Christian Mason
invisible threads for six Voices and six Instruments für sechs Stimmen und sechs Instrumente Text: Paul Griffiths Score Partitur
MM 2385428
1/2024
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Christian Mason
Invisible Threads for six Voices and six Instruments für sechs Stimmen und sechs Instrumente Text: Paul Griffiths Partitur Video-timecode and libretto available on www.breitkopf.com Video-Timecode und Libretto auf www.breitkopf.com verfügbar
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III
Introduction Table of Contents and dedications prologue for Harry Vogt . . . . . . . . . . . . . . . . . . . . . . . . . I for Stefan Winter and Mariko Takahashi . . . interlude I for Krassimir Sterev . . . . . . . . . . . . . . . . . . . . II for Gareth Davis . . . . . . . . . . . . . . . . . . . . . . . interlude II for Arditti Quartet . . . . . . . . . . . . . . . . . . . . . . . III for Neue Vocalsolisten . . . . . . . . . . . . . . . . . . IV for Paul Griffiths . . . . . . . . . . . . . . . . . . . . . . .
1 12 38 59 116 122 189
Instrumentation Soprano 1 Soprano 2 Mezzo Soprano Tenor Baritone Bass Bass Clarinet in Bb Accordion String quartet The score is transposed. The video-timecode and the libretto are available on www.breitkopf.com First Performance Neue Vocalsolisten Johanna Vargas, Soprano 1 Susanne Leitz-Lorey, Soprano 2 Truike van der Poel, Mezzo Soprano Martin Nagy, Tenor Guillermo Anzorena, Baritone Andreas Fischer, Bass Gareth Davis, Bass Clarinet Krassimir Sterev, Accordeon Arditti String Quartet Irvine Arditti, Violin Ashot Sarkissjan, Violin Ralf Ehlers, Viola Lucas Fels, Violoncello Märkisches Museum Witten Wittener days for new music April 22, 2023 video-timecode: Jakob Berger, Musik der Jahrhunderte, Stuttgart. Used by permission.
Duration Approx. 70 minutes
Installation
Front L
Front M
Front R
Mid L
Mid M
Mid R
Rear L
Rear M
Rear R
Note on Spatial Dramaturgy and Performance Context The spatial organisation was conceived with the venue of the premiere performance in mind, and with the assumption that the audience will be free to wander around the space(s) as they please. While I was certainly influenced by the idiosyncrasies of the Märkisches Museum Witten, which consists of several interconnected halls/rooms, this is not a site-specific piece. It is rather a piece about the exploration of spatial relationships between musicians, and the ways in which these inform musical structures and listening experiences. It is also an invitation to explore the boundaries and imaginative possibilities of performance spaces in general. As such, the spatial concept can happily be adapted and realised in different contexts, much as an opera can receive distinct productions while remaining essentially the same piece. The spatial relationships notated in the score refer to this abstracted installation diagram, and should be treated as a starting point for interpretation rather than an absolute limitation. It is worth noting that, for the premiere performance at the Märkisches Museum Witten, each of these nine spaces represents a separate room with additional scope for the varied spatial organisation of the musicians within it. For example, ‘Mid M’, which represents the central hall of the museum, sees the string quartet widely spaced in the four corners during movement III, whereas in movement IV it sees the bass clarinet, accordion and voices performing from the centre. ‘Rear M’ represents a balcony, overlooking ‘Mid M’; whenever a balcony is available I would encourage the use of it. However, it is equally possible that the piece could be performed on-stage in more traditional ‘concert performance’ settings, something like a oratorio.
IV Note on Time and Synchronisation In order for the musicians to play together accurately in the varied spatial situations that arise during the piece it is necessary to use a synchronised timecode/metronome, played from a smartphone. The timecode/metronome for the entire piece exists as a single video file, to be played using a media player app such as VLC. The video-timecode is available for download at www.breitkopf.com. All pauses, position changes and gaps between movements are included in the video. Corresponding timecode indications are written into the score wherever necessary throughout the piece. In movements that use metronome rather than timecode, the video follows the metrical structure of the score, indicating bars and beats, rather than minutes and seconds. The timecode begins at -5 minutes (before the start of the performance) in order to allow the performers to start their videos simultaneously before taking their starting positions. During performance the musicians should take their phones with them whenever changing positions. Note on Audience Participation (for the Prologue) There are two ‘audience roles’ possible: (1) tremolo harmonicas (2) baoding balls (or keychain). These can either be realised by audience members arriving ‘on the night’ or in collaboration with local community groups or music schools. It is important that the harmonicas are, if possible, 24-hole double-reed tremolo harmonicas with full chromatic sets providing all 12 keys, which results in varied high and low notes creating hocketed spatial melodies between players. The use of tremolo harmonicas is essential because they are the only instruments to create the desired effect when blown through a handkerchief (it does not work with single-reed blues harmonicas). While the involvement of non-professional participants is invited during the prologue, the entire piece can also be effectively performed without additional participants. This is ultimately the decision of the producer or festival presenting the piece. In the case of a performance without additional participants, the focus of the prologue is on the seven soloists (six voices and bass clarinet player) improvising hocketed spatial melodies with harmonicas in the keys of: F, G, G#, B, C, D, D#.
Program notes I find great inspiration in the idea – and the experience – of spaces enlivened by the focus of attentive ears. In these moments of collective concentration it feels almost as though we grow invisible threads between us, connecting momentarily before we disperse back into the world. The ritual of performance is not only about the music being played, more fundamentally it is an excuse to spend time together in this special state of awareness. During this ‘performance installation’ listeners wander freely through the spaces of the gallery, whereas performers conform to a more formalised ritual of spatial-relationships which transform across the duration of the piece. This freedom of movement allows you to bring your attention to the sounds in unpredictable ways: maybe you want to focus for a while on the special sound of the accordion… then baritone or cello… bass clarinet or soprano… the interaction between voices and violins… and later, maybe, a more global balanced view of the whole. The possibility to vary our proximity to the sound sources – to listen closely, or at a distance – is the essence of Invisible Threads. Cohering this spatial sound-ritual is a remarkable ‘polyphonic’ text composed by Paul Griffiths, who describes it thus: “The text is a web of words, kind of subterranean, in that meaning is largely hidden as one word flows into another by connections of sound rather than syntax. Everything flows from the word „mycelium“, and especially from its three consonantal sounds, all of which can be extended. As in actual mycelium, there are multitudinous branchings out and back in, as well as meaningful phrases emerging here and there, like fruiting bodies. These often include new consonants: “t”, “r” and “n”, for example, in “illuminates a measureless solemnity”. The generative word “mycelium”, however, is hardly used, and at no time does the text refer to the subject matter. The text preserves thereby an ignorance.” (Paul Griffiths) The starting point for all of this was thinking about the mysterious world of fungi and mycelium, and the way in which their branching roots intertwine with tree roots to form immense, though unseen, communicative networks beneath the surface of the earth. But, as so often in creative processes, the piece grew away from its source and became this little portion of time and space in which I invite you to listen – closely or a distance – to the sounds that surround you. Christian Mason, 2023
Commissioned by the City of Witten for the Wittener days for new music 2023, financed by the Ernst von Siemens Music Foundation
V Einleitung Inhaltsverzeichnis und Widmungen prologue für Harry Vogt . . . . . . . . . . . . . . . . . . . . . . . . . 1 I für Stefan Winter and Mariko Takahashi . . . 12 interlude I für Krassimir Sterev . . . . . . . . . . . . . . . . . . . . 38 II für Gareth Davis . . . . . . . . . . . . . . . . . . . . . . . . 59 interlude II für Arditti Quartet . . . . . . . . . . . . . . . . . . . . . . . 116 III für Neue Vocalsolisten . . . . . . . . . . . . . . . . . . 122 IV für Paul Griffiths . . . . . . . . . . . . . . . . . . . . . . . 189 Besetzung Sopran 1 Sopran 2 Mezzosopran Tenor Bariton Bass Bassklarinette in B Akkordeon Streichquartett Die Partitur ist transponiert. Der Video-Timecode und das Libretto sind auf www.breitkopf.com verfügbar. Uraufführung Neue Vocalsolisten Johanna Vargas, Sopran 1 Susanne Leitz-Lorey, Sopran 2 Truike van der Poel, Mezzosoprano Martin Nagy, Tenor Guillermo Anzorena, Bariton Andreas Fischer, Bass Gareth Davis, Bassklarinette Krassimir Sterev, Akkordeon Arditti Streichquartett Irvine Arditti, Violine Ashot Sarkissjan, Violine Ralf Ehlers, Viola Lucas Fels, Violoncello Märkisches Museum Witten, Wittener Tage für neue Musik 22.04.2023 Video-Timecode: Jakob Berger, Musik der Jahrhunderte, Stuttgart. Mit Genehmigung verwendet. Dauer ca. 70 Minuten
Installation
Front L
Front M
Front R
Mid L
Mid M
Mid R
Rear L
Rear M
Rear R
Anmerkung zur räumlichen Dramaturgie und zum Aufführungskontext Die räumliche Organisation wurde mit Blick auf den Ort der Uraufführung und unter der Annahme konzipiert, dass die Zuschauer sich nach Belieben im Raum bzw. in den Räumen bewegen können. Obwohl ich sicherlich von den Besonderheiten des aus mehreren miteinander verbundenen Sälen/ Räumen bestehenden Märkischen Museums Witten beeinflusst war, handelt es sich nicht um ein ortsspezifisches Stück. Es ist vielmehr ein Stück über die Erforschung der räumlichen Beziehungen zwischen Musikern und die Art und Weise, wie diese die musikalischen Strukturen und Hörerfahrungen beeinflussen. Es ist zudem eine Einladung, die Grenzen und imaginativen Möglichkeiten von Aufführungsräumen im Allgemeinen zu erkunden. Als solches kann das Raumkonzept gerne angepasst und in verschiedenen Kontexten realisiert werden, ähnlich wie eine Oper unterschiedliche Inszenierungen erfahren kann, während sie im Wesentlichen dieselbe bleibt. Die in der Partitur notierten räumlichen Verhältnisse beziehen sich auf dieses Installationsdiagramm und sollten eher als Ausgangspunkt für die Interpretation denn als absolute Einschränkung betrachtet werden. Es sei darauf hingewiesen, dass bei der Uraufführung im Märkischen Museum Witten jeder dieser neun Räume einen separaten Raum darstellt, der zusätzlichen Spielraum für die unterschiedliche räumliche Organisation der Musiker innerhalb dieses Raumes bietet. Im „Mid M“, das den zentralen Saal des Museums repräsentiert, ist das Streichquartett im dritten Satz weiträumig in den vier Ecken verteilt, während im vierten Satz die Bassklarinette, das Akkordeon und die Stimmen in der Mitte spielen. Das „Rear M“ stellt einen Balkon dar, der das „Mid M“ überblickt; wann immer ein Balkon zur Verfügung steht, würde ich dazu raten, ihn zu nutzen. Es ist jedoch auch möglich, das Stück auf der Bühne in einem traditionelleren „Konzert“-Setting aufzuführen, etwa in Form eines Oratoriums.
Hinweis zu Zeit und Synchronisation Für ein präzises Zusammenspiel der Musiker in den verschiedenen räumlichen Situationen, die sich während des Stückes ergeben, ist es notwendig, einen synchronisierten Timecode bzw. ein synchronisiertes Metronom zu verwenden, der (bzw. das) von einem Smartphone abgespielt wird. Der Timecode (das Metronom) liegt für das gesamte Stück als eine einzige Videodatei vor, die mit einer Media-PlayerApp wie VLC abgespielt werden kann. Der Video-Timecode ist auf www.breitkopf.com zum Download verfügbar. Alle Pausen und Zeitspannen bei Positionswechseln und zwischen den einzelnen Sätzen sind in dem Video enthalten. Entsprechende Timecodes sind in der Partitur überall dort vermerkt, wo sie im Stück notwendig sind. Bei Sätzen, die nicht mit dem Timecode, sondern mit dem Metronom gespielt werden, folgt das Video der metrischen Struktur der Partitur und gibt Takte und Schläge statt Minuten und Sekunden an. Der Timecode beginnt bei -5 Minuten (vor Beginn der Aufführung), damit die Aufführenden ihre Videos gleichzeitig starten können, bevor sie ihre Startpositionen einnehmen. Während der Aufführung sollten die Musiker ihre Handys bei jedem Positionswechsel mitnehmen. Hinweis zur Beteiligung des Publikums (für den Prolog) Es sind zwei „Publikumsrollen“ möglich: (1) Tremolo- Mundharmonikas (2) Baoding-Kugeln (oder Schlüssel anhänger). Diese können entweder von Zuschauern, die „am Abend“ erscheinen oder in Zusammenarbeit mit lokalen Gruppen oder Musikschulen realisiert werden. Wichtig ist, dass es sich bei den Mundharmonikas möglichst um voll chromatische doppelseitige 24-Loch-TremoloMundharmonikas handelt, die alle 12 Tonarten umfassen, was zu unterschiedlich hohen und tiefen Tönen führt, die zwischen den Spielern hocketierte räumliche Melodien erzeugen. Der Einsatz von Tremolo-Mundharmonikas ist unerlässlich, da sie die einzigen Instrumente sind, die den gewünschten Effekt erzeugen, wenn sie durch ein Taschentuch geblasen werden (dies funktioniert nicht mit Blues- Mundharmonikas mit einfachem Rohrblatt). Während die Einbeziehung von nicht-professionellen Teilnehmern während des Prologs erwünscht ist, kann das gesamte Stück auch ohne zusätzliche Teilnehmer aufgeführt werden. Dies ist letztlich die Entscheidung des Produzenten oder des Festivals, in dessen Rahmen das Stück aufgeführt wird. Bei Aufführungen ohne zusätzliche Akteure liegt der Schwerpunkt des Prologs auf den sieben Solisten (sechs Stimmen und ein Bassklarinettist), die mit Mundharmonikas hocketierte räumliche Melodien in den Tonarten F, G, G#, H, C, D, D# improvisieren. Beschreibung Ich finde die Idee – und die Erfahrung – von Räumen, die durch den Fokus aufmerksamer Ohren belebt werden, sehr
inspirierend. In solchen Momenten kollektiver Konzentration fühlt es sich fast so an, als würden unsichtbare Fäden zwischen uns wachsen, die uns für einen Moment miteinander verbinden, bevor wir uns wieder in die Welt zerstreuen. Beim Ritual der Aufführung geht es nicht nur um die Musik, die gespielt wird, sondern vor allem darum, Zeit miteinander in diesem besonderen Bewusstseinszustand zu verbringen. Während dieser „performance installation“ bewegen sich die Zuhörer frei durch die Räume des Museums, während die Interpreten einem eher formalisierten Ritual räumlicher Beziehungen folgen, die sich während der Dauer des Stücks verändern. Diese Bewegungsfreiheit erlaubt es Ihnen, Ihre Aufmerksamkeit auf unvorhersehbare Weise auf die Klänge zu lenken: vielleicht möchten Sie sich eine Weile auf den besonderen Klang des Akkordeons konzentrieren ... dann auf Bariton oder Cello ... Bassklarinette oder Sopran ... die Interaktion zwischen Stimmen und Geigen ... und später vielleicht eine globalere, ausgewogenere Sicht auf das Ganze. Die Möglichkeit, unsere Nähe zu den Klangquellen zu variieren – aus der Nähe oder aus der Ferne zu hören – ist das Wesen von Invisible Threads. Dieses räumliche Klangritual wird von einem bemerkens werten »polyphonen« Text zusammengehalten, den Paul Griffiths verfasst hat: „Der Text ist ein Geflecht von Wörtern, eine Art unterirdisches Gewebe, in dem die Bedeutung weitgehend verborgen ist, da ein Wort in ein anderes fließt, und zwar eher durch Klangverbindungen als durch Syntax. Alles geht von dem Wort „mycelium“ aus, insbesondere von seinen drei konsonantischen Lauten, die alle erweiterbar sind. Wie in einem echten Myzel gibt es zahlreiche Verzweigungen nach außen und wieder nach innen sowie sinnvolle Sätze, die hier und da entstehen, wie Fruchtkörper. Dazu gehören oft neue Konsonanten: t, r und n, zum Beispiel in „illuminates a measureless solemnity“. Das generative Wort „mycelium“ wird jedoch kaum verwendet, und der Text verweist zu keinem Zeitpunkt auf den Gegenstand. Der Text bewahrt damit eine Unkenntnis.“ (Paul Griffiths) Ausgangspunkt für all dies war das Nachdenken über die geheimnisvolle Welt der Pilze und des Myzels und die Art und Weise, wie sich ihre verzweigten Wurzeln mit den Wurzeln der Bäume verflechten, um riesige, wenn auch unsichtbare, kommunikative Netzwerke unter der Erdober fläche zu bilden. Aber wie so oft in kreativen Prozessen entfernte sich das Stück von seinem Ursprung und wurde zu diesem kleinen Stück Zeit und Raum, in dem ich Sie einlade, den Klängen, die Sie umgeben, zu lauschen – aus der Nähe oder aus der Ferne. Christian Mason, 2023
Kompositionsauftrag der Stadt Witten für die Wittener Tage für neue Kammermusik 2023, finanziert durch die Ernst von Siemens Musikstiftung
invisible threads
prologue [ la vraie vie est ailleurs...] e audience music is for any number of players, joining freely on the night, without preparation. It begins outside the performance space, before moving into the main space, led by the Singers and Bass Clarinet. ere are four 'elements for improvisation' per audience participant, to be played freely in any order. Material can be repeated as many times as desired, always allowing some silence between materials. It is �ne to stop playing and just listen whenever you like, for as long as you like...
Christian Mason, 2023 Text: Paul Griffiths
Senza Misura. Follow stopwatch 00:00
Audience (1 )
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Harmonicas in all keys highest note 1
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lowest note: breath length
2
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blow through 4 handkerchief
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Baoding Balls or Keychain
gently click baoding balls against each other, listen to the resonance 2
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shake intermittently, listen to the resonance 4
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Harmonicas in F - G - G# - B - C - D
Soprano 1 Soprano 2 Mezzo Soprano Tenor Baritone Bass
Outside performance space* highest note 1
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t t k Harmonica in D#
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ppppp Front R change bow ad lib.
Violoncello
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Viola
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Violin II
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MM 2385428
© 2023 by Breitkopf und Här tel, Wiesbaden
2
A Delicate, like rays of dawn light 01:00
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C 03:00
03:15
1 2
° ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Voices
° &¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Bcl.
¢ &¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Aud.
8'' - 1 2''
Leseprobe
≈ ° & œ bœœ bœœœ œœœ œœœ œœœ œœœ œœœ w ww ppp
Acc.
¢
Qtet.
?
° U ¢& w p
≈ œ œœ œœœ œœœœ œœœœ w w # œ ww w
œœœ œœ œ
o air noise
mf
œœœœœ œœœœœ œœœœœ œœœœœ œœœœ œœœ œœ œ ÷ ) o
)
" f"
÷
U o∑
¯¯¯¯¯
unsynchronised
air noise
√ ∑ o
∑
) o
)
" f"
U Ó o
=
Sample page
03:30
03:45
° 1 Aud. ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 2 Voices
° & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Bcl.
¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Acc.
°÷ ¢ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
∑ sul tasto
° Qtet. ¢ ÷ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ & bw
ppppp Breitkopf MM 2385428
?
5 04:20
D 04:00
2×
1 2
° ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Voices
° &¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Bcl.
¢ &¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Aud.
Leseprobe
U ° & bœ œœ œœ œœ œœ œœ œœ œœ ww œ œ œ œ œ œ w
1 2'' - 1 6''
pp
Acc.
¢
?
° U Qtet. ¢ & bw
sul pont.
mf
U œ œœ œœœ œœœœ #œœœœœ w w ww w
œœœ œœ œ
o air noise
f
œœœœœ œœœœœ œœœœœ œœœœœ œœœœ œœœ œœ œ ÷ ) o
)
" f"
÷
U o∑
¯¯¯¯¯
unsynchronised
air noise
√ ∑ o
∑
) o
)
" f"
U Ó o
=
Sample page
04:30
04:45
° 1 Aud. ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 2 Voices
° & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Bcl.
¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Acc.
°÷ ¢ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
∑ molto sul tasto
° Qtet. ¢ ÷ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ & w
ppppp Breitkopf MM 2385428
?
6
E 05:00
05:25
1 2
° ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Voices
° &¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Bcl.
¢ &¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Aud.
Leseprobe 1 6'' - 20''
Acc.
√ ° & œœ œ œ œ œ œ œ w œ œœ œœœ œœœ œœœ œœœ œœœ w ww p ¢
√ œ #œœ œœœ #œœœœ w w ww
?
° U ¢& w
molto sul pont.
Qtet.
œœœœ œœœ œœ œ
o air noise œœœœ œœœœ œœœœ œœœœ œœœœ œœœ œœ œ ÷ ) ) o " f" ff
f
÷
U o∑
¯¯¯¯
unsynchronised
air noise
√ ∑ o
∑
) o
)
" f"
U Ó o
=
05:30
05:45
Sample page
° 1 Aud. ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 2 Voices
° & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Bcl.
¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ∑
∑
?
¢ ÷ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
∑
?
° & Acc.
molto sul pont. °÷ Qtet. ¢ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ & w ppppp Breitkopf MM 2385428
7 06:20
F 06:00
2×
1 2
° ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Voices
° &¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Bcl.
¢ &¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Aud.
U w °? œ œœ œœœ œœœ œœœœ œœœœ œœœœ œœœœ w ww
Leseprobe 1 2'' - 1 6''
Acc.
¢
?
pp
° U Qtet. ¢ & w ff
U #œ œ œœ #œœœ kœœœœ w w ww
œœœœ œœœ œœ œ
o air noise
f
œœœœ œœœœ œœœœ œœœœ œœœœ œœœ œœ œ ÷ ) o
)
" f"
÷
o
U o∑
¯¯¯¯
unsynchronised
air noise
√ ∑
∑
) o
)
" f"
U Ó o
=
Sample page
06:30
06:45
1 2
° ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Voices
° & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Bcl.
¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Acc.
°÷ ¢ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Aud.
∑
molto sul pont. °÷ Qtet. ¢ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ & w ppppp Breitkopf MM 2385428
?
8
G 07:00
07:15
1 2
° ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Voices
° &¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Bcl.
¢ &¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Aud.
Leseprobe 8'' - 1 2''
≈ °? œ œœ œœœ #œœœœ œœœœ œœœœ œœœœ œœœœ w w ww Acc.
¢
?
ppp
œœœœ œœœ œœ œ mf
≈ bœ œœ b œœœ œœœœ w w ww
o air noise
œœœœ œœœœ œœœœ œœœœ œœœœ œœœ œœ œ ÷ ) o
) U ∑ " f" o
Using these rhythmic models intermittently imitate/echo the tones and timbres that you hear from the harmonicas 2 3 1> 1>. 1>. U 1 1>. 1>. 1>. 1>. U U √ ° ‰ J‰ Œ ‰ ‰ J ‰ Qtet. ¢ & r ≈ œ> f pp p ff o fff 1 high notes
high notes
low notes
√ _
f
U ‰ o
¯¯¯¯¯¯¯¯¯¯¯¯¯
stop dead on string
=
Sample page
07:30
07:45
° 1 Aud. ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 2 Voices
° & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Bcl.
¢ &¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Acc.
° ¢÷
Qtet.
° ¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
∑
∑
Breitkopf MM 2385428
?
9
H 08:00
Aud.
1 2
08:20
° ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
° During this minute gather in the centre of the space (position Mid M), preparing to stop together at 08:00 Voices &¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ take position (Mid M) for Bass Clarinet
Bcl.
¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
∑
°? œ#œœ œœœ œœœ œœœ œœœ œœœ œœœ wU w w
∑
&
˙
ŠΠo
Leseprobe 1 2'' - 1 6''
ppppp
Acc.
¢ Qtet.
?
U bœ b œœ œœœ œœœœ œœœœœ w w ww w
œœœ œœ œ p
c.8''
œœœœœ œœœœœ œœœœœ œœœœœ œœœœ œœœ œœ œ ˙
ppp
f
° ¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
= 08:30
08:45
° 1 Aud. ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 2 Voices
Bcl.
Sample page
° & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¢&
∑
∑
?
Using these rhythmic models improvise imitations of the tones that you have heard from the harmonicas 2 1>. 1>. U 1>. 1>. 1>. U ‰ ‰ ‰
1 high notes
° & 8'' - 1 0''
Acc.
¢ Qtet.
? ˙
ppp
˙ f
U ∑ o
f p
f p
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ sempre sim.
#˙
˙
ppp
f
U ∑ o
° ¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Breitkopf MM 2385428
10
I 09:00 Suddently stop playing harmonicas with entry of Bcl.
Aud.
1 2
09:15
∑
° ¢/
∑
Mid M
° Suddently stop playing harmonicas with entry of Bcl. (cue Audience) ∑ Voices & Mid M
?# Bcl. ¢ >-̇
Bass Clarinet
sffz
>-̇
∑
Leseprobe ˙
˙
ppp
f
Ó o
sffz
˙
˙
ppp
f
Ó o
° & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Acc. U U #˙ ˙ ? ˙ ˙ ∑ ∑ ¢ o o ppp f ppp f Qtet.
° ¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
= ° 1 Aud. ¢ / 2 Voices
Bcl.
09:30
° & ¢
09:45
∑
∑
Sample page ∑
? >-̇
sffz
∑
˙
˙
ppp
f
Ó o
#>-̇
˙
˙
sffz
pp
ff
Ó o
° & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Acc.
¢ Qtet.
? ˙
ppp
˙
f
U ∑ o
˙
pp
˙
ff
U ∑ o
° ¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Breitkopf MM 2385428
11 10:00
Aud.
1 2
10:15
∑
° ¢/
∑
° Walk to positions for Movement I ∑ Voices & Bcl.
¢
? #>-̇ sffz
˙
∑
spectral squeaks
¯ ¯ ¯¯ ¯¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯¯ ¯ ¯¯ >œ >œ >œ >œ œ >œ >œ >œ
Leseprobe pp
f
U ∑ o
U ° & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ∑
Stop improvised imitations
Acc.
? ¢ ˙ “‘
˙
p
fff
U ∑
∑
o
Tune to G-spectrum
Qtet.
° œ Lœ ¢ & - - œpp glassy
freely shiing bow positions: molto sul pont. < ord. > molto sul tasto very fast, light bow strokes
lœ K œ- - nœ œ- ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ-
= 10:30
Aud.
1 2
11:00 ATTACCA
∑
Sample page ∑
S. 1 = Rear L, S. 2 = Front R, Mez. = Rear M, T. = Rear R, Bar. = Front L, B. = Rear M
?
Walk to position for Movement I
∑
∑
Rear M
° &
∑
∑
¢
Acc.
¢ Qtet.
∑
° ¢/
° Voices & Bcl.
10:45
? ˙ ppp
˙ f
∑
U ∑ o
˙
pp
˙
ff
U ∑ o
° ¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Breitkopf MM 2385428
12
I [ somewhere else] Hypnotic, pulsating mysteriously, senza misura UNSYNCHRONISED: individually �uctuating tempi ad lib. q = 90 -120 Aim to maintain imitative relationships between paired parts 00:00 [ for 60'']
° S. 1 & &
S. 2
Rear L (with Vl. 1 )
Front R (with Vc.)
∑
∑
∑
∑
Appp ™™ w
a(mo)
™™
p
w
∑
Leseprobe
Rear M (with Acc.)
∑
∑
™™
∑
& ‹ Front L (with Va.) ?
∑
∑
™™
∑
∑
?
∑
° Rear M Bcl. &
∑
Rear M
8'' - 1 0''
&
Mez.
Rear R (with Vl. 2)
T.
Bar.
B.
Acc.
¢
¢
?
o
Rear M (with Acc.)
˙ “‘ p
w™ fff
∑ ppp
w
(a)mo
p
w
o
™™ ™™
∑
™™
∑
∑
™™
™™
∑
∑
™™
∑
™™
∑
∑
™™
∑
™™
∑
∑
™™
∑
™™
∑
∑
™™
o
freely shiing bow positions: molto sul pont. < ord. > molto sul tasto very fast, light bow strokes Vl. 1
° &
Vl. 2
&
Sample page
œœLœ œœ lœ œ - - K œ œœ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™ pp œ - p pp p lœ œ œœ Lœ ™ ™ œœ - K œ- œœ - ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™ œ p pp p
pp
Va.
œ ™ ™ & K œ- lœ œœ œ - Lœ œœ - ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™ œ pp
Vc.
¢&
p
pp
p
œ œ- Lœ œ- K œ lœ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™ œœ p pp p pp Breitkopf MM 2385428
13
B 01:00 [ Repeat for 60''] > L˙
pp
mf
° ™ w™ S. 1 & ™ 5
a
U & ™™ Œ
S. 2
-
-
Blend with Vc.* pp
ppp
? ™™
Bar.
U Œ
mo
-
mf
Blend with Vl.1 * mf pp
> L˙
U w™ Œ pp
a
mf
o
W
Leseprobe w
o
∑
ppp
∑
∑
w
p
w
o
-
¢
? ™™
∑
w
-
∑
(a)mmo
B.
mf
bw
w
a
ppp
∑
™™
∑
™™
o ∑
™™
mo
-
∑
p
U ™ Œ ™
amass, a mess, messy essay, assay source
amass, a mess, messy essay,
& ™™ w ‹ a(mmo)
T.
W
∑
& ™™
Mez.
-
o
mm(o)
o
> W
mf
™™
(a)mmo
∑
∑
∑
™™
Vl. 1
° ™ œœLœ & ™ - œ K œ lœ œœ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™ œpp mf pp mf
Vl. 2
lœ œ œ-œ Lœ œœ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™ ™ ™ & K œ œœ œmf pp mf
Sample page pp
Va.
œ & ™™ œœ œ -Lœ œœ K œ lœ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™ œ pp
Vc.
mf
pp
mf
™™ œ œ-Lœ œ K œ lœ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™ & ¢ œœpp
mf
pp
*) Repeat whispered words in free rhythm. Stretch and/or emphasise 'ss' sounds Breitkopf MM 2385428
mf
14 02:00 [ Repeat for 1'30'']
C
As if delivering secret messages between Vl.1 and Va., sing while walking back and forth across Mid L, in a straight line, with a strong sense of direction pp f pp mf
° ™ œ™ S. 1 & ™ >œa 9
˙™
Lw
-
o U Ó ÷
˙
U Ó
As if delivering secret messages between Vl.2 and Vc., sing while walking back and forth across Mid R, in a straight line, with a strong sense of direction pp mf f pp mf
& ™™ ÷
S. 2
U ∑
Mez.
o pp U ˙ Ó ÷
œ™˙™
Lw
-
mo
Leseprobe &
>œa
messy essay, assay source,
ppp
& ™™ ∑
w
ppp
∑
Kw
a(mo)
-
-
Blend with Va.* pp
mf
? ™™ Œ ÷
Bar.
B.
K˙
& ™™ w ™ ‹ a -
T.
¢
? ™™
a(mo)
mf
-
p
œU ∑
˙™
-
-
mf
K˙
w™
amiss, sis, some similar simile
a
∑
∑
-
& p
w
Blend with Vl. 2* mf pp
ppp
w
-
˙™
p
-
mmo
p
w
œU ∑ o ∑
∑ ∑
ppp
w
(a)mo
(a)mo
Material [ A]
o ∑
amiss, sis, some similar simile, ascesis
pp
?
÷
mmo
-
f
assay source, 'Esau, say yes!'
o ∑
p
w
pp
° ™ œœLœ œ K œ lœ œœ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Vl. 1 & ™ œpp f pp ff **
Sample page
Material [ A] Vl. 2
& ™™ K œ œ-
lœ
œœ -
œ œœ Lœ œœ
**
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ f
pp
ff
Material [ A] **
Va.
&
messy essay, assay source, 'Esau, say yes!'
mo
-
f
œ lœ & ™™ œœ œ -Lœ œœ K œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ f pp ff Material [ A]
lœ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™ œ œ-Lœ œ Vc. ¢ & ™ K œ œœpp f pp ff **
*) Repeat whispered words in free rhythm. Stretch and/or emphasise 'ss' sounds **) Alternate materials [ A] & [ B] in varied proportions, but always spending more time on [ A] than [ B] Breitkopf MM 2385428
& ‹
÷
15
o U ˙ L˙ ˙ K ˙ Ó >
pp
f
° W S. 1 & 13
a
-
-
w
pp
w™
& Ó
a
pp
& w™ ‹ a -
T.
B.
¢
?
-
mo
o Ó
U Œ
K˙
-
-
pp
a
p
w
pp
˙ a
-
-
-
-
mmo
-
mf
™
&™ ‹
sis, some similar simile, ascesis asocial? awe, awesome!
-
-
w
-
˙
o
f
˙™
mf
-
™™
÷
K˙
w™
-
pp
mmo
-
sis, some similar simile, ascesis ascosial?, awe,
o Ó
Ó Lw ™
o
>œ w
˙™
-
f
a
f
™™
o Ó
> Lw ™
p
mmo
-
™™
pp
Leseprobe -
U Ó
'Esau, say yes!', sesame, same ass meme
a - mmo
>™ w
?
w
˙ L˙ ˙ > 3
-
pp
o f U K˙ Ó ÷
f
mf
mf
÷
Bar.
-
f
'Esau, say yes!', sesame, same ass meme
a - mmo
w
a
Mez.
mo
-
pp
& ∑
S. 2
÷
3
>œ w
∑
™™
mmo
o Ó
Ó
mmo
p
˙ a
f
-
w
w > mmo
o
™™
Material [ B]
Sample page
¯ ¯ ¯ ¯ ¯ ° W Vl. 1 & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 7 pp
f
pp
¯ ¯
¯ * ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™
fff
pp
fff
Material [ B]
Vl. 2
¯7 ¯ ¯ ¯ ¯ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ W pp
f
pp
¯ ¯
fff
¯ * ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™ pp
fff
Material [ B] Va.
¯ ¯ ¯ ¯ ¯ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ B W 7 pp
f
pp
¯ ¯
fff
¯ * ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯™™ pp
fff
Material [ B]
¯ ¯ ¯ ¯ ¯ ? 7 Vc. ¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ W pp
f
pp
*) L.H. gliss. ad lib. on nat. harm. R.H. irregular trem. Breitkopf MM 2385428
fff
¯ ¯
¯ * ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ & ™™ pp
fff
16
D 03:30 [ Repeat for 1'10'']
p
f
°÷ ™ U ™∑ S. 1 17
ff
amass, a mess, messy essay, assay source, 'Esau, say yes!', sesame, same ass meme
S. 2
& ™™ œ >a
Ϫ -
ff
amass, a mess, messy essay, assay source, 'Esau, say yes!', sesame, same ass meme
ff sync. with B. Mez.
p
f
U ÷ ™™ ∑ ˙™
pp
Lw
œ‰ Œ Kw J >˙a - mmo
-
-
mo
As if delivering secret messages between Vl.2 and Vc., sing while walking back and forth across Mid R, in a straight line, with a strong sense of direction ff p
T.
∑
Leseprobe -
> & ™™ œ bœ œ œ ™ ‹ >a - miss a - mass 3
o
f
Kœ ˙
˙
∑
Y
[ ss]
pp
w
˙
a
mf
3 > ˙ œ #˙ ™™
lass lay low
As if delivering secret messages between Vl.1 and Va., sing while walking back and forth across Mid L, in a straight line, with a strong sense of direction ff p
Bar.
>œ b3œ œ >œ ™
? ™™ ∑ ff
a
-
-
˙™
-
-
pp
?
w
∑ o
w œ‰ Œ J >˙ a - mmo w w
mo
w
∑
[ ss]
∑
™w Acc. ¢ & ™
Y
pp
f
w
° ™ Bcl. & ™
a
∑ >™ Kw
U Ó o
f
U Ó o
Sample page
pp
[ A]
˙
a - miss a - mass pp
sync. with Mez.
? ™™ œ B. ¢ > œ™
K œ n˙
‰
™ w >
f
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
* ° ™ œœLœ l œ œ K œ œœ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Vl. 1 & ™ œp ff p [ A]
Vl. 2
& ™™ p
[ A]
Vc.
lœ
œœ -
*
œœ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ff
p
ff
p
ff
p
-œLœ lœ * œ œ œ Kœ B ™™œ-œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ
[ A] Va.
œ-
Kœ
œ œœ Lœ
p
™™ œ œ-Lœ œ K œ lœ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ & ¢ œœ*
p
*) Alternate material [ A] with materials [ B] and/or [ C] in varied proportions, always spending more time on [ A] than on [ B] and [ C] Breitkopf MM 2385428
17
° S. 1 ÷ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
20
∑
÷ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
∑
S. 2
∑
&
Mez.
quasi-overtone chant unsynchronised, vary tempo ad lib. pp 3 ff 3
œ œ œ œœœ o ˙ Ó
Leseprobe loom a ma - le al - ly
f
>˙3 > 3 > n œ #˙ bœ œ nœ ™œ œ nœ ™ œ & ‹ slow - ly loom a ma - le al> - ly
T.
?
Bar.
˙
mf
˙ œ #>˙ ™™ 3
n>˙
‰
lass lay low
B.
¢
?
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
slow
∑
f
œ #>˙ bœ >œ nœ ™ œ >œnœ ™œ ˙
3
3
ly loom a ma - le
-
quasi-overtone chant pp 3 3
∑
œ œ œ œœœ
∑
÷
∑
÷
o Ó
al - ly
unsynchronised, vary tempo ad lib. ff
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
loom a ma - le al - ly
Bcl.
° & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Acc.
? ¢ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Sample page
[ B] ¯ ° W Vl. 1 & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 7 fff
Vl. 2
& ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
pp
[ B]
fff
Va.
B ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
[ B]
¯
¯ 7 W ¯ W 7
¯ ? 7 Vc. ¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ W
¯
¯ ¯
¯ ¯ ¯
¯
¯ ¯ ¯
pp
¯
¯ ¯
pp
*) L.H. gliss. ad lib. on nat. harm. R.H. irregular trem. Breitkopf MM 2385428
¯ ¯ ¯ fff
fff
*
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ pp
¯
fff
¯
*
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
fff
pp [ B]
¯ ¯ ¯
fff
pp
fff
fff
¯
¯ ¯ * ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ pp
¯
fff
¯ ¯
fff
*
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ & pp
fff
18 23
° S. 1 ÷
f
ff
p
pp
U Œ
& ™™
a lass lay low, slowly loom a male ally, lea(ve)//a mess, messy essay, assay source, 'Esau, say yes!', sesame, same ass
÷
S. 2
f
∑
p
∑
ff
pp
U Œ
™
&™
a lass lay low, slowly loom a male ally, lea(ve)//a mess, messy essay, assay source, 'Esau, say yes!', sesame, same ass
pp
ff
& ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Mez.
÷
T.
o
Leseprobe
f
p
∑
ff
™™ pp
U Œ
sis, some similar simile, ascesis asocial?, awe, awesome!, mallow, lo, mollossus! missile silo assail?, aim massy mace
÷
Bar.
f
p
ff
pp
U Œ
& ™™ ‹ ?™
™
lo, mollossus, missile silo assail?, aim massy mace, mame, limb loss, lame, moil else lie low, allow asylum?, malice,
? ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ff
pp
B.
¢
o
∑
™™
Bcl.
° & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™
Acc.
? ™ ¢ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ & ™ [ C]
3
° j œ œœ ˙˙ Vl. 1 & K œ œ œ œ œ >>ord.
Vl. 2
3
j œ œœ ˙˙ & Kœ œ œ œ œ >>-
o
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™
>-œ œœ >-œœ K B œ œ J
˙˙
œo K>-œo
ȯ ™
sffz 3 sffz III
oj Vc. ¢ & œ >-
sffz
f
I œœ w J ‰ o pp
lw
o
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™
o
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™
o
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™
II
f
sffz
[ C] ord.
[ C]
II
sffz
ord.
sffz
Va.
lw
Sample page
sffz
[ C]
I œœ w J ‰ o pp
3 sffz
œœ w J ‰ o pp ? ˙™
w f
wo
K wo
pp
f
&
Breitkopf MM 2385428
E
[ 04:50] 10''
° pw S. 1 &
fff
26
S. 2
-
ly p
-
ly p
-
& w
Mez.
Kw
& ‹ ly p w ?
T.
Bar.
B.
ly p
& Lw
¢
?
lea(ve) fff
-
-
ly
-
lea(ve) fff
∑ ‰
˙
leave,
4 4
j œ > e
˙™ -
w
∑
4Π4
pp cresc.
Mid R
‰
˙
leave,
lea(ve) fff
w
4 4
lea(ve) fff
Mid L
4 4
w
j œ > e
œ >
volve,
Leseprobe lea(ve) fff
oh
∑
˙™
-
œ >
volve,
oh
∑
∑
∑
∑
lea(ve)
>. 4 œO ‰ ˙ 4J
° KW ~ Bcl. & æ æ w & w
∑
Mid R pp cresc.
sing lower note, quasi-�z.
p
Mid L
4Π4
w
w
ly p
w
4 4
lw
19
'erotic mushroom' 05:00 [ in time q = 120, each bar = 2'']
w w
fff
pp cresc.
‰
j œ >
˙™
œ >
4 7 w7 4w w w Acc. irregular trem. fff p 4 ? 4 7 w ¢ w bw b w7 5 3 3 5 3 ≥ ≥ ≥ ≥ ° 4 ≈ r œ œ œ ≈ œœr œr ≈ œ bœœ œj ‰ œœj œ bœ- œ œœ Vl. 1 & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 4 bœ œ œ œ b œ œ œ œ œ. œ. œ. >- bœ. œ. >- œ. >- œ. > œ. . >- >- >œ œ f fff p >>- p as fast as possible!
Sample page
Vl. 2
≥ 4 & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 4 bœœ >-
3 5 3 ≥ ≥ ≥ j bœ r≈ ≈ œœ bœ-œ œœ r œœ œœ œœ œœ œ-œ bœœ œœ bœ-œ œœ œ-œ œœ - œœ œ. œ . . . . > . . > > . > . œ>- > œ f fff p > >p 3
molto sul pont. irregular trem.
Va.
Vc.
B ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 44 w7 bw ¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
fff molto sul pont. irregular trem.
? 4 7
4w bw
7 bw w 7 bw w
fff Breitkopf MM 2385428
5
20
[ 05:10] 29
S. 1
∑
° &
>3 bœ nœ ˙ ™ J
& bw
S. 2
live!,
Bar.
¢
∑
?
∑
° w Bcl. & 7 b w & bw
pp
Acc.
¢
?
f
˙ >
svelte
∑
œ œ œ b˙ > 3
ev - er
re - verse
˙ -
∑
∑
f
˙ >
svelte
œ œ œ b˙ >
ev - er
re - verse
˙
-
∑
∑ o
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
>-œ #œ ˙™ J 3
˙ >
f
> œ- œ- œ- b-̇
nw7 nw
w7 w
bw7 bw
b w7
∑
ly
3
fff
˙
w
7 w
7 w
w7 w b w7
∑
o
Sample page
b w7
∑
ly
∑ 3
∑ o
w
Leseprobe o - live
?
∑
∑ >3 bœ nœ ˙ ™ J
& bw ‹ live!,
T.
B.
o - live
∑
&
Mez.
∑
w7 w b w7
Vl. 1
° & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Vl. 2
& ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Va.
B w7 bw
7 bw w
7 #ww
7 #ww
? 7 ¢ bw w
7 w bw
7 #ww
7 #ww
pp
Vc.
pp
fff
fff
Breitkopf MM 2385428
7 bw w
7 bw w
bw w 7
bw w 7
˙
p cresc.
35
° S. 1 & Œ
leave, p cresc.
Bar.
¢
? Œ ˙
leave,
° Œ ˙ Bcl. &
p cresc.
w & w 7 Acc. pp ? ¢ b w7 ° 7 Va. B w bw
œ ˙™ ‰ J e - volve,
™ ‰ œJ ˙ e - volve,
>œ ˙™ ‰ J
¢
œ bw oh
live!,
œ bw oh
>œ
live!,
w
sffz p
bœ nœ ˙™ J 3
o - live sffz p
bœ nœ ˙™ J 3
>-œ #œ ˙ ™ J o - live
w w 7
bw bw 7
f
p
b w7 7 bw w
b w7 7 bw w
7 bw w
7 bw w
f
pp
p
f
¢
? Œ
p
‰ œj ˙™
° Bcl. & Œ
e - volve,
‰ œj ˙™
>˙
œ 3œ œ b>˙
svelte
ev - er re - verse - ly
-œ -œ -œ b>-̇
ff
˙ ˙
w
bw bw 7
b w7 7 bw w
7 w 7 #ww
7 w 7 #ww
7 bw w
7 #ww
7 #ww
fff
fff
fff
w w 7
oh
live!,
œ bw
bœ nœ ˙ ™ J 3
fff
˙ >
o - live
svelte
j bœ nœ ˙ ™
fff
o - live
svelte
3
>˙
œ œ œ b˙ > 3
˙
œ œ œ b>˙
˙
e - volve,
oh
live!,
j œ- #œ ˙ ™ > nw nw 7 3
>œ
w
bw bw 7
f
p
¢ b w7 ° 7 Va. B w bw
b w7
b w7
b w7
7 bw w
7 bw w
7 w bw
7 w bw
pp
? 7 Vc. ¢ bw w
pp
f
f
p
p
ev - er re - verse - ly
o
∑
o
∑ w w 7
pp
bw w 7
bw w 7
w
o
∑
o
∑ ∑ ?
3
b >˙ œ- œ- œ- >-̇ fff bw w bw w 7 7
˙
w
w w 7
fff
7 bw w
7 w 7 #ww
7 w bw
7 #ww
7 #ww
fff
fff
o
w w 7 pp
7 w 7 #ww
Breitkopf MM 2385428
∑
b w7 7 bw w
ev - er re - verse - ly 3
o
b w7 7 bw w
w
21
[ 05:30]
w
3
w w 7
pp
Acc.
ev - er re - verse - ly
w
Sample page leave,
‰ j ˙™ ˙ >œ mfcresc. w w w w 7 7 & ?
œ bw
mfcresc.
˙
svelte ff
˙
[ 05:40]
mfcresc.
leave,
B.
œ 3œ œ b>˙
>˙
nw nw 7
= ° Mez. & Œ ˙
>˙
Leseprobe
? 7 bw w
43
ff
3
pp
Vc.
[ 05:20]
b w7
b w7
7 bw w bw w 7
7 bw w bw w 7
[ 05:50]
22
° ˙™ S. 1 &
œ ˙™ ‰J
leave,
e - volve,
51
fcresc.
& ˙™
‰ œj ˙™
leave,
e - volve,
fcresc.
S. 2
& ˙™
‰ œj ˙™
leave,
e - volve,
fcresc.
Mez.
fcresc.
& ˙™ ‹ leave,
T.
fcresc.
¢
?
˙™
leave,
‰ œJ
Acc.
˙™ ˙™
? b˙ ™ ¢ b˙ ™
˙™ ° ˙™ Vl. 1 & æ
>œ œ ‰J
æ & ˙æ™ ˙™
fcresc.
B w7 bw
pp
Vc.
live!,
œ bw
oh
live!,
œ bw
˙™
o - live sffz p
svelte ev- er re - verse - ly fff
o - live sffz p
svelte ev- er re - verse - ly fff
bœ nœ ˙ ™ J 3
bœ nœ ˙ ™ J 3
oh
live!,
œ bw
oh
live!,
o - live sffz p
bœ nœ ˙ ™ J 3
o - live sffz p
bœ nœ ˙™ J 3
o - live sffz p
j bœ nœ ˙ ™ 3
o - live
w
˙ œ œ œ b˙ ˙ > >
w
˙ œ œ œ b˙ ˙ > >
w
˙ œ œ œ b˙ ˙ > >
w
>˙ œ 3œ œ b>˙ ˙
w
3
3
svelte ev- er re - verse - ly fff 3
svelte ev- er re - verse - ly fff
3
b˙ >˙ œ œ œ > ˙
svelte ev- er re - verse - ly
3 j œ#œ œ œ œ#>-œ nœ #œ œ#>-œnœ œ ™ ‰ ˙ #˙ #˙ œ œ œ #˙ --- > >>- 3 > p fff > b œ nœ ˙ ™ >œ b w >˙ -œ -œ -œ b>-˙ ˙™ bœ nœ ˙™ ˙™ œ bw ˙ œ œ œ b˙ J
˙ > >-˙ ˙
3
j ‰ nœ b˙ ™ n>œ b ˙ ™ >œ ˙ ™ œ æ˙ ™ ‰J æ
nœ bw n>œ b w >œ b w œ b wæ
æ ‰ œj ˙æ™ ˙™ >œ
ææ b w œ bw >œ
ff
p
? 7 ¢ bw w
pp
7 bw w
7 bw w ff
j œ bœ ˙ ™ œ >- bœ ˙ ™ b>-œ nœ ˙ ™ bœ nœ ˙™ J ææ 3
3
fff
3
˙ >˙ >˙ ˙ ææ
3
fff
œœœ ˙ œ- œ- œ- ˙> -œ -œ -œ b>-˙ œ œ œ bæ˙ æ 3
˙ ˙ >>-˙ ˙ ææ
w w w w
w w
7 bw w
7 #ww
Breitkopf MM 2385428
o
∑
o
∑
o
∑
˙™ Œ o ˙™ ˙™ Œ o
7 bw w
fff
∑
w
7 bw w
p
o
∑
3 ææ ææ ææ b ˙ ˙ œœœ ˙ w b ˙ >˙ œ- œ- œ- >- >˙- w fff 7 7 7 #ww #ww bw w
7 #ww
∑
w
j3 ææ bœ nœ ˙ ™ bœ- nœ ˙ ™ > 7 bw w
fff
o
o
svelte ev- er re - verse - ly fff
5> -
fcresc. sul pont.
Va.
>˙ œ 3œ œ b>˙ ˙
Sample page
fcresc.
ord.
Vl. 2
oh
‰ œj ˙™
3
non trem.
&
œ bw
e - volve,
ff
live!,
bœ nœ ˙™ J 3
[ 06:00]
fff
Leseprobe
°? >˙ n˙ #>-œ nœ Bcl. >j #œ
oh
e - volve,
fcresc.
live!,
œ bw
‰ œj ˙™
leave,
B.
oh
e - volve,
? ˙™
Bar.
œ bw
sffz p
bw w 7
˙™ Œ ˙™ ˙™ ˙™
Πo
˙™ Œ ˙™ o 7 bw w bw w 7
[ 06:10]
° ˙™ S. 1 &
œ ˙™ ‰J
leave,
e - volve,
59
ffcresc.
& ˙™
‰ œj ˙™
leave,
e - volve,
ffcresc.
S. 2
& ˙™
‰ œj ˙™
leave,
e - volve,
ffcresc.
Mez.
ffcresc.
& ˙™ ‹ leave,
T.
ffcresc.
leave,
B.
¢
?
ffcresc.
˙™
ff
˙™ ˙™
‰ œJ
o - live sffz p
bœ nœ ˙ ™ J 3
o - live sffz p
bœ nœ ˙ ™ J 3
fff
>˙ œ 3œ œ b>˙ ˙
live!,
svelte ev- er re - verse - ly fff
˙ œ œ œ b˙ ˙ > >
w
˙ œ œ œ b˙ ˙ > >
w
˙ œ œ œ b˙ ˙ > >
w
>˙ œ 3œ œ b>˙ ˙
w
3
svelte ev- er re - verse - ly fff 3
œ bw
oh
live!,
œ bw
oh
‰ œj ˙™
live!,
œ bw
oh
live!,
o - live sffz p
svelte ev- er re - verse - ly fff
o - live sffz p
svelte ev- er re - verse - ly fff
bœ nœ ˙ ™ J 3
bœ nœ ˙™ J 3
o - live sffz p
j bœ nœ ˙ ™ 3
o - live
w
3
3
b˙ >˙ œ œ œ > ˙
svelte ev- er re - verse - ly
5> -
3 j œ#œ œ œ œ#>-œ nœ #œ œ#>-œnœ œ ™ ‰ ˙ #˙ #˙ œ œ œ #˙ >>- 3 > --- > p fff > b-œ nœ ˙ ™ >œ ˙ ™ >œ b w >˙ -œ -œ -œ b>-˙ bœ nœ ˙™ œ ˙™ œ bw ˙ œ œ œ b˙ J ‰J
˙ > >-˙ ˙
æ & ˙æ™ ˙™ B w7 bw
pp
? 7 ¢ bw w
pp
ff
p
Breitkopf MM 2385428
fff
∑
w w
7 #ww
7 #ww
∑
w w
7 bw w
fff
o
w w
7 bw w
p
∑
w w
7 bw w
ff
o
w w
3 æ æ ææ ˙ œ œ œ b˙æ ˙æ w b˙ >˙ œ- œ- œ- >- >˙- w fff 7 7 7 #ww #ww bw w
3
˙ ˙ >>-˙ ˙ æ
∑
w w
j æ bœ nœ ˙æ™ bœ- nœ ˙ ™ > 7 bw w
fff
œœœ ˙ œ- œ- œ- ˙> -œ -œ -œ b>-˙ œ œ œ bæ˙ æ
o
w w
ææ b w œ bw >œ 7 bw w
˙ >˙ >˙ ˙ æ
3
∑
w
æ ‰ œj ˙æ™ ˙™ >œ 7 bw w
3
3
o
w
j œ bœ ˙ ™ œ >- bœ ˙ ™ b>-œ nœ ˙ ™ bœ nœ ˙ ™ J ææ 3
fff
∑
w
nœ bw n>œ b w >œ b w œ bwæ æ
? b˙ ™ ¢ b˙ ™
3 3
o
o
svelte ev- er re - verse - ly fff
Sample page
ffcresc.
fcresc.
Vc.
oh
˙™
fcresc. molto sul pont.
Va.
bœ nœ ˙™ J 3
Leseprobe
j ‰ nœ b˙ ™ n>œ b ˙ ™ molto sul pont. >œ ˙ ™ ° ˙™ ‰ œ ˙™ Vl. 1 & ˙ ™ æ J ææ Vl. 2
live!,
œ bw
‰ œj ˙™
°? >˙#>œj n˙ #>-œ nœ Bcl.
Acc.
oh
e - volve,
3
live!,
œ bw
e - volve,
leave,
&
oh
e - volve,
? ˙™
Bar.
œ bw
sffz p
23
bw w 7
7 bw w
bw w 7
o o
24 67
introverted F Suddenly 06:20 [ Half speed q =60, each bar = 4'']
∑
° S. 1 &
∑
&
S. 2
∑
&
Mez.
∑
∑
∑
∑
∑
∑
[ 06:40]
∑
∑
∑
∑
∑
∑
ppp
Ó
Mid R
Œ
ppp
3
Bar.
B.
∑
& ‹
j œœ œ Œ >
¢
?
∑
?
∑
∑
∑
em - u - lous
j œœ œ Œ > 3
∑
∑
∑
nw
bw
w
bw
w
p
pp
& Acc.
¢ Vl. 1
° & &
Vl. 2
B
Va.
Vc.
?
¢
?
pp
∑
∑ #w
pp
Mid L
∑
nw p
pp
mim - u - lus
∑
∑
°? sub-tone #w Bcl.
j bœ œ œ ‰ >
∑
∑
#w >
fp
mim - u - lus 3
Mid R
∑
bœ œ œj > 3
3
Leseprobe ∑
em - u - lous
ppp
em - u - lous
T.
j œ œ œ Œ >
Mid L
∑ œ
Œ
Ó
œ œ
Œ
Ó
Œ
Ó
pp
> #w w
fp
pp
Sample page
w
bw
∑ ∑
∑ ∑
nw
∑ ∑
∑ ∑
bw
∑ ∑
∑ ∑
nw >
œ
∑
∑
∑
III
∑ ∑
Ó
˙ > pp ∑
&
ord. senza vib.
o & w >
pp
Breitkopf MM 2385428
ord. III senza vib.
w > pp
ord. senza vib.
w Ó
wo
ord. II senza vib.
˙ > pp
3 ‰ œr
mi-
° bœ 3 j ‰ ‰3 r œœ œ #œ œ Œ S. 1 & > > 73
mim - u - lus
& ‰
S. 2
mi - mo - sa
r ‰ œ #œ œ >
Œ
3
mi - mo - sa
& #œ >
Mez.
œ
- mo - sa
& ‹
T.
Bar.
?
B.
?
Bcl.
¢
nœ œ™ Œ >
nœ œ™ Œ >
sea
Kr œ ™™Ù œ #œ J >
li - ly
lea
mf
sea
Kr nœ ™™ ® œ #˙ >
Leseprobe sal - low
li - ly
lea
a - sail
sea
˙ Œ
em - u - lous
pp
œ Œ œ œ œj Œ > 3
em - u - lous
∑
∑
∑
∑
÷
∑
∑
∑
∑
÷
∑
∑
∑
∑
÷
pp
p
pp
bw
w
bw
pp
p
pp
w
bw >o II w
nw
bw
w
sim.
?
j œœ œ >
pp3
a - sail
mf
n>œ œ™ Œ b˙
Œ
a - sail
#w
¢
nw w
Sample page
° Vl. 1 & w
Vc.
lea
n>œ œ™ Œ bœ œ nœ
sal - low
Œ
li - ly
Kr ® œ #˙ ™ >
nw
Acc.
Va.
sal - low
nœ ™™
°? #w &
Vl. 2
nœ œ™ Œ nœ œ™ Œ b˙ > >
25
mf
& ˙
II
>˙o
o ¢& w > p
p
˙
ȯ
p
˙
˙
I
˙
& w
w
>˙o
sim.
˙
˙
ȯ
p
w
w > pp
pp Breitkopf MM 2385428
w
pp
˙
˙
sim.
˙ ˙ >
pp
wo >
w
˙ >
wo
26
[ 07:00]
° pp 3 j S. 1 & œ œ œ Œ >
3 j bœ œ œ ‰ ‰ œr #œ œ Œ > >
77
3
em - u - lous
mim - u - lus
j bœ œ œ ‰ > 3
S. 2
& Œ
Mez.
j‰ b œ œ œ & >
mim - u - lus
3
‰ œr #œ > 3
mi - mo - sa
‰ œr #œ œ > 3
Œ
mi - mo - sa
œ
Œ
T.
sal - low
nœ œ™ Œ > sal - low
nœ œ™ Œ >
n>œ œ™ Œ b˙ li - ly
lea
sea
fK r ™ œ ® œ #˙ ™ J >
n>œ œ™ Œ b˙ nœ li - ly
n>œ œ™ Œ
lea
b˙
li - ly
lea
sea
fK r ™™ nœ ® œ #˙ ™ > sea
K ® œr ˙ >
nœ ™™
Leseprobe
mim - u - lus mi - mo - sa sal - low whispered, in speech rhythm, with freely varied tempo
÷
nœ œ™ Œ >
f
a - sail
a - sail
Œ
a - sail
" my soul" = f everything else = pp
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
÷
Bar.
whispered, in speech rhythm, with freely varied tempo " my soul" = f everything else = pp
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
B.
¢÷
whispered, in speech rhythm, with freely varied tempo " my soul" = f everything else = pp
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
Bcl.
°? #w >
fp
> #w & w
Acc.
¢ Vl. 1
Vl. 2
?
˙
Ó
˙ ˙
Ó
fp
pp
nw >
˙ >o w
nw
bw
w
pp
p
pp
p
w
bw
w
w > pp
Sample page
° & w & ˙
II
>˙o
Ó
w
mf
˙
ȯ
˙
mf Va.
#w
& w
˙
˙
>˙o
˙ ˙
ȯ
nat. harm. gliss.
˙ > pp
˙ ˙
mf
o Vc. ¢ & w >
mf
w
w Breitkopf MM 2385428
wo >
pp
nat. harm. gliss.
¯ ¯ ¯ ¯ w ˙
¯ ¯ ¯ ¯
˙ > pp ¯¯ ¯ ¯ ¯ ¯ ¯¯
w
° œ S. 1 & 81
j œ œ œ Œ >
bœ œ œj >
p 3
Œ
j œœ œ Œ >
& Œ
S. 2
j & œœ œ Œ > p 3
bœ œ œj >
Mez.
em - u - lous
÷
T.
‰
mim - u - lus
bœ œ œj ‰ > 3
3
mim - u - lus 3
em - u - lous
‰ ‰ œr #œ œ Œ >
3
em - u - lous
p 3
27
[ 07:20]
mi - mo - sa
3 ‰ œr #œ œ >
Œ
mi - mo - sa
3 ‰ œr #œ >
œ
Œ
nœ œ™ Œ > sal - low
nœ œ™ Œ > sal - low
nœ œ™ Œ >
mi - mo - sa
sal - low
li - ly
n>œ œ™ Œ li - ly
n>œ œ™ Œ
Leseprobe mim - u - lus
n>œ œ™ Œ
li - ly
bœ lea
b˙ lea
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
÷
Bar.
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
B.
Bcl.
¢
÷ so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
°? #w
nw
#w >
pp
& Acc.
¢
?
fp
bw
pp
fp
nw
bw
° ¯ ¯ ¯ Vl. 1 & w
¯ ¯ ¯
¯ ¯ ¯ ¯ ¯ ¯ >˙o & ˙ f nat. harm. gliss.
Va.
nw >
Sample page
nat. harm. gliss.
Vl. 2
> #w w
w
¯ ¯ & w
¯
¯ ¯ ¯
¯ ¯ ¯ ¯ ¯ >o w
w
f
˙
ȯ
˙
w
˙
˙
¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ >o ˙ ˙
ȯ
˙
˙
¯ ¯¯ ¯ ˙ > pp ˙
f Vc.
o ¢& w > f
¯ ¯ ¯ ¯ ¯ ¯ ¯¯¯ w
w Breitkopf MM 2385428
w >
pp
28 84
° S. 1 & b˙
nœ ™™
lea
sea
K œ ™ ® œr #œ J >
& bœ nœ
S. 2
sea
Kr ™™ n œ ® œ #˙ & >
Mez.
sea
÷
T.
ff
K w ® œr > ff
ff
w ‰ #œ J
#˙ ™
a - sa
-
-
w
a - sa
[ 07:40]
p
-
-
-
w
il p
mf
a - sa
˙
3 Œ œj #œ w
il p
mf
a - sa
ppp
-
il ppp
-
w
-
œ Œ #œ #œ
12''
#w
mf
il ppp
-
w
-
-
-
-
il
a - sa
-
-
÷
√ ∑
÷
√ ∑
w
Leseprobe
a - sa
√ ∑
il
-
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
÷
Bar.
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
B.
Bcl.
¢
÷
?
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
°? #w
∑
∑
∑
∑
√ ∑
#w & w
∑
∑
∑
∑
√ ∑
∑
∑
∑
∑
√ ∑
pp
Acc.
¢
?
pp
w
pp
Vl. 2
>-o w
Sample page
¯ ¯ ¯¯ ¯ ¯ ¯ ¯ ° ¯ ¯¯ ¯ ¯ ¯ ¯ ¯ w Vl. 1 & w > ¯ ¯¯ ¯ ¯ & w
¯ ¯ ¯ ¯ ¯ ¯ ¯ >-̇o ˙ ˙
w
w
˙ ˙
˙
ȯ
ff
Va.
& ˙
o
ff
o ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ >-̇ ˙ w ˙ ˙ >
pp
ȯ
Ó o
˙ ˙
ff
¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ o wVc. ¢ & > w ff
w
w Breitkopf MM 2385428
o
∑
˙
∑
√ ∑
∑
√ ∑
Ó o
√ ∑
B
∑
√ ∑
?
G
Relaxed, supple, unsynchronised Senza misura,individually �uctuating tempi 08:00 [ for 60''] whispered, in speech rhythm, with freely varied tempo
90
°÷ ™ Rear L (with Vl.1∑) ™ S. 1
ppp
p
29
U Ó
4
& ™™ 4
malice, mellay, mace, maul a low ally, awesome!, a lull, more so cease Front R (with Vc.)
whispered, in speech rhythm, with freely varied tempo
S. 2
÷ ™™
ppp
U Ó
p
∑
Leseprobe
∑
4
& ™™ 4
malice, mellay, mace, maul a low ally, awesome!, a lull, more so cease
whispered, in speech rhythm, with freely varied tempo
T.
÷ ™™
Rear R (with Vl.2)
∑
ppp
p
U Ó
malice, mellay, mace, maul a low ally, awesome!, a lull, more so cease
™4
&™ 4 ‹
Front L (with Va.)
whispered, in speech rhythm, with freely varied tempo
™™ Bar. ¢ ÷
Acc.
ppp
° ™w ¢& ™
∑
?™ 4
™4
#˙ ™ p
U Πo
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™ 44
shi gradually and continuously: molto sul pont. <> molto sul tasto
Sample page
° ™ ™4 & ™ œœ -> Lœ œ Jœ Lœ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™ 4 œppp sempre > 7
shi gradually and continuously: molto sul pont. <> molto sul tasto
™4 & ™™ œœ -> Lœ œ Jœ Lœ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™ 4 œppp sempre > 7
Vl. 2
∑
malice, mellay, mace, maul a low ally, awesome!, a lull, more so cease
ppp like a distant voice
Vl. 1
U Ó
p
>-œ molto sul pont. <> molto sul tasto œ > L œ L œ œ œ Jœ œœ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™ 44 B ™™ -œ >shi gradually and continuously:
Va.
ppp sempre
œ>-œ Lœ œ > Lœ œ ? ™ ™ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ™™ 44 Vc. ¢ - Jœ œœ œ >shi gradually and continuously: molto sul pont. <> molto sul tasto
ppp sempre
Breitkopf MM 2385428
30
'divine mushroom' H 09:00 Ecstatically ablaze [ in time, q = 90, each bar = 3'']
° 4 fwwith ecstatic desperation S. 1 & 4 7 95
#w 7
#w 7
ff
w 7
* so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say fwith ecstatic desperation ff
4 & 4 bw 7*
S. 2
w 7
bw 7
w 7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say f ff f ff 3 3 3 mf 5 5 3
4 & 4 œ™ œ œ œ œ œ œ œ >
Mez.
œ™ œ œ œ > sen - tin - el
Leseprobe
in - to night's et- er - nal fwith ecstatic desperation
4 & 4 w7 ‹ *
T.
> œ bœ œj bœ œ ‰ j #œ œ œ œ J >
Œ
a
lan - tern - lit la - ma - se - ry ff
#w7
w7
Ó
Œ ‰ j œ
il -
#w7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say fwith ecstatic desperation ff
? 44 bw7
Bar.
w 7
bw7
w 7
* so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say f ff f ff 3 mf 3 5 5 3 3
B.
¢
? 44
œœ œ™ œ œ œ œ > œ
in - to night's et- er - nal 3
‰ j œ bœj œj bœ œ œ #œ œ œ > >
Œ
>œ ™ œ œ œ
a
sen - tin - el
œœ œ 5 ° 4 œ™ Bcl. & 4 œ œ ˙™ > b>œ œ œ > f >œ >œ>™ ff 4 bw w &4 w bw >
Ó
Œ ‰ j œ
lan - tern - lit la - ma - se - ry
il -
5
Acc.
b˙ ™
˙ b˙
˙
> #w w p
ff
p
?4 w ¢ 4 bw >
n˙
˙™
˙™
> #w w
‰ œJ mf
#w w >
Sample page bw w >
#w w > #>-˙ ˙ 7
-œ >-œœ. 7 >-œ ° 4b 7 7 7 7 n˙ b˙ œ bœ J ‰ œ nœ Vl. 1 & 4 ˙ ˙˙- ˙œœ > > > >- 7 fcon forza 5 >-. >- >>-̇˙ œœ ‰ œœ #œœ 7 7 7 7 4 bœ nœ b Vl. 2 & 4 bœ n˙ J 7 7 œ ˙ œ œ >- >>- >- 7 fcon forza >-œ 7 >-œ 7 >-œ7 7 >-˙ >-œ #>-˙ 7 4 œ œ bœ œ œ œ b ˙ œ ˙ Va. B 4 b˙ ˙7 >œ- 7 >œ- 7 >œ- 7 7 7 > fcon forza 3 7 7 7 7 7˙ 7 #œ7 4 ? 7 7 7 œ b˙Vc. ¢ 4 b˙ œ œ ˙ œ b˙ ˙ œ> ˙>- œ- >-̇ œ- >-̇ >-̇ > > > > 3
5
fcon forza *) z stem for voices = chant words rapidly on given pitches, breathe ad lib. Breitkopf MM 2385428
>-. 7 -̇ >-. . >- >- œ œ bœ >-n˙ œ bœœ œœ œ ‰#œ œJ ‰ œœ 7 œJ ‰ J 7 >-. > 7-. > -. >-̇ b>-̇˙ >-̇˙ œœ -œ œ -˙ œ #˙ J ‰ œ bœJ ‰ ˙ œJ ‰ 7 7 7 7 7 3 >-̇˙ > >-œ >>-˙ #-œœ >-˙ œ œ ˙ 7 7 ˙ 7 œ 7 7 7 >-̇˙ 7
3 5
>œ7 œœ #˙7 œ ˙ >- 7 >-
5
>-œ 7 œ œ 7 >œ-
99
[ 09:15]
p
w 7
ff
w 7
° w S. 1 & 7
31
#w 7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say p ff
& bw 7
S. 2
w 7
bw 7
w 7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
p
intimately
Œ
& #œ nœ œ ˙ > 3
Mez.
- lu - min - ates p
& w7 ‹
T.
#œ
f
>œ. J ‰
˙
ff
3 #>˙ œ nœ #œ
Leseprobe a
3
œ bœ œ œ Ó >
mea - sure - less sol - em - ni - ty ff
w7
w7
#w7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say p ff
? bw7
Bar.
w 7
bw7
w 7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say p f ff intimately 3 3
B.
¢
?
#>œ nœ œ ˙
- lu - min - ates 3 ° Bcl. & #œ nœ >
&
Acc.
¢
> bw w
˙™
>œ p
? w bw >
#˙ ™
Œ
ff
> bw w
f
>œ. J ‰
˙
#>˙ œ nœ #œ
œ bœ œ œ Ó > mea - sure - less sol - em - ni - ty >œ. w w >- w J ‰ >- ##~w j #œ ~ j œ ff sing/play f > > #w #w w w
˙ ææ
�z.
p
mf
#w w bw w > > > >> > > > . . >-œ #œœ >-œ >- >-œ nœœ œœ œ. œœ #œœ nœœ œ. # w œ œ œ œ b œ n œ . w ææ æ æ J ‰ 7 œ 7 ææ œœ æ 7 7 6 > . >. >bœ #w >œ >œ. œ >-œ b>-œ >-œ b>œœ >œ >œ #œœ w J ‰ œ œ œ 7 œ æœ J ‰ æœ œ ‰ 7 æ J 7 7 7 7 æ
#w w > >w
Sample page
b>-œ œ & ææ
b>œ œœ 7
b>˙ ? ˙˙ Vc. ¢ 7
b>˙ ˙˙ 7 3
>œ. b>-œ >. > # >œ bœœ >-œ œ œ œ b œ>-œ >-œœ œœ 7 œ J ‰ ææ Jœ ‰ 7 7 æ 7 7 6
5
b>œ B œœ 7
Va.
#œ a
f
>° bœœ Vl. 1 & 7
Vl. 2
Œ
3
>œ œœ 7
>˙ ˙˙ 7
> > b-œœ b œ-œ 7 7
>-œ œ 7
>-œ œ 7
5 Breitkopf MM 2385428
œ>-œ 7
>#w w 7 >#w w 7
w 7 ffcon forza >#w w 7 ffcon forza >w w 7 ffcon forza >w w 7
ffcon forza
32
[ 09:30]
103 mf
° w S. 1 & 7
#w 7
#w 7
ff
w 7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
mf
& bw 7
S. 2
w 7
w 7
ff
bw 7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
f
ff
& œ™œ œ œ œ œ œ œ >
œ™ œ œ œ > sen - tin - el
& w7 ‹
w7
5
Mez.
f
3
>3 j3 œ bœ ‰ j #œ œ œ œ J >œ bœ œ
Œ
3
mf
Ó
Œ ‰ j œ
Leseprobe
in - to night's et- er - nal mf
T.
5
ff
a
lan - tern - lit la - ma - se - ry ff
#w7
il -
#w7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
? bw7
mf
Bar.
ff
w 7
bw7
w 7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
B.
¢
?
f
ff 3
5
œœ œ™œ œ œ œ > œ >-œ œ œ œ
in - to night's et- er - nal 5 ° ™ ‰ Bcl. & b>œ œ œ > 3 b ˙˙ f >˙ b˙ ˙ b˙ &
Acc.
ff
3
? b˙˙ >
3
>˙ ˙ ˙
5
œ™ œ œ œ > sen - tin - el
f
ff
j j3 ‰ j œ bœ œ bœ œ œ #œ œ œ > >
Œ
3
a
5
>œ œ ˙ ™
>œ ™ ff > w bw w w
b˙ ™
Œ ‰ j œ
˙
p
#w w w >
˙ b˙
ff
n˙
il -
˙™ > #w w w
Sample page p
mf
Ó
lan - tern - lit la - ma - se - ry
˙˙ #w > ˙ w b>˙ bw w > > 5 3 -œ >-œœ. 7 >-œ #>-˙ ° b7 7 7 7 n˙ b˙ œ bœ J ‰ œ nœ ˙ Vl. 1 & ˙ ˙˙˙œœ > > > >- 7 7 5 >-. >- >>-̇˙ œœ ‰ œœ #œœ 7 7 7 7 bœ nœ b Vl. 2 & bœ n˙ J 7 7 œ- ˙œ- œ- 7 > > > > > >-œ 7 >-œ7 7 >-˙ >-œ #>-˙ 7 7 œ œ œ bœ œ œ œ b ˙ œ ˙ Va. B b˙ ˙œ œ œ 7 7 >- 7 >- 7 >7 7 > 3 7 7 7 7 7˙ 7 #œ7 ? 7 7 7 œ b˙Vc. ¢ b˙ œ œ ˙ œ b˙ ˙ œ> ˙>- œ- >-̇ œ- >-̇ >-̇ > > > > ¢
3
Breitkopf MM 2385428
> w #w w
˙™
‰ œJ
mf
7 -œ. -œ b>-œ. >- n-̇˙ >-œ. >-œ >-œ #œ œ œ œ bœ œ œ‰ J ‰ œ 7 J ‰ J 7 >-. > 7-. > -. >-̇ b>-̇˙ >-̇˙ œœ -œ œ -˙ œ #˙ J ‰ œ bœJ ‰ ˙ œJ ‰ 7 7 7 7 7 3 >-̇˙ > >-œ >>-˙ #-œœ >-˙ œ œ ˙ 7 7 ˙ 7 œ 7 7 7 5 3 >-̇˙ 5 >>-œ 7 œ œ œ7 œœ #˙7 œ ˙ 7 7 >œ>- 7 >-
107
mf
w 7
ff
w 7
° w S. 1 & 7
33
[ 09:45]
#w 7
f
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
mf
& bw 7
S. 2
w 7
w 7
ff
bw 7
f
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say f ff intimately 3 3
Œ
& #œ nœ œ ˙ > 3
Mez.
#>˙ nœ nœ #œ
œ bœ œ ˙ > mea - sure - less sol - em - ni - ty
Leseprobe a
- lu - min - ates mf
& w7 ‹
T.
Œ
#>œ. J ‰
˙
ff
w7
w7
Œ
f
#w7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
? bw7
mf
Bar.
ff
f
w 7
bw7
w 7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
B.
¢
?
f
intimately
Œ
3
#>œ nœ œ ˙
Œ
° ˙™ Bcl. & #œ nœ > œp > > f nb w w w & Acc.
f
> w ? bw w ¢
Va.
#˙ ™ ff
Œ b>˙˙˙ mf
˙ æ
�z. p
>˙ ˙˙
>œ. J ‰
f
>˙ b˙˙
ff
3 #>˙ nœ nœ #œ
3
œ bœ œ ˙ > mea - sure - less sol - em - ni - ty w
#w #~
> j œ ff sing/play
#>˙ >˙ ˙ ˙
>˙ ˙
>j #œ
w ~
> #œœ
3
b>-œ œ & ææ b>œ B œœ 7
b>˙ ? ˙˙ Vc. ¢ 7
˙ b>˙˙ >-œ #>œœ. >-œ >- >-œ n>-œœ >-œœ œ. >-œœ #œœ. n>-œœ œ. œ œ œ œ nœ . bœ æ æ æ J ‰ 7 œ 7 ææ œœ æ æ 7 >. b>œ. 6 > >- > > œ -œ bœ -œ bœœ >œ >œ #œœ >œ >œ. J ‰ œ œ œ 7 œ æœ J ‰ æœ œ ‰ æ J 7 7 7 7 æ 6 5 >œ. b>-œ >. >- >> # b>œ >œ >œ bœœ >-œ œ œ œ b œœ œœ œœ œœ œœ 7 œ J ‰ æ Jœ ‰ 7 7 ææ 7 7 7 7 > > > > >˙ b>˙ b-œœ b œ-œ >-œ -œœ œ-œ ˙˙ ˙˙ 7 7 7 œ 7 7 7 7 3
5 Breitkopf MM 2385428
#˙ #˙˙ > >#w w 7 >#w w 7 >#w w 7 >#w w 7
3
˙ ˙ >˙
˙ ˙ >˙
#œ >œ >w
Πw
b>œœ >œœ >œ œ
Sample page
>° bœœ Vl. 1 & 7 Vl. 2
˙ a
- lu - min - ates 3
#>œ. ‰ J
#>œ œ œ œ >œ >œ œ
w 7 fffcon forza > #w w 7 >w- fffcon forza
w 7 >w- fffcon forza w 7 fffcon forza
34 111 f
° w S. 1 & 7
#w 7
#w 7
ff
w 7
f
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say ff f f
S. 2
& bw 7
w 7
bw 7
w 7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
f
ff
& œ™œ œ œ œ œ œ œ > 5
Mez.
f
3
œ™ œ œ œ > sen - tin - el
3
mf
Ó
Œ ‰ j œ
Leseprobe
in - to night's et- er - nal f
T.
>3 j3 œ bœ ‰ j #œ œ œ œ J >œ bœ œ
Œ
5
ff
& w7 ‹
a
lan - tern - lit la - ma - se - ry ff
#w7
w7
il -
f
#w7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say f ff f
Bar.
? bw7
w 7
bw7
w 7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
f
ff
? œ™œ œ œ œ B. ¢ 3
5
>œ œ œ
in - to night's et- er - nal
f
>™5 œ œœœ
Acc.
>œ3bœ >3 œ bœ œ ‰ œ #œ œ œ J J J
Œ
3
sen - tin - el
>-œ œ œ œ 5 ° ‰™ 5 Bcl. & b>œ œ œ >œ œ ˙ ™ f 3 >œ ™ ff > >˙ >˙ b˙ ˙ b ˙˙ > > ˙ ˙ b˙ ˙ b˙ ˙ ˙ b˙ b˙ &
ff
a
b˙ ™ >˙ ˙ ˙
mf
Ó
Œ ‰œ J
lan - tern - lit la - ma - se - ry
˙ b˙
n˙
#>œ #œœœ
>œ œœœ
>œ œœœ
>œ œœœ
#>œ #œ œ
#>œ #œœ
>œ œ œ
>œ œœ
˙
p
ff
il -
˙™
˙™
‰ œJ
> #>œœ œœ œ #œ
>œœ œ
>œ >œ œ œ œ œ
>œ b>œ >œ >œ >œ œ œ œ œ œ #œœ bbœœœ œœ œœœ œœ œ œ œ
Sample page
>˙ ? ˙ ¢ b˙
fffsempre
3
˙ ˙ b>˙
>˙ ˙˙
˙ ˙ b>˙
>˙ b˙˙
3
˙ ˙ >˙
-œ >-œœ. 7 >-œ #>-˙ ° b˙7 7 7 7 n˙ b˙ œ bœ J ‰ œ nœ ˙ Vl. 1 & ˙˙˙œœ > > > >- 7 7 5 >-. >- >>-̇˙ œœ ‰ œœ #œœ 7 7 7 7 bœ nœ b Vl. 2 & bœ n˙ J 7 7 œ ˙ œ œ >- >>- >- 7 >-œ 7 >-œ 7 >-œ7 7 >-˙ >-œ #>-˙ 7 œ œ bœ œ œ œ b ˙ œ ˙ Va. B b˙ ˙œ- 7 œ- 7 œ- 7 7 7 7 > > > > 3 7 7˙ 7 7 7 7 #œ7 ? 7 7 7 œ b˙Vc. ¢ b˙ œ œ ˙ œ b˙ ˙ œ> ˙>- œ- >-̇ œ- >-̇ >-̇ > > > > 5
3
Breitkopf MM 2385428
mf
5
7 -œ. -œ b>-œ. >- n-̇˙ >-œ. >-œ >-œ #œ œ œ œ bœ œ œ‰ J ‰ œ 7 J ‰ J 7 7 >-. > -. > -. >-̇ >-̇˙ b>-̇˙ œœ -œ œ -˙ œ #˙ J ‰ œ bœ ‰ ˙ œ ‰ 7 7 7 7 J 7 J 3 >-̇˙ > >-œ >>-˙ #-œœ >-˙ œ œ ˙ 7 7 ˙ 7 œ 7 7 7 5 3 >-̇˙ 5 >>-œ 7 œ œ œ7 œœ #˙7 œ- 7 ˙œ 7 7 > > >5
115
[ 10:00]
w 7
fff
w 7
° fw S. 1 & 7
35 Stop suddenly! w [ 10:12]
7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say f fff
& bw 7
S. 2
w 7
bw 7
w 7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say f p ff fff 3 intimately 3
Œ
& #œ nœ œ ˙ > 3
Mez.
- lu - min - ates f
& w7 ‹
T.
> #œ
>œ. J ‰
˙
#>˙
Leseprobe a
>œ bœ œ ˙ ™
œ nœ #œ
mea - sure - less fff
sol
-
em - ni - ty
w 7
w7
w7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
? bw7 f
Bar.
fff
w 7
bw7
w 7
so uselessly I say "my soul", I say, "my soul", I assume, "my soul", soul I misasses, I say "my soul", I assume I misassess, may I say
intimately
? #>œ nœ œ ˙
Œ
3
B.
¢
- lu - min - ates
f
p
ff
#œ >
˙
>œ. J ‰
Œ
�z.
˙ ææ
>œ. J ‰
a
3 ° ˙™ Bcl. & #œ nœ > f >œ p 3 >˙ b>˙ ˙ ˙˙ & b˙˙ ˙
#˙ ™ ff
p
f
fff
>œ b3œ œ ˙ ™
3 œ nœ #œ #>˙
mea - sure - less
#w #~
> j œ ff sing/play
w
sol
-
em - ni - ty
>j #œ
w ~
fff
“” 3 >3 5 w > > > w > > # œ œ œ #œ œ œ œ œ œ #w œœ bœœ œœœœ œœ œœœœ œœ œœ œœœ œœ œœœ w w œ # œ œ # œ> œ> œ> œ> œ> œ> fffff >Acc. #>œ >œ >œ >œ >œ >œ b w b>˙ n>˙ b>˙ n>œ b>œ n>œ b>œ n>œ # w n˙˙ b ˙˙ nœœ bœœ nœœ bœœ nœœ ##œœœ œœœ œœœ œœœ œœœ œœœ b ww w ? bbn˙˙˙˙ ˙ ˙ œ œ œ œ œ ˙ ¢ >>w >-œ #>œœ. >-œ >- >-œ n>-œœ >-œœ œ. >-œœ #œœ. n>-œœ œ. # w > nœ w ° bœœ æœ J ‰ 7œ œœ 7œ æ œœ. æ bœ ææ æ 7 w Vl. 1 & æ 7 7 7 6 fffffposs. . cresc. b> > > > œ . #w #w œ >-œ b>-œ >-œ b>œœ >œ >œ #œœ >œ >œ. b>-œ w œ J ‰ œ œ œ 7 œ æœ J ‰ æœ œ ‰ 7 w Vl. 2 & æ 7 7 7 7 æ 6 æ J æ fffffposs. >-7 5 >œ. b>-œ >. >- >- # w >cresc. w > # b>œ >œ >œ bœœ >-œ œ æœ œœ b œœ œœ b>œ w w J œ œ œ œ œ œ œ œ œ 7 æ ‰ ‰ B 7 7 7 Va. J æ 7 7 7 7 7 > fffffposs. 7 cresc. > w >-œ b œ>-œ >- >-œ œ>-œ # w>˙ >˙ b>˙ b b œ œ œ w ? ˙˙ w ˙˙ ˙˙ 7 7 œ 7 7 Vc. ¢ 7 7 7 7 7 7 fffffposs. >˙ ˙˙ ˙
Sample page
cresc.
3
5
Breitkopf MM 2385428
w
36
° S. 1 &
U ∑
&
U ∑
&
U ∑
119
S. 2
Mez.
& ‹
T.
?
Bar.
Intimate, slower I 10:20 [ in time, q = 60, each bar = 4'']
8''
∑
∑
rall.
∑
pp
÷ Y
Y
Y
ff
Y
[ ss]
∑
∑
∑
pp
÷ Y
Y
Y
ff
Y
[ ss]
U ∑
p sub.
mf
Œ ‰ j #˙ œ
n˙
Y™
sis
[ ss]
pp
Œ
Leseprobe ˙
˙
all
less
Y
[ ss]
∑
E - leu
-
∑
∑
>˙
soar
pp
÷ Y
>˙
seer
>˙
seal
Y
Y
f
#>œ ™ ‰ soil
ff
Y
[ ss]
U ∑
∑
∑
∑
pp
÷ Y
Y
Y
ff
Y
[ ss]
B.
¢
?
° Bcl. &
U ∑
?
U ∑
Acc.
¢
p sub.
U ∑
b˙
˙
mf
Y
bœ ˙ Œ ‰ J
all
less
[ ss]
E - leu
∑ air noise
÷
∑
) o
˙ -
sis
∑
∑
)
∑
o
pp
Œ b˙ >
Y™
[ ss]
soar
∑ ) o
)
o
˙ >
seer
b˙ >
seal
" f"
œ™ ‰ >
soil
∑
∑
∑
∑
Sample page " f"
f
U ∑
∑
∑
∑
∑
∑
∑
&
U ∑
∑
∑
∑
∑
∑
∑
Va.
B
U ∑
∑
∑
∑
∑
∑
∑
Vc.
?
U ∑
∑
∑
∑
∑
∑
∑
Vl. 1
° &
Vl. 2
¢
Breitkopf MM 2385428
÷
37 q = 45 [ each bar = 6'']
o
126
° Y S. 1 ÷
o
÷ Y
S. 2
p
&
Mez.
÷ Y
∑
∑ Ó
j œ> #œ œ ˙ ™ 3
mos - sy
T.
∑
U ∑
G.P.
U ∑
∑
pp
p
b œ nœ
j œ> #œ ˙ ™ 3
o
11:15
ppppp extremely fragile
U b & w
√ w
(soi)l ppppp extremely fragile
U
& bw
√ w
(soi)l
U ∑
U
p
o
bw >
Leseprobe so
o
mos - sy
∑
U ∑
∑
∑
soil ppppp extremely fragile
U & ‹ bw
√ w
(soi)l
o
÷ Y
Bar.
p 3
B.
¢
? #œ j œ œ ˙™ >
∑ Ó
mos - sy
Bcl.
Acc.
pp
p
so
j œ> œ ˙™
œ
3
œ
) o
¢÷ ) o
)
)
" f"
∑
o
)
U
? bw
√ w
(soi)l
U ∑
mos - sy
breath
°÷ Ó
U ∑
∑
ppppp extremely fragile
U bw > p
o
soil
U ∑
Ó o
U
sub-tone
& bw
ppp
" f"
o
) o
)
" f"
o
√ w
o
p
U ∑
∑
∑
Sample page )
∑
∑
∑
∑
U ∑
∑
∑
&
∑
∑
∑
U ∑
∑
∑
Va.
B
∑
∑
∑
U ∑
∑
∑
Vc.
?
∑
∑
∑
U ∑
∑
∑
° Vl. 1 & Vl. 2
¢
Breitkopf MM 2385428
38
interlude I [ so ground] Soly glowing, like clouds at sunrise h = 54 - 60
° 3 Rear M &2
∑
? 23
œœœ >
#œœœœ
œœ >œ
Acc.
¢
> ##œœœœœœœ
œœœ
œœ
œœœœ
œœœ
œœ
œœœœœ
œœœœ
œœœ
œœ
œœœœœœ
œœœœœ
œœœœ
œœœ
œœ
œœœœ œœ
œœœœ œ
œœœœ
œœœ
œœ
? #œ œ œœ œœœ œœœ œœœ œœœ œœ ˙ #>œ œœ #>œœœ œœœœ >œœœœœ œœœœœ ##>œœœœœ œœœ œœ œ
ww
w
solo
œœœœœœ
#œœœœœ œ
œœœœ
nœœœœ >œ
œœœœœ œ
#œœœœœ œ >œ
œœœœœ œ
œœœœœ
œœ
? œ >œ
œœ
? #œ #>œ
œœ
œœ >œ
œœœœ
œœœœœ >
#œœœœœ œ
#œœœœœœ # >œ
œœœœœœ
? œ >œ
#œœ
œœ >œ
œœœœ
œœœœœ >
œœœœœœ
nœ # œœœœœœ >
œœ
#œœœ >
œœœœ
œœœœœ >
œœœœœœ
#œ # œœœœœœ >
p
3
p
œœœœœ
œœœœ œ >
>œ
= Acc.
∑ œœœœ
mf
Leseprobe mf
= 5 Acc.
p
mf
= 7 Acc.
p
= ? œ >œ
9 Acc.
p
Sample page mf
mf
= 11 Acc.
p
mf
pp
Breitkopf MM 2385428
Ó
A °? Bar. 15
B.
¢
?
Rear M p
œ œ œ #œ
œ #œ
leave, e - volve, oh
live!,
Rear M
?
° Vl. 1 &
Vl. 2
o
-
&
œ
live
o -
œ
œ
live,
svelte
ev - er,
mf
e - volve,
oh
w >
w™
œ œœ #œœœ >œ œ >œ œ
Mid L
> œœœœ #œœœœœ ##œœœœœœœ >œ œ
live!,
o
-
Œ
#œ
mf
Ó
œœœœœœ
live
w™
p
p
œœœœœ œœœœ œœœ œœ
œ >œ
mf
œœœ œœœœ nœœœœœ œœœœœœ > >
œœ
p
∑
∑
∑ #œ≤. ‰ J Œ
≥ ≤œ. œ≤. œ≤. œ≤. >-œ J‰J‰‰ ‰J
Sample page
Mid R
∑
∑
Œ
3
pp
≥ Oœ≤. Oœ≤. Oœ≤. Oœ≤. Oœ≤. >-Oœ B Œ ‰ J Œ J ‰J‰‰ ‰J pp
3
5
f
5
¢&
∑
f
Play as a continuous loop with a subtly varied individual tempo
≥ Oœ≤. Oœ≤. Oœ≤. Oœ≤. >-O Oœ≤. Oœ≤. ‰#Jœ ‰ Œ ‰ pp
7
f
pp
3
>-O≥ œ J ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
f
Play as a continuous loop with a subtly varied individual tempo
Vc.
re -
Leseprobe
Rear M
Mid R
œ
œ
œ
w
œ #œ
œ #œ
œ
œ
Mid L
Va.
p
Ó
p
∑
p
¢
w
mf
leave,
° Bcl. &
Acc.
39
'erotic mushroom' Solemn, like a ritual
“” ≤ œo. ‰ J Œ
high nat. harm. sul A
Œ
pp
≤ ≤ ≤ ≤ ≥ ≤ ≤ ≤ ≤ ≥o o o œo. œo. œo. œo. >-œo œo œo. œo. œo. œo. >-œ œo >œ. >œ. J‰J‰‰ ‰J ‰J Œ 3
Breitkopf MM 2385428
5
f
pp
7
f
pp
3
≥ >-œo J ¯¯¯¯¯¯
f
40 'devotional mushroom' mf
°? #w Bar. 18
p
Ó
#œ
-verse
B.
Bcl.
¢
?
in
p
œ
œ o
-
live,
° & #w >
Acc.
¢
œ
œ
svelte
ev -
er,
re - verse
œœœœœ
et - er - nal
sen
Ó
p
-
ti - nel, a
#œ œ œ œ
œ #œ
Œ
#w >
œ
œœœœ
in - to night's et - er - nal
#w ™ p
œœœ œœ
mf
#œ #>œ
Œ
p
œ œ œ œ œœœœ œœœœœ #œœœœœœ ##œœœœœœœ œœœœœ œœœœœ œœœ œœ œ > >
œœ >œ
œœ
p
≤ œo. ‰ J Œ
° & Œ
#œ 3œ œ Ó
˙
Leseprobe
sul E
Vl. 1
night's
mf
œ
œœœœœœ
mf
œ
œ
#w
p
? #œœœœœ œ >œ
to
-
œ
œ
mf
œ
œ #œ
mf
mf
Play as a continuous loop with a subtly varied individual tempo
≤ ≤ ≤ ≤ ≤≤≤≤ ≥ ≤≤ œo. œo. œo. œo. >-œ≥ œo. œo. œo. œo. >-œ œo. œo. #>-œ≥ J‰J‰‰ ‰J ‰ ‰ J ‰ Œ J ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 3
pp
5
f
pp
7
f
pp
3
f
Sample page
Play as a continuous loop with a subtly varied individual tempo
Vl. 2
&
œ.#œ≤. œ≤. œ≤. œ≤. pp
7
>-œ≥ œ. ≤. ≤. œœ ‰J Œ f
pp
3
>-œ≥ J ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
f
Va.
B ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Vc.
¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Breitkopf MM 2385428
41
°? p Bar. œ #œ œ 21
lan - tern - lit
mf
B.
Bcl.
¢
? ˙
sen
° &
-
#w ™ p
œ
mf
n˙
œ œ
la - ma - se
-
ry,
p
œ ‰ œ œ œ œ œ J
∑
il - lu - min - ates a
#œ 3œ œ Ó
p
ti - nel, a
lan - tern - lit
œ #œ œ œ la
w >
n˙
œ
œ - ma
mf
-
se
ry,
-
Œ
#œ
p
œ ‰ œ œ œ œ œ J il - lu - min - ates a
w™
Leseprobe mf
p
p
? œ œ ¢ œ #œœ œœœ œœœœ œœœœœ œœœœœœ #nœœœœœœœ œœœœœœ œœœœœ œœœœ œœœ œœ #œœœ œœœœ œœœœœ œœœœœœ œ œ œ > > > > > > > p mf p ° Vl. 1 & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Acc.
Vl. 2
& ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Va.
B ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Vc.
¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
=
°? Bar. 24
mf
∑
#œ
œ #œ
mea - sure - less
B.
?
¢ ° Bcl. & #w >
∑
œ
œ
˙
œ
sol - em - ni
∑
p
-
Ó
˙
ty
mf
#œ
œ #œ
œ
Sample page
mf
œ
p
Œ
mea - sure - less
w >
#w ™ p
mf
œ
œ Œ
sol - em - ni -
œ
p
? #œ œœ œ œœ œ œœ #œ œ œœ œ œœ œ œœ ¢ # œœœœœœ œœœœ œœœœ œœ œœ œ #œœœ œœœœ œœœœœ œœœœœœ ##œœœœœœ œœœœ œœœœ œœ œœ # œ œ > > > > > mf p mf ° Vl. 1 & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Acc.
Vl. 2
& ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Va.
B ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Vc.
¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Breitkopf MM 2385428
42
°? Bar. 27
∑
? ˙ p
B.
¢
˙
- ty
U ∑
Take as long as needed to walk to Mid M
∑
∑
U ∑
Take as long as needed to walk to Mid M
∑
U ∑
Take as long as needed to walk to Mid M
? ˙
Acc.
∑ Ó
° Bcl. &
U ∑
Take as long as needed to walk to Mid M
ww
w™
Leseprobe
¢ pp ° Vl. 1 & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ B ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Vl. 2 Va. Vc.
¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
B
= 30
° Mez. &
'geographical mushroom' Gioioso (quasi-Papageno!), più mosso
Mid M p mp
p
j ‰ œ #œ œ >œ. A - ma Pam - pa Mid M
Acc.
¢
pá
Pa
> œ#œ œ œ
>j œ
˙ pu p
-
-
>. œ J
mp
œ
Pam
w >
A
-
ma
pá mf
Pa f
-
pá
Pa
-
>œ. #>œ. ‰ J ‰ J
#œ
œ
‰
pa
-
œ
a p
-
j j œ. ‰ œ. ‰ > >
p
Œ
-
f
œœœ #œœœœ >
œ >œ œ
œœœœœ >
> ##œœœœœœœ
#œœœœœ œ
Œ
#œ
Sample page
p Mid M
p
f
∑
¢& ‹ ° Mid M Bcl. & w™ T.
?
-
j j œ. ‰ #>œ. ‰ >
mf
œœœœœœ
œœœœœ
p
œœœœ
œœœ
œœ
f
° Vl. 1 & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Vl. 2
Va.
& ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ≥ ≥ > ≥ > ≤ ≤ ≤ ≤ ≤ . . . . . O > * Oœ Oœ O≤. Oœ O≤. œ Oœ≤. Oœ≤. Oœ Oœ≤. Oœ #-Oœ Oœ≤. Oœ œ œ ‰ J ‰ J ‰ Œ J ¯¯¯¯¯¯¯¯¯¯¯ ‰ B Œ ‰ J Œ J ‰ J ‰ ‰ pp
Vc.
3
5
f
¢ & ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
pp
*
7
high nat. harm. sul A
Œ
*) continue rhythmic loop with new pitches Breitkopf MM 2385428
f
“” ≤o œ. ‰ J Œ pp
pp
3
f
≤o. ≤ ≥o ≤o. œ≤o. o œ > . œ ‰ J ‰ ‰ œ ‰ œ J J 3
5
f
43
32
p
-
T.
¢& ‹
mf
j ‰ j ‰ œ œ. œ. > > pa Pa mo
° Mez. &
-
f > œ#œ œ œ
>j œ
˙
pu
-
° Bcl. &
-
-
œ
>œ
œ
> f #œ œ
a
Par - ma
A
¢
˙
Va.
-
a
Par - ma
œ.
. . >œ œ œ . . #œ œ pizz. ‰ J Œ J‰J‰‰ ‰ J
œœœœœ
œœœœœœ
f
*
Œ
œ p
#œœœœœ œ >œ
œœœœœœ
nœœœœœ >
œœœœ
œœ >œ
œœ
œ
œœœœ
Œ
œœ
œ.
œ. œ. œ. œ. >œ J ‰J‰‰ ‰ J
pp
3
‰ J Œ
pizz.
œœœ
. . œ. > . œ. œ . œ œ #œ œ ‰ ‰J‰ Œ
5
f
>œ J ¯¯¯¯¯¯¯¯¯
Sample page
*
Œ
3
pp
5
f
pp
7
f
pp
3
f
B ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ <“>
Vc.
mo
-
>œ
œ
f
p
&
pa
-
p
#w >
° Vl. 1 &¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Vl. 2
mf
Pa
Ó
pa - me - a
-
j j œ. ‰ œ. ‰ œ > >
Ó
a
-
œ >œ
?
-
p
p
Acc.
œ >œ >œ >œ Œ
˙
Leseprobe
-
w™
p
¢&
≥ o ≤ œo œ≤o. œo. œ≤o. œ≤o. >-œo œo >œ. >œo. ‰J Œ pp
7
f
pp
3
≥ >-œo J ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
f
*) continue rhythmic loop with new pitches
Breitkopf MM 2385428
44
34
° Mez. &
p
A
T.
¢& ‹
° Bcl. &
œ
œ
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