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