it is possible these things do not exist: by Amy Beth Kirsten

it is possible these things do not exist:

SSAATTBB

it is possible these things do not exist: grace, the nobility of architecture, the poignancy of music, the bright air of summer, gentleness, the city of happiness, harmless annihilations, goodness, the moonlight leaking through the roof of this house in winter, harmless happiness, the metal sky of winter, a deadlocked dream, kindness, things I cannot describe at all, moonlight leaking through the roof of this ruined house, the winter dawn, the fallen, ancient voices weeping, the basement, winter, that thing you donâ&#x20AC;&#x2122;t want to know, a locked room, the city of happiness and what goes on there, shards of moonlight, things I cannot possibly describe, a locked door, the thing you cannot quite believe, a room that conceals the little one, the child and its faltering mind and mettle, lost memories of sunlight and its motherâ&#x20AC;&#x2122;s voice, anger, the basement room, the little one, shadows,

that thing you don’t want to know, the shivering little one, truth that is too much to bear, truth, the place some citizens go when the truth is too much to bear, the wretched little one lost, this ruined house, the basement, shards of leaking moonlight, rage, suffering, the cost of every little splendid thing (each shivering beauty, every private joy), terms that are strict and absolute, the basement cry, guilt, unbearable annihilations, the suffering of one for all, the suffering, things that are too much to bear, the place some citizens go, that place beyond the glittering city gates, the silence, that place out past the silent dark, that place, things that are too much to bear, the place they go, the ones, the place, the ones who walk away.

! text by Amy Beth Kirsten after Ursula Le Guin’s short story “The Ones Who Walk Away from Omelas” from The Wind’s Twelve Quarters: Short Stories and Izumi Shikibu’s (b. 974) poem “Although the wind...”

program note: I came across Le Guin’s disturbing short story, “The Ones who Walk Away From Omelas” twenty years ago and it has stayed with me ever since. The story describes a utopian city with a dark secret: the entire society - every little joy, music, architecture, laughter, festivals, inventions, everything you can imagine – depends upon the suffering of a tiny child who is locked in a basement somewhere under the city – if someone were to save it, the world would cease to exist. As the story unfolds the narrator continually asks the reader, “Do you believe in Omelas?” while simultaneously describing an unforgettable utopia filled with amazing people. Slowly the dark secret is revealed and we learn that the citizens of Omelas are not what they seem – and there are some who cannot bear knowing this child exists, and worse, that there is nothing they can do to help. Turning quiet, they walk away into the darkness beyond the city gates. The Le Guin also served as musical inspiration in several ways. Most of the fourpage story is a giant list of Omelas and its citizens – and so the structure of my poem is also in the form of a list. I was also especially drawn to sections that depict the child, its horrible condition, and how it speaks less and less often. It seemed to me a kind of annihilation of language and sound. The way that I’ve set the text musically (it’s fragmented, interrupted, and clipped) is meant to mirror that annihilation. Life went on as usual in Omelas, even as the child suffered. Musically contrasting blooms of sonorous harmonies represent that inevitable continuance. The line that is most influential is a depiction of the ones who walk away. Le Guin writes, “The place they go towards is a place even less imaginable to most of us than the city of happiness. I cannot describe it at all. It is possible that it does not exist.”

Commissioned by Volti, Robert Geary, Artistic Director Commission made possible by the Ann Stookey Fund for New Music

it is possible these things do not exist: Before the music starts, the title is projected for 6 beats, then fades; if projection is not possible, then one bass or tenor voice speaks the title of the piece.

perusal

Amy Beth Kirsten

ABK after Ursula Le Guin and R'aba

q = 76 penetrating, persistent, unsentimental with a pointed tone throughout (unless otherwise indicated). When meter changse the x pulse is constant. mf S Solo

° 4 ¢& 4

∑

Œ œJÆ ‰

∑

the

mf *see note 3

° 4Ó &4

Œ ‰ ≈≈œ

. Œ ‰ ≈ 3≈ œ bœ ™ œ œ™ œ

bœ ‰ Œ Ó J

grace,

no-bi - li

∑

4 &4

∑

4 &4 ‹

∑

?4 ¢ 4

∑

*see note 5 3

S. Solo

° ¢& Œ

° Ó ¢&

A .œ ‰ ≈≈ Ó 3

. ‰ ≈ ≈ œ ‰ œJÆ Œ chi

‰ ≈≈œ

the

b>œ ‰ ‰ œœÆ J J ar -

tec

‰ -

œœÆ Ó J ture,

bœ œ œÆ ‰ Ó J poi-gnan-cy

Note: Legatissimo unless marked with staccati or staccatissimo. All staccati and staccatissimo indications have equal duration: as short, clipped, and unaccented as possible. Observe full durations of rests - even if they occur mid-word.

2 x=x 8 3

S. Solo

° >œ bœÆ Œ ¢&

∑

9 ‰ ≈ ≈ bœ. 16

mus - ic,

the 3

° S & Ó ¢

‰ bœœJ Œ

™ ‰ ≈ ≈ œ œ œ

the

bright

9 16

∑

air,

*staccatissimo, clipped, de-emphasized, unaccented throughout

mp S. Solo

° 9 ‰™ ¢& 16

4 4

œ œ ‰ œ

∑

L sum

° 9 œ ™ bœ bœ mp œ œ S & 16 J bright

air

sum

mer

≈

B 4Œ 4

∑

bœœ bœÆ

œÆ

gen - tle - ness,

≈ œœ Œ the

9 ™ A & 16 ‰ ¢

4Ó 4

œ œ ‰

≈

∑

‰ œ

sum

cɪ -

= (city)

C Ó

mf 14 3

S. Solo

° bœ. ‰ ‰ ≈ 3≈ œ bœ œ Œ ≈ & ¢ tiː

Œ bœ

of hap - pi

‰ Ó

harm

‰ ™ œ bœ œ an - ni - hi -

mf 3

° S & Ó

bœœ œœ ≈bœœœ ‰

Œ bœœ

hap - pi - ness,

‰ Ó

harm

an - ni - hi -

∑ A

‰ ™ œbœœ œœ

‰ ‰ j j‰ ‰ Œ bœ œ

less

‰™ ¿ ¿ ¿ an - ni - hi -

∑

‰™ ¿ ¿ ¿

T&B

¢ an - ni - hi

3 mf

D Œ

Sop 1-3

° œ bœ Œ & la

ff 3

‰ ≈ ≈ œÆ

bœ ™ œ œ Œ

- tions,

moonlight

lɪ

mf mp f

ff 3

œÆ >¿Æ Œ œœ. ≈ ‰ &

Sop 4-5

la - ʃʌ,

‰ ≈ ≈ œœ œ ™ œ œ

gʊ

‰ ≈ ≈ œÆ

the moonlight

lɪ

mp f

> & ¿JÆ

‰ Œ

Œ bœ ™

œœ ™™ œœ œœ

∑

good - ness,

moonlight

∑

T&B

Sop 1-3

° Œ &

‰™ œ Ó

E 3 ‰ ≈ ≈ œ œ™ ≈ Œ

kɪ

the ruː

≈ œ ‰ 43 Œ

> bœ ™ œ œ bœ 3œ ≈ 3 4 J

this

win - ter, harm -

> œ ™ œ œ bœ 3œ ≈ 43 J

Sop 4-5

& Œ

‰™ œ Ó

‰ ≈ ≈ œ bœ ™ œœ Œ

kɪ

the roof of

≈ œœ ‰ 43 Œ this

win - ter, harm -

mf A

& bœJ ‰ Œ

‰ œ Œ œ '

liː

through

j ≈ œœ ‰ 43 bœ ‰ œ ' this

3 4

3 bœ ≈ 3≈ œI Œ 4

3 4

haː

ten 1 mf T

& ¿ ‹ leak

¿™ ¿ Ó -

∑

ing

house

bass 1 mf

? B ¢ ¿ leak

¿™ ¿ Ó -

ing

∑

3 I 3 œ ≈ ≈bœ Œ 4

house

4 mp 23

Sop 1-3

° 3Œ &4

‰

œÆ J

∑

F 3 b>œ œ. ‰ 8

hæ

p 3

≈ ≈ bœœœ

hap - pi

∑

4 4

∑

4 4

ness,

mp Sop 4-5

3 &4 Œ

‰

œÆ J

∑

3 >œ œ. ‰ 8

hæ

‰

hap - pi

mp p A

3 &4 Œ

‰

j œ Œ '

∑

3 8

∑

j ‰ œ '

hæ

4 4

‰

the

tutti p T

3 & 4 ‰ bœ Œ ‹ less

∑

3 8

∑

3 8

∑

4 4

∑

tutti p

?3 B ¢ 4‰

œÆ J

less

‰

4 4

‰

the

mf 27

Sop 1-3

° 4 œ ™ œ. Œ &4

me - tal

Sop 4-5

mf 4 œ™ œ. Œ &4

G œ 3 œ œÆ ‰ Œ J J me - tal sky

me - tal

œ 3 œ œÆ ‰ Œ J J me - tal sky

>œ ™ 3 b œ 5 œ œ ‰ 8 bœ me - tal

sky

4 4

dead

œ œ 3bœ 44

3 > ‰ œ œ 58 bœ œ œ™

me - tal

sky

win

ter

mf sky 3 3

4 œ™ œ ¢& 4 œ ™ œ. Œ me - tal

œ Ó

œ œj ‰ Œ J '

me - tal sky

‰ œœ œœ 58 bœœ™ œ œ œœ œ œ bœ 44 > > 3 me - tal

sky

win

ter

H 30

Sop 1-3

œœÆ ‰ Œ ‰ œœÆ Ó J

° 4 ˙™ &4 -

Sop 4-5

lɒ

driː,

dead

lɒ lɒ

driː,

dead-locked dream a dead - lɒ

> Œ œ œ

œ™ ≈ Œ Ó

kind - ness things

driː, j‰ œ œ œ #œ œJ ‰ Œ ‰ #œœ Ó ' '

4 & 4 ˙™ œ bœ

bœ ™ œ. Œ Ó

kindness, things I

œÆ ‰ Œ ‰ œœ Ó J '

4 ™ &4 ˙

> Œ œ œ

∑

driː,

mf œ œ #œœ œœÆ 4 œÆ Ó b œ &4 œ J ‰ Œ ‰ ‹ dead-locked dream a dead - lɒ driː, mf

?4 B ¢ 4Ó

Œ ‰ #œ œj ‰ Œ

Œ #œ locked

dream,

= 34

S. Solo

° Ó ¢&

‰™

>œ œ œ ‰

I can-not de

warm tone pp

° S & Ó

bœ œ

L œ œ ‰ œœÆ ‰ ‰ j bœÆ ‰ Œ œ J J

things I

scraː

at all, warm tone pp

pointed tone mf

>œ 3 œœ œœ ‰ J

bœœ ‰ Œ J

moonlight mf pointed tone

lɪ

mp 3

& Ó

≈ œ ‰ de

j œ ‰ ‰ œj bœJÆ ‰ Œ ' scraː

at all,

3 b>œ œœ œœ ≈ ≈ Ó J œ

moonlight

warm tone pp T

& Ó ‹

‰™

>¿ ¿ ‰ ™

can-not

‰ œj bœÆ ‰ Œ J

at all,

‰™

>¿ ¿ ¿ ‰

bœÆ œ ¿ ‰ ‰ J J ‰ Œ J

can-not de - scribe

at all,

Y leak

warm tone pp

? B ¢ Ó

lɪ

Y leak

poco rit. a tempo 6 mp

( q= 76 ) mp S. Solo

° Ó ¢&

‰ roof

œ. J

3 8

house,

mf 3 3

>œ

° œœ S & king

œœÆ

through

œ 3 bœœ œœ bœœ œ

œ J

Œ the

roof

this

Æ ‰ ‰ œœJ œœ œœ

ruined

3 8

the win - ter

>œ

& œœ

king

¿ J

T&B

œœ '

through

‰

∑

3 8

∑

3 8

the

king

J q = 76 sempre 4 Ó 4

Sop 1-3

° 3‰ &8

œÆ ‰ J

œ œ

the

3 &8 ‰

Sop 4-5

>œ œ b>œ œ ≈ ≈

fal - len,

œÆ ‰ J

4 4

an - cient

∑

>œ œ > ≈ œ nœ ≈

the

3 &8

A 1-3

j œœ ‰ œ

an - cient

4 Ó 4

‰

bœ œ

dawn,

4 4

∑ -

∑

4 œj ‰ 4 œ ' tʌ

j œœ ‰ ' tʌ

q = 50 (with Alto 4-5) *see note p B5

∑

∑ q = 50 (with Bass 5) *see note

? 83

voic - es

fal - len,

3 ¢& 8 ‹

° 3 A 4-5 & 8

voic - es

∑

4 j ‰ 4 nœ ' tʌ

*Note: clipped, as staccato as possible, unaccented. Not /tuː/ but rather /tʌ/. It changes to /tuː/ later.

j œ ‰ '

tʌ

f 7 42

Sop 1-3

° Ó &

K 5 Æ b>œ œÆ ≈ œÆ ≈ >œ œ ≈ bœ œÆ œÆ œ œ bœœ weep - /ɪ/

the

& Ó

Œ weep - /ɪ/

& Ó

the

ment, wɪ - tɜː, that

thɪ f

base

ment, wɪ - tɜː, that

∑

thɪ

5 > Æ Æ Æ ≈ œ ≈ œ œ ≈ œ œ œ œ œ ‰

>œ œÆ Œ

>œ œ bœ Æ Æ 5 Æ œ œ œ œ œ œÆ ≈ ≈ ≈

>œ œÆ Sop 4-5

base

∑

weep - /ɪ/

the

base

∑

ment, wɪ - tɜː, that

mf 5

>¿ ¿

¿ ¿ ‰ ‰ ¿

∑

T&B

¢ weep - ing,

win - ter,

thing

q = 50 sempre A 4-5

°&

¢?

a tempo ( q = 50 ) but out of sync with alto 4-5

poco a poco accel.

= mf 45

Sop 1-3

° œJÆ ‰ œÆ ‰ Ó J & yuː

doʊ

L >Æ œ œ ‰ bœJ doʊ want

∑

b>œœ ≈ œœ.

know

locked room,

œœÆ œœÆ ‰ Ó ‰ & J J

Sop 4-5

yuː

doʊ

>Æ œ œ œÆ œ ∑

>œ ≈ œ.

doʊ want to know

locked room,

Æ Æ & œJ ‰ œJ ‰ Ó

yuː

doʊ

you

don't

T&B

A 4-5

°&

¢?

œ ‰ >' œ œ'

∑

doʊ want to

>¿ ‰ ‰ ‰ J

‰ ™ œœ. Œ a

∑

don't

p **see note ADD Bass 4 poco a poco accel. together with Bass 5

Note: basses poco a poco accel. together as possible - indescrepencies are okay, and actually preferred as more basses are added

8 49

Sop 1-3

° ‰ bœÆ ≈ œÆ œÆ ≈ œ ≈ >œ œ ‰ ™ & the

cit - y

M Ó

hap-pi

the

cit - y

the

cit - y

∑

9 œ ≈ >œ œ. ≈ >œ 16 and

œ ‰ Œ J

hap-pi

2 4

∑

and

2 4

∑

and

∑

2 4

∑

what goes

9 16 bœ ≈ >œ œ. ≈ >œ

hap-pi

T&B

what goes

9 bœœ ≈ œ œ ≈ >œœ 16 >œ œ.

ness

Æ & ‰ œ ≈ œ œ ≈ œ ≈ >œ œ ‰ ™ ' '

2 4

ness

bœœÆ ≈ œÆ œÆ ≈ œ ≈ >œ œ ‰ ™ ‰ & œœ

Sop 4-5

bœ ‰ Œ J

9 16

what goes

∑

A 4-5

°& a tempo ( q = 50 ) Basses together, but out of sync with alto 4-5

poco a poco accel. B 4-5

¢&

Sop 1-3

53 ° 4 œÆ &4

N >œ ‰

there

Sop 4-5

4 bœœÆ &4

things

‰

there

4 & 4 bœ '

things

‰

Ó >œ

there

T&B

4 ¢ 4

>œ

things

∑

>¿ ™ things

A 4-5

° &

B 4-5

¢&

. > ≈ œ ≈ œ œ œÆ Ó I

2 4

∑

2 4

∑

2 4

can - nɒ

> ¿ ¿ ¿ ¿ ¿ Ó I

∑

can - nɒ

≈ œ ≈ œ œ œ Ó . ' > I

2 4

can - nɒ

> ≈ œ. ≈ œ œ œÆ Ó I

∑

can - not

2 4 poco a poco accel.

2 4

9 56

Sop 1-3

° 2 >œ ≈ œ ‰ bœ &4 pos

Sop 4-5

bly

2 b>œœ ≈ œ ‰ &4

pos

. . > ≈ œ ≈ œ ≈ œ ≈ bœ

bly

2 & 4 b>œ ≈ œ ‰

locked

. . > ≈ œœ ≈ œœ ≈ œœ ≈bœœ

pos

de - scribe,

j œ ‰

door,

4 4

A 4-5

°& 42

4 4

B 4-5

2 ¢& 4 (poco a poco accel.)

4 4

shards

4 œ ≈ ≈ bœ Œ 4

2 ¢ 4

∑

œ ‰ J

door,

locked

shards

4 œœ ≈ ≈ œ Œ 4

T&B

∑

bœ ‰ J

door,

locked

> ≈ œ. ≈ œ ≈ œ. ≈ œ bly

4 œ ≈ ≈ œ Œ 4

shards

∑

Sop 1-3

° &

∑

O ‰ bœJÆ

œ ≈ bœ Ó

of moon - light

∑ Sop 4-5

‰ bbœœÆ J

≈ œ Ó

of moon - light

∑ A

‰ bœÆ bœ J

≈ œ Ó

∑ ¢

A 4-5

° &

B 3-5

¢?

a tempo q = 50 ADD Bass 3 p Basses together but out of sync with altos

∑

>œ

œÆ

œÆ J

the thing yuː

cæ

‰ nnœœÆ bœ J >

œ '

the thing yuː

of moon - light

T&B

‰ nœJÆ

‰ nœÆ J

>œ

œ '

‰

j œ ‰ ' cæ

j œ ‰ '

the thing yuː

cæ

‰

¿ J

you

can

‰

10 62

Sop 1-3

° bœÆ ‰ & J

> œ ≈ bœ.

nɒ

œÆ & J ‰

Sop 4-5

quite

nɒ

j & œ ‰ '

nɒ

> œ ≈ bœ. œ œ

‰

quite

œ ≈ œ. >

‰

quite

‰

∑

>œ œÆ >œ Ó J lieve, a room

>œ œ œ œJ œ >œ Ó ' lieve, a room

j œ> œ >œ Ó ' lieve, a room

¿ J

T&B

¢ not

‰

that

A 4-5

°&

B 3-5

¢? poco a poco accel.

P 65

° S &

∑

œ bœ>œ ™™ œœ.

‰™

con-ceals

∑

>. . ≈ œœ ≈ œœ Œ

the

lit

tle

∑

≈ ¿™

T&B

¢ one

A 4-5

B 2-5

° & ¢&

a tempo q = 50 add Bass 2 p Basses together but out of sync with altos

Q Æœ œ

Sop 1-3

° Ó &

‰™

& Ó

Sop 4-5

œ b>œ ™

≈ the child

its

>œ ™

œœÆ

œœ

its

œÆ

its

and

its

the child

& Ó

‰™

>œ.

>¿ ™

4 4

fal

>œ. ≈ fal

≈

>œ. fal

≈

>¿

≈

¿™

T&B

¢ the child

A 4-5

°&

B 2-5

¢&

fal -

t'ring

4 4 4 4

each at your own pace poco a poco accel

Sop 1-3

70 ° 4 ‰ ≈ 3≈ œÆ >œ œÆ œÆ ≈ b>œ. Œ &4

the child and its

Sop 4-5

fal

Œ bœJ ‰ Œ

3 4 ‰ ≈ ≈ œ b>œœ œœÆ œÆ ≈ >œ. Œ &4 œ œ '

the child and its

fal

t'ring

Œ bœœJ ‰ Œ t'ring

‰™ œ

œ ‰ Œ J

Œ bœ ™ ≈

mind

‰ ™ œœ

and

œœ ‰ Œ J

mind

and

4 œ A & 4 ‰ ≈ ≈ œ bœ œ œ ≈ . Œ > ¢ ' > ' ' the child and its

A 4-5

° 44 &

B 2-5

4 ¢& 4

fal

Alto 4 only: poco a poco accel. Alto 5 sempre q = 50

Œ -

œ ‰ Œ J t'ring

‰™ œ mind

œ™ ≈

œ ‰ Œ J

R 73

mp Sop 1-3

° œ ≈ Œ & œ met -

œ ‰ bœ œ Ó > '

∑

tle,

lost

mem- 'riː

œ & œ ≈#œœ Œ

Sop 4-5

met -

bœœ ‰ bœœ œœ Ó > '

∑

tle,

lost mp

& œ ≈ #œ Œ

∑

bœ ‰ bœ œ Ó > '

tle,

lost

∑

mem- 'riː

∑

mem- 'riː

>¿ ¿ Ó

T&B

¢ mem-'ries

suddenly together, a tempo q = 50 A 4-5

° &

j j j j j œœ ‰ œœ ‰ œœ ‰ œœ ‰ œœ ‰ ' ' ' ' ' tʌ

[m]

tʌ

[m]

basses stop suddenly on beat 2 B 2-5

< > ¢& Œ

Œ Ó

S 76

Sop 1-3

° Œ &

> ‰ bœÆ nœ œÆ b>œ œÆ of

& Œ

Sop 4-5

& Œ

>¿ ¿ >¿ ¿

¢ sun - light and its

° ¢&

∑

its moth p

∑

er's

voice,

er's

voice,

9 Æ bœj™ ≈ 6 ≈ bœ ≈ ‰ ™ ≈ 16 16 œ™ J ' bœ ' its moth

∑

p j Æ 9 œ™ 6 16 J bœ ™ ≈ bœ ≈ 16 ≈ bœœ ≈ ‰™ ' '

sun - lɘ and /ɪ/

T&B

A 4-5

its moth

sun - lɘ and /ɪ/

‰ bœÆ bœ œ > ' b>œ œ' of

sun - lɘ and /ɪ/

‰ bbœœÆ bnœœ œœ œ œ > ' b>œ œ' of

∑

p j Æ 9 œ™ 6 16 J bœ ™ ≈ bœ ≈ 16 ≈ œ ≈ ‰™ ' '

9 16

∑

er's

voice,

6 16

∑

T 80

Sop 1-3

° 4 n>œ œÆ ‰ ™ &4

> > ‰ #œ œ œÆ nœ ‰ Œ

‰ Ó

an - ger,

the base-ment room,

mf 4nn>œœ œœÆ ‰™ &4

Sop 4-5

4 > Æ ™ ¢& 4 nœ œ ‰ °&

> . ‰ #œ bœœ œœ ≈

the base-ment room,

the lit - tle

> ‰ œ bœ œ #œ ‰ Œ > '

‰ Ó

an - ger,

A 4-5

the lit - tle

> > ‰ #œœ bœœ œœÆ #nœœ ‰ Œ

‰ Ó

an - ger, mf

>œ œ. ‰ œ ≈

‰ bœ bœ œ. ≈ >

the base-ment room,

the lit - tle

q = 60 together

**see note

poco a poco accel.

? Œ B 1-5

j j j œ ‰ œ ‰ œ ‰ ' ' '

j j œ ‰ œ ‰ ' ' (together as possible)

tuː

[m]

tuː

[m]

STAGING #1: As slowly and quietly as possible, one tenor closes his folder and walks slowly oﬀ stage or down the aisle and out of the theatre.

Sop 1-3

° bœ ≈ >œ ≈ >œ ‰ I Ó & one,

Sop 4-5

2 4Œ

‰ bœj ' thæ

2 4

thing you don't

want

know,

12 bœ œ œ ≈ œ œ œ ≈ œj™ 16 > ' > thing you don't

want

12 16

∑

¢& ‹

2 4Œ

‰ ¿ J that

A 4-5

12 >œ œ œ ≈ >œ œ œÆ ≈ œ™ 16 J

know,

∑

shad - ows,

∑ T

thæ

shad - ows,

& œ ≈ b>œ ≈ >œ ‰ Ó one,

‰ œJÆ

shad - ows,

> > bœ & œ ≈ bnœœ ≈ œœ ‰ Ó one,

U 2 4Œ

12 >¿ ™ 16 J

‰™

‰

j œ ‰ '

thing

° & q = 60 Bass 1&2 together p q = 88

j j #œ ‰ œ ‰ ' '

? B 1-2

tʌ

B 3-5

¢?

q = 88

tʌ

poco a poco accel. (together as possible)

**Note: Here, /tuː/ is the desired syllable

j œ ‰ ' mʌ

j œ ' tʌ

[m]

14 86

Sop 1-3

° &

>œ >œ Æ œ ≈ œÆ ≈ ##œœœ ≈

∑

that

& that

¿ ¿ ¿ ¿ ≈ ≈ ‰™

∑

don't

‰™

∑

don't

¿ ¿ ¿ ¿ ≈ ≈ ‰™

∑

¢& ‹ you

A 4-5

∑

you

want

∑

‰™

thing you

‰™

∑ A

don't

>œ >œ Æ Æ ≈ bœ œ œœ ≈ œœ ‰ ™

∑ Sop 4-5

thing you

œœœ ≈ ≈ '

don't

°& ? poco a poco accel.

B 1-2

B 3-5

¢? poco a poco accel.

a tempo q = 100

= 89

Sop 1-3

° 9 œ & 16 know

>œ œ . œ. œ ≈ ≈ ≈ the

lit

‰™

tle

n>œ œ ≈ œJ ™ shiv-'ring

V 4Œ 4

one,

bœ

truth,

mp Sop 4-5

9 bœœ & 16 know

>œ œ . œ. œ ≈ œ ≈ œ œ ≈ œ the

lit

> ‰ ™ bnœœ œœ ≈ bœœ ™™ J

tle

shiv-'ring

4Œ 4

one,

nœ ™ >

œ. Ó

truth,

mp p A

A 4-5

9 bœ & 16

≈ œ. ≈ œ œ ≈ œ. >

know

the

9 ¿™ ¢& 16 J ‹ know

‰™

° & ? poco a poco accel.

B 1-2

B 3-5

¢?

( q = 100 )

lit

‰™

tle

‰™

j bœ œ ≈ bœ ™ > shiv-'ring

∑

4Œ 4

Ó œ

one,

truth,

4 4

∑

15 p mp

Sop 1-3

° &

∑

œ™

>œ œ bœÆ > œ ‰ >œ Œ J

‰ Ó truth mp

∑ Sop 4-5

too much to bear, mf

truth,

the

>œ œ bœÆ > j œ œ ‰ Œ bœ œ œ œ >œ

œ™ bœ œj ‰ Ó

& truth that

œÆ ‰ J ‰ bœJ

too much to bear,

place

∑

truth,

∑ A

œ™ bœ œ œ Ó >'

bœ œ œ œ ‰ œj Œ > > ' >

truth that

∑ T

A 4-5

too much to bear,

∑

‰ bœj ‰ œj '

truth,

the

∑

¢& ‹ °& ? poco a poco accel. a tempo q = 88

B 1-2

B 3-5

¢? ( q = 100 )

= 96

mf Sop 1-3

° 3Ó &4

œÆ ‰

W > 6œ 8

sʌ

œœÆ

> 6 nœ 8 #œ

œÆ -

bœ.

ti - zens

bœ. >

œ >.

when

4 4

∑

4 4

∑

4 4

∑

4 4

∑

mp mf Sop 4-5

3 &4 Ó

‰

sʌ

œÆ

6 8 #>œ

œÆ œ -

bœ. nœ

ti - zens

bœ. >

œ >.

when

mf mp 2

3 &4 Ó

‰

sʌ

œ ' -

nœ.

ti - zens

œ >.

when

mf T

3Ó ¢& 4 ‹

‰

¿ some

°& ? B 1-2

A 4-5

B 3-5

¢?

6 8

∑

place

Sop 1-3

mf 99 ° 12 >œ & 16 when

œ. b>œ the truth

œ.

j bœ ™ >

> bœÆ

œ.

too

mʌ

bœ. ‰ ™

‰™

4 ≈ b>œ ‰ 4

≈ œ bœ

bear,

(too

much)

mf Sop 4-5

12 b>œœ & 16 when

œ. œ bœ > the truth

∑

too

mf A

12 & 16 b>œ when

12 ™ ¢& 16 ‰ ‹

œ. bœ > the truth

‰™

j œ. >œ ™ is

œ ' > mʌ

¿™ J

too

much

too mf

œ.

4≈ 4 œ> ‰

bear,

4¿ 4

≈ bœ nœ (too

¿™

much)

bear,

°& ? B 1-2

A 4-5

B 3-5

¢?

STAGING #2: As slowly and quietly as possible, one alto closes her folder and walks slowly oﬀ stage or down the aisle and out of the theatre.

101

Sop 1-3

° &

∑

X Ó

IŒ

. > > > Æ > ‰ ‰ œJ œ œ bœ œ bœœ œœ ≈ œ Œ the wret-ched lit -tle

one

lost,

∑ Sop 4-5

. > > > > ‰ ‰ œJ œ œ œ œÆ œ œ ≈ œ Œ the wret-ched lit -tle

∑ A

∑

one

lost,

‰ bœ Œ >

¢&

lost,

j j j j ° A. & œ ‰ œ ‰ œ ‰ œ ‰ œ œœ œ' ' too much to bear ? B 1-2

q= 112 poco a poco accel. p

j j #œ ‰ œ' too

‰

much

j œ '

‰ œ-j ‰

bear

j œ '

‰ œj ‰ '

tuː

q = 100 p B 3-5

¢?

j j œ ‰ œ ' ' tuː

mʌ

‰

17 104

Sop 1-3

° Ó &

œÆ Œ

‰ thɪ

œÆ Sop 4-5

& Ó

‰ thɪ

ruined house, the

9 ™ 16 œJ

œ™ J

base

¢& Ó ‹

‰

9 16 ‰™

¿ this

A 4-5

¿™ J

∑

ment,

4 4

‰™

ment,

≈ ≈ bœ 44 ≈ œ ‰

‰™

base

œ ≈ œ 44

ruined house, the

9 16 ‰™

∑ A

Y 9 ™ b œ ™ œœ ≈ œ 4 ≈ bœ ‰ 16 œJ œJ ™ 4

∑

house,

°& 116 ) ? poco( aq =poco accel.

( q = 120 )

B 1-2

B 3-5

( q = 100 )

¢?

poco a poco accel.

Z 107

mp S. Solo

° Ó ¢& ° Ó &

œû ≈ ≈ œû ‰

œû ≈

shards mp

leak

œ ≈ ‰

‰

shards mp

& Ó

shards

‰

Œ -

œ ≈ leak

ing

œ ≈ leak

œ ≈ ‰

≈ œû ‰

Œ -

œû ≈ œû ≈ œû ≈ ≈ œû ‰

œû ≈

moon - light,

cost

œ ≈ ‰

rage,

the

œœ ≈ ‰

moon -

rage,

œ ≈ ‰

moon -

rage,

‰

cost

‰

∑

#œ œ #œ ¢& ‹ ev - 'ry

A 4-5

°& ? a tempo q = 126

B 1-2

B 3-5

¢?

a tempo q = 108

œ ≈ cost

mf T

œ ≈

joy

S. Solo

AA 109 ° ≈ œ ‰ œ ≈ œ ≈ œ ≈ ≈ œ ‰ œ ≈ ≈ œ ‰ œ ≈ œ ≈ œ ≈ ≈ œ ‰ œ ≈ û û û û û û û û û û û û ¢& of

° Œ &

& Œ <#>œ ¢& ‹

ev - 'ry

splen - did

œ ≈ ‰

ev -

splen -

œ ≈ ‰

ev -

splen -

thing,

each

shiv - 'ring

‰ œ ≈ ≈ œœ ‰ œ ≈ ‰ thing,

each

œ ≈ ‰

ev -

‰ œ ≈

beau(t) - (y,)

shi(v)-

‰ œ ≈ ≈ œ ‰ œ ≈ ‰ thing,

beaut

œ ≈ ‰

ev -

‰ œ ≈

beau(t) - (y,)

shi(v)-

#œ œ #œ Ó

ev -

ev -'ry joy

A 4-5

°& ?

B 1-2

B 3-5

¢?

= S. Solo

BB 111 ° ≈ œ ‰ œ ≈ œ ≈ œ ≈ ≈ œ ‰ œ ≈ ≈ œ ‰ œ ≈ œ ≈ œ ≈ ≈ œ ‰ œ ≈ û û û û û û û û û û û û ¢& 'ry

° Œ &

pri -

vate

œ ≈ ‰

joy,

terms

that

œœ ≈ ≈ œ Œ

are

strict

and

œ ≈ ‰

strict

œ ≈ ‰

strict

so -

lute,

‰ œ ≈ (so)

pri - (vate) joy,

& Œ

œ ≈ ‰

terms

œœ ≈ ≈ œ Œ

lute,

‰ œ ≈ (so)

pri - (vate) joy,

terms

<#>œ Œ T

#œ œ #œ

(stop)

°& ?

B 1-2

B 3-5

¢& ‹ ev -'ry beaut

A 4-5

lute,

¢?

c join other altos

CC ° ≈ œ ‰ œ ≈ œ ≈ œ ≈ ≈ œ ‰ œ ≈ ≈ œ ‰ œ ≈ œ ≈ œ ≈ ≈ œ ‰ œ ≈ S. Solo & û û û û û û û û û û û û ¢ 113

the

base - ment

° Œ &

œ ≈ ‰ base -

all four altos A remaining

base -

guilt,

bear

a - ble

bear

guilt,

ev -'ry beaut

bear

œÆ J

‰

hi -

œ ≈ ≈ #œ ‰ œ ≈

œÆ Œ

œ ≈ ≈ œœ ‰ œ ≈

œ ≈ ≈ œ ‰ œ ≈ ≈ œ ‰ Œ

#œ œ #œ

œ ≈ ≈ œ ‰ œ ≈ ≈ œ ‰ Œ

cry,

œÆ Œ

& <#>œ ‹ -

guilt,

cry,

œ ≈ ‰

& Œ

cry,

hi -

Æ ‰ œJ 'ry

? B 1-2 ( q = 76 ) mp

? B 3-5

œ '

œ œ ' '

œ '

œ œ ' '

tʌ

= Tutti q = 76 115

S. Solo

° ≈ œ ‰ û ¢& la

DD œû ≈ œû ≈ œû ≈ ≈ œû‰ œû ≈ ≈ œû ‰ tions, the

° ≈ œœ ‰ œœ ≈ ‰ & la

tions,

& ‰ ‹

f'ring

œÆ J

‰

œÆ J

tle

splen

suf

œÆ J

‰

Æ ‰ œJ -

did

for

things

for

#œ œ #œ

beaut

all,

things

B 1-2

are

that

things

are

that

are

œÆ œ

Æ ‰ œJ

joy

? bœ œ œ œ œ œ œ œ œ œ œ œ >' ' >' ' >- ' ' >' ' >' ' >-

that

œ ≈ œ ≈ œ ≈ ≈ œ ‰ œœ ≈

one

ev'ry

all,

œ ≈ œ ≈ œ ≈ ≈ œ ‰ œœ ≈

≈#œœ ‰

f'ring

for

one

œ ≈≈ œŒ

tions,

one

≈œœ ‰

f'ring

lit ( q = 76 )

œ ≈≈ œŒ suf

& ≈ #œœ ‰ œœ ≈ ‰

suf

œû≈ œû ≈ œû ≈ ≈ œû ‰ œû ≈

œ œ bœ' œ œ' œ œ- œ œ œ' œ œ' ' ' > ' > ' > ' ' > ' >

bear to bear too much to bear bear to bear to much to bear bear to bear too much to bear bear to bear

B 3-5

? œ '

œ '

œ œ ' '

œ '

œ œ ' '

œ '

œ œ ' '

tʌ

20 117

mf S. Solo

nœ œ #œÆ

° ≈ œ ‰ û ¢&

œû ≈ œû ≈ ‰ ™

too

much

too

much

EE -œ ≈ poco a poco accel. ≈ ‰ Œ Ó

bear,

° œ ‰ S & ≈ œ too

much

too

much

≈ ≈ -œ ‰ Œ

bear,

œÆ ‰ J

& ‰ ‹ ev - 'ry beaut

bear,

#œ œ #œ

B 1-2

much

- ≈ ≈#œœ ‰ Œ

œ ≈ œœ ≈ Ó

& ≈ #œœ ‰ too

œ œ #œÆ

œ ≈ œœ ≈ #œ ™

≈ pj ‰ bœ ‰ >' too

‰

? œ bœ œ œ œ œ œ œ Ó ' >- ' ' >' ' >' '

j œ ‰ > much

‰

≈ ‰ Œ

‰

≈ ‰ Œ

j œ ‰ >' to

too much to bear bear to bear to

B 3-5

? ¢ œ'

œ '

tʌ

q = 88 accel. poco a poco cresc.

q = 100 119

p A

° &

∑

j œ ‰ '

j j œ ‰ œ ‰ ' '

too

mʌ

j œ œ ‰ œ ' ' '

bear too

mʌ

poco a poco cresc. T

j & ‰ bœ ‰ >' ‹ bear

j j œ ‰ œ- Œ > >' too

j j j ‰ bœ ‰ œ ‰ œ- Œ > >' >'

much

bear

too

j j j ‰ bœ ‰ œ- ‰ ‰ œ ‰ >' > >'

much

too

much

poco a poco cresc. p

? ≈b>œÆ ‰ ‰ ™

>Æ ™ œ‰

>Æ ™ >Æ >Æ œ ‰ œ ≈bœ ‰ ‰ ™

>Æ ™ œ‰

>Æ >Æ œ ≈bœ ‰ ‰ ™

>Æ ™ œ‰

>Æ œ

tʌ

>Æ ™ œ‰

>Æ ™ >Æ >Æ œ ‰ œ ≈bœ ‰ ‰ ™

>Æ ™ œ‰

>Æ >Æ œ ≈bœ ‰ ‰ ™

>Æ ™ œ‰

>Æ œ

tʌ

B 1-2 tʌ

tʌ

p B 3-5

? ≈b>œÆ ‰ ‰ ™ ¢ tʌ

tʌ

(poco a poco cresc.) accel. q = 112 21 122

° ‰ &

j œ '

‰

j & bœ >' ‹ bear

‰

j œ >'

j j œ œ ' ' bear

too

‰

j œ- œ > '

j œ ‰ '

‰

much to

‰™

j œ '

‰

mʌ

? ≈ b>œÆ ‰

j œ '

‰

œ '

bear

too

œ '

j œ '

mʌ

j œ >'

j œ>

‰

œ >'

œ '

bœ>

œ '

bear

much

bear too

‰™

>Æ ™ œ ‰

>Æ œ

tʌ

>Æ ™ œ ‰

>Æ > œ ≈ bœÆ ‰

tʌ

much

B 1-2 tʌ

? ‰™

œœ ≈ œœ ‰ >' tʌ' tʌ

B 3-5

≈ œœ ‰ '

tʌ

‰™

œœ ≈ œœ ‰ >' tʌ' tʌ

≈ œœ ‰ '

tʌ

(poco a poco cresc.) accel.

q = 126

124

° ‰ &

j & bœ ‹ to>'

j œ '

bear

too

‰

j œ-

‰

much

j œ ‰ >'

‰™

œ '

j œ-

bear

too

much

‰

too

œ '

‰

j œ ‰ >'

bear

? ≈ b>œÆ ‰

j œ '

‰

j œ>

j bœ >'

much

‰

>Æ ™ œ ‰

>Æ > œ ≈ bœÆ ‰

tʌ

j œ '

‰

j œ >'

bear

j œ >'

‰

bear

‰

>œ ‰™

‰™

j œ '

‰

>Æ ™ œ ‰

>Æ œ

B 1-2 tʌ

? ‰™ B 3-5

œœ ≈ œœ ‰ >' tʌ' tʌ

≈ œœ ‰ '

tʌ

too

‰™

much

œœ ≈ œœ ‰ >' tʌ' tʌ

bear

≈ œœ ‰ '

tʌ

**individual swift accel.

126

mf A

° & œj '

‰

j œ '

‰

j œ '

‰

3 16

‰

bear

j & bœ ‹ >'

j œ >'

, mf T

‰

bear

‰

bear

3 16

‰

, mf

3 16

? B 1-2

, mf

3 16

? B 3-5

¢ **Each singer freely accelerates at his/her own pace. Staccato is still observered, however, each individual may lengthen a few notes (up to the duration of a quarter note) of his/her choosing.

e. = 88 129

° 3 S & 16

∑

FF 6 16 ‰™

mf f > b 12 ≈ ≈ ® œ 16 ≈ ≈ ® bœ ≈ ≈ ® œ ≈ ≈ ® œ ≈ ≈ ® œ > > > > sʌ

sʌ

ʌn

sʌ

3 & 16

∑

6 16 ‰™

f > 12 ≈ ≈ ® œ 16 ≈ ≈ ® œ ≈ ≈ ® bœ ≈ ≈ ® œ ≈ ≈ ® œ > > > > sʌ

ʌn

sʌ

œ ® >œ

œ ® œ >

mf T

j 3 6 & 16 >œ œ ® 16 >œ œ œ ‹ suf - frɪ suf - f'ring

≈

12 16 >œ ʌ

frɪ

ʌ - f'ring

frɪ

œ ®

ʌ - f'ring

mf B

j 3 6 ? 16 ® 16 œ œ œ œ œ ¢ > > suf - frɪ

suf - f'ring

≈

12 16 >œ ʌ

œ ® >œ -

frɪ

œ ® >œ

ʌ - f'ring

œ ® œœ > -

frɪ

œœ ®

ʌ - f'ring

23 mf

132 >œ ° ≈ ≈ ® ≈ ≈ ® b>œ ≈ ≈ ® ≈ ≈ ® ≈ ≈ ® ≈ ≈ ® ≈ ≈ ® ≈ ≈ ®œ b œ œ b œ S & > >œ > > > >œ

/ɪ/

the

all

the

> & ≈ ≈ ® >œ ≈ ≈ ® >œ ≈ ≈ ® bœ ≈ ≈ ® >œ ≈ ≈ ® bœ ≈ ≈ ® œ ≈ ≈ ® œ ≈ ≈ ® >œ > > >

/ɪ/

œ ® >œ

& >œ ‹ bear

- a - ble

? œœ >

œœ ® >œ

bear - a - ble

the

œ ® >œ

an - ni - hi - la - tions

œ ® >œœ

œœ ® >œ

all

œ ® >œ

suf - f'ring suf - f'ring one

œ ® >œœ

an - ni - hi - la - tions

œœ ® >œ

for

œ ® >œœ

the

suf - f'ring

œœ ® >œ

suf - f'ring suf - f'ring one

for

œ®

suf - f'ring

= 134 ° ≈ ≈ ® ≈ ≈ ® bœ>œ ≈ ≈ ® ≈ ≈ ® œ>œ ≈ ≈ ® b œ ≈ ≈ ® bœ>œ ‰ ™ bœœ œ nœ S & > >œ >

the

≈ ≈ ® b>œ ≈ ≈ ®

& ≈ ≈ ®

cost

b >œ

≈ ≈ ® >œ ≈ ≈ ®

the

cost

œ ® >œ

? œœ >

œœ ® >œœ of

>œ

& >œ ‹ cost

cost

ev - ry

lit - tle

œœ ® >œœ

ev - ry

thing

œ ® >œ each

œœ ® >œ

splen - did

thing

each

‰™

4 4

thing

4 œ ® >œ ≈ >œ œ ® 4

pri - vate

œ ®œ >

4 4

thing

≈ ≈ ® bœ ‰ ™ œ> > ry

œ ® >œ

splen - did

œœ ® >œœ

lit - tle

‰™

joy

ev - ry

œ ® œ ≈ œ œ ® 44 > >

pri - vate

joy

ev - ry

GG q = 60

q = 72 136

° 4 2 & 4 >œ ‰ >œ œ ≈ >œ œ ≈ >œ œ ≈ œœ œœ ≈ œœ œœ ≈ œœ œœ ≈ œœ œœ ≈ 4 ' ' ' ‹ > > > > guilt

suf - f'rɪ

suf - fer

suf - f'ring

2 ?4 ¢ 4 b>œœ ‰ >œœ œ'œ ≈ >œœ œ'œ ≈ >œœ œ'œ ≈ #>œœ œ-œ ≈ >œœ œ-œ ≈ >œœ œ-œ ≈ >œœœ œœ-œ ≈ 4 guilt

suf - f'rɪ

suf - fer

suf - f'ring

accel.

q = 80

accel. q = 104

138

° 2 j 4 j j j j j & 4 œœ œœ ≈ œœ œœ ≈ 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' suf f'rɪ suf -f'ring suf -f'ring one lit - tle suf -f'rɪ suf - fer suf - fer sʌ ?2 j 4 j j j j j B ¢ 4 #>œœœ œœœ≈ >œœœ œœ-œ≈ >œœ œ-œ ≈ >œœ ‰ 4 >œœ œœ≈ >œœ œœ≈ >œœ ‰ >œœ ‰ >œœ ‰ >œœ ‰ œœ ‰ ' ' ' >'

j œ ‰ œ >' sʌ j œœ ‰ >'

suf f'rɪ

suf -f'ring

suf -f'ring one

lit - tle

suf -f'rɪ

suf - fer

sʌ

= q = 76

HH Ó

≈ Œ

U U Œ Ó

≈ Œ

U U Œ Ó

U U œœ Ó

rit. 142

° S & Œ

& Œ

f pp sub.

& œ œ ≈ œœ œœ ≈ œœ œœ ≈ œœ œœ ‰ ‹ >œ œ- > - > - > >

suf -f'ring

lit - tle

≈ Œ ˙ >˙ one

œœ œœ ‰ lit - tle

one

f pp sub.

≈ Œ

? œ>œ œ-œ ≈ #>œœ œœ- ≈ >œœ œœ- ≈ b>œœ >œœ ‰ nb>˙˙˙

suf -f'ring

lit - tle

one

œœ œœ ‰

U U Œ œœ Ó

lit - tle

one

II q = 76 mf 145

solo tutti

° S & Œ

‰

3 > ≈ ≈ #œ œ

the suf -

& ‹

œ f'ring

≈ œ.

‰

∑

? B

≈ ≈ #œ

STAGING #3: As slowly and quietly as possible, one soprano closes her folder and walks slowly oﬀ stage or down the aisle and out of the theatre.

JJ Ó

147 3

° œÆ #œÆ Ó S & J ‰ ‰ wʌ

‰ ≈ ≈#œ œ œ œJÆ ‰

I Œ

all,

#>œ ‰ Œ J

things that are

much

solo mp

& ‰ œJÆ ‰ œÆ Ó

foʊ

∑

‰ ≈ œ. ‰ œj Œ '

all,

too

¿ ¿ ¿ ¿ ¿ ‰ Œ J

T&B

one for

∑

all

= 150

° œ S & J ‰ Œ

œ™ #œ. Œ

bear,

KK Œ

place sʌ

œ #œ œ œ ™ #œ ‰ #œœÆ . ci - ti-zens go,

thæ

pleɪ

solo mp

tutti mf

tutti 3

& #œJ ‰ Œ

‰ ≈ ≈ œ. ‰ ™ ¿ ¿ ‰ Ó J

bear,

the

‰™ ¿ ¿ ¿

some

that

place

‰™ ¿ ¿ ‰ Ó J

∑ T&B

‰™ ¿ ¿ ¿

some

that

= solo mp 153

tutti

° #œœ nœÆ Œ S & ≈

. > ≈##œœ ™™ ‰ œ œ ≈ œœ Œ

Æ Œ ≈ œ™

be yɑː

the

solo mp

t'ring

T&B

yond

¿ ¿ ¿ ¿ ‰ Ó J be

yond

the

g/e/,

biː

solo p

tutti

& ¿ ¿ ¿ ¿J ‰ ≈ œÆ ™ ≈ œ ≈ Œ

ci - ty

‰ #œœJ ‰ ‰ Ó

glit

> ‰ #œJ œ ≈ œ. Œ ci - ty

‰™

g/e/,

¿ ¿ ‰ J gates

j ‰ Ó œ yond

∑

place

LL #œœ œœ œœ ¿ Œ #œœÆ ‰ Œ J

156

° S & Œ

glit-t'ring ci - ty

mp f 3

solo p

œ ‰ Œ J

‰ ≈ ≈#œœ Œ

the silence

tutti mp

the

f mp

. & ‰ ≈ ≈#œ Œ

‰ ≈≈œ œ œ

j ‰ Œ œ

the

‰ ≈ ≈ œ #œ œ

gates,

∑

œ ‰ Œ J

j œ ‰

the silence

place

∑

T&B

¢ STAGING #4: As slowly and quietly as possible, one alto and one bass close their folders and walk slowly oﬀ stage or down the aisle and out of the theatre.

MM 159

° ™ œœÆ Œ S & ‰

Æ ‰ ™ #œ #œœÆ œœÆ œœÆ ‰ I Œ #œœœ ‰ J

oʊ

the

saɪ- l/e/ dɑː

∑

thæ 3

& Œ

‰ œ Ó #œ ' pæ

œ #œ

≈≈

‰ œ

¿ ¿ ¿

¿™

si - lent dark

? ‰™ ¿ ¿ ¿ ¿ ‰ Œ J out

place,

& ‰ ™ ¿ ¿ ¿ ¿J ‰ Œ ‹ out past

j œ ‰ Œ œ

‰™

¿ ¿ ¿

past

that

¿™

si - lent dark

that

are

¿ ‰ Œ #œœ œœ ‰ J

¿ place

œœ

things that

¿ ‰ Œ J

too

place

= solo p

162

Æ ≈ œœ ™™

° S & Œ

G.P.

≈ œÆ ™

∑

bear,

tutti mp

solo p 3

G.P. A

& ≈

‰ œ

≈ #œ ™ '

much

≈ bœÆ ™

∑

‰

bear,

the

G.P. T

#œ ‰ ¢& ≈ ‹ much

≈ ≈ #œ #œ

∑

27 tutti 165 mf

° #>œœ S & place

mp p

. ≈ #œœ ‰

œÆ

they

go,

#œœ

≈ œœ œœ

œœ.

they

go,

place mp

#nœœ Œ ones,

p mf 3

> & #œ

≈ œ. ‰

place

they

œÆ

≈ ≈ #œ ‰ ™ .

‰

go,

Œ #œ

the

‰

≈ ≈ #œ Œ # œ.

œ #œ.

they

go,

the

‰™

¿ ¿

¿ J

they

go,

T&B

‰

3 ≈ ≈ ¿. ¿

‰

the ones

= **solo p

167

(no rit.)

° S & Ó

œ J

œÆ ‰

œ J

place,

‰

ones

waː

**solo p 3

& Œ

‰

≈ ≈ #œ ‰ . the

≈ ≈ œ #œ #œ

≈ ≈ œ .

the ones

‰

who

œ ' walk

p 3

‰

≈ ≈ ¿

T&B

¿ J

¿™

Y (away.)

who

**everyone who is not singing whispers T&B's last measure (and pick up)

walk