power is everywhere, an observed distraction for sop., fl., vc and pn. on texts of Foucault (2017)

power is everywhere

an observed distraction for soprano and small ensemble on texts of Michel Foucault

"Power exists only when it is put into action... an action upon an action, on existing actions or on those which may arise in the present or future."

kurt rohde ripley dog face publishing copyright 2017

-for Nikki, Stacey, Tanya & Eric-

2 Power (is everywhere.) -We must cease once and for all to describe the effects of power in negative terms: it ‘excludes’, it ‘represses’, it ‘censors’, it ‘abstracts’, it ‘masks’, it ‘conceals’. In fact power produces; it produces reality; it produces domains of objects and rituals of truth. The individual and the knowledge that may be gained of him belong to this production. -Discourses are not once and for all subservient to power or raised up against it... We must make allowances for the complex and unstable process whereby a discourse can be both an instrument and an effect of power, but also a hindrance, a stumbling point of resistance and a starting point for an opposing strategy. Discourse transmits and produces power; it reinforces it, but also undermines and exposes it, renders it fragile and makes it possible to thwart. -Freedom of conscience entails more dangers than authority and despotism. -In its function, the power to punish is not essentially different from that of curing or educating. Madness is the absolute break with the work of art; it forms the constitutive moment of abolition, which dissolves in time the truth of the work of art. -Justice must always question itself, just as society can exist only by means of the work it does on itself and on its institutions. -The judges of normality are present everywhere. We are in the society of the teacher-judge, the doctor-judge, the educator-judge, the social worker-judge. -The lyricism of marginality may find inspiration in the image of the outlaw, the great social nomad, who prowls on the confines of a docile, frightened order. -What strikes me is the fact that in our society, art has become something, which is only related to objects, and not to individuals, or to life. -As the archaeology of our thought easily shows, man is an invention of recent date. And one, perhaps, nearing its end. -But there exists a system of power which blocks, prohibits, and invalidates this discourse and this knowledge, a power not only found in the manifest authority of censorship, but one that profoundly and subtly penetrates an entire societal network. Intellectuals are themselves agents of this system of power-the idea of their responsibility for "consciousness" and discourse forms part of the system. The intellectual's role is no longer to place himself "somewhat ahead and to the side" in order to express the stifled truth of the collectivity; rather, it is to struggle against the forms of power that transform him into its object and instrument in the sphere of "knowledge," "truth," "consciousness," and "discourse. " -Truth is a thing of this world: it is produced only by virtue of multiple forms of constraint. And it induces regular effects of power. Each society has its regime of truth, its “general politics” of truth: that is, the types of discourse which it accepts and makes function as true; the mechanisms and instances which enable one to distinguish true and false statements, the means by which each is sanctioned; the techniques and procedures accorded value in the acquisition of truth; the status of those who are charged with saying what counts as true. -Power exists only when it is put into action; it does not require your consent. -If no one knows who you are, can you be forgotten? If memory is power, are those who are forgotten powerless? The powerless are everywhere.

PERFORMANCE NOTES -score is in C, with the usual ocatve transpositions -all glissandi are immediate and over the duration of the note

3

SOPRANO: equipped with triangle, triangle beater, turning fok (A)220, tuning fork (A)440, 4 rubber cello mutes for piano muting on D1, E1, G#1, & B1.

FLUTE/BASS FLUTE

PIANO: equipped with "arco" on F#3 (used horse hair from violin/viola/cello bow, or nylon fishing line strung through piano strings), plastic guitar pick

CELLO: equipped with empty 1 quart plastic soda water bottle, tunned approximately to B1, with a string overtone at B2

ABBREVIATIONS: Ord. = returning to the ordinary mode of playing Arco = with the bow Pizz. = pluck the string N.V. = non vibrato L.V. = let vibrate or ring C.L.B. = col legno battuto; strike the cello string with 1/2 wood, 1/2 hair of the bow C.L.T. = col legno tratto; bow the cello string with 1/2 wodd, 1/2 hair of the bow M.S.P. = motlo sul ponticello M.S.T. = molto sul tasto freeze! = stop all movement and stay frozen in position until music begins again

gradual transition from one timbre to the next

percussion, let ring

percussion, dampen with hand

voice, mouth/lips closed

1/4 sharp

3/4 sharp

voice, mouth/lips open

voice, pitchless sound

voice, half-sung

1/4 flat

3/4 flat

flute, multiphonic

flute, timbral alterations

flute, air

flute, tongue pizzicato on "t"

flute, lip pizzicato on "p"

flute, tongue stop

flute, breath tremolo

flute, overblown

flute, overblow cluster

flute, whistle tone

piano, arco

piano, string stopped with hand

piano, strings muted with rubber mutes

piano, pizzicato with plastic guitar pick or finger

1/4 tone pitch bend in direction of contour

slow to fast

fast to slow

sudden fast, wide vibrato

abrupt dampening, stopping all sound, even if it cuts-off too early

piano, uneven tremolo

piano, strings strummed or plucked between tuning pins and bridge

cello, pizzicato tremolo, strummed

cello, pizzicato tremolo

cello, crushed & pressed bow on string

cello, snap pizzicato

4

Power is everywhere an observed distraction for soprano and small ensemble on texts of Michel Foucault

5

SCORE IN C

-for Nikki, Stacey, Tanya and EricStrict, rigid, mechanically twitching q = 112 - 116 ca. 8 - 12 sec. N.V. vocalize, cycling through various vowel and consonant phonemes as if tuning one's voice, inhaling and exhaling on the pitch "A," doing so with an unpredcitable, but steady stream of various rhythms, sounds and articulations; end with a sudden burst forth to a growl!

à 3à & 4 ΠϪ

Soprano

N.V. emerging from the collective timbre, as if an instrument in the ensemble pp

sffz

j œ

œ ‰™ v.

Œ

Œ

4Π4

∑

j œ 87 œ™

‰ ˙

as soft as possible, almost imperceptible

We,

3 4

∑

∑

4 4

…3 4

∑

∑

4 4

˙

We,

We,

singer strikes both tuning forks against each other 2 tuning forks: A/220 & A440/ L.V.

Percussion/ Piano Frame

… suddenly dampen tunnings forks by pressing them against body or against one another

√ 3 ˙™ &4 ˙™

∑

4 4

∑

7 8‰

∑

œ œ

˙ ˙

p ff

FLUTE

a precise, off-kilter mechanism lip pizz.

lip pizz.

N.V. tongue stop

air

frozen! air

"p"

tongue pizz. ord.

ord.

° 3 ¢& 4

√ ∑

≈O O O O

^ ≈ #1 ‰

calm

O ≈ O nO O O molto f

sffz

molto f

tongue pizz.

ord.

lip pizz.

tongue stop

lip pizz. air

air

"p" 5

O BO O O BO ≈ #1 ‰ v 6

"t"

3

j n6 n œ. v ff

sffz

r 1 œ™™ .

4 œ™™ 4 6 œ. v

"t" 5 3 r 1 43 ‰ . 6 msfz œ. v ff

f

msfz p

p

"p"

ï o ï o ï r 1 87 ≈˜œ œ œ œ œ œ™™ .

"t"

5

Flute/ Bass Flute

timbral alterations

tongue pizz.

p

msfz

≈ nO

^ ≈ #1

‰

O BO BO sffz

5 "p" nO O BO O ≈ nO µO µO O O BO ≈ #1 ‰ v 6 molto sffz

molto f

4 4

f

Strict, rigid, mechanically twitching q = 112 - 116 a precise, off-kilter mechanism

“œ.” œ. œ. œ. > . bnnnœœœœ #nœœœ ‰™

frozen!

3 &4

√ ∑

‰™

‰

“”. . . . . b b œ>œ œœ. n œœœœœ b œ 4 ‰ n#œœ ≈ ≈ 4Œ

Œ

calm, almost halting

n˙

œ

7 8œ

j œ

˙

“œ”. œ. œ. œ. > . bnnnœœœœ #nœœœ 3 ‰™ 4 ‰™

7

‰

Œ

‰

“” . œ. œ. œ. œ. bbb œ>œœ œœ. n œ 4 n#œœ ≈ ≈ 4

7

pp

f

pp

7

pp

f

f

7

ppp

pp

f

Piano mp

f

ff

? 43

{

? 43

Piano Frame

√ ∑

3

‰™

Œ

‰

b œ. “‘

‰ œ.

√ ∑

>. ™ ≈ ≈ bœ œ ≈ ≈ ™ œ œ. n>œ

∑

3

≈ b œ. “v‘

Violoncello

°? 3 4

√ ∑

» >œo Œ

» ‰ ™™

‰ b œ.

>≥. . . . . . b b œœ œœ œœ œœ œœ œœ ‰ 6

3 4

∑

» #>œ

‰™

Œ

‰

b œ. “‘

7 8

∑

calm, almost halting

arco C.L.T.

n œo ™

œo

o Ϫ

3 4

∑

4Π4

7 8 p

sffz

ff

4 4

≈ œ n>œ

œ.

∑

b œ. “v‘

4 4

∑

arco throw-bow

œo

œo

œo

pizz.

» >œo ≈™ ‰

» ‰ ™™

‰ ≈ œ.

» n œ.

sffz

∑

4 4

pizz.

7 8

°

∑

a precise, off-kilter mechanism pizz.

>. ™ ≈ bœ œ ≈ ≈ ™

ff

4 4

arco throw-bow frozen!

f

mp

ff

‰

3 4

‰

Œ

b œ.

ppp

f

‰

>≥. . . . . . b b œœ œœ œœ œœ œœ œœ ‰

pizz.

»

4 4 n œ.

6

sffz f

Plastic Soda Bottle

? 43 ¢

√ ∑

f

∑

pp

f

f

∑

4 4

∑

7 8

∑

3 4

f

∑

pp

∑

f

4 4

suddenly close lips (+) at end of "We" with "m" to make an abrupt, articulated stop to the sound pp pp

N.V. pp

6

A 4 &4 Œ

8

S.

as before

˙

œ

We,

œ

+ œ Œ >.

Ϫ

We,

We,

[m]

-

o Ϫ We, -

pp

o Ϫ

+ œ Œ >. [m]

We,

[mu]

-

p

o Ϫ

+ œ Œ >.

+ œ >.

We,

Œ

[mu]

-

p

o Ϫ

#œ. Œ >

We,

must

create sudden pitchless, "spoken" articulation for written phoneme poco poco mp sfz sfz

mp

bœ ™

Œ œ™ œ >. We,

must

#œ. ¿. ‰ ™ > v

We,

Ϫ

¿ ‰™ v.

bœ ™

[t]

We,

œ >.

must [t]

We,

must

poco sfz

mf

mf

#œ. ¿. ‰ ™ > v

3 4

œ™ œ >.

must [ta]

We,

must

… dampen with "[m]"

… Perc.

4 &4 Ó

˙ ˙

Ó ˙ ˙

˙ ˙

˙ ˙

p tongue pizz.

tongue pizz.

timbral alterations

ord.

"t"

r 1 œ™™ .

msfz

msfz p

p

…

… ≈ œ ™™ œ ™™

…3 4

o ï o ï ï o ï o ï ord. #œ œ œ œ bœ œ œ œ œR œ™™

3 4

≈ œ ™™ œ ™™

f

ï o ï ≈ œ 1 #œ œ œ . "t"

msfz

p

f

ord.

ord.

o ï œ œ ≈ œ

ï o ï o ï ≈ œ 1 œ #œ œ œ œ ≈ œ™ .

tongue pizz.

tongue pizz.

tongue pizz.

timbral alterations

ord.

r ≈ ï o ï o ï ≈ 1 œ œ ˜œ œ œ œ œ .

"t" Fl./ B. Fl.

tongue pizz.

timbral alterations

ord.

° 4 ¢& 4 œ™™

… ≈ œ ™™ œ ™™

˙ ˙

mp

tongue ord. pizz.

N.V.

Ó ˙ ˙

ï # 1 ≈ œ œ . "t"

"t"

œ

msfz

p

f

timbral alterations

ord.

"t" "t"

. #1 ≈ bœ œ

p

œ

œ #1 œ .

p

msfz

œ

msfz

msfz p

f

f

p

3

A 4‰ &4

j œ œ™

nœ ™

j œ

j œ œ™

Ϫ

j œ

3

j œ œ™

Ϫ

# œj

# œj

b œj

#œj

j œ

j œ œ™

Ϫ

j œ œ™

j œ

Ϫ

œ

œ

œ œ

œ

3 4

œ

ppp Pno.

? 44

∑

{

Ó

Π&

‰ #œ

j œ ##œœ ™™

w

bœ J ø

œœ ™™

° arco C.L.T.

pizz.

» #>œ Vc.

°? 4 ≈ ™ ¢ 4

n œo ™

o Ϫ

œo J

o Ϫ

w

arco C.L.T.

œo

œo

œo

#œ

arco

œ

œo

˜œ

bœ™ œ

œ J ‰ ™™

œ #œ œ ™ J

>» ® Œ nœ ™

‰

sub. pp

f

f

f

fp

»

14

S.

piu f

3 & 4 ¿. ‰ ™ v

^ œ œ .

nœ ™

abruptly cut-off! mp

becoming suddenly impassioned pitchless "sss" sound ff

2 4˙

4 ˙ 4

œ >o œo 3 œ 4

œ

ppp

pp 3

sffz

= pure, still, cool fpppp

>o œ ™ œ

œ

‰ #>œ

sffz poco sfz

bœ œ >œo

pizz.

p sffz

3 4 ˙™™ ø

ord.

œo

pizz.

œ J

5 4Y

Y

ord. incisive but quiet` molto p

pitchless, tight, squeaky, like a rapidly deflating fp balloon, with the air rushing out all at once

… Ó™

^¿ freeze!

sub. f

3 8‰

4 4

‰

Œ

2 4

Ó

∑

B 4 ≈ #>œ ™™ 4

> ŠϪ

We,

we

^. œ™ #œ

#¿ [ta]

Perc.

We,

3 & 4 ŠϪ Ϫ > f

must cease

[sss]

2 4˙ ˙

˙ ˙

pow -

4 w 4 w

5 4˙ ˙

… Œ

Ó

3 8

∑

er...

4 4

2 4

∑

must

4 ≈ ˙ ™™™ 4 ˙ ™™™

∑

/

pp abruptly cut-off! timbral alterations

lip pizz.

ï o >ï ï o nœ œ œ 2 nœ œ 4

ord.

"p" Fl./ B. Fl.

° 3 #1. ¢& 4 R #œ ™™

lip pizz.

lip pizz.

…

tongue stop

air

∑

3

5 4

∑

3 8

∑

6

molto f

f

sffz

abruptly cut-off! n œj

3 j &4 œ

Ϫ

œ

œ

… 2 4

“.” . . . œ œ œ œ #œ>œœ

freeze!

4 ‰™ 4

∑

‰™

‰

#1^

freeze!

5 nO BO bO ^ 4 ≈ O O BO bO ≈ nO BO ≈ #1 ‰ 4 O µO µO O BO

5

msfz p

air

"p"

"p" 5

freeze!

. “” bnnnœœœœ nœ. œ. œ. œ. œ. bb œ>œœ 5 ≈ 4

freeze!

∑

3 8

∑

4 4 n6 b œ. v ff

3

3

2 ‰ j 4≈ 6 6 œ. sffz ff v > “”. . . . . > nœœœœ 2 n œ œ œ œ œ #nœœœ. ‰ ‰ ‰™ 4

‰ 6 œ. v

6 œ. v

6 œ. v

“” . bœ>œœ œ. œ. œ. œ. œ. bb œœœ. œ 4 ‰ #œœœ ≈ œ ≈ ‰™ 4

O

mp

B #˙ 4 4

mp

˙

7 7

7

mf

‰ #O

6 œ. v

7

sub. f

Pno.

nO µO #O 4 O µO #O 4 Œ

f

pp

pp

f

pp

f

f

ppp

f pp f

ff

# œ.

f

pp

f

#>œ ™

pp mp

ff

3 &4

{

2 4

?

∑

#˙ ™

. ≈ bœ œ ≈ œ ≈ ‰ >.

4 4 b œ. “‘

>œ

œ

.

5 4

≈

∑

3 8

∑

. bœ “‘

4 4

nœ

≈

3 œ ‰ ‰ 2Œ .> b œ n œ 4 . “‘

≈ bœ œ.

4 4

‰™

∑

b œ. > °

3

abruptly cut-off! pizz.

C.L.T.

<b> œ Vc.

°? 3 ¢ 4

œ o o œ œ bœ > o œo œœœ

… » #>œ freeze! 2 ≈™ 4 ∑

arco throw-bow

arco throw-bow

4 Π4

>≥. . . . . . b b œœ œœ œœ œœ œœ œœ Œ

arco M.S.P.

pizz.

‰ ™™

»o n>œ 5 4

#>œ ™™

pizz.

>œ»

freeze!

∑

3 8

∑

4 4

‰ ™™

sffz

6 3

» >œo Œ sffz

ff

sffz

»

2 4Œ

‰

>≥. . . . . . b b œœ œœ œœ œœ œœ œœ 4 Œ 4

b œ.

## ˙O ™™

6

3

f

sffz

f

pp

f

f

pp

p

7 ord. vib. mp

f

grainy, quasi vocal fry f

>- pp. >- . >- . >- . >>- . sub. . 5 4 œ œ œ œ œ œ œ œ œ œ œ œ

22

> ‰ #œ S.

> ‰ œ

> ‰ œ

>œ

> ‰ #œ ™

œ

>œ

œ.

‰

& 3

cease

once

and

for

3

all - [la], all

tongue stop 3

3

‰

Fl./ B. Fl.

j œ #œ

6

5

‰

œ

n3 ™ 3

mp

ppp

œj

Ϫ

&

b œœ nœ j J bœ

œœ œœ J

j œ

œœœ 5 4

œ ‰

‰

once and for

œ œ J

œ œ J

3

3

#>œ œ

… O ˜O #O freeze! ≈ #O µO Œ Ó air

freeze!

Ó

"p"

#1^ Œ

5 4 ‰™

Œ

9 16

‰ #œ œ ≈ œ œ œ œ œ Œ >> > > ff

9 16

Œ

Œ

9 16

>≥. . . . . . #ord. >œ œ M.S.P >œ œ. >œ >œ œ b œ œ œ œ œ œ 5b œ œ œ œ œ œ ‰ ≈ Œ 4

9 16

‰™ - -

6

f

ff

sffz

ff

mf

“” . œ. œ. œ. œ. bbb œ>œœ b œ œ œ œ œ œ œ 44 ≈ ‰™

j œ

“”. n bnnœœœœ ‰™

.… bnnnœœœœ freeze! Ó

… freeze! Œ Ó

C n œ. b œ 5 nnœœ ‰ 4 ≈

ferocious

3 3

over blown

lip pizz.

air

œ œ œ ≈#œ œ œ œ 45 ‰ ‰ ≈ nO nO µO µO ‰ ‰ ‰ #œ œ œ . n6 # 6 n 6 # 6 v b œ. n œ. b œ. n œ. mp f sfz v v v v sffz sffz sffz sffz

œ # œ ## œœ ™™ J

œ

9 œ 3œ œ 16

Ó

to

"p" 6 nO nO µO µO 4 ≈ 4 nO O O O BO BO ≈ #1 ‰ v sffz 5

j

#œ ™

∑

mf

lip pizz.

tongue stop 3

air

C 5 4 Ó

3

3

3

° ¢& <#> 3 ™

freeze! œ. ‰ Œ

4Ó 4

[la],all - [la],all - [la], all - [la],all - [la] all - [la],all - [la]

-

ord.

#œ œ

3

ord. p

œ.

7

pp p

f

pp

Pno. pp 3

∑

3

5 4 ‰

?

{

∑

ff

f

‰ œ.

3

‰

‰ œ. “‘

œ. œ.

ø

3

‰ œ.

>. ™ # œ. ≈ ™ bœ 44 œ ≈™

‰

≈

œ.

œ. œ.

f

‰

Ó

‰

bœ n>œ

œ.

Œ

5 4

Ó

Ó

b œ> “‘

œ “>‘

arco throw-bow

arco throw-bow

… pizz.

M.S.T. IV/N.V. Vc.

°? ¢ <#><#> ˙O

>≥. . . . . b b œœ œœ œœ œœ œœ

M.S.P

» >œo Œ

pizz.

˘ œ

˙™

b˙

»

5 4

‰

‰

Œ

œ.

‰ ™™

b œ.

4Π4

… œœ. freeze! Ó

»o n>œ Œfreeze! Ó

‰ ™™

6

sffz

6

sffz mf

pp

ff

p

ff

pppp

ferocious mf

f

=

28

S.

become extremely nasal, like a tight whine

like pinpricks sub. pp f

. 9 Ϫ & 16 J

. Ϫ J

all

ord. extremely exact; like a stopwatch

… + #œÆ 4 Œ 4 ff

. Ϫ J

to

abruptly cut-off!

Ϫ

3 4 ˜˙

de

scri

-

-be

-

sub. p

o Æ # œ ‰™ Œ

Æ ‰ ™ #œ Œ

‰ ™ #œ Œ '

the

ef

>f #œ ‰

˙ ‰™

Œ

ord. swooping f

D 5 8

-

fects

of

#œ 42 œ ™ R

3 4

∑

#œ '

œ po

-

wer

in

> #œ ™

air

"p"

neg

-

-

-

ga -

tive

ord.

œ.

5 5

1^. 1^.

-

1^.

3 4

5

4≈ 4 O µO Œ O µO

∑

≈ nO nO µO µO Œ

Ó

≈ nO

nO µO ≈ n O µO µ O nO µO

5Π8

∑

3 4

#œ ™ -™

tongue stop 3

ord.

œ

ord. 5

° 9 ‰™ ¢& 16

œ 43

over blown

lip pizz.

Fl./ B. Fl.

œ

œ™™

œ #œ

‰

6 œ. v

f 3

mp

mp

mp

ff

f

p

2 j 4 Œ 6 œ. v

≈

-

ff

#œ œ nœ ‰

3 4

3

D “”œ.

9 & 16 ≈

œ. œ. ™ n ‰ œ J

“.” . . . .b b œ>œ œ œ œ œ œb œ

ferocious

3 4

4 4

∑

∑

∑

5 8 #œ > ff

∑

pp

≈ œ œ œ œ 43 Œ > >>

≈

> b œ.

. bnnnœœœœ 2 ‰ 4 ≈

Œ

. nœ

≈

3 4

7

p

f

pp

Pno.

9 ? 16

{

∑

3 4

4 4

∑

∑

∑

5 8

∑

∑

3œ 4

œ™™ &

#œ 42 œ R

œ œ™

3 4

p

>œ»

arco C.L.T.

» #>œ

5

Vc.

°? 9 ¢ 16

∑

3 4

Œ

Œ

4 ≈ œo 4

Œ

≈ œ o

5

#>œ œ™ >œ œ

Œ

Ó

» ≈ Ó œ o

‰™

Œ

5Π8

3 4‰

≈

sffz f

f

Œ

Œ

>≥. . . . . . b œ œ œ œ œ œ 2b œ œ œ œ œ œ Œ 4

n œ.

5

f

pizz.

5

o ≈ œ

sffz f

arco/ord. throw-bow

arco M.S.P.

pizz. pizz.

6

f

ff ferocious f

pp

3 4

sub. pp

molto f

36

5 #w 4

3

S.

3 & 4 Ϫ

≈ œ 42 Œ #˙ .

nœ terms:

over blown

> n 777

#>œ ™ Fl./ B. Fl.

it

'ex

harmonic overbolow cluster

° 3 ¢& 4 - ™

3œ 4

3

2 4Œ

‰™

nœ. Œ >

˙

ord. half-sung

freeze!

2 4

p

3 . 4 h ‰™

∑

it

're

-

press

-

-

-

es',

-

-

t...

is

pow-er

lip pizz.

ord.

ï o ï o ï o ï o ï o

œ ï ï #œ œo œï œo œï œo œ ™ ‰ ‰ Œ

5 4

. œ ‰ 43

i...

timbral alterations

#œ ™

œ N.V. ‰ œ ≈ 42 #œ

Œ

f. . . h ‰ ™ 58 ‰ #œ œ ‰

n˙

timbral alterations

> #œ

nœJ

˙ œ

over blown ord.

molto f

cludes'

-

E

sub. pp

8

6

ï œï œo œï œo œï œo œï #œo œ œo

3

ï o ï o ï o ï ï o ï o ï o ïo ï ≈ Œ #œ œ œ œ œ œ 43 #œ ≈ œ œ œ œ œ œ œ œ œ ≈ æ æ

2 4 nœ œ œ œ œ œ œ µœ œ œ ≈

Œ

ï o ï B œo œï 3 Œ 4≈ œœ œ ‰

freeze!

2 4

∑

"p" 5 ‰ #1. 8

. 1 ‰ 43

‰

6

6

p

3

6

p

mf

6 3

3

3

f

mf

f

ff

ff ff

sffz

pp

ff

œ. œ œ b œ.

> œ

3

#˙

3 &4

≈

≈ ‰

2 4

‰ Œ

5 4 Œ #˙ > p

∑

3

œ

œ

E 3 4

freeze!

#œ

œ

3 4œ

˙

œ

Ϫ

3

molto f

œ^

œ

œ

Œ

œ

œ

6

n œ. > f

f Pno.

2 4Œ

‰™

œ

2 4

∑

>. . . #œ œ ‰ œ 43

5Π8

∑

5

molto f

3

f

p pp pp

3

3 & 4 Ϫ

{

2 œ. 4 Œ

nœ œ œ™

5 4

2 4 n˙ °

∑

#>œ °

∑

™ 3 4 ≈ bœ ™ œ

∑

2 4

˙ ˙

3 4

∑

5 8

∑

3 4

…

ord.

Œ

Œ

#œ J 43

∑

pizz. C.L.T.

» #>œ Vc.

°? 3 ‰ ™™ ¢ 4

arco N.V.

Œ

2 4

Œ

#œ ™™

5 4Œ

∑

nœ œ R 42

#œ

œo J

˙ #œ ™

o ˙™

œ ™™ freeze!

3 4

2 4

3 4≈

∑

5Π8

#˙ sffz

sub. pp

p

mp

p

f

sub. pp

f

p

=

46

S.

sub. mp

œ R

3 &4 nœ

ord. gently mp

N.V. as if a resonance sub. ppp

2 Ϫ 4

bœ J

œ ™™

5œ 8

œ

4 4

‰

'cen

sors',

-

b œ.

œ. ‰ ‰

œ™ œ

it

pp

b œ.

b œ.

œ.

Œ

‰

‰

Œ

b œ.

œ. ‰ Œ

p

‰ Œ

Œ

‰

Ó

˙ Œ

Ó œ

˙

F 3 Π4

‰ bœ ™

œ

it

'ab

stracts',

air

'ab

stracts',

-

'ab

stracts',

-

ord.

air

'ab

-

stracts',

-

it

ord.

'masks',

it

ord. air

ord.

nœ

5

Fl./ B. Fl.

° 3 ¢& 4

2 4 Ϊ

∑

bœ J

5œ 8

4Π4

Ϫ

Ϫ

5

œ J

O O BO BO ≈ ‰

nœ Œ nœ ™

œ

≈ O BO ‰ O BO

p

Ϫ

œ

mp

w

‰ ‰ #O µO ‰ ™ #O

molto p

pp mf

w

œ

mp

nœ

2œ 4

œ bœ ™

œ ™™

b˙

5 œ - œ bœ œ œ œ 4 ˙ 8 4 œ œ

œœœœ

œ bœ

bœ

œ™™

bœ J

œ œ™ R

œ n˙ œ bœ

Œ

˙

œ

œ-

mp

sub. p

5

∑

{

2 4

∑

5 8

F 3 Π4

Œ

bœ Œ J 3

pp

pp

3 pp

sub. f

3 &4

Œ

3

p Pno.

œ ˙™

œ-

Œ

pp

3

œ R

3 &4

3 4 œ

∑

4 4

j nœ œ

œ™ œ

œ J

˙ œ™

œ

œ

j nœ œ

3 3

œ ˙ J

∑

Œ

Œ

3 4

œ ˙ œ

˙

#œ œ

œ

˙

˙

3

ø

°

ord.

ø

ø arco ord.

C.L.T.

II ord. arco

pizz.

Vc.

<#> œ œ œ^. °? 3 ‰™ Œ ¢ 4 sffz

arco

>˙ ™

bœ œ™

pizz.

œ O

2 4

o ˙

5‰ 8 pp

œ

4 4

Πfp

bœ o œ™

˙o ™ Œ mp

Œ

Œ

M.S.P. pizz.

o Ϫ

bœ ‰

o™ ‰ œ

Πpp

mp

p

O™

œ œo O Œ

Πpp

‰ O™

pizz.

bœ O ™ O™ O ™ ‰ 3 4

Πppp

Œ

spoken

9 sung

direct, matter of fact f

56

freeze! S.

. bœ

& ˙™ 'con

-

-

Œ

4Π4

Œ

Œ

Œ

‰

2 4 Œ

‰

p

Œ

‰

ceals'.

-

pow

In fact,

lip pizz.

° ¢& ˙ ™

ï o ï o …freeze! 5 4≈ Ó 4 œ œ œ œ Œ

˙™

er

-

pro

j ˜œ

Bbœ ™ -

du

2 4

∑

ces;

-

bœ œ it

pro

j œ

nœ ™ -

du

ces

-

power

timbral alterations

Fl./ B. Fl.

7 j 8 ˜œ œ

Ϫ

lip pizz.

lip pizz.

N.V. ord.

‰™

1 .

N.V. tongue stop

ï o ï 8:6o ï o ï "p" . #1 ≈ ˜œ œ œ œ œ œ œ 42 Œ R

"p"

"p"

2 4 Œ

timbral alterations

ord.

r 1 87 œ™™ . p

œ™™ p

msfz

"p"

"p"

3

‰

1. R

r 1 œ™™ . p

œ™™ j 6 n œ. v

p

msfz

lip pizz.

3

msfz mf

lip pizz. ord.

ord.

6 6 v.

p

msfz msfz

ff

nœ œ bœ œ œ œ œ J & 3

œœ J

3

œb œ œ œ œ œ œ œ

3

3

. bnnnœœœœ 2 ‰™ 4 ‰™

freeze!

4 Ϫ 4

Œ

Ó

3

“.” . . . œ œ œ œ

calm

Œ

7 8 œ

œ

j œ

˙

œ. #œœœ

2 4‰

“” > œ. œ. œ. œ. œ. bbb œœœ

calm

≈ ≈

Œ nœ

œ

œ

7

pp

p

7

pp

f

p

Pno.

œ œ œ3 J J #œj œ

{

& <#>˙ ™

f

release pedal on beat 4

4 Ϫ 4

œ

bœ Œ

ff

?

Œ

Œ

2 4

‰™

Œ

b œ. “‘

3

ord. arco

7 8

∑

≈ ® bœ œ ‰ . œ. >

2 4

∑

® œ

∑ n œ. >

° ord. calm

… C.L.T.

∑

° arco calm

pizz.

II freeze!

Vc.

°? ˙o ™ ¢

o œ

#O ™

»

œo

‰

4 4œ o

O

bœ. ‰

2 4

Ó

∑ &

j œ o

Ϫ o

7 8 œo

j œ o

œ o

2 4Œ

œ o

j œ o

?

‰ &

Ϫ o

œ o

œo

œ bœ of

o

#œ poco f

p

pp

p f

= swooping, but gliding sub. mp

65

f

G ‰

3 3

S.

#œ œ ™ R

& Œ œ

#œ œ J

œ™™

re

-

a

-

-

li

-

œ

œ J

œ™ Œ

Subdued q = 92 - 96 N.V. from afar, as if only heard in one's inner ear ppp

elide directly from "nnn..." into next phoneme "do - " seductive

4U 4˙

nœ ™

˙

˙

˙ >

œ -

ty;

it

pro

du

-

ces

-

nnn[ngg]...

˙

do

-

-

-

ù>˙ -

-

˙

mains

-

-

multiphonics: containing notated pitches 124|/2/34D# lip pizz. ord.

ord.

Fl./ B. Fl.

lip pizz.

° ¢& œ™™

lip pizz. ord.

lip pizz. ord. . . . n œ. #œ #œ #œ. #œ. œ. œ œ # œ ‰™

ord.

"p"

"p"

"p"

"p"

1. R

1. R

1. R

1. R

œ™™

transparent, gentle

œ™™

œ™™

‰™

Œ

4U 4Ó

Ó

- ™™ ‰ b- ™

Ó

_ _ _

_ _ _

5

p

6

mszf mp

sfz

mf

sfz

f

sffz

p

ff pp

Subdued q = 92 - 96

5 3

& œ

œ

œ

œ

œ

œ

œ

œ

œ >

#œ #œœ#œœœ > > >

G > n œ. œ œ R ‰™

string stopped w/L.H.

Œ

œœœ

4U 4Ó

string stopped w/L.H.

ord.

bbbœœœœ œœœœ œœœœ œœœ œœœ œœ œœ œ ˙ - - - - - - - pp ppp

Π>6

f

‰™

Œ

#œ œ

. ‰™ œ &n ˙ œ

œ™™ #œ œ ™ & R

? Œ

{

?

œ J

œ #œ ™™ R

Œ œ

Œ

4U 4˙

6> Ó

∑

poco sfz

sfz

Pno.

ord.

?

∑

Ó

‰™

Œ

˙ bœ w

3

°

3

III II II Vc.

° ¢& œj œ™ o o sub.

#œ ™

j œ -o

œ o

ŠϪ o

j œo

bœ

j œ o

œ o

#œ j

œ #œ. œ. bœ.

bœ. ‰ ™

œ o

Œ

4U 4Ó

#O

?

Ó

O

‰ O

j O O O O O O O O #O O O O O O O O O O 3

pp 5

mf-p p

mf

p

ff

O

O™

> ≈ #O ™

sung

pitchless "sss" sound

10

ord. sub. p

75

mp S.

& ˙™

Y™

bœ -

nœ œ and

spoken

molto p seductive

Œ

œ 45 Œ

analytical

almost pathetic

spoken sung

f

ΠϞ

œ

jects - [sss]

-

analytical

œ

œ

ri - tu

als

-

of

Œ

Ó

Œ

The individual and the knowledge

truth.

that

œ ‰ ‰ Œ

4 Ó 4

Œ

be gained of him belong

may

5 . 4œ

œ Œ to

Œ

Œ

Œ

‰ #œ 44 Œ .

this

˙

pro

-

duc

-

. œ

œ -

3 4

tion.

-

take triangle & triangle beater

∑ Perc.

∑

∑

∑

5 4

∑

/

4 4

∑

5 4

∑

4 4

∑

3 4

∑

cut-off 124|/2/34D# 123|23D# 124|/2/34D# 123|23D#

Fl./ B. Fl.

_™ ° <b>__ ™™ ¢&

Œ

∑

µ -‰ n-

Œ

__ _

__ _

5 4

∑

_ 4 b__ 4

∑

--w/piano … - ‰ Ó

_ 5 µn__ 4

Ó

- ™™ 4 nb-- ™ 4

ææJ

ææ

ææ

‰

ff

“”œ. œ.

3 4

pp

& w

˙

Ϫ

5 4

j œ ˙

Ϫ

œ

˙

4 4

∑

5 4

∑

4 Ó 4

∑

3 4

‰™ ‰

Œ

w

Ϫ 7

p Pno. fp

p

˙ ? Ó

‰ ™ bœ w

Œ

{

Œ

Œ

.… ≈œ‰ Ó

w

Œ

Ó

& n˙

5 4Ó

4 Π4

˙™

5 4Ó

˙™

4 Ó 4

Œ

> œ

‰

3 4

5

ø IV harm. gliss.

° crushed bow

M.S.P. harm. gliss.

bœ

œo

wo

heavy bow stuck to string ord. M.S.P.

ord.

3

M.S.P. 3

Vc.

°? <#>O ™ ¢

j O O #O O O

O O #O O O O O O O O ææ

O Oj ˙ O o

˙ o p

5

mf

Ó BO œ O œ O œ O œ

3

sub. pp

5 4 n˙O ™™ v

4 4

Ó

Œ

Œ œvO

BO œ O œ

fp pp repeat as needed until spoken passage is complete, and then immediately go on without hesitation

=

H

5 5 j Ó™ 4 œO BO œ O œ O œ O

fp

6

4 4

≈≈ œ B O œ O œ O 6.

‰ 6.

≈6 ‰ 6. 6.

3 4

pp f

A tempo q = 112 - 116

accel.

spoken

A tempo q = 112 - 116

ca. 6 - 10 sec. ca. 3 - 5 sec. 84

matter of fact, resolute, but not preachy S.

3 &4

U ∑

∑

1 4

™™42

∑

triangle w/triangle beater

Perc.

… 1 œÆ 4

U ˙™ æ

∑

2 4

∑

∑

Discourses are not once and for all subservient to power...

fierce -with fevor, as if waking the dead

3 /4

™™ 41

∑

™™42 Œ

‰™

∑

3 4

∑

4 4

∑

3 4

∑

4 4

or raised up singer slowly walks over to inside piano and picks up rubber stoppers, preparing to insert them into assigned strings

play trangle immediately after finished speaking; let vibrate

choke trangle w/cello downbeat

U ∑

‰™

œ

™™ 41

2 4

∑

U ∑

∑

p ff multiphonic: containing notated pitches 12/34|23C

œ^. # œ œ

ord.

œ nœ Fl./ B. Fl.

° 3œ ¢& 4

œ #œ ≈

œ

œ ≈ œ

œ

nœ

flutist stands, and slowly walks over to piano keyboard

U ∑

≈ œ œ

1 4

™™42

∑

™™ 41

∑

cool, removed, detached

U ˙

2 4 µœ

#˙

∑

µ# __ ™™ 3 4 ˜_ ™

4 4

o 5

6

pp

7

p

pp

sfz

H A tempo q = 112 - 116

accel.

:“; œ. . 3 #œ ‰™ &4

œ. œ. œ. œ. ‰

A tempo q = 112 - 116 [ord.]

. . œ œ. œ. . œ. . œ. œ^. œ œ œ ≈

U ∑

1 4

™™42

∑

™™ 41

∑

2 4

∑

U ∑

∑

3 4

∑

4 4

3 4

∑

4 4

˙ 7 7

sfz

3 &4 œ

{

œ

. bœ

bœ. ≈

mf

≈

#œ œ

^. nnœœ

pianist stands, preparing to play arco

string stopped w/ L.H.: any very low note will do

7

Pno.

ff

?

U ∑

1 4 ‰™

ff

™™42 6 v.‘ “

sfz

™™ 41 ‰ ™

∑

2 4 6 v.‘ “

repeat as needed until spoken passage is complete, signaled by triangle, then immediately go on without hesitation 3

Vc.

°? 3 ¢ 4

∑

U ∑

3

1 4

‰

pp

™™42

‰

6 >.

6.

ff

p

‰ 6.

‰ 6.

™™ 41

‰ 6 >. ff

U ∑

∑

∑ °

ord.

2#˙ 4 sub. pppp

M.S.P.

U ˙

˙

3 ˙ 4

œ

#œ

4 4

urgently instructing the audience as she inserts the rubber stoppers, with each statement becoming more and more insistent

5 - 7 sec.

I

4 - 6 sec.

93

11 S.

4 &4

Ó

Ó

∑

U ∑

∑

U ‰

against it...

‰

4 /4

Ó

We... singer puts down triangle & beater, and picks up rubber stoppers, one at a time, preparing to insert them

Perc.

Œ

U ∑

∑

˙ ∑

U ‰

‰

We

must...

U ∑

Ó

?

U ‰

U ∑

U ‰ ˙ ™™ “‘

˙™™ once flutist reaches low end of piano keyboard, they prepare to play the notes in upper staff of piano part

Fl./ B. Fl.

__ _

--

flutist plays the following notes and rhythms as indicated by spoken text instructions; sound should gradually change from open to closed poco rubato

Œ

U ∑

Ó

poco rubato

? U ‰

U ∑

U ‰ œ

œ ff

Ó

singer slowly inserts rubber stopper at pre-marked location @ 3rd partial into corresponding strings immediately after speaking text or where indicated; sound should gradually change from open to closed, with occassional harmonics

p

<µ> _ ° 4 <#> _ ¢& 4 <˜>_

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

pp ppp

mp ppp

mp

“‘ flutist plays the following notes and rhythms as indicated by spoken text instructions

I poco rubato

4 &4

U ∑

?

Œ

w

∑

poco rubato

U ‰

U ∑

U ‰ 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 mp mp alla gonga

Pno. arco

ppp

ppp

“‘

pp

U G

U G

U G

U

U

U

U

U

U

#w

w

˙

œ

˜œ

#w

#G

? 44

{

∑

U G

∑

ord. M.S.P. N.V. Vc.

°? 4 <#> ˙ ¢ 4

˙

fff

pp

œ #œ

˙™

˙

µ˙

fff

pp

non cresc.

non cresc.

=

A tempo q = 112 - 116 spoken rhythm gradually aligns with the 8th. note rhythm of the piano; proceed from spoken to sung without any preparation or break

4 - 6 sec. 100

U ∑ S.

U ‰

‰

Œ

U™ Ó

Ó

U Œ

&

11 8

sung

p

˙™

4 #w 4

∑

œ. œ œ.

sta

We must make...

?

U ∑

We must

U ‰

U ∑ ˙™™ “‘

-

-

-

-

-

ble

-

pro - cess

where

. ≈ œ ‰ œ -

by

a

œ dis

-

make allowances for the complex and un-

11 8 #w “‘

Perc.

-

œ .

4 4

Ϊ

∑

∑

∑

multiphonic: containing notated pitches playing flute, player slowly walks back to seat

poco rubato Fl./ B. Fl.

°? ¢

U ∑

U ‰

U ∑

11 8 #œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

4 4 #œ

Ó & œ

œ

œ

1234|3D#

µ#__ #_

__ _

˙

œ œ œ œ œ œ œ œ œ œ œ œ œ œ p

pppp

pp

“‘

mp ppp

“‘ Pianist plays keyboard w/L.H.

A tempo q = 112 - 116

5

poco rubato

?

U ∑

U ‰

U ∑

11 4 8 #œ œ œ œ œ œ œ œ œ œ œ 4 #œ œ œ œ ˙ p pppp “‘

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ppp “‘

mp Pno.

? <#>U G

U G

U G

11 G 8

{

g™

Ó

Œ

‰

h h ≈ h h h ≈ ≈ h Œ h pp “‘

G™

4G 4

Œ

∑

ord. M.S.P. Vc.

°? U ¢ <#> w

U w

U ˙™

U œ

7

11 8 nw nw

œœ ™™

4 4˙ ˙

œœ ™™

j œœ

œœ œœ œœ œœ œœ œœ µ œœ µ ˙˙ - - - - - - -

pppp f

pp

µw w

≈ #h ‰ h

J 12 f 107

meccanico - alla metronome

f

sub. p

œ J

œ. œ. #˙ œ œ. .

air

˙™™ œ™ S.

&

course can be both an

-

Ϫ

˙

in

-

-

-

-

-

-

. œ J

-

-

-

-

. œ

. œ ‰

Œ

. œ ‰

. . œ œ ‰

œ

7 8

∑ j ¿

stru - ment

and

an

ef - fect

of

pow

-

-

-

-

er,

-

lip pizz. ord. air

^ # œ µœ œ # œ n œ µ œ # œ œ µœ

ord.

Fl./ B. Fl.

<µ> _ ° <#>_ ¢& <#>_

__ _

5

5

≈ O nO µO µO ≈ nO nO µO µO ≈

player reaches seat

"p"

N.V.

. 1 ‰

∑

. 1

‰

. 1

. 1

. ‰ 1

Ó

Œ

œ 87 R

Œ

5 5

ff p

f

p

p 5

f

pp ff

“.” . . . . œ œ œ œ #nœ>œœ bnnnœœœœ ™ ™ ‰ ‰

J ? ∑ &

. . . œ. . . œ #œ ≈ œ œ œ

#œ. ≈

. ≈ #œ ‰

‰

#œ. ∑

∑

‰

. œ. #œ. #œ. ≈ #œ œ. nœ.

Œ

. . ≈ #œ ‰ nœ 87

≈ nœ ‰ .

7 5 5

molto f sffz

p prickly

Pno.

mp

p

f 5 3

? ∑

{

≈

?

≈ ≈ nœ œ ≈ ≈ œ œ ‰ ™ bœ. . . . n œ.

‰

&

b œ.

h ≈ nh h h ≈ ≈ h ‰ h

nh

≈ #h ‰

∑

‰

≈ Œ

‰

‰

≈

‰

&

hv

b œ. “‘

“‘

bœ.

b œ.

œ. œ. œ.

?7

≈ ≈ nœ œ ≈ ≈ œ œ ‰ ™ . . . n œ.

8

meccanico - alla metronome ord. Vc.

. œœ ≈ ≈ nœ. œ ≈ ≈

°? ¢ <µ> w w

^ bœ

# œ. œ.

. œ. œ

» #>œ

pizz. 3

≈

O. nO O O O O O

‰

» >œo ™ ≈

O œo

» ‰

‰™

Œ

f

‰™

Œ

Ó

‰™

Œ

n œ. œ™ .

. bœ. b œ ™

»

œ. ‰

‰™

#>œ

#>œ

ff

ff

œ. 7 nœ ≈ 8

p

3

=

ord.

half-sung

ord.

freeze! pp

sub. pp

mf

S.

. . . . 3 7 &8 ‰ œ ‰ œ œ ‰ œ 4 œ but

al - so

a

hind

j œ

Ϫ -

stuttering # œ^. . . . . . . . . œ 87 ≈ h h h h h œ œ Œ J

. . ‰ œ ‰ œ ‰

rance,

-

sub. pp

sfz

113

a

stum

-

bling

p, p, p, p, p, p, p,

mf

. . œ œJ #œ ™

3 4‰

point

. œ

of re- sist

-

‰

. œ

‰

ance

… 5 4

. œ

‰

and

∑

K pp 7 > 8 ≈ œ ™™

a

start

. . œ ‰ œ 43 Œ -

ing

‰

point

. œ

. œ

for

an

‰

Œ

. œ op -

freeze! N.V. Fl./ B. Fl.

° 7 ˙™™ ¢& 8

3 4œ

˘ œ J

Ϫ

sub. f

˘ …5 œ 4 J

N.V.

3˘ 4 œJ

7 8 ˙™™

˙™ sub. pp

sub. f

Ϫ

œ

œ

Ϫ

sub. pp

N.V.

∑

7 8 ˙™™

sub. f

3 4 ˙™

pp

K ord.

œ. œ. œ.

7 &8

∑

3 4Œ

Œ

‰

œ. œ. œ. Œ

‰ 87 Œ

Œ

pp 3

Œ

Œ

freeze!

œ.

# œ. œ.

œ.

3 4

≈

≈‰ Œ

Œ

‰

œ. œ. œ.

stopped w/L.H.

. . œ. œ. œ. œ. . nœ. œ. œ. œ. œ ^.… œ 5 ≈ ≈ #œ ≈ œ4

∑

7> 86

Ϊ

Œ

3 4Œ

3

3

p 3 3

pp

3 3 3

3

3

Pno. f

? 87

{

∑

3 4

∑

∑

7 8

∑

3 4

∑

5 4

∑

∑

7 8

∑

3 4

∑

3 4Œ

∑

° III, IV arco using a full, airy bow Vc.

°? 7 ¢ 8

∑

freeze! crushed/ pressed bow

3 4O O O O O O O O O O O O O O O O O O O O O O f

O ™™ O

7 8

∑

3 4Œ

ΠO O O O O O O O O O O O O O O O O O O O O O

O O

… 5 4Ó

pp f

pp

f

ord.

Ó

‰ ™ b6 87 b >6 sffz

≈ O O O O O O O >O O O O O O O f

spoken

13

sfz

^. j 7 ‰# œ œ8

122

S.

> & œ œ™ pos

ing

-

mp

stra

‰

. œ ‰ nœ ‰ 43 .

-

te - gy.

∑

∑

2 4

∑

∑

5 8

∑

fp

fp

b˙ v

j œ b˙ v

Dis

elongated, languorously spoken

j œ 44 Ó

Ó

Œ

Œ

course

-

transmits harmonic overblow cluster

lip pizz.

#>777

#>777

and produces

lip pizz.

#>777

Ó

continue fingering upper octave even though pitch will sound as notated naturally down an octave air

"p"

6 7 OnO#OnO#On O # O O ‰ n O # O n O # O n O # O n O # O O O O # O n O # O OnO#OnO#O O # O O#O O O#OnO#O 7

"p"

6

Fl./ B. Fl.

° ˙™ ¢&

. . . 1 1 1 43 Œ

7 8˙

Œ

Œ

Œ

. . . . . . . ‰ 1 42 1 1 1 1 58 1 1 1 1 #1 . . .

Œ

œ

œ

œ

sffz

sffz

sffz

∑

. . Π#1j 44 1 1 Π.

Œ

ff

ff ff

6

ff

. œ. # œ œ. œ.

œ. œ. œ. ‰ 87 ‰ ≈

& Œ Œ

> . . . œ. # œ. . œ. . > . . # œ œ œ 3 4 #œ#œ ≈ nœ #œ œ

≈‰ Œ ™

#>œ. œ. . . nœ ≈nœ ≈ ≈ #œ

. .œ n œ . œ . . . . #œ#œ œ ≈nœ ‰ ≈#œ ‰ nœ ≈ 42 .

stopped w/L.H.

∑

5Π8

ord.

. . ≈#œ ‰ œ Œ

j 4 #6. #6. 6. 6. 6. 6. #6. 6. 6. 6. ‰ 4 Œ

Œ

pp

. ≈ #œ ‰

. . ≈ #œ ‰ #œ Œ

^. ^. ≈ #œ ‰ #œ

. nœ Œ

3 3

7 8

?

{

∑

3 >. & 4 ≈ bœ ‰ bœ ‰ ™ .

∑

>. b œ. bœ ≈ & ‰ nœ. œ. ‰ œ. ≈ ? bœ ≈bœ. ‰ œ ‰ œ œ Œ .œ b œ. n œ. . > “‘ . » » » #>œ #>œ » » >œo ™ ‰™ ‰™ Œ ‰™ ‰™ Œ ≈ œ> #>œ

? bœ

» Vc.

7 8

3 4 ‰™

∑

p 5 5

5

5

pp

sub. ff

sub. pp

pizz.

°? ¢ OO ™™

molto f

5

sub. ff

3

Pno.

Œ #>œ

pp

3

2 4

∑

» >œo 2 4 ‰™ Œ

5 8

∑

∑

∑

4 4

∑

5Π8

O O O O O O O ™™ OO OOOOO

Œ

‰

pizz.

arco using a full, airy bow

» >» ≈nœ ™ ‰ ≈#œ ™ Œ >

Ó

#œ v. œ. v “‘

4O 4 O

f

» >œo ™ ≈

Œ

p

Œ

» >œo ™ ≈

Œ

Ó

ff

ff

= say immediately after last low piano note without consequence

L

sung

133

mf

3

∑ S.

Œ

Œ

Œ

Ó

5 4

∑

&

4Π4

∑

œ œ™ R #œ

bœ

≈ bœ ‰ .

ces

it

œ œ œ

Œ

Ó

5 4

Œ

Ó

5 4

œ™™

it

re

-

-

in- for

-

power; harmonic overblow cluster

#nn>777

timbral alterations

>77 ™™ 7™

nbb >777

777 n>77 n7

###>777

777 ™™™

tongue stop

o ï o ï o

tongue stop

air 5 5 5

6 3

Fl./ B. Fl.

° ¢& nœ sffz

ΠϪ

bœ

sffz

sffz

Ó

Œ

œ nœ sffz

^. ≈ #œ ‰

^. nœ Œ

5 4

‰ Ó

4Π4

∑

≈œœœœœ‰ 6 b œ. v mf ff

Ϫ

#œ sffz

L Œ

‰

^. ^. ≈ œ ‰ œ Ó

Œ

&

> n œœ w ww ###œœœœœ ww w # ™ ‰ n # œœ ww w >

5 4

3

6 œ. v

4Π4

∑

3

3

O O nO µO µO #O #O˜O˜O O nO ‰ R n6 b œ. v f ff

j Œ j Œ #6 n6 œ. b œ. v v

nœ œ™ R

j œ

œ bœ

#œ

œ™™

5 4

r œ b>œ ™™

˙

5 5

piu ff

Pno.

poco sfz

molto p ppp

?

{

Œ

^. ‰ #œ ‰ 3

^ œ. ‰

‰ ‰ œ. v “‘

3

‰

Œ

Ó

œ. v “‘

3

5 4‰

∑

4 4 h # h h h ™ h h h #H h h “‘

∑ ø

° arco C.L.T.

Vc.

°? ¢

» >œo ™ ≈ Œ

Œ

» >œo ™ ≈

˙o

» >œo Ó

Œ

‰

5 4

∑

throw-bow

œo

œo

ord. using a full, airy bow

˙o O˙

5 4

Œ

O 4œ O O O O O O O O O O O 4 O O O O O O O O O O O

O ™™ O

Œ

>≥. . . . . . . b œœ œœ œœ œœ œœ œœ œœ b ≈ Ó

p f f

pp

5 4

140

˘ ˙

N.V. S.

5 &4

4 4

∑

Œ

Œ

‰

n œ. but

œ œ R

5 4 ™™™ œ ˙ al

-

4 œ 4 œ œ bœ Ó

so

-

un-der-mines

sub. pp

sub. mf

M 14

5 4

4 Ó 4

∑

Œ ˙

soprano slowly walks to inside piano, preparing to stop strings with the open palms of both hands in m. 150

œ

and

ex -

pos

N.V.

-

œ

œ .

-

es

mp . bœ Ó

5 4 Ó

Ó

. bœ Œ J

4 Ϫ 4

it,

. ‰ #œ

ren - ders

it

ord.

Fl./ B. Fl.

° 5 Ó ¢& 4

Œ

˙

4 4˙

‰ œ™

5 ˙™ 4

4 4

Ó

5 4

∑

4 4

∑

∑

∑

5 4

∑

4 4

∑

∑

ppp molto p 3 3

.5 . Œ 5 ≈ #œ & 4<b>˙ ™ ‰ œ

molto p

Ó

4Ó 4w

Œ ˙

r nœ œ

Œ™ j 45 ˙ ™™™ œ ˙

œ bœ ˙

4 œ 4 ww

bœ ˙˙

M 5 Ó 4 b˙b˙˙ ™™™ >

Œ

Œ ˙˙˙

œ œ

nœ nœ

˙™ ˙™

˙ 4 ˙w 4 ww

w w

˙ ˙ w w ww

b˙ ™ bnb˙˙˙ ™™™

œœœ

˙™ ˙™ 5 ˙˙ ™™ 4 ˙˙ ™™

nw nw

˙ ˙ ˙ ˙˙˙

w w 4 w 4 ww w

poco sfz

Pno.

ppp

ppp

? 45 Ó

{

Œ

‰

4 4 h #h h h #h h h h h™ h ‘ “ °

5 4 H

Ó

4 4

Œ

5 4

∑

4 Π4

∑

5 4 h #H

H

4 4 H

H

h “‘ ø

j h

# H ™™

°

II ord.

o Ϫ Vc.

°? 5 Ó ¢ 4

Œ

˙o

‰

O˙™™ 5˙ ™ 4 o

˙O˙ o

4 4

~ 4 w 4

Oœ

4 4

Ó

5 4 Ó™

∑

Œ

ppp

~w

w~ Œ

O ™ 5 ˙O˙ ™™™ 4

O˙ ™™

˙OO˙

O 4 ˙O˙ 4

sub. p

mf 150

S.

& Ó

Œ œ . fra

-

gile

‰ œ Œ .

œ

and

makes

. #œ Œ ˙ fra

-

Perc.

Œ

&

b6 6

) )

#˙

6 4 ‰ œ. Œ

gile

soprano stops notes by placing both open palms on the strings for the range of the written pitches

Ó

#O ‰ œ o

as soft as possible cool, emerge from ensemble sound ca. 4 - 7 sec. pp

= . #œ

Œ

and

#œ

4‰ œ Œ 4 .

˙ makes

it

sub. p

ff

˙™

5˙ 4

Œ

"echo" sub. f ppp

7 . . >. . . . . . . . . . 4 . … 8œ œ œ œœœœœœœœ œ 4œ ‰ Œ

6 4

)™ )™

√ ˙™

Œ #œ

and

it

pos- si-ble b, b, b, b, b, b, b, b, b,

b.

4 4

to

triangle w/triangle beater choked

quietly, soprano removes hands from piano strings, and picks up triangle and triangle beater

) )

Ó

N 3 Π4

4 4

5 4

∑

7 8

∑

+… 4 ‰ œ. Œ 4

∑

Ó

3 4

√ ∑

∑

/

4 4

ppp harmonic overblow cluster

lip pizz.

##>&&&

ord.

"p" Fl./ B. Fl.

° ¢&

∑

Ó

‰ 1. 1. 1.

1. #1. 1. 1. 1. 1. 1. 1.

6 4

∑

4Π4

ff

. œ. #œ. #œ. ≈ #œ ‰ œ. nœ. ≈#œ. œ. ‰ nœ. 45 ‰ ™ Œ # œ . 3 7 mp

Ó™

7 8

4 4

∑

777

3 4

∑

‰ ˙

√ ∑

4 4

œ

sffz strum strings between bridge and tuning pins w/ plastic guitar pick in range written in chord in bass cleff

soprano stops notes by placing both open palms on the strings for the range of the written ptches

& Ó

Πbbb6666 n >6

66j bb)) ™™™™ 666 nb))) ™™™™™™ >

)) )))

6 4

)) ™™ ))) ™™™

4 4

5 4

∑

7 8‰

∑

32 3 8 8 8 f

pianist stands, preparing to play arco; takes plastic guitar pick

sfz sfz Pno.

2 8

3 8

put down plastic guitar pick

2 3 42 3 Π4 8 8 8 8

Ó

sub. pp

N ord. 3 4 œ œ œ œœ œ > >> > ff

√ ∑

4 4

√ ∑

4 4

fierce

ppp

?

{

∑

∑

∑

6 4 H™ “‘

H

™ 44 hh H

5 4 H

#H

H™

7 8

))))) ™™™ ™

4 4

‰

∑

3 4

∑ °

° M.S.P. arco

Vc.

°? <#> ~w ¢

O˙ ™™

> # œOO œ > fp

6 4

∑

4Π4

≈ bœ ™ . mp

# œ.

œ.

pizz.

w~~w

. bœ

>œ».

nœ.

5 4‰

Œ

Ó™

7 8‰

con sord.

>œ Œ

Ϊ

4 4

∑

œ >œ >œ >œ œ.

3 4

‰

3

fierce

3

ff ppp

sffz

√ ∑

4 4

15

O poco rit.

Calm, introspective, resigned q = 69 - 72

A tempo q = 69 - 72 sub. ca. 4 - 9 sec.

match the arco piano timbre as closely as possible S.

+ #œ. >

thwar

4 /4

Perc.

‰

Œ

Ó

o #w

√ ∑

∑

t.

-

‰

Œ

Ó

Ó

Œ

+. œ ‰

j œ

#œ > -

√ ∑

p

+ ˙™

3

Free

+. œ ∑

poco vib. p

p

160

4 & 4 #w

sub. pppp

poco sfz

ord.

3

5 4Ó

Œ

˙

o œ ∑

˙

œ œ

do - m - [mmm],

-

4 4 #œ

Œ

Œ

[mmm]

5 4Ó

Ó

+. œ Œ

‰

free

Œ

4 4

Œ

4Π4

-

œ

dom

-

#œ. ‰

œ œ of

con

∑

scious

-

∑

cut-off w/triangle

cut-off w/triangle

3 5

…

√ ∑

3

Fl./ B. Fl.

° 4 ¢& 4

∑

Ó œ

œ œ™ -

j œ œ

3

∑

˙™

œ o

œ

… Œ

5 3 4 œ #˙

j œ œ - -

Œ

3

œ œ o

œ

œ œ

œ ‰ #œ

œ

j œ

molto pp

molto pp

molto pp

j œ œ

O Calm, introspective, resigned q = 69 - 72

poco rit. A tempo q = 69 - 72

4 &4

∑

∑

√ ∑

∑

∑

5 4

∑

4 4

∑

∑

∑

cut-off w/triangle

arco

Pno. [L.V.] [L.V.] pppp

… ? 44 #G

G

√ ∑

G

{

#G

5 ™ 4G

G

Ó

g ‰

#G ™

4Π4

Œ

G

ord. cut-off w/triangle

cut-off w/triangle

3

œ

3

M.S.T.

Vc.

œ œ œ J

°? 4 ¢ 4

∑

œ -œ ™

œ œ J

Ϫ

œ

œ. … J

œ √ ∑

Π3

∑

Œ

-œ -œ J

œ

5 4

‰

3

3

molto pp

>œ œ J

˙

3

… Œ

3

3

œ œ œ J

4‰ 4

Œ

sub. poco sfz

molto pp

-œ

-œ

3

molto pp

˙

œ #œ

˙ +

Ó

œ

= A tempo q = 69 - 72

rit. cut-off w/triangle

as if in 3/8 mfp

N.V. mfpp

pppp

poco sfz

+ 169

… 3

S.

3

& ‰ œ

œ >

en - tails

œ

œ >œ

3

œ œ œ >

3

œ œ œ >

3

5 4˙

œ œ œ >

Ó™

> œ œ J

œ.

ord. p

mfp 3

3

3 4œ

#œ

9 #œ 8 >

#œ œ #œ

3

œ #œ œ >

3

œ œ œ >

œ œ >

3

-

[ngg]

more

o œ™ / Ó

Perc.

3

o 4 ≈ ˜>œ ™™ 4

œ J

œ

Ϫ

5 4Œ

Ϫ

+. œ Ó™

‰™

p

dan - gers

4 4

than

au - thor - i

3 4

∑

ty

-

9‰ 8

∑

ppp

[eee]

o œ

œ

œ J

œ

œ J

œ

ppp

ord. N.V. 5 3 3

Fl./ B. Fl.

° ¢& n˙

Œ

3

5 4

≈ ˙

œ œ œ

œ

œ œ œ œ

4‰ 4 ˜œ >

∑

œ œ œ œ

3 4 œj œ ™

#œ ™

œ

œ poco f

fp

9 j 8 œ œ

j œ #œ

j œ nœ

pp

rit.

mf

A tempo q = 69 - 72

ord.

∑

5 4

∑

&

4 #w 4

∑

3 4

9 8

∑

∑

pp Pno. arco

[L.V.]

? <#>G

G

5 4g ‰

{ Vc.

°? ˙ ¢

œ ≈ œ

œ œ œ

Ó 3

sub. piu pp

b œj

3

œ œ

#œ ™ ˙ o +

#G

4Ó 4

3 ™ 4G

9 g™ 8

+o 3 4 ˙™ œ

9 8

g™

g™

cut-off w/triangle

sub. piu pp

œ

Ó™

Œ

œ. …

˙

N.V. M.S.P. 3

5 4

Ó™

4‰ 4 œ™

œ

j œ œ

˙

3

œ

˙™

Ϫ

pppp mp 3

p

pitchless, tight, squeaky, pinched, but hushed

16

ord. mp

ppp

P

¿

175

6

becoming declamatory

sub. piu p 3 3 3

S.

& #œ

œ œ Œ™ .

œ #œ œ >

∑

4 4

∑

Œ

Ó

Œ

˙ œ œ.

œ.

In

its

¿ ¿ ¿ and

/ œJ

Perc.

œ

œ J

œ

des-po-to- sm.

Ϫ

œœ œ œ œ œ œ J J

Free

… >+. 4 œ œ 4 J

œ œ œ œ™ J J

-

dom...

∑

œ >.

œ >. œ.

œ.

func - tion,

≈

the pow

-

œ #œ œ œ #œ œ. >. œ. . . . .

œ.

œ . œ. >

er

to pun - ish

∑

is not es - sen - tial - ly

∑

poco sfz tongue stop 5

nœ 5

. #œ œ. œ œ

ord. 5

5

5

3

Fl./ B. Fl.

3

3 ° ¢& <#>œ œ#œ œ

œœœœ

5

j œ Œ

˙™

œœœœ

4Ó 4

∑

≈

pp

Ϫ

ord.

& Ϊ

#œœ ™™

Ϊ

‰

® ≈ 6 6 6 6 6 6 6 6 6 œ bœ œ œ œ œ >œ œ. . œ. f> > > > >

6 6 œ> b œ. p

‰™

≈

‰ n6 b >œ

6 œ>

#6 ≈ 6 ‰ >œ >œ

≈ 6 œ> b œ6 >

‰ n6 b >œ

6 6 6 œ> >œ >œ

# 6 ‰™ >œ

®

#œ œ œ 3

ff

P

˙˙ ™™

4 4

∑

∑

∑

∑ rapidly and unevening strum/disrupt piano bow w/"free" fingers

cut-off w/triangle

Pno.

arco

? <#>g ™

g™

{

Ϊ

∑

4Π4

∑

p

o #G ™

… [L.V.]

> g 7

#g Œ

Œ

sub. f

sub. p

sub. f

sub. p

> g 7J

g™

> g 7J

g™

° crushed/ pressed bow

N.V.

œ

œ J

senza sord. Vc.

°? œœ™™ ¢

œœ

œœ J

Ϊ

∑

4Ó 4

∑

with slightly less bow pressure, and slightly more pitch, but still rhythmic

beginning as nearly pitchless, sounding like measured "clicks"

œo ™

6>6 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 66 6>6 66 66 6>6 66 6>6 66 6>6 66 66 66 66 6>6 66 66 6>6 66 66 66 66

f

fpp

66 66 66 66 66 66

‰ pppp

ppp

fp

fp

= poco rit.

Subito a tempo q = 69 - 72

œ.

. . œ #œ

. œ S.

œ. œ.

œ. . œ ≈

. œ

. œ

cut-off w/flute

molto f ecstatic

molto f 181

>œ.

. œ

#>œ

3

3 4

&

∑

#œ ™

∑

Ϫ

Ϫ

Ϫ

4 #œ 4

is

the

ab

… Œ

œ œ

Q > ‰ œ œ 43 #œ œ #œ 3

œ ‰

3

diff - erent

from that

of

cur - ing

or

ed

-

u

-

ca

-

ting.

Mad - ness

3 4 Œ

∑ Perc.

/

oo œœ

o œ

œ

œ

œœ

œ

œœ

œ

-

so - lute break

with the

4 Ó 4

˙™

Œ

œ

work of art;

3 4 Œ

it

œœ

Œ

œ

ff ord.

tongue stop

#>œ.

Fl./ B. Fl.

° ¢&

≈ 6 b >œ

6 œ>

6 œ>

sweeping

nœ

bœ ‰

>œ. . nœ

n œ. ™ n œ œ œ#œ œ œ #œ

œ #˙ ™

œœ œ

˙™

#˙ ™

3 4

œ œ n œ #œ œn œ

˙™ Œ

œ#œ œ nœ

œ œ n œ #œ œ œ ‰ nœ#œ œ œ 44 ‰

#œ…

#œ

œnœ œ œ œ

œ n œ #œ œ œ

nœ#œ œ œ

3 4 Œ

Ó

‰ nœ#œ œ œ

‰

5

5

5 3

5 10

5

10

5

ff cut-off w/flute

Subito a tempo q = 69 - 72

poco rit.

… Œ

ord.

3 4

∑ &

∑

∑

4 Ó 4

# ˙˙ ™™ > ff Pno.

? <#>g

{

sub. f

sub. p

> g 7

g

> G 7

3 4

∑

Q 3 4 Œ

Œ

3 4 Œ

‰

‰™ ##>œœ

# œœ > ff ∑

∑

4 4

∑

#>œ ™ “‘ ° cut-off w/flute

ord.

Vc.

°? 66 66 66 66 66 6>6 66 66 66 66 66 6>6 66 ¢ fp

f

6>6 66 6>6 66 6>6 66 6>6 66 6>6 66 6>6 66

>™ 3 #˙˙ ™ 4 ff

˙˙ ™™

˙˙ ™™

4 œœJ 4 pp

… œ>œ Œ

#œœ ™™ ff

fp

> 3 #˙˙ 4 ff

œœ mf

ff

> #œ

187 3

3 3

S.

™ & #œ

œ

forms

-

-

-

#œ

œ the

con

-

œ œ #œ #œ -

œ

œ

sti - tu

-

-

17

tive

Œ

of

∑

Œ

œ

a

#œ ° œ ¢& nœ#œ œ

#œ œ œ

œ œnœ œ œ œ ‰ œœœœ ‰

#œ œnœ Œ

#œ œnœ

œ# œ œ

Œ nœ#œ#œ œ

œ œnœ

œ# œ œ

‰ nœ#œ #œ œ

œ œœœ

4 4

‰ nœ#œ œ œ

5

-

-

-

-

-

nœ ™ >> > œ œ œ ‰

3 4

Ϫ which

3 4 œœ œ

Œ

œ œ œ #œ #œ œœ œ# œ œ #œ œ # œ œœœ ‰ ® ≈ ‰

5

‰™

- bo- li - tion,

-

4 ˙™ 4

œ

/

œnœ Fl./ B. Fl.

‰

mo - ment

œœ

∑ Perc.

4#˙ 4

#œ #œ J

œ -

Ϫ

3

#œnœ œ œ œ 3 4

‰

dis

œ

#œ ™ solves,

-

œ

. œ œ œ. n œ œ. n œ. # œ

n œ. . . œ œ # œ #œ. œ œ

5

5

5 5 5 5

10

5

& Œ

10

‰™

Œ

#œœ n>œ

5

∑

5

10

Œ #˙ # ˙˙ > Œ

Œ

4 4

∑

œ>œ

>œ ‰ œ

3 4

>œ œ J

Pno.

#œ>œ ™™ ? Œ™

Œ

{

‰™

4 ‰ 4

#œ >

>™ 3 #˙˙ ™ 4

Ó

>˙ “‘

>œ™ ø

Vc.

°? #˙>˙ ™™ ¢

˙˙ ™™

˙˙ ™™

4 œœ 4

ff

#œœ

pp

œ>œ

œœ

œ>œ

ff

pp

ff

#œœ œ>œ œœ

3 œœ 4

p

ff

=

R 192

p

Ϫ S.

molto p

& ‰™

#œ ™ which

Ϫ

‰™

#œ ™

dis - solves,

Ϫ

which

Ϫ

dis - solves

Ϫ

#œ ™ ‰ ™

in

time

Ϫ the

#œ ™ truth

Ϫ

‰™

Ϫ

of

#˙

the

œ

‰™

#œ ™

work

4w 4

Ϫ

of

3 4œ

Œ

Œ

4Ó 4

∑

‰ œ

art.

œ 43 J

Ju - stice

L.V.

œ Perc.

œ

+. œ

œ

‰

. . œ ‰ œ

‰

. œ ‰ Œ

. œ ‰

. œ ‰

. œ Œ

‰

Œ

. ‰ œ

Œ

o ˙™

4Ó 4

/

o o ‰ œ 43 œ

Œ

mp

Ϫ

œ J

œ

4 ‰ œ™ 4

˙

p

Ó

3 4

ppp

f

œ nœ 5 5

Fl./ B. Fl.

° #œ ¢&

œ

#œ œ #œ

#œ

N.V.

5:6 5

#œ

5

nœ

#œ œ

œ œ œ

#œ œ

œ

œ #œ #œ œ œ

Ϫ

#œ œ#œ nœ œ Œ

#œ œ#œ œ œ ‰ Œ

∑

Œ

4Ó 4

≈Œ œ œ œ #œ

3 4

∑

3 4

∑

Œ

Œ

≈ 44 ‰ œ ˙™ # œ # œ œ œ ppp

3 4

7:6

mp

p

pp

R œ œ>œœ™™™™™™ & œR

Œ

∑

∑

∑

∑

4 4

∑

∑

∑

4 4

> #G 7

g

4g ‰ Œ 4

Ó

3 4

oo ˙˙

o œœo

o œœo 4 ‰ Œ 4

Ó

3 4

mf

pp

∑

3 4

arco

Pno. mf

mp

pp [L.V.]

#G ™

? ∑

{ Vc.

g

°? #œœ ¢ p

Œ

œ>œ œœ œ>œ ff

p

ff

œœ œ>œ # ˙˙ ™™ p

ff

sub. pp

˙˙ ™™

Œ

> #G 7 ø

˙™ ˙™

g

g Œ

Œ

> #G 7

g

4G 4

3 4g

Œ

Œ

ø

˙™ ˙™

˙™ ˙™

4Π4

oo ˙˙ ™™

oo 3 4 ˙˙ ™™

soprano signals ensemble when ready to proceed 18

molto rall. sub. p

S 3œ œ 4

202

S.

3 &4 Œ

. œ œ

‰

4œ œ Œ 4

must al

Ó

ways,

-

sub. p

j œ

œ œ J

ju-stice must al

œ

ways

-

que

Subito a tempo q = 69 - 72

sub. p

œ œ œ

‰ œ™ œ just

as

stion it - self,

-

f sub.

U œ™™

4 4

3 4 bœ

bœ R

œ

˙

so

-

-

ci

-

-

-

-

-

e

ty

-

, p. œ

. ‰ nœ Œ

can

ex

2 4 ‰ œ. Œ ist

-

L.V.

+. … ‰ œ 43

L.V.

3 /4

Perc.

4Π4

∑

3 4

˙™

∑

∑

pp

U Ó

4Ó 4

˙ Œ

3 4

2 4Œ

∑

3 4

pp

sfz cut-off w/triangle

… ˘ N.V. œ œ 43

watch for soprano cue before moving on Fl./ B. Fl.

° 3 ˙™ ¢& 4

˘ N.V. œ œ™ 43 ˙™

4 ˙™ 4

N.V.

˘ N.V. œ œ™ J

˙™

sub. pp

U ˙ ææ

4˙ 4æ æ

œ

sub. pp

3 4 æœ æ

ppp

œ

ff

4 4

∑

Subito a tempo q = 69 - 72

finish arco and move to keyboard as quckly as possible; exactly rhythm not important and finishing arco early to accomodate switch is allowable; watch soprano for cue to proceed on ord. [L.V.]

S 3 4

∑

sub. pp

sub. pp

molto rall.

3 &4

2 4œ

˙

∑

∑

U -œ œ œ œ œ œ œ œ œ#œœ 3 ≈ bœ œ œœ œœ œœ 4

4Ó 4

∑

f

2 4

∑

3 4

∑ cut-off w/triangle

pp arco

Pno. pp

[L.V.] [L.V.]

? 43

4 #G 4

∑

{

3 4G

#g Œ

Œ

g

> 4G 47

#G

Œ

U Ó

#G

3 4 Œ

2 4g

g 7

… 3 4

ø cut-off w/triangle

o ˙˙o

M.S.T. using a full, airy bow

Vc.

6 3 °? 3 O O O O O O O O O ‰ 4 ¢ O O O O O O O O O

oo ˙ 4˙ 4

Œ

pp

o œœo

3 4

p

‰

Œ

oo œœ™ ™

oo 6 3 ™ œ OO OO OO OO OO OO OO OO OO ‰ ‰ œ ™

o… œœo J 43 o

watch for soprano cue before moving on arco M.S.T. pizz.

M.S.P. M.S.T.

U 6 6 6 3 4 O O O O O O ΠO O O O O O O O O O O O O O O O O O B O O O O O O -O O O O O O O O O O O O B O O O O O O ppp 6

‰ ‰ œ 44 Œ o

ppp

2 bœ 4 ‰ bœ

Œ

ppp

mp p

Suddenly subdued, almost motionless, with inner intensity q = 30 - 32

=

ppp

pp

ppp

f

spoken sung air

sung

ff

Subito a tempo q = 69 - 72 poco rit.

immediate, with a measured calm, flexible sung

f

stinging! fpp

rit.

Subito a tempo q = 69 - 72

sub. mf

210 3 spoken

S.

3U & 4 #œ

œ ‰ Œ J

on - ly

#œ ˜œ #œ

Œ

work means of the

œ ¿ #œj J .

it - sss - self it does on

, œ^

. 4 #œ œ. #œ. #œ. œ. ‰™ 4

2˙ 4

and[nnn]

° 3U #˙ ¢& 4 Œ

5 4‰

∑

its in-sti-tu- tions.

N.V. Fl./ B. Fl.

#œ. Ó

The

œ. #œ. #œ. œ œ ™ jud-ges of nor- mal

. #œ J i

-

4 4

œ - ty[eee...]

ord. 3

œ

œ µœ #œ

2 4œ

˙™

‰

4 4 #œ

Œ

3

j œ ˙

œ #œ ™

f

j 5 œ 4 ˙™

Œ #œ

pp

3

ppp

œ

œ

4 4

˙

pp

ppp

poco rit.

Subito a tempo q = 69 - 72

#œ œ œ œ œ œ > #œ œ œ œœ œœ œœ œ œ œ

# œ. œ. . . #œ. . œ. œ n œ œ œ œ #œ œ œ #œ œ

rit.

Subito a tempo q = 69 - 72 Suddenly subdued, almost motionless, with inner intensity q = 30 - 32

3U &4 Œ

Ó

∑

. . œ. # œ 2 #œ. #œ. #œ œ. nœ. #œ 4 ord.

∑

> œ nœ œ œ œ

œ œ

4 Π4

œ

Ϫ

# œ œ œ œ œ # œœ œœ œœ œœ œœ œ œœ œ œ œ œ œ œ > ≈ œ 45 #œ œ œ œ œ œ œ œ œ

4 4

3

poco f

molto p

mp

pppp

pp

Pno. [L.V.]

? 43 U Œ

{

Ó

∑

∑ &

2 4 ® #œ. œ. #œ œ™

œ œ#œ œ . > °

4 4 œ œ œ#œ

O¿ Vc.

°? 3 U ¢ 4 Œ ## ˙O o

˙O ™™

˙O

œ # œ. œ . œ™ . . #w

2 4

® #œ. œ #œ œ °

? #œ

œ #œ œ™

‰

5 4

∑ &

ø

‰™

Œ

4 4

œ

#˙ ‰

˙™

˙ œ

5 4

Œ

4 4 3

o fp

pp

pp melting

ppp

4 4

ord.

> , Oœ

blend with soprano and flute sounds

∑

T 19

Subito a tempo, calm, gliding q = 72 - 76 ppp

sub. p

217

p S.

4 & 4<#>w

3 4 ˙™

4 ™ 4 #˙

5 4

Œ

#˙ ™

#œ

4 ‰ 4

∑

3 4 ‰ µœ ˙ o o

˜˙

œ

‰ #œ #˙

Œ œ

in

the

so

-

ci

e - ty

-

of

the

throughout the 16th. note section, flute should try to blend with the piano & cello sounds so that where one begins and ends is indecipherable

as if coming into focus

° 4 ˙ ¢& 4

œ J

œ

We are

Fl./ B. Fl.

œ

‰ œ

#˙ ™

‰ #œ

4 5 4 #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 #œ œ œ œ œ œ œ œ œ œ œ œ

4 ˙ 4

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

Ó

p

pp

ppp

p

pp

T Subito a tempo, calm, gliding q = 72 - 76

4 &4

3 4

∑

4 4

∑

5 4 Ó

∑

Œ

‰ #œ

Œ

#˙

4 4

∑

∑

Ó

∑

p

p

Pno. throughout the 16th. note section, piano should try to blend with the flute & cello sounds so that where one begins and ends is indecipherable gradually release pedal

4 &4

{

3 4

∑

4 4

∑

5 4 Œ

∑

4 4

‰™ œ#œ œ œ œ œ œ œ œ œ

∑

Ó

‰™

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

pp

pp

ø

° throughout the 16th. note section, cello should try to blend with the flute & piano sounds so that where one begins and ends is indecipherable ord.

ord. CLT

ord. CLT

Vc.

MSP °? 4 œ ‰ ¢ 4 µœ ˙

#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 œ œ œ œ 5 4 ‰ 4 4

as if coming into focus

3 4

4 4 ˙

#œ

µœ Bœ œ œ œ œ µœ Bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ > ‰ #Oœ O˙

Oœ ™™

fp

ppp

‰

‰

˜œ

˙

pp ppp

pp

o

poco f

ppp

pp

=

#˙

#˙ #œ ˙

sub. mp

& œ great

‰ œ

#œ teach

-

er

judge,

5

œ ‰

S.

the

j #œ

œ doc - tor

judge,

ed

-

u

j #œ œ -

ca

, #œ j ˙ œ -

tor

œ

judge,

so

4œ 4

#˙ ™

4Π4

Œ

œ

cial

-

™ 3˙ 4

#œ œ

o

sub. pp

ff

f sub. mp

225

-

work

er

-

judge.

3 5

5

5

5

5

6

5

5

5

Fl./ B. Fl.

° Œ ¢&

µœ Bœ œ œ œ œ œ œ œ œ œ œ µœBœ#œnœ 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 œ œ œ œ œ œ œBœµœ œ œ Bœ µœ œ œ nœ#œ œ œ œ œ œ #œ #œ ≈ ‰

3 4

Œ

∑

r œ #œ œ œ œ œBœ µœ œ œ œ

pp mp

f p

#>œ ##œœ

#ww ∑

∑

∑

3 4

∑

4 4

∑

® œnœ œ œ œ œ œ œnœ#œ œ œ œ œ œ œ œ œ œ œ#œ œ œ 43 œ œ

∑

4Ó 4

Œ

Ó

Ó

& 5

p sfz Pno. 5

5 6

5

5

5

5

{

∑

Ó

Œ

Œ

r #œ #œ œ œ œ œ œ œ œ œ œ œ œnœ bœ œ œ œnœ#œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ

&

‰

≈ œ#œ œ œ œ ppp

pp

mf

pp

p

f

ø

ø MST CLT

ord.

ord. MSP

Vc.

#œ œ œ œ œ œ œ œ œ °? n œ œ œ œ œ œ œ œ œ ¢ 6

nœ #œ œ œ œ œ œ µœ Bœ œ œ œ nœ #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 µœ Bœ œ œ œ œ œ œ œ œ œ œ µœ Bœ œ œ œ Œ

‰

‰ 6

5

‰

œ #œ œ œ œ œ œ œ œ œ œ µœ Bœ œ œ ≈ ‰

5

3 4

∑

4≈ 4

5 3

pp

mp

pp

pp

f

p

20

U meno p molto p N.V.

232

S.

& Ó

Œ

ord.

5 4 œ

œ

Ϫ

4˙ 4

œ ˙ J

Œ

‰

œ

Ϫ

œ J

j œ bœ

Ϫ

œ ‰ #œ ™

j #œ ™ œ

nœ The

Fl./ B. Fl.

ly

ri - ci

-

-

sm[mmm...]

-

of

mar

-

gin

a -

-

li - ty

may

find

in

Ϫ

#œ ™ 5 6 6 ° 5 4 ‰ ≈ 4 4 & µ œ œ n œ œ œ œ B œ œ œ ¢ Bœ œ bœ œ œ Bbœ 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

3 ™ 4 #˙

j œ™ œ -

spi - ra

4 4

tion[nng...]

-

œ

˙ 6

3 ‰ œ#œ œ œ œ œ œ œ œ œ œ œ 4 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 ‰

6

4 œ> nœµœµœ œ œ#œ #œ 4

Œ

ff sub. pp p

pp

mp

˙

‰™

pp

p

pp

mp

pp

f

U 5 4

∑ &

#œ ™ ≈

4Π4

∑

nœ ™

œ™ > œ J

#œ ˙ Œ

‰

3 4

∑

4 4

∑

p p

f

Pno. 6 7 6 > & #œ œ œ œ œ œbœ œ œ œ œ œ nœ œ œ œ œ œ œ œ

5 4 Œ

{

≈ #œ œ œ œ œ œ œ 44 #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

Ó

‰

‰ ™ œ#œ 43 œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ 44

‰ Œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ

5

pp f

pp

mf

5

5

ppp

5

f

pp

ø

ø

MST ord. CLT MSP

ord.

Vc.

µœ œ nœ œ œ œ B œ Bb œ # œ œ œ œ # œ œ œ œ œ œ œ œ œ œ ˙™ °? B œ œ b œ œ 5 4 ¢ 5 5

œ

4 4

Π5

5

#>œ n œ œ œ œ B œ µ œ œ œ

Bœ µœ œ œ œ µœ Bœ 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 œ œ œ œ œ œ œ œ#œ œ œ œ R ‰™

3 4 ‰™

‰™

4 4

5

mf-p f sub. pp

ppp

pp

= gradually change phoneme gradually change phoneme mf mf 239

becoming sexy, seductive sub. p

piu f

#œ

˙

f

mp S.

4 &4 Œ

#œ ™

‰

3 4 ˙™

œ

4œ 4

˙™

Œ

‰

œ in

˙

œ

3 2

Œ

œ

the

i

-

-

m[mmm...]

-

-

-

-

-

- age,

the

˙ i

m[mmm...]

-

-

-

-

-

- age,

-

the

> n œ # œ B œ µ œ œ n œ b œ n œ. >œ œ bœ #œ#œ œ œnœ œ œ œ ‰™ Œ

ord.

Fl./ B. Fl.

6 ° 4 4 & # œ ¢ #œ œ œ ‰ ≈

pp

#œ ™

™ œ œ

œ

œ ™ air > 5 6 O O O BO BO O bOBbO OBbOBbO ≈ Œ o sub.

˙

3 4 p

ppp

ord.

air 6 5 5

4Π4

‰

≈ #œ #œ œ œ œ œ œ œ > f pp

ŠnO O O BO BO O bOBbO OBbOBbO ŠΠ> o sub.

#œ ™

™ œ œ

œ

7

p

sfz

f

˙™

3 4

≈

3 2

3

f

f

4 &4 Œ

‰

4 4

∑

∑

bœ œ œ œ œ œ œ

∑

œ J 23

Ϫ

p 5

ppp Pno. ppp

œ

4 & 4 #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ

?

{

3 4

œ œ

œ œbœ œ œ 4 4Ó

p

Œ

œ œ bœ œ œ

‰

Ϫ 5 5

5

3

nœ ™

6

3 2

∑

œ nœ

œ

pp

ø >. MSP nœ #œ œ œ µœ ˜œ œ œ #œ œ ˜œ œ

MST

Vc.

°? 4 Œ ¢ 4

> ˜ œ ˜ œ œ œ nœ #œ œ œ Bœµ œ œ œ œ µ œ 3 ‰ 4 ‰ Œ 6

Œ

∑

4Ó 4

#>œ # œ œ œ µ œ B œ œ œ n œ bœ œ Bœ µœ nœ #œ ™ ≈ ‰ ≈ Œ

5

‰™ Œ

≈

7

7

6

mf-p

Ó

pp 5

ppp mf-p

pp

sfz

3 2

V 21 sub. pp

245

S.

spoken

3 & 2 #w ™

4˙ 4

im[mmm...]

-

-

3 4

Ó

2 slyly 4

∑

U ∑

4 4

∑

alert, observant

patronizing

with restrained ridicule

U ∑

U Œ

U Œ

Œ

U Ó

Œ

Œ

‰

‰

age

-

of the outlaw,

the great social nomad, who docile, frightened order. prowls on the confines of a

What

strikes me is that in our society, art

has become

tuning forks: struck together soprano strikes tuning forks as if giving the L.V. cellist the correct "A" to use for tuning singer picks-up tuning forks

Perc.

3 &2

4 4

∑

V 3 &2

4 4

∑

3 4

∑

3 4

∑

2 4

∑

∑

2 4

∑

2 4œ

#œ

U ∑

4 4

∑

U w w

U w w

U ˙ ˙

pp

mp

f

… Ó

4 4

U ∑

U ∑

U Œ

U Œ

Ó

U Ó

Ó

?4

U ∑

U ∑

U Œ

U Œ

Ó

U Ó

Ó

Pno. ppp

œ 5

#œ # œ ? 23 ∑

Ϊ

{

j

4 4

3 4˙

#œ #œ &

#œ #œ #œ #œ

#œ

4

#œ 3

#œ

œ enter immediately after the word "art" is spoken MSP ord. IV/harm. gliss.

o 3 >œ 4

IV Vc.

°? 3 ¢ 2

j œ o

4‰ 4

∑

Ϫ

œ o

œ o

>œo

2 4

=

sub. f

U ∑

U Œ

Œ

Œ

Œ

U Œ

Œ

o œj

>o. œ

≥ b œo

o b >˙ U Ó

‰

patiently gliding

pp

make no preparation for singing; move seamlessly from spoken to sung word, even if the sung entrance is early or late this is poetry, is it fact...

Poco piu mosso, patiently q = 76 - 80 singer stares somewhat at cellist sadly

253

Uo œ

4 4

W singer stares at tuning fork

Uo œ

Uo w

U b wo

˙o

5

pp

S.

>œo

>œo

>œo b œo

U Œ

with a hint of dispair

Œ

&

5 4

3 2

∑

∑

Œ

Œ

Ó

sffz

sung

N.V. pppp

spoken

7 4 bw

Ó

mp

Ó

Œ

3U 2∑

Ó

shows,

something, which is only related to

U ∑ Perc.

U Œ

&

U Œ

˙™ ˙™

Œ

… U Œ

man is an invention of recent date.

As the archaeology of our thought easily

or to life.

and not to individuals,

objects,

L.V. like bells

Œ

5 4

3 2

∑

∑

7 4 Ó

∑

Ó

˙™ ˙™

mf

switch to Bass Flute

gentle air

breath tremolocontinuous articulations, fast as possible ["huh-huh-huh"] air

.... ‰ œ™

6

Fl./ B. Fl.

U ∑

U Œ

Œ

Ó

pp BASS FLUTE enter immediately after singer says "or to life."

° ¢& ‹

… 3U 2∑

Ó

U Œ

Œ

U Œ

Œ

5 4 bO OBbO O O ŠΠ. . . . .

breath tremolo air 6

Œ

3 2 O. O. BO. O. bO. ≈ Œ

Ó

.... ‰ œ™

.... w

6

7 4

Ó

3U 2∑

∑

bO. O. BbO. O. O. ≈ Œ

p p pp pp

pp

W enter immediately after singer says "or to life."

ord.

Poco piu mosso, patiently q = 76 - 80

U ∑

U Œ

Œ

Ó

U Œ

Œ

U Œ

Œ

&

5 4

3 2

∑

∑

7 4 bbœœ

∑

œœ

œœ

#œœ

˙˙

n#œœ

3U 2∑

pizz.

pizz.

n w+

Pno.

?

{

U ∑

U Œ

Œ

Ó

U Œ

Œ

U Œ

Œ

+ 5 b˙ 4

Ó

Ó™

+ 3 w™ 2

7 4

Ó

∑

3U 2∑

+ b˙

pp ppp

pp

° pizz.slow, gentle strumming

ord. IV

b œo Vc.

°? ¢

U ∑

U Œ

Œ

Ó

U Œ

Uo œ

˙o

œo

5 4 pp

˙o ™

wo ™

3 2

Ó

1˙ ™ # # æ˙˙ ™™

pp pppp

B 1œ µµæœœ

7 4

∑

3U 2∑

Ó

make no preparation for singing; move sung seamlessly from spoken to sung word, 261 even if the sung entrance is early or late N.V. pppp

22

S.

& Ó™

sung

sung spoken

N.V. sim. pppp

b˙ ™

w

5 4Œ

Ó

sim.

3 2 ˙

‰ b˙ ™

‰

end.

N.V. pppp

Ó

Ó

Ó

U™ Œ

Ó

‰

there

bw pow

-

-

œ œ er

not

a

∑ Perc.

exists a system of power which blocks, prohibits,and invalidates this discourse and this knowledge,

But

And one, perhaps, nearing its

Ó

Ó

… ‰ Ó

5 4 Ϫ Ϫ

˙ ˙

&

3 2

Œ

∑

∑

Ó

Ó ˙ ˙

pp

pp breath tremolo breath tremolo ord.

ord.

.... bϪ

breath tremolo

.... w

6

Fl./ B. Fl.

° Œ ¢& ‹

µ ˙ ™™

O. O. BO. O. bO. ≈

bœ J

Ó

.... .... œ bœ J

5 4Ó

.... Ϫ

.... b˙™

.... j ˙ œ

3 2

˜œ #œ Œ

Ó

U™ Œ

Ó

‰

.... Ϫ

.... bœ J

Œ

p mf

ppp

ppp

p

pp

pp ord.

∑

bbœœ

& Pno.

œœ

œœ

#œœ

œœ

n#œœ

5 4Ó

Œ

3 2 #bœœ

nbœœ

nœœ

œœ

Ó

Ó

U™ Œ

‰

∑

U™ Œ

‰

∑

#w w

w+ ? Ó

5 4

∑

{

3 2

∑

∑

Ó

Ó arco CLT

Vc.

1˙ ™ ˙™ ˙™ æ

°? Ó ¢

B 1œ Bœ Bœ æ

IV/ord. harm. gliss.

µœ #œ nœ µœ Bœ nœ bœ

5 4

∑

3 2

∑

∑

≈

U™ Œ

Ó

‰

Ó

Ó nO

pp

pp

mp pppp

=

X sung

sung

ord.

freeze!

spoken

mf

267

molto p

ΠS.

& #˙ on

U Ó

U Œ

. Œ b˙

µœ

œ -

ly

but

œ

one

n˙ ™™

j #˙ #œ

that

pro - found

-

molto p

-

ly

5 4

Fl./ B. Fl.

… Œ

& ˙™ ˙™

° <b>.... ¢& œ ‹ p

.... .... œ œ .... J nœ ™

U ∑

Ó

.... b˙ U Œ

Œ

∑

The in - tel - lec - tu - al's

#w

œ U Œ

œ #œ œ role

is no

long

-

er

to place herself "somewhat ahead and to the side" in order

penetrates an entire societal network.

Ó

U Ó

. . . . . . 3 2 ‰ bœ œ œ œ œ œ

and su - bt - ly

found in the manifest authority of censorship,

Perc.

mf

spoken

œ bœ. ™ œ. ™ œ. ™ œ. ™ Œ ™

˙ -

spoken

sub. molto p

Œ

Œ

Œ

5 4

∑

˙™ ˙™ .... n œ .... #œ ‰

.... .... .... .... j œ j #˙ œ œ

.... bœ

.... .... .... .... œ ‰ œ ˙™ œ

3 2

∑

.... .... #œ ™ ‰ 45 ‰ œ

.... b˙

.... #œ

∑

∑

.... .... b œ œ™

.... .... ‰ œ 23 ˙

5

.... bœ Ó J

Ó

Ó

Œ

U Œ

j œœ Ó

Ó

Œ

U Œ

3 3

p

X release pedal immediately after the word "censorship" is spoken ord. ord.

& Ó

Ó

U Ó

…U Œ

Œ bbœœ

œœ bœœ

˙˙

∑

∑

5 4

. . . 3 2 ‰ bœ œ œ b˙˙ ™™™™

∑

pp pp pizz.

Pno. pizz.

n ˙+ ? Ó

{

Ó

U Œ

Œ

Ó

+ b˙

stopped w/L.H.

n ˙+

pizz.

6™ 6™ 6™ 6™ 6™ 6™ Ó

Ó

Ó

Œ

ppp ppp

ppp

pizz.

œ+ 6™ 6™ 5 Ó 4 °

Ó

œ+

b˙+

3 2Ó

Ó

Ó

Ó

Œ

Ó

Ó

U ææ ææ œœ œœ

°

° b wo Vc.

°? ¢

b œo U Ó

U Œ

wo

˙o

I o ˙™

MST

œo

œo œo

II

œo Œ

œo

pizz. trem.

œo

wo

5 4

≈ #Oœ Oœ Oœ Oœ Oœ Oœ Oœ Ó

3 2 ææ ˙™

æ œœæ

Ó

pp ppp

pppp

ord.

Y very cool, reserved, floating very cool, reserved, floating pp

Poco piu mosso q = 80 - 84 half-sung

274

pp

˙ ™™ S.

#œ.

ex - press,

ex - press,

& Ó to

Perc.

˙ ™™ j Œ ‰ #œ. #œ

& Ó

Ó

Œ

Ó œ œ

Ϫ

to

Ó

œ Œ

‰ #œ œ to

Œ œ œ

œ

ex - press the sti

∑

pp

.… hÓ

. bh

5 4

3 2Ó

∑

fled truth

-

pp

o + r œ™™ œ Ó . v

o . bœ ™™ œ ≈ œ™™ R >

23

ord.

mf

w

1/4 tone bend fpp

of

… Ó w w

˙

+ ≈œ‰ Œ '.

5 4

3 2

∑

4‰ 4

¿ ¿ v

the

sss...

4 4

∑

- sti[iii] - fled

of

the

+ ≈ œ ‰ Œ 42 '.

co[ooo...] - ll

2 ∑

∑

∑ /4

tongue ord.

breath tremolo

ord.

breath tremolo

ord.

breath tremolo ord.

Fl./ B. Fl.

.... .... .... .... #œ 3 #œ œ œ ™

.... ° b œ µœ ™ ¢& J ‹ pp

.... .... œ Œ ˜˙ œ ™ J

.... ........ .... .... .... œ™ j ™ ‰ ‰ #œ œ #œ œ œJ

.... µœ #œ ™

.... .... j œ œ

‰

3

… rÓ µœ. > sfz

.... .... ‰ œ œ™™

3 3

mp

mf

pp

mf

p

ppp

5 4

3 2

∑

4 4

∑

∑

N.V. pizz. calm "t"

lip pizz.

œ ™™ 1. RÓ

"p"

p

#1 ‰ ™ Œ Ó v sffz

2 4

∑

∑

2 4

∑

∑

2 4

Ó

2 4

msfz

Y Poco piu mosso q = 80 - 84 ord. ord.

“” . . . . . . . b b œ>œ b n œœ ™™ 4 œœœœœœ b œ ‰ ‰ ® nnœœ ™™ Ó 4

ord.

calm, almost halting

& ‰#bœœ ™™ > p

Ó

˙˙ ™™

Ó

Œ œ œ œ œ > mp

#œœ

Ó

Ó

5 4

Ó w w > mf

#œœ

r œÓ .'

3 2 ˙™™™

∑

7

ppp pizz.

ppp

pizz.

Pno.

˙+

# ˙+

f

5 4

? ∑

{

Ó

Ó

∑

Ó

Ó

ppp

3 2

∑

4Π4

∑

‰™

ppp

ø arco throw-bow

ord. arco I Vc.

°? ¢

ææ bœ ™ µµ œœ

æ ˙˙æ™™ pp

mp

Ó

b œ. “‘ arco 1/4 tone bend

arco I pizz.

o œo ˙™ J

>O ™™ O ≈œ ˙

MST

o œo ˙™ J

bœ ™

o Ϫ

MSP

> œo Oœ œo Oœ œo Oœ œo O6 ≈# œ ™

Œ

… > ˜ œ. Ó

5 4Ó

>≥. . . . . . b œœœœœœ ‰b œ œ œ œ œ œ 23 Ó

Ó

Ó

Œ ™™

mp

pp

pp sfz

pp

sfz

pp

˙o ≤ pizz. œ^ ™™ œ. Ó R

» 4 r 4Ó b œ.

6

sub. mf

pp

˙o

pizz.

p

mfpp

f

= accel.

Quasi ad libitum as rapidly & clearly articulate as possible f

Subito meno mosso q = 72 - 76

283

S.

2 &4

5 8

∑

o 4 ‰œ 4 . #œ œ

∑

œ.

3

Ϫ

bœ ≈

Œ

œ œœœ œ

nœ

œœ œ

œ

œ œ

U Ϫ

œ œ

U ˙ > œ œ œ œœ œ œ œ œ #œ œ œ

œ

#œ

of the col - lec

-

ti - vi - ty[eee]...;

ra

-

-

ther, it is to strug-gle a-aginst the forms of po-wer that trans

-

œ

œ 45

form her in-to its ob-ject and in-stru-ment in the sphere of

strike triangle w/tuning forkallow both items L.V.

2 /4

Perc.

5 8

∑

o 4˙ 4

∑

Ó

∑

5 4

∑

mf tongue stop

lip pizz.

air

"p" Fl./ B. Fl.

air

1/4 tone bend air

5

° 2 ‰ ^6. ® O O BOBO ‰ ¢& 4 ‹ 3 molto

5≈ 8

#1^ ‰

> µO nO BO bO. O µ O ® nO µO µO nO BO

U ˙™

U w

ord. 3

4Π4

Œ œ œ

5 4

Ó

œ bœ œ p

f

sffz 5

6

ff sffz

f

molto f

f

accel. Subito meno mosso q = 72 - 76

. “” bnnnœœœœ œ. œ. œ. œ. œ. œ. œ. œ. œ. n œ. 2 ‰™ ® 5 ® # œœ ≈‰ 8 &4

œ. ≈ n#œœœ Œ

4Ó 4

‰™

Œ

>. . . nœœ œœ œœ

. œ. œ. # œœœ. œœœœ. œ. ™ ad libitum, evenly and receding œ bœœœ ™™™ . . bœœœ œœœ œœœ n œ .œ œ. > œœ œœ ≈ ™ ≈ ™ œœ ≈ ≈ ™™ ® ® bœœœœœœ ≈ nœœ œœ œœ œœ œœ œœ

stop playing after the word "transform"

œœ œœ

œœ

5 4

œœ œœœœœœœœœœ ∑

10

pp Pno. f

? 42

{ Vc.

‰™ Œ b œ. “‘

°? 2 ‰ » Œ ¢ 4 bœ .

f >. >. 5 ® œ® œ® ™ 8 bœ œ œ j n œ. > “‘ »o > œ 5‰ Œ 8

sub. pp

f mf

4 4

Œ

Œ

≈ b œ.

arco throw-bow

>≥. . . . . . b b œœ œœ œœ œœ œœ œœ 4 Ó 4 6

sffz f

f

∑

p

≈ œ.

≈œ ≈ ‰ . œ. œ > b œ. >.

sub. pp

sub. ff

pp

5 4

∑ °

pizz.

MSP arco

˙≤

» œ

U w Œ

p

U ˙™

5 4

Ó

f p

f

Z 24 p

suspended languid

A tempo q = 80 - 84 288

S.

5 &4 Ó

Œ

4 œ. 4

˙ "know

‰

Œ

Ó

Œ

ledge,"

-

#œ ‰ ™ .

œ

5 4Ó

Œ

Œ

4˙ 4

Œ #œ

"truth,"

"con

œ

scious

-

#œ

¿

o Π
Ó

5 4

∑

ness," - [sss]

-

ord.

NV

w Fl./ B. Fl.

° 5Œ ¢& 4 ‹

˙ #˙

#>œ ™

˙

4 4

™ 5˙ 4

œ

≈

p

ppp

, #>œ

™ 4˙ 4

˙

µ˙

#œ

˙

5 4

‰

ppp

sub. f

˙ ™™

sub. f

pppp 3

ppp

Z A tempo q = 80 - 84 5 5:6

5 j & 4 œœ

nœœ J

œœ

œœ J

3

#œœ

4 œj #˙ 4 œ #˙

œœ

mp

˙˙

˙˙

5 4 ˙˙ ™™

##˙˙ ' poco

pp

4˙ 4˙

˙˙

œœ ™™

j œœ

##œœ œœ ' poco

œœ ™™

˙˙

r 5 œœ 4 ' poco

##˙˙ ™™™™™™

#œœ

mf Pno.

˙™

sfz

˙

? 45

4 4

{

∑

sfz

5 4

∑

4 4

∑

sfz

n˙

∑

Ó

5 4

∑ pp

ø

°

ø

ø

N.V. ord. NV Vc.

°? 5 Œ ¢ 4

4˙ 4

w

#˙

p

> ≈ #œ ™

˙

ppp

5 4˙

œ

sub. f

œ

, > #œ

4 ˙™ 4

˙

˙ ™™ ‰

5 4

w &

ppp

sub. f

ppp

pppp

= 295

S.

5 &4

˙ ™ 114 #w

Œ #œ

w

4 ‰#œ 4

˙™

˙ œ

and

"dis -

course."

, 11 #w œ˙ 4 J œ

5 4 j #œ œ

in the sphere of "know - ledge," of

4 4

"truth..."

at this point, allow triangle strikes to depart from the beat, alla ad libitum e ritardando

at this point, allow triangle strikes to depart from the beat, alla ad libitum e ritardando

triangle: strike w/tuning fork A440/L.V.

˙™

w

A tempo

Perc.

5 &4

o 11 ‰ œ 4

∑

œ

œ

œ

œ

œ

œ

œ

œ

4 4

Ϫ

5 4

∑

11 œ 4

∑

œ

œ

œ

œ

4 4

w

œ ˙ ™ 11 w J 4

Ó

Ó

Ó

4Π4

Œ

breath tremolo

5 4 w

˙™

ord.

air

ord.

Fl./ B. Fl.

œ

extremely precise, exacting, as if already in motion

pp

> ° 5 #œ ™ ¢& 4 ‹ sub.

œ

Bœ 114 ˙ ™

3

.... O

Œ

Ó ˙˙

b˙ ™™

4 4

Bbœ J

ppp f

f

5 & 4<#><#>˙˙

˙˙ ™™ 114 w w

Ó

Ó

Ó

extremely precise, exacting, as if already in motion pp

Pno.

4Ó 4

Œ

#˙˙

5 4 ##˙˙

˙˙ ™™

11 w 4 w

Ó

mf poco poco sfz sfz

poco poco sfz sfz pp

pp

pp

pp

sffz

5

5

sffz pp

? 45

{

∑

11 Ó 4

® ‰™ h. “‘

Ó

≈™ ‰ h.

≈ ‰ h.

4 4

Œ

‰ ≈ h. v

‰® ≈ h.

® ≈# h ‰ h. v. v

sffz

sffz

≈™ ‰ h. v

≈ ‰ h. v

pp

4 4

‰ ≈ h.

5 4

∑

∑

°

11 ® ‰™ 4 h. “‘

≈™ ‰ h. v

≈ ‰ h.

‰ ≈ h.

‰® ≈ h.

® ≈# h ‰ h. v. v

‰ ≈ h.

® ‰™ h.

‰™ &

4 4

h.

extremely precise, exacting, as if already in motion slowly begin to lower the top pitch while keeping the open A string and A harmonic unchanged I 3

Vc.

° 5 ¢& 4

>™ œ sub. f

3

3

3

œ ˙ ™ 114 œ ™ œ œ ™ œ œ ™ œ œ ™ œ œ ™ J n œ o œo œo o œo œo o œo œo o œo ppp o p

3

3

3

œ œ™ œ œ™ œ œ™ œo o œo œo o œo œo o œo

3

œ œ™ œo o œo

3

œ œ™ œo o œo

3

3

œ œ ™ œ 44 œo o œo œo o œo

3

∑

5 4

∑

11 ‰™ 4

3

3

3

œ œ ™ œ œ ™ œ œ ™ œ Bœ ™ œ o œo œo o œo œo o œo œo o œo o p

3

œ œ™ œo o œo

3

3

3

3

3

3

œ #œ ™ nœ #œ ™ nœ #œ ™ nœ µœ ™ nœ œ™ œ 44 œo o œo œo o œ > n œo o œo œo o œo œo o œo œo o œo o poco sfz

AA 25 take bass flute's sound and imitate as closely as possible, eliding imperceptibly to the cello

Subdued q = 63 - 66 300

put triangle down; take other tuning fork

gradually change phoneme

gradually change phoneme

p S.

4 &4

∑

6 4Œ

∑ w

‰

[uuu...]

œ

[uuu...]

j œ Ó

4 ™ 4œ

Ó

Ϫ

[uuu...]

5 4˙

[ah...]

[ah...]

breath tremolo ord.

Fl./ B. Fl.

° 4<Bb>˙ ¢& 4 ‹

3™

.... 6 Ϫ 4

w ∑

˙ ‰

4Ó 4

Ó™

Œ

[uuu...]

ï o ï o œ œ œ œ œ 5 Œ 4

ord.

nœ J

5 4

timbral alterations

N.V. air

4 4w

˙™

Ó

ï o ï ˜ œ œ œ ‰

4Ó 4

Œ

5

[uuu...] p

elide imperceptibly with voice; match tone with written vowel sounds in brackets

3

mp [uuu...]

5 4

[uuu...] sub. ppp

[ah...]

gently and freely pluck strings between bridge and tuning pins w/ plastic guitar pick in the written contour; need not coordinate exactly with other parts

AA pizz.

Subdued q = 63 - 66

4 &4 Ó

Œ

+ œ

‰

"Nahandove"

∑

j

6 4 Ó™

∑

4 j 8™ 48

‰ 8 #8 ™

8

5 j 48

8

Ó™ #8 ™

8

4 4

∑

5 4

4 4

∑

5 4

mp ppp Pno.

4 &4

∑

{

∑

6 4

∑

4 4

∑

5 4

∑

∑

° III/M.S.T. harm. gliss.

œo 3

3

œo

œo

œo

œo

œo

œo

œo

3

N.V. Vc.

° 4 ¢& 4 œ™

œ ˜œ ™ œo o œo

=

5 &4 œ

Œ œ

Y >û

5 /4

6 4 Ó™

∑

M.S.P.

4Ó 4

Œ ˙

?

Oœ

o œ

o 5 œ 4

o œ

o œ

o œ

o œ

Ó™ &

ppp 3

4Ó 4

5 4

˜˙

o p

BB sub. pp

ord. mp

œ is

a

Precise, unyielding q = 120 - 124

rit.

j j #œ œ #œ

Ϫ

œ œ

4 4

∑

∑

p elide imperceptibly from and to voice

4Π4

[ah...] [uuu...] [thah...]

Perc.

‰ œ #œ œo o œo

plosive - amplify gentle exhalation of air in a downward contour poco sfz

307

S.

œ ˜œ ™ œo o œo

o œ

thing

‰ 42

∑

5 8

∑

∑

∑

∑

CONDUCTOR: claps suddenly the notated rhythm

of this world:

∑

2 4

∑

2 4

∑

∑

5 >œ >œ >œ >œ >œ 2 >œ 8 4

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

ff

Fl./ B. Fl.

....o œ

.... ˙

° 5<˜>˙ ¢& 4 ‹

lip pizz.

lip pizz.

breath tremolo

....ï 4 œ™ 4

poco f

tongue stop

ord.

....o #œ ™

air

"p"

air

"p"

5

‰ ‰

2 4

∑

∑

5 8

2 ‰ 4 ≈ O O O O ≈ # 1v ff sffz

∑

ppp gently and freely pluck strings between bridge and pins as before

5

b œ Bbœ nœ œ Bœ bœ ≈ nœ Bœ œ œ Bœ ≈ #1 ‰ v 7 sffz 5 ff

3

3

‰ j n6 n œ. v ff

≈ nO nO BO BO

6 b œ. v

6 œ. v

ff

BB Precise, unyielding q = 120 - 124 rit.

pizz.

+ ˙™

5 &4 Ó

. “.” . . . bnnnœœœœ œ œ b œ œ œ. œ. #nœ>œœ ≈

ord.

4Ó 4

Œ

‰ 8

8

8 8

8™ mp

j 2 j 4 8 #8 ™

5 8

2 4 ‰™

∑

‰

◊ÿ. . . . “” . . . b b œ>œ nœœœ. nœ œ œ œ b . . œœ^. b œ n n œ œ œ ‰ #œœ ≈ ≈ #œ œ ‰™ n œ ≈ ≈ ≈

Œ

pp

7 7 7

sfz

p

ff

sfz

p

ff

p

Pno. ff

p

ord.

b >œ

3

>œ

ff

5 &4 Ó

{

Œ #˙˙˙ p

4 ww 4w w ww mp ø

2 4

∑

∑

5 8

?

∑

2 4

œ

‰™

‰

b œ. “‘ 3

Vc.

° 5 ¢& 4 œ ppp

˙

˙

arco pizz.

o ˙™

2 4 ˙o ppp

>œo

»

4Ó 4 pp

>. œ ≈ ≈™ bœ bœ

œ.

. œ ‰™

≈ n>œ “‘

b œ. v

ff

throw-bow ord.

œo mp

≈

œ.

II/M.S.T. harm. gliss.

o #˙

≈™

∑

5 8

?

∑

2 4 ‰

œo

>≥. . . . . . b b œœ œœ œœ œœ œœ œœ

‰ ™™

arco

» ‰ ™™

‰

b >œ

» b >œ

pizz.

Œ

n>œ

6

bœ pp

pp sffz ff

pp ff

sffz ff

316

26

3 8

∑ S.

&

2 4

∑

∑

∑

∑

∑

∑

∑

SOPRANO: begins clapping with conductor, but at a "pp" dynamic

pp

œ Perc.

œ

œ

3> > > > 2 > 8œ œ œ œ 4 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

(ff) lip pizz.

lip pizz.

lip pizz.

lip pizz.

tongue stop

ord.

air

air

"p"

"p" "p" 5

5

"p" 6

Fl./ B. Fl.

nœ

° ¢& ‹

≈

‰

≈ nO O µO µO 83

2 4 µO BO #O nO˜O ˜O ≈ #1 ‰ v sffz

∑

#1v ff

≈ nœ œ µœ µœ

7

ff

3

‰ n6 b œ. v ff

# 1v

5

sffz

◊ÿ > œ

3 8

œ

œ^. #œœœ ≈

2 4 œ

∑

n œ. œ. œ. œ. œ. n#nœ>œœ

7

> ≈ œ

≈ œ #œ œ œ œbbbœœœ ≈ ≈ . . . . . >

“” . > bnnnœœœœ . œ. œ. nœ. œ. bb œœœ œ ≈

6 n œ. v

6 b œ. v

6 œ. v

f

6

◊ÿ n œ. œ. œ. œ. œ.

> œœœœ

>. #nœœœ œ. œ. bœ. œ. œ. ≈≈ ≈

ff

p

7

7

p

f

pp

f

sub. sub. p ff

p

ff Pno.

ff p 3

# œ. #>œ ™

p ff

>. 2 œ ≈ 4 bœ

<b> œ ‰ ≈ ≈ ™ bœ 83 . œ.

?

{ œ. “‘

∑

≈™

≈

œ .

œ b œ. v

n>œ “‘

≈ bœ >.

nœ

nO

5

sfz f

sfz p

bO µO

#O

7

7

f

µO

O ≈ ff

“>” ^ ^ . bbb œœœ. n œœ bœœœœ œ. œ. œ. œ. œ. n œœ^. # œ # ‰ nœ ≈ ≈ ≈ ≈ nœœ ‰

7

p

≈ #1 ‰ v sffz

Ϫ

f sfz

BO

nO

3

‰

sffz

:◊; #nœ>œœ &

BO

bO

Bœ bœ nœ Bœ œ Bœ bœ nœ ≈ œ Bœ ≈

œ ≈ . ≈ ‰ bœ

f p

.

. ≈ bœ

≈

>œ

ff

3

œ >.

≈ bœ

nœ

œ.

‰ bœ “‘

“‘

‰

‰™

Œ b œ. >

n œ.

3

“‘

Vc.

» >œo ≈™ ‰

°? ¢

3 8

Œ

>≥. . b œ œ 2b œ œ 4

∑

arco throw-bow

arco throw-bow

arco throw-bow

>≥. . . . . . b b œœ œœ œœ œœ œœ œœ ‰ ™™

pizz.

œœ. œœ. œœ. œœ. ‰

» Œ n>œ

6

ff

pp

sffz

arco M.S.P.

pizz.

pizz.

#>œ

»o n>œ ‰

» #>œ

œ™™

» >œo ‰ ™™

» b >œ

‰

6

sffz ff

pp

sffz

pp

sffz

>≥. . . b b œœ œœ

» b >œ Œ

.

.

.

‰ 6

f ff

ff

= gradually emerging from the ensemble's texture; extremely articulate p

324

S.

& #œ

œ

it

almost gasping, using the accents to restart each phrase

#œ

is

œ

pro

-

œ

œ

#œ

duced,

truth

#œ

is

sub. piu f

poco f

#>œ

#>œ œ

pro

-

œ

œ

duced,

>œ

#>œ

œ J

#œ

it

œ J

is

pro -

#œ duced,

œ

#œ

it

is

pro - duced

>œ

œ

>œ œ

#œ on

-

ly

œ

œ

by

#œ

vir

-

tue

œ of

mul

œ - ti -

f

/ œ

Perc.

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

ppp overblown

ord.

harsh

cool N.V.

œ

œ

œ

œ

>œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

CONDUCTOR: stops clapping and restarts conducting

5

Fl./ B. Fl.

° µO µO nO nO˜O #O µO nO O ˜O #O µO nO ˜O #O ‰ ˜O #O µO nO ˜O #O µO nO ˜O #O µO ¢& ‹ 6 7 pp

˘ #> ff

sim. N.V.

˘ #> ff

œ sub. pp

N.V.

˘ #> ff

œ sub. pp

N.V.

˘ #> ff

œ sub. pp

N.V.

˘ #> ff

œ sub. pp

N.V.

˘ #> ff

œ sub. pp

œ sub. pp

N.V.

˘ #> ff

œ sub. pp

:◊; 7 7 7 7 . œ. bœ. œ. . . nœ. œ. bœ. œ. . . . œ. bœ. œ. . . . œ. bœ. œ. . . nœ œbœ œ >œbœ œnœ œbœ œ nœbœnœ œbœ œ œnœ œbœ œ œ n œ n œ n œ œ b œ œ n œ b 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 œ ≈ ≈ ≈ ≈ ≈ ≈ œ œ ≈ ≈ ≈ œ œ ≈ ≈ ≈ œ œ ≈ ≈ œ ≈ œ œ ≈ #œ œ ≈ œ ≈ œ œ ≈ œ ≈ #œ œ ≈ œ ≈nœ œ ≈ œ ≈ ≈#œ œ & ≈ 7 7 7

7

7

7

7

7 7

Pno.

7

p

p

7

7

7

7

p

p

p

ff

ppp

? ∑

{

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

°

Vc.

°? ¢

. . . . . . B œ. Bb œ Œ 7

pp

∑

freeze! 333

œ S.

& #œJ

œ J

ple

forms

/ œ

Perc.

of

œ

œ

œ

j œ .>

#œ œ J

œ

con

-

straint.

œ

œ

>œ

f

CC 2 2

p

f

f

#>œ œ

#>œ œ œ œ ∑

p

œ

And it in - du - ces re

2 2

-

œ œ œ œ œ œ œ

p

gu

lar

-

5 4 œ

œ

∑

f

becoming lyrical mp

p freeze!

> 5 #œ #œ 4 J

27

… #œ œ #œ œ Œ #œ .

3 3

n>œ

œ J

ef

-

fects

œ

œ

œ

. œ 22 J

Ϫ

of

pow

œ

œ

œ

3

3

er.

-

Each so - ci - e - ty

œ œ 22

œ

#œ œ œ œ #œ œ ∑ has

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

its re - gime of truth,

… œ œ œ œ œ. Œ

œ œ œ œ œ œ ∑ 3

∑

3

3

3

p lip pizz.

cut-off w/piano pizz. freeze!

"p" ord.

# 1^ N.V. Fl./ B. Fl.

° ˘ ¢& # ‹ > ff

œ sub. pp

˘ #>

N.V.

ff

sub. pp

N.V.

2 2

∑

Œ

œ

CC :◊; 7 7 7 2 œ œ ≈ ≈ œ ≈ ≈ ≈ ≈ œ ≈ ≈ #œ œ nœ œ & nœ œ #œ œ ≈ œ ≈ œ œ œ œ#œ 2

˘ #> ff

freeze!

N.V.

5˘ 4 #>

Œ œ sub. pp

Œ

Œ

2 2

‰

∑

Ó

Œ

# œ œ # œ œ œ œ œ œ. … Œ

œ sffz

poco f

sub. pp

ff

pizz.

(loco)

∑

Ó

. . # œ. œ. œ #œ. œ. 5 n œ. œ. # œ. œ. œ #œ. n>œ >œ >œ œ^. œ. œ. œ. . ≈ ≈ ≈ ≈ ≈ ≈≈ ≈ ≈ œŒ 4 ‰ ‰

Œ

pppp

+ 3

2 2

∑

∑

Ó

Œ ˙ mf

7 7

freeze!

freeze!

7

7

7

pp sub. f

Pno.

2 2

? ∑

{

∑

∑

5 4

∑

sffz

pp

2 2

∑

∑

∑

∑ °

crushed bow

Vc.

°? ¢

∑

6. 6. 6. 6. 6. 6. 6. 6. 26 6 6 6 6 6 6 6 2

∑

7

5 4

∑

2 #6 6 6 6 6 2 6. 6. 6. 6. 6. 6 6 6. 6. p

∑

mp

∑

∑

at end of sustained pitch, rapidly turn to ensemble & conductor and lead them in speech sub. pp

= less and less about making a point, more and more about what it all means 343 p 5

immediately transition from spoken to sung without preparation

DD

freeze! spoken

…

& #œ

œ

œ

œ

œ

#˙

œ ∑

er - al

po

li - tics"

-

∑

œ.

#œ its "gen -

like a geared mechanism, exacting

U w

5

piu p S.

mp pure

sub. pp

sung

of

5 4Œ

œ

#œ ™ œ

6 #œ ™ 8

Œ

‰ #œ

Ϫ

#œ ™ #œ ™

œ

truth:

the

types of

dis

course

-

#œ ™

which

it

nœ. ™ ‰ ™ Œ ™

ac - cepts

as

9 Ϊ 8

true;

˜˙ ™

2 #œ. 2 #œ.

the

. ‰ #œ

me - chan

-

i

‰ -

œ .

Œ

. ‰ #œ Œ

sms

and

in[ngg...]-

that is

/ œ

Perc.

œ

œ

œ

œ

œ

œ

œ

…. œ

œ

∑ 5

∑

5 4Ó

œ

œ

6œ 8

œ

œ

œ

Ϫ

Ϫ

Ϫ

Ϊ

9 8

∑

∑

2 2

∑

2 2

∑

U ∑

∑

&

5

pp

pppp

ppp cut-off w/piano pizz. air

#œ œ œ œ œ œ #œ œ œ œ œ œ Fl./ B. Fl.

° Œ ¢& ‹

#O

freeze!

Œ

∑

∑

5 4Ó

Œ

Œ

‰

5:6

mp

B O. … ‰ J Œ

#O O µ O BO O BO #O nO µ O BO nO b O. 6O ‰ ‰ 8

switch to Flute

Ϊ

U ∑

9 8

∑

9 8

∑

2 2

∑

∑

U ∑

9 8

∑

2 2

∑

∑

U ∑

∑

&

5:6

f freeze!

+ œ

5

∑

Œ

Œ

Œ

Œ

&

∑

∑

5 4

6 8

∑

∑

∑

DD + Ϫ

∑

f

Ϊ

ff

Pno.

? ∑

{

∑

∑

∑

5 4

6 8

∑

∑

∑

∑

∑

°

°

cut-off w/piano pizz. freeze!

Vc.

3

3 3

Ó

Ó Bb6 B 6

6 6

) # )ûû

… Œ

take plastic bottle w/L.H.; pizz & play arco w/R.H.

arco M.S.P./N.V. pure pizz.

°? Œ 3 b) ¢ )

&

˜œ ™

O˙ ∑

∑

5 4Ó

Ϫ

˙™

˙

#œ ™

∑

œO ™™

Ϊ

Ϊ

9 8

‰™

2 2

o f

mp

pp p

pp

pppp

˘ #>œ Œ ™ j Œ >œ f pizz.

6 8

Œ

>˙™

» j œ >

U ∑

immediately transition from sung to spoken without preparation

28

EE gradually change phoneme

spoken

ca. 3-4 sec.

tenderly, 356 patiently

sung sung spoken

ppp

U ∑ S.

Poco meno mosso; wading, circling q = 112 - 116

U Ó

˙ Œ

Œ

∑

˙ #œ ˙ R

Ó

&

#œ ™™ true

stances which enable one to distinguish true

or false statements,

or

œ

false

. œ

Œ

∑

Œ ˙

state ments,

to

#œ

˙

˙

3 4

- [uuu...]

to distinguish

singer moves to piano keyboard string 2 tuning forks together/LV

U ∑ Perc.

&

U ˙ ˙

dampen immediately on body on the downbeat

… ∑ ˙ ˙

∑

∑

∑

∑

3 4

∑

3 4

∑

∑

3 4

∑

∑

3 4

∑

∑

3 4

∑ w w p

f spoken: with the soprano leading, speak phrase as exactly with her as possible as to sound like a single voice

whistle tone on fundamental pitch

N.V. tenderly, patiently Fl./ B. Fl.

FLUTE ord.

U ∑

° ¢&

U Ó

Œ

Œ œ

w

w

w

w

‰ œ w > sub. ff

poco f

stances which enable one to distinguish true

ppp

spoken: with the soprano leading, speak phrase as exactly with her as possible as to sound like a single voice

pizz. w/fingertip, not plastic pick; exact pitches unimportant; follow notated contour

EE pizz. w/plastic guitar pick

tenderly, patiently

+ #>¿ ™™ ≈

Poco meno mosso; wading, circling q = 112 - 116

U ∑

U ∑

∑

+ ˙

Ó

&

∑

p

pizz. w/plastic guitar pick

Y+ Y+ Œ

mf

+ ‰ nœ p

gently and freely pluck strings between bridge and tuning pins w/ plastic guitar pick in the written contour; need not coordinate exactly with other parts

stances which enable one to distinguish true

Pno.

Œ

œ

"Nahandove"

U ∑

{

U Ó

j *

Π8

& 8

#8 ™

8

∑ *

8 #8

8

∑

*

ppp

° gently knock the of the keyboard's metal frame w/the free hand; use a fist or open palm

U ∑

Pn. Frm.

U ∑

œ ∑

∑

œ

œ

œ

œ

œ

œ

Œ

œ Œ

Ó

œ œ œ œ œ œ

‰

/ p

R.H. pizz.

tenderly, patiently

U ∑

Vc.

U Ó

Œ

∏∏∏∏∏∏∏∏∏∏

°?

arco M.S.P.; with dense, slow bow, generating the most possible overtones

+ œœ œœ

∑

Ó ˙

w

w

pp

pp

arco M.S.P.; with dense, slow bow, generating the most possible overtones

pizz.

∏∏∏∏∏∏∏∏∏∏

spoken: with the soprano leading, speak phrase as exactly with her as possible as to sound like a single voice

p

+ ˙˙ ˙˙

Ó

∑

o w

3 4

ppp pp

stances which enable one to distinguish true

gently blow into bottle to produce a hollow tone

? P.S. Bot.

U ∑

U ∑

Πw

w

w

œ

Ó

Ó

∑ ˙

¢ pp

p

w

3 4

29 sung spoken

pp

FF 2Π2

365

S.

3 & 4 ˙™

spoken

gently, gradually becoming more poignant

˙ Œ

Ó

Ó

Œ

Œ

˙

œ R #œ ™™

Ó

[ahh...]

3 4

Ó each

means by which each is,

Œ

Œ

2 2

2 2

∑

by which

is

Œ

Œ

2 2

Œ

Œ

2 2

sanctioned;

each is,

singer plays notated passage on the piano keyboard: rhythms need not be exact

singer arrives at piano keyboard

3 &4

Œ

(true...)

the

Perc.

∑

˙

?

∑

j #h h h h h ppp “‘

∑

j h

∑ h #h

3 4 h

h™

h™

h

H “‘

whistle tone on fundamental pitch timbral alterations

ï o ï o ï o ï ord. 7 ° 3Œ 2 Fl. & 4 # œ œ œ œ œ œ œ 2 #œ #œ #œ # œ œ œ Œ ¢ > f

p

3 4 ˙™

Ó n˙

w

w

w

œ

mf poco f

FF pizz. w/fingertip, not plastic pick; exact pitches unimportant; follow notated contour

pizz. w/plastic guitar pick

# Y+

+

+

3 &4 Œ

+ Y

2Ó 2

Œ

+ ˙

3

Œ

Ó

Ó

∑

3 4

∑

∑

2 2

∑

bY p

3

¿ gently and freely pluck strings as before

pp Pno.

3 &4

{

8™

2 2

∑

∑

Ó

8

8

8

Π8 8

8

#8 ™

8

*

* 8 8

3 48

*

#8

* 5

2 2

5

mp

Pn. Frm.

3 /4

2 2

∑

∑

∑

∑

∑

∑

3 4

∑

∑

2 2

pizz.

Vc.

°? 3 œo 4

Œ

Œ

2 2

3 4

∑ w

w

w

w

Œ ˙

pp

P.S. Bot.

?3 ¢ 4

∑

2 2w p

w

∏∏∏∏∏∏∏∏∏∏

M.S.P.; with dense, slow bow, generating the most possible overtones

+ ˙˙ ™™ ˙˙ ™™

2 2

pp

w

˙™

Œ

∑

3 4

∑

∑

2 2

30 plosive - amplify gentle exhalation of air in a downward contour

GG sung

373

S.

simply

2 &2 Œ

Œ

Ó

Ó™

∑

œ

w

Ó œ #˙ ™

techniques and

procedures accorded value in the

? 22

the status of those who

string 2 tuning forks together/LV

Ó

Œ

‰ h

&

#h h

h

h

h

œ œ

Œ

Œ

are charged with what

gently knock the of the metal keyboard frame w/the free hand: exact rhythms important

play piano keyboard: exact rhythms unimportant 7

>œ œ œ œ

?

∑

∑

[tha...]

acquisition of

play piano keyboard: exact rhythms unimportant

Perc.

∑

Yû

truth;

the

spoken

Œ

>œ œ œ œ

œ œ œ

Ó

Ó

œ œ œ

Ó

œ œ? Œ

/

h #h

H

pp pp

ppp

ppp

pp

p

“‘

“‘

whistle tone on fundamental pitch

tongue pizz. ord.

"t" 7

° 2 Fl. & 2 Ó ¢

Œ ˙

w

∑ µw o

˙™

poco f

#œ œ œ 1 Ó

1

mf

pp

∑

∑

∑

∑

pizz. w/plastic guitar pick

GG 2 &2

∑

∑

Ó

+ œ

Œ

∑

∑

∑

pp

gently and freely pluck strings as before

gently and freely pluck strings as before

Pno.

*

{

2 & 2<#>*

Œ

*

*

Ó

∑

∑

∑

Ó

* *

* 5

mp

gently knock the of the keyboard's metal frame as before

Pn. Frm.

>œ œ

2 /2

∑

∑

Ó

œ œ œ œ ˙

Œ

> ‰ œ œ œ œ œ œ

pp

Ó 6

6

6

6

6

)

?2 ¢ 2 w p

œ œ œ Ó

pp

pp

arco M.S.P.; with dense, slow bow, generating the most possible overtones

+ œœ œœ

∑

o w

o ˙

Ó

∑

∑

ppp

as soft as possible

mp

P.S. Bot.

Œ

∏∏∏∏∏∏∏∏∏∏

Vc.

°? 2 Œ 2

œ œ >œ œ œ œ œ œ

Œ

pp

pizz. arco crushed bow

>œ œ Ó

w

˙™

Œ

Ó

Ó œ œ œ œ > pp

˙

∑ œ œ œ œ œ œ œ œ > > pp pp

œ œ ˙™ ppp

freeze!

HH sung

… U Œ

simply 381

& Ó

S.

œ

œ

true,

œ

true,

œ

true,

œ

true,

œ

true,

œ

true,

œ

true,

true,

#œ

œ

true,

true,

#œ true,

œ

œ

true.

true.

soprano turns to the audience, makes eye contact and matter of factly declares the truth

II

begin immediately after finished speaking, as if the spoken phrase never happened as if it is true

31

spoken

√ ∑ œ

œ

œ

œ

true,

true,

true,

true,

counts as Power exists only when it is put into action; it does not require your consent. freeze! string 2 tuning forks together/LV

play piano keyboard: exact rhythm important

gently knock the of the metal keyboard frame w/the free hand

>œ

? Ó Perc.

w w

&

H ppp “‘

œ

>œ

œ

œ

>œ

œ

œ

œ

œ

… U Œ

œ

√ ∑

>œ

œ

œ

œ Œ

pp

pp

pp

multiphonics: containing notated pitches

… cut-off w/sop.

begin immediately as if the spoken phrase never happened

freeze!

123|D#

° Fl. & Ó ¢

œ

/

--

‰

-

--

-

--

-

--

-

--

-

--

-

--

-

--

-

--

-

--

-

--

-

--

-

--

Œ

--

√ ∑

p

-

--

--

-

-

--

-

p sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

sub. p

II begin immediately as if the spoken phrase never happened

pizz. w/plastic guitar pick

HH

+ w

∑ &

∑

Ó

U Œ

Œ

√ ∑

pizz. w/plastic guitar pick

+ ˙

Ó

pp

mp freeze! cut-off w/sop.

Pno.

{

∑

& *™

∑

Ó

… U Œ

Œ

√ ∑ 8

#8

8

* #8

mf

° freeze! cut-off w/sop.

>œ Pn. Frm.

∑

œ

œ

œ

>œ

œ

œ

œ

œ