timothy c. takach turn to me at midnight with a cry. thus in the winter stands the lonely tree, nor...

Timothy C. Takach

Departurefor high voice and piano

1. the hours descend

2. Lonely

3. If You Want Me Again

Departure Timothy C. Takach $10.00GP - T008high voice, piano

the hours descend

the hours rise up putting off stars and it is dawninto the street of the sky light walks scattering poems

on earth a candle is extinguished the city wakes with a song upon her mouth having death in her eyes

and it is dawnthe world goes forth to murder dreams....

i see in the street where strong men are digging breadand i see the brutal faces of people contented hideous cruel hopeless happy

and it is day,in the mirror i see a frail man dreaming dreams dreams in the mirror

and it is dusk on earth

a candle is lightedand it is dark.

the people are in their housesthe frail man is in his bedthe city

sleeps with death upon her mouth having a song in her eyesthe hours descend,putting on stars...

in the street of the sky night walks scattering poems - E. E. Cummings, 1923

Lonely

What lips my lips have kissed, and where, and why,I have forgotten, and what arms have lainUnder my head till morning; but the rainIs full of ghosts to-night, that tap and sighUpon the glass and listen for reply;And in my heart there stirs a quiet pain,For unremembered lads that not againWill turn to me at midnight with a cry.Thus in the winter stands the lonely tree,Nor knows what birds have vanished one by one,Yet knows its boughs more silent than before:I cannot say what loves have come and gone;I only know that summer sang in meA little while, that in me sings no more. - Edna St. Vincent Millay, 1922

If You Want Me Again

The last scud of day holds back for me,It fl ings my likeness after the rest and true as any on the shadow’d wilds,It coaxes me to the vapor and the dusk.

I depart as air, I shake my white locks at the runaway sun,I effuse my fl esh in eddies, and drift it in lacy jags.

I bequeath myself to the dirt to grow from the grass I love,If you want me again look for me under your boot-soles.

You will hardly know who I am or what I mean,But I shall be good health to you nevertheless,And fi lter and fi bre your blood.

Failing to fetch me at fi rst keep encouraged,Missing me one place search another,I stop somewhere waiting for you. - Walt Whitman, 1855

Texts:

Program notes:

The texts in Departure all spoke to me about the end of things – a day, the amorous years of one’s life, and life itself. In the fi rst song “the hours descend,” the speaker depicts the passing of a day in the city. Yet even in the portrayal of daybreak, there are sad undertones in the poem. “The city wakes with a song upon her mouth hav-ing death in her eyes.” Even here, the speaker imparts the joy of dawn, but is already forecasting the inevitable end to come. The poem goes on to say how “the world goes forth to murder dreams.” Throughout the text we see natural and metropolitan images side by side, and we end up yearning for nature, and scorn the chaos of the city. As day falls onto the residents of this city, the music becomes more agitated and raucous and shows the chaos and frustrations apparent in city life. We only regain tranquility musically when it is dark and “the city sleeps with death upon her mouth having a song in her eyes.” Here we’ve reached the point where we’re ready for the end, with only a memory of the song.

“Lonely” opens with an a cappella section. The singer, musing alone, fi nds herself in a state where she cannot remember the lovers in her life. This opening section is the singer thinking out loud, as she comes to grips with her faded passions. As she fully understands her thoughts, and is ready to share them with the audience, the piano begins, and helps her illustrate her acceptance of this. It is the saddest piece of the set, as the singer real-izes that near the end of her life, she cannot remember the details, the individual days that are painted so vividly in the E. E. Cummings text. She only remembers the feeling of joy that inhabited her for a while, but even that has now gone.

Remorse turns to full acceptance and triumph in “If You Want Me Again.” In this text, the last bit from Whit-man’s Leaves of Grass, the speaker asserts ownership and acceptance of a situation over which she has no con-trol. She compares her passing to the currents of wind, and departs wildly and ecstatically. This is never more clearly illustrated than in the running triplet fi gures in the piano as the wind “coaxes me to the vapor and the dusk.” The speaker gives herself over to earth. Through death, she will escape the artifi cial, chaotic environment that we feel from the city and she will become a part of the earth.

- Timothy C. Takach

&

?

c

c

42

42

c

cPiano

q»55

P

with pedal

‰ œ œ œ œ œ œ œ#

œ œ œ œ œœ œ œ

œ œ œ œ œ œ œ œ

œœ œ œ œ œ œ œ

.˙ œ œ œÓ ˙www

˙˙

&

&

?

c

c

cL.H.

5

‰P

œ œ œ œ œ œ œthe hours rise up put-ting off

5 ‰p

œ œ œ œ œ œ œœ œ œ œ œ œ œ

www

˙ ‰ œ œ œstars and it is

œœœœœœ œœœ

œœœ˙

www

˙ ‰ œ œ œdawn in - to the

‰ œœb œœ œœ ˙˙˙ww‰P œ œ œ ˙www &

&

&

&

42

42

42

8

œb œ œ ˙street of the sky

8 œœbbœœ œœ

œœœœ

œœ œœ œœ˙b ˙

œ ˙3

œ œ œlight walks scat-ter - ing

œœ œœ œœœœ œœ œœ?

œœœ œœb œœ œœœ?

˙ Ópoems

œœb œ œb œ œ œb œb œ&

‰F œ œ œb œbœb œ œwwwbb

Timothy C. Takach (2004)E. E. Cummings (1923)

measured

c c

Publishing

For perusal purposes only. Do not copy.


&

&

?

42

42

42

11

Ó

11

˙b

..œœb Jœœœbf

q»90

q»90

‰ jœ œ œon earth a

...œœœb jœœ˙bb

œ œb œ œbcan-dle is ex -

œ œœbJœ .œ˙

œb œtin - guished

˙b œ œœb œœ˙bb

‰ jœ œ œthe ci - ty

œœœœb

œœœ œb œ

œb œ œwakes with a

œœb œœb

‰ jœœb œœb œœbb˙bbb

&

&

?

c

c

c

17

.œ œb œ œbsong up-on her

17 œœbb œœb˙bbb

œb œ œmouth hav-ing

œœœœbb

˙b

œ œb œdeath in her

˙

œœ œœb

rit.

rit.

˙beyes

œœœœbb œœbb

œœ

œœœbbb œœb

Ó

˙

˙bb

q»60

q»60

Ó ‰ œP

œ œand it is

œœ œœ œœ œœ

wwwp

&

&

?

42

42

42

c

c

cbring out inner voice

23

˙ œ œ œ œdawn the world goes

23 œœ œœ œœ œœÓ

˙

www

.œ œ œ œ ˙forth to mur-der dreams...

œœ œœ œœ œœœ œ œ œ

˙ ˙

˙œœ œœœ

3

œ œb œ

˙

œœ œœ œœ œœ˙ ˙

www

&?

42

4286

86

27 œœ œœ œœ œœœ .˙

www

L.H.

˙˙

qk»60 (q = q.)‰ œ œ œ ‰ œœœb

>œ

fœ ‰ jœ œœb>

‰ œ œ œ ‰ œœœb>

œ œ ‰ jœœœbb >

Publishing



&

&

?

31

Œ Jœf œ œ œi see in the

31

‰ œ œ œ ‰ œœœb>œF

œ ‰ jœ œœb>

.œ œ Jœstreet where

‰ œ œ œ ‰ œœœb>œ œ ‰ jœ

œœbb >

œ Jœb œ Jœstrong men are

‰ œ œ œ ‰ œœœb>œ œ ‰ jœ œœb>

œ œ œ .œdig-ging bread

‰ œ œ œ ‰ œœœb>œ œ ‰ jœ

œœbb >

&

&

?

legato

legato

35

Œ . ‰ œ œand i

35 œ œ œb œ œ œ

jœ œJœœb œ

œ jœ2

œ œsee the bru - tal

œ jœ œ œb œ

jœ œ .œ

Jœ œb œ Jœfac - es of

œb jœ œ œ œ

œb œ œb œ Jœ

Jœ œb œ jœpeo - ple con -

œ œ œ œb œ œ

‰ œb œ jœb..˙bb

&

&

?

39

Jœâ œâ Œ .ten-ted

39

‰ œ œ œ ‰ œœœbb>

œ œ ‰ jœb œœb>

œ- œ- œ- Œ .hid-e-ous



Jœ œF œb Jœcru - el hope - less



rit.

rit.

Œ . jœ œbhap-py

‰ œb œb œb ‰ œœœb?

œb œb ‰ jœb œb

&

?

?

a tempo

a tempo

43

43

‰ œœb Jœœ œœb

œbf jœb œb jœ.˙b

Jœœ œœb Jœœ œœb

œbjœb œb jœœ.˙

.œbF œ œ œband it is

Jœœ œœ Jœœ œœb

œbP jœb œb jœ.˙b

.˙bday



Publishing



&

?

?

47

‰ œb œb œb œb œin the mir-ror i

47


œbjœb œb jœ

.˙b

.œ .œbsee a


œbjœb œb

jœ.˙

œb jœ .œfrail man


œbF jœb œ jœ.˙b

.œ2

œ œbdream - ing


œbP jœb œ

jœb.˙

&

?

?

51 .œb œ ‰dreams

51

Jœœb œœ Jœœ œœ

œœbjœb œb jœ

.˙b

.œb œb Jœbdreams in the



jœb œ .œmir - ror


œbjœb œb jœ

.˙b



&

?

?

55 .œb œ œb œband it is

55


œbjœb œb

jœ.˙b

.˙bF

dusk

Jœœœœb Jœœ œœb

œbF jœb œb jœ.˙b

Œ Jœb œ Jœbon earth a


œbjœb œb jœ.˙

œb Jœ .œcan - dle


œbjœb œb jœ.˙b

&

?

?

59

.œ .œbis

59 Jœœ œœb Jœœ œœb&

œbjœb œb jœ.˙

œbf Jœ .œlight - ed

‰ œœœbbb Jœœœ œœœb

Œf

.œb jœb..œœbb ..œœbb

.œ Œ .

Jœœœ œœœbbb J

œœœ œœœbb

œ .œb jœb..œœbb ..œœbb

.œb œ œb œand it is

Jœœœ œœœbbb J

œœœ œœœbbb

œ .œjœb..œœbb ..œœbb

Publishing



&

&?

63 .œb Œ .dark

63

‰ . œb œb œb ‰ . œb œb œb

‰F œb ‰ œb..œœbb ..œœb

Œ . Œ JœbF

the


‰ œb ‰ œb..œœbb ..œœb

.œb œ Jœpeo - - - ple are



&

&

?

66 .œN .œin their

66



œb jœb .œhous - es

‰ . œb œb œb ...œœœbb‰ œb ...

œœœbb..œœbb

œ Œ œbP

the

...œœœbbb ..œœb

...œœœbbb...œœœbbb

œb jœ œ jœfrail man is

...˙bbb

...˙bbbP

&

&

?

42

42

42

c

c

c

70

.œb .œbin his

70

..˙bb .œb .œb

..˙bb .œb .œN

q»60

q»60˙P

bed

œœ œœ

˙

œœ œœ œœ œœ

www

‰ œ œ œ ˙the cit - y sleeps

œœ œœ œœ œœ

www

&

&?

42

42

42

c

c

c

74

œ œ œ .œ œ œ œwith death up - on her

74 œœ œœ œœ œœ˙ œ œ

www

.˙3

œ œ œmouth hav-ing a

œœœ œœœœ œœœœœœ

˙?

www

œp

œ œsong in her

˙

˙

˙eyes

˙b&

˙bb

Publishing



&

?

c

c

42

42

c

c

Tempo I

measured

78

‰ œ œ œ œ œ œ œ#

œPœ œ œ œ

œ œ œ

œ œ œ œ œ œ œ œ

œœ œ œ œ œ œ œ

.˙ œ œœÓ ˙www

˙˙

&

&

?

c

c

c

L.H.

82

‰ œP

œ œ œ œ œ œthe hours de-scend, put-ting on

82 ‰

p

œ œ œ œ œ œ œœ œ œ œ œ œ œ

www

.˙ Œstars...

wwwÓ ‰ œ œœ œœ‰ œœœ œœœ œœœ ˙...˙˙ œœ

Ó Œ œ œin the

‰

Pœœb œœ œœ ˙˙˙ww

‰ œ œ œ ˙www &

&

&

&

85

œb œ œ ˙street of the sky

85 œœbbœœ œœ

œœœœ

œœ œœ œœ

˙b ˙

œ .œ ‰3

œ œ œlight walks scat - ter- ing

œœ œœ œœœœ œœ

œœœœœ œœb œœ œœœ

?

wF

poems

œœbFœ œb œ œ œb œb œ

‰ œ œ œb œbœb œ œwwwbb

&

?no ritard

88 ‰ œœNNœœ

œœbbœœbb

œœbbœœbb

œœnwb

wwwbb

˙bb ˙b˙ ?

˙p

˙bb

Publishing



& bbbbbb cFreely

Óq»84

Œ œF

What

.œ Jœ œ œlips my lips have

.œ Jœ œ œkissed, and where, and

˙ 3œ œ œwhy, I have for -

& bbbbbb 46 c5

œ ˙ Œgot - ten,

.œ jœ œ œand what arms have

˙ 3œ œ œ œ œlain un-der my head till

œn .˙morn - ing;

& bbbbbb 46 439

Ó Œ œpœ

but the

.œ jœ œ œrain is full of

.œ jœ ˙ Œ œP

ghosts to-night, that

œ œ œ œ œtap and sigh up -

& bbbbbb c13 œ œ œ œ œ

on the glass and

œ œ œ œ œlist - en for re -

˙nP Œ œply; And

œ œ œ œ œ œ œ œin my heart there stirs a qui - et

& bbbbbb17

˙ Œ œpain, For

œ œ œ œ œ œ œ œ œun - re-mem-bered lads that not a -

.˙ œp

gain Will

œ œ œ œnturn to me at

Timothy C. Takach (2004)Edna St. Vincent Millay (1922)

Publishing



&

&?

bbbbbb

bbbbbb

bbbbbb

rit.

rit.

21

œ œ ŒU œ œmid - night with a

21

˙ Ócry.

q»72

with pedal

œ fq»72œ œ œ œ œ œ

Thus in the win-ter stands the

œP

œ œ œ œ œ œ œ

œ œ œ œ œ œn œ

.œ Jœ œn ‰ Jœlone - ly tree, Nor

œ œ œ œ œ œœnnœœ

˙ ˙

&

&

?

bbbbbb

bbbbbb

bbbbbb

nnbbbb

nnbbbb

nnbbbb

( )

25

œ œ œ œ œ œ œ œknows what birds have van - ished one by

25 ˙bbœœ œœnn

Œ˙b œœœnn

˙bbF

˙

˙ ŒU œP

one, Yet

ww‰ œœ œœ œœ ˙˙n

U

‰f œ œ œ ˙uwww

.œ Jœ œ œknows its boughs more

œœœœœœ œœœ œœœ œœœ

œœœœœœ

˙p ˙

&

&?

bbbb

bbbb

bbbb

43

43

43

28 œ œ œ œ .œ ‰si-lent than be-fore:

28 œœœ œœœ œœœœœœœœœ œœœ

œœœœ œœœœ ˙

œ œ œ .œ jœI can-not say what

‰ œ œ œ œ œ œ œ

œœpœ œ œ œœœ œœœ

œ œ œ œn œ Œloves have comeand gone;

œ œ œ .œ jœ˙ ˙œœœ œœœ ˙

œ œ œ .œ JœI only know that

˙ ˙˙ ˙

&

&

?

bbbb

bbbb

bbbb

43

43

43

c

c

c

43

43

43

c

c

c

very freely32 œF œ .œ Jœsum-mer sang in

32

..˙

..˙

Pœ œ

3

œ œ œ œ ‰ jœme A lit-tle while, that

..˙ Œ

..˙ Œ

rit.

rit.

œ œ œ œin me sings no

œœ œœ œœœœœ œœœ œœœ

.˙Up

more.

wwwuwwwu

Publishing



&

?

c

cFŒq»80

œœ ...œœœjœ

œ œ œ ˙˙

œœ œœ œœ ˙

˙ ˙

Œ œœ ..œœjœ

œ œ œ ˙˙

&

?

4

œœ œœ œ# ˙

˙ ˙

œ œ œ œ œ œ œ

œ œ œ œ œ œ œœ œ œ œ œ œ

œ œ œ

œ œ œ&

wŒ

œ œ ˙

œ

Pœ œ œ .œ

Fjœ

&

&

8

Œ œ œ ˙F

œ

Pœ œ œ .œ jœ

ŒP

œ œ œ œ

œ œ œ œ œ œ ?

wwwFww

wwwwwwÓ Œ ‰p Jœ

&

&

?

12

Ó Œ œP

The12 wwwwwww

œ œ œ œ œlast scud of day holds

..˙pœœœ

..˙ œœœ

.œ Jœ ˙back for me,

˙ ˙˙œ œ ˙.œ Jœ ˙ &

Œ œ œ œ œ œ

œ

Fœ œ œ œ œ œ

Timothy C. Takach (2004)Walt Whitman (1855)

Publishing



&

&

&

16

Ó Œ œIt

16 www

www ?

.œ œ œ Jœ œflings my like - ness

˙ ˙˙P

˙

œ œ œ ˙af - ter the rest

˙ ˙

œ .˙.œ Jœ ˙

Ó Œ œp

and

œœ œœ œœ ˙jœ œ jœ ˙˙ ˙ &

&

&

&

##

##

##

20

.œ Jœ œ œ œ œtrue as an - y on the

20 œœœœœœœœœ Œ œœœœ

œœ œ œ˙˙˙?

œ œ ˙ œshadow'd wilds, It

˙ ˙œ œ œ ˙˙ ˙

œP œ ˙ œ œcoax-es me to the

˙ ˙˙ ˙

˙

rit.

rit.

œF

œ .œ jœ#va - por and the

˙ œœœœ##

www

&

&?

##

##

##

( )

q»12024

wf

dusk.

24 œœq»120

3

œ œ œ3

œ œ œ3

œ œ œwwwf

Œ 3

œ œn œn3

œ œ œ3

œ œ œn˙nnn

˙œa

3

œ œ œ3

œ œ œ3

œ œ œwww

&

&

?

##

##

##

27

27

Œ 3

œ œn œn3

œ œ œ3

œ œ œn˙nnn

˙

Œ œf œ œ œI de-part as

œa3

œ œ œ3

œ œ œ 3

œ œ œ3

œ œ œ œ œ œ

.˙ œair, I3

œn œn œn3

œn œ œn3

œn œ œ

3

œ œ œ3

œn œn œ œn œ œ

Publishing



&

&

?

##

##

##

30 ˙ œ œnshake my white

30

œ3

œ œn œ3

œ œ œ3

œn œ œ

3

œn œ œ œ œn œ

˙ œ œlocks at the

3

œ œ œn3

œ œ œ3

œ œ œ3

œ œ œ

3

œ œ œ œn œ 3œJœ

3

œ œ œ .˙run-a-way sun,

3

œ œ œ3

œ œ œ œ

3

œ œ œ

3

œ œ œ3

œ œ œ œ œœ

&

&

?

##

##

##

33

Ó Œ œP

œI ef -

33 œ œ œ œœœœœ

œ œ œœP

.œn jœ œ œfuse my flesh in

œœb œ œn œ œ œœ

œb œn œb œn ˙

œa œ œ Œ œF

ed - dies, and

œœœa œ œ ˙F

œ œ œ œn ˙

&

&

?

##

##

##

36

˙ œ œdrift it in

36

œœ œ œ# œ œœœ œ œ œ œ

q»100

a proclamation

œq»100

œn œ Œ œfœ

la - cy jags. I be -

˙#Ó

˙ Ó

.œ Jœ œ œ œnqueath my - self to the

...˙n œœœn

...˙f

œœœnnn

&

&?

##

##

##

39 ˙ Œ œ œdirt to grow

39 Œ œœ œœ ˙wwwŒ œ ˙www & ?

œn œ ˙ œfrom the grass I

œ œ ˙n œœœœœnnn œ ˙ œœ

.˙ Œlove,

wwa,

www

Publishing



&

&

?

##

##

##

a little less42

.œF

jœ œ œ œIf you want

42

.œ jœ œ œ œwF

.œ Jœ œ Œme a-gain

.œ jœ ˙w

˙n ˙look

˙ ˙wwnn

˙ œ œ œ œnfor me

wwnnww

&

&

?

##

##

##

46

˙P

˙un - der

46

˙ ˙˙nwwP

rit.

rit.

.˙ œ œyour boot -

˙ Ó

˙ Ó

a tempo

a tempo

wsoles.

Œ œœ ...œœœjœ

œF

œ œ ˙˙

‰ œœ œœ œœ ˙

˙ ˙P

&

&

?

##

##

##

###

###

###

50

50

Œ œœ ..œœjœ

œFœ œ ˙

˙n

‰ œœ œœ œ ˙

˙ ˙P L.H.

Œ œp

œ ˙Œ œ œ ˙wwf www

&

?

###

###L.H.

53 œ œp

œ œ œ œŒ œ œ œ œ

wwwww

œ œ œ ˙Œ œ œ ˙

œPœ .˙

œ œ œ œ œ œ œŒ œ œ œ œ

œP œ .˙

Publishing



&

&

?

###

###

###ped. simile

56

.œP Jœ œ œYou will hard - ly

56 œ œ œ ˙Œ œ œ ˙

œP œ .˙

œ œ œ œ œknow who I am or

œ œ œ œ œ œŒ œ œ œ œ

œP œ .˙

˙ ˙what Iœ œ œ ˙Œ œ œ ˙

œP œ .˙

&

&

?

###

###

###

59

wmean,

59 œ œ œ ˙Œ œ œ ˙

œP œ .˙

Ó Œ œF

But

œ œ œ œ œŒ œ œ ˙

œF œ .˙

.œ jœ œ œI shall be good


œP œ .˙

&

&

?

###

###

###

62 ˙ ˙health to

62


œP œ .˙

.˙3

œ œ œyou nev-er-the -

œ œ œ œ œŒ œ œ ˙

œP œ .˙

˙ Œ œP

less, And


œP œ .˙

&

&

?

###

###

###

65

œn ˙ œfil - ter and

65

œ œœœn œœ ˙wwnP

œF

˙ œfi - bre your

Œ œœ œœ œœn œww

.P Œblood.

œ œ œ œ œŒ œ œ œ œ

œP œ .˙

Publishing



&

&

?

###

###

###

68 .˙F

œ œAh...

68

œ œ œ œ œ œŒ œ œ œ œ œ

œ œ .˙

.˙ œ

œ œ œ œ œ œŒ œ œ œœ œ .˙

œf œ œ œ œ œ

.œ jœ œœ œœŒ œ œ

œ œ .˙

wF

Œ œ œ ˙œ œ ˙

œPœ .˙

&

&

?

###

###

###

72

72 œ œ œ œ œ œŒ œ œ œ œ

œP œ .˙

.œF

Jœ œ œFail - ing to


œP œ .˙

3œ- œ œ œ œ œfetch me at first keep en -


œP œ .˙

&

&

?

###

###

###

75

œ .˙cour - aged,

75 œ œ œ ˙Œ œ œ ˙

œP œ .˙

œ œ œ œ œ œ œŒ œ œ œ œ

œP œ .˙

œP œ œ œ œMiss-ing me one place


œP œ .˙

&

&

?

###

###

###

78

˙ œ œsearch an -

78

Œ œ œ œ œ œ œ

œPœ .˙

œ .˙oth - er,

œ œœ œœ œœ# ˙‰p œ œ œ ˙ww

Ó Œ œp

I

wwwww

œ œ ˙stop some - where

wwwwwp

Publishing



&

&

?

###

###

###

82

˙ 3œ œ œwait - ing for

82

wwwww

wyou.Œ œœ

Pœœ œœw

œœ œ œ œ

˙ Ó

wwwp?

ww

?

?

###

###

rit.85 ..˙ œœ

..˙ œœ

..˙ œœ

...˙p

œœœ

...˙ œœœ

ww

www

ww

Publishing



3714 Sheridan Ave N.Minneapolis, MN 55412

Graphite PublishingGraphite Publishing is a music publishing company focused on presenting composers and their works to the music industry by offering score sales online (via pdf documents). Graphite publishes music that is excellent, innovating and new, while at the same time is also accessible, likable and grasped by the average audience member. The music published by Graphite includes quality compositions where excellence and accessibility meet. It is unique yet emotional, it challenges the listener, and it is enjoyable to experience.

Other vocal works from Graphite Publishing:

Abbie Betinis GP - B005 The Clan of the Lichens (cycle) soprano, piano Abbie Betinis GP - B005.1 The Prayer Wind (from The Clan...) soprano, piano Martha Hill Duncan GP - D017 Singing in the Northland, Vol. 1 (collection) voice, piano Martha Hill Duncan GP - D018 Singing in the Northland, Vol. 2 (collection) voice, piano Christopher Gable GP - G001 December Carol voice, piano Christopher Gable GP - G002 Solstice Lullaby voice, piano Jocelyn Hagen GP - H002 Hope (cycle) soprano, piano Jocelyn Hagen GP - H002.1 Heart, we will forget him (from Hope) soprano, piano Jocelyn Hagen GP - H007 Songs of Fields and Prairies (cycle) soprano, piano Jocelyn Hagen GP - H007.1 The Flower of the Field (from Songs of Fields...) high voice, piano Jocelyn Hagen GP - H008 The Sweetness of My Dreams (cycle) mezzo-soprano, piano Norman Mathews GP - M001 Songs of the Poet (cycle) voice, piano Norman Mathews GP - M001.1 Sometimes with One I Love (from Songs of the Poet) voice, piano Norman Mathews GP - M001.2 Here the Frailest Leaves of Me (from Songs of the Poet) voice, piano Norman Mathews GP - M001.3 The Last Invocation (from Songs of the Poet) voice, piano Norman Mathews GP - M002 Velvet Shoes voice, piano Norman Mathews GP - M003 Fancy voice, piano Scott Robinson GP - ROO2 Song of Hannah med./high voice, vln., vc., 1-3 opt. perc. Timothy C. Takach GP - TOO8 Departure (cycle) high voice, piano

Timothy C. TakachTimothy C. Takach has received a number of commissions from various choral organizations including the St. Olaf Choir, Cantus, the Bowling Green State University Men’s Chorus, The Singers: Minnesota Choral Artists, The Young New Yorker’s Chorus, the Appleton North High School Varsity Men’s Chorus, and the Western Michigan University Chorale. His compositions have been heard on NPR and have been recorded by various groups in North America. Takach graduated with honors from St. Olaf College, Northfi eld, MN in 2000 with a BA in Music Theory/Composition and a BA in Studio Art. While there he studied composition under Dr. Peter Hamlin and Dr. Timothy Mahr. He now lives in Minneapolis and sings with the professional male vocal ensemble, Cantus. As a singer with Cantus, Takach gives over 80 concerts a year and has had his works performed in concert halls across the United States, Canada, and Europe.

timothy c. takach turn to me at midnight with a cry. thus in the winter stands the lonely tree, nor...

Documents