RNY 1340 - David Lang - Composition as explanation

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re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

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david lang

composition as explanation text by gertrude stein

full score

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re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

instrumentation performance note program note text

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contents

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1. there is singularly nothing 2. those who are creating 3. of course it is beautiful 4. beginning again and again 5. it is understood by this time (percussion solo) 6. and now to begin as if to begin 7. and after that what changes 8. intertext (instrumental) 9. the problem from this time on 10. this then 11. the time in the composition

Š 2019 by Red Poppy (ASCAP) Administered worldwide by Universal Music Corp. (ASCAP) International Copyright Secured. All Rights Reserved. RNY 1340 ISMN 979-0-041-61340-6 Warning : Unauthorized reproduction of this publication is prohibited by Federal law, and subject to criminal prosecution.

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re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

flute, piccolo clarinet in Bb, bass clarinet in Bb percussion glockenspiel, marimba, vibraphone, various drums and instruments ad lib, 1 tuned tom tom, kick drum piano violin cello

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instrumentation

and at least three amplified writing surfaces – see performance note below

score is in C the duration is about 60 minutes

The words of ‘Composition as Explanation’ by Gertrude Stein are set to music and reproduced by permission of the Estate of Gertrude Stein.

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composition as explanation was commissioned for Eighth Blackbird by The Arts Club of Chicago on the occasion of its centennial, and co-commissioned through the generous support of Elissa and Richard Replin.

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performance note

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

Because of this, it has certain performance requirements:

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composition as explanation is a piece of music, and a piece of theater. It has a spoken and sung text that is divided among the players, making the players both musicians and actors at the same time, and it has several actions that are specified in the music.

A proper performance of the piece must feel like it is occurring in a theatrical space and not in a concert space – it can and should incorporate staging, scenography, movement, lighting, costume, and sound design.

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A proper performance will require the engagement of professionals from the theater world. At the very least, it will require a theater director to shape the performance.

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A proper performance will require the performers to move and to speak, in other words, to become actors. It is recommended that the players engage movement and acting coaches to make these actions as natural as possible.

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The music and text must be memorized.

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The music and text must be amplified, and a sound designer may be called upon to adjust both the sound and the sound effects during a performance, as needed.

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It is imagined and encouraged that a stage director may wish to add instructions and actions and scenarios beyond those that are already notated in the text. Have fun!

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In addition to playing their normal instruments, at least three of the players are required in the score to play what are called ‘surfaces.’ These ‘surfaces’ should be things that make us think of writing, in as literal or as metaphorical a way as can be imagined. Players may play the same surface together or different surfaces, and the surface parts may be divided up differently among the players than is notated in the score, if the theatrical needs of the performance require it.

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program note

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I have had the pleasure to work with the ensemble Eighth Blackbird for many years now. One thing that has always impressed me about them is that they like a challenge. They have a very wide definition of what a chamber musician should be able to do, and this wide definition has frequently led them into making work that employs staging, movement, speaking and theater.

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

When Eighth Blackbird asked me in 2016 to propose a project for them that they could perform at the Chicago Arts Club, in conjunction with the Arts Club’s centennial year, I started thinking of other kinds of actions that they might concentrate on, that would transform them. I began to think of what it would be like make a piece that required them not just to act, but to become actors - in order to perform it they would be forced to take acting lessons, to study diction, to study the art of theater. In other words, my piece would not just ask them to move and to speak, but it would ask them to commit themselves to a rigorous education process that would transform them as performers. Upon doing a little research I discovered that Gertrude Stein had spoken at the Chicago Arts Club in 1934, after she had already become famous for her writings. I started looking at her published speeches as possible texts for this piece and I settled on using parts of Gertrude Stein’s 1926 lecture ‘Composition as Explanation,’ in which a yet-to-be-famous Stein explains to her audience what she is doing in her writing, in the same repetitive and plainspoken and circular format that she uses in her writing. In other words, she has blurred the relationship between her content, her form and her performance, in much the same way that I have tried to blur the musicality of Eighth Blackbird.

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I have used almost all of Stein’s entire text in my piece, except for a few stray lines here and there and the parts of her lecture that deal with details of specific books she had written, which seemed too literary for my purpose. In particular, I wanted to highlight her implication that the changes in the composition of her work are in some measure a response to the First World War, which had ended only a few years before, and which changed so many of the artists who lived through it.

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I want to thank Janine Mileaf and the Chicago Arts Club, where primitive versions of a few movements of this piece were, in fact, performed in 2016. I want to thank the Estate of Gertrude Stein for their permission to use this text. And I want to thank all the members of Eighth Blackbird, past and present, for asking me to make it.

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composition as explanation text by gertrude stein music by david lang 1.

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

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There is singularly nothing that makes a difference a difference in beginning and in the middle and in ending except that each generation has something different at which they are all looking. By this I mean so simply that anybody knows it that composition is the difference which makes each and all of them then different from other generations and this is what makes everything different otherwise they are all alike and everybody knows it because everybody says it.

It is very likely that nearly every one has been very nearly certain that something that is interesting is interesting them. Can they and do they. It is very interesting that nothing inside in them, that is when you consider the very long history of how every one ever acted or has felt, it is very interesting that nothing inside in them in all of them makes it connectedly different. By this I mean this. The only thing that is different from one time to another is what is seen and what is seen depends upon how everybody is doing everything. This makes the thing we are looking at very different and this makes what those who describe it make of it, it makes a composition, it confuses, it shows, it is, it looks, it likes it as it is, and this makes what is seen as it is seen. Nothing changes from generation to generation except the thing seen and that makes a composition. Lord Grey remarked that when the generals before the war talked about the war they talked about it as a nineteenth century war although to be fought with twentieth century weapons. That is because war is a thing that decides how it is to be when it is to be done. It is prepared and to that degree it is like all academies it is not a thing made by being made it is a thing prepared. Writing and painting and all that, is like that, for those who occupy themselves with it and don’t make it as it is made. Now the few who make it as it is made, and it is to be remarked that the most decided of them usually are prepared just as the world around them is preparing, do it in this way and so I if you do not mind I will tell you how it happens. Naturally one does not know how it happened until it is well over beginning happening.

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No one is ahead of his time, it is only that the particular variety of creating his time is the one that his contemporaries who also are creating their own time refuse to accept. And they refuse to accept it for a very simple reason and that is that they do not have to accept it for any reason.

Those who are creating the modern composition authentically are naturally only of importance when they are dead because by that time the modern composition having become past is classified and the description of it is classical. That is the reason why the creator of the new composition in the arts is an outlaw until he is a classic, there is hardly a moment in between and it is really too bad very much too bad naturally for the creator but also very much too bad for the enjoyer, they all really would enjoy the created so much better just after it has been made than when it is already a classic, but it is perfectly simple that there is no reason why the

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contemporaries should see, because it would not make any difference as they lead their lives in the new composition anyway, and as every one is naturally indolent why naturally they don’t see. It is so very much more exciting and satisfactory for everybody if one can have contemporaries, if all one’s contemporaries could be one’s contemporaries. There is almost not an interval.

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For a very long time everybody refuses and then almost without a pause almost everybody accepts. In the history of the refused in the arts and literature the rapidity of the change is always startling. It is a natural phenomena a rather extraordinary natural phenomena that a thing accepted becomes a classic.

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And what is the characteristic quality of a classic. The characteristic quality of a classic is that it is beautiful. Now of course it is perfectly true that a more or less first rate work of art is beautiful but the trouble is that when that first rate work of art becomes a classic because it is accepted the only thing that is important from then on to the majority of the acceptors the enormous majority, the most intelligent majority of the acceptors is that it is so wonderfully beautiful. Of course it is wonderfully beautiful, only when it is still a thing irritating annoying stimulating then all quality of beauty is denied to it.

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Of course it is beautiful but first all beauty in it is denied and then all the beauty of it is accepted. If every one were not so indolent they would realise that beauty is beauty even when it is irritating and stimulating not only when it is accepted and classic. Of course it is extremely difficult nothing more so than to remember back to its not being beautiful once it has become beautiful. This makes it so much more difficult to realise its beauty when the work is being refused and prevents every one from realising that they were convinced that beauty was denied, once the work is accepted. Automatically with the acceptance of the time-sense comes the recognition of the beauty and once the beauty is accepted the beauty never fails any one.

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Beginning again and again is a natural thing even when there is a series. Beginning again and again and again explaining composition and time is a natural thing.

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It is understood by this time that everything is the same except composition and time, composition and the time of the composition and the time in the composition. Everything is the same except composition and as the composition is different and always going to be different everything is not the same. Everything is not the same as the time when of the composition and the time in the composition is different. The composition is different, that is certain.

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The composition is the thing seen by every one living in the living they are doing, they are the composing of the composition that at the time they are living in the composition of the time in which they are living. It is that that makes living a thing they are doing. Nothing else is different, of that almost any one can be certain. The time when and the time of and the time in that composition is the natural phenomena of that composition and of that perhaps every one can be certain.

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No one thinks these things when they are making when they are creating what is the composition, naturally no one thinks, that is no one formulates until what is to be formulated has been made.

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

Composition is not there, it is going to be there and we are here. This is some time ago for us naturally. The only thing that is different from one time to another is what is seen and what is seen depends upon how everybody is doing everything. This makes the thing we are looking at very different and this makes what those who describe it make of it, it makes a composition, it confuses, it shows, it is, it looks, it likes it as it is, and this makes what is seen as it is seen. Nothing changes from generation to generation except the thing seen and that makes a composition.

Each period of living differs from any other period of living not in the way life is but in the way life is conducted and that authentically speaking is composition. After life has been conducted in a certain way everybody knows it but nobody knows it, little by little, nobody knows it as long as nobody knows it. Any one creating the composition in the arts does not know it either, they are conducting life and that makes their composition what it is, it makes their work compose as it does. Their influence and their influences are the same as that of all of their contemporaries only it must always be remembered that the analogy is not obvious until as I say the composition of a time has become so pronounced that it is past and the artistic composition of it is a classic.

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And now to begin as if to begin. Composition is not there, it is going to be there and we are here. This is some time ago for us naturally. There is something to be added afterwards.

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Here again it was all so natural to me and more and more complicatedly a continuous present. A continuous present is a continuous present. I made almost a thousand pages of a continuous present. Continuous present is one thing and beginning again and again is another thing. These are both things. And then there is using everything. This brings us again to composition this the using everything. The using everything brings us to composition and to this composition. A continuous present and using everything and beginning again.

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7. And after that what changes what changes after that, after that what changes and what changes after that and after that and what changes and after that and what changes after that.

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The problem from this time on became more definite.

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intertext (instrumental)

It was all so nearly alike it must be different and it is different, it is natural that if everything is used and there is a continuous present and a beginning again and again if it is all so alike it must be simply different and everything simply different was the natural way of creating it then. In this natural way of creating it then that it was simply different everything being alike it was simply different, this kept on leading one to lists. Lists naturally for awhile and by lists I mean a series. More and more in going back over what was done at this time I find that I naturally kept simply different as an intention. Whether there was or whether there was not a continuous present did not then any longer trouble me there was or there was not, and using everything no longer troubled me if everything is alike using everything could no longer trouble me and beginning again and again could no longer trouble me because if lists were inevitable if series were inevitable and the whole of it was inevitable beginning again and again could not trouble me so then with nothing to trouble me I very completely began naturally since everything is alike making it as simply different naturally as simply different as possible. I began doing natural phenomena what I call natural phenomena and natural phenomena naturally everything being alike natural phenomena are making things be naturally simply different. This found its culmination later, in the beginning it began in a center confused with lists with series with geography with returning portraits and with particularly often four and three and often with five and four. It is easy to see that in the beginning such a conception as everything being naturally different would be very inarticulate and very slowly it began to emerge and take the form of anything, and then naturally if anything that is simply different is simply different what follows will follow.

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So far then the progress of my conceptions was the natural progress entirely in accordance with my epoch as I am sure is to be quite easily realised if you think over the scene that was before us all from year to year.

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As I said in the beginning, there is the long history of how every one ever acted or has felt and that nothing inside in them in all of them makes it connectedly different. By this I mean all this. The only thing that is different from one time to another is what is seen and what is seen depends upon how everybody is doing everything. It is understood by this time that everything is the same except composition and time, composition and the time of the composition and the time in the composition.

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Everything is the same except composition and as the composition is different and always going to be different everything is not the same. So then I as a contemporary creating the composition in the beginning was groping toward a continuous present, a using everything a beginning again and again and then everything being alike then everything very simply everything was naturally simply different and so I as a contemporary was creating everything being alike was creating everything naturally being naturally simply different, everything being alike. This then was the period that brings me to the period of the beginning of 1914. Everything being alike everything naturally would be simply different and war came and everything being alike and everything being simply different brings everything being simply different brings it to romanticism.

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Romanticism is then when everything being alike everything is naturally simply different, and romanticism.

Then for four years this was more and more different even though this was, was everything alike. Everything alike naturally everything was simply different and this is and was romanticism and this is and was war. Everything being alike everything naturally everything is different simply different naturally simply different. And so there was the natural phenomena that was war, which had been, before war came, several generations behind the contemporary composition, because it became war and so completely needed to be contemporary became completely contemporary and so created the completed recognition of the contemporary composition. Every one but one may say every one became consciously became aware of the existence of the authenticity of the modern composition.

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This then the contemporary recognition, because of the academic thing known as war having been forced to become contemporary made every one not only contemporary in act not only contemporary in thought but contemporary in self-consciousness made every one contemporary with the modern composition. And so the art creation of the contemporary composition which would have been outlawed normally outlawed several generations more behind even than war, war having been brought so to speak up to date art so to speak was allowed not completely to be up to date, but nearly up to date, in other words we who created the expression of the modem composition were to be recognized before we were dead some of us even quite a long time before we were dead. And so war may be said to have advanced a general recognition of the expression of the contemporary composition by almost thirty years.

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The time in the composition is a thing that is very troublesome. If the time in the composition is very troublesome it is because there must even if there is no time at all in the composition there must be time in the composition which is in its quality of distribution and equilibration. In the beginning there was the time in the composition that naturally was in the composition but time in the composition comes now and this is what is now troubling every one the time in the composition is now a part of distribution and equilibration. In the beginning there was confusion

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And afterwards.

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re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

Now that is all.

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there was a continuous present and later there was romanticism which was not a confusion but an extrication and now there is either succeeding or failing there must be distribution and equilibration there must be time that is distributed and equilibrated. This is the thing that is at present the most troubling and if there is the time that is at present the most troublesome the time-sense that is at present the most troubling is the thing that makes the present the most troubling. There is at present there is distribution, by this I mean expression and time, and in this way at present composition is time that is the reason that at present the time-sense is troubling that is the reason why at present the time-sense in the composition is the composition that is making what there is in composition.

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composition as explanation text by gertrude stein music by david lang

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q = 100 There

spoken:

(flute)

surface 1

4 /4

(violin)

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re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

surfaces: All surfaces are amplified — amplified clipboard, amplified chalkboard, amplified table, amplified drum head, etc. Players may write on the same surface or on different surfaces. The action of the surfaces is in response to the speaker — surface 1 attempts to scribble down the words of the speaker, after he or she has spoken them, surfaces 2 and 3 are more stylized responses. All responses begin on or after the downbeat of the measures that are initiated by the accented syllables of the speaker — even if the speaker began the phrase before the downbeat the surfaces don't respond until on or after the downbeat. It should feel at the start like taking dictation. And then it should feel a lot stranger.

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speaker: Speak clearly and simply, facing the audience, as if giving a lecture. Keep as natural a speaking rhythm as possible, but the syllables in bold have to land on the downbeat of every other measure. At first this is easy but it soon gets very hard.

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generation

has something different

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at which

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they are all

looking.

y this

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( e u ion)

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I mean

so simply that anybody knows it

that composition

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is the difference

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then different

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is what makes e erything

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and this

from other generations 48

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which makes each and all of them

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n et ono i lo o n et ill e not te i te

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o e e ti t e t ee u et o t ent t i onl ve o

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different

and everybody knows it

otherwise they are all alike

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because everybody sa s it.

It is very likely

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has been very nearly certain

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that something that is interesting

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that nearly

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is interesting them. 0

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Can they and do they.

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that is when you consider the very long history

of how everyone ever acted or has felt

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It is very interesting that

nothing inside in them

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it is very interesting that nothing inside in them

in all of them makes it connectedly different.

y this I mean

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The only thing that is different from one time to another

is what is seen

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this.

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is doing everything.

and what is seen depends upon how e erybody 0

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This makes the thing we are looking at

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ery different

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describe it make of it,

and this makes what those who it makes a composition,

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it shows,

it con ses, 100

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it looks,

it likes it as it is,

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it is,

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othing

and this makes what is seen as it is seen. 110

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changes,

except the thing seen

from generation to generation

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and that makes a composition. 120

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ord Grey remarked

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that when the generals before the war talked about the war

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re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

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it ten ion n o otion ut not too t on et it oul eel li e it i ein o i l el 3

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they talked about it as a

nineteenth century war

although to be fought with

twentieth century weapons.

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that is because war is a thing that decides how it is to be 134

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when it is to be done.

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It is prepared

and to that degree it is like all academies

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it is not a thing made by being made

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it is a thing prepared.

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riting and painting and all that,

is like that,

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for those who occupy themselves with it

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and don't make it as it is made.

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Now the few who make it as it is made,

and it is to be remarked that the most decided of them

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1 8

s1

/ (vln)

s2

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3

s3

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3

3

3

are prepared ust as the world around them is preparing,

5

3

3

pno

ad m

in

is

te

( l )

3

3 3 3

vc 3 3 3

RNY 1340

11

do it in this way

and so I if you do not mind I will tell you how it happens.

162

s1

/ (vln)

s2

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3

3

5

3

la ss ic al

5

3

™ s3

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re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

( l )

pno

3

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3

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aturally

166

s1

/ (vln)

s2

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one does not know how it happened

5

3

s3

/

3

pno

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te

( l )

3

3 3 3

vc 3 3 3

RNY 1340

12

until it is well over

beginning happening.

1 0

s1

/ (vln)

s2

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3

3

5

3

5

3

la ss ic al

5

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pno

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

( l )

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1

to violin

s1

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to lo

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en

iel

to l inet

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RNY 1340

3

13

(spoken)

o one

is ahead of his time,

180

cl

3

3 3 3

3

la ss ic al

glock 3

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re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

3

3

3 3

3

3

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vln

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it is

only that 18

cl

glock

is the one that his contemporaries

3

3

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in

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3

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3

the particular variety of creating his time

3 3

3 3 3

vln

3

vc 3 3

RNY 1340

14

who are also creating their own time

refuse to accept.

And they

1 0

cl

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3

3

3

3

3

3 3

pno

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re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

3

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vln

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3

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re se to accept it 1

cl

glock

for a ery

simple

3

3

3

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pno

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in

is

3

3

3 3

vln

vc 3 3 3 RNY 1340

3

1

reason

and that is

200

cl

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3

3

3 3

3

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re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

3

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vln

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3

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for any reason.

that they do not ha e to accept it 20

cl

glock

3

3

3

3

3

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3

3 3 3

pno

ad m

in

is

3

3 3 3

vln

vc 3 3

RNY 1340

3

pno 3 3

pno

3 3 3

vln

vc 3 3

3

21

™ ™

™

cl

glock 3

3

3 3 3 3 3 3 3 3

3

3

RNY 1340

3

3

3

3

3

vln

vc

3

la ss ic al

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

te

is

in

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16

210

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glock 3

3 3

3

3

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1

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3 3

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re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

3

pno

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vc

3

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™

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22

cl

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3 3

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3

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3

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in ad m

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is

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3

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vc 3 3

3

RNY 1340

pno

pno

3 3 3

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vc 3

3

3

23

™ ™

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cl

glock

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3 3 3 3 3 3

vln

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RNY 1340

3 3 3

la ss ic al

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

te

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230

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attacca

composition as explanation text by gertrude stein music by david lang

everyone sing, one of the vocal lines below even those playing their instruments better a strong sound than a pretty sound q = 66 f 3

3 & 4 œœ

those who

f

? 43 œœ

lower voices

3

‰ œœ

œœ

œœ

œœ

œœ

œœ

œœ œ œ

œ œ œ œ œ œ

Œ

Ó

œ œ

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

higher voices

la ss ic al

2. those who are creating

œœ

are

œœ

cre - a - ting

œœ

œœ

œœ

the

œœ

‰

mo - dern com - po - si - tion

œœ œ œ

œ œ œ œ œ œ

œ œ

‰

Œ

j œ œ

au -

Ó

‰

œ œ J

3

3

those who

? 43 œœ

marimba

œœ

{

are

œœ

cre - a - ting

œœ

œœ

œœ

the

œœ

mo - dern com - po - si - tion

œœ œ œ

œ œ œ œ œ œ

œ œ

‰

Œ

au -

Ó

‰

œ œ J

3

3

f

>™ 3 œ &4 f piano

>œ ™

>œ ™

>œ ™

3

? 43

œœ

œœ

œœ

œœ

œœ

>œ ™

3

œœ

œœ œ œ

œ œ œ œ œ œ

‰

Œ

Ó

‰

j œ œ

œ œ

3 & 4 œœ

ad m

violin

in

is

te

{

œœ

>œ ™

3

3

‰

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Ó

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j œ œ

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f

cello

? 43 œœ

3

f

3

RNY 1340

20

4

3 3

higher voices

Œ

& œ œ

œœ

Œ

‰

œœ

j œœ

œœ œœ œœ œœ œœ œ œ œ bœ œ œ

œ bœ

na - tu - ra - lly

por - tance

‰

Œ

Œ

‰

Œ

Œ

‰

Œ

Œ

œ œ

then - ti - c'ly are lower voices

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œœ

œœ

Œ

Œ

‰

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on - ly

of - im -

œœ œœ œœ œœ œœ œ œ œ bœ œ œ

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œ œ

na - tu - ra - lly

por - tance

3 3

then - ti - c'ly

? œœ {

mar

œœ

œœ

Œ

Œ

‰

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on - ly

of - im -

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œ bœ

œ œ

la ss ic al

are

3 3

>œ ™

>œ ™

>Ϫ

>Ϫ

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pno 3

?

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

& 3

Œ

{

œ œ

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Œ

‰

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j œœ

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œ bœ

‰

Œ

Œ

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vln

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& œœ

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vc 3

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œ bœ

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3

7

3

3

higher voices

& œ bœ

œœ

when they lower voices

? œ bœ

œ œ

j œœ

œœ

j œœ

are

dead

be

œ œ

œ œ J

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are

dead

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‰

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Œ

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‰

Ó

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-

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cause by

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that

time

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that

time

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when they

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the

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in

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& pno

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3 3

vln

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& œ bœ

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? œ bœ

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3 3 RNY 1340

21

10

3

higher voices

œ œ

& œœ

œ œ

œ œ

œ œ

3

‰

œ œ

Œ

Ó

œ œ

mo - dern com - po - si - tion

? œœ

lower voices

œ œ

œ œ

œ œ

œ œ

œ œ

‰

Œ

Ó

œ œ

œ œ

œ œ

œ œ

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ha - ving

be -

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3

œ œ

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j œœ

come

past

is

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come

past

œ œ

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Œ

‰

Œ

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‰

3

mo - dern com - po - si - tion

? œœ

œ œ

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‰

Œ

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ha - ving

be -

œ œ

œ œ

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is

Œ

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‰

mar 3

b >œ ™

la ss ic al

{ 3

>Ϫ

b >œ ™

>Ϫ

b >œ ™

>Ϫ

pno

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

& 3

?

3

‰

{

œ œ

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Œ

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3

vln

& œœ

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3

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3

13

œ œ

Œ

œ œ

≈ œ œ œ œ bœ œ œ œ

clas - si - fied

lower voices

and the

? œœ bœœ

Œ

œœ

de - scrip - tion

Œ

≈ bœœ œœ œœ œœ and the

œœ

‰

de - scrip - tion

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≈ bœœ œœ œœ œœ

te

ad m

pno

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in

>œ ™ &

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is

3

j œœ

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3

œœ

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of

it

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Œ

Œ

Œ

Œ

Œ

Œ

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clas - si - cal 3

œœ

œœ

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of

it

is

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‰

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œœ

œ œ

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clas - si - cal

3

{

‰

3

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clas - si - fied

mar

Œ

‰

3

? œœ 3œ bœ

j œœ

3

Œ

& œœ œ bœ

‰

3

3

higher voices

Œ

3

‰

vc

œ œ

3

œ œ

œ œ

œ œ

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3

>œ ™

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3

3

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≈ œ œ œ œ bœ œ œ œ

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≈ œ œ œ œ bœ œ œ œ

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≈ bœœ œœ œœ œœ

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3

vc

Œ

3

Πvln

Œ œ œ

Œ

Œ

3

3 RNY 1340

‰

œ œ

3

œ œ

22

16

3 3

higher voices

& Ó

bœ œ œ œ œ œ That

the

œœ

œœ

why the

œœ

-

Œ

a - tor

of

the

rea - son

œœ

the new com - po - si - tion

cre

-

bœ œ œ œ œ œ

Œ

in

the

œ œ œ œ œ œ œ œ œ œ

3

why the

œœ

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bœ œ œ œ œ œ œ œ œ œ œ œ

3

is

bœ œ œ œ œ œ

? Ó

cre

bœ œ œ œ œ œ œ œ œ œ œ œ

bœ œ œ œ œ œ

3

That

3

bœ œ œ œ œ œ

rea - son

bœ œ œ œ œ œ

? Ó

lower voices

is

œœ

Œ

a - tor

of

the new com - po - si - tion

bœ œ œ œ œ œ œ œ œ œ œ œ

in

the

œ œ œ œ œ œ œ œ œ œ

mar 3

>œ ™

3

>œ ™

>œ ™

3

>œ ™

>œ ™

>œ ™

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

& pno

la ss ic al

{

3

3

? Ó

3

Œ

{

bœ œ œ œ œ œ

œœ

bœ œ œ œ œ œ

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bœ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ

3

3

& Ó

vln

? Ó vc

bœ œ œ œ œ œ

œœ

bœ œ œ œ œ œ

œœ

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bœ œ œ œ œ œ

bœ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ

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Œ

bœ œ œ œ œ œ

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œ œ œ œ œ œ œ œ œ œ

3

19

3

Œ

3

3

3

higher voices

j b œ & œ

‰

arts lower voices

? bœœ J

‰

Œ

‰

Œ

‰

œ œ

œœ

is

an

œ œ

œœ

œœ

œœ

Œ

Œ

Œ

‰

out - law

œœ

œœ

j œœ

œœ

œœ

til

he

is

a

œœ

œœ

œœ

œ œ

til

he

is

a

œœ

œœ

œœ

œ œ

j œœ

œœ

œœ

œœ

œ œ

un

Œ

Œ

Œ

‰

œ œ

œœ

-

œœ J

3

arts

? bœœ { J

‰

Œ

‰

pno

ad m

&

in

>œ ™

is

te

mar

an

œ œ

œœ

out - law

œœ

œœ

un

Œ

Œ

Œ

‰

œœ J

-

3

>œ ™

>œ ™

>œ ™

>Ϫ

>Ϫ

3

? bœj œ

‰

‰

Œ

‰

vln

j & bœœ ? bœœ J

‰

Œ

‰

vc

{

is

Œ

‰

Œ œ œ

Œ

Œ

‰

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œœ

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Œ

‰

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Œ

œœ

Œ œœ

j œœ

œœ

œœ

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œ œ

œœ

œœ

œœ

Œ

Œ

Œ

‰

œœ J

œœ

œœ

œœ

œ œ

3

3 RNY 1340

23

22

3

3

3

higher voices

& œ œ

œ œ

‰

Œ

∑

Œ

‰ bœ œ

clas - sic, lower voices

? œœ

œ œ

there

‰

Œ

Œ

bœ ‰ œ

∑

œ œ

œ œ

is

œ œ

œ œ

hard - ly

œ œ

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3

a

œ œ

œ œ

œ œ

œ œ

mo - ment

œ œ

œ œ

œ œ

œ œ

in

be -

œ œ

œ œ

in

be -

œ œ

œ œ

3

3

? œœ {

mar

œ œ

‰

Œ

Œ

∑

‰

there

is

bœ œ

œ œ

hard - ly

œ œ

3

a

œ œ

œ œ

3

3

>Ϫ

>Ϫ

>Ϫ

>Ϫ

>Ϫ

>Ϫ

pno

3

3

?

‰

{

œ œ

œ œ

Œ

∑

Œ

vln

& œœ

œ œ

? œœ

œ œ

vc

œ œ

œ œ

œ œ

25

œ œ

œ œ

œ œ

œ œ

œ œ

3

‰

Œ

Œ

∑

‰ bœ œ

œ œ

œ œ

œ œ

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‰

Œ

Œ

∑

‰

bœ œ

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‰

Œ

Œ

‰

Œ

Œ

‰

Œ

Œ

3

3

œ œ

3

‰ bœ œ 3

3

œ œ

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

&

mo - ment

la ss ic al

clas - sic,

3

3

higher voices

j b œ & œ

‰

tween lower voices

? bœœ J

and

‰

œ œ

œœ

j œœ

real - ly

too

bad

œœ

œœ J

too

bad

œœ

œœ J

≈ œ œ œ œ œ œ œ œ it

is

œ œ œ œ ≈ œ œ œ œ

œ œ

‰

œœ

œœ

ve - ry

‰

œœ

œœ

j œœ

bad

œœ

œ œ too œ œ

much

too

bad

œœ

œ œ

œœ

much

œœ J

3

tween

? bœœ { J

‰

it

is

real - ly

œ œ œ œ ≈ œ œ œ œ

pno

ad m

&

œ œ

ve - ry

‰

œœ

œœ

œ œ J

3

>Ϫ

b >œ ™

>Ϫ

b >œ ™

>Ϫ

in

b >œ ™

is

te

mar

and

? bœj œ

{

‰

3

≈ œ œ œ œ œ œ œ œ

œ œ

j œœ

‰

œœ

Œ

œœ

j œœ

Œ

œœ

œ œ

‰

œœ

œ œ œ œ

j œœ

‰

Œ

Œ

œœ J

‰

Œ

Œ

3

‰

≈ œ œ œ œ œ œ œ œ

œ œ

œœ

j œœ

‰

vln

j & bœœ

œœ

œœ

œœ

? bœœ J

‰

œ œ œ œ ≈ œ œ œ œ

œ œ

œœ

œœ J

‰

œœ

œœ

œœ

vc

3 RNY 1340

24

28

3 3

higher voices

& Œ

bœ œ œ œ œ œ œ œ œ œ œ œ œ œ

? Œ

bœ œ œ œ œ œ œ œ œ œ œ œ œ œ

na - tu - ral - ly lower voices

for the cre

œœ -

œœ

j ‰ bœ œ

a - tor

but

œ œ

œ œ

bœ ‰ œ J

œ œ

a - tor

but

al - so

bœ œ J

œ œ

œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ

ve - ry much too bad for the en - joy - er,

al - so

œœ

œœ

bœ œ œ œ œ œ

œ œ

bœ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰

3

3

for the cre

-

bœ œ œ œ œ œ œ œ œ œ œ œ œ œ

? Œ

œœ

œœ

‰

mar

{

ve - ry much too bad for the en - joy - er,

œ œ

bœ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰

la ss ic al

na - tu - ral - ly

3

b >œ ™

3

>Ϫ

>œ ™

>œ ™

>œ ™

>œ ™

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

& pno

3

? Œ

{

bœ œ œ œ œ œ œ œ œ œ œ œ œ œ

œœ

3

œœ

‰ bœj œ

œ œ

œ œ

bœ œ œ œ œ œ

œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ

œ œ

œ œ

bœ œ œ œ œ œ

œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ

bœ œ J

œ œ

œ œ

bœ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰

3

vln

& Œ

bœ œ œ œ œ œ œ œ œ œ œ œ œ œ

œœ

œœ

j ‰ bœ œ

? Œ

bœ œ œ œ œ œ œ œ œ œ œ œ œ œ

œœ

œœ

‰

vc

3

3

31

3

higher voices

? lower voices

3

3

‰

∑ &

3

‰

∑

œœ

œœ

œœ œœ œœ œœ œœ

œœ

œ œ

they

all

real - ly would en - joy

the

cre

œœ

œœ

œœ œœ œœ œœ œœ

œœ

œ œ

they

all

real - ly would en - joy

the

cre

œœ

œœ

œœ œœ œœ œœ œœ

œœ

œ œ

œ œ œ œ œ œ œ œ

-

a - ted

œœ

‰

Œ

‰

Œ

‰

Œ

‰

Œ

‰

Œ

‰

Œ

œœ

so much bet - ter

œ œ œ œ œ œ œ œ

œœ

œœ

3

3

?

‰

∑ mar

pno

ad m

&

>œ ™

in

>œ ™

is

te

{

-

a - ted

3

so much bet - ter

œ œ œ œ œ œ œ œ

œ œ

œ œ

3 3 3

>œ ™

>œ ™

>œ ™

3

>œ ™

3 3

?

{

∑

‰ œœ

œ œ

œ œ œ œ œ œ œ œ

œœ

œ œ

œ œ œ œ œ œ œ œ

œœ

œœ

œœ

œ œ

œ œ œ œ œ œ œ œ

œœ

œœ

œœ

œœ œœ œœ œœ œœ

œœ

œœ

œœ

œœ œœ œœ œœ œœ

œœ

œœ

œœ œœ œœ œœ œœ

3

œœ

œœ

3 3

∑ vln

‰

& ? ∑

‰

vc 3 3 3 RNY 1340

25

34

3

3 3

higher voices

j œ œ

& œ œ œ œ œ œ œ œ œ œ œ bœ just

af - ter

it

has

j œ bœ

‰

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

been made

than when it

œ bœ

œ bœ J

? œœ œœ œœ œœ œœ

lower voices

‰

œ œ J

‰

‰

is

al - rea - dy

a

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

b œœ

Œ

Œ

Œ

Œ

Œ

Œ

œœ

clas - sic

bœœ

œœ

3 3 3

af - ter

it

has

been made

? œœ œœ œœ œœ œœ

œ bœ

mar

œ œ J

{

than when it

‰

œ bœ J

‰

is

al - rea - dy

a

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

clas - sic

bœœ

3 3 3

>œ ™

>œ ™

>œ ™

>œ ™

>œ ™

pno 3

>œ ™

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

&

œœ

la ss ic al

just

3

3

?

j œ œ

‰

j œ œ

‰

& œœ œœ œœ œœ œœ œ bœ ? œœ œœ œœ œœ œœ

œ œ J

‰

{

œœ œœ œœ œœ œœ œ bœ 3

‰

j œ bœ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

j œ bœ œ bœ J

b œœ

œœ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

b œœ

œœ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

bœœ

œœ

Œ

Œ

Œ

Œ

Œ

Œ

3

3

vln

vc 3

œ bœ

‰

‰

3

3

37

3

3

3

higher voices

& Œ

≈ bœ œ œ œ œ œ œ œ œ œ œ œ

? Œ

bœ œ œ œ œ ≈ œ œ œ œ œ œœ

but

lower voices

it

is

per - fect - ly

œœ

œœ

j ‰ bœ œ

sim - ple

œœ

œœ

that there is

bœ ‰ œ J

3

but

it

is

pno

ad m

& ? Œ

{

œœ

rea - son

bœ œ

œœ

œœ

œœ

bœ œ J

no

œ œ œ œ œ œ

rea - son

bœ œ

œœ

3

>Ϫ

b >œ ™

>Ϫ

œœ

œœ

‰ bœj œ

bœ œ J

œœ œœ œ œ œ œ œ œ

why the

con - tem - po - ra - ries

œœ œœ

œœ œœ œ œ œ œ œ œ

3

that there is

‰

œœ œœ

why the

con - tem - po - ra - ries

œœ œœ

œœ œœ œ œ œ œ œ œ

3

b >œ ™

>Ϫ

in

b >œ ™

sim - ple

3

is

te

{

no

œ œ œ œ œ œ

bœ œ

3

per - fect - ly

bœ œ œ œ œ ≈ œ œ œ œ œ œœ

? Πmar

œ œ œ œ œ œ

3 3 3

≈ bœ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ

bœ œ

œœ

œœ œœ

œ œ œ œ œ œ

bœ œ

œœ

œœ œœ

œœ œœ œ œ œ œ œ œ

œ œ œ œ œ œ

bœ œ

œœ

œœ œœ

œœ œœ œ œ œ œ œ œ

œœ œœ œ œ œ œ œ œ

3 3 3

vln

& Œ

≈ bœ œ œ œ œ œ œ œ œ œ œ œ

œœ

œœ

j ‰ bœ œ

? Œ

bœ œ œ œ œ ≈ œ œ œ œ œ œœ

œœ

œœ

‰

vc 3

3 RNY 1340

3

26

40

3 3

higher voices

& œ œ

Œ

œ œ

Œ

Œ

j bœ œ

‰

should see, lower voices

? œœ

œ œ

Œ

Œ

Œ

‰

œ œ

œ œ

œ œ

bœ œ œ œ œ œ œ œ œ œ

be - cause it would

not make a - ny

bœ œ J

bœ œ œ œ œ œ œ œ œ œ

œ œ

œ œ

œ œ

œ œ

Œ

Œ

Œ

‰

>Ϫ

>œ ™

œœ

‰

3

œœ

as

they

œœ

œœ

3

not make a - ny

bœ œ J

bœ œ œ œ œ œ œ œ œ œ

œœ

>œ ™

œ œ

œ œ

œ œ

dif - fer - ence

œœ

‰

3

>œ ™

as

they

œœ

œœ

3

>œ ™

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

& pno

œœ

œœ

be - cause it would

3

b >œ ™

œœ

la ss ic al

? œœ {

mar

œœ

dif - fer - ence

3

should see,

3

‰

3

3

?

Œ

{

œ œ

œ œ

Œ

Œ

‰

j bœ œ

œ œ

œ œ

j bœ œ

œ œ

bœ œ J

œ œ

œ œ

bœ œ œ œ œ œ œ œ œ œ

œ œ

œ œ

bœ œ œ œ œ œ œ œ œ œ

œœ

œ œ

œ œ

bœ œ œ œ œ œ œ œ œ œ

œœ

œœ

3

‰ œœ

œœ

œœ

3

3

vln

& œœ

œ œ

? œœ

œ œ

vc

Œ

Œ

Œ

Œ

Œ

Œ

‰

‰

3

43

3

œœ

‰

œœ

œœ

œœ

‰

œœ

œœ

3

3

3

3

3

3

3

higher voices

& œœ œœ

œ ‰ œ œ œ œ œ œ œ œ œ œ œ

lead their lives

œœ œœ ‰ bœœ œœ œœ ≈ ‰ œœ œœ

in the new com - po - si - tion

a - ny - way,

and as

bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ev - 'ry - one is na - tu - ral - ly

in - do - lent

3

3

lower voices

? œœ œœ

œ ‰ œ œ œ œ œ œ œ œ œ œ œ

œœ œœ ‰ bœœ œœ œœ ≈ ‰ œœ œœ

bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

3

3

lead their lives

? œœ œœ {

ad m

pno

>œ ™

in

>œ ™

3

a - ny - way,

and as

œ œ ‰ bœœ œœ œœ ≈ ‰ œœ œœ œ œ

3

ev - 'ry - one is na - tu - ral - ly

in - do - lent

bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

3

3

is

3

&

œ ‰ œ œ œ œ œ œ œ œ œ œ œ

te

mar

in the new com - po - si - tion

3

3

>œ ™

>œ ™

>œ ™

>œ ™

3 3 3 3

?

{

œœ œ œ

œ ‰ œ œ œ œ œ œ œ œ œ œ œ

œœ œœ ‰ bœœ œœ œœ ≈ ‰ œœ œœ

bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

3 3 3

3 3

vln

& œœ œœ

œ ‰ œ œ œ œ œ œ œ œ œ œ œ

œœ œœ ‰ bœœ œœ œœ ≈ ‰ œœ œœ

bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

? œœ œœ

œ ‰ œ œ œ œ œ œ œ œ œ œ œ

œœ œœ ‰ bœœ œœ œœ ≈ ‰ œœ œœ

bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

vc 3 3

3

3 RNY 1340

3

27

46

3

higher voices

j œœ

& ‰

why

œ œ

‰

na - t'ral - ly

œœ J

? ‰

lower voices

œ œ

œœ œœ

œ œ

œ œ

‰

‰

j bœ œ

œ œ

œ œ

see

it

is

so

œœ

‰

bœ œ J

œ œ

œ œ

it

is

so

bœ œ J

œ œ

œ œ

j œ œ

œœ

œœ

they

don't

œ œ J

œœ

they

don't

see

œ œ J

œœ

œœ

Œ

Œ

Œ

Œ

Œ

Œ

na - t'ral - ly

œœ J

? ‰ mar

{

œœ

œ œ

œ œ

‰

Œ

Œ

Œ

‰

>œ ™

la ss ic al

3

why

3

>œ ™

>œ ™

>œ ™

>œ ™

pno

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

&

>œ ™

3

j œœ

? ‰

{

‰

œœ

œ œ

œ œ

j œ œ

œœ

œœ

j œ œ

œœ

œœ

œ œ J

œœ

œœ

Œ

Œ

Œ

‰

j bœ œ

œ œ

œ œ

3

vln

& ‰

j œœ

? ‰

œœ J

vc

œ œ

œ œ

‰

œœ œœ

œ œ

œ œ

‰

Œ

Œ

Œ

‰

j bœ œ

œ œ

œ œ

Œ

Œ

Œ

‰

bœ œ J

œ œ

œ œ

3

49

3

3

3

higher voices

& bœœ œœ œœ ‰ œœ ve - ry much

œœ œœ

more

? bœœ œœ œœ ‰ œœ

lower voices

3

œœ

≈ œ œ œ œ œ œ ‰ œ œ œ œ œ œ

j œ œ

œ œ œ œ Œ œ œ œ œ

and sa - tis - fac - to - ry

for

ev - 'ry - bo - dy

≈ œœ œœ œœ œœ œœ œœ ‰

œ œ J

œ œ œ œ Œ œ œ œ œ

and sa - tis - fac - to - ry

for

ev - 'ry - bo - dy

≈ œœ œœ œœ œœ œœ œœ ‰

œ œ J

œ œ œ œ œ œ œ œ Œ

ex - ci - ting

œœ œœ

œœ

‰

j œœ if

‰

œœ J

3

3

ve - ry much

more

? bœœ œœ œœ ‰ œœ mar

pno

‰

œ œ J

3

b >œ ™

>Ϫ

b >œ ™

>Ϫ

in

>Ϫ

ad m

&

œœ

if

3

is

3

b >œ ™

œœ œœ

te

{

ex - ci - ting

3

? bœ œ œ ‰ œ3 œ œ œ œ

3

j œ œ

œ œ œ œ Œ œ œ œ œ

‰

j œœ

≈ œ œ œ œ œ œ ‰ œ œ œ œ œ œ

j œ œ

œ œ œ œ Œ œ œ œ œ

‰

j œœ

≈ œœ œœ œœ œœ œœ œœ ‰

œ œ J

œ œ œ œ Œ œ œ œ œ

‰

œœ J

œœ œœ

œœ

≈ œ œ œ œ œ œ ‰ œ œ œ œ œ œ

& bœœ œœ œœ ‰ œœ

œœ œœ

œœ

? bœœ œœ œœ ‰ œœ

œœ œœ

œœ

{

3 3 3

vln

vc 3

3 3 RNY 1340

28

52

3 3

j œ œ

& œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ bœ œ œ one can have con - tem- po - ra - ries

if

? œœ œœ œœ œœ œœ bœœ œœ œœ ‰

lower voices

œ œ œ œ œ ‰ œ œ œ œ œ

œ œ bœ œ

all one's con - tem- po - ra - ries

œ œ J

œ œ bœ œ

j œœ could

œ œ œ œ œ ‰ œ œ œ œ œ

be one's con - tem- po - ra - ries.

œœ J

? œœ œœ œœ œœ œœ œ œ œ ‰ bœ œ œ

mar

œ œ J

{

3

all one's con - tem- po - ra - ries

if

œ œ bœ œ

be one's con - tem- po - ra - ries.

could

œ œ œ œ œ ‰ œ œ œ œ œ

œœ J

>Ϫ

œœ œœ œ œ œ Œ œ œ œ

bœœ œœ

3

b >œ ™

œœ œœ œ œ œ Œ œ œ œ

bœœ œœ

3

one can have con - tem- po - ra - ries

œœ œœ œ œ œ Œ œ œ œ

b œœ œœ

la ss ic al

higher voices

3

>œ ™

>œ ™

>œ ™

>œ ™

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

& pno

3

3

?

œœ œœ œœ œœ œœ œ œ œ ‰ bœ œ œ

j œ œ

œ œ bœ œ

& œœ œœ œœ œœ œœ œ œ œ ‰ bœ œ œ

j œ œ

? œœ œœ œœ œœ œœ bœœ œœ œœ ‰

œ œ J

{

‰

Œ

œ œ œ œ œ œ œ œ œ œ

j œœ

œ œ bœ œ

œ œ œ œ œ ‰ œ œ œ œ œ

j œœ

b œœ œœ

œœ œœ œ œ œ Œ œ œ œ

œ œ bœ œ

œ œ œ œ œ ‰ œ œ œ œ œ

œœ J

bœœ œœ

œœ œœ œ œ œ Œ œ œ œ

œœ œœ œ œ œ œ œ œ

b œœ œœ

3

3

vln

vc

3

55

3

3

higher voices

∑ &

Œ

‰

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

there

is

al - most not

an

in - ter - val

≈

Œ

3

‰

3

? lower voices

Œ

∑

‰

œœ

œœ

œœ

œœ

œœ

œœ

œœ

there

is

al - most not

an

in - ter - val

≈

Œ

‰

3

?

Œ

∑ mar

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

≈

Œ

for

a

œœ

œœ

for

a

3

‰

œœ

œœ

pno

ad m

&

>œ ™

in

>œ ™

is

te

{

‰

œœ

3

œœ

œœ

œœ

>œ ™

>œ ™

>œ ™

>œ ™

3

3

?

{

∑

Œ

‰

≈ œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

Œ

‰ œœ

œœ

3 3

∑ vln

Œ

‰

& œœ

œœ

œœ

œœ

œœ

œœ

≈

Œ

‰ œœ

3

3

? ∑ vc

Œ

‰

œœ

œœ

œœ

œœ

œœ

RNY 1340

œœ

œœ

≈

Œ

‰

œœ

œœ

29

58

3

3

3

higher voices

& œ œ

lower voices

? œ œ

œœ

ve - ry 3

œœ

œœ

œœ

œœ

long time

œœ

œœ

œœ

œœ

œœ

œœ

ev - 'ry - bo - dy

re

œœ

œœ

œœ

œœ

œœ

œœ

œœ

Œ

Œ

Ó

‰

Œ

Œ

Ó

‰

fu - ses

-

œœ

œœ

j œœ and j œœ

3 3

? œ œ {

mar

œœ

long time

œœ

œœ

ev - 'ry - bo - dy

re

œœ

œœ

œœ

œœ

œœ

fu - ses

-

œœ

œœ

and

Œ

Œ

Ó

3 3 3

>œ ™

>œ ™

>œ ™

>œ ™

>œ ™

>œ ™

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

& pno

3

3

?

3

Œ

{

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

3

3

vln

vc

& œ œ

œœ

? œ œ

œœ

j œœ

‰

la ss ic al

ve - ry

œœ

œœ

œœ

Œ

Ó

‰ j œœ

3

‰

œœ

œœ

œœ

œœ

Ó

œœ

œœ

Œ

œœ

œœ

Œ

œœ œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

Œ

Œ

Ó

‰

j œœ j œœ

3

3

3

61

3

3

higher voices

j & œœ

‰

then

lower voices

? œœ J

‰

j œœ

œœ

al - most

‰

‰

j œœ

œœ

œœ

with

œœ

-

œœ

out

œœ

œœ

œœ

Œ

œœ œœ œœ œ œ

a pause

al - most ev - 'ry

œœ

œœ œœ œœ œ œ

œœ

Œ

œœ

-

œœ

œœ

j œœ

bo - dy

ac - cepts

œ œ

œœ

œœ

œœ J

‰

Œ

‰

Œ

‰

Œ

3

3

then

‰

‰

j œ œ

œ œ

with

œ œ

-

out

œ œ

in

>Ϫ

ad m

& pno

is

te

mar

? œœ J {

al - most

?

j œœ

‰

j & œœ

‰

? œœ J

‰

{

a pause

œœ

œœ

al - most ev - 'ry

œœ œœ œœ œœ

Œ

-

bo - dy

ac - cepts

œœ

œœ

œœ

œœ J

3 3

>Ϫ

>Ϫ

>Ϫ

>Ϫ

>Ϫ

3 3

‰

j œœ

‰

Œ

œœ

Œ

œœ

j œœ

‰

œœ œœ

œœ

œœ J

‰

Œ

Œ j œœ

œœ

œœ

œœ

œœ

œœ

Œ œœ œœ Œ

œœ œœ œœ œœ

œ œ

œœ œœ œœ œœ

œœ

œœ œœ œœ œœ

œœ

œœ 3

3

vln

vc

‰

‰

j œœ j œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

3 3 RNY 1340

30

64

3

3

3

higher voices

& Ó

3

‰ œœ

œœ

in

the

œœ

œœ

œœ

œœ

his - to - ry

œœ

œœ

of

the

œœ

œœ

œœ

his - to - ry

of

the

œœ

œœ

œœ

Œ

œœ

œœ œœ

re - fused

in

œœ

œœ œœ

the

œœ

œœ

arts

and

œœ

œœ

arts

and

œœ

œœ

œœ

œœ

œœ

li - t'ra - ture

3

? Ó

lower voices

‰

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

Œ

3 3 3

in

the

re - fused

in

the

œœ

œœ œœ

li - t'ra - ture

3

‰

{

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

Œ

la ss ic al

? Ó mar

3

3

3

>Ϫ

n>œ ™

>Ϫ

>Ϫ

>Ϫ

>Ϫ

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

& pno

3

? Ó

3

3

3

Œ

‰

{

œœ

œœ

œœ

œœ

œœ

œœ

œœ

3

œœ

œœ

œœ œœ

œœ

œœ

œœ

œœ

œœ

3

3

3

& Ó

vln

‰

œœ

œœ

œœ

œœ

œœ

œœ

œœ

Œ

œœ

œœ

œœ

œœ

œœ

œœ œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ œœ

œœ

œœ

œœ

œœ

œœ

3

? Ó

‰

vc

œœ

Œ

3

3

3

67

3

3

higher voices

lower voices

& Ó

? Ó

œœ

œœ

the

ra

œœ

œœ

the

ra

œ œ

œ œ

œœ

œœ

œœ

œœ

pi - di - ty

of

the

change

œœ

œœ

œœ

œœ

œœ

-

œœ

œœ

3

œœ

≈ œœ œœ œœ is

al - ways

œ œ œ ≈ œ œ œ

œœ

œœ

‰

Œ

Œ

‰

Œ

Œ

‰

Œ

Œ

start - ling.

œœ

3

œœ

3

3

? Ó {

pi - di - ty

of

the

change

œœ

œœ

œœ

œœ

œœ

te

mar

-

pno

œœ

3

œœ

3

is >Ϫ

>Ϫ

>Ϫ

>œ ™

>œ ™

3 3

3

? Ó

{

œ ≈ œœ œœ œ

start - ling.

3

ad m

&

al - ways

in

>Ϫ

œœ

is

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

≈ œ œ œ œ œ œ

œœ

‰

Œ

Œ

œœ 3

3

vln

œœ

œœ

œœ

≈ œœ œœ œœ

œœ

œœ

Œ

œœ

œœ

Œ

œœ

œœ

‰

œœ œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œ ≈ œœ œœ œ

œœ

œœ ‰

Œ

Œ

& Ó ? Ó

vc

3

3 3 RNY 1340

3

31

70

3 3

higher voices

& Œ

‰

3

3

j œœ

œœ

œœ

œœ œœ œœ œœ œœ

it

is

a

na - t'ral phe - no - me - na

j œœ

œœ ‰

œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ

a

ra - ther

ex - tr'or - di - na - ry

na - t'ral phe -

œœ J

œœ 3œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ

a

ra - ther

œœ J

œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ

3 3

lower voices

? Œ

‰

3

j œœ

œœ

œœ

œœ œœ œœ œœ œœ

it

is

a

na - t'ral phe - no - me - na

œœ ‰

ex - tr'or - di - na - ry

na - t'ral phe -

3

mar

‰

œœ

3

œœ œœ œœ œœ œœ

œœ

œœ ‰

la ss ic al

3

? Π{

j œœ

3

>œ ™

>œ ™

>œ ™

>œ ™

>œ ™

>œ ™

pno

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

& 3

3

? Œ

‰

{

3

j œœ

‰

j œœ

œœ

œœ œœ œœ œœ œœ

œœ

œœ

3

œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ 3

3

& Œ

vln

‰

? Œ

‰

vc

j œœ j œœ

œœ

3

œœ œœ œœ œœ œœ

œœ

j œœ

œœ ‰

3

3

œœ

œœ œœ œœ œœ œœ

œœ

œœ J

œœ ‰

œœ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ œ œ œ œ

3

œœ œœ œœ œœ 3

œœ œœ œœ œœ

3

73

3

higher voices

Œ

& œ œ

œœ

œœ

no - me - na 3

lower voices

? œ œ

œœ

œœ

Œ

no - me - na 3

œœ

œœ

Œ

œœ

then

a

œœ

œœ

then

a

œœ

œœ

œœ

thing ac

œœ

-

œœ

œœ

Œ

Œ

‰

œœ

Œ

-

Œ

cep - ted

œœ

œœ

thing ac

œœ

œœ

Œ

Œ

‰

cep - ted

œœ

œœ

Œ

Œ

Œ

‰

j œœ

œœ

œœ

be - comes

a

œœ J

œœ

œœ

be - comes

a

œœ J

œœ

œœ

j œœ

œœ

œœ

j œœ

œœ

œœ

œœ J

œœ

œœ

in

>œ ™

ad m

& pno

is

te

mar

? œ œ {

œœ

œœ

>œ ™

>œ ™

>œ ™

>œ ™

Ϊ

3

?

{

œ œ

œœ

Œ œœ

Œ œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

Œ

Œ

‰

3

Œ

Πvln

& œ œ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

Œ

Œ

‰

3

vc

? œ œ

œœ

œœ

Œ

RNY 1340

Œ

Œ

Œ

‰

32

76

higher voices

& œœ

œœ

Œ

Œ

∑

∑

∑

Œ

Œ

∑

∑

∑

∑

? œœ

lower voices

œœ

la ss ic al

clas - sic

∑

? œœ

œœ

mar

{

>œ ™ pno

vln

Œ

? œ œ

œœ

& œœ

œœ

? œœ

œœ

>Ϫ

∑

>Ϫ

>Ϫ

∑

>Ϫ

>Ϫ

>Ϫ

∑

>Ϫ

>Ϫ

Œ

Œ

∑

∑

∑

∑

Œ

Œ

∑

∑

∑

∑

Œ

Œ

∑

∑

∑

∑

in

is

te

vc

∑

Œ

>œ ™

&

{

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

clas - sic

ad m

(clarinet)

spoken:

And what

(cello)

spoken:

And what is the characteristic of a classic.

8 81

>Ϫ

>Ϫ

>Ϫ

>Ϫ

>Ϫ

>Ϫ

>Ϫ

9 16

&

‰™

3 4

pno

?

{

∑

∑

∑

RNY 1340

9 16

∑

3 4

33

The characteristic quality... The characteristic quality of a classic is that it is beautiful.

8 85

>™ 3 œ &4

>œ ™

>œ ™

>œ ™

>œ ™

>œ ™

>™ 3 œJ 16

3 4

pno

∑

3 16

∑

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

∑

3 4

la ss ic al

? 43

{

∑

Now of course...

Now of course it is perfectly true that a more or less first rate work of art is beautiful

8 89

>œ ™

>œ ™

3 &4

>œ ™

>œ ™

>œ ™

9 16

pno

? 43

∑

{

but...

9 16

∑

3 4

‰™

3 4

∑

but the trouble is that when that first rate work of art becomes a classic because it is accepted

8 92

>Ϫ

>Ϫ

3 &4 pno

? 43

>Ϫ

>Ϫ

∑

>Ϫ

∑

∑

>Ϫ 3 J 16

3 16

3 4 ∑

3 4

ad m

in

is

te

{

>Ϫ

the only thing... the only thing that is important from then on to the majority of the acceptors the enormous majority, the most intelligent majority of the acceptors

8 96

>™ 3 œ &4

>œ ™

>œ ™

>œ ™

>œ ™

>œ ™

>™ 9 œ 16

‰™

3 4

pno

? 43

{

∑

∑

∑

RNY 1340

9 16

∑

3 4

34

is...

Of course...

is that it is so wonderfully beautiful.

Of course it is wonderfully beautiful

8 100

>œ ™

>œ ™

>œ ™

>œ ™

>œ ™

3 &4

>œ ™ J

9 16

>Ϫ

>Ϫ

3 4

9 16

pno

∑

9 16

∑

3 4

∑

only... only when it is still a thing irritating annoying stimulating

8

>Ϫ

>Ϫ

9 & 16

‰™

pno

9 ? 16

then...

>Ϫ

>Ϫ

3 4

>Ϫ

>Ϫ J

9 16

3 4

∑

{

>Ϫ

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

104

9 16

∑

la ss ic al

? 43

{

∑

9 16

∑

3 4 3 4

∑

then all quality of beauty is denied to it.

8 108

>œ ™

>œ ™

3 &4 ? 43

∑

{

8 112

>Ϫ

>œ ™

∑

>Ϫ

3 &4

te

pno

>œ ™

>œ ™

∑

>Ϫ

∑

>Ϫ

>Ϫ

∑

>Ϫ

∑

9 16

‰™

∑

>Ϫ

3 4 3 4

>Ϫ

∑

ad m

in

is

? 43

>œ ™

9 16

pno

{

>œ ™

attacca Of course... Of course it is *beautiful

116

& pno

?

{ * the spoken word "beautiful" should be the downbeat of bar 1 in movement 3 RNY 1340

composition as explanation text by gertrude stein music by david lang

3. of course it is beautiful

la ss ic al

breathy, introspective a little uneven, as if you are singing quietly to yourself speakers continue, changing to clarinet and cello at ms. 42 (attacca from previous movement) q = 66 (clarinet)

spoken:

but first

and then

If every one

but first all beauty in it is denied

and then all the beauty of it is accepted.

(cello)

...beautiful

Ϫ

3 & 4 Ϊ

piccolo

If every one were not so indolent they would realise

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

spoken:

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϊ

Ϫ

Ϫ

Ϫ Ϫ Ϫ Ϫ

œ ™ œ™ œ ™ œ ™

pp

#œ ™

glock

3 ™ {& 4 ‰

Ϫ Ϫ J pp

œ

œ

3 &4 Œ

œ

œ

œ

œ

œ

œ

œ™ œ™ œ ™ ‰™

‰™

œ

œ

œ™ ™ J œ™ œ

œ

œ

œ

Œ

pp piano

? 43

∑

{

∑

∑

3 &4

∑

˙o ™

o ˙™

˙o ™

violin

∑

∑

∑

pp

6

#œ ™

Ϫ

even

that beauty is beauty

even when it is irritating and stimulating

#œ ™

Ϫ

Ϫ

Ϫ

#œ ™ ™ œ {&

Ϫ

Ϫ

Ϫ

#œ ™ ™ œ ™ œ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

™ œ ™ #œ #œ ™

#œ ™

Ϫ

#œ ™

™ œ ™ #œ

Ϫ

Ϫ

ad m

in

is

glock

& Ϫ

te

picc

that

#œ

#œ œ

œ

œ

œ

œ

#œ

œ œ

#œ

œ

#œ

œ

œ

&

pno

? ∑

∑

∑

∑

∑

{ o ˙™ vln

˙o ™

˙o ™

&

RNY 1340

o ˙™

# ˙o ™

36

not only

Of course

than

not only when it is accepted and classic.

Of course it is extremely difficult nothing more so

than to remember back to its not being beautiful

11

Ϫ

Ϫ

Ϊ

#œ ™

Ϫ {&

œ

#œ ™

œ™ œ ™ œ™

Ϫ

œ™ ‰™

Ϫ

Ϫ

Ϫ

Ϫ glock

Ϫ

™ & œ

Ϫ J

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

œ #œ

œ

œ

#œ ™ œ™

Ϫ

#œ

œ

œ

Ϫ

Ϫ

la ss ic al

Ϫ picc

œ

œ

œ

œ

œ

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

œ Œ

& pno

? ∑

{

∑

∑

∑

˙o ™

o ˙™

∑

o ˙™

˙o ™

∑

vln

&

16

#œ ™

once

This makes

once it has become beautiful

This makes it so much more difficult to realise its beauty

&

glock

{&

#œ ™

Ϫ

#œ ™

Ϫ

Ϫ

Ϫ picc

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

œ ™ œ™

Ϫ

Ϫ

Ϫ

Ϫ

™ œ ™ #œ

Ϫ

Ϫ

™ œ ™ #œ

Ϫ

Ϫ

Ϫ

#œ

in

is

te

Ϫ

Ϫ

#œ œ

œ

œ œ

#œ

œ

œ œ

œ

œ

œ

œ

ad m

œ

&

pno

? ∑

{ # ˙o ™ vln

∑

˙o ™

∑

o ˙™

&

RNY 1340

∑

o ˙™

∑

˙o ™

37

when

and

once

when the work is being refused

and prevents every one from realising that they were convinced that beauty was denied,

once the work is accepted.

21

glock

#œ ™

™ & œ

Ϫ {&

Ϫ

Ϫ

Ϊ

Ϫ

‰™

œ ™ œ™ J

Ϫ

Ϫ

Ϫ

Ϫ

#œ ™ œ™

#œ œ

Ϫ

‰™

#œ

œ œ

œ

œ

œ

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

œ

Œ

pno

? ∑

{ o ˙™

‰™

Ϫ J

∑

∑

∑

o ˙™

&

26

∑

with

Automatically

with the acceptance

Ϫ

Ϫ

Ϫ

™ œ ™ #œ & {

Ϫ

Ϫ

Ϫ

Ϫ

œ™ œ ™

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

‰™

∑

™ œ ™ #œ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ Ϫ

Ϫ

in

is

te

glock

& Ϫ

œ

o ˙™

Automatically

#œ ™ picc

Ϫ

Œ

∑

vln

Ϫ

œ

œ œ &

Ϫ

Ϊ

Ϫ

#œ ™

Ϫ

Ϫ

#œ ™

Ϫ

la ss ic al

picc

#œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

ad m

œ &

pno

? ∑

{ o ˙™ vln

∑

o ˙™

∑

o ˙™

&

RNY 1340

∑

o ˙™

∑

˙o ™

38

of

comes

and once

of the time-sense

comes the recognition of the beauty

and once the beauty is accepted

31

#œ ™

#œ ™

Ϫ &

glock

{&

Ϫ

#œ ™

Ϫ Ϫ

Ϫ

œ

Ϫ

Ϫ

#œ

œ

Ϫ

Ϫ Ϫ

Ϊ

#œ ™ #œ ™

Ϫ

Ϫ

‰™

Ϫ

Ϫ

j Ϫ

Ϫ J

‰™

#œ

œ œ

œ

œ

pno

? ∑

{

∑

Œ

∑

# ˙o ™

˙o ™

œ

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

œ Œ

&

Ϫ

Ϫ

#œ

#œ œ

#œ ™ œ™

la ss ic al

#œ ™

Ϫ picc

∑

# ˙o ™

∑

o ˙™

∑

vln

&

36

the beauty

never

the beauty

never fails any one.

#œ ™

& Ϫ

Ϫ

#œ ™

Ϫ

#œ ™

Ϫ

Ϫ

Ϫ

#œ ™ { & œ™

#œ ™ #œ ™ œ™

œ ™ #œ ™

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

™ #œ ™ #œ

Ϫ Ϫ

in

is

te

glock

#œ ™

Ϫ

#œ ™ picc

œ

#œ œ

#œ

œ

#œ

œ

#œ

œ

œ #œ œ

œ

œ

ad m

œ &

pno

? ∑

{

∑

∑

# ˙o ™ ˙o ™ vln

˙o ™

&

RNY 1340

∑

o ˙™

∑

# ˙o ™

39

41

#œ ™

#œ ™ œ™

picc

& Ϊ

Ϫ

Ϫ Ϫ

#œ ™ œ™

Ϫ

∑ cl

&

#˙ ™

˙™

˙™

˙™

ppp

‰™ {&

™ œ ™ #œ

Ϫ

#œ

#œ ™ #œ ™ œ ™

Ϫ Ϫ

#œ

Ϫ

œ

œ

œ

œ

œ

œ

& Π(pp) ppp

∑

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

?

{

Ϫ

#œ

œ œ pno

Ϫ Ϫ

‰™

Ϫ

œ #œ

œ

#œ ™

Ϫ

Ϫ Ϫ

Ϫ

la ss ic al

glock

∑

#˙ ™

˙™

# ˙o ™

˙o ™

˙™ # ˙o ™

˙™

˙™

o ˙™

∑ vln

&

mute

#˙ ™

? ∑ vc

˙™

ppp

46

#œ ™

Ϫ

Ϫ

cl

& ˙™

˙™

Ϫ glock

œ™ #œ ™

{ & Ϫ

Ϫ

#˙ ™

œ™ #œ ™ #œ ™

œ

#œ

#œ ™ J

Ϊ

∑

˙™

Ϫ

Ϫ

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Ϫ

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œ

Ϫ

Ϫ

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Ϫ

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œ

in

œ Œ

Œ

?

{

˙™

˙™

#˙ ™

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˙o ™

˙™ ˙o ™

o ˙™

˙™

∑ vln

& ? ˙™

˙™

#˙ ™

˙™ ∑

vc

RNY 1340

Ϫ

#œ

œ

œ

œ

ad m

& pno

is

œ

œ

Ϫ

te

& Ϫ

#œ ™

Ϫ

Ϊ

Ϫ

picc

40

51

& #˙ ™

Ϫ Ϫ

Ϫ

‰™

{&

Ϫ

Ϫ

˙™

˙™

Ϫ glock

#œ ™ œ™

Ϫ

Ϫ

j Ϫ Ϫ

˙™

˙™

Ϫ

#œ ™

Ϫ Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

#œ œ

œ

œ

œ

œ

œ

œ

œ

Œ & ? ∑

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

pno

{

#˙ ™

˙o ™

Ϫ Ϫ

#œ

œ

œ œ

œ

™ œ ™ #œ

la ss ic al

cl

Ϊ

Ϫ

&

#œ ™

Ϫ

Ϫ picc

˙™ o ˙™

˙™ # ˙o ™

˙™

˙™

˙™ o ˙™

∑

vln

& ? #˙ ™

˙™

vc

56

picc

& Ϊ

cl

& ˙™

‰™ {&

#œ ™

Ϫ

Ϫ

˙™

Ϫ J

Ϫ

Ϫ

Ϫ

˙™

#œ ™ œ™ œ™

is

œ

#œ ™

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ J

Ϫ

œ œ œ

œ

œ

œ

Œ

Œ

?

∑

{

˙™

˙™

#˙ ™ # ˙o ™

˙™

o ˙™

o ˙™

∑ vln

∑

& ? ˙™

#˙ ™

Ϫ

‰™

#œ

œ

in

ad m

‰™

Ϫ

œ

œ

pno

Ϊ

Ϫ

∑

#˙ ™

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& Œ

Ϫ

Ϊ

Ϫ

Ϫ

te

glock

˙™

˙™

˙™ ∑

vc

RNY 1340

41

61

#œ ™ & Œ™

cl

& ˙™

glock

Ϫ

Ϫ

#œ ™

˙™

™ ‰™ #œ ™ #œ & J {

Ϫ

Ϫ

Ϫ

Ϫ

˙™

™ œ ™ #œ #œ ™

#œ

Ϫ Ϫ

Ϫ

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Ϫ

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Ϫ Ϫ

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Ϫ

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Ϫ

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vc

66

#œ ™

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

pno

?

˙™

˙™

o ˙™

o ˙™

˙™

˙™

cl

& ˙™

Ϫ

#œ ™ #œ ™ œ ™

Ϫ

Ϫ

te

{&

is

#œ

#œ

Ϫ

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o ˙™

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œ

Ϊ

Ϫ

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Ϫ

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Ϫ

j Ϫ

Ϫ

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œ œ

Œ

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?

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˙™ # ˙o ™

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vln

∑

& ? ˙™

˙™

˙™

vc

RNY 1340

Ϫ

#œ

œ œ

in

ad m

Ϫ

˙™

œ #œ

œ

&

˙™

Ϊ

˙™

˙™

#œ

pno

Ϫ

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Ϫ

&

#œ ™ #œ ™ glock

Ϫ

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#œ ™ picc

Ϫ

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œ œ

{

Ϫ

la ss ic al

picc

˙™

#˙ ™

42

71

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Ϫ

cl

glock

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

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Ϫ Ϫ

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& ˙™

Ϫ {&

˙™

Ϫ

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Ϫ

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œ

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˙™

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Ϫ Ϫ

Ϫ

Ϫ

˙™

™ œ ™ #œ

Ϫ Ϫ

#œ œ

œ

œ

œ œ

œ

œ

œ

˙™

o ˙™ vln

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

pno

#˙ ™

& ? ˙™

vc

76

#œ ™

Ϫ

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Ϊ

Ϊ

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Ϫ

Ϫ

is

œ

te

{& #œ

Ϫ

Ϫ Ϫ

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Ϫ

Ϫ

Ϫ J

∑

˙™

Ϫ

™ ‰™ #œJ ™ #œ

Ϫ

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#œ

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œ

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Ϫ

Ϫ

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in

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Œ

ad m

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‰™

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pno

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Ϫ

&

∑

cl

Ϫ

Ϫ

Ϫ

picc

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?

∑

∑

{

o ˙™ ∑

vln

Ϫ

œ

& ?

Ϫ

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œ

œ

{

Ϫ Ϫ

la ss ic al

picc

& ˙™ ? #˙ ™

˙™ ∑

vc

RNY 1340

∑

43

81

Ϫ

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cl

& ˙™

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glock

Ϫ

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&

Ϫ

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Ϫ

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™ ‰™ #œ ™ #œ

Ϫ

{&

la ss ic al

picc

#œ œ

œ

#œ

œ

#œ

œ œ

œ

œ

œ

#œ

œ

œ

Œ

&

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

pno

?

{ ˙™ ˙o ™ vln

&

˙™

#˙ ™

˙™

o ˙™

o ˙™

˙o ™

#˙ ™

? ˙™ vc

86

˙™

˙™

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∑

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Ϫ

Ϫ

Ϫ

&

cl

&

Ϫ

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Ϫ

te

{&

#œ

is

œ

Ϫ

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Ϫ J

Ϫ

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œ

˙™

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Ϫ

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Œ

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{ vln

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& ˙™

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? vc

RNY 1340

Ϫ

Ϫ

#œ œ

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in

ad m

&

˙™

#œ ™

œ™ ‰™

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pno

Ϫ

Ϫ

˙™

glock

#œ ™

Ϫ

Ϫ picc

œ

la ss ic al

44

91

#œ ™

Ϫ

Ϫ Ϊ

#œ ™ picc

& Ϫ

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re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

˙™

˙™

∑

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∑

cl

&

#œ ™ #œ ™ glock

{& Ϫ

Ϫ

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#œ

Ϫ J

‰™

œ

#œ

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Œ

& pno

?

{

˙™

o ˙™ vln

& ˙™ ?

˙™

˙o ™

# ˙o ™

j Ϫ

Ϫ

Ϫ

∑

œ

œ

œ

∑

∑

˙™

∑

∑

∑

∑

˙™

ad m

in

is

te

vc

‰™

Œ

˙™

˙™

Ϫ

œ

#œ

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Ϫ

Ϫ

#œ ™

∑

RNY 1340

composition as explanation text by gertrude stein music by david lang

4. beginning again and again emphatic and joyous q = 100 Beginning again and again is a natural thing even when there is a series. Beginning again and again and again explaining composition and time is a natural thing.

4 &4

œ œœ mf

piano

œœ

œ ?4 4

œ œ œ œœ

œ œœ

œœ œœœœ œ

œ

œ

œ

4

& œœ

œœ

œœ

œ œœ

œ œœ

œ

œ

5 4

œ

œœ

pno

œ œœ

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

œœœ

{

œ œœ

œ œœ

la ss ic al

(violin)

spoken:

œ4 œœ 4

œ

œ

œ œœ œœœ œ œ œ œœ œœ œ

?

{ 7

œ œœ œœ 5 œœ œœœ œ œ œ œ 4 œ œ œœ œœ œ

œ

œœœ

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œ

4 4

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fl

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4 & ™™4 œ

œ

œ

œ

œ

œ

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Ϫ

f

Ϫ

cl

4 & ™™4 œ™

Ϫ

f

œ≈ œ‰ ™4 œ { & ™4 ≈ œ f

œ

œ œ ≈

rœ œ R ‰™

‰™

œ

œ

œ≈ œ≈ œ œ

‰

œ œ Œ

≈‰

≈œ

œ

‰

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œœ

in

œ œœ œœœ œœ œ œ œ œ œ œ œ œ œ œ œ œ

œ œœ œ œœ œ œ œ

œ œ

ad m

{

≈

is

f pno

? ™™4 4

‰

te

4 & ™™4

Ϫ

œ

œ

vib

œ

Ϫ

œ

œœ œœ

œ œœ œ œ

œ œ œœ œœ œ œ œ œ œ œ œ

œ œ

œ œ œ

œ

œ

œ

œ

œ

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4 & ™™4 œ

œ

œ

œ

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œ

œ œ

œ

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f no mute

vc

? ™™4 4

œ ≈ r œR ≈ ≈ œr œR ‰™ œ œ

œ‰

œŒ

‰

≈

œ‰

œ‰

œ≈

œ ≈ ‰™

≈

œ œ œ œ

œ œ

f

RNY 1340

rœ œ R ‰™

46

10

œ

8

˙ œ œ

œ œ

œ

œ œ œ fl

&

œ 8

Ϫ

Ϫ

œ

Ϫ

œ œ™

Ϫ Ϫ cl

&

œ

œ rœ ≈ œR œ

™ {& ‰

œ ™ ‰

œ‰

r œ ™ œ R ‰

œ

œ œ ≈ r œR ≈ ≈ œr œR ‰™ œ œ

≈Œ

≈œ

& œœ

œ œœ

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

pno

œ œœœœ œ œ œ œ œœ œœ œ œ œ œ œ

?

{

œ œ ‰

œ œœœ

œ œœ

œœ œœ

œœ

œ œ œœ œ œ œ

œ œ

œ

œ œ

œ œœ œ œœ œ œ œ œ œ

œ

8

œ

œ

œ

œ

vln

‰

la ss ic al

vib

œ & J

œ

œ

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œ

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j œ œ

œ

œ

œ

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œ

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? ‰

œ≈

vc

œ≈≈ œ≈‰ œ œ

œ

œ‰

Œ

œ r œR ≈ œ œ

‰™

œ

œ

œ

œ ‰™

‰

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r œ ‰™ œR

œ

≈œ

œ≈

8

13

œ œ

œ

œ

œ

œ

œ

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œ

œ

œ

fl

&

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Ϫ

Ϫ

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œ

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cl

&

Ϫ

rœ œR ‰

œ

Π{&

≈

œ≈ œ‰ œ œ

‰

≈

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œ ™ œ ≈‰

œ

œ

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‰

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≈‰

≈≈œ

≈œ

œ

œ

in

is

te

vib

Ϫ

Ϫ

œ œœ

pno

ad m

& œ

?

{

œ

œ œœ

œ œœœœ œ œ œ œœ œ œ œ œ œ

œ œ œœ œ œœ œ œ œ œ œ

œ œ

œœ œ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ

8

œ

œœ

œ

œ œ

œ

œ

œ œ

œ œ

œ

œ

œ

œ œ

œ œ vln

œ

&

œ œ

œ œ

? Πvc

œ ≈ r œR ≈ ≈ r œR ‰™ œ œ œ

œ‰

œŒ

‰

œ‰

œ‰

œ≈

≈

œ ≈ ‰™

≈

œ œ œ

œ œ RNY 1340

œ

r œ

47

16

œ œ œ œ œ œ œ œ œ œ fl

&

œ œ œ™ œ

Ϫ

Ϫ Ϫ

Ϫ Ϫ cl

& œ œ œ

œ œ rœ ≈ œR œ

‰™

‰

{& œ

œ‰

rœ ™ œR ‰

‰™ œ

œ œœ

&

œ ≈ r œR ≈ ≈ œr œR ‰™ œ œ

≈Œ

≈œ

œ œœ

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

pno

œœ

? œœœ

œ œœœ œœ œ œ œ œ œ œ œ

{

œ

œ

œ œ œœ œ œœ œ œ œ œ œ

vln

œ

œ

œ J

&

œ œ

œ œœœœ œ œœœ œ œ œ œœ œ œ œ œ œ

œ

8

œ

œ œ

œ

œ

j œ

? œR ‰ ™

‰

œ≈

œ≈≈ œ≈ œ œ

œ œ

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œ

œ

œ

œ

œ

œ‰

œŒ

‰

œ

œ

œ

vc

œ‰ œ

la ss ic al

vib

œ r œR ≈ œ ‰ œ

‰™

œ

œ

œ

œ ‰™

r œ ‰™ œR

œ

˙

19

œ

œ

œ

#œ

œ

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fl

œ

&

œ

#œ

˙™

Ϫ

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cl

&

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j #œ

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Ϫ

in

is

te

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pno

ad m

&

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?

{

œ œ œ#œ # œ œ œ œ

œ œ

#œ œ #œ œ #œ œ œœ # œ œ œœ #œ # œ #œ

œ œ#œ œ œ#œ #œ œ œ œ # œ #œ œ #œ œ œ

œ

œ

8

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œ œ #œ

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vc

& ? ≈ œ≈Œ œ

œ #œ œ #œ

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#œ œ # œ #œ #œ # œ #œ #œ œ

œ RNY 1340

œ #œ œ œ #œ œ #œ œ #œ œ #œ

#œ œ œ

48

˙ #œ

22

#œ

#œ

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fl

&

#œ œ œ #œ ™ #œ ™

#œ #œ ™

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&

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#œ ™ œ vib

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#œ ™

{& œ

#œ œ

la ss ic al

œ

&

#œ œ

re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

pno

? œ#œ# œ #œ#œ œ œ #œ

{

#œ J

Ϫ

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#œ œ œ œ #œ œœ œ #œ œ œ#œ # œ œ œ œ #œ œ # œ #œ œœ œ

œ œ#œ œ œ#œ œ œ œ #œ œ #œ œ œ

#œ œ #œ

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vln

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j #œ

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25

#œ

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œ

& #œ œ™

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&

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j œ

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&

in

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#œ œ #œ œ œ#œ # œ œ #œ #œ

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#œ œ œœœ œœ # œ œ œ œ œ

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RNY 1340

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49

28

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fl

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re Co d py by rig U ht ni b ve y rs Re al d M Po us p ic py Pu M bl us is ic hi ng C

pno

#œ ? œ #œ œ œ œ#œ # œ œ #œ # œ #œ

{

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? vc

#œ œ #œ œ# œ œœ œ#œ œ œ#œ # œ # œ œ #œ œ œ # œ #œ

#œ œ #œ

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31

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nœ ™

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nœ

j #œ

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≈ nœ ≈ bœ ‰ bœ nœ

‰

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‰

nœ

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