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University of Southern California Dissertations and Theses
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Meidelant part one: days one and two: an opera on the maidenhood of Morgan Le Fay
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Meidelant part one: days one and two: an opera on the maidenhood of Morgan Le Fay
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Content
MEIDELANT
P ar t One: Da ys One and T w o
an opera on the maidenhood of Morg an Le F a y
Libretto b y Sara F etherolf
Music b y T amzin Elliott
SCORE and SCRIPT
Score in C
A Disser tation Presented to the
F A CUL TY OF THE
THORNTON SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In P ar tial Fulfillment of the
R equirements for the Deg ree
DOCTOR OF MUSICAL AR TS IN COMPOSITION
Ma y 2023
Copyright 2023 T amzin Elliott
Ac kno wledg ements
I w ant to thank m y collaborator Sara F etherolf , without whom this f lame
w ould ha v e died v er y quic kly and w ould not be contin uing to bur n brighter and
brighter . I w ant to thank R otem and Adam Gilber t for sewing the seeds of
interest and eng endering empo w er ment in m y in v olv ement in early European
m usic . I w ant to thank Carl Linic h, who has impar ted so m uc h kno wledg e and
lo v e for Georgian F olk m usic and the g ood life of comm unal m usic in me . I
w ant to thank Mingjia Chen and Ste phanie Syber t for alw a ys being do wn to
sw oop in and record demo v ocals for me . I w ant to thank Mar ylin Winkle , for
believing in the dream of this project and w orking so hard to help us begin to
mak e it a reality . I w ant to thank J oAnn T uro vsk y , for her incredible g enerosity
and teac hing, as w ell as Siobhán Ar mstrong, for w elcoming me so w ar mly into
the w orld of Cláirseac h pla ying .
I w ant to thank m y parents and siblings , who believ e in me and k ee p me
on this path of ar tistr y and fulfillment. I w ant to thank those who came before
me , both of this Gabriellino-T ongv a land and those of m y family .
ii
T ABLE OF CONTENTS
SCORE
Ac kno wledg ements……………………………………………………………………………ii
Introduction…………………………………………………………………………………...i v
Instr umentation and Electronics………………………………………………………………vii
Scene 1: Opening…………………………………………………………………………….1
Solo Soprano R ecorder and Gran ular Dela y
Scene 2: Spinning T hr ead Song……………………………………………………………..3
T w o Nuns
Scene 3: In the Infir mar y……………………………………………………………………10
Morg an, Sister Brónac h, Villag e W oman, Cláirseac h, Bass Viola da Gamba, Vielle
Scene 5 and 6: R etur n to the Gr een/T he News/Ber thildis……………………………….26
Morg an, Ber thildis , Basset R ecorder in F , Great Bass R ecorder in C , P or tati v e Org an,
Vielle , Viols , Gran ular Dela y and Mac hine Noise
Scene 7: V esper s……………………………………………………………………………...32
Ber thildis , Nuns , Bo w ed Psalter y , Alto/Soprano R ecorder , T enor R ecorder ,
P or tati v e Org an, T riple Har p , Viols
Scene 8: Br o wn Hen…………………………………………………………………………54
Solo Nun, Bo w ed Psalter y
Scene 9: Str eamside V isions…………………………………………………………………56
Nuns , Cláirseac h, Viols , Bo w ed Psalter y , Proton Lead 2, Gran ular Dela y and
Mac hine Noise
SCRIPT………………………………………………………………………………………..72
iii
MEIDELANT
P ar t One: Days One and T w o
an opera on the maidenhood of Mor g an Le F ay
Intr oduction to the Scor e
T he sung m usic of Meidelant is dieg etic , while the instr umental m usic is non-dieg etic (aside
from a few scenes in v olving the bo w ed psalter y). T he sung m usic establishes both Morg an ’ s daily
audible en vironment as w ell as the rang e of w a ys singing is used in her and the sisters’ w a y of life .
T here is intentional ambiguity w ork ed into the po w er of these songs . F or instance , “Scene 3: In the
Infir mar y , ” it should be unclear whether the singing is just par t of quotidian ritual or is indeed
infused with intentional magic . T his is both impor tant for the stag e direction but also in the sung
deli v er y .
T he instr umental m usic in this opera is meant to be re presentati v e of the manifestation of
Morg an ’ s thoughts and emotions as an extension of her dev eloping magical po w ers . She is both
par ticipant and witness to the w a y song is emotional, social, and literally magical in her small w orld,
and her m usic-filled psyc he ref lects this .
T he difference in the pur pose of a song should be ref lected in the sound production and
expression. Someone singing to herself while doing a c hore , lik e Morg an in “Scene 5: T he News , ”
should sound lik e she is singing to herself for herself . She isn ’ t afraid to be heard, but she also isn ’ t
perfor ming for any one , so if her task requires her to stop and focus for a second she can stop
singing . Ma ybe she stops to remember the w ords of the next line . Her or naments ma y stretc h the
m usic slightly out of meter .
Another example , in “Scene 9: Streamside Visions , ” a g roup of n uns sings a song while
doing laundr y in a stream. In this situation, they are singing outside and for eac h other , so it is
appropriate to sing quite loud. In this case , coordination is impor tant, so a fir mer sense of meter is
needed. T he m usic alter nates betw een a trio who sings a refrain and a duo (with an extra descant at
times) singing the v erses in a more soloistic manner . T he upper sing er in the v erse section is the
person in the g roup who kno ws all the w ords , singing with authority and creati vity , while the bass
sing er , without any w ords to w or r y about, has some latitude to impro vise (based on pro vided
v ariations). T he impor tant thing here is that the different sing ers ha v e different lev els of
responsibility and different kinds of in v olv ement in the m usic , whic h, while perhaps not explicitly
evident to the audience , ref lects the w a y people who do sing polyphony from an aural tradition
relate to eac h other in singing .
I am hug ely indebted to m y teac hers of traditional Georgian polyphony when it comes to m y
sense of what it can feel lik e sonically , intellectually , and socially to sing from an aural tradition. I
w ould lik e to thank m y first teac her , Carl Linic h, as w ell as the Pilpani family in Lenjeri, the c hoir of
T sag eri, and the c hoirs Adilei and Anc hiskhati of Tbilisi for their par ts in m y education in Georgian
traditional m usic and the culture of supra (a ter m for eating with others and honoring eac h other
with a series of toasts).
iv
In larg e par t, it is because of m y experiences singing Georgian m usic that I for matted the
score as I ha v e . T here are g enerally three w a ys that pieces of score function in this document - to
teac h the basic m usical material, to illustrate v ariation on that basic material, and to indicate ho w
different pieces of m usical material align v er tically in time . T he for mer tw o are m y attempt to
em ulate intellectual aspects of the w a y aural/strophic m usic is lear ned. With the help of the recorded
assets pro vided, the m usic can be inter nalized in its most basic for m, and from that point v ariations
can be la yered on. Se parating these things out - as opposed to creating a through-composed v ersion
of the songs - enables the perfor mer to not ha v e to decipher what is more or less essential to the
core of the m usic .
I w ant the m usic to sound lik e it li v es in these people , so I had to tr y to mak e it easier for the
m usic to li v e inside their heads . W hile I am not endea v oring to teac h ev er ything b y ear , I ha v e made
the materials I need to teac h this m usic through example - striking a balance betw een utilizing the
m usical po w er of memorization without o v erburdening the memor y of the perfor mers .
W here it is useful, the polyphony betw een the instr umental and v ocal elements is written in a
v er tical g rid lik e a con v entional score , but in many cases the rh ythmic complexity of what results
from this sound of loosely-coordinated elements w ould not be useful as re presented in a traditional
score . Scores , whether written with this intention or not, visually indicate priorities in the m usic . T he
points of coordination I ha v e indicated are a priority , the exactitude of the rest of the w a y that the
elements line up is not.
Notation
F or the v ocal m usic and some instr umental m usic I used Mensural notation: using m uc h
larg er note v alues and the system of perfect and imperfect prolations for marking meter . I use
brac k ets to indicate coloration (con v er ting a unit of measure into either duple or triple subdi vision,
whic hev er is counter to the meter). Ho w ev er , I opted to use slurs to indicate melisma.
Otherwise , I use moder n notation that rang es betw een relati v e stemless notation and
common rh ythmic notation. Most of the ob viously metered m usic will be in Mensural notation;
otherwise barlines are used to indicate phrasing or coordination. Another method I use to indicate
coordination is b y coloring the text or notes that coordinate in red (if there is a color -blind member
of the cast or ensemble another copy with a different visible color can be made).
T his approac h has been tailored to the expectation that mostly Early European Music
specialists , both sing ers and instr umentalists , will be perfor ming this w ork.
Dynamics
Dynamics in g eneral are not indicated in this score , and are meant to be deri v ed from the
theatrical context more than anything . I included dynamics where there are par ticular , perhaps not
intuiti v e dynamics that I w ant.
As discussed abo v e in the introduction, the social and nar rati v e context of the m usic should
be the primar y indicator of the m usical disposition - g roup singing outside can and should be louder ,
v
g roup sacred singing solemn and full, solo personal singing quiet and unassuming . Dynamics within
phrases I lea v e mostly up to the pla yer’ s inter pretation gi v en the theatrical context. Muc h of the
instr umental m usic is lyrical lik e the v ocal m usic , and should ref lect the singing quality in shaping the
phrasing .
T actus
A g eneral rang e of bpm is indicated for eac h piece , though these markings should be tak en
only as a star ting point for inter pretation. W here relev ant I ha v e indicated bpm in relation to the
smallest unit, suc h as in par ts with more moder n notation or spatial notation, but mostly I ha v e
indicated a rang e for the tactus , or the rate of a full brev e .
Pitch and T emperament
T his piece is written for an ensemble at A=440 and Standard Aron ¼ Comma. T he A could
be at a different lev el (415 or 465, for instance), instr uments per mitting, but the patc hes for the
electronics w ould ha v e to be modified to be cor rect in relation to the new A.
Latin Pr on unciation
In the interest of indulging in the historical m yster y of P ost-R oman Occupation W ales , the
Latin should be pronounced in the Classical style . It is quite possible that the pron unciation of Latin
in the upper class in W ales at this time , though ha ving ev olv ed m uc h closer to Italian in Italy , w ould
ha v e clung closer to an earlier v ersion of Latin. It is v er y difficult to kno w for cer tain, but in this
context it is also not impor tant to kno w for cer tain. As I am tr ying to por tra y a practice of
Christianity that is so far remo v ed from us in time , I enjo y the somewhat unfamiliar sound of
Classical Latin in this context: just c hanging the pron unciation can mak e things whose for ms are
familiar - lik e the text of the Magnificat - tak e on a strang e texture .
vi
INSTR UMENT ATION
T he instr umental ensemble is a collection of Mediev al, R enaissance , and Baroque European
instr uments , aside from the ancient-seeming Bo w ed Psalter y and the moder n electronics . All are
anac hronistic to the g eneral time and place , 7th centur y W ales , but in the Ar thurian tradition of
embellishment and fan-fiction, I felt that using a set of instr uments that ev ok e the “ancient” w ould
be more than appropriate . Cer tain instr uments , lik e the Cláirseac h, are more closely tied to that time
and place , while others lik e the Viola da Gamba and P or tati v e Org an are hundreds of years - and
miles - off course .
Electronics
T he electronics include preset midi patc hes , pre-recorded sound effects , and li v e-processing
g ran ulator . Here are screen shots of the settings for the patc hes and g ran ulator , as I am using them
in Ableton Li v e 11.
MPE Mac hine Noise
Proton Lead 2
Max for Li v e Lambda II Gran ulator for Soprano R ecorder in “Scene 1: Opening”
vii
Max for Li v e Lambda II Gran ulator for Viola da Gamba in “Scenes 5 and 6: R etur n to the
Green/T he News/Ber thildis”
Max for Li v e Lambda II Gran ulator for Bo w ed Psalter y in “Scene 9: Streamside Visions”
Acoustic Instr uments
R ecorder s - T w o pla yers , doubling on Great Bass in C , Basset in F , T enor , Alto , and Soprano .
P or tati v e Organ - T he instr ument written for here has a rang e of C4-G6, but because of the limited
a v ailability of these instr uments , this par t ma y be co v ered b y an electronic v ersion. T he impor tant
par t is that the por tati v e org an is a simple single-pipe-per -pitc h sound, and in its man ual pumping
capabilities acts m uc h more lik e a wind instr ument than a standard org an.
Cláir seach (Irish) or Clàr sach (Scottish) - T he early har p of the Gaelic-speaking cultures . It is
str ung with wire and up until the bitter end of its common usag e in the 18th Centur y it w as pla yed
with the nails as opposed to the fing er pads . Since the early 20th Centur y there has been sc holarly
effor t to reconstr uct the perfor mance practices and re per toire of this instr ument, and it is only
recently that there exists parallel traditions of the more w ell kno wn moder n Celtic Har p and this
reconstr ucted tradition of the wire-str ung Cláirseac h. Studying this instr ument, as someone coming
from a classical har p and gut-str ung early har p education, has pla yed a larg e par t in the process of
writing this piece . My lessons through the recordings and books of Ann Heymann and m y personal
viii
instr uction with Siobhan Ar mstrong ha v e enabled me to star t writing m usic for this instr ument that
is m uc h more idiomatic to the instr ument.
Bar oque T riple Har p - An instr ument written for is the somewhat standard rang e of C1-E6. T his
is another instr ument that can be hard to come b y , and unfor tunately it w ould not be easily
substituted b y a pedal har p , since a pedal har p m ust be tuned in equal temperament. Only a
perfor mance in equal temperament across the whole ensemble w ould accommodate a pedal har p .
Bo w ed Psalter y - T his is the most anac hronistic instr ument of the bunc h, aside from the
electronics . A pluc k ed Psalter y is indeed an ancient instr ument, but the bo w ed Psalter y is a 20th
Centur y Ger man in v ention, originally promoted for use in education.
Mediev al V ielle - T he instr ument written for here is around moder n Viola rang e .
V iola da Gamba - T hree pla yers , Bass (6 string), T enor , and T reble .
ix
Phrase A
F ree , open, and airy . On long notes and after phrases , enjoy the pla y of the
live processing . In the midst of heat and movement, lean into the c haos . This
opening is expressing exploration. The last section is the onset of hypnosis .
tactus: c 50
Soprano R ecorder
G ranul ar D el a y
T wo times, both with increased embellishment.
Granulator on. C3 selected, Density at approximately 25%
S . R ec .
G . D .
Phrase B
Add C2. Increase Density to approximately 40%
S . R ec .
G . D .
Fuller and more owing in this second iteration.
S . R ec .
G . D .
Add F2.
S . R ec .
G . D .
Phrase C W ith vigor and joy .
Increase Density to approximately 60%
S . R ec .
G . D .
Get lost in this new
pitc h temporarily .
S . R ec .
G . D .
T actus: c . 60
Sc en e 1: Op en in g
B asic M ater ial an d Gr an u lator R oad map
1
S . R ec .
G . D .
S . R ec .
G . D .
React with less vigor to the new complexity .
Lea n into the new d is s ona nc e . A fter r elea s ing
F na tur a l, w a it for mos t of the r e ec tions to
d is a p a te b efor e moving on.
Add D#3. Increase Density to approximately 80%.
S . R ec .
G . D .
F irst four notes twice through. Create an even bac k
and forth rhythm between you and the re ections .
Meditation/Hypnosis
Loft these A's up into the air .
Add G3.
S . R ec .
G . D .
Repeat at minimum
6 times .
Hold until interrupted by
Sister Brónac h sa ying , "Morgan."
Let re ections fade out
completely before turning
off the Granulator .
S . R ec .
G . D .
Phrase A
F or all phrases: Single dotted rhythms can be ironed out into straight rhythms and vice versa.
Simple stepwise anticipitory grace notes and falls/lifts at the ends of notes are welcome .
Soprano R ecorder
B a s ic M a t er ia l a n d G r a n u la t or R oa dm a p
V ar iation s an d E mbellish men t
2
Scene 2: Spinning Thread Song
1. Y our g r andmother ’ s hai r has bec ome the r oots under the ear th.
Y our g r andmother ’ s hai r has bec ome the r oots under the ear th
That she’ s spi nni ng for y ou,
A s she spi ns for y ou
A v eg etabl e bi r th.
Y our g r andmother ’ s hai r has bec ome the r oots under the ear th.
2. Y our g r andmother ’ s bl ood has bec ome a v ei n of si l v er or e .
Y our g r andmother ’ s bl ood has bec ome a v ei n of si l v er or e
That she’ s spi nni ng for y ou,
A s she spi ns for y ou
A r i ng for y our ng er .
Y our g r andmother ’ s bl ood has bec ome a v ei n of si l v er or e .
3. Y our g r andmother ’ s br eath has bec ome the meadow fog .
Y our g r andmother ’ s br eath has bec ome the meadow fog
That she’ s spi nni ng for y ou,
A s she spi ns for y ou
The sec r et names of g od.
Y our g r andmother ’ s br eath has bec ome the meadow fog .
W ord Sheet
3
4. The moss on the g r a v es has bec ome y our g r andmother ’ s ni g htg own.
The moss on the g r a v es has bec ome y our g r andmother ’ s ni g htg own
That she’ s spi nni ng for y ou,
A s she spi ns for y ou
a map of the w a y down.
The moss on the g r a v es has bec ome y our g r andmother ’ s ni g htg own.
5. Y our g r andmother ’ s spi t has bec ome the w ater of the for d.
Y our g r andmother ’ s spi t has bec ome the w ater of the for d
A s she’ s w ashi ng for y ou,
She w ashes , she w ashes
The bl ood fr om y our swor d.
Y our g r andmother ’ s spi t has bec ome the w ater of the for d.
6. Y our g r andmother ’ s ey e has bec ome the c atar ac t moon.
Y our g r andmother ’ s ey e has bec ome the c atar ac t moon
That she’ s spi nni ng for y ou,
A s she spi ns for y ou
Y our ni g hts , spool by spool .
Y our g r andmother ’ s ey e has bec ome the c atar ac t moon.
4
As the song continu es , MORGAN and SISTER BRÓNA CH cross behind the
spinner s , on their way to the in rm ary .
7. Y our g r andmother ’ s hands ha v e bec ome a oc k of wi l d sw an.
Y our g r andmother ’ s hands ha v e bec ome a oc k of wi l d sw an
That she’ s spi nni ng for y ou,
A s she spi ns for y ou
Y our da y s , song by song .
Y our g r andmother ’ s hands ha v e bec ome a oc k of wi l d sw an.
8. Y our g r andmother ’ s bones ha v e bec ome the unpl owed el d.
Y our g r andmother ’ s bones ha v e bec ome the unpl owed el d
That she’ s spi nni ng for y ou…
A door clang s shu t, and the song drops su ddenl y to silence . At the sam e m om ent, the
lig hts cu t to blac k.
5
- - - - - Y ou r
tac tu s: c . 45
gra n d mo th er’ s h a i r h a s b e come th e roots u n der th e ea rth .
V er se Si n g er
- - - - - Y ou r gra n d mo th er’ s h a i r h a s b e come th e roots u n der th e ea rth
V . S .
-
-
T h a t s h e’ s s pi n n i n g for you , As s h e s pi n s
T h a t s h e’ s s pi n n i n g for you , As s h e s pi n s
V . S .
A. S .
-
-
for you , T h a t s h e’ s s pi n n i n g for you ,
for you , T h a t s h e’ s s pi n n i n g for you ,
V . S .
A. S .
As s h e s pi n s for you
As s h e s pi n s for you
V . S .
A. S .
- - - - -
- - - - -
A vege ta b l e b i rth . Y ou r gra n d mo
A vege ta b l e b i rth . Y ou r gra n d mo
V . S .
A. S .
- - -
- - -
th er’ s h a i r h a s b e come th e roots u n der th e ea rth .
th er’ s h a i r h a s b e come th e roots u n der th e ea rth .
V . S .
A. S .
Scene 2: Spinning Thread Song
Basic V erse
6
- -
- -
slig h tly solemn
As s h e’ s w a s h i n g for you , Sh e w a s h es ,
As s h e’ s w a s h i n g for you , Sh e w a s h es ,
V er se Si n g er
Atten d i n g Si n g er
- -
- -
s h e w a s h es , As s h e’ s w a s h i n g for you ,
s h e w a s h es , As s h e’ s w a s h i n g for you ,
V . S .
A. S .
- -
- -
Sh e w a s h es , s h e w a s h es T h e b l ood from you r s word.
Sh e w a s h es , s h e w a s h es T h e b l ood from you r s word.
V . S .
A. S .
-
-
-
-
-
-
-
-
-
-
-
-
-
-
- -
-
V erses 3 , 6, and 8 , lin e 2
Y ou r
Y ou r
Y ou r
gra
gra
gra n
n d
n d
n d
mo
mo
mo
th er’ s
th er’ s
th er’ s
b rea th
eye
b on es
h a s
h a s
h a ve
b e
b e
b e
come
come
come
th e
th e
th e
ca t
u n
mea
a ra ct
pl owed
dow fog .
moon .
el d.
V er se Si n g er
Scene 2: Spinning Thread Song
V erse 5 V arietal
Melodic-T ext V ariations
7
- - - - -
V erse 4, lin es 1, 2, an d 6
T h e mos s on th e gra ves h a s b e come you r gra n d mo th er’ s n i gh t gown .
V . S .
- - - - - T h e mos s on th e gra ves h a s b e come you r gra n d mo th er’ s n i gh t gown .
V . S .
- - - - - -
- - - - - -
Y ou r gra n d mo th er’ s eye
Both singers scoop up, end in parallel third s.
h a s b e come th e ca t a ra ct moon .
A ttend ing Singer moves up sooner , creates a tri tone.
Y ou r gra n d mo th er’ s eye h a s b e come th e ca t a ra ct moon .
V er se Si n g er
Atten d i n g Si n g er
A fter v er se 1 and 2, the A ttendi ng Si ng er c an j oi n i n uni son wi th the V er se Si ng er on ei ther the
r st or sec ond l i ne of a v er se . The A ttendi ng Si ng er c an al so add thei r har moni z i ng l i ne
assoc i ated wi th the l ast l i ne of the v er se to the sec ond l i ne of a v er se . The A ttendi ng Si ng er c an
si ng i n uni son wi th the V er se Si ng er on the nal l i ne of a v er se (i n l i eu of the har moni z i ng
l i ne).
The poi nt i s , the A ttendi ng Si ng er i s pl a y i ng the par t of someone who k nows some of the tex t of
the v er ses better than other s , so someti mes they si mpl y w ai t for the thi r d l i ne to c ome ar ound,
or j ump i n after the r st, or i f they r eal l y w ant to show they k now the wor ds , they c an j ump i n
at the beg i nni ng of the v er se . The V er se Si ng er i s essenti al l y the l eader of the song , and the
A ttendi ng Si ng er j oi ns i n v ar i ous l ev el s of i nv ol v ement. It i s i mpor tant to not ov er -c r owd the
V er se Si ng er .
The fol l owi ng ar e some fun v ar i ants on c adenc es and i n the body of the A ttendi ng Si ng er l i nes .
Scene 2 : Sp inning T hrea d Song
Cadence and Attending Singer V ariations
8
- - - - -
- - - - -
Cad ence to a third .
h a s b e come th e mea dow fog .
h a s b e come th e mea dow fog .
V . S .
A. S .
-
-
A d iverging fall at the end of unison lines.
h a s b e come a oc k of wi l d s w a n .
h a s b e come a oc k of wi l d s w a n .
V . S .
A. S .
-
-
T he simplied refrain.
T h a t s h e’ s s pi n n i n g for you , As s h e s pi n s for you ,
T h a t s h e’ s s pi n n i n g for you , As s h e s pi n s for you ,
V . S .
A. S .
Scene 2 : Sp inning T hrea d Song
9
= 50–60
Door Clos e S FX ,
F ire S FX s t art
C l ái rs eac h
LH
fur tive
C l c h.
C l c h.
C l c h.
fur tive
C l c h.
C l c h.
fur tive , smooth
LH
C l c h.
C l c h.
a ccel. a ccel. a s fa st a nd light a s possible
Thi s bar & nex t : # of rep . i s ap p rox i m at e , rep . as neces s ary t o f ol l ow d y nam i c , t em p o , and t i m bral s hap es .
C l c h.
s lt b .
Let ring , Morg an
beg ins Ep p het a
im m ed iat ely af t er
at t ac k.
C l c h.
S c en e 3: I n t h e I n r m ar y
Th e F ir e is R eady
10
- - - - - - -
- - - - - -
Coup let line 1
Tim e bet ween p hras es is ex ible t o accom od at e allig nm ent wit h ot her s ing er/ins t rum ent alis t s
t act us : 45 - 60
E p phet t a , ep phet
t a . E p phet t a , ep
op ti on al orn amen t
( u se af ter rst p ass)
1v
E p ph et ta , ep
Morg an
- - - - - - -
- - -
phet
lower not e af t er
Brónac h ent ers
t a . S pi r i t us u b i vul t spi
ph et ta .
M.
- - - - - - - -
- - - - -
r a t .
Coup let line 2
E p phet t a , ep phet
t a . E p phet t a , ep
op ti on al orn amen t
( u se af ter rst p ass)
2v
E p ph et ta , ep
M.
- - - - - -
- -
phet
t a . S pi r i t us u b i vul t spi
r a t .
lower not e af t er
Brónac h ent ers
ph et ta .
M.
- -
Tim e bet ween p hras es is ex ible t o accom od at e allig nm ent wit h ot her s ing er/ins t rum ent alis t s
.
L ung
t act us : 45 - 60
wor t , a b r oa d pa l m ful of
you,
B rónac h
- B l a de l ea fed t o c ut hi s c hoke i n
t wo . S ki n a nd sl i c e
B .
- - t he m a l l ow
r oot A nd you sha l l ser ve a s hi s t hr oa t
B .
M or gan ’ s E pph et t a C ou plet M u s ic al M at er ial
B r ón ac h ’ s R ec ipe M u s ic al M at er ial
11
- -
soot he . B r ui se t he c ol t s foot , st ea l i t s
gol d A nd
B .
- - - pa y t he fee for t hi s c hi l d’ s
hea l t h. M ul l ei n, b e
B .
- - - l oved of t he fa e r i e
q ueens , T o c l ea r t he r oa d w a ys
B .
- - - - of hi s
b r ea t h. Hys sop , shr ub t ha t pu r i
B .
-
es . A pi nc h of you a nd t o t he r e .
B .
3 T imes , 1 Couplet a nd a Ha lf (1, 2, 1)
E pphet a , epphet a .
Morg an and Brónac h' s T ex t
E pphet a , epphet a . S pi r i t us ub i vul t spi r a t .
Morg an T ex t
-
-
2
E pphet a , epphet a . E pphet a , epphet a . S pi r i t us ub i vul t spi r a t .
L ungwor t , a b r oa d pa l m ful of you, B l a de l ea fed t o c ut hi s c hoke i n t wo .
M. T .
B . T .
1
E pphet a , epphet a . E pphet a , epphet a .
S ki n a nd sl i c e t he m a l l ow r oot
M. T .
B . T .
B r ón a c h ’ s R ec ip e M u sic a l M a ter ia l
E pph et t a/R ec ipe W or d S h eet
12
-
-
S pi r i t us ub i vul t spi r a t .
2
E pphet a , epphet a . E pphet a , epphet a .
A nd you sha l l ser ve a s hi s t hr oa t soot he . B r ui se t he c ol t sfoot , st ea l i t s gol d
s t em les s half not e: 65 - 70
Morg an T ex t
B rónac h T ex t
C l ái rs eac h
S pi r i t us ub i vul t spi r a t . E pphet a , epphet a .
A nd pa y t he fee for t hi s c hi l d’ s hea t h. M ul l ei n, b el oved of t he fa er i e q ueens ,
M. T .
B . T .
C l c h.
1v
E pphet a , epphet a . S pi r i t us ub i vul t spi r a t . E pphet a , epphet a .
2v
E pphet a , epphet a .
T o c l ea r t he r oa dw a ys of hi s b r ea t h. Hyssop , shr ub t ha t pur i es .
M. T .
B . T .
C l c h.
- S pi r i t us ub i vul t spi r a t .
A pi nc h of you a nd t o t he r e .
M. T .
B . T .
C láir s eac h R ec ipe C h or ds
13
- - - - - - - A s per ges m e hys so po . E p phe t a , ep
B rónac h
C l ái rs eac h
- - - - - - phe t a . A s per ges m e hys so po ,
B .
C l c h.
- - a s per ges m e .
B .
C l c h.
C l c h.
A s per ges m e/B r on ac h ’ s F ir s t E pph et a
14
- - - - - - - E p phet t a , ep phet t a . E p phet t a , ep
B .
C l c h.
- - - - - - phet t a . S pi r i t us u b i vul t spi r a t .
B .
C l c h.
- -
- - - - - - - -
L ungwor t un b i nd. F r om t he hea r t , un c oi l .
t act us : Brig ht er and m ore aut horit at iv e
Morg an' s T ex t , Brónac h and Child ' s Mot her' s Mus ical Mat erial
E p phet t a , ep phet t a . E p phet t a , ep phet t a .
Morg an T ex t
B rónac h
- - - - - -
T he spi r i t unc oi l s a l ong wi t h t he l ea f .
S pi r i t us u b i vul t spi r a t .
M. T .
B .
A sp er ges me/B r on a c h ’ s F ir st E p p h eta
A ll T oget h er : B r ón ac h an d M ot h er ’ s E pph et t a
15
- - - - - - -
- - - - - - -
M a l l ow ,
E p phet t a , ep phet t a . E p phet t a , ep
E p phet t a , ep phet t a . E p phet t a , ep
M. T .
B .
C h. M.
- - - - - -
- - - - - -
shea t he over t he sha r p i n t he t hr oa t .
phet t a . S pi r i t us u b i vul t spi
phet t a . S pi r i t us u b i vul t spi
M. T .
B .
C h. M.
- - - - - -
- - - - -
T he spi r i t i s soot hed a l ong wi t h t he r oot . C ol t sfoot , gl ea m gol den.
r a t .
W ith uncoor dina ted indiv idua l exp r es s iv e tim ing ,
C hild's M other p a r t is s hown a s a n a p p r oxim a tion
of the dela y in p hr a s es
E p phet t a , ep phet t a . E p
r a t . E p phet t a , ep phet t a .
M. T .
B .
C h. M.
- - - - - - - -
- - - - - - -
Di st r a c t t he b a d hum or . T he spi r i t
phet t a , ep phet t a . S pi r i t us u b i vul t spi
E p phet t a , ep phet t a . S pi r i t us u b i
M. T .
B .
C h. M.
A ll T ogeth er : B r ón a c h a n d M oth er ’ s E p p h etta
16
- - - - - - - -
- - - - -
i s set t l ed a l ong wi t h t he ower . M ul l ei n, unl oc k t he
r a t . E p phet t a , ep phet t a . E p phet t a , ep
vul t spi r a t . E p phet t a , ep phet t a .
M. T .
B .
C h. M.
-
- - - - -
- - - - - - -
b l oc ked ga t es of t he b r ea t h. T he spi r i t . i s
phet t a . S pi r i t us u b i vul t
E p phet t a , ep phet t a . S pi r i t us u
M. T .
B .
C h. M.
- - - - - -
- - - - - -
opened a l ong wi t h t he weed. Hyssop ,
spi r a t . E p phet t a , ep phet t a .
b i vul t spi r a t . E p phet t a , ep phet
M. T .
B .
C h. M.
- - - -
- - - - -
pur ge t he c ha m b er s of
E p phet t a , ep phet t a .
t a . E p phet t a , ep phet t a .
M. T .
B .
C h. M.
A ll T ogeth er : B r ón a c h a n d M oth er ’ s E p p h etta
17
- - - -
- - - -
a i r . T he spi r i t i s pur ged b y t he shr ub ’ s hol i ness .
S pi r i t us u b i vul t spi r a t .
S pi r i t us u b i vul t spi r a t .
M. T .
B .
C h. M.
- - - - - - -
A sper ges m e hyssopo . E pphet a , epphet a .
E p phet t a , ep phet t a . E p phet t a , ep
M. T .
C h. M.
- - phet t a .
C h. M.
- - -
- - - - -
L ung
Brig ht er and m ore aut horit at iv e
wor t , un b i nd.
Morg an' s Mus ical Mat erial and Brónac h' s T ex t
F r om t he hea r t , un c oi l .
E p phet a , ep phet a . E p phet a , ep phe t a .
Morg an
B rónac h T ex t
- - - - - -
-
T he spi r i t un c oi l s a l ong wi t h t he l ea f . M a l
S pi r i t us ub i vul t spi r a t . E pphet a , epphet a .
M.
B . T .
- - l ow , shea t h o ver t he sha r p i n t he t hr oa t .
E pphet a , epphet a . S pi r i t us ub i vul t
M.
B . T .
A ll T ogeth er : B r ón a c h a n d M oth er ’ s E p p h etta
A ll T oget h er : M or gan ’ s R ec ipe
18
- - -
-
T he spi r i t i s soot hed a l ong wi t h t he r oot . C ol t s foot , gl ea m
spi r a t . E pphet a , epphet a ,
M.
B . T .
- - - gol den. Di s t r a c t t he b a d hu m or . T he
E pphet a , epphet a . S pi r i t us ub i vul t
M.
B . T .
- - - - - spi r i t i s set t l ed a l ong wi t h t he ower . M ul l ei n,
spi r a t . E pphet a , epphet a .
M.
B . T .
- - - - un l oc k t he b l oc ked ga t es of t he b r ea t h. T he spi r i t i s o pened a l ong
E pphet a , epphet a . S pi r i t us ub i vul t spi r a t .
M.
B . T .
- - - wi t h t he weed. Hys sop , pur ge t he c ha m b er s of a i r .
E pphet a , epphet a . E pphet a , epphet a . S pi r i t us ub i vul t
M.
B . T .
- - -
-
T he spi r i t i s pur ged b y t he shr ub ’ s ho l i ness .
spi r a t .
M.
B . T .
A ll T ogeth er : M or ga n ’ s R ec ip e
19
- - - - - - - - A s per ges m e hys so po . E p phe t a , ep phe t a .
E pphet a , epphet a . E pphet a , epphet a .
M.
C h. M. T .
- - - - - - A s per ges m e hys so po , a s per ges m e .
M.
- -
- - - - - -
-
R e d c o l o ri ng i nd i c at e s al i g nm e nt .
L ungwor t , un b i nd. F r om t he hea r t , un c oi l . T he spi r i t unc oi l s a l ong wi t h t he l ea f .
E p phet a , ep phet a . E p phet a , ep phet a . S pi r i t us ub i vul t spi r a t . E p
E p
Morg an T ex t
B rónac h T ex t
C hi l d 's Mot her T ex t
- - - -
- - - -
M a l l ow , shea t he over t he sha r p
pheta , ep pheta . E p pheta , ep pheta .
phet a , ep phet a . E p phet a , ep phet a .
l.v .
( circ le us ed on ot her s t a v es t o ind icat e larg er t rip le ry t hm )
M. T .
B . T .
C h. M. T .
C l c h.
T e . V l a d a G .
B . V l a d a G .
A ll T ogeth er : M or ga n ’ s R ec ip e
A ll T oget h er : I n s t r u m en t al S c or e
20
-
-
i n t he t hr oa t . T he spi r i t i s soot hed a l ong wi t h
S piritus ub i vul t spi ra t.
S pi r i t us ub i vul t spi r a t .
M. T .
B . T .
C h. M. T .
T e . V l a d a G .
B . V l a d a G .
- -
- -
t he r oot . C ol t sfoot , gl ea m gol den. Di st r a c t t he b a d
E p pheta , epphet a . E p pheta , epphet a .
E p phet a , epphet a . E p phet a , epphet a .
M. T .
B . T .
C h. M. T .
T e . V l a d a G .
B . V l a d a G .
hum or . T he spi r i t i s set t l ed a l ong wi t h t he ower
S piritus ub i vul t spira t.
S pi r i t us ub i vul t spi r a t .
l.v .
M. T .
B . T .
C h. M. T .
C l c h.
T e . V l a d a G .
B . V l a d a G .
A ll T ogeth er : In str u men ta l S c or e
21
-
-
M ul l ei n, unl oc k t he b l oc ked ga t es of t he
E pphet a , epphet a . E p phet a , epphet a .
E pphet a , epphet a . E p phet a ,
M. T .
B . T .
C h. M. T .
T e . V l a d a G .
B . V l a d a G .
- b r ea t h. T he spi r i t i s opened a l ong wi t h t he weed.
S piritus ub i vult spira t.
epphet a . S pi r i t us ub i vul t spi r a t .
M. T .
B . T .
C h. M. T .
T e . V l a d a G .
B . V l a d a G .
- -
-
Hyssop ,
E pphet a , ep pheta . E pphet a , ep
E pphet a , ep phet a . E pphet a ,
M. T .
B . T .
C h. M. T .
T e . V l a d a G .
B . V l a d a G .
A ll T ogeth er : In str u men ta l S c or e
22
- -
-
pur ge t he c ha m b er s of a i r .
pheta . S piritus ub i vul t spi
ep phet a . S pi r i t us ub i vul t
l.v .
M. T .
B . T .
C h. M. T .
C l c h.
T e . V l a d a G .
B . V l a d a G .
-
-
T he spi r i t i s pur ged b y t he shr ub ’ s hol i ness .
ra t.
spi r a t . E pphet a , epphet a . E pphet a ,
l.v .
M. T .
B . T .
C h. M. T .
C l c h.
T e . V l a d a G .
B . V l a d a G .
- - A sper ges m e hyssopo . E p phet a , ep phet a . A sper ges m e hyssopo , a sper ges m e .
eppheta . E pphet a , epphet a .
M. T .
C h. M. T .
T e . V l a d a G .
B . V l a d a G .
A ll T ogeth er : In str u men ta l S c or e
23
C l ái rs eac h
- - -
- - -
quic k and lig ht , t act us : 55-60
T he spi r i t o pens , o pens wi t h t he dr a ught . T he
T he spi r i t o pens , o pens wi t h t he dr a ught .
M.
B .
C l c h.
- - -
- - -
spi r i t goes out , a nd r e t ur ns a nd r e t ur ns .
T he spi r i t goes out , a nd r e t ur ns a nd r e t ur ns .
M.
B .
C l c h.
w and ering and lig ht
C l c h.
V l e .
C láir s eac h R ec ipe C h or ds W it h “ Th e S pir it Open s ” an d F in al V ielle
24
C l c h.
V l e .
C lá ir sea c h R ec ip e C h or d s W ith “T h e S p ir it O p en s” a n d F in a l V ielle
25
Repeat the whole song or don't, it will depend on the production.
Optional accidentals are inc luded, just don't do all of them. More
repetitions of the Mortar and P estle beat in between lines is ne .
tactus: 40 - 50
Morgan with Mortar and P estle
Mortar & P estl e
- - R e tur n, r e tur n to the g r een, g r een l a ke ,
M.
M. P .
- R e tur n to the g r een, to the g r een.
M.
M. P .
W her e i t i s s a f e , wher e i t i s s a f e ,
M.
M. P .
- - R e tur n, r e tur n to the g r een.
M.
M. P .
M. P .
TEXT
Retu rn , retu rn , to th e green , green l ak e ,
Retu rn to th e green , to th e green .
Wh ere i t i s saf e , wh ere i t i s saf e .
Retu rn , retu rn to th e green .
Sc en es 5 in to 6: R etu r n to th e Gr een /Th e News/
B er th ild is’ s Lu lai
R etu r n to th e Gr een
26
smallest unit: 120 - 160
Basset Recorder in F , Great Bass Recorder , T enor and Bass V iola da Gamba,
Granular Dela y and Mac hine Noise
B asset R ecorder i n F
T enor V i ol a da G amba
B . R ec .
T . V l a da G .
B . R ec .
G . B . R ec .
T . V l a da G .
A breve in this section indicates a note that is a comfortably quiet long tone on one breath.
In between eac h note take a full, easy breath. Recorder pla yers are alternating , off-set from
eac h other in entrances .
r ep ea t D until next ind ic a ted note
r ep ea t B until next ind ic a ted note
hold to end the p hr a s e , then w a it for a few
a lter na tions in r ec or d er s b efor e enter ing a ga in.
B . R ec .
G . B . R ec .
T . V l a da G .
G . D . on, C 2 a nd C 3 s elec ted .
T . V l a da G .
G . D . & M. N .
Th e News
27
r ep ea t C # until next ind ic a ted note
r ep ea t A until next ind ic a ted note
G . D . a d d A 1 . Tr igger Low
M a c hine Nois e .
R elea s e F a d e out G . D . over a few b ea ts .
B . R ec .
G . B . R ec .
T . V l a da G .
G . D . & M. N .
A breve in this section indicates a note that is a single bow length, comfortably quiet.
In between eac h note take a easy breath-length rest. Treble and Bass V iol are alternating ,
off-set from eac h other in entrances .
r ep ea t D until next ind ic a ted note
r ep ea t B until next ind ic a ted note
B . R ec .
G . B . R ec .
Tr . V l a da G .
T . V l a da G .
B . V l a da G .
hold to voc a l entr a nc e
hold to voc a l entr a nc e
hold thr ough voc a l
entr a nc e , c ha nging
b ow a s nec c es a r y
hold until E in tr eb le viol
B . R ec .
G . B . R ec .
Tr . V l a da G .
B . V l a da G .
T h e New s
28
- - - - -
F irst P ass, unembellished
tactus = 30 - 40
Berthildis , Treble and Bass V iola da Gamba, V ielle , Basset and Great Bass Recorder , P ortative Organ
L u n l ei l u
Red coloration ind icates alignment.
l a i , L u n l ei
d r one until G r ea t B a s s r ec or d er enter s , over la p b r ie y
B erthi l di s
G reat B ass R ecorder i n C
Trebl e V i ol a da G amba
- - - - - l u l a i . L u n l ei l u l a i ,
d r one until Tr eb le V iol r e- enter s , over la p b r ie y
B .
G . B . R ec .
Tr . V l a da G .
l a i l a i l a i l a i . L a i l a i l a i l a i .
d r one until G r ea t B a s s r ec or d er r e- enter s , over la p b r ie y
B .
G . B . R ec .
Tr . V l a da G .
- - - - - - - -
Second P ass, lightly embellished
L u n l ei l u l a i , L u n
B .
B . R ec .
G . B . R ec .
B er th ild is’ s Lu lai
29
- - - - - - l ei n l u l a i . L u n l ei l u l a i ,
B .
B . R ec .
G . B . R ec .
l a i l a i l a i l a i . L a i l a i l a i l a i .
B .
B . R ec .
G . B . R ec .
- - - -
T hird P ass, highly embellished
L u n l ei l u l a i , L u n l ei
B .
G . B . R ec .
P . O rg .
- - - - - l u l a i . L u n l ei
B .
G . B . R ec .
P . O rg .
V l l e .
B er t h ildis ’ s L u la i
30
- - - - - - l u l a i n, L a i l a i l a i l a i .
B .
G . B . R ec .
P . O rg .
V l l e .
- - - -
F ourth P ass, large contour changes
L u n l ei l u l a i , L u n l ei
B .
B . V l a da G .
l u l a i . L u l ei
B .
B . V l a da G .
- - - l u l a i , L a i l a i l a i l a i m.
B .
P . O rg .
B . V l a da G .
B er t h ildis ’ s L u la i
31
V espers and Lulai W ord Sheet and Instructions
Scene 7: V espers
V espers Mass - Magn ícat
Phr ase A
M ag ní c at áni ma mea Dómi num.
E t ex ul tá v i t spí r i tus meus: i n Deo sal utár i meo .
Qui a r espéx i t humi l i tátem anc í l l ae suae:
Phr ase B
E c c e eni m ex hoc beátam me di c ent omnes g ener ati ónes .
Qui a féc i t mi hi mág na qui pótens est: et sánc tum nómen ei us .
Phr ase C - A l l nuns ex c ept the B owed Psal ter y pl a y er beg i n to r ec i te thi s por ti on
asy nc hr onousl y , c r eati ng a c l oud of wor ds . R epeat tex t as needed to span the sec ti on, endi ng
when B er thi l di s si ng s “They shal l c al l me bl essed” for a sec ond ti me and the nun pl a y i ng
Psal ter y c omes i n wi th “Susc épi t Ísr ael púer um suum. ” If y ou ar e i n the mi ddl e of a l i ne when
the nun c omes bac k i n, ni sh sa y i ng the l i ne y ou ar e on.
E t mi ser i c ór di a ei us i n pr og éni es et pr og éni es ti ménti bus eum.
F éc i t poténti am i n br ác hi o suo: di spér si t supér bos mente c or di s sui .
Depósui t poténtes de sede: et ex al tá v i t húmi l es .
E sur i éntes i mpl év i t boni s: et dí v i tes di mí si t i nánes .
Phr ase A R epr i se
(Psaltery n un ) Susc épi t Ísr ael púer um suum: r ec or dátus mi ser i c ór di ae suae .
Si c ut l oc útus est ad patr es nostr os: Á br aham, et sémi ni ei us i n saec ul a.
Phr ase B R epr i se
(All n un s) Gl ór i a P atr i , et F í l i o , et Spi r í tui Sanc to ,
Si c ut er at i n pr i nc í pi o , et nunc , et semper , et i n sæc ul a sæc ul ór um.
A men. (6 ti mes)
32
Berth ild is’ s Lulai
I am her e ,
wi th y ou,
and al l i s wel l .
I am her e ,
wi th y ou,
and al l i s wel l .
They shal l c al l me bl essed,
my hear tr oot,
i f they r emember me at al l .
33
- - - - - -
t a ct us = 4 0 - 5 0
M ag n í c at á n i ma
N u n s a t V es pers
Bowed P s a l tery
- - - - - - - - me a Dó mi n u m. E t e x u l tá v it sp í
N u n s .
P s a .
- - - - - - - r i tu s me u s: in De o sa lu
N u n s .
P s a .
- - - - - - - - - - tá r i me o . Qu i a r e sp é x it h u mi li
N u n s .
P s a .
- - - - - - - tá tem an c íl lae su ae:
N u n s .
P s a .
Phrases A and B Nuns and Psaltery
34
- - - - - - ec c e e n im ex h oc be á tam me d i c en t om n es
N u n s .
P s a .
- - - - - - - - - - g e n e r a ti ó n es . Qu i a f é c it mi h i má g n a
N u n s .
P s a .
- - - - - qu i p ó ten s est: et sán c tu m n ó men e i u s .
T his lea d s d irect ly int o
s olo s ect ion of P hra s e C
N u n s .
P s a .
Half n o t e pulse.
All ha rp m us ic in P hra s es A a nd B is d erived from t hes e b a s ic p hra s es . T he rhyt hm ic s p a ce b et w een
t he elem ent s m a y c ha nge w it h a lignm ent w it h t he ot her p a rt s , b ut t he b a s ic rhyt hm ic rela t ions hip s
b et w een t he elem ent s s hould rem a in c los e . P rim a rily , t he p hra s ing s hould re ect w ha t is a nd is not
on t he ha lf not e p uls e .
A
L H
I n t his s cene , w here t here is a rep ea t ed c hord ,
p la y t he s econd c hord in t he op p os it e ha nd
= 4 0 - 5 0
RH
L H
RH
L H
T ri pl e Ha rp
B
T Hp
P hra s es A a nd B Nuns a nd P s a lt ery
Phrase A and B Harp Basic Materials
35
- - - - - - -
Red co lo rat io n in dicat es align m en t .
= 4 0 - 5 0
F rom here t o t he end of t his s egm ent , w hole
not es ind ica t e a long not e w hos e exa ct lengt h
is d ep end ent on coord ina t ion w it h ot her
p la yers or s ingers .
M ag n í c a a at á
N u n s T ext
Al to Recorder
T en or Recorder
T ri pl e Ha rp
- - - - - - - - - - - a a n i ma a me a Dó o o mi n u u m.
N . T .
A. Rec .
T . Rec .
T Hp
- - - - - - - - - - E t ex u l tá v it sp í r i tu s me e e u u s: i in
N . T .
A. Rec .
T . Rec .
T Hp
Phrase A Recorders , with Harp in T ext Alignment with Nuns
36
- - - - - - - De o sa lu tá a a r i me o .
N . T .
A. Rec .
T . Rec .
T Hp
- - - - - - - - - - - - Qu i i a r e sp é x it h u mi li tá a a te em
N . T .
A. Rec .
T . Rec .
T Hp
- - - - - - - an c íl lea ea ea ea su u ae .
hold over int o next
s ect ion, a com fort a b le
overla p
b egin next
s ect ion
N . T .
A. Rec .
T . Rec .
T Hp
37
- - - - - - - - - - - E ec c e e n im e ex h oc be á tam me e e e e d i
s t em les s ha lf not e = 4 0 - 5 0
N u n s T ext
T ri pl e Ha rp
- - - - - - - - - - - - - - c en t om n es g e e e e n e r a ti ó o n es . Qu i i a f é c it
N . T .
T Hp
- - - - - - - - - - - - mi i h i má ag n a qu i i i i i p ó ten s est: et sá a
N . T .
T Hp
- - - - - - a an c tu m n ó men e i u s .
s ud d enly s w eet a nd s oft
N . T .
T Hp
Phrase B Harp in T ext Alignment with Nuns
38
= 7 5 ac c el .
- - - -
T his ow ing m us ic d oes not req uire m uc h s p eci c rhyt hm ic coord ina t ion w it h t he res t of
t he ens em b le . T he T rip le Ha rp c hord s a nd Nun's t ext lines s hould a ct a s cues a nd regis t ra t ion
p oint s . Mos t crucia l is t he s ens e of even q uiet ow ing , es p ecia lly in t he d ovet a iling s ect ion.
M ag n í c a
a s q uiet a s p os s ib le
8 X
N u n s T ext
P orta ti ve Orga n
T ri pl e Ha rp
= 9 5
- - at me a
N . T .
P . Org .
= 9 5
- - Dómin u m. ex u ltá v it sp í r itu s me u s:
6 X
3 X
a s lega t o a nd a s q uiet ly a s p os s ib le
N . T .
P . Org .
T . Vl a da G .
5 X
P . Org .
T . Vl a da G .
Phrase A, B and C Flowing P arts - P ortative Organ and T enor V iola da
Gamba
39
salu tár i meo .
3 X
N . T .
P . Org .
T . Vl a da G .
r esp éx it h u militátem
7 X
N . T .
P . Org .
T Hp
T . Vl a da G .
- - an c íl lae
4 X
4 X 3 X
N . T .
P . Org .
T . Vl a da G .
Men o mosso
V iol a nd O rga n d ovet a iling p hra s es : unles s overla p is ind ica t ed , s t a rt ea c h
p hra s e on t he la s t not e of t he ot her's p hra s e
Begin d irect ly a ft er p ort a t ive orga n end s la s t s ca le , it s hould a lign roughly w it h
t he b eginning of P hra s e B in t he t rip le ha rp .
P . Org .
T . Vl a da G .
P hra s e A, B a nd C F low ing P a rt s - P ort a t ive O rga n a nd T enor V iola d a G a m b a
40
g en er atión es .
s im . d yna m ics , s w ell up a nd reced e
over t he full p hra s e
N . T .
P . Org .
T . Vl a da G .
s im . d yna m ics , s w ell up a nd reced e over t he full p hra s e
P . Org .
T . Vl a da G .
et sán c tu m
N . T .
P . Org .
T . Vl a da G .
N . T .
P . Org .
T . Vl a da G .
Bow ed P s a lt ery b egins s olo roughly here .
P . Org .
T . Vl a da G .
P hra s e A, B a nd C F low ing P a rt s - P ort a t ive O rga n a nd T enor V iola d a G a m b a
41
- - - - -
Nu n s at V es per s C u e
s ánc t um nó m en e i us .
I n P hra s e 3 , a ll nuns excep t t he one p la ying t he Bow ed P s a lt ery a re s p ea king t hrough t he
P hra s e 3 t ext a s ync hronous ly , rep ea t ing t he t ext a s need ed b efore t he nun p la ying P s a lt ery
re- ent ers s inging t he P hra s e 1 Rep ris e .
L a s t p hra s e of P hra s e 2 s how n for cont inuit y
t a ct us = c . 5 0
Bowed P s a l tery
strin g. strin g.
P s a .
t a ct us = c . 6 0
F or V iols in t his s ect ion, m a xim a ind ica t e a non- s p eci c long not e , a nd s hould
b e held unt il t he next not e ind ica t ed b y rela t ion t o t he p s a lt ery p a rt .
P s a .
T . Vl a da G .
B . Vl a da G .
P s a .
T . Vl a da G .
B . Vl a da G .
P s a .
T . Vl a da G .
B . Vl a da G .
Phrase C V iols and Psaltery
42
Bert hild is b egins t o s ing j us t a ft er P s a lt ery s olo end s , a lone voice a m ong t he
recit ing nuns . T he nun p la ying t he p s a lt ery com es b a c k in b et w een t he la s t t w o
p hra s es , one overla p p ing t he ot her .
t a ct us = c . 4 0
I am h er e , with y ou , an d all
Berth i l di s
is well. I am h er e ,
Brth .
with y ou , an d all is well.
Brth .
- - - Th ey sh all c all me blessed , my h ear t
Brth .
- - - - r oot, Th ey sh all c all me
Brth .
- -
Su sc ép it I sr ael p ú er u m su u m:
blessed , if th ey r e mem ber me at all.
N . T .
Brth .
Berthildis’ s Lulai F irst P ass
43
- -
- - - -
B er t h ildis C u e
i f t hey r e m em ber m e
O n ly P salt ery P lay in g N un
t a ct us = 5 0 - 6 0
Su s c é p it I s r a el
N u n s a t V es pers
Bowed P s a l tery
- - - - - - -
at al l .
p ú e r u m su u m: r e c or d á tu s
N u n s .
P s a .
- - - - - - - mi se r i c ór d i ae su ae .
N u n s .
P s a .
- - - - - Si c u t lo c ú tu s est ad p a tr es
N u n s .
P s a .
- - - - n o str os: Á br a h am,
N u n s .
P s a .
Phrases A and B Reprise Nuns and Psaltery
44
- - - - - et sé mi n i e iu s in sae c u la.
N u n s .
P s a .
- - - - - - - -
P hra s e B Rep ris e
All N un s
Gló r i a P a tr i, et F í li o et Sp i r í tu i
N u n s .
P s a .
- - - - - - - San c to . Si c u t e r at in p r in
N u n s .
P s a .
- - - - - c í p i o , et n u n c , et se p er ,
N u n s .
P s a .
- - - - - - - et in sae c u la sae c u ló r u m.
N u n s .
P s a .
P hra s es A a nd B Rep ris e Nuns a nd P s a lt ery
45
- - - - - - - - - A a men A a men
N u n s .
P s a .
- - - - - - - - - - A a men A a men A
N u n s .
P s a .
- - - - - - - - - - a men A a men .
N u n s .
P s a .
- -
P salt ery N un
Su sc ép it I sr ael p ú er u m su u m: r e c or
if th ey r emember me at all.
N u n s T ext
Berth i l di s T ext
- - - - - - - - - d á tu s mi ser i c ór d iae
Half n o t e pulse.
T im e b et w een p hra s es d et erm ined
b y coord ina t ion w it h voca l.
= 5 0 - 6 0
N . T .
T Hp
P hra s es A a nd B Rep ris e Nuns a nd P s a lt ery
Phrases A and B Reprise Harp
46
- - - su ae . Sic u t loc ú tu s e est ad p atr es
N . T .
T Hp
- - - - - - n ostr os: Á br a h a a a a am, et
N . T .
T Hp
sémin i eiu s in saec u la. Glór ia P atr i, et F ílio , et Sp ir ítu i San c to ,
N . T .
- - - - - Si c u t e r at in p r in c í p i o , et n u n c ,
N u n s .
T Hp
- - - - - - et se p er , et in sae
N u n s .
T Hp
- - - - - - - - - - c u la sae c u
G ra d ua lly s p eed ing up a nd fa lling int o a t rip le rhyt hm .
N u n s .
T Hp
P hra s es A a nd B Rep ris e Ha rp
47
-
- - - - - - -
lór u m.
1 . A
F rom here t o t he end of t he s cene , t he ha rp is ow ing s om ew ha t ind ep end ent ly .
Ap p roxim a t e loca t ion of t he " Am en" s ha ve b een ind ica t ed , b ut a re not s t rict . I f
a t t he end t he ha rp is t ha s a rrived a t t he na l os cilla t ion b et w een C a nd D , t ha t
t w o b a r p hra s e ca n b e rep ea t ed unt il t he ot her p a rt s end .
= c . 7 0
N u n s .
T Hp
- - - - - - - - - men 2 . A
N . T .
T Hp
- - - - - - - - - - - men 3 . A
N . T .
T Hp
- - - - - - - - - men 4 . A
N . T .
T Hp
- - - - - - - - - - - men 5 . A
N . T .
T Hp
P hra s es A a nd B Rep ris e Ha rp
48
- - - - - - - - - men 6 . A
N . T .
T Hp
- men .
N . T .
T Hp
- - - - - - n ostr os: Á br a h a a a a am, et
T r iple Har p C u e
= 5 5 - 6 5
Half n o t e pulse.
V iols in t his s cene , hold unt il next ind ica t ed
not e , c ha nge b ow s a s neces s a ry .
N u n s T ext
Al to Recorder
T en or V i ol a da Ga mb a
sémin i eiu s in saec u la.
N . T .
A. Rec .
T . Rec .
T . Vl a da G .
P hra s es A a nd B Rep ris e Ha rp
Berthildis “They Shall Call Me Blessed” with Recorders (P artial) and
V iols
49
- - - Glór ia P atr i, et F ílio , et Sp ir í tu i San c to ,
= 5 5 - 6 5
Half n o t e pulse.
Th ey sh all c all me blessed , th ey sh all c all me blessed .
T o n ex t s ection in s core f or con tin u in g recorder pa rt.
T o n ex t s ection in s core f or con tin u in g recorder pa rt.
N . T .
Brth .
A. Rec .
T . Rec .
T . Vl a da G .
B . Vl a da G .
- - Sic u t er at in p r in c íp io , et n u n c , et sem
Th ey sh all c all me blessed , th ey sh all c all me blessed .
N . T .
Brth .
T . Vl a da G .
B . Vl a da G .
- - -
- - -
p er , et in saec u la saec u lór u m.
"Amen "s a re a pprox ima te
pla cemen t, a s th is is a f a irly
f ree s ection .
1 . A
Th ey sh all c all me blessed , my h ear t r oot.
N . T .
Brth .
T . Vl a da G .
B . Vl a da G .
Bert hild is “ T hey Sha ll Ca ll Me Bles s ed ” w it h Record ers (P a rt ia l) a nd V iols
50
- - - - - - - men 2 . A men 3 . A
Th ey sh all c all me blessed , th ey sh all c all me blessed .
N . T .
Brth .
T . Vl a da G .
B . Vl a da G .
- - - - - - - -
- -
men 4 . A men 5 . A
I f th ey r e mem ber me , th ey sh all c all me blessed .
N . T .
Brth .
T . Vl a da G .
B . Vl a da G .
- - - - -
- - -
men 6 . A men .
I f th ey r e mem ber me , Th ey sh all c all me blessed .
En d n ote a t en d of b a r .
N . T .
Brth .
T . Vl a da G .
B . Vl a da G .
Bert hild is “ T hey Sha ll Ca ll Me Bles s ed ” w it h Record ers (P a rt ia l) a nd V iols
51
- - Th ey sh all c all me ble essed , th ey sh all c all me ble essed . Th ey
S prit ely
= c . 6 0
Berth i l di s T ext
Sopra n o Recorder
T en or Recorder
- sh all c all me ble essed , th ey sh all c all me
B . T .
S . Rec .
T . Rec .
- - - - - - - - ble essed . Th ey sh all c all me ble essed , my h ea a a ar t r oo
B . T .
S . Rec .
T . Rec .
- - - oot. Th ey sh all c all me ble essed , th ey sh all c all me ble
B . T .
S . Rec .
T . Rec .
“They Shall Call Me Blessed” Recorders
52
- - - - - essed . I f th ey r e mem ber me e , th ey sh all c all me ble essed .
B . T .
S . Rec .
T . Rec .
- - - - - I f th ey r e mem ber me e , Th ey sh all c all me ble essed .
B . T .
S . Rec .
T . Rec .
“ T hey Sha ll Ca ll Me Bles s ed ” Record ers
53
My
My
My
t a c t u s = c . 2 5
brown
brown
brown
hen
goat
eyes
has
has
ha ve
been
been
been
at
at
at
work
work
work
for
for
for
hours
hours
hours
and
and
and
hours
hours
hours
all
all
all
N un
ready .
ready .
ready .
See
See
how
how
she
her
spent
milk
the
has
N .
5
-
-
night
made
in her
a
roost,
brook,
and
and
laid
runs
me
down
a
the
fresh
hills
sun
this
this mor
mor
ning .
ning .
N .
9
- - See how they dance to and fro all night, dream ing of this sum mer
N un
- - - - - - - - - - - - - - - mor
N .
6
- - - - - - - - - - - - - - ning .
N .
9
B asic M ater ial
Sc en e 8: B r own H en
V er se 3 V ar ietal
54
D ot t ed r y t h m s c a n b e s t r a ig h t en ed ou t a n d v ic e v er s a . Sim ple m or den t s a n d s t epw is e g r a c en ot es a r e w elc om e .
H oldin g t h e ps a lt er y in y ou r lef t h a n d, poin t f a c in g y ou , m u t e t h e dia t on ic s ide of t h e ps a lt er y w it h
y ou r lef t t h u m b , lea v in g t h e pen t a t on ic s ide open . Y ou w ill u s e a g la s s g u it a r s lide , h eld per pen dic u la r
t o t h e s t r in g s , t o s t r ike t h e open s t r in g s . Y ou c a n v a r y t h e a t t a c ks b y t ilt in g t h e s lide t o eit h er s ide or
h it t in g w it h a s w in g in g , pa r a b olic m ot ion .
B elow is t h e b a s ic t w o b a r r h y t h m ic u n it , w h ic h s h ou ld b e v a r ied g r ea t ly m im ic in g of t h e v oc a l r h y t h m .
In b et w een v oc a l ph r a s es m a ke dy n a m ic ph r a s es in em ph a s is a n d pit c h r a n g e b y v a r y in g h it t in g h ig h er
or low er s t r in g s .
St r in g s lef t u n m u t ed
B a s ic t w o b a r r h y t h m
B owed P s a l ter y
E mbelish men ts
Psalter y I n str u c tion s an d R oad map
Son g Roadmap:
T wo Bar P salter y I n tr o
V er se 1 P h r ase 1
T wo bar s .
V er se 1 P h r ase 2
F ou r bar s .
V er se 2 P h r ase 1
T wo bar s .
V er se 2 P h r ase2
F ou r bar s .
V er se 3 P h r ase 1
T wo bar s .
V er se 3 P h r ase 2, par t 1.
T wo bar s .
V er se 3 P h r ase 2, ex ten ded n al ph r ase .
T wo bar s .
F in al v er se h as an ex tr a two bar br eak with in P h r ase 2, an d an ex ten ded n al ph r ase . Get mor e
pla y f u l an d lou d alon g with th e sin g er , en din g two bar s af ter th eir last n ote . En d with a ou r ish !
Sc en e 8 : B r ow n H en
55
= c . 1 0 4
D r on e R u les : h old dow n w ar d s t em n ot es u n t il t h e n ex t dow n w ar d s t em n ot e , do n ot lif t f or r es t s
pa use
Pr ot on Lead 2
Cl ái r s eac h
P . L. 2
Cl s c h .
P . L. 2
Cl s c h .
Scene 9: St ream s id e V is ions
Show ing Hair
56
P . L. 2
Cl s c h .
pa use
P . L. 2
Cl s c h .
g liss .
= c . 1 2 6 E n d D r on e R u les
Speed u p s lig h t ly
ov er n ex t t h r ee bar s .
P . L. 2
Cl s c h .
Scene 9 : Strea mside V isions
57
P . L. 2
Cl s c h .
P . L. 2
Cl s c h .
R epeat , s peedin g u p s u bt ly , u n t il
c u t of f by c lap of s in g er s s t ar t in g
n ex t s ec t ion .
P . L. 2
Cl s c h .
Scene 9 : Strea mside V isions
58
SECTI O N A
REFRAI N - B e f ore ve r se 1, i n be twe e n e ac h ve r se , an d af te r ve r se 4
T op : Look how I br eak , l ook how I ow . Look how I br eak , l ook how I fol l ow . (x 2)
M i d d l e & B ot t om : Look how I br eak , l ook how I ow . Look how I fol l ow , l ook how I fol l ow . (x 2)
VERSES
V er s e Sol o: 1. D i d l e l ai , v ai ha-n d i d l e l ai ,
Lad y M oon t ak es m e by t he hand .
“ W al k w i t h m e t o t he s ea, ” s a y s s he .
D i l ai d i l a-i -a-i -a d i l a. Ha y o-n d i l a ha-n. (ov er l ap s w i t h R efr ai n)
2. D i d l e l ai , v ai ha-n d i d l e l ai ,
(T op join s) Her m ant l e i s s i l v er , w at er m i ne ,
m i nnow -jew el ed and r eed ent w i ned .
(T op) D i l ai d a-i d i l a ha—-i -a
(Solo) D i l ai d i l a-i -a-i -a d i l a. Ha y o-n d i l a ha-n.
3. Lad y M oon t ak es m e by t he hand .
W e c r os s m ead ow , g l en, el d s t one .
I ’m bar efoot ; her s hoes ar e bone .
D i l ai d i l a-i -a-i -a d i l a. Ha y o-n d i l a ha-n.
St ream Song W ord Sheet
59
4. Lad y M oon t ak es m e by t he hand .
(T op joi ns ) Look how I fol l ow t o t he s ea.
I ’l l fol l ow w her ev er s he l ead s m e .
(T op ) D i l ai d a-i d i l a ha—-i -a
(Sol o) D i l ai d i l a-i -a-i -a d i l a. Ha y o-n d i l a ha-n.
V er s e B ot t om : 1-4. Hei —-o , Hei —--o ,
ho ho—--- ho—d n ho
Ho—------ ha-i -a
Ho—- ho ho-d n Ha—-i -a
SECTI O N B
V er s e Sol o & B ot t om : Whi l e at m y ed g e t he s i s t er s w as h t hei r c l ot hes .
(V er s e Sol o) D i l a, d i l a-i
R efr ai n T op & M i d d l e: I br ea—-heh-heh-heh-heak ,
B r ea—--heh-heh-heh-heh-heh-heak .
R efr ai n B ot t om : D i hi l ai hi l ai
D i hi l ai he l ai , hei
60
= c . 6 0
-
-
-
c l ap ( on l y at op en i n g )
SEC T I O N A: R ef r ain an d V er s e c y c led u n t il all v er s es h a v e been s u n g ,
t h en on e n al R ef r ain bef or e Sec t ion B .
R EFR AI N
L ook h ow I b rea k, l ook h ow I
c l ap ( on l y at op en i n g )
L ook h ow I b rea k, l ook h ow I ow . L ook h ow I fol l ow , l ook h ow I
c l ap ( on l y at op en i n g )
L ook h ow I b rea k, l ook h ow I ow . L ook h ow I fol l ow , l ook h ow I
c l ap ( on l y at op en i n g )
n ot s u n g on rs t p as s
D i l a h a n .
c l ap ( on l y at op en i n g )
Ref r ai n T op
Ref r ai n M i ddl e
Ref r ai n Bot t om
V er s e Sol o
V er s e Bot t om
-
- - -
- - -
ow . L ook h ow I b rea k, l ook h ow
A f t er n al v er s e
t o SE C TIO N B
I fol l ow .
fol l ow . L ook h ow I b rea k, l ook h ow I ow . L ook h ow I fol l ow , l ook h ow I fol l ow .
fol l ow . L ook h ow I b rea k, l ook h ow I ow . L ook h ow I fol l ow , l ook h ow I fol l ow .
R. T .
R. M .
R. B .
Scene 9 : Strea mside V isions
St ream Song
61
- - - -
- - - - - - -
V ER SE
O pt ion al t op lin e , add as w an t ed af t er r s t pas s .
Sin g t ex t of t h e t h e v er s es w it h t h e V er s e Solo .
D i d l e l a i va i h a n d i d l e l a i , L a d y Moon t a kes m e b y t h e h a n d .
Hei o h ei o h o h o h o d n h o
R. T .
R. M .
R. B .
V . S .
V . B .
- - - - -
- - - - - - - -
- - - - - -
D i l a i d a i d i l a h a i a .
L ook h ow I
L ook h ow I
W a l k w i t h m e t o t h e sea sa i d sh e . D i l a i d i l a i a i a d i l a . Ha yo n
Ho h a i a Ho h o h o d n h a i a .
R. T .
R. M .
R. B .
V . S .
V . B .
Scene 9 : Strea mside V isions
62
- - - - -
- - - - -
- - - -
- - - - -
-
G on r s t pas s , D on all ot h er r epeat s .
SEC T I O N B: C y c led at pleas u r e , K ey boar d par t s h ou ld n ot en t er u n t il 3 or 4 r epet it ion s .
O n r s t pas s , V er s e s in g er s s peed u p f r om pr ev iou s t em po t o a n ot ic ably f as t er on e in r s t t h r ee bar s .
(fol )l ow .
(b r)ea k.
I b re h eh h eh h eh h eh h ea k,
c l ap
D on r s t pas s , G on all ot h er r epeat s .
(fol )l ow .
(b r)ea k.
I b re h eh h eh h eh h eh h ea k,
c l ap
(fol )l ow .
Hei .
D i h i l a h i l a i
c l ap
W h i l e a t m y ed ge t h e si s t ers w a sh t h ei r c l ot h es . D i l a d i l a i .
c l ap
W h i l e a t m y ed ge t h e si s t ers w a sh t h ei r c l ot h es .
c l ap
R. T .
R. M .
R. B .
V . S .
V . B .
P . L. 2
- - - - - - -
- - - - - - -
- - - -
Bre h eh h eh h eh h eh h eh h eh h ea k h ei !
Bre h eh h eh h eh h eh h eh h eh h ea k h ei !
D i h i l a h i l a i h ei h ei !
Im m ediat ely s low er . at t ac c a t o Th e V is ion
R. T .
R. M .
R. B .
P . L. 2
Scene 9 : Strea mside V isions
63
-
1.
Th es e ar e f ou r f u ll v ar iat ion s et s f or t h e B ot t om V er s e s in g er . A f t er t h e r s t pas s , t ake
w h at y ou like f r om an y of t h es e s et s - piec in g t og et h er y ou r ow n v ar iat ion or j u s t s in g in g
on e of t h es e . D ot t ed r h y t h m s c an be m ade s t r aig h t an d v ic e v er s a.
Hei o h o h ei o h o h o h o h o d n h o
V er s e Bot t om
- - - - - - - - Ho h a i a Ho h o d n h a i a .
V . B .
- - -
2.
Hei o h e i o h o h a i h o d n h o
V . B .
- - - - - - Ho h o h a i a Ho h o h o d n h a i a .
V . B .
- - - - - - -
3.
Ho h o h o h o d n h o D i l a i h a h a i a d i l a d i l a h a n
V . B .
- - - - - l a i d i l a Ho h a i l a d i h a n h o
V . B .
- - - -
4.
L a i d i l a i l a i d i l a d i l a Ho d n h o l o h a i a h a d i
V . B .
- - - - - L o h o d n h a i a L o d i l a i d i l a i a h a i a
V . B .
Scene 9 : Strea mside V isions
St ream Song V ers e Bot t om V ariat ions
64
Repeat 4 or 5 ti mes , al l owi ng bl eed between notes
( not rel easi ng a note ex actl y when y ou pl a y the nex t)
and sl owl y l et the ri g ht hand l ag behi nd the l ef t and
l oosen the rhy thm whi l e the l ef t hand keeps rel ati v el y
steady .
s teml es s ha l f note = c . 6 0
Conti nue l oopi ng the phrase , speci c
v ari ati ons and moments of al i g nment
wi l l be i ndi cated.
Pr oton Lea d 2
Gr a nula r Dela y & M a c hine Nois e
Bowed Ps a lter y
Tr eb le V iola d a Ga mb a
T enor V iola d a Ga mb a
Ba s s V iola d a Ga mb a
||:
Thes e sy mbol s i ndi cate an ex pressi v e repeati ng phrase
wi thout i ntenti onal coordi nati on wi th other parts .
:||
G rave tactus (c. 45)
P . L. 2
G . D .
B . Ps lt.
Tr . Vla d a G .
T . Vla d a G .
B . Vla d a G .
Th e V i s i on
65
=
:||
||:
Bow v ery l i g htl y and qui etl y , wi th i ncreasi ng
bow speed i n the mi ddl e of the bow .
Thi s wi l l bend the pi tc h up sl i g htl y .
for d uration of scene.
P . L. 2
G . D .
B . Ps lt.
Tr . Vla d a G .
T . Vla d a G .
B . Vla d a G .
More hurri ed, make bi g g est pi tc h
bend i n eac h note wi thout scratc hi ng .
Slightly faster .
P . L. 2
G . D .
B . Ps lt.
Tr . Vla d a G .
T . Vla d a G .
B . Vla d a G .
S cen e 9: S t ream si d e V i si on s
66
Cut whol e c hord of f at nex t notes .
H ol d unti l nex t phrase .
Pl a y v ary i ng l ong l eng ths of E repeatedl y ,
not parti cul arl y coordi nati ng wi th RH .
Qui c kl y qui et ag ai n, as bef ore .
||:
Thes e sy mbol s i ndi cate an
ex pressi v e repeati ng phrase '
wi thout i ntenti onal coordi nati on
wi th other parts .
:||
P . L. 2
G . D .
B . Ps lt.
Tr . Vla d a G .
T . Vla d a G .
B . Vla d a G .
||: :||
Increase speed and i ntens i ty s ubtl y .
P . L. 2
G . D .
B . Ps lt.
Tr . Vla d a G .
T . Vla d a G .
B . Vla d a G .
S cen e 9: S t ream si d e V i si on s
67
gliss .
gliss .
gliss .
gliss .
gliss .
Rel ease af ter a f ew osci l l ati ons of LH
||:
Repeat steadi l y , measured g ra v e pace .
:||
Tri g g er Mac hi ne N oi se
W eakl y mov e ng er touc hi ng harmoni c
c l oser to poi nt of Psal tery g l i ssi ng s l i g htl y
up , and then g l i ss down sl owl y by mov i ng
y our ng er the opposi te di recti on. Bow
weakl y and scratc hi l y .
W i th ng ernai l , g l i ss down the di atoni c si de of the psal tery ,
al ternati ng hands wi th s ome ov erl ap . Start sweetl y and qui et,
keep an ev en a pace as possi bl e .
||: :||
Bold , a little faster .
P . L. 2
G . D .
B . Ps lt.
Tr . Vla d a G .
T . Vla d a G .
B . Vla d a G .
Rel ease Tri g g er Mac hi ne N oi se
Grow throug h thi s phrase , and then pul l bac k at the start of the nex t.
P . L. 2
G . D .
B . Ps lt.
Tr . Vla d a G .
T . Vla d a G .
B . Vla d a G .
S cen e 9: S t ream si d e V i si on s
68
gliss .
gliss .
gliss .
gliss .
gliss .
gliss .
gliss .
gliss .
Rel ease Tri g g er Mac hi ne N oi se
Grow thoug h end of phrase .
Loudl y g l i ss across the whol e i nstrument, muti ng
al l stri ng s i mmedi atel y af ter . Repeat 4 ti mes , g ettti ng
more v i ol ent wi th eac h one . W ai t between eac h about 1 second.
P . L. 2
G . D .
B . Ps lt.
Tr . Vla d a G .
T . Vla d a G .
B . Vla d a G .
Rel ease Tri g g er Mac hi ne N oi se
||:
Bow accross the stri ng s f rom the pentatoni c si de
to the di atoni c si de , catc hi ng the stri ng s i n between.
Repeat phrase wi th a f ew breaths i n between.
:||
P . L. 2
G . D .
B . Ps lt.
Tr . Vla d a G .
T . Vla d a G .
B . Vla d a G .
S cen e 9: S t ream si d e V i si on s
69
Rel ease Rel ease
Start to decrease the amount of ti me
between repi ti ti ons , connecti ng between.
P . L. 2
G . D .
B . Ps lt.
Tr . Vla d a G .
T . Vla d a G .
B . Vla d a G .
||:
Repeat steadi l y unti l Psal tery pl a y er ends .
:||
Tri g g er Mac hi ne N oi se Rel ease
G . D . on.
Tri g g er Mac hi ne N oi se
Sustai n, g radual y i ncreasi ng bow speed and pressure .
Semibreve pulse, increase intensity and volume until end of scene.
P . L. 2
G . D .
B . Ps lt.
Tr . Vla d a G .
T . Vla d a G .
B . Vla d a G .
S cen e 9: S t ream si d e V i si on s
70
Rel ease Tri g g er Mac hi ne N oi se
P . L. 2
G . D .
B . Ps lt.
Tr . Vla d a G .
T . Vla d a G .
B . Vla d a G .
Rel ease
G . D . of f . Accel erate i nto ag g ressi v e scratc h
tremol o and rel ease v i ol entl y .
P . L. 2
G . D .
B . Ps lt.
Tr . Vla d a G .
T . Vla d a G .
B . Vla d a G .
S cen e 9: S t ream si d e V i si on s
71
MEIDELANT
Part One: Days One and Two
an opera on the maidenhood of Morgan Le Fay
Libretto by Sara Fetherolf
Music by T amzin Elliott
SCRIPT
72
MEIDELANT
an opera on the maidenhood of Morgan Le Fay
Cast
Morgan: A young woman who has lived at the convent for most of her life, where she has become
skilled in divination and herbcraft, among other arts. Morgan is rather awkward and believes she has
more control over her emotions than her actions seem to suggest.
Berthildis: A young woman who has similarly been raised at the convent, and who is close friends
with Morgan. She is a skilled scribe. Berthildis has a kindness and openness that Morgan lacks, and
at the beginning of the story, she treats Morgan somewhat like a younger sister, even if they are the
same age.
Sister Brónach: She operates the infirmary, where the peasants and townspeople come for medical
care, and she is skilled in herbcraft, which she is teaching Morgan.
Sister Angharad: A somewhat mysterious figure, Angharad clearly holds some authority within the
community of the convent, although how she figures into their social structure is never clearly
defined. She is skilled in divination, which she is teaching to Morgan.
Sister Sylvia: A young nun.
Priest: The priest who attends to convent masses and outside affairs.
The Traveler: The advisor to the deceased king, he is in the process of political machinations that
will put Morgan’s brother on the throne. He comes to the convent to see who Morgan is and how he
can use her to create political alliances.
Nuns: Women of various ages and appearances, thesenuns operate as a chorus and perform the
chore songs throughout. A minimum of two performers. These performers can also double as the
Village Mother and Sick Child. (Group scenes may include Sylvia among the nuns.)
Setting
A secluded convent somewhere in Wales, around 600 AD. The action takes place in the weeks
surrounding Midsummer.
Staging Notes
We created this piece with an intentionally cinematic quality. Staging would be best stripped down,
with sparse set pieces that suggest the larger setting of the convent and the woods and gardens that
surround it.
73
Stage lighting may be used to indicate time of day, and in some cases where the scene takes place
(through filters that evoke tree cover, moving water, windowlight, etc.).
It is suggested that the minimal props and set pieces that are used are as period-accurate as possible.
Props
1. A wide, shallow dish for scrying
2. A drop spindle, carding combs, and unprocessed wool
3. Bundles of herbs and tools for preparing them
4. A mortar and pestle
5. A letter with a wax seal
6. Manuscript scrolls, quill, and ink pot
7. Basket of eggs
8. Large basket of laundry and tools for washing
74
PART 1
Day 1
Scene 1
Opening
MORGAN sits on the edge of the bed in her small, austere room. She holds a wide, shallow dish of water on her lap
and stares down into it. The water seems to emit a light that shifts color as Morgan shifts her facial expression.
Morgan makes exaggerated expressions of joy, sorrow, anger, etc, willing the properties of the water to shift with her.
She is practicing her glamour magic.
SISTER BRÓNACH enters, beckoning.
SISTER BRÓNACH
Morgan.
Morgan snaps out of her reverie, and the light coming from the dish of water goes out. Morgan hurriedly puts down the
dish of water and follows Brónach out of the room.
Scene 2
Spinning Thread Song
Lights up. It is early morning. Two nuns work in a courtyard. One cards wool while the other uses a drop spindle to
spin thread. They sing together.
SPINNING NUNS
(singing)
Your grandmother’s hair has become the roots under the earth.
Your grandmother’s hair has become the roots under the earth
That she’s spinning for you,
As she spins for you
A vegetable birth.
Your grandmother’s hair has become the roots under the earth.
Your grandmother’s blood has become a vein of silver ore.
Your grandmother’s blood has become a vein of silver ore
That she’s spinning for you,
As she spins for you
A ring for your finger.
Your grandmother’s blood has become a vein of silver ore.
Your grandmother’s breath has become the meadow fog.
Your grandmother’s breath has become the meadow fog
That she’s spinning for you,
As she spins for you
75
The secret names of god.
Your grandmother’s breath has become the meadow fog.
The moss on the graves has become your grandmother’s nightgown.
The moss on the graves has become your grandmother’s nightgown
That she’s spinning for you,
As she spins for you
a map of the way down.
The moss on the graves has become your grandmother’s nightgown.
Your grandmother’s spit has become the water of the ford.
Your grandmother’s spit has become the water of the ford
As she’s washing for you,
She washes, she washes
The blood from your sword.
Your grandmother’s spit has become the water of the ford.
Your grandmother’s eye has become the cataract moon.
Your grandmother’s eye has become the cataract moon
That she’s spinning for you,
As she spins for you
Your nights, spool by spool.
Your grandmother’s eye has become the cataract moon.
As the song continues, MORGAN and SISTER BRÓNACH cross behind the spinners, on their way to the
infirmary.
Your grandmother’s hands have become a flock of wild swan.
Your grandmother’s hands have become a flock of wild swan
That she’s spinning for you,
As she spins for you
Your days, song by song.
Your grandmother’s hands have become a flock of wild swan.
Your grandmother’s bones have become the unplowed field.
Your grandmother’s bones have become the unplowed field
That she’s spinning for you…
A door clangs shut, and the song drops suddenly to silence. At the same moment, the lights cut to black.
Scene 3
In the Infirmary
Lights up. We are in the infirmary. There is a table at one side for preparing medicine. On it are bundles of dried and
fresh herbs, a pitcher of water, and tools such as a knife, a mortar and pestle, a small iron pot, etc. A simple stone
hearth is in the back of the room, with a fire going inside it.
76
Near centerstage there is a bed. A young CHILD lies in it, coughing and struggling to breathe. There is a chair
beside the bed, where the child’s MOTHER sits. She is holding the child’s hand and is crying, panicked. There is a
long pause in which the mother and child wait alone in the infirmary.
SISTER BRÓNACH enters, followed by MORGAN. As she speaks, Sister Brónach adjusts the blankets and
places a comforting hand on the mother’s shoulder. She moves with ease, clearly skilled at tending the sick. Morgan
hangs back, attentive to her instructor, lacking bedside manner.
SISTER BRÓNACH
(to Morgan)
It’s a summer croup. I will make a decoction to clear the airways. Get his
breathing steadied so he can drink it down.
Sister Brónach moves to the table, where she begins to assess the herbs she has. As she leaves, the mother sobs louder.
Morgan stands at the bedside, uncomfortable. She breathes deeply and slowly, in and out, making sweeping motions to
encourage the child to do the same. Her movements are oddly formal, as if this is a technique that she has been taught,
but she has not practiced many times.
MOTHER
He cannot breathe! He cannot breathe!
MORGAN
(worried and deeply awkward, as she tries to maintain her motions)
I can see that!
As the mother continues to sob loudly, Morgan gives up on her method. She comes closer to the bed, kneeling and
placing her hands on the child’s chest. Now she seems more comfortable—she is acting by instinct instead of trying to
follow a procedure that doesn’t feel natural.
MORGAN
(sings)
Eppheta, eppheta.
Eppheta, eppheta.
Spiritus ubi vult spirat.
Sister Brónach has selected the pieces of herbs she will use, and begins to prepare them for the medicine. She sings to the
herbs, both to track her recipe, and to support Morgan’s healing song.
SISTER BRÓNACH
(sings)
Lungwort, a broad palmful of you,
Blade-leafed to cut his choke in two.
Skin and slice the mallow root
And you shall serve as his throat-soothe.
Bruise the coltsfoot to steal its gold
And pay the fee for this child’s health.
77
Mullein, beloved of the faerie queens,
To open the roadways of his breath.
Hyssop, shrub that purifies.
A pinch of you and to the fire.
By now, Sister Brónach has put some of each herb into a small iron pot. She pours water over the plants and brings
the pot to the fire. She sets it over the coals, singing over it as she watches it closely.
SISTER BRÓNACH
(continuing to sing)
Asperges me hyssopo.
Eppheta, eppheta.
Asperges me hyssopo, asperges me.
Morgan’s song has soothed the child, though his breathing is still labored. Sister Brónach strains her brew into a cup
and brings it to the bedside. She helps the child sit up and puts the cup to his lips, helping him slowly drink. As he
does, she sings the spell that Morgan has been working.
SISTER BRÓNACH
(sings)
Eppheta, eppheta.
Eppheta, eppheta.
Spiritus ubi vult spirat.
Morgan is fully absorbed in her healing work and no longer awkward. She begins to move again, sweeping her arms to
encourage breath to move in and out. She sings to the herbs as the child ingests them.
MORGAN
(sings)
Lungwort, unbind. From the heart, uncoil.
The spirit uncoils along with the leaf.
Mallow, sheathe over the sharp in the throat.
The spirit is soothed along with the root.
Coltsfoot, gleam golden. Distract the bad humor.
The spirit is settled along with the flower.
Mullein, unlock the blocked gates of the breath.
The spirit is opened along with the weed.
Hyssop, purge the chambers of air.
The spirit is purged by the shrub’s holiness.
Asperges me hyssopo.
Eppheta, eppheta.
78
Asperges me hyssopo, asperges me.
Once Sister Brónach has finished administering the medicine, she helps the child lie back down. He is calm and is
breathing more normally. She then joins in with Morgan’s motions, and together they encourage the child to breathe
deeply. The child’s mother is no longer sobbing, and she sings along to pieces of their song that they have been repeating,
although she watches from the sidelines.
MORGAN and SISTER BRÓNACH
(sing)
The spirit opens, opens with the draught.
The spirit goes out and returns and returns.
Lights down.
Scene 4
The Man
SOUND of a MAN screaming.
Lights up. The scene is still the infirmary.
On the bed now is a young man with a broken leg. He continues to scream in pain and terror. MORGAN and
SISTER BRÓNACH are at the bedside—Brónach hurriedly examining the leg, Morgan awkward and nervous a
step behind her.
SISTER BRÓNACH
Hold him.
She grasps the leg, moving with an expert’s confidence. Morgan stands frozen in place. The man screams and
writhes—Brónach cannot keep her grip. Then, as if snapping herself out of it, Morgan moves to the man’s other side
and leans her forearms into his torso, bracing him from moving. They move in synch with one another, Morgan
gradually getting the man to stay still as Bronach sets the leg.
Lights down.
Scene 5
The News
SOUND of rhythmic thudding.
Lights up. The scene is still the infirmary.
MORGAN stands alone at the table, grinding herbs with a mortar and pestle.
79
MORGAN
(singing to herself)
Return, return, to the green, green lake,
Return to the green, to the green.
Where it is safe, where it is safe.
Return, return to the green.
SISTER BRÓNACH enters, carrying a letter. She sets the letter on the table in front of Morgan. Morgan stops
grinding herbs.
SISTER BRÓNACH
I am sorry.
Brónach lingers a moment, then, when she does not get a response, exits.
Once she is alone, Morgan opens the letter. She reads it, expressionless. She refolds it, tucks it in a pocket, and goes on
grinding herbs as if nothing has happened.
Lights down.
Scene 6
Berthildis’s Lulai
Lights up. A manuscript room. BERTHILDIS sits at a desk, singing to herself wordlessly, as she scribes a page of
scripture. After some time, MORGAN enters and sits beside her. Berthildis acknowledges Morgan with a smile and
goes on singing and working (Perhaps Morgan joins in). Eventually, she finishes the line she’s been scribing, and her
song along with it. They sit companionably a moment.
MORGAN
You would be a better singer if you didn’t wander so much.
BERTHILDIS
I wander here (gestures to her mouth) so I don’t wander here (gestures to her head).
MORGAN
I brought you a gift.
BERTHILDIS
(laughing)
My patroness!
Morgan pulls the letter from her skirts and hands it to Berthildis with a flourish. Berthildis is delighted. Taking the
letter, she spreads out the parchment to have a look.
80
BERTHILDIS
I’ll get hours of practice out of this, Morgan! It’s got beautiful wide margins.
And hardly any text…
She trails off, her face changing as she notices what the text actually says. When she speaks again, she has become
serious.
BERTHILDIS
Morgan.
MORGAN
(Almost mechanically)
It doesn’t matter.
BERTHILDIS
Your stepfather.
MORGAN
It doesn’t matter.
BERTHILDIS
There will be a new high king. There will be division. Your family will be—
MORGAN
(through gritted teeth)
It doesn’t matter!
BERTHILDIS
(quiet and serious)
Morgan. The king has died.
MORGAN
And yet the sun rose the same as ever this morning.
Berthildis looks at her skeptically. She is not going to let it go.
MORGAN
(relenting)
Really, Berthildis, it affects me not one drop. The only good he ever did me
was to send me out of his sight.
And yes, I am sure even now there is a swarm of loyalists and assassins
searching for whatever petty king keeps my younger brother under his
fosterage. But no one will trouble me.
They forgot me here long ago. My life’s the better for it.
Berthildis continues to look at her, unconvinced.
81
MORGAN
Please don’t worry. Your kindness makes you believe I am holding a secret
grief for the man. You are imagining how you might grieve a dead stepfather,
even a villainous one. But I promise you, I feel no loss.
I am here, with you, and all is well. He was my lord, but not my father.
(In sarcastic prayer) Pater noster, qui es in caelis…
BERTHILDIS
(laughing now, playful)
Blasphemer!
MORGAN
(laughing too, relieved)
Careful! I shall get my unholiness all over your scripture!
She wiggles her fingers, pretending to sprinkle something over Berthildis’ pages. As she does so, she brushes the edge of
the ink pot and it tips over.
BERTHILDIS
Morgan!
Berthildis scrambles to move her papers out of the way and stop the ink from spilling further. Then, irritated, begins to
clean up.
BERTHILDIS
A whole week of work nearly ruined.
Morgan has been standing, staring at Berthildis, as if trying to find a way to respond. Embarrassed, she turns and
stalks offstage.
Lights down.
Scene 7
Vespers
Mass singing begins/fades in. Lights up.
At one side of the stage, MORGAN sits huddled on the ground, crying. At the opposite side of the stage, a group of
NUNS sing their vespers.
NUNS
(sing)
Magníficat ánima mea Dóminum.
82
Et exultávit spíritus meus: in Deo salutári meo.
Quia respéxit humilitátem ancíllae suae:
Ecce enim ex hoc beátam me dicent omnes generatiónes.
Quia fécit mihi mágna qui pótens est: et sánctum nómen eius.
Et misericórdia eius in progénies et progénies timéntibus eum.
Fécit poténtiam in bráchio suo: dispérsit supérbos mente cordis sui.
Depósuit poténtes de sede: et exaltávit húmiles.
Esuriéntes implévit bonis: et dívites dimísit inánes.
Suscépit Ísrael púerum suum: recordátus misericórdiae suae.
Sicut locútus est ad patres nostros: Ábraham, et sémini eius in saecula.
Glória Patri, et Fílio, et Spirítui Sancto,
Sicut erat in princípio, et nunc, et semper, et in sæcula sæculórum. Amen.
BERTHILDIS enters on Morgan’s side, and stands behind her for a moment, finally placing a hand on her back.
Morgan looks up, attempting to hide her tears—but it is obvious she has been crying. Berthildis sits beside her and
puts an arm around her. Morgan stays hunched into herself at first; she doesn’t want to need Berthildis. Eventually,
however, she gives in and buries her face in Berthildis’ shoulder, as Berthildis rocks in rhythm with the mass song.
BERTHILDIS
(Singing alongside the mass, making it up as she goes)
I am here,
with you,
and all is well.
I am here,
with you,
and all is well.
They shall call me blessed,
my heartroot,
if they remember me at all.
The songs fade. For a moment, there is nothing but the sound of Morgan, sniffling as she continues to cry.
Lights down.
83
Day 2
Scene 8
Brown Hen
Lights up. It is early morning again, somewhere outside. A lone nun crosses the stage, swinging a basket full of eggs
she has gathered
NUN
(sings)
My brown hen has been at work
for hours and hours already.
See how she spent the night in her roost
and she laid me a fresh sun this morning.
My brown goat has been at work
for hours and hours already.
See how her milk has made a brook
that runs down the hills this morning.
My brown eyes have been at work
for hours and hours already.
See how they dashed to and fro all night,
dreaming of this summer morning.
The nun exits the stage as the lights go down.
Scene 7
Streamside Visions
Lights up. It is later in the morning, outdoors by a stream. The light has a watery quality to it. (Note: stream can be
mimed throughout this scene.)
Two YOUNG NUNS enter. They lift their skirts to above the knee, tucking the excess length in their belts, and
step into the stream together. There is a quiet, reverent quality to their movements. One of them slowly and
intentionally removes her veil and wimple, making eye contact with the other as she does so. She tosses it on the bank,
playful, defiant. The second nun repeats the gesture, removing her own veil and wimple—it’s a kind of mirror-game
they are playing. They resume eye contact and begin to run their fingers through one another’s hair, tenderly.
Meanwhile, another small group of GOSSIPING NUNS enter, carrying baskets of laundry and tools for washing.
They do not pay attention to the two young nuns—it is clear this happens often enough that it is not remarkable. They
are mid-conversation when they enter. (Gossip may be in the background—overheard rather than a central focus.)
84
GOSSIPING NUN 1
I want you to guess how many young ladies he’s made that same pledge to.
GOSSIPING NUN 2
Five?
GOSSIPING NUN 1
Well…only three that his grandmother knows about.
GOSSIPING NUN 2
He’ll throw them all aside for the miller’s daughter and take the mill as dowry.
That family always was a mercenary bunch.
GOSSIPING NUN 1
(in agreement)
Young hearts go mad at Maytide. By midsummer the sense kicks in. I’ve seen
it all before.
As they’ve been chatting, they too have raised their skirts and tucked them in their belts, and have arranged the
laundry tools for washing. The two young nuns, satisfied for now, come to join them.
One of the young nuns begins to sing a song for washing, and the rest soon join her.
NUNS
Part 1:
Look how I break and look how I flow.
Look how I follow, look how I follow.
Part 2:
Lady Moon takes me by the hand.
“Walk with me to the sea,” says she.
Her mantle is silver, water is mine,
minnow-jeweled and reed entwined.
We cross meadow, glen, fieldstone.
I’m barefoot; her shoes are carved bone.
Look how I follow her to the sea.
I’ll follow wherever she leads me.
Part 3:
While at my edge, oblivious, the sisters wash their clothes.
When the group of nuns have been washing and singing for some time, MORGAN and SISTER ANGHARAD
enter. One of them is carrying the shallow dish that Morgan used for scrying earlier. They take a seat upstage, at
another part of the “stream.”
85
Angharad dips the dish in the stream to fill it with water, then places it on the ground. Morgan leans over it,
concentrating. Angharad seems to be murmuring instructions to her, although the words are unheard over the washing
song.
Morgan’s speech begins slow, with long pauses between the phrases. It is all right if she cannot be heard at first.
Angharad speaks occasionally to encourage her. Gradually, Morgan’s voice rises from a murmur to shrill terror, and
the song drops away as the other nuns turn to see what is happening.
MORGAN
It is the woods. It is a hunt.
It is the woods and they are hunting the fox.
ANGHARAD
Go on.
MORGAN
It is the woods near the abbey. They are hunting the fox and the fox is a
bonfire.
Now day is breaking. The fox has gone to bed. The moon falls in the lake.
The lake is huge. There has been a flood. Something rises up from it.
ANGHARAD
Go on—what is it?
MORGAN
I see… I see a hand, an arm. It holds a blade. It is a woman’s arm. Her
knuckles are waxen, she is clutching the blade so hard.
(Louder, in a sudden panic.)
They are hunting her! They are hunting her! How will she see it from under
the water? (Screams)
ANGHARAD
Morgan, Morgan! Keep your composure.
MORGAN
(As if she doesn’t hear)
She will not see them coming! Look, look, the king is after you! The dead
king takes her by the wrist! The water wails out! (Screams) He knows I am
watching! He is looking at me!
She screams once more and throws the dish of water away as if something terrifying were about to emerge from it, then
pulls her arms around herself, shaking and rocking, horrified. Lights down. End.
86
Abstract (if available)
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Asset Metadata
Creator
Elliott, Tamzin
(author)
Core Title
Meidelant part one: days one and two: an opera on the maidenhood of Morgan Le Fay
School
Thornton School of Music
Degree
Doctor of Musical Arts
Degree Program
Composition
Degree Conferral Date
2023-05
Publication Date
04/14/2023
Defense Date
12/12/2022
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
Arthurian,Cláirseach,Clarsach,contemporary classical,early music,fan-fiction,Folklore,King Arthur,magical realism,mensural notation,Morgan le Fay,music,OAI-PMH Harvest,opera,Poetry,post-Roman Britain,triple harp,Vielle,viola da gamba,wire-strung harp
Format
theses
(aat)
Language
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Electronically uploaded by the author
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Advisor
Crockett, Donald (
committee chair
), Gilbert, Rotem (
committee member
), Hearne, Ted (
committee member
), Ticheli, Frank (
committee member
)
Creator Email
tamzinelliott7@gmail.com,tfelliot@usc.edu
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Tags
Arthurian
Cláirseach
Clarsach
contemporary classical
early music
fan-fiction
King Arthur
magical realism
mensural notation
Morgan le Fay
post-Roman Britain
triple harp
Vielle
wire-strung harp