Mason SECOND MUSIC FOR A EUROPEAN CONCERT HALL (Ensemble Modern, Freiburger Barockorchester, Benoit) by ScoresOnDemand

Second Music for a European Concert Hall For solo ensemble and baroque orchestra

Benedict Mason 1994

FULL

SCORE

ÂŠ 1994 Chester Music Limited

Instrumentation – Ensemble NB: single underlining denote instruments, which are shared. Other instruments are played only by that performer, in whose list the instrument appears.

Flute

Clarinet

0. Flute

0. Bass Clarinet

1. Woodblock

2. Db Door

2. Clarinet in B♭

3. Bottle

3. Xa door

4. Washboard

4. Bottle

5. Tremolo trumpet (D/A)

5. Pocket siren

6. Da Door

6. Referees Whistle

7. Schwirrbogen

7. 2 Aerosol Klaxons

8. Pocket siren

8. E♭ Clarinet

9. Piccolo

9. Ghettoblaster 3

10. Referees whistle

10. Piano 1 (Primo 2)

11. Speech

11. 2 Metal clicking frogs

12. Rufhorn (107-02)

12. 2 Flexatones

13. Sampler 1

13. Subcontrabass Recorder (with Radio Microphone)

14. Bass marimba (Secondo) 15. Handbells

Saxophone

16. Contrabass Flute

0. Sopran Saxophone

17. Back of seat

1. Ab door

18. (Contrabass Flute)

2. Bottle 3. Washboard

Oboe

4. Tremolo Trumpet (D/A)

0. Oboe

5. Contrabass Clarinet

1. Woodblock

6. Pocket siren

2. 2 Schellen

7. Baritone Saxophone

3. Bottle

8. Referees whistle

4. Agogo bells (ethnic)

9. Speech

5. Medium torch

10. (Baritone Saxophone)

6. Pocket siren

11. Schwirrbogen

7. Cor anglais

12. Contrabass Saxophone (with Radio Microphone)

8. Speech 9. Rufhorn (98-02)

Bassoon

10. Ghettoblaster 1

0. Bassoon

11. (Oboe)

1. Large torch

12. Stage raiser/Horn

2. Xc door

13. Bass shawn

3. Bottle

14. Sopranino Rauschpfeife

4. Agogo bells (PRO PERC)

15. Back of seat with beater

5. 2 Metal balls

16. (Sopranino Rauschpfeife)

6. Tubular bell

17. 2 Metal clicking frogs

7. Pocket siren

18. Speech (over Lichtregie Intercom)

8. Referees whistle 9. 2 Aerosol klaxons 10. Contrabassoon (with Radio Microphone) 11. Tenor Rauschpfeife 12. Metal clicking frog 13. 2 Flexatones 14. Contrabass racket (with Radio Microphone)

2 10

Obbligato Trombone

0. Trumpet (+ Harmon)

Percussion 1

1. Da Door

1. Suspended Cymbal

2. Bottle

2. Scythe + Metal scraper

3. Lights

3. Wa Door

4. Speech

4. Celesta

5. Piccolo Trumpet (Bâ&#x2122;)

5. Bottle

6. Thundersheet

6. Agogo bells (EM)

7. Ghettoblaster 4

7. Wa door

8. (Piccolo Trumpet)

8. Brass railings

9. Piano 1 (Primo 1)

9. Celesta

10. Nipple gong

10. Referees whistle

11. Non electric megaphone 1

11. Nipple gong

12. Claves

12. Speech

13. 2 Flexatones

13. Rufhorn

14. (Trumpet)

14. Kolberg ratchet

Trumpet

15. Raiser / Ghettoblaster (silent) 7

Obbligato Trumpet

Horn

0. Horn 1. Speech 2. Bottle 3. Brass railings 4. Pocket siren 5. Referees whistle 6. Speech 7. Bass marimba (Terzo) 8. Piano 1 (Secondo 2) 9. 3m/2cm diameter Copperpipe 10. Speech 11. Nipple gong 12. Non electric megaphone 2 13. Claves 14. 2 Flexatones 15. (Horn + sord.) 16. Sampler 1 17. Walkie-Talkie 9

Trombone

0. Trombone (+ bucket) 1. Woodblock 2. Ya Door 3. (Trombone + sord. + cup) 4. Bottle 5. Lights 6. Speech 7. Slide Trumpet 8. Ghettoblaster 6 9. Schwirrbogen 10. Ratchet 11. Metal clicking frog 12. 2 Flexatones 13. (Trombone)

16. Apron of raiser 4 with gong mallet 17. Bass marimba (Quinto) 18. Handbells 19. Req 20. Back of seat 21. Nipple gong 22. Metal clicking frog 23. 2 Flexatones 24. Tam-tam 25. Bass drum 26. Woodblock 27. Walkie-talkie 12

Percussion 2

1. Suspended Cymbal 2. Za Door 3. Starting pistol 4. Bottle 5. (Za Door) 6. Brass railings 7. Pocket siren 8. Referees whistle 9. Nipple gong 10. Speech 11. Rufhorn 12. Large wooden ratchet 13. Ghettoblaster 5 14. Handbells 15. Piano 2 (Secondo 1) 16. Woodblock machine 17. Schwirrbogen 18. Small loud ratchet 19. Metal clicking frog 20. Electric siren with pedal 21. 2 Flexatones 22. (Woodblock machine)

Piano 1

Piano 2

1. Large golden cymbal

2. Whistling + Medium torch

3. Piano 1

3. Piano 2

4. Torch

5. Ca Door

5. Ba Door

6. Starting pistol

7. Sampler 1

7. Sampler 2

8. Bottle

9. Agogo bells (red)

9. Agogo bells (black)

10. 2 Metal balls

11. (Piano 1)

11. (Piano 2)

12. (Sampler 1)

12. (Sampler 2)

13. Speech with Piano

13. (Piano 2) / Voice

14. Pocket siren

14. (Sampler 2)

15. (Sampler 1)

15. Referees whistle

16. Referees whistle

16. Nipple gong

17. Nipple gong

17. Speech

18. Speech

18. 2 Klaxons

19. 2 Klaxons

19. Strange instrument

20. (Piano 1)

20. Apron of raiser 4 / Ghettoblaster

21. Coin

21. (Piano 2)

22. (Sampler 1)

22. (Sampler 2)

23. Bass marimba (Primo)

23. Piano 2 (Secondo 2)

24. Piano 1 (Secondo 1)

24. Woodblock machine

25. (Sampler 1)

25. Schwirrbogen

26. (Bass marimba)

26. (Woodblock machine)

27. Claves

28. (Sampler 1 / Piano 1)

28. (Sampler 2)

29. Walkie-talkie

29. (Piano 2) 30. Metal clicking frog 31. Walkie-talkie 15

Harp

Glass Harmonica

Violin I

0. Violin 1. Woodblock 2. 2 Schellen 3. Nebelhorn 4. Scordatura Violin (with Plectrum + Radio Microphone) 5. Referees whistle 6. 2 Aerosol klaxons 7. Electric loudhailer 8. Thundersheet 9. Handbells 10. Piano 2 (Primo 1) 11. Indian singing / Speech 12. Nipple gong 13. (Scord. Violin)

Violin II

Double Bass

0. Violin

0. Double Bass

1. Large torch

1. Zb Door

2. Yc Door

2. Bottle

3. Bottle

3. Conducting Vn2 and Bsn

4. Agogo bells (RQS)

4. Brass railings

5. 2 Metal balls

5. Referees whistle nd

6. Scordatura Violin (2 Violin with Plectrum + Microphone)

6. Speech

7. Referees whistle

7. Geophone

8. 2 Aerosol klaxons

8. Metal clicking frog

9. Martin tremolo trumpet (C#/B) 10. Thundersheet

Actor

11. Geophone

1. Bb Clarinet

12. Back of seat

2. Starting pistol

13. Nipple gong

3. Organ pipe

14. Metal clicking frog

4. Door (Aa)

15. Electric bells

5. Singing

16. Violin (normal tuning)

6. Large C Tubular Bell (Kolberg), 8 Foot (damp)

17. Woodblock machine

7. Automatic door 8. Large cymbal

Viola

9. Mallets for Keyboard 2

0. Viola

10. Ghettoblaster (silent)

1. Woodblock

11. Mallets for Percussion 1

2. Aa Door

12. Cello chair

3. (Viola) mime

13. Hand-cranked siren

4. (Aa Door)

14. Concert hall public address system

5. Schwirrbogen

15. Walkie-talkie

6. Viola with Radio Microphone 7. Referees whistle 8. Speech 9. Rufhorn 10. Strange Instrument (Keyboard 2) 11. Handbells 12. Piano 2 (Primo 2) 13. Nipple gong 14. (Viola) 20

Violoncello

0. Violoncello 1. Chair 2. Referees whistle 3. Speech 4. Rufhorn 5. Ghettoblaster 2 6. Kolberg ratchet 7. Bass marimba (Quarto) 8. Handbells 9. Metal clicking frog

Piano Tuner (Keyboard 1)

Piano Tuner (Keyboard 2)

Instrumentation â&#x20AC;&#x201C; Baroque Orchestra 25

Flute 1

Horn 2 (with usual crooks, if baroque Horn)

Speech

Brazilian bird whistle

Metronome

3 Ft Hosepipe whistle

12 Ft Hosepipe whistle

Walkman / Speaker

Portable light (see explanation in performance notes)

Portable light

Flute 2

Violin I 1.

Speech

Brazilian bird whistle

Metronome

3 Ft Hosepipe whistle

Walkman / Speaker

Portable light

Portable light 34 27

Oboe 1

Violin I 2.

Speech

Brazilian bird whistle

Metronome

Walkman / Speaker

6 Ft Hosepipe whistle

Portable light

Walkman / Speaker

Portable light

Oboe 2

Violin I 3.

Speech

Brazilian bird whistle

Metronome

6 Ft Hosepipe whistle

Walkman / Speaker

Portable light

Portable light 36 29

Bassoon 1

Violin I 4.

Speech

Brazilian bird whistle

Metronome

Walkman / Speaker

Portable light

Portable light 37 30

Bassoon 2

Violin II 1.

Speech

Brazilian bird whistle

Metronome

Walkman / Speaker

Portable light

Portable light 38 31

Horn 1 (with usual crooks, if baroque Horn)

Violin II 2.

Speech

Brazilian bird whistle

Metronome

Walkman / Speaker

12 Ft Hosepipe whistle

Portable light

Walkman / Speaker Portable light

6 43 39

Violin II 3.

Speech

Cello 1.

Speech Brazilian bird whistle

Brazilian bird whistle Metronome Walkman / Speaker

Metronome Walkman / Speaker Portable light

Portable light 44 40

Viola 1.

Speech

Cello 2.

Speech Brazilian bird whistle

Brazilian bird whistle Metronome Walkman / Speaker

Metronome Walkman / Speaker Portable light

Portable light 45 41

Viola 2.

Speech

Double Bass

Speech Metronome

Brazilian bird whistle Metronome

Walkman / Speaker Portable light

Walkman / Speaker Portable light 42

Viola 3.

Speech

Harpsichord (small)

Speech Metronome Walkman / Speaker

Brazilian bird whistle Metronome Walkman / Speaker Portable light

Technical Personel 47

Mixing Desk for eight track tape

Mixing Desk for samplers and radio microphones

Lighting cues. Must be able to follow score

Conductor

Eight door openers (must be able to follow score) Stage managers Hall technicians Computer programme for slides and neon lighting

Portable light

The following persons were involved in the première of the piece:

Flute – Dietmar Wiesner Oboe – Catherine Milliken Bass Clarinet – Roland Diry Soprano Saxophone – Wolfgang Stryi Bassoon Matthew – Wilkie Trumpet – William Forman Obbligato Trumpet – Bruce Nockles Horn – Frank Ollu Trombone – Uwe Dierksen Obbligato Trombone – Uwe Füssel Percussion 1 – Rainer Römer Percussion 2 – Yuko Suzuki Keyboard 1 – Ueli Wiget Keyboard 2 – Hermann Kretzschmar Harp – Karin Schmeer Glass Harmonica – Sascha Reckert Violin I – Jagdish Mistry Violin II – Freya Kirby Viola – Werner Dickel Cello – Eva Böcker Double Bass – Thomas Fichter

Actor – Benoît Régent German speaking actor in the audience – Christoph Marthaler

Freiburger Barockorchester

Mixing Desk for eight track tape: Composer Mixing Desk for samplers and radio microphones: Stefan Hahn Lighting cues. Must be able to follow score: Andreas Böttger Conductor: Jonathan Nott

Eight door openers Stage managers: Bernd Leyendecker and team Hall technicians Computer programme for slides and neon lighting: Ove Ort, A.V. Kommunikation, Frankfurt.

Performance Notes This piece can be performed in any hall. Ideally the hall should have a balcony, with space outside on both levels, left and right of the audience. In the first performance in the Mozartsaal of the Alte Oper in Frankfurt, the piece exploited the physical properties of the hall’s space. There are two levels: ABCD stalls downstairs, and WXYZ balcony upstairs. At all 8 corners of this “cube” are doors leading to the 4 corridors: AB – lower stage right CD – lower stage left WX – upper stage right YZ – upper stage left In addition are doors, downstairs that go to the backstage area at the front of the hall, and doors upstairs, that go to the foyer at the back of the hall. Stairs connect both levels on either side of the hall. They are inside the hall. There are also several sets of stairs connecting the outside corridors. The stage area at ground level has 10 individually moveable raisers. In the version of the first performance, raisers 2 and 4 were raised to their full height of around one metre. Filling up two thirds of the ADWZ Wall in front of the audience is a large screen. This screen is lowered during the performance for the projection of slides. There is a giraffe normally used for fixing lights in situ, to the front stage left of the downstairs audience (“stage left” as in an English theatre: from the point of view of an actor on stage – not from the point of view of the audience). This is used by the actor at the end of the piece. There are 4 loudspeakers downstairs in the Stalls and 4 upstairs in the Balcony forming an eight track “cube” around the audience. Seated in the first seven Stalls rows were the Freiburger Barockorchester. They are seated in close proximity to the public, though their chairs are turned round to face the back CB Wall of the hall. They are therefore able to see the conductor live (i.e., not through video), who is placed in the middle of the Stalls Row 8. The conductor of course faces forwards towards the AD Wall. Beside the conductor is the mixing desk, eight track tape player, and in front of the conductor the video camera relaying the live beat to all the video monitors placed outside the hall, and inside the hall where sightlines make it impossible for the peripatetic musician to see the live conductor. These peripatetic musicians were the Ensemble Modern. Although also at the end of the piece the Baroque orchestra leave the hall to perform in the corridors. Only the glass harmonica player (front of hall stage right) does not move. For the purposes of indicating the movement of Ensemble Modern in the score, various positions have been marked at in the plan. They indicate basic positions to play at, and to move from and to. These positions are not marked up in any way in the actual hall. Single letters denote corner positions; while double letters denote sides (care should be taken not to confuse Z, the letter with 2, the number). The vertical axis of the score represents not the usual positions of the instruments, but the spatial position a sound is coming from at any given moment. Therefore the various Ensemble Modern instruments frequently are to be found in a different place in the score on each new page. To elaborate, the score divides into two halves horizontally. These two halves are separated by a single line between Z1 and A1 on which is written the 8-track tape part (rhythm only). Anything notated above this line is performed upstairs and anything below is performed downstairs. The top half is further divided into 7 positions. Reading downwards from the top to the middle double line, these are: All activity in the front stage right corner of the balcony – W All activity on the stage right side of the balcony

– WX

All activity in the back stage right corner of the balcony – X All activity at the back of the balcony

– XY

All activity in the back stage left corner of the balcony

–Y

All activity on the stage left side of the balcony

– YZ

All activity in the front stage left corner of the balcony

–Z

Below the middle line the layout proceeds similarly. So continuing downwards, 8 more portions: All activity in the front stage right corner of the stalls

–A

All activity on the stage right side of the stalls

– AB

All activity in the back stage right corner of the stalls

–B

All activity at the back wall of the stalls

– BC

All activity in the back stage left corner of the stalls

–C

All activity on the stage left side of the stalls

– CD

All activity in the front stage left corner of the stalls

–D

All activity on the stage area

– STAGE

Beneath these groups at the very bottom of the score is to be formed the baroque orchestra in the normal Flutes → Basses order. Where performers are not near any of these positions (A3, WX2, etc.), or when they are outside the hall, additional text is placed below their name. Page 0 is played from just before the the entrance of the first member of the audience into the hall until all of the audience have settled into their seats. At this point, the tape, time code and click track start at the beginning of page 1. The score is marked with both bar numbers and time code as the piece proceeds at = 60 throughout. The parts are similarly marked. The first beat of page 1 starts therefore 0′00′′. Further cues are to be found above the score in square brackets thus: [Tape] [Whistling] [Still] [Pianos]. These also appear in the parts. At 4′24′′, 8′28′′ and 13′32′′ are found respectively, the figures A, B, C. These are resetting points for the positioning of percussion instruments, which are listed and mapped out for the stage manager. In the earlier rehearsals it is more organised to rehearse 0′00′′ to A; 4′24′′ to B; 8′28′′ to C and 13′32′′ to the end. All parts are transposed in the usual way: Cbs. Fl. two octaves higher, Cbs. Cl. an octave + ninth higher, etc. The double bass is notated consistently one octave higher than sounding (no suoni reale). The Renaissance instruments played by the peripatetic musicians (Rauschpfeife, Great Bass Racket etc) are notated at sounding pitch The baroque orchestra however, playing on authentic period instruments (or copies thereof) of the period 1700–1750, use an A = 415 Hz. The baroque orchestra then sound one semitone lower than written in the original versions (Loccatelli, Vivaldi etc). In the score all is written at sounding pitch, and therefore the baroque parts are written one semitone higher than in the score. Horns should use the crooks indicated (the parts are specifically transposed for these crooks), but are free to change crooks as desired, if they wish to make the necessary corresponding adjustments. For 'modern' instrument players who play at 440+ (in the event of a baroque orchestra being unavailable), parts also exist transposed down a semitone (up an augmented 4th for the Horns) from the original versions (Loccatelli, Vivaldi etc). In this case the wind have to play from 'transposed' parts, and therefore in flat keys. But the strings should tune a semitone flat, and play from the baroque orchestra parts, to use authentically the frequent open strings. In the parts, each time there is an instruction to move, the music in the part starts on a new page. This facilitates the dismemberment of the material for rehearsal purposes. The majority of the material has to be memorised. Certainly all music played in the hall, because of the low lighting cannot be read from music, and nor would lit stands be suitable. Likewise all music played while moving has to be memorised and again, lyres used by marching bands would also not be practicable or suitable. One would not imagine an actor on stage using such a device! In the corridors, of course where the lights are continuously on, aides memoires can be posted in suitable places. The baroque orchestra have to have their material perfectly from memory all the move so, because of their close proximity and contact with the public. The C.P.E. Bach piece, played at the end in the corridors, can of course be played from music.

Continuo (baroque orchestra) In the continuo part Violin 1 line and cello/bass line are indicated throughout. Continuo playing should be in the style always. Abstract sections may or may not include continuo, according to taste. A reduced score of the baroque orchestra material exists to be consulted.

Multi tempi (baroque orchestra) Some fragments proceed at a different tempi to the main quarter = 60. Extra time signatures between parenthesis and dashed barlines simulate the metrical divisions. Since the main tempo doesn’t change from MM 60, the original 4/4 barlines are kept, so that a reference with the actual bar numbers is still possible.

Lighting Throughout the first half of the piece, and to a lesser extent, during the 2nd half of the piece, the in-house lighting of the concert hall is used exclusively. The general intention is to use the lighting, however functional it may be, inherent to the hall, but also to use it and change it subtly and not too frequently. All the lights should be brought into operation, including those used for the audience and even those used for non performance purposes. The lighting should be frequently at a low level, often almost dark, though all lights are put on full for the Bourrée Alternative (10′40′′). In the Mozartsaal the following lighting was available: Rang below

– fixed in the ceiling of the balcony, and lighting the sides downstairs.

Rang above

– fixed in the ceiling of the hall itself, and lighting the balcony sides upstairs.

Halogen–Star

Room – fixed in the ceiling of the hall above the stalls.

Downlights

Hall

Halogen–Star

Stage – fixed in the ceiling above the stage.

Downlights

Stage – fixed in the ceiling also above the stage.

– fixed in the ceiling of the hall above the stalls also.

Indications about percentages of these lights and their fades are to be found at the top of the score. A special master switch that puts on all the lights together very quickly is used to start the Bourrée Alternative at 10′40′′. It is very noisy and dramatic.

The second level of lighting comprises torches operated by the musicians. These torches clip to the belts (at the front in the middle) of the baroque orchestra musicians. They point upwards to illuminate the underneath of the chin. The long extension tube should disappear behind the shirt or blouse, and reappear outside again to allow the bulb section to protrude pointing upwards to the chin. They are switched on and off at the belt. Much rehearsal should be devoted to switching on and off precisely together. The trade name of these lights is Intertronic Safety System:

The ensemble torches used by Keyboards and Bassoon and Violin II are large household torches with a strong concentrated beam. They should be switched on exactly on the beat and held absolutely steady and not be redirected once they’ve been switched on. The Oboe torch, lighting Contrabass and Clarinet at 5′28′′→, is small average size. Keyboard 1 & 2 torches at 0′52′′ should be smaller key ring or pen torches. The third level of lighting involves the slides. Halfway through the piece the screen is lowered and slides are projected onto this screen precisely in synchronisation with the time–code. Frequently a slide is projected only for a very short distanciated ¼–second like a subliminal interruption or flash, sometimes in conjunction with a hard or soft musical attack, as short as the duration of the slide itself, or larger. At other moments sequences of slides are projected as a “stop frame” effect, exploring some form of change. Single slides of a more grainy or destroyed content are also sometimes projected for a larger duration [8–20 seconds]. Intercutting exactly in time with these slides is neon lighting installed above the stage area. The neon lights are controlled automatically to switch on, immediately the slides switch off, and vice versa. The neon lighting is the only possible lighting to switch on and off instantly and clearly. In the score this rhythm between slide (tails down) and neon (tails up) is notated in musical notation in the top staves around W3, and there are also brief indications relating to subject matter. One second minimum is required for the transport time involved in changing to a new slide. Switching the same slide on and off can happen at a much faster rate. These gaps between the same or different slides can be replaced by neon or darkness. Larger interludes can revert back to the house lighting system – first layer of lighting (see previous information). This in–house lighting was operated manually – all changes and fades being stored as presets on a Rank Geminic board and triggered at the appropriate moments by someone following the score (or the time code). Such lighting reacts slowly and unpredictably and so should be triggered ¼– ⅓′′ in advance. However the slides and neon were pre–programmed and triggered automatically by a MICS SOFT computer control programme which stayed in sync with the time code and the eight track tape. The conductor was harnessed to this system by means of a click track ( at = 60 starting a bar before 0′00′′ on page 1) played through an ear–piece.

Time code, 8-track tape, mixing desk The video camera films the conductor beating live. The conductor should wear a white glove; all other clothing should be black. A small hand or pen torch should be enclosed in the hand and point to the camera – this is instead of a baton. The beating hand should take up the whole image on the video monitors. In one of the corners, and as large as possible, should be mixed in the time code image. On NO account, should the conductor’s beating be removed, so that the musicians simply take their beat from the seconds clocking by on the time code. With trial and error it is possible to find a contrast on the camera where the conductor’s torch can be properly seen in all types of hall lighting. The neon lighting and slides are managed by means of a DATATON system comprising: TRANSPAX – a tape interface which reads and generates time code and inserts it into the chain. PAX – projector and relay contacts (on/off) for 220 Volts. POWER PAX – doing the voltage switching MICS SOFT – the control programme The eight track tape goes to eight loudspeakers via the mixer: Track 1 goes to speaker 1 by AB2 (Stage right, Stalls front) Track 2 goes to speaker 2 by CD2 (Stage left, Stalls front) Track 3 goes to speaker 3 by corner C (Stage left, Stalls back) Track 4 goes to speaker 4 by corner B (Stage right, Stalls back) Track 5 goes to speaker 5 by W2 (Stage right, Balcony front) Track 6 goes to speaker 6 by Z3 (Stage left, Balcony front) Track 7 goes to speaker 7 by Y4 (Stage left, Balcony back) Track 8 goes to speaker 8 by X4 (Stage right, Balcony back) The difference between Balcony (5 6 7 8) and Stalls (1 2 3 4) needs to be perfectly set up and balanced in the sound check especially with the mixing desk situated downstairs.

Both keyboard players play 32mg AKAI Samplers. Each has eight individual outputs. Each output goes thought a different channel to a different speaker. Outputs 1 to speaker 1; outputs 2 to speaker 2; outputs 3 to speaker 3 and so on respectively. Numbers in the score in the sampler part refer to which channels/speakers the samples have been programmed to. The third category to be fed into the mixing desk are the radio microphones for the following instruments: Contrabass Flute Contrabass Clarinet Racket Sub Contrabass Recorder Scordatura Violins (2 microphones) + Viola The amplification should be directed to the speakers closest to where the instrument is playing. In the case of the Contrabass Flute this may be difficult as the performer travels all over the hall.

Rehearsal/Stage management All rehearsals must take place in the hall where the piece is performed. The eight track tape must be provided and used at all rehearsals. It is like a rock that is fixed and constant and so greatly enhances the cueing and memorising and learning of the music by the musicians. Likewise the radio microphones are essential from the beginning. Not only do all participants have to become acclimatised to their use, they greatly affect the balance, and contrary to the usual practice, the dynamics in this music must be dealt with first and foremost in this music. Until performers and conductors accept this, there is no point in them taking on such a piece. At least two rehearsals should be devoted to adjusting the audibility of sounds outside the hall. Some very loud sounds are more effective with the doors closed. Some need the doors open very slightly. Some sounds need the door to open or close during the sound (this is apart from the sequence of “Wa-wa effect” door opening/closing on the brass pages 16-20). Some sounds have to be performed almost in the doorways – for example the Rufhörner and Klaxons. Other sounds like the large tam-tam and brass drum should be played as far away as possible and as loud as possible, so that the resulting sound is quiet and distant. The words at 10′04′′ would be utterly banal if shouted with the doors open, but the sounds of raised voices damped by the doors is much more intriguing. Therefore distance, loudness, speed (of movement, not tempo) and architecture should all be carefully judged and combined to make the sounds more interesting. No conductor should attempt this piece, who isn’t prepared to deal with this very different, new, as well as problematic and inconvenient–to–rehearse aspect of musical interpretation. At least one rehearsal should be concerned with geography of the hall: finding one’s way around and the positioning of instruments before and after playing. In this piece, being so fragmented and changing so quickly, sectioned rehearsals are probably not feasible. Furthermore, getting from one activity to the next is sometimes the most difficult or easily neglected aspect. At first, rehearsal should proceed minutely through the piece, looking at the smallest detail at first, then going back a bar or two, to rehearse the getting in to that detail and going on a little way to rehearse the getting out of that detail. Only then can these little sections be joined together to make much longer sections lasting say, one minute. Anyway the rehearsals at the beginning should be organised say at first only 0′00′′ – A; then to concentrate on A to B; then B to C, then C to end, if only from the stage management point of view and resetting of instruments. Only at the very end should longer run–throughs be attempted, and then as many run– throughs as possible. The importance of run–throughs cannot be emphasised enough, but the run–throughs cannot be attempted until the details have been mastered. Rehearsals should always give equal emphasis to movement and playing at the same time. The lighting which is frequently at a low level should also be incorporated from an early stage in the schedule. The baroque orchestra can be rehearsed completely separately (if necessary with an assistant conductor as they never work with the video) and only combined with the other musicians at the very last stages of the rehearsal schedule. Door openers should be at all rehearsals, their adjustments established by trial and error and being notated and fixed during the rehearsal period.

Doors Though there are 30 individual doors, the eight door openers are basically stationed at each of the eight double door entrance/exits to the front and back ends of each of the 4 corridors: Ab, Ba, Ca, Db, Wb, Xa, Ya, Zb (these being the doors that open first). They may if necessary assume other positions: for instance to switch on/off the lights of the interpreter’s booth (4′16′′) or to hold the Ay door open to allow the exterior light to shine into the dark hall to illuminate the actor damping the long Kolberg C tubular bells, or to open and close the Ax and Dy doors rhythmically for wa-wa effect on the brass (5′12′′). In this last example the musicians also open and close the doors for a wa-wa effect: Flute: Da; Viola: Aa; Percussion 1: Wa; and Percussion 2: Za.

The musicians also play the doors as musical instruments (3′16′′). However this is the only time the opening and closing of the doors should be audible. At all other times this should be as quiet as possible. Sometimes the doors need to be opened and closed very slowly in order to be noiseless. When going in and out of the hall, the musicians may not have time to do this, so the door openers should take charge of this. Similarly the door openers should open the door for the musicians when they need to start playing before they are seen (i.e. before they enter), for instance the Violins at 7′20′′. If an exterior sound is at its most effective with the doors closed in the same corridor, then this should take priority, and the doors opened or closed as quickly as possible for any other exit or entrance, if necessary to even advance or delay the entrance or exit. A certain number of doors will inevitably be fire/security doors, and may have to be manned separately. The doors for the 4 runners (Violins I and II, Clarinet and Bassoon) playing 8 aerosol Klaxons, who run far away from the hall and then back again (9′32′′) have to remain open.

At around 20′30′′ the two lift doors are opened, when the screen is clear of the tops of the doors. This is done by staff from the hall This opens up the backstage space where the obligato Trumpet and Trombone are seen through the lift.

Screen At 10′40′′ on the words “… et beaucoup des points d’aiguilles” spoken by the actor to the hall technicians, the hall technicians start the apparatus for the screen to descend and the raises to ascend – about one minute in duration. The sounds of the machinery involved are doubled up on the sampler (Flute and Keyboard 1). The exact place where the screen must stop has been marked beforehand on the wall, and the hall technicians make absolutely sure the screen stops exactly at this point. Much care should be taken beforehand to see that the projected image perfectly fills the screen, with no spill over the edge and no white of the screen showing where the image is too small for the screen.

Raisers Keyboard 2; Cello; Horn; Percussion 1 and Oboe stand on the raiser 2 while it is going up. At 12′12′′ all five squat down while the first image is projected, get up again at 12′20′′ (having deposited their instruments on the floor of the raiser) to face in different directions. Then at 12′28′′, they start to get down off the raiser, collect instruments, give them to their rightful owners and go on to the next cue:

This ‘choreography’ should be rehearsed separately, taking great care with the timing. It should be done simply and at moderate speed, in no way at all mannered. The raiser comes up to waist height or lower; it is therefore easy to climb off, and to reach for the instruments thereafter. At 17′08′′ the actor goes backstage through Ax door and speaks over the hall’s intercom system. This is operated at the Insipienz Desk where announcements can be channelled, by pressing various switches, to any part of the Alte Oper complex from the dressing rooms to the upper distant foyers. The foyer setting is very far away and very resonant. At 17′12′′, the fragment the Baroque Orchestra play at 17′16′′, is played over the microphone of the Insipienz Desk (also into the foyer – i.e. it sounds in the same acoustic as the spoken words of the bar before). The fragment is from CD Deutsche Harmonia Mundi RD77187, track 14 at 0′49′′. When either Keyboard 1 or Actor ascend in giraffe, the sound of the ascending mechanism, and (in the case of Keyboard 1 descent) descending mechanism is doubled up on the sampler played by the Horn. This sound and indeed all samples of sounds of the hall (e.g. stage, screen and brass railings) have to be resampled when performed in some other hall. At 4′20′′ Violin I and Viola play very actively, immediately behind the glass panels of the two interpreter’s booth which are of course soundproof. The audiences attention are drawn to this silent activity by the scrape of the washboards heard very loud inside the hall, and the lights of the interpreter’s booth suddenly switched on by the door openers. During the wa-wa door opening 5′00–6′20′′ the hall is dark, but the lights backstage and in the corridor are switched full on. The light outside should be as powerful as possible, but no extra lights should be installed. A blue gelatine filter should cover the green EXIT signs. This is legal and while keeping the signs visible and legible, makes them less obtrusive. The corridors must be free of extraneous equipment and carpets. They should resonate well. The musicians need to run down them. Care should be taken to curtail any external activities, noise, rehearsals going on elsewhere or outside the building during the performance. Tam-tam and bass drum in foyer should not be visible to the audience before the performance. If necessary they are put in place after the start of the performance. This piece has to be played on its own, or after an interval in which all the audience must leave the hall. During this time the piece is set up, including the repositioning of the Baroque Orchestra seats among the stalls audience. There is an element of surprise in this. It is as if the audience are entering an installation already in progress when they go into the hall. All should be ready and the musicians already playing before the first member of the audience goes through the door. Only when everyone has settled into their seats does the piece start, when the lights suddenly go off. At 15′08′′ the Harp and harpist move across the stage. This is done by unseen stage hand gently pulling a trolley with an invisible wire. The whole effect should be subtle and hardly noticed and very slow. The Glass Harmonica facing the front wall (back to the audience) needs a mirror to see the live conductor. A video monitor is not to be used. From about 18′00′′, two sets of Walkie-talkies are required. They should have a range of up to 500 metres, and the machines used in the hall should pick up what is spoken outside the hall. The actor talks to Keyboard 1 and Horn (short question and answers) as they explore further and further from the hall. The actor remains in the hall. Also in the hall another pre-arranged person in the audience questions Percussion 2 and Keyboard 2 as they explore outside the hall in another direction, with the second Walkie-talkie set. The ending of the piece is undefined. The duration depends on the space and the performing situation, and is largely worked out in rehearsal. The piece should simply become less but with a feeling that the music is still going on further, somehow, somewhere. Various specific cues are given in the parts (19'10", 20'30" etc). If not active, musicians should remain in their positions, and keep the tension of the piece until its very end.

Instrument specifications The 2nd Piano is a Bösendorfer whose lowest note is Both grand pianos are positioned under the staircases on either side. Both Keyboard players play AKAI Samplers, from a touch sensitive MIDI Keyboard. The Marimba must be 5 octave: The Woodblock Machine is a set of tuned Woodblocks, mounted marimba style: Rufhörner, Tremolo Trompette, Martintrompette from Martin a.g. Philippsrburg. Aerosol Klaxons are of the type sold in Yachting shops – for example Captain O.M. Watts Ltd. London. They are pitched Hosepipe Whistles are lengths of ½ inch internal diameter garden hosepipe, coiled like a Horn and fitted with sawn off Penny Whistle mouthpieces. The Req (also called a Riqq) is a Tambourine ca. 25 cm in diameter from Egypt. The player should develop some skill with the riffs and styles of playing characteristic of the instrument. Metal Balls exist in different sizes and fit into the palm of the hand. When held lightly they ring bell-like when shaken to agitate an inner ball or clapper. The Ensemble Modern has a boxful of different sizes. Parts of the hall are played with percussion sticks: 6′44′′

Gallery brass tube railings with Glockenspiel sticks

13′08′′

Metal Apron of raiser with Tam-tam mallets

15′28′′

Back of wooden panels behind back row of balcony

Ghettoblasters played in the corridors (Clarinet, Trumpet, Trombone, Percussion 2) should be identical and powerful. The cassettes play specific prerecorded fragments of the Vivaldi Olympiade fragment played also by the Baroque Orchestra. The cassettes, with the aid of the clicks at the beginning of the tape, should be primed to set the music going exactly on cue when the pause button is activated, or when the start button is depressed. Trial and error can perfect this. All performers (also Cello and Oboe) should run very very fast. The CD timings refer to the Deutsche Harmonia Mundi 05472 77289 2. The cassette Walkmans with attached separate mini low fidelity loudspeakers are positioned on the floor underneath each member of the Baroque Orchestra’s chair. Each player records separately and individually their part of the C.P.E. Bach 3rd Symphony in F Wq 183 from bar 14 for about 4 minutes. The same place in the music must start in exactly the same place on the cassette (for example immediately at the end of the leader). The recordings should be good quality. In performance, all the tapes are wound back to the same place, and started at the same time. Of course, after a while the tape recorders start to differ gradually in tempo. Bird instruments use a combination of French imitative bird whistles (Becassine, Vanneau, Caille, Moineau, Bergeronette, etc.) and Brazilian wooden whistles, made by Maurilio Coelho Ltda, Cachoeiro de Itapemirim, Brazil. The distribution of the instruments is free, but they should all be different. Piano tuners perform at the beginning and later during the piece. The reiteration of the note should be irregular (varying from long to very short) and almost inaudible. At the beginning, for example only one of the 3 possible) and moving back. This also can be varied:

strings is manipulated and must be heard moving away (as far as Occasionally play 4ths, 5ths and 3rds like

, but only

tune the A. The effect should sound natural and unselfconscious, and provide a steady continuum.

Dress It is important to wear reasonably quiet shoes. The mobile musicians especially should avoid rubber soled shoes that squeak on a polished floor. The mobile musician should wear (different shades of) grey, while the Baroque Orchestra should wear white collarless shirts.

Movement Movement should be simple elegant, and not mannered. Musicians should move in the same way, and at the same moment in an orderly, concentrated and business-like way but in a never robotic way. At least one or two rehearsals should be devoted to movement only, as well as another for the quintet from 12′00′′ (180) onwards. Standing and sitting by the Baroque Orchestra needs a lot of attention. It should be quick, silent and together: instruments held in the same way and put up to the playing position at the same time. Baroque Orchestra should look ahead (apart from looking at the conductor), and avoid eye contact with the public. With their proximity to members of the audience, they have to be especially careful to maintain the right stance. Efficient but unaffected are the words to bear in mind.

Actor The Actor rarely functions in the front stage – more he works with different parts of the hall and therefore different sections of the audience. His minimal presence should more be noticed if it wasn’t there, and for the first quarter of the piece he is anyway thought to be one of the musicians. Further his presence helps to theatricalise the activities of the musicians who are unlikely to be trained in theatre. He reacts to things unseen, unheard; he uses different types, styles, speeds of walking; his speech is always acoustical (lyrical and resonant even if very quiet); his role is to lead, to serve, to interrupt, to interfere; he uses devices from conversation; he questions – he shuts things up; he calls, hails, attracts attention; he adopts sudden changes of activity – sudden violence / sudden static, silent, stillness; he participates with the musicians, he ignores them; he encourages them and leads them, or follows them and plays with them – sometimes he sits there or stands there watching; his gestures can come out of the music or come out of the acoustics or the performing space; he can treat non-acoustical things, like a lighting change, as if they were acoustical.

There is nothing humorous about this piece – all is done with serious intent.

List of crooks for the natural horns of the Baroque Orchestra Score page 0.

Page 29.

HN 1 F CROOK

Hn 1: (F#) G

HN 2 F CROOK

Hn 2: (F#) G

Hn 1: (G# sounding) A written Hn 2: (B sounding) C written

Page 41. Hn 1: (F# D#) G E

Score page 4.

Hn 2: (D# F#) E G

Hn 1: (G#) A Hn 2: (E) F

Page 42. Hn 1: (F# G) G Ab (With hand manipulation)

Page 9.

Hn 2: (Db C) D Db (With hand manipulation)

HN 1 E CROOK HN 2 E CROOK

Page 47.

Hn 1: (D) Eb

HN 1 E CROOK

Hn 2: (Eb D) E D#

(Hn 2 C crook) Hn 1: (Bb C) B C#

Page 14.

Hn 2: (D# E) E F (With hand manipulation)

Hn 1: (F) F# Hn 2: (Bb) B

Page 48. Hn 1: (A#) B

Page 19.

Hn 2: -

HN 1 F CROOK HN 2 F CROOK

Page 50.

Hn 1: (E) F

HN 2 A CROOK

Hn 2: (E) F

Hn 1: (Eb) E Hn 2: (C Ab) C# A

Page 22. Hn 1: (B) C

Page 51.

Hn 2: (F#) G

HN 1 D CROOK HN 2 D CROOK

Page 25.

Hn 1: (Db series) D series

HN 1 C CROOK

Hn 2: (Db series) D series

HN 2 C CROOK Hn 1: (F#) G

CPE Bach

Hn 2: (F#) G

HN 1 F CROOK HN 2 F CROOK (sounding in E major)

Instrument glossary Geophone: Frame drum with pellets or gravel. As in Messiaen Canyons aux Ă&#x2030;toiles. Also know as Ocean drum.

Clicking frog: Childs toy with metal spring click mechanism.

Handbells: as used in handbell choirs in England and America. Leather clapper inside.

Req or Riq: Egyptian tambourine

Tremolo trompete: A signal horn by Max B Martin, Philipsburg, Germany. Works by blowing a free reed as in a mouth organ, and does not require a trumpet embouchure. Valve simply changes pitch for tremolo.

Rufhorn: Signal instrument also from Max B Martin.

Scythe (or Sickle): curved blade for cutting long grass. With a short, not long handle. The blade is scraped with a metal blade.

Metal Balls (Baoding Qigong, Chinese health balls): These are shaken and have a ringing metallic rattle.

Aerosol Klaxon: as used on boats and previously at football matches. They are extremely loud and the players must wear ear plugs. Gas canisters quickly run out.

Kolberg Ratchet: with adjustable lever for controlling sound intensity. (Nr 1748).

Normal Ratchets:

Schwirrbogen (Buzzing bows): Can be whirled around in a circlar motion or swung from side to side.

Schellen: Must have lots of bells and be very loud.

Nebelhorn: A yachting instrument played by pushing down and pulling up the plunger. Insturment owned by Ensemble Modern was sampled for the 8 track material. Other instruments may not be the same pitch.

Hosepipe Whistles:

Take normal 1cm diameter garden hose to fit diameter of narrow whistle.

CUT

attach hose here

prescribed length of hose colied up

Pocket siren: (here with bell attached). From Acme whistles Birmingham.

Large Kolberg Siren: played by actor.

Strange instrument: could be a Schalmei Trompete (originally invented by Max B Martin, and played in bands in Southern Germany).

Brazilian Bird Instruments: (and some others)

12 11

(x 2) turn wheel

Turn handle back and forth

16 15

press leather pouch between thumb and forefinger

distal end

Racket: is a great bass (contrabass) and not a bass racket (i.e. approximately same tessitura as a contra bassoon).

Agogo Bells: See instrument list. The pitches in the score (page 14) were for specific agogos found in the Ensemble Modern collection. It would be good to use them. If not, others should be looked for that can be played in a harmonious combination, and the music re-written. 1. Marked 'EM' and plays Eb low note and A high note 2. Marked 'properc' and plays B natural (H) on both bells 3. Marked 'RQS' and plays B (H) low note and D# high note 4. Coloured red and plays A low note, B (H) middle note and C# high note 5. 'Ethnic' looking plays Ab low note and C high note 6. Coloured black and plays C low note and F high note

Bottles: normal glass bottles filled with water to get different pitches.

Woodblock Machine: is an instrument built by Bergerault, maybe no longer extant. It is a range of tuned woodblocks, in 3 chromatic octaves in the vibraphone range. In this piece, using these diatonic (except for the Bb) pitches, ascending from: F (below middle C) A Bb B C D f g a b c d e f' g' a' b' c' d' e' f' (3 leger lines above the stave).

Apron of Raiser, Brass railings, Back of seat: These were all part of the hall furnishings, and in situ objects ound in the hall.

Cello chair: should have rubber feet to vibrate when dragged over resonant wooden stage surface. One leg of chair may suffice to make the sound.

Bar:

0 16

0 20-32

0 52

1 34

1 40

Flute

Woodblock

Oboe

Woodblock

Clar

Bass Clar

Woodblock

Sax

Sop Sx

Bsn

1 52-6

2 48-58

3 12

3 16 Door

Schellen

Clarinet

Door

Large

Door

Torch

Trmpt

Trumpet

Horn

Tbne

Trombone

Door

Woodblock

Lrge Susp

Perc 1

Trombone

Door

Scythe

Door

Cym Lrge Susp

Perc 2

Light

Cym

Kbd 1 Kbd 2

Large

Small Torch

Cymbal

+Whistling

Large

Small Torch

Piano (Low

Large

Cymbal

+Whistling

F")

Torch

Vn 1

Vn 2

Piano

Large

Door

Torch

Woodblock

Door

Schellen

Large

Door

Torch

Cello

Woodblock

Chair with

Door

Cello

rubber feet

Bass

Actor

Clarinet (mimed)

Door

Bar:

3 36

3 44

Flute

3 56

4 04

Bottle

Washboard

4 28

4 36

4 40

4 48

4 56

5 00

Tremolo Tr a' d"

Bottle

Oboe

Agogo Bells

Clar

Bottle

Clarinet

Sax

Bottle

Washboard

Tremolo Tr a' d"

Bottle

Bsn

Agogo

Metal Balls

Bells

Trmpt

Bottle

Horn

Bottle

Tbne

Bottle

Celeste

Perc 1 Perc 2

Pistol

Kbd 1

Pistol

Trumpet

Horn

Trombone

Bottle

Agogo

Door for

Bells

Trb

Bottle

Sampler

Door for Tr

Bottle

Agogo

Metal Balls

Bells

Kbd 2

Pistol

Bottle

Agogo

Metal Balls

Bells Violin

Vn 1 Bottle

Vn 2

Agogo

Metal Balls

Bells Viola

Va Vc Bottle

Bass Actor

Pistol

Organ Pipe (F)

Bass

Bar:

5 16

5 28

5 36

6 24

6 32

6 44

Door

Flute

6 56

7 04-8

Schwirr

7 12-14

7 16

Pocket siren

bogen Torch

Oboe

Pocket siren

Clar

Pocket siren Cbs Clar

Contrabass

Sax

Clarinet 8' Kolberg

Bsn

Pocket siren

Tblr Bell Lights

Trmpt

Brass

Horn

Pocket siren

railings Lights

Tbne

Brass

Perc 1

Celeste

railings Brass

Perc 2

Pocket siren

railings

Kbd 1

Piano

Kbd 2

Piano

Vn 1

Sampler

Piano

Sampler

Piano

Sampler

Nebelhorn

Pocket siren Sampler

Scordatura Vn a d' a' d" Scordatura

Vn 2

Vn a e' a' e"

Door

Schwirr

Viola

bogen

Vc Bass

Brass railings

Actor

Bass

Bar:

7 40

8 16

8 28

8 36-44

8 51-55

Refs

Flute

9 00

9 32

Piccolo

Rufhorn g'

10 08

10 24

Sampler (@

whistle Refs

Oboe

10 40 Kbd 1)

Cor Anglais

Rufhorn g'

Clarinet

2 Klaxons

Ghetto blaster

Oboe

whistle Refs

Clar

Eb Clarinet

whistle

Sax Bsn

Refs

Baritone

whistle

Sax

Refs

Bassoon

2 Klaxons

Contra

whistle

Trmpt

Trumpet

Piccolo Trumpet Horn

Horn

Refs

Horn

whistle

Tbne

Trombone

Slide Trumpet Refs

Perc 1

Gong e

Rufhorn c"

whistle

berg Ratchet

Refs

Perc 2

Lrge Kol-

Gong a

Rufhorn a'

Lrgewoode

whistle

nRatchet

Refs

Kbd 1

Gong c'

2 Klaxons

Piano

Gong d'

2 Klaxons

Bar Martin-

whistle Refs

Kbd 2

whistle

trompette

Refs

Vn 1

Violin

2 Klaxons

Electric

whistle

Loudhailer

Refs

Vn 2

Violin

2 Klaxons

Tremolo

whistle

Trpt b' c# "

Refs

Va Vc

Viola

whistle

c# "

Refs

Rufhorn g"

whistle Refs

Bass

whistle

Actor

Cymbal

Rufhorn

Bass

Viola

Ghetto blaster

Bar:

12 30

12 40

12 50

13 00-8

13 24

Picc

Flute Oboe

13 40-5

14 00-8

Bass

Handbells

Picc

Marimba

c#' f#'

Bass

Sopranino

Shawm

Rauschpfeif

Ghetto

Clar

13 28

Eb Clar

14 08

14 20 Cbs Flute

Piano 1

Blaster

Sax Tenor Rau-

Bsn

schpfeife

Trmpt

Thunder

Ghetto

sheet

Blaster

Picc Tr

Piano 1

Bass

Horn

Piano 1

Marimba Ghetto

Tbne

Blaster

Perc 1 Perc 2 Kbd 1

Apron of

Bass

Handbells

raiser

Marimba

g d'

Ghetto

Handbells

Blaster

a f'

Sampler

Bass

Req

Piano 2

Piano 1

Marimba Apron of

Piano

Piano 2

Thunder

Handbells

Piano 2

sheet

c' g'

Kbd 2

raiser

Vn 1 Vn 2

Thunder

Geophone

sheet Handbells

a# d#'

Vc Bass Actor

Ratchet

Geophone

Bass

Handbells

Marimba

b e'

Piano 2

15 28

15 32

Flute

Seats

Cbs Flute

Oboe

Seats

Rausch

Bar:

14 28

14 44

14 52

15 04

15 44

15 54

16 00

16 06

16 08

2 Frogs

pfeife Frog

Clar Shwirr-

Sax

Cbs Sax

bogen Frog

Bsn Gong f'

Trmpt

Non elec

Claves

megaphone 3M Copper

Horn

Gong c#'

Non elec

pipe

Tbne

megaphone Shwirr-

Small loud

bogen

ratchet Seats

Perc 1 Perc 2

Frog

Shwirr-

Small loud

hone f - f'''

bogen

ratchet

Sampler

Kbd 2

Woodblockap hone f - f'''

Frog

Gong g#

Woodblockap

Kbd 1

Claves

Frog

Bass Marimba

Claves

Shwirr-

Woodblocka

Claves

bogen

phone Gong d#'

Vn 1 Seats

Vn 2

Gong g#'

Frog

Gong a#

Va Vc

Cello

Frog

Bass

Frog

Actor

Bar:

16 20

16 30

16 40

16 50

17 00

17 12

17 20

17 38

18 00

18 12

18 20

Flute Oboe

Intercom

Clar

2 Flexatones

Sub Contra bassrecorder

Sax Bsn

2 Flexatones

Bass Racket

Trmpt

2 Flexatones

Trumpet

Horn

2 Flexatones

Horn

Sampler

Walkie Talkie

@ Kbd 1

Tbne

2 Flexatones

Perc 1

2 Flexatones

Perc 2

Trombone

Tam Tam

Large Bass

Walkie Talkie

Drum

Wd Blck

Elec siren 2 Flexatones

Woodblockop

with ft

hone

pedal

Kbd 1 Sampler

Kbd 2 Vn 1

Walkie Talkie

Piano

Walkie Talkie

Violin

Vn 2 Va

Viola

Cello

Bass

Actor

Piano

Mounted el-

Violin (non

Woodblockop

ectric Bells

Scordatura)

hone

Handcranked

Insipienz

Walkie

Siren

Mik to Hall

Talkie

Appendix Ideas for the content of Slides 1. A “corner” of architecture. An edge. A lunette window. 2. Dark slides make the most interesting atmosphere in the hall. A black slide with one or two white lines. 3. Captions over an image. The caption relates to the music, the image doesn’t. 4. A shot of concert hall or a musician, but beautifully or ‘aesthetically’/artificially lit. 5. A saying. Simple typeface. e.g: “The best way to make your dreams come true is to wake up.” 6. The screen would come down half way through the piece as a dramatic effect with appropriate music, which will include the pre-recorded sound of the screen over the loudspeakers. Prior to its descent would be projected a slide, exactly 1:1 of the front wooden walls that the screen starts to cover as it comes down. 7. Another 1:1 situation is a slide of a musician on stage, projected immediately after that same musician has left the same position on the stage. 8. Musicians play in the corridors, i.e. unseen. A slide therefore, of, say a back view of that same musician in the corridor as he is playing. A sort of ‘give-away’ exposé of the hidden things happening ‘out there’. 9. Slide of only one colour. Or a sequence of very subtly changing blues. 10. The interruption of a slide should also act sometimes as a device – a distraction after which action and theatre has either changed, or resumes in a different way. 11. Sometimes completely abstract (but not as if an abstract painting/picture). Just texture – rough and scratchy – an extension of the lighting. 12. A portrait of a composer that sets up a musical reference, perhaps upside down. 13. Slide as a kind of commercial break. A slogan with advertising graphics referring perhaps to a musical style or situation, ironically accompanied by the music. 14. Slide of the whole ensemble, grouped close together and looking out. In the music they all play together (a specific kind of music). Or nobody is playing at all. 15. One should guard against too many alternating subjects in the slides as this sequentially could start to set up meaning which aren’t intended, because the meaning of each individual slide should refer only to the specific moment it is on the screen. 16. Diagrams of the hall. 17. Intertitles à la Godard: “Eighteenth century air conditioning” “Vol de la lettre ou viol de l’être” “Vorsicht” 18. Tokoro Yukinari colours – kitsch colourful glowing orange, shiney green, loud pink. 19. Strange quickly drawn ideograms, faces. Again white lines on black. Very stark, primeval. 20. Stills from TV would lend a narrative connection. Could have a grainy distanciation. TV lines, blue distortion or wrongly coloured to effect the light in the hall. They have an anonymity coming from the million daily images of TV. 21. A series of objects that all have something in common with each other. Or a series of backviews. Or an object that is always present among other things that vary. 22. A single object could have a violence about it in its presentation and its content, e.g. (a crude example) a boxing gloved hand punching, with loud chord. 23. The same bit of the hall (or street or whatever location) but with different lights or musicians or instruments or cars. Or as in advertising where you see variations of the same image – e.g. the same room but with different furniture fittings. Or tropical fish, the same tank and the same camera position – just the fish move. 24. Computer images but taken from musical software (e.g. Max-MSP). 25. Images from actuality that have a dramatic flavour, or lend unwittingly a dramatic flavour. 26. Images that stay on longer should be more mysterious and take longer to recognise. 27. The images should make theatre – they shouldn’t be so much about art and perception. 28. Wonderful combination between the painted and the living in Thomas Struth Moving pictures of buildings. 29. A very small vignette inside a very dark slide – a portrait, a view, a detail, an object.

30. Slides in the negative. 31. Mickey mousing the image in the music. An ironic self-reference. 32. Trompe l’oreille / Trompe l’oeil. Visual transpositions of a sound effect. Cross-reference between sound and image: a closed door then an open door – sound gets louder. Or strange association between word (either seen or heard) and image. 33. Portraits only showing half the figure or half the figure in frame, or superimposition of same person lenghtways and upright. Jmp Bild 34. Title but with music or empty staves. Musical title. 35. Caption with incongruous image. Subtitles. 36. Slide with just text. Actor speaks quietly just one of the words on the slide (or an idea that arises from the text). Or all musicians speak all the words very quietly, one shouts one word. 37. Slide of a hand clenched. Relaxed. 38. A recognisable musician behind frosted glass. 39. Objects all over the empty hall. 40. Shot of stage with strange objects or material on it, that won’t/can’t be there in the performance. 41. When, for example, front two positions of stage are raised like a table, and musicians stand around it drumming on it. Show it laid as if for a meal. 42. Musician superimposed in space of the hall as if standing in mid air. 43. One word just indicating an emotion e.g. fear. 44. Animal jumping – an impression of something happening very fast. Rhythmical effects. 45. Picture of the screen but including surrounding area (i.e. not 1:1) a little. Could form a sequence “zooming” further and further out.

Performance Notes (from the musicians’ parts) This piece can be performed in any hall. In the first performance in the Mozartsaal of the Alte Oper in Frankfurt, the piece exploited the physical properties of the hall’s space, which remains the matrix for further performances. There are two levels: ABCD stalls downstairs; and WXYZ balcony upstairs. At all 8 corners of this “cube” are doors leading to corridors: AB – lower stage right CD – lower stage left WX – upper stage right YZ – upper stage left In addition are doors downstairs, that go to the backstage area at the front of the hall, and doors upstairs, that go to the foyer at the back of the hall. Stairs connect both levels on either side of the hall. They are inside the hall. There are also several sets of stairs connecting the outside corridors. The stage area at ground level has 10 individually moveable raisers. In the version of the first performance, raisers 2 and 4 were raised to their full height of around one metre.

Baroque orchestra Seated in the first seven stalls rows is the Baroque Orchestra. They are seated in close proximity to the public, and their chairs are turned round to face the back CB wall of the hall. They are therefore able to see the conductor, who is placed in the middle of the stalls row 8. The conductor of course faces forwards towards the AD wall.

Solo musicians There are also 20 solo peripatetic musicians playing a range of different instruments. At the end of the piece the baroque orchestra leaves the hall to perform in the corridors. Only the glass harmonica player (front of hall stage right) does not move during the piece. For the purposes of indicating the movement of these musicians, the positions have been marked on maps. They indicate basic positions to play at, and to move from and to. These positions are not marked up in any way in the actual hall. Single letters denote corner positions; while double letters denote sides (care should be taken not to confuse Z, the letter with 2, the number). Specific points along any side of the cube are indicated so AB1, AB2, YZ2, YZ3 etc. Specific points in the corners of the cube indicated so: C1, C2, X4, etc.

Parts It is very important that all instruments are put down and picked up in exactly the indicated positions, as the placing and putting out of instruments has to be carefully controlled by stage managers. It is also very important that all instruments are put down and picked up in exactly the moment notated in the part. Names of instruments to be played at any one moment are written in bold characters, boxed, above the stave. Instruments to be picked up and put down are in uppercase and underlined and are also found above the stave. In the parts of the peripatetic ensemble musicians, each time there is an instruction to move, the music in the part starts on a new page. This facilitates the dismemberment of the material for performance purposes. The majority of the material has to be memorised. Certainly all music played in the hall, because of the low lighting cannot be read from music, and nor would lit stands be suitable. Likewise all music played while moving has to be memorised and again, lyres used by marching bands would also not be practicable or suitable. One would not imagine an actor on stage using such a device. In the corridors, of course where the lights are continuously on, aides memoires can be posted in suitable places. The baroque orchestra have to have their material perfectly from memory, all the more so because of their close proximity and contact with the public. The C.P.E. Bach piece, played at the coda in the corridors, can of course be played from music. A page of part is either played walking, or stationary. For the walking pages the boxed word WALK appears at the top left hand corner of the page. Also in the upper left corner of each new page is found the musician's current location, both as text and diagram, for the start of that page. Any further movement instructions on a particular page are located underneath the staff, and are accompanied by a diagram, which shows the movement to be made by the musician: the current (starting) location is indicated by the smaller dot, and the next (arrival) location by the larger dot. Furthermore, accompanying each part, is found an individual plan on one or more pages showing the complete route taken by that particular peripatetic musician for the whole piece. All parts are transposed in the usual way: Cbs. Fl. two octaves higher, Cbs. Cl. an octave + ninth higher, etc. The double bass is notated consistently one octave higher than sounding (no suoni reale). The Renaissance instruments played by the peripatetic musicians (Rauschpfeife, Great Bass Racket etc) are notated at sounding pitch

The baroque orchestra however, playing on authentic period instruments (or copies thereof) of the period 1700–1750, use an A = 415 Hz. The baroque orchestra then sound one semitone lower than written in the original versions (Loccatelli, Vivaldi etc). In the score all is written at sounding pitch, and therefore the baroque parts are written one semitone higher than in the score. Horns should use the crooks indicated (the parts are specifically transposed for these crooks), but are free to change crooks as desired, if they wish to make the necessary corresponding adjustments. For 'modern' instrument players who play at 440+ (in the event of a baroque orchestra being unavailable), parts also exist transposed down a semitone (up an augmented 4th for the Horns) from the original versions (Loccatelli, Vivaldi etc). In this case the wind have to play from 'transposed' parts, and therefore in flat keys. But the strings should tune a semitone flat, and play from the baroque orchestra parts, to use authentically the frequent open strings.

Click track, cues and lighting Each musician will have a click track to guide them through the piece. To follow better the timeflow, the peripatetic musicians’ parts indicate all empty bars individually. Extensive text cues are provided in small text in square brackets high above the stave. Lighting is an integral part of the piece, and is played in time just like any other part. Its directions are also indicated in the top each staff, underlined.

Performance All rehearsals must take place in the hall where the piece is performed. Some very loud sounds are more effective with the doors closed. Some need the doors open very slightly. Some sounds need the door to open or close during the sound. Some sounds have to be performed almost in the doorways – for example the Rufhörner and Klaxons. Other sounds like the large tam-tam and bass drum should be played as far away as possible and as loud as possible, so that the resulting sound is quiet and distant. The words at 10′04′′ (bar 151) would be utterly banal if shouted with the doors open, but the sounds of raised voices damped by the doors is much more intriguing. Therefore distance, loudness, speed (of movement, not tempo) and architecture should all be carefully judged and combined to make the sounds more interesting. The musicians also play the doors as musical instruments at 3′16′′ (bar 50). However this is the only time the opening and closing of the doors should be audible. At all other times this should be as quiet as possible. Sometimes the doors need to be opened and closed very slowly in order to be noiseless. When going in and out of the hall, the musicians may not have time to do this, so the door openers should take charge of this. Similarly the door openers should open the door for the musicians when they need to start playing before they are seen (i.e. before they enter), for instance the Violins at 7′20′′ (bar 111). If an exterior sound is at its most effective with the doors closed in the same corridor, then this should take priority, and the doors opened or closed as quickly as possible for any other exit or entrance, maybe even advancing or delaying the entrance or exit if necessary.

Raisers Oboe, Horn, Percussion 1, Keyboard 2 and Cello stand on the raiser 2 while it is going up. At 12′12′′ (184) all five squat down while the first image is projected, get up again at 12′20′′ (186), having deposited their instruments on the floor of the raiser to face in different directions. Then at 12′28′′ (188), they start to get down off the raiser, collect instruments, give them to their rightful owners and go on to the next cue. This ‘choreography’ should be rehearsed separately, taking great care with the timing. It should be done simply and at moderate speed, and not at all in any mannered way. The raiser comes up to waist height or lower; it is therefore easy to climb off, and to reach for the instruments thereafter. At 15′08′′ (228) the Harp and Harpist move across the stage. This is done by an unseen stage hand gently pulling a trolley with an invisible wire. The whole effect should be subtle and hardly noticed and very slow. The Glass Harmonica facing the front wall (back to the audience) needs a mirror to see the live conductor. A video monitor is not to be used.

Walkie-Talkies From about 18′00′′ (270), two sets of Walkie-talkies are required. They should have a range of up to 500 metres, and the machines used in the hall should pick up what is spoken outside the hall. The actor talks to Keyboard 1 and Horn (short question and answers) as they explore further and further from the hall. The actor remains in the hall. Also in the hall another pre-arranged person in the audience questions Percussion 2 and Keyboard 2 as they explore outside the hall in another direction, with the second Walkie-talkie set.

Ending (coda) The ending of the piece is undefined. The duration depends on the space and the performing situation, and is largely worked out in rehearsal. The piece should simply become less but with a feeling that the music is still going on further, somehow, somewhere. Various specific cues are given in the parts (19'10", 20'30" etc). If not active, musicians should remain in their positions, and keep the tension of the piece until its very end.

Instrument specifications The 2nd Piano is a Bösendorfer whose lowest note is F. Both Keyboard players play Samplers, from a touch sensitive MIDI Keyboard. The Marimba must be 5 octave. The Woodblock Machine is a set of tuned woodblocks, mounted marimba style. Hosepipe Whistles (baroque orchestra) are lengths of ½ inch internal diameter garden hosepipe, coiled like a Horn and fitted with sawn off Penny Whistle mouthpieces. The Req, also called a Riqq, (Perc 1) is a Tambourine ca. 25 cm in diameter from Egypt. The player should develop some skill with the riffs and styles of playing characteristic of the instrument. Metal Balls exist in different sizes and fit into the palm of the hand. When held lightly, they ring, bell-like when shaken to agitate an inner ball or clapper. Schwirrbogen have a strip of material mounted on a stick that when whirled back and forth or in a circle through the air, produces a buzzing sound. Parts of the hall are played with percussion sticks. Ghettoblasters played in the corridors (Clarinet, Trumpet, Trombone, Percussion 2) should be identical and powerful. The cassettes play specific pre-recorded fragments of the Vivaldi Olympiade fragment played also by the Baroque Orchestra. The cassettes, with the aid of the clicks at the beginning of the tape, should be primed to set the music going exactly on cue when the pause button is activated, or when the start button is depressed. Trial and error can perfect this. All performers (also Cello and Oboe) should run very very fast. The cassette Walkmans with attached, separate mini low-fidelity loudspeakers are positioned on the floor underneath each member of the baroque orchestra’s chair. Each player records separately and individually their part of the C.P.E. Bach 3rd Symphony in F from bar 14 for about 4 minutes. The same place in the music must start in exactly the same place on the cassette (for example immediately at the end of the leader). Bird instruments use a combination of French imitative bird whistles and Brazilian wooden whistles. The distribution of the instruments is free, but they should all be different. Torches (baroque orchestra). These torches clip to the belts of the musicians (at the front in the middle). They point upwards to illuminate the underneath of the chin. The long extension tube should disappear behind the shirt or blouse, and reappear outside again to allow the bulb section to protrude pointing upwards to the chin. They are switched on and off at the belt. Some rehearsal should be devoted to switching on and off precisely together. The ensemble torches used by Keyboards and Bassoon and Violin II are large household torches with a strong concentrated beam. They should be switched on exactly on the beat and held absolutely steady and not be redirected once they’ve been switched on. Piano tuners perform at the beginning and later during the piece. The reiteration of the note should be irregular (varying from long to very short) and almost inaudible. At the beginning, for example only one of the three A440(+) strings is manipulated and must be heard moving away in pitch (as far as possible) and moving back. Occasionally 4ths, 5ths and 3rds (D, E, F, F#, C#) should be with the A440(+), in the usual style of tuning and testing. The effect should sound natural and unselfconscious, and provide a steady continuum.

Dress It is important to wear very quiet shoes. The mobile musicians especially should avoid rubber soled shoes that squeak on a polished floor. The mobile musicians should wear (different shades of) grey with a secondary garment of red and blue, while the Baroque Orchestra should wear for example, white collarless shirts with a secondary garment of red and blue. The effect should be elegant, while not being too formal. Choose thoughtfully with a smart sense of fun without being frivolous or too informal. Avoid richly patterned clothes. Select plain striking colours. Aim for the simple and the elegant with a lot of flair.

Movement Movement should be simple, elegant, and not mannered. Musicians should move in the same way, and at the same moment in an orderly, concentrated and business-like way, but never in a robotic way. Musicians are not actors and actors are not musicians. At least one or two rehearsals should be devoted to movement only, as well as another for the quintet from 12′00′′ (180) onwards. Standing and sitting by the baroque orchestra needs a lot of attention. It should be quick, silent and together: instruments held in the same way and put up to the playing position at the same time. The baroque orchestra should look ahead (apart from looking at the conductor), and avoid eye contact with the public. With their proximity to members of the audience, they have to be especially careful to maintain the right stance. Efficient but unaffected are the words to bear in mind.

Actor The Actor rarely functions in the front stage – more, he works with different parts of the hall and therefore different sections of the audience. His minimal presence should more be noticed if it wasn’t there, and for the first quarter of the piece he is anyway thought to be one of the musicians. He reacts to things unseen, unheard; he uses different types, styles, speeds of walking; his speech is always acoustical (lyrical and resonant even if very quiet); his role is to lead, to serve, to interrupt, to interfere; he uses devices from conversation; he questions – he shuts things up; he calls, hails, attracts attention; he adopts sudden changes of activity – sudden violence / sudden static, silent, stillness; he participates with the musicians, he ignores them; he encourages them and leads them, or follows them and plays with them – sometimes he sits there or stands there watching; his gestures can come out of the music or come out of the acoustics or the performing space; he can treat non-acoustical things, like a lighting change, as if they were acoustical.

There is nothing intentionally humorous about this piece – all is done with serious intent.

normal audience light 1 2 3 4

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1 2 3 4



1 2 3 4



1-2 3-4 5-6 7



Perc. 2 W

(outside Wa)

(outside Ya)

Perc. 1 (outside Za)





 



3 2 1



 

outside Ya door with DOOR ajar

4 3 2 1





3 2 1



 

 

Tape 1

Ob.

Front

Vc.

Fl.

Vn. 1

Va.

Middle

Trb.

Hn.

Bsn.

Bcl.

Tpt.

Back

S. Sax.

Vn. 2 Keyb. 1

(between wall and AB strs.) AB

Pno. tuner 2



AB4 5

Pno. 26

TROMBONE

       

VIOLIN



        

             

bucket

In seats between AB1 and AB2. mp sempre sostenuto breathe as necessary

VIOLA

HORN CLARINET BASSOON

BASS CLARINET TRUMPET SOPRAN SAXOPHONE VIOLIN



 

 PIANO 2 Very quietly and discreetly tuning, as if in slow motion around this central note. As much pitch variation as possible. Test with 4ths, 5ths and 3rds.    

1-2

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

5-6



3 2 1

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OBOE

FLUTE

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BC 3 - 4

VIOLONCELLO

  

1 2 3

 

     

Actor

Benedict Mason (1994)

Starting before the audience has entered the hall and continuing well after everyone is seated and until cut to black at bar 1. Entry of audience into hall can last up to 5 minutes or more.

 

Db.

Second Music for a European Concert Hall



 PIANO 1 Very quietly and discreetly tuning, as if in slow motion around this central note. As much pitch variation as possible. Test with 4ths, 5ths and 3rds. Pno. tuner 1 Pno. 1    Keyb. 2 CD 5 - 6  (between wall and AB stairs)

4 1-3

Hp.

4 3 2 1 S



 HARP         mp

(reh. room)

About every five seconds. Visually the audience shoud be hardly aware you are playing.

 



 



 

A G





Gl. harm. Obbl. Tpt. Obbl. Trb.









Fl.   2 2Fl.



2 Ob.   2 Ob.

    F crook                    

2 Bn.  2 Bsn. 2 Hn. 2 Hn.

Vn.II Vn. Vn.IIII Vn. Va. Va. Vc. Vc. Db. Db.

Seated, as absolutely motionless as possible. Violins and Violas upright on the knee, as if at rest. Bow movement almost negligible. More air than note in wind instruments. Act as if you are not playing, sound should be very atmospheric and so weak that the notes don't sound properly. LIGHTS off. pppp sempre sostenuto, breathe as necessary

1 0'00'' 1 

Perc. 2 W (outside Wa)

minimal stage light

q = 60

0'12''

0'16'' SUSP. CYMB.

 





 







2 3 4





2 3



3-4 5-6

Perc. 1 Z





3 2 1





3 2

 



Intro (35)

Front



SUSP. CYMB.

 



Tape

Vc.



Trb.

3 0'08''



1-2

Ob.

2 0'04''





(outside Za)

cut to Black



Db. (outside Ya)

 











3 4





Vn. 1

 



Va.









Actor





Bsn.



Bcl.

 



Tpt.

















Middle

Fl.

Back

Hn.

S. Sax. Vn. 2 Keyb. 1 (between wall and AB strs.) AB

AB46





Pno. 2







1-2







↑ suddenly in front of pilaster

↑ move over to:

 





 



↑ suddenly in front of pilaster

↑ move over to:

↑ buzz banister



LARGE GOLDEN CYMBAL pp



↑ buzz banister

↑ freeze





3-4 5-6





2 1



Pno. 1



5-6

(between wall CD and AB stairs)

edge out slowly during the next 8 seconds, to be:



2 3

Keyb. 2





leave seats and walk to form a line beyond centre Stage. Violoncello is at centre stage [Fl. Trb. Ob. Vc.]



4 1-3







edge out slowly during the next 8 seconds, to be:



LARGE GOLDEN CYMBAL pp

 ↑ freeze



3 2 1





T A G E

 



Vn.Vn.IIII 



Va.  Va.



Vc. Vc.



 





2 Fl.  2 Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vn.I I  Vn.

Db.  Db.



minimum stage light ↓ 10 stage KH

fade to 6 0'20'' 1 

Perc. 2 W (outside Wa)



3 4





0'28''

0'32''

0'36''







go immediately through corridor to outside Za door



2 3 4





2 3 4



1-2



3-4

5-6

Db. (outside Ya)

7 0'24''



 



DOUBLE BASS

(DOOR ajar)



Perc. 1 (outside Za)





3 2 1





3 2 1





Tape

Vc.



Front stage

(facing DC Wall, Cello spike resting)

Ob. Trb. Fl. Vn. 1



Va.



   

Middle

Hn. Actor



Bsn.

Bcl.

Back

Tpt. S. Sax. Vn. 2

take SCYTHE and METAL SCRAPER





  

2 3







(facing DC Wall)

(facing Audience) (facing DC Wall)



(bucket)

 

  p   

pp f





walk immediately to D1







walk immediately to CD5

stand, INSTRUMENT up to playing position



↑ freeze

     



pizz.



 

↑ walk immediately to CD3





















↑ go to A1



stand, INSTRUMENT up to playing position

stay seated, INSTRUMENT up to playing position

(mime a note)

  

 



↑ stay seated, INSTRUMENT up to playing position



   

↑ freeze

↑ swivel CELLO only round to audience



 



 p ppp

 



  

mimed

2 3



1-2



Keyb. 1



gently lay CYMBAL on floor by AB interpreter's booth, prepare TORCH





gently lay CYMBAL on floor by CD interpreter's booth, prepare TORCH



Vn.IIII  Vn.



Va.  Va.



Vc. Vc.



 



(by int. booth)

3-4

5-6







2 1



Pno. 1



5-6

Keyb. 2 CD

(by int. booth)

1-3





3 2 1





T A G E

 

Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.

 Vn.II  Vn.

Db.  Db.



Blackout

fade to [Tape]

[Whistling]

0'44''

0'48''

0'52''

0'56''

0'40'' 1 

2 3 4





2 3 4





2 3 4



1-2



3-4

5-6

Db. (outside Ya)



 



(outside Za)





 



 













3 2



 

 



Whistle (15)



go to outside Zb/c doors

Tape

Vc.

(front row)





Perc. 1 Perc. 2





  



   

3 4

Vn. 1

Va.

   

Middle

Hn. Actor Bsn.



Bcl.

Back

Tpt. S. Sax. Vn. 2



Keyb. 1 1-2



take HARMON MUTE



↑ go to AB5



↑ go out through Ab door and close it



↑ go upstairs to XY7 through AB stairs

   

move discreetly to beside AB2

 

 

 

 

WHISTLING + TORCH ↓ TORCH on in right hand, swinging in synch with step, with Keyb. 2



3-4



↑ go upstairs to XY1 through AB stairs



↑ go to AB3



↑ leave (leave CLARINET in backstage)

2 3

(by int. booth)

  

(going to A1)



 





Pno. 1















fast walk to centre, always slowing down



2 Hn.  2 Hn.



Vn.IIII  Vn.



Va.  Va.



Vc. Vc.



 



Keyb. 2 CD Trb.

3 1-2





 

move discreetly to beside CD2

 

  

 

Ob.



  

 

 

 

WHISTLING + TORCH ↓ TORCH on in right hand, swinging in synch with step, with Keyb. 2



 



(by int. booth)



fast walk to centre, always slowing down

5-6

Fl.



2 1 S

 

T A G E

 

Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



 Vn.II  Vn.

Db.  Db.



[Still]

16 1'00'' 1 

Bsn.

1'04''

1'08''

3 4





2 3 4





2 3 4











2-4 5-6

Vn. 2

7 4

Db. (outside Za)

(outside Zb)

Perc. 1

Perc. 2



(going to XY7 through AB stairs)



3 2 1





3 2 1



  



2 1



(going to outside Zb/c doors) ↓ LIGHT off

↑ take SCYTHE and METAL SCRAPER, go quietly and slowly to stand in a position between stands YZ1 and YZ2



Tape

Vc.

(front row)

Vn. 1 A

S. Sax.



(outside Ab)

Hn. (middle row)

Tpt.



 

Bcl.

Va.

 

  





  

(don't switch LIGHT on)





(DOOR ajar)











 





(back row)

Keyb. 2

 go to chair on raiser 3

(A1)

20 1'16''

1'12''

(going to XY1 through AB stairs)



(still seated) (still seated)

continue walking slower and slower, bigger and bigger sweeps of TORCH





↑ Freeze by AB2 pillar. TORCH pointing back at oblique angle.



6 Pno. 2





2 3



1-2



3-4 5-6





2 1



Pno. 1



Fl. Trb.

Keyb. 1

4 3



2 1







continue walking slower and slower, bigger and bigger sweeps of TORCH



↑ Freeze by CD2 pillar. TORCH pointing back at oblique angle.

Ob.

2 1







T A G E

 

Fl.   2 2Fl. 2 Ob.  2 Ob.





  

  

    

 

   

    



Va.  Va.



Vc. Vc.



2 Bn.  2 Bsn.

2 Hn.  2 Hn.



Vn.II  Vn. Vn.IIII  Vn.

Db.  Db.

 

  

take E crook



div. absolutely still

 



 

  



 

Unterbalkon 21 1'20'' 1 

Bsn.

Vn. 2





Db.



Perc. 2 Z









 



2 1 4 3 2

Hn. (middle row)

Tpt. (back row)

Keyb. 2

Bcl.









    







 f



  



↓ switch LIGHT on





pizz.               







 



 

(Ab DOOR closed)

(still freeze)

go along AB corridor to outside Ba door



















↑ TORCH off, walk to Piano 2 ↓ switch LIGHT on









↓ switch LIGHT on





↓ switch LIGHT on





1-2

 

5-6



3 2





Pno. 1





pizz.





6 5

Trb.



Ob.

4 3

Keyb. 1

  



  

  

deposit BASS CLARINET, take WOODBLOCK STICK

        





(still freeze)

3 2 1 S



 

WHISTLE



 p

        

take WOODBLOCK STICK



deposit BUCKET MUTE, take WOODBLOCK STICK

  

(bucket) mf



↑ TORCH off, walk to Piano 1

   

 

               

 







↓ switch LIGHT on



A G E

take WOODBLOCK STICK

Vc.

take WOODBLOCK STICK



3-4

looking straight ahead, come in with Oboe Woodblock





Fl.











↓ switch LIGHT on

Pno. 2

Conductor BC

take WOODBLOCK STICK

↓ switch LIGHT on full



Va.







(outside Ab)

Tape

S. Sax. A

1'36''

Vn. 1

1'32''

(outside Za)

1'28''

(outside Zb)

1'24''

Perc. 1 YZ

Stage

2-4 5-6

UB 10



move MUSICIANS CHAIR WITH RUBBER FEET very slowly (for lowest buzz) into playing position

 

CHAIR

 

 

Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.





2 Hn.  2 Hn.



Vn.II  Vn.



Vn.IIII   Vn. Va.   Va. Vc. Vc. Db.  Db.

 

 



 unis.  hardly sounding

pppp

      

     



Direkt

Black

24'' fade up top balcony [Pianos]

26 1'40'' 1 

Bsn.

2 3 4



1 2 3 4



2-4 5-6

Vn. 2

Perc. 1 YZ

4 3 2 1 4 3

(outside Zb)

Perc. 2

(outside Za)

   



Hn.

(middle row)

   







  ff

  

   ff

Keyb. 2 S. Sax.

(outside Ba)

2 3



 





3 2 1



Keyb. 1 6















Trb.

  

 



1 S T





 

put SCYTHE and SCRAPER by stand YZ4, walk slowly to Wa door

 p



go back to outside Ya/b doors



↑ gradually close the DOOR from inside the hall and stand by Za door

  

 ↓ switch LIGHT off, deposit WOODBLOCK STICK



 



↓ switch LIGHT off, deposit WOODBLOCK STICK and take Bb CLARINET



↓ switch LIGHT off, deposit WOODBLOCK STICK

 





↑ move round to front row seat 3 and sit down

↑ move round to front row seat 2 and sit down



deposit TORCH by Piano 2



deposit TORCH by Piano 1



  



  



   ff





WOODBLOCK

4 3 2

  





go some way beyond outside Ba door (towards kitchens)

walk to foot of AB stairs

PIANO 2

 

pppp



 



CL.

 







ppp start walking to top of AB stairs

walk to foot of AB stairs



 

 

ppp molto legato

 



go back to outside Ab door



2 1





 



WOODBLOCK

Fl.



 

Pno. 1

 



   

  

1-2 3-4 5-6





WOODBLOCK

Pno. 2

 







     



Prog 6





switch LIGHT off, ↓ deposit WOODBLOCK STICK

PIANO 1

  pppp

 



 







↓ switch LIGHT off, deposit WOODBLOCK STICK, take HARMON MUTE





↓ switch LIGHT off, deposit WOODBLOCK STICK



ppp molto legato







walk to foot of CD stairs

 

walk to foot of CD stairs harmon (closed) TRB.







pp start walking to top of CD stairs

  WOODBLOCK





 

A G

Hp.



harmon open

Va.

Vc.



↑ suddenly open Za DOOR full and enter hall

           

Ob.





(back row)

1'56''

marching towards XY wall

Tpt. Bcl.

2 3 4

1'52''





sfffz

WOODBLOCK

1'48''



SCYTHE + METAL SCRAPER

 

Tape

Vn. 1

1'44''



3 2 1



Db.



1 2 3 4





VC. pppp

arco, very slow bow





↑ pose



Fl.  2 2Fl.











2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vn.IIII  Vn.







Vn.II  Vn.



Va.  Va.





Vc. Vc. Db.  Db.





      



 pp

      

[Tape]

31 2'00'' 1 

Cl. X

2'04''

2'08''

2'12''

2'16''



2 3 4





2 3 4



 



↑ at top of AB stairs

(ppp) (walking upstairs)





Bsn.





Perc. 1 XY



7 4

Db.

 



(outside Ya)

Perc. 2 (Za)



(going to outside Ya/b doors)



1 4







 p









open 



↑ at top of CD stairs





(don't switch LIGHT on)



(pp) (walking upstairs)





3 2 1





3 2 1









 



Baroque 2 (18)



Tape



 









(walking to outside Ab door)

Hn.

 



Tpt.









 







Vn. 1

S. Sax.

2 3

(outside Ab) (front row)



 

Trb.



(walking slowly to Wa door)

4-6

Vn. 2

Va.

3 4

(walking to foot of AB stairs)

5-6

Keyb. 2

Pno. 2 1





VN. arco





VA. arco p



2 3



1-2



3-4 5-6





2 1

Keyb. 1



↑ at foot of AB stairs



Pno. 1



5-6

Fl. CD

1-3





(walking to foot of CD stairs)



FL.





↑ at foot of p CD stairs



Ob.

2 1 S

 

A G

Hp.









Vc.

OB.









Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn. Vn.II   Vn.



Vn.IIII   Vn. Va.   Va. Vc. Vc. Db.  Db.

   









         





















    3 /0       

Presto

senza cembalo, scarcely any contact with string 3

 ppppp 3 3 3      /0         3     /0 

 /0   /0 

   

 

Locatelli INT 3 iii 6 4'32''



   

   3

   



Stage KH 10 [Tp. + Hn.]

36 2'20'' 1 

Perc. 1

2'24''

2'28''

2'32''

2'36''

3 4





2 3

(top AB stairs)

Cl.







 



 





(walking slowly to Wa door)





 



↑ facing downstairs



3 4

Bsn.



5-6

Vn. 2

7 4

Db.

  

Perc. 2 (Za)



 

(top CD stairs)



 



Trb.







Vn. 1





3 2

(front row)

Hn. Tpt.



  

  p





 



harmonic in resin  

 

pppp



 





 



 





go into hall via Zb/c doors











 







 



Pno. 2 1









↑ facing downstairs





harmonic in resin  

 

ppp



 

 

 





 



 







put down S. SAX.







                  pp

 

↑ stand in front of Horn



               



  

ppp

take TORCH, go to B2

 à ce lu -i

    

   mo -ti -é à ce lu -i

est moi ti-é à ce lu -i qui



via sord.





1-2



5-6





Pno. 1

 

 

5-6

 





















Vn.IIII  Vn.



Va.  Va.



Vc. Vc.



 



 

take TORCH, go to C2

















1-3



ppp





  

damped inside PIANO



Ob.

2 1

  p



Vc.

A G

Hp.



       

ppp

walk slowly across stage towards CD2



↑ stand, walk fast across stage, overtake Tpt. on moi ti-é stage side

  



damped inside PIANO



Fl. CD





harmon open







3-4



 

5-6

Keyb. 1

walk to Xc/d doors



(outside Ab)

Keyb. 2



put down BASSOON, take LARGE TORCH

Tape

Va.



S. Sax.



2-4

(outside Ya)

  

Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vn.II  Vn.

Db.  Db.



   



Blackout Direkt

[Tape]

41 2'40'' 1 

43 [Baroque Orchestra]

2'48''

2'52''

2'56''

Perc. 1

42 2'44''

















(walking slowly to Wa door)

Cl. (top AB stairs)







Bsn. (Xc/d)

4 1-2

7 4





↓ TORCH off

LARGE TORCH

shine TORCH towards ↓ CD stairs, making

 

(top CD stairs)

(Zb)





2 1



















  



















Cross filtre (7)









 















1-3



 



put VIOLIN down, take 2 SCHELLEN (one in each hand)

go very quietly back into hall and stay by Ab door



↑ walk to Aa door

5-6 Pno. 2





Keyb. 2 B





Tape

(outside Ab)

shadow of Trb.

S. Sax. A





walk to Yc/d doors

Vn. 1





put down VIOLIN, take LARGE TORCH



Trb. Y

Va.



5-6

Vn. 2

Perc. 2 (Za)

↓ shine TORCH towards AB stairs making shadow of Clarinet

3-4

Db.

TORCH

2 3



1-2



shine TORCH directly ↓ between AB staircase



and pillar towards A1

3-4

Keyb. 1 C

5-6





2 1



Pno. 1



5-6

Fl. CD

4 1-3





↓ shine TORCH directly between CD staircase and pillar towards D2

↑ walk to Db door



↓ TORCH off

Ob.

2 1





Vc. Tpt. Hn.





2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vn.II  Vn. Vn.IIII  Vn.

  



fff



↑ Pose - suddenly relaxed, HORN under arm and looking away back towards corner A (keep pose until bar 51)



 

  

div. a 4

pppppp

↑ walk slowly to Da door



viciously, and as if to emphasize the point

↑ walk back a little way



↑ pose

↑ having reached halfway, suddenly walk very fast to stage corner of CD interpreter's booth

 

Fl.  2 2Fl.

put OBOE down, take 2 SCHELLEN (one in each hand)

ppp  E crook



  1.

  

div. a 3

 



 





 





ppp

 



 











  2.











Vc. Vc. Db.  Db.











Va.  Va.





 

  1.

 





 





 

  3.

  2.









 

  2.



E crook



 







 



  



  

 

   3. 

  



 







 1. 3.

 



  



 

Stage

20'' fade to black [Schellen]

46 3'00'' 1 

Perc. 1

Cl.





Bsn. (Xc/d)



(walking slowly to Wa door)

(top CD stairs)

(Zb)





Vn. 1





(Ab)

2 1





Ob.









open





open





open





open

Xa DOOR



Xc DOOR



Yc DOOR





Ya DOOR





Zb DOOR

go to Xa door

put TORCH by left of Xd door on floor

(TORCH on)



↓ TORCH off, put it down on floor by right of Yd door

go to Ya door





Za DOOR



open

















4 1-2





 with SHOES if necessary





2 SCHELLEN



fff

 

↑ run fast into middle of stage



 





ppp

↑ walk on suddenly slowly to D1



pp open





open



Ca DOOR



open





open

pp open





Ab DOOR



Ba DOOR



open

Aa DOOR

3-4 5-6 Pno. 2





2 3



1-2





(TORCH on)



↑ TORCH off, go immediately to Ba door

3-4 5-6





2 1



Pno. 1





go to Ca door

5-6 3-4 1-2



 



2 1





 





(with SHOES, if necessary)



put down FLUTE



2 SCHELLEN



  

fff



Db DOOR

  

Da DOOR





↑ run fast into middle of stage ↑ run back to D2 very fast



 







Hn.





Vc.

open





(Db) (Da)



Keyb. 1 C

Tpt.





Keyb. 2 B

Fl.





Tape

open



Wa DOOR











5-6

Trb. Y

S. Sax.



3-4

Vn. 2 (Yc/d)

Va. (Aa)

50 3'16''

DOORS open only a little, about 3 inches

1-2

Perc. 2 (Za)

49 3'12''

48 3'08''

(top AB stairs)

Db.



47 3'04''



(remain posing)



Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.











 





2 Hn.  2 Hn.

  2.





Vn.IIII   Vn.

 1.   Va.   Va. Vc. Vc.

Db.  Db.







1.2.3.

  

 



 2.

  





   3.





the F#s with no finger pressure, only a faint noise Vn.II   Vn. 









   

 





 1.2.3.





 

Black [Pistols]

51 3'20'' 1  2

Perc. 1

(Wa) W

Actor

Bsn.

(Xa) (Xc)

3'32''

3'36''

open wide

slam



open wide

slam

 



open wide

slam

open wide





open wide

slam







Go through Wa door to Celesta. Leave DOOR open.



take STARTING PISTOL





STARTING PISTOL



 

(4th bang)



2 3 4



  

 









slam





take BOTTLE



take BOTTLE



take BOTTLE



take BOTTLE



take BOTTLE





3-4 5-6

(Yc) (Ya)

3'28''

Trb.

3'24''



1-2

Vn. 2

Cl.



 







 









slam





Db.

(Zb)

Perc. 2 (Za)





3 2 1





   

 







slam



pick up STARTING PISTOL by right of Za door



STARTING PISTOL







put down PISTOL, take BOTTLE



2 1



Va. (Aa) S. Sax.

(Ab)



1-2







(Ba)



1-2



5-6



 



open wide

 



open wide



slam

 op



open wide



slam

open wide

slam

open wide

2 1

 





slam

 

leave for AB interpreter's booth via Ab door





take BOTTLE

 



STARTING PISTOL



pick up STARTING PISTOL by right of Ba door



pick up STARTING PISTOL by left of Ca door









put down PISTOL

 







STARTING PISTOL





3-4

(Db)

1-2





   





 







slam











Ob. Vn. 1 put down SCHELLEN by D2



take BOTTLE



Ob. take BOTTLE



take BOTTLE

Vn. 1 leaves for CD interpreter's booth via Db door





A G E





Hn.

 slam





5-6

Vc.

open wide







Pno. 1

Ob. Vn. 1





3-4

(Ca)

(Da)

 op



5-6

Tpt.

Pno. 2

Fl.

 op  

Baroque 1 (17)

3-4

Keyb. 1

2 3

Keyb. 2









Tape



Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.

↑ stop pose

  pp





  



ff ↑ swing round

walk to CD 3













Va.  Va.







Vc. Vc.















Vn.II  Vn. Vn.IIII  Vn.

Db.  Db.

 

 unis.





Locatelli INT 3 iii 6 3'45''





























put down PISTOL

Oberbalkon [Celesta]

3'40'' 1 

(by Cel.)



Actor



Bsn.

(Xa) (Xc)



                 f

 [fast loud eccentric French blue vitriol] Pute Borgue, tends donc ta tendre peau partout autour de moi ton chouette calibistrys!

↑ stop dead



take BOTTLE, go inside hall



take ORGAN PIPE

ORGAN PIPE



 





   





blow over balcony





BOTTLES played very breathily 

 BOTTLE











3    





BOTTLE







 BOTTLE

   



  



BOTTLE down



   

3   



   







5-6

(Zb)

Perc. 2 (Za)



fff









BOTTLE



       3

   









BOTTLE down

Db.



BOTTLE

3-4

(Yc) (Ya)

3'56''



Trb.

3'52''

1-2

Vn. 2

Cl.

58 3'48''

CELESTA (lowest pitches possible)





Perc. 1

3'44''

3 2 1











 BOTTLE



    ff    

BOTTLE



 3 





BOTTLE down



BOTTLE down



2 1



Tape 1

(Ab)

1-2

Va. (AB int. booth) AB



3 4





S. Sax.



BOTTLE



  

(going to AB interpreter's booth)

 3  p



  

   











4-6 Pno. 2

Keyb. 2

(Ba)

 go to SAMPLER 2

(Ca)



1-2



5-6







(CD int. booth) (Db)

Ob.





SAMPLER 2





(B)

5,6,7,8

take BOTTLE





  



SAMPLER 1

(A)





1,2,3,4



take BOTTLE





BOTTLE



  



 

BOTTLE



take BOTTLE





(going to CD interpreter's booth)

 

take 2nd VIOLIN







BOTTLE down





BOTTLE







BOTTLE



 3 



   p

  



 















    ff    













BOTTLE down

   



 touch pizz., div.





  

BOTTLE







Vc.

go to SAMPLER 1



D (Da)







3 1-2

Vn. 1

Tpt.





4-6

Fl.



Pno. 1

Hn.



3-4

Keyb. 1





A G E

 

Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn. Vn.II  Vn.





Vn.IIII  Vn.





Va.  Va.

















Vc. Vc. Db.  Db.





pppp



 

1.2. / 3.

         

tutti:

[Tape]

[Glass harm.]

61 4'00'' 1  2

Perc. 1 W



Actor

4 1

    ff 

Bsn.

(Xa)

(Xc)

Trb.

4'16''







go to WX1

go to banister by WX4

’conte



 

↑ leaning out, looking over at CD interpreter's booth

Violin 1 and Viola are inaudible in the hall, but should be fully visible to the public.

3 4



 





1-2







BOTTLE down, take AGOGO BELLS (PRO PERC) and SOFT BEATER



CL. pp

  









  



go very quietly to halfway down AB stairs

5-6

(Yc) (Ya)

64 4'12''

3-4

Vn. 2

63 4'08''

Cl.

62 4'04'' put down BOTTLE, take AGOGO BELLS (EM) and SOFT BEATER



Black Int. booth lights on









BOTTLE down, take AGOGO BELLS (RQS) and SOFT BEATER



go to Y1

leave through Ya door, go quickly round via Foyer to outside of Xb door 2

Db. (Zb) Perc. 2 (Za)





3 2 1



 

3 2 1

 





Steam station (13)



S. Sax.

A (Ab)

(AB int. booth)



Va.



1-2



BOTTLE down, pickup WASHBOARD and BEATER



go directly to stage side of AB interpreter's booth





Pno. 2 1

1-2



5-6





 





    sim.                                   



go to between AB2 and AB3







go to C3

 



 



pickup WASHBOARD and BEATER go directly to stage side of CD interpreter's booth



go upstairs through CD stairs and out through Ya/b doors BOTTLE down, take AGOGO BELLS (ETHNIC) and SOFT BEATER go to between CD2 and CD3



↑ freeze



    sim.                                          fff vigoroso       

2nd VN.



WASHBOARD







fff

freeze

 

 

A G E



BOTTLE down, take AGOGO BELLS (RED) and SOFT BEATER

go halfway up CD stairs



Gl. harm.



BOTTLE down, take AGOGO BELLS (BLACK) and SOFT BEATER

  

Vc.







(CD int. booth)

Ob.

VA.

freeze

4-6

Vn. 1

(Da)

fff

 

1-2

Tpt.



Pno. 1

CD Hn.

(Db)

        

Fl.





3-4

Keyb. 1





WASHBOARD



fff vigoroso

4-6

Keyb. 2





Tape 1







GLASS HARMONICA



 

  





 

↑ pose

 

 



Vn.IIII  Vn.



Va.  Va.



Vc. Vc.



 





Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.

 Vn.II  Vn.

Db.  Db.



A Int. booth lights off

Stalls

[G.P.]

66 4'20'' 1 

Perc. 1 Cl.

(halfway AB stairs)



 

1 2

(outside Xb)

Bsn.

(Xc)



 



Vn. 2 Hn.

Db. (Zb) Perc. 2 (Za)

3 2 1 4

3 2 1

Keyb. 2 (AB int. booth) AB

S. Sax. (by AB int. booth)

 





2 1

S T

Vc.





AGOGO BELLS (PRO PERC)



  











  







put down AGOGO and BEATER



↑ at halfway down AB stairs

TRB.





 

senza sord.



 

 

walking fast down corridor to outside Wb/c doors



go to X1

 AGOGO BELLS (RQS) with SOFT BEATER













fff walk 16 e steps to YZ1



HN.

  

  

  





  



 





ff walking fast down corridor to outside Zb door

put down AGOGO and BEATER, pick up 2 METAL BALLS



    

TPT. senza sord.



go to between X1 and XY1



 



AGOGO BELLS (BLACK) fff



walk 16 e steps to B3

with SOFT BEATER         



↑ go to A1, put down VIOLA, go to Aa door



deposit WASHBOARD and BEATER, take TREMOLO TRUMPET



walk to front stage right, facing AD wall

 



put down AGOGO and BEATER, take 2 METAL BALLS (one in each hand)

 



 











 

AGOGO BELLS (RED) with SOFT BEATER fff



 



walk 16 e steps to CD2







put down AGOGO and BEATER, take 2 METAL BALLS (one in each hand)

 

put down AGOGO and BEATER

  AGOGO BELLS (ETHNIC)

 

with SOFT BEATER

  

fff walk 16 e steps to AB2

deposit WASHBOARD and BEATER, take TREMOLO TRUMPET

                                          

  



at AB2



walk to front stage left, facing audience



 

↑ leave booth, go to Nebelhorn outside Ca door (take VIOLIN)

  



   

 

Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.

 Vn.II   Vn.

Vn.IIII   Vn. Va.   Va. Vc. Vc.

  





with SOFT BEATER





A G E

  



conduct for Vn. 2 (Y1) and Bsn. (XY1)

                                    

3 2 1

 





Vn. 1

4'36''

fff walk 16 e steps to XY7



(CD int. booth)





Fl. (by CD int. booth)

outside Xb door



1-2 3-4 5-6

6 AGOGO players walk 16 paces at one step = 120. They play forcefully with soft beaters.



Pno. 1 4-6

Ob.

↑ leave for halfway down AB stairs





  

  







  





1 2 3

Keyb. 1

walk 16 e steps to WX4







1 2 3 4

5-6 Pno. 2







69 4'32''



Va.



with SOFT BEATER







Tape

fff

2 1

(halfway upstairs)

AGOGO BELLS (EM)







(outside Yb)

4'28''



1-2 3-4 5-6 7

Tpt.





G.P.

Trb.

4'24''

2 3

Actor

[Agogo walk]

 

  Db.  Db.



       

arco, unis.



pppp very faint

                                     



Locatelli INT 4 i bar 30

 

 1.3. 2.4.

mp 1. 2.3.



1. 2.3.



div.



  

            

               

   

           



   

 





 

 





   

           

    

      











 









   

Balkon - both [Hp. + Bass]

[Tape]

71 4'40'' 1 

4'44''

4'48''

4'52''

4'56''

METAL BALLS are played one on each hand, held tight and therefore damped

3 4





Cl.

(halfway AB stairs) WX

sustain sempre while walking

Bsn.

(WX corridor)

Hn.

 



go to Wa door



deposit AGOGO and BEATER, take 2 METAL BALLS

















Vn. 2



(going to between X1 and XY1)



(walking fast down corridor to outside Zb door)



 



 





 DB.  

3 1

 pizz.



1 2

S. Sax. (stage pos.)

Ob.

 

 



2 METAL BALLS

  

f run to Y1



walk to XY1



↓ open Zb DOOR for Tpt.

 

Octohooting (36)







3 4



  

Actor





Tape

(Aa)

 

(Zb)



outside Zb door

Va.

f run to WX1



6-7

Perc. 2 (Za)

  





 

2 METAL BALLS



 







↓ open Wb DOOR for Trb.



















 



(walking fast down corridor to outside Wb/c doors)



 









 

Db.



4-5

Tpt. (YZ corridor)



walk down AB stairs and through rows 6 and 7 in stalls to CD stairs



2-3



pppp

Perc. 1

Trb. X

 

3 4

pick up MEDIUM TORCH, prepare to shadow Cb. Cl.

TREMOLO TRUMPET



      

facing stage ffff









 



yelling

[wait]

Les intermitences du moi...



     



↑ down with head getting accross:



  

half valve (produces both notes)





↑ turn suddenly to face audience

↑ run fast to Aa door



 

5-6 Pno. 2





Keyb. 2

2 3 1-2

Vn. 1

2 METAL BALLS

  

f run to AB2



3-4

5-6





2 1

(outside Ca)

Pno. 1







5-6 3-4

CD Keyb. 1 Fl.



2 1

(stage pos.)



TREMOLO TRUMPET



facing audience

ffff

  

half valve (produces both notes)







  

f run to C3



↑ turn suddenly to face stage



3 2 1





Vc.





2 METAL BALLS





Vn.II  Vn.



Vn.IIII  Vn.





Va.  Va.







Vc. Vc.



 













Gl. harm.

Hp.



  

 

 Fl.  2 2Fl.

   p

2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Db.  Db.



take F crook



 

 



molto gliss. e dim. div. 







mf unis.



  unis.   unis.    

tutti:

↑ very strong pose

 





















Black [BO]

76 5'00'' 1  2

Perc. 1

(Wa) W

 

Trb.

(outside Wb)

5'04''

5'08''

5'12''

5'16''

open Wa DOOR Wa DOOR ↓ for Trb.



 

swing round suddenly to project ↓ this note into the hall

fff Entering through Wb door (which is opened for you)

Bsn.











go through Wa door, which is opened by Perc. 1

dim. a niente as soon as DOOR is shut, then switch on LIGHT fully



 

open wide



always silently





fff



METAL BALLS down, go to Tubular Bell by W2



↓ close imediately, also "relay beat"

2 3





Hn. XY

3 4



 

2-3 4-5 6-7





Vn. 2

1 4



leave BALLS at Y1, go out through Yc door downstairs and along CD corridor to outside Db door



Db.

Tpt.

(outside Zb)







(walking to XY1)



  

fff Entering through Zb door (which is opened for you)

Perc. 2 (Za)

 

3 2 1

Za DOOR

Actor

(Aa)











dim. a niente as soon as DOOR is shut, then switch on LIGHT fully



go through Za door, which is opened by Perc. 2

open Za DOOR ↓ for Tpt ↓ close imediately, also conduct







fff

open wide





always silently



Tape

Va.

swing round suddenly to project ↓ this note into the hall

↑ out through Aa door, close DOOR quickly





3 4

S. Sax.

(stage pos.)

  

Ob.



Keyb. 2 AB



Cl.











put down METAL BALLS, go to Piano 2



(walking down AB stairs and through rows 6 and 7 in stalls to CD stairs)

5-6 Pno. 2







Go to AB1 and pick up CONTRABASS CLARINET. Then move on to front of stage.



put down TREM. TPT.

2 3



1-2



3-4 5-6

Keyb. 1

Vn. 1

 

2 1

(outside Cb)



Pno. 1



put down METAL BALLS, go to PIANO 1

 

take NEBELHORN



put down TREM. TPT.

 NEBELHORN

 







5-6

23 - 4

Fl.

(stage pos.)

(rehearsal room)

Obbl. Tpt. Obbl. Trb.

Door openers (behind stage)

Vc.



go to Da door





3 2 1

  





TPT.







TRB.









fff sempre

open

 close







unis., molto sul pont.

Vn.IIII  Vn.







Va.  Va.







Vc. Vc.



 













 

A G E



Ax Dy DOORS





 

Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vn.II  Vn.

Db.  Db.





 

        

tutti: pppp

pppp

[Tape]

81 5'20'' 1   2

Bsn. Perc. 1

W (Wa)



Trb.

(outside Wa)

Hn.

Db. YZ

Tpt. (outside Za)

5'24''

5'28''

5'32''

5'36''







open

sempre fff















2 3 4





2 3 4



 

6-7



(between X1 and XY1)











   

fff spinning round







move to XY4



3 2 1



 (walking to XY1)

3 1



 







3 1

ppp

 

sempre fff

open



 close









 











"Horn twice soft" (29)



Tape

Actor



(pizz.)

(Aa)

4-5

Va.

2-3

Perc. 2 (Za)

[BO]





close

open wide Aa DOOR



always silently



(stage position)

Cb. Cl. Ob. Cl.



  

Vn. 1

(rehearsal room)



freeze

TORCH on, follow ↓ Cb. Cl. with TORCH ↓ different TORCH gesture ↓ TORCH off









freeze







 

1-2



5-6









 





 





 

3-4

1-2







(walking to position)



2 1



 

    

open wide Da DOOR



always silently





















 

  

 







Vn.IIII  Vn.







Va.  Va.







Vc. Vc.



 













Obbl. Tpt.

Obbl. Trb.

(behind stage)



5-6

Vn. 2

Door openers

  

(walking through rows 6 and 7 in stalls to CD stairs)

Pno. 1

(Da)

walk to Cb. Cl., take TORCH

TORCH

    

Keyb. 1

Fl.



turning in different directions

3-4

(outside Cb)

(outside Db)



 

5-6 Pno. 2



3 4

Keyb. 2

CONTRABASS CLARINET



open

  

Vc.

Gl. harm.







Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vn.II  Vn.

Db.  Db.







 







molto sul pont.

     

   

tutti: pppp

pppp

[Tape]

86 5'40'' 1   2

Bsn. Perc. 1

(Wa)



Trb.

(outside Wa)

5'44''

5'48''

5'52''

5'56''





always silently











fff



3 4





3 4



1 - 31



Hn.









  







Db.

(walking to XY1)







at XY4





       ff



spinning round





move to between XY7 and Y1



ppp



2 1





2 1

Tpt.

(outside Za)

Perc. 2 (Za)





[BO]



 fff op



 cl



always silently



2 1



Tape

Actor Va.

(Aa)





 













(stage position)

Cb. Cl.

Ob. AB



close 





"Horn twice loud" (28)



open







↑ move to another position, going along stage

follow Cb. Cl.







    

  





turning in different directions

↓ follow Cb. Cl.

 with TORCH

↓ same different

 TORCH gesture

freeze ↓ TORCH off freeze

 

3-4 5-6

Keyb. 2

Pno. 2 1

Vn. 1



1-2



5-6





Pno. 1

Vn. 2

(rehearsal room)

(Da)





 







Obbl. Trb.





 







    









(walking through rows 6 and 7 in stalls to CD stairs)



Obbl. Tpt.

(behind stage)



1-3

Door openers





5-6

Fl.



Cl. CD

(outside Db)



3-4

(outside Cb)

Keyb. 1





open



 open



always silently









 

 













Vn.IIII  Vn.







Va.  Va.







Vc. Vc.



 













Vc.

Gl. harm.

 



Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vn.II  Vn.

Db.  Db.



always silently







a2

    ff







molto sul pont.

 

        

tutti: pppp

pppp

Ax door remains open to light Actor [BO]

91 6'00'' 1   2

Bsn. Perc. 1

(Wa)

 

Trb. (outside Wa)

6'08''

6'12''

6'16''

 

































4-6

Hn.

 

between XY7 and Y1

 









   op

 

3 1









(at XY1)

Actor

 

  







Cb. Cl. Ob. AB











 











Pno. 2 1















Horn twice loud (32)



[Sing one of the Trumpet / Trombone tones, but audience doesn't realise who it is. Wait. Stand as if you own the hall.]



↑ reenter





















 







↑ move out of light op cl





↑ move to another position, going along stage



follow Cb. Cl.







2 3



1-2



5-6





2 1

Pno. 1 5-6

Cl. CD

Vn. 2

(rehearsal room)

ppp

3-4

(outside Cb)

(behind stage)







5-6

Door openers

ppp



3-4

Obbl. Trb.



arco, sound cracking





Tape

Obbl. Tpt.



fff spinning round



(Da)





Tpt.

Fl.



(outside Za)

(outside Db)



Keyb. 1



Vn. 1





(walking to XY1)

Keyb. 2

2-3

(stage position)

6'04''

Db.

(Aa)

Va.

Perc. 2 (Za)



 

1-3























put down NEBELHORN go to outside Db door





 op

 

2 1



  









 

 cl



 op



 



 cl



 cl









 cl



 cl



go to outside Ab/c doors via backstage





go to outside Db/c doors via backstage op cl op cl





IV, in resin

 

 











molto sul pont.

Vn.IIII  Vn.



Va.  Va.



Vc. Vc.



 



Gl. harm.

 



Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vn.II  Vn.

Db.  Db.







 cl





 cl



Vc.



(walking through rows 6 and 7 in stalls to CD stairs)







F crook

 

 

    

   

   

tutti: pppp



cracking

   

    

pppp

        pp

[Tubular Bell]

96 6'20'' 1 

Bsn.



Perc. 1 (Wa) W Trb.

(outside Wa)

  

100

6'24''

6'28''

6'32''

6'36''





lean over to play C TUB. BELL



take GLOCK. STICKS, go to railings by W1 ↓ switch LIGHTS off outside Wa door





  



put DOUBLE BASS down, take GLOCK. STICKS go to railings by WX4

2-3 4-6

Hn.

7 4







   



put HORN down, take GLOCK. STICKS go to railings by YZ4



Va. (Aa) A Actor



Ob. AB







take GLOCK. STICKS, go to railings by Z1





Cb. Cl.



↓ switch LIGHTS off outside Za door

 

go to A1



in different directions  turning        p   follow Cb. Cl. ↓ with TORCH

 

 

out of light, go stand in front of bell



same different ↓ TORCH gesture



Pno. 2 1



freeze



PIANO 2



  



pppp





 

  

 

 

 



    

  



take SCHWIRRBOGEN (painted black)

 

(turning in different directions)



↓ follow Cb. Cl. with TORCH



↓ TORCH off



squat down



freeze

3 - 53 6





Horn twice upstairs quiet (33)

 

Pno. 2





Tape



restez

↑ haunches

↑ stand



leave stage area, go up AB stairs, exit through Ya/b door ↓ TORCH off ↑ stop, move slowly to A2





 



2 3



1-2



3-4

5-6





2 1

Pno. 1

 

Cl.

PIANO 1





Pno. 1 6







     pppp      

   









SAMPLER 1 5,6,7,8



ppp



 



stop as soon as Actor damps BELL, but play attack as written and in time with Bsn.





1-3

(outside Db)



↑ stop



walk quietly upstairs, and slowly to Xa/b door

go halfway up CD stairs







 





Vn. 1

 

Vn. 2 D



(Da)



Tpt.

Fl.





Keyb. 1



(Actor damps BELL in different places)



Db.

Keyb. 2

TUB. BELL



2 4



(stage position)

(outside Za) Perc. 2 (Za)







       

take SCORDATURA VIOLIN and PLECTRUM





tune SCORDATURA VIOLIN, take PLECTRUM



take SCHWIRRBOGEN (painted black)

T A

Vc. Gl. harm.





Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



  2 Hn.       2 Hn.    pp  Vn.II  Vn.



ord., in tune with Bell



pppp





ppppp very short, mostly breath, but a very little voice as well, deep in the throat

  



































Vn.IIII  Vn.

























Va.  Va. Vc. Vc.

Db.  Db.













upper + lower, Direkt [Brass railings]

Perc. 1 (railings)

Bsn.

101

102

6'40''  1 

6'44''



2 3

Trb. (outside Wa)

Db.





 

 

 

6'48''  



go to Wa door



 

   

6'52''

6'56''



go through Wa door to Celesta



105 



take POCKET SIREN





BRASS RAILINGS



with GLOCK. STICKS

     







    

go back to XY1, take DOUBLE BASS



2 3 4



1-2



3-4

5-6

Cl.



 



(walking slowly to Xa/b door) BRASS RAILINGS

Hn.

(railings)

Tpt. (outside Za)

Perc. 2 (railings)





with GLOCK. STICKS

 

 





 

 



        

col Cb. Cl. (downstairs) pp



collect HORN, go to top of CD stairs

2 1



 



3 BRASS RAILINGS











 

   



Tape

Va.

 



Ob.



 

with GLOCK. STICKS

104





(railings)



BRASS RAILINGS

[Schwirrbogen]

103

(moving slowly to A2)

with GLOCK. STICKS

  

  





   



 

go back to Za door





SCHWIRRBOGEN







 



 



Dück (14)

whirl back and forth just enough to get the quietest note

p 



3 4 1-3

Cb. Cl.

  

(going to AB stairs) 5-6

Keyb. 2

Pno. 2

SAMPLER 2 5,6,7,8 +0





       

             

 

blood curling, loud and refined







VOICE



fff



PIANO 2





 

 

 

    



   

 p  

    

    

col Cl. (upstairs) pp





2 3



1-2



3-4

5-6





2 1

Keyb. 1

Pno. 1

 







PIANO 1

 f

5-6



    concrètement  ce là signifie

Kon kret be deu tet das

this













means

3-4

(outside Db)

1-2















Vn.IIII  Vn.



Va.  Va.



Vc. Vc.



 



Vn. 1 Vn. 2

Fl.

(Da)

Actor



 

3 2 1





stretch

T A

Vc.

Hp.

 





Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vn.II  Vn.

Db.  Db.





↑ stretch even higher to damp BELL

↑ walk (amble) to B



SCHWIRRBOGEN





 whirl back and forth just enough to get the quietest note 

p 



[quietly] cela signifie

 p

 



[loudly to Keyb. 1] cela suffit

4'' fade to Black [BO] 7'00''  1

Perc. 1 (by Cel.)

Bsn.

(Wa) W

Trb.

(outside Wa)

Db.



fff



open Wa DOOR to hear Celesta



109

110

7'12''

7'16''

(on lowest pitches)



 

con sord.



pppp

 

POCKET SIREN

22 





POCKET SIREN down

pppp

go to XY1 to collect BASSOON



via sord.





SIRENS: the faintest murmur, hardly rise in pitch at all

2 3 4





2 3 4











7 4

Tpt. (outside Za)

(Za)



5-6

Cl.

Perc. 2



7'08''                 CELESTA



arco quasi sul pont., but very heavy cracking pressure DB. listen to Sampler 2 for gliss.





2-4

Hn.



108

7'04'' (LIGHT off)





[Sirens]

107

106



(walking slowly to Xa/b door)

      pp   







2 1







take POCKET SIREN





POCKET SIREN



pppp



pppp

POCKET SIREN





POCKET SIREN down



POCKET SIREN down

 

go quietly, slowly downstairs through CD stairs

3 2 1



 



2 1



put down GLOCK. STICKS, take POCKET SIREN



 





POCKET SIREN

pppp



POCKET SIREN down

 

Tape



POCKET SIREN





POCKET SIREN down

pppp



POCKET SIREN





POCKET SIREN down

Va.



SCHWIRRBOGEN down, pick up VIOLA

Ob. A



put down TORCH, take POCKET SIREN



3 4 1-3

Cb. Cl.

   (going to AB stairs)

5-6



Prog 2

Keyb. 2

Pno. 2 1

Actor B



1-2



5-6





Pno. 1 5-6

CD (outside Db)

Vn. 1

(Da)

rush to corner B

ppp

    



TwentytwoB

1,2,3,4

    pp  

   

col Cl. (upstairs)

take POCKET SIREN



Prog 3







pppp





  



TwentytwoD

2,3,6,7 2.41



sffz [parler sur le souffle on other side of door]

l'éléphant caresse moi un peu, la plume dans le dos. ↑ at door button Bb ↑ at door button Ba



frisque

go down corridor to Ab door and take CYMBAL

(into corridor)



 

  

SAMPLER 1



TwentytwoA

 

1-8







take POCKET SIREN





POCKET SIREN





pppp

POCKET SIREN SAMPLER 1 TwentytwoC down 



1,4,5,8

 

3-4 1-2

Fl.



SAMPLER 2



2 1

Vn. 2







3-4

Keyb. 1







 













POCKET SIREN down







                



SCHWIRRBOGEN down, pick up POCKET SIREN

POCKET SIREN



pppp



T A

Vc. Hp.











 Fl.   2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vn.II  Vn. Vn.IIII  Vn. Va.  Va.

Vc. Vc. Db.  Db.

 

stand quietly

 

pedal rattle (loud as possible)

(absolutely together)

fff

↓ LIGHT on



ffff

molto rall.

     

  

pppp sub.

freeze

    

 









 

                 

ord.

1. solo

                               





↓ LIGHT off



listen to Sampler 1 for gliss. pp

 

 

sit quietly

  take Eb crook























Vivaldi Olympiade



Halogen Stage [Violins]

Perc. 1 (by Cel.)

Bsn.

112

113

114

115

7'20''  1 

7'24''

7'28''

7'32''

7'36''



(outside Wa)

Cl.









Tpt. (outside Za)

(Za)



3 4



  

CL.

 



        pp   pp

CB. CL.



(by X corner)





       





        

         











4-5

Perc. 2





2-3



pick up BASSOON

Db.



go with Perc. 1 to WX corridor through Wb/c doors

(walking to Xa/b door)

Cb. Cl. X



go with Trb. to WX corridor through Wb/c doors

(going to XY1) 3

Trb.

[Viola]

111

6-7





3 2 1





3 2 1



  



go with Perc. 2 to YZ corridor through Zb/c doors go with Tpt. to halfway YZ corridor through Zb/c doors

2 1

 Microphone Violins 1 and 2 ON



Tape

Va.









Microphone Viola ON



VIOLA with RADIO MICROPHONE









3     

arco

fff

Ob. A Actor (outside Ab)



1-2



5-6

Pno. 2 1

go through Ab/c doors into AB corridor

Twentythre 5,6,7,8 +0

 

1-2



5-6



 

Twentythre       









  

    

 



0↑ 0 0 0

   

fff





 





   



    

  













    

walk to middle of stage, 16 fast e steps

 

      

  

   



  





SCORDATURA VIOLINS with RADIO MICROPHONES play alla chitarra with PLECTRUM

                          fff

(going quietly, slowly downstairs through CD stairs) 0 0 0 0

Vn. 1

1,2,3,4

3 1-2

(outside Db)







    

    

↑ walk halfway back, backwards

    

 





 

      

  

    

     

    



 





                           



   

↑ walk to middle of stage, 16 fast e steps



     

    





      

    



     

     

↑ walk 8 fast e steps forward again               ↑ freeze in middle of stage



Vn.IIII  Vn.



Va.  Va.



Vc. Vc.



 











G E

 

Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vn.II  Vn.

Db.  Db.













     

   



Vc.



4-6

Hn.

(Da)

    mp  

  

Pno. 1

Fl.



steps to join Vn. 2 in middle of stage

Vn. 2



3-4

Keyb. 1





↑ walk 8 large qK

3-4

Keyb. 2

take COR ANGLAIS

                           3





   

(WX corridor)

[Tape]

117

118

119

120

7'40'' 1 

7'44''

7'48''

7'52''

7'56''

Trb. W Perc. 1

Cl.



3 4













(YZ corridor)

Tpt. Perc. 2











   

5-6

Pno. 2

(outside Ab)



         

go out through Xa/b doors with Bsn.

go out through Xa/b doors with Cl.

    

go out through Ya/b doors

put down CB. CL., take BARITONE SAX. and REFEREES WHISTLE













put down CELLO, take REFEREES WHISTLE

Microphones Violins and Viola OFF Quadro hits (4)







 



↑ enter through Ab/c door with CYMBAL and walk towards CD3 (like one of the musicians)



 Prog 4 TwentyfourB 2,3,6,7 +0

    pp   



  





     mf

  

TwentyforD

  

2,3,6,7

  

leave for AB corridor via Ba/b doors

2 3



1-2



5-6





2 1

Pno. 1



Twentyfour     pp

4-6

CD Hn.



3 1-2







2 1

 









1,4,5,8



 

TwentyforC mf

  

1,4,5,8

  

   

↑ freeze





                        

go with Vc. into DC corridor through Db/c doors

↑ freeze

   



(going quietly, slowly downstairs through CD stairs)

Vc.



3-4

Va.



3-4

Vn. 2





3 4

Vn. 1



1-2

(Da)



Fl.



Keyb. 1



    pp  

Tape

Keyb. 2



C. A.



 

Actor A



leave with Cl. and Bsn. to outside Xa/b doors (take DOUBLE BASS)

5-6 7



2-4

Cb. Cl.



 

senza sord.

Db.



Bsn.

[BO]

116

↑ walk on towards Ab door

 

take PICC. and REFEREES WHISTLE



                    



↑ go into AB corridor with Vn. 1 and Va.



↑ walk backwards to Ab door

↑ go into AB corridor with Vns.



↓ LIGHT on



Vn.II  Vn.



Vn.IIII  Vn.



 

Va.  Va.



 







 



go to outside Db/c doors with Fl. (take CELLO)





arriving downstairs

↑ go into AB corridor with Vn. 2 and Va.



                ↑ walk on towards Ab door         

leave for CD corridor via Ca/b doors



moltissimo cresc., very pulled around (sea sick)



Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vc. Vc. Db.  Db.



stand quietly



 

   



 

 a2



Eb crook

 

CPE Bach W183 No. 2

 

unis.





 

 

  

   

                                                   

     

sffzpp

ppp

 

  



  



   

   



   

          



      



   



   

 



   



ppp

16 sec. fade out of stage to Rang unten [BO]

[G.P.]

121 8'00'' 1  (WX corridor)

Trb. W Perc. 1

(outside Xa/b)

Db.

(YZ corridor)

Tpt. Z

C. A. (outside Ab/c)

  

  





take REFEREES WHISTLE





take REFEREES WHISTLE









take REFEREES WHISTLE



 



1-2





take REFEREES WHISTLE



take REFEREES WHISTLE



take REFEREES WHISTLE















 

go to halfway of WX corridor



ff walk to X end of WX corridor



















2 3 4







 

put down DOUBLE BASS, take REFEREES WHISTLE

2 1





3 2 1



  

Vn. 1

  

Vn. 2 A Va. Obbl. Tpt.





4 5 1-2







  



 





ff walk to Y end of YZ corridor



take REFEREES WHISTLE

 



 





Tape



go to halfway of AB corridor

 















 

ff walk to B end of AB corridor



 



  



3-4

5-6

Pno. 2

Keyb. 2

  



take REFEREES WHISTLE



take REFEREES WHISTLE

2 3



1-2



3-4

Keyb. 1

5-6





2 1

(outside Ca)

Pno. 1

 

4-6

Actor (outside Db/c)

  



Hn.

  



(outside Ba)

8'16''

5-6

B. Sax.

Perc. 2

125

8'12''

3-4

(outside Ya)

124

8'08''



Bsn. X

123

8'04''



Cl.

122



G.P.





Picc. Vc. D Obbl. Trb.



 









circle round first 6 stalls' rows, not too slowly (minimum 1 revolution before stopping at bar 141)

go to halfway of CD corridor



HORN





very nasty



 

fff











↑ walk round to side of CD staircase

  



  

ff walk to C end of CD corridor



  



  



T A G

Gl. harm.





















2 Hn.  2 Hn.





Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.

freeze, INSTRUMENTS still up to mouth / BOWS stay on string

Vn.II  Vn.



Vn.IIII  Vn.



Va.  Va.













Vc. Vc.

Db.  Db.



     ppp

 

ppp

  ppp   ppp





      



     pp 

 

 pp

take C alto crook

  





































     pp   



  



   



ppp

       

 





 

 div. arco    

     pizz. ppp   div. arco          pizz.    div. arco          pizz.  div. arco        pizz.  arco     

   



B fade Unterbalkon to Black [Ref's Whistles]

127

128

129

130

8'20'' 1 

8'24''

8'28''

8'32''

8'36''

2 3 4

Perc. 1 WX

(½ way WX corridor)

1 2

Trb.

Cl.

 

Db.

    



3 4

(YZ corridor)









  

(outside Ab/c)

Vn. 1 Vn. 2



 



1-2 3-4 5-6



Keyb. 1

(outside Ca)

Actor

Pno. 1 6 5

Vc. CD

(½ way CD corridor)

Hn.

Picc. (outside Db/c)

Gl. harm.

  

 



  





REFEREES WHISTLE down





run halfway down WX corridor (without DB.)

  



 

take CUP MUTE

 take DOUBLE BASS

go back to outside Xa door





REFEREES WHISTLE

REFEREES WHISTLE down



REFEREES WHISTLE





go back to outside Ya door

run halfway down YZ corridor





REFEREES WHISTLE down, take NIPPLE GONG





 



REFEREES WHISTLE







Whistle wander (27)





REFEREES WHISTLE









   

ff ff

REFEREES WHISTLE



    



  











 COR ANGLAIS



 slightly into hall (signalling)





ppp

REFEREES WHISTLE down



REFEREES WHISTLE down



REFEREES WHISTLE down



 



REFEREES WHISTLE

  

  





  

  

REFEREES WHISTLE down, take NIPPLE GONG



go back to outside Ba door



run halfway down AB corridor

  

nearing C end of CD corridor













   



take REFEREES WHISTLE

ppp

(circling round first 6 stalls' rows)





 

REFEREES WHISTLE























  



REFEREES WHISTLE





↑ walk REFEREES WHISTLE down, take CELLO

run back to D end of CD corridor



REFEREES WHISTLE





 

↑ stop walking







go back to outside Ca door

run halfway down CD corridor

↑ stop walking

 REFEREES WHISTLE down, take NIPPLE GONG



go round to C3





REFEREES WHISTLE





3 2 1





1-2

S T A

Hp.



nearing B end of AB corridor



  



   

Obbl. Trb.



REFEREES WHISTLE down

run back to A end of AB corridor

Pno. 2

(AB corridor)

(CD corridor)



Obbl. Tpt. B







 

1-3

Keyb. 2

 REFEREES WHISTLE down



(outside Ba)











(½ way AB AB 5-6 corridor)

   ff   



Va.



run back to Z end of YZ corridor

take CUP MUTE



nearing Y end of YZ corridor

Tape

C. A.



REFEREES WHISTLE down, take NIPPLE GONG





run back to W end of WX corridor

  



 

4 3 2 1

  

REFEREES WHISTLE

2 1



  





(½ wayYZ YZ corridor)

nearing X end of WX corridor

  



Perc. 2

  

REFEREES WHISTLE

B. Sax.

  





(outside Ya)

  

REFEREES WHISTLE





REFEREES WHISTLE

1-2 3-4 5-6 7

Tpt.





Bsn.



3 4

(WX corridor) (outside Xa/b)

126

 



REFEREES WHISTLE down



HORN mf

   



 

REFEREES WHISTLE down



 





Fl.  2 2Fl.

2 Ob.  2 Ob. 2 Bn.  2 Bsn.

prepare right hand to switch LIGHT



2 Hn.  2 Hn.

Vn.II   Vn.



Vn.IIII   Vn. Va.   Va. Vc. Vc.

 

Db.  Db.

 

 

                                               

  

with left hand only

     

 

 LIGHT off



   

  



 







remain standing, dead still







  

(with last two whistles from Tape)

 





   



  



 



arco

arco arco 

  



arco

  





   

Harps.



1. answering C.A.



[Nipple Gongs]

131

132

8'40'' 1 

Perc. 1

(outside Xa/b)

8'52''

8'56''



NIPPLE GONG



  

























































Cl.

 

Bsn.



3 4



 

1-2



BSN.













DB.



CL. p

cup



 











 

  

   



   

 





  















3-4

(outside Ya/b)

135

8'48''



Db.





Trb.

134

(outside Wb/c)

8'44''

133

5-6

Bar. Sax.



 















Tpt.

Perc. 2 (outside Zb/c)





BAR. SAX.



cup



 



    3

    3

3 2 1



 



 









SCORD. VN.





SCORD. VN.



arco, ord.





VA.

arco, ord.

 







NIPPLE GONG















2 1



Tape

(outside Ab/c)

C. A.

Vn. 1

Vn. 2

Va.

4 1-2

Obbl. Tpt.

Keyb. 2 B









p p p

0 0



0 0

 







0 0









0 0





















2 3



1-2



NIPPLE GONG



  









3-4

Actor Obbl. Trb. C Keyb. 1

5-6





Picc. Vc. D



↑ stop walking



↑ walk (walking along BC)



NIPPLE GONG





 

  













 









 













 





La Bibliomane



(circling round first 6 stalls' rows)



   3



3 1-2

↑ walk



4-6

Hn. CD





Pno. 1

(outside Db/c)





5-6 Pno. 2

(outside Ba/b)



arco, ord.





3-4

(outside Ca/b)







2 1





T A

Hp.

Gl. harm.

Fl.   2 2Fl.



2. Solo



 







Vn.IIII  Vn.



Va.  Va.



Vc. Vc.



 





2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vn.II  Vn.

Db.  Db.



  



 p





 

136

137

138

139

140

9'00'' 1 

9'04''

9'08''

9'12''

9'16''

Perc. 1

(outside Wb/c)

(outside Xa/b)

Cl. Bsn.

1 2 3

  



  

Trb.





  

Tpt.

Perc. 2 (outside Zb/c)



4 3 2





  

(outside Ab/c)

  

Vn. 1

 

(outside Ba/b)

 

 

Pno. 2

Obbl. Tpt.

Keyb. 2 B

1-2 3-4 5-6 3

Obbl. Trb.

Keyb. 1

2 1

Pno. 1 4-6

Hn. CD

Picc.



 



 3  



 



 3  



 

















    

   

  

















  





I II

   



  













 

CUP MUTE down

  



 

  



remove CUP MUTE







  0 0

più f

 

0 walk 0

più f

 

to B end of AB corridor

walk to B end of AB corridor

0 0

 



 







 













 





 



 





 





 





   3



 





   3









Le copiste

 





   3



 





 

Le faux et le beau



 



 



  

ppp



 PICC.   p VC.

Vc. D





 I   II 

  

1-2

(outside Db/c)

(outside Ca/b)

Actor BC







2 3





1-2 3-4 5-6



 3  





C. A.

Va.



Tape

Vn. 2



 

 

3 2 1

  

 

1-2 3-4 5-6

Bar. Sax.

 

 

3 4



 

Db.

(outside Ya/b)

 





   







   

(circling round first 6 stalls' rows)



 

I II



  



I II

 

  

   

  

  





    

   

  

  





 

  

  













  

  

 

 

Hp. Gl. harm.



S T A

 





   

 



  

Fl.  2 2Fl.













2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vn.IIII  Vn.







 Vn.II  Vn.



Va.  Va.



Vc. Vc. Db.  Db.





      











LIGHT ↓ on



↓ off



↓ on



↓ off



↓ on



↓ off



↓ on



↓ off



↓ on



↓ off



↓ on



       

[Hp. + BO]

141

142

9'20'' 1 

9'24''

143

144

145

9'32''

9'36''

9'28''

Perc. 1

3 4

(outside Wb/c)

(outside Xa/b)

Cl. Bsn.



(mp)





1-2



put CLARINET down, take 2 AEROSOL KLAXONS (one in each hand)





put BASSOON down, take 2 AEROSOL KLAXONS (one in each hand)











 





Outside corridors upstairs: Cl. + Bsn. Start to run as fast as possible right round front of building , and along corridor to outside Ya/b door (ca. 40 secs.). Play KLAXONS every 2 steps, alternating left and right hands. Not in synch with colleagues.



SPOKEN



Drowned in the reverberation

(mp) SPOKEN







Rufhörner, Klaxons and Brass (except Vns., Cl. + Bsn.) are blared directly into the hall through the half opened doors





Go immediately downstairs via Porter to Kolberg ratchet outside Ab door. Run some of the way to be on time. Do not leave out the RUFHORN.

fff

Spoken text absolutely unprojected (as if speaking on the telephone)

3 4



RUFHORN



↓ Drowned in the reverberation



Db.

SPOKEN



Trb.



put GONG down, take RUFHORN (102-02)

   

TRB. senza sord.



fff

Drowned in the reverberation

 









(mp)



3-4

(outside Ya/b)

XY 5 - 6

Bar. Sax.



 

Tpt.

Perc. 2 (outside Zb/c)













SPOKEN



(mp) SPOKEN



Drowned in the reverberation





Drowned in the reverberation

 

TPT. fff

(mp)

3 2 1



 



RUFHORN

SPOKEN





put GONG down, take RUFHORN (97-02)



Drowned in the reverberation

fff

(mp)



RUFHORN down



2 1

 

(outside Ab/c)

Tape

C. A.

Va. A



 

take RUFHORN (98-02)



take RUFHORN (96-02)







SPOKEN



SPOKEN

1-2





RUFHORN



↓ Drowned in the reverberation





fff

(mp)



RUFHORN ↓ Drowned in the reverberation

 

Quinto reverse (11)

fff

 





 put down RUFHORN and COR ANGLAIS, take GHETTOBLASTER 1



RUFHORN down



3-4

AB 5 - 6

(outside Ba/b)

Pno. 2

Obbl. Tpt.

Keyb. 2 B Vn. 1 Vn. 2

1-2

Keyb. 1

Pno. 1



put GONG down, take 2 KLAXONS





 Tout  est dit

SPOKEN

 2 KLAXONS

Drowned in the reverberation

(mp)

deposit SCORDATURA VIOLIN, take 2 AEROSOL KLAXONS (one in each hand)

 



fff





fff

  

 

 put down KLAXONS



Outside corridors downstairs: Start to run as fast as possible right round front of building , and along corridor to outside Ca/b door  (ca. 40 secs.). Play KLAXONS every 2 steps, alternating left and right hands. Not in synch with colleagues.



   

 



put GONG down, take 2 KLAXONS

SPOKEN



 2 KLAXONS

Drowned in the reverberation

 





fff

(mp)







put down KLAXONS





RUFHORN down





RUFHORN down





5-6

CD 3 - 4 1-2

(outside Db/c)

(outside Ca/b)

Obbl. Trb.



3-4 5-6



 

Actor BC



Picc.

Vc. D

 

 

take RUFHORN (107-02)



take RUFHORN (100-02)



RUFHORN

SPOKEN





SPOKEN





Drowned in the reverberation (mp)

RUFHORN

Drowned in the reverberation



fff



fff

(mp)

Hn.



 pp

Gl. harm.



G E









coming to a standstill in front of the audience , facing stage

Hp.





 mf















Bar. Orch.: add ornaments, very affected



Fl.   2 2Fl. p  2 Ob.   2 Ob.

  2 Bn.  2 Bsn.

C crook

2 Hn.   2 Hn.

  

       







Va.   Va.



Vn.II   Vn. 



Vn.IIII   Vn.

Vc. Vc. Db.  Db.

 

 

 C crook





  





 

   

  2.

    

 1.



 1.

 







 





1. 2.





LIGHT off

Doors fully closed

147

148

149

150

9'40'' 1 

9'44''

9'48''

9'52''

9'56''

3 4





2 3

(outside Xa/b)

1 2

   (running with KLAXONS upstairs)   

Db.

(outside Ya/b)



(running with KLAXONS upstairs)

Trb.





1-2





 

3 2

Perc. 2 (outside Zb/c)









(outside Ab/c) (outside Ba/b)





 



 

Va. A Perc. 1

 

3 4



1-2



Downup hoot (39)



ppp!









(running to outside Ab door)



go very simply, quietly and not too quickly to CELLIST'S CHAIR on middle of stage, move it to the right end of raiser 3 and sit down facing audience

3-4 5-6

Obbl. Tpt. Keyb. 2 B Vn. 1 Vn. 2



 



   ffff ppp

be sounded]   should hardly ["la" 































3-4 5-6





go to outside Ab door and take STRANGE INSTRUMENT (running with KLAXONS downstairs)

1-2

Keyb. 1

Pno. 1





(la)



5-6 3-4 1-2

(outside Db/c)



Pno. 2

(outside Ca/b)



Ob.



Tape

Obbl. Trb.





Actor BC



5-6



3-4

Bar. Sax. Tpt.

Cl. Bsn.

[Tape]

146

Picc.

Vc. D

  

go through CD corridor to outside Ca door

CELLO down, take GHETTOBLASTER 2

Hn.

T A G

Gl. harm.





Hn.  2 2Hn.

  































Ob.  2 2Ob. 2 Bn.  2 Bsn.

pppp very short, the tiniest, shortest exclamation





Fl.  2 2Fl.

 

unis.

  Vn.II    Vn.









  Va.    Va. 

































   Vn.II II    Vn.

Vc. Vc.

Db.  Db.

        pp

                   

  





























































                   

    

stalls Halogen + stage ["zur Verbesserung"...]

152 10'04''





Trb. X





10'' music Oboe, first 8'' Cello, last 8''



SPOKEN

 



SPOKEN

 



SPOKEN

 



SPOKEN



 

mp straight, unprojected zur Ver - bes se rung der Hör sam keit

mp straight, unprojected

zur Ver - bes se rung der Hör sam keit







Bar. Sax.











 

Cl. Bsn.

2 1

 

mp straight, unprojected zur Ver - bes se rung der Hör sam keit

mp straight, unprojected

zur Ver - bes se rung der Hör sam keit

  (running with KLAXONS upstairs)    (running with KLAXONS upstairs)

(outside Zb/c)







 



SPOKEN

mp straight, unprojected



zur Ver - bes se rung der Hör sam keit



2 1

 

Tape

Ob.

 

Keyb. 2

 

3 4



1-2



3-4

Actor AB



SPOKEN

mp straight, unprojected



SPOKEN

mp straight, unprojected

 









put on KOLBERG RATCHET

music starts, tape 1

 ↑ run right across stage to D1



zur Ver - bes se rung der Hör sam keit

pyõn

GHETTOBLASTER 1 ↓ play (4 secs. silence)



zur Ver - bes se rung der Hör sam keit

ppp

 pyõn 

Pno. 2



 

 

put down KLAXONS, take CONTRABASSOON



 

Perc. 2

Obbl. Tpt.

↑ stop (arrival at Ya/b doors)

 put down KLAXONS, take Eb CL.

(outside Ab/c)

Use a recording of Vivaldi Olympiade, bar 12, second half, to bar 16, second half 1 0'37'' - 0'47'' (0'49'')

5-6 7

go discreetly into auditorium, and wait in front of AB1 pillar



↑ run 8 secs. through gap in audience , round to face audience, stage left

 

 

2 3



1-2



3-4 5-6

(outside Ca/b)

3-4

Keyb. 1 Picc.

Obbl. Trb. C Vn. 1 Vn. 2

    

2 1



SPOKEN





mp straight, unprojected zur Ver - bes se rung der Hör sam keit





Picc., Keyb. 1 together: enter hall through Ca door, go very quietly to Piano 1



Pno. 1

↑ stop (arrival at Ca/b doors)



5-6

3-4 1-2



 



 



SPOKEN

 



SPOKEN

 



SPOKEN

Fl.   2 2Fl.



 

 

Vc. (DC corridor)

10'16''

N.B. Music on Ghettoblasters should last 8 seconds,but also should overlap (Ob. 0''-8'', Vc. 2''-10'').

 

Db.

(outside Ba)

155

10'12''

Perc. 1

154

1-2

(outside Ya/b)

10'08''

Tpt.

153

(outside Xa/b)

151 10'00'' 1 



GHETTOBLASTER 2 ↓ play (4 secs. silence)



music starts, tape 2

 ↑ run right across stage towards Perc. 1 (AB1)

2 1

Hn. Va.



 

mp straight, unprojected zur Ver - bes se rung der Hör sam keit

mp straight, unprojected

zur Ver - bes se rung der Hör sam keit













A G

Hp. Gl. harm.





2 Ob.   2 Ob. 2 Bn.  2 Bsn.

2 Hn.   2 Hn.





  

mp straight, unprojected zur Ver - bes se rung der Hör sam keit

























sam keit

Vn.II   Vn.









Vn.IIII   Vn.









Va.   Va.









 

















Vc. Vc. Db.  Db.

 

sit down

              

    

    smorz.             f                         B

        Vivaldi Olympiade 1 0'38.8''































[Absolutely still!!]

157

158

159

160

10'20'' 1 

10'24''

10'28''

10'32''

10'36''

3 4





3 4





Trb. X

 

Db.

4 1-2



take LARGE WOODEN RATCHET (ETHNIC)



take SL. TPT.

 

3-4

5-6 7

(outside Ya/b)

Absolutely still!!

Bar. Sax.

Tpt.

(outside Xa/b)

156

  

Eb Cl.

Cbsn.

1 4

put down TPT., take PICC. TPT.

 

 

go to outside Zb/c doors



Perc. 2 (outside Zb/c)









2 1



Keyb. 2 A

Perc. 1 Vc. AB









(outside Ab)

Tempo 88 (12a)



Tape















KOLBERG RATCHET ↓ Solo: start playing RATCHET in time with tape, slowly and strangely



walk to position beyond middle of raiser 2 5 bars q = 88 (10 h steps)



put pause BUTTON on before next piece of music (if not possible, exchange for another GHETTOBLASTER)

 



↑ enter hall with STRANGE INSTRUMENT via Ab door. Walk briskly to right side of raiser 2, which has already started to move (it should be obvious that you are arriving later). You can shout out, etc.

↑ freeze

walk simply and directly to right side of raiser 2 with GHETTOBLASTER

3-4 5-6 Pno. 2

Obbl. Tpt.

(outside Ba)



1-2



3-4

(outside Ca/b)

Vn. 1

Vn. 2 C

Keyb. 1 Picc.

Pno. 1 6

Actor

 



 

put down KLAXONS, take ELECTRIC LOUDHAILER, set dial to [9876]

put down KLAXONS, take MARTIN TREMOLO TRUMPET (C#/B)



  

1-3









Hn.



Obbl. Trb.

Ob.

 

5-6

(Samp. 1)





[to Perc. 1:]

[to stage crew, very loudly as if instructing them to move raisers 2 and 4:]

Pour coudre ses sortes d'habits, rapetassés

... et beaucoup des points d'aiguilles



3 2 1

Va.

Hp.

Gl. harm.

  



2 Hn.  2 Hn.



Vn.II  Vn. Vn.IIII  Vn. Va.  Va.

Db.  Db.

 

VA.







hold BOW at point with right hand, finger with left hand



2 Ob.  2 Ob.

deposit GHETTOBLASTER by OBOE, take OBOE





Vc. Vc.

at D1



Fl.  2 2Fl.

2 Bn.  2 Bsn.



↓ pause GHETTOBLASTER



Ambidextrous changeover should be smooth and simple, one action at a time and regular. The same each time.

HARP

GL. HARM.



   p

 





walk simply and directly to left side of raiser 2



Walk simply and directly to middle of raiser 2 and exchange position with Actor. Ask if he's ready etc. Carry HORN under arm.



     

 /0  /0  /0  /0  /0

in time with tape q = 88

pppp

  













 

   

  



  

  



 

pppp

   



move raisers 2 and 4 to full height after command from Actor subito maximum light of hall 161

[Perambulations]

10'40'' 1  2 3 4

(outside Xa/b)

Sl. Tpt.





Db.

4 1-2 3-4 5-6 7

Bar. Sax.

SL. TPT.

  



(outside Ya/b)







enter and set up at W1









4 3 2 1



Cbsn.



  

 



vary within boxed elements Perambulate 



fff



LARGE WOODEN RATCHET (ETHNIC)





    

fff







 







  

Rising stage ambience plus baroque music faded (48)





1 2 3 4



1-2 3-4 AB 5 - 6 Pno. 2



(outside Ba)

Bourée Alternative a great commotion



1-2



5-6

Vn. 1

Vn. 2 C









   



fff

(Samp. 1)

Va.

4 3 2 1

Start playing sample as soon as stage starts to move. Double sample is screen movement on 1,4,6,7 and stage movement noise on 2,3,5,8.

  min.

vary the notes in the lower octave

 

  

MOUTHED not voiced Mouth a count (not too exaggerately) from 1 to 65 (q's in tempo).







"one"



"two"



"three"



"four"

stand absolutely motionless staring straight ahead at audience



A G

Actor

vary within boxed element Perambulate  go eventually behind last row of stalls and into chamber in middle behind back wall to meet Obl. Tpt.

3-5 1-2

Ob., Perc. 1, Hn., Vc., Keyb. 2





PIANO 1 Busk along with Fasch music on tape (not live Baroque Orchestra), a sort of stride continuo.



SIREN (but very brief) 4 amplify Trombone

TREMOLO TRUMPET (half valve produces both notes) vary within boxed element      Perambulate 

Keyb. 1 Pno. 1  Picc.

[on] q. e [off]

Perambulate

fff

Obbl. Trb.

ELECTRIC LOUDHAILER vary within elements: 1 slap MICROPHONE with HAND 2 blow staccato at MICROPHONE 3

 



    

 

2 3

BC 3 - 4

(outside Ca/b)





Some suggestions for the perambulating musicians: Stop and listen. Stay in one place for a long time, then run on suddenly. Measure things. Don't march. Walk with a reason. Direct your sound, with a specific purpose. Keep instrument under arm. Bring to playing position only when you want to play. Hit selectively - like the underneaths of things; or only metal; or only the floor... Don't do 'old fashioned improvisation'.

move raisers 2 + 4 to full height after command from Actor

fff





N.B. 2nd note of baroque music by downbeat must come at 11'02''

Obbl. Tpt.





Tape



enter hall and set up at Z1 2 1

Perambulating musicians should play very sparingly. Play as if exploring the acoustics of the hall in all directions. Use surfaces like floors, or use walls as mutes. Don't try to make it comic. Take PERC. STICKS (Tam-Tam beater and Glock. sticks) to occasionally hit surfaces, as if researching.



fff

  

    



Vary within boxed elements. Eventually play SL. TPT. into Vn. 1 MEGAPHONE when you meet. Perambulate 

   

BAR. SAX.



10'56''

  

Eb CL. fff

Perc. 2

165

10'52''



164

10'48''



Eb Cl.

(outside Zb/c)



fff

PICC. TPT. in Bb

Picc. Tpt.

163

10'44''

Perambulations should be bustling and busy and parading. Sudden turns in direction, looping back and some running. Everyone perambulating should have got out of the hall before tape stops. Perambulations can therefore only take 1 min., maximum.



1 2 3 4

162





2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vn.II  Vn. Vn.IIII  Vn. Va.  Va. Vc. Vc. Db.  Db.

 

  p

stand subito



Go stand at front facing audience, smiling (dead still). Remain in position until end of Fasch recording on Tape (middle of bar 177).



Fl.  2 2Fl.



hold BOW at heel with left hand, finger with right hand

    



   



         

     



       

 



q = 66, in tempo with conductor (not with tape)



 









  

 

 



       

          



   

 

 



 

   

  

 

 

  

 

         







       

     

 



 

      

 

     

 

Db. W

Sl. Tpt. (perambulating)

(perambulating)

167

168

169

170

11'04''

11'08''

11'12''

11'16''

Eb Cl.

Perc. 2 (perambulating)

Cbsn.



3 4





2 3 4





2 3 4



1-2





   





3 2 1



3 2 1









Tape















2 3 4



1-2



3-4

5-6 Pno. 2

Obbl. Tpt.

(perambulating)

   

2 3



1-2



3-4 5-6

(perambulating)



Vn. 1

Vn. 2 C

Obbl. Trb.

Keyb. 1 Picc.

Pno. 1 6



   

 (busking with Fasch music)   

 

3-5 1-2





 

3 2 1





Ob., Perc. 1, Hn., Vc., Keyb. 2

Va.

 

"21"

Actor



5-6

Bar. Sax.

(Samp. 1)



3-4

Picc. Tpt.

166 11'00''  1



"22"













Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.

Vn.II   Vn.



Vn.IIII   Vn. Va.   Va. Vc. Vc. Db.  Db.

   



"23"

"24"

sim.



   

 

     

   

                            



    











 



 



    

          

 

 

    

    

 



        

 

 

 



     

  



      

   

  

 













 

   

 

 



 



 

    

 

        



Db.

172

173

11'24''

11'28''











go out of the hall through Ab/c doors

3 4



1-2



3-4

5-6

Bar. Sax.



Eb Cl.

go out of the hall through Ab/c doors









go out of the hall through Ca/b doors



go out of the hall through Db/c doors

Perc. 2 (perambulating)



go out of the hall through Ba/b doors

Cbsn.









Tape







3 4



1-2



3-4

5-6 Pno. 2

Obbl. Tpt.

(perambulating)



1-2





go out of the hall through back doors, close DOOR

3-4 5-6

(perambulating)



(perambulating)

Vn. 1

Vn. 2 C

Obbl. Trb.

Pno. 1

(Samp. 1) CD



go out of the hall through Ab/c doors

go out of the hall through Xa/b doors



go out of the hall through back doors

 

3-5 1-2





 

3 2 1





Ob., Perc. 1, Hn., Vc., Keyb. 2

Va.

 

"41"

Actor



175 11'36''

Sl. Tpt.

Keyb. 1 Picc.



11'32''

Picc. Tpt.



174

(perambulating)

171 11'20''  1



"42"



"43"













Fl.  2 2Fl.



"44"











2 Hn.  2 Hn.



Vn.II   Vn.





Vn.IIII   Vn.



Va.   Va. Vc. Vc.

 

 

Db.  Db.

 







2 Ob.  2 Ob. 2 Bn.  2 Bsn.



 

  





       f  



a2 f

   

             





  

               











      























        

     

     



        



           

   

           

      



               

   









   









176 11'40''  1

Db.



















 







1-2



5-6 7





3 2 1





2 1





Cbsn.



 

Tape 1

(outside Ab/c)



Absolutely still, not a sound!!

Bar. Sax.

Sl. Tpt. A Vn. 1



 





1-2



 



3-4

5-6

Pno. 2





Perc. 2

(outside hall)

11'56''

3-4

2 3



1-2



3-4

BC 5-6





(outside Ca)

Pno. 1

(Samp. 1) CD

Eb Cl.



 (busking with Fasch music)      







 

3 -5 1-2

(outside Db)



Picc. Tpt. C



 



 

 



3 2 1





Ob., Perc. 1, Hn., Vc., Keyb. 2

Va.

 



"61"

Actor

180

11'52''

(outside Xa)

Keyb. 1 Picc.

179

11'48''

Vn. 2 X

Obbl. Trb.

178

11'44''

Obbl. Tpt.



177

(outside Ba)

[Absolutely still, not a sound!!]

↓ all doors closed as soon as everyone is outside



"62"

"63"

 

(still standing, smiling)



2 Ob.  2 Ob.



2 Hn.  2 Hn.

"65"

Vn.IIII       Vn.

   

   



 



 







 

 







     Va.  Va.



dont play, freeze!

     

Db.  Db.

"64"

counting stops



Vn.II  Vn.

Vc. Vc.





Fl.  2 2Fl.

2 Bn.  2 Bsn.















 







 







fade to

Db. W

Dias WX

Vn. 2 X (outside Xa)

181

182

183

184

12'00''  1

12'04''

12'08''

12'12''



Cbsn.













2 4



(outside Ab/c)





2 3 4



1-2







Vn. 1







(Trem. Tpt.) f

 







put down TRUMPET, grab THUNDERSHEET

2 1





3 2 1





3 2





 





















put down LOUDHAILER, grab THUNDERSHEET





4 1-2



fff ff

(EL. LOUDHL.)

  on



full volume

 

off





5-6 Pno. 2





Perc. 2 (outside Ba)



1-2





Prog 2





 

 



  



OBOE





K. RATCHET



14 secs. after music stops

  p  

when music is louder creep back to BC6, take HARMON MUTE

when music is louder creep back to BC1, take HARMON MUTE





2 1





 





take PICC.

take COIN



1-2

 



(stage)

(outside Db)

3 2

Hn.

Vc.

  p

 





GHETTOBLASTER





 







 

squat slowly to put down INSTRUMENT

don't get up







 

HORN





 



 PICC.



  



put down PICC. TPT., grab THUNDERSHEET

3-5

Eb Cl.



go to far down AB corridor



Pno. 1

Picc.

take GHETTOBLASTER 5



(Samp. 1) CD

 



5-6

(outside Ca)

RATCHET whirl



Picc. Tpt. C



3-4

Obbl. Trb.

Keyb. 2



3-4

Perc. 1



1. Jet trail

Sl. Tpt. A

Ob.



Bar. Sax.

Va.



Actor



 

Tape

(outside hall)



185 I  12'16'' 

5-6

Keyb. 1



DB.

3-4

Obbl. Tpt.



Black



make RATCHET tighter so it's very loud







 







Vn.IIII  Vn.







Va.  Va.







Vc. Vc.



 













 

Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vn.II  Vn.

Db.  Db.







STRANGE INSTRUMENT

Mahlathini 4 1'00''-1'02''

 pp



sit down





bow on string

dim up

stage light

186 12'20''  1 

Db. W

Dias WX

Vn. 2

187

12'24'' 



188

189

190

12'28''

12'32'' 

12'36''





 







Blank slide (projector light)









3 4







1-2



THUNDERSHEET















↓ drop THUNDERSHEET f



THUNDERSHEETS must be dropped on stone surface. Note sounds later than indicated, as they will take about ½ sec. to hit the floor.

5-6



3-4



(outside Xa)

[Tape]

3 2 1





3 2 1





Cbsn.

2 1







Sl. Tpt. A Vn. 1











THUNDERSHEET



  





Microphone Contrabassoon ON







↓ drop THUNDERSHEET























 



ord.





5-6 Pno. 2





Perc. 2 B

2 3

Obbl. Trb.

1 - 21



2-3

4-5

Obbl. Tpt.

5-6 3

Tpt. C (outside Ca)

Keyb. 1





3-4

(outside Ba)





1-2

Picc.



2 1

Pno. 1

(Samp. 1) CD

SAMPLER 1 thirteight +0 1–8

 

PIANO 1 COIN on string

 f

    

THUNDERSHEET

  



put down COIN

 

PICC.



 

↓ drop THUNDERSHEET, take GHETTOBLASTER 4





 SAMPLER 1



 thirteight A     f  pp

(maybe only play top B§)    



3-5 1-2

Eb Cl.

(outside Db)

Actor (stage)

(outside Ab/c)

Bar. Sax.



 

CONTRABASSOON with RADIO MICROPHONE



Composition (16)



Tape 1



Va. Hp. Ob.

Perc. 1 Hn. Vc. Keyb. 2

   







D 2





 

 

stand and freeze, facing different positions



T A







 

2 Ob.  2 Ob.



2 Hn.  2 Hn.



 



Vn.IIII  Vn.

Va.   Va. Vc. Vc. Db.  Db.

p ff

 







go help Oboe down off raiser 2



     





take Keyb. 2's STRANGE INSTRUMENT from raiser 2





MOVE:

go to Ba door

 

 Very matter of fact: Get down off raiser on stage left end of raiser. Go to behind raiser and back to center of raiser. Take HORN deposited by horn player. Continue along

Very matter of fact: Facing audience, get down off raiser. Walk a little way towards stage right to where cellist was standing. Take GHETTOBLASTER deposited by cellist



 Very matter of fact: Facing Stage left, walk to stage left of raiser. Get down off raiser just before position where oboist was standing. Take OBOE deposited by oboist. Walk



Very matter of fact: Facing stage right, get down off stage at right end of raiser. Walk back behind raiser to take RATCHET, deposited by Perc 1. Tighten RATCHET and



Very matter of fact: Facing back of hall, turn and walk on the raiser at the back, to stage left end of raiser . Get off raiser, and walk towards audience, taking MALLETS from Actor. Then take GHETTOBLASTER



at the point, almost inaudible, bow moves about 2 mm sim.    

Vn.II   Vn.









Fl.  2 2Fl.

2 Bn.  2 Bsn.





G E



take GHETTOBLASTER

    

sit absolutely motionless!



    



    

throw bow



tutti:



  

ffff





















[Ghettoblasters]

191 12'40''  1

Db. W

Dias WX

2 3 4 1 2 3 4 1 2

Vn. 2 X (outside Xa)



4 3 2 1



4 3 2 1



4 3 2





Sl. Tpt.





Obbl. Tpt.

i.e. in time with Ghettoblaster's music



4:3

     p





GHETTOBLASTER 6





go to outside Ba/b doors and take GHETTOBLASTER 6



5 - 66  



     

(going to Ba door)



2-3 4-5

(outside Ca)

Keyb. 1 Picc.

 





Picc. Tpt.

Pno. 1

(Samp. 1) CD

(outside Db)

Actor

3 2 1

Ob.

Perc. 1

Hn.

 







   





Stereo one (3)

fff





Olympiade bar 14 1 0'43,5'' q=78

   

↓ Play

   

                     

run fast to outside Ab door



  

fff run fast back to outside Ba door





 



ppp



Olympiade bar 14 1 0'43,5'' q=78 GHETTOBLASTER 5 ↓ Play         

GHETTOBLASTER 4



 







 



 ↓ Stop



↓ Stop



outside Ab door



take HARMON MUTE



take HARMON MUTE



outside Ba door



3 -55 1-2 

Eb Cl.



Cbsn. ossia flzg. or multiphonic



3 2







1 - 21





2 3







(outside Ba)







Obbl. Trb.





Perc. 2 (Ba)





1-2 3-4 AB 5 - 6 Pno. 2

Va.



Vn. 1

(stage)

(outside Ab/c)

Bar. Sax.

12'56''

(blank slide)

Tape 1

195

12'52''

 





Cbsn.

194

12'48''



1-2 3-4 5-6 7

193

12'44''





192



20'' fade up Stage + Unterbalkon

fff

↓ Play



Olympiade bar 14 1 0'41'' q=78

                   



       

  



fff run fast to outside Ca door



 



↓ Stop

        



put down GHETTOBLASTER, take PICC. TPT.

Run from Ca door as fast and as far as possible away from hall, down CD corridor. Go back to outside Ca when GHETTOBLASTER music is over. Prog 3

GHETTOBLASTER 3 Olympiade bar 14 1 0'41'' q=78 ↓ Play

 

 



↓ Stop



 

SAMPLER 1 1,2,5,6



 



put down GHETTOBLASTER

outside Ca door



   back of raiser to stage left end of raiser carrying HORN. Walk towards audience away from raiser. While crossing path of horn player exchange HORN for your OBOE. Go to BASS SHAWM near AB1 (with OBOE).

  and return to stage left. While crossing path of Keyb 2 player, give GHETTOBLASTER to Keyb. 2. Finally take MALLETS from Actor and go to front of raiser 4 to play on APRON OF RAISER 4.

Vc.

fff

walk on away from raiser to stage left to play RATCHET at bar 195 and then BASS MARIMBA.

Keyb. 2



go on to Bass marimba



2 Fl.  2 Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.





2 Hn.



Strings sim:

Vn.IIII   Vn.   Va.   Va. 

  ff

Db.  Db.

  ff



niente

   



freeze bow



div.





      hardly inaudible, absolutely frozen

Vn.II   Vn.   

Vc. Vc.





freeze bow



  

  

      

freeze bow





freeze bow

















freeze bow



    

   

  

[Perc. 1]

196 II

13'00''   1 

Db. W

2 3 4

1 2







Vn. 2 X



 

1-2









(outside Ab/c)

Bar. Sax.







3 2







 

 







Perc. 2

(outside Ba)

take BASS SHAWM



1 - 21



    





  



  



take HANDBELLS





BASS SHAWM



leave GHETTOBLASTER, go to outside Ba door go to outside Ba door





  



  

 











  

put down GHETTOBLASTER, take HANDBELLS

 

go to outside Ba door



2 3



put down VIOLA and STRANGE INSTRUMENT, take HANDBELLS



2-3 4-5 5 - 66

Eb Cl. C Tpt.

 

2 1

Pno. 1

 

walk together with Picc. to Bass marimba PICC.

Picc.

(Samp. 1) CD

 

1-2

Hn.

Vc. D



 

p walk together with Keyb. 1 to Bass marimba

3-5







ppp

  



 

  



put down HORN



put RATCHET down



Actor Perc. 1 Hp. Gl. harm.











         



APRON OF RAISER 4

  







 







 



 APRON OF RAISER 4

  





 





 

  



go to Bass marimba









ppp

Keyb. 2





go to Z3



  

   

2 - 24 5-6

Pno. 2

(Bass marimba)



go to GEOPHONE by Z1



Ob.

(outside Ca/b)



Vn. 1

Keyb. 1



Obbl. Tpt.



13'16''

Tape



200

put down DOUBLE BASS, take GEOPHONE

Obbl. Trb.

13'12''

5-6

Cbsn.

(Ba)

199

3-4

Va.



 



13'08'' 



Sl. Tpt.

198

13'04''



(outside Xa)

197





pick up GHETTOBLASTER, go to Piano 2





Fl.  2 2Fl.









2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.



Vn.IIII  Vn.







 Vn.II  Vn.



Va.  Va.



Vc. Vc. Db.  Db.





      



1'' fade to Black

C [Eb Cl. + Picc. Tpt.]

Db. W

201

202

13'20''  1 

13'24''



203

13'28''   

GEOPHONE

 



put down GEOPHONE

sffz

lean over balcony



204

205

13'32''

13'36''



41 

Go down through Wa door to outside Aa door. Either take DB. with you or use another small one downstairs.

Dias WX





 

  

2. Couple/Night sky

Cbsn.



3. Smiling girl, distorted.



3 4





HANDBELLS should be shaken violently and quickly, to give a double attack every 2 beats. Must be very precise.

2 3 4



1-2







3 2 1





3 2 1



 

Vn. 2







Ob.



3 4 1



Perc. 2 Vn. 1 Va. Sl. Tpt. B

 







 









Obbl. Trb.





2 3 1 - 21



go to Z3 with GEOPHONE





put down B. SHAWM

 harmon, open

 p

 f



 











    fff  

PIANO 2

  ff





SLIDE TPT.

 3





5-6 Pno. 2



2 - 42





(outside Ab)

fff







Baroque bits and car (24)





lean over balcony

Microphone Contrabassoon OFF



   



GEOPHONE



Tape

Bar. Sax. A



put down CONTRABASSOON, take TENOR RAUSCHPFEIFE

2 1

(Geoph.)

(outside Ba/b)

  

5-6















   

 











via sord.

go to outside Wb door

 mf







  







2-3

4-5

Obbl. Tpt.

5-6 3

Eb Cl. C Picc. Tpt.







harmon, open



2 1

Pno. 1





 

 

 

            



    









via sord.

go to outside Zb door



Eb Cl. put down CLARINET

fff



5-6

23 - 4

Keyb. 1 (Bass marimba)

(outside Ca/b)

  

3-4

Keyb. 2

  

Picc.

Hn. Vc. Perc. 1

put PICC. down



3 2



Actor

  





put down MALLETS





























   

with fingers

BASS MARIMBA



ppp

  

 



  

 

go to Piano 1 with Horn



pick up HORN, go to Piano 1 with Keyb. 1





take PICC. and HANDBELLS, go towards Db/c doors









take HANDBELLS, go towards Db/c doors take HANDBELLS, go towards Db/c doors



HANDBELLS



HANDBELLS

 f









































change to another position and sit

A G E



 Fl.   2 2Fl.



 

2 Ob.   2 Ob.

stand



fff tutta forza











2 Hn.   2 Hn.







Vn.II   Vn.







Vn.IIII   Vn.







Va.   Va.







Vc. Vc.











2 Bn.  2 Bsn.



Db.  Db.

   



LIGHT on

  

   

   

 

     

       

   

         



 

                          Vivaldi Olympiade E + 2

freeze



LIGHT off





5'' fade up stalls halogen and sides as bells enter hall

Blackout [BO]

206

207

208

209

210

13'40'' 1 

13'44''

13'48''

13'52''

13'56''

2 3

Dias WX









q = 78, col Bar. Orch.



        

Yellow arrows

4. Ciel







3 4





HANDBELLS should be shaken violently and quickly, to give a double attack every 2 beats. Must be very precise.

2 3 4



1-2



3-4

XY 5 - 6

Bsn. Vn. 2





3 2 1





3 2 1



 



(Geoph.)





Tape

 



Db. (outside Aa)

Bar. Sax. A (outside Ab)

Ob.

(outside Ba/b) (outside Ca/b)

 

5-6

Keyb. 2

Pno. 2

Perc. 2

Vn. 1 B

Perc. 1



HANDBELLS



HANDBELLS

1 - 12

 



HANDBELLS

 

 

         hold down until end of 211



 f  

put down SL. TPT.

 

↑ go quickly inside hall towards Piano 2

 



↑ go quickly inside hall towards Piano 2

go to outside Ab door

 



↑ go quickly inside hall towards Piano 2





 



 







Prog 5



put down HANDBELLS





put down HANDBELLS





put down HANDBELLS



23 - 4 5-6





2 1













both players enter hall and go straight to PIANO 1



4 - 56 1-3





HANDBELLS

  

  

Actor





Picc. Vc.



Pno. 1

Hn. CD

        ppp   



Cl. C Picc. Tpt. Keyb. 1

take SOPRANINO RAUSCHPFEIFE and 2 METAL CLICKING FROGS

Va. Sl. Tpt. BC

(Piano 1)

(going to outside Aa door)



2 - 42

(by Db/c)







   





↑ go quickly outside Db door



↑ go quickly outside Db door

 





 

 

↑ go quickly outside Db door









 



put down HANDBELLS



  

go to behind pillar AB1



put down HANDBELLS, take CELLO

go quickly via backstage to outside Aa door to join Db.

put down HANDBELLS, take REQ





les cleptomanie des cervelles fraîches est tel...





[spoken like a question]

G E

 

 

Fl.   2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn.



ppp



   

    

   

   



2 Hn.   2 Hn. 

ppp

   



   

   

   



   



  

  

 

   

 





Vn.IIII  Vn.



Va.  Va.



Vc. Vc.



Db.  Db.

 

(no lights)

ppppp

 Vn.II  Vn.



 q = 78                                 /0            

Vn. I solo

 /0

Vn. I tutti (no lights)

(no lights, div.)

(no lights, div.) (no lights) (no lights)

                       

                                            /0 f

   /0  /0   /0 





Vivaldi L'Estro Armonico p. 168





7'' fade up Unterbalkon

Blackout [Pianos]

211 14'00'' 1 

Dias WX



2 3 4

 

1-2 3-4 5-6 7



4 3 2 1



4 3 2 1



Bsn.



1 2 3 4

2 3 4

Vn. 2



(outside Ab) (outside Aa)

 

 mf

(AB1)

Vn. 1







(Piano 2)

AB 5

Perc. 2

Pno. 2





(Piano 1) (outside Db)

Hn. CD

Picc. Perc. 1









 





put down BAR. SAX., take SCHWIRRBOGEN



go slowly to A1 together with Trb. (no pause in the movement until bar 223)



go slowly to A1 together with Bar. Sax. (no pause in the movement until bar 223) SOPRANINO RAUSCHPFEIFE ↓ short notes one every 12 or so secs. Can phase with Bsn., who plays Tenor Rauschpfeife.



PIANO 2



5,6,7,8





(hold down just until  the Bb minor chord)

  Primo 1    Primo 2 ffff     Secondo 1     Secondo 2



            

     



                  



go very quietly to BC1

 

                



take SCHWIRRBOGEN, go to Woodblockmachine (AB3) with Keyb. 2 Piano tuner 2 very sparse and gentle, lots of pitch bend







  

take SCHWIRRBOGEN, go to Woodblockmachine (AB3) with Perc. 2



 



Pno. 1



Cb. Fl. Radio Mike on









Baroque station (23)





   



take SCHWIRRBOGEN

[curtains]



leave GEOPHONE, go to X1







Keyb. 1

Girl looking serious



1-2 3-4 5-6

 







Cl.

  

Go down CD stairs, through gap in stalls and through Ba door. Very slowly, ca. 1'20''.

ppp



1 2 3

Picc. Tpt. C



the tiniest movement



Boy on swing

  



SAMPLER 2 Fortythre

Keyb. 2



Start just before Piano 2. Play short notes, one every 12 or so secs. TENOR RAUSCHPFEIFE ↓ Can phase with Ob., who plays Sopranino Rauschpfeife.

(going to outside Aa door)

 

Va.





Ob. Actor



Neon







Db.

14'16''



Trb.

14'12''



Vc. A

215

14'08''



Tape

Bar. Sax.

214

14'04''



(Geoph.)

213





212

put down PICC. TPT.



PIANO 1



Primo 1





Primo 2





Secondo 1



Secondo 2



4 - 56 1-3





put down HORN

PICC.

 



2 1



S T A G E



 



 



 



  



                

     

 

         



move to CD2 pillar (without PICC. TPT.)





Piano tuner 1 very sparse and gentle, lots of pitch bend

   



go very quietly to BC6 (without HORN)



leave PICC., take CONTRABASS FLUTE

p walking down CD corridor to outside Ca door

     ffff              



enter hall





Fl.   2 2Fl.





 







2 Ob.   2 Ob. 2 Bn.  2 Bsn.

2 Hn.   2 Hn.

1. take E crook

 

Vn.II   Vn.



Va.   Va.

 



Vn.IIII   Vn.

Vc. Vc. Db.  Db.

   

 

 

LIGHT on



LIGHT off, take WHISTLE



LIGHT off















 very affected senza cimbalo

start slow



molto accel.

                                                                                     Locatelli INT IV bar 38 (e=x Mason)

 rall.

                                       



              

stage / Saal

8'' fade to Black [Woodblocks]

216 1





(going up AB stairs)

2 3

1-2



3-4 5-6 7





3 2

Bsn.

Vn. 2

  







 

Actor

Nigerians don't talk about (34)









Nigerians sim. (34)





















Bar. Sax. Trb.

Perc. 2



(going to X1)

(by YZ4)

Tape

Vc.

(Tenor Rauschpfeife)

(outside Aa)

14'36''

 (Sopranino Rauschpfeife)    

(Woodblmach.)

14'32''

Keyb. 2

220

14'28''

Db.

219

14'24''



218

Ob.

14'20''

217



 







take MALLETS



take MALLETS



WOODBLOCK MACHINE



                                          fff



put down MALLETS



go with Keyb. 2 to A4 and take SCHWIRRBOGEN, follow to stage right side of Raiser 3 (ossia Raiser 4) put down MALLETS



pppp



go with Perc. 2 to A4 and take SCHWIRRBOGEN, follow to stage right side of Raiser 3 (ossia Raiser 4)

4 - 54

Va.

(Pno. 2)

Pno. tuner 2

Pno. 2 1

Vn. 1

1 - 12

 

PIANO: top C very quiet, every 2 secs. or so

2 3

Hn.



  







2-3 4-5 5-6

CONTRABASS FLUTE 1

Cb. Fl.

       pp

(Piano 1)

2 1

Keyb. 1

Pno. 1

  

Cl. CD 6  3 - 54

Perc. 1

(Db)

  



   pp

repeat very sparse, more 1 than 2 than 3

Walk behind stalls (CB) up AB stairs through Za door. Go down stairs. Enter hall through Da door. Go through stage to right side of raiser 1 (before A1).

Pno. tuner 1

Tpt.

very sparse and gentle









SAMPLER 1 Frtyfive

    p PIANO: top C very quiet, every 2 secs. or so 





Prog 4



5,6,7,8



REQ walk  enter hall playing REQ and walk up CD stairs

2 1





T A

Hp. Gl. harm.



G E



 Fl.  2 2Fl.

2 Ob.  2 Ob. 2 Bn.  2 Bsn.



2 Hn.  2 Hn.

 Vn.II  Vn.

Vn.IIII  Vn.



















 

               f

Va.  Va.



Vc. Vc.







col cembalo

Db.  Db.

 







 f

 



 as if broken off and petering out (an afterthought)





























 





 







  





   

BRAZILIAN BIRD WHISTLE 2. ossia with LIGHT individually only while playing the INSTRUMENT





sit down

      pp  pp



 sit down, take WHISTLE













 

  



 



  





 

  





 











  

  







  

 

   

 

1'' fade up stage [Schwirrbogen]

221

222

223

224

225

14'40'' 1 

14'44''

14'48''

14'52''

14'56''

Dias





  

Bacon man 1



7. Bacon man 2



  

Bacon man 3

8. Handcuffs





Ob.



 (Sopranino Rauschpfeife)   (by X)

3 4



1-2



3-4

5-6

Vn. 2

7 4





(Tenor Rauschpfeife)  

Perc. 1



(going to X1)



Bsn.

(at top of CD stairs)





  (Req)

(going up CD stairs)

2 1





2 1



Vc. Db. A

Nigerians sim. (34)



Tape (outside Aa)









go to front stage right very discretly with Db. go to front stage right very discretly with Vc. (take DB.)

Actor









run to stop Schwirrbogen players on stage

stop Schwirrbogen players ↓



23 - 4 5

(Pno. 2)

Pno. tuner 2

Pno. 2

  

Cb. Fl. Va.

(by BC1)

Vn. 1

1 - 21



5-6 3

Pno. tuner 1

Keyb. 1

Pno. 1



prepare COPPERPIPE



3m COPPERPIPE



 









go to CD6



(top C pulse)



3 - 54

Tpt.





Cl. CD

(stage)



4-5

Hn.

Hp.



 

2-3

(Piano 1)













3 2 1

Trb. Bar. Sax. Keyb. 2 Perc. 2

Gl. harm.













 

 

2 Bn.   2 Bsn.

Vn.II Vn.



 

2 Hn. 2 Hn.



Vn.IIII Vn. Va. Va. Vc. Vc. Db.  Db.

 





2 Ob. 2 Ob.











 

Fl. 2 2Fl.







  













  

 



 





swing back and forth horizontally, left to right to left etc. Lope (Ger: beschwingten) along one step per e R L R L R L R L R L R L R L SCHWIRRBOGEN

 

go to stage left side of Raiser 3 (ossia in front of Raiser 4)



     







 

go to stage left side of Raiser 1 (ossia Raiser 3)

 







 



 

  

  



 



 

 



 





 

1.   



 3.  







  



 4.

 



  

   











     2.  1.  



 



 



WHISTLE down



WHISTLE down

   1.  

  

 



 



stopped by Actor















WHISTLE down





WHISTLE down





WHISTLE down





WHISTLE down





WHISTLE down





WHISTLE down







Harp slides across stage [Vc. + Db.]

Cb. Fl.

[tutti spoken mormorando "she sells seashells..."]

[Hp. slides]

226

227

228

229

230

15'00'' 1 

15'04''

15'08''

15'12''

15'16''

2 3 4



1 2 3 4



1 2 3 4





 

Ob.

Vn. 2

Perc. 1

stop off briefly at XY5



6-7



4 3





(going to X1)

Vc. Db. AB



put down REQ, take NIPPLE GONG and STICK



4 3 2 1



4 3 2 1









 

Vn. 1

1 - 21 2-3 4-5

Hn.

5-6

3 2

Pno. tuner 1

Keyb. 1

Pno. 1

Cl.





VC.

 

DB.

 

f Alla chitarra walk from left front speaker to right front speaker, facing AD wall.

 

 ↓ stop dead    ↓ stop dead  

 

SPOKEN



SPOKEN

↑ freeze at front stage left

SPOKEN

mormorando she sells seashells on the sea shore mormorando she sells seashells on the sea shore

↑ freeze at front stage left

One strum and step per quarter note.





↓ stop pulse



go to NIPPLE GONG in AB2



mormorando she sells seashells on the sea shore



  





INDIAN SINGING



SPOKEN



mormorando indian singing again,  she sells seashells on the sea shore but just the beginning

SPOKEN





Les cervelles fraîches mp

go out to corridor via Ca door (Tenor Rauschpfeife)

(in middle of audience) 3-4

Tpt.

Actor Hp. (stage)















4 3 2



Trb. Bar. Sax. Keyb. 2 Perc. 2

Gl. harm.

stop RAUSCHPFEIFE, go outside Ba door ↑



sotto voce (straight after Actor)

Bsn.

Squeak (1)



panning L-R (1 to 2)

NB. not Walking plane slow (16)

4 - 54

1 2 3



Walking plane (45)



2 3 4

Pno. 2

SPOKEN mormorando she sells seashells on the sea shore





Pno. tuner 2





mormorando she sells seashells on the sea shore

(at top of CD stairs)

Va.

SPOKEN



take NIPPLE GONG and STICK

(Req)

Tape

(Keyboard 1)

stop off briefly at XY3

3-4



T A

   



   

       



   

   

    Walk back relaxed to A1 (nonchalantly), deposit SCHWIRRBOGEN. Go to behind CD2 pillar, take CONTRABASS SAXOPHONE.   walk back relaxed to A3 (nonchalantly), deposit SCHWIRRBOGEN   walk back relaxed to A3 (nonchalantly), deposit SCHWIRRBOGEN   





2 Bn.  2 Bsn.

2 Hn.  2 Hn.



Vn.II  Vn.

  

Vn.IIII  Vn.







Va.  Va. Vc. Vc.

Db.  Db.



 

      

stand

  

VN.



VN.

  



    

walk back relaxed to A1 (nonchalantly), deposit SCHWIRRBOGEN



2 Ob.  2 Ob.



mormorando she sells seashells on the sea shore

Poussette, poussette... Pousses cet escalier. Pourquoi cet escalier a poussé dans cette salle SPOKEN mormorando  she sells seashells on the sea shore

↑ HARP slides across stage to right side

Fl.  2 2Fl.





turn to audience suddenly

sfffz

SPOKEN

   ppppp

mormorando she sells seashells on the sea shore









ppppp

SPOKEN





  







 non cresc.

 



1. E crook, 2. C crook



non cresc.

3'' fade to Black [Gongs]

Obbl. Trb.

231

232

233

234

235

15'20'' 1 

15'24''

15'28''

15'32''

15'36''

2 3 4

(outside Wb)





  





 







↑ run inside through Wb door and outside again to outside Wa door

Dias WX

Vn. 2



2 3 4



1 2 3 4







6-7



4 3



Obbl. Tpt. (outside Zb)



take STICK in one hand to hit PANEL behind back row of seats



take STICK in one hand to hit PANEL behind back row of seats



take STICK in one hand to hit PANEL behind back row of seats



BACK OF SEAT



BACK OF SEAT



BACK OF SEAT



BACK OF SEAT



4 3 2 1



take STICK in one hand to hit PANEL behind back row of seats

↓ Tape



(start 4 secs. after Tape)





  

Va. AB

Pno. tuner 2 Bsn. (outside Ba)



Vn. 1

1 - 12

Hn.

5-6

Cl. C

Pno. tuner 1 Keyb. 1 (bass mar.)

Pno. 1 5-6

Vc.

(CD2)

Db. CD Tpt.

Actor Keyb. 2 Perc. 2

 

 



 



NIPPLE GONG



step very quickly to X1





 f



     



↑ walk 16 e steps to W2





  

 

leave STICK CONTRABASS FLUTE

 go on with CB. FL. walk to Za door etc.









leave STICK, keep RAUSCHPFEIFE go out through Yc door to foyer

NIPPLE GONG





step very quickly to Y1





 



↑ walk 16 e steps to Z2



 



 



 







go to beyond rehearsal room



 









 

NIPPLE GONG

 f











↑ walk 16 e steps to B3











  

take NIPPLE GONG and STICK



take NIPPLE GONG and STICK





move to about CD3







 

 







↑ walk 16 e steps to C3 NIPPLE GONG

 f

   











↑ walk 16 e steps to CD2



 

 









↓ stop



INSTRUMENT to normal position ready to play string quartet music (with Vn. 1 and Va.), face AD wall take NIPPLE GONG and STICK

walk with CB. SAX. to front of speaker 1 (AB2)

NIPPLE GONG









 



↑ walk 16 e steps to AB2









   





  

T A G



  

[sotto voce, use these syllables every 6 seconds]



Lûme... scale... walking upstairs fast, round to other staircase

 



racte...

gong...

 

go to Woodblock machine

go to halfway up AB stairs with RATCHET



criss...

lacan...



bi...

ân...



 

↓ LIGHT on



Notes in the box can be played anywhere between the 6th y and the end of the bar. Vns's 4 notes at any individual speed. No one should play after the end of the bar.



 

 2 Ob.   2 Ob.



  Fl.   2 2Fl.

   2 Bn.  2 Bsn.    2 Hn.    2 Hn. 

 

  Vc. Vc.     Db.  Db.  f

   





























 

   







 f





2. take A crook

   

  Vn.IIII  Vn.  Va.   Va.

  

  

   Vn.II  Vn.

tutti:

Tricktatt...

 CPE Bach 183 N. 2



 





 



   



INSTRUMENT to normal position ready to play string quartet music (with Vn. 1 and Va.), face AD wall



NIPPLE GONG





  





take NIPPLE GONG and STICK

(going outside Ba door)

Building, internal yellow

     





4 3 2 1

     



     





Cb. Sax.



↓ stop

2 1

(Keyb. 1)

  

  

2-3 4-5

(outside Ca)



2 3



take RATCHET, go to foot of AB stairs

 

Pno. 2



Broken speakers (40)





2 3 4

3-4 5-6

  

↑ run inside through Zb door and outside again to outside Za door



Tape 1

  



Trb.

  

Grasp NIPPLE GONG firmly by rim and not by string. x = hit rim with stem of STICK, = hit with head of STICK



   





Perc. 1 Y

  

Neon



Ob.



Building, internal structure

Cb. Fl. XY



go to behind open lift door





Closeup yellow danger man



 







 



 

   

[BO]

237

238

239

240

15'40'' 1 

15'44''

15'48''

15'52''

15'56''

Vn. 2

Dias

 



go outside Wb door into about ½ way of WX corridor





White roof



Butcher shop











take METAL CLICKING FROG

Neon





 



3 4





3 4



1-2



3-4

5-6

Actor

Ob.

(outside Yc)

  



collect HANDCRANKED SIREN, go downstairs, put SIREN on front right corner of stage

walking into foyer

 

   

 

SOPRANINO RAUSCHPFEIFE





 



 



deposit RAUSCHPFEIFE, take 2 METAL CLICKING FROGS



Cb. Fl.



 CONTRABASS FLUTE 

Perc. 1

[Sax.]

236

2 1









go outside Zb door into YZ corridor, about ½ way along (depending on time necessary to get into foyer afterwards)



2 1



Tape 1

 

Crossgrill (38)



ppp

Microphone Cb. Sax. ON







Dog and metal stereo 3 cycles speed up round (43) (N.B. the second one)







(AB2)





Tpt. Cb. Sax.







Keyb. 2 AB

 

(wdb. mach.)

Perc. 2 Trb.



put GONG and STICK down, take NON ELECTRIC MEGAPHONE 1



 

 





pppp





CONTRABASS SAX. with RADIO MICROPHONE bark into the Speaker (tape answers)



WOODBLOCK MACHINE (white notes)

 









  ffff 







  fff  

 



go to audience side of pillar between AB4 and AB5 with CLAVES in pocket





NON ELECTR. MEGAPHONE



take CLAVES

roar at Speaker 1 3



 

fff

  fffff  3

6 Pno. 2

Bsn.

(outside Ba)



Va.

1-2







 



 



 



 



  



walking down corridor to outside Ab door

  

deposit RAUSCHPFEIFE, take METAL CLICKING FROG outside Ab door



take 2 METAL CLICKING FROGS, one in each hand















put GONG and STICK down

go through Ba door to retrieve VIOLA from outside Ba door



3-4 5-6

Cl.

(outside Ca)

Vn. 1 C

   

2 1



Pno. 1



5-6

Vc. Db. CD Hn.



 

Keyb. 1

(bass mar.)

 

put GONG and STICK down

go trough foyer to retrieve SCORD. VN. from outside Ba door



take METAL CLICKING FROG



take METAL CLICKING FROG



put GONG and STICK down, take NON ELECTRIC MEGAPHONE 2

 

BASS MARIMBA



with FINGERS ppp

go to audience side of pillar between CD4 and CD5 with CLAVES in pocket





go back to outside Cb door with SCORD. VN.



take CLAVES



3 2 1





T A G E



Fl.   2 2Fl.



2 Ob.   2 Ob.

  2 Bn.  2 Bsn. 2 Hn.   2 Hn.

 Vn.II     Vn.   ff

Vn.IIII   Vn.

    Va.       Va.       Vc. Vc.       Db.  Db.

↓ LIGHT off





















     

hummed     



        



   

       

played  

     





sit down





hummed       











 



 



    

     



    



  

    

    























ppp 1.

        half pizz., half     absolutely vertical spicc.       

                          

    

 



           

     

 

   

 





       

                    

        

Direkt oberbalkon far stairs

Stage [Frogs]

Vn. 2 Dias

243

244

245

16'04''

16'08''

16'12''

16'16''

2 3

   



Perc. 1



1 2



3 4



1-2













Bsn. A

(outside Ab)

Tpt. Cb. Sax.





 







 





deposit FROG go to X4



in foyer









3 2



1 2

take METAL CLICKING FROG







Va.

Radio Mike Cb. Sax. OFF

Cl. C









  



fff





 

MEGAPHONE down, take CLAVES one from each pocket







 

fff

very loud rattle



CLAVES

     



continue slowly upstairs

 

take METAL CLICKING FROG

fff running up 2nd

↑ stop running



CLAVES



      



 



deposit FROGS, go to lighting direction tank

 



 



1-2 3-4



5-6









 

Db.



 



 



 



 

deposit FROG, take 2 FLEXATONES (one in each hand) go up into foyer











go to audience side of AB2 pillar





 

Brakes and rhythm (8)



ppp

deposit FROG, take 2 FLEXATONES (one in each hand)





YELL WORDS

mouth right up against PILLAR

  fff



METAL CLICKING FROG

 

 

    

deposit RATTLE and FROG, take 2 FLEXATONES

METAL CLICKING FROG

 

CLAVES down

    



 



deposit RATTLE and FROG, go into foyer (ossia into hall) mouth right up against PILLAR YELL WORDS



at top of stairs

fff

go to Sampler 2





    

CLAVES down



take METAL CLICKING FROG



 















Pno. 1

Hn.

 





enter hall through Ba door

Vc. CD







go to front of stage, right side RATTLE very loud rattle

(pillar)



Kill ma ears (41)



  f 



Keyb. 1

 

METAL CLICKING FROG







Pno. 2

METAL CLICKING FROG





(outside Ba)

 



(pillar)

(going out through Za door)

flight of AB stairs

Keyb. 2

     

RATTLE

Perc. 2

2 METAL CLICKING FROGS

Trb. AB

Actor

 

METAL CLICKING FROG

Tape

(outside Ca)



Vn. 1



5-6

Ob.

(AB2)



3-4

(YZ corridor)

242

Cb. Fl.

241 16'00'' 1  4

(WX corridor)

[Yelling]



CLAVES





fff f













enter hall slowly through Ca door



fff

2 METAL CLICKING FROGS



     

NON ELECTR. MEGAPHONE   CLAVES roar at SPEAKER 2  MEGAPHONE down, take CLAVES very quickly



     

CLAVES down









CLAVES down

 

     5

    



deposit FROG



deposit FROG



METAL CLICKING FROG

 





METAL CLICKING FROG





YELL WORDS

deposit FROG, take 2 FLEXATONES (one in each hand)

 

mouth right up against PILLAR

 

fff

 

YELL WORDS

mouth right up against PILLAR

 



go to audience side of CD2 pillar

go to Piano 1

fff

3 2 1









A G E

Fl. 2 2Fl.

 

2 Ob. 2 Ob.

 



 



 



2 Bn.    2 Bsn. 2 Hn. 2 Hn.

tutti: METRONOMES ↓ LIGHT on



 



 



Db.    Db.



Vn.II Vn. Vn.IIII Vn. Va. Va. Vc. Vc.



   

 

        

METRONOME is kept and played in right hand pocket (fast, ca. 180) ↓ LIGHT off

        



       











     



    

[Sampler 2]

Trb. X Vn. 2

247

248

249

250

16'20'' 1 

16'24''

16'28''

16'32''

16'36''

2 3 4

(foyer)

Perc. 1



1 2 3 4



1 2 3



4 1

Perc. 2

  

 







 





3 - 53 6 7

(foyer)

Ob. (light. dir. tank)

Cb. Fl. (outside Za)

3 2 1





pick up ELECTRIC SIREN and FLEXATONES

Bsn. A

Cb. Sax.

Keyb. 1

1 2 3 4

3 2 1

Pno. 1





  









go to B corner of hall





(hall) (front stage left)



ppp





go to outside Dc door

5,6,7,8

 









can play slightly irregularly, but like a pulse



 



 









  



  



  



     

VA.

walking very slowly to join Vc. + Db. near stage, facing AD wall

 



VC. walking very slowly via AB2 and then in front of audience to join Vc. + Db. near stage, facing AD wall

  

  

ppp



DB.

  

ppp



2 1



4 3 2 1





go to C corner of hall

 











take 2 FLEXATONES (one in each hand)



HANDCRANKED SIREN





placed on corner of stage

ppp wind only the very slightest to get it to sound





 winds with conductor

↓ LIGHT on

 Fl.   2 2Fl.

Ob.  2 2Ob. 2 Bn.  2 Bsn.

stand up



ppp



     

 

Hn.   2 2Hn.

Vn.II   Vn.



Vn.II II   Vn. Va.   Va.

Db. Db.

Frtynine



Vc. Vc.



take 2 FLEXATONES (one in each hand)



S T A G E

SAMPLER 2



Prog 6

ppp

Actor



(in lighting direction tank )



ppp

Hn.





Db.



(going to Da door)

SCORD. VN.

Vc.







Va.



2 1

1-2 3-4 5-6

Vn. 1







1 2 3

Cl. (outside Ca)



Pno. 2









3-4 5-6

Keyb. 2

 

4 3 2 1

Tpt. AB

 

take ELECTRIC BELLS



Tape

(outside Ab)

246

 

  

3    









     





3    



            

     

1. E crook, 2. A crook

3    

    

 







3   

                

3 times as a separate string unit, independent of conductor. Like a limp. Linger on the tr. but then Vas. and Bassi catching up. Very affected, perhaps different each time. Led by Vn. 1. Time between units may vary. short arco ord.   3 3 3     arco ord.

       

    sotto voce: "a" 3      sotto voce: "a"        

sotto voce: "a"

   

↑ damp

sotto voce: "a"

↑ damp

       

   3

 



 

"b"

    "b"

   

"b"

   

↑ damp

"b"

↑ damp

       

  

"c"

 

"c"



 

    "c"     "c"

   

↑ damp

"c"

↑ damp



3    



 

take D crook





















↓ LIGHT off



sit down

↓ LIGHT on



stand up

↓ LIGHT off



sit down



Blackout [Flexatones]

251

252

253

254

255

16'40'' 1 

16'44''

16'48''

16'52''

16'56''

Dias WX

3 4





2 3 4 1 2

Trb. X Vn. 2

Perc. 2 XY Perc. 1

Dias

 

             

            

Strassenbahn Steps

  

Strassenbahn Steps

  

 





ELECTRIC BELLS







sim.



4 3 2 1

 

Bsn. A (outside Ab)



4 3 2 1



Hn. C

1-2











PIANO 2

 

1-2 3-4 5-6





(front stage left)

1 4

Cl.

















go to outside Xa/b doors to take TROMBONE, stand beyond Xc





go to XY7



  

stop dead ↓

  

  

  

stop dead ↓



LICHTREGIE INTERCOM









2 FLEXATONES

  

  

            

  

    

 

 

2 FLEXATONES







into hall





"one"



                

        

  

 

     



    



put down FLEXATONES () go to spare TRUMPET (or FLUGEL) outside Ba door

2 FLEXATONES



 



run to Insipienz desk backstage







↓ LIGHT off









2 Hn.  2 Hn.



2 Ob.  2 Ob. 2 Bn.  2 Bsn.



sit down

stand up









 

             

   

D crook

   

 



 





Vn.IIII  Vn.





Va.  Va.













                          





     

Db.  Db.

   



Vc. Vc.



Vn.II  Vn.





walk along gap in raisers, then stop in the middle of stage

        fff       



  

  fff 





  

2 FLEXATONES



stand up

   

  



in own tempo, più mosso e = 132

 ↓ LIGHT on Fl.   2 2Fl.

   

      









          



appearing through Da door

                        3  



  



               



put down FLEXATONES ()



(by other strings)



Light 5,6,7,8

  

  

PIANO 1

  

SAMPLER 1

   



 





Prog 3



  

    



 

T A G

Cb. Sax.











Db.



Steps

Baroque mad 1st version (19)













Vc.

  



Actor



Pno. 1

Vn. 1

  

Cb. Fl.

2 FLEXATONES







Strassenbahn





Tpt. B

  



Pno. 2

   





Keyb. 2

(outside Dc)

  

2 FLEXATONES

3-5

  



4 3 2 1

1 2

      

 

Steps





Tape

Va.

 



Strassenbahn

ELECTRIC SIREN WITH FOOT PEDAL Keep switching on and off every second. On no account let the pitch rise too high (avoid cliché up and down siren sound).

Ob.

Keyb. 1

  

3 - 53

(foyer)

(light. dir. tank)

Neon



(foyer)





3 4





 



 

 

  



   

 



    

 



 



    3

 

         

   



 



                

 

                                                       

                                            





       

                                      

 

   

dim. sub. a niente gliss. whole hand position













  



Light

Dias WX

Trb. X (beyond Xc)

Perc. 2 (foyer)

Perc. 1

256

257

258

259

17'00'' 1 

17'04''

17'08''

17'12''

3 4





2 4







3 4





Ob. (light. dir. tank)

 

Vn. 2

 

Aeroplanes - 1

 

 



    

4  



 



   

 



 



  

8.   



 

take VIOLIN



(TACET)



Microphone Subc. Recorder ON

put down ELECTRIC SIREN and FLEXATONES

go aside Tam-tam

  "two"







(or something more inspired)

"three"







3 2 1





3 2



Microphone Contrabass Racket ON



Tape







 

Baroque washing pan fast (51)







(outside Ab)

Bsn. A

   

 

3 - 35

(foyer)

17'16''

260



deposit FLEXATONES, pick up CONTRABASS RACKET

CONTRABASS RACKET with RADIO MICROPHONE



Enter hall via Ab door. Walk through gap in stalls to reach left side of raiser 3 by around bar 271.



1-2





(as long as possible)



3-4

Keyb. 2

Pno. 2

Tpt. (outside Ba)



1-2



5-6



 

Pno. 1



(front stage left)

    

  





take spare TRUMPET (or FLUGEL)



take HORN with SORD.



Vc.

Db.



 



 



 



 





   

  



just loud enough to be heard

pp sempre

  



 

  

Cl.

go to Sampler 1

  

Va. CD

(insipienz desk)



3-4

Vn. 1

Actor

   



just loud enough to be heard

 

5-6

Cb. Fl.



(outside Dc)

   

always one 32nd note before Keyb. 1

 

Hn. C Keyb. 1

   

5-6

 

   

    

 

   

 



deposit FLEXATONES, pick up SUBCONTRABASS RECORDER

enter hall via Dc door, go slowly beyond center of raiser 3 (until bar 271)

                

     

   

SUBC. RECORDER with RADIO MICROPHONE



      p

ca. every 2 secs.

 



occasionally: 3 eventually stationary becoming less and less      walking 1 Vorhalle [as door is opened:]

 

l'objet, mais l'objet est lá

[Tape recorder with C.P.E. Bach b min. 14 0'49'':]

[speaking over Insipienz Mike:]





le bébé a creé l'objet mais l'objet était lá

A G

Cb. Sax.







in tempo with Ensemble q = 60

 Fl.   2 2Fl. Ob.  2 2Ob. 2 Bn.  2 Bsn.

 

Hn.   2 2Hn. Vn.II   Vn.



Vn.II II  Vn.

    1.

pppp





Vc. Vc.



Db.  Db.

 

       







     

   





        

 



   



         

        

               

   



 

   

   

      

with tape (offbeats) f

cut off                fff                                      

LIGHT on ↓



     





LIGHT ↓ off 





as if

                                          2.

    

        

   



        

                      

Va.   Va.

 





    2.



      



   

 

                                 

 



     

   

  



   

  

 

     



sit down

   

















10'' fade to Black [Tam-tam]

Dias WX

261

262

263

264

265

17'20'' 1 

17'24''

17'28''

17'32''

17'36''

2 3 4





(beyond Xc)

Perc. 2









2 4





3 4





(foyer)

3 - 35

Perc. 1 XY Vn. 2





  

Swimmers - 1.



   

TAM-TAM



  

Man. corner of frame



  (BASS DRUM and TAM-TAM should not be seen during the interval by the audience)      

ffff



TRB.











 











f starting from beyond aside Xc and walking continously to outside Wb/c doors



  

Ob. (light. dir. tank)

  

(foyer)



Trb. X



VN.

ossia 8ve lower



3 2 1





3 2 1





3 2 1

 

Tape





dim.





Bsn.

3 4





2 - 32

 

6 Pno. 2

Tpt.

(outside Ba)



1-2



5-6











 



resume walk

  p    



take METAL CLICKING FROG







TPT.





Pno. 1

Hn.

   

Prog 4 (Sampler)





(front stage left)







3-4

(Smp. 1)

Va.





Vc. Db.



Cl.



Vn. 1

 

  

Keyb. 1

↑ stop playing and walking when Tam-tam starts

4 - 55

Keyb. 2







(by other strings)

 







     p  



go to get in giraffe



 HORN con sord.







            

      

    (Subcontrabass recorder)   

(going slowly beyond center of raiser 3) 2

Cb. Fl. Actor



↓ stop during Tam-tam    



T A G

Cb. Sax.

Fl. 2 2Fl.



run to Giraffe (it must be positioned before)

      



  2 Bn.  2 Bsn. 2 Ob. 2 Ob.



2 Hn. 2 Hn.







3 FT HOSEPIPE WHISTLE

take HOSEPIPE WHISTLE



take HOSEPIPE WHISTLE

 

take HOSEPIPE WHISTLE



ppp

resume after Tam-tam

 

high strange sound

  f

a 2, blow very gently for the lowest harmonic, gradually rising through the partials. Never loud, but like a whisper.



6 FT HOSEPIPE WHISTLE





12 FT HOSEPIPE WHISTLE









   







Vn.IIII  Vn.



Va.  Va.



Vc. Vc.



 





Vn.II  Vn.

Db.  Db.





Light [Tape]

266

267

268

269

270

17'40'' 1 

17'44''

17'48''

17'52''

17'56''

Dias





Trb. X



 

(WX corridor)

Perc. 2

4 1



3 - 53

Perc. 1 XY (foyer)





















 

Ob. Y





















(walking to outside Wb/c doors)



(foyer)

(light. dir. tank)

 



Vn. 2























fade down



3 2 1





3 2 1





3 2 1





Baroque metal pan (50)



Tape

fade up



Bsn.





5-6 Pno. 2

Tpt. (outside Ba)

2 - 42

Keyb. 2



     



1-2



5-6





 

Go to join Perc. 1 by going upstairs via AB stairs to foyer. Play a pulse each 1,5 secs with FROG on the way.























 









 



Pno. 1

   

(sord.)



























5-6

(front stage left)



(Giraffe)

↑ stop

3-4

Hn.



Vn. 1

Va. CD

Vc.

Db.

Actor Keyb. 1



 







 



 



 







 



 





  

       







 



2 1



Cb. Fl.

Cl.

(Subcontrabass recorder)  

       keep repeating every 20 secs. or so       mp          

(going slowly beyond center of raiser 3) A

Gl. harm.

Cb. Sax.

Fl. 2 2Fl.

 



2 Bn.  2 Bsn. 2 Hn. 2 Hn.



 







 





2 Ob. 2 Ob.



 

 /  0  / 0  /0  / 0





1.2. soli

Vn.IIII  Vn.



1.2. soli

Va.  Va. Vc. Vc.



 

 Vn.II  Vn.

Db.  Db.





 /0 pp  /0  /0  /0  /0

LIGHTS operated only by winds, Vns. I 3.4., Vn. II 3., Vas. 1.-3., Vc. 2. LIGHT ↓ on ↓ off ↓ on ↓ off ↓ on















  poco più mosso molto sul pont. e non vib.

  

 



   



   

 



 

 



   









   



  





  























































       

LIGHT off

take F crook



Fade up upper balcony (for Giraffe) fade down inner balcony 271 [BO]

272

273

274

275

18'00'' 1 

18'04''

18'08''

18'12''

18'16''

Trb.

3 4

(WX corridor)

Perc. 2 (foyer)



















  

(going to foyer)



4 3







2 1







outside Wb/c doors



















↓ stop





Pitch pan (37)







one or other



Pitch pan (37)







2 3

1-2 3-4



5-6

 

 

































2 3



1-2



3-4 5-6





2 1



Pno. 1



5-6

(front stage left)





Tpt.

(Giraffe)





(outside Ba)

Hn.



Pno. 2









Microphone Subc. Recorder OFF





 



Tape

Cb. Fl.





Ob. (light. dir. tank)



Vn. 2



2 3

3-4

Keyb. 2



 

(foyer)

Perc. 1



Vn. 1

Vc.

Db.

Actor

Keyb. 1 D





Va. CD

play GIRAFFE stopping sound as soon as GIRAFFE stops  Prog 5  

SAMPLER 1



 





































GIRAFFE ascends, Actor holding the machine steady. (Ossia Actor ascends in GIRAFFE and remains there with WALKIE-TALKIE till end of piece







 

























 















 

 

   

       



 



At top brief discussion and observation before descend. (only a fleeting visit to ceiling)



2 1



Bsn.



Cl.



hold as long as possible

 





↓ stop









Gl. harm.

Cb. Sax.

strictly in time. Play when stage moves, i.e. during the twenty secs. after the last Baroque Orchestra piece.  Not                             p 

  

   

  



   



  



ossia: stop when GIRAFFE has reached the top       ossia: Oboes delayed bye.                             Fl.   Ob.2 1.              p        (sim.)           2 Ob. Ob. 2.                                                  (sim.)                                 2 Bn. Bsn. 1.               (sim. as Ob. 2)

     Vn.II  Vn.

2 Hn. Bsn. 2.

Vn.IIII  Vn.

Va.   Va. 0

   Vc. Vc.   Db.  Db.



div. 1.2., 3.

 

Fasch 5th movement

(sim. as Bsn.  1)



















    





  

  

   



     





  



    

  

   

     

  

  

   



    

      





 



 

  

   



    

      





 



 

  

   

Giraffe and raisers descend on cue "go" from musicians (not screen) [Perc. 1]

276 [Everybody absolutely silent]

277

278

279

280

18'20'' 1 

18'24''

18'28''

18'32''

18'36''

Trb.

(outside Wb)







go to upper foyer to join Tpt.





Everybody absolutely silent!!



3 4





3 4













Perc. 1

  

Vn. 2

Perc. 2

(foyer)



go to Woodblock machine (AB3)

(foyer)

3-4

Keyb. 2

Ob. 4

(light. dir. tank)

BASS DRUM



fffff

  



go to Woodblock machine (AB3)



3 2 1





3 2 1





3 2 1

 Microphones Contrabass Sax. and Contrabass Racket OFF



Tape

Cb. Fl.

take WALKIE-WALKIE

 ↑ face audience



Bottom to top fade (6) ppp



 



Octachase (9)







3 4



1-2



3-4

5-6 Pno. 2

Tpt.

(outside Ba)



1-2



5-6





Pno. 1

 

5-6

(front stage left)

go to upper foyer to join Trb.

(Giraffe)



 

3-4

Hn.



Vn. 1

Va. CD

Vc.

Db.

Actor

stage descent sample (approx. 18'')





















   



   



 



Vn.IIII  Vn.



Va.  Va.



Vc. Vc.



 



Keyb. 1 D







play ending noise in synch with raisers



GIRAFFE descends



Bsn. Cl.







↑ face audience ↑ face DC wall

A G

Cb. Sax.



 ↑ face AB wall



Fl.  2 2Fl. 2 Ob.  2 Ob. 2 Bn.  2 Bsn. 2 Hn. 2 Hn.

 

 Vn.II  Vn.

Db.  Db.



Blackout (2''), fade out audience (5 min.)

18'40''

19'10'' [Dias]

281 1

Dias

Obbl. Tpt. Obbl. Trb.

 

3 4 1 2 3



 

1 2 3 4

(upper foyer)

Perc. 1 Keyb. 2 Ob.

Cb. Fl.

3 2 1

(Woodblock mach.)

Vn. 2

8x  

Obbl. Tpt. stands at top of steps in corridor beyond rehearsal room until the end of the piece. Obbl. Trb. stands behind open lift door pointing INSTRUMENT towards auditorium until the end of the piece.

 

Obbl. Tpt.

     

mp Obbl. Trb.

  



                                   

 

4 3 2 1







  



Pno. 1 5-6



Va. CD

Vc.

Db.

Hn. Keyb. 1

 



3 2 1

 

Remain absolutely frozen and silent, leaving together with other musicians on stage, only at the end of the piece.

2 3



Vn. 1

 



1-2 3-4 5-6

 







1 2 3

 

Perc. 1 (with INSTRUMENT e.g. WOODBLOCK) and Keyb. 2 with WALKIE-TALKIE leave the foyer area and stay in radio contact with German speaking Actor, who has been all the time in the audience. Perc. 1 and Keyb. 2 should go as far away as possible, always answering the Actor's questions in German. Perc. 1 speaks but also plays single short notes to test the locations he finds himself in. He plays of course only when radio is switched over to communicate with Actor. Ideally go off into the outside of the concert venue, or even to a nearby establishment (e.g. a Café).

 



2 6 Pno. 2



 pp

                      



2 1





 

led by Vn. 1: about every 15 secs. at first, but getting less and less frequent and quieter and quieter                   

Horn (with HORN) and Keyboard 1 with WALKIE-TALKIE leave hall via Da door and stay in radio contact with Actor. Hn. and Keyb. 1 should go as far away as possible, always answering the actor's questions in French. Horn speaks but also plays single short notes to test the locations he finds himself in. He plays of course only when radio is switched over to communicate with Actor. speak from Giraffe through WALKIE-TALKIE

Remain absolutely frozen and silent, leaving together with other musicians on stage, only at the end of the piece. A

Bsn. Cb. Sax. Hp. Gl. harm.

 



Perc. 2 AB

(front stage left)





4 3 2 1

Cl.





Tape

Actor





fff Trb.

3 4 5

(foyer)

(giraffe)

8 Dias of people on steps (1. to 8.)

     

283

Tpt. and Trb. stay within earshot of each other, but as far away from each other as possible. They explore the upper foyer, playing: Tpt.

Tpt. Trb.

(light. dir. tank)





19'30'' [Obbl. Tpt. + Obbl. Trb.]

282





 

   

Remain absolutely frozen and silent, leaving together with other musicians on stage, only at the end of the piece.



Fl.  2 2Fl. 2 Ob.  2 Ob.

start WALKMAN and leave

1. leave to CD corridor via Ca door. 2. leave to AB corridor via Ab door.



1. leave to CD corridor via Db door. 2. leave to AB corridor via Ab door.

 2 Hn. 2 Hn.

1. leave to CD corridor via Db door. 2. leave to AB corridor via Ba door.

2 Bn.  2 Bsn.

1. leave to CD corridor via Ca door. 2. leave to AB corridor via Ab door.

 Vn.II  Vn. Vn.IIII  Vn. Va.  Va.

 Vc. Vc.  Db.  Db.

1. leave to CD corridor via Ca door. 2.3. leave to CD corridor via Db door. 4. leave to AB corridor via Ba door.

1. leave to CD corridor via Ca door. 2. leave to AB corridor via Ba door. 3. leave to AB corridor via Ab door.

1. leave to CD corridor via Ca door. 2. leave to CD corridor via Db door. 3. leave to AB corridor via Ab door.

1. 2. leave to AB corridor via Ba door Db. Harps. leave to CD corridor via Db door

N.B. Vn. I 4. should follow Vc. 2. to leave and not move along the rows. Vn. II 2. should follow Vn. I 4. and Vc. 2. to leave and not move along the rows.

19'50'' [BO] 284 1

Dias



3 4





20'00'' [Conductor] 285

Screen ascends. As soon as the screen is clear of the lift doors, two technicians open the two pairs of lift doors on either side to reveal Obb Tr and Obb Tbn in rehearsal room

 

20'30'' [Perc. 2 + Vln. 2]

continue as long as necessary

wheel out Woodblock machine through Db door very slowly

ending of piece to be defined in rehearsal

286

287

 

Obbl. Tpt. Obbl. Trb.

  



Tpt. Trb. (upper foyer)



Perc. 1 XY Keyb. 2

4 5

 

(foyer)

Ob. (light. dir. tank)

 

2 1





2 1





2 1



Tape

Cb. Fl.



2 3

(Woodblock mach.)

Vn. 2 2

Perc. 2 AB

   

   

take MALLETS

   



take MALLETS



   



 

3 4

Conductor

WOODBLOCK MACHINE

6 Pno. 2





                            pp o                                         just audible

       

       

play while Woodbl. machine is wheeled out through Db door very slowly

"twenty minutes, zero seconds"

 



1-2



3-4

5-6





2 1



Pno. 1



5-6

(front stage left)

Vn. 1

 

Va. CD

Vc.

Db.

  

Hn. Keyb. 1

3 2 1

Actor (giraffe)

Cl. Bsn. Cb. Sax. Hp. Gl. harm.

S T

            



G E







   

Start playing the same C.P.E. Bach piece that was recorded on the walkmans, 1 minute and 10 seconds into the piece (in effect in synch with the walkmans). Each corridor should play also toghether as a group in synch with each other, though corridor versus corridor may start to drift. Always play alternate bars so that musicians in CD corridor play odd numbered bars and musicians in AB corridor play even numbered bars.

Fl.   2 2Fl.

(outside the hall)

2 Ob.   2 Ob. 2 Bn.  2 Bsn.

   Vn.II   Vn.

2 Hn. 2 Hn.

Vn.IIII   Vn. Va.   Va. Vc. Vc. Db.  Db.

   

Start playing the same C. P. E. Bach piece that was recorded on the walkmans, from 1 minute and 10 seconds into the piece (in effect in synch with the walkmans). Each corridor of musicians should play together as a group in synch with each other, though corridor versus corridor may start to drift. Always play alternate bars so that musicians in CD corridor play odd numbered bars and musicians in AB corridor play even numbered bars. In order to better follow the music, the bars not being played are written down in cue-size notes.

Baroque Orchestra From 19'50'' to the end of the piece

Sinfonie outside Ab door Flute 2.

    



    



 



Allegro di molto

Oboe 2.



Horn in F 2.

    



 

    



 

    



 



 



 



 

Violin II 3.

Viola 3.

outside Ba door Bassoon 2.



    

Violin I 4.

    

Violin II 2.

Violoncello 1. + 2.

outside Ca door Flute 1.

     

 

 



 

 



 

 

 



 

 

 

























 





 





 



 



 



 











 





 

 



 



 





 

 



 





 

 

 







 



 

 





 

 

 







 



 

















 



 



 

 

  

     





 

 

  

 

 

   

     

 

   

  

   



 

   

     

 



  

  

   

 

 

  

     

 





   



 

 

  

     







 

 

  

     

 











 

 



 

  

  

   



 



      

   

      

   

 

       

   

 

    

Violin I 2. + 3.

Viola 2.

Double Bass





 

    





 



  







   



   



  



     

    

     



   

      

    

    

   

 



 





  

 



 

   

   

 



 





   

 



 

    

 

 







 

 







   



   

unis.





   

 



 

 







 





   

 





   

 



   

 





   

 



       

 

   

 



 

 







  

     



  

 



   

 





   

 

 





  

 

 





 





  

 





               

  



 

 





 



 



 

            







               



 



 

 

 

 

 

   





 







  



Bassoon 1.

Harpsichord

 





Violin II 1.

Oboe 1.



 



Violin I 1.

outside Db door



    

Horn in F 1.

Viola 1.

C. P. E. Bach Wq 183, Nr. 3

 

             





               

 

  



            

 

  



             

 

 







 

  



 

  

 

 



 

 

 



  

 



 



  



 

   

             

Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

    8

  

Ob. 2.



Hn. 2.

 

Ba door Bsn. 2.

Fl. 1.

    



                               

                 

        











 





 







 



 



              

               

              

               



              

               









 



 



                             

  

 





 





              

                             







      







 

  

 



  

   

   





  



           

     

      

               

             





               



 



 



              





 



               





              









              













 





              



 





              

 



 



  

 

      

              

  

              

             

   

               

              

               

              

               

             

  





               

              

               

              

               

             



              

 



              

 

 



              

              



              

              



              

             

 



              

              



              

              



              

             

 

Bsn. 1.

  

Vl. I 2.+3.

Vla. 2.

Db.

Harps.





Vl. II 1.

Ob. 1.



                    

Vl. I 1.

Db door



Hn. 1.

Vla. 1.





                   



Vl. II 2.

Ca door







Vl. I 4.

Vc.





               

Vl. II 3.

Vla. 3.









   

 



               

             

                                                

              

 



                                                                   

              

               



      

             

Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

    14

 

Ob. 2.



Hn. 2.

Ba door Bsn. 2.































































    



           

            

       

       

 

     

       

            

       

     

 

     

      

   

   

      



      



          

               

   

Vl. I 4.

              

           

          

               

    

Vl. II 2.

             

           

           

               

    

         

       

     

 

      

Vc.

Ca door Fl. 1.



   

Hn. 1.

Vl. I 1.

Vl. II 1.

Vla. 1.

Db door Ob. 1.





    



    

    

  

Vl. I 2.+3.



















           

        

   

  

       

     







   







      



   

        

      

     

   

  

    

        

           

     

       

           

    

     

   

  



       



      

     

   

  



      



  

  

 

  

  

    

 

      

    

       

        

       

                 



     

    

 

      



        



        

     





   







      





        

   

    



   

         



   



    



 

      

       



 

      

   

      

 

  

        

  

  

 

    

        

       

           



       



      

 

    



         

    

      

    

      

 





      

     

     





    

      

      

 

        



 

     





     



     

     

     







   

   

               

      





       

  







     

           





        

   





           

    

    



  





        

           



  

Db.



         

      

Vla. 2.



     







        

Bsn. 1.

Harps.



             

Vl. II 3.

Vla. 3.





   

       

  

           

Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

   21

 

Ob. 2.



Hn. 2.

 

Vl. II 3.

Vla. 3.

Ba door Bsn. 2.



     

Vl. I 4.

  

Vl. II 2.

Vc.

Ca door Fl. 1.









                               







   







 

    

 

 

 







 





 

    











  







 



 



   

 

  





      













  



   





 









  





















 



  





              f

 





 







 









 

      



























 

 





 

 







 

     









 



  



 







           



 



         

Db.



 



      

Vla. 2.



 



         

Vl. I 2.+3.



Solo



                



Solo



           

Bsn. 1.

Harps.





                

Vl. II 1.

Ob. 1.







      

Vl. I 1.

Db door

 



   

Hn. 1.

Vla. 1.

   







 



      

   

      

   



Solo

   











  



   





















   



 















                f

Solo

















      





     





  



















    









 

   









  



           



















Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

 







Hn. 2.

 

Vl. II 3.

Ba door Bsn. 2.





Ob. 2.

Vla. 3.

       

  



   

 



 



  

















      p   



 







      

tutti







   

 

 









    





    

       

           











    











    











           



              



              

       

              

 

     

       

              

 

     

              



Vl. I 4.

Vl. II 2.

Vc.

Ca door Fl. 1.



 



  



 



    



       p  

  





 

  



   

Ob. 1.



    









 

         







 





      

    



  

   

    

    



       

              

           

           

 



     

            

tutti



 







   







   



        



   



        



           

           



           











 

        









            

 

           

 

       

      

       

tutti



       

      

       





 

  



 



Bsn. 1.







Db door

               f



Vla. 1.

 

              

Vl. II 1.



   





Vl. I 1.

       p  

              

   

        

Hn. 1.



  

 

            

  

Vl. I 2.+3.



  

Vla. 2.



 





 

 

Db.



         p  







       

  

           

   

     

 







   



        



       

      

       

      

       



            f

Harps.



 

   



                  





             

unis.

       

  

      

                                    

       

  

      

Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

36        

  

Ob. 2.



Hn. 2.

Ba door Bsn. 2.



Vl. II 2.

Vc.

Ca door Fl. 1.



Vl. I 1.

Vl. II 1.

Db door Ob. 1.



     

      

    

      

     

                   











  

 



 

 







   







   



   



  



Vla. 2.



  

 

 







   







   









    

 



     

   

    

   

         



             







 





   

                    

                                   

   

      

  







                             









 







   





            

             

               

 



                            

           



  



            



     

       

       

  

               

 



 

 

 





 

  

 





 



 





 



 



 





  



 



 





 



 

 

 

 



  



 

  



 





 



 

 

   p

   



                       



       



  









   p



   



                       





       











                     p



    

       







                           







               

 

               



  







 







               





                

unis.





     

       

 



            



             

 











            





             

       

       

     

 

       



   



     

                              



             



        



 

Db.







Vl. I 2.+3.





   

Bsn. 1.

Harps.



                   

  

Hn. 1.

Vla. 1.





           

Vl. I 4.

    



      

Vl. II 3.

Vla. 3.

     



 











  

 







          

 



    

       













Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

   





Ob. 2.

Hn. 2.







Ba door Bsn. 2.



   

 



 

   

  

               

   

       



 

           





  

Ca door Fl. 1.



 

 



  

   

                       





            





   



  f

Ob. 1.





 











 

 

 

   

  





   



 

     















 

  

       

     

 



 





 

      

       

         

     



 





 

   

 

   

  

  



  









       





 







 

 





   

 

  





   

       



       

 

        f



 









 



 

 

 



 

 

 

 

   

 

   

  

    



  

    

     









      

    

 

 



    

 





       



           

       













 







 





  



       

         

   



 





 



 





 





 









   



       

         

















           

  

    



    

 



       

 





          



 

 



       

    







  





 

 





     

    



 



  





 

 







       





    





   

   



       

   

    





            

Harps.

 

    

         

 

 





 



 

            

Db.



 



Vla. 2.

    



    

  

Vl. I 2.+3.

 

      

                                 

           

Bsn. 1.





  

 

Db door



 

  

 

Vla. 1.

   



   

    



 



Vl. II 1.

 







Vl. I 1.





   

Hn. 1.



 

Vc.



 

Vl. II 2.



 

   

Vl. I 4.





Vla. 3.

 

 

Vl. II 3.



 

  

   





                                  





        

Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

  



 







Ob. 2.

Hn. 2.

 

Vl. II 3.

Vla. 3.

Ba door Bsn. 2.







Vc.

Ca door Fl. 1.











 

 









   





  

  f

   



  f



 



  



 



    



  



 



    

     



 

   

 

   

 





  

     



 





 

Ob. 1.



 

 





   



  



 



Bsn. 1.



Db.

Harps.



   

     





 

     







 





 



 

 

   

  



    



 

       

 









         



   



   

       





 

    

           







           



 

       



 







 

 



 



 

 

  



 

     

 











   



  



       





 



 

          



 

         



 

        



 

        



 

          



 

          



 

 

 



 

 





 



 











  



 

 



 

 



 



  



 

 



  



 

 



  



 





 



 

 

 







 



 

 

 



 

     





 

 

   

     





   

  

    



       



      



 





     

  

    

        



      



 





     



     





     



       

 

    

          





       



       



  

    



          



 

         



  

   





     

 

 



 



 

 

     

 

 







Vla. 2.



    



             



 

      



Vl. I 2.+3.





Db door



     

Vla. 1.



 

            

Vl. II 1.



 



Vl. I 1.



 



     





  

Hn. 1.



Vl. II 2.

 

   

Vl. I 4.



 



           

  

    



     

   







    



        



      







     



 



    



  



       

     

 





  

       

       

 



  



  

    

 

  

   





                                  



       

  

            unis.



 

 





  

 



   

    



 

 



 



 





  

 



     



     



     



     



 



     

 

 

Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

  



 







Ob. 2.

Hn. 2.

      



 



 

        



 

      



 

      



 





 

Vl. II 3.

Vla. 3.

Ba door Bsn. 2.

         

Vl. I 4.

Vl. II 2.

Vc.

Ca door Fl. 1.





 

 



 







 



 



 

 

          

               

          

           

 





   

 

Db.



 

   

 



  

 



 

 

 



   

 

 



   

 



  

 



 



  

 

   

 

 





 

 

 













 





 





              

 



       

               

               

 



       

            

               

              

 

                             



               









              

              

               



  

     

           





       

               

               

 

 

       

            

               

              

               

  

     

           

               

              

               

 



      

 

 

       



  

 



 

 

              

              







               



   

 

               







              



 



              



 

 

              



   

Vla. 2.





               



 

 



          



 

 



               

 

 











              



 



           







       

 







              





               

 





               

 

  



              

 

Vl. I 2.+3.



            

   





          



 



               



  



          

 

Bsn. 1.

Harps.

 



Vl. II 1.

Ob. 1.



  

Vl. I 1.

Db door

 

  

Hn. 1.

Vla. 1.

 





  

              

                







              

              

                                                                             

           



              

              



              

Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

    





 





Ob. 2.



Hn. 2.

Vl. II 3.



Vla. 3.









 



  

 

 

   

               



             

              









 Solo

 



 

Solo



  

      





         









 







       









      

   



Bsn. 2.



              

              

  



    

 



 





 

Ba door

 



Solo  















                            



tutti



               

Vl. I 4.

Vl. II 2.



Vc.

 

 

 

  

 

 

               



 

Fl. 1.

Vl. I 1.

Vl. II 1.





              

    



   





   

                  

Vla. 1.

             

            

        

 

        







     





         







      



 f

     









Hn. 1.



             

 

Solo







Solo

 



      



              

           

              

           

               

 









       

        



    



     



 

     









    



 



Db door Ob. 1.

                    

Bsn. 1.







              

 



    

Solo

 

 



















             



             



             



     

Solo



             





              





             

tutti





    

Ca door



 





tutti



               

    

Vl. I 2.+3.



 

                

Vla. 2.



              

               

           





     



 

     





    



 



                

Db.

               

    





              



             



               

Harps.



 

                                      

                    



              

    



 f



             

               

Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

  



 



Ob. 2.



Hn. 2.

 





          

Vl. II 3.







Vla. 3.

Ba door Bsn. 2.



     









 







 

Solo





 









 



    





     









  





  p

           

Vl. II 2.



  





 







Vc.

Ca door Fl. 1.



    

Vl. II 1.

Ob. 1.

   



 



   





 





     

  





  

    



      





  







      

Vla. 2.

 



     

        

     

        

  Solo

         

tutti

        

    



     















      



  

 



   





 

  















 

  



         

    

  



      







     



         













 





  







        f

  

  





   









  





  













 











   



 









    



      



      



 

   





 



 

  



 



 

 



 

 

   

 







       









       

  

     



  

     



  

     



     



  



Harps.

     

     



Db.

     

Vl. I 2.+3.

     





            

       



Solo

  

Bsn. 1.



 

 

 





Vl. I 1.

Db door



  

Hn. 1.

Vla. 1.

  

 





Vl. I 4.





    



 







  





  







        f



   unis.

     

Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

82    



   



tutti



Hn. 2.













 

     





                

Vl. II 3.

Vla. 3.









   



 















tutti

Ob. 2.

 





   

 













   

    







 

 





   

 



   

 

   

   





 

 







 ff

 







 ff





 

   



 



 



















 



 



              ff







     

Ba door Bsn. 2.

      

   

    



 

       











              

Vl. I 4.

               

Vl. II 2.

Vc.

      

 

   









      

    



  



  

 

    

 

   

       







  

   



   





       

        

       

       















       

 



     









              ff





Ca door Fl. 1.

   

Hn. 1.

Vl. I 1.

Vl. II 1.

Vla. 1.

Db door Ob. 1.



 

 

    



    





   tutti  

       

Vl. I 2.+3.

  

Vla. 2.

  

Db.



 











   





    







    

Bsn. 1.

Harps.



tutti

  

  

        

  





  









 

 



     



  



  

 

   



 

          



  







  

     

  







       





  



  

    



 

    

      

        

 

    

      





       

 



 



 

       

 



  



    







 

  

 

    

     

         p

 

  



  



 

       

       



 



  



  

    

  

      

  



 

  



 

       















                 ff

 

  



     

        



  

       



  



  

 





 

       



 

  



 

       







 

  



 





 

 

                

 

     ff

 



  



 

     

 

  



 

  



                

       

 

 



   

  



 

  



     



    



  

 



 



Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

  



 









Ob. 2.

Hn. 2.

Vl. II 3.

Vla. 3.

Ba door Bsn. 2.



   



   

  

 



 



 



 





   

  

   

 f













      

    

     

   



 

    

Vl. II 2.

Vc.

Ca door Fl. 1.









  





Hn. 1.



    

Vl. II 1.

Vla. 1.

 





 



 



 

  

 

Ob. 1.











     

      



 



        



 

        

 

 



      

 



  

    

  

   

     







 



    

     

       



    

      



 

     

     



    

       



      

 



        

 



        





      

 





      

 



      

 



       

 



      

 

 



      

 

 



       

 





 









     

               



     

           



     

              



  



               



      

                



     

               











     





           

             

           

           

          

             



          

            

          

           



 

 

 



  

 

      



   

  

 

       



    

      



   

  

 

       



    

    



 

   



     



 

     



      

 

       

    

    

 







      



         

Vla. 2.

         

Db.

    







   

 

     



   

 



   



 





   

 

   



     



   

 

   



     

   

   





   

 

     



   

 



   

 



   



      



    



      



     



      



     

    



         

      



      

 



    

 

     

   

 

     

   

 

     

    



 

   

          

 

     

  





   

  



   



 

   



          

               

 

   



          

               

  

   

Harps.



 

    



   



Vl. I 2.+3.



    



         

Bsn. 1.

   



               

   



Db door



Vl. I 1.



 

     

   



 

      



   

 

      

   

   



Vl. I 4.



 

 

  

  

 

  

            

    

    

 

     



  

unis.



 

    

 



  







               

          

            

Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

Hn. 2.

Bsn. 2.

Fl. 1.













 







              

 









   







              



              

              



              

             

   



              

              



              

             



              

             



    



 

               

    

Db.





 





 



 







 





              

               





                               

 







 



 







              



                             



              

               

    

              





 





 





             



     



                             



      





      



   









      

     

               

             





               

               

               

             















                 



                 





 



              



              

               



              

               

              

               



              

               



              

 

  

                                               

                 



     

              





               

 

              



              

                 

Vla. 2.

 

              

               

   

  





                   

Vl. I 2.+3.



               

    

 



 

              

Bsn. 1.

Harps.





Vl. II 1.

Ob. 1.



   

Vl. I 1.

Db door

 

 

              

Hn. 1.

Vla. 1.



Vl. II 2.

Ca door



 

Vl. I 4.

Vc.



 

Vl. II 3.

Ba door



101

Ob. 2.

Vla. 3.



  

               



 



               



  

   

                                                   





           

     

      

             

Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

  

Ob. 2.

Hn. 2.

Ba door Bsn. 2.



Fl. 1.























            

        

Db.





           





          





 









           













        









              

       



   

  

       

 

  



 

      

       

       



   

  

       

 

  



 

           

               

           

        

        

           

              

           

        

      

       

 

   

        







        

       











            

       













       

















               

    

           

         

               

    



         

       

  

           

            

 

  

                          

  

        

  



            

 

  

   

           

       

            



  





       

   

Vla. 2.





     

       

            

Vl. I 2.+3.







              

  

 







    

              

Bsn. 1.

Harps.





Vl. II 1.

Ob. 1.

 

   

Vl. I 1.

Db door



  

Hn. 1.

Vla. 1.



 

Vl. II 2.

Ca door



     

Vl. I 4.

Vc.



 

Vl. II 3.

Vla. 3.



107

     

               





           



 

               

  

 

          







       



 





 

 



                         







       

     

          



       

     



  





  



        

 



  

     

       

    





            

          

       

 

     

       



     

       

         

       

 

     

       



     

       

 

  

 

       



 

  

    

 

         

    

       

  

           

   

    

  

       

       

       

  

        

  



   



       

  

     





   



  

       

Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

114     

Ob. 2.

Hn. 2.

Vla. 3.

Ba door Bsn. 2.

Fl. 1.













 





    





   

   

 



    





    







    















 





 



    

 









 

 



           

Vl. I 2.+3.

 

Vla. 2.

Db.









   



               

 

       

 





   



 

               

 

 

 

               



 





       









   

  



     

   

       

 



        



 

 



     









      























 

 Solo

Solo



         



 







Solo

         

  



 













     

Solo

 





  











      



 



 

        

     

 



          

 

       





       

  





 



              







               







      



Solo





 

  





               

 





                





               



 

   



 

 



               

 

   





    





 



 

               

 

  





    

















   







    



        





   



 

 

 











               







   

  

 



 

   

    

Bsn. 1.

Harps.



   

                    

Vl. II 1.

Ob. 1.



       

    

Vl. I 1.

Db door



 

                    

Hn. 1.

Vla. 1.



    

Vl. II 2.

Ca door

    

                   

Vl. I 4.

Vc.



  

   

Vl. II 3.







Solo





 



          

         

              



          

        



      Solo

 









      



Solo



           

         



                



          

         



Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

122    

tutti

     

tutti

Ob. 2.



Hn. 2.



  

    

    

Vl. II 3.



   

       

  











  







  







Vla. 3.

Bsn. 2.













      



 



 



   



       



   

   



     

 

     



     



    

   

       

    

  

       

Vl. I 4.



 



  

           







Vl. II 2.

  

Vc.

tutti               



Ca door Fl. 1.

 



 

     

   

Hn. 1.

Vl. I 1.

tutti



 





       

 





  



       

  







Vl. II 1.

  

 

   





 

Vla. 1.

 

tutti

 

    

       



    



    

 



     

 



  



   



  



Ob. 1.

    

Bsn. 1.

  

tutti  

 

  

  





    

    

   



       

   



   



 



 

 

  



  

 

Harps.



 

       



   



       



  



    

 

tutti

 

    

       



 



    

       



 

     

  

    

   

        

               unis.

          

    





   

 



 



 



 



  

 

  

  

  



           

  

    

unis.

       

 







 

        p



         



       

 









  p



    





   

       





    

 







       





       



    

 







       

  





     p

 

 





Db.



     





Vla. 2.



Vl. I 2.+3.



Db door







 





 

   

        



  



       

   

       

 



      

     





Ba door



tutti              



       













Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

   129



 p



 

Vl. II 3.



Vla. 3.

Ba door

   

Vl. I 4.







 

  





Vc.

Fl. 1.

       



            



  

  









        pp

       







  

           

Vla. 1.

Db door Ob. 1.



 



          pp

Db.

Harps.





 



   



 

  

   







 

  

   





  

 



 

 

  

     





 





   





   

       

    

     

   

      

 

 

 

      

 

      

 



     

   

   

 

   



   

 

  

 

 

  

     

       

  

   



















      







      





   

    



























 

  

 







   

                       

 

    



       

 

 





       

       

      



   

  

 

   





   

  

 

   



    

 





  

 





    







   

  

 

   



       

      

       

    

 























        

       



 















    



             f

       



    

       





   



 



















       

 



    

       

    

 



    

   





       



     

Vla. 2.





             

Vl. I 2.+3.





  

Bsn. 1.



Vl. II 1.

 





               





Vl. I 1.



Hn. 1.





 

    

Ca door

 

        pp

 



Vl. II 2.



 

   

Bsn. 2.





Hn. 2.



 

Ob. 2.

 





  

    

  

    

  

       

       

  

     

       

    



Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

  





 



 

138

Ob. 2.



Hn. 2.

Vl. II 3.

Vla. 3.

Ba door Bsn. 2.

Fl. 1.

 

  



 

  

      









 

  

      





  

     

 

 

  

              







   



 

   

       

   



 

  



 

   

      



                 



 



  





    



 

      

 

      

 











   



       

  











 

    

  



 

 



    

  

Vla. 2.

Db.



       



             f







Vl. I 2.+3.



   





            







   

            





   

 



   

Bsn. 1.

Harps.







Vl. II 1.

Ob. 1.







  

Vl. I 1.

Db door

 





 

Hn. 1.

Vla. 1.







Vl. II 2.

Ca door





 





   

Vl. I 4.

Vc.





     

 











  



    







 



 

 

 

  

        

       



 

  

     

 

 



            

 









      

 

  

  

     

   



            

    

  



       

   



 



 

 



 

 

















     



  



  



     

 



     

 



     





    

    







    

   

  





    





  

     



  

   







 



 



  

    

  

 

 

  



  

    

    



    







 

    



        





  

 

    

   

    

  



  



   

     

  

   



  

 

   

  

     

      





  

   

   

 



 

  

   



     

    

 



  





 





  







  



    



    

 



        







  

 

    



 

   

       



 

    





 

 



    



   





    

  



        

    

  



  



    



 

 

  



 



 

  

  





         

 

 



  

 





   

    







 





     



       

 



     

     







     



 



     



 



       



  

  







 



       

 

     

    



     





     



 

  



     





     



       











       





 

  



Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

  



 



148

Ob. 2.







Vla. 3.

Ba door Bsn. 2.





 



Ca door Fl. 1.



 

        



            

       

        

Db.



                 











  



 



 



 





















 

 















               



 

                              

 



 



 



 

 



 









  







 

 

   



 



 

     

           

     

         

               

        

     





              



  





































 







 





 









    











 



 

 







    







 

 



 





 

 







              



              





















 pp











 

   

 



 



 



 



 

           

     

           

               

     

          

     

          





 





 



 

 

 

 

 

  



                   

     

  



 







 

 

   

 

     

 ff



 



 

Harps.



  

Vla. 2.





   

Vl. I 2.+3.



    

 

Bsn. 1.

       



          

  

Vl. II 1.

Ob. 1.

       



Vl. I 1.

Db door

                

  

Hn. 1.

Vla. 1.

       

   

Vl. II 2.

Vc.

              

              

Vl. I 4.



Vl. II 3.





Hn. 2.





 

 

  

 





 





 

              













 



 





 





 







 



 



 











 





Baroque Orchestra

(from 19'50'' to the end of the piece)

Ab door Fl. 2.

  



 







156

Ob. 2.

Hn. 2.

Vl. II 3.

    



    



Vla. 3.

Ba door Bsn. 2.









Ca door Fl. 1.



 



   

Hn. 1.

  

Vl. I 1.



Ob. 1.

























 





 



 

















 







 















 pp





 



























    





 mf











 mf













 







































  



 



Bsn. 1.

  

Vl. I 2.+3.









 







 mf

































 

























 f

Db.



  

Vla. 2.

Harps.





Db door







Vla. 1.







    

Vl. II 1.



 ff







 



Vc.



    

Vl. II 2.





 f



  

Vl. I 4.



   







 



 

