Tuvayhun - Full Score
A new moving and innovative work with a message of inclusion, trust, kindness, compassion, humanity, and mutual respect. The work is based on the beatitudes with new lyrics by Charles Anthony Silvestri. As part of its message to embrace our differences, this is a hybrid work with elements from classical, jazz, and world music.
- Voices: SATB or SSAA chorus, solo child soprano, solo alto and solo baritone (and opt. solo parts for choristers)
- Duration: 80 minutes
- Instrumentation: Flute, hammered dulcimer/cimbalom, harp, percussion (2 players), and string orchestra.
Our world is a wondrous place; but it is also a deeply troubled place, in need of messages of inclusion, trust, kindness, compassion, humanity, and mutual respect. The texts for this work act as poetic responses to the verses in the traditional Beatitudes from Jesus’ Sermon on the Mount. The poet has taken each of Jesus’ blessings (Tuvayhun in Aramaic) and crafted a text as if to say, “Yes, and…” These new texts illustrate how that blessing applies in the real world. It seems as though Jesus’ words two millennia ago still resonate, and the types of people he sought to comfort with his blessings are still in need of blessing, and the societal shortcomings he drew attention to then are still challenging us today.
One might think that each of the eight verses in the Beatitudes concerns different groups of people: the poor in spirit, the meek, the peacemakers, the merciful. However, these are not eight different groups of people but are eight moral qualities that all of us can possess. We are all in need of these blessings, and we are all called to act as agents of blessing. The texts range from a lullaby to a refugee narrative, from folk dance to an anthem of universal human needs and dignity, interspersed with messages of hope and blessings, framed by Jesus’ beatitudes sung in Aramaic. It ends with an exhortation for all of us to let our light shine and be a blessing to others.
The instrumentation is based on what we know about instruments in the biblical period and from the Middle East where the Sermon on the Mount took place. As part of the message to embrace our differences Tuvayhun is a crossover work with elements from classical, jazz, and world music. The work was commissioned and premiered by the Manhattan Girls Chorus and conductor Michelle Oesterle, New York City, in April 2018.
Charles Anthony Silvestri & Kim André Arnesen
World premiere 27 & 28 April 2018 at Angel Orensanz Center, New York City by the Manhattan Girls Chorus, Michelle Oesterle, Artistic Director.
European premiere 31 March 2019 at Nidaros Cathedral, Trondheim, Norway by the Nidaros Cathedral Girl’s Choir, Anita Brevik, Artistic Director.
The instruments are chosen to create a distinctive soundscape and hybrid musical idiom by combining ancient world instruments with modern, western instruments. With a combination of different compositional styles, performance techniques, and improvisation, this contributes to a work that is genre dissolving and where different cultures and traditions meet.
The flute and the hammered dulcimer/cimbalom parts require improvisation, preferably by a musician with experience in jazz or folk music.
The hammered dulcimer/cimbalom can be performed by a pianist on a keyboard with samples if the instrument isn't available. The sample library should have a tremolo function.
The flutist can play any kind of (chromatic) flute, but preferably a flute with a world/ethnic quality. Also, traditional soprano, alto, and tenor recorders can be used, and the flutist can play in any desired octave throughout the work. The bass flute has a world music quality to it and was used at the world premiere. A concert flute can be used if no folk music flutes are available.
The percussion (2 players) consists of a combination of orchestral percussion (Large tam-tam, tubular bells, bell tree (or triangle), glockenspiel, and thunder sheet), and world percussion (darabuka, riq, frame drum without jingles, and Tibetan temple bowls. Similar instruments can be used depending on availability.
The baritone soloist (Jesus) can either be a classical singer or a folk/world music singer, while the alto can also be a jazz singer. The child soloist can be a girl or a boy, and the parts were written for singers aged 12-16.
A string section of about 16 players is recommended.
The world premiere and European premiere included choreography. This is not required for the performance but can substantiate the message of the texts and the work's dramaturgy. Any usage of choreography requires a special agreement with us.
Note: A dramatic performance license is required for any performances using choreography, dancing, stage action, etc. Request a license by filling out this form.
DELIVERY AND TERMS
The score is delivered in a digital PDF format as a portrait tabloid paper size (11 x 17"/280 x 432 mm), 140 pages (SATB)/128 pages (SSAA).
The order is fully automated and will be delivered immediately on receipt of payment. You will receive links to download the score after checkout, along with an emailed link that will last for 30 days. If the link expires before you get the chance to download the files, please contact us to get a new link.
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Instrumental parts are available upon request.
The license does NOT include the rights to record or make a recording of the work available commercially or online without further agreement. Read about licensing here.