Prisoner of conscience (2015) by Jennifer Jolley

Jennifer Jolley Prisoner of Conscience for treble voices oratorio libretto by Kendall A with excerpts from the closing trial statements of Maria Alyokhina, Yakaterina Samutsevich, and Nadezhda Tolokonnkikova of Pussy Riot given August 8, 2012

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Prisoner of Conscience Commissioned by the Quince Ensemble I. Eve of destruction II. Virgin Mary, put Putin down III. Oh bondage, up yours! IV. Putin will teach you how to love (the Motherland) V. Police and Thieves VI. Deliver Pavement VII. Death to Prison, Freedom to Protest VIII.Prisoner of Conscience

Composer’s Note I didn’t think this piece would be relevant. Kendall A and I believed that writing a piece about the arrest and trial of Pussy Riot came three years too late: three years after Vladimir Putin was reelected despite widespread accusations of vote-rigging; three years after Pussy Riot released “Punk Prayer: Mother of God Drive Putin Away”; and three years after Pussy Riot was put on trial, deemed “prisoners of conscience” by Amnesty International, and sentenced to serve two years in a penal colony. A year later, Vladimir Putin signed a bill imposing jail terms and fines for insulting people’s religious feelings. A few months before Kendall and I completed this work, Pussy Riot quietly made the news again in 2015 by releasing their first song and video in English entitled “I Can’t Breathe,” which is named for the last words that Eric Garner said eleven times as the New York City Police held him to the ground in a chokehold. This was also one year after Russia annexed Crimea. In their music video, Pussy Riot used the cigarette brand “Russian Spring,” which happened to be the same phrase used by supporters of the Russian invasion of the Ukraine. And in 2016, a month before the U.S. presidential election, Pussy Riot released “Make America Great Again,” which implored that we “let other people in, listen to your women, stop killing black children, make America great again.” In an era where there are rumors of Russia meddling with a presidential election and the White House doling Fake News Awards, I now know that the protection of our most basic right—free speech—is always relevant.

Librettist’s Note In this work, I too have tried to hold true to the following philosophy, as related by Nadezhda Tolokonnikova in her closing statement at the trial: Pussy Riot are (Alexander) Vvedensky’s students and heirs. His principle of the bad rhyme is dear to us. He wrote, “Occasionally, I think of two diﬀerent rhymes, a good one and a bad one, and I always choose the bad one because it is always the right one.” I see this work largely as street art, a crude homage to three heroes unjustly incarcerated, fighting a corrupt system that unfortunately at times bears a little too much resemblance to our own in the unequal distribution of justice and the willful ignorance of people to the cries of the downtrodden. The graﬃti I paint here may fade with time, but I hope the legacy of these three brave women carries through it. My source for the translations of the excerpts of the closing statements: https://nplusonemag.com/online-only/online-only/pussy-riot-closing-statements/ Kendall A May 8, 2015

Prisoner of Conscience I. Eve of destruction biting an apple over and over again fucked by snakes cursed by gods for spilling blood out of their vessels there can be no peace in possession there can be no calm in obstruction. From the closing statement of Maria Alyokhina (to be read aloud) “This trial is highly typical and speaks volumes. The current government will have occasion to feel shame and embarrassment because of it for a long time to come. At each stage it has embodied a travesty of justice. As it turned out, our performance, at first a small and somewhat absurd act, snowballed into an enormous catastrophe. This would obviously not happen in a healthy society. Russia, as a state, has long resembled an organism sick to the core. And the sickness explodes out into the open when you rub up against its inflamed abscesses. At first and for a long time this sickness gets hushed up in public, but eventually it always finds resolution through dialogue. And look—this is the kind of dialogue that our government is capable of. This trial is not only a malignant and grotesque mask, it is the “face” of the government’s dialogue with the people of our country. To prompt discussion about a problem on the societal level, you often need the right conditions—an impetus.” II. Virgin Mary, put Putin down We can never be heroes, no martyrs to Liberty’s cause that story is not ours, we cause the riot, not the revolution; we break the quiet, not the institution. Fuck the informers, Fuck the enslavers, Get oﬀ on your vacuums, On your kitchen dusters,

But one way or another one day or some other, the devil has to come down Virgin Mary, put Putin down From the closing statement of Yekaterina Samutsevich (to be read aloud) “Our sudden musical appearance in the Cathedral of Christ the Savior with the song “Mother of God, Drive Putin Out” violated the integrity of the media image that the authorities had spent such a long time generating and maintaining, and revealed its falsity. In our performance we dared, without the Patriarch’s blessing, to unite the visual imagery of Orthodox culture with that of protest culture, thus suggesting that Orthodox culture belongs not only to the Russian Orthodox Church, the Patriarch, and Putin, but that it could also ally itself with civic rebellion and the spirit of protest in Russia… In the end, considering all the irreversible political and symbolic losses caused by our innocent creativity, the authorities decided to protect the public from us and our nonconformist thinking. Thus ended our complicated punk adventure in the Cathedral of Christ the Savior. I now have mixed feelings about this trial. On the one hand, we expect a guilty verdict. Compared to the judicial machine, we are nobodies, and we have lost. On the other hand, we have won. The whole world now sees that the criminal case against us has been fabricated. The system cannot conceal the repressive nature of this trial. Once again, the world sees Russia diﬀerently than the way Putin tries to present it as his daily international meetings.” III. Oh bondage, up yours! Girls seen, not heard slammed to a door Poked and prodded, chained to a floor, folded into crates. Shipped to barons, to heavy rollers, Spread around the globe like disease. Like glass vessels shattered We have spilled across floors, across every sidewalk We tread upon, Across every room and hall. Like a deep sea well burst, We have corrupted every ocean every pool and stream, every connecting body of liquid to this disaster site.

To be spoken aloud approximately ten times, a prosecutor’s question and the state’s witness’s statement from trial, plus the translation: Eto bylo iskusstvo? Was it art? Eto bylo koldovstvo It was witchcraft IV. Putin will teach you how to love (the Motherland) Causing trouble, we fell down, we turned the light out and fucked her until morning, We fucked her over and over until we collapsed like a lesson in gravity, and while she never said it, never gave us words from her limp, naked body, we knew that she must like it. V. Police and Thieves Lasciate ogni speranza, voi ch’intrate Ammo and guns Police and thieves Riots in the street Blood in the sidewalks Casings in the gutter No peacemakers, Only agitators. Get out people, if you don’t wanna get blown up, get out.

Rows of houses, Wide streets without sidewalks, cages on the windows, cages on the overpass, cages on the freeway incarcerate in this jail needing no guards. No peacemakers, only agitators. Maria Alyokhina (to be read aloud) “…All of these things I’ve been talking about, all of these processes—they acquire meaning in art and in philosophy. Including contemporary art. An artistic situation can and, in my opinion, must contain its own internal conflict. And what really irritates me is how the prosecution uses the words “so-called” in reference to contemporary art. I would like to point out that very similar methods were used during the trial of the poet [Joseph] Brodsky. His poems were defined as “so-called” poems; the witnesses for the prosecution hadn’t actually read them—just as a number of the witnesses in our case didn’t see the performance itself and only watched the clip online. Our apologies, it seems, are also being defined by the collective prosecuting body as “so-called” apologies. Even though this is offensive. And I am overwhelmed with moral injury and psychological trauma. Because our apologies were sincere. I am sorry that so many words have been uttered and you all still haven’t understood this. Or it is calculated deviousness when you talk about our apologies as insincere. I don’t know what you still need to hear from us. But for me this trial is a “so-called” trial. And I am not afraid of you. I am not afraid of falsehood and ficticiousness, of sloppily disguised deception in the verdict of the so-called court. Because all you can deprive me of is “so-called” freedom. This is the only kind that exists in Russia. But nobody can take away my inner freedom. It lives in the world, it will go on living thanks to openness [glasnost], when this will be read and heard by thousands of people. This freedom goes on living with every person who is not indifferent, who hears us in this country. With everyone who found shards of the trial in themselves, like in previous times they found them in Franz Ka)a and Guy Debord. I believe that I have honesty and openness, I thirst for the truth; and these things will make all of us just a little bit more free. We will see this yet.” VI. Deliver Pavement Strip down the police, make them twirl on poles, make them shake off their armor of impunity and pound their bullets into the ground.

Have them grapple in blood soaked pavement, let them feel the sounds they’ve split and when they rise again from the gutter of their crimes, to taste again life and freedom, they will know what they’ve taken away. From the closing statement of Nadezhda Tolokonnikova (to be read aloud) “Pussy Riot’s performances can either be called dissident art or political action that engages art forms. Either way, our performances are a kind of civic activity amidst the repressions of a corporate political system that directs its power against basic human rights and civil and political liberties. The young people who have been flayed by the systematic eradication of freedoms perpetrated through the aughts have now risen against the state. We were searching for real sincerity and simplicity, and we found these qualities in the yurodstvo [the holy foolishness] of punk. The paths of truth always triumph over the paths of cunning, guile, and deception. Every day, truth grows more victorious, despite the fact that we remain behind bars and will probably be here for a long time. Yesterday, Madonna performed in Moscow with “Pussy Riot” written on her back. More and more people see that we are held here illegally, on false pretenses. This amazes me. I am amazed that truth really does triumph over deception. Despite the fact that we are physically here, we are freer than everyone sitting across from us on the side of the prosecution. We can say anything we want and we say everything we want. The prosecution can only say what they are permitted to by political censorship. VII. Death to Prison, Freedom to Protest Shhhh-ush Sssss Shhhhh I have seen the stares of oppressors, felt them cast me in stone with just a glance, I have felt the occlusion, the expatriation of diﬀerence and all the frustrations of forced exclusion

“Open a! the doors, tear off your epaulets Come, taste #eedom with us.” Freedom crosses uncaring divides, it tunnels through the muck, the dirt, of hypocrisy, it shines a light that leads the lost and listing out of the storms of bondage. Nadezhda Tolokonnikova (to be read aloud) “I don’t want to label anyone. It seems to me that there are no winners, losers, victims, or defendants here. We all simply need to reach each other, connect, and establish a dialogue in order to seek out the truth together. Together, we can seek wisdom and be philosophers, instead of stigmatizing people and labeling them. Neither myself, nor Alyokhina, nor Samutsevich were found to have powerful and stable affects or other psychological values that could be interpreted as hatred toward anything or anyone. So: “Open all the doors, tear off your epaulets Come, taste freedom with us.” [Pussy Riot] That is all.” VIII. Prisoner of Conscience When we stay blind, when we stay deaf to cries of defiance against tyranny or oppression, we invite it into our homes, our nurseries, our beds, asking it to pay us in advance.

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‰ œJ

for

œ bœ ˙ ™

‰ œJ b>œ -

sels

>œ

b>œ

ling

blood

∑

bœ œ œ œ

out of their ves -

‰ œJ œ >

for spil

>œ

blood

bœ œ bœ œ œ œ œ out of their ves

>œ

blood

>œ

for spil - ling

œ bœ œ œ œ bœ œ out of their ves

sels

for

out of their ves

‰ œJ b>œ

83 >œ ‰ œJ

œ bœ œ œ œ bœ ˙ ™

sels

œ bœ œ œ

>œ

out of their ves

bœ œ œ œ

blood

œ bœ œ œ

blood

sels

b>œ blood

>œ

ling

blood

> ‰ œJ œ

>œ

spil - ling

sels

∑

œ œ b˙ ™

¢& >œ

>œ

sels

> ‰ œJ œ

out of their ves

‰ œj b>œ

sels

œ bœ œ œ œ œ œ

blood

for spil

for spil - ling

S. 3

>œ

out of their ves

∑

>œ

& Œ

>œ

out of their ves

bœ œ bœ œ œ œ œ

sels

spil - ling

S. 2

blood

spil - ling

blood

œ bœ œ -

>œ

bœ œ bœ œ œ œ œ

for spil - ling

S. 3

>œ

spil - ling

> ‰ œJ œ

>œ

for spil - ling

œ bœ œ

blood

>œ

sels

œ bœ œ œ

for

S. 2

for

out of their ves

S. 1

sels

¢& >œ

‰ œJ

bœ œ œ œ

blood

M.S.

for

& œ bœ œ œ œ œ œ > & bœ

‰ œJ

sels

out of their ves

S. 3

>œ

for spil - ling

bœ œ œ œ œ œ b˙ ™ out of their ves

‰ œJ œ >

>œ

for spil - ling

>œ blood

sels

œ bœ œ œ out of their ves

8 84

S. 1

° bœ œ bœ œ œ œ œ & out of their ves

S. 2

out of their ves

‰ œJ b>œ

& Œ

œ bœ ˙ ™

œ bœ œ œ

œ ¢ & bœ œ -

S. 2

S. 3

M.S.

∑

sels

>œ

b>œ

ling

blood

sels

° &

for spil

∑

¢& w

90 Œ

∑

sels

‰ œJ œ >

œ œ b˙ ™

bœ œ œ œ out of their ves

S. 1

∑

sels

for spil

M.S.

˙ p

> & œ blood

S. 3

>œ

ling

blood

œ bœ œ œ

œ bœ ˙ ™

out of their ves

there

can

there

can

there

can

there

can

S. 1

° œ & peace

S. 2

& bœ peace

S. 3

& œ peace

M.S.

¢& œ peace

#œ in

œ in

bœ in

œ bœ

∑

pos - ses - sion

∑

pos - ses - sion

œ #œ

∑

pos - ses - sion

œ #œ

pos - ses - sion

∑

there

can

there

can

there

can

there

can

sels

99 w

there

can

there

can

there

can

there

can

there

can

there

can

there

can

there

can

S. 1

° œ & calm

S. 2

& bœ calm

S. 3

& œ calm

M.S.

¢& œ calm

#œ

œ bœ

ob - struc - tion

œ #œ

ob - struc - tion

bœ in

œ #œ

∑

Œ Œ Œ Œ

ob - struc - tion

100

S. 1

° œ & peace

S. 2

& bœ peace

S. 3

& œ peace

M.S.

¢& œ peace

#œ in

œ in

bœ in

œ bœ

∑

pos - ses - sion

∑

pos - ses - sion

œ #œ

∑

pos - ses - sion

œ #œ

∑

pos - ses - sion

104

S. 1

S. 2

S. 3

M.S.

° & & & ¢&

∑ ∑ ∑ ∑

œ bœ

#œ

calm

ob - struc - tion

bœ

calm

ob - struc - tion

œ #œ

calm

ob - struc - tion

bœ

calm

œ #œ

ob - struc - tion

∑

1 07 œ bit

ting

ap - ple

∑

10 108

S. 1

° œ bœ & œ œ œ œ œ œ o - ver

and

ver

a -

fsubito

∑

gain

#œ œ bœ œ Œ

peace

pos - ses - sion

fsubito S. 2

∑

bœ

there

can

peace

œ œ œ œ Œ in

pos - ses - sion

fsubito S. 3

∑

there

can

peace

œ œ #œ œ Œ in

pos - ses - sion

fsubito M.S.

S. 1

∑

¢&

112 ° Œ &

psubito

œ bit

œ œ œ œ -

ting an

bit - ting an

there

can

o - ver and

œ J

ap - ple

o - ver and

ver

œ peace

bœ œ # œ œ Œ

œ œ ˙

ver

pos - ses - sion

∑

a - gain

˙™

œ bœ œ œ œ œ œ œ

œ œ œ œ Œ

& œ

œ bœ œj œ

ap - ple

psubito S. 2

a - gain

psubito S. 3

∑

˙™

there

can

psubito M.S.

∑

¢&

∑

116

S. 1

° fœsubito#œ œ bœ œ Œ & calm

ob - struc - tion

& bœ calm

& œ calm

œ œ œ œ -

psubito

bit - ting an ap - ple

ob - struc - tion

œ œ œ œ Œ

ob - struc - tion

œ bit

œ œ -

ting an

˙™

there

can

œ bœ œj œ o - ver and o

œ J -

ver

o - ver and o

ver

œ œ Œ

œ bœ œ œ

ap - ple

o - ver and o

˙™

œ bœ œ œ œ

a - gain

ver

a - gain

psubito

¢ & œ bœ œ # œ œ calm

a - gain

fsubito M.S.

œ œ ˙

œ bœ œ œ œ œ œ œ

psubito

œ œ #œ œ Œ in

ting an ap - ple

œ œ œ œ Œ

fsubito S. 3

psubito

bit

fsubito S. 2

117 Œ

ob - struc - tion

∑

there

can

122 œ #œ œ bœ œ Œ Œ

120

S. 1

° &

fsubito

∑

peace

∑

bœ peace

pos - ses - sion

S. 3

bit - ting an

pos - ses - sion

peace

M.S.

¢& ˙ ™

œ peace

S. 2

ap - ple

pos - ses - sion

bit

o - ver and

œ œ -

ting an

bœ œ # œ œ Œ in

∑

calm

& œ bœ œ œ œ ver

a -

¢& Œ

o - ver and

127 Œ

° & Œ

ob - struc - tion

œ œ œ œ

bit

psubito

œ œ œ œ Œ

calm

bit - ting an

ob - struc - tion

˙™

there

can

bœ œ bœ œ J o

& œ œ Œ

ver

œ œ œ œ Œ

ob - struc - tion

ting an

∑

ob - struc - tion

∑

a - gain

peace

∑

bœ peace

œ bœ œ œ œ ver

#œ œ bœ œ Œ in

pos - ses - sion

mpsubito

˙™

œ œ œ œ Œ in

pos - ses - sion

mpsubito

∑

a - gain

peace

psubito

¢&

bit

œ œ

mpsubito

œ œ ˙

ver

ap - ple

bœ œ # œ œ Œ

œ calm

œ bœ œ œ ∑

a - gain

o - ver and

ap - ple

mf subito

œ J -

ting an

psubito

œ œ #œ œ Œ

œ calm

bœ œ bœ œ œ œ œ œ &

ap - ple

M.S.

o -

psubito

mf subito

∑

o - ver and

S. 3

a - gain

ap - ple

bœ

∑

gain

o - ver and

S. 2

ver

∑

#œ œ bœ œ Œ

gain

128

S. 1

pos - ses - sion

psubito M.S.

ver

œ bœ œ œ

∑

mf subito

& ˙ ™

œ œ Œ

mf subito S. 3

bœ œ bœ œ œ œ œ œ

œ œ œ œ Œ

124

° œ œ ˙ & a -

o - ver and

œ J

fsubito

S. 1

ap - ple

psubito

œ œ #œ œ Œ

ting an

psubito

œ œ œ œ Œ

fsubito

∑

œ œ œ œ

bit

fsubito S. 2

bœ œ bœ œ J

psubito

˙™

there

can

œ œ #œ œ Œ in

pos - ses - sion

mpsubito

œ peace

bœ œ # œ œ Œ in

pos - ses - sion

S. 1

132 ° Œ &

œ bit

œ œ œ œ -

ting an

& œ

o - ver and

ap - ple

o - ver and

psubito S. 3

& Ó

œ œ

bit

œ J -

œ œ ˙

ver

ting an

ver

∑

˙™

∑

œ bœ œ œ œ

∑

a - gain

bœ œ bœ œ œ œ œ œ

œ œ œ œ Œ

bit - ting an

ap - ple

psubito S. 2

bœ œ bœ œ J

psubito

a - gain

œ œ Œ

œ bœ œ œ

ap - ple

o - ver and

ver

a - gain

psubito M.S.

136

S. 1

∑

¢&

rit.

° œ #œ œ bœ œ Œ & calm

S. 2

& bœ calm

S. 3

& œ calm

M.S.

141

° &

U ∑

¢&

U ∑

bœ peace

U ∑

œ œ #œ œ Œ

ob - struc - tion

peace

U ∑

bœ

œ peace

peace

#œ œ bœ œ Œ in

bœ œ # œ œ in

pos - ses - sion

˙™

there

can

U ∑

in pos - ses - sion

U ∑ U ∑

bœ

œ œ œ œ Œ

calm

U ∑

#œ œ bœ œ Œ

calm

bœ

œ œ œ œ Œ

calm

œ calm

œ œ #œ œ Œ in

ob - struc - tion

∑ ∑

ob - struc - tion

∑

ob - struc - tion

bœ œ # œ œ Œ in

ob - struc - tion

œ œ #œ œ Œ in

ob - struc - tion

Œ œ bœ œ # œ œ calm

calm

U ∑

calm

in pos - ses - sion

U ∑

calm

U ∑

œ œ #œ œ Œ

pos - ses - sion

in pos - ses - sion

pos - ses - sion

œ œ #œ œ Œ

140 U œ #œ œ bœ œ Œ ∑

œ œ œ œ Œ

pos - ses - sion

œ œ œ œ Œ

in pos - ses - sion

œ bœ œ # œ œ

ob - struc - tion

peace

M.S.

U ∑

ob - struc - tion

peace

S. 3

peace

œ œ œ œ Œ

œ #œ œ bœ œ Œ

ob - struc - tion

peace

S. 2

U ∑

¢ & œ bœ œ # œ œ Œ calm

S. 1

∑

ob - struc - tion

∑

From the closing statement of Maria Alyokhina (to be read aloud) “This trial is highly typical and speaks volumes. The current government will have occasion to feel shame and embarrassment because of it for a long time to come. At each stage it has embodied a travesty of justice. As it turned out, our performance, at first a small and somewhat absurd act, snowballed into an enormous catastrophe. This would obviously not happen in a healthy society. Russia, as a state, has long resembled an organism sick to the core. And the sickness explodes out into the open when you rub up against its inflamed abscesses. At first and for a long time this sickness gets hushed up in public, but eventually it always finds resolution through dialogue. And look—this is the kind of dialogue that our government is capable of. This trial is not only a malignant and grotesque mask, it is the “face” of the government’s dialogue with the people of our country. To prompt discussion about a problem on the societal level, you often need the right conditions—an impetus.”

II. Virgin Mary, put Putin down q = 100

Soprano 1

° œ U œ ˙ & #œ œ œ We

Soprano 2

& #œ œ œ We

Soprano 3

& #œ œ œ We

Mezzo Soprano

¢& #œ œ œ We

S. 1

° &

S. 2

& & ¢&

U œ œ ˙

œ œ œ œ œ U ˙

can

ne - ver be

U œ œ ˙

œ œ œ œ œ U ˙

can

ne - ver be

U œ œ ˙

œ œ œ œ œ U ˙

can

ne - ver be

not ours, we

œ œ œ œ œ œ œ U ˙ œ sto - ry is

M.S.

ne - ver be

œ œ œ œ œ œ œ U ˙ œ sto - ry is

S. 3

can

œ œ œ œ œ œ œ U ˙ œ sto - ry is

not ours, we

U œ œ œ œ œ œ œ ˙ œ sto - ry is

œ œ œ œ œ U ˙

not ours, we

U Œ œ œ œ œ œ œ œ œ œ œ ˙

he - roes,

ot,

the ri

ot,

bœ œ œ œ œ œ œ œ œ bU ˙ cause

the ri

ot,

œ œ œ œ bU ˙ œ bœ œ œ œ cause

the ri

mar - tyrs to

ot,

œ œ œ nœ œ œ ˙ œ nœ œ œ -

o - lu -

the rev

o - lu -

the rev

o - lu -

the rev

o - lu -

4U 4w

2 4

4U 4w

2 4

4U 4w

2 4

tion;

œ nœ œ œ œ œ œ nœ œ œ ˙ not

2 4

tion;

œ œ œ nœ œ œ ˙ œ nœ œ œ not

4U 4w

tion;

œ œ œ nœ œ œ ˙ œ nœ œ œ not

li - ber - ty's cause, that

rit.

the rev

li - ber - ty's cause, that

mar - tyrs to

not

li - ber - ty's cause, that

U Œ œ œ œ œ œ œ œ œ œ œ ˙

bœ œ œ œ œ œ œ œ œ bU ˙ cause

mar - tyrs to

U Œ œ œ œ œ œ œ œ œ œ œ ˙

he - roes,

the ri

li - ber - ty's cause, that

U Œ œ œ œ œ œ œ œ œ œ œ ˙

5 bœ œ œ œ œ œ œ œ œ bU ˙ cause

mar - tyrs to

tion;

S. 1

S. 2

8 q = 54 ° 2œ œ &4

Fuck

the

- for -

#œ

the

- for -

nœ

the

- for -

bœ

the

- for -

2 &4 œ Fuck

S. 3

2 & 4 bœ Fuck

M.S.

2 ¢& 4 œ Fuck

œ mers,

mers,

œ mers,

° bœ œ œ œ 3 œ œ œ 4 & On your kit - chen

S. 2

S. 3

S. 1

rit.

° 3œ œ œ &4 Get oﬀ

S. 2

3 œ œ &4 œ Get oﬀ

S. 3

3 & 4 bœ œ œ Get oﬀ

M.S.

3 ¢& 4 œ nœ œ Get oﬀ

œ œ bœ œ œ on your

œ bœ

œ œ œ

on your

the

bœ

Fuck

the

Fuck

the

2 4œ Fuck

#œ

nœ

bœ

for - mers,

2 bœ œ œ œ 4 œ 4 4 chen

2 4 4 œ œ œ nœ 4 œ chen

2 4 4 #œ œ œ œ 4 œ chen

2 4 4 #œ œ œ œ 4 œ On your kit

chen

Get

oﬀ

your

Get

bœ

va -

cuums,

œ bœ

oﬀ

va -

cuums,

bœ

œ nœ

Get

oﬀ

your

œ nœ

your

Get

oﬀ

2œ 4

Fuck

Œ Œ

2 4œ 2 4 bœ Fuck

your

œ œ

#œ va -

cuums,

œ œ Œ

2 4œ Fuck

œ œ #œ œ Œ

But

œ œ nœ œ Œ

But

œ œ bœ œ Œ the en - slav - ers,

one way or

a - no - ther,

one way or

a - no - ther,

U œ œ œ ‰ #œj #œ œ œ #œ œ œ œ dust ers,

But

one way or

a - no - ther,

U j œ œ œ œ œ ‰ #œ #œ œ œ #œ œ dust ers,

But

3 4

the en - slav - ers,

œ œ U œ ‰ j œ œ #œ #œ œ œ #œ œ dust ers,

3 4

the en - slav - ers,

24 A tempo q = 54 U œ œ œ ‰ j œ œ #œ #œ œ œ #œ œ dust ers,

3 4

the en - slav - ers,

Fuck

for - mers,

œ œ 43 bœ œ Œ the

for - mers,

œ œ 43 nœ œ Œ the

œ œ 43 #œ œ Œ the

en - slave - rs,

On your kit

en - slave - rs,

On your kit

cuums,

On your kit

en - slav - ers,

the

Fuck

16 2œ œ œ 3 œ œ Œ 4 4

2 4 bœ

cuums,

œ œ #œ œ œ on your

Fuck

cuums,

œ nœ #œ œ œ va

2 4œ

dust - ers,

on your

Fuck

dust - ers,

3 ¢& #œ œ œ œ 4 œ œ œ On your kit - chen

the

dust - ers,

3 & #œ œ œ œ 4 œ œ œ On your kit - chen

M.S.

dust - ers,

3 & œ œ œ nœ 4 œ œ œ On your kit - chen

Fuck

S. 1

mers,

one way or

a - no - ther,

3 4

S. 1

& nœ œ œ #œ œ œ œ

the

& nœ œ œ #œ œ œ œ #œ œ œ œ ¢& nœ œ œ

S. 1

Vir

S. 2

Ma - ry,

gin

œ Vir

Ma - ry,

2 ™ 4œ

vil

has to

vil

has to

vil

has to

Ma - ry

œ 43 œ œ Œ J -

gin

Ma - ry,

j 3 œ 4œ œ Œ

2 4 œ™ -

2 4 #œ ™ Vir

gin

2 4 œ™

Vir

œ 43 œ œ Œ J

Vir

has to

come down

gin

Ma - ry,

j 3 œ 4 nœ œ Œ -

gin

Ma - ry,

Vir

come down

Vir

#œ

put

Pu - tin

put

œ put

Pu - tin

#œ

put

Pu - tin

Ma - ry,

gin

œ œ Œ Ma - ry,

j œ œ œ Œ -

2 4 #œ ™

come down

gin

œ J

2 4 œ™

come down

2 4 œ™

U 6 4 #œ œ œ œ œ œ œ bœ ˙

the

Ma - ry,

j œ 43 œ œ Œ

2 4 Œ #œ

Ma - ry,

j œ 43 œ œ Œ

¢ & bœ ™ Vir

gin

œ 43 #œ œ Œ J

& œ™ Vir

M.S.

& #œ ™ Vir

S. 3

œ 3 #œ œ Œ J 4

vil

6 #œ œ œ œ œ œ œ bœ U ˙ 4

the

° œ™ &

2 4 Œ #œ

one day or some o - ther,

6 #œ œ œ œ œ œ œ bœ U ˙ 4

the

one day or some o - ther,

M.S.

2 4 Œ #œ

one day or some o - ther,

S. 3

6 #œ œ œ œ œ œ œ bœ U ˙ 4

2 4 Œ #œ

one day or some o - ther,

S. 2

28 A tempo q = 54 2 ™ œ œ œ Œ 4 nœ J

rit.

° & nœ œ œ #œ œ œ œ

gin

Ma - ry,

j œ nœ œ Œ -

gin

Ma - ry,

w 4 nU 4 down

4 bU 4w down

4U 4 nw down

From the closing statement of Yekaterina Samutsevich (to be read aloud) “Our sudden musical appearance in the Cathedral of Christ the Savior with the song “Mother of God, Drive Putin Out” violated the integrity of the media image that the authorities had spent such a long time generating and maintaining, and revealed its falsity. In our performance we dared, without the Patriarch’s blessing, to unite the visual imagery of Orthodox culture with that of protest culture, thus suggesting that Orthodox culture belongs not only to the Russian Orthodox Church, the Patriarch, and Putin, but that it could also ally itself with civic rebellion and the spirit of protest in Russia… In the end, considering all the irreversible political and symbolic losses caused by our innocent creativity, the authorities decided to protect the public from us and our nonconformist thinking. Thus ended our complicated punk adventure in the Cathedral of Christ the Savior. I now have mixed feelings about this trial. On the one hand, we expect a guilty verdict. Compared to the judicial machine, we are nobodies, and we have lost. On the other hand, we have won. The whole world now sees that the criminal case against us has been fabricated. The system cannot conceal the repressive nature of this trial. Once again, the world sees Russia diﬀerently than the way Putin tries to present it at his daily international meetings.”

III. Oh bondange, up yours! q = 160 Soprano 1

° 4f &4 œ

Girls

seen,

Soprano 2

4 &4 œ

seen,

Soprano 3

4 &4 œ

seen,

Mezzo Soprano

4 ¢& 4 œ

not

seen,

not

° &

∑

œ #œ

∑

¢&

œ #œ

Poked

S. 2

& nœ Poked

S. 3

& nœ Poked

M.S.

¢& nœ Poked

door

œ and

nœ

prod - ded,

nœ

prod - ded,

#œ

prod - ded,

Œ Œ Œ Œ

in - to crates.

S. 1

in - to crates.

fold - ed

° & nœ

door

in - to crates.

fold - ed

M.S.

in - to crates.

fold - ed

S. 3

door

œ œ b˙

bœ

heard slammed to

fold - ed

S. 2

œ œ b˙

bœ

heard slammed to

door

nœ

Poked

and

nœ

Poked

and

nœ

Poked

and

nœ

Poked

and

nœ

bœ

prod - ded,

nœ

chained

nœ

bœ

prod - ded,

bœ

prod - ded,

ﬂoor,

œ œ Œ

chained

œ œ Œ

chained

nœ

bœ

prod - ded,

œ œ Œ

ﬂoor,

œ œ Œ

chained

ﬂoor,

S. 1

œ œ b˙

bœ

heard slammed to

Girls

not

œ œ b˙

bœ

heard slammed to

Girls

not

nœ

Girls

bœ chained

œ œ Œ to

ﬂoor,

œ œ Œ

bœ

ﬂoor,

œ œ Œ

ﬂoor,

œ œ Œ

ﬂoor,

bœ

œ b˙

heard

slammed

bœ

œ b˙

seen,

not

heard

slammed

door

#œ

Girls

seen,

not

heard

slammed

door

#œ

œ n˙

Girls

seen,

not

heard

slammed

seen,

not

Girls

∑

fold - ed

in - to

fold - ed

in - to

œ œ œ #œ œ œ œ œ fold - ed

∑

in - to

œ œ œ #œ œ œ œ œ fold - ed

∑

door

œ œ œ #œ œ œ œ œ fold - ed

∑

door

in - to

fold - ed

in - to

œ œ œ #œ œ œ œ œ

fold - ed

in - to

fold - ed

in - to

S. 1

° œ &

crates.

S. 2

& œ

S. 3

& œ

¢& œ

Shipped

bar

Shipped

bar

#œ

Shipped

bar

bœ

Shipped

bar

crates.

M.S.

crates.

œ -

ons,

œ -

ons,

nœ

ons,

° œ & spread

S. 2

& œ spread

S. 3

& œ spread

M.S.

¢& œ spread

S. 1

° & ˙

bœ a

#œ

round

the

globe

#œ

round

the

globe

#œ

round

the

globe

#œ

round

the

globe

œ™ like

S. 2

& ˙

œ™ like

S. 3

& n˙

œ™ like

M.S.

¢& n˙

hea - vy

rol

lers,

œ #œ

hea - vy

rol

hea - vy

rol

hea - vy

rol

lers,

œ nœ

lers,

S. 1

œ™ like

œ J dis -

œ J

dis -

ease.

j bœ

dis -

ease.

œ™ like

j bœ

œ™ like

ease.

œ™ like

dis -

œ™

œ™ like

#˙

n˙

œ™ like

#˙

n˙

œ™ like

œ J dis -

œ J

w ease.

#˙

ease.

#˙

ease.

w ease.

dis -

ease.

j bœ

dis -

ease.

j bœ

dis -

ease.

#˙ #˙

18 25

° & w

∑

S. 2

& w

∑

S. 3

& n˙

b˙

M.S.

¢& n˙

b˙

29 ° Œ mp œ œ &

œ œ

S. 1

Like glass

mp S. 2

& Œ

Like glass

ves - sels

œ œ ves - sels

œ #œ J

œ ˙ J

shat

tered

œ #œ J shat

œ ˙ J

∑

S. 1

∑

¢&

œ œ

glass

ves - sels

œ œ

glass

ves - sels

33 mf ° Œ ‰ œ œ & J a - cross

S. 2

& Œ

‰ œ œ J a - cross

œ œ

œ #œ J

ev - 'ry

side

œ œ

œ #œ J

ev - 'ry

side

j œ #œ shat

shat

œ ˙ J

& œ

œ œ ˙

ﬂoors,

a - cross

¢& œ ﬂoors,

œ œ ˙

a - cross

ﬂoors,

œ œ

a - cross

ﬂoors,

œ œ

j œ #œ

ev - 'ry

side

œ œ

j œ #œ

ev - 'ry

side

#œ

œ™

tread

#œ

œ™

tread

œ œ

#œ œ

œ J

u -

pon,

œ J

u -

pon,

walk

j œ ˙ -

We have spilled

j œ ˙ -

œ œ

We have spilled

tered

mf M.S.

a - cross

j œ ˙

walk

tered

mf S. 3

walk

œ œ

j œ ˙

j œ #œ

œ ˙ J -

We have spilled

mp M.S.

#œ œ

tered

∑

We have spilled

mp S. 3

#œ œ

∑

walk

œ œ a - cross

œ œ ˙ œ œ ˙

#œ

tread

u -

#œ

tread

u -

19 37

S. 1

° Ó &

‰

>œ

a - cross

ev - 'ry

& Ó

‰

>œ

a - cross

ev - 'ry

#>œ >œ

>œ room

>œ

œ œ J

f S. 2

>œ

œ œ J

and

˙û

room

and

hall.

S. 3

& #œ

M.S.

¢& #œ

S. 1

>œ room

n>œ

>œ

pon,

° Ó &

n>œ

ev - 'ry f

#œ œ ˙

>œ

ev - 'ry

pcresc. ‰ bœj œ œ

j bœ

deep

sea

well

burst,

œ™

j bœ

deep

sea

well

burst,

bœ

œ™

j bœ

Like a ppcresc.

deep

sea

well

burst,

œ œ

œ™

j bœ

nœ

room

We have cor - rup - ted

hall.

œ œ Like

& Ó

‰ bœj œ œ

#>œ >œ

˙û

#>œ >œ

˙û

œ bœ

œ bœ ˙ ™

and

ev - 'ry

œ œ

hall.

‰

nœ

œ œ

ev - 'ry

‰

nœ

œ bœ

ev - 'ry

S. 1

nœ

mfcresc.

œ œ

ev - 'ry

mfcresc. S. 2

& ˙

œ bœ

ev - 'ry

con - nect - ing

œ œ œ

ev - 'ry

con - nect - ing

mfcresc. S. 3

& ˙

œ œ œ

ev - 'ry

con - nect - ing

mfcresc. M.S.

¢& ˙

œ pool

burst,

œ œ and

stream,

œ œ ˙™

#œ

ean

ev - 'ry

œ pool

œ œ and

stream,

œ bœ ˙™

nœ

ean

ev - 'ry

œ pool

œ bœ and

stream,

mpcresc.

j bœ œ œ

We have cor - rup - ted

° ˙ &

ev - 'ry

pcresc.

¢& Ó

well

mpcresc.

j bœ œ œ

We have cor - rup - ted

M.S.

sea

mpcresc.

pcresc.

& Ó

deep

nœ

ean

mpcresc.

We have cor - rup - ted

S. 3

pcresc.

S. 2

ppcresc.

>œ

pon,

œ™

ppcresc.

˙û

#œ œ ˙

#>œ >œ

>œ

40 œ œ œ

ppcresc.

œ œ œ

ev - 'ry

con - nect - ing

œ b œ ˙™

nœ

ean

ev - 'ry

œ œ œ œ œJ œ™

bo - dy

and

‰

quid

stream,

œ J

‰

œ J

‰

quid

j ™ œ œ œ œ œ œ bo - dy

pool

quid

œ œ œ œ œJ œ ™ bo - dy

œ œ

quid

œ œ œ bœ œJ œ™ bo - dy

œ J

‰

œ J

S. 1

49 ° œ œ & this

S. 2

& œ this

S. 3

M.S.

& œ ¢&

dis

œ dis

dis

this

dis

ter

S. 1

this

S. 2

& œ this

S. 3

& œ this

M.S.

¢&

œ dis

œ -

œ dis

this

dis

ter

œ -

ter

site.

ter

S. 1

S. 2

œ nœ & J as

& œ û

dis

f M.S.

¢& œû

this

dis

œ J

this

dis

œ -

ter

œ -

∑

œ nœ J -

dis

ter

œû

dis

ter

œû

j bœ -

ter

œû

j bœ -

ter

œû

œ dis

j bœ

œ dis

ter

dis

j œ nœ

œ dis

j bœ -

j œ nœ

œ dis

œû

bœ J

ter

œû

bœ J

j bœ

j œ œ

j œ nœ

œ dis

dis

ter

j œ nœ

œ J

œû

bœ J

œ nœ J

ter

j bœ

œû

bœ J

œ J

ter

œ nœ J

ter

œ nœ J -

‰

œû

bœ J

œû

bœ J

∑

‰

œ J

˙û

56 œ J œ

site.

‰

˙û

ter

site.

œ œ

˙û

œ œ

ter

œ J to

dis

j bœ

j œ nœ

œ dis

œ J

wû

j œ nœ

dis

‰

site.

œ bœ

dis

f S. 3

this

ter

dis

œû

ter

wû

dis

bœ J

dis

ter

dis

œû

bœ J

œ J

site.

° œ nœ & J

dis

site.

œ bœ -

this

‰

wû

˙û

œ œ

site.

œ bœ

œ dis

wû

‰

site.

° œ &

˙û

‰

site.

œ œ

˙û

œ J

‰

site.

ter

œ -

˙û

œ œ

site.

œ bœ

this

ter

œ -

˙û

œ œ

ter

j bœ -

ter

21 60

S. 1

° œ nœ & J as

S. 2

M.S.

& œ û ¢& œû

dis p

- as

dis

- as

j bœ -

ter

j bœ -

ter

œû œû

ppp

bœ œû J

dis ppp

bœ œû J œ dis pp

œ dis

dis

j œ nœ - as

ter

j bœ -

ter

œû œû

U wû

bœ ˙ J

œ nœ J -

j bœ

j œ nœ - as

ter

œ nœ J

ter

j œ nœ

œ nœ J

dis

j œ nœ

ter

p S. 3

dis pp

bœ œû J

œ nœ J

ter

œ nœ & J as

bœ œû J

U wû

bœ ˙ J ter ppp

j œ nœ

dis - as ppp

œ dis

j bœ

ter

j œ nœ

j bœ

- as

ter

U wû U wû

To be spoken aloud ten times, a prosecutor’s question and the state’s witness’s statement from trial, plus the translation: Eto bylo iskusstvo? (Was it art?) Eto bylo koldovstvo (It was witchcraft)

IV. Putin will teach you how to love (the Motherland) h = 46

Soprano 1

° 2 &2 ˙

Caus

2 &2 ˙

Soprano 2

Caus

2 &2 ˙

Soprano 3

Caus

Mezzo Soprano

2 ¢& 2 ˙

Caus

S. 2

b˙

ing

trou

ing

trou

b˙

ing

trou

b˙

ing

trou

˙ -

˙™

M.S.

b˙ ™

turned

the

light out

bœ

bœ b˙ ™

the

light out

œ b˙ ™ light out

fell

down,

b˙

b˙ ™

b˙

ble,

fell

down,

b˙

b˙ ™

b˙

ble,

fell

down,

turned

the

˙™

bœ fell

b˙ ™

b˙

bœ bœ

and

fucked

ble,

° &

∑

b˙ and

S. 3

b˙

ble,

˙ -

down,

˙™ turned

˙™

turned

the

S. 1

& Ó ¢& Ó

b˙

œ bœ

and

fucked

bœ bœ

and

fucked

œ bœ

bœ

b˙ her

œ bœ

fucked

∑

bœ

˙™

light out

12 b˙

b˙

and

fucked

her

b˙

her

and

fucked

her

b˙

and

fucked

her

b˙

and

fucked

her

bœ

her

S. 1

° ˙™ & un

S. 2

& b˙ ™ un

S. 3

& ˙ un

M.S.

¢& ˙ un

œ bœ

til

morn

bœ bœ

til

morn

˙™

til

morn

˙ -

til

œ -

ing,

bœ -

b˙ ™ morn

œ -

b˙

bœ morn

ing,

œ -

œ bœ morn

b˙

ing,

˙™ morn

b˙ ™ morn

ing,

bœ -

and

b˙

ing,

b˙ ing,

b˙

˙ and

S. 1

19 ° b˙ & fucked

S. 2

& b˙ fucked

S. 3

& b˙ fucked

M.S.

¢ & b˙ fucked

b˙ ™

her

b˙

b˙ ™

her

b˙ ™

her

b˙ ™

her

b˙

til

morn

til

morn

b˙

til

morn

til

morn

S. 1

fucked

S. 2

S. 3

her

o - ver

and

& b˙

her

b˙

un - til

˙ un

and

o - ver

un - til

œ -

™ & ˙

œ -

& b˙ ™

œ -

ty,

bw -

b˙

fucked

her

col

b˙

b˙ col

œ bœ

fucked

her

lapsed

les - son

lapsed

les - son

bœ

les - son

nœ

les - son

b˙

col - lapsed

b˙

b˙ ™

and

while

she

b˙

˙™

and

while

she

b˙

col - lapsed

œ bœ bœ

bœ

˙™

ver

said

it,

bœ

b˙ ™

ver

said

it,

∑

ty,

nw -

33 Ó

ty,

¢& ˙ ™ gra

til

o - ver

b˙

bœ

° ˙™ &

b˙ we

œ b˙

gra

M.S.

∑

ing,

til

gra

S. 3

ing,

b˙

¢& œ

gra

S. 2

o - ver

S. 1

bœ

˙ We

ing,

& bœ b˙

fucked

M.S.

b˙

∑

ing,

° b˙ &

24 Ó

ty,

24 37

S. 1

° b˙ ™ & ne

S. 2

& ˙™ ne

S. 3

& ˙™ ne

M.S.

¢ & b˙ ™ ne

bœ

ver

gave

ver

gave

bœ

ver

gave

bœ

ver

gave

˙ words

S. 1

˙™

bo - dy,

S. 2

bo - dy,

S. 3

& œ

¢ & bœ

words

45 bw

b˙

S. 1

S. 2

knew

S. 3

Ó Ó

knew

bœ

knew

that

she

must

it,

˙™

bœ

knew

that

she

must

it,

˙™

that

she

must

it,

b˙ ™

bœ

that

she

must

it,

knew

M.S.

b˙

b˙ ™

& w ¢& w

knew

b˙ ™

from

her

limp,

bœ

b˙ ™

from

her

limp,

bœ

˙™

from

her

limp,

bœ

from

her

limp,

Ó Ó Ó Ó

ked

b˙

knew

b˙

knew

she

must

it,

b˙ ™

bœ

she

must

it,

must

it,

bœ

she

bœ

˙™

ked

b˙

she

˙™

ked

knew

˙™

œ -

ked

knew

˙™

b˙

bo - dy,

49 ° w &

∑

knew

∑

˙™

bo - dy,

M.S.

words

˙™

words

& bœ b˙ ™

° bœ &

40 Ó

must

it,

Ó Ó Ó Ó

S. 1

S. 2

S. 3

M.S.

55 ° Ó & & Ó & Ó ¢& Ó

b˙

that

she

must

b˙

that

she

must

that

she

must

it.

that

she

must

U w

w it.

U w

w it.

b˙

U w

b˙

U w

it.

V. Police and Thieves q = 120 Absolutely inﬂexible reggae tempo; serious!

Soprano 1

° b4 & 4w

Soprano 2

4 &b 4 w

Soprano 3

4 &b 4 w

Mezzo Soprano

S. 1

9 ° &b Œ

4 ¢& b 4

œ Œ œ Oh!

S. 2

&b Œ

œ Œ œ

M.S.

¢& b

œ œ (Mm)Oh!

œ Oh!

∑

yeah!

Oh!

Œ œ Œ œ Oh!

Oh!

Œ œ œ Oh!

Oh!

∑

Œ œ Œ œ

Oh!

∑

Oh!

S. 3

∑

Œ œ Œ œ Yeah!

Yeah!

œ œ

Yeah!

(Mm)Yeah!

œ Yeah!

∑

Yeah!

œ Yeah!

yeah!

œ j œ

∑ ∑ ∑

Œ œ Œ œ

Oh!

œ œ

∑

Oh!

Yeah! (Mm)

∑

yeah!

Œ œ Œ œ

Yeah!

13 Œ œ Œ œ

Œ œ Œ œ

Yeah!

∑

Œ œ Œ œ

Yeah!

Œ œ Œ œ

∑

Oh!

Œ œ Œ œ

Oh!

œ Oh!

∑

Oh!

Œ œ

Oh!

∑

17 Œ œ Œ œ Œ

S. 1

° b Œ &

œ Œ œ Yeah!

S. 2

&b Œ

Yeah!

œ Œ œ Yeah!

S. 3

¢& b

Yeah!

Œ œ Œ œ

Yeah!

(Mm)Yeah!

M.S.

Yeah!

œ Yeah!

Yeah!

∑

Oh!

œ Œ

Oh!

Yeah! (Mm)Oh!

Oh!

S. 1

Oh!

S. 2

&b Œ

Oh!

œ Œ

œ œ (Mm)Oh!

M.S.

¢& b Ó

Oh!

S. 3

Oh!

œ Oh!

Oh!

œ Œ

Oh! (Mm)Yeah!

œ Yeah!

Yeah!

œ Yeah!

œ j œ

Œ œ Œ

Oh!

œ œ Oh!

the side walks

Yeah!

œœœ ˙

S. 1

œ Œ

Yeah!

S. 2

&b Œ

Yeah!

œ Œ

Yeah!

S. 3

¢& b Œ

Œ Œ

œ Yeah!

œ œ œ œ J

No peace - mak - ers

Yeah!

œ Yeah!

Yeah!

(Mm)Yeah!

M.S.

on - ly

Yeah!

j œ œ œ œ œ w a

gi - ta

tors.

Oh!

œ Œ Oh!

Oh!

yeah!

∑

Oh!

œ Oh!

j j j œ œ œ œ œ œj œj œ™ Cas - ings in

œ Œ

the

gut - ter.

° b Œ &

thieves

Oh!

Yeah! (Mm)

Yeah!

œ Œ œ

Oh!

Yeah!

œ œ œ œ œ J J œ˙

Blood in

25 Œ œ Œ

Œ œ Œ œ

Yeah!

the street

Yeah!

Po - lice and

Œ œ Œ œ

œ Œ œ

j ‰ j œ œ œj œ

Yeah!

Œ œ œ œ

j j j œ œ œ œ œ œJ Ó Ri - ots in

Yeah!

œ Œ œ Œ Oh!

œ Œ

Oh! (Mm)Yeah!

œ œ œ w

œ Œ œ Œ

Am - mo and guns

21 ° b Œ œ Œ &

œ Yeah!

Yeah!

Œ œ

œ Yeah!

Œ œ Œ œ

Oh!

œ œ

∑

Œ œ Œ œ

Oh!

Yeah!

œ Œ

∑ ∑ ∑

j j œ ˙ œ œ œ œ œ Oh

yeah!

37 Ó

S. 1

° b & w

S. 2

&b w

S. 3

&b w

M.S.

¢& b

∑

yeah!

∑

Get out

∑

S. 1

if you don't

S. 2

œ œ J

S. 1

Get out

S. 2

&b Ó

S. 3

&b Ó ¢& b Ó

peo

œ œ ˙™ -

peo

Œ Œ

œ œ ˙™ -

ple,

Œ œ œ œ Œ œ œ œ Œ œ œ œ Œ œ œ œ

if you don't

Œ œœ œ

if you don't

ple,

Œ œœ œ

if you don't

j œ œ œj œ œ ˙™ -

Œ œœ œ

if you don't

j œ œ œj œ œ ˙™

if you don't

j œ œ Get out

œ œ œj œ œ ˙™ J

if you don't

ple,

œ œ œ J J

if you don't

ple,

j j œ œ œ œ œ ˙™ Get out

yeah!

Get out peo

ple,

œ œ œj œ œ ˙™ J Get out

M.S.

peo

œ œ œ J J Get out

wan - na get blown up,

œ œ œ J J

j œ œ

œ œ ˙

Get out peo

j ‰ j œ œ œj œ œ

if you don't

45 ° &b Ó

wan - na get blown up,

¢& b Œ œ œ œ Œ

Get out peo

j œ œ œj ‰ œj œ

if you don't

M.S.

wan - na get blown up,

&b Œ œ œ œ Œ

œ J

Get out peo

œ œ œj ‰ œj œ J

if you don't

S. 3

41 Ó

wan - na get blown up,

&b Œ œ œ œ Œ

œ œ J

Get out

œ œ œj ‰ œj œ J

Get out

° b Œ Œ & œœ œ

œ œ J

ple,

Œ œœ œ if you don't

œ œ œ J J ‰ œJ œ wan - na

get

blown up,

ple,

j œ œ œ ˙™ peo

ple,

j œ œ œ ˙™ peo

ple,

j œ œ œ ˙™ peo

ple,

œ œ œ‰ œ œ J J J wan - na get blown up,

œ œ œj ‰ œj œ J wan - na get blown up,

j œ œ œj ‰ œj œ wan - na get blown up,

j ‰ j œ œ œj œ œ wan - na get blown up,

˙ get

blown up,

j j œ œ œ ‰ œj œ wan - na

blown up,

œ œ œj ‰ œj œ J wan - na

peo

blown up,

œ œ œ ‰ œ œ J J J wan - na

j œ œ œ ˙™

˙ get

53 w

S. 1

° b w &

∑

out.

S. 2

&b w

∑

out.

S. 3

&b w

∑

out.

M.S.

¢& b w

∑

yeah!

∑ ∑ ∑

∑

out.

61 Œ

S. 1

° b & w Oh

S. 2

&b w &b w ¢& b

yeah!

M.S.

S. 3

∑

œ Oh!

∑

Oh!

∑

Oh!

65 Œ œ Œ

S. 1

Yeah!

S. 2

&b Œ

¢&

b Œ

Yeah!

œ Yeah!

Yeah!

Œ œ Œ œ

Yeah!

(Mm)Yeah!

M.S.

Œ œ Œ œ

Yeah!

S. 3

Yeah!

œ Yeah!

Oh!

Œ œ Œ

Oh!

œ j œ

Yeah! (Mm)

œ œ œ™ œj œ œ œ

wide streets with out

Oh!

Yeah!

side - walks,

œ Oh!

œ Œ œ Œ Oh!

œ Oh!

Oh!

Œ œ

œ Œ

Yeah!

the win - dows,

œ Oh!

˙™

hou - ses,

Œ œ Œ œ

Yeah!

œ Yeah!

Yeah!

Œ œ Œ œ

Yeah!

œ Œ

Oh! (Mm)Yeah!

j j j œ œ œ œ œ œJ œJ œ™ ca - ges on

Yeah!

œ Œ œ Œ Oh!

Oh!

œ œ œ Rows

° &b Œ

Oh!

(Mm) Oh!

∑

Oh!

œ Oh!

Oh!

∑

Yeah!

œ Yeah!

œ œ œ œ œ œj œ œ œ œ J J J

ca - ges on

the free

73 Œ œ w

S. 1

° b Œ &

œ Oh!

S. 2

&b Œ

Œ œ

Oh!

3 j œ œ œ œ ˙

in - car - cer - ate

œ Œ

Yeah!

Oh!

j b ‰ j œ œ & œ ¢ œ way

(Mm)Oh!

M.S.

Oh!

œ œ

Œ œ

Oh!

S. 3

Yeah!

œ Œ

in this jail

Œ œ

Yeah!

œ œ J

Yeah!

Œ œ

Yeah!

(Mm)Yeah!

Yeah!

Œ œ

œ Yeah!

yeah!

Yeah!

œ œ œ J œ ˙

need - ing

∑

guards.

S. 1

° b w &

∑

yeah!

S. 2

&b w

∑

yeah!

S. 3

&b w

∑

yeah!

M.S.

¢& b Œ œ œ

81 ° &b w

&b w

S. 3

&b w

tors.

M.S.

¢& b w tors.

on - ly

gi - ta -

yeah!

∑ œ

œ œ

œ œ œ œ œj œ œ œ œ w J

S. 2

No peace - mak - ers

S. 1

∑

œ œ œ œ œ œ œ œ œ J J

yeah! No peace - mak - ers

∑

tors.

on - ly

w Oh

gi - ta -

˙ oh

gi - ta -

œ œ œ œ œj œ œ œ œ J

No peace - mak - ers

on - ly

˙ oh

rit.

S. 1

° b w &

yeah!

S. 2

&b w &b w

¢& b w

yeah!

M.S.

yeah!

S. 3

yeah!

w Oh

yeah!

Maria Alyokhina (to be read aloud) “...All of these things I’ve been talking about, all of these processes—they acquire meaning in art and in philosophy. Including contemporary art. An artistic situation can and, in my opinion, must contain its own internal conflict. And what really irritates me is how the prosecution uses the words “so-called” in reference to contemporary art. I would like to point out that very similar methods were used during the trial of the poet [Joseph] Brodsky. His poems were defined as “so-called” poems; the witnesses for the prosecution hadn’t actually read them—just as a number of the witnesses in our case didn’t see the performance itself and only watched the clip online. Our apologies, it seems, are also being defined by the collective prosecuting body as “so-called” apologies. Even though this is offensive. And I am overwhelmed with moral injury and psychological trauma. Because our apologies were sincere. I am sorry that so many words have been uttered and you all still haven’t understood this. Or it is calculated deviousness when you talk about our apologies as insincere. I don’t know what you still need to hear from us. But for me this trial is a “so-called” trial. And I am not afraid of you. I am not afraid of falsehood and fictitiousness, of sloppily disguised deception, in the verdict of the so-called court. Because all you can deprive me of is “so-called” freedom. This is the only kind that exists in Russia. But nobody can take away my inner freedom. It lives in the word, it will go on living thanks to openness [glasnost], when this will be read and heard by thousands of people. This freedom goes on living with every person who is not indifferent, who hears us in this country. With everyone who found shards of the trial in themselves, like in previous times they found them in Franz Ka a and Guy Debord. I believe that I have honesty and openness, I thirst for the truth; and these things will make all of us just a little bit more free. We will see this yet.”

VI. Deliver Pavement q = 176

Soprano 1

° 4f &4 w

Soprano 2

4 &4 w

Soprano 3

4 &4 w

Mezzo Soprano

4 ¢& 4 w

S. 1

° w &

Strip

S. 2

& w

¢ & bw

Strip

S. 1

° & œ

œ œ ‰ œ J

make them shake oﬀ

S. 2

& œ

œ œ ‰ œ J

make them shake oﬀ

S. 3

& œ

¢& œ

their

œ œ ‰ œ J

make them shake oﬀ

M.S.

their

œ œ ‰ œ J

make them shake oﬀ

their

œ œ Œ ar - mor

‰ œ œ J of im -

down the

po - lice,

down the

œ œ œ

pu - ni - ty

œ œ œ œ

‰ œ J

#œ

‰ œ #œ J

and pound their bul - lets

pu - ni - ty

œ œ œ

œ œ œ œ

and pound their bul - lets

pu - ni - ty

œ œ œ

make them twirl on poles,

pu - ni - ty

œ œ œ

œ œ œ œ

make them twirl on poles,

po - lice,

make them twirl on poles,

po - lice,

down the

œ œ œ œ

make them twirl on poles,

œ œ œ œ Œ

po - lice,

œ œ œ œ Œ

œ Strip

M.S.

down the

œ œ œ œ Œ

œ Strip

S. 3

œ œ œ œ Œ

‰ œ #œ J

and pound their bul - lets

‰ œ #œ J

and pound their bul - lets

32 16

S. 1

° bœ &

nœ bœ

in - to

S. 2

bœ

S. 3

bœ

M.S.

¢ & bœ

the ground.

S. 1

° w &

the ground.

nœ bœ

in - to

the ground.

nœ bœ

in - to

the ground.

nœ bœ

in - to

17 w

∑

S. 2

& w

∑

S. 3

& w Ah

M.S.

¢& w Ah

S. 1

26 ° œ œ œ œ œ ‰ J œ & Have them grap - ple

S. 2

& œ

S. 3

∑

¢&

∑

in blood soaked pave - ment,

∑ ∑

œ œ œ ‰ œ J

Have them grap - ple

j œ œ œ ‰ œ #œ

in blood soaked pave - ment,

j œ œ œ ‰ œ œ

Have them grap - ple

in blood soaked pave - ment,

j œ œ œ ‰ œ

Have them grap - ple

M.S.

∑

in blood soaked pave - ment,

j œ œ œ ‰ œ œ

Have them grap - ple

33 31

S. 1

° œ &

p cresc.

blood soaked pave -

∑

ment,

let

them

p cresc. S. 2

& œ

blood soaked pave -

S. 3

w œ

j œ œ ‰ œ #œ

Have them grap - ple

M.S.

∑

¢&

S. 1

souls they've mpcresc.

& w

the

souls they've mpcresc.

& w feel

M.S.

the

feel

S. 3

the

¢& w feel

S. 1

gain

S. 2

& œ gain

S. 3

& œ gain

M.S.

¢& œ gain

gut - ter

souls they've

gut - ter

of their crimes,

and

when mfcresc.

and

when mfcresc.

split

Ó Ó Ó

of their crimes,

œ œ œ œ œ œ from the

when mfcresc.

of their crimes,

œ œ œ œ œ œ from the

and

of their crimes,

œ œ œ œ œ œ from the

split

œ œ œ œ œ œ from the

° & œ

blood soaked pave - ment,

œ the

split

let

them

let

them

p cresc.

souls they've mpcresc.

œ p cresc.

mfcresc.

mpcresc.

feel

S. 2

blood soaked pave - ment,

j œ œ ‰ œ

Have them grap - ple

36 ° w &

∑

ment,

∑

b˙ ™

œ they

let

them

j œ

‰

rise

a -

˙™

œ they

j œ

‰

rise

a -

˙™

œ they

rise

#˙ ™

and

when

they

rise

44 ˙™

taste

˙™

taste

˙™

taste

#˙ ™

taste

a -

gain

n˙ ™ -

gain

#˙ ™ -

gain

#˙ ™ -

j œ

‰

˙™ -

j œ

‰

gain

bœ

34 46

S. 1

° bw &

life

S. 2

and

& w life

S. 3

& w

Ó Ó

life

S. 1

51 ° #w & know

S. 2

know

S. 3

& bw know

M.S.

know

free -

dom,

#œ

what

they've

what

they've

b˙

bœ

what

they've

what

they've

¢& w

˙™

#˙

& w

dom,

and

˙™

free -

b˙

dom,

and

¢& nw

˙™

free -

dom,

and

life

M.S.

free -

˙™

œ -

ken

œ -

œ a

ken

they

will

they

will

they

will

way.

∑

way.

∑

way.

56 ° & œ

will

∑

they

way.

nw -

∑

œ a

ken

œ -

œ a

ken

œ -

psubito

S. 1

œ œ œ œŒ

Strip down the po - lice

œ œ œ œ Œ

make them twirl on poles,

œ œ œ œŒ

Strip down the po - lice

œ œ œ œ

make them twirl on poles,

œ œ œ œŒ

Strip down the po - lice

psubito S. 2

& œ

œ œ œ œŒ

Strip down the po - lice

œ œ œ œ Œ

make them twirl on poles,

œ œ œ œŒ

Strip down the po - lice

œ œ œ œ

make them twirl on poles,

œ œ œ œŒ

Strip down the po - lice

psubito S. 3

& œ

œ œ œ œŒ

Strip down the po - lice

œ œ œ œ Œ

make them twirl on poles,

œ œ œ œŒ

Strip down the po - lice

œ œ œ œ

make them twirl on poles,

œ œ œ œŒ

Strip down the po - lice

psubito M.S.

¢& œ

œ œ œ œŒ

Strip down the po - lice

œ œ œ œ Œ

make them twirl on poles,

œ œ œ œŒ

Strip down the po - lice

œ œ œ œ

make them twirl on poles,

œ œ œ œŒ

Strip down the po - lice

35 61

S. 1

° & œ

œ œ œ œ

make them twirl on poles,

S. 2

& œ

Strip

œ œ œ œ

make them twirl on poles,

S. 3

& œ ¢& œ

œ Strip

œ œ œ œ

make them twirl on poles,

M.S.

œ Strip

œ œ œ œ

make them twirl on poles,

œ Strip

œ œ œ œ Œ down the

po - lice

œ œ œ œ Œ down the

po - lice

œ œ œ œ Œ down the

po - lice

œ œ œ œ Œ down the

po - lice

œ œ œ œ

64 Œ w

make them twirl on poles,

œ œ œ œ

make them twirl on poles,

œ œ œ œ

make them twirl on poles,

œ œ œ œ

make them twirl on poles,

S. 1

° w &

S. 2

& bw

S. 3

& w

M.S.

¢ & bw

S. 1

° #w &

72 w

S. 2

& w

w Ah

S. 3

& #w

w Ah

M.S.

¢& w

w Ah

36 75

S. 1

° w &

U w

U #w

S. 2

& w

w Ah

S. 3

& w

w Ah

M.S.

¢& #w

w Ah

From the closing statement of Nadezhda Tolokonnikova (to be read aloud) “Pussy Riot’s performances can either be called dissident art or political action that engages art forms. Either way, our performances are a kind of civic activity amidst the repressions of a corporate political system that directs its power against basic human rights and civil and political liberties. The young people who have been ﬂayed by the systematic eradication of freedoms perpetrated through the aughts have now risen against the state. We were searching for real sincerity and simplicity, and we found these qualities in the yurodstvo [the holy foolishness] of punk. The paths of truth always triumph over the paths of cunning, guile, and deception. Every day, truth grows more victorious, despite the fact that we remain behind bars and will probably be here for a long time. Yesterday, Madonna performed in Moscow with “Pussy Riot” written on her back. More and more people see that we are held here illegally, on false pretences. This amazes me. I am amazed that truth really does triumph over deception. Despite the fact that we are physically here, we are freer than everyone sitting across from us on the side of the prosecution. We can say anything we want and we say everything we want. The prosecution can only say what they are permitted to by political censorship.

VII. Death to Prison, Freedom to Protest q = 116

Soprano 1

° bb 4 & 4

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿ >¿ ‰ Œ J

∑

Shh (ah)*sh sh Shh (ah)sh sh Shh

b4 &b 4

Soprano 2

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿ >¿ ‰ Œ J

∑

have

∑

Shh (ah)*sh sh Shh (ah)sh sh Shh

b4 > > > & b 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿J ‰ Œ

Soprano 3

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿ >¿ ‰ Œ J

Shh (ah)*sh sh Shh (ah)sh sh Shh

Mezzo Soprano

Shh (ah)sh sh Shh (ah)sh sh Shh

b4 > > > ¢& b 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿J ‰ Œ

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿

∑

Shh (ah)*sh sh Shh (ah)sh sh Shh

Shh (ah)sh sh Shh (ah)sh sh

*Inhale sharply and audibly

S. 1

° bb w &

seen

S. 2

the

bp &b ˙ I

S. 3

have

seen

b > > > & b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿J ‰ Œ Shh (ah) sh sh Shh (ah) sh sh

M.S.

b > ¢& b ¿J ‰ Œ

b &b ˙

˙ -

Shh

b > ¢& b ¿J ‰ Œ

stares

Shh

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿

Shh

Shh (ah) sh sh Shh (ah) sh sh

Shh

˙™

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿ >¿ ‰ Œ J

Shh

felt

sors,

Shh (ah) sh sh Shh (ah) sh sh

˙™

pres

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿

Shh

felt

Shh (ah) sh sh Shh (ah) sh sh

b > > > & b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿J ‰ Œ

Shh

stares

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿ >¿ ‰ Œ J

sors,

Shh (ah) sh sh Shh (ah) sh sh

M.S.

the

Shh (ah) sh sh Shh (ah) sh sh

S. 3

10 >¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿ >¿ ‰ Œ J

° b w &b

pres

Shh (ah) sh sh Shh (ah) sh sh

S. 2

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿ >¿ ‰ Œ J

Shh

S. 1

them

cast

them

cast

stone

˙ in

˙ with

16 ˙

S. 1

° bb >¿ ‰ Œ & J

Shh

S. 2

Shh (ah) sh sh Shh (ah) sh sh

b > > > & b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿J ‰ Œ Shh (ah) sh sh Shh (ah) sh sh

S. 3

b &b ˙

Shh

S. 3

Shh (ah) sh sh Shh (ah) sh sh

with

just

glance,

Shh (ah) sh sh Shh (ah) sh sh

b ˙ ¢& b

just

glance,

∑

° bb w &

the

b &b ˙

have

felt

b > & b ¿J ‰ Œ

˙ -

b > & b ¿J ‰ Œ

Shh

œ the

Shh

Shh (ah) sh sh Shh (ah) sh sh

Shh

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿

Shh

Shh (ah) sh sh Shh (ah) sh sh

œ œ œ

ex - pa - tri - a

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿

Shh

sion,

˙™

Shh (ah) sh sh Shh (ah) sh sh

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿ >¿ ‰ Œ J

b > > > ¢& b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿J ‰ Œ Shh (ah) sh sh Shh (ah) sh sh

clu

Shh (ah) sh sh Shh (ah) sh sh

Shh

M.S.

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿ >¿ ‰ Œ J

sion,

23 >¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿ >¿ ‰ Œ J

b ˙ &b

the

Shh (ah) sh sh Shh (ah) sh sh

° b w &b

-clu

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿ >¿ ‰ Œ J

b > > > ¢& b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿J ‰ Œ

∑

˙™

Shh (ah) sh sh Shh (ah) sh sh

S. 3

Shh

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿

S. 2

Shh (ah) sh sh Shh (ah) sh sh

S. 1

have

Shh

M.S.

felt

S. 2

Shh

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿ >¿ ‰ Œ J

S. 1

stone

M.S.

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿ >¿ ‰ Œ J

œ -

Shh

tion

œ the

œ œ œ

ex - pa - tri - a

œ -

tion

28 3 œ œ œ œ œ

S. 1

° bb >¿ ‰ Œ & J

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿ >¿ ‰ Œ J

Shh

S. 2

Shh (ah) sh sh Shh (ah) sh sh

b > > > & b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿J ‰ Œ Shh (ah) sh sh Shh (ah) sh sh

S. 3

b ˙ &b

diﬀ

M.S.

b ˙ ¢& b

Shh

and

all

the frus - tra -

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿ >¿ ‰ Œ J

Shh

Shh (ah) sh sh Shh (ah) sh sh

tions

Shh

and

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿

∑

'rence

Shh (ah) sh sh Shh (ah) sh sh

˙ of

diﬀ

∑

'rence

S. 1

S. 2

° bb ˙ & b &b œ all

S. 3

œ œ

b˙ ™

forced

the frus - tra -

b > & b ¿J ‰ Œ

tions

Shh (ah) sh sh Shh (ah) sh sh

S. 1

S. 2

S. 3

sion

forced

>¿ ‰ Œ J Shh

Shh

˙™

clu -

sion

b˙ ™

forced

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿

bœ

œ ex -

>¿ ‰ Œ J

Shh (ah) sh sh Shh (ah) sh sh

Shh

Spoken: Open all the doors, tear oﬀ your epaulets Come, taste freedom with us.

° b &b Ä

∑

b &b w b & b bœ clu -

M.S.

>¿ ‰ Œ J

clu -

b˙ ™

Shh (ah) sh sh Shh (ah) sh sh

b > > ¢& b ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

˙™

>¿ ¿ ¿ ¿ >¿ ¿ ¿ ¿

Shh

M.S.

bœ

b ¢ & b b˙ ™ forced

Ó ˙™

∑

b˙ ™

forced

sion

œ ex

bœ

˙™

clu -

sion

∑

bœ

˙™

clu -

sion

∑

b˙ ™

forced

bœ

˙™

clu -

sion

b˙ ™

forced

œ ex -

S. 1

38 ° bb &

∑

S. 2

S. 3

b & b œ.

œ.

œ-

œ.

œ-

œ.

M.S.

clu -

œ.

˙™

S. 3

M.S.

œ.

bœ.

œ.

° bb &

œ.

sion

œ.

44 ˙™

∑

b & b œ.

œ.

œ-

b &b œ .

œ.

œ-

œ. œ.

bœ.

b ¢& b œ .

œ.

œ-

dom

cros

œ.

œ™

Free

S. 2

œ.

S. 3

M.S.

œ.

car

bœ.

œ.

œ-

œ.

œ-

œ. œ.

œ.

œ-

∑

b & b œ.

œ.

œ-

b &b œ .

œ.

œ-

b ¢& b œ .

œ.

œ-

œ.

ing

œ.

° b w &b

œ.

n˙

ses

vides,

S. 2

œ.

œ ˙ J

S. 1

œ.

S. 1

œ.

b &b w b ¢ & b bœ

bœ.

œ.

51 œ.

œ.

-œ

tun

nels

through

œ.

œ-

œ.

œ-

41 53

S. 1

S. 2

° bb œ. &

œ.

-œ

b &b w

muck,

S. 3

M.S.

b & b bœ. b ¢& b œ.

S. 2

S. 3

M.S.

œ.

œ-

œ.

œ-

œ.

-œ

b & b w

S. 2

S. 3

M.S.

œ.

œ-

b ¢& b œ.

œ.

œ-

œ.

hy - po - cri - sy,

œ.

bœ.

œ.

bœ œ ˙ ™

œ.

-œ

œ.

-œ

3 œ œ œ ˙

light

˙™

˙ it

shines

œ. œ.

bœ.

œ.

-œ

œ.

-œ

œ.

œ-

œ.

-œ

b . &b œ

œ.

-œ

œ.

˙™

œ b˙ ™

the

lost

and

list - ing

b ¢& b œ.

œ.

œ-

bœ.

leads

œ.

that

œ.

° b œ. &b

b &b w

œ.

60 œ.

∑

b & b œ.

S. 1

œ.

dirt,

œ.

° bb œ. &

the

S. 1

œ.

œ-

42 68

S. 1

S. 2

S. 3

M.S.

° bb w &

S. 2

S. 3

M.S.

b &b

S. 2

S. 3

M.S.

œ.

-œ

œ.

-œ

œ.

œ-

n˙ ™

b˙

bœ

out

storms

bond - age.

œ.

75 œ.

œ.

-œ

œ.

-œ

œ.

œ-

œ.

œ-

œ.

∑

b ¢ & b bw

° bb œ. &

œ.

-œ

b . &b œ

œ.

-œ

b & b œ.

œ.

œ-

b ¢& b œ.

œ.

œ-

bœ.

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Nadezhda Tolokonnikova (to be read aloud) “I don’t want to label anyone. It seems to me that there are no winners, losers, victims, or defendants here. We all simply need to reach each other, connect, and establish a dialogue in order to seek out the truth together. Together, we can seek wisdom and be philosophers, instead of stigmatizing people and labeling them. Neither myself, nor Alyokhina, nor Samutsevich were found to have powerful and stable aﬀects or other psychological values that could be interpreted as hatred toward anything or anyone. So: “Open all the doors, tear oﬀ your epaulets Come, taste freedom with us.” [Pussy Riot] That is all.”

VIII. Prisoner of Conscience h = 46

Soprano 1

° bb 2 & b2 ˙

When

b 2 &b b 2 ˙

Soprano 3

When

Mezzo Soprano

b 2 ¢& b b 2 ˙ When

stay

blind,

when

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when

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45 26

S. 1

° bb w & b

27 ˙

(Mm)

S. 2

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(Mm)

S. 3

b &b b w

(Mm)

M.S.

b ¢& b b w

w (Mm)

S. 1

° bb & b w

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(Mm)

S. 2

b &b b w

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S. 3

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(Mm)

M.S.

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S. 1

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(Mm)

S. 2

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(Mm)

S. 3

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(Mm)

M.S.

b ¢& b b ˙

U œ (Mm)