MAN & BOY: DADA (2004, revised 2005)
An opera in two acts by Michael Nyman and Michael Hastings Music by Michael Nyman Libretto by Michael Hastings
Commissioned by Badisches Staatstheater, Karlsruhe, Germany
Full Score: 07/11/05
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This opera was first performed by Karlsruhe Opera on 13 March 2004 at the Badisches Staatstheater Karlsruhe, with John Pickering (tenor), Beverly O’ReganThielo (mezzosoprano), Janja Vuletic (soprano), designed by Peter Werner, directed by Robert Tannenbaum and conducted by Wolfgang Heinze. CHARACTERS Kurt Schwitters (1887-1948) aged 58. Michael aged 12. Michael’s Mother aged 40, who also plays woman on bus, bus conductress, museum attendant and BBC interviewer
In 1945, after the war, Kurt Schwitters spent some time in London. He was considerably impoverished and little known in Britain. He later went to Westmoreland where a farmer loaned him a barn. Schwitters died in Kendal, near Ambleside, Westmoreland, 1948.
THE SCHWITTERS POEM One day You finish to be a boy But you play Still with your old toy You like all the angels As you did before And think they are girls, Beautiful girls You think they are like you When you were young But you are old, And die and get cold.
(Kurt Schwitters. 02.04.1947)
INSTRUMENTATION Oboe Clarinet in B flat (doubling C Clarinet and Bass Clarinet) Alto Saxophone (doubling Soprano) Bassoon Percussion: Marimba; Vibraphone; Side Drum; Bass Drum; Temple Blocks; Tom-Toms; Drum Kit
Electronic Keyboard 2 Violins Cello Double Bass
Duration: c.1 hour 45 minutes
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M&B libretto (07 11 05).doc
MAN AND BOY: DADA Libretto by Michael Hastings Music by Michael Nyman (2004, revised 2005) The librettist would like to acknowledge the input of Victoria Hardie, who not only made several suggestions concerning the libretto, but also devised the idea of contrasting a boy wanting to bring order to the chaos of postwar London with the artist Schwitters, who openly acknowledged his pleasure in the beauty of random chaos.
ACT ONE Scene 1
On the bus. A woman in a headscarf sits up front. Michael stands and sways with the movement of the bus. Smart school uniform. He watches her. The old man, Kurt Schwitters, sits apart. He is poorly dressed.
MICHAEL
I can’t see what’s in her hand.
KURT
But I know it’s there.
WOMAN
One more stop.
MICHAEL
She’s definitely got a ticket.
WOMAN
It’s a request stop.
MICHAEL
Could be an orange one.
WOMAN
Ding the bell. But don’t get up too soon. Mustn’t fall off a bus when it’s moving.
MICHAEL
I don’t want an orange one. Need a blue. Really hard to find. I can see what’s in her hand.
KURT
So can I.
MICHAEL
What’s that geezer looking at?
WOMAN
Oh, to be home.
KURT
It’s a blue ticket.
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MICHAEL
Give it to me!
WOMAN
Open the stove and heat the room.
MICHAEL
Doesn’t really matter. Doesn’t collect bus tickets. He’s just a pathetic old man.
CHORUS/ALL
A ticket to go here. A ticket to go there. You need a ticket to breathe the air.
KURT
I’d prefer to buy a ticket for a day trip which promises not to get there and may not even come back.
MICHAEL
All she has to do is to forget it’s in her hand. The woman anticipates her stop. She dings the request bell. She makes her way to the open deck.
MICHAEL
Hold the rail tight, missus, so you don’t fall. (aside) And drop the ticket while you’re at it.
WOMAN
What a nice boy ...
MICHAEL
You don’t want to fall on the pavement. (aside) The ticket the ticket the ticket the ticket
WOMAN
Such a thoughtful boy ...
WOMAN
Don’t need this old ticket now.
KURT MICHAEL
I do! ...
The woman drops her ticket on the floor. It floats in the air. It is in no hurry to hit the deck. The bus comes to a halt with a mechanical sigh of brakes. The woman steps off the bus. The ticket hangs in the air in a tantalising manner. Michael makes a grab and misses it. The ticket slips to the floor. Kurt goes to it. He stumbles badly.
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Grabs his chest. He has collapsed. Michael dives for the ticket. MICHAEL
It is mine!
KURT
On the contrary, it’s mine. I saw it first.
MICHAEL
You don’t collect bus tickets!
KURT
I want to use it ... for something personal.
MICHAEL
I was the quickest. I was the nippiest. No one is faster than me.
KURT
But the planet does twenty-eight thousand miles per hour so you cannot compete. In my race I don’t give the prize to the winner who runs past. But I give it to the man at the back who, heroically and against all the odds, has triumphed and come last.
MICHAEL
What’s that geezer on about? Michael grabs a seat in the bus. He stares at the old man. We hear a ding. Kurt struggles to his feet. He gasps for breath. The boy turns to look at Kurt. The boy begins to think he hates the old man.
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Scene 2
Another day. Another bus stop. Kurt stands behind the woman at the bus stop. He holds a battered suitcase. There is a tin waste basket attached to the pole. The boy runs up. Pushes past them both and fishes in the basket for tickets. WOMAN
Excuse me! ...
MICHAEL
What for?
WOMAN
There’s a blooming queue.
MICHAEL
Not for me there isn’t.
WOMAN
There’s a queue unless you’re blind. When I’m in front I never look behind.
MICHAEL
Don’t believe in queues.
WOMAN
And I’m never lonely in a good queue when the bus comes by and there’s “standing room only”!
KURT
The longest queue I can recall is one when there was nobody there at all. So when the bus came at last the driver took one look and drove straight on past.
MICHAEL
What are you saying? The boy stares at the old man. The boy scratches his head. The old man Kurt begins to forage in the tin basket for tickets.
MICHAEL
I’ve already looked.
KURT
We may not be looking for the same thing. The old man, Kurt, suddenly collapses on the ground. His suitcase falls open and carrots and potatoes tumble out.
MICHAEL
You’re just doing that to gain attention!
KURT
Help me! ... Michael helps Kurt to his feet. The woman doesn’t look round. The old man has difficulty in standing upright. Michael picks up the carrots and potatoes. The bus arrives. Michael sees the woman climb aboard.
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Michael doesn’t hurry. Ding ding. The bus goes. Michael packs the vegetables back in the suitcase. MICHAEL
What’s all this then?
KURT
Just a few things I collect besides bus tickets. Sometimes I collect hunger and cold. And I'm partial to a bit of old age, and poverty too. And I try to put them in perspective Oh God, I try When I'm hungry I feed the pigeons. When I'm cold I throw open the British window and tear off my coat. When I feel particularly poor I write out extravagant cheques, And if I'm feeling ill I run up and down stairs like a mountain goat. Just a few things I collect beside bus tickets. Michael gives the suitcase back.
MICHAEL
Why ... didn’t you tell me you were ill?
KURT
Why ... did you miss your bus?
MICHAEL
I don't rightly know ...
KURT
Anyway, it’s only my body that lets me down from time to time.
MICHAEL
But you are ill aren’t you?
KURT
Yes I am.
MICHAEL
And you can’t stand up very well.
KURT
I can still recognise a rare bus ticket.
MICHAEL
So can I ...
KURT
I know. Michael studies the old man.
MICHAEL
Why don’t you stand at the front of the queue here, so you can get a seat on the next bus.
KURT
I thought you never believed in queues.
MICHAEL
Today’s an exception.
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Scene 3
Another day. The old man and the boy on a bus. Ding ding. The boy finds a ticket. Waves it at the old man. MICHAEL
Look at this! Somebody dropped it. You can go to the end of the route with this ticket.
KURT
But do you really need it?
MICHAEL
What are you saying?
KURT
There’s nothing very special about it.
MICHAEL
Maybe.
KURT
I bet you’ve got dozens in your collection.
MICHAEL
So what if I have? The old man tries to snatch it from the boy. The boy is quicker.
KURT
Give it over to me!
MICHAEL
No I won’t.
KURT
Please give it me!
MICHAEL
No I won’t.
KURT
Please! ...
MICHAEL
If you want it so badly I can give you one of mine, I’ve got hundreds at home.
KURT
Please. …
MICHAEL
Why? ...
KURT
Because you have so much of so many things. You have all these futures without misgivings. You see I’m inclined to think a baby’s sneeze has about as much to say as all of Socrates. You can take your future to the banks. All I want is just this ticket and you can afford to swap it for an old man’s thanks. The bus conductress comes along. Her cap and her ledge
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of tickets pinned to her belt. CONDUCTRESS
Any more fares please. Any more fares! The old man looks round. Alarmed.
KURT
I don’t have any money. I can be arrested for this! They will take me to a camp. I can be deported for this. Please! ... Kurt holds out his hand. The boy slowly gives him the ticket.
CONDUCTRESS
See your ticket, sir! Kurt shows her the ticket.
CONDUCTRESS
Going all the way to the end of the route, sir?
KURT
Eh? Yes! ... She clips it again with her steel puncher. Gives it back to him. Walks away.
KURT
(to Michael) Thanks ... The bus snorts into a gear change. There’s a ding ding.
KURT
Any more fares, please?
MICHAEL
No more fares. How far are you going? To the end of the line. What will you do when you get there? Be afraid to come back? Any more fares please? No more fares. Shall I come with you? If you want. How will we get home? We’ll find some tickets ... What an adventure! ... Any more fares please? No more fares ...
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Scene 4
Outside a front door in Hampstead. Kurt and Michael slump very tired. KURT
Your mother will be mad you’re not home.
MICHAEL
I don’t care ...
KURT
You’ll be late for tea.
MICHAEL
I know ...
KURT
Well, this is my home. Do you want to come in?
MICHAEL
No thank you.
KURT
Don’t you want to see what I do with the bus tickets I collect?
MICHAEL
Not really. (Looks at Kurt) What do you do with them then? Kurt goes inside. Comes out immediately with a collage. There is a bus ticket pasted in the collage.
KURT
Here you are!
MICHAEL
What is it?
KURT
It’s called Merz Art.
MICHAEL
I like the bus ticket. I’ve got one of those, from a number ninety-seven. It’s in much better condition than yours. But I’ll swap it if you want to.
KURT
But what do you think of the picture?
MICHAEL
Dunno.
KURT
All the other bits and pieces?
MICHAEL
It’s… interesting, isn’t it?
KURT
That’s not what you think. Tell the truth. You think that all the rest is rubbish.
MICHAEL
No I never said that.
KURT
But that’s what you think.
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MICHAEL
I’ve got to go home now. Kurt shows Michael the collage
KURT
Here is what I found today. Took a bus. Drank a coffee. Chewing gum stuck on my shoe. I ate a toffee. And a pretty girl read a letter written by her lover and tore it up. So I picked it up then and there. I thought she’d burst into tears, but she just shrugged and brushed her hair. Here is everything I found today. Here is everything I found today. So ... do you still think it’s rubbish?
MICHAEL
I must go home.
KURT
Tell me the truth - what do you think?
MICHAEL
Dunno. Mum will be looking for me. It’s kind of ... interesting rubbish.
KURT
But it’s still all rubbish?
MICHAEL
Something like that.
KURT
I wanted to hear you tell me the truth.
MICHAEL
I can help you if you want you know. I can swap you my green one, if it makes you feel any better. They look at each other.
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Scene 5
The lion sculpture outside the British Museum. Kurt is working on the lion. He has some tools. He places cardboard ears on the lion. He paints in feline eyes. Michael walks up. KURT
You followed me here.
MICHAEL
Only because I think you’re mad.
KURT
No, no, no. You like what I do.
MICHAEL
I think if someone catches you, you’ve got to scarper.
KURT
I don’t know the word ‘scarper’.
MICHAEL
Could be useful. Kurt steps back. Surveys the art work.
KURT
What do you think this is?
MICHAEL
I think it’s a lion.
KURT
It’s a cat!
MICHAEL
It was meant to be a lion.
KURT
No, no. It’s for stuffed shirts and town hall nabobs. It’s a self-satisfied ornament created by the Maharajahs of cement. They think it’s here for ever. It’s just possible they aren’t that clever. Kurt splashes cat-like huge white whiskers. The lion is transformed. Kurt offers his brush to Michael. Michael finishes off the cat’s whiskers. Kurt gives it a big red nose of paint. The Museum attendant runs up. She is in a formal blue suit. She blows on a whistle.
ATTENDANT
Vandalism of public property Vandalism means a hefty fine, and if you can’t pay up you go to jail for a trying time. The lion,
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the lion, look at the lion. KURT
It’s not a lion, It’s a cat.
ATTENDANT
It’s a concrete lion.
KURT MICHAEL
No. It’s a fat cat.
ATTENDANT
I don’t give a candle what it is. You are a vandal! The attendant blows on her whistle. Rushes away to find more attendants. Michael sneezes.
MICHAEL
I think I’m coming down with flu. What shall I do?
KURT
Scarper! ... Kurt packs away his brush and paints. They both leg it.
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Scene 6
BBC Third Programme Studio. Broadcasting House, London. The interviewer is a brisk young woman. She sits opposite Kurt Schwitters. They both wear large headphones. There is a glass wall between us. INTERVIEWER
This is the BBC Third Programme. We have in the studio today, the leading German exponent of the art of DADA Kurt Schwitters. Herr Doktor Schwitters for your first show in Hanover, instead of critics, you began your career by inviting forty sheep and twenty reindeer?
KURT
Well, I -
INTERVIEWER
Continuing with your life, you invented the term MERZ. MERZ Art can be anything from bus tickets to fox furs. You created a room which was not a room. You built a tower which broke through the roof and when rain began to pour your landlord decided to show you the door.
KURT
I don’t think it was exactly like that -
INTERVIEWER
‘Picasso is a 19th century artist’, you claim ‘He makes works to fit the inside of a pretty gilt frame’. And yet when asked what art means to you, you announce –‘art is the most useless thing in the world to do’.
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KURT
Well, you know, I get asked some pretty silly questions -
INTERVIEWER
In due course the DADA movement and you had to part DADA persisted in calling itself Anti-Art. Everything, you insisted, could be a work of art because everything is of equal value. What is it like to be a rebel in the Post War world and what does it mean to you?
KURT
Ah, yes, well I -
INTERVIEWER
And although you once described DADA as laughter in the dark which suited the times, is it true you became afraid DADA laughter could be mis-used for Nazi crimes?
KURT
Let me see if I can give you a detailed answer to that -
INTERVIEWER
I’m so sorry. We’ve run out of studio time. Thank you very much.
KURT
But -
INTERVIEWER
This is the BBC Third programme. You have been listening to Kurt Schwitters, the artist, on what it is like to be a leading figure of the movement known as DADA-ism.
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Scene 7
In Michael’s house. It is a small neat terrace. His mother stares at Kurt. KURT
How is Michael?
MOTHER
He’s in bed.
KURT
I’m the old man.
MOTHER
Michael has told me about you.
KURT
I’m his new friend.
MOTHER
That may be. But he cannot see you today.
KURT
He has this flu. I know he has this flu. So I quickly thought of something to do.
MOTHER
I can’t ask you to stay.
KURT
Not even for the famous British cup of tea?
MOTHER
I don’t wish to appear rude, but these days I never invite people in for tea.
KURT
‘Coughs and sneezes spread diseases. Trap them in your handkercheiveses’ A good old British saying. But it is just not true. Anyway, I’ve written him a poem.
MOTHER
My son didn’t say you were a poet, sir.
KURT
More than a poet, Madame: painter, singer and actor. More even than that, Madame: assemblage maker, sound poet, performance artist, musician and composer, magician, dancer, inventor, and even more, Madame. And even more.
MOTHER
Very nice, I’m sure. If you give me your poem, Michael will read it.
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KURT
No. It’s a Sneeze Poem. You have to see me do it. Michael enters. Pyjamas and red nose. Sniffles.
MOTHER
Michael, go back to bed. Kurt makes a grand gestures. He takes out a handkerchief and theatrically blows his nose.
MICHAEL
(to Kurt) What is this poem?
KURT
(resistance) Ah ha ha na ah wan na ha Ah oh ah ha na na na wu Ah ya ya harsna wanna hars nu Ah ha! (losing control) Stra stra stra oosh na stra stra ooshna stra stra no stra no ah na! (delivery) Ah tarsha da da arch starta stoo aarch ah starna no tish ar ar ar ah ah ha da ha shoo aha ah na anaha ahach a tash shooo! Kurt explodes. Mother takes a step back. Michael grins.
MOTHER
Would you like to stay for tea?
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Scene 8
Kurt’s room in north London. Cardboard boxes and crates hang from the ceiling. A bed is pinned to the ceiling. Michael holds a filled paper carrier bag. He knocks. No answer. He walks in. Suddenly, Kurt appears. MICHAEL
You don’t really sleep In that bed?
KURT
No.
MICHAEL
Then … what’s it for?
KURT
It’s a bed that nobody Sleeps in. Michael looks round the room. Explores.
MICHAEL
Everything else is on the ceiling.
KURT
Quite so. Using the floor Has no point Anymore. I once built a Room like this In Hanover. I called it my White Palace Room. I once built a Room like this Where you do Everything up there Except take a piss.
MICHAEL
Is it still there? Where is Hanover?
KURT
Hanover is a great German city. My house was blown to bits, people were bombed without pity. Much of my family lost their lives Everything of mine was Destroyed – my designs, My books, all my archives.
MICHAEL
Destroyed by whom?
KURT
By the British.
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MICHAEL
Who are they?
KURT
Your people. Michael looks around the room with curiosity.
MICHAEL
There’s nowhere to Sit. And what is more the only place to eat a meal is on the floor.
KURT
I’ve always thought eating takes up too much time. You have to go hungry to make thoughts sublime.
MICHAEL
Then you won’t be wanting any of these? Michael empties his carrier bag. Carrots and potatoes roll across the floor. Kurt scrambles suddenly and grabs all the vegetables from the floor. Stuffs the vegetables into as many pockets as he find.
KURT
Ah yes … Where was I? What was I thinking? I was talking about my White Palace Room in Hanover. It was an assemblage of despair In domestic ev’ryday feeling. So where was I?
MICHAEL
Something about taking a piss On the ceiling?
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Scene 9
On the way to school in the morning. His mother walks Michael to school. Michael is in school uniform.
MICHAEL
Did you know the Allies bombed Hanover to bits?
MOTHER
That’s what they were trying to do to us too. They cross the road at a busy junction.
MICHAEL
How did Daddy die?
MOTHER
He was a night watch man on a factory building. A German doodlebug bomb made a direct hit. They never found his body afterwards. I hate all Germans. All Germans are bastards.
MICHAEL
The old man is German.
MOTHER
Ah, well, … he’s diff’rent.
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ACT TWO Scene 10 Tea in the front room of the boy’s house. Michael lays out three places at the table. Cake and jam sandwiches etc. Michael goes upstairs. The doorbell rings. The mother moves to the door to let the old man in. KURT
I arrive to have traditional British tea in tea cups, on saucers with tiny spoons.
MOTHER
You’ll be lucky, make no mistake. There’s no sugar for a start. Sugar’s rationed. I’ve used all my ration to bake this cake for you. She shows him the cake. He reaches for it. Well, he almost manages to take a bite out of it. Playfully she smacks his hand down.
MOTHER
It isn’t tea-time yet. Haven’t put the kettle on.
KURT
Of course! There must be a special time to have tea. They sit at the table laid with cake and sandwiches. Kurt studies the sandwiches. The mother folds her arms.
MOTHER
I suppose you are a refugee?
KURT
I am worse than that here. I am almost a criminal. I escaped from Germany. Then I took a boat from Norway. But the British only see my German passport and assume I must be a Nazi. I’m a total Artist, I tell them as best as I can. So they put me in a camp on the Isle of Man. I can stay here in Britain,
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the immigration man wrote, on the strict understanding I leave by the first boat. MOTHER
Don’t you have a family?
KURT
Not long ago the Nazis killed my wife. I was not told for three months that she had died. I have a son called Ernst, who I love, but it is dangerous for him, too.
MOTHER
What can you do in such a situation?
KURT
Perhaps, I can marry an attractive British woman, who can cook for me and will give me a bed?
MOTHER
I hope you are not looking at me?
KURT
What? ... Is it time now, do you think, for famous cup of British tea?
MOTHER
(blushing) Not yet! Because ... because the kettle hasn’t boiled.
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Scene 11
In Michael’s neat bedroom upstairs. Nothing is out of place. Michael has laid out his collection of bus tickets. Kurt knocks and enters. Michael shows him the tickets. MICHAEL
This was a good one Ponders End to Waterloo. Mill Hill to Crystal Palace, that was my first. This one will cost you Blackwall Tunnel to Kew. My best buses are… My best buses are the 38, 21, 24, and I also love the 102.
KURT
It can’t be possible to collect ev’ry bus ticket in London?
MICHAEL
Maybe ...
KURT
Even if you could, what is the point?
MICHAEL
Dunno ...
KURT
Is it because you look around and ev’rything is such a mess?
MICHAEL
I don’t understand ...
KURT
You look at the bomb sites the farms are empty, no one’s down the coal pits the factories are closed. Is that it?
MICHAEL
Can’t say.
KURT
You want ev’rything back in its place. The King’s on his throne, fish and chips at the dog race. How diff’rent we are me and you. I like my chaos and rubbish, and all you think about is bus number 102.
MICHAEL
That’s the one I really want, it’s one I’ve never seen; It’s the Bull & Crown, Chingford, to Golders Green.
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KURT
How do we find this ticket?
MICHAEL
You break into the garage at night when the buses are asleep, and before the cleaners have arrived. And you hunt about on the floor.
KURT
And if you found this ticket, and if this whole collection was complete, what would you be?
MICHAEL
Somehow ... sort of – don’t know.
KURT
I’ve never been to the Bull & Crown, Chingford, but I live near the bus station depot where the red buses sleep. I’ve never been to Golders Green, but I live near the bus station depot where the red London buses sleep. Kurt stands by the door.
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Scene 12
Moments later. Downstairs in the front room. The mother puts the cosy over the tea pot. Kurt enters. She looks up. MOTHER
This is the cosy we put over the tea pot To keep the tea hot.
KURT
So, famous kettle is boiled?
MOTHER
Now, I come to think of it, I suppose you’d prefer your tea cold.
KURT
I forget to respectfully inform you that I dance and I’m highly adept at the tango.
MOTHER
Is there no end to what you can do?
KURT
Would you consider a tango for two?
MOTHER
Certainly not ... (reconsiders) ...not before tea.
KURT
I will take you to the Hammersmith Palais, or rather - you will take me because I don’t have money to pay.
MOTHER
At my expense.
KURT
I love women. I’ve loved women all my life. Women I love I call ‘arrs’. In Hanover I had a four seater car; when I drove along I never allowed more than two friends inside. I always kept one seat empty just in case I drove past a beautiful ‘arr’. (Looks at the mother) And you are definitely a real ‘arr’.
MOTHER
That’s not the sort of talk I want to hear, and you’ve made me blush like a silly cow. They sit at the table. She pours tea. Kurt stuffs himself with thin white sandwiches. The mother watches him.
MOTHER
What happened to you in the war?
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KURT
I lost everything. My work ... My woman ...
MOTHER
I’m sorry. Shouldn’t have asked.
KURT
(stops eating) What happened to you?
MOTHER
I lost almost everything, too. My husband ... The doodlebugs ... I still listen to the night sky. I still expect the stars to go out. Then a noise like no other noise -
KURT
What is a doodlebug?
MOTHER
The V1 rocket over London.
KURT
The doodlebug! She pushes the cake his way. She pours him more tea. He cannot stop eating. She watches him.
MOTHER
Terrible things happened in your country. I’ve seen pictures of Nazis forcing people to scrub the pavement with toothbrushes.
KURT
Oh that was perhaps more of a joke. You don’t want to believe everything you hear. Anyway, terrible things were done on both sides. Michael enters from his room upstairs. The mother stands and hugs Michael by the shoulders.
MOTHER
I said I lost everything ... That’s not quite true ... I’ve still got my son ...
MICHAEL
(looks at the devoured table) Oi! ... Who’s stuffed himself silly and left nothing for me?
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Scene 13
There is a discarded ticket box attached to the iron pole of a bus stop. Michael and Kurt pull out a number of old tickets and sift through them on the ground. A bus goes by. The conductress stands on the open deck. Ting ting! She isn’t stopping. They both ignore the bus. MICHAEL
It’s my birthday next week.
KURT
What is the one thing you want in the whole world for your birthday?
MICHAEL
Just ... forget it ... you can’t afford it anyway.
KURT
Do you want that ticket from the Crooked Billet to St Albans?
MICHAEL
Well, yes ... I do want that.
KURT
It won’t cost me money to get that. All we need to do is break into the bus garage.
MICHAEL
To be honest, that’s not the most important thing in the world. But, it’s close.
KURT
All right then, what is it What is it I can’t afford?
MICHAEL
I want a bike.
KURT
I’ll get you a bike.
MICHAEL
Nobody makes them any more.
KURT
I’ll get you a bike.
MICHAEL
There’s no petrol for cars. So no one’s going to sell a bike.
KURT
But if I find you a bike like no bike is like such a bike – in fact, a bike so important you won’t want to ride it. A bike you stare at amazed, But you don’t dare touch it.
MICHAEL
Show me a bike I want to ride! Show me a bike I dare not touch! Just show me! They let the bus tickets run through their fingers. There is nothing they want. They toss them up in the air. Clouds of bus tickets.
xxvii
Scene 14
The mother is alone in the house. Kurt knocks. She lets him in. KURT
It’s a lovely day today!
MOTHER
I don't think so. It hasn’t stopping raining.
KURT
I’ve brought something for you.
MOTHER
I’m very suspicious.
KURT
You can’t see it ... It isn’t food ... You can’t touch it ... It doesn’t want a bone ... It won’t crease ... And it’s just for you ...
MOTHER
I’m even more suspicious.
KURT
You were interested, you said, in the German V1 rocket. What did you call them, please?
MOTHER
Doodlebugs ...
KURT
And when the doodlebug rocket cuts out over London, how long do you count before it lands?
MOTHER
You ... you count to twenty.
KURT
I have written you a Doodlebug Song.
MOTHER
That’s very thoughtful of you but ... I’ll put the kettle on ... I think I need to sit down. Kurt doesn’t hesitate. He lies on the table and shapes himself like a medium sized rocket. The mother seems paralysed.
KURT
(preliminary ignition). Chuk chuk chuk chuk chukchukchukchuk perrsh perra perrsh perra whoorwhoosh sta szing! Szing teeeening vroooooooom! Wha! (Booster engine gains height) Weeeeeeeeeeeeeeeeeeeeeeeeeeeen .... Yhiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiine ... (initial rocket thrust fades) Chuka chuc ssssssssssssssssssssssss nn ... (through the night sky)
xxviii
Woorshshshshshshshshshshshshsshsssssss ... keeeeeeeeeniiiiiiiiiiing ... Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn ... Kurt changes his position on the table. Swivels to a different angle. Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnng ... Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnng chuka Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnng chuk Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnng churh Nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnng chu Nnnnnnnnnningchk! (rocket engine cuts out) (silence)
Eins, zwei, drei, vier, fünf, MOTHER
I think that’s enough -
KURT
sechs, sieben, acht, neun, zehn -
MOTHER
Stop it! Kurt rolls off the table onto the floor with a hint of a dive. The mother sits at the table crying. She shakes with tears.
KURT
What is it?
MOTHER
You won't understand! ...
KURT
What have I done?
MOTHER
You’ve done nothing! ...
KURT
You don't like the song?
MOTHER
(crying) My husband was killed by a V1 rocket.
KURT
I’m so sorry. I’ve been a silly fool.
MOTHER
You weren’t to know.
KURT
I am ashamed of myself.
MOTHER
(wiping her eyes) No, no. I’m positive it’s good song. I might need to hear it a couple of times before I can -
xxix
KURT
(He hugs her) I don’t want you to think I am exulting the war. I want you to believe it’s everything that I abhor. I believe the whole point of a proper war is to make absolutely sure no one is killed at all. The greatest wars are fought when nobody dies at all. The mother leans against his shoulder. She wipes her face.
xxx
Scene 15
Another day. In the front room. On the table are a few presents. The mother watches Michael unwrap the birthday presents. A few balloons. Cards on the mantelpiece. Kurt arrives with an object wrapped in brown paper. It is almost too large and awkward a shape to carry. It is difficult to guess what is under the brown paper. MOTHER
Happy birthday! Happy birthday! Happy birthday, Michael!
MOTHER KURT
Happy birthday, dear Michael! Happy birthday to you! Michael takes the large object in brown paper and unwraps it.
MICHAEL
It’s a bike It’s a bike It’s what I’ve always wanted! It’s a bike! It is a violently twisted boy’s bike. It looks like a piece of metal that has had a head-on crash with a vehicle. The bike frame and the wheels contorted. Michael looks at it. Michael looks up.
MICHAEL
(quietly, confused) It’s a bike ...
KURT
It’s a special kind of bike it’s a DADA bike.
MICHAEL
(lowers his head) Thank you ...
KURT
It’s a special kind of bike. Most children have bikes that they ride around all day. This is a bike which you hang on the wall.
MOTHER
Michael? ... Michael! ... The boy runs out of the room. The mother looks at the old man.
xxxi
MOTHER
He only wanted a bike ...
KURT
Perhaps I made a mistake ...
MOTHER
How could you do this? ...
KURT
You see I made a mistake ...
MOTHER
How could you do this to a boy? ...
KURT
I thought he’d see the joke in a bicycle which he can’t ride. I thought he’d laugh and think, here is a bike no one could ride.
MOTHER
You tell me you’re a a great artist and it may be true, but underneath this stuff, what kind of man are you?
KURT
I’m not sure ...
xxxii
Scene 16
Outside the old man’s room in north London. The mother approaches the door. Kurt opens the door before she can knock. They study each other. Moment. She follows him inside the room - his ‘White Palace Room’. The square cardboard stalactite shapes hang from the ceiling. When you enter, it is immediately an upturned space and the eye and the mind try to accommodate it. MOTHER
I don't understand this art you do. I still want to know what kind of man are you?
KURT
I just want to find a new way to look at each and every day. So much depends on opening our eyes with a sense of continuous surprise. What you see is not really there, what is real and true is too hard to bear.
MOTHER
What a rum old dog you are. But I’m prepared to take the chance. We’ll both go and tango at the Hammersmith Palais de Danse.
KURT
I’m very flattered.
MOTHER
I suppose I’m the one who pays for the tickets?
KURT
How well you understand me.
MOTHER
On the contrary. Such a great artist. I’m very flattered. But there are strict rules attached.
xxxiii
KURT
The tango has many strict rules. It’s a slow dance of passion and ultimate death.
MOTHER
And rule one is - there is no malarkey.
KURT
I don’t understand the word, ‘malarkey’.
MOTHER
I’ll put it in ordinary words: there’ll be no shenanigans.
KURT
‘Shenanigans’?
MOTHER
Hanky-panky. Kurt studies her.
KURT
I am having trouble with ‘hanky panky’ ... Studies her again.
KURT
But you are my London ‘arr’.
MOTHER
Ah, there you are wrong. I’m not your London ‘arr’.
KURT
And I keep in my car a seat empty for you, that is – I say if I had a car. You’d be my ‘wantee’.
MOTHER
Translate for me.
KURT
My ‘wantee’ is someone special who I want all the time.
MOTHER
Nor am I your ‘wantee’!
KURT
May I call you ‘Mutti’ -?
MOTHER
Call me what you like, But keep it in German, and there will be no, no über doings!
xxxiv
KURT
Über doings? I am unacquainted with über doings. And ‘malarkey’ ... And ‘shenanigans’ ... And this ‘hanky panky’. You mean nichts anruchiges dabei -
MOTHER
Whatever I mean, we’ll keep strictly to the art of DADA.
KURT
Oh really: will we?
xxxv
Scene 17 Lights change. It’s a cavernous dance hall. The slow Argentine tango has been called ‘a cake-walk played adagio’. Kurt and the mother dance. At the close of the tango he holds the mother in an intimate clutch. It is a tableau. He is about to kiss her. She abruptly turns her face to the side.Very stylish and poised. The mother leans back in his arms. Very Latin a la Hammersmith Broadway. MOTHER
After all According to DADA the whole purpose of making love is not to make love at all. Am I right?
KURT
I ... reserve my answer. To black.
xxxvi
Scene 18
The bus depot at night. Giant metallic cave. Michael and Kurt flash their torches. Thin corridors of beaming light. Shadows of red sleeping buses. Shadows of high towers. Shadows of barbed wire. Shadows of look-out towers. The boy encourages the old man to follow. Kurt steps back. Looks up at the dark shadows. He retreats. MICHAEL
Come on! ...
KURT
No ...
MICHAEL
What’s the matter?
KURT
It looks like a prison camp ... It looks like a ... (backing away) NO! ... Go on ahead ... The boy runs away into the darkness. Kurt is alone in the darkness.
KURT
Things the artist must not do today: Be trapped behind barbed wire walls ... Be judged by the shape and design of your nose ... Be banned from showing your work ... Be asked to scrub floors with a toothbrush ... Be afraid when they come for you ... Be told to pack one bag and leave your home... Be thrown into cattle trucks ... Being made to wear striped pyjamas ... Be ordered to shave for head lice ... Be told you must take a shower ... Things the artist must not do today Things the artist must not do today: Be forced to take a journey to a place you do not know ... Things the artist must not do today: Take a night train which passes a hundred stops, but they have no name ... Things the artist must not do today Things the artist must not do today‌ Michael runs back. He waves a bus ticket in his hand. He lights Kurt up with his torch.
xxxvii
MICHAEL
Look! Not a mark on it. It’s perfectly clean; Walthamstow Dog Track to Golders Green!
KURT
Where does it stop?
MICHAEL
Stops at Edmonton, the Angel, on the North Circular Road. Stops at Larkswood Swimming Pool, and at the Bull & Crown, Chingford. And then there’s the Bald Faced Stag at East Finchley Station. There’s Muswell Hill Broadway to Palmers Green Lane, then Golders Green Station and all the way back again.
KURT
Heaven ...
MICHAEL
Which stop would you like to get out at?
KURT
I like Larkswood Swimming Pool. It sounds like musical streams, Where trees float in dreams ... Moment. They study each other.
KURT
Is your collection complete?
MICHAEL
I think it is.
KURT
You don’t need me any more ... I don’t think we should see each other again. There isn’t a bus ticket you haven’t got. Everything’s back in it’s place and you got the lot. Kurt gives the ticket back to Michael. Kurt walks away into the dark.
MICHAEL
Where are you going? ... Michael is alone.
xxxviii
Scene 19 Outside Kurt’s room. The door is open. Michael approaches. Kurt is on his knees on the floor. He has a toothbrush in his fingers. Another day. MICHAEL
Why don't you want to see me?
KURT
I’m not good for you.
MICHAEL
But, why?
KURT
I don’t think we should meet again.
MICHAEL
But why?
KURT
I should never have given you that bike. I was trying to explain something about DADA. But that’s not the sort of thing that you’d like. I apologise ...
MICHAEL
I know why you were afraid to go into the bus depot. You thought it looked like a prison camp.
KURT
Yes that’s true...
MICHAEL
What are you doing on the floor?
KURT
People have been forced to clean pavements with a toothbrush. This is what they can do with DADA when they want to pervert it with Evil. You wouldn’t understand ...
MICHAEL
I’ll tell you what. I kind of like the shape of the bike. All twisted up. I can tell my friends I was out for a ride, and I hit a car head-on doing seventy-five.
KURT
You don’t have to pretend ...
xxxix
MICHAEL
Or ... if you like ... You can have the ticket I found. You can have it for one of those pictures if you want to stick it.
KURT
Michael ... I only want to be your friend. Kurt hesitates.
KURT
You look around and hate the chaos and want to put everything back in order. And you are so young. How strange ... I look around and see chaos, and I love it, it has a random beauty. And I am old.
MICHAEL
How strange ... Kurt starts to scrub the floor again with the toothbrush. He stops. Looks up at Michael.
KURT
Even DADA art can be applied for terrible uses. Even artists’ laughter in the dark is open to abuses. What do I need to make a toothbrush something less than Evil?
MICHAEL
(instinctively) Mmm‌ (spoken) toothpaste?
End
xl
MAN AND BOY: DADA Michael Hastings
Michael Nyman 2004, revised 2005
ACT ONE Scene 1 Score in C
Oboe
On the bus. A woman in a headscarf sits up front. Michael stands and sways with the movement of the bus. Smart school uniform. He watches her. The old man, Kurt Schwitters; sits apart. He is poorly dressed.
r q = 68 <
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Clarinet (= Cl. in C and Bass Cl.)
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Saxophone (= Sop. and Alt.)
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Bassoon
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VIBRAPHONE motor on
3 3 33
Percussion
3 33 -3
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p
3 33 - - 3
3 3 33
3 33 - - 3
3 3 33
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Michael
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Keyboard
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Rehearsal Piano
A A
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cantabile
Violin 1
r q = 68 <
Violin 2
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Cello
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p cantabile
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© Copyright 2004, 2005, Michael Nyman Limited/Chester Music Limited.
A A N <
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A A N < Act 1 file corrected 07/11/05
Act 1 2
Ob.
9 r
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Act 1 3
Ob.
16 r
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Act 1 4
Ob.
21 r
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25 q = 148 r
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Act 1 6
Ob.
30 r
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Act 1 7
Ob.
35 r
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s
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Act 1 8
Ob.
41 r
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Cl. in Bb
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Mar.
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MARIMBA
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r
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off a
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s
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Act 1 9
Ob.
47 r
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Cl. in Bb
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Mar.
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f
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r
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Act 1 10
Ob.
B 52 r A A A A
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+ A 'A+ A A
+ + A+ A A A A A
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mf
ClARINET in Bb
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mf
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s
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s
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Act 1 11
Ob.
58 r K
A A (mf)
A A
K
Cl. in Bb
(mf)
A. Sax.
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s
+ A A
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Cello
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Act 1 12
Ob.
64 r
<
K
'A A
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Reh. Pno.
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Act 1 13
Ob.
70 r
<
+ A A
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Cl. in Bb
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PIANO
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s
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r
D. B.
+ A A
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Act 1 14
Ob.
76 r
<
K
Cl. in Bb
<
K
A. Sax.
<
<
<
<
Bsn.
s
'A AA AA A A AA AAA AAA
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N
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Does - n't real - ly mat -ter.
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the
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+ 'A A
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ti - ckets.
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Reh. Pno.
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r
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Vln. 1
D. B.
s
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Act 1 15
82 r
<
K
Cl. in Bb
<
K
A. Sax.
<
<
<
<
Ob.
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s
N
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N
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Mar.
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PIANO
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<
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Kbd.
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r A AA
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just a pa - the - tic
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ti - cket to go here.
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ti - cket to go there. You
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C Vln. 1
r
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Vln. 2
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D. B.
s
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A A 'A A 'A A A A
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AA
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ti - cket
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Reh. Pno.
A
ti - cket
A A a
A
ti - cket
Act 1 16
Ob.
88 r
<
<
<
<
<
<
Cl. in Bb
<
<
<
<
<
<
A. Sax.
<
<
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A - A A A A 'A
Bsn.
s
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mf
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Mar.
< PIANO
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<
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'AAA A A 'A'AA -AAA
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Kbd.
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Mi
r 'A to
'A
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to
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s 'A ¬ to
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air.
air.
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breathe the
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sub. mp
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to
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sub. mp
Vln. 2
D. B.
pre
A - A
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Reh. Pno.
Vln. 1
<
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breathe the
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breathe the
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NN
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N
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sub. mp
N
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sub. mp
<
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Act 1 17
Ob.
94 r
<
<
<
<
A A
<
A A
A A
mp
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Cl. in Bb
<
<
<
A A
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mp
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s
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Mar.
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PIANO
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Reh. Pno.
NN
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NN
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NN
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NN
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r N
N
N
N
N
N
N
N
N
N
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Cello
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s
+ A A
pizz.
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Act 1 18
Ob.
The woman anticipates her stop. She dings the request bell. She makes her way to the open deck
100 r A A mf
A A
Cl. in Bb
mf
A. Sax.
Bsn.
s
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<
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PIANO
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r
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All she has to
do
is
to for - get it's
in
her
hand.
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s
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Act 1 19
Ob.
104 r -A A + -A A
Cl. in Bb
A. Sax.
Bsn.
s
N
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N
A
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Mar.
<
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PIANO
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r
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Hold the rail
tight,
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r K
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Act 1 20
109 r
<
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Cl. in Bb
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A. Sax.
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s
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<
Mi
<
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(aside)
r A A 'A
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so you don't
fall.
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ti - cket
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r A
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Act 1 21
Ob.
115 r A A
A A
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K
+ @ A A A
+ A A
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+ A A
+ A A
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Cl. in Bb
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s
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+ AA AAA A
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r + A A
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s
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Act 1 22
Ob.
121 r
<
<
Cl. in Bb
<
<
A. Sax.
<
<
Bsn.
s
<
<
< + 'A -A
+ A A
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mf
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AA A '-AAA AAA AA A - AAA
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Mar.
< PIANO
AAA '-AA AA AA A - AA A A
A Kbd.
Mi
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r A You
A
A
don't
want
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A A A fall
on
the
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r
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Act 1 23
Ob.
126 r
<
+ A A
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A
A
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A s
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A. Sax.
Bsn.
@
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Cl. in Bb
@
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PIANO
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s
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Reh. Pno.
a
Act 1 24
130 r
<
K
A
Cl. in Bb
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+ A -A
A. Sax.
<
<
Ob.
Bsn.
s
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3
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<
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AAPIANO' A A - A AA
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r
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Vln. 1
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r
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s
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Act 1 25
134 r
<
Cl. in Bb
<
A. Sax.
<
<
<
<
<
<
<
<
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Ob.
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s
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<
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AAPIANO 'AAA AAA - AAA -AA A ' ' A
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to
Marimba
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Kbd.
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this
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now.
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Reh. Pno.
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Vln. 1
r
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pizz.
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D. B.
s
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Act 1 26
D
Ob.
139 q = 128 r N K
Cl. in Bb
A. Sax.
Bsn.
The woman drops her ticket on the floor. It floats in the air. It is in no hurry to hit the deck. The bus comes to a halt with a mechanical sigh of brakes. The woman steps off the bus. The ticket hangs in the air in a tantalising manner. Michael makes a grab and misses it. The ticket slips to the floor. Kurt goes to it. He stumbles badly. Grabs his chest. He has collapsed. Michael dives for the ticket.
<
<
<
<
<
<
<
<
<
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to Bass Clarinet
K
N
<
s A A A A
mf
Y A A A A
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Mar.
<
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MARIMBA I I I I I I I ? ? ? ? ? ? ? ? I A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A AAA AAA A A A A A A AAA AAA Kbd.
mf
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Act 1 27
Ob.
145 r
<
<
<
<
<
Bass Cl.
<
<
<
<
<
A. Sax.
<
<
<
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<
Bsn.
s A
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s
A
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mf
Act 1 28
Ob.
Bass Cl.
150 r
<
<
<
BASS CLARINET Solo
A AAN
<
N
< N
N
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Y A A A A
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mf
A. Sax.
Bsn.
<
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Y A
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<
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MARIMBA ? ? ? I I I I I I I I ? ? ? ? ? A A A A A A AAA AAA A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A AAA AAA Kbd.
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Act 1 40
Michael grabs a seat in the bus. He stares at the old man. We hear a ding. Kurt struggles to his feet. He gasps for breath. The boy turns to look at Kurt. The boy begins to think he hates the old man.
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Act 1 41
Ob.
210 r A
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Act 1 42
Scene 2
Ob.
Another day. Another bus stop. Kurt stands behind the woman at the bus stop. He holds a battered suitcase. There is a tin waste basket attached to the pole. The boy runs up. Pushes past them both and fishes in the basket for tickets.
213 q = 78 r 3
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Act 1 43
Ob.
219 r 3
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Ob.
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Act 1 45
Ob.
230 r
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Ob.
235 r
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Act 1 47
Ob.
Cl. in Bb
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Act 1 48
Ob.
247 r A A
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A
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A
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A
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A
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A
Act 1 49
Ob.
252 r A
@
K
<
<
<
I
A A
A
A A
@
f
Cl. in Bb
A A A A A A A A
A A A A
A A ' A A A A A A
A A A A A A A A
<
<
'A A A A A A A A
A A A A A A A A
'A A A A A A A A
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f
Bsn.
<
S. Sax.
s
A A A A A A A A
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f
'A AAA '''AAA AAA AA - AAA
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f
Mar.
<
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A A -A A A A A A
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f
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PIANO
A A A A A A A A
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s ¬
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A A 'A A A A A A
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long - est
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f Reh. Pno.
Vln. 1
A A A A
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r A A 'A A 'A A A A f
Vln. 2
A A A A
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A A 'A A
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33
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f pizz.
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A A A A A A A A s f
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Act 1 50
Ob.
257 A A A A r A @ I
I
A -A
A
A A
@
I
A A
A
A A
@
I
A A
A
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@
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Cl. in Bb
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Bsn.
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A A A A A A A A A A A A A A A A A A A A AAA AAA AAA AAA AAA AAA AAA AAA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AAA AAA AAA AAA AAA AAA AAA AAA AA AA AA AA AAA AAA AAA AAA AAA AAA AAA AAA PIANO
Kbd.
AAA
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r
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s ¬
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call
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one
where
there
was
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no - bo
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there
at
all.
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Vln. 1
r
Vln. 2
Cello
D. B.
s
I A A
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3
3 3
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33
3
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Act 1 51
Ob.
262 r A A @
I
A A
A
A A
@
I
A A
A
A A
@
I
A -A
A
A A
A A A A I A
K
I
Cl. in Bb
<
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S. Sax.
<
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Bsn.
s
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A
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K
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Mar.
<
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PIANO
AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA -AAA AAA AAA AAA
Kbd.
AAA
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So
when
the
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A
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came
at
last
the
dri - ver
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A
A
A
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took
one
look
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and drove straight on
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Reh. Pno.
A A @
Vln. 1
Vln. 2
Cello
D. B.
I A A
A
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3 3
+ A A
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Act 1 52
Ob.
267 r A
A
N
I
A
A
A
A
A
N @
Cl. in Bb
<
<
<
S. Sax.
<
<
<
<
<
<
Bsn.
s
+ A
A
I
N
A
A
A
+ A
A
N
@
Mar.
<
<
PIANO
-'AAA AAA AAA AAA 'A A ''AA AA
-AAA AAA
<
AAA AAA AAA AAA AAA AAA AAA AAA
'AAA AAA AAA AAA
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Kbd.
-'AAA
AAA
AAA
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AAA
AAA
AAA
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Mi
r
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s ¬
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AAA
past.
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Reh. Pno.
Vln. 1
r
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'A
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arco
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Cello
D. B.
s
A 'A
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Act 1 53
Ob.
270 r I
A
A 'A
A
A
A
A
N
K
<
Cl. in Bb
<
<
<
S. Sax.
<
<
<
<
<
<
<
<
Bsn.
s
I
A
A ' A
A
A
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A
N
K
Mar.
<
<
PIANO
'A A AAA AAA ''A'AA AAA AA AA AAA AAA
'A A AAA AAA ''A'AA AAA AA AA AAA AAA
AAA AAA ''A'AA AAA
'AAA AAA AtoAAMarimba AAA
Kbd.
AAA
Mi
'AAA
''' AAA
r
AAA
<
AAA
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A
A
What
'AAA
AAA
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A
A
A
are
you
say
'AAA
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N -
ing?
W
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s ¬
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AAA
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Reh. Pno.
A
Vln. 1
r
Vln. 2
A I
A
A
A
Cello
D. B.
A
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s
A
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9
A
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N
A
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<
Act 1 54
H
Ob.
Cl. in Bb
The boy stares at the old man. The boy scratches his head. The old man Kurt begins to forage in the tin basket for tickets.
273 r
<
<
A A A A A A A A sub. p
S. Sax.
Bsn.
A
<
A A A A
<
A A A
A
A A A A
<
A A A A A A A A s
A
<
A A A
A
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A A A A
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A
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A A A A A
sub. p
A A A A A A A A A A ? A ? A ? ? ? AAA?AAA ?A AA?AAA ? AAA?AAA ?A AA ?AAA ? AAA ?A AA ?AAA?AAA sub. p
Mar.
<
<
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?MARIMBA ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? AAA AAA AAA AAA AAA AAA A AA AAA AAA AAA A AA AAA AAA A AA AAA AAA sub. p
Kbd.
<
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Mi
r
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A N A ? AAA?AAA ?A AA?AAA
N A A ? AAA?AAA ?A AA ?AAA
A A N ? AAA ?A AA ?AAA?AAA
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A A A A ?AAA?AAA?AAA?AAA Reh. Pno.
sub. p
A
Vln. 1
A
H r A
A
A
A
A
A
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sub. p
Vln. 2
A sub. p pizz.
Cello
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I
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I
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A
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I A I
A
I A I
I
A
I
sub. p
(pizz.)
D. B.
A I A I A I A I s sub. p
A
A
A I
A
A I A I A I
A I A I
Act 1 55
Ob.
277 r I
A A
A A A A A
I A A A A A A A
I A A A A A A A
I A A A A A A A
----
I
I
I
----
p
I
Cl. in Bb
S. Sax.
Bsn.
A A A A A A A
A A A A A A A
A A
A A A A A
A A A A A A A
<
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----
A A A A A A A A
A A A A A A A A
A A A A A A A A
----
<
A s
A A A A A A A
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A ---? A ? ? A ? ? A ? ? A ? ? A ? A ? ? ? A ? ? ? Mar.
<
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----
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to Piano MARIMBA ---? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? AAA A AA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA Kbd.
<
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----
Mi
r
<
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----
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----
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----
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- -- A N N 3 A A N A A A A A A A A A A A ? AAA ?A A?AAA?A A ? AAA?A A?AAA?A A ? AAA?AAA?A A?A A ?AAA?A A?A A?A A
Reh. Pno.
A
A
A
N
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
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A
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- -- -
A
N
A
N
A A
3
----
A
N
A
N
A A
3
----
Vln. 1
r A
Vln. 2
A
N
Cello
I
A I
A I A I A
I A I A I A I A
I A I A I A I A
I A I A I A I A
----
A
I
A
I A I A I
A I A I A I A I
A I A I A I A I
A I A I A I A I
----
D. B.
s
Act 1 56
Ob.
281 r A
'A
A
'A
A
'A
A
A
'A
A
A
A
A
'A
A
A
A
'A
A
'A
A
A
'A
A
A
A
A
'A
A
A
A
A
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A
'A
A
A
'A
A
A
A
A
'A
A
A
A
A
'A
A
'A
A
A
A
A
A
mp
Cl. in Bb
A mp
SOPRANO SAXOPHONE
S. Sax.
A
'A
A
A
mp
Bsn.
s
<
<
<
<
<
<
<
<
Mar.
mp
<
A
A
' AA ''A'AA AAA A
-AAA
AAA
' AA ''A'AA AAA A
-AAA
AAA
' N ' AA ''A'AA AAA A
A
A
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A
' AA ''A'AA AAA A
< mp
r - A
A
I've
al
<
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rea
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dy
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<
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<
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looked.
W
<
<
<
<
K
s ¬
<
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<
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AA A
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'AAA
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A
A
A
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AAA
-AAA
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-A
A
' N
'AAA
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mp
Reh. Pno.
-A
<
Vln. 1
r
<
<
<
<
Vln. 2
<
<
<
<
Cello
<
K
arco
K
A
A
A
' N
A
A
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A
mp
D. B.
-AAA
mp
Kbd.
Mi
A
K
PIANO
AAA
trem.
s
<
<
<
<
Act 1 57
Ob.
285 r A
Cl. in Bb
A
S. Sax.
A
Bsn.
s
A
'A
A
'A
A
A
A
A 'A ' A
A
A
A
A
A
A
A
A
A
A - A 'A ' A
'A
A
'A
A - A
A
A
A ' A
A
A
A
A
A
A
A
A
A
'A
-A
A
N
'A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
3
'A
A
A
A
to Bass Clarinet
A
'A
A
A
A
A
A
A
mp
<
<
<
Mar.
A
@
PIANO
A AA
K
AAA ''AAA AAA
A
A
' N
A
A
' N
AAA -AAA ''AAA AAA
AAA
AAA -AAA ''AAA AAA
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AA to -Guitar AA A A ' A A ' AA AA
A
K
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< A
Kbd.
<
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<
Mi
r
<
<
<
<
W
<
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<
<
K
A s ¬ We A AA
A 'A 'A may not
''AAA
be
A -A 'A 'A look - ing
A AAA AA
for
-AAA
the
+ 'A N
A -A same
AAA
thing.
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A AAA AA
-AAA
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A
A
A
' N
A AAA AA
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A
A
' N
A AAA AA
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A
Reh. Pno.
<
Vln. 1
r
<
<
<
<
Vln. 2
<
<
<
<
A
Cello
D. B.
s
@
K
K
<
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<
A
A
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A
<
Act 1 58
The old man, Kurt, suddenly collapses on the ground. His suitcase falls open and carrots and potatoes tumble out.
Ob.
289 r A
A
A
A
A
A
A
A
A
A A A
A A
A A A
A
YA A
sub. p
Bass Cl.
<
A
S. Sax.
A
<
A
A
A
A
<
A
+ A A
A
A A+ A
sub. p
Bsn.
s
<
<
<
A
Y + A A
A A A
<
A
<
A A A A ?AAA?AA A?AAA?A A ?AAA?AAA?AAA?A A ?AAA?AAA?A A?A A ?AAA?AAA?AAA?AAA sub. p
Mar.
Kbd.
<
<
<
<
?GUITAR ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? AAA AA A AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA sub. p
A A A A A A A A
A A A A A A A A
A A A A A A A A
A A A A A A A A
Mi
r
<
<
<
<
W
<
<
<
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s ¬
<
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AAA AAA AAA ? A A A ? A A A sub. p
Reh. Pno.
Vln. 1
A
A
r A
A
A
AA AA AAA AAA AAA A A ? A A A ? A A A ? A A A ? A A A
A
A
A
A
A
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AA + + A + A AAA A+ A+ A A A+ A A A A A A ? A A A ? A A A ? A A A ? A A A ? A A A ? A A A ? A A A ? A A A ? A A A ? A A A
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A A A
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AA AA AA
AA
AA
AA AA AA
AA
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AA AA AA
AA
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AA AA AA
AA
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sub. p div.
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A A
sub. p pizz.
Cello
I A I A I A I A
I A I A I A I A
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I A I A I A I A
A
A
A
sub. p (pizz.)
D. B.
A s
sub. p
A
A
A
A
A
A
A
A
A
A
A
A
Act 1 59
Ob.
293 A r A A
Bass Cl.
S. Sax.
Bsn.
s
A A A A
<
A A A
A A A A
<
3
3
<
<
3
3
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----
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----
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----
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----
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? A A A ? A A A ? A A A ? A A A ? A A A ? A A A ? A A A ? A A A ? A A A ? A A A ? A A A ? A A A --- - AAA ' 'AA AA'AAA -AAA AAA' 'AA AA 'AAA -AAA 'A A 'A A mf Mar.
----
<
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Kbd.
Mi
r
A A A A A A A A
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----
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----
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s ¬
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<
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----
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W
K
AA AA AA AAA AAA AAA AAA AAA AAA A A A A ---AAA A A A A A A A A A A ?A A A?A A?A A A?A A ?A A A ?A A A?A A A ?A A ?A A A ?A A A?A A A ?A A
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mf
Reh. Pno.
Vln. 1
A
r A
A
A A A
A A A
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Ob.
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380 r A
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Ob.
392 r
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Ob.
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398 r
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Ob.
403 r '3
3
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Act 1 81
Ob.
409 r N
YN
N
N
3
N
Y N
N
YN
N
N
3
N
Y N
N
N
3
N
Y N
Cl. in Bb
S. Sax.
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Act 1 82
Ob.
413 r N
N
N
N
N
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3
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Act 1 83
Scene 3
Ob.
417 q = 150 r r <
Cl. in Bb
Another day. The old man and the boy on a bus. Ding ding. The boy finds a ticket. Waves it at the old man.
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Act 1 84
Ob.
422 r
Cl. in Bb
S. Sax.
Bsn.
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Act 1 85
Ob.
426 r
Cl. in Bb
s
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Act 1 86
Ob.
431 r
Cl. in Bb
S. Sax.
Bsn.
<
+ A A A A
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Act 1 87
Ob.
436 r
K
<
A A A A A A
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The old man tries to snatch it from the boy. The boy is quicker.
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Vln. 1
9 9 : r A A A A A A A A 9 9 : A A A A A A A A
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Act 1 88
Ob.
440 AAAA r @
Cl. in Bb
S. Sax.
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Act 1 89
Ob.
445 r
A ' A A A A A A 'A A A -A
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A
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Act 1 90
Ob.
452 r
Cl. in Bb
S. Sax.
Bsn.
s
Vib.
<
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A A A
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Ob.
460 r A
Cl. in Bb
A
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465 r
Cl. in Bb
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Ob.
470 r
Cl. in Bb
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Act 1 94
Ob.
474 r
Cl. in Bb
A. Sax.
Bsn.
s
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Ob.
480 A Y A A A A A A A r ' A A A Y
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Ob.
485 A r A -A AAA A A
+ A I @
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Cl. in Bb
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Act 1 97
Ob.
Cl. in Bb
A A A
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491 r
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Act 1 98
Ob.
497 r A
Cl. in Bb
A
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Act 1 99
Ob.
502 r A
Cl. in Bb
A
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q = 74 <
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Act 1 100
Ob.
507 r 3
3
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Act 1 101
Ob.
Kurt holds out his hand. The boy slowly gives him the ticket.
511 r N
3
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N
3
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Cl. in Bb
A. Sax.
N
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s
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to Bass Clarinet (quick!)
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Ob.
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Ob.
521 r
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Ob.
524 r
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Ob.
526 r
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Ob.
107
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Ob.
534 r
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Ob.
539 r 3
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Ob.
543 r 3
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Ob.
547 r N
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Ob.
551 r N
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3
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Act 1 113
Ob.
553 r 3
,
3 f
3
Cl. in Bb
3 f
3
A. Sax.
3 f
Bsn.
s
3
3
f
3 -33 3
Vib.
33 3 3
f
PIANO
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AAA AAA AAA AAA A A A A
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AAA AAA AAA AAA A A A A
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f Reh. Pno.
Vln. 1
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Act 1 114
Scene 4
Ob.
555 r
Outside a front door in Hampstead. Kurt and Michael slump very tired.
q = 92 A A
A A
mp
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Cl. in Bb
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Kbd.
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Reh. Pno.
Vln. 1
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s
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Act 1 115
Ob.
558 r
<
<
3 (mp)
3
'3
Cl. in Bb
<
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mp
Bsn.
s
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Vln. 1
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Act 1 116
Ob.
561 r
3
3 A A N
@
Cl. in Bb
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(mp)
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s
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Mi
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Act 1 117
Ob.
564 r @
Cl. in Bb
N
Bsn.
s
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N
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Mi
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late
for
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Reh. Pno.
'A ' AA
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r A
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s
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Act 1 118
Ob.
568 r
s
<
A A
@
<
A
+ A A
+ A A
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@
A A N
3
mp
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3
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A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A Kbd.
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Reh. Pno.
- AA A
Vln. 1
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Vln. 2
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s
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Act 1 119
Ob.
571 r A
Cl. in Bb
A. Sax.
Bsn.
N s
N
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A A A A A A A A
Vib.
N
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A
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PIANO
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A Kbd.
A A AA AA
AA AA AA AA AA AA AA AA A A A A A A A A
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r
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you
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to
come
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in?
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Reh. Pno.
A AA
Vln. 1
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s
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Cello
D. B.
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r
Vln. 2
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Act 1 120
Ob.
574 r
< A
3
Cl. in Bb
A. Sax.
Bsn.
<
s
A A
A A
<
A
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3 A - A A A A - A A A
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PIANO
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Mi
'A ' AA r I
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AA A
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thank
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you.
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s ¬
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you
want
A
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Reh. Pno.
'A ' AA
Vln. 1
AA A
AA A
AA A
A A
r A
AA A
AA A
A
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Vln. 2
s
A
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A
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AA A
AA A
A A
3 3
Cello
D. B.
AA A
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A
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AA A
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3
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A
A
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AA A
AA A
AA A
AA A
AA A
AA A
AA A
A
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AA
AA
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A
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Act 1 121
Ob.
578 r A A
Cl. in Bb
s
A
A
A A A A A A A A
@
@
AA A A AA A A
A
A
A
A A N A A A A A A A A
A A A
N
K
N
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<
A A
Vib.
@
N
N
A. Sax.
Bsn.
<
A A N
<
A
N
A
A A A
N AA A A A A A A
A A A A A A A A
A A AA A A AA
A A
A A A
<
<
A A A A A A A
A
A A
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A - A A A A A A -A A A A A
AA A AA A
PIANO
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A Kbd.
AA AA AA AA AA AA AA AA A A A A A A A A
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r
AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA -A A A A A A A A A A A A A A A A A A A A A A A A A A A A AA AA AA AA AA AA AA AA
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s N ¬ do A
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with
the
A
A
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N
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bus
ti -
A
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<
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ly.
col - lect?
A
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N
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real
A
A
A
A
A
3
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
Reh. Pno.
AAA
Vln. 1
AA A
r A A AA
Vln. 2
AA A
AA AA AA A A A
A AA
AA
AA A
AA A
A A
A
A A N
AA
AA
AA
s
A
AA AA A A
AA A
AA AA AA A A A
AA
A
A
A
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AA A
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AA AA A A
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AA AA AA A A A
AA
AA
AA A
AA AA A A
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N
3
3
Cello
D. B.
AA A
AA
AA
AA
AA
AA A
A
A
A
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AA A
AA A
AA A
AA AA AA A A A
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AA
A A
A A
A A
A
A
A
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3
A
AA A
A
A
A
A
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Act 1 122
Ob.
582 r A A
Bsn.
A A s A A
Vib.
A A
+ A
A
N
- A 'A
A
N
'N
A
N
+ - A ' A
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A
N + A A
K AA AA AA AA
A
<
+ A A
K
A. Sax.
A A
<
Cl. in Bb
A A
A A
AA AA AA AA
AA A A AA A A
N
+ A 'A
<
<
A A A A A A A A
A
A 'A
A A AA A A AA
AA A A A A A A
A A 'A A A A 'A A
PIANO
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A'A'A A A ' A A A A A ' A A A A 'A ' A 'A A A A ' A A A A A A 'A -A 'A -A 'A -A A A A A Kbd.
AA AA AA AA AA AA AA AA A A A A A A A A
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r A
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AA AA AA A A A --AA AA AA A A A
(looks at Kurt)
@
K
N
<
What
A AA ''AAA AAA AAA AAA -AA A
N
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A
do
you
do
AA A -AA AA ''AAA AAA -A A
N
W
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Reh. Pno.
Vln. 1
AA
AA AA AA AA A A A A
A A
A A
A A
s
A
AA A
AA AA A A
A A
AA AA AA AA A A A A
A A A A
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A A A
3
3
Cello
AA A
A A
A A
r A A
Vln. 2
D. B.
AA AA AA A A A
AA
AA A
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A
A
A
A
AA A
AA A
AA
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AA
A
AA A
AA A
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N
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AA ''AAA A
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N
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AA A --AA A
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A 'A
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Act 1 123
Ob.
586 r
Cl. in Bb
A. Sax.
Bsn.
s
Kurt goes inside. Comes out immediately with a collage. There is a bus ticket pasted in the collage.
A A
3 + A A
N
A
AA AA AA AA
AA AA AA AA
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+ A 'A
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+ A A
+ A A
N
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N
3
<
A A A A A A A A
Vib.
3
<
AA A A A A A A
A A A A A A A A
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AA A A A A
PIANO
A A A A'A' A A ' A A A A A ' A A A A 'A- A' A 'A A A'A A- A' A A A A A A A A A A A A A A A A A A A A A A A A A ' A A ' A A ' A A A A A A Kbd.
- A A A A -AA AA AA AA --AA A
Mi
r
@
A A AA AA AA ''AA AA A A A
N
N
with
them
AA AA - -AA AA A A A A A --AAA AAA ''AA A
AA - AAA A
N
AA AA AA AA AA AA AA AA AA AA AA A A A A A A A A A A A
<
then?
W
<
<
<
K
s ÂŹ
<
<
<
3
A 'A 'A A A A A A A A 'A 'A 'A A -A A A A 'A A -A A A A
A
A 'A
A
A
A
A A
A
A
'A 'A A A A 'A 'A -A 'A A A 'A A -A A A A A A A A A A A A A A A A A A A A A A A
Reh. Pno.
Vln. 1
r
AA A
AA A
A A
Â? -AA
Vln. 2
s
A
AA A --AA A
AA A
AA A
AA ''AAA A
AA A
AA A
Â? AA
Â? -AA
Â? AA
A
Â? 'A A
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'N
N
A
AA A
3
-N
Cello
D. B.
- -AA A
A
'A
A
- -AA A
AA A
--AAA
A A
AA ''AAA A
A 'A
Â? -AA
Â? -AA
A
A
A
A
AA A
-A AA
AA A
AA A
AA A
AA A
AA A
AA A
AA A
AA A
AA A
A A
A A
A A
AA A
AA A
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Â? AA
Â? AA
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'A
A
A
A
A
A
A
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A
A
A
A
A
A
Act 1 124
Ob.
589 r
Cl. in Bb
+ A A
A. Sax.
3
Bsn.
s
+ A A
<
A A A A A A A A
A A
N
AA A A A A A A
A A A A A A A A
AA AA AA AA
<
A A A
A A
A+ A
<
<
N
Vib.
<
-A A A
- A
-A A
-A A
N
3
<
A A A A A A A A
AA AA AA AA
AA AA AA AA
AA A A A A
PIANO
A A A A A A A A A A-A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A Kbd.
- A -AA
AA AA AA AA AA AA AA A A A A A A A A AA
AA AA AA AA AA AA AA AA AA A A A A A A A A A --AA A
AA AA AA AA AA AA AA AA AA AA AA AA AA A A A A A A A A A A A A A
Mi
r
<
<
<
W
<
<
<
K
s ¬
<
<
<
A
- A
A
A - A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
A
A
A
A
A
A
A
A
- A
A
A
-A - A
A
A
A
Reh. Pno.
Vln. 1
r
- -AA A
AA A
AA A
A A
AA A
AA A
AA A
AA A
A A
AA A
AA A
AA A
AA A
AA A
AA A
AA A
AA A
AA A
AA A
--AAA
A A A
A A
A A
AA A
AA A
AA A
AA A
AA A
AA A
AA A
AA A
AA A
AA A
AA A
AA A
- A A A
-A A -A
- A A
AA A
AA A
Vln. 2
AA
AA
AA
AA
AA
AA
AA
AA
AA
-A A
AA
AA
AA
AA
AA
AA
Cello
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
D. B.
s
Act 1 125
Ob.
592 r A
A A
A
Cl. in Bb
P
- A A
N
<
q = 86
A A
N
<
<
<
N
N
f
A. Sax.
Bsn.
3
A s
3
A A A A A A A A
A A
Vib.
- A A
A A
A
3
AA A A AA A A
N
N
A A A A A A A A
AA A A AA A A
Mi
A A A A A A A A
to Marimba
A A A A
<
to Guitar
<
- A AA
<
AA AA AA AA AA AA AA A A A A A A A
A A A A A A A A A AA AA AA AA AA AA AA AA AA
<
<
I
AA AA AA AA AA AA AA A A A A A A A
A A A K What is
K
<
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
r
W
f
A A
PIANO
Kbd.
N
N
<
s ¬
- A
A
Here
A
A
it?
<
<
A
- A
A
A A A A A A A A A A A A A A A A
<
<
<
N
you
<
are!
A
N
A
N
f -N
N
It's
called
A
<
-A AA AAA AAA AAA A AA
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
AAA
AAA
f Reh. Pno.
- AA A
AA A
AA A
AA A
AA A
AA A
AA A
AA A
A AA
AA A
AA A
AA A
AA A
AA A
AA A
AA A
A AA
AA A
AA A
AA A
AA A
AA A
AA A
AA A
A AA
P Vln. 1
A r
- A A
A A
A
N
A A
N
AAA
AAA AAA AAA AAA AAA AAA
q = 86 - A A A A A
A
A
A A
A A
f
Vln. 2
AA
AA
AA
AA
AA
AA
AA
AA
AA
AA
AA
A A AA AA AA A A AAAA A A A A f
Cello
A
A
A
A
A
A
A
A
A
A
A
A
A A AA A A AA A A AA A A AA f
D. B.
s
A
A
A
A
A
A
A
A
A
A
A
A
A
f
A
A
A
Act 1 126
Ob.
596 r
<
+ A
A
A
A
A
+ A
A
mf
Cl. in Bb
A
+ A N
A. Sax.
A
+ A N
s
+ A
+ A
A
+ A
A
<
A
<
+ A
A
mf Bsn.
A
A
A
< MARIMBA
<
A AA AA AA A AA AA AA A AA AA AA A AA AA AA A AA AA AA A AA AA AA A AA AA AA mf
Mar.
<
<
<
<
<
<
r
<
Kbd.
Mi
K
A s ¬ Merz
K
I
mf
A
+ A
I
like
A
A
the
<
<
+ A N
<
W
K
Art.
AAA
AAA
AAA
AAA
AAA
AAA
AAA
AAA
AAA
AAA
AAA
mf Reh. Pno.
A AA
Vln. 1
r
A
AAA
AAA
A
AAA
AAA
A
AAA
AAA
AAA
A
- AAA
AAA
A
AAA
AAA
AAA
AAA
AAA
AAA
AAA
AAA
AAA
AAA
AAA
AAA
A
A
A
A
A
A
AA
AA
AA
AA
AA
AA
mf
A A
Vln. 2
A A
A A
A A
AA mf
A A AA A A AA A A AA A A AA
Cello
A A
AA
AA
AA
AA
AA
AA
AA
AA
AA
AA
AA
AA
AA
mf
D. B.
s
A
A
A
A
- A
mf
A
A
A
A
A
A
Act 1 127
Ob.
598 r A
Cl. in Bb
K
@
A
A A
A. Sax.
Bsn.
s
A
A
A A
@
@
A
I A
@
<
@
<
A
A
< A
I
A A A
A A
A A
A
<
<
<
<
A AAAAAA AAAAAAA AAAAAAA AAAAAAA AAAAAAA A AA AAAA AAAAAAA AAAAAAA AAAAAAA A AA AA AA AAAAAAA AAAAAAA AAAAAAA Mar.
<
<
<
<
<
<
<
<
<
Kbd.
Mi
r A
A
bus
A A
I
tick - et.
A
A I've
got
A
A
one
of
A
I
those,
A A A
A A
A A
from a num - ber nine - ty
A
se - ven.
W
<
<
<
K
s ¬
<
<
<
AAA
AAA
AAA
AAA
AAA
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A A A
AAA
AAA
AAA
AAA
AAA
AAA
Reh. Pno.
A AA
Vln. 1
D. B.
s
AAA
A AA
AAA
AAA
AAA
A AA
AAA
A AA
AAA
AAA
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A AA
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A
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A
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AA
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AA
AA
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AA
AA
AA
AA
AA
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A A
Cello
AAA
A
r
Vln. 2
AAA
A
AA AA AA AA AA AA AA AA AA
A
A
A
A
A A A
AA AA AA AA AA AA AA
A
A
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AA
AA AA AA AA AA AA
A
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Act 1 128
Ob.
601 r I
Cl. in Bb
A. Sax.
Bsn.
s
<
A
A
A
A
A
A
A
A
A
<
-A
A
A
A
A
A
<
<
<
<
A AA AA AA A AA AA AA A AA AA AA A AA AA AA A AA AA AA A AA AA AA A AA AA AA A AA AA AA Mar.
<
<
<
<
<
<
Kbd.
Mi
r I
A
A
A
A
It's
in
much
bet
-
A
A
ter
con
A -
di
A -
tion
A
-N
than
yours.
W
<
<
K
s ¬
<
<
AAA
AAA
AAA
AAA
AAA
AAA
AAA
AAA
Reh. Pno.
A AA
Vln. 1
D. B.
s
AAA
A AA
AAA
AAA
AAA
A AA
AAA
A AA
AAA
AAA
AAA
A AA
AAA
A
A
A
A
A
A
A
AA
AA
AA
AA
AA
AA
AA
AA
A A
Cello
AAA
A
r
Vln. 2
AAA
A
AA
AA
A
AA
AA
A
AA
AA
A
AA
AA
A
AA
A A A
AA
AA
A
AA
AA
A
AA
Act 1 129
Ob.
603 r
q = 90 + A A
<
N
sub. mp
Cl. in Bb
A
A
A
A
A
A
A
A
A
f
A
N
sub. mp
A. Sax.
+ A
I
<
A
A
A
'A
A A A
mp
Bsn.
s
<
+ A
A
N
sub. mp VIBRAPHONE
to Vibraphone AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA A A A A A A A A f
Mar.
<
<
A A A A A A A A A A A A A A A
AAA
AAA
AAA AAA AAA
sub. mp
Kbd.
r
AA AA A A
< f
A
But
A - A I'll
swap
A
A
it
if
A
A you
A
want
A
<
K
s ¬
<
I
AAA
AAA
AAA
AAA
A AA
AAA
AAA
AAA
AAA
AAA
AAA
AAA
AAA
AAA
AAA
A
A
A
A
A
AA
AA
AA
AA
AA
AAA
AA f
A A A f
A
A
A
But
what
do
AAA
'A you
A AA
A think
A A of
AAA
the
AA
AA
AA
A A
AA
AA
AA
A A
-AAA A
AAAA
NNNN
sub. mp on the string AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA sub. mp
AA
AA
AA
33
sub. mp
f
s
mp
q = 90 on the string A A A A A A A A A A A A A A A A
f
Cello
<
sub. mp
r A
Vln. 2
K
-AAA
AAA
f
Reh. Pno.
AAA AAA
to.
AAA
AAA
K
W
D. B.
A A
< GUITAR
Vln. 1
A A
sub. mp
Mi
A A
A
A
A
A
A
3 sub. mp
Act 1 130
Ob.
605 r + A A + A A
Cl. in Bb
Bsn.
A
A
A. Sax.
s
+ A A
3
+ A A
3
+ A A
3
3
+ A A
A
N
N <
N
A
A
A
N
N
I
+ A A
A
A
A
A
A
N
VIBRAPHONE
AA
Vib.
A A
A A
A A
A A
A A
A A
A A
A A
A A
AA
A A
A A
AAA
AAA
AAA
AAA
AAA
AAA
AAA
AAA
AA A
AAA
AAA
GUITAR
AA A
AAA
Kbd.
AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA A A A A A A A A A A A A A A A A A A A A A A A A A A
Mi
mp
r K
K
@
I
A
A
A
-
no.
Dun
W
K
<
A
A s ¬ pic
-
-AAA
N
K
N
<
<
<
<
I
And
ture?
AAA
+ A A
AAA
AAA
AAA
AAA
AAA
AAA
AAA
AAA
all
AAA
AAA
A the
A
A
o - ther
AAA
Reh. Pno.
AAA A
Vln. 1
AAAA
3 33 3
AAA A
AAAA
NNNN
A AAA
AAAA
NNNN
r -A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
A A A A A A A A A A A A A A A A -AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA A A A A A A A A A A A A A A A A AA AA AA AA AA AA AA AA AA AA AA AA
Vln. 2
Cello
33
33
NN
D. B.
3
3
N
s
Act 1 131
Ob.
608 r
Cl. in Bb
A
A
A
N
N
A A
A. Sax.
Bsn.
A
s
A
A
A
A
A
A
A
A
N
@
N
+ A A
N
+ A A
N
+ A A
N
+ A A
N
+ A A
N
+ A A
N
@
@
I
A
mf
mf
N
mf
N
A A A A
N
mf VIBRAPHONE
AA
Vib.
A A
A A
A A
A A
Kbd.
AAA
AAA
AAA
A A
'A A A
AAA AAA AAA AAA AAA AAA AAA AAA AAA
mf
GUITAR
AA A
A A
AAA
A A
A A
Mi
@
<
mf
A
K
<
A A s ¬ bits and
AAA
AAA
A
A
A
pie
-
ces?
AAA
N
AAA
A A
A A to Piano
AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA
AAA AAA AAA AAA AAA AAA AAA AAA
in - te - rest - ing,
I
A
A
is - n't
<
<
<
<
'A A A
AAA AAA AAA AAA AAA AAA AAA AAA AAA
AAA
A it?
AAA AAA AAA A AA AAA AAA AAA AAA AAA AAA AAA AAA
mf
Reh. Pno.
AAA A
Vln. 1
AAA
AAA
A A A A @
@
It's
W
AAA
A A
mf
AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA A A A A A A A A A A A A A A A A A r
A A
AAAA
NNNN
NNNN
AAA AAA A A
r A A A A A A A A A A A A A A A A A A A A ' A
NNNN
AAAA AAAA
NNNN
A A A A A A A A A
A
A A A A A A A A A A A A
AA AA AA A A AA AA AA AA AA
AA
AA AA AA AA AA AA AA AA AA AA AA AA
mf
AA A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A mf
Vln. 2
NN
Cello
NN
33
33
mf
D. B.
s
N
N
3 mf
3
Act 1 132
Ob.
Q 611 q = 100 r A A A A A A A A A A A A A A A A
A A A A A A A A A A A A A A A A
A A A A A A A A A A A A A A A !?
leggiero
Cl. in Bb
A. Sax.
A
A
A A
A
A
N
A
A
A
A
A A
A
A
A
A
3
A
- A
+ 'A
A 'A
A
A
'A
A 'A
A
A
AA AA
AA AA
A ' A ' N legato
Bsn.
s
A
A
A A
A
A
A
A
VIBRAPHONE trem.
Vib.
3
A
A
A A
A
A
A
A
'N A 'A
3
mf
- A
PIANO
AAAA
AAAA
AAAA
AAAA
AAAA
AAAA
AAAA
AAAA
-A - AAA
AA AA
Kbd.
N NN
NNN
NNN
NNN
-NNN
NNN
Mi
r
<
<
<
W
<
<
<
mf K
s ¬
A
A
A
A
That's
not
what
you
N
A 'A 'N
@
think.
AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA leggiero
Tell
the
truth.
AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA -AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA
Reh. Pno.
Q Vln. 1
r
A
A
A
A
A
A
A
A
A
A
A
A
A
A
- A
A
'A
A
A A A A A A A A A A A A A A A A
A A A A A A A A A A A A A A A A
A A A A A A A A A A A A A A A A
A A A A A A A A A A A A A A A A
A A A A A A A A A A A A A A A A
s
A
A A A A A A A A A A A A A A A A
A A A A A A A A A A A A A A A A - A A A A A A A A A A A A A A A A
leggiero
D. B.
'A
A A A A A A A A A A A A A A A A
leggiero
Cello
A
q = 100 leggiero
Vln. 2
A
<
<
<
Act 1 133
Ob.
614 A A A A ' A A A A ' A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A ' A A A A A A A r ? ? sub. mp
Cl. in Bb
s
A
+ A A
+ A A 'A
A
Y A
+ -A A
+ A A
+ A A
A
A 'A
A
A
A
A
A
A
A
A
A
A
A
A Â?
A A Â? Â?Â?
A Â?
A
to Soprano Saxophone
A
N
N sub. mp
A
A Â? A Â? Â?
A Â?
A
sub. mp
+ A A
A 'A
A
-A
A
A
A
A
A
A
A
A
A
A
sub. mp
I
Vib.
A 'A
A
I
A. Sax.
Bsn.
Y
A Â?Â?
Â? NÂ?
--AAAA
AAA A
A
to Marimba
Â? NÂ? sub. mp
PIANO
'AAAA
AAA A
'AAAA
A ''AAA
AAA A
AAA A
AAA A
AAA A
AAA A
AAA A sub. mp
Kbd.
N'NN
Mi
AAA
r
'NN N
'A'AA
<
I s ÂŹ
A You
A
<
<
W
K
AAA A
A
think
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NNN
K
K
NNN
mp
<
A
A
A
A
A
that
all
the
rest
is
A
-
A
No,
I
< N
A
rub
A
-
K
bish.
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Vln. 1
A
A
'A
A
A
A
'A
A
A
A
-A
A
A
A
A
A
A
A
A
A
A
A
r ' A A A A A A A A A A A A ' A A A A A A A A A A A A ' A A A A A AAAAAAAAAAAAAAAAAAAAAAA sub. mp
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A 'A A A A A A A A A A A
Vln. 2
Cello
A A A A A A A A A A A A A A A A A A A A A A A A
AAAAAAAAAAAAAAAAA sub. mp A A A A A A A A A A A A A A A A A sub. mp
D. B.
s
<
<
<
Act 1 134
Ob.
617 A A A A A A A A A A A A A A A A A A A A A A r ! ? ? A A A A A A A A A A A A ? A A A mf sempre leggiero
Cl. in Bb
S. Sax.
Bsn.
s
A
A
A
A
A
A
<
A
A
A
A
A
A
<
<
A A A A A
A
AAA
AAA -AAA
MARIMBA
< mf
Mar.
A
mf
<
AAA
<
AAA -AAA
AAA
AAA
PIANO
AAAA
AAAA
AAAA
AAAA
AAAA
AAAA
<
<
<
<
Kbd.
AAA
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r A ne
AAA
A
A
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ver
said
that.
AAA
AAA
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Ob.
619 A A A A A A A A A A A A A A A A r A A A A A A A A A A A ? A A A A A A A A A A A A A A A A
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Act 1 136
Ob.
622 Kurt shows Michael the collage A A A A A A A A A A A A A A A A A A A A A A ' A A A A A A A A A A A A A A A A r A A A A A A A A ? ?
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Ob.
137
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Act 1 138
Ob.
631 r
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Act 1 139
Ob.
637 r
3
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to Bass Clarinet
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Act 1 140
Ob.
643 3 r
Bass Cl.
s
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S. Sax.
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Act 1 141
Ob.
647 N r BASS CLARINET
Bass Cl.
N
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Act 1 142
Ob.
649 N r
A
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s
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Act 1 143
Ob.
653 q = 102 r
<
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Act 1 144
Ob.
656 r
Bass Cl.
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S
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Ob.
668 r 3
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Ob.
672 r 3
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Ob.
677q = 144 Y + A A A + + r + A A A A A A A A A A A A A A A A A A A A
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Ob.
685 r A
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Act 1 151
Scene 5
Ob.
The lion sculpture outside the British Museum. Kurt is working on the lion. He has some tools. He places cardboard ears on the lion. He paints in feline eyes. Michael walks up.
693 q = 188 r <
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Ob.
700 r A A A A I f
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Act 1 153
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707 r A
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Ob.
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Ob.
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Ob.
763 A A r A A
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Kurt splashes cat-like huge white whiskers. The lion is transformed. Kurt offers his brush to Michael. Michael finishes off the catâ&#x20AC;&#x2122;s whiskers. Kurt gives it a big red nose of paint. The Museum attendant runs up. She is in a formal blue suit. She blows on a whistle.
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Ob.
782 A A A A A A A A A A A A A A A A A A A A A A r A A I A I A I
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Act 1 167
Ob.
788 r K
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Ob.
793 r K
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Act 1 169
Ob.
798 r
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Act 1 170
Ob.
803 r
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AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA Kbd.
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Act 1 171
Ob.
809 r
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Kbd.
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Act 1 172
Ob.
814 r
The attendant blows on her whistle. Rushes away to find more attendants.
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Act 1 173
Ob.
Bass Cl.
A. Sax.
Bsn.
818 r
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Act 1 174
V
Ob.
Bass Cl.
Michael sneezes.
822 q = 110 r
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Act 1 175
Ob.
Kurt packs away his brush and paints. They both leg it.
826 r
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Act 1 176
Ob.
830 r A
Bass Cl.
A. Sax.
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Act 1 177
Ob.
833 r A
N
A. Sax.
s
- -
3 to Clarinet in Bb
N
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Bsn.
A
,- -
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to Vibraphone
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Act 1 178
Scene 6
Ob.
r q = 150
BBC Third Programme Studio. Broadcasting House, London. The interviewer is a brisk young woman. She sits opposite Kurt Schwitters. They both wear large headphones. There is a glass wall between us.
<
<
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Act 1 179
841 r
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Act 1 180
847 r
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Cl. in Bb
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r
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Ob.
Bsn.
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Kbd.
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Interviewer (spoken): This is the BBC Third Programme. We have in the studio today, the leading German exponent of the art of DADA Kurt Schwitters. Herr Doktor Schwitters for your first show in Hanover, instead of critics, you began your career by inviting forty sheep and twenty reindeer? W
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Act 1 181
848 r
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Interviewer: Continuing with your life, you invented the term MERZ. MERZ Art can be anything from bus tickets to fox furs.You created a room which was not a room. You built a tower which broke through the roof and when rain began to pour your landlord decided to show you the door. W
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Interviewer: In due course the DADA movement and you had to part - DADA persisted in calling itself Anti-Art. Everything, you insisted, could be a work of art because everything is of equal value. What is it like to be a rebel in the Post War world and what does it mean to you?
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Interviewer: And although you once described DADA as laughter in the dark which suited the times, is it true you became afraid DADA laughter could be mis-used for Nazi crimes?
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Scene 7
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A A I I AA AA AA A A A A
<
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A
A
A
to
ap -
pear
<
<
A
A
N
rude,
AA A
but
<
AA I I AA AA I AA I AA A A A A A
AA AA AA AA+ A A A A A AA
A
<
<
AA I I AA AA I AA I A A A A
Reh. Pno.
A A A A A A A A
A A A A A A A A
A A A A A A A A A A A A A A
A A A A I A A A A A A A A A A A A A A A
A
A
A
A
A
A
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A AAAAAA A A A AAA AAAAAAAA A A AA AA AAA A
A
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r
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Vln. 2
<
<
<
<
Cello
D. B.
s @
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AA AAA I @
+ AAAAAI @
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@
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A
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A
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Act 1 207
Ob.
965 r
A
Cl. in Bb
A
A. Sax.
Bsn.
A
A
+ A I I A A+ I A I A
A
A I I A A I A I A
A
A
A A A A I I I I
A
A I I A A I A I A
A
A A A A A I I I I
A
A I I A A I A I A
A A
A
A I I I AI A A A
A
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A
A A A A A A I I I I
A
A I I A A I A I A
A
A + + I I A AI @
+ AI @
+ A A A A A A A A A I A A A A A A A A A A A A A A A
<
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A I A A A A I AA I AA AA AA I AA I I I I I I I I I AA AA AA AA AA AA
<
A A s A A A A A A A A A A A A A A I A
Vib.
A
Z A A A A A + I I AI I
PIANO
to Piano
GUITAR
+ A A A A AAAAAAAA AA A A A A
+ AAAAAAAAA A AA AAAA AAAAAAA A A
AA AA AA AA AA AA AA AA A A A A A A A A
Kbd.
A A A A A A A A A A A+ A AAAAAA
Mi
r
N
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these
K
s ¬
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<
N
A
days
I
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in
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+ A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
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vite
A
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in
for
tea.
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A A I I A+ A A A A A A A A AA AA AA AA AA AA AA AA AA A
Reh. Pno.
+ A A A A A A A A A A A A A A A A A A
Vln. 1
r N
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N
Cello
D. B.
s
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9 A A9
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A A A A A A A A
N
Z A A A A A A AA
N
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Act 1 208
Ob.
971 A A A A A A A A A A A A A A A A A A A A A A A A A A A A A r I I I I I I I I
A A A A A A A A A A A A A A I I I
Cl. in Bb
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A I I I I I I I I
A A A A A A A A A A A A A A I I I
+ AI@
A. Sax.
Bsn.
s
Vib.
+ AI @
+ AI @
+ AI@
+ AI @
+ AI@
AI AI AI AI AI AI A I AI AI AI AI AI AI AI AI AI
<
<
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AA AA AA AA AA AA AA AA A A A A A A A A
AA AA AA AA AA AA AA AA A A A A A A A A
AA AA AA AA AA AA AA AA A A A A A A A A
PIANO
AAA AAA AAA AAA AAA AAA AAA AAA
AA AA AA AA A A A A
AA AA AA AA AA AA AA AA AA AA AA AA A A A A A A A A A A A A
AA AA AA AA A A A A
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Kbd.
A A A A+ A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A AA A A
Mi
r
<
<
<
<
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<
<
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<
<
<
<
<
<
K
s N ¬ sneez
-
N
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es
spread
dis
N -
eas
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es.
A A A A Trap them in
your
A A
A
A
hand - ker - chieve - ses.
A A A A Trap them in
your
A A
A
A
hand - ker - chieve - ses’.
AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA Reh. Pno.
Vln. 1
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A AA A A A A A A A r AAAA A A A A A A A A A A A A A A A A A AA AAAA A A A A A AAAA A AA AA A A A A A A A A A A A AA A A A A A A A A A A A
Vln. 2
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A AAAA A AA A AA
Cello
D. B.
+ A A A A A A A A A A
s
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
Act 1 209
Ob.
978 A r I
A A A A A A A A A A A A A A A I I I I
A A A A A A A A A A A A A A A I I I I
A A A A A
A
A A A A A A A A A A A A A A A I I I I
A A A A A A A A A A A A A A A I I I I
A A A A A
I
Cl. in Bb
A. Sax.
Bsn.
s
Vib.
+ A I A I A I A I A I A I A I A I A I A I A I @
+ A I @
<
<
<
<
<
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PIANO
AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA AAA
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+ A I @
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A A A A A A A A A A A A A A A A A A A A A A A A A A A A AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA
Kbd.
+ A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
A A A A A+ A
Mi
r
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@ s ¬
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good
old
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say - ing.
N
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N
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3
But
it
is
just
not
true.
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Reh. Pno.
Vln. 1
A
A A A A A A A A A A A
r A A A A A A
: 9A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
A A A A A+ A
9 + : A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
A A A A A A
: A A A A A A A A A A 9A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
Vln. 2
Cello
D. B.
+ A
s
@
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Act 1 210
Ob.
983 r A I A I A I A I
AI A I AI A I
A I A I 'A I A I
A I I 'A I I A A
A I I 'A I I A A -A A A A A A A A A A A A A A A A A A A A A A A A mf
A I A I -A I A I
A I A I -A I A I 3
mf
Cl. in Bb
mf
A. Sax.
A I A I -A I A I mf
Bsn.
A s
A
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A
A
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A
N
PIANO
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<
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A
3
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A
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mf
Vib.
A
<
<
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Kbd.
<
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r
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mf
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mf
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s A ¬ A
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- ny - way, I've
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writ - ten
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a
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son
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mf
Cello
A A A A A A A A
say
N
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A
you were
A
a
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AA A A A A A I I AA AA I AA I AA
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A
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mf
Vln. 2
A
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mf
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r
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po - em.
mf
Reh. Pno.
Vln. 1
A
A
<
<
<
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mf
D. B.
A A A A A A A A A A A A A A A A A A A A A A A A s mf
Act 1 211
Ob.
988 A A A A A r A I I I I
Cl. in Bb
Bsn.
s
A
A
A A A A I I II
+ + A A A
+ + AAA
+ A
A
+ A AA AAA
A
I I A A I A I A
+ + AAA
A
A
to Bass Clarinet
+ + AAAAA A A
+ AAA
+ + + A I A I A I A I A I A I A I A I A I A I A I A I A I A I A I A I A I
3
+ AAAAA AA A AA
Vib.
II A AI AI A
+ + A A AA A AA
+ A A A A A A A A AA
3
A. Sax.
A
+ A
<
+ A AA A AA
+ + AAA
<
+ A A A
<
A+ A A A A AA <
+ + AAA
<
+ A A A A A A+ A
+ AAA
<
PIANO
AA AA AA A A A AA AA AA AA A A AA AA AA A A A AA AA AA A A A AA AA AA AA A A AA AA AA A A A AA AA A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A AA AA
<
<
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r
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Mi
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s ¬
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et,
sir.
@
<
<
AA A A AA A I I AA AA I A I
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AA A A I I AA
AA A
A A A A
+ A A
AA A
AA A
AA A
A AA A A AA A A I I AA AA I A I A
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AA + A A A I I AA AA I AAA I AAA
AA A
AA A
Reh. Pno.
Vln. 1
+ A A+ A
A A A A r A I I I I
A
A II A AI AI A
A I I A A I A I A
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Vln. 2
Cello
D. B.
+ A
s
+ A A A
+ A A+ A
A+ A A A A A A
+ A A A A A A+ A
A
A I I A A I A I A
A
A I I A A I A I A
A
A I I A A I A I A
A
A I I A A I A I A
+ A A A
A
A
A
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<
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Act 1 212
Ob.
A1 994 q = 132 r <
- A <
<
<
K
A
AA A
A
A
AA A
A
@ (mf)
BASS CLARINET
Bass Cl.
<
<
<
<
K
@
- A (mf)
A. Sax.
A
A
A
A
A A
(mf)
Bsn.
@
N
A A
A
A - N
'A
A
A - A
<
A
I A A A A A A A I A A A A A A A I A A A A A A A I A A A A A A A I A A A A A A A I A A A A A A A s (mf) motor on
Vib.
AA AA
AA AA NN AA AA NN
(mf) PIANO
AA
AA AA NN
AA AA AA AA
+ - AA AA - AA AA
NN NN
- AA - AA
AA AA NN AA AA NN
- AA - AA
AA+ AA AA AA
NN NN
AA AA
AA AA NN AA AA NN
AA AA
- AA AA
NN
- AA
AA AA NN
- AA
AA AA
NN
AA
AA AA NN
(mf)
Kbd.
- A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
Mi
r
<
<
<
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(mf)
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A A s ¬ More than
AA
A
A
a
po
AA AA NN
A A
A A
-
Ma - dame:
AA
et,
AA
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N
@
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paint
NN
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er,
AA AA
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sing
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er
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NN
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AA AA
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act - or.
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NN
AA AA NN
(mf)
Reh. Pno.
A - A A A A A A A A A A A A A A A
A A A A A A A A A A A A A A A
A A A A A A A A A A A A A A
A A A
A1 Vln. 1
q = 132 r A - A A A A
AA A
@
A
A A A A
AAA
A
@
A - A A AA
AA A
A
@
A A A - A
- A
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(mf)
Vln. 2
<
<
<
<
K
@
(mf)
Cello
N
N
N
N
N
N
N
N
N
N
(mf)
D. B.
3 s (mf)
3
3
3
3
3
A
Act 1 213
Ob.
Bass Cl.
A. Sax.
Bsn.
Vib.
1000 r A @ A
K
@
K
K
N
A
K
A
A
A
A
N
A
N
A
A
N
A
N
N
@
A A N
I A A A A A A A I A A A A A A A I A A A A A A A s A A AAA AAA PIANO
AA AA
- A K
K
@
K
K
@
A - A
A
A A A A A A A I
- A
A - A A N
N
K
N
K
+ A A
N
A A A A A A A A A A A A A A I I
AA+ AA AA AA
NN NN
- AA - AA
AA AA
NN NN
AA AA
AA+ AA AA AA
NN NN
AA AA
AA AA
NN NN
AA AA
AA - AA+ AA AA - AA AA
AA AA
NN
- AA
AA AA NN
AA
AA AA
NN
AA
AA AA NN
AA
AA - AA AA
A A A A A A A
A
AA AA
AA AA
Kbd.
A
A A A A A A A A A A A A A A A A A A A A A A A
A
A A A A A A A A A A A A A A A
Mi
r
<
<
<
<
<
<
Mo
<
<
<
<
<
<
K
N s ¬ More
AA
A
A
e - ven
AA
AA AA
N
A A N
than that,
Ma - dame:
A
NN
- AA
AA AA
@
A - A
A
as - sem - blage
AA
NN
AA AA
NN
A - A A N ma - ker,
AA
AA AA NN
N
A A
sound
po - et,
AA
AA
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Reh. Pno.
A A A A A A A A A A A A A A A A A A A A A A A A
Vln. 1
Vln. 2
Cello
D. B.
r AA A - A
A
N
s
3
@
@
A A A A A
K
K
N
N
3
A N
A
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A A A A A
N N
3
N
A A A A A A A A
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3
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A A A A A A A A
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A A A
K
K
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N
N
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3
A A
A A
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A A A
A A A A A A A - A
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3
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N
Act 1 214
Ob.
Bass Cl.
A. Sax.
Bsn.
Vib.
1006 r
- A <
K
<
PIANO
NN
@
A - N
I A A A A A A A s N NNN
@
K
A 'A - N
A
N
A
N
- A
A
N
A
N
- A
@ N
A
A
K
<
K
<
A - A
A
K
N
- A
+ A
A A A A A A A A A A A A A A A A A A A A A A A A A A A A I I I I
A
@
A
K
@
A
A - A
A
A A A A A A A I
- AA - AA
AA AA
AA AA
NN NN
AA AA
AA AA
NN NN
AA AA
AA AA
NN NN
AA AA - AA+ AA AA AA - AA AA
NN NN
- AA - AA
AA AA
- AA
AA AA
NN
AA
AA AA NN
AA
AA AA NN
AA AA - AA AA
NN
- AA
AA AA
AA AA
AA AA
AA AA
Kbd.
A
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
A
A A A A A A A
Mi
r
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<
K
'A - N A s ¬ per - for - AA
-
mance art
AA
AA
A A A A A A A
A
NN
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ist,
AA
NN
@ A
A
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mu - si - cian
A and
AA
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- A A
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@
com - pos - er,
AA AA NN
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AA
AA
+ A -
A
cian,
- AA AA
A - A
A
danc
er,
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NN
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Reh. Pno.
Vln. 1
Vln. 2
Cello
D. B.
A A A A A A A A A A A A A
A A A - A
A
<
K
@
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N
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r A
s
3
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3
A
A A
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3
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3
AA
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Act 1 215
Ob.
1012 r A N
Vib.
s
I
A
A
@
N
A
A
A
N
@
@
A
@
PIANO
NN
<
@
A - A
A A A A A A A A A A A A A A A A A A A A A I I
N NNN
@
K
N
A. Sax.
Bsn.
N
A
Bass Cl.
K
N
A
- N
@
<
@
- A A
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A A A A A A A A
A
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3
A A A A A A A A A A A A A A A A A A A A A I I I
AA AA
AA+ AA AA AA
NN NN
AA AA
AA AA
NN NN
AA AA - AA+ AA AA AA - AA AA
NN NN
- AA - AA
AA AA
NN NN
AA AA
AA
AA AA
NN
AA
AA AA NN
AA AA - AA AA
NN
- AA
AA AA NN
AA
AA AA
AA AA
Kbd.
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
Mi
r
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A
A
N
@
@
in - vent - or,
AA
NN
AA AA
AA
NN
A
A - A
- N
and
e - ven
more,
AA AA NN
- A A
@
Ma - dame.
A
And
e
-
-A
3
ven
more.
- AA
AA AA
A A A A A A A A A A A A A
A A A
AA
AA
A
- AA AA
NN
AA
NN
Reh. Pno.
A A A A A A A A A A A A A A A A A A A A A A A A
Vln. 1
Vln. 2
Cello
D. B.
r A A
A
N
s
3
AA A
N N
A
@
A A - A A A A
K
@
N
N
3
A
A N
3
A A - A A
A A A - A
@
N N
<
N
3
N
A
@
@
N
3
A A A - A
A
A - A N
A A A A A A A A
A
A A
@
AAAA AA AA N
3
N
Act 1 216
B1
Ob.
1018 A A A A A A A A - A A A A A A A A - A A r I I A A A I A A
Bass Cl.
Bsn.
Vib.
<
A. Sax.
s
A A A A - A A A A A A A A - A I
<
<
Aq = 178 A A A
A A A A
A
A A A
A A A A
A
A A A
A A A A
A
A
A A A A I
A
A
A A A A I
A
A
+I A A A A
I A A A A A A A I A A A A A A A I A A A A A A A
<
<
<
AA+ AA AA AA
<
<
<
PIANO
AA AA
NN NN
AA AA
AA AA AA AA
NN NN
NN
AA AA AA NN
AA AA
AA - AA+ AA - AA
AA AA
AA AA - AA AA
A A A A A A A A AA AA AA AA AA AA AA AA
A A A A A A A A A A A A A A A A A A A A AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA AA
Kbd.
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A AA A A
Mi
r
<
<
<
Mo
<
<
<
<
AA N
K
<
s ¬ AA AA
<
NN
AA
AA AA NN
<
AA
AA
- AA
I'm
sure
<
AA
A A
If you give
<
<
I A A A N
A N
A
Ve - ry nice,
<
me your
<
AA AA A A
AA AA AA AA AA AA AA AA AA AA A A A A A A A A A A
AA AA AA AA AA AA AA AA AA AA AA AA A A A A A A A A A A A A
AA AA AA AA A A A A
A A
A A A A A A A A A A A A A A A A A A A A A A A A A A
Reh. Pno.
A A A A A A A A A A A A A A A A A A A A A
A A A
B1
Vln. 1
Vln. 2
Cello
D. B.
r
A A A A A A
A A I A+ A+ A N
s
3
N
A A - A A
Aq =A 178 A A A A A A A A A A A A A A
A A N
+ + + A A+ I - A A - A A A A A A A A A N
3
N
N
3
A A A A A A A A A A A A
N
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
<
A
A A A A A A A
<
A A A A A A A A A AA A A
<
Act 1 217
Ob.
1024 r A
A
A
A
A
A
A
A
Bass Cl.
A
A. Sax.
Bsn.
Vib.
s
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A A I
A
A
A
A
A
A
A
A
A
A
A A I
A
A
A
A
A
A
A
A
A
+ A I A
A
A
A
A
A
A
A
A
<
<
<
<
<
<
<
<
<
<
PIANO
AA AA AA AA A A A A A A A A A A AA AA AA AA AA AA
AA AA AA AA AAAA
AA AA AA AA AAAA
AA AA AA AA AAAA
AA AA AA AA AAAA
AA AA AA AA AAAA
<
to Clarinet in Bb
A
<
<
<
<
<
<
AA A+ N A AA NN
AA A+ N A AA NN
AA AA AA AA AAAA
<
<
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
<
<
AA AA AA AA AAAA
<
Kbd.
Mi
Mo
r
A
N
po - em,
K
s ¬
<
A
A
Mi
-
<
<
A
A
A
chael will
<
<
read
N
<
<
<
<
<
<
<
<
<
<
A A A A
it.
<
No,
it's
a
N Sneeze
A A Po - em.
AA AA AA AA A A A A
A AA
AAA NNN
A AA AAA NNN
A A A A A A A A
A AA
AAA NNN
A AA AAA NNN
A A N
A A N
+ A A N
+ A A N
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A N AA
A A N
A A A A A A A A AA AA AA AA AA AA AA AA AAA AAA AAA AAA AAA AAA
AA AA AA AA A A A A
AA AA AA AA A A A A
AA AA AA AA A A A A
AA AA AA AA A A A A
AA AA AA AA A A A A
Reh. Pno.
A A A A A A A A A A A A A A A A A A A A A A
Vln. 1
Vln. 2
Cello
D. B.
r
A A A A A A A A
A A A A A A
A A A A A A A A
A A A A A A A A A A A A A A A A A A A A A A A A
A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A
s
<
<
<
<
<
A
AN
A A N
Act 1 218
Ob.
1031 r
Michael enters. Pyjamas and red nose. Sniffles.
<
<
<
<
<
<
<
Cl. in Bb
<
<
<
<
<
<
<
A. Sax.
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
<
Bsn.
Vib.
s
+ AA AA NN A A N
+ A AA NN A A A N
+ A AA NN A A AN
PIANO
<
<
<
A A A A A A A A A A A A+ A + A A A A A A A A A A A A+ A + A A A A
<
<
<
AAAAAA A AAAAAA AAAAAA A AAAAAA A A A A
Mi
r
<
<
<
<
<
<
<
Mo
<
<
<
<
<
<
<
A A A @
<
<
<
<
Kbd.
K
K s ¬
@ A You
A A have to
A A see
me
do
it.
AAA AAA NNN
A AA
AAA NNN
A AA
AAA NNN
- A A A A A A A A
A A A A A A
A
AAA AAA NNN
A AA
AAA NNN
A AA
AAA NNN
- A A A A A A A A
A A A A A A
A
A A N
A
Vln. 1
A A N r
A N
Vln. 2
+ A A N
A A+ N
A
+ A N
A A N
A A N
A
A N
A
A
AN
A A A A A A A A
A A A A A A
A
A A A A A A A A
A A A A A A
A
Reh. Pno.
Cello
D. B.
A A N s
AN
AAAAAA A AAAAAA AAAAAA A AAAAAA A A A A
<
<
<
<
AAAAAA A AAAAAA AAAAAA A AAAAAA A A A A
<
<
<
<
Act 1 219
Ob.
1038 r
<
A A A A A A A A
Kurt makes a grand gesture. He takes out a handkerchief and theatrically blows his nose.
I
AAAAAAA
A A - A
A
A
A
A
A A A
A
A
A
A A A
A
A
A
A A A
A
Y A
A
A A A
A
Y A
N
(mf)
A A A A A A A A
CLARINET
<
Cl. in Bb
I
AAAAAAA
Y
A
A A A
A
A
A A - A
A
A
N
A
A A A
A
A
N
- A
(mf)
<
A. Sax.
A A A A A A A A I A A A A A A A
N Y
(mf)
Bsn.
s
<
<
<
(mf) motor off
<
Vib.
<
<
AA AA AA AA - AAA AAA AA AA -AA AA A A A A A A AA AA AA AA AAA AAA AA AA A A A A A A A A AA AA AA AA AA AA A A A A AA
PIANO
A A A A A A A A A A A A A A A A A A A A AA A A Kbd.
<
<
A A A A A A A A A A A A A A A A A A AAAAAA A A A A A A A A A A A A A A A A A A A A A A A A
Mi
r
<
Mo
<
<
A
A
<
A A
Mi - chael,
K
<
s ¬
<
A A A A A A A A
go
AA back
A
N
to
bed!
<
<
AA AA AA AA AA AA AA AA A A A A A A A A
I AAA AAA AAA AAA AAA AAA AAA
AA A
A A A A A A A A
A A A A A A A A
A
<
<
<
<
<
<
<
<
<
AA AA - AA A A A
AA A
-AAA
AA A
AA A
NN N
AA AA AA A A A
AA A
Reh. Pno.
A A A A A A A A
Vln. 1
A A A A A A A A r A I @
Vln. 2
<
A A A A A A A A A I @
Cello
D. B.
<
K
s
<
K
<
A A A A
A A A A A A A A
A A A A A A A A
<
- A A A A A
A
A
A
A
A
A
A
A
A A
<
- A A A A A
A
A
A
A
A
A
A
A
A A
<
<
A
A A
I A
A
A I A
A
A
A
A
I A
A I A
A A
A
A I A
A
A A
A I A
A
A
A
Act 1 220
Ob.
1044 r A N
A
AAA A
A A A A A A A A
A
A
AAA A
A A A A AAAA AAA AAA AAAA AAAAAAAA AA AAAAA A AAAAAA
YA
Y A
Cl. in Bb
A. Sax.
Bsn.
s
N Y
A
N
A
A
AAA A
A
N
YA
A
A A A A
-AAA AAA AA AA AA AA AA AA AAA AAA AAA AAA AAA AAA AAA AAA A AAAAA
Vib.
PIANO
<
<
A A A A A A A I
A A A A A A A I
<
A A A A A A A A A A A A A A A I
<
<
<
<
AAAAAAAA AAAAAAAA AAAAAAAA AAAAAAAA AAAAAAAA AA AA AA AA AA AA AA AA AAAAAAAA
AA AA AA AA AA AA AA AA A A A A A A A A A A A A A A A A AA AA AA AA AA AA AA AA
AA AA AA AA AA AA AA AA A A A A A A A A A A A A A A A A AA AA AA AA AA AA AA AA
AA AA AA AA AA AA AA AA AAAAAAAA
AA AA AA AA AA AA AA AA AAAAAAAA
AA AA AA AA AA AA AA AA AAAAAAAA
A A A A A A A A AA AA AA AA AA AA AA AA
A A A A A A A A AA AA AA AA AA AA AA AA
Kbd.
A A A A A A A A A A A A A A A A A A A A AAAA AAA AAA AAAA AAAAAAAA AA AAAAA A AAAAAA
Mi
(to Kurt)
r
<
A
<
A A A
A N
is
po - em?
What
this
<
<
<
Mo
<
<
<
<
<
<
<
K
s ¬
<
<
<
<
<
<
<
-AAA
NN N
AA A
AA A
AA AA AAA A A
AA A
A A A A AA AA AA AA
A A A A A A A A AA AA AA AA AA AA AA AA
A A A A A A A A AA AA AA AA AA AA AA AA
A A A A A A A A AA AA AA AA AA AA AA AA
A A A A A A A A AA AA AA AA AA AA AA AA
A A A A AA AA AA AA
Reh. Pno.
A A A A A A A A A A A A A A A A
Vln. 1
A A A A A A A A
A A A A A A A A
A A A A A A A A
A A A A A A A A
A A A r
A
A A
A
A
A A A A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A
A A A
A
A A AA
AA
A A A A A A A A
A A
A A
A A
A A
A A
A A
A A
A A
A A
A A
A A
A A
A A
A A
A A
A A
Vln. 2
Cello
D. B.
A A A A A A A A
s
I A A I A A I A A I A A
<
<
<
<
<
A A
<
<
<
<
<
A A
A A
A A
Act 1
Ob.
221
C1 1051 (q = c.88) r
SNEEZE SONG
# <
Cl. in Bb
# <
A. Sax.
# <
# <
# <
# <
# <
Mi
r
# <
Mo
# <
Bsn.
s
Vib.
Kbd.
f
K
Approximate pitches and rhythm, free within suggested outlines, using all possibilities from speech to singing (resistance)
> @ > > > @ s ÂŹ Ah ha ha na
+ > > > > @
ah wan na ha
> > > > + > > ! > @ @ > I ? ! >
Ah oh
ah ha
na
na
# <
# <
Reh. Pno.
C1
(q = c.88)
# <
Vln. 1
r
Vln. 2
# <
# <
# <
Cello
D. B.
s
na wu
@
> Ah
> ya
+ > >
> + > I >+ > > > I >
ya har - sna
wan - na hars nu
Ah ha!
Act 1 222
Ob.
1052 r
# <
# <
# <
# <
# <
Cl. in Bb
# <
A. Sax.
# <
# <
# <
# <
# <
# <
# <
# <
# <
# <
# <
# <
# <
# <
# <
Mi
r
# <
# <
# <
Mo
# <
# <
# <
Bsn.
s
Vib.
Kbd.
K
s ÂŹ
# <
(losing control)
+ >
+ >
>
0
Stra
stra
stra
oosh
I
+ + > > na
stra
> stra
> oosh
+ + > ? > -
na
stra
> > + I >+ > stra
no
stra
no
> + > ! > ah
# <
na!
# <
# <
# <
# <
# <
# <
Vln. 1
r
# <
# <
# <
Vln. 2
# <
# <
# <
Cello
# <
# <
# <
# <
# <
# <
Reh. Pno.
D. B.
s
Act 1 223
Ob.
1055 r
# <
Cl. in Bb
# <
A. Sax.
# <
# <
# <
# <
# <
Mi
r
# <
Mo
# <
Bsn.
s
Vib.
Kbd.
(delivery)
K
+ + s > > ÂŹ Ah tar
> - sha
0 da
,
+ >+ > da
arch
>
0
star - ta
more sung
, > > , > I + > > + > stoo
aarch
ah
# <
# <
Vln. 1
r
# <
Vln. 2
# <
Cello
# <
# <
Reh. Pno.
D. B.
s
star
-
+ , + > > >
(gutteral)
na
ar
no
tish
>
I
> ar
I
>
>
>
ar
ah
ah
Act 1 224
Ob.
Kurt explodes. Mother takes a step back. Michael grins.
1056 r
# <
# <
# <
Cl. in Bb
# <
A. Sax.
# <
# <
# <
# <
# <
# <
# <
# <
# <
# <
Mi
r
# <
# <
Mo
# <
# <
# <
Bsn.
s
Vib.
Kbd.
K
> s ! ÂŹ
ha
0 > >! da
ha
> shoo
, > ! > I ! a - ha
0 I >
+ >
ah
na
> !
> !
> 0 ! >
an - a - ha
>
a - hach
>
I > a
tash
0 shooo!
# <
# <
# <
# <
Vln. 1
r
# <
# <
Vln. 2
# <
# <
Cello
# <
# <
# <
# <
Reh. Pno.
D. B.
s
Act 1 225
Ob.
1058 q = 170 r A
+ A A
A
+ A A
mf
Cl. in Bb
A
+ A A
A
+ A A
A
+ A A
A
+ A A
mf
A. Sax.
mf
Bsn.
s
<
Vib.
A
+ A A
A
+ A A
A
+ A A
A
+ A A
A
A
+ A A
A
+ A A
A
+ A A
A
+ A A
<
<
+ A A
<
<
PIANO
A
A A
<
A A
AA AA AA A A A
AA A
AA AA A A
AA AA AA A A A
AA A
AA AA A A
AA AA A A
AA A
AA A
AA AA A A
AA AA AA AA A A A A
AA AA AA A A A
AA A
AA AA A A
A
A A A
A
A A
A A A
A
A A
A A
A
A
A A
A A A A
A A A
A
N
<
mf A
Reh. Pno.
A
you
s ¬
<
A A
Would
' A 'A
AA AA A A
A A
like
to
<
A AA
<
A
A
stay
for
A
<
N
<
tea?
<
<
<
AA A
A A A AA AA AA
AA A
A A AA AA
A A A AA AA AA
AA A
A A AA AA
A A AA AA
A AA
AA A
A A AA AA
A A A A AA AA AA AA
A A A AA AA AA
AA A
A A AA AA
A
A A A
A
A A
A A A
A
A A
A A
A
A
A A
A A A A
A A A
A
N
A A AA AA
mf
Vln. 1
A A
AA A
r
Mo
K
A
mf
Kbd.
Mi
Y A
<
mf
AA A
Y A
A
q = 170 A A A A A r
A A A A
A A A I
A A A A
A A A I
A A A A
A A A I
A
A
A A A A
A A A I
A A A A AAAA
AA AA AA I
A A A A AAAA
AA AA AA I
A A A A AAAA
AA AA AA I
A A
A A
A A A A AAAA
AA AA AA I
A A A
I A AA
+ A AA
A A A
A A A
I A AA
A A A
A A A
I A AA
+ A AA
A A
A A
A
A A
A A A A
A A
A A
mf
A A A A A A A A A A
Vln. 2
mf pizz.
A A A
Cello
mf
D. B.
s
A mf
I
A AA
+ A AA
A A A
A
A A
A A A A
A A A
A A A
A
A
+ A AA
A A A
A
Act 1 226
1062 r A A
A
A
A
A
+ A A
A
A
A
A
A A
Cl. in Bb
A A
A
+ A
A
A
+ A A
A
+ A A
A
+ A A
A. Sax.
+ A A
A
+ A
A
A
+ A A
A
+ A A
A
+ A A
Ob.
Bsn.
s
<
A A A A
Vib.
<
A A
PIANO
- A -A
A A
N
A+ A A A
' A 'A
N
N
<
A A
<
A A
A A
A A
A A A A
to Marimba
N N
A AA
A A A A A AA AA AA AA AA
AA A
A A AA AA
A AA
AA A
A A AA AA
A A A A AA AA AA AA
A A A AA AA AA
AA A
A A AA AA
A A A A A A A A A AA AA AA AA AA AA AA AA AA
A A A A A
A
A A
A
A
A A
A A A A
A A A
A
A A
A A A A A A N
Kbd.
Mi
r
<
<
<
<
Mo
<
<
<
<
s ¬
<
<
<
<
K
A A A A A AA AA AA AA AA
AA A
AA AA A A
AA A
AA A
AA AA A A
AA A
AA AA AA A A A
AA AA AA A A A
AA A
AA AA A A
AA AA A A
AA A
AA AA AA AA AA AA A A A A A A
A A A A A
A
A A
A
A
A A
A
A A A
A A A
A
A A
A A
A
A A A N
AA A
Reh. Pno.
A
A A A A
Vln. 1
A r
A A
A A A A AAAA
Vln. 2
A A
A A A
A A A
I
A A A
+ A A A
A A A
A A A A A
A
A A
A
Cello
D. B.
s
A A A A A A
A A A I
A
A
A A A A
A A A I
A
A
A
A A A A
AA AA AA AA AA AA
AA AA AA I
A A
A A
A A A A AAAA
AA AA AA I
A A
A A
A A
A A A A A A A A
A A A
A A A
I AA A
A A A
A A A
I AA A
I
I
A
+ A A A
A A A
I AA A
A A
A A A A
A A A
A
A A
+ A A A
A A A A A A N
+ A A A
Act 1 227
Scene 8 Kurtâ&#x20AC;&#x2122;s room in north London. Cardboard boxes and crates hang from the ceiling. A bed is pinned to the ceiling. Michael holds a filled paper carrierbag. He knocks. No answer. He walks in. Suddenly, Kurt appears.
Ob.
1066 q = 224 A A A A N r A A A A A @ A @ A @
A A A A N A A A A @ A @ A @ A
A A A A A A A A @ A @ A @ A
@ A AA A @ A @ A AA A N A
A
@ A AA A @ A @ A AA A A
A
f
@ A A A A @ A @ A A A A N A A f
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Ob.
1072 r N
Cl. in Bb
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Ob.
1077 A A A A r A @ @ A
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Ob.
1082 r N
Cl. in Bb
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Ob.
1087 A A A N A A r A @ @ @ A A A N A @ A A
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Ob.
1092 N r
Cl. in Bb
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Act 1 233
Ob.
1096 r N
Cl. in Bb
N
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Act 1 234
Ob.
1100 r N
Cl. in Bb
A. Sax.
Bsn.
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Act 1 235
Ob.
1104 r N
Cl. in Bb
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Bsn.
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Act 1 236
Ob.
1108 r N
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Act 1 237
Ob.
1112 r N
Cl. in Bb
K
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Act 1 238
Ob.
D1 1117 q = 152 r A A A
f
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Act 1 239
Ob.
1122 r A
A
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3
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s
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Act 1 240
Ob.
1127 r 3
3
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3
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Act 1 241
Ob.
1133 r A
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Act 1 242
Ob.
1139 r 3
3
3
A
3
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3
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A. Sax.
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Act 1 243
Ob.
1145 r A A A A
Cl. in Bb
A. Sax.
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s
3
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Act 1 244
Ob.
1151 r 3
3
3
3
3
Cl. in Bb
3
3
3
3
3
A. Sax.
3
3
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3
3
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s
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Act 1 245
Ob.
1156 r 3
Cl. in Bb
A. Sax.
Bsn.
s
Michael looks around the room with curiosity.
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1169 r
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1178 r A A A N
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Ob.
1193 r N
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1202 -N r
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Ob.
1206 r 3
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Act 1 257
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1209 r A
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Act 1 258
Scene 9 On the way to school in the morning. His mother walks Michael to school. Michael is in school uniform.
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1212 q = 70 r A A A A N
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1219 r N
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Act 1 260
Ob.
1225 They cross the road at a busy junction. r A N A A -A - A A N
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Act 1 261
Ob.
1232 r ' A A A -A
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Act 1 262
Ob.
1238 r
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Act 1 263
Ob.
1244 r N
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