HOWL! – The Opera

Klaus Ib Jørgensen

Howl! - The Opera (2009) for female voice, handheld percussion, props, stage lighting & loudspeakers Dur. 30’

Commissioned by Janice Jackson Vocalypse Productions

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

With support from the Danish Arts Foundation & Koda-Dramatik Støttet af Statens Kunstfond & Koda-Dramatik

Edition·S publications are supported by the Danish Arts Council Music Committee / Edition·S udgivelser er støttet af Kunstrådets Musikudvalg

Howl! - The Opera 1 time

Stage: Stage right back: A black closet (full of orange clothings..)

Stage right middle-to-front: Singer sits straight on a black chair, herself dressed in black (shape and nature of suit?).

She wears flamenco shoes. Color?

Hand mirror on her lap.

Under the chair a Tibetan singing bowl and a stick. Hidden.

Hidden behind the chair: castagnets on stand.

Klaus Ib Jørgensen 2009

Part I: Opening 0:10

0:00 Dark Stage Silence

Voice

&

Stage left: A three-legged stool with a round seat, old, paint falling off.

On the stool an old-school radio.

Feet And a slim, sudden, bright spot on radio from straight above (something like Mr. Bean falling from the skies; that kind of stage attitude…) The spot must be very accurately adjusted so it doesn’t shine outside of the diameter of the stool.

time

2

3

0:30

0:45

&

5

Light beam starts to fluctuate (change of colors, perhaps?), as if to indicate that something happens “in” the radio

4 0:48

Singer stays completely still the next 2:15 min. (until CUE 6).

She does not notice the radio, and she must never look to the left.

No grimaces whatsoever.

Frozen face.

A spot turns up on the singer, extremely slowly.

It must take 2:15 minutes from now on to turn up the spot, if not more.

time 1:00

7 4

&

© 2009 by Edition SAMFUNDET, Copenhagen

Klaus Ib Jørgensen: Howl! - The Opera, score - 4

1:35

time

7 &4

time

2:10

&

6 time

2:45

3:00 When the light is up to 100%, and on CUE 6, she picks up a hand-mirror, slowly, as if performing a ritual.

Don’t move head, look straight out. When the mirror is precisely in front of her face, she looks at herself in the mirror. Still no grimaces. We only notice, perhaps, that she opens her eyes just a little notch more the moment when she sees herself.

Almost un-notable.This must take max. 30 seconds.

&

The spotlight is at 100%

Klaus Ib Jørgensen: Howl! - The Opera, score - 5

7 time 3:20

3:30

8

9

3:40

3:45

She has the mirror in front of her face. Immediately: Pause Face freezes, keep mirror in front of face

Then one grimace (lift an eyebrow?).

She moves the mirror back and forth, in and out of focus etc., as if she wants to thoroughly examine that one lifted eyebrow from all possible aspects and angles.

Puts down mirror on her lap, still holding it.

&

10 time

3:55

4:00 Suddenly, she takes the mirror back up, almost with a violent movement. Tries another grimace (showing her teeth, like a wolverine?)

And another. And another. As she goes along, she seems increasingly bothered and irritated and impatient, perhaps even a little aggressive, because she can’t find a grimace she likes (or that the mirror likes?). It’s almost as if she enters into a sort of conversation with the mirror.

Her trying out grimaces forms an accelerando, until in the end, she finds one she likes. We see her face find peace, all the bothered folds of her skin fall into place and rest.

She puts the mirror down on her lap again. [Make sure that this whole sequence doesn’t become comical.]

&

11 time

4:30

4:45 She seems to begin to notice the presence of the radio now, but not entirely.

She doesn’t face the radio, but she seems to react to the sounds and music coming from it.

&

Klaus Ib Jørgensen: Howl! - The Opera, score - 6

12 time 5:05

5:15 She seems to react to the two notes played by the pianist in the radio and the disrupted beginning of something…

Distracted at first, but as the pianist persists in trying, she becomes more interested.

As if she tries to remember if she knows this tune herself.

&

13 time 5:40

5:45 Suddenly, a grinder organ tunes / fades in, playing the same melody, but right!

She reacts violently, in recognition of this music.

Yes, this was it! She DID know the melody.

For the first time, she gets up from her chair.

She gets up once, then regrets (is it safe to leave the chair?).

Then another attempt, and down again. Then perhaps more attempts.

Finally she makes it up and away from the chair. Approaches the radio in the opposite side of the stage.

But she doesn’t make it. When she gets to the middle of the stage (approximately when the tune has played through once, perhaps just started over again), the music breaks off and she stops as abruptly. Freezes.

&

Cue: when mid-stage She freezes, looks desperately around: where did it go?! Turns about, attempting to re-find the music. She resigns, turns around and faces her own chair. Suddenly rushes back the chair, franticly, as if the open space in the middle of the stage poses some sort of threat to her. A threat that she dared to forget for a second, indulged by the tune. The chair again. The safe haven.

Stands beside the chair, left side to audience. Tries to memorize the tune, singing out loud (but not loudly…), but only little fragments are recognizable, the rest is wrong.

She tries again. And again. Always wrong, she never really gets it. Stomps in anger.

14 time 6:15

6:25 [I will write the little wrong tunes, but she may improvise instead. We need a mixture of the beginning of The Hymn and The Waltz. The fragments of wrong tune are in the score] [The singing style must be untrained, introverted, perhaps a little notch out of tune and monotonous as if sung by a psychotic (and therefore not operatic or bel canto in any way!]

Sits down on the floor next to the chair, still left side to audience. On the way down, she kneels. It may look as if she’s worshipping the chair. Sitting with her knees up, arms around them, she moves back and forth, silently humming the twisted tune that she can’t remember. Over and over and over while rocking back and forth.

Freely, use these fragments or improvise others in the same style

&

œ

œ

Da

da

#œ nœ ‰ da

˙

˙

Da

da

#œ

3

nœ J

da

(Or other syllables or sound)

[We have to find out how the shoes don’t make noise as she walks around, but do when they need to! Perhaps a carpet on parts of the stage?]

Klaus Ib Jørgensen: Howl! - The Opera, score - 7

œ

bœ

da

da

Œ

‰

j œ da

Tb

time

6:50

&

j œ ‰ Œ

#œ . œ ‰ œj b‰ ≈ J · ≈ ‰

Da

time

f

da

T

Ooo

,

˙ Da

µ ‰ nœ Ooo

‡

etc.

≈‰ œ

7:25

&

15 time

8:00 She stops singing (the tape has taken over, perhaps without her knowing it?)

She sort of slides back up on her stool.

&

Klaus Ib Jørgensen: Howl! - The Opera, score - 8

16 9:00

time 8:35

&

SPOT on singer down from 100% to 25% during next 30’’.

17 time 9:10

9:30

(9:45)

[Singer picks up a singing bowl from under her chair. MAKE NO NOISE!]

&

Light: 25%

PART II: GETTING THE TUNE

18 time

9:45 While still dark, the singer starts grinding the bowl (no attack). Patiently and slowly.

The tone emerges. She takes her time.

After a while, she stops and lets she bowl ring.

& singing bowl

W SPOT in stage right goes up slowly as she plays the bowl.

Klaus Ib Jørgensen: Howl! - The Opera, score - 9

BLACK OUT

Attacca

19 time 10:20

10:30 She starts to sing herself, on the tone that she found in the bowl.

Sings around the tone of the bowl in quartertones, almost like an arabesque. All this is written in the score.

Stop grinding and let ring.

Memorize the tone.

,

,

w

&

j bT œ

œ

Oooo

W

Ooo

œ J

˙

œ

µ˙

œ J

Ooo

[as in "soon"]

Light: 100%. Starts to fluctuate like the other spot did earlier.

20 time 10:55

11:10

o

Swirls around the tone of the bowl

,

T:

p

B:

V.N.

S.V.

p o

F o

f

ƒ

W œ Ooo [singing bowl]

W

time 11:30

∞

21

22

11:32

11:36

ƒ

[q = 60]

,

œ J

o

5

3

&

œ œ ‰ Who

≈ œ ≈ ®bœ‰ oo

oo

œ who

7

bœ bœ

œ œ

.

j µœ . Œ

œ

,who

œ

3

f P ƒ [JOY!] n >œ œ ‡ n >œ· n œ Tb ‰ ≈ b œ bœ b œ µ® Ö ‰ Œ

π

5

j µœ who

œ

Œ

nœ

3

who mon -ste - rous,

Ï ‡ Stomps in victory!

P Y Shoes ¿ > ƒ Klaus Ib Jørgensen: Howl! - The Opera, score - 10

oo

who

F œnœ œ .

p

œ œ µ œ ®≈

time 11:50

p

á

œ #œ œ

& ‰

œ.

á

á

á

f

á

á á á á áááá

f π ∏ œ > #œ .

Tb ≈

≈. · Ö

who

mon

-

ƒ

3

œœ

‰

œ

Œ

f

p

œ

‰ ¿

3 strous

¿

¿.

¿

ä.

3

> #œ

¿.

¿

≈ Œ

(

œ œ œJ

‰

œ)

œ

Ssss ~~~~~~~~~~~ ,Sch ~~~~~~~~~~~~~~~~~~ SSS~~~ sou - ther

-

n

Sou

23 time 12:07

&

œ.

œ œ œ

#œ

ther,

B: T:

œ

®

œ Tb œ œ .. b œ œ .

3 -

len,

sto

time 12:24

& Ó.

(ord.)

3

3

bœ ≈ ‰ sto

f π

-

œ

P œ

len dy - na - mo

œ ≈ œ œ . œ œ µœ

á

œ

á

á

œ . # œ ≈ ® j.. œ

œ.

3

3 om

-

ni - po

f

p

á á á á á áá

b œ.

J

œ

5

5 -

-

-

-

-

‰

tens

Rrrrr

rock

-

24

25

12:31

12:36

S.V.

V.N.

w

w

á

á

á

á

á

á

á

á á

œ

ƒ >. á á á áá b œ J

3 O

Klaus Ib Jørgensen: Howl! - The Opera, score - 11

j ¿

>

‰

j œ Tb ≈ b œ .

J

land

S.V.

∏

® j.. œ

mo

-

V.N.

‰.

loch

3 ‡ j ‰ ‰ µœ œ

Œ

lo - ned

coquette

P œ. . # œ. # œ . . . ‰ . nœ bœ ≈ ‰ œ. # œ ≈ . ·

con!

(shoes)

>

‡ bœ

p

con - fes - sing

Œ

‰

un - dres - sing

j ¿

>

‰

con

j ¿

>

œ nœ ≈ . œ œ #œ -

j ¿

>

fe

‰

-

dre

≈ ‡ ‰ ¿

>

-

27

26 time 12:42

12:53 change of attitude - approaches the radio again - or dares she ?

She notices the waltz coming from the radio humming

œ œ

œ ..

&

3 -

-

-

œ J

Œ

Ó

Œ

3

œ · ‰ ‡ œ œ œ ≈

‰.

ssing

hm hm hm

hm

œ

3

œ J

œ Œ

hm hm

‰

œ ~. ~

œ

œ

Œ

œ

~~~~~

‰

~‰

Ó

Ó

3

hm

hm

hm

hm

!

28 time

13:00

non misurata ad lib. slowly, childish S.V.

π w

&

œ

Souls'

29 time 13:30

she resigns

w

mo

-

-

-

ther

floa

œ.

œ -

-

-

-

ting...

30 13:40

monotonusly, slowly

π &

œ

w

œ

,

, „

‡ œ

µœ

, „

µœ

fπ ,

œ.

‡

œ noon

tomb

a - byss

Klaus Ib Jørgensen: Howl! - The Opera, score - 12

ro

-

-

Tb

œ

- bot

j „

µœ b œ T ro -

-

-

time 14:05

gluttal whistle

‡ œ

j

˙

freely

„ œ.

-

-

&

œ

œ

#œ

bœ

-

,

„

œ

se an

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ

Y

,

œ

˙

gel

hy - ste - ri - cal

time

mad

dra - mas!

31 time 14:40

á

W

& ∑

á

w

á

á

á á á á áá

Y Y Y Y Y Y Y YYYYY Y Y Y Y Y

W

∏ sub.

f

(oscilation) Y

,

Y w

œ „

soul

µœ

œ œ

e - lec - tri

32

-

fied

33

time 15:15

[q = 60]

quasi parlando

Í œ

‰

j œ Rrrr

filth

5

≈ œ µœ ≈ ‰ spin - ters,

canto 3

7

œ

œ ≈ Tb œ

he - roes

stops: astonished by the idea of ORANGE!

quasi parlando

œ œ µœ ‰ .

noun flood - light

3

Œ

µœ

Tb œ

œ

œ œ Œ µ

Œ

Œ

&

œ œ œ # œ ..

œ.

œ

œ

∏ nœ ≈

3

mind stoops whom e - ver

ug - li - ness

Klaus Ib Jørgensen: Howl! - The Opera, score - 13

o

range

Œ

Œ

Œ

Œ

34 non misurata time 15:33

freely parl. w. intonation She rushes to the closet in the back. Opens it and starts to pull out orange clothes, trying them on by one while singing!

œ.

œ

µœ

œ œ

œ

œ œ

,

œ œ

œ µœ

œ œ

out that fin - gers, jazz

whose the jum -ping you find

œ.

œ. œ

œ

µ˙ œ

œ œœ

and went so - cia - list

Faster

U œ

œ

œ

œ

œ

Total frenzy!

œ

œ œ

in tru - ly sweats in con - verse, and at

œ to

œ

œ œ

œ œ

œ

œœ

œœ

œ

œ œ

œ

œ

œ

œ œ

œ œœ

œ œ œ

œ

œ

œ

œ

œ œ œ œœ œœ œ œ

the of in room, and the you hospitals the trials longer I safe, from El St. Worms yel - low no-thing in - car - na - tion of who from went with old rolling publishing instead psychotherapy imagination!

35

36

time 15:55

[q = 60]

She reacts to radio.

Dislikes it!

Moves toward radio, as if she wanted to threaten it

she's found a piece she likes. Wears it in triumph!

3

5

& #œ .

œ

nœ

bœ œ

# >œ

nœ ‡ œ œ œ # œ œ œ b œ œ# œ n œ œ . ˙

œ

6œ‡:4œ

3

j nœ w ~~~~~~~~~~~~~~~~~~~~~~~ œ œ

3

Full

mo

-

> > >œ >œ

lo - ch–hr

hr! hr!

Irregular tap-dancing (shoes)

>œ f

œ

œœ

> œ œ

P

16:16

16:17

œ

œœœ

>

œ

œ

œ œ œ œ œ œ œœœ œ œ

40

16:18

16:20

16:26

Reacts to radio. Likes it. Nods and starts humming the tune, but a little off, both melody and tempo.

hr!

hr!

castangetto

f Ͼ. >>

39

non misurata

hr!

>œ

œœ

>>> ƒ

38

37 time

œœ

‰

hr!

>œ

She walks back to her pile of clothes, picking it up, putting it back in place. Always humming

& ®j œ .. œ Chr ~~~~~~~~~~~~~

ƒ

‡ œ

> ƒ Klaus Ib Jørgensen: Howl! - The Opera, score - 14

41 16:55

time 16:40

misurata [q = 60]

>j

non misurata

œ

soto voce! almost N.V.

& ˙

œ

œ

˙

ping

su

˙

Soul

wee

-

œ.

œ -

-

bœ .

-

˙.

burps

,

j œ

se

su

µœ

ro

-

#œ .

œ bœ ·

œ

nœ per

na

-

œ ~~~

µw

~~~~ ~~~ Tb œ

tu - ral

,

syn - ta

x

42 time 17:15

& bw

µœ

down

f∏

µ œJ W

nœ an

-

gels

á

á

á

j

∏ sub.

á

,

á á á á á áá

œ.

sho–o

œ J

Oooo

Tb œ

ni

-

#œ

œ

œ µœ ted

(gluttal whistle)

j œ

W

,

,

œ

œ

sa

-

xo - phone

J

and

sno

-

o

-

-

-

-

-

-

-

-

[schech]

43 time 17:50

misurata [q = 60]

(oscillation cross registre)

˙.

œ

˙

œ

œ.

œ.

µœ

.

œ

.

œ

3

œ œ

bœ œ œ œ œ .. œ J œ

5 -

-

ow

-

bank

be

-

cau

-

(se)

of

ni

-

-

-

j bT œ œ ‰ tro

-

-

(real tone)

.

œ ‰ . bœ

j Œ nœ

5 -

gly - ce

-

rine

YY w.

œ œ ·

Y Y YYY Y Y Y YY Y Y

œ j‰ Œ #œ

5 ve

-

-

shoes

Klaus Ib Jørgensen: Howl! - The Opera, score - 15

-

-

p π

-

rbs

P

nasal

. ‰ b œ. œ ‰ . œJ ® ч ≈ ‰ ≈ b œ . œ b œ.

J .

œ . nœ

5

da - da

-

i

-

sms

sta -

-

- nza -

time

44

45

46

18:25

18:35

18:47

non misurata

Whistling on the consonant "s" Ghostly (no jet, intonation only)

π f

Exaggerate all the "s" until cue 48

‡

ä.

Ssss

Q.P. S.V.

¿ ≈ ‰

ä.

Œ

Œ

Œ

>

~~~~~~~~~~~

Tsh!

¿ ‰ ¿ ¿ ‰ ¿ ¿ ‰ ¿ ‰ ¿ ¿ ‰ ¿ ¿ ‰ ¿ ¿ œ ˙. #¿

>

Sss

-

soup

µœ

j

œ

œ

ä.

(action?)

,

œ

œ bœ T

J

œ

~~~

œ bœ T

sor - di

d,sss

~~~ - se

œ

>

19:05

19:30

µœ

¿ œ

œ

·Ö ·Ö Ö Sss

œ

~~~~~~ sstr œ

œ

,

ä

· - a - nge dark

œ œ œ

-

ne - ssss

œ

Tb œ

~~~~~~~ ,so œ œ

49

50

19:35

19:45

She's stunned by the word "mother" as if something she's forgotten suddenly becomes present...

‡

œ

µœ

µœ œ li

j Tb œ

-

œ

µœ

ä

[k]

-

m

sss

~~~~~~~ sin

- ging

, œ

mo - ther

œ

Black out, except slim spot on singer

51 (c. 19:47)

19:58

non misurata

misurata q = 60 5 3

&

œ

œ

~~~ sss ~~~~~ sc~~~~~~~~ sss–crea

tssss

parl.

œ Ó

ä

>

∏

,

U œ

di

>œ

~~~~

œ œ

48

Move to marked up position (under a spot)

œ

- ra - fi - sms

47

>

time

œ

˙

œ œ

distribute randomly (random accents)

time

¿

ä

se - cre - ta - ries - sss

>œ

f sub.

∏

,

œ

µœ .

j œ œ

5

œ ·

‡ œ

j œ.

5 I'm

in

their

œ

œ

3

bœ nœ œ

with

Klaus Ib Jørgensen: Howl! - The Opera, score - 16

Ø

F

till out of breath

#œ . ˙ . j œ œ ä

dream

-

-

-

-

-

-

ssss

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

52

53 20:30

time 20:05

misurata q = 60

humming fragments of the waltz - and randomly the two fragments of words from the tape

œ. œ.

µœ

œ.

µ œ.

·

· bœ T

loo -

sing o

œ

,ug - li

-

µ œ.

œ

b œ. , π j , T µ >œ

,

œ. J

J

ness

In - tel

-

li

-

·

œ

bœ œ · 5

3

gent cru - ci - fix - ions!

clo

-

20:37 (preferably without breathing!)

Goes back to humming fragments of waltz. Perhaps also hymn ?

œ

o

W

& and back

move into gluttal whistle

W i

œ -

-

-

-

-

-

-

I

55 time

56

21:15

misurata q = 60

p & bœ

V.M. Max.

doloroso

œ

7

œ.

non misurata

P

crystal clear and thin

5

œ

œ

œ

œ ˙

5

‰.

#œ

œ

#œ œ

˙

œ.

œ

˙.

˙

j œ.

5 7

So

[B] - bing

mad

-

-

-

-

-

-

-

Klaus Ib Jørgensen: Howl! - The Opera, score - 17

-

-

ness

œ ‰ bœ bœ J

˙.

œ

54 time

j ‡ œ œ ≈ ‰

≈

sed

wake

whi

-

-

-

57

58 21:50

21:45

time

22:00 Kisses her own hand, affectionately, honerly. then sings, still with her hand in front of her mouth.

q = 60 7

& bœ

œ ‰ J œ n œ‡ œj

hu

-

œ. · ≈ œ‡ ≈ œj .

‰

mor - less

Ecs

- ta

-

Take your time. It's a ritual.

It's your ticket back to life! this is serious business !

(T

bœ )

cy

time

22:10

non misurata

p

5

Intensely legato

˙.

œ bœ œ

œ.

-

-

-

li

-

62 time 22:36

-

Íp

j bœ . œ .

œ J

7 So

22:29

22:24

q = 60

&

61

60

59

5

≈ Œ

∏ ‡ nœ œ

œ.

œ

-

œ ˙

P

π

µœ

œ bœ ≈

¿

5 -

tu

de

sen -

-

63

64

22:40

22:43

(a little space to catch up on timing if needed)

- sa

œ

3

Tb œ

¿

5

¿

J

-

-

-

tion

her whole who

canto

3

œ œ œ µ

5

5

œ œ

¿ ¿

· J

soul

‰.

Œ

¿ J ·

œ

5 hea

-

¿

œ

‰

¿

≈

œ

(œ )

-

-

ven store - front

(Out of the waltz comes now also a humoresque motif derived from the 6 tones of the singer's previous line ("solitude sensation")

Humerous, distinct

&

q = 60

misurata

≈

œ

. #œ #œ #œ œ nœ ≈ Œ

In - com - pri - hen - si -ble!

Klaus Ib Jørgensen: Howl! - The Opera, score - 18

65 time 23:10

∏

3

Œ

& œ

Œ

Œ

Space

66 time

œ

bœ

spa

-

Πce

‰

j œ b œ œ œ.

j œ spa

67

3

5

-

-

-

-

5

‡ nœ œ ≈ ‰ bœ . bœ œ œ

œ ‰

ce

ce

spa

-

-

-

-

7

5

œ œ. spa

bœ œ œ

-

-

-

5

5

‰ #œ œ bœ . œ œ bœ nœ #œ œ . œ nœ J

≈ œ

ce

ce A

bœ -

π

6

spa

-

-

-

-

-

-

5:3œ

œ

#œ

œ nœ œ J

œ

3

68

23:34

23:40 Opens closet. Pulls out travel bag.

Sorts her orange clothes while singing the last six minutes

suddenly thin, fragile

∏ sub.

˙.

˙.

&

69 time 24:10

q = 60 She finds a crotale in the closet, and a mallet.

Hmm.... wonder what this could do for me?

P

4 &4 ˙

#œ

j ‰ œ

6 Ó.

4

Ó.

3 4 ˙.

A

3

4 4

j Œ œ #œ œ . œ

A

˙

#œ

A

#

4 4

6 4

3 4

3 8

j ‰ œ

crotale F 1

Ó

Klaus Ib Jørgensen: Howl! - The Opera, score - 19

œ ‰ J

p

4 4

Ó.

‰.

œ 3 · 8

P

70 q = 63

71 q = 66

24:30

time

3 & 8 Œ.

72

24:40

4ˆ 1 48 ˙

‰

œ

#œ

5 Π8

Œ.

A

3 8

Fp o

p

4 4 ˙

3 8 #œ .

œ

#œ

>

2 4

(

∑)

∑

∑

( )

4 4

∑

( )

( )

A

4ˆ 1 Ó .

48

œ œ

‰

5 8

‰

3 ≈œœœ œ œ 2 8 4

4 4

4 4

3

P 74 q = 96

73 time

(humming freely on the previous motif while hanging up crotale on a stand - and paching)

24:57

75 q = 63

76

Her song is being interrupted by a music box.

She reacts with joy: wow, what is this!?

4 &4 ˙

œ

#œ

3

2 4 #œ

Pat

lan

4 4

œ

j œ

-

tic...

2 4

3 Ó.

4

Ó.

Ó.

3 4

4 4 œ.

#œ œ #œ .

Pat

lan

j œ -

4 4

-

-

5 Œ.

8

Œ

4 4

‰ ‰ Œ

4 4

tic

5 8

ƒ >œ >œ >œ

77 78 time

25:13

4 & 4 œ.

Pat

#œ

3

3

œ #˙ lan

œ -

tic

2 œ 4

œ

œ #œ

3 8 œ.

them

~

~ ~~

~2~ 1 ~ ~ ˆ

~ 4 16

˙

œ

,

~~~ ~~~~~

5

~~

·

3

2 ‰ 4

œ #œ œ them

œ

5 8 ˙ selves

sel

j œ last

2 4

5 8

3 8

œ

>

that!

4 4

2 4

3 8

2ˆ 1 4 16

2 4

5 8

>>> 2 ≈ œ œ œ œ œ œ œ 5 œœœœœœœœœœ 4 8 f

Klaus Ib Jørgensen: Howl! - The Opera, score - 20

∏

79 time

25:30 [music box has faded back in, but with a twisted tune this time] [she is confused about what she hears...]

airy, dark kind of voice

3 & 8 Œ.

4 4

π

Œ

j

#˙ .

œ

∑

∑

∑

That

80

time

senza misura

82

81

20 - 25''

25:44

ƒ

p

>œ >œ >œ quasi parlando

W

fp tY

(canto)

˙

Ø p

quasi parlando

Un

-

-

-

-

i i i

`

œ

œ

œ

Padatlantic

≠

œ

œ

œœ Pad

a

P

`

œ

œ

œ

œ

œ œ œ œ œ œ œ œ œ

Them-sel-ves

last

that

œ œ œ œ œ œ œ œ œ œ œ œœ œ

≠

Un

Ø

`

œ

œ

œ

œ

œ œ œ œ œ œ

Un-known

≠

#˙ œ

Un

`

œ

œ

¿

> Ï Quasi misurata

35''

time 26:10

(improvise freely on the melodic fragments)

& #œ Un

˙ -

known

˙.

nœ ,un

˙ -

known

#w

˙ ,un

#w -

nw

known

Klaus Ib Jørgensen: Howl! - The Opera, score - 21

w

œ

œ œ œ œœ œ œ œ

Un-known

>œ >œ j (shoes)

83

π

#œ œ œ

#œ œ

œ œœ œ

Ø

bw

≠

Un

Ø j

œ

`

œ œ œ œœ œ œ Un-known

≠

84

85

10''

86 medium slow (q = c 63)

20'

27:15

time 26:45

intense

π

ƒ Tb œ

µœ œ œ

˙

œ ,

con

6''

œ

˙ ,

con

con

œ œ œ Tb

µœ

œ

Tb

œ

P sub.

µœ

œ

œ

Tb ˙

2''

,

3 4 ˙

con

-

#œ -

-

con

27''

87

time 27:17

œ µœ

œ œ

µœ

#œ

88 (improvise freely on the melodic fragments)

distorted

#œ

& W

w

form

Con

ƒ

-

-

-

w

w

#œ œ w

form

Them - sel -

-

-

ves

vi

-

¿

ƒ > >

of

-

na

-

ry room

90

she light up, as if getting a great idea!

way

-

16'' 6''

89

-

-

>

time 27:52

High

sio

bœ

¿¿

13''

& w

-

W

œœœœœœœœœ

¿

œ #w

-

œ

#w

w

w

œ œ

w

by - ,watch

Repeat ad lib., change singing style continuosely...

(tape)

#œ œ œ and their

#w of

#w

bw now

w

( w)

`

#w #w bw w

trapped!

Klaus Ib Jørgensen: Howl! - The Opera, score - 22

≠

`

nw Dock

-

œ bw

w

land in

the

bw walked

bœ

bw w

e - ter - nal

≠

➤

15''

5'' time

28:27

5''

91

ƒ

(packs, continously)

œœ œ œ bœœ bœ bœ bœ bœ œ bœ œ œ b œ b œ b œ œ œ œœ œ œ

œ `

œ

W

œœœœœœœœœœœœœœœœœ

&

Dock- land in the walked eternal

„

≠

W A

ii i i . . . . . . . . . . . . . .

time

10'' time

10'' 93

92

25'' 94

29:02

Mix singing, crotale and tapdancing. Intensify towards the end of the section

Quasi una humoresque

`

&

bœ

œ œ

,

Time

π

`

bœ

œ bœ œ

fac -

to - ries

,

bœ bœ

œ

last

sea

œ

œœ

-

¿¿

¿

¿

¿¿

bœ

jour - ney

¿¿¿

bœ

œ

room

œœ

œ

≠

(repeat ad lib., and improvise freely)

➤ )

¿

ten

bœ

woke

>œ

œœ,

œ

¿¿ ¿¿

sy

10''

&

bœ œ bœ

(

œ

[In time 29:37

,

œ œ ¿

œœ ¿

¿

¿

fy!]

8''

15'' 95

96

`

Y Y Y Y Y œ bœ bœ œ œ

Yb œ Y Y Y Y b œY Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y Y YYYY YYYYYYYYYYYYY Y Y YYY ∏ thin, fragile œ n œ œ bœ œ b œ œ bW œ bœ bœ

the O - Kla - ho - ma

pub - lic soul their on

œ ¿ ¿

≠

œ œ ¿

œ ¿

¿

it

œ œ ¿ ¿ ¿

self

of blues in the blood

blood trem.

œ œ œ œ œ œœœ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿¿¿¿ ¿ ä

Klaus Ib Jørgensen: Howl! - The Opera, score - 23

œ œ œ ¿ ¿ ¿ ¿ ¿¿ ¿ ¿ ¿ ¿ ¿

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

≠➤

97

30''

time 30:10

Packs up completely. Tidies which ever needs tidying. Gets ready to leave stage.

Stops. Turns toward audience

&

98

Warm, affectionate

99

time 30:40

Improvise freely

˙

[no time]

101

(no tape, voice only)

œ.

,

µœ

µœ

Tb ˙ To

100

(radio noise)

dock

-

land

µœ

µœ

Tb ˙

œ

µœ

˙

to

doch

µ˙ œ bœ T

˙

-

-

-

-

-

-

land

œ

, œ

„

˙

murdered

free

man - less

W hearts

102

4''

time

Turns around to leave definitevely

œ & W

„

∏ bœ

,

,

œ Tb œ

µœ

œ

µœ

µœ Tb œ

µœ

Tb œ

œ

-

of

Í > #W

œ

,

π

~~ œ ~~~~

(hearts) There

cra

-

-

zy

of

night

Klaus Ib Jørgensen: Howl! - The Opera, score - 24

bro -ken a -gainst

by

flood

and

~

Black out ! time

Triumphantly

Leave stage in the dark

W & where

Tacet (tape continues for 90". Spotlight fluctuates randomly, then stops.)

Les Cazottes 13/10 - 2009

Klaus Ib Jørgensen: Howl! - The Opera, score - 25