DERRI JOSEPH LEWIS to James DUST sketch for solo oboe The Holy Sonnets of John Donne (1 633) are widely regarded as some of the finest work in the English language; the internal rhythmic and structural patterns have been echoed in poetry ever since. In the third sonnet, 'The Holy Ghost', the speaker describes themselves as a "temple" of "condensed dust" - it is this image that serves as the impetus behind DUST for solo oboe. The music contracts and expands, dilates and retracts - both in rhythm and in timbre. Donne's original text has been transformed into speech-like patterns that collide and explode to form the phrases of this piece. III. THE HOLY GHOST O Holy Ghost, whose temple I Am, but of mudde walls , and condensed dust, And being sacrilegiously Halfe wasted with youths fires, of pride and lust, Must with new stormes be weatherbeat; Double in my heart thy flame, Which let devout sad teares intend; and let (Though this glasse lanthorne, flesh, do suffer maime) Fire, Sacrifice, Priest, Altar be the same. 'The Holy Sonnets' - John Donne (157 2–1631) c. 2.5' Version: 12 May 2020 © 1 2/05/2020 by DERRI JOSEPH LEWIS All rights reserved +447975637591 derri.lewis1 1 6@gmail.com alternating fingering: quasi- bisbigliando producing slight variances in pitch breath-accent: giving weight to a slurred note with breath, without re-articulation 4 semiquavers played in the speed of 5:4 to James DUST s k e t c h fo r s o l o o b o e DERRI JOS EPH LEWI S Ï- ™ Ï™ Ï. Ï. Ï- ™ Always with energy (e. = c.66) Ï. Ï. Ï & 12 6 J Å Å Å 12 16 16 16 fbroad p f 5 Ï™ Ï™ Ï Ï. Ï. Ï Ï™ Ï Ï. # Ï. . & 16 12 3 J Å 6 # Ï. J J Å bÏ 16 16 p f p f 3 9 Ï. Ï- Ï Ï ™ >Ï b Ï. Ï. Ï- ™ Ï Ï. Ï- ™ Ï # Ï. . b Ï. & Ï. J J Å Å Å 9 # Ï. b Ï # Ï. 16 3 3 f f p fsub. Ï. Ï. Ï Ï ™ Ï ™ Ï™ Ï™ Ïo +Ï Ï Ïo +Ï Ïo Ï b Ï. Ï- Ï ™ . (alternating fingering) 13 Ï . # Ï & J J 6 J J 12 # Ï. J Å Å bÏ 9 16 16 16 p f p echo 3 17 Ï™ Ï # Ï. U & 9 J Å 3 Å b Ï. Å · Å Å R · 9 16 16 R 16 Ï. Ï. Ï- Ï ™ Ï Ïo ™ +Ï ™ Ïo ™ +Ï ™ n Ï ™ Ï ™ ϲ ™ ² Ïo +Ï Ï Ïo +Ï (breath accents) A With urgency & 16 9 J J Å 12 16 J J J J 9 16 Ï. # Ï. J J J f p f p fsub. b Ï. b Ï. Poco allargando A tempo Ï. Ï b Ï. Ï. ä™ j j j Ï ææ ææj Å ² ² 26 Ï Ï. flt. Ï™ Ï™ Ï™ Ï™ & 16 4 9 12 4 12 16 Ï 16 20 16 5 > p fsub. 5 2 b Ï. . -™ ä™ 30 o + o + Ï b Ï. Å j Ï. Å & j Å Ï. 12 b ú Ï R Ï. Ï. 12 3 9 3 16 Ï Ï Ï Ï Ï 20 5 16 Ï 16 16 f sub. Ï™ Ï. Å b ÏR Ï Ï b Ï Ï Ï n Ï Ï Ï. Ï- ™ Ï™ 34 & Ï. Å b ÏR R R J 3 9 12 16 16 16 3 f p f Ï™ o + o + o Ï™ Ï ™ # Ï. Ï Ï Ï. Ï Ï ™ Poco stringendo Ï # Ï. 38 Ï Ï Ï Ï Ï Ï Ï Ï & 16 Ï J J 12 6 9 j 12 9 16 16 16 16 p f p fsub. # Ï. Å Ï Ï ™ Ï. Å Å # Ï. Ï. A tempo B Bright Ï. 42 5 & 16 R R J R · # Ï. 9 4 16 # Ï. Ï. 3 16 4 20 Ï. # Ï. Ï. 3 16 p 5 distant Ï. Ï. Ï- Ï ™ Ï Quasi rit. . . A tempo 46 Ï. Ï. Ï. Ï. . # Ï. Ï Ï. Ï Ï. Ï Ï. Å # Ï J J Å & 16 Ï. 3 3 9 20 16 f 5 Ï Ï- ÏJ ™ Ï Ï Ï Ï ™ Ï™ Ï™ Ï™ Ï , With increasing power C 50 Ï J J J J Å r Å r Å r Å Ï Å 15 & #Ï Ï. # Ï. Ï. . Ï. 16 p f p 3 cresc. poco a poco dolce # Ï ™ Ï ™ # Ï ™ ϲ ™ 7 ² ² 5 n Ï. , 3 æ 9 # Ï Ï. n Ï. Ï. Ï. n Ï Ï. # Ï Ï. # Ï. Ï. 54 4 16 # Ïæ™ 16 Ï . # Ï Ï. Ï . n Ï j & 16 n Ï # Ï. Ï. Ï # Ï n Ï 15 . . n Ï Ï. 12 . . . . . 16 ' # Ïo ™ Ï +Ï Ï Ïo # +Ï Ïo +Ï Ïo +Ï Ïo +Ï Ïo +Ï Ïo +Ï Ïo +Ï Ïo Ï. Ï. U + æ .Ï bæÏ ™ Ïæ Ï. 58 9 J ® æ & 16 3 f
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