Views
5 years ago

Gabriel Jackson: Yes I am your angel

  • Text
  • Verdins
  • Ginsberg
  • Oxford
  • Oup
  • Choral
  • Horizons
  • Jackson
for SATB unaccompanied The text for this imaginative and effective piece by Gabriel Jackson is a response to Allen Ginsberg's A Supermarket in California by Latvian poet Kārlis Vērdiņš, translated here by Ieva Lešinska. As in Ginsberg's poem, the initial setting is a supermarket, depicted with vivid imagery such as 'a weary, shrivelled apple', before the angel protagonist expounds on their observations about contemporary society. Pleasingly alliterative lines such as 'he'd babble boozily about tanks' are artfully given rhythmic emphasis by Jackson, who fully exploits the dramatic intent of the poem, giving space for the text to come through by homophonic setting, a pure harmonic language, and often sparse textures.

4 29 ° 3 2 3 2 &b b b8

4 29 ° 3 2 3 2 &b b b8 ∑ 4 ∑ 8 ∑ ∑ 4 ∑ 3 &b b b8 3 & b b b8 ‹ 2 œ 4 œ j œ kissed to p - night, their 3 8 2 œ 4 œ œ j œ - œ œ œ - œ ‰ œ œ - - Œ p f œ œ j 2 3 2 4 œ ‰ œ j j 8 œ œ œ œ œ œ - 4 œ - œ ‰ œ- œ- kissed to ‰ œ j - night, their p ? 3 2 ¢ b b 3 2 8 œ œ b 4 œ J ‰ œ 8 œ œ œ œ - œ œ œ 4 - J J œ ‰ kissed to night, por ce - would tin kle: - their ‘Your por-ce-lain knuck-les would tin- kle: ‘Your por-ce-lain knuck-les would tin- kle: ‘Your - -lain knuck les f - ‘Your f œ- œ- f œ- œ- Œ œ œ 3 4 sky is the co - lour œ œ 3 4 Œ œ - œ J Œ œ - œ j sky is the co - lour Œ œ œ 3 4 Œ œ- œ J sky is the co - lour Œ œ œ 3 4 Œ œ- œ J sky is the co - lour 2 4 2 4 2 4 2 4 for online perusal only 37 ° 2 & bb b4 Œ œ - œ - Œ 3 2 8 ∑ ∑ ∑ 4 Œ ‰ j œ of eyes’, I mf 3 8 œ œ œ œ œ œ œ œ œ won-der how much you’d get sell-ing my 2 4 2 & bb b4 p Œ œ 3 - œ - ‰ j 8 œ œ ‰ œ - œ œ œ - œ œ 2 4 Œ ‰ j 3 œ 8 œ j œ œ œ of eyes’, you’d wheeze, ev-er the po-et. I won - der. mp 2 4 & b b p mp 2 œ- œ b 3 2 3 4 Œ - ‰ œ j 8 œ ‰ œ 4 8 ‹ - œ œ œ œ œ Œ ‰ œ œ œ œ œ - J J of eyes’, you’d wheeze, ev-er the po-et. I won - der. p mp ? œ- 2 3 ¢ b b œ b 4 Œ - ‰ œ 8 œ ‰ œ- œ œ J œ œ œ - of eyes’, you’d wheeze, ev er -et. - the po 2 3 4 ∑ 8 ∑ ∑ ∑ 2 4 2 4 46 ° & bb b2 4 œ œ 3 œ œ œ œ 8 œ j ‰ ‰ j œ - f œ- œ œ œ - œ œ œ - œ œ œ- œ - J parts at the flea mar -ket? Winc-ing from a bot-tle of gin mixed with black - cur-rant œ 5 8 5 8 5 8 5 8 3 8 3 8 3 8 3 8 2 4 2 4 2 4 2 4 5 8 5 8 5 8 5 8 3 8 3 8 3 8 3 8 f & bb b2 3 4 ˙ ˙ 8 œ j ‰ ‰ j œ Œ ‰ Œ j - œ- œ- œ œ- œ- œ - œ Winc- ing, bot- tle, gin, black cur- & b b f b2 3 4 ˙ ˙ 8 œ ‰ ‰ œ- œ - Œ œ- œ ‰ œ- J J Œ œ - j œ œ ‹ - f ? 2 3 ¢ b b b 4 ∑ ∑ 8 ∑ œ- œ- J - rant Winc- ing, bot- tle, gin, black - cur-rant Œ œ - œ ‰ œ - Œ œ - œ- J œ Winc- ing, bot- tle, gin, black - cur-rant

5 53 ° 3 &b b b8 œ- jam, mf ‰ 2 4 œ Œ - drunk, œ- œ j œ - œ - Œ œ - œ- œ œ j ‰ ‰ œ - Œ œ - œ - dim - ly - lit room, dead bo - dies, shared, mp strang - er, 5 8 5 8 5 8 5 8 2 4 2 4 2 4 2 4 3 8 3 8 3 8 3 8 2 4 2 4 2 4 2 4 3 &b b b8 œ- 3 & b b b8 ‹ jam, 2 4 mf drunk in a dim - ly - lit room full of dead bo - dies, shared, œ- ‰ 2 4 œ - Œ œ - œ j œ - œ Œ - jam, ‰ œ- œ œ œ - œ j œ - œ - œ œ œ - œ - œ œ j ‰ ‰ mf drunk, dim - ly - lit room, dead bo - dies, and mf mp ? 3 2 ¢ b b œ- b 8 ‰ 4 œ - Œ œ - œ œ - J œ - Œ œ - œ œ œ j ‰ ‰ œ- Œ œ- œ - - jam, drunk, dim ly œ- mp mp shared with a - - lit room, dead bo - dies, shared, œ- Œ œ- œ - strang - er, œ- œ œj ‰ œ j œ - œ œ œ- œ - strang - er strang - er, for online perusal only 61 p ° 5 2 3 5 3 2 & bb b ∑ 8 4 ∑ 4 8 8 4 œ- Œ œ - œ ‰ Œ œ ‰ j - œ œ œ œ œ œ œ œ œ- œ œ bar; bab-ble, tanks, and u-pon leav-ing he’d snatch your wal-let. p f 5 2 3 5 3 2 & bb b ∑ Œ 8 ‰ Œ 4 ∑ 4 ‰ j 8 8 4 œ- œ- œ œ- œ œ œ œ œ œ œ œ œ- œ œ bar; bab-ble, tanks, and u-pon leav-ing he’d snatch your wal-let. & b b p f b œ œ œ œ 5 2 3 5 3 2 œ Œ 8 4 ∑ 4 8 8 4 ‹ - œ - œ ‰ Œ œ ‰ œ j œ œ - œ œ œ œ œ œ- œ œ picked up at a bar; bab-ble, tanks, and u-pon leav-ing he’d snatch your wal-let. p f ? 5 2 3 5 3 2 ¢ b b b ∑ œ- ‰ œJ 8 œ - œ œ œ J 4 œ œ œ 4 œ - ‰ œ J œ œ 8 œ œ œ œ œ 8 œ- œ œ 4 bar; he'd bab-ble booz - i - ly a-bout tanks, and u-pon leav-ing he’d snatch your wal-let. f 68 ° & bb b2 4 mf Œ ‰ œ j 3 2 8 œ œ œ j œ œ œ 4 œ œ œ œ ‰ œ œ œ œ œ œ œ An an mp - gel be - hind ev -’ry coun - ter to - night, aren’t their smiles mf broad-er than the & bb b2 4 Œ ‰ & b b b2 4 ‹ ∑ ? 2 ¢ b b b 4 ∑ mf 3 2 œ j 8 œ œ œ j œ œ œ 4 œ œ œ œ ‰ œ œ œ œ œ œ œ An 3 8 3 8 an mp - gel be - hind ev -’ry coun - ter to - night, aren’t their smiles mp mf œ œ œ œ œ œ 2 J 4 œ œ œ œ ‰ œ œ œ œ œ œ œ mf an - gel be - hind ev -’ry coun - ter to - night, aren’t their smiles mp œ œ œ œ œ œ J 2 œ œ œ œ 4 mf an - gel be - hind ev -’ry coun - ter to - night, aren’t their smiles, ‰ mf mf œ œ œ ˙ broad-er than the broad-er than the

Copyright © Oxford University Press 2018

Titles by Scoring

Composer - Perusal Scores, Samplers and Catalogues

Choral Series and Anthologies

Programme Ideas by Season and Subject