VARIATIONS ON GEORGE LAM BENJAMIN ROGERS
MANCHESTER
lighth ou se
VARIATIONS ON chamber concerto for seven players words by Benjamin Rogers music by George Lam created for the 2006 Aspen Contemporary Ensemble and the 2006 Aspen Music Festival and School
TABLE OF CONTENTS Instrumentation and Duration ...............................ii Technical Information ............................................iii Libretto....................................................................iv Notes on the Score ................................................ix Program Notes .......................................................ix Acknowledgements................................................ix About the Composer ..............................................ix Full Score................................................................ 1
Š 2006 Benjamin Rogers and George Lam (ASCAP), all rights reserved. For more information, please visit http://www.gtlam.com, or e-mail georgelam@gmail.com.
INSTRUMENTATION* Flute Clarinet in B-flat Piano Percussion Vibraphone (motor is not used) 5 Wood Blocks (or Temple Blocks) 2 pairs of Castanets (different pitches, mounted) Small Suspended Cymbal Large Suspended Cymbal‡ ) Crotales (only the lower octave: Dinner Bell Finger Cymbal Slapstick Violin Viola ‘Cello * all players both speak and play throughout this piece. ‡ a difference in color between the two cymbals is what’s needed; the smaller cymbal should be brighter than the larger cymbal.
This score is written in C, with the exception of the crotales, which sound two octaves above.
DURATION Approximately six and a half minutes.
ii
TECHNICAL INFORMATION Variations On makes use of three microphones to amplify a spoken libretto. Microphones are placed between the flute and the clarinet, between the violin and the viola, and directly in front of the cellist’s mouth. Since the microphones will be shared in the earlier two cases between different players, it is preferred that all players (except the cellist and the pianist) stand for the duration of the performance. The cellist should be seated on a platform. ) NOTE: The Percussionist uses the microphone stationed between the flutist and the clarinetist, and the Pianist similarly uses the microphone between the violinist and the violist. Ample room should be provided at these microphones to facilitate this. When the part calls for spoken text to be amplified (notated with an “A” in the part), the player should step forward to the microphone to speak their part. The level of amplification should be just enough so that it can be heard over the concurrent instrumental music. When text is not amplified (no “A”), the speaker should use care to project his or her sound, at times speaking over the instrumental music. A suggested setup: Pno. Perc.
Vlc. Mic 2
Clr. Mic 1
Vln. Mic 3
Fl.
Vla.
Cond.
Other possible variations on the setup could switch the positions of the piano and the percussion, or bring both stations downstage, placed on either sides of the ensemble. Since Variations On uses both amplified and unamplified voices throughout, the choice of microphone needs to minimize amplification of sounds picked up from areas not directly in front of the microphone. Speaker and monitor placements should enable the players (and especially the conductor) to hear the amplified spoken text over the instrumental music. iii
LIBRETTO The libretto combines five different, unique strains of thought. These pieces of text are sometimes presented separately and clearly, and other times overlapped and muddied. The resulting effect is akin to concurrent overhearing in (very) different corners of a party. It is strongly suggested that the entire ensemble thoroughly read these five strains, and more importantly to create unique characters for the text, and to convey these characters during the performance. The ensemble should also experiment with different possibilities of interpretations of the texts during the rehearsal process. What follows are the full texts of the five voices, in no particular order.
1
Drop Dead (This is one side of a phone conversation.) “I swear to god she's going to live forever.” “Sure it's a good thing, but it would be better if I didn't have to waste my weekends taking care of her. It's not like I don't have my own problems to deal with.” “Well who else would do it? She has no friends, she is too selfish for friends.” “No I won't. If I ever get like that I need to drop dead.” “Of course I'm upset. Didn't I tell you about the cat?” “It had a tumor the size of a soccer ball on its belly. But in order to operate the doctor said it needed to gain some weight. So I had to go over to her house 5 times a day and feed it this special formula.” “No, she said it was going to drop dead anyway so why should she bother feeding it.” “Well, I fed it all day Saturday and 4 times on Sunday. But when I went over last night for the final dose...it was dead.” “The opposite. She actually broke down and began to wail about her poor cat and how could god take him from her. I'll tell you who god needs to take…”
iv
2
Prescription Acetaminophen for headaches, both natural and unnatural. Prevacid for stomach, acid reflux related pain, eating too much or too little. Lexapro for anxiety, fictional or nonfictional. Antibiotics for sinus-related infections, severe or insignificant. Vitamins and decongestants taken as needed. Alcohol for everything else.
3
Gone Puppy love. I named him Chip. He had a predominantly black coat of hair on top which was complimented by the white hair on his undersides. His face had little tan spots under his eye and his tail was a gorgeous, shaggy spiral of black with a white stripe down the middle. That bushy tail was his trademark--his calling card. Chip pranced like a deer. He played frisbee, tag, and slept in my tent whenever I decided to camp out in the backyard. But just like me, Chip eventually grew restless on our farm. He began to take weeklong trips, but he would always came back. I would see his beautiful tail moving through the field, and then he'd pounce up into my arms and lick my face for hours. Then one day he didn't return. His food bowl left untouched. Four years later Chip showed up, pouncing and licking. But he had no tail. Just a stub, flapping in excitement. I spent the night sleeping next to him on the grass, searching his face for a clue as to what happened. The only thing he could tell me was that the world was too big to stay in one place. And that it isn't good to be too attached to anything. In the morning he left, never to return.
4
Found Objects Yellow radio sits on the bicycle’s handlebars. A quaint system playing that song I somehow associate with you although we are hardly connected. The man riding is making no statement at all, just spinning wheels to facilitate his travel. Portability means different things to different people. Birds align on rooftops until one decides to take off. A flying circus. I have no place to go and
v
my ears are getting cold. Split in two, left behind, something like a fork and spoon lies perfectly framed between the cracks. White against the concrete. I'm not sure which exists. To pick it up would be responsible; I chose to make a photograph. Evidence makes meaning. The street smells like garbage. At home again, or not at all, dust scatters in the light. The neighbor lets his dog bark. I am at a loss.
5
Neurotics Anonymous ...and then showering and going to the allergist and doing taxes and rushing home to clean up and do some work to allow time to eat and exercise and find a job and settle down and get a 401K plan or Roth IRA or whatever the financial planner thinks you should get so you can make joint decisions and be smart with money and no dairy or carbs or smoking or drinking or anything else that might potentially cause later harm because the future is all you have or most of what you should worry about because who knows where social security might be and the government these days can't seem to manage anything so look both ways and get saved or donate something to charity and save receipts for tax write-offs and good karma and nuclear families not nuclear bombs 'cause what is war really good for and in the end the love...
vi
NOTES ON THE SCORE •
Throughout this piece, the spoken text functions as a part the ensemble’s sound. Sometimes the voices are more prominent, at other times they are part of the texture or in the background. Hence, differences in the dynamics and amplification of the spoken parts need to be brought out. The ensemble is also encouraged to experiment with balance and interpretation of both the spoken texts and the instrumental music.
•
When a rhythm is given for a spoken text, “x” noteheads give a contour of the text, where higher notes should be spoken at a higher pitch, lower ones with a lower pitch, etc.
2
f
Well?
•
più f
Who else would do it?
Where the exact rhythm is not indicated, an arrow is provided to show the approximate duration for a given text. Speak with a natural rhythm and contour, unless otherwise indicated. In this notation, the words are arranged spatially as a guide for where the words can fall during each measure. A f complaining, loudly
I swear to God she's going to live forever.
In pages 44 through 46, dotted lines show that there should be absolutely no break between the different strains of “Prescription”. Where in other cases these arrows give an approximate duration of a spoken text, here the durations should be strictly followed: no more, no less. •
An “A” indicates that the text enclosed in the bracket needs to be amplified. In these cases, the player should step forward to his or her assigned microphone to speak the text. These amplified passages should be heard over the ensemble (but not overpoweringly), and should result in a different sound from the unamplified passages. In certain cases, a player is instructed to gradually move towards or away from the microphone, in effect creating a crescendo or decrescendo through changing the distance between the player and the microphone. These cases are indicated by an
vii
“A” and a dotted arrow, as well as written instructions.
A
(gradually speak into mic.)
White
•
against
the
concrete.
There are three main types of speaking used in this piece: Whisper Breathy Full Voice
(breath only) (breath and pitch/tone) (no breath)
Whispering should be performed in the style of an audible stage whisper. Here, dynamics are given in parentheses, where fortissimo is a louder, more breathy whisper than forte. When a text is marked as “breathy”, it should be spoken like a stage whisper, but with a hint of the pitch and tone of normal speech, like someone who is out of breath. •
Here are the sounding pitches of the string natural harmonics that are used in this piece:
I.
•
•
viii
Violin, m. 81
I.
'Cello, m. 85
II.
Viola, m. 86
Where spoken text is given, dynamics and other instructions are placed above the staff, while the words of the text are placed below.
means decrescendo al niente.
PROGRAM NOTES Variations On (2006) is a chamber concerto for seven players, and was written for the 2006 Aspen Music Festival and the Aspen Contemporary Ensemble. The short movement makes use of five very different strains of text, which are all spoken by the members of the ensemble. Sometimes fragments of these texts overlap. Sometimes the text is incomprehensible. Sometimes the voices are heard over the accompanying music, and at other times the music takes over and becomes the focus. The result could be described as concurrently overhearing different corners of a decidedly very different type of party. The creative process for Variations On began with my approaching Benjamin Rogers, a writer friend of mine living in Chicago, in March of 2006. We brainstormed ideas for the piece, the texts, the music, the title. Benjamin sends me various sketches of text, and I send him piano renditions of musical fragments for each text. In the end, we decided on five different voices for the piece, and I set out to integrate all of these voices into the work. Finally, what exactly happens when you hear words and music together? How does one change the meaning of the other?
ACKNOWLEDGEMENTS Special thanks to Benjamin Rogers, who eventually realized that this piece wasn’t as “free” as I had initially led him to believe.
ABOUT THE COMPOSER George Lam (b. 1981) is an active composer based in Durham, North Carolina, where he is currently a PhD student in music composition at Duke University, studying with Stephen Jaffe and Scott Lindroth. George is especially interested in writing music for the theater and film. Recent dramatic works include The Fair Youth of the Sonnets (2005), presented by the Peabody Conservatory of Music Opera Workshop, and A State of Affairs (2003), a one-act opera presented by the Boston University School of Music. Upcoming projects include collaborations with the Red Clay Saxophone Quartet, the Boston University Concert Band, and the Duke University Department of Theater Studies. For more information, and to listen to recent works, please visit http://www.gtlam.com.
ix
nothing more restful than chamber music. - Luciano Berio, Sinfonia
x
for the 2006 aspen contemporary ensemble
variations on
chamber concerto for seven players
benjamin rogers
flute
george lam (2006)
q. = 69
f
(speak)
Vi - ta- mins!
clarinet in Bb
percussion
violin
q. = 69
piano
(speak)
A *
2
p
who
left
something
in
two,
behind,
viola
(speak)
2
cello
*
A
4
0
1
(K) plan or a Roth
I
R
it's a good
A
a
or
thing,
what - ev - er the
1
2
3
Amplified by speaking into a microphone.
but...
denotes passages where the text is
like
with a shrug, because it really is f not a good thing at all
(speak) f rhythmically, like a TV announcer
a
a - cid
Sure
else?
For
(speak) f
Split
Pre - va - cid!
Well?
Vi - ta- mins! f
(speak)
fi
-
© 2006 George Lam (ASCAP) and Benjamin Rogers. All Rights Reserved. http://www.gtlam.com - georgelam@gmail.com
2
fl.
più f
But it would be better if...
cl.
re - flux
Who else would do it?
she has
no
friends,
re - la - ted?
A
perc.
p
f
She's
ta - ken
as
4
0
ta - ken as
too
nee - ded?
f (exhale)
2
1
K
A
(gradually speak into mic.)
pno.
fork
and
spoon
lies
perfectly
framed
vln.
nan - cial plan - ner
vc.
the
cracks.
White
against
the
concrete.
più f
f
2
Well?
vla.
between
Who else would do it?
thinks you
should
get...
A - ce - to -
Of
f clearly upset
course
I'm
upset!
(whisper*) pp
and 4
5
* All whispering in this piece should be spoken in an audible stage whisper.
find 6
a
job
and
3
fl. selfish
cl.
A mf
for
friends.
No
-
perc.
I
won't.
If I ever get like
that
I
ff
A
ce
-
-
to...
Five times a
need
to...
f complaining
day!
Five times a day!
ff
She has no friends! (gradually move away from mic.)
pno.
I'm not
sure
which
vln.
exists.
To
pick
it
up
would
be
make a photo...
ff
at home a - gain. f
Who elsewould do
vc.
to
mi - no -phen
vla.
chose
ff
p
responsible; I
it?
ff
Well?
Fic - tio - nal
f
or
non
-
(gradually use full voice)
settle
down
and 7
get
a
401(K)
plan
or 8
Roth
IRA
or
whatever 9
the
4
fl.
11
p
Two...
cl.
who
knows
where
social
security
might
be
(move upstage to the percussion station.)
f exactly as the beginning
Split
11 f
A f
Well?
planner 10
thinks
you
left
f
Split
should
f
Split
mf (full voice)
financial
two,
get
you 11
can
in
two
in
so
behind,
need - ed
mf
in
fic - tio - nal...?
too sel - fish!
As
vc.
vln.
vla.
mf calm explanation
Be - cause
perc.
pno.
A
make 12
two
5
fl.
cl.
Five
times
a
day.
f
and the government these days
perc.
can't
decisive ff
No!
seem
to
manage
anything
so
look
both
ways
and
get
saved
more deliberate
pno.
something like a fork and spoon lies
vla.
vc.
perfectly framed...
vln.
mf "how quaint!"
Per - fect - ly
2
f
two... 13
2
p
four... 14
15
framed...
6
fl.
... but now giving it another chance mp
p rhythmic
Well...
cl.
or
donate
perc.
pno.
something
to
charity
mf
and
I
save
receipts
tax
write-offs
and
good
him
p questioning the flutist
karma
and...
Chip!
A p like a grandparent telling a story to a child
But
the...
Chip!
f "where are you?"
for
framed be -tween the cracks,
2
named
just
No?
vc.
Per - fect - ly
vln.
vla.
like
me,
Chip
eventually
p
Be
-
tween
16
17
18
grew
the
7
fl.
giddy ff
f
An - ti - bi - o - tics!
cl.
desperate ff
2
f
f
f declamatory
-
ce -
to...
becoming more deliberate
restless
on
our
farm.
He
cracks
vc.
(full voice) f
4
Wood Blocks
An - ti - bi - o - tics!
A
f
vla.
(play)
Chip!
vln.
(whispered) ( f )*
An - ti - bi - o - tics!
perc.
pno.
Pup - py love!
( ff )
began
take
weeklong
A
trips,
(whispered) (f)
(full voice)
An - ti - bi - o tics...
vi
-
ta
he
but
-
mins...
f
...donate 19
to
20
something
to
charity
and
save
receipts
21
* dynamics in parentheses denote dynamics within a stage whisper, where ( ff ) is a louder, more breathy whisper than ( f ).
for
3
8
23 fl.
perc.
...or non
cl.
,
(tutti off on 1)
-
fic
-
tion
-
ff
al!
Wood Blocks
3
Castanets
p
3
ff
3 f
p
p
ff
f
A - ce - to - mi - no - phen for head- aches...
I swear to God she's going to live forever.
f
pno.
A f complaining, loudly
p
23 more and more deliberate! vln. would
vla.
vc.
always
f
come
back.
Vi
-
ff
ta... p
tax
,
(tutti off on 1)
write-offs
(in the background) pp storytelling, as before
He would always
23
24
and... 22
9
fl.
skeptical p
Sure
cl.
perc.
vla.
vc.
Wood Blocks
p
back.
I
25
would
see
his
beautiful
A
tail
moving
through
the
An - ti - bi - o - tics
f skeptical
Chip?
field...
(breathy) p
2
p scared
drifting off to sleep
come
p
(start to move upstage towards the piano.)
3 3
f
Chip?
Dinner Bell
vln.
(with flutist)
Sure
f
pno.
(mime speaking*)
for si - nus re
Sure
it's
a
good
26
* Move mouth as if speaking, complete with dynamics and articulations, but do not actually produce sound.
f
-
thing,
27
la
-
10
...and trying to convince yourself. mp
fl. cl.
a
it's
a
good thing...
good thing...
Dinner Bell 3 3
Wood Blocks
f
p mf mf
Castanets
(continue moving upstage)
pno.
it's
perc.
Hand Clap
f
p
vln.
A vc.
-
2
ted...
mf
But it
would
be 28
better
if
I
didn't
have
to
spend 29
my
time taking
care
f
ff
vla.
p
of
her. 30
11
31
fl.
cl.
perc.
pno.
vla.
vc.
Castanets
f
(arrive at the piano)
p
p
ff
(speak)
f
Who?
31
vln.
Wood Blocks
A
It's not like I don't have my own problems to deal with. 31
32
A
f
Well?
Well who else would do it? 33
Who?
A
She has
12
fl.
f
2
Hand Clap
f
Well? (speak out loud) f declamatory
cl.
perc.
She has no friends,
Wood Blocks
mf
f mf Castanets
vla.
vc.
3
p mf
Hand Clap
ff
fish...
f
f
pick
it
up
would
be
responsible...
f
mf reminiscent
A mf
I chose to
f
If I e - ver get like that I... 35
sel -
Hand Clap
no friends, she is too selfish for friends.
p
mf
3
To
34
3
sub. f
f
2
too
p
A
for...
No!
pno.
vln.
she's too self -ish
ff
36
I...
37
13
fl. cl.
perc.
p
2
f
ff
f
(hysterical laughter) ff
Slapstick
ff
f
ff
(speak:) f
Drop dead!
vc.
e - ver get like that I 38
(applaud) with great enthusiasm
40 Hand Clap
I
f
ff
if
(applaud) with great enthusiasm
ff
f
make a photograph.
A
2
f
(clap:)
p
f
(applaud)
A ha ha...
vla.
too...
pno.
vln.
40
Hand Clap
(away from mic.)
f
need to drop dead! 39
40
14
Più mosso fl. cl.
with great enthusiasm
Aff
(speak)
Of
perc.
(yelling over the applause) very upset
course
A f
upset!
p
f
the cat?
NO ACCENTS! Unless indicated otherwise.
3
ff
(play) pp
(applaud)
mp
ff
Did -n't I tell you about
Hand Clap
2
pno.
I'm
q = 76
3
3
emerge from the applause
Più mosso
vln.
q = 76
(hysterical laughter)
f
vla.
(speak)
A
(play)
p f
3
Lex - a - pro,
vc.
(applaud) with great enthusiasm
41
42
43
44
3
for an -
15
fl.
cl.
perc.
A mf a bit calmer
It
had
a
tumor
the
size
3
3
3
p
pno.
3
3
3
3
3
vla.
xi - e - ty.
(play)
3 mf
3
3
3
45
mf
vc.
a
3
vln.
of
46
f
16
fl.
cl.
perc.
A
soccer
ball
on
its
belly.
But in order to operate the doctor said it needed to gain
(play) Vibraphone
(motor off)
mf l.v.
3
3
3
3
3
3
3
3
pno.
vln.
vla.
3
vc.
3
3
3
3
mp
3
3
(play)
3
pizz.
f
48
3
p
f
47
17
fl. cl.
(harmonic) (play)
p
f
some weight.
So I had to go over to her house
Crotales
perc.
5 times a day and feed it this special formula.
mp l.v.
Vibes
f l.v.
3
3
3
3
3
3
3
3
pno.
vln.
vla.
vc.
3
p
f
mf
49
f
p
f
f
50
18
fl.
51
(speak)
Severe
cl.
perc.
Vibes
3
insignificant...
f
or
3
3
3
3
3
3
3
3
3
p half-pedal
3
3
3
pno.
vln.
51
p
vla.
vc.
3
A
3
(speak)
3
p
f calmly, reassuringly
Both
na - tural 51
and
3 un - na - tural.
p
mp
52
3
19
fl. cl.
A
f 3
No, she said it was going to drop dead anyway so why should she bother feeding it.
perc.
(play)
p l.v.
mf full pedal 3
3
3
Crotales
3
l.v.
pno.
3
3
3
3
3
3
3
3
p
mf
3 3 3 3 vln. p f
vla.
vc.
3
3 3 3 mf
(play) arco
f
3
mp
53
3
f
54
20
fl.
cl.
3
p
A
p
mf
3
3
I
Vibes
mf
3
3
3
p
3
3
fed
3
3
3
p
3
vln.
3
3
pp
vc.
3
pp
vla.
pp
(speak)
A
3
Un - na - tural. 55
all
3
3
p
3
it
3
3
3
3
Well
perc.
pno.
3
56
21
3 3 fl. 3
pp
f
3 mp
cl.
3
day Sa - tur - day
3 perc. mf
3
pno.
vln.
and
3
4
p
3
3
3
3
(speak)
A
f
But when I went over last night
times on Sun - day.
3
3 3 3 mf
mp
3
3
pizz.
3
3
mf
p
3
mf
vc.
p
pizz.
vla.
3
pp
mf
3
p
57
58
3
mp
mp
3
22
fl.
60
for the final dose...
perc.
3 3 3
3
arco
A mf calmly
pp
p
3
3
as
(play)
p
Ta -ken
f espr.
p
(play) Sm. Sus. Cym.
Prevacid for stomach, acid reflux related pain, eating too much or too little.
forcefully
3
(speak) f more intense
pp
(speak)
(play)
pp
3
vln.
vla.
f
Na - tural and un-na - trual.
pno.
vc.
p
ff
it was dead.
(play)
cl.
f
3
60
ff 3
3
3
ad lib., for volume
f
(speak)
A
p
Antibiotics,
3
3
3
3
3
f espr.
for
sinus-related
60
61
nee - ded. 59
3
infections,
23
fl. cl.
perc.
ff
3
3
3
The opposite. She actually broke down and began to wail
Crotales
(play)
Vibes
f like bells, l.v.
3
3
3
3
3
p
3
mf
A
(play) arco
3 f
3
3
3
63
3
p
3
Ea -ting too much or too li - tle... 62
sub. ff
3
ff
severe or insignificant.
3
3
3
f
vln.
f
ff
3
vc.
f like bells, l.v.
mp
(play)
f
3
A
ff
vla.
(speak)
f
pno.
64
24
fl.
cl.
about
her
cat
and
how
perc.
poor
could
god
take
3
from
her.
f
Crotales
(softer mallets?)
Vibes
pno.
3
3
3
3
vln.
3
vla.
mp
f
ff
p
ff
3
ff
3
f
3
3
f
3
3
f
Sm. Sus. Cym.
p
vc.
him
ff
65
66
25
A
fl.
ff
3
3
I'll
cl.
perc.
tell
3
you who god needs
f
3
3
3
pno.
ff
vln.
vla.
ff
Crotales 3
for
3
(play)
anxiety...
(speak)
A
3
(pedal off on 1)
pp
ff
f sadly
68
fff clanging!
Then one day, he didn't return... 67
3
3
ff l.v.
ff
f
ff trying to be heard
Lexapro
vc.
f l.v.
3
f
(speak)
to...
mf
p
26
fl.
cl.
(play)
p
p
pp darker, fuller than before
vln.
3
gradually emerge
p
f
ff
(trill to B)
pno.
vla.
f
Lg. Sus. Cym.
71
f gradually emerge
flutter tongue*
p
perc.
3
flutter tongue
f
3
3
3
3
71 ff
(trill to B) * ff
fff
(trill to A) * 3 (play) vc. pp
gradually emerge
69
f
ff
70
* Both tremolo (or flutter tongue) and trill at the same time.
71
27
fl.
3 3 p
cl.
p
perc.
f
3
3
3
3
3
3
3
3
3
3
f
vln.
vla.
3
mf
3
pno.
p
f
vc.
3
ff
p
ff
72
73
74
28
fl.
p calmly
cl.
p calmly
perc.
gradually emerge (sempre l.v.)
3
3
3
3
3
3
3
3
3
mf
vc.
p
p mp pp l.v. 3
vla.
vln.
Vibes
pp calmly
pno.
non vibr.
(speak)
p
(speak) mf
a
401(k)
plan
or
A p nostalgic
Four years later Chip showed up, pouncing and licking. But he had no tail. 75
76
77
29
fl.
cl.
perc.
pp
mf
3
mp
l.v.
pno.
vln.
vla.
vc.
pp
mp
a
Roth
IRA...
Just a
stub,
flapping 78
in
excitement.
dairy
or
carbs
mp
2
drifting off
...no
(play) pizz.
or...
3
f
A p
I spent the night sleeping next to him on the grass, searching his face for 79
80
30
Meno mosso
q = 69
rall.
fl. cl.
pno.
Finger Cym.
p
p gently
perc.
non vibr.
Sm. Sus. Cym.
3 3 p
(soft mallets, on dome)
pp very calm and even
(play)
Meno mosso
q = 69
rall.
vln. vla.
vc.
I.
f broadly
arco non vibr.
p
p
f broadly (play)
a clue as to what happened. 81
p very warmly
82
83
31
fl.
84
cl.
(speak, colla vln.)
(play) Vibes
sits
on
the
vln.
(speak*)
p
mf
l.v.
only thing he could tell me was that the world was too big to stay in one place. A The p
84
pp
85
3
pp
(with vibes. mallet?)
radio
3
84
3
p l.v.
3
vc.
3
pp
p
(speak)
Yellow (play)
perc.
vla.
Crot.
The world was too big to stay...
pno.
3
I.
A p
(speak)
And that it isn't
II.
p
like a beam of light
mf
86
* OSSIA: If it is absolutely not possible for the violinist to both speak and play here, the violist could speak instead.
32
perc.
vla.
vc.
Vibes
p
(loco)
good to be too attached to anything.
p
(speak)
A
p nostalgic recitative
Four years later Chip showed up, pouncing and licking.
87
handlebars...
p
pno.
vln.
bicycle's
cl.
breathy
fl.
88
33
Più mosso
Tempo 1
q = 72
q. = 69
fl.
(speak)
3
p
ning he
3 p
cl.
In the mor-ning he left
perc.
pno.
(speak)
p
3
mor-ning
(off on 3)
(off on 3)
4"
q = 72
p 3 vln.
In the mor-ning he
vla.
vc.
3
Hand Clap
p
Hand Clap
p
Hand Clap
p
Hand Clap
p
Tempo 1
Più mosso
(speak)
mp
p
5
4"
89
90
91
he left,
ne-ver to re- turn.
q. = 69
Hand Clap
p
92
34
fl.
cl.
perc.
96
pno.
vln. f
vla.
vc.
96
(speak)
A f complaining Didn't I tell
93
94
95
96
35
fl.
A
Of
cl.
f clearly upset
(speak)
perc.
course I'm
up - set!
somewhat nervous (speak)
A
401(K)
plan or
a
Roth
IRA or whatever
(walk to microphone.)
pno.
vln.
you about the cat?
vla.
vc.
(speak)
A
f like juicy gossip
Didn't I tell you about the cat?
97
98
99
100
36
fl.
cl.
102
perc.
(play)
pp calmly
the financial planner thinks you sh...
(speak)
vc.
Yellow radio sits on the bicycle's handlebars.
(play)
p
mf
102
101
p
p
A
A quaint system
(play) viol-like, poco vib.
mf
(play) viol-like, poco vib.
vla.
f
vln.
A mf
p
pno.
(play) non vibr.
f
p
Hand Clap
(with the pianist)
p
102
103
104
37
fl.
cl.
perc.
p
dampen string*
Hand Clap
vln. p
p
vc.
(play)
f
105 * dampen string from inside of the piano, if possible.
106
p
f (w/ cello)
p
vla.
Hand Clap
playing that song I somehow associate with you although we are hardly connected.
(w/ vln and vla)
pno.
107
38
fl.
cl.
p
(play)
non vib. (connect from cello)
p
p
perc.
mf
A mp
Hand Clap
The man riding is making no statement at all, just spinning wheels to facilitate his travel.
Hand Clap
(play)
p
f
pno.
(play) mf
p
mf
Sost.
vln.
vla.
vc.
p
p
(non vib.)
(with piano)
p
109
110
p
p
108
111
39
fl.
cl.
113
p
perc.
A p thoughtful Portability means different things to different people.
pno.
vla.
mf
vln.
113
3
3 f
non decr.
Hand Clap
f
vc.
112
113
Hand Clap
f
114
115
116
40
fl.
perc.
cl.
f
(play)
f
A
A
Birds align on rooftops until one decides to take off. A flying circus.
I have
3
pno.
vln.
vla.
f
f
p sost.
pizz.
f
vc. 117
118
p
119
arco
pizz. (play)
f
120
mf
41
fl.
mf
f
Hand Clap
cl.
124 Hand Clap
p
perc.
f
A p
no place to go and my ears are gettng cold.
Split in two, left behind...
pno.
vln.
vla.
(interrupted by cellist)
Hand Clap
p "left behind"
124
sempre l.v.
Hand Clap
p
f
f
vc.
121
122
(speak)
A
f interrupt the percussionist
Acetominophen for headaches, both 123
124
42
fl.
cl.
perc.
(whisper) ( ff )
vln.
Pre - va - cid
for
A - cid re - flux
Ta-ken
vc.
natural and unnatural. 125
A
(whisper) ( ff )
-
p
(play)
f
a
-
pro
for
an - xi
-
e
-
(whisper) ( ff )
f
Prevacid
as
An - ti - bi - o - tics!
2
re - la - ted pain...
Vi - ta-mins and de-con-ges-tants
f
Lex
vla.
pno.
(whisper) ( ff )
(walk back to percussion station)
for si - nus re - la - ted in
for... 126
127
ty
-
fec - tions,
43
130 fl.
(whisper) (f)
(full voice) f
No!
cl.
perc.
2
p
pno.
need
-
ed.
Pre-va - cid for sto - mach,
( mf )
Ta ken
(breathy) f
a cid
re - la- ted?
130 (full voice) mf
f fantastical
(breathy, not amplified) f
place to go and...
f
Pre - va - cid
(full voice) f more intense!
mp
ears are get - ting...
or in sig - ni - fi- cant.
128
my
se-vere
No
Vi - ta- mins!
and
Vi - ta- mins!
vln.
vc.
(f)
vla.
(breathy) f
for
(full voice) f child-like
my
130
131
And... 129
44
(full voice) f
fl.
as nee- ed?
cl.
(breathy) mf
perc.
Hand Clap
for
head - aches
both
(breathy) f
pp
Acetominophen for headaches, both
vln.
ears...
(speak) f very pronounced
p
vla.
p
mp
f
pno.
My
mf
na
-
tu - ral
and
(mimed, with flutist)
(whisper) (p)
ears Castanets
ears...
My
(play)
My
2
(full voice) p
(breathy) mf
un - na
-
(whisper) (p)
tu -
ral...
p
Un - na - tu (breathy) p
ears?
vc.
Le (breathy) f
Pre - va - cid 132
(full voice) p "What was it for again?"
for? 133
134
45
fl.
cl.
f
Prevacid
perc.
(whisper) (p)
for
stomach,
acid-reflux
both
pain,
eating
too
head - aches
related
much
or
too
na - tu - ral,
*
natural and unnatural.
pno.
vln.
( pp )
ral...
vla.
(full voice) ff
for
an
mf
un - na - tu - ral...
xa - pro
vc.
for
-
na - tu - ral...
xi -
e
-
ty.
(full voice) p
Al - co -
hol...
135
136
137
* NO BREAK between the different entries, marked by a dotted line.
little.
46
* fl.
140
(full voice) p growing more and more intense
Un - na - tu - ral Pre - va (full voice) f
cl.
perc.
*
Lexapro for anxiety, fictional or nonfictional.
-
vla.
sto -
ken
Hand Clap
p
(full voice) f
140
Lex - a - pro for an
xi - e -
for
sinus-related
infections,
138
139
140
141
* See note on p. 45.
-
(full voice) f
Antibiotics
for
-
vc.
mf
ta
pno.
vln.
2
cid
severe
47
fl.
mach a - cid
cl.
re
as...
perc.
<e = e>
-
flux
re
(play)
pro...
vln.
much or
Vitamins and decongestants,
take over!
Ta - ken
f
re - la- ted?
too...
vc. f
As need- ed?
as
ff
<e = e>
need - ed,
Al - co -
3
3
3
hol...
Ta - ken
(play, with vibr.)
or insignificant.
142
(play)
f instense, molto vib. mf
too lit - tle...
an - ti - bi - o-tics for si- nus re - la - ted...
(speak)
too
f
ty! Lex - a -
vla.
f
Ea - ting
mf
la - ted pain,
f growing more and more intense
ta-ken as
pno.
-
(play)
mf
2
143
2
f
144
48
molto rall.
fl. cl.
perc.
pp
f
(not amplified.)
... and then showering and going to the
continue to repeat pattern at original tempo; gradually replace different beats of the rhythm with rests.
3
3
f
p
pno.
più f
3
molto rall.
vln.
as...
vla.
vc.
f
f
145
pp
pp
146
49
Easy Fox-Trot
fl.
cl.
allergist and doing taxes and rushing home to clean up and do some work to allow time to eat and exercise and find a job and
perc.
q = 84
p
p
f
like the "pops" in radio static.
p
pno.
reminiscent
p
mf
Easy Fox-Trot vln.
A
f
prominently, reassuringly
q = 84 (play) arco
vc.
pizz. (play out, but not accented.)
f relaxed
pizz. (play out, but not accented.)
f relaxed
147
p very schmaltzy
Alcohol for everything else.
vla.
(vibr.)
148
50
fl.
cl.
perc.
settle down and get a 401(K) plan or Roth IRA or whatever the financial planner thinks you should get so you can make joint
(with vln.)
mf
pno.
mp
vla.
vc.
vln.
mf
149
150
51
fl.
cl.
perc.
decisions and be smart with money and no dairy or carbs or smoking or drinking or anything else that might potentially cause later
(with vla.)
mp
pno.
(play) Vibes
f
p
p
152
f
arco
mf
arco
f
151
molto espr.
p
f
mf
mf
vla.
vc.
mp
vln.
152
ff
mf
152
52
fl.
harm because the future is all you have or most of what you should worry about because who knows where social security might be
cl.
vln. p
vla.
vc.
mf
(with piano)
p
153
f
mf
mp
f
f
perc.
pno.
f
3 154
53
A Tempo
q = 84
poco rall. fl.
more intense; struggling to be heard
and the government these days can't seem to manage anything
perc.
pno.
ff
3 3 f ff
vln.
ff vla. disappearing ff vc.
3
3
f
A Tempo
fff
(with clr.)
f
155
p
q = 84
poco rall. (sul D)
pizz.
arco
f
ff
156
ff
p
(with vla.)
Castanets
so look both ways and get saved or donate something to
f
ff passionate
cl.
157
54
cl.
charity and save receipts for tax write-offs and good karma and nuclear families not nuclear bombs 'cause what is war really
ff
Castanets
perc.
p
Vibes
(with clr.)
ff
3
Woodblocks
f
158
arco
ff
pizz.
f
ff
mf
pizz.
ff
vc.
(with cello)
vln.
f
vla.
3
pno.
arco
fl.
f
159
55
cl.
vc.
love...
f
f
(walk to microphone)
f
(play) Sm. Sus. Cym.
ff
Evidence
ff
photograph.
makes
meaning.
161
160
arco pizz.
fff
ff
The
f
p
ff
end
To pick it up would be responsible; I chose to make a
the
vla.
in
(speak)
vln.
and
ff
pno.
for
perc.
good
(play)
fl.
161
(yell over the instruments!)
f
161
56
cl.
perc.
vln.
f
ff
street smells
like
ff
garbage.
ff
At home again, or not at all, dust scatters in the light. The neighbor lets his dog bark.
f appassionato
ff
ff
162
ff
ff
f appassionato
vc.
A (gradually speak into the microphone)
f
vla.
f
pno.
fl.
163
ff
164
57
fl.
cl.
,
perc.
pno.
vln.
5"
(tutti off on 1)
A
p
I am at a loss.
5"
,
(tutti off on 1)
vla.
vc.
June 8, 2006 Durham, North Carolina
165
166
167