Draw Close, But Speak Not (2011) by George Lam

DRAW CLOSE, BUT SPEAK NOT for orchestra

GEORGE LAM (2011)

ORCHESTRA 3 Flutes (3rd doubling optional Slide Whistle) Oboe 2 B-flat Clarinets B-flat Bass Clarinet 2 Bassoons Contrabassoon 4 F Horns 3 C Trumpets 3 Trombones Tuba Timpani (doubling Claves) Percussion (2 players) Roto-Toms (set of 2 or 3) 5 Temple Blocks Log Drums or Large Wood Blocks (set of 3 to 5) Large Lionâ&#x20AC;&#x2122;s Roar (preferably made from a bass drum or a large tom) Large Tam-Tam Snare Drum Bass Drum Siren (hand-crank)

Strings

The work lasts approximately 8 minutes.

DRAW CLOSE, BUT SPEAK NOT

Transposed Score

Flutes 1 2

! !" $#

Flute 3

!" $#

Oboe

!" $#

1 2

!" $#

Bass Clarinet in Bb

!" $#

Bassoons 1 2

% !" #

Clarinets in Bb

Contrabassoon

Horns in F 1 3

Trumpets 1 2

$ !" #

Trumpet 3

!" $#

Trombones 1 2

% !" #

Trombone 3

% !" #

Percussion 1 Percussion 2

+* # 1.

pp emerge

,# p

% !" #

!% !" " # ! & !" #

!" "& #

! !" Violin 1 $ #

Mesto (q. = c. 48) div. a 3. con sord., poco vib. free bowing throughout

$ !" # + ,, ## , #

Violin 2

(senza sord.) poco vib. free bowing throughout

' !" # ,#

Viola

div. (senza sord.) poco vib. free bowing throughout

# % !" ++, # ,#

Cello

Double Bass

! !" $# $ !" #

Timpani

GEORGE TSZ-KWAN LAM (2011)

Mesto (q. = c. 48)

% !" #

Horns in F 2 4

Tuba

for orchestra

# , ,, ##

# , ,#

# , ,, ## vibrate more intensely

# , ,, ##

vibrate more intensely

# , ,#

-- ##

less intensely

** ##

# , ,, ## ,#

** ##

# , ,# p

% !" # 20111128

! !

Fl. 1 2

Fl. 3

Ob.

Cl. 1 2

B. Cl.

Tpt. 1 2

Tpt. 3

Tbn. 1 2

B. Tbn.

Perc. 1 Perc. 2

Slide Whistle (ossia: flute, senza gliss.)

( ( ' '$ pp

emerge

gliss.

( ( &$

pp emerge

Vc.

(,$ *' $ ' $ $

,$ )$

*' $

*' $ p

+$ +$

+$ )$

emerge

*' $ '$# p

Vla.

&$ pp

!" "

Vln. II

20111128

(

! Vln. I !

Db.

! ! !

Timp.

pp emerge

Hn. 2 4

Tba.

Hn. 1 3

" %*&+ $ *' $ ' $ ($

Bsn. 1 2

Cbsn.

last two desks con sord.

( -' p

! %*& ++ $$ + $

+ ++ $$$

$ " %*&%*&+ +$

+ $$ +

gliss.

'+ $

gliss.

+ ++ $$$

*++ $$

++ $$

div. a 2.

,$ +$

++ $$ *' $ ' $

*' $

++ $$ gliss.

*' $

! "

Fl. 1 2

Fl. 3

Ob.

" '$

Cl. 1 2

# %*&) $

Bsn. 1 2

Hn. 1 3

Tpt. 1 2

Tpt. 3

Tbn. 1 2

B. Tbn.

Perc. 1 Perc. 2

.$ ,$

$ )$ p

(

gliss.

+ *(

*( $ pp

,$ p

*( $

!# " !

Vln. I

middle three desks con sord.

" )$

(last two desks)

Vln. II

Vc.

$ gliss.

'( $

gliss.

)$ $

last two desks, one player at a time

,, $$

# ,$

($#

" %*& , $ , $ & %*&,, $$

Vla.

p ! " ($

Db.

-$ !

! " "

Timp.

Hn. 2 4

Tba.

" %*&( $

B. Cl.

Cbsn.

($ 1.

# %*&, $

,, $$

,, $$ .,$$

,, $$

div.

*) $

,$ ,$ 20111128

! Fl. 1 2 "

Fl. 3

Ob.

Cl. 1 2

" " /#

B. Cl.

# $$%, # )#

Bsn. 1 2

Cbsn.

Hn. 1 3

# + - - * *#

$+ #

# +, # - - *

$,/ ##

- + *#

+# + + .

, ##

%$/, ##

Tpt. 1 2

Tpt. 3

Perc. 1 Perc. 2

Vln. I

# , ,#

$, # ,#

,# ,#

p warm

always stagger breathing

+# +#

1. cup mute

ppp

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Vc.

$$% , # # $$%, #

-# ,# # , ,, ## ,, ## ,# ,# ,#

all remaining desks

vibrate more intensely

+ # +#

mp espr.

+++

- -

++ ##

$, # $,#

,# ,#

- -

, ## ,

+ +

- -

%, #

/// ###

+++ ###

// ## /# /# /#

last five desks return, one player at a time vibrate less intensely

+# +#

gliss.

$, # $ ,# p

, ## ,

$+ #

2. pp sotto voce

!# "

Vla.

20111128

,## )

Vln. II

Db.

always stagger breathing

B. Tbn.

Timp.

pp sotto voce

# $$, ,#

p warm

Tba.

Tbn. 1 2

$+ #

, ##

emerge

! "

Hn. 2 4

/# emerge

! " ##$##$()%% 21

Fl. 1 2

Ob.

Cl. 1 2

B. Cl.

" %

Bsn. 1 2

Hn. 1 3

) %%

* %%

)( %%

" ##$) % )%

Tpt. 1 2

Tpt. 3

" %

Tbn. 1 2

+% !

Flute

(*%%

gradually intensify vibr.

- #* *

(% +%

) %% )

+% !

)% less vibr.

) %% )

gradually intensify vibr.

Vln. I

.% )%

) %% )

(% )%

*% /* % )% )%

*% (%

*% #* % ( %

)% )%

gliss.

&( %

gliss.

* * *%

(senza sord.)

pp sotto voce

very soft mallets

, * .%

" ##$) % ##$ ) % ' ##$) %% ##$ ) % %

ppp

! "

pp sotto voce

) %% )

Vc.

*% 1.

Vla.

Vln. II

Db.

less vibr.

!% Timp. "

Perc. 2

B. Tbn.

Perc. 1

#* % *( % , + %

) %% )

less vibr.

! " ##$) %% ##$ )

Hn. 2 4

Tba.

Fl. 3

Cbsn.

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gradually intensify vibr.

) %% ) )%

+% ) % #* % div. pp

)% )% ) %% ) ) %% ) )%

() %% )% )% ) %% ) ) %% ) )%

(tutti)

% *% * % ) )%

)% )%

) %% )

)% )% ) %% ) )%

4 gliss.

Two Large Woodblocks / Log Drums

-*, , ppp

)% )%

) %% ) )% 20111128

! "

Fl. 1 2

Fl. 3

Ob.

" "

Cl. 1 2

Bsn. 1 2

Hn. 1 3

+$ ,$

pp sotto voce, plainly

emerge

+$ ($

2. pp sotto voce, emerge

(+$ $

+$ ($

.- $

! "

*+ $ * +$

+ $$ +

+$ +$

Hn. 2 4

+$ +$

Tpt. 1 2

Tpt. 3

$ %&') $ Tbn. 1 2

Perc. 2

! Vln. I "

' %*'+ $$ %*' + $

Vc.

Db. 20111128

+ $$ + +$

&) $

gliss. 4

gliss.

2. (senza sord.)

- *- # / $ mp

, , - - --, , , 0--- , - , ,

0 - , , ,$ & ppp Bass Drum

div. a 3.

Vla.

" %*'+ + $$ %*' + $

Vln. II

, /$

1. (cup mute)

!$ Timp. " Perc. 1

B. Tbn.

Tba.

.) $

gliss.

-& $

, #

, - ,$ &

-& $

-& pp

+$ + + $$$ + + $$ + + $$ + +$

2. pp

B. Cl.

Cbsn.

*) $

-- ,

1 -& 0 -& 0 -& ,

- - - /$

---

0-0 - , & & p #

/$ )$ + + $$$ + + $$ + + $$ + +$

-$ #

/$ + + $$$ + + $$ + + $$ + +$

, , -

! " 30

Fl. 1 2

Ob.

Cl. 1 2

" "

B. Cl.

() $$ p

( $$ (

(1.)

Tpt. 3

( $$ (

% %'&) $ Tbn. 1 2

Vln. I

(-$$

dissolve

,$ !

less vibrato

)$ $) $ )$

) + $)

-$ dissolve

)# / $

) + + !

! ( $$ (

( $$ (

gliss.

more vibrato

( $$ (

)

1. (cup mute)

pp sotto voce

!% "

$) $ )$# / $

+ $) $ pp

! "

div.

" %$&( ( $$ %$& ( $

Vln. II

$ ' %$&%$&( ($

Vla.

Vc.

Db.

$) $

)

. ) )$

less vibrato

B. Tbn.

Perc. 2

+ ) !

Tpt. 1 2

Perc. 1

emerge

! " %$&( $$ %$& (

Timp.

Hn. 2 4

Tba.

Bsn. 1 2

Hn. 1 3

-($$

)$ * + ,$

Fl. 3

Cbsn.

$()$$

more vibrato

( $$ ( ($

( ( $$$ ( $ ( ($ ( $$ ( ($

$) $ pp

con sord.

# -$

-$ ( ( $$$ ( $ ( ($ ( $$ ( ($

) )$ 0

($ ( ( $$$ ( $ ( ($

( ( $$$ ( $ ( ($

con sord. (one player at a time, from back to front)

( $$ ( ($

( $$ ( ($ 20111128

! !

37 '$ (

Fl. 1 2

! %*&- $

Fl. 3

Ob.

Cl. 1 2

! !

Tpt. 3

Tbn. 1 2

Perc. 2

Vln. I

20111128

+ $$ +

- $$ -

+ $$ +

(

) +$

cup mute

) $$ )

+$ )$

- $$ -

+$ gliss.

- $$ -

/) $

1. f clarion

gliss.

pp sotto voce

( .

-$ p

con sord.

ad lib. pp

)$ )$

)$ ) )$ )

++ $$ +$

)) $$ )$

! %*&- $$ %*& - $ & %*&- $$ %*& $ " -$ -$

(

(tutti con sord.)

) $$ )

) ) )

) $$ )

(

)

($ ($

*) *) 0

Log Drums (yarn)

(

37 -$ -$

ad lib. f

1 - $$ 1-$ mf

/-$ mp

f full, clarion, molto vibr.

$ 1-$ -$ -$

. ,$

pp q.

Tam-Tam

tutti con sord. div.

+ $$ + -$ -$

$ $$$

Roto-toms (soft mallets)

! !

. .

ad lib. pp

, $ *) $ ) ( *) $

gliss.

) $$ )

Vc.

Vla.

(

)

*) $

-$ -$

!" "

Vln. II

Db.

2. mf

1. mf

B. Tbn.

Perc. 1

)$ *) $ )$

a 2.

Tpt. 1 2

Timp.

! ! %*&- $$ %*& -

Hn. 2 4

Tba.

Bsn. 1 2

Hn. 1 3

B. Cl.

Cbsn.

) ( ( .))

,$ +$

(

! $*%) # " (# 38

Fl. 1 2

" (#

Fl. 3

Slide Whistle (ossia: flute, senza gliss.)

B. Cl.

Bsn. 1 2

" )#

% )# )#

, ,

% )#

Tbn. 1 2

B. Tbn.

% )# "

Vc.

+ (# + (#

!% " !

% $/%0 # 0#

0# % 0# Db. "

(# , ## , , ## , ,#

,# $

+# , # $, # $ +# , #

$$ ad lib. mf

e+q.

11 + +

0# 0#

# , + + **0 0# , mf

0# .# /0 #

+ # -, #

1 + + (#

0 ## 0 0# 0# 0 0 ## 0# 0#

+ /,

1. senza sord.

)# )#

0 ## 0 0#

pp q.

0# 0#

(# !

,)## + # ( #

# , + + *0 0# ,

/, #

gliss.

, + + (#

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', + + ( #

gliss.

&0 #

gliss.

)## (

)## .

) ## )

$*% 0 # ! $*%0 # Vln. I "

Vla.

% 0#

Vln. II

+ (#

) ## )

(2.)

Perc. 2

" 0#

Tpt. 3

Perc. 1

" 0# 0#

Tpt. 1 2

Timp.

! # " 0 0#

Hn. 2 4

Tba.

gliss.

" -, #

Cl. 1 2

Hn. 1 3

*, #

-, #

,)# + ( #

Ob.

Cbsn.

(# )#

+ + .#

,# ,#

0# 0 0 ## 0# 0# 20111128

! Fl. 1 2 " 41

Ob.

Cl. 1 2

B. Cl.

" $

Bsn. 1 2

Hn. 1 3

+# /. . . 0# ### 2. f

0# 0# 0#

B. Tbn.

Timp.

Perc. 1

Perc. 2

Vln. I

!$ " !

- # .# .# 1.

Db.

20111128

2# p

0# 0#

32 # 2#

02##

.# 0# '

. ! ,#

( ") ,#

$4%2 2 ## 2# 2#

. .

0# 0#

$4% 2 ## 2 " $4%2 #

Vc.

32 # 32 #

. - +# .

! "

Vla.

.. - + #

Vln. II

. . . . . . . . . .#

&.% .% .% .% .% .% .% .% .% .% .% .% # +

con sord. (harmon, stem in)

- - +# gliss.

&. - - ,#

&.% .% .% .% .% .% .% .% .% .% .% .% .% .% .% .% .% .% .% .% .% .% .% .% -

1. straight mute

,# Claves

(roto-toms) 3

pp ad lib.

Temple Blocks (yarn)

5 5 -

pp ad lib.

2 ## 2 2#

2 2 ##

2# 2#

2 ## 2 2# 2#

- - +#

. .

f as fast as possible

Tba.

$ $4%0 #

Tbn. 1 2

#. #.

- #. #. . . . . . 1

Flute

Tpt. 3

" $3%$3%00 ##

Tpt. 1 2

### ....

f 5:3

! $3%0 # " 0#

Hn. 2 4

Fl. 3

Cbsn.

,# +#

2# 2#

+# 5 +#

! ! ()## )# " " 44

Fl. 1 2

2. f

Fl. 3

! )

Ob.

Tpt. 3

# -#

Tbn. 1 2

)

$ pp

Vc.

.) 2. p

! "& !

! !

(woodblocks)

(inside players) senza sord.

+ 0)

! $1% ( ## ( ! $1%( #

remove mutes one player at a time, from back to front

Vla.

B. Tbn.

Vln. II

*# ,#

! !

! *#

Vln. I

Tpt. 1 2

Perc. 2

1. p

Perc. 1

+ +

+ ) -#

Hn. 2 4

Timp.

+ +

Bsn. 1 2

Tba.

)

B. Cl.

Hn. 1 3

Cl. 1 2

Cbsn.

# $1%( # (#

(# # (# Db. "

( ## ( (# (# ( ( ## (# (#

* ## ** # *# ** ## *# *#

*# ) ## )) #

) ## )) #

(tutti senza sord.) Trem., gradually faster

Trem., gradually faster

)) ##

Trem., gradually faster

)# )#

Trem., gradually faster

20111128

! ! '$ 48

Fl. 1 2

Ob.

0) $ ) $ ! ),$$

Cl. 1 2

*, $

(2.)

1. pp

( ( -$ *) )$

-$ -$ .$

( $ *) $

) ) ( ( .$

) /) +

" 0) ) ) 0) -$ )$ $ $

"/$

-$ '$

( $ /) $

1. solo

( $ *) $ )$

,$ '$

-$ ) )$ (

'$ -$

2. p

! "$ !

*) $ )$# . $

Timpani

Tam-Tam

% -%$

)# ( ( . $

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Bass Drum

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(con sord.)

! &*') $ ) $ ) $

&0'Trem., , $ gradually slower , $$ ! &0', %% ,$ & %

% ) *%) $ ) ) )$ )

Trem., gradually slower ,$ # ,$ Db. " % mf

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, $$ ,

) $$ )

ord.

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Trem., gradually slower

20111128

) ( ( )$

*, $

! ! ($

Vc.

*) $ *) $

B. Tbn.

Vla.

Vln. II

-,$$

Tbn. 1 2

Vln. I

Tpt. 3

Perc. 2

0) $

! !

Tpt. 1 2

Perc. 1

)$ )$

2. pp

Hn. 2 4

Timp.

Bsn. 1 2

Tba.

,$ ,$

B. Cl.

Hn. 1 3

) ) +

Fl. 3

Cbsn.

(

*) ) ( *) )

**, , $$ ord.

ord. *, , $$

) )$

solo ord., senza sord.

!( (

pp emerge

,$ , $$ , , ,$$

*%) $

%) $ *) $

,$ %%

-$ -$

,$ ,$

, $$ , , ,$$

full, espr.

, $$ , , ,$$

*) $ mf

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)#$ p

! "

Fl. 1 2

Fl. 3

Ob.

Cl. 1 2

B. Cl.

(' # f

Bsn. 1 2

Cbsn.

Hn. 1 3

! "

Tpt. 1 2

Tbn. 1 2

B. Tbn.

# "

' + + &#

!# "

Vla.

Vc.

Db.

' + +

+ ' ' p

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*# *#

+ (' '

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$ '#

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$(%* # " &

)# &

'# &

'# & +# ! '# '# + # & !

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& )&#

Snare (brushes, slow circular strokes)

gradually faster bows, to tremolo

Vln. II

+ ('

! " Vln. I

*## ,

# $(%) #

! Perc. 1 Perc. 2

(' #

Tpt. 3

Timp.

)'##

+ + &#

Hn. 2 4

Tba.

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# $(%* # $(% * #

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senza sord.

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add one player at a time, senza sord., from front to back

)) ##

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sotto voce

# gliss. #

tutti

*# *# *# *#

ppp sotto voce

ppp sotto voce 20111128

61 & " (' ' %# f

! ! 58

Fl. 1 2

Fl. 3

Cl. 1 2

B. Cl.

" ! *# Hn. 1 3 ! *#

Tbn. 1 2

B. Tbn.

Timp.

Perc. 1

Perc. 2

)# )#

* * ##

)) ##

Vla.

Vc.

Db. 20111128

)) ##

# * *#

p warm

*# *#

'' , ,

, %#

*# *#

((* * ##

* * ##

p warm

+# .* #

p warm

senza sord.

2. mf warm

" ('#

1. f

*# *# *# *#

p warm

senza sord.

!# +# "

'# &&

&& $ *#

-' gliss. & & &

gliss.

gradually faster strokes

)# &&

& *& #

'# &&

& *& #

&& #

(*#

(*# &&

*# &&

$-%* # ! && *# ! *# && #

# *# *#

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(( * * ## #

gliss.

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gradually faster bows

-) ## )

' ## '

gradually faster bows ord.

*# & '&#

& *& #

& '&

Lg. Lion's Roar

, ' p

*# &&

*# && ff

* *##

gradually faster bows

*# p warm &# *

&& gliss & # . &#

! !

Vln. II

'' ##

' , , '

p warm

senza sord.

gradually faster bows

Vln. I

'# '#

Tpt. 3

Tpt. 1 2

Tba.

*# *#

! $-%* # *#

Hn. 2 4

(' '#

Cbsn.

* * ##

Bsn. 1 2

*'##( ' # '#

Ob.

& '' '# ' ' ')## & f " ( "' 5' ' ' ' ,

* *##

' # #

# gliss. # # #

##gliss. # #

*# *# f

* ## * f

, , %#

*# *# * ## *

&& #

, %#

&& #

gliss.

&& #

! " 63

Fl. 1 2

Fl. 3

Ob.

$(% ' &

( $+ + + + +

$(% *+ & ( + 1.

Cl. 1 2

B. Cl.

Bsn. 1 2

Cbsn.

Hn. 1 3

! " "

Hn. 2 4

Tpt. 3

' && '

B. Tbn.

!% Timp. "

Vln. I

" "

Vln. II

Vla.

Vc.

'& + && +

* & ++ && p

+& +&

*& + & .+ & p

((

+& +&

++ && ++ && ++ &&

- &&

(

gliss.

& -&

, & ./++ &&

'& '&

.+ &

-& -&

' && '

- && p

' && '

$ . * +

gliss.

-& ( +(&

( )&Snare, con sord., sticks '(&

ppp

( -( &

( $+ & ( + & '&

$(% + & ((

$ +& ( + & '& ( ( ((

-& ((

$(%$(% ++ &&

++&& ( $+ && (+ ( ff

)& - && - && -

gradually slower bows

( '(&

( '(& p

( '(&

gradually slower bows

'' && ((

gradually faster bows

.+ f

(- && (( +&

.+ ' &

- && -

gradually slower bows

- && -

gradually slower bows

(-&

+ & +#& , &

pp Bass Drum

$(% + &

.+ &

' && '

+ && +

.+ * +

-& ( +(&

( +( )&

* ,& !

* .+ .+ p

gliss.

'+ & # '&

ppp sotto voce

-& p

((-- && ((

-- && ((

.- & . -&

- && -

pp sotto voce

ppp

pp poss.

(-&

+ && +

+ & .+ & +&

f clarion

- &&

& -&

1. solo

+& +& +& + & .+ & + &

' && '

'& '&

( -( &

- && -

)& -&

-& gliss.

+& +& ++ && + & + & mf

'& '& (

-& -&

! "

Db.

Perc. 2

'& + *

'& '&

Perc. 1

$(% - & % *& + &

Tbn. 1 2

Tba.

+& ,&

- && " $(%$(%-

Tpt. 1 2

-& - && -& -&

-& (

-& -&

trem.

- && -

p 20111128

! " 68

Fl. 1 2

Fl. 3

Ob.

Cl. 1 2

" "

B. Cl.

Bsn. 1 2

Cbsn.

Hn. 1 3

Tpt. 1 2

Tpt. 3

Tbn. 1 2

B. Tbn.

Tba.

Timp.

Perc. 1 Perc. 2

Vla.

, /( $f 2.

Db. 20111128

.$ -$ p

(

, , , $ /( $ f

$ gliss.

, (( $$ mf

+ +$$

%/&%/&++ $$ ' "

++ $$ '

%)& ( $ " ' , , . +$ +$

$ # %)&%)&+ + $ "

($ /( $ ($

'$ !

.$ !

+$ +$

-$ -$

--$$

- $$ -

-$ -$

* (( $$

+ +$$

fespr.

($ )( , $f

( , ,

-- $$

+$ +$ +$ +$

($ (($$ ( $$ (

$ (-$ ( ( ($

-$(

-- $$

(( $$

( $ (#$ '$ mp

(B.D.)

+ +$$

(( )+ $ , ) +$ p

$ ( , /+ +$ ( p

, , .$

((

( , .$

+ +$$ p

( , )+ $ p

(

+$ p

+ +$$

++ $$ ' ($

enter one at a time, from back to front ord., molto vib. (fast / intense)

(

Siren

++ $$ ' '$

+$ +$

($ ( , , )( ( ( ($ mf

$ , )( ($

/%/& + + $$

) 2.( ( $ ( $

$ 0 /( $ (($ , , (($ ( $ p

( (

-$ ,

f )( $

+$ +$

!# " !

($ -$

$ ( $ )( $ ($ ( , ($

+$ +$

%)&- $

a 2.

%)&+ $ %)&+ $

Vc.

%)&+ $ +$

(*( ($

)(

'$ -$

- $$

! Vln. I " Vln. II

+$ '$

! "

Hn. 2 4

p emerge

+$ +$ +$ +$

++ $$ ' -$ mf

/+$ '' f

+$ +$ +$ +$

! " 73

Fl. 1 2

# )( ' &$

( ($ ($ ($ )( ( ( (( (( ( )( ( ' ' # # 3 f #5 + )( ( ( ( (

Fl. 3

*$ ($

# ((((

&$ (

' ' *$

($ ($ ( 3(( ( ( '

Ob.

Cl. 1 2

" "

B. Cl.

Bsn. 1 2

Cbsn.

Hn. 1 3

Tpt. 1 2

Tpt. 3

Tbn. 1 2

B. Tbn.

$ "

!$ Timp. " ! Perc. 1 Perc. 2

! Vln. I " Vln. II

Vla.

Vc.

" " $

($ -( $

pĂŹu f

&$ &$

/( $

. .$$

$ )). .$ . .$$

. .$$

$ . .$

. .$$

con sord. (cup)

$ . .$

' *$

. .$$

/. $

(.$$ ( ' ' &$

)( ($ ($ ' 1. senza sord.

con sord. (cup)

' ' ' $ ($ ($' ''$

'' gliss. $

.$ ' .' $

+(( (( ( '

l.v.

' .' $

###

( $ (#$

Bass Drum

con sord.

Roto-toms

gliss.

' ' *$ *$

$ $ %/&%/&. . $ Db. "

(

$ . .$

%/&. $

. $$ .

(

$ . .$

%)& . $ ''

+/( ( ($

con sord. (cup)

%)&%)&.. $$ '

.. $$

%)& . $ %)& . $

$ (( ' *

+/(( (( (( $ $

con sord. (cup)

.. $$

$ %)&. .$

(

' *$

+ /( ( ($ f

! %/&%/&. . $$ "

Hn. 2 4

Tba.

.$ .$

.. $$ ' .$ ''

tutti

. $$ . .$ .$

' .' $

' ' &$ *$

### *$

.$ .$ .. $$ ' f

.$ ''

. $$ . .$ .$

( $ (#$ * $

.$ .$

.. $$ '

.$ ''

.$ .$

. $$ .

. $$ . p

20111128

! Fl. 1 2 "

Fl. 3

Ob.

Cl. 1 2

B. Cl.

Bsn. 1 2

Cbsn.

! Hn. 1 3 " Hn. 2 4

Tpt. 3

Perc. 1

Perc. 2

,, / / * $

" %&&, / / * $

+ , , -$ &, , - $

. $$ .

+ , , -$

,, $,, ,, -- $$

$ . .$

. $$ .

,, ,, ,, -- $$ $ f

. - $$ gliss. - $

2. senza sord. f

gliss.

& -. $$ pìu f

, ,$

gliss.

,$ 0$

3 &, ,

+,, ,$

/ / *$ ! gliss. $ $

Vla.

" #

$f ,,$ &, ,,$$ &, $ -,$$ 1 $ .$

&- $

.$ /$ , $ , $

Tam-tam

' -'$

ppp

.$ '' ' ,'$

,#/ / * $

, 2,

/ ', '

, f

senza sord.

&. . $$

. $$ .

*$ ,$ -$

, $ &, $ - $

$ . .$

0$ / , 2.

senza sord.

pìu f

(

20111128

,, $$

senza sord.

gliss. $ % - $$

, / , ,$

,,$$

. . $$

!# "

Vln. II

Db.

. .$$

! Vln. I "

Vc.

$ 0$

B. Tbn.

Timp.

-- $$

Tbn. 1 2

--$$

%%&, " %%& , / ,, ,, $$ "

Tpt. 1 2

Tba.

,, /%%,, ,,$$

+ , , -$

,$ ''

'' $

,$ '' $

'' $

, f

(siren)

%%&%%& -- $$

%%&%%&-- $$ '

, ' / / *$ !

# %&&%&&,, $$ "

/ / *$ !

,, ' / / *$

%%& - $ ' - $$ -

gliss.

,$ ,$

&, / / * $ &, ! gliss.

)

&, &, !

#f ! - /. Fl. 1 2 " ,&

# .

Fl. 3

. /. . . . .1& . . . .& 0 f $

..& /. $

" 3&

p emerge

Cl. 1 2

B. Cl.

" %

Bsn. 1 2

Cbsn.

'&( 1 &

'&(3 3 &&

Timp.

Perc. 1

Perc. 2

2& 1&

$ ))))))) " '&(.&. . . . . . . . . , &

!% )) & " mf

B.D.

%3$ & ! &3 & Vln. I " )

)) &

.#&

%$ & 3 3& " ))

con sord. (practice mute, half-on*)

% )) 3 3 && ff

con sord. (practice mute, half-on*)

Vc.

- - ,&

. -& . . &

& 3 3&

3 3 &&

3 && 3 p

( ,& ! ) .) .) .) .) .) .) .) .) .) .) .) .) .) .) .) .) .) .) .) & . , .

3 3 &&

% 3& Db. " 3& ff

3 && 3 & 3 3&

2& 2&

)) &

3& )) &

Vla.

dissolve

rall.

. - -& . & 3 &

con sord. (practice mute, half-on*)

Vln. II

2.&

3 && 3

B. Tbn.

Tba.

% '&(3 3 &&

Tbn. 1 2

" '&.1 &

Tpt. 3

& " 3 3&

Tpt. 1 2

& .1& - - ,

dissolve

! 3 && 3 Hn. 1 3 " Hn. 2 4

solo

Ob.

.& . .1&&

3 && 3 )

.#&

) .)& ,& f

) 1)&

) .)

- ,& ! . & .#& , & p

! l.v.

3 && 3 )

& 3 3& )) 3& )) 3 3 && f

3& 3& f

* The practice mute should only partially cover the bridge. Alternatively, use a fully-installed conventional mute.

2& 2&

3& - & .#& , & pp rall.

3 && 3

& 3 3& ))

& 3 3&

)) 3 3 && p

3& 3& p

3 3 && 3& 3&

20111128

! Fl. 1 2 "

q. = c. 36

Fl. 3

" &&

Ob.

Cl. 1 2

B. Cl.

Hn. 1 3

Tpt. 3

B. Tbn.

' '

,& '

q. = c. 36

,& ,&

, && ,

, , &&

$#% ,& ! $-%, & Vln. I " $#% , && " , % #

Vc.

# ,& ,&

' '

(sticks)

ppp

'& '

,& '

Vla.

!# & . "

Vln. II

! Perc. 1 $

20111128

' )

# $-%, , &&

Tbn. 1 2

Db.

& " , ,& "

Perc. 2

Tpt. 1 2

Timp.

' )

! , && " ,

Hn. 2 4

Tba.

( '&

Bsn. 1 2

Cbsn.

,& ,&

,& '

, && ,

,& ,&

'& mf espr.

Fl. 1 2

! " "

Fl. 3

Ob.

Cl. 1 2

B. Cl.

Hn. 1 3

Tpt. 1 2

Tpt. 3

Tbn. 1 2

B. Tbn.

Perc. 1

Perc. 2

*' p

) ) +

* ''

) )

ppp

!# &' " (( !$

*' (

(( '

( )'(

% #

Vc.

*#' ( '

rall.

%$& ' &' " &

Vla.

* ' *#' ( '

Vln. II

(' !

(lowest note possible on drum)

(B.D.)

! Vln. I "

Db.

! " "

Timp.

Hn. 2 4

Tba.

Bsn. 1 2

Cbsn.

rall.

& '' &

# &' &'

&' &'

! ! !

20111128

Hong Kong-born composer George Tsz-Kwan Lam (b. 1981) grew up in Boston, Massachusetts, and studied composition at Duke University, the Peabody Conservatory of Music, and Boston University, where his teachers included Nicholas Maw, Christopher Theofanidis, Charles Fussell, Stephen Jaffe, and Scott Lindroth. His recent works explore the intersection between music, theater, and the documentary. George’s one-act opera The Persistence of Smoke (2011), with a libretto by North Carolina playwright John Justice, focused on the once-thriving cigarette industry in Durham (NC), inspired by collected interviews, oral histories and archival materials. The opera was staged in April 2011 at Golden Belt, the site of a former cotton mill that manufactured bags for Bull Durham tobacco. In addition, George has collaborated regularly with Chicago writer Benjamin Rogers on works for chamber ensembles, chorus, and orchestra. George’s music has been performed by Contemporary Musiking (Hong Kong), Volti (San Francisco, CA), American Opera Projects (Brooklyn, NY), Red Clay Saxophone Quartet (Greensboro, NC), AM/PM Saxophone Quartet, Boston University Concert Band, Charles River Wind Ensemble (Boston, MA), Aspen Contemporary Ensemble, Hong Kong Voices and the Hong Kong Sinfonietta. George was the recipient of an American Music Center grant for his orchestral work The Queen's Gramophone (2009), as well as the 2010-11 Evan V. Frankel Fellowship in Humanities at Duke University. Recent fellowships and residencies include the Aspen Music Festival Schumann Fellowship, the Dartington International Summer School Angus Allnatt Foundation Fellowship, American Opera Projects’ “Composers & The Voice” workshop series, the Virginia Arts Festival John Duffy Composers Institute, and the Volti Choral Arts Laboratory commissioning and residency program. Along with composer Ruby Fulton, George Lam is a founding company member and co-artistic director of Rhymes With Opera.