—————
for mezzo soprano & alto flute
THE RIDDLE OF ISIDORA
[you]
j o.l 9————————————————————————————————— 9—
9
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This score belongs to [
]————————————————————————————————— o
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brusenta.com
... ——————————————————————
music, art, & words* © 2016 Aleksandr G. Brusentsev
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score design by Aleksandr G. Brusentsev
—————
ISSUU edition, 2017
*
except poem by Tania Holland Williams
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]
—————————————————9
i ——————— published do by dots m u s i c —————
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9 The Riddle of Isidora was commissioned by
Tania Holland Williams as part of the Davy Jones’ Locker. ————— The music was written in the latter part of 2014 and completed in January of 2015. Revisions took place throughout 2015 and 2016, reaching completion in June. ————— The first performance was given by
Tania Holland Williams & Heledd Francis Wright in The Beaney House of Art and Knowledge, Canterbury, UK, on 7 February 2015.
—————————————
4
for Tania Holland Williams & Heledd Francis Wright
iv
v
The Riddle of Isidora by Tania Holland Williams
I am Isidora, plump with desire Nestling in the ache of you. O Traveller, long-travelled, memories trailing Now troubled, tired, traipsing tarnished Wunderlust Hasten to my gates. It is time. I, Isidora call to you Weary Companion, you know me in your Ur-heart. Washed by my fragrance, Soothed by the certainty of my lullabies. I am Isidora, my gift is the far-seeing lens Acolytes of my spires remain seated, Their sacriďŹ ce already endured. Come Traveller, sit ye down and remember. I embrace the slack and bony carcass leaning against me, My windows gaze upon a hundred wrinkled faces Caressing the weatherworn cheek with ivy. I am Isidora, pure and corruptible as a memory Whose walls oer no shelter to the young. My prophecies lie, clenched in latent Sehnsucht. Wanderer sei ruhig! All your futures extinguished.
vi
Program Note —— ——————————————
4———————————————————[ the listener ] In Short Written for Tania Holland Williams and Heledd Francis Wright, this setting of Williams’ text is a visceral engagement with the themes found in Italo Calvino’s Invisible Cities, namely memory and desire.
Background // how this came to be Inquiry is at the heart of what I do. I ask: personal and philosophical questions to find what needs saying; practical and psychological ones to find how it needs to be said. Answers (at least satisfactory ones) are scarce. More so than any piece to date, this composition was born of that conflict. It began with a doubt: what could I possibly contribute if my starting point is already a reflection of some other starting point? For me, the answer lay in music’s ability to show connections. I didn’t want to say more; I wanted to demonstrate the depth of what was already said by helping listeners form vivid, emotionally-charged memories around the text. Figuring out just how to do this took a while. Having started in the latter part of 2014, it took me nearly two years (until the middle of 2016) to complete my work and wondering. Now, I simply hope that this piece can inspire inquiry like the texts that inspired it.
Music // what you might hear The piece ends. Then, the music slinks into existence with a slurred mantra: ‘I am Isidora’. These three words, innocuous at first, mark the stages of a dark narrative that is at once predetermined and unpredictable. In phrase after phrase, Isidora defines herself and her ties to those she addresses. She is definite in her statements, but the tug-and-pull relationship of the voice and the flute hint at dualistic – even dangerous – undertones. In time, any semblance of a seductive facade fades. What’s left is her true essence: an overwhelming resonance underscoring the fact that the comfort offered by her words might not be worth the sacrifice endured.
n
vii
}
elements: flute
overall structure
{
‘The Riddle of Isidora’ is composed of numerous fluid elements. I have provided a few notes on these to clarify the structuring of the piece.
elements: voice
§ § §
Working Parts —— ———————————————————————————————
4————[ the performer ]
The music follows the form of
Nearly all of the vocal content is
While much of the material is
the poem without deviation. To
based on a few melodic cells.
improvisatory in nature, the use
accent this, the repeating ‘I am
These
and
of harmonics is very deliberate,
Isidora’ phrase has been turned
stitched together in ways that
serving a semi-structural role.
into a musical refrain. It acts as
attempt to connect disparate
As such, the sonic path from
a familiar point of reference that
parts of the text. Quarter tones
low to high (and increasingly
highlights the changing emo-
act as a special way to highlight
noisy) harmonics should be
tional landscape through varia-
this
accentuated.
tions in phrasing and dynamics.
emphasized.
1 2 3
The sections surrounding the refrains
are
improvisational
episodes that follow a specific harmonic arc.
are
factor
transformed
and
should
be
§ § § § § §
Handling Instructions - general ————————————————————————————————————————————————
viii
Notation Quirks
Dynamics
. . . . .
Arrows (
) suggest a smooth transition between defined states.
Solid slur lines ( ) signify legato. Dashed slur lines ( function as phrase marks.
)
‘Senza vib.’ indications apply only to the note(s) directly below and do not carry forward unless extended by a bracket. Breath marks ( ) specify a very short break taken in time. Commas ( ) indicate a longer break, taken out of time. Hairpins connecting to new dynamics should reach the designated level. Hairpins without a destination show fluctuations within the last dynamic. Note 1: A ‘molto’ label over a hairpin means ‘to the greatest degree possible’, regardless of previous or upcoming dynamic. Note 2: Hairpins starting or ending with a circle express from ( or to ( ) nothing (niente), respectively.
.
)
Dynamics not preceded by a hairpin should be regarded as ‘subito’ dynamics, with no implied gradation: iq iq iq should be seen as iq iq iq p
Time & Tempo
.
.
f
p
f subito
Tempo fluctuations (rit., accel., etc.) connected by a dashed line denote a continuous transition from one to the next until a destination, such as ‘A tempo’ or a new metronome marking, is reached (first occurrence: bars 18 – 19). Tempo changes that are not connected signal an immediate shift, with no implied gradation (first occurrence: bar 14). In either case, tempo fluctuations carry until they reach a destination or are negated by another instruction. The meter and implied rhythmic groupings are integral to the conception of this piece, conveying not only time but feel. They should always be emphasized as if playing with and reacting to another musician beating time (perhaps a drummer). Note: ‘Tagged on’ bars (first occurrence: bar 19) are not counted as individual bars and are conceived in the negative:
Techniques: General
. .
2+ 1 4 8
should be ‘felt’ as
3-1 4 8
Feathered beams demonstrate an accel. ( ) or rit. ( the given time, with no changes to the overall tempo.
) within
Glissandi should span the full value of the note from which the ‘gliss.’ line extends. Unless otherwise marked, the destination pitch should in no way be emphasized (via articulation, dynamics, etc.). Note: All glissandi in the flute part are lip glissandi and should not require a change of fingering.
§ § §
Handling Instructions - just for flute ———————————————————————————————————————————————— § § §
ix Techniques: Flute
. . .
Flute harmonics, especially those written as chords, should be quite airy and noisy – not pure. This ‘imperfect’ tone is especially desirable in bars 121 to 140, where the intent is an increasingly strained, distorted, and unstable sound that irregularly bounces between the harmonics, enough for the full chord to be heard. The primary sounding pitch should still be the top one. Flutter tongue is peppered throughout the flute part using grace notes to convey its role as an external disturbance. Both note values and note placement are approximate and open to interpretation.
There are five types of ‘non-standard’ articulation: - Aeolian tone/Air sound Performed by drawing air across the emboucher hole, resulting in a semi-pitched sound. If the triangle is pointing up, this is achieved by breathing in through the teeth. If the triangle is pointing down, this is achieved by breathing out. Note: If an air note is slurred to a normal note (as in bar 1), a smooth transition is intended.
- Pizzicato/Slap tongue Performed by producing short bursts of air with the tongue, with no air coming from the lungs, resulting in a very attackheavy sound without resonance. - Tongue stop/Tongue ram Performed by closing the lips around the lip plate and then forcefully smacking the tongue against the emboucher hole, as if to say ‘HT!’, resulting in a heavy and resonant tone that sounds a 7th lower than the written pitch. - Vocal articulation Performed by articulating a note with the marked consonant ‘ch’ instead of normal tonguing, resulting in a distinct accent. If the note value is short, only a semi-pitched sound is likely to emerge. If the note is long enough, the attack should seamlessly transition to a normal sound. Note 1: There are two categories of vocal articulations. They are listed below from lightest/clearest to heaviest/noisiest. Soft attacks: ‘ss’ , ‘f ’ , ‘sh’ , ‘sssha’ Hard attacks: ‘p’ , ‘t’ , ‘k’ , ‘ch’ , ‘cho’ Note 2: The accents produced should fall within the scope of the marked dynamics.
- Whistle tone (single diamond notehead) Performed by using very low air pressure directed at the far edge of the emboucher hole, resulting in a quiet, waving, and unstable sound.
.
There is one ‘non-standard’ technique performed with the keys: - Keyclicks (crossed notehead or stem) Performed by pressing the key forcefully enough to create a percussive sound. No breath is used for the actual click though it may be required for notes with which it is paired.
§ § §
a few more
Handling Instructions - for both ———————————————————————————————
x
Techniques: Flute (cont.)
.
This piece sometimes requires singing while playing. These notes are written on the small staff below the main alto flute part and are performed by humming the written note, providing a drone that adds harmony and changes the timbre. Note: In the transposed score, which can serve as the alto part or the performance score (if performers are sharing), the flute’s vocal line is transposed up a 4th along with the flute line to aid pitch matching.
.
There are three multiphonics and one timbral trill that require the special fingerings shown below. (Charts also appear in the score in miniature.) Multiphonic 1
Multiphonic 2
Multiphonic 3
Timbral trill <
1
2
3
Note 1: These multiphonics are ideally suited for a Kigma System flute (kigmaflutes.com). If one is unavailable and the multiphonic does not speak on the flute at hand, sing the bottom note and play the top note(s) in a regular fashion to achieve the effect of a multiphonic. Note 2: Trills without a fingering chart should be considered ‘normal’, i.e. between the written note and the one above it.
Performance
.
. . .
This piece uses quarter tones based on 24 equal divisions of the octave (each note being 50 cents above/below its neighbor). Their spellings are below.
Articulations play a crucial role in this piece and are often in direct disagreement between the parts. To this end, staccato and tick markings should both be exceptionally short – yet marked – to accentuate their separation from legato lines. Bars 132 to 135 are completely unmeasured. Though the spacing and note values hint at relative durations, the actual timings are entirely up to the performers. The voice and flute share no attacks in this section. Though the voice and flute are generally balanced, a deliberately unbalanced effect is desired in bars 118 to 140. There, the flute should gradually overtake the voice, eventually consuming it. The marked dynamics reflect this.
o
Duration: ca. 9'15''
————
——————————————
LED 20.10.2016
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for Tania Holland Williams & Heledd Francis Wright
Score in C
The Riddle of Isidora q = 36, Hazy, lethargic, sensual
4 &4
Mezzo Soprano
4 & { 4! -
Alto Flute
5
{ 9
dolce
œ
& w I
à
dolce
‰ {&
Ϫ
œ
œ 3
‰
w o
& ‰
-™ o
œ œ ™# œj œœ œ- œ - B œ ™ > gliss. o p
& w &
o o o o #œ flt. œ œ œ œOOO O æÆJ
3
‰
3
Uo œ
o
œ
am
I
j b œ-
œ-
œ -
6-
‘ss’
˙-
∑
Ϫ
˙ -
o
‰
√ Œ
√ Œ
(lunga)
!- ™
à o
U Ó
(norm.)
Ó
¥ just key clicks (same trill) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ U œ ˙™ ‰ Ó ¿ ¿™
j œ- ˙ ™
si - do
O™
<
p
j bœ
O™
≈ ≈ r ‰ OJ f p b e. > (corta)
Aleksandr G. Brusentsev
-
o
‰
Ó
Ó
3 r 2 16 œ. ≈ ≈ 4 œ . ra,
3 16 œ © 2016 Aleksandr G. Brusentsev
o
3
œ.
‰
U Ó
≈ Œ
3 ≈ 2 ‰ Œ - 4 4¿ 4¿ . . o
3 4
plump with
3 4
2
accel.
p
3 & 4 ‰ # œj ˙
12
œ
de
-
3 Π& 4 {
‰ #œ -
˙
gliss.
œ
œ
port.
3
#Æœ j œ #œ œ œ œ J#œ nœ 3
p
quasi parlando
15
3
Œ
& œ .
nest
œ.
Π{&
≈ Œ
œ- ™
5
œ œ
in
≈ Œ
Œ
3
Œ
Œ
j B œ. 4. ‰ n ¿. ‰ 3
gliss.
p
ling
-
j B œ. ‰
sire
-
3
A tempo
p
Œ
Œ
Œ
the ache
of
à 6> o ‘ch’
˙-
p
j œ
‰
f
wide vib. dark tone
à ‰ 6 ‘k’
3
® # ¿ ¿ ≈ ≈ ¿r ‰ ˙ *
¥ senza vib. ¥ norm. ≈ ¿r ‰ gliss.
* Keyclicks with r.h. ring finger while maintaining the lower note. While this should disturb the held note, its pitch should not change.
q = 72, Suddenly lucid
molto accel. 18
& j ‰ œ
Œ
‰
you.
O
{& œ 6 œ 6œœœœ6œœœ . . . . . . . . . . . 3
‘t’
j œ
5
‘t’
‘p’
2 4 + 81 œ ™
norm.
œ Œ
Trav’ - ler,
ææ - û (Fall off note
flt.
≈ j 42 b œ œ 3
2 4 + 81 Œ
indiscriminately.)
‰
long
3
b œf
3
j œ ‰
œ œ
tra - vel’d, mem’- ries
à2 j 4 œ œ-
3
jœ œ
à
21
f
& b œJ
Ϫ
poco port.
-
-
trail
j œ ‰ b œ.
ing
{& 6œœœœ œ . . . . ‘cho’ >
œ
now
œ
œ
trou - bled,
3
5
≈
˙
œ ™ ® bœ
‰ b œj tir
ed,
-
3
4. b 4. n 4. # 6. œ. œ. œ. 6. œ. œ. b 6. œ. œ. œ. n 6. œ. ‘t’ ‘t’ ‘p’ p
‘t’
3 ™ 8 œ
bœ
Œ
œ
traip - sing
tar
-
-
-
6
3 ¿ 4 œ. b œ. œ.
nished
-
b 4. 3 3 b 4. b 4. j ¿ & 4 8 b 6. œ. { b 6. œ. œ. œ. 6. œ. œ. œ. b 6. œ. œ. œ. œ. œ > ‘t’ ‘p’ ‘t’
3 2 j œ 4œ
rit.
f
3 b >œ ˙
2 ˙ 4 + 81
Wun- der
-
‰ 44 ˙ -
Ϫ
q = 63 p
has - ten
¥ senza vib. ¥ norm.
Ÿ ~~~~~~~ 3 à3 . r >)^ b œ à 2 + 1 Ÿ~~~~~~~~~~~~~~~~~~~~ ≈ # ¿ ‰ ‰ ≈ ≈ # ¿r 4 bÆœ j J 4 8 bœ {& œ 4 ˙ 6- ˙ ) #w ‘f’ ‘sh’ >v ‘k’ o o f wide vib. dark tone
2 &4
32
∑
2 4. ¿ & 4 { 6. œ. œ. œ ‘p’ 5
4 ˙™ 4
rit.
3 4 Œ
#˙
It’s
3 4 ‘ch’
b 6.
b 4.
œ œ
˙
˙˙ ™™™ ˙™ ˙ ˙™
time.
1
3
2 4
œ 3 œ œ 3œ b œ ˙ J
‰
lust
-
œ
poco
‘sssha’
p
3 4
2 4˙ 6
5
3
&
‰
A tempo
p
3 &4 œ
28
j œ
5
5
rit. 25
3
poco
4 4
to my gates.
2 4
poco
œ 1
poco
à
4
q = 72, Dualistic, mercurial
accel.
cresc. 35
{
3
b˙
& w
o
∑
&
œ
3
3
‰
b œo ™
o œ.
6 8 Ϫ
j œ.
6 8bO ™
f cresc.
‰
œ. ≈Œ J
6 Ϫ 8
œ œ
o * bœ œ bœ œ b œ ™ œj œ- œ -µ œ n œ bO gliss. 3
& w >
bœ
œ
I,
3
j œ ˙™
f cresc.
OJ
2 4
≈ Œ
2 4
≈ Œ
2 4
* Please see ‘Handling Instructions’ regarding desired harmonic sound.
A tempo
molto rit.
f pesante 3
2 & 4 ‰ œ œ œ bœ
38
I - si - do - ra
3
2 ‰ œ œ œ bœ & 4 - - - { f pesante
^ 5 b ˙> ™ 4 call
^ > 5 b) ™ 4
wea - ry Com - pan - ion,
4Ó {&4
Œ
≈ Œ
b˙ ™
to
you
UO
b˙ ™
3 4Œ
≈ Œ
3 4. ¿ ≈Œ 4 6 œœ . . . ‘p’ > p
, , o
p dolce
q = 56, Lilting
3 b œ 3œ. ‰ ≈Œ 4 b œ œ œ &4
˙
U Ó
˙
‘k’
41
p dolce
4 4 4 4
3 ≈ ‰ b œJ 43 + 81 œ b œ œ œJ œ ™ œ. ‰ 42
you
Œ
know me in your Ur - heart.
3 4 + 81
∑
≈ 2 ‰ 4
5
accel.
2 &4 Œ
44
‰
≈ 3 œ b 3œ ‰ 4
Ϫ
œ
Washed by
my
r≈ 3 2 # 4 ≈ ≈ ‰ 4 ¿ { & 4 # 6. œ. . œ. œ. ‘t’ > 5
œ 2œ 4J
‰
4 4
Œ
fra - grance,
4. ¿ 2 4. ¿ 4 4 6 œ œ œ. œ. 6. œ. œ. œ. œ. 4 . . . ‘t’ ‘sssha’ >
∑
6
6
3
j œ ‰
A tempo
f dolce, espress.
w 4 &4
3œ 8
47
by
4 & { 4 Ϫ
j œ- ˙
f dolce, espress.
rit. 50
&
bœ
f
˙
3 4‰
œ
œ œ œ œ
à 3 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 8 4 6> ™ b œ œ )‘ch’ ‘sh’
soothed
p
œ
™ 4 ˙ 4
o
Œ
the
cer- tain - ty
3 ‰ ‰ µ œJ œ 4 3
of
p
q = 36
œ
˙
my
<Ÿ>~~~~~~~~~~~~~~~~~~~~ à b ww 4 b b ww & 4 { ™ 6- B œ -n ˙ bw gliss. ‘f’ o o 2
˙˙ ™™ 3 ˙™ 4- ˙ ™ ˙™
3
˙™ b˙ ™ o
o
œ J ‰
6 p dolce 54
3
& ‰ bœ
˙™ { & ˙™
‰ ‰ B œj ˙ 3
˙
lul
-
la
-
{
&
o b˙ ™
o
˙™
˙™
o ˙™ O™
à œ
cresc.
I
o ˙™ & O™ &
62
& Œ
{& Œ
à
˙ ˙
q = 63, Feigning stability
œ æÆJ
˙ æ
o
∑
3
Œ
∑
p
œ
œ
am
Œ
3
-œ p
3
˙-
3
-
-œ
œ
oj œ O
Œ o o œ œ O O
o œ ™™ O ™™
o œ O
œ
œ ™ bœ 2 ˙ 4 œ b œ œ3
˙ poco
Ϫ
2 ˙ 4 p
˙
3
œ
˙
si
-
do
-
o ˙ -O
poco
˙o O
(No gap)
˙
3
j œ
o œ œ O æÆJ
poco
2 4 œ bœ œ
˙™ o
I
3
Œ
dolce
p
˙
o
œ
bies.
-
p
57
rit.
senza vib. freddo
-
æ œæ
j # œ. ‰
o
U Œ
ra,
Œ
U Œ
‰
67
∑
&
‰ b œj
Œ
my
b 6. œ. œ. œ. œ. œ. ‰ b ˙ & { ‘sh’
& nœ ™
71
n œ. & J {
&
bœ
gift
is
‰ ‰
≈
# 6. œ. œ. œ.
3
#˙
ac
-
-
bœ
far
see - ing
-
≈ ∑ 3
≈ ∑
‰
œ.
‘p’ p
-
bœ
3
œ
o
gliss.
b 4.
bœ
‘p’
‘t’
#œ
-
b 6. œ. b œ
bœ
bœ
the
3
4. ¿ 6. œ. œ. 6.
5
‘p’ p
f sempre
bœ
3
∑
lens
74
bœ œ
3
poco
3
7
3
œ
lytes
#œ
#œ
of
my
3 4
3 b 4. b 4. 4. 4. ≈ & 4 { b 6. œ. œ. œ. 6. œ. œ. 6. œ. œ. b œ. œ. b 6. œ. œ. b œ. œ. ‘t’ ‘t’ 5
6
‘k’
f
˙> ™ 3 &4
spires
n ˙^
gliss.
p
Bœ J molto
‘ch’
2 œ 4
76
3 & 4 {
5
6
bœ
œ
3 n >œ œ ™ 4
re - main
‰
. œ. b œ. 3 2 œ 4 b6 œ œ œ 4 . . . . 3 ‘sssha’ f
œ
Bœ J
seat - ed,
n ˙^
gliss.
p
2 4
Œ
molto
‰
2 4
8
2 &4
79
molto rit.
∑
∑
#œ J
‰
b 4. ¿ 4. j ‰ j ‰ œ. œ. 6. 6. 6. 6. œ. b 6. œ. œ. œ. b œ. œ.
2≈ ‰ & 4 { 6. œ. œ. œ. 6. œ. 3
‘t’ p
3
‘p’
rit.
&
Œ
their
5
82
A tempo
# œ 3œ œ œ sac - ri - fice al
œ
rea
-
‘p’
3
œ
‘p’
‘p’
œ
- dy
5
3
‘t’
‘k’
˙
en
6
-
-
-
-
-
. . œ. . # œ . # œ # œ . . # œ . . . . . . . . . # œ. œ. œ. 6. œ. œ. bœ nœ œœ { & b 6. œ. n œ. œ. œ. # 6. # œ œ œ œ # 6 œ œ 7
‘k’ f
9
‘ch’
‘ch’
q = 48
>œ^ 3 &4
violento
84
^ 6>.
- dured.
3 & 4 {
œ.
œ.
‘cho’ dim.
85
&
{&
œ.
œ.
œ.
œ.
œ.
3
œ. 3
√ ∑ √ ∑
œ.
œ.
Ϟ J
3
‰
‰
œ. 3
œ.
œ.
œ. 3
3 4
gliss.
n œ.
œ. à œ. œ. 3 4 -
‘ch’
accel. leggiero (Light ‘ah’, like a yawn; fall off note.)
Œ
ah
œ.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 3
3
3
3
3
3
morendo
√ ∑ √ ∑
4 4 4 4
q = 48, Cold, calm (a tempo)
4 &4
87
∑ w-
, w
sempre senza vib.
4 & { 4
3 4Œ
∑
9
quasi parlando 3
œ
Œ
œ œ œ
Come Tra - vel - ler,
3 4
∑
rit.
p norm.
90
&
{&
94
{
˙- ™
∑
˙™
sit
œ bœ
ye down and
˙™
re - mem
q = 42
∑
˙E-o ™™ & O™
Œ
æ ˙æ
˙™ -
& Œ
{& -
bœ
Œ
˙Eo ™™ O™
dim.
97
-
p dolce
&
&
Ϫ >
3
œ #œ œ
Œ
bœ em
!
,
˙
o™ ˙ à E™ O™ o
ber.
j nœ ‰
gliss.
à
æj æ æ œ œœ
molto rit.
bœ
o
˙ ˙Eo O
æ œæ
o œ
∑
o
œ
Π1
o f cresc.
A tempo
Ϫ
3 3 j j b œ œ œ œ œ 43 + 81 œ b œ œ œ œ œ ™ œ ‰ 44
senza espress.
- brace
,
j µœ œ
I
˙™
dim.
gliss.
o
the slack and bo - ny
wide vib. dark tone
o )- ™ ‘f’
car - cass lean-ing a - gainst me,
¥ senza vib. ¥ norm. 3 4 + 81 ˙™
gliss.
4 j 4 Bœ o
10
≈ 4 &4 Œ
bœ
my
≈ 4 {&4 n 1-
o
bœ
win - dows
bœ
bœ
p
¥ senza espress. 3 bœ œ œ œ œ™
dolce
bœ
100
legatissimo
à
gaze
up - on a hun
wide vib. dark tone
molto rit.
cresc.
œ #œ œ bœ 6 4 &8 #œ nœ 4 bœ
œ
ress-ing the wea-ther-worn cheek with
6 4 & 8 4 œ #œ œ bœ { #œ n œ b œ-
n œ-
p cresc. legatissimo
107
&
o o # œ #œ #O O
œ
œ
2 &4 ˙
111
{
œ à
I
p
poco
∑
#œ
œ
accel.
p
2 &4 ˙
bœ
delicato
q = 48, Resolute
2 & 4
à
o o œ nœ nO O
dark tone
nœ
dred wrinkl-ed
)‘f’
bœ
molto accel. 103
-
2 œ œ œ œ 4œ
f
œ
œ
n ˙-
˙
i to dark tone
n -œo ™ O™
¥ senza vib. ¥ norm. 3 2 j 4 gliss. œ B œ n 1of
oj o o œ œ #˙ ™ O O O #O ™
o r œ
œ
bœ
A tempo
Ϫ
‰
j œ-
œ
Ϫ
p
œ o r # œ
¥ norm. ,U œ
nœ
o <
o
# œo ™
3 8 #O O ™
‰
Ÿ~~~~~~~~~ à Ÿ~~~~~~~~~ Ÿ~~~~~~~~~~ 3 œ œ ™ œj nœ œ j œ- œgliss.B œ o 3
3 8
vy.
-
‰
p dolce
j 6 œ ‰ ‰ # œJ 8 3
face - s
#˙
3
‰
3
œ #œ
√ ∑ √ ∑ √ ∑
ca -
6 8
o
‰ ¥ (No gap)
2 4
(No gap)
rit.
p freddo
115
& ‰ œj œ œ am
˙
I - si - do
‰ œj œ œ {& - - -
A tempo 121
{
&
œ œ œ ˙ rupt - i - ble
-œo e & O &
œ -
-œo ™ ee ™™ 3 & 8 O™
walls
f
3 & 8 Ϫ f
‰ µ œJ
as
a
o
2 4 + 81
o œ
œ
o
of - fer no
æ œæ
˙Eo 2E 4- O 2 4 œ
o
Œ
œ µœ J
˙
˙E-o O
2 4 ˙-
#œ
and
cor -
˙
‰ ˜ œJ œ Œ
-
œeo e OJ
æ œæ
3
-
j Ͼ
j œ-
f
accel.
˙ ≈œœ 3
to the young.
æ œæ™
#œ
œ
œ J
˙ o
2 Ϫ 4
espress. sempre
à
poco
f
‰
œeo œo o à 3e œ 2 8- O œæj œ 1j 4 > of ∑
˙E-o E O
j 1 >
∑
3 8
˙- ™
senza vib.
mem - o
j 1 ‰ >
shel - ter
œ
A tempo 3
11
rit.
3 ˙™ 4
à3 4
˙
2+ 1 œ 4 8 œo 2 + 1 eO 4- 8-
æj j œ œæ
pure
#˙
2 œ 3œ œ 3 œJ œ 4 8
125
{
˙o E O ˙
Ϫ 3 &8
ra,
-
rit.
3
˙
#˙
˙-
p
A tempo
poco
˙Eo O œ
æj r r œ œæ œæ
o
Œ
œeo ™™ e™ O™
œ 3 J 8
ry
whose
o o œ œ
œ
o
Œ
o
j œ1 >
‰
œgliss.B œ œeo O
o œ
œ
o
∑
1
j 83 1
∑ -
1 > ∑
3 8
12
Senza misura
& < Œ>
132
{&
U~
< Œ>
,
parlando semplice, ad lib. My prophecies lie,
O
,
clenched
√,
< Œ>
in latent Sehnsucht.
U, ~
r f b e. >
poco
p
,
Wanderer
√,
O
,3 2 ,
3 2
poco
p
q = 48, Resolute senza vib. (poss.) vuoto
#w 3 &2
˙
w-o % 3 &2 ~
˙o E O
3 & 2 w-
˙
136
{
sei
à#w
poco
˙
ru
o œ
-
w-o à % œ ~ o
f
o
-
-
˙o E O
o œ
f
w -
o
˜w
poco
œ J ‰ Œ
hig!
w%-o à % œ ~ o f
˙
o
æ ˙æ™
æj œ
w-
˙Eo E O
o o œ œ
æj œ
˙
{
p morendo
& #œ œ œ œ œ œ
All your fu -tures ex
w%-o %% & ~ w-
-
æj œ
o
Ó
j œ
tin-guished.
œeo œo o o ee œ œ O œ 1> o
f
&
j œ œ 3
˙ #œ Œ
o ˙ à # EEE E O f
w-
-
- -
-
o œeeo œee. ee ee Ó O œææ™ O o
Ó
Œ
ææ 1 - 1
poco
-
-
--
√ ∑
∑
molto rit.
o o
rit. 139
œ
à
ææ -
r≈‰ 1.
-
√ ∑
- -
-
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i do dots music