Ko, Schickele, Saariaho, Norman, Kirsten
ARABY
FULL SCORE for cello and mezzo-soprano
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ARABY – in 14 short scenes For mezzo-soprano and cello Duration: 50 minutes Cast Girl (Mangan’s sister): cello The object of Boy’s desire, she is worshipped in a near religious way. Physically, as still as possible throughout (except when playing, obviously). Also plays coins. Boy: mezzo-soprano In constant motion throughout the show within the changing area of his spotlight which contracts and expands over time. The movement should be regular, metronomic, abstract (not mimed action, but rather indistinct action that could be perceived as something specific: i.e. moving to and fro, stepping back and forth, crossing to reach, put down, look out, pace, wander). This constant motion represents Boy’s unrest in the stifled environment/space in which he lives. The only time he is physically still is during Schickele’s Lamplight and Kirsten’s through the silence. Most of the time Boy is holding a schoolbook (can be used as a cheat sheet for text/music) and pencil, he fidgets with them throughout. Setting Each player is assigned half of the stage area, Boy is stage right, Girl is stage left. Each is alternately cast in spotlight, half-light, or darkness. Boy cannot move past the edges created by his spotlight until Ko’s Between Us.
Scenes should dovetail as much as possible – i.e. overlap text and music.
Scene 1. CELLO solo - Papillon II (or excerpt from Sabina by Andrew Norman) While music plays: Girl, in spotlight playing cello Boy, in half-light, laying on oor, trying to see Girl (the object of his desire) through a crack in the blind near the oor. He is in constant motion (small-scale indistinct movements perceieved as reaching or straining to see) As music ends: light fades to dark on Girl.
2
Scene 2. VOICE solo - our house (Kirsten mvmt 1) q = 72 not operatic; in a speech-like style throughout Light up on Boy who is laying on the floor at first, then moving to and fro. BOY: North Richmond Street, being blind, was a quiet street...the houses conscious of decent lives within them, gazed at one another with brown imperturbable faces... (now begin Kirsten movement 1)
BOY: (spoken as before) North Richmond Street
mp
pp 3
IÓ Hai-Ting
≈‰ Œ
&
3 3 3 >œ ‰ b-œ œ. ≈bœ- œ. ≈ œ œ ≈ œj ‰ -. .
(accent with breath)
‰
œ œ be-ing
mp
blind
Mm
pp
mm
mm
mp
pp
, pp 3 3 3 ≈ ‰ bœ œ bœ- œ- ≈ œ œ ≈ œ œ ≈ J J -. -.
3 3
H.T.
3
> & œ ‰ bœ- œ. ≈ œ- œ. ≈ œ- œ. ≈ œj ‰ . blind
Mm
mm
mm
m
j ≈œ ˙ >œ™ quiet
was quiet
mp
5 3
m
Ó j œ n>œ
‰ œœ
our house
on a
blind
Mm
mm
mm
8
mp 3
Ó H.T.
œ œ ˙
& œ
‰
3
Œ œ œœ œ œ
‰
≈ ‰ œj œ ‰ œj œ œ
œ
quiet street
must - y
air
hung in our
house
lit-tered
pag - es
curled
12
pp
mp 3
H.T.
j & œ œ #œ œ bœ œ œ
3
3
‰ nœ œ œ œ œ nœ œ ≈ ≈ ≈ ‰ b>œ œ- œ. œ- œ. b œ œ - curled and Mm mm mm quiet
and damp
pp 14
mp 3 3 3
H.T.
3
& ‰ bœ- œ. ≈bœ- œ- ≈ œ- œ- ≈bœj ‰ Œ . Mm
mm
mm
m
j ≈ nœ ™ ˙ street
blind
Œ
3
‰ œ œ≈ ‰ ≈Œ #œ œ œ œ from our par-lour
on the
3 Light up on Girl 17
pp 3
H.T.
> & œ
3 3 ‰ b-œ œ. ≈ bœ- œ- ≈ œ œ ≈ j ‰ - . œ
blind
Mm
mm
mm
I ‰
street
bœ œ I
watch
œ
j œ
œ bœ
her
front
door
19
mp
pp 3
H.T.
& j ‰ Œ bœ <b> œ b œ step
quiet
3
3
3
3
3
3
≈ ≈ ≈ ≈ ≈Œ œ ‰ # œ œ ≈n œ œ ≈ - - - - n œ- œ. # œ- œ- # œ œ. n œ œ # œ œ -- . mm Mm mm mm mm mm mm
Ó
As the music ends: Fade to half-light on Boy who is standing in one place farthest from Girl, facing her.
Scene 3. CELLO solo - Papillon I During this solo, Boy faces Girl from afar, he is still in constant motion this time fidgeting in slow motion as if trying to see/hear her better (abstract movements, nothing too literal). GIRL: (speaking as solo ends, looking into the audience, as if she is looking into the eyes of her love) Curled and damp, leaves yellow, wild garden behind the house. The short days of winter came...The lamps of the street lifted their feeble lanterns. I went to the doorstep to call my brother to his tea. BOY: (without missing a beat) Her dress sung as she moved her body...(visualizing her) Mangan's sister...
F BEGIN next scene CELLO part
Fade light on Girl.
4
Scene 4. VOICE and CELLO - the space of sky (Kirsten mvmt II) q = 84 no faster, separated but without urgency *see note playful
quietly but full of breath and energy 22
p H.T.
j j j j j j nœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
& Ó
when the
short days
of
j ‰ œj ‰ œ œ œ œ
Œ
j‰ ‰ œ œ œ œ œ œ œ
win - ter came win-ter blind
quiet
ne ne ne ne ne ne
(begin playing in previous scene)
Vc.
œ œ œ œ œ œ œ œ œ œ œ ? J ‰ J ‰ J ‰ œ J ‰ J ‰ J ‰ J ‰ œ‰ J ‰ œ J
œ
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œ J ‰
p
26
earnest H.T.
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& œœœœœœ
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œ ? J ‰ Vc.
œ J
the space of
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playful
Œ & œ œ œ œ
Œ œ
chang - ing
Vc.
a - bove us was an ev - er
œ œ œ œ œ œ œ œ œ J J J J œ ‰ œ ‰ œ‰ ‰ J œ ‰ J Œ ‰ ‰‰ J
30
H.T.
the sky
viol
Œ
j ‰ œ
œ et
-
œ ? œ ‰ œ ‰ œ ‰ J ‰ J J J
quiet
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œ J
Ϊ
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mf 33
earnest H.T.
& œ œ œ œ œ œ œ œ œ œ œ œŒ ne ne ne ne ne ne ne ne ne ne ne ne
œ ? Œ Vc.
œ J
blind
œ
œ ‰
‰ jŒ Ó œ œ œ ‰JŒ Ó
œ œ œ œ œ œ œ œ œ œ ˙™ I had nev- er
œ
spok - en
to her
œ œ œ œ œ œ œ J ‰ œ J‰ J‰ œ ‰J‰œ J mf
*NOTE: a blurred syllable, a cross between la, ne, da; it's preferable to be indistinct and articulate casually; dotted slur indicates legato
5 37
p
mf
mp pp
H.T.
& ‰ jŒ œ
œ œ
yet
her name
œ Vc.
œ œœ œ
? ‰ œ‰ œ J J
œ œ
œ œ œ œ bœ bœ œ œ œ œ œ œ ˙
was like a sum- mons to all
my
fool - ish
blood
œ œ. œ œ. >œ J ‰ œ J ‰ œ‰ Œ J
œ œ. œ ‰ J œ
Ó
œ œ. œ œ œ J ‰ œJ ‰ pp
p
41
H.T.
mf sub.
mp
p playful
& 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 ne ne ne ne ne ne ne ne ne ne ne ne ne ne ne ne
œ ? J
œ J ‰
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‰
Vc.
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‰
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p
barely annunciating, under the breath earnest
43
H.T.
& œ œ. œ. œ. œ. œ. œ. œ. œj ‰ ‰ œ œ œ ' ne ne ne ne ne ne ne ne ne
œ ? œ Vc.
œ ‰ J ‰ œJ Œ
46
H.T.
œ
playful
œ œ œ bœ œ œ œ œ œ œ œ
œ œœ œ
like a sum-mons to all my fool- ish blood like a sum-mons like a sum-mons
œ œ‰ J
œ œ
œ œ ‰ J ‰ œ‰ J J
œ.
>œ
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earnest
playful
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& œœ œ
œ œœ œ
j j ‰ ‰ b œ œ œ œ bœ ‰ œ œ œ œ œ œ
like a sum-mons to allmy fool-ish like a sum-mons like a sum-mons
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œ ? œ
œ
to all my fool-ish
œ. œ
œ J ‰
œ
œ. œ œ
m
my fool- ish
œ. œ œ. œ œ. œ ‰ J œ
Vc.
49
mp earnest
Begin next scene CELLO music
freely - out of time open lipped hum (no break)
I H.T.
& œ
‰ œj ˙ blood
œ œ ? J ‰ œ Vc.
j œ ™ œ œ œ œ œ œ œ œ œ œ œ. ‰ œ œ œ œ œ œj œ Nn
‰ œJ. Œ
Ó ˙
Nn
∑
∑
∑ Fade to half-light on Boy. Light up on Girl.
6
Scene 5. CELLO solo - Papillon III The music is like a summons to Boy who is still in constant motion (moving between slow-motion and regular movement). Boy tries to get as close to Girl as his circle of light will allow.
As music ends BOY: Her image accompanies me even in places most hostile to romance...(ATTACCA) (Fade light on BOY. Fade up harsh light on GIRL.)
Scene 6a. CELLO solo - Papillon IV
As music ends... Fade up harsher light on BOY. On the word "Look" in the next scene fade to softer light for lines about his being a knight. Fade to half-light on GIRL.
7
S.P. 53
S.T. utility bar improvize on this and other Vc. gestures from Papillon IV,
S.P.
? ~
#w w
N
æ # Oæ ˙
Ó
p sfz
Scene 6b. - VOICE and CELLO (text with cello improv using Papillon IV materials) q = free, cello improvize in a conversational manner to express mezzo-soprano's spoken text 56
H.T.
& Mezzo-soprano **see note
BOY: (spoken text building to a near-fever pitch until the word "Look"): Saturday evenings marketing with my aunt carrying parcels carrying parcels blind parcels walking and walking and walking through flaring streets blind with parcels jostled and walking jostled by drunken men singing and yelling jostled and bargaining women walking blind and flaring amid curses of laborers carrying parcels walking and walking through flaring blind streets jostled by shrill litanies of drunken men and shop boys and bargaining women walking and nasal singers walking blind carrying jostled and Look
F on the word "look" cello stops abruptly
Also fade to softer light here.
BOY: (imagining he is a knight encountering foes): it is my duty as a knight to sample as much peril as I can.
F on the word "peril" cello begins again
(weilding his imaginary lance) I bear my heart safely through a throng of foes, my strength from purity. I am Sir Lancelot. And a knight is not yet fully armed unless he bears the favor of a lady fair.
F on the word "lady" cello begins Papillon VI Light up on Girl. Fade light on Boy.
**Note: every instance of the word "blind" is more like speech-song (harkening back to movement 1 - though it is not neccessary to literally replicate the pitches from movement 1 merely changing your approach to the performance of that word will create a connection)
8
Scene 7. CELLO solo - Papillon VI
As music ends... Fade light on Girl. Light up on Boy.
9
Scene 8. VOICE and CELLO - o love! (Kirsten mvmt III) q = 56 57
p
mp
˙ H.T.
& Ó
œ
Œ
œ
Ó
it's
her
∑
Ó
œ it's
œ œ œ
œ J
‰
œ
her
it's
her
? ˙
w
Vc. p
p
mp j œ œ b>œ œ œ œ œ œ ‰ œ
60
H.T.
& œ
it's
her
in
p
œ œ™
strange
œ
Ó
‰
quiet prayers
? w
j Œ œ
Ó
quiet
w
w
Vc.
p
mp
63
pp 5
H.T.
. & œ. bœ. bœJ ‰ ‰ œ. quiet quiet quiet
3 3 œ ‰ œj ‰ œ bœ. bœ. Œ œj ‰ œ bœJ œ œ œ œ œ œ œ J
œ.
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quiet quiet quiet quiet
? w
it's
∑
her
w
w
w
Vc.
mf
p
67 3
p H.T.
& œ.
j œ. bœ. ‰ bœ.
œ. œ. œ .
œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ ‰ ‰ œ. J
quiet quiet quiet quiet quiet quiet quiet
? w
it's her
bœ Œ
in strange quiet
w
w
Vc.
mf
p
pp
p
mp
pp
70 3
H.T.
& œ bœ ™™ bœ
Ó
Ó œ
prayers
? w Vc.
œ. bœ. bœ.
7
bœ. bœ. ‰ œ ‰ ‰ œ Ó .
quiet quiet quiet quiet quiet quiet
w
w
quiet
quiet
10 mp
mf
mp
73
H.T.
j & nœ.
œ œ œ
œ ™ bœ œ œ œ œ
Œ
it's
3 r j bœ œ bœ œ œ
œ
‰
‰™
her
a
? w
flood
w
Vc.
75
H.T.
5 œ bœ ™ œ œ œ
bœ œ œ™ œ ‰ ‰ bœj bœ 3œ œ œ & J J flood
œœœ œ œ
from my once blind
? w
œ Œ
Ó
heart
w
w
Vc.
mf 78 6
5
p H.T.
& œ
3
œ bœ.
œ.
œ.
œ.
œ Œ
œ
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Ó
quiet quiet quiet quiet quiet quiet quiet quiet quiet
œ ™™ bœ œ œbœ œ œbœ œ œ™ œ Œ Œ œ o
? w
love
o
w
w
Vc.
p
mf
p
81 3 3 >œ ™ >œ œ œ > b œ œ ≈ Œ œœœ œ œ ≈ œ œœJ 3
H.T.
œ œ™b œ œ œ œ >œbœ œ œ3œ œ œ œ œb>œ ™ œ ‰ Œ ‰ & R J J love
o
? w
love
w
o
love
w
Vc.
mf
Light up on Girl. As song ends we hear the first 2 measures of Schickele. The BOY responds: She speaks to me! pp
p
84 3 3
H.T.
& ‰
> œ œ bœ œR œ œ o
? w
love
> ≈ œ œ œ œR ‰ o
3
Œ
> œ œ bœ œ™ J
˙
œ™ œ
6 8
o
œ
Vc. ppp
Œ
Ó
6 8
11
Scene 9. CELLO solo with drone - Lamplight (Schickele) After Boy says "she speaks to me!" his light fades. When music comes to an end, light up on both: BOY: (excited) She said GIRL: I said BOY: She said Light fades on Girl.
12
Scene 10. VOICE solo - are you going to Araby? (Kirsten mvmt IV) q. = 52 (close to ŋ right away) 86
mp H.T.
6 & 8 Ϫ
r bœ
bœ bœ bœ œ
are
j œ bœj œ
r bœ
you
Iœ
bœ ™ go
œ œ bœ Œ ™
j bœ
Œ
ing
-
to
90 2
H.T.
& bœ œ bœ Ar - a
œ
Ϊ
œ bœ œ Œ
j b œ b œ bœ
by?
œ
œ bœ œ™
the splen - did
Ϫ
ba- zaar
94
H.T.
j nœ œbœ œbœ œj œ œ œ ™ œ ™
& Œ
the lamp -
light
2 j bœ œ œ œ œ œ bœ bœ bœ bœ
Œ
fell
and fal - ling lit
mf
up
her
œ œ
hand
u-
mp
p
98
, bœ bœJ
Ϊ
‰ H.T.
& bœ bœ œ bœ pon the rail - ing
are
you
œ bœ œ bœ œ œ bœ J goin
to
Ar
j bœ
a
-
bœ ™
œ
œ bœ œ .
by
-
ŋ 102 *see note
2 3
mp H.T.
& bœ ™
j bœ
j bœ
œ
(b)y
r j j ‰ ≈ j n œ œ œ bœ bœ bœ œ. bœ b œ ™ œ œ (b)y
the lamp- light
j I œ œ œbœ œbœ œ œ
fell
and
fal
œ nœbœ
ling
-
a bit slower mf
mp
p
mp
106
bœj
H.T.
j r j & Œ ™ bœ bœ œJ bœ bœbœj œ œ œ nœ are
you go - ing
3 œ œ œbœbœ œ œ œ œ œ œj bœ œ ‰ 8
to
Ar
-
a
-
6 8
∑
by
mp
mf 111
H.T.
6 & 8 bœ
œ bœbœbœ œ ‰
qui
-
Ϊ
bœ
et
œ bœbœ bœ
bœ
œ™bœ Œ ™
fell
œ bœbœbœ bœ ™ œ œ
blind
n
CELLO begins ecstatic music
poco a poco rit. p
pp
115
H.T.
& <b>œ ™
j œ ‰ ‰ (d)
Ϊ
j bœ
I j œ bœ
bœ bœ œ bœ bœ œ œ bœ œ >œ bœ fal
-
-
-
-
-
*NOTE: take a full beat at the breath mark, and don't reannunciate the "b" sound
-
U Ϫ
4 4
ling
F Light up on Girl.
13
Scene 11. CELLO solo - Papillon VII (or excerpt of Sabina by Norman) For the ďŹ rst minute of music, light is up on Boy as he spins and moves to and fro in elation, excited by this interaction, one that guarantees future interactions. The music ends and...the light becomes softer... BOY: My body was like a harp, her words and gestures were like ďŹ ngers running upon the wires. (earnestly, with controlled excitement, he addresses the Girl directly) If I go I will bring you something. CELLO: turn on metronome #1 on the word "bring" above. Light fades to half on both.
14
Scene 12. VOICE and CELLO - vigil (Kirsten mvmt V)
In previous scene, cello turns on metronome #1 q = 44.
After about 5 clicks, cello begins playing (pizz.) a 2-octave E phrygian scale at q = c. 30. Scale ascends, descends, and repeats. Very very gradually, the tempo increases until the word "finally!" Switch to arco if/when necessary. After a few cello notes, the mezzo-soprano sings in a speech-like style using only 2 pitches: G4 and F3 (other octaves are fine too if you so desire, repeating the same pitch sometimes is fine) BOY: (moving, pacing, waiting, pacing) And I wait...for Saturday...for...Araby...the splendid bazaar...I will bring her something... (pause. metronome clicks for a dreadfully long time). And I wait...and...I will bring her something...(pause. metronome clicks for a while, then he drums fingers on a surface). And wait and wait. (long sigh and metronome clicks for a long time). (turn on metronome #2 q = 52.) (pause for a few seconds.) and wait and wait. (pause. drum fingers differently this time. sigh.) (turn on metronome #3 q = 76.) wait for the day for the time the clock wait the ticking wait for my uncle to come home with spending money the clock ticking from the window (short pause) I stare at her front door I will buy you something wait and wait (short pause) dinner passed (short pause) the hours passing nearly ten o'clock pacing prolonged wait and wait and FINALLY! (cello stops just before the word "FINALLY", long pause with just the sound of metronomes)
deserted train. (cello begins scales again (pizz.) at very very slow tempo and gradually gets faster, until stopping on the words "fall of the coins.") the hour is late train creeping wait for the time the clock wait the creeping train creeping onward among ruinous houses and over the twinkling river to Araby nearly ten stalls closed almost all in darkness two men counting money I listened to the fall of the coins... (turn off metronome #3) quiet fell blind falling...(turn off metronome #2) remembering with difficulty (turn off metronome #1) why I had come... (Follow Ko's lighting for next scene)
15
Scene 13. VOICE and CELLO - between us (Ko)
As music ends... Boy's spotlight fades; he is in Girl's light now.
16
Scene 14. VOICE and COINS - through the silence (Kirsten mvmt VI) q = 66 mp 119
H.T.
4 &4
∑
∑
3 œb>œ ™ œ ≈ Œ ‰ œ œ >œ œR œ ‰ ™ R
∑
do
you
beginning in previous scene, cellist drops coins into a jar at her own tempo q = c. 72 repeat until m. 150 Vc.
? 44 ¿ Œ ¿ ¿ Œ
¿ Œ ¿ ¿ Œ
¿ Œ ¿ ¿ Œ
mf
mp
3
123 3
3
H.T.
3 3 œ ‰ Œ œ œb>œ œ ‰ œ œ >œ œ™ ˙ J J
> œb>œ œ œ ≈ œ œ œ œ œ œ œ >œ œ œ œ œ ‰ & R wish
to
buy
a
ny thing
-
do
œ™ œ Œ
you
mp 126 p
H.T.
3 >œ œ œ >œ ™œ b 2 4 j j j j j j œ œ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ∑ ≈ Œ ‰ 4 j œ œ œ R R ‰™ œ œ œ œ 4 œ œ
≈ Œ ‰ œj Œ
& œ nœ clos-ing
time
a
quiet voice fell
in the dark quiet voice
mf
do
you
mp
3 >œ œ 3 >œ œ œ > b œ œ œ œ œ œ œœ œ & ‰ œ R ≈œ
131
3
H.T.
wish
to
buy
a
3 3 œ ‰ Œ œ œb>œ œ ‰ œ œ >œ œ™ ˙ J J
ny thing
-
do
œ™ œ Œ
you
mp p
mp
p
p
134 3
H.T.
b>œ ™œ ≈ j ‰ j ‰ j j j j j œ ‰ ‰ ‰ ‰ ‰ & œ œ œ œ œ œ œ quiet voice fell quiet
quiet
do
quiet voice
b>œ œ œ ≈ j ‰ Œ j j j j œ œ ‰ ‰ ‰ ‰ ‰ j œ œ œ œ œ nœ fell quiet voice fell
quiet
you
fell
mf mp 3
138 3
H.T.
>œ œ 3 >œ œ œ > > > b œ ™ œ œ b œ œ œ œ œ ≈ Œ ‰ œ œ R œ ‰™ ‰ œ œ R œ ≈ œ œ œœ œ R
& œj ‰ Œ Ó quiet
do
3
you
wish
to
buy
a
-
ny thing
141
H.T.
œ & J ‰ Œ
3 > œ œ œ bœ œ™ J
do
œ
3 > ˙ œ œ bœ œ™ J
you
p
œ™ œ Œ
j ‰ œj ‰ nœ a
quiet
17 mp
p > œ œ ‰ œ œ ‰ œbœ ™ œ ≈ œ œ ‰
144
H.T.
& œj ‰ œj ‰ j ‰ œj ‰ œ voice
quiet
fell
I
j j j j œ ‰ œ ‰ œ ‰ œ ‰ heard
mp
a
blind
voice
fal-ling
p
cal-ling
do
you
fal-ling
mp
147 3 3 3 > >œ œ >œ œ™ b>œ œ œ ≈ œ œ œ œR ‰ œ œ ‰ b 3 œ œ œ œ œ œ ‰ ‰ 4 & œ œ R J œR ‰ ™ 3
H.T.
wish
to
buy
fal-ling
cal-ling
do
you
mf
p
mp
149
H.T.
& œ ≈ œ œ œ ≈ nœ ≈ œ œ ‰ I
heard a blind
voice
6Π8
≈ bœ œ R
cal-ling
the last
bœ J
œ
bœ œ bœ œ œ bœ J
light
in
the
gal
ler -
-
coin drops stop
6 8
? ∑ Vc.
∑
∑
p 152
H.T.
& bœj bœ ™
, *see note œ bœ œ j bœ œ . bœ ™
œ
y
j bœ
j œ.
5 8 bœ
is
bϪ
j œ
œ
‰
4 4
out
f mf 3
155 3
H.T.
4 b>œ ™ & 4 nœ œ ≈ Œ do
3
3
> > ‰ œ œbœ œR œ ≈ œ œ œ œ œ
> ‰ nœ œ œ œR œR ‰ ™ you
wish
to
mp
buy
> œ œ œ œ œ œ 42 a
ny thing
-
mf
157 3
H.T.
2œ &4
‰ bœJ 68 bœ I
œ bœ bœ bœ œ ‰
gazed
‰ ‰ bœ œ œ bœ
up
œ bœ bœ bœ
in - to the dark
mp
-
œ™ bœ Œ ™ -
-
mf mp sub.
161 6
H.T.
œ≈ œ≈ 6 j‰ ‰ bœ œ œ™ œ œ ™™ 7 ≈ b œ œ œ b œ œ œ b œ b œ Œ b œ ™ œ œ™ œ b œ œ œ 8 & bœ œ J J J ‰ J ‰ 8 ness
*NOTE: take full beat at breath mark
o
do you want to buy?
o no
no
18
f p mf >œ™ 3 b œ > œ œ™ œ œ œ œ b œ œ b œ 6 œ ‰ ‰ Œ bœ bœ œ bœbœbœ œ ‰ &8 R œ œ œJ œ ‰ œ J J
165
H.T.
no
thank you
I
gazed
up
ppp 169
pp 3 H.T.
& ‰
‰ bœ œ œ bœ
œ bœ bœ bœ
in - to the dark
-
bœ
œ™ bœ Œ ™
-
-
œ bœ bœ bœ ™ bœ œ œ
ness
-
BEGIN COINS mp
p
pp
rit. 172
H.T.
I & <b>œ ™
j œ ‰ ‰
Ϊ
j bœ
U œ bœ ˙
bœ bœ œ bœ bœ œ œ bœ œ œ > bœ fal
-
-
-
-
-
-
ling
The sound of the coins dropping begins again in m. 172. Boy begins moving in a mechanical way (as in the beginning), the light fades. Coin sounds continue in the dark for a few seconds.
THE END.