T.

Jensen

Gallipoli Song
For Baritone, Piano, Violin and Trumpet
Based on the journal of
George Wallace Bollinger (25, NZ)

Chosen extracts from the journal:

[Text in brackets omitted]

Part I. (25 April, 1915)

The day is beautifully fine. We are steaming full speed, close to the southern shores of Gallipoli.
What a day of days! [We left Lemnos at 6.00 am and continuously from 8.00 am] we have moved
amongst a roar of thunder. At present we are within a very few miles of our warships and transports,
[which are stationary here.] What a sight! Their big guns never cease, and as we see the flash and
burst of the shells on land, we think thousands of Turks must be going under

Part II. (26 April, 1915)

3.15 am. 'Packs on' was roared out. Torpedo destroyers are alongside to take us ashore. 9.40 am.
On shore in the thick of it. The first casualty in our company was in my section. Just before dawn we
were on the destroyers waiting for surf boats to take us ashore. Stray bullets were landing around us
and suddenly Private Tohill who was standing just in front of me dropped with a bullet through his
shoulder. Immediately after, Private Swayne was shot in the forehead. It was a relief to get ashore.

Notes on Performing:
Baritone: Use vibrato sparingly, just at the end of notes. The voice needs to be
very natural and in more of a popular song idiom than a classical song.
Glissandi are to be used more like an exponential curve rather than the usual linear
slide from one note to the other. Make the glissandi natural and dont force it to sound
like a horror film or theremin. If necessary pull back slightly on the dynamic while gliss'ing.
Piano: Part 1(First Movement): You need to be the rhythm, but the baritone will be straying away from
the beat so feel free to pull back on the down-beat accents in favor of a more subconscious pulse.
Rehearsals will show you where to ease back and where to punch the accents. Once the trumpet
solo starts, maintain constant accents, unrelenting to the interaction of the solo line.
Part 2 (Second Movement): Maintain a very steady pulse, driving everyone along. The Ricochet part
in bar 203 should be background detail, not in anyway compromising the Baritone's vocal line.
Ease back on the dynamic if necessary, until the ricochets are registered in the listeners ears, but
not consciously noted as a stand-out detail.
Violin: Your purpose in this piece is largely background textures and the emotional underpinning
of the text. Keep your playing smooth and unobstructing, attacking notes carefully and starting lower
than the dynamic marked.
Trumpet: Part 1 (First Movement): Your playing will be background details until the Baritone line ends
and your solo begins on bar 89. You essentially follow the baritone line, but you act as history,
remembering and acknowledging what has happened. By the end of the solo, you are celebrating.
Part 2 (Second Movement): Your playing will be bugle calls only, background details never to outshine
the baritone until your solo in bar 237. Then you again act as the eye of history, remembering and then
finally celebrating the heroic acts of these young men.

Part I. "What a day of days!"

Quick q. = 130

Trumpet in Bb

Violin

with joyful positivity la Bjrk slightly lagging behind the beat

Baritone

Quick q. = 130

Piano

Vln.

Bar.

The

simile

day

is

beau

Pno.

Like a ships engines

mp sub. p

Tpt.

strong mf

ti - fu - lly

fine

We're stea

ming

at

10

Tpt.

Vln.

Bar.

full

speed

close

to

simile accents
-sustained
throughout
movement

Pno.

14

Tpt.

Like a distant ships horn

Vln.

mp

con sord

mp

Bar.

the

Pno.

sou - thern sho

res

of

Ga -

19

Tpt.

Vln.

mf

smooth legato

Bar.

lli

Pno.

po - li

mf

mp

Vln.

Bar.

what

Pno.

23

Tpt.

a day

of

da -

ays

28

Tpt.

Vln.

Bar.

mp

mf

we

Pno.

have mo - ved

a - mongst

roar

of

33

Tpt.

Vln.

Bar.

thu - un -

Pno.

mp

der

(oh)

38

Tpt.

Vln.

Bar.

Pno.

Vln.

Bar.

at

pre - sent we

mp

mp

p
3

are

Pno.

mp

42

Tpt.

wi

thin

ve - ry

few

miles

46

Tpt.

Vln.

Bar.

Tpt.

Vln.

our

wa - ar - shi

51

tra - ans - ports

Pno.

mp

ips

mf

and

mp

mf

mf

Bar.

mp

of

Pno.

mp

mp

f


what a

si

mf

55

Tpt.

Vln.

Bar.

Pno.

mp

ight!

gliss

mf

their

big

guns ne

mp

60

Tpt.

Vln.

Bar.

ver

cea

Pno.

se

and

as

we

10

64

Tpt.

Vln.

mp

Bar.

mf

see

Pno.

the

fla

ash

and

burst

of

the

69

Tpt.

mf

Vln.

mf

Bar.

shells

Pno.

on

mp

mp

mf

land

mf

we

thi

11

73

Tpt.

Vln.

Bar.

Pno.

Vln.

Pno.

mf
mp

thou - sands

of

mp

Turks

ink

mp

Bar.

78

Tpt.

mf

must

be

go

ing

un

der

12

82

Tpt.

Vln.

Bar.

mf

(ooo)

Pno.

87

Tpt.

Vln.

Pno.

trumpet solo

Bar.

mf

mf

simile accents

13
3

92

Tpt.

Vln.

Pno.

97

Tpt.

Vln.

Pno.

mf

mf

101

Tpt.

Vln.

Pno.

mp

14

106

Tpt.

Vln.

Pno.

Vln.

Pno.

Tpt.

Vln.

Pno.

mf

mf

114

110

Tpt.

mf

15

118

Tpt.

Vln.

Pno.

mf

mf

123

Tpt.

Vln.

Pno.

mf

Vln.

Pno.

128

Tpt.

mp

mf

mf

16

132

Tpt.

Vln.

Pno.

Vln.

Pno.

Vln.

Pno.

mf

mp

142

Tpt.

137

Tpt.

mf

mf

17

147

Tpt.

Vln.

Pno.

152

Tpt.

Vln.

Pno.

Vln.

Pno.

mf

mf

mf

157

Tpt.

mf

mp

18

162

Tpt.

Vln.

Pno.

mf

mf

mf

Vln.

Pno.

mf

Pno.

Vln.

mf

171

Tpt.

166

Tpt.

19

Part II - Ashore
q= 91

176

Tpt.

Vln.

Bar.

senza sord.

pp

mp

Bar.

was ro

Pno.

mf

mp

mf gliss

gliss

tor -pe - do de -stroy -

mf

mf

oared out

"pa - cks on"

mp
f

gliss

mf

Vln.

mp

180

Tpt.

Three fif - teen

q= 91

Pno.

natural feel, with plenty of smooth glissandi between notes.

mf

yers

are a - long

20
184

Tpt.

Vln.

non vib

Bar.

mp

mf

- side to take us a - shore

Pno.

187

Tpt.

Vln.

pp

Bar.

mp

mf

nine four -ty

Pno.

legato, with accented notes clearly heard

a - m

on the shore

3

in the thick of it

21
191

Tpt.

Vln.

mp

mf

mf

Bar.

the first cas -ual - ty

Pno.

Vln.

mp

Bar.

just be - fore dawn

Pno.

in our com - pa - ny was in my

sec -

tion

195

Tpt.

mf

mf

mf

mf

we were on the de - stro - yers

22

mp

mf

198

Tpt.

Vln.

Bar.

Pno.

mf

Vln.

mf

for the

surf - boats

mp
f

strong mf

mf
Bar.

mf

mp

ting

201

strong mf

Tpt.

mp

wai -

to take us a - shore

stray

bu -llets were lan

Like Ricochets

Pno.

mp

23
204

Tpt.

Vln.

us

mf

mp

Bar.

Pno.

and

su -dden -ly

pri -vate To

mf

Vln.

mf

mp

207

Tpt.

mf

ding a - round

Pno.

mp
mf

Bar.

3 3


who was stan - ding right in front

mp

mp

hill

of me

dropped

with a

24
209

Tpt.

Vln.

Bar.

mp

mf

212

Tpt.

Vln.

Pno.

mp

pp

in the

fore -

pri - vate swayne

mf

pp

was shot

mp

i -mme -di -ate -ly af - ter

Bar.

bu -llet through his shoul -der

Pno.

head

mp

it

25
216

Tpt.

Vln.

Bar.

was a

Pno.

Tpt.

Vln.

Bar.

to

get

a - shore
6

pp
mf

mf

trumpet solo

mf

mf

mf

Pno.

re -lief

slow gliss

218

mf

26

223

Tpt.

mf

Vln.

Pno.

Vln.

mf

Pno.

227

Tpt.

violin solo

mf

mp

mf

27

231

Tpt.

Vln.

mp

Pno.

mp

Tpt.

Vln.

Pno.

mf

235

mf

end solo

mp

28

239

Tpt.

Vln.

Pno.

mp

mp

mp

mf

242

Vln.

Pno.

mp

mf

mf

mf

mf

Tpt.

mf

245

Tpt.

Vln.

Pno.

Pno.

mf

mf

mf

mf

mf

249

Vln.

Tpt.

29

mf

mp

mp

mp

mf

30
252

Tpt.

Vln.

mp

Pno.

mp
mf