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Full score only
Title by uploader: Carson Cooman: The Revelations of Divine Love (Metaphors from Sea and Sky), an oratorio for soprano, baritone, chorus and chamber orchestra – full score only, Op.800
Instrumentation |
Horn, Trumpet, Violin, Viola, Cello, Double bass, Soprano, Baritone, Percussion, Mixed choir: Soprano, Alto, Tenor, Bass |
Scored for |
Soloists, Choir, Chamber orchestra |
Type of score |
Full score |
Movement(s) |
1 to 18 from 18 |
Translator |
Philip Brunelle |
Publisher |
Musik Fabrik |
Language |
English |
Difficulty |
Advanced |
Duration |
65'0 |
The Revelations of Divine Love (Metaphors from Sea and Sky) (2009), an oratorio for soprano, baritone, chorus, and chamber orchestra, was commissioned for and is dedicated to the choir ofn Royal Holloway, University of London and Rupert Gough, director of choral music.
The texts of the work are adapted primarily from the writings of Julian of Norwich (c. 1342–1416). Julian is best-known for her Sixteen Revelations of Divine Love (c. 1393), believed to be the first Englishlanguage
book written by a woman. Considered one of the most significant English mystics of all time, Julian lived a reclusive life as an anchoress at the Church of St. Julian in Norwich, England (her true name is unknown). Regarded even during her lifetime as a spiritual authority, her optimistic visions have been very influential in the years that have followed.
Texts are also drawn from three additional sources: an excerpt from the Book of Margery Kempe (translated by Christopher M. Brunelle), two poems by English poet Robert Herrick (1591–1674), and a poem by the American writer Elizabeth Kirschner (b. 1955).
The primary concept underlying this oratorio is the presence of two distinct discourses. One is a sequence taken from Julian’s religious visions. The other is a “sonic geography” of Nantucket Island (located 30 miles off the coast of Massachusetts in the United States). This interconnected concept was inspired by the writings of the great Scottish poet George Mackay Brown (1921–1996). Living his entire life on Scotland’s Orkney Islands, Mackay Brown consistently explored the “transposition” of religious imagery and events to his native landscape. (For example, the poem Apple-Basket, Apple-
Blossom takes the story and structure of the Stations of the Cross, and maps them onto imagery of distinctly Orcadian character.)
Horn in F
Trumpet in C
Percussion (1 player)
Marimba (4 octave), Vibraphone (motor off), Glockenspiel, Two Tubular Chimes (middle D and A above)
Tom-toms (2), Large Bass Drum, Large Tam-tam, Temple Blocks (5), Suspended Cymbal
(Percussionist will also need one rosined bow for the vibraphone.)
Violin I
Violin II
Viola
Violoncello
Contrabass
(minimum of 4.4.3.3.2 — larger section recommended)
This item is the full score only. The vocal score is available for sale. Orchestral parts are on rental from the publisher
Vocal score only
Title by uploader: Carson Cooman: The Revelations of Divine Love (Metaphors from Sea and Sky), an oratorio for soprano, baritone, chorus and chamber orchestra – vocal score only, Op.800
Instrumentation |
Piano, Soprano, Baritone, Mixed choir: Soprano, Alto, Tenor, Bass |
Scored for |
Soloists, Accompanying piano, Choir |
Type of score |
Piano-vocal score |
Movement(s) |
1 to 18 from 18 |
Translator |
Philip Brunelle |
Publisher |
Musik Fabrik |
Language |
English |
Difficulty |
Advanced |
Duration |
65'0 |
The Revelations of Divine Love (Metaphors from Sea and Sky) (2009), an oratorio for soprano, baritone, chorus, and chamber orchestra, was commissioned for and is dedicated to the choir ofn Royal Holloway, University of London and Rupert Gough, director of choral music.
The texts of the work are adapted primarily from the writings of Julian of Norwich (c. 1342–1416). Julian is best-known for her Sixteen Revelations of Divine Love (c. 1393), believed to be the first Englishlanguage
book written by a woman. Considered one of the most significant English mystics of all time, Julian lived a reclusive life as an anchoress at the Church of St. Julian in Norwich, England (her true name is unknown). Regarded even during her lifetime as a spiritual authority, her optimistic visions have been very influential in the years that have followed.
Texts are also drawn from three additional sources: an excerpt from the Book of Margery Kempe (translated by Christopher M. Brunelle), two poems by English poet Robert Herrick (1591–1674), and a poem by the American writer Elizabeth Kirschner (b. 1955).
The primary concept underlying this oratorio is the presence of two distinct discourses. One is a sequence taken from Julian’s religious visions. The other is a “sonic geography” of Nantucket Island (located 30 miles off the coast of Massachusetts in the United States). This interconnected concept was inspired by the writings of the great Scottish poet George Mackay Brown (1921–1996). Living his entire life on Scotland’s Orkney Islands, Mackay Brown consistently explored the “transposition” of religious imagery and events to his native landscape. (For example, the poem Apple-Basket, Apple-
Blossom takes the story and structure of the Stations of the Cross, and maps them onto imagery of distinctly Orcadian character.)
Horn in F
Trumpet in C
Percussion (1 player)
Marimba (4 octave), Vibraphone (motor off), Glockenspiel, Two Tubular Chimes (middle D and A above)
Tom-toms (2), Large Bass Drum, Large Tam-tam, Temple Blocks (5), Suspended Cymbal
(Percussionist will also need one rosined bow for the vibraphone.)
Violin I
Violin II
Viola
Violoncello
Contrabass
(minimum of 4.4.3.3.2 — larger section recommended)
This item is the vocal score only. The full score is available for sale. Orchestral parts are on rental from the publisher
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