A Song Cycle

for Mezzo Soprano and

String Quartet
Text by
Penelope Cray
2012

New Church Press

www.annieneikirk.com

Anne Lockwood Neikirk

YEARS LATER

YEARS LATER
1.
2.
3.
4.

Field of Eyes Wide

Meander
The Unrecovered
Piece of the Parcel

Field of eyes wide

What is it about these daisies? No matter
how many I pick, there are the same number, none
missing from the place I plunder, my pains
counted on their petals. The uncertainty here
has not to do with love, as most assume,
but how a yellow flower, a sturdy stem, can hide
its dark center, tiny from the vantage-point of normal
observation but cavernous up close, the entire field
a backdrop to its bees, haunches obliterated
by pollen, fragrant fire. Ive noted in times of storm
the daisies dont close over, the sun somehow
earns their faith, each a spindled missive
concerned only with what it bears, its wide eye
stretched so the iris becomes the aperture inside.
Meander
From the East gangs of the dead come
Sounds in the West when darkness comes
Winding through the orchard relentless
Doors slammed the sky witless
Myna birds yellow beaked sharp tongued
Glass confused by pointed diamond
Snatching words like nesting material
The narrow river the loosening reel
The unrecovered
Before the storm, I saw our old backyard.
I was counting the oranges when it appeared
and I ran to it, calling for you.
But your swing was empty and I was left
to remember how you rose in the air, toes reaching
for the gum tree, its long leaves
flipping, how you pumped until you reached them,

5.
6.
7.
8.

Stone Slivers (Point in the Distance)

Gangrel
A Prayer for Sorrow (Bowl)
Pasturage

then fell slack and closed your eyes.

The rain was immediate, the flat sun
gone. I ran to the orange trees, flashing
as if by strobe light, orange and green.
And I felt myself inside the rain.
Piece of the parcel
For every flower, a bumblebee.
Hundreds maybe thousands teeming,
though I never found one dead, not one
carcass nestled in the short grass.
Ive looked.
And tested. Ive trapped one
in my hands, pressed it flat
to no effect. I wasnt stung,
just left empty handed, a bee
looping through the air.
The wind buffets, the bees
scrawl above the field,
a matrix of hum and bumbling,
building yellow bundles
of pollen on their legs.
Ive come back empty
from my searches for nests.
It seems they work for nothing,
no need to die for being
what they are.
Point in the distance (Stone Slivers)
The birds get at the bees
being, how their wings mimic stone
slivers, patterned after the age of stones: these beings
are old as stone! the birds exclaim, whirling
around the field, each one trained on a bees path.
Even so, Ive never seen a mouth opening, nor a bee
swerving for cover: rather, perfect synchronicity
of intent to evince the nature of this place,
a sense of fitting somewhere inside a beeline traced end to end.
Gangrel
I crouch inside the storm,
trees buckle at my back
are they hollow? The squall and you are everywhere
behind each tree, your tiny feet
quick inside the orchard.
I hear you

make your spry approach, you scamper

closer, closer still, then
the sound of you far off and moving
closer, closer still
this through every darkness,
end to end. I am
terrified to see you, terrified not
to see you
lit by lightning, little girl,
your dress pulled over your head.
Bowl
I pray for sorrow:
that it may be comforted,
made to understand itself,
its content worn
as a mantle in the world;
that it may grow quiet,
seek peaceful celebration
of what came before;
that it may find courage
to be itself merely
and not seek other notions;
finally, that in this form
it may come to you.
Pasturage
Bees are blurs in the green grass air
when you appear in the orange trees,
threading between the branches. Your orange hair,
atmosphere of light and twine, your dress
a flap for cradling tender oranges.
As you climb, small hands creep around
particular chosen fruit, five-fingered starfish clinging to dimpled skin. I cant see you
for the shapes you fit into; idea of a daughter,
you are never near enough. I stand in the center
of my field alone, cut off from you: natural
magnetic repulsion between the dead and the still
living. I can watch as long as I like, from here.
Move any closer and you turn from girl to whisper,
haze of pink and orange in the leaves. By the time
I reach the trees, a clot of myna birds disperse,
your name caught in their beaks.

Poetry from THE FARTHER AFIELD WE GO: 2004, rev. 2011 by Penelope Cray is used with permission
of the author.

Program Notes
Years Later is a song cycle for mezzo soprano and string quartet. The cycle grew out of a
collaborative project with the composer's cousin, poet Penelope Cray and violist and musicologist Robert
Fallon. Most of the poems are written in first person and are told from the point of view of a man who
committed suicide. He observes the world in which he used to live, particularly the family he left behind
and most especially his daughter. This morose narrative is starkly contrasted with vivid pastoral imagery
throughout the poetry. The poems are peppered with myna birds, orange trees, bumblebees, daisies,
rainstorms, wind, fields and swings. Most of the pieces present an unsettling juxtaposition between these
bright, cheerful visions of nature and themes of death, isolation and sorrow. The first song I composed for
the cycle, Stone Slivers, is for solo viola and mezzo soprano and was written for Dr. Fallon, a Messiaen
scholar. Its harmonic language is derived from Messiaen's modes of limited transposition, which are nontraditional scales that are symmetrical and can be divided into identical subsets. The harmonic ambiguity
afforded by the modes served me well in depicting the concurrently pastoral and morose themes in Cray's
poetry. I saw a lot of potential in the pairing of this harmonic language with this poetry and thus
expanded the work to a full eight-song cycle, half of which utilizes the full quartet while the other half
features subsets of the quartet with the singer, another nod to Messiaen. The cycle utilizes four different
modes, paired two at a time within the cycle.

Composer Biography
Anne Neikirk's primary compositional interests include vocal and chamber music, sacred music,
and American and Latin folk music. She is currently working towards a Doctor of Musical Arts degree in
composition at Temple University, where she has taught courses in music theory, music appreciation and
orchestration. She holds a Master of Music degree in composition from Bowling Green State University
and a Bachelor of Arts degree in music from Hamilton College, where she was a teaching assistant in aural
skills and world music. Anne serves as the president of conTemplum, Temple University's student chapter
of the Society of Composers, Inc. She is also a member of ASCAP, the American Composers Forum, and
Phi Kappa Lambda. Anne's works have been performed throughout the United States and abroad. She has
participated in various festivals and conferences, including the 2012 North American Saxophone Alliance
Biennial Conference, the 2011 Region VI SCI Conference, and the 2010 and 2011 Brevard Music Center
Summer Festival. She has received commissions from various solo and chamber performers as well as the
Women's Sacred Music Project in Philadelphia. Anne is a recipient of the 2012 Presser Award and the
Michael Iovenko Composition Fellowship for study at the European American Musical Alliance Summer
2012 Composition Program in Paris, France. Her primary composition teachers include Samuel Pellman,
Marilyn Shrude, Cynthia Folio and Maurice Wright. For more information, please visit
www.annieneikirk.com.

Performance Instructions

The poco col legno marking in Meander indicates to play with the bow angled so that both the
wood and some of the hair strike the string. The pitches should still be discernible.

The slurred pizzicatos in m. 40 of Meander should be plucked once and the second note sounded in
a hammer-on fashion.

The air noise marking in the cello in The Unrecovered indicates a very light flautando bowing and
a dampened string to achieve an unpitched (or very subtly pitched) white noise. For an example,
see http://youtu.be/ky0d8AVBPgE

Harmonic glissandi should run up and down the length of the fingerboard.

An arrow preceding a sul pont indicates the note should shift gradually to sul pont for the duration
of the arrow.

The ricochet bowings indicate a bounced bow. The bounces do not need to sound a specific number
of times, rather should decay naturally into a sustained sound over the duration indicated.

The ricochet gestures at the beginning of Gangrel should be played freely, allowing for a natural
decay of the bounce each time. Each entrance should elide with the approximate moment in which
the previous ricochet has decayed into a sustained sound. There should be no silence between each
gesture.

The overpressure technique is indicated by the symbol below and calls for adding pressure to the
bow until it distorts the sound, creating a creaking, scratching tone, and then easing up on the
pressure so that a normal tone is restored by the end of the duration indicated.
For an example, see http://youtu.be/gS_hWKOCvH8

In memory of my grandmother, Doris Neikirk

YEARS LATER
Text by Penelope Cray

Anne Neikirk

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9
108

M-S.

Vln. I

Vln. II

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2. Meander
Relentlessly q = 112
Mezzo-soprano

/
#/

'

! /
Violin I # /

'

'

'

4
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sub. p

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10
6

M-S.

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;
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ing

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9

through the or

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B
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21

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26

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.
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32

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12
f

38

M-S.

point

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Vln. II

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ed

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mond

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42

M-S.

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47

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13
53

M-S.

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attaca

3. The Unrecovered
With Trepidation q = 72
Mezzo-soprano

Violin I

Violin II

/
#/ 3

Be - fore the storm

I saw our old

back - yard

I was count - ing the or - ang - es

'

'

'

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"

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con sord.

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,
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- / air-noise
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14

r=r

A
f

# %# % % % // 9

M-S.

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when it ap - peared

!
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/
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f

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/
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%%
9

sul pont.

'

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9%

sul pont.

'
9
%%

.
gliss

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%%

.
gliss

%%
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gliss.

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+

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senza sord., sul pont.

III
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/
#/ 3
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8

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%%
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sul pont.
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sempre f

sempre f

11

M-S.

gliss.

%
1%#
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sul pont.

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# $ %%%%%%
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f

14

M-S.

and I ran

!
Vln. I # 1

# %%
1

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+ %
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+
" 8

18

M-S.

4 4 4 4 4 %%

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iss.

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16

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23

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toes reach - ing

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mem ber how you rose in the air,

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pizz.

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%%

pp

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to re

pp

9
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1
pizz.

'

28

M-S.

and I was left

'

*
# )% % )% )% #
2

Vla.

0 %* % )% 9

was emp - ty

!
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2
Vln. II

&9
p

mp

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33

# $

M-S.

*
% % % 1

its long

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% 9

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then fell slack

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un -til you reached them

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mp

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flip-ping,

mp

How you pumped

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'

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mf

38

M-S.

17

2
2
% % # % )% %# %
flip - ping,

*
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+ 9

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2
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,

# %#

leaves

!
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fp

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18
44

'

M-S.

'

$ &% % &% (% 1

and

!
Vln. I # &1

%%

%% 1

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p

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mf

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mp

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%
%% %%% (%%% %1
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3

mp

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clos'd your eyes

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sul pont.
III
ss.
gli

mf

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ss.

F
50

M-S.

'

!
Vln. I # 3

%%
1

gliss.

ricochet
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.

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1
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+ 3

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Vc.
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444

s.

was im - me - di - ate

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pizz.
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pizz.

'
s
lis

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rain

mf

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mp

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pizz.
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3

> % (%
2 2

pizz.

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2
2
f

19
54

'

M-S.

'

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Vln. I #
%
2
3
#

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2 2 22
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&& 18 #

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gone

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the flat

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pizz

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57

M-S.

>&% (% >(%*# %4 %4 % #
4
2 2 2

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>
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@
, 0 $ 3

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II

&&
p

III

&

20

% % &% # &% % &% %# &1 #

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%
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62

M-S.

ran

to the or - ange

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18

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as if by strobe light,

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70

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felt

my - self

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in - side

the

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sotto voce

and I

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%%

sul pont.

mp

74

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