Frank JOURNEY OF THE SHADOW

Gabriela Lena Frank

Text by Nilo Cruz

JOURNEY OF THE SHADOW for narrator and 11 instruments

(A story for children and for those adults who take delight in the remnants of innocence.)

From the G. Schirmer Rental Library Date of Printing________________

G. Schirmer, Inc. New York, NY

Gabriela Lena Frank

Text by Nilo Cruz

JOURNEY OF THE SHADOW for narrator and 11 instruments

(A story for children and for those adults who take delight in the remnants of innocence.)

Commissioned by the San Francisco Chamber Orchestra

duration ca. 22 minutes

Instrumentation: Flute (doubling Piccolo) Oboe Clarinet in Bb Bassoon Percussion Piano Narrator Violin I Violin II Viola Violoncello Contrabass

Program Note: Journey of the Shadow, based on a short story of the same name by Pulitzer-prize winning playwright and my long-time collaborator Nilo Cruz, is described by the author as “a story for children and for those adults who take delight in the remnants of innocence.” For narrator and eleven instrumentalists, the gently ironic tale describes how even though a little boy’s letter never reaches its destination, far-off and violent Afghanistan where the boy’s father is stationed as a US soldier, a valuable lesson on forgiveness and understanding is imparted. In this piece, while it is indeed narrated, instrumentalists are equally important as storytellers.

—Gabriela Lena Frank

Text The occasion arose for Marcelo Miguel to write a letter to his father. The eight- year-old boy climbed up to the roof to be alone with his thoughts. He didn’t like writing letters or postcards. For some reason he feared that his father, who was a soldier fighting in Afghanistan, would discover the imprint of his tears in the letters or that the mailmen would read his correspondence. He also had a sneaking suspicion that Oscar Galateo and Roberto Heredia, the two classmates who bullied him in school, would get a hold of his personal writing and display it in public to ridicule him. He anticipated that he’d be the laughingstock of the school if these hateful boys ever discovered the stick drawings he always included in the letters. Although the boy suffered from all these qualms and all these misgiving, he always took the leap of faith with the postal system.

One morning when Marcelo Miguel was about to seal a letter he had written to his father, the boy’s shadow, full of curiosity, broke loose from his body like a defiant spark and leapt into the envelope. When the boy reprimanded the shadow for being so brash, and tried to dislodge it from the enfolded paper, the shadow refused to obey him.

Marcelo Miguel had no idea why his shadow was being so rebellious, but it was at that moment that his insolent companion had relinquished himself from the shore of his skin and bid farewell to the silhouette of his body and his clothes.

No matter how much Marcelo Miguel tried to retrieve his shadow from the pocket of paper, the stubborn little thing was determined to consign itself to the street address written on the envelope. From the bottom of the letter the shadow stared at the boy with the look of an anxious alphabet, a blue ink yearning to discover the distant mailbox that housed the correspondence of Marcelo Miguel’s father.

After hours of persuasion, the boy refrained from insisting. What else could he do? Tear up the envelope and set it on fire? Would this be the infallible thing to do with an obstinate and unyielding shadow? No, that would be something Oscar Galateo and Roberto Heredia would do -- those terrorizing boys that made Marcelo’s life impossible at school. Besides, he would lose his shadow forever if he resorted to such extreme measures. Above and beyond, his action would be considered a crime, an offense to heaven, knowing that the shadow had been a gift from God— a precious detail, bestowed upon him the day he was born and destined to remain at his side as long as he lived. That’s when the boy realized that the time had come to let his shadow have his independence, to contradict his natural propensity and journey away from his source and enjoy the freedom of a cloud that is intent on traveling and exploring other parts of the world.

Hidden inside the white envelope, the shadow was constricted by the walls of the envelope. He had no room to lengthen or fall over backward. He could no longer expand on a mosaic floor or demarcate his true nature in corridors, nor could his evanescent presence trail behind the steps and movements of Marcelo Miguel. He no longer had to intrude or interfere with the visit of illumination. On the contrary, the shadow had almost extinguished himself and become the shadow of a shadow, a dimly and faded presence, so he could be ignored by the law and travel unnoticed inside a letter.

When Marcelo Miguel went to the post office to buy a stamp is when the troubles began.

The clerk behind the counter placed the envelope on the scale and told him that its content outweighed the value of the stamp.

“How can it be?” asked the boy.

The post office clerk explained that the letter weighed much more than what an envelope that size is supposed to weigh, and he will need to buy more stamps. But the boy told him he had no more money.

“What’s inside the letter?” the clerk inquired.

“It’s only a letter,” the boy responded with his limbs trembling, worried that the post-office clerk would open the envelope and discover the furtive shadow.

“Are you sure there’s only paper in there?” asked the clerk ironically, measuring in grams and ounces the content of the letter.

“Yes. But words have their own weight and like trees they’re constantly growing. That is why my letter weighs much more than when I wrote it this morning, because words keep growing.”

“Then you will have to pay for the estimate of its weight,” the clerk remarked full of sarcasm.

“What do you mean?” asked the boy full of fear.

“If your letter will keep growing, and each day its belly will continue to expand, you will have to buy more stamps for the calculation of its impending weight.”

“What I said about words growing was not meant to be taken literally,” protested Marcelo Miguel.

“Then tell your letter to contain itself, if not I will have to charge you for more stamps.”

The post-office clerk let it pass this time. But he warned Marcelo that the letter could be returned if another postman discovers that it doesn’t have enough stamps. After cautioning the boy and practically sticking a knife of fear in his heart, the letter was placed in a plastic box, where other correspondence was waiting to be dispatched.

On the way back to his house, Marcelo Miguel imagined his shadow traveling to Afghanistan where his father had been stationed. He could visualize the shadow in the belly of an airplane, in the depths of a canvas bag, surrounded by the smell and whispers of other letters. Yes, his shadow was now traveling among letters and postcards that not only contained good news, good wishes, wedding invitations and

birthday greetings, but also condolences, remedial kisses, temporary embraces, momentary smiles, brief arousals, and even makeshift laughter.

The shadow, used to moving, running, following and mimicking life, displayed a claustrophobic and nervous strain when he saw himself buried with all those ghostly letters that looked like tombs, bearing the names of the departed. He felt there was disorder and chaos in the postal cargo.

For some ungodly reason, the shadow slipped out of his envelope and started to seek other letters written by children who also missed their fathers fighting in war.

As soon as the canvas bags containing hundreds of letters arrived at their country of destination, customs agents subjected them to inspection. When the diligent officials noticed all the bulging envelopes, immediately they suspected this was a case of criminal conspiracy. In a matter of seconds, they ordered that all the letters had to be sent to the so-called black chambers or cabinet noirs, whose mission was to open, read and reseal the envelopes.

During the process of investigation, the shadow had metamorphosed his form into a variety of shapes. He had morphed into the shadow of a lamp, a magnifying glass, and a pair of tweezers. He even had the audacity to push aside one of the custom agent’s own shadow and take the form of his handlebar moustache. This of course, was done with the intention to make the agent have a sneezing attack. Due to his allergic reaction, the agent came to the conclusion that the letters possessed a toxic ingredient and they must be quarantined.

It was during the forty days of enforced isolation in a remote room, that the shadow camouflaged itself into a nail up high on a wall. From there he could watch the custom agents, wearing white gloves and masks, inspecting dangerous packages and letters. The shadow wanted to find out how the post was set free from this cabinet noir, this black chambers, and sent back to the dispatching center, where letters could continue their path and finally arrive safely to the expectant mailboxes. He realized he also needed to pay attention to the vicissitude of light if he wanted to drown the room in total darkness, achieving this in a blink of an eye so he could confiscate the tearmarked-letters.

This is precisely what the shadow managed to do when he eclipsed the illumination in the quarantine room.

He fragmented light, dissolving it into a nebulous dust, causing a brief darkness that blinded the custom agents. By the time the black shroud furled back, the tear-marked letters had already been removed from the cabinet noir. Of course, later the parcel appeared in the dispatch department with a series of labels that said, “Undelivered for reasons stated. Returned to sender due to insufficient stamps.”

Waiting is a trial of patience, unless one observes and contemplates life while waiting. Marcelo Miguel anticipated his father’s reply for weeks. When the tear-stained letters finally arrived at the boy’s mailbox, his heart sank and his dreams briefly evaporated. He could not believe that the letter he had sent his father weeks ago had been returned.

He felt the envelope he was holding was as heavy as his heart. Perhaps the lie he had told the office clerk had become a reality, and letters do start growing the moment they’re written. But there was no time to reflect on this matter, when there were a series of ink labels on the envelope, stating why the letter had been undelivered.

The child was convinced that this was the fault of the shadow and his erring ways. This made Marcelo Miguel burst with anger, throwing the envelope to the floor and stomping on it.

From all the trampling and all the violence from the boy, the shadow was convinced that he had landed in Afghanistan. Was this the destruction that came with war?

After the boy released all his frustration and slumped to the floor, he caught sight of a miniature cloud of darkness surfacing from the trampled envelope; it was the hurting and disoriented shadow, trying to save the tear-stained letters. At that precise moment, when the papers started rising and floating in midair, Marcelo Miguel came to the realization that perhaps this was not his correspondence.

When the little wisp of darkness saw the boy trying to catch the flying sheets, the shadow concluded that he wasn’t in Afghanistan, but back home where his long journey began.

Marcelo Miguel spent the whole day reading letters written by children like him that were sent to fathers stationed in Afghanistan. He even found two letters written by Oscar Galateo and Roberto Heredia, the two despicable boys who always ridiculed him. He was surprised to discover that their letters not only contained figurative stick drawings, but they had the vestige of the salty, watery, substance found in the tear-stained letters. It was then that Marcelo Miguel learned that, vulnerability, generally held to be a weak characteristic in men is unavoidable. And those who renounce it or judge it can best be described as naïve and, at worst, ignorant, since it reflects a deep and profound sentiment found in all human beings.

The rest of the day Marcelo Miguel and his shadow spent their time together like before, enjoying each other’s presence. Even when the night was falling, the shadow secretly drew around the safety of the boy’s body and tried to defy the absence of light.

For a shadow is not a metaphor for absence but for presence.

The End —Nilo Cruz

used by permission

The Journey of the Shadow for narrator and 11 instruments

COMPOSER'S MANUSCRIPT SCORE IN C

Gabriela Lena Frank (2013)

Nilo Cruz

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Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

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Narrator (TEXT A): He didn’t like writing letters or postcards. For some reason he feared that his father, who was a soldier fighting in Afghanistan, would discover the imprint of his tears in the letters or that the mailmen would read his correspondence . He also had a sneaking suspicion that

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Performance instruction for Rehearsal A: Conductor repeats Rehearsal A as often as necessary while Narrator reads Text A. Meanwhile, Percussion is cued in part when to do quick drum rolls. String and woodwind musicians involved in executing Rehearsal A are cued in their parts to begin a fade-out at the first drum roll, concluding independently of one another sometime during the third drum roll.

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would get a hold of his personal writing and display it in public to ridicule him. He anticipated that he’d be the laughingstock of the school if these hateful boys ever discovered the stick drawings

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Ï Ï. Ï ä Ï. Ï Ï. Ï Ï. ÏÏ Ï Î Ï J

Î Î

Ï Ï Ï Ï

Ï Ï Ï Ï

Ï Ï Ï Ï

Ï Ï Ï Ï

3

3

Ï. ÏÏ .. Ï.

3

Ï. ÏÏ .. Ï.

3

Ï ÏÏ Ï Ï ÏÏ Ï

Ï ä Ï. ÏÏ ÏÏ .. Ï Ï.

Ï ÏÏ Ï Ï ÏÏ Ï

Ï ÏÏ Ï Ï ÏÏ Ï

Î Î

ÏÏ Ï Î Ï J

ÏÏ .. ÏÏ ..

ÏÏ Ï Î Ï J

ÏÏ .. ÏÏ ..

Ï Ï J

>Ï Ï Ï Ï Ï b Ï # Ï j ä & ä # Ï Ï bÏ Ï F 6

3

3

Ï Ï. Ï ä Ï. Ï Ï. Ï Ï.

Ï Ï Ï Ï

Ï Ï. Ï ä Ï. Ï Ï. Ï Ï. ÏÏ Ï Î Ï J

3

ÏÏ ÏÏ

3

ÏÏ ÏÏ

3

3

Ï Ï Ï Ï

Ï Ï .. Ï Ï

Ï Ï Ï Ï

Ï Ï .. Ï Ï

·

Î

Ï. #Ï . # Ï. Ï.

Î

Ï. #Ï . # Ï. Ï.

ÏÏ .. ÏÏ ÏÏ .. # # ÏÏ .. ÏÏ ÏÏ Î 3

ÏÏ Ï Î Ï J

ú

3

nú

Î

Ï. #Ï . # Ï. Ï.

Ï Ï Ï Ï

3

3

3

Ï. #Ï . # Ï. Ï.

ÏÏ . ÏÏ ÏÏ # Ï .. Ï Ï Î # Ï. Ï Ï

Ï ä Ï. ÏÏ ÏÏ .. Ï Ï.

ÏÏ . ÏÏ ÏÏ n Ï .. Ï Ï Î n Ï. Ï Ï

Î

3

Ï Ï Ï .. # ÏÏ ... ÏÏ ÏÏ Î # Ï. Ï Ï ú

..

3

Ï ÏÏ Ï

Ï ä Ï. Ï ÏÏ ÏÏ .. ÏÏ Ï Ï. Ï

Ï ÏÏ Ï

Î

Ï. #Ï . # Ï. Ï.

Ï. ÏÏ .. Ï.

3

3

Ï ÏÏ Ï

Î

Ï. #Ï . # Ï. Ï.

Ï ÏÏ Ï

Ï ä Ï. ÏÏ ÏÏ .. Ï Ï.

ÏÏ ÏÏ Î

Ï ÏÏ Ï

ÏÏ ÏÏ Î J

ÏÏ ÏÏ Î

ÏÏ . ÏÏ ÏÏ # Ï .. Ï Ï Î # Ï. Ï Ï 3

j ÏÏ ÏÏ Î

ÏÏ . ÏÏ ÏÏ # Ï .. Ï Ï Î # Ï. Ï Ï 3

#ú

Ï Ï J

3

Ï Ï. Ï ä Ï. Ï Ï. Ï Ï.

Ï Ï Ï Ï

Ï Ï. Ï ä Ï. Ï Ï. Ï Ï. ÏÏ Ï Î Ï J

took the leap of faith

with the postal system.

q = 84-90

Fl.

&ä

Ob.

Perc.

j

Ï F

q = 56

3 U &4 Ï P 3 4

Ï bÏ

Ï n >Ï b Ï bÏ Ï

bÏ 6

bÏ Ï

Ï Ï Ï Ï

Ï Ï. Ï ä Ï. Ï Ï. Ï Ï.

ä

Ï Ï Ï Ï Ï #Ï nÏ Ï #Ï #Ï nÏ 6

5

·

# >Ï b Ï

Ï Ï

2 >Ï Ï Ï .

4

Ï

ä

Ï Ï Ï Ï

Ï Ï Ï Ï

Ï Ï. Ï ä Ï. Ï Ï. Ï Ï.

3

3

ÏÏ Ï Î Ï J

Ï Ï Ï Ï

Ï Ï .. Ï Ï

Ï Ï Ï Ï

Ï Ï .. Ï Ï

3

3

ÏÏ Ï Î Ï J Ï Ï J

>Ï Ï Ï # Ï # Ï n Ï # Ï ä & ä # Ïj # Ï Ï Ï F6

bÏ n Ï # >Ï Ï

Ï Ï Ï Ï

3

q = 84-90

Bb Cl.

Ï Ï Ï Ï

3

q = 84-90

Fl.

Ï Ï Ï Ï

Ï Ï J

Ï. ÏÏ .. Ï.

3

3

Ï Ï Ï Ï

ÏÏ Ï Î Ï J

3

Ï Ï J

ú

Narrator (TEXT B): Although the boy suffered from all these qualms and all these misgivings,

he always

·

Ï ¹ Ï ä ä ..

J ¹

ÏÏ . ÏÏ ÏÏ # Ï .. Ï Ï Î # Ï. Ï Ï

ÏÏ Ï Î Ï J

p

ÏÏ . ÏÏ ÏÏ n Ï .. Ï Ï Î n Ï. Ï Ï

Ï Ï J

Ï Ï. Ï ä Ï. Ï Ï. Ï Ï.

Ï Ï J

3

ÏÏ Ï Î Ï J

3

Ï Ï J

ÏÏ Ï Î Ï J

Ï Ï Ï Ï

ú

p #ú

7 8

·

ú

Ï. Ï #Ï . Ï # Ï. Ï Ï. Ï p 3 Ï. Ï #Ï . Ï Î # Ï. Ï Ï. Ï p 3 ÏÏ . ÏÏ ÏÏ # Ï .. Ï Ï Î # Ï. Ï Ï p 3 ÏÏ . ÏÏ ÏÏ # Ï .. Ï Ï Î # Ï. Ï Ï

7 8

·

Ï.

Î

7 8

·

ú

j ä ä ..

..

7 8

·

2 4

·

Ï Ï Ï. Ï Ï ä Ï. Ï Ï Ï. Ï Ï Ï.

78

2 4

·

Ï. nÏ. # Ï. Ï.

·

2 4

·

7 8

24

2 4

·

? 3 4

37

Vln. 1

he always included in the letters.

U

78

B

ä

f Large Tri. Ï 2 Î 4 F

Performance instruction for Rehearsal B: Conductor repeats Rehearsal B as often as necessary while Narrator reads Text B. Meanwhile, Flute, Oboe, and Clarinet are cued in their parts when to execute their respective phrases. Strings are cued in their parts to begin fading out at Flute's first phrase, concluding independently of one another during Oboe's phrase.

.. .. ..

The Journey of the Shadow

Ob.

Bsn.

Ï

Ï 43

Perc.

U

Î

·

2 4

·

3 &4

U

2 4

·

·

Spirited q = 76-80 ? 24 j ä j ä j Ï. # Ï. Ï P ß jaunty

Vln. 1

Vln. 2

Vla.

Vc.

2 4

·

2 &4

·

U Ï

ä

·

Ï Ï Ï Ï Ï # Ï Ï. ù ù Ï #Ï 3

U

·

#ú gg # úú gg ú ggg # ú ggg ggg ¹ ?g ú # úúú

#Ï .

j

ä

ÏÏ Î J p . Ï #Ï nÏ Ï Ï #Ï nÏ Ï Ï R ä.

Ï ÏÏÏ Ï

Î Î

3 4 î

úú úú

ÏÏ ÏÏ

Î

3 4 î

·

ä

ä

·

ú úúú ú

# Ï.

Temple Blocks

U

43

·

j ä n Ïj ä . Ï.

·

j

B 24

·

. arcoÏ ? 24 ä ÏJ J ä F jaunty

t2 ä j ä j 4 Ï Ï P jaunty

Î Ï-

Î

f

j

ä

#Ï .

ÏÏ J

Î

ä

# Ï n Ï # Ï. n Ï. f jaunty . Ï J ä gliss.

#Ï

·

ä ä

- Ï. Ï J J ä j Ï ä Ïj

Î

. # Ï Ï # Ï. # Ï

Ï-

. Ï J

Î

#Ï

Ï. ù

ä

j 24

j #Ï # ÏÏ U ggg # ÏÏ ä ggg J ggg f ggg ùÏ gg # ÏÏÏ U J ä

24 2 4 2 4

Ï. # Ï. Ï. # Ï. Ï. n Ï. ä. Ï Ï.

R

. Ã Ï #Ï nÏ Ï Ï #Ï nÏ Ï Ï R ä.

jaunty

arco

2 4

·

Ï- Ï # >Ï Ï. . 3 U Å Ï 4 # Ï. Ï . Ï. Ï. # Ï- . f

·

U

U

3 4

·

P jaunty . . Ã Ï #Ï nÏ #Ï Ï #Ï nÏ Ï#Ï Ï #Ï nÏ #Ï Ï #Ï nÏ Ï#Ï ? 2 jä jä R ä. ? j ä j ä R ä. ?

4 Ï Ï Ï & Ï & Ï. Ï. Ï. Ï. . arco Ï. # ÏÏÏ. # ÏÏÏ # Ï n Ï. Ï. 3 Ï Ï # Ï. Ï 2 j Ï. j Ï. #Ï & 4 Ï#Ï Ï. . Ï. Ï. Ï. Ï. f jaunty arco .

2 # Ï n Ï Ï. # Ï. # Ï Ï # Ï. # Ï · Î · Î &4

pizz.

Cb.

·

·

U

53

Piano

24

3 &4 Piano

Perc.

U

3 2 r & 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 4 #Ï ä. Î ¹ #ú U ? 43 2 · 4 ¹ Small Tri.

Bsn.

q = 76-80

U

47

5

Ï

· #Ï #Ï j ä # Ï. # Ï Ï . Ï. Ï- . Ï # Ï- . b Ï. Ï. . Ï # Ï. ä Ï. ä. R P # Ï. Ï. Ï. ä ä. R P . # Ï Ï. ä # Ï. ä. R P ä # Ïj Ï

6

The Journey of the Shadow

? b Ï. # Ï.

58 Bsn.

Ï.

Perc.

& Piano

Vln. 1

j Ï. # Ï. Ï. n Ï. Ï. ä n Ï. # Ï. # ú p Ï Ï. Ï Ï Î

·

·

·

·

? Ï #Ï Ï. # Ï .

j · Ï ä Ï. gliss. Ï. Ï. Ï. Ï b Ï n Ï- . Ï. # Ï- Ï. Ï. Ï. Ï & ÏÏÏÏ 3

3

Vln. 2

Vla.

Vc.

Cb.

& B

Ï. ä # Ï. ä

. ? #Ï ä

?

64 Bsn.

Perc.

(Ã.) #Ï R ä. & Piano

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

ù gliss. Ï. # Ï. ä Ï. Ï. Ï # ÏÅä Rä.

R Ï. Ï. ä # Ï. # Ï.

Rä. Î

·

43

·

Ï 43 Ï

(Ã.) #Ï & R ä.

U

Î

3 4

U

2 Î 4

Ï-

·

t

·

f

Ïo

o Ï U j Å 43 ä Ï R ä . Î o Ï U Å 43 ä Ï R ä . Î J Ïo 3 Ï R U 4 ä J ä. Î f 43

U

·

# Ï- Ï- Ï- Ï- Ï- Ï3

3

2 #Ï 4 p pizz. Ï 2 4 p pizz.

43

·

24

U

·

·

43

·

24

U

. # ## ÏÏÏ ä J

Î

·

·

# Ï.

J ä

Î

f

·

ritard.

·

B Î ?

·

Î

24

Ïo # Ï Å

·

J ä F ÏÏ. Ï ä J

#Ï Ï

Ï-

·

2 Î 4

·

à Ï#Ï nÏ Ï Ï #Ï nÏ Ï r #Ï nÏ Ï#Ï#Ï nÏ Ï Ï Î Ï ä. . Ïo b Ï Ïo Ï- Å Ï- Å Ï

·

Ï.

j

Ï bÏ Ï # Ï n Ï bÏ Ï Ï

·

3 4

U ú

à bÏ Ï bÏ Ï Ï n Ï bÏ Ï . Ï ä.

R

ÏÏ

·

U

·

ä

·

·

Ï-

Î

Î

·

24

& Î

·

ÏÏ J

Î

·

Ïo

ä

·

24

o Ï. # Ï n Ï Ï. # Ï. - Ï Ï Å 3 ä Ï & 4 J

Î

·

Î

#Ï

U o

·

·

Î

·

·

Î

j ä Î · & #Ï # Ï. . . Ï # Ï n Ï Ï. Ï . b Ï . Ï # Ï n Ï Ï bÏ Ï > nÏ

gliss. ù Ï. # Ï. ä Ï. Ï. ä . Ï ÏÅä R R

t ä # Ïj Ï

r Ï ä.

ú

Ï- Ï- Ï- # Ï- Ï- # Ï3

3

Î

Ï

Î

Î

#Ï

Î

Î Î

. Ï J ä j ÏÏ ä Ï.

Ï- Ï- Ï Ï - Ï #Ï

?

3 4 Î

ÏÏ. Î Ï ä 24 J

?

3 4 Î

Î

43 Ï- . Ï. ú >

Ï Ï.

2 jä 4

· ·

U

·

U

·

24 U #ú > ê 2 4

U

·

2 4

U

Î

3 4

·

Î

3 4

· ·

2 4

·

·

·

3 4

·

2 4

U

24

·

·

·

43

·

24

U

· ·

The Journey of the Shadow

?

71 Bsn.

·

Marimba

·

Perc.

Piano

. . q = 76-80 A tempo . . #Ï Ï # Ï Ï ä J ä J ä J ä J p

&

#Ï #Ï p

Ï Ï

#Ï #Ï

?

·

?

·

·

Î

·

·

À

Nar.

·

·

· ?

j

& Ï

Vln. 2

&

Vla.

B

Vc.

Cb.

? t

p jÏ Ï ä j Ï. # Ï Ï Ï # Ï . Ï. # Ï.

#Ï .

Fl.

2 Ï &4 P

Nar.

Vc.

Cb.

2 4 ?2 4 ú t2 ú 4

Ï .# Ï # Ï Ï 3

·

Ï Ï- # Ï. # Ï. n Ï. n Ï. . # Ï. . n Ï- Ï # Ï Ï #Ï nÏ #Ï nÏ Ï f

·

·

2 4 &

when Marcelo Miguel was about to seal a letter he had written to his father, the boy's shadow,

p

·

2 4

U

·

2 4

U

24

·

2 4 2 4

Ï- # Ï. # Ï. n Ï. n Ï. . # Ï. . Ï- # Ï. # Ï. n Ï. n Ï. . Ï. . #Ï nÏ #Ï nÏ

f

·

full of cu-ri -o-si -ty

r ä. Ï ¹

Î

·

·

ä.

Î

·

·

Ï R ¹

24

U

ÅÀ À À À À À À 5

2 4 2 4

·

Ï R ä.

6

rubato, playful

U

U

j

Ù~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ÏÅ ú ú ú # Ï. > # Ï Ï #ê f arco Ù~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ · Î j Ï ú ú Ï. p arco Ù~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j · · #ú ú # Ï. p Ù~~~~~~~~~~~~~~~~~~~~~ U Ï ú · · Î #W p arco U #W · · · · p

q = 69

2 4

·

*Shadow's Leitmotif

76

î

U

One morn - ing

Vln. 1

U

·

# # ÏÏ

·

À Î

À

#Ï .

·

Ï Ï

7

8 80 Fl.

Perc.

Piano

&

U Ï- . # Ï. . n Ï. . Ï. . b Ï- Ï # Ï n Ï Ï b Ï Ï # Ïn Ï # Ï n Ï ú

?

Nar.

W ¾ ¹

·

&

·

?

·

2 Ï &4 ä J F 24 À À ä

quickly scrape, l.v.

Ï

U

·

·

U

Ï bÏ Ï bÏ Ï # Ï bÏ n Ï n Ï bÏ n Ï Ï 5

Î

6

Î

ú

j À

ä

for

.

2 Ï #Ï nÏ Ï #Ï nÏ #Ï #Ï nÏ nÏ Ï &4 3

2 4

91 Ob.

&

>Ï Ï

#Ï . #Ï#Ï nÏ . >

Vln. 1

&

·

Vln. 2

&

·

Vla.

B

·

?

·

t

·

Vc.

Cb.

24

f > #Ï #Ï # # ÏÏ- # Ï

24

À À.

be-ing

U

À

so

ù ù . #Ï Ï#Ï nÏ ä #Ï nÏ Å

U

ú

P U

Î

U

Î

U

Î

U

Î

U

Î

·

j Ï ä Î ß Ä ·

brash

ä

# ùÏ n Ï.

> Å ä #Ï Ï .

@ j ÏÏ úú¾ P § ä @j # Ï ú¾ P § @ ä j ¾ Ï ú P § @ ä Ïj ú¾ P § ä

ä # ÏJ ú ¾ P@ §

U

·

·

· úú¾ ú¾ ú¾ ú¾ ú ¾

U

úú¾

U

ú¾

U

ú¾

U

ú¾

Uú

¾

24

# Ï n Ï. Ï. n ùÏ . # ùÏ .

34 ä # ÏJ Ï . # Ï Å n Ï Å 24 f insistent 24 Î 43 ÏR Å ä Î p 24 Î Î 43 À

and tried to dislodge it from the enfolded paper, the shadow refused to obey him.

·

Nar.

>Ï

into the envelope. When the boy reprimanded the

U

·

87

Nar.

&

Ï Ï Ï

2 4

broke loose from his body like a defiant spark and leapt (!)

sha - dow

Ob.

f Ï-

U

·

24

·

·

·

& 24

U

Î ¹

Susp. Cymb.

83

Bb Cl.

U

3

Nar.

Ob.

The Journey of the Shadow

Marcelo Miguel had no idea why his shadow was being so rebellious

ritard.

Ï ùÏ Å Ï # Ï n Ï .

The Journey of the Shadow

ù Ï J . & . f ùÏ . # Ï. n Ï. Ï Ï. # Ï. n Ï. & .. f

C Perc.

Piano

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

Marimba

Ï #Ï#Ï Ï Ï #Ï

1-4 secs.

U

Î

ù Ï J

1-4 secs.

U

Î

Ï

U

Î

U

U

ùÏ # Ï. Ï. Ï. Ï. Ï. Ï. Ï. # Ï.

# ùÏ UJ Î

sim.

ä

Î

Î

& ..

Ï

B .. ¾ W ¹ ? .. ¾ W ¹

¹ t .. w ¾

r

bÏ

ùf r Ï

& .. ¾ W ¹

fù r #Ï

ù

ù

ùf

& .. W¾ W ¹

# ùÏ Ï n Ï Ï # Ï Ï n Ï Ï

ù Ï J

sim.

Ï

r

fù r Ï

ù

#Ï ù

bÏ r Ï ß f

Ï

r

r

U

Î

ùÏ Ï. n Ï. n Ï. Ï. # Ï. # U U Î Î

# ùÏ Ï Ï # Ï

U

Î

..

ù #Ï J

U

..

Î

..

·

r

ù

ù ù #Ï Ï

#Ï

r

..

ù

#Ï

r

ù

#Ï ù ù Ï #Ï r Ï ß

ù

U # ÏJ Î

ù

r

9

r bÏ ß

ù

r

#Ï

ù Ï

r

bÏ

r

r Ï ß

Narrator (TEXT C): but it was at that moment that his insolent companion had relinquished himself from the shore of his skin and bid farewell to the silhouette of his body and his clothes. No matter how much Marcelo Miguel tried to retrieve his shadow from the pocket of paper, the stubborn little thing was determined to consign itself to the street address written on the envelope. From the bottom

Performance instruction for Rehearsal C: At Rehearsal C, Piano and Percussion are in sync with one another. They play their coordinated duo while strings play their respective tremolo notes. These tremolo notes are interrupted just long enough to hit other interjected notes randomly (i.e., out of sync with everyone else). Interjected notes over the tremolos should be spaced 1-4 seconds apart. This all happens while Narrator reads Text C, and Conductor cues next section when Narrator says "From the bottom..."

.. ..

ù

#Ï R ß r Ï ß

r

ùù #Ï Ï

.. r .. #Ï ß

10

The Journey of the Shadow

D

Perc.

Piano

Vla.

ù . Ï . & J f ùÏ . # Ï. n Ï. Ï Ï. # Ï. n Ï. & .. & ..

f

B .. ¾ W

Vc.

? .. W¾

Cb.

t .. # w ¾

1-4 secs.

Ï #Ï Ï U Ï #Ï #Ï Ï Î

ù Ï J

U # ùÏ Ï n Ï Ï # Ï Ï n Ï ÏU

1-4 secs.

ù Ï J

ùÏ # Ï. . Ï. Ï. Ï. . Ï. # Ï. Ï Ï

U #Ï

U

sim.

Î

U

Î

ù Ï

ù

#Ï

r

U

sim.

ä

Î

Î

ù

bÏ r Ï ß

r

#Ï

r

Î J

·

ù

r

ù

U

. . # ùÏ Ï n Ï. n Ï Ï. # Ï. UÎ

Î

U

Î

ù

r

#Ï #Ï R ß r Ï ß

r bÏ ß

r Ï ß

ù #Ï J

ù

#Ï

ù ù Ï #Ï

Î

# ùÏ Ï Ï # Ï UÎ

..

ù #Ï J

..

U

Î

..

ù

r

Ï

r

..

ù

bÏ

..

r

r .. #Ï ß

r Ï ß

Narrator (TEXT D): of the letter, the shadow stared at the boy with the look of an anxious alphabet, a blue ink yearning to discover the distant mailbox that housed the correspondence of Marcelo Miguel's father. After hours of persuasion, the boy refrained from insisting.

What else could he do? Tear up the envelope and set it on fire?

Performance instruction for Rehearsal D: Conductor cues ensemble to begin to fade out on "a blue ink." Ensemble should be largely tacet by "refrained from insisting..."

U

98 Fl.

·

&

Nar.

Would this be the infallible thing to do with an obstinate and unyielding shadow?

101 Fl.

Bsn.

Perc.

&

f

3

·

6

·

U Ï Ï

U

·

2 4

·

3 4

U

U

2 4

·

3 4 Î

2 Ͼ 4 ú¾ ¹ f 2 · 4

3 4 Ï

Rä. p

?

·

·

U

Bass Drum

·

&

U

U

U

U

·

& Piano

·

& Nar.

24 Ï P 24

Ï Ï- # Ï. # Ï. n Ï. n Ï. . # Ï. . n ÏÏ # Ï #Ï nÏ #Ï Ï nÏ #Ï Ï Ï . #Ï

· ·

U

Î À

No,

that would be something Oscar Galateo and Roberto Heredia would do,

?

3 4 Î

?

3 4 Î

2 4

·

2 Î 4

ä Àj 43 À À À À those

2 4

· Î

Ï ê Î Î niente

Î Î À

ter - ror - ri - zing boys

ÏϾ Ï p ÏϾ Ï Î

2 4 2 4 2 4 2 4 2 4

The Journey of the Shadow

? 24

105 Bsn.

Perc.

Piano

Nar.

24

ú f

Î

Ï

niente

·

·

? 24 ú¾ úú

ä

·

f

ä

@ j Ï Ï¾ p f

@ j Ï ¹

·

ä

niente

? 24 úú¾ ú 24 Î

·

11

ÏϾ Ï À

that

À

made

Î 3

·

ä

3

j À

j À

À

Mar - ce - lo's

ä

À

life

j À

Ï p

j

ä

j ä Ï ¹

Ï f

Î

Î

@ j ¾ ÏÏ ÏÏ Ï Ï p f @ j ÏÏ Ï

ÏϾ Ï ä

À À À

im - pos - si - ble

@ j ÏÏ ä Ï ¹

j À

at

@ ä j ÏÏ Ï

ΠϾ p Î Î

À

Î ÏÏ ¾ p

school.

Vln. 1

& 24

·

·

·

·

Î

Vln. 2

& 24

·

·

·

·

Î

Vla.

B 24

·

·

·

·

Î

Vc.

? 24

ÏϾ p

·

·

·

·

Î

Cb.

t 24

·

·

·

·

Î

ÏÏ ¾ p

Ï¾Ï p

ÏÏ ¾ p

&

12

Fl.

Ob.

Bb Cl.

Bsn.

Perc.

Piano

The Journey of the Shadow

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Besides, he would lose his shadow... forever

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if he resorted to such extreme measures.

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Performance instruction: Conductor cues next section after "such extreme measures."

The Journey of the Shadow

Blank for Page Turn

13

14

Pic.

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Dolce q = 63 bÏ Ï.

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The Journey of the Shadow

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The Journey of the Shadow

Narrator (TEXT E): Above and beyond, his action would be considered a crime, an offense to heaven, knowing that the shadow had been a gift from God — A precious detail, bestowed upon him the day he was born and destined to remain at his side as long as he lived. That's when the boy realized that the time had come to let his shadow have his independence, to contradict his natural propensity and journey away from his source and enjoy the freedom of a cloud that is intent on traveling and exploring other parts of the world.

Performance instruction for Rehearsal E: Conductor repeats Rehearsal E as often as necessary while Narrator reads Text E. Upon conclusion of text, Conductor finishes out round and Narrator proceeds to "Hidden inside the white envelope..."

15

16

The Journey of the Shadow

F q = 76-84

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Narrator (Text F): Hidden inside the white envelope, the shadow was constricted by the walls of the envelope. He had no room to lengthen or fall over backward. He could no longer expand on a mosaic floor or demarcate his true nature in corridors, nor could his evanescent presence trail behind the steps and movements of Marcelo Miguel. He no longer had to intrude or interfere with the visit of illumination. On the contrary, the shadow had almost extinguished himself and become (whispered):The shadow of a shadow, (normal voice) a dimly and faded presence, so he could be ignored by the law and travel unnoticed inside a letter.

When Marcelo Miguel went to the post office to buy a stamp

Performance instruction for Rehearsal F: While Narrator reads Text F, Conductor cues any of the four ensembles at will, careful to not overpower the Narrator. All is silent at Narrator's whispered "The shadow of a shadow."

The Journey of the Shadow

q = 72-76

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132 Fl.

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Piano

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The Journey of the Shadow

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The Journey of the Shadow

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The Journey of the Shadow

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Narrator (Text G): The clerk behind the counter placed the envelope on the scale and told him that its content outweighed the value of the stamp.

“How can it be?” asked the boy.

The post office clerk explained that the letter weighed much more than what an envelope that size is supposed to weigh, and he will need to buy more stamps. But the boy told him he had no more money.

“What’s inside the letter?” the clerk inquired.

“It’s only a letter,” the boy responded with his limbs trembling, worried that the post-office clerk would open the envelope Performance instruction for Rehearsal G: Conductor repeats Rehearsal G as often as necessary while Narrator reads Text G. Conductor suddenly cuts off tutti at the end of the phrase: "worried that the post-office clerk would open the envelope"

.. ..

The Journey of the Shadow

150 Fl.

&

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and discover the furtive shadow.

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22

The Journey of the Shadow

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asked the clerk ironically, measuring in grams and

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The Journey of the Shadow

Blank for Page Turn

23

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The Journey of the Shadow

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162

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165

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j jÏ Ï #Ï & ä Ï Ï #Ï Ï Ï Ï

·

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The Journey of the Shadow

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ä Ï J

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Piano

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ä Ï Ï # Ïj Ï Ï Ïj Ï Ï # Ï

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ù ù Ï # Ï # Ï # Ï J ä Ï #Ï J ä

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25

. # Ï # Ï #Ï #Ï J ä äÏ

Î

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# Ï # Ï Å # Ï.

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.. ..

ä ä Ï ..

J

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..

ä Ï Ï Ï Ï Ï J J

..

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Ï #Ï

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Ï # Ï # Ï Ï ..

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Ï. Ï. Ï. Ï # Ï Ï Ï Ï. Å Ï .. # Ï. Ï. Ï. Ï. # Ï # Ï . Î

Î

ä ä # Ï ..

J

Narrator (Text H): ounces the content of the letter.

“Yes. But words have their own weight and like trees they’re constantly growing. That is why my letter weighs much more than when I wrote it this morning, because words keep growing.”

“Then you will have to pay for the estimate of its weight,” the clerk remarked full of sarcasm.

“What do you mean?” asked the boy full of fear.

“If your letter will keep growing, and each day its belly will continue to expand, you will have to buy more stamps for the calculation of its impending weight.”

“What I said about words growing was not meant to be taken literally,” protested Marcelo Miguel.

“Then tell your letter to contain itself, if not I will have to charge you

Performance instruction for Rehearsal H: Conductor repeats Rehearsal H as often as necessary for Narrator to read Text H. Conductor begins to fade out ensemble (incuding a ritard, if so desired) at "What I said about words growing..."

26

The Journey of the Shadow 169

Perc.

24

·

·

24 Î ä j À À

Nar.

for more

175 Perc.

Nar.

24 ú ¾ P 24 À.

Perc.

À

stamps."

j À

warned

179

>ú ¾ f Î ä Àj Snare Drum

Mar

3

À

À

À

À

The post of - fice clerk

43 ¾Ï -

43 ¾ú .

ú ¾ P

ú ¾ f ä

43 À À .

À

ce - lo

À

3

43 À À À

À

j À Î

ÏÏ

>ú ¾

24 3 ä À À 24

Î

let it pass this time.

24 ú ¾ P 24 À.

À À.

that the let - ter

U

>Ï ¾ f Î

ÏÏ

but he

43 ¾Ï 43 À

À À

could

ú ¾ f if another

be re - turned

U

w ¾

niente

2 4

Î

2 4

Nar.

postman discovers that it doesn't have enough stamps. After cautioning the boy and practically sticking a knife

Ï & 24 J ä f j & 24 Ï ä

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43

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43

& 24 Ïj ä Î f ? 24 ÏJ ä Î f 24 ·

43

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43

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43

180 Fl.

Ob.

f

Bb Cl.

Bsn.

Perc.

Piano

Ï Ï 2 &4 J ä f & 24 Ïj ä Ï 24 ä

Nar.

Ï & 24 Ï J arco f Ï & 24 Ï J f 2 B 4 ÏÏ J f arco Ï ? 24 ÏJ arco

Vln. 1

Vln. 2

Vla.

Vc.

f

184 Perc.

of fear

ä

43 43

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Ï

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24

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24

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Temple Blocks

24 Î

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ä

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24

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À À À

ä

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24

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in his heart

j À

the

24 À

3

À

let - ter

À

Ï J P

Î

ä · ·

À.

was placed

À À

À

À

in a plas - tic

j À ä

box

·

·

24

·

·

Î

24

·

·

Î

24

·

·

U

·

Nar.

where other correspondence was waiting to be dispatched.

Ï Ï Ï ä

3

Vln. II Vla. Vc.

Ï U

Ï .. # ÏÏ . ¹

Ï Ï

U

U

Î

·

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W W W

On the way back to his house,

The Journey of the Shadow

Blank for Page Turn

27

28

..

Perc.

ú P

·

áú ¾ p delicato

áÏ J @

Ï aÏ Ï #Ï p molto legato

Ï

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Vln. 2

& ..

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B ..

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nÏ

p molto legato ? .. Ï Ï # Ï Ï nÏ p molto legato t ..

193

Perc.

·

áÏ # á # Ï ¾ ¾

& ..

Cb.

sempre l.v.

Tam Tam

Vln. 1

Vc.

The Journey of the Shadow

q = 56-60

I

·

Vln. 2

& #Ï

Ï

Ï

j Ï #Ï

Vla.

B #Ï

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j Ï #Ï

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Vc.

Cb.

?

t Å #Ï . Ï#Ï nÏ ä J 200

Vln. 2

& Ï

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t ä #Ï Ï #Ï Î 3

Cb.

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The Journey of the Shadow

29

Narrator (Text I): Marcelo Miguel imagined his shadow traveling to Afghanistan where his father had been stationed. He could visualize the shadow in the belly of an airplane , in the depths of a canvas bag, surrounded by the smell and whispers of other letters. Yes, his shadow was now traveling among letters and postcards that not only contained 206

&

Piano

good news,

207

&

good wishes, Fl.

q = 120

# ùÏ .

F con brio q = 94 - poco accel.

208 Ï Ï ? Ï Ï Ï#Ï Ï Bsn. P

Piano

q = 126

210

q = 56-60

211

&

Fl.

&

Bb Cl.

212

&

Ï- n Ï

Å

Å Ï

bÏ

mournful

# Ï-

F ÏF

wistful

wistful

q = 72 wistful yet again

&

F q = 126 Ã. Ï 214 Ï Piano & F

q = 80

ùÏ . Ï >Ï

q = 72

ÏF q = 126 213 > Ï ?

Bsn.

brief arousals,

and even makeshift laughter. Fl.

Ï- # Ï

& #Ï F

Fl.

Bb Cl.

momentary smiles,

f

3

209

& F

Ob.

remedial kisses,

215

3

Ï-

# Ï. . Ï # ÏÏ Î j ä # Ïj # ÏJ ä & Î #Ï Ï Ï J #Ï f con brio #Ï >Ï . Ï ? Ï. Ï Î j ä î Ï.

and birthday greetings,

temporary embraces,

. . Ï. Ï Ï. Ï Ï Ï

F con brio ù . . Ï. Ï Ï. Ï Ï Ï & Ï.

Bb Cl.

but also condolences,

>Ï ÏÏ

ÏÏ ... ÏÏ Ï Ï ß f con brio

F con brio . . ù. Ï. # Ï Ï. Ï Ï Ï & Ï

Ob.

wedding invitations,

q = 120

wistful yet again

Ï

#Ï

Å

fleeting

# Ï. #Ï

Ï. Ï

Ï. Ï

fleeting

Ï . Ï # Ï . n Ï. Ï. Ï. . . . Ïj Ï. j . j Ï . Ï # Ï . n Ï. Ï. Ï. . . . Ïj Ï. j . j . #Ï n Ï Ï Ï # Ï Ï nÏ # Ï #Ï n Ï Ï Ï Ï Ï nÏ # Ï

f gaily

6

3

6

3

Performance instruction for Rehearsal I: Conductor repeats Rehearsal I as often as necessary for Narrator to finish Text I. Woodwind players are cued in their parts when to respond to Narrator's phrases. Conductor begins to fade out Strings and Percussion at "momentary smiles so that all is tacet by "makeshift laughter."

30

The Journey of the Shadow Narrator: The shadow, used to moving, running, following and mimicking life , displayed a claustrophobic and nervous strain when he saw himself buried with all those ghostly letters that looked like tombs, bearing the names of the departed. He felt there was

216 Perc.

q = 80

24 Î

·

soft mallet

Ï p

ä Àj 24 À À ä

Nar.

dis

222 Perc.

-

j À

and

Î

Ï

À À ä

ä

Vln. 1

Vln. 2

À Ï Ï Ï À Ï Ï Ï

Vla.

Vc.

Cb.

3

in the

24 Ï

·

43 À

À

post - al

À

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24

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À

car - go.

3

3

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·

·

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ú¾

ú¾

Nightmarish q = 69 # >Ï f intenso Î

t Î

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# Ï Ï Ï n Ï bÏ n Ï Ï bÏ Ï Ï # Ï Ä intenso #Ï Ï #Ï nÏ nÏ #Ï Ï nÏ #Ï Ï #Ï 6

6

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Piano

43

(rim)

hard sticks

accel.

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Perc.

ä

or - der

? Î

228 Bsn.

Bass Drum

6

6

Å Å

# Ï Ï n Ï n Ï bÏ n Ï Ï bÏ Ï Ï # Ï 6

6

#Ï Ï #Ï nÏ nÏ #Ï Ï nÏ #Ï Ï #Ï 6

6

Å Å

arco

# >Ï f

Ï intenso

# >Ï

ú

# Ï Ï n Ï n Ï bÏ n Ï 6

#Ï Ï #Ï nÏ nÏ #Ï 6

Ï bÏ Ï Ï # Ï 6

Ï nÏ #Ï Ï #Ï 6

The Journey of the Shadow

?

231 Bsn.

Ï

ä

j

Î

Perc.

?

>

Î Ï. Ï.

>3

# >Ï

ä

j

# >Ï Ï

3

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Ï Ï

3

Ï (Ã)

Ï ·

3

#Ï Ï #Ï nÏ #Ï nÏ . & NÏ Ï . >

ú

Ï

>

Piano

# >Ï

31

Ï Ï

ú

>

# úú # úú >

Ï

# >Ï

Nar.

For some ungodly reason, the shadow slipped out of his envelope and started to seek other letters written by children

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

& & B

# Ï>Ï # Ï>Ï

Å

? Å t

ÏÏ

Ï

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Ï>Ï

Ï>Ï

3

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# Ï>Ï 3

#Ï Ï #Ï nÏ nÏ #Ï Ï nÏ #Ï Ï #Ï 6

# >Ï

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3

6

6

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# Ï Ï n Ï n Ï bÏ n Ï Ï bÏ Ï Ï # Ï 6

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>

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n Ï>Ï

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>

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R

n Ï>Ï

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ÏÏ 3

# Ï Ï n Ï n Ï bÏ n Ï Ï bÏ Ï Ï # Ï Å

n Ï Ï Ï bÏ # Ï Ï Ï Ï n Ï # Ï # Ï Å

#Ï Ï #Ï nÏ nÏ #Ï Ï nÏ #Ï Ï #Ï

#Ï Ï #Ï nÏ #Ï Ï Ï Ï nÏ #Ï #Ï

6

Å

ú

6

6

6

6

6

Å

Ï

6

6

# >Ï

32

The Journey of the Shadow

?

234 Bsn.

ú

ú ·

Perc.

>

# ÏÏ & # ÏÏ Piano

?

·

>

# ÏÏ # ÏÏ

>

>

ú (Ã)

· >

3

nÏ Ï nÏ #Ï Ï Ï . #Ï Ï .

>

>

ú

3

Ï Ï nÏ nÏ

Ï Ï

>

3

ú

3

Ï Ï Ï. Ï.

j # ÏÏ # ÏÏ J

Ï Ï

3 3

ú

Nar.

who also missed their fathers fighting in war.

Vln. 1

Vln. 2

Vla.

Vc.

Cb.

& ÏÏ & ÏÏ B

Ï>Ï

ÏÏ ¾

Ï>Ï

b Ï>Ï

n Ï>Ï

6

b Ï>Ï

n Ï>Ï

ú

ÏÏ J >

ÏÏ

ÏÏ J 3

6

6

6

# Ï Ï # Ï n Ï # Ï Ï Ï Ï n Ï # Ï # Ï n >Ï n Ï # Ï # Ï # Ï Ï >Ï Ï # Ï # Ï n Ï Ï 6

>

ÏÏ 3

n Ï Ï Ï b Ï # Ï Ï Ï Ï n Ï # Ï # Ï n >Ï n Ï # Ï Ï # Ï b Ï >Ï Ï n Ï # Ï n Ï Ï Å

? Å t

ÏÏ ¾

6

6

ú

6

Å Å

ú

# Ï Ï Ï n Ï bÏ n Ï Ï bÏ Ï Ï # Ï 6

6

#Ï Ï #Ï nÏ nÏ #Ï Ï nÏ #Ï Ï #Ï 6

6

The Journey of the Shadow

?

237 Bsn.

Piano

Ï

Vln. 2

Vla.

Vc.

Cb.

Piano

Î

& &

>

r n ÏÏ ÏÏ R

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#Ï

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(Ã)

ä. ä.

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F

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P

ä.

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B ?

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·

ú

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Narrator: This is when it occurred to the shadow that it was important to come up with a system of categorization, in which each letter would be classified according to the pictures depicted on the stamps, or the letter’s smell. After all, some letters had been written in kitchens and restaurants and still smelled of onion and garlic.

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Narrator (Text J): The shadow began to create an innumerable series of piles that were not exactly reduced to the destination they were addressed to. And, half way through the parcel reallocation, some of the piles of letters had grown so high, that the shadow realized he had to come up with a more economic solution to his system. That’s when he decided to undress the letters one by one by, taking them out of their respective enfolders, then later squeezing them into larger envelopes.

The hard working shadow of Marcelo Miguel was convinced that he had finally learned the complicated art of handling mail.

CUT

Performance instruction for Rehearsal J: Conductor repeats Rehearsal J as often as necessary for Narrator to read Text J. When Narrator finishes, Conductor finishes round and proceeds to next section.

CUT

38

The Journey of the Shadow Narrator: As soon as the canvas bags containing hundreds of letters arrived at their country of destination, customs agents subjected them to inspection. When the diligent officials noticed all the bulging envelopes, immediately they suspected this was a case of criminal conspiracy. In a matter of seconds, they ordered that all the letters had to be sent 274

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Narrator: whose mission was to open, read and reseal the envelopes.

During the process of investigation, the shadow had metamorphosed his form into a variety of shapes.

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The Journey of the Shadow

39

Narrator: He even had the audacity to push aside one of the custom agent's own shadow and take the form of his handlebar moustache. This, of course, was done with the intention to make the agent... have... have... a...

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The Journey of the Shadow Narrator: Due to his allergic reaction, the agent came to the conclusion that the letters possessed a toxic ingredient and they must be

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The Journey of the Shadow

41

Narrator (Text K): It was during the forty days of enforced isolation in a remote room, that the shadow camouflaged itself into a nail up high on a wall. From there he could watch the custom agents, wearing white gloves and masks, inspecting dangerous packages and letters. The shadow wanted to find out how the post could be set free from this cabinet noir, this black chambers, and sent back to the dispatching center, where letters could continue their path and finally arrive safely to the expectant mailboxes.

He realized he also needed to pay attention to the vicissitude of light if he wanted to

Performance instruction for Rehearsal K: Conductor repeats Rehearsal K as often as necessary for Narrator to read Text K. Cues ensemble to immediately move to next section in order to coordinate with Narrator's "drown the room..."

316

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Narrator: By the time the black shroud furled back, the tear-marked letters had already been removed from the cabinet noir.

Of course, later the parcel appeared in the dispatch department with a series of labels that said, “Undelivered for reasons stated. Returned to sender due to insufficient stamps.”

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The Journey of the Shadow

q = 60

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Narrator (Text L): Waiting is a trial of patience, unless one observes and contemplates life while waiting. Marcelo Miguel anticipated his father’s reply for weeks. When the tear-stained letters finally arrived at the boy’s mailbox, his heart sank and his dreams briefly evaporated. He could not believe that the letter he had sent his father weeks ago had been returned.

He felt the envelope he was holding was as heavy as his heart. Perhaps the lie he had told the office clerk had become a reality, and letters do start growing the moment they’re written. But there was no time to reflect on this matter, when there were a series of ink labels on the envelope, stating why the letter had been undelivered.

The child was convinced that this was the fault of the shadow and his erring ways.

Performance instruction for Rehearsal L: Conductor repeats Rehearsal L as often as necessary for Narrator to read Text L. Conductor begins to cue a fade-out when Narrator says "But there was no time to reflect..." so that ensemble is tacet by "The child was convinced..."

..

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The Journey of the Shadow

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This made Marcelo Miguel burst with anger, throwing the envelope to the floor and stomping on it.

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The Journey of the Shadow

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46

The Journey of the Shadow

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from the boy, the shadow was convinced that he had landed in Afghanistan. Was this the destruction that came with war?

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The Journey of the Shadow

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48

The Journey of the Shadow

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The Journey of the Shadow

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50

The Journey of the Shadow

Narrator: After the boy released all his frustration and slumped to the floor, he caught sight of a miniature cloud of darkness surfacing from the trampled envelope; it was the hurting and disoriented shadow, trying to save the tear-stained letters. At that precise moment, when the papers started rising and floating in midair, Marcelo Miguel came to the realization that perhaps this was not his correspondence. When the little wisp of darkness saw the boy trying to catch the flying sheets, the shadow concluded that he wasn’t in Afghanistan, but back home where his long journey began.

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The Journey of the Shadow

Blank for Page Turn

51

52

The Journey of the Shadow

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The Journey of the Shadow

53

Narrator (Text M): children like him that were sent to fathers stationed in Afghanistan. He even found two letters written

by Oscar Galateo and Roberto Heredia, the two despicable boys who always ridiculed him. He was surprised to discover that their letters not only contained figurative stick drawings, but they had the vestige of the salty, watery, substance found in the tear-stained letters. It was then that Marcelo Miguel learned that, vulnerability, generally held to be a weak characteristic in men is unavoidable. And those who renounce it or judge it can best be described as naïve and, at worst, ignorant, since it reflects a deep and profound sentiment found in all human beings.

Performance instruction: Conductor repeats Rehearsal M as often as necessary for Narrator to read Text M. Around the words "... vulnerability, generally held to be a weak characteristic in men...", Conductor begins to prepare, as possible, to move smoothly onto Rehearsal N.

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54

The Journey of the Shadow

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·

niente

q = 56-60

Perc.

3 4

Nar.

3 4

412

Vc.

?3 4

·

·

·

·

·

·

·

·

Marcelo Miguel and his shadow spent their time together like before, enjoying each other’s presence. j Ï

#ú P

Ï

#Ï

dolce, nostalgic

ú.

#Ï .

#Ï J

3 4

·

ÏÏ #Ï # Ï ¸

Î

ú

p

ú ¾

·

·

ÏÏ ÏÏ B #Ï Ï Î # Ï Ï J ?

#ú #ú

Ï #Ï # ÏÏ

Î

·

&

ú ¾ f ú ú

·

3

Vc.

Ï

· &

·

niente

Nar.

Vln. 1

·

Ï

#ú .

ú

Ï Ï #ú .

ú

#Ï

ú.

The Journey of the Shadow 420

·

Perc.

·

·

·

55

·

·

·

·

Even when the night was falling, the shadow secretly drew around the safety of the boy’s body and tried to defy the absence of light.

Nar.

Vc.

? #ú

Ï

#Ï

Large Tri.

428

·

Perc.

ú.

#Ï .

ú

Small Tri.

f

Ï

j #Ï Ï

Ï

ú

#ú .

ú

ú

Ï

Ï Ï #ú .

ú.

#Ï

ú

Uú .

ú.

slow scrape, l.v.

Susp. Cymb.

p

ú

Î

P

Nar.

For a shadow...

Vc.

?

jú. #Ï p

is not a metaphor for absence...

ú.

ú.

ú.

but for presence.

ú.

j Ï ä Î

U

Î

·