John Corigliano
VOCALISE for Soprano, Electronics and Orchestra (1999)
full score
From the G. Schirmer Rental Library Date of Printing_______
G. Schirmer, Inc. New York, NY
John Corigliano
VOCALISE for Soprano, Electronics and Orchestra (1999)
full score
This work, a Message for the Millennium, was commissioned by the New York Philharmonic with generous support from the Francis Goelet Fund, and first performed November 11, 1999, Kurt Masur, conductor, and Sylvia McNair, soprano.
G. Schirmer, Inc. New York, NY
Instrumentation 3 Flutes (3rd doubling Piccolo) 2 Oboes 3 Clarinets in B= (3rd doubling Bass Clarinet) 2 Bassoons 4 Horns in F 4 Trumpets in B= (all offstage, 2nd doubling Piccolo Trumpet, 2nd and 3rd playing Crotales, 4th playing glockenspiel) 2 Trombones Bass Trombone Tuba (optional) Timpani Percussion (4 players) Large Bass Drum Bell Tree Crash Cymbals Crotales Glockenspiel Snare Drum Suspended Cymbal Tambourine (optional) Small Tamtam Triangle Vibraphone Xylophone
Piano/Celesta Harp Soprano Electronics Strings
Duration 20 minutes
Notes on VOCALISE Vocalise was a commission by the New York Philharmonic, in which Music Director Kurt Masur asked six composers from six countries to provide a musical message to usher in the year 2000. In examining the project, I mulled the interesting questions such a task provokes. What are music’s essentials? What is modern in sound itself, rather than style? How (if one can) does one distinguish between sound as a fact, and sound as an idea-sound as a means, as opposed to sound as an end? From the beginning these questions shaped what would become Vocalise. What are music’s essentials? Certainly expressivity, the depiction, interpretation, sharing of emotion; certainly structure, the building in sound and time an architecture as sturdy and logical as any material monument. The first quality led me to the human voice: its ancient prestige as the most expressive of musical sounds earned it a place at the center the piece. Of course, this was an orchestral commission, and the full forces of the New York Philharmonic would, obviously, be employed; but the archetypal aspect of the solo singer was indispensable. After all, the shawm led to the bassoon, the lute to the violin, and the drums to, well, more drums: but the voice, as far as we know, has remained unchanged since we first started walking upright-- it’s as essential as sound gets. Yet the orchestra in this context isn’t just luxurious accompaniment, but its own metaphor as well. As our most historically self-conscious musical institution--a museum of the ear--it’s the best possible cultural theatre in which to present a kind of meta-music, music the real subject of which is music itself. So, voice and orchestra. Should there be text? I chose neither to complicate nor to limit this piece by the particularities of language. It’s not just quoting an old operatic argument---prima la musica, o prima la parole-- to say that language follows and specifies, rather than generates, expressive vocal utterance. Plus, language is inseparable from history, and thus from style. I wanted the journey of Vocalise to be not a travelogue of styles, but a dialogue between the most ancient and most contemporary modes of presentation exploring the same core materials. These materials, these messages, would remain constant; but the transformation of their media could open up vistas. But what was that contemporary presentation? Again, what is modern in sound itself, rather than style? Our contemporary symphony orchestra couldn’t provide the whole answer. This last century has seen an avalanche not just of aesthetic, but also of technical change, change that has affected all kinds of music: except for the music that exists in the traditional concert hall. In 1900, apart from some exotic percussion instruments, (and the overdue presence of female players) the New York Philharmonic looked and sounded much as it does today. Assigning, as so many of us composers do, 20th-century sounds and harmonies to a 19th-century orchestra, almost all of us have ignored this era’s unique contribution to sound--electronics. Broadly, electronic means can transform sound in two ways: they can amplify, so that, for example, a low solo flute can be heard to soar above a Wagnerian orchestra; or, through the application of reverberation (echo), filtration, equalization, and a thousand other treatments, they can recreate the sound itself. Employing them would be new for me: I’d called for a small synthesizer part in my opera The Ghosts of Versailles, but otherwise had never used electronics in my live concert music. But juxtaposing electronics against the voice would give me the extremes of ancient and modern media of expression that I was seeking. They would, as well, lead me into compositional territory I’d not explored before. I was beginning to envision it: voice and electronics, in the context of symphony orchestra, transforming some yetto-be-determined materials over time. But in what shape? I didn’t want a dialectic of themes, even in a version as simple as an ABA song form. A simple arch was what I wanted: based largely on just one set of materials, but starting in the world of the voice, reaching a maximum density of texture and amplitude, then crossing over into the world of electronics. Those materials would need to be not only equally suitable, but equally basic, to acoustic and electronic treatment. At length I knew what I needed--first, an extremely natural, lyric line equally suitable for vocal and instrumental treatment; next, certain tropes of electronic sound--echoes, certain arpeggiations that result from filtration effects, the illusion of sound traveling--that I could use as comprehensively with the acoustic orchestra. The aural drama of Vocalise would be the acoustic and electronic sounds developing into and from each other, not simply alternating. (It occurred to me that the aural drama might be aided and made clearer if reinforced visually. So the score calls for the four microphones [for solo flute, clarinet, and trumpet as well as for the soprano] and the sound engineer and his/her control panel to be conspicuously visible to the audience during performance. These would be electronics not as illusion, but as instrument: the shadow soloist in a not-quite-double concerto.)
Thus, the twenty minutes of Vocalise piece begins as the soprano hums, intimately, in quarter-tones: then, gradually, she intones definite pitches. Orchestral instruments join the voice to reveal a chromatic, cantabile theme. A series of arpeggi --as basic a device as the overtone series, but similar, timbrally, to certain electronic techniques--spin round the melody. Other instruments “catch” certain theme tones and echo them, acoustically only: the electronics still remain silent. The music grows in amplitude and density. Three offstage musicians send the sounds of bells and, later, trumpets, ringing round the hall; prefiguring a gesture heard later in the piece. Still the music grows, to a level beyond which a singer even at the peak of her range could be expected to be heard. The soprano walks towards her microphone, and sings in her lowest, softest register an extended version of the opening theme--and now the electronics materialize, projecting, despite all acoustic probability, this tenderest part of the soprano voice well above the entire orchestra. Lower strings and horns play the same theme in canon, but at a slightly slower tempo. Here the whole theme, not just individual tones, is echoing itself--but with a difference. The canon is built so that the distances between the notes diminish little by little, until at last they unite. A climactic cadenza ensues: and the means of the piece change. The soprano’s next passage is echoed again--not acoustically this time, but by a computer, which catches and “loops” the melody and sends it spinning through the sound system of the hall, accompanying the soprano as she sings on. Flute, clarinet, and trumpet soli, claiming their own microphones, generating their own echoes, join her, as the piece revisits the echoes and arpeggi of earlier pages, but now in a radically different timbral world. The full orchestra, entering, signals the high point of the arch; and now the piece spins down gradually to the lightness and delicacy of the opening, but now in a mirrored, electronic form. At last, the soprano is left alone, humming fragments of her first material into her microphone, but her highly transformed voice is heard only from the back of the hall, slowly circling around the audience. Vocalise may seem more prescriptive than it is, subliminally forecasting the end of the acoustic orchestra as we know it. Such is not my intent. To add to a medium is not to destroy it, but simply to re-examine its premises, to point out new expressive possibilities. In Vocalise, to vary McLuhan, the medium is part message, part messenger; but the larger point is the continued relevance of expressive utterance and coherent structure in ever newer and more unusual contexts. The means may (must!) change; but the song remains the same. John Corigliano September 1999 Notes on Electronics When John first asked me to design the electronics part of his Vocalise, I was careful to approach it from a player’s perspective and not get seduced by what can be achieved in a studio environment. The part even emphasizes the visual, live aspects. Simultaneously the part needed to be able to be recreated in other circumstances. Thus the effects I submitted to John for reference and ideas were created on easily obtainable outboard equipment, and they would be triggered from the five microphones on stage and not from samples of either the actual performers or from a custom library. In hindsight my choice proved to be correct in that only one effect (the harmonic sweeps of the bass clarinet) would be as effective – and probably easier to perform – as a sample without introducing elements that did not have live parts as a source. The equipment I used for the premier in New York consisted of the following (programs and parameters for these are available): – Lexicon PCM-80 (or 81) – Eventide H4500 (or H4000) – Korg Kaoss Pad – 4 dbx 160 compressors – Yamaha O2R digital mixing console with an analog 8 bus card – array of amps and speakers for front/left/right/rear surround (A diamond shaped 4 channel system serves the piece, which calls for the electronic sound to start in the front and progress towards the rear of the hall better than a more conventional L/R – L/R surround setup.) No standard reverb was necessary due to the natural acoustics of the hall. Although I had programmed specific effects for each moment marked in the score, in reality I used only a handful for the following reasons:
– There is no time to load programs without interrupting lingering effects. The choreography of performing the electronics becomes quite complex. – due to the schedule of the orchestra and the hall there are usually less than two hours of rehearsal time dedicated to this piece, most of which will be used to familiarize the soloists and other musicians with the piece. And the equipment may have to be struck between rehearsals or performances without time allowed for a sound check. – In each performance the electronic passages resulted in vastly different effects mostly because of differences in timing, volume and intensity, microphone technique, etc. by the performers. The volitile nature of these circumstances both enhances the live aspect of the part and is cause for constant worries about distortion and other undesirable, yet unavoidable, ingredients in the sound effects. What will make the electronics part successful, other than programming and engineering skills, are basic musicianship and the ability to follow the score, the singer, and the conductor. Notes to specific programs: – “Looped Reverb” on voice, and later on winds, consisted of a multi-voice stereo delay on the PCM-80 (375ms to 1.2 sec) sent to a longer delay (1.8sec) on the H4500 with varying amounts of feedback (up to 100%) to achieve the necessary duration. – “Doppler” on voice was drawn on the Kaoss Pad, Pgm. #21 – “Harmonic Filter” on bass clarinet came from a 9-step resonant program on the H4500, using the 4 soft keys to change the fundamental pitch and spinning the Data Wheel right and left through all nine steps. In case an H4500 is not available this effect can also be achieved by drawing from X/Y-0 to X-0/Y-10 and back on the Kaoss Pad, Pgm. #7. – “Surround Sound” consisted of a complex eko/reverb program on the PCM-80 sent to a long delay (5sec) on the H4500. – Internal Autopanners on the 02R were used in later sections to further pan effects between left/right and front/rear. Notes on channel/speaker setup: – Logistics and finances have to be carefully considered in designing the surround sound. In addition to the cost of equipment rental there is the cost of man-hours involved in installing and striking the console/mixing station, amps and speakers, and the necessary time in the hall to dry-check and troubleshoot the system. – For the NY premiere at Avery Fisher Hall I chose to hide speakers behind seats, pointing up and reflecting off tiers, which could remain through the days of rehearsals and performances, even if the rest had to be struck in between. – A basic 4-channel bus system is sufficient. In NY, because of the size of the hall and the enormous height of the house speakers, I chose to also bus certain effects or panners to busses 5-8, which fed four additional speakers, two on stage left and right and two in house rear left and right, which covered the orchestra seats. — Mathias Gohl
dedicated to Sylvia McNair
VOCALISE John Corigliano
for Soprano, Electronics, and Orchestra
(1999)
*
(1/4 step down) Sop. **mmm
(1)
(etc.)
(mmm) --- ah
mmm
Crotales, bowed **** bow once, release, l.v.
15
*****
1
Glockenspiel, rubber mallets
15
2 Perc.
15
3
4
Sop. mm--ah
mmm
ah
mmm
ah
ah mmm
**** I Vn.
al sord.
1st stand, con sord., free bows
II al sord., practice mute Va. al sord., practice mute Vc. ***
al sord., practice mute
Cb.
2 15
(Crot., bowed)
15
(Glock.)
1
2 Perc.
Crot., bowed, bow once and release, l.v.
15
*****
3
Vib., bowed
l.v.
4 Pedal
3
Sop. 3
Vn. I 1st Stand con sord., free bows 2nd Stand Vn. II
con sord., free bows
3rd Stand con sord., free bows 4th Stand
*Numerals in triangles represent cued events rather than regular beats. The number in the triangle equals the number of cues. Dotted barlines represent each cued event. **mmm = humming; ah = singing; --- = slowly change from “mmm” to “ah”; = immediately sing or hum. ***Piccolo and Contrabass sound one octave higher and one octave lower than written, respectively. ****Dotted barlines indicate conductor cues (2,3 and 4) *****Repeat bowing ad lib. as sound disappears. N.B.:The Tuba is an optional instrument throughout the entire piece.
SCORE IN C Corrected 6/2000 Corrected 4/2002
Copyright © 1999 by G. Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal Law and subject to criminal prosecution.
*****
2 = ca. 60
3 1 Fl. 2
Picc. legato, simply, even 1 Ob. 2
1
Cl.
2
3
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. 15
(Crot.)
15
(Glock.)
15
(Crot.)
1
2
Perc. 3
(Vib.) 4 (Pedal)
Pno.
Hp.
2 Offstage Tpt. 3 4
Sop. (ah)
pizz.
mmm
= ca. 60 al sord., practice mute
Vn. I al sord., practice mute 1st Stand al sord., practice mute 2nd Stand al sord., practice mute 3rd Vn. II Stand al sord., practice mute 4th Stand con sord., free bows 5th Stand
Va.
Vc.
Cb.
al sord., practice mute
3 **
6
Cued event = ca. 48–52
1 Fl. 2
Picc.
1 Ob. 2
1
Cl.
2
3
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. 15
1 15
2 Perc.
15
3
4
Pno.
Hp.
2
Offstage Tpt. 3
4
Sop. **
Cued event = ca. 48–52 *arco, con sord., practice mute
I *unis., con sord., practice mute Vn. II *con sord., practice mute Va.
*con sord., practice mute
Vc.
Cb. *Asynchronous, free bows, as fast as possible. Do not synchronize with neighbor. Each stand enters slightly after the stand before. **Cue Vn. II, violas, etc., at 48–52 per cued event (slightly slower than previous 2 bars). Each player enters on his/her cue, but ignores othe entrances, ending freely. Conductor waits at end of measure 7 for rush of sound to cease.
4 (7)
= ca. 60
1 Fl. 2
Picc. 3
1 Ob. 2
1
Cl.
2
3
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. 15
1 15
2 Perc.
15
3
4
Pno.
Hp.
2
Offstage Tpt. 3
4
Sop.
= ca. 60 I Vn. II
Va.
Vc. *con sord., practice mute
Cb.
*Asynchronous, free bows, as fast as possible. Do not synchronize with neighbor. Each stand enters slightly after the stand before.
3
5 10
Cued event = ca. 48–52
1 Fl. 2
Picc.
1 Ob. 2
1
Cl.
2
3
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba Timp. 15
1 15
2 Perc.
15
3
4
Pno.
Hp.
2
Offstage Tpt. 3
4
Sop.
Cued event = ca. 48–52 I
Vn.
II
Va.
Vc.
Cb.
6 = 60
11 1 Fl. 2
Picc.
1 Ob. 2 * 1 (take over from Flute) Cl.
2
3
1 Bsn. 2 2. 1 2 even gliss.
Hn.
even gliss.
4.
al sord.
3 4 even gliss. Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. 15
1 15
2 Perc.
15
3
4
Pno.
Hp.
2
Offstage Tpt. 3
4
Sop. (ah)
= 60 via sord. I Vn.
via sord. II via sord.
Va. unis., free bows Vc.
slow even gliss. dolce via sord.
Cb. *Ossia play the D if Soprano chooses to sing the D .
even gliss.
7 = 72
ca. 6–7"
16
= 72
1 Fl. 2
Picc.
1 Ob. 2
1
Cl.
2
3
1 Bsn. 2
al sord.
con sord.
1 2 Hn. con sord. 3 4 con sord., harmon Tpt. 1 1., con sord., harmon 1 Tbn. 2 Bs. Tbn. Tuba
Timp.
= ca. 60 * Crot., soft sticks 15
1
= ca. 60 * Glock., soft sticks 15
2
= ca. 60 Perc.
*
15
Crot.
3
4
Pno.
Hp.
2
Offstage Tpt. 3
4
rubato Sop.
= 72
div. a3, senza sord.
ca. 6–7"
= 72
I Vn.
div., senza sord. II senza sord.
Va.
pizz.
via sord.
Vc. pizz., senza sord. Cb. *Play
= ca. 60, asynchronous, and vary the order of patterns and duration of rests.
senza sord.
8 21
= 72
ca. 6–7"
1 Fl. 2
Picc.
1 Ob. 2
1 legato Cl.
2
3
1 Bsn. 2 2. via sord. 1 2 Hn.
4. via sord. 3 4
via sord. Tpt. 1 2. con sord., harmon non. cresc.
(non dim.)
1., 2. al sord., straight mute
1 Tbn. 2 Bs. Tbn. Tuba
Timp.
= ca. 60 * Vib. 1
Pedal 15
2 Perc.
15
3
4
= ca. 60 8va
*
Pno.
❉
= ca. 60 *
Hp.
2
Offstage Tpt. 3
4
** Sop.
ca. 6–7"
= 72
I Vn. II
Va. (pizz.) Vc. (pizz.) Cb. *Play = ca. 60, asynchronous, and vary the order of patterns and duration of rests. **Ossia: Soprano releases D at start of cue two.
9 rall.
24
a tempo
= ca. 60
1 legato
Fl. 2
Picc.
1 Ob. 2
1
Cl.
2
3
1 Bsn. 2
(con sord.) 1 open Hn.
2 3. (con sord.)
4. open
div. (con sord., straight)
al sord. (harmon mute)
con sord., straight
al sord. (harmon mute)
3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp.
1 15
2 Perc.
15
3 Large Bass Drum 4
Pno.
â?‰
non arp.
Hp.
2
Offstage Tpt. 3
4
Sop.
div.
1. senza sord. gli altri al sord.
(div.)
al sord.
div.
al sord.
div., arco
al sord.
I Vn. II
Va.
Vc.
arco Cb.
rall.
a tempo
= ca. 60
10 rall.
30 1 Fl. 2
Picc.
1 Ob. 2
1
Cl.
2
3
1 Bsn. 2
(2.) 1 2 Hn.
(4.) 3 4
Tpt. 1 1., con sord., harmon mute
solo
5
5
5
5
5
5
5
5
5
*
1 Tbn. 2 gliss. dolce
solo *
Bs. Tbn., con sord., harmon mute
5
5
5
5
5
5
Bs. Tbn. Tuba
Cym. ** 30–32” Timp.
1 15
2 Perc.
15
3 Cym. ** 26” Timp. pedal
Pno.
Hp.
2 Offstage Tpt. 3 4
Sop.
rall. I Vn. II
Va.
Vc. 1., solo
5
5
5
5
5
5
5
5
5
*** Cb. 1 solo gliss. dolce
solo Cb. 2 solo
tune open E string to E
2., solo
***
5
5
5
*Slowly cover and uncover the mute, causing the resulting overtones to be articulated. A Dizzy Gillespie mute by Uuven & Co. is best for this technique **Place a cymbal on the timpani head. Gently roll cymbal while depressing and releasing the pedal to approximate the indicated glissandos. ***Natural harmonics. Touch string and glissando up and down.
5
5
5
11 rall.
35 1 Fl. 2
Picc.
1 Ob. 2
1
Cl.
2
3
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1 5
(1.)
5
5
1 Tbn. 2
gliss. (dolce) (Bs. Tbn.)
Bs. Tbn. Tuba
gliss. (dolce)
Timp. Vib. 1 15
Pedal
2 Perc.
15
3
Timp.
Pno.
Hp.
2
Offstage Tpt. 3
4
subito Sop.
rall. I Vn. II
Va. (div.) con sord. Vc.
(solo) 5
5
3
gliss.
Cb. 1 (dolce) tune E to D
(solo) Cb. 2
gliss. (dolce)
12 40 a tempo
= 72
1 Fl. 2
Picc.
1 Ob. 2
1
Cl.
2
3
2. 1 Bsn. 2 1. 1. (con sord.) 5
*
5
5
5
5
5
5
5
1 2 3. (con sord.) * 5
Hn.
5
5
3 4
5
5
5
5
5
Tpt. 1 (1.)
via sord.
1 Tbn. 2 via sord. Bs. Tbn. Tuba
Timp.
1 15
2 Perc.
15
3
4
Pno.
Hp.
2 Offstage Tpt. 3 4
Sop. 3
a tempo
= 72
solo, senza sord.
I gli altri, unis., con sord.
Vn.
unis., con sord. II
unis., con sord. Va.
(div., con sord.) Vc.
gli altri pizz. Cb.
solo 1, 2
Cb. 2: retune low D to E
Cb.
*Natural overtones. Do not finger the notes.
3
3
3
3
13 44 1 Fl. 2
Picc.
1 Ob. 2 3
1 3
Cl.
2
to Bass Clarinet 3
3
1 Bsn. 2
(1.)
5
5
5
1. via sord.
5
senza sord.
1 2
Hn.
(3.) 3 4
3. via sord.
5 5
senza sord.
5
senza sord. Tpt. 1 senza sord. 1 Tbn. 2 Bs. Tbn., senza sord. Bs. Tbn. Tuba
Timp.
1 15
2 Perc.
15
3
4
Pno.
Hp.
2 Offstage Tpt. 3
4
Sop. 3 5
3
al sord.
con sord.
Vn. Solo 3
3
3
Vn.
I
Vn.
II
3
Va. 3
Vc. (gli altri) Cb. (Cb. 1, 2 soli)
3
tutti, arco
div.
tutti, non div.
div.
unis.
div.
unis.
3
14 48 1 Fl. 2
Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl.
1 Bsn. 2
fltg. 1 2 Hn. fltg. 3 4
al sord., harmon
fltg. Tpt. 1 fltg. 1 Tbn. 2 (Bs. Tbn.) fltg. Bs. Tbn. Tuba
Timp. Xyl. 8
1 Glock.
15
3
3
3
3
3
3
3
3
2 3
Perc.
3
3
3
*Crot.
15
3 Vib. * 4 3
3
3
Pedal 8va
** 8va
Pno.
3
3
3
3
3
3
3
**
Hp.
7
Sop.
div., pizz. (con sord.)
div., arco, senza sord. 3
via sord.
3
3
3
I 3
div. a3, arco, senza sord.
Vn.
3
3 3
8va
div., pizz. (con sord.)
via sord.
II arco, senza sord. pizz. (con sord.)
via sord.
unis., pizz. (con sord.)
via sord.
Va.
arco, senza sord.
Vc. 7 7
pizz. Cb. *This effect should sound like reverberations. The number of notes articulated may be varied ad lib. **Grace notes on the beat.
7
15 51 1 Fl. 2
Picc.
1 Ob. 2 (1/4 step down) 1 Cl. 2 Bass Clarinet Bs. Cl.
1 Bsn. 2 1.
sim.
1 2 slow asynchronous oscillations
Hn.
3.
sim.
3 4 slow asynchronous oscillations 1 Tbn. 2
Bs. Tbn. Bs. Tbn. Tuba 8ba
hard sticks Timp. (Xyl.) S.D., rimshot
8
1 3
(Glock.)
3
15
3
3
3
2 sub.
3
(Crot.)
Perc.
3
3
3
15
3 (Vib.) 4 3
(Ped.)
3
3
3
8va
8va
8va
Pno.
3 8ba
3
Hp.
(1/4 step down) Sop.
3
3
3
3
I 3
3
3
3
8
Vn. II (1/4 step down) Va.
Vc. 7
7 7 7
7
7
7
sim.
7
7
7
7 7
arco Cb. 7
7
sim.
7
7
16 53 1 Fl. 2
Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl.
1 Bsn. 2
(1.) sim.
2., slow, asynchronous oscillations
sim.
4., slow, asynchronous oscillations
sim.
1 2 Hn.
sim.
3 4 con sord., harmon
abrupt cut-off
Tpt. 1
1 Tbn. 2 (Bs. Tbn.) Bs. Tbn. Tuba 8ba
Timp. Tamb. (optional)
(S.D.) 1 (Glock.) 3
15
3
3
3
2 (Crot.) 3
Perc.
3
3
3
15
3 (Vib.) 4 3
3
(Ped.)
3
3
8va
Pno.
8ba
Hp.
Sop.
3
3
3
3
I 3
3
3
3
8
Vn.
II
Va.
Vc. 7
7 7
7
7 7
7
7 7
7
7
7
Cb. 7
7
7
7
17 tratt.
a tempo
55 1 Fl. 2
1 Ob. 2
1 Cl. 2
Bs. Cl.
1 Bsn. 2 (overtone series)*
1.
(2., sim.) 1 2
2. Hn.
(overtone series)*
3.
(4., sim.) 3 4
4.
Tpt. 1 a2, con sord., harmon mute 1 Tbn. 2 Bs. Tbn., con sord., harmon mute Bs. Tbn. Tuba Soft sticks Timp. Suspended Cymbal 1 (Glock.) 3
15
3
2 (Crot.) Perc.
3
3
15
3 (Vib.) Bass Drum 4 3
3
Pno.
8ba
Hp.
Crot. 15
**
2 **
15
Crot.
Tpt. 3 Glock. 4
Sop.
tratt.
3
a tempo
3
I 3
3 8
Vn.
div. a2 II
Va.
div. Vc. 7
7 7
7
7
7 0
Cb. 7 *Free, asynchronous “waves� of overtones. **Stagger entrances. The number of repeated notes may be varied.
7
15
**
18 57 1 Fl. 2
Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl.
Bsn. 1 2 a2*
al sord.
a2*
al sord.
1 2 Hn. 3 4
Tpt. 1 Tbn. 1., 2.
*
Bs. Tbn. (a2)
gliss.
1 Tbn. 2 gliss. Bs. Tbn. Tuba
Timp.
Pno.
8ba
Hp.
(Crot.) 15
**
2 15
(Crot.)
15
(Glock.)
**
Offstage Tpt. 3
**
4
5
Sop.
free bows gliss. I Vn.
free bows
(dolce) gliss.
free bows
(dolce)
II
Va.
Vc.
Cb. *Free, asynchronous “waves” of overtones. Stagger breathing. **Repeat ad lib. gradually getting softer and spacing entrances farther and farther apart. Also gradually slow down the pulses.
19 59 1 Fl. 2
Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl.
1 Bsn. 2
a2, con sord. sim. 1 2
Hn.
a2, con sord. sim. 3 4
Tpt. 1
a3
(a2)
sim.
gliss.
1 Tbn. 2 a2 sim.
gliss.
Bs. Tbn. Tuba
Timp. 15
1
2 Perc.
15
3 15
4
Hp.
15
2 dim. poco a poco al niente
(niente)
dim. poco a poco al niente
(niente)
dim. poco a poco al niente
(niente)
15
Offstage Tpt. 3 15
4
3
3
Sop.
gliss. (sim.) I Vn.
gliss. (sim.) II
Va. unis. Vc.
Cb.
20 62
ten.
gliss.
1 Fl.
gliss. 2
Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl.
Bsn. 1 2
ten. 1 2 Hn. 3 4
Tpt. 1
(a2)
gliss.
1 Tbn. 2 Bs. Tbn.
gliss. Bs. Tbn. Tuba
ten. Timp. ten.
15
1
2 Perc.
15
3 15
4
ten.
Pno.
ten.
Hp.
to Trumpet, al sord., harmon
ten.
2 to Trumpet, al sord., harmon Offstage Tpt. 3 to Trumpet, al sord., harmon 4
ten. 3
Sop.
ten. I
gliss.
Vn. II
gliss.
Va. div. Vc.
Cb.
21 65 a tempo 1 Fl. 2
Picc.
1 Ob. 2
1 Cl. 2 to Clarinet in B Bs. Cl.
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1 via sord. 1 Tbn. 2 Bs. Tbn.
via sord.
Bs. Tbn. Tuba
3
Timp. 15
1
2 Perc.
15
3
4
Pno.
Hp.
2
Offstage Tpt. 3
4
Sop.
a tempo
div. a3, con sord.
al sord. I Vn.
al sord.
div., con sord.
II
al sord.
div. a3, con sord.
al sord.
div. a3, con sord.
Va.
Vc. 1/2 section al sord. 1/2 section senza sord. Cb.
half section, pizz. (senza sord.)
3
3
3
22 =
rall.
=
rall.
3
74 1 Fl. 2
Picc.
1 Ob. 2
1
Cl.
2
3
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
3
3
3
3
Timp. 15
1
2 Perc.
15
3
4
Pno.
Hp.
2
Offstage Tpt. 3
4
Sop.
3 div. a2 I Vn. II
div. a2 Va. (div. a3) Vc. div. a2
pizz.
Cb. arco, con sord.
23 ( = ca. 72) 82 1 Fl. 2
5
5
5
5
to Flute Picc. 5
5
5
5
1 Ob. 2 * 1
* Cl.
2
5
5 5
Clarinet in B 3
5
* 5 5
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. Vib.*
15
1 Pedal 2 Perc.
15
3
4
Pno.
Hp.
2 Offstage Tpt. 3
4
Sop. ossia:
(freely)
(freely) freely Sop.
al sord., practice mute I Vn.
al sord., practice mute II via sord.
Va. via sord. Vc. (1/2 section, arco, con sord.) Cb. *Ossia 8ba if Clarinets are too loud.
( = ca. 72)
5
5
24 88
( = ca. 72)
1
Fl.
2 5
5
5
5
Flute
to Piccolo
5
5
3 5
5
1 Ob. 2
1 5
Cl.
2 5
5 5
5
5
to Bass Clarinet
5 5
3
1 Bsn. 2
1 2 Hn. 3 4 (con sord., straight) Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. Vib. 1 Pedal 2 Perc.
15
3
4
Pno.
â?‰
Hp.
Trumpet con sord. 5
*
5
2 5
con sord.
5
Trumpet
*
Offstage Tpt. 3 5
5
5
5
Trumpet con sord. * 4 5
Sop. ossia: 3 3
Sop. 3
( = ca. 72) I Vn. II unis., senza sord. Va.
Vc.
Cb. *Continue in time, ignoring the conductor.
5
5
25 = 60
95 1 Fl. 2
Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl.
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp.
1
2 Perc.
15
3
4
Pno.
Hp.
* 2 5
5 5
5 5
5
*
Offstage Tpt. 3 5
5
5
*
5
4 5
5
5
(dolce) Sop.
= 60 I Vn. II al sord., practice mute Va. unis., pizz., senza sord.
al sord., practice mute
unis., pizz., senza sord.
al sord., practice mute
Vc.
Cb. *Players fade out with entrance of soprano in m. 96, beat 1.
26 98
Cued event = ca. 48–52
1 Fl. 2
Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl.
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp.
1
2 Perc.
15
3
4
Pno.
Hp.
2
Offstage Tpt. 3
4
Sop.
Cued event = ca. 48–52 *con sord., practice mute
I *con sord., practice mute
Vn. II
*con sord., practice mute Va.
*con sord., practice mute
Vc.
Cb. *Asynchronous, free bows, as fast as possible. Do not synchronize with neighbor. Each stand enters slightly after the stand before.
27 = 60 99
(breve)
1 Fl. 2
Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl.
1 Bsn. 2
(breve) 1 2 Hn. 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba (breve) Timp.
1
2 Perc.
15
3
4
(breve)
Pno.
Hp.
(breve)
con sord., harmon mute
= 72 **
via sord.
2 con sord., harmon mute
3
3
3
3
3
via sord.
3
3
Offstage Tpt. 3 3
3
con sord., harmon mute
via sord.
4 3
3
3
3
( poss.) 3
Sop.
(breve)
= 60
I Vn. II
Va.
Vc. *con sord., practice mute * Cb.
*Asynchronous, free bows, as fast as possible. Do not synchronize with neighbor. Each stand enters slightly after the stand before. **As before, continue in time, ignoring the conductor.
3
28 102 1 Fl. 2
Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl.
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp.
1
2 Perc.
15
3
4
Pno.
Hp.
2
Offstage Tpt. 3
4
Sop.
con sord. I
Vn. II
Va.
Vc.
Cb.
29 stringendo
= 60 103 1 Fl.
2 Piccolo Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl. a2 1 Bsn. 2 3
3
1
2 Hn.
3
3
4
Tpt. 1 senza sord. 1 Tbn. 2 Bs. Tbn. senza sord.
a2 (Tuba optional)
Bs. Tbn. Tuba
Timp. cresc. poco a poco
(cresc.)
1 15
2 Perc.
15
3
4
Pno.
Hp.
2 Offstage Tpt. 3 4
Sop.
= 60
unis., senza sord.
stringendo
via sord. I Vn.
via sord.
unis., senza sord.
II via sord.
unis., senza sord.
div.
3
unis.
Va. 3
via sord.
div., senza sord.
3
Vc.
via sord.
unis., pizz., senza sord.
non div., arco
Cb. 0
0
30 109 1 Fl. 2
Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl. a2 1 Bsn. 2 (a2)
1.
1 2 Hn.
3.
a2 3 4 (con sord., straight)
Tpt. 1 al sord., harmon 1 Tbn. 2 Bs. Tbn. al sord. Bs. Tbn. Tuba
Timp.
1 15
dampen on cue
Glock.
2 Perc.
15
3
4
Pno.
8ba
non arp.
Hp.
= ca. 60 * 2
cresc.
con bravura *
Offstage Tpt. 3
con bravura
cresc.
3
*
4 con bravura
3
move to microphone Sop.
div., free bows
I
div., free bows
Vn. II
pizz. Va. 0
div., free bows Vc.
Cb. *Offstage trumpets are asynchronous. Do not try to line up with each other—play independently.
div.
unis.
31 111 1 Fl. 2
Picc.
1 Ob. 2 to Clarinet in A 1 Cl.
to Clarinet in A 2
Bs. Cl. a2 1 Bsn. 2
1. 1 2 Hn. 3 4 senza sord.
via sord. Tpt. 1
3
1 Tbn. 2 Bs. Tbn. Tuba
Timp.
1 15
2 Perc.
15
3 Sus. Cym. 4 (cresc., sempre)
cresc. poco a poco
Pno.
Hp.
Piccolo Trumpet
to Piccolo Trumpet 2
5
Offstage Tpt. 3 3
5
4
cresc.
Sop.
I Vn. II
Va.
Vc.
Cb.
3
3
3
32 = 60 113 1 Ob.
espr. 2 Clarinet in A
espr.
1
Cl.
espr. Clarinet in A 2
espr. Bs. Cl.
1 Bsn. 2 a2 1 2 Hn.
espr. a2 3 4
espr. Tpt. 1
a2, con sord., harmon
slow gliss.
(stagger breath) etc.*
(Bs. Tbn.) slow gliss.
(stagger breath) etc.*
1 Tbn. 2 Bs. Tbn. con sord., harmon Bs. Tbn. Tuba
Soft sticks
**
Timp. richly 1 15
2 Perc.
B.D.
15
3 (Sus. Cym.) 4 to Celesta (ossia: Pno. 8va)
Pno.
Hp.
2
Offstage Tpt. 3
4
Amplified Soprano Elec.
Sop.
= 60 unis. I Vn.
unis. II 0
arco Va.
espr. unis.
(free bows) very slow gliss.
Vc. 1/2 section, arco
pizz., l.v. 0
unis., pizz.
Cb.
*Ad lib. overtone arpeggios. Players should be asynchronous, and 3-4 beats per overtone cycle should be used. **Timp. and Vc. start very slow gliss. The x’s indicate pitches between the half-steps. Arrivals are indicated by black noteheads, but the gliss. should not pause there—they should constantly be in motion until the final “A.”
33 121 1 Fl. 2
Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl. a2 1 Bsn. 2 (a2) 1 2 Hn.
(a2) 3 4
Tpt. 1
etc. 1 Tbn. 2
etc. (Bs. Tbn.) Bs. Tbn. Tuba
Timp. 15
1 15
2 Perc. 3
4
Cel. 8
Hp.
2
Offstage Tpt. 3
4
Elec.
Sop.
I Vn. II
Va.
Vc.
Cb.
34 127 1
espr. Fl. 2
espr. Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl. a2 1 Bsn. 2
(a2) 1 2
Hn.
(a2) 3 4
Tpt. 1 (a2) 1 Tbn. 2 (a2) Bs. Tbn. Tuba
Timp. Crot.
15
1 *Glock.
15
2
Perc. *Vib. 3
B.D.
Ped.
Ped.
Ped.
4
*Celesta
8
Cel.**
8
â?‰
Hp.
2
Offstage Tpt. 3
4 (Amp. Sop.) Electronics
Sop.
I Vn. II
Va.
Vc.
Cb.
*Glock., Vib., and Cel. (Pno.) all play indicated figures within boxes. Change to next box every two measures. Repeat figures, if needed, in any order. Vary durations of rests with fermati. **Ossia Piano, 8va.
stringendo
132 * 1 Fl. 2
Picc. espr. 1 Ob. 2
1 Cl. 2
Bs. Cl.
a2 1 Bsn. 2 (a2) 1 2 Hn.
(a2) 3 4
Tpt. 1
a2
etc.
1 Tbn. 2
etc. Bs. Tbn. Tuba
Timp. 15
(Crot.)
15
(Glock.)
1
2
Perc.
(Vib.) 3 (Pedal) (B.D.)
Pedal
Pedal
4
8
Cel.
8
8
8
â?‰
Hp.
2
Offstage Tpt. 3
4
Electronics
Sop.
stringendo I Vn. II
Va.
Vc.
Cb. *Ossia 8ba through measure 139.
35
36 = 72
137 1 Fl. 2
to Flute Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl. a2 1 Bsn. 2
(a2) 1 2 Hn.
(a2) 3 4
Tpt. 1 (a2)
via sord.
(Bs. Tbn.)
via sord.
1 Tbn. 2 Bs. Tbn. Tuba
Timp. 15
1 15
2 Perc.
Cym. 3 (B.D.) 4
8
Cel.
to Piano
8
Hp.
2
Offstage Tpt. 3
4
(Amp. Sop.) Electronics
Sop.
= 72 I Vn. II
Va.
Vc. (pizz.) 0
Cb.
37 142 1
Fl.
2
3
1 Ob. 2
1 Cl. 2
Bs. Cl.
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1 senza sord. 1 Tbn. 2 Bs. Tbn. senza sord. Bs. Tbn. Tuba
Timp. 15
1 Trg. 2 Perc. 3 B.D. 4 Piano
Pno.
(non arp.)
Hp.
= 72 (Picc. Tpt.)
*
2 asynchronous
*
Offstage Tpt. 3 asynchronous
*
4 3
3
asynchronous
Elect.
Sop. (ossia)
I sub. div.
Vn. II sub.
Va. sub. div. Vc. sub. arco Cb.
* Cut–off on downbeat of m. 143.
38 146 1
Fl.
2
3
1 Ob. 2
1 Cl. 2
Bs. Cl.
a2 1 Bsn. 2 a2 1 2 Hn. a2 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. 15
8
Xyl.
1 Trg. 2 Perc. 3 (B.D.) 4
Pno.
Hp.
to Trumpet 2 3
3
3
asynchronous Offstage Tpt. 3 asynchronous 4 asynchronous (Amp. Sop.) Electronics
Sop. (ossia) div. I Vn.
div. a3 II
Va.
div. a3 Vc.
div. Cb.
39 150 =
=
1
Fl.
2
3
1 Ob. 2
1 Cl. 2
Bs. Cl.
1 Bsn. 2 (a2) 1 2 Hn.
(a2) 3 4
Tpt. 1
1 Tbn. 2
Bs. Tbn. Tuba
Timp.
8
(Xyl.)
1
Perc.
2 3 (B.D.) 4
Pno.
Hp.
Electronics
Sop.
(free bows)
=
=
I Vn.
(free bows) II
div. a3 (free bows) Va.
(free bows) Vc.
(free bows) Cb.
40 154
= 72
lunga
1 lunga Fl.
2 lunga
to Piccolo 3
lunga 1 Ob.
lunga 2 lunga 1
Cl.
lunga 2 lunga
Bs. Cl. lunga
a2 1 Bsn. 2
lunga 1 2 lunga
Hn. 3 4
lunga Tpt. 1 lunga 1 Tbn. 2 lunga Bs. Tbn. Tuba
lunga Timp. Xyl.
lunga
8
1 lunga 2 Perc.
lunga
S.D. 3
lunga 4 lunga
lunga
Pno.
lunga
lunga
Hp.
Looped reverb on* lunga
(Amp. Sop.) Electronics 9:
lunga Sop. 9:
= 72 unis., pizz.
lunga
I Vn.
div. a2
unis., pizz.
lunga
div. a2
unis., pizz.
lunga
div. a2
unis., pizz.
lunga
II
Va.
Vc. unis. Cb.
*Amplified voice with electronic, looped reverb.
lunga
41 = 60 158
lunga
1 Fl.
lunga 2 lunga
Picc. lunga 1 lunga
Ob. 2
lunga 1
Cl. lunga 2 lunga Bs. Cl. lunga 1 Bsn. 2
lunga 1 2 lunga
Hn. 3 4
lunga Tpt. 1 lunga 1 Tbn. 2 lunga Bs. Tbn. Tuba
lunga Timp. lunga
8
1 lunga 2 lunga
Perc. 3
lunga 4
lunga
lunga
Pno.
lunga
cresc.
lunga
Hp.
lunga * Electronics
(amplified only) lunga Sop.
= 60 lunga I lunga
Vn. II
lunga Va. lunga Vc. lunga Cb. *New Soprano line caught and looped with reverb (as before).
42 = 72
162 1 Fl. 2
Picc.
1 Ob. 2
Play into microphone
add reverb. Sit
Stand and move to microphone 1 marc. Cl.
(off microphone) 2
Bs. Cl.
1 Bsn. 2
1 2 Hn. 3 4 Play into microphone
Stand and move to microphone
add reverb.
Tpt. 1 marc. 1 Tbn. 2 Bs. Tbn. Tuba
Timp. Vib. 8
1
2 Perc. 3
4
Pno.
Hp.
2
Offstage Tpt. 3
4 looped reverb on Cl. 1, Tpt. 1 (etc.)
sim.
off
Electronics
Sop.
= 72 I Vn. II
Va.
Vc.
Cb.
Sit
43 = 60
167
breve
1 Fl.
breve 2 breve
Picc. breve 1 Ob.
breve 2 breve 1
Cl.
breve 2 breve
Bs. Cl. breve 1 Bsn. 2
breve 1 2 Hn.
breve 3 4 breve
Tpt. 1 breve 1 Tbn. 2 breve Bs. Tbn. Tuba
breve Timp. breve
Vib. 1
cresc. breve
Pedal 2 Perc.
breve 3 breve 4 breve
Pno.
breve
breve
cresc.
Hp.
breve
breve 2 breve Offstage Tpt. 3 breve 4
*
breve
Electronics
breve Sop.
= 60
div. a3, arco, free bows
breve
I div. a3, arco, free bows
Vn.
breve II div., arco, free bows breve
Va. div., arco, free bows breve Vc. breve Cb. *Distortion effects may be added slowly to the mix.
44 = 60 170
Stand
1 Fl. 2 Piccolo Picc.
1 Ob. 2 Stand 1 Cl. 2
to Clarinet in B Bs. Cl. a2 1 Bsn. 2 molto
(cut off abruptly)
1 2 Hn.
sub.
sub.
sub.
sub.
3 4 (cut off abruptly)
Stand
Tpt. 1 sub.
molto
1 Tbn. 2 sub. Bs. Tbn. Tuba
hard sticks
sub. Timp. Vib.**
sim.
1 Pedal 2 S.D., rimshot
Perc. 3 B.D. 4 sub.
sub. molto
Pno.
Hp.
*Doppler echo
(1/4 step down)
Electronics
Very close to microphone
Sop.
= 60
**
on the string sim.
**
marc. on the string sim.
**
marc. on the string sim.
**
marc. on the string sim.
**
marc. on the string sim.
I Vn. II
Va.
Vc.
Cb. marc. *Amplified Soprano. Doppler catches note of Soprano and bends it on cue. **Accented, as fast as possible, asynchronous. Play random non-repeating, non-scalar passages between and including the two indicated notes in the box.
to reverb and effects: Sop., Fl., Cl., Tpt.
176
45
Standing, play into microphone fltg.
= 108–112 =
1
Fl. 2
Picc.
1 Ob. 2 *play into microphone
(standing) 1
asynchronous Cl.
2
3 a2 1 Bsn. 2 asynchronous 1 2 Hn. 3 4 (standing) play into microphone Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. Vib. 1 Pedal 2 Perc.
Small Tamtam 3
cresc.
B.D. 4
Trumpet (not Piccolo Trumpet) 2
Offstage Tpt. 3
4
* Electronics
Lean into microphone ** Sop. ossia: B
= 108–112 =
div. a2
I Vn.
div. a2 II sul pont.
div. Va. div.
unis.
Vc. asynchronous unis. Cb. asynchronous *Electronics process Sop., Fl., Cl. and Tpt. Each is looped and wildly distorted, which constitutes the climax of the Electronics contribution. **Soprano should move closer to the microphone as she sings lower pitches, to preserve a fortissimo dynamic.
continue similar ascending patterns
46 179 Sit
*
1 Fl. ** 2 ** Picc.
1 asynchronous
Ob. 2
asynchronous Sit 1 asynchronous Cl.
2 asynchronous Clarinet 3 (a2) asynchronous
1 Bsn. 2 a2, fltg. 1 2 asynchronous Hn.
continue similar descending patterns
a2, fltg. 3 4 asynchronous Sit
continue similar descending patterns
fltg.
Tpt. 1 asynchronous
continue similar descending patterns
gliss.
1 Tbn. 2
gliss. Bs. Tbn. Tuba Xyl. 8
1
Glock., brass mallets
15
2
Perc.
(Tam.)
Sus. Cym.
Sm. Tamtam
3 (cresc.)
Bell Tree
4 continue descending pattern
Pno. continue chromatic scale
Hp.
to Crotales 2
to Crotales Offstage Tpt. 3 to Glock. 4
Electronics
gliss. I continue similar ascending patterns gliss.
asynchronous
Vn. II
continue similar ascending patterns
asynchronous
gliss. Va. asynchronous
continue similar ascending patterns gliss.
Vc. continue similar ascending patterns Cb.
gliss.
*Jet whistle: blow directly into mouthpiece and finger a C major scale up to high C and then back down. **Overblow to sound harmonics. Jagged shapes indicate possible ranges.
47 *
182
rall. poco a poco
1 Fl. 2
Picc.
1 continue descending pattern Ob. 2 continue descending pattern
1
continue descending pattern
Cl.
2
continue descending pattern to Bass Clarinet 3
continue descending pattern 1 Bsn. 2 (a2) 1 2 Hn.
(a2) 3 4 al sord.
Tpt. 1 1.
2.
1.
gliss.
1 Tbn. 2
gliss.
gliss. Bs. Tbn.
Bs. Tbn. Tuba
gliss.
gliss.
Timp. 8
1 15
2 Perc. 3
4
Pno.
Hp.
2 Offstage Tpt. 3
4
Electronics
*
rall. poco a poco
I Vn. asynchronous II asynchronous
Va. asynchronous
Vc. asynchronous
Cb. asynchronous *Rallentando applies only to the conductor’s beat. Celli and Basses slow down only near the end of their passages, so as to arrive together on the downbeat of measure 185 (E ).
48
Tempo primo ( = 60)
185 (rall.)
*** Stand
Play into microphone**
1 Fl. 2
Picc.
1 Ob. 2 Stand
Play into microphone**
1 Cl. 2
Bs. Cl.
1 Bsn. 2
2. 1 2 Hn. 3 4 Stand
con sord.
Play into microphone
Tpt. 1 (1.) 1 Tbn. 2 Bs. Tbn. Tuba
Timp.
8
1 15
2 Perc. 3
4
Pno.
Hp.
**Surround Sound Elec.
Sop.
(rall.) al sord., practice mute
Tempo primo ( = 60)
*** *con sord., practice mute
I *con sord., practice mute Vn.
al sord., practice mute II al sord., practice mute
Va.
pizz.
al sord., practice mute
pizz.
al sord., practice mute
Vc.
Cb.
*Asynchronous, free bows, as fast as possible. Do not synchronize with neighbor. Each stand enters slightly after the stand before. **Microphones catch Fl., Cl., and Tpt. reverb. and looped. The sound is panned to the rear of the hall (surround sound). ***Slightly longer cues than at m. 6.
49 190 1 Fl. 2
Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl.
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. 8
1 15
2 Perc. 3
4
Pno.
Hp.
2
Offstage Tpt. 3
4
Electronics
Sop.
I
Vn. II *con sord., practice mute Va.
*arco, con sord., practice mute
Vc.
*arco, con sord., practice mute
Cb. *Asynchronous, free bows, as fast as possible. Do not synchronize with neighbor. Each stand enters slightly after the stand before.
50 191
= 60
* play into microphone
Stand
sit
1 Fl. 2
Picc.
1 Ob. 2 play into microphone
Stand
sit
1 Cl. 2
Bs. Cl.
1 Bsn. 2
1 2 Hn. 3 4 Stand
play into microphone
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. 8
1 15
2 Perc. 3
4
Pno.
Hp.
2
Offstage Tpt. 3
4 ** Surround Sound Electronics
Sop. 3
= 60 I Vn. II
Va.
Vc.
Cb. *Slightly longer cues than at m. 6. **As before.
3
sit
51
= 72 (193)
194
1 Fl. 2
Picc.
1 Ob. 2 (off microphone) 1 Cl. 2
Bs. Cl.
1 Bsn. 2
1 2 Hn. 3 4 via sord. Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. 8
1 15
2 Perc. 3
4
Pno.
Hp.
2
Offstage Tpt. 3
4
Electronics
Sop.
= 72 via sord. I
Vn. via sord. II
via sord. Va. via sord. Vc.
via sord. Cb.
52 196
solo (off microphone)
1 3
Fl. 2
Picc.
1 Ob. 2 solo 1 3
Cl. 2 Stand and walk to Clarinet 1 microphone Bs. Cl.
1 Bsn. 2
1 2 Hn. 3 4 solo, open (off microphone) Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. 8
1 15
2 Perc. 3
4
Pno.
Hp.
2
Offstage Tpt. 3
4
Electronics
3
Sop.
senza sord.* I Vn.
senza sord.* II senza sord.*
Va. senza sord.* Vc. senza sord.* Cb. *Ossia leave practice mutes on, but solo Violins, Viola, and Violoncello senza sord.
div.
53 202 1 Fl. 2
Picc.
1 Ob. 2
1 Cl. 2 Play into microphone Bs. Cl.
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. 8
1 15
2 Perc. 3
4
Pno.
Hp.
2
Offstage Tpt. 3
4
*Harmonic Filter (overtone series) (Bs. Cl.) Electronics
Sop.
(tutti)
solo
I Vn.
solo II
sola
(sola)
Va. gle altri (div.) solo
(solo)
Vc. gli altri Cb. * Filter out fundamental bass clarinet note, catch only the indicated overtones in legato, slow arpeggios.
54 207 1 Fl. 2
Picc. solo 1 Ob. 2
1 Cl. 2 Sit Bs. Cl.
1 Bsn. 2 1 2 Hn. 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. 8
15
Crot., bowed
*
(
1 Glock., soft mallets
15
2 Perc. 3
4
Pno.
Hp.
2
Offstage Tpt. 3
4
Electronics
Sop. (ossia)
(solo) Vn. I
Solo
2nd Stand Vn. II 3rd Stand 4th Stand (sola) Va. (solo) Vc.
Cb. *Rebow, ad lib., when sound completely dies away.
*
)
(
)
55 212 1 Fl. 2
Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl.
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. (Crot.)
15
1 15
(Glock.)
(
)
(
)
(
)
(
)
2 Perc. 3
4
Pno.
Hp.
15
2 15
Offstage Tpt. 3 15
4
Electronics
Sop.
I Vn.
2nd, 3rd Stand II 4th Stand
Va.
Vc.
Cb.
56 213 1 Fl. 2
Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl.
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. 15
1 (Glock.) 15
2 Trg.
Perc. 3
4 8va
Pno.
Hp.
Crot. 2 Sparse and asynchronous alteration of notes. Barely audible. Slowly fade to silence.
Crot. Offstage Tpt. 3 Glock. 4
*Surround Sound, Reverb., and Effects Electronics Hum into microphone (no “live” sound) senza vib. Sop. mmm
I Vn.
(2nd, 3rd, 4th Stands) II
Va.
Vc.
Cb. *Soprano voice should slowly pan around back of hall, always moving until the final fade.
mmm----- ah
mmm
57 214 1 Fl. 2
Picc.
1 Ob. 2
1 Cl. 2
Bs. Cl.
1 Bsn. 2
1 2 Hn. 3 4
Tpt. 1
1 Tbn. 2 Bs. Tbn. Tuba
Timp. 15
1 15
2 Perc. 3
4
Pno.
Hp.
2
Offstage Tpt. 3
4
(Panning the sound around the back of the hall. Get steadily softer and more filtered, with increasing echo, until disappearing into silence.) Electronics
Sop. mmm ---- ah
I Vn. II
Va.
Vc.
Cb.
mmm
(mmm)
mmm---ah
mmm