View source for Sun Songs — Three Micro-Operas

[[Augusta Read Thomas]]

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== General Info ==

'''Year''': 2004<br /-->
'''Duration''':  c. 8:00 <br /-->
'''Difficulty''':  (see [[Ratings]] for explanation)<br /-->
'''Publisher''': [[G. Schirmer]]<br /-->
'''Cost''': Score and Parts - $0.00  &nbsp;&nbsp;|&nbsp;&nbsp; Score Only - $0.00<br /-->


==Movements==

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== Instrumentation ==
PERCUSSION I<br>

Vibraphone (2 bows needed and motor OFF except in movement #3 when motor is ON slow)<br>
Graduated bell tree<br>
Suspended cymbal<br>
2 bongo drums<br>
Extra large bass drum<br>

PERCUSSION II<br>

Vibraphone (2 bows needed and motor OFF except in movement #3 when motor is ON slow)<br>
Tubular Chimes<br>
Sizzle cymbal<br>
Chinese cymbal<br>
Extra Large Tam-tam<br>
2 maracas<br>
Snare drum<br>

PERCUSSION III<br>

Vibraphone (2 bows needed and used only in movement #3 when motor is ON slow)<br>
Marimba<br>
Glockenspiel<br>
Anvil (played with a hammer)<br>
Mark Tree (graduated hanging metal wind chimes)<br>

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== Program Notes ==

If there's one thing Emily Dickinson knew for sure, it was what a good poem should do. "If I feel physically as if the top of my head were taken off, I know that is poetry," she wrote. Dickinson was attempting to describe for her sister-in-law the power of poetry to envelop and even to devastate the reader (or listener). Her physical description was an effort to convey that successful poems are not weakling, tiny delightful breezes or passages or bookish exercises; they are chillingly theatrical and annihilating.

Composing for voice is my first passion in life, and as a result the largest part of my catalogue is music for voice: solo voice, chamber opera, small groups of voices, small or large choirs, with and without orchestral or other kinds of accompaniments. For me, the human voice ‹ possibly the most subtle, complex, and fragile yet forceful, flexible, seductive, and persuasive carrier of musical ideas and meanings ‹ has always been an inspiration for and influence upon my entire musical thinking. I sing when I compose. I adore reading poems, and cherish the opportunity to set them to music; and I believe that text plus music (1+1) must equal at least 24. If 1+1=2, there is no need, for me, to set the text to music.

Emily Dickinson's poems are intensely personal, intellectual, introspective, and offer a meditation on life, death, and poetic creation; her poems share a close observation of nature as well as consideration of religious and philo- sophical issues.

Poetry, the Belle of Amherst knew, is that form of communication in which words are never simple equivalents of experience or perception. The words themselves, the words as words, have a life as sounds, as images, as the means for generating a series of associations, and as such are very inspiring. Poets insist on seeing and hearing words as if each is a multi-faceted gem has, in the hands of the skillful artist, the capacity to resonate and to go in multiple directions at once.

Sun Songs  Three Micro-Operas, for Mezzo-soprano (or Soprano or Countertenor) and 3 Percussion was commissioned by DePauw University School of Music. Amy Barber and her colleagues presented the world premiere performance on 26 February, 2006. The Three Micro-Operas, all setting poems about the sun by Emily Dickinson, are colorful, varied, and last a total of about 8 minutes.

— Augusta Read Thomas<ref>http://www.augustareadthomas.com/composition/sunsongs.html</ref>

=== Text ===

591<br>

To interrupt His Yellow Plan<br>
The Sun does not allow<br>
Caprices of the Atmosphere —<br>
And even when the Snow<br>

Heaves Balls of Specks, like Vicious Boy<br>
Directly in His Eye —<br>
Does not so much as turn His Head<br>
Busy with Majesty —<br>

'Tis His to stimulate the Earth —<br>
And magnetize the Sea —<br>
And bind Astronomy, in place,<br>
Yet Any passing by<br>

Would deem Ourselves — the busier<br>
As the Minutest Bee<br>
That rides — emits a Thunder —<br>
A Bomb — to justify —<br>

999<br>

Superfluous were the Sun<br>
When Excellence be dead<br>
He were superfluous every Day<br>
For every Day be said <br>

That syllable whose Faith<br>
Just saves it from Despair<br>
And whose "I'll meet You" hesitates<br>
If Love inquire "Where"? <br>

Upon His dateless Fame<br>
Our Periods may lie<br>
As Stars that drop anonymous<br>
From an abundant sky.<br>

1023<br>

It rises — passes — on our South<br>
Inscribes a simple Noon —<br>
Cajoles a Moment with the Spires<br>
And infinite is gone —<br>


=== Reviews ===




== Errata ==

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== Awards ==

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== Commercial Discography==

===Online Recordings===

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==Recent Performances==

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== Works for Percussion by this Composer ==
{{Thomas, Augusta Read Works}}<br>



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== Additional Resources ==

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== References ==
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[[Category:Percussion Ensemble Works]]
[[Category:Percussion Trio Works]]
[[Category:Voice Works]]



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