1306-2, 2017, compact disc.
2

composition, Kõrvits arranges and orchestrates popular music and composes soundtracks for
documentaries and Estonian puppet and animated films.8
As a proud son of Estonia, Kõrvits has earned recognition by the government and
cultural institutions on numerous occasions over the last twenty years. These include three annual
prizes from the Cultural Endowment of Estonia, Estonian Public Broadcasting’s Musician of the
Year 2015, the Estonian Choral Association’s Choir Composer of the Year 2014, and the
Estonian Music Award in the category of Classical Album of the Year 2017 for Moorland Elegies,
and the Lepo Summer Award for Composition. Outside of Estonia, Kõrvits has been made an
honorary citizen of Clarksdale, Mississippi for his honorable contribution to the preservation of
the Blues in The Delta through the composition of Canticle of the Sun in 2014.9
Figure i: Author Alex Belohlavek (left) and Composer Tõnu Kõrvits (right)10
“Tõnu Kõrvits,” Eesti Muusika. 8
Arujärv, “Moorland Elegies.” 9
Photo by John William Mathre, Tallinn, Estonia, May 28, 2022. 10
3

In the last decade, Kõrvits’s most important contributions have been the choral-orchestral
trilogy comprised of Moorland Elegies, Sei la luce e il mattino, and Tiibade hääl. Each nearly an hour
long, these masterworks for choir and orchestra are set to text by English poet Emily Brontë,
Italian poet Cesare Pavese, and Estonian poet Doris Kareva, respectively.
4

CHAPTER 1: MOORLANDS & MOORLAND ELEGIES
I. MOORLAND ECOLOGY
The music of Moorland Elegies bridges cultures and time periods through the landscape of
the moors, which are shared by the composer and the poet. Estonians’ deep connection to nature
and landscape form an integral piece of national identity, and the moors of nineteenth century
England were a critical influence on Emily Brontë’s work. But what exactly are moorlands?
The definition of a moor is about as murky as its waters. While it is difficult to draw
distinct boundaries between moors, mires, peatlands, fens, and bogs, the general consensus is that
these landscapes are moist areas with acidic, peat-dominated soil upon which grow primarily
grasses. “Peatland names and labels have become so mixed in popular use that bogs are often 1
called moors, mires, quagmires and other names.” While fens and bogs are easily delineated by 2
the depth and source of their waters, moors are difficult to classify because of the etymology of
the term itself. “The Old English word ‘moor’ means low-lying peatland,” but has been blended
with the Nordic term “mór,” which was brought to the British upland regions by Viking settlers.3
The Vikings brought with them the Nordic term “mór” meaning “sandy plain,” “open
forest area,” … a word sounding exactly like the Old English term for “peat-land.” Their
identical sound and the fact that both refer to open landscapes allowed the words to
merge. …So while “moor” remained the term for a low-lying peatland in the South, in
the North the sense of “moor” shifted to upland bog and heathland sites, leaving the
mires in the northern lowlands without a distinct term.4
Merriam-Webster Dictionary, s.v. “Moor,” https://www.merriam-webster.com/dictionary/moor, accessed August 1
28, 2022.
Annie Proulx, Fen, Bog & Swamp a Short History of Peatland Destruction and Its Role in the Climate Crisis (New 2
York: Scribner, 2023), 76.
Ibid., 76. 3
Hans Joosten, Franziska Tanneberger, and Asbjørn Moen, Mires and Peatlands of Europe: Status, Distribution and 4
Conservation (Stuttgart: Schweizerbart Science Publishers, 2017), 72.
5

Though there are differences between each of these particular wetland ecologies, the general
landscape is shared by both Emily Brontë in nineteenth century England and Tõnu Kõrvits in
modern day Estonia.
Brontë spent the majority of her life in Haworth, in the southern Pennine uplands of
northern England. The Haworth Moor served as inspiration for her poetry and her enduringly
popular novel Wuthering Heights. Common throughout this moor, like all moorlands in Europe,
is the heather, a low-growing evergreen shrub with plumes of purple flowers in late summer. See
the blooming heather in the Haworth Moor in Figure 1.1.
Figure 1.1: Haworth Moor5
1. “Haworth Moor,” Bradford, accessed December 3, 2023, https://www.visitbradford.com/things-to-do/haworth- 5
moor-p1623471.
6

Likewise, the relatively flat landscape of Estonia is characterized by similar wetlands.
According to Paul and Leibak’s inventory of Estonia’s landscape, the moor may be considered a
specific type of mire, but the ecological similarities are such that for the purpose of this guide,
they can be used interchangeably. Data from the former Soviet Union show that all of Estonia
can be defined as moors of some type. The primary product of moorlands is peat, and 6
“approximately 22% of the Estonian territory is covered with peat,” though 75% of that land
has been drained of water, preventing peat accumulation.7
The mires feature heavily in Estonian cultural identity and in the country’s travel
marketing. Visit Estonia advertises the bogs as a major tourist destination:
Mire landscapes stretching to the horizon and autumnal colours in bogs make up a scene
rarely encountered elsewhere in the world. Bogs and mires are important in Estonian
folklore, and they are seen as places of mystery and peace. They cover fifth of the
mainland area in Estonia, of which bogs are the most ancient, stretching back to over
10,000 years. The flora and fauna in these areas is like nowhere else, with many unique
animal and plant species present. About a quarter of Estonia's plants grow only in mires,
among them many relict species from the Ice Age..8
They also advertise that “locals' favourite mires in North Estonia are Lahemaa and Viru bogs,”9
both within Lahemaa National Park. The Viru bog is in close proximity to Kõrvits’s summer
cottage, where the composer takes in the landscape and does a portion of his compositional
work. The map of Lahemaa National Park in Figure 1.2 and a photo of the Viru bog is shown in
Figure 1.3. Though the bogs, with their deeper waters, are visually distinct from the upland heath
Jaanus Paal and Eerik Leibak, “Estonian Mires: Inventory of Habitats” (Tartu, Estonia: Eestimaa Looduse Fond, 6
2011).
Piret Pungas-Kohv and Ene-Reet Soovik, “Mire Landscapes in Estonian Fiction and Identity,” Landscape Research 7
44, no. 3 (December 2019): 294.
“Bogs and Mires in Estonia,” Visitestonia.com, November 22, 2022, https://www.visitestonia.com/en/why- 8
estonia/taste-of-northern-mystery-in-estonian-mires.
Ibid. 9
7

moorlands that Emily Brontë drew inspiration from, these landscapes are closely related and
similarly inspirational for Tõnu Kõrvits.
Figure 1.2: Map of Lahemaa National Park, Viru bog circled in red10
Figure 1.3: Aerial photo of Viru bog11
10 “Information Materials,” Kaitsealad, accessed December 3, 2023, https://kaitsealad.ee/en/protected-areas/
lahemaa-national-park/about-protected-area/information-materials-0.
11 Stefan Hiienurm, Viru Bog, aerial photo, image, https://commons.wikimedia.org/wiki/
File:Viru_Raba_Aerofoto.jpg. Creative Commons License (CC BY-ND 4.0), https://creativecommons.org/licenses/
by-nd/4.0/.
8

II. MOORLANDS & CULTURAL AESTHETICS
The European Landscape Convention, published by the Council of Europe in 2000,
defines landscape as “an area, perceived by people, the character of which is the result of the
action and interaction of natural and/or human factors” and UNESCO goes a step further,
terming the “combined works of nature and man” a “cultural landscape.” Both definitions 12
acknowledge the relationship between humans and the landscape as being critical to the
formation of cultural identity, and human intervention in the form of digging ditches to drain the
moors is a critical element of Estonian history and cultural identity.
People, landscape, identity, and national identity converge at the intersection of
perception and aesthetic representation. “For a landscape to acquire an identity it is necessary
that noticeable common characteristics be perceived in it by the agents interacting with the
environment who filter the experiences through their cultural environment.” Egoz posits that 13
the “intersection of landscape and identity can thus be manifested in two ways: as the identity of
the landscape deriving from its physical characteristics, and the role of landscape in building the
identity of humans.” Therefore, the soft, water-logged soil and low-growing grasses and shrubs 14
define the physical characteristics of the moors, but the role of the landscape in Estonian identity
is more difficult to quantify. Multiple studies have shown that landscape is linked to Estonian
identity, and that the Estonian people are intensely aware of their natural environment.15
Additionally, Rakfeldt’s quantitative study concluded that “nature’s role is important in
Pungas-Kohv and Soovik, 292. 12
Ibid., 293. 13
Ibid., 293. 14
Ibid., 293. 15
9

maintaining Estonian identity.” Anecdotally, a large proportion of Estonians carry a surname 16
that is in some way connected with nature. For example, Tõnu Kõrvits translates to Tony
Pumpkins, a delightful piece of trivia.
Olwig suggests that representation of landscape is part of the process of perception.17
Egoz takes this a step further, claiming “the landscape is not simply a form of representation, but
rather an expression of a circular, dialectical, interaction between differing modes of
representation and processes of social and environmental change that transform both.”18
Representations of the moors seem to have begun with literature. Emily Brontë’s poetry
demonstrates an infatuation with the English moors in which she lived, and the Romantic
movement in general was enamored with nature. In the early twentieth century, the “symbolist
New Romantic movement…introduced vivid nature descriptions into literature (depictions of
[moors] typically involve the gargling sounds, instability of the soft ground, and chilly air) while
also magnifying the dangers attributed to the literary mires.” The late twentieth century “saw 19
an increase in texts that attempted to represent [moors] from an insider’s point of view. The
implicit attitudes are supportive of the [moor] even when it appears as potentially dangerous;
descriptions highlight awe and respect towards this semi-mystical space.” 20
[Moors] stir fear. They are powerfully different from every other landscape and when we
first enter one we experience an inchoate feeling of standing in a weird transition zone
Jaak Rakfeldt, “Home Environments, Memories, and Life Stories: Preservation of Estonian National Identity,” 16
Journal of Baltic Studies, December 2015, 522.
Kenneth R. Olwig, “‘This Is Not a Landscape’: Circulating Reference and Land Shaping,” European Rural 17
Landscapes: Persistence and Change in a Globalising Environment, 2004, 51.
Pungas-Kohv and Soovik, 293. 18
Ibid., 297. 19
Ibid., 299. 20
10

that separates the living from the rotting. Black pools of still water in the undulating
spagnum moss can seem to be sinkholes into the under-world.21
During the waning occupation of the Soviet Union, more than thirty moor reserves were created
in 1980. The preservation of these landscapes led to an increase in public interest and a
deepening of the connection between the Estonian people and the moors, which was reflected in
literature, where the moors “shed their realistic dominant and appear as symbolic, mystical or
liminal settings.”22
Though a handful of Estonian folk songs reference the moors, Moorland Elegies creates an
aesthetic soundscape of the moors through the systematic use of modal writing, neotonal
harmony, disjunct melodic lines with large leaps, metric ambiguity, rhythmic complexity, textural
alternation, and string harmonics. Moreover, this aesthetic soundscape is legitimized through
Estonian institutional culture, which extends special authority to Moorland Elegies as the defining
aesthetic of the moors.
After the “Singing Revolution” resulted in Estonia’s second independence in 1991, a
concerted effort was made through the government’s cultural policy to “preserve the nation
through a web of national institutions.” One of these institutions is the Estonian Music 23
Council, made up of the Estonian National Opera, the Estonian Academy of Music and
Theatre, the Estonian Music Information Centre, Eesti Kontsert, and more than fifty additional
small organizations, all of which are dedicated to the preservation, performance, and
dissemination of Estonian music. Baumann describes this institutional framework as a 24
Proulx, 84. 21
Pungas-Kohv and Soovik, 299. 22
Mikko Lagerspetz and Margaret Tali, “Country Profile: Estonia.” Compendium of Cultural Policies and Trends 23
in Europe, 15th, 1−50. Strasbourg; Cologne: Council of Europe, 2014, 4.
Madis Järvekülg, “From Institutionally Embedded ‘Serious’ to Individualized ‘Popular’: A Report on Values and 24
Attitudes in Estonian Music Criticism,” Journal of Baltic Studies 51, no. 2 (February 2020), 228.
11

“restricted opportunity space for aesthetic mobility of particular types of music.” Though some 25
might argue that this institutional structure favors classical music above pop, a number of
researches recognize that “in very small countries such as Estonia, the elitist and preservationist
approach built on national identity and professional forms of institutional culture is justified.”26
As a graduate of and professor at the Estonian Academy of Music and Theatre, a composer
whose works are catalogued, managed, and sold through the Estonian Music Information Centre
and then performed in Estonia through Eesti Kontsert, Tõnu Kõrvits is deeply intertwined with
the institutional culture of classical music in Estonia. This culture values “tradition,
professionalism, education, and the ability to deliver a rare, deep, musical performance” and the
confluence of these values “guarantee[s]…cultural legitimation at the level of the whole
society.” Though Moorland Elegies has been supported and celebrated by these state-subsidized 27
institutions, which serve as respectable and prestigious sources of cultural influence, it has also
earned praise from important cultural influences outside Estonian institutions as well. Sirp, an 28
independent publication considered to be an “important carrier of national identity and
intellectual thought,” said Moorland Elegies “can be quite definitely considered one of the 29
masterpieces of Tõnu Kõrvits's magical impressionism” in its review by Estonian musicologist
Evi Arujärv.30
Shyon Baumann, “A General Theory of Artistic Legitimation: How Art Worlds Are like Social Movements,” 25
Poetics 35, no. 1 (2007), 47-65.
Egge Kulbok-Lattik, “Eesti Kultuuripoliitika Ajaloolisest Periodiseerimisest,” Acta Historica Tallinnensia 12, no. 1 26
(2008), 142.
Järvekülg, 235. 27
Pierre Bourdieu, The Field of Cultural Production: Essays on Art and Literature (Cambridge: Columbia 28
University Press, 1993).
Järvekülg, 226. 29
30 Evi Arujärv, “See Hämarus, See Eluiha” (Sirp, November 6, 2015), https://www.sirp.ee/s1-artiklid/c5-muusika/
see-hamarus-see-eluiha/.
12

The combination of support and praise by both Estonian government institutions and
independent arbiters of cultural thought have hoisted Moorland Elegies into a position of
legitimacy in Estonian consciousness which lends authority to the soundscape created therein that
defines the aesthetic of the moors and is an integral part of Estonian national identity.
Each movement is influenced by the ecology of the moors—environments shared across
centuries by Brontë and Kõrvits in England and Estonia, respectively. Representing the epitome
of Kõrvits’s compositional idiom, Moorland Elegies blurs the boundaries between voices and strings
to express the vast gradations of darkness in both human emotion and the moors themselves
through a variety of textures, metric ambiguities, modal construction, and neotonal harmony.
These and other consistent compositional techniques unify the movements and bring the
soundscape of the moors to life in this deeply moving masterwork.
13

III. GENESIS
When asked about the compositional process of Moorland Elegies, Tõnu Kõrvits replies
“well, what can I say…” His tone immediately identifies him as a humble, thoughtful man who 31
is reticent to talk about himself and his work. “I can’t describe myself. I would let others do it.”32
Thankfully, Kõrvits shared some of the story behind Moorland Elegies. Two of the
movements existed in some form years before the entire work came into shape. Movement III:
“The Night is Darkening Round Me” was first written for men’s choir in 2005, and quickly
arranged for mixed choir. This was the first time Kõrvits’s set Emily Brontë’s poetry, which he 33
says he has “always liked.” Nearly a decade later, he wrote “Moonlight, Summer Moonlight” 34
for voice, violin, piano, and cello, which premiered in June 2014. This was the second setting of 35
Emily Brontë’s poetry, which was closely followed by the composition of Moorland Elegies.
Kõrvits says that Moorland Elegies was not planned, but “just happened.” “Why not? It’s 36
very gothic, it’s about nature.” “Why not” quickly turned into a collection of nine poems 37
chosen and arranged by Estonian poet Doris Kareva, with whom Kõrvits has worked to complete
the trilogy of large choral-orchestral works launched by Moorland Elegies. “Doris Kareva helped
me choose these poems and translated them to me and put them into order, and I think it’s a
Tõnu Kõrvits, interviewed by Alex Belohlavek, January 19, 2024. 31
Ibid. 32
Ibid. 33
Ibid. 34
35 “Tõnu Kõrvits,” Eesti Muusika
Tõnu Kõrvits, interview. 36
Ibid. 37
14

really nice journey in darkness to light. This is very important.” In correspondence to a friend, 38
Kõrvits talks about how he relates to Emily Brontë’s poetry.
They reflected also my state of soul at this moment (well, they still do now). The merciless
solitude and the gothic darkness which meets a courage and a deep sense of nature. It is
all also very romantic. It is a path of solitude. Also a bit…scary. Why is she lying in the
grass under the trees in the 6th part…?39
Once the poetic narrative was selected, Kõrvits began writing in earnest in March 2015,
but worked primarily through the summer months. “These works take four to five months at
least” he says, and “sometimes I have to pause because of other work, so I take a week or a
couple weeks off.” Portions of the work were written at Kõrvits’s home in Nomme, just outside 40
of Tallinn, while other sections came to life at his summer cottage near Lahemaa National Park,
approximately thirty-five miles east of Tallinn. Hidden under a stack of music on the upright
piano tucked into the low-ceilinged cottage, one can find initial sketches of what was to become
Moorland Elegies. The final product is remarkably similar to the ideas scribbled onto that
manuscript paper. “I was really flying in my mind, and this music came to me very… I could not
say easily, but it was present all the time. I grabbed it very quickly, and this composing process
isn’t painful at all” Kõrvits says. A photo of an early sketch shared publicly by Kõrvits is shown 41
in Figure 1.4.
When asked about the inspiration behind the work, Kõrvits says that “the first part is very
important, because I had this gospel blues feeling. I imagined it not with a string orchestra, but a
band, really like a blues rock.” “This was a good start for the work,” he continues, before 42
Ibid. 38
Tõnu Kõrvits, email to unspecified friend, undated. 39
Tõnu Kõrvits, interview. 40
Ibid. 41
Ibid. 42
15

trailing off by saying “and then I understand…” The original working title was “Brontë 43
Elegies,” but Doris Kareva suggested that this wasn’t good. “Brontë lived in the moorland, 44
which has a certain meaning. ‘Lageda’ is ‘empty space’” he says, referring to the Estonian
translation of the title, Lageda Laulud. When combining the narrative journey that begins in 45
darkness with this empty space, the work takes shape as an atmosphere, which is not lost on
Kõrvits. Though he did not initially plan for Moorland Elegies to be the first work in a trilogy, he
says that when the second work came to him, he then had the idea for the third. “So, I
understood that it will be a trilogy in different languages and atmospheres” he says. Although 46
Moorland Elegies contains a journey from darkness to light in and of itself, the work as a whole
remains the darkest, most “gothic” of the trilogy, which becomes increasingly apparent when
listening to it as part of the larger narrative arch.
As one of Estonia’s most famous composers, Kõrvits enjoys the luxury of his music being
premiered by the best ensembles in the country and in all of Europe. When asked if this
influences the writing, either for the choral or string parts, he says he doesn’t know. “Of course I
think of them [the Estonian Philharmonic Chamber Choir and the Tallinn Chamber Orchestra]
and how it will sound and what kind of singers they have.” It certainly helps that these 47
ensembles are capable of playing the most difficult repertoire at the highest level. He also says
that he composes both the choral and string parts simultaneously.
Sometimes, you know, well, I can’t explain it. But I am not the scientist. I don’t have to
explain everything. Sometimes you must somehow listen to music, but for me also very
Ibid. 43
Ibid. 44
Ibid. 45
Ibid. 46
Ibid. 47
16

important is the I see the piece, I see the piece as a whole, and this is a vision, and I will
follow it.48
Kõrvits is reluctant to share many details about the music itself, though he does admit to
sometimes using systematic scales or rhythmic patterns. “These are all hidden patterns just for
me, for composing” he says. Numbers are certainly important to him, as evidenced by Moorland 49
Elegies being exactly 1,000 measures long. He says “I like seven very much, and you can find
seven somewhere. I remember Dr. Fuller conducting and he stopped at six, and I said ‘there’s one
more.’” Here, he refers to the eighth movement, “The Starry Night,” which concludes with the 50
cellos playing seven C sharps in a row. In multiple performances and rehearsals of his works, this
author has witnessed Kõrvits singing along to himself, often counting out these important
moments.
It is clear that Emily Brontë’s poetry resonated strongly with Kõrvits, and the result is the
exquisite Moorland Elegies. This profound, poignant, and wistful work unveils its secrets over many
listenings, careful study, and through its contextualization as part of a larger trilogy, which only
came into full view upon its completion in 2022. Nearly ten years following its composition,
Moorland Elegies continues to define Kõrvits’s compositional spirit.

Ibid. 48
Ibid. 49
Ibid. 50
17

Figure 1.4: Early Sketch of Moorland Elegies Mvt. I: “Come, Walk With Me”51
51 https://www.instagram.com/p/CNNJUngJ8En/?igsh=MzRlODBiNWFlZA==
18

IV. PERFORMANCES
Moorland Elegies premiered in Tartu, Estonia, on 31 October 2015, with a second
performance the following day in Tallinn. Both performances were conducted by Risto Joost with
the Estonian Philharmonic Chamber Choir and the Tallinn Chamber Orchestra. Two years
later, the work was presented by the same ensembles on 13 and 14 September 2017 in Milan and
Torino, Italy, respectively. Moorland Elegies was last performed in Europe by these same 52
ensembles on 1, 2, 3, and 4 November 2017 as part of the All Souls’ Day concert at St. John’s
Church in Tallinn.53
The Southern Chorale and The University of Southern Mississippi Symphony Orchestra
performed the United States premiere on 23 April 2019 at Carnegie Hall, conducted by Gregory
Fuller, Ph.D. It was presented again on 30 April at Main Street Baptist Church in Hattiesburg, 54
Mississippi. This final performance was paired with a showing of an Estonian documentary
about Kõrvits and a question and answer session with the composer.55
Eight years after its composition, Moorland Elegies has received exactly ten performances in
a total of three countries by only two ensembles. Currently, one recording has been published
“Mito Settembremusica. Tõnu Kõrvits. Moorland Elegies,” Estonian Philharmonic Chamber Choir, September 6, 52
2017, https://www.epcc.ee/en/concerts/mito-settembremusica-tonu-korvits-lageda-laulud/.
53 “All Souls’ Day Concert,” Tallinna Filharmoonia, accessed October 14, 2023, https://www.filharmoonia.ee/en/
concerts/event/717-all-souls-day-concert#event-readmore.
“The University of Southern Mississippi Southern Chorale The University of Southern Mississippi Symphony 54
Orchestra The Voorhees Choir at Rutgers University,” Carnegiehall.org, accessed October 14, 2023, https://
www.carnegiehall.org/calendar/2019/04/23/the-university-of-southern-mississippi-southern-chorale-the-universityof-southern-mississippi-sy-0800pm.
Mike Lopinto, “USM Southern Chorale and Southern Mississippi Symphony Orchestra Present Music of the 55
Night April 30,” USM Southern Chorale and Southern Mississippi Symphony Orchestra Present Music of the
Night April 30 | The University of Southern Mississippi, April 18, 2019, https://www.usm.edu/news/2019/
release/usm-southern-chorale-and-southern-mississippi-symphony-orchestra-present-music-night-april-3.php.
19

through Ondine, which was recorded 9-12 November 2015 by the Estonian Philharmonic
Chamber Choir and the Tallinn Chamber Orchestra, conducted by Risto Joost.56
Moorland Elegies is the first part of a trilogy of large choral-orchestral works. The second
part, Sei la luce e il mattino premiered in 2019, and the third, Tiibade hääl, premiered in May 2022.
Both premieres were delivered by the Estonian Philharmonic Chamber Choir and the Tallinn
Chamber Orchestra helmed by Risto Joost.
Kõrvits’s complete trilogy is scheduled to be performed in its entirety for the first time in
June 2024 in Haapsalu, Estonia. The trilogy will be performed over the course of three evenings,
but not in the original order. Sei la luce e il mattino, the second part, will be performed first on 27
June by the Latvian Radio Choir. The following day, 28 June, Moorland Elegies will be performed
by Voces Tallinn. Lastly, Tiibade hääl will conclude the trilogy on 29 June, sung by the Estonian
Philharmonic Chamber Choir. All three works will be played by the Tallinn Chamber
Orchestra. Voces Tallinn will be the third choir to perform Moorland Elegies, and this will mark 57
the work’s eleventh performance.
“Ondine Release,” Ondine, https://www.ondine.net/index.php?lid=en&cid=2.2&oid=5911. 56
“Haapsalu Valgete Ööde Festival. Triloogiapilet,” Haapsalu Valgete Ööde festival. TRILOOGIAPILET, accessed 57
December 14, 2023, https://concert.ee/festival/haapsalu-valgete-oode-festival-triloogiapilet/.
20

V. RECEPTION
Estonian musicologist Evi Arujärv called Moorland Elegies the “crowning achievement of…
composer Tõnu Kõrvits’s magical impressionism.” As a result, Kõrvits won the Estonian 58
National Award in 2016. When the recording of the work by the Estonian Philharmonic 59
Chamber Choir through Ondine Records was released in 2017, the Estonian Choir Association
selected it as the album of the year, and NPR USA awarded it third place in their annual ranking
of classical albums. It took several years for Moorland Elegies to make the leap across the Atlantic,
but it made its United States premiere in April 2019 at Carnegie Hall, in a performance by The
Southern Chorale and The University of Southern Mississippi Symphony Orchestra under the
direction of Gregory Fuller. That recording has yet to be released. With a grand total of eight
performances in Estonia and two in America, the rarity of performances in the work’s first eight
years is a testament to the difficulty of the music, but the accolades of both premieres speak to
the exquisite beauty of Kõrvits’s compositional idiom and call for Moorland Elegies to be
programmed by capable groups.
Arujärv, Moorland Elegies. 58
The Trilogy, Which Began with Tõnu Kõrvits' ‘Moorland Elegies’ Gets Its Final Part: The Premiere of ‘The Voice 59
of the Wings’ Takes Place This Week,” The Baltic Times, May 25, 2022, https://www.baltictimes.com/
the_trilogy__which_began_with_t_nu_k_rvits___moorland_elegies__gets_its_final_part__the_premiere_of__the_vo
ice_of_the_wings__takes_place_this_week/.
21

CHAPTER 2: STRUCTURAL OVERVIEW OF MOORLAND ELEGIES
I. STRUCTURE
Kõrvits uses the combination of voicing, instrumentation, and musical texture to
effectively deliver the text, and these elements are the primary structural components of Moorland
Elegies. Because the instrumentation is consistent throughout—with the exception of the a
cappella third movement—the choral voicing is the primary differentiating factor between
movements. There appears to be a relatively symmetrical tripartite structure, divided into
groupings of three movements, with the middle three movements receiving the special status of
reduced voicings. The use of a soloist demarcates the conclusion of each three-movement
grouping.
Moorland Elegies is comprised of exactly 1,000 measures of music full of disjunct melodic
lines, complex rhythms, metric ambiguities, textural alternation, string harmonics, and neotonal,
post-functional harmonic conventions grounded in Kõrvits’s use of seventh chords and open
fourths and fifths, all enabled by the extensive use of modal scales. The nine movements reflect
the journey of the poetry with a tripartite macro structure. Part one employs a full SATB choir
with the third movement adding a soloist and deleting the strings to mark the conclusion. Part
two begins with only sopranos and altos in the fourth movement, only tenors and basses in the
fifth movement, and a mezzo soprano solo as the sixth movement. Part three returns to a full
choir and the ninth movement includes a mezzo soprano solo. The conclusion of each part is
denoted by the mezzo soprano solo, a vocal fach clearly favored by Kõrvits. Modes, tempi, meters,
measures, and approximate lengths for each movement are noted in Figure 2.1.
22

Figure 2.1: Compositional Structure
Consistencies abound: tempi are similar throughout, with the exception of the eighth
movement, for which the tempo is grounded in the eighth note rather than the quarter, and
movement lengths are also largely uniform, the shortest being the mezzo soprano solo, and the
longest being the concluding ninth movement. Mixed meter plays a prominent role throughout
Moorland Elegies, which in combination with rhythmic complexity results in metric ambiguities
that often shroud the pulse and prevent rhythmic predictability. Exceptions are the first
movement, which is in 3/4 save for a single measure of 4/4, and the eighth movement, which
begins with a rhythmic ostinato and remains metrically consistent throughout.
Movement Measures Tempo Meter Mode Length
I. 150 Quarter = ca. 76 3/4 (plus one bar of 4/4) C Aeolian ~5:45
II. 130 Quarter = 72-76 Mixed: 4/4, 5/8, 3/8, 1/4, 2/4 D# Locrian ~6:00
III. 69 Quarter = ca. 76 Mixed: 4/4, 5/4, 2/4 C Aeolian ~6:00
IV. 75 Quarter = ca. 64-68 Mixed: 5/4, 4/4, 6/4, 2/4, 3/4 F Mixolydian ~5:00
V. 94 Quarter = ca. 68 Mixed: 5/4, 3/4, 4/4, 2/4 A Lydian
Dominant
~7:15
VI. 48 Quarter = ca. 48-52 Mixed: 12/8, 9/8, 6/8, 5/8 Eb Dorian ~3:45
VII. 99 Quarter = ca. 56-60 Mixed: 5/8, 3/4, 2/4, 3/8, 4/4 C (ambiguous) ~5:30
VIII. 230 Eighth = ca. 108-112 3/8 C# Phrygian ~6:00
IX. 105 Quarter = 52 Mixed: 4/4, 3/4, 5/8 + 3/4,
2/4, 6/4, 5/4
Eb Altered
Dorian
(Ukrainian
Dorian)
& E Ionian
~8:30
23

Estonian poet Doris Kareva selected the Emily Brontë poetry used as the text of Moorland
Elegies. Arujärv sums it up best:
The selection of poetry in Moorland Elegies contains bright, sorrowful, dramatic, and
divine scenes that form no coherent plot. There are only spiritual conditions
characterized by a certain poetical abstraction, which develop through natural imagery
and spatial impressions.
Blossoming and withering, darkness and light, moon and stars, wind and sea, snow and
roses, journeying and stopping, tears and smiles, night and day: these are the simple signs
and the cold, impenetrable beauty of a mundane existence stamped by transience. The
poetic text’s musicality and overabundance (i.e. repetitions and accents) also create a
hypnotic atmosphere in the music.1
Kõrvits has said that “Moorland Elegies is a journey into the darkest, most mysterious corners of
loneliness: to where one doesn’t dare to peek twice.” The poetry is no doubt the most important 2
and unifying element of the entire work, and its beauty and simplicity are brought to life by the
evocatively alluring music. Each movement stands on its own as a unique scene, but together, all
nine movements create a musical experience connecting Emily Brontë, Tõnu Kõrvits,
performers, and listeners across time and space.
Moreover, Moorland Elegies is merely the first in a trilogy of choral-orchestral works, and
benefits from being situated within that larger structure. The thematic progression of the trilogy
is described by the Baltic Times:
“The English-language ‘Moorland Elegies’ is characterized by scary loneliness, crisp
nature lyricism and Gothic blues. The Italian-language ‘You Are the Light and the
Morning’ explores tragic existential currents. It is an anthem to life and love sung from
the dark and hopeless depths. According to Tõnu Kõrvits, the new work ‘The Sound of
Evi Arujärv, “Moorland Elegies,” Liner notes for Moorland Elegies, by Tõnu Kõrvits, Estonian Philharmonic 1
Chamber Choir, Tallinn Chamber Orchestra, Risto Joost, Ondine ODE 1306-2, 2017, compact disc.
Evi Arujärv, “Moorland Elegies,” Liner notes for Moorland Elegies, by Tõnu Kõrvits, Estonian Philharmonic 2
Chamber Choir, Tallinn Chamber Orchestra, Risto Joost, Ondine ODE 1306-2, 2017, compact disc.
24

Wings’ is the brightest one compared to the previous parts of the trilogy: ‘It is a song
about flying, dreams, courage and unconditional love’.”3
Sei la luce e il mattino (You Are the Light and the Morning) uses texts by Cesare Pavese while Tiibade hääl
(The Sound of Wings) was inspired by Amelia Earhart, with original poetry by Doris Kareva. The
trilogy explores the complexities of the soul, and launches with Moorland Elegies as a
contemplative look inward. Surely, theoretical and musicological examination of the remaining
parts of the trilogy would provide additional context to Moorland Elegies and Kõrvits’s
compositional style. Do the defining elements of Moorland Elegies—modal construction, disjunct
melodic lines, complex rhythms, metric ambiguities, neotonal harmonic conventions, string
harmonics, and textural alternation—continue through the entire trilogy? Or do these elements
serve as a jumping-off point for music customized to the poetry, creating unique aesthetic
soundscapes defined by entirely different compositional idioms in their own right? The answer to
these questions will situate Moorland Elegies either as the beginning of an enduring compositional
idiom for Kõrvits, or as the distinct apex of his mature impressionist style and the turning point
beyond which he develops something new. Either mean that Moorland Elegies is an inflection point
in his career, worthy of study and performance.
Evi Arujärv, “Moorland Elegies,” Liner notes for Moorland Elegies, by Tõnu Kõrvits, Estonian Philharmonic 3
Chamber Choir, Tallinn Chamber Orchestra, Risto Joost, Ondine ODE 1306-2, 2017, compact disc.
25

II. PERFORMING FORCES
Moorland Elegies is comprised of nine movements of varying performing forces. Eight
movements require strings, and one movement is scored for a cappella choir and mezzo soprano
solo. Choral voicings vary more widely, shown in Figure 2.2.
Figure 2.2: Performing Forces by Movement
The divisi choral writing and the need to balance with a string orchestra suggests a
minimum of 24 singers, three to each part. The difficult melodic writing in combination with the
harmonic structure, both in a largely modal context without key signatures, requires highly skilled
singers. A well-balanced string orchestra with at least five first violins, five second violins, four
violas, and a minimum of three cellos and two basses is required by the orchestration. As with the
vocal parts, the string writing is challenging on multiple fronts, requiring strong musicianship and
technical proficiency.
Movement Voicing Instrumentation
I. Come, Walk With Me SATB divisi Vl. I, Vl. II, Vle. Vc., Cb.
II. Silent is the House SATB divisi Vl. I, Vl. II, Vle. Vc., Cb.
III. The Night is Darkening Round Me SATB divisi, mezzo sop. solo None
IV. Fall, Leaves, Fall SA divisi Vl. I, Vl. II, Vle. Vc., Cb.
V. She Dried Her Tears TB divisi Vl. I, Vl. II, Vle. Vc., Cb.
VI. Moonlight, Summer Moonlight Mezzo sop. solo Vl. I, Vl. II, Vle. Vc., Cb.
VII. The Sun Has Set SATB divisi Vl. I, Vl. II, Vle. Vc., Cb.
VIII. The Starry Night Shall Tidings Bring SATB divisi Vl. I, Vl. II, Vle. Vc., Cb.
IX. Month After Month SATB divisi, treble solo Vl. I, Vl. II, Vle. Vc., Cb.
26

The challenges presented in Moorland Elegies restrict its successful performance to
professional ensembles or unusually capable and committed collegiate and amateur ensembles.
Its length and difficulty are contributing factors in the work’s limited performance history, and
will likely prevent it from being frequently programmed in the future.
27

III. SCORES & RECORDINGS
Original scores for Moorland Elegies are available only through the Estonian Music
Information Centre (EMIC). Full scores are available in A4 and A3 sizes, with a separate choral
score. The full score and choral score are also available for download. Orchestral parts are
available on hire through EMIC.
Scores do not include a piano reduction for rehearsal, so a reduction is provided in
Appendix E.
The only available recording is that of the Estonian Philharmonic Chamber Choir and
Tallinn Chamber Orchestra under the direction of Risto Joost, published through Ondine
Records (ODE 1306-2) in 2017.
28

CHAPTER 3: THEORETICAL ANALYSIS OF MOORLAND ELEGIES
I. COME, WALK WITH ME
“Come, Walk With Me” is the most formally structured movement of the Moorland Elegies.
Through a recurring bass line set in triple meter, it recalls the tradition of the passacaglia as a
variation form. With strings alone, Kõrvits introduces the eight-measure bass line that descends
through the C natural minor scale to the subdominant before rising again, this time through the
raised seventh, conforming to the convention of ending with the dominant. This essential bass
line—shown in Musical Example 3.1—and slight variations thereof form one of two formal
structures of the first movement.
Musical Example 3.1: Moorland Elegies Mvt. I: “Come, Walk With Me” mm. 1-81
After this essential bass line is played twice by the string basses, the choir enters in m. 17. In the
choral writing, eight-bar phrases are most commonly paired in an antecedent-consequent
relationship, resulting in sixteen-measure phrase groups, which constitute the second formal
structure of the movement. Together, these structures either coincide or contrast to manipulate
the form and play with expectations throughout the movement.
The first choral phrase group, which coincide with two repetitions of the essential bass
line, introduces the first two lines of the poetry using full vocal forces in a rich texture that
immediately displays a signature part of Kõrvits’s compositional style. In these sixteen bars, the
choir gracefully and expressively alternates between homophony and polyphony, with
polyrhythms and syncopations throughout.
Tõnu Kõrvits, Moorland Elegies (Tallinn: Estonian Music Information Centre, 2015). 1
29

The second choral phrase group pairs the tenor and basses in unison for the antecedent,
which is followed by the sopranos and altos in homophonic consequent. Similarly, the third
phrase group pairs sopranos with altos and tenors with basses for a polyphonic effect. Here, the
poetry intensifies and Kõrvits breaks away from the essential bass line. The new, altered bass line
not only changes the implied harmony, but stretches to thirteen measures, concluding with a
three-measure pedal on F. This altered bass line is shown in Musical Example 3.2.
Musical Example 3.2: Moorland Elegies Mvt. I: “Come, Walk With Me” mm. 49-612
The combination of altering the bass line and breaking from the eight-measure formal
mold prevents the structure from remaining static, and results in a phrase overlap between the
end of one choral phrase and the return of the essential bass line. The resulting misalignment of
strings and choir is rectified through shorter choral phrasing beginning in m. 65, which brings the
forces back into structural alignment at m. 77. Kõrvits employs the altered bass line again in m.
102, which signals the nearing end of the movement. Simultaneous to this change, the choir
concludes the last line of poetry and then sings a sort of codetta that excerpts important
fragments of the poetry. When the choir arrives at their final Cmin7 chord, the strings resume the
essential bass line for two more statements before repeating a fragment of the altered bass line
and then concluding with a codetta. By altering the bass line and modifying phrase lengths and
groupings, Kõrvits references the tradition of the passacaglia and chaconne while preventing the
form from being prescriptive.
Ibid. 2
30

Similarly, Kõrvits harkens back to the tradition of tonality while actively avoiding
traditional harmonic function in an effort to build a sound-world for the poetry of the moors.
The use of C minor scalar material and the repeated emphasis of C minor and variations of G
chords throughout the movement provide enough tonal assertion to anchor the music in the
feeling of C minor without the use of traditional harmonic motion through strong cadences.
The first essential bass line suggests a harmonic progression that moves from Cm through
Gm, A♭, Gm, Fmin7, GM7, A♭M7, to GM7. The harmony is sparse and inconclusive, and Kõrvits
modifies the progression frequently throughout the movement. The second essential bass line
immediately introduces a cross relation between B natural and B sharp and changes the quality
of G minor to major. Towards the end of the progression, polychords introduce additional
ambiguity to the harmony, signaling that Kõrvits intends to prevent the music from settling into
an overtly tonal tradition. These polychords are shown in below.
Musical Example 3.3: Moorland Elegies Mvt. I: “Come, Walk With Me” mm. 14-153
The altered bass line, introduced in m. 49, incorporates multi-modal harmony as it moves from
E♭ through Gm/B, E♭, Gm/B, A♭, G, A♭, to G7. Frequent cross relations between B natural
Ibid. 3
31

and B sharp confuse the quality of each G chord. Similarly, towards the end of the movement in
m. 138, Kõrvits employs a cross relation between E flat and E natural, with the E natural played
by the first violins in a high harmonic. Cross relations and ambiguous chord qualities feature as a
fundamental element of this movement and the entire Moorland Elegies.
Distilling the pitch material of the first movement into a coherent scale proves
challenging. The most common pitches used throughout the movement are C, D, E flat, F sharp,
G, A flat, and B flat. Relatively frequent use of B natural would be easily explained as the raised
seventh for harmonic purposes. Not so easily explained is the occasional use of D flat and the
unwavering use of F sharp. D flat is used in isolated contexts to introduce additional dissonance
and to shape melodies in Kõrvits’s usual disjunct fashion, but the F sharp is consistent throughout
the movement. It introduces the augmented fourth, which places the pitch material into the C
Aeolian #4 scale, sometimes referred to as the Romani minor scale—the fourth mode of
Neapolitan minor. The scale content of this movement is the most ambiguous of the Moorland
Elegies, and sets the tone for the entire work as one which never feels settled. The result is music
that paints a pastel impression of the moors and allows the poetry to drive the structure more
than tonality and strict form.
32

II. SILENT IS THE HOUSE
The second movement, “Silent is the House,” opens with the strings descending in an
intense flurry of forte sixteenth notes which then settle into an undulating piano and pianissimo
foundation out of which a few grace notes flutter from alternating instruments. The dense
polyphonic texture in the instrumental opening uses syncopations, cross-barline ties, and very few
downbeat entrances to disguise barlines and shroud the common meter in mysterious complexity,
shown in Musical Example 3.4. The choir enters in m. 19—the only bar of 5/8—and the
remainder of the movement proceeds in mixed meter, alternating between 4/4, 3/8, 1/4, and
2/4. The eighth note remains constant throughout.
Musical Example 3.4: Moorland Elegies, Mvt. II: “Silent is the House,” mm. 1-54
Ibid. 4
33

There exists no defining musical structure for this movement save for the text, which itself
departs significantly from the structure of the original poem. Compare the original poem with
the modified version used in this movement in Figure 3.1.
Figure 3.1: Silent is the House, Original Poem (left) and Text Used in Moorland Elegies (right). 5 6
Lines of text form asymmetrical phrases of varying length, with syllables set to one or two pitches
each, typically either the length of an eighth or quarter note. Clarity of text declamation is
paramount for Kõrvits, so the choral texture is monophonic for every statement of new text save
the phrase “and I the love in mine!” near the conclusion of the movement. In mm. 68-77,
fragments of poetry are repeated by each voice part in a rich polyphony, but because these
fragments have already been heard with the clarity of homophonic declamation, the result is an
emotional outburst of anguish that heightens the understanding of the poetry.
With a through-composed structure shaped by the text, the defining element of this
movement lies in its textural contrasts. After the complex polyphonic tone colors presented in the
1. Emily Brontë, Clement King Shorter, and W. Robertson Nicoll, The Complete Works of Emily Brontë (London: 5
Hodder and Stoughton, 1910).
Moorland Elegies. 6
34
Come, the wind may never again
Blow as now it blows for us;
And the stars may never again shine as now they shine;
Long before October returns,
Seas of blood will have parted us;
And you must crush the love in your heart,
And I the love in mine!
Silent is the House, silent is the House.
Come, come, come come, the wind may never again
Blow, blow, blow blow, blow as now it blows for us;
Come, come, come come, the wind may never again
Blow, blow, blow blow, blow as now it blows for us;
And the stars may never, never again shine as now they shine,
Never again the wind blows and the stars may never again
shine as now they shine.
Long before October returns,
Seas of blood will have parted us;
And the stars may never again shine as now they shine,
Stars may shine never again as now, never again.
Love, love, love, love, love, love, love, love, love, love, love
And you must crush the love in your heart,
And I the love in mine!
Silent is the House, silent is the House.

string introduction, the instrumental parts continue through the movement in a more rhythmic
fashion, alternating between pizzicato and arco articulations, and only rarely venturing into
homophony. In contrast with the strings, the vocal parts are primarily homophonic, with
consistent articulation throughout. Tutti choir delivers the first line of text before Kõrvits pares
the vocal forces back to individual vocal parts or pairings of two parts. For example, sopranos
alone deliver the second and third lines of text in unison before the altos join in the repetition of
those lines, adding harmony. Tenors and basses present the next new line of text (and the
stars…), continuing in homophony. Then, unexpectedly, the vocal parts erupt into polyphonic
repetitions of fragments of text that have already been presented while the strings unify into
harmonic padding in a homophonic texture. These evocative measures are shown in Musical
Example 3.5 below. After six measures, voices resume their homophony and strings their
polyphony. The overall effect is one of depth and complexity, passion and drama, and clarity
through contrast.
35

Musical Example 3.5: Moorland Elegies Mvt. II: “Silent is the House” mm. 68-707
“Silent is the House” is written without a key signature, and hews most closely to D sharp
Locrian. Kõrvits, never one to be limited, employs a number of altered pitches—most commonly
raising A and B—and cross relations to add dissonance and create specific chord qualities. The
Ibid. 7
36

opening line of text, sung in m. 19, includes both A natural and A sharp as well as B natural and
B sharp. The harmony for the text “silent is the” alternates between stacked fifths and major
thirds with the inverse intervals bridging the gap between tenor and alto, and the B sharp is
required to keep the pattern. On “house,” a tertian stack of thirds over D sharp should include
the diminished triad that results from the dorian scale, but Kõrvits avoids this by employing the A
sharp in the tenor part, resulting in a D♯min7 chord.
Musical Example 3.6: Moorland Elegies Mvt. II: “Silent is the House” mm 19-208
Seventh chords of a varying qualities are a staple throughout Moorland Elegies, but Kõrvits
thoroughly avoids diminished triads. Seventh chords and open fourths and fifths are frequently
used to mark phrase endings in place of traditional harmonic cadences.
Ibid. 8
37

III. THE NIGHT IS DARKENING ROUND ME
“The Night is Darkening Round Me” is an integral movement to the overall structure of
Moorland Elegies and places the work within the arch of Kõrvits’s compositional career. This
movement was written as a standalone a cappella piece nearly a decade before Moorland Elegies, in
2005. Instead of adding strings for this movement in Moorland Elegies, Kõrvits kept it a cappella,
saying “it is a nice exception in the whole sound picture. It is always nice to concentrate just to
human voice. Also, as the music here is more polyphonic, it blends more clear[ly] without
strings.” As his first setting of text by Emily Brontë, this movement set the stage for the poetry 9
and the sound-world of Moorland Elegies. A string version was included in the 2007 Elegies of Thule,
and serves as one of only two movements to be published separately from Moorland Elegies—the
other being a version of the sixth movement orchestrated for violin, cello, and piano. As the only
movement to employ a key signature, “The Night is Darkening Round Me” is based on C
aeolian, though it relies on extensive chromaticism. Situated in mixed meter that alternates
primarily between sections of 4/4 and 5/4, the choir often serves as a wordless instrumental
accompaniment to the mezzo soprano solo.
This movement begins with the choir humming a wordless introduction which sets the
scene in C aeolian by moving from C to G minor, then back to C before the mezzo soprano
enters. This introduction is chromaticized with A natural, D flat, and F sharp, which partially
obscures the clarity of C aeolian. A full C minor chord is not included, but the choir begins on
octave Cs and concludes the introductory statement on a C - G open fifth. Likewise, the choir
and soloist begin the first phrase of text on octave Cs on the pickup to m. 6, and the first phrase
Tõnu Kõrvits, email to unspecified friend, undated. 9
38

concludes on a full C minor chord, confirming the modality. Phrases and phrase groups often
begin or end on either C or G, be it in octaves or a full triad, which helps to marry the modality
to the overall structure of the movement.
The structure is reflective of the poetry, which consists of three stanzas of text, each with
four lines. These three main sections are framed by an introduction hummed by the choir and a
conclusion, sung on “ah” and then hummed by the choir. The result is a relatively symmetrical
structure, but the length of each stanza is customized to the poetry.
Within each stanza, the mezzo soprano and the choir are situated in a call-and-response
structure, with the mezzo soprano introducing each line of text and the choir repeating it either
in part or in whole. Kõrvits also uses this opportunity to alternate between textures. For example,
let us examine the first stanza. As the mezzo soprano sings “the night is dark-’ning round me,”
the choir hums to provide harmonic underpinning before repeating the text in polyphony. As the
soloist sings the second line—“the wild winds coldly blow”—the choir again hums until the
basses repeat the line and then the entire choir sings the line in homophony. The third line is
truncated by excluding a choral response altogether. The choir provides a hummed polyphonic
accompaniment for the soloist, who continues uninterrupted into the final line of the first stanza:
“And I cannot, cannot go.” Only then does the choir respond, singing “cannot go, cannot go” in
homophony and concluding the first section on a G minor chord. This is shown in mm. 15-21 in
Musical Example 3.7. The result in the first stanza is the alternation between polyphony and
homophony through each line of text.
The second stanza is similar in structure, also alternating between polyphony and
homophony through each line of text, though the third line includes a response, this time only
39

from the basses while the remainder of the choir continues humming. The third stanza begins
with a combination of polyphony and homophony achieved by pairing choral voices together in
Musical Example 3.7: Moorland Elegies Mvt. III: “The Night is Darkening Round Me” mm. 14-2210
Ibid. 10
40

homophonic groupings and then placing those groupings within a polyphonic structure. This is
shown in Musical Example 3.8.
Musical Example 3.8: Moorland Elegies Mvt. III: “The Night is Darkening Round Me” mm. 41-4511
The textural alternation continues with the second line being repeated by the choir in
homophony, but the choral repetition of the third line of text remains in homophony instead of
switching back to polyphony. The extended portion of homophony signals the end of the poem
and the transition to the conclusion. The first five bars of conclusion is identical in material to
the introduction, but this time it is sung on “ah” in a forte dynamic in contrast to the pianississimo
introduction. The complex interplay of textures brings the text to life. The listener is
overwhelmed with the sense that “the night is darkening round me” and that “the giant trees are
bending” while these texts are tossed between voices, only to be reminded by a homophonic
Ibid. 11
41

choral declamation of their inability to escape at the conclusion of each stanza with the text “I
cannot go.” The last five bars of the conclusion is a variation of the introduction, and returns to
a soft hum, closing the movement in the same spirit in which it began.
The mezzo soprano solo—with a characteristic warmth and darker tone which pairs
beautifully with the text—features sweeping disjunct melodies, like the opening phrase in m. 6.
Musical Example 3.9: Moorland Elegies Mvt. III: “The Night is Darkening Round Me” mm. 5-712
This phrase showcases the ascending minor seventh, an interval that seems to have special
importance to Kõrvits and Moorland Elegies generally. Each stanza of soloist text is simply a
variation on the first, and the first line in each stanza features this minor seventh prominently.
The third stanza differs from the first two in that the mezzo soprano does not sing the ascending
minor seventh directly. Instead, the interval is created through the combination of the soloist and
the altos and tenors, both of whom sing the C directly before the soloist enters, and the tenors
continue holding the C throughout the first line of text.
Ibid. 12
42

IV. FALL, LEAVES, FALL
Although the fourth movement, “Fall, Leaves, Fall,” reduces the choral voicing to only
sopranos and altos, musical complexity continues to increase. This movement continues the use
of mixed meter and expands to include 6/4, and rhythmic content now includes quintuplet and
septuplet figures for the first time. These metric and rhythmic complexities are situated within a
relatively placid tempo: quarter = ca. 64-68. Pitch content is based on F Mixolydian with
additional chromaticism and cross relations, and the harmonic structure is largely quartal and
quintal, especially in the choral writing.
The movement begins with an undulating string introduction stacked with polyrhythms.
The resulting sound blurs the barlines and creates the sense of continuous, through-composed
phrasing. Quintuplets and septuplets are stacked against the already common triplet and duplet
figures from previous movements, and in combination with complex polyphony, this shrouds the
music in metric ambiguity which is only clarified by the natural declamation of text stress when
the voices enter in bar nine. Observe this layered complexity in the string parts in Musical
Example 3.10.
43

Musical Example 3.10: Moorland Elegies Mvt. IV: “Fall, Leaves, Fall” mm. 1-413
The string polyphony contrasts with the homophonic choral entrance, which proceeds
through alternating parallel fourths and fifths until the conclusion of the fourth line of poetry,
Ibid. 13
44

which then expands to include sixths. These open quartal and quintal harmonies effectively
reflect the autumnal text, which “ushers in a drearier day.”
Musical Example 3.11: Moorland Elegies Mvt. IV: “Fall, Leaves, Fall” mm. 5-1014
Ibid. 14
45

After the simple, homophonic declamation of the first four lines of text, Kõrvits chooses
to repeat portions of the poetry for emphasis. In m. 21, the first line is repeated first in
polyphony, then again in homophonic fourths, fifths, and sixths. This second repetition
introduces the harmonic tritone to great effect, particularly on the word “away.” The isolated
choral parts are shown below.
Musical Example 3.12: Moorland Elegies Mvt. IV: “Fall, Leaves, Fall” mm. 20-2915
The twelve bars that comprise the first four lines of poetry are duplicated to deliver the
second half of the poem. Then, as with the text repetitions in the first half, the final section
includes a number of repetitions of the text “I shall sing, I shall smile.” The identical beginnings
to both halves of the poem are compared in Musical Example 3.13. The structure of the
movement is derived from the text and its repetitions, with an introduction, four choral sections
in ABAC format, and a conclusion. Even with the identical repeat of the choral A section, the
Ibid. 15
46

writing prevents the music from sounding repetitive, and the result is a through-composed effect
that effectively sets the scene for the poetry.
Musical Example 3.13: Moorland Elegies Mvt. IV: “Fall, Leaves, Fall” mm. 9-10 and 43-4416
mm. 9-10:
mm. 43-44:
Ibid. 16
47

V. SHE DRIED HER TEARS
Following the treble fourth movement, tenors and basses sing “She Dried Her Tears.”
This movement encapsulates the compositional elements idiomatic of Moorland Elegies as a whole,
through disjunct melodic writing, modal construction, a plethora of textures, and neotonal
harmony.
The tenors begin by singing a unison melody with large leaps in alternating directions,
beginning with a tritone from A ascending to D sharp, descending to G, and then leaping up the
tritone to C sharp, all in a very soft dynamic underneath which the strings sustain extremely soft,
low-register harmonics. The opening melody is shown in Musical Example 3.14. The first line of
poetry is broken into two distinct phrases, each set off with a full lift notated by a comma in the
score. This seems to serve as an amuse-bouche, after which the two phrases are repeated, this
time united as the full first line of text. The initial upward leaps at the end of the first phrase
fragments contrast with the downward trajectory of the repetition, which seems to alter the
meaning of the text upon its second hearing. The effect is that the tenors seem to sing the first
two fragments questioningly, then with growing sureness upon the repetition, finding enough
footing to move on to the next line of text. The remainder of the movement is marked by the
occasional repetition of fragments of the text, especially in the transition from the first to the
second stanza of text and at the conclusion, when variations of the last line of poetry—“she
would weep the time away”—is repeated, progressively intensifying the emotional effect.
48

Musical Example 3.14: Moorland Elegies Mvt. V: “She Dried Her Tears,” mm. 1-1217
Here, Kõrvits makes a small addition of his own to Emily Brontë’s text. After the tenors
and basses repeat “she would weep the time away” three additional times, Kõrvits brings the
weeping to life through the inclusion of an aleatoric sound effect on the word “oh,” which
descends through fluttering grace notes through the end of the movement while the strings
continue marking the passage of time until the strings fade away and the vocal parts filter out one
by one, with the instruction “diminuendo al niente.”18
This movement gravitates to A and primarily uses the A Lydian dominant scale—the
fourth mode of the ascending melodic minor—also known as the acoustic scale, for its
resemblance to the eighth through fourteenth partials of the overtone series. Kõrvits begins
nearly every phrase of text on a unison A, but never concludes a phrase by cadencing to an A,
which results in a slightly unsettled feeling. The first twelve bars include a pedal A played in
harmonics by the second string bass, which is decidedly less grounding than if it was played in
the lower octave without the timbre of the harmonic. The vocal parts adhere strictly to A Lydian
Ibid. 17
Ibid. 18
49

dominant save for the first tenors, who sing one G natural in m. 34, shown in Musical Example
3.15 against the G sharp and G natural in the viola part. The strings, however, occasionally stray
to add a C natural, G natural, and F natural.
Musical Example 3.15: Moorland Elegies Mvt. V: “She Dried Her Tears” m. 3419
The contrast in textures exists primarily between the voices and the strings in this
movement. While the tenors and basses remain almost entirely in homophony, the strings provide
harmonic underpinning through sustained chords with individual notes tapering in and out,
fading between the foreground and the background depending on the vocal parts. For example,
in the first twelve bars, strings provide an unmetered background accompaniment to the vocal
melody until they come to the forefront in m. 13, when the violas present their own variation of
the original vocal melody. At this time, violins are tacit and cellos and basses continue their
harmonic underpinning, exclusively in harmonics. Once the voices begin the third line of text,
the divided violins begin a cascading pattern of ten sixteenth notes, each slightly offset. Kõrvits
begins with the primo first violins on the downbeat, followed by the secondo first violins on the
fourth sixteenth note. This three-sixteenth-note offset continues with the entrance of the primo
second violins on the seventh sixteenth of the bar, but then Kõrvits breaks the mold by bringing
in the secondo second violins only two sixteenths later, on the ninth sixteenth of the bar. Where
Ibid. 19
50

he does not break pattern is in the length and separation of the sixteenth note groupings. Each
violin part plays exactly ten sixteenth notes before resting for one quarter and then re-entering for
another ten-note grouping. This pattern, beginning in m. 25, continues for eight bars before
Kõrvits moves to a new construction, signaling the conclusion of the first stanza and the
beginning of the second.
Musical Example 3.16: Moorland Elegies Mvt. V: “She Dried Her Tears” mm. 24-2720
The second stanza is essentially a loose repetition of the first, with the lower string parts playing
substantially different music, but the violins repeating the same sixteenth note patterns, this time
without harmonics.
Ibid. 20
51

Following the delivery of the entire poem, the strings present new music while the vocal
lines repeat the text “she would weep the time away.” Here, the strings play a more prominent
role in the texture, pulsing more vigorously to provide a sense of meter and thus the passage of
time referenced by the text. The undulating eighth notes manipulate the sense of meter through
the articulation, which features tenuto and staccato markings aplenty. Overall, the string parts
provide textural complexity that contrasts strongly with the unified nature of the vocal parts.
In terms of harmony, the fifth movement utilizes the pitches from the A Lydian dominant
scale as the primary building blocks of harmony in a largely neotonal way. Some large scale
harmonic motion is emphasized through the use of pedal points which assert an underlying sense
of tonal gravity, without relying on traditional functional harmonic progressions. At the outset,
the strings create harmonic underpinning through the use of the pitches A, C sharp, D sharp, G,
and E, which could be construed as an A dominant seventh chord with the added fourth scale
degree, and the use of seventh chords is certainly consistent with Kõrvits’s compositional idiom
throughout Moorland Elegies. Though the early harmony in this movement is tertian, the cascading
sixteenth patterns that begin in m. 26 employ non-tertian chords in an impressionist fashion, with
the sixteenth note motive used as a vehicle for progressing through various cluster chords that
change gradually as each of the violin parts overlap. Meanwhile, the cellos and basses assert a
sense of large-scale tonal motion through the use of pedals, moving from A minor through F
sharp minor, to D major, then reversing direction back to F sharp minor, A minor, then
concluding the section with G sharp minor, D minor (due to the altered F natural), and E major,
using the raised seventh. In a sense, this moves the first stanza of text from A minor to E major in
a i-V motion. The combination of modal non-functional harmony and the assertion of
harmonic motion through a pedal progression is both neotonal and impressionist, and Kõrvits
52

employs these techniques to great effect both in this movement and throughout the Moorland
Elegies.
The second stanza, which repeats the violin motives in the same harmony but without
harmonics, completely changes the construction of the lower string parts. The basses now play
mere pizzicato eighth notes with harmonics while the cellos and violas play longer note values, but
never longer than the length of a single bar, unlike the long pedal points used in the first stanza.
The shorter note values are offset by the fact that the harmony itself remains static throughout
the second stanza, this time stacked quintal harmony: D, A, E. This continues until the last line
of text, when the lower strings assert F sharp minor for a few bars before going through a nonfunctional progression that brings the movement to the final aleatoric wailing in the voices. F
sharp minor plays a prominent role in the harmony until the last eight bars, which eventually
settle on the final D major seventh chord before the last bar of aleatory fades away. The fifth
movement ends with an entire bar of rest held with a fermata, which calls for silent reflection on
what has just occurred in the text and the music.
53

VI. MOONLIGHT, SUMMER MOONLIGHT
Movement VI, “Moonlight, Summer Moonlight,” serves as the climax of part two of
Moorland Elegies, as well as the most extreme example of musical complexity, particularly in the
instrumental writing. This movement is written for mezzo soprano solo, and the vocal writing
functions largely as an instrumental concerto in combination with modal writing and nonfunctional impressionist harmony.
The soloist presents the three stanzas of poetry in verse form with minor variations to the
melodic line from verse to verse. More striking are the metric differences between verses, each of
which is customized to the inflection of the poetry, with varying verse lengths and continued use
of mixed meter that is different from verse to verse.
The first verse presents the text without repetition in a total of seventeen bars, ending
with a notated lift for all parts. The music flows through mixed compound meter, including 12/8,
9/8, and 6/8. The soloist is called upon to use techniques more common in string writing than
vocal writing, like the glissando. Though the majority of the vocal rhythms are straightforward, the
duplet pairings of eighth notes in m. 8 syncopates the compound meter.
Verse two is slightly shorter, coming in at twelve bars total. Though the first line recycles
the exact combination of pitches as the corresponding line in the first verse, the second line only
maintains the general shape of the melody. The third line then reuses the pitches from the third
line of the first stanza, but presents them in a new rhythm. Minor variations of this sort continue
through the third stanza, which includes one curious measure of 5/8 in the second line of text. It
is more difficult to determine where the end of the third stanza is located, as two distinct choices
present themselves. First, the fermata on the rest at the end of m. 43, which would mirror the end
54

of the second stanza, or second, the notated lift following the brief rallentando in m. 46. Ambiguity
abounds, though the first interpretation seems most likely. This rounds out the end of the
movement with a brief five-measure codetta, keeping the form tightly structured in three verses.
Kõrvits sets the sixth movement in E flat Dorian, similar to the natural minor save for the
raised sixth. The vocal line uses all the pitches in E flat Dorian and then some, occasionally
altering the scale to include E natural, a C sharp enharmonic to D flat, and D natural. This
disjunct yet graceful melody is shown in Musical Example 3.17. The first verse ends with the
mezzo soprano singing a tritone from C to A natural, which prevents the stanza from feeling
resolved even though the harmony provided by the strings settles largely on E flat minor native to
the E flat Dorian scale.
Musical Example 3.17: Moorland Elegies Mvt. VI: “Moonlight, Summer Moonlight” mm. 2-1521
The harmonic content of this movement continues to be non-functional, completely
avoiding the idea of a progression that relies on tension and resolution through cadential motion.
Ibid. 21
55

Instead, tonal areas are asserted through pedal points and repetition of important structural pitch
areas, namely E flat and A flat. Generally averse to being constrained by rules and structure,
Kõrvits borrows freely from the harmonic minor to include both D natural and C flat in
measures 12 and 13, respectively, which allows him to achieve his intended harmonic soundscape
without being bound to the harmonies native to E flat Dorian.
The solo writing complements the virtuosity required by the string parts. Not only do
individual parts run the gamut of string techniques, from complex rhythms played with a variety
of articulatory techniques to artificial harmonics played in quick succession in disjunct lines, this
complexity is layered in extremely dense polyphony, all situated in mixed compound meter and
couched in very quiet playing. The entire movement is both the epitome of the soundscape of
the moors and the height of complexity in Moorland Elegies. The effect is powerful, technically
impressive, and expressively unmatched. A small taste of the instrumental writing is included in
Musical Example 3.18.
The plurality of textures presented are fundamental to this movement and the entire
Moorland Elegies. “Moonlight, Summer Moonlight” ends with a descending pizzicato motive and
sustained sul tasto timbres on an open fifth between E flat and B flat, a bittersweet and hollow
ending to an alluring movement.
56

Musical Example 3.18: Moorland Elegies Mvt. VI: “Moonlight, Summer Moonlight” mm. 26-2922
Ibid. 22
57

VII. THE SUN HAS SET
Movement VII, “The Sun Has Set,” returns to full SATB choir and marks the beginning
of the third and final part of Moorland Elegies. This movement diverges from the original poem
with the addition “oh” and “ah,” to enhance the text and bring the soundscape of the moors to
life. Though Kõrvits’s typical harmonic idiom continues, there is no strict modal construct in the
eighth movement, and the numerous textural and timbral effects go further than any other
movement in painting the text and recreating sounds from the natural world.
The choir sings the introductory phrase on “oh” before the strings respond con sordino with
motivically similar material atop a sustained pedal C sung by altos and tenors in unison, as if the
role of voices and strings has been reversed. When the choir enters on the first line of text, they
are accompanied only by the string bass sparingly plucking a few notes. Cellos follow a few bars
later, con sordino. Altos seem to play the part of the “long grass” waving “dreamily in the evening
wind” in m. 19, shown in Musical Example 3.19, as the violins play sul ponticello tremolos and the
violas and cellos play septuplet harmonics. The resulting timbres and chaotic rhythms are
reminiscent of the wind itself, and combine to great aural effect.
58

Musical Example 3.19: Moorland Elegies Mvt. VII: “The Sun Has Set” mm. 15-2023
The text is interrupted by another nine bars of “ah” before the tenors and basses sing the
third line of poetry atop a parade of triplets, septuplets and 32nd notes in the strings over a
harmonic G pedal. Embodying the “wild bird” featured in the poetry, the tenors and basses
flutter through a polyphonic repeat of the text, shown below.
Musical Example 3.20: Moorland Elegies Mvt. VII: “The Sun Has Set” mm. 37-3824
Ibid. 23
Ibid. 24
59

Following another string interlude, the sopranos and altos begin the second stanza with very
similar parts as the first verse. Though the pitches themselves are almost identical, the measures
are arranged in a new metrical order and the this stanza now includes more string
accompaniment. The bass line is essentially the same as the first stanza, and the second line
concludes with more septuplet harmonics in the violas and cellos followed by all strings dragging
the bow across the body of the instrument to create the hollow sound of wind. The third line of
the second stanza recycles musical content generously from the third line of the first stanza, but
the fourth line is more distantly related to the first stanza.
Even with plentiful reuse of musical material, Kõrvits manages to alter enough of the
details and recontextualize the vocal parts with new string accompaniments such that the result is
an entirely new aural experience for the listener. While a theorist might classify this movement as
verse form, the similarities are well-concealed to the listener and even to the eye at first glance. As
with all of Moorland Elegies, there are new rewards revealed upon each subsequent listen and
analysis that slowly uncover Kõrvits’s compositional genius.
Once the full text has been presented, the movement ends with a number of repetitions
of “wind that’s far away” which are sung both a cappella and with string accompaniment. Strings
receive a feature that is as visually striking as it is aurally effective, when they play tremolos in
cascading series across the orchestra from top to bottom. Shown in Musical Example 3.21, this
spatial effect ripples across the orchestra and gives flight to the “wind” mentioned in the text.
This effect, in combination with the additional timbres aforementioned, make the fifth movement
the most literal in terms of bringing the text to life through text painting.
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Musical Example 3.21: Moorland Elegies Mvt. VII: “The Sun Has Set” mm. 77-8225
Though the movement centers around C, the scalar content is difficult to pin down. The
opening phrases suggest C Phrygian through the frequent use of D flat, E flat, A flat, and B flat,
though there is the occasional chromatic alteration to E natural. Things no longer fit so neatly
into the mold once the string parts play mm. 19-20, with all natural pitches save for B flat and F
sharp. Choral and string parts seem to be operating on different scales, with strings using a
mixture of sharps and flats while the choir uses almost exclusively flats, except for C sharp and F
sharp in mm. 36-37, sung by tenors and basses. In the second stanza, the strings revert to mostly
Ibid. 25
61

flats to mirror what the choral parts have had throughout the first stanza of text. Overall, this
movement is the most modally ambiguous, though C Phrygian is the most accurate analytical
label to apply.
C is continually asserted as the harmonic center through frequent pedal points and tertian
harmony placing it at the root. The choir begins on a C major chord and the initial phrase
concludes with a unison middle C pedal. As soon as the bass enters with the pizzicato bass line, C
is again asserted at the beginning and end of the phrase. G seems to play a similarly prominent
role, with a long pedal point to conclude the first stanza of text. The movement concludes with a
number of reassertions of C through a long choral pedal and the strings ending on a C major
chord which flows attacca into the eighth movement. Kõrvits continues to avoid functional
harmony, leaving out any sense of progression that builds tension to be relieved through cadential
motion, but the large brush strokes are there with the general motion of “tonic” to “dominant”
and back again, though the details are blurred and the duration so long that the listener would be
hard pressed to identify the harmonic plan. Instead, Kõrvits creates a soundscape delivers the
text while carrying the listener along with it rather than detracting from the experience with overt
musical constructions.
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VIII. THE STARRY NIGHT SHALL TIDINGS BRING
After the sun sets in the seventh movement, “The Starry Night” continues the explicit
description of the ecology of the moors: a starry night in a breezy moor, with a bird landing on
the heath. Brontë bids the wanderer to “kneel thee down, and pray,” and the fervency of the
prayer and the poetry as a whole is reflected in the rhythmic intensity of the music. This
movement continues in the Phrygian mode—this time in C sharp—and couches Kõrvits’s
impressionist harmonic style within a pseudo-minimalist form that uses rhythmic repetition as a
basis for the movement.
As the C major chord bleeds over attacca from the prior movement, second violins begin a
syncopated rhythmic motif on C sharp. This motif, shown below, is passed to the first violins with
a slight modification, and then to violas.
Musical Example 3.22: Moorland Elegies Mvt. VIII: “The Starry Night Shall Tidings Bring” mm. 1-826
Ibid. 26
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This motif does not continue throughout the entire movement, but its essential essence forms the
rhythmic building blocks for the movement. Occasionally, individual string parts accumulate into
a similar motif, such as in mm. 60-66.
Musical Example 3.23: Moorland Elegies Mvt. VIII: “The Starry Night Shall Tidings Bring” mm. 59-6627
Apart from four bars marked meno mosso, the eighth note pulse within 3/8 meter continues
unwaveringly through the entire movement. It is at once predictable yet unnerving, thanks to
frequent rhythmic syncopations and a nervously quick tempo, the fastest pulse of the entire
Moorland Elegies. The intense consistency of both the pulse and the meter stands out from other
movements and reflects the urgency of the text, which conveys more salience and connection
between the poet and the listener than the other poems.
Ibid. 27
64

After forty-three bars of string introduction, the choir enters one part at a time, beginning
with sopranos. Each subsequent phrase adds a part, with altos entering, then basses, and finally
tenors to complete the texture. The alto entrance merely reinforces the pitch content, singing in
unison with sopranos. Basses add the lower octave of the C sharp. For fifty measures, the choir
sings only a C sharp, delivering the text on a homophonic rhythmic pattern that relies primarily
on alternating eighth and quarter notes, a sample of which is shown in Musical Example 5.24.
Musical Example 3.24: Moorland Elegies Mvt. VIII: “The Starry Night Shall Tidings Bring” mm. 44-4828
The first eight lines of text are sung in this fashion without any repetition. Then, when tenors
enter in m. 94, the choir repeats “and pray and pray and pray and pray, kneel thee down and
pray” with increasing urgency and conviction on a series of increasingly large ascending
intervals, shown in Musical Example 3.25. Ironically, the text “kneel down” features the largest
ascending interval in the choral parts: a major seventh.
Musical Example 3.25: Moorland Elegies Mvt. VIII: “The Starry Night Shall Tidings Bring” mm. 94-10029
Ibid. 28
Ibid. 29
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Portions of the text are repeated again, this time in harmony, extolling the wanderer to
“watch for a bird with sable wing, and pray and pray and pray and pray” with increasing
fervency. Then, in what might be considered a B section, the choir breaks into complex
polyphony to repeat these fragments of text. This strongly contrasts with the simplicity of the
preceding unison and homophonic sections, with snippets of text weaving in and out of the
texture in a cacophony that simultaneously shrouds the text and elevates its emotional impact.
Fifteen of these measures are shown in Musical Example 3.26.
Musical Example 3.26: Moorland Elegies Mvt. VIII: “The Starry Night Shall Tidings Bring” mm. 140-15430
Ibid. 30
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After this outburst of polyphony, the movement returns to the simplicity of the opening phrases
in order to deliver the final four lines of text. With largely similar orchestration as an
underpinning, the sopranos again enter alone before being joined by the altos on a unison C
sharp, singing all four remaining lines. Not content to end the movement there, Kõrvits has the
choir repeat the text and music from mm. 110-124, modifying only the last syllable at the end of
the phrase “look not around, look not beneath,” allowing the choir to conclude on D major
seventh chord before the strings filter out, eventually leaving only the cellos playing syncopated
quarter note C sharp harmonics in an eery echo of the rhythmic intensity that permeated the
music. A final measure of rest is extended under a double fermata, providing ample pause before
the final movement.
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IX. MONTH AFTER MONTH
In movement IX, “Month After Month,” choir and strings combine into the most dense
harmonic structure of Moorland Elegies while using two distinct modalities to complete the
soundscape of the moors and end the poetic journey on a decidedly optimistic note.
Sopranos begin the final movement singing a B flat on “oh.” Four bars later, they begin
delivering the text while the altos glissando down an octave to the low B flat. Sopranos continue on
the text while the altos add harmony through repeated glissandi.
Musical Example 3.27: Moorland Elegies Mvt. IX: “Month After Month” mm. 7-1231
The initial continuation of B flat seems to assert this as the tonal center of the movement, but
following the entrance of the tenors in m. 14 and the arrival of the E flat when the string basses
enter a bar later, the sustained chord in m. 16 suggests that E flat is indeed the root of the scale
and the tonal center of the movement. Without any permutation of C thus far, the combination
of intervals in the scale based on E flat results in an altered Dorian scale, coined the “Ukrainian
Dorian” scale by musicologist Abraham Zevi Idelsohn. This scale is the standard Dorian with a 32
raised fourth. In this case: E flat—F—G flat—A—B flat—C—D flat.
Ibid. 31
Abraham Zevi Adelsohn, “Musical Characteristics of East-European Jewish Folk-Song,” The Musical Quarterly 32
18, no. 4 (October 1932): 634–45, https://doi.org/https://www.jstor.org/stable/738944, 635.
68

Quickly, Kõrvits introduces chromatic alteration, bringing in the A flat in m. 22, which
alternates regularly with the A natural throughout the mezzo soprano solo, shown below.
Musical Example 3.28: Moorland Elegies Mvt. IX: “Month After Month” mm. 19-3233
In this disjunct melody, the D natural is also introduced. The choir and strings settle into a
chromatically saturated chord in mm. 34-35, which omits only the C natural. With this level of
saturation, it is difficult to firmly classify the material as using the Ukrainian Dorian scale, though
it fits most closely with the pitch content and aligns with the assertion of E flat as the tonal center
through a number of pedal points.
For the first time in Moorland Elegies, this movement seems to distinctly modulate, moving
from E flat Ukrainian Dorian to E Ionian, beginning at the poco piu mosso in m. 49. Here, the
strings switch to sharps, and the E flat in the sopranos is recontextualized as the enharmonic D
sharp a measure later, simultaneous to the altos’ B flat becoming an A sharp. The D sharp
becomes the leading tone which soon resolves to E natural in m. 53. This modulation happens in
conjunction with the pivot happening in the text, which declares that the stars and fair moonlight
are “but tokens of the night.” This fragment of text is repeated a number of times with growing
Moorland Elegies. 33
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resolve, before moving into the final line of text: “and this my soul is day.” This single line,
repeated through the end of the movement, manages to singlehandedly lift the spirit of the entire
Moorland Elegies, bringing it to a conclusion by looking toward the light of coming day,
recognizing that it is buried deep within us, ready to emerge when called forth.
Throughout this final section, E continues to be asserted as the tonal center, interrupted
by lush harmony that sometimes centers around the “dominant” B before always returning to E.
While the choir holds a cluster chord for nearly thirteen measures, the string bass plays a long D
pedal that clashes with E, seeming to remind the listener that the the darkness of the moors, and
the deepest parts of the soul, are never far away from the day. Eventually, basses, tenors, and altos
exit the texture, respectively, leaving only the divisi sopranos singing a major third on E and G
sharp. After the strings fade away in m. 93, the choir concludes the movement and the Moorland
Elegies with further repetition of “and this my should is day,” finally arriving on a chord
comprised of A, B, D sharp, and E.
For the fourth time in Moorland Elegies, the movement ends with a measure of rest under a
fermata, this time a double. Not only do these notated moments incorporate silence into the space
of the music and provide time for reflection on the poetic journey through the moors, they also
bring the work to a close at exactly 1,000 measures.
The ninth movement also contains a small yet intriguing mistake. The fifth line of text,
which begins the second stanza in m. 42, reads “what thought the stars and fair moonlight,”
(emphasis added) which adds but a single letter to Emily Brontë’s original poem, which reads
“what though the stars and fair moonlight” (emphasis added). When Kõrvits was asked about
this nearly nine years after composing Moorland Elegies, this was the first time he had been made
aware of the error. He says that “it might be that there are different versions of the poem,” but
70

this author has been unable to find any such versions. It is most likely that the errant “t” was 34
accidentally written into the text at some point during the process of selecting and translating the
poetry, perhaps by Doris Kareva. Acknowledging the possibility of an error, Kõrvits quickly
referenced Leonard Cohen’s song “Anthem,” saying “if it’s a mistake, I would take it as a crack
where the light comes in.” He prefers that the text be performed as written, with the word 35
“thought,” and this “crack” only assists in the journey towards the light that culminates in this
final movement of Moorland Elegies. Indeed, the final measures emerge from that darkness, sung by
the choir a cappella on several repetitions of the text “and this, my soul, is day.”
Kõrvits interview. 34
Ibid. 35
71

CHAPTER 4: CONDUCTOR’S GUIDE TO MOORLAND ELEGIES
OVERVIEW
There are numerous considerations one must take into account in preparing for a
performance of Moorland Elegies. First and foremost is the ability of both the choir and orchestra.
The choral parts are within the scope of most auditioned ensembles at major universities in the
United States, but require solid music literacy and high-level musicianship. Because the work is
heavily dependent upon modal melodic and harmonic construction and requires careful tuning,
preferably with just intonation, it is suggested that the choral parts be learned a cappella, without
the aid of the piano. The reduction has been included in the appendix with the intention that it
be used as an intermediary step, if necessary, to allow the choir to adjust to the context of the
string parts. The obvious downfall is that any rehearsal with an equal temperament instrument
may risk contaminating the choral tuning. The string parts pose a more serious challenge, even
for the finest university orchestras. Only the finest players with the best technique and a good ear
should be selected, and even then, Moorland Elegies may require more rehearsal time than the
average preparation for a performance. At colleges on the traditional semester system, Moorland
Elegies is likely a two-semester undertaking for the choir, and up to a semester for the strings. Both
the choir and the orchestra benefit from having the context of the opposite parts, though
significant preparation is required before the choir and orchestra can be rehearsed together.
In preparation for a performance, the conductor must take into account the varying
needs of the choir, the orchestra, and the music. Balancing these elements requires careful
consideration and a great deal of gestural clarity in both rehearsal and performance. The soundworld of Moorland Elegies is built upon the extensive use of modality, underpinned by various
72

musical textures, but the entire work is driven first and foremost by Emily Brontë’s poetry. With
this in mind, thorough score study from the vantage point of the text, phrasing, and diction is
critical to a successful performance.
73

I. COME, WALK WITH ME
The string parts are relatively simple in the opening movement. Most important are the
harmonics, which require delicate tuning. Overall, as with the entire Moorland Elegies, the string
parts should be played with minimal vibrato to maintain vibrant tuning and reflect the “empty
space” of the entire sound-world. It is fruitful to think of string vibrato as ornamental rather than
fundamental to the style, and to employ it consciously and judiciously. Minimizing its extent and
rate is the preferable performance practice throughout the work.
With text as the driver of the work, the choral parts should be approached with careful
consideration to the phrasing and diction. This can be difficult in places where the text contains a
comma, but Kõrvits has not built in a corresponding lift. Take, for example, the first eight bars in
which the choir sings. The first comma after “walk” is addressed by the two quarter rests in m.
17, but the comma after “walk with me” is only reflected with a lift in the soprano line. The other
parts may not require a breath at the end of m. 20, but allowing them to lift on the third beat of
the measure adds clarity to the phrasing of the text and aligns it more closely to the way it would
be declaimed in natural speech. Conversely, a similar lift for the tenors and basses in m. 22 is
both unnecessary for the singers and would be detrimental to the phrasing and harmonic
structure. With the sopranos and altos moving on beat 3, the harmonic shift should not be cut
short by the tenors and basses lifting. Additionally, the hard [k] of the bass text would only serve
to interrupt the line and ruin the relatively short setting of the word “walk” in m. 23. Suggested
lifts for these measures are shown in red below. Similar consideration of the length of the
phrasing, the natural declamation of the text with an eye towards the punctuation, Kõrvits’s
74

frequent repetition of text, and harmonic structure should contribute to the conductor’s choice
of lifts and consonant placement throughout this movement and the entire work.
Musical Example 4.1: Moorland Elegies Mvt. I “Come, Walk With Me” mm. 17-241
Measure 31, shown in Musical Example 4.2, contains a slightly unusual setting of the text
which places a [t] in an awkward spot. There are essentially two options in this moment. First,
the [I] vowel could be elongated and the [t] placed on the second sixteenth note of beat 3.
Second, the [t] could be placed on beat 3. Both choices require the [n] of “now” to be initiated
on the last eighth note of the measure, and the quick succession of the plosive [t] and voiced [n]
consonants is the primary problem. In this author’s opinion, the second option is favored for two
reasons. First, placing plosive consonants on a beat is usually simpler and easier to execute for
choirs, resulting in increased odds of a perfectly aligned consonant. Second, placing the [t] on
beat 3 provides slightly more space and time to initiate the voiced [n] and sing through it so the
following vowel is on the last eighth note of the measure. The result is clarity of diction and
precise syncopation of the word “now.”

Moorland Elegies. 1
75

Musical Example 4.2: Moorland Elegies Mvt. I “Come, Walk With Me” mm. 31-322
The tenors and basses have a phrase in mm. 33-39 which the conductors of the two
existing performances have chosen to alter in two different ways. Risto Joost chooses to place the
[ts] of “nights” on the and of 2, while Dr. Gregory Fuller places it on beat 2. Both conductors felt
that this was a natural place to place a lift, likely due to the natural pause that would be placed
after the word “nights” if the poetry were being read aloud. While both options are perfectly
acceptable, this author contends that in this case, as is generally true, placing hard consonants on
the beat instead of off the beat typically results in the most precise and rhythmic performance of
the diction. Of course, a third option exists, which is to simply omit the lift and extend the
phrase, asking the singers to stagger breathe if necessary.
The conclusion of the first movement contains several fermatas, including one over the
final measure of rest. This treatment is intentional and recurs in several movements. The
poignant silence is an important part of the movement, and contributes to the exact 1,000
measures that comprise the entire Moorland Elegies. Do not rush these measures. Instead, approach
them as parts of the musical fabric, followed by an attacca entrance into the following movement.
Ibid. 2
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The tension in the silence should not be broken by a relaxation on the part of the conductor or
the musicians, and this is certainly not the time for an audible page turn.
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II. SILENT IS THE HOUSE
The string introduction to the second movement is intense. The sixteenth notes in the first
measure require a rhythmic attack that may benefit from subdividing the first two beats. This
subdivision may be repeated when a similar figure appears in m. 12. The remainder of the string
introduction features dense layering of string parts with alternating and often syncopated
entrances. The conductor should prioritize simplicity and clarity of gesture above all else to
maintain the integrity of this fabric. Let the players do the musical work while providing
guideposts to keep them metrically aligned.
The choice of subdividing is central to the entire movement, especially with the
asymmetry of the metric construction. When the choir enters in m. 19, subdividing provides the
most clarity, and is therefore recommended. In general, any measure in which the denominator
of the time signature is 8 benefits from subdividing. This requires frequent alternation in the
gesture, but results in increased metric integrity of the music.
In terms of choral phrasing, the homophonic sections require no modifications for
breathing or placement of consonants. When the choir transitions to dense polyphony in m. 68,
several parts include very long phrases without any rests built in. To maintain the dense texture,
the choir should be instructed to stagger breathe where necessary and to elide consonants that
appear back-to-back, such as the [n]s in the various repetitions of “never again, never again.”
Perhaps the only modification to be made in this polyphonic section is for the tenors in m. 72,
where they could place the [n] on beat 4 in order to rearticulate the [n] of the following word,
“now,” with the advantageous side effect of facilitating and easing the ascending minor sixth
jump.
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Later, in m. 88, there appears an eighth note tied from the previous bar on the word “us.”
This may ignite the perennial debate over whether the consonant is intended to go on the
downbeat of the bar, or if the vowel should be sustained and, in this case, the consonant placed
on the second eighth note of the bar of 3/8. In this instance, and with Kõrvits’s writing generally,
the vowel should be sustained and the [s] placed on the second eighth note.
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III. THE NIGHT IS DARKENING ROUND ME
The introductory phrase of the third movement, hummed by the choir, invites an
immediate question about articulation. In several places, such as the soprano G natural in m. 1,
parts have two successive notes that are not tied together. Should these notes be rearticulated in
some way? Why did Kõrvits not provide a tie or simply alter the note value to eliminate any
question? While the exact answer remains elusive, the conductor can safely instruct the choir to
sing these successive notes as if they were tied, without any rearticulation of the second note.
This is the interpretation of both Risto Joost and Dr. Gregory Fuller, both under the watchful eye
and careful ear of the composer.
In m. 53, Kõrvits uses an apostrophe to denote a lift before the downbeat of m. 54. Time
may be stretched to achieve it, but it should be the approximate length of an eighth note so as
not to add an additional beat to the measure.
Musical Example 4.3: Moorland Elegies Mvt. III “The Night is Darkening Round Me” mm. 1-43
Ibid. 3
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This movement requires special attention toward tuning. Without strings, the choir needs
to ensure that vertical harmony is aligned with just intonation, as the resulting overtones are
integral to the soundscape of the moors. Kõrvits has said “my harmonic language is part of my
tone. One of the main keys to it are the overtones.” In particular, octaves, fifths, and fourths 4
throughout this movement should be carefully tuned via just intonation to maximize the
production of overtones. Similarly, in the last measure, the optional low C in the bass part can be
achieved by proper tuning of the perfect fifth between the bass C and the tenor G, which should
result in the production of the low C as an undertone.
Musical Example 4.4: Moorland Elegies Mvt. III “The Night is Darkening Round Me” mm. 65-695
Tõnu Kõrvits, email to unspecified friend, undated. 4
Moorland Elegies. 5
81

IV. FALL, LEAVES, FALL
The fourth movement contains significant stratification in the complexity of the string
parts versus the choral parts and therefore necessitates that the conductor pay closer attention to
the needs of the strings. Frequent sextuplet arpeggios, runs, double stops, harmonics, and
frequent changes to the bowing style present a challenge to the string players that will require
more preparation and rehearsal than the previous movements.
In terms of gesture, the first task is to determine the metric groupings in bars of 5/4 and
6/4. Frequently, some instruments will hew more closely to one grouping—3+3, for instance—
while others will group differently—2+2+2—all within the same measure. In these cases, one
must decide between conducting the majority or giving assistance to the more challenging part(s).
For example, mm. 3-4 immediately present the conductor with decisions to make.
Musical Example 4.5: Moorland Elegies Mvt. IV “Fall, Leaves Fall” mm. 3-46
Ibid. 6
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Measure 3 is relatively straightforward. The parts immediately rule out a 3+2 grouping, and the
beaming of the viola part as well as the placement of the half note in the violins would suggest
2+3. One could also consider the less common 4+1 grouping, which would place the natural
emphases in the same place as 2+3. Measure 4 presents a slightly more difficult decision. Again,
the viola and cello parts naturally fall into a 3+3 grouping, as does the second violin part. The
first violin leans towards 2+2+2. In this case, it is a safe bet to side with the majority and choose
3+3. This choice is reinforced by the addition of the choral parts in an otherwise identical bar in
m. 41. Here, the choral parts have a dotted half note plus a dotted half rest.
Musical Example 4.6: Moorland Elegies Mvt. IV “Fall, Leaves Fall” mm. 417
Ibid. 7
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Note the misprint in the soprano part, which should include a dot on the half rest. Nearly every
remaining bar of 6/4 is better grouped 2+2+2. Regardless of the gestural choices of the
conductor, they should be communicated clearly to the string players and kept consistent to
ensure the unity of the ensemble.
In this movement, along with others which contain a suggested range of tempi, this
author prefers and recommends erring on the slower side in order to allow the poetry to speak
and the complexity of the string parts to sound with maximum clarity. These tempi may be
partially dictated by the quality of the string playing, and rushing the tempi may be detrimental
to other aspects of the performance, particularly the accuracy of tuning, which should remain
paramount. In fact, the original recording by the Estonian Philharmonic Chamber Choir chooses
an even slower tempo: approximately 58 beats per minute.
The choral parts contain seven grace notes in mm. 21-23. Both the Estonian
Philharmonic Chamber Choir as well as The Southern Chorale of The University of Southern
Mississippi performed these grace notes before the beat with the approval of the composer. The
grace notes should be performed as short as possible without being accented.
Musical Example 4.7: Moorland Elegies Mvt. IV “Fall, Leaves Fall” mm. 21-238
Ibid. 8
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V. SHE DRIED HER TEARS
The fifth movement contains numerous harmonics in the string parts which will require
careful rehearsal to maintain upright tuning. This will be partially facilitated by minimizing the
amount of vibrato the players use throughout the movement.
The stratification of the parts beginning in m. 25 requires careful balancing in order to
keep the choral parts, and thus the poetry, at the forefront. The violas, cellos, and basses may
need to play up a dynamic marking while the violins play down a dynamic. When in doubt, it is
recommended to keep the choral parts in the foreground. The exception to this rule falls at the
end of the movement, where the tenors and basses perform an aleatoric pattern. Here, the strings
may eclipse the vocal parts before eventually fading into the background and diminishing to
nothing while a few remaining voices finish their “diminuendo al niente.”
The tenors and basses will also be required to minimize vibrato in order to capitalize on
the pure tuning of the frequent open fourths and fifths in the harmonic construction. In moments
of unison, care should be taken to avoid the natural acoustic amplification of the single pitch by
ensuring that the vocalists sing more softly.
85

VI. MOONLIGHT, SUMMER MOONLIGHT
The string parts in this movement again prove challenging, in no small part because of
the dense polyphonic texture. The potential increase in the amount of rehearsal for this
movement is partially balanced by the need for only a single mezzo soprano.
The tempo is quite slow in the sixth movement, and maintaining the tempo may prove to
be a challenge for the conductor, compounded by the nature of compound meter.
Several violin solos are included in this movement, usually emerging from the texture for
a brief measure or two at a time. These must be played delicately, as they are part of the overall
texture instead of attention-grabbing foreground elements.
Grace notes appear throughout the movement in both the mezzo soprano part as well as
in the strings. These should be played before the beat.
Where Kõrvits has notated a lift using a comma, the ensemble should heed these
instructions while taking into account the acoustics in the performance venue. These lifts are
shorter than a true caesura, but should allow enough space for the music to breathe before
moving forward.
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VII. THE SUN HAS SET
The mixed, and often asymmetric, meter in the seventh movement must be carefully
considered, especially given the slow tempo marking before the poco piu mosso in m. 32. The
conductor should consider subdividing measures of 5/8 and 3/8 to maximize clarity with the
added benefit of helping to maintain the slow tempo. Measures of 5/8 could be conducted by
only subdividing the grouping of 3. This pattern should assist in maintaining the metric integrity
of the eighth note while assisting in the execution of the string parts, such as in mm. 22-24.
Measures 53 and 54 contain the instruction for the string players to “bow the body” of
the instrument as a special sound effect meant to imitate the sound of the wind referenced in the
poetry. If the effect is not pronounced enough, the conductor may elect to have one or more
voice part blow air through the fricative [f]. Since the sopranos and altos have just finished
singing a phrase, the tenors and basses could be instructed to do this, with one section beginning
the sound on the downbeat of each measure while the basses produce the effect on beat two, in
alignment with the violas and cellos.
The string writing in mm. 77-82 produces a spatial sound effect that ripples through the
orchestra, and which should influence if not outright dictate the seating of the string orchestra.
The measured tremolos begin in the first violins, followed by the second violins, then violas,
cellos, and basses. When situated in that order from left to right, the orchestra can most
effectively carryout the spatial sound effect, which can be interpreted as the wind “sighing o’er
the healthy sea” or perhaps the sea itself, lapping up against the shoreline. Because each of the
parts enters one eighth note after the previous part, it would be prudent for the conductor to
subdivide these measures. Seating the orchestra as suggested has the added benefit of enabling
87

easy cueing during the subdivision, with the conductor panning left to right across the ensemble
three times in a row.
Musical Example 4.8: Moorland Elegies Mvt. VII “The Sun Has Set” mm. 22-249
Musical Example 4.9: Moorland Elegies Mvt. VII “The Sun Has Set” mm. 53-5410
Ibid. 9
Ibid. 10
88

Musical Example 4.10: Moorland Elegies Mvt. VII “The Sun Has Set” mm. 77-8211
Ibid. 11
89

VIII. THE STARRY NIGHT
The eighth movement begins attacca and is metrically consistent throughout the
movement. This consistency is most effective when the tempo remains as steady as possible, save
for the brief, four-measure meno mosso in bars 126-129.
Executing the diction with perfect alignment is perhaps the most challenging aspect of
the movement, which calls for possible modifications to be made throughout the choral parts.
Beginning in m. 110, the choir often has dotted eighth notes, which would call for a consonant to
be placed on a sixteenth note, which is a very short amount of time at the given tempo of eighth
= 108-112. Additionally, Kõrvits is inconsistent with the note values throughout this section. In
m. 110, “watch” receives an eighth note, but in m. 114, it is changed to a dotted eighth note,
shown below.
Musical Example 4.11: Moorland Elegies Mvt. VIII “The Starry Night” mm. 110-11712
This author believes that consonants are fundamentally more difficult for choirs to align when
they are placed on off-beats, such as in m. 114. Even the Estonian Philharmonic Chamber
Choir’s recording reveals several errant consonant placements in this movement. Therefore,
Ibid. 12
90

removing the dot and placing the consonant on the beat for figures such as these is the
recommended course of action to maximize the unity of the diction throughout this movement.
91

IX. MONTH AFTER MONTH
The final movement begins after a lengthy double fermata over a rest in the final bar of the
previous movement. The sopranos must enter on a B flat, after hearing harmonic C sharp from
the cellos at the end of the eighth movement. Either the sopranos need to make the augmented
second, or they could use a standard A440 tuning fork and go up a half step. Both are workable,
and, importantly, silent solutions.
The mezzo soprano solo in mm. 21-32 function similarly to a recitative in terms of the
conducting, except that the part of the orchestra is being played by the choir, which is humming
an ever-increasingly dense cluster chord. Numerous fermatas should be negotiated carefully with
the soloist so that the addition of a new note in the choir is aligned properly with the soloist. In
this section, sopranos, altos, and tenors must be split into four parts each, and the basses three
parts. The balance of each part must be carefully considered when assigning these splits.
Additionally, the choir must be instructed to stagger breathe throughout this section as well as in
the second long cluster chord, which begins in m. 79.
There are several bars of 5/4 and 6/4, which again require the conductor to think about
groupings. These are obvious through either the choral phrasing or the string note values.
Be mindful of the potential pitfall of the diphthong in the word “day,” which appears
numerous times in repetitions of the last line of poetry: “and this my soul is day.” And finally, the
double fermata should be thought of as part of the music, and should be given special attention as
the culminating thousandth measure of the work.
92

CONCLUSION
SUMMARY
Choral-orchestral masterworks serve an important role in university, community, and
professional choirs across the United States and Europe. Although conductors and ensembles are
experienced with the literature of the western classical canon, newer masterworks by composers
in eastern Europe often receive less attention. The cultural importance of choral music in Estonia
is well-recognized, but many choirs are only scratching the surface by performing choral octavos
by the country’s most famous composer, Arvo Pärt. The deep pool of Estonian talent and
musical repertory available to conductors wishing to program interesting and challenging
masterworks deserves consideration.
This dissertation provided a biography of Tõnu Kõrvits and a summary of the ecological
and cultural significance of the moors, which comprise the subject material of Emily Brontë’s
poetry and Kõrvits’s choral-orchestral masterwork Moorland Elegies. Important compositional
elements were presented and analyzed, along with suggestions for conductors preparing the work
for performance.
With its poetic and musical beauty, Moorland Elegies is a seminal work in Kõrvits’s oeuvre.
The compositional elements that bring it to life define Kõrvtis’s approach to music and provide a
mystical starting point for the trilogy of large choral-orchestral works that demarcate nearly a
decade of work. With its many merits, Moorland Elegies merits study and programming by capable
choirs and orchestras. It is this author’s hope that the ideas and suggestions put forth in this
analysis and conductor’s guide will lower the barrier to performance.
93

FUTURE RESEARCH
As equally substantial contributions to choral-orchestral music, the second and third
works in the trilogy begun by Moorland Elegies both deserve research in order to increase their
recognition in the world of classical music outside of Estonia. But, like this dissertation, such
studies would focus on individual works by Tõnu Kõrvits.
Research on the composer himself, including his teachers and musical influences would
reveal additional insight into his unique compositional style, which powerfully combines elements
of modal, tonal, and post-tonal idioms. It is likely that Kõrvits’s upbringing during the waning
days of the Soviet Union and the immense societal upheaval that occurred with Estonia’s
renewed independence in 1991 were pivotal events that influenced his outlook and musical
contributions. These cultural conditions may take on new context and importance given the
ongoing Russo-Ukrainian War and its ongoing effects in Europe generally and Estonia
particularly, and would provide a fascinating line of inquiry for future studies.
94

BIBLIOGRAPHY
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Musical Quarterly 18, no. 4 (October 1932): 634–45. https://doi.org/https://www.jstor.org/
stable/738944.
Arujärv, Evi. “Moorland Elegies.” Liner notes for Moorland Elegies, by Tõnu Kõrvits, Estonian
Philharmonic Chamber Choir, Tallinn Chamber Orchestra, Risto Joost. Ondine ODE
1306-2, 2015, compact disc.
Arujärv, Evi. “See Hämarus, See Eluiha.” Sirp, November 6, 2015. https://www.sirp.ee/s1-
artiklid/c5-muusika/see-hamarus-see-eluiha/.
Baumann, Shyon. “A General Theory of Artistic Legitimation: How Art Worlds Are like Social
Movements.” Poetics 35, no. 1 (2007): 47–65.
“Bogs and Mires in Estonia.” Visitestonia.com, November 22, 2022. https://
www.visitestonia.com/en/why-estonia/taste-of-northern-mystery-in-estonian-mires.
Bourdieu, Pierre. The Field of Cultural Production: Essays on Art and Literature. Cambridge:
Columbia University Press, 1993.
Brontë, Emily, Clement King Shorter, and W. Robertson Nicoll. The Complete Works of Emily
Brontë. London: Hodder and Stoughton, 1910.
Egoz, Shelley. “Landscape and Identity: Beyond a Geography of One Place.” The Routledge
Companion to Landscape Studies, 2013, 290–303.
“Haapsalu Valgete Ööde Festival. Triloogiapilet.” Haapsalu Valgete Ööde festival.
TRILOOGIAPILET. Accessed December 14, 2023. https://concert.ee/festival/haapsaluvalgete-oode-festival-triloogiapilet/.
Hasselblatt, Cornelius. “Ultima Thule—Liegt Die Lösung in Estland?” Osteuropa 35, no. 3.
1985: 153-157.
“Haworth Moor.” Bradford. Accessed December 3, 2023. https://www.visitbradford.com/
things-to-do/haworth-moor-p1623471.
Hiienurm, Stefan. Viru Bog, aerial photo. Image. https://commons.wikimedia.org/wiki/
File:Viru_Raba_Aerofoto.jpg. Creative Commons License (CC BY-ND 4.0). https://
creativecommons.org/licenses/by-nd/4.0/.
“Information Materials.” Kaitsealad. Accessed December 3, 2023. https://kaitsealad.ee/en/
protected-areas/lahemaa-national-park/about-protected-area/information-materials-0.
95

Järvekülg, Madis. “From Institutionally Embedded ‘Serious’ to Individualized ‘Popular’: A
Report on Values and Attitudes in Estonian Music Criticism.” Journal of Baltic Studies 51,
no. 2 (2020): 223–41.
Joosten, Hans, Franziska Tanneberger, and Asbjørn Moen. Mires and Peatlands of Europe:
Status, Distribution and Conservation. Stuttgart: Schweizerbart Science Publishers, 2017.
Kõrvits, Tõnu. Moorland Elegies. Tallinn, Estonia: Estonian Music Information Centre. 2015.
Kulbok-Lattik, Egge. “Eesti Kultuuripoliitika Ajaloolisest Periodiseerimisest.” Acta Historica
Tallinnensia 12, no. 1 (2008): 120–44.
Lagerspetz, Mikko, and Margaret Tali. “Country Profile: Estonia.” Compendium of Cultural
Policies and Trends in Europe, 15th, 1−50. Strasbourg; Cologne: Council of Europe, 2014.
Lopinto, Mike. “USM Southern Chorale and Southern Mississippi Symphony Orchestra Present
Music of the Night April 30.” USM Southern Chorale and Southern Mississippi Symphony
Orchestra Present Music of the Night April 30 | The University of Southern Mississippi,
April 18, 2019. https://www.usm.edu/news/2019/release/usm-southern-chorale-andsouthern-mississippi-symphony-orchestra-present-music-night-april-3.php.
“Mito Settembremusica. Tõnu Kõrvits. Moorland Elegies.” Estonian Philharmonic Chamber
Choir, September 6, 2017. https://www.epcc.ee/en/concerts/mito-settembremusica-tonukorvits-lageda-laulud/.
Olwig, Kenneth R. “‘This Is Not a Landscape’: Circulating Reference and Land Shaping.”
European Rural Landscapes: Persistence and Change in a Globalising Environment, 2004,
41–65.
“Ondine Release.” Ondine. https://www.ondine.net/index.php?lid=en&cid=2.2&oid=5911.
Paal, Jaanus, and Eerik Leibak. Publication. Estonian Mires: Inventory of Habitats. Tartu,
Estonia: Eestimaa Looduse Fond, 2011.
Pappel, Kristel. “Tõnu Kõrvits’ Songs for the Orchestra.” Liner notes for Hymns to the Nordic
Lights, by Tõnu Kõrvits, Estonian National Symphony Orchestra, Risto Joost. Ondine ODE
1349-2. CD. 2020.
Proulx, Annie. Fen, Bog & Swamp: A Short History of Peatland Destruction and Its Role in the
Climate Crisis. New York: Scribner, 2023.
Pungas-Kohv, Piret, and Ene-Reet Soovik. “Mire Landscapes in Estonian Fiction and Identity.”
Landscape Research 44, no. 3 (December 2019): 292–302.
Rakfeldt, Jaak. “Home Environments, Memories, and Life Stories: Preservation of Estonian
National Identity.” Journal of Baltic Studies, 2015, 1–32.
96

Reinelt, Janelle. “National Signs: Estonian Identity in Performance.” Sign Systems Studies 33,
no. 2 (2005): 369–78.
“Tõnu Kõrvits.” Eesti Muusika Infokeskus. 2016. https://www.emic.ee/?sisu=heliloojad.
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Premiere of ‘The Voice of the Wings’ Takes Place This Week.” The Baltic Times. May 25,
2022. https://www.baltictimes.com/
the_trilogy__which_began_with_t_nu_k_rvits___moorland_elegies__gets_its_final_part__the
_premiere_of__the_voice_of_the_wings__takes_place_this_week/.
“The University of Southern Mississippi Southern Chorale The University of Southern
Mississippi Symphony Orchestra The Voorhees Choir at Rutgers University.”
Carnegiehall.org. Accessed October 14, 2023. https://www.carnegiehall.org/calendar/
2019/04/23/the-university-of-southern-mississippi-southern-chorale-the-university-ofsouthern-mississippi-sy-0800pm.
97

APPENDIX A: CATALOG OF MAJOR WORKS FOR CHOIR
Selected list includes multi-movement works, works ten minutes or longer, and works with
significant performing forces, listed in reverse chronological order. A complete catalog of Tõnu
Kõrvits’s compositions is found at the Estonian Music Information Center.
Title Year Performing Forces Length
Tiibade hääl 2022 Mezzo-soprano, viola, mixed choir, string orchestra 53’
Sunday Wish 2020/2022 Soprano, female choir, string choir 4’
Skysongs 2021 High voices, mixed choir 12’
St. Michael Songs 2021 Mixed choir 25’
Tota pulchra es, amica mea 2020 Mixed choir, symphony orchestra, strings 12’
Triptych of the Moon 2020 Male choir 12’
Sei la luce e il mattino 2019 Mixed choir, symphony orchestra 60’
Ta kõneleb vaikselt 2019 Mixed choir, symphony orchestra 5’
Songs from Dolores’s Songbook 2016 Male choir 21’
Moorland Elegies 2015 Mixed choir, string orchestra 55’
By the Rivers of Babylon 2014 Mixed choir, string orchestra 10’
Canticle of the Sun 2014 Mixed choir 30’
Stabat Mater 2014 Mixed choir 11’
Seven Dreams of Seven Birds 2009/2012 Cello, mixed choir, string orchestra 25’
Baltic Elegies 2010 Mixed choir, bassoon 22’
Song of Song of Songs 2010 Female choir 15’
Hymns from the Western Coast 2009 Mixed choir, saxophone quartet 25’
Three Songs from Iceland 2008 Mixed choir 12’
Kreek’s Notebook 2007 Mixed choir, string orchestra 30’
98

APPENDIX B: TEXT & TRANSLATION
The text of Moorland Elegies is presented in the format found in the score and liner notes, which
differs from the published poems by Emily Brontë. Estonian translation by Doris Kareva.1
1
Come, walk with me, There’s only thee
To bless my spirit now -
We used to love on winter nights
To wander through the snow;
Can we not woo back old delights?
The clouds rush dark and wild
They fleck with shade our mountain heights
The same as long ago
And on the horizon rest at last
In looming masses piled;
While moonbeams flash and fly so fast
We scarce can say they smiled -
Come walk with me, come walk with me;
And we are left the only two;
So closer would my feelings twine
Because they have no stay but thine…
2
Come, the wind may never again
Blow as now it blows for us;
And the stars may never again shine as now
they shine;
Long before October returns,
Seas of blood will have parted us;
And you must crush the love in your heart,
And I the love in mine!
1
Koos kõndigem, sest seltsis samm
on palsam hingele -
küll tundus lust, kui talveööl
viis läbi lume tee;
kui läheks sumpaks nüüdki veel?
rünkpilvi tumedaid
mäeharju varjutamas sääl
just nagu vanasti -
nad kogunevad, kohuvad,
sünkraske mass Saab neid;
kuukiir kuid mööda vilgatab
kui naeruvirve vaid…
Koos kõndigem, koos kõndigem,
vaid meie kaks sel teel -
nii hellalt hoiab sind mu meel,
sest ainus sa, kes alles veel…
2
Tule, ehk ealeski enam tuul
meile nõnda ei puhu kui nüüd;
tähed särada iial nii selgelt ei pruugi kui
praegu;
juba enne kui naaseb oktoober,
veremeri meid lahku Veab;
armu purustama sa pead oma südames
ning mina enese omas!
Tõnu Kõrvits, Moorland Elegies. 1
99

3
The night is darkening round me,
The wild winds coldly blow;
But a tyrant spell has bound me,
And I cannot, cannot go.
The giant trees are bending
Their bare boughs weighed with snow;
The storm is fast descending,
And yet I cannot go.
Clouds beyond clouds above me,
Wastes beyond wastes below;
But nothing drear can move me;
I will not, cannot go.
4
Fall, leaves, fall; die, flowers, away;
Lengthen night and shorten day;
Every leaf speaks bliss to me
Fluttering from the autumn tree.
I shall smile when wreaths of snow
Blossom where the rose should grow;
I shall sing when night’s decay
Ushers in a drearier day.
5
She dried her tears and they did smile
To see her cheeks’ returning glow
How little dreaming all the while
That full heart throbbed to overflow
With that sweet look and lively tone
And bright eye shining all the day
They could not guess at midnight lone
How she would weep the time away.
3
Öö pimeneb mu ümber,
tuul lõõtsub jäisena;
karm loits ent Peab mind kütkes,
ei lahkuda siit saa.
Hiidpuude raagus oksil
lund nõtkub raskena;
torm laskumas on uba,
ei ikka minna saa.
Pilv pilvis on mu üle,
all ahtrast ahtram maa;
sünk luum ent Peab mind paigal;
ei liigu siit, ei saa.
4
Lange, leht, ja närtsi, lill,
kasva, öö, ja kärbu, päev,
õnnis sõnum iga leht,
sügispuust mis lendu läeb.
Naeratan, kui lumepärg
õitseb rooside alleel,
laulan, kui toob kõduöö
päeva, kõledam mis veel.
5
Ta pühkis silmad, nägid kõik,
kuis taastus jume põskedes
õrnleebe, Samal Ajal kui
ta tormlev süda üle kees.
Nii sulnis ilme, elav jutt,
silm säras lahkelt õtusse.
Ei aimand keegi, juis keskööl
ta nuttis end ilmtühjusse.
100

6
’Tis moonlight, summer moonlight,
All soft and still and fair;
The solemn hour of midnight
Breathes sweet thoughts everywhere
But most where trees are sending
Their breezy boughs on high,
Or stooping low are lending
A shelter from the sky.
And there in those wild bowers
A lovely form is laid;
Green grass and dew-steeped flowers
Wave gently round her head.
7
The sun has set, and the long grass now
Waves dreamily in the evening wind;
And the wild bird has flown from that old
gray stone
In some warm nook a couch to find.
In all the lonely landscape round
I see no light and hear no sound,
Except the wind that far away
Come sighing o’er the healthy sea.
8
The starry night shall tidings bring;
Go out upon the breezy moor,
Watch for a bird with sable wing,
And beak and talons dropping gore.
Look not around, look not beneath,
But mutely trace its airy way,
Mark where it lights upon the heath;
Then, wanderer, kneel thee down, and pray.
What fortune may await thee there,
I will not, and I dare not tell;
But Heaven is moved by fervent prayer,
And God is mercy fare thee well!
6
Kuuvalgus suveöine,
nii mahe, võluvaik.
Öö hingab pühalikkust,
õrn mõttes iga paik.
Kuid eriti puuladvus,
kus oksad lendlevad,
või kummardudes taeva
eest varjamas on maad.
Just seal, metslehtlas haljas
on neidis puhkel maas,
hein, kastevärsked lilled
pea ümber hällimas.
7
Päev loojunud, vaid kõrge hein
on õhtutuules lainlemas
ning vanalt hallilt kivilt lind
paopaika sooja lennand taas.
Ses üksildases maastikus
ei ühtki tuld, ei ühtki häält,
tuul üksi uitab kauguses,
ta ohkeid kandub mere päält.
8
See selge öö Toob sõnemeid;
samm nõmmelagedale sea
ja valmistu - mõõktiibne lind,
nokk, küünis verel, ilmub pea.
Ei mingit ringivahtimist;
pea pilk ta lennul sõnata -
kui juhtub riivama ta maad,
siis rändur, palves põlvita.
Mis õnn võib oodata sind sääl,
ei ütle ega söandagi;
kuid palve kirg on taevatee
ja Jumal arm on alati!
101

9
Month after month, year after year
My harp has poured a dreary strain -
At length a livelier note shall cheer
And pleasure tune its chords again
What thought the stars and fair moonlight
Are quenched in morning dull and grey
They were but tokens of the night
And this my soul is day.
9
Kust kusse, aastast aastasse
mu harf vaid kaebeid vallandas -
ent lõpuks elav rõõmunoot,
lust teda häälestamas taas.
Miks arvasin, et tähed, kuu
võib võtta hommiku hall vaev?
Öö märgid olid nemad vaid -
ja minu hing on päev!
102

APPENDIX C: PIANO REDUCTION
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Moorland Elegies / Lageda laulud
Tõnu Kõrvits
Selected poems by Emily Brontë / Emily Brontë sõnadele
I - 1

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œ œ
œ œ bœœ

V
?
&
?
T
B
33
b˙ œ
used to
b˙ œ
used to
33
Œ
bœ œ
œ
œ
œ
#œbœ œ œ
œ
b˙ bœ love on
b˙ bœ
love on
˙˙
˙ # œœ bœœ
œ
bœ
bœ#œ œ
œ
b œ
bœ ˙ win - ter
bœ ˙
win - ter
œœ
œœ ˙˙
˙˙ N ˙
œ
bœ
œ
œ
bœ œ
#˙ œ nights to
#˙ œ
nights to
.
.
.
.
.
˙˙
˙˙
˙
˙ #
˙˙
˙
˙ Nb œ
nœ b˙
wan - der
nœ b˙
wan - der
Œ œœ
œ
#b œ
œ
œ
bNœœ œ
p
˙ bœ
through the
˙ bœ
through the
Œ b#œ
œœ œ
œ
œ
œ
bœ œ
˙.
snow;
˙.
snow;
#œœ œ
œœ b œ
œ
œbœ bœ œ
&
&
V
?
&
?
S
A
T
B
40
Œ Œ œ
can
Œ Œ œ
can
∑
∑
40
#œœ ‰ j
œ
#œ
bœ
œ
œ J
œ J
œ
œb œ œnœ 3
3
œ Œ œ
we not
#œ Œ bœ
we not
∑
∑
œ
œ bœ#œ œ
œ œ Œ ‰ J
œ
bœ Œ œ œ
woo back
bœ Œ œ
woo back
∑
∑
œ
bœ
b
bœ
bœ œ
bœ
œ Œ œ œ
œ
˙ nœ
old de -
˙ bœ
old de -
∑
∑
˙
b˙
b
œ #œ
bœ
bœ œ œ
Œ
œ. j
œ bœ œ
lights, come, walk with
bœ. j
bœ bœ œ
lights, come, walk with
∑
∑
œ
œ œ
œ
#œ bœ œ
œ œ bœ Œ
b˙ Œ
me,
b˙
Œ
me,
˙ Œ
me,
˙ Œ
me,
Œ œ
œ
œ
b
b œ
œn bœ œ
œn
œ
œ
œ
œ bœ
cresc.

&
&
V
?
&
?
S
A
T
B
46
˙ Œ
come,
b˙ Œ
come,
˙ Œ
come,
˙ Œ
come,
46
Œ œ
œ
#œ
b œ
œn œ
bœ
b œ
œn
œ
œ
œ
œ
N
œ
cresc.
cresc.
cresc.
cresc.
˙ œ
walk with
˙ œ
walk with
˙ œ
walk with
˙ œ
walk with
œ œbœ œ
#œ
.
.
.
˙
˙
b˙
N
b
#˙.
me,
#˙.
me,
#˙.
me,
#˙.
me,
œ œ
œ# œ
œ œœ
œ
œ# bœ œbœ œ
3
œ
œ
#œ bœ œ bœ #œ
∑
∑
∑
Œ Œ œ
the
œ
œ œ
#œ
œ
bœ
œ
bœ œ
œ
bœ
b œ œ œ
f
f
Œ bœ œ
the clouds
Œ œ #œ
the clouds
∑
˙ œ
clouds rush
œ
#œ
# œ
bœ œ
œ
œ
œ
œ
œ
œ
bœnœ
f
f
Œ #œ bœ
rush dark
Œ #œ bœ
rush dark
∑
˙ œ
dark and
œ
bœ
b œ
bœ
#œ œ
#œ
œ
bœ œ œ
œ
b œ
œ œ œ
&
&
V
?
&
?
S
A
T
B
52
Œ #œ bœ
and wild
Œ œ nœ
and wild
Œ Œ œ
they
˙ œ
wild they
52 œ
œ œ
œ
#œ œ
œ
bœ
œ
œ œ
bœ
œ œ
f
∑
∑
œ Œ nœ
fleck with
œ
œ
b
b Œ œ
œ
fleck with
œ
#œ
œ œ
œ
œœ b
bb œ
œ
œ
b
b bœ bœ
Œ ˙
shade
Œ ˙
shade
˙ œ
shade our
˙
˙
n
n œ
shade our
œ
œ
#œ
œ
#œ œ
bœ
b
œ
œ
œ œ œ
œ ˙
our
œ ˙
our
˙
˙# bœ
moun - tain
˙
˙ œ
œ
moun - tain
Œ
œ
œ
b
œbœ œ
œ
b
# œ
œ
œbœ
œ
bœ œ
œ ˙
heights
œ ˙
heights
˙ œ
heights the
˙
n˙ œ
heights the
#œœ œ
œ œ
#œ
œ ˙
p
p
Œ Œ œ
the
Œ Œ bœ
the
J
bœ œ œ J
bœ
same as
J
œ bœ œ J
bœ
same as
j
œ
œb œ j
œ œ
˙
˙
b
b œ
bœ
dim.
dim.
dim.
dim.
dim.

&
&
V
?
&
?
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
S
A
T
B
58
J
bœ œ œ J
bœ
same as
j
œ #œ bœ j
œ
same as
˙ bœ
long a -
˙ bœ
long a -
58 b˙
œ œ
œ
œ
œ
b
b
bœ œ œ
œ
œ
b˙ œ
long a -
b˙ œ long a -
˙.
go
˙.
go
b˙.
œ
œ
œ
œ
b œ
œ
œ
œ œ
œ
œ
œ
b˙.
go
b˙.
go
˙.
˙.
œ
œbœ
b bœ bœœ œ œ
œ œ œ œ œ œ œ
3
œ bœ œ œ
long a -
œ bœ œ œ
long a -
w
w
ww
ww b
b
j
œ
ww
ww b
b
b˙.
go
b˙.
go
˙.
˙.
˙
˙
b
b œ
œ
œ œ
bœ bœ œ
p
p
p
p
p
&
&
V
?
&
?
S
A
T
B
63
˙.
˙.
˙.
˙.
63 œ
bœ#œ œ œbœ
œ
bœ
bœ œ œ
œ
œ Œ Œ
œ Œ
œ
and
œ Œ Œ
œ Œ Œ
.
.
.
.
˙
˙
˙
˙
b
b
˙b˙ œ
∑
œ. j
œ œ on the ho -
∑
∑
˙
˙
˙
˙ œ
œ
œ
# bœ œ
∑
bœ ˙ ri - zon
∑
∑
bœNœ œ
œ
œ
œ
b
œ
œb œ œ
∑
b˙ œ
rest at
∑
∑
.
.
.
.
˙
˙
˙
˙
˙ œ
œ
∑
˙ œ last in
∑
∑
Œ œ œ
˙
b˙ bœ
∑
œ. œ. loo - ming
∑
∑
œ #œ œ
œ
œ
œ œ
œ
#

&
&
V
?
&
?
S
A
T
B
70
Œ Œ œ
while
#œ b˙
mas - ses
∑
∑
70 œ
#œœ œ
œ
œ
# œ
œ
b
b œ
.
.
˙
˙
œ. j #œ bœ
moon - beams
˙.
piled;
∑
∑
˙
˙
N œ
˙
b˙ œ bœ
bœ Œ œ
flash and
∑
∑
∑
œœ
œ
# bœ œ œ
.
.
˙
˙
b
b
˙ bœ
fly so
∑
∑
∑
˙.
œœ
œ
œ
bb
œ œ
˙.
fast?,
∑
Œ Œ bœ
we
Œ Œ œ
we
Œ œ
œb bœ
œ
œ
˙˙
˙ bb
∑
∑
˙ bœ
scarce can
˙ bœ
scarce can
Œ .
.
. œœ bœœ j
œ
œœ
œœ
œ œœ bœœ œ
œœ
œ
cresc.
cresc.
cresc.
&
&
V
?
&
?
S
A
T
B
76
∑
∑
˙ œ
say they
b˙ œ
say they
76
˙
˙˙
˙˙ b
b œ
œœ
œœ b
œœ bœœ
bœ
œœ
œ b
∑
∑
˙.
smiled,
˙.
smiled,
.
.
.
.
.
.
œœ
œœ
œœ
œœ b
b
bb .
.
.
.
.
œœ
œœ
œœ #œœ
b
n .
.
.
.
.
.
œœ
œœ
œœ nbœœ .
.
.
.
.
œœ
œœ
œœ nœœ
#
n˙.
molto
bœ
>
Œ Œ
come
œ
>
Œ Œ
come
#œ
>
Œ Œ
come
œ
>
Œ Œ
come
œ
#œ
œœ
b
b
>
Œ Œ œ
œœ
œ #
>
∑
f
f
f
f
f
œ Œ bœ
walk with
#œ Œ bœ walk with
œ Œ œ
walk with
bœ Œ œ
walk with
∑
∑
sub.π
sub.π
sub.π
sub.π
˙.
me,
˙.
me,
b˙.
me,
b˙.
me,
Œ œ œ
.
.
˙
˙
b
b
π
Œ bœ #œ œ 3
come walk with
b˙.
˙.
˙.
b˙.
˙
˙ œ œ

&
&
V
?
&
?
S
A
T
B
82
b˙.
me
b˙.
me
œ bœ. J
nœ
come walk with
˙.
me
82
. bœ
œ. j
œ œ
œ
bœ
œ Œ bœ œ
#œ Œ Œ
#œ Œ Œ
bœ Œ Œ
me
œ
œ Œ Œ
œ bœ#œ œ
œœ
œ
œ
œ
œ
bœ œ
œ Œ œ
walk with
œ Œ œ
walk with
bœ Œ œ
walk with
bœ Œ œ
walk with
#œ
bœ ‰ j
œ œ
œ
œ
œ
œ
b
b
œ
œ bœ
˙ œ
me and
˙ œ
me and
˙ Œ
me
˙ Œ
me
˙ œ
œ
œ œbœ œ
œ
˙ œ
we are
˙ bœ
we are
Œ ˙
we
Œ J
œ bœ J
œ
we are
œ
œ œ œ œ œ
œ
œ œ. J
œ
p
p
p
p
p
bœ. œ. œ. bœ.
left the
bœ. œ. #œ. bœ.
left the
œ J
œ bœ j
œ
left
˙ Œ
.
.
œ
bœ
b
j
œ #œ œ
œ
bœ
bœ œ
œ Œ
&
&
V
?
&
?
S
A
T
B
88
˙ bœ
on - ly
˙ bœ
on - ly
b˙ œ
on - ly
˙
˙
b
b œ
œ
on - ly
88 œ
#œœ
b
b œ œ œ œ œ œ
3
˙.
bœ Œ Œ
˙.
two;
˙ œ
two; come
b˙.
two;
.
. ˙
˙
two;
œ
œœ
bœ œ Œ
.
.
œ
œ
J
bœ œ
∑
œ. j
œ œ walk with me
∑
∑
œ
œ
bœ œbœ
˙.
œ Œ Œ
∑
˙.
∑
∑
œ
œ
œ
b œbœ œ
œ
3
˙.
œ Œ Œ
∑
∑
∑
∑
œ bœ
œ
bœ
b
#œ œ
œ
b œ
œ
bœ
b bœ
b˙˙
∑
∑
Œ Œ œ
so
Œ Œ œ
so
œ
œ
bœ œ œ
œ
# bœ œ
bœ œ
˙ N˙ œ

&
&
V
?
&
?
S
A
T
B
94
∑
∑
bœ ˙
clo - ser
bœ ˙
clo - ser
94
bœ
˙
œ
˙
∑
∑
b˙ bœ
would my
b˙ bœ
would my
b˙˙ œ
œœ b
˙
˙
˙
b
b
bœ
∑
∑
œ #˙
fee - lings
œ #˙
fee - lings
œœ
œœ ˙˙
˙˙ # ˙
œbœ #˙
Œ Œ œ
be -
Œ Œ œ
be -
˙.
twine,
˙.
twine,
.
.
.
.
.
˙˙
˙˙
˙
˙
˙ N˙ œ
b˙ œ
cause they
b˙ œ cause they
∑
∑
Œ œœ
œ
#b œ
œ
œ
˙
b˙ œ
have no
b˙ œ have no
∑
∑
Œ œœ
œ
#b œ
œ
œ
œ œ
œ œ
b˙ œ
stay but
b˙ œ stay but
∑
∑
Œ œ b#œ
œœ œœ
.
.
˙
˙
b
b
&
&
V
?
&
?
S
A
T
B
101
˙.
thine...
#˙.
thine...
∑
∑
101
œ œ
œ# œ
œ œœ
œ
œ# bœ œ bœ œ
3
œ
œ #œ bœ œ bœ #œ
˙.
˙.
∑
∑
œ
œ œ
#œ
œ
œ
bœ œ
œ
bœ
b œ œ œ
f
f
f
˙ œ
no
˙ #œ
no
∑
∑
œ
#œ
# œ
bœ œ
œ
œ
œ œ
œ
œ
bœnœ
˙ œ
stay but
#˙ œ
stay but
∑
∑
œ
bœ
b œ
bœ
œ
œ
# œ
œ A# œ
bœ œ œ
œ
b œ œ œ
˙.
thine...
˙.
thine...
Œ Œ œ
come
Œ Œ œ
come
œ
œ œ
œ
#œ œ
œ
bœ
œ œ œ
bœ
œ œ
f
f

&
&
V
?
&
?
S
A
T
B
106
∑
∑
œ Œ nœ
walk with
œ
œ
b
b Œ œ
œ
walk with
106
œ
œ
#œ
#
œ œ
œ
œ
b
b œ
œ
œ
b
b bœ
œ
œ
N
Œ ˙
come,
Œ ˙
come,
˙ œ
me, there's
˙
n˙ œ
me, there's
œ#œ
œ
#œ œ
œ
b
bœœ
3
˙
˙ œ œ
œ ˙
come,
œ ˙
come,
˙
˙# bœ
on - ly
˙
˙ œ
œ
on - ly
Œ
bœ
œbœ Aœ
œbœ
3
# œ œ
œbœ
œ
bœ œ
œ ˙
come
œ ˙
come
˙ œ
thee to
˙
n˙ œ
thee to
#œœ œ
œ
œ œ
#œ
œ ˙
∑
∑
J
bœ œ œ J
bœ
bless my
J
œ bœ œ J
bœ
bless my
j
œ
œb œ j
œ
bœ
˙
˙
b
b œ
bœ
dim.
dim.
dim.
Œ Œ œ
the
Œ Œ bœ
the
œ œ bœ
spi - rit
œ œ bœ
spi - rit
˙
˙
b
b œ
œ
œ
œ
b
b
bœ œ œ
œ
œ
dim.
dim.
&
&
V
?
&
?
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
S
A
T
B
112
J
bœ œ œ J
bœ
same as
j
œ #œ bœ j
œ
same as
˙.
now,
˙.
now,
112
J
œ
œ
b
#œ j
bœ
œ
œ
œ
œ
bœœ œ
bœ
œ
œ
b˙ œ
long a -
b˙ œ long a -
˙.
˙.
b˙ œ
œ
œ
œ
œ
b œ
œ
œ
œ œ
œ
œ
œ
b
b˙.
go
b˙.
go
˙.
˙.
œ
œ
b bœbœœ œ œ
œ
œ
b œ œ œ
œ
œ
œ
3
œ bœ œ.
J
œ
come, walkwith
œ bœ œ. j
œ
come,walkwith
w
come.
w
come.
ww bww
j
œ
ww
ww bb
b˙.
me.
b˙.
me.
˙.
˙.
b˙.
˙.
œ Œ Œ
p
p
p
p
p
˙.
˙.
˙.
˙.
œ œ
#œ
˙. bœ Œ Œ
œ Œ Œ
œ Œ Œ
œ Œ Œ
œ Œ Œ
Œ
Nœ œ
˙ œbœ bœ Œ Œ

&
?
119
œ #œ #œ
˙.
œ Œ Œ
˙ œ œ b ˙
œ œ
Nœ bœ 3
#œœ bœ œœ œ œœ bœ
œ œ œ œ Œ Œ
Œ œ œ
œ
œ
b
b œ œ œ œ
3
&
?
123
œ #œ
œ
œ œ œ
œ bœ#œ œ œ
œ
œ œ œ
œ
bœ œ œ
bœ
bœœ œ
œ œ
œ
œ N# œ #œ
˙
˙
b
b œ œ
œ
œ
b œ
œ
#œbœ œ
˙
˙
˙
b œ
œœ #œ œ
œ
b
b
˙
˙
˙
b œbœ
Œ .
.
. œœ bœœ j
œ
œœ
œœ
œ
œœ bœœ
œ
œ
œœ
poco
&
?
130
˙˙ b˙˙ œœ bœœ
j bœ
œœ
œœ b
bœ
j
œ
œœ
œœ
˙.
œ œ #œ
j
œ
œb œ j
œ
bœ
˙
˙
b
b œ bœ dim.
b˙ œ
œ
œ
œ
b
b
bœ œ œ
œ
œ
J
œ
œ
b
#œ j
bœ
œ
œ
œ
œ
bœ œ œ
bœ
œ
œ
b˙ œ
œ
œ
œ
œ
b œ
œ
œ
œ œ
œ
œ
œ
b
&
?
4
4
4
4
4
3
4
3
136
œ
œ
b bœ œ œ œ
œ
œ
b œ œ
œ
b œ œ
œ
œ
3
ww bww
j
œ
ww
ww bb
œ
œ
œ #œ#œ œ œ
œ ˙
π
.
.
.
˙
#˙˙
œ ˙˙ Œ # œ
. Œ
˙
˙
# œ
bœ
b
˙˙ Œ
œ
œ
bœ#œ œ œ
.
.
. ˙˙
˙ b
b
&
?
4
4
4
4
4
3
4
3
142 Ó
œ
Nœ
b
˙. b
.
.
. ˙˙
˙
œ
œ
œ b˙
œ
Œ Œ
bw
∑
poco rall.
˙˙ b˙˙ œ
œ
˙˙
˙˙ b œ
œ
poco meno mosso
ppp
œœ Nœœ œ
œb œ
œ
œœ
œœ b
Œ Œ
œ
œ œ Œ
Œ
b˙˙
∑
. ˙˙.
U .
.
˙
N˙
b
œœ
ŒŒ
U
pppp
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58
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T
B
63
‰ #œ #œ #œ #œ œ J
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3
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3
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63
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S
A
T
B
66
∑
∑
#œ #œ œ #œ œ j
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shine as now they shine,
66
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the wind
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ne-ver a-gain, ne-ver a-gain,
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A
T
B
√
√ √
69
#œ ‰ ‰ j
#œ J
nœ #œ #œ 3
3
gain, the wind blows
#œ #œ œ nœ #œ œ œ œ œ œ
3 3 3
blows ne - ver a - gain, ne - ver a -
nœ #œ #œ #œ #œ #œ ‰ œ œ œ
3
3 3
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gain the wind blows and the
69
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3
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S
A
T
B
√
71
‰ #œ œ #œ j
#œ J
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3
3
3
and the stars may ne-ver, ne-ver a -
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shine and the stars may
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now shine as now they
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shine as now they shine,
71
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4
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4
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S
A
75
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75
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A
T
B
√ √
81
∑
∑
#œ j
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nœ #œ j
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3
Long be-fore Oc -
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3
Long be-fore Oc -
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seas of blood will have par-ted
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3 3
seas of blood will have par-ted
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4
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S
A
(√)
86
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4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
92
#œ #œ #œ #œ
And the stars
#œ #œ #œ #œ
And the stars
‰ #œ #œ #œ #œ œ J
œ #œ 3
3
And the stars may ne-ver,
‰ #œ #œ #œ #œ œ J
œ #œ
3
3
And the stars may ne-ver,
92
‰
##œœ##œœ œ
œ #œœ ‰##œœ##œœ#œœ 3 #œœ
3
œ
œ
#
# œ œ œ
œ
# #œ œ
œ
#
# œ œ
œ œ
œ
œ 3
3
F
F
F
F
F
#˙
may
#˙
may
#œ #œ #œ #œ
3
ne - ver a-gain
#œ #œ #œ #œ 3
ne - ver a-gain
‰
œ
œ
#
#
#œ #œœ J
œ
œ
#
#
3
3
œ
œ
#œ
#
# ##œœ œ
œ
œ#œ
3
#œ #œ #œ #œ Œ
3 ne-ver a-gain
#œ #œ #œ œ Œ
3
ne-ver a-gain
∑
∑
‰ œ
œ
#
# ##œœ
j
œ
œ
#
# œ
œœ
œ
# œœ
œœ # œ
œœ
œ
3
3 3
Œ ˙˙
˙
##

&
&
V
?
&
?
4
4
4
4
4
4
4
4
4
4
4
4
4
1
4
1
4
1
4
1
4
1
4
1
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
95
J
nœ #œ nœ #œ #œ j
#œ œ 3
3
shine as now they shine,
J
#œ #œ œ #œ #œ j
#œ œ 3
3
shine as now they shine,
J
#œ #œ nœ #œ #œ j
#œ #œ 3
3
shine as now they shine,
J
œ #œ #œ œ #œ J
#œ œ 3
3
shine as now they shine,
95
‰ œ
œ
#
#
>#œ #œ
‰ œ
œ
#
# ‰ œ#œ
#œœ œ
œ œœ
3
3
3
‰ œ
œ
#
# œ
œ œ
œ
#
œ
œ
œ
#
# œ
œ
#
# œœ
œ # œœ
# œ œ
œ œ 3
3
Œ
Œ
Œ
Œ
‰
œ
œœ
# œ
#
##
3
œ
œ
#œ
#
# œ
œ
#
# œ
œ
#
3
∑
∑
∑
∑
J
œ
œœ
# œ
#
##
>
œ
œ## j
œ
œ œœ
œ
œ #
## œœ
œ
œ œ
œœ
œ
#
> œœ #œœ
> œ
œœ 3 >
3 3
‰
#œœ œœ J
œ
œœ
œ ##
>
‰
#œœ
>
#œ
>#œœ
>
3 3
&
&
V
?
&
?
S
A
T
B
√
√ √
98
#˙. œ
stars may
˙. œ stars may
#˙. œ stars may
#˙. œ
stars may
98
‰ .
.
œ
#œ
# .
.
.
.
œ
œ
œœ #
#
## ‰
Ó .
.
.
. œœ
œœ #
## ‰
#w
& ?
p
p
p
p
F
p F
#˙ œ. ‰
shine
#˙ œ. ‰
shine
#˙ œ. ‰
shine
#˙ œ. ‰
shine
‰ .
.
œ
#œ
# .
.
. œœ
œœ #b ‰
Ó .
.
.
.
œ
œœ #œ #N# ‰
w
& ?
sim.
#œ œ œ œ œ 3
ne - ver a - gain as
nœ #œ œ œ œ
3
ne - ver a - gain as
#œ #œ œ œ œ
3
ne - ver a - gain as
#œ #œ œ œ œ
3
ne - ver a - gain as
∑
Œ Œ Œ œ
#œ
# #œ
œ
poco
poco
poco
poco
p
#w
now,
#w
now,
#w
now,
#w
now,
œ
œ
#
# #œ œ
œ
œ
#
#
œ œ œ
#œ
-
#œ
- œ
- œ
-

V
?
&
?
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
2
4
2
4
2
4
2
T
B
102
∑
J
#œ œ j
#œ #˙
ne-ver a - gain.
102
#œ #œ œ #œ œ
- œ œ
#œ
- œ
- œ
- œ
∑
w
#œ œ œ
œ
#
# œ œ
œ
œ
#œ œ œ œ
∑
∑
#œ #œ œ
œ
œ
#
# #œ
#œ œ
nœ. #œ.
Love, love,
∑
bœœ œ
#œ #œ œ
œ
œ
œ
#
# œ
œ œ
œ
π
π
#œ. #œ.
love, love,
∑
œ
œ
#
# #œ œ
œ
#œ œ
œ
œ
œ
#
# #œ œ
œ
#œ œ
œ
&
&
V
&
?
4
2
4
2
4
2
4
2
4
2
8
3
8
3
8
3
8
3
8
3
4
4
4
4
4
4
4
4
4
4
S
A
T
107
∑
∑
#˙
love,
107
œ
œ
#
# œ
œ
œ
œ
#
# œ
œ
∑
∑
œ.
œ
œ## #œ #œ
œ
œ
#
# œ
œ
#
# œ
œ
#
#
poco rall.
poco rall.
∑
∑
#w
love,
œ
œ
#
# #œ œ#œ œ œ
œ
œ
œ
#
#
#œ œ œ
˙ #˙
Love, love,
œ #œ œ #œ
Love, love, love, love,
#˙ #˙
Love, love,
œ #œ œ #œ
Love, love, love, love,
∑
#œ œ œ œ œ
œ
#
#
#œ œ œ œ
π
π
#˙ œ œ j
#œ
3
love and
#˙ œ œ j
#œ
3
love and
∑
#œ œ œ
œ
#
# œ #œ œ
œ
œ #œ
#œ œ œ œ

&
&
V
&
?
S
A
T
112
#œ J
#œ #œ #œ #œ ˙
3
3
you must crush the love
#œ j
#œ #œ œ œ ˙
3 3
you must crush the love
∑
112
#œ œ œ œ
œ
#
# œ
#œ œ œ œ
#œ #œ #œ #œ Œ œ
3
in your heart, in
#œ #œ #œ #œ Œ œ
3
in your heart, in
Ó Œ #œ #œ
and
#œ œ #œ œ
œ
œ
#
# #œ œ
#œ œ œ #œœ #œ
#˙ ˙
your heart.
#˙ ˙
your heart.
#œ #œ#œ œ œ
I the love in
œ
œ
œ
#
# œ
œ
œ
#
# œ
œ
œ# œ
œ œ
œ
#œ œ œ œ
w
w
#w
mine!
œ
œœ #
## œ#œ œ œ œ
#œ œ œ œ
rall.
rall.
&
?
4
2
4
2
8
3
8
3
4
4
4
4
116
###œ
œœ
#œ #œ
Nœ
œ
œœ œ œ
œ
œ
# #œ #œ œ
œ
# œ
#œ
##œœ
#œ##œœ œ
œ
œ
# #œ œ
#œ
# œ#œ
3
#œ
##œœ œ#œ
œ
œ
# #œ #œ
.
.
.
œ
#œœ
#
#
œ
œ
#
#
#œ #œ
œ
#œ œ
œ
#œ
#
# œ
œ
œ##
.
. œ
œ
#
#œœ œ
œ
œ
#
# œœ
œ
#
#
.
. œ
œ
#
#
&
&
&
?
4
4
4
4
4
4
4
4
4
2
4
2
4
2
4
2
8
3
8
3
8
3
8
3
4
4
4
4
4
4
4
4
S
A
122 œ #œ #œ #œ
Si - lent is the
œ œ #œ #œ
Si - lent is the
122
##œœ œ
#œ
#
œ
œ
#
# œ #œ ‰ ‰ J
#œ
3
œ
œ
# œ
#œ
#
œ
œ
#
#
œ
œ
# #œœœ
œ
#œ #œ
3 3
#˙
House,
#˙
House,
œ
œ
œœ #
### j
#œ œ#œœ
3
œ
œ
œ
#
#
#
g
g
g
g
g
g œ
œ
#
# j
œ
3
∑
∑
###œ
œœ
#œ
#œ#œ
œ
œ
# #œ
œ
#œ
#
∑
∑
œ
œ
œœ #
### #œ #œ
œ
œ
#
# #œ œ
∑
∑
##œœ œ
œœ #
## œœ #œ
?
œ
œ
#œ
#
#
#œ #œ

&&??
44444444
83838383
44444444
SA
127
œ
œ
#
œ
#
œ
si
- lent is the
œ
#
œ
#
œ
#
œ
si
- lent is the
127
œœœ
#
#
#
Œ
œœ
#
œ
Œ
œ
#
œ
œ
œ
#
œ
. House. #œ.
House.
#
#
œœ
#
#
œœ
#
œ
#
œ
.
rall.
rall.
∑∑
#
#
œœ
#
#
œœ
#
œ
œ
.
∑∑
j
#
œ
#
w
#
œ
Œ
Ó
UUUU

&
&
&
V
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
4
4
4
4
4
4
4
4
4
4
4
5
4
5
4
5
4
5
4
5
4
4
4
4
4
4
4
4
4
4
Mezzo sopr.
Solo
Soprano
Alto
Tenor
Bass
∑
œ œ œ
Mm
œ œ œ Mm
œ œ œ
Mm
œ œ œ
Mm
q = ca 76
∏
∏
∏
∏
∑
œ œ nœ œ.
J
nœ
œ œ
œ œ
œ .
. œ
œn j
œ
œ
nœ bœ œ
œ . œ
œ. j
œ
œ
œ œbœ œ œ. J
œ
poco
poco
poco
poco
∑
˙ œ#œ œ œ 3
˙ . ˙
˙.
˙ ˙.
˙ ˙.
˙ œ œ
∑
nœnœ˙ œ œ œ
3
œ œ œ œ œ œ
3
œ œ. j
#œ œ. j
œ
œ ˙ ˙
∑
œ œ ˙.
œ nœ ˙.
n˙ œ ˙
˙ ˙.
&
&
&
&
&
V
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Solo
S.
S.
A.
A.
T.
B.
5
Ó Œ œ
The
Ó Œ œ
Mm
Ó Œ œ
Mm
Ó Œ œ
Mm
Ó Œ œ
Mm
w
w
p
π
π
π
π
œ. nœ œ œ œ œ œ 3
night is dark 'ning round
w
œ. nœ œ œ ˙
3
œ. nœ œ ˙ œ 3
w
∑
∑
w
me,
œ. nœ œ œ œ œ 3
night is dark 'ning round
˙ œ. nœ œ
night is
w
w
∑
∑
∑
˙. œ nœ œ
3
me, dark en ing
œ œ œ ˙ 3
dark 'ning round me,
œ œ nœ œ œ
3
the night is
˙ œ œ
the night
Œ œ. J
œ bœ
night is dark
Œ œ. J
œ nœ
night is dark
π
π
-
- - -
-
-
-
III. The Night is Darkening Round Me

&
&
&
&
&
V
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
4
5
4
5
4
5
4
5
4
5
4
5
4
5
Solo
S.
S.
A.
A.
T.
B.
9
∑
œ ˙.
round me,
œ œ nœ œ œ œ
3
dark en ing round me,
œ. j
œ ˙
dark en ing
nœ œ œ œ. j
œ
3
is dark en
w
'ning
w
'ning
Ó œ œ œ 3
The wild winds
˙ Ó
˙ Ó
˙ Ó
˙ Ó
ing
˙ ˙
mm
˙ ˙
˙
mm
œ. j
œ n˙
cold ly blow;
œ. j
œ n˙
Mm
œ. j
œ ˙ Mm
œ. j
œ ˙
Mm
œ. j
œ ˙
Mm
œ.
J
œœ ˙˙
Mm
∑
˙. Œ
w
w
w
w
ww
œ œ œ bœ.
J
nœ 3
The wild winds cold ly
∑
˙. œ nœ
wild winds
˙. œ nœ
wild winds
˙. œ œ
wild winds
˙. œ œ wild winds
.
. ˙˙ œ œ
œ
wild winds
˙. œbœ œ
blow, wild winds
-
- -
- -
- -
-
&
&
&
V
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
4
4
4
4
4
4
4
4
4
4
Solo
S.
A.
T.
B.
14
Ó Œ Œ œ œ
But a
œ. J
nœ ˙.
cold ly blow;
.
. œ
œn j
œ
œ ˙. cold ly blow;
. œ
œ. j
œ
œ œ. j
œ œ
cold ly blow;
œ. J
œ ˙.
cold ly blow;
œ #œ œ œ. j
œ 3
ty rant spell has
œ #œ œ ˙ 3
Mm
ww
Mm
w
Mm
w
w
Mm
œ ˙ nœ nœ
bound me, And
˙. nœ œ
#œœ ˙
˙ Œ
˙. nœ œ
.
. ˙
˙ Œ
˙ œ œ œ
3
I can not,
˙ œ œ œ
3
œ œ œ œ œ
3
œ. j
#œ œ. j
œ
˙ ˙
œ œ ˙ can not go.
œ œ ˙
œ nœ ˙
n˙ œ œ
˙ ˙
- - -
-
-
-
-

&
&
&
&
&
V
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Solo
S.
S.
A.
A.
T.
B.
19
˙ Ó
˙ ‰ j
œ œ œ
can not
˙ ‰ j
œ œ œ
can not
˙ ‰ j
œ œ œ can not
n˙
‰ j
œ œ œ can not
˙ ‰ j
œ œ œ
can not
˙ ‰ j
œ œ œ
can not
∑
œ œ nœ œ nœ
go, can not go.
œ œ nœ œ nœ
go, can not go.
œ œ œ nœ œ
go, can not go.
œ œ œ œ œ
go, can not go.
nœ bœ œ
œ œ
œ œ
œ
go, can not go.
œ œbœ œ œ œ
go, can not go.
Ó Œ œ
The
˙. œ
Mm
˙. œ
Mm
˙. œ
Mm
˙. œ
Mm
˙. Œ
˙. Œ
œ. nœ œ œ œ #œ
3
gi ant trees are bend
w
œ. nœ œ œ ˙
3
œ. nœ œ ˙ #œ
3
w
∑
∑
- -
- -
- -
- -
- -
- -
- -
&
&
&
V
V
?
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
Solo
S.
A.
T.
T.
B.
B.
23
w
ing
w
w
w
w
œ. nœ œ œ œ œ
3
trees are bend ing
Ó œ. nœ œ
trees are
∑
∑
∑
œ
œ œ
œ
j
œ
œ
n
n œ j
#œ œ j
œ
3 3 3
trees are bend ing trees are
œ
œ œ
œ j
œ
œ#b œ j
œ œ j
œ
3 3 3
trees are bend ing trees are
˙. œnœ œ
3
gi ant
œ œ œ ˙ 3
bend ing
œ œ nœ œ œ
3
The trees are
Ó œ œ
The trees
∑
#œ ˙.
bend ing
bœ ˙.
bend ing
œ œ ˙
trees
œ œ nœ œ œ œ
3
gi ant trees
œ. J
œ ˙
bend ing
nœ œ œ œ. J
œ
3
are bend
Ó œ œ œ 3
Their bare boughs
˙ Ó
˙ ˙
Mm
˙ ˙
Mm
˙ ˙
Mm
˙ Ó
˙ Ó
ing
- -
- -
- -
- -
-
-

&
&
&
V
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
4
5
4
5
4
5
4
5
4
5
4
4
4
4
4
4
4
4
4
4
Solo
S.
A.
T.
B.
27
œ. j
œ n˙
weighed with snow;
œ. j
œ ˙
˙
n
Mm
œ. j
œ ˙˙
Mm
∑
œ. J
œœ ˙˙
Mm
˙. Œ
w
w
ww
œ nœ œ œ. J
bœ 3
their bare boughsweighed with
ww
∑
.
. ˙
˙ œ nœ
bare boughs
. ˙˙. œ
œ œ
œ bare boughs
˙. bœ œ
œ
snow; bare boughs
.
. ˙
˙ œbœ œ
bare boughs
Ó Ó œ œ
The
œ. J
nœ ˙.
weighed with snow;
.
. œ
œn j
œ
œ ˙. weighed with snow;
. œ
œ. j
œ
œ œ. j
œ œ
weighed with snow;
œ. J
œ ˙.
weighed with snow;
&
&
&
&
V
V
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Solo
S.
A.
A.
T.
T.
B.
31
œ #œ œ œ œ œ. œ
3
storm is fast de
œ #œ œ œ œ œ. œ
3
Mm
w
Mm
w
Mm
w
Mm
w
Mm
w
w
Mm
#œ ˙.
scend ing,
#œ ˙.
˙ œ œ œ
3
˙ œ œ œ
3
˙ œ œ œ
3
˙ œ œ œ
3
˙
˙ œ#œ œ
3
storm
∑
w
œ œ œ œ œ œ
3 3
œ œ œ œ œ œ
3 3
œ œ œ œ œ œ
3 3
œ œ œ œ œ œ
3 3
œ. J
œ #œ. œ œ
is fastdes cen
Ó Ó nœ œ
And
œ #œ ˙ nœnœ
Mm
œ bœ ˙ Œ
œ bœ ˙ Œ
w nœ œ
Mm
w nœ œ
Mm
w Œ
ding,
˙ œ œ œ
3
yet I
˙ œ œ œ
3
œ œ œ œ œ
3
Mm
œ œ œ œ œ
3
Mm
œ. j
#œ œ. j
œ
œ. j
#œ œ. j
œ
˙ ˙
Mm
- -
- -

&
&
&
V
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
4
5
4
5
4
5
4
5
4
5
Solo
S.
A.
T.
B.
36
œ œ ˙ can not go.
œ œ ˙
œ nœ ˙
n˙ œ œ
˙ ˙
∑
w
w
œ nœ œ ˙
can not go,
œ nœ œ ˙
can not go,
∑
∑
∑
œ œ #œ ˙ 3
can not go.
œ œ #œ œ œ œ 3
can not go.
∑
œ œ ˙
can not go,
œ œ œ œ œ
3
can not go,
œ œ œ œ œ
3
can not go.
˙ n ˙
∑
∑
œ nœ ˙.
can not go.
œ œ œ ˙. can not go.
˙˙ ˙.
∑
-
- -
- -
- -
-
- -
&
&
&
&
&
V
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
4
4
4
4
4
4
4
4
4
4
4
4
4
Solo
S.
S.
A.
A.
T.
B.
41
œ. nœ œ ˙.
Clouds be yond
w œ
Mm
œ. nœ œ ˙.
œ. j . nœ œ ˙. ˙.
Mm
∑
∑
˙ ˙.
Mm
∑
œ. j
œ ˙ œ
3
clouds a bove me,
ww
ww
∑
∑
w
∑
w
ww
ww
nw
Clouds
œ. bœ œ ˙
Clouds be yond
œ. n j
bœ ˙
Clouds be yond
œ. œ œ ˙
Clouds be yond
∑
w
Mm
∑
. œ
œ. j
œ
œn . ˙
˙.
clouds a bove
.
. œ
œn j
œnœ .
. ˙
˙
clouds a bove
˙. œ. n j
œ ˙. œ. J
bœ
clouds be
˙. bœ. j
nœ ˙. œ. J
œ
clouds be
∑
˙ ˙.
∑
œ
œ œ
œn ˙
˙
a bove
œ
œ œnœ ˙
˙n
a bove
nww
yond
bww
yond
Ó ˙
Mm
˙ œ. nœœ
- -
- -
- -
- -
-
- -

&
&
&
&
&
V
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
4
5
4
5
4
5
4
5
4
5
4
5
4
5
Solo
S.
S.
A.
A.
T.
B.
46
∑
˙
˙ nœ œ œ
3
Mm
˙
˙ œ œ œ
3
Mm
bœ œ œ ˙ œ
3 3
Mm
œ bœ œ ˙ œ
3 3
Mm
˙ œ œbœœ
3
œ. J
œ ˙
Ó œ œ œ
3
Wastes be
œ. ‰ ˙
œ. ‰ ˙
bœ. ‰ ˙
bœ. ‰
˙
œ. ‰ ˙
œ. ‰ ˙b˙
n˙ ˙ œ
3
yond wastes be
n˙ Ó
n˙ Ó
˙ Ó
˙ Ó
˙ ˙
˙
˙
˙ ˙
n˙
œ #œ ˙ Ó
low;
œ #œ ˙ ˙ œ
3
Wastes be
œ #œ ˙ ˙ œ
3
Wastes be
˙. n˙ œ 3
Wastes be
˙. ˙ œ
3
Wastes be
˙. n˙ œ
3
Wastes be
.
. ˙
˙ n˙ œ 3
Wastes be
poco rall.
Ó Ó œ
But
˙ ˙ œ low;
˙ ˙ œ low;
˙ ˙ œ low;
˙ ˙ œ low;
b˙ ˙ œ low;
˙
˙ ˙ œ
low;
espress.
- - - -
- -
-
- -
- -
- -
- -
&
&
&
V
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
4
4
4
4
4
4
4
4
4
4
4
5
4
5
4
5
4
5
4
5
Solo
S.
A.
T.
B.
51
nœ œ œ. j
#œ œ œ œ
3
noth ing drear can move me;
∑
˙. ˙
∑
˙. ˙
˙. Ó
œ bœ nœ œ. n J
œ
But noth ing drear can
œ œ
œ œ
œ . œ
œ.
j
œ
œn
But noth ing drear can
œ œ
œ œ
œ œ. j
œ
œ
But noth ing drear can
œ œ œ . bœ
œ. J
œ
But noth ing drear can
∑
nœ ˙.
move me;
œ
œ ˙.
move me;
œ
œ œ. j
œ œ
move me;
œ ˙.
move me;
’ Ó œ œ œ
3
I will not,
w
w
Mm
w
w
#
Mm
wnw
Mm
w
w
Mm
˙ ‰ j
œ œ œ œ
3
I can not go
w
w
w
w
ww
w
w
- - -
-
-
-
-
,
,
,
,

&
&
&
V
?
b
b
b
b
b
b
b
b
b
b
b
b
b
b
b
4
5
4
5
4
5
4
5
4
5
4
4
4
4
4
4
4
4
4
4
4
5
4
5
4
5
4
5
4
5
4
2
4
2
4
2
4
2
4
2
4
5
4
5
4
5
4
5
4
5
Solo
S.
A.
T.
B.
56
˙. Ó
.
.
˙
˙ ˙
I
.
.
˙
˙ œ œ
I
.
. ˙
˙ œ. j
#œ
I
.
.
˙
˙ ˙
I
∑
œ œ œ œ œ
3
can not, can not
œ œ œ œ nœ
3
can not, can not
œ. j
œ n˙
can not
˙ ˙
can not
Ó Œ œ
I
˙ n˙
go.
n˙ ˙
˙
go.
œ œ ˙
˙
go.
˙ ˙
go.
œ nœ œ #˙ ˙
3
can not go.
.
.
˙
˙ ˙
˙
.
.
˙
˙
# ˙
˙
.
. ˙n˙ ˙
˙
.
.
˙
˙ ˙
˙
œ Œ
‰ j
œ œ œ
Ah
‰ j
œ œ œ
Ah
‰ j
œ œ œ
Ah
‰ j
œ œ œ
Ah
f
f
f
f
-
- -
- -
-
-
&
&
V
?
b
b
b
b
b
b
b
b
b
b
b
b
4
5
4
5
4
5
4
5
4
2
4
2
4
2
4
2
S.
A.
T.
B.
61
œ œ nœ œ. J
nœ
œ œ
œ œ
œ .
. œ
œn j
œ
œ
nœ bœ œ
œ . œ
œ. j
œ
œ
œ œbœ œ œ. J
œ
˙ œ #œ œ œ 3
˙ . ˙
˙.
˙ ˙.
˙ ˙.
˙ œ œ
nœnœ ˙ œ œ œ
3
œ œ œ œ œ œ
3
œ œ. j
#œ œ. j
œ
œ ˙ ˙
dim.
dim.
dim.
dim.
œ œ ˙.
œ nœ ˙.
n˙ œ ˙
˙ ˙.
&
&
V
?
b
b
b
b
b
b
b
b
b
b
b
b
4
2
4
2
4
2
4
2
4
5
4
5
4
5
4
5
S.
A.
T.
B.
65
‰ j
œ œ œ
Mm
‰ j
œ œ œ Mm
‰ j
œ œ œ
Mm
‰ j
œ œ œ
Mm
π
π
π
π
œ œ nœ œ. J
nœ
˙. ˙
˙. ˙
œ œ nœ œ. J
nœ
˙ œ #œ œ œ 3
˙. ˙
˙. ˙
˙ œ #œ œ œ 3
nœnœ ˙ œ œ œ
3
˙. ˙
˙. ˙
nœnœ ˙ œ œ œ 3
œ œ ˙. u
˙ ˙. u
˙ ˙. u
œ œ ˙.
œ
very long
very long
very long
very long
U
( )

&
?
4
4
4
4
4
5
4
5
œ
œ œ
œ bœ œ œ œ
œœœœœ œ œ œ
œ œ
œ œ œ
œ œ œ
œ œ œ œ
5 5 5
œ
œ
œ
>
‰ bœœ j
œ
œ œœ œ & œ
IV. Fall, Leaves, Fall
q = ca 64-68
f
œ bœ œ œ
œ œ
œ œ œ œ
œ œœ œ œ œœ œ œ
3 3
bœœ œ
œ œœ œ
œ œœ .
.
œ
œ j
œœ ‰ œœ œ
œ
5 3
?
poco rall.
&
?
4
5
4
5
4
6
4
6
3
œ
œ
œ
œ
b
b
œ
œœ
œ
#
b œ
œœ
œ œ
œœ
œ œ
œœ
œ ˙
˙˙
˙
‰ ‰ J
bœ
3
3
œ œ œ œ
bœ œ œ œ bœ
œ
œ œ œ œ œ
œ œ
œ œ œ 3
6 5 5
p
&
?
4
6
4
6
4
4
4
4
4 #œ bœ œ bœ œ
œ œ œ
#œ œ
bœ œ
œ ≈ œ œ œ
œ œ
œ œ
œ œ œ œ œ
œ œ
œ œ œ œ œ œ œ œ œ
œ
œ
b
b œ
œ œ œœ
œ 6
6 6 5
œ
œ
œ
œ
b
b
g
g
g
g
g
g
g
g
Œ Œ œ
œ œ
œb œ
œ Œ
3
&
π
&
&
4
4
4
4
4
2
4
2
4
6
4
6
5
bœœ œ œœ œ
œ œ
œ œ
œ œ
œ bœ œ œ œ
œ œ œ œ œ œ
œ œ
œ œ œ œ
5
5 5 5
œ
œ œ œ
œ œ
œ bœœ œ
œ j
œœ œ
œ j
œœ œ
œ
5 3 3
f
bœœ œ œ
œ œœ œ œ
œ
3 3
‰ œ
œ
b œ
œ œ
œ œ
bœ
3
?
poco rall.
&
?
4
6
4
6
4
2
4
2
7 #œ œ œ bœ œ bœ œ bœ œ œ œ bœ œ œ bœ bœ nœ bœ
3
3
3
œ
œ
b bœ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ bœ
œ
œ œ œ œ
œ
œ œ
œ
œ œ œ
œ nœ œ
bœ
œ œ œ œ œ œ
6 5
&
p

&
&
&
&
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
6
4
6
4
6
4
6
S
A
√
8
∑
∑
8
˙
˙
æ
‰ .
.
.
. œ
œ
œœ b
bb
æ ?
π
œ J
œ œ bœ œ. ‰
3
Fall, leaves, fall;
œ j
œ œ œ œ. ‰
3
Fall, leaves, fall;
‰ œ
œ œ
œ ‰
œ
œœ
œ
b
b œ
œœ
œ J
œ
œœ
œ .
.
.
.
œ
œœ
œ
3
3
œ
œ
bœœ œ
œ œœ œ
œ œœ œ
œœœ œ
œ œ
œœ œ œœ
œ œ
œ œœ
œ
3 3
f
f
f
J
œ œ. J
œ œ J
bœ
die, flo - wers, a -
J
bœ œ. j
œ œ j
œ
die, flo - wers, a -
‰ œ
œ
œ
bœœ
œ
œœœ œ
œœœ œ
œ œœœ
œ œœœ
œ œœ œ
œ
3
‰
J
œ
œ
œ
b œ œ j
œ
œ bœ
J
bœ
&
&
&
?
4
6
4
6
4
6
4
6
4
4
4
4
4
4
4
4
S
A
11
w Ó
way;
w Ó
way;
11
‰ .
.
.
.
œ
œ
œ
œ
b
b .
.
. œ
œ
œ# ‰
.
.
.
.
œ
œ
œ
œ .
.
. œ
œ
œ
#
‰
.
.
.
.
œ
œ
œ
œ
N .
.
.
. œœ
œ
œ bn
œ
œ
bœ
bœœ
œ
œ
œ œ
œ
œ
œœ
œ
œ
œ œ
œ
œ
bœ
œ
œ
œ œ œ
œ
œ
œ
œ
œ
œ
œ
œnœ bœ œ œ
6 6
5
p
p
p
p p
œ J
œ œ bœ œ. J
œ
3
Length - en night and
œ j
œ œ œ œ. j
bœ
3
Length - en night and
œ
œœ
œ b
g
g
g
g
g
g
œ
œ
œ
œ
œ œ
œ œ
œ œ
œ œ
œ
œ
b œ
œ
œ
œ
3
3
3
œ
œ
b œ
œ œ
œ œ œ
œœœ
œ J
œ œ
œ œ
œ 3
3
3
f
f
f
&
&
&
?
4
6
4
6
4
6
4
6
4
4
4
4
4
4
4
4
S
A
13
J
œ œ. J
œ œ J
bœ
shor - ten the
J
bœ œ. j
œ œ j
œ
shor - ten the
13 œ
œ
bœ
b
g
g
g
g
g
g
g
œ
œ
œ ‰ œ
œ œ
œ
œ
œ œ
œ
œ
œ œ
œ
œ
œ œ
œ
œ
œ
3
∑
w Ó
day;
w Ó
day;
œ
œ
œ
bœ
bœ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
#œ
œ
#œ
œ
œ
œ
œ
œ
œ
œ
œ ˙
æ
6 6
Œ œ
œ
œ
b ˙
˙
˙ ˙
˙
æ
p
p
p

&
&
&
?
4
4
4
4
4
4
4
4
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
S
A
15
bœ J
œ œ J
bœ œ J
œ œ
3 3 3
eve - ry leaf speaks bliss to me
œ j
œ œ J
bœ œ j
œ œ
3 3 3
eve - ry leaf speaks bliss to me
15 œ
œ
b
J
œ
œ œ
œ J
œ
œ
b œ
œ J
œ
œ œœ
œœ
3 3 3
‰ œ
œ
b
‰ œ
œ ‰
œ
œ
b
b
‰ œ
œ
3 3 3 3
∑
∑
˙˙
˙˙
œ œ œ œ
œ œ bœ J
œ ‰
3 3
& ?
p f
&
&
&
?
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
S
A
17
bœ œ œ œ J
bœ œ œ œ
3 3 3
flut - te - ring from the au - tumn
œ bœ œ œ J
bœ œ œ œ
3 3 3
flut - te - ring from the au - tumn
17
‰
œ
œ
œ
œ
g
g
g
g
g
g
g
œ
œ
œ
œ
g
g
g
g
g
g
g
œ
œ
œ
œ
g
g
g
g
g
g
g
œ
œ
œ
œ
g
g
g
g
g
g
g
œ
œ
œ
œ
g
g
g
g
g
g
g
3
œ œ œ
œ
œ
b
b
œ
œ
œ
œ
œ
œ œ
œ
œ
œ
œ
b
b
3
p
bœ œ œ œ Ó 3
tree.
œ œ bœ œ
Ó 3
tree.
J
œ
œ
œ
œ ‰ œ
> œ bœ œ
œœ œ œ œ œ œ œ
œ
œ
> œ
> œ
> bœ
> œ
>
˙
> œ œ œ
5
f
&
?
19
bœ œ
œ
œ
b
b
œ œ Nœ œ œ œ
œ
bœ œ œ 3 3
3
œ œ œ
œ
œ bœ œ
3
‰ .
.
.
.
œ
œ
œ
œ
b
b .
.
. œ
œ
œ# ‰
.
.
.
.
œ
œ
œ
œ .
.
. œ
œ
œ
#
bœ
bœ œ
œœ
œ .
.
˙
˙

&
&
&
?
4
5
4
5
4
5
4
5
4
4
4
4
4
4
4
4
S
A
21
bœ j bœ œ œ œ. ‰
Fall, leaves, fall;
Ó j bœ œ j
œ œ œ
Fall, leaves,
21
J
œœ
œ
œ .
.
œ
bœ
b æ ˙
˙
æ
‰ .
. œ
œ
æ ˙
˙
æ
p
bœ œ nœ bœ œ. ‰
3
die, flo - wers, a - way.
œ j bœ œ bœ œ œ œ bœ
3
fall; die, flo - wers, a - way.
‰ .
.
œ
œ
# æ ˙
˙
æ ?
j
bœ .
. œ
œ
b æ ˙
˙
æ
j nœ bœ bœ œ œ œ œ œ œ j
œ œ 3
Fall, leaves, fall, fall, fall,
Œ j bœ œ J
œ œ œ œ bœ
3
Fall, leaves, fall, fall,
‰ .
.
œ
œ
b
b
æ
˙
˙
æ Œ &
j
œ .
. œ
œ
æ ˙
˙
æ Œ
rall.
rall.
&
&
&
?
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
S
A
24
œ j
œ ˙ j
œ ‰
3
fall,
œ j
bœ ˙ j
œ
‰ 3
fall,
24
Ó œœ
œb j
œœ
œ œœ
œ
3
Ó bœœ J
œœ œœ
3
bœœ œ œœ œ Œ
3 3
fall, leaves,
œœ œ œœ œ
Œ
3 3
fall, leaves,
Œ œ
œb œœ
œ œ
œ
3
Œ œœ
œ b œœ œœ
œ
3
bœ bœ bœ œ œ œ ‰ J
œ
3 3
die, flo - wers, a -
bœ œ œ œ œ œ ‰ j
œ
3 3
die, flo - wers, a -
œœ
œb œ
œœ
œ œœ
œœ b œ
œœ
œ
b œœ
œœ b œ
œœ
œ
b œœ
œœ œ
œœn œ
b 3
.
. bœœ ‰ Œ
f sub.p
b˙ ‰ J
bœ
way, a -
˙ ‰ j
œ
way, a -
œ
> œ œ œ
œ# œ
œ
œœ
œ
œ b
b
3
œ
œ
œ
>
œ
œœœ
œ œ Œ
3
f
f
f p

&
&
&
?
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
S
A
√
28
b˙ ‰ J
bœ
way, a -
˙ ‰ j
œ
way, a -
28
bœ
> œ œ œ
œ bœœ
œœ
œ
œ
b
b
3
œ
œ
bœ
b
b
>
œ
œœ œ
œ œ Œ
3
sim.
b˙.
way;
˙.
way;
œ
> œ œ œ
#œ œ#œ
œœ
œ
œ b 3
œ
œ
œ
>œœ
œ œœ
œ b œ Œ
3
∑
∑
J
œœ
œ
œ .
.
.
. œœ
œœ bb
∑
‰ bœ bœ œ. J
œ
3
eve-ry leaf speaks
‰ œ œ œ. j
œ
3
eve-ry leaf speaks
œœ
œ
œœ #
b#
˘
Œ Œ
œ
œ
œ
˘
Œ Œ
ß
&
&
&
?
4
4
4
4
4
4
4
4
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
S
A
¤
√
32 œ J
bœ b˙.
3
bliss to me.
bœ J
bœ ˙.
3
bliss to me.
32 œbœ œ
œ
b
b œ
œ# œ
œ œ
œ œ
œ
b
b 3
3
∑
p
∑
∑
œ
œ# œ
œb œ
œ
3
∑
poco meno mosso
b˙
Fall,
J
œ œ œ
3
bœ œœ œ
3
Fall,
œ œœ b œ 3
bœ œ
∑
poco meno mosso
p
p
˙
leaves,
J
œbœ œ
3
œ bœ œ œ
3
leaves,
œ bœ œ œ 3
œ
#œ
∑
b˙
die,
J
œ œ.
bœ œ œ
die,
œbœ
Nœ Nœ
∑
œ œ
flo - wers,
œbœ œ
œ bœ œ
flo - wers,
œ œ œœ
bœ œ
∑

&
&
&
?
4
4
4
4
4
4
4
4
S
A
38
Ó Œ ‰ j
œ
a -
Ó Œ ‰ j
œ
a -
38
œ bœ œ œ œ
œ œ
œ œ
œ
b œ
œ
b œœ
œ
œ
œ œœ œ
œ œ
œ œ
œ œ
œ œ
œ
œ Œ Ó
accel.
accel.
p
b˙. ‰ J
œ
way, a -
b˙. ‰ j
œ
way, a -
bœ œ œ œ
bœ œ
#œ œ
œ œ
œ œ
œ œ
œ œ
œ #œœ œ
œ
b œ
œ
# œ œ
œ
œ œ bœ bœ Œ Ó
&
&
&
?
4
6
4
6
4
6
4
6
S
A
40
#˙. ‰ J
œ
way, a -
˙. ‰ j
bœ way, a -
40 #œ œ œ œ
œ œ
œ
b œ
œ# œ
œ œ
œ œ
œ œ
œ
œ
n
# œ
œ œ
œ
# bœœ œ #œ œ
œœ
œ
œ N
b
b œ bœ .
.
˙
˙
&
&
&
?
4
6
4
6
4
6
4
6
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
S
A
41
#˙. Ó
way.
#˙. Ó.
way.
41 #œ bœ œ bœ œ
œ œ œ
#œ œ
bœ œ
œ ≈ œ
œ œ
œ œ
œ œ
œ
œ œ œ œ
œ œ
œ œ œ œ œ œ œ œ œ
œ
œ
b
b œ
œ œ œœ
œ 6
6 6 5
œ
œ
œ
œ
b
b
g
g
g
g
g
g
g
g
Œ Œ œ
œ œ
œb œ
œ Œ
3
&
π
∑
∑
˙
˙
æ
‰ .
.
.
. œ
œ
œœ b
bb
æ ?
π

&
&
&
?
4
4
4
4
4
4
4
4
4
6
4
6
4
6
4
6
S
A
√
43
œ J
œ œ bœ œ. ‰
3
I shall smile
œ j
œ œ œ œ. ‰
3
I shall smile
43
‰ œ
œ œ
œ ‰
œ
œœ
œ
b
b œ
œœ
œ J
œ
œœ
œ .
.
.
.
œ
œœ
œ
3
3
œ
œ
bœœ œ
œ œœ œ
œ œœ œ
œ œœ œ
œ œ
œœ œ œœ
œ œ
œ œœ
œ
3 3
a tempo
f
a tempo
J
œ œ. J
œ œ J
bœ
when wreaths of
J
bœ œ. j
œ œ j
œ
when wreaths of
‰ œ
œ
œ
bœœ
œ
œ œœ œ
œ œœ œ
œ œœ œ
œ œœ œ
œ œœ œ
œ
3
‰
J
œ
œ
œ
b œ œ j
œ
œ bœ
J
bœ
&
&
&
?
4
6
4
6
4
6
4
6
4
4
4
4
4
4
4
4
S
A
45
w Ó
snow
w Ó
snow
45
‰ .
.
.
.
œ
œ
œ
œ
b
b .
.
. œ
œ
œ# ‰
.
.
.
.
œ
œ
œ
œ .
.
. œ
œ
œ
#
‰
.
.
.
.
œ
œ
œ
œ
N .
.
.
. œœ
œ
œ bn
œ
œ
bœ
bœœ
œ
œ
œ œ
œ
œ
œœ
œ
œ
œ œ
œ
œ
bœ
œ
œ
œ œ œ
œ
œ
œ
œ
œ
œ
œ
œnœ
bœ œ œ
6 6
5
p
p
p
œ J
œ œ bœ œ. J
œ
3
blos - som where the
œ j
œ œ œ œ. j
bœ
3
blos - som where the
œ
œœ
œ b
g
g
g
g
g
g
œ
œ
œ
œ
œ œ
œ œ
œ œ
œ œ
œ
œ
b œ
œ
œ
œ
3
3
3
œ
œ
b œ
œ œ
œ œ œ
œœ œ
œ J
œ œ
œ œ
œ 3
3
3
f
f
f

&
&
&
?
4
6
4
6
4
6
4
6
4
4
4
4
4
4
4
4
S
A
47
J
œ œ. J
œ œ J
bœ
rose should
J
bœ œ. j
œ œ j
œ
rose should
47 œ
œ
bœ
b
g
g
g
g
g
g
g
œ
œ
œ ‰ œ
œ œ
œ
œ
œ œ
œ
œ
œ œ
œ
œ
œ œ
œ
œ
œ
3
∑
w Ó
grow;
w Ó
grow;
œ
œ
œ
bœ
bœ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
#œ
œ
#œ
œ
œ
œ
œ
œ
œ
œ
œ ˙
æ
6 6
Œ œ
œ
œ
b ˙
˙
˙ ˙
˙
æ
p
p
p
&
&
&
?
4
4
4
4
4
4
4
4
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
S
A
49
bœ J
œ œ J
bœ œ J
œ œ
3 3 3
I shall sing when night's de-cay
œ j
œ œ J
bœ œ j
œ œ
3 3 3
I shall sing when night's de-cay
49 œ
œ
b
J
œ
œ œ
œ J
œ
œ
b œ
œ J
œ
œ œœ
œœ
3 3 3
‰ œ
œ
b
‰ œ
œ ‰
œ
œ
b
b
‰
œ
œ
3 3 3 3
∑
∑
˙˙
˙˙ b
œ
œ
œ œ
œœ bœJ
œ ‰
3 3
& ?
p f
bœ œ œ œ J
bœ œ œ œ
3 3 3
us - hers in a drea - rier
œ bœ œ œ J
bœ œ œ œ
3 3 3
us - hers in a drea - rier
‰
œ
œ
œ
œ
g
g
g
g
g
g
g
œ
œ
œ
œ
g
g
g
g
g
g
g
œ
œ
œ
œ
g
g
g
g
g
g
g
œ
œ
œ
œ
g
g
g
g
g
g
g
œ
œ
œ
œ
g
g
g
g
g
g
g
3
œ œ œ
œ
œ
b
b
œ
œ
œ
œ
œ
œ œ
œ
œ
œ
œ
b
b
3
p
&
&
&
?
4
4
4
4
4
4
4
4
S
A
52
bœ œ œ œ Ó 3
day.
œ œ bœ œ Ó 3
day.
52
J
œ
œ
œ
œ ‰ œ
> œ bœ œ
œœ œ
œ œ œ œ
œ
œ
œ
>
œ
> œ
>bœ
>œ
>
˙
> œ œœ
5
f
∑
∑
bœ œ
œ
œ
b
b
œ œ Nœ œ œ œ
œ
bœ œ œ 3 3
3
œ œ œ
œ
œ bœ œ
3

&
&
&
?
4
1
4
1
4
1
4
1
4
4
4
4
4
4
4
4
S
A
54
∑
∑
54
‰ .
.
.
.
œ
œ
œ
œ
b
b .
.
. œ
œ
œ# ‰
.
.
.
.
œ
œ
œ
œ .
.
. œ
œ
œ
#
bœ
bœ œ
œœ
œ .
.
˙
˙
Œ
Œ
œ
œ œ
œ œ
œ œ
œ
œ
œ
5
œ
œ
œ
œ
bœœ œœ œ
œ
5
œ J
œ œ œ œ œ J
œ Œ
3 3 3
I shall sing,
bœ j
œ œ œ œ œ j
œ Œ
3
3
3
I shall sing,
œ
œ œ
œ bœ œ œ œ
œ œœ
bœœ
œ
œ œ
œ œ œ
œ œ œ
œ œ œ œ
5 5
œ
œ
œ
> œ œ œ œ ‰ j
œ
œ bœœ œ
œ 3
& ?
f
f
f
&
&
&
?
4
2
4
2
4
2
4
2
S
A
57
‰ œ œ œ œ œ œ J
œ Œ
3 3 3
I shall smile,
‰ bœ œ œ œ œ œ j
œ Œ
3 3
3
I shall smile,
57 œ bœ œ œ
œ œ
œ œ œ œ
œ œœ œ œ œœ œ œ
3 3
œ
œ œ
œ bœœ œ
œ œœ .
.
œ
œ j
œœ ‰ œœ œ
œ
5 3
&
poco rall.
poco rall.
Œ œ J
œ œ œ œ œ J
œ
3 3 3
I shall sing,
Œ bœ j
œ œ œ œ œ j
œ 3
3
3
I shall sing,
bœœ œœœ œ
œ
œ
œ
œ
œ œ
œbœ œ œ œ
œ œ œ œ œ œ
œ œ
œ œ œ œ
5
5 5 5
œ
œ
œ
œ œ
œ œ
œbœœœ
œ
œ J
œ
œ œ
œ
j
œœ œ
œ
5 3 3
? &

&
&
&
&
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
S
A
59
∑
∑
59 bœœ œ œ
œ œœ œ œ
œ
3 3
‰ œ
œ
b œ
œ œ
œ œ
bœ
3
?
poco rall.
poco rall.
‰ bœ œ œ j
œ ‰ œ œ œ j
œ
3
3
3
3
I shall sing, I shall smile,
‰ œ œ œ j
œ ‰ œ œ œ j
œ
3 3 3 3
I shall sing, I shall smile,
œ
œœ
œœ b
bb œœ
œœ œœ
œœ œœ
œœbœœœœ œœ
œœ œœ
œ
œœ
œœ œœ
œœ œœ
œœœœ
œœ
3
3 3
3
œ
œ Œ J
œ
œ œ
œ J
œœ
œœ b
J
œœ œœ
3
3
3
f
f
f
p f sim.
‰bœ œ œ œ œ 3
I shall sing,
‰ œ œ œ œ œ 3
I shall sing,
œœ
œœ b
bb j
bœœ œœ
œœ
œœœœ
œœœœ
œœ œœ
œœ œœ
œœ œœ
œœœœ
œœ
3
3
3
œ
œ Œ J
œ
œ œ
œ
œœ œœ œœ
3
3
&
&
&
?
S
A
62
J
œ ‰ Œ Ó
j
œ ‰ Œ Ó
62 ww
ww b
bb
ww
ww b
poco rall.
poco rall.
f
œ œ ˙
I shall sing,
œ bœ ˙ I shall sing,
ww
ww b
bb
ww
ww b
poco meno mosso
poco meno mosso
π
π
π
˙ j
œ ‰ Œ
˙ j
œ
‰ Œ
ww
ww
ww
ww
œ
Œ Ó
∑
∑
ww
ww b
bb
∏
bww ˙˙ J
œœ
‰ Œ
∑
∑
ww
˙˙ J
œœ
‰ Œ
∑
∑
bww
∑

&
&
&
?
S
A
68
œ
∏
œ ˙
I shall sing.
bœ
∏
œ ˙ I shall sing.
68 j
œœ
∏
‰ Œ Ó
U
œ
œ
.
Œ Ó
rall.
U
rall.
œ ∑
œ ∑
œœbœœœœ
œœœœ œœ œ œ œ œ œ
5 3
3
œ
œ Œ Ó
poco meno mosso
( )
( )
poco meno mosso
∑
∑
bœœœœ œœœœœœ œ œ œ œ
œ œœœ 5 5
3
3
∑
∑
∑
œ œbœ œ œ œ œœœœœ œ œ
3 3 3
∑
poco
&
?
72
bœ œ œ œ œ œ œ œ
∑
morendo
poco
‰ j
œ b˙˙ œ
∑
poco
b˙ ˙˙
∑
˙ Ó
∑

V
&
?
4
5
4
5
4
5
4
3
4
3
4
3
4
4
4
4
4
4
T œ
∏
#œ œ #˙
She dried her tears
Œ
∏
#˙ ˙
˙ œ ˙˙
q = ca 68
∑
˙. ˙
. ˙˙. ˙˙
U
U
,
,
V. She Dried Her Tears
œ œ #œ œ #˙
3
and they did smile,
Œ œ #˙˙ ˙˙ 3
œ ˙ œœ ˙˙
3
∑
.
. ˙˙ ˙˙
. ˙˙. ˙˙
U
U
,
,
#œ œ œ #œ
she dried her
#˙.
‰ J
œ œ œ
œ Œ #œ
tears and
˙.
˙˙ œœ # œ
V
&
?
4
4
4
4
4
4
4
3
4
3
4
3
4
4
4
4
4
4
T
7
œ œ #œ #˙ 3
they did smile
7
w
www
∑
w
.
.
. œœ
œ J
œ ˙
œ #œ Œ
to see
Œ #˙
˙.
#œ œ Œ
her cheeks'
œ ˙˙
.
. ˙
˙
œ #œ œ #˙ 3
re -tur-ning glow
ww
˙
˙ œœ
œ ˙˙
˙
3
˙ Ó
. ˙˙. #œ
ww
w
V
&
?
T
13
∑
13
‰ #œ. œ Œ
œ#œ œ#œ J
œ
œ
n œ.
3
poco piu mosso
π
poco piu mosso
∑
œ ˙˙ Œ
j
œ #œ Nœ œ
œ#>
‰ . œœ.
∑
Ó. œ
œœ
œ ## œ Nœ œ
œœ #œ œ ‰ J
œ
œ
3
∑
j
œ œ. ‰ œ
œ j
œ Nœ
œ
œ œ œ #œ
>
‰ œ.
&
?
17
˙ ‰ . œœ. ##
j
œ œ ˙ œ
œœ Œ œ œœ
œ
œ# œ #œ œ
œ ‰ J
œ œ œ
œœ œ N#˙˙
j #œ
J
#œ
>
‰ ‰ J
œ
> .
. œ
œ J
œ

&
?
20
Œ œ
Nœ œ.
j
œ
œ #œ œ œ
œ
#
J
œ J
œ œ. >
3 3
˙
˙ J
œ
œ ‰ Œ
œ œ œ œ
j
œ
J
#œ œ J
#œœ
>
j
œ œ. œ #œ
‰
j
œ œ J
œ
>
J
œ œ J
œœ
œ. ‰ Ó
. œœ. ‰ Ó #w
Œ ‰ j
œ ˙
w
w
a tempo
V
?
&
?
T
B
√
25
‰ j
œ œ #œ J
œ #œ.
how litt - le drea-ming
‰ J
œ œ œ J
œ œ.
how litt - le drea-ming
25
w
w
p
p
˙ Ó
˙ Ó
œ œ œ #œœ œœ œœ œœ
œ œœ
œ œœ #œœ œœ
œœ œœ
œ œœ
œ œœ
œ œœ œœ
œ œœ
œ
.
. œ
œ ‰ . œœ. ‰
Œ .
.
.
˙
˙
˙
#
p
V
?
&
?
T
B
(√)
27 œ. J
#œ #˙
all the while
œ. J
œ ˙
all the while
27
œ
œ
# œœ
œ œ
œ œ
œ œ
œ
œ
# œ
œ
œ
œœ
œ
œ œœ
œ
œ œœ
œ œœ
œ œœ
œ œœ œ Nœœ œ
œœ œ
œœœ
œ
.
. ##œœ ‰ œœ Œ
œ
œ
œ Ó
œ
œ
œ
#
#
Ó Œ ‰ j
œ
that
Ó Œ ‰ J
œ
that
œœœœ œœ # œ œœ
œ œœ
œœ œœ
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œ # œœ
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œ
.
. Nœœ ‰ . œœ. #
‰ ˙
˙
˙ .
.
.
œ
œ
œ

V
?
&
?
T
B
(√)
29 œ #œ J
œ #œ J
œ
full heart throbbed to
œ œ œ J
œ œ J
œ
full heart throbbed to
29
œœ
œ ## œœ
œ œœ
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œ
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œ
# œœ œœ œœ
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œ
.
. œ
œ ‰ .
. ##œœ ‰
œ #œ #˙ Œ
o - ver - flow.
œ œ ˙ Œ
o - ver - flow.
œœ #œœ œœ
œœ œœ
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œ œœ
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œœ b œ
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œ
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Œ .
.
.
˙
˙
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#
V
?
&
?
T
B
(√)
31
Œ ‰ j
œ #˙ She dried
J
œ œ #œ
She dried tears
Œ ‰
j
œ ˙
She dried
J J
œ œ.
She her
31 œœ
œ œœ
œ œœ
œ œ
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œ œ
œ œ
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œ
.
. œ
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. œ
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g
g
g
g
g
g
g
.
.
.
œ
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œ
œ
œ
#
#
œ . j
œ œ #œ
and they smile,
œ. J
œ J
œ #œ œ
3
and they
œ . j
œ ˙
and
œ. J
œ œ J
œ œ
3
and did
œœ # œ œœ œœ
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j
œ
œ . œœ. . #œœ.
j
œ
œ ˙
˙
˙ .
.
.
œ
œ
œ ‰

V
?
&
?
T
B
(√)
33
˙ Œ œ
she
˙
˙ Œ œ
she
˙
33
œœ
œ ## œœ
œ œœ œœ œœ œœ œœ N œ œœ
œ œœ
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j
œ
œ . œœ. # .
. œ
œ ‰
Œ .
.
.
˙
˙
˙
#
nœ. j
#œ œ. j
#œ
dried her tears
œ. J
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.
.
œ
#œ J
œ
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˙
#
dried her tears
œ
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œ œ
œ œ
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œ
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j
œ #œ œ œ #œ ˙
#˙
g
g
g
g
g
g ˙
˙ #
g
g
g
g
g
V
?
&
?
T
B
√ √
35
#˙. œ
they did
#˙. œ
they did
35 œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
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œ
˙.
w œ
˙. Œ
smile
.
. ˙
˙ Œ
smile
œ
œ œ
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œ
. œœ. n ‰ . #œœ. ‰
Œ .
.
˙
˙
Ó Œ œ œ
with that
Ó Œ œ œ
with that
œ
œ œ
œ œ
œ œ
œ
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œœ
.
. ˙˙ Œ .
.
˙
˙

V
?
&
?
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
T
B
38 œ #œ œ #œ œ œ œ J
œ
3
sweet look and live - ly
œ œ œ œ œ œ œ J
œ
3
sweet look and live - ly
38
∑
œ
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œ# œ
œ œ
œ
# N œ
œ ‰ J
œœ
œ
œ
#˙
tone
˙
tone
Œ ‰ J
œ
œ
œ
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œ
œ ‰ j
œ
œ &
Ó Œ œ
and
Ó Œ œ
and
œ œ œ#œœ œœ œœ œœ
œ œœ
œ œœ #œœ œœ
œœ
œ
œ
œ œœ
œ œœ
œ œœ œœ
œ œœ
œ
Ó ‰ r
œ
œ ≈ Œ
V
?
&
&
T
B
41 œ #œ #œ œ #œ œ
bright eye shi - ning all
œ œ œ œ œ
bright eye shi - ning all
41 œ
œ
œ œœ
œ # œ
œ œ
œ œ
œ
œ
# œ
œ
œ œœ
œ
œ n œœ
œ
œ œœ
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œ œœ œ
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œœ
œ
œ
œ œœ
œ
r
œ
œ ≈ ‰ Œ Œ ‰ r
œ
œ ≈
œ #œ #˙.
the day
œ œ ˙.
the day
œœ œœ œœ # œ œœ
œ œœ
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œœ œœ
œ
œ
œ œœ
œ # œ
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œ œœ œœ
Ó ‰ r
œ
œ ≈ Œ
V
?
&
&
T
B
43
Ó Œ œ
they
Ó Œ œ
they
43 œ
œ
œ œœ
œ ## œœ
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œœ œ
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œ
œ œœ
œ
# œœ œœ œ
œ
œ œœ
œ
r
œ
œ ≈ ‰ Œ Œ ‰ r
œ
œ ≈
nœ #œ œ. j
#œ
could not guess at
œ œ œ. J
œ
œ
#œ œ
œ .
. œ
œ
#
J
œ
œ
could not guess at
œœ ##œœ œœ
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œ œœ
œ
œ
œ
œ œœ œœ
œ œœ
œ œœ
œ
œ œœ
œ
œ
Ó ‰ r
œ
œ ≈ Œ

V
?
&
&
T
B
45
#˙. œ
mid - night
#˙. œ
mid - night
45 œ
œ
œ œœ
œ œœ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ #œœ œ
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œœ
œ
œ
œ
œ œœ
œ
r
œ
œ ≈ ‰ Œ Œ ‰ r
œ
œ ≈
w
lone
w
w
lone
#œœ œœ œœ
œ œœ
œ œ
œ œœ
œ œœ œœ œœ
œ œœ
œ
œ
œ
œ œœ #œœ œœ
œ œœ
œ œœ
œ œœ
Ó ‰ r
œ
œ ≈ Œ
V
?
&
&
T
B
√ √
47
Ó œ œ
how at
Ó œ œ
how at
47 œ
œ
œ œœ
œ ## œœœœœœœœœœ
œœœ
œœœ
œœœœ
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œœ œ
œœ œ
œœœœœœœœ
r
œ
œ ≈ ‰ Œ Ó
œ #˙ œ œ
mid - night
œ œ œ. J
œ
mid - night
œ
œ
œ
œ‰ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
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œ
œ
œ
œ
œ
œ
∑ ?
ww#
lone
˙
˙
#
# ‰aœ j
œ
lone she would
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
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œ
œ
œ
œ
œ
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œ
œ
œ
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œ œ
œ
#œ #œ #œ œ
œ œ
œ
#œ œ 3
3
V
?
&
?
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
T
B
(√)
50
aw
˙#˙ ˙#˙
weep,
50 œ
œ œ
œ œ
œ œ
œ œ
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œ œ
œ œ
œ œ
œ œ
œ œ
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œ ‰
œ#œ #œ
#œœ œœ
œ
œ
# œ
#g
g
g
g
g
g
g
#œœ œœ
3
&
Œ œ œ
she would
Œ œ œ
she would
#œœ #œœ œœ œœ
#œœ #œœ œœ #œœ #œœ 5
?
.
. œ
œ#
J
œ
œ# .
.
œ
œ J
œ
œ
#
weep all the
˙
˙ .
. œ
œ
#
J
œ
œ
weep all the
#œœ œœ
œ
œ
# œœ
œ
œ œœ
œ
œ
#
#
#œ #œœ
œ
œ
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œ
œ # œ
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œ #
3
œ œ œ
#œ #œ
œ œ œ #œ œ
œ
œ
# œ œ 3 3
F
F
F

V
?
&
?
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
T
B
◊
√
√
53
#˙. œ
time a -
#˙. œ
time a -
53
J
œ
œ
œ
œœ
œ
##
j
œ
œœ
œ œœ
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œœ
œ
#
œ
œ
#œ œ œ œœœ
œ
œœ
œ œ
œ
œ
3
˙˙
way
˙
˙
way
Œ ‰ j
œ
˙
ww
w
w
œ
œ N
# œ
œ
#œ
# œ #œ
œ
w &
Ó Œ œ
at
Ó Œ œ
at
œ#œ
œ
#œ #œ œœ
3
Œ œ ˙˙
rall.
p
p
rall.
.
.
œ
œ J
œ
œ
# ˙
˙#
mid night lone
. œ
œ. # J
œ Nœ ˙
˙
#
#
mid night lone
œœ
Œ Ó ?
œœ Œ Ó ?
meno mosso
meno mosso
V
?
?
?
T
B
◊
√
58
ww
w
w
58
#œ Œ ‰ .
.
œ
œ
#
# œ
œ &
#w
a tempo, poco accel.
a tempo, poco accel.
∑
∑
œœ #œœ #œ œœ #œœ #œ œœ 3
#w
∑
∑
j
œ
œœ # œœ
œ # œœ
œ .
.
œ
œ J
œ
œ 3
∑
f π
∑
∑
w
w ?
∑

V
?
?
?
T
B
62
˙. œ œ
she would
˙. œ œ
she would
62
#œœ
- #œœ
.
œœ
-
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œœ ‰ œ
œ
˙ j
œ
‰ œ
#œ
π
π
π
#˙ ‰ J
œ œ j
œ
3
weep the time a -
#˙ ‰ j
œ œ J
œ
3
weep the time a -
œ
œ
#
#
-
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.
˙˙ J
œœ ‰
˙. j
œ ‰ œ Œ Ó
˙. Œ
way
˙. Œ
way
#œ œ
œ
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.
œ
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œ
œ
.
œ
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œ
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-
w
w
∑
∑
œ
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œ
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œ
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œ
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#œ
# . œ
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œ
.
&
.
.
. œœ
œ
#
#
j
œ œœ
œ # œ œ
œ
#
#
V
?
&
?
T
B
66
˙. œ
œn #œ
she would
˙. œ
#œ
she would
66
#œœ œ
œ
. œ
œœ
œ
# œ
œ
. œ
œ
œ
-
œ
œ
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#
œ
#œ œ#œ œ
‰ J
œ
#œ
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.
.
œ
œ J
#œ #œ. j
œ
weep the time a -
˙
˙# œ. J
œ
weep time a -
œ
œ#
- œ
œ
. œ
œ
- œ
#œ
# . œ
œ œ
œ
. œ
œ
.
.
.
.
.
œœ
œ
œ
# j
œ œ œœ
œ
˙. Œ
way
˙. Œ
way
œ
œ
. œ
œ
. œ
œ
- œ
œ# . œ
œ
- œ
œ
.
œ Œ Ó
∑
∑
œ
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. œ
œ
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#œ
# . œ
œ
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œ
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œ
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.
œ
œ
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œ
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œ
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œ
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.
∑
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œ
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# . œ
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œ
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œ
.
œ
œ
. œ
œ
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œ#- œ
œ
. œ
œ
.
V
?
&
?
T
B
71
∑
∑
71 œ
œ#œ
- œ
.
œ
œ
œ
-
œ
œ#
.
œ
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œ
-
œ
œ
œ
.
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œ
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.
œ
#œ
#
-
œ
. œ
. œ
œ
-
œ
. œ
.
˙. œ œ
she would
˙. œ œ
she would
Œ œ
. œ
.
œ
œ
œ
#œœ
g
g
g
g
g
g
g -
œ
œ#
.
œ #œ
#œ œ
œ œ œ
#œ œ
3
#œ. J
œ œ. J
#œ
weep the time a -
˙
˙ .
. œ
œ J
#œ
weep a -
œ
œ
#œ
#
-
œ
œ
.
œ
œ
. œ
œ
- œ
œ
. œ
œ
.
j
œ
.
.
. ˙˙
˙
# j
œœ
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˙. Œ
way
˙. Œ
way
œ
œ
- œ
œ# . œ
œ
- œ
œ
.
œ
. œ
.
Ó œ
. œ
.

V
?
&
?
T
B
75
∑
∑
75
œ#œ
œœ
- #œ
œœ
. œ
. œœ œœ
- œ
. œ
œ
œœ
. œœ
œ
œ
#
#
œ
œ œ#œ œ œ
œ
∑
∑
j
œ #œœ j
#œœ Œ œœ
œ
œ
# œ
œœ
œ œœ
œœ #
3
œ
œ
#
#œ œ œ œ
œ
#œ œ
#œ
œ 3
∑
∑
j
#œ
œœ
œ
œ
# œœ
œ
œ .
.
.
.
œ
##œ
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3
œ
œ
œ
# œ œ œ œ œ œ #œ J
œ 3
3
F
V
?
&
?
T
B
78
Œ
j
œ #œ
o ∏ o
.
.
/
j
œ œ. o
o œ. U
o
oh
Ó
j
œ #œ
o ∏ o
.
.
/
j
œ œ. o
o #
Uœ.
o
oh
78
∑
w
U
U
U
enter one by one
enter one by one
‰
∏
.
.
.
.
œ
œœ
œ
b ˙
˙˙
˙
.
.
.
˙
˙
˙
#
#
œ
œ
œ
poco accel.
‰ .
.
.
. œœ
œœ # œœ
œœ œœ
œ
œ #
.
.
.
.
.
˙
˙˙
˙
˙
#
#
g
g
g
g
g
g
g
g
j
œ
œœ
œ
œ
‰
, .
.
/
, .
.
/
,

V
?
&
?
T
B
√
81
81 ˙
˙˙ # ˙ œœ
œœ œœ
œ
œ
‰ .
.
œ
#œ g
g
g
g
g
g
g
g
g
˙
˙
œ. #
#˙
.
.
.
.
œ
œœ
œ #
# ‰ Ó
U
U
.
.
.
.
˙
˙˙
˙
#
# g
g
g
g
g
g
g
g
j
œ
œœ
œ
u
u
‰ ˙ œ.
rall.
œ œ œ#œœ œœ œœ œœ
œ œœ
œ œœ #œœ œœ
œœ œœ
œ œœ
œ œœ
œ œœ œœ
œ œœ
œ
∑
V
?
&
?
T
B
(√)
84
84
œ
œ
# œœ
œ œ
œ œ
œ œ
œ
œ
# œ
œ
œ œœ
œ
œ œœ
œ
œ œœ
œ œœ
œ œœ
œ œœ œ Nœœ œ
œœ œ
œ œœ
œ
∑
œœ œœ œœ # œ œœ
œ œœ
œœ œœ
œœ œ
œœ œ
œœ œ
œœ œœ œœ
œ # œœ
œ œ
œ œœ
œ œœ
œ œœ
œ
∑
V
?
&
?
T
B
(√)
86
86
œœ
œ ## œœ
œ œœ
œœ œœ
œœ œ
œœ œ
œœ œ
œœ œœ
œ
œœ œ
œœ
œ
œ
œœ
œ
# œœ œœ œœ
œ œœ
œ
∑
œœ ##œœœœ
œœœœ
œœœ
œœœ
œœœœœœœ œ œ ‰ Œ
‰ .
.
.
œ
œ
œ
# ˙
˙
˙
∑
˙
˙
˙
# j
œ
œ
œ
‰ Œ &

V?&&
TB
89
89
Œ
#
˙
.
Ó
.
#
œ
wÓ
˙
˙
jœ
˙
‰
Œ
Jœ
?
˙
jœ
‰
Œ
˙
Jœ
?
dim. al niente
dim. al niente
...
˙
#
˙˙∏
œœ
œ
..
˙˙
#
œ
#
œ
ww
#
#
ww
∑∑UU
∑∑∑∑UU

&
&
?
8
12
8
12
8
12
8
9
8
9
8
9
8
6
8
6
8
6
Solo
Mezzosopr.
∑
œ
œœ
œœ b
bbb .
œ
œœ
œœ
. œ
œœ Nœœ œ. ˙.
œ
œœ
. œ
œœ
. œœ
œœ bb œ. ˙. bœ. Œ. Ó.
q. = ca 48-52
π
Ó. Œ. ‰
bœ
'Tis
w.
w.
π
bœ. bœ. ‰ ‰ j
bœ J
bœ œ
moon-light, 'tis sum-mer
bw.
∏
bw.
bœ. nœ. j
œ ‰ ‰
moon-light,
˙. œ.
˙. œ.
&
gl.
&
&
&
8
6
8
6
8
6
8
12
8
12
8
12
8
9
8
9
8
9
8
12
8
12
8
12
√
5
∑
5
œ #œ
œ #œ
œ
œ
æ
J
œ
æ
œ.
æ
3
3
˙.
æ
bœ. bœ J
œ bœ. ‰ bœ bœ
all soft and still and
.
.
.
.
œœ
œ
œ
#
æ J
œ
œ
œ
b
b
œ
œ
œ
œn
æ
J
œ
œ œ
œ
œ
æ j
œ
bœ
b
.
. œ
œ
b
b
æ
.
. œ
œ
b
b
æ . bœ
œ.
æ .
.
.
œ
œ
bœ
æ ?
π
bœ. j
œ ‰ ‰ Œ.
fair;
‰ œ
œœ
œ b
bbb œ
œœ
œ œ œ
J
œ
œœ
œ ‰ ‰
J
œ
œ
b
b bbœœ œ
bœ bœ bœ J
œœ
œ
œ ‰ ‰
&
&
?
8
12
8
12
8
12
8
6
8
6
8
6
8
12
8
12
8
12
8
‰ ‰
bœ œ bœ bœ nœ
the so-lemn hour of
8
.
.
.
.
˙
b˙
˙˙
b
b œ
œ
œœ j
œ
‰bœ
œ
.
.
œ
œ
b
b
bœ. œ
j
bœ
Œ j
œ
poco cresc.
p
#œ. bœ.
mid - night
œœ
œœ
œ
œ N
# b
b
b
g
g
g
g
g
g
g nœ
bœ œ œ
œœ # bœ
nœ
œ
4 4
œ bœ
bœ œ
œœ
œ
b
b œ
‰
∑
#œ bœ Œ
j
œ #œ j
bœ j
œ #œ
2
œ œ bœ
Œ.
œ œ bœ œ
bœ 2 bœœ.
4
VI. Moonlight, Summer Moonlight

&
&
?
8
6
8
6
8
6
8
12
8
12
8
12
8
6
8
6
8
6
11
∑
11
#œ œ œ œ. j
œ œ ‰ œ œ j
œ j
œ œ.
b˙. j
œ
‰ ‰ Œ.
F p P
bœ. j bœ œ.
brea - thes
.
. œ
œ
b
b .
. œ
œ
b
.
.
œ
œ
b .
.
œ
œ
b
p
bœ. œ. J
nœ bœ J
œ ‰
2
sweet thoughts
.
.
.
.
œ
œ
œ
œbb
g
g
g
g
g
g
g
g
œ
#œ
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bœ
b œ
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bœ
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b
œ
2
2
?
œ
bœ
b bœ
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œ
bœ
bb
b
g
g
g
g
g
g
œ
œ
œ
œ
œ j
œœ
œ œ
P
&
?
?
8
6
8
6
8
6
8
12
8
12
8
12
14
bœ. œ. eve - ry -
14 .
.
.
. œœ
œ b œ
b
b .
.
.
œ
œ
œ
b &
j
œ
bœ
b bœ
j
œ
bœ
b œ
poco
π
n˙. œ. Œ.
where
j
œ
œbœœ N
b
b
œ œ. œ
œ œ
œ# œ
œ œ
œ#
Œ. 2
œ
œ
bœ
b
b
g
g
g
g
g
g œ œ bœ bœ bœ œ
œ œœ ‰ .
.
œ
œ .
. œœ œ
œ œœ ‰
P
&
&
?
16
∑
16 œ
œ
# œ
œ# œ
œ œ
œ
‰ œ
œ
b
b bbœœ
‰ œ
œ œ
œœ b .
.
œ
œ .
.
. œ
œœ 2
j
œ
œ
œ
b
b bbœœ
.
.
œ
bœ
b .
.
˙
˙
rall.
rall.
∑
∑
bœ. œ
j
bœ ˙.
b˙. Ó. &
,
‰ bœ bœ. bœ. œ j
œ
but most where trees are
.
.
.
.
.
œœ
œœ
œœ
b
bbb
∏
. œ
œ. bb .
. œ
œbb Œ. .
. œ
œ .
. nœœ
j bœ
.
.
.
. œ
œœ
œ
b
b Ó. Œ.
π
,

&
&
&
8
9
8
9
8
9
8
6
8
6
8
6
8
12
8
12
8
12
19
bœ.
nœ. j
œ ‰ ‰ Œ.
sen-ding
19
Œ. . œ
œ. bb .
. œ
œbb Œ. bœ
œbœ bœ
4
∑
gl. bœ. bœ bœ bœ j
bœ
2
their bree-zy boughs on
.
.
.
œ
#œœ
æ
œ
œ
œ
b
b
æ
œ
œ
œn
æ
œ
œœ
œ b
æ J
œ
bœ
b
æ 2
.
.
.
œ
œ
bœ
b
b
æ œ
œ
b
b
æ œbœ
æ .
.
.
œ
œ
bœ
æ
2
?
bœ. j
œ
‰ ‰ Œ.
high,
j
œ
œ
b
b
J
œ
œ
b
b œ
bœ œœ
œ b œ
# j
œ
bœ j
œ
œ œ
bœ
j
œ
œ
b
b
œ
œ
b
b .
.
˙
˙
P
Œ. ‰
bœ
or
.
.
.
œœ
b œ
#
g
g
g
g
g
g bœ.
.
.
œ
œ bœ.
&
&
?
8
12
8
12
8
12
8
6
8
6
8
6
8
9
8
9
8
9
√
23
œ bœ bœ j
nœ #œ. bœ. 2
stoo-ping low are en - ding,
23 .
.
.
.
œ
œ
œ
œ
b
bb .
. œ
œ NN -
Œ.
.
. œ
œ
-
.
.
.
.
œ
œ bœœ
b
bb
.
. œ
œ
b
b .
. ˙
˙
∑
œ #œ
œ #œ
œ
≈ ‰ œ œ
œ œ
œ
≈ ‰
3
3
3
3
bœ. bœ.
bœ bœ bœ
j
bœ 2
en - ding a
œ
œ
b
b bœ bœ. 2
.
.
.
œ
œ
œ
b
b
g
g
g
g
g
g
.
.
.
œ
œ
œ
b
n
g
g
g
g
g
g
cresc.
&
&
?
8
9
8
9
8
9
8
12
8
12
8
12
√
26
bœ. œ. œ bœ bœ shel - ter from the
26 œ. œ œ œ
Œ.
.
.
.
.
.
œœ
œ
œ
œ b
b
b
gbg
g
g
g
g
g
.
.
.
œ
œ
bœ
bg
g
g
g
g bœ
œ œ
n˙. b˙.
sky.
j
œ
œbœœ N
b
b
œ œ. œ
œ œ
œ# œ
œ œ
œ#
Œ. 2
œ
œ
bœ
b
b
g
g
g
g
g
g œ œbœbœbœ œ
œ œœ ‰ .
.
œ
œ .
. œœ œ
œ œœ ‰
dim.
F

&
&
?
8
6
8
6
8
6
8
12
8
12
8
12
28
b˙. b˙.
28 œ
œ
# œ
œ# œ
œ œ
œ
‰ œ
œ
b
b bbœœ
‰ œ
œ œ
œœ b .
.
œ
œ .
.
. œ
œœ 2
j
œ
œ
œ
b
b bbœœ
.
.
œ
bœ
b .
.
˙
˙
U
U
∑
∑
.
.
˙
b˙
b
Ó. Œ. ‰ ‰ j
bœ
And
.
.
.
.
.
˙˙
˙
˙˙ b
b
b
bb œ œ bœ bœ bœ
œ
.
.
.
.
œœ
œ
bœ
Nb g
g
g
g
g
œœ
œ
œ J
bœ Ó.
π
,
∏
&
&
?
31
bœ. ‰ ‰ j
bœ bœ. bœ.
there in those wild
31
bœ bœ œ bœ bœ bœ J
bœ
‰ ‰ œ bœ œ
Ó. ‰ œ bœ Œ.
j
bœ bœ œ ‰ Ó.
bo - wers
bœ bœ bœ Nœ bœ bœ J
bœ bœ bœ œ œ
Ó.
bœ bœ bœ bœ bœ bœ
&
&
&
&
8
5
8
5
8
5
8
6
8
6
8
6
8
12
8
12
8
12
√ ¤
33
‰ ‰ j
bœ bœ. bœ. bœ j
œ
a love - ly form is
33
bœ œ
œ
œ
Nœ
œ bœ bœ bœ bœ ‰ œ œ bœ
bœ bœ bœ J
œ ‰ ‰
bœ œ bœ J
bœ ‰ ‰
gl.
bœ. ‰ ‰
laid;
œ. œ
œ
œ N
b bœ bœ bœ bœ
?
∑
bœ bœ bœ Œ.
bœ bœ ‰ œ
bœ
b œ
œ œ
bœ

&
&
?
8
12
8
12
8
12
8
6
8
6
8
6
36
b˙. œ. œ œ
2
green grass and
36 œ
œ b œ
b
g N
g
g
g
g
g
g
g
œ bœ œ
œ
b œ
œ
b œ œ
œ bœ œ œbœ ‰
j bœ
.
.
œ
œ
b œ
œ J
œ .
.
œ
œ
b œ
œ œ
Nœ
bœ j
œ bœ bœ bœ. Œ. 2
dew - steeped flo - wers
œ
œbœ
b
b œ
œ
œ
bœœ
œ œ
œ
œ œ
œ
œ œ œ
Nœ
Aœ #œ œ œ
œ
œ œ
œ
b œ bœ
œ
œ
b
b
bœ œ
œ
œ œ œ
œ
œ
œ
œ
œ
œ œ œ œ
œ
œ
œ œ.
&
&
?
8
6
8
6
8
6
8
12
8
12
8
12
38
∑
38 bœ bœ bœ
Nœ j
bœ
Œ. œ bœ ‰
bœ. œ j
bœ œ. bœ. wave gent - ly round her
œœ
œœ b
bb bœ .
.
.
. œœ
œ
œ
b
b nœ nœ
#œ
bœ œ
bœ
b œ
œ
b 2
bœ bœ œ
bœ œ œ Œ. J
bœ ‰ ‰
rall.
p
p
rall.
nœ. j
nœ bœ. J
œ œ bœ.
head,
bœ œ
#œ
œ
œ
œ
œ ‰ œ
#œ
œ
#œ
œ
.
.
.
œ
œ
bœ
b
b
g
g
g
g
g
g
.
.
.
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g
g
g
g
g
g
.
.
.
.
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b
b
b
g
g
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g
g
.
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.
œ
œ
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g
g
g
g
g
g
g
g
&
&
?
41
bœ. œ j
bœ ˙.
41
.
.
.
.
.
.
œœ
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œ
œ N
# b
b
b
g
g
g
g
g
g
g
.
.
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.
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œ
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#g
g
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g œ. œ. œ œ ‰
.
.
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.
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b
n
b
b
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bg
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g
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.
.
.
œ
œ
œ
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g
g
g
g
g
g
g
g
gl. ‰ bœ œ. bœ. œ ‰
head.
œ
œ œ
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œ œ
œ# ‰ œ. bœ. œ. œ. Ó. #œ. .
.
œ
bœ
.
.
.
œ
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b .
.
œ
œ œ. .
.
œ
bœ
π

&?
43
....
˙˙˙˙
b
b
b
b
∏
..
œœæ
œœæ
‰
?
b
œ
.
Ó
.
Œ
. U
U
‰
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b
œ
b
b
...
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...
˙˙
b
˙
b
˙
.
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.
b
œ
.
œ
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j
b
œ
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.
jœ
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.
...
˙˙
b
˙
b
b
œœœ
‰
Œ
.
b
œ
œ
b
œ
..
œœ
œœ
‰
Œ
.
2
??
46
b
œ
Jœ
b
œ
b
œ
œ
b
œ
œ
œ
.
2
2
∑
rall.
,
Jœ
œœœ
b
b
...
œœœ
...
˙˙˙
b
&
‰
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b
b
..
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b
œ
.
..
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b
œ
b
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b
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∏
b
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b
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b
˙
.
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.
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‰
b
œ
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Œ
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Ó
.
UU

&
&
V
?
8
5
8
5
8
5
8
5
4
3
4
3
4
3
4
3
8
5
8
5
8
5
8
5
4
2
4
2
4
2
4
2
8
5
8
5
8
5
8
5
S
A
T
B
œ bœ.
Oh
œ
œ . bœ
œ. Oh
œ œ.
Oh
œ
œ . œ
œ. bb
Oh
q = ca 56-60
P π
P π
P π
P π
œ bœ. J
œ
œ
œ ˙
˙
œ bœ. J
œ
œ
œ ˙b˙
P π
P π
P π
P π
VII. The Sun Has Set
œ œ.
œ
œn . œ
œ.
‰ ‰ bœ.
‰ ‰ .
.
œ
œ
b
b
P
P
P
P
œ œ.
œ
œb œ
œ . œ
œ.
bœ œ.
œ œ.
π
π
π
π
∑
˙
œ bœ œ œ œ
3
∑
&
&
V
?
&
&
8
5
8
5
8
5
8
5
8
5
8
5
8
3
8
3
8
3
8
3
8
3
8
3
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
3
4
2
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
4
4
4
4
2
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
6
∑
œ œ.
œ œ.
∑
6 œ
œ
œ
>
>
> .
.
.
œ
œ
œ
b
b
œ
œ
œ
> .
.
.
œ
œ
œ
bb
π
∑
œ.
œ.
∑
‰
œ
œ
œ
>
>
>
‰ œ
œ
œ
>
∑
˙
˙
∑
.
.
.
œ
œ
œ
b J
œ
.
.
. œ
œ
œ
b
b J
œ
∑
˙.
˙.
∑
‰ .
.
.
œ #œœ
>
>
> œ
œœ œœ b œ
>
>
>
‰ .
.
. œœ bb œ
> œ
œœ œ
bœœ
>
∑
˙
˙
∑
˙˙
˙
˙
˙˙
Ó Œ œ
The
Ó Œ œ
œ
The
Ó Œ œ
The
Ó Œ œ
œ
The
‰
œ. œ
Œ
∑ ?
rall.
rall.
œ. j
œ
sun has
. œ
œ. j
œ
œ
sun has
œ. j
œ
sun has
.
. œ
œ J
œ
œ
sun has
∑
œ
. Œ

&
&
V
?
&
?
4
4
4
4
4
4
4
4
4
4
4
4
4
2
4
2
4
2
4
2
4
2
4
2
8
5
8
5
8
5
8
5
8
5
8
5
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
13
b˙ j
œ ‰ œ j
œ
3
set and the
˙b˙ j
œ
œ
‰ œ
œ j
œ
œ
3
set and the
˙ j
œ ‰ œ j
œ
3
set and the
˙
˙bb j
œ
œ ‰ œ
œ J
œ
œ
3
set and the
13
Ó Œ œ
.
bœ
. Œ Ó
bœ. J
œ
long
˙
˙
long
bœ. J
œ
long
˙b˙
long
∑
bœ
. bœ
. Œ
œ œ.
grass
œ
œn . œ
œ.
grass
bœ œ.
grass
œ
œ
b
b .
.
œ
œ
grass
∑
bœ
.
bœ
. Œ ‰
œ œ.
now waves
œ œbœ . œ
œ.
now waves
bœ œ.
now waves
œ œ.
now waves
∑
œ
. Œ ‰
bœ œ bœ. drea-mi - ly
bœœ œœ bœ.
drea-mi - ly
bœ œ.
drea -
nœ .
. œ
œ
b
b
drea -
œ bœ j
œ
nœ
. bœ. .
legato
&
&
V
?
&
?
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
18
bœ. j
œ bœ. j
bœ in the eve - ning
.
. bœœ j
œœ bœ. j
œ in the eve - ning
bw
mi -
˙ ˙
˙
b
b
mi -
18
˙ bœ Œ
œ
. Œ bœ
.
bœ
. bœ
.
w
wind;
œ bœ œ œ œ œ œ œ œ œ œ œ œ
3
wind;
w
ly
w
w
n
ly
Ó
œ œ
œ œ œ bœ œ
bœ
œ
œ œ
œ#œœ œ bœ
6
6
œ bœ
œ
œ
( )

&
&
V
?
&
?
4
1
4
1
4
1
4
1
4
1
4
1
8
5
8
5
8
5
8
5
8
5
8
5
S
A
T
B
√ √
20
∑
∑
∑
∑
20
œ œ œ #œ œ
≈ œ
œ œbœœ œ
œ œ
œ œ
œ
b œ
#œ
œ
œ
œ œ œ
≈
6 œ bœ 6
6
w
w
Œ
Œ
Œ
Œ
œ
∑
œ œ.
Ah
œ
œ .
. œ
œ
b
b
Ah
œ bœ.
Ah
œ
œ .
. œ
bœ
Ah
#œ œ
j #œ bœ bœ
œ
œ bœ ‰
f
f
f
f
f
œ œ œ œ œ
œ
œ œ
œ
b
b œ
œ œ
œ
œ œ bœ.
œ
œ .
. œ
bœ
‰ j
nœ œ œ
#œ
œ bœ ‰
&
&
V
?
&
?
4
3
4
3
4
3
4
3
4
3
4
3
8
5
8
5
8
5
8
5
8
5
8
5
4
2
4
2
4
2
4
2
4
2
4
2
S
A
T
B
24
‰ j
œ bœ.
‰ j
œ
œn . bœ
œ.
‰ j
œ œ.
‰ J
œ
œ . œ
œ. bb
24
j
œ #œ Œ j
œ
‰ j
œ œ
bœ
b œ œ
œ
œ bœ. J
œ
œ
œ ˙
˙
œ bœ. J
œ
œ
œ ˙b˙
œ #œ
j
nœ bœ œ #œ œ nœ
3
Œ .
.
œ
œ
b
b ‰
bœ œ.
œ
œ .
. œ
œ
bœ œ.
œbœ . œ
œ.
‰ j
œ j
œ bœ j
bœ
?
bœ. Œ
œ œ ‰
œ
œb œ
œ œ
œ ‰
bœ œ ‰
œ œ ‰
‰ J
bœ j bœ œ J
œ
œ œ œ Œ
nœ œ.
œ
œ .
. œ
œ
b
b
nœ bœ.
œ
œ .
. œ
bœ
‰ œ œ &
œ bœ ‰
f
f
f
f

&
&
V
?
&
?
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
29
˙
˙
˙n
˙
˙
˙
29
#œ. >
j bœ j
œ
j
œ ‰ Œ
bœ œ ˙
œbœ œ
œ ˙
˙
œ œ ˙
œ
œbb œ
œ ˙
˙
#œ œ œ
j
œ j
#œ nœ j
bœ
3
bœ œ j
œ j
#œœ nœ j
œ
rall. p
p
p
p
rall.
∑
∑
Ó œ j
œ
3
And the
Ó œ J
œ
3
And the
˙
Œ
˙ Œ
p
V
?
&
?
4
4
4
4
4
4
4
4
T
B
Ÿ~~~~~~~~~~~
32
œ œ. j
œ œ
wild bird has flown
œ bœ œ œ. J
œ œ œ œ
3 3
wild bird has flown
32
œ œ œ œbœ#œ
œ œ œ œ
œ œ
œ œ œ
œ
# œ œ
œ
œ
œ œ œ
œ œ œ œ œ œ 6 6 3
6
w
æ
poco piu mosso
poco piu mosso
bœ œ œ œ œ
from that old gray stone
œ œ œ bœ œ œ œ œ œ
3 3
from that old gray stone
˙Y œ
œ
# œ #œœ œ
œ
œœ œ œ
bœ œ œ œ
6 6
w
æ

V
?
&
?
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
T
B
Ÿ~~~~~~~~~~~~
34
Ó œ œ œ
in some warm
Ó œ œ œ bœ œ
3
in some warm
34
##œœœ œ#œ œ œ œ œ ˙y
Œ Œ Nœ œ œ œ
3 3
w
æ
bœ j
œ œ j
œ ˙ 3
3
nook a couch to find.
œ J
œ œ J
œ ˙
3 3
nook a couch to find.
##œœ#œ#œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ 6 6
œ œ œ
3
w
æ
∑
∑
bœœ œ#œœ #œ œ#œ #œ
3 3
∑
rall.
rall.
V
?
&
?
4
4
4
4
4
4
4
4
T
B
37
‰ ≈ ≈ R
#œ bœ œ œ j
œ œ. 3
3
The wild bird,
Ó ‰ ≈ ≈ R
œ #œ œ bœ
3
3 The wild
37
#œœœœœbœ#œ œ J
œ œ œ œ œ œœœœ#œœœ 6
3
3
3
œ
œœ
œ
œ
g
g
g
g
g
g
g
œœœœbœ#œ
œœœ œ œ #œ
6 5
‰ #œ bœ j
œ œ œ #œ ˙ 3
3
wild bird.
J
œ #œ ‰
bœ œ j
œ #œ œ œ œ
3 3
3 bird, wild bird.
œ
œ
# œ
œ
# œ
œ
# œœbœœœœ œ
œ
# œ
œ
œ
œœœbœœœœ œ
Nœ
a œ œ œ œœ œ 6 6
3
Œ ‰ œ #œ œœ 3 œœbœ#œ
5
V
?
&
?
4
2
4
2
4
2
4
2
T
B
39
j
œ ‰ Œ Ó
J
œ ‰ Œ Ó
39
‰ œ
œ
œ
#
##
> œ
œ
œ œ
œ
œ œ
œ œ
œ
œ œ
œ œ
œ
œ œœ
œ # œ
œ
œ œœ ‰ œ
œ
œ
> œ
œ
œ
œ œ œ œ bœ #œ œ œ œ œ œ œ bœ œ œ
6
3
3 3
poco
∑
∑
œ
œ
œ
#
## œ
œ œ
œ
œ œ
œ œ
œ
œ œœ
œ # œ
œ
œœœ ‰ œ
œ
œ
> œ
œ
œ ‰ œ
œ
œ
>œœ
œ
œ. ‰
j
œ #œ bœ œ œ
3

&
?
4
2
4
2
4
4
4
4
41
#œ#œ#œ#œ œ œ
3 3
œ Œ
˙ b˙ #œ œ œ œ œ œ œ œ œ œ œ œ 6 6
bœ
œ
bœ œ
œœ
œ b
N ˙
˙˙
˙ œ œ
œ
œ
œ
b
b
3 3
˙ ˙ #œ œ#œ œ œ œ œ œ œ œ œ œ 6 6
˙
˙
˙
˙ œ œ œ bœ bœ
5
&
&
&
?
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
8
5
8
5
8
5
8
5
S
A
44
Ó Œ œ
In
Ó Œ œ
œ
In
44
#œœ œ#œœœœœ œ ‰
3 3
?
#œ œ
‰ Œ Ó 3
rall.
rall.
œ. j
œ
all the
. œ
œ. j
œ
œ all the
#˙˙
œ œ œ œ œ œ œ œ œ œ 6
π
π
π
bœ j
œ ˙
3
lone - ly
œbœ j
œ
œ ˙
˙
3
lone - ly
‰ J bbœœ .
. œœ J
bœ
œ
bœ
bœœœœœ œœœœ j
œ ‰
6
œ bœ. J
œ
land - scape a -
œ
œ .
. œ
œ j
œ
œ
land - scape a -
. bœœ. ‰ œ
œ
œ
œ
œ
œ
œ
œ œ
œ
b
b
œ
œ
œ J
œ‰
6
&
&
?
?
8
5
8
5
8
5
8
5
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
S
A
48
œ œ.
round
œ
œn . œ
œ.
round
48 œ bœ œ œ œ œ œ
œ
œ
b
b
bœ œ œ œ œ œ ‰
6
œ œ.
I see
œ
œb œ
œ . œ
œ.
I see
Œ .
. bbœœ
œ œ œ œ œ œ œ
œ
œ œ œ J
œ
6
bœ œ bœ. j
bœ
no light and
bœœ bœ. j
œ
no light and
bœœ ‰ œ J
bœ
Œ bœ
bœ œ œ œ œ œ œ œ œ 6

&
&
?
?
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
S
A
51
bœ. j
œ bœ. j
bœ
hear no
b˙˙ b˙
hear no
51
‰ J
bœ œ bœ bœ œ.
-
j
œ
- 3
&
œ. ‰ œ
œ
b
b
bœ
œ
œ
œ
œ
œ
œ
œ œ
6
w
sound,
w
sound,
œ œ œ œ œ bœ œ œ œ #œ œ
≈ Ó
6
6
Œ œ œ œ
œ œ bœ œ œ œ #œ œ
≈ Œ
6
6
&
∑
∑
¿
¿. ‰
∑
wind sounds
&
&
V
?
&
&
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
8
5
8
5
8
5
8
5
8
5
8
5
S
A
T
B
54
∑
∑
∑
∑
54
¿
¿ Ó
Ó ¿. ‰ ?
U
U
,
,
∑
∑
∑
∑
Œ j bbœœ ˙˙
3
J
œ bœœ ˙˙
3
ppp
Œ ‰ j
œ œ j
œ
3
ex - cept the
Œ ‰ j
œ œ j
œ
3
ex - cept the
Œ ‰ j
œ œ j
œ
3
ex - cept the
Œ ‰ J
œ œ J
œ
3
ex - cept the
Œ œ
œ
œ
#œ
# œ
œ
œ
œ
3
.
.
.
. ˙˙
˙˙ b
bb
æ
molto
œ œ.
wind,
œ
œ .
. œ
œ
b
b
wind,
œ bœ.
wind,
œ
œ .
. œ
œ
b
wind,
#œ œ
j #œ bœ bœ
œœ
œ
b >
>
bœ œ bœ bœ œ bœ
ƒ
ƒ
ƒ
ƒ
ƒ

&
&
V
?
&
?
4
3
4
3
4
3
4
3
4
3
4
3
8
5
8
5
8
5
8
5
8
5
8
5
S
A
T
B
58 œ œ œ œ œ
wind,
œ
œ œ
œ
b
b œ
œ œ
œ
wind,
œ œ bœ.
wind,
œ
œ .
. œ
œ
b
wind,
58
‰ J
nœ œ œ
#œ
œ œ
œ
bœ œ
œ
œ œ
bœ œ bœ
‰ J
œ œ.
wind
‰ j
œ
œ .
. œ
œ
b
b
wind
‰ J
œ bœ.
wind
‰ J
œ
œ .
. œ
bœ
wind
j
œ #œ œ
œœ b
bb œ œ
œ œ œ
#œ œ
œ œ
œ œ
œ
b bœ bœ
bœ J
œ
6
œ bœ. J
œ
that's far a -
œ
œ .
. œ
œ j
œ
œ
that's far a -
œ bœ. J
œ
that's far a -
œ
œ .
. œbœ J
œ
œ
that's far a -
#œ #œ
j
nœ bœ œ œ œbœ nœ
3
bœœ œ œ
bœ œ#œœ œ
bœ
bœ
œ
nœ œ œ
œ œ œ 6
&
&
V
?
&
?
8
5
8
5
8
5
8
5
8
5
8
5
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
S
A
T
B
61 bœ œ.
way,
œ
œ .
. œ
œ
way,
bœ œ.
way,
œbœ . œ
œ.
way,
61
‰
œ
œ
œœ b
bb œ
œ
œœ œ
œœ
œ
bœ œ j
œ bœ J
bœ
dim.
dim.
dim.
dim.
dim.
bœ bœ œ.
œ
œ
b
b œ
œ .
. œ
œ
œ bœ œ.
œ
œbb œbœ . œ
œ.
‰ œ
œ
œœ b
bb œ
œ
œœ œ
œœ
œ
œ
œ
b
b nœ œ #œ œ
œ œ ‰
wind
œ
œb œ
œ œ
œ ‰
wind
bœ œ ‰
wind
œ œ ‰
wind
‰ œœ
œ
œ
b œœ bœœ œœ
œ
œ ‰
3
œ œ
œ
b j bœ œ
œ J
œ
nœ œ J
œ
that's far a -
œ
œ œ
œ
b
b j
œ
œ
that's far a -
nœ bœ J
œ
that's far a -
œ
œ œ
œ
b
J
œ
œ
that's far a -
Œ œ
œ
œœ b
bb J
œœ
œ
œ
b
‰ œ œ œ bœ ‰
œ. ‰ œ œ œ œ
3
way, wind,
. œ
œ. n ‰ œ
œ œ
œ
b
b
way, wind,
œ. ‰ œ bœ
way, wind,
.
. œ
œ ‰ œ
œ œ
œ
b
way, wind,
.
.
.
. œœ
œ
œ
#
‰ ‰
œ
œ
œœ J
bœœ
j
œ
#œ.
j bœ
J
œ œ.
‰

&
&
V
?
&
?
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
66
bœ œ œ. ‰
wind,
œbœ œ
œ . œ
œ. ‰
wind,
œ œ œ. ‰
wind,
œ
œbb œ
œ . œ
œ. ‰
wind,
66
‰ J
bœœ œ
œ
œœ b
bb œ
œœ
œ œœ
œ b œ Œ
3
œ
œ#b œ
œ œ j
œ
J
#œœ nœ J
œ
3
œ bœ œ
come sigh - ing
œ
œ œbœ œ
œ come sigh - ing
œ œ œ œ
come sigh - ing
œ œ œ bœ œ œ bœ 3 come sigh - ing
œ
œ
œœ .
.
.
.
.
œ
œ
œœ bœ
b
bb j
œ
œ œ bœ
bœ œ
3
œ bœ. j
œ
o' - er the
œ
œ . bœ
œ. j
œ
œ o' - er the
œ œ œ bœ œ
o' - er the
œ œ œ bœ œ œ bœ 3 o' - er the
œ ˙
˙
˙˙ b
bb
Œ
bœ œ bœ
&
&
V
?
&
?
4
4
4
4
4
4
4
4
4
4
4
4
8
5
8
5
8
5
8
5
8
5
8
5
S
A
T
B
√ √
69
œ bœ œ ˙
heal - thy
œ
œ œbœ œ
œ ˙
˙
heal - thy
œ œ œ ˙
heal - thy
œ œ
œbb œ
œ ˙
˙
heal - thy
69
Œ ‰ .
.
.
. œ
œœ
œ Œ
œ
œ
bœ œ
bœ
œ
œ .
.
.
œ
œbœ ‰
w
sea.
œ bœ œ œ œ œ œ œ œ œ œ œ œ
3
sea.
w
sea.
w
w
sea.
‰ .
.
.
. œ
œœ
œ
b
b
b
œ
œ œ
nœœbœ œ
œ
œ
œ
œ
œ#œœ œ 6 bœ
6
œ b˙
œ
œ
π
π
π
π
( )
π
∑
∑
∑
∑
œœœ#œœ
≈ œ
œ
œ
œ œ
œœœ œbœ
œœœœœ
≈Œ
6
6
6
j
œ
bœ. œ. ‰ œ. bœ.

&
&
&
?
8
5
8
5
8
5
8
5
S
A
72
œ. œ
Wind that's
∑
72
∑
∑
bœ. œ
far a -
œ
j
œ bœ
Wind that's far
∑
∑
œ œ ‰
way,
œ bœ œ.
a - way,
∑
∑
bœ œ bœ œ
wind that's far
œ. bœ œ
far
∑
∑
bœ. œ
a - way,
œ. ‰ ‰
∑
∑
œ. œ
∑
#œœ bœœ œ
œb #œœ œ
œb
∑
&
?
4
4
4
4
78
#œœbNœœbœœ
bœœbœœ
∑
#œœ bœœ œ
œb #œœ œ
œb
∑
#œœbNœœbœœ
bœœbœœ
∑
bœœ bœœbœœbœœœœ
∑
œœbœœ bœœ bbœœ
œœ
∑
&
&
V
?
&
?
4
4
4
4
4
4
4
4
4
4
4
4
4
2
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
2
4
2
4
2
4
2
4
2
4
2
8
5
8
5
8
5
8
5
8
5
8
5
S
A
T
B
83
œ.
j
œ bœ.
J
œ
wind that's far a -
œ.
j
œ bœ.
J
œ
wind that's far a -
œ.
j
œ bœ.
J
œ
wind that's far a -
œ. J
œ bœ. J
œ
wind that's far a -
83
˙˙
˙
bb æ Ó
˙˙
˙ bb
æ Ó &
poco meno mosso
poco meno mosso
˙
way,
. œ
œ. n j
œ
way,
bœ œ œ
way,
b˙
way,
˙
˙
˙
˙
˙ b˙
?
w
ww
w
w
∑
www
b
b
˙.
wind
œ
œb œ
œ ˙
˙
wind
b˙.
wind
˙.
wind
∑
∑
,
,
,
,
œœœ œ œ bœ 3
that's far, that's far
œ
œ œ
œ
b
b œ
œn œbœ that's far, that's far
œ œ bœ œ œ
that's far, that's far
œ
œ œ
œ
b œ
œ œ
œbb
that's far, that's far
∑
∑
œ œ
a - way.
œ bœ œ
a - way.
œ œ a - way.
œ bœ œ
a - way.
∑
∑ &

&
&
V
?
&
&
8
5
8
5
8
5
8
5
8
5
8
5
8
3
8
3
8
3
8
3
8
3
8
3
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
3
4
2
4
2
4
2
4
2
4
2
4
2
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54
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61
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A
67
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67
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71
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S
A
B
76
‰ ‰ j
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76
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A
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82
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82
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mark where it
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mark where it
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pon the
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pon the
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&
&
?
&
?
S
A
B
88
#œ. heath;
#œ.
heath;
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heath;
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#œ
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j
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j
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wan- der - er,
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kneel thee
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kneel thee
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#œ j
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#œ j
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down, and
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down, and
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pray
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&
&
V
?
&
?
S
A
T
B
94
œ j
#œ
and
œ j
#œ
and
Œ j
#œ
and
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and
94
≈
#œœ œœ œœ œœ œ
#œ
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#œ pray and
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pray and
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pray and
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pray and
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pray and
#œ j
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pray and
#œ j
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pray and
≈
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#œ
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# #œ
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pray and
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pray and
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pray,
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pray,
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# #œ
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&
&
V
?
&
?
S
A
T
B
99
#œ j
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kneel
#œ j
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kneel
#œ j
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kneel
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kneel
99 œ
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#
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J
nœ œ
down
J
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J
nœ œ
down
J
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and
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and
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and
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and
nœ#œ œ œ
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#
#œ œ œ #œ œ 3
3
3
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# œ œ
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pray.
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pray.
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pray.
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pray.
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#œ
# #œ œ œ
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dim.
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N œ
&
&
V
?
&
?
S
A
T
B
104
œ.
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104
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# #œ
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#œ
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∑
#œ œ œ œ
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#œ
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∑
∑
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#œ œ
œ# œ
#œ
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œ œ
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#
# œ
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&
&
V
?
&
?
S
A
T
B
110
œ ‰ #œ œ
Watch for a
#œ ‰ œ œ
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#œ ‰ œ œ
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#œ ‰ #œ œ
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110 œœ
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æ J
#œ
j
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#
# ‰ ‰
p
p
p
p
p
#œ. ≈ #œ
bird with
#œ. ≈
#œ
bird with
œ. ≈ #œ
bird with
œ. ≈ nœ
bird with
œ.
∑
œ nœ œ
sa - ble
#œ œ œ
sa - ble
#œ J
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sa - ble
#œ J
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sa - ble
J
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∑
#œ j
#œ
wing,
#œ.
wing,
œ nœ #œ
wing,
œ J
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wing,
œ #œ
#œ
∑
nœ. ≈ œ #œ
watch for a
œ. ≈ #œ #œ
watch for a
#œ. ≈ #œ #œ
watch for a
#œ. ≈ #œ œ
watch for a
#œ
#œ
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œ
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3
∑
#œ. ≈ œ
bird with
#œ. ≈ œ
bird with
œ. ≈ #œ
bird with
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bird with
#œ
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#œ
# œ
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œ
œ
œ
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3
∑
&
&
V
?
&
?
S
A
T
B
116
#œ #œ nœ
sa - ble
#œ nœ #œ
sa - ble
#œ J
#œ
sa - ble
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#
# J
nœ
sa - ble
116
#œ
#œ
#œ
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∑
#œ ‰
wing,
#œ j
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wing, and
nœ ‰
wing,
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wing, and
#œ
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3
∑
‰ ‰ j
nœ
and
#œ j
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pray and
‰ ‰ j
#œ
and
#œ J
#œ
pray and
#œ œ
#œ
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œ
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3
∑
#œ j
nœ
pray and
œ j
#œ
pray and
#œ #œ œ
pray and
œ J
nœ
pray and
œ
#œ
# œ
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#
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∑
œ j Nœ
pray and
#œ j
œ
pray and
œ j
#œ
pray and
#œ J
#œ
pray and
nœ
#œ
Nœ œ
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œ œ œ
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3
#œ œ ‰

&
&
V
?
&
?
S
A
T
B
121
#œ j
#œ
pray, look
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211
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year af-ter year,
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.
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˙ b
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∑
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bœ
gl.
∑
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&
&
17 œœ
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bb
b œ
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bœ
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b
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3 3 3
w
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bb
b œ
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3
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bb
www
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b bN
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bbb
?
&
&
&
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?
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
S
A
Solo
21
œ bœ œ œ Œ
3
Month af - ter month,
bww
Mm
∑
21
∑
w
bw
b
q = ca 60
q = ca 60
piu mosso
U
U
freely
U
-
U
piu mosso
œ bœ bœ bœ Œ
year af - ter year,
Nwwbw
∑
∑
w
w
U
U
U
U
‰ j
bœ bœ Œ
My harp
.
.
. ˙˙˙ ˙. b
∑
∑
j
œ
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U
U
U
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bœ œ Œ Œ
3
has poured
.
.
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˙˙
˙.
Mm
∑
∑
U
U
U
-
U
&
&
&
4
4
4
4
4
4
8
5ˆ4
3
8
5ˆ4
3
8
5ˆ4
3
S
A
Solo
25
‰ j
nœ œ j
bœ bœ Œ
3
a drea - ry strain,
wwww
bww
U
U
U
bœ bœ œ bœ Œ
year af - ter year,
bwwww
www
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U
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bœ bœ bœ bœ Œ
3
month af - ter month,
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U
U
U

&
&
&
V
8
5ˆ4
3
8
5ˆ4
3
8
5ˆ4
3
8
5ˆ4
3
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
2
4
2
4
2
4
2
S
A
T
28
nœ bœ bœ œ œ œ nœ bœ bœ Œ
3
my harp has poured a drea - ry strain,
.
.
. bœœ
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.
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˙˙
.
.
. bœ
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.
. ˙
˙˙˙
Nœ. œ ˙.
Mm
U
U
U
-
U
‰ j
œ bœ bœ œ œ œ
at length a live -li - er
wwww
wwww
bww
bœ J
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3
note shall cheer
.
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U
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&
&
&
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&
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4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
S
A
T
B
√
31
∑
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31
∑
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U
U
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U
U
‰ j
bœ J
bœ bœ bœ ‰
J
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(U)
j
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3
and plea-sure tune its chords a-gain
.
.
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nw.
Mm
∑
∑
U
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U
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U
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b ˙˙
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sim.
π
&
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4
4
4
4
4
5
4
5
(√)
36
œ.
Nœ.
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b
b
b ˙
˙˙
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p
‰ œ œ J
#œ œ 3 3
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b
b
b ˙
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bœ
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3
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b
b ˙
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bœ j
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3
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b
b
b ˙
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˙
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j
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J
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b
b
b ˙
˙˙
˙
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dim.
‰ j
œ œ. ˙
˙˙
˙
˙
b
b
b ˙˙
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˙

&
&
&
?
4
5
4
5
4
5
4
5
4
4
4
4
4
4
4
4
S
A
42
œ bœ œ œ ‰ j
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What thought the stars and
œ œ œ œ ‰ j
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What thought the stars and
42
∑
œ
bœ bœ bœ ‰ j
œ œ. J
œ
p
p
œ bœ œ ˙
fair moon - light
œ œ œ ˙
fair moon - light
Ó N˙
bœ bœ Ó
bœ bœ œ. J
œ œ œ
are quenched in morn - ing
bœ œ œ. j
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are quenched in morn - ing
Ó Œ œ œ
œ
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b
b bœ œ. J
bœ Œ
&
&
&
?
4
6
4
6
4
6
4
6
S
A
45 bœ J
bœ b˙ Œ
3
dull and grey
bœ j
bœ b˙ Œ
3
dull and grey
45
œ Œ Ó
Œ bœ bœ œ
bœ
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b
∑
∑
bœ œœ bœ œ œ j bœ œ j bœ ˙
˙
˙
˙˙ b
bb œ
bœ bœœ
∑
∑
bœ œœ bœ œ
œ j bœ œ j bœ œ œ
˙
˙˙ b ˙
b
bb œ
bœ bœœ
poco accel.
poco accel.
&
&
&
?
4
6
4
6
4
6
4
6
S
A
48 œ bœ bœ œ œ bœ bœ. j
œ
they were but to-kens of the
bœ bœ bœ œ œ bœ bœ. j
œ
they were but to-kens of the
48
‰
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Ó
j
bœ .
.
œ
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b
b ˙
˙ Ó &
rall.
rall.
bw Ó
night,
bw Ó
night,
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‰
poco piu mosso
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to - kens of the
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Ó
to - kens of the
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. #œ
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bœ
.
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. Ó 3
Œ j
œ #œ. ‰ ˙. ˙. J
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J
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&
&
&
&
4
4
4
4
4
4
4
4
4
6
4
6
4
6
4
6
S
A
51
#w Ó
night,
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night,
51
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3
of the
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of the
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&
&
&
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S
A
54
Œ œ #w
the night
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54
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&
&
V
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4
4
4
4
4
4
4
4
4
4
4
4
S
A
T
B
57
∑ Œ œ
and
∑ Œ #œ
and
∑ Œ #œ
and
∑ Œ œ
and
57
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p
p
p
p
˙ œ. j
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this my
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#˙ #œ. J
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this my
˙ #˙
this my
‰ nœ. #œ j #œ œ
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soul, my
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soul, my
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&
&
V
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&
?
S
A
T
B
61
œ #œ Ó
day,
w
day,
œ #œœ œœ œ
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is day,
˙ #œ #œ
is day,
61
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#œ #œ
.
nœ
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#œ
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3
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#˙ #œ. J
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my soul is
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my soul is
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my soul is
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my soul
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day,
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day,
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3
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&
&
V
?
&
?
S
A
T
B
65
Ó ˙
day,
Ó ˙
day,
œ #œ œ #œ
day, day,
˙ œ
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#œ
day, day,
65
j
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nœ j
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my soul is
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my soul is
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my soul is
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my soul is
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day,
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bœ œ œœœ
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3
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day,
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my soul is
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&
&
V
?
&
?
S
A
T
B
70
∑
Œ œ #œ. j
#œ
my soul is
∑
Œ œ #œ. J
#œ
my soul is
70
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day,
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j
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day,
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day,
J
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&
&
V
?
&
?
S
A
T
B
74
J
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day,
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74
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my soul,
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my soul,
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my soul,
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&
&
V
?
&
?
S
A
T
B
78
‰ œ#œ . ˙
˙.
3
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day,
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my soul.
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3
my soul.
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3
my soul.
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my soul.
˙
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&
&
V
?
&
?
S
A
T
B
81
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81
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&
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Abstract (if available)

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University of Southern California Dissertations and Theses

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Asset Metadata

Creator Belohlavek, Alex (author)

Core Title Moorland Elegies / Lageda Laulud for choir and strings by Tõnu Kõrvits: a conductor's guide

School Thornton School of Music

Degree Doctor of Musical Arts

Degree Program Choral Music

Degree Conferral Date 2024-05

Publication Date 04/03/2024

Defense Date 03/22/2024

Publisher Los Angeles, California (original), University of Southern California (original), University of Southern California. Libraries (digital)

Tag choral conducting,Choral Music,choral orchestral music,conductor's guide,Estonian music,Lageda Laulud,Moorland Elegies,OAI-PMH Harvest,Tõnu Kõrvits

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Sparks, Tram (committee chair), Grases, Cristian (committee member), Rozé, Chris (committee member)

Creator Email a.belohlavek@icloud.com,belohlav@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC113867475

Unique identifier UC113867475

Identifier etd-Belohlavek-12759.pdf (filename)

Legacy Identifier etd-Belohlavek-12759

Document Type Dissertation

Format theses (aat)

Rights Belohlavek, Alex

Internet Media Type application/pdf

Type texts

Source 20240404-usctheses-batch-1135 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright.

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA

Repository Email cisadmin@lib.usc.edu