These Worlds In Us for orchestra
MISSY MAZZOLI 2006
Š 2006 G. Schirmer Inc.
INSTRUMENTATION 2 Flutes 2 Oboes 2 Clarinets in A 2 Bassoons 4 Horns in F 2 Trumpets in C 2 Trombones Tuba Percussion: Player 1- melodica, bass drum Player 2- melodica, snare drum, tuned cowbells (E and G), hi-hat Player 3- vibraphone, suspended cymbal Harp Strings DURATION: 8:45 The title These Worlds In Us comes from James Tate's poem The Lost Pilot, a meditation on his father's death in World War II: (excerpt) My head cocked towards the sky, I cannot get off the ground, and you, passing over again, fast, perfect and unwilling to tell me that you are doing well, or that it was a mistake that placed you in that world, and me in this; or that misfortune placed these worlds in us. This piece is dedicated to my father, who was a soldier during the Vietnam War. In talking to him it occurred to me that, as we grow older, we accumulate worlds of intense memory within us, and that grief is often not far from joy. I like the idea that music can reflect painful and blissful sentiments in a single note or gesture, and sought to create a sound palette that I hope is at once completely new and strangely familiar to the listener. The theme of this work, a mournful line first played by the violins, collapses into glissandos almost immediately after it appears, giving the impression that the piece has been submerged under water or played on a turntable that is grinding to a halt. The melodicas (mouth organs) played by the percussionists in the opening and final gestures mimic the wheeze of a broken accordion, lending a particular vulnerability to the bookends of the work. The rhythmic structures and cyclical nature of the piece are inspired by the unique tension and logic of Balinese music, and the march-like figures in the percussion bring to mind the militaristic inspiration for the work as well as the relentless energy of electronica drum beats. "The interviewer, when asked his preference, singled out Missy Mazzoli's These Worlds In Us, and conductor Osmo Vanska muttered assent. The Mazzoli piece also seemed to be a favorite of the audience, to judge from the applause of all 900 listeners who turned out." - James R. Oestreich, The New York Times, review of a concert by the Minnesota Orchestra, December 17, 2006 "Missy Mazzoli's These Worlds In Us began elegiacally, with hints of Copland, but soon grew edgier and more searching. To me, it sometimes sounded the way psychotherapy feels, with rushes of memory subsiding into despondency and grief." -Larry Fuchsberg, Minneapolis Star Tribune, June 5, 2008
These Worlds In Us
transposed score
(2006) for my father
Moderato q = 108
(2 + 3)
2 Oboes
2 Clarinets in A
2 Bassoons
3 4
2 Trumpets in C
2 Trombones
2 Flutes
1 2 4 Horns in F
Tuba
Player 1
Melodica
pp
ff
Melodica
Percussion Player 2
(2 + 3)
pp
ff
3 3
3 3
pp
pp
Vibraphone motor off
Player 3 Harp
Violin I
div.
pp
div.
Violin II
pp
Viola div.
Violoncello div. a3
Contrabass
MISSY MAZZOLI
ff
l.v.
ff
mf
mf
pp
p
3
3
3
ppp
pp
mournful, molto expressivo ppp
ff
p
pp
f
ff
ff (IV)
ff
ff (I)
ff (IV)
ff pizz.
ff
Copyright © 2006 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.
ppp
2
Fl. 7
Ob.
Cl.
Bsn.
Perc. 2
Hp.
Vln. I Vln. II
Vla. div.
p
pp
pp
mf
mf
3 3 3 3
p
mf
ppp
Vc. div a3
p
(div.)
1.
pp
(2 + 3)
pp
(2 + 3)
pp
Cb.
Tbn.
Perc. 3
C Tpt.
Perc. 1
Hn.
Tba.
A
ppp
ppp
1. 15 Fl.
p
f
Ob.
Cl.
2.
p
ff
B
3
p
f
1.
1.
1.
2.
C Tpt.
Tbn.
Tba.
Bsn.
Hn.
Perc. 1
Perc. 2
pp
ff
pp
Perc. 3
Hp.
3
Vla. div.
Vc. div a3
pp
p
ff
ff
pp
ff
ff
ff
ppp
ppp
ppp
ff
ppp
ff
Cb.
3
p
pp
3
ff
ff
3
ff
ff
3
ff
pp
p
pp
Vln. II
ff
Vln. I
f
pp
ff
unis.
*
unis.
*
p
f
div.
pp
* Throughout piece- sustain note for duration indicated, then gliss. over headless notes.
ff
sim.
p
sim.
ppp
p
sim.
ff
ff
sim.
ff
4
Fl. 23
Tba.
Perc. 1
Perc. 3
3.
f
a2
mp
f
f
p
pp
pp
pp
pp
mp
p
f
div.
pp
f
unis.
pp
ff
mf
ff
f
ppp
ppp
ff
ff
ppp
ppp
ppp
ff
to pitched cowbell
ff
pp
ff
mf
pp
unis.
Cb.
unis.
Vc. div a3
Vln. I
Vla.
p
Vln. II
Hp.
Perc. 2
Hn.
Tbn.
f
a2
C Tpt.
p
Cl.
Bsn.
Ob.
a2
ppp
C Fl. 30
poco stringendo
Ob.
5
1.
p
mf
subp poco 1.
Cl.
Bsn.
p
f
Hn.
f
C Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
legato
Perc. 3
subp
Hp.
f
poco stringendo
Vln. I
Vln. II
Vla.
f
p
f
p
p
f
p
subp
div a2. pizz.
Vc.
f
Cb.
f
6
37
Fl.
D
mf
a2
f
mf
f
mp
Cl.
mp
mp
Hn.
mf
mf
Hp.
mf
1.
mf
mp
Vln. I
mp
Vln. II
Perc. 2
mp
a tempo
mf
f
mf
mf
mp
unis. arco
Vc.
p
Cb.
Tbn.
Vla.
C Tpt.
Perc. 3
mf
a2 Bsn.
Perc. 1
2. (1.)
Ob.
Tba.
a tempo
1.
mf
7
Fl. 44
Ob.
f
Cl.
Bsn.
Tba.
Perc. 1
f
f
a2
p
f
f
Vln. I
f
mf
p
f
f
Vln. II
f
p
molto expressivo
p
spiccato p
f
Vc.
arco
f
Cb.
p
Hp.
Vla.
Perc. 2
Perc. 3
f
f
Hn.
Tbn.
f
f
1.
C Tpt.
f
spiccato
detache
p
spiccato p
8
E 51 Fl.
(3/4 + 3/8)
Ob.
Cl.
Bsn.
(4/4 + 3/8)
sim.
a2
p
3.
mf
p
1.
Hn.
mf
mf
C Tpt.
mf
a2
Vla.
Perc. 3
p
Vln. II
Vln. I
pitched cowbell
Hp.
Tbn.
Perc. 2
mf
mf
Perc. 1
1. p p
Tba.
mf
sempre legato
mf
mf
mf
mf
Vc.
mf
Cb.
pizz.
mf
Fl. 56
Ob.
a2
f
f
Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Tba.
Vla.
ff
ff
f
f
f
ff
ff
3
6
f
ff
1.
ff
p
Player 1 con sord
ff
6
ff
Melodica
3
9
f
f
f
F
to Bass Drum
ff
slight separation between notes
ff
f
f
f
non-divisi
Cb.
f
f
Vc.
Vln. I
Vln. II
Perc. 3
Hp.
Perc. 1 Perc. 2
ff subp
con sord.
con sord.
ff
arco spiccato
f
ff
subp
ff
10
Fl.
Ob.
Cl.
1.
61
p
1.
p
p
Bsn.
Hn.
C Tpt.
solo
straight mute 1.
p
1.
Perc. 2
Perc. 3
Tbn.
Tba.
Perc. 1
mp
Hp.
Vln. I
p
mf
C#
con sord.
Vln. II
Vc.
Cb.
pp
Vla.
(4/4 + 3/8)
G 70 Fl.
Ob.
Cl.
1.
p
sim.
p
C Tpt.
Tbn.
Tba.
Perc. 1
p
1.
a2
mp
remove mute
p
l.v.
pitched cowbell
Perc. 3
Perc. 2
p
p
Hn.
11
a2
Bsn.
(3/4 + 3/8)
Bass Drum
p
3
6
Vln. I
Hp.
con sord
p
con sord
Vln. II
p
con sord
Vla. p
Vc.
Cb.
remove mute
12
Fl. 75
Ob.
H
mf
mf
Cl.
Bsn.
mf
mf
Hn.
3.
mf
mf
1.
p
C Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Perc. 3
Hp.
Vla.
Vc.
mf
to snare drum
6
mf
remove mute mf
mf
p
senza sord. spiccato
p
molto expressivo
subp
senza sord
(con sord) spiccato
f
Cb.
Vln. I
Vln. II
Fl. 80
1.
Ob.
mf
Cl.
a2
mf
Bsn.
1.
p
mf
13
a2
Hn.
C Tpt.
a2
Tbn.
mf
Tba.
Perc. 1
Perc. 2
p
Perc. 3
Hp.
p
3
6
mf
3 6
remove mute
mf
senza sord.
f
f
spiccato
mf
Vc.
mf
Vla.
Vln. I
Vln. II
Snare Drum (snares off)
mf
1. senza sord
mf
Cb.
pizz.
mf
f
14
84 Fl.
a2
Ob.
Bsn.
f
Perc. 1
f
mf
mf
mf
3
f
f
6
f l.v.
ff
mf
ff
mf
Cb.
mf
mf
mf
1.
f
Vc.
Vla.
mf
Vln. II
Vln. I
Perc. 3
Hp.
f
6
Perc. 2
f
Hn.
Tba.
f
Tbn.
f
f
C Tpt.
Cl.
I
f
f
ff
ff
arco
mf
ff
G§
C§
mf
mf
Db
mf
89 Fl.
Cl.
Bsn.
Ob.
Hn.
C Tpt.
Perc. 1
mf
mf
mf
mf
p
mf
mf
mf
mf
p
Vln. I
Vln. II
p
fp
fp
fp
fp
fp
p
p
Vc.
Cb.
Hp.
Vla.
Perc. 2
Perc. 3
Tbn.
Tba.
15
fp
16
J Fl. 94
Ob.
(3 + 2)
p
f
Bsn.
(1.)
mf
Hn.
mf
C Tpt.
mf
mf
Perc. 1
Perc. 2
mf
mf
f
1.
mf
mf
p
p
p
Vln. I
Vln. II
Vla.
f
Cb.
f
mf
mf
f
f
f
fp
f
fp
fp
fp
mf
f
fp
f
mf
f
Vc.
p
mf
f
Hp.
2.
5
f
f
Perc. 3
f
Tba.
f
Tbn.
2.
1.
Cl.
f
f
K mp 99 Fl. (f)
Ob.
f
Cl.
1.
mp
1.
(1.)
Hn.
mp
f
Tbn.
Perc. 1
Perc. 2
f
1. p
p
f
mp
mp
mp
mp
mp
mp
a2
f
Tba.
mp
C Tpt.
mp
Bsn.
17
Perc. 3
D§, G#
D#
Hp.
mf
D#
div. dolce
Vln. I
(non-gliss.)
l.v.
C#
subp div.
dolce
Vln. II
subp
Vla.
pizz.
pizz.
Vc.
mp
Cb.
mp
18
Fl.
Ob.
Cl.
104
Bsn.
f
mf
Hn.
Perc. 1
Perc. 3
mf
mf
mf mf
mf
mf
mfl
mf
f
Snares On
3
6
f D§, G§
Hp.
Vln. I
unis.
f
f
f
f unis.
Vla.
mf
Vln. II
f
Perc. 2
f
Tba.
mf
f
Tbn.
mf
mf
C Tpt.
arco
Cb.
Vc.
f
arco
f
sim.
Fl. 111
L mp 5 5
p
p
Bsn.
Hn.
C Tpt.
mf
p
p
p
Tba.
Perc. 1
fp
3
Perc. 2
Perc. 3
Hp.
Vln. I
Vln. II
Vla.
Vc.
Cb.
f
mp
f
Vibraphone
f
f
mf
div.
dolce
fp
subp
f
div. dolce
fp
f
subp
f
fp
pizz.
f
f
fp
fp
(mp)
D#
1.
p
f
19
non-div.
(mp)
f mp
a2
Tbn.
f
p
Cl.
(1.)
1. mp
Ob.
(3 + 2)
f
f
pizz.
mp
mp
M
20
117
Fl.
p
Ob.
Cl.
5
5
mp
f
mf
mf
mf G#
f
(non-gliss.)
f
pizz.
f
mp pizz.
f
mp
3
3
6
arco subf
f
leggiero
unis.
subp
subp
f
G§
6
Sus. Cymbal choked
3
f
arco
Cb.
f
arco
Vla.
mf solo a2
f
Vln. I
f
f
p
f
p
mf
f
f
f
f
p
p
Vc.
Perc. 3
Vln. II
p
Hp.
f
a2 leggiero
p
Perc. 2
f
p
Perc. 1
Hn.
Tba.
Bsn.
Tbn.
f
p
C Tpt.
f
Fl. 123
Ob.
Cl.
Bsn.
3.
mf
1.
Perc. 1
mp
6
Perc. 2
Perc. 3
3
6
mf
p
3
p
mp
mp
mp
pp 3
p
1.
mp
3
21
dim.
mf Tba.
mf
a2
dim.
Tbn.
C Tpt.
Hn.
pp
p
unis.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Cb.
dim.
p
mf
dim.
mp
p
arco
p
22
129 Fl.
Ob.
Perc. 1
Perc. 3
p
p
5
5
5
f
a2 con forza
f
p
p
a2
f
a2
f con forza a2
f
p
f
Snares Off
f
f
f
5
(3/4 + 3/8) a2
5
N
p
Perc. 2
p
Tba.
p
p
Hn.
Tbn.
C Tpt.
Cl.
Bsn.
1.
Hp.
Vln. I
p
p
f
Vibraphone
f
con forza
f
Vla.
Vln. II
div.
p
Vc.
Cb.
p
unis. con forza
f
con forza
f
non-div.
con forza
f
f
mp
(4/4 + 3/8)
133 Fl.
Ob.
Cl.
Bsn.
Hn.
Tbn.
Tba.
Vla.
Vc.
Cb.
p
mf
p
p
mf
23
mf
Vln. I
Vln. II
Perc. 3
mf
p
Hp.
Perc. 1 Perc. 2
C Tpt.
sim.
ff
mp
ff
mp
ff
mp
ff
mp
24
Fl. 137
Ob.
Bsn.
Hn.
C Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Perc. 3
Hp.
Cl.
3
Cb.
ff
ff
3
p
p
p
ff
ff
p
p
f
f
ff
p
ff
poco
spiccato
Vc.
ff
1.
Vla.
solo, molto expressivo, leggiero
ff
p
ff
ff
mf
p
ff
sim.
Vln. I
Vln. II
ff
a2
O
ff
spiccato
ff
ff
mp
ff
mp
ff
ff
poco
ff
f
f
poco
f
poco
f
p
25
Fl.
141
Ob.
Cl.
Perc. 2
Perc. 3
Bsn.
Hn.
C Tpt.
Tbn.
Tba.
Perc. 1
Hp.
Vln I. solo.
Vln. I
f
pp
dolce
f
Vln. II
Vla.
Vc.
dim
dim.
dim.
Cb.
spiccato
p
26
Fl.
145
Ob.
Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Tba.
Perc. 1
Perc. 2
Perc. 3
Hp.
Vln I. solo.
Vln. I
Vln. II
p
Vla.
div.
p
Vc.
p
Cb.
f
spiccato
p
P
Fl. 150
Stringendo
Ob.
Cl.
Bsn.
27
2.
1.
p
1.
p
1.
p
Hn.
C Tpt.
Tbn.
Tba.
Perc. 1
1.
p
ppp
(snares off)
Perc. 2
Perc. 3
p
p
Hp.
Vln. I
Stringendo
Vln. II
Vla. unis.
Vc.
Cb.
28
Fl.
1.
Ob.
Cl.
Bsn.
1.
155
mp
mp
(2 + 3)
mf
mf
f
a2
mf
1.
p
Hn.
3.
mf
C Tpt.
Tbn.
f
Tba.
Perc. 1
Perc. 2
Perc. 3
mp
mf
mf
Hp.
Vln. I
Vla.
Vc.
Cb.
p
Vln. II
(p)
f
div.
p
p
a tempo
Q
Fl. 160
Ob.
Tutta Forza
ff
ff a2
Cl.
5
5
ff
Hn.
C Tpt.
29
ff
Bsn.
5
5
a2
f
a2
f
5
1. marcato ff
Tbn.
ff
Tba.
Perc. 1
ff
Perc. 3
ff
Perc. 2
a2
Pitched Cowbell
f
fff
sim.
f
fff
cut off abruptly
ff
cut off abruptly
D C# B / E F# G A
Hp.
cut off abruptly
a tempo Tutta Forza
Vln. I
Vln. II
ff
ff
marcato Vla. ff
non-div.
Vc.
ff
Cb.
arco
ff
30
Fl.
164
Ob.
Vln. II
Vc.
Cb.
Hp.
Vla.
Perc. 2
Vln. I
Tbn.
Perc. 3
C Tpt.
Perc. 1
5
con sord
con sord
to Melodica
cut off abruptly
cut off abruptly
cut off abruptly to hi-hat
1.
Hn.
Tba.
Cl.
Bsn.
31
Fl.
Ob.
Cl.
Perc. 2
Perc. 3
169
Bsn.
Hn.
C Tpt.
Tbn.
Perc. 1
Vln. I
p
Vln. II
Vla.
Vc.
Cb.
unis.
pp
p
32
R 174 Fl.
Ob.
solo molto expressivo 1.
Cl.
Bsn.
mp
Hn.
C Tpt.
Tbn.
Tba.
Perc. 1
Hi-Hat
Perc. 2
Perc. 3
mp
6
3
6
6
6
3
6
6
Hp.
Vln. I
p
Vla.
pp
Vc.
Cb.
Vln. II
Vla.
solo dolce
Fl.
Ob.
Cl.
180
Bsn.
33
S
Hn.
C Tpt.
Tbn.
Tba.
Perc. 1
Melodica
pp 3
3
6
6
3
6
6
6
6
3
6
6
Perc. 2
Perc. 3
6
Hp.
Vln. I
Vc.
mf
sim.
Vln. II
Cb.
tutti div.
pp
34
Fl.
Ob.
Cl.
185
Bsn.
Hn.
C Tpt.
Tbn.
Tba.
Perc. 1
ff 6
Hp.
Vln. I
6
3
Vln. II
sim. 6
3
6
6
pp 6
6
6
3
3
6
6
6
ff C§
ff
Vla. div.
Vc. div a3
( )
ff (III)
ppp
ppp
ppp
ff
ff
ff
ppp
( )
pizz.
mf
ff
ff
solo
(III)
Cb.
6
Perc. 2
Perc. 3
ppp
35
Fl.
Ob.
Cl.
189
Bsn.
Hn.
C Tpt.
Tbn.
Tba.
Perc. 1
6
6
6
6
3
Hp.
6
3
6
6
pp 6
6
6
3
Vln. II
Vla. div.
(solo) tutti, div.
pp
Vc. div a3
ff
ff
sim.
ff
ff
Vln. I
Cb.
p
ff
6
Perc. 2
Perc. 3
3
pp 6
1.
sim.
ff
ppp
ppp
ppp
ff
ff
pp
ppp
ff
ppp
T
36
Ob.
Cl.
193
Fl.
Bsn.
p
molto
ff
con sord.
f
Hn.
C Tpt.
Perc. 1
con sord.
f
Tbn.
Tba.
3
6
6
6
6
3
6
6
pp
6
6
3
6
ff 6
3
6
6
Perc. 2
Vibraphone
Perc. 3
Hp.
motor on slight separation between notes
unis.
mp
unis. pizz.
mp
Vla. div.
p
pizz. Vln. I Vln. II
ff C#,G#
ff
arco
p
ff (I)
ff
ff
) (
ff
Vc. div a3
)
(
ff
Cb.
ff div. arco pizz.
ff
37
Fl.
Ob.
Cl.
197
Bsn.
mp
Tba.
Perc. 1
f
6
6
3
3
6
6
6
pp
pp
6
3
6
6
ff
6
6
3
Vln. I
mp
pizz.
Vln. II
mp
Vla. div.
Vc. div a3
arco
arco
pp
pp
ff
ff
ppp
ppp
ff
sim.
ff sim.
ff
ppp
ppp
ff
ppp
ppp
ff
6
ff
Hp.
Cb.
Perc. 2
6
Perc. 3
f
Tbn.
C Tpt.
Hn.
ff
38
Fl.
201
Ob.
Cl.
Bsn.
Tbn.
Perc. 1
pp
p
mf
mf
1.
ppp 6
3
6
6
6
6
6
pp
ff
3
3
6
fff
pp
mf
ff
Hp.
Vln. I
Vln. II
Vla. div.
Vc. div a3
Cb.
Perc. 2
Perc. 3
C Tpt.
Tba.
Hn.
U
pizz.
mp
pizz.
mp
ppp
U
arco non-vib.
ppp
arco
p
ppp
p ( )
ppp
ppp
ppp
pizz.
f
pizz.
f
pizz. non-div.
f pizz. non-div.
f pizz. non-div.
f pizz. unis.
f
39
Fl. 207
Ob.
mp
C Tpt.
Tbn.
3.
pp
Perc. 2
pp
f
f
Melodica
pp
pp
pp
f
pp
pp
pp
f
pp
f
ff
Hp.
Vln. I
Vla. div.
Vc.
Vln. II
Cb.
mp
Perc. 3
Perc. 1
Hn.
Tba.
Cl.
Bsn.
div. a2
40
Fl.
Ob.
Cl.
215
Bsn.
Hn.
C Tpt.
Tbn.
Tba.
Perc. 1
f
pp
Perc. 2
pp
Perc. 3
f
pp
pp
pp
f
f
fff
ppp
ppp
let sound die away
Hp.
Vln. I
Vln. II
Vla.
Vc.
Cb.