Richard Blackford
Voices of Exile a cantata for mezzo-soprano, tenor and baritone soloists, SATB chorus, children’s chorus, instrumental ensemble and tape
NOVELLO
1
Voices of Exile Prelude No. 1
Poetry after Auschwitz (Tenor Solo and Chorus) poem by Tony Harrison
1
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 59
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
69 75 86
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
87 98 100
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
103 111 120
Epilogue No. 18 (Tenor Solo) poem by Tony Harrison
2
142
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. W hen her family left her village they had to walk for day s 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 tim e 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-rangi ng 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 m ake 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 y ears human tragedies that are occurring today and will occur tom orrow. At the outset I realised that a cantata on this subject begs the question – can the hum anities humanise, can art m ake 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 m ankind? Tony Harrison, m y collaborator for the last six years, refuted that fam ous 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 hum orous, affirm s the ability of at least som e to celebrate life even after experiencing the worst that can befall. The image of a fragile candle, the sam e flame that com memorates those who perished in the flam es of Auschwitz and elsewhere, is the central, am bivalent image of the cantata – the destructive flame is also the flam e of the im agination, 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 y ear of m eetings with the Medical Foundation, Prisoners of Conscience and Exiled W riters Ink em bodied increasingly “ the flame that men must light and light again”. The experiences I read about seem ed to fall into five m ain categories that becam e 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 attem pt to im itate the indigenous m usic 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 m usical refugee voices becam e m ore com pelling as the com position progressed and I decided to incorporate three folk songs (Bengali, Som ali and Macedonian) into the playback material. In the case of the Macedonian singe r, Tanya Czarovska, I also recorded for reference a version of the spoken text in Macedonian and Englis h translation. One afternoon, I accidentally played back all three lay ers 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 attem pt at a unified m usical sty le that would span an eclectic range of textual sources presented questions about the internal structures of the songs. So me seemed to cry out for classical form s, 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,” seem ed to require the unforgiving, im mutable straightjacket of the passacaglia, in which j agged, 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 Abdirahm an Mirreh describes his painful am bivalence towards the aircraft that prom ises his survival but parts him from his hom eland 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 ghos tly General Jeno Saidu (No. 10), is a dram atic
3
monologue in which the tenor soloist takes on both the voice of Saro-W iwa in the tenor clef and that of the General in the bass clef. As the com position took shape it seem ed as if the m usical 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 becom es a fragmented, tonally ambiguous texture in No. 10 and rhy thmic neurosis in No. 12. The texture then becom es suddenly very fragile and spare, with j ust a cappella chorus accom panying the beautiful Macedonian folk song (No. 13). Even sparer is the following song with solo piano and violin accom panying the touching Algerian poem by Samia Dahnaan. Part V, Freedom, rediscovers som ething of the confidence of Part I and even recalls the exuberant rhy thms of Memories of Home. In each of the anthologies and collections of unpublished poems it seem ed that love poetry play ed 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 poem s, Moham mad Khaki’s beautiful My Wish (No. 16) and the sensuous Daughter of the Desert (No. 17) by Antonio Joaquim Marques fro m Angola. The latter is a dream of fertility returning to a parched land, an apt m etaphor for the hope, however distant, that the cycle of inhumanity might one day be broken. In the m eanwhile, as Tony Harrison’s Epilogue concludes, the poetry and the songs that continue to be written a nd sung represent, like the candle’s flam e, a fragile hope. Special thanks to Sham im Azad, Helen Bam ber, Richard and Rosam und Bernay s, Fred and Ellie Blackford, Peter Bevan, Sara Butterfield, Lynn Carter , Dr David Cohen, Jam es 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 W hytehead, 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:
I
Redeeming fire melts only wax Redeeming fire meant to invoke The souls from Auschwitz chimney stacks Their destiny of smoke 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
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.
5
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 TENOR: W
(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.
…And as we walked e 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…
7
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 TENOR:
(Nigeria) extract from On The Death Of Ken Saro-Wiwa by Ken Saro-Wiwa. Two part invention 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?”
8
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. Warm me through this night On my palm a place is ready For my hands On my thighs a place To lean your knees.
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. Enter
Sheathe
O my trust in freedom deep,
Enclose me, 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:
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.)
TENOR:
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 (doubling Piccolos) 2 Clarinets (doubling Bass Clarinets) 2 Horns 2 Trumpets 1 Trombone 1 Bass Trombone Tuba 3 Percussion I II Bass Drum Bass Marimba Chrom Suspended Cymbal T Snare Drum Snare Bongos Congas Clash cymbals Suspended
III Drum Tim pani (4) atic Crotales Chinese Cymbal am-tam T am-tam Drum Triangle Cowbell (jazz) Cymbal Claves Hi-hat
Keyboard I (Piano and Synthesizer) Keyboard II (Synthesizer) Keyboard III (Synthesizer) Violin 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. Score preparation by Sara Loewenthal.
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SYNTHESIZER PROGRAMME PLAN
No.
Keyboard I
Keyboard II
Keyboard III
1
HornSection (K2500)
Matrix Melostring (K2500)
Orch pad 4
2
-
Matrix Melostring
-
3
LIVE PIANO
Matrix Melostring/Orch Pad 4 (K2500)
Folk harp (X5DR)
4
LIVE PIANO
Ripper bass (K2500)
Folk Harp
5
-
Orch Pad 4
-
6
Syn Fretless (K2500)
Orch pad 4
Folk harp
7
LIVE PIANO
Syn Fretless
Horn Section/Orch pad 4
8
Matrix Melostring (K2500)
Syn Fretless
Orch Pad 4
9
Matrix Melostring
Orch pad 4
Folk harp
10
LIVE PIANO/ Horn Section
Orch pad 4
Matrix Melostring
11
-
-
-
12
LIVE PIANO
Ripper Bass
Slow filter / Matrix Melostring/Horn Section
13
-
-
-
14
LIVE PIANO
-
-
15
LIVE PIANO/ Orch Pad 4
Ripper Bass/Dynamic Harp (K2500)
Orch Pad 4/Folk Harp
16
Orch Pad 4
Dynamic Harp
Folk Harp
17
LIVE PIANO/Matrix Melostring
Horn Section/Orch Pad 4
Folk Harp
18
Matrix Melostring
Orch Pad 4
-
DESCRIPTION OF SOUNDS Horn Section (K2500 prog. 929) Matrix Melostring (K2500 prog. 183) Orch pad 4 (K2500 prog. 461) Folk harp (KORG X5DR prog.G47) Ripper Bass (K2500 prog. 74) Syn Fretless (K2500 prog. 76) Slow Filter (K2500 prog. 483) Dynamic Harp (K2500 prog 964)
Warm/dynamic horn sound Warm pad with an edge Warm pad Mellow harp sound, good for melody Electric bass with distinct attack (not too sharp) Electric bass with soft attack Sine wave with sweep Fat harp sound (only used as bass support)
NB: If different synthesizers are used, care should be given to the desired octave tessitura and (depending on programmes chosen) to possibly doubling bass at the octave. Electric Bass sounds should generally be set on infinite sustain.
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.)
Richard Blackford
Flute I
Flute II
Bass Clarinet I
Bass Clarinet II
Adagio q = 60
Horn I
senza misura
Horn II
Trumpet I
Trumpet II
Tuba
Percussion I Bass Drum
Percussion II Bass Drum
Percussion III Timpani
Keyboard I Horn Section
Keyboard II Matrix Melostring
Keyboard III Orch Pad 4
Violin
pp
pp
pp
Adagio q = 60
senza misura
pp
p
pp
pp
p
libero - quasi una cadenza
3
mp saltando
© Copyright 2001 Novello & Company Limited
3
mf
ff
3 3
mf
mf
2
I. B.D.
II. B.D.
III. Timp.
Kbd II Matrix
Kbd III Orch. Pad 4
Vln
3
( )
( )
( )
3
3 3
4
I & II. B.D. III. Timp.
Ten. Solo
p
3
Kbd III Orch. Pad 4
3
(B.D. I & II)
Kbd III Orch. Pad 4
Vln
3
p
mf
mp
f
cing
eyes
of
dle
flame
mf
Seem
glad that they
,
can
The dan
smoke
11
Kbd II Matrix
pp
3
p
pp
Ausch
witz chim ney stacks Their des ti ny of
Re dee ming fire meant to in voke The souls from
mp sost.
p
Re dee ming fire melts on ly wax
p
3
mf
3
p
III. - Timp.
Ten. Solo
11
I & II. B.D.
p
4
Kbd II Matrix
3
3
mp
(B.D. I & II) 3
3
f
might
3
B. Cl. I
16
B. Cl. II
Ten. Solo TB
Kbd III Orch. Pad 4
Vln
p
p sotto voce
trapped in the blaze The blaze of ge no cide
mf
Where life light
mp
p
mf
a
flic kers at
Ah
16
Kbd II Matrix
p
f
, In to the worst and there re claim The souls
gaze
Fl. I & II 22
p
B. Cl. I & II
I & II. B.D.
III. Timp.
Ten. Solo
Un til its gut The love moth 'ring glow might guide
Kbd III Orch. Pad 4
[ Ah
mp
mp
p
p
p
p
p
through dark death
mf
Ah
22
f
p
q =70
Ah
Kbd II Matrix
Poco più mosso
Ah p TB
breath
SA
So ma ny mur dered at a stroke
Ah
mf
Ah
Poco più mosso
mp
q =70
mp
4
29
Fl. I & II
B. Cl. I & II
Ten. Solo
SA
Ah
TB
Rust
locks
the
mf
heart
and
soul
(passionately)
mf
So
ma
ny
mil
lions
left
Ah
Ah
29
Ah
Ah
Kbd II Matrix
here
To Cl. I & II
smoke
Ah
Kbd III Orch. Pad 4
5
accel.
Fl. I
33
f
Fl. II
Cl. I & II
Hn I & II
Tpt I & II
Tbn. & B. Tbn.
Ten. Solo
f
f
fp
f
fp
fp
ff
fp
f
fp
f
fp
f
fp
f
So ma ny, so ma ny Le loh sfor Le loh sfor
But
I,
I leave here
Ah nou
whole,
shan
I
fp
fp
fp
p
leave here
whole,
shan
ef fer ve a
ff
fp
f
ff
fp
p
Ah nou ef fer ve a
Ah nou
shan
ef fer ve a shan
Ah nou ef fer ve a
Più mosso (q =80)
accel.
f
f
Kbd I Hn Sect.
f
f
fp
f
mf
f
Ah
Vln
f
f
mp
f
Kbd III Orch. Pad 4
fp
f
TB
Kbd II Matrix
à2
f
33
f
f
SA
(Cl. I & II)
Tba
III. Timp.
f
f
mf
I & II. B.D.
Più mosso (q =80)
fp
f
fp
f
fp
f
3
ff
3
3
fp
fp
3
3
6
Fl. I & II
f
Tpt I & II
Ten. Solo
I leave
SA Ah nou
TB
Ah nou
here
whole,
ff
fp
shan
shan
ef fer ve a
I
leave
here
whole.
f
Kbd I Hn Sect.
Kbd II Matrix
ff
shan. These flames
fp
Tempo I (q =60)
f
f
fp
f
3
3
(Tbn.)
ff
by which the heart's blood warmed
by which the heart's blood warmed
mf
Kbd III Orch. Pad 4
ff
fp
These flames by which the heart's blood warmed
f
Vln
f
39
à2
ff Ah nou ef fer ve a shan. These flames
ff
Ah nou ef fer ve a
ff
ff
ef fer ve a
à2
ff
ff
fp
I,
fp
f
III. Timp.
fp
f
Tba
fp
f
Tbn. & B. Tbn.
fp
f
Hn I & II
f
Cl. I & II
Tempo I (q =60)
39
7 44 Fl. I & II
Cl. I & II
Hn I & II
Tpt I
Tpt II
Tbn.
B. Tbn.
Tba
I & II. B.D.
III. Timp.
Ten. Solo
Vln
mf
Are
shreds of fie
shreds of fie
ry shrouds
ry
shrouds
f
vic
f
tims
mf
mf
and trans
Ah
These
mil
f
Ah
Ah
mf
lions in to clouds.
à2
mf
formed
mf
mf
mf
Ah
That wrapped round
shrouds
ry
mf
mf
mf
44
Kbd III Orch. Pad 4
TB
Kbd II Matrix
à2
Are
Kbd I Hn Sect.
mf
Are shreds of fie
SA
To Pfte
mp
8
50
I & II. B.D. III. Timp.
Ten. Solo
p
Kbd III Orch. Pad 4
Vln
p
mp
These
50
Kbd II Matrix
seed
ling
flames
out
of
the
blaze
Re
dee ming
flames
meant to
u
nite
Cl. II 55
Hn I & II
G.P.
mp
Tpt I
Tbn. & B. Tbn.
mp
Tba
I. B.D.
II. B.D.
III. Timp.
Ten. Solo
mp
Vln
3
55
Kbd III Orch. Pad 4
The Jews,
Kbd II Matrix
the
gyp
sies
and
mf sost.
the gays
Whose sha
p
dows
the
light.
3
p
seek
3
3
To Crotales
To Chinese Cymbal
G.P.
p
To Marimba
To Folk Harp
segue No. 2
9
Part I - Memories of Home No. 2 - Bangladesh - Kamla Chaudhuri Chorus
q = 72
Alto 61
Tenor
Tape
Bi
68
Fl. I
S.
A.
kay
shem
shou
ke
shou
ke tay
ke tay
shou
ma ri mo run
Fl. I 74
tay
a
ma ri mo
mp
a
ma mp
ma
ri
Cl. II
mp
run
S.
ma
A.
mp
Bi
Tape
74
Kbd II Matrix
a
sha
shen
kay
shem
shem
ke
shou
tay a
kay
shem
ri
mo
mo
run
ma
ma
sha kay
a
3
kay
a
sha
sha
ri
T.
B.
Bi
mp
mp
sha
Bi
mp
Cl. I
p Bi
shou
run
mo
mo
ke
tay
a
run
run
Bi sha kay
mp
a
Fl. II
3
mp
Tape
sha
shem
T.
Bi
T 1 TAPE (Simplified for guide purposes only)
p
ri
shou
ke
mo
a
tay
* Trans: In the month of Baishakh I think of my lover and of how much I am suffering for love.
ma
kay
mo
run
a
shem
ma
shou
run
ke
a
mo
ma
ri
mo
run
a
mp
tay
ri
(Tape continues with multilingual text to bar 89)
ri
ri
10
Fl. I
79
cresc. poco a poco
Fl. II
Cl. I
Cl. II
Tpt II
S.
a
ma
run
To Piccolo
cresc. poco a poco
79
Kbd II Matrix
cresc. poco a poco con sord.
mp cresc. poco a poco
T.
A.
B.
a
ma
ma
ri
ri
mo
run
a
mo
cresc. poco a poco
ma
ri
a
run
cresc. poco a poco mo
ri
mo
cresc. poco a poco
ma
cresc. poco a poco
a
ma
ma
ri
cresc. poco a poco
83
Fl. I
Cl. I
Cl. II
con sord.
Tpt I
S.
mo
run
T.
B.
mo
a
run
ri
A.
run
ri
a
a
a
ma
ma
mp
Tpt II
run
a
ma
ma
ma
mo
ri
mo
ri
ri
ri
mo
ri
83
Kbd II Matrix
run
run
11
Fl. I
Tpt I
cresc.
cresc.
Cl. II
Perc. III Chin. Cym.
ma
cresc. a
T.
B.
cresc.
a
Tape
a
mo
f
ma
ma
f
f
f
f ma
a
ma
ri
f
ri
ri
ri
TAPE OFF
f
(Pfte)
Kbd 1 Pfte
Ah
run
ri
Allegro q =120
To B. Cl.
87
Kbd II Matrix
cresc. run
A.
a
f
cresc.
S.
cresc.
f
f
cresc.
Tpt II
f
cresc.
Cl. I
Allegro q =120
87
cresc.
segue No. 3
12
No. 3 - Tibet - Tsering Gonpo
Baritone Solo and Children's Chorus
Allegro q = 120
91
Flute I & Piccolo
à2
mf
Clarinet I
p
mf
p
Trombone & Bass Trombone
Tuba
Bass Clarinet
Horn I & II
Perc. I Marimba
Baritone Solo
f
p
Keyboard I Pianoforte
Keyboard II Matrix Melostring
Violin
The
crim
mf (warm)
son
o
pal
moun
tains
crown The
p
melt
3
ing
pink and white
mf
mp
mf
mf
p
mp
mf (bell-like)
Keyboard III Folk Harp
mp
Allegro q = 120
mp
91
mp
mf
Perc. II Crotales
p
96
Fl. I & Picc.
Cl. I
B. Cl.
13
Tbn. & B. Tbn.
Tba
Hn I & II
IMar.
II Crot.
Bar. Solo
Kbd II Matrix
Kbd III Folk Harp
Vln
froth
of
leap
96
Kbd I Pfte
Cl. I
IMar.
II Crot.
III Tri.
Kbd III Folk Harp
Vln
mp
ciers.
mp
mp
mp
mf
100
Kbd I Pfte
gla
100
Fl. I & Picc.
ing
Chinese Cym.
p
sim.
14
106
Fl. I & Picc.
mf
Cl. I
p
mf
B. Cl.
p
mf
Hn I & II
mp
mf
Tbn. & B. Tbn.
mf
Tba
mf
IMar.
III T.-t
Bar. Solo
Tam-tam
mp
106
mf
I
ska
Kbd I Pfte
ted
on
the e
namel
I
drew
a
thou
lakes
sand
p
Kbd II Matrix
mf
Kbd III Folk Harp
Vln
p
mp
mf
p
15
Fl. I & Picc.
Cl. I
B. Cl.
Hn II
Tpt I & II
Tbn. & B. Tbn.
111
mf
mf
mf
I & II con sord.
p
à2
mf
Tba
IMar.
II Crot.
Bar. Solo
Vln
ches
in
the
ice
f
I
Crotales
mp
gazed
at
the
star
em
broi
dered
sky.
f
mf
Kbd III Folk Harp
I
Kbd II Matrix
111
Kbd I Pfte
mf (warm)
scrat
Child. Ch.
mf
f
f
mf
16
116
Fl. I & Picc.
Cl. I
Hn I & II
à2
mf
mf
mp
Tpt I & II
mf
Tbn. & B. Tbn.
mp
Tba
mp
II Crot.
L.V.
III. Chin. Cym.
Child. Ch.
To Tam-tam
p
ska
ted
on
116
mel
lakes
the e na
I
drew
a
thou
sand
ches
in
the
ice.
scrat
ff
I
Kbd I Pfte
Kbd II Matrix
mp
Kbd III Folk Harp
Vln
mf
121
Fl. I & Picc.
f
Cl. I
B. Cl.
f
Hn I & II Tpt I & II
Tbn. & B. Tbn.
Kbd II Matrix
Kbd III Folk Harp
Vln
Cl. I
IMar.
Bar. Solo
Kbd III Folk Harp
Vln
mf
f
f warm
f warm
gazed
the
at
f
121
I. senza sord.
mf
17
star
em
broi dered
mp
mp
à2
solo
p
p
was
the
star
of
the
p
mp
p
Red
p
mf
sky.
f
127
Kbd I Pfte
127
Fl. I & Picc.
Child. Ch.
Kbd I Pfte
f warm
Tba IMar.
p
18
131
Fl. I & Picc.
Cl. I
Tbn. & B. Tbn.
Tba
B. Cl.
mf
Hn I & II
mp
mp
mp
IMar.
II Crot.
mp
III T.-t
Bar. Solo
le
131
gend
of
the
3
To Snare Drum
mp
à2
mp
f
crow and the wolf.
3
Yes, they played the wolf
mf
Kbd I Pfte
Kbd II Matrix
mp
Vln
Kbd III Folk Harp
19
Hn I & II 137
Tbn. & B. Tbn.
mp
à2
mp
Tba
II S. D.
III T.-t
mp
IMar.
Kbd II Matrix
mf
mf
f
mp
mp
To Congas
mp (quasi lontano)
137
Kbd I Pfte
f
mf
f
To Timp.
142 à2
Cl. I
Fl. I & Picc.
mf
p
p p
142
Vln
Kbd III Folk Harp
Tba
Kbd II Matrix
Kbd I Pfte
Bar. Solo
Tbn. & B. Tbn.
IMar.
p
mf
Hn I & II
Yes,
p
they
stole
my
home
And
in
my
heart
I
p
mf
p
20
147
Fl. I & Picc.
Cl. I
B. Cl.
Hn I & II
Tbn. & B. Tbn.
mf
mf
à2
Bar. Solo
bear
147
an
i
Vln
cy
patch,
f
an
i
cy
mf
patch,
an
i
cy
mf
Kbd III Folk Harp
Kbd I Pfte
Kbd II Matrix
mf
mf
IMar.
mf
mf
Tba
mf
f
mf
21
Fl. I & Picc.
Cl. I
Tpt I
151
mp
Tpt II
(senza sord.)
mp
Tbn. & B. Tbn.
Tba
à2
mf
IMar.
Bar. Solo
Kbd II Matrix
Vln
f
Yes,
they
stole my
home
And
in
my
heart
I
bear
an
i cy patch,
f
and
mp
Kbd III Folk Harp
151
Kbd I Pfte
patch.
Child. Ch.
mf
22
157
Fl. I & Picc.
Cl. I
B. Cl.
Hn I & II
p
p
mp
mp
Tpt I
mp
Tba
IMar.
Bar. Solo
Child. Ch.
mp
in
157
Kbd I Pfte
Kbd II Matrix
heart
I
Red
was the
le
mf
my
mp
Tbn. & B. Tbn.
bear
an
i
cy
patch.
gend
of
the
crow
and
the
And
wolf.
mf
mf
Yes,
they
stole
my
p
mp
Kbd III Folk Harp
mf
23
164
Fl. I & Picc.
Cl. I
Tpt I
Tbn. & B. Tbn.
p
Hn I & II
p
Tba
IMar.
Bar. Solo
p
my
heart
I
bear
an
i
cy
Vln
patch.
mp
They
played
the
wolf,
They
Kbd III Folk Harp
164
Kbd II Matrix
home.
Kbd I Pfte
in
Child. Ch.
To Ripper Bass
p
mp
mp
24
168 Fl. I
Picc.
Cl. I
Tpt I
IMar.
Child. Ch.
Vln
stole
my
rall.
home.
rall.
To Flute
Kbd III Folk Harp
168
Kbd I Pfte
p
Poco meno mosso
173
B. Cl.
Bar. Solo
3
p
Poco meno mosso
173
Kbd I Pfte
solo
segue No. 4
25
No. 4 - Zaire - Mabiala Molu
Flute I & II
Perc. I Marimba
3
B. Cl.
f
3 3
mp
f
mf
ff
mp
f
p
p
with hands mp
Tpt I & II Tbn. & B. Tbn.
3
II Cong.
f marcato
Kbd II Rip. Bass
183
Kbd I Pfte
ff
f
ff
f
f
III Timp.
ff
3 f
f marcato
f marcato
Tba
f
f
ff
f
Hn I & II mf
mf
f
p
sf
Allegro vivace q = 120
(B. Cl.)
183
Cl. I
3
Keyboard II Ripper Bass
(Fl. II)
sf
178
Keyboard I Pianoforte
mp
(B. Cl.)
Perc. II 2 Congas Perc. III Timpani
Allegro vivace q = 120
Horn I & II Trombone
Clarinet I
Bass Clarinet
Chorus
178
f
f
3
ff
f
f
f
3
3
26
à2 187
Fl. I & II
f marcato
Cl. I & II
IMar.
B. Cl.
II Cong. f
III Timp.
(normal sticks)
B. Cl. to Cl. II
f
mf
f rhythmic, vibrant SA O Kin, the Beau ti ful, f rhythmic, vibrant TB O Kin, the Beau ti ful, 187
Kbd I Pfte
Kbd II Rip. Bass
Kbd III Folk Harp
f
fp
193
Kbd I Pfte
Kbd II Rip. Bass
To Chinese Cymbal
light
ff
ff
ff
Timp.
p
f
Kin sha sa, ff ff
sim.
ff
Kin
sha sa,
Kin Kin sha sa,
Kin
Kin
sha sa,
Kin sha sa, Kin Kin sha sa, Kin sha sa, Kin Kin sha sa,
O Kin, the play
light
O Kin, the play
ground
of
ground
of
fff
ff
town of lea ders, of town of lea ders, of
ra cles.
ra cles.
f
Chinese Cymbal
f
SA mi TB mi
II Cong. Perc. III
the Bold,
fp
Tba
Kin,
ff
Hn I & II ffp Tpt I & II
the Bold,
fp
Cl. I & II
Tbn. & B. Tbn.
O Kin, the co ve ted O Kin, the co ve ted
193 Fl. I & II
Kin,
To Chin. Cym.
Kin sha sa, Kin Kin sha sa, f Kin sha sa, For
27
198
Cl. I & II
Tbn.
mf marcato
IMar.
II Cong.
SA
TB
you,
Kbd II Rip. Bass
Kbd III Folk Harp
II Cong.
Perc. III
TB
Kbd II Rip. Bass
Kbd III Folk Harp
f
And
you,
E
bo
f
ny
Prin
cess,
cast
your
spell
on
them.
3
à 2
3
mp
Improvise mf
To Timp.
Who
did
not
f
suc
to
cumb
your charms?
mp
3
mp
f
f
3
3
f
3
p
ff
mf
3 3 3
(Chin. Cym.)
sf
war.
ff
made
Whites
f
ff
202
Kbd I Pfte
f (wild)
ff
solo
B. Tbn.
Hn I & II
Tbn.
and
Tpt I
mf
202
Cl. I & II
mf
Blacks
198
Kbd I Pfte
Improvise
3 3
mp
28
Fl. I & II Cl. I & II
Hn I & II
Tbn.
IMar.
3
3
f SA
f
not
sing
3
3
3
Kbd II Rip. Bass
Kbd III Folk Harp
f
3
mf
To Triangle
prai
your
3
3
prai
f
f hard sticks
3
ses?
à2
3
3
mf
3
ses?
3
mf
3
3
can
for
get
3
3
your maze
3 3
of
streets?
Your
3
3
live
ly
lanes
f
Where
3
f
girls
Who
Improvise
210
Kbd I Pfte
your
à2
open
p
TB
mf
Hn I & II
SA
3
3
3
sing
not
210
II Cong.
3
Fl. I & II Cl. I & II
did
f
Who
ff
did
206
Kbd II Rip. Bass
3
3
Who
Kbd I Pfte
(Timp.)
TB
3
II Cong. III Timp.
3
3
Tpt I & II
B. Tbn.
f
206
and wo
men
bust
Where
led,
f
f
214 Fl. I & II
Cl. I & II
Hn I & II
Cl. II to B.Cl.
3
3
3
B. Cl.
Cl. I
f
B.Cl.
gliss. gliss .
ff
Hn II
ff
IMar.
II Cong.
III Tri.
SA
TB
Kbd II Rip. Bass
Kbd III Folk Harp
mf
f
f
And gai ly
they
they sang,
sang,
f
And gai ly
girls and wo men bust led,
f
f
214
Kbd I Pfte
3
B. Tbn.
Tbn.
Tpt I & II
Tba
3
3
f
29
breasts in the
air,
breasts in the air,
gai ly
they sang,
they
ff
they
f
gai ly
ff
To Shaker
sang.
ff
sang.
f
f
30
solo
220
Fl. I
mf leggiero
B. Cl.
mf leggiero
IMar.
III - Shkr
mf
Shaker
mf
TB
mf
Who can for
220
Vln
mf
get
your be lo ved
Where
men
roads
227
Fl. I
B. Cl.
IMar.
II Cong.
III - Shkr
TB
swag
227
Vln
mf
mf
gered?
mf
your en chan ting roads,
Who can for
get
Your
sun
ny
roads,
Where
31
233
Fl. I
Fl. II
Cl. I
B. Cl.
Hn I & II
Tpt I
Tpt II
IMar.
TB
mf
mf
solo
mf
f
mp
stopped
mf
II Cong. III - Shkr
street
mu
si
cians
strolled,
238
Fl. II
Cl. I
Hn I & II
Tpt I
Tpt II
IMar.
II Cong.
III - Shkr
32
Fl. I & II
241
Cl. I
B. Cl.
mf
mf
Tpt II
Tbn.
B. Tbn.
f
mf
mf
TB
beau
mf
beau
Your
mf
sost.
ti
ful
ti
a ve
ve
nues
Where the
nues
o
p
p
mp
p
p
o
Where the
p
a
ful
sost.
241
Your
mf
SA
Kbd III Folk Harp
mf
Kbd II Rip. Bass
open
mf
mf
Hn I & II
ther
peo
ther
peo
ple
ple
grew
rich,
grew
p
Your
rich,
p
Your
247 Fl. I & II
Cl. I
B. Cl.
a
ful
ful
a
Hn I & II
Tpt I
SA
beau
TB
beau
247
Kbd II Rip. Bass
ti
ti
ve
ve
nues
nues
Where
o
Where
o
ther
peo
ther
peo
ple
grew
rich?
ple
grew
rich?
33
251
Fl. I
mf
B. Cl.
IMar.
TB
mf
Vln
To Cl. II
mf
mf
251
Kbd III Folk Harp
mf
III - Shkr SA
mf
Who
can
mf
Who
can
for
for
get
your
get
p
once
they
once
Where
p
roads
Where
roads
your
To Timp.
they
257
Hn II
Tpt I & II
Tbn.
IMar.
II Cong.
III Timp.
SA
TB 257
Kbd II Rip. Bass
con sord.
mp
con sord.
p
con sord.
p
p
p
danced
the bamb
danced
the bamb
bou la bou la
From
the
From
the
mp
danced
the bamb
Mai son Mère,
Mai son
Mère,
they
they
danced
mp
the bamb
the bam
they
danced
bou la, bou la,
they
bou la,
the bam
bou la,
they
danced
they
34
Fl. I & II 261
Cl. I & II
II
f
f
(con sord.)
Hn I & II
ff
Tpt I & II
f
B. Tbn.
(con sord.)
III - Timp.
mf
f
the bam
TB f
danced
the bam
261
Kbd I Pfte
danced
bou la.
bou la.
From the
From the
Mai son Mere to the Con go Bar, from the Mai son
Mere
to the
Con
go
Bar,
From the
To Chinese Cymbal (Timp. Sticks)
To Timp.
ff Mai son Mère to the Con go Bar? They danced the
Mai son
Mère
to the Con
go
ff
Bar?
They danced
the
f
mf
f
ff
f
Kbd III Folk Harp
Vln
SA
Kbd II Rip. Bass
f
II Cong.
f
IMar.
35
Fl. I 266
Fl. II
Cl. I & II
ff
fff
Tpt I & II
ff
II Cong.
III Timp.
ff
In
(shout) Cha Cha. de pen dence
266
Kbd I Pfte
ff
TB
I
ff
Vln
senza sord.
(shout) SA In de pen dence Cha Cha.
Kbd III Folk Harp
ff
IMar.
senza sord.
Tbn.
ff
ff
Hn I & II
ff
ff
36
Fl. I & II
271
Cl. I & II
Hn I & II
II Cong.
III Timp.
f
ff
Kin sha sa, Kin Kin sha sa, Kin sha sa, Kin Kin sha sa, Kin sha sa, Kin Kin sha sa,
ff
Kin sha sa, Kin
271
Kin
sha sa,
Kin sha sa, Kin Kin sha sa,
Kin sha sa, Kin
Kin
sha sa,
ff
Kbd I Pfte
Vln
f
Improvise on this pattern
SA
Kbd II Rip. Bass
f
f
f
TB
B. Tbn. senza sord.
senza sord.
ff
f
Tba
f
Tbn. & B. Tbn.
f
Tpt I & II
f
f
37
Cl. I 276
mf
Cl. II
Hn I & II
Tba
IMar.
Tbn. & B. Tbn.
III Timp.
mf
Kin,
f
O
Kin,
mf
Beau ti ful,
the
the Beau
ti
ful,
Kbd I Pfte
276
Kin,
Kin,
the Bold,
the Bold,
O Kin,
O Kin,
the co
ve ted
town of
the co
lea
ve ted
town of
lea
ders,
ders,
of
light,
of
light,
mp
Kbd II Rip. Bass
O
TB
f
SA
mf
II Cong.
mf
mf
Kbd III Folk Harp
38
Fl. I & II 281
f
Cl. I
f
Cl. II
Hn I & II
f
ff
IMar.
Tbn.
Tba
SA
Kin
Kin
281
Kbd III Folk Harp
à2
mf
the
Beau
ti ful,
the
Beau
ti ful,
O
Kin
O
Kin
f
the
Bold,
play
the
To Chin.Cym.
Bold,
play
ground
of
ground
Kbd I Pfte
To Timp.
O
Kbd II Rip. Bass
To Sus. Cym.
O
TB
To B.D.
II Cong.
III Timp.
à2
mi
of
mi
ra
ra
cles,
cles,
To Padifier
Più mosso h = 84
Fl. I & II 285
Cl. I & II
fff campana in aria
IB. D.
II Sus. Cym.
ff
ff
fff
ff
ff
ff
ff
ff
ff
p
TB
ff
ff
Cry,
Più mosso h = 84 285
Kbd I Pfte
ff
Cry,
ff
O
Beau
O
Beau
3
ti
ful
3
ti
ful
Wi
Wi
dow,
Cry
dow,
Cry
your
for
for
3
your
ff
ff
Vln
SA
Kbd II Rip. Bass
ff
Timp.
III Timp.
ff
Tbn. & B. Tbn.
Tba
Tpt I & II
ff
ff
Hn I & II
39
ff
ff
40 292 Fl. I & II
Cl. I
Cl. II
Hn I & II
II Sus. Cym.
III Timp.
Fl. II to Piccolo II
ff
ff
ff
ff
ff
ff
To Tam-tam
ff
ff fp
he
ff
fff
SA
TB
Tbn. & B. Tbn.
IB. D.
Tpt I & II
Tba
fp he
roes,
ff
Cry!
ff
roes,
Cry! T2 (The voice of Osman Dugleh from Somalia)
292 fp
Kbd I Pfte
Kbd II Rip. Bass
Vln
ff
To Syn. Fretless
ff
To Orch Pad 4
O
ff
Kbd III Padifier
To Folk Harp
segue No. 5
41
Part II - Journeys
No. 5 - Somalia - Abdirahman Mireh Tenor Solo
Percussion I & II Bass Drum
297
Percussion III Timpani
Andante q = 84
à2
3
3 3 3
senza misura
p
p
(Voice)
Tape
297
Andante q = 84
Keyboard II
3
3
senza misura
I & II B. D. III - Timp.
Tape
3
298
3
3
3
3
3
298
Kbd II Orch Pad 4
Hn I & II 299
Tbn.
à2
Più mosso q = 96 ca
p
p
I & II B. D.
III - Timp. Ten. Solo
Tape
299
Kbd II Orch Pad 4
3
3
f freely
…And
as
we
walked
We
crossed
The
Go
3
lis
ran
3
Fear
3
ges
Più mosso q = 96 ca
3
ing
the
42
303
Hn I
mp
Hn II
sf Tbn.
IB. D.
II B. D.
mp
III - Timp. Ten. Solo
p
sol
303
Kbd II Orch Pad 4
diers 3
Who killed
my
sis
3
3
3
f
p
3
p
f
ter
walked
by
3
We
night
stum
3
bling
3
On vol
308
Tbn.
IB. D.
II B. D.
3 ca nic rocks
3
solo
mp freely
Shar
308
Kbd II Orch Pad 4
3
III - Timp. Ten. Solo
per
3
than but chers'
knives
Our
feet
f
p
blee
ding
3
3
We had to walk
Meno mosso q = 66
314
Tpt I & II
Tbn.
I & II B. D.
314
Kbd II Orch Pad 4
III - Timp. Ten. Solo
mp 3
3
con sord.
p
mp
mp
I
touched
a
stone
with
my
lips
Meno mosso q = 66
As
I
43
318
Fl. I
Picc. II
Hn I & II
III - Timp.
Ten. Solo
To Fl. II
p
à 2 stopped
p
p
Tbn.
p
con sord.
Tpt I & II
p
fell
The
moon
did
n't
shine
It
helped
us.
318
Kbd II Orch Pad 4
Tpt I & II
322
Tbn.
I & II B. D.
III - Timp.
mp 3
3
slow gliss.
Perc. I To Sus. Cym. Perc. II To Claves
322
Kbd II Orch Pad 4
segue No. 6
44
No. 6 - Tibet - Tsering Gonpo Baritone Solo
Andante q. = 56
326
Clarinet I
Bass Clarinet
T3
mp
mp
Horn I
open
p
Horn II
(Tape - Tibetan Speech)
mp
mp
mp
mp
p
(con sord)
Trumpet I & II
p
Trombone/ Bass Trombone
p
Andante q. = 56
326
Keyboard I Syn. Fretless Bass
Keyboard II Orch Pad 4
mp
p
Keyboard III Folk Harp
Cl. I
B. Cl.
open
Hn II II Claves
mp
331
Fl. I
mp
Kbd II Orch Pad 4
Kbd III Folk Harp
mp
mp
p
mp
331
Kbd I Syn. F. Bass
To Crotales
45
335
Cl. I
B. Cl.
Hn I
Kbd II Orch Pad 4
ing
at
the
Kbd III Folk Harp
mf (warm)
Look
339
Fl. I
Cl. I
B. Cl.
Hn II
Bar. Solo
ga
Kbd III Folk Harp
paths
Is
the
tier
of
town
poco rall.
fron
ing
poco rall.
re...
339
Kbd II Orch Pad 4
wind
N
Kbd I Syn. F. Bass
335
Kbd I Syn. F. Bass
Bar. Solo
46
Hn I
A tempo
342
Hn II
Tpt II
p
p
senza sord.
p
Tba
p
Bar. Solo
Kbd II Orch Pad 4
Kbd III Folk Harp
How
p
p
Tba
Kbd II Orch Pad 4
Kbd III Folk Harp
can
I
a
way
slip
this?
like
p
mf
346
Kbd I Syn. F. Bass
mp
Tpt II
346
Hn II
Fl. I Hn I
p
A tempo
342
Kbd I Syn. F. Bass
mp
47
Fl. I
350
Fl. II
Cl. I
p
B. Cl.
p
Hn I
Hn II
Tpt II
B. Tbn.
Tba
Bar. Solo
mp
mp
p
Is
a
Kbd II Orch Pad 4
mp
Be
350
Kbd I Syn. F. Bass
senza sord.
II Crot.
hind
my
horse
p
Kbd III Folk Harp
stem
p
To Claves
of
blos
som.
Be
mf
48
355
Hn I
Hn II
mf
mf
(senza sord.)
Tba
f
him
stand
bra
B. Tbn.
mf
mf
Bar. Solo fore
f
f
355
Kbd I Syn. F. Bass
Kbd II Orch Pad 4
mf
Fl. I
358
mp
mp B. Cl.
mp
Hn II
II Claves
Bar. Solo
Kbd II Orch Pad 4
Kbd III Folk Harp
mp subito
To Tam-tam
mf
As
I
mp subito
mp subito
fields…
p
mp subito
snow
f
358
Kbd I Syn. F. Bass
cing
f
Cl. I
Kbd III Folk Harp
f
mf
f
mf (senza sord.)
f
Tbn.
(senza sord.)
mf
f
Tpt II
f
con sord.
Tpt I
49
361
Cl. I
B. Cl.
Hn I
Hn II
Bar. Solo
pass
the
bor
der
Kbd II Orch Pad 4
Kbd III Folk Harp
re
Cl. I
f
B. Cl. Hn I f
f
Hn II
f
Tpt I & II
fuge
(senza sord.)
à2
f
Tba
f
Bar. Solo
Kbd II Orch Pad 4
Kbd III Folk Harp
f
f
can
I
bear
rit.
f
How
f
365
Kbd I Syn. F. Bass
f
Tbn./ B. Tbn.
f
365
Fl. I & II
mp
361
Kbd I Syn. F. Bass
to
rit.
look
50
Meno Mosso
Fl. I 369
f
Tpt I & II
p
f
Hn I & II
Fl. II
Cl. I
p
p
p
p
Tbn./ B. Tbn.
p
Tba
p
Bar. Solo
back?
Meno Mosso 369
Kbd I Syn. F. Bass
Kbd II Orch Pad 4
Kbd III Folk Harp
To Pfte
p
To Syn. Fretless Bass
p
p
To Horn Section
segue No. 7
51
No. 7 - Austria - Erich Fried 374
Clarinet I
Chorus and Children’s Chorus
Passacaglia q =72
mf
Bass Clarinet
Horn I & II
mp
Trumpet I & II
(open)
mf
mf
Trombone
Bass Trombone
Tuba
mf
mp
Fl. I
mp marcato
Hn I & II
B. Tbn.
Tba
III Timp.
Child. Ch.
TB
and it goes on hap
pened
and it goes on hap
pen ing
and will
pen ing
and will
hap pen a gain f
if
no
if
no
thing
hap
thing
hap
pens
pens
to stop it
to stop it
mf
mp
f
hap pen a gain
A.
mf
Tbn.
It has hap
pened
mp marcato
Cl. I
B. Cl.
378
mf
It has hap
TB
mf
Percussion III - Timpani SA
mp
mp
mp
mp
The in no cent f
know
no thing
be cause they are too
in
nocent
It has hap pened
and it goes
on hap pen ing
senza cresc.
and will hap pen
a gain
f
if
guil ty
know
and the p
no thing hap pens to stop it.
no thing be cause they are too
52
Fl. I
383
Fl. II
Cl. I
B. Cl.
Hn I & II
f
f
Tba
TB
f
Col. Child. Ch. f
SA
that is why
no
f
that is why
no
thing
hap
mf
thing
hap
p
mf
SA
The poor
no tice be cause they are too
to stop it
pens
p
pens
mf
f
Altos guil ty
III - Timp. Child. Ch./ SA
mf
Tpt I & II
do
not
to stop it
388
Fl. I
Fl. II
Cl. I
B. Cl.
SA
mf
TB
And the
rich
do
393
Cl. I
B. Cl.
S.
A.
be
cause
they
are
too
stu
pid
mf
and
the
cle
ver
mf
mf
Altos
the stu
pid
shrug
their shoul
ders
rich
shrug
not no tice be cause they are too
poor
mf
their
shoul
ders
be
cause
they
are
too
Fl. I
396
Fl. II
Hn I & II
Tpt I & II
f
f
Tbn.
B. Tbn.
Tba
Cl. I
B. Cl.
53
TB
f
f
f
Fl. I
Fl. II
Cl. I
Hn I
Tbn.
B. Tbn.
Child. Ch.
402
no thing
hap pens
to stop it
and
mf
f
young
do
TB
Kbd II - Syn. F. Bass
not
care
be cause they
are too
mp
mp
mp
Col.Sops and Altos
young
p
that is
Basses
f and the
mf
the
f
Child. Ch
that is why it has hap pened
that is why it has hap pened
and
402
3 3 3 3 3 3 3 3 3 3 3 3
f
that is why no thing hap pens to stop it f
f
mf
f
f
f
f
Col. Child. Ch f and Altos
f
that is why
Kbd II - Syn. F. Bass
396
Kbd III Hn Sect.
f
f
à2
cle ver
f
(Sops.)
Child. Ch./ SA
old
p Col. Tenors do not care be cause they are too old that is
mp
54
Hn I & II
408
Tbn.
B. Tbn.
Tba
Child. Ch./ SA
TB
Kbd III Hn Sect.
Fl. I & II
Tbn.
III Timp.
SA
why
Kbd III Orch Pad 4
mf
mf
no thing hap pens
mf
f
mf
mf
mf
f
f
f
mp
f
It
has hap pened
and it goes on hap pen ing
f
It
has hap pened
and will hap pen
and it goes
if
not
a gain
on
thing
hap pens
to stop
To Orch Pad 4
mf
mf
and will
it
f
hap pen ing
f
f
that is why it has hap pened and goes on hap pen ing and will hap pen a gain
and
414
to stop it
414
Kbd II Syn. F. Bass
TB
Kbd I Pfte
B. Tbn.
Tba
f f
f why no thing hap pens to stop it and that is why it has hap pened and goes on hap pen ing and will hap pen a gain
Cl. I
B. Cl.
408
Kbd II Syn. F. Bass
Tpt I & II
f
(I.)
55
Fl. I & II
418
f
Cl. I
B. Cl.
Hn II
f
mf
Tpt II
con sord.
mf
B. Tbn.
Tba
S.
do not
no tice
if
no
if
The in no cent
know
no
thing hap pens to stop it
no thing
The in no cent
418
thing hap pens to stop it
and the guil
know no thing
Kbd III Orch Pad 4
and the rich
do not
has
hap pened
and it goes on
and will
hap pen ing
do not no tice
and the rich
It
ty
do
know no thing
not no tice
The poor
no thing
Kbd I Pfte
Kbd II Syn. F. Bass
The poor
mf
hap pen a gain
T.
hap pen a gain
A.
B.
56
422 Fl. I & II
Hn II
B. Tbn.
Tba
S.
B.
tice
hap
It
pen
the stu
the stu
has
hap
pened
shoul
ders
shrug
goes
on
hap
if
no
hap
pen ing
pens
their shoul
ver shrug
their shoul
and will
hap
to stop it
pid
and the cle
thing
and it
gain
422
pid shrug their
a
no
T.
A.
Tpt II
Cl. I
B. Cl.
and the cle ver shrug
ders
ders
that is why
a gain pen and will hap
no
pen
if
gain
Kbd II Syn. F. Bass
Kbd III Orch Pad 4
a
thing
Kbd I Pfte
their
if
57 425 Fl. I & II
ff
Cl. I
B. Cl.
Hn I
Hn II
Tpt I
Tpt II
ff
ff
ff
senza sord.
ff
Tbn.
Tba
Child. Ch.
shoul
A.
T.
no
B.
ff
ff
no
ders
hap pens
ff
to stop it
ff
thing hap
thing hap
pens
pens
ff
to stop it
ff
p sub.
It has hap
ff to stop it
It has hap
It has hap
425
It has hap
pened
pened
pened
pened
p sub.
and it goes on hap p sub.
and it goes on hap p sub.
and it goes on hap
and it goes on hap p sub.
pened
pen ing pen ing pen ing
p sub.
and it goes on hap
pe ning
pe ning
and will hap pen a and will hap pen a and will hap pen a and will hap pen a
and will hap
pen
a
gain
no thing
if
gain
no thing
if
gain
no thing
if
gain
no thing
if
gain
no thing
if
ff
Kbd I Pfte
Kbd II - Syn. F. Bass
Kbd III Orch Pad 4
p
It has hap
S.
p sub.
ff
B. Tbn.
p sub.
ff
ff
à2
ff
ff
p sub.
p sub.
58
Fl. I & II 429
Cl. I
B. Cl.
Hn I & II
A.
marcato
marcato
marcato
f
f
marcato
f
To Marimba
(Sus. Cymb.)
p
ff
(Tam-tam)
p
ff
ff molto marcato hap pens tostopit Thatis why nothing hap pens to stopit andthatis why it has happened andgoesonhappeningandwillhappen a gainandagainanda gainand againand a gain.
ff molto marcato
ff molto marcato
hap pens tostopit Thatis why nothing hap pens to stopit andthatis why it has happened andgoesonhappeningandwillhappen a gainandagainanda gainand againand a gain.
ff molto marcato hap pens tostopit Thatis why nothing hap pens to stopit andthatis why it has happened andgoesonhappeningandwillhappen a gainandagainanda gainand againand a gain.
To Matrix Melostring
Meno mosso q = 64
f
andgoes goesonhappeningandwillhappen a gainandagainanda gainand againand a gain. hap pens tostopit Thatis why nothing hap pens to stopit andthatis why it has happened and
429
Kbd II Syn. F. Bass
ff molto marcato happened andgoesonhappeningandwillhappen a gainandagainanda gainand againand a gain. hap pens tostopit Thatis why nothing hap pens to stopit andthatis why it has
T.
Kbd I Pfte
marcato
ff
marcato
f
ff
ff
S.
B.
Sus. Cym.
Child. Ch.
ff
B. Tbn.
II - T-t.
ff
Tbn.
I-
Tpt I & II
Tba
Meno mosso q = 64
f
59
No. 8 - Somalia - Abdirahman Mireh Chorus
Allegro molto q =132 Fugue
Clarinet I
Horn I & II
Percussion II Tam-tam Percussion III Timpani
Tenor
435
Keyboard III Orch Pad 4
B. Cl.
Tbn.
S
T
B
Fly
f
ing
a
ing
bird,
f
To Bass Drum
With all
that
speed,
how
I
do
ming
Hate your glea
mf
II
cold
a lu mi nium,
a
With all
that
speed,
do
I
I
do
mf
ff
Hate your glea ming
wings…
Fly
mf
ing
wings…
mf
Hate your glea ming
how
how
Fly
With all that speed,
lu mi nium,
bird,
mf
cold
f
ing
Fly
lu mi nium,
sim.
Fly
(Tam-tam)
ff
cold
wings...
bird,
f
Kbd II - Syn. F. Bass
Kbd III Orch Pad
ff
442
Kbd I Matrix
f
III - Timp.
p
f
Allegro molto q =132 Fugue
Hn I & II Tpt I
f
f
442
Cl. I
à2
435
Keyboard II Syn Fretless Bass
f
60
Cl. I
B. Cl.
Hn II
450
Tpt II
mf
Tpt I
f
f
Tbn.
III Timp.
S
mf
bird,
A
T
B
cold
Fly
450
Kbd I Matrix
Kbd II Syn. F. Bass
a
lu mi nium,
With all
ing
bird,
cold
ing
bird,
a
cold
a
lu
that
lu
mi nium,
speed,
mi
how,
With all that speed,
I
do
Hate your glea
nium,
how
I
do
how
I
do
ming
how
Hate
Hate your glea
ming
Kbd III Orch Pad
Fly
ming
ff
ing
wings…
glea
your
wings…
f
Fl. I 457
Hn II
S
bird,
ing
cold
Kbd I Matrix
bird,
cold
a
lu
nium,
f
lu mi nium,
a
With
mi
I
all
that
do
Hate
I
Hate
how
do Hate your
how
I,
how
I
how
nium,
glea
I
your glea
ming
do
Hate
your glea
ming
wings…
your
glea
ming,
glea
ming
wings…
Hate
do
I
how
speed,
With all that speed,
how
cold
a lu mi nium,
cold a lu mi
457
Vln
wings…
T
Kbd III Orch Pad
A
Kbd II Syn. F. Bass
f
Fly
B
Tpt II
III Timp.
Tpt I
Tbn.
61
f
Cl. I
B. Cl.
ming
62 464 Fl. I
Cl. I
Hn II
f
f
Tpt I
f
Fl. II
B. Cl.
Tbn.
B. Tbn.
Tpt II
Tba
f
f
IMar.
f
II B.D. III Timp.
mp
S
mf
ff
B
Kbd II Syn. F. Bass
Kbd III Orch Pad
Vln
Fly
ing
bird,
cold
a
Fly
ing
bird,
lu minium,
cold a lu mi nium, Fly
a lu mi nium,
cold
a lu
wings…
464
Kbd I Matrix
a lu mi nium,
a lu minium,
cold
cold
T
ff
wings…
A
mf
472
Fl. I
Fl. II
Cl. I
B. Cl.
Hn II
IMar.
mi nium,
f
ing
ing
ff
cold
a lu mi nium,
Fly
a lu mi nium,
cold
ff
ing
bird,
a lu mi nium,
Fly
ing bird,
fly
mf
cold
a lu
bird,
bird,
cold
472
Kbd III Orch Pad
Fly
Kbd I Matrix
f
T
Kbd II Syn. F. Bass
A
B
II B.D.
S
63
64
Fl. II
480
Hn II
Tpt I
IMar.
ing
con sord.
bird,
T
mi nium,
480
Kbd III Orch Pad
fly
Fly
ing
bird,
fly
ing bird,
fly
ing
ing
ing
fly
ing
ing
cold a lu mi nium,
fly
bird,
Fly
bird,
cold a lu mi nium,
bird,
ing
bird,
fly
fly
ing,
bird,
Fly
nium,
fly
bird,
ing
a lu mi
ing
cold
Kbd II Syn. F. Bass
A
Kbd I Matrix
mf
Fly
B
II B.D.
S
Cl. I
B. Cl.
ing
bird,
bird,
With
bird,
all
With
all
With all
that
65
488
Fl. II
Cl. I
B. Cl.
Hn I & II
II
IMar.
III Timp.
S
that
speed,
Kbd II Syn. F. Bass
Kbd III Orch Pad
With
all
with
that
all
à2
(senza sord.) à2
f
To Bass Drum
that
Fly
Fly
ing
bird,
cold
bird,
ing
a lu mi nium,
speed,
f
cold
With all that
ing
a lu mi nium,
ff
ff
speed,
Fly
speed,
speed,
sim.
ff
f
speed,
488
Kbd I Matrix
that
f
T
f
A
B
II B.D.
I
Tbn.
f
Tpt I & II
bird,
cold
With all that
I
do
how
f sub.
f
f sub.
66
Fl. I & II
496
Cl. I
f
f
B. Cl.
Hn I & II
III Timp.
S
f
Tbn.
B. Tbn.
Tpt I & II
speed,
B
glea
Kbd III Orch Pad
Vln
I
ff
Hate your glea
ing
ming
bird,
I
do
hate
your glea
ming
wings…
With all that
wings…
a lu mi nium,
a
a lu mi
nium
cold
lu mi nium,
With all
With all
that
speed,
speed,
how
I
do
how
that
cold
cold
how
wings…
speed,
that
do
f
ming
Fly
Kbd II Syn. F. Bass
496
Kbd I Matrix
With all
how
Hate your
T
a lu mi nium,
f
A
f
503 Fl. I & II
Cl. I
B. Cl.
Hn I & II
Tpt II
III Timp.
S
T
B
Hate
your
glea
Kbd II Syn. F. Bass
Kbd III Orch Pad
Vln
I
hate
your
glea
ming
wings,
your
glea
ming
wings,
your
glea
how
I
Hate
ming
your
glea
wings,
your
ming,
glea
ming
how
I
Hate
your
ming
ming
wings…
glea
ming
glea
503
Kbd I Matrix
wings…
ming
glea
speed
I
your
Hate
that
all
With
speed
A
Tbn.
B. Tbn.
Tpt I
67
68
B. Cl.
ff
Cl. I
Tba
IB.D.
ff
wings…
Fly
wings…
Fly
Fly
à2
ing
ing
fff
fff
ing
bird,
fff
ing
bird,
508
ff
ff
fp
fp
how
I
do
Hate
your
glea
how
I
do
Hate
your
glea
how
I
do
Hate
your
glea
how
I
do
Hate
your
glea
Meno mosso q = 116
ming
ff
ff
mp
ff
f
ff
wings.
ming
ming
ff
wings.
wings.
wings.
mp
ff
To Orch Pad 4
ff
To Folk Harp
mp
mp
ming
ff
ff
ff
To Cl. II
ff
mp
To Tam-tam
fp
To Susp. Cym
ff
fp
ff
fp
ff
fp
ff
fp
bird,
fff
fp
bird,
Fly
ff
wings…
Vln
ff
Kbd III Orch Pad
S
Kbd II Syn. F. Bass
ff
Kbd I Matrix
B
T
Meno mosso q = 116
ff
A
ff
III Timp.
II B.D.
ff
B. Tbn.
ff
II
Tbn.
ff
Hn I & II Tpt I & II
Fl. I & II 508
fp
ff
ff
segue No. 9
69
Part III - Prison No. 9 - Chile - Maria Eugenia Bravo Calderara 515
Tape
T4
e = 84
Mezzo-soprano solo
Speech
Thunder
525
Cl. I & II
Hn I & II
Tbn. & B. Tbn.
Tape
M-S. Solo
con sord. mp con sord. p
con sord. mf
p
con sord.
con sord.
p p
mp
To
you,
p
p
533
Kbd I Matrix
p
533
Tba
Tbn. & B. Tbn.
Tpt I & II
Cl. I & II Hn I & II
525
Kbd I Matrix
con sord. p
Tpt I & II
Tba
3
un der fed,
short,
with
3
swea ty hands.
3
mf
Who know
no
thing
of
gram
mar,
nouns
and
verbs.
70
Fl. I Fl. II
Cl. I
M-S. Solo
3 To day I sing to you.
Meno mosso e = 72
546
f
2
2
mf dolce
senza sord., stopped
Hn II
M-S. Solo
2
2
had no
2
eyes
2
2
And when I was cold
2
p
worst
2 you rolled me a ci ga rette.
brought
me
a
pain
2
2
kil
Be cause when
ler,
2
fear
Was at its
2
2
2
2
2
you lent me your coat.
p
You
2
2
2
, (stopped)
2
2
you lent me yours
2
2
2
Be cause when I
2
2
mf
553
Kbd III Folk Harp
553
Fl. I
2
546
Kbd III Folk Harp
5
Andante con moto q. = 69
mp
M-S. Solo
mp
Fl. I Hn II
2
mp
mp
p dolce
mf
540
Kbd III Folk Harp
Andante con moto q. = 69
Meno mosso e = 72
540
p
De li vered a 2
2
2
note
to
2
my
71
560
Cl. I
Cl. II
Hn I & II
(senza sord.)
Tpt II
M-S. Solo
Kbd I Matrix
p
senza sord.
p
fa
mi
f
f
f
2
Tpt I
Fl. I
Hn I
M-S. Solo
Kbd III Folk Harp
Vln
p
2
cared
for each o ther in those dumb
2
2
2
2
hours.
Your
2
2
(q = 100)
(open)
2
'ring
was
my
2
shiv
2
'ring.
e = e (q = 100)
mf
rall.
mf
mp
f
I did n't see you, f
f
yet
I saw
f
you.
I
mf
2
mf espr.
So we
mf
2
e=e 574
2
mp
574
shiv
2
mf
2
Cl. I
569
Vln
solo
Poco meno mosso q. = 66
ly.
mp
cuivré
Poco meno mosso q. = 66
Kbd III Folk Harp
sfz
569 Fl. I
M-S. Solo
f
senza sord.
à2 open
cuivré
f
560
f
sfz
Tpt I
Tba
(senza sord.)
Tbn. & B. Tbn.
(senza sord.)
à 2 open
rall.
To Matrix Melostring
72
Cl. I 579
Cl. II
Hn II
Tpt I & II
Tbn.
M-S. Solo
Vln
sim.
mp
mp
(open)
mp
p
solo
mp espr.
p
e=e
2
ne
579
Kbd I Matrix
(q. = 66)
B. Tbn.
Tba
e=e
2
name
or
mp
Cl. II
Hn I
Hn II
Tbn.
B. Tbn.
M-S. Solo
Tpt I & II
Tba
Vln
the bis
2
cuit,
the
se
2
cret
2
2
2
roll
2
up,
the pain
kil ler,
2
mp
solo f
mf
mf
mf
mf
ne
2
5
mf
I
2
ver
knew
2
your
name
2
or
f
where you were from.
mf più f
note.
f
2
2
2
2
585
Kbd I Matrix
The
585
Cl. I
where you were from,
2
mf
2
2
ver knew your
(q. = 66)
2
2
73 591 Fl. I
mf
Cl. I
Cl. II
Hn I
Hn II
Tpt I & II
Tbn.
B. Tbn.
Tba
M-S. Solo
Vln
Cl. I & II
Hn I & II
Tba
IMar.
But I
know
what
you
are
called.
rall.
a tempo
p
mp
p
p
III Timp.
mp
pp
p sub.
M-S. Solo
2 Hu man.
596
Kbd II Orch Pad 4
2
2
mf
I ne ver saw you
p
2
2
rall.
mp
p
Hu
man,
a tempo
p
To Sus. Cym.
but I know what you were called.
To Bongo
(Plays same Marimba as player I
II Mar.
To Pfte
p
mf
596
Fl. & II
591
Kbd I Matrix
sim.
74
Fl. & II
Cl. I & II
Hn I & II
603
p
Tpt I & II
Tbn. & B. Tbn.
con sord.
To Piccolos I & II
p con sord.
p
Tba
III Timp.
f espr.
M-S. Solo
hu hu man, man, hu man,
603
Kbd II Orch Pad 4
Vln
hu
p
p
hu
man,
mp dolce
Cl. I & II 610
Hn I & II
Tpt I & II
III Timp.
M-S. Solo
man,
610
Kbd II Orch Pad 4
Vln
Tbn. & B. Tbn.
Tba
hu
man,
p
mp
hu
man,
hu
man.
segue No. 10
75
No. 10 - Nigeria - Ken Saro-Wiwa Tenor Solo
618
Piccolo I
Piccolo II
Percussion I Bongo
Cl. I
Cl. II
mp
3
3
3
3
Cl. I
Cl. II
Hn II
IBongo
Ten. Solo
6
6
3
3
3
6
3
6
6 6
6 3 3 3 3
mp
6
6
p
mp
mf
3
634
mf
Au to ma tic slung o ver his shoul der,
mp
mp (delicate)
3
p
stopped
p sotto voce
He
soun
ded
the drum
3
mp
a lit tle drum in his hand.
mf
gan gly, in rag ged cam ou flage jac ket,
mf
3
Tall,
f
One night the ghost ar rived,
mp
p
mp
6 3 3 3 3
Tempo I
p
Ten. Solo
6
3
mp
Cl. II
affretando
mp
629
Cl. I
f
I Bongo
Picc. II
f
6
Picc. I
mp
pp
Played with snare drum sticks
Picc. I
mp
625
Picc. II
Andantino q = 84
To Marimba p marcato
"Ken
ti mo,
Ken ti mo, Ken ti mo."
76
639
Picc. I
Picc. II
Cl. I & II
Hn I & II
Tba
III Timp.
mp
To Fl. I
à2
ffz
cuivré
con sord.
con sord.
sf
sf
sf
con sord.
sf
(senza sord.) sf
Ten. Solo
B. Tbn.
Tbn.
mp
Tpt I & II
sf
f
"Who are you?"
I
asked.
Cl. I 644
Hn I & II
q = 66
p
senza sord.
p
senza sord.
B. Tbn.
q = 66
p
mp
3 *
Kbd III Matrix
"I'm Gen' ral Je no Sai
q = 66
p
3
f
du."
p
mp
644
2
mf
3 "Sounds like ge nocide to me," I said. q = 84
f
f
f
"You should know." q = 66
p
* All of the vocal part written in the bass clef may be performed as Sprechgesang.
f
2
f
solo
p
p
Ten. Solo
q. = 104 solo
p
Tba
f
Tbn.
q = 84
q. = 104
(f)
"What do you
77
Cl. I
651
Hn I & II Tbn.& B. Tbn.
Tba
mp
IMar. Ten. Solo
want?"
mp
2
f2
2 Cl. II 2 2 2
f
Hn I & II
2 2
B. Tbn.
Tba
2
2
2
2
Tbn.
open
con sord.
Tpt I & II
2
Ten. Solo
660
Kbd II Orch Pad 4
Kbd III Matrix
p
2
2 2
2
2
2
2 2 2 2 2 "Gen' ral, stop swag ge ring", I said. "You don't im press me."
p
p
p
To Snare Drum
q = 66
p
mp
3
sf
sf
sf
sf
3 "You will be im pressed. I've fin ished off your peo ple,
3
Once I deal with you, my
3
3
sf
f
mf
p
p
2 2
à 2 cuivré
2
2
2
III - Timp.
II Sus. Cym.
,
mp
2 I Mar. 2 2
2
f
2
to fin ish you off."
3
2
,
2
2
2
,
2
2
, q = 66
2
2
2
f
2
f
here
f
2
2 2
2
f
sf
mf
"I'm
f
I asked.
sf
2
660
Cl. I
2
sf
mp
651
Kbd III Matrix
à2
mf
mp
task is done."
f
f
78
667
Cl. I
q = 92 solo
f
Hn I & II
B. Tbn.
Ten. Solo
f
667
Kbd III Matrix
con.sord.
mf
q = 92
f
"Go a head,"
I
chal lenged him.
"You're not a
fraid
à 2 stopped
to die?"
"No,"
mf
f
Cl. I
Cl. II
Hn I & II
675
f
f
B. Tbn.
mf
Tba
Ten. Solo
mf
675
con.sord.
"I'm pre
Kbd III Matrix
mf
pared
to
go with
2
all
my
peo
mf
2
ple
2
you
have
al
rea
dy
2
mur
dered."
79
Poco più mosso
Cl. I 680
mf
Cl. II
Hn I & II
mf
mf
Tba
à 2 (con sord.)
Tbn.& B. Tbn.
mf
mf
Ten. Solo
ff
"Yes,
mf
Kbd III Matrix
we
worked
3
3
hard
3
on
them,
all
five
3
hun
Poco più mosso
680
Kbd I Pfte
dred
thou
mf
sand.
3
3
683
Cl. I
f
Hn I & II f
con sord.
mf
Tbn.& B. Tbn.
Tba
Ten. Solo
You
3
are
my
last
ff
Kbd III Matrix
man."
683
Kbd I Pfte
ff
Cl. II
Tpt I & II
f
80
Allegro q = 132
Fl. I
687
Picc. II
Cl. I
Cl. II
Tbn.
rit.
f
f
mf
f
IMar.
f
Hard sticks
Ten. Solo
f
Gen' ral Je no Sai du, the
ghost,
shot
in to the ceil
ing
A tempo
696
Fl. I
f
Picc. II
f
Cl. I
Hn I & II
f
sf
Tpt I & II
Tbn.
f
sf
f
and not in to my chest. A tempo
Tba
sf
mp
f
696
Kbd I Pfte
Ten. Solo
I. open
B. Tbn.
IMar.
sf
sf
"Still not a fraid?" f
2
f
"No, Gen' ral."
"Why not?"
To Horn Section
81
706 q = 66
Fl. I
Picc. II
Cl. I
Hn I
(open)
mp espr.
Ten. Solo
Fl. I
Cl. I & II
mp sost.
"Be
711
Hn I & II
cause I have what is grea
ter
than your wea pon."
senza sord.
Tbn.& B. Tbn.
Tba
IMar.
pp
3
Kbd III Matrix
"I will not cease from men tal fight
(open)
senza sord.
hand
pp
Cl. I
q. = 80
2
mf
2
2
f
To Bongo
a new O go ni
in Ni ger del ta's weal thy
Blake:
f
et
po
f
lish
f
Till we have built
718
f
3
af ter the Eng
f
Nor shall my sword sleep in my
711
ci ted,
mp
Kbd II Orch Pad 4
I re
f
sticks soft
Ten. Solo
u pon
3
pp
senza sord.
3
Where
mp espr.
mp espr.
Tpt I & II
mp espr.
mp espr.
To B. Cl.
Cl. II
fp
Ten. Solo
land."
2
mf
Then I drew my
pen
2
from
un
der
my
pil
2
low.
82
q = 66 stopped
3 3 3 Hn I & II
723
p
B. Tbn.
Tba
Ten. Solo
mp
3
3 3 He slumped to his knees. He lost his swag ger and be came my con fi dence.
3
3 3
3
3
gen' ral's au to ma tic fell from his hand.
pp
The
q = 66
728
Fl. I
pp
3
pp
723
Kbd III Matrix
3
p
Ten. Solo
p
3
So
I
learned
3
that
these
gen'
3
rals
are
strong
On
ly
if
they
have
an
au
to
ma
tic
in
their
hands.
731
B. Cl.
Hn I
(open)
poco rit.
Solo
(B. Cl.)
mp
mp
Hn II
(open)
Tpt I
p
3 solo
Tbn.
mp
B. Tbn.
Tba
p
Ten. Solo
731
Kbd III Matrix
mf
p
p
p
p
p
mp
He
sat
3
be
side
me,
Reek
3
ing
of
hu
3
3
man
,
,
blood.
3
mp
Tpt II
poco rit.
83
736
Cl. I
B. Cl.
Hn II
A tempo
p
( )
( )
con sord.
Tbn.
mp
Ten. Solo
f
B. Tbn.
mp
"Sor
5
ry
a
bout
3
the smell,"
he said,
"There's
no
5
thing
I
can
do
a
it.
All the
bout
soap in the world
will not wash it off."
A tempo
736
Kbd III Matrix
Tpt II
Tba
739
Cl. I
B. Cl.
Hn I
Hn II
Tpt II
Tbn.
B. Tbn.
Tba
Ten. Solo
is
it,
Gen'
mp
"What
739
Kbd III Matrix
eral,"
I
said,
"What
is
That can
it
make
a ny one
so
84
q = 80
Fl. I 743
To Picc. I
fp
Cl. I
B. Cl.
Hn I & II
sf
ff
Tbn.& B. Tbn.
Tba
IBongo
III Timp.
p
p
mp
II S.D.
fp
To Snare Drum
Kbd III Matrix
q = 80
mp
"In
Ni
ge
3
ria,
it
ff
Snare Drum
is
mo
ney,
Ken
ti mo.
mf
ff
Kbd I Hn Sect.
Kbd II Orch Pad 4
Snare Drum
ff
mad?"
ff
f
743
ff
with sticks
Ten. Solo
à2
ff
fp
ff
open
ff
sf
sf
p
Tpt I & II
f
f
p
f
85
748
Cl. I
B. Cl.
Hn I & II
f
p sub.
rall.
,
,
,
p sub.
Tpt I & II
f
Tbn.& B. Tbn.
,
,
p sub. Tba
p sub.
II S.D.
IS.D.
III - Timp. Ten. Solo
Kbd II Orch Pad 4
Your
Picc. II
coun
try 3
is
mo
ney
,
To Cowbell
ff
mad."
f
To Pfte
,
To Ripper Bass
f
,
To Slow Filter
f
Tempo I q = 84
mp
nished
3
p
Then
Gen' ral Je no
As
on
ly
a
ghost
p
can.
Sai
du
the
ghost
p
p
3
va
mp
,
rall.
,
Hn I Ten. Solo
To Hi-hat
756
Picc. I
,
Picc. I
Ten. Solo
To Marimba
752
Picc. II
Kbd III Matrix
,
ff
ff
ff
748
Kbd I Hn Sect.
,
segue No. 11
86
No. 11 - Turkey - Oktay Rifat Chorus (A cappella)
Adagio molto q = 66
Soprano
Tenor
Warm me
Bass
p
761
Warm me
Warm me p
p
Warm me
this
p
Alto
this
this
this
night,
O
night,
O
night,
O
night,
O
my trust
free dom
free dom
in
my trust
in
in
my trust
in
S.
A.
T.
me
a gainst my
warm
unis. f
Out there
f
and
torn
through this
through
T.
thin
mat tress
mf
through
B.
through
this
this
this
night.
night. mf
me warm
a
and
torn
me
blan
fp
cold. fp
cold. fp
cold. fp
Tempo I
(mf)
p
O
p
O
my
O
my
trust
my
p
trust
trust
my
trust
poco animando
palm
a
night.
in
me
warm.
me
warm,
wrap
me
warm.
f
free dom
En
in free dom in free dom in free dom
En
place
is
rea
For
my
ter
ter
deep,
deep,
Warm me
Warm me
Warm me
Warm me
hands
On
On
my
palm
a
(mf)
ter deep, En ter deep, En
dy
warm.
warm.
me
me
Wrap
thin
f
warm
mat tress
f
kets.
me
Wrap
a gainst my
Wrap
wrap
my
mp
O p
my
warm,
cold.
On
gainst
f
1.
night. mf
Wrap
3
mf
3 is un i ma gi na ble
blan kets.
mf
780
A.
Out there is un i ma gi na ble f 3 T. Out there is un i ma gi na ble f 3 B. Out there is un i ma gi na ble
S.
mat tress
773
A.
Wrap
Wrap
thin
S.
mf
mf
B.
2. Wrap
(mm)
f
poco animando
767
(mm)
free dom
(mm)
free dom
my trust
(mm)
place
is
rea
(mf)
On
dy
my
87
S.
my
thighs
(mf)
A.
T.
my palm
For my
B.
a place is rea dy For my
a place
On
784
hands
palm
to
lean
your
on
my
a place is rea dy
knees.
thighs
For
a place to
En
hands.
lean
my
hands.
Meno mosso
mp
mp
En
mp
your
knees.
En
mp
En
rit.
close me,
close me,
close me,
Sheathe me,
Wrap
Sheathe me,
Wrap
Sheathe me,
close me,
Wrap
Sheathe me,
Wrap
me
warm,
me
me
me
warm
warm
warm
O
my
trust
in
free
O
my
trust
in
free
O
my
trust
in
free
O
my
trust
in
free
790
S.
A.
T.
B.
dom
(mm)
dom
(mm)
dom
(mm)
dom
(mm)
Wrap
me
warm
Wrap
me
Wrap
me
Wrap
me
this
warm
warm
warm
this
night.
this
this
night.
night.
night.
segue No. 12
Part IV - Exile
No. 12 - Bosnia - Himso Skorupan T5
Baritone Solo
Allegro q = 138
795
Tape
802
II Hi-hat
III Cowbell
Hi-hat (closed)
pp
f
p
(Sine Wave)
Tape
p
p
p
88
807 Fl. I & II
f staccato
Cl. I & II
f staccato
Hn I & II
f staccato
Tpt I & II
f staccato
Tbn.
II Hi-hat
III Cowbell
f staccato
IMar.
Vln
To Timp.
807
Kbd I Pfte
f staccato
senza pedalé
f staccato
IMar.
811
p sub. (exaggerate dynamics)
Bar. Solo
f
had
my
811
Kbd I Pfte
Kbd II Rip. Bass
tre
p sub. (exaggerate dynamics)
mf
pi da tions
f
p sub.
f
I
for
a
long
time.
p
3 But yes ter day
f
f
p
f
I
could wait
no
more.
p
89
816
Fl. I & II
Cl. I & II
Hn I & II
f sf
sfz
Tbn.
Tpt I & II
f
f
IMar.
sfz
sf
f
II Hi-hat
III Timp.
Kbd II Rip. Bass
Vln
sf
f p
p
f
p
meno f
I
went
to
the
phone and dialled a num ber.
f p
sf
My num ber!
sf
f p
f p
f
f p
f
f
f
816
Kbd I Pfte
Bar. Solo
sf
f
sfz
mp
sf
sf
cuivré
Fl. I
822
fp
Cl. I
II Hi-hat
Bar. Solo
To Tam-tam
fp
fp
mp (dreamlike)
At the
o ther end,
in
my
house,
822
Kbd III Slow Filt.
I
heard
3
an
un known
mp
3
voice
say
ing
To Matrix Melostr.
Hn I & II
90
827
Cl. I & II
Tpt I & II
Tbn.
IMar.
III Timp.
f
sfz
f
sf
on
Kbd II Rip. Bass
my
pil
834
Kbd I Pfte
p
mf
Who
was
mf
But I
brow
sing
my
books,
won dered whose head was
through
sf
well where I am
cresc.
p
low,
3
ff
p
f
I know per fect ly
sfz
sf
f
834
Bar. Solo
Cl. II to B. Cl.
IMar.
cuivré
f
827
Kbd II Rip. Bass
f
f
3 Bar. Solo I was n't there.
Kbd I Pfte
sf
Who
was
Cl. I 838
IMar.
Kbd I Pfte
Kbd II Rip. Bass
solo
look ing at the pic
838
ff shrill
f
Bar. Solo
tures
on
walls,
my
ff
who
was pick
ing
fruit
in
my
gar
den…
91
Cl. I 843
IMar.
Bar. Solo
Kbd II Rip. Bass
To Bass Drum
p
843
Kbd I Pfte
3
And
I
star
ted
think
ing.
Cl. I 848
Andante grave q = 72
f
B. Cl.
Hn I & II
f
open
f
f
B. Tbn.
f
Tba
f
(Tam-tam)
mf
f
Bar. Solo 848
Kbd II Rip. Bass
mp
mp
f
f
mp
mp
mp
mp
mp
What
Andante grave q = 72
mp
f (with fury and bitterness)
Kbd III Matrix
f
III Timp.
IB.D.
II T.-t.
Tbn.
mp
does
3
he
dream a
bout
while
my
mp
rest ing on
92
852
Cl. I
B. Cl.
Tbn.
B. Tbn.
Hn I & II
852
mp
,
mp
To Sus. Cym.
mp
3
Is
f
he
a
Cl. I 856
fraid
mp
f
to
choke On the
ap
ples
from
my
gar
den?
6
6
3
To Marimba
f
f
mp
f
mp
mp
f
f
f
(Tam-tam)
Kbd III Matrix
f
f
pil low?
mp
f
III - Timp.
Kbd II Rip. Bass
f
II T.-t.
Bar. Solo
f
Tba IB.D.
mf
B. Cl.
Tpt I & II
mf
6
6
B. Tbn.
IMar.
Bar. Solo
mp sub.
mp sub.
856
Kbd III Matrix
mp sub.
Tbn.
6
To Tam-tam
6
mf
Is
3
he
un
comf 'ta ble 3
in
my
bed?
What
say
when he hears
some
3
does he
one
knock
ing at the
859
Fl. I & II
B. Cl.
Hn I & II
Cl. I
Tbn.
B. Tbn.
3
3
ff
ff
Tpt I & II
ff
93
ff
a2
3
ff
f
f
Tba
IT.- t.
II Hi-hat
III Timp.
f
(T.-t.
Kbd II Rip. Bass
Vln
To Bass Drum
door?
f
f
Kbd III Matrix
f
859
Kbd I Pfte
f
f
Bar. Solo
f
ff
3
94
862
Fl. I & II
Cl. I
B. Cl.
Hn I & II
Tpt I & II
B. Tbn.
Tba
IT.- t.
Kbd II Rip. Bass
Kbd III Matrix
Vln
3
3
a2
To Marimba
To Horn Section
3
6
3
to Sus. Cym.
3
f
862
Kbd I Pfte
B.D.
III Timp.
Tbn.
95
Più mosso q = 84
866 Cl. I
mp
B. Cl.
mp
Hn I & II
f
mp
3
does
What
he
see
in
the
pic
Più mosso q = 84
866
Vln
p
mp
mf
Bar. Solo
(Marimba)
IMar.
mp
Tbn.
mp sub.
tures
on
3
my
walls?
Fl. I & II 868
Cl. I
B. Cl.
Hn I & II
à2
f
fp
f
mf
mp
Tbn.
B. Tbn.
Tba
mp
mp
IMar.
III Timp.
Vln
My books–
he
does n't read,
I know that,
fp
fp
God
have
mer cy
on
him,
f
6
6
f
f
rall.
mf
6
God have mer cy on him.
fp
f
6
fp
ffp
f
868
f
open
mp
Bar. Solo
Kbd I Pfte
rall. fltz.
Tpt I & II
6
96
871
Fl. I & II
Meno mosso q = 66
ff
Cl. I
f
B. Cl.
Hn I & II
cuivré
f
Tbn.& B. Tbn.
Tba
IMar.
II Hi-hat
III Timp.
à 2 open
f
f
ff campana in aria
mp
f
f
fltz.
mp
f
fltz.
mp
ff
3
6
3
And this is the way things are:
Meno mosso q = 66
I
ff
Bar. Solo
am not real
ly 3
here,
l.v.
6
Kbd II Rip. Bass
Kbd III Hn Sect.
Vln
ff
f
f
ff
3 And ov er there
To Congas
871
Kbd I Pfte
ff
f
ffz
Tpt I & II
97
875
Fl. I & II
Cl. I
B. Cl.
Hn I & II
(à 2)
Tbn.& B. Tbn.
Tba
IMar.
III Timp.
Bar. Solo
I
no
am
875
Kbd III Hn Sect.
Vln
mp
fltz.
f
mp
mp
f
6
6 3
f
fp
more.
To Orch. Pad 4
fltz.
fff
Kbd I Pfte
Kbd II Rip. Bass
f
Tpt I & II
segue No. 13
98
No. 13 - Macedonia - Tanya Czarovska Chorus
Tape
q = c.63
T6
879
Si
ro di la
ma ki
sum
se
yas ke ?za los ti
So
si
um
887
Tape
ram
Ma
ki
te
dá
mi
gi
na
pi
sh
te
od
zgo
ra
na
gro
bot
Fl. I 895
S.
A.
Tape
mp p
Ma
ki te
dá
dá
moy
Ma
gi
gi
pee
na
mi
na
pee
she
she
dá mi gi na pee she te
ki
mi
p
te
te
od
te
od
od zgo ra
zgo
zgo
na
bot moy
bot moy
ra
na
gro
na
gro
gro bot
ra
3
moy
Fl. I 904
Fl. II
Cl. I
od
Tape
p
p
od
A.
p
S.
zgo
zgo
(spoken text continues)
mf
Gro
ra
ra
bot
Gro
moy.
p
mf
bot
moy.
(Conductor takes cue from tape)
Ke
99
910
Fl. I
Fl. II
Cl. I
B. Cl.
S.
A.
T.
B.
Tape
p
p
p
mp
mp
Ke sle zam doh
lu
sle zam doh
Ke
mp
sle
Ke
bav
doh lu
gul
Ke
sle
gul
mp
lu
sle zam
doh lu
zam
bav
zam
gul
mp
mp
918
f
Cl. I
che
Hn I
che
che
f
A.
Poh
T.
B.
Tape
,f
Poh
mee
a lov
toy
toy
mee
a lov
Poh
toy
mee
toy
mee
gul
bav
Poh
,
che
Poh
,
3
, f
Poh
Poh
che
Poh
3
a
lov
a
lov
toy mee
a
toy mee
a
toy mee
a
toy mee
a
toy mee
lov
lov
kut
lov
lov
a
kut
lov
mer
kut mer
ka
kut mer
ka
ka
kut mer
ka
len
len
mer
ka
len fil
mer
ka
mp
,
Poh toy
ran
bel
,
len fil
3
kat mer ka len fil
ran
bel
boh
Poh toy
ran
Poh toy
ran
bel
Poh
,
boh
Poh
,
toy
toy
ran
bel
boh
bel
boh
see
see
lok
lok
lok
boh see lok
,
,
,
lok
see
,
,
see
,
,
,
,
,
fil
ka len fil
,
fil
len fil len
,
fil
3
mer ka len fil
kut
kut
kut mer
toy mee a lov kut mer
kut mer ka len fil
,
,
accel molto
Poh
f
,
f
S.
Poh
doh lu gul bav
,
bav
f
B. Cl.
,
f
Fl. II
mp
mp
Fl. I
, , , , ,
100
926
Fl. I
p sub.
f Fl. II
Cl. I
B. Cl.
Hn I
A.
T.
B.
Tape
lov
kat
mf
f
ff
Poh
toy mee
a
f Poh
toy mee
ff a
Poh
toy mee
a
ff
toy mee
a
Poh
toy mee
a
f Poh f
Poh
926
Vln
mf
f
mf
S.
lov
lov
kut
toy mee
a
lov
mer
kut
ka
mer
ka
mer
ka
len
fil
mer
ka
len
mer
ka
len
fil 3
len
fil
,
fil
p sub.
p sub.
len fil
mer
kut
lov
kut
kut
lov
ff
p sub.
p sub.
Poh
toy
ran
bel
boh
p sub.
,
see
see
lok.
unis.
Poh
toy
ran
bel
boh
Poh
toy
ran
bel
boh
toy
ran
bel
boh
,
p sub.
, p sub. Poh
Poh
toy
ran
see
see
lok.
lok.
boh see lok
bel
lok.
solo
p
934
Tape
(Tape spoken text continues and fades)
934
Vln
mf
espr.
segue No. 14
No. 14 - Algeria - Samia Dahnaan Mezzo-soprano Solo
941
Mezzo-soprano Solo
Violin
mf semplice
I
mp
3
Andante q = 80
941
Keyboard I Pianoforte
Andante q = 80
re
3
mem ber
you
3 stand ing at the bal co ny wav ing
3
you ask
if
mp
I had
101
3
mf
945
M-S.
had a good day
Vln
I
your pleat
pinch
ed
cheeks
I
laugh
,
3
and say "Grand
3
ma, your face is like a dry fig."
945
Kbd I Pfte
mp
949
M-S.
949
Kbd I Pfte
Vln
mp dolce
I
kiss
3
3
you
You sit qui
et ly,
list
'ning.
3
I pour you a mint tea
I
look
in
3
to your eyes
I
3
3
p sub.
953
M-S.
see
a tear qui et ly
Vln
the
cup.
953
Kbd I Pfte
drown ing your lips touch the ed ges of
p
3
3
rall.
958
M-S.
958
Kbd I Pfte
Vln
For
Con Moto
molto espress. you Yem ma
mp
rall.
Con Moto
mp
I
long
For the
mint
tea
that you loved
,
For the
102
962
M-S.
sea
Vln
Vln
day
I
Vln
A tempo
For
For the
sad
ness
that
Poco più mosso
mf
I
A tempo
Yem
wrapped
ma,
years
mp
My lips
will
ne
ver
touch
Molto meno mosso q = 58
is
blurred
By
hold
a
pen
For
your pleat
cheeks
rit.
f
ed
For you,
3 I re vel in a lan guage
you,
Yem
ma,
rit.
who saved me
mf
the tears you shed
mp
3
sight
For the
Molto meno mosso q = 58
I left you
And my
day
pas sing by
affret.
For the
I
me all these years
know
affret.
The
you felt
that
poco rit.
you,
3
you
ne
ver
spoke.
rall.
mp
And
my
sight
is
rall.
blurred
mp
By
the
tears
you
Tempo I
you had
Poco più mosso
f
now
977
Kbd I Pfte
And
977
M-S.
the grey
poco rit.
mp
Kbd I Pfte
For
974
974
M-S.
that
lan ded,
,
For the pas sion
mf dolce
970
Kbd I Pfte
,
970
M-S.
966
Kbd I Pfte
miss
966
M-S.
and jas mine plant I
962
Kbd I Pfte
shed.
Tempo I
p
segue No. 15
103
Part V - Freedom
No. 15 - Greece - Yannis Ritsos Chorus
Allegro non troppo q = 112
981
Percussion I Marimba
Percussion II Congas
mp
Percussion III - Timpani
Keyboard II Ripper Bass
Keyboard III Orch. Pad 4
987
Fl. II
Cl. I
B. Cl.
Hn II
Allegro non troppo q = 112
mp
mp
mf
mf
I- Mar.
on this pattern to Bar 1017 Improvise II Congas p
III - Timp.
fp
ff
mp
mp
ff
mp
981
Keyboard I Pianoforte
mp
p
SA
TB
p
p
Tall eu
987
Kbd I Pfte
ca lyp
tus
with a broad
with a broad
moon
mp
A star
trem
bles
on
the
moon
p
Tall eu ca lyp tus
Kbd II - Bass Kbd III Orch. Pad
104 992 Fl. I
Fl. II
mf
mf
Cl. I
B. Cl.
Hn II
IMar.
II Congas
III Timp.
SA
mf
f
trem bles on the wa ter
wa ter
Kbd I Pfte
The sky
mf The
sky
white,
sil
white,
sil
ver.
ver.
Flayed stones all
Stones,
flayed
stones
all the way up.
the way up.
Vln
sf
mp
Kbd III Orch. Pad
mf
992
Kbd II Bass
sf
A star
TB
mf
mf
Tpt I
sf
105
Fl. I 999
sfp
Fl. II
Cl. I
mf
B. Cl.
Tbn.
B. Tbn.
IMar.
II Congas
III Timp.
SA
Kbd I Pfte
Kbd II Bass
Kbd III Orch. Pad
Vln
p
p
f
moon
eu ca lyp
tus
with a broad
moon,
A star
trem bles on the wa ter
p
A
star
trem bles on
sfp
the
To Folk Harp
mf
mf
mf Tall eu ca lyp tus with a broad
999
Tall
TB
(more animated)
106
1005
Fl. I
mf
Hn I
mf
Cl. I
B. Cl.
Fl. II
Tpt I
mf
mf
IMar.
II Congas
III Timp.
SA
TB
Kbd III Folk Harp
To Chin. Cym.
wa
mf
The
sky
white,
sil
ter
ver.
f
Stones,
mf The
Kbd II Bass
mp
1005
Kbd I Pfte
mp
Tpt II
sky
white,
sil
stones
all
p
ver.
Flayed stones all
the way up.
flayed
mf
107
Fl. I 1010
Fl. II
Cl. I
Hn I
Tpt II
SA
TB
a
fish
shal
wa
p
In
the way
the
Kbd I Pfte
shal
low
wa
ter
p
In
up.
f
f
the
jumps twice,
low
a
fish
jumps twice,
To Orch. Pad 4
Kbd III Folk Harp
three times.
f
Ec
times.
ter
three
1010
Kbd II Bass
II Congas
Tpt I
IMar.
108
Fl. I
1014
Cl. I
Hn I
f
f
f
Tbn.
f
Tpt II
ff
ff
ff
ff
Tpt I
Hn II
Fl. II
B. Cl.
ff
ff
ff
ff
ff
B. Tbn.
Tba
IMar.
II Congas
III Chin. Cym.
SA
TB
f
Kbd III Folk Harp
Vln
or
Ec sta tic, f
phan hood,
ec sta tic,
ec sta tic,
grand
or
grand or
phan hood
phan hood
or
phan hood
mf
To Sus. Cym.
To Sus. Cym.
free dom. ff
ff
free dom.
f
A
f
A
ff
grand
sta tic,
Stop!
Kbd II Bass
ff
1014
Kbd I Orch. Pad
ff
To Dynamic Harp
f
ff
f
ff
1019
Fl. I
Fl. II
Cl. I
Hn II
Tpt I
3
ISus. Cym.
II Sus. Cym.
III Chin. Cym.
SA
Kbd III Folk Harp
Vln
3
3 3
fish jumps
3
3
3
3
3
3
3
3
twice,
three
3
twice,
three
times.
Ec
sta tic,
3
times.
3
3
Ec
3
sta tic,
grand
grand
3
3
or
or
3
phan hood,
phan hood,
tic,
ec sta
3
tic,
ec sta
grand
grand
3
or
or
phan hood.
3
3
3
3
3
3
3
3
3
3
3
3
p
p
fish jumps
fish jumps
f
To Tam-tam
A
3
3
3
3
f
A
f
f
phan hood.
p
109
f
3
3
3
3
3
3
p
p
1019
Kbd I Orch. Pad
p
3
3
3
fish jumps
TB
3
3
B. Tbn.
3
3
3
3
3
3
3
3
3
3
3
Tbn.
3
3
3
Tpt II
3
Hn I
twice,
twice,
f
110
Fl. I
1024
Fl. II
Cl. I
B. Cl.
Hn I
Tpt I
Tpt II
Tbn.
B. Tbn.
3
3
3
Hn II
ICym.
II Sus. Cym.
3
Vln
3
ff
ff
ff
ff
ff
ff
Clashed Cym.
ff
To Marimba
f
p
3
times. 3
three
Free
3
ff
Free
times. 3
ff
3
3
free
dom,
free
dom.
rall.
To Triangle
ff
dom.
ff
3
dom,
ff
ff
p
ff
Kbd III Folk Harp
ff
Kbd II Dyn. Harp
3
1024
Kbd I Orch. Pad
ff
rall.
3
three
TB
ff
3
III T.-t
SA
3
Tba
ff
segue No. 16
111
No. 16 - Kurdistan - Mohammed Khaki Duet - Mezzo-soprano and Tenor Larghetto q. = 56
Flute I 1029
Flute II
mf
Keyboard III Folk Harp
Violin
Cl. I
B. Cl.
Hn I
mp
mp
mf
Kbd II Dyn. Harp
Kbd III Folk Harp
A tempo
solo
mp espr.
mp
p
p
p
mp
mp espr.
In
my
dreams
p
mp
p
rall.
mp
A tempo
mf
1033
Kbd I Orch. Pad
mp
M-S. Solo
con sord. Tba III Tri.
rall.
mp Hn II
mf dolce
1033
Fl. I
Larghetto q. = 56
1029
Keyboard II Dynamic Harp
mf
mf dolce
Keyboard I Orch. Pad 4
Clarinet I
Bass Clarinet
p
2
come to
your tent
I
112
1038
Fl. I
Cl. I
B. Cl.
Hn I
Hn II
B. Tbn.
2
Folk Harp
Fl. II
Cl. I
B. Cl.
Hn I
Hn II
Tba
IMar.
M-S. Solo
Kbd II Dyn. Harp
Kbd III Folk Harp
p
ing
my
2
mf
with
mp soft sticks
ket
lings.
Songs of moun tain star
mf
bas
mf
herd's
shep
Fill
1042
Kbd I Orch. Pad
1042
Fl. I
mf
Kbd III -
Kbd II Dyn. Harp
1038
Kbd I Orch. Pad
Tba M-S. Solo
1047 Fl. II
Cl. I
B. Cl.
Hn II
IMar.
M-S. Solo
Kbd II Dyn. Harp
Kbd II Dyn. Harp
Kbd III Folk Harp
for
you
a
2
bed
of
sweet
2
2
mp
mp
mp espr.
make
I
1051
Kbd I Orch. Pad
mp espr.
vio
Ten. Solo
pp
B. Tbn.
M-S. Solo
Cl. I
Tba
1051
Hn I
Fl. II
B. Cl.
mp
1047
Kbd I Orch. Pad
mf
Tba
113
B. Tbn.
I
make
for
you
a
bed
mp espr.
lets,
2
2
of
sweet
2
mp
114
1055
Fl. I
mf
Hn I
M-S. Solo
Ten. Solo
vio
Kbd III Folk Harp
mf
I
make
for
you
a
Hn I
Ten. Solo
make
Kbd II Dyn. Harp
Kbd III Folk Harp
sweet
vio
lets,
mf
2
of
sweet
bed
a
you
2
of
2
bed
for
1060
Kbd I Orch. Pad
mp
Cl. I
Tba
I
mf
lets,
Tbn.
1060
Fl. II
Kbd II Dyn. Harp
1055
Kbd I Orch. Pad
mf
Hn II
Tba
Cl. I
B. Cl.
Fl. II
2
1063
Fl. I
Fl. II
Cl. I
B. Cl.
Hn I
115
B. Tbn.
f
III Tri.
Ten. Solo
f
f
mf
To Chin. Cym.
Kbd III Folk Harp
mf
mf
lets.
Kbd I Orch. Pad
1063
Vln
vio
Kbd II Dyn. Harp
mf
Tba
f
Tbn.
116
1067
Cl. I
B. Cl.
Hn I
Tba
M-S. Solo
p
mp
mp
1067
Kbd I Orch. Pad
Kbd II Dyn. Harp
Kbd III Folk Harp
mp
mf
2
mf espr.
In
my
dreams
you
en
twine
you,
tent
2
2
my
arms
mp
to
come
2
My
Ten. Solo
Fl. I 1071
mf
B. Cl.
Hn I
Hn II
IMar.
M-S. Solo
Ten. Solo
Kbd III Folk Harp
solo
mp
2
2
2
2
2
My
arms
2
en
twine
2
2
2
My
arms
you
en
2
as
twine
2
ho ney suc kle.
you.
2
2
mp
2
mp
Kbd II Dyn. Harp
1071
Kbd I Orch. Pad
Cl. I
p
117
1076
Fl. I
mp
Cl. I
B. Cl.
Hn I
p
Tba
M-S. Solo
Ten. Solo
Kbd II Dyn. Harp
Kbd III Folk Harp
I
make
for
you
a
2
bed
of
sweet
vio
lets,
mf espr.
I
mp espr.
mp
mp
mp
1076
Kbd I Orch. Pad
Hn II
2
1081
Cl. I
B. Cl.
Hn I
B. Tbn.
Ten. Solo
mp
make
1081
Kbd I Orch. Pad
Kbd II Dyn. Harp
p
for
you
a
bed
2
2
of
sweet
2
118
Fl. I
poco accel.
1084
rall.
mf
Fl. II
mf
Cl. I
B. Cl.
Hn I
mf
Hn II
mf
Tbn.
mf
B. Tbn.
Tba
IMar.
M-S. Solo
Ten. Solo
vio
Kbd II Dyn. Harp
mf
mf
mf
I
make
lets,
for
I
cresc.
you
make
a
cresc.
for
cresc.
you
of sweet
sweet,
2 a
bed
bed
2
mf
mf
2
of
mf
sweet
cresc.
sweet,
sweet
poco accel.
1084
Kbd I Orch. Pad
mf
mf
cresc.
2
rall.
2
mf
Kbd III Folk Harp
119
Fl. I
1092
Tempo I
p
Fl. II
To Picc.
p
Cl. I
B. Cl.
Hn I
p
p sub.
mp
f
con sord.
solo
mf
Tpt I
To Cl. II
p
Tpt II
Tbn.
p sub.
B. Tbn.
p sub.
Tba
p sub. p sub.
M-S. Solo
vio
Ten. Solo
1092
Kbd II Dyn. Harp
Kbd III Folk Harp
Vln
vio
lets.
lets.
Tempo I
p sub.
p sub.
Kbd I Orch. Pad
p sub.
p
To Horn Section
pp
To Pfte
segue No. 17
120
No. 17 - Angola - Antonio Joaquim Marques
Allegro vivace
1098
Clarinet I
Trombone Bass Trombone
Percussion I Marimba
f
3
3
f
3
f
q = 144
f
solo
f Cl. II
3
1103
Cl. I
Allegro vivace
sim.
1098
Keyboard III Folk Harp
f
Soloists, Chorus and Children's Chorus
q = 144
f
Tbn.
B. Tbn.
IMar.
1103
Kbd III Folk Harp
1107
Cl. I
Cl. II
To Sus. Cym.
IMar.
II Sus. Cym.
III Chin. Cym.
1107
Kbd III Folk Harp
p
To Timp.
p
1111
Fl. I
q=q
f
Cl. I & II
3 f
3
Tbn. & B. Tbn.
Tpt I & II
f
Kbd III Folk Harp
Vln
Fl. I
3
f
3
3
f
3
3
3
3
3
f
3
3 3
f
3
f
3
3
3
3
3
3
f
sim.
Tbn. & B. Tbn.
Tba
II Sus. Cym.
III Timp.
Kbd III Folk Harp
Vln
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
ff
3
3
3
3
ff
ff
senza sord.
(Susp. Cym)
3
3
3
3
3
3
3
ff
To Crotales
f
à2
ff
3
3
p
sim.
1116
Kbd II Hn Sect.
3
Hn I & II Tpt I & II
1116
3
Picc.
sim.
sim.
Cl. I & II
q=q
1111
Kbd II Hn Sect.
121
f sim.
Picc.
Hn I & II
f
122
q. = 72 (h = q.)
1121
Fl. I
ff
Picc.
ff
Cl. I & II
Hn I & II
Tpt I & II
Tbn. & B. Tbn.
Tba
ISus. Cym.
II Crot.
III Timp.
Kbd II Hn Sect.
Kbd III Folk Harp
Vln
II
f
p
Crotales
To Marimba
ff
To Triangle
ff
q. = 72 (h = q.)
1121
Kbd I Pfte
f
To Orch. Pad 4
f
f
1126
Fl. I
Picc.
mp
mp
Tbn.
II Crot.
III Tri. Bar. Solo
f
Daugh
Kbd III Folk Harp
Vln
2
ter
mp
2
To Timp.
thun
der
of
bird
last
I am the
mp
123
the de sert
mp
of
mp
1126
Kbd I Pfte
2
2
mp
mp
mp
Cl. I & II Hn II
1130
Cl. I & II
Hn I & II
Tbn.
B. Tbn.
Tba IMar.
p sub
p
pp
mf
mf
pp
mf
mf
To Sus. Cym. p sub
mf Ri der of storms
1130
Kbd II Orch. Pad
p
mf
Bar. Solo
in
paths
2
of
wind
f
To
mf
night
I
mf
bring you
the
wa
ter
font
of
de
124
Fl. I & II 1134
Cl. I & II
ff à 2 Fl. I & Picc. II
f
Hn I & II
open
Tpt I & II
B. Tbn.
ISus. Cym.
II Crot.
f
f
f
Tba
f
Tbn.
f
mf
To Marimba
f
ff
III Timp.
Bar. Solo
f
sire
Vln
ff
Kbd II Orch. Pad
Kbd III Folk Harp
1134
Kbd I Pfte
ff
ff
125
1140
Cl. I
Hn I & II
Tbn. & B. Tbn.
III Timp.
Bar. Solo
Kbd II Orch. Pad
Kbd III Folk Harp
mp
mp
mp
Bar. Solo
p
1146
Kbd II Orch. Pad
Kbd III Folk Harp
I
have
come
to plant hope
2
mp
in your suf 'fring heart
f
In
these
vast
land
mf espr.
mp
mp
pas sio nate pulse
Feel this my
2
mf
To Sus. Cym.
p
Hn I & II
Tba
f
Tpt I
solo
1146
Cl. I & II
mp
1140
Kbd I Pfte
mp
Tpt II
IMar.
Tpt I
Tba
of
your
sand
scapes
126
1150
Cl. I
Hn I & II
Tba
Bar. Solo
I
shall
1150
Kbd II Orch. Pad
Kbd III Folk Harp
trap
the
scor
pions
of
I
shall
trans
death
3
3
mf
1153
Cl. I & II
Hn I & II
Tpt I & II
mp
mp
Tbn. & B. Tbn.
mp Tba
ISus. Cym.
III Timp.
Bar. Solo
form
Kbd III Folk Harp
land
of
fire
dust
in
to
To Chin. Cym.
mf
life.
this
1153
Kbd II Orch. Pad
To Ripper Bass
1157 Fl. I
ff
Picc.
ff
Cl. I
Cl. I & II
Hn I & II
Tpt I & II
f
f
Tbn.
ISus. Cym.
II Crot.
f
SA
mf
mf
f
ff
2
ff
2
Kbd III Folk Harp
Vln
p
2
2
ff
2
Daugh ter of the de sert
ff
ff
ff
ff
2
mf
II.
ff
Daugh ter of the de sert
Kbd I Pfte
127
1157
ff
TB
ff
ff
III Chin. Cym.
f
ff
Cl. II
mf
mf
mf
I amthe
last
bird
of
I amthe
last
bird
of
thun
der
der
thun
128
Fl. I 1163
Picc.
Cl. I
Cl. II
f
mf
Tbn.
B. Tbn.
mf
ISus. Cym.
III - Timp.
III Chin. Cym.
Bar. Solo
SA
To Timp.
Vln
f
f
ff
mf
f
in
paths
2
of
wind
f
f
To night col Tenors To night
I bringyou the wa ter font
of de
I bringyou the
of de
wa ter font
sire
sire
ff
ff
f
ff
f
ff
ff
1163
Kbd III Folk Harp
TB Ri der of storms
Kbd II Rip. Bass
ff
ff
Basses f
Kbd I Pfte
mf
mf
II Crot.
mf
f
Tba
Tpt I & II
à2
mf
Hn I & II
Cl. I & II
f
Fl. I & II
ff
ff
129
Fl. I & II 1169
Cl. I & II
mf
mf
Hn II
SA
Kbd II Rip. Bass
Kbd III Folk Harp
Vln
mp
mp
ff
2
Look
how I
plunge
be
2
tween
the
he
2
mi
spheres
mf sub.
Through the night
of
long
ing
I have
mp
mp
mf
mp
1169
Kbd I Pfte
B. Tbn.
Bar. Solo
mf
III Timp.
Tbn.
II Crot.
Tpt I & II
Tba
mf
mf
mp
Cl. I & II
130
1174
Hn II
Tbn.
Tba
Tpt I & II
ISus. Cym. Bar. Solo
Kbd II Rip. Bass
come
Fl. I
to
of
your
make
II Crot.
III Timp.
Bar. Solo
2
sempre staccato
2
Kbd II Rip. Bass
Kbd III Folk Harp
Vln
dry
2
2
mp
mp
mp
2
2
f
2
2
wet
re
2
flec
tion
of
p
moon
2
then
2
2
2
mp
2
are
my
2
2
f
2
2
2
2
flowers
of
2
2
2
2
To Fl. II
2
2
2
2
And
my
first
dom
free
ca
2
la bash
of rain
2
2
2
2
2
2
Here
2
2
light
2
f
2
2
f sempre staccato
The
2
f
p
lips
2
sempre staccato
mp
1179
Kbd I Pfte
2
f
Picc.
Tba
1179
B. Tbn.
mp
f
Hn II
To Piatti
1174
Kbd I Pfte
2
2
2
2
2
2
Fl. I
1184
Cl. II
Hn I & II
III Timp.
SA
f
Tbn.
f
f
Tpt I & II
f
f
are
my
f
Here
then
Here
then
TB
Kbd II - Rip. Bass 1184
are
my
f
flow'rs
of
flow'rs
of
mf
free dom
free
dom
131
2
2
2
2
ca la bash
and
my
first
and
my
first
ca
la
2
of
bash
of
rain.
rain.
1189
Cl. I & II
Hn II
IMar.
III Timp.
M-S. Solo
Kbd III Folk Harp
Now
wipe
a
mf
Now
wipe
a
Now
wipe
mp
mf
a
2
way
your
tears
my
love
way
your
tears
my
love
way
your
tears
my
love
mp
2
2
mp
mf
mp
1189
Kbd II Rip. Bass
mp
Ten. Solo
Bar. Solo
Tbn.
mp
Tpt I & II
B. Tbn.
And
dance
with
And
dance
with
me
And
dance
with
me
me
to
the
to
the
to
the
132
Fl. I & II
1193
Cl. I
Cl. II
Hn I
B. Tbn.
III Timp.
M-S. Solo
rest
f
less
winds
less
winds
less
winds
2
2
Now
wipe
a
Now
wipe
f
f
a
2
way
your
tears
my
love
way
your
tears
my
love
2
2
mf
f
f
1193
Kbd III Folk Harp
TB
Kbd II Rip. Bass
rest
Kbd I Pfte
f
f
Ten. Solo
SA
rest
Bar. Solo
Tbn.
IMar.
Tpt I & II
Tba
Hn II
f
And
dance
with
me
And
dance
with
to
the
rest
to
the
rest
me
less
winds
less
winds
f
f
133
1198
IMar.
mf
M-S. Solo
Bar. Solo
With
Ten. Solo
mf
2
har
mf
2
With
har
mf
2
With
har
1198
Kbd II Rip. Bass
Kbd III Folk Harp
mo
2
2
mf
cac
Bar. Solo
SA
2
cac
2
2
2
2
2
With
har
2
With
har
mo ny
2
mo ny
, 2
I
shall
pluck
the
fin
I
shall
pluck
the
I
shall
pluck
fin
the
fin
ger
ger
ger
less
less
less
f
with
har
f
with
har
p sub.
p sub.
,
p sub.
mf
f
p sub.
mf
tus
1201
dreams
2
Kbd III Folk Harp
of
f
cac tus
dreams
tus
TB Kbd II Rip. Bass
f
Ten. Solo
I - Mar. M-S. Solo
dreams
mf
2
ny
of
of
2
mf
Hn II
2
1201 Fl. I & II
Cl. I & II
ny
mo
ny
mo
2
mo ny
mo ny
2
2
when
to
f
And
when
to
f
And
p sub.
dreams
p sub.
of
2
And
of
2
f
2
2
2
when
to
mor row
comes
mor row
comes
mor row
comes
To Sus. Cym.
dreams
p sub.
p sub.
134
1207
Fl. I & II
p
Cl. I & II
Hn I & II
p
p
Tpt II
Tba
M-S. Solo
p
psub.
Ten. Solo
Child. Ch.
up on this land
Peace
shall de
p sub.
Peace
shall de
p
p sub.
shall de
SA
Peace
Bar. Solo
scend
2
p
p
Vln
p
shall de scend
shall de
peace
p
peace
p
With my plu mage of
peace
Kbd II Rip. Bass
Peace,
With my plu mage of
1207
Kbd I Pfte
up on this land
p
2
Peace,
TB
With my plu mage of
Peace,
up on this land
scend
2
scend
shall de
scend
scend
sooth ing breeze.
Col. Tenor Chorus*
sooth ing breeze.
Col. Bass Chorus*
sooth ing breeze.
Peace
Peace
Peace
135
Poco più mosso q. = 80
accel.
Fl. I & II 1212
f Cl. I & II
Hn I & II
Tpt II
Tbn.
ISus. Cym.
II Crot.
III Timp.
Child. Ch.
mp
f
Kbd II Rip. Bass
Kbd III Folk Harp
Vln
f
f
f
shall de
,
scend,
,
,
scend,
f
peace
shall de scend,
shall de
f
f
f
peace
f
shall de
Col. SA*
scend
shall de scend
peace
shall de
scend
Poco più mosso q. = 80
accel.
1212
Kbd I Pfte
f
SA
TB
f
f
mp
Tba
mf
B. Tbn.
Tpt I
f
f
f
f
136
Fl. I & II 1216
Cl. I & II
Hn I & II
Tpt I & II
2
B. Tbn.
Tba
ISus. Cym.
II Crot.
III Timp.
M-S. Solo
2
*
2
ff
2
Now wipe a way your tears 2
ff
2
Now wipe a way your tears
*
TB & soli
2
ff
2
Now wipe a way your tears
1216
Kbd I Pfte
Kbd II Rip. Bass
Kbd III Folk Harp
Vln
2
And dance
2
love
And dance
with me
to the
with me
to the
with me
to the
f
f
2
rest
2
rest
2
rest
less
2
f
With
2
less
winds
f
With
2
less
winds
winds
f
With
To Matrix Melostring
f
2
f
f
And dance
2
love
2
my
love
2
my
f
my
f
f
Child. Ch./ SA
f
Tbn.
* The Children's chorus should sing the upper notes of the Soprano/Alto part. Tenor and Baritone soloists should sing the Tenor and Bass parts respectively to the end.
137
1222
Fl. I & II
Cl. I & II
Hn I
Hn II
III Timp.
M-S. Solo
Child. Ch./ SA
2
2
2
2
2
of
dreams
of
dreams
of
dreams
I shall pluck
mf
I shall pluck
I shall pluck
mf
the fin ger less cac
the fin ger less cac
f
2
2
To Sus. Cym.
And
when
And
when
2
when
To Tam-tam
And
2
tus
tus
mf
the fin ger less cac tus
2
mf
1222
mf
f
ny
f
har mo ny
f
TB & soli har mo ny
Kbd III Folk Harp
har mo
Kbd II Rip. Bass
B. Tbn.
II Crot.
Tbn.
ISus. Cym.
Tpt I & II
2
mf
mf
Tba
2
2
2
2
2
to
mor 2
to
2
mor 2
row
comes
row
to
mor 2
row
comes
comes
138
1229
Fl. I & II
p sub.
Cl. I & II
p
B. Tbn.
Tba
III Timp.
p sub.
Kbd III Folk Harp
2
shall
2
2
2
2
shall
2
de
2
shall
de
on
2
this
on
this
on
land,
2
scend up
scend up
p sub.
f
2
f
scend up
de
Peace
p
2
1229
Kbd II Rip. Bass
f
p sub.
f
Peace
Kbd I Matrix
Peace
TB & soli
p sub.
Child. Ch./ SA
p sub.
M-S. Solo
p
Tpt I & II
f
p sub.
Hn I & II
2
2
2
f
f
2
2
2
f
Peace
f
2
2
2
shall
2
de
2
shall
de
2
de
2
2
shall
Peace
2
Peace
land,
p
land,
this
f
f
139
Fl. I & II
1235
Cl. I & II
Hn I & II
Tpt I & II
f
B. Tbn.
Tba
IT.-t
M-S. Solo
scend
TB & soli
Kbd II Rip. Bass
Kbd III Folk Harp
scend
up
on
up
up
2
this
on
this
on
this
Kbd I Matrix
(Tam-tam)
land
2
2
land
2
2
land
With
my
plu
With
my
plu
With
my
plu
2
2
2
2
2
mage
of
mage
2
2
of
sooth
2
mage
sooth
of
sooth
2
2
2
ing
ing
2
ing
1235
sim.
l.v.
p
scend
Child. Ch./ SA
140
Fl. I & II
1240
Cl. I & II
Hn I & II
ff
ff
ff
ff
Tba
II Sus. Cym.
III Timp.
To Sus. Cym.
mp
mp
mp
f warm
f warm
mp
f warm
mp
f warm
mp
f warm
l.v.
mp To Bass Drum
f
f
ff
M-S. Solo
f
B. Tbn.
ff
ff
Tbn.
f
ff
Tpt I & II
breeze.
ff
Child. Ch./ SA
breeze.
ff
TB & soli
Kbd I Matrix
breeze.
ff
Vln
ff
Kbd III Folk Harp
ff
solo
mp
1240
Kbd II Rip. Bass
mp
To Orch Pad 4
ff
141
1246
Fl. I & II
à2
p
Cl. I & II
p
Hn I & II
Tpt I & II
Tbn.
stopped
p
p
Tba
III Timp.
2
2
2
2
2 2
p
p
1246
Vln
p
Kbd I Matrix
Kbd II Rip. Bass
p
p
B. Tbn.
p
2
2
2 2
mf
2
2
2
segue No. 18
142
Epilogue
1255
Bass Drum I
Bass Drum II
Timpani
Tenor Solo
Keyboard I Matrix Melostring
3
3
3
p
p
p
Adagio q = 60
Keyboard III Orch. Pad
Violin
mp
can
dle
burns,
but for how
long?
Lone li ness,
p
p
Keyboard II Ripper Bass
Tenor Solo
The
1255
No. 18 - Tony Harrison
Adagio q = 60
p
p espr.
Ten. Solo loss, 1260
Tape
1260
Kbd I Matrix
Kbd III Orch. Pad
Vln
e xile, grief
May move
the suf 'frer in to song
senza cresc. – dolce
T7
Tape starts (Multi-lingual texts)
That like the can dle's bright but brief.
1266
Fl. I
Fl. II
Cl. I
Hn I Tape
Kbd III Orch. Pad
mp
mp
Hn II
Tbn./ B. Tbn.
Tba
mp espr.
mp
flame
that
mp
mp
The
love
3
p
3
p
moth
seeks
and light
the
men
Must
light
pp
f
pp
f
senza misura
p
pp
pp
Fine
f
p
senza misura
a gain.
Tape fade
mp
1273
Vln
p marcato
Kbd III Orch. Pad
B.D. I & II
Kbd I Matrix
1273
Ten. Solo
Ten. Solo
Timp.
1270
Hn I
mp
1266
Kbd I Matrix
143
3
mf
3 3 senza cresc. 3
3
3
f
Fine
mp
ff
Fine