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HPS 1296 PETER MAXWELL DAVIES MISSA SUPER L’HOMME ARME BOOSEY (oy HAWKES HPS 1296 PETER MAXWELL DAVIES MISSA SUPER L’HOMME ARME FOR VOICE AND CHAMBER ENSEMBLE TEXT SELECTED FROM ST LUKE, CHAPTER 22 Boosey (SjHAWKEs Boosey & Hawkes Music Publishers Limited 295 Regent Street, London n WIR Ot Composer's Note This work started as an exercise — a completion of incomplete sections of an anonymous fifteenth-century mass on the popular song ‘L’homme armeé’, in fifteenth-century style. As | was working at this, other possibilities suggested themselves. In form the work is similar to my Hymnos for clarinet and piano, written in 1967 — there are three sections, each divided into three subsections, corresponding to the three subsections of the original ‘Agnus Dei’ of the mass. The eventual treatment stems from the chapter in the Ulysses of Joyce corresponding to the Cyclops chapter in Homer. In the Joyce, a conversation in a tavern is interrupted by insertions which seize upon a small, passing idea in the main narrative, and amplify this, often out of all proportion, in a style which bears no relationship to the style of the germinal idea which sparked off the insertion. The insertion is often itself a parody — of a newspaper account of a fashionable wedding, or of the Anglican Creed, for instance. In Missa Super L’Homme Armé the first subsection presents the ‘opening of the fifteenth-century ‘Agnus Dei’, more or less straight, on the instruments, except that this is prefaced by a harmonisation of part of the tune ‘L'homme armé’ in a popular song style, though not one of the fifteenth century. As the work progresses, however, the incomplete sections of the original ‘Agnus Dei’ are filled out by the music which transforms the basic material into ever more distantly related statements — although the original, with an ‘in style’ completion, may be present somewhere in the texture, setting up unorthodox relationships between foreground and background material. Fragments of texts from St. Luke, chapter 22, concerning the Last Supper and Betrayal, are declaimed by the speaker, in Latin. Although the ‘in style’ completion of the original ‘Agnus Dei’ is implied throughout, the work should perhaps be regarded more as a progressive splintering of what is extant of the fifteenth-century original, with magnification and distortion of each splinter through many varied stylistic ‘mirrors’, finishing with a ‘dissolution’ of it in the final section. PMD. Instrumentation Flute (doubling Piccolo) Clarinet in Bb Percussion (I player) Keyboards (2 players: Harmonium; Harpsichord doubling Celesta and out-of-tune Honky-tonk Piano) Violin Cello Note: Transposing instruments written in C in the score. Percussion Instruments: 2 timpani, side drum, small suspended cymbal, handbells or crotales (if crotales are used they will sound 2 octaves higher), 2 tabors (I large, | small) 2 tin cans (in G, A), bass drum and cymbal with foot pedal, temple block, Swanee whistle, 3 gongs (small, medium, large), nightingale, tam-tam, cowbells, tenor drum, woodblocks, Siamese cymbals (played by keyboard player), small jingles (played by clarinet, violin and cello players). ‘The Keyboards. If two players are not available the keyboard parts may be performed by one player, making the adjustments indicated in the score. For the original performances the honky-tonk piano passage was pre-recorded on a 78 rpm. disc for play-back during the performance and a special pianola roll was also made and used. However, live performance on an out-of-tune honky-tonk is advised. ‘The Voice. This part may be either spoken, or taken by a singer intoning in plainsong. The performer may be male or female. ‘Staging. If the work is to be staged, it should be presented in an extravagant, swaggering fashion and although no props are needed the speaker should be dressed as a nun if taken by a man, or as a monk if by a woman. If possible, the speaker should sit in the audience and make a dramatic entrance just before beginning his declamation. He should be spotlighted while speaking and the instrumentalists should stand up while playing their solos. When the speaker is making his accusations he should point around the audience, and at the end of the piece foxtrot out, perhaps pulling off his wimple. In illo tempore: Appropinquabat dies festus azymorum, qui dicitur Pascha: et quaerebant principes sacerdotum et scribze, quomodo Jesum interficerent: timebant vero plebem. Intravit autem satanas in Judam, qui cognominabatur Iscariotes, unum de duodecim. Et abiit, et locutus est cum principibus sacerdotum et magistratibus, quemadmodum illum traderet eis. Et gavisi sunt, et pacti sunt pecuniam illi dare. Et spopondit. Et quaerebat opportunitatem, ut traderet illum sine turbis. Domine, tecum paratus sum, et in carcerem et in mortem ire. Dico tibi, Petre: Non cantabit hodie gallus, donec ter abneges nosse me. Vere et hic cum illo erat: nam et Galilaeus est. Homo, nescio, quid dicis. Et continuo adhuc illo loquente cantavit gallus. Et conversus Dominus respexit Petrum. Et recordatus est Petrus verbi Domini, sicut dixerat: ‘Quia priusquam gallus cantet, ter me negabis. Et egressus foras Petrus flevit amare. Hoc est corpus meum, quod pro vobis datur: hoc facite in meam commemorationem. Hic est calix novum Testamentum in sanguine meo, qui pro vobis fundetur. Verumtamen ecce manus tradentis me mecum est in mensa, Verumtamen vz homini ill, per quem tradetur. Now the feast of unleavened bread drew nigh, which is called the Passover. And the chief priests and scribes sought how they might kill him; for they feared the people. Then entered Satan into Judas surnamed Iscariot, being of the number of the twelve. And he went his way, and communed with the chief priests and captains, how he might betray him unto them. And they were glad, and covenanted to give him money. And he promised, and sought ‘opportunity to betray him unto them in the absence of the multitude. Lord, | am ready to go with thee, both into prison, and to death. | tell thee, Peter, the cock shall not crow this day, before that thou shalt thrice deny that thou knowest me. Ofa truth this fellow also was with him: for he is a Galilean. I know not what thou sayest. And immediately, while he yet spake, the cock crew. And the Lord turned, and looked upon Peter. ‘And Peter remembered the word of the Lord, how he had said unto him, Before the cock crow, thou shalt deny me thrice. And Peter went out, and wept bitterly. This is my body which is given for you: this do in remembrance of me. This cup is the new testament in my blood, which is shed for you. But behold, the hand of him that betrayeth me is with me on the table. But woe unto that man by whom he is betrayed. MISSA SUPER L’HOMME ARME Moderato 4-60 PETER MAXWELL DAVIES Piccolo Glarinet ss SS SSC Frcusion (32 ioe F a Harmonium Violin Violoncello a. >= Pere ‘Small Tabor ep a relax wind pressure Harm, —* ty Se fe * > Ve. fir I—7 —— fp, ©copyright 1978 by Boosey & Hawkes Music Publishers Ltd All rights reserved First publication for sale 1980, United Kingdom. B.&H,20472 Printed in England ‘A]poco pitt mosso J=80 ice. ov. s 7 co ~~ =p PP ——pocom—— mp Handbets(or Cottes) Harm: we ‘con Quasi flauti dolei, senza vib, S01 : vu. “Bp sempre Ve. “psempre Harm, Ve. Susie B.& H. 20472 (ap sempre) a Harm v. Ve. = \ cL. Pere Harm. Ve. Pie. Harm, Ve. Pice. Harm v. Ve B.& H. 20472 Pree. Large Tabor Harm, ML ve] Harm, = Siempre Th. pizz B.& H. 20472 a. Pere, Harm. v. Ve Pree. Pere, Harmg Ve. Ch: pizz.) a. Pere Harm. v. ve, Pie. Harm Ve. (p dolce) B.& H. 20472 Pree, a. Pere Harm, v. Ve. Pie. a. Harm. v. Ve. B.& H. 20472 c. Pere Harm, v. Ve. \ lento d-56 accel © 2 2 2 2 2 2 2 2 ee eee Pree, a. Pere Harm. v. peresc. Ve B.& H. 20472 10 Piece. ‘massima forza > 5 meses’ Handbells (or Crot.) “AE Harm con sord. ‘liss. uguale con vib. esags. sempre v. Ve. a. Harm, =—t— Di ubiio Ve. B.& H, 20472 doleiss. Allegro moderato = 120 Pree. a. res. 2 Timpani_(extremely hard beaters) Pere E Harm, senza sord, vi Ve ‘tart slow trem., poco @ poco Andante moderato =— i - + cB Poe a Pere Harm vl Au (fuori tempo) 3 ee. ve LF appass. Cd B.& H. 20472 n Prce, a. Pere, Hae, vL Ve. ? ——=S=r_~—Ss >= ——> dotce \ \ Adagio non troppo = 62 Pie. 2Tin Cans a Pere. Harm vw ris a Ve. Bnibsio i B.& H. 20472 —mp —p 3 G]Tempo di Foxtrot J=112 A Temple Block 1.C. vary and_syncopate Pere. HW? cyin-(susp.) ~~ B.D. (with foot) tf Harm, sentimental vib, whole bow vi Andante moderato 2-93 rit. a. Hace, Ve B.& H. 20472 4 accel... 2... - dem Pree, cl. TC. repeat, vary and accel. out of tempo Pere Hare rae 1ritout of tempo. VL. —————— restss. Ve. Si) Pree. libero c. a be TB. TC. continue, improvising freely in nineteen-twenties dance style, adding cowbells, Side Drum, Tenor Drum, Woodblocks. Bp” repeat figure in strict time. s—P v. Ve. B.& H. 20472 1s fuori tempo (moderato) fs) Smolto ‘continue, making free use of al or parts of the given figures cl P Zz continue, making free use of all the given figures Ve. @) Pere Ve. * At the piccolo's entry the other instruments modify their dynamics to allow the solo to come through. B.& H. 20472 6 H|Moderato 4-96 Handbells (or Crot.) 4 Pere ft realise bass in style Harm: a of 5S 3 & ‘con bravura, con vertigi Pere: Harm. improvise intonation on the given notes Voice In illo tempore: Appropinquabat dies festus azymorum, qui dicitur Pascha: vi Pp Pere. Timp. free Harm: vi. Ve. B.& H. 20472 7 Taam. | BL. —S a Harm, Voice ‘et quaerebant principes v. Ve, A Timp. (free) Harm, Voice sacerdotum et scribae, quomodo Jesum interficerent: vw Ve B.& H. 20472 Pee Ham, Voice v. Ve Pere Voice vL ve, B.& H. 20472 19 c. Pere: Harm, Voice timebant vero plebem. Ve. Pere Harm. Voice Intravit autem satanas in Judam, qui cognominabatur Iscariotes, unum de duodecim. a v. Ve B.& H. 20472 Fi ntenso Harm, Ve. Pere Harm, v. Ve. — B.& H. 20472 a. Pere. Harm: v. Ve. \ \ cl Pere Harm cadenza con bravura liberamente [OSE ve, rent B.& H. 20472 2 Et abiit, et locutus est cum principibus sacerdotum et magistratibus, quemadmodum illum traderet eis. = = Lento con amore 4-50 Voice “Bt Harm Voie: Harm Voice Harm: Voice| “If spoken, use approximately the same rhythm as in the sung version. B.& H. 20472 23 K] Moderato J x0 a Pree. ———————— Fmoito Hes F_| cinsytey like a bad gamba; sharp on higher notes, scratchy and swoopy ve t \ ‘Swanee whistle Pere Hops. Ve. Pomposo 4=72 Pre. “pespress. grandioso (Sw.wh) Pere Hpsd realise bassin style OO Ve. "p senza vib, B.& H. 20472 4 L]Allegro giusto 4-120 — fale mfipik vere Large Tabor Hpsd Ve. mp iky (sempre senza vib.) Pere Ve. \ \ Pere: libero, moderato Hpsd. S pesante Ve. B.& H. 20472 28 C1. Pere. Hpsd. Ve \ \ c. Hpsd. vw Ve B.& H. 20472 6 a. Pere: Hpsd. Ve. Pree. Pere Hpsd vL Ve. B.& H. 20472 ice, Pere Hips. moderato accel, sublto vu Ve Pice | Pere libero quasi, cadenza Hips. accel. al presto possibile v. Ve. B.& H. 20472 28 ice, a. Pere Hpsd v. Ve. ;——aecel_al_trem.___—~- take Flute ‘accel. al trem. cL. eS tf HB. — Pere con_amore Ha PB add suitable omamentation Hpsd sentimental sibrato at start vu. Ve. if ‘When only one keyboard player is used, he should break off the harpsichord ‘ubero quas cadenza’ atthe square bracket, 0 a 1 have time to begin the harmonium passage on cue. tf wg B&H. 20472 29 Hace, allegro molto hes v. Harm, ch continue making free eZ ite of sven figures vu accel. — ~~ {seinen toa ort ve pe = \ m 7 make free use of anager virgo met - gg” gee me i Glarinet 2—f 3 Gongs Percussion P Harm, vi = = = allegro molto Zo Ve B.& H. 20472 30 Pere. Harm, vi ‘continue, making free use of given figures Ve. Re). de no = Harm. Band kit VI. Ve. B.& H. 20472 poco rit. d a AL senza rit. (independent) Harm, poco rit. v. Ve = = ‘Tempo di quickstep d=nz 222 222 sim. (improvise) Pere con amore d= 60 Harm, VL wf "if only one keyboard player is wed omit this harpsichord pasage B.& H. 20472 32 FL. al Pere, Harm Hpsd. v. Ve. \ Pere. Harm, psa. v. Ve B.& H. 20472 3B 10-12 seconds > a jingles a. te D rian. py scrape across surfaces of drums with hand —S ent Pere. Harm. Hpsd. vw. ype fasts [Fute: play coch mensure in its own tempo and dynamic; | d 40 (indeper er it) Fes el aes omen 4 (depen a hes a fae pica mae tat Peete seers 7 fle Mar emgo nae sk eens, a a= ee ¢ = a eo — == vers. — ini ik mM 's bee te ( Hpsd be Voice —— Domine, tecum paratus sum, et in carcerem et in mortem ire. (7) Dico *) Where only one keyboard players used, omit harpsichord in his bar B.& H. 20472 34 accel. ¢ rit. ad lib., but a general accel. 10 @ = c.120 at double bar on p.36 (cu Pere. psa. Voice tibi, Petre: Non cantabit hodie gallus, donec ter abneges nosse me. (7) Vere et hic cum illo erat: nam FL (cl Pere, Hpsd. Voice ‘et Galilaeus est. (A) ingles 1 aoaccel. Homo, nescio, quid dicis. (>) accel. ¢ rit. ad lib., but a general accel. 10 B.& H. 20472 = «cu Hpsd. Voice! Et continuo adhuc illo loquente cantavit sal jingles Vo-c.40 accel. psd. Voice| ‘gallus. Et conversus Dominus respexit Petrum. Et recordatus est Petrus verbi Domini, sicut dixerat: (vt accel e rit. ad lib,, but a general accel. to = c.120 at double bar on p.36 Wve = B.& H. 20472 d=. 84 (independem Spee intependen a Quia priusquam gallus cantet, ter me negabis. (A) co Pere to Celesta ipsa. cel Voice WL ve B.& H. 20472 37 Nightingale So [Q] Lento e calmo 2-40 c. cal, take Siamese Cymbals Voice B.& H. 20472 a ‘Metal surfaces a Siamese eymbals Metal surfaces » to Celesta con amore d=60 (independent) Horm. SS *) When only one keyboard player is used, omit this Cymbal stroke B. & H, 20472 ‘add figurations based on ious mater Harm. Harm, v. (J acct = he be Ve. *) When only one keyboard players used, omit the Celeste passage. B.& H. 20472 40 a. Pere cal} Harn, drammatico Voice Hoc est corpus meum, quod pro vobis datur: hoc facite in meam — oo a v ay peer a. Pere cal, Harm, Voice ‘commemorationem. Hic est calix novum Testamentum in sanguine meo, qui pro vobis fundetur. (=) — .— —s—. A 7 t ‘ v. Ve B.& H. 20472 4a FL ‘on amore 4-60 TL low Dand Ev kept sounding with weight on keys ill end of section Voice [S]attegretto J=72 ra sempre cl high cluster (with weight on Keys) = held down tll end of section = Handbells improvise as before ‘psempre Harm. Ve. *) Whey only one keyboard players sed, this passage should be played quickly enough tallow tne to mov o honky onk plano (padyon cue, B.& H. 20472 2 FL Hem Ve add harmonics freely Harm. ‘Verumtamen ecce manus tradentis me mecum est in mensa. (7) tt mage io ee vu. sees Ve. B.& H. 20472 Pere Harm, Honky-tonk Piano out of tune) Voice ‘Verumtamen ecce manus tradentis me mecum est in mensa. (7) ve| B.& H. 20472 “4 FL ct Harm, Pho. ‘tutta forza Voice ‘Verumtamen vae homini illi, v. Ve. Voice er quem tradetur. .. (continue repeating ‘tradetur’, whilst making rapid exit) *) The foxtrot should be cutoff in midstream by the speaker slamming a door upon his exit ftom the hall. If posible this should not coincide with the end ofthe foxtrot, ‘B.& H. 20472 etna 8 cad, Sermo bas Send