Issuu

Death With Interruptions a chamber opera in one act

-made possible through the generosity of The Copland House, the UC Davis Chancellor's Fellowship, and the W. Mellon Foundation-

Ripley Dog Face Publishing

2 PERFORMANCE NOTES Percussion Marimba [5 octave] Crotales [2 octaves] Bass drum Tuned gongs [F#3, G#3, C#4, D4, D#4] Tuned cowbell [D4, F#4, G4, A4] Triangle, w/triangle beater Sandpaper blocks Whip or slapstick 1 large Noah bell Large empty metal can [not less than 16 oz.] Tub of water 3 Tibetan prayer bowls Thimbles 2 bass bows Chinese paper accordion Harmonica [F# natural minor, C# major] Slide whistle Paper for tearing Paper for crumbling Piano Triangle, w/triangle beater Harmonica [D major, Eb major, F# major] Inside Piano 2 plastic credit cards 2 mallets; one per player Filaments [used rosined bow hair or 10lb. Nylon ﬁshline w/crushed rosin]; threaded through strings [Eb1, B2, C3, Eb3, E3, Bb3, C4, C#4, D4, F4, G#4, B4] 3 Rubber tuning wedges: 1 each placed on the octave harmonic [A1, D1, E1] Marble [Bb3, D4, E4, F#4] 2 plastic guitar picks; one per player [A3, B3, D4, G#4, B4, E5] Stopped strings wth ﬁnger [G2, A3, B3, C#4, D4, D#4, B4, C#5] Soprano Harmonica [B natural minor, C major, Eb major, E major] Paper for tearing, Paper for crumbling Chinese twirling handrum Tenor Soprano recorder Baritone Melodica Chorus Sopranos & Altos – tuned large plastic sodawater bottles 1 Bass – large plastic water jug String quartet Tibetan prayer bowls, w/wooden striker; 1 per player Solo cello 1 cello, traditional tuning [C, G, D, A] 1 cello, scordatura tuning [C#, G, D, G#] Harmonica [B natural minor, B major, Ab major] Chinese paper accordion Chinese twirling handrum

Death with Interruptions a chamber opera in one act

Leading Blank: Introitus Interruptio Unimpeded, as if assembling from the moment to the next h = 34 - 38 Solo cellist enters stage, sets up music on stand and sits. There are 2 cellos on stage - one is tuned in the traditional manner, the other is tuned scordatura. The cellist begins to "play" as if they are warming up & tuning their instrument. Chorus is out of site, laying on the ground, motionless, and begins singing once cellist sits. Ensemble & conductor are in darkness. After the chorus begin singing, the Narrator comes on stage and stand behind the cellist, speaking as if to no one. Once he is ﬁnished, he departs silently.

Stage Directions

° / 23

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

Electronics

3 ¢/ 2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

° 3 &2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

3 /2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

Percussion

3 /2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

Percussion

Cowbells/ Crotales

3 &2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

3 ¢& 2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

Marimba

3 &2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

3 &2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

3 &2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

{

3 &2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

Harmonica [pn.]

° 3 ¢& 2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

Soprano [Choir]

° 3 &2

U ∑

Slide Whistle/ Harmonica [perc.]

Piano

{ Inside Piano

smoothly change phenome

pppp

2 2 bw™ Ngg...

bw™

Ngg...

Ooo...

3 2 j b œ b ˙ ™™

Ngg...

Ooo...

5 4 ˙

3 2

b˙ ™

bw™

Ngg...

in unison, singers beat the notated rhythms on their chest with their ﬁsts or hands, creating an audibly rhythmic disruption in the vocal production of the sound; almost like a drum

3 /2

Soprano & Alto Percussion

U ∑

œ œ Ó

Œ ™ œJ œ œ Œ ™ œJ 22 œ œ œ œ œ ‰ œ œ œ Œ

œ œ Ó

3 2 œ œœ

œ Œ ™ œ 45 œ œ J

œœœ

3 2 Œ™

œœ J

œ œ

œœ

3 &2

Alto [Choir]

U ∑

smoothly change phenome

pppp

bw™

Ngg...

Ooo...

Ngg...

,3 2 j b œ b ˙ ™™

2 2 Ooo...

5 4 ˙

j bœ bœ ™

3 2 ˙™

Ngg...

Ooo...

smoothly change phenome

3 &2 ‹

Tenor [Choir]

U ∑

pppp

bw ™

Ngg...

j œ™ œ 22 bw

bw Ooo...

Ngg...

j œ™ œ 45 b˙

3 2 bw

bw Ooo...

,3 2 b˙

˙™

Ngg...

j œ b˙ ™™

Ngg...

Ooo...

in unison, singers beat the notated rhythms on their chest with their ﬁsts or hands, creating an audibly rhythmic disruption in the vocal production of the sound; almost like a drum

3 /2

Tenor & Bass Percussion

U ∑

œ œ Ó

Œ ™ œJ œ œ Œ ™ œJ 22 œ œ œ œ œ ‰ œ œ œ Œ

3 2 œ œœ

œ Œ ™ œ 45 œ œ J

œœœ

3 2 Œ™

œœ J

œ œ

œœ

f smoothly change phenome pppp Bass [Choir]

? 23

U ∑

, bw

, bw ™

bw ™ Ngg...

Ngg...

œ ™ œ 2 bw J 2

Ooo...

, bw 3 2

Ngg...

Ooo...

œ ™ œ 5 b˙ J 4

, 3 bœ bœ ™ 2 J

˙™

Ngg...

w Ooo...

Death [Soprano]

° 3 ¢& 2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

Scythe/Narrator/Dog [Tenor]

° 3 ¢& 2 ‹

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

Cellist [Baritone]

°? 3 2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

Melodica [bar.]

3 ¢& 2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

String Quartet Violin 1

° 3 &2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

String Quartet Violin 2

3 &2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

String Quartet Viola

B 23

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

String Quartet Cello

3 ¢& 2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

Unimpeded, as if assembling from the moment to the next h = 34 - 38

play very freely; beginning points are precise, while notated rhythms are more improvisatory; player is free to "mock" ﬁnger and tune cello Cellist holds scordature cello; traditionally tuned cello is beside the cellist, resting with its neck on a chair or bench in a position that allows the cellist to reach over and easily pluck the open strings. Scordatura Cello: C#-G-D-A#/score is inC; solo cello part transposed

Solo Cello/ Scordatura Solo Cello

°? 3 2

U ∑

∑

2 2

Scordatura Cello 7:6

pizz./LV

∑

Œ™

#¯œ 3 #œo œo œo œo œo œo Œ Ó J 2

#œo œo ‰ œo ‰ ‰ œo 3 Œ 5 4Œ ‰ 2

#œo œo

œo nœo œo œo # œ œo J o

pp Percussion [cello]

3 /2

U ∑

Melodica/ Harmonica [cello]

3 ¢& 2

U ∑

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

2 2

∑

3 2

∑

5 4

∑

3 2

∑

Direct.

° ¢/

∑

5 4

∑

3 2

∑

j bœ b˙

5 4

‰ bœ b˙ ™

˙ ™™

3 2

‰ œ bœ

b˙ bœ

œ™

œ œ J

Ngg...

j bœ bœ ™

& w

‰ œ œ

j bœ bœ ™

‰ œ bœ

bœ

w™

bœ

Ooo...

∑ sub. pppp

° &

S./A. Perc.

∑

œ œ œ

5 4 ‰ œ œ

j œ œ™

5 4 œ

b˙

Ooo...

Ahh...

œ œ 23 ‰ œ œ

œ bœ 23 ˙

j bœ bœ ™

œ œ ‰ œ œ

‰ œ œ

œ œ

¯¯ œ œ

¯¯ ˙ ˙

sub. pppp

œ bœ

w™

bœ Ngg...

bœ

˙™

5 4 b˙

bœ

j bœ ™ bœ

3 2 bœ

‰

œ™

œ œ J

? b˙

‰ œ œ

bœ bœ ™ J

œ œ™ J

œ œ œ

5 4 ‰ œ œ

5 œ bœ b˙ 4

bœ

w™

Ooo...

œ œ 23 ‰ œ œ

bœ

bœ Ngg...

T./B. Perc.

Ahh...

sub. pppp

j bœ b˙ ™™

& ˙ ‹

Ooo...

Ahh...

œ œ ‰ œ œ

‰ œ œ

sub. pppp B.

¢ Ngg...

Ooo...

bœ

bœ 3 bœ bœ ‰ 2 bœ

bœ

Ooo...

Ngg...

w™

Ooo...

Ahh...

reaching over to pizz. the other cello Traditional Cello/ leaning on chair

Solo Vc.

o o o °? Œ #œ œ œ ¢ 3

Scordatura Cello

˙o

o o n œ œo ‰ nœ œ Ó

œo

5 4 ˙ o

Œ pp

˙o

mp 5

o o ‰ #œ œ

œo

> o o ‰ #œ œ

3 #œo 2

¯¯ >œo #œ ‰ mf # œ

¯¯ œœ

œo

p mf

¯¯ œ œ

A Gradually coming together h = 56 - 60 15

Direct.

°/ Ó

U Ó

4 2

Begin electronics, CUE 0: echoes of solo cello pizz.

Elect.

U Ó

¢/ Ó

Approx end of electronics, CUE 0

4 2

use fermata to wait for solo cello; use cesura to indicate moving on

U Ó

° Ó &

, b˙

4U 2 w™

b˙

Œ bW

Ahh...

S./A. Perc.

U Ó

/ Ó

Ngg...

4 œ œ 2 J

œ™

‰ œ œ

Œ™

˙™

Mmm...

œ œ J

Œ™

œ œ J

Œ™

œ œ J

use fermata to wait for solo cello; use cesura to indicate moving on

U Ó

& Ó

, b˙

4U 2 w™

b˙

Œ bW

Ahh...

n˙ ™

Ngg...

Mmm...

use fermata to wait for solo cello; use cesura to indicate moving on

U Ó

& Ó ‹

, b˙

4U 2 w™

b˙

Ahh...

/ Ó

U Ó

? ¢ Ó

U Ó

T./B. Perc.

Ngg...

4 œ œ 2 J

œ™

‰ œ œ

use fermata to wait for solo cello; use cesura to indicate moving on B.

w™ 4U 2

b˙

Œ™

,b˙

Mmm...

œ œ J

Œ™

œ œ J

Œ™

W Œ

Ahh...

˙™

Ngg...

˙™

œ œ J

Mmm...

A Gradually coming together h = 56 - 60 Traditional Cello

Scordatura Cello 3

as if all open strings

#˙ #˙ #˙ #˙

U ###œœœ œœœ œœ Ó

œ #œ

#œ #œ œ œ œ™

œ J

œ #œ

#œ # œ # œ ˙ œû #œ 3 3

###œœœ œœ Œ œ

∏∏∏∏

4 2

∏∏∏∏∏∏∏

Ó #œ œ o o

∏∏∏∏ ∏∏∏∏∏∏∏

U Ó ‰ œ œ u o o

∏∏∏∏∏∏∏

Solo Vc.

¯¯ °? ˙˙ ¢ n˙˙ ¯¯

Scordatura Cello

= 20

Direct.

° ¢/

UÚ

12 4

use fermata to wait for solo cello if needed p S.

° & bw

b˙

, ppp U bW

Ooo...

/ Œ™

S./A. Perc.

œ J

12 4

Ngg...

‰

U Ú

12 4

use fermata to wait for solo cello if needed p

12 4

& bw

, ppp U

b˙

Ooo...

Ngg...

use fermata to wait for solo cello if needed p

& bw ‹

b˙

, ppp U bW

Ooo...

/ Œ™

T./B. Perc.

œ J

Ngg...

‰

b˙

U Ú

? bw

12 4

use fermata to wait for solo cello if needed ppp

U bW

12 4

¢ Ooo...

Ngg...

#˙ Solo Vc.

°? ¢ #œ

#œ

#œ not anxious, relaxed

o o nœ nœ

#œ # œ # œ œ œ #œ 3

#œ œ

œ o o nœ nœ #œ #œ 3

piu f

rit. molto

œ œ

#œ

#œ #œ

n ˙o

III

n ˙o

# ˙o

12 4 molto p

poco rit.

B ° / 12 4

∑™

Ó™

U Ó™

Ó™

U Ó™

Ó™

∑™

U ∑™

11 4

12 ¢/ 4

∑™

Ó™

U Ó™

Ó™

U Ó™

Ó™

∑™

U ∑™

11 4

° 12 &4

∑™

Ó™

U™ Ó

Ó™

U™ Ó

Ó™

∑™

U™ ∑

11 4

Direct.

Elect.

Sld. Whist./ Harm. [perc.]

12 / 4

∑™

Ó™

U™ Ó

Ó™

U™ Ó

Ó™

∑™

U™ ∑

Perc.

11 4

12 / 4

∑™

Ó™

U™ Ó

Ó™

U™ Ó

Ó™

∑™

U™ ∑

Perc.

11 4

C. Bells./ Crot./ Gongs

12 &4

∑™

Ó™

U™ Ó

Ó™

U™ Ó

Ó™

∑™

U™ ∑

11 4

12 ¢& 4

∑™

Ó™

U™ Ó

Ó™

U™ Ó

Ó™

∑™

U™ ∑

Mar.

11 4

12 &4

∑™

Ó™

U Ó™

Ó™

U Ó™

Ó™

∑™

U™ ∑

11 4

12 &4

∑™

Ó™

U™ Ó

Ó™

U™ Ó

Ó™

∑™

U™ ∑

11 4

12 &4

∑™

Ó™

U™ Ó

Ó™

U™ Ó

Ó™

∑™

U™ ∑

11 4

{

12 &4

∑™

Ó™

U Ó™

Ó™

U Ó™

Ó™

∑™

U™ ∑

11 4

° 12 ¢& 4

∑™

Ó™

U Ó™

Ó™

U Ó™

Ó™

∑™

U™ ∑

11 4

U ˙™

˙™

U ˙™

w™

U ˙™

U™ Ó

U ‰ œ œ œ Ó™

‰œ˙

∑™

U™ ∑

11 4

U Ó™

∑™

U™ ∑

11 4

Pno.

{ Inside Pno.

Harm. [pn.]

o S.

° 12 as soft as possible & 4 W ™

12 ™ / 4 ∑

S./A. Perc.

nw ™

œ œ œ œ Ó

U #˙ ™

Ó™

œ œ œ œ Ó™

W™

U™ Ó

˙™

W™

œ œ œ ‰œ˙

‰ œ˙

U™ Ó

11 4

o as soft as possible

12 &4

Ó™ w™

W™

#˙ ™

W™

˙™

W™

˙™

U ˙™

˙™

U ˙™

U™ Ó

U ‰ œ œ œ Ó™

U ˙™

˙™

U ˙™

Ó™

U™ Ó

Ó™

U™ Ó

Ó™

U™ Ó

Ó™

U™ Ó

Ó™

w™

˙™ o

12 as soft as possible & 4 W ™ ‹

Ó™

U n˙ ™

w™

˙™

Ó™

∑™

U™ ∑

11 4

Ó™

∑™

U™ ∑

11 4

∑™

U™ ∑

11 4

∑™

U™ ∑

11 4

∑™

U™ ∑

11 4

Tenors only

12 ™ / 4 ∑

T./B. Perc.

œ œ œ œ Ó

œ œ œ œ Ó™

U™ Ó

œ œ œ ‰œ˙

o U b˙ ™

as soft as possible B.

? 12 4 W ™

Death - Sop.

° 12 ¢& 4

Scythe/Narr./ Dog - Ten.

° 12 ¢& 4 ‹

Ó™

w™

∑™

Ó™

W™

U™ Ó

Narrator: spoken

U Ú

In a small Iberian country death decided to stop working.

The Maphia oﬀered temporary relief, but could not really replace death.

At ﬁrst everyone was overjoyed, but soon realized the all concerned - the Church, the state, the situation was undertakers, the insurance companies - dire.

Ó™

Death decided to work again but under new and more regular conditions:

Ó™

She informs the ministry of her intentions.

Those who will die will get a timely notice.

°? 12 4

∑™

Ó™

U™ Ó

Ó™

U™ Ó

Ó™

∑™

U™ ∑

Cellist - Bar.

11 4

Mel. [bar.]

12 ¢& 4

∑™

Ó™

U™ Ó

Ó™

U™ Ó

Ó™

∑™

U™ ∑

11 4

poco rit.

° 12 &4

∑™

Ó™

U™ Ó

Ó™

U™ Ó

Ó™

∑™

U™ ∑

Vln. 1

11 4

12 &4

∑™

Ó™

U™ Ó

Ó™

U™ Ó

Ó™

∑™

U™ ∑

Vln. 2

11 4

B 12 4

∑™

Ó™

U™ Ó

Ó™

U™ Ó

Ó™

∑™

U™ ∑

Vla.

11 4

12 ¢& 4

∑™

Ó™

U™ Ó

Ó™

U™ Ó

Ó™

∑™

U™ ∑

Vc.

11 4

Traditional Cello

Scordatura Cello Traditional Cello

Traditional Cello

¯¯ ™ U™ ˙ n˙˙˙ ™™™ Ó p¯ ¯

a tempo Solo Vc.

°? 12 Ó™ 4

™ nœ ™ #œ #˙ ™

œ #œ œ Ó™

n˙o ™

¯¯ #œ #œ

¯¯ œ œ

¯¯ œ Ó™ œ

∑

U #˙o # œ nœo #œ

˙o ™ p

Ó™ #˙ ™ uo

o ˙™ Ó™

Ó™ #˙ ™ o

o ˙™ Ó™

Ó™ ˙™ o

o ˙™ Ó™

Ó™ #˙ ™ o

o ˙™ Ó™

switch to Traditional Cello, putting Scordatura Cello to the side

U™ ∑

11 4

pppp

Scordatura Cello

12 / 4

UÚ

U™ Ó

Ó™

U™ Ó

Ó™

Perc. [cello]

∑™

U™ ∑

11 4

Mel./ Harm. [cello]

12 ¢& 4

U Ú

U™ Ó

Ó™

U™ Ó

Ó™

∑™

U™ ∑

11 4

C Bracing, unassembled, ungathered, but not scattered q = 156 - 162 The piece may begin here if the decision is made NOT to use Addendum A 29

Direct.

° / 114

10 4

∑

9 4

∑

8 4

7 4

∑

8 4

9 4

8 4

7 4

∑

8 4

9 4

Begin electronics, CUE 1: echoes of St. Qt.

Elect.

11 ¢/ 4

10 4

∑

9 4 Ó™

∑

∑™

C Bracing, unassembled, ungathered, but not scattered q = 156 - 162 Offstage string quartet begins playing before audience has prepared to listen; lights are slowly dimmed once the music begins, and the sound of the string quartet captures the attention of the audience. The offstage string quartet is located at their first station for the first half of the opera. This station is located in close proximity to the ensemble [piano, percussion, solo cello - see stage set-up]. The offstage string quartet follows the conductor while they play from their first station location.

poco s.p. tight contact w/string

Vln. 1

≥¯ ≤¯ ¯¯ ° 11 ‰ ™ & 4 œœ œœ vp

lots of fast bow, ﬂaut.

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

sim.

≥¯ ≤¯ ¯¯ 10 ‰ ™ œ œ 4 œœ vp

≤¯ ≥¯ ¯ ¯ œœ œ œ Œ Ó - o

sﬀz abrupt, ﬂoating, dissipating intense!

poco s.p. tight contact w/string

Vln. 2

≥¯ ≤¯ ¯¯ 11 & 4 ‰ ™ œœ œœ vp

≤¯ ¯ œ œ

≥¯ ¯ œ œ

≤¯ ¯ œ œ

Vla.

≥^ ≤ ¯¯ ¯¯ œœ B 114 ‰ ™ œ œ

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ≤¯ ¯¯ 10 ‰ ™ œ œ 4 œœ vp

Vc.

≥¯ ≤¯ ¯¯ 11 ‰ ™ œ œ 4 & ¢ œv œ p

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≥^ ≤ ≥¯ ≤¯ ≥¯ ≤¯ ≥¯ ≤¯ ≥¯ ¯ ≥¯ ¯ ¯¯ ¯ ¯ œœ¯ ¯ 8 7 ™ ™ Œ ‰ ‰ œœ œ œœ 4 œœ œœ œœ œœ œœ œœ œ-œ œ- 4 - v p o o sﬀz sﬀz p

≥¯ ¯ œœ

≥^ ≤¯ ¯ ¯¯ œœ Œ Œ ‰ ™ œœ 48 o sﬀz

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯¯ ¯ ¯ œœ œ ‰ ™ œ 49 - œ o v

≤¯ ¯ œ œ

≥¯ ¯ œ œ

≤¯ ¯ œ œ

≥¯ ≤ ≥ ≤ ≥ ≤ ≥ ≥¯ ≤¯ ≥ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ Œ 48 ‰ ™ œ œ œ œ Œ Œ 49 ‰ ™ œ œv œœ œœ œœ œœ œœ œ-œ œœv œ - o o sﬀz p sﬀz p

≥¯ ¯ œ œ

≤¯ ¯ œ œ

≥¯ ¯ œ œ

≤¯ ¯ œ œ

≥^ ≥¯ ¯ ¯¯ ≤¯¯ ¯ œ œ œ 47 ‰ ™ œ œ œ- œ o sﬀz p

≥¯ ¯ œ œ

≤¯ ¯ œ œ

≥¯ ¯ œ œ

≤¯ ≥¯ ^≥¯ ≤¯ ≥¯ ≤¯ ≥¯ ≤¯ ¯ ¯ ¯ ¯ ¯œ 8 ‰ ™ 49 œ ‰™ œ 4 œ œœ œœ œœ œœ œœ œœ œ-œ œo sﬀz p v o sﬀz

sim.

≥^ ≤ ¯¯ ¯¯ 10 ‰ ™ œœ œœ 4

≥ ¯ ¯ -œ -œ Œ Ó o

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

sﬀz p

lots of fast bow, ﬂaut.

≥¯ ¯ œœ

≥¯ ¯ œ œ

sﬀz

sﬀz p abrupt, ﬂoating, dissipating intense!

poco s.p. tight contact w/string

≥¯ ≤¯ ≤¯ ≥¯ ¯ ¯ ¯ ¯ œœ œ œ Œ Œ 49 ‰ ™ œœ œœ - v o sﬀz p

sim.

≥ ¯ ¯ œ œ Œ Ó - o

lots of fast bow, ﬂaut.

≥¯ ¯ œœ

sﬀz

sﬀz abrupt, ﬂoating, dissipating intense!

poco s.p. tight contact w/string

≤¯ ¯ œœ

sﬀz

lots of fast bow, ﬂaut.

≥¯ ¯ œ œ

≥¯ ¯ œœ

≥^ ≥¯ ¯ ¯¯ ≤¯ ≥¯ ≤¯ ≥¯ ≤¯ -œ -œ œ Œ Œ 49 ‰ ™ œœœ œœ œœ œœ œœ o sﬀz p

≥^ ≤ ≥ ≤ ≥ ≤ ≥ ≥^ ≤ ≥ ¯ ¯¯ ¯¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ - œœœ œœ œœ œœ œœ œœ -œ 7 ™ œœ¯ œœ œœ œ Œ 48 ‰ ™ œ ‰ 4 o o sﬀz p sﬀz p

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

¯ -œ¯ œ

¯ ≤¯ -œ 8 4 Œ ‰ œ™ o o

¯ w

9 4 o

sim.

≥¯ ≤¯ ¯¯ 10 ‰ ™ œ œ 4 œœ vp

≤¯ ≥ ¯ ¯ ¯ œœ œ œ Œ Ó - o

sﬀz abrupt, ﬂoating, dissipating intense!

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

sﬀz

≥¯ ≤¯ ≤¯ ≥ ¯ ¯ ¯ ¯ ¯ œœ œ œ Œ Œ 49 ‰ ™ œœ œœ - v o sﬀz p

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ≤¯ ≥¯ ¯ ¯ ¯ ¯ œœ œ Œ 48 ‰ ™ œœ œœ - v o sﬀz p

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ≤¯ ≥¯ ¯ ¯ ¯¯ œœ œ 47 ‰ ™ œœ œœ - v o sﬀz p

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

¯¯ œœ -

≤¯ ¯ 8 4 œ Œ ‰ œ™ o o

¯ w

9 4 o

Direct.

° / 49

10 4

∑

11 4

∑

Begin electronics, CUE 2: echoes of St. Qt.

Approx end of electronics, CUE 1

Elect.

Vln. 1

9 ¢ / 4 ∑™

10 4

Ó™

≥¯ ¯ œœ

≤¯ ¯ ° 9 & 4 œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ -

11 Ó™ 4

∑

≥¯ ¯ œœ

≥^ ≤¯ ¯ ¯ œ ‰ ™ œ 10 4 œœ

œ -

10 4

∑

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ -

¯ œ -

œ -

≥^ ≤ ¯ œœ¯ 11 ¯¯ ‰™ 4 œœ™™

Ó™

≥^ ¯ œœ¯

≥¯ ¯ œœ

≤¯ ¯ œœ

Ó™

≥^ ¯ œœ¯

≥¯ ¯ œœ™™

≤¯ ¯ œœ

r Bbœ Bbœ

≥¯ ¯ œœ

r œ œ

≤¯ ¯ œœ

10 4

r œ œ

≥¯ ¯ œœ

r œ œ

≤¯ ¯ œœ

r œ œ

≥¯ ¯ œœ

≤¯ ≥ ¯ œœ ™™ OO 10 4 v

r œ œ pp sﬀz

Vln. 2

≥¯ ≤¯ ≤¯ ¯ œœ œœ ‰ œ ˙ o pppp

≤¯ 9 œ &4 œ p

sﬀz

≥ ¯ œœ

≥^ ≤ ¯ ¯ ¯ œ 10 œ ™ œ 4 œœ

¯ ˙ f

≤ ¯ œœ

≥ ¯ œœ

≤ ¯ œœ

≥ ¯ œœ -

Œ œ-

œ-

sﬀz

Vla.

≥¯ ≤ ≥ ≤ ¯ ¯ ¯ ¯ œ œ œ B 49 ‰ ™ œœ œ œ œ vp

≥¯ ≤¯ ≥¯ œ-œ œ-œ œ-œ

≥ œ^ ‰ ™ œ 10 4 ‰™

œo

sﬀz

≥ œœ^

≤¯ œœ

≥¯ œœ

≤¯ œœ

¯ ˙˙ ™™

¯ ˙˙

ppp

sﬀz p

sﬀz

≥^ ≤ ¯ ¯¯ œ¯ ™‰ œ 114 œ ™ œ™ sﬀz

≥^ ¯ ¯ ¯ œœ ™™ œœ 114 sﬀz

sﬀz p

≥ ≥¯ ¯¯ ¯ œœBbBbœœr œœ v sﬀz p

-≥¯ ≤¯ œ¯ œœ¯ œ

sﬀz

≤¯ ¯ r œ œ œœ

≥¯ ¯ r œ œ œœ

≤¯ ¯ r œ œ œœ

≥¯ ¯ r œ œ œœ

≤¯ ¯ r œ œ œœ

≥¯ ¯ r œ œ œœ

-≥¯ -≥¯ ≤¯ œ¯ ≤¯ œ¯ ≤¯ œœ¯ œ œœ¯ œ œœ¯

-≥¯ œœ¯

-≥¯ -≥¯ ≤¯ œ¯ ≤¯ œ¯ ≤¯ œœ¯ œ œœ¯ œ œœ¯

-≥¯ -≥ ¯œ ≤¯ œ¯¯ ≤¯ œ œ¯ œ œ¯ œ œ

≥^ ¯ œœ¯ 10 ‰™ 4

≤¯ ¯ r œ ˙ œ˙

sﬀz

-≥¯ œœ¯ ≤¯¯ œœ

-≥¯ œœ¯

≥^ ¯¯ œ ‰ ™ œ 10 4

pp sﬀz

arco

Vc.

≥ ¯ 9 ‰™ 4 & ¢ œv

≤¯ ¯ œœ

sﬀz p

≥¯ ¯ œœ

≤¯ ¯ ‰ œ ˙ o

pppp

¯ ˙ f

^≥¯ ¯ ≥ œ 10 ™ œ™ œ 4 ‰ v sﬀz

≤¯ ¯ œœ

sﬀz p

≥¯ ¯ œœ ™™

≤ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ pizz. » ¯ 11 ‰ ™ j œ œ œ œ œ œ™ œ œ œ œ œ œ œv 4 ppp

sﬀz

» œ Œ v sﬀz

‰™

≥¯ ≤¯ ≥¯ ≤¯ ¯ ¯ ¯ ¯ œ œ œœ œ œœ œ v sﬀz pp

≥¯ ≤¯ ≥¯ ≤¯ ¯ ¯ ¯ ¯ œ œ œœ œ œœ œ -

≥¯ ≤¯ ≥¯ ≤¯ ¯ ¯ ¯ ¯ œ œ œœ œ œœ œ f

≥¯ ≤¯ pizz. ¯ ¯ » 10 œ™ 4 œœ œ ™ œv pp sﬀz

° / 10 4

∑

9 4

∑

8 4

Direct.

7 4

10 ¢/ 4

∑

9 4

∑

8 4

Elect.

7 4

sim.

Vln. 1

≥¯ 6 6 ≤ ≥6 ¯ 6 œœ œœ œœ œœ ° 10 9 & 4 œœ œœœœ œœœœ œœœœ œœœœ œœœœ œœ œœ œœ œœ œœœœ œœœœ œœœœ œœ ™™ œœ 4 - - - - - - - - - - - v sﬀz p f

-œ œ œœ œœ œ œœœœ œœ œ œœ >-fp

-œ œ œœ œœœ œœ œœ œ 6

-œ 6 œ œœ OO œ œ œ œ œ œ œ œ œ™ > 6

I, II

≥ œœ 8 œ œBœr œ œ œr œ œ 4 v >œ œBœ- œ œ- œ- œ œsﬀz fp

r œ œ-

OOOO œœ œœ œœ œœ œœ œœ œœ œœ O O O O 47 r œ œpp

r œ œ-

I, II sim.

≥ OO^ ≤ ≥ œœ 6 œ œ 8 œBbœr œ œ œr œ œ œr œ œ- œœ œ-œ œœ œ- œœ œ-œ œœ œœ œœœœ 4 Bbœ œ œ - - œ œ œ œ œ œ œ™ >œ - œ œ - œ œ - œ fp > 6

Vln. 2

≤ ≥ 10 œ œ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ ˙˙ ™ - ™

≥

9 4 œœ œœ œœ ™™ œœ >œ- œ pp v

sﬀz

≥^ ¯ œœ¯ œ>œ

≥¯ ¯ >≤ ≤ r ≥ r œ™ r r r Bbœ œœ œ œœ œ œœ ™ œ 9 œ™  n œœ µœ n œœ µœr n œœ µœr n œœ µœr n œœ ™ œ œ B 10 œ µ œ œ ™ ™ 4 œ4 v f f sﬀz p p

≥ œœ

≤ œœ

10 ¢& 4 Ó

≥¯ ¯ >≤ j j 9 œœ ™™ œ œ œ œ ™ ? œ 4 œ œ œ œ™ œ v

≥¯ ¯ j Bbœ Bbœ

œœ ™™

œœ

œœ œœ v p sﬀz

>r Bb œ

>r œ

œœ

sﬀz fpp

sﬀz

arco

Vc.

≥^ ¯ œ¯ œ

sim.

Vla.

≥^ >œ ¯¯ œ œœ

œœ

>r œ

œœ

>r œ

œ œ

-r Bbœ Bbœ

≥ œ œ

-r œ œ

˙˙ ™™

sﬀz

-≥ ≥ œBbBbœœr œ œ œœr œBbBbœœ ™™ nnœœ^ 8 ˙˙ œ œ œ œ 4

œœ

II, III œ- œ- -œ -œ r œœ œœœœ œœ ‰ ‰ œ OO œ OO œ OO œ OO 47 -

œœ œ œœ œ œœ œ œœ œ œ œ œ œ 47

≥ Bb œ ™ n O^

œ œ

œœ

œ œ Bbœ- œ œ -œ œ œ -œ œ œ -œ œ œ -œ œ œ ‰ œ œBb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 47

8 4

sﬀz f

sﬀz fpp

sﬀz

Direct.

° / 47

∑

6 4

∑

5 4

∑

4 4

∑

3 4

Elect.

7 ¢/ 4

∑

6 4

∑

5 4

∑

4 4

∑

3 4

Vln. 1

>œ >œ >œ I, II ° 7 >œ OO OO OO OO œ OO OO OO OO >œ OO OO OO OO œ OO OO OO OO >œ OO OO OO OO œ OO œ œ &4 œ f

ﬀ

Vln. 2

> 6œ O 4œ O

>O œœ O

sub. p

>œ >œ >œ >œ >œ >œ >œ 7 œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ 6 4 &4 3

ﬀ

> > O > O œœ O œœ O œœ O O

>O >O >O œœ O œœ O œœ O 5 ‰ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ œœ ‰ ‰ ≈ œœ≤ œœ œœ œœ œœ 4 bœ 6 6 6 6 > pp

4 4

˙™

œ œ

3 4

œ b œ œ œ 5 œ Bœr œ bœ œ œ œ œ œ œ œ œ œ œ œ 4 J Bbœ œ > 6 œ œ 6

r œ œ >

œœ

n OO

r œ œ >

œœ

OO O r 4 O Bœ œ J 4 J nœ- œ

r Bœ-

r -œ

œœ

j œœ œr œœ -

3 4

f sub. p

gliss. w/light ﬁngers, almost harm. gliss.

Vla.

OO OO OO OO >OO OO OO OO OO >OO OO OO OO OO œœœœœœœœ œœœœœœœœ œœœ œœœ œœœ œœœœœœœœ B 47 œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 46 ‰ ‰ & bbœœ ™™ > 6 6 6 6 6 6 6 6 6 6 pp

ﬀ

Vc.

?7 ¢ 4‰

ﬀ

» b>œ

^ O™ Œ

sﬀz f

gliss. w/light ﬁngers, almost harm. gliss.

arco I

pizz.

» bœ ™ > sub.

ﬀ

> 6 bœ ™ 4 ≈b œ ™

œœ

¯¯ >œ œ

¯¯ n œœ

sim. œ 5 œr œ 4œ >

sﬀz

œœ r œ œ >

œœ

sﬀz fp

Bb œ œ B4 4 Bbœ œ

r œ œ >

œœ œ œ ˙ œœ œ œœ œ 5 ˙ 4

bb œœ

-r œ œ

œœ

-r œ œ

œœ

3 4

b >œ œ œ œ œ œ œ œ

œ œ œ œ œœœ

‰ #œ ™

4 4 3

-r 

œœ

r œ œ >

sim.

œœ

œœ r œ œ >

3 4

D INTERRUPTION: Halting, quasi ad libitum q = 72- 76

Suddenly, without warning, moving ahead as before q = 156 - 162

Death, at the edge of the stage springs to life. Her clap interrupts the music, stopping everything in its tracks, before she, herself, is interrupted.

Direct.

° / 43

5 8

U ∑

6 4

∑

Begin electronics, CUE 3: echoes of SQ, bottles, water, clapping

Elect.

3 ¢/ 4

Œ™

5Œ 8

U ∑

6 4

PIANO: strum strings toward bridge w/ﬁngernails or guitar pick

startled!

#œ#œ U ∑

3 &4

5‰ 8

nœ #œ nœ œ #œ nœ #œ œ œœ #œ#œ œ œ 6 # œ œ 4 7

˙™ n1 Ó™

1 !

mp sub. p

f Pno.

U ∑

{

3 &4

5 ‰ œ #œ 8

ppp

nœ œ #œ nœ œ #œ œ œ 46 œ #œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ #œ

Ó™

∑

7 7

Percussionist, tenor, & baritone are all stationed "inside" the piano; the solo celist, pianist & soprano are not. PERC.: arco

5 ^¿. 8

U ∑

3 &4

6 4 G™

Œ™

Ó™ #G™

G™

billowing

PERCUSSIONIST: strike piano frame w/H.S.

Inside Pno.

BAR.: striking marble along piano string

poco f

{

5 ^¿. 8

U ∑

3 &4

™ 6∑ 4 ™ Ó

Œ™

b œ8 8 G™

TEN.: arco

TENOR & BARITONE: strike piano frame w/H.S.

b8 8 8 b8 8 8 8 8 8 8 8 g 8 ÓG™ ™ Ó

Ó ad libitum

G™ billowing

° For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events. clap and/or stomp

sharply, abrupt! S.

U ∑

° 3 &4

5 8 ¿. v

as soft as possiple

6 4 Ó™

Œ™

Ó™

∑

One day..., As if..., Señor..., all concerned... Death decides..., timely notice..., intentions

ﬀ 2 Altos - blow into plastic bottles; pitch approx. & sost. until run out of air; join tutti singers when ﬁnished

sharply, abrupt!

U ∑

? 43

S./A. Perc.

5 #œ 8 v ﬀ

6 4

œ™

∑

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

clap and/or stomp

sharply, abrupt!

as soft as possiple

U ∑

3 &4

5 8¿ v. ﬀ

6 4

Œ™

∑

Ó™

One day..., As if..., Señor..., all concerned... Death decides..., timely notice..., intentions For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

clap and/or stomp

sharply, abrupt!

U ∑

3 &4 ‹

5 8 ¿. v

6 as soft as possiple 4

Œ™

o ∑

∑

One day..., As if..., Señor..., all concerned... Death decides..., timely notice..., intentions

ﬀ 2 Basses - blow into plastic bottles; pitch approx. & sost. until run out of air; join tutti singers when ﬁnished

sharply, abrupt!

U ∑

? 43

T./B. Perc.

5 8œ v ﬀ

6 4 Ó™

œ™

clap and/or stomp

Ó™

∑

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

sharply, abrupt! B.

5 ^¿. 8

U ∑

? 43

ﬀ ca. 7 - 8 sec. non vib.

as soft as possiple

6 4

Œ™

∑

Ó™

One day..., As if..., Señor..., all concerned... Death decides..., timely notice..., intentions

clap sung

a tempo f

ppp

ord.

° 3 j bU œ™ Death - Sop. & 4 ¿ ¢ To

5 fœ ‰ 8

whom it may con -

INTERRUPTION: Halting, quasi ad libitum q = 72- 76

6 4

Œ™

∑

cern,

D Suddenly, without warning, moving ahead as before q = 156 - 162

molto sul pont. Vln. 1

° 3 jU & 4 œ Œ™ œ v ﬀ

5 8

6 4

∑

Ó™

Œ ˙ ˙ p

molto sul pont. Vln. 2

3 jU & 4 œœ Œ ™ v ﬀ

5 8

6 4

∑

Ó™

Œ Bœr œœ -

r œ-

œœ

molto sul pont.

Vla.

b œ^ U B 43 œJ Œ ™

5 8

6 4

∑

r Bb œ œ Œ ‰Bbœ œ

Ó™

ﬀ

molto sul pont.

Vc.

^ ? 3 #œœ U™ ¢ 4 J Œ

5 8

6 4

∑

Œ #˙

Ó™

ﬀ Repeat bracketed ﬁgure for as long as soprano holds fermata; proceed immediately in tempo once soprano moves in tempo with glissando on the last beat.

Traditional Cello: C-G-D-A

arco Solo Vc.

a tempo ° 3 ‰ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 >œ Œ 4 8J & ¢ p molto marcato and ritmico

6 4

∑

-r œ œ

œœ J

11 50

Direct.

°/

∑

Begin electronics, CUE 4: echoes of SQ, water, bottles, clapping

Œ Elect.

9 4

∑

8 4

∑

9 4

∑

8 4

∑

9 4Œ

Begin electronics, CUE 5: echoes of SQ, water, bottles, clapping

Ó™

¢/

∑

Ó™

PIANO: strum strings w/ﬁngernails or guitar pick

1 ∑

1 n1 b1 1

1 #1

b1 Ó™

1 n1 b1 1 !

8 4

Pno.

{

∑

9 4

∑

8 4

∑

PERC.: arco

& G™

G™

Ó G™

#g Inside Pno.

BAR.: w/marble on string

poco f

{

™ & ÓG ™

Œ b œ8 8

TEN.: arco

G™

9 4 G™ ™ Ó

9 4 G™

Ó™

Ó™ Ó™

8 4

∑

b8 8 8 8 8 * ™ g G™

∑ G™

8 4

∑

G™

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

clap and/or stomp

as soft as possible

° & ¿. v

Ó™

¿ v.

And another day..., The situation,...was grave,... Had decided,...everyone was overjoyed...,replace death

ﬀ

as soft as possible

Ó™

∑

9 4 Ó™

Ó™

8 4

Ó™

Will die..., the Church...,the state...,undertakers..., for a day..., and another

ﬀ

blow into plastic bottles; pitch approx. & sost. until run out of air; join tutti singers when ﬁnished

S./A. Perc.

? #˙ ™ v

Ó™

∑

#w v ﬀ

ﬀ

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events. clap and/or stomp

as soft as possiple A.

& ¿ v.

Ó™

∑

And another day..., The situation,...was grave,... Had decided,...everyone was overjoyed...,replace death

9 4

8 4

∑

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

as soft as possiple

¿ v.

∑

9 4

8 4

∑

Will die..., the Church...,the state...,undertakers..., for a day..., and another

ﬀ

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

clap and/or stomp

as soft as possible T.

& ¿. ‹ v ﬀ

Ó™

as soft as possible

Ó™

And another day..., The situation,...was grave,... Had decided,...everyone was overjoyed...,replace death

¿ v. ﬀ

∑

9 4

∑

8 4

∑

8 4

Will die..., the Church...,the state...,undertakers..., for a day..., and another

blow into plastic bottles; pitch approx. & sost. until run out of air; join tutti singers when ﬁnished

T./B. Perc.

? ˙™ v

Ó™

∑

ﬀ

∑

w v ﬀ

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

9 4

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

clap and/or stomp

^ ? ¿. ¢

as soft as possiple

ﬀ

Ó™

∑

And another day..., The situation,...was grave,... Had decided,...everyone was overjoyed...,replace death

^. ¿

as soft as possiple

Ó™

∑

9 4

8 4

∑

Will die..., the Church...,the state...,undertakers..., for a day..., and another

ﬀ

as before

Vln. 1

° & œ ‰ Œ œv ﬀ

Ó™

∑

9 4 Ó™

Ó™

≥¯ ¯ ‰ ™ œ 48 œv sﬀz

as before

Vln. 2

& œœ ‰ Œ v ﬀ

Ó™

∑

9 4 Ó™

Ó™

≥¯ ¯ ‰ ™ œ 48 œv sﬀz

as before

b œ^ B œ ‰ Œ

Ó™

∑

Vla.

9 4 Ó™

Ó™

≥^ ¯ œ¯ ‰ ™ œ 48

ﬀ sﬀz

as before

Vc.

? #œœ^ ‰ Œ ¢

Ó™

∑

9 4 Ó™

Ó™

ﬀ

≥¯ ¯ 8 & ‰™ œ 4 œv sﬀz

Solo Vc.

° ¢&

∑

9 4

∑

8 4

Direct.

Elect.

55 E ° / 48

4 4

∑

2 4

8 ¢/ 4

4 4

∑

2 4

8 &4

4 4

∑

2 4

4 4

∑

2 4

Pno.

{

8 &4

PERC.: strike piano frame w/H.S.

quasi improvisando

8 >> &4 ≈ ¿ ¿

>¿

ﬀ

‰

>> ≈¿ ¿

Inside Pno.

>¿

>¿ J

ﬀ

> > ‰™ ¿ ¿

>¿

>¿ ¿ ™

4 >¿ ¿ ™ 4

ﬀ

>> ≈¿ ¿

>¿ J

2 4

ﬀ

TEN.: strike piano frame w/H.S.

quasi improvisando > > > > Œ ¿ ¿ ¿ ¿ ¿ ¿ ¿

{

8 &4 Ó

>¿

>¿ ¿ >¿ ¿ >¿ ¿ >¿ ¿ >¿ ¿ J J J J J

ﬀ

>¿

> > > > ‰ ™ ¿ ¿™ ¿ ¿™ ¿ ¿™ ¿ ¿™

¿ >¿™

¿ >¿

>¿

2 4

≤ ≥ œ œœ # œv sﬀz

≤ œœ

2 4

≤ ≥ œ œœ # œv sﬀz

≤ œœ

2 4

≥ #œ œ œv

2 4

≥ ≥ ≤ ≥≤ ≥ ≤ ≥≤ œœ ™™ bœ 44 œœ #œ œœ bœ œœ œ œœ ™™ œ œ v v v v v

2 4

4 ‰™ 4

ﬀ

>¿ >¿ ﬀ

Vln. 1

≤¯ ¯ ° 8 œ &4 œ

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯

œ -

≥

≥ ≤ ‰™ œ œ œ œ v p

≤ œœ

œœ

≥ œœ

≤ œœ

≥ œ -

‰™

œ -

sﬀz

≥ ≤ ≥ ≥^ ≤ œ œœ œœ œœ ™™#œ œœ v p

sﬀz

≥ œœ

≤ œœ

≥ œ-œ

œœ ™™

Vln. 2

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ œ-

¯ œ-

≥ ≤ ‰™ œ œ œœ v p

≤

≥ œœ

œœ

≥ œœ

≤ œœ

œ-œ

sﬀz

Vla.

≤¯ ¯ œ B 48 œ

≥¯ œœ¯

≤¯ œœ¯

≥¯ œ-

≤¯ œœ¯

≥^ ≤ œ ‰ ™ œœœ

≥ œœ

≤ œœ

-≥ œœ

œœ

≥≤ œœœœ v

‰™

sﬀz p p

Vc.

≤¯ ¯ 8œ 4 & ¢ œ

sﬀz p

≥¯ ¯ œœ

sﬀz mf

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ œ-

≥ œœ

≥≤ ‰™ œ œœ œ v

≥

≤

≥

œœ

œœ -

≥ œœ

≤ œœ

≥

≥≤ œ œœ œ v

‰™ œ-

œ-

sﬀz p

≥

4 œ™ 4 œ™

≥ ≤ œ œ œœ ™™ v sﬀz

≥^ ≤ œœœœ

≥ ≥ # œ^ ≤ œ ™ œ ™ œ nœœ

≥ œœ-

sﬀz mf

œœ- ™™

≥ ≥ ≤ # œ≥^ ≤ ≥ ≤ œ≥^ ≤ œœ ™™ œ œ ^ œ œ™ bœ 44 œ œ œ bœ œ œ œ ™ œv nœ

≥ œœ^ œœ≤

sﬀz sﬀz

≤ œœ

œœ ™™ -

≥≤ œœ œ v œ

sﬀz

≤¯ ¯ œœ

≥ œœ ™™

≥^ ≤ œœ œœ ™™ sﬀz

≥ ≥ ≤ œ œœ ™™ #œ nœœ v

≥ ≤ ‰™ œ œœv œ sﬀz p

≥

≥ 4 œ™ 4 œ™

sﬀz

≤¯ ¯ 8œ &4 œ

≥^ ≤ œœ nœœ

≥ ≥ ≤ œœ ™™ œœ œœ v

≥ ≥ ≤ œœ ™™ #œ œœ v sﬀz

sﬀz

≥ œœ -

≥≤ œœ v œ

œœ ™™ -

sﬀz

INTERRUPTION: Halting, quasi ad libitum q = 72- 76

Death once again interrupts, but this time everything does not stop in its tracks.

Direct.

2 ° ¢/ 4

Perc.

° 2 /4

∑

4 4

∑

4 4

∑

3 8

∑

pick up the "sss..." sandpaper blocks sound from the soprano rubbing slowly

∑

3 8

‰ œ™

p reibstock

Mar.

2 ¢& 4

4 b˙ ™ 4æ

∑

3 8

∑

PIANO: Pluck string with plastic guitar pick: OK if adjacent D & E strings are incidentally strummed

2 b&4

mp Inside Pno.

b- ™

_™

3 8

PERC. & TEN.: strike piano frame w/H.S.

> > > ® 2 4 & 4 ≈ ¿ ¿¿ ¿¿ ¿¿ ¿ ¿¿ ¿¿ ¿¿ ¿ 4 > > > pp ﬀ > °

{ S.

∑

3 8

∑ °

pick up "sss..." sound from soprano and rubbing sandpaper blocks pp mp

° 2 &4

∑

4 4

∑

3 8

‰ ¿

[sss...]

pick up "sss..." sound from sopranos pp A.

2 ¢& 4

∑

4 4

∑

3 8

‰ ¿ [sss...]

Death - Sop.

o ° 2 b˙ ¢& 4

4w 4

Sir...

[sss...]

œ bœ ‰ To whom,

‰ œ bœ Œ

3 8

Dear sir,

INTERRUPTION: Halting, quasi ad libitum q = 72- 76 arco Solo Vc.

° 2‰ ¢& 4

bœ ™ pppp

6 6 o o o œo o o œ o œ o o œo o o o o 6 6 ^ œ o o O œ O œ O œ O œ# œ œ œ œo œ œo œ Oœ ‰ œo œ Oœ œo œ #œ^ ≈ œo Oœ 3 4 œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ ? Oœ œ œ Oœ œ O œ Oœ œ œ œ Oœ œ O œ œ 4 8 œ œo oœo œoœo v o œ œo œ œo œo œo œ œo 6 6 6 3 6 mf 6 o o sﬀz mf sﬀz mf

13 Death takes the sheet of paper she is writing a letter on, and crumples it slowly, but loudly; the crumpling sound is the picked up and echoed by the percussionist.

Direct.

3 ° ¢/ 8

4 4

∑

4 2

U ∑

∑

crumple piece of tissue paper

Perc.

° 3 /8

4 4

∑

U ˙

∑

U Ó

4 2

sandpaper blocks rubbing

Perc.

3 ¢/ 8

4 Ó 4

∑

œ œ œ œ œ œ o

‰

œ œ œ œ œœ‰ o

- œ œ œ œ œ œ œ œ poco f

U ∑

∑

4 2

PIANO: Pluck string with plastic guitar pick

Inside Pno.

3 {& 8

b>-

4 4

∑

b>-

- -

‰

- -

> U U ‰ - b- Œ Ó

‰

‰ f

4 2

° 3 &8

4 4

∑

sim. ppp

U ∑

4 2

∑

U ∑

4 2

∑

U ∑

4 2

∑

U ∑

4 2

‰ [sss...]

3 mp & 8 ¿™

4 4 Y™

∑

pick up "sss..." sound from altos pp mp T.

3 &8 ‹

4 Ó 4

∑

‰

Ó ¿

[sss...]

pick up "sss..." sound from tenors pp mp B.

?3 ¢ 8

4 4

∑

‰

Y™

¿ [sss...]

ca. 5 - 6 sec. as if streched out - an incomplete thought

Death - Sop.

° 3‰ &8

≈ œ #œ œ

4 œ 4

it may con

≈ #œ œbœ

‰

- cern,

sal -u - ta

. nœ

∑

tions,

whispered air sound

˙™

bœ

U œ U Œ nY

Dee...

4 2

[ear...]

wait for paper to ﬁnish being crumpled by percussionist before proceeding

slowly crumple letter

Harm./ Perc. [sop.]

3 ¢& 8

∑

4 ‰ 4

° 3 &8

∑

Vln. 1

4 4 œ œ

¿™

∑

U ∑

4 2

∑

U ∑

4 2

U ∑

4 2

U ∑

4 2

U ∑

4 2

molto sul pont. sim. j Bbœ Bb œ pp mp

œœ -

œœ

j Bbœ Bb œ

œœ -

œœ

j Bbœ Bb œ

œœ -

œœ

j Bbœ Bb œ

œœ -

œœ

j Bbœ Bb œ

œœ -

œœ

j œ œ

Œ œœ -

œœ o

molto sul pont. sim. Vln. 2

3 &8

4 ‰ 4

∑

œœ pp

j Bbœ Bb œ mp

œœ -

œœ

j Bbœ Bb œ

œœ -

œœ

j Bbœ Bb œ

œœ -

œœ

j Bbœ Bb œ

œœ -

œœ

molto sul pont. Vla.

B 83

4 Ó 4

∑

pizz. II

3 ¢& 8

∑

j œœ

œ-œ mp

4 4

œ J pp

œœ

j Bbœ Bb œ

Œ œœ -

œœ

œœ o

j œœ

œ-œ

j œœ

œ-œ

œ-œ ™™ o

arco molto sul pont.

bœ Vc.

œœ -

sim.

‰ œœ

j œ œ

œ-

sim.

œ J

œ-

œ œ-

˙™ Œ o

molto sul pont. ord.

¿ Solo Vc.

o use a lot of bow - quasi ﬂaut. °? 3 œo œ œo œo Oœ œo Oœ œo Oœ œo 4 ^ ^ œ^ œ^ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ 8 4 & ¢ bœ œ 3

œo œo n O O œo œo O O O O œo O O 6 o œo œ œo œ œo o œo œ œo œ œo œ œo œ œo œo Oœ œo Oœ œo œ œo œ œ œ œœ œœœ œœœœœœ ? ≈ ≈ 7 7 œo sub. 7 6 3 3

¿ U Œ &

ﬀp

ﬀ

pppp

4 2

Ad libitum e senza misura: Follow conductor cues q = 40 - 72

Death begins to look for a few more sheets of paper so that she may begin re-writing her letter. She then takes the writing paper and considers her new letter as she leaves the stage.

approx. 12 - 14 sec.

Direct.

UÚ

° / 42

UÚ

11 4

Begin electronics, CUE 6: Spoken "The situation was grave..."

Elect.

UÚ

4 ¢/ 2

UÚ

U Ó

11 4

U ∑

slide whistle

Sld. Whist./ Harm. [perc.]

lowest possible note on slide whistle; slide should be fully extended out breathy, even, feeble

U Ú

° 4 &2

U ‰

bu w

U Ú

œ œ œ œ œ œ œ œ

Bœ œ œ œ

U Ú

11 4

nœ

pp tear a large piece of paper

UÚ

4 /2

Perc.

UÚ

U ∑

U Ó

UÚ

U ˙

11 4

f Bass drum - limply drop both hands onto surface; allow them to bounce randomly and resonate

alla ricochet Perc.

4U Œ ¢/ 2

sim.

U Œ

˙7

U ≈ ‰™

U Ú

˙7

U Ó

˙7

U Ó

˙7

U Ú

11 4

U Ú

11 4

quasi ad libitum more spoken than sung mp Death - Sop.

¿.

° 4U Œ ¢& 2

U Œ

Œ #¿.

Ah,

U ≈ ¿ ¿ #¿ ‰ . . . n-¿ ™

oh,

bah, dah, dee,

As if to recognize. gently, with an airy tone

As if to say "What's this?"

U ‰

n¿

dum,

hmmm,

U Œ

‰

¿.

hmmm?

huh?

U Ó

U ∑

‰ Œ Y u

¿.

Ah...

Death moves lips, reading the pages, but without making any sound.

Death ﬁnds Death picks Death the book. up book. opens book.

Death then closes the book and puts it back. She takes her incomplete letter, and tears it. As she leaves stage, she begins writing a new letter.

SCENE I Chorus: The situation was grave...

F Suddenly forward h = 116 - 122 72

Direct.

° / 114

∑

9 4

∑

7 4

∑

5 4

∑

3 4

∑

Elect.

11 ¢/ 4

∑

9 4

∑

7 4

∑

5 4

∑

3 4

∑

C. Bells./ Crot./ Gongs

° 11 ¢& 4

∑

crotales arco

tuned gong w/S.S.

Ó™

9 4

#w™

7 4

Ó™ #w™

5 4

Œ Ó #w

Œ 43

∑

‹ &

∑

##˙™ ˙™

˙™ ˙™

pp ppp

PIANO: obtain harmonics by lightly touching sounding pitch on indicated string while playing written pitch on keyboard

11 > & 4 #œ

o o œ

o œ

9 > 4 #œ

o o œ

o œ

Œ Ó

7 > 4 #œ

o o œ

o œ

5 > 4 #œ

o o œ

o œ

> Œ 43 #œ

o œ

>o #œ

r #œ

o œ

o r #œ

> o #œ

r 3

j j # 3 3 3r 3 #>3 3 3 3 #>3 3r 3 3 >

o œ

o r œ

o œ

>o o #œ œ J

o œ

o >o œ #œ J

o r #œ

o œ

o r #œ

> o #œ

r 3

#3 3 3 >

o œ

Inside Pno.

{

11 & 4 #3 3 3 3 3 3 3 Ó > °

° 11 Ó &4

9 4

Œ Ó

9 4

Ó #œ w > One

11 ¢& 4

∑

w™

#˙ ™ > One

#w > -

o Œ

7 4

Œ One

#>3 3 3 #>3 3r 3 3

5 4

[nnn]

9 4 Ó

Œ 43 #>3 3 3 3

7 4 Ó

fpp A.

5 4

Ó #>3 3 3 3 3

o Ó™

fpp

7 4

#>3 3 3 3 3 3

Œ 43

∑

#˙ ™ >

[nnn]

One

˙™

#˙ ™ >

[nnn]

day,

5 4 Ó

3 4 ™ ˙

w™

#˙ >

[nnn]

One

[nnn]

∑ ˙™

˙™

#˙ ™ > One

˙™ -

[nnn]

15 Begin electronics, CUE 7 outburst returns

Elect.

° ¢/

∑

4 4

∑

4 4

∑

4 4

Œ Ó™

∑

tuned gong w/S.S.

C. Bells./ Crot./ Gongs

° & #˙ ™

∑

pp marim. w/S.S.

Mar.

∑

¢&

∑

Œ nbbœœœ œœœ bbœœœ œœœ >

bb >œœœ ™™ œœœ ™™ œœœ ™™ œœœ ™™ bb œœœ œœœ œœœ œœœ œœœ ﬀp

o r #œ

> o o o #œ œ œ

o r #œ

> o o o o #œ œ œ œ J J

o r #œ

> o o o o #œ œ œ œ J J

> o o o #œ œ œ

o r #œ

> o o o o #œ œ œ œ J J

o r #œ

> o o o #œ œ œ J J

o r œ

> o œ

4 #œo 4 J

o o œ œ J

o #œj

> o o œ œ

o r #œ

>o> o r o #œ œ œ

œœœ œœœ œœœ bbœœœ œœœ

ppp

∑

ﬀ

Inside Pno.

{

& r # 3 3 3 3 >

r 3

j j j j # 3 3 3 3 3r # 3 3 3 3 3r # 3 3 3 > > >

j j #3 3 3 3 >

° & <#>˙ ™

r 3

4 j j j j 4 # 3 3 3 3r 3 # 3 3 3 3j 3 3 > > >

#˙ ™ > day,

˙™

#˙ ™ >

[eee]

day,

˙™ [eee]

One

˙™

#˙ ™ >

#>˙ One

day,

no one,

[nnn]

One

˙™

[nnn]

& ‹

∑

œ #˙ ™ v v

One

day,

no one

One

#˙

fpp ^ œ^ ˙™

day,

no one,

∑

One

pppp

w -

Vln. 1

∑

4 4

∑

[nnn]

fpp œ^ # ˙^ ™

day,

no one

pppp

w -

[nnn]

pppp

w -

∑

marc. ord.

bœ > ﬀ

ord. sul pont.

j æ œ œ™æ

[nnn]

sul pont.

° &

[nnn]

> 4#˙ 4

4 #>˙ 4

∑

pppp

fpp

#>˙ mf

∑

fpp

œv ˙ ™ v

4 4 #˙ ™ >

# 3 3r 3 > >

#˙

∑

r 3

4 4

∑

[eee]

r 3

æ ˙æ

bœ œ œ ææ > >œ >>b>˙ ™

œŒ b >œ >œ >œ > ﬀ

ﬀp

œ‰ œ‰ œ b œ >œ œ > œ œ œ > > > ﬀ

sul pont.

∑

Vln. 2

∑

4 4

∑

ord.

Œ bœ >

bœ >

b >œ >œ ™

œ >

bw >

ﬀ ﬀ

marc. sul pont. 5

ord. > Œ bœ œ

5 5

∑

4 4

∑

Vla.

∑

œ > œ œ bœ œ œ Œ bœ œv > œ > >œ >> 3

> œ

‰ bœ >

œœ

œ >> bœ œ ‰ bœ œ œ ‰ œ œ œ > >œ >> >œ 3

>˙ ææ

ﬀ

pizz.

œ»

b˙» ?

∑

4 4

∑

Vc.

∑

œ» ™

arco

‰ bœ ™ >

ﬀ

arco

‰ ˙

bœ

ﬀ

crotales

C. Bells./ Crot./ Gongs

° &

∑

3 4

∑

4 4

∑

‹ arco 3 Ó™ & 4 b˙ ™

∑

˙˙ ™™

pp arco

∑

3 4

Mar.

¢ b ˙˙

4 4

∑

3 4

∑

˙˙

o r œ

∑

3 4

∑

4Œ 4

∑

bœo

œo

bœo

œo

3 b>œ 4

œo

> bœo

œo

b3 >

Inside Pno.

{

∑

° &

∑

3 4

∑

3 4

∑

4Œ 4

3 4 b3 >

∑

4 4

∑

¢&

∑

3 4

∑

bw v

4 4

∑

3 4 ˙

∑ -

∑

sul pont.

° œ Œ & œ bœ .

œ œ

‰ œ b œ œ œ œ bœ bœ

j œ bœ

j bœ œ

One

3p 4 b˙ ™ >

∑

˙™ -

[nnn]

ord.

3 4 ˙™

4 4˙

n˙

ppp

3 4

∑

mf ord.

æ wæ

& w

b˙ ™

sul pont. Vln. 2

[nnn]

One

Vln. 1

r 3

∑

One

æ wæ

3 4 æ™ ˙

4 4 bœ

œ-

ppp

œ-

bœ-

œ-

b-œ

-œ

bbœ-O

œ-O

3 4 bœ o

∑

ord. sul pont.

B Œ

b>œ

œ œ œ bœ œ bw w 5

b˙

Vla. 3

3 4˙ ˙

b-œ

4 b-œ 4

-œ

3 4 bœ o

ppp

sul pont.

>o ? w Vc.

¢ fp

ord.

‰ bO ™ b œ™ ﬀ

˙O

‰ b O ™™ b ˙ ™™

3 4 O™ ˙™

4 4 O ˙ p

bbœ-O mf

œ-O

3 4 o

∑

bœ

∑

16 tuned gong w/S.S.

101

C. Bells./ Crot./ Gongs

°‹ ¢&

∑

˙™

∑

∑ & b˙ ™

b˙ ™

∑

crotales arco

‹ &

∑

b˙ ™

Ó˙™ ™

p o r œ

> bœo

œo J

& Inside Pno.

> bœo

o r œ

œo

œo J

j 3 3

j 3

œo

o r œ

œo

{

& 3r b3 >

r 3

> bœo

> œo

o r œ

œo

bœo J

œo

œo J

b3 >

r 3

° & ˙ ™

bœ

b3 >

r 3

œo

bœo

> o o œr œ

r 3

3 >

œo

r 3

bœo J

œo

> o o œr œ

œo

œo J

bœo

j 3 b3

3 >

bœ

one

died,

œ b˙

b˙

3 >

r 3

b3 >

3 >

one

> bœo J

r 3

j b3 3 >

œo

œo J

> bœo

o r œ

œo

j b3 3

œo

r 3

3 >

j 3 3

r 3

b3 >

bœ

˙™

died,

bœ

œo

o r œ

œo

> o o œr œ

b˙

> bœo

o r œ

j r 3 33 >

œ b˙

day

One

& b˙ ™

bœo

b˙

[nnn]

> o o œr œ

j b3 3

r 3

mp S.

> œo

o r œ

˙™

b˙

old

b˙ A -

tro

old

A -

tro

b˙

œ -

œ bœ

pos

Had

de -

bœ

day One,

One

∑

¢& ‹

∑

died

∑

died,

∑

pos

Had

mp b>˙ ™

∑

de -

b>˙ ™

One

day,

= 112

C. Bells./ Crot./ Gongs

°‹ ¢& b˙˙ ™™

∑

˙™

∑

œœ Œ Œ

bb˙˙ ™™

∑

Œ Œ

∑

Œ Œ

∑

Œ bbœœ ˙˙™™ Œ mf

mp o r œ

> bœo

œo

o b>œ œo J

œo

o œo b>œ œo J J

œo

o r œ

œo J

> bœo ™

o > r œo œo œ œo J J

> o œ™ o or œ™ o bœo œo bœo ™ œ™ œ J

œo

o > o œ™ o œr œ™ o bœo ™ œ™

Inside Pno.

{

° &

œ ™ bœ ™

œ bœ

cid - ed

put

a - side

her

œ™

œ bœ

put

a - side

her

b˙ ™

œ Œ

˙™

shears

for

cid - ed

˙ ™ ∑

& ‹

bb˙˙™™

Œ œœ Œ

˙˙™™

shears

b>˙ ™

one

for

˙™

œ™

[nnn]

one

∑

r 3 3

fp > b bbœœ ˙˙ >

bœ

And

died

And

bœ ™

œ ™™

bœ ™™

no -

ther

œ™

bœ ™

œ™

one

died

And

no -

> œo

o œj™ œ™

∑

4 4

r 3 3

∑

4 4

bœ bœœ bœœ 44

∑

ther day,

a - no - ther

bœ œœbbœœ 44

∑

ther day,

a - no - ther

day,

and

>fp bœœ bœœ bœœ ˙˙ >

day,

Œ 4 Œ 4

a - no - ther

>fp b œœ bb œœbbœœ ˙˙ >

Œ Œ bœ Œ Œ

˙™

b3 333 333 > > > f

b>œ ™

ther

Œ Œ bœ Œ Œ

˙˙™™

‰ no

o œj™ œ™

> œœ™™ >

¢ day,

> oj > bœo œœ™™ œo

fp > bœœbb˙˙ >

b3 333 333 > > >

bœ ™™

∑

bœœ

bœ nœ And

œœ ‰ bœ ™™ ‰

o > œj™ o œ™ œ

j r j b3 3 3 33 3 > >

B. One

> oj > bœo œœ™™ œo

o œj™ œ™

œo J

∑

˙˙™™

day

b>˙ ™

œ ™ bœ ™

r 3

day

>œ ™ b >œ ™

> o > r bœo œo œo œ œo J

ﬀ

˙˙™™

fp > b˙˙™™ >

o r œ

œo œo J

fp mp > Œ bœ nœ bb˙˙™™ >

Œ Œ

œo

j j r j 3 3 b3 3 3 b3 33 3 3 >

> Œ bœ œ bb˙˙™™ >

œo bœo œo

o > r bœo œ œo J

sub. mp

œ™

œo J

œo œo J

j j j rj r j 3 3r b3 ™ 3 3 b3 ™ 3 ™ 3 ™ 3r 3 ™ b3 3 3 33 b3 ™ 3 ™ 3 ™ 33 ™ b3 3 3 > > > > pp

bœo

& 3r b3 3 3 b3j 3 3 3j b3j 3 > > >

4 4

and

Œ 4 Œ 4

a - no - ther

G 3 4 ˙™

126

Perc.

° 4 ¢/ 4

bass drum erratically swirl surface w/rubber super ball

∑

6 4 ˙™

˙™

˙™ f

ﬀ sub. p

p BAR.: strike piano frame w/H.S.

4 &4

3 4Œ

∑

6 4¿

∑

f quasi improvisando

Inside Pno. TEN.: strike piano frame w/H.S.

{

4 &4

3 4 Œ™

∑

¿™

6 ™ 4¿

¿™

Ó™ o

ﬀ quasi improvisando

° non vib. pp Cha

os,

mf os

reigned

˙˙ ™ ™

#˙ ™ #˙ Œ

ﬀ

> ° 4 bbw &4 w >

3 4

∑

6 4 ˙ ™™

day,

Ó˙™ ™

˙ ™™

Cha pp non vib.

non vib. pp Cha -

ﬀ

non vib pp cha -

4 > & 4 bbw w >

3 4

∑

6 4 ˙˙ ™

˙˙ ™ ™

os, mp

mp os,

pp Cha

Œ œ

cha p

œ˙ ™

p cha

mp os... -

˙™ ˙™

#˙™ ˙™

˙™ ˙™

Œ #˙ ˙™

˙™ ˙™

˙˙™™ -

os,

˙ Œ

mf reigned,

#œ #˙

reigned day,

Cha pp non vib.

f T.

4 &4 Œ ‹

ﬀ

bœ bœ bœ bœ bœ > Af - ter

ma - ny

?4 ¢ 4 Œ

ma - ny

˙™ -

cha p

#˙

os,

cha

˙™

reigned,

#˙ cha

3 4

∑

6 4Œ

˙™ ˙ Cha

G 3 4 ˙™

#˙

reigned,

˙™

˙™ > ﬀ

˙™

˙™ > ﬀ

˙™

Cha

reigned,

6 4 ˙™

ppp

4 &4 Ó

3 4 ˙

˙™

˙˙ ™™ > ﬀ

˙™

˙˙ ™™

˙™ pp

6 4 ˙™

ppp molto sul pont; obtain overtones 1, 2, 3, 4, 5, 6 Vla.

B 44 Ó

3 4 ˙

6 4 ˙™

ppp

molto sul pont; obtain overtones 1, 2, 3, 4, 5, 6 Vc.

?4 ¢ 4 Ó

3 4 ˙ ppp

œ -

˙™

molto sul pont; obtain overtones 1, 2, 3, 4, 5, 6 Vln. 2

non vib. pp

days

overtones 1, 2, 3, 4, 5, 6 ° 4obtain &4 Ó ˙

os... mp

non vib. pp

Cha

ﬀ

molto sul pont;

Vln. 1

∑

6 4Œ

days

b œ b œ b œ bœ b>œ Af - ter

3 4

6 4 ˙™

˙™

˙˙ ™™

˙˙ ™™ > ﬀ

˙˙ ™™

132

Direct.

Death, dressed in a bleak garment, walks onstage, around her neck is a contraption that allows her to write & read letters: the contraption eﬀortlessly suspends all the materials she needsfor her letter-writing. It includes a desk-like surface upon which she can write letters, an ink well and a pouch holding colored envelopes. She is currently writing a letter.

° ¢/

∑

bass drum - rub surface w/rubber super ball

Perc.

° ¢/

∑ pp

Ó™

∑

w™ BAR.: strike piano frame w/H.S.

Ó™

¿ ¿

˙™

œ ˙

mf sub. pp

∑

p Inside Pno.

f quasi improvisando

TEN.: strike piano frame w/H.S.

{

Ó™

¿™

Œ™

¿™

Ó™ o

ﬀ quasi improvisando

cha

° &

˙ ™™

Ó™

f os,

#˙˙™™

cha

˙˙

os, f

& #<#>˙˙™™

#œ p

and mf

no - ther

#˙

day,

Œ #˙

#˙œ™

a -

no -

#˙

Œ n˙

ther

day,

cha

#˙

Œ n˙

˙™

œ reigned,

cha

reigned,

˙™

#˙

˙™

ther

day,

œ #˙ ™

#˙ ™

ther

day,

#˙ ™

ther

day,

#˙

ther

day,

no - ther

day,

#œ

and

œ -

œ #œ

#œ

and

no - ther

day,

œ œ

#˙ ™

˙™ & <#>œ #˙ ‹ reigned,

n#œœ nœœ nœ

reigned,

f day,

mf a - no - ther

Ó #˙ ™

œ ˙™

˙™

no - ter

day,

#˙

œ œ #˙ ™

ther day,

œ #˙ ™ no

#˙

œ ˙™

#˙

ther

day,

#˙

˙™

#˙

˙™

Vln. 1

° &

w™ w™

w w ™™

Ó™

Œ w w ™™ > ﬀ

w w ™™

w™ #w > ™

reigned,

cha

w™ w >™ ﬀ

Vln. 2

cha

˙˙™™

# œœ ˙˙ ™™

w w ™™

ww ™™

>œ œ

˙˙

#ww ™™

˙˙ ™™

#˙ ™ ˙™

˙™ ˙™

˙˙ ™™

> ˙˙ ™™

ww ™™

˙˙ ™™

œœ ˙˙ > ﬀ

˙™ ˙™ > ﬀ

˙˙ ™™

Ó™ ™ w w™

reigned,

ﬀ

Œ # ˙˙

w w™™

Ó™ œ ˙™ >œ ˙ ™ ﬀ

˙˙

cha

ﬀ

Ó™

™ w w™

reigned,

˙˙

? ¢

œœ

˙™ ˙™

ﬀ

Vc.

cha

w™ w™

B Vla.

reigned,

™ w w™

>œ œ

˙˙

˙˙ ™™ pp

ﬀ

H 139

° /

Perc.

˙™

œ ˙™

7 4 ˙

6 œ 4 ˙™

∑ ˙

sub. p

∑

Mar.

∑

˙™

œ ˙

sub. p

f sub. p

7 4

# ˙û

6 4

∑

strike & drag w/superball mallet

∑

˙û

# ˙û

˙û

Ó pp

obtain harmonics by lightly touching sounding pitch on indicated string while playing written pitch on keyboard

∑

7 4

∑

6 4

∑

7 4

∑

6 4

∑

>o o o o o o #œ œ œ œ œ œ

Inside Pno.

{

o œ™

o ˙™

3™ 3™

#™

fpp

Ó #>3 3 3 3 3 3

## ™

>3 3 3 3

sub. pp

° & ˙™

#˙

Œ n˙ cha

œ ˙™

7 4 Œ n˙

reigned,

#˙ ˙

cha -

6 4 Œ n˙

reigned,

cha

#˙ œ -

& <#>œ #˙

#w ™

Œ n˙

˙™

reigned,

cha

f A.

o œ™

fpp

>œo œo œo œo

o #w ™

˙™

#˙

œ ˙

˙™

6 4 #˙

w™

os,

sub. ppp

Œ 47 #˙

w™

Œ n˙

œ #˙

#œ œ œ œ œ œ #œ œ œ œ œ œ #œ a

- no

ther

day,

ther,

and

ther,

cha

œ œ œ œ œ #œ œ œ œ œ œ

Ah...

sub. pp f

& <#>œ #˙ ‹ a

˙™

#˙

- no

ther

œ ˙ day,

Œ 47 #˙ a

˙™ -

˙ ther,

6 4 #˙

and

˙ -

#w ™

Œ n˙

œ #˙ ther,

cha

w™

˙™

os,

sub. ppp

#˙ ™ ? ˙™ B.

Œ n˙ cha

#˙ -

œ ˙™

7 4 Œ n˙

reigned,

cha -

#˙ ˙ os

6 4 Œ n˙

reigned,

cha

œ -

° ˙™ & ˙™

˙˙

œœ ww ™™

7 ww 4

˙˙ ™™

6 ww ™™ 4

œ #˙

˙ œ

˙™

reigned,

cha

H ¯¯ w w

¯¯ ™ ˙˙™

¯ >¯ œœ ˙ ˙

Ah...

III, IV harm. gliss.

Vln. 1

˙™

Œ n˙

#˙

¯¯ œœ

¯ >œ¯ œ

¯¯ IV œœ ˙¯

ppp

¯ ˙™

¯ w™

¯ œ¯ œ¯ œ

¯ ¯ œ ˙™ j œ

rfz III, IV harm. gliss.

Vln. 2

™ & <#>w w™

7 4 w w

w™ w™

˙˙ ™™ f

6 w™ 4w ™

˙˙

w™ B #w ™

˙˙ ™™

7 ww 4

Vc.

? ˙˙ ™™ ¢

œœb˙˙

ww ™™

#˙˙ ™™

7 ww 4 p

b˙˙ ™™ f

6 ww ™™ 4 pp

¯¯ ˙˙™ ™

¯ w™

ppp

¯¯ ˙˙

¯¯ w ™™ nw > rfz ww

¯¯ IV œœ ˙¯

¯¯ ˙˙™ ™

w w > rfz II, III harm. gliss.

Vla.

¯ ˙˙¯

j œ

¯ œœ ¯ &œ >œ rfz

j œ œ

¯¯ ˙˙

I, II harm. gliss.

w w ™™

j œ œ

¯¯ ˙˙

¯¯ ˙˙ j œ

¯¯ ™ w w™

¯ œœ¯ J j œ œ ppp

¯ œœ¯ ™™

¯ ˙˙¯

¯ ˙˙¯ j œ œ

¯ ˙˙¯ ™™

¯ ˙˙¯ ™™ j œ œ

j œ