Blackford VOICES OF EXILE (orchestral version)

Richard Blackford

Voices of Exile a cantata for mezzo-soprano, tenor and baritone soloists, SATB chorus, children’s chorus, orchestra and tape

NOVELLO

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Voices of Exile Prelude No. 1

Poetry after Auschwitz (Tenor Solo and Chorus) poem by Tony Harrison

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Part I – Memories of Home No. 2 No. 3 No. 4

Bengal (Chorus with tape) singer Kamla Chaudhuri (traditional) Tibet (Baritone Solo and Children’s Chorus) poem by Tsering Gonpo Zaire (Chorus) poem by Mabiala Molu

9 12 25

Part II – Journeys No. 5 No. 6 No. 7 No. 8

Somalia (Tenor Solo with tape) singer Osman Dugleh (traditional), then poem by Abdirahman Mirreh Tibet (Baritone Solo) poem by Tsering Gonpo Austria (Chorus and Children’s Chorus) poem by Erich Fried Somalia (Chorus) poem by Abdirahman Mirreh

41 44 51 60

Part III – Prison No. 9 Chile (Mezzo-soprano Solo) poem by Maria Eugenia Bravo Calderara No. 10 Nigeria (Tenor Solo) text by Ken Saro-Wiwa No. 11 Turkey (Chorus) poem by Oktay Rifat

70 76 87

Part IV – Exile No. 12 Bosnia (Baritone Solo) text by Himzo Skorupan No. 13 Macedonia (Chorus with tape) singer Tanya Czarovska (traditional) No. 14 Algeria (Mezzo-soprano Solo) poem by Samia Dahnaan

88 99 101

Part V – Freedom No. 15 Greece (Chorus) poem by Yannis Ritsos No. 16 Kurdistan (Mezzo-soprano and Tenor Solos) poem by Mohammad Khaki No. 17 Angola (Mezzo-soprano, Tenor and Baritone, Chorus and Children’s Chorus) poem by Antonio Joaquim Marques

104 112 121

Epilogue No. 18 (Tenor Solo) poem by Tony Harrison

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Voices of Exile In 1992, I recorded a 15-year-old girl refugee in the Kalighat slum area of Calcutta. Her village had been destroyed by drought and she, like hundreds of thousands, lived on Calcutta’s streets. When her family left her village they had to walk for days and consequently could take none of their few possessions. All she could bring with her, she said, were her songs. For Kamla the songs were her link with her village, her past and her culture – they represented a part of her dignity. Although at the time I did not know it, I felt that one day I would write a work that would incorporate Kamla’s beautiful song and the stories of others like her. Nine years later the political debate on refugees and asylum seekers seems often to overlook the fact that these people are individuals, not statistics or political footballs. Voices of Exile makes no overt political point, it tries rather to give voice to a wide-ranging group of writers who have suffered exile, prison, sometimes torture, and who can give an insight into the shared experience of the refugee. It is an uncomfortable subject, yet one which, after being introduced to the work of the Medical Foundation and Prisoners of Conscience in 2000, I decided to make the theme of my commission from the Bournemouth Symphony Chorus. The work of most of the writers and poets I selected covers their experiences of the last few years - human tragedies that are occurring today and will occur tomorrow. At the outset I realised that a cantata on this subject begs the question – can the humanities humanise, can art make any difference? Theodore Adorno wrote “There can be no poetry after Auschwitz”, In other words, has the instinct for poetry in the post-Holocaust era been burned out of mankind? Tony Harrison, my collaborator for the last six years, refuted that famous statement by writing “There can only be poetry after Auschwitz”. The fact that refugees and torture victims have recorded their thoughts and experiences in prose and poetry that is in turn poignant, passionate, bleak, courageous or humorous, affirms the ability of at least some to celebrate life even after experiencing the worst that can befall. The image of a fragile candle, the same flame that commemorates those who perished in the flames of Auschwitz and elsewhere, is the central, ambivalent image of the cantata – the destructive flame is also the flame of the imagination, the creative spark that appears able to sing through the flames. In the Epilogue, Harrison writes: The candle burns, but for how long? Loneliness, loss, exile, grief May move the sufferer into song That like the candle’s bright but brief. The poems I discovered over a year of meetings with the Medical Foundation, Prisoners of Conscience and Exiled Writers Ink embodied increasingly “the flame that men must light and light again”. The experiences I read about seemed to fall into five main categories that became the pillars of the cantata: I Memories of Home, II Journeys, III Prison, IV Exile, V Freedom. Since the poems span thirteen different languages, I took two decisions early on: to set them in English and to make no attempt to imitate the indigenous music of the countries covered. Instead, to give the “voices” of the title their due, I recorded four poets reading in their original languages and, like UN simultaneous translation, play a taped section before crossfading to the English translation set to music. Yet the presence of authentic musical refugee voices became more compelling as the composition progressed and I decided to incorporate three folk songs (Bengali, Somali and Macedonian) into the playback material. In the case of the Macedonian singer, Tanya Czarovska, I also recorded for reference a version of the spoken text in Macedonian and English translation. One afternoon, I accidentally played back all three layers simultaneously and discovered a strange, haunting texture of the original folk song layered with spoken text and translation, which I then harmonised with live chorus. My attempt at a unified musical style that would span an eclectic range of textual sources presented questions about the internal structures of the songs. Some seemed to cry out for classical forms, such as the passacaglia in Erich Fried’s circular poem It Has Happened (No. 7). The insistent “It has happened, and it goes on happening and will happen again,” seemed to require the unforgiving, immutable straightjacket of the passacaglia, in which jagged, angular choral lines struggle to break out from the constriction of the poem. The passacaglia leads directly into a fast fugue (No. 8) in which Abdirahman Mirreh describes his painful ambivalence towards the aircraft that promises his survival but parts him from his homeland forever. The double entendre of fugal flight was irresistible, and the entire fugue occurs over a pedal bass that evokes the throbbing of jet engines. One song, Ken Saro-Wiwa’s description of his dream encounter with the ghostly General Jeno Saidu (No. 10), is a dramatic monologue in which the tenor soloist takes on both the voice of SaroWiwa in the tenor clef and that of the General in the bass clef. As the composition took shape it seemed as if the musical language was undergoing a journey of fragmentation akin to that of the lives of the poets. The music of Part I, Memories of Home, has a confidence that is gradually eroded with the descriptions of upheaval, and becomes a fragmented, tonally ambiguous texture in No. 10 and rhythmic neurosis in No. 12. The texture then becomes suddenly very fragile and spare, with just a cappella chorus accompanying the beautiful Macedonian folk song (No. 13). Even sparer is the following song with solo piano and violin accompanying the touching

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Algerian poem by Samia Dahnaan. Part V, Freedom, rediscovers something of the confidence of Part I and even recalls the exuberant rhythms of Memories of Home. In each of the anthologies and collections of unpublished poems it seemed that love poetry played a vital role as an antidote to the suffering of the writers, whether as a spark kept alive as lovers are separated, or the discovery of new love in the places of exile. Part V includes two love poems, Mohammad Khaki’s beautiful My Wish (No. 16) and the sensuous Daughter of the Desert (No. 17) by Antonio Joaquim Marques from Angola. The latter is a dream of fertility returning to a parched land, an apt metaphor for the hope, however distant, that the cycle of inhumanity might one day be broken. In the meanwhile, as Tony Harrison’s Epilogue concludes, the poetry and the songs that continue to be written and sung represent, like the candle’s flame, a fragile hope. Special thanks to Shamim Azad, Helen Bamber, Richard and Rosamund Bernays, Fred and Ellie Blackford, Peter Bevan, Sara Butterfield, Lynn Carter, Dr David Cohen, James Collins, Neville Creed, Sandrey and Carolyn Date, Rick Edelstein, David and Jane Fanshawe , Peter Hargitay, Dr Robert Harris, Glenn Keiles, Jennifer Langer, Sara Loewenthal, Nonnie Stanley, Robert Tear, Fiona Whytehead, Douglas Young and the poets and singers with whom I collaborated. Richard Blackford – July 2001

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No. 1

Prelude – Poetry after Auschwitz, poem by Tony Harrison. (Over a deep drone the solo violin, like a moth drawn to a candle, flutters and struggles for life. The tenor solo sings a strophic song with ritornelli.)

TENOR: Redeeming fire melts only wax Redeeming fire meant to invoke The souls from Auschwitz stacks Their destiny of smoke

I

The dancing eyes of candle flame Seem glad that they might gaze Into the worst and there reclaim The souls trapped in the blaze The blaze of genocide Where lifelight flickers at a breath Until its guttering glow might guide The love moth through dark death So many murdered at a stroke Rust locks the heart and soul So many millions left here smoke But I, I leave here whole

chimney

CHORUS: So many, so many… (in Hebrew transliteration) Leloh sfor. Ahnou effer vehashan. These flames by which the heart’s blood warmed Are shreds of fiery shrouds… TENOR: These flames by which the heart’s blood warmed Are shreds of fiery shrouds That wrapped round victims and transformed These millions into clouds These seedling flames out of the blaze Redeeming flames meant to unite The Jews, the gypsies and the gays Whose shadows seek the light.

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Part I – Memories of Home

No. 2

(Bengal) Bengali folk song sung by Kamla Chaudhuri (recorded by RB in Calcutta in 1992 – trans: “In the month of Baishakh I think of my lover and of how much I am suffering for love.”). (As the chorus weaves contrapuntal lines around the melody the words of Taslima Nasrin from Bangladesh are heard on tape)

TAPE:

A year has passed and I am one year older. But the new year has brought no hope or freedom Exile has no frontiers. (The phrase “Exile has no frontiers” is heard in simultaneous translation in Tibetan, Algerian, Chilean, Macedonian, Bosnian, Russian, German, Greek, Kurdish and Somali – a ripple of languages sometimes distinct, sometimes a blurred texture.)

No. 3

(Tibet) Memories of Tibet poem by Gergyi Tsering Gonpo

BARITONE: The crimson opal mountains crown The melting pink and white froth of leaping glaciers. I skated on the enamel lakes, I drew a thousand scratches in the ice I gazed at the star-embroidered sky. CHILDREN: I skated on the enamel lakes I drew a thousand scratches in the ice I gazed at the star-embroidered sky. No. 4

CHILDREN: They stole my home And in my heart I bear an icy patch.

(Zaire) Kin the Beautiful poem by Mabiala Molu

CHORUS: O Kin, the Beautiful, ` Kin, the Bold, Kin, the coveted town of leaders, of light O Kin, the playground of miracles. Kinshasa, Kin-Kinshasa, Kinshasa, Kin-Kinshasa, For you, Blacks and Whites made war. And you, Ebony Princess, cast your spell on them. Who did not succumb to your charms? Who did not sing your praises? Who can forget your maze of streets? Your lively lanes Where girls and women bustled, And gaily they sang, breasts in the air.

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BARITONE: Red was the star of the legend of the crow and the wolf. Yes, they played the wolf They stole my home And in my heart I bear an icy patch.

Who can forget your beloved roads Where men swaggered? Who can forget your enchanting roads, Your sunny roads, Where street musicians strolled, Your beautiful avenues Where the other people grew rich? Who can forget your roads Where once they danced the bamboula From the Maison Mere to the Congo Bar? They danced the Independence Cha-Cha. CHORUS: O Kin, the Beautiful, Kin, the Bold, O Kin, the coveted town of leaders, of light Playground of miracles, Cry, O Beautiful Widow, Cry for your heroes, Cry!

Part II – Journeys

No. 5

(Somalia) The “cry” becomes the cry of Somali singer Osman Dugleh, heard on tape. Out of it comes Fleeing poem by Abdirahman Mirreh. On volcanic rocks Sharper than butchers’ knives Our feet bleeding We had to walk I touched a stone with my lips As I fell The moon didn’t shine It helped us.

TENOR: …And as we walked We crossed The Golis Ranges Fearing the soldiers Who killed my sister We walked by night stumbling

The voice of Gergyi Tsering Gonpo reading the first lines of his poem in Tibetan is heard on tape. The baritone solo sings his poem in translation

No. 6

(Tibet) Crossing the Frontier poem by Tsering Gonpo. Behind my horse Is a stem of blossom. Before him stand bracing snowfields… As I pass the border refuge How can I bear to look back?

BARITONE: Looking at the winding paths Is the frontier town of Ngare How can I slip away like this?

No. 7

(Nazi Austria) It Has Happened poem by Erich Fried Passacaglia.

CHORUS: It has happened and it goes on happening and will happen again if nothing happens to stop it CHILDREN: the innocent know nothing because they are too innocent CHORUS: and the guilty know nothing because they are too guilty the poor do not notice because they are too poor and the rich do not notice because they are too rich No. 8

the stupid shrug their shoulders because they are too stupid and the clever shrug their shoulders because they are too clever CHILDREN: the young do not care because they are too young CHORUS: and the old do not care because they are too old that is why nothing happens to stop it and that is why it has happened and goes on happening and will happen again.

(Somalia) Time extract from poem by Abdirahman Mirreh. Fugue over pedal bass

CHORUS: Flying bird, cold aluminium, With all that speed, how I do Hate your gleaming wings…

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Part III – Prison No. 9

(Chile) Private Soldier poem by Maria Eugenia Bravo Calderara, whose voice on tape is heard over distant thunder.

MEZZO SOPRANO: For you, short, dark, under-fed, with sweaty hands. Who know nothing of grammar, nouns and verbs, Today I sing to you. Because when I had no eyes you lent me yours And when I was cold you lent me your coat. Because when fear Was at its worst You rolled me a cigarette. You brought me a painkiller, No. 10

(Nigeria) extract from On The Death Of Ken Saro-Wiwa by Ken Saro-Wiwa. Two part invention

TENOR: One night the ghost arrived, Tall, gangly, in ragged camouflage jacket, Automatic slung over his shoulder, A little drum in his hand. He sounded the drum “Ken-ti-mo, Ken-ti-mo, Ken-ti-mo.” “Who are you?” I asked. “I’m General Jeno Saidu.” “Sounds like genocide to me,” I said. “You should know.” “What do you want?” I asked. “I’m here to finish you off.” “General, stop swaggering,” I said. “You don’t impress me.” “You will be impressed. I’ve finished off your people, Once I deal with you, my task is done.” “Go ahead,” I challenged him. “You’re not afraid to die?” “No.” “Why not?” “I’m prepared to go with all my people you have already murdered.” “Yes, I worked hard on them, all five hundred thousand. You are my last man.” General Jeno Saidu, the ghost, shot into the ceiling and not into my chest. “Still not afraid? “No, General.” “Why not?”

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Delivered a note to my family. So we cared for each other in those dumb hours. Your shivering was my shivering. I didn’t see you and yet I saw you. I never knew your name or where you were from, The rollup, the painkiller, The biscuit, the secret note. I never knew your name or where you were from, But I know what you are called. Human.

“Because I have what is greater than your weapon,” Whereupon I recited, after the English poet Blake: “I will not cease from mental fight Nor shall my sword sleep in my hand Till we have built a new Ogoni In Niger delta’s wealthy land.” Then I drew my pen from under my pillow The general’s automatic fell from his hand He slumped to his knees. He lost his swagger and became my confidence. So I learned that these generals are strong Only if they have an automatic in their hands. He sat beside me, Reeking of human blood. “Sorry about the smell,” he said, “There’s nothing I can do about it. All the soap in the world will not wash it off.” “What is it, General,” I said, “What is it That can make anyone so mad?” “In Nigeria, it is money, Ken-ti-mo. Your country is money-mad.” Then General Jeno Saidu the ghost vanished As only a ghost can.

No. 11

(Turkey) The Embrace poem by Oktay Rifat. A cappella chorus.

CHORUS: Warm me this night, O my trust in freedom Wrap me warm Against my thin mattress and torn blankets Out there is unimaginable cold. O my trust in freedom Enter deep,

Warm me through this night On my palm a place is ready For my hands On my thighs a place To lean your knees. Enclose me, Sheathe me, Wrap me warm, O my trust in freedom Wrap me warm this night.

Part IV – Exile No. 12

(Bosnia) Neither Here Nor There by Himzo Skorupan.

BARITONE: I had my trepidations for a long time. But yesterday I could wait no more. I went to the phone and dialled a number: My number! At the other end, in my house, I heard an unknown voice Saying I wasn’t there. I know perfectly well where I am But I wondered whose head was on my pillow Who was browsing through my books, Who was looking at the pictures on my walls, Who was picking fruit in my garden… And I started thinking.

What does he dream about While resting on my pillow? Is he afraid to choke On the apples from my garden? Is he uncomfortable in my bed? What does he say when he hears Someone knocking at the door? What does he see in the pictures on my walls? My books – he doesn’t read, I know that God have mercy on him. And this is the way things are: I am not really here, And over there I am no more.

No. 13

(Macedonia) Macedonian folk song sung by Tanya Czarovska with simultaneous texts and choral accompaniment.

No. 14

(Algeria) Yemma poem by Samia Dahnaan

MEZZO SOPRANO: I remember you standing At the balcony waving You ask if I had a good day I pinch your pleated cheeks I laugh and say “Grandma, your face is like a dry fig” I kiss you You sit quietly, listening. I pour you a mint tea I look into your eyes I see a tear quietly drowning Your lips touch the edges of the cup For you Yemma I long For the mint tea you loved For the sea and jasmine plant I miss For the passion you had For the sadness you felt

The day I left you For the day I landed, For the grey that wrapped me all these years For the years passing by And my sight is blurred By the tears you shed And now I know My lips will never touch Your pleated cheeks For you, Yemma, who saved me For you Yemma, I hold a pen For you, I revel in a language You never spoke. And my sight is blurred By the tears you shed.

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Part V – Freedom No. 15

(Greece) Exile and Return extract from poem by Yannis Ritsos Stones, flayed stones all the way up. In the shallow water A fish jumps twice, three times. Ecstatic, grand orphanhood – freedom.

CHORUS: Tall eucalyptus with a broad moon A star trembles on the water The sky white, silver. No. 16

(Kurdistan) My Wish poem by Mohammad Khaki

TENOR/MEZZO SOPRANO: In my dreams I come to your tent Filling my shepherd’s basket with No. 17

(Angola) Daughter of the Desert poem by Antonio Joaquim Marques

BARITONE: Daughter of the desert I am the last bird of thunder Rider of storms in paths of wind Tonight I bring you the water font of desire Feel this my passionate pulse I have come to plant hope in your suffering heart In these vast landscapes of your sand I shall trap the scorpions of death I shall transform this land of fire dust Into life. CHORUS: Daughter of the desert I am the last bird of thunder Rider of storms in paths of wind Tonight I bring you the water font of desire BARITONE: Look how I plunge between the hemispheres

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Songs of mountain starlings. I make for you a bed of sweet violets My arms entwine you as honeysuckle.

Through the night of longing I have come to make of your dry lips The wet reflection of moonlight Here then are my flowers of freedom And my first calabash of rain CHORUS: Here then are my flowers of freedom And my first calabash of rain. MEZZO/TENOR/BARITONE: Now wipe away your tears my love And dance with me to the restless winds CHORUS: Now wipe away your tears my love And dance with me to the restless winds MEZZO/TENOR/BARITONE AND CHORUS: With harmony of dreams I shall pluck the fingerless cactus And when tomorrow comes Peace shall descend upon this land With my plumage of soothing breeze.

Epilogue No. 18

poem by Tony Harrison TENOR:

TENOR: The candle burns, but for how long? Loneliness, loss, exile grief May move the sufferer into song That like the candle’s bright but brief. (The multilingual voices of poets of many nationalities speaking “Exile has no frontiers” are heard once again on tape.)

The love moth seeks the flame that men Must light and light again. (The violin reprises the short, fragmented, fluttering phrases of the opening, and crescendos defiantly.)

Permission to reproduce Erich Fried’s It Has Happened is given by Calder Publications Ltd. Every attempt has been made to contact the copyright owners of texts for permission. The copyright of all texts and the music remains the property

of

the

authors.

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INSTRUMENTATION 2 Flutes (II doubling Piccolo) 2 Oboes 2 Clarinets (II doubling Bass Clarinet) 2 Bassoons 4 Horns 3 Trumpets 2 Trombones 1 Bass Trombone Tuba Timpani 2 Percussion: I 2 Log/Wood drums Marimba Chinese Cymbal Suspended Cymbal Bongos Snare Drum Bass Drum Tam-tam Piatti Triangle

II Bass Drum Tam-tam Chinese Cymbal Crotales Snare Drum Congas Suspended Cymbal Claves Marimba Hi-hat Triangle

Piano Solo Violin Strings Tape playback (available as CD or Minidisk) SATB Chorus Children’s Chorus Mezzo-soprano, tenor and baritone solos DURATION: 62 minutes Voices of Exile was commissioned by the Bournemouth Symphony Chorus and Poole Arts Centre with funds provided by Southern Arts, Poole Arts Trust and the John S. Cohen Foundation. It was first performed at the Poole Arts Centre on November 17th 2001 by the Bournemouth Symphony Chorus, the Dorset Youth Choir and the Kokoro Ensemble, conducted by Neville Creed. The soloists were Christine Botes, Robert Tear and Paul Whelan. The orchestral version was first performed at the Royal Festival Hall on April 20th 2005 by The Bach Choir and Philharmonia Orchestra. The soloists were Catherine Wyn-Rogers, Gregory Kunde and Gerald Finley and the conductor was David Hill. Score preparation by Sara Loewenthal.

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for my mother

Voices of Exile No. 1 - Prelude - Poetry After Auschwitz - Tony Harrison Tenor Solo and Chorus (After the Conductor and three Soloists have entered the hall, lights fade to semi-darkness. During Bar 1 the Tenor slowly, deliberately lights a candle placed on a stand at the front of the stage.)

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Violin II

Tempo I

   

Adagio q = 60

Violin I

accel.

senza misura

       p

pizz.

p

pizz.

Tempo I



        3

mf



     3

tutti arco





div. arco

  Contrabass     

  

 tutti arco







© Copyright 2001 Novello & Company Limited

Rev. 17.01.05

2

Timp.

Perc. II B.D./T-t.

   

3    

accel.

   

        Solo Vln   f



accel.

 

                   3

3

3

3

3

3



3

mp

        

  3

   

 

Cb.

    

 

 Timp. 

Perc. I Log/Wood

Perc. II B.D./T-t.

   

  













3



p

mp



  

3

p

  Ten. Solo      























  













 



6

mp

3



p

p



          Re  dee  ming fire melts on  ly wax

  div. Vc.   

  

3

p

6

(B.D.)



 

Re



dee

 ming



fire meant

4

p



pizz.

 Timp.  10

Perc. I Log/Wood

Perc. II B.D.

Ten. Solo

   









p



pizz.



(pizz.)

p

The souls from Ausch





(pizz.)









       





 

des

                 witz chim ney stacks, their





 









 ti





ny



6

mp

  of

 



  mp

      

 

  Cb.     

 

3

p







 

pp



  



   

smoke

 

3

p

pp

        

 



     



10

Vc.







 

   Solo Vln    

 

tutti arco

     p

      to in  voke tutti arco

div.

Cb.

  

mp espr.

Vc.

4



  

      

      f

  



  

 

 

   

 mf

 

The

 

 dan





p (pizz.)









div. arco



cing

 eyes





 

mp div. arco









p (pizz.)

3

  Bsn I & II    14

 



  Ten. Solo            of can  dle flame   Solo Vln   



         solo

divisi

mp



Seem

glad that they



tutti arco

    

tutti arco

 Cb.    

might



   



   

 



 

 



 





 

 

p sotto voce

              trapped in the blaze. The blaze of ge  no 

 

mf

   



  

p

   



p

     

 

II

 

        ,               In to the worst and there re  claim The souls

gaze



 

 f

              

      

14

Vc.

,

 



  



 



    

 



 



 





 



 









mf

    Cl. I & II     20





 





p

  Bsn I & II     

Ten. Solo

   

p

 

        



cide

mf

 

Where

   S.A.    



 life

  

 light

flic



      

 kers

 

a

breath



  



 

 

    

  

 



  

 

 



  



 

 

    

But

its



gut







p

 





f

    

at



 



  'ring

Ah

mp

  T.B.           

 

Vln I

Vln II

Vla

 

Ah









    



 



  

    







  









 



tutti

Vc.

  

Ah

20

Solo Vln

  

p

3

          mp

  Cb.     

div.

 

mp

  



 

  3









  



p







  









  

p

 



p

 div.                             3

 

3

3

mp

unis.

 p



3



f



3

3

  

      3

4

      

 

     

  

24

Cl. I & II

Bsn I & II

Timp.

Perc. II B.D.

Ten. Solo

 

glow might

  S.A.      

     guide

 

      

      



 

moth

p

   

p





p





through dark

   



 mf

  

Ah

  Vln I     

div.

 









  



unis.

  

     

 

   



 3

3

3

3

3

mf

  

 

 



  Bsn I & II    

   

    

 



  



 

Rust

 locks

the

 

 



heart

 



and

soul

   

  

    T.B.     

   

    

  





Vla

   



Vc.

  

Vln II

Cb.

 



    

mf

   

 



 



 



   



   

f



f

     





f    





 



So

ma









       

  

   

  



   

 

  



 

 

   

 

  







 

  



ny

mil



 





   

lions

    



 





   

Ah

 

here



  

smoke

   



 

accel.





   



  

 



   



  





 





 





 





f



    

f



f

f

     







  

Ah





left

 

Ah

f

f

f

 

Ah

 



 

f

   







(passionately)

   



mf



      



f sub.

mf

        Ah

Ah

 

accel.

  

   



3

  

mf



3

      29

29



f sub.

3

mf

    

  Vln I   

        



  

  

S.A.

    

f sub.

Vc.

  Ten. Solo      





  

   



      

f sub.

   

Cl. I & II



      

Poco pìu mosso q =70

Vla





Ah

  

mf

 

   

24

Cb.



                   So ma  ny mur  dered at a stroke



death

  



Ah

  T.B.     

Vln II



p

Ah

   

      

   



love

     

mp

    The



mp mp

 





       







 

Poco pìu mosso q =70

mp



f

 f

   

 



 



5

   Fl. I & II     33



f           

Ob. I & II

Cl. I & II

f

    

 

    



f

fp

f

     

f





      

 



Hn I & II

 

  

f

Hn III & IV

    

  f     



 

II





Tpt III

Tbn. I & II

    







II      



     



 

mf

B. Tbn.

Timp.

Perc. II B.D.

     







   





 

mp

f







     Le  loh

     T.B.  



 

f

 

    



sfor

Le

 loh

 

      

    f

  

        f



  



  

 

 

 

















fp

mf









 



















  







  















  



   



f

   



 



3

3

3

3

3

3

ff 



But

I,

fp

    

mf

fp

mf





fp

mf





fp

mf

  



p

sfor

Ah nou

    f

here

 







ef fer ve a



Ah nou

           3

3









f







fp

    





fp

f



f





 









 





    



 



fp

 







 



ef fer ve a



3

 

fp



       

ff



 

leave here

          













           Ah nou ef fer ve a 





f

3



  shan



 I







whole

       

 

            ef fer ve a  shan



f





I leave

f





   

    

 



3

mf



                                        3 3   f         Cb.   3

mf

fp

   







f





    

fp

 

f





       

 

Piu mosso (q =80)

33

f



 

fp

Ah nou

   Solo Vln    

Vc.





Ah

Vla

f

    



mf

     so many

Vln II

fp

 



mf

     f S.A.        So many

Vln I



 



   

   Ten. Solo      

 

mf

mf

Tba

f



   

mf





fp

 



mf

     







mf



 

 



mf Tpt I & II

    

f

 



 



f

Bsn I & II







 

   





 





    

I.

Piu mosso (q =80)





fp

f

f





6

  Fl. I & II    38

Ob. I & II



 

Tbn. I & II

B. Tbn.

Tba

Ten. Solo

S.A.

 

                     

   

mf









fp

  

mf







Vln I

Vln II

Vla

Vc.

  





mf

        

 fp

     Cb.  

fp



 



  

         



 shan





 

 



 

 

  





 











fp

 fp

 





 

ff

          

   



à2









 





 













 

  



 

    



  



 

  







ff



ff











ff









I

leave

here

whole

         Ah nou ef fer ve a          Ah nou ef fer ve a 

           

fp



 

fp

 

 





fp

  

 

         

 





 

f







  



ff

 



ff

 

ff

 











        

 

         



     





   



     

 

   

     



     

 

     



ff

 

ff



   

by which the heart's blood warmed

Tempo I (q =60)

fp



by which the heart's blood warmed

shan. These flames

 



These flames by which the heart's blood warmed

  ff            shan. These flames     ff      



3

fp

 





fp



      

     







 

 

ff



 

       

         



fp

3

    

ff

      





 

ef fer ve a



fp

 

     





ff

 



ff

  

 

fp

 

  



fp

    

     





           ef fer ve a shan 

     

à2

          

      



whole

 

fp

 

here

   

          









3

  

 



I leave

Ah nou

fp



 

     

 





Ah nou





fp





 

 





I,

 

  

mf

shan

  

 

mf



 

 



 



p

    T.B.   





mf

 

3



  

fp

shan

  Solo Vln    

fp

 

   

38

 

 

fp

       whole

 







fp

 

fp





  



      

 

  

 

Tempo I (q =60)

ff

mf

fp

      

 

fp





ff

 







fp

     

 Timp. 



       

fp

   Hn I & II      

Tpt III



f

 

 

fp



     Bsn I & II   

Tpt I & II

 

f

    



  fp

 

     

fp

Hn III & IV



f

fp

fp

Cl. I & II

 

 

ff











     







7

     Fl. I & II    44

Ob. I

Cl. I & II

I.      

       

    

      

      



















    

     

 



















    

     



















  

   

 

 



 

à2

 Bsn I & II        Hn I & II   

Hn III & IV

Tpt I

Tpt II & III

B. Tbn.

Tba

Timp.

Perc. II B.D.

Ten. Solo

       f     

    

   

      

     

       

   

      

   



   



 



 



        

Are

   Solo Vln      44

Vc.

Cb.

    

Are shreds of

    T.B.    

Vla

   

       

    

Are

Vln II

 





       S.A.  

Vln I

       

II.

f

f

Tbn. I & II



fie

fie

       

shreds of

fie

    

 







 



   





  

ry

   

      

    

     

 

     



  

    

 

     



 

   

 







f



shrouds











 







  

  

vic

 

Ah



shrouds

f



  

Ah











That wrapped round

   

ry



  

      

     





ry shrouds

    

    



     

      





 



      





 









     





















 







  

  

 







mp

mp II.





  

  

 

 

 

 

mp

and trans

  

   

  



    

 formed

 







    These

   mf

mil

  

  

    

  





mp

mp

   



  

mp

      tims

  

mp





  

mp











     



               shreds of





        

mf

 

  

   mf

       lions in  to clouds.   

Ah

  

Ah





 





mp





 



 

  

 





 



 

  







 



 

  

 

 

 



 

  

 

  



 

 

mf



mf

 

mf



 mf









mp



mp

mp

mp

mp

 

8

 Timp.  50

Perc. I Log/Wood

Perc. II B.D.

   

      



 











p



p



  Solo Vln      

mp

    These seed  ling

50



flames out

 

 

    





               p

Tbn. I & II

          

p

Perc. II B.D.

Ten. Solo

  

 

to

u



nite

    

 

 















  

G.P.





   

  



 

 





   

  

  



 

 





   

    

  



 

 





   





   

 



  

 





   

     

  

 











   

      

  

 











   





   

p































          

    p

pizz.

     

p pizz.

       p

          

The Jews,

mf sost. pizz.

Cb.

 

meant





55

Vc.

p

flames

   

 

     Solo Vln     Vla

 



  

 Timp.  Perc. I Log/Wood



    

 

  



     

p

Tba

    Re  dee  ming



    



p

B. Tbn.





p

Tpt I



the blaze

     

55

Hn III & IV

of



   Cl. I & II    

Hn I & II



  

  

p

Bsn I & II



mp

    

p

Cb.

      

     

  Ten. Solo      

Vc.

6



the



gyp sies

and

      

  

the gays



6

mp



p

3

6

  

  









  

 



















To Marimba



To Chinese Cymbal







    



the light.

G.P.



mp





   

3

   mp  3     

     

 

 





   

  

   

  

p

Whose sha dows seek

  

    





3

  

 

arco

3





3







p arco



p

 3

 

3

 

 



   



   

3





     

3





     

 

segue No. 2

9

Part I - Memories of Home No. 2 - Bangladesh - Kamla Chaudhuri    Alto  

Chorus

q = 72

61











p

 



 



Bi

  Tenor     Tape





      





     Bi  sha  kay

3









ke



 

      



tay



tay



a



  

73   Fl. I  

 







run



  





S.



 a









 

ri

        run

Vc.

Cb.



   

   

   73





 





     Bi  sha  kay



  





a









run





 

ma

 

   Bi



      

 



Bi





sha





kay



kay

3



shem



    shou  ke  tay a 



shem

  





























kay

shem

shou



    ma  ri mo 



sha





shou









ri





 ri



run









      



mp



 





 

 



 







 a







a

























* Trans: In the month of Bishakh I am thinking of my lover and how much I am suffering for love.

 sha



shen

 

ri

 

shou

 



ke

 



tay

 





 



 



ma

     ma 



mo

 



 



ma

   







 

   a 

 





ma

 

 ri

 

 





 



mo





mo







ke

run

 a

 



 

run













 



 ma

 shou

 

 ke 

   

















run



 

 mo

 

 ri

tay











 

mp





 a



mp

 a

(Tape continues with multilingual text to bar 89)

  







ri

 





 









shem

 

mo

ri

kay



mo



  

 





a



run



   





mo



mp







shem







  





kay





mp











mo







   

Tape



sha









 



tay

B.





   sha

mp

  

T.





 





ma

mp

 



  

A.







mp

ma

  



Bi

 





mp

mp

Cl. II



                shem shou ke  tay a run  ma  ri mo 

 



  T.      ke

Cl. I

p

 

mp

shou

Fl. II





    

Tape



Bi

    

A.



T 1 TAPE (Simplified for guide purposes only)

69    Fl. I   

S.







 



10

79    Fl. I 



  

Fl. II

Ob. II

Cl. I

Cl. II



  



  





   









        B. 



ma

Cb.









 

 











ma





 

  



 



ma







ri

mo









ri







 



cresc. poco a poco







 run

ma











 

















ri





 



 







   Vln I  83









mo

a



 a

 



ri

run

mo



 





 ri

a



run



a

















  

 





ma



    ma









































ri













ma







ri

ma

  





run

a

















 mo





 



 





ma





ri



















p









 













ri

ri



mo



mo

   



 





ma

ri







ma



 

 























ma



 



a







 

cresc. poco a poco

a



 

cresc. poco a poco





run

mp

  T.       B.  





 

a







cresc. poco a poco mo

mo





cresc. poco a poco

ri



mo



cresc. poco a poco



    













run

Cb.













 

   

Vc.







A.





   

Cl. I

To Piccolo



  

Ob. II

S.



   

Ob. I

cresc. poco a poco



83    Fl. I 

Cl. II









a







a

T.

79





run

  















   

A.





mp cresc. poco a poco

   S. 

Vc.







 

 

 run



run











11

   Fl. I  87





cresc.

Ob. I

   



  



Perc. II Chin. Cym.





cresc.

cresc.

a

   

cresc.

a



cresc.

   B.   a







  ma

 ma





f





      





     





     

f



ri





 







a





 



 

  ma



 



 

To Crotales



      



 

     

f







     

f





     

Ah

ri



f

 ri

ri





ri

   







  







    

TAPE OFF







     

   





f

Pno





   Vln I  87













     

    

Allegro q =120





div.

 













      



     

cresc.

  

Vln II



Vc.





mp









 







cresc.

Cb.

 

mp



 

f

ma



     

To B. Cl.











run







a



mo





ma

cresc. run

Tape









    

 





   S.  

T.









 

A.







cresc.

Cl. II







f

     

     

f

cresc.

Cl. I



f

cresc.

Ob. II

Allegro q =120







cresc.

 



             

segue No. 3

12

No. 3 - Tibet - Tsering Gonpo

Beat in 4

 

Allegro q =120

     Flute I      91

Piccolo

Oboe I

     

 



 

Baritone Solo and Children's Chorus











Bassoon II

Horn I & II

Horn III & IV

Trombone I & II

Bass Trombone

Tuba









mf

















































































p

 



mf Bass Clarinet





p

            



mf





mf

Clarinet I



















 p



p

      



        



       



      



      









      









      















         

mf











mp











 





 



p

 











p

                                                                         

     Percussion II   Crotales 

mp



   Baritone Solo    



 





   

Crotales







p

p

mf





Marimba

Percussion I Marimba

  

p









The

crim

mf (warm)



      







son

o







pal

moun



mp









tains

crown

the

Mel



 ting

 3  pink and white

                                                              Piano

mf

mp

                                                       

    pizz. pizz.                               Violin I    



                                             



(arco)                                 





                          





Allegro q =120

91

mf col legno battuto

mf col legno battuto

pizz.

mf col legno battuto

pizz.

mf col legno battuto

Contrabass

      







 

















 

























p

col legno battuto

pizz.

Violoncello





p

col legno battuto

pizz.

Viola





p

col legno battuto

pizz.

Violin II







pizz.



arco

   

mp

p

col legno battuto









pizz.



mp

arco





13

 









 

















   Fl. I    



   

    







Ob. I

     







Cl. I

    





         





          





96

Picc.

B. Cl.

Bsn II













 















 

















 

















 



















                     



 









mf





    Hn I & II   

 

 

 

 















     

 



 

 

 

 

 

 

 





     

 

 

 

 















B. Tbn.

     























Tba

      















Hn III & IV

Tbn. I & II

Perc. I Mar.

Perc. II Crot.

Bar. Solo

      



       

 of

            

  Vln I     96

Vln II

Vla

Vc.

Cb.







                                                                                                     

froth

Pno



 lea



            





 ping



 

  





mp

mp

 gla













    



  



 

                



  







 

 

   









  

mf

                                           



ciers.

                                      

       

    

 



  

arco



  

fp

fp

  







 









                





















                







 

pizz.



mp















p



mp





 





  



mp



















14

  Fl. I    



   









   







   







102

Picc.

Ob. I

Cl. I

B. Cl.

Bsn I & II

Hn I & II

Hn III & IV

Tbn. I & II

B. Tbn.

Tba

















  















   mf















 















mf

mf



   







        



mf













   







   







   







  













mf









mf warm

    



    



    



   









mf warm







mf warm







mf warm





 





                                                       

     Perc. II  Crot.    Bar. Solo   

mf

      

    

    



 

 



  

   

    

  

  

  







  Vln I     

   

  

  





fp

fp

  

Pno

102

Tam-tam

  

 

To Crotales



 



fp

  





  











           



 

Cb.

p

p

p

p

    



mf





mf

f

      

  mp

         

mf col legno battuto

      

 

pizz.              col legno battuto

                                                 

             

arco                                                     

             

pizz.

mf col legno battuto

pizz.

Vc.

p



mf

    pizz.             

f

Vla

p

mp

arco

Vln II

         

 

I

   

    

 

   

   

mf warm Perc. I Mar.







mf

    

   



   

       

   

   

   





arco



f





mp





f



mf col legno battuto arco

pizz.

pizz.

col legno battuto

pizz.

col legno battuto

pizz.

              

          

  



mf col legno battuto pizz.

mf

arco





col legno battuto



15







 

 

   

     Fl. I    







   

      



















     p



































108

 







 









 







 































 







 







p

Picc.

p

Ob. I

Cl. I

   

p

B. Cl.

Bsn II

  



 

    









mp

p

Perc. I Mar.







mp

    Bar. Solo     ska







    

ted

on

the e

 na  mel



lakes,









I

drew

a

thou





                                                   

 sand

scra

                                    



 



           







         







 

tches

in

the

ice.

          

 



f

 I





     

Pno

   

                               

   

 

 

 

   

         

     Vln I    







    

























   























  























108



























































 



        

p

Vln II

p

Vla

p

Vc.



p pizz.     Cb.     mp



















16

  Fl. I     Picc.

Ob. I



 





 





    





    



 



113

   

mf



mf

Bsn I & II

        





























































 

 

      

 

 

      

 

mf

Hn I & II



 

mf

mf

Cl. I



  



 

 



 



 

mf

Hn III & IV

Tbn. I & II



 



 

 

    







con sord.





p

     



     



     

Perc. II Crot.







Bar. Solo

      

  Child. Ch.           Pno

   

  Vln I     113

Vln II





 gazed









at

the

star

 em

broi





      



       



   









 

 

 

   



 

 

 



















f

Cb.

     f

 

L.V.

To Chinese Cymbal



 f



 

    











 

  

 



ska

      







 





   





arco





arco



arco

mf















 

 

 



 

ted

on

the

e

      

mf



 



sky.

          

     

 

              



dered

f

Vc.



mf





         

f



mp

             







I

f

 



mp

Crotales

 





              

   

 

 









f

Vla



                          

 

mp

mf

Perc. I Mar.

 

mp

mf

Tba



 



mf

B. Tbn.

mp

mp

mf

Tpt I & II







mp



mp



 

 



 

   

















arco

 



         

mp







          mp

 mp





17

  Fl. I    



   



   



   



117

Picc.

Ob. II

Cl. I

















  









  









  

mf









mf









mf













mf







    









  

     









  

Hn III & IV

     









  

Tpt I & II

     

Bsn I & II

Hn I & II



























  

 mf

     

 









B. Tbn.

     











Tba

    











Tbn. I & II

Perc. II Chin. Cym.

 

  

Chinese Cymbal



    Child. Ch.       na









mel

lakes











I

drew

a

thou







sand

scra



 











tches

in

the

ice.

       

p



ff

  



I

 

       

               

         

   

      

         

     Vln I    

































    

































Pno



117

Vln II

 



 



 











 



 







           

         

         

         

Vc.

              

         

         

         





 mf



 mf







Vla

    Cb.    





  

18

   Fl. I 



  



121

f

Picc.

   f

Ob. I













































































































f

                      

Ob. II



f

   

Cl. I



f



B. Cl.

Bsn I & II

Hn I & II





 

Hn III



Tpt III

Tbn. I & II



B. Tbn.



Tba

















f



 



 

 

 

 

 

 

 

 

 





































 

 













mf warm



 











mf

 









 

















































 

I. senza sord.





mf

con sord.

  

















mf warm

mf warm

mf warm

 

Perc. I Mar.



 

    



mf

mf warm

Tpt I & II







                             

f

 









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





 



 







f

Child. Ch.

   







 

at

the

star

em

 



gazed

 

  



 

        

Pno

  Vln I  121

Vln II

 

f div.

 





 



 

 

 broi



 



 dered 



                    

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









     

 

 

 

 

 

    





 

 















f

   

Vc.

Cb.



f

  f



sky.



f

Vla







           

 



 































 

 





 

 













 







 















 



 



 

















19

126    Fl. I 

Picc.

Ob. I

Ob. II

Cl. I

Bsn I

Bsn II

Hn III

Tpt I & II

Perc. I Mar.



      

















 

    





   





   



 

solo





























 















   

  



    

  



   

 







mp

 

















mp



 

   













 



126    Vln I 

Vln II

Vla

 



 



 



 



   





                    

   











   





  







    







   







































































p











p





               

               

mf









Red

was

the

star



  

 



 



 







of

the

        

mp

    

 Vc.  





                                   Pno



p

                                                           

 Bar. Solo  



p

mp

   





p



mp





p

       





p

mf





p

    



   





         

         































































pizz. p pizz. p

pizz. p



pizz.





p







     

























    





























20 131       Fl. I   

Picc.

Ob. I

Cl. I

B. Cl.

Bsn I

Bsn II

   

     





















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











 















  















  















  









                       













  



  

                       



      

 

 

 











  

     





 











  

     

 

 

 











   



    

















   



      







   



mp

Hn III & IV

mp

Tbn. I & II

mp

B. Tbn.

mp

Tba

mp

Perc. I Mar.

Perc. II Crot.



         









               

    



   



                                               



                                             











 

gend



 







of

the



    3





     

 

    











  







 

 

arco

 Cb.     mp

arco









3

   





 

 

    







    







 









        























           







 



 





                   mp pizz.

  

Yes, they played the wolf.







f

crow and the wolf.



     

To Snare Drum

mp



131

Vc.





   

Vla

à2

 

le

Vln II



à2



    Bar. Solo    

Vln I





                                                                                                  

mp

Pno





mp

Hn I & II

 



mf







pizz.



 







 

 



 









mp

mp arco

  

  

21

  Fl. I   











  





  











  





Ob. I

  











  





Cl. I

  











 











  



  



  



137

Picc.

mf

mf

mf

mf Bsn I

Hn II

        





















mp



f

   



Tbn. II

   

B. Tbn.

   

Tba

   

f





mp

Perc. I Mar.

Perc. II S. D.

 





 











f

 

 

Snare Drum









 



 



 









   3

 

 



mf

                          

 

 

            





 





   

  3

mp (quasi lontano)

   Pno



mf







mf



mp

 



f





mf



mp





f





mf



mp





f





mf





mp

Hn IV





















                     

       3





To Congas



              mp

  











           

  Vln I   











  







137

mp

Vln II

                          

           

   

   







Vla

                         

           

   

   







Vc.

   







 











  



Cb.

   













mp

mp

 f

mf

 f

  mf

22

   Fl. I  



    



    







    







143

Picc.

Ob. I

Cl. I

Perc. I Mar.

    



 

   



  





Vla

 

Cl. I

Perc. I Mar.

   















 











































 

p





p

 



 

 



 

 



 



 

mp











Yes,

they

stole

my

home



































 

 





 

 













 

















 















   





  















 

















p



























p









p

















 

And

 

 









 

 

 

 

 

 

 

 

































































































my

heart

I

bear

an

















 



 

 



 

 





 i





















 

 

 

 

 

   

 









cy























































 

 





 

     













































    















   











an



 

 f



patch.













p









    







   

  







   





 

    Vln I   

Vc.

 



146

Vla





in

Vln II

 





   Bar. Solo   

Pno

 



146    Fl. I  

Ob. I





  Vc.    

Picc.



p

 

mp

     









143    Vln I   

Vln II



 

p

  Bar. Solo  

Pno



 

 

23

  Fl. I    Picc.

Ob. I



 





 





   







    







149

  

mf



mf

B. Cl.

   mf

Bsn I & II











Tba



 







 



































































 

 

 



     

 

 

 



    

 

 

 







     



mf



  

  Vln I   

mf

 i



  

   

  

  

  













 

 

 



cy

patch,



















   



  

 

 

 

 

 



an

i

   













   

 

 













     





   















 

   





cy

patch.



f

 

149

 









      

  

Vln II



     

  Bar. Solo  

Pno





mf

Perc. I Mar.

 

 

mf

B. Tbn.



 

mf

Tbn. I & II



 

mf

Hn III & IV



       mf

Hn I & II

 

mf

mf

Cl. I





 





 

 

 

 

 

 

 













  

 

 



  





 







 







 







 

 

 





























f

f

Vla

f

arco

Vc.

   







    







mf

Cb.

mf

 



 

24

  Fl. I    152

Ob. I

Ob. II



  





    









Tpt I

         



mp



 



 con sord.

Tpt III

    

mp

Tbn. II





   







    







  







  f  Child. Ch.     

Yes,

   Pno





mp

Perc. I Mar.



   

mp

Tba





mp

B. Tbn.

  

 





 

  they

  



   Vln I   



    



152







 





mp











stole

my

home







   











  



  



    



      







  

f













 

f

 









    





 







 



 



mp

   







  







  







  













And

in

my

heart

I

bear

   



 



 









 





 









    

an

i cy patch



f





 

 





















 





 









arco







arco

sfp

sfp







     

and

          





 



                                      

  



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

mp

Vln II













mf

Bsn I & II











  



  



  



  

mf

mf

pizz. div.

Vc.

Cb.

      mp



 



    







mp





 



sf







      

25 157   Fl. I 

Picc.

Ob. I

Cl. I

 



  





  





















 



























 

























































 







mf



To Cl. II





 







 





























  







 

   



 



 



mp

 

Hn III & IV





mf





mp

    

Tpt I



















 

 





















mp

           

Perc. I Mar.

  Bar. Solo  

in

   157

    

Vln II

   

Vla

Vc.

















mp



































mf







            







Red

was

the

le









my

heart

I

bear

an

i











 



 

    

 







 





 

 

 

 

 

 















     f









cy

patch

 





p sub. div.

     

f arco

p sub. div.

f

p sub.

       

unis.

















gend

of

the

crow

and

  





the

wolf.

  

 mf







Yes



mf

 

mp



mf

   mp





 arco div.





         

  Vln I  



mf



             Pno







  Child. Ch.   



mf

mp





mp

mf

mp B. Tbn.

con sord.



mf

  

Tbn. I & II



mf

  

Tpt III

Cb.





mp

Tba



p

p

mp

Hn I & II

p





B. Cl.

Bsn I & II



  















 

 



 











































































 



 





























mf



















 



























p sub.





they

                                 

 









26 163     Fl. I 

    

Picc.

    

Ob. I

  

Cl. I

Bsn I & II

Hn I & II









    

Tpt I

  

Tpt III

Tbn. II

B. Tbn.



















































































































































  

Vln II

Vla

 

 

 

 

 









 

















p

























p

















 



  





p















      

And

in

my

heart

I

bear

an

i

mp



my

  







Vc.

Cb.





 













patch.



mp



They





played

the





wolf,

They

                                         

mp

                                        

































 

 





 

 







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 

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









  















  





div.









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

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

mp





 cy

home.

mp





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

mp



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mp

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      

 











 



         

163     Vln I 





            Pno







stole



p



   





p







   Bar. Solo  

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p

                   

Perc. I Mar.

Child. Ch.





  

Hn III & IV

Tba



 



mp

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27

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

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











    



































168    Fl. I 

Picc.

Ob. I

Cl. I









  Tpt I  

Tpt III

Perc. I Mar.

Child. Ch.



  







   

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my

         

     



 

  















  

   



Poco meno mosso 173

Bsn I

   





p



 









rall.

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



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











 







 To Fl. II





















