Composed upon the death of T. S. Eliot in February 1965. A setting of his “Song for Simeon”.
D No: 805
Text - Author or Scripture: T. S. Eliot (1888-1965)
Performing Forces: Soprano solo, TB, piano, org, flute
Date Published: CE 92
Date of Composition: 1965
Notes: From the Annotated Catalog: It was composed for the cathedral memorial service of T. S. Eliot held on February 18, 1965. The boys of the choir are heard in four quietly spoken entries against the chanting of the men on the words of the Nunc dimittis, BCP ’28. The text for the song is the poem by Eliot, set to elaborate and difficult parts for both the singer and the pianist. A fanfare on the trompette-en-chamade ends the song, and its final long-reverberant note is picked up by the sound of a flute in a high balcony playing the haunting first theme. Then the flute descends to its lowest possible note which starts the twelve-ton bourdon bell tolling the “nine tailors” knelling the 72 notes for the years of Eliot’s life. A recessional begins with handbells striking occasionally. The people leave in silence.
A program note from the 1966 performance adds this insight:
At the time of composition I had the feeling that a string orchestra, warm and singing, might well augment the piano and soprano, and set about making such an arrangement when planning this program. It did not work: the isolation of the soloist and piano from chorus and organ, the acoustics and distances in the Cathedral, the extreme contrasts of dynamics and timbres between forces were all factors that mitigated against the rearrangement.
The musical setting seeks to reflect the prescience of Simeon - his lonely time in the duo of voice and piano. Behind and away is heard the injunction of the Nunc dimittis and the petition of the Agnus Dei, only occasionally interjected, as though an echo of the agonizing speculation of the dying poet.
But at the end, the brawling trumpets triumphantly dance and stride away with his great, still lively shade, while the lonely flute and two little handbells are left behind to remind us poignantly of our loss.
A program note from the 1966 performance adds this insight:
At the time of composition I had the feeling that a string orchestra, warm and singing, might well augment the piano and soprano, and set about making such an arrangement when planning this program. It did not work: the isolation of the soloist and piano from chorus and organ, the acoustics and distances in the Cathedral, the extreme contrasts of dynamics and timbres between forces were all factors that mitigated against the rearrangement.
The musical setting seeks to reflect the prescience of Simeon - his lonely time in the duo of voice and piano. Behind and away is heard the injunction of the Nunc dimittis and the petition of the Agnus Dei, only occasionally interjected, as though an echo of the agonizing speculation of the dying poet.
But at the end, the brawling trumpets triumphantly dance and stride away with his great, still lively shade, while the lonely flute and two little handbells are left behind to remind us poignantly of our loss.
Score:
A Song for Simeon The text as found in the program from the 3/6/1966 Glee Club performance. Score available upon request.
The first performance.
Categorized as: 800 Extended Works
Tagged as: mens voices, organ, piano, solo instrumnet, solo vocal