Lift Up Your Heads Full Score

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Instrumentation Flute 1 Flute 2 Oboe 1 Oboe 2 Bassoon 1 Bassoon 2 Clarinet 1 in B-flat Clarinet 2 in B-flat Clarinet 3 in B-flat Clarinet 4 in B-flat Bass Clarinet in B-flat Contrabass Clarinet in B-flat Alto Saxophone 1 Alto Saxophone 2 Tenor Saxophone Baritone Saxophone Trumpet 1 in B-flat Trumpet 2 in B-flat Trumpet 3 in B-flat Horn 1 in F Horn 2 in F Horn 3 in F Horn 4 in F Trombone 1 Trombone 2 Bass Trombone Euphonium 1 Euphonium 2 Tuba Timpani Snare Drum Bass Drum Crash Cymbals
Program Notes Samuel Coleridge-Taylor (1875-1912) was a noted Afro-English composer whose works thrived mostly around the decades surrounding the turn of the 20th century. Born and raised near London, he was educated at the Royal College of Music, studying composition with Charles Villiers Stanford. Conscious of his African descent, Taylor’s classical compositions were heavily influenced by traditional African music and this made him one of the most progressive writers of his time. He composed nearly 100 works in his short life ranging from cantatas, an opera, a symphony, a notable violin concerto and sonata, orchestral suites, theater scores, songs, chamber music, and salon music. His best known work is Scenes from The Song of Hiawatha, a trilogy of compositions for chorus and orchestra; the writing was largely influenced by the poem of the same name by American poet Henry Wadsworth Longfellow. Published in 1892, Lift Up Your Heads was originally scored for choir and organ. The piece is a short anthem based on Psalm 24: 7-8. This psalm is connected to when David brought the ark of the covenant back from the home of Obed-edom. The ark that represented God's presence was about to enter Jerusalem. When it had been seized by the Philistines, Eli's daughter-in-law bore a son and called him Ichabod, saying, "'The glory has departed from Israel!' because the ark of God had been captured.” Now that the ark was about to enter Jerusalem, the glory of the King of heaven and earth was returning. For me, transcribing this piece meant having the opportunity to give further voice to Coleridge-Taylor as both an influential human and genius musician. It is my hope that performers and listeners alike are inspired by this work and the legacy of Samuel Coleridge-Taylor. Performance Notes Musicians should execute a lyrical and connected style throughout this work. Special detail should be given to the completion of all phrases, along with making certain that all sounds preceding rests should indeed touch the rests. Exceptions to this would be m.67 through m.74 and pick-ups to m.98 to the end — these sections should be majestic in character, utilizing marked and long-lifted articulations. Long-lifted articulations should be treated as if combining a tenuto and staccato articulation marking.
Page 1: Lift Up Your Heads Short Festival A
Page 5 and 6: 2 Fl. Fl. Ob. Ob. Bsn. Bsn. Cl. Cl.
Page 7 and 8: 4 Fl. Fl. Ob. Ob. Bsn. Bsn. Cl. Cl.

Lift Up Your Heads Full Score

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