Oh Me! Oh Life!

Oh Me! Oh Life!Matthew Bardin

2015For a Capella Men's Choir

A note from the composer

This piece is a setting of Walt Whitman's poem, "Oh Me! Oh Life!" written in 1892.The text, taken from the Public Domain, reads as follows

Oh me! Oh life! of the questions of these recurring,Of the endless trains of the faithless, of cities fill’d with the foolish,

Of myself forever reproaching myself, (for who more foolish than I, and who more faithless?)Of eyes that vainly crave the light, of the objects mean, of the struggle ever renew’d,

Of the poor results of all, of the plodding and sordid crowds I see around me,Of the empty and useless years of the rest, with the rest me intertwined,

The question, O me! so sad, recurring—What good amid these, O me, O life?

Answer.That you are here—that life exists and identity,

That the powerful play goes on, and you may contribute a verse.

This poem talks about Man's struggle to find meaning in life. The music serves to accent this strugglewith a constant moving back-and-forth between various pairs of chords. As the text talks about how

Man's journey for meaning, the music moves into long drawn out chords coupled with several relativelyquick chord changes that do not resolve back to a tonic in the conventional sense. The soloist then entersand his text comes from the main question of the poem, '... for who more foolish than I, and who morefaithless?' as an aside to the rest of the ensemble. The music then begins to move into a major key andundergoes increases in tempo in order to illustrate that while life if full of uncertainties and dark or sad

moments, these do not out way the good aspects of human life. Rhythmically, this becomes the most complexsection of the piece. This rhythmic complexity serves two purposes: the first is to represent the underlying

conflict and uncertainties that is still present in the text. The second is to set up the next section which containsindependant repitition of material within each voice. The final section begins with a chant-like

repetition of 'the question' that is passed between all of the voices. This is to bring attention back to thequestion about life that has not been answered yet: What is my purpose for being here? Then, layeredover a modified repetition of the chords from the beginning coupled with modified themes from other

parts of the music, the soloist returns with a spoken solo to the lines, "That you are here - that life existsand identity, That the powerful play goes on, and you may contribute a verse." This solo is spoken

rather than sung in order to help accent the meaning of the words. I have come to interpret the meaningof this text as life does not need to be overly complicated. To properly enjoy life one must find the wayto live that is the simplest, yet still effective in contributing to society; that is the theme I hope to have

imparted to this music.

Composed between 4/1 and 6/30/14Reivised in 2015

M.B.

Notes for Performance

Tempo alterations marked as rit. and acel. are to happen gradually over the course of the music markedwith the dashed line.

Changes in dynamics over time are identified with cres. or dim. The arrow following theseindicators show where the dynamic is moving to, and how long the change in dynamic lasts.

As is common practice, accidentals carry through the measure, but not through the octave

There should be no break after fermatas. If there s a breath mark after the fermata, a short pause isallowed for the performers to catch their breath.

Breath marks are inclueded in the line as places for a very brief, in-time pause that doesnot affect the tempo and flow of the music.

When a vocal line is divided within the part, half of the section should sing the top line, and the otherhalf should sing the bottom line.

When the first Tenors sing a divided line during rehearsal mark J, the majority of the Tenorsshould sing the lower part, with only a few on the upper notes to allow the pitches to lay on top of

the texture of the chord.

It is prefered that the solo Baritone be miked, at least during the spoken-word solo. When he issoloing, the other Baritones can temparirarily switch to either the Bass or second Tenor parts until

the "Tutti." The director can also have them drop out entirely to allow for the solo line to project more.It is also at the discretion of the director to have the first solo be performed as a Baritone soli as indicated

on the score.

The piano staff at the bottom of each system is for rehearsal purposes only. This piece is to be performeda capella only.

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-

--

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Oh Me! Oh Life!For a capella men's choir

Matthew BardinWalt Whitman

1

» »

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Oh Me! Oh Life!2

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Oh Me! Oh Life! 3

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Oh Me! Oh Life!4

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Oh Me! Oh Life! 5

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- -

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Oh Me! Oh Life!6

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Oh Me! Oh Life! 7

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Oh Me! Oh Life! 9

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Oh Me! Oh Life!12

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13

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Oh Me! Oh Life!