In the changing red-gold of a rolling prairie sunset, to the slow exultation of brasses rendering Old Hundred, and the muffled boom of minute guns, the coffin was carried out of the rotunda and taken to the funeral train.įor me, Lincoln’s life and death are as critical today as they were more than a century ago. To the rotunda of Ohio’s capitol, on a mound of green moss dotted with white flowers, rested the coffin on April 28, while 8,000 persons passed by each hour from 9:30 in the morning till four in the afternoon. to Springfield, illinois of the coffin bearing Lincoln’s body: The second, referring to the passage through the country from Washington D.C. Wilkes Booth did Abraham Lincoln the greatest service man could possible do for him – he gave him peace.
It was the look of a worn man suddenly relieved. I have seen the same expression on his living face only a few times, when after a great calamity he had come to great victory. The face had an expression of absolute content, or relief, at throwing off a burden such as few men have been called on to bear – a burden which few men could have borne. “I saw him, or what was mortal of him, in his coffin. The first is a description of Lincoln in death by his close friend David R. From Carl Sandburg’s monumental Abraham Lincoln, I offer two quotes. To explain the presence of these hymns, at least in part, and to hint at the life of the Symphony, I must say something about my long-time fascination with Abraham Lincoln. Out of this, the hymn tune Old Hundred, several other hymn tunes (the Bach chorales Only Trust in God to Guide You and Christ Who Makes Us Holy), and original melodies which are hymn-like in nature, form the backbone of Symphony No. The response in the voice of the Earth is the answering shout of thanksgiving, and the shout of praise. I am set aquiver and am forced to shout and sing. My personal experience of the voice is one of being helpless and tom open by the power of the thing that wants to be expressed – the welling-up shout that cannot be denied. I feel it is the powerful voice of the Earth that comes to me from my adopted western Montana, and the high plains and mountains of central Idaho. The central driving force is the spontaneous rise of the impulse to shout for the joy of life. It is possible to describe the technical aspects of a work – its construction principles, its orchestration – but nearly impossible to write of its soul nature except through hints and suggestions. The sources that give rise to a piece of music are many and deep. Thanks to Yoshi Tsumura of the Osaka Shion Wind Orchestra for finding these items. M914-916 Perc.3 is still on Tenor Drum (should be written on 2nd space) Those are erased notes.Ĩ23-828 Perc.1 accent should be the same as Fls., Obs., and Cls.Ĩ32-833 Alto Sax should double Eb Clarinet down an octave.ĩ10 Euph beat 4 last note Eb/Bb, not C/G.
beat 3 should be F-A-F, not F-A-C.Ĩ07 Flutes don’t have staccato on beat 2. 1.2Ħ79-687 Vibraphone: Remove slurs copy accents from Clarinet.ħ61 Beat 1 Clarinets should be F, not G (concert).ħ81 Bass Clarinet should have a bass clef.ħ81 Bsns. 1.2.3.Ħ15 Tpt 1,2 have same slur and accent as Ob.
hairpin to pp on beat 1 of 340.Ĥ70 Contrabass Clarinet, DB: add tied over 8th note from 470.Ĥ87 Trumpet 2 should be tied from beat 2 to beat 3.ĥ38 Percussion 1 (Vibraphone) should continue doubling Cl. Tenor Saxophone should have a bass clef.ġ31-2 Tbn 3 should be the same as Horn 1 down an octave.ģ39 Alto Saxes: add dotted half note (G/C) tied to 8th note (G/C) on beat 1 of 340ģ39 Alto Saxes: dim.
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