EDITION WILHELM HANSEN WH32705
Juliana Hodkinson
TURBULENCE an opera in three scenes libretto by
Cynthia Troup
Commissioned and premiered by Chamber Made Opera Melbourne 2013
Juliana Hodkinson TURBULENCE or, ´the underlying forces usually hidden’ an opera in three scenes
libretto by Cynthia Troup SCORE Duration: c. 40 min.
‘Therefore … love your solitude and try to sing out with the pain it causes you. For those who are near you are far away … and this shows that the space around you is beginning to grow vast. … don’t expect any understanding; but believe in a love that is being stored up for you like an inheritance, and have faith that in this love there is a strength and a blessing so large that you can travel as far as you wish without having to step outside it.’ Rainer Maria Rilke, Letters to a Young Poet
Turbulence or, ‘the underlying forces usually hidden’ an opera in three scenes f or soprano voice with electro nic poc ket piano* a nd gro ovebox*, yo u ng f ema le actor with hand- held mi crophone an d short wave radio, vintage f ans, audio sa mples (* ma y be re distrib uted to of f -stage pla yer or sou nd desk )
i from a state of quietness ii sudden transitions iii a critical point
total duration: circa 40 minutes
The libretto and score for T ur bul ence were commissioned by Chamber Made Opera in 2012. T u r b u l en ce was first performed by Deborah Kayser (soprano) and Anneli Bjorasen (actor), and directed by David Young, with sound design in performance by Jethro Woodward—the premiere season opened in Melbourne on 3 October 2013, as part of Chamber Made Opera’s Living Room Opera series. The parts of Pilot, Announcer, and Baby were pre-recorded; Margaret Cameron performed the voice of the Pilot, Sana Mukarker Schwippert the voice of the Announcer, and Emilia D. Hodkinson the voice of the Baby. The audio samples mentioned in the score were recorded, mixed, and mastered by picaroMedia in Berlin.
Turbulence CONTENTS Parts and instrumentation Instrumental notes Table of audio cues Notes on fans and installational aspects Setting Beginning the opera Notes on the libretto text Libretto i from a state of quietness (the Baby is heard beginning to whimper) ii sudden transitions (Mother: ‘And external factors’) iii a critical point (the cabin lights flicker again)
p. ix p. x-xii p. xiii-xiv p. xv p. xvi p. xvii p. xvii
pp. 1-2 pp. 3-6 p. 7
Score i from a state of quietness ii sudden transitions iii a critical point
pp. 9–26, from bar 1 pp. 27–40, from bar 153 p. 41, from bar 277
Libretto appendix
p. 43
PARTS AND INSTRUMENTATION Parts are all female: — Mother, soprano or mezzosoprano voice, optionally playing electronic pocket piano* and small sampler**. — Daughter, young female actor portraying a young woman, say 19 years old, with hand-held microphone, shortwave radio, and various accessories (e.g. a small hand-held fan; a packet of peanuts for rustling; earphones; clothing props). — Pilot, pre-recorded or performed live via radio contact/with electronics, a voice relaying remarks and communiqués ‘unintentionally’ transmitted from the cockpit. The Pilot’s words are always preceded by interference. — Announcer, pre-recorded or performed live via radio contact/with electronics, a voice with variations to suggest intentional announcements made by a flight attendant. — Baby: pre-recorded or live, not seen, but heard whimpering and vocalising at times, in short bursts.
— Vintage fans. — * Electronic pocket piano may be played by soprano, or distributed, as for the premiere season, to an off-stage player. The pocket piano also requires a tuner (e.g. guitar tuner). Electronic pocket piano = portable Critter & Guitari Pocket Piano synth (GR). Another synthesiser could be used instead, but this would require extensive moderation of the pocket piano part as scored. — ** Small sampler, e.g. Roland SP-404 SX or similar, for soprano to cue audio. Alternatively, the audio samples may be redistributed from the sampler to the sound desk, as for the premiere season.
ix
x
xi
xii
INSTRUMENTAL NOTES (CONTINUED)
Explore sounds with microphone and hair, e.g. wrapping hair around microphone, etc.
TABLE OF AUDIO CUES The audio part includes live mixing of the fan sounds. BAR NO.
CUE NO.
DURATION
DESCRIPTION
28
1
13 sec.
heartbeat 80 bpm
37
2
28 sec.
heartbeat 80–120 bpm
45
3
10 sec.
heartbeat 180 bpm
47
4
6 sec.
radio Polish
49
5
53 sec.
radio Polish RVRS + cabin fittings 1 + Baby 1 waking
51
6
9 sec.
heartbeat 165–160 bpm
58
7
8 sec.
radio Spanish and German
93
8
< 1 sec.
lockers
93
9
< 1 sec.
lockers
94
10
1 sec.
lockers
95
11
1 sec.
lockers
95
12
1 sec.
lockers
xiii
xiv
97
13
38 sec.
radio stop + Pilot: ‘in suitable conditions/’ + Baby 2, whimpering
102
14
32–43 sec. (fade ad lib.)
radio Gertrude Stein
107
15
30–56 sec. (fade ad lib.)
radio Indian song
109
16
< 1 sec.
radio stop 2
114
17
32-105 sec. (fade ad lib.)
radio Buchanan Brothers, fade out
114
18
27 sec.
cabin fittings 1
152
19
26 sec.
cabin fittings 2
159
20
25–51 sec. (fade ad lib.)
cabin fittings 3 & Baby 2
160
21
16 sec.
Announcer: ‘Ladies and/’ + Pilot + Announcer: ‘Cabin crew, please be seated’
162
22
25 sec.
cabin fittings 4
175
23
10 sec.
Pilot: ‘is there something you can tell us/’ + cabin fittings 5
194
24
25–51 sec. (fade ad lib.)
cabin fittings 3 & Baby 3
207
25
11 sec.
Announcer: ‘Ladies and gentlemen […] a zone of/’
211
26
7 sec.
cabin fittings 5
248
27
25 sec.
Baby 4
255
28
3 sec.
Baby 5
256
29
25 sec.
Baby 4 RVRS
271
30
15–33 sec. (fade ad lib.)
cabin fittings 6 + 8
277
31
22 sec.
cabin fittings 9 (may be looped or otherwise extended)
278
32
10 sec.
Announcer: ‘For your own safety […] the safety of fellow/’
280
33
4 sec.
Pilot: ‘can modify completely/’ + Announcer: ‘in your seat, thank/’
282
34
6 sec.
Pilot: ‘in this case/ […] a medical emergency/’
NOTES ON FANS AND INSTALLATIONAL ASPECTS Overture Over a low-grade intercom or tannoy system, flight tower control broadcasts are heard intermittently. For the premiere season, communications from Heathrow sourced from YouTube were used; these were played from smartphone into the front door intercom system, while the audience waited on the street downstairs before being ushered in to the performance (‘cabin’) space. Transit installation One vintage oscillating pedestal fan (turns from side to side), with vintage microphone and vintage amplifier, installed between the entrance and ‘cabin’, where members of the audience file past to enter the aeroplane. This fan emits a hum that alternates (as the fan head turns) with turbulent air/microphone noise; it is switched on before the first audience member arrives, and is turned off when the ‘motor’ starts at the beginning of the opera. In the ‘cabin’ space A battery of vintage table fans (circa 1950s) is displayed, such that when all are switched on, a wind is directed towards the audience. These fans are all controlled from the same single switch; all can be switched on or off simultaneously. In addition, three individual table fans are installed at strategic places in the cabin: FAN 1: Small table fan (e.g. Philips, 1950s). When amplified, this fan emits a steady bass. Installed towards the back of the cabin. FAN 2: Medium table fan (e.g. Pye, 1950s). When amplified, this fan has an impressive start-up sound, taking some time to reach full speed and hit a steady hum. A slight rattle is acceptable. Installed prominently within the sightline of the audience, possibly at the front of the battery of other table fans. FAN 3: Oscillating table fan (e.g. Elcon, 1950s). When this fan is amplified, the microphone alternately picks up the motor sound and turbulent air stream. Installed within the sightline of the audience, but not prominently—for example, to one side of the audience.
xv
SETTING Interior, the passenger cabin of a small aeroplane, mid-flight. This closed cabin comprises the stage for the opera. Seating for the audience is divided by one or two narrow aisles. These are extensions of the aisle or aisles that are part of the set design. Depending on audience numbers, in each successive row of seating, the number of seats becomes fewer; the aisle(s) and this tapering of rows suggest the audience as passengers, ranged towards the rear of the aeroplane cabin that they share with the performers. Passengers and performers all face the same direction when seated. At the front of the passenger cabin, curtains screen off the aisle or aisles. Towards the front of the cabin, the opera’s protagonists: a daughter and her mother. Each has an aisle seat, one row apart, so that the two women are positioned diagonally across from one another, the daughter on left side, in the row behind. The part of the Mother resembles a monologue. However, ideally it will be performed as though one, well-heard half of a conversation between the Mother and another female passenger—a stranger—who is seated beside her. Premised on the Mother’s presence and words, the part of the Daughter resembles reactive, self-referential attempts at dialogue, although it too might be described as a monologue, in this case one of a defensive nature. It is important to convey the oppositional tone of the Daughter’s utterances. The Mother’s manner is freely animated. Her lines are timed and modulated more consistently than those of the Daughter; except for the aria, their tone is decorously reflective, agreeable, equanimous. Daughter and Mother communicate directly only once, between scenes ii and iii, when they stand, and meet one another’s gaze. This is also when the audience see the Daughter’s face for the first time. The aeroplane evoked by the set design can date from any era after 1939: this was the year in which passengers for short-haul flights on DC-3s operated by the American commercial airline TWA (Transcontinental and Western Air) were first provided with in-flight radio broadcasts through loudspeakers. A so-called ‘master receiving unit’ ‘controlled by the airhostess’ was tuned into radio stations and programs picked up along the plane’s course. The same broadcasting system (or circuit and loudspeakers) was used for in-flight announcements made by the pilot—in effect, this was the first passenger aeroplane intercom system (see Diamonds in the Sky, pages 92–93; details listed below, page 43). The part of the Announcer has a basis in the sonic qualities of an unreliable or faulty intercom system, which ‘accidentally’ transmits to the passenger cabin fragments of conversation and air-to-ground communication from the cockpit. The same intercom also broadcasts formal announcements intended for the passengers’ benefit.
xvi
BEGINNING THE OPERA DAUGHTER enters with audience. MOTHER enters with last audience member. FAN 1 and air-conditioning are switched on before audience enter. When all members of the audience are seated, FAN 2 is switched on (and most other motor sounds off), simulating a turbine on take-off. As FAN 2 settles into a steady ‘cruising altitude’ hum, FAN 3 is switched on and very gradually faded in. For 10 minutes or more, allow the mix of these amplified fans to vary within a narrow register poised between monotony and dynamic movement, creating the subtly varied monotony of the beginning of a long haul flight. For example, fading up FAN 3’s motor sound more strongly may be coupled with the MOTHER and DAUGHTER leaning to one side in synchronisation, evoking the shared, embodied sense of a plane banking.
NOTES ON THE LIBRETTO TEXT A forward slash [ / ] sitting against a word (or the last word in a line) indicates that the end of the word collides fleetingly with electrical noise, while it is heard more or less continuously with the beginning of the following utterance (see page 1, for example). Where the Mother and the Daughter each has a line positioned ‘parallel’ in the libretto (see page 2, for example), this indicates a simultaneity. Any line can be repeated as considered necessary.
xvii
Turbulence
libretto by Cynthia Troup music and sound by Juliana Hodkinson
T u r b u l en ce
LIBRETTO i from a state of quietness
The opera begins mid-flight: the aeroplane passenger cabin is brightly lit, and the scene overall is unhurriedly set through immersive sound. Slowly and gradually, low, variegated ‘flight noise’ and other sonic materials build from a state of comparative quietness to a more active soundscape, Throughout the opera, this irregularly includes effects of static and other noise from the aeroplane intercom. From a direction other than that of the Mother and Daughter, the Baby is heard beginning to whimper. Pilot
in suitable conditions/
Mother
Yes, the act of giving birth is arguably the major event in a life, also intuitively appealing.
Daughter
the theory is beautiful in its self-consistency
Mother
Given the puzzling and violent nature of energy released,
Daughter
brute force as a matter of fact
Mother
the emergence of consciousness, degrees of freedom, the progressive accelerating ascent,
Daughter
the more warning one gets, there is a threshold that can be calculated
Mother
tremors or vibrations,
1
T u r b u l en ce
LIBRETTO (CONTINUED)
Daughter
absence, fracture and fatigue
Mother
come together in one critical instant
Daughter
loom over and shape the psychological state
Mother
—the explosion to infinity—
Daughter
all three create the potential for extreme behaviour
Mother
starting at the highest level from the mother! The universe of conceivable irrational behaviour patterns is much larger than the set of rational patterns.
Daughter
allowing for irrationality opens a Pandora’s box of ad hoc stories the main story we are telling is the vulnerability of civilisations the fight between order and disorder normal times, normal times are when disorder wins
Mother
(attacca)
2
the explosion to infinity of a normally behaved quantity
T u r b u l en ce
LIBRETTO (CONTINUED)
ii s u d d e n t r a n s i t i o n s Mother
And external factors affecting the mother always ruin the lives of some of them.
Daughter
(with the Mother’s ‘always’) always ruin the lives of some of them
A long pause in the flow of words, during which the ambient soundscape begins to change. The Baby’s whimpering is heard again, and intensifies before fading. Announcer
Ladies and/
Pilot
obviously harder to predict/
Announcer
Ladies and gentlemen, please remain seated and please/ fasten your seatbelts, thankyou. We are now approaching a zone of turbulence./ Cabin crew, please be seated.
Lights pop and flicker through the passenger cabin, though they remain switched on. Daughter
the underlying forces are usually hidden by an almost perfect balance
Mother
External factors, certainly … . How can one unravel this complexity?
Pilot
is there something you can tell us/
Daughter
we are taught that it is out of reach from a fundamental point of view
The Daughter stands up. She grips the seat in front of her to remain upright as the plane pitches for a slow moment.
3
T u r b u l en ce
LIBRETTO (CONTINUED)
Mother
Well, cracks make the problem more subtle.
Daughter
it is a curious fact that the agents typically do not know each other
Mother
What is the law if any? Of course one of the parameters is the time of failure.
Daughter
the only way to decide is to test for the existence of critical behaviour let them evolve in time
Mother
Has human nature changed?
Announcer
Ladies and gentlemen, for your own safety and the safety of fellow passengers please remain/ seated. Please ensure that all/ seatbelts are fastened, thankyou. We are now crossing a zone of/
Daughter
another curious fact: the rules for the interactions are presumed identifiable and known in the long run our personal lives are shaped by a few key decisions or events
The Baby coos.
The Daughter steps unevenly into the aisle, and forward, so that she is standing beside and above her Mother, who is still seated. Daughter
for the real earth
The Mother rises, and for a concentrated time, Daughter and Mother hold one another’s gaze. The Daughter then walks further forward along the aisle, while the roughness of flight occasioned by turbulence makes itself felt again. The Baby’s voice rises briefly. Daughter
4
(Calling behind her) for the real earth we do not know yet
LIBRETTO (CONTINUED)
T u r b u l en ce
The Daughter disappears from view behind the aisle curtain. The cabin lights pop and flicker for longer now, eventually sputtering into a changed lighting state. The Mother stays standing, gazes calmly out of the aeroplane window, then turns to sing out to the audience, expansively). [aria ‘For those who are near you are far away’] Mother
sky as blue as a baby’s eye sea as blue as a baby’s eye acres of smooth sand solitude lungs keep filling, filling give me this— a child’s trust belief in a love stored up as Rilke says like an inheritance sky as blue as a baby’s eye sea as blue as a baby’s eye acres of smooth sand solitude lungs keep filling, filling [end of aria]
Pause.
5
T u r b u l en ce
LIBRETTO (CONTINUED)
Mother
(Still standing, sighs deeply) Even the most thorough postmortem analyses are typically inconclusive.
The Daughter reappears in the aisle, steadying herself as best she can in front of the curtain while the plane pitches violently. Daughter
in a single season, as a matter of fact
Mother
Though the few important things like health, love and work, which account for our happiness, have been shown to provide healing.
The Mother steps into the aisle and begins walking in the direction of the Daughter; that is, away from the audience. Her posture is very upright, though she walks somewhat shakily due to the effects of the air turbulence. Mother
(As she moves) We are probably at the beginning of our understanding of it ... . (attacca)
6
T u r b u l en ce
LIBRETTO (CONTINUED)
iii a c r i t i c a l p o i n t The cabin lights flicker again, but for a last time: the whole cabin is plunged into darkness. Ambient and electronic noise of every kind increases, including the rattling of cabin fittings. Announcer
(After a delay) For your own safety, ladies and gentlemen, and/ the safety of fellow/
Through the ambient noise, and overriding the last word of the announcement, a resounding ‘crack’ is suddenly very clearly heard, resembling the crack of skull bones onto a hard and brittle surface. The crack is accompanied by a short, sharp cry of shock in a female voice—then scuffling. Pilot
can modify completely/
Announcer
in your seat, thank/
An extended pause, during which only the sound changes. Pilot
in this case/ not that it will make any difference we are declaring a medical emergency/
END
7
8
Turbulence
FAN 1 on pre-show, as audience enters (and leave on) FAN 2 on for ‘take off’ (and leave on) FAN 3 on at ‘cruising height’ (and leave on)
ª
Mother & Daughter
2
8 sec.
8 sec.
ff
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3 sec.
ffth
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8 sec.
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8 sec.
8 sec.
3 sec.
ff
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8 sec.
3 sec.
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7
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FAN 3 more audible 3 sec.
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ssff
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ssff
© 2015 by Edition Wilhelm Hansen, Copenhagen Engraving by Ritornel
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9
2 12
30 sec.
w
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vv ª 13
STAGING
MOTHER & DAUGHTER lean to one side + indicate plane banking FAN 2 more audible
FANS
4 sec.
O
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kkhh
7 sec.
O
kkhh
mouth open
8 sec.
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hhi:
7 sec. half-closed
O
4 sec.
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kkhh
ª 18 STAGING
MOTHER & DAUGHTER straighten up, from leaning position FAN 3 more audible again mouth open 4 sec. 7 sec.
FANS
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kkhh ª 23
Mother & Daughter
10
30 sec.
w
vv
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8 sec.
7 sec.
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kkhh
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4 sec.
3 24
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STAGING
FAN 2 OFF
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1
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5 sec.
6 sec.
8 sec.
6 sec.
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kkhhss
ssth
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(13 sec.) [heartbeat 80bpm]
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(µ œ )
-
& 44 # w
-
-
>. ¿ J
‰ Œ
t
œ -
le
œ
µœ
- ra - ting
#œ
œ
44
3
a - scen
-
44
8 ( 1 sec.) [Lockers]
q = 76 ~ 84
90
Pocket Piano
#œ
ú
H
ª
Mother
œ Âœ
T
E
& 45
-
#ú.
Ó
con vib.
œ
ú 46
œ
Âú
49
5:4
one
H
µœ
reset:
µœ.
µœ
¿. J
(tongue click)
µœ nœ œ œ œ œ nú.
#ú
cri -
9 ( 1 sec.)
-
6
-
-
-
- ti -
-
-
45
H E T V
ª 94 AUDIO
Mother
11 (1 sec.)
10 (1 sec.)
œ. 5 &4 -
¿. J
(tongue click)
-
-
c
-
œ al
nœ
µœ
#ú. 46
in -
12 (1 sec.)
ú. -
-
-
U w.
- stan
17
10 97 STAGING
FANS
FAN 1 on
U
13 (38 sec.) [radio stop; pilot: ‘in suitable conditions’; baby 2]
’
AUDIO
¿. J
Senza misura Mother
(spoken gently and slowly)
t
Yes, the act of giving birth is arguably MONO FM SYNTH
Pocket Piano
Senza misura
H
E
T
V
RADIO on actions
18
’
the major event in a life O. S. on
H
w
text Daughter
’
[softly whistle a held tone with uneven airflow, and begin to tune radio frequency]
w
11 100 STAGING
FANS
14 (32~43 sec.) [radio Gertrude Stein] AUDIO
[whistle high tone]
U
Mother
U ∑
5 - 15 sec.
[fluctuate within semitone] [fluctuate within semitone]
also intuitively appealing
(spoken gently, as before) Given the puzzling and violent nature
[sing low note]
Pocket Piano
(H)
& #w
U
U
reset silently V
∑
the theory is beautiful in its self-consistency
U
U ∑
5 - 15 sec.
V
w
H
U
Daughter
[continue to tune radio frequency]
[whistle a held tone again, with uneven airflow and slightly fluctuating pitch, and continue to tune radio frequency]
19
12 104 STAGING
FANS
AUDIO
[whistle high tone]
’
Mother
[bring in low sung tone]
∑
of energy released O.S. off [reset:]
O.S. on
Pocket Piano
H
’ # wE
&
H E T V
∑
brute force as a matter of fact
’ Daughter
[leave radio on]
20
∑
MIC on [blow into MIC lightly with uneven airflow]
∑
MIC off
[clutch it in palm ∑ of hand]
MIC on
[move hand ever so slightly]
13 107 AUDIO
15 (30~56 sec.) [radio Indian song]
Pocket Piano
V
&
w
Daughter
’
’
Mother
the emergence of consciousness,
degrees of freedom, the progressive
H
H
E
[move hand slowly off MIC, and blow unevenly into MIC again, using tip-noise and spit] ª 108
16
( 1 sec.) [radio stop]
AUDIO
Mother
accelerating ascent reset, fast, to:
Daughter
w
tre-
VIBRATO SYNTH. D R T V
Pocket Piano
[adjust pitch slowly by glissando, in direct or contrapuntal relation to pocket piano]
(
V
b ww
(sounding pitch may vary)
D
)
(
)
R
R D
the more warning one gets,
there is a threshold MIC off
MIC on
21
14 [vary vibrato radically, in respect of both amplitude and speed]
110 Mother
-mors (
Pocket Piano
&
#w
#w
# # ww
n ww
w
#w
&
or
vib-
ra-
)
(R)
[vary D and R wildly on each note]
D
n ww
# ww
ab-sence
that can be calculated Daughter
frac-ture RADIO off
MIC off
ª 112 Mother
Pocket Piano
&
U
#w
tions
22
œ
µœ
come
to
µœ
-
ge
-
œ
ther
[vary R wildly; follow Mother's timing]
& ww
œ
and fatigue Daughter
[vary vibrato freely; extend vowels ad libitum]
RADIO on
∑
#œ
#œ
nœ
œ
œ
µœ
œ
bœ
nœ
in
one
U RADIO off
∑
cri
-
œ
ti
œ
-
#œ
cal
œ
œ
in
œ
-
µœ
stant
#œ
15
[radio Buchanan Bros.] 17 (32~105 sec. - fade out) 114
18 (27 sec.) [cabin fittings 1]
AUDIO
Mother
&
[sing a medium-range tone and whistle a high tone]
w
re-set to silently D R T V
Pocket Piano
loom over and shape the psychological state Daughter
[move MIC so that occasional syllables are randomly amplified]
MIC on ª 115
o
AUDIO
Mother
Pocket Piano
Daughter
&
&
œ
µœ
#œ J
The
œ
ex
-
œ.
plo
-
µœ J
sion
œ J
to
D R T V [vary R ad lib.]
ú
[play with RADIO ad lib.]
∑
œ
#œ J
molto vibr.
œ.
in - fi -
# œœ .. ∑
-
œ. J
- ni
j œœ ..
œ -
µœ.
gliss.
gliss.
ty
œœ
T
œœ ..
∑
[slower, more freely]
œ
#œ
the
ex
œ
-
µœ
plo - sion
[reset pitch silently] [vary R ad lib.] [slower, more freely, while following Mother's voice] T
∑
all three create
∑
œ
œ
w
∑ 23
œ
#œ
-
- mal -
œ
œ
-
- ly
œ
∑ ∑
ing’ for an irrational expression] extreme
∑
∑
olto vibr.
œ. J
œ. µœ. #œ. Âœ. J J J J
r - ting at
œ.
the high - est
#œ.
meno vibr.
œ
#œ
, œ. bœ. nœ. J J
molto vibr.
le - vel from the mo -
ú
, œ . b œ . n œœ ..
16
&œ
Mother
to
Pocket Piano
œ
œ
119
o
µú
œ
gliss.
in - fi - ni - ty
&w
w
∑
nœ
œ
of
a
∑
w
∑
µœ
œ
#œ
œ
œ
œ
nor -
-
- mal -
-
- ly
∑
n # www
∑ ∑
[cautious timing, but with timbral exploration - ‘testing’ for an irrational expression] the potential for extreme Daughter
[RADIO ad lib.]
∑
#œ
µœ
œ
be
-
∑
∑
∑
∑
∑
ª 125 Mother
&
œ haved
nœ quan
bœ -
œ
œ
œ
ti
-
ty
œ
U ∑
U ∑
molto vibr.
µœ. J
œ. J
œ. µœ. #œ. Âœ. J J J J
Star - ting at
the high - est
meno vibr.
œ
b ww
& # ww be -
ha -
vi -
U ∑
U ∑
[explore RADIO] solo
[snap OFF]
our
Daughter
[RADIO ad lib.]
24
œ.
œ.
#œ.
, œ. bœ. nœ. J J
molto vibr.
le - vel from the mo -
R Pocket Piano
#œ
ú
, œ . b œ . n œœ ..
17 129 Mother
&
œ
bú.
∑
- ther!
the
poco vibr.
ú.
u -
- ni
#ú. -
verse
poco a poco più vibr.
nœ.
of
-
∑
œ J
∑
w
œ J
µœ.
con - cei -
µœ J
#œ
- va - ble
Âœ , µœ J
ir
-
R
(R) Pocket Piano
bú.
bú.
∑
& œ
Daughter
bú.
ú.
#ú.
allowing
for irrationality
[MIC oblique]
[RADIO on]
w
#w
ª
& Â œJ
134 Mother
.
nœ. J
µœ
- ra - tio - nal
Pocket Piano
#œ
#œ J
nœ
be - ha
µœ -
(always hold down four latest buttons)
& w
#w
#w
nw
#œ Âœ Âœ. J
viour
slow, wide vibrato ad lib.…
œ
µœ. J
pat - terns
[reset:] D
nw opens up a Pandora's box of ad hoc stories
Daughter
[RADIO]
UÓ
RADIO off
R
is D
w
µœ
much
w
µœ.
lar -
-
-
-
R
[change of tone; more factual] the main story we are telling
UÓ
25
18 139 Mother
& œ
-ger
Pocket Piano
&
œ
bœ
than
bœ
the
bw
set
of
D
R
bw is the
œ
œ
µœ
#œ
œ.
ra - tio - nal
w
w
vulnerability
#œ.
,
U
,
pat - terns D
#w
#w
R
civilisations
of
U
Daughter
∑
,
the fight
∑
ª 150
LIGHT off
STAGING
FAN 1 OFF
FANS
19 (26 sec.) [cabin fittings 2] AUDIO Mother
Pocket Piano
Daughter
26
&
U ∑
&
U ∑
∑
U∑
∑
between order and disorder
∑
[reset] OCTAVE CASCADE R D T V
normal times
’
normal times are when disorder wins
[and retune to C]
44 44
19 153
Mother
q = 72 ~ 76
& 44 Π.
3 F œ œ µœ œ nœ. J œ
And
U & 44 ú
D V
Pocket Piano
98 Π.
ex-ter - nal
Œ
P
r B œ b œ ≈ œ œ œ µ œ Œ 3
fac -tors D
98 œ .
Ó.
3
44 Ó
af - fec -ting
F ‰ œJ œ . B œ 43 œ J
‰
Ó
the Mo - ther
44 ú
D
œ ‰ Œ J
œ ú 43 ‰ b œœJ úú
f µœ.
j ‰ µœ nœ ‰ œ œ
44
j ‰ œ
44
Al - ways
Œ.
3
ru - in
nœ J
Daughter
27
20 158
LIGHTS flicker/buzz
STAGING
FANS
20
(25-51 sec.) [cabin fitting 3 + baby 2]
AUDIO
Mother
Pocket Piano
& 44 ‰ .
& 44 œJ .
bœ Bœ R
the lives
≈ Œ
nœ J
œ ¿
# œœ œ
œ. œ .
‰
3
28
∑
∑
∑
of some of them
3
Always ruin the lives of some of them. Daughter
¿
Senza misura
(16 sec.) [announcer: ‘Ladies and... Cabin crew, 21 please be seated.’]
œ.
22 (25 sec.) [cabin fittings]
P œ µœ µœ J
∑
b œœœ .. .
∑
ex - ter - nal
Senza misura
∑
∑
∑ The
œ Bœ
∑
fac -tors,
underlying
# œœœ
∑ forces are
21 166 STAGING
FANS
AUDIO
Mother
&
ú. 13 8
œ. bœ Bœ
cer - tain-ly
F P œ µœ Âœ
How
œ #œ Âœ nœ
can one un - rav - el this
42
∑
42
∑
F œ 44 œ µ œ # œ µ œ # œ com - plex
-
reset to: MONO SYNTH Pocket Piano
&
usually
œ.
# n b úúúú ...
H
E
∑
T
hidden by an
V
13 8 ú.
ú
œ.
44 w
T
almost perfect
Daughter
29
22
(10 sec.) [pilot: ‘is there something you 23 can tell us...’ + cabin fittings 5]
174 AUDIO
Mother
nœ œ µœ Âœ #œ µœ #œ µœ J & -
Pocket Piano
&
-
5
-
-
i
-
Senza misura
ty?
∑
∑
∑
f w
vv Senza misura
Reset:
∑
T V
∑
balance.
We are taught
gliss.
2 1
H E T V
w
Daughter
ª
FAN 2 ON
f
178 Mother
Pocket Piano
&
w
vv H E T V
& that it is out of reach
Daughter
30
w
44
[glissando may be uneven] œ(
)
µ( œ
)
reset to: MONOGLIDER D G T V
V
from a fundamental point of view.
?
4 4 4 4 44
23 180 STAGING
Mother
44
[The plane pitches for a slow moment.] [Suddenly take BRACE position]
q = 60
& 44
# w>
kkhh
(sounding pitch)
?4 4
vv µœ
#œ
#œ
#œ
w
gliss.
Bœ
(change wave)
MONO GLIDER
Pocket Piano
gliss.
4 & 4 # # ww ª
185 Mother
(sounding pitch)
&
?
zzhh bœ
Bœ
(change wave) Pocket Piano
w #œ
w
gliss.
brr #œ
gliss.
µœ
(change wave)
& ( # # ww)
31
24 190
FAN 2 OFF
FANS
(25-51 sec.)
24
[cabin fittings 3 + baby 3]
AUDIO Mother
(sounding pitch)
Senza misura
&
?
nœ
#w
#œ
µœ
#œ
(change wave) Pocket Piano
∑
reset to MONO FM SYNTH release and let fade
∑
& ( # # ww)
ª
195
FAN 1 on
FANS
Mother
&
¿ R
j œ
¿ R
FAN 1 off
(bass well amplified)
Bœ
œ
Well, c- ra -cks make the
œ
bœ
prob -
œ
-
œ -
œ -
œ -
œ
-
œ -
œ µœ
- lem
œ
bœ
∑
Bœ
more sub - tle
w
Wha
MONO FM SYNTH Pocket Piano
Daughter
32
&
w
H
E T V
-
[O.S. on] [reset:
E
∑
]
It is a curious fact that the agents typically do not know each other
H E T V
w
¿ R t
25 198 Mother
& œ
is
Bœ the
ú
µœ µœ µœ
law
if
,
œ bú
a - ny?
of course one of the pa - ra [O.S. off] subito
Pocket Piano
nœ µœ bœ Bœ Bœ nœ Bœ nœ Bœ bœ bœ
&
H
,
H E T V
-
me -
œ
œ
- ters
œ µœ
is
œ
œ
the
œ
H
bw
Daughter
ª 200
FAN 1 on (or amplification on)
FANS
Mother
& nœ #œ µœ nœ Âœ time
Pocket Piano
Daughter
&
œ µœ nœ bœ
of
fail -
œ Bbœ B œ -
-
-
œ bœ nœ bœ -
-
œ Bw
[reset to:]
- ure
H
H E T V
∑
the only way to decide is to test for the existence of critical behaviour.
33
26 202
FAN 1 off
FANS
(or amplification off)
Mother
Pocket Piano
Daughter
34
&
&
U ∑
∑
w
Has
U ∑
∑
U
let them evolve in time
T
w
w
hu
-
w
man
œ
na
Bœ -
œ
µw
,
(slower)
w
ture changed?
Has
,
H E
w
w
hu -
-
w
- man
œ Bœ
na -
œ
-
27 206
FAN 1 on (or amplification on)
FANS
25
AUDIO
Mother
[announcer: ‘Ladies and gentlemen... ... a zone of’]
& µw
bw
- ture
Daughter
&
( œ)
∑
changed? (H)
Pocket Piano
(11 sec.)
∑ [Set silently to: 2-OCTAVE ARPEGG.
V
∑
R E T V
∑
∑ ...and tune silently (with headphones)]
another curious fact: the rules for the interactions are presumed identifiable and known
∑
in the long run our personal lives are shaped
35
28 210
Daughter steps into aisle, to stand beside and above Mother
STAGING
FANS
Mother
&
36
#### 6 8
FAN 1 off (or amplification off)
#### 6 8
[cabin fittings 5]
#### 6 8
∑
∑
∑
∑
∑
∑
by a few key decisions or events Daughter
Daughter walks further forward; more turbulence.
26
AUDIO
Pocket Piano
Mother rises, and they hold one another's gaze.
for the real earth
∑
∑
#### 6 8 #### 6 8
V
# # # www
for the real earth we do not know yet
#### 6 8 #### 6 8
29 Mother
e = 56 - 63
## & # # 68
215
∑
% œ œ 5 œ œ . œ œ . œ Uú 8
œ. œ œ œ
∑
Sky as blue
as a
2-OCTAVE ARPEGG: Pocket Piano
## & # # 68 úú ... ú
. úúú ..
## & # # 48 ú
85 œ .
ª
224 Mother
sand
Pocket Piano
# # # # 4 úú & 8ú
œœœ ...
œ
ú
sol - i - tude
85
œœœ .. œœœœ œ ..
úúúú
œ J
ba - by’s eye
œœœ .. .
% 58 ú úúú
Þ j œ ú
j œ
Þ œœœœ úúúú
œœœœ
j œœœ œ 68 Œ
68 ú . úú ..
‰ Œ
U úúú ú
≈ œ Sea
as blue
‰ ‰ ‰ ‰ ‰ ‰ Œ.
T
úúú .. ú ..
œœœ ... œœœ .. .
œ 3œ œ 85 œ
œ.
≈ œ . œ Jœ œ J J 3
as a ba - by’s eye
j 7 œœœœ 8 œœœœ
ú œ œ úúú
‰ Œ.
78 œj œ œ . œ
œ. œ
ac - res of soft
œœ .. œœ œœ .. œœ ‰ ‰ Ó
[slowly dip pitch max. 1 semitone]
úúú .. ú ..
j œœœ œœ œ
85 # úúúú
‰ Ó
ú. úúú ...
48
‰ Ó
[resume original pitch]
‰ ‰
œ. œœœœ ... œœœ ... .
48
œœ ..
Œ.
‰ ‰ ‰
ú. # úúú ...
ª
# ## & # ‰ ‰ ‰ Œ.
235 Mother
Pocket Piano
[bend pitch as before] T
#### ú . ú. &
‰ ‰ Ó
‰ Ó
‰
o ú.
(mm)
úúú ...
œœœ .. œœœœ .. . œ ..
úúú ú
ú.
[resume original pitch]
ú
n n n# œ .
3 œ œ # œ œ 85 œ n œ œ œ œ . ≈ J J 3
Lungs keep filling
n n n # # úúú ... ú.
fil - ling
85
n úúú ú
j œ
œ œ œ œ. 3
give me this
ú # úúú
48 ‰ ‰ ‰ œ œ . J
œ J
a child’s trust
j œœœœ 48 œœœœ œœœ
úúú
85 85
37
30 245
27 (25 sec.) [baby 4]
AUDIO
Mother
Pocket Piano
# . & 85 œ # & 85 úúú
‰ Jœ 68 b œ
œœœœ œœ ú
be - lief
in
a love
‰ ‰ 78
œ.
ú
stored up
j 6 œœœ 8 b úúúú ....
78 œ ú n œœ úú
úúúú ... .
œ œ œ œ ‰ Œ
‰
5
as Ril-ke says
œ
like an
85
œœœ ...
úúú
œ 85
78 œ œ œ œ œ .
œ J
in
-
3
he - ri-tance
j œœ 78 # œœ œœ œœ
úú úú
úú úú
# ‰ # # # 68 ‰ ‰ ‰ ‰ œ
Sky
j # œœ # # # 68 ú . œœ úú ..
ª
Dal % al Þ
253 AUDIO
Mother
# ## œ œœ œœ & # œ. as blue
Pocket Piano
38
&
####
œœœ ...
as a
Dal % al Þ
œœœ .. .
CODA 28 (3 sec.) [baby 5]
ú. CODA
úúúú .. ..
29
ú.
nnn# œ .
# úúúú ... .
n n n # # úúú ... ú.
(25 sec.) [baby 4 RVRS]
3 œ œ #œ œ
Lungs keep filling
œ n œ œ œ œ . ≈ B œ œ b œ œ . J J J 3
fil - ling
T
n úúú .. ú ..
fil - ling
[incrementally detune]
úúúú ... .
‰ ú
œ
ú.
gliss.
ffi:
úúúú ... .
# úúúú ... .
gliss.
úúúú ... .
úúúú ... .
31 263 AUDIO
Mother
&
o
# (gliss.)
T
Pocket Piano
# & b b úúúú ....
R
úúú ... ú.
gliss.
úúú ú
n œœœœ
œœœ œ
j b œœœ #œ
b œœœœ .. ..
.
œœœ œ
œœœœ
œ
ª
(15 - 33 sec.) 30 [cabin fittings 6 + 8]
268 AUDIO
Mother
&
#
[spoken in the spirit of a tired winding-down glissando]
∑
∑
Even the most thorough postmodern analyses are typically inconclusive.
V Pocket Piano
(T) # (R)
& n # # œœœœ
V T
b # œœœœ
n b œœœœ
b n n œœœœ
# b núúúú
úúúú ...
úúúú ....
R
úúúú ...
39
32
STAGING
The Mother steps into the aisle and begins walking in the direction of the daughter; that is, away from the audience. Her posture is very upright, though she walks somewhat shakily due to the effects of the air turbulence.
The daughter reappears in the aisle, steadying herself as best she can in front of the curtain, while the 273 plane pitches violently.
FANS
AUDIO
Mother
Senza misura [whispering, merging sonically with cabin fitting noise]
Senza misura Pocket Piano
Though the few important things like health, love and work, which account for our happiness, have been shown to provide healing.
∑
∑ in a single season as a matter of fact
Daughter
40
∑
We are probably at the beginning of our understanding of it.
∑
33
STAGING
Through the ambient noise, and overriding the last word of the announcement, a resounding ‘crack’ is suddenly very clearly heard, resembling the crack of skull bones onto a hard and brittle surface. The crack is accompanied by a short, sharp cry of shock in a female voice – then scuffling.
277 The cabin lights flicker again, but for a last time the whole cabin is plunged into darkness Ambient and electronic noise of every kind increases, including the rattling of cabin fittings.
FANS
31
[announcer: ‘for your 32 (10 sec.) own safety... of fellow/’]
(22 sec.) [cabin fittings 9]
AUDIO
ª
An extended pause, during which only the sound changes.
280 STAGING
FAN 2 ON
FANS
[pilot: ‘can modify completely/’ announcer: 33 (4 sec.) ‘in your seat, thank/’] AUDIO
U
U
ALL FANS ON
U
ALL FANS OFF
[pilot: ‘in this case/ not that it will make any difference 34 (6 sec.) we are declaring a medical emergency/’] THE END
41
42
Turbulence or, ‘the underlying forces usually hidden’ libretto for a Living Room Opera in three scenes commissioned by Chamber Made Opera Melbourne 2013 THE FOREGOING BORROWS VARIOUSLY FROM THESE SOURCES:
Holland, Kenneth, ‘Update 2: Four Injured on US Airways Flight to Denver Due to Extreme Turbulence [photo, video, audio]’, Airnation.net, 17 April 2002, available at http://airnation.net/2012/04/17/four-injured-us-airways-denver-turbulence/ [audio: http://cdn.airnation.net/wpcontent/uploads/2012/04/us-airway-turbulence.mp3]. Rilker, Rainer Maria, Letters to a Young Poet [1903–1908], translated by Stephen Mitchell (Boston: Shambala, 1993), pp. 56–58. Sornette, Dider, ‘Predictability of Catastrophic Events: Material Rupture, Earthquakes, Turbulence, Financial Crashes, and Human Birth’, Proceedings of the National Academy of Sciences of the United States of America, vol. 99, no. 3, Supplement 1, Arthur M. Sackler Colloquium of the National Academy of Sciences. Sackler Colloquium on Self-Organized Complexity in the Physical, Biological, and Social Sciences (19 February 2002), pp. 2522–2529. ADDITIONAL BIBLIOGRAPHY:
Hudson, Kenneth, and Julian Pettifer, Diamonds in the Sky: A Social History of Air Travel (London: The Bodley Head and the British Broadcasting Corporation, 1979). Jasper, Margaret C., ‘Staying Safe During Turbulence’, Transportation Law: Passenger Rights and Responsibilities. Legal Almanac Series: Law for the Layperson (New York: Oxford University Press, 2009), pp. 16–18.
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WH32705 ISBN 978-87-598-3665-1