For all love lost and spirit gained

for soprano, flute, percussion, piano, violin, viola, and violoncello

– 2018 –

oshua andreau T HREE ·S ONS ·M USIC

for soprano, flute, percussion, piano, violin, viola, and violoncello

– 2018 –

oshua andreau

T HREE ·S ONS ·M USIC

For all love lost and spirit gained About the score For all love lost and spirit gained is written for soprano, flute, percussion, piano, violin, viola, and violoncello, and was written specifically for the Sonic Liberation Players. This piece was written from January – March 2018.

Indicators for metric subdivision have been placed at the top of each system where appropriate to assist in readability and ensemble playing.

For added assistance in ensemble playing, the soprano part has been added to all instrumental parts.

Text I. We work with being, but non-being is what we use Billy, let your flowers bloom, From your mouth into the sky, Sparkling black and far away, Onward drifting through the night, and when they've served their time Earth-freed, ascending rainbow pinwheels whirling through atmospheres, connecting words unspoken, resting atop the blackest peak.

II. Hold on to the center, if you stay in the center and embrace death with your whole heart, you will endure forever A boy misunderstood, withstood torrents unleashed in violent streams, mouth fire hoses shooting fire at victims’ silent screams shielding against blazes, infernal heat and so the flowers cease, decreased pieces of plants littering trees ease minds unused to kind beauty and the world becomes stiff green life cycles cycle life and circles become circles and squares become circles and all circles are circles and there are no hedges in mazes no fire, blazes, shields wielded to yield fields of fire pouring out hate from those with no desire to see colorful pinwheels circling and spinning cerulean wonder And there it becomes dry black oceans devouring black lives missing teeming creatures and blessing curved nuance of white pride one by each, blinking snuffed delicately winking out of existence extinguished sky-ocean darkens with those never knowing history and their place of resistance Among sisters and brothers, flowers ascended through mists like mothers testing that without them we’d surely blind one another, and they disappear blindly fumbling without understanding demanding fixes for ignorant glad-handing older but no wiser losing what little of ourselves along the way III. Practice not-doing, and everything will fall into place precious lilies, we, trembling, swallow hymns like cigarettes, birds were in our dreams last night, animal contour sparkling Billy, let your flow ers bloom fr om your mouth into the sky sparkling black and far away onward drifting thr ough the night For all love lost, and spirit gained, For all love lost, and spirit gained.

Performance Notes • In general, “scratch tone” is defined as having no discernible pitch with a rough, gritty, scratchy timbre.

• Each of the movements should be played attaca.

• Mvm't II, M. 56, it is important for flute, violin, viola, and electronics to blend as evenly as possible through this section.

• Mvm't III, M. 16, “scratchy tone” is defined as having discernible notated pitch with a scratchy timbre (think half-scratchy).

Soprano • Mvm't I, M. 10, soprano asked to make a “tube” shape with one hand; put one end to the mouth; cover the other end with the free hand; then using that hand to rapidly open / cover the hand-tube in order to produce a “wah”-like sound similar to that of a vibraphone with the motor on.

• Mvm't II, M. 16 soprano should sing in a style similar to rock or metal, with pitches being approximate. The soprano should also feel free to lightly embellish by portamento into / out of notes.

Flute • For “breath noise”, flutist should take care inhale with audible sound.

• Mvm't I, M. 10, flutist asked to “Tongue Ram” the notes; the upper note is the intended / suggested fingered pitch; the bottom note is the intended resultant sounding pitch.

• For “Bamboo tones”, the flutist should use fingerings that cover the most tone-holes and work to achieve a bamboo flutelike (i.e. aspirate) timbre.

• For “Trumpet Sound”, player should buzz their lips into the headjoint.

• Mvm't II, M. 137, “breath noise” should be after the fermata, as a lead into M. 138.

Percussion

1. Kick drum or muffled low drum 2. Medium or Medium-Low Tom 3. Low Gong 4. Snare Drum 5. Suspended Cymbal

6. Log Drum (low)* 7. Crash Cymbal 8. Log Drum (high)* 9. Triangle

*Log Drum may be substituted with wood blocks, temple blocks, wood slats, or other similar-sounding instruments.

• Mvm't I, M. 15, percussionist may freely ad lib. rhythm choices; increasing and decreasing in their density as indicated in the score.

• Mvm't III, percussionist should have wine glasses tuned to the following pitches: C#4, D4, D#4, E4, F#4, A4, and C#5.

Piano • “FX Cue” indications should be played by the pianist. It is suggested that the pianist use a device that can trigger FX cues via touch (e.g. smartphone / tablet).

• Mvmt' II, M. 95, pianist should “shake” chord in style of stride and ragtime music.

• Mvm't III, pianist should have wine glasses tuned to the following pitches: D#4, E4, F#4, A4, and C#5.

• Mvm't III, M. 1, pianist should mute strings inside the piano with one hand while playing the notes with the other.

• Mvm't III, M. 8, pianist should pluck strings inside the piano immediately after depressing them via the keyboard; the effect here is like an echoing harpsichord.

• Mvm't III, M. 27, pianist plays tuned wine glasses (top staff) and piano (bottom staff) simultaneously; should match percussion as closely as possible in terms of style and dynamics.

• Mvm't III, M. 51, pianist silently depresses indicated keys, then sweeps the strings inside the piano as gently as possible.

Violin • Mvm't I, M. 10, violinist should continually re-articulate bounced bow while increasing in speed; decreasing in the following measure.

• Mvm't II, M. 16, violinist should use plectrum (pick) and should play the instrument as if playing a guitar; resting the right hand on top of the bridge so as to mute the strings while still allowing sound to resonate.

Viola • Mvm't I, M. 13, violist should not worry about rhythmic perfection, only to play after each cello note such that it produces an echo effect.

• Mvm't II, M. 21, violist should use plectrum (pick) and should play the instrument as if playing a guitar; resting the right hand on top of the bridge so as to mute the strings.

• Mvm't II, M. 122, violist should glissando all notes upward from indicated starting pitch; do not worry about keeping pace with the music or the specific durations of notes; play as fast as possible and follow the notes in order; do not line up with anyone.

Violoncello • Mvm't II, M. 30, cellist should place left hand, first finger across III and IV, just before the nut in order to create a slightly muted sound.

• Mvm't II, M. 122, cellist should glissando all notes upward from indicated starting pitch; do not worry about keeping pace with the music or the specific durations of notes; play as fast as possible and follow the notes in order; do not line up with anyone.

Composer Biography Joshua Jandreau is a composer, teacher, and multi-instrumentalist currently based in Boston, Massachusetts. His music has been performed, premiered, and recorded by orchestras, chamber music groups, and solo artists across the United States, Australia, Germany, and Switzerland. Passionate about contemporary music and education, Jandreau currently serves as Director of Concert Series for the Boston New Music Initiative and teaches piano in the greater Boston area. He has been awarded grants to provide music and arts opportunities to students of low-income families, and recently served as a guest speaker at the 2016 Arizona Music Educator Association conference for incorporating technology in the musical classroom.

Receiving numerous academic awards and fellowships, he collaborates with artists, ensembles, and institutions including Grammy award-winning hornist Andrew Pelletier, the Sonic Liberation Players, duo membranophon, Ensemble Resinosa, the Boston Conservatory Sinfonietta, the Arizona State University Symphony Orchestra, the Phoenix Art Museum, Phoenix's “CollabX”, the Generous Ensemble, the Brevard Music Center Orchestra, and many solo artists.

When not writing music, he is an avid cyclist and winemaker.

duration ca. 11'30”

for more infor mation, please visit www.joshuajandreau.com

Copyright © 2018 Joshua A. Jandreau. Published by Three Sons Music (ASCAP). www.joshuajandreau.com All Content Copyright. All Rights Reserved. Copying or reproducing this publication in whole or in part violates the Federal Copyright Law.

Ă sta SĂłllija Framed beneath two black windows coupling doubled under night sky black like moths burrowing harrowed doves now circling glittering shadows creeping and two fortunes told to me I cast them out for all their worth and wondered what they'd said to me Tumbling earth and twisted root rising up to strangle me wandering animals my family circling, prying, respectfully Flowers swirling into tubes of radiant light beaming in two directions honest filaments filtering futures forgetting my own transgressions silk dabs soft moon skin of glowing thoughts burning holes into worn pockets an empty hat with holes for ears chilling in the farthest back and darkest places chilling on two grown moon silver wagging tails like puppies born of sons and fathers failures brothers let me down to carry on winnowing dreams evaporate clouds and two grown men cry for all love lost and spirit gained, for all love lost and spirit gained traveling to unknown places seeking the farthest back and darkest places beyond the sky-lined time pieces stopping to melt for childrens' faces and onward through thick sparrow thrashing bush to rocks moored to docks tied like children to futures, beyond two stars shining gossamer twinkling and finding a place for my soul to rest.

written for the Sonic Liberation Players

Full Score

Joshua Jandreau (2018)

spacious, otherworldly

q=

Lento

(2+2+3+2)

(

(3+2)

=

)

Soprano

Flute l.v. sempre

Percussion

x FX CUE 1 j œ

(play immediately after starting cue)

j œ

j #œ

j œ

j œ

j #œ

j œ

Piano

Violin

Viola pizz.

Violoncello

4

(2+2+3+3)

(2+3+3+2)

Perc.

x j #œ

j œ

j œ

j œ

j œ

j #œ

j #œ

j œ

j #œ

j œ

Pno.

pizz.

Vln. pizz.

Vla.

Copyright © 2018 Joshua A. Jandreau (ASCAP) Published by Three Sons Music (ASCAP) www.joshuajandreau.com All Content Copyright. All Rights Reserved. Reproduction or distribution of this publication in whole or in part constitutes violation of Federal Copyright Law.

j #œ

2 7

(3+2+6)

(3+3+2+3)

S breath noise inhale

Fl.

Perc.

x j œ

j œ

j #œ

j œ

j œ

j #œ

j œ

j #œ

j œ

j œ

Pno.

Vln.

Vla.

Vlc.

(2+2+3+2)

(3+2)

Make tube with hand; cover end with other hand; open / close hand-tube to produce "wah" sound similar to vibraphone motor

10

(2+2+3+3)

S Bill

-

y,

let

your

flow

-

ers

bloom,

from

your

mouth

in

-

to

the

Tongue Ram (upper note = fingered pitch) (lower note = sounding pitch)

Fl.

1 Perc.

x j #œ

j œ

j œ

j œ

j œ

Pno.

arco

after initial bounce, re-articulate w/accel.

3

Vln.

pizz.

3

Vla.

Vlc.

(don't worry about being rhythmically perfect here, just play after each cello note)

j #œ

3 14 S sky,

Fl.

1 Perc.

x

x

j #œ

Pno.

Vln.

Vla.

Vlc.

15

(2+3+3+2)

S spar

-

kling

black

and

Fl. ad lib. rhythm on bells of cymbals

Perc.

x

x

x

increase density...

1

j œ

j #œ

j œ

j #œ

Pno.

Vln. 6

3

9

3

3

arco

Vla. 3

arco

Vlc.

4 16

(3+2+6)

(3+3+2+3)

S far

a

-

way,

on - ward

drift

-

ing

through

the

Fl. decrease density...

Perc.

j œ

j œ

j #œ

j œ

j œ

j #œ

j #œ

j œ

j œ

Pno.

3

Vln.

Vla. 3 3

Vlc. 9

3

3

3

3

(3+3+2+3)

18 S night,

on

-

ward

drift

-

ing

through

the

Fl.

1 Perc.

x j œ

j œ

j œ

Pno. j œ stratch tone

Vln.

III IV

stratch tone

Vla.

stratch tone

Vlc.

j œ

j œ

j œ

j #œ

j #œ

Lento q = spacious, 21 (2+2+3+2)

20

otherworldly

S night, 3

Fl.

#œ#œ

Perc. j œ

j œ

j #œ

j œ

j œ

Pno. j œ

j œ

j œ

ord.

sul tasto

Vln.

3

sul tasto

ord.

Vla.

II 3

sul tasto

3

ord.

Vlc.

22

(3+2)

S

Fl.

Perc.

x

x

x

x

j #œ

œ aœ

j #œ

œœ

x j #œ

x j œ

x

x

x

1

x

x

j #œ

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j #œ

j œ #œ œ

Vln.

#œ œ

Vla. II I

Vlc.

I

œ œ

x

5

6 24

(2+2+3+3)

S #œ œ

Fl.

#œ #œ

x Perc.

x

x

x

j #œ

œœ

œœ

x

x

j #œ

j œ

1 1 x

x

x

x

j œ

j œ

j #œ

j #œ

1 1 1 1 1 1 1 1 x

j œ

Pno. j #œ

j œ

j œ

j œ

j œ

j œ #œ #œ

œ œ

œ œ

j œ

j #œ

j #œ

œ œ

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Vln.

Vla.

œ œ

œ œ

#œ #œ

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Vlc.

26

(2+3+3+2)

(3+2+6)

S

Fl.

Perc.

j #œ

j œ

j #œ

j #œ

j œ

j #œ

j #œ

Pno. j #œ

Vln.

Vla.

Vlc.

j œ

j œ

#œ œ

28

7

a tempo 30 (3+2)

(3+3+2+3)

(2+3)

S

Fl.

Perc.

j œ

j #œ

j œ

j #œ

j #œ

Pno. œœ

#œ œ

œ œ #œ

œœœ

œœœ

œ œ œœ

~~~~~~~~~~~~~~~~~~~~

j œ

FX CUE 2 (trigger cue immediately following chord)

sul pont.

III IV

(start w/robot)

Vln.

Vla.

Vlc.

q=

33

32

a little faster

(2+3)

q=

36

(3+2)

faster still

3

S Earth - freed,

a

-

scend - ing

rain - bow

pin - wheels

whirl

-

ing,

Fl.

Perc.

Pno.

Vln.

II III

Vla.

œœ arco II III

Vlc.

III IV

I II

III

8

37

38

(3+2+2+5)

with robot

q=

a little slower

q=

39

(2+2+2+4)

(2+3+2+2)

S through

at - mos - pheres,

con

-

nect - ing words

un

-

spo - ken,

Fl.

Perc.

FX CUE 4

FX CUE 3

Pno.

ord.

Vln.

Vla.

Vlc.

41

(2+2+6)

(2+3+5+2)

(

(2+2+6)

=

) (3+2+2)

S rest - ing a - top

the

black - est

peak.

Mmm...

Fl.

Perc.

j œ

Pno.

Vln.

Vla.

ord.

Vlc.

j #œ

j #œ

j œ

j #œ

j #œ

9

Adagio q = accel. to Mvm't II. 48 (4+4+6)

46 S

Fl.

Perc.

Pno.

Vln.

Vla.

Vlc.

Andante

49

q=

S

Pno.

Vln.

Vlc.

52

Pno.

Moderato

q=

Attaca Mvm't. II

q=

120 (2+2+3)

Soprano

Flute

Percussion

Piano

Violin

Viola

Violoncello biting, gritty

4

5

S 3

Fl. 3

liquid, light

3

Perc.

Pno.

Vln. biting, gritty

Vla. biting, gritty

Vlc.

11

(

9

7

=

) (2+2+3+4)

S 3

Fl. 3

3

on S.D. rim

y

Perc.

y y y y y

Pno.

Vln.

Vla.

Vlc.

(2+2+3)

10

(2+2+5)

(2+2+3+4)

S

Fl. on batterhead

Perc.

Pno.

Vln.

Vla.

Vlc.

y

y

y

yyy y

y

y

y y

y

y yyy Å“

on S.D. rim

y

y

y y

y

y

12

16

14

sempre

S A

boy

x

x œ

mis

-

Fl.

y

Perc.

y

y

yyy œ

y

y

y œ

y yy y y yy œ

œy

x œ

œœ

Pno.

w/plectrum as if playing guitar; rest RH on top of bridge, muting strings but allowing sound to resonate pizz.

IV

III

Vln.

Vla.

Vlc.

17 S un

-

der - stood,

Fl.

Perc.

x x œ œœ

x œ

j œ

x

j œ

œ œ œ

œ

œ

j œ

œœ œ œ œ œ œ œ

œœ œ

Pno.

open strum III

Vln.

Vla.

Vlc.

IV

III

IV

IV

13 20 S with

-

stood

tor - rents

un

-

leashed

in

vio

-

lent

streams,

Fl.

x

x x œ œ

Perc.

x x x œ œœ œ œœ

x œ

œ

j œ

x œ œ

œ œ œ œj œ

œ œœœ

Pno.

palm mute III

II

III

IV

III

IV

III

IV

III

II

IV

Vln. w/plectrum as if playing guitar; rest RH on top of bridge, muting strings but allowing sound to resonate pizz.

IV

III

IV

Vla.

Vlc.

23 S mouth

fire

hos - es

#œ œ

Fl. 3

Perc.

j œ

œ œ

œ

œ

œ

6

œ

œ

œ œ

6

x œ

x œ

œ

x œ œ œ

x œ

œ œ

Pno.

open strum

palm mute IV

III

IV

Vln.

open strum palm mute IV

Vla.

Vlc.

III

14

25 S shoot - ing

fire

Fl.

x œ œ œ

Perc.

x

œ œ œ œ œ

œ œ

œ œ œ œ œ

œ

œ œ

Pno.

open strum III

II

III

Vln.

open strum III

IV

II

Vla.

j #œ

Vlc.

guitar solo!

27 S at

vic

-

tims'

Fl.

œ œ

Perc.

œ

Pno.

Vln.

Vla. 3

Vlc.

œ œ

œ œ œ

œ œ

œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ

15

30 (

29

)

(3+2+3) spoken; with intensity

=

S sil - lent

screams

shield - ing

a - gainst

blaze - s,

shield - ing

x x œ

x

x x

x x

a - gainst

blaze - s,

Fl.

œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœ

Perc.

x x x

œœ

6

Pno.

arco

at the frog; with bite!

Vln.

arco

at the frog; with bite!

Vla. at the frog; with bite! place LH first finger across III and IV just before the nut to create a slight muted sound

Vlc. biting, aggressive

32 S shield - ing a - gainst, blaze - s

shield - ing a - gainst, blaze - s

shield - ing a - gainst, blaze - s

shield - ing a - gainst, blaze - s

Fl.

Perc.

Pno.

Vln.

Vla.

Vlc.

x

x x œ

x

x

x

x x

x œœx

x x x œ

x

x

x x

x

x

16

39

36

(2+2+3+4)

S shield - ing

a - gainst, blaze - s

shield - ing

a - gainst

in

-

fer

-

nal

heat.

Fl.

x

Perc.

œœ

x

x x x œ

x x

Pno.

Vln.

Vla.

Vlc.

40 S

Fl. 7

œ Perc.

Pno.

Vln.

Vla.

Vlc.

œ

œ

œ

x

x

x

x œ

x œ

x

x

x

x

17 43

(2+2+3)

S

Fl.

œ

Perc.

œ

œ

œ

œ

œ

œ

œ

œœœ œ 3

Pno.

Vln.

Vla.

Vlc.

(2+2+3+4)

46 S

Fl.

Perc.

œ œœœœ œ œœœœœœœœœ 3

Pno.

Vln.

Vla.

Vlc.

3

3

3

œ

œ

œ

œ

œ

œœœ 3

18 49

(2+2+3)

S

Fl. on S.D. rim

j œ

Perc.

œ

j œ

œ

œ œ œœœ œ 3

j œ

œ

œ œœœœœœ y œ y œ y y œ 3

y œ y œ y y œ

3

Pno.

Vln.

Vla.

Vlc.

53

(2+2+3+4) 3

S and

so

the

flow

-

ers

Fl.

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1 1 1 1 1 1 1

Perc.

bœ

œ

œ

bœ

œ

œ

Pno. bœ

œ

œ

Vln.

Vla.

Vlc.

j œ j bœ aggressively

j bœ

19

56

5

S cease,

de

-

creased

piec

-

es

of

(match violin)

Fl. smoothly like silk

111111 11 11111

1111 11 11111

11 1 11 1 11 11 11

Perc.

FX CUE 5

Pno. œ.

r œ.

œ .

Vln. smoothly like silk

Vla. smoothly like silk

Vlc.

j œ

j œ

j œ

j œ

j bœ

j œ

59

j œ

j œ

3

S plants

lit -

ter -

ing

trees

Fl.

1 1 1 1 1 1 1 1 1 1

1 1 1 1 1 1

1 1

Perc.

3

3

3

3

3

3

1 1 .

1

3

bœ . .

Pno. bœ

bœ

Vln.

Vla.

Vlc.

j œ

j œ

j œ

j œ

j œ

j œ

20

62

3

3

S ease

minds

un

1 1 1

1

-

uesd

to

kind

Fl.

1 1 1 1

1 1

11

3

3

11 1 1

Perc.

3

3

3

3

œ. œ. ..

Pno. œ

œ

Vln.

Vla. j bœ

j bœ

Vlc.

j œ

j œ

j œ

j œ

j œ

j œ

(spoken on pitch)

66

sprechgesang

3

S beau

-

ty,

and the

world becomes stiff green

Fl.

1 1

!

Y

Perc.

3

3

œ œ œ œ œ œœœœœ œ œœ œ œ 3

3

3

œœœ œ œ œ œ œ œ œ œ œ œ

b œ. b œ. b œ. . .

Pno.

bœ bœ

Vln.

Vla.

Vlc.

j bœ

j œ n

21

71

x3

S life cycles cycle life and circles become circles

squares become circles and all circles are circles

and there are no hedges in mazes,

no

(exhale)

(inhale)

Fl. Shhh...

w/ brushes

! w w

Perc.

w

w

Y œ

w

FX CUE 6

Pno.

Vln.

Vla.

Vlc.

q=

76

84

(4+4)

(2+3+5)

(2+3+3)

S fire,

blaz - es,

shields wield - ed

to yield

fields

of

fire

pour - ing out hate

from

Fl. 3

Perc.

œœ

œœ œ

œœœ

œ œ

œ œ

œ œ œ

œ œœœœ œ œ œ œ œ œ 3

Pno.

Vln.

Vla.

Vlc.

79

(3+2)

(3+2+3)

(2+2+3+2)

22

(3+2)

S those with no de

-

sire

to see

co - lor - ful

pin - wheels

cir - cling and spin - ning

cir - cling

and spin - ning

Fl. 3

3

1 œ

Perc.

œ

œ œ

œœœ

1

1

œ

1

œ

œ

1

1

œœ œ œ œ œ

œœ œ œ œ œ œ œ

Pno.

Vln.

Vla.

Vlc.

85

83 S cir - cling

and spin - ning

cir - cling and spin - ning cy - ru

-

le

- an

won - der.

j #œ

Fl. 3

1 Perc.

1

œ œœœœ œ œ œ

œ

1 œ œ

1 œœœ

œ œ

~~~~~ 4

Vla.

Vlc.

œ œ

Pno.

Vln.

œ

œ œ

œ œ

23 86

(2+2+3)

S

Fl.

x Perc.

œ

x

x

œ œ

œ œ

x

œ œ œ

œœ

œ

œ œ x

œœ

œ œ x

œœ

œ xœxœ

Pno. j œ

j Nœ

Vln.

Vla.

Vlc.

(2+3+3)

89

88

(2+3)

S And

there it

be - comes dry,

black

o - ceans de - vour - ing

black lives;

Fl.

!

œœœœ

Perc.

3

Pno. j #œ

3

Vln. 3

Solo IV

Vla. 3

IV

Vlc. 3

œ

œ

92

(2+2+3)

24

(2+3)

S miss - ing teem - ing crea - tures and

bless - ing curved

nu - ance of

white pride.

flt.

Fl.

Perc. (stride shake)

Pno.

III IV

I

Vln. 3

II

(match viola)

Vla. 3

Vlc. 3

(match violin)

96 S opt.

Fl.

~~~~~~~~~~~~~~

Pno.

j Ĺ“

~~~~~~~~~~~~~~

j Ĺ“

~~~~~~~~~~~~

Perc.

ad lib. rhythm; do not match others

Vln. 5

6

ad lib. rhythm; do not match others

Vla. 5

6

ad lib. rhythm; do not match others

Vlc. 5

6

25

99 3

3

3

S One by each,

blink - ing, snuffed

del - i - cate - ly

wink - ing out of ex - ist - ence;

ex - tin - guished sky - o - cean dark - ens with those nev - er

Fl. C 3 3

Perc.

œ

œœ

œ

œ

œ

œœœœ

œ

œœœ œœ œ œœ œ

œœ

xxx

œœ œ œœ

Pno.

Vln.

Vla.

Vlc.

(2+3+2+2)

102 S know - ing his - to - ry

and their place of re - sist - ance.

A

-

mong sis - ters and broth - ers,

flow - ers as - cend - ed through

Fl.

Perc.

y y x x yyx y x y

xx

yx y x

j y

x x y yj x x y

œ œ œ

3

3

3

(D)

Vla.

Vlc.

yxy

x

œ œ

3

3

Pno.

Vln.

xx

œ

26 105

(2+2+3+2)

(3+2+3)

(2+3)

S mists

like

moth - ers,

test - ing

that with - out

them

we'd

sure - ly blind

one a - noth - er–

Fl.

j y

Perc.

xxy œ

œ œ

j y

xxy

œ

œ œ

œ œ œ

xx

3

3

yxyœ x œ œ x œ œ œ 3

Pno.

Vln.

B

Vla.

Vlc.

111

109

(3+3+2+4) with renewed intensity

S and they disappear

blind - ly

fum - bling

with - out

un - der - stand - ing,

de -

Fl.

Perc.

1 1 1 1 ! œ

l.v.

!

1x É

FX CUE 7 j œ

Pno.

w/pedal scratch tone

Vln. scratch tone

Vla. scratch tone

Vlc.

27

(3+2+3)

(2+3+3+2+3)

112 S mand - ing fix - es

for

ig - no-rant glad - hand - ing,

old - er but no

wis - er,

los - ing,

los - ing,

los - ing what

Fl.

1 x

Perc.

1 x j #œ

Ñ Pno.

É j œ

Vln. II

III

B

Vla.

II

III

Vlc.

115

(2+3+3)

(2+3+3)

S lit - tle of our - selves

a - long

the

way,

los - ing,

los - ing,

los - ing what

lit - tle of our - selves

a - long

Fl.

Perc.

1 x É j #œ É

j œ

Pno. j œ

É Ñ

á á

Vln. II III

Vla.

Vlc.

j œ

á à

the

28

(2+3+3)

119 S way,

los - ing,

los - ing,

los - ing

what

lit - tle

of our-selves

a - long

the

Fl.

1 x

Perc.

á à

#œ

É #œ É

#á

#œ

Pno.

#É

œ

É Ñ

#œ

œ

á à œ

Ñ

#œ

ã

Vln. II III

Vla.

Vlc.

122 S losing, losing, losing what little of ourselves along the way

way.

Fl.

Perc.

X˙

j œ

X˙

œœ

X˙

œœœ

X˙

œ œx

Pno.

Vln. gliss. all notes upward from starting pitch; do not worry about keeping pace with music; play as fast as possible and follow your notes; do not line up with anyone;

Vla. viciously; a coiled snake striking

gliss. all notes upward from starting pitch; do not worry about keeping pace with music; play as fast as possible and follow your notes; do not line up with anyone;

Vlc. viciously; a coiled snake striking

œ œx

œ œx

œ

œx

œ

œx

29 126 S

Fl.

xx x

Perc.

x x œ œ

x œ

x x œ œ

xx x

x x œ œ

x œ

x x œ œ

x x x x œ œ œ œ

x x x x œ œ œ œ

Pno.

Vln.

Vla.

Vlc.

(= ) 134

132

q=

42 (2+3+3+2)

S

Fl.

Perc.

x œ

x x x x x x œ œ œ œ œ œ 3

3

x œ 3

x x œœ

x x x œ œ œ

3

3

x œœ

Vln.

Vla.

Vlc.

x

œ œ

œœ

bottom pitch must be exact

j #œ

Pno.

œ œ

j œ

j œ

j #œ

30 135

(3+2+6)

(3+3+2+3)

S

Fl.

œ œ

Perc.

œ œ

j œ

x x

œœ j œ

œ œ

œ œ j œ

j #œ

j #œ

j œ

j œ

j #œ

j œ

Pno.

Vln.

Vla.

Vlc.

hold until strings stop

137

138 q = 52 (3+3+2+3)

Attaca Mvm't. III

S

breath noise inhale

hold until strings stop

Tongue Ram

Fl. hold until strings stop

œ Perc. hold until strings stop

FX CUE 8

j œ

Pno.

hold until strings stop

Vln.

Vla. pizz.

Vlc.

Trumpet Sound

III

Largo q = 52 (2+2+3+2)

(

(3+2)

=

)

Soprano Pre - cous

lil - ies,

we,

trem

-

bl

-

ing,

freely alternate whistle-tone pitches

Tongue Ram

Flute variable roll speed

w/stick

1

!

!

x

Percussion

œ

œ

lazily

mute w/hand inside piano

Piano

(w/viola) pizz.

3

Violin (w/violin)

pizz.

Viola 3

arco sul tasto

pizz.

sul pont.

II

I

Violoncello

5

(2+2+3+3)

(2+3+3+2)

S swal

-

low

hyms lilke

cig - ar

-

ettes,

were

j bœ

Fl.

X

1

1 x œ

œ

pluck strings immediately after keys depressed; let vibrate

Pno.

Vln. arco half-hair/half-bow w/mute IV

Vla.

Vlc.

in

Tongue Ram

inhale (as if sucking through a straw)

Tongue Ram

Perc.

birds

ord.; gradually increasing pressure to scratch tone

our

32 9

(3+2)

(2+3+3+3)

S dreams

last

night,

an - i - mal

con

-

tour

spark

-

Fl. warmly; turning to ice

Perc.

Pno.

X gradually increasing pressure to scratch tone I

arco

Vln. warmly; turning to ice

gradually increasing pressure to scratch tone

ord.

B

Vla. warmly; turning to ice

arco

gradually increasing pressure to scratch tone 3

B

Vlc. warmly; turning to ice

13 S ling

Fl.

Perc.

Pno.

X arco ord.

Vln.

arco ord.

Vla. lightly, with crisp changes like a hummingbird moving between flowers

arco ord.

Vlc.

3

3

15

(2+3+2+2)

(3+3+4)

(2+3+2+2)

33

(3+3+4)

listless

S for

all

love

lost

and

spir - it

gained,

Bamboo tones

Fl. mournfully, reflective

Tuned Wine Glasses

Perc.

Pno.

w/scratchy tone

ord. jété

arco sul tasto

Vln. ord. jété

w/scratchy tone

Vla.

w/scratchy tone IV III

I

ord. arco jété

pizz.

Vlc.

(2+3+4+3)

(2+2+6)

19 S for

all

love lost...

œ

Fl.

œ

Perc.

j œ

j œ

j œ

j #œ

Pno. j #œ ord. sul pont. jété

arco sul tasto

II III

Vln. sul tasto

ord. sul pont. jété

Vla. sul tasto

Vlc.

I II

34

24

(3+2)

softer than flute

S Mmm...

Mmm...

Fl.

Perc.

FX CUE 9

Tuned Wine Glasses (match percussion) l.v. sempre

Pno.

Vln.

Vla.

Vlc.

29

32 dream-like; hazy

S night,

Fl.

Perc.

Pno.

Vln.

Vla.

Vlc.

on

-

ward,

drift

-

35

38

34 S ing,

drift

-

ing

through

the night,

Fl.

Perc.

FX CUE 10

Pno.

Vln.

Vla.

Vlc.

39 S for

Fl.

Perc.

Pno.

Vln.

Vla.

Vlc.

all

love lost

and

spir - it

gained,

for

36 44 S all

love lost

and

spir

-

it

gained.

Fl.

Perc.

Pno.

Vln.

Vla.

Vlc.

49 S

Fl.

Perc.

sweep w/hand inside piano

Pno.

Vln.

Vla.

Vlc.

silently depress keys