ERIC NATHAN
Missing Words VI For Flute/Piccolo, Clarinet/Bass Clarinet, Violin, Violoncello
Copyright 2020 – Eric Nathan. All rights reserved.
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Co-Commissioned by Hub New Music and the Stony Brook Contemporary Chamber Players
TABLE OF CONTENTS : In seven movements: I. Witzbeharrsamkeit (Joke-Insistence) I
p. 1
II. Betttrug (Bed-Deception)
p. 5
III. Witzbeharrsamkeit (Joke-Insistence) II
p. 8
IV. Dielennystagmus (Hallway-Nystagmus)
p. 12
V. Witzbeharrsamkeit (Joke-Insistence) III
p. 15
VI. Erebusterror (Errebus-Terror)
p. 20
VII. Rolleirückblende (Rollei-Flashback)
p. 24
Total Duration: c. 15 minutes
The movement titles of Missing Words, and their translations and definitions, quote text from Schottenfreude by Ben Schott. Copyright © 2013 by Ben Schott. Used by permission of the author. All rights reserved.
INSTRUMENTATION : Flute in C (doubling Piccolo) Clarinet in B-flat (doubling Bass Clarinet in B-flat) Violin Violoncello
Transposed Score
TEXTS
(for use in printed programs)
Missing Words VI (2020) for flute/piccolo, clarinet/bass clarinet, violin, violoncello
I. Witzbeharrsamkeit (Joke-Insistence) I “Unashamedly repeating a bon mot until it is properly heard by everyone present.” II. Betttrug (Bed-Deception) “The fleeting sense of disorientation on waking in a strange bed.” III. Witzbeharrsamkeit (Joke-Insistence) II “Unashamedly repeating a bon mot until it is properly heard by everyone present.” IV. Dielennystagmus (Hallway-Nystagmus) “Repeatedly catching and avoiding people’s gazes when, say, approaching them down a long corridor.” V. Witzbeharrsamkeit (Joke-Insistence) III “Unashamedly repeating a bon mot until it is properly heard by everyone present.” VI. Erebusterror (Errebus-Terror) “Dread at the first indications of a fatal disease.” VII. Rolleirückblende (Rollei-Flashback) “The flood of memory released when looking at old photos.”
The movement titles of Missing Words, and their translations and definitions, quote text from Schottenfreude by Ben Schott. Copyright © 2013 by Ben Schott. Used by permission of the author. All rights reserved.
PROGRAM NOTE: Missing Words VI (2020) is part of a larger series of works, Missing Words (I-VI), composed in homage to the newly-created German words presented in Ben Schott’s book, Schottenfreude: German Words for the Human Condition (Blue Rider Press/Penguin Group). These Seinfeld-ian words illuminate everyday experiences for which English has no synonyms. The words are therefore “missing” from English, and Schott has proposed German words we can adopt into English as we have adopted Doppelgänger, Schadenfreude and Wanderlust. I love the wit, humor, pathos and intimacy of these words, and use the situations they evoke as points of departure for the music. The series as a whole speaks to the complexity of life and human experience, and how all the little bits of the everyday “present” can help us find deeper meaning in our own. Some thoughts on each movement below (Schott’s definitions in quotes): I., III., V. Witzbeharrsamkeit (Joke-Insistence) I-III: “Unashamedly repeating a bon mot until it is properly heard by everyone present.” The lively chatter of parties. The piccolo futilely proclaims something (they believe is) clever (about Beethoven, during his anniversary year). The bass clarinet and violin try again later. II. Betttrug (Bed-Deception): “The fleeting sense of disorientation on waking in a strange bed.” Basking in the glorious first moments of waking in a new place. The first time since lockdown. Light streams through the window. Wishing it would last forever. IV. Dielennystagmus (Hallway-Nystagmus): “Repeatedly catching and avoiding people’s gazes when, say, approaching them down a long corridor.” A game – catching and averting. Life filled with only gazes. VI. Erebusterror (Errebus-Terror): “Dread at the first indications of a fatal disease.” A thread of dignity amidst what’s looming. VII. Rolleirückblende (Rollei-Flashback): “The flood of memory released when looking at old photos.” Thinking back – but remaining here. [The movement titles of Missing Words, and their translations and definitions, quote text from Schottenfreude by Ben Schott. Copyright © 2013 by Ben Schott. Used by permission of the author. All rights reserved.]
TRANSPOSED SCORE
Missing Words VI I. Witzbeharrsamkeit ( Joke-Insistence) (I)
Piccolo
& 44
Bass Clarinet
& 44
Violin
Violoncello
4
∑
Vln.
Vc.
∑
. . œr ‰ b œ. b œJ. ‰ ‰ ≈ ‰ N œ œ ≈ b œ. J bœ . J b œ- . . N œ œ œ P f> > f >œ œ ≈ # œ. . j j . r r 4 # œ # œ . œ ≈ ‰ j ≈ ‰ ‰ ≈ ‰ ‰ ‰ ‰ œ œ œ & 4 #œ œ #œ # œ # œ # œ # œ œ. J # œœ .. . . J . # œ # œ # œ. . œ. > > P f F f f
[Quotation: Beethoven, Symphony No. 5]
& œœ œ b˙ < < f proclaiming, >
‰
œ
‰ j & ≈ r‰ ‰ j N œ. N œ . b œ. œ N œ. . >œ . œ. F S p ‰ j & ≈ # œr ‰ # œ . # œ ‰ œj œ. œ- . œ. . . # œ . œ. > F S p ? ≈ r‰ j œ . œ ‰ # œœ # œœ .. œ ‰ j # œ. œ- . œ. # œ. . > œ. F S p
j œ <
œ œ<
j3 œ œ
6
# œ.
ƒ
j # œ ‰ œ n œœ > ƒ j #œ ‰ N # œœ Nœ > ƒ
b ˘œ ‰ b œ bœ œ J 3
˙
>œ b >œ b > . j . bœ œ œ b œ ≈ N œ ‰ b œ b œ ≈ N œ. ‰ J ‰ > . ƒ ç f F j # œ # œ ≈ œ ‰ # >œ ‰ # >œ # >œ ‰ J # œ # œ ≈ # œ # œ œ. . . > . ƒ ç f F >œ j œ # œ ≈ # œ ‰ œ œ. # œ. ≈ # œ. ‰ # œJ ‰ œ œ > œ #œ > . > f F ƒ ç
Copyright 2020 – Eric Nathan. All rights reserved.
b >œ J
œ. ‰
r ‰ # œ. # œj ‰ # œ œ ≈ ‰ j . ≈ ‰ œ œ œ. œ œ œ. # œ œ. J . # œ. > > # œ. > -. f f P
j‰ ≈ ‰ ≈ ‰ r œ j œ œ . # œ. # œ. œ. > f F
? 44
with futile gravitas
Bs. Cl.
∑
j‰ ‰ ≈ ‰ r j œ . b œ ≈ b œ. N œ N œ. bœ . > F f
3
Picc.
Eric Nathan (b. 1983)
With a groove; chattering q = 108
œ
-
œ. ≈ R ‰ . ≈ # œR ‰ r ≈ œ ‰ # œ.
ç
œ. . N œ . p œ. . # œ. p
# œœ . # œ .. . p
Missing Words VI (I. Witzbeharrsamkeit)
2 7
Picc.
Bs. Cl.
Vln.
Vc.
8
∑
&
Œ
Bs. Cl.
Vln.
Vc.
Bs. Cl.
Vln.
Vc.
œ
‰
bœ. F
œ < f
œ <
≈ bœ j b œ ≈ b œ. ‰ j ≈ œr ‰ b œ. . Nœ > N >œ œ > œ . p > > f F >œ >œ . # . > > > # œ # œ œ j œ ≈ œ. ≈ ‰ œJ ≈ R ‰ &‰ j # œ. #œ p f F > ç # >œ . > > œ œ r r ?‰ j ≈ œ # œ # œ œ. . # œ. ‰ # œj # œ. # œœ œœ ≈ œ. ‰ # # œœ œœ ≈ œ. ‰ œj œ. œ. ≈ # œ ‰ # œj ≈ œ ‰ # œ œ ≈ > . #œ > . > > > > > F. . F f ç F f P p ç &‰
j bœ > ç
& œ œ ˙. fl > S N >œ >œ ≈ œ. &Œ ƒ # >œ >œ ≈ œ. &Œ ƒ ?Œ
& 43
13
Picc.
œ œ œ < < > f insistently 3
b >œ >œ . . b œ . j .. ≈ ‰ œ Nœ ≈ b œR ‰ b œ b œ ≈ œ ‰ œ . >> . œ. b œ. F P ç f F # >œ >œ . . j œ ‰ # >œ >œ ≈ œ ‰ # œ. ‰ œ # œ ≈ ≈ R #œ. . œ. # œ. . F P f ç F
10 Picc.
Œ
œœ≈œ # œ œ œ. >> ƒ
b >œ >œ
bœ b œ œ bœ
˙
6
‰ b œ. j ‰ ≈ N œ. ‰ b œ . Œ R œ. F f p # >œ >œ . . ‰ # œJ ‰ ≈ # œR ‰ # œ . # œ Œ . F f p j ‰ # œœ ‰ œ œ ≈ œr ‰ Œ . . #œ œ. # œ œ # œ. > > p F f ∑
& 43 b œ œ ≈ b œ ‰ j ≈ r ‰ > > . N œ. œ. f p & 43 # œ # œ ≈ ‰ # œj œ > . f > . ? 43 # œ œ ≈ ‰ j # œ œ # œ. œ. >> f
˘ ˘ ˘ 44 ‰ œ b œ b œ œ œ œ bœ ƒ 3 ç f
14
≈ r‰ # œ. p ≈ r‰ # œ. p
44 44 44
œ
> bœ
ƒ
Œ
43
∑
b >œ >œ > > . ≈ N œ ‰ b œJ ‰ œ N œ ≈ œr ‰ b œj ‰ 43 . . f P P F
j ‰ œ ≈ r‰ #œ œ ≈ 3 ‰ ‰ œ # œ j 4 . œ #œ œ. P F> > . f> > P . ‰ # œ # œ ≈ œ. ‰ # œ. ‰ 3 ≈ ‰ # œ J 4 œ œ œ R J œ > > Nœ Nœ P F > > P f Œ
Ó
˘œ ˘œ ˘œ b œ b œ œbœ
f
‰ j ‰ j ≈ ‰ œ ≈ b œ. œ . N œ. œ > œ b œ b œ. œ. A œ . œ. > ß > p > p ß ß ‰ j ‰ j ≈ ‰ ≈ # œ # œ œ # œ œ. œ . œ. . œ œ . œ. œ œ . > p > > > p ß ß ß j ‰ ‰ ≈ œ œ ‰ j œ œ œ œ œ . . ≈ # œ œ # œ. œ. œ . œ. œ. # œ . # œ. >œ # >œ >> p > p ß ß ß
ƒ
j œ. N >œ . p
œ.
œ. œ. >
œ œ.
j œœ . p j œ œ. p
# œœ .. >
œœ .
Missing Words VI (I. Witzbeharrsamkeit)
16
Picc.
Bs. Cl.
Vln.
Vc.
∑
&
Bs. Cl.
Vln.
Vc.
‰
bœ F
& ≈ bœ œ ‰ j ≈ bœ ‰ j ≈ r ‰ > F> œ. N >œ > b œ. œ. f P p r & ≈ # œ œ ‰ # œj ≈ œ œ ‰ œj ≈ # œ ‰ œ. œ œ œ œ œ œ > > p. > >f P. F ?≈ ‰ œj ≈ # œ ‰ j ≈ œr ‰ œ œ # œ # >œ # œ œ # œ. >F . > >f œ. p P
19
Picc.
17
&
j bœ
>œ
ƒ
& œ. > ß
j bœ
>œ 3
œ.
> jœ
œ
‰
> jœ
œ
j bœ
>œ
j œ
>œ
3
j ‰ bœ ‰ œ Nœ fl fl fl
#œ. & œ . # œ ‰ # œj ‰ # œœ ‰ # œœ > . œ fl fl ß fl ˘œ ˘œ j ? #œ. ‰ # œœ ‰ œ ‰ # œ > #œ fl ß .
b œ >œ b œ œ f
j bœ
œ-
j bœ
œ- œ
3
3
>œ
bœ œ œ Nœ
S
singing, espress.
Nœ. œ. œ. œ. œ.
j ≈ r‰ œ. b œ œ. F> j r œ ‰ # œœ ≈ œœ ‰ œ. > . F j r œ‰ œ ≈œ ‰ œ. œ œ. F>
>œ J ‰ Œ Ó ç ˘œ b ˘ ˘ ‰ Nœ ‰ œ ‰ J Œ ƒ ˘œ ˘œ # ˘œ œ # œ ‰ #œ ‰ ‰ J Œ ƒ ˘œ ˘ ˘ # œ # œœ ‰ œ œ ‰ ‰ J Œ ƒ
œ-
j œ
3
œ-
œ.
>œ >œ >œ bU>˙ Ó
Ó Ó
bœ
œ ≈ # œœ # œœ ‰ œ œ ‰ # œj . œ. > > œ. . f
œ. #œ.
21 Slower; Dramatically q = 96
ƒ
bœ œ œ
≈ Nœ ‰ ‰ b œj œ . . Nœ. b œ > œ N œ. > f . . œ . # œ ≈ œ # œ ‰ # œœ œ. ‰ # œJ #œ. œ œ œ . . > > f
‰
j bœ
j Nœ
3
U
Ó
U
Ó
U
Ó
,
œ- œ- œ- -̇ rall.
P
3
∑
delicately
∑ ∑
p
U w
lunga
U
43
lunga
∑
43
lunga
U
∑
43
U
43
lunga
∑
Missing Words VI (I. Witzbeharrsamkeit)
4
24 Determined q = 84 Picc.
& 43 œJ
‰ Œ
& 43 œ ≈ b œ ˙ >Nœ > f fl Í 3
Bs. Cl.
& 43 # œ # œ ≈ # œœ ˙˙ > > f fl Í 3
Vln.
Vc.
? 43
0
Œ
poco accel.
bœ nœ œ œ œ #œ #œ #œ bœ bœ #œ nœ #œ #œ b œ n œ nœ œ #œ nœ nœ #œ 44 b œ œ Œ ƒ F 44 œ π
(ord.)
44 œ œ π
(ord.)
bœ bœ ≈ œ ˙ > > fl Í f 3
bœ
44 œ π
gliss. (Sul III.)
trem.
Ͼ
œ æ
gliss.
bœ
œ æ
N >œ
Œ
> œœ
Œ
ç sul pont.
ç
sul pont.
æ œ > ç
Œ
5
II. Betttrug (Bed-Deception)
TRANSPOSED SCORE
Glowing q = 80
Flute Flute
& 44
#˙
˙
w
∏
f
F
non vib. (sempre)
gleaming
Clarinet non vib. (sempre) Clarinet in B b
˙ 4 &4 ∏ oo 4 ˙ &4 ˙ ∏
˙
f
F
o ˙˙o f
o wwo F
o wwo
o wwo
o wwo p
wwo
wwo
wwo
wwo
˙˙o
f
gleaming
F
6 Delicately; Floating q = 50 Fl.
B b Cl.
& 43
˙.
˙
π #˙. & 43
˙.
n.
Vln.
Vc.
oo . & 43 ˙˙ . π œœo ? 43 π
˙o
p oo ˙˙ .. ˙o .
Œ ∏
43
p w
con sord. (ord.) Sul II. non vib. (sempre) Sul I.
Violoncello
w
w
gleaming
˙˙o ? 44 ∏
w
w
gleaming con sord. (ord.) non vib. (sempre)
Violin
w
rall.
˙.
p ˙
˙.
˙o .
p
o ˙
o ˙˙
˙o .
43
Ó π
43
43
p
˙.
n.
oo œœ
˙
˙.
˙
Œ π
#˙.
˙.
œ
˙.
˙
Sull III. 0
n.
˙o .
˙o .
Œ π
Œ
Missing Words VI (II. Betttrug)
6
12
Fl.
B b Cl.
Vln.
Vc.
&
& ?
&
B b Cl.
&
Vln.
&
Vc.
˙.
˙o .
∑
˙
p ˙.
œ
˙.
˙.
π o. ˙ &
B b Cl.
Vln.
Vc.
& & &
Œ Œ ∏
˙
˙.
#˙.
F o. ˙ &
œ
p
˙o
Œ
ä˙ Œ
œ
p #œ
Œ
π
˙.
P ˙o .
˙o .
˙.
p ä˙
Œ
˙.
n.
P
œ
P
&
˙ ˙.
p Sul II. ˙o . Œ
˙.
˙.
π ˙.
˙
ä˙
˙o .
˙o .
π ˙.
P #˙.
˙.
˙.
π
ä˙
œ
p
F ˙.
P ˙o .
π
˙o . ˙.
˙.
˙.
˙.
˙.
˙
P
π
π ˙o .
˙o .
˙.
Œ
˙.
˙.
˙.
π
˙.
˙o .
n.
˙o .
F
˙.
Œ
π ˙.
p ˙.
∑
˙o .
˙.
˙
˙.
n.
25 q = 80 Fl.
˙.
p ˙.
n.
& ˙. p
18
Fl.
˙.
16 Slightly quicker q = 72
˙o .
˙.
˙.
∏ ˙.
˙.
œ
p
P ˙
˙o .
œœ
˙˙ .. ˙o .
Œ
Missing Words VI (II. Betttrug)
31
Fl.
B b Cl.
Vln.
Vc.
& & &
˙ ˙
π ˙˙ ..
Œ
∑
Œ ∏
∑
π oo . & ˙˙ .
B b Cl.
Vln.
Vc.
& &
oo ˙˙ ..
P ˙˙
˙
˙
π ˙
F ˙
p #˙
F oo ˙˙ F
p oo ˙˙ p
f oo ˙˙ f
π ˙˙
oo ˙˙
rall.
F ˙˙
˙ senza sord.
# # ˙˙ p
œœ
π π
40
Ó
∑
∑
Ó
∑
∑
(retake as needed)
# # ˙˙ .. ƒ
(retake as needed)
# # ww ƒ
ww ww
˙
f ˙
p ww
rall.
w
# # ww p
˙
P ˙
oo 44 ˙˙
˙
senza sord.
˙
π 44 ˙˙
w
& Ó ?
44 ˙ π 44 # ˙
˙˙ ..
36 q = 50 Fl.
33
7
f
Ó
π
π
?
q = 40
#Uw p
U
#w p
U
π π
ww F
ww p
π
ww F
ww p
π
U
8
III. Witzbeharrsamkeit ( Joke-Insistence) (2) TRANSPOSED SCORE
With a groove; chattering q = 108
Eric Nathan (b. 1983)
finger given pitches; whisper loudly into mouthpiece
r # ¿. 4 j ≈ ¿ ‰ ≈ ¿ N ¿ & 4 #¿ . . ‰ J ‰ ¿. > p f
Whisper: Flute
Choo! Ch-
Bass Clarinet
Bass Clarinet in Bb
Violin
& 44
Ch-
Ch-
Ch-
Bb Bs. Cl.
Vln.
Vc.
Ch-
Ch-
Choo!
Ch-
Ch-
Ch- Cha!
senza sord. sul pont. (sempre)
> . ? 44 œ œ ≈ # œ. ‰ # œj ≈ œ. ‰ œJ ‰ . R p f
j #¿ > ƒ
Ch-
Cha!
# >œ >œ ≈ # œ. ‰ œ. ‰ œœ J # œ- . # œ. f
j # œœ n œœ ƒ>
¿ ≈ # ¿ ‰ ¿j ‰ #¿ ¿- . # ¿. . . > f
∑
j r & 44 # œœ œ ≈ # œ ‰ œj ≈ # œ ‰ # œ. ‰ . . œ. > p f
∑
œ # œ ≈ # œ ‰ . # œr ‰ # œ # œœ. ‰ . . #œ . > p f
j .œ - œ. # œ # œ œ ≈ œ. ‰ J # œ . ‰ N # œœ œœ >> Nœ > f ƒ
> œ œ ≈ # œ. ‰ . r ‰ # œ œ. . # œ. ‰ p f 6
4 Fl.
Ch-
∑
senza sord. sul pont. (sempre)
Violoncello
. ≈ ¿. ‰ . # ¿R ‰ ¿. ¿. ‰ N ¿ #¿ > p f Choo!
> #>¿ > r ‰ j # ¿ # ¿ ≈ ¿. ‰ j ¿ ¿ ≈ r ‰ # ¿. . ≈ ¿. ‰ # ¿ . # ¿ ‰ ¿j ‰ ¿ ‰ ¿ ≈ # ¿. ¿ ¿. # ¿. J . #>¿ . ¿. - . > F S p ƒ ç F f Ch-
&
& & ?
Ch-
Cha!
3
j Nœ
b˙ ˙ > > ƒ emphatically ≈ r‰ #œ. # œ. œ- . F ≈ # œr ‰ # œœ .. . F
Ch-
Cha! Ch-
N˙ j œ >
# œœ ‰ œj . #œ. . > S œœ. ‰ œœ. # >œœ .. J S
Ch-
œ F
Choo!
Œ
Ch-
Cha!
Choo!
N œ œ- œ < F
j j #œ #œ ≈#œ ‰ #œ œ. > œ. . f p F . # œœ ‰ # œ. œœ # œœ ≈ œ. ‰ >œJ J p f F ‰
Ch-
j œ
œ > Í
Cha!
˙
# œ # œ. ≈ œ ‰ j œ. . #œ > ƒ . > œ. # œ. ≈ # œ ‰ # œœ J ƒ
Ch- Cha!
Ch-
Ch-
Ch-
> Nœ. f
¿.
p œ bœ
Nœ œ
espress.
‰ # œ # œ ≈ r ‰ œ. . > > # œ. ç .. > > . ‰ œœ œœ ≈ # œœ ‰ œœ . R ç
# œ. p œ.
p
Missing Words VI (III. Witzbeharrsamkeit 2)
8 Fl.
Bb Bs. Cl.
Vln.
Vc.
Bb Bs. Cl.
. ≈ ¿ # ¿ -¿ . ¿. ‰ # ¿J . . F
& j ‰ Œ bœ > ç & ‰
j ≈ #œ œ . #œ > F. ç ? ‰ # >œœ ≈ # œ. # œ. J ç F
10 Fl.
Cha!
& ‰ # ¿j > ç
7
Ch- Ch- Cha! Ch-
&Œ
>¿ > . #¿ ≈ #¿
Ch- Cha! Ch-
ƒ
& œ œ œ. > F
Vln.
&Œ
Vc.
?Œ
Ch-
#>¿ #>¿
≈ ¿. ‰ ¿ # ¿ ≈ ‰ ¿.j R > > # ¿. F P p f ç
Ch- Ch- Cha! Ch-
N ¿.
Ó
Œ
# œ. ‰ œj # œ- . . # œ. f . . œ- . # œ ‰ # œ. # œ J
Œ
Ch- Cha! Ch-
œ > f 3
r > œœ # œœ ≈ œœ ‰ # œ >> . F ç >œ >œ œ. # >œ #œ œ ≈ R ‰ # œ
f ç
Ch-
#>¿ >¿
‰ # ¿j ‰ . F f œ œ J
Ch-
Choo!
Í
# >œ >œ ≈ œ. ‰ j ‰ # >œ >œ ≈ r ‰ # œ. # œ. F f ƒ
œ- .
# œ. ‰ œ œ ≈ œr ‰ # œ- . ≈ ‰ œ œ œ J #œ œ #œ #œ œ . . >> >> F f ƒ
œ >
œ
# ¿ ≈ ¿ ‰ j ≈ >¿ ‰ N ¿ ≈ # ¿ #¿ . R #¿ > >¿ > > f F Choo!
œ
Ch-
j œ
Ch-
Cha!
b˙ > ƒ
> > œ ≈ œ ‰ œj # œœ œ ≈ œ ‰ œ ≈ # œr ‰ J . . # œ. . > F p P >œ œ. œ. œ. ≈ # œœ. ‰ # >œ ≈ >œ ‰ œ ≈ ‰ œ. R J J F F P p
#>¿ #>¿ ≈ . ‰ # ¿. ‰ #>¿ > ≈ r ‰ ¿ ¿ #¿ J . f P F 5 > Nœ œ bœ ∑ j ‰ Nœ œ f ç j ‰ œ ≈ r‰ Œ œ ≈ ‰ œ œ . œ. # œ > œ. # œ >œ œ. > > p f P F j ‰ # œ # œ ≈ œ. ‰ œ. Œ ≈ ‰ œ. œ œ œ > R > # œ œ œ. P F > > p f
r ≈ ¿. ‰ # -¿ . Œ # ¿. p >˙ bœ
Ch- Cha!
j Nœ
Ch-
9
Ch-
Ch- Cha!
Ch-
Ch-
Ch- Cha! Ch-
Ch- Cha! Cha!
ΠF
# >œ >œ ≈ >œ f >œ > # >œ œ #œ ≈ f
Ch-
j ‰ # ¿. P
43
j ‰ œ. P # œ. ‰ J P
43
43
43
Missing Words VI (III. Witzbeharrsamkeit 2)
10
& 43
13
Fl.
Bb Bs. Cl.
Vln.
Vc.
& 43
Bb Bs. Cl.
Vln.
Vc.
Ch-
Ch-
∑
& 43 # œ # œ ≈ ‰ # œj ≈ r ‰ œ > . # œ. f > . p >> ? 43 # # œœ œœ ≈ # œ. ‰ œ. ≈ # œr ‰ . J p f
16
Fl.
¿ # ¿ ≈ ‰ ¿.j ≈ ¿r ‰ . > > # ¿. f p
Ch- Cha! Ch-
&
∑
&
∑
˘œ ˘œ ˘œ b œ b œ ord. 44 ‰ b œ œ 3 F f
14
44 ‰N œ œ bœ Nœ œ fl F f 44 ‰ ≈ # œ œ . > p ß
j j œœ ‰ # œœ ≈ œœ œœ ‰ œœ . . > > >f p P F # >œ . > > > œ ? ≈ #œ #œ ‰ #œ ≈ œ ‰ œ.j J P p F f & ≈ #œ œ >
‰ ‰
œ
F
Œ
Ó
bœ f
b œ >œ b œ œ
j bœ
œ-
j bœ
bœ œbœ bœ œ fl f ƒ ‰ j œœ œœ . > p ß œ. # >œ ‰ œ J ß p
œ
f singing, espress.
œ bœ #œ N œ œ N œj œ > F f singing, espress.
‰
œ-
ƒ
3
3
≈ # œr ‰ œ.
. ≈ # œœ R
œ œ fl fl
Ó
‰ j ≈ j # œ œ. œ . œ. . œ . œ. # œœ > > ß p . >. . . > ‰ œ.j œœ . œœ ‰ œœ # œœ . # œ. ≈ œ J ß p
44 # œ œ ≈ # œ > > p. ß
17
3
Œ
˘œ ˘œ ˘œ b œ b œ bœ
œ. œ. œ. œ.
œ œ. œ. œ
‰ ‰
j bœ
œj œ #œ > F >œ œ J F
œ
# œœ .. > >œ . œ.
œœ . œ. œ
nœ œ b œ œ œ œ œ œ
r ≈ œ ‰ œ. . ≈ œœ R
œ œ fl fl
‰
Missing Words VI (III. Witzbeharrsamkeit 2)
18
Fl.
Bb Bs. Cl.
Vln.
Vc.
& &
b >œ
j Nœ
S
œ-
j œ
& # œœ .. ? # œœ ..
œ.
Nœ
3
3
œ > S
œ-
j Nœ
œ-
j bœ
bœ œ œ bœ
œ.
œ-
. # œ ≈ ‰ œ ‰ œ J # œœ œœ # œœ # œ. . . > > f œ. ≈ # >œ # >œ ‰ œ f
Fl.
&
U œ œ ˙
p
poco
dolce, delicately
Bb Bs. Cl.
& œp
U
œ œ b˙
poco
dolce, delicately
Vln.
Vc.
& Ó ? Ó
U
Ó
U
Ó
π
3
j bœ
œ > ƒ
bœ
p
‰ œ œ œ œ < < < π p ∑ ∑
j œ
>œ
j œ
>œ
j bœ
3
ß
œ̄ œ̄ œ̄ œ-
b >œ
ƒ
> #œ.
rit.
‰
j bœ
# œœ . . > ß
. œ. œ. ‰ # œJ
21 Gently q = 60
b œ-
>œ b œ œN œ
œ >
>œ
j œ
>œ
j bœ
j bœ
j bœ
œ >
3
œ >
j nœ
œ >
‰ # œj ‰ œ # œ. #œ œ fl fl # œ. ‰ # ˘œ J
‰
‰
π
U
w
π U
lunga
∑
U
lunga
∑
Ó
j‰ Œ œ > ç
Ó
j bœ
œ >
˘œ œ
‰ # œœ ‰ # œœ ‰ # œœj Œ fl fl fl ƒ ˘œ # œ˘œ œ˘œ # ‰ œ ‰ ‰ J Œ ƒ
q = 152
24
w
j bœ
‰ # œœ fl
˘œ œ
>œ J ‰ Œ
ç
3
lunga
œ
11
Œ Œ
Ó Ó
œ. b œ ä œ bœ J Nœ p P
rit.
‰
Œ
œ bœ j ‰ â N œ œ b œ. P p Œ Œ
Œ
pizz. ord.
pizz. ord.
bœ œ bœ p
œ b b œœ p
12
IV. Dielennystagmus (Hallway-Nystagmus)
(Transposed Score)
Instructions
This movement is constructed as a musical and gesutral game for the ensemble. Please find below overall guidelines/instructions for how to perform the basic parameters of the "Main" sections of the piece (following Steps 1-3). The "Form" of the piece is listed on the following page, which includes Step 4. Steps 1-3 are repeated continually by each performer individually (ad libitum) and without coordination with other players except for the the moments of eye contact (Step 3). Each player is given two staves: the top staff details the movement of the performer's own head/eyes, and the bottom staff is what is to be performed on the instrument. In essence: each player performs long tones from a collection of pitches beginning with their head looking down (Step 1), gradually raising their head and finding the gaze of another performer (Step 2), and at the instant the two make eye contact (Step 3), the players should perform the gesture notated and then return to Step 1, repeating the entire sequence, until the Coda section (Step 4) is cued by the Flutist (at which point all players should proceed as is notated in the "Form"). (Players should be careful not to injure themselves by moving their necks too quickly with repetitive motion; the motion should always be comfortable; players may move their torso if that is helpful) The length given for each Step is approximate – the performer chooses the lengths (varying these each time) and should take into account the suggestions listed in the "Form" for the relative lengths of the steps for that point in time in the form. Players should maintain the same three steps while changing the pitches used in Step 1 as indicated on the Form diagram. It is helpful if performers can memorize Steps 1-4, the general form and harmonic shifts, and not look at the music while performing, and use a stopwatch to keep track of the larger form.
2
Steps: 1
3
Senza misura
Physical position of eyes/head
.. ¬ .
¬
(gradually raise head)
(averted gaze; looking down)
& .. œ
π
Physical position of eyes/head
œ
œ
(head raised, looking ahead directly at another player; wait for them to make eye contact)* (gradually raise head)
¬
(averted gaze; looking down)
Physical position of eyes/head
& .. œ
π
œ
œ
(head raised, looking ahead directly at another player; wait for them to make eye contact)* (gradually raise head)
¬
(averted gaze; looking down)
π
Physical position of eyes/head
œ
œ
(head raised, looking ahead directly at another player; wait for them to make eye contact)* (gradually raise head)
¬
(averted gaze; looking down)
π
*after waiting for five seconds, if the other player does not make eye contact, switch your gaze to another performer.
p
.. ¬ .
& .. œ
¬
(sustain pitch)
First time: choose any pitch Every other time: choose a new pitch (different from what you just played)
Violoncello
*after waiting for five seconds, if the other player does not make eye contact, switch your gaze to another performer.
p
.. ¬ . & .. œ
¬
(sustain pitch)
First time: choose any pitch Every other time: choose a new pitch (different from what you just played)
Violin
(head raised, looking ahead directly at another player; wait for them to make eye contact)*
p
.. ¬ .
œ
œ
q = c 80
œ
œ œ ..
(Ahead)
(sustain pitch)
First time: choose any pitch Every other time: choose a new pitch (different from what you just played)
Clarinet in B b
¬
*after waiting for five seconds, if the other player does not make eye contact, switch your gaze to another performer.
First time: choose any pitch Every other time: choose a new pitch (different from what you just played)
Piccolo
Indeterminate length
c. 1 - 3"
c. 1 - 5"
¬
*after waiting for five seconds, if the other player does not make eye contact, switch your gaze to another performer.
(sustain pitch)
p
(Down)
Immediately return to step 1 (whatever pitch you are sustaining)
œ.
ƒ
‰ ..
œ œ
(Ahead)
(Down)
(whatever pitch you are sustaining)
.. Immediately return to step 1
j œ ‰
..
œ œ
..
ƒ
(Ahead)
(Down)
(whatever pitch you are sustaining)
..
œ œ œj
..
(Ahead)
(Down)
(whatever pitch you are sustaining)
œ
ƒ
‰
Repeat until cue to Coda
Immediately return to step 1
j œ ‰
ƒ
Repeat until cue to Coda
Repeat until cue to Coda
Immediately return to step 1
..
Repeat until cue to Coda
Missing Words VI (IV. Dielennystagmus)
13
∑
Physical position of eyes/head
Form: Total Duration: 1:30-2:00 (max) Main 0:03
0:00 Time: (approx.) Begin with head down
Picc.
∑
& &
1
Pitches:
[œ
0:15
0:10
Begin: Repeat Steps 1-3 , 2
,
œ
œ
0:20
full repeat takes c. 5-8"
∑
3
]
accel.
look at Vln. player initially
Clarinet in B b
Violin
∑
&
full repeat Begin: Begin with head down takes c. 5-8" (do not complete first repeat Repeat Steps 1-3 before Picc. has entered)
∑
1 , 2 , 3
Pitches:
œ
œ
&
accel.
œ
œ
accel.
Pitches:
Enter after Vln./Fl. reach Step 3 once Repeat Steps 1-3 full repeat takes c. 5-8" 1 , 2 , 3
[œ
œ
]
œ
]
accel.
bœ
bœ
]
c. 2-4" per repeat
[œ
∑
bœ
c. 2-4" per repeat
[œ
]
]
Begin with head down
∑
[œ
∑
look at Picc. player initially
full repeat takes c. 5-8"
bœ
1 , 2 , 3
Pitches:
&
&
Repeat Steps 1-3
∑
&
&[ œ
Cello
∑
c. 2-4" per repeat
[œ Enter c. 5" after Vc. enters
Begin with head down
0:50
bœ
bœ
]
c. 2-4" per repeat
[œ
bœ
bœ
]
Missing Words VI (IV. Dielennystagmus)
14
1:15
1:00
1:30
Coda q = 60
Senza misura
c. 1:55
Flute gives cue
Picc.
& &[ œ N œ N œ
Clarinet in B b
Violin
Nœ œ 42 & b œ N œ œ œ 4
]
[œ N œ N œ ] 4
& & [œ N œ N œ ]
[œ b œ b œ]
4
&
42 4
]
[œ b œ b œ ]
Œ
∑
tacet al fine.
(head up, eyes open; looking ahead)
Œ
(stop playing)
&
[œ N œ N œ ]
#œ
(stop playing)
Œ
&
(stop playing)
Œ
&
∑
(eyes closed; head down)
sustain note
p
n.
(head up, eyes open; looking ahead)
[œ N œ N œ ]
& & [œ N œ N œ
c. 10 seconds
[œ N œ N œ ] 42
[œ b œ b œ ]
ƒ
f
42
&[ œ N œ N œ ]
Cello
[œ b œ b œ ]
œ #œ
œœ p
(eyes closed; head down)
sustain notes
(head up, eyes open; looking ahead) sustain note
œ p
n.
(eyes closed; head down)
n.
V. Witzbeharrsamkeit ( Joke-Insistence) (3)
TRANSPOSED SCORE
Con fuoco q = c 100
& 44 Œ
U
& 44 Œ
U
Piccolo
Piccolo
Clarinet
Clarinet in Bb
Ó.
Violoncello
Ó. ≈
U
Ó.
4 Dancing; chattering q = 108 Picc.
Bb Cl.
Vln.
w
. ? œ- œ ≈ # œ. ‰ # œj ≈ œ. ‰ œJ ‰ . R π p playfully, lightly
U
∑
. r N œ- œ ≈ œ ‰ . b œ. ‰ b œ. N œJ ‰ J . p P
dolce, espress.
Vc.
w
r . & # œ- œ ≈ N œ. ‰ N œ. j ≈ b œ. ‰ b œJ ‰ π p &
∑
œ œ œ > > > >˙ . ƒ
. ≈ œ. ‰ . # œR ‰ œ.j œ. ‰ N œ # œJ p P
playfully, lightly
U U
r # œ. j ≈ œ ‰ ≈ œ N œ & #œ . . ‰ J ‰ œ . π p playfully, lightly
∑
∑
U 4 ≈ &4 œ œ œ > > > >˙ . ƒ with bravura
? 44 Œ
U
∑
solo
Violin
15
œ ≈ # œ ‰ œj ‰ # œj # œ # œ. . œ- . . fl P F b œ. œ. ≈ œ. b œ. n ˘œ ‰ J œ . b œ. ‰ J P F w
w
œ- œ ≈ # œ. ‰ . P p
∑
p
r ‰ # œ. # œj ‰ œ. J .
π
. . # œ œ ≈ œ. ‰ œJ # œ- . œ ‰ œ. œ. P
# ˘œ J F
Missing Words VI (V. Witzbeharrsamkeit 3)
16
7 Picc.
Bb Cl.
Vln.
Vc.
& ≈ b œr ‰ b œ- . Pfl &
w
? ≈ # œr ‰ # œœ- .. Pfl
Bb Cl.
Vln.
Vc.
&œ
œ. ‰ N œ. ≈ bœ. j J b œ n œ. œ. pfl œ
3
œ-
F
˙
3
#œ
. # œ ˘œ . . ? ‰ # œ ≈ # œ. # œ. œ ‰ # œJ J p
N œ.
P
# >œ # >œ
Œ Ó Œ F . œ. œ- # œ ≈ # œ ‰ # ˘œœ ‰ >œœ >œœ ≈ # œœ. ‰ J R J P p
≈ œ. ‰ œ # œ ≈ ‰ œ.j R > > # œ. p
. ‰ >œ b >œ ≈ N œ ‰ j N œ œ ≈ œ œ. œ. R > > P p œ. p
œ
solo - to the fore
œœ. ‰ œœ. # œœ- .. # œœ. ‰ # œ. >œœ # œœ ≈ œ. ‰ J J poco p p
. # œ j ‰ ≈ œ ‰ œ . & #œ J œ. # œ. - . pfl &‰
‰
˙.
10 Picc.
> j # œ # œ ≈ œ. ‰ # œ. poco p
˘ # >œ >œ ≈ r ‰ # œ- . œ. j œ œ ≈ ‰ œ ‰ œ. œ. # œ. œ. J P p π œ- b œ ≈ n œ. ‰ j ‰ b œ ≈ r ‰ n œ . . j ‰ ‰ j ≈ ‰ b œ bœ œ œ. œ - b œ. œ. b œ . n œ b œ. b >œ œ b œ. J . > > fl - . P p p π poco p
r & ≈ œ ‰ # œ . # œ. ‰ œ.j # œ . Pfl p
‰
‰
j œ > F
π
˘œ ≈ ‰ j ≈ ‰ ≈ #œ œ #œ . R N >œ >œ fl #œ fl P >> ˘ ˘ ˘ N œ. œ. ≈ œ ‰ b œJ ≈ b œ ‰ œ œ ≈ n œ . R P #œ
œ œ œ N˙ > f
# œ. >œ >œ œ. # >œ >œ œ. # œ œ ≈ R ‰ # œ œ ≈ ‰ œ. J P p
p molto espress. œœ- .. œ.
œ
3
#œ F
#œ
˘œ # ˘ . > œ ˘ > œ ≈ # œœ ‰ # œ ≈ œ ‰ œœ # œ ≈ R J P
Missing Words VI (V. Witzbeharrsamkeit 3)
& Œ
>œ > # œ ≈ # œ. ‰
& Œ
>œ b >œ ≈ N œ. ‰
13
Picc.
Bb Cl.
Vln.
Vc.
& ˙ ? Œ
#œ œ œ œ ≈ œ. ‰ #œ œ > >
j # œ.
6
# œ. J
> > # >œ >œ > > r ≈ œ. ‰ # œ- . Œ # œ # œ ≈ œ. ‰ # œJ. ‰ # œ œ ≈ # œr ‰ # œ. . ƒ p p F p > > > > ‰ b œ b œ ≈ N œr ‰ N œ- . œ Œ N œ # œ ≈ œ ‰ œ. ‰ # œ œ ≈ N œr ‰ J . . . . p F> > ƒ p p ‰
j œ. #œ#œ œ
#œ f
Œ
œ # œ ≈ # œ. ‰ œ.j ≈ œr ‰ . p> > π
& 43
Bb Cl.
& 43 b œ œ ≈ b œ ‰ b œj ≈ r ‰ . b œ. p> > . π
Vln.
Vc.
& 43
≈ Nœ œ œ bœ > > > > ƒ
∑
Œ
≈œœ >> ƒ
j œ. ‰ 43 π 3 j b œ. ‰ 4 π 43
œ N˙ > > ç
con fuoco
. . ‰ œ œ ≈ œr ‰ # œ- . œ. Œ œ œ ≈ ‰ œj ‰ # œœ # œ ≈ œR ‰ # œJ ‰ 43 . # œ œ # œ. > > # œ œ œ. π > > > > p p p ƒ F
Picc.
16
17
17
j # >œ . œ. ‰ j 44 ≈ ‰ œ œ #œ#œ . . œ. # œ- . > p F
≈b œ ‰ b œj œ . œ ‰ œ.j N œ p. . > . > F b >œ b œ œ bœ 44 J ‰ Œ b œ ‰ #œ. œ œ > 6 f ç
> > ? 43 # # œœ œœ ≈ # œ. ‰ œ. ≈ # œr ‰ . J π p
44
. 44 # œ œ ≈# œ ‰ œj >œœ .. œœ ‰ > > p. . F
œ. œ J
œ. ≈ œ # œ ‰ œj œ . > > . > F
œ- .
œ.
≈
‰ œj œ . œ . > œ > F>
>œ #œ œ #œ J ‰ Œ # œ œœ 6
œ- . #œ.
ƒ
œ. œ.
≈ #œ œ œ F
appassionato
> # >œ œ. >œ . . #œ ≈ œ ‰ œ œ. J F
œ. œ
Missing Words VI (V. Witzbeharrsamkeit 3)
18
> & ≈ #œ
# >œ ‰ ß
&≈
œ ‰ > ß
19
Picc.
Bb Cl.
Vln.
Vc.
œ >
Bb Cl.
? ≈ # >œ
# >œ ‰ ß
Vc.
j b œ.
≈
Nœ >
& bœ. &
œ ƒ
? # œœ- ..
œ. #œ J
> ≈ œ
# œ. ≈ > # >œ ‰ ‰ # œJ. œ #œ #œ ç F œ. b œ b œ ≈ b œ ‰ ‰ J N œ. œ > > F ç
& œ- .
3
Vln.
> ≈ Nœ
‰
j # œ.
Aœ ‰ > ß
j N œ.
ß
> > #œ œ œ œ œ œ œ & œ #œ œ œ #œ #œ œ œ œ > > f
21
Picc.
j # œ.
# >œ
œ
œ
>˙ .
œ. ≈ # >œ # >œ ‰ œ ç
. œ œ ‰ # œJ
F
# >œ
ß
‰
j œ.
20
r ‰ # œ.
≈
≈ b œ. ‰ R
j ‰ b ˘œ ‰ ‰ N œ . bœ fl f F ˘ N œ . œ ‰ N œj ‰ N œ ‰ . fl f> F Œ p
N œ- .
œ œ
3
>œ .
œ
A œ. ‰
> #œ œ œ œ œ œ œ . ≈ # œœ ‰ R
œ-
F
˘ bœ
b˙
j bœ > f œ
3
œ- . œ.
˘œ
j œ > f
# œ. ‰
œ- .
œ. ‰ œ
>œ œ J f
≈ œr ‰ . ≈ n œ. ‰ R #œ
3
#œ
#œ
. ≈ œœ ‰ R
˘œ ‰ # >œ ˘ ˘œ # # ‰ Nœ ‰ ‰ ƒ ‰ Nœ ‰ #œ ‰ œ ‰ Nœ > fl fl fl ƒ w
3
espress.
˘œ ˘œ ˘ > # œ. œ ‰ # œ ‰ ‰ œ #œ. J f F
# >œ ˘ ˘œ ˘ œ œ ‰ # œ ‰ # œœ ‰ œ ‰ ƒ
Missing Words VI (V. Witzbeharrsamkeit 3)
24 Picc.
Bb Cl.
Vln.
Vc.
&
Slightly slower q = 88
∑
43
∑
44 Ó
U
43
∑
44 Ó
∑
&
&
U
U w
43 Œ
p
?
N œ- œ- œœ- b ˙ 44 ‰ J p P3 espress., cant,, insistent
U
∑
43
44 Ó
∑
>˙ .
Picc.
& 43
Bb Cl.
>˙ . 3 N &4 Í
Vln.
Vc.
& 43 ? 43
# # ˙>˙ .. Í
Fp
Œ π
˙.
Œ π
œ œ- œ- œ- œ- b ˙ J ‰ ‰ J p p P3
> # # ˙˙
˙˙ ..
Fp
44
Í
Œ
> N˙
˙.
31 q = 72
rit. 30
#˙ > Fp
‰
F
œ-
œ-
w
44 44
œ-
#w > Fp > w Fp
œ œ- œ- -̇ J‰Œ
F Œ π
P
3
3
˙
Ó F
˙
Ó F
œ- b ˙ . F
# # ww>
˙˙
Fp
Ó F
rit.
∑
f
44 w œJ
œ
19
N˙.
f
∑ œ ƒ
ww f
Œ
Ó ∑
43 43
f
43
43
20
VI. Erebusterror (Erebus-Terror)
TRANSPOSED SCORE
Rubato, with hope q = 58
slurs are for phrasing (re-articulate)
# œ-
& 44 Œ
Flute
Flute
F
œ-
3
œ- N œ-
œ-
rall.
f
œ-
œ-
a tempo
p
lyrically, with an embracing warmth
slurs are for phrasing Bass Clarinet (re-articulate)
& 44 Œ
Bass Clarinet in Bb
3
# œœF
œœ -
N œœF
œœ -
œ- N œf
œ-
N œ-
œp
3
œœ n œœ - f
œœ -
œœ -
œœ -
œœ b N œœ - f
œœ N # œœ - -
lyrically, with an embracing warmth
? 44 Œ
Violoncello
œ-
lyrically, with an embracing warmth
& 44 Œ
Violin
œF
3
p
U
5
Flt.
Bs. Bb Cl.
Vln.
∑
&
U
∑
&
U
∑
&
6
- - ‰ œ œ œ # œ- œ- œ- œrall.
‰
p
F
∑
(ord.)
0
Vc.
¬
π
with dread
¬
∏
¬
∑
∑
U
∑
U
∑
U
∑
increase bow pressure, decrease bow speed (m.s.p.)
w
∏ sickly Intimately q = 50
9
∑
∑
U
∑
∑
U
w
rall.
‰ œ- œ- œ œ # œ œ - - π p ‰ œ œ œ #œ - - - p π
œ
"sul pont. whispers" (trem., unstablle/irregular sound; freely transitioning molto sul pont. from white noise to having a little pitch; (m.s.p.) should be mainly white noise (mainly white noise) with flickers of pitch and dynamic swells, ad lib.)
Sul III.
heavy bow pressure, slow bow (creaking sound, no pitch) molto sul tasto
?U
U
∑
‰ œ œ œ œ œ œ b œ- œ- œ- œ- œ- œ- œœp F π
∑
π
∑
# œ- œ- œ- œ- œ- œ- œF π p
∑
w
a tempo
π
∑
(change bow as needed) molto sul pont. (m.s.p.) ord.
Nœ œp
lyrically, with an embracing warmth
∑
U
wæ π
U
¬
œæ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ∏ like a whisper
¬
¬
Missing Words VI (VI - Erebusterror)
-̇ & . F
11
Flt.
Bs. Bb Cl.
a tempo
rall.
œ œ
œ- œ œ # œ ˙ p π
#˙. & œj ‰ π
œ
œ.
p
? ¬
j œ ‰ ˙ p
45 w π
œ ‰ J ∏
45 ¬
¬
15
Flt.
45 ˙
a tempo
44 ˙ F 44
˙
stoicly
∑
etc. (swells, ad lib.)
(creaking sound)
Vc.
14
rit.
a tempo
44 &~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 45 ("sul pont. whispers")
Vln.
œ œ J
21
& w
∑
π
44 ¬
¬
U
∑
∑
"harmonic whispers" (unstable/irregular sound; freely transitioning between air sounds, a barely sounding fundamental pitch (as notated), and whispers of higher harmonics; ad lib.) breathe/retake as needed
Bs. Bb Cl.
Vln.
Vc.
U ∑ & b ¬ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ∏ U & ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? ¬
¬
19 Con moto q = 72 Flt.
&
w
π
˙
cant., with hope
Bs. Bb Cl.
Vln.
Vc.
&
# œ- œ- œ- œrall.
p
U
¬
F
a tempo
‰
œ œ J π
¬
œ œ œ œ œ œ œ œ œ œ œ œ- œ- œ- # œ- œrall.
3
3
F
("harmonic whispers")
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
43 43
& ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 43 ? ¬
¬
¬
¬
43
Missing Words VI (VI - Erebusterror)
22
25
change color for each new dynamic
œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w J 44 & 43 3 Í ƒ
23
Flt.
Bs. Bb Cl.
Vln.
Vc.
w
œ œ ˙.
p
π
#w
singing out intimately sotto voce
œ J‰Œ Ó ∏
∑
& 43
44 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
& 43
44 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? 43 ¬ .
44 ¬
¬.
¬
¬
¬
¬
¬
31 Uncomfortably tense and uncertain Air sound (no pitch, only slight timbral gradations); audible key clicks; improvise fast, continuous grace notes breathe/retake as needed Whisper: "Sss"
Flt.
Bs. Bb Cl.
Vln.
Vc.
& & &
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
π
continue (ad lib.)
∏
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? ¬
¬
¬
¬
Missing Words VI (VI - Erebusterror)
37 Terrifyingly
( q = 144 )
molto accel. "Sss"
35
Flt.
Bs. Bb Cl.
&
&
Vc.
"Shh"
f ("whispers") gradually
gradually
loud multiphonic
÷
sul pont. (mostly pitched)
& ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ wæ f ? ¬
¬
(creaking sound)
gradually
¬
"
ƒ
~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b ¬ f ("whispers")
Vln.
23
harsh/ripping/distorted sound
¬ f
" ƒ "
ƒ
" ƒ
abrupt cut off (secco) freeze
U
∑
abrupt cut off (secco) freeze
U
∑
abrupt cut off (secco) freeze
U
∑
abrupt cut off (secco) freeze
U
∑
24
VII. Rolleirückblende (Rollei-Flashback) TRANSPOSED SCORE
Flowing, warmly embracing q = 58 slurs are for phrasing (re-articulate)
# œ- œ- œ- œ- œ- N œ- œto the fore, lead
Flute
& 44 ‰
p3
rall.
œ-
p
f
3
lyrically, rich
œ-
slurs are for phrasing (re-articulate)
Bass Clarinet in Bb
& 44 ‰
3
3
œ- œ- œ- œ- œ- N œ- œ- N œ- œp f p
lyrically, rich
Violin
# œ- œ- œ- œ- œ- n œ- œ4 ‰ &4 œ œ œ œ œ œ œ p3
f
3
lyrically, rich
Violoncello
œœ
œœ
p
3 ? 44 ‰ 3 œœ œœ œœ œœ œœ b N œœ œœ N # œœ N œœ - - - - - - - - p p f
42
∑
44 ‰
42
U
∑
44 ‰
42
U
44 ‰ b N œœ- œœ- œœ- œœ- # N œœ- œœ- œœ-
42
U
lyrically, rich
5 Intimately q = 50
rall.
Flt.
Bs. Bb Cl.
Vln.
Vc.
- œ- œ- œ- # œ- solo œ œ 4 ‰ &4 P π & 44 ‰ # œ- N œ- œ- œP 0 œ- œœ- œœ- œœ4 œ ‰ &4 P
? 44 ‰ œ- œ- œ- œP
œπ œœ
a tempo
45
F
hushed
U
∑
44
43
U
∑
44
43
U
∑
44
44 ‰ œ œ œ œ œ œ b œ 43 # œ- œ- œ- œ- œ- œ- œπ π F
U
44
π
π
π
π
F
˙. π
- - œ œ 44 œ œ œ # œ ˙ π p
j œ45 œ ‰ Œ # ˙ . π hushed π
44 # œœ œœ œœ ..
0
π
. 43 œ ∏
0
œœ ˙˙ 0 0
œœ œœ J
∑
a tempo
34 ˙ ∏
44 # œ- œ- ˙ . 44 œœ- œ- .
hushed
F
œ Nœ # œ- œ- œ- œ- œ- - π F π
˙˙ ..
π
œ 45 œJ ‰ Œ
∑
43
rall.
w
54 œj ‰ Œ
œ- œ- œ- # œ- œ- œ- œ-
U
∑
a tempo
rall.
a tempo
43 ˙ ˙ ∏ 34 ˙˙ ∏
rit.
Œ
45
solo
45
‰ #œ
p
espress.
j ‰ 45 œœ œœ ‰ 5 4 J
Missing Words VI (VII - Rolleirückblende)
9 Flt.
Bs. Bb Cl.
a tempo
& 45
∑
# ˙5 &4 F
Vln.
& 45
Vc.
? 45
œ ‰ Œ J π
p
∑
13 Flowing q = 60 rall.
Flt.
Bs. Bb Cl.
&
& Œ
P >œ
pizz.
F
Ó
œ- œ- œ- # œ- œ- œ- N œp F
& Œ # œœ- œœ- œœ- œœ- œœ- œœ- œœ Œ p F rich, resonant
?conΠvib.
œœ œœ œœ œœ œœ œœ N œœ -- - - - - p F 3
rich, resonant
tongue slap
44 j ‰ Œ ¿ fl F
Ó
Œ
Œ
Ó
∑
44 non vib. # w-
˙
arco non vib.
44 wO p
Ȯ
œ
solo
π
cant.
Ó
π Ó π
rit.
˙
p ∑
3
3
∑
a tempo
# œ- œ- œ- œ- ‰ œJ œ p F F
con vib.
Vc.
Œ
(con vib.)
ord.
Œ
œ œ ˙ p
-̇
rich, resonant
Vln.
Ó
solo 0
∑
˙
44
∑
˙.
25
solo non vib.
œ œ ‰ J π
∑
34 œJ π
non vib.
43
- œ- œ- œœ 44 42 p f con vib.
‰
Œ
Œ ∑
- 42 œ œ œ- # œ- 44 f p
con vib. œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ- 2 N œ- œ- # œ- œ- 4 4 4 4 3 3 3 p f espress.
43
∑
42 N œœ œœ # œœ - - p
œ 44 œf
Missing Words VI (VII - Rolleirückblende)
26
19 Suddenly very still 17 Flt.
Bs. Bb Cl.
Vln.
Vc.
Bs. Bb Cl.
Vln.
Vc.
a tempo
poco accel.
> œ œ œœœœœœœœœœ œ œ œ œ œ œ œœ œ œœœœœœœœœœœœ w & 44 ‰ J 5 6 6 fÍ p F
stoicly, hushed
fÍ
stoicly, hushed
‰ œ œ œ œ œ 3 p3
& 44 Ó & 44
˙.
5
6
Í
Œ
‰ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 p3 fÍ >œ ‰ #œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ J ‰ Œ Ó 3 3 p3 ƒ 0
œ #œ #œ
˙.
œ.
˙
œ œ œ
w
˙.
œ.
& ˙
œ œ œ
œ #œ #œ ∏
?
∑
&
∏
w ∑
œ #œ #œ ∏
˙. ∑
œ.
rit.
Nœ ˙ J π j Nœ #˙ π j Nœ ˙ π ∑
œ ≈œ
˙.
w>
w
˙. π
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # w>
œ œ œ
&
˙
non vib.
œ J ‰
? 44 Ó
21
Flt.
a tempo
œ #œ œ œ œ œ ˙ Ó
œ ≈œ
π ˙.
œ ≈œ
non vib.
π
stoicly, hushed
∑
U ˙
∏ U
˙ ∏ U
˙ ∏ U
Ó
Missing Words VI (VII - Rolleirückblende)
26 Warmly, embracing, very pure q = 50
-̇ # œ ‰ J F
œ J ‰ Œ p
(non vib.)
Flt.
Bs. Bb Cl.
&Œ &Œ
cant.
‰ # œj -̇ F
Œ
cant.
j #œ ‰ Œ p
‰ œj -̇ F
œ ‰ Œ J p
Œ
(non vib.)
Vln.
&Œ
cant.
7 non vib.
Vc.
?Œ
j œœ ‰ Œ p
‰ œj ˙ œ -̇ F
32 Delicately, fragile q = 40 Flt.
&Ó
œ ‰ # œJ π
intimately
Bs. Bb Cl.
&Ó
œ œ ‰ J π
intimately
Vln.
&Ó
‰ œj œ π
intimately
Vc.
?Ó
Nœ œ ‰ J π
intimately
p
œ œ. p
Œ Œ
Ó Ó Ó
Œ
Ó
p
p œ
p
#˙ p
˙
p
#˙
œ J ‰ Œ π
˙ #œ
œ J ‰ Œ π œ ‰ Œ J π #œ J ‰ Œ π
P
œ #˙. J p oo ˙-̇ . N œ ‰N œ . J p
j œœ ‰ Œ Ó p
œ J ‰ p œ J ‰ p
P ˙.
#˙.
‰
rall. al fine
. œ #œ Œ p œ œ.
#œ ‰ Œ Ó J p
‰ œj ‰ œj ˙ . œ œ -̇ . p F
˙.
# œ -̇ . ‰ J p
j œ ‰ Œ Ó p
‰ œj ‰ œj -̇ . p F
cant., resonant
-̇ . # œ ‰ J p
œ J ‰ Œ Ó p
‰ # œj ‰ # œj # ˙ . p F
Œ
. œ #œ
rall.
-̇ . # œ # œ ‰ J ‰ J p F
Œ
27
œ ‰ J p
P
. # # ˙˙ .
œœ J ‰ p
P
˙
U w
π
n.
∑ II. I.
˙˙o
π N N Ȯ
π
∑ ˙˙o
Uo
ww
n.
Ȯ
U O
w
n.