Scott Ordway - Tonight We Tell the Secrets of the World (2016) by scott_ordway

Scott Ordway

TONIGHT WE TELL THE SECRETS OF THE WORLD a whisper play

2016

v. 11.28.2020

Scott Ordway

TONIGHT WE TELL THE SECRETS OF THE WORLD a whisper play

Commissioned by the Penn Museum of Archeology and Anthropology with support from the American Composers Forum String orchestra (minimum 3 violins, 2 violas, 1 cello, 1 double bass) Alto saxophone (who can also assist the lighting technician, if needed) Soprano voice Chorus of whispered voices (as large as possible, performed by the audience) Lighting Design The first performance took place on April 26, 2016 at the Penn Museum of Archeology and Anthropology in Philadelphia, PA, conducted and with lighting design by Scott Ordway. The ensemble was comprised of musicians from the Curtis Institute of Music and featured Alize Rozsnyai, soprano, and Aaron Stewart, saxophone.

The 150 texts which are whispered by the audience are appended at the end of this score and are available separately in performance format. The following text is sung by the soprano soloist and was adapted by the composer from the Sumerian creation myth, Enki and Ninhursaga (ca. 1800 B.C.E.). Pure are the cities; Pure is the land; Pure is the world; And you are the ones to whom it is given.

Duration: 25 minutes

The Whisper Play The whisper play is an interactive dramatic form in which the audience joins the ensemble to co-create a theater of music. Each member of the audience is given a unique text and seated in a discrete section of the theater that corresponds to thematic material in their text. A musical ensemble is on stage, illuminated by several panels of colored light; each color corresponds to a section of the audience and can be faded in and out by a lighting designer. When a color fades in, those seated in the corresponding section of the audience begin to read their texts to themselves, in a whisper, at the very edge of silence. As the colors come and go, so does the sound of the whispering, which develops an ethereal, richly textured quality in the collective that it lacks in the individual. As the colors change, the whispers move through the theater, creating an immersive, multi-dimensional auditory and visual experience. The musical score gives precise instructions as to when each color should appear. Consequently, the sound of the whispering crowd becomes a part of the musical composition itself. For the listener-performer, the whispering serves two functions. It is an invitation to explore the content of an unfamiliar text in a quiet, personal, and ritualistic way. As an auditory phenomenon, it folds this individual exploration into a collective experience. The audience, in sections and as a whole, is participating in the creation of a live musical performance. Because each member of the audience sees only a tiny fragment of the total text, much of the meaning of the play is created at the individual level. This isolation is balanced by the shared experience of the music, the joining of each single voice in the massed whisper-sound, and the unified reflection on the broad themes of the work.

Technical Requirements Lighting Design The ensemble should be back-lit by three colored lights or panels, all controlled by a lighting control console with faders. To ensure proper coordination with the score, the lighting technician may require a musical assistant. If needed, the solo saxophonist (who plays only at the very end of the piece) can assist the lighting technician. Texts The complete texts are appended to the score for reference. They are available in performance format PDFs directly from the composer. Before the performance, they should be printed on heavy-weight, letter-sized, white or off-white cardstock and placed on seats in the theater. The seats in the theater should be arranged or divided into three equal groups, with efforts made to ensure that approximately the same number of people are seated in each section. There are 150 individual texts. If a smaller audience is anticipated, not all of the texts need be used. If a larger audience is expected, they may be duplicated as needed. Venue The whisper play is most effective when performed in a very reverberant space.

Composer’s Note Tonight We Tell the Secrets of the World is a whisper play commissioned by the University of Pennsylvania Museum of Archeology and Anthropology with support from the American Composers Forum. The inspiration for the work was a linear series of ideas that, curiously, circled back on itself in the end. When I visited the museum for the first time, the acoustic environment in the Chinese Rotunda struck me as ideal for a certain type of musical exploration. The space, with its 90-foot domed ceiling, creates an extreme, prolonged reverberation, allowing sounds to sustain, to travel, and to be reflected in unusual ways. Alone in such a space, I was moved to whisper, listening to the peculiar reflection of a very soft sound expanding as it bounced off the walls. The physical act of whispering suggested the communicative act of telling secrets. Throughout history, we have told secrets that relate to vast, human themes. The secrets of love, death, and god appear in the writings of cultures separated by significant temporal and geographic distances. The Penn Museum maintains one of the world’s largest collections of these writings, and is the institutional home of many leading experts in their interpretation and the ancient languages in which they are written. By working with these experts to gather texts from different ancient cultures, and then organizing them according to universal themes, we are reminded of how deeply these themes connect to our basic humanity. A fourth universal theme, the very human desire to understand ourselves culturally and historically, and to preserve the material evidence of our development, brought about the construction of this Rotunda as a physical home for these collections, and the acoustic properties of which inspired me to start whispering.

Commissioned by the University of Pennsylvania Museum of Archeology and Anthropology with support from the American Composers Forum

Tonight We Tell the Secrets of the World A Whisper Play ( 2016 )

For soprano voice, alto saxophone, string ensemble, whispered voices, and light.

Hidden ( h = 54 )

Voice

3 &2

∑

Alto Sax

& 23

∑

Violin I

& 23

Violin II

Violin III

w. " non cresc. 3 ∑ &2

3 & 2 wo . " non cresc.

wo .

∑

Viola I

∑

Viola II

B 23

∑

Cello

Double Bass

? 23 Ó ?3 2

Ó ∑

& 23 Light

∑

wo .

B 23

! ˙˙ "

ww .. ∑

∑ ∑

∑

wo . ˙!

poco espr.

˙!

" Ó

ww ..

w. "

Ó Ó

∑

wo .

poco espr.

∑ Ó

Scott Ordway ( b. 1984 )

Œ ∑

accent flautando— fast bow, light pressure

ww .. -

accent flautando— fast bow, light pressure

w- .

Performance materials available at www.scottordway.com.

6 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

D.B.

w. ∑

& wo . B

Vc.

? ?

Red

Blue

Yellow

∑ wo " non cresc.

wo Ó

∑

˙ "

∑

wo .

Ó Ó

œ œ J ‰ Ó "

˙ "

∑

w .. w

w .. w-

w .. w

w- .

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 2

11 Vln. I

Vln. II

& wo .

wo .

non vib. poco espr.

Œ œ ˙

poco vib.

œ Œ Ó

Vln. III

Vla. I

Vla. II

∑

Vc.

D.B.

Red

Blue

Yellow

" ∑

˙ "

wo . ȯ " non cresc.

wo . ∑

∑ w.

w. "

non vib.

Œ œ ˙ "

w. ∑

w .. w "

∑ poco vib.

w. ∑

∑

w .. w

SLOW FADE IN RED

( CONTINUES )

Unless otherwise specified, always bring lights to a "medium" intensity.

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 3

16 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

& wo .

wo . ∑

∑

œ w "

∑

˙ "

œ Œ

sim.

B w. B ? ?

Red

Blue

Yellow

∑

wo .

∑

& & Œ

wo .

w. ∑

˙ "

œ ˙

wo .

ȯ " Ó œ

∑ Œ

∑

w .. w

w .. w-

w- .

RED

SLOW FADE OUT

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 4

21 Vln. I

Vln. II

& Ó

non vib. poco espr.

Œ œ ˙ "

& wo .

poco vib.

œ Œ Ó

wo .

Œ œ ˙ " sim.

wo .

Vln. III

∑

Vla. I

∑

Vla. II

Vc.

D.B.

Red

B w. ? ?

œ ‰ Œ Ó J

wo .

˙ "

non vib.

Ó ∑

ȯ "

poco vib.

w. ∑

ww ..

ww .. -

ww ..

w- .

Blue

Yellow

SLOW FADE IN BLUE

( CONTINUES )

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 5

26 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

& wo .

w. "

B Ó B ? ?

wo .

∑

& &

wo . ∑

œ œ J ‰ Ó "

œ œ J ‰ Œ "

w .. w

-̇

" Ó

wo . ∑

wo .

- w. œ ‰ J "

poco espr.

∑

Blue

Yellow

SLOW FADE OUT

BLUE

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 6

31 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

& wo . &

sub. "

∑

Red

Blue

Yellow

wo .

œ œ w sub. p "

&˙ p B

wo .

w. w.

w. w. p

˙ p

wo .

Ó ˙ p "

ȯ

" ∑

w. "

w w "

∑ w.

SLOW FADE IN YELLOW

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 7

w. w. wo .

w. # w.

37 Vln. I

Vln. II

Vln. III

w. & w.

w w Ó

& w. " &

#w .

∑

Vla. II

∑

w w

D.B.

Red

Blue

Yellow

˙ w

w. w. Ó

∑

w. w.

" ∑

ww ..

Vla. I

Vc.

ww ..

∑ œ œ Œ Ó "

∑

˙˙

∑

ww .. "

ww .. p

w. "

w p

w. w.

∑

˙˙

w. ww ..

∑

SLOW FADE OUT

YELLOW

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 8

44 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

Blue

Yellow

& & & B & ? ?

& & &

˙˙

Ó ∑

˙˙ #

ww ..

˙ #

molto sonoro

w. p

molto sonoro

espr.

˙ F

w w.

molto sonoro

ww ..

˙ w.

w B

ww ..

molto sonoro

SLOW FADE IN RED

( CONTINUES )

SLOW FADE IN BLUE

( CONTINUES )

SLOW FADE IN YELLOW

( CONTINUES )

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 9

50 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

Blue

Yellow

& & &

wo .

B ˙ B ? ?

& & &

∑ ∑

·.

III

∑

P #

·. P #

·.

w .. w p

w .. w

w .. w-

w .. wp

w. p

SLOW FADE OUT

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 10

55 Molto moderato—sempre flessibile ( h = 69 ) Vln. I

Vln. II

Vla. I

Vc.

D.B.

! Ȯ & "

Vln. III

Vla. II

! # Ȯ

Ȯ!

Ȯ

Oœ

Ȯ

Oœ f

Ȯ

Oœ f

·. p

B ·. p

Œ Œ Œ

Ȯ

Oœ

Ȯ "

Ȯ

Oœ f

Ȯ

Oœ f

·. ·.

Œ Œ Œ

Ȯ

Oœ

Ȯ

Oœ f

" " "

Oœ f

·.

Ȯ

Oœ f

Ȯ "

Ȯ

Oœ f

n b Ȯ "

Ȯ

Oœ f

·.

·. ·.

∑

Red

Blue

Yellow

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 11

59 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

n n Ȯ

Ȯ

& Ȯ "

Ȯ

& Ȯ "

Ȯ

Oœ Œ f

·.

B ·.

Ȯ

" non cresc.

Oœ Œ

Ȯ

Oœ

Ȯ

Oœ Œ f

Ȯ Ȯ Oœ Œ " non cresc.

Oœ Œ f

Ȯ Ȯ Oœ Œ " non cresc.

·. ·.

·.

∑

Blue

Yellow

Ȯ

Oœ Œ f

Ȯ "

Ȯ

Oœ Œ f

Ȯ Ȯ "

Oœ Œ f

Ȯ

Oœ Œ f

∑

Oœ Œ f

Ȯ

·.

Ȯ

Oœ Œ f

Red

# Ȯ

Ȯ

Oœ Œ f

#· . II

sub. "

·. sub. " w! .

Ȯ

·. w. #

·. #

III

" non cresc. ∑

SLOW FADE IN RED

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 12

Ȯ

w. ∑ ( CONTINUES )

68 64 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Ȯ

& "

& Ȯ "

Ȯ

Oœ Œ f

Ȯ

Oœ Œ f

Ȯ

Oœ Œ f

B ·.

" Ȯ

" b Ȯ "

Ȯ

Oœ f

Ȯ Ȯ

nw . #

poco espr.

B ·.

·.

? w. ?

Ȯ

∑

Oœ f

Ȯ

" Ȯ

" Ȯ "

Ȯ

Oœ Œ f

Ȯ

Oœ Œ f Oœ Œ f

Ȯ

w. ·.

Ow .. " non cresc. wO .. " non cresc.

pìu legato e espr.

·.

∑

pìu legato e espr.

w- . p

∑

pìu legato e espr.

wO .. " non cresc.

∑

poco rit.

w. p

∑

SLOW FADE OUT Red

Blue

Yellow

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 13

a tempo 69 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

& & &

#˙

B w. "

B ·.

·.

w. p

? ?

w. ∑

∑

p " sub.

∑ ∑

∑

sub. p "

∑ ∑

" ∑

˙ " ˙

" ˙ "

p ,

p p ∑

Blue

Yellow

SLOW FADE IN BLUE

SLOW FADE OUT

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 14

76 Vln. I

Vln. II

& &

Vln. III

Vla. I

Vla. II

Vc.

D.B.

œ f

f f

sub. " w.

sub. "

I B ·.

sub. "

Red

Blue

Yellow

∑

Œ Œ Œ

˙ "

œ f

" "

f f

Œ Œ Œ

#˙ "

œ f

" "

f f

·.

·. ∑

Œ Œ Œ

œ f

" "

f f

w. ˙

∑

SLOW FADE IN YELLOW

Œ Œ Œ

" " "

f f f

Œ Œ Œ

w. Ó ∑

∑ ∑

( CONTINUES )

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 15

81 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

& & & &

" ˙

œ f

B Ó

· " I

Blue

& &

∑

YELLOW

Œ Œ Œ

" ˙

B w.

Red

Yellow

œ f

Œ Œ Œ

" ˙

˙ " ˙

non cresc.

Œ Œ Œ

˙ " ˙

" ˙ " ˙

·.

∑

SLOW FADE OUT

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 16

œ f

œ f œ

∑

Œ Œ Œ

85 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

& & & & B

˙ "

œ f

" "

f f

Red

Blue

Yellow

Œ Œ

œ f

" "

f f

w. ˙

B #w . " ?

Œ Œ

œ f

f f

#w . ˙ ,

∑

w. ∑

#˙

Œ Œ

non cresc.

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 17

œ f

" "

f f

w. ˙

sub. p "

w ∑ ∑

Œ Œ Œ

89 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

& B

" " "

Blue

& &

f f f

w. ˙

B Ó

Red

Yellow

Œ Œ Œ

" " "

f f f

w. w.

" ∑

Œ Œ

" " "

f f f

Œ Œ

˙ "

œ f

" "

espr.

∑

SLOW FADE IN YELLOW

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 18

f f

w. w.

∑

espr.

·.

I B·

Œ Œ Œ

∑

( CONTINUES )

& ˙ "

œ Œ f

93 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

Blue

Yellow

& &

" "

f f

Œ Œ

#˙

œ Œ f

˙ "

œ Œ f

" "

#w .

œ Œ f

˙ "

œ Œ f

" "

˙ "

œ Œ f

˙ "

œ Œ f

˙ "

œ Œ f

. B w

∑

˙ "

SLOW FADE IN RED

& &

∑

SLOW FADE IN BLUE

( CONTINUES )

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 19

98 Vln. I

Vln. II

Vln. III

Vla. I

·. II

w. & w.

Vc.

D.B.

Red

Blue

Yellow

w. espr.

w. >

w> .

espr.

w> .

> w.

w> .

˙.

& w.

B w. P

espr.

w. >

? w. "

ww .. p

ww ..

œœ œ w œ w >

œ œ w œ œ w >

w. p

espr.

Vla. II

? w.

Bœ

> w.

w >

GRADUALLY INCREASE BRIGHTNESS

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 20

105 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

Blue

Yellow

& & &

w> .

molto tenuto

> w.

w> .

w- .

B w. >

w. >

wo . w.

w> .

poco espr.

wo . w. f

109

˙ ˙

? w

w w

˙ ˙

w w ˙ >

w >

˙ ˙ w

w w

˙ ˙ ˙ >

˙ > f f

˙ -̇

˙ -̇ ˙

˙ >

molto tenuto

˙ >

˙ > œ >

œ ˙ >

w. > f

w. f

w. w. f

w. w.

w. f

# ˙ >

˙ > ˙ >

œ >

w. SLOW FADE OUT

SLOW FADE OUT

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 21

111 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

∑

& ˙ > p & œ ˙ p>

∑

˙ >

˙ > ˙ >

˙ > œ >

˙ >

œ ˙ > œ Œ Ó

B w. p sempre dim.

Red

Blue

Yellow

w. w. p sempre dim.

w. p sempre dim.

˙ ˙

˙ > ˙ >

B w. p sempre dim.

∑

˙ > #

Œ #œ œ œ œ œ - - - - # IV

˙ >

œ œ ˙ > > #

˙ > ˙ >

œ œ ˙ > >

∑

˙ >

˙ > ˙ >

˙ > œ >

˙ >

œ ˙ >

˙ >

∑

œ >

∑

‰ œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! # p

w. w

˙ >

# œ œ- œ- œ- œ- œ> p

œ Œ Ó

Ó ∑

∑ ∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 22

∑ ˙ >p

& #œ œ Ó > > #

‰ ! ! ! # œ! œ! œ! œ! œ! œ! œ! œ! # œ! ! œ! œ! œ! œ! œ! œ! œ! ! œ! ! # œ! ! œ! ! œ! ! œ! ! œ! ! œ! ! œœœ œ œ œ œ œ œ œ œ œ # p

& ˙ >

˙ >

116 Vln. I

Vln. II

Vln. III

Vla. I

˙ >

& œ ˙ >

˙ >

Vc.

D.B.

#˙ >

˙ >

œ >

œ ˙ >

˙ >

œ >

B œ Œ œ Œ œ Œ > > > #

œ Œ >

˙ >

œ ˙ >

˙ > p ˙ > p

#˙ > œ >

˙ >

œ ˙ >

˙ >

œ >

œ œ B #!œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ #!œ ! !œ !œ œ œ œ œ !œ ! !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ #!œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !!!! # p molto tenuto

Vla. II

˙ >

∑

Red

Blue

Yellow

- œ- œ- œ-

B #œ

∑

œ Œ œ Œ œ Œ > > >

# œ- œ- œ- œ- œ- œp

˙ > p

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 23

œ Œ œ Œ œ Œ > > >

# œ- œ- œ-

# ∑

& # œ! œ! œ! œ! Ó #

‰ œ! œ! œ! œ! # œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! # œ! œ! œ! œ! œ! œ! œ! # œ œ œ œ œ œ # œ œ œ! œ! œ! œ! # œ! ! œ! œ! !!!! !! !! œ p # F

& #˙ > #

˙ >

120 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

˙ >

& œ ˙ > #

˙ >

˙ > œ >

˙ > ˙ >

˙ > œ >

œ Œ œ Œ œ Œ > > > #

œ >

˙ >

œ >

œ Œ >

œ >

˙ >

œ >

œ Œ >

œ œ œœœ œœœ B #!œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ #!œ !œ !œ !œ #!œ ! !œ !œ ! ! ! ! !œ #!œ !œ ! ! ! !œ !œ !œ !œ !œ !œ !œ # F B œ Œ œ Œ œ Œ > > > B

∑

Red

Blue

Yellow

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 24

Vln. I

Vln. II

Vln. III

#œ w

espr. molto legato

124

& Œ

Vla. II

Vc.

D.B.

#˙

œ œ œ œ œ ˙

& œ! # œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! # œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! # œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! # œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! > > > > P & Œ

œ w

espr. molto legato

œ œ

œ >

Œ œ Œ œ Œ > >

œ >

molto tenuto

Vla. I

œ œ

B œœ > p

Œ œ Œ œ Œ > >

œ Œ œ Œ > >

œ œ œ œ œ ˙

œ >

œ Œ >

>œ # œ œ œ œ œ œ œ œ œ œ œ >œ # œ œ œ œ œ œ œ œ œ œ œ >œ œ # œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ B! !!!!!!!!!!! ! !!!!!!!!!!! ! ! !!!!!!!!!! ! ! !!!!!!!!!! P > B !>œ #!œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !>œ #!œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !>œ #!œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ #!œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ P # ?

Red

Blue

Yellow

˙ > p

Œ Ó

˙ > P

Œ Ó

˙ > F

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 25

∑

128 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

˙.

w. #

! !!!!! & œ œ œ œ œ œ œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- Ó > > > > > #> # &

˙.

B œ -

œ- Œ

B Œ

œ- Œ

œ-

œ- Œ

œ-

w. #

œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ> >

œ-

œ- Œ

œ-

œœ -

œœ Œ -

>- - - - - - >- - - - - œ #œ œ œ œ œ œ œ œ œ œ œ

>œ # œ œ œ œ œ >œ- œ- œ- œ- œ- œ- >œ- # œ- œ- œ- œ- œ- >œ- œ- œ- œ- œ- œ- >œ- # œ- œ- œ- œ- œ- >œ- œ- œ- œ- œ- œ- >œ- # œ- œ- œ- œ- œ- >œ- œ- œ- œ- œ- œB! !!!!! # ?

Red

Blue

Yellow

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 26

∑

#w .

espr.

132 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

& Ó & Ó

espr.

˙.

#˙ .

-̇

#˙

- - - - >œ œ œ œ œ œ œ œ œ œ œ œ & œ- œ- œ- œ- œ- œ- œ- œ- œ œ œ œ œ œœœœœœœœœœœ œ œœœœœœœœœœœ > > > > > > > S f B œ œ-

Œ œ Œ œ Œ œœ-

∑

w. > F >- - - - - - >- - - - - - >œ œ œ œ œ œ œ œ B #œ œ œ œ œ œ œ œ œ œ S >- - - - >- - - - > œ œ œ - - B œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ

w. > F >œ œ œ œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ > œœœœœœ

Red

Blue

Yellow

∑

˙ > F

>œ œ œ œ œ œ >œ # œ œ œ œ œ >œ œ œ œ œ œ >œ # œ œ œ œ œ >œ œ œ œ œ œ Ó

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 27

∑

136 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

& &

#w .

Œ w #

#˙

p p

œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ & !œ ! ! ! ! ! !œ ! ! ! ! ! !œ ! ! ! ! ! !œ ! ! ! ! ! !œ ! ! ! ! ! !œ ! ! ! ! ! !œ ! ! ! ! ! !œ ! ! ! ! ! # B

∑

espr.

w. p poco cresc.

œ œ œœœœœœœœœœ œ œ œœœœœœœœœœ œ œ œœœœœœœœœœ œœ œœœœœœœœœœ B ! ! !!!!!!!!!! ! ! !!!!!!!!!! ! ! !!!!!!!!!! !! !!!!!!!!!! # . B !œ #!œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ #!œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ #!œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ w # ?

Red

Blue

Yellow

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 28

∑

140 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

& &

# #

∑

# œ- œ œ œ œ- œ œ œ œ- œ œ œ

œ # œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ- œ œ œ œ- œ œ œ # œ- œ œ œ œ- œ œ œ œ- œ œ œ # œ Œ œ &!! !!!!!!!!!! !! w.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ- œ œ œ œ- œ œ œ B!! !!!!!!!!!! !!

œ- œ œ œ œ- œ œ œ œ- œ œ œ

. B w

Red

Blue

Yellow

∑

B w. P

-̇

transparente molto sul tasto

Ó ∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 29

œ- œ œ œ œ- œ œ œ œ- œ œ œ ∑ ∑

144 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

Blue

Yellow

& B B

∑

#œ œ œ œ w # ˙-

& & &

-̇

# ˙-

w. -̇

-̇

# ˙-

-̇

transparente molto sul tasto

B Œ ?

∑

-̇

ȯ

-̇ ȯ

transparente molto sul tasto

# ∑

-̇ œo

˙ -̇

-̇

œo ȯ

ȯ

∑

-̇ œo

espr.

#w "

w. w.

-̇

# ˙-

-̇

-̇ ȯ

-̇ œo

-̇

∑

SLOW FADE IN RED SLOW FADE IN BLUE SLOW FADE IN YELLOW

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 30

-̇

œo ȯ

ȯ

∑

w # ˙-

#w "

espr.

œo ȯ

∑

œo

Ó -̇

-̇ ∑

-̇

œo ȯ

ȯ

∑

œo

Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

Blue

Yellow

& #w . "

#w . " # ˙-

B #w . " -̇ B B

& &

#w .

F w-

espr.

-̇

œo ȯ

# w-

espr.

149

ȯ

∑

œo

#w .

F -̇ œ# ˙# œœœ# œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ! !! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! F espr. ww. #w . F -̇ -̇ -̇ -̇ -̇ œ œ œ œ #œ œ œ œ œ ! ! ! ! ! ! ! ! F ȯ ȯ œo ȯ œo œo ȯ œo ! ! # œ! œ! ? œ œ ! œ F ∑

∑

RED

BLUE

YELLOW

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 31

> w. F

-̇ -̇ œœ œ œ œ œ œ ! ! ! ! ! ! ! -̇

œ- œ œ œ œ œ œ ! ! ! ! ! ! ! œ œ #œ #œ # œ œ œ ! ! ! ! ! ! !

# w-

-̇

# w- .

w &

-̇

w- .

153 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

# œœ# œœ#œ œ œ œ œ œ œ œ # œ œ # œ œ œ œ œ œ !! ! œ œ œ !œ !œ !œ œ œ # œ œ œ œ œ !œ !œ !œ & ! !! !! ! ! !! ! ! ! ! ! ! ! !! ! ! ! ! ! ! ! !! B

>œ œ œ œ œ œ # B ‰ ‰ ‰

-̇

#œ œ >

œ œ œ œ # >œ œ œ œ œ œ ‰ ‰ ‰ ‰ ‰ ‰

#œ œ >

œ œ œœ ‰ ‰ ‰

>œ œ >œ œ œ œ œ œ # œ œ œ œ ‰ ‰ ‰ ‰ ‰ ‰

œ œ #œ #œ œ œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ œ œ œ œ œ # œ œ ! ! ! ! œ ? œ œ # œ œ! ! ! ! œ ! ! ! ! ! ! ! !! ! ! ! ! ! ! ! ! ! ! !! ! ! ! œ œ œ! ! ! ! œ

D.B.

? w.

Red

Blue

Yellow

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 32

∑

156

Vln. I

& Ó

Vln. II

& Ó

w p

Vln. III

& Ó

#w p

œ œ. # œ œ. œ œ. # œ œ. œ œ. œ œ. ! ! ! ! ! !

#w p

œ œ. # œ œ. œ œ. # œ œ. œ œ. œ œ. ! ! ! ! ! !

Vla. I

ben artic. œ œ. # œ œ. œ œ. # œ . œ œ. œ ! B ‰ ! ! ! œ! ! p

>œ œ œ œ # œ œ B ‰ ‰ ‰ ‰ œœ‰ ‰ œœ #œ œ p # œben artic.œ. # œ œ. œ œ. . œ œ. œ œ œ œ ? ! ! ! ! ! ! p ben artic.

Vla. II

Vc.

D.B.

Red

Blue

Yellow

∑

# >œ œ ‰ # œ.

œ œ ‰ ‰ ‰ # >œ œ ‰ ‰ ‰ œ œ ‰ ‰ ‰ œœ œœ œœ #œœ œœ œœ > >

œ œ ‰ #œ œ ‰

. œ œ. . #w . . œ # œ œ œ œ œ. œ œ œ ! ! ! ! ! ! ∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 33

∑

159 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

& &

# w- . #w .

#w .

# w- .

# wf

& w.

# ˙f

# ˙# w-

# ˙-

w # ˙-

# w-

# œ. # œ œ. B œ. œ œ. # œ œ. œ œ. œ œ. œ œ. œ #!œ ! !œ ! ! ! ! ! ! f œ œ œ œ # œ # œ. # œ œ. œ # œ œ ‰ B œœ‰ ‰ ‰ œœ‰ ‰ ! ! ! #œ œ f #œ . #w . # œ # œ. ? !J

œ œ. œ œ. œ œ. œ # œ. # œ œ. œ œ. œ œ. œ œ. œ œ. œ ! ! ! ! ! ! ! ! ! !

∑

Red

Blue

Yellow

∑

œ. œ œ. œ œ. œ œ. # œ # œ. # œ œ. œ œ. œ œ. œ œ. œ œ. ! ! ! ! ! ! ! ! ! œ. œ œ. œ œ. œ œ. # œ # œ. # œ œ. œ œ. œ œ. œ œ. œ œ. ! ! ! ! ! ! ! ! !

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 34

∑

162 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

& & & B

# ˙-

# w-

# ˙-

w. ˙

# w- .

n w-

# w# w-

# w-

cresc.

. . œ # œ. œ # œ. . . . . . . # œ œ . # œ . œ # œ œ œ #œ œ œ #œ #œ œ œ œ œ œ œ œ œ cresc.

. # œ # œ. œ # œ. œ œ. œ œ. œ œ. œ œ. # œ œ. # œ # œ. œ œ. œ œ. œ # œ. œ # œ B . . # œ # œ. œ œ. œ # œ. œ œ. œ œ. œ œ. # œ # œ. œ œ. œ # œ. # œ # œ œ œ. œ œ

#˙ >

cresc.

# w-

# ˙-

cresc.

Vc.

# >˙

#˙ >

cresc.

. . # œ # œ. œ # œ. œ œ. œ œ. œ # œ œ œ

# œ # œ. œ œ. œ # œ. œ œ. œ œ. œ œ. # œ œ œ # œ. œ œ œ œ œ

cresc.

D.B.

Red

Blue

Yellow

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 35

∑

165 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

# >˙

& #˙ >

& & ? ?

Blue

Yellow

# >˙

n ˙-

# >˙

n n œœ

molto espr.

# >˙

-̇

-̇ >˙

œ>˙

∑

-̇

ƒ molto espr. n w- . molto sonoro 6

nw . ƒ

nœ œ

! ! œ! œ! œ œ œ œ ! ! ! ! œ! œ! œ! ! œ œ œ -̇

n w-

n ˙-

nœ

n œ-

n ˙- .

molto espr.

-̇

œ œ œ œ œ œ œ œ ! ! nœ œ ! ! ! ! ! ! ! !

nœ ƒ

n ˙-

molto espr.

# œ- # œ œ œ œ- œ œ œ œ- œ œ œ # œ-

n ˙- .

-̇

# >˙

#˙ >

& #˙ >

166

œ œ œ

œœœœ 6

œ œ œ

œœ

œ œ

œœ

œ œ œ

œœœœ

SLOW FADE IN RED

SLOW FADE IN BLUE

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 36

œ œ œ

œœ

168 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

w w

#œ œ œ #œ œ œ œ œ # œ œ œ œ! œ! œ! œ! œ œ # œ œ œ œ! œ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! S S S S >˙ >œ œ œ œ œ œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! & œ > > S > > S S S œ œ œ œ œ œ œ œ œ œ œ B ! ! ! ! œ ! ! ! ! ! ! ! ! S S ?

D.B.

? œ

Red

Blue

Yellow

#˙

Œ Œ

˙ ˙ ˙

j œ ‰ Œ œ S

j œ ‰ Œ S

! ! œ œ # œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! ! ! œ œ # œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ!

œ œ œ œ œ œ œ œ ! ! ! ! ! !œ ! ! ! !œ !œ !œ S S

œ! œ! œ! ! ! ! œ! œ! œ! ! ! ! œ œ œ œ œ œ

molto espr.

˙ f

˙.

>˙

˙ w >

SLOW FADE IN YELLOW

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 37

#˙

171 Vln. I

Vln. II

& &

#˙

n ˙>

œ œ œ œ œ œ œ œ œ ! ! œ œ ! ! ! ! ! ! !

Vln. III

œ œ #œ & # œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! # œ! œ! œ! œ! œ !œ !œ !œ !œ ! !

Vla. I

& # œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! # œ! œ! œ! œ! œ! œ! œ! œ! !œ !œ œ n œ

Vla. II

Vc.

D.B.

Red

Blue

Yellow

! ! ! ! ! ! ! ! B œ œ œ œ œ œ œ œ! œ! œ! ! œ œ B œ ?

& & &

w. >

œ # ˙-

-̇

S b w> S >˙

>˙

œ œ œ œ œ œ œ œ !œ !œ œ œ ! ! ! ! ! ! ! ! ˙

˙ S

w Ó

S > œ bw

INCREASE BRIGHTNESS

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 38

b w> . S

b œ-

b w>

b œ-

b >˙ .

œ B œ bœ œ ! ! ! b >˙

œ. n˙

œ !J B

b w-

b ˙-

b w-

b ˙-

b w-

>˙

& bw

b ˙-

b w-

b ˙-

b w-

>˙

b w-

-̇

b w-

-̇

n w-

b w>

>˙

174 Vln. I

sempre molto espr.

Vln. II

Vln. III

sempre molto espr.

Vla. I

bœ œ bœ œ œ œ bœ œ œ œ œ œ B œ œ b œ !œ œ œ œ !œ ! !œ !œ ! b œ b œ œ œ œ œ œ œ !œ !œ !œ !œ !œ b!œ !œ !œ ! !œ ! !œ ! !œ ! !œ ! !œ ! !œ ! !œ ! !œ ! !œ œ !! ! !!! ! !!!!!!!

Vla. II

B b œ œ œ œ œ œ œ b œ b œ! b œ! œ! œ! b œ! b œ! œ! œ! œ! œ! œ! œ! b œ b œ œ œ b œ b œ œ œ !œ !œ !œ !œ !œ !œ !œ !œ b!œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !œ !! !!!!! ! ! !!! ! !!! B w

sempre molto espr.

Vc.

D.B.

Red

Blue

Yellow

? ˙

bw >

b ˙-

n ˙-

b ˙-

b w-

b ˙-

-̇

b >˙

b w>

>˙

b˙ >

SLOW FADE OUT

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 39

178 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

#w .

B #w . S

& &

S S

∑

Red

Blue

Yellow

Ó Ó

bw .

, bw .

, nw .

a tempo

w f

poco rit.

#w f wo f

∑

" "

w. wo .

" bw .

, bw .

" "

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 40

∑

p p p p p p ∑

bw .

" bw .

p " bw .

bw .

nw .

bw . & "

bw . p "

183 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

& & & &

B ?

Red

Blue

Yellow

bw .

" "

bw .

p " p " p "

bw .

" ∑

bw .

p " nw .

p " bw .

bw .

p " bw .

bw .

p "

∑

p "

bw .

bw . p " bw .

p " ∑

p" ∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 41

∑

bw . ∑

189 Vln. I

Vln. II

Vln. III

Vla. I

& & & &

Vla. II

Vc.

D.B.

Red

Blue

Yellow

bw .

nw .

p " w.

#w .

nw .

" w.

#w .

n˙

p "

-̇ p

nw .

nw . ∑

-̇

p "

b œ- -̇

p " w.

œ#

œ œ

-̇

∑ SLOWER FADES IN/OUT STILL VERY DIM

BLUE

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 42

p" ∑

bw .

w. w.

∑

-̇

p "

solo (ma non troppo espr.)

nw .

#w .

-̇

p ∑

194 Vln. I

Vln. II

Vln. III

Vla. I

& & & &

Vla. II

Vc.

D.B.

Red

Blue

Yellow

bw .

nw .

p " w.

n ˙-

-̇

nw .

" " " Ó

-̇ p

nw .

" nw .

-̇

∑

-̇ #

bw .

p " w.

∑

nw .

n ˙-

-̇

p "

-̇

p " Ó

-̇ p

nw .

p "

p" ∑

-̇

p "

p " b ˙-

nw .

p " bw .

nw .

∑

RED

BLUE

YELLOW

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 43

-̇

p" ∑

p ∑

poco rit. 200 Vln. I

Vln. II

Vln. III

Vla. I

& & & &

Vla. II

Vc.

D.B.

Red

Blue

Yellow

& & &

nw .

√ w.

" w. w.

" -̇

-̇

nw .

" "

wmolto . legato

sub. p " w.

. legato wmolto

-̇

nw .

sub. p "

sub. non cresc. p "

#w .

molto legato

#w .

n n ww .. "

ww ..

molto legato

∑

sub. non cresc.

∑

INCREASE BRIGHTNESS

BLUE

sub. p " w.

n ˙-

a tempo

nw . "

SLOW FADE OUT

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 44

∑

208 Vln. I

Vln. II

Vln. III

& & &

Vla. I

Vla. II

Vc.

D.B.

? ?

Red

Blue

Yellow

#w .

# w- .

#w .

# w- .

#w .

w- .

#w .

nw .

#w .

# w- .

#w .

∑ ww .. w.

∑ ww ..

∑

∑ ww ..

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 45

∑

216 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

B #w . " ? ?

Red

Blue

Yellow

217

#˙

Nw .

#œ œ p

∑

˙ Ó

w. "

œ- œ- # ww # œ œ #w

p p

œ- œ- œ- œ- œ- œp œ #œ œ #œ nœ œ

# w

˙˙

·.

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 46

221 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

#w .

& #w .

& w. B Ó

nw .

# ˙-

-̇ # ˙-

∑

Red

Blue

Yellow

" bw .

w. Ó # ˙#

w. w.

nw .

sub. # " wo

wo .

bw .

nw .

" "

w sub. # " #w .

" w.

" &

ȯ

#w .

sub. # "

wo .

poco espr.

n˙ #˙ p nw . #

˙ #˙

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 47

228 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

wo .

Ȯ # Œ

& #w . &

B ˙

˙ #˙

# Ȯ

Ȯ

#˙

˙ ˙

Ow .. Oœ

Ȯ

Oœ Ȯ

Oœ

Ȯ # # Ȯ #

Ȯ # # Ȯ

·.

III

#w .

∑

Blue

Yellow

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 48

∑

·.

∑

wo . #

∑

# # Ow ..

Red

233

w. #

nw . ∑ ∑

# w. #

∑

234 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

# # Ow ..

∑

& # O .. # w # #w . & # & B

∑

Red

Blue

Yellow

∑

Ow ..

# # wO .. " #w .

wO ..

∑

# # wO .. # #w .

# n Ow ..

#w .

nw .

#w .

nw .

#w .

nw .

#w .

B #w . # ?

# # Ow ..

∑

# ∑

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 49

" ∑

∑

240 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

∑

& &

∑

& B

w. ∑

∑ #w . p poco cresc. #w . p poco cresc. w. #w . p poco cresc.

∑

Yellow

#w . p poco cresc.

#w . p poco cresc. w.

w. ∑

∑

#w . p poco cresc.

nw . p poco cresc.

#w . p poco cresc.

p poco cresc.

nw . p poco cresc.

#w . p poco cresc.

p poco cresc.

#w .

#w . p poco cresc.

pìu espr., con poco vib.

nw .

w. p poco cresc.

pìu espr., con poco vib.

∑

pìu espr., con poco vib.

∑

Blue

w. p poco cresc.

pìu espr., con poco vib.

∑

p poco cresc.

#w .

p poco cresc.

∑

SLOW FADES IN/OUT VERY DIM RED

BLUE

YELLOW

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 50

∑

247 Vln. I

Vln. II

& w.

Vln. III

& w.

Vla. I

Vla. II

Vc.

D.B.

∑

B bw .

B ?

Blue

& &

bw . w. p poco cresc.

Red

Yellow

#w .

p poco cresc. ∑

∑

#w . w. p poco cresc.

∑

#w . w. p poco cresc. nw . w. p poco cresc. ∑

p poco cresc. ∑

w. #w . p poco cresc. w.

∑

#w . p poco cresc.

∑

#w .

p poco cresc.

∑

#w . w. p poco cresc.

nw . w. p poco cresc.

∑

nw . w. p poco cresc.

∑

bw . w. p poco cresc. ∑

∑

w. ∑

RED

YELLOW

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 51

w. ∑

∑

260 256 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

& &

∑ ∑

& w.

w. w. p poco cresc.

B #w . w. p poco cresc. . B w ?

∑

RED

Red

Blue

Yellow

D.B.

∑

#w .

p poco cresc.

#w . w. p poco cresc.

#w .

nw . n w. "

w .. w

#w . w. p poco cresc.

p poco cresc.

#w . w. p poco cresc. ∑

B w.

#w . w. p poco cresc.

#w .

∑

BLUE

YELLOW

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 52

∑

p ˙ "

265 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

& & & B

p p

∑

? ?

Red

Blue

Yellow

wO ..

nw .

nw . nw .

" "

" ∑

∑ w.

# wO .. "

∑ w

# wO ..

bw .

wO ..

bw .

wo .

bw .

∑

" ∑

∑

RED

BLUE

YELLOW

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 53

∑

273 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

Blue

Yellow

-. # O # w. p # w- .

n w- .

w- .

# w- .

#w .

p w.

#w .

& wO .. & & B B B

? bw . # &

# # wO ..

∑ w.

# # w-O ..

# w-O ..

# w- .

n n w-O ..

w- .

# # w-O ..

# # w-O .. w- .

n w- .

# w- .

w- .

# w- .

w- .

w. w.

∑

SLOW FADE OUT

& &

SLOW FADE OUT

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 54

282 Vln. I

Vln. II

& #w .

Vln. III

. & #w

Vla. I

∑

Vla. II

Vc.

D.B.

# w> . p

#w . >p

#w . > p

#w . >p

#w . > p

#w . >p

#w . > p

#w .

#w . > F

#w . > p

#w . >p

#w . > p

#w .

#w . espr.

w. p

285

# w> .

∑

Red

Blue

Yellow

# w> . p

#w > p ?

#w > p #w > p

# w> . p #w > p

Ó #w > p

#w > p

Ó Ó Ó

Throughout the following section: If the whispers are covering up the soprano, reduce the intensity of the light until she is audible again.

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 55

# w> . p #w > p #w > p #w > p

Ó Ó Ó

#w > # #w > # #w > #

289

∑

Sopr.

Legato flessibile ( h = 76 ) &

p semplice

Pure

Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

œ œ #˙

are the

ties.

∑

& w.

#w . # poco cresc.

#w .

# w- .

#w .

& w.

#w . # poco cresc.

#w .

# w- .

#w .

& w.

#w . # poco cresc.

#w .

# w- .

#w . # poco cresc.

#w .

# w- .

#w . # poco cresc.

B w. B w. ? ?

Red

Blue

Yellow

dim.

#w . dim.

# w- .

#w . dim.

∑

#w . > p #w . > p

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 56

∑

300 297 Sopr.

Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

∑

œ œ #˙

Pure

are the

ties.

& #w .

#w .

#w . #

#w .

poco cresc.

#w .

& #w .

#w .

#w . #

#w .

poco cresc.

#w .

& w.

#w .

B w.

#w . # #w .

#w .

B w.

#w .

# #

poco cresc.

∑

Red

Blue

Yellow

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 57

305 Sopr.

Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

∑

& w. # w- . P

& # w- .

# wP

& # w- .

# w- . P

B # w- . ? ?

Red

Blue

Yellow

#w . >p #w . > p

∑

œ œ

Pure

& # w- .

B #w .

∑

p #w

#w .

# w- . # poco cresc.

#w .

# w- . # poco cresc.

#w .

# w- . # poco cresc.

#w .

dim.

# w- . P

dim.

# w- . P

are the

dim.

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 58

317

313 Sopr.

& #˙ w

Pure

œ œ #w .

& #w .

#w .

nw .

# w- . P

& #w .

#w .

# w- . P

& #w .

#w .

#w . #w .

# w- . P

ci - ties.

Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

is the

land.

# w- . P

∑

#w . p poco cresc.

∑

Red

Blue

Yellow

∑

#w .

# w- .

#w .

# w- .

#w .

# w- .

#w .

dim.

∑ #w . > p #w . > p

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 59

326

P & #w

322 Sopr.

œ œ #˙

Pure

Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

are the

ties.

P #w

∑

Pure

˙ #w

the

rit.

#w .

land.

& #w . p

#w .

# w- . P

#w .

# w- .

& #w . p

# w- . P

#w .

# w- .

& #w . p

#w .

# w- .

B #w . p

# w- . P

#w .

# w- .

B #w . p

#w .

w- . P

#w .

w- .

∑

Red

Blue

Yellow

w> .

∑

P Ó

w > P

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 60

#w . p ∑

329 Sopr.

Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

# #˙

& w

Pure

& #w .

& w.

B w.

B #w .

? w.

Red

Blue

Yellow

, ,

& #w .

a tempo

molto rit.

∑

F #˙ .

#w . #

#w .

#w . #

#w .

#w . #

#w .

#w . #

#w .

w. #

w. P

w. #

w. P

˙.

# #

the

#w . world,

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 61

poco rit. 337 Sopr.

Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

Blue

Yellow

#w . P

#w .

dim.

#w .

#w . P

#w .

dim.

#w .

dim.

#w .

w. P #w . P

dim.

#w .

dim.

#w .

#w . P n ww .. P

ww ..

dim.

nw . P

˙.

& #w .

#w .

& #w .

#w .

& #w .

you

˙.

B #˙ . B #w . ? ?

∑ ∑

# #w .

poco rit.

#˙ .

& #w . and

a tempo

#w . p

#˙ . and

you

SLOW FADE IN RED

BLUE

YELLOW

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 62

dim.

Ó Ó

SLOW FADE OUT

a tempo

344 Sopr.

Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

# #w .

˙.

#w .

w- .

# w- .

w- .

are

& # w- . # & #w . # &

w- . #

B #w . #

the

# w- . # w- .

n w- .

# w- .

n w- .

# w- .

Yellow

has

# w- .

Blue

#˙ .

# w- .

w. #

whom

#˙ .

# w- .

Red

#˙ .

# w- .

? #w . #

ones

#˙

# w- .

B #w . # ?

#˙ .

been

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 63

351 Sopr.

& #w

#˙

Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

#˙

# w- .

n w- .

-. # w &

n w- .

b w- .

& w.

# w- .

n w- .

# w- .

n w- .

B #w .

# w- .

#˙

ven.

Poco pìu largo (h = 66)

n˙

espr.

b˙

espr.

b˙

n˙

b˙

> bw . p

molto sost.

b w> . p

molto sost.

bw p

∑

Red

Blue

Yellow

w. b˙ b˙

#w . >

bw .

> #w .

# >˙ # ˙ #˙

n˙

b˙

#˙

B n˙

n˙

molto sost.

n˙ > p

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 64

∑

357 Sopr.

Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

& & &

nœ #œ #˙

n˙

#œ œ ˙

#˙

#œ #œ

#œ œ

∑

# >˙

œ #œ #˙

œ #œ ˙

∑

#œ #œ ˙

#˙

œ œ #˙

#˙

& w.

> B nw .

#w . >

#w .

w. >

#w . >

B ˙ B ˙ ?

Red

Blue

Yellow

∑

#˙ #˙ ∑

˙ ˙

˙ #˙

n˙

#˙

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 65

∑

362 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

#œ #œ & & œ œ &

n >˙ . #˙ .

#˙ #˙

#˙

#œ œ n˙

#˙

#œ œ ˙ ˙

molto espr.

#w .

nw . > ˙

? nw

n˙

#˙

n˙

#˙

cresc. poco a poco

> #w .

cresc. poco a poco

#w . nw .

cresc. poco a poco

Vc.

#˙

cresc. poco a poco

B #w . > B

nœ

#˙

> #w .

w. > w.

#˙

cresc. poco a poco

D.B.

? Ó

Red

Blue

Yellow

n˙ p

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 66

∑

367 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

Blue

Yellow

& œ #œ & &

#œ #œ ˙

368

œ nœ #˙

n˙

#˙

œ œ ˙

#˙

# w>

>˙

f f

œ œ #˙

#˙

#œ œ ˙

#˙

-̇

w> .

B w.

n w> . f

#w . > f

#w .

? ?

& & &

#w . #˙

w ∑

n˙

nw . f

˙ ˙

molto espr.

SLOW FADE IN RED

SLOW FADE IN BLUE SLOW FADE IN YELLOW

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 67

#w Ó

˙ ∑

#w . > ∑

372 Vln. I

Vln. II

Vln. III

& & &

molto pesante

˙ ƒ

-̇ ƒ w.

-̇

#˙ ˙-

ƒ ˙

-̇

B #w . > ƒ

Vc.

D.B.

Red

Blue

Yellow

? Ó

& & &

˙ -̇

-̇

#w . w.

˙ >

>˙

Î ˙>

w ˙

˙˙

ww ..

˙ ƒ

Ï # w.

w> w

Ï Ï Ï Ï

solo feroce—molto sost.

∑

Ï # w.

ww ..

molto pesante

w. > ƒ

-̇

# w>

molto pesante

Vla. II

˙ -̇

molto pesante

Vla. I

#˙ ˙-

∑ w.

non dim.

∑

INCREASE BRIGHTNESS

ABRUPT FADE TO BLACK

INCREASE BRIGHTNESS

ABRUPT FADE TO BLACK

INCREASE BRIGHTNESS

ABRUPT FADE TO BLACK

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 68

378 Molto pesante ( h = 54 ) Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

& & & B B ? ?

Red

Blue

Yellow

nœ > ƒ # >˙ ƒ # >˙

ƒ >˙ ƒ

# >˙

#w # w ƒ #˙ > ƒ

# >œ # >˙

# >˙

>˙ # >˙

# >˙

>˙

# >˙

>˙ # >˙

# >˙ # >˙

# >˙

>˙

# >˙ # >˙ # >˙

# >˙

>˙

> > œ œ

˙ ˙ S

j‰ Œ œ #˙ S f

>˙

n >˙ # >˙

# >˙ # >˙

˙ ˙ w.

# w>

>˙

>˙ # >˙ >˙

>˙ # >˙ # >˙ # >˙

>˙ # >˙

# >˙ # >˙ # >˙ # w> #w .

# >˙

# >˙ # >˙ # >˙

# >˙

# >˙ # >˙ # ˙ >

#œ . >

#˙ #˙ > >

#˙ >

˙ >

> #˙ #˙ #˙ > > # >˙ # >˙ # >˙ nw n w .. > ƒ #w . > ƒ

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 69

#˙ > # >˙ w. w. S

# >˙

> ˙

j # œ œ . # œj œ . # œj > > #˙ > #˙ > # >˙

j nw œ‰ Œ S f

˙ > # >˙ > #˙

383 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Poco pìu mosso ( h = 66 )

#œ . >

j #œ ˙ >>

#˙ >

& #œ . j . j j # œ œ # œ œ . # œ #˙ > > > >

˙ > ç

#˙ >

˙ >

#˙ >

˙ > ç

& #˙ >

& #˙ > > B #˙ > B Œ #˙ > ? #w ? nw .

Red

Blue

Yellow

#˙ >

#˙ . > > #˙

˙ >

#œ >

# >œ

# >˙ # >˙

œ >.

j j . #œ œ #œ œ > > > >

j j # œ # œ . # œ œ . # œjœ . > > > > >> œ ˙ #˙ .

#˙ >

# w>

#˙ >

#˙ .

#œ >

! ! ! ! ! ! ! ! œ # œ! # œ! œ! >œ œ œ œ >œ œ œ œ F

j j œ #œ . œ œ . œ œ > > > > > ç j j j #œ œ . #œ œ . œ œ . > > > > >> ç œ #˙ > # # ww > ƒ #w > ƒ

˙ > ˙˙ > ç

œ > ç

˙ > ç

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 70

! ! ! ! ! ! ! ! ! ! ! œ # œ # œ œ >œ œ œ œ >œ œ œ œ F ! ! ! ! ! ! ! ! ! ! ! œ # œ # œ œ >œ œ œ œ >œ œ œ œ F œ #˙ F

#˙

œ #˙ F

#˙

#œ

# # ˙˙ > F

˙˙ >

#˙ > F

˙ >

388 387 Vln. I

œ! # œ! # œ! œ! œ! œ! œ! œ! œ! > > >

! ! ! œ œ œ

Vln. II

# œ! # œ! œ! œ! œ! œ! œ! œ! œ! > > >

! ! ! œ œ œ

Vln. III

# œ! # œ! œ! œ! œ! œ! œ! œ! œ! > > >

! ! ! œ œ œ

Vla. I

Vla. II

Vc.

D.B.

B œ

#˙

#œ

B n œœ > Ï

˙ ˙ >

œœ >

? ?

Red

Blue

Yellow

n˙ n˙ > Ï

nw . Ï

˙ ˙ >

œ nœ

œœ

solo

sim.

solo

sim.

œ- œ- œ- œ- œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ- œ œ œ œ ƒ

œ- œ- œ- œ- œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ- œ œ œ - œ- œ ƒ $ $ $ Œ Œ Œ œ œ œ > > > f $ $ $ Œ Œ Œ œ œ œ > > > f œœ >

œ œ œ nœ œ œ

˙˙ > f

œ œ

˙˙ >

œ œ œ œ œ œ

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 71

œ œ

œœ >

œ œ œ œ n œ œ

œ œ

œ œ œ

œœœ œœœ œœœ & œœ œ œœ œœœ œœœœœ œœ

œ œœ

œœœ

œœœœœ

œœœ

œœœœœ

œœœ

œœœœœ œœœœœ œœœœœ œ œ œ œ œ œ œœ œ

œ œœ

œœœ

œœœœœ

œœœ

œœœœœ

œœœ

389 Vln. I

Vln. II

Vln. III

œ >

Vla. I

B Œ

> œ

Vla. II

B œœ

> n˙

Vc.

D.B.

œ > Œ

Œ > œ

œ > Œ

> ˙

Œ > œ > œ

œ >

> œ

> ˙

œ > Œ

Œ > œ

œ > Œ

> ˙

>˙˙

# >˙˙

>˙˙

? >˙

>˙

Blue

Yellow

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 72

> œ > œ

? > œ #œ œ œ œ

Red

œœ œœ

œœ œœ œœ œœœœœ œœœœœ œœœœœ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œœ & œ œ œœ œœ

391 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

œœœœœ œœœœœ œœœœœ œ œ œ & œ œœ œœ œ œ & œ > B Œ B œœ > > ? œ

Œ >œ œœ > >œ

> ? ˙ f

œ > Œ œœ > >œ >˙

Œ >œ

œ >

>œ

œœ >œ

œ >

œœœœ Œ

>œ

œœ

œ-

>œ

œ-

>˙

œœ

œ >

œœœœ Œ

>œ

œ-

œ>˙

œœ œ >

œœœœ

>œ

œ-

>˙

Blue

Yellow

SLOW FADE IN BLUE

( CONTINUES )

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 73

œ >œ œ œ œ œ >œ œ œ œ œ >œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œœ>œ œœ >œ œœ>œ œœ œ œ œ & œ

393 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

> œ >œ œ œ >œ œ œ >œ œ œ œ œ > œœœœœœœœ > œ œœ œ œœ œ œœ œœœœœ œœ œœœ œœœœœ œœ & œœ > > & œ >

B Œ

>œ

œœ-

B ?

Blue

Yellow

>œ

œ-

? >˙

œ >

>˙

œ >

>œ

œ-

œ>˙

œ >

>œ

œ-

œ>˙

œ >

>œ

œ-

œ>˙

SLOW FADE IN RED

œ >

>œ

œ-

>˙

( CONTINUES )

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 74

>œ >œ >œ œ >œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ >œœ >œœ >œœ >œœ œœ œœ œœ œœ œ œ œ œ œ œ & œ

395 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

Blue

Yellow

>œ œ œ >œ œ œ >œ œ œ >œ œ œ > > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœ œœ œœ œœ œœ œœ & œœœ œ œ œ > > &

œœ >

œœ

> B œ

>œ

œœ-

B ?

œœ œœ œœ œœ œœ> œœ> œœ > > > > œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ > >œ

>œ

œ-

? >˙

>˙

˙ >

( CONTINUES )

& &

˙ >

SLOW FADE IN YELLOW

( CONTINUES )

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 75

>œ >œ >œ œ >œ œ >œ >œ >œ œ >œ œ œ œ œ œœœ œœ œœ œœ œœ œœ œœ œœœ œœ œœ œœ œœ œœ œœ œœ œ &

397 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

Blue

Yellow

>œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œœ œœ œœ œœ œœ œœ œœœ œœœ œœ œœ œœ œœ œœ œœ & œœ œœ &

>œ œ

œ >œ œ

>œ

> & œ

>œ

> œ

>œ

œ > >œ

>œ

? ?

œ > œ >

> œ

>œ

> œ

>œ

>œ B

( CONTINUES )

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 76

>œ œ >œ œ >œ œ >œ œ >œ œ >œ œ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœ œœ œœ œœ œœ œœ & S S S S S S >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œ œ œ œ œ œ & S S S S S S œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ & œ œ œ œ œ œ œ œ œ œ œ> œ> œ > œ> œ> œ > S S S S S S - œ- œ- - œ- œ- œœ œ œ œ- œ- œ œ œ- œ œ B œ & œ œ- - - œ- œ- œ œ œ œ- - S S S S S S - -œ œ- œ- - œ- œ- œ œ œ- œ- œ- - œ- œ- œ- œ- œ- œ- œ- œB œ œ œ & œ- œ- œ- S S S S S S >œ >œ >œ >œ >œ > œ ? œ œ œ œ œœ œœ œœ œœ > > > > > > S S S S S S >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ > > œ œ ?

399 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

Red

Blue

Yellow

ABRUPT FADE TO BLACK ABRUPT FADE TO BLACK ABRUPT FADE TO BLACK

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 77

Largo transparente ( h = 52 )

401 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

& &

let ring

? ?

Red

Blue

Yellow

‚‚

∑

let ring

∑ ∑

∑

let ring

∑

let ring

‚‚

‚

‚‚

‚

‚‚‚‚

‚

‚‚

‚

‚‚

‚

‚‚

‚

‚‚‚‚

‚

‚‚

‚

‚‚‚‚

‚

‚‚

‚

‚‚

F sempre dim. ‚‚ ‚‚ ‚‚ ‚‚‚‚ ‚‚‚‚ ‚‚‚‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚‚‚‚ ‚‚‚‚ ‚‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚‚ ‚‚ ‚ ‚ F sempreo dim. œ œo o œo œo o œo œo o œo œo o œo œo o œo œo o o o o o o o œ œ œ œ œ œ œ œ œ œ œ œ œo o o o o o o o o o o o >o œ >o œ >o œ >o œ >o œ >o œ œ œ œ œ œ o o o o o œ œœ œœ œ œ œœ œœ œo

∑

‚

‚‚‚‚

F sempre dim. ‚‚ ‚ ‚ ‚ ‚ F sempre dim. ‚‚‚‚ ‚ ‚ F sempre dim. #‚ ‚ ‚‚‚‚ F sempre dim.

‚‚‚‚‚ ‚

‚‚

‚

‚‚‚‚

‚‚

‚‚ ‚ ‚ ‚‚

‚‚‚‚ ‚‚‚‚

‚

‚‚

‚

‚‚‚‚

‚‚

‚‚ ‚

‚‚‚‚ ‚‚‚‚

‚

‚ ‚ ‚ ‚

‚

‚ ‚ #‚ ‚

‚‚

‚‚ ‚ ‚ ‚‚

‚‚‚‚ ‚‚‚‚

‚

‚‚

‚

‚‚‚‚

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 78

‚‚

‚‚ ‚ ‚ ‚‚

‚‚‚‚ ‚‚‚‚ ∑

‚

‚‚

‚

‚‚‚‚

‚‚

‚‚ ‚

‚‚‚‚ ‚‚‚‚

‚

‚‚

404 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

‚ ‚

& ‚ ‚ & B B

‚ #‚ ‚ œ

‚

#‚ #‚ ‚ ‚

Red

Blue

Yellow

#‚ ‚

‚‚

‚‚ ‚‚ ‚‚ ‚‚

‚‚

#‚ #‚ ‚ ‚

#‚ ‚ ? ‚ ?

‚

‚ ‚‚‚

‚ #‚ ‚

‚‚

‚‚ ‚‚

‚

‚ ‚ œœ

‚

‚‚‚‚ ‚‚‚‚

‚‚ ‚

‚‚

‚‚ ∑

‚‚ ‚‚ ‚‚ ‚‚

‚‚

‚‚‚‚

‚ ‚‚ ‚ ‚ ‚

‚‚ ‚‚

‚

‚ ‚ œœ

‚

‚‚ ‚‚

‚‚ ‚

‚

‚‚

‚ ‚‚ ‚ ‚ ‚

‚

‚ ‚ ‚ ‚‚ ‚ ‚‚‚ ‚ ‚ # ‚‚ ‚ ‚‚‚ ‚‚ ‚ ‚ ‚ # ‚‚ #‚ #‚ ‚ ‚ ‚ ‚ ‚ #‚ ‚ # ‚ #‚ ‚ ‚‚ # ‚ ‚‚ ‚ ‚ ‚ # ‚‚ #‚ #‚ ‚ ‚ ‚ ‚ ‚ œ œ # ‚ ‚‚ œ œœœ ‚ œ œ œ "

‚ ‚‚ ‚ ‚‚ ‚ ‚‚ ‚ ‚ œœ œœ

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 79

‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚

‚‚ ‚ œ

‚ ‚

œœ ∑

‚‚ ‚‚ ‚‚ ‚‚

‚‚

‚‚ ‚‚ œ

‚‚ ‚‚

‚ œ

‚ ‚ œœ œœ

‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚

‚‚ ‚ œ

‚ ‚

œœ

‚‚ ‚‚

‚‚

‚‚ ‚‚ œ

‚‚

‚ œ

‚ œ œ

406 Vln. I

Vln. II

‚ ‚

& ‚ ‚

‚ ‚‚‚ ‚ ‚‚‚

Vln. III

& #‚ #‚ ‚

Vla. I

‚ #‚

Vla. II

Vc.

D.B.

B B ? ?

Red

Blue

Yellow

‚ œ œ

‚ œ

#‚ ‚ ‚ #‚ ‚

‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚

‚‚

#‚ #‚ ‚ ‚ œ œœœ

‚ œ

‚ ‚ œœ œœ

‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚

‚‚ ‚ œ

‚ ‚

œœ

‚‚ ‚‚ ‚‚ ‚‚

‚‚

‚‚ ‚‚ œ

‚‚ ‚‚

‚ œ

‚ ‚ œœ œœ

‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚

‚‚ ‚ œ

‚ ‚

œœ

‚‚ ‚ ‚ ‚ ‚ ‚ #‚

‚‚

‚‚ ‚‚ œ

‚‚ ‚ ‚

‚ œ

‚ ‚ œ œ œ œ

‚ ‚‚‚ ‚ ‚‚‚ #‚ #‚ ‚ ‚

‚ #‚ ‚ œ

#‚ ‚

‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚

‚‚

#‚ #‚ ‚ ‚ œ œœœ

‚ œ

‚ ‚ œœ œœ

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 80

‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚

‚‚ ‚ œ

‚ ‚

œœ ∑

‚‚ ‚‚ ‚‚ ‚‚

‚‚

‚‚ ‚‚ œ

‚‚ ‚‚

‚ œ

‚ ‚ œœ œœ

‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚

‚‚ ‚ œ

‚ ‚

œœ

‚‚ ‚‚

‚‚

‚‚ ‚‚ œ

‚‚

‚ œ

‚ œ œ

let ring

408 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

‚ ‚

& ‚ ‚ & #‚ ‚ B B

‚ œ

‚ ‚ ‚‚ ‚ ‚ ‚‚ #‚ #‚ ‚ ‚

‚ #‚ ‚

#‚ ‚

‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚

‚‚

#‚ #‚ ‚ ‚

‚

‚ ‚ œœ

‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚

‚‚ ‚

‚ ‚

‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚

‚‚

‚‚ ‚‚

‚

‚ ‚ œœ

‚‚‚‚ ‚‚‚‚ ‚‚‚‚

‚‚ ‚

‚‚

‚‚ ‚ ‚ ‚‚ ‚ ‚

‚ ‚‚‚

let ring

‚ ‚ ‚r # ‰

‚‚

‚‚‚‚

‚ ‚‚‚

‚

‚ ‚ œ œ

‚ #‚ ‚

‚‚ ‚‚ ‚‚ ‚‚

Œ #‚ ‚

‚‚‚‚ ‚‚‚‚

‚‚

#‚ #‚ ‚ ‚

‚

‚ ‚ œœ

‚‚ ‚

‚‚

∑

Yellow

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 81

‚‚

‚‚‚‚ ∑

Blue

‚‚‚‚ ‚‚‚‚

‚‚ ‚‚

∑

‚‚ ‚‚

Red

‚‚ ‚‚

‚

‚ ‚ œœ

‚‚ ‚

‚‚

‚‚‚‚

‚

‚ œ

410 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

‚

‚ ‚ ‚‚

& ‚r # ‰

‚‚ ‚‚

& Ó B B

‚ œ

? Ó ?

Red

Blue

Yellow

‚‚ ‚‚

‚

#‚ ‚

‚‚

#‚ #‚ ‚ ‚

‚

‚‚ œœ

‚‚

‚‚‚‚

∑

Ó ‚ #‚

413

let ring

‚‚ ‚

‚‚

‚‚ ‚‚

‚

œœ ȯ

∑

#˙ ˙ " ‚‚

‚‚ ‚

" ∑

∑

‚‚

‚‚‚‚

‚

w. w.

Ó ‚ # # wO p œ

∑

wo .

‚ p

∑

‚ ‚ p #‚ ‚ p

‚

‚‚

wo . ∑

œ œ

wO ..

∑

‚‚

‚‚ ‚‚

‚

‚‚ ‚‚

‚‚

Œ ‚

‚‚

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 82

‚‚

‚‚ ‚‚

‚

‚‚

‚

‚‚

‚‚ ‚‚

‚

‚‚

‚

solo—molto espr.

‚

‚‚ ‚‚ ‚

‚‚

‚

‚‚ ‚‚

#w w p

‚‚ ‚‚ ‚

‚‚

‚

‚‚

‚

‚‚ ‚‚

‚ ‚‚ ‚ ‚ ‚

‚‚ ∑

‚‚ ‚‚ ‚

‚‚

‚

‚‚

‚

‚‚ ‚‚

‚ ‚‚ ‚ ‚ ‚

‚‚

‚‚ ‚

‚

‚ ‚ ‚

414 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

‚‚

& ‚‚ & w w B ‚‚ B ? ?

Red

Blue

Yellow

‚ #‚

‚

‚‚

‚

‚‚‚‚

‚

‚‚

‚

‚‚‚‚

‚‚

‚‚‚‚ ‚‚‚‚

‚‚‚‚ ‚

‚‚

‚‚ ‚‚

‚

‚‚

‚

‚‚‚‚

‚

‚‚

‚

‚‚‚‚

‚‚

‚‚‚‚ ‚‚‚‚ ˙˙ ‚‚‚‚ ‚

‚‚

‚‚ ‚‚

‚

‚‚

‚

‚‚‚‚

‚

‚‚

‚

‚‚‚‚

‚‚

‚‚ ‚‚

‚ ‚ ‚ ‚

‚

‚‚

‚

‚ œ

‚ #‚

‚

‚ ‚ ‚ ‚

‚‚ ‚ ‚

‚

‚ ‚

‚

‚‚ ‚‚

‚‚ ‚ ‚ ‚‚ ‚ ‚

‚

‚ ‚

‚

‚‚ ‚‚

molto espr.

˙˙ ‚‚

‚ ‚

‚‚ ‚ ‚

‚ #‚ ‚

#‚ ‚

w ‚‚

‚ ‚ ‚ ‚

‚ ‚

œœ

‚

‚‚

‚ ‚

‚

œœ ‚

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 83

‚‚

‚‚ ‚‚

œ‚‚ I

‚ ‚

‚ ‚ ∑

‚

‚ ‚ œœ

‚‚ ‚

‚ ‚

‚‚

‚‚ ‚‚

‚‚œœ‚‚

‚ ‚

‚

‚ œ

‚‚œ

416 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

#‚

#‚ ‚

& ‚ ‚ & B B

‚ ‚ ‚‚

w. ‚ œ

‚ #‚ ‚

Red

Blue

Yellow

#‚ ‚

‚ ‚

‚‚

‚‚ ‚ ‚

‚‚

‚ ‚ ‚‚

? œ ‚ ‚ ?

‚ ‚

‚‚

‚

‚ ‚ œœ

‚‚ ‚‚

‚‚ ‚

‚ ‚

‚‚

‚ ‚

‚‚œœ‚‚

‚ ‚ ∑

‚‚

‚‚ ‚ ‚

‚‚

‚‚ ‚‚

‚ ‚

‚

‚ ‚ œœ

‚‚ ‚‚

‚‚ ‚

‚ ‚

‚‚

‚

espr.

œ œ p ‚‚ ‚‚

‚‚œœ‚‚

‚ ‚

‚

‚‚ P

‚

‚‚ p ‚ p

‚

‚‚

‚‚ ‚‚

‚

‚‚‚‚

‚‚

‚‚ p

‚

‚‚‚‚

‚ ‚ œ p # ‚‚ ‚ œ ‚ ‚ p

‚‚

#w w p

‚‚‚‚ ‚

‚‚

‚

‚‚

‚

‚‚

‚

‚‚‚‚

‚‚‚ ‚ ‚ ‚

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 84

‚‚

‚‚ ∑

‚‚‚‚ ‚‚

‚‚

‚‚‚‚ ‚

‚‚

‚

‚‚ ‚‚

‚‚

‚

‚‚

‚

‚‚‚‚

‚‚‚ ‚ ‚ ‚

‚‚

‚‚ ‚

‚

‚ ‚ ‚

418 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

‚‚

& ‚‚ & w w B ‚‚ B

‚

Red

Blue

Yellow

‚

‚‚‚‚

‚

‚‚

‚

‚‚‚‚

#‚ ‚ ? ‚ ?

‚‚

‚‚‚‚ ‚‚‚‚

‚‚‚‚ ‚

‚‚

‚

‚‚

‚

‚‚‚‚

‚

‚‚

‚

‚‚‚‚

‚‚‚ ‚ ‚ ‚

‚‚

‚‚‚‚ ‚‚‚‚ ˙˙ ‚‚‚‚ ‚

‚‚

‚

‚‚

‚

‚‚‚‚

‚

‚‚

‚

‚‚‚‚

‚‚‚ ‚ ‚ ‚

‚‚

‚‚ ‚‚

‚ ‚ ‚ ‚

‚

‚ œ

‚

‚ ‚ ‚ ‚

‚‚ ‚ ‚

‚

‚ ‚

‚

‚‚ ‚‚

‚‚ ‚ ‚ ‚‚ ‚ ‚

‚

‚ ‚

‚

‚‚ ‚‚

molto espr.

˙˙ ‚‚

‚ ‚

‚‚ ‚ ‚

‚ #‚ ‚

#‚ ‚

w ‚‚

‚ ‚ ‚ ‚

‚ #‚ ‚ ‚ ‚ ‚

œœ

‚

‚ ‚ œœ

‚‚ ‚

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 85

‚‚

‚‚ ‚‚

‚ I II‚ ‚ œ ‚ ‚

∑

‚ ‚

‚ ‚ ∑

‚

‚ ‚ œœ

‚‚ ‚

‚ ‚

‚‚

‚‚ ‚‚

‚‚œœ‚‚

‚ ‚

‚

‚ œ

‚‚œ

420 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

#‚

#‚ ‚

& ‚ ‚ & B B

‚ ‚‚‚

w. ‚ œ

‚ #‚ ‚

‚‚

#‚ ‚

‚‚

‚‚ ‚‚

‚‚

‚ ‚‚‚

‚ ‚

‚

‚ ‚ œœ

‚‚‚‚

‚‚ ‚

‚‚

‚‚ ‚‚

‚‚

‚‚‚‚

‚ ‚

‚

‚ ‚ œœ

‚‚‚‚

‚‚ ‚

‚‚

‚

espr.

œ œ p ‚‚‚‚

‚ #‚

#‚ ‚ ‚‚ ‚ ‚ #

‚‚

Red

Blue

Yellow

∑

‚‚

‚‚ ‚‚

‚ ‚

‚‚

‚‚ ‚‚

œ # #‚ #

‚‚

‚ ‚

‚‚

‚‚ ‚‚

‚

‚‚

˙ ˙

w. w.

‚

‚ ‚

‚‚ ‚‚

#w P wp

‚œœ‚ ‚œœ‚ ‚œ ? œ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚‚ ‚‚ ‚‚ ?

‚ ‚

‚‚ ‚‚

‚ ‚

‚‚ ‚‚

œœ

‚ ‚

œœ ‚ ‚

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 86

‚ ‚

‚‚ ‚‚

œœ ∑

‚ ‚

œœ ‚ ‚

‚ ‚

‚‚ ‚‚

œœ

‚ ‚

œ ‚

422 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

#‚

& ‚

#‚ ‚

‚ ‚

‚

& ˙ ˙

? ?

Red

Blue

Yellow

#‚

‚

‚ ‚

‚

‚ ‚

‚

‚ ‚

‚

‚ ‚

‚

B w w B

‚

‚ ‚

‚ œ

‚

‚ œ

‚ ‚

œ ‚

‚ ‚

‚ œ

‚

˙˙ ‚ œ

‚ ‚

œ ‚

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 87

‚ ‚

œ ‚

423 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

#‚

#‚ ‚

& ‚ ‚ &

‚ ‚

‚‚

‚‚ ‚‚

‚ ‚

‚‚

‚‚ ‚‚

‚ ‚

‚‚

‚‚ ‚‚

‚ ‚

‚‚

‚‚ ‚‚

‚ ‚

‚‚

‚‚ ‚‚

‚ #‚

‚‚

#‚ ‚

‚ ‚

‚‚

‚‚ ‚‚

‚ ‚

B w w

˙˙

‚

#‚ ‚ ? ?

Red

Blue

Yellow

œœ

‚

œœ

‚

‚‚ ‚‚

‚‚ ‚‚ œ

œœ ∑

‚

œœ

‚

‚‚ ‚‚

‚‚ ‚‚ œ

œœ

‚

œ " ‚ ‚ #‚ ‚ "

‚‚ ‚‚ œ

œœ

‚ ‚

‚‚

‚ ‚

‚‚

‚ ‚

‚‚

‚

‚‚ ·

‚‚ ‚‚

‚‚

‚

œ œ

‚

‚‚ ‚‚

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 88

‚‚ ‚‚ œ

œœ ∑

‚

œœ

‚

‚‚ ‚‚

‚‚ ‚‚ œ

œœ

‚

‚‚

425 Vln. I

Vln. II

#‚

& #‚ ‚ ‚‚ ‚ ‚ # & ‚ ‚

‚‚ ‚‚

Vln. III

Vla. I

Vla. II

Vc.

D.B.

‚ ‚

‚‚

‚‚ ‚‚

‚ ‚

‚‚

‚‚ ‚‚

? ?

Red

Blue

Yellow

‚ ‚

‚‚

‚‚ ‚‚

‚ #‚

‚‚

˙ ˙

B w. w. œ ## ‚

‚‚

‚‚ ‚‚

& #w w p

‚ ‚

‚‚ ‚‚ œ

œœ

‚

œœ

‚

‚‚ ‚‚

‚‚ ‚‚ œ

œœ

‚

œœ

#‚ ‚

‚ ‚

‚‚

‚‚ ‚‚

‚

‚‚ ‚‚

œœ

‚ ‚

‚‚

‚‚ ‚‚

‚ ‚

‚‚

‚‚ ‚‚

‚ ‚

‚‚

‚‚ ‚‚

‚

‚‚

w w ‚

‚‚

‚‚ ‚‚

˙ ˙

‚‚ ‚‚

‚ ‚

‚

‚ ‚ #‚ ‚

‚‚ ‚‚ œ

œœ

‚

œœ

‚

‚‚ ‚‚

∑

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 89

‚‚ ‚‚ œ

œœ ∑

˙˙ ‚

œœ

‚

‚‚ ‚‚

‚‚ ‚‚ œ

œœ

‚

‚‚

427 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

#‚

#‚ ‚

& ‚ ‚ &

‚ ‚

‚‚

‚‚ ‚‚

‚ ‚

‚‚

‚‚ ‚‚

‚ ‚

‚‚

‚‚ ‚‚

‚ ‚

‚‚

‚‚ ‚‚

‚ ‚

‚‚

‚‚ ‚‚

‚ #‚

‚‚

#‚ ‚

‚ ‚

‚‚

‚‚ ‚‚

‚ ‚

B w w

˙˙

‚

#‚ ‚ ? ?

Red

Blue

Yellow

œœ

‚

œœ

‚

‚‚ ‚‚

‚‚ ‚‚ œ

œœ ∑

‚

œœ

‚

‚‚ ‚‚

‚‚ ‚‚ œ

œœ

‚

œ " ‚ ‚ #‚ ‚ "

‚‚ ‚‚ œ

œœ

‚ ‚

‚‚

‚ ‚

‚‚

‚ ‚

‚‚

‚

‚‚ ·

‚‚ ‚‚

‚‚

‚

œ œ

‚

‚‚ ‚‚

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 90

‚‚ ‚‚ œ

œœ ∑

‚

œœ

‚

‚‚ ‚‚

‚‚ ‚‚ œ

œœ

‚

‚‚

429 Vln. I

#‚

#‚ ‚

‚‚

dim. al niente

Vln. II

Vln. III

& &

‚‚

‚‚ ‚ R #‰ Œ ‚ let ring

‚‚

Vla. II

w. #

non vib.

w. #

B #w . # B

‚

#‚ ‚ ?

‚‚‚‚

dim. al niente

Vc.

D.B.

Red

Blue

Yellow

∑.

non vib.

Vla. I

œœ

dim. al niente

‚

œœ

‚

‚‚ ‚‚

‚‚‚‚ œ ∑

œœ

‚

r# ‰ Œ œœ let ring

let ring ‚ ‚ ‚ R #‰ Œ œ

∑.

431

nw . # w. #

solo—molto espr. (until 449)

w. p poco cresc. #‚ ‚ # ‚ ‚ ‚ # #‚ #‚ ‚ ‚‚ #

‚‚ ‚

‚‚

‚‚‚‚

w. # w. #

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 91

‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚

‚‚

432 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

B B

‚

#‚ #‚

? w. ?

Red

Blue

Yellow

‚ #‚

‚

#‚ ‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚

‚ #‚

‚ ‚ #‚ #‚

‚

#‚ ‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚

‚‚

w. w.

Hong Kong—Philadelphia April 2016

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 92

434 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

B B

‚

#‚ #‚

? w. ?

Red

Blue

Yellow

‚ #‚

‚

#‚ ‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚

‚ #‚

‚ ‚ #‚ #‚ w .. w

‚

#‚ ‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 93

‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚

‚‚

436 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

B B ? ?

Red

Blue

Yellow

‚

‚ #‚

#‚ #‚ w .. w w.

‚

#‚ ‚

‚ ‚

‚‚ ‚

‚ ‚

‚‚

‚‚ ‚‚

‚

‚ ‚

‚‚ ‚

‚ ‚

‚‚

‚‚ ‚‚

‚

‚ ‚

‚‚ ‚

‚ ‚

‚ #‚

‚‚ ‚‚

‚

#‚ ‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

w. w.

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 94

‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚

‚‚

438 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

B B

‚

#‚ #‚

? w. ?

Red

Blue

Yellow

‚ #‚

‚

#‚ ‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚

‚ #‚

‚ ‚ #‚ #‚

‚

#‚ ‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

w. w.

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 95

‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚

‚‚

440 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

B B

‚

#‚ #‚

? w. ?

Red

Blue

Yellow

‚ #‚

‚

#‚ ‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚

‚ #‚

‚ ‚ #‚ #‚

‚

#‚ ‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

w .. w " w.

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 96

‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚

‚‚

442 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

B B ? ?

Red

Blue

Yellow

w. P sub. p

‚

‚ #‚

#‚ #‚

‚

#‚ ‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚

‚ #‚

‚ ‚ #‚ #‚

w .. w

‚

#‚ ‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 97

‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚

‚‚

444 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

B B ? ?

Red

Blue

Yellow

‚

‚ #‚

#‚ #‚

‚

#‚ ‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚

‚ #‚

w .. w

‚‚

dim. al niente

‚ ‚ #‚ #‚

w .. w

#‚ ‚

‚

‚‚

‚

‚‚

‚‚‚‚

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 98

‚

‚‚

‚‚ ‚

‚‚

‚‚‚‚

‚

‚‚

‚‚ ‚

‚

‚‚

446 Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

& B

w- . "

r # ‰ ‚

let ring

# let‚ ring B R # ‰ ? ?

Red

Blue

Yellow

cresc. pochiss.

∑

∑ w.

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 99

449 A. Sx. in E b

Vln. I

Vln. II

Vln. III

Vla. I

Vla. II

Vc.

D.B.

OFFSTAGE Alto Saxophone (in E-flat)

#w . "

& w. " &

#w .

with saxophone—play out just a bit

w- . #

w- .

& w. "

B w. "

? w. w. "

w. w.

w. "

Red

Blue

Yellow

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 100

455

∑

& w.

dim. al niente

& w.

Vln. III

& w.

Vla. I

B w.

Vla. II

B w.

Vc.

? w. w.

w. w.

A. Sx. in E b

Vln. I

Vln. II

D.B.

Red

Blue

Yellow

ORDWAY | Tonight We Tell the Secrets of the World | Score pg. 101

Tonight We Tell the Secrets of the World

No one would leave the garden Without obtaining his desire.

All texts have been adapted by the composer for use in this work.

Layla nay, but the world enlightening dawn Majnun nay, but the candle consuming itself Layla nay, she was garden within garden Majnun, I mistake, he was brand on brand Layla was bright like the nimble moon Majnun was weak before her like silk Layla was planting rose bushes Majnun was scattering pearls.

A Whisper Play by Scott Ordway

GROUP 1: THE SECRETS OF LOVE Source: Layla and Majnun by Nizami Ganjavi. 1192 C.E., Persia (modern Azerbaijan) 1. Draw an arrow in my name from your quiver And place it on your drawn box; If you seek a target, take my heart: A mighty shot from you and a joyous sigh from me. Who should I fear if death arrives, I know that the road leads to You. Death is not a garden or an orchards, It is the road to a house of friends. If I llok at it in the right way This death is not death, it is a change of place; From a dining-room to a sleeping-room And from a sleeping-room to the banquet of a King. Since longing for You is in me, I will arise from my home; I will sleep well and arise joyously. 2. Do not say that the blade is sharp in matters of love, For this love was originally reared at home. A head, which flees from the sword, Could be better cut off by a fighting man. In love, there is no place to be afraid of the blade; For the blade spares the head of the lovers. A lover faces the dread of life; He who is in search of the beloved fears not the world. Since my moon has fallen into the mist, I bare my head for the blade; where is the blade? A head which excuses itself from sacrifice, Could better be punished by the blade. This soul, which has been cast into the fire, Accords well with my unhappiness. My soul is in such disrepair, Leave me, what do you want from my soul? 3. When Majnun departed from this world, He was released from men’s reproach. He lay in the cradle of his bride; Sleep robbed him and closed his eyes. He was not satisfied in this world, which is full of smoke, When he slept, he rested with love. He remained lying in the same condition For a month; no, I heard, for a year. And those beasts that moved freely Remained marching around him. 4. Majnun was sleeping like a king on the throne And they were all keeping watch over him. Because of the fear of the wild beasts None could approach him from left or right. People thought that the wounded stranger Was sitting in the same spot as he used to sit, And that the brilliant beasts were heroically Holding watch over the king. They did not know that the king had died, That the wind had taken away his crown and royal girdle. 5. Because of the earthquakes originating with the revolution of the spheres Majnun’s body broke into pieces and was scattered on the earth. No sign of his body remained Save a few scaps of bones. However, none of those wolfish dogs, which feed on bones, Desired to eat his bones. As long as the wild beasts were on that spot, No one put a foot on that sacred place. 6. That garden, which became the envy of the orchard, Became a place of succor for the whole world. Whoever arrived there, whether he was a stranger or suffering, Became instantly free of grief and anguish.

She was burning through the fire of separation; Neither smoke nor light showed in her. 7. A life whose foundation is based on decline Is one moment, even if it were a thousand years. If life has the sign of death Who then possesses the means to deal with its coquetry? O you who ignore the inevitability of death and Are not aware that life should be abandoned, How long will you deceive yourself? In death your provision will be far from you. And you so weak-minded that You have not gauged how far you are. Regard yourself from top to toe, see how small you are, The spheres above you are so high! You possess two or three rusty pegs, Which you have gathered through alms, And out of delight in these small particles of possessions You boast: “I am the lord of the world.” As long as you are in need of someone like you Your instrument remains always out of tune. Only when you are safe from needfulness Will you attain to eminence. 8. A love, which is not everlasting, Is a play-thing for the lust of youth. Love is that which does not decrease Which as long as it exists, does not deviate. That love, which for ever and ever decreases, Is a foolish fantasy. Because of his complete knowledge, Majnun stands for the elevated name of love. As long as he lived, he carried the burden of life Like a rose, he was happy with the breeze of love. And now that his rose has wilted The drops of him remaining are rosewater. I, too, through this fragrant rosewater Make my water fresh in this brook. 9. Submit your to the sanctuary of love So that you are instantly released from yourself. In matters of love, run like an arrow So that you do not remain far from the target. The arrow is suited to the bow of the king Because it goes right to the target. 10. Love is the opener of the knot of existence, The deliverer from the vortex of self-worship. Any sherbet of sorrow that the soul may taste Is the soul’s relish when it is offered by love. Many a bitter wine, that is like poison, Tastes excellent because of love. Although this sherbet is bitter of taste, Why shall man fear since its cup-bearer is love? Although your state was to endure exertion, It was delightful since it was by the way of love. 11. I stood up to search for a jewel I dug the mine and found elixir. Nature appealed for a short way For I was afraid of the long road. There was no shorter was than this, There was no quicker pretext to make on time. It is a light sea, but running, Its fishes are not dead but alive. Many poems are composed with this flavor, Yet they do not possess the freshness of this poem. No diver’s mind can catch from this sea A peerless pearl such as this;

Each of its couplets is like a strung pearl, Full of art and free from flaw. 12. Paradise: What is the name of these cypress trees That hold cups in their hands in the garden of Iram? How did they, who have flown to the station Of the soul, achieve this dignity? The man answers: Those two lovers who have become one Are each other’s eternal friends. That one is the king of the world because of his playing right, And the other is the moon of idols because she caresses the song, This one who is the moon is Layla resembling the night; The other who is the king is nicknamed Majnun. The were two unpierced rubies Who were in love in the breast of fidelity. They have not seen any peace in the world, And have not satisfied their desire there. Here they will see no more pain, To the end of eternity they will thus remain. He who does not consume things in that earthly world, Will be elevated in this way in this heavenly world. He who is sorrowful in that other world, Will be delighted in this way in this world. 13. He saw Majnun, but not as his eyes desired to see him; As he saw Majnun, his heart rose from its place. He looked at a moving soul, without a body, A bunch of bones shrouded by skin. A destitute of the world of existence; Withdrawing on the road of idol-worshipping. Like a stick bound to a shadow puppet; A lock of hair escaped from the mouth of death. Running on the earth faster than a dog; Being more hidden than the habitats beneath the earth. The cauldron of his frame had become cold, Falling on his brain, he lost his senses. Twisting itself in its twisting like a snake; No covering on his head while slumbering away. 14. O my faithful and consenting beloved; O you who are like me and suit me well, O fresh cypress shoot that is a chevalier, O you who have a warm heart and a cold breath, I wished you would arrive from the door of such a garden And remove the brand-mark from my heart. 15. His pale countenance turned purple; His bent body straightened like the bamboo. His musk-colored black line Encircled the round moon of his face. The bright dawn smiled again, The sun laid bare its teeth. The enchained man of the desert recovered his senses; At home the manacles were removed from the fettered man. In the garden, the green turned tranquil; A beaker was given to the hand of the red rose. 16. And if you are an ascetic, be awake at night Be a servant and serve the beloved until dawn. And if you are a lover, be shameful: What does sleep have to do with the eyes of the lover? O benighted person, since you are neither this nor that Do not boast with lying words of our love. If the lover sleeps, except in his grave-cloth I may call him lover, but a lover of himself. Like a candle, he abandoned sleep Restless, he did not sleep by night or day. Because of the separation, he sang couplets every night, Hiding himself in the alley of the beloved. 17. He has shied away and torn the rope; He has cut off all his human dispositions. Like the wild old man, he has habituated himself to the desert To the roots of green herbs.

He has neither the nature of the wild beasts nor of the tame ones, Yet he gets along with both wild and tame beasts. To make people keep their distance, He became the master of the lion and the deer. Every wild animal that was in the desert Was eager to be at his service. He has made a camp from lions, stags, wolves And foxes from the road. They all became servants at his command; And he, like Solomon, was the king of them all. 18. …and the beasts were lining up beside him. In the place where he slept, The fox swept its ground with its tail. The gazelle made eyes while running It drew its foot to the side. Majnun leant back on the neck of the onager, Using the stag’s thigh as his pillow. The lion kneeled at his head, Drawing its sword like a watchman. In order to protect him, the wolf Joint his praetorian guards to lay down its life. The wild leopard, which is by nature untamable, Was laid down under him like a carpet. These beasts, which roam the desert, Were lining up in two or three rings around him. Like kings he was guarded by guards, Sitting in the middle of the circle. Due to the fear of those wild bloodthirsty beasts, No one dared to associate with him. People who were not wanted by Majnun Were immediately torn apart by the beasts. And those whom Majnun desired to see, No beasts had the courage to touch them. No one whether they were Majnun’s acquaintances or kinsmen Could go near Majnun without his command. 19. One night Layla said secretly to Majnun: “O you who are deprived of reason because of your love for me, Be a stranger to reason as long as you can; Plunder reason and be a madman. Because if you come to me with reason You will receive many blows in my alley. But when you are considered to be a madman in love No one will bother with you. 20. Why do you call me a madman, Because a madman is the one who is selfish. I am not a demon, rather I enchain the demons; I am harmless like angels. My gentle nature is not the disposition of a demon; And this is due to the grace of the sovereign of the world. It is because of my nice behavior that these wild and tame beasts Can with their own nature abide calmly with me. A madman on the throne of this world, I myself Am trying to loosen my own bondage. 21. I, who have come to this ruined place, And have cut off connections with kinsfolk, Will not be a backbiter, will not pretend, Will not live ignorantly, will not play false. Before death announces, depart and Utters the call for departure, arise. I will have escaped from this tyranny, I will have take the road to the grave from this grave, I see no sign of my being possessed but this; If a madman does this, then I am one. 22. O love, you have made your homeland in my heart, O separation, you have planted grass at my side; O wheel have youj made every plague and suffering Existing in the world for me? 23. Attach your heart to your own particular portion; Do not think of eating the sustenance of someone else. Fortune will turn its back on those who are light of reason, Those who set their feet beyond their own realm. If a bird does not fly as high as it can, It flies towards the strings of death.

If a snake does not follow its path, It will write because of the way he has chosen. When an ascetic puts on himself a suit of armor, He will be beaten by his excessive efforts. When a fox slaps a lion, You know in whose hands the sword is. 24. O Zephyr, rise at the morning glow And attach yourself to the tip of Layla’s curl. Say to her that the one who was robbed by the wind, Is your fallen one in the dust of your road, He is imploring your breath from Zephyr; He is telling his anguish to the earth’s dust. Send a breeze from your land, Give him a handful of dust as a memory. Everyone, who does not blow like a breeze towards you, Is not worth the wind, let alone the dust. And he, who does not submit his life to you, It would be better for him to die of grief. Had the fire of your love not existed, The storm of sorrow for you would have stolen my life. 25. O loved one, were you not the tears of my eyes The fire of your sorrow would have burned my heart. The sun, which shines on the whole world, Will be scourged by my firing sigh. O hidden candle of the chamber of my soul, Do not afflict your very own moth. Your enchanting eyes made me dream That my liver was being roasted so much. O, your grief and sorrow are the comfort of the heart; They are both the cure and the wound of the heart. Your lips are sugar, so if you may, Give a portion to me. 26. Being thus distracted in such a bond of love That sugar is the consoling confection. O moon, I have fallen from your eyes Because I was suddenly struck by an evil eye. I, who am afflicted by an evil eye, Have lost a ripe love like yourself. Many fresh and ripe fruits Have fallen on the ground because of an evil eye. The hinting fingers of the world have slain hundreds of people, For, indeed, the wound of an evil finger is a killing one. That indigo-colored line, which is painted around the face, Is to repel the evil eye of the rival. 27. He was telling her in the language of the wind: “O my beloved, you who have found delight with your beloved, Where is that sitting together you and I, Entering into a covenant with a thousand pledges? Where is that offering hope of union, And laying one’s head on the line of compliance? To claim to be a loving friend, To give hope to fidelity, And today, to break the covenant And conceal the face of innocence from me. Imagine that your heart turned to the way of fidelity, Where is that claim of friendship? I have purchased your love with my life, You have chosen the love of someone else. Is it right to forget one’s promise in this way Not remembering the other even for a moment? Are you so happy with your new beloved that you do not remember your old intimate? Now that you are embracing someone else, Do not forget us with your tongue. 28. There is nothing else I can do, But to offer my life to you, And come to an understanding with your fidelity, Ignoring your injustice and cruelty. I will be patient with you, Waiting until life pulls on the reins. With which heart shall I hope for you? With which face shall I smile again at you? 29. That good man who fostered love

Never took a step beyond the shrine Of those two springs of light. The couplets that those two had bored like the ruby, The poems on their states they had made, He searched for them by way of the eye, and by the sense of hearing, And when he found them, he collected them. He did not hide this love-tale from the ear of anyone, So that whoever might hear it, would say, “Bravo.” The legend of these two soul-mates Was revealed to the world. 30. The cause of falling in love begins with a glance, When the eye sees, infatuation falls to work. Many birds have fallen into a trap because of desire The moth falls in the fire for light’s desire. 31. A gazelle-eyed beauty that killed A world with one amorous gesture. She was the Arabian moon in revealing her countenance; She was a Persian beauty in robbing the hearts. Her locks were light night and her countenance like a garden Or a torch in the claws of a black raven. With a small mouth and a long shadow, A concentrated substance like a bowl of sugar. She was the veiled person in the house of life; She was the king couplet of the ode of youth. In each heart, there was an inclination towards passion for her; Her tresses were like night and her name was Layla. 32. The summa of the beauty of the seven circles; The stipendiary of the seven lords who govern the seven spheres. The envy of the face of the Moon in the sky, The grief of the heart of the cypress in the orchard. Her fresh rose holding a cup in its hand; Sprang out of the bud of freshness. Her erect cypress grew taller; Her ruby dates became riper. She was growing in the garden of delightfulness; She melted people with her coquettish acts. No prey could escape her lasso; Her amorous glance catches them and her tresses tie them. Her tresses swept the road of those who desired a kiss. 33. Today I am like a door-knocker on the door. In the circle of love, I sell my soul; May my ear not be without the ring of love. People tell me to detach myself from love; This is not the way of friendship. I feed upon love, If love perishes, I will die too. O Lord… Bring me through love to such an extreme That love remains, although I will not remain. From the fount of love, give me light; Do not put away this eye-shadow from my eyes. Although I am drunk with the wine of love, Make me more in love than I already am. 34. O Lord, give me each instant more Inclination towards Layla’s face. Whatever time may remain of my life Take it and add it to Layla’s life. Although I have become as thin as a lock of hair through suffering, I do not want a lock of hair to be removed from her head. Although I am burning like a candle with pain for her, I do not wish that my days should be without her pain. 38. Like a candle, she lived with a forced smile, She laughed sweetly and wept bitterly. She was burning through the fire of separation, Neither smoke, nor light could be seen in her. Outwardly she lamented like the wind, Inwardly she consumed her heart like the earth. 39. Her intention was to go into a shelter To breathe a sigh like those who are burned. To reveal her secret to the intoxicated nightingale And to retell the sorrows of the past.

To find a sign from her separated beloved In the breeze of the rose garden. Lonely, she sat under a cypress Like a pheasant sitting under the parrot’s wing. She moaned and lamented secretly While saying by way of affection: “O my amiable and loyal friend, you who resemble me and suit me well, O, young and chivalrous cypress, You who has a warm heart and a cold breath, O, what would happen in this garden if you Arrived and removed the pain from my heart; To sit with me according to the desire of the heart, That I can see the elm-tree and you the cypress. Suppose that you have no rest because of me, That you do not dare to come to my dwelling and my garden. 40. I desire someone in this world, Someone like you to be my home-mate. Since I cannot live together with you, What is my sin that I am living in this way? That heart which is not content with you Could better perish under heaven’s harsh decree. A lock of your hair is a world for me, A thorn from your path is a rose garden. The traces of your encampment are green and you have a green skirt; Agree with me like the Fountain of Life. I am the moon and you are the sun because of your light, I open my eye through your light from a distance. 41. I am the poor person, who has no one To whom I may speak for a moment openly. I fear that because of selflessness and unripeness I will become a stranger for the sake of good repute. I have neither the courage to rise against my spouse, Nor the courage to escape from my father. Sometimes love, which is in my heart, tells me to rise, To flee like a partridge from this black sparrow and crow. Sometimes my reputation says: “Sit, A falcon is mightier than a partridge.” Since I could not withdraw myself from this pain, I submitted myself to endure sorrow. 42. This love for a reality has no selfish intention, It is not contaminated by lust and selfish intention. It is an utterly perfect love, By which the wild and savage beasts are tamed. The wild beasts did him no harm Because there was no contamination with wildness with him. When he eliminated his own wild beast, These beasts became his subjects. It is clear that the love of those two earthly beings Does not grow except by purity. 43. Two curved lines, which were running, Formed a circle around the whole house. No bird flies unless it obtains two wings, And justice requires a scale of two pans. Two candles were burning in a bowl: Their soul was one and their bodies grew into one too. Two threads made up one twisting; Two goblets were fully filled with one sort of water. They closed two openings with one door; They became two eyes in one head. Separation was separated from the road of the two poles; The mirror of the two dawns became one light. The two heart-burned lovers intertwined with one another; In this way, they spent a day and a night. One was out of himself and the other had fled from herself; The bird of selfish intention flew away. 44. Love is this, what is the other one? Truthfulness is this and the other is interdiction. Since love finds its way through truthfulness, It changes one kindness of the friend into ten. When love becomes thus complete, It becomes the sign of good reputation. 45. A shining night bright as day, Through which heaven was fresh like the green of Paradise.

The golden necklaces being suspended, The image of the Wheel has turned into gold. Giving the hands of loveliness to each other, the planets Were dancing upon the spread of the horizon. The meteor was throwing a javelin to the black night, Singing from the distance: “There is no power.” The air was perfumed with the musk of night, And the earth was illuminated by the jewel of the moon. By this jewel and that perfume, the six storied Wheel Had made the horizons full of ornaments and fragrance. 46. While night fully adorned the ear and the chin Of the world with pearls, That pearl, like the Pleiades, was throwing Clusters of pearls from her eyes to the ocean. There was she, the night, pain and a brand-mark of love; No one was her companion except a lamp. Like a moth she didn’t sleep at night, Complaining about the night to the lamp: “This night, whose departure brings joy, is a brand-mark on the forehead of heaven.” 47. This night is not an ordinary night which is apportioned to me; What is this night? It is the perdition of my life. Such a dark night which lasts so long That I have become destitute seeking for a solution. Imagine that its burning becomes cold, Or its dawn is Day of Resurrection. I am left in this world-burning night; May no night be like this, never-ending. Like a farmer whose light is extinguished And whose wall has fallen, and whose garden is taken away. 48. “O Lord, bring me to that light of mine Because I have been brand-marked by his fire. Perhaps he will offer me from the world-shining A broad day in such a narrow light.” Till morning, she did not interrupt her breath from this prayer; She did not withhold a note from this strain. 49. When the flowers drew a veil on the field, The earth became fresh with the faces of roses, On the trees, the blossoms smiled Like a little coin on the face of a bride. From the ruby tulips and yellow roses, The world hoisted a two-colored flag, Because of the abundance of food and melodies in the garden and The orchard, the nightingale of a thousand strains started to sing. 50. The freshness of a new-grown green Was creating emeralds from fresh pearls, The tulip scattered her vermillion leaves in such a way That blackness had fallen on the edges, Because of their length, the locks of the violets, Had fallen on the ground when they were playing, The rose-buds were tightening their girdles; In producing thorns, they drew their arrows, The rose acquired golden silk brocade; The breeze was seizing earrings, Because of the rose-colored sun, the water-lily Threw on the water her shield without contention, The box tree was combing her locks; The pomegranate blossoms were preparing their grains. GROUP 2: THE SECRETS OF DEATH Sources: The Pyramid Texts (ca. 2300 B.C.E.; inscriptions from the walls and sarcophagi of the Pyramid of King Unas at Saqqara, Egypt) and The Book of the Dead of Ani (ca. 1250 B.C.E.) 1. O Unas, you have not gone dead, you have gone alive to sit on the throne of Osiris. Your scepter is in your hand that you may give orders to the living, the handle of your lotus-shaped scepter in your hand. Give orders to those of the dead! Your arm is that of Atum, your shoulders are those of Atum, your belly is that of Atum, your back is that of Atum,

your bottom is that of Atum, your two legs are those of Atum, your face is that of Anubis. The sites of Horus serve you, the sites of Seth serve you.

he who will be happier than you, he who roars louder than you.

2. O Unas, beware of the Lake!

You have no more time there! Lo, this is what Seth and Thoth have done, your two brothers, who could not bewail you!

The messengers of your ka have come to you, the messengers of your father have come to you, the messengers of Re have come to you.

8. The Western Ones, those who are upon earth, belong to this Unas. He comes indeed, this Unas, weary of the Nine, an Imperishable Spirit.

Go after your sun! You are to purify yourself. Your bones are those of female hawks, the goddesses who are in heaven, so that you may be by the side of the god and leave your house to your son, your procreation.

The Eastern Ones, those who are upon earth, belong to this Unas. He comes indeed, this Unas, weary of the Nine, an Imperishable Spirit.

Everyone who shall speak evil against the name of Unas, when you go up, is predestined by Geb to be a despised one of his city, he shall flee and falter. You are to purify yourself with the cool water of the stars, and you will climb down upon ropes of brass, on the arms of Horus, in his name. 3. O Unas! Your messengers go, your heralds hurry to your father, to Atum. "Atum, let him rise to you, fold him in your arms! There is no god, who has become a star, without a companion." "Shall I be your companion?" "Look at me! You have seen the forms of the children of their fathers, who know their spell, who are now Imperishable Stars.” May you see the two inhabitants of the Palace: this is Horus and Seth! 4. You are born, o Horus, as the one whose name is “He-before-whom-the-earth-quakes”; You are conceived, Seth, as the one whose name is “He before-whom-the-sky-shakes.” Such a one has no mutilation, such a one has no injury, such a one has no injury, such a one has no mutilation, so you have no injury, you have no mutilation! You are born for Osiris, o Horus! You have become more glorious than he, You have become more powerful than he. You will not perish, who belong to him. 5. Hurry! Announce to the gods of the South and their spirits : He comes indeed, this Unas, an Imperishable Spirit! If he wills that you will die, you will die; If he wills that you will live, you will live. Your son comes to you, this Unas comes to you, that you both may stride over the sky, united in darkness, that you may rise on the horizon in the place where you like to be. 6. Horus, hurry! Announce to the gods of the East and their spirits : He comes indeed, this Unas, an Imperishable Spirit! Whom he wills that he live, he lives. Whom he will that he die, he dies. Your son comes to you, Unas comes to you. Let him ascend to you! Enfold him in your embrace! This is the son of your body, eternally. 7. He comes indeed, this Unas, weary of the Nine, an Imperishable spirit, he that bore more than you, he that suffered more than you, he that is more weary than you, he that became greater than you,

The Southern Ones, those who are upon earth, belong to this Unas. He comes indeed, this Unas, weary of the Nine, an Imperishable Spirit. The Northern Ones, those who are upon earth, belong to this Unas. Those who are in the Lower Sky belong to this Unas. He comes indeed, this Unas, weary of the Nine, an Imperishable Spirit!? 9. You make yourself free of what should be washed away. You judge the wants in the Netherworld and stand over the places of the primeval ocean. You come into being with your father Atum, you are high with your father Atum, you rise with your father Atum. The wants of the Netherworld are severed from you, your head is held by the nurse of Heliopolis. You go up and open the way through the bones of the air, the embrace of your mother enfolds you, you purify yourself on the horizon and leave that which should be purified from you in the Lakes of Shu. 10. You go up, you go down. You go down with Re, darkened. You go up, you go down, you go up with Re and you rise with the Great Raft. You go up, you go down, you go up with Nephtys, darkened with the Evening Barge. You go up, you go down, you go up with Isis, you rise with the Morning Barge. You have power over your body, there is no one to oppose you. You are born because of Horus (in you), you are conceived because of Seth (in you). 11. Unas is conceived at night, Unas is born at night, for he belongs to the Followers of Re who are before the Morning Star. Unas is conceived in the Watery Abyss, he is being born in the Watery abyss. He has come, he has brought your bread which he has found there! For he is the unbound one being unbound, for he is the seen one being seen. 12. He is purified who has purified himself in the Fields of Rushes. Re has purified himself in the Fields of Rushes. He is purified, who has purified himself in the Fields of Rushes. This Unas has purified himself in the Fields of Rushes. The hand of Unas is in the hand of Re. Take his hand! Lift him up! Lift him up! 13. The heat of the fiery breath is against you, you who are about the shrine! O Great God whose name is unknown, at once a meal of the Unique Lord. O lord of the Horizon, make place for Unas. If you fail to make place for Unas, Unas will pronounce a curse against his father: the earth shall not speak any more; his father shall not be able to defend himself. He whom Unas finds on his way, he will eat him piecemeal.

The pelican announces, the pelican comes out. The Great One rises. Completely dammed-off shall be the land. The two ridges of the mountain shall be united. The two banks of the river will be joined. The roads will be hidden from the passers-by. The steps will be annihilated for those who go up. Make tight the rope, sail the road of heaven! 14. Your fields are in fright, before the pillar of stars, when they have seen the pillar of Kenset, the Bull of Heaven. How the herdsman of the bulls is overwhelmed with awe before him! Fear, tremble, you evil doers, before the storm of heaven! He has opened the earth with that which he knew on the day when he intended to come. So he said, "She comes to meet you, the beautiful West-goddess, to meet you with her beautiful locks!" She says: "He comes whom I have borne, whose horn shines, the well-anointed pillar, the Bull of Heaven. Your form is exalted. Pass by in peace!" 15. “I have preserved you", so says the Beautiful West Goddess. "Go, navigate towards the Field of Offerings, that you may bring the…” So says He: "You fall to pieces to the ground to your thickness, up to your middle, up to your stretching out. Still, you see the sun in his bonds and you praise the sun at his coming out of his bonds. The Lord of peace gives you your arm. O you she-monkeys who cut off the heads, let Unas pass by you in peace.

19. Your bread of eternity is yours, O Atum together with the Double Lion, who have created themselves, their double divinity for themselves. This is Shu with Tefnut, the two who made the gods, begat the gods, established the gods. Say to your father that Unas has given you your bread of eternity, that he satisfied you with what is due to you. You should not hinder Unas when he crosses to him, towards the horizon. Unas knows him, he knows his name: Everlastingness is his name, Everlastingness, the Lord of the Year is his name, he with the arm ready to fight, Horus over the Milky Way of heaven, who makes Re alive every day. 20. Serene is the sky, it shines, for it is Unas indeed who is the living star, the son of Sothis. The Two Enneads have purified themselves for him as the Great Bear, the Imperishable Stars. The House of Unas, which is in the sky, will not perish. The throne of Unas, which is on earth, will not be destroyed. The humans hide themselves, the gods fly up, Sothis has let Unas fly towards Heaven amongst his brothers the gods. The two souls at the head of the souls of Heliopolis have bowed down at the beginning of the day, they who have passed the night while they made this bewailing for the god. The throne of Unas is with you, Re. He will not give it to any other god. 21. O Gods of the West, O Gods of the East, O Gods of the South, O Gods of the North! These four pure reed floats which you placed for Osiris when he ascended towards heaven

16. Unas goes to heaven! Unas goes to heaven with the wind, with the wind! He will not be hindered, there is no one who might hinder him. There will be no session on his behalf in the assembly of the god. Unas is on his own, the eldest of the gods.

That he might cross towards the Cool Region, while his son Horus was at his side in order to let him grow up and let him appear as a great god in the Cool Region.

His cake comes up together with the one for Re. His great offering meal comes out. Unas is one who returns. He comes and goes together with Re.

22. Are you then a pure Westerner? I come from the Hawk-city! Hail, Field of my peace! Hail, honored dead who are in you! Unas will honor those who are in you. Pleasant is the pure one who is in me." (says the field)

His houses are being visited by him. His foot is not hindered, his heart is not opposed." 17. Your heart belongs to you, Osiris, your two feet belong to you, O Osiris, your arm belongs to you, O Osiris, the heart of Unas belongs to him, himself, his two feet belong to him, himself, his arms belong to him, himself. The earth is beaten into steps for him towards heaven, that he may mount on it towards heaven, and he rises on the smoke of the great fumigation. He flies away, this Unas, as a goose, he alights as a scarab, he flies away as a goose, he alights as a scarab on the empty throne which is in your boat, O Re. Stand up, be gone, thou who do not know the thicket of rushes, that Unas may sit on your seat, that he may row in the sky in your boat, O Re. 18. The sky is clouded, the stars are darkened. The Bows move, the bones tremble, and then all movements cease. After they have seen Unas appearing and powerful as a god who lives on his fathers, who feeds on his mothers! Unas is a lord of craft, whose name even his mother does not know. Unas' venerability is in the sky, his strength is in the horizon, like his father Atum who begat him. He has begotten him more powerful than himself.

These four spirits who are in Heliopolis have written it down in the register of the two great gods in the Cool Region.

"The ladder is tied together by Re before Osiris. The ladder is tied together by Horus before his father Osiris, when he goes to his soul. One of them is on this side, one of them is on that side, while Unas is between them. Are you then a god whose places are pure? I come from a pure place! Stand here Unas, says Horus. Sit here Unas, says Seth. Take this arm, says Re. 23. How beautiful is indeed the sight, how good indeed to see, so say they, so say the gods, when this god ascends to heaven, when Unas ascends to heaven. While his power is over him, the fear on both his sides, his magical power in front of his legs. They come towards him, the gods, the gods of the sky, the gods of the earth. They elevate Unas on their arms. And you ascend, Unas, to the sky, you climb on it in this its name of ladder. Heaven be given to Unas, earth be given to Unas, so said Atum.

The abodes of my kingdom, the abodes of Horus, the abodes of Seth, the Fields of Rushes, they honor you in this your name like he who resides under his kesbet-tree. 24. Has he killed you after his heart told him that you should die through him? Lo, you come into being against him as the Bull of the wild bulls, who remained after the fight. He remains, he remains, the bull who remained, and you will also remain, Unas, at their head, at the head of the spirits forever! 25. Unas is a well provided one, who has absorbed his spirits. Unas has appeared as this Great One, lord of those who are at hand. He sits with his back turned to Geb. Unas it is who judges with He-whose-Name-is-Hidden, on the day when the elder is being sacrificed. Unas is the lord of offerings, who knots the cord, who prepares himself a meal. Unas is he who eats men, who lives on gods, lord of messengers who gives instructions. Unas is a god older than the eldest. Thousands serve him. Hundreds make offerings for him. Unas has appeared again in heaven. 26. Day of burial of Osiris; going in after going out. O Bull of the West, says Thoth, King of Eternity. I am the god of protection of the boat I have fought for you, I am one of those gods the council justifying Osiris against the enemies on the day of judgment. I am of your flock, Osiris. I am one of those gods the children of Nut slaying the enemies of Osiris and repelling those who rebel against him. I am of your flock, Osiris. I have fought for you, I have travelled at your name. 27. I am with the mourning women of Osiris, the women who lament Osiris at the Two Riverbanks of the Washermen. Justify Osiris against his enemies, said Ra to Thoth. Justify Osiris against his enemies, so he said as I, Thoth, have done. I am with Horus the day of wrapping the dismembered god and opening the caverns, and of washing the weary-hearted, secrets of the mouth of the secret ones in Rosetau. I am with Horus when this left arm of Osiris is rescued, I go in and out of the devouring fire on the day of repelling the rebels. I am the pure priest, raising he who is in the mound. I am the god's servant on the day of raising of the land. I am the one who sees the secrets. I am the one who recites the festival-book. 28. O you who bring effective souls close in the house of Osiris, bring my soul close with you to the house of Osiris, so that it may hear as you hear, so that it may see as you see, so that it may stand as you stand, so that it may sit as you sit. O you who give bread and beer to the effective souls in the house of Osiris, give bread at every occasion to my soul with you. O you who are the openers of ways and the cleavers of roads for effective souls in the house of Osiris, Open then the ways, cleave then the roads for my soul with you, so that he may go in in fury, and emerge in peace from the house of Osiris, without being blocked, without being turned back. May it enter praised, and emerge loved, its voice true, its decision accomplished in the house of Osiris.

I have proceeded here, and no fault has been found with me: the scales are free of its moment. 29. I am the great god who comes to be of himself, there is water, there is Nun, father of the gods What does it mean? It means Ra creating his body, when those gods in the following of Ra took shape. I am the unopposed among the gods What does it mean? It is Ra in his sun-disk shining from the eastern horizon of the sky. Mine is yesterday, I know tomorrow What does it mean? Yesterday is Osiris, Tomorrow is Ra, on that day on which the rebels against the Lord of All are slaughtered, and when his son Horus was appointed. 30. The doors of earth are opened for me, Geb, the gods' leader of the nobles, has spread his jaws at me, opening my closed eyes, stretching my bent legs, and Anubis has strengthened my knees that support me, as does the goddess. I exist in the sky, and what I ordered is done in Memphis. I have knowledge by my heart, I have power over my breast, I have power over my arms, I have power over my legs, so that I may accomplish what my ka desires, without my soul or my shade being repelled at the gates of the west for ever and eternity. 31. I am that Ra who shines in the night Whoever is in his following, lives in the following of Thoth He makes the appearances of this Horus in the night, Is content for he is one of them And his enemies are repelled from the entourage. I am a follower of Ra, one who takes up his sky. I have come before you, my father Ra, I have raced Shu, I have summoned this Great Goddess. I have circled this Hu, and entered alone this dark one in the way of Ra. I have benefited, and reached this noble at the limits of the horizon. I approach, and take up the Great Goddess, I raise your ba when I am powerful. My ba is in the dread of you, and the majesty of you. I am the issuer of the commands of Ra in the sky. Hail great god in the east of the sky, I descend to your boat. I have crossed as a divine falcon. I am the maker of commands, I have come by my power. I direct by my staff. I descend to your boat in peace, I sail in peace to the Beautiful West. Atum speaks to me: As for whatever enters this Circle in this million, In this million in length from prow to stern, the million of waves, I say of every way among every million among them, This is the way of Ra after they circle behind him, doubly so. 32. My heart of my mother, my heart of my mother, my heart of my earthly being Do not stand against me as witness beside the lords of the ritual Do not say against me, he did do it, about my actions Do not make a case against me beside the great god Hail my heart, Hail my heart Hail my entrails, Hail those gods At the fore, tressed, resting upon their sceptres Tell my goodness to Ra, hand me to Nehebkau See him, uniting the earth at the great one within May I endure on earth, not die in the west, and be a blessed spirit there. 33. This cavern, this cavern The Blessed dead are fallen in the darkness the Eye of Horus is separated for me Wepwawet nurses me, and has hidden me among you, Indestructible Stars My throat is that of Ra, my face is opened My heart is on its place, my pronouncements are informed I am Ra who protects himself I am not ignorant of my seizure Life to you, my father son of Nut I am your eldest son who sees your mysteries I am arisen as king of the gods, and I will not die again.

34. Mine is yesterday and tomorrow, Pregnant to his birth on the time of another secret. The power that makes the gods gives offerings to the gods at the west gate of the sky, eastern oar lord of the two faces who sees his rays, lord of elevation who comes he whose forms are in the house of mooring O his double falcon upon their form, hearing matters ... Who guide the moored to the secret sanctuary guide Ra, follow in the upper place, adored at the height of the sky lord of the shrine, standing in that thickness, I am he, and he is I. 35. I am risen, I am risen as a great falcon emerging from his egg, I fly up and alight as a falcon of four cubits in length, its two wings of fine greenstone, I have come from the chest of the evening boat. I have brought my heart from the eastern mountain. I have alighted in the morning boat. I have brought those who are in their offerings bowing down, to give me praise. I am risen, I am complete, as the beautiful falcon of gold upon the heron-perch whose words Ra goes in to hear every day. I sit among those great gods of the Sky-water, the two fields are laid for me in my presence, my abundance receives my heart. Nepri has given me a throat, I have power over the keeper of my head. 36. It is the most powerful of the bulls, sharpest upon them, the tress on their shaven-ness Eldest of the blessed dead, honed in slaughter It attacks land, and vice versa, it is my might that prevails to the height of the sky I receive respect, achieving broad pace arriving at land, at the city in founding I proceed, dishevelled in passing the gods on their way, passing those in their chapels I do not know Nun, I do not know that land, I do not know the desert I have drawn their purity, I know Power, I hear his voice I am that red lion who is in blood-red Words spoken by the gods at their lament Off before me, dawn is ignorant of you, your guard is unknown, There are spots in my body, I said no excess, I said no lie, in unleashing truth to today, at the course of the true one on my lashes the night of sailing on the festival of resting, excellent of the aged ones, protecting its land 37. O bringers of the ferry over this difficult sandbank Bring me the ferry, tie for me the cords, in peace, in peace Come, come, hasten, hasten, I have come to see my father Osiris O lord of the red cloth, who has power over joy O lord of the tempest, man of the sailing O he who sails over this sandbank O binder of heads, fastener of necks, in the emergence from the knives O keeper of the secret ferry Bring me the ferry, tie for me the cords, that I may emerge from it, this difficult land in which the overturned fall on their faces and are unable to raise themselves Come spirit, my brother, proceed to the place you know there. 38. Hail beautiful of sustenance, lords of offerings, Who exist alive for eternity, your names extending for ever I reach you that you may give me offerings for my mouth that I may speak with it The offering-cake cooked, Isis is in the presence of the great god I know this great god, to whose nose you give offerings: his name is Tekem He penetrates the eastern horizon of the sky He travels from the western horizon of the sky: He rests, I rest; he is well, I am well. I cannot be turned away from the birth shrine: The rebels have no power over this flesh. 39. See I am come before you, I am risen, powerful, ensouled, mighty. I have brought you natron and incense so that I may purify you with them. That evil phrase I had spoken, That evil impurity I had done, have not been assigned to me, because I am that green stone at the neck of Ra that is given to those who are in the horizon. As I flourish, they flourish, and my ka flourishes like them, my ka is supplied like them.

O lifter on the balance, may what is Right be as tall as the nose of Ra on this day, let not my head be removed and displaced there, for I am not a seeing eye, a hearing ear, for I am not a bull of the slaughter-herd and there are no offerings at the voice there. 40. The plume is planted in the shoulder, the Red Crown shines in the dais The whiteness of the eye is caused by its judge I know it, I know who brought it I tell no person, I repeat to no god I am come on a mission to fix the plume in the shoulder, till the Red Crown shines in the dais, to pacify the eye for its counter I am come as a power knowing the powers. You who love the knower, love. I know the plume, firm, filled for its counter. I rejoice over the counting of the counted I know what is small in the Month, great in the Half Month Ra perceives the mystery of the night that you know, this Thoth perceived me Hail powers of Khemenu as I know you every day. 41. I am the Great One of his light. I have come to you Osiris, to adore you. I am pure from you, generated in Rosetau, fallen from him. Hail Osiris, in your might, in your power, May you be mighty in Rosetau, that is the power in Abydos May you circle the sky, may you ferry Ra so that the people may see you Sole one, whom Ra circles, see now, I tell Osiris, I am a noble of the great god I speak, it happens; I come close to your face. 42. O one of wax, who plunders and seizes by violence, who lives on the weary I am not inert, your poison does not enter my body, I will not be silent at you You cannot enter this my body I am the sole one at the fore of Nun I am the protection of every god, eternally Secret, separated in place from millions I am the one among them, emerging with Atum I am the one not counted, in my health, in my health. 43. My soul builds an enclosure My white loaves are in Dep, I have ploughed my fields in the Field of Reeds My ka is content; I have not lived on it, not touched it, raised my hands to it I have not trodden upon it with my soles For my bread is of white emmer, my beer is of red emmer Evening and the Morning Boat bring it to me, and I eat my portion under the branches I know the fair carriers May there be made for me the hymn of the White Crown, may I be carried by the cobras. O door-keeper of the Contentment of the Two Lands, make the time of your offering. Bring me the branches, may the Illuminated One open his arms before me May I be mighty in the sky among them As for any god or goddess opposing me there May he be allotted to the ancestors of Ra, The Illuminated One clothing the sky among the great gods. My portion is there, bread in my mouth, for the god, I enter by the sun disk, and go out by the moon My speech is relayed to the followers of the gods I shine in the sun-disk for his Sun Retinue The fear of me fills the murderers in the flood I am there with Osiris, my mat is by his mat among the great gods. I tell him the words of people, I repeat to him the words of the gods: “Come, equipped spirit, and raise the Truth of the one who loves her.” I am equipped more than any spirit. 44. This flame it is, glowing at the back of Ra, tied behind him, The storm fears the barque of Ra for it, glowing and sacred. I have come with the Destructive-of-face in the bend of its sacred lake. I have seen the ones brought to Right, the double lion accompanying them. O he who is in the chest, he is numerous in reeds, and I have seen there. When we rejoice, their old ones are in joy, and their young ones in happiness. I have made a way at the front of the barque, I rise in its disk, my light is in its powers, he clothes sheltered as the lord of Right. What is this one, says the Ennead. The kite of Isis. Look, his father lord of what is within gives witness for him.

I have cut away the hostile from him, as substitute, I have brought Tefnet, so that he may live. Come then, come then. He should then be told the witness of Right, of the Lord of All. I summon in the evening at his hour. Look, I have arrived, I have brought the two jaws of Rosetau, I have brought the back the bones. I have assembled for him his many parts. I have repelled Aapep for him, I have spat upon the wounds. Make way for me so that I may pass by with you. I am the one with the gods. 45. Come double boat of the lord of Perception, for you are the heir of the Great One. If there is fire, quench the fire. Make way for me, fathers and their kin, so that I may enter the horizon and pass by with the eldest. My witness is the one in his barque. The fire circle behind the lord of the tress rushes for me. Circulated by the reporter. On your faces, far serpents! Let me pass. I am the mighty one, lord of the mighty gods, I am the noble one of the lord of Right. His protection is my protection, and the protection of Ra. See I am in his circuit in the field of offerings of the two lands, the god greater than you. 46. O this area, Descent of Offerings, great in waves, over whose waters there is no control, so great is the fear of them, so loud her roaring. There is a god in it called Descent of Offerings. He is the one who guards it, so none can approach it. I am this bird who is over the district 'Limitless'. I have brought the products of the earth of Atum. O wealthy of years, terror of me is given to those over the shrines, respect of me is given to the lords of offerings. I cannot be taken to the slaughter-block, their desire has not been sated with me. I am the guide of the northern horizon. 47. O this, too secret for the gods, whose name the spirits fear to know, which those that enter cannot leave except for this noble god, who causes fear of him for the gods and terror of him for the spirits. It is a flame with the air of destruction for nostrils and mouths. He did it against his following, to prevent them breathing his air, except for this noble god who is in his egg. I have come before you to be in your following. I come and go, and doors are opened for me. I breathe the air in it, and have power over its offerings. 48. O this city of the god, which seizes spirits and has power over shadows, you who eat fresh meat and you who pass over decomposed meat, for your eyes have seen that their keepers are not left on earth. Place yourselves on your bellies until I have passed by you. My powers cannot be seized, my shadow cannot be overpowered. I am the divine falcon. Incense is burned for me, an offering is cut for me, Isis is at my face, Nephthys is behind me. The road of the serpent is cleared for me. I have come before you, O these gods, so that you may rescue me and give me my powers for eternity. 49. O this city that is in the underworld, veiling the body, with power over the spirits, from which those that enter it cannot go out, for fear of revealing what is in it. The gods see it in him as a miracle, the damned see it in him as his slaughter, apart from the gods who are in it as its secret against the spirits. O this city of Idu, let me pass by, for I am great in power, the sharp one who came from Seth, My legs are mine forever, I am arisen, I am mighty in this eye of Horus that raises my heart after weariness, a spirit in the sky, mighty on earth. I have flown up as a falcon, I have cackled as a goose, I am given a place to alight on this district of the lake. I stand on it, I sit on it. 50. I have risen as a god, and I have eaten from the food of the Field of Offerings after going down to the shore of the dying stars. I have opened the doors of Right, I have crossed the doors of the firmament. I raise a ladder to the sky among the gods, for I am one of them. I have spoken as a goose until the gods heard my cry.

I am the great one among the spirits that are in you. I am among the Imperishable Stars that are in you. I shall not perish, my name shall not perish. You love me more than your gods, I shall be with you for eternity. GROUP 3: THE SECRETS OF GOD Source: Sumerian Creation Myths (3300–2000 B.C.E.; from tablets discovered in modernday Iraq) 1. Pure are the cities, and you are the ones to whom they are allotted. Pure is Dilmun land. Pure is Sumer, and you are the ones to whom it is allotted. Pure is Dilmun land. Pure is Dilmun land. Virginal is Dilmun land. Virginal is Dilmun land. Pristine is Dilmun land. 2. He laid her down all alone in Dilmun, and the place where Enki had lain down with his spouse, that place was still virginal, that place was still pristine. He laid her down all alone in Dilmun, and the place where Enki had lain down with Ninsikila, that place was virginal, that place was pristine. 3. That place was virginal, that place was pristine. At that moment, on that day, and under that sun, when Utu stepped up into heaven, from the standing vessels on Ezen's shore, from Nanna's radiant high temple, from the mouth of the waters running underground, fresh waters ran out of the ground for her. 4. In Dilmun the raven was not yet cawing, the partridge not cackling. The lion did not slay, the wolf was not carrying off lambs, the dog had not been taught to make kids curl up, the pig had not learned that grain was to be eaten. When a widow has spread malt on the roof, the birds did not yet eat that malt up there. The pigeon then did not tuck the head under its wing. 5. No old woman belonging to it said there: "I am an old woman." No old man belonging to it said there: "I am an old man." No man dredging a river said there: "It is getting dark." No herald made the rounds in his border district. No singer sang there. No wailings were wailed in the city's outskirts there. Ninsikila said to her father Enki: "You have given a city. You have given a city. What does your giving avail me? You have given a city, Dilmun. You have given a city. What does your giving avail me? You have given… You have given a city. What avails me your giving? You have given a city. What does your giving avail me?" 6. When Utu steps up into heaven, fresh waters shall run out of the ground for you from the standing vessels on Ezen's shore, from Nanna's radiant high temple, from the mouth of the waters running underground." "May the waters rise up from it into your great basins. May your city drink water aplenty from them. May Dilmun drink water aplenty from them. May your pools of salt water become pools of fresh water. May your city become an emporium on the quay for the Land. May Dilmun become an emporium on the quay for the Land."

7. He laid her down all alone in Dilmun, and the place where Enki had lain down with his spouse, that place was still virginal, that place was still pristine. He laid her down all alone in Dilmun, and the place where Enki had lain down with Ninsikila, that place was virginal, that place was pristine. At that moment, on that day, and under that sun, when Utu stepped up into heaven, from the standing vessels on Ezen's shore, from Nanna's radiant high temple, from the mouth of the waters running underground, fresh waters ran out of the ground for her. 8. Fresh waters ran out of the ground for her. The waters rose up from it into her great basins. Her city drank water aplenty from them. Dilmun drank water aplenty from them. Her pools of salt water indeed became pools of fresh water. Her fields, glebe and furrows indeed produced grain for her. Her city indeed became an emporium on the quay for the Land. Dilmun indeed became an emporium on the quay for the Land. At that moment, on that day, and under that sun, so it indeed happened. 9. In those days, in the days when heaven and earth were created; in those nights, in the nights when heaven and earth were created; in those years, in the years when the fates were determined; when the gods were born; when the goddesses were taken in marriage; when the goddesses were distributed in heaven and earth; when the goddesses became pregnant and gave birth; the senior gods oversaw the work, while the minor gods were bearing the toil. The gods were digging the canals and piling up the silt in Ḫarali. The gods, crushing the clay, began complaining about this life. 10. At that time, the one of great wisdom, the creator of all the senior gods, Enki lay on his bed, not waking up from his sleep, in the deep engur, in the subterranean water, the place the inside of which no other god knows. The gods said, weeping: "He is the cause of the lamenting!" Namma, the primeval mother who gave birth to the senior gods, took the tears of the gods to the one who lay sleeping, to the one who did not wake up from his bed, to her son: "Are you really lying there asleep, and not awake? The gods, your creatures, are smashing their… My son, wake up from your bed! Please apply the skill deriving from your wisdom and create a substitute for the gods so that they can be freed from their toil!" 11. You entered… Look, you do not dwell in heaven, you do not dwell on earth, you do not come out to look at the Land. Where you do not dwell but where my house is built, your words cannot be heard. Where you do not live but where my city is built, I myself am silenced. My city is ruined, my house is destroyed, my child has been taken captive. I am a fugitive who has had to leave the E-kur, even I myself could not escape from your hand. 12. Counting the days and putting the months in their houses, so as to complete the years and to submit the completed years to the assembly for a decision, taking decisions to regularize the days: Father Enki, you are the king of the assembled people. You have only to open your mouth for everything to multiply and for plenty to be established. Your branches, green with their fruit, do honor to the gods. The shepherd sweetly sings his rustic song, the cowherd spends the day rocking his churns. Their products would do honor to the late lunches in the gods' great dining hall. 13. At my command, sheepfolds have been built, cow-pens have been fenced off.

When I approach heaven, a rain of abundance rains from heaven. When I approach earth, there is a high carp-flood. When I approach the green meadows, at my word stockpiles and stacks are accumulated. I have built my house, a shrine, in a pure place, and named it with a good name. I have built my Abzu, a shrine, and decreed a good fate for it. The shade of my house extends over the pool. By my house the carp dart among the honey plants, and the carp wave their tails among the small reeds. The small birds chirp in their nests. 14. The lord established a shrine, a holy shrine, whose interior is elaborately constructed. He established a shrine in the sea, a holy shrine, whose interior is elaborately constructed. The shrine, whose interior is a tangled thread, is beyond understanding. The shrine's emplacement is situated by the constellation the Field, the holy upper shrine's emplacement faces towards the Chariot constellation. Its terrifying sea is a rising wave, its splendor is fearsome. The Anuna gods dare not approach it. To refresh their hearts, the palace rejoices. The Anuna stand by with prayers and supplications. They set up a great altar for the lord… The great prince… The pelican of the sea. 15. From the great heaven she set her mind on the great below. From the great heaven the goddess set her mind on the great below. From the great heaven Inana set her mind on the great below. My mistress abandoned heaven, abandoned earth, and descended to the underworld. Inana abandoned heaven, abandoned earth, and descended to the underworld. 16. On this day I will descend to the underworld. When I have arrived in the underworld, make a lament for me on the ruin mounds. Beat the drum for me in the sanctuary. Make the rounds of the houses of the gods for me. When you have entered the house of Enlil, lament before Enlil: "Father Enlil, don't let anyone kill your daughter in the underworld. Don't let your precious metal be alloyed there with the dirt of the underworld. Don't let your precious lapis lazuli be split there with the mason's stone. Don't let your boxwood be chopped up there with the carpenter's wood. Don't let young lady Inana be killed in the underworld. 17. My mistress, there is a lone girl outside. It is Inana, your sister, and she has arrived at the palace Ganzer. She pushed aggressively on the door of the underworld. She shouted aggressively at the gate of the underworld. She has abandoned E-ana and has descended to the underworld." She has taken the seven divine powers. She has collected the divine powers and grasped them in her hand. She has come on her way with all the good divine powers. She has put a turban, headgear for the open country, on her head. She has taken a wig for her forehead. She has hung small lapis-lazuli beads around her neck." 18. When she entered the second gate, the small lapis-lazuli beads were removed from her neck. "What is this?"

"Be silent, Inana, a divine power of the underworld has been fulfilled. Inana, you must not open your mouth against the rites of the underworld. When she entered the third gate, the twin egg-shaped beads were removed from her breast. "What is this?" "Be silent, Inana, a divine power of the underworld has been fulfilled. Inana, you must not open your mouth against the rites of the underworld." 19. When she entered the fifth gate, the golden ring was removed from her hand. "What is this?" "Be silent, Inana, a divine power of the underworld has been fulfilled. Inana, you must not open your mouth against the rites of the underworld." When she entered the sixth gate, the lapis-lazuli measuring rod and measuring line were removed from her hand. "What is this?" "Be silent, Inana, a divine power of the underworld has been fulfilled. Inana, you must not open your mouth against the rites of the underworld." 20. When she entered the seventh gate, the pala dress, the garment of ladyship, was removed from her body. "What is this?" "Be silent, Inana, a divine power of the underworld has been fulfilled. Inana, you must not open your mouth against the rites of the underworld." After she had crouched down and had her clothes removed, they were carried away. Then she made her sister rise from her throne, and instead she sat on her throne. The Anuna, the seven judges, rendered their decision against her. They looked at her—it was the look of death. They spoke to her—it was the speech of anger. They shouted at her—it was the shout of heavy guilt. The afflicted woman was turned into a corpse. And the corpse was hung on a hook. 21. In his rage Father Enlil answered: "My daughter craved the great heaven and she craved the great below as well. Inana craved the great heaven and she craved the great below as well. The divine powers of the underworld are divine powers which should not be craved, for whoever gets them must remain in the underworld. Who, having got to that place, could then expect to come up again?" In his rage Father Nanna answered: "My daughter craved the great heaven and she craved the great below as well. Inana craved the great heaven and she craved the great below as well. The divine powers of the underworld are divine powers which should not be craved, for whoever gets them must remain in the underworld. Who, having got to that place, could then expect to come up again?" 22. What has my daughter done? She has me worried. What has Inana done? She has me worried. What has the mistress of all the lands done? She has me worried. What has the mistress of heaven done? She has me worried. One of you sprinkle the life-giving plant over her, and the other the life-giving water. Go and direct your steps to the underworld. Flit past the door like flies. Slip through the door pivots like phantoms. The mother who gave birth on account of her children is lying there. Her holy shoulders are not covered by a linen cloth.

23. "Who are you? Speaking to you from my heart to your heart, from my body to your body— if you are gods, let me talk with you; if you are mortals, may a destiny be decreed for you." Make her swear this by heaven and earth. They will offer you a riverful of water—don't accept it. They will offer you a field with its grain—don't accept it. But say to her: "Give us the corpse hanging on the hook." She will answer: "That is the corpse of your queen." Say to her: "Whether it is that of our king, whether it is that of our queen, give it to us." She will give you the corpse hanging on the hook. One of you sprinkle on it the life-giving plant and the other the life-giving water. Thus let Inana arise. 24. When she said "Oh my heart", they said to her "You are troubled, our mistress, oh your heart". When she said "Oh my body", they said to her "You are troubled, our mistress, oh your body". Then she asked: "Who are you? I tell you from my heart to your heart, from my body to your body— if you are gods, I will talk with you; if you are mortals, may a destiny be decreed for you." They made her swear this by heaven and earth. 25. They were offered a river with its water— they did not accept it. They were offered a field with its grain— they did not accept it. They said to her: "Give us the corpse hanging on the hook." She answered: "The corpse is that of your queen." They said to her: "Whether it is that of our king or that of our queen, give it to us." They were given the corpse hanging on the hook. One of them sprinkled on it the life-giving plant and the other the life-giving water. And thus Inana arose. 26. But as Inana was about to ascend from the underworld, the gods seized her: "Who has ever ascended from the underworld, has ascended unscathed from the underworld? If Inana is to ascend from the underworld, let her provide a substitute for herself." So when Inana left the underworld, the one in front of her, though not a minister, held a scepter in his hand; the one behind her, though not an escort, carried a mace at his hip, while the small demons, like a reed enclosure, and the big demons, like the reeds of a fence, restrained her on all sides. 27. Holy Inana answered the demons: "This is my minister of fair words, my escort of trustworthy words. She did not forget my instructions. She did not neglect the orders I gave her. She made a lament for me on the ruin mounds. She beat the drum for me in the sanctuaries. She made the rounds of the gods' houses for me. She lacerated her eyes for me, lacerated her nose for me She lacerated her ears for me. Like a pauper, she clothed herself in a single garment." 28. In those remote days, when the fates were determined; in a year when An brought about abundance, and people broke through the earth like green plants— then the lord of the Abzu, King Enki, Enki, the lord who determines the fates, built up his temple entirely from silver and lapis lazuli. Its silver and lapis lazuli were the shining daylight. Into the shrine of the Abzu he brought joy.

As it has been built, as it has been built; it is an artfully built mountain which floats on the water. His shrine spreads out into the reed beds; birds brood at night in its green orchards laden with fruit. The carp play among the honey-herbs, and the carp dart among the small reeds. When Enki rises, the fish rise before him like waves. 29. His heart was full of tears as he went out into the countryside. The lad's heart was full of tears as he went out into the countryside. Dumuzid's heart was full of tears as he went out into the countryside. He carried with him his shepherd's stick on his shoulder, sobbing all the time: "Grieve, grieve, O countryside, grieve! O countryside, grieve! O marshes, cry out! O crabs of the river, grieve! O frogs of the river, cry out! 30. In ancient times he lay down, in ancient times he lay down, in ancient times the shepherd lay down. When in ancient times the shepherd lay down, he lay down to dream. He woke up—it was a dream! He shivered—it was sleep! He rubbed his eyes, he was terrified. "Bring, bring, bring my sister! Bring, bring my sister! Bring my scribe proficient in tablets, bring my sister! Bring my singer expert in songs, bring my singer! Bring my wise woman who knows the meanings of dreams, bring my sister! I will relate the dream to her." 31. A dream, my sister! A dream! In my dream, rushes were rising up for me, rushes kept growing for me; a single reed was shaking its head at me; twin reeds—one was being separated from me. Tall trees in the forest were rising up together over me. Water was poured over my holy coals for me, the cover of my holy churn was removed, my holy drinking cup was torn down from the peg where it hung, my shepherd's stick disappeared from me. An owl took a lamb from the sheep house, a falcon caught a sparrow on the reed fence, my male goats were dragging their dark beards in the dust for me, my rams were scratching the earth with their thick legs for me. The churns were lying on their sides, no milk was being poured, the drinking cups were lying on their sides, Dumuzid was dead, the sheepfold was haunted. 32. My brother, your dream is not favorable, don't tell me any more of it! Dumuzid, your dream is not favorable, don't tell me any more of it! The rushes rising up for you, which kept growing for you, are bandits rising against you from their ambush. The single reed shaking its head at you is your mother who bore you, shaking her head for you. The twin reeds of which one was being separated from you is you and I—one will be separated from you. The tall trees in the forest rising up together over you are the evil men catching you within the walls. That water was poured over your holy coals means the sheepfold will become a house of silence. That the cover of your holy churn was removed for you means the evil man will bring it inside in his hands. 33. Your holy drinking cup torn down from the peg where it hung is you falling off the lap of the mother who bore you. That your shepherd's stick disappeared from you

means the demons will set fire to it. The owl taking a lamb from the sheep house is the evil man who will destroy the sheep house. The falcon catching a sparrow on the reed fence is the big demon coming down from the sheep house. That the churns were lying on their sides, no milk was being poured, the drinking cups were lying on their sides, that Dumuzid was dead, and the sheepfold haunted, means your hands will be bound in handcuffs, your arms will be bound in fetters. That your male goats were dragging their dark beards in the dust for you means that my hair will whirl around in the air like a hurricane for you. That your rams were scratching the earth with their thick legs for you means that I shall lacerate my cheeks with my fingernails for you as if with a boxwood needle. 34. Utu accepted his tears. He changed his hands into gazelle hands, he changed his feet into gazelle feet, so he evaded the demons and escaped with his life to the house of Old Woman. He approached the house of Old Woman. "Old woman! I am not just a man, I am the husband of a goddess! Would you pour water—please—so I can drink water. Would you sprinkle flour—please—so I can eat flour." She poured water, and she sprinkled flour, and he sat down inside the house. The old woman left the house. When the old woman left the house, the demons saw her. 35. My home, where black birch trees grow in a good place, my sanctuary, where white birch trees grow in a pure place— my shrine is built in a good place. The sanctuary’s name is a good name. My shrine is built in a good place. The sanctuary’s name is a good name. Before Dilmun existed, palm trees grew in my city. Before Dilmun existed, palm trees grew in Nibru and the great mother Ninlil was clothed in fine linen. 36. I will… The perishing of my mankind; for Nintur, I will stop the annihilation of my creatures, and I will return the people from their dwelling grounds. Let them build many cities so that I can refresh myself in their shade. Let them lay the bricks of many cities in pure places, let them establish places of divination in pure places, and when the fire-quenching is arranged, the divine rites and exalted powers are perfected and the earth is irrigated, I will establish well-being there. After the gods had fashioned the black-headed people, they also made animals multiply everywhere, and made herds of four-legged animals exist on the plains, as is befitting. 37. seat in heaven… flood… mankind. So he made … Then he made a lament for its people. Enki took counsel with himself. They made all the gods of heaven and earth take an oath. In those days the king, the priest… He fashioned… The humble, committed, reverent… Day by day, standing constantly at… Something that was not a dream appeared, conversation… … taking an oath by invoking heaven and earth. I will speak words to you; take heed of my words, pay attention to my instructions. A flood will sweep over the … in all the … A decision that the seed of mankind is to be destroyed has been made.

38. All the windstorms and gales arose together, and the flood swept over the… After the flood had swept over the land, and waves and windstorms had rocked the huge boat for seven days and seven nights, The sun god came out, illuminating heaven and earth.

You have indeed given me all this. How can it be that the mountain did not fear me in heaven and on earth, that the mountain did not fear me, Inana, in heaven and on earth, that the mountain range of Ebih, the mountain, did not fear me in heaven and on earth?

… More and more animals disembarked onto the earth. The king prostrated himself before the gods. The gods treated the king kindly… They granted him life like a god, they brought down to him eternal life. At that time, because of preserving the animals and the seed of mankind, they settled the king in an overseas country, in the land Dilmun, where the sun rises.

44. Fruit hangs in its flourishing gardens and luxuriance spreads forth. Its magnificent trees, a crown in the heavens, stand as a wonder to behold. Lions are abundant under the canopy of trees and bright branches. It makes wild rams and stags freely abundant. It stands wild bulls in flourishing grass. Deer couple among the cypress trees of the mountain range. “Its fearsomeness is terrible—you cannot pass through. The mountain range's radiance is terrible— maiden Inana, you cannot oppose it." Thus he spoke. The mistress, in her rage and anger, opened the arsenal and pushed on the lapis lazuli gate. She brought out magnificent battle and called up a great storm. Holy Inana reached for the quiver. She raised a towering flood with evil silt. She stirred up an evil raging wind.

39. When the rain rained, when walls were demolished, when it rained potsherds and fireballs, when one person confronted another defiantly... When the rain said: "I will rain," when the wall said: "I will rain” when the flood said: "I will sweep everything away" Heaven impregnated, Earth gave birth, she gave birth also to grass. Earth gave birth, Heaven impregnated, she gave birth also to the grass. 40. The people living around the city hung up nets, the people living around Inab hung up nets, hung up nets, chased gazelles and killed the gazelles as one kills humans. One day, as the evening came, and they had reached the place of rations, they established the rations before the god… The correct form of this name is not known. The ration of a married man was established as double, the ration of a man with a child was established as triple; the ration of a single man was established as single; but the ration of Martu, though being single, was also established as double. 41. Men used to eat grass with their mouths like sheep. In those times, they did not know grain, barley or flax. An brought these down from the interior of heaven. Enlil lifted his gaze around as a stag lifts its horns when climbing the terraced hills. He looked southwards and saw the wide sea; he looked northwards and saw the mountain of aromatic cedars. Enlil piled up the barley, gave it to the mountain. He piled up the bounty of the Land, gave the barley to the mountain. He closed off access to the wide-open hill. … its lock, which heaven and earth shut fast, its bolt, which … 42. My lady, on your acquiring the stature of heaven, maiden Inana, on your becoming as magnificent as the earth, on your coming forth like Utu the king and stretching your arms wide, on your walking in heaven and wearing fearsome terror, on your wearing daylight and brilliance on earth, on your walking in the mountain ranges and bringing forth beaming rays, on your bathing the plants of the mountains in light, on your giving birth to the bright mountain, the mountain, the holy place, on your… on your being strong with the mace like a joyful lord, like an enthusiastic lord, on your exulting in such battle like a destructive weapon—the black-headed people ring out in song and all the lands sing their song sweetly. 43. to appear to those kings of heaven like moonlight, to shoot the arrow from the arm and fall on fields, orchards and forests like the tooth of the locust, to take the harrow to rebel lands, to remove the locks from their city gates so the doors stand open.

45. Mountain range, because of your elevation, because of your height, because of your attractiveness, because of your beauty, because of your wearing a holy garment, because of your reaching up to heaven, because you did not put your nose to the ground, because you did not rub your lips in the dust, I have killed you and brought you low." As with an elephant I have seized your tusks. As with a great wild bull I have brought you to the ground by your thick horns. As with a bull I have forced your great strength to the ground and pursued you savagely. I have made tears the norm in your eyes. I have placed laments in your heart. Birds of sorrow are building nests on these flanks. 46. Full of wisdom he adds the following words: "Raven, I shall give you instructions. Pay attention to my instructions. Raven, in the shrine I shall give you instructions. Pay attention to my instructions. First, chop up and chew the kohl for the incantation priests with the oil and water which are to be found in a lapis-lazuli bowl and are placed in the back-room of the shrine. Then plant them in a trench for leeks in a vegetable plot; then you should pull out…" Now, what did one say to another? What further did one add to the other in detail? The raven paid exact attention to the instructions of his master. 47. Then what did the storm wind bring? It blew the dust of the mountains into his eyes. When he tried to wipe the corner of his eyes with his hand, he got some of it out, but was not able to get all of it out. He raised his eyes to the lower land and saw the exalted gods of the land where the sun rises. He raised his eyes to the high lands and saw the exalted gods of the land where the sun sets. He saw a solitary ghost. He recognized a solitary god by her appearance. He saw someone who fully possesses the divine powers. He was looking at someone whose destiny was decided by the gods. In that plot—had he not approached it five or ten times before? There stood a single shady tree at that place. The shady tree was a Euphrates poplar with broad shade. Its shade was not diminished in the morning, and it did not change either at midday or in the evening.

48. My father, I was to water garden plots and build the installation for a well among the plants, but not a single plant remained there, not even one: I had pulled them out by their roots and destroyed them. Then what did the storm wind bring? It blew the dust of the mountains into my eyes. When I tried to wipe the corner of my eyes with my hand, I got some of it out, but was not able to get all of it out. I raised my eyes to the lower land, and saw the high gods of the land where the sun rises. I raised my eyes to the high lands, and saw the exalted gods of the land where the sun sets. I saw a solitary ghost. I recognized a solitary god by her appearance. I saw someone who possesses fully the divine powers. I was looking at someone whose destiny was decided by the gods. In that plot—had I not approached it three or six hundred times before? There stood a single shady tree at that place. The shady tree was a Euphrates poplar with broad shade. Its shade was not diminished in the morning, and it did not change either at midday or in the evening." 49. The river of the nether world produces no water, no water is drunk from it. Why should you sail? The fields of the nether world produce no grain, no flour is eaten from it. Why should you sail?} The sheep of the nether world produce no wool, no cloth is woven from it. Why should you sail? As for me, even if my mother digs as if for a canal, I shall not be able to drink the water meant for me. The waters of springtime will not be poured for me; I shall not sit in the shade intended for me. The dates will not reveal their beauty for me. I am a field threshed by my demon— you would scream at it. He has put manacles on my hands— you would scream at it. He has put a neck-stock on my neck— you would scream at it. 50. You are a beloved… There should be a limit to it for you. How they treat you, how they treat you! There should be a limit to it for you. My brother, how they treat you, how haughtily they treat you! There should be a limit to it for you. I am hungry, but the bread has slipped away from me! There should be a limit to it for you. I am thirsty, but the water has slipped away from me! There should be a limit to it for you.