Two Ancient Poems (for Erhu, Harp and Electroacoustic Playback) by Chen-Yang Xu

Two Ancient Poems 诗经两首 For Erhu, Harp and Electroacoustic Playback 为二胡，竖琴与电子伴奏而作 Chen Yang Xu 徐辰洋

Programme Note The so-called Classic of Poetry is an ancient compilation of over three hundred anonymous Chinese poems dating from between approximately the 11th century and the 6th century BC. The content of the poetry, probably originally intended to be lyrics to folk melodies, covers a whole range of subjects ranging from worldly anecdotes to tales from imperial court life – as such, they provide a cross-section view of Zhou dynasty society. This work uses is based upon two poems from the compilation: The Reeds, a well-known verse popularly interpreted as a love poem, and The Millets, a mournful lament thought to be written after the poet’s country has been invaded and razed. In the treatment of both poems, I have attempted to resurrect their intrinsic musicality, both in terms of exploring the rhythm of the refrain-like structure and their intrinsic melodiousness. In The Reeds, one feels a sense of frustration and desperation as the poet attempts to reach his lover, but finds his path everywhere blocked and obstructed. I used the pitch of key phrases from the poem as melodic material, using fragments where the erhu and harp imitate the pronunciation of the poetry, thus emphasizing their intrinsic expressivity. Here, water is a recurring imagery that represents the lovers’ separationIn The Millets, the poet laments how the ruins of a once-great palace are now deserted and used as farmland. Here, I incorporated a recitation of the entire poem as a framework on which material is built heterophonically, an approach similar to that found in the Jiangnan Sizhu tradition of Eastern China. This work was written for Colin Huehns (erhu) and Mary Reid (harp) and was first performed at the museum of the Royal Academy of Music in London on the 25th of September, 2015.

蒹葭

The Reeds

（诗经·秦风）蒹葭苍苍,白露为霜。所谓伊人,在水一方。溯洄从之,道阻且长。溯游从之,宛在水中央。

黍离（诗经·王风）

The reeds and rushes are deeply green, And the white dew is turned into hoarfrost. The man of whom I think Is somewhere about the water. I go up the stream in quest of him, But the way is difficult and long. I go down the stream in quest of him, And lo! He is right in the midst of the water.

蒹葭萋萋,白露未晞。所谓伊人,在水之湄。溯洄从之,道阻且跻。溯游从之,宛在水中坻。

The reeds and rushes are luxuriant, And the white dew is not yet dry.+ The man of whom I think Is on the margin of the water. I go up the stream in quest of him, But the way is difficult and steep. I go down the stream in quest of him, And lo! He is on the islet in the midst of the water.

蒹葭采采,白露未已。所谓伊人,在水之涘。溯洄从之,道阻且右; 溯游从之,宛在水中沚。

The reeds and rushes are abundant, And the white dew has not yet ceased. The man of whom I think Is on the bank of the river. I go up the stream in quest of him, But the way is difficult and turns to the right. I go down the stream in quest of him, And lo! He is on the island in the midst of the water. Translated by James Legge

彼黍离离，彼稷之苗。行迈靡靡，中心摇摇。知我者谓我心忧，不知我者谓我何求。悠悠苍天，此何人哉！

彼黍离离，彼稷之穗。行迈靡靡，中心如醉。知我者谓我心忧，不知我者谓我何求。悠悠苍天，此何人哉！

彼黍离离，彼稷之实。行迈靡靡，中心如噎。知我者谓我心忧，不知我者谓我何求。悠悠苍天，此何人哉！

The Millets There was the millet with its drooping heads; There was the sacrificial millet into blade. Slowly I moved about, In my heart all-agitated. Those who knew me, Said I was sad at heart. Those who did not know me, Said I was seeking for something. O distant and azure Heaven! By what man was this [brought about]? There was the millet with its drooping heads; There was the sacrificial millet in the ear. Slowly I moved about, My heart intoxicated, as it were, [with grief]. Those who knew me, Said I was sad at heart. Those who did not know me, Said I was seeking for something. O thou distant and azure Heaven! By what man was this [brought about]? There was the millet with its drooping heads; There was the sacrificial millet in grain. Slowly I moved about, As if there were a stoppage at my heart. Those who knew me, Said I was sad at heart. Those who did not know me, Said I was seeking for something. O thou distant and azure Heaven! By what man was this [brought about]? Translated by James Legge

Performance Notes

In passages requiring only approximate pitch, this notation is used indicating whether the sound should be high, medium or low.

General

All percussive effects produced on the soundboard are notated as such, indicating approximately whereupon the soundboard the percussive effect should be produced. Further instruction is always given for how the soundboard should be struck.

In the first movement the players must coordinate by listening to each other and cues in the electroacoustic tape. The duration of each bar in the electroacoustic tape is given in seconds. The second movement is notated in conventional notation, with the exception of ad libitum passages which need not be precisely coordinated with each other or with the electroacoustic tape. Durations in the first movement and ad libitum passages in the second movement are written in such that any duration longer than a quaver is written without stems or beams in space-time notation. Durations shorter than a quaver are written out, but only need to be executed relative to each other and not against an underlying pulse.

Indicates instances where the metal strings should be allowed to buzz against each other. Erhu One passage requires the Erhu player to whisper and speak in Chinese. Phonetics are given. A black line is given after all notes longer than a quaver indicating its duration.

Repeat the enclosed passage until the end of the arrow.

During longer durations, pitch-bends and glissandi are notated as fluctuations in the black line.

Harp No arpeggiation is to be used unless indicated. A passage in the second movement requires glissandi executed with the use of a metal tuning key. During the passage, the tuning key should be held against the string with the right hand and the string plucked between the tuning key and the soundboard with the left hand. A quick slide between the notes indicated in the direction of the arrow, such that there is no audible glissando.

Setup

Left Speaker

Right Speaker Harp

Erhu

As above, but approximately within the range of indicated pitches. Shuffle the indicated pedal(s) rapidly across the positions indicated, ending on the position indicated, such that the sounding pitch of that string is constantly changing. Pluck the string near the soundboard, such that the finger hits the soundboard percussively right after the string is plucked. Hit the range of indicated strings with the palm, producing a gong-like effect The string is plucked as the other hand muffles it near the soundboard without altering its sounding pitch.

Audience

The electroacoustic tape is in stereo and an audio CD containing it has been appended. Duration: 16 mins 22 seconds.

I. 秦风·蒹葭 Songs of Qin - The Reeds Xu Chen-Yang

Rubato, with a sense of something unattainable and distant Erhu

° ¢&

0'36"

0'44"

0'13" 0'24"

11"

12"

17"

8" Tuning bisbigliando

“b”œ bbœœ

bœœ

b >œ b œœœ œœ R

o 5 ‰A

b >œ bœ œ bœœ œ

shuffle each pedal briefly

‰ …B§ A# 5 A

MLLOLMLL

fff

Harp ff

{

bœœ bb >œœ

bœ nœ

“‘

n Ub

# Un

“” bœ bœœ bœ bb œœ

bœ œ

bisbigliando

œ œ

n Ub

“” bœœ b œ œœ bœœ b bœœ bœ

b œ bb œœ œ b œ bœœ bœ bœœ ‰

5 ŒA

5 ‰A b œœ

œ bœ bœ bœ #œ nœ œ œ nœ œ œ bœ bœ œ o p mf f

Œ mp

œ bœ

bœ œ

? bœ

bœ > “‘ ff bowed

water dripping

water splash

> w

rainy noise wind blows over

o oaquaphone œ

very low rumbling

æ œœæ J

>æ œœæ J

æ œæ

o muffled flowing water æ œœæ ææ

œœ >J

low bell

low knock

sparse creaking wood distant drum

Tape

bœœ # œœ o

bœ “‘

œœ œœ

bœ bœ “‘ o

bœ bœ o

= 1'01"

1'15"

12"“” &

bœ œ bœ œ œ b >œ b œ œ œ œ œ œ œ œ bœ œ œ bœ œœ œœ œ œ œ œ œ œ bœ b œ œ œ b œ œ œ œ œ bœœ œ bœ œ p

bœ ‰

D§

œ œ ‰

bœ

‰

bœ

nœ

bœ œ

5 ‰A

pp mf 3

5 ŒA

3 3 5 3

p ff

{

“ bœ bœ

œ bœ

bœ

Harp

20" ”

“” œ œ bœ

œ bœœ

p 3

p f

bœ U ‰ bœ

Œ bœ

U ≈

U ≈ 3

œ > ‘ “

G§ 3

U Œ bœ

3 3

mp f

air o Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ low æ rumbling water œ œœæ J > descending bell bœ œ bœœ

low rumbling low wind

æ œœæ J > low knock

œ “‘ o

1'36"

17" ord. vib. non vib.

œ B

(Erhu)

5 ŒA

œ≥

œ B B

fp (伊

⼈)

5 ŒA

ss.

œgli Œ o f

œ œgliss. Œ o p

5 ŒA

(take over from tape)

“”> œ bœ

bœ

œ bœ

j œ

nœ bœ bœ bœ

bœ

∏∏∏∏∏

œ &

“”œ bœœœ

bœ accel.

≈

≈ í ™™

≈

™™î ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ …

>œ

f 

5 ÓA

C§ B§ A§

gliss.

{

bœ

nœ

nœ nœ

bœ bœbœ œ œ

í ™™ nœ nœ nœ bœ nœ bœ o

bœ nœ

bœ

œ™™î¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ p

3 3 3

pp ff

cluster of whispers

æ œœæ J > low bang œ

° dense harp sounds

œœœœ œœœœ œœœœ æ oæ

œ (sh

= 1'52" 2'09" dense tremolo

œ≥

gliss.

œ 5 ŒA

œ œ œ œ œ œ œ œ œ œ œœœœœœœ gliss. >œ >œ æ æ

5 ŒA

2'22"

>>> œ œ œ >œ >œ

12"

œ≥ œ œ J

13" ÍÍÍÍÍÍÍÍÍÍÍÍ imitate the intonation of the poem

5 ÓA

≥K r œ> >œ

œ œ œ œ œmolto vib. b œ R bœ œ œ

5 ŒA

fff (伊⼈, 在⽔⼀ (Yi Ren, Zai Shui Yi p

“” bœ #œœ bœœ

gliss.

œ o

œ œ bœ œ J ‰ bœ

bœ

> œbœœœœ

bisbigliando 3

í ™™

™™î¯¯¯¯¯¯¯¯¯¯ o

Cb D# E#

gliss.

¯¯¯¯¯¯¯¯¯¯¯¯¯¯

(getting lower) lower muffled whispers

æ œœæ J > ui!)

o œ

(sh

o very æ low indistinct whispers œæ

whispered recitation of poem fragments low air

œ o

œœ

œ æ oæ

ui!)

¢&

œ o

“‘ o

2'44"

2'58"

30"

14"

22"

gliss.

° œ ¢&

œ œ

Œ œ bœ

œ ‰ bœ bœ œ

5 ŒA

œ J

œB

b ∫

#œ œ

œ ææ

œ œ ‰

f (所谓 (Suo Wei

⽅) Fang)

伊⼈, Yi Ren,

在 Zai

⽔⼀⽅) Shui Yi Fang)

⼀

(⽔

bisbigliando

œ bœ œœ œœ œœ

œ œ œ œ œ

œ œ œ œ ‰

œ œ

œ œœœ œ œœœ

⽅)

>œ œ

œ œœ œ œœ

U ‰

œ nœ ‰

p Db

bœ

C§

œ œ œœ œœ œ œ œ

œ nœ o

œœ œœ

g ls

‰ &

œœ

œ>œ

œœ

U ‰

. ss g li

3 5

p f

ff gushes of air

o æ œæ

° ¢

dense whispers

more indistinct whispers of the poem

æ œœæ ææ

æ œœæ J > o low air burst

low rumbling

= 3'29"

40" (non colla parte)

gliss.

molto vib.

œœ RÔ

ffp

‰

œ ææ

gliss.

œœ ‰

#œ œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ æ œæ œ bœ o p

œ ææ f

Kr 3 ‰ bœ œ œ bœ. œ. œ. ≈ . ≈ > >> p f frantic, with sudden great frustration

q=c.75 keep tempo/rhythm as regular as possible

bœ ™ U 4 ‰ œ™ 5 4A í™ 5 ŒA ™ 4 E§ A# 5 4A Ó

aeolian rustling

bœ bœ

bœ

bœ œ ≈ Aª >

œ œbœbœ bœœbœ œ œ

bœ

œ Œ

bœ ¯¯¯¯¯¯¯¯¯¯¯¯¯

Œ œ

‰

bœ

. g ls

mf f

{

≈

bœ Œ œ

œ ‰ œ

‰ œb œ œ

bœ œ‰ Œ ™™î ¯¯¯¯¯ œ

‰ Aª>

g li ss.

3 3

reading of sections of poetry low murmers distant voices reciting poem

° œ

œ 伊 Yi

low abrasion

¢&

#œœ o

4'11"

“” (repeat ad. lib. until cue) ~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~ Ÿ Ÿ Ÿ~~~~~~~~~~~~~~~~~ Ÿ > > > > > > >œ ~~~ >œ > 6 œ œ œ œ œ œ œ œ b œ œ œ œ >œ œ 3 >œ > Ÿœ Ÿœ 7 œ bœ > œ œ œ œ 5 hA œ œ œ s. œ œ b œ Æ s ÆœJ > i J l ÆœJ g ° ≈œ r ≈ bœœ œ ≈ œ bœ ‰ # œ n œ œ œ æ æ > œ b œ b œ ™ œ œ œ œ ™ í™ nœ œ ‰æ ≈≈ ≈ ‰ œ ‰ œb œ ≈‰ #œ ‰ œ œbœnœ œ æ nœ œb œ œ œ ™î¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¢& #œ bœ #œ œ œ # œ > sffz sffz sffz 内

7 9 3

5 3

p f

4 & 5 4A ‰ ¯¯¯¯¯¯¯¯¯¯¯¯í ™™ ? 4 Ó 5 4A

f p

bœ ™ U œ™

fff

bœ œ‰

Œ ™™î ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

‰ Aª > 3

p ff

fff brief low abrasion

œ œ

⼈ Ren

伊 Yi

⼈ Ren

伊 Yi

⼈ Ren

在 Zai

⽔ Shui

⼀ Yi

¢&

⽅ Fang

所 Suo

谓 Wei

伊 Yi

⼈ Ren

在 Zai

⽔ Shui

⼀ Yi

œ ⽅ Fang

o #œ

gliss.

œ o

gliss.

= 4'37"

27" 22" :“; >œ >œ # >œ >œ >œ œ ™ ° œ œ ≈ #œ œ œ ® ≈ œ™ J ¢&

>1 1

> ææj 5 > n œ n œ ≈ œ#œ œ ‰ #œ#œnœ≈ ‰ œœ œœœœœœœœœœ œ # œ o . n>œ > > > 3

œ gliss. œœ o

p (在

3 6

Ÿ 3 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > n>œ#œnœœœ#œ œ#œ gls. œ œ n>œ #œ #œ J J >œ#>œ > >> . 3

(non colla parte, as before)

œ bœgliss. ‰ o

bœ

œ ‰ ‰ œ

‰ o

p sfz

⽔)

q=c.75 as before

bœ “œ” œœbœœœ œœœ œœœ œ 6 & Œ Uœ œ ‰ R 5 4A (senza decresc!) 3 U ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ í ™™ Db 5 3 #œ œœœ œœœ ? œ 6 &Œ ‰ . 4 s 5 A R œ gl o œ 3

™™î ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ A ª A ª A ª 3

f f high whispery voices gushes of air

° ¢

œ ææ

æ œœæ low bell

溯 Su

回 Hui

溯 Su

回 Hui

reading of sections of poetry

5'04"

40" maintain three-note trills throughout

repeat ad. lib. normal trill >œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >1 ~~~~~~~ Ÿ~~~~~ Ÿ # 5hA 6 Ÿ~~~~~~~~~~~~~ > g lis s . nœ s. g lis œ > s s . œ g lis s . s i l i œ # œ # œ . . l g rall. s accel. s # œ rall. g s Ÿ accel. s s # œ # œ . g li g li œ b œ œ b œ ™ # œ œ n œ œ œ œ ™ í ‰œ ‰ œ ≈ ®œ J ™ >œb œ. ≈ >œœ œ. ≈™î¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ 3 3 p ff p

° ¢&

p 3

f p

bœ

“” œ U 6 Œ 5 4A & œ

bœœ œ

œœ R

œ ‰

œœ œ

¯¯¯í ™™

™™î ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ U

5 3

6 5 4A Œ

& g li

œœ œ

#œ R

‰ ss.

œœ œ

? œ A ª

A ª

A ª 3

p ff rumbles

æ œæ

° ¢

从 Con

之 Zhi

æ œæ

reading of sections of poetry low drum

œ æ

道 Dao

阻 Zu

且 Qie

右 You

溯 Su

游 You

œ 从 Cong

之 Zhi

婉 Wan

在 Zai

⽔ Shui

(voice weakens)

5'47"

28" Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > >œ Ÿ~~~~~~~~~~~~ . œ s s i l ° ‰œ œ œ œ œ g œ ≈ ¢&

内

sffz

Ÿ~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~ œ gliss. ‰ 5 A #œ o ff o o o ff

Ÿ~~~~~~~~~~~~~~~~~~~~~ œ p

sffz

harmonic glissando

g lis s .

gliss.

g lis s .

O ppp

回)

(溯

sffz

is s .

#>œœ

bisbigliando pedal trill

Û U ÛÛ í ™™ œ œ œ œ ™™î ¯¯¯¯¯¯¯¯¯¯¯¯¯¯ U ÛÛ U ÛÛ U Û

b#œœœ bœœœ ##œœœ

bœœ &

œ œ A ª ‰

senza decresc!

≈

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ‰

≈ # œœ

‰

œœœ

œ Uœ

bœ« ≈ ≈

gliss. pp

… 5 ŒA

j œ…

#œ œ

œnœ œ œ

í ™™ #œ œ

gliss.

A Aª … ª “‘

# C:

U ÛÛ U ÛÛ U ÛÛ Û œ Œ ™™™î¯¯¯¯¯¯¯¯¯¯¯¯ Œ™ U Û œœ #

œœœ

A ª

sub. p ff

clattering noise densely layered whispers

中 Zhong

windy noise blows over

æ œæ

getting lower

œ æo

沚 Zhi

water dripping n

¢&

œ #œœ œ p pp

b æ œœæ

QU #b

œ«

œœœ

>œ

œ #œ

# œ«

œœœ

œœ

? gliss.

#œ o

6'14" 6'21" 6

25"

8" (harmonic glissando)

外

gliss.

æ bœæ

5 ŒA

gliss.

œ ææ o

æ œæ

g li

ss.

gliss.

g lis

>œ

¯¯ œ œ

O o fff

中) (⽔

gliss.

™™î œ œ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

í ™™œ

œ>œ œ œ

j …

gliss.

sons xylo.

œ œ ‰ > O

‰

5 ŒA

pp f bisbigliando

?nœœ

œ í ™™ œ œ œ ™™î¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

œ œ

>œ

5 ŒA

# œœ ¯¯

œ¯œ ¯ 5 ŒA

B# E#

¯¯ # œœ #nœœ # œ # œ œ #œ #œœ ¯¯ ## œ¯œ pp 5 ŒA ¯

œ 5 ŒA

O p

L.H.

?œ

O &

…

P RÔ gliss.

gliss.

sfffz

sfffz sfffz

sfp fff

loud low abrasion layered whispers n

œo

>œ œ æ

° œ

getting lower wind getting lower

windy noise

? &

¢ œ o

6'46"

6'58"

12" 20" four-note trill with harmonic fingering

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ s . g lis s. lis g O O O #O

内 tip of bow

. is s

ææ &#œ

is s

g lis s .

æ #œæ

g lis s

s. g lis

外

g lis s .

Œ O O #O O o

pp sotto voce

pp sotto voce with fingertips

with knuckles with fingertips

#«œ H

& R 5 ÓA

R R R Œ

##œœœ##œœœ

ff f f

5 ÓA M

A§ G#

M R # œ«

allow buzzing to occur

ff gliss.

>R R > L

?œ

Qœ

R >

œ gliss.

R L

L fff

˘ “‘

distant wind

o œ

° o #œ #œ #œ

& ?

¢ >œ

o #œ #œ œ

#œ o #œ œ

o #œ o

7'43" 7'19"

25" <Ÿ>~~~~~~~~~~~~~~~~ ° ¢& o

bœ

œ œ

nœ

œ b œ œ.

#œ

#œb œ œ.

#œ

p3 mp

r ‹œ

5 ∑A

& p

18" #œ œr œ œr œ

Œ œ œbœ.

r œ

pp sotto voce 5

#œ #œ

bisbigliando

& ##œœ

##œœ

Kr œ bœœœœœ RÔ

##>œœ

œœ bisbigliando

Gb F§

Harp p

{

sffp

pedal shuffling

& ## œœ #

#œ

g li ss.

o F:

b distant wind

o œ

° o ###œœœœ

o # œ ## œœœ

o ###œœœœ

¢ #œ “‘

#œ o

= 8'02" 8'14" 8'26"

13"

18"

13" molto vib. molto vib.

œb œ œ. ° Œ ¢& 3

r ‹œ

#œ œr œ œr œ

r œ

œ#œb œ œ. 3

œ ##œœ œ

œœ

œœ o

ÍÍÍÍÍÍ #œb œ œ n -œ

repeat identically

œ3

œ ##œœ œ

œœ

œœ o

œ3

ff f

f p

ff pp rhythmically regular

o take over from tape

“” #œœ œœ œœ

œ # œœ œ ##œœ

>œ œ

œ bœ

bœ

œ œœ œœ œ

p p

5 ŒA

f pp G#

{

œ œ # œœ #œ œ

bœ

#œ

ppp ff

#œ œ

œ > “‘

#œ

bœ “‘> ff

f distant noise distant wind

o œ

wind blows over

>œ

o œ

wind rumbles

>œ œ #œ œ œ # œ #œ o

o & ?

### œœœœ

œ o

“‘

bœ

œ o

8'43"

19" 8

r œ

œ œr œ#>œb>œ>œ #œ œ

r r r œ œ œ

œ œ œ

œ bœ3 Œ #œ #>œ >>œ r œ

3 3

imitate the intonation of the poem emerge from tape

œœ #œ

#œ œ #œ

œœ œœ œœ œœ œœ œœ #œ œ œ œ œ œ

œœ œ

œœ #œ œ

#œ 5 ŒA

5 ŒA

{

œ ## œœ

#œ œ

5 ŒA

œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ

#œ

#œ #œ œ

œ œ

#œ

#œ œ#œ

#œœ œ #œ

œ #œ

? #œ

#œ

f 5

p 5

5 5

f ppp (溯 (Su

fff 洄) Hui)

(溯 (Su

洄 Hui

从 Cong

之) Zhi)

° œ æ o œ #œ œ œ # œ #œ o

& o

distant wind

¢ œ o :“;

= 9'04" 9'35"

30" o

pp ff 3

#œnœ#œ. ‰ Œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

semplice

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

warm, full

##œœœ ##œœœ - Ó # œ ###œœœ #œœ - “‘

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

pp ff

getting higher white noise water splash water dripping

>œ œ

œ æ

œ æ o

wind blows over recitation of poetry

æ œœæ æ >æ

getting denser wind blows over distant rumbling

#œ

Attacca

II. ⺩⻛⿉黎 Songs of Wang: The Millets

10'15" 4Vast, 4 empty and deserted q=60

5 4

4 4

5 4

4 10'41" 4 œ œ 3

Erhu

5 4

° ¢&

œ œ

p dolce

(彼

4 4 1

œ #œ

⿉

离

离)

j #œ ™ œ n˙ œ

b >˙ ˙

4 4

œb œ bœ J œ

œ œ œ ˙

5 4 j

ﬁngering sempre

œ œ

œ ˙™ œ b˙ ™

œ #œ

œ J

˙ b˙

˙ n˙

5 4 bœ

œ œ J

p Gb Ab

Harp

MMMOMMNM G§

j Œ ‰ jŒ œ Œ œ “œ‘

{

j Œ œœ Œ ‰ œ Œ œ p

gliss. 3

‰# œj Œ Œ œœ œœ

Œ jŒ #œ

mf mp

5 4

œ™ œ™

œ ˙ ˙

˙˙

j œ œ œ

œ ˙™

bœ ™

j œ ˙

ppp mp

4 Vast, empty and deserted q=60 4 >

4 4

5 4

4 4

Wood block

5 4

4 4

5 4

4 4

Wood block

5 4

Loud percussive pizzicato

°/

w ˙

˙™

˙ œ

˙™

o ˙

彼 Bi

稷 Ji

之 Zhi

苗. Miao.

Bass drum Tape reading of poetry

¢/

⾏ Xing

迈 Mai

low, distant, indistinct voice

= 12

Erhu

5 4

° ¢&

4 4

5 4

œ œ nœJ œJ œ œ ™ J

4 4

‰ bœj œ œ œ œ

11'17" Ÿ˙~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ

œœœ œœ ˙

r b œ

6 6 #œ n œ œ bœnœ#œ œ œ œ œ œ œ œ œ œ#œ nœ nœ œ # œ œ œ œ#œ

3 4

Ÿ j #œ ‰

r bœ

nœ #œ nœ

 œ#œnœ

œ#œ œœ œ œ

4 4 æ æ #œæ nœæ

3 5

˙ ˙

p sotto voce

˙˙

˙™ ˙™

œœ

˙˙

f espress.

> bœœ œ

˙˙ ™™

Œ &

h. h.

œ œ

accel. p

ppp

{

œ b˙

˙™

bœ œœ

˙ b˙ ™

˙™

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

sf Harp

Œ accel.

bœ

œ œ œ bœ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ œ œbœ

bœ

mf pp

5 4

4 4

5 4

°/

靡 Mi

靡, Mi,

中 Zhong

4 4 Ó

˙™

⼼ Xin

摇 Yao

摇. Yao.

loud snap

> ˙

Medium drum

知 Zhi

我 Wo

者 Zhe

谓 Wei

我 Wo

˙ ⼼ Xin bowed string

dulcimer-like sound

Œ # w # w w >

4 4

˙ ˙

3 4

˙™

> b˙˙ ™™ Œ

b ˙˙ ™™ æo

Œ bww æ

bœ

#˙ ™

忧, You,

> b ˙˙˙ ™™ æ

‡ o

‡ ™ ‡

‡

‡ ™

∏∏∏∏∏

‡ ™ ‡

‡

‡ o

4 4

10 19

Erhu

œ œ œ#œ#œ œ#œnœ œ#œnœ œ#œnœ œ#œnœ nœ#œ

#œ nœ #œ#œ #œnœ#œ#œ œ œ œ œ œ œ J

° ¢&

r b œ

bœ ™ œ bœ

内

外

5 4

4 4 #˙

内

bœ œ#œ œ#œ œ œr #œ œnœ#œnœ Œ

5 4 #˙

外

内

外

ææ

œ ææ

4 4 œ ææ

3 5

p bisbigliando

> & bbbœœœœœœ bb˙˙ ™™

pp sotto voce

b˙˙

bb˙˙

˙˙

b ˙˙

b ˙˙ o G# o

˙˙ ™™

b œœ b œœ

˙˙ ™™ o

œ#œ œ œ bœ œ œ œ œ œ œ œ œ œj œ œ œ#œ

5 Œ #œ œ œ œ œ b œ # œœ œ˙ œ œ

r nœ

b˙˙

o o

A§ C#

#œ ˙ œ

5 4

loud snap

> w ˙™

œ ˙

不 Bu

∏∏∏∏∏

知 Zhi dulcimer-like sound

我 Wo

者 Zhe

谓 Wei

我 Wo

何 He

求. Qiu.

b˙

b˙ ™

b˙

#˙™ w

bww

‡

Ó Œ

‡ >

æ ˙æ

æ ˙æ™

苍 Cang

天, Tian,

#˙

˙˙

Œ G§

4 4

#œ

Ó #w

æ ˙æ

#˙˙

5 4

distant air

悠悠 You You softly plucked string

Œ æ b˙æ

˙™ o

æ ˙æ˙

˙ Œ æ wæ w

æ ˙æ˙™™

#˙

∏∏∏∏∏

°/

4 4

Db mp B§

mf p f

{

4 4

b˙˙ ™™

Harp

‡ ™ o

4 4

Erhu

° ¢&

bœ œ œ œ ˙

5 4

4 12'07" 4

h 3:2

accel.

accel. œ œ#œ accel. # œ n œ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ œ#œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯ œ#œnœ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 3:2 accel.

3:2

#œ

3:2

mp p

p f

sub. f

f w

h gliss. bisbigliando gliss.

& #œ

r nœ

allow buzzing

h r r r r œ œ œ œ

œ œ #œ œ œ w

œ œ œ œ œ œ œ œ œ œ œ

œ œ

F# p D§

Harp

{

? bœ

#˙˙

E# p

F§

Œ œ ff

#œ œ

°/

5 4

æ wæ

4 4

æ ˙æ

C§ F§ E§

l.v.

nÛÛ nÛÛ ÛÛ nÛÛ n Û nÛ

œ œ #œ œ

p f

4 4

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

##˙˙

nÛÛ Û nÛÛ nÛ

˙ #˙

Ó &

sub. p ff

high wood block

œj œ J

o low wood block

此 Ci

⼈ Ren

何 He

˙ 哉? Zai?

(softly plucked string)

dulcimer-like sound

more nasal

dull plucked string

b˙˙

˙ #˙

æ ˙æ o

æ ˙™æ

˙˙ ™™

˙ vibrato

æ ˙æ

æ wæ

getting airier

bamboo ﬂute

æ wæ

12'28"

5 4

4 4

5 4

6 6

5 4

° ¢& ¯¯¯¯¯¯¯¯¯¯¯¯¯ œbœœnœbœœnœbœœnœbœœ nœbœœnœbœœnœbœœnœbœœnœbœœbœœœ#œœœœœœœœœ#œœœ 6

Erhu

4 4 œ#œœœœœœœœœœœœœœnœœœœœœœœœœ

œbœnœnœbœœnœbœœnœbœœnœbœœnœbœœnœbœœnœbœœ

œœœœœœœœœœœœœ#œœœœœnœ#œ

5 5

pp mf

n˙˙

œœ

pp sotto voce

“” œ œœ œ & œ

œœ

#œ

œœ

‰

bœ J

œœ

j #œ ™ œ œ™

œ œ #œœ J

#œœ

j œœ

Ab mp

Harp f

{

œ & œ

œ œ

˙˙

high wood block

°/

œœ

5 4

œœ

bœ œ

bœœ

œ œ

bœ

4 4

Ó™

œ œ

œœ

œ œ

#˙˙

#œœ

5 4

∑

n œœ

œœ

# œœ

4 4

∑

5 4 Ó™

∑

medium drum

˙™

medium-low drum indistinct, nasal voice

¢/

彼 Bi

⿉ Shu

离 Li

离, Li,

彼 Bi

稷 Ji

之 Zhi

穗. Sui.

⾏ Xing

迈 Mai

5 4

4 4

5 4

4 13'04" 4

外

内

Erhu

° ¢&

œbœnœbœ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œnœ#œnœ#œnœ œ œ œ œ œ œbœnœbœnœ#œ#œ œ œ

œ#œnœ#œnœ œbœnœnœbœœnœbœ œnœbœœnœbœ œnœbœœnœbœ œnœbœ œ Ó o p

poco

j œ o

œ™

r bœ

œ >

r œ

œ™

‰

j j œœ œœ œœ

bœœ

j bœœ

j œœ

œ œ

œœ ™™

œœ

b >œ

˙ ˙

{

œœ œ

œœ ™™

œœ œ

5 4

œ J

4 4

˙ ˙

bœ

5 4

mf Ab

f A§ - Ab

œœ ?

A§ F# Bb

g lis

Harp

g lis

mp F§

n œ b ‹ #˙ nœ b‹ #˙

bœ œ b‹ s.

nœ œ œ œ

w bœ

œ œ œ œ œ > >

j œœ nœœ

3 4 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~

w r r r r œ œ œ œ

bœ œ b‹ bœ œ b‹

nœ b‹ #˙ nœ b‹ #˙ o

>œ

4 4

3 4 medium wood block

°/

Ó™

∑

知 Zhi

我 Wo

者 Zhe

谓 Wei

我 Wo

⼼ Xin

more distinct drums

˙ Ó

靡 Mi

靡, Mi,

中 Zhong

æ ˙æ™ o

æ wæw

œ œ

˙™

⼼ Xin

如 Ru

醉. Zui.

æ ˙æ˙ ™™

æ ˙æ˙

æ wæw

∑

æ wæw o dulcimer-like sound

Œ ˙™ >

#œ >

12 Erhu

3 4 4 ~~~~~~~~~~~~~~~~~~~~ 4

° ¢&

5 4 4 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 ~~~~~~~~~~~~~~~~~~~

5 4

4 4

5 4 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~

5 3

Œ #œ œ œnœ#œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ b˙ ™

˙™

gliss.

œœœœœ œ

#œ

œœœ

œ œ#œ#œ œ œ

gliss.

œ œ œ œœœœœœœ

œœ ˙

f mp

nœ b‹ œ b˙

> bœn‹#‹ œ bœn‹#‹ œ Œ

n˙

3 3

#œ n‹ #‹ ‹ ™ # œ n‹ #‹ ‹ ™ >

o 3

g lis

F§ Harp

{

b˙ b˙

? #œ nY #œ nY

ff Bb-B§-B#

A§ A§ - Ab

nœ b‹ œ b˙ nœ b‹ œ b˙

#˙ #˙

˙™

5 4

G§-Gb 5

Ó™

Œ bœ n ‹ b‹ ‹ ™ b œ n‹ b‹ ‹ ™ >

# œ n‹ #‹ ‹ ™ # œ n‹ #‹ ‹ ™ “>‘

4 4 Œ

A§-Ab-A§-Ab-A§ Gb-G§-Gb F§-F#

°/

G§-Gb

>œ

4 4

o 5

F§-F# ff F#-F§-F#

3 4

bœ n‹ b‹ ™ b œ n‹ b‹ ™ >

#œ n‹ #‹ ‹ # œ n‹ #‹ ‹ >

Ab-A§-A# > bœn‹#‹ œœ bœn‹#‹ œ bœn‹#‹ bœn‹#‹ œ Œ

n˙ n˙

bœ n‹ b‹ ‹ ™ b œ n‹ b‹ ‹ ™ >

#˙ #˙

g lis

b˙ b˙

#œ nY & #œ nY

“” œ b‹ n‹ b‹ n‹ ‹ œ b‹ n‹ b‹ n‹ ‹

œ n ‹ b‹ # œ œ n‹ b‹ # œ >

œ n‹ #‹ œ n‹ #‹

5 4 ˙™

n>œ

4 4 œ

œ b‹ n‹ b‹ n‹ ‹ œ b‹ n‹ b‹ n‹ ‹

bœ bœ >

Ó™

5 4 œ

Ó™

˙™

low drum

Œ Œ

忧, You,

˙™ w

∑

˙™

不 Bu

知 Zhi

我 Wo

者 Zhe

谓 Wei

我 Wo

何 He

求. Qiu.

w Œ

悠 You

苍 Cang

天, Tian,

æ ˙æ

æ ˙™æ

dulcimer sound

<#>˙ ™

#œ >

Œ ˙ >

Œ #œ

w o

14'13" 4 (in time) /4 0 œ œ

13'54"

Erhu

5 4 4 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4(freely, ad. lib.)

° ¢&

œ ˙

˙ ⼈ Ren

bamboo ﬂute sound

æ wæ o

= 51

˙ 此 Ci

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ gliss. r r r r r r r œ gliss.    #œ bœ œ bœ œ bœ œbœ œbœ œbœ œbœ œ bœ

5 4

gliss.

œ œœ

n˙ ™

sffz

(in time) w

r nœœ #‹

(freely, ad. lib.)

r bœœ n‹

g lis

o nœ #‹ n‹ b‹ n‹ ‹ nœ #‹ n‹ b‹ n‹ ‹ Œ mp 5 F§-F#-F§-Fb-F§

Harp

{

r bœœ n‹

nœ #‹ n‹ b‹ n‹ ‹ Œ nœ #‹ n‹ b‹ n‹ ‹

bisbigliando

r #nœœ b‹

#˙

o ˙

r n œœ # ‹

Fb - F§

ff F§ - F#

>œ

bisbigliando

r n œ # œ b‹

b˙

n˙

o B§ - Bb mf A§ - Ab

#˙

r #nœœ b‹

gliss

gliss poco

r #nœœ b‹

n˙

b˙ poco pp ppp

5 4

4 4

°/

/ /

œ Ó

何 He

哉? Zai?

5 4

˙ o

˙™

‡

∏∏∏∏

∑

∏∏∏∏∏

noisy, lo-ﬁ voice

‡

æ ## wæw o o

æ wæw

彼

⿉ Shu

Bi ww w w o

‡ æ wæw

nw w o >

Erhu

° ¢&

5 4œ

4 4

>œ

œ B

>œ #>œ #>œ

œ œ

5 4 œ œ

4 4 #>œ gliss. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ #œ

œ œ æ

#>œ gliss.

5 4

#>œ gliss.

pp sf

f agitato

knock soundboard with ﬁngertips knock soundboard with palm

o R R

R R R

o M Harp

o ff

R R > R > >

R >

{

? R R

R R

f ff

5 4 °/

4 4 ˙

离 Li

离, Li,

˙˙

˙˙™™

5 4

彼 Bi

稷 Ji

之 Zhi

实. Shi.

5 4

˙˙˙™™™

## ˙˙˙

w #w wo

4 4

⾏ Xing

迈 Mai

nw w w o

˙˙ ™™

˙˙

#w >

˙™ w >

= 14'49"

5 4

Erhu

4 4

° ¢& n>œ

>œ

r b œ

gliss.

œ œ œ œ œ >œ œ œ œ œ

r bœ

œ œ

r bœ

5 4 œ

r b œ

r b œ b œ

œ #œ n œ

gliss.

bœ

nœ#œ œ b œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

4 4

ppp tuning pin glissandi (ﬁnd half-point of string)

ff H

> R

R.H. (resulting pitch)

> R

M mp

3 3 Œ bœ b‹ ™ œ ‹ œ ‹ œ ‹ Œ bœ b‹ œ ‹ œ ‹ œ ‹ œ ‹ œ ‹ œ ‹

p f

L.H.

R o

‰Œ

bœ

œ œ œ

bœ

R R

5 4

4 4

5 4

4 4

°/

w distant bass drum

靡 Mi

靡, Mi,

˙˙˙

˙˙˙™™™

? o

中 Zhong

⼼ Xin

如 Ru

噎. Ye.

bw w w o

˙˙ ˙

˙˙ ™™ ˙™

w >

知 Zhi

我 Wo

者 Zhe

谓 Wei

¢ ˙

˙™ o

˙™

#ww o

ww o

whisper ff

4 4>

> ¿

14 Voice

不 Bu

> ¿

知 Zhi

> ¿

我 Wo

> ¿

者 Zhe

> ¿

谓 Wei

5 4> Œ

我 Wo

4 4

> ¿ Ó

何 He

求? Qiu?

3 4

speak mf exaggerated, prolonged

悠 You

5 4

æ # wæ 3

Erhu

° ¢& #œ #œ nœ

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ #œ#œ œ

bœnœ#œ nœ œ Œ >

Œ œ#œ œnœ >

nœbœ œ Œ bœnœbœ œ#œ Œ

#œ

nœ

œ#œ nœ Œ #œ nœbœ Œ

#~w ææ

poco poco fragile, nervously

H 3

œ œ

& Œ

rhythm ad lib., accel. and rall. freely

œ Œ

bœ b‹ œ ‹ œ ‹ œ ‹ œ ‹

Œ œ

œ œ

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

Harp p f

{

& Œ

Œ bœ

œ œ œ œ

bœ œ

bœ

œ o

3 4

4 4

5 4

4 4

5 4

distant medium drum

˙™

°/

我 Wo

⼼ Xin

忧, You,

不

知

我

者

谓

我

何

求.

Œ ∑ dulcimer-like sound

low bowed string

∑

∑ &

5 4

4 4

#w o

5 4

 #œ #œ

w ww

°/

˙™

苍天, Cang Tian,

此 Ci

⼈ Ren

何 He

哉? Zai?

æ <#> ˙æ

æ wæ

æ ˙æ

æ ˙™æ

Erhu

¢& <#>O˙ ææ

˙™

æ ˙™æ

15'36" gliss.

~w ææ

O˙™™ ææ

O ææ˙

œ œ œ œ œ œœœœ

O™ ææ˙™

#œ œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ #œ œ o wait for tape pp

gliss.

Œ #œ

pp f pp

p f to completely fade

>œ œ

gliss

A ª A ª

A ª wait for tape to completely fade

Hp.

{

A ª

>œ œ

o A ª A ª ff

A ª o ff

5 4

4 4

5 4

water dripping loud crash

°/

˙ æ o

æo œæ

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