At the Door (2017) by Daniel Sabzghabaei

Scene for high voice, medium voice, and piano

At The Door

Daniel Sabzghabaei (2017)

Original text Ghazal 436

(1207 – 1273) ‫روﻣﯽ‬

‫ﺟﻼل اﻟﺪﯾﻦ ﻣﺤﻤﺪ‬

About Rumi and Translations Jalāl ad-Dīn Muhammad Rūmī (‫روﻣﯽ‬

‫ )ﺟﻼل اﻟﺪﯾﻦ ﻣﺤﻤﺪ‬is one of the most famous poets in the world, and is one of the most important figures in Persian history. He was a prominent Sufi philosopher and his influence has been felt on artists worldwide. His poetry has been translated widely and continues to be proliferated to this day. His work is known for its great depth and complexity: many native speakers of Farsi even have difficulty interpreting it. Thus the problem arises with translations and the current state of affairs Sufi poetry and translations. Although Rumi is one of the most popular poets in the USA and the world, many of those who appreciate and enjoy his work only know the translations of his work. In particular, a few translators have come into the forefront who are widely proliferated and are quite popular amongst the literary world, as well as the social media sphere; however, those reading and seeking translations must be wary of the person behind the translation. More than one of these particularly popular “translators,” despite the beauty of their prose, do not actually understand, write, or speak Farsi, yet they put out so-called, “translations.” These “translations,” are in fact poetic interpretations of previous translations, and often do not have much of a connection to the original source text. Making matters worse, in these collections of verse in translation, these translators do not properly cite where each Rumi poem and verse came from, blending poems from across Rumi’s output into books and collections, leaving the readers completely in the dark as to the work’s roots. With that in mind, the translation below consists mostly of Persian scholar A.J. Arberry’s version, with parenthetical insertions of R.A. Nicholson’s version where I felt Arberry and Nicholson varied enough to warrant an inclusion.

English Translation *Ghazal 436 They said, "Who is at the door?" I said, "Your humble slave." They said, "What is your business?" I said, "Lord, to greet you." They said, "How long will you drive?" I said, "Until you call." They said, "How long will you boil (glow)?" I said, "Till the resurrection." I laid claim to love, I swore many oaths that for love's sake I had lost kingship and nobility. They said, "For a claim the cadi requires witness." I said, "My witness is my tears, my sign the pallor of my cheeks." They said, "Your witness is invalid; your eye is wet-skirted (corrupt)." I said, "By the splendour of your justice, they are just and without fault." They said, "Who was your companion?" I said, "Your fantasy, O King." They said, "Who summoned you hither?" I said, "The scent of your cup." They said, "What is your intention?" I said, "Fidelity and friendship." They said, "What do you desire of me?" I said, "Your universal grace." They said, "Where is it most agreeable?" I said, "Caesar's palace."* They said, "What did you see there?" I said, "A hundred miracles. They said, "Why is it desolate?" I said, "For fear of the highwayman." They said, "Who is the highwayman?" I said, "'this blame." They said, "Where is safety?" I said, "In abstinence and godliness." They said, "What is abstinence?" I said, "The way of salvation." They said, "Where is calamity?" I said, "In the street of your love." They said, "How fare you there?" I said, "In perfect rectitude." Silence! For if I were to utter his subtleties you would come forth from yourself, neither door nor roof would remain to you. -- Translation by A. J. Arberry (1905–1969) * Wet-skirted": i.e. defiled and impure, with tears of blood. * A play on "qasr" (palace) and "Quaisar" (Ceasar). *Farsi has no gendered pronoun, simply “oon” which refers to he/she gender neutral, I have stayed true to this in the work and have changed the original translation from “He/I” to “They/I.” The only true gendered reference in the original text is in the line “Khīyālat ey shah,” referring to a “shah” or king; however, I interpret this as more a reference to power/authority, than gender.

Transliterative script Ghazal 436 The Belovéd: Kīst bar dar? The Lover: Kamīn qolāmat. The Belovéd: Che kār dārī? The Lover: Mehā salāmat. The Belovéd: Chand rānī? The Lover: Tā bekhānī. The Belovéd: Chand jushī? The Lover: Tā qīyāmat: Da’vī-ye eshq kardam, sogandhā bekhordam, Kaz eshq yāve kardam, man melkat-o shahāmat. The Belovéd: Barāye da’vī, qāzī govāh khāhad. The Lover: Govāh ashkam; zardī-ye rokh alāmat. The Belovéd: Govāh jar hast, tardāman ast chashmat. The Lover: Be farr-e adlat, adlān-o biqarāmat. The Belovéd: Ke būd hamrah? The Lover: Khīyālat ey shah. The Belovéd: Ke khāndat īnjā? The Lover: Bu-ye jāmat. The Belovéd: Che azm dārī? The Lover: Vafā-vo yārī. The Belovéd: Ze man che khāhī? The Lover: Lotf-e āmat. The Belovéd: Kojāst khoshtar? The Lover: Qasr-e qeysar. The Belovéd: Dīdī ānjā? The Lover: Sad kerāmat. The Belovéd: Cherāst khālī? The Lover: Ze bīm-e rahzan. The Belovéd: Kīst rahzan? The Lover: Īn malāmat. The Belovéd: Kojāst īmen? The Lover: Zahd-o taqvā. The Belovéd: Zahd che-bud? The Lover: Rah-e salāmat. The Belovéd: Kojāst āfat? The Lover: Be kuy-e eshqat. The Belovéd: Chunī ānjā? The Lover: Dar esteqāmat. Narrator (spoken by both, addressing audience): Khāmash ke gar beguyam, man noktehā-ye u rā Az khīshtan bar-āyī nī dar bovad na bāmat.

Special thanks to two of my collaborators and friends: Dr. Yashar Saghai1 Dr. Iago Gocheleishvili2 Your help making this transliteration, recording recitations, and forming a script out of Rumi’s original text was essential to this piece: your help and friendship mean a great deal to me, and this project would have not been possible without your kind and generous help, thank you.

_____________________________________________________________________________________ 1. 2.

https://yasharsaghai.com/ http://people.as.cornell.edu/people/iago-gocheleishvili

Farsi Pronunciation Guide -Although strange to wrap the tongue around for those who have never spoken or sung in it, Farsi has relatively few rules to follow that, once memorized, make pronunciation and recognition much easier. -Most English speakers find the gutturals in Farsi to be the most troublesome of any hurdle to get over when learning to speak or sing the language. They can be clumsy and strange for unfamiliar mouths, but with a little practice, Persian gutturals can be learned quickly and effectively. -Below is a detailed description of the phonetic spelling system that is used throughout the score: The H h is always sounded. The R r is slightly rolled.

Ā ā is like the a in tall. A a is like the a in ham. E e is like the e in let. I i is like the i in him.

To ease the language learning process, recordings of a native speaker reciting the poetry are also available from the composer.

Ī ī is like the ee in feed. U u is like the oo in food. J j is like the J in Jolly. G g is like the g in get. Gh gh is like a guttural g. Kh kh is like a forward guttural k. Q q is like a swallowed guttural k.i Ch ch is the ch in change.

Performance Notes -

To achieve the “door-effect,” and keep the suspension of disbelief intact, the piano should be prepared with an extension to the piano lid stick which keeps it in a higher than normal position, thus obscuring both vocalists from seeing one another. Throughout the work, there are minimal indications of meter changes. o Some bars have 8th notes added/removed in various places, creating a sense of time suspension and fluidity. o Meters are generally not shown to escape heavy rhythmicity while retaining the weight of downbeats. There should be an assistant seated next to the pianist who should control the una corda pedal when necessary, and close the piano lid at the end. o It is also recommended to have a cloth or pad under the pedals so when the heavy object is moved on and off the pedal, it does not create a sound. a resonating chord from previous attacks

Falsetto

Feathered beaming indicates a gradual change in the speed of the notes in the gesture

Moving from a pitched repetition of the word “salāmat,” falling down in pitch and off the voice, getting faster, becoming an anxious and quick whisper.

Here are two examples of similar sticky gestures. In the first, there is a semblance of rhythmicity present. In the second, there is less rhythmicity, more of a focus on timbre and pitch-wandering, with many exhalations on “h” and audible breath sounds.

Stage Layout

Pianist + Assistant

The Belovéd (w/ chair)

piano w/ lid extended up as high as possible

The Lover

Program Notes This setting of Rumi’s Ghazal 436 is an intimate scene for high voice, medium voice, and piano which focuses on the bond between the the Lover and the Belovéd; a tenant which pervades not only much of Rumi’s output, but many of his Sufi contemporaries and is a focal point of Sufism as a whole. In this mystical sect of Islam, the relationship between the Lover and the Belovéd is a deep and extremely personal one for each of us. We, as the Lover, all desire oneness with the Belovéd yet are consistently unable to achieve this true unison of body, spirit, consciousness, psyche, and self. The Belovéd takes on different meanings for each of us; however, what remains consistent is the desire for oneness with that which is unattainable; the Belovéd is the amalgamation of intimacy. In this scene, these two figures converse separated by a door, the Lover requesting entry to the Belovéd’s abode, and the Belovéd questioning the Lovers intentions. While the two consistently come very close to each other, a true unification is never achieved, only brief spurts of fleeting sensuality and passionate intimacy abound, the ever present Door separating the two incessantly, the oneness constantly fleeting into the ether. -Daniel Sabzghabaei (2017)

c.a. 15 minutes

for the New York Festival of Song Michael Barrett, Amy Owens, Jesse Blumberg, and Leann Osterkamp

At The Door Ghazal 436 ‫جالل‌ الدین محمد رومی‬ Jalāl ad-Dīn Muhammad Rūmī

‫دانیال رضا سبزقبایی‬ Daniel Reza Sabzghabaei

The Lover enters; The Belovèd is seated, back to "door." The Lover approaches the door slowly, ambivalently. The Lover touches the door and breathes in deeply, exhales. The Lover knocks on the door three times, each one getting louder. On last knock, piano rolls chord, The Belovèd turns head, rises, and walks toward the door.

(exhale)

∑

assitant depresses and holds una corda pedal

∑

? Ó

f # œ-

Lover

Belovèd

Kīst 7

Pno.

& ?

◊

˙ -̇

∑

¿-

p knock on door

∑

¿-

bar

Reduce vocal cover and brighten vowel while getting louder

#œ #œ #œ aœ #˙. dar?

∑

# # # # ˙˙˙˙ > Ï #˙ # # # ˙˙˙ ◊ >

∑ œ-

>¿

~~~~~~~

∑

& Piano

(inhale)

The Belovèd

≠ UŒ

≠

∑

∑ ∑

(Ï) n >¿ glottal ‰. (r)

∑

Fwith weight #œ œ #˙ Kīst

bar

∑

~~~~~~

The Lover

Spacious, not too fast

∑

√ nU˙ n˙ π

©Daniel Sabzghabaei, 2017 (ASCAP)

∑

dar?

∑

πnervously but becoming sure ‰ nœ #œ œ. ‰ #œ nœ qo

∑ ∑

∑

(f)

Ka - mīn

∑

No response. LOVER hesitates nervously.

∑

& n œJ

Lover

the LOVER touches the door, they gasp as if shocked from energy, suddenly stopped as if choked

lā

Belovèd

f ˘ ¿

mat.

Another pause occurs. The LOVER is in gasp position, shoulders and eyebrows raised.

∑

(t) (gasp)

Another pause occurs. The BELOVÈD takes an opposite posture, relaxed, waits, eventually responds, stern.

∑

& # n n ˙˙˙ f # n ˙ ? n ˙˙

~~~~~ ~~~~~

π ˙ -̇ ◊

° 15

Lover

Belovèd

& ?

F nœ #œ n˙

nœ. hā

sa - lā - mat.

& Œ.

Œ Œ

Lover

Belovèd

& ? Œ

f œ

∑

Chand

? ≈ ˙˙ ˙ ƒ sp suddenly > ? n n ˙˙ n˙ > ◊ (both hands)

œ J

rā -

Pno.

œ.

n ˙-

b˙

∏

dying away, muttering

norm.

whisper

‰ #œ

||:salāmat:||

∑

(ƒ)

œœœ

œ ‰

√nœ ‰ nœ

∑ p U œ b˙ Œ

nī?

Ó p

sa - lā - mat.

∑

∑ œ.

mat.

œ nœ

∑

~~~~~~~~~~~

? Œ.

π ‰ nœ

∑

√n˙ n˙

# ˙˙˙ F # ˙˙˙

sa - lā

#œ

∑

dā - rī?

ƒ > b˙ Œ b b ˙˙ b˙ ◊

sa - lā - mat,

∑

Pno.

F f œ œ œ b˙ ‰ œ Che kār

P p nœ œ nœ ‰ nœ œ

∑

Pno.

∑

p nœ

Tā

sp nœ

f œ œ bœ

œ J

b˙

be - khā - nī.

∑

∑ ∑

Œ &

dreamily

bœ bœ œ œ œ bœ bœ œ œ œ

b b ˙˙˙˙˙ b b ˙˙˙˙˙

resonating chord

? ?

∑

Lover

Belovèd

f œ

? Œ

∑ œ.

Chand

œ J

˙ ? ≈ ˙˙ ˙ ƒ > sp ? n ˙˙ n n ˙˙ > sost. ped. (both hands) ◊

∑

Lover

& 46 ?6 4 ? 46

◊

& 44

Lover

Pno.

ƒ ˙

f ‰ œ.

mat.

ƒ electric œ. œ.

qī - yā - mat.

∑

6 4

∑

assistant REMOVES una corda

œ œ œ œ

œ œ œ œ œ 4 42 œ 4

(t)

Tā

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœæœœ œ œ œ œ œ œ fwild but precise œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ æ * SENZA una corda ° wwww www w resonating sost. chord

>˙ ˙ ˙ ˙ & 44 ˙ Ïp æ> ? 44 ˙˙˙˙˙ æ ° ? 44

Tā

molto

n˙ >

Wildly, boiling q = 74 ƒ n˙. 25 & 46 25

Pno.

‰ œ #œ œ

n ˙n˙

shī?

Pno.

(ƒ)

œ œ ˙.

œ. -

P . nœ nœ nœ

œ.

qī - yā -

3 > > > œ œ 24 œ œ œ œœ 44 œ >œ >œ œ œ > ƒ 3 2 œ œ œ 4 4 œ œœ œ œœ œ œ 4 œ > > > > > >3 * 24 44 3

œ.

( )

Āh

œœ J Fœ œ J *

œ. œ. œ. œ.

√ w/ 1+5 œœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ gliss. œœ œœ œ œ œ œ > > > > > use thumb for seconds > > ‰ f œ œœ œœ œœ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ gliss. -

œ œ œ œ

>j œœ œ œ œ

œ.

Lover

œ.

œ œœ œ œ & > j & œœœ œ œ œ

ƒ ˙

& 44

Lover

mat.

Āh

˙˙˙˙ 4 &4 ˙ æ Ïp & 44 ˙˙æ˙˙ ˙ > ° ? 44

œ œ. œ œ. J ƒ j œ œ. œ œ. * °

Lover

œ.

œ œ œ œ œ œœ œ œ > > œœ œ œ œ œ œ œ œ

Ó Ï * ww ww > sost. ped.

? w ww w

>œ œ 44

bœ

declamatory

ƒ œ

‰

œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œœ œ œ œ œ œ & œ

yā -

24 œ œ œ >œ >œ œ œ œ œ œ > > > ƒ 24 œ œ œœ œ œœ œ œ œ > >3 > > >3 42

(h)

qī

œ 44 œ > 44

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ f

‰ Œ

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ 3

Tā

œ œ œ œ œœœœ œœ æ >j œœ œ œ œ œœœœœ œ æ

(√)

Pno.

S œ œ œ œ œ 4 42 œ 4

ƒacrobatically œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. (,)

f ‰ œ.

(√)

Pno.

œ.

(h)

(√)

Pno.

œ.

bœ

j Aœ

#œ

œ œ œ œ œ 42 œ 3

Tā

> > b >œœ œœœ b œœœ 42 œ 3 f 3 42 œ œœ A œœ bœ œ œ œ > > > 42 ˙˙ ˙˙

gliss

qī

yā -

>œœ >œœ b >œœ œ œ œ

œœ œ >

b œœœ >

44 44

& 44

Lover

ƒ ˙.

Reduce vocal cover and brighten vowel while getting louder

mat.

4 &4

Pno.

œœœ ? 44 ≈ œ œ œœ œœ œ ƒ ?4 w 4 w ◊> °

Pno.

(√) ˙>˙

˙>˙ ∑

∑

fall oﬀ \

√ œ œ œ œ œ œ œ œœœœ œ œ œœœœ œœœ æ

˙˙-

˙>˙ ..

∑

> (t) ww>

ww>

una corda

Ïspacious ∑

rit.- e rubato

œœ œœ- ˙˙

˙˙- .. ∑

∑

Exhausted, the LOVER backs oﬀ from the door and contemplates their actions.

ww>

∑

˙˙-

Slower, spacious q = 58 (Ï)

˙˙-

∑

ww-

# # ww-

delicately

∑

∏

∑

assitant depresses and holds una corda pedal

∑

~~~~~

F round and warm LV ? # œ# œ # œ # # # œœœ - #œ #œ ° ◊

dam.

close to "mmm"

#œ

~~~ ~~~

~~~~~

sost. ped.

kar

Œ #œ

#œ

(mmm)

eshq

#œ œ #œ œ 5

#œ #œ

œ œ

√ # # # ‹ # wwwww p n # w # # www

~~~~~

∑

#œ #œ #˙

√ ¤ # # # # ˙˙˙˙ œœœœ œœœœ Œ p √ n # ˙ # # ˙˙˙ œœœœ œœœœ Œ

Pno.

eshq

~~~~~

#˙

Da - vī - ye

Now more relaxed, the LOVER approaches the door again, more sensual this time with less concern than before

Pfuller, rounder Ó #˙

sighing, a bit breathy

~~~ ~~~

Lover

Warm and sensual q = 63 U P in no hurry 46 ‰ #œ #œ œ & Ó .

Lover

eshq.

n b b œwwwœ n & # # www p &

~~~~~~

π ∑

& #œ œ œ

Belovèd

~~~~~ ~~~~~ ~~~~~

#œ # œ # œ œ- œ

œ ‰

# œ # œ œœœœ

œœœ

resonating chord

eshq

√ # # # # ˙˙˙˙ p # # # n ˙˙˙˙

P in no hurry

#œ #œ œ œ 3

Man

∑ n œ-

#œ

n œ°

flowing

nœ #œ #œ nœ

mel - kat

∑

n # n # ˙˙˙˙

P bœ bœ ‰ nœ bœ nœ yā - ve

khar -

P b ˙˙ .. sharply # ˙ . ‰ ? nœ bœ nœ bœ bœ Œ p speech-like Œ ‰ nœ bœ nœ bœ bœ

œ œ #œ nœ #˙

sha - hā

the BELOVÉD interjects...

mat.

œ ‰

- œ3 . n œ œ #œ ‰

with weight

ba - rā - ye Da -

# œ # œ # # # ˙˙˙ resonating chord

khor

eshq

#œ #œ. aœ œ F #œ #œ #œ nœ #œ #œ

Kaz

#œ

πdelicately #œ #œ

#˙ Ó

n˙

Pno.

? ? bœ. f ? bœ. * ?

#œ

œœœœœ Ó ? #œ

nœ #œ nœ

f girthy, full

n˙

dam,

√ # œ # œ3 # œ n œ

P ‰

f & bœ

Lover

œœœœ- œœœœœ œ

œ #œ #œ nœ

œœ n œ # œ

Kaz

~~~~~

#˙

bnb œœœœn nœ & b œ. œ. b œ b œ œ

Pno.

(h + e)

dam

œ #œ œ œ œ œ œ

gand - hā

œ-œ œ-œ œ-œ œ-œ b b œœ

Lover

#œ

getting faster

F #œ

lightly, easily

sensually

Pno.

P #œ

~~~~~~~~~~~~~~

πstarry-eyed, nostalgically #˙ Ó

∑ ?

F round and warm LV # œ # œ # # œœ # œ # œ - # # œœ ◊

∑

P n˙ ◊

∑

f n >˙ n n ˙˙ n˙

F 3 3 ‰ #œ #œ ‰ œ œ œ œ œ œ aœ tahrīr or glottal

∑

. ‰ #œ œ œ œ œ œ #˙

#œ vī,

qa - zī

Pno.

& #œ œ . . # œ. ? n œ. œ. # œ.

œ. -̇ . P œ. # ˙- .

go - vāh khā - had.

¤ # # # œœœœ œ f Œ

Lover

Belovèd

& ?

-̇

~~~~~~~~~

Œ j Œ ## œœ œœ J

go - vāh khā

nœ #œ œ œ. #œ œ

? œœ

khā

f b˙

b n b ˙˙˙ f 3 3 3 b n ˙˙ n œ b œ œ œ n œ A œ bb œœ bb œœ nœ bœ œ œ nœ Aœ 3

P b˙ Ó

# # # # # wwwww F n #n www

a tempo

a - lā

Pslowly, sensually

b n n b bb ˙˙˙˙˙˙ b ˙ ∑ °

kam;

had.

extends a hand outward slowly p each the LOVER gently touches the door Œ bœ œ. ˙

‰

they both freeze, pausing briefly

mat.

p they both freeze, pausing briefly each extends a hand outward slowly ˙ . the BELOVÉD is touching nothing Œ V

œ J

had.

∑

rokh

#˙.

f P 3 ‰ b œ œ œ b œ b œ ‰ œ- b œ zar - di - ye

ash

b b ww b bb b b wwwwww p

~~~

Pno.

Ó ? Ó f ? # # # #n wwwww # w n w> * sost. ped.

‰ # œ # œ. œ

(h.)

go - vāh

n œ. œ. n œ. œ. # # œ-œ œœ

3 3 bœ Œ # œj œ n œ b œ œ œ n œ A œ b œ

#œ

Go - vāh

rit.

accel.

P #w. f

# œ. œ. # œ. œ. œ- # œ p 5

~~~

∑

~~~~~

Belovèd

the LOVER pleads their case...

~~~~

Lover

the LOVER listens intently...

~~~~~~~~

j œœœœ œœœ J

wwww www

∑

p b œ œ œ3 b œ . rit. e rubato 65 bœ œ b œ U̇. ‰ Œ ‰ & in no hurry

Belovèd

P gently b · . falsetto

rokh

U wwwww www

wwwww ww

∑

& Ó

becoming heavier

f ‰ nœ œ œ -

smooth

far

nœ #œ -

hast,

b b n ˙˙-˙ b ˙ b b ˙˙

˙˙ .. ˙. ˙. #œ

tar - dā

∑

Ó.

∑ > f b ˙˙ b˙ b˙ ◊

∑

jar

p #œ

#œ ad

(mmm) man ast chash

# # # # wwww

∑

n n n # wwww

(p) a ‰ œ

lat,

nœ œ. œ bœ nœ bœ nœ bœ ( ) delicately

lān - o

∑

√ # # œ-œ .. œœ # œ # œ 70 nœ nœ #œ b b œœ n b œœ b b œœ n n œœ b œ b b œœ n œœ b b œœ n œ b œ b œ & bœ P 3 3 f P ? ˙˙˙˙ Ó nœ #œ #œ #œ #œ & ‰ nœ f ? ˙˙ wwww n # # # ˙˙˙˙˙ .... ˙˙ w . -

Pno.

fprecisely

bœ nœ bœ nœ b œ b >œ

bī

qa - rā -

∑

mat.

~~~~~

Belovèd

∑

the LOVER turns back around facing the door

Go - vāh

& wwwwww .... w ..

∑

(h)

vāh

wwwww .... & www ..

Lover

they both retract their hands and turn away from the door

∑

the BELOVÉD turns back around f ˘ sweetly facing the door ‚‰ m sensual b œ œ b œ b œ œ bœ bœ bœ ‰ b œ b œ œ n œ œ œ b œ ? Œ ‰ Œ J J

U ·.

Pno.

(t)

a - lā - mat.

b·.

∑

~~~~~~~~~~~~~~~~~~~

zar - di - ye

p gently j # œ # # n n wœwœ ˙ ..

√ bœ bœ bœ œ nœ 3

~~~~~

Lover

A bit faster q = 68

∑

˙˙ ....

bœ

nœ

Lover

& œ

f ˙.

#˙

mat.

Belovèd

Pno.

∑

(√) b w>

‰

b b ˙˙ ... ...

... & ≈ n b ˙˙ ...

b b ww

? b b ww

œ œ.

Khī

f œ

œ-

būd

‰

√

f nœ

yā - lat

tahrīr or glottal

ham

n œnœ

rah

play notes from chord freely hiding in the low booming sound

˙˙˙ ˙ ∏ imperceptibly ww w w

œ. ˙. ≈ œœ .. ˙˙ .. œ. ˙. sp ƒ ww ww > ◊ (both hands)

œœœœœœ

ww ww

molto rit. e rubato

‰ œ ˙ ey

U freeze

shah

Belovèd

? œ

œham

(h)

π U̇. freeze

molto

Pno.

? ˙˙˙ ˙ ? ˙˙ ˙˙

˙˙ .. ˙˙ . . ˙˙ . ˙˙ ...

˙˙˙ ... ˙.

Ó.

both the LOVER and BELOVÉD are frozen in place, in space, in this moment

they both have an arm extended eyes closed, mouth agape, in ecstasy

rah.

∑

(h)

senza vibr.

norm. the BELOVÉD slowly extends their hand

˙.

(h)

(no attack)

∑

œœœ ... œ. ‰. ‰.

≈ F

¤ Œ

∑ b œœœœ œœœœ œœœœ

~~~~

Lover

m œ

senza vibr.

molto

~~~~

norm. the LOVER approaches the door extending hand

# œ # œ wUw. nœ n œ .

Fsharply Œ

warm and round

˙˙˙˙ ....

rubato, extremely delicate ∏ b œ- b œ- b œ3

œ- œ J 3

fsensually Œ ( b œ ) n œ- n œ . # œ -

Slightly slower q = 65 ∑ Ó Œ &

they both open their eyes and draw their hands back

Belovèd

ƒ >œ b œ b œ œ ‰ b˙ ? Œ Ke khān - dat

∑

Pno.

Ï ? bw bw > ◊

Lover

Belovèd

(t)

‰

¤ > b ˙˙˙˙ Œ b ˙˙˙˙ ƒ #œ nœ #œ #œ n n œœ Ó

b˙. b˙. >

‰

F #œ

#œ œ.

Che

az - m

#œ

Mmm

~~~~ ?

˙˙

# œ- .

mat.

∑

j œ

√

œœœœ œœœœ

œœ .. œœ œ. œ œ. œ

? &

f n˙

nœ

j œ

n œ. œ. œ. b œ n œ n œ. œ. œ. # œ # œ

nœ # œ-

≈

œœœœ ... . œœœœ ...

˙˙˙˙ ˙˙˙˙

dā

. . 5. slide w/ 3 3 83 j j # œ œ œ # ˙ œ . # n ˙˙˙ .. œ œ # œ œ œ œjœ . & ?

∑

˙ ˙

(√)

Pno.

jā

# w-

īn - jā?

elongated, seductive "t"

Bu - ye

œ # œ3 # œ œ œ3 œ œ # œ

n œ. œ. œ. # œ # œ œ #œ

b b n bn wwwww

œ œ #œ œ œ œ 3

f œ

œ Va

√ . . 5. n # œœ œ œ œ œn n œœ n œ

fā

. . # # # # n#wwœwww œ ‹ œ œ f . . Œ

œ #œ #˙ 3

yā - rī.

F ‰ #œ

#œ

rī?

~~~~~~~

Lover

3 3 .5 œ n œ b œ nn œœ # œ # œ œ œ œ n œœœ œ bœ nœ (f) . (voice leading line)

bœ

bœ ∑

b b n bn ˙˙˙˙˙

? #œ

#œ ˙˙

F ˙

Lover

Belovèd

œ œ #œ #œ

man

? &

j œ

the LOVER responds as if in a fantasy...

& #œ

Lover

Belovèd

j œ

#œ

- fe

confidently

Qas - re

qey

j œ

una corda

SENZA una corda

#œ

sar,

ƒ 3 ‰ œ #œ #œ

‰ . œœ # # ˙-˙ > P Îmonumental ˙˙ .. ˙. >◊

# w-

mat.

(p)

#œ

j œ

3 œ- œ- # œ-

(√) n œ(e.)œ œ 87 bœ œ œ Œ Ó & black key gliss f fall oﬀ to mid-range ? Œ

F #œ œ

‰

Ko - jāst

f ? #˙.

? Œ

khā - hī?

tar?

Pno.

# œ-

# œœ j

#œ

√

Khosh

j nœ

j œ

f # n ## wwwww w

. # œ. œ #3œ œ . œ ≈ œ œ 3

khosh

* F ‰ #œ ˙. # œ- ˙ . ˙. œ

# œ # œ3 # œ # œ ‰ (r)

tar.

fluttering

sar.

˙.

œ œ #œ

(h.)

œ #œ #œ

bœ œ œ ww slide w/ 3 b b ww

j bœ

‰

n˙

j # œœ œ œ # œ # œ œœ # œ # œ œ œ œ & # œ . . .

~~~~~~~~~

Pno.

che

Lot

f #œ

(p)

~~~~~~~

Dī - dī

ān -

∑

. . .5 œ #œ #œ œ œ œ œ #œ œ œ œ œ nœ nœ œ œ nœ œ œ œ # œ # œ œ œ n n b ˙˙˙ ... # œ 3 3 3 3 3 3 P fflowing ƒ 3 3 œ bœ #œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ œ a˙. # ˙- . 3 3 3 3

(e. + q )

œ?

fgushing and smooth the LOVER reaches for the door... (f) œ #œ #œ œ œ œ œ #œ œ œ œ œ œ œ œ œ nœ œ #U w rit. e rubato

œ\ ‰ fall oﬀ

Lover

Belovèd

Sad

ker

ƒ ˙

‰

jā?

f #‚

mat.

ƒ #U ·

‚

ān

~~~~~

? # # # # # wwwww n œ ‰ #œ ƒ ? nw n w◊

molto

jā.

∑

Pno.

the BELOVÉD begins to slowly extend their hand again

...touches the door delicately

molto

#œ #œ #œ #œ

flowing, rubato

˙˙ ..

#œ

nœ nœ nœ ° ∑ 3

U œœœœœ U

œœœ

SENZA una corda

Slow, spacious, amorphous q = 45

¤} # # ww> with FIST

they both slowly writhdraw their hands, turn their heads upward, both relaxed and in a fantasy (perhaps lips slightly parted)

Pno.

& 42

Lover

∑

}> # # ww

} # # ww>

∑

U P in no hurry

? 42 ‰ # œ # œ œ

Che - rāst khā

3 P 54 ‰ œ œ œ # œ # ˙ <

Pno.

45 # ˙ -

Ze bīm - e rah - zan,

lī?

& 42

∑

45 Ó

? 42

∑

the LOVER returns to this moment listening attentively, responds...

the BELOVÉD returns to the present moment eyes forward, serious but caressing

Belovèd

}> # # ww

F œ. ¤

P ‰ œ #œ .

}} Œ # # ˙˙ # # ˙˙ > ƒ ∑

Kīst rah

n # ˙>˙ ..

> n # ww

∑

}} > # # # # wwww

∑

F p 44 # œ ‰ # œ .

(h)

rah - zan,

44 #œ

wandering

zan,

}} 44 ˙ # # # # ˙˙>˙˙ ˙˙˙ 44

∑

with TWO FISTS

∑

45 # œ # œ.

œ œ œ

45 # œ œ ‰ # œ œ œ .

}} > # # 54 ˙˙˙˙ # # ˙˙˙˙ ....

(h)

rah - zan,

(h)

rah

∑

zan

zan,

rah

#œ

zan,

œ ‰

(¤) }} œœœœ # # ˙>˙ .. 4 & 4 # # ˙˙ .. ? 44

j & 43 # œ n œ 3

zan

Belovèd

œ n œJ 3

zan

& 43

Pno.

? 43

rah

#œ

zan,

rah - zan,

œ.

rah - zan,

œ œ Nœ 3

3 œ bœ bœ

rah - zan,

}} > # # # # œœœœ ∑

norm.

P 45 b œ b œ œ ‰ œ b œ

Īn ma

ƒ b˙ 45

Ÿ~~~~~~~~~~~ œ œ 45 b b œœ .. # œ (n œ ) œ n œJ (n œ ) œ œ >. 3 F ƒ> 3 3 bœ 3 b œœœ ... b œ œ 5 b œ œ œ œ œ œ 4 Ÿ~~~~~~~~

rah - zan,

> # n n # ˙˙˙˙

a tempo

? 43 œ œ b œ œ œ3 œ

104

rah - zan,

∑

104

breahtlessly

45 œœœœ

molto accel.

Lover

F ‰ œ 43 .

45 œ.

101

Pno.

42 # œ

? 44 œ

rah

Belovèd

45 # œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 42

p 43

lā

œ.

rah - zan,

œ.

rah

rah -

zan

rah -

trill these three notes Ÿ~~~~~~~~~~~~~~~~ 42 (# œ ) # ˙ 43 p

}} # # # # œœœœ >

42 # ˙

œ J-

senza vibr.

sensually

bœ

rah - zan,

44 A˙

b˙.

mat.

4 nœ. ‰ 4

they both FREEZE

P p n˙ œ . ≈ ‰ œ œ n œ sensually 34 norm.

j œ ˙. œ œ n œ- ˙˙˙ ... Pslow and sensual b b œœ ˙˙ .. J

~~~~~~~~~~~~~~~

Lover

P ‰ # œ 43 .

& 44 # œ # œ. œ œ œ œ. œ ‰

101

senza vibr.

lā

mat.

‰ nœ 4 œ #œ #˙ 4 Ko

}} 34 # # # # ˙˙˙˙>... . 43

∑

jāst

44 Ó

ī - men?

∑

ƒ ˙ -̇ ◊

44 44 44

& 44 œ œ # œ œ # ˙ .

44 ˙

108

Lover

Zah - do

Belovèd

? 44

taq

& 44

Lover

#œ.

π 3 œ œ 44 ‰ #œ #œ œ.

‰

p & ˙

extremely delicate, fragile senza vibr.

che

∑

? 44 w w (◊) 111

vā.

œ.

Zahd

108

Pno.

œ.

∑

44 w w

#˙.

#˙

Āh

p #·

#·

Belovèd

Pno.

Rah

‰

45 Œ

the BELOVÉD extends their hand again

#·.

#·

≠

∑

mat.

n˙. n ˙- .

(inhale)

#œ #œ œ #œ ˙. # œ ˙˙˙˙ ... π 5 LV 5 ˙˙˙ .. nœ nœ nœ nœ ˙ .. resonating chord ° ∑

prelaxed

Āh

prelaxed #w

Āh

(h)

lā

45 ˙˙

Āh

∑

π nU˙ .

p œ #œ

#·.

∑

sa - lā - mat.

delicately

they both relax again hands still extended

111

bud?

π U. 45 œ. œ. œ. # œ. # œ œ # œ œ # ˙ 5

#˙.

they are both frozen in time unmoving, stock-still

extremely delicate, fragile senza vibr.

p lightly, buoyant

the LOVER reaches for the door again

‰

rubato

}} > # Œ # # # ˙˙˙˙

P www w◊

∑

}} # # # # œœœœ >

the LOVER responds still touching the door delicately, overcome

∑

115

Lover

(h)

a tempo

rubato

∑

44 Œ

p œ 3 #œ #œ Be

pnostalgically n œ 5 œ #œ œ œ #w ‰ #œ #œ 4 4 falsetto ad lib.

Belovèd

the BELOVÉD puts their hand down but moves very close to the door

∑

(h)

Ko - jāst

(¤)

}} }} > # # & œœœœ # # ˙˙˙˙ # # # œœœœ > ∑ &

115

Pno.

œœœœ Ó

? ww ww

sensually, in no hurry, savoring each note and syllable here

& œ ‰ #œ œ #˙ esh

Belovèd

Pno.

& ?

˙˙˙ ˙

∑

una corda

‰ Œ. nœ#œ#œ 5

~~~~~~~~~~~~~~

(t)

} # # œ>œ ..

~~~~~~~~~~~~~~~~~~

between each note, very sticky, rhythmically obscure p glissing 3 3 3 3 ‰ œ#œ#œ œœ œ œ#œ #œ œ œ œ œ.

Dar

ste

qā

mat.

œ.

‰

ān - jā?

#œ Œ. # œ n œ nœ

#œ #œ nœ nœnœ J 5

ku - ye

∑

sensual "t," asparated lots of air

5 5 j 5# ˙ 44 Œ Œ5 œ jn œ # œ # œ # œ # œ nœ œ nœ #œ pmazy #œ œ. œ œœ œ #œ #œ. 44 n œ n œ n œ # œ œ œ nœ œ

} # # œ>œ Œ J Ó 5 ƒbell-like

ku - ye

∑

Chā - nī

#˙

œ #œ #œ 3

fat?

(p) œ œ #œ œ #œ œ œ œ œ œ œ œ œ

nœ

qat.

ku - ye

glissing between each note, very sticky, rhythmically obscure

& Œ

119

˙˙˙ .. ˙ ..

119

Lover

œ # œ3 # œ

floating

} # # œ>œ

Ó ‰

nœ

#œ #˙ nœ nœ nœ J 5

nœ #œ #œ 5

Œ Œ

nœnœnœ 5

Œ.

} # # œ>œ 5

jn œ # œ # œ Œ nœ 5

#œ #œ œ.

‰

nœ

j 5Œ Œ # œ nœ #œ

#œ #œ. œ œ nœ 5

} # # ˙>˙

œœœ

P & # œ-

123

Lover

Āh

Belovèd

Pœ

#œ.

‰

(h)

‰

(h)

Āh

(¤)

} # œ>œ # Œ J Ó

& Œ

123

Pno.

& ?

#œ #œ ‰ Œ. n œ nœ

nœ nœ

#œ #œ nœ nœ nœ J 5

Āh

œ-

#œ.

(h)

‰ (h)

> Œ n # œœ ..

#œ #œ Œ.

‰

# œ-

Āh

# œ-

#œ #œ nœ nœ 5

#˙

#œ.

‰

Āh

(h)

n # œ>œ

#œ #˙ nœ nœ nœ J 5

~~~~~~~~~~~~~~ #œ #œ #œ #œ

‰

Āh

#˙

# œ-

Œ.

Œ 5

} # # œ>œ

j nœ #œ #œ Œ nœ 5

#œ #œ œ. nœ nœ nœ

œ œ

sensual, running out of breath

126

Lover

& œ

(h)

sticky glisses in this pattern, frequent audible "h" exhalations + audible breaths

Āh

#œ ~~~~~~~~~~~

sensual, running out of breath

Belovèd

nœ

? #œ

(h)

nœ

#œ

sticky glisses in this pattern, frequent audible "h" exhalations + audible breaths

Āh

(¤) & Ó

126

Pno.

‰ # œ. œ. œ. # œ # œ . P 5

j #œ Œ # œ n œ nœ

& Œ

#œ. ? nœ #œ 5

# œ. œ. œ. n œ # ˙. 5

#œ ‰ Œ. nœ nœ #œ

#œ #˙ nœ nœ nœ 5

nœ

~~~~~~~~~~~~~~~~~~~

Same but slower

# œ. œ. œ. # œ œ- Ó . 5

#œ Œ. nœ nœ #œ

#œ #œ nœ nœ nœ J 5

#œ

‰

#œ nœ nœ #œ 5

#œ #˙ nœ nœ nœ J 5

~~~~~~~~~~~~~~~~~~~~~ #œ #œ #œ #œ

(¤)

Œ.

& nœ œ œ #œ #œ. . . . . -

Pno.

& Œ

? nœ nœ

& Œ

132

Lover

Belovèd

π w Hmm

132

Pno.

( p ) -̇

129

j j #œ Œ nœ nœ #œ #œ

Hmm

#œ ˙

∑

∑ ∑

nœ

j j #œ #œ Œ nœ #œ œ

œ ‰ n œj œ ∑

nœ #œ #œ.

j œ nœ #œ

∑ ∑

‰ # œ œ œ # œ # # œœ ... .

œ. œ. œ. œ # ˙ .

Hmm

# œ ‰ + œ-

Hmm

# œ-

Hmm

Āh

(h)

Āh

(h)

U w

nœ #œ #œ œ.

# w-

nœ nœ

= œ-

Hmm

}U > # Œ # œœ

Ó rit. e rubato

nœ

nœ #œ #˙ 5

Hmm

œ ‰ # œj ˙ .

w ∑ ∑ ∑

U-

# # ˙˙ # œ # œ n œ # œ # œ # œœœ 5

~~~~~~

Belovèd

Hmm

U n # # nœœœœ ˙˙˙˙ J

~~~~~~

Lover

( p )U

Same but slower

129

#˙

∑

137

Lover

& r jn w

vary tuning, rarely agreeing

Hmm

Belovèd

rjn w

With gravity q = 70 f mœ . Œ ‰ œ œ œ Khā - mash

both face the audience and become narrators vary tuning, rarely agreeing

f œ ‰ œ Khā - mash

∑

137

Pno.

Lover

Belovèd

rit. e rubato

? Œ

141

? ˙

∏ Œ œ œ œ- œ◊

ƒ- Œ Œ œ œ

Œ Ï w> w w

Œ Œ

& ∑

Pno.

? ∑ ƒ >œ >œ ? œ œ œ œ (◊)

œ- œŒ Œ œ œ

ƒ œ- œ Œ Œ œ œ Ï bw bw b w>

gar

mœ .

gar

be - gu - yam

œœ

mœ . œ.

œ¯ œ¯ œœ œœ Œ

œœ

œ. œ. œ. œ. œ.

be - gu - yam

œ œ œ œ

man

nok - te - hā

œ œ œ œ

man

nok - te - hā

œœ

- œ- œ- œœ œœ œ œ

œ œœ Œ

œ œ œ œ œ œ œ œ mœ

rā

œ œœ Œ œ œœ < < œ ˙>. œ ˙. œ ˙.

œ œ œ œ m œœ œœœ tahrīr or glottal

œœ

- œ- œ- œ œœ œ œ œ

rā

œ- œ- œœ œ œ

mœ œ

œ- œ- œœ œ œ

œ œ

w w w

SENZA una corda

> œ- . b ˙ . bar

œ- . b >˙˙ ..

Az khī - shtan

141

f œ œ œ ‰ œ-

sost. ped.

Az khī - shtan

ƒ- œœ

- œ œ ‰ œ œ

œ œœ Œ

tahrīr or glottal

bar

œ- . b ˙ . œ. b˙. æ œ- . b ˙ . œ. b˙. æ œ. œ. œ.

w w w

‰ bœ -

‰ -

˙. -

bœ ā

œ- b œœ bœ

yī

˙. -

œ œfall\oﬀŒ

Nī - dar

œ œfall\oﬀ

yī

œ- b œ- wœ b œ b www w w w

b œ- œ œ œ n œ bo

b œ- œ œ œ n œ Nī - dar

- b bb œœœœ œœœœ n Œ Œ Ï bw bw b w>

œ œœœ

b œ- œ- œ bœ œ œ

rit. e rubato

b ˙- .

nœ ‰œ

vad

na bā

b ˙- .

‰

vad

œ bœ na bā

Ï raw, soloistic n ˙- . œ ‰

mat.

Ï -raw, soloistic n˙. œ

mat.

- b b ˙˙ .. b ˙ n œ > n œ œœ n n n œœœ b b ˙˙ .. b n b ˙˙˙ n œ n n nn wwww œœ Ó. Œ Ï . b ˙ b ˙ œ n œ b ˙ . n b b ˙˙˙ b œ n n n www> nw œ n œ b ˙ . b Œ˙ b œ Ó. ˙. ˙. ˙.

˙ ˙ ˙

‰

w w w

√ 149 bœ œ nœ œ bœ œ bœ œ & P & bœ bœ nœ bœ a tempo

Pno.

they both turn their heads toward the door

? ww w

bœ œ nœ œ bœ œ bœ œ bœ

w w w

bœ

nœ

bœ œ nœ œ bœ œ bœ œ bœ

w w w

nœ

bœ

bœ œ nœ œ œ œ œ œ bœ

w w w

bœ

(√) bœ œ nœ œ bœ œ bœ œ nœ œ bœ œ bœ œ nœ œ bœ œ œ œ bœ œ nœ œ bœ œ œ œ bœ œ nœ œ bœ œ b œ œ b œ œ bœ œ & sp sp & œ bœ bœ œ œ bœ bœ œ bœ bœ nœ bœ bœ bœ nœ bœ bœ bœ nœ bœ

153

Pno.

? ww w

w w w

they both turn away from the door slowly pacing apart from each other

158

Pno.

(√) b œ- œ- œ- œ- œ- œ- œ- œbœ

? ww w 162

Pno.

bœ

nœ

? w w w

bœ

nœ

b œ- œ- œ- œ- œ- œ- œ- œbœ

w w w

(√) n œ- œ- œ- œ- œ- œ- œ- œbœ

w w w

nœ

bœ

nœ

bœ

n œ- œ- œ- œ- œ- œ- œ- œbœ

w w w

bœ

nœ

bœ

w w w

b œ- œ- œ- œ- œ- œ- œ- œbœ

w w w

bœ

nœ

w w w

bœ

w w w

b œ- œ- œ- œ- œ- œ- œ- œbœ

b œ- œ- œ- œ- œ- œ- œ- œ-

nœ

bœ

nœ

bœ

b œ- œ- œ- œ- œ- œ- œ- œbœ

w w w

bœ

(√) rit. e rubato - œ- œ- œ- œ- œ- œ- œ- b œ- œ- œ- œ- œ- œ- œ- œ- b œ œ n œ œ b œ œ b œ œ b œ &

166

bœ

? ww w

nœ

bœ

w w w

(√) 170 bœ œ nœ œ bœ œ bœ œ & Pno.

bœ

? ww w 174

Lover

w w w

bœ

nœ

bœ

w w w

n˙

bœ

w w w

∏

U # # # www

from the edges of the stage they turn their heads to look back at the door

# # w# w˙ .

Ø U n # # www

bœ

nœ

bœ

Slowly begin depressing una corda pedal

b œ- œ- b œ- œ- b œ- œ- Uœ

bœ

nœ

bœ

~~~~~~~~~~~~~~

~~~~~~~~~~~~~~~

Pno.

bœ œ nœ œ bœ œ bœ œ

they both turn their full bodies toward the door

#œ

n # # # wwww

∑

una corda completely down

Wildly, in ecstasy q = 90 ƒ #w

# ˙- .

(scoop)

they both walk deliberately toward the door

SENZA una corda

œœœœœ >

~~~~

# # # # # œœœœœ >

~~~~

œœœœœ >

~~~~

œœœœœ >

~~~~

œœœœœ >

~~~~

œœœœœ >

>œ . >œ . >œ . >œ . >œ . # >œœ .. . . . . # œ œ œ œ ® # œ . ® œ . ® œ . ® œ . ® œ . ® œœ ..

~~~~

œœœœœ >

~~~~

œœœœœ >

~~~~

œœœœœ >

~~~~

ƒ & # # # # # œœœœœ >

~~~~

Pno.

# >œœ .. >œœ .. >œœ .. >œœ .. >œœ .. >œœ .. >œœ .. >œœ .. # ® #œ. ® œ. ® œ. ® œ. ® œ. ® œ. ® œ. ® œ.

~~~~

174

~~~~

(scoop)

~~~~

# ·- .

~~~~

Belovèd

ƒ # ·-

# ·-

# œœ- .. # ≈ #œ.

f # w # w & # # ww

œœœœœ >

~~~~

œœœœœ >

~~~~

œœœœœ >

~~~~

œœœœœ >

~~~~

œœœœœ >

>œ . ® œœ .. œœœœœ >

˙.

œœœœœ >

·. ˙˙ .. ˙.

>œ . ® œœ ..

‚

∑ ∑

>œ . ® œœ ..

( )

# ˙- . O

œœœœœ >

# œ-

Āh

, # ‚-p

#U ˙- .

( )

Āh

U w

ww w

...the voices emerge again

wwwww

~~~~

œœœœœ >

>œ . ® œœ ..

~~~~

œœœœœ >

>œ . ® œœ ..

~~~~

œœœœœ >

>œ . ® œœ ..

~~~~

>œ . ® œœ ..

Overcome q = 70 # w-

~~~~~~

Pno.

# # # # # œœœœœ >

~~~~

#œ & # # # # œœœœ >

œœœœœ >

the BELOVÉD reaches the door extends hand outward ( )

the piano begins to bury the voices

181

œœœœœ >

~~~~~~

Belovèd

œœœœœ >

the LOVER reaches the door extends hand, caresses door ( )

# >œœ .. # ® #œ.

œœœœœ >

~~~~ Lover

œœœœœ >

>œ . >œ . >œ . >œ . >œ . # >œ . ® # # œœ .. ® œœ .. ® œœ .. ® œœ .. ® œœ .. ® œœ ..

#·

181

178

Pno.

œœœœœ >

~~~~

Belovèd

œœœœœ >

~~~~

& # # # # # œœœœœ >

~~~~

178

Lover

#·.

# >œ . >œ . >œ . >œ . >œ . >œ . >œ . >œ . ® # # œœ .. ® œœ .. ® œœ .. ® œœ .. ® œœ .. ® œœ .. ® œœ .. ® œœ ..

176

Pno.

( )

~~~~

# ·-

#˙. O

~~~~

Belovèd

( )

~~~~

Lover

# w-

176

wwww

The LOVER and The BELOVÉD both close their eyes, put their hands down, face down, exhausted. The assistant, gets up, and quietly closes the lid (opens the door). The pianist lets the keyboard cover slam shut. Both The LOVER and The BELOVÉD raise their heads and open their eyes, shocked, overcome. FREEZE (curtain)

œ \ ‰ UÓ . ‚\

¤ # >œ

(h)

≠

(inhale)

‰ UÓ .

(h)

≠

(inhale)

∑

>¿

let key lid slam

(pedal still held)

∑