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The Morning Inside Us

by John Kennedy

Instrumentation
Cello
Composed
1998
Duration
6'
Publisher
SFNM Editions (composer's imprint)
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About this piece

The Morning Inside Us (1998) is a six-minute piece for unaccompanied cello by the American conductor and composer John Kennedy. It began as a cello interlude in his chamber cantata One Body, where it leads into his setting of Joy Harjo's 'Eagle Poem', which is printed in the score. Marked 'Very free, with ardor', it is built mostly from continuous arpeggiated figures in irregular groupings over open-string pedals, with a calmer rubato episode and a passage of harmonics before a final build. In a note in the score, Kennedy asks cellists to take the kind of liberties with tempo and phrasing they would take in Bach.

Technical overview

Continuous arpeggiated sixteenth- and thirty-second-note figures in quintuplets, sextuplets and septuplets call for fluent string crossings over open-string pedals, mostly in the lower positions (up to about fourth position; no thumb position or tenor clef). A short passage of artificial harmonics with glissandi and free, rubato pacing are the other main demands.

Technical focus

  • String Crossings
  • Harmonics
  • Shifting
  • Rubato
  • Rhythm
  • Meter Changes
  • Tempo Changes
  • Dynamics

Level rubric

Early Advanced

Left Hand

  • Fully integrated thumb position; scales/arpeggios on A & D strings.
  • Smooth shifts into/out of thumb position for sustained high notes.
  • Frequent advanced double stops with rapid, coordinated shifts.
  • Accurate ornamentation (trills, turns, grace notes), even in double stops.
  • Expressively adjust intonation for chord balance.
  • Handle fast runs and large leaps precisely.
  • Introduction to false harmonics.

Right Hand

  • Virtuoso bow strokes: controlled up/down‑bow staccato, deliberate ricochet & well‑shaped sautillé.
  • Wide tone palette via precise bow adjustments.
  • Explore advanced effects (col legno, sul ponticello) as needed.
  • Capable of both powerful fortissimo and delicate soft notes.
  • Rapid switching among strokes in cadenzas/virtuosic passages.

Rhythm & Musicality

  • Apply rhythmic freedom & rubato to shape movements and cadenzas.
  • Personal interpretation with nuanced phrasing & subtle dynamics.
  • Mature tone and phrasing for solo and ensemble settings.
  • Demonstrate advanced ensemble leadership with visual cues.

Levels are approximate guides, not strict requirements.