Stabat Mater

Line Tjørnhøj Stabat Mater (2009) for soprano & mezzo soli, double bass, electronics & video projection

Text: Line Tjørnhøj freely after Pico della Mirandola Oration on the dignity of the human being From the UN Convention on the Rights of the Child and Stabat Mater Quotes from the trial - Line Tjørnhøj – from the story about Atefah Stabat Mater in Line Tjørnhøj’s revised version.

SCORE

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Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Line Tjørnhøj Stabat Mater (2009) for soprano & mezzo soli, double bass, electronics & video projection

On 15 August, 2004, Atefah Sahaaleh was hanged in a public square in the Iranian city of Neka. Her death sentence was imposed for “crimes against chastity”.

Judge Haji Rezai put himself the noose around her neck she was just 16.

Stabat Mater was originally created in 2009. The main idea was to change the famous text, placing it in a contemporary context where children are publicly executed in certain situations around the world.

The work can be presented in three forms: í As a staged music-drama í As a concert piece with visuals í As a regular concert work The main aria is Mater. A concert was staged in 2009 with the full musical material.

It is however possible to revise the work since it consists of parts that can be moulded, staged, and put together in a montage with other of my main “songs” on the mother theme.

I will happily assist in creating an updated version suitable for a specific venue or situtation, as this is the way in which the work can best be realized.

A few of the songs have been recorded, a trailer has been made, and there is also a full video of the staged concert version presented in Vejle, 2009.

Line Tjørnhøj, 2017 COMMENTS ON THE SCORE: For 2 Solo female voices trained in “extended vocal techniques”: í classical mezzo-Soprano í rhythmic jazz/ethno/experimental Double Bass (player also doubles voice) Visual Art Dancer

VOICE “EXPRESSION” EFFECTS: “Sotto voce”: lowering the voice with a hushed quality.

Helpful to let voices blend.

“Humming” “Vibrato” “Hammer”: produced by the vocal folds through a serie of glottal onsets (more precise than “voice-puffs” – can be used also for quick ornamentations) “Diaphragmal”: controlled by the diaphragma (normally used) “Larynx”: controlled by moving larynx “Multiphonics”: voice sonorities that feature the perception of two or more simultaneous pitches.

“Reinforced harmonics”: gives a perception of more voices. Can be combined with multiphonics: articulated (produced mainly through articulating softly with lips) non-articulated (tongue placed against palate. Creates a more “flute-like” sound) “Fry”: also known as “creaky voice” or “pulse register” – a very dramatic and horror-like sound when “uncontrolled” – can produce very deep subharmonics.

“Voice-puffs” : perceived as a rapid, relatively even interruption of the basic sound.

VOICE “EXPRESSION” QUALITIES: “Speech”: Modal speech as heard in everyday talking in newscast and radio. Also labeled as chest voice in singing voice.

“Falsetto”: Associated with children’s voices when they are singing sweetly, used e.g. in early music. Generally no vibrato.

“Sob”: The sobbing cry of an adult, who mourns, including the extreme effort associated with silent, suppressed sobbing. Heard much in jazz and blues and e.g. in operatic pianissimo.

“Belting”: Mostly known from ethnic singing, gospel etc, children on playground.

“Operatic”: quality heard in opera, oratorio and recital hall.

LIBRETTO I have and possess whatever place to live, whatever form and whatever function I myself choose according to my desires and my judgement. I may choose for myself the limits and bounds of my nature. I am placed at the very very centre of the world so that I may survey everything else in the world. I am a creature neither of heaven nor of earth! Neither mortal nor immortal. I as the free and proud shaper of my own being may fashion myself in the form I may prefer. It is in my power to descend to the beastly form of life. And to me is granted the power to rise into the divine.

Text: Line Tjørnhøj freely after Pico della Mirandola (1486) Oration on the dignity of the human being.

It is your duty to punish my tormentors not me their victim.

I am not old enough to marry. I cannot declare war. Still I am abused, tortured, sentenced to death, executed.

Judge: You will hang for your sharp tongue. I myself will put the noose around your neck. This is my personal crusade. To uphold this verdict.

Transfix my heart with the wounds.

Text: Quotes from the trial - Line Tjørnhøj – from the story about Atefah (http://en.wikipedia.org/wiki/ Atefah_Sahaaleh) 1. The child must be given the means requisite for its normal development, both materially and spiritually.

2. The child that is hungry must be fed, the child that is sick must be nursed, the child that is backward must be helped. The delinquent child must be reclaimed, and the orphan and the waif must be sheltered and succored.

3. The child must be the first to receive relief in times of distress.

4. The child must be put in a position to earn a livelihood, and must be protected against every form of exploitation.

5. The child must be brought up in the consciousness that its talents must be devoted to the service of its fellow men.

Text: from the UN Convention on the Rights of the Child and Stabat Mater Convention on the Rights of the Child Article 37 States Parties shall ensure that: No child shall be subjected to torture or other cruel, inhuman or degrading treatment or punishment. Neither capital punishment nor life imprisonment without possibility of release shall be imposed for offences committed by persons below eighteen years of age.

I stand for the crane where my children are hanging – weeping – My soul – sighing from grief and sadness – pierced by a sword O – how sad and afflicted – I the blessed mother of children I mourn; I grieve and suffer looking at the torment of my glorious children Who is the person who would not weep seeing me in such agony?

Who would not be able to feel compassion on beholding me suffering with my children?

For the sins of their people I see my children in torment and subjected to the scourge I see my sweet offspring dying, desolated, while giving up their spirits I – the mother, fountain of love, feel the power of sorrow, grieve with me Grant your heart to burn in love of these children, that you may be pleasing to them I – the mother – grant that the wounds of the hanged children drive deep into your heart That of my wounded children, who so deigned to suffer for you, you may share the pain Weep with me, bemoan the hanged children for as long as you live Stand before the crane with me and gladly share the weeping I the mother is not bitter with you – weep with me Grant to bear the death of these children, the fate of their passion and commemorate their wounds Be wounded with their wounds, inebriated by the crane because of love the children I the mother defend you burning in the flames of hell on the day of judgment When your body dies, I grant that to your soul is given the glory of paradise. Amen Stabat Mater in Line Tjørnhøj’s revised version.

1. Prolog: Friggs Prayer

°

2. Cradle of life "airscream"

Electr.

universal projection 2. Cradle of life

¢

"darkness"

Visuals

"operatic" mf "distant"

q = 110 ppp Voice1

° &

b˙ ™

™™bw

offstage "airscream"

/o/ al

/hlu/ /ti/ ger - du

/hei/ that

"falsetto" mp "airy" "close"

ppp "airscream"

Voice2

bw bœ w

™™ œ œ bœ œ bœ bœ œ œ œ œ bœ œbœ nœ bœ nœ bœ Œ

offstage

¢&

ok En

=

ef al

al lir

lir hlu - ti ger -du that

ri

i

hei - mi-num

6

° bw Voice 1 & /kyk/

Voice 2

˙ ˙

bw

bw

/dau/ /dir/ /gra/ kyk - ven - din

/ta/ jord

w

bw

thau ok

skal stein

œ bœ œ œ œ bœ œ œ ™ œœbœnœ œ bœ ™ œ œ Œ œ bœ nœ œ bœnœbœ Ó œ & ¢ œ J 3 kyk vir ok men- ni - nir ok

dau kyk

dir

gra din

ok

ta jor

ha din

thau skal han ok stei-ner - nir

= 12

° w Voice 1 & han ok

Voice 2

b˙ bw

/far/ al

/apt/ malm

bœ œ n˙ en hal-dask sva them du

¢& œ bœ nœ œ bœnœbœ œ bœ nœ bœ Œ Ó fa - ra till ok tre ok

bw

˙ bw

a al

sa lar

apt malm

med mon

Hel se

-

ju hafa

bœ œ œ œ œ œbœ œ œ œ nœ bœ Œ Ó en hal- dask sva them du

med mon

hel se ha - fa

ju at

= 18

b˙

° bœ œ n˙ Voice 1 &

˙

med Hel - ju at thes-si

ef hlu

Voice 2

˙ Ó -

nak tir

- var gra

bœ nœ bœ Œ Ó ¢ & bœ œ œ œ œ œ œ œ œ med hel - ju at thes-si

ef hlu

nak var tir gra - ta

bœ œ ˙ ef nak-var gra -ta their

-

w w ri ko

mæ ma

-

bœ œ œbœ œ bœnœbœ œ œ œ b˙ Ó ef nak- var gra -ta their

Line Tjørnhøj: Stabat Mater - 5

ri ko

mæ lir ma ør frost

24

° bœ ˙ œ Voice 1 &

˙

mæ- lir vil ør frost-ti

ei ok

™™bœ œ bœ œ œ

œ œ w -

gi gra - ta i hi - ta

gra

bœ œ œ bœ œ bœnœbœ œ œ œ b˙ ¢& mæ- lir vil ør fros - ti

ei ok

tinn

™™bœ œ nœ bœ œbœ œbœ n˙

Ó Voice 2

bœ œ bœ œ bœ n˙

gi gra - ta i hi - ta

gra

tinn

gra

bœ œ nœ bœ gra

= 30

° bœ Voice 1 &

œ ˙ tinn

Voice 2

œ œ œbœ n˙ & ¢ tinn

bœ œ nœ bœ œbœ œbœ nœ œ b˙ ™ nœ ˙ Ó gra

tinn ør

hel 1.

ju

œ œ bœ œ œ œ œbœ nœ œ ˙™ bœ b˙ Ó gra

tinn ør

hel

™™ b˙ ™ bœ bw hel 2.

ju

™™ b˙ ™ œ w

ju

hel

ju

=

2. Cradle of Life "15"

° Misc.

"cradle" "airscream"

Electr. "dbOffspring" "creak"

¢ "crows"

"cradle"

Visuals

"darkness"

?

à ≈

"airscream"

subtle Db. "creak"

=

q = 60 rubato

sul tasto arco Ÿ~~~~~~~~~ <n> à bnorm.

O™ ? bœ ™ ‰ œJ ™ Oœ

46

Db.

pp

à ‰ ‰ n˙ œ .R

r œ.

"airscream" "creak"

sf

à à à > ‰ bœ nœ. œ gliss. bœr ‰ ‰ . >p sf (on E)

Line Tjørnhøj: Stabat Mater - 6

Electr.

°/

"crows"

¢ Visuals "crows"

sul pont.

à ≈‰

? gliss.

bœ.

Db.

˙ >-

ææj œ™

œ >.

ææj œ™

-œ.

J

"crowscream" "crowbody"

œ

gliss.

≥ ≈ œ- ™

-œ≥ à‰ bœ

mp

pp sf

pp ff (multiphonics behind the bridge)

= Misc.

°/

shadows/scarfs

"creak"

/

Electr.

"crows"

"cradle"

¢ Visuals "creak"

U sul tasto molto lento

???

"15"

U œ™ œ œ ˜ œœ ™ n œ ™ œ˜œ ™ œnœ ™ ?

trill. gliss

? œ gliss. ≥ ≈bOœ ™™ Oœbœ≥ ™ œ- ™ - ~~~~~~~~~~~~~~~~~~~~ morph into creak

Db.

& ‹ pp

"creak"

sf Italien flageolets intension multiphonics

(on E)

=

* Electr.

°/

*

"wooden shoes"

"disturbance"

* * "zapping"

*

* * ¢

"wooden shoes" "futurism"

Visuals

* hand hitting strings leggiero Zbpizz.

? ≈ Db.div

>r >r >r >r ≈ ≈ œ ≈ œ bœ ‰ œ

¿¿¿¿¿¿¿¿

r r ¿> ≈ ¿ ≈ ¿ ‰ Œ

sul pont. arco right hand

?

Db.

œ œ

‰ œ™ J

f Line Tjørnhøj: Stabat Mater - 7

j œ >

∑

hand hitting strings 3

3

57

¿ ¿ ¿ ¿ ≈¿ ¿ ≈¿ ¿ ¿

?

¿¿¿¿¿¿¿¿

¿

Ó

∑

Db.div

dark

˙ ? Ó

‰ œ œ J

Db.

Ϫ

œ œ œ bœ Œ ˙

norm.

‰

œ J

œ™ œ Pbpizz.

sul pont.

= with elbow 3

60

Œ

Œ ¿ ‰ ¿ ¿¿‰

¿¿¿¿‰ ¿¿¿¿‰ Œ

∑

Db.div multiphon. large vibr.

lento large vibr.

molto vibr.

œo ˙

‰ ˙™

?

?

‰

‰

Db.

‰

œ œ ˙™

& ‹ ppp

legato

= Ÿ~~ sul pont. oœ ˙ >. #O ™ > >œ. . ™™ glis U # O O O œ b œ ? g li s ™ s s . . ‰ œ Œ ≈ R ‰ bæœ næœ bæœ R ≈ œ œJ œ J p lento large vibr.

63

Ÿ~~~~~~~~~~~~~~~ à ? b˙ ™ gliss. nœ. ‰ R

Db.

pp

& ‹

mp sf

sf

= Uo <Ÿ>~ord. > > . . >œ. à >œ. à gliss. >œ. . s U s ? ≈ R ‰ œ ≈ R ‰ œ R ≈ œ™gli œ œ & Œ œ J ‹

67

Db.

molto vibr.

‰ #O˙

gliss.

Oœ™™

p f

= 3. Child "wooden shoes"

/

Body

>O. & œJ ‹

Db.

#Oœ ™™

gliss.

O >O. œ œ

>O. œ ‰ J

b >œ.

R

?

n -˙

gliss.

b >œ bœ n œ

mp

= "dbOffspring" 3. Child

Electr.

°/ "wooden shoes"

¢ "brightness" 3. Child

Visuals

b >œ. . n œ. ? bœ ‰

-˙ ‰

Db. ff

gliss.

ricochet >œ >œ. >œ. b >œ bœn œ ™ gliss. >. col legno batt > œ œ.#œ. . œ.bœ. ‰ œ R ≈ R ≈ R ≈‰ . nœbœnœ bœ . . .

sf

Line Tjørnhøj: Stabat Mater - 8

molto lento

75

Db.

? #œ .

a tempo molto pont.

U >œ. vibrant ≥ œ. œ. ≈ R ≈ bœœ œœ œj bœœ ™™ gliss.

- - #œ-. >-. p fff

≥r œ-. ≈

≥j œ™ gliss. œ-. œ pp fff

≥ ˙-

≥j ≥ ≈ œ- ™ #œ-. œ >p ff

= arco

>œ. npizz. à b æ æ R bœœ à œ-#œ- ‰ ‰

sul pont.

>œ. >œ. b >œ >œ œ n œ >œ œ b n b œ œ ?

J ≈ R Œ

78

Db. sf leggiero

pizz.

b >œ. œ R ‰ bœ mf

pp f

= pizz.

Pbpizz. arco Pbpizz.

81

?

œ bœ

b>œ ≈ bœ >œ ® b œR >œ mf

‰ Db. pp

, Pbpizz. arco arco > > > œ œ #œnœ œ bœJ ≈ œR ‰ œR ≈ œ #œ ™ ≈ ‰ ff

sf

f

=

Electr.

"dbOffspring" (harmonics)

¢/ °

arco molto pont. molto rubato vibr.

bb~w

? œ œ #œ.

Db.

& ‹

3. Child

molto randomised vibr. molto lento

#Oœ ≈ bOœ. #U # O ≈ # œœ ™™ ≈ # œR J

w~

gliss.

w~

mf multiphon multiphon dynamics: improvised random from pp - mp

= accel. j nœ ææ æææææææ # O # O O # O ™ O # O #Oœ ™™ ‰ ≈b#Oœ ≈nnOœ g li s s . ≈ œ ≈ ≈ b O ≈ ‰ ≈ b œ ≈ ≈ b O ≈ ‰ ≈ œ # œ ™ œ # œ # & J R bœ J gliss .

R R J J bœ J œ. ‹ pp >

88

Db.

= Electr.

Db.

¢/ °

echoing

col legno ™ O > >œ. . œ™ r ™ #O # O nO #O #U j #O ™™ œ #>œ. >œ. >œ. >œ. n O ™ œ ™ ‰ ≈ œ ≈ œ ≈ œ ‰ ≈ J ≈ O ‰ ≈ ≈ ≈ ≈ ≈ œ ≈ ≈≈ ≈≈≈ ≈≈≈≈ O™ # œ™ œ œ #œ R R R R R R≈ & œ œ™ J R J J ‹ sf

Line Tjørnhøj: Stabat Mater - 9

3. Child "15" Misc.

°/

Electr.

/

"purification" "silence"

echoing

"loops" stageprops sounds in Waltz (3/4) tempo: 80

¢

"purification" "alice" "loops" in Waltz (3/4) tempo: 80

Visuals

"maladjusted" child "hitting"/"kicking" stageprops

Œ ¿j ‰ ‰ ¿j ‰ ¿j ‰ ¿j

q = 80

3 4

/

Body

Π/

∑

∑

"mater" clapping rhythm in front of open mouth - articulating creating effects!

Voice1

3 4

¢°&

∑

¿ ¿¿¿ ¿ ¿ ¿

∑

∑

sempre BiTpizz

. bœ œ œ bœ ™ bœ. œ. n œ ‰‰J J‰J‰J‰ ‰

q = 80 lifting gesture

?3

4Ó

& ‹

Db.

bœ ™

‰ œj .

leggiero mp

= 102

/ Œ ¿ Œ

Body

Œ ¿j ‰ Œ ∑

? œ Œ ‰ j bœ ™ ‰ bœ ‰ œ ‰ ‰ œ bœ œ b˙ ™ J œ.

J J

Db.

Œ Œ ¿j ‰ ‰ ¿j ‰ ¿j ‰ ¿j

¿ Œ Œ ∑

Ó

. bœ ‰ œj bœ ™ ‰ ‰ nœJ J ‰ œJ ‰ œJ ‰ .

= "water"

Electr.

°/

4. Mater "glass"

¢ Visuals "mirror" 4. Mater

"purification" "waterpercussion"

Body

/

∑

Œ ¿ Œ

Œ ¿j ‰ Œ ∑

¿ Œ Œ ∑

Œ ¿ Œ

, . . ? bœ ™ ‰ bœ œ Db.

œ Œ ‰ j bœ ™ ‰ bœ ‰ œ ™ ‰ œj ‰ ˙ œ.

J Line Tjørnhøj: Stabat Mater - 10

Œ

‰ œj œ ™ ‰ ‰ œ.

J .

116

Body

Db.

‰ ¿j ¿ ¿ ¿ ¿ ‰ ¿j ‰ ¿j ‰ ¿j Œ ¿ Œ

/ Œ ¿ Œ

? œ™ ‰ ‰ j œ ™ œ.

‰ ‰ œ. œ™ J

‰ ¿j ¿ ¿ ¿ ¿

Œ ¿ Œ

‰ ‰ œj œ ™ ‰ ‰ œ. œ™ ‰ ‰ œj œ ™ J . .

‰ ‰ œ.

J

=

Electr.

¢/ °

preproduced db melody

4. Mater

Pushing a chair

Body

j j j / ‰¿‰¿‰¿ Œ ¿ Œ

‰ ¿j ¿ ¿ ¿ ¿ ‰ ¿j ‰ ¿j Œ

Œ ¿ Œ

‰ ‰ œj œ ™ ‰ ‰ œ. œ™ ‰ ‰ œj œ ™ J . .

? Ϫ Db.

‰ ‰ œ. œ™ J

>Y ™

Y™

‰ ‰ œj œ ™ ‰ ‰ œ. œ™ ‰ ‰ œj J . .

= Throwing glass Playing glass with finger

129

ΠBody

/ Y

Y™

Y™

Y™

Œ ¿ Œ ∑

∑

∑

sul pont. molto legato/sliding sounds molto "creaky"

? ˙ Db.

‰ œj . b˙ nœ bœ œ œ b˙ bœ œ ˙

‰ œj ™ . b˙

Œ ‰ j œ bœ œ b˙ ™

sf mp

= Playing glass with finger Throwing glass

137

Body

/

∑

Y™

Y™

Y™

Œ ¿ Œ ∑

∑

∑

lunga Db.

? ‰Œ ‰‰ j œ. b˙

‰ nœj bœ œ œ b˙ bœ œ ˙ .

Line Tjørnhøj: Stabat Mater - 11

‰ œj b˙ ™ .

∑ ˙ ™gliss. ˙™

4. Mater "20"

Misc.

°/

Electr.

/

"water" "cuddle" "glass"

¢

"mirror"

Visuals

body entering the mother "sculpturing": the dead child

Body

/

Voice1

¢°&

Mater rises

a black shadow sculpturing "pieta" with "body" in arms (sitting on a sittingball)

"cuddling" body´s cloth

q = 60

? ‰ œ œ. > mf

Db.

= Electr.

¢/ °

"cuddle"

Mater q = 80 mf "reinforced harmonics"

"cuddling" (nonarticulated & airy)

Voice1

° œ ¢& œ œ œ#œ œ‰ ‰

œ œœœœ œ‰ Œ

Œ

wo

wo

Weep wee

ping

sig

hing ("youyi") bow gliss norm.

œ.#œ. œ. œ. œ

?

˙ œ> >œ- œ œ

œ#œ œ œ

Db.

gliss.

¿j

bœq ™= 80 ¿r nœ ™ ‰

Œ

r ¿

Ÿ~~~ œ ™ r ¿‰ ‰ ˙

p

= Electr.

¢/ °

Voice1

° o ¢& w

"cuddle"

"cuddling"

wo

∑

bw

j ‰œ

˙™ me

with senza vibr.

flautando large vibr.

? bœ ™

#œ ™ r ¿

‰ bœ ™

r ¿

U ˙ #œ ™

Ϫ j 
‰

œ lœ n œ œ lœ n œ bœ k œ bœ œ l œ nœ

j ¿

‰

be-

‰

‰

Db. 3

3

molto legato sliding sounds Line Tjørnhøj: Stabat Mater - 12 (large slow vibratobowing att: 1/4 & 1/8 tones)

3

3

L J K

“reinforced harmonics" (articulated)

163

Voice1

° #wo ¢&

wo

wo

wo

Ó

Œ ‰#œJ #˙ ™

œ

moan The chil - dren ("oaøy")

sul pont. quasi baroque

norm.

#˙ ? œ l œ nœ œ lœ nœ #œ Jœ#œ#œ Jœ#œ œ lœ nœ œ lœ nœ b˙

U ˙ # œ œJ >˙ ‰

>˙

Db. 3

3

3

3 3

3

=

169

œ œ b œ œ bœ bw

vibr.

Voice1

° ¢& ˙ç™

gliss.

gliss.

w

gliss.

w #w

œ #˙ç™

chil - dren chil - dren /ah/

#>˙ b>˙ ?

>˙

>˙ >˙

Weep

>˙

> >œ ™ #>œ ™ >œ ™ #>œ ™ >œ ™ b>œ ™ b >œ ™ ˙ ‰ ‰ ‰ ‰ ‰ ‰ ‰

Db.

=

Misc.

°/

Electr.

/

Spotlight on Mater

"water"

Û "glass"

Û

¢ "mirror"

Visuals

Û Body leaving stage

Body

/ q = 60

Voice1

° w ¢&

Mother rises Body hanging head down

j œ ˙

œ™ œ œ œ™

I

stand

be - fore thecrane

≈ œr where

fading into playing OnBridge

norm.

q = 60

w ?

Db.

w

Y

>œ œ -œ > ≥. . œ≤. -œ >. œ.#œ. œ. œ œ œ œ. œ œ œ œLine Tjørnhøj: Stabat Mater - 13

lunga

f p

182

Voice1

w

° œ œ œ #œç œç œJ ¢& my

U ∑

gliss.

œ # œ œ

#˙

chil-dren are han -

ging

#œ œ Œ #˙

Tor - ment

My

lunga lunga

>≥#œ œ. nœ #-˙

w ˙ ? ˙

U ∑

≥ Œ #˙

Œ #œ

Db. mp

mp

f

p

=

f mf p 187

Voice1

œ. œ.#œ.#œ. œ. . #œ

° ˙ ¢&

f

#Ÿ˙~~~~~~~~ Œ

gliss.

œ œ œ

#œ ˙

soul

œ Œ #œ œ œ œ œ œ

œ Tor - ment

? Œ ˙

#œ.#œ œ . . œ-. > mf

Db. p

> ≈ œ.#œ ™ #œ Œ R -

Œ ˙

p

p

My

> œ -œ Ó œ

#˙

f

p

=

191

mf Voice1

° ˙ ¢&

œ. œ.#œ.#œ œ. #œ

ff #œ œ œ œ œ. œ. œ. œ. #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ U Ó #œ

soul

voice: pp multiphon.

Db.div

& YY soft slidings into ponticello (icy)

˙™ >œ. #œ #˙ ™ œ.

?

Db.

Y Œ & ‹ pp

p p mf Line Tjørnhøj: Stabat Mater - 14

q = 40 legato rubato "sob" inhale through nose

“reinforced harmonics"

194

p Voice1

à à à ° & ˙™ œ ˙™ œ ˙™ œ

(articulated)

o w

o w "velumbell"

O

/m/ my

/m/ soul /m/ /mour/

/ning/

-

(/niingou/) (/oaøyinyior/)

Child:

à àà à à àà à à à ≈¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ R R R R R

backstage

Voice 2

¢&

Ó

/a//hi/ /a//a/ /hi/ /a//hi/ /a//hi/ /a//a/ /hi/ /a//hi/ /a//hi/ /a//hi/

∑ & Y Y

Db.div

YY

YY

YY

YY

Y

Y

q = 40 fading into playing OnBridge

Y

Y

Y

& ‹

Db.

5. interlude = "60"

Misc.

°/

™™î

í ™™ quickly slowmotion

/

Electr.

í ™™

™™î

"glass"

™™î

"breathing body"

samples of "playing glass"

í ™™

¢

"close up" on Body´s "breathing"

Visuals

slowmotion "breathing body"

Body

rapist

/ "sotto voce" q = 80mf

Voice1

° &

4 4

Œ œ œMun œ

Œ œœ œ

œœœœ

dus

se-ne scit

onstage quickly

à à à à à à à à ™ ™ 4 Voice2 ¢& í ™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™î 4

∑

∑

/a//hi//a//hi//a//hi//a//hi//a//hi//a//hi//a//hi//a/

qpizz. = 80

. . . . . .

4 œ. œ. ‰ œJ ‰ œJ ‰ œJ œ. œ. ‰ œJ ‰ œJ ‰ œJ

?4 Db.

& ‹

mp

Line Tjørnhøj: Stabat Mater - 15

203

Voice1

° & œœœœ œœ œ œ œœ˙ no men il li mors

Œ

Œ

Œ

œMunœ œ

œœ œ

œœœœ

dus

se-ne scit

"sotto voce" mf Shekhinah: 3

∑ Voice2

∑

¢& ?

Db.

œœœœ œ œ œ œ

œ œ™ œ An - ji ha

vatt

. ‰ œ. ‰ œ. . ‰ œ. ‰ œ. . ‰ œ. œ œ œ œ œ œ ‰ ‰ ‰ . . . œ.

J J J œ.

J J J œ.

J J

se

œ

lett

œ ha - sha -

‰ œJ. œ œ. ‰ œJ. ‰ œJ. ‰ œJ. .

= 207

Voice1

° & œœœœ œœ œ œ œœ˙ no men il li mors

Œ

Œ œ œ œMun

Œ œœ œ

œœœœ

dus

se-ne scit

3

≈Œ Voice2

¢& ˙ ron ?

Db.

œ œ™ œ œ œ œ œ œ œ œ œ œ œ Ke sho shan na been-ha-ho - him keen

œœœ œ œœœ œœœ sho sha-nat ha am-ma kim

. . . . . . . . œ. œ. ‰ œJ ‰ œJ ‰ œJ œ. œ. ‰ œJ ‰ œJ ‰ œJ œ. œ. ‰ œJ ‰ œJ

‰ œJ. œ œ. ‰ œJ. ‰ œJ. ‰ œJ. .

= 211

Voice1

° & œœ œœ œœ œ œ œ œ˙ no men il li mors

Œ

∑ œœ˙ œ rose

Sha -

3

j œ œ œœœœj œbœœœœœœœœ Voice2 ¢& ‰ œ œ œ œ ra,-aj-ja- tiib

?

Db.

Ke ta-bo

œ.

J

‰

Œ™ ˙

j œ

- ah-ha - ba

sa-

œ bœ nœ ™

been hab ba nåt

. . . œ. œ. ‰ œJ ‰ œJ ‰ œJ œ. œ. ‰

j œœ

Œ

œ.‰ œ. œ œ. ‰ œ. ‰ œ. ‰ œ. œ œ. ‰ œ. ‰ œ. ‰ œ.

J J .

J J J .

J J J

= 215 3

Voice1

° &

≈Œ

œro œ œ œ œrose œ œ œ œ œ 3 œ œ œœœœj œbœœœœœœœœ Ó Voice2 ¢& œ œ œ ˙ ron

ha-ja tiib

?

Db.

beenhab ba - nåt

. . . œ. œ. ‰ œJ ‰ œJ ‰ œJ œ.

œ œ™ œ andthe li

œ.

œœœ J

œ™ Häd

œœ œ œ œ œ œ œ œ œ

-

di a - i

œ œ œ œ . . . ‰ œ‰ œ ‰œ ‰J‰J J J J

Line Tjørnhøj: Stabat Mater - 16

ly

of

the

œ

œ œ œ™

val -

j œ all be - et had œ œœ œ œ œ ‰J ‰J‰J‰J

219 3

Voice1

° ‰ j & œœœ œ val

œ œ œœœœj œbœœœœœœœœ Œ

leys

Ó Voice2

¢&

œœ œ œ œ œœœ ˙ ja - ji - in väd-dig-lå al-la - ji.

œœœ Œ

œœ œ Œ œ œœœ

Mun

dus

se-ne scit

œ

œbœnœ ™

œ J

al - la - ji

a - ha - va

˙ Œ™

œ J aj

voice: 3

∑

∑

&

Db.div

œ œ œ œ œ ? œ ‰ J ‰ J‰J œ ‰

œ J

œ œ™ œœ œ œ œ œ œ œ œ œ œI am the rose of Sha œ œ œ œ œ œ œ œ œ œ ‰J‰J œ ‰ J‰J ‰ J œ ‰J ‰ J ‰ J

Db.

=

Electr.

°/

niente

¢

niente

Visuals

transforming into "rapist"

Body

Voice1

6. Rape

/ ° œ œ œœœœœ œ œ & no

men il

˙

Œ

œ œœ Œ

œ œ

Mun

dus

œ

li

mors

Child:

Ϫ

3

œ œ œœœœj œ bœ œ œ œ œ œ Voice2 ¢& œ œ œ ja- tiib

œœ œ œ J

œœ Ó

beenhab ba - nåt

/a/ 3

≈Œ Db.div

& œroseœ œ œ œ œ œ œ œ ? œ ‰J‰J‰ J œ ˙ ron

Db.

œ œ

œ œ™ œœ œ œ œ œœœœ œ andthe li ly œ œ œ ‰ J ‰ J ‰ J & œ œ ‰ œJ ‰ œJ ‰ œJ ‹

Line Tjørnhøj: Stabat Mater - 17

226

Voice1

° œ Œ &

œ œœœ œœœœœœœœ œ œ˙ se-ne scit

men il

li

mors

¢&

Mun

r ˜œ

œ œ œ nw œ œ œ œ œ œ J

œ œ œ™ Voice2

no

œ œœœ Œ œ

Œ

dus

˜w

3

& œœœ œ

Db.div

of

the

‰ œj œ œ œ œ œ œ œ œ œj œbœœœœœœœœ Œ

œ val

-

val

leys

œ œ œ œ œ œ œ œ œ‰ & œ ‰J‰ J‰J œ ‰J‰J‰J œ ‹

Db.

∑

œ J

‰ œJ ‰ œJ œ œ ‰ œJ‰ œJ‰ œJ

= Electr.

°/

"rape"

mater: lullabye

"rape"

mater: lullabye

6. Rape ¢ Visuals

Body

percussive sounds of "flesh" by "hitting" and letting the body "smash" into floor and stageprops creating the image that body is the "rapist" of the child

/

mater: lullabye

4 4 4 4 4 4

"mater" stamping all e´ mater: lullaby

accel. “reinforced harmonics"

Voice1

° œœ œ &

œœœœœœœœœœ

Kr œ

(articulated&nonarticulated)

w w

2 4˙

4 4

/nieøyoåar/

nw mater: lullabye

percussive sounds of "flesh" by "hitting" cheeks and mouth - with open mouth creating the image that someone else is hitting/raping the child

Voice2 ¢&

poco “fry" “reinforced harmonics" voice: (articulated&nonarticulated)

∑ Db.div

mater: lullabye

2 4

∑

&

∑

4 4

w /nieøyoåar/ Zbpizz.

œ Db.

& œ ‹

‰ œJ ‰ œJ ‰ œJ

j j j œ‰ œ‰ œ‰ œ œ

4 j j j2 œ ‰ œ ‰ œ ‰ œ 4 œ œ œj ‰ 4 œ f

= 234

Db.

4 2 4 2 4 2 & 4 œ ‰ œj ‰ œj ‰ œj 4 œ œ œbœ 4 œ ‰ œj ‰ œj ‰ œj 4 œ œ j ‰ 4 œ ‰ œj ‰ œj ‰ œj 4 œ œ œ ‹ œ q = 120

= 239

Db.

more and more intense agressive freely adding empty strings effects & hitting the body

j 4 2 2 2 œ œ œ bœ 4 ?4 4 & 4 œ œ œ bœ 4 œ œ ‰ œJ ‰ œJ ‰ œJ 4 œ œ œ ‰ 4 œ œ ‰ œJ ‰ œJ ‰ œJ 4 ‹ ff Line Tjørnhøj: Stabat Mater - 18

repeat until que from "body" 244

2 œ œ j ‰ ™™4 œ ‰ œ ‰ œ ‰ œ ™™ 2 œ œ œbœ. ≈ œ œ œ œ ‰ ‰ ‰ œ 4œ œ J J J 4 J J J 4

? 44

Db.

U ∑

5 4

=

Electr.

°/

"lullaby"

¢

"darkness"

Visuals

"cleaning table with soft rhythmic "clapping"

rubato

Mater: q = 80

Voice1

"humming" con velum vibrato & tongue modulations "fry" sim.

à "fry" + + + sim. sim. o (ingressive) ° 5 œ™ ≈ ≈ ≈ ≈ œ ≈ œ 4 & j œ œ j œ ¢ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ > J œ™ œ™ œ™ /a/ /a/

= à "fry" (ingressive)

253 sim.

Voice1

sim. sim. sim. ° ˙ 2U ≈ ≈ ≈ ‰ 4 & j œ œ j œ b œ ¢ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ ™ œ œ™ œ™ œ™ /a/

7. Child versus Judge = q = 40 Child: 258 rubato mf

° Voice2 ¢&

"airy multiphonics" "fry" " multiphonics" "fry"

& z z z '

bw j #œ œ œ œ

s. glis

à w

˙

"o"

du

#˙ -

,

& z z z '

w

ty

is your

It

= mp 265

Judge: Voice1

° &

gliss.

gliss.

∑ w #w

#w w

You

will

, à Voice2 ¢& ˙ /o/

à ˙ /o/

∑

à àà ™ j œ œ œ™ ‰ ≈bœ #œ ‰ ‰ J ˙ R to pu - nish

pu - nish "o"

Line Tjørnhøj: Stabat Mater - 19

àœ œ ˙ #œ œ

gliss.

w my "o" tor-men tors

Mater: pp "airy"

271

Voice1

° &

∑

∑

≈

≈ ≈ r≈ œ. œ. œ. œ. œ. œ. œ. œ. œ. tance pen tance

re-pen-

-

re-

sempre

"airy"

Voice2

¢& Œ

‰ ≈ œr #œ ‰ œj not me

j œ

their

Ÿ~~~~~~~~~~~ b˙ ™ ‰

vic - tim

mp Judge:

∑ Db.div

∑

& gliss.

bw hang

o w

˙o ? ∑

Ó

Db. ppp

= 274

Voice1

° ¢&

≈ œ. œ. œ.

≈ r ≈ ≈ r ≈ r ≈ r≈ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ

∑ Db.div

& gliss. nw o ? w

wo

Db.

= Electr.

¢/ °

8. Crusade processing soundwall

"white" sound senza vibrato, dynamics & drama precise articulation of words/consonants"

playing a ball up soundwall

mp

° ˙ Voice2 ¢&

œ #œ ™ R

I leggiero pizz.

Db.

≈

am not

œ œ #œ ™ old e-nough

? ‰ ‰ #œr ≈ œ ≈ ≈ ≈ œr ≈ Œ R

≈ œ œ œ

≈

to mar-ry

≈ #œ ≈ ≈ œr ≈ œr ≈ ≈ ≈ ≈ œR ≈ ≈ œ œ R

p

= 278

Voice2

° ˙ ¢& I

Db.

œ #œ ™ R

≈ œ œ #œ ™

can not

de-clare war

™ ≈ œr œ Still I

? ≈ ≈ ≈ r ≈ ≈ r ≈ #œr ≈ r ≈ ≈ ≈ #œ ≈ r ≈ ≈ r ≈ ≈ ≈ œ ≈ #œr ≈ ≈ ≈ r ≈ ≈ œ œ œ R œ œ œ R Line Tjørnhøj: Stabat Mater - 20

playing ball with "child"

Body

/ playing ball with "body"

° #œ ™ Voice2 ¢& œ R

≈ œ œ#œ ™

am ab

Db.

-

used

-

r ≈ œ #œ ™

≈œœœ tor - tured

≈

sen-tenced

#œ ? r ≈ r ≈ ≈ ≈#œr ≈ ≈ ≈ ≈ r ≈ ≈ œr ≈ ≈ ≈ r ≈ ≈ ≈ œr ≈ œR ≈ ≈ R ≈ œ ≈ ≈ œ œ œ œ R

= playing ball up the soundwall 8. Crusade

Body

/ mf Judge:

Voice1

° &

U ∑

∑

#œ ?

œ

#˙

you hang will

pp

, ˙à

œ ≈#œ œ œ

r #œ ™ Voice2 ¢& œ to death

e-xe-cu-ted

˙à

mp

U ∑

/o//o/

˙ œ #œ ™ R I

≈

will hang

BiTpizz.

œ ? ≈ ≈ œR ≈#œ# œ ≈ Ó

U ∑

∑

# œ œR œ œ œR œ R ≈ ≈ R ≈≈ R ≈ ≈≈≈ R ≈≈

Db. mp freely softly hitting basbody

= 286

°? œ

œ #œ

#œ œ

#˙

n˙

Voice1 tongue

my self

your sharp

I

for

˙™

#œ ™ Voice2 ¢& œ œ

ŠϪ

for my sharp

Db.

≈

tongue

ΠShe

œ œ #œ #œ œ œ œ œ œR œ œ ? ≈≈ R ≈≈R ≈ R R R ≈R ≈≈≈R ≈ ≈≈ ≈ ≈≈≈≈R ≈ ≈≈‰

= 288

°? œ

œ #œ

n˙ &

j œ

œ

œ

noose put the will a

Voice2

œ #œ ™ ¢& R will put

œ™ ‰ Ó #œ ™ , neck pp à à ˙ ˙ ≈‰ Œ . gliss

Voice1

≈œ œ #œ ™ thenoose

- round

your

#œ œ œ œ™ a-round my neck

œ œ #œ œ œ ? R ≈ R ≈ R ≈# œR ≈≈≈ ≈ œR ≈≈ œR ≈ ≈ ≈ ‰ œR ≈ ≈ œR ≈ œ R ≈‰ Db.

Line Tjørnhøj: Stabat Mater - 21

"o" /o/

?

∑

∑

/o/

∑

∑

8. Crusade "sotto voce" Mater:

à °? ≈ œ. œ. œ. ≈ œ. œ. œ. ≈ œ. œ. œ. ≈ sempre ∑ R ¢ 292

Voice1

re-pen-tance

bar 307 incl.

∑

∑

re-pen-tance

re-pen-tance

= 296 q = 40

œ Judge:

? Ó

Œ

bœ œ ™ œ œ bœ œ R

œ™ ≈Œ

Db.div This is my per-so - nal cru

q = 40 rubato & freely pizz.

« . . bœ > ? >œ ™ >œ >œbœ ≈ œ bœ

>œ« J

≈ ‰

Db.

sade

-

gliss .

« r ≈ bœ œ œ >œ ≈ bœ œ œ œ œ œ™ œ

3

ff

= "falsetto"

298

pp "speech" Voice2

° ¢&

∑

b˙

˙

∑

∑

cru - sade "sob"

mf

lento œ bmolto œ ˙

? ∑

∑

∑

Db.div This is my pizz. trem.

Db.

>™ > . .« b -œ ? œ bœ ≈ œ« ≈ œ œbœ >œR ≈ œ bœ>œ bœ ™ ≈ œ bœ œ bœ>œ œ>œ bœ bœ Ó Ô œ œ œ œ > 3

œ™ ææ

œ™ æ Œ æ pp

= 302

mp

° Voice2 ¢&

∑

∑ b˙

˙

˙ ˙ cru

sade

-

cru - sade "falsetto"

mp

˙ ? b˙

˙

b˙ ∑

mf "sob"

œ

Œ

Œ

Db.div

‰ ≈ œR

sade cru

-

cru - sade to

Db.

? bœæ ™ ‰ Ó æ

?

« «™ r U b œ Œ bœ r bœ œ™ œœ œ œ

«> « œ r j j bœ ™ ≈ bœ ™ bœ ™ ≈bœ œ rœ œ œ > œ >œ ™

≈ œ

œ mp f

fff Line Tjørnhøj: Stabat Mater - 22

306

? bœ

˙

œ

˙ b˙

∑

Db.div dict up

ver

-

-

this hold

« ™ b>œ œ ?

Db.

« bœ >œ« bœ œ b>œ j bœ ™ œ œ™ j œ rU ≈ ≈ œ™ œr ≈ œ™ œ ≈ bœ œ

œ™œ œ œr œ œ ™ ≈

=

9. Interlude "180" Misc.

°/

Electr.

/

"form"

"flow"

"transformation" "loop"

¢

"form"

"transformation"

"flow" "still"

Visuals

pouring sand/white powder over the light table

Body

creating a mandala changing the mandala

/

destroying the mandala making the face "white"/"deathpale"

"form"

"extinguish" "transformation"

"flow"

deconstructing the the word: "atefah" into: "labial" "nasal"

°? "consonants"

Voice1 "throat" "vowels" "velum" "air" "obstructed"

decontructing the words: "stabat mater" into: "obstructed" "vowels" "consonants" "nasal"

Voice2

¢& "throat" "velum" "labial"

? "loop" "transformation" "form" "flow"

Line Tjørnhøj: Stabat Mater - 23

10. Indignation 316

Voice1

q = 65 ff "belting" (voice break) r r r r #œ #œ #œ #œ "e" sempre

large vibr.

ՌՌՌ

nat.

>

> r r #œ #œ #œ #œ bœ œ #œ nœ œ

° & #œ #œ #œ #œ

Œ

Who is the per - son

˙ #œ œ œ who would not weep

ff"belting"

œ Voice2

œ

œ

œ

œ

œ gliss.

œ

¢& r r œ œ "e" sempre f con vibrato

œ

œ

œ

œ

œ

sempre

?

Db.div

>Y

Y >

/a/ q = 65

sempre

? j œ

Db.

j œ

>Y

>Y

= "belting" (ornamentation)

319

Voice1

- - - ° œœ œ œœ œ œœ œ œœ œ œœ œœœœœœœœœœœœ Ó œ & œ œ œ œ

r #œ

#œ#œr #œ#œr #œ#œr #œ œr œ œrœ œrœ œrœ nat.

Voice2

¢& œ

œ

œ

œ gliss.

œ

œ

œœ

œ œ œ œ œ #œ œ œ See-ing her in

= 323

Voice1

° r & œœ

r r r œ œ œ

r r œ œ

œ œ œrœ

œ œ œ

œ

r œ

a

go ny

-

r œ

œ

r œ

œ

r œ

œ

r œ

œ

r r œ œ

œ œ œrœ

œ

> > > > œœ‰ Œ ‰ ‰ ‰ j œ œ œ œ œ™ œ œ œœ œ œœ œ œœ œ œœ œ

œœ‰ Œ j œ™ œ

œ œ‰ Œ Voice2 ¢& ˙ such

r œ

feel com pas

sion

com

= 327

mf Voice1

° r & œœ

r œ

r œ

œ œ

r œ

œ

r œ

œ

r œ

r œ

r œ

œ œ œ

r œ

œ ‰

∑

Œ

r ‰ ≈bœ o

ff

Voice2

¢&

œœ‰ Œ ‰ ‰ ‰ j œ œ‰ Œ œ™ œ pas sion

com -pas-sion

Feel

œ J

˙

Ϫ com -

œ≈‰ Œ R

pas sion

? Œ ‰

∑

∑

Db.div

>Y

Y

>Y

Y

&

? Œ ‰ Db.

Line Tjørnhøj: Stabat Mater - 24

∑

∑

331 q = 40

Kr Voice1

° bœ &

Kr #œ

˙

these chil

dren

-

r ≈bœ nœ

#˙œ nœ suf

œ J

fer for

-

#œ ≈#œR Œ Jç

ύ

sins

hu

the

bœ bœ œ

of

ma -ni -ty

-

mf mf "airy"

œ ™ ≈ #œ ™ ≈ œ ™ J J J

∑ Voice2

¢&

suf

j œ bœç

≈ ‰ ≈ œr œç ™

fer

the sins

of

#œ J

hu

‰

- mans

Voice

∑ Db.div

∑ w

& sins

q = 40

œ Db.

? ‰ œ œ bœ >

œ vibr. . bœ. blarge # œ ‰ ‰ bœ œ

œ œ œ.

#>œ. œ. b>œ. ≈ bœ.#œ.nœ>

œ-

mf

=

334

Voice1

° œ &

Kr #œ

bœ ˙

See

her off -

Kr #œ

œ œ™

˙

spring

die

Kr #œ

#œ ™ ‰ ˙ Spi

.r ≈bœ bœ ˙

Ϫ rits

-

œ

o These chil - dren

3

œbœ œ#œ ‰ œ bœ œ œ‰ œ Voice2 ¢& J J

j œ ™ œ bœ #œ

œ bœ œ ˙

gi - ving up their

spi - rits

Œ

3

See

Db.

? bœ >

∑

3

her

her off-spring die!

>œ

r œ. œ. ‰ ‰ ≈b>œ

>œ. ‰J

#˙ ™

œ ™ ‰ #œ ™ ‰ ≈bœ. œ œ™ ‰#œ

= 338

Voice1

° bœ Œ & bœ œ su - bjec-ted

Kr œ

œœ œ

œ ≈ ≈ #œR

to thecrane

su

œ œ #œ

bœ -

bjec

-

ted

to the crane

˙™

‰ ≈ œr

∑ Voice2

¢& crane

Die

œ œ bœ

bœ œ œ # œ

? ‰ Db.

& ‹ p

Line Tjørnhøj: Stabat Mater - 25

œ œ bœ

Ϫ

j #œ

340

Voice1

° œ &

Kr œ

b˙

U ˙

bœ ™ ‰

de

Voice2

Kr œ

#œ -

so

-

la

-

-

-

-

bœ œ œ bœ #œ œ œ œ œ

¢& ˙

ted

-

Die!

≈

∑

U ∑

∑

U ∑

3

Die

Db.

de

so - la - ted

-

≥ ≥ ≥ bœ #œ nœ œ œ œ œ. . .

≥ & bœ ™ ‹

>. >. >. ≈ #œ œ œ 3

sf ff

= ff 343

Voice1

° œ bœ ™ &

œ œ ™ œœ ™

Grant

your

heart

pp "sotto voce" œ œ œ#œ U b œ œ œ # œ Œ œJ ™ ≈bœJ ™ ≈ œJ ™ ≈#œ œ œ œ # œ œ 3

œ bœ ™

burn in

to

love of

these

chil dren

Grant your

heart that

"sotto voce"

ff

bœ œ Voice2 ¢&

pp œ Œ œ œ œ nœ œJ ‰ œ œbœ#œ nœ œ œ #œ U #œ ™

Grant you heart to burn in

love

burn in

love of

these chil - dren

Grant

j œ œ™

j œ

yourheart

that

"sotto voce"

pp

∑ Db.div

Db.

∑

∑

& >≥ ≤. . #œ≥. n>œ & œ bœ bœ ‹

≥ ≥ œ. œ≤. #>œ n-œ ™

Œ #œ œ œ #œ œ bœ >

˙ ˙ Grant

your

U œ bœ œ Œ

= 347

Voice1

° & œ™

j œ bœ #œ #œ ™ œj œ™ œJ w

you may

Voice2

¢ & œ bœ you may

Db.div

& œ bœ heart

be

plea

sing to them

bœ œ ™ #œ w J œ œ œ™ J be

plea

w

sing to them

bw

˙ Please

tearing up paper

them Line Tjørnhøj: Stabat Mater - 26

smashing paper

∑

11. International voices randomly letting text hitting these pitches/patterns

©

ù

à bœ nœ °

œ

Misc.

Ÿ

œ œ

b˙ œœ

&

œ~~~ œ

voices randomly tongue click or cluck

r r ‹ ≈‹

‹ ‹‹‹‹ ‹

‹‹

‹

‹‹

Electr.

"visual music" processing "chalkboard" writing & live media

¢ Visuals

creating a newspaper"scape" writing the convention on board with chalk

"speech" voice: Article 37. States Parties shall ensure that:

/

Body

(a) No child shall be subjected to torture or other cruel, inhuman or degrading treatment or punishment.

Neither capital punishment nor life imprisonment without possibility of release shall be imposed for offences committed by persons below 18 years of age;

(quasi newsspeaking - can be partly read)

"speech" The United Nations Convention on the Rights of the Child, often referred to as CRC or UNCRC, is an international convention setting out the civil, political, economic, social and cultural rights of children.

Nations that ratify this international convention are bound to it by international law.

Media: Voice1

°&

This part for both voice1&2

1. The child must be given the means requisite for its normal development, both materially and spiritually.

2. The child that is hungry must be fed, the child that is sick must be nursed, the child that is backward must be helped, the delinquent child must be reclaimed, and the orphan and the waif must be sheltered and succored.

3. The child must be the first to receive relief in times of distress.

4. The child must be put in a position to earn a livelihood, and must be protected against every form of exploitation.

5. The child must be brought up in the consciousness that its talents must be devoted to the service of its fellow men.

"speech"

Media:

¢

Capital punishment, the death penalty or execution, is the killing of a person by judicial process for retribution, general deterrence, and incapacitation. Crimes that can result in a death penalty are known as capital crimes or capital offences.

The term capital originates from Latin capitalis, literally "regarding the head" (Latin caput).

Hence, a capital crime was originally one punished by the severing of the head.

Voice2

"speech" The Obama administration is reviving efforts to have the United States sign onto

Media: a global children's rights treaty ratified by every U.N. member except the U.S. and Somalia, Db.div

&

But opponents in the U.S. have long argued that it could open the door to outside interference from government and U.N. officials in what they say are parents' rights to raise a child as they see fit.

Republicans in Congress also have put forward a measure that has gained limited support but is aimed at blocking such a treaty.

In March 2005, the United States Supreme Court ruled that the death penalty for those who had committed their crimes at under 18 years of age was cruel and unusual punishment and hence barred by the Constitution.

randomly & freely

ù & ‹

& ‹ ?

è bœ nœ

?

b˙ œ

œœ œ œ « û Line Tjørnhøj: Stabat Mater - 27

œ~~~ œ

12. Nightmare

"underwater" atmosfere

° Electr. processing plastic/chain/water

"freezed" and "looped" lot of contrast

¢ Visuals universal projection

stageactions: creating "spiders´web" plastic wrap

/

Body

stageactions: knitting plastic wrab when "still"

q = 60 doing fingerplays to the poem:

¢ Voice2 °

The itsy bitsy spider went up the water spout. stageactions: dragging chains

left hand pizz arco q = 60 Db.

pp

? œ œ œ œ bœ. œ. œ œ >> mf

>> j >> ¿ ¿ ¿ ¿j ¿j ¿ ¿ ¿j ¿j ¿j ‰ ‰ ‰ ‰ ‰ ‰ ˙ ˙ ˙ ˙ > > > > arco

pp

=

Voice2

° ¢

Down came the rain, and washed the spider out. creating the association of: "waterboarding"

œ.

bœ. ?

Db.

œ œ bœ bœ bœ œ œ > >f-

œ

œ J

œ

p

=

369

° Voice2 ¢ Db.

Out came the sun, and dried up all the rain

. œ ? bœ œ. œ œ bœ œ >-

> œ bœ œ œ. œ bœ Ó

. >. œ™ bœ. œ œ. ˙ ~~~~~~ œ ™ ‰ œ ≈ >ff

f mf

Line Tjørnhøj: Stabat Mater - 28

p "spheric" 13. Human

Electr.

°/

Visuals

¢/

13. Human "transparent"

silent spider moving in the "spin"

Body

/

Voice1

° &

mf "sob"

gliss.

j #˙ œ ‰ œ #œ bœ ‰ I

themo - ther foun

-

¢ And the itsy bitsy spider went up the spout again.

Voice2

lunga Db.

>œ~™~ U ? Œ >-œbœ.œ™ b-œ ‰ œ œbœ œ œ bœ >. œ™ J ~~~~~~~œ

leggiero sul pont.

bœ bœ

œ œœ œ

& ‹ mp

fff f

=

sounding spider moving in the "spin"

Body

Voice1

/

° ˙ ¢&

gliss.

b˙ ™ ˙™

tain

of

love

left hand pizz

> > ¿ ¿

¿j

¿j

¿j

3

œ bœ bœ Db.

& bœ ‹

‰

?

œ œ œ œ ˙™ > arco Line Tjørnhøj: Stabat Mater - 29

‰

‰ œ >

& ‹

silent spider moving in the "spin"

/

Body

"dramatic" "operatic"

Voice1

mf

Ÿ~~~~~~~~~~~~ œjMœ ° ˙ ‰ ¢& Œ #œ foun

-

tain

‰ œç œj bœ ™ ‰ n˙ # œç

I

the mo - ther

foun

œ. œ. œj #œ ™

gliss.

b˙

n˙

tain

of

Love

arco

Œ & œ bœ œ œ b œ b œ . ‹ >œ . ff

=

sounding

spider moving in the "spin"

/

Body

Ÿ~~~~~~~~~~~~~~~~~ # œ n ¢& J ˙ ° œj

Voice1

Love

& œ œ œ œ bœ œ bœ bœ ≈ œ. œ. > > œ ‹ p

Db.

œ >

>. œ œ bœ œ. ≈ Œ #œ œ nœ œ bœ > ff mp

=

° niente Electr.

¢

niente

Visuals

Body

/

spider moving in the "spin"

poco e poco molto ponticello

Db.

& nœ- œ.j œ > ‹ > fff

?

bœ- œ- #œ œ- œ- ‰ p

#>œ n>œ b œ œ œ œ œ bœ #œ œ œ œ œ nœ b>œ > f

Line Tjørnhøj: Stabat Mater - 30

"sob"

spotlight on mater

larynx vibr. mp Voice1

¢°& #œjç ‰ œç ‰ bœ bœç Be - stow the

#œ œ #œ ç ç

‰

love

of your heart

left hand pizz

Db.

>> ¿ ¿

> >œ > ? œ >œ #>œ œ >œ & ‹

œ >

b œ œ #œ

œ. #œ >

œ >

¿j ‰

?

˙ > arco

= "operatic"

glottal vibr. .œ . bœ. . œ. #œ. nœ. œ. Ÿœ~~ œ Œ ‰ bœ bœ

385

Voice1

° ¢&

M œ Ÿ~ 3 # œ œj à j ‰ œ bœ ‰ J ‰ bœœœ ‰ bœç

mf œj

#œ ™ Be

-

stow

be stow -

the

love

¿j ¿j ‰ ‰ ˙ >

?

Db.

thatyou may beplea-sing

to them!

arco

. >œbœ œb œ b œ œ œ &

>œ.

U bœ bœ œ Ó

‹ mf p

ff

= b œj

œ Voice1

¢°& œ r œ. ≈ >

~~ ~~~~

> œ nœ.b>œ. >bœ œ>œ. œ œ .œ #œ œ-bœ #œ œnœ œ. œ- r ≈ ? œ. > > sf fff~~~

~

> œ & bœ.bœ œ ˙‹ mp f

~~~~

Db.

M ff j>. bœ nœ œ œ

œ >. œ. œ. œ. œ. œ. œ.

=

wrapping a plastic wrap cocoon around child on stagetable

Body

/ molto lento molto expressivo detuning E-string

molto subharmonics

?

?

Db.

w ~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~ Line Tjørnhøj: Stabat Mater - 31

_

13. Human

°

14. Crows random looping of voices/plastic wrap "puffs"/db

Electr.

"transparent"

¢

projecting on V1´s costume (screen 5) 14. Crows

Visuals "contrast" airy "voice-puffs"

pp softly improvising

Voice1

° &

∑

∑

∑

Œ ¿. ¿. ¿. ¿. ¿. ¿. ¿. ¿.

b˙ /a/

*see comments to notation puncturing plastic wrap

f - fff rubato Voice2

slowly increasing intensity

,

,

,

¢& U ç

? ç ç ç

? ç ç ç

3

3

,

Jç

have

I

,

?ç ç ç 3

?ç ç ç 3

pos

sess

, ? Rç ç ç

? ç what -

ç

ever

and

col legno

. œ. œ. œ. œ ≈R ≈ R R ‰ R

? ∑

∑

∑

Db.

. . œ. œ. œ œ ≈ R ≈ ® ® RÔ ® RÔ ® ≈ R

pp

= 405

pp pp Voice1

° &

∑

∑

∑

∑

∑ ˙

b˙ /a/

/a/

, Voice2

¢& ç ç ç

ç

,

, ?™ ç

? ç

place

to

ç ç ç ç

Œ

U ? ? Rç ç ç ç ç ç ç ç ç

ç ç ? ?

Db.

. . . . ? ≈ œR ≈ œR ® œR ® œR ®‰ Ô Ô Ô

live

∑

what ever

form

∑

Ÿo ~~~~~~~~~~~ ˙ ∑

∑

& ‹

˙ pp

= "airscream"

412

U Voice1

° &

∑

∑

j ‰ œœ

∑

∑

∑

∑

∑

/a/

Voice2

Db.

≈? U U ç and o what - e - ver œ~~~~ æ ææ ~ œœ ∑ ∑ & œ. ‹

¢& ? ™

™ ≈? ? ? Œ ç ? ç ? ? ç ç ç func-tion

∑

I

my self choose

∑

∑

jœ ‰ bœ pp

Line Tjørnhøj: Stabat Mater - 32

‰ ≈? ? ? ? ç ç çç çççç çac - corç ding ∑

∑

pp 421

Voice1

˙

° &

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

/a/

Voice2

? ™ ≈? ? ? ¢& Œ ‰ ≈ ? ç ç ç ç ç ç ç to my

de - sires

Œ ‰ ≈? ? ™ ≈? ç ç judge ç ç ç and my

ç ç

U U U ç ç ç ment

I

may

"crowscream"

∑ Db.

∑

& ‹

∑

U

j‰ j‰ bœ œ

∑

∑

∑

∑

∑

∑

p

= 432

"voice-puffs" airy

° ∑ ∑ ∑ ∑ ∑ ∑ & ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿Œ ........

U ? ™ ≈? ? ?‰ ≈? ? ? ? ‰ ? ?‰ ‰ ? ? ?‰ ‰ ≈? ? Œ U Voice2 ¢& ç ç ç ç ç ç3 ç ç ç ç ç ç ç3 ç ç ç choose for my self the li mits and bounds of my na = 439 3 3 ° U ç ç ç ç Uç ç ç ‰ ç Voice2 ¢& ç ? ? ??

U ? ??? ?? ?? ? ??? ? ç ç ç ç ç ç ç ç ç ç ç very center ture I am placed at the very ofthe world so that I = 448 3 ° Œ ‰ ≈ ç ç ç™ ç ç ?ç ?ç ŸU~~~~~~~ ç 3ç ç ç ç ç ç ? ç™ ?ç ™ ç ç ç ç ? ? ?

Voice2 ¢& ? ? ?? ? U ???? ? ? ? ? may sur-vey e ve- ry thing else in the world I am a cre-a-ture neihterof hea-ven = 3 456 ° ?ç ?ç ç ™ ç ç ç ™ ç ™ ç ç ç ç ç ç ç ç ? ? ? ? ? ? ? ? ? ≈‰ U ?ç ? ? ? ? ?ç Voice2 ¢& nor of earth! neithermor-tal nor im-mor-tal I as the free and proud shaper = 464 3 ° ç ç ç ç ç ç ‰ ?ç ? ç ?ç ?ç ? ç?ç?ç U U U U U Voice2 ¢& ? ?ç ? ? ? ?ç ç ç ç ç ç ç ç of my own be-ing may may fas-hion my self in the form i may pre - fer = 474 3 ° ≈ ç ç ç?ç ç ç ç ‰ ≈ ç ç ç ‰ ≈ ç ç ç ?ç ç‰ ç Œ U ç ç ç Voice2 ¢& ç ? ??? ? ? ? ? ? ? ? ?? ? ? ? ?? U it is in my po - wer to des-cend tothe beas-ty forms of life and to me = Voice1

484 3

° ç ç ç ç Voice2 ¢& ? ç ç ç ç ? ? ? ç ç ?ç ç ‰ ≈ ç U ‰ ≈ ç?ç ?ç ?ç U ? ? ? is

gran-ted

the

po - wer

to rise

Line Tjørnhøj: Stabat Mater - 33

in to

the di - vine

14. Crows airy "dbOffspring"

°

15. Mater Lactans

"silence"

Electr. "preproduced"

"preproduced" (filmed db player)

¢ "darkness"

Visuals

15. Mater Lactans

collecting plastic wrap for the nest :)

Body

/ crowscream

¿j œ ¿j à à à à ~~~~ œ œ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ œ~ R J ™™ Œ œ ≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿J left hand hitting left hand

Db:

U ∑

? ∑ Db.div

pizz.

¿ ¿

body

freely improvising

∑ Db.

right hand arco

U ∑

?

& ‹

>œ

™™ ˙

œ ‰ >œ ‰

Œ

˙

˙˙ crowscream

crowscream

= ¿j

à à ? ≈≈≈≈ Œ ‰ Œ ¿J ™ ≈ ¿ ≈ ¿ ≈ ¿ ≈ ¿ ≈Œ R R R R

501

Db.div

œ œ

? ˙ Db.

r ¿ j ≈ 2Jœ ™ ≈ œ™ J œ ™ ≈ ™™ ≈ ≈ J

j™ œ ≈ 2 ™ ≈ J

j j™ œ™ j j œ ≈ 2 œ ™ ≈ ≈ 2œ™™ J ™ J ≈ stem down: voice

/a/ /a/

/a/

/a/

. . ≈œ.≈ œ. ≈œ. ≈œ. ≈œ. ≈ œ. ≈œ.≈œ. ≈œ.≈ œ. ≈œ. ≈ œ. ≈œ.≈ ™™ ‰ œ. ≈œ≈œ œ R RR R R R R R R R R R R R R R

= à à à à œ œ. œ. œ. œ. ≈≈≈≈ ≈≈≈≈ ? œ ¿ ¿ ¿ ¿ œœ ¿

507

Db.div

‰ œœ ˙ œ

? ∑ Db.

à à à à j™ j œ ≈≈≈≈ Œ œ œ ≈≈≈≈ œ™ ≈ Œ 44 ≈ Œ ¿™ ¿J ¿ ¿ Œ œ ‰ >œ >œ œ. ≈œ. ≈œ. ≈œ. ≈ ˙ œ ‰ b>œ 4 4 R R R R

=

15. Mater Lactans 514

Voice1

q = 90 Mater: "sotto voce"

° 4 ¢ & 4 bœ œ b˙ Ec - cle - si

-

œ œ a

j bœ nœ œ bœ œ œ™

˙™

lac

tans

wo

˙o ™

Œ bœ œ œ œœ œ œ œ œœœ lac

tans ma

ma mama ma

ter

q = 90

bwo Db.

? 44 w

Œ

∑

∑

& ‹

ppp pppp

= 520

Voice1

° Œ ‰ j bœ œ j bœ œj ‰ œbœnœ œ œ œbœnœ ¢ & bœ ™ œ œ > œ œ > . bœ bœ bœ œ ˙ œ na ma- ter ma-ter cle si - a lac tans E Mag Line Tjørnhøj: Stabat Mater - 34

U ∑

8 8

q = 50 "falsetto" & "airy"

526

Voice1

° 8 mp & 8 ‰ œ bœJ œ. œ. œ œJ ‰ E - ja

ma

Œ bœ œ bœ

U œ œ œ œœœ œJ œj ‰ Œ

œ. œ. œ. œœ 83 œ œ œ œ 88

a - mo-ris me sen ti - re3

ter

do

mp "falsetto" & "airy"

U œ ‰ bœ œ œ œ #œj ‰ Œ

8 œ ≈#œR œ Voice2 ¢& 8 ‰ E - ja ma

fons

≈bœ œ œ œ œ

œ

a - mo - ris

me

œ8 3 8 œ™ œ 8

sen ti - re vim

= Voice1

530 >œ #œ ° 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ ‰ U #œ œ Œ J b œ œ J &8 J œ. .

lo

ris

fac ut

gliss.

. œ™ 8 œ ≈ Voice2 ¢& 8 R do - lo

Ϫ -

-

lu-ge am

U >™ ‰ Œ #œ

œ

fac

ut

rit

œ ‰ J ‰

ma

-

U œ #œ Œ

ma

ma-ma

U œ œ œ œbœJ nœ #œ œ bœ œ

‰

te3 -

cum lu-ge-am ma-ma

=

Voice1

533 ° ≈#>œ œ U œ bœ ™ &

U œ 83 œ ™ 88 ≈ œ œ œ bœ ‰ œ œ bœ ™ bœ œbœbœJ ‰ nœ œ œ ‰ J . .

"sa"Sanc ta

ma -

ma-ma i -stud a -gas /mam/ tu- i na - ti

Sanc

ta

ma -

ma-ma

vul -ne-ra

œ œ U ‰ Œ œbœ œ#œ œ œ 83 bœ ™ 88 ≈œ b . œ. ‰ œ-j ≈ œr #œ ™ >

Voice2 ¢& ‰

Œ

œœ U J œ bœ

‰

/ma/ ma - ma

U ‰

na

-

ti vul -ne-ra

=

Voice1

537 >œ œ œ #œ œ nœ ° ‰ œ bœ œ bU œ ≈ R ‰ œ & J

ti

jam dig-na

-

ti pro me pa - ti

> œb œ U >œ œ œ #œ œ nœ ‰ Œ ≈R ‰ Voice2 ¢& ≈bœ /t/ti

dig-na

-

>œ. 3 œ ™ R≈ 8

8 bœ œ œbœ œ œbœ.≈ œbœ.≈≈ œbœ.‰ ‰ 8

ti

pro mepa -ti

>œ. 3 œ#œnœ 8 œ 8 R≈ 8

ti pro me pa - ti

ti

œ œ œ ‰ bœœbœ nœ œ

pro

ti pro me

pa ti

pa-ti

= 541

Voice1

œ#œ bœ ° ≈ œ bœ ‰ ≈ r œ œ œ œ œ bœ œ œ œ ‰ ‰ ≈ œ œ & po - e

me cum

di -

vi

3 j œ œ œ b œ ‰Œ Voice2 ¢& ‰ J œ bœ œ œ œ J

po -e-nas me - cum

di

di- vi- de

di -

œœ J di - vi

nœ Œ J vi

‰

bœ bœ œ 3 ∑ 8 8 8 In- flam-ma -

bœbœ œ œ œ ‰ ≈ œr œ #œ œ -

Line Tjørnhøj: Stabat Mater - 35

de

In

flam-ma - tus

Ÿ~~~ 3 œ™ 8 8 8

545

Voice1

° 8 œ œ œ ≈ r œbœ≈ &8 œ J œ tus et

ac cen sus

<Ÿ#>~œ œ > bœ œ ‰ 8 Voice2 ¢& 8

œ ≈ œbœ.≈ œbœ.≈ œbœ. bœJ œ J ‰#œJ œ nœ

j j bœ œ ≈œr ‰ Œ per

œ bœ œ ‰

te

/o/

/o/

Quan-do cor - pus mo-ri

- > ‰ ‰ bœJ ≈œRœ œ œbœ.≈ œbœ.≈ œbœ.≈

œ œ bœ bœJ œ nœ J

vir - go /o/

/o/

/o/

/o/

Quan-do cor - pus mo- ri-

= "sob" 548

gliss.

Voice1

° œ &

mf

œ #œ œ œ bœ nœ œ œ. >œ 3 œ. œ. bœ. œ. œ. œ.œ. 8 œ œ œ. ‰J 8 8 ut a- ni -mae do-ne-tur

a- ni -mae do

œ™ œ œ

Pa-ra- di - si glo - ri -Stand be-fore

> b œ œ™ œ™ 8 ≈ r ≈ œ œJ ≈ œR œ œ ‰ ‰ 8 œ. R >

œ œ bœ bœJ œ œ œ œ œ œ œ 83 œ ™ Voice2 ¢& .> e-tur fac

™ ‰ œ bœ œ œ bœ œ

ut a- ni -mae do-ne-tur

pa - ra

-

di - si glo - ri - a

= lunga

552

Voice1

° j & œ œ #œ œ nœj œ ≈ œr #œ thecranewith me

and glad -

nœ bœ œ ˙ J #œ#œ ly

share

thewee-ping lunga

Ϫ Voice2

œ œ œ™

¢& Œ ‰

œ J

˙

˙

˙

a

=

15. Execution ° p "creak"

Electr.

repeating parts to fit stage actions and find suitable crescendo al fine tutti: with the energy like Lisbeth Salander when tatooing her rapist

distorted looping voice1 ending note from 14 processing stagesounds pp

black out

¢ processing cradle black out

Visuals

Body

/

both as "executioner" & "child" preparing props at the soundwall

"purification

clapping on props till 5/4 starts

°&

turning table creating cradle

Voice2 ¢&

turning table creating cradle

Voice1

™™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ œ freely

Ó

b˙ ‰ œj ™™

nœ b œ ‰J

œ œ

/a//å//o/ sempre

q = 110 Db.

& ‹

™™43 ˙

. ‰ œJ ˙

‰ œ.j ˙

. ‰ œJ ˙

leggiero

Line Tjørnhøj: Stabat Mater - 36

Œ

™™ ˙

‰ œJ ˙

‰ œj

564

° j j j j Voice1 & œ ‰ Œ ‰ œ bœ œ œ b˙ bœ œ œ Œ ‰ œ b˙ bœ œ ‰ œ bœ œ b˙ ‰ ‰ b˙ b œ œ œ j b˙ bœ œ ‰ œJbœ œ b˙ ‰ ‰ Ó j b˙ ‰ nœJ Œ ‰ ‰ œ œ Voice2 ¢& j ˙ ˙ ˙ ‰œ ˙ ˙ ‰œ ‰ œJ ˙ Œ ‰ ‰ œJ ˙ Œ œ Db. & J J ‹ = 571 Ÿ~~~~~~~ ˙Ÿ~~~~~~~~ j b˙ gliss. 5 . . ° Ó j j œ œ œ œ ‰ œ bœ œ œnœ ‰ bœ bœ œ. œ ‰œ gliss. bœ Voice1 & bœ 4 . œ bœ nœ b œ œ œ b˙ bœ œ œ ˙ j b˙ b œ 5 œ œ œ Œ ‰ ‰ ‰ œ Voice2 ¢& 4 ˙ ‰ œj ˙ ˙ ‰ œJ ˙ Œ ‰ œJ ˙ ‰ œj ˙ Œ ? 45 Db. & ‹ molto vibrato = lament 577

sim. sim.

Voice1

° 5 q = 100 & 4 œ b˙

Ó

œ b˙

sempre

œ b œ œ œ bœ œ b œ œ œ ‰J Œ

b˙ ‰ œj

œ b œ bœ œ œ œ bœ œ bœ J J J J ‰ ‰ ‰ ‰ Œ Œ Œ ‰J

q = 100 Db.

Ó

œ b˙

Ma - ter

b˙ ‰ œj

sim.

Ó

œ b˙

Sta-bat

5 Voice2 ¢& 4 Ó

Ó

? 45 Œ Œ Œ

bœ œ

nœ ‰J

bœ

œ œ œ bœ ‰J‰J‰J

Œ

‰ ¿j ¿

= hitting soundwall with stage props (beaters)

rit.

581

Œ Œ Ó Body

Voice1

/ ¿ sim. ° & œ b˙ Ó

bœ œ ˙ ‰‰ Œ Voice2

¢&

Œ ‰ ¿j ¿

¿ Œ Œ Ó

Ó

sim.

sim.

Ó œ b˙ b˙ Œ ‰ œj

Ó

sim.

Ó œ b˙ nœ b œ œ œ b˙ ‰J

Ó œ b˙ bœ œ œ Œ

bœ ‰ œj

rit.

? Œ

œ b œ bœ œ œ œ b œ Œ Œ ‰J ‰J ‰J‰J

œ b œ bœ œ œ œ bœ Œ Œ Œ ‰J ‰J‰J‰J

Db.

Line Tjørnhøj: Stabat Mater - 37

q = 90 585

Body

/ ¿ Œ Œ Ó

Œ ‰ j ¿ ¿

Œ Œ Ó

Ó

Œ ‰ j ¿ ¿

¿

Ó

hitting sounding stage props sempre till end poco e poco crescendo following Anna

sim. ° Ó Voice1 & œ b˙ œ bœ œ ‰ ‰ œ Voice2 ¢&

sim.

Ó

>¿ ¿ ¿ ¿

¿

>¿ ¿

¿

¿

¿

œ b˙ ˙ œ Ó

∑

∑

b œ bœ œ œ œ b œ q = 90 œ b œ bœ œ œ œ b œ ? Œ Œ Œ ‰ œJ ‰ J ‰ J ‰ J Œ Œ Œ ‰ J ‰ J ‰ J ‰ J Db.

= 589

Œ Œ

Œ

‰ ¿j ¿

Ó Body

Voice2

/ ¿

Π
° œ œ ≈ Œ œ bœ œ ‰ œ ‰ œ bœ ‰ ‰ œ œ J J ¢& #œ trans fix

? Œ

my heart with

Œ Œ

the

œ bœ ‰ J

wounds

œ nœR ≈bœR ≈#œ J

‰ bœ ™ œ™

trans - fix

my

heart

/a/

œ bœ J

œ œ ‰ J ‰ J ‰

bœ

Œ Ó

Ó

Œ Œ

‰ Œ

œ bœ Œ ‰ J

Db.

= sempre crescendo till end extremely physically

592

Body

Voice2

/ Œ ‰ ¿j ¿

¢°&

Œ Œ

Œ

Œ Œ

Œ

Ó ¿

¿

¿

∑ ¿

∑

freely hitting soundwall/table freely vocal improvising melting Swedish folk/Arab crescendo till cradle

œ œ œ b œ >œ œ œ b >œ bœ >œ œ œ b -˙ b œ ? ‰J‰J‰J

>œ œ œ b >œ bœ ˙

œ. b œ bœ

Db. molto legato molto ponticello

= 597

œ. œ. œ. œ. œ. œ. œ. œ. œ. à œ. à œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. à œ. à œ. ? ≈ ≈ ≈R ≈≈R ≈R ≈ ≈ ≈R ≈≈R ≈R pp

Db.div re-pen-tance re-pen-tance re-pen-tance

re

re

sempre

crescendo till end extremely physically Db.

œ ? œ > molto legato

œ

> bœ

œ bœ

œ >

molto subharmonics ponticello extreme Line Tjørnhøj: Stabat Mater - 38

œ

b-˙

599

. . . . . . . . . . . . . . . . . . . . . . ? ≈ œ œ œ ≈ œ œ œ ≈ œR œ œ ≈à ≈ œR ≈à œR ≈ œ œ œ ≈ œ œ œ ≈ œR œ œ ≈à ≈ œR ≈à œR > œ ? œ b œ bœ œ ˙ œ. bœ bœ >

Db.div

Db.

= 601

Voice1

lullaby Mater/Judge:

° ¢& œ

"fry" "voice-puffs"

s. glis

œ

bœ ™

≈

œ

¿¿

œ

œ

n œ ™ "fry" . bœ ≈ bœ ≈ . œ œ

continue the clapping

. . . . . . . . . . . . . . . . . . . . . . ? ≈ œ œ œ ≈ œ œ œ ≈ œR œ œ ≈à ≈ œR ≈à œR ≈ œ œ œ ≈ œ œ œ ≈ œR œ œ ≈à ≈ œR ≈à œR Db.div

> bœ

œ ? œ >

Db.

œ

œ œ >

bœ

b-˙ œ

= "voice-puffs"

603 "fry" molto vibr.

Voice1

¿¿ >œ bœ >œ œ ° œ œ ™ œ œ b œ ≈ ≈Œ ¢& œ . œ. œ. œ. œ. œ. œ. œ. œ. à œ. à œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. à œ. à œ. œ ? ≈ ≈ ≈R ≈≈R ≈ R ≈ ≈ ≈R ≈≈R ≈R

Db.div

? œ >

Db.

> bœ

œ œ

˙

bœ. œ

bœ

bœ

= 605 "fry"

Voice1

° ¢& œ

œ r bœ

r œ

œ œ œ œ œ b œ gliss. œ . . . . . . . . . . . . . . . . . . ? ≈ œ œ œ ≈ œ œ œ ≈ œR œ œ ≈à ≈ œR ≈à œR ≈ œ œ œ ≈ œ œ œ ≈ œR gliss.

Œ œ bœ œ. œ. à œ. à œ. ≈≈R ≈R

Db.div

? œ >

Db.

œ œ

> bœ

œ œ >

bœ

b-˙

œ

= "cradlesound"

î ° Electr. "airscream"

¢

"darknesss"

Visuals

Black out repeat untill sign from Voice 2 Voice1

Db.div

Db.

° ™ ¢& ™ œ

Œ

Œ

U ∑

œ bœ œ œ œ œ œ œ. œ. œ. œ. œ. œ. œ. ≈ ≈R ≈Œ

U ∑

Œ

U ∑

™™

œ œ bœ . . . . . . . . . . . ? ™™ ≈ œ œ œ ≈ œ œ œ ≈ œR œ œ ≈à ≈ œR ≈à œR ™™ > œ ? ™™ œ ™™ œ bœ bœ >

œ bœ œ. œ. ≈ ˙- ™

Line Tjørnhøj: Stabat Mater - 39

œ-

î