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.
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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