SY 4117 | Olga Neuwirth - The Outcast [2008 – 2010 (rev. 2012)] by Ricordi

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Olga Neuwirth The Outcast

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Homage to Herman Melville A musicstallation-theater

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Libretto by Barry Gifford and Olga Neuwirth with monologues for Old Melville by Anna Mitgutsch (Additional texts by Lautréamont, Lewis Carroll, Herman Melville, Edward Lear, Walt Whitman selected by Olga Neuwirth)

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2008-2010 Revidierte Fassung 2012 Partitur

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To the death-longing eyes of such men, who still have left in them some interior compunctions against suicide, does the all-contributed and all-receptive ocean alluringly spread forth his whole plain of unimaginable, taking terrors, and wonderful, new-life adventures; and from the hearts of infinite Pacifics, the thousand mermaids sing to them — Come hither, broken-hearted! Bury thyself in a life which, to your now equally abhorred and abhorring, landed world, is more oblivious than death. Come hither!

Inhaltsverzeichnis / Table of Contents Seite / page Besetzung / Cast ..............................................................................................................V Zusatzinfos / Additional Info .............................................................................................VI

Zum Schlagwerk / Percussion ..........................................................................................IX Zur Szenerie .....................................................................................................................X

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The Set .............................................................................................................................XI

Zum Synthesizer, zur E-Gitarre, zu den Sängern / Voices ..............................................VIII

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Zeichenerklärung / Legend .............................................................................................. VII

Part I: Water I – The Grey Sea ......................................................................................... 2 „Preludio“.......................................................................................................................2

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1. Szene ........................................................................................................................7

2. Szene ......................................................................................................................15

3. Szene ......................................................................................................................23

4. Szene ......................................................................................................................32

5. Szene ......................................................................................................................39

6. Szene ......................................................................................................................66

7. Szene ......................................................................................................................86

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Part II: Water II – The Blue Sea .................................................................................... 116 8. Szene ....................................................................................................................117 9. Szene ....................................................................................................................168 Part III: Water III – The Black Sea ................................................................................182 10. Szene ..................................................................................................................217

11. Szene ..................................................................................................................243 12. Szene ..................................................................................................................272

13. Szene ..................................................................................................................288 14. Szene ..................................................................................................................291

15. Szene ..................................................................................................................319 Epilogue: Water IV – The Green Sea............................................................................ 342

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16. Szene ..................................................................................................................344

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Anhänge 1 und 2 (für Knabenchor Takte 40-71 und 73-85) .........................................368

Melville-Monologe ......................................................................................................369ff.

Olga Neuwirth THE OUTCAST Homage to Herman Melville A musicstallation-theater Libretto by Barry Gifford and Olga Neuwirth with monologues for Old Melville by Anna Mitgutsch

CAST

ISHMAELA Hoher Sopran OLD MELVILLE, der Schriftsteller Schauspieler (verstärkt) AHAB, Kapitän der Pequod Bariton

ISHMAELA OLD MELVILLE, the Writer AHAB, Captain of the Pequod

High Soprano Actor (amplified) Baritone

FATHER MAPPLE QUEEQUEG, Erster Harpunier BARTLEBY, ein Schreiber STARBUCK, Erster Maat Besatzung / Stimmen

Schauspieler Countertenor Chansonnier (verstärkt) leichter Tenor 24 Männer

FATHER MAPPLE QUEEQUEG, First Harpooneer BARTLEBY, a Scrivener STARBUCK, First Mate CREW/VOICES

Actor Countertenor Chansonnier (amplified) light lyric Tenor 24 Men

STUBB, Zweiter Maat PIP, Kajütenjunge SCHIFFSSCHREINER Knabenchor

leichter Buffo-Bariton Knabensopran Statist 24 Knaben

STUBB, Second Mate PIP, Cabin Boy SHIP’S CARPENTER A Boys’ Choir

light buffo Baritone Boy Soprano Actor (silent) 24 Boys

Erzähler (auf Band)

Willem Dafoe

Narrator (on tape)

Willem Dafoe

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CHARAKTERE

Video

ORCHESTERBESETZUNG

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Video

INSTRUMENTATION 2 Flutes (both doubling Piccolo) 2 Oboes 2 Clarinets (both doubling Eb Clarinet, 2nd doubling Bass Clarinet) 2 Bassoons (2nd doubling Contrabassoon) 2 Horns 2 Trumpets in C (1st doubling Piccolo Trumpet in Bb) 2 Trombones 1 Tuba in F 2 Percussion (left and right) 1 Electric Guitar 1 Synthesizer 1 Accordion 8 Violin I 8 Violin II 6 Viola 6 Violoncello 4 Double bass (3rd and 4th are 5-string)

1 Sampler-Spieler für die Zuspiel-Samples Tontechnik

1 Sampler player Sound technician

Versetzungszeichen gelten 1 Takt lang. Partitur ist transponierend (= NICHT IN C)

Accidentals are valid for 1 bar. Score is transposed (NOT IN C).

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2 Flöten (beide auch Piccolo) 2 Oboen 2 Klarinetten in B (beide auch in Es, 2. auch Bassklarinette) 2 Fagotte (2. auch Kontrafagott) 2 Hörner 2 Trompeten in C (1. auch kleine Trompete in hoch B) 2 Posaunen 1 Tuba in F 2 Schlagwerke (linke und rechte Seite) 1 Elektrische Gitarre 1 Synthesizer 1 Akkordeon 8 Violinen I 8 Violinen II 6 Violen 6 Violoncelli 4 Kontrabässe (3. und 4. sind fünfsaitig)

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(Additional texts by Lautréamont, Lewis Carroll, Herman Melville, Edward Lear, Walt Whitman selected by Olga Neuwirth)

Uraufführung der revidierten Fassung: 14. November 2018, Wiener Konzerthaus

ADDITIONAL INFO

a) Bartleby ist dezent verstärkt mit Micro-Port.

a) Bartleby is discreetly amplified via Micro-Port.

b) Old Melville ist dezent verstärkt.

b) Old Melville is discreetly amplified.

c) Ishmaela kann, wenn nötig, bei den gesprochenen Abschnitten verstärkt werden. Auch könnte sie in ein Stand-Mikrophon sprechen.

c) Ishmaela can be amplified during the spoken passages, if necessary. She could also speak into a stand microphone.

d) Der Männerchor möge sehr sprachbetont artikulieren, so auch alle Sänger!

d) The Men’s Choir may articulate by stressing the words as though spoken. This goes for all singers!

e) Männerchor idealerweise multi-ethnisch, nicht klassisch durchgestützte Stimmen, müssen spiritual-artig singen können.

e) Men’s Choir ideally multi-ethnic. Gospel-like sections: no classical singing – sing as a group of untrained singers!

f) Lautsprecher rechts und links von der Bühne – mögen einen Halbbogen um das Szenarium bilden – und je ein Subwoofer rechts und links.

f) Loudspeakers on the left and right of the stage – they should form a semicircle around the scene. There should be a subwoofer on each side as well.

g) Jedes Sample muss zum Orchester / den Sängern ausgesteuert werden.

g) Each Sample should be adjusted to the Orchestra / to the Singers.

h) Gesprochene Teile der Sänger (wenn länger) können, wenn notwendig, dezent verstärkt werden.

h) Singer’s spoken passages (especially if long) can be discreetly amplified, when necessary.

i) Old Melvilles Schreiben ist an den angegebenen Stellen* verstärkt (per Pickup auf einer Tischplatte):

i) Old Melville’s writing is amplified in specific passages* (via a contact pickup on the table surface):

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j) All singers: little to no vibrato

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j) Alle Sänger wenig bis kein Vibrato

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ZUSATZINFOS

*) Takte 235-240, 291-319/320, 653-658.

*) bars 235-240, 291-319/320, 653-658.

ZEICHENERKLÄRUNG / LEGEND für alle / for all instruments m.v. = molto vibrato s.v. = senza vibrato p.v. = poco vibrato

[

= so schnell wie möglich / as fast as possible = Hauptstimme / main part

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111

Flöten / Flutes Flz.

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= Flatterzunge / Flutter-tonguing = Jet whistle

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= alternierende Obertöne / alternating overtones

Klarinetten / Clarinets

= Zahnton / teeth on reed

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= Flageolett / harmonic

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Blechbläser / Brass 3

Frull.

= Frullato = mit Dämpfer (Hörner, Tuba) / with mute (Horns, Tuba)

= Wa-Wa-mute

= Cup mute

˜ ˆ ˜æˆ

= Straight mute

= Dämpfer offen / open = Dämpfer zu / closed

= Dämpfer-Triller / trill between open and closed

Hörner / Horns 1.

= gestopft / stopped

s.v.

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Trompeten und Posaunen / Trumpets and Trombones 3

senza sord. = ohne Dämpfer / without mute

con sord.

= Klangfarbentriller / timbral trill

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Streicher / Strings Sordino (Violinen I, 1.-3., Viola 1 und Violinen II, 1.-3.) / Sordino (Violins I, 1.-3., Viola 1 and Violins II, 1.-3.) Metall-Sordino „Ton-Wolf“ (Violinen I, 1.-8., Violinen II, 1.-8., Violen 1.-3. und Violoncelli 1.-3.) Metal mute (practice mute) (Violins I, 1.-8., Violins II, 1.-8., Violas 1.-3. and Violoncellos 1.-3.) s.p. = sul ponticello s.t. = sul tasto flaut. = flautando c. l. b. = col legno battuto

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= Übergang von einer Spielweise zur anderen / transition from one playing technique to another

evil and cruel =and comprehension. so indifferent hoch wie beyond möglichhuman / as high as possibleThe terrors fate holds in store can destroy you, crush you, yet remain as innocent as the first day of Creation. But what is the unknown? Is it fate, providence? Is it God? Is it madness, death - or is it art? How close must

(15)

1.-3.

= Flageolett / harmonic = Naturflageolett / natural harmonic = Viertelton höher / a quarter tone higher = Viertelton tiefer / a quarter tone lower

(8va)

1.-3.

(8va)

1.-3.

/ /

= hinter dem Steg / behind the bridge = Bartók-Pizzicato = übertriebener Bogendruck / exaggerated bow pressure = nur ratterndes Geräusch / only rattling noise

VII

ZUM SYNTHESIZER / SYNTHESIZER

ZUR E-GITARRE / ELECTRIC GUITAR Die E-Gitarre ist um 60 Cent (mehr als ein Viertelton) im Verhältnis zum Orchester tiefer gestimmt. The E-Guitar is tuned down 60 cents (more than a quarter tone) compared to the orchestra.

= Flageolett / harmonic

= auf dem unterstrichenen Konsonant stimmhaft liegen bleiben / remain sonorously on the underlined consonant = Sprechgesang

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ZU DEN SÄNGERN / VOICES/SINGERS - sm

= so schnell wie möglich / as fast as possible

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Fender-Verstärker / Fender amplifier Volume-Pedal / Volume pedal E-bow Slide Effekte: Echo + Chorus, Verzerrer / Effects: Echo+Chorus, Distortion

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Keyboard-Spieler mit eigenem Lautsprecher / Monitor am Platz (nicht über Haupt-PR-Anlage schicken!) Keyboard player with his/her own Loudspeaker / Monitor (do not play through main PA-System!)

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Sounds aus / from „Kontakt 5“ (Native Instruments): Steeldrum E-Piano (Fender Sound) – in der Stimmung des Orchesters / same tuning as the Orchestra E-Piano (Fender Sound) – im Verhältnis zur Stimmung des Orchesters um 60 Cent höher gestimmt tuned 60 cents up compared to the orchestra Church organ Organ Hammond organ Honky-Tonk-Piano bzw. falls nicht vorhanden: sehr verstimmtes Upright-Piano or, if not available, a very out-of-tune upright piano Glasharmonika

= gesprochen / spoken = senza vibrato

m.v.

= molto vibrato

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s.v.

VIII

Schlagwerk II (rechte Seite, 1-2 Spieler) Percussion II (right, 1-2 players)

1 mittel-großes hängendes Becken 1 medium-size Suspended Cymbal

1 kleines hängendes Becken 1 small Suspended Cymbal

1 Pedal-Pauke in C 1 Pedal Timpani in C

1 große Trommel 1 Bass Drum

2 Tom-Toms (mittel-groß, klein) 2 Tom-Toms (medium, small)

2 Tom-Toms (groß, mittel-groß) 2 Tom-Toms (large, medium)

1 mittel-großes Donnerblech 1 medium-size Thunder Sheet

1 kleines Donnerblech 1 small Thunder Sheet

5 Zimbeln œ 5 Crotales &

5 Zimbeln 5 Crotales

œ œ œ œ

œ #œ #œ œ œ

1 mittel-großes Tam-Tam 1 medium-size Tam-Tam

1 kleine Triangel 1 small Triangle

1 mittel-große Triangel 1 medium-size Triangle

1 Orchester-Glockenspiel 1 Orchestral Glockenspiel œ 3 Gongs ? œ œ 3 Gongs

1 Vibraphon 1 Vibraphone

1 hängende Stahlfeder 1 Steel Spring (hanging)

2 verschieden große Auto-Brake-Drums 2 Automobile-Brake-Drums of different size

1 mittel-großes Tamburin (fest montiert) 1 medium-size Tambourine (mounted)

1 großes Tamburin (fest montiert) 1 large Tambourine (mounted)

#œ

3 Gongs 3 Gongs

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1 mittel-großes Tam-Tam 1 medium-size Tam-Tam

1 Metallblock (klein) 1 small Metal block

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1 Piccolo-Snare-Drum (Snare ausgeschalten) - mit einer dünnen 3mm dicken Aluminium-Platte darauf 1 Piccolo Snare Drum (snares off) - with a 3mm thick Aluminum Plate placed on the skin 1 mittel-hoher Woodblock 1 mid-high Wood block

1 Snare-Drum 1 Snare Drum 1 hoher Woodblock 1 high Wood block

Schlägel für beide / each percussionist uses:

je ein langer Metall-Reibstock / a long rasping stick (metal) Triangelschlägel / Triangle beaters

Große-Trommel-Schlägel / Bass Drum mallets

harte Schlägel / hard mallets

mittel-harte Schlägel / medium-hard mallets

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weiche Schlägel / soft mallets

! ! !

Kleine-Trommel-Schlägel (Trommelstöcke) / drumsticks

Gummikopf-Schlägel (verschiedene Härten) / rubber head mallets (various hardnesses)

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Metallstäbe (verschiedene Dicken) / metal sticks (various thicknesses)

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Schlagwerk I (linke Seite, 1-2 Spieler) Percussion I (left, 1-2 players)

Metallkopf-Schlägel / metal head mallets Violoncello-Bogen / Violoncello bow

≥œ ¿œ

= umgedrehter Schlägel (mit dem Griff schlagen) / mallet upside down (strike with the handle)

l.v.

= klingen lassen (laisser vibrer) / laisser vibrer

= gestrichen / bowed = gedämpfter Schlag / dampened

= abdämpfen / dampen

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ZUM SCHLAGWERK / PERCUSSION

ZUR SZENERIE Nur VIDEO und Licht – kein traditionelles Bühnenbild. NICHTS SCHMÜCKENDES. Und: Tristesse, errichtet durch wundersame hohe Hallen. Eine Art „Bunker“ aus weißen Wänden als Repräsentation von „Ishmael’s White World“ – auf diese kann man alles projizieren. Über dem Ensemble (muss Teil der Szenerie sein) liegt, ähnlich feinem Staub, das Tröstliche des absolut Trostlosen: der Knabenchor! Er ist auch Melvilles Alter Ego sowie Ishmaelas.

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Alles was auf der Bühne stattfindet, ist quasi in Old Melvilles Kopf. Er sitzt starr (vielleicht in einem Zollamt) zwischen vielen Büchern und diversen Dingen, die er am Hudson gefunden hat und denkt über sein Leben und seine Kindheit nach. Aber natürlich haben wir an seinen Gedanken nur fragmentarisch Anteil. Vielleicht sieht er durch ein Fenster auf den Hudson River. Drinnen wirbelt Melvilles Bewusstseinsstrom die Bilder durcheinander, es drängen sich ihm immer mehr Fragen auf über Kindheit, Macht und Ohnmacht, Gott, das Schreiben, Schicksal, die Unerbittlichkeit und gleichzeitige Schönheit der Natur, die menschliche Seele und ihre Abgründe sowie das dem Menschen immer rätselhaft bleibende, unermessliche Meer. All seinen Gedankenströmen liegt aber doch das Prinzip des Begehrens nach dem Unterwegssein und der Heilung durch das Meer zu Grunde.

Wie kein zweiter spürte Melville vor allem in Moby Dick der menschlichen Natur nach in ihrer modernen unersättlichen Gier nach Unterwerfung, Ausbeutung, Nutzbarmachung und Bagatellisierung. Daher kann man den Walfang und schon gar nicht die Jagd nach dem weißen Wal auf die Bühne bringen, da das Buch in seiner Komplexität und Vielfalt sich einer Repräsentation auf der Bühne entzieht.

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Als Herman Melville 1891 starb, war sein großer Roman Moby Dick vergessen. Kaum 300 Exemplare des umfänglichen Romans hatten sich zu seinen Lebzeiten verkauft, die Kritik hatte sich von Anfang an verächtlich geäußert, und es scheint, als habe er sich selbst als Schriftsteller aufgegeben. Schon im Jahre 1873 hatte er eine Anfrage zu dem Artikel über seine Person von Duyckincks Cyclopedia of American Literature lakonisch beschieden: „Sehr geehrter Herr: Dass ich Ihr Schreiben erst mit Verspätung beantworte, ist keine böse Absicht. – Was den fraglichen Artikel betrifft, so wüsste ich nicht, wozu Sie sich die Mühe machen sollten, etwas hinzuzufügen oder wegzulassen oder zu verbessern. Hochachtungsvoll, H. Melville“.

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Wegen seiner Erfolglosigkeit als Schriftsteller war Melville, der Schöpfer eines der wichtigsten Werke der Weltliteratur, 19 Jahre lang mit seiner Arbeit beim Zollamt beschäftigt. Sechs Tage pro Woche, 14 Tage Jahresurlaub, ein Beruf mit regelmäßigem Einkommen, wenn auch bescheidene vier Dollar am Tag. Er kletterte bei jedem Wetter an den schäbigen Piers auf den Schiffen herum, zählte die Säcke und Kisten, kontrollierte, rechnete, schrieb Listen. Verschiedenes schrieb er noch, auch mit Hingabe, aber sein Selbstverständnis als Schriftsteller war brüchig: „Wozu etwas kunstvoll ausarbeiten, was nach seinem ganzen Wesen so kurzlebig ist, wie ein modernes Buch? Hätte ich in diesem Jahrhundert die Evangelien geschrieben, so würde ich doch in der Gosse sterben.“ Diese Zeilen schrieb er, als er Moby Dick fast vollendet hatte. Ein weiterer Vorschlag für die Video-Installation:

Das Video gibt auch die Weite Amerikas und des Ozeans wieder sowie die verschiedenen Zustände des Meeres bzw. des Wassers, Melvilles Vorstellungen im Kopf und die verschiedenen Örtlichkeiten. Wir sehen Aufnahmen aus der Sammlung des Wal-Museums von New Bedford und/oder „Conny“, ein lebensgroßes Pottwal-Modell aus dem Jahr 1975, auf den Hintergrund des „Weißen Bunkers“ projiziert.

ZUM KNABENCHOR

(Denn: Connecticut hat den Pottwal – als Symbol zur Erhaltung des Pottwales – zum offiziellen „Staats-Tier“ erhoben. Eine Gruppe von Freiwilligen der “Connecticut Cetacean Society” hat 5000 Stunden damit verbracht, ein lebensgroßes Modell eines männlichen Pottwals aus Zement und Metall auf dem Grundstück des “Children’s Museum” in West Hartford, Connecticut, zu bauen. Der Leiter des Projekts war Robbins Barstow, der einen Dokumentarfilm darüber gedreht hat.)

Er steht wie gesagt ÜBER der Szenerie. Die Knaben sind schwarz angezogen und folgendermaßen bemalt: Die Köpfe sind grün und die Hände und Füße sind blau bemalt.

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Die Knaben sind Edward Lears “Jumblies”:

THE SET Only a VIDEO installation and light—no traditional set. NOTHING DECORATIVE. And: a tristesse produced by wondrously high spaces. A kind of “bunker” made of white walls represents “Ishmael’s White World”—and everything can be projected onto these walls. Above the Ensemble/Orchestra (who must be part of the set) lies—like fine dust—the consolation of the absolutely inconsolable: the Boys’ Choir! They represent both Melville’s and Ishmaela’s alter ego.

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Everything on stage appears and occurs, so to speak, in Old Melville’s mind. Sitting stiffly (perhaps in a customs house) between many books and various objects he has found at the Hudson, he reflects on his life and his childhood. But of course our access to his thoughts is only fragmentary. Perhaps Melville is looking through a window down at the Hudson River. Inside, his stream of consciousness is bringing forth a jumble of images, forcing ever more questions upon him—about childhood, power and powerlessness, God, the act of writing, fate, both the brutality and beauty of Nature, the human soul and its abysses, as well as the, for man, eternally mysterious, unfathomable sea. And yet at the same time, behind all the thoughts flowing through him lies the desire to be underway and healed through the sea. Especially in Moby Dick, Melville traces—like no other writer—human nature back to the modern insatiable greed for subjugation, exploitation, economic utilization of space, and belittlement. All this makes it impossible to present whaling and, more specifically, the hunt for the white whale on stage—for the book in its complexity and dazzling richness defies such representation.

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By the time Herman Melville died in 1891, his great novel Moby Dick had been forgotten. During his lifetime, not even 300 copies of this huge work had been sold, and from the start critics had taken a contemptuous stance towards it. Moreover, it seems Melville had given up on himself as a writer. Already in 1873, he had responded dryly to an inquiry for an update to the article about himself in Duyckinck’s Cyclopedia of American Literature: “Dear Sir: The delay in responding to your note was not intentional. As to the Article in question I [don’t] remember anything in it which it would be worth your while to be at the trouble of adding to or omitting or amending. With much respect, H. Melville.”

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Due to his lack of success as a writer, Melville—who created one of the world’s most important works of literature—had to spend nineteen years working in a customs house. Six days per week, with two weeks annual vacation, a profession that brought in steady income, even if only a modest four dollars per day. No matter the weather, he climbed from the dilapidated docks onto ships, counted sacks and crates, checked, calculated, and made lists. He still produced diverse texts with a certain passion, but his belief in himself as a writer was no longer intact: “What’s the use of elaborating what, in its very essence, is so short-lived as a modern book? Though I wrote the Gospels in this century, I should die in the gutter.” He wrote these lines when he had almost finished Moby Dick. Another possibility for the video installation:

The video also shows the vastness of America and the ocean, the different states of the sea and its waters, as well as Melville’s ideas and imaginations, and various locations. Projected against the backdrop of the “white bunker”, we see images from the collection of the New Bedford Whaling Museum, and/or of “Conny”, a life-size model of a sperm whale constructed in 1975.

THE BOYS’ CHOIR

(For Connecticut made the sperm whale—as symbol of its conservation—its official “state animal”. A group of volunteers from the Connecticut Cetacean Society spent 5000 hours building a life-size model of a male sperm whale out of cement and metal on the premises of the Children’s Museum in West Hartford, Connecticut. The director of the project was Robbins Barstow, who also made a documentary about its construction.)

is standing ABOVE the set. The boys are dressed in black and painted as follows: Their heads, green; and their hands and feet, blue.

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The boys are Edward Lear’s “Jumblies”:

Translated by Catherine Kerkhoff-Saxon

Part I Water I - The Grey Sea „Preludio“ = 100-104

Solo

35”

= 9”

Sampler a 2 (jet whistle)

Flöte

1. 2.

Oboe

1. 2.

Klar. in B

1. 2.

Fagott

1. 2.

Horn in F

1. 2.

Trompete in C

1. 2.

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a2 gl.

al o

gl.

(a 2)

gl.

1. 2.

Posaune

Tuba 2

e-bow s.v.

C o. /

Echo+Chorus: ON

E-Gitarre 8

8va

E-Piano-Sound

Synthesizer

di &

8va

Akkordeon

8va

Pauke

gl.

Perkussion

snare drum

ig ht

Knaben-Chor (auf Empore)

Violine II

Viola

alle 24 (leicht)

We went to sea

in a Sieve, we did,

= 100-104

15ma

in a

Sieve we went to sea:

ab hier: kl. Intonationsschwankungen + s.v. ad libitum (alle 4 unabhängig)

flaut.

s.p.

1.-4.

Violine I

(mit snare)

s.v. s.p.

flaut.

8va

1.-4.

gl.

1.-3.

(1.-3.)

(III)

s. p./flaut.

1.-6. gl.

c.l.b.

Violoncello

1.-3.

1.-6. gl.

c.l.b.

Kontrabass

1.-4.

Sy. 4117

Smp.

E-Git. 8

Gong

Perk.

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1. Gong

In spite of all our

friends could say on a win ter’s morn,on a

stor my day

in a Sieve we went to sea!

In spite of all our

friends could say on a win ter’s morn,on a

stor my day

in a Sieve we went to sea!

And when the

15ma

Vl. I 1.-4.

8va

Vl. II 1.-4.

C o. /

(ord. moltissimo s. p. ad libitum jede der 3 Ve.)

Va.

And when the

12 KnabenChor

al o

1.-3.

c.l.b.

Vc.

1.-3.

1.-4.

Kb.

di &

c.l.b.

Smp (kl. vibrati ad lib. dazu)

E-Git. 8

1. Perk.

ig ht

Knaben24 Chor

Sieve turned round and round, and

(ausrufend)

ev ry one cried

“You’ll all be dro(w)

ned!”

We called a loud, “Our Sieve ain’t big, but we don’t

15ma

1. Vl. 1.-4.

8va

Vl. II 1.-4.

Va.

1.-3. c.l.b.

Vc.

1.-6.

1.-3. 3

c.l.b.

Kb.

1.-4.

Sy. 4117

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4 18

Smp.

/ 1.

1. 2.

Ob.

1. 2.

Klar. in B

1. 2.

Fag.

1. 2.

Hr. in F

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

3 3

al o

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Fl.

C o. /

Tuba

E-Git. 8

s.v.

di &

Akk.

Becken

l.v.

Perk.

fig

Sieve

In a Sieve

we’ll go

sea!”

Far and few,

far and few,

are the

lands

we’ll go

sea!”

Far and few,

far and few,

where the Jum blies 3

are the

lands

where the Jum blies

ord. / non flaut.

ig ht

15ma

In a

fig

KnabenChor

Vl. I 1.-4.

8va

ord. / non flaut.

Vl. II 1.-4.

ord.+non tremolo / non flaut.

Va.

Vc.

1.-3. (1.-3.) (arco) (II) s.p.

1.-3.

(arco) (I) s.p./flaut.

1. 2.

ord.

5 8

Kb.

(arco) (I) s.p./flaut.

3. 4.

s.p./flaut.

5 8

Sy. 4117

(II)

(III)

5 rall. 24

Smp. 1. Fl. nimmt Picc.

Fl.

1. a2

nl y

1. 2.

Ob.

m.v.

al o

Klar. in B

1. 2.

Pos.

1. 2.

Trp. in C

1. 2.

Hr. in F

C o. /

Tuba

E-Git. 8

8va

di &

Akk.

B.s.

Perk.

12 KnabenChor

Their heads

are

green, and their hands are

blue,

and we

went

sea

in a

Sieve.

green, and their hands are

blue,

and we

went

sea

in a

Sieve.

rall. (trem.), s.p.

ig ht

15ma

12 live;

are

live;

Vl. I 1.-4.

s.p.

8va

Vl. II 1.-4.

s.p.

Va.

Vc.

1.-3. s.p.

1.-3.

1. 2.

sim.

Kb.

(II)

(III)

(II)

3. 4. 8

sim. Sy. 4117

(III)

(II)

(III)

6 = 92

Smp.

Tutti:

The “curtain” opens to reveal...

Piccolo

Picc. (legato)

Ob.

1. 2.

a 2 legato

legato

1. Klar. in B

legato

2. legato

al o

1. Fag.

legato

2. 3

Pos.

1. 2.

legato

Trp. in C

(klingend)

Tuba s.v.

gliss.

E-Git.

(senza)

8va

Zimbel

1. Perk.

Zimbel

. .

= 92

l.v.

Tutti:

15ma

l.v.

di &

12 12

1.-4.

5. Vl. I

C o. /

Akk.

KnabenChor

nl y

Fl.

legato

8va

1.-4. Vl. II

ig ht

flaut./s.p.

5.-8.

1.-3.

s.v.

Va.

4.-6.

1.-3. 4. 3

(legato sempre)

Vc.

5. 3

6. 1. 2. Kb.

3. 4. 8

sim. (III)

(II)

(III)

(II)

sim. Sy. 4117

(II)

(III)

(II)

(III)

1. Szene (Ishmael’s white world)

sub. 36

= 60 A young woman dressed as a boy or a young man cowers/squats alone on stage. This is Ishmaela.

... a white backdrop. The entire stage is bathed in white. Sample 2

Smp. 8

Picc. 2.

Ob.

1. 2.

Klar. in B

1. 2.

Fag.

1. 2.

Hr. in F

1. 2.

al o

Fl.

nl y

3 3

Pos.

1. 2.

3 3

(vibrato ad libitum dazu)

Trp. in C

E-Git.

Synth.

3 3

8va

C o. /

(E-Pno. )

(kl. vibrati ad lib.)

Akk.

di &

1. Perk.

Triangel

Ishmaela

sub.

= 60

ord. 15ma

1.-4.

s.p./senza trem.

5.-8. (ord.)

(senza trem.)

8va

1.-4. Vl. II

s.v. (ord.)

Vl. I

Mic ON:

Ish.

Call me Ishmael. “God hears” is what Ishmael means in Hebrew. (gesprochen) I have to masquerade as a boy to be hired as a sailor. This suits me. I’ve never been comfortable as a female. Be like God and hear me out. Everywhere is wilderness to me, from Beersheba to New Bedford.

ig ht

ord.

s.p./Flag.

5.-8.

s.p./flaut.

(ord.)

1.-3.

Va.

(senza trem.)

4.-6. s.p./flaut.

(ord.)

1.-3.

Vc.

s.p.

4.-6. 1. 2. Kb.

(sim.)

(III)

(II)

(III)

(II)

3. 4. 8

(sim.) Sy. 4117

(II)

(III)

(II)

(III)

Smp. Picc. Fl.

1. 2.

Fag.

1. 2.

Hr. in F

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

al o

Klar. in B

1. 2.

Ob.

nl y

E-Git. 8

Synth. (E-Pno. )

C o. /

8va

Akk.

di &

1. Perk. 2.

It is my way of driving off gloom. And whenever my hypos gets the upper hand,

I want to depart into the unknown to see the watery part of the world.

Ish.

(singt in der Ferne)

siehe Anhang 1 *

KnabenChor

bei „watery part“ beginnt Knabenchor!

15ma

unabhängig singen - wie aus der Ferne -

1.-4.

Vl. I 5.-8.

8va

ig ht

1.-4.

Vl. II

5.-8.

1.-3.

Va.

4.-6. 1.-3.

Vc. 4.-6. 1. 2. 8

Kb.

(III)

(II)

(sim.) (II)

(III)

(II)

3. 4. 8

* S. 368

(sim.) Sy. 4117

(III)

(II)

(III)

Smp. Picc. Fl.

1. 2.

Fag.

1. 2.

Hr. in F

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

al o

Klar. in B

1. 2.

Ob.

nl y

E-Git. 8

Synth. (E-Pno. )

C o. /

8va

Akk.

di &

1. Perk.

Ish.

(singt in der Ferne)

I have to resist stepping into the street and knocking people’s hats off −

KnabenChor

15ma

1.-4.

Vl. I 5.-8.

8va

ig ht

1.-4.

Vl. II

5.-8.

1.-3.

Va.

4.-6.

1.-3.

Vc.

4.-6. 1. 2. 8

Kb.

(sim.) (II)

(II)

(III)

(II)

3. 4. 8

(sim.) Sy. 4117

(II)

(III)

(II)

(III)

Smp. Picc. Fl.

1. 2.

Fag.

1. 2.

Hr. in F

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

al o

Klar. in B

1. 2.

Ob.

nl y

E-Git. 8

Synth.

C o. /

(E-Pno. )

Akk.

di &

1. Perk.

So: it’s high time to get to sea as soon as I can! For then a little light shines through the cracks of my mind, and illuminates my brain. −

Ish.

KnabenChor

1.-4.

s.p.

ord.

s.p.

ord.

Vl. I 5.-8.

ig ht

1.-4.

Vl. II

5.-8.

1.-3.

Va.

4.-6.

1.-3.

Vc. 4.-6. 1. 2. Kb.

(sim.)

(II)

(III)

(II)

3. 4. 8

(sim.) Sy. 4117

(II)

(III)

(II)

11 *)

= 66

Smp.

s.v. 8

Picc. Fl.

Ob.

1. 2.

Hr. in F

1. 2.

Trp. in C

1. 2. 1. 2.

Pos.

Fag.

al o

1. 2. 1. 2.

Klar. in B

nl y

(e-bow/slide up)

E-Git. Echo + chorus: off

Synth.

(E-Pno. )

C o. /

s.v.

8va

Akk.

l.v.

Perk.

l.v.

2. Mic zu

Ish.

di &

Tam-Tam

Bogen

Zimbel

love

KnabenChor

Bogen

15ma

Vl. I

1.-4. s.p.

= 66

s.v.

ord.

8va

5.-8. s.v.

ig ht

1.-4. Vl. II

5.-8.

1.-3.

Va.

4.-6.

1.-3. 3

Vc.

ord. s.p.

4.-6. 1. 2. Kb.

(sim.) (III)

(III)

3. 4. 8 (sim.) *) falls nötig für das Gesprochene davor sehr lange

Sy. 4117

sail

for

(d)den

12 sub.

= 72

Smp. m.v. 8va

l.v.

Akk.

Perk.

nl y

al o

seas!

It is well to be

Ish. on

frien

dly

sub.

KnabenChor

= 72

1.-4.

Vl. I 5.-8.

4.-6.

Vc.

4.-6.

di &

Va.

C o. /

Vl. II 1.-4.

Smp.

8va

Akk.

Perk.

1. 15

2. 3

Ish.

5 5

ig ht

terms

with all

in mates

KnabenChor

1.-4.

Vl. I

5.-8.

Vl. II 1.-4.

Va.

4.-6.

Vc.

4.-6.

Sy. 4117

this

world

may

Smp. lunga

Picc. Fl. Ob.

1. 2.

Klar. in B

1. 2.

Fag.

1. 2.

Hr. in F

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

nl y

al o

Fag. 2. nimmt Kfag.

lunga

8va

Akk.

C o. /

lunga

1. 5

Perk. 15

l.v.

di &

(beginnt langsam von der Bühne abzugehen)

lunga

great

flood

gate

KnabenChor

1.-4.

lunga

s.p.

Vl. I

5.-8.

1.-4.

ig ht

Vl. II

s.p.

5.-8.

1.-3.

Va.

4.-6.

s.p.

1.-3.

Vc.

4.-6. 1. 2. 8

Kb. 3. 4.

Sy. 4117

the won lunga

the

Ish.

der

Smp. 8

Picc.

Fl.

nl y

2. 3

Ob.

al o

1. 2.

2. Klar. nimmt Bklar.

Fag.

Kfag.

1. 2.

Klar. in B

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

C o. /

Hr. in F

di &

8va

Akk.

2 Tom-Toms

Perk.

große Trommel

Ish.

swing

(geht weiter ...... bis ...... OFFSTAGE)

pen

ig ht

world

KnabenChor

Vl. I 1.-4.

ord./s.v.

Vl. II 1.-4. ord./s.v.

Vc.

1.-3.

Kb.

1.-4.

Sy. 4117

2. Szene = 60

Sample 3

Smp.

OLD MELVILLE becomes visible at a spot on the stage that is lit up at times and dark frock coat. He looks biblical. He sits at others. With a long beard, dressed in a black b at a desk under a sign: WALL STREET. He stares at the computer on the desk in front of him. The figures of the stock exchange appear on the white background across the stage. Numbers change rapidly, without pattern, in a crazy, ragged progression.

lunga

Picc. *)

a2 **)

nl y

Fl.

“frei”

1. 2.

Ob.

Klar. in B

al o

1. *)

Bklar. in B

Fag.

Kfag.

lunga a2

Trp. in C

1. 2.

Pos.

1. 2.

Tuba *) lunga

8ba

(pizz.)

E-Git.

"frei"

di &

C o. /

Hr. in F

Synth. (E-Pno. )

lunga

Akk. lunga

Pauke

1. Perk.

(gr. Tr.)

*) lunga

KnabenChor

unabhängig ab hier - siehe Anhang 2 ***)

= 60 Vl. I 1.-8.

lunga

1.-4.

ig ht

Vl. II 1.-8.

legato

1. 2.

Va.

legato

5. 6.

3. 4.

legato

1. 2. legato

Vc.

3. 4. legato

5. 6. legato 1.

(klingend)

1. 2. 8

Kb.

(klingend)

3. 4. 8

*) decrescendo nach langer Fermate beginnen **) beide unabhängig voneinander ***) s. 368

Sy. 4117

legato

Smp.

Ob.

1. 2.

Klar. in B

al o

Fl.

nl y

Picc.

Bklar. in B 1.

Kfag.

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

Hr. in F

Fag.

C o. /

Tuba

di &

Akk.

1. Perk.

OLD MELVILLE strikes furiously, madly at his computer, trying to keep up with the figures flashing before him. Finally, the numbers begin to collide and blend into one another until nothing makes sense.

OM.

KnabenChor

Vl. II 1.-4.

ig ht

1. 2.

Vl. I 1.-4.

Va.

3. 4.

5. 6.

1. 2.

Vc.

3. 4.

5. 6.

Kb.

1. 2.

3. 4.

Sy. 4117

17 79

Smp. Picc. nimmt Fl.

Picc. Fl.

2. 1. 2.

Ob.

nl y

Bklar. in B 8

Kfag. 1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

Hr. in F

al o

Tuba

8ba 8

Akk.

Zimbel/Bogen

Perk.

Triangel

OLD MELVILLE’s back is to the audience as he contemplates the whiteness.

Stands up and turns away from his computer as the figures fade from the white screen, going down and down as if they are drowning, until they disappear.

di &

OM. KnabenChor

15ma

1.-4. Vl. I

s.p.

5.-8.

(III) 8va

1.-4. Vl. II

1. 2.

ig ht

3. 4.

s.p.

5.-8.

Va.

(gestrichen)

C o. /

5. 6.

1. 2.

Vc.

3. 4.

(II) s.p.

5. 6. 1. 2. Kb.

3 3

3. 4.

Sy. 4117

(II) s.p.

18 = 25”

sub.

= 52

Smp. Bklar. in B

Kfag.

1. 2.

Pos.

1. 2.

al o

Hr. in F

nl y

Tuba

Akk.

1. Perk.

l.v.

OM. "Mister Chase what is the matter?" (He laughs)

C o. /

(spricht)

This is the question I’ve been asking myself since I can remember. Mister Chase was the first mate of the Essex of Nantucket, a whaling ship that was attacked and destroyed by a large sperm whale in the Pacific Ocean in 1821. And his answer was: "We have been stove by a whale." We, too, on Wall Street, have been stove, as well, by a leviathan of our own making. -

(spätestens hier beenden)

(Männerchor setzt ein)

di &

KnabenChor

In my novel I named it Moby Dick,

(noch nicht auf der Bühne, aber gut hörbar)

6 T.

Män.Chor

6 B.

own

sub.

= 52

15ma

6 B.

1.-4. Vl. I

ig ht

5.-8. 8va

1.-4.

Vl. II

5.-8.

(1.-3.)

s.p.

Va.

1.-3. 1. 2.

Vc. 3.-6. 3

1. 2.

3. 4.

Kb.

Sy. 4117

19 (OLD MELVILLE walks to “his” spot on the stage and sits down at his desk. ISHMAELA, the CHOIR, FATHER MAPPLE, STARBUCK, PIP, QUEEQUEG and STUBB appear and enter a church.)

Fl.

1. 2.

Ob.

1. 2.

Klar. in B

(

Bklar. in B

al o

Fag.

Kfag.

1. 2.

Pos.

1. 2.

Trp. in C

1. 2.

Hr. in F

= 104)

nl y

Tuba 8ba

pizz.

C o. /

E-Git. 8

Synth. (E-Pno. ) 8

di &

Akk. 3

1. Perk.

kl. Trommel (mit Snare)

2 Tom-Toms

but its true name is this day revealed to be Avarice.

OM.

(Chor beginnt aufzutreten) - Lautstärke bleibt

king

6 T. 8

6 B.

rice 3

6 B.

king

Män.Chor

6 T.

rice

ig ht

15ma

ord. (non div.)

1.-4.

Vl. I

ord. (non div.)

5.-8.

8va

ord. (non div.)

1.-4.

Vl. II

ord. (non div.)

5.-8. 1.-6.

Va.

1.-3.

Vc.

1.-6.

ord. (non div.)

ord.

1. 2.

gliss.

Kb. 3. 4.

s.p.

3 8

Sy. 4117

s.p. gliss.

(

= 104)

20 There is a sign on the screen: NEW BEDFORD CONGREGATION. FATHER MAPPLE is in the center. The others all stand and sing.

Fag.

Hr. in F

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

al o

Klar. in B

1. 2.

Ob.

1. 2.

C o. /

Fl.

nl y

Tuba

E-Git.

di &

Synth. (E-Pno. )

Akk.

Perk.

ig ht

Vl. I 1.-8.

Vl. II 1.-8.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Va.

Sy. 4117

Hr. in F

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

al o

Fag.

Klar. in B

1. 2.

Ob.

C o. /

Fl.

nl y

1. 2.

Tuba

E-Git.

di &

Synth.

(E-Pno. )

Akk.

Perk.

ig ht

Vl. I 1.-8.

Vl. II 1.-8.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Va.

Sy. 4117

22 = 60 lunga

1. 2.

Ob.

1. 2.

Klar. in B

Fag.

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

Hr. in F

lunga

al o

Fl.

nl y

101

Tuba

C o. /

E-Git. ( ) 3

Synth.

lunga

di &

(E-Pno. )

Akk.

lunga

Perk.

ig ht

OM.

lunga

= 60

Vl. I 1.-8.

Vl. II 1.-8.

lunga

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

23 ***)

3. Szene = 112

104

E-Git. 8

[umschalten zu: Church organ sound] (leise die Stimmen begleiten, nur wenn unbedingt notwendig)

Synth.

Alle: genau artikulieren!

(solistisch)

s.v.

nl y

(E-Pno. ) m.v.

gl.

s.v.

Ev en s.v.

al o

Ish. we are bad

Pip Ri ver

doom ba doom

doom ba

bad

Jump

bad

Jump

(leicht)

QQ.

(leicht)

s.v.

God

(leicht) s.v.

Jump

God

Stubb. sees us

Jump

Chor: leicht und genau artikulieren! gl.

ter

the wa

ter

the wa

ter

the wa

ter

Stb.

God

the wa

Deep

s.v.

C o. /

2 T. 1. 8

Go o

sees us

doom ba

doom

bad

ba doom

(bad)

2 T. 2. 8

Go o

sees

(Baß+Bariton)

Deep

Ri ver

(Baß+Bariton)

doom ba

Ish.

doom

ven

ig ht

doom

ven

doom ba

bad

ba doom

doom

bad

ba doom

p.v.

woh

we are

bad

jump in

the wa

ter

we are

bad

jump in

the wa

ter

we are

bad

Jump in the wa

ter

Stubb

are

bad

jump

in the

ter

2 T. 1.

2 T. 2. Män.Chor

doom ba doom

ba doom

ven

we are

bad

jump

we are

bad

jump

2 B. 1. doom ba doom

jump

in the

ter

And

ry time

And

ry time

2 B. 2. doom ba doom wa *) = dum ba **) = alle wie in Gospelchören ***) = alle Singstimmen bilden einen homogenen Klang, über den Ishmaela senza vib. darüber singt Sy. 4117

ter

(bad)

m.v.

woh oo

(bad)

doom ba doom

ic .R

109

ba (bad)

doom ba doom

Ri ver

Deep

QQ.

bad

2 B. 2.

Pip

doom

2 B. 1.

Stb.

doom ba

di &

Män.Chor **)

ter

m.v.

113

m.v.

gl.

solistisch

E-Git.

think

of that

think

of that

think

of that

think

of that

think

of that

think

of that

think

of that

think

of that

nl y

Ish.

al o

Pip

QQ.

Stb.

Stubb

2 T. 1.

Män.Chor

C o. /

2 T. 2.

2 B. 1.

m.v.

117

E-Git.

gl.

di &

2 B. 2.

Ish. it

makes

QQ.

Stb.

makes

feel

glad

(vibrato)

feel

glad

(vibrato)

feel

ig ht

makes

Pip

(vibrato)

Stubb

2 T. 1.

(vibrato)

makes

feel

glad

feel

glad

feel

(vibrato)

2 T. 2.

Män.Chor

makes

feel (vibrato)

2 B. 1. it

makes

feel (vibrato)

2 B. 2. it

makes

feel Sy. 4117

gl.

m.v.

120

E-Git. 8

(solistisch)

gl.

s.v.

m.v.

gl.

Ish. the

fin est

fee

ling

that I

ver had

Gives me

woo

feel glad

woo

feel glad

woo

Pip

QQ.

C o. /

Stubb

woo

2 T. 1. the

nest

the

nest

the

2 T. 2.

fee ling

fee

had

ver

ling

ver

ling

ver

nest

Män.Chor 2 B. 1.

fee ling

di &

glad

Stb. 8

al o

nl y

Synth. (Church organ)

2 B. 2. the

nest

fee

glad

(When they finish singing, the congregation sits down, as does ISHMAELA.) (Sie sitzt in der vorletzten Reihe. So wie H. MELVILLE in der „Seamen’s Bethel“ in New Bedford)

125

ig ht

Synth. (Church organ)

= 60

sub.

FM.

FATHER MAPPLE: (eindringlich) Shipmates, copy not Jonah for his sins but as a model for remorse. Sin not! But if thou

do, take heed to repent like Jonah. For as we have seen: God came upon him in the whale, and swallowed him down, into the depths of doom. Will leviathan speak soft words unto thee? − Wilt thou play with him as with a bird? Levy thine hand upon him, remember the battle, do no more.

Ish.

T. Män.Chor

Sy. 4117

26 sub.

= 108

132

Synth. (Church organ)

nl y

(ernst)

al o

None is so fierce that dare stir him up: who then is able to stand before me?

FM.

(ISHMAELA stands up. The others turn and look at her.)

gl.

Ish.

gl.

pre

nur 2

leicht und bluesig

has

Who

T. 1.

Who?

nur 2

Män.Chor

T. 2. 8

C o. /

B. 1.

nur 2

Who? nur 2

Who?

di &

B. 2.

Who?

136

Ish. ted

ven

him

pre

ven

ting

who

pre

ven

ting

who

pre

ven

ting

who

leicht und wieder genau artikuliert

ig ht

ing

leicht und wieder genau artikuliert

Stb.

pay

leicht und wieder genau artikuliert

QQ.

s.v.

leicht und wieder genau artikuliert

Pip

m.v.

Stubb

doom

2 T. 1.

Who?

who?

Who?

who?

Who?

who?

Who?

who?

2 T. 2.

Män.Chor 2 B. 1.

2 B. 2.

Sy. 4117

doom

27 140

m.v.

gl.

E-Git. 8

gl.

Ish. ?

makes the deep

boil

like a

pot: (solistisch)

doom

the

nl y

Pip sea

s.v.

doom

the po

al o

QQ. sea s.v.

Stb. 8

doom

the po

sea

s.v.

Stubb doom

the po

sea

doom doom

doom

boil

doom

boil

2 T. 1.

Män.Chor

2 T. 2.

doom

C o. /

2 B. 1.

2 B. 2. doom doom

144

m.v.

di &

E-Git. 8

m.v.

gl.

Synth. (Church organ)

gl.

Pip

he makes the

sea

the

sea

s.v.

boil

sea s.v.

ig ht

QQ.

like (solistisch)

the

Stb.

gl.

Ish.

boil

sea s.v.

Stubb

boil

2 T. 1.

sea

Hey

oh!

Hey

oh!

Hey

oh!

Hey

oh!

2 T. 2. Män.Chor 2 B. 1.

2 B. 2.

Sy. 4117

of oint

ment

sub.

= 44

(While Father Mapple speaks, the soloists sing texts from marble plates set into the wall. The members of the congregation seem to be sitting deliberately at a distance from one another, as if their silent grief were incommunicable.)

148

Synth. (Church organ)

al o

Alle: wie vor sich hinmurmelnd, aber verständlich. Übernehemen sofort den unfertigen Satz von anderen Sänger. Der jeweilige Ton ist angegeben auf dem der Satz zu sprechen ist. Halb gesungen / halb gesprochen. Immer alle .

nl y

Ish.

overboard near the Isle of Desert

Pip

who was lost

To the memory

QQ.

Stb. To the memory of John Talbot

C o. /

di &

Stubb

151

Synth. (Church organ)

ig ht

FATHER MAPPLE: O Father! - Yet this is nothing; I leave eternity to Thee; for what is man that he should live out

Sacred to the memory of

Ish.

Pip

drowned at the age of 20

Stb. 8

In the bows of his boat

of Martin Hensford

Stubb Captain Ezekiel Hardy Sy. 4117

29 (A ship’s bell rings.) Sample 4

154

Smp. (Schiffsglocke)

Synth. (Church organ)

nl y

al o

the lifetime of his God? Delight is to him, whom all the waves of the boisterous mob can never shake from the sure Keel of the Ages.

FM.

Ish.

Pip

1833

killed by a sperm whale

QQ.

Stb. on the coast of Japan

C o. /

Stubb

di &

T. 8

Män.Chor

lunghissima

158

sub.

lunghissima

= 56

E-Git.

Synth. (Church organ)

ig ht

FM.

*) But oh! shipmates!

Beyond all woe, there’s a sure delight; and its top, higher than the bottom of woe, deep.

lunghissima

deutlich und genau artikulieren 5

6 T. 1. 8

Män.Chor

Far from home and scenes of friend ship 5

and from those who loved you well;

sud den ly by death ar-res-ted, where the foaming billows swell;

and from those who loved you well;

sud den ly by death ar-res-ted, where the foaming billows swell;

6 B. 1. Far from home and scenes of friend ship

*) Der gesamte text bis „...of woe, deep.“ wird in die Fermate gesprochen. Sy. 4117

30 *)

161

nl y

Synth. (Church organ)

Father Mapple begins to exit while saying:

FM.

Alle: genau artikuliert!

al o

“Ah, noble ship,” the angel seemed to say, ’beat on, and bear a hardy helm; for the sun is is breaking through; the clouds are rolling off.’ (solistisch)

Ish. get up

get up, get up, get up to

the

sea

(solistisch) 3

get up

get up,

get to

the clouds

get up

get up, get up, get up to

the

sea

get up

get up, get up, get up to

the

sea

get up

get up, get up, get up to

the

Stubb

sea

Get up!

3 T. 2. Män.Chor

3 B. 1.

di &

3 T. 1. 8

zure sky

C o. /

Stb. 8

Let’s

rene

QQ.

Pip

Let’s

Get up!

3 B. 2.

= 108

(After Pip has sung his line, the entire congregation rises as FATHER MAPPLE, followed by ISHMAELA, leaves the church.)

E-Git. 8

sub. 164

Get up!

8va

ig ht

Synth. (Church organ)

m.v.

2 T. 1.

God

sees us

bad

think of

that

2 T. 2.

Män.Chor

sees

ven

are

bad

think of

that

think of

that

2 B. 1. God

And

eve

ry time

m.v.

2 B. 2. God

sees

ven

are bad

*) = Father Mapple spricht den Text in die lange Fermate. (Die Fermate dauert mindestens so lange, bis Father Mapple den Text zu Ende gesprochen hat.) Sy. 4117

think of

that

31 168

(Holz/Blech: unmerklich neu atmen)

(the stage goes dark) (fast) 3

Bklar. in B

sub.

Fag.

1. sub.

Kfag.

Hr. in F

nl y

al o

1. Pos.

gl.

gl. gl.

solistisch

gl.

Echo+Chorus: ON

3 8va

Synth. (Church organ)

[umschalten: Glasharmonika]

Tom-tom mittelgroß

1. Perk.

Gong G G

C o. /

2. m.v.

2 T. 1. 2 T. 2. Män.Chor

it makes me

feel

gla

feel

gla

m.v.

di &

m.v.

2 B. 1. makes me

feel m.v.

it makes me

feel

gla

4 4

2 B. 2.

KnabenChor

e-bow + slide

gl.

E-Git.

Tuba

ig ht

Vl. I, Vl. II, Va.

1. 2.

5. 6.

Va.

1. 2.

3 3

Vc.

4. 3

5. 6. 1. 2.

3. 4.

Kb.

Sy. 4117

4. Szene

= 60 sub.

172 Sample 5

Smp. 3

Bklar. in B

(ab hier legato)

Fag.

Kfag.

nl y

ab hier: legato 8

al o

1. Hr. in F

(ab hier legato)

2. 3

1. (ab hier legato)

Pos.

ab hier: legato

2. 3

Tuba s.v.

E-Git.

C o. /

1. Perk. l.v.

di &

Synth. (Glasharmonika)

(erklärend; zu sich selbst) - am Tisch sitzend (A spotlight comes in on OLD MELVILLE, Until petroleum was discovered in Pennsylvania in 1859, sperm whaling was vital to the United States economy, who sits at one side - as before): sperm oil being the most important source of fuel. It’s always energy that is the most important commodity,

OM.

4 KnabenChor 4

ig ht

= 60 sub.

Vl. I 1.-4.

Vl. II 1.-4.

1.-6.

Va.

(ab hier legato)

1.-3.

Vc.

(ab hier legato)

4.-6. (ab hier legato)

1. 2.

Kb.

(ab hier legato)

3. 4.

Sy. 4117

33 176

Smp. 3

Bklar. in B

Kfag.

nl y

Fag.

3 3

Pos.

al o

1. 3

2. 3

Tuba

[

gliss.

E-Git.

Synth. (Glasharmonika)

C o. /

Zimbel / Bogen

Perk. Bogen

Vibraphon

di &

whether it be wood or coal or oil or the atom. (zurückhaltend + fein) The moment when a child’s trust in the world is taken away passes Economics is based on power, which I choose to call Moby Dick. − in silent and invisible terror like a skipped heartbeat.

OM.

4 KnabenChor

4 8

Vl. I 1.-4.

1.-3.

ig ht

Vl. II

4.-6.

1.-3.

Va.

4.-6.

3 3

1.-3.

Vc.

4.-6. 1. 2.

3. 4.

Kb. 3

*) verschieden lange, langsame glissandi im angegebenen Intervall / zwischen vibrato und senza vibrato / zwischen

und

Sy. 4117

34 ≈ 3’ 35”

180

Smp. *)

Bklar. in B 8

nl y

Fag.

Kfag.

al o

1. Pos.

2. *)

Tuba

E-Git. /

(endet mit Kinderchor)

[umschalten: E-Piano ]

C o. /

Synth. (Glasharmonika)

1. Perk.

di &

(spricht frei + unabhängig von der Musik. Nur der Zeitrahmen muss eingehalten werden)

From then on, a malevolent order rules the universe. Nothing is unthinkable anymore, life’s cruelty knows no bounds. It was that fearful night on the Hudson River which cast the presentiment of peril onto the life of the eleven-year-old. It takes an entire lifetime to comprehend that everything can be taken in a single night and nothing is as it seems. That single night transformed his father from the proud head of a patrician family - revered by the son so unlike him he could never win his approval - into a broken man. No one remains unchanged under the onslaught of misfortune. For the child cast out from its place, caught up in flight, driven into poverty, the world lost its dependability. Is what befalls us mere chance or does it happen according to a plan hidden from our view? I ask myself that question anew in every book I write and still have no answer, but I will never stop asking. Do we have the freedom to decide? And the freedom to rebel, to refuse to cooperate - even with life itself - so as to remain free? What makes it all so terrible is the inevitability, the unalterable fatefulness with which we blindly jog without flinching along the path leading straight to our doom. Even as a child long ago, I learned that the cruelest thing is hope for in the end, too many promises go unfulfilled. My father died less than two years later, when I was twelve. His downfall dragged us all into the abyss. Time had passed him by. He couldn’t keep up. Progress rolled over him and left him lying there, and I began to ponder the fragility of man. What came later were the things men do to each other. Human wickedness is neither inexplicable nor mysterious. It is completely of the world and unforgivable. No hate so unforgiving as the bitterness of a disappointed child who remembers better times and compares his lot with that of happier companions permitted to bask in their unclouded childhoods. I learned then to mistrust anyone with power. My whole life long I have shunned and despised power. Always I have evaded it. When all escape routes are cut off, there is only one way out: the imagination.

OM.

ig ht

bis Ende der Satzes “rules the universe”

Knaben4 Chor

Vc.

5. *)

6. *)

1. 2.

Kb.

3. 4.

*) alle voneinander unabhängig im Zeitrahmen auf jeden Ton:

- espressivo Sy. 4117

“... into the deep”

Alle: ab “fathom this mystery”: poco a poco cresc.

Smp. “Leviathan”

Fl.

Klar. in B

al o

Bklar. in B 8

Trp. in C

Kfag.

Fag.

8ba

C o. /

1. Pos. 2.

di &

Tuba

E-Git.

s.v.

Perk.

In the face of disaster and death I discovered the source of my inspiration: the search for the boundlessness that reveals itself only at the moment of doom. My exorbitant imagination drove me from the land to the sea. There must be an answer, for otherwise the injustice of life would be intolerable. I demanded nothing less than the key to life. To fathom this mystery one must look in the depths of the sea, beyond the visible, under the surface that reveals nothing. Only Leviathan can dive five miles or more into the deep. And if he cannot reach the bottom, what use would a plumb line be? Fl. 1 / Trp. 1

OM.

Ob. 1 / Klar. 1

ig ht

Vc.

Ob.

nl y

“he”

1. 2.

Kb. 3. 4.

*) Darf kein Loch entstehen! Sy. 4117

= 60 (1.) 181

(OLD MELVILLE walks offstage - or in his corner -) 3 5

1. 2.

(1.)

Ob.

1. 2.

Klar. in B

8ba

1. 2.

Pos.

1. 2.

5 5

Tuba

Echo und Chorus: OFF (E-bow/Slide weg)

E-Git. 5

l.v.

Tom-Toms

1. Perk.

5 5

(non div.)

non div.

di &

alle Streicher:

or ic

7. 8.

1. 2.

Vl. II

ig ht

5. 6. 7. 8.

1. 2.

(non div.)

3. 4.

5. 6. 3

1. 2.

3. 4.

(non div.)

5. 6. 1./2. 3./4.

hoch

(non div.)

5. 6.

3. 4.

tief

(non div.)

Vl. I

(non div.)

3. 4.

= 60

Snare drum [ohne Snare]

l.v.

1. 2.

C o. /

Akk.

(1.)

al o

Trp. in C

1. 2.

Kb.

Hr. in F

Vc.

Kfag.

Va.

nl y

Bklar. in B Fag.

Fl.

Sy. 4117

37 183

1. 2.

Ob.

1. 2.

Klar. in B

Bklar. in B

1. 5

Trp. in C

1. 2.

Pos.

1. 2.

5 5

Tuba

1. Perk.

di &

C o. /

Akk.

Hr. in F

5 5

Kfag.

al o

Fag.

alle Streicher:

1. 2.

5 5

3. 4. Vl. I

5. 6. 7. 8.

1. 2.

3. 4. Vl. II 5. 6.

ig ht

7. 8.

1. 2.

Va.

3. 4.

5. 6. 1. 2.

Vc.

3. 4. 5. 6.

Kb.

1./2. 3./4.

Sy. 4117

nl y

Fl.

38 185

1. 2.

Ob.

1. 2.

Klar. in B

Bklar. in B

al o

Fag.

1. 2.

Pos.

1. 2.

5 5

Tuba

1. Perk.

di &

T. 8

ic .R

3. 4. Vl. I

5. 6. 7. 8.

1. 2. 3. 4.

ig ht

Vl. II

5. 6.

7. 8.

the

alle Streicher:

1. 2.

C o. /

Akk.

Män.Chor

Trp. in C

1. 2.

Hr. in F

Kfag.

5 5

1. 2.

op Va.

3. 4.

5. 6. 1. 2.

Vc.

3. 4. 5. 6.

Kb.

1./2. 3./4.

Sy. 4117

nl y

Fl.

5. Szene

(And when the stage is lit again a sign is revealed in front of the white backdrop. And in smaller letters than before is written “Nantucket”.)

187

1. 2.

Ob.

1. 2.

Klar. in B

5 5

Bklar. in B

nl y

Fl.

(A longing for distant places)

Fag.

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

Hr. in F

5 5

Tuba

Kfag.

leggero

E-Git.

leggero

Synth. (E-Pno. ) 5

Becken

di &

2. 5

T. 8

bot

tom

B. 1. 2.

tom

5 5

7. 8.

deep

5. 6.

1. 2.

ig ht

3. 4.

Vl. II

5. 6.

7. 8.

1. 2.

Va.

3. 4.

5. 6. 1. 2.

Vc.

3./4.

3./4. 5./6.

3./4.

Kb.

1./2. 3./4.

(I)

Sy. 4117

(sempre) 3

(sempre)

Vibraphon

deep

3. 4. Vl. I

the

bot

Män.Chor

C o. /

Akk.

Perk.

al o

deep

190

Sample 6

Smp.

1. 2.

Klar. in B

al o

Ob.

1. 2.

nl y

1. nimmt Picc.

Fl.

Bklar. in B

Kfag.

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

C o. /

Hr. in F

di &

Fag.

Tuba

3 3

Synth. (E-Pno. )

ig ht

Akk.

Perk.

Vl. I 5.-8.

Vl. II

Va.

Vc.

1.-4.

Kb.

3./4.

E-Git.

Sy. 4117

3 3

41 196

Smp. Klar. in B

1. 3

Bklar. in B

Fag.

nl y

1. con sord.

3 3

con sord.

3 3

al o

1. Trp. in C

3 3

con sord.

1. 2.

Pos.

con sord.

Tuba 3

3 3

E-Git.

C o. /

Synth. (E-Pno.)

3 3

di &

Akk.

1. Perk.

Vibraphon

(nicht zu weicher Gummi) G

(= gleich laut wie Trompete 1)

OM.

(ISHMAELA, accompanied by QUEEQUEG, a tall, heavily tattooed man wearing a top hat, walks in)

Ish.

leggero 3

ig ht

QQ.

(to herself) - in Abstand zu Queequeg - „frei“ gesprochen - I was scared of him. But then something in me dissolved. -

Mikro auf:

a flaut./s.p.

Vl. I 5.-8.

(hinter dem Steg)

(III) 3

1.-3.

Va.

4.-6.

flaut./s.p.

1.-4.

Vc. 5. 6. 1. 2. 8

Kb. 3. 4.

Sy. 4117

42 rall.

201

Smp.

Klar. in B

3 3

nl y

Bklar. in B

al o

Fag.

Trp. in C

1. 2.

Pos.

Tuba

E-Git.

Synth. (E-Pno.)

Akk.

di &

C o. /

1. Perk.

Ignorance is the parent of fear, and the stranger confounded me. But it was, after all, only his appearance. And a man can be honest in any sort of skin. When Queequeg gently embraced me, my heart and hand no longer turned against the wolfish world.

Ish. 3

QQ.

ig ht

a ord.

Vl. I 5.-8.

1.-3.

Va.

s.v.

4.-6.

Vc.

ord.

1.-4. 3

1. 2. 8

Kb. 3. 4.

Sy. 4117

Video: Wintertag, Kälte

= 80 = 40

= 52 sub.

204

Alle: genaue, abgesetzte Rhythmen (Orchesterfarben)!

Smp. sim. sempre

Klar. in B

1. 3 3

Bklar. in B

sim. sempre

Fag.

nl y

1. sim. sempre

al o

1. Trp. in C

1. Pos.

E-Git. 3

E-Pno.

C o. /

Akk.

XII

l.v.

(sehr dünne Metallstäbe)

Perk.

di &

l.v. sempre

Bogen

2. Mikro zu (to Queequeg)

Ish.

QQ. gl.

(IV)

1.-4.

gl.

you are

nei ther ca

ter

pil lar

nor

but

ter fly

gliss. gliss.

5.-8.

1.-4.

ig ht

Vl. II

gliss. gliss.

5.-8.

s.v.

1.-3.

Va.

4.-6.

sim. sempre

1.-3.

Vc.

(4.)

4.-6.

s.v.

4.-6.

gl.

1. 2. Kb.

but

Vl. I

low be ing,

Quee queg my fel

(IV)

3. 4. 8

Sy. 4117

gliss.

44 208

Smp. Klar. in B

1. m.v.

Bklar. in B

Fag.

nl y

Kfag.

al o

Trp. in C 2.

1. Pos.

2. XII

E-Git. 8

(umschalten zu: Steeldrum)

C o. /

Synth. (E-Pno.)

(Fußpedal)

Akk. sehr dünne Metallstäbe

1. Perk.

stians

can

feel my ste

Ish. ri ous ly drawn to

you

QQ. gliss.

1.-4.

(peers at Ishmaela)

5.-8.

gliss.

s.p.

gliss.

1.-4.

ig ht

Vl. II

s.p.

5.-8.

s.p.

1.-3.

s.p.

Va.

4.-6.

1.-3. gliss.

Vc.

s.p.

4.-6. 1. 2.

Kb.

(ernst)

chri

Vl. I

di &

Gong

gliss. s.p.

3. 4. 8

Sy. 4117

45 211

Smp. Klar. in B

Bklar. in B Fag.

nl y

Kfag.

al o

Trp. in C

2. gliss.

Pos.

E-Git.

gliss.

Akk. 3

Perk.

l.v.

di &

(Klangfarbenänderung!)

QQ. mi

ble and

cked

1.-4.

(nasal)

Ish.

Vl. I 5.-8.

ig ht

1.-4. Vl. II

5.-8.

1.-3.

Va.

C o. /

Synth. (Steel drum)

4.-6. gliss.

1.-3.

Vc. 4.-6. gliss.

1. 2.

gliss.

Kb. 3. 4. 8

Sy. 4117

more so

than

46 214

Smp. Klar. in B

Bklar. in B Fag.

nl y

Kfag.

al o

Trp. in C

2. 1.

Pos.

E-Git. 8

C o. /

Synth. (Steel drum) 3

Akk. 3

Perk.

Tamburin (fest montiert)

di &

Ish.

QQ.

hea

thens.

1.-4. Vl. I

5.-8.

1.-4.

ig ht

Vl. II

5.-8.

1.-3.

Va.

4.-6.

1.-3.

Vc. 4.-6.

Kb.

1. 2.

3. 4. 8

Sy. 4117

can’t

wait

47 216

Smp. Klar. in B

Bklar. in B

nl y

al o

Trp. in C

2. 1.

1. 2.

Pos.

E-Git. 8

Synth. (Steel drum)

1. Perk.

di &

Ish. (begeistert) gl.

gl.

The

for

the gas

ping

of the oars

seems

scorch

gliss.

.R by

5.-8.

1.-4.

ord.

s.p.

gliss.

ig ht

Vl. II 5.-8.

1.-3.

Va.

5. 6.

s.p.

1.-3. gliss. gliss.

Vc.

5. 6. gliss.

1. 2.

my feet

gliss.

3. 4.

l.v.

men!

1. 2.

land

QQ.

Zimbel

Vibraphon

Vl. I

C o. /

Akk.

gliss.

Kb. 3. 4. 8

Sy. 4117

s.p.

gliss.

48 219

Smp.

Klar. in B

Bklar. in B

nl y

al o

Trp. in C 2.

1. 2.

Pos.

E-Git.

Synth. (Steel drum)

Akk.

C o. /

1. Perk.

Triangel

l.v.

di &

Ish. Oh love

ly,

baff

QQ.

1. 2.

5.-8.

3. 4.

Vl. I

ord.

1.-4.

ig ht

Vl. II

5.-8.

1.-3.

Va.

4.-6.

ord.

1.-3.

Vc. 4.-6. 1. 2.

Kb. 3. 4. 8

Sy. 4117

s.v.

ling

gol

den sea

49 221

Smp.

Kfag.

nimmt kl. Trompete in B

senza sord.

Trp. in C

senza sord.

nl y

al o

gliss.

1. Pos.

5 VII

E-Git. 3

Synth. (Steel drum)

C o. /

Akk. 15

1. Perk.

di &

Ish.

QQ. til the

whale’s

spout

turns

sharks

sme

ell

the

red...

And

1.-4.

5.-8.

3 3

Vl. I

ti tudes of

mul

(sehr dünn)

Gong

l.v.

1.-4.

ig ht

Vl. II 5.-8.

ord. gliss.

1.-3.

Va.

4.-6.

1.-3.

Vc. 4.-6. ord.

1. 2.

gliss.

Kb. 3. 4. 8

Sy. 4117

50 223

Smp. Klar. in B

Bklar. in B

Kfag.

nl y

Trp. in C

al o

kl. Trp. 1. in B 2. senza sord.

1. senza sord.

Pos.

2. XII

E-Git. 8

Synth. (Steel drum)

Akk. Gong 3

di &

C o. /

Perk.

Ish. blood

And

fresh

1.-4.

Vl. I

hear

5.-8.

the

QQ.

whir

ring

har

poon!

3 3

ig ht

1.-4.

Vl. II

5.-8.

1.-3.

Va.

4.-6. gliss.

1.-3.

Vc. 4.-6. 1. 2.

gliss.

Kb. 3. 4. 8

Sy. 4117

51 225

Smp. 8

Picc.

Klar. in B

nl y

Bklar. in B 8

Kfag.

nimmt Fag.

al o

Trp. in C

kl. Trp. 1. in B 2.

1. Pos.

E-Git. 8

C o. /

Synth. (Steel drum)

Akk. 15

Zimbeln

l.v.

di &

l.v.

Perk.

Ish. the

fri

gid

win

ter

night

we’ll

spite

Vl. I 5.-8.

1.-4.

QQ.

1.-4. Vl. II

3 3

gliss.

ig ht

5.-8.

gliss.

1.-3.

Va.

ord.

4.-6.

gliss.

1.-3.

gliss.

Vc.

ord.

gliss.

4.-6. gliss.

1. 2.

Kb. 3. 4. 8

Sy. 4117

52 227

Smp. nimmt gr. Flöte

Picc. Klar. in B

nl y

Bklar. in B 8

al o

Fag. kl. Trp. 1. in B Trp. in C

gliss.

1. Pos.

gliss.

E-Git. 8

Akk.

Gong

Perk. 2.

the

lan

sail

Ish.

QQ.

The

1.-4. 3

Vl. I

5.-8.

3 3

l.v.

tic 3

truth

knows

3 3

s.p. gliss. gliss.

ig ht

1.-4.

Vl. II

5.-8.

s.p. gliss.

1.-3.

Va.

4.-6. 1.-3.

Vc. 4.-6. 1. 2.

di &

Kb.

C o. /

Synth. (Steel drum)

(I)

3. 4. 8

Sy. 4117

bounds

53 229

Smp.

1. Fl.

nl y

2. (shake) con

con

Trp. in C

gliss.

al o

kl. Trp. 1. in B

Pos.

2. 3 XII

E-Git.

[muta in E-Piano ]

Akk. 3

l.v.

Stahlfeder

Vibraphon/Bogen

di &

Perk.

C o. /

Synth. (Steel drum)

3 VII l.v.

Ish. 3

plea

sant

.R G

KnabenChor

1.-4. Vl. I

5.-8.

1.-4.

gliss.

ord.

ig ht

Vl. II

5.-8.

ord.

sim.

1.-3.

Va.

4.-6.

vens are

QQ.

(full of hope)

gliss.

1.-3. gliss.

Vc.

s.v.

4.-6. gliss.

1. 2.

Kb. 3. 4. 8

Sy. 4117

54 232

Smp. 3

1. Fl.

Klar. in B

nl y

al o

Bklar. in B 8

kl. Trp. 1. in B Trp. in C

(shake)

2. con

gliss.

Pos.

1. con

1 V

gliss.

2. l.v.

E-Git.

C o. /

Synth. (E-Pno.)

umschalten: Glasharmonika

Zimbel

di &

Akk.

Bogen nehmen

Perk.

1. Zimbel

l.v.

Vibraphon

(Zimbel)

Ish. wai

ting

Knaben8 Chor Si

QQ.

me.

lence

reigns

ov er the de ser ted

deck.

hope

so!

An in tense cop per

It’s a wi

calm,

cked

like a

world

u ni ver sal yel

low

ig ht

Vl. I 1.-4.

gliss.

Vl. II 1.-4.

1.-3.

Va.

gliss. s.p. gliss.

1.-3.

gliss.

Vc.

4.-6. gliss.

gliss.

1. 2.

Kb. 3. 4. 8

Sy. 4117

55 lunga

235

sub.

= 96-100

1. Fl. 2. 1.

1. 2.

Ob.

Klar. in B

nl y

Bklar. in B 8

lunga

Trp. in C

Pos.

2. lunga

E-Git.

lunga

l.v.

1. Perk.

di &

4 lo tus,

ans.

un folds its noise-less leaves u pon the

lunga

un folds its noise-less leaves u pon the

lo tus,

Far and few, far and few lunga

sub.

= 96-100

Vl. II 1.-4.

gliss.

1.-3.

Va.

4.-6.

1.-3.

Vc. 4.-6. gliss. 8

Kb.

(II)

3. 4. 8

Sy. 4117

let’s go!

Far and few,

far and few

are the

lands

far and few

are the

where the 3

Far and few,

3 3

ig ht

1.-4.

go,

Far and few, far and few

sea.

s.v.

Let’s

sea.

KnabenChor

in all Me

(sempre legato)

Let’s go!

lunga

QQ.

Ish.

s.v.

lunga

m.v.

C o. /

Akk.

1. 2.

Vl. I

kl. Trp. in B

al o

lands

where the

56 240

(ISHMAELA and QUEEQUEG walk up a gangplank.)

1. Fl.

2. 3

1. Ob. 2. 3

nl y

Klar. in B

Bklar. in B Fag.

al o

1. con sord.

Hr. in F

con sord.

Trp. in C

E-Git. 3

3:2

C o. /

Synth. (Glasharmonika)

kl. Trp. 1. in B

Akk.

Becken

1. Perk.

di &

2. 3

Jum

live

blies

spite of

all our friends could say,

3:2

On a win ter’s morn

a stor

day.

3. 4.

5. 6. 7. 8.

ig ht

1. 2.

Vl. II

1. 2.

Vl. I

(a 12)

Knaben12 Chor

QQ.

3. 4.

5. 6.

7. 8.

1.-3.

Va. 4.-6. 3

1.-3. Vc. 4.-6. (III)

1. 2.

8 8

Kb. 3. 4. 8

Sy. 4117

57 247

Fl.

= 100

lunga

Bklar. in B 8

Fag.

1. lunga

nl y

Hr. in F

kl. Trp. in B

Trp. in C

Pos.

1. 2.

al o

gliss.

a2 gliss. *)

lunga

E-Git.

lunga

Synth. (Glasharmonika)

lunga

C o. /

Akk. lunga

1. Perk. 2. lunga

(listens and then quasi in response)

di &

Ish.

lunga

Sieve we

went

sea!

Sieve we

went

sea! lunga

are

phans whose mo

thers

= 100

1. 2. 3. 4. Vl. I

gliss. gliss.

5. 6.

7. 8.

ig ht

Vl. II

souls

our

6 KnabenChor

VII

3.-5.

gliss.

5. 6.

1.-3.

Va.

gliss.

4.-6.

gliss.

1.-3. Vc. 4.-6. 1. 2. Kb.

3. 4. 8

*) = gebrochenes glissando = so gut wie unmerklich

Sy. 4117

254

Fl.

Ob.

Klar. in B

s.v.

m.v.

Bklar. in B

nl y

Fag. 2.

al o

(Frull)

kl. Trp. in B

(senza) m.v.

Trp. in C

(Frull)

2. m.v.

(senza frull.)

1. Pos.

m.v.

gliss.

(senza frull.)

gliss.

2. Tuba

E-Git. 8

C o. /

Synth. (Glasharmonika)

l.v.

di &

Akk.

1. Perk.

Ish. in

bea

ring

them.

And

who

are

our

3. 4.

Vl. I 5. 6.

gliss.

7. 8.

ig ht

Vl. II 3.-5.

6.-8.

1.-3.

Va.

gliss.

4.-6.

gliss.

1.-3.

gliss.

Vc. 4.-6. 1. 2. Kb.

3. 4. 8

*) Fagotte: decresc. in der Fermate

Sy. 4117

Pauke

thers?

die

1. 2.

(m.-g. Tom-Tom)

59 259

sub.

= 92

1. Fl. 2. Klar. in B

1. (unmerklich neu atmen)

nl y

Bklar. in B 8

(unmerklich neu atmen)

al o

1. Fag. (unmerklich neu atmen)

Tuba

Synth. (Glasharmonika)

Akk.

(kl. glissandi ad lib.)

C o. /

(gliss. ad lib.) u.s.w.

1. Perk.

l.v.

2. gut artikuliert!

di &

6 O

nos!

ke 3

sub.

= 92

1.-6.

nos!

ig ht

7. 8.

Vl. II

3.-8. 1.-3.

Va.

1.-3.

Vc.

s.p.

4.-6. s.p.

1. 2. 8

Kb.

nos!

Vl. I

l.v.

6 KnabenChor

u.s.w.

s.p.

3. 4. 8

Sy. 4117

60 262

1. Fl. 2. Klar. in B

1. (unmerklich neu atmen)

nl y

Bklar. in B 8

(unmerklich neu atmen)

al o

1. Fag. (unmerklich neu atmen)

(unmerklich neu atmen)

Tuba

Synth. (Glasharmonika)

C o. /

Akk.

1. Perk.

l.v.

di &

gl.

holdto ge ther your

Bo dy and soul

ning

time

out 3

holdto ge ther your

re mai

ning

time

be-fore it runs out

Vl. I

re mai

Bo dy and soul

KnabenChor

7. 8.

ig ht

Vl. II

sempre legato 3

1.-3.

Va.

3 3

1.-3.

Vc.

Genau phrasieren!

7. 8.

4.-6. 1. 2. 8

Kb. 3. 4. 8

Sy. 4117

rall.

(Video: The gangplank is removed and the Pequod sails off.) (Man sieht kein Schiff, nur

265

muta in Picc.

1. Fl. 2. 3

Klar. in B

1. senza sord.

Trp. in C

m.v. (lento)

nl y

E-Git.

Perk.

l.v.

2. (alle)

6 in

ted

world

be-yond the

sun

seek out the un

ted

world

be-yond the

sun

6 KnabenChor

Becken

C o. /

(sehr dünn)

l.v.

Stahlfeder

6 world

sun

di &

6 world

1. 2.

sun

sempre legato

1.+2.

s.p. Genau phrasieren!

sim.

3. 4.

5. 6.

7. 8.

1. 2.

3. 4.

ig ht

5. 6.

7. 8.

1.-3.

s.p.

sim.

Genau phrasieren!

Gong

s.p.

sim. 3

s.p. 3

Va.

4.-6. (II) s.v.

1.-3. ord.

Vc. 4.-6.

ord.

1. 2. Kb.

8va

Akk.

Vl. II

[umschalten: E-Piano ]

Synth. (Glasharmonika)

Vl. I

al o

Tuba

ord.

3. 4. 8

Sy. 4117

62 269 8

das Entfernen von einem Hafen. Quasi aus Ishmaelas Sicht. Kielspur.)

Picc. Fl.

2. 1.

Ob.

1. 3

senza sord.

Hr. in F

al o

Klar. in B

nl y

1. 2.

senza sord.

kl. Trp. 1. in B

Trp. in C

Synth. (E-Pno. )

Akk.

di &

Perk. 2.

1. 2.

3. 4. sempre legato

5. 6.

7. 8.

1. 2.

Vl. II

C o. /

8va

Vl. I

E-Git.

3. 4.

ig ht

5. 6. 7. 8.

1.-3.

Va.

4.-6. 3

s.p.

1.-3.

Vc.

s.p.

4.-6. s.p.

1. 2.

Kb.

(s.p.) 3

s.p.

3. 4.

Sy. 4117

63 OLD MELVILLE: (noch nicht beleuchtet, aber auf seinem Platz sich befindend. Man hört ihn, bis er beginnt, schneller und schneller schreiben. Das Schreibgeräusch einer Füllfeder oder eines Bleistiftes ist verstärkt, zuerst kaum hörbar, dann lauter und lauter) 272 8

Picc. Fl.

2. 3

1. Ob. 3

Bklar. in B

al o

Klar. in B

nl y

2. 3

kl. Trp. 1. in B Trp. in C

Pos. Tuba

E-Git.

Synth. (E-Pno. )

8va

1. Perk.

2. 3

1. 2.

3. 4. 5. 6.

ig ht

7. 8.

s.p.

1. 2.

3. 4.

Vl. II

5. 6.

(s.p.)

7. 8.

1.-3. Va. 4.-6.

Vc.

1.-6.

Kb.

1.-4.

Akk.

Vl. I

di &

C o. /

Pos.

1. 2.

Hr. in F

Sy. 4117

1. Fag.

64 274 8

Picc. Fl.

2. 1.

Ob.

Bklar. in B

al o

Klar. in B

nl y

3 8

Fag. 2. Hr. in F

1. 2.

Trp. in C

kl. Trp. 1. in B 2.

Pos. Tuba

E-Git.

Synth. (E-Pno. )

(8va)

Akk.

1. Perk.

2. 3

1. 2. 3. 4. 5. 6.

Vl. I

di &

C o. /

Pos.

ord.

ig ht

7. 8. 1. 2.

3. 4.

Vl. II

5. 6.

ord.

7. 8.

ord.

(ord.)

1.-3. Va. 4.-6. ord.

Vc.

1.-6. ord.

Kb.

1.-4.

3:2

Sy. 4117

(Another man, younger but Licht AN auf: (OLD 65 MELVILLE at "his" side slightly bent over, appears at of the stage stops writing) the other side. This other man, dressed in black, is BARTLEBY.)

tutti:

276

= 10”

Smp.

8va

Sample 7

Fl.

Ob.

1. 2.

nl y

Picc.

8va

Klar. in B

1. 2.

Hr. in F

1. 2.

muta in Tr. in C (con

8va

Pos.

1. 2.

m.v.

1. con

2. con

con sord.

Tuba

Synth. (E-Pno. )

di &

8va

1. Perk.

[umschalten: Honky-Tonk-Piano]

l.v.

8va

Akk.

C o. /

E-Git.

8ba

Tam-Tam

*) glis

3. 4.

l.v.

8va

gliss.

5. 6. 7. 8.

)

1. 2.

(Bogen +

gr. Tr.+Tam-Tam

8va

l.v.

Vl. I

con

Trp. in C

)

kl. Trp. in B

Fag.

al o

Bklar. in B

gliss.

8va

1. 2.

gliss.

ig ht

3. 4.

Vl. II

5. 6.

7. 8.

1.-3.

Va.

gliss.

4.-6. (non div.)

1. 2.

(div.)

gliss. 3:2

3:2

poco a poco crescendo

(non div.)

Vc.

3. 4.

3:2

(div.) gliss.

3:2

poco a poco crescendo

(non div.) (div.)

5. 6. 1. 2.

3:2

gliss.

3:2

pizz.

arco

(div.)

poco a poco crescendo gliss.

3:2

Kb. 3. 4.

3:2

3 8

poco a poco crescendo

pizz.

arco

(div.) gliss.

3:2

*) „glissando“ über die Stahlfeder

3:2

Sy. 4117

poco a poco crescendo

6. Szene

= 120 280

Smp.

1. 2.

Fag.

1. 2.

Hr. in F

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

1. (für BB)

1./2. con

al o

Fl.

Jet - whistle

nl y

gliss.

E-Git.

Synth. (Honky tonk)

C o. /

Akk.

(Bogen +

)

Zimbel / Bogen l.v.

di &

1. Perk.

gr. Tr. + Tam-Tam

Tam-Tam (gedämpfter Schlag)

gr. Tr.

Gong

BB.

(leicht) 3

(zu Bartleby)

OM.

You,

(8va)

ig ht

Vl. II 1.-8.

Va.

yourself!

(div.)

(II)

(III)

pizz. (III) glissando

pizz. 8

Kb.

pizz.

3. 4.

(II)

s.)

(Obertonglis

Sy. 4117

ngliss.)

(Oberto

glissando

(div.)

5. 6.

1. 2.

(I) glissando

3. 4.

Identify

1.-6.

1. 2.

Vc.

there.

Vl. I

over

= 120

arco (III)

Fl.

1. 2.

Klar. in B

Trp. in C

1. 2.

nl y

286

gliss.

Pos.

gliss.

al o

E-Git.

Vol. - Ped. 3

Synth. (Honky tonk)

C o. /

Akk.

l.v.

Zimbel

l.v.

1. Perk.

Gong

BB. fer

not

OM.

(III)

Vl. I 1.-4.

(IV)

Vl. II 1.-4.

pizz.

1. 2. 3. 4.

pizz.

ig ht

Va.

to.

pre

di &

Gong

5. 6.

1. 2.

Vc.

(IV)

(II)

(IV)

(III)

s.)

(Obertonglis

3 3

ngliss.)

(Oberto

3. 4. arco 3

(III)

5. 6. div.

1. 2.

(div.)

Kb.

div.

3. 4.

Sy. 4117

1. 2.

Klar. in B

Trp. in C

1. 2. 2. m.v.

gliss.

Pos.

gliss. gliss.

gliss.

al o

Fl.

Jet - whistle

nl y

290

(Slap)

E-Git.

(weißer Cluster)

Vol. - Ped.

Synth. (Honky tonk)

(Luftknopf)

„

Akk.

“

l.v.

Zimbeln

l.v.

1. Perk.

Gong

gr. Tr.

BB. fer

not

ic G

ig ht

3. 4.

Who are you to prefer?

(IV) 3

1. 2.

Pre fer? (III)

Vl. I 1.-4.

Va.

to.

Sprech. OM.

Vl. II 1.-4.

Tam-Tam

di &

pre

C o. /

gliss.

pizz.

(II)

pizz.

(III)

arco

(IV)

5. 6.

1. 2.

Vc.

ord. gliss.

s.p. (div.)

(IV)

gliss.

3 3

(IV)

s.p. (div.)

3. 4. s.p. (div.)

gliss.

5. 6. div.

1. 2.

(div.)

Kb.

div.

3. 4.

Sy. 4117

(div.) (ord.) gliss.

Fag.

1. 2.

Hr. in F

1. 2.

Pos.

nl y

295

8va

„

Akk.

al o

(Luftknopf)

“

8va

l.v.

1. Perk. Donnerblech

Tam-Tam

„Glissandi”

C o. /

OM.

Besides, I know you. I created you!

c.l.b.

1.-4.

c.l.b.

5.-8.

c.l.b.

1.-4.

8va

(II)

(III)

3. 4.

(IV)

ig ht

5. 6.

1. 2.

3. 4.

5. 6. arco 8

Kb. arco

3. 4.

Sy. 4117

scrivener. 15ma

1. 2.

the

(I)

5.-8.

1. 2.

Bartleby,

Vl. II

Vc.

are

c.l.b.

You

di &

Vl. I

Va.

l.v.

70 301

Jet - whistle

1. 2.

Fl.

(Klangfarbentriller) (für BB)

Klar. in B

Fag.

1. 2.

Hr. in F

1. 2.

Trp. in C

1. 2. 1.

Pos.

Tuba

8ba

E-Git.

Synth. (Honky tonk)

(schwarzer Cluster)

C o. /

(8va)

Tam-Tam

Tamburin

di &

1. Perk.

gr. Tr.

BB.

What

you know

OM.

I’d know you in the dark.

(15)

Vl. I 1.-4.

(8va)

Vl. II 1.-4. 1. 2. 3. 4.

ig ht

Va.

Akk.

gliss.

con sord.

al o

nl y

5. 6.

pizz.

glis

(II)

arco

1. 2.

Vc.

glis

(II)

arco

3. 4. glis

5. 6. 1. 2.

div.

gliss.

Kb. 3. 4.

pizz.

div.

pizz.

gliss.

Sy. 4117

71 306

Klar. in B

Fag.

1. 2.

Hr. in F

1. 2.

Trp. in C

1. 2.

nl y

1. 2.

m.v.

Pos.

m.v.

al o

Fl.

Jet - whistle

gliss.

m.v.

8ba

E-Git.

Tuba

C o. /

Synth. (Honky tonk)

Akk.

8ba

Tam-Tam

Perk.

di &

1. Gong

BB. ness

dark

old

man?

Dark pizz.

1.-4. Vl. I

5.-8.

pizz.

1.-4. Vl. II

ig ht

5.-8.

1.-6.

pizz.

Va.

1. 2.

Vc.

gliss.

pizz.

3. 4.

gliss.

arco pizz.

5. 6.

gliss.

s.p.

(I)

(pizz.)

1. 2.

arco

m.v.

ord.

8 8

Kb.

(III)

(pizz.)

3. 4.

gr. Tr.

gl.

ness

dark

Tam-Tam

s.p.

arco

ord. 8

Sy. 4117

Fl.

1. 2.

Fag.

1. 2.

Trp. in C

1. 2.

Jet - whistle

gliss.

al o

Pos.

nl y

311

E-Git.

gliss

Synth. (Honky tonk)

Zimbeln

l.v.

1. Perk.

m.v.

ness

owns

me,

it’s

where I

side.

OM.

gl.

s.v.

BB.

l.v.

di &

m.v.

l.v.

Donnerblech *) gl.

Tam-Tam

You’ll live where I put you.

Vl. I 1.-4.

Vl. II 1.-4.

1.-6.

Va.

C o. /

Akk.

arco

ig ht

1. 2.

gliss.

arco

Vc.

gliss. (III) arco

5. 6.

gliss.

pizz.

div.

1. 2.

pizz.

div.

3. 4.

gliss.

Kb.

arco

gliss.

*) Schlagen und durch Verbiegen „glissandieren“ Sy. 4117

arco gliss.

73 316

Fag.

1. 2.

Hr. in F

1. 2.

Trp. in C

1. 2.

1. (für BB)

nl y

1. 2.

Jet - whistle 2.

gliss.

Pos.

al o

Fl.

gliss.

Tuba

di &

Akk.

1. Perk.

Gong

Tom-Tom (mittel-gr.)

OM. my

alter

ig ht

Vl. II 1.-4.

I (auffordernd)

ego.

Vl. I 1.-4.

are

You

BB.

Behold this whiteness! arco

arco

1.-6.

1. 2.

l.v.

Vc.

C o. /

Synth. (Honky tonk)

Va.

E-Git.

3. 4.

s.p.

(I)

gliss.

s.p. (II) gliss.

s.p.

5. 6.

(IV)

gliss. s.p.

1. 2.

pizz.

gliss. 8

s.p.

Kb. 3. 4.

gliss.

pizz.

gliss.

Sy. 4117

gliss.

Fag.

1. 2.

Klar. in B

Trp. in C

1. 2.

Pos.

gliss.

al o

Fl.

nl y

321

Tuba

E-Git.

Fo C o. / 15

l.v.

(Zimbeln)

1. Perk.

Tom-Tom

BB. fer

not

pre

OM.

Vl. I 1.-4.

Vl. II 1.-4.

pizz.

ig ht

1.-6.

1. 2.

(IV)

(I)

(II)

3. 4.

(IV)

5. 6.

di &

Akk.

Vc.

Synth. (Honky tonk)

Va.

1. 2.

(div.)

pizz.

div.

(div.)

pizz.

Kb. 3. 4.

div.

Sy. 4117

gliss.

75 324

Klar. in B

Trp. in C

1. 2.

gliss.

al o

Pos.

nl y

gliss.

E-Git.

Synth. (Honky tonk)

[umschalten zu Hammond-Orgel-Sound]

8va

C o. /

Akk.

l.v.

(Zimbeln)

1. Perk.

Tom-Tom

fer

not

Sprech. OM.

BB. pre

gr. Tr.

di &

But

ig ht

(IV)

s.p.

div. s.p.

s.p.

5. 6. 1. 2.

3. 4.

div.

(div.)

div.

(div.)

Kb.

whiteness,

can

yours!

arco

(div.)

3. 4.

Vc.

pizz.

1.-6.

1. 2.

this

trem.

Vl. II 1.-4.

this,

trem.

Vl. I 1.-4.

Va.

Sy. 4117

(div.)

76 329

Jet - whistle

1. 2.

Fl.

Fag.

1. 2.

Hr. in F

1. 2.

al o

nl y

s.v.

Klar. in B

1. Trp. in C

gl.

gliss.

1. 2.

Pos.

Tuba

E-Git.

C o. /

Synth. (Hammond organ)

B.S.

di &

(8va)

Akk.

l.v.

Perk.

1. Tam - Tam

Bogen nehmen

BB.

Re move

m.v.

the “I”

m.v.

from “I don’t

mind”

gl.

and you have:

“Don’t mind”

Vl. I 1.-4.

1.-6.

Va.

ig ht

Vl. II 1.-4.

ord. pizz.

(II)

ord. pizz.

(II)

arco

Vc.

arco

3. 4.

(II)

glis

(II)

glis

1. 2.

ord. pizz.

5. 6. (III)

arco

1. 2.

pizz.

(IV)

Kb.

arco

3. 4.

pizz.

Sy. 4117

s.v.

(BARTLEBY dances offstage. OLD MELVILLE watches him go and starts to write (leise / verstäkt).)

334

Klar. in B

nl y

Trp. in C 2.

al o

gliss.

1. 2.

Pos.

Tuba

E-Git. 3

Synth. (Hammond organ)

C o. /

s.v.

di &

Akk.

l.v.

Perk. 15

1. Zimbeln

m.v.

BB. af ter all,

which,

m.v.

all you’ll need

s.v.

e ver have.

Vl. I 1.-4.

gliss.

1.-4.

Va.

ig ht

Vl. II 1.-4.

gl.

gliss.

gl.

gliss.

1.-3.

gl.

Vc.

4.-6.

gl.

arco pizz.

1. 2.

Kb. arco

3. 4.

Sy. 4117

pizz.

Fl.

1. 2.

Ob.

1. 2.

Klar. in B

nl y

339

Bklar. in B 8

Fag.

al o

1. 2.

Hr. in F

1. 2.

1. 2. 3

Trp. in C

Pos.

gliss.

C o. /

Tuba

gliss.

1. 2.

E-Git. 8

di &

Synth. (Hammond organ)

Akk.

Perk.

l.v.

ig ht

Vl. I 1.-4.

Vl. II 1.-4.

1.-4.

Va.

1.-3.

gl.

Vc.

gl.

4.-6.

1. 2.

gl.

8 8

Kb.

(IV) 8va arco

3. 4.

8va

Sy. 4117

Fl.

1. 2.

Ob.

1. 2.

Klar. in B

nl y

345

Bklar. in B a2 3

1. 2.

Fag.

3 3

1. 2.

Pos.

1. 2.

a2 3

C o. /

Tuba

E-Git. 8

di &

Synth. (Hammond organ)

Akk.

1. Perk.

ig ht

Vl. I 1.-4.

Vl. II 1.-4.

1.-4.

Va.

pizz.

arco

pizz.

arco

1.-3.

Vc.

(IV)

4.-6. arco (I)

1. 2. 8

Kb.

8va

3. 4.

1. 2.

Trp. in C

Hr. in F

al o

8va

(I)

Sy. 4117

Fl.

1. 2.

Ob.

1. 2.

Klar. in B

nl y

352

1. 2.

Fag.

1. 2.

Trp. in C

Pos.

1. 2.

Hr. in F

al o

Bklar. in B

Tuba

C o. /

E-Git. 8

Synth. (Hammond organ) 3

di &

Akk.

1. Perk.

Tam-Tam

ig ht

KnabenChor

Vl. I 1.-4.

Vl. II 1.-4.

Va.

pizz.

1.-3. 3

Vc. 4.-6.

Kb.

1.-3.

1.-4. 8

Sy. 4117

81 357

Ob.

1. 2.

Klar. in B

nl y

Fl.

1. 2.

Bklar. in B 8

Fag. 2. nimmt Kfag.

al o

1. 2.

Fag.

Trp. in C

Pos.

1. 2.

Hr. in F

Tuba

con sord.

C o. /

E-Git. 8

Synth. (Hammond organ)

di &

[umschalten: Glasharmonika]

Akk.

1. Perk.

KnabenChor

ig ht

cient

Vl. I 1.-4.

(non div.)

Vl. II 1.-4.

Va.

1.-3. arco (II)

1.-3. Vc.

(III)

4.-6. (III)

Kb.

(III)

1.-4. 8

Sy. 4117

82 (Licht aus auf Old Melville, aber man hört sein leises − verstärkt − Schreiben und sieht am Video die Weite des dunkelblau-grauen Meeres.)

rall. Fl.

Klar. in B

nl y

362

1. 2.

= 84

Bklar. in B

Trp. in C

al o

Synth. (Glasharmonika)

C o. /

Akk.

1. Perk.

di &

OM.

6 o

cean

cry

stal

waved.

KnabenChor

cean

stal

waved. genau artikulieren! - muss verständlich sein! *)

Män.T. Chor

cry

long

rall.

sad ness pas ses

breath

sad ness

= 84

yr op

o ver the dee ply moved 3

Vl. I 1.-4.

Vl. II 1.-4.

Va.

breath

ig ht

(III)

1.-3.

1.-3. Vc. 4.-6. *) = Distant Choir (aus der Ferne) / Lautstärkenangabe = das Resultat auf der Bühne! Sy. 4117

o ver the dee ply

moved

83 367

1. Perk. 2. (in der Ferne) genau artikulieren! - muss verständlich sein! s.v.

You s.v.

(in der Ferne)

call

ries

those

love

you. 3

call

the

ries

those

who

love

(in der Ferne) *)

al o

QQ. re

you.

ries

those

Pip You

who

love

Stb.

(in der Ferne)

Stubb

6 KnabenChor 6

6 soul,

lea ving

face

div.

6 soul

face

ble

cient

scars,

ble

scars,

a 3

di &

cient

C o. /

you.

(in der Ferne)

Män.Chor

nl y

Ish.

370

1. Perk.

Ish. 3

ig ht

6 KnabenChor

cean

with your har mo 3

ci ent o

cean

you are the

ni ous sphere! 3

sphere! s.v.

cean

A glance

not

s.v.

suf

cient

pass

you 3

Män.Chor

glance

not

suf

cient

com 3

s.v.

pass 3

you 3

4 glance

not

s.v.

com 3

pass 3

you 3

4 *) = Lautstärke ist das Resultat auf der Bühne!

glance Sy. 4117

not

en com

pass

you

84 (Old Melvilles Verstärkung des Schreibens wird leiser + leiser)

373

con sord.

Tuba 8ba

1. Perk.

nl y

2. 5

sym

bol

i den

(b.c.)

QQ. thou

sands

crets

of your in

mate

Pip o

cean 3

Stb. 8

cean

ent

T. Män.- 4 + 4

Chor

you

fun

C o. /

B. 4+4

per: 3

you have pro fun

Stubb

dee

o genau artikulieren! - muss verständlich sein! -

wich is

genau artikulieren! - muss verständlich sein! -

your

al o

Ish.

ties

(Old Melville hört zu Schreiben auf)

376

Bklar. in B

di &

Tuba

(8ba)

Synth. (Glasharmonika)

3 3

Akk.

8ba

1. Perk.

Pip

ig ht

the

cean

or the

man

heart?

Stb.

that soun 3

dings 3

in ac

ces si ble

Stubb soun

dings have re cog nized

in ac

ces

ble 3

6 KnabenChor

grea

test

Ce li

bates 3

6 *) = Lautstärke ist das Resultat auf der Bühne!

grea Sy. 4117

test

Ce li

bates

You

85 379

(Düsteres Licht an)

Smp. 3

Bklar. in B

nl y

Kfag.

al o

Tuba (8ba)

E-Git.

Akk.

(8ba)

Synth. (Glasharmonika)

Perk. 2. 3

(alle 3 auf der Bühne sichtbar)

Ish. An

C o. /

cient

l.v.

cean

flow

your

di &

QQ.

cient

cean

gen

cean

your gen

qui

of your qui

tle

flow

your

Stb.

4 Män.Chor

ig ht

4 B.

the so lemn

mid

won der a

lemn

KnabenChor

li 3

cient

tudes 3

tle flow

King

dom

tudes

King

dom

un fold 3

ste ri ous

o ver your sub lime

sur

face

lime

sur

face

fold

lime

sur

face

fold

lime

sur

face

fold

your

You gloo mi

and my ste

sul pont.

Genau phrasieren!

1. 2.

Genau phrasieren! sul pont.

Vc.

3. 4. 3

(div.) 8

Kb. (div.)

3. 4.

sul pont. sempre legato

5. 6. 1. 2.

Sy. 4117

7. Szene

= 88-92

(On the ship. Darkness.) (The glum Captain of the Pequod stands on deck and looks at the ocean through binoculars.)

382

Smp. 3

Bklar. in B

3 8

Kfag.

nl y

al o

Tuba (8ba)

E-Git.

[umschalten zu: Steeldrum]

Synth.

Akk.

(8ba)

C o. /

1. gr. Tr.

Perk.

Ish. jes 3

tic

de li be ra 3

QQ.

tic

jes

tic

tion

W (Why)

(sichtbar)

(stimmhaft)

(zu sich)

Ahab

tion

de li be ra

Stb.

(sichtbar)

jes

tion

Alle auf verschiedenen Plätzen im Raum („Schiff”) (sichtbar)

di &

s.v. 3

s.v.

do I re turn

your

frien 3

KnabenChor

ig ht

your

in com pa 3

dly

arms?

ra ble waves 3

= 88-92

your

sim. sempre

in com pa

ra ble wa

1. 2.

Vc.

sim. sempre

3. 4.

5. 6.

1. 2.

3. 4.

Kb.

Sy. 4117

87 385

Bklar. in B

Kfag.

nl y

Tuba

al o

(8ba)

E-Git. 8

Synth. (Steel drum)

(8ba)

Akk.

(Volume Ped.)

C o. /

1. Perk. 2. (zu sich)

Ish. O

cean

I know

not

your

sec

ret,

but:

with the qui et sense 3

that in

your

trests me

Your

ter

nal strength 3

lan

cho

ae 3

Ahab

QQ.

KnabenChor

di &

ae 3

Va.

ig ht

1.-3.

4.-6.

1. 2.

Vc.

3. 4. 5. 6. 1. 2.

3. 4.

Kb.

Sy. 4117

88 388

Bklar. in B

(beide Fagotte: Stubb begleitend)

Fag.

1. 3

Kfag.

nl y

Tuba (8ba)

al o

E-Git. 8

Synth. (Steel drum)

3 3

Akk.

m.v.

(Stubb begleitend)

(8ba)

1. Perk.

Tam-Tam

(s.v.)

Ish. S

ound 3

QQ. of

brea

Stubb 3

foam

(gut gelaunt) - zu Starbuck

Our

ae 3

(I) (II)

molto s.p.

foam

6 KnabenChor 6

king

di &

S ound (takes a deep puff on his pipe)

C o. /

u.s.w.

glissando

molto s.p.

Vl. I 1.-3.

u.s.w.

glissando

Vl. II 1.-3. molto s.p.

1.-3.

ord.

ig ht

Va.

4.-6.

ord.

1. 2.

ord. 3

5. 6.

ord. 3

Vc.

3. 4.

pizz.

Kb.

3. 4.

Sy. 4117

gl.

(slap) glis

89 391

Bklar. in B

3 8

Fag.

Kfag.

nl y

Tuba (8ba)

E-Git. 8

Synth. (Steel drum)

iss

8va

m.v.

Akk.

Perk.

2 Autobrake drums GG

C o. /

2. 3

Ish.

all

war

ning

Stubb tain

stands

**)

gliss.

foam **)

gliss.

that all

the

l.v.

di &

QQ.

al o

(slide)

foam gliss.

deck

view

ing

those espressivo

2 St.

T. 1.

B. 2.

(molto s.p.)

ig ht

Vl. I 1.-3.

(weich)

we could n’t

2 St.

see

no bo

smile

see

no bo

smile

see

no bo

smile

(weich)

could n’t 2 St.

B. 1.

3 St.

An’

T. 2. Män.Chor *)

(weich)

u.s.w. glissando

u.s.w.

(molto s.p.)

glissando

Vl. II 1.-3.

1. 2.

Vc.

3. 4.

5. 6.

(slap)

gl.

Kb.

div.

2./3. 4.

*) T. 2. = „lead“ T. 1. / B. 1. und B. 2 = kleinst besetzt **) nach unten glissandieren und gleichzeitig entsonorisieren

Sy. 4117

m.v.

90 396

Fl. 1. nimmt Picc.

1. 2.

Fl.

gl.

1. Ob.

Bklar. in B

nl y

gl.

2. 3

al o

m.v.

Kfag.

Fag.

Tuba (8ba)

m.v.

gl.

(mit Stb.!)

8va

Becken

1. tiefes Tom - Tom

Stb.

Stubb

T. 1. Lord

T. 2. 8

Män.Chor

B. 1.

B. 2.

ig ht

Don’t

be sen

ti men tal!

see

’way

down

yon

der

A could n’t see

dy smile

’way

down

yon

der

could n’t see

dy smile

’way

down

yon

der

could n’t see

dy smile

’way

down

yon

der

whales

lant

gal

gl.

(zu Stubb)

di &

Perk.

m.v.

C o. /

Akk.

m.v.

E-Git.

m.v.

s.p.

1. 2.

3. 4.

Vc.

5. 6.

gl.

Kb.

2. 3. 4.

s.p. 3

s.p.

m.v.

Sy. 4117

gl.

91 401

Bklar. in B

3 8

Tuba

nl y

(8ba)

m.v.

al o

E-Git. 8

Synth. (Steel drum)

[umschalten: Organ]

(langen, dünnen, metallenen Reibstock nehmen)

(hart)

Perk.

(2 Autobrake drums)

2. 3

QQ.

2 T. 1. our

selves,

could n’t see

our

selves,

could n’t see

our

selves,

our

no bo

Lit

tle

i ip!

no bo

we could n’t see

no bo

could n’t see

no bo

could n’t see

no bo

pray

could n’t see

no bo

could n’t see

no bo

pray

Lord!

2 B. 1.

could n’t see

Män.Chor

3 T. 2. 8

di &

Pip!

C o. /

2 B. 2.

selves,

3. 4.

Vc.

ig ht

1. 2.

5. 6.

Kb.

3. 4.

gliss.

arco

m.v.

Sy. 4117

92 rall. 405

Bklar. in B

3 8

(8ba)

m.v.

gliss.

m.v.

al o

m.v.

nl y

Tuba

m.v.

E-Git.

m.v.

gliss.

Synth. (Organ)

1. Perk.

C o. /

2. 3

3 3

gliss

QQ. your

tam

bou rine

2 T. 1. O

Lord

A couldn’t see

no bo

2 B. 1. see

no bo

down

yon

der

’way

think

’way

yon

der

yon

der

gliss.

down

yon

der

’way

gliss.

think

down

gliss.

’way

down

yon

der

’way

down

yon

der

’way

down

yon

der

’way

down

yon

der

couldn’t

gliss.

Män.Chor

gliss.

’way

3 T. 2. 8

di &

Where

2 B. 2.

ig ht

no bo

think

rall.

1. 2.

Vc.

3. 4.

Kb. 3. 4.

s.t.

5. 6.

1. 2.

Sy. 4117

ord. 3

s.t. 3

93 411

= 80

Picc. 3

m.v.

gliss.

E-Git.

Synth. (Organ)

mittel-großes

kleines 3

“

„

“

(stottert)

do don’t

don’t do

do don’t

Pip Do

„

“

mittel-großes

“

„

“

„

kleines

1. Perk.

Reibstock am Rand der Tom-Toms

al o

nl y

don’t know

kno know

don’t know where it it is

C o. /

m.v.

2 T. 1. by

our

selves m.v.

3 T. 2. selves

di &

our

Män.Chor

m.v.

2 B. 1. selves

our

m.v.

our

2 B. 2. selves

= 80

Vl. I 1.-8.

Vl. II 1.-3.

ord.

1.-3.

ord. 3

ig ht

Va.

ord.

4.-6.

ord.

1. 2.

Vc.

ord.

3. 4. 3

5. 6. 1. 2.

3. 4.

Kb.

Sy. 4117

94 416

Fag.

Kfag.

Pos.

1. 2.

nl y

1. 2.

al o

Hr. in F

Synth. (Organ)

[umschalten: E-Piano ]

Akk.

1. 3

„

Perk.

”

2. sub.

sub.

C o. /

Tom-Tom

(takes a deep puff on his pipe)

Stubb nasal

Beat your bel ly and wag your ears

(gesprochen) 3

Beat your bel ly!

Vl. II 1.-3.

1.-3.

Va.

(non div.)

ig ht

4.-6.

1. 2.

3. 4.

gliss.

(non div.)

3 3

5. 6.

3 Crew - Members

gliss.

3 3

Kb.

2. 3. 4.

is the wo o [world]

Mer ry

m.v.

wag your ears.

Vl. I 1.-8.

Vc.

Män.-Chor (Crew - Members)

m.v.

di &

(A Crew - Member) Solo

Sy. 4117

pizz.

gliss.

95 420

Picc. 1. 2. 3

1. 3

Kfag.

1. 2.

Pos.

1. 2.

C o. /

Akk.

Pauke

Perk. 2. 3

Stubb

gliss.

rah!

A Crew - Member (Solo)

ic .R

Va. 4.-6.

ig ht

1. 2.

3. 4.

5. 6.

Do you hear,

gl. 8

arco

bel ly

gliss.

3 3

Kb.

gliss.

3 3

3. 4.

gliss.

(Crew members hustle and jostle Pip and force him to play.)

1.-3.

3 3

hur

Män.-Chor (Crew - Members)

orld

glis

(snare drum)

di &

Synth. (E-Pno. )

Vc.

Hr. in F

nl y

Fag.

al o

Klar. in B

Ob.

gliss.

Sy. 4117

96 424

Picc. 3

Ob.

1. 3

Klar. in B

1. 3 3

Kfag.

1. 2.

Pos.

1. 2.

Hr. in F

a2 3

(con sord.)

C o. /

Synth. (E-Pno. )

3 3

di &

Akk. 3

Perk.

(Snare)

2. 3

3 Crew - Members

Strike

(Zimbeln)

(Becken)

(Snare)

(ord.)

(Becken)

(Snare)

3 3

Bang it Pip!

the bell!

Bang it Pip!

6 Crew - Members

Yeah!

3 Crew - Members

3 3

Make fi

re flies!

Vl. I 1.-8.

(ord.)

Vl. II 1.-8.

Va.

Vc.

1.-6.

1.-6. 3

Kb.

1.-4.

(ausrufend)

Bell!

boy?

3 3

ig ht

Män.-Chor (Crew - Members)

senza sord.

Tuba

Fag.

nl y

Bklar. in B

al o

Sy. 4117

rall. 428

Klar. in B

= 72-76

(A crew-member gives Pip a tambourine)

lunga

1. 3

Bklar. in B

3 8

nl y

Fag.

3 3

Kfag.

al o

(ab hier) lunga a2

Hr. in F

1. 2.

Pos.

1. 2.

Tuba 3

(bleibt)

8ba

Synth. (E-Pno. )

(bleibt ab hier

C o. /

lunga

Akk.

lunga

di &

2. 3

QQ. (Pip Verstärkung OFF)

s. glis

Män.Chor

Break the jin 3

glers!

1., 2. 3., 4.

4 B.

glers!

Break the jin

4 T.

= 72-76

lunga

ig ht

Vl. I 1.-8.

rall.

Vl. II 1.-8.

non div.

1.-3.

Va.

non div.

4.-6.

Vc.

non div.

1.-6. div. 3

1. 2.

3. 4.

Kb.

lunga 3

lunga

Pip

(vibrati ad libitum)

(schlägt das kleine Tamburin gegen sein Knie)

lunga

Tamburin

)

8ba

1. Perk.

lunga

div. 3

Sy. 4117

The

98 432

Bklar. in B

3 8

Kfag.

nl y

al o

Tuba (8ba)

Verzerrer (nur leicht): ON (slide)

gliss. 3

gliss.

E-Git.

m.v.

Synth. (E-Pno. )

C o. /

Akk.

(8ba)

di &

Tamburin + tiefes Tom-Tom (Daumenwirbel) T.-T.

1. Perk. Gongs

(Hartfilz)

ic .R

QQ.

3 3

dark,

Pip (Tamb.)

ig ht

Vl. I 1.-8.

Vl. II 1.-8.

1.-3.

Va.

4.-6.

1.-6.

1. 2.

3. 4.

pitch

sky

Vc.

Kb.

Sy. 4117

s.v.

dark

99 s.v.

435

Fl.

gl.

2. s.v.

Klar. in B

gl.

Bklar. in B

1. 3

Kfag.

al o

Fag.

nl y

s.v.

con

s.v.

nimmt kl. Trompete con

con

1. con

m.v.

1. 2.

gl. gl.

Pos.

gl.

Trp. in C

Tuba (8ba)

Verzerrer: OFF

C o. /

gliss.

E-Git.

di &

Synth. (E-Pno. )

Akk.

Becken

(Tamburin) *)

(8ba)

Perk.

1. 3

Tamburin

Tom-Tom

QQ.

Tamburin

gr. Tom-Tom

gr. Tr.

2 Tom-Toms

very where

Stb.

ig ht

Pip (Tamb.)

Black

m.v.

s.v.

(rauh und derb)

like Pip!

Stubb

bla

ack

lings

are the

You

1.-3.

Va.

4.-6.

Vc.

pizz. gl.

1. 1. 2.

3. 4.

gl.

gliss.

Kb.

*) Perk. 1. und 2.: Tamburine immer gleich laut wie das (unverstärkte) Tamburin von Pip. Sy. 4117

gl.

m.v.

gl.

100 439

Bklar. in B

3 8

Fag.

1. 3

nl y

Kfag.

al o

Tuba

(8ba)

Synth. (E-Pno. )

C o. /

Akk.

1. Perk.

di &

Stubb ark

side

kind.

Pip (Tamb.)

1.-4. Vl. I

5.-8.

1.-4. Vl. II

ig ht

5.-8.

1.-3.

Va.

4.-6.

gliss.

gl.

Vc.

gl. 2./3.

2. 3. 1. 2.

3. 4.

Kb.

Sy. 4117

arco

101 444

Bklar. in B

Kfag.

nl y

Tuba

al o

(8ba)

Synth. (E-Pno. )

1. Perk.

C o. /

Akk.

Ish.

Pip (Tamb.)

1.-4. Vl. I

5.-8.

1.-4. Vl. II

ig ht

5.-8.

1.-3.

Va.

4.-6.

1.-3.

Vc.

4.-6. 1. 2.

let

Knaben16 Chor

(hart)

s.v.

boy,

di &

Poor

Kb. 3. 4.

Sy. 4117

think

him

be!

our

102

*) lunga

448

Fl.

Klar. in B

Bklar. in B

Fag.

nl y

1. 3 3

al o

Kfag.

lunga

1. 2.

Hr. in F

(1.: senza sord.)

1. 2.

Pos.

Tuba lunga

Synth. (E-Pno. )

C o. /

lunga

Akk.

lunga

di &

Reibstock

1. Perk.

lunga

(Tamb.)

lunga

(rauh und derb)

Stubb teases Pip and grabs hold of him

Stubb (div.)

our

hood

lunga

left

far

skin,

(schubst Pip)

pale

face.

far

hind.

1.-4.

child

White

lunga

Knaben16 Chor

Nach dem Schubser von Stubb: (läßt das Tamburin fallen)

(schüttelt es unregelmäßig, während er von Stubb festgehalten wird)

Pip

Reibstock

Vl. I

ig ht

5.-8. 1.-4.

Vl. II

5.-8.

1.-3.

Va.

4.-6.

Vc. 1.-6. 1. 2.

3 8

Kb.

3. 4. *) = alle übergebundenen Töne bleiben lange liegen

Sy. 4117

103 (Suddenly AHAB reacts and calls down from the deck to the group.)

sub

453

Fag.

= 88

Kfag.

nl y

Tuba

Synth. (E-Pno. )

al o

(8ba)

[umschalten zu: Organ]

s.v.

di &

Perk.

C o. /

Akk.

„ “

Lord

Pip

Tom-Tom (Rand)

(s.v.)

Ahab

ly!

Ho ly!

(leicht)

That

bliss fu

Knaben8 Chor

he’s

Hands o ff

s.v.

ig ht

Vl. I

5.-8.

1.-4.

Vl. II

5.-8.

*) = Dürfen Ahabs Falsett nicth überdecken!

and

cent state

sub

1.-4.

Kb.

Sy. 4117

= 88

„

help

“

such

104 458

Synth. (Organ)

kleines Tom-Tom (Rand)

nl y

m.-gr. Tom-Tom (Rand)

1. “ „

“

„

“

„

“

gr. Tr. (Rand)

al o

„

Perk. 2.

„

“

„ “

„

“ 3

lies!

They

swore

to hi

they’d hunt the white

whale!

Jol

Pip

KnabenChor

Vl. I 1.-3.

1.-3.

Vc.

1.-3.

di &

Va.

C o. /

Vl. II 1.-3.

462

Synth. (Organ)

kleines Tom-Tom (Rand)

1. “ „ “

„

Perk.

m.-gr. Tom-Tom (Rand) „

Tom-Tom (Rand)

2. “

„ “

ig ht

Pip

„

gr. Tr. (Rand)

„

4 Stimmen

The sound so ex ac 4 Stimmen

sound

tly

re called

our

tly

called

Vl. I 1.-3.

Vl. II 1.-3.

Va.

1.-3.

Vc.

1.-3.

Sy. 4117

„

“

„ “

mind 3

KnabenChor

“

„ “

„

“

mind

„

“„

“ „ “

105 466

Synth. (Organ)

kl. Tom-Tom (Rand)

Perk.

nl y

„

Snaredrum (Rand)

al o

„

3 3

Pip you big

white

god

loft

dark

ness,

(rauh singen)

pen cil

that

squea

KnabenChor

gl.

eaks

Synth. (Organ)

469

ig ht 3

mer

“

gr. Tr. „

this

small

boy

down

here.

8va

Vl. I 1.-3.

„

Perk. 2.

m. gr. Tom-Tom

Pip

3 8va

Vl. II 1.-3. 3

Va.

1.-3. 3

Vc.

di &

1.-3.

eaks

Vl. II 1.-3.

Vc.

C o. /

Vl. I 1.-3.

1.-3.

gl.

squea

Va.

slate

(rauh singen)

have

Oh,

1.-3.

Sy. 4117

“

„

“

slate

“

106 473

[umschalten: Glasharmonika]

Synth. (Organ)

3 3

12 with the

snark

Knaben6 Chor

ev’

ri ous fight:

we serve

de li

night

6 ry

night

ous

Vl. I 1.-3. 3 3

Vl. II 1.-3. 3

Va.

greens

ev’

ous

it with

al o

en gage

nl y

(luftig / leicht)

1.-3.

Vc.

C o. /

1.-3.

477

di &

Smp.

(Old Melville sits at his desk.)

(Light on him.)

OM.

Sample 8

sha do

scenes,

Knaben6 Chor

those

Synth. (Glasharmonika)

And

we use

for stri

king the

light

sha

dow

And

we use

for stri

king the

light

sha

dow

And

we use

for stri

king the

light

ig ht

482

Smp.

(frei gesprochen)

OM.

surrounded

death.

happens

everyone,

Vl. I 1.-3.

Vl. II 1.-3.

Vc.

1.-3.

Sy. 4117

all

the

time.

Some

people

try

not

notice.

Not

107 486

Smp.

6 e

ver

meet with

a Boo

jum

KnabenChor

one day,

we shall sof tly and sud den ly va nish a 3

ver

Boo

al o

nl y

But if we

sud den ly va nish a

jum

flaut.

15ma

s.p.

Vl. I 1.-3.

s.v. (ord

s.p. ad libitum)

8va

(III)

Vl. II 1.-3.

1.-3.

C o. /

Vc.

(Lautstärke an Sprecher anpassen)

di &

490

Smp.

(He waves his hand over the many books on his desk.)

And the no

12 Stimmen

way

KnabenChor

way

And the no

(kleine Intonationsschwankungen

ig ht

(15)

tion

can

not

tion

we can

(frei gesprochen) What is man’s place in the universe?

12 Stimmen

OM.

I pass my hand over these tomes and always, they engender quiet, amicable thoughts.

dure

not

molto flaut / s.p.

dure

s.v. ad libitum)

Vl. I 1.-3.

(8va)

Vl. II 1.-3.

(kleine cresc. ad lib.) molto flaut. / s.p. 8va

(I)

Va.

1.-3.

Vc.

1.-3. (kleine cresc. ad lib.) Sy. 4117

108

= 44 495

≈ 55’’ Smp.

al o

Kfag.

nl y

Fag.

nach: “meaning of life?”

s.v.

OM.

I lacked absolute faith in God’s plan for creation - so wrote a critic enraged by Moby Dick.

Whoever talks about God is a liar, I would have answered him. Mad, absurd, high handed capriciousness - what sort of plan is that? If Leviathan is the answer, then one must seek it in the great silence, in the unformed, in the boundlessness of the oceans, in the casual cruelty of Creation. What is greater

di &

Am I but an outcast who rebels no more? Nothing I ever put my hand to was successful. Silent and solitary, I drifted through life like a castaway on the immenseness of the sea, incapable of seizing what for others were strokes of good fortune. Whoever says “yes” is a liar. But whoever says “no” transgresses boundaries with nothing in his baggage but his own self. Am I God’s enormous laughter in reply to the question. What’s the meaning of life? But whoever accepts life is unavoidably guilty. – Kfag.

C o. /

Akk.

(15)

(senza Trem.)

Vl. II 1.-3.

(8va)

ig ht

1.-3.

Va.

(Trem.)

Vl. I 1.-3.

= 44

1.-3.

Vc.

molto s.p. / flaut. (I) (II)

1. 2.

sim.

(immer: gleich laut wie Flöten!)

Kb.

molto s.p. / flaut. (II) (III)

3. 4. 8

Sy. 4117

sim. (immer: gleich laut wie Flöten!)

109 497

Smp.

nl y

Fl.

Bklar. in B

m.v. (lento)

di &

s.v.

kl. Trp. 1. in B

s.v.

C o. /

Kfag.

Fag.

m.v. (veloce)

Klar. in B

al o

(bisbigl.)

Akk.

OM.

(15)

ig ht

Vl. I 1.-3.

than Leviathan? The sea, the eternal, the void, nothingness? I’ve spent my whole life in seeking. We are confused and crippled by the invisible. It is God’s silence and yields no answers. Leviathan remains a mystery. But unless left in peace, it brings Death. This is what I learned: Creation is

(8va)

Vl. II 1.-3.

(8va)

1.-3.

Vc.

1.-3.

Va.

1. 2.

sim.

Kb. 3. 4. 8

sim. Sy. 4117

110 500

Smp.

nl y

Fl.

Bklar. in B

C o. /

Kfag.

Fag.

Klar. in B

al o

s.v.

di &

kl. Trp. 1. in B

Akk.

OM.

(15)

ig ht

Vl. I 1.-3.

evil and cruel and indifferent beyond human comprehension. The terrors fate holds in store can destroy you, crush you, yet remain as innocent as the first day of Creation. But what is the unknown? Is it fate, providence? Is it God? Is it madness, death - or is it art? How close must

(8va)

Vl. II 1.-3.

(8va)

1.-3.

Vc.

1.-3.

Va.

1. 2. 8

sim.

Kb. 3. 4. 8

sim. Sy. 4117

111 503

Smp.

nl y

Fl.

Bklar. in B

C o. /

Kfag.

Fag.

Klar. in B

al o

kl. Trp. 1. in B

di &

Akk.

OM.

(15)

ig ht

Vl. I 1.-3.

one get to it to decipher the secret of life? - For the rootless wanderer, the universal stranger, departure also meant banishment, the road into exile. And when

(8va)

Vl. II 1.-3.

(8va)

1.-3.

Vc.

1.-3.

Va.

1. 2. 8

sim.

Kb. 3. 4. 8

sim. Sy. 4117

112 506

Smp.

nl y

Fl.

Bklar. in B

1. 3

Kfag.

s.v.

kl. Trp. 1. in B

C o. /

Fag.

Klar. in B

al o

di &

Akk.

OM.

I returned to land, I measured things with a different yardstick than the stay-at-homes do. Exile is the homeland of the restless. The pompous asses who’ve never

(15)

Vl. I 1.-3. (8va)

ig ht

(Tremolo)

Vl. II 1.-3.

(8va)

1.-3.

Vc.

1.-3.

Va.

1. 2. 8

sim.

Kb. 3. 4.

Sy. 4117

113 509

Smp.

nl y

Fl.

1. 3

Bklar. in B

1. 3

Kfag.

Fag.

Klar. in B

al o

C o. /

kl. Trp. 1. in B

di &

Akk.

Becken

Perk.

1. Tam-Tam

OM.

been anywhere and have their tedious tales hailed as masterpieces - what do they know of an infinity where you can lose your mind? How can one begin a work

(15)

(8va)

Vl. I 1.-3. (Tremolo)

ig ht

Vl. II 1.-3.

(8va)

1.-3.

Va.

4.-6.

1.-3.

Vc.

non div.

4.-6. 1. 2. Kb.

sim.

3. 4.

sim. Sy. 4117

114 512

Smp. a2

1. 2.

Fl.

Ob. Klar. in B

nl y

1. 2.

Bklar. in B

al o

Fag. m.v. (lento)

Kfag.

s.v.

Pos.

1. 2.

Trp. in C

kl. Trp. 1. in B

Tuba

C o. /

8ba

di &

Synth. (E-Pno. )

Akk.

1. Perk.

OM.

without a departure? How can one probe the unknown without having been underway? In search of sign of life, I must again and again cross the blackened lava fields of the Encantadas. 1.-3.

ord. 8va

(15)

1.-8.

Vl. I 1.-8. 1.-3.

1.-3.

(8va)

1.-4. ord.

8va

ig ht

Vl. II

5.-8.

(8va)

ord.

1.-3.

Va.

4.-6. 3

ord.

1.-3.

Vc. 4.-6. 1. 2.

Kb.

sim. ord.

3. 4.

Sy. 4117

115 515

(Holz und Blech: unmerklich neu atmen)

Smp.

a2 lunga

1. 2.

Fl.

Ob. 2.

Klar. in B

al o

nimmt Kl. in Es

nimmt Kl. in B

Bklar. in B

Kfag.

1. 2.

Hr. in F

Fag.

nl y

Trp. in C

Pos.

1. 2.

C o. /

kl. Trp. 1. in B

Tuba

(senza sord.)

di &

(8ba)

senza sord.

Synth. (E-Pno. )

lunga

sempre legato

Akk.

sempre legato 8

l.v.

1. 2.

lunga

ig ht

(8va)

l.v.

Perk.

lunga

Vl. I 1.-8.

(8va)

1.-4. 5.-8.

Vl. II

div.

8va

1.-3.

Va.

4.-6. 3

(I)

1.-3. (Tremolo)

Vc.

(I)

4.-6. div.

Kb.

1./2. 3./4.

(Tremolo)

I 1.-4.

8 8

Sy. 4117

8va

116

Part II Water II - The Blue Sea (Video) = 46

1. 2.

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

Kfag.

1. 2.

Hr. in F

al o

Fl.

nl y

520

Pos.

1. 2.

Trp. in C

kl. Trp. 1. in B

Tuba

V V

E-Git. 3

V V

di &

Synth. (E-Pno. )

Akk.

VII

C o. /

VII

(sehr dünn)

Triangel

= 46

15ma

8va

ig ht *) II

(sehr dünn)

Triangel

1. Perk.

III

15ma

8va

15ma

III

Vl. I 1.-8.

III

8va

III

Vl. II 1.-8.

Va.

(8va)

I II

III

1.-6. II

III

3 3

1.-6. *) I

Kb.

*) 3

Vc.

II III

III

II I

III

1.-4. 8

*) = Absichtlich so hoch gegriffen! Muss fragil klingen. Sy. 4117

117

8. Szene Sample 9

523

Stimme eines Knaben (recorded)

Smp.

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

Kfag.

1. 2.

Hr. in F

al o

1. 2.

Fl.

nl y

When gliding by the Bashee Isles we finally emerged at the great South Sea.

Pos.

1. 2.

Trp. in C

kl. Trp. 1. in B

VII 3

VII

C o. /

Tuba V

VII

E-Git.

V V

di &

Synth. (E-Pno. )

Akk.

2. (8va)

Perk.

8va

ig ht

III

15ma

8va

15ma

III

15ma

8va

15ma

III

Vl. I 1.-8.

(8va)

III

Vl. II 1.-8.

(8va)

Va.

III

1.-6. 3

III

I III

III

1.-6. II I

Kb.

I II

Vc.

III

1.-4. 8

Sy. 4117

118 526

Smp.

1. 2.

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

Kfag.

1. 2.

Hr. in F

al o

Fl.

nl y

Here are sea-pastures and wide-rolling watery prairies. The waves rise and fall, ebb and flow; millions of mixed shades and shadows, drowned dreams, reveries.

Pos.

1. 2.

Trp. in C

kl. Trp. 1. in B

Tuba

VII

V V 2

E-Git. 3

V V

Synth. (E-Pno. )

Akk.

VII

di &

C o. /

VII

l.v.

Perk.

l.v.

8va

(15)

ig ht

III

15ma

8va

15ma

III

Vl. I 1.-8.

(8va)

III

Vl. II 1.-8.

Va.

(8va)

I III

1.-6. 3

III

1.-6. II

Kb.

Vc.

III

1.-4. 8

Sy. 4117

119 529

Smp. 1. 2.

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

Kfag.

Hr. in F

al o

Fl.

nl y

Lives and souls lie dreaming. The ever-rolling waves are like our restlessness. This is the mysterious, divine Pacific. The tide-beating heart of earth.

1. 2.

Pos.

1. 2.

Tuba VII 3

VII

E-Git. 3

di &

Synth. (E-Pno. )

Akk.

C o. /

V V

Trp. in C

kl. Trp. 1. in B

1. Perk.

Ish.

15ma

(8va)

Tam-Tam

s.v.

the

wish

of my youth

8va

15ma

8va

has been ans wered; the se rene o cean rolls

now

ig ht

For

(ausatmend)

Tam-Tam

III

15ma

III

Vl. I 1.-8.

(8va)

III

Vl. II 1.-8.

Va.

III

1.-6. 3

III

I III

1.-6. II II

Kb.

Vc.

(8va)

III

1.-4. 8

Sy. 4117

120 532

Smp.

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

Kfag.

1. 2.

Hr. in F

al o

Fl.

nl y

Fl. 1 nimmt Picc.

1. 2.

2. VII 3

VII

E-Git. 3

di &

Synth. (E-Pno. )

Akk.

C o. /

Trp. in C

kl. Trp. 1. in B

1. Perk.

Ish. east wards from me

a thou sand leagues of

There is a sweet

15ma

8va

blue.

8va

III

ig ht

ste

a bout this

15ma

8va

15ma

III

Vl. I 1.-8.

(8va)

III

Vl. II 1.-8.

1.-6. 3

I III

1.-6. II I

Kb.

III

Vc.

(8va)

Va.

III

1.-4. 8

Sy. 4117

121 (The part of the stage where OLD MELVILLE sits, goes dark) 535

Smp. VII V

VII

V 2

V V

E-Git. 3

al o

Synth. (E-Pno. )

Akk.

nl y

Perk.

C o. /

Ish.

di &

sea.

(immer unmerklich neu atmen)

KnabenChor

by 8va

(15)

15ma

III

8va

ig ht

Vl. I 1.-8.

(8va)

Vl. II 1.-8.

(8va)

III

1.-6. 3

Va.

Vc.

III

1.-6. II

Kb.

III

1.-4. 8

Sy. 4117

122 (The Whiteness slowly returns to reveal CAPTAIN AHAB standing on the deck of the Pequod.)

538

Smp.

VII 3

VII

V V

VII

al o

nl y

E-Git.

E-Pno

Akk. 3

Triangel

C o. /

l.v.

1. Perk.

l.v.

Triangel

di &

a 6

KnabenChor 3

6 3

ig ht

Vl. I 1.-8.

(8va)

(Tremolo)

Vl. II 1.-8.

(8va)

1.-6.

Va.

Vc.

1.-6.

(Tremolo)

Kb.

1.-4. 8

Sy. 4117

123 ≈15’’

542

= 96 („frei“ im Tempo: = Solo!)

E-Git. 8

Synth. (E-Pno. )

Akk.

nl y

al o

Perk. 2. (Looking at the head of a dead whale)

Ahab

(8va)

di &

≈15’’

Vl. I 1.-8.

Vl. II 1.-8.

1.-4.

= 96 („frei“ im Tempo: = Solo!)

Kb.

for e ve ry

1.-6.

storm

(8va)

Vc.

(8va)

1.-6.

by storms

C o. /

KnabenChor

Va.

crossed

Calms

„frei“ 548

ig ht

Ahab

(öffnen)

ca(l)

552

Black lunga

Black

you are,

hoo

ded head

head

the

(herausfordernd)

s.v.

Ahab

idst

of a 3

556

Speak,

calm.

migh

head

and tell

your

cret.

s.v.

gl.

Ahab

You

have

ved

the

dee

pest

sea

dee

pest

sea.

There

s.v.

ful

wa a

a ter land,

was

(krächzend)

(verzweifelt) 561

in the aw

. gliss

Ahab 3

your

most

*) Akzente immer sehr stark (Zwerchfellstoß).

li ar home.

O hea Sy. 4117

ead

You

have

seen

e nou

124 rall.

566 8

= 84

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

al o

Fl.

nl y

Picc.

Kfag.

sempre

1. Hr. in F

Trp. in C

C o. /

kl. Trp. 1. in B 2.

1. 2.

Pos.

(con sord.)

di &

Tuba

Akk.

kleines Tom-Tom

Perk.

ig ht

Stubb

Vibraphon

(STUBB and STARBUCK approach CAPTAIN AHAB.)

Ahab

spli i

pla

nets!

rall.

= 84

Vl. I 1.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4. 8

Sy. 4117

m.v.

m.v. m.v.

m.v.

125 570

Picc.

Fl.

Ob.

1. 2.

nl y

Klar. in B

Fag.

Kfag.

Klar. in Es

al o

sub.

Hr. in F 2. m.v.

m.v.

kl. Trp. 1. in B Trp. in C

2. m.v.

Pos.

m.v. m.v.

1. 2. m.v.

m.v.

sub. m.v.

m.v.

Tuba

m.v.

di &

m.v.

C o. /

m.v.

Akk.

Perk.

ig ht

Stubb

(a)le

is dead

Five

The wha

Vl. I 1.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4. 8

Sy. 4117

hun

dred

126 574 8

Picc.

Klar. in Es

Klar. in B

Fag.

Kfag.

nl y

1. 2.

al o

Ob.

Fl.

Hr. in F 2. m.v.

m.v.

Trp. in C

2. m.v.

m.v.

di &

1. 2.

Pos.

C o. /

kl. Trp. 1. in B

m.v.

Tuba

Akk.

Perk.

ig ht

Stb.

(to Ahab) - nüchtern 3

He’s

Stubb

lons

spe

e erm!

Vl. I 1.-8.

(non div.)

Vl. II 1.-8. (non div.)

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4. 8

Sy. 4117

dead

Sir!

127 (AHAB assembles his crew in front of him. Among them are ISHMAELA and QUEEQUEG. Also present are STARBUCK, the First Mate; STUBB, the Second Mate; and PIP, the Cabin Boy.)

Klar. in B

Fag.

Kfag.

al o

1. 2.

Hr. in F

1. 2.

Zimbeln

di &

Tuba

Pos.

C o. /

kl. Trp. 1. in B

Trp. in C

Perk. Zimbeln

(angewidert) 5

Ahab

but he is not

Mo by Dick.

Not yet.

Yes

Vl. I 1.-8. s.p.

ig ht

Vl. II 1.-8.

s.p.

ord.

1.-3.

Va.

s.p.

4.-6.

Vc.

c.l.b.

1.-6. c.l.b.

1. 2.

Kb. c.l.b.

3. 4.

nl y

577

Klar. in Es

Sy. 4117

128 582 8

Klar. in Es

Klar. in B

Fag.

Kfag.

1. 2.

kl. Trp. 1. in B

Pos.

di &

Trp. in C

C o. /

Hr. in F

al o

1. 2.

Ob.

Fl.

nl y

Picc.

Tuba

1.-4. Vl. I

ig ht

5.-8.

ord.

1.-4.

Vl. II

ord.

5.-8.

Va.

div. 3

div.

Vc.

1.-3. 4.-6.

1.-3. 4.-6. div.

Kb.

1.-3. 4.-6.

1./2. 3./4.

Sy. 4117

129

sub. poco più lento

587 8

= 76

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

al o

Fl.

nl y

Picc.

1. 2.

(shake)

kl. Trp. 1. in B Trp. in C

Hr. in F

Kfag.

2. 3

Pos. 3

E-Git.

Tam-Tam (am Rand)

(gerieben)

Gong

(eindringlich) 3

Where

murd’

rers

sub. poco più lento

= 76

(non div.)

1.-4.

Vl. II

5.-8.

Vc.

1.-3. 4.-6.

Kb.

1./2. 3./4.

s.v.

gl.

5.-8.

1.-3. 4.-6.

1.-4.

Va.

ig ht

Ahab

Gong G

(gerieben)

Vl. I

3 3

Akk.

Perk.

di &

Tuba

C o. /

Sy. 4117

(div.)

pizz.

1.-4.

pizz.

go,

men?

130 591

1. 2.

Klar. in Es

Klar. in B

Fag.

nl y

Ob.

Kfag.

1. 3

Hr. in F

al o

Pos. 3

2. Tuba

8ba

m.v.

C o. /

2 3

E-Git.

di &

Synth. (E-Pno. )

1. 3

Perk.

Akk.

Stahlfeder

Donnerblech

Ahab

Who’s

to doom,

when

glissando

the

judge

s.v.

div.

1.-4. 5.-8.

pizz.

div.

1.-3. 4.-6.

Va.

1.-3.

Vc.

him

div.

ig ht

1.-4. Vl. I 5.-8.

Vl. II

4.-6. 1. 2.

Kb.

arco

3. 4.

Sy. 4117

131 595

1. 2.

Ob. Klar. in Es

Klar. in B

Fag.

1. s.v.

Kfag.

al o

1. Hr. in F

Pos. 2.

Tuba 8ba

C o. /

E-Git. 8

di &

Synth. (E-Pno. )

Akk.

Becken - Kuppe

ic .R

1. Perk.

self

Ahab

is dragged

ig ht

s.v.

the

bar?

What do ye do

s.v.

1.-4. 5.-8.

Va.

1.-3. 4.-6.

Vl. II

1.-4. 5.-8.

s.v.

1.-3. 3

Vc.

1. 2.

3. 4.

arco gliss. 3

4.-6.

Kb.

viel Luft dazu 3

Metallblock

Vl. I

nl y

s.v.

Sy. 4117

132

600 8

Picc.

6 8va

Fl.

8va

Klar. in Es

6 3

1. 3 3

Klar. in B

2. 3

nl y

s.v.

1. 3

s.v.

Kfag.

al o

Fag.

1. 2.

m.v.

kl. Trp. 1. in B

m.v. 3

m.v.

Trp. in C

Hr. in F

m.v.

Pos.

1. 2.

Tuba E-Git. 3

3 3

Synth. (E-Pno. )

Akk. Stahlfeder

Becken Kuppe

ord.

1. 3

di &

Perk. 2.

C o. /

sing out

Stubb

for

him!

sing out

for

him!

sing out

m.v.

him! 3

sing out

Stb.

Pip

Zimbel

QQ.

sing out

Ish.

Zimbel

[umschalten: Steeldrum]

(pseudo - sanft gesprochen)

gliss.

Ahab

whale,

men?

ig ht

when ye see

sing out

for

Good!

8 T.

Crew Chor

him!

8 B.

sing out

(div.)

1.-4. 5.-8.

Vl. I

Vl. II

1.-4. 5.-8.

Va.

1.-3. 4.-6.

(div.)

arco

s.p.

pizz.

1.-3. 3

Vc.

pizz.

s.p.

4.-6. arco

Kb.

1./2. 3./4.

1.-4.

gl.

div. gl.

1./2. 3./4.

(div.)

Sy. 4117

s.p.

What do ye

133 605 8

Picc.

(8va)

Fl.

Klar. in Es

Klar. in B

Fag.

nl y

(8va)

al o

Kfag.

1. 2.

Hr. in F

C o. /

Tuba

1. 2.

Pos.

E-Git. 8

di &

Akk.

1. Perk.

Vibraphon

Gong

Ish.

QQ.

Stb. 8

ig ht

Ahab

next,

men?

gut artikuliert (gesprochen)

gl.

8 T.

Lo wer a way

Crew Chor

and af

(gesprochen)

ter him! 3

8 B. af

1.-3. Vc. 4.-6.

Kb.

1./2. 3./4.

div. 8

Sy. 4117

ter him!

134 609

Klar. in B

Fag.

Kfag.

nl y

Pos.

1. 2.

Hr. in F

al o

Tuba

E-Git.

C o. /

Akk.

gliss.

Ahab tune

is it

pull

to,

men?

8va

And what

1.-4.

Vl. I

5.-8.

ig ht

1.-4. Vl. II

5.-8.

div. 1.-3.

1.-6.

4.-6.

Va.

ord.

1.-3.

Vc.

ord.

4.-6.

1.-4.

Kb.

1.-4.

Tam-Tam

di &

Perk.

ord.

Sy. 4117

8va

135 *) lunga

613

Klar. in B

2. 3

Fag.

1. 3

Kfag.

Hr. in F

nl y

lunga

1. 2.

Pos.

1. 2.

Trp. in C

al o

kl. Trp. 1. in B

lunga

Tuba

Akk.

kl. Tom-Tom

lunga

C o. /

1. Perk. 2. s.v.

Ish.

(verführerisch) 3

D’ ye see this?

QQ. dead

whale

s.v.

Pip

whale

s.v.

Stb. dead

whale

s.v.

Stubb

6 T.

6 B.

lunga

dead

whale

dead

Crew Chor

di &

whale s.v.

whale 3

stove

boat!

ig ht

lunga

1.-4.

Vl. I

5.-8.

Vl. II II

Kb.

1.-4.

pizz.

*) = alle gehaltenen Töne bleiben in der Fermate liegen

Sy. 4117

glissando

5.-8. 1./2. 3./4.

glissando

1.-4.

div.

lunga 3

136 616 8

sub.

= 84

Picc.

8va

Fl.

2. 8va

Klar. in B

Fag.

1. 3 3

Kfag.

1. 2.

kl. Trp. 1. in B

Hr. in F

nl y

al o

Klar. in Es

Pos.

1. 2.

3 3

Trp. in C

Stahlfeder (auf verschiedenen Stellen)

Zimbel

Woodblock

1. 3

Perk.

Snare-Drum

di &

C o. /

Tuba

3 3

Ish.

G 4 T. 8

ig ht

Crew Chor

a 3

rai ses

rai ses 3

the 8

a 3

1.-4. (IV)

Vl. II 1.-4.

Va.

div.

= 84 1.-3. 4.-6.

iss. 3

1.-3. 4.-6. (non div.)

1.-3. 3

Vc. 4.-6. arco

Kb.

1.-4.

Sy. 4117

whale,

tongl

Ober

white 3

4 B.

sub.

white 3

Who e ver rai ses

(holds up a huge packet of money)

Ahab

rim rim shot Rand shot Rand

Pip

QQ.

white

whale,

137 621 8

Picc.

3 (8va)

Fl.

2. 3 (8va)

1. 3

Kfag.

nl y

Klar. in Es

al o

Tuba

E-Git.

Perk.

1. (ord.)

C o. /

Pip whale

gliss.

di &

Ahab shall

12 T. white

Crew Chor

have

12 B.

white

1.-4.

Vl. I

5.-8.

1.-4.

ig ht

Vl. II 5.-8.

1.-3.

Va.

4.-6.

1.-3. Vc. 4.-6.

Kb.

1.-4.

Sy. 4117

this

cket,

138 624 8

Picc.

Fl.

2. 8va

Kfag.

al o

Klar. in Es

nl y

8va

E-Git. 3

Tuba

C o. /

1. Perk. 2.

s.v.

(Shakes the huge packet of money right in their faces)

Ahab boys! 8va

gliss.

8va

gliss.

8va

di &

m.v.

1.-4.

Vl. I

gliss.

5.-8.

gliss.

1.-4.

Vl. II

ig ht

5.-8.

1.-3.

Va.

4.-6.

1.-3.

Vc. 4.-6.

Kb.

1.-4.

Sy. 4117

139 626 8

Picc.

3 3

8va

Fl.

2. 3

Klar. in Es

Hr. in F

1. 2.

nl y

8va

al o

kl. Trp. 1. in B

3 3

2. 3

1. 2.

Pos.

C o. /

Tuba

Synth. (Steeldrum)

(s.v.)

s.v.

White

whale.

ig ht

It’s a white whale, I say. pizz.

1.-3.

pizz.

4.-6.

pizz.

1.-3.

Vc.

pizz.

4.-6. pizz.

1. 2.

Kb. 3. 4.

Sy. 4117

G G

Ahab

(harter Filzschlägel)

Auto-Brakes

(mit Nachdruck)

(gleich laut wie Schlagwerk)

Perk.

QQ.

Gong

Akk.

di &

(s.v.)

s.v.

Va.

Trp. in C

3 5

has one,

two,

140 630 8

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

Kfag.

al o

Fl.

nl y

Picc.

Synth. (Steeldrum)

sub.

2. 3

QQ. three,

oh,

rons in

him

Stb.

ic .R

Vl. I

5.-8.

1.-4. Vl. II

Cap ord.

s.p.

ord.

s.p.

ord.

s.p.

ord.

ig ht

5.-8. ord.

arco s.p.

1.-3.

Va.

s.p.

ord.

arco

4.-6. s.p.

ord.

1.-3. Vc.

sub.

8va

s.p.

1.-4.

sub.

too!

sub.

di &

gliss. 3

C o. /

Perk.

s.p.

ord.

arco s.p.

ord.

4.-6.

1.-4.

[umschalten: E-Piano ]

sub.

Kb.

Sy. 4117

8va

tain,

was it not

141 635 8

Picc. 3

Fl.

2. 3

nl y

al o

Ob. 3

Klar. in Es

Klar. in B

Kfag.

Hrn in F

1. 2.

Pos.

1. 2.

di &

C o. /

Fag.

senza sord.

Dick

that took

off

leg?

your

Ahab

s.v.

Stb.

Tuba

Aye, Starbuck

by Dick

that

dis

8va

1.-4. ord.

ig ht

Vl. I 1.-8.

It was

8va

1.-4.

ord.

Vl. II 1.-8.

1.-6.

Va.

ord.

1.-3. 5

gl.

Vc. ord.

4.-6.

c.l.b.

Kb.

1.-4.

c.l.b.

Sy. 4117

gl. 3

142

Fag.

Hr. in F

1. 2.

Trp. in C

al o

Klar. in B

nl y

639

Akk.

Pauke

1. Perk.

Vibraphon G G

C o. /

(hart)

ted

di &

Ahab mas

me.

(8va)

1.-4.

5.-8.

Ye have shipped

ord.

Vl. I

(8va)

1.-4. Vl. II

ord.

5.-8.

ig ht

ord.

1.-3.

Va.

ord.

4.-6.

1.-3. 5

Vc. gl.

4.-6.

ord.

Kb.

1.-4.

Sy. 4117

to chase that

white

whale

till he

143 = 92 sub. Fag.

(5)

≈7’’

643

Kfag.

1. 2.

Pos.

1. 2.

al o

Hr. in F

nl y

Tuba

8va

Akk.

gliss.

Perk.

1. 3

Tamburin

C o. /

Pip (Tamb.)

Bringt die Crew durch ein Zeichen mit seinen Händen plötzlich zum Schweigen

gliss.

Ahab

God bless ye, men!

spouts black blood.

di &

(gerufen)

(4 Crew members durcheinander rufend)

12 T. Aye!

Crew Chor

A sharp eye for the white whale! for the white whale! A sharp eye! (jeder kann auch Wörter aus dem Satz nehmen und wiederholen): aufgestachelte Gruppe

(gerufen)

12 B.

Aye! Aye!

= 92 sub.

(8va)

1.-4.

5.-8.

(8va)

Vl. I

1.-4. Vl. II

ig ht

5.-8.

1.-3.

Va.

4.-6.

1.-3.

Vc.

4.-6.

THE CREW link arms and sing (derb) 8

1. 2.

3. 4.

Kb.

Sy. 4117

144 (schütteln)

649

Pip (Tamb.)

(genau artikuliert!)

8 T. wo

man

gho

ost

nl y

Crew Chor 8 B.

to bring the

1.-4.

xists

al o

Man

Vl. I

C o. /

5.-8.

654

di &

Pip 1. (Tamb.)

8 T. 8

Crew Chor

Raise your

lan

ces hi gher,

8 B. i

re!

Man

xists

. gl

to bring the

re!

Raise your

lan

ces hi gher,

rauher und derber

Tom-Toms

(am Rand des Fells)

re.

(begeistert)

hunt

the

whale

To hu

unt the

wha

QQ.

ig ht

Perk.

660

Pip (Tamb.)

8 T. 8

Crew Chor

hi 3

gher! 3

gl.

gher! 3

ale we

ver

8 B. hi

gher!

hunt Sy. 4117

whale

ver

145 666

= 84 sub.

kl. Trp. 1. in B

Trp. in C

nl y

E-Git. 8

al o

(so schnell wie möglich)

Akk.

Perk.

8 T.

Crew Chor

the

White

di &

C o. /

Pip (Tamb.)

(1. Hälfte)

White

(2. Hälfte)

= 84 sub. 1.-4.

Vl. I

5.-8.

1.-4.

ig ht

Vl. II

s.v.

5.-8.

s.v.

1.-3.

Va.

4.-6.

Vc.

1.-6.

Kb.

1.-4.

where

go,

where

go,

White

Sy. 4117

146 668

con

kl. Trp. 1. in B con

Trp. in C

2. Verzerrer (leicht): ON

E-Git. (sim.)

al o

Akk.

nl y

1. G

Gong

Ish. White

C o. /

White

Pip (Tamb.)

8 T. White

Crew Chor 4

White

go,

where

go,

White

where

White

di &

the

1.-4. Vl. I

5.-8.

1.-4. Vl. II

ig ht

5.-8.

(s.v.)

1.-3.

Va.

4.-6.

III

1.-3.

Vc.

III

4.-6. IV

1. 2.

8 8

Kb. V

3. 4.

the

QQ.

the

Perk.

8 8

Sy. 4117

the

rall.

147

= 80 s.v.

671

kl. Trp. 1. in B Trp. in C

2. 5

m.v.

(mit Ishmaela)

al o

Akk.

5 5

Ish.

Pip (Tamb.)

12 T. White

for

all

know!

di &

Crew Chor

White

C o. /

the

Perk.

12 B. White

all

rall.

1.-4.

= 80

5.-8.

know!

Vl. I

1.-4. Vl. II

ig ht

5.-8.

1.-3.

Va.

4.-6.

1.-3.

Vc.

nl y

gliss.

E-Git.

4.-6.

1. 2. 8

Kb. 3. 4. 8

Sy. 4117

148 s.v.

s.v.

673

kl. Trp. 1. in B Trp. in C

2. 5

s.v.

gliss.

E-Git.

gliss. 5

al o

nl y

m.v.

s.v.

Akk.

Ish. whale

di &

1.-4.

Vl. I

3 3

5.-8.

1.-4.

whale

T. Crew Chor

C o. /

Perk.

Vl. II

5.-8.

Va.

ig ht

1.-3.

4.-6.

1.-3.

Vc.

4.-6.

1. 2. 8

Kb. 3. 4. 8

Sy. 4117

149 675

kl. Trp. 1. in B Trp. in C

gliss.

8va

5 5

Akk.

1. 5

Perk.

eath

Ish. Dea

Dea

1.-4. Vl. I

5.-8.

gr. Trommel

Vl. II 5.-8.

ig ht

1.-3. Va.

di &

C o. /

Dea

gr. Tom-Tom

Donnerblech *)

Tamburin

1.-4.

al o

Crew Chor

nl y

E-Git.

4.-6.

1.-3.

Vc.

4.-6.

1. 2. 8

Kb. 3. 4. 8

*) = festgehalten (keine Resonanz) Sy. 4117

150 677

Kfag.

con sord.

1. 2.

kl. Trp. 1. in B Trp. in C

nl y

Hr. in F

2. 5

con

al o

1. 2.

Pos. Tuba

gl.

(loco)

Akk.

Tamburin

1. 5

G gr. Tr.

kl. Tom-Tom

Gong

2. 5

5 5

Dick!

1.-4.

Vl. I 5.-8.

5 5

Donnerblech

(aber nicht lauter)

(Leaps into the gyrating crew members as if into a mosh pit at a rock concert.)

1.-4.

Ish.

di &

Perk.

C o. /

gliss

E-Git.

gliss. .

(8va)

Vl. II 5.-8.

Va.

ig ht

1.-3.

4.-6.

1.-3.

Vc.

4.-6. 1. 2. 8

Kb. 3. 4. 8

Sy. 4117

151 679 8

Picc. 5

Fl.

2. 5

1. 2.

Klar. in Es

Klar. in B

Fag.

nl y

Ob.

Kfag.

Trp. in C

Pos.

1. 2.

5 5

Tuba

kl. Trp. 1. in B

1. 2.

Hr. in F

al o

. gl

di &

6 6

5 5

1. Perk.

gliss.

Akk.

m.v.

. gliss

E-Git. 8

C o. /

8ba

Donnerblech

2. 5

1.-4.

Vl. I

5.-8.

1.-4.

ig ht

Vl. II

5.-8.

gliss. 5

gliss.

1.-3.

Va.

4.-6.

5 5

1.-3. 5

Vc.

4.-6. 1. 2. 8

Kb. 3. 4.

Sy. 4117

152

lunga

681

= 84

Picc. 5 8va

Fl.

2. 3

1. 2.

Ob.

nl y

Klar. in Es

8va

nimmt Baßklar.

Klar. in B

Fag.

al o

Kfag.

lunga 3

1. 2.

Hr. in F

Pos.

1. 2.

5 5

lunga

gl.

Verzerrer: OFF

E-Git. l.v. 5

lunga

di &

Akk.

1. 5

Tam-Tam

2. lunga

lunga

Ahab

I’d

strike

Vl. I

gr. Tom-Tom 3

strike

3 3

the

sun

1. con sord.

1.-4.

GDonnerblech

= 84

Becken - Kuppe

lunga

Perk.

C o. /

Tuba

Trp. in C

kl. Trp. 1. in B

ig ht

5.-8. 5

1.-4.

Vl. II

5.-8.

5 5

1. con sord.

s.p.

1.-3.

Va.

s.p.

4.-6. 5

s.p.

gliss.

1.-3. 3

Vc.

gliss.

4.-6. 3

div.

Kb.

s.p.

1./2. 3./4.

pizz.

div.: 3./4.

Sy. 4117

153 684 8

Picc.

Fl.

2. 1. 2.

Ob.

nl y

(8va)

Klar. in Es

1. 3

Baßklar. in B

al o

Fag.

3 3

Kfag.

1. 2.

Trp. in C

Hr. in F

C o. /

1. Perk.

2. 3

m.v.

di &

Synth. (E-Pno. )

ted

me 1. (con sord.)

sul

Ahab

1.-4.

Vl. I

5.-8.

1.-4. Vl. II

ig ht

5.-8.

1. ord. (con sord.)

1.-3.

Va.

4.-6.

II 3

1. ord.

1.-3.

Vc.

4.-6. 3

3 5

1.-2.

Kb. 5

3.-4.

Sy. 4117

III

154 687 8

Ob.

1. 2.

Klar. in Es

Baßklar. in B Fag.

al o

Fl.

nl y

Picc.

Kfag.

1. 2.

kl. Trp. 1. in B 3

Trp. in C

2. 3

1. 2.

Pos.

Hr. in F

C o. /

Tuba

E-Git.

di &

E-Pno

Perk.

Ahab

Toil

may,

we’ll

all

sleep

(s.v.)

sleep

the

field.

ig ht

Vl. I

s.v.

2.-8.

Vl. II 1.-8.

Va.

2.-6. II 3

1. Vc. 2.-6.

Kb.

1.-4.

Sy. 4117

155 693 8

Fl.

Ob.

1. 2.

Klar. in Es

nl y

Picc.

(solistisch!)

m.v.

Baßklar. in B Fag.

al o

1. 3 3

Kfag.

Pos.

1. 2.

Trp. in C

1. 2.

Hr. in F

E-Git.

C o. /

Synth. (E-Pno. )

di &

Akk.

Pauke Snare-Drum

Perk.

(sempre)

gl.

You

Stubb,

Sleep?

down dog,

to your ken

nel!

If you

if you dare

dare

8va

1.-4.

1. senza sord.

Ahab

Vl. I

gliss.

(sempre)

8va

1.-4.

ig ht

Vl. II 1.-8.

(sempre) 1.-3. pizz.

1. senza sord.

Va.

pizz.

4.-6.

pizz.

1.-3.

Vc.

pizz.

4.-6. pizz.

1. 2.

3 8

Kb.

arco

3. 4.

Sy. 4117

pizz.

156

697 8

Picc.

Fl.

Ob.

1. 2.

Klar. in Es

Baßklar. in B 8

al o

1. 5 5 5

Kfag.

5 5

1. 5

kl. Trp. 1. in B

Trp. in C

Hr. in F

Fag.

nl y

nimmt Kl. in B

Pos.

C o. /

1. 2. 5

E-Git.

5 5

Synth. (E-Pno. )

di &

Tuba

[umschalten zu: Hammond-Orgel-Sound]

Akk.

1. 5 5

Perk.

Tam-Tam

5 5

Becken

gr. Tom-Tom

Ahab

(Rumbles off)

con tra dict

m.v.

gliss.

me!

(Stubb puffs away on his pipe and then exhales a huge cloud of smoke) (a)

ig ht

(8va)

Vl. I 1.-4.

(8va)

Vl. II 1.-4.

1.-6.

Va.

8va

I arco 5

s.p.

arco

ord. 5

1.-3.

Vc.

arco

s.p.

ord.

4.-6. arco

1. 2.

s.p. 5

ord. 5

8 8

Kb.

arco

3. 4.

s.p. 5

ord. 5

8 8

Sy. 4117

rall.

700

157

= 76 3

Baßklar. in B 8

Fag.

1. 3 3

Kfag.

1. 2.

nl y

Hr. in F

1. 2.

Pos.

al o

O gl bert iss on .

ss.

gli

Tuba

Pauke

Glockenspiel

1. Perk.

Akk.

2 Tom-Toms

2. zu Starbuck (empört)

(takes another puff on his pipe) 3

will

not

tame

called

C o. /

Stubb a

dog.

s.v.

4 T. 1.

Cen

ter

di &

s.v.

4 T. 2. 8

Crew Chor

4 B. 1.

(8va)

pizz.

1.-4.

1.-8.

(8va)

1.-8.

1.-4.

pizz.

Va.

1.-6. s.p.

e qual daugh

ter of e qual daugh

ig ht

ord.

gliss.

ord.

yr op

gliss.

ord. gliss.

gliss.

ord. gliss.

gliss.

ord.

s.p. gliss.

gliss.

(I)

molto s.p. III

1. 2.

gliss.

molto s.p.

III

3. 4.

gliss.

(s.p.)

Kb.

gliss.

s.p.

ters,

= 76

gliss.

ters,

s.p.

ters,

s.p.

Vc.

ters,

ord.

gliss.

s.p.

ter of e qual daugh

s.v.

pizz.

gliss.

s.v.

Cen

Vl. II 1.-8.

ter

not,

Vl. I 1.-8.

Cen

rall.

4 B. 2.

Think

gliss.

div. ord.

III

gl.

3 3

8 8

*) = BKl., Fag. und Kfag. begleiten Stubb

gliss.

Sy. 4117

158 705

Kfag. Hr. in F

1. 2. 3 3

nl y

1. 2.

Pos.

Tuba

al o

1. Perk.

Gong

2. 3

gl.

venth

com mand ment,

and

sleep

gl.

when you can,

twelfth.

Stubb

3. 3

C o. /

Vc. 4.

di &

1.-4. ord.

1.-4.

gl.

Kb.

s.p.

gl.

708

4 T. 1. e

qual

sons

Crew Chor

4 T. 2. e

4 B. 1.

4 B. 2.

ig ht

qual

sons

qual

sons

qual

sons 3

Vc.

4. 3

5. 3

6. Sy. 4117

159 8va

711

( = 76)

Picc. m.v.

Fl.

Ob.

1. 2.

Klar. in B

m.v.

Baßklar. in B 8

m.v.

al o

Fag.

nl y

m.v.

Kfag.

(mit Stb.)

Vibr.*) 3

s.v.

gliss.

E-Git.

Pauke

Akk.

gliss.

1. 3

Perk. 2.

Stb. 3

Stubb All that he elps

is to give in

and 6

for

All

en 4

a like

All

I will not have no man on board

en 4

a like

en 4

All

a like

( = 76)

B. 2.

m.v.

gl. gl.

a like

B. 1.

gliss.

T. 2.

mittelgr.

(groß)

Becken

(t).

All

Crew Chor

(gut artikuliert)

T. 1.

(groß)

di &

2 Tom-Toms

C o. /

Becken + 2 Tom-Toms

ig ht

Vc.

5. 3

6. 1. pizz. gliss.

III

1. 2.

gliss.

Kb.

3. 4.

III

gliss. 8

*) Vibrato: durch Saite ziehen

Sy. 4117

m.v.

160 716 8

Picc. s.v.

Fl.

2. 3 3

s.v.

Klar. in B

nl y

1. 2.

Ob.

1. 3

Fag.

al o

s.v.

Baßklar. in B

s.v.

Kfag.

con

gliss.

Pos.

con

gliss.

m.v.

vibr.

glis

gliss.

m.v.

E-Git.

gliss.

C o. /

di &

Synth. (Hammond organ)

Perk.

who

not

dear’d,

Crew Chor

grown,

4 T. 2.

4 T. 1.

dear’d,

gliss.

Stb. 8

grown,

un grown, 3

fraid of a whale. s.v.

The

most

ble

3 3

young, s.v.

old,

am ple,

fair,

ring,

fair,

ring,

fair,

en du

ring,

fair,

ring,

young, s.v.

strong,

old,

strong,

am ple, 3

ig ht

4 B. 1.

dear’d,

grown,

un grown, 3

young, s.v.

old,

strong,

am ple, 3

4 B. 2.

dear’d,

grown,

un grown,

young,

old,

strong,

am ple,

Vl. I 1.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6. m.v.

m.v.

gliss.

Kb.

Sy. 4117

m.v.

161 719

nimmt Fl. 1.

Fl.

Ob.

1. 2.

Klar. in B

nl y

Picc.

al o

Baßklar. in B 8

Kfag.

gliss.

gl.

liss.

gliss.

Pos. gliss.

vibr.

gliss

m.v.

C o. /

E-Git.

gliss.

gl.

gliss.

Fag.

3 8

di &

Synth. (Hammond organ)

Perk.

4 T. 2.

Crew Chor

rage

4 T. 1.

cou

Stb.

ses

from

sti

ting

the

ril

ca pa ble,

rich,

ca pa ble,

rich,

ig ht

4 B. 1.

4 B. 2.

Vl. I 1.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6. m.v.

Kb.

m.v.

Sy. 4117

m.v.

gliss.

162 722

1. 2.

Fl.

1. 2.

Ob.

Klar. in B

Baßklar. in B

al o

Fag.

nl y

Kfag.

Pos.

vibr.

m.v.

2. m.v.

E-Git. 8

Synth. (Hammond organ)

Akk.

C o. /

Tam-Tam

1. 3

(gedämpfter Schlag)

Donnerblech

Perk.

di &

(verzweifelt)

Stb. met. 3

Mo by

4 T. 1. pe ren ni 3

4 T. 2. Crew Chor

pe ren ni

Dick

is n’t see king

hab.

hab

earth

law

6 earth

law

ig ht

It’s

4 B. 1.

with the earth

law

4 B. 2.

with the earth

with law

Vl. I 1.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6. m.v.

Kb.

m.v.

gliss. 3

Sy. 4117

m.v.

726

Fl.

1. 2.

Ob.

1. 2.

Klar. in B

sub.

s.v.

163

= 72 („frei“ für Ishmaela)

m.v.

s.v.

m.v.

s.v.

nl y

Baßklar. in B 8

al o

Fag.

gl.

1. Pos.

gl.

vibr.

E-Git.

Synth. (Hammond organ)

8va

C o. /

s.v.

Akk.

Tam-Tam

Tamburin

1. Perk.

di &

(to Starbuck) - eindringlich

gliss.

Stb. who’s ma

dly seeking 3

T. 1. and

your

te(r)

love

free

dom.

free

dom.

free

dom.

free

dom.

T. 2.

B. 1.

love

6 Crew Chor

with 3

B. 2.

ig ht

love

sub.

flaut./ sempre legato

= 72

1.-3.

Vl. I 1.-8.

arco

1.-3.

Vl. II 1.-8. arco

Va.

1.-3.

1.-6. gliss.

gliss.

1.-3.

Vc.

1.-6. m.v.

Kb.

Sy. 4117

ri ble

Think

5 5

him.

gliss.

Ish.

164 5

731

(eindringlich zu Stb)

s.v.

Ish. pe

s.v.

How

sweet

en ces

and me

ries,

Don’t let anyone rob your courage.

QQ. the

lent

back

wards

tra

cings.

lent

back

wards

tra

cings.

lent

back

wards

tra

KnabenChor

sweet

nl y

6 *)

sweet

Vl. I 1.-3. gliss.

1.-3.

735

(a tempo)

= 76

C o. /

Vc.

Va.

Vl. II 1.-3. III

kl. Trp. 1. in B Trp. in C

2. m.v.

s.v.

E-Git. 3

di &

(mit Stb.) g l.

vibr.

cings.

al o

8va

s.v.

Akk.

Ish.

QQ.

Stb. 8

stand

s.v.

those spi

dreams. 3

With

call for de mocra tic

di gni

ty!

ig ht

KnabenChor

Wan

rings as

dreams.

(a tempo)

dreams.

= 76

Vl. I 1.-3.

II **)

1.-3. **)

Vc.

1.-3. m.v. 1./2.

Kb.

gliss.

Vl. II 1.-3.

Va.

m.v. **)

*) = nicht lauter als QQ **) = mit Stubb genau artikulieren

Sy. 4117

165 742

Fl.

1. 2.

Ob.

1. 2.

Klar. in B

nl y

Baßklar. in B 8

Kfag.

al o

Fag.

Pos.

1. 2.

ter(r)

rors

E-Git.

Synth. (Hammond organ)

Ish.

raged

and migh

man.

time

re su

umed.

time

umed.

- tion

time

umed. s.v.

4 T. 1.

ig ht

di -

6 KnabenChor

QQ. A me

di &

of an

C o. /

4 T. 2. Män.Chor 4 B. 1.

Trp. in C

kl. Trp. 1. in B

1. 2.

Hr. in F

4 B. 2.

Vl. I 1.-3.

gliss.

Vl. II 1.-3.

Va.

1.-3. gliss.

1.-3. 5

Kb.

gliss.

Vc.

1.-4.

Sy. 4117

166 747

1. 2.

Fl.

1. 2.

Ob.

3 3

Klar. in B

nl y

1. nimmt Klar. in B

Baßklar. in B

Fag.

al o

Kfag.

Trp. in C

Pos.

1. 2.

, con

senza

, con

nimmt Trp. in C (con

(senza sord.)

3 3

gl.

E-Git.

di &

Synth. (Hammond organ)

s.v.

bear

(gut artikuliert)

grand,

sane

4 T. 1.

tow e ring sea ted mo ther

s.v.

grand,

sane

s.v.

sea ted mo ther

grand,

sane

s.v.

mant

tics,

You

time.

mant

sea ted mo ther

cri

4 B. 1.

mor tal

Män.Chor

a gainst all

4 T. 2.

out

God,

Stb. Oh

gl.

C o. /

(mit Stb.) vibr.

)

senza

kl. Trp. in B

chair’d 3

time. 3

mant

time.

ig ht

4 B. 2.

sane

tow e ring sea ted mo ther

chair’d in

the a da

mant

Va.

1.-3.

Vc.

1.-3.

Vl. I 1.-3.

gliss.

Vl. II 1.-3.

gliss.

Kb.

1.-4.

gliss.

(pizz.) m.v.

nimmt Fag.

gliss.

Sy. 4117

167 751

Smp. lunga

Synth. (Hammond organ)

nl y

[umschalten: E-Piano ]

8va

al o

lunga

Akk.

Stb. 8

Just

Spi

rit

of E

qua

ty.

Thick

walls,

spa

ces,

gliss.

1.-4.

di &

1.-3.

Kb.

C o. /

Vl. II 1.-3.

1.-3.

Vl. I 1.-3.

Vc.

6 Stimmen

lunga

Va.

KnabenChor

lunga 12 Stimmen

fade in

Sample 10

755

Smp.

(leicht) 3

12 KnabenChor

gl.

and a strong

ty!

Mo del your self

ig ht

af ter the

whale. 12

759

(Video: man sieht den Hudson-River, wie er sich durch die Landschaft schlängelt)

(Licht an auf Old Melville)

Smp.

12 KnabenChor

warm

mong

ice.

Live in this world 3

with

out

be 3

ing part

of it!

12 main warm

a mong

ice.

Live in this world

with

Sy. 4117

out

ing part

of it!

168

9. Szene

= 88

≈ 1’45’’

763

Smp. *)

≈ 15’’

766

come

in to this

dream with me,

al o

nl y

Ish ma el

= 120

OM.

Evil has a power denied to innocence. Is goodness vanquished only because it renounces power? My father who went mad and died must have made a deep impression upon me, for the only people I love are the doomed. All the deaths of my nearest and dearest touched me deeply... Sometimes I feared that death emanated from me like a virulent infection, carrying off those I loved most. You would need the brain of a sparrow never to have sensed the nearness of madness in yourself. Is madness not a glowing ember of meaning in the midst of darkness? Twice I became death’s ferryman on the nocturnal Hudson. As a child I had fled into exile with a bewildered father in fear of his pursuers; on the same river I accompanied my dead brother. Early on, death assumed a permanent place in my life. I’m accustomed to see the world from its point of view. I defied death climbing alone in the mountains, hunting whales on the high seas, but it spurned me and reached out instead for my loved ones. What designs us so that some are destined for downfall and others rise to power? Is it life, or mere chance? Is it something within us that drives us forward, selecting our acquaintances and choosing the places we end up in? A writer cannot always control his inventions. Who is Ishmael?

≈ 11’’

Smp.

E-Git. 8

C o. /

8va

Akk.

Tamburin

di &

1. Perk.

(metallener Reibstock) Snaredrum (Rand) „

“

Micro ON:

Ish.

Poor Old Melville. Doomed by his devils to

Old Melville starts to write. 3

OM.

He gives a sign with his pen in his hand. Ishmaela appears on one side. Bartleby (Das Schreiben ist leise verstärkt.) enters opposite.

(writes)

don’t you wish you could?

= 120 s.v.

1.-4.

Vl. I 1.-8.

1.-4.

s.v.

ig ht

Vl. II 1.-8.

s.v.

1.-3.

Va.

s.p.

4.-6.

Vc.

1.-6. pizz.

1. 2.

Kb. pizz.

3. 4.

*) Das a muss nicht getroffen werden, aber die Melodie muss stimmen. Sy. 4117

169 770

Klar. in B

Trp. in C

1. 2.

(OM stops writing at the moment when BB starts singing)

(für BB)

1. 2. con

gliss.

1. 2.

Pos.

nl y

1. 2. con

gliss.

(con sord.)

al o

Tuba 8ba

E-Git.

Synth. (E-Pno. )

3 (8va)

C o. /

Akk.

1. Perk.

di &

2 Tom-Toms (groß, mittelgr.)

Ish.

ridicule and despond. Tell me Bartleby, what do you make of our creator?

BB.

pre

fer

not

Vl. I 1.-4.

Vl. II 1.-4.

1.-3.

ig ht

Va. 4.-6.

(I)

gliss.

1. 2.

IV (II)

3. 4.

Vc.

(IV)

gliss.

5. 6. 1. 2.

div.

(pizz.)

div.

Kb. 3. 4.

(pizz.)

Sy. 4117

170

Klar. in B

Fag.

1. 2.

Trp. in C

1. 2.

nl y

774

gliss.

al o

1. 2.

Pos.

Tuba

8ba

E-Git.

Synth. (E-Pno. )

C o. /

8va

Akk.

metall. Reibstock / kl. Tom-Tom (Rand)

di &

1. „

Perk.

“

Ish.

But

was

who

made

BB. to.

us.

Per

haps.

trem.

1.-4.

Vl. I 1.-8.

trem.

1.-4.

Va.

ig ht

Vl. II 1.-8.

pizz.

1.-6.

div. s.p.

ord.

gliss.

1. 2.

div. s.p.

ord.

3. 4.

Vc.

s.p.

5. 6. 1. 2.

ord.

gliss.

div.

(div.)

div.

(div.)

Kb. 3. 4.

div.

Sy. 4117

171 (Klangfarbentriller) 779

Klar. in B

1. Trp. in C 1. gliss.

gliss.

m.v.

nl y

2. gliss.

Pos.

al o

1. 2.

Tuba 8ba

E-Git.

Synt. (E-Pno. )

(8va)

C o. /

Akk.

Zimbel / Bogen

1. Perk.

Vibraphon

di &

(Motor an)

Ish. m.v.

BB. But

it’s

you

it’s

who re made

„frei gesprochen“

m.v.

Have you not followed

s.v.

your

self.

you

m.v.

l.v.

Vl. I 1.-8.

1.-4.

Vl. II 1.-8.

s.v.

**)

s.v.

**)

1.-4.

O *)

KnabenChor

ig ht

arco

s.v.

1.-3.

Va.

arco

4.-6.

div.

gliss.

1. 2.

Vc.

gl.

div.

3. 4.

gliss.

5. 6.

gliss.

gl.

gliss.

gliss. gliss.

s.v.

arco

1. 2.

div. 8

Kb.

s.v.

arco

3. 4.

8 8

*) unmerklich neu atmen (nicht gleichzeitig!) **) ab hier kleine Intonationsschwankungen. Jeder Streicher für sich unabhängig: Schwebungen! Sy. 4117

172 786

Trp. in C

1. 2.

Pos.

1. 2.

nl y

Tuba

E-Git.

al o

Synth. (E-Pno. )

(8va)

Akk.

1. Perk.

C o. /

Ish.

metall. Reibstock

di &

your master’s career? Have you not considered Pierre? Old Melville did not call his last novel Pierre, or the Ambiguities for no good reason.

6 KnabenChor

(o)

1.-4.

Vl. I

5.-8.

1.-4.

Vl. II 5.-8.

Va.

ig ht

1.-3.

4.-6.

1. 2.

Vc.

3. 4.

5. 6. 1. 2.

3. 4.

Kb.

Sy. 4117

173 791

Trp. in C

1. 2.

Pos.

1. 2.

1. gliss.

nl y

Tuba

E-Git.

al o

gliss

Synth. (E-Pno. )

8va

(8va)

Akk.

m.-gr. Tom-Tom (Rand)

„

Perk.

“

„

C o. /

1. “

Snare-Drum (Rand)

2. „

“

„

“

BB. am

his

ter

e go

di &

6 KnabenChor

„

“ 15

„

ter

“

e go

not

his id.

pizz.

1.-4. Vl. I

pizz.

5.-8.

1.-4.

pizz.

Vl. II 5.-8.

pizz.

Va.

ig ht

1.-3.

pizz.

4.-6.

1. 2.

Vc.

3. 4. 5. 6. 1. 2.

Kb. 3. 4.

pizz. gl.

arco

pizz. gl.

arco

div.

Sy. 4117

pizz. gl.

pizz.

pizz. gl.

pizz.

div.

gl.

div.

gl.

174 798

1. 3

Fl.

2. 3

1. 3

3 3

nl y

Klar. in B

1. 2.

Trp. in C

al o

E-Git. 8

Synth. (E-Pno. )

(8va)

Zimbel / Bogen

C o. /

Akk.

1. Perk.

l.v.

di &

2. (leise)

Ish.

has

its

l.v.

advantages.

Ambiguity

l.v.

BB.

KnabenChor

s.p. arco 1.-4.

Vl. I 1.-8.

6 u

s.p. 1.-4. arco

ig ht

Vl. II 1.-8.

s.p. arco

1.-3.

Va.

s.p. arco

4.-6.

(II)

gliss.

1. 2. (III)

Vc.

3. 4.

gliss.

III

5. 6. a4

Kb.

1.-4.

Sy. 4117

175 rall.

= 112

802

1. Fl. 2.

nl y

Klar. in B

al o

E-Git. 8

Synth. (E-Pno. )

metall. Reibstock

Tam-Tam (Rand)

1. Perk.

Gong

BB. fer

not

pre

fer

not

think

Zimbel / Bogen 15

bout it.

rall.

Vl. II 1.-8.

”

8va

= 112

III

arco

Vl. I 1.-8.

„

Zimbel / Bogen

(She circles around him, coming closer, coyly, seductively, caressing him.)

pre

di &

Micro off OM

(Tam-Tam festhalten)

Ish.

(immer gestrichen)

C o. /

Akk.

1.-6.

ig ht

Va.

I II

1. 2.

III

Vc.

5. 6.

div.

1. 2.

div.

arco

8 8

Kb.

div.

3. 4.

div.

arco

Sy. 4117

176 809

1. poco a poco cresc.

Fl. 2.

nl y

poco a poco cresc.

1. poco a poco cresc.

al o

Klar. in B 2.

1. 2.

Trp. in C

poco a poco cresc.

E-Git.

C o. /

Synth. (E-Pno.)

poco a poco cresc.

di &

Akk.

1. poco a poco cresc.

Perk. 15

l.v.

poco a poco cresc.

l.v.

Ish.

(8va)

Vl. I 1.-8.

poco a poco cresc.

Vl. II 1.-8.

poco a poco cresc.

sub.

poco a poco cresc.

sub.

ig ht

sub.

1.-6.

Va.

poco a poco cresc.

1.-3.

Vc.

4.-6. poco a poco cresc.

sub. I arco pizz.

1. 2. 8

poco a poco cresc.

Kb. 3. 4.

poco a poco cresc.

sub. Sy. 4117

accel.

177

= 120

815

1. poco a poco cresc.

Fl. 2.

nl y

poco a poco cresc.

2. poco a poco cresc.

1. (für Ish.)

E-Git.

Akk.

C o. /

Synth. (E-Pno.)

di &

poco a poco cresc.

1. poco a poco cresc.

Perk. 2.

l.v.

poco a poco cresc.

Ish.

I’m

accel.

(8va)

Vl. I 1.-8.

poco a poco cresc.

ig ht

Vl. II 1.-8.

poco a poco cresc.

1.-6.

poco a poco cresc.

1.-3. poco a poco cresc.

Vc.

l.v.

Va.

1./2.

1. 2.

Trp. in C

al o

poco a poco cresc.

Klar. in B

4.-6. poco a poco cresc.

1. 2. 8

Kb. 3. 4.

poco a poco cresc.

poco a poco cresc. Sy. 4117

not

= 120

ly a

178 820

1. Fl. 2.

nl y

Klar. in B 2. 1.

1. 2.

Pos.

1. 2.

al o

Trp. in C

us 3

E-Git.

Synth. (E-Pno. )

B.S.

s.v.

C o. /

B.S.

Akk.

Gong

di &

1. Perk.

2. m.v.

lor.

Would you like

spend

m.v.

time

s.v.

m.v.

s.v.

with me?

BB.

sai

s.v.

Ish.

would

1.-4. gliss.

Vl. I 1.-8.

II 1.-4.

III

gliss.

ig ht

Vl. II 1.-8.

Va.

gliss.

1.-6.

gliss.

1. 2.

3.+4.

Vc.

III

3. 4.

gliss. III

5. 6.

1. 2. Kb.

3. 4.

pizz. gliss.

*) = bleibt allein liegen Sy. 4117

179 (OLD MELVILLE gives a sign that they should disappear.) 825

1. Fl. 2.

nl y

Klar. in B

senza sord.

1. 3

Trp. in C

senza sord. 3

gliss.

1. 2.

senza sord.

gliss. 3 3

Pos.

E-Git.

Synth. (E-Pno. )

C o. /

di &

Akk.

1. Perk. 15

l.v.

pre

fer

not

3 3

to.

KnabenChor 12

BB.

ig ht

Vl. I 1.-8.

Vl. II 1.-8.

1.-6.

Va.

1. 2.

Vc.

3 3

3. 4. 3

5. 6. pizz.

1. 2.

div.

Kb.

div.

3. 4.

al o

Sy. 4117

180 ≈ 6’’ 829

(BARTLEBY stays and listens to OLD MELVILLE. ISHMAELA exits to the left.)

Sample 11

Smp.

(4)

nl y

Fl. 2.

al o

1. Ob.

Klar. in B

2. a2

Fag.

(senza sord.)

1. Hr. in F

Fag. 2. muta in Kfag.

1. 2.

muta in Baßkl. in B

C o. /

(senza sord.)

1. Pos.

di &

Akk.

Tamburin

1. Perk.

gr. Trommel

ig ht

KnabenChor

Vl. I 1.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

8 8

Sy. 4117

181 (When BB looks at OM, on the video we see the following: a very small green spot, surrounded by prison walls.) (bei „spirit“ beginnt crescendo)

≈ 1’25’’

836

≈ 20’’

1’’

Smp. 1.

Hr. in F

1. 2.

nl y

Tuba 8ba

E-Git. 8

al o

(Tremolo so dicht wie möglich) 4

l.v.

(Repetition so dicht wie möglich)

m.v.) ad lib.

(s.v.

Synth. (E-Pno.)

Akk. Zimbel / Bogen 15

C o. /

1. Perk.

di &

BB.

OM.

The most radiant skies harbor the deadliest thunders: the Typhoon. It will sometimes burst from the cloudless sky. − Job, Ahab. Does not this name contain the word “love” - a love perverted into hate, never having found its object? With only one leg, he challenges the power of nature, asks “Why me?” Is a single defiant question enough to call down destruction? For decades, yes, I too have wondered why. Why me? In the eyes of others, isn’t my own life the defiant revolt of a man who still believes what no one else does: that he will create something never before seen or imagined? What I want is absolute freedom, complete autonomy for my art. I want it to be as alien as I feel myself to be, unattached to this party or that, unattainable, a never-ending project, as unfinished as Creation and life, a titanic work without end. Better to fail at the impossible than be satisfied with the visible and the everyday. s.p. / flaut.

ig ht

Vl. I 1.-8.

s.v.

8va

Vl. II 1.-8.

s.p. 8va

s.p.) ad lib. (jeder Spieler für sich)

1.-6. III

Vc.

(ord.

s.p.

1.-6. s.p. I

Kb.

Triangel

(Micro)

(looks at OLD MELVILLE and then says after a short pause)

Is evil the power that reduces others to instruments? The power that claims the right to kill a human being, to destroy his body and soul? Ever since, I have rebelled against it with all my strength. They can force me to disappear, but never to renounce my self. The world is a warship, with some who arrogate to themselves godlike power and others who are their victims. Evil exists. It poisons everyone, perpetrators and victims. Even if it is only fate that humiliates a man, it changes him. Evil is real and inevitable. Once I was Ishmael. Now, at the end of my life, have I become Ahab? No, no, not that, surely not that, as long as I can still feel the pain of others. I was unable to avoid guilt, but I always renounced power.

15ma

Va.

l.v.

1.-4. 8

Sy. 4117

I prefer not to − and I know where I am. On errands of life, all words and letters speed to death. Yes, the letter kills, but the spirit gives life.

l.v.

182

Part III Water III - The Black Sea

total BLACK 839

Smp.

(Video)

= 96-100 ≈ 6’’

(nur Video: Ozean bei Nacht. Die Bühne völlig dunkel.)

(Sample sofort weg am Mischpult) 3

Klar. in B

1. 3

nl y

1. m.v. (lento)

Kfag.

sim.

al o

Fag.

1. Hr. in F

2. 3

Tb. (8ba)

l.v.

E-Git.

C o. /

m.v.

m.v. (schnell)

Synth. (E-Pno.)

di &

Akk.

l.v.

1. l.v.

Perk.

(BARTLEBY ab)

*) 3

BB.

KnabenChor

a 3

= 96-100

ig ht

Vl. I 1.-8.

Vl. II 1.-8.

1.-6.

Va.

sim.

1.-3.

Vc.

4.-6. m.v. (lento)

1. 2.

Kb.

m.v. (lento)

3. 4.

*) Vokalisierung immer auf a (nicht das engl. æ) Sy. 4117

sim.

183 842

Smp. 3

Klar. in B

1. 3

3 3

1. m.v. (lento)

Kfag.

nl y

Fag.

sim.

al o

1. Hr. in F

2. 3

Tb.

(8ba)

m.v.

E-Git.

m.v.

C o. /

Synth. (E-Pno.)

di &

Akk.

Perk.

BB.

6 KnabenChor

a 3

3 3

(a) 3

(a)

ig ht

Vl. I 1.-8.

Vl. II 1.-8.

1.-6.

Va.

1.-3.

Vc.

4.-6.

1. 2.

3. 4.

Kb.

Sy. 4117

184 1. 844

1. 2.

Fl.

1. 2.

Ob.

Klar. in B

1. 3

3 3

Baßklar. in B

Fag.

(sim.) 8

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

3 3

Hr. in F

Kfag.

nl y

al o

Tb.

con

C o. /

(8ba)

m.v.

E-Git. 8

di &

Synth. (E-Pno.)

m.v.

Akk.

1. Perk.

KnabenChor

3 3

ig ht

Vl. I 1.-8.

Vl. II 1.-8.

1.-6.

Va.

1.-3.

Vc.

4.-6. 1. 2.

3. 4.

Kb.

Sy. 4117

185 846

3 3

Fl.

2. sub.

Ob.

nl y

2. 3

al o

Klar. in B

1. 3

3 3

3 3 3

Baßklar. in B 8

Fag.

sub.

Kfag.

sub.

1. 2.

sub.

C o. /

Trp. in C

1. Hr. in F

sub.

Tb. (8ba)

di &

m.v.

E-Git. 8

sub.

KnabenChor

1.-4.

3 3

sub.

Vl. I

5.-8.

sub.

1.-4.

ig ht

Vl. II

sub.

5.-8.

sub. non div.

pizz.

arco

yr Va.

gliss.

gl.

1.-3.

pizz.

sub. arco , non div.

4.-6.

sub.

1.-3. sub.

Vc.

4.-6. sub.

pizz.

1. 2.

Kb. 3. 4.

3 8

Sy. 4117

pizz.

186 848

1. Fl.

1. 2.

Klar. in B

1. 3

Baßklar. in B 8

Kfag.

sub.

C o. /

sub.

Trp. in C

1. 2.

di &

Tb.

E-Git. 8

sub.

(nicht leiser als die Streicher)

sub.

Vl. I 5.-8.

sub.

Vl. II 5.-8.

ig ht

sub.

1.-4.

gliss.

sub.

gliss.

sub.

gliss.

sub.

gliss.

1.-3.

sub.

4.-6.

sub.

1.-3.

Vc.

sub. gliss.

4.-6. sub.

Kb.

1. 2.

3. 4.

sub.

gliss.

or ic

1.-4.

Va.

Hr. in F

Fag.

al o

Ob.

nl y

sub.

Sy. 4117

187 850

1. Fl.

1. 2.

Klar. in B

al o

Ob.

nl y

Baßklar. in B 3

Kfag.

Trp. in C

1. 2.

Pos.

1. 2.

Hr. in F

di &

Tb.

E-Git.

gliss.

1.-4. sub.

sub.

Vl. I

1.-4. sub.

sub.

gliss.

sub.

5.-8.

gliss

gliss.

1.-3.

Va.

sub.

gliss.

sub.

ig ht

Vl. II

5.-8.

4.-6.

1.-3. Vc. gliss.

4.-6.

1.-4.

gliss.

Kb.

C o. /

Fag.

gliss.

Sy. 4117

188 852

1. 2.

Fl.

1. 3

Ob.

2. 3

Klar. in B

nl y

Baßklar. in B 8

al o

Fag.

Kfag.

Hr. in F

1. 2.

1. Trp. in C

Tb.

E-Git. 3

C o. /

6 KnabenChor

3 3

6 a 1./2. 3./4. (div.)

1./2. 3./4.

sub. 5./6. 7./8.

div.:

Vl. I

di &

div.:

(div.)

5./6. 7./8.

sub. 1./2. div.: 3./4.

(div.)

1./2. 3./4.

5./6. 7./8.

sub.

1. 2.

(div.)

div.

ig ht

sub.

5./6. 7./8.

div.:

Vl. II

sub.

Va.

sub.

5. 6.

div.

sub. (non div.)

non div.

1.-3. sub.

Vc.

non div. gliss.

4.-6. sub.

arco

1. 2.

Kb. 3. 4.

pizz. gliss.

arco

pizz.

Sy. 4117

189 855

Fl. 2. 3

1. 3

nl y

Ob. 2. Klar. in B

al o

1. 3

Baßklar. in B Fag.

Kfag.

1. 2.

Trp. in C

1. 2.

Hr. in F

C o. /

Tb.

E-Git. 8

di &

6 KnabenChor

(div.)

1./2. 3./4. Vl. I

(div.)

1./2. 3./4. Vl. II

5./6. 7./8.

(div.)

5./6. 7./8.

(div.)

3. 4.

Va.

ig ht

1. 2.

(div.)

5. 6.

(non div.)

1.-3. Vc. (non div.)

4.-6.

div.:

Kb.

1./2. 3./4.

Sy. 4117

3 3

190 857

1. 3

Fl. 2.

nl y

1. Ob.

Klar. in B

al o

Baßklar. in B

Kfag.

Fag.

1. 2.

Hr. in F

1. Trp. in C

C o. /

Tb.

E-Git. 3

Vl. I gliss.

div.

gliss. gliss.

div.

gliss.

ig ht

div.

Vl. II

div.

1.-4.

(a)

gliss.

5.-8.

(a)

div.

6 KnabenChor

1.-4.

di &

gliss. gliss.

5.-8.

gliss.

1.-3.

Va.

4.-6.

1.-3.

Vc. 4.-6. 3

1. 2.

3. 4.

Kb.

Sy. 4117

191 859

1. 3

Fl. 2. 3

Klar. in B

1. 3

Baßklar. in B 8

Kfag.

Fag.

1. 2.

Hr. in F

al o

Ob.

nl y

1. 2.

1. Trp. in C

C o. /

Tb.

E-Git. 3

di &

6 KnabenChor

(a)

div.

1.-4.

div.

Vl. I gliss.

gliss.

5.-8.

Vl. II

div.

1.-4.

div.

gliss.

ig ht

5.-8.

1.-3.

Va.

4.-6.

1.-3.

Vc.

4.-6. 3

1. 2.

3. 4.

Kb.

Sy. 4117

192 861

Fl. 2.

1. 2.

Klar. in B

1. 3

nl y

Ob.

al o

Baßklar. in B 8

Kfag.

Fag.

1. Hr. in F

1. Trp. in C

C o. /

Tb.

di &

(a)

KnabenChor

6 3

(a)

1.-4. Vl. I

5.-8.

1.-4.

Vl. II

ig ht

5.-8.

1.-3.

Va.

4.-6.

1.-3.

Vc. 4.-6. 3

Kb.

1.-4.

Sy. 4117

193 a2 863

1. 2.

Fl.

1. Ob.

Klar. in B

nl y

Kfag.

1. 2.

Trp. in C

Hr. in F

Fag.

al o

Baßklar. in B

1. 2.

3 3

(a) 3

di &

KnabenChor

C o. /

(slide)

E-Git.

(a)

1.-4. sub.

Vl. I

sub.

gliss.

Vl. II

sub.

gliss.

1.-4.

5.-8.

ig ht

1.-3. sub.

Va.

4.-6.

sub.

1.-3.

sub. 3

Vc.

4.-6.

sub.

1. 2.

Kb.

3. 4.

3 3 3

Sy. 4117

194

(a 2) 866

1. 2.

Fl.

Ob. 2. 3

Baßklar. in B 8

Fag.

nl y

Klar. in B

al o

Pos.

con

1. 2.

gliss.

E-Git. G (nicht zu weiche

Vibraphon

Motor: langsam

Ish. Beide (nicht auf der Bühne sichtbar!)

QQ. a

C o. /

Perk.

Gummi-Schlägel)

di &

KnabenChor

(a) 3

1.-4.

5.-8.

div. 3

div.

gliss.

1.-4.

(a)

Vl. I

Vl. II

gliss.

ig ht

5.-8.

1.-3.

Va.

4.-6.

pizz.

1.-3. 3

Vc.

pizz.

4.-6.

3 3

1. 2.

3. 4.

3 3

Kb.

3 3

*) + = anzupfen Sy. 4117

195 869

1. 2.

Fl.

1. 2.

Ob.

3:2

Klar. in B

nl y

3:2

Baßklar. in B

Fag.

al o

3:2

Kfag.

3:2

Pos.

1. 2. m.v.

gliss.

m.v.

gliss.

gliss

E-Git.

Perk.

Ish.

gl.

di &

QQ. 3

12 (u)

KnabenChor

gliss.

(u)

gliss.

C o. /

1. 2.

Hr. in F

3:2

(u)

a s.p.

(u)

1.-4. Vl. I

5.-8.

s.p.

1.-4.

3:2

sub.

s.p.

ig ht

Vl. II

s.p.

5.-8.

sub.

3:2

s.p.

1.-3.

sub.

Va.

3:2

non div.

s.p.

4.-6. sub.

3:2

s.p.

glis

arco

1.-3. Vc.

arco

4.-6. div.

Kb.

1./2. 3./4.

Sy. 4117

s.p.

196 872

1. 2.

Fl.

Ob.

1. 2.

Klar. in B

nl y

Baßklar. in B 8

Kfag.

al o

Fag.

1. 2.

Pos.

1. 2.

Hr. in F

m.v.

gl.

E-Git.

Akk.

Motor: off

C o. /

Perk.

Ish. (a) 3

di &

QQ. (a) 3

12 (a)

(a)

Vl. I

1.-4.

(a)

ord. gliss.

ord.

5.-8.

(a)

1.-4.

(a)

KnabenChor

(a)

gliss.

ig ht

Vl. II

ord.

gliss.

5.-8.

ord.

gliss.

1.-3.

Va.

3 3

gliss.

ord.

4.-6.

ord. gliss.

1.-3. 3

ord.

Vc.

gliss.

4.-6. 3

arco

1. 2.

Kb. 3. 4.

gliss.

arco

Sy. 4117

197 875

Klar. in B

Baßklar. in B

3 8

Kfag.

nl y

Fag.

al o

1. 3

Trp. in C

(mit dem Slide anklopfen)

m.v. (lento)

gliss.

gliss. 8

(Volume - Ped.)

E-Git.

Akk. 3

Perk.

C o. /

di &

Ish.

QQ.

(a)

3 3

(a)

KnabenChor 12

gliss.

(a)

1.-4.

gliss.

Vl. I

gliss.

5.-8.

gliss.

1.-4. Vl. II

gliss.

gliss. gliss.

ig ht

5.-8.

1.-3.

Va.

4.-6.

1.-3.

Vc. 4.-6. 1. 2.

3. 4.

Kb.

Sy. 4117

198 878

Fl. 3

1. 2.

Ob.

Klar. in B

al o

Baßklar. in B 8

Fag.

Kfag.

1. 2.

1. Trp. in C

C o. /

2. m.v. gliss.

E-Git.

Hr. in F

con sord.

nl y

8 5

8va

m.v. gliss.

Perk.

di &

Akk.

Ish.

(a)

QQ.

12 KnabenChor

(a)

(a) (a)

(a)

1.-4.

ig ht

Vl. I 5.-8.

1.-4.

Vl. II

5.-8.

Va.

1.-3. 4.-6.

div.

sub.

div.

Vc.

1.-3. 4.-6.

1./2. 3./4.

sub. 1.-4.

Kb.

div.:

1./2. 3./4.

Sy. 4117

199 881

Ob.

1. 2.

Klar. in B

Fl.

nl y

3 3

Baßklar. in B Fag.

al o

1. 3

Kfag.

senza sord.

1. 2.

Hr. in F

m.v.

senza sord.

gliss.

1. 2.

Pos.

1. 2.

Trp. in C

(8va)

Akk.

Ish. (a)

QQ.

(a)

12 (a)

1.-4. 5.-8.

ig ht

Vl. II

yr op

Vc.

3:2

gliss.

4.-6.

1. 2.

3:2

gliss.

1.-3.

Va.

3:2

gl.

div.

gliss.

div.

Vl. I

(a)

KnabenChor

di &

Perk.

C o. /

E-Git.

3:2

div. gliss. 3:2

sub. div.

3. 4.

gliss.

gliss. 3:2

sub. div.

gliss.

5. 6.

3:2

sub. div.

Kb.

1./2. 3./4.

gliss.

Sy. 4117

200 884

Fl.

Ob.

Klar. in B

1. 2.

3:2

1. 2.

3:2

1. 3 3:2

nl y

3:2

Baßklar. in B

3:2

al o

Fag.

Kfag. Hr. in F

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

senza sord.

(senza sord.)

Tuba gliss.

E-Git. 3

gliss.

8va

C o. /

Akk.

3:2

Perk.

2. 3:2 3:2

3:2

Ish. (a)

3:2

QQ. (a)

(a) 3

3:2

(a)

KnabenChor

di &

(a)

1.-4.

(a)

3:2

Vl. I

1.-4.

5./6. 7./8.

gliss.

3:2

Vl. II

5.-8.

3:2

div.:

ig ht

3:2

5.-8.

div.:

5./6. 7./8.

3:2

gliss.

5.-8.

3:2

3:2 3:2

gliss.

1.-3.

3:2

Va.

3:2

4.-6. 3:2 3:2

gliss.

1.-3. 3:2

Vc. 3:2

gliss.

4.-6. 3:2

div.

Kb.

1./2. 3./4.

gliss. gliss.

Sy. 4117

201 887

1. 2.

Fl.

1. Ob. 2.

Klar. in B

nl y

Baßklar. in B Fag.

al o

Kfag. Hr. in F

1. 2. 1. 2. 3:2

1. Pos.

gliss.

2. Tuba

C o. /

m.v. gliss.

gliss.

E-Git. 8va

di &

Akk.

(a)

QQ. (a)

(a)

12 12

(a)

(a) (div.)

KnabenChor

3:2

Ish.

1.-4.

Vl. I

(div.)

gliss.

ig ht

5.-8.

gliss.

Perk.

Trp. in C

3:2

1.-4.

Vl. II

5.-8.

1.-3.

Va.

4.-6. gliss.

1.-3. Vc.

gliss.

4.-6. 1. 2.

gliss.

Kb. 3. 4.

Sy. 4117

gliss.

202 890

1. 3

Fl.

2. 3

Klar. in B

nl y

1. 5

Baßklar. in B 3

3 3

Kfag.

Fag.

3 3

al o

m.v. (lento)

gliss.

C o. /

Akk.

2. 5

Ish.

(a) QQ.

(a)

di &

12 KnabenChor 12

(a)

1.-4. Vl. I

5.-8.

1.-4.

ig ht

Vl. II

pizz.

div.

pizz.

div.

5.-8.

pizz.

div.

1. 2.

pizz.

div.

pizz.

div.

3. 4.

5. 6.

Vc.

m.v. (lento)

Va.

gliss.

E-Git.

Perk.

1. 2.

Hr. in F

1.-6. 1. 2.

3. 4.

Kb.

Sy. 4117

rall. 892

203

= 88-92

1. 3

Fl.

2. 3

Baßklar. in B 8

3 3

Kfag.

1. 2. 3

con

1. 2.

gliss.

Trp. in C

Hr. in F

m.v. (lento)

gliss.

C o. /

E-Git. 8

di &

Akk.

2. 5

Ish.

(a)

Perk.

Fag.

nl y

Klar. in B

al o

Ob.

1. 2.

QQ.

(a)

12 KnabenChor

(a)

rall.

= 88-92

Vl. I

ig ht

1.-4.

5.-8.

1., 2.

1.-4.

Vl. II

5.-8. (div.)

1.-3.

Va.

(div.)

4.-6. div.: 1.-3. 4.-6.

Vc.

1.-3. 4.-6.

Kb.

1.-4.

s.p.

Sy. 4117

pizz.

3 3

204 894 a 2

Ob.

1. 2.

Klar. in B

nl y

Fl.

1. 2.

Baßklar. in B 8

Kfag.

al o

Fag.

Hr. in F

1. 2. 1.

1. 2.

Pos.

1. 2.

m.v. (lento)

m.v. (veloce)

Trp. in C

Tuba

gliss.

8va

di &

Akk.

Perk.

(a)

Ish.

gliss.

C o. /

gliss.

E-Git.

QQ.

12 KnabenChor

(a)

(a) 1. 2.

ig ht

s.p.

3. 4.

Vl. II

5.-8.

3 3

s.p.

3 3

s.p.

cresc.

3 3

s.p.

Va.

arco

1.-3.

cresc.

arco

4.-6. 3

1.-3.

s.p.

arco

Vc.

1.-6.

cresc.

Kb.

1.-4.

Sy. 4117

205 896

Fl.

1. 2.

Ob.

1. 2.

Klar. in B

nl y

Baßklar. in B 8

Kfag.

al o

Fag.

1. 2.

con

Hr. in F

Trp. in C

gliss.

1. 2.

gliss.

Tuba

(slide weg)

gliss.

C o. /

E-Git. 8

(8va)

Akk.

2. 3

di &

Perk.

Ish.

or tutti (24 Stimmen)

div.

KnabenChor

ord. 3

1.-4. Vl. I

5.-8.

ig ht 3. 4.

(cresc.)

5.-8.

(cresc.)

1.-3.

ord.

ord. 3

3 3

ord.

3 3

ord.

4.-6.

(cresc.)

Va.

(cresc.)

ord.

Vl. II

QQ.

(cresc.)

1.-3.

3 3

(cresc.)

Vc.

ord. 3 3

ord.

arco s.p.

4.-6.

cresc. (1.-4.)

Kb.

1. 2.

Pos.

1.-4.

3 3

div.: 1., 2.

3., 4.

Sy. 4117

3 3

206 898

(leicht)

12 Stimmen

KnabenChor

gliss. There

was

old

man

the

Isles, 3

Vl. II

3. 4.

3 3

1.-3.

4.-6.

3 3

900

5.-8.

1. 2.

(decresc.)

Vl. II

5.-8.

decresc.

1.-3.

3 3

per

decresc.

3 3

decresc.

ded

with 3

s.p.

was

3 3

s.p.

3 3

s.p.

3 3

s.p. 3

(decresc.)

1.-3.

Vc.

3 3

Sy. 4117

s.p.

4.-6. (decresc.)

3 3

(decresc.)

1.-4.

s.p.

4.-6.

Kb.

face

s.p.

(decresc.)

Va.

ig ht

3 (decresc.)

3 3

decresc.

s.p.

3. 4.

Vl. I

3 3 (decresc.)

1.-4.

whose

Knaben12 Chor

di &

1.-4.

Kb.

Vc.

3 3

C o. /

3 3

Va. 4.-6.

s.p.

3 3

1.-3.

5.-8.

3 3

nl y

1. 2.

3 3

al o

5.-8.

3 3

Vl. I

3 3

1.-4.

3 3

207 902

Knaben12 Chor

gliss.

smiles:

he 3

1.-4. 3

sung

Vl. I

high

ord.

dum 3

did

dle,

and

poco a poco cresc. 3

3 3

poco a poco cresc.

3. 4.

poco a poco cresc.

Vl. II

ord. 3

3 3

poco a poco cresc.

ord.

poco a poco cresc.

ord.

4.-6. 3

poco a poco cresc.

4.-6. 3

poco a poco cresc.

the

3 3

1.-4.

5.-8.

ig ht

1. 2.

dle,

3 3 3

3. 4.

ble Man

3 3

the

3 3

Isles.

of 3

3 3

that

Vl. I

fid

played

Knaben12 Chor

Vl. II

Akk.

ord.

di &

Trp. in C

ord.

904

Klar. in B

poco a poco cresc.

C o. /

1.-3. Vc.

1.-3. Va.

ord.

5.-8. 3

ord.

al o

1. 2.

nl y

ord.

5.-8.

3 3

5.-8.

1.-3.

Va.

3 3

4.-6. 3

1.-3. Vc.

4.-6. 3 3

3 3

Sy. 4117

3 3

208 Sample 12 (A taped solo spoken by one boy):

906

Smp. For days and days we sail along through weary seas. What happens to our

Klar. in B

1. 3

Akk.

nl y

al o

Trp. in C

(12)

1.-4. 3

5.-8. 3

3 3

3. 4.

1. 2.

di &

Vl. I 3

C o. /

KnabenChor

Vl. II

ig ht

1.-3.

Va.

4.-6.

1.-3. 3

Vc. 3

4.-6. 3

Kb.

1.-4.

Sy. 4117

209 908

Smp. revenge when space is vacant of life? Now we are moving eastward, and this bleak emptiness is gone. Strange forms in the water dart back and forth before us;

Klar. in B

Trp. in C

al o

Akk.

6 æ 3

C o. /

KnabenChor

nl y

Vl. I 3

1. 2.

5.-8.

ig ht

3 3

Vl. II

3. 4.

5.-8. 3

di &

1.-4.

1.-3.

Va.

4.-6.

3 3

1.-3. 3

Vc. 3

4.-6. 3

Kb.

1.-4.

Sy. 4117

210 910

Smp. while close behind sea ravens fly. Is our ship an uninhabited craft like our homeless selves? And still, unrestingly, heaves the black sea. As if this mundane soul

Klar. in B

Trp. in C

Akk.

6 3

s.p.

Vl. I 3

5.-8. 3

ig ht

s.p.

3 3

s.p.

5.-8.

Vl. II

3. 4.

s.p.

1. 2.

s.p.

di &

1.-4.

C o. /

KnabenChor

nl y

al o

1.-3.

Va.

3 3

s.p.

4.-6.

s.p.

1.-3. 3

Vc. 3

s.p.

4.-6. 3

Kb.

1.-4.

Sy. 4117

211 912

Smp. were in pain and full of remorse for the sin and suffering it had bred.

Klar. in B

1. Trp. in C

con

KnabenChor

1.-4.

di &

C o. /

Akk.

nl y

al o

Vl. I 3

3 3

1. 2. 3 3

3. 4.

ig ht

5.-8.

3 3

ord.

5.-8.

Vl. II

ord. 3

1.-3.

Va.

4.-6.

3 3

1.-3.

Vc. 3

ord. 3

4.-6. 3

Kb.

1.-4.

Sy. 4117

212 914

Smp.

Klar. in B

Trp. in C

KnabenChor 3

ord. 3

1.-4. Vl. I 3

5.-8. 3

ord. 3

Vl. II

3. 4.

1. 2.

ord.

ig ht

5.-8.

(ae)

di &

C o. /

Akk.

al o

nl y

ord.

1.-3.

ord.

Va.

4.-6.

ord. 3

1.-3.

Vc. 3

4.-6.

Kb.

1.-4.

Sy. 4117

213 916

Smp. 3

3 3

1. 3

Fl.

3 3

1. Ob.

Klar. in B

1. 3

1. 2. 3

Hr. in F

1. 3

2. 3

1. 2.

Akk.

12 KnabenChor

Vl. I

5.-8.

1.-4.

ig ht

1. 2. Vl. II

3. 4.

3 3

di &

Tuba

C o. /

Trp. in C

Pos.

Kfag.

Baßklar. in B Fag.

al o

nl y

3 3

5.-8.

1.-3.

Va.

4.-6. 3 3

3 3

1.-3. Vc.

4.-6. 3

1. 2.

3. 4.

Kb.

Sy. 4117

214 918

Smp. 3

1. 3

Fl.

poco a poco cresc. 3

3 3

2. 3

1. Ob.

poco a poco cresc.

poco a poco cresc. 3

Klar. in B

1. 3

poco a poco cresc. (unmerklich neu atmen)

Kfag.

(unmerklich neu atmen)

poco a poco cresc.

1. 2.

poco a poco cresc.

1. Trp. in C

poco a poco cresc. 3

2. 3 poco a poco cresc.

1. 2.

Pos.

(unmerklich neu atmen) poco a poco cresc. (unmerklich neu atmen) poco a poco cresc. 3

Akk. poco a poco cresc.

1.-4.

5.-8.

poco a poco cresc.

Vl. I

3. 4.

poco a poco cresc.

ig ht

1. 2.

Vl. II

12 KnabenChor

di &

Tuba

C o. /

(unmerklich neu atmen)

Hr. in F

poco a poco cresc. 8

Baßklar. in B Fag.

poco a poco cresc. (unmerklich neu atmen)

al o

nl y

poco a poco cresc.

3 3

poco a poco cresc. 3

5.-8.

poco a poco cresc. 3

1.-3. poco a poco cresc.

Va.

4.-6. 3 poco a poco cresc. 3 3 3

3 3

1.-3. poco a poco cresc.

Vc.

4.-6. div. poco a poco cresc.

1., 2. Kb. 3., 4.

Sy. 4117

215 rall.

920

Smp. 3

1. 3

Fl. 3

3 3

1. 3

2. 3

Klar. in B

Baßklar. in B 1.

Kfag. 1. 2.

2. 3

(12)

rall. 1.-4. Vl. I

5.-8. 3

3 3

1. 2.

ig ht

3. 4.

KnabenChor

Vl. II

Akk.

di &

Tuba

1. 2.

Pos.

C o. /

1. Trp. in C

Hr. in F

Fag.

al o

Ob.

nl y

3 3

5.-8. 1.-3.

Va.

4.-6. 3 3

3 3

1.-3. Vc. 3

4.-6.

Kb.

1. 2.

3. 4.

Sy. 4117

216 922

= 52

Sample 13

Smp. 3

3 3

1. Fl.

2. 3

Ob.

nl y

Klar. in B

al o

nimmt Klar. in Es

1. 3

nimmt Klar. in Es

Baßklar. in B 8

Kfag.

1. 2. 3

Hr. in F

Fag.

Trp. in C

C o. /

senza sord.

2. 1. 2.

Pos.

senza sord.

di &

Tuba

sempre legato

E-Git. 8

sempre legato

Akk.

Synth. (E-Pno. )

sempre legato

Tam-Tam

ig ht

Perk.

8va

= 52

1.-4.

Vl. I

5.-8.

Vl. II 1.-8. 3

1.-3. 3

3 3

Va. 4.-6.

Vc.

1.-6.

Kb.

1./2. 3./4.

div. 8

Sy. 4117

217

10. Szene

düsteres Licht

(The Pequod is on a stormy sea in the deep darkness of night. The watch is startled from their reveries by a cry plaintively wild and unearthly. OLD MELVILLE watches for a moment as the ship tosses about before he leaves the stage. The crew battle the raging weather. This is seen on video: Sky and sea are split with thunder, lightning strikes and blazes, razing the sails and leaving them ragged.) 924

Smp.

Klar. in Es

1. 2.

Fag.

1. 3

nl y

al o

Kfag.

1. 2.

Trp. in C

m.v.

1. 2.

Pos.

m.v.

gliss. 3

Tuba

8ba

C o. /

E-Git. 8

di &

Synth. (E-Pno. )

Akk.

Becken

1. Perk.

8va

1.-4. Vl. I

(sempre)

ig ht

8va

5.-8.

(sempre)

Vl. II 1.-8.

Va.

Vc.

(sempre)

1.-6. 3

(sempre)

1.-6. (sempre) (leggero)

1. 2.

(sempre)

Kb.

(leggero)

3. 4.

(sempre) Sy. 4117

218 926

Smp.

1. 2.

Fag.

Kfag.

al o

Klar. in Es

Tuba 8ba

E-Git. 8

di &

E-Pno.

C o. /

1. 2.

Pos.

m.v.

1. 2.

Trp. in C

Akk.

1. Perk.

ig ht

8va

1.-4.

Vl. I

8va

5.-8.

Vl. II 1.-8.

Va.

1.-6. 3

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

nl y

219 927

Smp.

1. 2.

Fag.

Kfag.

al o

Klar. in Es

nl y

1. 2.

m.v.

Tuba 8ba

C o. /

m.v.

1. 2.

Pos.

Trp. in C

E-Git. 8

di &

E-Pno.

Akk.

1. Perk.

ig ht

8va

1.-4.

Vl. I

8va

5.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

220 929

Smp.

Ob.

1. 3

1. 2.

Fag.

Kfag.

al o

Klar. in Es

nl y

1. 2.

m.v.

1. 2.

Pos.

Tuba 8ba

E-Git.

E-Pno.

m.v. (lento)

(sempre) sempre legato

5 5

di &

C o. /

Trp. in C

Akk.

(sempre)

Perk.

you

hear?

ig ht

Ish.

8va

1.-4.

Vl. I

8va

5.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

221 930

Smp. 1.

1. 2.

Ob.

1. 2.

Fag.

Kfag.

Pos.

1. 2.

Trp. in C

al o

Klar. in Es

nl y

Tuba 8ba

E-Pno. 5

di &

C o. /

E-Git.

Akk.

1. kl. cresc. [

] ad lib.

kl. cresc. [

] ad lib.

Perk.

(They listen)

Stb. 8

Ish.

It’s

some

one

m.v.

s.v. 5

men

ting.

ig ht

8va

1.-4.

(sempre)

Vl. I

8va

(sempre)

5.-8.

Vl. II 1.-8.

Va.

(sempre)

1.-6. 3

(sempre)

Vc.

1.-6. (sempre) 3

Kb.

1.-4.

(sempre) Sy. 4117

222 932

Smp.

1. 2.

Ob.

Fag.

Kfag.

al o

1. 2.

nl y

Klar. in Es

1. 2.

Pos.

1. 2.

Trp. in C

m.v. (lento)

Tuba

di &

E-Pno.

C o. /

E-Git.

8ba

Akk.

kl. cresc. [

] ad lib.

kl. cresc. [

] ad lib.

(They listen)

(verängstigt)

Ish.

Perk.

Stb. 8

The voi

ces of drowned men!

ig ht

8va

1.-4.

8va

Vl. I

5.-8.

Vl. II 1.-8.

Va.

1.-6. 3

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

223 934

Smp. 1. 2.

Ob.

s.v.

1. 2.

Fag.

1. 3

Kfag.

al o

Klar. in Es

nl y

1. 2.

Pos.

1. 2.

con

Trp. in C

1. s.v. 3

con

gliss.

Tuba

di &

E-Pno.

C o. /

E-Git.

8ba

Akk.

Perk.

kl. cresc. [

] ad lib.

kl. cresc. [

] ad lib.

G by

Ish.

QQ.

at the cliffs!

cle.

ig ht

Sounds

There,

s.v. 5

8va

1.-4.

Vl. I

8va

5.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

224 936

Smp. 1. 2.

Ob.

Fag.

Kfag.

Pos.

gliss.

s.v.

Trp. in C

al o

Tuba 8ba

E-Git.

C o. /

E-Pno. 5

cents!

di &

Akk.

Ish. Mer

maids!

Qq.

Perk.

4 Crew Members

It’s the

ghosts

all 3

ig ht

It’s the

ghosts

all

mur

dered

8va

1.-4.

8va

Vl. I

5.-8.

Vl. II 1.-8.

Va.

nl y

s.v.

Klar. in Es

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

225 938

Smp. a2

1. 2.

Fl.

Fag.

Kfag.

al o

Klar. in Es

m.v. (lento)

Trp. in C

1. m.v. (veloce)

Pos.

Tuba 8ba

E-Git.

di &

E-Pno.

C o. /

Akk.

Perk.

wail

ig ht

4 Crew Members 4

They

Pip

Ish.

8va

1.-4.

8va

Vl. I

5.-8.

Vl. II 1.-8.

Va.

nl y

1.-6. 3

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

226 940

Smp. Ob.

1. 2.

Klar. in Es

1. 2.

Fag.

1. 3

Pos.

gliss.

Trp. in C

al o

Kfag.

nl y

8ba

Tuba

E-Git.

C o. /

E-Pno. 5

di &

Akk.

1. Perk.

(They listen)

Pip mans.

Ahab

(hollowly laughing)

ig ht

KnabenChor

8va

1.-4.

8va

Vl. I

5.-8.

Vl. II 1.-8.

Va.

1.-6. 3

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

227 942

Ob.

1. 2.

Klar. in Es

1. 2.

Fag.

1. 3

nl y

Smp.

Kfag.

al o

nimmt 2. Fag. 8

1. 2.

Pos.

1. 2.

Trp. in C

E-Git.

Tuba

C o. /

E-Pno. 5

di &

Akk.

Perk.

m.v.

gliss.

Ahab

cals!

cow

ards!

Mer

maids?

Drowned

men?

ras

gliss.

KnabenChor

ig ht

8va

1.-4.

Vl. I

8va

5.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

228 944

Klar. in Es

1. 2.

Fag.

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

al o

1. 2.

Ob.

nl y

Smp.

Tuba 5

E-Git.

C o. /

E-Pno.

Akk.

di &

Perk. 2. (deutlich) 3

Ahab Ha

Ha!

(

It’s

seals

) ossia

you don keys!

In no cents?

Ish. Stb.

There’s

KnabenChor

sound

fal

ling

tears;

fal

ling

tears;

ig ht

sound

8va

1.-4.

8va

Vl. I

5.-8.

Vl. II 1.-8.

Va.

1.-6. 3

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

229 946

Klar. in Es

1. 2.

Fag.

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

al o

1. 2.

Tuba 5

Ob.

nl y

Smp.

E-Git.

C o. /

E-Pno.

Akk.

di &

Perk. 2.

Ahab

Ish. (In disbelief)

Look

Stb. 8

Seals?

6 KnabenChor

where

comes

the

ears.

the

ears.

from

ig ht

8va

men

gliss.

(AHAB beats ISHMAELA)

where

1.-4.

Vl. I

8va

5.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

230 947

Ob.

1. 2.

Klar. in Es

1. 2.

Fag.

1. 2. 5

al o

nl y

Smp.

E-Git.

E-Pno.

Akk.

C o. /

1. Perk. 2.

Ish. 3

The

sea

will

have

its way.

Pip.

Stb. 8

KnabenChor

8va

s.p.

ig ht

1.-4.

Vl. I

s.v.

QQ.

di &

Ahab

8va

s.p.

5.-8.

s.p.

Vl. II 1.-8.

Va.

s.p.

1.-6. 3

s.p.

Vc.

1.-6. s.p. 3

Kb.

1.-4.

Sy. 4117

231 949

Ob.

1. 2.

Klar. in Es

1. 2.

Fag.

1. 2. 5

al o

nl y

Smp.

E-Git.

E-Pno.

Akk.

C o. /

1. Perk. 2.

di &

Ahab

Ish.

QQ.

wave

has

Pip.

Stb.

ig ht

8va

6 KnabenChor

1.-4.

Vl. I

8va

5.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

232 950

Smp. s.v.

Klar. in Es

nl y

1. Trp. in C

m.v. (veloce)

senza sord.

2. 3

senza sord.

al o

1. 2.

Fag.

1. Pos.

m.v. (lento)

E-Git.

C o. /

E-Pno. 5

di &

Akk.

Perk.

QQ.

ig ht

8va

start

fore

gliss.

leaps. 3

Stb.

long

great

Aye.

1.-4.

Vl. I

8va

5.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

233 952

Smp. s.v.

1. Klar. in Es

m.v. (veloce)

nl y

2. 1. 2.

Fag.

al o

s.v.

1. Trp. in C

(simile) 3

2. 3

1. Pos. 3

E-Git.

di &

E-Pno.

C o. /

Akk.

1. Perk.

Stb. 8

8va

ord.

the

phoon

sing.

Let

ig ht

1.-4.

Vl. I

8va

ord.

5.-8.

ord.

Vl. II 1.-8.

Va.

ord.

1.-6. ord.

Vc.

1.-6. ord.

Kb.

1.-4.

(sim.)

Sy. 4117

234 953

Smp.

1. Klar. in Es

(simile)

nl y

al o

1. 2.

Fag.

s.v.

1. Trp. in C

2. 3

gliss.

1. 3

2. 5

Pos.

E-Git.

di &

E-Pno.

C o. /

Akk.

1. Perk.

(leicht)

QQ.

Stb. 8

Oh, jol

the

Oh, jol

the

(leicht)

ig ht

8va

1.-4.

Vl. I

8va

5.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

235 955

Smp.

1. Klar. in Es

(derb)

Fag.

al o

1. 2.

nl y

senza sord.

1. Trp. in C

1. Pos.

E-Git.

C o. /

di &

E-Pno.

Akk.

Perk.

gale,

jo ker

the

gl.

whale,

and so flou ri shin’ his

tail.

and

jo ker

the

gl.

whale,

and so flou ri shin’

tail.

ig ht

8va

gl.

Stb.

and

gl.

QQ.

1.-4.

Vl. I

8va

5.-8.

Vl. II 1.-8.

Va.

1.-6. 3

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

236 957

Smp.

1. Klar. in Es 2. a2

nl y

Fag.

al o

1. 2.

1. Trp. in C

1. Pos.

E-Git. 8

C o. /

E-Pno.

di &

Akk.

Perk.

Stb. 8

QQ.

Thun der splits the ships,

ig ht

8va

but he on ly smacks his lips,

and a tas tin’ of these flips,

such a

spor

ty, ga my, jes ty,

spor

ty, ga my, jes ty,

1.-4.

Vl. I

8va

5.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

237 960

Smp.

1. Klar. in Es

1. 2.

Trp. in C

1. 2.

Pos.

1. 2. 5

E-Git.

E-Pno.

C o. /

Akk.

1. Perk.

ky, ho

ky po

ky lad

ky, ho

ky po

ky lad

ky po

ky lad

is the

vely foa

my o cean.

QQ. jo

ky lad

is the

vely foa

my o cean.

Stb. 8

ky po

foa

my o cean

cean „

ky, ho

Män.Chor

ky, ho

4 (Crew Members)

di &

„

o sch [ocean]

ig ht

8va

sch

”

ean

1.-4.

8va

Vl. I

5.-8.

Vl. II 1.-8.

Va.

al o

Fag.

nl y

1.-6. 3

Vc.

1.-6.

Kb.

1.-4.

*) Das klingende „sch“ in ocean „rauschen“ lassen Sy. 4117

”

238 963

Fag.

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

E-Git.

C o. /

Akk.

1. Perk.

sub.

di &

Ahab

„

“

„

“

sch

ean

o “

4 T. o

sch

ean

Män.Chor

ean

4 B. o

sch

ean

„

sch

ean

“

ean

o „

ean

“

cean „

“

sch

ean

“

„

ean

sch

“

ean

ig ht

8va

„

the sails!

sch

“

sch

„

sch

„

4 B.

ean

„

4 T.

Set

1.-4.

8va

5.-8.

Vl. II 1.-8.

Va.

E-Pno.

Vl. I

al o

1. 2.

Klar. in Es

nl y

Smp.

1.-6. 3

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

“

239 966

Smp. Klar. in Es

1. 2.

Fag.

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

nl y

senza sord.

al o

E-Git.

E-Pno. 5

C o. /

Akk.

1. Perk.

di &

„

“

Ahab „

“

4 T. sch

ean

o “

4 T. 8

Män.Chor

sch

ean

sch

ean

ean „

“

sch

ean

„ “

the sails!

“

sch

ean

„ “

4 B.

„

“

„

4 B.

ean

„

Set

„

ean

sch

ean

ig ht

8va

1.-4.

Vl. I

8va

5.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

240

968

(They all get ready to battle the whale.)

1. 2.

Fag.

1. 2.

Trp. in C

1. 2.

al o

Klar. in Es

nl y

Smp.

1. 2.

Pos.

E-Git.

di &

Akk.

C o. /

E-Pno.

Perk.

KnabenChor 8va

Ahab

Vl. I

ig ht

1.-4.

8va

5.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

rall. 5

970

241

= 92 ( = 46)

E-Git. 8

E-Pno.

al o

nl y

Akk.

l.v.

Perk.

1. l.v.

Knaben24 Chor

leggero + gut artikuliert

We tried to sail to the west ern sea,

rall.

= 92 ( = 46)

1.-4. Vl. I

8va

5.-8.

Vl. II 1.-8.

1.-6.

Vc.

1.-4.

Kb.

973

Knaben24 Chor

and we bought an owl and a

use

ful

cart,

and a pound of rice and a cran

ig ht

8va

1.-4.

8va

Vl. I

5.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

land all cov ered with trees,

di &

Va.

C o. /

8va

to a

Becken

Sy. 4117

ber ry tart,

and a

hive

242 accel.

978

1. 2.

Fag.

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

al o

Klar. in Es

nl y

Smp.

sempre legato

4 5

E-Git.

Synth.

]

C o. /

[umschalten: E-Piano

Akk.

sempre legato

(Becken)

di &

Perk. 2.

sil

ve ry bees,

and we bought a pig, and some green jack daws,

sil

ve ry bees,

and we bought a pig, and some green jack daws,

8va

mon key with lol li pop paws,

lol

pop

paws,

accel.

s.p.

ig ht

5.-8.

love ly

s.p.

Vl. I

s.p.

1.-4.

8va

and

KnabenChor

1.-4.

s.p.

Vl. II

5.-8.

s.p.

Va.

1.-6. s.p.

1.-3. Vc. gliss.

4.-6.

Kb.

1.-4.

Sy. 4117

s.p.

243

11. Szene (AHAB stands apart in enchanted silence. And every time the ship pitches down, he turns to eye the bright sun’s rays; and when the stern goes downwards, he turns back and sees the same yellow rays. The Pequod pitches and rolls but rides out the storm.)

= 100 ( = 50)

982

Sample 14

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

al o

Hr. in F

nl y

Smp.

Tuba

E-Git. 8

1. Perk.

a strong

8va

Vl. I

the

sky

and the air

seems

vast

and the air

seems

vast

div. (s.p.)

ig ht

5.-8.

fills

1.-4.

breeze

= 100 ( = 50) 8va

stea dy

s.v.

12 KnabenChor

1.-4.

Vl. II

5.-8.

di &

Akk.

s.p. sempre legato gliss.

gliss.

1.-6.

s.p.

1.-3.

sempre legato gliss.

gliss.

Vc. 4.-6.

Kb.

C o. /

Synth. (E-Pno. )

Va.

sempre legato

1.-4.

Sy. 4117

gliss.

244

984

(During this scene the following is also happening without noise: The ship’s Carpenter is carving a coffin. The Carpenter makes his finishing touches - Queequeg climbs into it. Once he is certain that it fits him, Queequeg climbs out and takes some coins from a purse he has fixed to his waist and hands them to the Carpenter. They shake hands. Queequeg exits and the Carpenter places the lid on the coffin.)

1. 2.

Fag.

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

al o

Klar. in Es

nl y

Smp.

E-Git.

Synth. (E-Pno. )

C o. /

Akk.

1. Perk.

di &

Ahab.

KnabenChor

bel

low

ing sails.

like bel

low

ing sails.

1.-4.

booms

be fore the

wind.

world

booms

be fore

wind. div.

loco

5.-8.

1.-4.

(s.p.)

8va

Vl. I

The whole

world

8va

(s.p.)

ig ht

(s.p.)

Vl. II

5.-8.

sempre legato gliss.

1.-6.

Va.

gliss.

1.-3.

Vc.

4.-6. (ord.)

1. 2.

(IV) gliss.

gliss.

Kb.

(ord.)

3. 4.

Sy. 4117

245

986

1. 2.

Fag.

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

al o

Klar. in Es

nl y

Smp.

E-Git.

Synth. (E-Pno. )

C o. /

Akk.

1. Perk. 2.

di &

s.v.

Qq. 3

The sails

are

loose! gl.

Stb.

s.v.

Shall I

(gut artikuliert)

Knaben- 8 Chor 8va

sea

the

pen

sea

the blue,

div. loco

(s.p.)

1.-4. 8va

Vl. I

the

The sea

5.-8.

ig ht

1.-4. Vl. II

5.-8.

gliss.

1.-6.

Va.

gliss.

1.-3.

Vc.

4.-6. s.p.

1. 2.

3. 4.

gliss. gliss.

Kb.

Sy. 4117

strike

the

246

988

1. 2.

Fag.

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

al o

Klar. in Es

nl y

Smp.

E-Git.

Synth. (E-Pno. )

1. Perk. 2.

di &

(ausgerufen)

C o. /

Akk.

Ahab

Strike noth ing,

the

lift,

sir?

Stb.

Knaben8 Chor the

8va

free

with out

mark

with

out

a bound,

(loco)

5.-8.

ver

ig ht

1.-4. Vl. II

5.-8.

gliss.

1.-6.

Va.

gliss.

1.-3.

Vc.

4.-6.

1. 2.

3. 4.

In God’s

1.-4. Vl. I

Sir?

fresh,

lash it.

Kb.

Sy. 4117

runs

the

247

990

Smp. 1. 2.

Fag.

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

al o

Klar. in Es

nl y

E-Git. 8

Synth. (E-Pno. )

Akk.

C o. /

1. Perk. 2.

Stb. name!

Sir?

Stubb

di &

Ahab

8va

Vl. I

gions round

it plays

with

get

the

clouds

and mocks the

skies

5.-8.

gliss.

1.-6.

1.-3.

Vc.

ord. (non trem.)

s.p.

ord.

s.p.

4.-6.

Kb.

1. 2.

3. 4.

chors?

Sy. 4117

a (loco)

Vl. II

Va.

an 3

ig ht

1.-4.

the

5.-8.

Shall

1.-4.

wide

earth

Knaben- 8 Chor

248 992

Smp.

1. Klar. in Es

1. 2.

Pos.

1. 2.

al o

Trp. in C

nl y

E-Git.

Synth. (E-Pno. )

C o. /

Akk.

1. Perk.

di &

(grasps Ahab by the arm)

Stb.

dled crea

1.-4. 8va

Sir,

ture lies.

8va

Vl. I

5.-8.

ig ht

1.-4. Vl. II

5.-8.

Va. 1.-6.

1.-3.

Vc.

4.-6. ord.

1. 2.

3. 4.

gliss.

Kb. gliss.

Sy. 4117

gliss.

cra

Knaben8 Chor

(flehentlich)

let’s

square the

yards,

249 993

Smp. 1. Klar. in Es

1. 2.

Pos.

1. 2.

al o

Trp. in C

nl y

E-Git. 8

C o. /

Akk.

1. Perk. 2.

di &

Ahab 3

Stb. and

make

home

l.v.

wards.

waves 8va

(loco)

1.-4. Vl. I

8va

5.-8.

1.-4.

ig ht

Vl. II 5.-8.

gliss.

1.-6.

1.-3.

Vc.

l.v.

The

Knaben12 Chor

Va.

Synth. (E-Pno. )

Tuba

(senza trem.)

4.-6.

s.p.

1. 2.

3. 4.

Kb.

Sy. 4117

when

250 994

Smp.

1. Klar. in Es

1. 2.

Pos.

1. 2.

al o

Trp. in C

nl y

Tuba

Synth. (E-Pno. )

Knaben12 Chor and

red

the

moon

Vl. I

1.-4. 8va

5.-8.

1.-4. Vl. II

ig ht

5.-8.

gl.

1.-6.

1.-3.

Vc.

ord. (non div.)

4.-6. ord. (div.)

1. 2.

3. 4.

Kb. gliss.

Sy. 4117

8va

white

di &

Akk.

Va.

C o. /

E-Git.

251 995

Smp.

1. Klar. in Es

nl y

senza sord.

al o

1. 2.

Pos.

senza sord.

Tuba

E-Git.

Synth. (E-Pno. )

C o. /

di &

Akk.

(wütend)

the

quod,

there

one

gliss.

8va

Ahab

1.-4. Vl. I 8va

5.-8.

1.-4. Vl. II

1.-6.

Va.

ig ht

5.-8.

gliss.

1.-3.

Vc.

s.p.

ord. (non div.)

s.p.

ord. (div.)

4.-6.

1. 2.

3. 4.

Kb.

Sy. 4117

gliss.

252 996

Smp.

1. Klar. in Es

nl y

2. senza sord.

Hr. in F

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

al o

senza sord.

E-Git. 8

Synth. (E-Pno. ) 5

C o. /

Tuba

di &

Akk.

1. Perk.

Ahab

and

(loco)

8va

me! 8va

1.-4. Vl. I

that’s

lord

(Terrified they all step back.

Vibraphon

5.-8.

ig ht

1.-4. Vl. II

5.-8.

ord.

1.-6.

Va.

1.-3.

Vc.

4.-6. 3 3

1. 2.

Kb. 3. 4.

3 8

Sy. 4117

253

The wind rises from the other side - it’s as if Ahab controlled the weather ...)

997

Smp. 8

Picc. 5

Fl.

2. 3

Ob.

al o

1. Klar. in Es

1. Fag.

2. 1. 2.

Hr. in F

nl y

gliss.

1. 2.

Trp. in C

Pos.

C o. /

1. 2.

Tuba

E-Git. 8

Synth. (E-Pno. ) 5

Glockenspiel

Akk.

1. Perk. 2.

5 6

Knaben24 Chor

8va

the

storm

hour

when

div. ord.

ig ht

1.-4. Vl. I

di &

(8va)

were

born,

and

the

ord.

non div.

whale

(div.) a4

5.-8.

(non div.)

1.-4.

Vl. II

(divisi)

a4 (div.)

5.-8.

Va.

ord.

1.-6.

(divisi)

6 6

ord.

(non div.)

1.-3. 3

Vc.

(non div.)

4.-6.

3 3

1., 2. (div.)

Kb.

1.-4.

pizz.

3., 4.

Sy. 4117

pizz.

254 999

Smp. 8

Picc.

Fl.

5 5

1. 2.

1. Klar. in Es

nl y

al o

Ob.

1. 2.

Fag.

1. 2.

Hr. in F

Trp. in C

gliss.

1. 2.

Pos.

C o. /

Tuba

E-Git. 8

Synth. (E-Pno. ) 5

Perk.

2. Knaben24 Chor

gliss.

ked

and

the

por

whis

1.-4. Vl. I

ise

rolled

and

dol

phins bared gliss.

gliss.

ig ht

the

gliss.

5.-8.

1.-4.

5.-8.

3 3

gliss.

Vl. II

7 5 3

gliss.

6 6 3

1.-6. 6

1.-3. 5

Vc.

5 5

4.-6. 6

arco

Kb.

Akk.

Va.

di &

1.-4.

(1.-4.) gliss.

Sy. 4117

its

255

(... though soon all is calm again. On video we see: Birds fly above, a good sign, but then

1001

Smp. 8

s.v.

Picc.

Fl.

Ob.

1. 2.

nl y

s.v.

Klar. in Es

al o

1. s.v.

1. 2.

Trp. in C

1. 2.

Pos.

1. 2.

Hr. in F

1. 2.

Fag.

gliss.

E-Git. 8

Synth. (E-Pno. )

5 5

di &

C o. /

Tuba

Akk.

1. 2. Knaben- 12 Chor 12

uniti (24)

back

1.-4.

div.

Perk.

gold.

(gut artikuliert)

ver was heard

such an

out cry wild,

as wel comed the life of the o

cean child

1., 2.

Vl. I 5.-8.

3., 4.

ig ht

1., 2.

1.-4.

Vl. II

3., 4.

5.-8.

II 1., 2.

gliss.

1.-3.

Va.

3., 4.

gliss.

4.-6. 3

(III) gliss.

1.-3. 3

Vc. gliss.

4.-6. 3

Kb.

1.-4.

gliss.

Sy. 4117

1., 2.

256 molto accel.

= 88

comes an albatross: large, feathery, white. It flutters and lands on the bow of the Pequod.) 1003

Smp. lunga

(s.v.)

Ob.

1. 2.

al o

Fl.

nl y

Picc.

Klar. in Es

1. 2.

Fag.

lunga

Hr. in F 3

C o. /

1. Trp. in C 2.

lunga (Ishmaela + Qq. beobachten Pip)

Ish.

)

con

di &

1. 2.

Pos.

nimmt kl. Trp. in B (con

(vor sich hin) - leicht lunga

QQ.

went to fight a wild

gale

Black Pip

lunga

molto accel.

1. 2.

Knaben24 Chor

Vl. I

ig ht

3. 4.

1. 2.

Vl. II

3. 4.

1. 2.

Va.

3. 4.

Vc.

1. 2.

Kb.

1.-4.

Sy. 4117

= 88

instead it was a white

whale

that swam a way;

257 rall.

= 72

(3)

1008

Smp. 8

(s.v.)

Picc.

nimmt Picc.

1. 2.

Ob.

1. 2.

1. Hr. in F

1. Trp. in C

C o. /

2. 1. 2.

Pos.

8va

(Glsp.)

Perk.

di &

Pip.

“I can’t

Says Pip:

QQ.

that swam a way;

Our

boy came out

Our

boy came out

andall the birds

quite well,

re ceivedhim

rall.

= 72 flaut.

3. 4.

1. 2.

Vl. II

3. 4.

1. 2.

Va. 3. 4.

Vc.

1. 2.

Kb.

1.-4.

well.

all the birds

ig ht

1. 2.

quite well,

KnabenChor

Vl. I

al o

1. Klar. in Es

Fag.

nl y

Fl.

Sy. 4117

hit him be cause it

will not

stay.”

258 1012

Smp. 8

1. Picc.

1. 2.

Fag.

1. 2.

Hr. in F

1. 2.

al o

Klar. in Es

1. 2.

Ob.

nl y

Pos.

1. 2.

Trp. in C

kl. Trp. in B

E-Git.

C o. /

8va

di &

Synth. (E-Pno. )

Akk.

8va 8

Perk.

Auto-Brakes G G

(to Ishmaela)

QQ.

4 KnabenChor

do him

nour,

a feast

was

sten,

made

this

ig ht

for

1. 2.

Vl. I

3. 4.

1. 2.

Va. 3. 4.

Vc.

1. 2.

Kb.

1.-4.

Sy. 4117

ev’

bird

that

can

259 1015

Smp. 8

1. Picc.

Klar. in Es

1. 2.

Fag.

1. 2.

Hr. in F

1. 2.

al o

1. 2.

Ob.

nl y

Pos.

1. 2.

Trp. in C

kl. Trp. in B

E-Git. 8

Synth. (E-Pno. )

C o. /

8va

di &

Akk.

8va 8

1. 3

Perk.

Pip sea

s.v.

QQ.

Pip

ig ht

KnabenChor

deep,

the

sea

The

Ish.

wide

drift

it’s

- poor

boy!

gulls

black 3

min 3

gos 3

swim or

wade.

He rons and

gulls,

1. 2.

Vl. I

3. 4.

Va.

1. 2. 3. 4.

Vc.

1. 2.

Kb.

1.-4.

Sy. 4117

cor

mo rants black

cranes and Fla min gos with scar

let

260 1017

Smp. s.v.

s.v.

1. s.v.

Picc.

s.v.

2. s.v.

nl y

s.v.

Klar. in Es

al o

1. 3

s.v.

Hr. in F

1. 2.

s.v.

kl. Trp. in B

s.v.

Pos.

1. 2.

Trp. in C

1. 2.

Fag.

C o. /

8va

Akk.

8va 8

1. 5

Perk.

di &

Synth. (E-Pno. )

( )

4 KnabenChor

and in

ig ht

back

nite

tide.

Thou-sands of birds

in won drous

flight.

back

birds

1. 2.

Vl. I

3. 4.

1. 2.

Va. 3. 4.

Kb.

1.-4.

was

Pip 3

1. 2.

(to Qq.)

cold

(gut artikuliert) 3

Pip

Ish.

Vc.

Sy. 4117

flight.

261 1020

Smp. 8

1. Picc.

nl y

Klar. in Es

5 5

al o

kl. Trp. 1. in B Trp. in C

1. 2.

Fag.

)

Synth. (E-Pno.

8va

Akk.

8va 8

1. 5

Perk.

5 5

Ish. near

drowned.

( ) Pip lost

on a lone

QQ.

4 KnabenChor

Yes.

kept

tude

choes

Mul

tude

choes

yr op

3. 4.

1. 2. 3. 4.

1.-4.

Mul

Vl. II

Kb.

The sea

1. 2.

s.v.

his

(gut artikuliert)

1. 2.

Vc.

3 3

(gut artikuliert) 3

3. 4.

Va.

ride.

ig ht

Vl. I

di &

C o. /

Sy. 4117

bird

from

bird

nite

262 1023

Smp. 8

1. Picc.

nl y

1. Klar. in Es

al o

1. 2.

Fag.

Trp. in C

kl. Trp. 1. in B 2.

)

8va

1. 5

di &

Ish.

Pip s.v.

QQ. a float,

but

4 KnabenChor

bird,

4 and bird,

1. 2.

Vl. I

and

e cho ing

ig ht

back

you

heard.

rocks

3., 4.

3 3

his

heard.

3. 4.

1.-4.

you

Va.

Kb.

back from the rocks

1. 2.

3. 4.

Vc.

1. 2.

Vl. II

drowned

3.-6. div.

3.-6.

Gong

C o. /

Perk.

Synth. (E-Pno.

8va

Sy. 4117

nite

263 *) 1027

Smp. 8

1. 5

Picc.

1. 3

al o

Klar. in Es 2.

Trp. in C

kl. Trp. 1. in B

1. 2.

Fag.

2. 3

E-Git.

8va

C o. /

)

8va 8

1. Perk.

Gong

di &

Ish.

Pip m.v.

s.v.

QQ.

pizz.

3.-8.

ig ht

3. 4.

(walks to the Carpenter)

1. 2.

Va.

3. 4.

1. 2.

Vc.

pizz.

3.-6. 5

pizz.

1. 2.

Kb.

pizz.

3. 4.

soul.

Vl. II

s.v.

Vl. I

Synth. (E-Pno.

nl y

*) E-Pno. bleibt stehen auf den Tönen e / d-ais

Sy. 4117

he’d

s.v.

died!

264 rall.

= 66

(Ishmaela geht zu ihm hin 890 und hört ihm zu.)

1030

Smp. 8

1. 5

Picc.

Ob.

nl y

1. 5

Fag.

1. 2.

kl. Trp. 1. in B Trp. in C

Klar. in Es

al o

E-Git. 8va

Organ

Synth. (E-Pno. )

[umschalten: Organ]

8va

2. 5 5

the creeps!

gives me

Ish. He

(flaut.)

Vl. I

(pizz.)

3.-8.

pizz.

ig ht

1.-4.

Vl. II

pizz.

5.-8.

1. 2.

Va.

3. 4.

1. 2. Vc.

(pizz.)

3.-6. 5

(pizz.)

Kb.

1.-4.

look,

rall.

1. 2.

Pip

di &

Perk.

(begleitet Pip wieder)

C o. /

Sy. 4117

you

look,

= 66

265 1034

Smp. 8

1. Picc.

1. 2.

Klar. in Es

Fag.

1. 2.

kl. Trp. 1. in B Trp. in C

al o

Ob.

nl y

2. 1

E-Git. 8

C o. /

Synth. (Organ)

di &

Perk. 2.

Pip we

What

look

...

looks,

Ish.

QQ.

ord.

1. 2.

Vl. I 3.-8.

ig ht

1.-4.

Vl. II

5.-8.

1. 2.

Va.

3. 4.

1. 2. Vc. 3.-6.

Kb.

1.-4.

Sy. 4117

sort

bird

s.v. 5

is that, Pip?

266 1037

Smp. 8

1. 5

Picc. 8

Fag.

1. 2.

al o

Klar. in Es

kl. Trp. 1. in B Trp. in C

1. 2.

Ob.

5 2

E-Git. 5

di &

2. Ish.

Pip

ney.

QQ.

(begeistert)

flaut.

1. 2.

Vl. I 3.-8.

1.-4. Vl. II

ig ht

5.-8.

1. 2.

yr op

3. 4.

1. 2.

Vc.

3.-6. 5

1. 2.

3. 4.

C o. /

Synth. (Organ)

Perk.

XII 1

Va.

nl y

Kb.

Sy. 4117

tross.

Some

some

be lieve

267 1041

Smp. 8

1. Picc.

Ob.

1. 2.

Klar. in Es

nl y

al o

Trp. in C

kl. Trp. 1. in B 2.

E-Git. 8

Synth. (Organ)

Perk.

C o. /

1. Gongs

What

Pip a

bad

or ic

KnabenChor

Far

way

3.-8.

way

ig ht

1.-4. Vl. II

5.-8.

1. 2.

Va.

3. 4.

1. 2.

Vc. 3.-6. 1. 2.

3. 4.

you

lieve

in?

the twi

light

sky,

we heard

him

the twi

light

sky,

we heard

him

Vl. I

Far

1. 2.

men.

QQ.

di &

Ish.

Kb.

Sy. 4117

268 1045

Smp. 8

3 3

Picc.

1. 5

al o

Klar. in Es

nl y

kl. Trp. 1. in B Trp. in C

3 8

1. Reibstock / Snaredrum (Rand)

Perk.

gr. Tr. (Rand)

„

“

Pip don’t 3

have 3

4 sing

a les se ning 3

sing

1. 2.

les se ning

Vl. I

3.-8.

1.-4.

no re li gion.

cry.

gion

out

sight.

3. 4.

1. 2.

Vc.

3.-6. 3

5 5

Kb. 3. 4.

in’s

And he

1. 2.

5.-8.

Va.

Far ther and far ther till

ig ht

Vl. II

cry.

KnabenChor

di &

C o. /

Synth. (Organ)

E-Git.

Sy. 4117

269 1049

Smp. 8

1. Picc.

1. Klar. in Es

kl. Trp. 1. in B

3 3

Trp. in C

2. 3

al o

nl y

E-Git. 8

Synth. (Organ)

Snaredrum (Rand) Tom-Toms (Rand)

(Reibstock)

Perk.

2. „

”

di &

Ish.

C o. /

Pip

don’t

lent

stood a

lone

in the si

lent

night.

1. 2.

night.

KnabenChor

Vl. I

3.-8.

1.-4. Vl. II

ig ht

5.-8.

1. 2.

Va.

3. 4.

1. 2.

Vc.

3.-6. 1. 2.

Kb. 3. 4.

Sy. 4117

no bo dy

Snaredrum (Rand) 3

„

”

„

” 5

no good.

Don’t

you

270 1054

„frei“ für Ahab

Smp. 8

1. Picc.

nl y

1. 3

Klar. in Es

al o

2. 3

Trp. in C

kl. Trp. 1. in B

3 5

E-Git. 8

Synth.

(umschalten: E-Piano )

1. 5

Perk.

Zimbel

C o. /

Ahab s.v.

in God?

Ish. lieve

be lieve in

tain

ord.

KnabenChor

Cap

1. 2.

Vl. I 3.-8.

ig ht

1.-4. Vl. II

5.-8.

1. 2.

yr Va.

3. 4.

Vc.

1. 2. 5

3. 4. 1. 2.

5 8

Kb. 3. 4.

5 8

Sy. 4117

Bogen (zart, ohne Vibrato!) (suddenly to Pip)

You

Pip

Zimbel / Bogen

di &

e-bow/slide

hab,

yes sir.

flaut.

271 1058

(„frei“ für Ahab)

Smp. 5

m.v.

Ahab tou

ouch

most

cen

ter,

boy,

cause we are tied

nl y

Pip

al o

QQ. 1. 2. Vl. I

3.-8.

Vl. II 1.-8. 1. 2.

Va. 3. 4.

1. 2. Vc.

C o. /

3.-6.

1062

Smp.

rall. *)

di &

E-Git. 8

1. Perk.

Ahab ge

ther

heart

strings.

rall.

QQ.

ord.

ig ht

1. 2. Vl. I

Pip

3.-8.

Vl. II 1.-8.

1. 2.

s.v.

Va.

3.-6. II.

3. 4.

1. 2. s.v.

Vc.

(III)

3.-6. 3

Kb.

1.-4.

8 8

*) = kl. Glissandi, vibrati und s.v. ad libitum Sy. 4117

(II) s.v.

272

12. Szene 1065

(LIGHT and SEA) = 52

Smp. lunga

1. Picc.

nl y

2. 1.

Klar. in Es

al o

2. kl. Trp. in B Trp. in C

E-Git.

sempre legato

lunga

Akk. lunga 15

1. Perk.

C o. /

2. lunga

(stets gut artikuliert)

12 KnabenChor

un blin king ly

i vid

The un blin king ly

i vid

sun

glows

= 52

Vl. I

glows

ig ht

1. 2.

Vl. II

on the i

mmea

ble

cean.

arco sempre legato

arco

arco sempre legato

arco

5. 6.

sempre legato

arco

7. 8.

1.-4.

cean.

sempre legato

3. 4.

Kb.

sempre legato

7. 8.

sun

5. 6.

1.-6.

ble

3. 4.

Vc.

1. 2.

1.-6.

lunga (sempre legato)

Va.

mmea

di &

Sy. 4117

273 (OLD MELVILLE appears seated at his desk in front of a computer, as he was earlier. Figures flash on the white backdrop as before, only now they are headed up.) 1068

Sample 15

Smp. s.v.

(sim.)

1. 3

Picc.

s.v.

nl y

2. s.v.

1. 3

s.v.

Klar. in Es

(sim.)

2. 3

al o

(sim.)

s.v.

kl. Trp. 1. in B E-Git.

sempre legato

Akk.

Perlk.

C o. /

1. 15

OM.

12 KnabenChor

di &

sky

lac quered

ho ri

The sky

looks lac quered

and the ho ri

zon

3. 4.

On the coast of Co romandel

1. 2.

(deutlich artikulieren!)

floats.

zon

floats.

Vl. I

5. 6.

ig ht

7. 8. 1. 2.

3. 4.

Vl. II

5. 6.

7. 8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4. 8

Sy. 4117

274 (Old Melville stands, picks the computer up over his head and smashes 1071 it to the ground. The figures disappear.)

Smp. 8

1. Picc.

(sim.)

nl y

al o

Klar. in Es 2. (sim.)

kl. Trp. in B

E-Git.

Akk.

Perk.

C o. /

1. 15

di &

OM.

Knaben12 Chor ly pumpkins grow,

in the mid dle of the woods,

lived our cap tain A hab

oh!

where the ear

The thieves are at it again! Soulless monsters! Here are the true devils of the deep.

1. 2.

3. 4. Vl. I

5. 6. 7. 8.

ig ht

1. 2. 3. 4.

Vl. II

5. 6.

7. 8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

(OM undoes his tie and tosses it away, takes his frock coat and throws it down. He raises one hand to his eyes and looks out into the darkness)

1074

275

Smp. Picc.

Ob.

1. 2.

nl y

1. 2.

beide: con

1. 2.

Pos.

e-bow weg

m.v.

Fag.

al o

Klar. in Es

E-Git.

Akk.

Now’s the moment, when the pillaging of citizens is on parade!

di &

OM.

C o. /

1. Perk.

1. 2.

KnabenChor

3. 4. Vl. I

5. 6.

7. 8.

ig ht

1. 2.

3. 4.

Vl. II

5. 6.

7. 8.

Va.

1.-6. div.

Vc.

1.-6. 3

Kb.

1.-4.

Sy. 4117

276 1077

Smp. 8

1. Picc. 8

1. 2.

Klar. in Es

1. 2.

al o

Ob.

nl y

m.v.

1. 2.

Fag.

Pos.

1. 2. 6

Perk.

1. 15

Knaben24 Chor

a can

dle,

one

old jug with out

han

dle.

Shrimps and wa ter cres ses grow,

Two old jugs and half

ig ht

1. 2.

3. 4.

5.-8.

Vl. II 1.-8.

1.-6. 1.-3.

Vc. 4.-6. pizz.

Kb.

Akk.

Va.

di &

Synth. (E-Pno. )

Vl. I

C o. /

E-Git.

Trp. in C

kl. Trp. 1. in B

1.-4.

Sy. 4117

arco

277 1079

Smp. 8

1. Picc.

3 8

2. 1.

nl y

Ob. 2.

al o

Klar. in Es 2.

1. 2.

Fag.

Pos.

1. 2.

Trp. in C

kl. Trp. 1. in B

(con sord.)

C o. /

Tuba 6

E-Git. 8

Synth. (E-Pno. )

Perk.

1. 15

Knaben24 Chor

said our Cap tain A hab oh:

“Gaze up on the rol ling deep s.p.

ig ht

Prawns are plen ti ful and cheap,

1.-4.

s.p.

Vl. I

5.-8.

s.p.

Vl. II 1.-8.

s.p.

1.-6. s.p.

1.-3. Vc.

s.p.

4.-6. pizz.

Kb.

Akk.

Va.

di &

a 2 m.v. (lento)

1.-4.

arco

s.p. gliss.

Sy. 4117

as the

278 1081

Smp. 8

1. 3

Picc.

2. 3 3

3 3

Klar. in Es 2.

1. 2.

Fag.

nl y

al o

1. 2.

Ob.

Trp. in C

kl. Trp. 1. in B 2.

Pos.

1. 2.

gliss.

E-Git. 8

Synth. (E-Pno. )

Perk.

l.v.

m.v. 3

6 3

Akk.

di &

C o. /

Tuba 3

(dünn)

Do you see that whale now? There she blows! Thar - she - blows - bowes - bo - o - o(w) - s!

OM.

Trgl.

Knaben24 Chor

sea my love is deep!”

1.-4.

ig ht

Vl. I

5.-8.

ord.

1.-4.

Vl. II

ord.

5.-8.

Va.

ord.

1.-6. ord. gliss.

1.-3. Vc.

ord.

4.-6.

gliss. ord.

Kb.

1.-4.

1., 2.

gliss. 8

3., 4. Sy. 4117

279 1084

Smp. 8

1. Picc.

nl y

1. 2.

al o

Klar. in Es 2.

Ob.

Fag.

1. 2.

Trp. in C

Pos.

1. 2.

kl. Trp. in B

C o. /

gliss.

Tuba

E-Git. 6

6 3

Synth. (E-Pno. )

Akk.

1. Perk.

Vl. I 1.-8.

(ausrufend)

near!

ig ht

OM.

(div.)

uniti

Call...

aaall...

hands.

... the whaaale! (Starbuck approaches Captain Ahab)

3 3 3

Vl. II 1.-8.

Stb.

di &

Va.

3 3

1.-6. (div.)

Vc.

uniti

3 3

1.-6. gliss.

1. 2.

3. 4.

3 3

Kb.

Sy. 4117

3 3

280 1086 (Licht auf OM sofort aus, wenn Starbuck zu sprechen beginnt)

Smp. 8

Picc. 8

al o

1. Klar. in Es

nl y

1. 2.

Ob.

1. 2.

con sord.

Hr. in F

Fag.

1. 2.

Trp. in C

kl. Trp. 1. in B 2. 1. Pos. 2. Tuba

m.v. (lento)

C o. /

m.v.

Synth. (E-Pno. )

di &

E-Git.

Akk.

Perk. 2. *)

What do you want?

Stb.

ig ht

Ahab

*) (harshly interrupting Old Melville who immediately falls silent) Sir! The oil in the hold is leaking, sir.

Vl. I 1.-8.

Begone! Let it leak!

3 3

What will the owners say? 4

3 3

Vl. II 1.-8.

Va.

3 3

4 4

1.-6. 3 3

Vc.

1.-6.

Kb.

1.-4.

3 3

gliss. 8

gliss.

*) = Dialog „frei“, aber innerhalb des angegebenen Zeitrahmens. Sy. 4117

4 4

281 1088

Smp. 8

Picc.

1. 2. a2

nl y

1. 2.

Ob.

1. Klar. in Es

al o

2. Fag.

1. 2.

Hr. in F

1. 2.

Pos.

1. 2.

Tuba

Trp. in C

kl. Trp. 1. in B

C o. /

E-Git. 6

di &

Synth. (E-Pno. )

Akk.

1. Perk.

What cares Ahab! The only real owner of a ship is its commander!

Ahab Stb.

Away!

But Captain... (mit Nachdruck)

ig ht

Knaben12 Chor

Fall

down,

scream,

rush

a bout − 4

Vl. I 1.-8.

Vl. II 1.-8. Va.

1.-6. 4 4

Vc.

Kb.

4 4

1.-6. 1. 2.

3. 4.

gliss.

Sy. 4117

282

sub. 1090

= 54

lunga

Smp. lunga

Picc.

1. 2.

Ob.

1. 2.

Klar. in Es

1. 2.

Fag.

1. 2.

nl y

al o

1. Pos.

(unmerklich neu atmen)

2. (unmerklich neu atmen)

Tuba

lunga

E-Git. 6

lunga

[umschalten: Hammond-Orgel]

C o. /

Synth. (E-Pno. ) lunga

di &

Akk.

Perk. 2.

(AHAB rises unsteadily on one leg, picks up a gun and points it at Starbuck. STARBUCK quickly leaves.)

Ahab Knaben12 Chor

There is 4

way

of get

ting out! lunga

lunga

A hab

sub.

be ware

1.-4.

ig ht

Vl. II

of A

hab.

= 54

Vl. I 1.-8.

div.

pizz.

5.-8.

pizz.

1.-3.

Va.

3 3

4.-6.

3 3

pizz.

1.-3. 3

Vc.

pizz.

4.-6. 3

1. 2.

pizz.

Kb.

pizz.

3. 4.

Sy. 4117

283 1093

Smp.

Akk.

nl y

1. Perk.

al o

2. 3

Ahab there’s some

thing

in that.

Who

is there a mong

1.-4.

3 3

1.-3. 3

4.-6. 1. 2.

3. 4.

di &

C o. /

Vc.

3 3

4.-6.

1.-3. Va.

5.-8.

Kb.

Vl. II

Aye,

1095

Smp.

Akk.

1. Perk.

2. 3

m.v.

s.v.

(Ahab lays down the gun)

tals

Ahab to chal

1.-4.

lenge

me? 3

ig ht

Vl. II

5.-8.

1.-3.

Va.

3 3

4.-6.

1.-3. 3

Vc.

3 3

4.-6. 3

1. 2.

3. 4.

Kb.

Sy. 4117

284 1098

Smp.

nl y

Akk.

al o

1. Perk. 2.

Ahab

ri ble

white

ness

that’s be

yond

con 3

5.-8.

1.-3. 3

3 3

4.-6. 3

di &

4.-6.

Kb.

3. 4.

3 3

1101

1. 2.

1.-3. Vc.

C o. /

Va.

1.-4. Vl. II

trol.

It’s on ly theter

s.v.

Smp.

Akk.

ig ht

Perk.

(nachdenklich)

s.v.

Ahab

Why does it appeal with such power to the soul? And more strange: why is it a symbol of beau

Vl. I 1.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

and spi

rit,

yet al

so an a gent

most hor

285 ≈ 25”

(A spotlight illuminates Old Melville at his desk)

1105

Smp. 8

1. *) poco a poco cresc.

Picc.

2. 1. 2. 1. 2.

Fag.

1. 2.

*) poco a poco cresc.

senza sord.

Hr. in F

*) poco a poco cresc.

senza sord.

kl. Trp. 1. in B

*) poco a poco cresc.

senza sord.

Trp. in C

*) poco a poco cresc.

senza sord.

1. Pos.

*) poco a poco cresc.

senza sord.

C o. /

2. senza sord.

Tuba

E-Git.

*) poco a poco cresc.

di &

Akk.

l.v.

1. 2. 3

rid

kind?

*) poco a poco cresc.

1.-4.

to man

Vl. I

*) poco a poco cresc.

arco

ig ht

5.-8.

*) poco a poco cresc.

Pondering this, the palsied universe lies before us a leper. A wretched infidel gazes himself blind at the monumental white shroud that wraps all the prospect around him. Of all these things, that albino whale is the symbol. Wonder, then, ye mortals, at my fiery hunt?

Ahab

*) poco a poco cresc.

Perk.

1.-4.

Vl. II

*) poco a poco cresc.

arco

5.-8.

*) poco a poco cresc.

arco

1. 2.

Va.

*) poco a poco cresc.

arco

3. 4.

*) poco a poco cresc.

arco

5. 6.

*) poco a poco cresc.

arco

1.-3. Vc.

*) poco a poco cresc.

arco

4.-6. *) poco a poco cresc.

arco 1.-4. (III)

Kb.

1.-4.

al o

Klar. in Es

*) poco a poco cresc.

Ob.

nl y

*) poco a poco cresc.

*) = crescendo des Orchesters beginnt bei „mortals“

Sy. 4117

286 frei (wie ein Theaterstück) 1108

l.v.

E-Git. 8

l.v.

1. Perk.

l.v.

nl y

2. (AHAB hobbles to OLD MELVILLE and confronts him.)

It was thee who put those words in my mouth! It was thee forced me into this role of mad devil! Dare you, old failure, define and defile me?

al o

Who saith this?

Ahab So many twisted words from such a flawed man.

OM.

(AHAB attacks OLD MELVILLE. They tumble to the floor, fighting, until OLD MELVILLE is able to disengage himself, How further make suffer a doomed cripple? stand again, and run offstage) Shall I tear out my eyes for you? I am the evidence of your self-hatred! Forever reviled, Melville, that’s you!

Ahab

( = 54)

1109

Ob.

1. 2.

Klar. in Es

1. 2.

Fag.

1. 2.

Hr. in F

1. 2.

Trp. in C

1. 2.

Yes, It was I who made you and it is still my privilege to undo you, should I see fit.

OM.

C o. /

con

1. 3

Pos.

(Ahab rises. He pirouettes on his leg)

Hah! The hor

is in your

ig ht

ror

( = 54)

Vl. I 1.-8.

Vl. II 1.-8.

Kb.

1.-6.

1.-3. 3

Vc. 4.-6. (III)

Kb.

Run, Melville, run!

Ahab

Va.

Akk.

con 3

con

di &

con sord.

1.-4. 8

*) = alle Bläser: unmerklich neu atmen / nie gleichzeitig! Sy. 4117

hands,

your

heart!

287 Sample 16

1114

Smp.

(4)

2. nimmt Fl.

Picc.

1. 2.

Ob.

1. 2.

nl y

cresc.

2. nimmt Klar. in B

1. 2.

Fag.

1. 2.

al o

Klar. in Es

cresc.

Trp. in C

1. 2.

cresc.

1. 2. 2.

cresc.

1. 2.

cresc.

C o. /

Pos.

E-Git. 8

di &

Synth. (Hammond organ)

Akk.

Ahab

well

Fare

dieu

(angewidert gesprochen) “

damned old writer!

ig ht

and a

cresc.

„

s.v.

Vl. I 1.-8.

cresc.

Vl. II 1.-8.

cresc.

1.-6.

Va.

cresc.

1.-3. cresc.

Vc. 4.-6. cresc.

Kb.

cresc. a2

Hr. in F

1.-4. cresc.

*) = alle Bläser: unmerklich neu atmen / nie gleichzeitig! Sy. 4117

(limps away)

288

13. Szene 1118

( = 54)

Smp.

nl y

Synth. (Hammond organ)

al o

(OLD MELVILLE is lying on a couch.

To myself, I feel not myself. All I am sure of is a sort of prickly sensation all over me, which they call life. By the incomprehensible stranger in me, I say, this body

OM. ISHMAELA is sitting nearby in a chair. She is writing on a pad of paper.)

Ish.

1122

Smp.

(langsam)

(begleitet Ishmaela)

kl. Trp. in B

C o. /

Synth. (Hammond organ)

di &

of mine has been rented out scores of times, though always one dark chamber in me is retained by the old mystery.

OM.

s.v.

Ish.

are

not

my ste

You

1126

Smp.

kl. Trp. in B

≈ 2”

≈ 4”

gliss. *) 5

mit “No”

ig ht

Synth. (Hammond organ)

mit “ain’t”

Becken

Perk.

Vibraphon

Vibrato (langsam) ON

2. 5

No, I suppose not. I’m sorry to trouble you.

I ain’t crazy.

OM.

m.v.

s.v.

Is that a question?

Ish. ri *) = pitch bend mit dem Ansatz

ous,

you

know? Sy. 4117

289 ≈ 6”

1131

„frei im Tempo“

≈ 13”

= 96-100

Smp. mit “least”

kl. Trp. in B “Pierre”

al o

nl y

Synth. (Hammond organ)

1. Perk.

“mask”

At least you did not have me marry and lie with my sister as you did Pierre.

Ish.

gl.

ter lone ness long

OM.

Pierre was my mask. “From all idols, I tear all veils”, he said. “Henceforth I will see the hidden things, and live right out in my own hidden life.”

stranged

C o. /

1135

Smp.

(umschalten: E-Piano

di &

Synth.

1. Perk.

s.v.

m.v.

in life

gl.

and

≈ 4” Sample 17

)

“That’s”

vibr.

gl.

1139

the wrong.

≈ 6”

Ease

That’s not exactly what I wrote, is it? 3

me,

lit tle

≈ 7”

ig ht

Smp.

gl.

ther in

nei

s.v.

Ish.

m.v.

OM.

ease

my song.

≈ 1’ 45”

Perk.

Years ago I still had the strength to descend almost to the bottom and return unharmed. I knew this novel would be a mighty undertaking, the turning point in my life and work. Back then, I lived as though my consciousness was enlarged by a sixth sense. I perceived everything around me as keenly as if a supernatural radiance overlay all the visible world, and it seemed that the years at sea and the years in New York had been but one long preparation for that Summer in the Berkshires. In all objects and events the great riddles of life revealed themselves to me, even those I had hidden from myself. It was the moment when my happiness met no obstacles and all it had required was a single encounter with Nathaniel Hawthorne: the union of two kindred souls. Today, with a disappointed heart and a cool head, how can I say what constituted that intoxication? All that was needed was the touch of words and thoughts never before uttered. We found an echo in each other, a cross-pollination of our imaginations. I had a feeling of unutterable assurance, for to him I could reveal my innermost being and be understood completely. The feeling of eternal brotherhood! Now you are in eternity, Nathaniel. I talk to you and you are as closed-off as you were in life.

OM.

(ISHMAELA puts down her pen and caresses Old Melville’s forehead.) Dream now, Old Melville, dream

Ish.

of your grand hooded phantom, like a snow hill in the air.

Sy. 4117

290

= 60

1142

(The Whiteness dims like a setting sun.)

Smp. 8

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

1. 2.

Hr. in F

1. 2.

al o

Fl.

nl y

Picc.

(senza sord.)

kl. Trp. 1. in B 2.

Pos.

1. 2.

(senza sord.)

Trp. in C

(senza sord.)

senza sord.

m.v. (lento)

C o. /

Tuba e-bow/slide (s.v.+vibr. ad libitum) 2

E-Git. 8

8va

di &

Synth. (E-Pno. )

Akk. Gong

Perk.

1. Gong

Zimbel

Triangel

l.v.

OM.

= 60

Feelings as strong as mine for you inevitably end in disappointment.

15ma

1.-4. Vl. I

ig ht

5.-8. 8va

1.-4.

Vl. II

5.-8.

gliss.

1.-3.

Va.

4.-6. gliss.

1.-3. Vc. 4.-6.

Kb.

1. 2. 3. 4.

gliss.

Sy. 4117

291 1147

14. Szene

rall.

Smp. 8

Picc. 3

Fl.

Ob.

1. 2.

Fag.

1. 2.

Hr. in F

1. 2.

Pos.

1. 2.

nl y

2. (unmerklich neu atmen)

al o

(unmerklich neu atmen)

2. (unmerklich neu atmen)

(unmerklich neu atmen)

Tuba

E-Git.

Synth.

C o. /

[umschalten: unverstimmtes E-Piano]

di &

Akk.

1. Perk.

8va

Pauke

Donnerblech

s.v.

Ahab

she blows!

Thar she blows!

hump

like a snow

rall. s.v. (I)

Thar

1.-4.

5.-8.

1.-4.

s.v. (II)

ig ht

Vl. II

5.-8.

1.-4.

1.-3.

Va.

4.-6.

1.-3.

Vc.

4.-6.

1. 2.

3. 4.

s.v.

Vl. I

Kb.

Sy. 4117

s.v.

hill!

292 (The crew assembles. With a majestic calm everyone pauses and looks at Ahab. He continues to keep a look out.) lunga

= 54 1151

Smp. lunga

1. 2.

Fag.

lunga

1. 3 3

nl y

Hr. in F

Trp. in C

kl. Trp. in B

al o

Pos.

gl.

Tuba

lunga

Slide

E-Git. 8va

C o. /

8va

Akk.

di &

Perk.

s.v.

Ahab Di

(artikulieren!)

i(ck)!

It’s Mo by

Stubb

= 54

lunga

1.-4. Vl. I

(III)

5.-8.

ig ht

1.-4. Vl. II

(IV)

5.-8.

1.-4.

Va.

(II)

1.-3.

Vc.

pizz.

arco

II.

4.-6. arco III.

pizz.

1. 2.

8 8

Kb.

arco III.

pizz.

3. 4.

lunga

8 8

Sy. 4117

There

she

brea ches!

293 8va

1155

8va

nl y

Akk.

Ahab Breach

your la

ast

to the

un,

by Di (ck)!

al o

s.v.

Ish. There

she jumps! s.p.

8va

15ma

1.-4.

gliss.

Vl. I

s.p.

8va

gliss.

5.-8.

15ma

8va

s.p.

gliss.

1.-4. Vl. II s.p.

8va

gliss.

C o. /

5.-8.

s.p.

gliss.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

di &

gliss.

= 88 sub.

1158

E-Git. 8

1 2 3

leggero

gliss.

5 5

(Pauke)

gliss.

Perk.

ig ht

Ish.

the

sails!

= 88 sub.

15ma

ord.

gliss.

Vl. I 1.-8.

8va

ord. gliss.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

ord. gliss.

sim. 8

Sy. 4117

5 5

Set

III

gliss.

294 1160 8

Picc.

Fl.

Ob.

1. 2.

nl y

5 5

al o

Klar. in Es

Fag.

1. 2.

gl.

1. Hr. in F

2. 3

kl. Trp. in B

C o. /

*) gl.

Trp. in C

Pos. 2.

di &

E-Git. 5

gliss. 3

gliss.

III

gliss.

5 5

*) gl.

Klar. in B

Synth. (E-Pno. )

1. Perk.

gliss.

Akk.

Vibraphon

ig ht

2. 3

QQ.

your

trump,

bli

Blow

Va.

1.-6.

Vc.

1.-6.

your

lungs!

gliss.

Vl. I 1.-4.

(sim.)

Vl. II 1.-4.

ster

gliss. 3

gliss.

Kb.

1.-4.

*) = mit dem Ansatz Sy. 4117

295 1162 8

Picc.

Fl.

5 5 5

nl y

Klar. in Es

1. 2.

Trp. in C

kl. Trp. in B

Fag.

al o

Klar. in B

gliss.

molto

Pos. 2.

C o. /

molto

Tuba molto

gliss.

E-Git. 5

5 5

E-Pno.

di &

III

Akk.

gliss.

Perk.

gliss.

Stb.

ig ht

m.v.

Vl. I 1.-4.

Aye,

aye!

gliss.

1.-6.

1.-4.

gliss.

Kb.

you

gliss.

Vc.

it,

gliss.

Vl. II 1.-4.

Va.

knew

Sy. 4117

can’t

296 1164 8

Picc.

Ob.

1. 2.

gl. 5

1. 2.

Fag.

*) gl.

3 3

gl.

Trp. in C

Pos.

1. 2.

Fo C o. /

Tuba XV

5 5

E-Pno.

gliss.

Perk. 2.

5 5

Your

hour

has

cape!

1.-8.

ig ht

Ahab

Vl. I 1.-8.

gliss.

III

Akk.

Stb.

gliss.

di &

E-Git.

gliss.

kl. Trp. in B

gl.

1. Hr. in F

1.-8.

Vl. II 1.-4.

Va.

gliss.

1.-6. gliss.

Vc.

1.-6.

gliss.

Kb.

nl y

al o

Fl.

1.-4.

*) = mit dem Ansatz Sy. 4117

297 1166

Picc. 5

Fl.

2. 5

1. 2.

Ob.

Klar. in B

Fag.

1. 2.

5 3

us er

2. gliss.

1. 3

Trp. in C

Pos.

1. 2.

kl. Trp. in B

1. Hr. in F

al o

nl y

Klar. in Es

3 3

gliss.

E-Git. 8

E-Pno. 5

di &

Akk.

5 5

Ahab

come!

Stubb

gliss. 5

gliss.

Perk.

5 5

III

C o. /

What

ide!

6 8

T. 6

gliss.

a *) gliss.

ig ht

Män.Chor

gliss.

*) gliss.

gliss.

Vl. I 1.-8.

Vl. II 1.-8.

gliss. gliss.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

gliss. gliss. 8

*) glissando langsam beginnen + dann accelerando zum Zielton hin Sy. 4117

298 (They were one man, not thirty. For one ship holds them all. And their individualities welded: valor, fear; guilt and blame. All directed towards Ahab’s fatal goal.)

1167 8

1. 2.

Klar. in Es

Fag.

1. 2.

(gliss. mit dem Ansatz)

3 3

gliss.

3 3

Tuba 3

gliss.

E-Git. 5

5 5

III

gliss.

1. 2.

Pos.

al o

Ob.

Fl.

nl y

Picc.

5 5

1. Perk.

5 5

di &

Ahab

Stubb the

gliss.

6 8

(immer sehr genau artikulieren!)

Port

the helm,

trim

the

trim

the

trim

the

trim

the

(immer sehr genau artikulieren!)

heart.

gles

tin

gliss.

Port

the helm,

(immer sehr genau artikulieren!)

Män.Chor

gliss.

C o. /

E-Pno.

gliss.

Port

the helm,

ig ht

(immer sehr genau artikulieren!)

gliss.

Port

sim.

Vl. I 1.-8.

the helm,

s.p.

gliss.

Vl. II 1.-8.

Va.

sim.

s.p.

gliss.

1.-6. 5

5 5

gliss.

Vc.

1.-6.

gliss. 5

sim. gliss.

Kb.

1.-4.

Sy. 4117

299 1169 8

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

1. 2.

Pos.

al o

Fl.

nl y

Picc.

Tuba XV

E-Git. 8

III

E-Pno. 5

C o. /

gliss.

1. 5

Perk.

Ahab

’Way

down

in the sea

’Way

down

in the sea

Ish. down

di &

’Way

Woodblock

QQ.

Pip

Stubb

’Way

Stb.

down

ig ht

12 T.

Män.Chor

sail,

let

the

migh

whale.

sail,

let

the

migh

whale.

There

12 B.

Vl. I 1.-8.

Vl. II 1.-8. Va.

1.-6. 5

Vc.

1.-6. gliss.

Kb.

1.-4.

Sy. 4117

5 5

300 1171 8

(Flz.)

Picc.

1. 2.

Klar. in Es

Klar. in B

Fag.

1. 2.

E-Git.

III

5 5

gliss.

Tuba XV

1. 5

Perk.

C o. /

Synth. (E-Pno. )

5 5

di &

Ahab

(alle: deutlich artikuliert)

Ish. down

in the

sea

’Way

(trocken)

1. 2.

Pos.

al o

Ob.

nl y

(Flz.)

Fl.

QQ. ’Way

Stb. 8

’Way

Stubb

in the

sea

down

in the

sea

down

in the

sea

Pip

down

’Way

(immer gut artikulieren!)

ig ht

6 12 T.

Män.Chor

she

blows!

Man

the boats

for

thing

stay,

such

prize

Man

the boats

for

thing

stay,

such

prize

6 B.

Vl. I 1.-8.

Vl. II 1.-8. Va.

1.-6. 5

sim.

Vc.

1.-6. 5

Kb.

s.p.

1.-4.

Sy. 4117

301 1173 8

Fl.

Fag.

1. 2.

m.v. (lento)

al o

nl y

Picc.

Pos.

Tuba

8va

XV IX

E-Git.

III

C o. /

Synth. (E-Pno. ) 5 5

Tam-tam

1. Perk.

di &

Ish.

down

’Way

QQ.

down

the

sea

the

sea

’Way

Pip The birds!

Stb.

The birds!

Stubb

’Way

down

the

sea

’Way

down

the

sea

(übermütig und leicht)

ig ht

6 T.

Män.Chor

must

not

must

not

lose.

Lay

your

oars

a way,

a way

Lay

your

oars

a way,

a way

6 B.

lose. 5

ord.

1.-3.

Vc.

5 5

ord.

4.-6. 5

1. 2.

3. 4.

Kb.

Sy. 4117

302 (Video: A flock of White Birds fly over.) PAN: von Links Sample 18

1175

(PAN:)

“The Birds”

Smp. (The Birds)

Sample 18:

who

dies

hab

shall eat

who

dies

hab

shall eat

Fag.

1. 2.

Hr. in F

1. 2.

Trp. in C

Pos.

1. 2.

(unmerklich neu atmen)

al o

Ob.

nl y

1. 2.

(unmerklich neu atmen)

Tuba

Slide weg

E-Git.

Akk.

di &

Perk. 2.

Ish.

QQ.

Stb. 8

Stubb

6 T. Män.Chor

(so schnell wie möglich)

C o. /

1 3

Launch the

har

’Way

down

’Way

down

’Way

down

’Way

down

poon,

laugh at

fear.

Plunge

poon,

laugh at

fear.

Plunge

ig ht

6 B.

Launch the

har

1.-3.

Va.

4.-6.

(trem.)

1.-3.

Vc.

(trem.)

4.-6. (trem.)

1. 2.

Kb.

(trem.)

3. 4.

Sy. 4117

303 1178 (PAN)

Smp. (The Birds)

nach Rechts

fowls

the the

(MOBY DICK, in all of his gargantuan whiteness, surfaces and approaches the ship.)

air. air.

Picc.

nl y

Fl.

Klar. in Es

Klar. in B

Fag.

1. 2.

Hr. in F

1. 2.

Ob.

al o

(a 2)

Pos.

1. 2.

Trp. in C

kl. Trp. 1. in B

C o. /

Tuba

[

E-Git. 5

di &

Synth. (E-Pno. )

]

(so schnell wie möglich)

Akk.

1. Perk.

l.v. 5

Ish., QQ.

in the sea

Stb. 8

in the sea

Stubb

ig ht

in the sea (genau artikulieren)

6 T.

Män.Chor

deep

the

bar

bed

spear.

the

bar

bed

spear.

6 B.

deep

Vl. I

1.-4. 5.-8.

Vl. II

1.-4. 5.-8.

Va.

1.-3. 4.-6.

Vc.

1.-3. 4.-6.

Kb.

1./2. 3./4.

div.

div. 8

Sy. 4117

304 1180 8

Fl.

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

1. 2.

Hr. in F

1. 2.

Pos.

1. 2.

C o. /

Trp. in C

al o

kl. Trp. 1. in B

Tuba

e - bow / slide

di &

E-Git. 5

Synth. (E-Pno. )

Akk.

Gong

Perk. 2.

ig ht

s.v.

Ahab

white

whale,

man

(div.)

1.-4. 5.-8.

Vl. I

Vl. II

nl y

Picc.

(div.)

1.-4. 5.-8.

Va.

1.-3. 4.-6.

Vc.

1.-3. 4.-6.

Kb.

1./2. 3./4.

(div.)

(div.) 8

Sy. 4117

fiend,

305 = 84 Klar. in B

Fag.

In the meanwhile: (The whale goes under again, ...)

lunga

1182

lunga

Hr. in F

1. 2.

Pos.

1. 2.

nl y

(a 2)

(Intonationsschwankungen ad libitum)

al o

Tuba

(Echo + Chorus: ON) lunga

(Intonationsschwankungen ad libitum)

E-Git.

(langsame vibrati)

Akk.

C o. /

1. Perk. 2.

(zu Ahab)

lunga

(starker Zwerchfellstoß)

Ahab aze

old

Vl. I

Vl. II 1.-8.

(div.) 3

ig ht

lunga

div.

1.-4.

= 84

5.-8.

you

1.-4.

are

hab.

(div.)

div. 3

gra

can

Where

di &

Pip

1.-3.

Va.

4.-6.

1.-3. 3

Vc.

4.-6. 3 3

1. 2.

Kb. 3. 4.

3 8

Sy. 4117

ing?

In the end

306 1185 8

(... and, for the moment, the sea is calm.)

( = 84)

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

Hr. in F

1. 2.

al o

Fl.

nl y

Picc.

(a 2)

Pos.

1. 2.

C o. /

Trp. in C

kl. Trp. 1. in B

Tuba

[umschalten: E-Piano

di &

E-Git.

]

Synth.

Akk.

Perk.

Pip

ig ht

the cur

rents

will

car

you

those

( = 84)

Vl. I 1.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

sweet

lands,

a ny

way.

Com fort

Pip,

307 lunga

1190 8

sub.

= 88

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

al o

Fl.

nl y

Picc.

lunga (a 2)

1. 2.

Hr. in F

Pos.

1. 2.

Tuba

con

C o. /

lunga

E-Git.

)

lunga

sempre legato

di &

lunga

Synth. (E-Pno.

sempre legato

Trp. in C

kl. Trp. 1. in B

Akk.

lunga

l.v.

Perk.

lunga

Ish. 3

Pip

ig ht

for he will be

You 3

(stimmhaft)

sad.

(pushes Pip aside)

Ahab

Where’s lunga

sub.

= 88

c.l.b.

Vl. I 1.-8.

the whale

c.l.b.

Vl. II 1.-8. c.l.b.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

n(e)?

will ne ver

308 1195 8

Fl.

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

1. 2.

Hr. in F

1. 2.

+ 2. (= a 2)

kl. Trp. 1. in B

1. 2.

Pos.

Tuba

E-Git. 3

di &

Synth. (E-Pno. )

C o. /

Trp. in C

al o

nl y

Picc.

Akk.

1. Perk.

Ish.

ture

him,

old man.

(verärgert)(artikulieren!) 3

ig ht

cap

Ahab

What

say

ye?

8va

1.-4. (arco)

Vl. I 1.-8.

(sempre)

8va

1.-4. (arco)

Vl. II 1.-8. (sempre)

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

309 1198 8

Picc.

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

1. 2.

Hr. in F

1. 2.

8va

nl y

al o

Fl.

Pos.

1. 2.

Trp. in C

kl. Trp. 1. in B

con sord.

E-Git. 3

Synth. (E-Pno.

di &

)

C o. /

Tuba

8va

Akk.

1. Perk.

Ahab

the Fa

ate’s

lieut’ nant,

act

ig ht

(8va)

Vl. I 1.-4.

(8va)

Vl. II 1.-4.

1. 2.

Va.

3. 4.

5. 6. Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

der

ders.

310 1201 8

Fl.

Ob.

1. 2.

Klar. in B

Fag.

1. 2.

Hr. in F

1. 2.

Pos.

1. 2.

nl y

Picc.

al o

Piccolo-snare-drum (ohne Snare) + Aluminiumplatte

L.H.

C o. /

Perk.

Synth. (E-Pno. )

E-Git.

Ish.

QQ.

**)

The 3

As fear

less

di &

Stubb (zur Crew / schein-sanft) s.v.

feel

Crew Chor

As fear

(8va)

gliss.

gliss

gliss.

5. 6. Vc.

1.-6.

Kb.

1.-4.

gliss.

*) harte Xylophon-Schlägel (mit Filz umwickelt) **) Mit der linken Hand (L.H.) die Platte dämpfen; + = ganz gedämpft;

= halb gedämpft;

= offen. Sy. 4117

less

re 3

fear

ig ht

yr op

3. 4.

fear

Vl. II 1.-4.

Va.

less

(8va)

re 3

fear

Vl. I 1.-4.

1. 2.

B. 2.

less

B. 1.

T. 2.

less

(artikulieren!)

men?

T. 1.

brave,

Ahab

fear

less

311 (as the wind arises)

1204

Sample 19

Smp. 8

Picc.

1. 2.

Klar. in Es

Klar. in B

1. 2.

Hr. in F

1. 2.

Pos.

1. 2.

kl. Trp. 1. in B 2.

(a 2)

Trp. in C

(a 2)

Fag.

nl y

Ob.

al o

Fl.

C o. /

Tuba

di &

E-Git.

1. Perk.

Ish. sharks!

The

QQ. 3

Stubb

sharks!

s.v.

hoher Woodblock

Ahab

ig ht

8 T. (4+4) Crew Chor 8 B. (4+4)

fea ea ea ea

ear

fea ea ea ea

ear

Vc.

1.-6.

Kb.

1.-4.

s(s).

s(s). 1.-8.

Vl. II 1.-8. 1.-6.

6 (3+3)

Vl. I 1.-8.

Va.

hab

6 (3+3)

Sy. 4117

8va

312 1208

Smp. 8

Picc.

Ob.

1. 2.

Klar. in Es

Hr. in F

1. 2.

Pos.

1. 2.

C o. /

Tuba e-bow / slide weg

di &

E-Git.

Synth. (E-Pno. )

8va

Akk.

Perk.

ig ht

Ahab

s.v.

ver

thinks;

he o

(8va)

Vl. I 1.-8.

8va

sempre

1.-8.

Vl. II 1.-8.

kl. Trp. 1. in B Trp. in C

1. 2.

Fag.

Klar. in B

nl y

al o

Fl.

sempre

1.-3.

Va. 4.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

feel

313 1211

Smp. 8

Picc.

Ob.

1. 2.

Klar. in Es

5 5

Fag.

1. 2.

Hr. in F

1. 2.

con sord.

Klar. in B

nl y

al o

Fl.

con

kl. Trp. 1. in B 2.

Pos.

1. 2.

con

Trp. in C

C o. /

con

Tuba

di &

E-Git.

Synth. (E-Pno. )

Akk.

Perk.

ig ht

Ahab

(wütend)

- s.

Thin king

is bra zen.

Vl. I 1.-8.

(8va)

Vl. II 1.-8.

1.-3.

Va. 4.-6.

1.-6.

Kb.

1.-4.

3 3

(8va)

Vc.

Sy. 4117

Go [God]

can be

314 1214

Smp. 8

Picc. (Flz.)

1. 2.

Ob. Klar. in Es

Klar. in B

5 3

3 3

kl. Trp. 1. in B

Pos.

C o. /

Trp. in C

1. 2.

3 3

di &

Tuba

3 3

Hr. in F

1. Fag.

nl y

al o

Fl.

E-Git.

Synth. (E-Pno. )

Akk.

Perk. 2.

(begeistert)

ig ht

s.v.

Ahab

and calm.

Glo

ous

is the wi

(8va)

cool

Vl. I 1.-8.

(sempre) (8va)

Vl. II 1.-8. (sempre)

Va.

1.-6.

Vc.

1.-6.

s.p.

Kb.

1.-4.

Sy. 4117

ind

315 1217

Smp. 8

Picc.

Ob.

1. 2.

Klar. in Es

Fag.

Trp. in C

Pos.

1. 2.

kl. Trp. in B

C o. /

1. 2.

2. Hr. in F

Tuba 3

(Echo+Chorus: off)

di &

E-Git.

Synth. (E-Pno.

)

1. 5

Perk.

Akk.

ig ht

Ahab

that

blows

soul

Vl. I 1.-8.

(8va)

Vl. II 1.-8.

(non div.)

1.-3.

Va.

(non div.)

4.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

(8va)

Klar. in B

nl y

al o

Fl.

soul

316 1221

Smp. 8

Picc. (senza Flz.) 5

Fl.

2. 5

cresc.

1. Fag.

1. 2.

Pos.

1. 2.

C o. /

kl. Trp. 1. in B Trp. in C

2. Hr. in F

al o

Klar. in B

cresc.

nl y

Klar. in Es

Tuba

Synth. (E-Pno.

di &

E-Git.

)

Akk.

Perk.

ig ht

(kämpferisch)

Ahab

long

pen

up,

pen

up,

ord.

s.p.

ord.

s.p.

ord.

(8va)

Vl. I 1.-8.

(8va)

Vl. II 1.-8. gliss.

sim.

gliss.

sim.

1.-3. Va.

gliss.

4.-6. Vc.

Kb.

1.-6.

1.-4.

Sy. 4117

317 1224

Smp. 8

Picc. 5

Ob.

1. 2.

Klar. in Es

Klar. in B

Hr. in F 2.

1. 2.

C o. /

kl. Trp. 1. in B

Pos.

1. Fag.

(cresc.)

Trp. in C

nl y

(cresc.)

al o

Fl.

di &

Tuba

)

Synth. (E-Pno.

E-Git.

Akk.

1. Perk.

ig ht

Ahab

sea

(8va)

Vl. I 1.-8.

(8va)

Vl. II 1.-8. 1.-3.

gliss.

4.-6.

gliss.

Va.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

318

1226

Smp. 8

Picc.

Klar. in Es

Klar. in B

nl y

1. 2.

al o

Ob.

Fl.

Fag.

Hr. in F 2.

Pos.

1. 2.

di &

C o. /

kl. Trp. 1. in B Trp. in C

nimmt Kfag.

Tuba

E-Git.

Synth. (E-Pno. )

Akk.

1. Perk.

gliss.

ig ht

(8va)

Vl. I 1.-8.

(8va)

Vl. II 1.-8.

1.-3.

Va. 4.-6.

Vc.

1.-6.

Kb.

1.-4.

Sy. 4117

319

15. Szene (Suddenly, the waters swirl as a low, rumbling sound is heard, a subterranean hum. A black mist creeps over everything, an evil fog of foreboding.) ≈ 15’’

1228

= 60 (Now the sea breaks open and Moby Dick rises.)

Smp. Kfag.

nl y

senza sord.

1. 2.

al o

Hr. in F

senza sord.

kl. Trp. 1. in B senza sord.

Trp. in C

senza sord.

2. 3

senza sord.

Pos.

glis

senza sord.

C o. /

8ba

E-Git. 8

Synth. (E-Pno.

di &

)

(Abschlag)

Becken

Perk.

l.v.

Becken

= 60

5.-8.

Vl. I 1.-8.

ig ht

Vl. II 1.-8.

5.-8.

s.p.

1.-3.

s.p.

yr op

ord.

gliss.

4.-6.

l.v.

Akk.

Va.

Tuba

ord.

gliss. s.p.

1.-3.

ord.

gliss.

Vc.

4.-6.

1. 2.

3. 4.

Kb.

Sy. 4117

320 1231

Smp.

Kfag.

nl y

al o

Hr. in F 2.

Trp. in C

kl. Trp. 1. in B

E-Git.

di &

C o. /

E-Pno

Akk.

Perk.

1.-4.

Vl. I

ig ht

5.-8.

1.-4.

Vl. II

5.-8.

Va.

1.-6.

Vc.

1.-6.

1. 2.

3. 4.

Kb.

Sy. 4117

321 1232

Smp.

Kfag.

1. Hr. in F

nl y

kl. Trp. 1. in B

3 3

Trp. in C

1. 3

Pos.

al o

E-Git.

)

C o. /

Synth. (E-Pno.

Akk.

Pauke

di &

gliss.

1. Perk.

Gong

l.v.

gliss.

Ahab

8 T. Crew Chor

The wha

all

of ye!

(The crew attacks.)

ale!

ord.

8va

gliss.

pizz. gliss.

gliss.

1.-4.

Come

ale!

8 B.

A bout!

Vl. I

ig ht

5.-8.

ord.

s.p.

pizz.

1.-4.

Vl. II

5.-8.

1.-6.

Va.

ord. pizz.

s.p.

ord.

s.p.

Vc.

pizz.

1.-6. 3

pizz.

1. 2.

Kb.

pizz.

3. 4.

Sy. 4117

322 1234

Smp.

Kfag.

nl y

Hr. in F

al o

kl. Trp. 1. in B Trp. in C

Pos.

E-Git. 8

C o. /

Synth. (E-Pno. )

di &

Akk.

gliss.

(While the crew attacks.)

Ahab

head

fore

head.

meet

Fore

T. Crew Chor

ig ht

1.-4. Vl. I

Perk.

gliss.

5.-8.

1.-4.

Vl. II

5.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

arco 8

Sy. 4117

323 1236

Smp.

Kfag.

Hr. in F

1. 2.

Pos.

1. 2.

al o

Trp. in C

nl y

kl. Trp. 1. in B

Tuba

E-Git.

Synth. (E-Pno.

)

C o. /

Akk.

1. Perk. 2.

di &

(artikulieren!)

Ahab 3

Crew Chor

8va

gliss.

1.-4.

gliss.

Vl. I

gliss.

5.-8. arco s.p.

ig ht

1.-4. Vl. II

5.-8.

Vc.

arco s.p.

1.-6.

Va.

arco s.p.

1.-6.

1. 2.

3. 4.

3 3

Kb.

Sy. 4117

ick!

324 1238

Smp.

Kfag.

1. 2.

nl y

Hr. in F

Pos.

1. 2.

Trp. in C

al o

kl. Trp. 1. in B

Tuba

s.v.

m.v.

slide

E-Git.

C o. /

Synth. (E-Pno. )

Akk.

(entlang des Randes)

Tam-Tam (entlang des Randes)

Zimbel

di &

1. Perk. Tamburin

God

(8va)

1.-4.

dis o

bey

gliss.

ig ht

Vl. I

Stb.

2 Auto-Brakes

stand

QQ.

s.v.

geschlagen

(gerieben)

5.-8.

(ord.)

1.-4.

Vl. II

5.-8.

Va.

1.-6. ord.

Vc.

1.-6.

Kb.

1.-4.

8 8

Sy. 4117

325 1241

Smp.

Fag.

1. 3

Kfag.

(Oberton) gliss.

1. 2.

al o

Hr. in F

Pos.

1. 2.

kl. Trp. 1. in B Trp. in C

nicht korrigieren gegenüber dem Sänger! m.v.

gliss.

senza slide

E-Git. 3

C o. /

)

(am Rand - geschlagen)

QQ.

Stb. Lord

o bey

For 3

ig ht

Vl. I 1.-8.

ing

him.

ord.

Vl. II

5.-8.

(I)

1.-3. 3

Va.

ord.

gl.

1.-4.

ord.

(I)

4.-6. 3

1.-6. 1.-4. (I)

Kb.

Trgl.

Perk.

di &

Akk.

Vc.

m.v.

Tuba

Synth. (E-Pno.

nl y

1.-4. 8

Sy. 4117

ter

nal

lice!

326 1243

Smp. 8

Picc. 3

nl y

Fl.

Ob.

3 3

al o

1. 2. *)

Klar. in Es

Fag.

3 3

Klar. in B

Kfag.

1. 2.

Hr. in F

kl. Trp. 1. in B

C o. /

Pos.

1. 2.

di &

Trp. in C

E-Git.

Synth. (E-Pno.

)

Akk.

Stahlfeder

2 Tom-Toms

l.v.

1. Perk.

Tamburin

QQ.

ig ht

one

Auto-brakes

gr. Tr.

gliss.

last cher

be fore

die.

yr op

Vl. II 1.-8.

Metallblock (klein) M

Vl. I 1.-8.

pizz.

1.-3. 3

Va. pizz.

4.-6.

Vc.

1.-6. *) kurzer Notenwert: staccatissimo

Sy. 4117

poco rall.

327

= 56

(Despite all mortal man could do, the solid white buttress smites the ship’s starboard bow, till men and timbers reel. Some fall flat upon their faces. Like dislodged trucks, 1245 the heads of the crew shake on their bull-like necks. Through the breach, they hear the waters pour, as mountain torrents down a flume.)

Smp. lunga

Picc. 3

2. 3

nl y

Fl.

3 3

al o

1. 2.

Ob.

8va

Klar. in Es

1. 3 8va

Fag.

Kfag.

Klar. in B

lunga

1. 2.

kl. Trp. 1. in B

Hr. in F

Trp. in C

Pos.

1. 2.

C o. /

di &

Tuba

slide

E-Git. 8

)

Akk.

Synth. (E-Pno.

lunga

8va

Glockenspiel

Perk.

poco rall.

= 56

ig ht

lunga

1.-4.

Vl. I

5.-8.

1.-4.

Vl. II

5.-8. div.

Va.

1.-6.

1.-3. 4.-6. gliss.

Vc.

1.-6.

Kb.

1./2. 3./4.

div. 8

Sy. 4117

arco gliss.

gliss.

328 1247

Smp. 8

Picc.

Fl.

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

al o us er

Kfag.

nl y

con sord.

1. 2.

Hr. in F

con

kl. Trp. 1. in B

Pos.

1. 2.

C o. /

con

Trp. in C

Tuba

di &

Synth. (E-Pno. )

Akk.

1. Perk.

Vibraphon

The shi 6

Crew Chor

The ship! The ship! The ship! The ship! The ship!

ig ht

ip!

1.-4.

Vl. I

5.-8.

1.-4.

Vl. II

5.-8.

Va.

1.-6.

Vc.

1.-6.

Kb.

1.-4.

gliss.

*) Rufen durcheinander, aber nicht zu dicht!

Sy. 4117

gliss.

329

(Ahab drives home his harpoon into the body of the whale near Moby Dick’s right eye, which is seen enlarged on a screen.) 1249 8

Picc.

Fl.

Klar. in Es

Klar. in B

al o

1. 2.

Ob.

nl y

Trp. in C

kl. Trp. 1. in B

m.v.

s.v.

gliss.

E-Git.

Synth. (E-Pno.

s.v.

C o. /

m.v.

gliss.

)

di &

Akk.

Stahlfeder

Perk.

Stb.

m.v.

s.v.

(stimmhaft)

gliss.

hab

1.-4.

ig ht

Vl. I 5.-8.

1.-4.

Vl. II

5.-8.

Va.

1.-6. div.

Vc.

1.-6. (III) 1.-4.

Kb.

1.-4.

8 8

Sy. 4117

330 1251 8

Picc.

Fl.

1. 2.

Klar. in Es

Klar. in B

al o

Ob.

nl y

Fag.

Trp. in C

kl. Trp. 1. in B 2.

s.v.

m.v.

gliss.

E-Git.

C o. /

di &

Synth. (E-Pno. )

Akk.

1. Perk.

Stb.

Oh,

hab,

1.-4. Vl. I

ig ht

5.-8.

1.-4.

Vl. II

5.-8.

1.-6.

Vc.

1.-6.

Va.

Kb.

a 2 (III)

1. 2. 8

3. 4.

(I) 3

Sy. 4117

331 (Moby Dick’s eye is fixed, staring at his pursuer as Ahab clings to the leviathan’s body while furiously stabbing Moby Dick again and again with his harpoon.)

1253 8

Ob.

1. 2.

Klar. in Es

Klar. in B

al o

Fl.

nl y

Picc.

Fag.

Hr. in F

2. kl. Trp. 1. in B Trp. in C

(solistisch mit Stb.) m.v. s.v.

gliss.

m.v.

gliss.

di & or

Pip m.v.

Stb. King

m.v.

s.v.

lon,

you are roas ted

the

of white

Ahab

s.v.

ig ht

1.-4.

5.-8.

1.-4.

Vl. II

s.v.

C o. /

Akk.

Vl. I

m.v.

vibr.

gliss.

Synth. (E-Pno. )

Perk.

gliss.

s.v.

E-Git. 8

5.-8.

Va.

1.-6.

Vc.

1.-6. (I)

1. 2. Kb.

3. 4.

(I)

Sy. 4117

gliss.

white

332 1255

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

al o

Fl.

nl y

Picc.

Hr. in F

Trp. in C

kl. Trp. 1. in B 2.

C o. /

senza slide

E-Git. 3

di &

Synth. (E-Pno. )

Perk.

Akk.

Pip

ness

Stb. ness.

Ahab

1.-4.

ig ht

Vl. I 5.-8.

1.-4.

Vl. II

5.-8.

1.-6.

Vc.

1.-6.

Va.

1. 2. Kb.

3. 4.

Sy. 4117

333 1256 8

Picc.

Fl.

Ob.

1. 2.

Klar. in Es

Klar. in B

al o

stacc.

2. 1.

Fag.

Hr. in F

kl. Trp. 1. in B Trp. in C

stacc.

C o. /

di &

Synth. (E-Pno. )

Akk.

Ahab urn

from

the

sun!

s.v.

Perk.

nl y

stacc.

1.-4.

stacc.

Vl. I

5.-8.

1.-4.

ig ht

stacc.

Vl. II

5.-8.

1.-6.

Va.

Vc.

stacc.

1.-6. sempre legato

1. 8

sempre legato

2. 8

Kb.

sempre legato

3. 8

sempre legato

4. 8

Sy. 4117

334 stacc.

1258

Picc.

Ob.

1. 2.

Klar. in Es

Klar. in B

al o

Fl.

nl y

stacc.

stacc. 1.

Fag.

stacc.

1. Hr. in F

stacc.

kl. Trp. 1. in B stacc.

Trp. in C

C o. /

Synth. (E-Pno. ) stacc.

di &

Akk.

Ahab Oh,

KnabenChor

s.v.

stacc.

Vl. I

5.-8.

stacc.

ig ht

1.-4. Vl. II

5.-8.

stacc.

1.-6.

Va.

Vc.

1.-6.

1. 8

2. Kb.

ossia: 8va

death

6 Stimmen

1.-4.

lone

Perk.

stacc.

3. 8

4. 8

Sy. 4117

Through the

335

(stacc.)

1259 8

Picc.

Ob.

1. 2.

Klar. in Es

Klar. in B

stacc.

nl y

al o

Fl.

Fag.

1. Hr. in F

Trp. in C

kl. Trp. 1. in B

E-Git.

Synth. (E-Pno.

C o. /

)

di &

Akk.

Ahab lone

wild

roa

ring

You

cean

did

1.-4.

life!

deutlich artikulieren

Knaben6 Chor

Vl. I

ig ht

5.-8.

1.-4.

Vl. II

5.-8.

Vc.

1.-6. 1. 8

2. Kb.

ossia: 8va

s.v.

1.-6.

Metallblock

Va.

Perk.

Glockenspiel

3. 8

4. 8

Sy. 4117

the

tur

all

tle

swif

tly

go.

336 1261

Fl.

Ob.

1. 2.

Klar. in Es

Klar. in B

nl y

Picc.

al o

Fag.

Hr. in F

Trp. in C

kl. Trp. 1. in B

E-Git.

C o. /

Synth. (E-Pno. )

Akk. 8

di &

Perk. 2.

Pip mas

ossia: 8va

(deutlich)

Ahab stroy

ing

Knaben6 Chor

With

but

sad

Vl. I

ter!

con

que

pri

1.-4.

Vl. II

5.-8.

1.-6.

Vc.

1.-6.

Va.

1. 8

2. Kb.

3. 8

4. 8

Sy. 4117

Come

ig ht

5.-8.

mas

1.-4.

ter,

Oh,

(The last words Ahab hears called out to him from the ship are from Pip)

ring

mæ

ossia: 8va

whale,

val

from

tion

the

337

1262 8

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

al o

Fl.

nl y

Picc.

1. Hr. in F

Trp. in C

kl. Trp. 1. in B

E-Git.

Synth. (E-Pno.

C o. /

)

Akk. 8

di &

1. Perk.

Pip

Ahab heart

hell’s

set

isles

Knaben6 Chor sun

back!

stab

Bo shen

1.-4.

Vl. II

5.-8.

1.-6.

Vc.

1.-6.

Va.

1. 8

2. Kb.

hate’s

3. 8

4. 8

Sy. 4117

sake

wan

ig ht

5.-8.

for 12 Stimmen

1.-4. Vl. I

at thee,

ted

our

cap

tain

338

1264

Sample 20

Smp.

tutti poco a poco cresc.*) 8

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

Kfag.

al o

Fl.

nl y

Picc.

Hr. in F

Trp. in C

Pos.

1. 2.

kl. Trp. 1. in B

C o. /

Tuba

E-Git.

Synth. (E-Pno.

)

Akk. 8

m.-gr. Tom-Tom

gr. Tom-Tom

Perk.

Ahab

Knaben 12 Chor

last

breath

hab

1.-4.

5.-8.

1.-4.

Vl. II

5.-8.

1.-6.

Vc.

1.-6. 1.

2. Kb.

*) außer Kfag., Pos., Tuba, E-Git., Perk., Kb.

thee!

con tutta la forza

Our

go.

ig ht

Vl. I

tutti (24 Stimmen)

spite

Va.

l.v.

di &

Sy. 4117

339 1266

Smp. con tutta la forza 8

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

Kfag.

al o

Fl.

nl y

Picc.

Hr. in F

kl. Trp. 1. in B Trp. in C

C o. /

Tuba

Synth. (E-Pno.

15ma

di &

)

Akk.

Zimbel / Bogen

Perk.

15ma

Knaben24 Chor

tains

dy,

oh!

cap

1.-4. Vl. I

ig ht

5.-8.

1.-4.

Vl. II

5.-8.

1.-6.

Vc.

1.-6.

Va.

poco s. p.

Kb.

poco s. p.

Sy. 4117

340

1268

(It’s suddenly dark, so it is not possible to see that Ahab is lashed to the whale (Ahab is dead.) by the many lines from the harpoons stuck in his hide.) plötzlich: BLACK lunga

sub.

= 84-88

Smp. muta in Fl.

lunga

Ob.

1. 2.

Klar. in Es

Klar. in B

Fag.

al o

Fl.

nl y

Picc.

lunga senza sord.

1. Hr. in F

senza sord.

2. senza sord.

kl. Trp. 1. in B senza sord.

Trp. in C

2. lunga

C o. /

[umschalten: Glasharmonika]

Synth. (E-Pno. )

lunga

(15)

di &

(15)

Akk.

1. Perk.

To the coast of Co

sub. lunga

1.-4.

5.-8.

1.-4.

Vl. II

5.-8.

Va.

1.-6.

Vc.

1.-6.

ro man del,

did we

ig ht

Vl. I

KnabenChor

(deutlich artikulieren!)

lunga

1. 2.

3. 4.

Kb.

Sy. 4117

= 84-88

(I) 15ma poco flaut.

ro man del,

did we

341 1271

Smp. (15)

nl y

(15)

Akk.

1. Perc.

al o

KnabenChor

ver,

ver

on the heap

waves

mourn

ver,

ver

heap

waves

mourn

3. 4.

C o. /

1. 2.

1274

di &

Smp.

(15)

Akk.

1. 15

ig ht

KnabenChor

oh.

oh. (15)

Vl. I 1.-4. 1. 2.

3. 4.

(o ver) A

hab’s

≈ 43’’ (am Sample) Ahab was punished like Ixion on a fiery wheel. The flying turn caught him round the neck and he was pulled under. Only a few inches of the spar were visible with long streaming yards of the flag calmly undulating over the destroying waves. Then the ship was sucked into the vortex of the diving whale. Small fowls flew screaming over the yawning gulf; – then all collapsed, and the great shroud of the sea rolled on as it had for five thousand years. Only Ishmael survived.

(15)

Kb.

hab’s

Vl. I 1.-4.

Perk.

(15)

Kb.

ver

Sy. 4117

342

Epilogue Water IV - The Green Sea (The backdrop changes to blue, like a clear blue sky.)

= 54

1279

= 112

rall.

sempre legato

E-Git. 8

Synth. (Glasharmonika)

nl y

al o

(15)

Akk.

1. Perc.

l.v.

6 Stimmen

snow

KnabenChor

6 Stimmen

gl.

In our re tra cing search af ter mis sing

= 54 1.-3.

a no ther

phan.

rall.

E-Git.

Synth. (Glasharmonika)

(15)

Akk.

Perk.

on ly found

(While the Boy’s Choir sings, Queequegs’s coffin bobs to the surface of the water, and clinging to it is Ishmaela. She climbs onto it and sits and looks around. On a video screen: sharks circling the coffin.)

= 54

1286

and

di &

Vc.

= 112

chil dren,

snow

C o. /

(gesprochen) / Erzählton

6 Stimmen

ig ht

ice

bergs

all

stern

clear

starred

KnabenChor

ice

bergs

stern

dun dant

the starred

dun dant days

ice

bergs

the

clear

6 ice

all

stern

= 54 Vc.

1.-3.

Sy. 4117

clear

days

343 1290

Hr. in F

pochissimo rall.

senza sord.

1. 2. con

kl. Trp. 1. in B con

Trp. in C

Pos.

1. 2.

nl y

senza sord.

al o

Tuba

E-Git.

Synth. (Glasharmonika)

Akk.

Fo C o. /

(15)

l.v.

di &

1. Perk.

]

[umschalten: E-Piano

sta

tely

ausrufend

ausrufend 3

It’s hard to

chose be tween them

gl.

What shall we do? ausrufend gl.

ig ht

What shall we do?

nights.

and

days.

gl.

ausrufend

KnabenChor

l.v.

nights. What shall we do? ausrufend gl.

sta

tely

nights.

What shall we do?

and

Vl. I 1.-8.

Vl. II 1.-8.

Va.

1.-6.

Vc.

1.-3.

Kb.

1.-4.

Sy. 4117

pochissimo rall.

344

16. Szene = 52 1293

1. 5

Fl. 2. 5

1. 2.

1. 5

Klar. in B

Fag.

Kfag.

3 3 8

Hr. in F

1. 2.

kl. Trp. 1. in B

gliss.

1. 2.

C o. /

Pos.

2. gliss.

3 3

Tuba E-Git.

di &

Synth. (E-Pno. )

Trp. in C

nl y

Klar. in Es

al o

Ob.

sempre legato

Akk.

Snare-Drum (ohne Snare + ohne Aluminiumplatte)

Perk.

gr. Tom-Tom

Ish.

s.v.

= 52

have

caped

tell gliss.

gliss.

div.

ig ht

1./2. 3./4.

Vl. I

div.

con sord.

1.-3. 5 5

3 3

5./6. 7./8.

gliss.

div.

1./2. 3./4.

Vl. II

3 5

con sord.

1.-3. 5

div.

3 3

5./6. 7./8.

Va.

div.

1./2. 3./4. 5./6.

1.-3. Vc. 4.-6. 3

div.

Kb.

1./2. 3./4.

1.-4.

8 8

Sy. 4117

sempre legato (III) (IV)

(III)

345 1296

1. Fl.

Klar. in Es

Klar. in B

Fag.

Kfag.

al o

1. 2.

Ob.

nl y

1. 2.

Hr. in F

Pos.

1. 2.

C o. /

Trp. in C

kl. Trp. 1. in B

Tuba

E-Git.

Synth. (E-Pno.

di &

)

m.-gr. Tom-Tom

Perk.

Akk.

gr. Tr.

ig ht

Ish.

Vl. I 1.-3.

(She unloosens her hair from beneath the cap she has been wearing throughout the performance and throws the cap into the sea.)

you gliss.

3 3

gliss.

Vl. II 1.-3. 3

gliss. 3

3 3

Va.

1.-6.

Vc.

1.-3.

Kb.

1.-4. 8

Sy. 4117

3 3

346 1299

1. Fl.

1. 2.

Klar. in Es

Klar. in B

Fag.

Kfag.

1. 2.

Hr. in F

al o

Ob.

nl y

Pos.

1. 2.

Trp. in C

kl. Trp. 1. in B

C o. /

Tuba

E-Git. 8

di &

Synth. (E-Pno. )

or gr. Tr.

ig ht

Ish.

Vl. I 1.-3.

(senza vibrato) (kämpferisch)

The

sharks

don’t

gliss.

1.-6.

Vc.

1.-3.

Kb.

1.-4.

3 3

gliss.

Vl. II 1.-3.

Va.

2 Auto-Brakes

1. Perk.

Gongs

Snare-Drum (ohne Snare)

Akk.

[umschalten: E-Piano ]

Sy. 4117

gliss. 3

3 3

347

[ = 52 (

lunga

1302

= 104)]

(The sharks swim away and the waters recede. Old Melville and Bartleby appear from two different sides. Ishmaela gets off the coffin and approaches Old Melville. They stand together.) muta in Picc. 8

1. 3

Fl.

Klar. in Es

nl y

Klar. in B

al o

kl. Trp. 1. in B

lunga

E-Git. 8

lunga

C o. /

Akk.

lunga

Becken

1. 3

Perk.

gr. Tom-Tom

Ish.

ther

lunga *)

lunga

[aus der Ferne] 8 T.

4 B.

were

(leicht) **)

(leicht)

We were *) (leicht)

QQ. (Ghost)

Geister Chor

me.

Pip (Ghost)

lunga

were

4 B.

ig ht

die Crew aus dem Wasser

di &

gliss.

Vl. II 1.-3.

Va.

1.-6.

Vc.

1.-3.

Kb.

1.-4.

lunga

[ = 52 (

= 104)]

senza sord. / 1.-8. con Metall-sord. - „Ton-Wolf” 3

3 3

Vl. I 1.-3.

Trp. in C

lunga

gliss. senza sord. / 1.-8. con Metall-sord. - „Ton-Wolf” 3

3 3

senza sord. / 1.-3. con Metall-sord. - „Ton-Wolf”

*) nicht viel lauter als Chor aus der Ferne! **) Falsett-Chor

Sy. 4117

348

(Queequeg, who is wearing a white dress, and Pip now reappear as ghosts. As positive spirits for Ishmaela. They stand behind her.) 1305

Sample 21 fade in . . .

Smp.

E-Git.

nl y

al o

Akk.

Pip (Ghost) since we were born,

but we were try ing to stay ing a live!

stay ing a live!

QQ. (Ghost) since we were born,

try ing to stay ing a live!

stay ing a live!

kicked a round

4 T. 1.

got low and we

4 T. 2. we were born,

stay ing a live!

4 B. 1. since we were born,

but we were try ing to stay ing a live!

stay ing a live!

C o. /

kicked a round

4 B. 2. kicked a round

since we were born,

low

Geister Chor

but we were try ing to stay ing a live!

We got

low and we

We got

low and we

stay ing a live!

Vc.

1.-3.

Kb.

1.-4.

di &

1.-3. con Metall-sord. - „Ton-Wolf”

1308

Pip (Ghost)

Ah,

ha,

got high.

Smp.

QQ. (Ghost)

got high.

Ah,

ha,

(The Boys’ Choir is now distributed across the stage. Behind Old Melville, Ishmaela and Bartleby.) gut artikulieren! (Queequeg and Pip are now a part of the Boy’s Choir.)

ha, stay ing a live.

Life was go ing no

where.

No bo dy helped us,

Life was go ing no

where.

No bo dy helped us,

ha,

ha, stay ing a live.

ig ht

4 T. 1.

4 T. 2.

Geister Chor

but we were

4 B. 1.

got high.

Ah,

ha,

ha, stay ing a live.

Life was go ing no

where.

bo dy helped us,

but we were

Life was go ing no

where.

No bo dy helped us,

we were

4 B. 2. got high.

ha,

ha, stay ing a live.

1.-4.

Vl. I 1.-8. 1.-4.

Vl. II 1.-8.

Sy. 4117

349

1312

(The stage undergoes a sudden transformation. On the backdrop / video we see: feathery clouds appear in the blue sky. Bartleby, still dressed as before, all in black, stands at center stage in the midst of this Edenic paradise.)

(And trees and flowers shoot up; small birds, bees and insects warble and chatter. It is a bucolic scene.)

Smp.

al o

Klar. in B

Klar. in Es

Fl.

nl y

Picc.

Akk.

C o. /

(nicht zu hart!) Glockenspiel

1. 9

Perk.

Vibraphon (2 Bögen)

(arco)

di &

4 T. 1.

stay ing a

live.

stay ing a

live.

4 B. 1. stay ing a

4 T. 2. 8

Now

we have wings

of hea

Now

we have wings

of hea

Now

we have wings

of hea

Now

we have wings

of hea

Geister Chor

live.

4 B. 2.

live.

ig ht

stay ing a

1.-4.

(sempre)

Vl. I

5.-8.

(sempre)

1.-4. (sempre)

Vl. II 5.-8. 3

(sempre) Sy. 4117

350 1314

Smp.

al o

Klar. in B

Klar. in Es

Fl.

nl y

Picc.

1. 7

Perk.

di &

C o. /

Akk.

ven

our

shoes,

Geister Chor 4 B. 1.

4 B. 2.

shoes,

our

and

shoes,

ig ht

ven

can’t

lose.

can’t

lose.

can’t

lose.

ven

our

4 T. 2.

4 T. 1.

1.-4.

Vl. I

5.-8.

1.-4. 6

Vl. II 5.-8.

Sy. 4117

351 1315

Smp.

Klar. in Es

Klar. in B

(für BB)

al o

Fl.

nl y

Picc.

1. 7

Perk.

C o. /

Akk.

BB.

ossia: 8ba

T. 1.

di &

T. 2. Geister Chor

B. 1.

B. 2.

1.-4.

Vl. I

5.-8.

ig ht

1.-4.

3 6

Vl. II

5.-8.

1.-3.

Va.

4.-6. gliss.

1.-3. Vc. 4.-6.

Kb.

1.-4.

Sy. 4117

352 rall.

= 50 1317

Smp.

Klar. in Es

Klar. in B

al o

Fl.

nl y

Picc.

1. 7

2. (leicht) “

C o. /

„

BB. but:

(8ba)

Hel

T. 1.

swift and buz

zing

tell

me please,

T. 2. Geister Chor B. 1.

lo, Bees,

di &

Perk.

Akk.

B. 2.

rall.

1.-4.

gliss.

Vl. I

gl.

= 50

gliss.

5.-8.

1.-4. Vl. II

gliss.

ig ht

5.-8.

gliss. 8va

1.-3.

Va.

flaut. III

4.-6.

3 3

gliss.

(non trem.)

gliss.

1.-3. Vc. 4.-6. flaut. 1./2.

Kb.

1.-4.

(IV)

8 8

Sy. 4117

353 1318

Smp. 8

Ob.

1. 2.

Klar. in Es

Klar. in B

al o

Fl.

nl y

Picc.

Trp. in C

kl. Trp. 1. in B

E-Git.

C o. /

E-Pno

Akk.

1. 7

Perk.

di &

BB.

what you are dis cus sing

1.-4.

you too gliss.

gliss.

Vl. I

gliss.

And flies,

please,

(schaut herum)

5.-8.

(senza trem.)

1.-4.

gliss. gliss.

Vl. II

ig ht

gliss.

5.-8.

gl.

gliss. gliss.

1.-3.

flaut.

Va.

4.-6. 3

gliss.

gl.

1.-3.

gliss.

flaut.

Vc. (II)

4.-6. 3

flaut. (II)

Kb.

1. 2. 8

Sy. 4117

354 1320

Smp. 8

Picc.

Fl.

Ob.

1. 2.

Klar. in B

al o

Klar. in Es

nl y

Trp. in C

kl. Trp. 1. in B

E-Pno

C o. /

di &

Akk.

1. 7

Perk.

E-Git.

BB. what’s all

this fus

sing?

(senza trem.)

Why

you

Vl. I

1.-4. Vl. II

gliss.

gliss. gliss.

gliss.

ig ht

5.-8.

ways gliss.

5.-8.

gliss.

1.-4.

are

gliss. gliss.

1.-3.

8va

(non flaut.)

Va.

(II)

4.-6.

3 3

(senza trem.) gliss.

1.-3.

4.-6. 3

Kb.

(non flaut.) II

flaut. I

Vc.

(non flaut.) I

1. 2.

Sy. 4117

355 1322

Smp. muta in Fl.

Picc.

Klar. in Es

Klar. in B

al o

Fl.

nl y

s.v.

kl. Trp. 1. in B Trp. in C

E-Git.

E-Pno

[umschalten zu: um höheres E-Piano]

C o. /

s.v.

Akk.

1. 7

di &

Perk. 2.

BB.

Why?

Why are you al ways ru sh

rush ing?

gl.

gliss.

5.-8.

gliss.

1.-4. Vl. II

ig ht

5.-8.

gl.

gliss. gliss.

gliss.

1.-3.

8va

Va.

4.-6.

1.-3. I

Vc. 4.-6. 3

Kb.

1. 2.

3 8

Why? (senza trem.) gliss.

gliss.

Vl. I

ing? gliss.

gliss.

1.-4.

(Bartleby walks offstage.)

„ ”

Sy. 4117

356 1325

(am Sample)

Smp. To the horror of all who were present that day,

He uprose in full black evening dress, And with grimaces endeavoured to say What his tongue could not longer express.

kl. Trp. 1. in B

nl y

Perk.

Vl. I gliss.

5.-8.

1.-4.

Vl. II

1.-3. 3

Va.

4.-6.

C o. /

1.-3. Vc. 4.-6. (I)

(III)

(II)

1.-4.

Kb.

gliss.

5.-8.

al o

1.-4.

(I)

(III)

(IV)

di &

1329

Smp.

rall.

kl. Trp. 1. in B

Down he sank in a chair - ran his hands through his hair And chanted in mimsiest tones Words whose utter inanity proved some insanity, While he rattled a couple of bones.

Perk.

Trp. in C

1.-4.

Vl. I

rall. 3

senza sord.

ig ht

5.-8.

1.-4.

Vl. II

5.-8.

Va.

Vc.

1.-3. 3

1.-3.

(III)

(IV)

1. 2.

gliss. 8

Kb.

(III)

3. 4.

(V)

gliss. 8

Sy. 4117

senza sord.

357 1332

= 42-44

m.v.

p.v.

m.v.

p.v.

E-Git. 8

nl y

Perk.

KnabenChor

No!

It’s not true

No!

It’s not true

al o

= 42-44

Vl. I 1.-4.

senza sord.

Vl. II 5.-8.

senza sord.

Va.

1.-3.

Vc.

1.-3.

C o. /

senza sord.

dolce

di &

1335 m.v.

E-Git. 8

E-Pno

12 KnabenChor

Akk.

ig ht

dolce

1.-4.

Vl. I

dolce

5.-8. dolce

1.-4. Vl. II

dolce

5.-8. dolce

Vc.

gliss.

1.-3. Sy. 4117

358 1337

m.v.

p.v.

m.v.

p.v.

E-Git. 8

Pip hours

s.v.

pain 3

re turn.

I’m

fraid

the 3

QQ. hours

pain

re turn.

I’m

fraid

the

part

al o

Deep

part

nl y

Deep

OM.

For a while they worried about me - my relatives, my

Vl. I 1.-4.

Vc.

1.-3.

1.-6.

1340

C o. /

Va.

Vl. II 5.-8.

dolce

m.v.

E-Git. 8

)

di &

Synth. (E-Pno.

that

Pip turns

to con front

life.

fear

the nights

filled

fear

the nights

filled

that

turns

OM.

QQ.

friends.

dolce

Akk.

8va

Now I’ve become invisible, and it pleases me so. I’m a poet no longer. I turn down invitations: I’m a funny old codger, I say, and too much

ig ht

KnabenChor

u dolce

gliss.

1.-4.

Vl. I

dolce

5.-8. dolce

1.-4. Vl. II

dolce

5.-8.

gliss. dolce

Vc.

1.-3.

gliss.

Sy. 4117

359 1343

m.v.

gl. m.v.

s.v.

gl.

E-Git. 8

nl y

Synth. (E-Pno. )

dolce

al o

8va

Akk.

Perk.

Pip mo

ries.

tra

ve ler

that

flees

QQ. with me

ries.

tra

OM.

ve ler

that

soo

C o. /

with me

ner

ter

stops

ner

ter

stops

flees

soo

di &

company tires me out - and they are relieved. All my old friends are dead and there are no kindred souls among the living. Every day I go to the customs house on the Hudson to inspect ships’ cargos. Sometimes I happen upon astonishing or mysterious objects that give me pleasure. Slowly, I’m drawing away

4 KnabenChor

1.-4.

gliss.

Vl. I

ig ht

5.-8.

gliss.

1.-4.

Vl. II

5.-8.

Va.

1.-6. gliss.

1.-3. Vc. 4.-6.

Kb.

1.-4.

Sy. 4117

360 m.v.

1346

gl.

E-Git. 8

Synth. (E-Pno.

nl y

)

8va

al o

dolce

Akk.

Pip All

though ob

QQ. wal king.

has killed

dreams,

re tain

a hum ble

hope

hum ble

hope

dreams,

di &

OM.

has killed

C o. /

wal king.

Perk.

from this life with a composure that is not serene. It is equanimity at the realization - sometimes bitter and sometimes accepted with a shrug - that there’s nothing left worth defending.Perhaps because my powers are ebbing away, perhaps because I have outlived my poetic calling and thus outlived myself. - -

KnabenChor

1.-4.

gliss.

Vl. I

ig ht

5.-8.

1.-4.

Vl. II

5.-8.

Va.

1.-6.

1.-3. Vc. 4.-6.

Kb.

1.-4.

Sy. 4117

361 1349

p.v.

m.v.

gl.

s.v.

m.v.

E-Git. 8

nl y

Synth. (E-Pno. )

al o

8va

Akk.

Perk.

Pip is

heart’s

grea test trea 3

sure.

QQ. heart’s

grea test trea

di &

OM.

sure.

live

with a

soul

held back from sweet

C o. /

that

You can make me disappear, but you cannot silence me. - - I’ve written a wicked book, and feel as spotless as a lamb.

KnabenChor

1.-4.

Vl. I

ig ht

5.-8.

1.-4.

Vl. II

5.-8.

Va.

1.-6.

1.-3. Vc. 4.-6.

Kb.

1.-4.

Sy. 4117

mo ries,

362 m.v.

p.v.

1353

s.v.

E-Git. 8

[umschalten: Steeldrum]

Synth. (E-Pno.

) (8va)

nl y

dolce

al o

Akk.

Ish. fter

con

dings 3

that should wed

our

Pip la

ment

gain.

that I

QQ. ment

gain.

KnabenChor

C o. /

1.-4. Vl. I 5.-8.

di &

1.-4. Vl. II

5.-8.

1.-3.

Vc.

( = 42-44) 1357

Tam-Tam

Perk.

Tam-Tam

s.v.

Ish.

s.v.

one

call

ig ht

souls

bro

ther!

(Queequeg and Pip walk offstage.)

1360

Perk.

2. s.v.

s.v.

Ish. souls

one

(während sie abgehen) - leicht 3

Pip, QQ. In tothe twi

light

we smi ling

glide!

Knaben12 Chor Af ter twen ty years or more,

we all came back

and ev’ ry one said: Sy. 4117

“They

have been to

363 poco accel.

(Old Melville and Ishmaela are alone, except for the Boys’ Choir which is still standing behind them.)

1364

1. Perk. 2. Pip, QQ.

lakes and the Tor rib le Zone,

and the hills

of the Chan kly Bore.”

And we drank our health,

and gave us a feast

1. Fl.

2. 1.

Ob.

Fag.

Kfag.

Klar. in B

C o. /

2. Klar. in Es

1. Hr. in F

di &

kl. Trp. 1. in B Trp. in C

2. 1.

Pos. 2.

Tuba

ig ht

Akk.

Becken

Perk.

l.v. gr. Trommel

alle (24 Stimmen)

Knaben12 Chor

dum plings made of beau ti ful yeast.

And ev’ ry one said:

= 46

1. 2.

Vc.

3. 4. 5. 5.

Kb.

1.-4.

al o

= 46

1367

nl y

(deutlich artikulieren)

Knaben12 Chor

Sy. 4117

“If we on ly live,

we too will

sea

in a Sieve.”

364 poco accel.

= 50

Sample 22

1370

Smp. *)

muta in Picc.

1. Fl.

nl y

2. 3

Ob.

al o

1. 3

Klar. in B

Klar. in Es

3 3

Fag.

Kfag.

1. 2.

C o. /

Hr. in F

senza sord.

kl. Trp. 1. in B 3

Trp. in C

Pos.

1. 2.

senza sord.

di &

3 3

Tuba

Akk.

Zimbel / Bogen

l.v. 3

Perk.

Ish.

Vibraphon 3

s.v.

ig ht

Why

not

OM.

If there is one thing I have learned, it’s that there is more power and beautly in the well-kept secret of one’s self and one’s thoughts than in the display of a whole heaven that one may have inside him.

poco accel.

1. 2.

Vc.

3 3

3. 4.

5. 5.

Kb.

1.-4.

*) = Unmerklich neu atmen (Fl., Klar. 1 + Trp. 1) und so lange halten, bis der Text fertig ist. Sy. 4117

= 50

be have

like the clouds;

365 1375

Smp. 5

Ish. cruise

qui

the

sky.

Now 5

all

we e ver

Pip *) u

nl y

QQ. *) u

al o

u 5

BB. *)

u 1379

Smp. Synth. (Steeldrum)

lunga

Tam-Tam

1. Perk.

Vibraphon

2. lunga

Ish. have

un til

the time

die.

Pip u

u 3

di &

QQ. u

BB. u

lunga

ossia: 8ba

C o. /

KnabenChor

Far

and few, far and few, are the lands where the Jum blies live; 3

Their

far and few, are the lands where the Jum blies live;

Their

1382

Smp.

[umschalten: Glasharmonika]

ig ht

Synth. (Steeldrum)

Perk.

sempre legato

Pip

sempre legato

QQ.

sempre legato

BB.

ossia: 8ba

(begeistert ausrufend)

12 KnabenChor

heads are green, and their hands are blue, and we went to

sea

A de

in a Sieve.

12 heads are green, and their hands are

blue,

we went to

sea

in a Sieve.

*) singen von hinter der Bühne [nicht sichtbar!] entweder gut hörbar oder mit Mikrophon; aber zart. Lautstärke gilt: wie es auf Bühne klingt! Sy. 4117

A de

366 1385 8

Picc. 2. 3

Ob.

1. 2.

Klar. in Es

Fag.

Kfag.

al o

Klar. in B

nl y

Fl.

1. Hr. in F

Tuba

E-Git.

Synth. (Glasharmonika)

C o. /

di &

1. Perk.

l.v.

Gong

Trgl.

Pip

QQ.

(ossia: 8ba) 3

BB.

ossia: 8ba 3

gl.

light of won der ful sto ries

KnabenChor

and off

we go

with fresh

ser

ies

new

ven

ig ht

light of won der ful sto ries

gl.

and off

we go

fresh

ser

ies

new

pizz.

1.-3. arco

ven

1.-4.

Vl. I 1.-8.

1.-4.

Vl. II 1.-8.

Va.

1.-3.

1.-6. 1.-6.

Vc.

1.-6. 1. 2.

arco

pizz.

arco

Kb. 3. 4.

pizz.

Sy. 4117

1387

**)

8va

367

Picc. 8va

Fl.

2. 3

8va

1. Ob. 2. Klar. in Es

Klar. in B

Fag.

Kfag.

al o

nl y

8va

1. 2.

Hr. in F

Pos.

1. 2.

Trp. in C

kl. Trp. 1. in B

C o. /

Tuba 8ba

E-Git. 3

[umschalten: E-Piano ]

di &

Synth.

Akk.

l.v.

Perk. 2.

KnabenChor

QQ., BB.

8va

tures!

1.-4.

gr. Tr.

Pip

l.v.

1.-8.

ig ht

Vl. I 1.-8. 8va

1.-4.

Vl. II

8va

1.-8.

1.-3.

Va.

Vc.

1.-3.

Vc.

4.-6.

Kb.

1./2. 3./4.

New York, 02. 02. 2011

4.-6.

div. in 3

div. 8

*) Achtung wegen evtl. Mikrophon-Übersteuerung! **) Bläser: unabhängig neu atmen

Sy. 4117

368

Anhang 1

Edward Lear

Knabenchor (unabhängig von der Partitur T. 40 - 71) = 100

with on ly

go;

”won’t they be soon up set you know!“

pea green veil

And ev’ ry one said

3:2

The sky is dark,

and the voy age is long

who

and

hap pen what may, it’s

saw

a beau ti ful

nl y

In a Sieve we sailed so fast,

al o

(12 Knaben)

Sieve

went

sea.

Far and few,

far and few,

are the

lands

where the

ex tre mely wrong.

live;

Their heads are

green, and their hands

are

blue,

and we

C o. /

blies

went

sea

Sieve.

di &

Jum

Anhang 2

Knabenchor (unabhängig von der Partitur T. 73 - 85) = 100

(12 Knaben)

old

is this

man?

Does he sit on a stool or a so

or a chair?

1. Who, or why, or which, or what,

(Kurze Pause + nächste Strophe beginnen)

wise

2. Is

foo

lish,

young

old?

Does

drink

ig ht

3:2

write

let

ter

con

4. Do

soup

and

cof

fee

cold?

3:2

sely

clear?

Whit

out

speck

or smudge or

smear?

3:2

we peo ple

like him

tre

mely

well?

Or does he

when e

ver

can

bel?

3. Can

his

5. Does

sleep and snore

dark green cave?

Sy. 4117

does

sit

by the calm blue wave?

369 OLD MELVILLE MONOLOGUES

Monolog 1: Part I, Szene 4 / Takte 178-180, Seiten 33-35

Monologue 1: Part I, Scene 4 / mm. 178-180, pages 33-35

Der Augenblick, in dem einem Kind das Vertrauen in die Welt genommen wird, verstreicht wie ein Aussetzen des Atems in spurlosem, lautlosem Entsetzen. Von da an regiert eine bösartige Ordnung das Universum. Es gibt nun nichts mehr, was undenkbar wäre. Die Grausamkeit des Lebens hat keine Grenzen mehr. Es war die bange Nacht auf dem Hudson River, die eine Ahnung des Ausgesetztseins auf das Leben des Elfjährigen warf. Daß einem alles in einer einzigen Nacht genommen werden kann, dazu braucht es ein ganzes Leben, um es zu begreifen. Zu verstehen, daß nichts so ist, wie es den Anschein hat. Der Vater, das stolze Oberhaupt der Patrizierfamilie, dem das Kind bei aller Bewunderung nie genügen konnte, weil es ihm zu wenig ähnelt, verwandelt sich in dieser Nacht in einen gebrochenen Mann. Keiner bleibt unverändert im Ansturm des Unglücks. Für das Kind, das in die Flucht mitgerissen, von seinem Platz verstoßen, in die Armut gestoßen wird, verliert die Welt ihre Verläßlichkeit. Ist das, was uns zustößt Zufall, oder geschieht es nach einem Plan, der uns verborgen bleibt? Diese Frage stelle ich mir in jedem Buch von neuem und habe noch immer keine Antwort, aber ich werde nie aufhören, darüber nachzusinnen. Gibt es die Freiheit, sich zu entscheiden? Und auch die Freiheit, sich aufzulehnen? Sich zu verweigern, und sei es dem Leben, nur um frei zu bleiben? Was das ganze so furchtbar macht, ist die Unabwendbarkeit, die unverrückbare Schicksalhaftigkeit, mit der wir blind und unbeirrbar auf unserem Weg dahintrotten, geradewegs ins Verderben. Damals, schon als Kind lernte ich, daß die Hoffnung die größte Grausamkeit ist, weil sie uns am Ende zu Vieles schuldig bleibt. Weniger als zwei Jahre später starb mein Vater, da war ich zwölf, sein Untergang riß uns alle mit in den Abgrund. Die Zeit war über ihn hinweggegangen, er hielt dem Neuen nicht stand, der Fortschritt überrollte ihn und ließ ihn liegen und ich begann über die Zerbrechlichkeit des Menschen nachzudenken. Was danach kam, waren Dinge, die Menschen einander antun. Menschliche Bosheit ist weder mysteriös noch unerklärlich, sie ist ganz und gar von dieser Welt und unverzeihlich. Kein Haß ist so unversöhnlich, wie die Bitterkeit eines enttäuschten Kindes, das sich an bessere Zeiten erinnert und sein Los mit dem seiner glücklicheren Altersgenossen vergleicht, die in der unbeschwerten Kindheit verweilen dürfen. Damals lernte ich jedem, der Macht hat, zu mißtrauen. Mein ganzes Leben lang habe ich die Macht gemieden und verachtet. Stets habe ich mich ihr entzogen. Wenn alle Fluchtwege abgeschnitten sind, gibt es nur einen Ausweg: die Phantasie. Im Angesicht des Zusammenbruchs und des Todes hatte ich die Quelle meiner Inspiration entdeckt: die Suche nach dem Grenzenlosen, das sich nur im Augenblick des Untergangs enthüllt. Meine maßlose Phantasie trieb mich vom Land fort auf die Ozeane. Es muß eine Antwort geben, sonst wäre die Ungerechtigkeit des Lebens nicht zu ertragen. Den Schlüssel zum Leben habe ich gefordert, nichts Geringeres. Um dieses Geheimnis zu ergründen, muß man in der Tiefe des Meeres suchen, jenseits des Sichtbaren, unter der Oberfläche, die nichts verrät. Nur der Leviathan kann fünf Meilen oder mehr in die Tiefe des Meeres hinuntertauchen. Und wenn er nicht auf den Grund stößt, dann reichte auch kein Senkblei dorthin.

The moment when a child’s trust in the world is taken away passes in silent and invisible terror like a skipped heartbeat. From then on, a malevolent order rules the universe. Nothing is unthinkable anymore, life’s cruelty knows no bounds. It was that fearful night on the Hudson River which cast the presentiment of peril onto the life of the eleven-year-old. It takes an entire lifetime to comprehend that everything can be taken in a single night and nothing is as it seems. That single night transformed his father from the proud head of a patrician family – revered by the son so unlike him he could never win his approval – into a broken man. No one remains unchanged under the onslaught of misfortune. For the child cast out from its place, caught up in flight, driven into poverty, the world lost its dependability. Is what befalls us mere chance or does it happen according to a plan hidden from our view? I ask myself that question anew in every book I write and still have no answer, but I will never stop asking. Do we have the freedom to decide? And the freedom to rebel, to refuse to cooperate – even with life itself – so as to remain free? What makes it all so terrible is the inevitability, the unalterable fatefulness with which we blindly jog without flinching along the path leading straight to our doom. Even as a child long ago, I learned that the cruelest thing is hope for in the end, too many promises go unfulfilled. My father died less than two years later, when I was twelve. His downfall dragged us all into the abyss. Time had passed him by. He couldn’t keep up. Progress rolled over him and left him lying there, and I began to ponder the fragility of man. What came later were the things men do to each other. Human wickedness is neither inexplicable nor mysterious. It is completely of the world and unforgivable. No hate so unforgiving as the bitterness of a disappointed child who remembers better times and compares his lot with that of happier companions permitted to bask in their unclouded childhoods. I learned then to mistrust anyone with power. My whole life long I have shunned and despised power. Always I have evaded it. When all escape routes are cut off, there is only one way out: the imagination. In the face of disaster and death I discovered the source of my inspiration: the search for the boundlessness that reveals itself only at the moment of doom. My exorbitant imagination drove me from the land to the sea. There must be an answer, for otherwise the injustice of life would be intolerable. I demanded nothing less than the key to life. To fathom this mystery one must look in the depths of the sea, beyond the visible, under the surface that reveals nothing. Only Leviathan can dive five miles or more into the deep. And if he cannot reach the bottom, what use would a plumb line be?

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OLD-MELVILLE-MONOLOGE

370 Monologue 2: End of Part I (End of Scene 7) / mm. 491-514, pages 181f.

Was ist des Menschen Platz im Universum? (Er wischt über seine vielen Bücher auf seinem Schreibtisch.) Ich wische jetzt über all die alten Schwarten. Es bringt mich immer auf stille, freundliche Gedanken. Bin ich nun ein Ausgestoßener, der nicht mehr aufbegehrt? Nichts, was ich je begann, wollte mir gelingen. Einsam und schweigsam trieb ich durch mein Leben, als triebe ich ausgesetzt in der Unendlichkeit des Meeres, unfähig zu ergreifen, was für andere die glücklichen Augenblicke sind. Alle, die Ja sagen, lügen. Wer aber Nein sagt, der überschreitet Grenzen mit nichts im Gepäck als sein eigenes Selbst. Bin ich Gottes großes Gelächter auf die Frage nach dem Sinn des Lebens? Wer jedoch das Leben annimmt, der fällt unweigerlich in Schuld. Mir fehle der absolute Glaube an Gottes Schöpfungsplan, schrieb ein Kritiker, den Moby Dick in Raserei versetzte. Wer von Gott redet, ist ein Lügner, hätte ich ihm entgegnen mögen. Was für ein Plan sollte das auch sein, wenn nicht wahnsinnige, absurde, selbstherrliche Willkür? Wenn der Leviathan die Antwort ist, muß man sie in der großen Ruhe, im Ungeformten, in der Grenzenlosigkeit der Ozeane, der absichtslosen Grausamkeit der Schöpfung suchen. Was ist größer als der Leviathan? Das Meer, das Unendliche, die Leere, das Nichts? Mein ganzes Leben lang habe ich gesucht. Das Unsichtbare lähmt und verwirrt, es ist das Schweigen Gottes und gibt keine Antwort. Der Leviathan bleibt ein Geheimnis. Aber wenn man ihn nicht in Frieden läßt, bringt er den Tod. Das habe ich gelernt: Die Schöpfung ist böse und grausam und gleichgültig auf eine Weise, wie Menschen es nie begreifen können. Seine Schrecken können dich vernichten, zermalmen, und bleiben unschuldig wie am ersten Tag der Schöpfung. Was aber ist das Unbekannte? Ist es das Schicksal, die Vorsehung, ist es Gott, ist es der Wahnsinn, der Tod – oder die Kunst? Wie nah muß man an sie heran, um das Geheimnis des Lebens zu entziffern? Doch immer war für den Wurzellosen, allerorts Fremden der Aufbruch gleichzeitig auch ein Weg in die Verbannung. Und wenn ich wieder an Land ging, legte ich andere Maßstäbe an die Dinge, als die Seßhaften, die Heimat haben. Die Heimat des Ruhelosen ist das Exil. Was wissen die Wichtigtuer, die zu Hause bleiben und ihre Alltagsgeschichten als Meisterwerke rühmen lassen, von der Unendlichkeit, in der man den Verstand verlieren kann. Wie kann man ein Werk beginnen ohne Aufbruch, wie ins Unbekannte vordringen, ohne unterwegs gewesen zu sein? Auf der Suche nach einer Spur Leben muss ich immer wieder über das schwarze Lavageröll der Encantadas wandern.

What is man’s place in the universe? (He waves his hand over the many books on his desk.) I pass my hand over these tomes and always, they engender quiet, amicable thoughts. Am I but an outcast who rebels no more? Nothing I ever put my hand to was successful. Silent and solitary, I drifted through life like a castaway on the immensity of the sea, incapable of seizing what for others were strokes of good fortune. Whoever says “yes” is a liar. But whoever says “no” transgresses boundaries with nothing in his baggage but his own self. Am I God’s enormous laughter in reply to the question, What’s the meaning of life? But whoever accepts life is unavoidably guilty. I lacked absolute faith in God’s plan for creation – so wrote a critic enraged by Moby Dick. Whoever talks about God is a liar, I would have answered him. Mad, absurd, high-handed capriciousness – what sort of plan is that? If Leviathan is the answer, then one must seek it in the great silence, in the unformed, in the boundlessness of the oceans, in the casual cruelty of Creation. What is greater than Leviathan? The sea, the eternal, the void, nothingness? I’ve spent my whole life in seeking. We are confused and crippled by the invisible. It is God’s silence and yields no answers. Leviathan remains a mystery. But unless left in peace, it brings Death. This is what I learned: Creation is evil and cruel and indifferent beyond human comprehension. The terrors fate holds in store can destroy you, crush you, yet remain as innocent as the first day of Creation. But what is the unknown? Is it fate, providence? Is it God? Is it madness, death – or is it art? How close must one get to it to decipher the secret of life?

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Monolog 2: Ende von Part I (= Ende von Szene 7) / Takte 491-514, Seiten 181f.

For the rootless wanderer, the universal stranger, departure also meant banishment, the road into exile. And when I returned to land, I measured things with a different yardstick than the stay-at-homes do. Exile is the homeland of the restless. The pompous asses who’ve never been anywhere and have their tedious tales hailed as masterpieces – what do they know of an infinity where you can lose your mind? How can one begin a work without a departure? How can one probe the unknown without having been underway? In search of a sign of life, I must again and again cross the blackened lava fields of the Encantadas.

371 Monologue 3a: Part II, Beginning of Scene 9 / m. 763, page 168

Das Böse hat eine Macht, die der Unschuld verwehrt ist. Unterliegt das Gute nur, weil es der Macht entsagt? Der Vater, der im Wahnsinn starb, muß sich mir tief eingeprägt haben, daß ich immer nur die zum Untergang Bestimmten liebe.

Die vielen Tode der Menschen, die mir am nächsten standen, berührten mich tief. Manchmal fürchtete ich, der Tod ginge wie eine böse Ansteckung von mir aus und raffte dahin, was ich am meisten liebte. Müßte man nicht das Hirn eines Spatzen haben, wenn man noch nie die Nähe des Wahnsinns in sich gespürt hat? Ist der Wahnsinn nicht ein leuchtender Kern von Sinn inmitten der Finsternis? Ich wurde zwei Mal zum Fährmann des Todes auf dem nächtlichen Hudson River. So, wie ich mit einem vor Verfolgungsangst fassungslosen Vater als Kind in die Verbannung floh, begleitete ich auf demselben Fluß den toten Bruder auf seiner letzten Reise. Der Tod hatte schon früh einen festen Platz in meinem Leben. Ich bin gewohnt, die Welt aus seinem Blickwinkel zu betrachten. Ich habe den Tod herausgefordert: in der Einsamkeit meiner Bergbesteigungen, beim Walfang auf hoher See, aber er hat mich verschmäht und nach denen gegriffen, die mir zunächst standen. Was ist es, das uns entwirft, die einen zum Untergang, die anderen zum Aufstieg und zur Macht? Ist es das Leben oder der Zufall? Ist es etwas, das zu uns gehört, was uns antreibt, die Menschen für uns aussucht, die Orte, an die es uns verschlägt?

All the deaths of my nearest and dearest touched me deeply . . . Sometimes I feared that death emanated from me like a virulent infection, carrying off those I loved most. You would need the brain of a sparrow never to have sensed the nearness of madness in yourself. Is madness not a glowing ember of meaning in the midst of darkness? Twice I became death’s ferryman on the nocturnal Hudson. As a child I had fled into exile with a bewildered father in fear of his pursuers; on the same river I accompanied my dead brother. Early on, death assumed a permanent place in my life. I’m accustomed to see the world from its point of view. I defied death climbing alone in the mountains, hunting whales on the high seas, but it spurned me and reached out instead for my loved ones. What designs us so that some are destined for downfall and others rise to power? Is it life, or mere chance? Is it something within us that drives us forward, selecting our acquaintances and choosing the places we end up in?

Monologue 3b: End of Part II (Scene 9) / m. 836 f., page 181

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Monolog 3a: Part II, Beginn Szene 9 / Takt 763, Seite 168

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Ijob, Ahab. Steckt nicht das Wort Liebe in diesem Namen, eine zum Haß pervertierte Liebe, die ihren Adressaten nie gefunden hat? Nur ein Bein, und er fordert die Naturgewalt heraus, stellt die Frage: Warum ich? Braucht es nicht mehr als eine trotzige Frage, um die Vernichtung heraufzubeschwören? Ja, auch ich frage mich seit Jahrzehnten: Warum? Warum ich? Ist nicht auch mein Leben in den Augen anderer die anmaßende Auflehnung eines Menschen, der als einziger noch immer an sich glaubt, etwas nie Dagewesenes, nicht einmal Vorstellbares zu schaffen? Die absolute Freiheit will ich, die vollkommene Autonomie für meine Kunst. Daß mein Werk so fremd sei, wie ich mich fühle, keiner Seite zuzuschlagen, unerreichbar. Ein nicht zu vollendendes Werk, so unfertig wie die Schöpfung und das Leben. Titanenarbeit, die an kein Ende kommt. Lieber am Unmöglichen scheitern als sich mit dem Sichtbaren, dem Alltäglichen begnügen. Ist das Böse die Macht, die andere zum Instrument erniedrigt? Macht, die das Recht bedeutet, einen Menschen zu zerstören, nach seiner Seele zu greifen, nach seinem Leben zu trachten. Bis heute lehne ich mich mit allen Kräften auf. Sie können mich zum Verschwinden bringen, aber nicht zur Selbstverleugnung. Die Welt ist ein Kriegsschiff, auf dem es solche gibt, die sich gottgleiche Macht anmaßen, um ihre Interessen zu verfolgen, und solche die geopfert werden. Oh ja, es gibt das Böse. Es vergiftet alle, Täter wie Opfer. Gedemütigt zu werden, und sei es vom Schicksal selbst, verändert einen Menschen. Das Böse ist wirklich, und es ist unvermeidlich. Einst war ich Ishmael. Bin ich nun, fast am Ende meines Lebens, Ahab geworden? Nein, nein, das nicht, das gewiß nicht, solange ich den Schmerz der anderen noch fühlen kann. Schuldlos konnte ich nicht bleiben, aber der Macht habe ich stets entsagt.

Job, Ahab. Does not this name contain the word “love” – a love perverted into hate, never having found its object? With only one leg, he challenges the power of nature, asks “Why me?” Is a single defiant question enough to call down destruction? For decades, yes, I too have wondered why. Why me? In the eyes of others, isn’t my own life the defiant revolt of a man who still believes what no one else does: that he will create something never before seen or imagined? What I want is absolute freedom, complete autonomy for my art. I want it to be as alien as I feel myself to be, unattached to this party or that, unattainable, a never-ending project, as unfinished as Creation and life, a titanic work without end. Better to fail at the impossible than be satisfied with the visible and the everyday. Is evil the power that reduces others to instruments? The power that claims the right to kill a human being, to destroy his body and soul? Ever since, I have rebelled against it with all my strength. They can force me to disappear, but never to renounce my self. The world is a warship, with some who arrogate to themselves godlike power and others who are their victims. Evil exists. It poisons everyone, perpetrators and victims. Even if it is only fate that humiliates a man, it changes him. Evil is real and inevitable. Once I was Ishmael. Now, at the end of my life, have I become Ahab? No, no, not that, surely not that, as long as I can still feel the pain of others. I was unable to avoid guilt, but I always renounced power.

372 Monologue 4: Part III, End of Scene 13 / mm. 1141ff., page 289

Vor fünfundzwanzig Jahren hatte ich die Kraft fast bis auf den Grund zu tauchen, und heil zurückzukommen. Ich wußte, dieses Buch war der große Wurf, die Wende in meinem Leben und in meinem Werk. Damals lebte ich, als hätten sich meine Sinne um eine zusätzliche Wahrnehmung erweitert, ich nahm alles um mich mit einer Schärfe wahr, als läge über allem Sichtbaren ein übernatürliches Leuchten, und es kam mir vor, als seien die Jahre auf See, die Jahre in New York nur eine lange Vorbereitung auf jenen Sommer in den Berkshires gewesen. In allen Dingen und Vorgängen enthüllten sich mir die großen Rätsel des Lebens, auch jene, die ich vor mir selber verborgen gehalten hatte. Es war der Augenblick, in dem mein Glück an keine Grenzen stieß und es hatte nur dieser einzigen Begegnung bedurft: Nathaniel Hawthorne. Die Vereinigung zweier verwandter Seelen. Wie soll ich heute mit enttäuschtem Herzen und kühlen Verstand noch sagen, worin der Rausch bestand? Es bedurfte nur der Berührung durch Worte, solcher Gedanken, die nie zuvor ausgesprochen im Anderen nachklangen und die Phantasie befruchteten. Ein Gefühl unsagbarer Sicherheit war in mir, weil ich ihm mein Innerstes enthüllen konnte und er mich ganz und gar verstand. Dieses unendliche Gefühl der Brüderlichkeit! – Jetzt bist du in der Ewigkeit, Nathaniel, ich rede mit dir und du bist verschlossen wie zu Lebzeiten. So große Gefühle, wie ich sie für dich hatte, schlagen immer in Enttäuschung um.

Years ago I still had the strength to descend almost to the bottom and return unharmed. I knew this novel would be a mighty undertaking, the turning point in my life and work. Back then, I lived as though my consciousness was enlarged by a sixth sense. I perceived everything around me as keenly as if a supernatural radiance overlay all the visible world, and it seemed that the years at sea and the years in New York had been but one long preparation for that summer in the Berkshires. In all objects and events the great riddles of life revealed themselves to me, even those I had hidden from myself. It was the moment when my happiness met no obstacles and all it had required was a single encounter with Nathaniel Hawthorne: the union of two kindred souls. Today, with a disappointed heart and a cool head, how can I say what constituted that intoxication? All that was needed was the touch of words and thoughts never before uttered. We found an echo in each other, a cross-pollination of our imaginations. I had a feeling of unutterable assurance, for to him I could reveal my innermost being and be understood completely. The feeling of eternal brotherhood! Now you are in eternity, Nathaniel. I talk to you and you are as closed-off as you were in life. Feelings as strong as mine for you inevitably end in disappointment.

(Epilogue, Szene 16 / Takte 1339-1352, Seiten 358-361:) Eine Weile machten sie sich Sorgen um mich, die Verwandten, die Freunde. Ich bin unsichtbar geworden und es ist mir angenehm. Ich bin kein Dichter mehr. Einladungen gehe ich aus dem Weg: Ich bin ein komischer alter Kauz, pflege ich zu sagen, zu viel Geselligkeit strengt mich an, und sie sind erleichtert. Die alten Freunde sind alle tot, und unter den Lebenden gibt es keine verwandten Seelen mehr. Täglich gehe ins Zollhaus am Hudson River, um Schiffsladungen zu inspizieren. Manchmal finde ich erstaunliche oder geheimnisvolle Gegenstände, die mich erfreuen. Langsam entferne ich mich von diesem Leben mit einer Gelassenheit, die nicht heiter ist. Es ist der Gleichmut, der sich manchmal mit Bitterkeit, manchmal mit einem Achselzucken bewußt wird, daß nichts mehr wert ist, es zu verteidigen. Vielleicht weil meine Kräfte versiegen, vielleicht weil ich meine Berufung zum Dichter und damit mich selber überlebt habe. Zum Verschwinden könnt ihr mich bringen, aber nicht zum Schweigen.

(Epilogue, Scene 16 / mm. 1339-1352, pages 358-361:) For a while they worried about me – my relatives, my friends. Now I’ve become invisible, and it pleases me so. I’m a poet no longer. I turn down invitations: I’m a funny old codger, I say, and too much company tires me out – and they are relieved. All my old friends are dead and there are no kindred souls among the living. Every day I go to the customs house on the Hudson to inspect ships’ cargos. Sometimes I happen upon astonishing or mysterious objects that give me pleasure. Slowly, I’m drawing away from this life with a composure that is not serene. It is equanimity at the realization – sometimes bitter and sometimes accepted with a shrug – that there’s nothing left worth defending. Perhaps because my powers are ebbing away, perhaps because I have outlived my poetic calling and thus outlived myself. You can make me disappear, but you cannot silence me.

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Monolog 4: Part III, Ende von Szene 13 / Takte 1141ff., Seite 289

Translation: David Dollenmayer