Death With Interruptions - a chamber opera in one act on the novel of José Saramago (2015)

Death With Interruptions a chamber opera in one act

based on the novel Death With Interruptions by José Saramago libretto by Thomas Laqueur music by Kurt Rohde copyright 2015

-made possible through the generosity of The Copland House, the UC Davis Chancellor's Fellowship, and the W. Mellon Foundation-

Ripley Dog Face Publishing

2 PERFORMANCE NOTES Percussion Marimba [5 octave] Crotales [2 octaves] Bass drum Tuned gongs [F#3, G#3, C#4, D4, D#4] Tuned cowbell [D4, F#4, G4, A4] Triangle, w/triangle beater Sandpaper blocks Whip or slapstick 1 large Noah bell Large empty metal can [not less than 16 oz.] Tub of water 3 Tibetan prayer bowls Thimbles 2 bass bows Chinese paper accordion Harmonica [F# natural minor, C# major] Slide whistle Paper for tearing Paper for crumbling Piano Triangle, w/triangle beater Harmonica [D major, Eb major, F# major] Inside Piano 2 plastic credit cards 2 mallets; one per player Filaments [used rosined bow hair or 10lb. Nylon fishline w/crushed rosin]; threaded through strings [Eb1, B2, C3, Eb3, E3, Bb3, C4, C#4, D4, F4, G#4, B4] 3 Rubber tuning wedges: 1 each placed on the octave harmonic [A1, D1, E1] Marble [Bb3, D4, E4, F#4] 2 plastic guitar picks; one per player [A3, B3, D4, G#4, B4, E5] Stopped strings wth finger [G2, A3, B3, C#4, D4, D#4, B4, C#5] Soprano Harmonica [B natural minor, C major, Eb major, E major] Paper for tearing, Paper for crumbling Chinese twirling handrum Tenor Soprano recorder Baritone Melodica Chorus Sopranos & Altos – tuned large plastic sodawater bottles 1 Bass – large plastic water jug String quartet Tibetan prayer bowls, w/wooden striker; 1 per player Solo cello 1 cello, traditional tuning [C, G, D, A] 1 cello, scordatura tuning [C#, G, D, G#] Harmonica [B natural minor, B major, Ab major] Chinese paper accordion Chinese twirling handrum

3

4

Death with Interruptions a chamber opera in one act

5

Leading Blank: Introitus Interruptio Unimpeded, as if assembling from the moment to the next h = 34 - 38 Solo cellist enters stage, sets up music on stand and sits. There are 2 cellos on stage - one is tuned in the traditional manner, the other is tuned scordatura. The cellist begins to "play" as if they are warming up & tuning their instrument. Chorus is out of site, laying on the ground, motionless, and begins singing once cellist sits. Ensemble & conductor are in darkness. After the chorus begin singing, the Narrator comes on stage and stand behind the cellist, speaking as if to no one. Once he is finished, he departs silently.

Stage Directions

° / 23

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

Electronics

3 ¢/ 2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

° 3 &2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

3 /2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

Percussion

3 /2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

Percussion

Cowbells/ Crotales

3 &2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

3 ¢& 2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

Marimba

3 &2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

3 &2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

3 &2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

{

3 &2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

Harmonica [pn.]

° 3 ¢& 2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

Soprano [Choir]

° 3 &2

U ∑

Slide Whistle/ Harmonica [perc.]

Piano

{ Inside Piano

smoothly change phenome

,

pppp

2 2 bw™ Ngg...

bw™

bw™

Ngg...

Ooo...

w

3 2 j b œ b ˙ ™™

bw

Ngg...

,

,

,

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5 4 ˙

3 2

b˙ ™

bw™

˙

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in unison, singers beat the notated rhythms on their chest with their fists or hands, creating an audibly rhythmic disruption in the vocal production of the sound; almost like a drum

3 /2

Soprano & Alto Percussion

U ∑

Ó

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Ó

Œ ™ œJ œ œ Œ ™ œJ 22 œ œ œ œ œ ‰ œ œ œ Œ

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f

3 &2

Alto [Choir]

U ∑

smoothly change phenome

,

pppp

,

bw™

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w

bw

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,

,3 2 j b œ b ˙ ™™

2 2 Ooo...

5 4 ˙

j bœ bœ ™

3 2 ˙™

˙

bw

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smoothly change phenome

3 &2 ‹

Tenor [Choir]

U ∑

,

,

,

pppp

bw ™

bw ™

Ngg...

Ngg...

j œ™ œ 22 bw

bw Ooo...

Ngg...

j œ™ œ 45 b˙

3 2 bw

bw Ooo...

,3 2 b˙

˙™

Ngg...

j œ b˙ ™™

Ngg...

Ooo...

in unison, singers beat the notated rhythms on their chest with their fists or hands, creating an audibly rhythmic disruption in the vocal production of the sound; almost like a drum

3 /2

Tenor & Bass Percussion

U ∑

Ó

œ œ Ó

Ó

œ œ Ó

Œ ™ œJ œ œ Œ ™ œJ 22 œ œ œ œ œ ‰ œ œ œ Œ

3 2 œ œœ

œ

œ Œ ™ œ 45 œ œ J

œœœ

Œ

3 2 Ϊ

œœ J

œ œ

œœ

f smoothly change phenome pppp Bass [Choir]

¢

? 23

U ∑

, bw

, bw ™

bw ™ Ngg...

Ngg...

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, bw 3 2

bw

Ngg...

Ooo...

œ ™ œ 5 b˙ J 4

, 3 bœ bœ ™ 2 J

˙™

Ngg...

Ngg...

w Ooo...

Death [Soprano]

° 3 ¢& 2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

Scythe/Narrator/Dog [Tenor]

° 3 ¢& 2 ‹

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

Cellist [Baritone]

°? 3 2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

Melodica [bar.]

3 ¢& 2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

String Quartet Violin 1

° 3 &2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

String Quartet Violin 2

3 &2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

String Quartet Viola

B 23

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

String Quartet Cello

3 ¢& 2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

Unimpeded, as if assembling from the moment to the next h = 34 - 38

play very freely; beginning points are precise, while notated rhythms are more improvisatory; player is free to "mock" finger and tune cello Cellist holds scordature cello; traditionally tuned cello is beside the cellist, resting with its neck on a chair or bench in a position that allows the cellist to reach over and easily pluck the open strings. Scordatura Cello: C#-G-D-A#/score is inC; solo cello part transposed

Solo Cello/ Scordatura Solo Cello

°? 3 2

U ∑

∑

∑

∑

2 2

Scordatura Cello 7:6

pizz./LV

∑

Ϊ

Ó

#¯œ 3 #œo œo œo œo œo œo Œ Ó J 2

#œo œo ‰ œo ‰ ‰ œo 3 Œ 5 4Œ ‰ 2

pp

#œo œo

pp

œo nœo œo œo # œ œo J o

pp Percussion [cello]

3 /2

U ∑

Melodica/ Harmonica [cello]

3 ¢& 2

U ∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

∑

∑

∑

2 2

∑

∑

3 2

∑

5 4

∑

3 2

∑

6

10

Direct.

S.

° ¢/

∑

5 4

∑

3 2

∑

j bœ b˙

5 4

‰ bœ b˙ ™

˙

<b> ˙ ™™

3 2

‰ œ bœ

b˙ bœ

Ϫ

œ œ J

/

œ

Ngg...

œ

œ

j bœ bœ ™

& <b>w

‰ œ œ

œ

œ

˙

j bœ bœ ™

‰ œ bœ

bœ

bœ

w™

bœ

bœ

Ooo...

A.

∑ sub. pppp

° &

S./A. Perc.

∑

œ œ œ

5 4 ‰ œ œ

j œ œ™

5 4 œ

œ

œ

b˙

Ooo...

Ahh...

œ œ 23 ‰ œ œ

œ

œ bœ 23 ˙

j bœ bœ ™

œ œ ‰ œ œ

‰ œ œ

œ

œ

œ

œ œ

œ

œ

œ

œ œ

¯¯ œ œ

¯¯ œ œ

¯¯ ˙ ˙

sub. pppp

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w™

bœ Ngg...

Œ

bœ

˙™

5 4 b˙

bœ

j bœ ™ bœ

3 2 bœ

‰

Ϫ

œ œ J

? b˙

bw

/

œ

œ

œ

‰ œ œ

œ

œ

bœ bœ ™ J

œ

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œ œ œ

5 4 ‰ œ œ

œ

5 œ bœ b˙ 4

œ

œ

bœ

œ

w™

Ooo...

œ œ 23 ‰ œ œ

œ

˙

bœ

bœ Ngg...

T./B. Perc.

Ahh...

sub. pppp

j bœ b˙ ™™

& <b>˙ ‹

T.

Ooo...

Ahh...

œ

œ œ ‰ œ œ

‰ œ œ

sub. pppp B.

¢ Ngg...

Ooo...

bœ

bœ 3 bœ bœ ‰ 2 bœ

bœ

Ooo...

Ngg...

œ

˙

w™

Ooo...

Ahh...

reaching over to pizz. the other cello Traditional Cello/ leaning on chair

Solo Vc.

o o o °? Œ #œ œ œ ¢ 3

Œ

Scordatura Cello

˙o

o o n œ œo ‰ nœ œ Ó

œo

3

5 4 ˙ o

Πpp

˙o

mp 5

o o ‰ #œ œ

œo

> o o ‰ #œ œ

3 #œo 2

¯¯ >œo #œ ‰ mf # œ

¯¯ œœ

œo

p mf

3

¯¯ œ œ

mf

=

A Gradually coming together h = 56 - 60 15

Direct.

°/ Ó

U Ó

4 2

Ó

Begin electronics, CUE 0: echoes of solo cello pizz.

Elect.

U Ó

¢/ Ó

Ú

Ú

Ú

Ú

Ú

Ú

Ú

Ú

Approx end of electronics, CUE 0

4 2

Ó

use fermata to wait for solo cello; use cesura to indicate moving on

S.

U Ó

° Ó &

, b˙

4U 2 w™

b˙

ΠbW

Ahh...

S./A. Perc.

U Ó

/ Ó

W

Ngg...

4 œ œ 2 J

Ó

Ϫ

Œ

‰ œ œ

œ

Ϊ

œ

˙™

w

Mmm...

œ œ J

œ

œ

œ

Ϊ

˙

œ œ J

œ

œ

œ

˙

Ϊ

Ó

œ œ J

˙

œ

˙

œ

use fermata to wait for solo cello; use cesura to indicate moving on

U Ó

& Ó

A.

, b˙

4U 2 w™

b˙

ΠbW

Ahh...

n˙ ™

W

Ngg...

w

Mmm...

use fermata to wait for solo cello; use cesura to indicate moving on

U Ó

& Ó ‹

T.

, b˙

4U 2 w™

b˙

bW

Ahh...

/ Ó

U Ó

? ¢ Ó

U Ó

T./B. Perc.

Ngg...

4 œ œ 2 J

Ó

Ϫ

Œ

‰ œ œ

use fermata to wait for solo cello; use cesura to indicate moving on B.

Œ

W

w™ 4U 2

b˙

œ

Ϊ

œ

,b˙

w

Mmm...

œ œ J

œ

œ

œ

Ϊ

˙

bW

œ œ J

œ

œ

œ

˙

Ϊ

Ó

W Œ

Ahh...

˙™

Ngg...

˙™

œ œ J

w

Mmm...

A Gradually coming together h = 56 - 60 Traditional Cello

Scordatura Cello 3

as if all open strings

3

#˙ #˙ #˙ #˙

U ###œœœ œœœ œœ Ó

pp

œ #œ

#œ #œ œ œ œ™

œ J

œ #œ

#œ # œ # œ ˙ œû #œ 3 3

###œœœ œœ Œ œ

∏∏∏∏

4 2

∏∏∏∏∏∏∏

Ó #œ œ o o

∏∏∏∏ ∏∏∏∏∏∏∏

U Ó ‰ œ œ u o o

∏∏∏∏∏∏∏

Solo Vc.

¯¯ °? ˙˙ ¢ n˙˙ ¯¯

pp

w

p

Scordatura Cello

= 20

Direct.

° ¢/

Ú

UÚ

Ú

12 4

use fermata to wait for solo cello if needed p S.

° & bw

˙

b˙

, ppp U bW

W

Ooo...

/ Ϊ

S./A. Perc.

œ J

œ

œ

œ

œ

œ

12 4

Ngg...

˙

‰

œ

œ

œ

œ

œ

œ

œ

U Ú

œ

12 4

use fermata to wait for solo cello if needed p

12 4

& bw

A.

, ppp U

˙

b˙

W

nW

Ooo...

Ngg...

use fermata to wait for solo cello if needed p

& bw ‹

T.

˙

b˙

, ppp U bW

W

Ooo...

/ Ϊ

T./B. Perc.

œ J

œ

œ

œ

œ

œ

Ngg...

˙

‰

œ

œ

œ

œ

œ

œ

œ

˙

b˙

U Ú

œ

p

? bw

12 4

,

12 4

use fermata to wait for solo cello if needed ppp

U bW

W

12 4

B.

¢ Ooo...

Ngg...

#˙ Solo Vc.

°? ¢ #œ

#œ

#œ

œ

œ

œ

#œ not anxious, relaxed

œ

œ

o o nœ nœ

#œ # œ # œ œ œ #œ 3

#œ œ

œ o o nœ nœ #œ #œ 3

piu f

II

rit. molto

3

œ œ

œ œ

#œ

#œ #œ

n ˙o

III

I

n ˙o

# ˙o

12 4 molto p

poco rit.

7

B ° / 12 4

Ú

∑™

Ó™

U Ó™

Ú

U Ó™

Ó™

U Ó™

Ó™

Ú

∑™

U ∑™

11 4

12 ¢/ 4

Ú

∑™

Ó™

U Ó™

Ú

U Ó™

Ó™

U Ó™

Ó™

Ú

∑™

U ∑™

11 4

° 12 &4

Ú

∑™

Ó™

U™ Ó

Ú

U™ Ó

Ó™

U™ Ó

Ó™

Ú

∑™

U™ ∑

11 4

23

Direct.

Elect.

Sld. Whist./ Harm. [perc.]

12 / 4

Ú

∑™

Ó™

U™ Ó

Ú

U™ Ó

Ó™

U™ Ó

Ó™

Ú

∑™

U™ ∑

Perc.

11 4

12 / 4

Ú

∑™

Ó™

U™ Ó

Ú

U™ Ó

Ó™

U™ Ó

Ó™

Ú

∑™

U™ ∑

Perc.

11 4

C. Bells./ Crot./ Gongs

12 &4

Ú

∑™

Ó™

U™ Ó

Ú

U™ Ó

Ó™

U™ Ó

Ó™

Ú

∑™

U™ ∑

11 4

12 ¢& 4

Ú

∑™

Ó™

U™ Ó

Ú

U™ Ó

Ó™

U™ Ó

Ó™

Ú

∑™

U™ ∑

Mar.

11 4

12 &4

Ú

∑™

Ó™

U Ó™

Ú

U Ó™

Ó™

U Ó™

Ó™

Ú

∑™

U™ ∑

11 4

12 &4

Ú

∑™

Ó™

U™ Ó

Ú

U™ Ó

Ó™

U™ Ó

Ó™

Ú

∑™

U™ ∑

11 4

12 &4

Ú

∑™

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U™ Ó

Ú

U™ Ó

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U™ Ó

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Ú

∑™

U™ ∑

11 4

{

12 &4

Ú

∑™

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U Ó™

Ú

U Ó™

Ó™

U Ó™

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Ú

∑™

U™ ∑

11 4

° 12 ¢& 4

Ú

∑™

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U Ó™

Ú

U Ó™

Ó™

U Ó™

Ó™

Ú

∑™

U™ ∑

11 4

U ˙™

˙™

U ˙™

w™

U ˙™

U™ Ó

U ‰ œ œ œ Ó™

‰œ˙

∑™

U™ ∑

11 4

U

U Ó™

∑™

U™ ∑

11 4

Pno.

{ Inside Pno.

Harm. [pn.]

o S.

° 12 as soft as possible & 4 <b>W ™

12 ™ / 4 ∑

S./A. Perc.

nw ™

œ œ œ œ Ó

Ó

U #˙ ™

Ó™

œ œ œ œ Ó™

W™

U™ Ó

Ú

˙™

W™

œ œ œ ‰œ˙

‰ œ˙

‰ œ˙

U™ Ó

11 4

p

o as soft as possible

U

12 &4

A.

Ó™ w™

W™

#˙ ™

W™

˙™

˙™

˙™

W™

˙™

U ˙™

˙™

U ˙™

U™ Ó

U ‰ œ œ œ Ó™

U ˙™

˙™

U ˙™

Ó™

Ú

U™ Ó

Ó™

U™ Ó

Ó™

Ú

U™ Ó

Ó™

U™ Ó

Ó™

w™

˙™ o

12 as soft as possible & 4 <b>W ™ ‹

T.

Ó™

U n˙ ™

w™

˙™

˙™

Ó™

Ó™

Ó™

∑™

U™ ∑

11 4

Ó™

Ó™

Ó™

∑™

U™ ∑

11 4

Ú

∑™

U™ ∑

11 4

Ú

∑™

U™ ∑

11 4

∑™

U™ ∑

11 4

Tenors only

12 ™ / 4 ∑

T./B. Perc.

œ œ œ œ Ó

Ó

œ œ œ œ Ó™

U™ Ó

Ú

œ œ œ ‰œ˙

p

o U b˙ ™

as soft as possible B.

¢

? 12 4 <b>W ™

Death - Sop.

° 12 ¢& 4

Scythe/Narr./ Dog - Ten.

° 12 ¢& 4 ‹

Ó™

w™

∑™

Ú

Ó™

W™

U™ Ó

Narrator: spoken

U Ú

Ú

In a small Iberian country death decided to stop working.

The Maphia offered temporary relief, but could not really replace death.

At first everyone was overjoyed, but soon realized the all concerned - the Church, the state, the situation was undertakers, the insurance companies - dire.

Ó™

Death decided to work again but under new and more regular conditions:

Ó™

Ó™

Ó™

She informs the ministry of her intentions.

Those who will die will get a timely notice.

°? 12 4

Ú

∑™

Ó™

U™ Ó

Ú

U™ Ó

Ó™

U™ Ó

Ó™

Ú

∑™

U™ ∑

Cellist - Bar.

11 4

Mel. [bar.]

12 ¢& 4

Ú

∑™

Ó™

U™ Ó

Ú

U™ Ó

Ó™

U™ Ó

Ó™

Ú

∑™

U™ ∑

11 4

B

poco rit.

° 12 &4

Ú

∑™

Ó™

U™ Ó

Ú

U™ Ó

Ó™

U™ Ó

Ó™

Ú

∑™

U™ ∑

Vln. 1

11 4

12 &4

Ú

∑™

Ó™

U™ Ó

Ú

U™ Ó

Ó™

U™ Ó

Ó™

Ú

∑™

U™ ∑

Vln. 2

11 4

B 12 4

Ú

∑™

Ó™

U™ Ó

Ú

U™ Ó

Ó™

U™ Ó

Ó™

Ú

∑™

U™ ∑

Vla.

11 4

12 ¢& 4

Ú

∑™

Ó™

U™ Ó

Ú

U™ Ó

Ó™

U™ Ó

Ó™

Ú

∑™

U™ ∑

Vc.

11 4

Traditional Cello

Scordatura Cello Traditional Cello

Traditional Cello

¯¯ ™ U™ ˙ n˙˙˙ ™™™ Ó p¯ ¯

a tempo Solo Vc.

°? 12 Ó™ 4

™ nœ ™ #œ #˙ ™

œ #œ œ Ó™

n˙o ™

mf

¯¯ #œ #œ

¯¯ œ œ

¯¯ œ Ó™ œ

∑

mp

U #˙o # œ nœo #œ

˙o ™ p

mf

Ó™ #˙ ™ uo

o ˙™ Ó™

Ó™ #˙ ™ o

o ˙™ Ó™

Ó™ ˙™ o

mp

o ˙™ Ó™

Ó™ #˙ ™ o

o ˙™ Ó™

switch to Traditional Cello, putting Scordatura Cello to the side

U™ ∑

11 4

pppp

Scordatura Cello

Scordatura Cello

12 / 4

Ú

UÚ

Ú

U™ Ó

Ó™

U™ Ó

Ó™

Ú

Perc. [cello]

∑™

U™ ∑

11 4

Mel./ Harm. [cello]

12 ¢& 4

Ú

U Ú

Ú

U™ Ó

Ó™

U™ Ó

Ó™

Ú

∑™

U™ ∑

11 4

8

C Bracing, unassembled, ungathered, but not scattered q = 156 - 162 The piece may begin here if the decision is made NOT to use Addendum A 29

Direct.

° / 114

10 4

∑

9 4

∑

∑

8 4

Ú

7 4

∑

8 4

Ú

9 4

8 4

Ú

7 4

∑

8 4

Ú

9 4

Begin electronics, CUE 1: echoes of St. Qt.

Elect.

11 ¢/ 4

10 4

∑

9 4 Ó™

∑

∑™

C Bracing, unassembled, ungathered, but not scattered q = 156 - 162 Offstage string quartet begins playing before audience has prepared to listen; lights are slowly dimmed once the music begins, and the sound of the string quartet captures the attention of the audience. The offstage string quartet is located at their first station for the first half of the opera. This station is located in close proximity to the ensemble [piano, percussion, solo cello - see stage set-up]. The offstage string quartet follows the conductor while they play from their first station location.

poco s.p. tight contact w/string

Vln. 1

≥¯ ≤¯ ¯¯ ° 11 ‰ ™ & 4 œœ œœ vp

lots of fast bow, flaut.

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

sim.

≥¯ ≤¯ ¯¯ 10 ‰ ™ œ œ 4 œœ vp

≤¯ ≥¯ ¯ ¯ œœ œ œ Œ Ó - o

sffz abrupt, floating, dissipating intense!

poco s.p. tight contact w/string

Vln. 2

≥¯ ≤¯ ¯¯ 11 & 4 ‰ ™ œœ œœ vp

≤¯ ¯ œ œ

≥¯ ¯ œ œ

≤¯ ¯ œ œ

Vla.

≥^ ≤ ¯¯ ¯¯ œœ B 114 ‰ ™ œ œ

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ≤¯ ¯¯ 10 ‰ ™ œ œ 4 œœ vp

Vc.

≥¯ ≤¯ ¯¯ 11 ‰ ™ œ œ 4 & ¢ œv œ p

≤¯ ¯ œœ

≥¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≥^ ≤ ≥¯ ≤¯ ≥¯ ≤¯ ≥¯ ≤¯ ≥¯ ¯ ≥¯ ¯ ¯¯ ¯ ¯ œœ¯ ¯ 8 7 ™ ™ Œ ‰ ‰ œœ œ œœ 4 œœ œœ œœ œœ œœ œœ œ-œ œ- 4 - v p o o sffz sffz p

≥¯ ¯ œœ

≥^ ≤¯ ¯ ¯¯ œœ Œ Œ ‰ ™ œœ 48 o sffz

≤¯ ¯ œœ

≥¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≤¯ ¯ œœ

p

≥¯ ¯¯ ¯ ¯ œœ œ ‰ ™ œ 49 - œ o v

≤¯ ¯ œ œ

≥¯ ¯ œ œ

≤¯ ¯ œ œ

≥¯ ≤ ≥ ≤ ≥ ≤ ≥ ≥¯ ≤¯ ≥ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ Œ 48 ‰ ™ œ œ œ œ Œ Œ 49 ‰ ™ œ œv œœ œœ œœ œœ œœ œ-œ œœv œ - o o sffz p sffz p

≥¯ ¯ œ œ

≤¯ ¯ œ œ

≥¯ ¯ œ œ

≤¯ ¯ œ œ

≥^ ≥¯ ¯ ¯¯ ≤¯¯ ¯ œ œ œ 47 ‰ ™ œ œ œ- œ o sffz p

≥¯ ¯ œ œ

≤¯ ¯ œ œ

≥¯ ¯ œ œ

≤¯ ≥¯ ^≥¯ ≤¯ ≥¯ ≤¯ ≥¯ ≤¯ ¯ ¯ ¯ ¯ ¯œ 8 ‰ ™ 49 œ ‰™ œ 4 œ œœ œœ œœ œœ œœ œœ œ-œ œo sffz p v o sffz

sim.

≥^ ≤ ¯¯ ¯¯ 10 ‰ ™ œœ œœ 4

≥ ¯ ¯ -œ -œ Œ Ó o

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

sffz p

lots of fast bow, flaut.

≥¯ ¯ œœ

≥¯ ¯ œ œ

sffz

sffz p abrupt, floating, dissipating intense!

poco s.p. tight contact w/string

≥¯ ≤¯ ≤¯ ≥¯ ¯ ¯ ¯ ¯ œœ œ œ Œ Œ 49 ‰ ™ œœ œœ - v o sffz p

sim.

≥ ¯ ¯ œ œ Œ Ó - o

lots of fast bow, flaut.

≥¯ ¯ œœ

≥¯ ¯ œœ

sffz

sffz abrupt, floating, dissipating intense!

poco s.p. tight contact w/string

≤¯ ¯ œœ

sffz

lots of fast bow, flaut.

≥¯ ¯ œ œ

≥¯ ¯ œœ

≥^ ≥¯ ¯ ¯¯ ≤¯ ≥¯ ≤¯ ≥¯ ≤¯ -œ -œ œ Œ Œ 49 ‰ ™ œœœ œœ œœ œœ œœ o sffz p

≥^ ≤ ≥ ≤ ≥ ≤ ≥ ≥^ ≤ ≥ ¯ ¯¯ ¯¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ - œœœ œœ œœ œœ œœ œœ -œ 7 ™ œœ¯ œœ œœ œ Œ 48 ‰ ™ œ ‰ 4 o o sffz p sffz p

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

¯ -œ¯ œ

¯ ≤¯ -œ 8 4 Œ ‰ œ™ o o

¯ w

9 4 o

pp

sim.

≥¯ ≤¯ ¯¯ 10 ‰ ™ œ œ 4 œœ vp

≤¯ ≥ ¯ ¯ ¯ œœ œ œ Œ Ó - o

sffz abrupt, floating, dissipating intense!

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

sffz

≥¯ ≤¯ ≤¯ ≥ ¯ ¯ ¯ ¯ ¯ œœ œ œ Œ Œ 49 ‰ ™ œœ œœ - v o sffz p

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ≤¯ ≥¯ ¯ ¯ ¯ ¯ œœ œ Œ 48 ‰ ™ œœ œœ - v o sffz p

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ≤¯ ≥¯ ¯ ¯ ¯¯ œœ œ 47 ‰ ™ œœ œœ - v o sffz p

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

¯¯ œœ -

≤¯ ¯ 8 4 œ Œ ‰ œ™ o o

¯ w

9 4 o

pp

=

35

Direct.

° / 49

10 4

∑

11 4

∑

Begin electronics, CUE 2: echoes of St. Qt.

Approx end of electronics, CUE 1

Elect.

Vln. 1

9 ¢ / 4 ∑™

10 4

Ó™

≥¯ ¯ œœ

≤¯ ¯ ° 9 & 4 œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ -

11 Ó™ 4

∑

≥¯ ¯ œœ

≥^ ≤¯ ¯ ¯ œ ‰ ™ œ 10 4 œœ

œ -

10 4

∑

≤¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ ¯ œœ -

¯ œ -

Œ

œ -

≥^ ≤ ¯ œœ¯ 11 ¯¯ ‰™ 4 œœ™™

Ó™

≥^ ¯ œœ¯

≥¯ ¯ œœ

≤¯ ¯ œœ

Ó™

≥^ ¯ œœ¯

≥¯ ¯ œœ™™

≤¯ ¯ œœ

r Bbœ Bbœ

≥¯ ¯ œœ

r œ œ

≤¯ ¯ œœ

10 4

Ó

r œ œ

≥¯ ¯ œœ

r œ œ

≤¯ ¯ œœ

r œ œ

≥¯ ¯ œœ

≤¯ ≥ ¯ œœ ™™ OO 10 4 v

r œ œ pp sffz

p

o

p

Vln. 2

≥¯ ≤¯ ≤¯ ¯ œœ œœ ‰ œ ˙ o pppp

≤¯ 9 œ &4 œ p

o

sffz

≥ ¯ œœ

≥^ ≤ ¯ ¯ ¯ œ 10 œ ™ œ 4 œœ

¯ ˙ f

≤ ¯ œœ

≥ ¯ œœ

≤ ¯ œœ

≥ ¯ œœ -

Œ œ-

œ-

p

o

sffz

Vla.

≥¯ ≤ ≥ ≤ ¯ ¯ ¯ ¯ œ œ œ B 49 ‰ ™ œœ œ œ œ vp

≥¯ ≤¯ ≥¯ œ-œ œ-œ œ-œ

≥ œ^ ‰ ™ œ 10 4 ‰™

œo

sffz

sffz

≥ œœ^

≤¯ œœ

≥¯ œœ

≤¯ œœ

¯ ˙˙ ™™

¯ ˙˙

ppp

f

sffz p

sffz

mf

≥^ ≤ ¯ ¯¯ œ¯ ™‰ œ 114 œ ™ œ™ sffz

≥^ ¯ ¯ ¯ œœ ™™ œœ 114 sffz

mf

sffz p

≥ ≥¯ ¯¯ ¯ œœBbBbœœr œœ v sffz p

-≥¯ ≤¯ œ¯ œœ¯ œ

p

sffz

≤¯ ¯ r œ œ œœ

≥¯ ¯ r œ œ œœ

≤¯ ¯ r œ œ œœ

f

≥¯ ¯ r œ œ œœ

≤¯ ¯ r œ œ œœ

≥¯ ¯ r œ œ œœ

pp

f

-≥¯ -≥¯ ≤¯ œ¯ ≤¯ œ¯ ≤¯ œœ¯ œ œœ¯ œ œœ¯

-≥¯ œœ¯

-≥¯ -≥¯ ≤¯ œ¯ ≤¯ œ¯ ≤¯ œœ¯ œ œœ¯ œ œœ¯

-≥¯ -≥ ¯œ ≤¯ œ¯¯ ≤¯ œ œ¯ œ œ¯ œ œ

f

pp

≥^ ¯ œœ¯ 10 ‰™ 4

≤¯ ¯ r œ ˙ œ˙

sffz

-≥¯ œœ¯ ≤¯¯ œœ

-≥¯ œœ¯

≥^ ¯¯ œ ‰ ™ œ 10 4

pp sffz

arco

Vc.

≥ ¯ 9 ‰™ 4 & ¢ œv

≤¯ ¯ œœ

sffz p

≥¯ ¯ œœ

≤¯ ¯ ‰ œ ˙ o

pppp

¯ ˙ f

^≥¯ ¯ ≥ œ 10 ™ œ™ œ 4 ‰ v sffz

≤¯ ¯ œœ

sffz p

≥¯ ¯ œœ ™™

≤ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ ¯ pizz. » ¯ 11 ‰ ™ j œ œ œ œ œ œ™ œ œ œ œ œ œ œv 4 ppp

f

sffz

» œ Œ v sffz

Œ

‰™

≥¯ ≤¯ ≥¯ ≤¯ ¯ ¯ ¯ ¯ œ œ œœ œ œœ œ v sffz pp

≥¯ ≤¯ ≥¯ ≤¯ ¯ ¯ ¯ ¯ œ œ œœ œ œœ œ -

≥¯ ≤¯ ≥¯ ≤¯ ¯ ¯ ¯ ¯ œ œ œœ œ œœ œ f

≥¯ ≤¯ pizz. ¯ ¯ » 10 œ™ 4 œœ œ ™ œv pp sffz

9

38

° / 10 4

∑

9 4

∑

8 4

Ú

Direct.

7 4

10 ¢/ 4

∑

9 4

∑

8 4

Ú

Elect.

7 4

sim.

Vln. 1

≥¯ 6 6 ≤ ≥6 ¯ 6 œœ œœ œœ œœ ° 10 9 & 4 œœ œœœœ œœœœ œœœœ œœœœ œœœœ œœ œœ œœ œœ œœœœ œœœœ œœœœ œœ ™™ œœ 4 - - - - - - - - - - - v sffz p f

6

-œ œ œœ œœ œ œœœœ œœ œ œœ >-fp

-œ œ œœ œœœ œœ œœ œ 6

-œ 6 œ œœ OO œ œ œ œ œ œ œ œ œ™ > 6

pp

f

I, II

≥ œœ 8 œ œBœr œ œ œr œ œ 4 v >œ œBœ- œ œ- œ- œ œsffz fp

r œ œ-

OOOO œœ œœ œœ œœ œœ œœ œœ œœ O O O O 47 r œ œpp

r œ œ-

r œ œ-

pp

I, II sim.

≥ OO^ ≤ ≥ œœ 6 œ œ 8 œBbœr œ œ œr œ œ œr œ œ- œœ œ-œ œœ œ- œœ œ-œ œœ œœ œœœœ 4 Bbœ œ œ - - œ œ œ œ œ œ œ™ >œ - œ œ - œ œ - œ fp > 6

Vln. 2

≤ ≥ 10 œ œ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ ˙˙ ™ - ™

≥

9 4 œœ œœ œœ ™™ œœ >œ- œ pp v

f

p

sffz

≥^ ¯ œœ¯ œ>œ

≥¯ ¯ >≤ ≤ r ≥ r œ™ r r r Bbœ œœ œ œœ œ œœ ™ œ 9 œ™  n œœ µœ n œœ µœr n œœ µœr n œœ µœr n œœ ™ œ œ B 10 œ µ œ œ ™ ™ 4 œ4 v f f sffz p p

pp

≥ œœ

≤ œœ

10 ¢& 4 Ó

≥¯ ¯ >≤ j j 9 œœ ™™ œ œ œ œ ™ ? œ 4 œ œ œ œ™ œ v

≥¯ ¯ j Bbœ Bbœ

œœ ™™

œœ

f

pp

œœ

œœ œœ v p sffz

>r Bb œ

>r œ

œœ

sffz fpp

f

sffz

arco

Vc.

f

≥^ ¯ œ¯ œ

sim.

Vla.

fp

≥^ >œ ¯¯ œ œœ

œœ

>r œ

œœ

>r œ

f

pp

œ œ

œ œ

œ œ

œ œ

-r Bbœ Bbœ

≥ œ œ

-r œ œ

3

3

3

˙˙ ™™

sffz

pp

pp

sffz

-≥ ≥ œBbBbœœr œ œ œœr œBbBbœœ ™™ nnœœ^ 8 ˙˙ œ œ œ œ 4

œœ

II, III œ- œ- -œ -œ r œœ œœœœ œœ ‰ ‰ œ OO œ OO œ OO œ OO 47 -

œœ œ œœ œ œœ œ œœ œ œ œ œ œ 47

pp

≥ Bb œ ™ n O^

O

œ œ

œœ

f

œ œ Bbœ- œ œ -œ œ œ -œ œ œ -œ œ œ -œ œ œ ‰ œ œBb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 47

8 4

3

3

3

3

3

3

sffz f

sffz fpp

f

f

pp

pp

sffz

f

pp

=

41

Direct.

° / 47

∑

6 4

∑

5 4

∑

4 4

∑

3 4

Elect.

7 ¢/ 4

∑

6 4

∑

5 4

∑

4 4

∑

3 4

Vln. 1

>œ >œ >œ I, II ° 7 >œ OO OO OO OO œ OO OO OO OO >œ OO OO OO OO œ OO OO OO OO >œ OO OO OO OO œ OO œ œ &4 œ f

ff

Vln. 2

> 6œ O 4œ O

3

3

3

3

3

3

>O œœ O

sub. p

>œ >œ >œ >œ >œ >œ >œ 7 œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ 6 4 &4 3

ff

> > O > O œœ O œœ O œœ O O

>O >O >O œœ O œœ O œœ O 5 ‰ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ œœ ‰ ‰ ≈ œœ≤ œœ œœ œœ œœ 4 bœ 6 6 6 6 > pp

4 4

fp

˙™

œ œ

f

p

3 4

6

œ b œ œ œ 5 œ Bœr œ bœ œ œ œ œ œ œ œ œ œ œ œ 4 J Bbœ œ > 6 œ œ 6

r œ œ >

r œ œ >

œœ

n OO

r œ œ >

r œ œ >

œœ

OO O r 4 O Bœ œ J 4 J nœ- œ

r Bœ-

r -œ

œœ

j œœ œr œœ -

3 4

f sub. p

gliss. w/light fingers, almost harm. gliss.

Vla.

OO OO OO OO >OO OO OO OO OO >OO OO OO OO OO œœœœœœœœ œœœœœœœœ œœœ œœœ œœœ œœœœœœœœ B 47 œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 46 ‰ ‰ & bbœœ ™™ > 6 6 6 6 6 6 6 6 6 6 pp

ff

pp

ff

ff

Vc.

?7 ¢ 4‰

ff

ff

pp

ff

f

» b>œ

^ O™ Œ

sffz f

sffz f

gliss. w/light fingers, almost harm. gliss.

arco I

pizz.

» bœ ™ > sub.

ff

> 6 bœ ™ 4 ≈b œ ™

œœ

¯¯ >œ œ

¯¯ n œœ

sim. œ 5 œr œ 4œ >

sffz

œœ r œ œ >

œœ

sffz fp

Bb œ œ B4 4 Bbœ œ

r œ œ >

œœ œ œ ˙ œœ œ œœ œ 5 ˙ 4

bb œœ

-r œ œ

œœ

-r œ œ

-r œ œ

œœ

œœ

3 4

p

b >œ œ œ œ œ œ œ œ

œ œ œ œ œœœ

‰ #œ ™

4 4 3

fp

-r 

œœ

r œ œ >

p

sim.

œœ

œœ r œ œ >

pp

3

f

p

3 4

D INTERRUPTION: Halting, quasi ad libitum q = 72- 76

10

Suddenly, without warning, moving ahead as before q = 156 - 162

Death, at the edge of the stage springs to life. Her clap interrupts the music, stopping everything in its tracks, before she, herself, is interrupted.

45

Direct.

° / 43

5 8

U ∑

6 4

∑

∑

∑

∑

∑

∑

∑

Begin electronics, CUE 3: echoes of SQ, bottles, water, clapping

Elect.

3 ¢/ 4

Ϊ

5Π8

U ∑

6 4

PIANO: strum strings toward bridge w/fingernails or guitar pick

startled!

#œ#œ U ∑

3 &4

5‰ 8

nœ #œ nœ œ #œ nœ #œ œ œœ #œ#œ œ œ 6 # œ œ 4 7

˙™ n1 Ó™

1

#1

b1

1 !

n1

b1

Œ

7

3

mp sub. p

f Pno.

U ∑

{

3 &4

5 ‰ œ #œ 8

ppp

nœ œ #œ nœ œ #œ œ œ 46 œ #œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ #œ

Ó™

∑

7 7

7

7

°

Percussionist, tenor, & baritone are all stationed "inside" the piano; the solo celist, pianist & soprano are not. PERC.: arco

5 ^¿. 8

U ∑

3 &4

6 4 G™

Ϊ

Ó™ #G™

p

f

G™

billowing

PERCUSSIONIST: strike piano frame w/H.S.

Inside Pno.

BAR.: striking marble along piano string

poco f

p

{

5 ^¿. 8

U ∑

3 &4

™ 6∑ 4 ™ Ó

Ϊ

f

b œ8 8 G™

TEN.: arco

TENOR & BARITONE: strike piano frame w/H.S.

p

pp

b8 8 8 b8 8 8 8 8 8 8 8 g 8 ÓG™ ™ Ó

Ó ad libitum

G™ billowing

° For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events. clap and/or stomp

sharply, abrupt! S.

U ∑

° 3 &4

5 8 ¿. v

o

as soft as possiple

6 4 Ó™

Ϊ

Ó™

∑

∑

∑

∑

One day..., As if..., Señor..., all concerned... Death decides..., timely notice..., intentions

ff 2 Altos - blow into plastic bottles; pitch approx. & sost. until run out of air; join tutti singers when finished

sharply, abrupt!

U ∑

? 43

S./A. Perc.

5 #œ 8 v ff

6 4

Ϫ

∑

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

clap and/or stomp

sharply, abrupt!

o

as soft as possiple

U ∑

3 &4

A.

5 8¿ v. ff

6 4

Ϊ

∑

∑

Ó

Ó™

Œ

One day..., As if..., Señor..., all concerned... Death decides..., timely notice..., intentions For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

clap and/or stomp

sharply, abrupt!

U ∑

3 &4 ‹

T.

5 8 ¿. v

6 as soft as possiple 4

Ϊ

o ∑

∑

∑

Œ

Œ

One day..., As if..., Señor..., all concerned... Death decides..., timely notice..., intentions

ff 2 Basses - blow into plastic bottles; pitch approx. & sost. until run out of air; join tutti singers when finished

sharply, abrupt!

U ∑

? 43

T./B. Perc.

5 8œ v ff

6 4 Ó™

Ϫ

clap and/or stomp

Ó™

∑

∑

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

sharply, abrupt! B.

¢

5 ^¿. 8

U ∑

? 43

ff ca. 7 - 8 sec. non vib.

o

as soft as possiple

6 4

Ϊ

∑

∑

∑

∑

Ó™

Ó™

One day..., As if..., Señor..., all concerned... Death decides..., timely notice..., intentions

clap sung

a tempo f

ppp

ord.

° 3 j bU œ™ Death - Sop. & 4 ¿ ¢ To

œ

5 fœ ‰ 8

whom it may con -

INTERRUPTION: Halting, quasi ad libitum q = 72- 76

6 4

Ϊ

∑

cern,

D Suddenly, without warning, moving ahead as before q = 156 - 162

molto sul pont. Vln. 1

° 3 jU & 4 œ Œ™ œ v ff

Œ

5 8

6 4

∑

∑

∑

Ó™

Œ ˙ ˙ p

molto sul pont. Vln. 2

3 jU & 4 œœ Œ ™ v ff

Œ

5 8

6 4

∑

∑

∑

Ó™

Œ Bœr œœ -

r œ-

œœ

p

molto sul pont.

Vla.

b œ^ U B 43 œJ Œ ™

-

Œ

5 8

6 4

∑

∑

∑

r Bb œ œ Œ ‰Bbœ œ

Ó™

ff

p

molto sul pont.

Vc.

^ ? 3 #œœ U™ ¢ 4 J Œ

Œ

5 8

6 4

∑

∑

∑

Œ #˙

Ó™

ff Repeat bracketed figure for as long as soprano holds fermata; proceed immediately in tempo once soprano moves in tempo with glissando on the last beat.

p

Traditional Cello: C-G-D-A

arco Solo Vc.

a tempo ° 3 ‰ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 >œ Œ 4 8J & ¢ p molto marcato and ritmico

f

Œ

6 4

∑

∑

∑

-r œ œ

œœ J

11 50

Direct.

°/

∑

∑

∑

Begin electronics, CUE 4: echoes of SQ, water, bottles, clapping

ΠElect.

9 4

∑

8 4

∑

9 4

∑

8 4

∑

9 4Œ

Begin electronics, CUE 5: echoes of SQ, water, bottles, clapping

Œ

Ó™

Ó

¢/

∑

Œ

Œ

∑

Ó™

PIANO: strum strings w/fingernails or guitar pick

1 ∑

&

1 n1 b1 1

#1

!

1 #1

b1 Ó™

Œ

1 n1 b1 1 !

b1

8 4

3

3

mp

mp

Pno.

{

∑

&

∑

∑

9 4

∑

8 4

∑

PERC.: arco

& G™

G™

Ó

Ó G™

#g Inside Pno.

BAR.: w/marble on string

poco f

p

{

™ & ÓG ™

Œ b œ8 8

Ó

TEN.: arco

G™

g

9 4 G™ ™ Ó

Ó

9 4 G™

Ó™

Œ

Ó™ Ó™

8 4

pp

∑

b8 8 8 8 8 * ™ g G™

g

∑ G™

Ó

8 4

∑

G™

G™

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

clap and/or stomp

S.

as soft as possible

° & ¿. v

Ó™

Ó

Ó

Œ

Ó

¿ v.

And another day..., The situation,...was grave,... Had decided,...everyone was overjoyed...,replace death

ff

o

as soft as possible

Ó™

Ó

Œ

∑

9 4 Ó™

Ó™

8 4

Ó™

Will die..., the Church...,the state...,undertakers..., for a day..., and another

ff

blow into plastic bottles; pitch approx. & sost. until run out of air; join tutti singers when finished

S./A. Perc.

? #˙ ™ v

Ó™

∑

Ó

∑

#w v ff

ff

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events. clap and/or stomp

o

as soft as possiple A.

Œ

& ¿ v.

Œ

Ó™

∑

Ó

And another day..., The situation,...was grave,... Had decided,...everyone was overjoyed...,replace death

9 4

8 4

∑

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

o

as soft as possiple

¿ v.

Œ

Ó

∑

9 4

8 4

∑

Will die..., the Church...,the state...,undertakers..., for a day..., and another

ff

ff

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

clap and/or stomp

as soft as possible T.

& ¿. ‹ v ff

Ó™

Ó

o

as soft as possible

Ó™

Œ

Œ

Œ

Ó

And another day..., The situation,...was grave,... Had decided,...everyone was overjoyed...,replace death

¿ v. ff

Ó

Œ

∑

9 4

∑

8 4

∑

8 4

Will die..., the Church...,the state...,undertakers..., for a day..., and another

blow into plastic bottles; pitch approx. & sost. until run out of air; join tutti singers when finished

T./B. Perc.

? ˙™ v

Ó™

∑

Ó

ff

∑

w v ff

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

9 4

For the duration of the bracket, singers randomly generate gibberish noises and mutterings; singers may use some of the words provided; use hairpins to gauge intensity and density of events.

clap and/or stomp

B.

^ ? ¿. ¢

o

as soft as possiple

Œ

ff

Œ

Ó™

∑

And another day..., The situation,...was grave,... Had decided,...everyone was overjoyed...,replace death

Ó

^. ¿

o

as soft as possiple

Ó™

∑

9 4

8 4

∑

Will die..., the Church...,the state...,undertakers..., for a day..., and another

ff

as before

Vln. 1

° & œ ‰ Œ œv ff

Œ

Ó™

∑

∑

∑

9 4 Ó™

Ó™

Ó

≥¯ ¯ ‰ ™ œ 48 œv sffz

as before

Vln. 2

& œœ ‰ Œ v ff

Œ

Ó™

∑

∑

∑

9 4 Ó™

Ó™

Ó

≥¯ ¯ ‰ ™ œ 48 œv sffz

as before

b œ^ B œ ‰ Œ

Œ

Ó™

∑

∑

∑

Vla.

9 4 Ó™

Ó™

Ó

≥^ ¯ œ¯ ‰ ™ œ 48

ff sffz

as before

Vc.

? #œœ^ ‰ Œ ¢

Œ

Ó™

∑

∑

∑

9 4 Ó™

Ó™

Ó

ff

≥¯ ¯ 8 & ‰™ œ 4 œv sffz

Solo Vc.

° ¢&

∑

∑

∑

∑

9 4

∑

8 4

12

Direct.

Elect.

55 E ° / 48

Ú

Ú

Ú

4 4

∑

2 4

8 ¢/ 4

Ú

Ú

Ú

4 4

∑

2 4

8 &4

Ú

Ú

Ú

4 4

∑

2 4

Ú

Ú

Ú

4 4

∑

2 4

Pno.

{

8 &4

PERC.: strike piano frame w/H.S.

quasi improvisando

8 >> &4 ≈ ¿ ¿

>¿

¿

>¿

¿

>¿

¿

ff

‰

>> ≈¿ ¿

Œ

mf

Inside Pno.

>¿

¿

>¿

¿

>¿ J

¿

ff

> > ‰™ ¿ ¿

Œ

mf

¿

>¿

>¿ ¿ ™

>¿ ¿ ™

>¿ ¿ ™

4 >¿ ¿ ™ 4

ff

>> ≈¿ ¿

mf

>¿ J

¿

2 4

ff

TEN.: strike piano frame w/H.S.

quasi improvisando > > > > Œ ¿ ¿ ¿ ¿ ¿ ¿ ¿

{

8 &4 Ó

3

3

¿

>¿

>¿ ¿ >¿ ¿ >¿ ¿ >¿ ¿ >¿ ¿ J J J J J

Œ

3

3

ff

f

mf

3

3

3

>¿

> > > > ‰ ™ ¿ ¿™ ¿ ¿™ ¿ ¿™ ¿ ¿™

Œ

¿ >¿™

¿ >¿

¿

>¿

2 4

≤ ≥ œ œœ # œv sffz

≤ œœ

2 4

≤ ≥ œ œœ # œv sffz

≤ œœ

2 4

≥ #œ œ œv

2 4

≥ ≥ ≤ ≥≤ ≥ ≤ ≥≤ œœ ™™ bœ 44 œœ #œ œœ bœ œœ œ œœ ™™ œ œ v v v v v

2 4

4 ‰™ 4

ff

3

ff

>¿ >¿ ff

mf

E

Vln. 1

≤¯ ¯ ° 8 œ &4 œ

≥¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

p

≤¯ ¯ œœ

≥¯

¯

œ -

œ -

f

≥

≥ ≤ ‰™ œ œ œ œ v p

≤ œœ

œœ

≥ œœ

≤ œœ

≥ œ -

‰™

œ -

f

sffz

≥ ≤ ≥ ≥^ ≤ œ œœ œœ œœ ™™#œ œœ v p

sffz

≥ œœ

≤ œœ

≥ œ-œ

œœ ™™

Vln. 2

≥¯ ¯ œœ

≥¯ ¯ œœ

≤¯ ¯ œœ

≤¯ ¯ œœ

≥¯ œ-

¯ œ-

≥ ≤ ‰™ œ œ œœ v p

≤

≥ œœ

œœ

≥ œœ

≤ œœ

œ-œ

œ-œ

sffz

p

Vla.

≤¯ ¯ œ B 48 œ

f

≥¯ œœ¯

≥¯ œœ¯

≤¯ œœ¯

f

≥¯ œ-

≤¯ œœ¯

≥^ ≤ œ ‰ ™ œœœ

≥ œœ

≥ œœ

≤ œœ

≤ œœ

-≥ œœ

œœ

≥≤ œœœœ v

‰™

sffz p p

Vc.

≤¯ ¯ 8œ 4 & ¢ œ

sffz p

f

≥¯ ¯ œœ

sffz mf

≥¯ ¯ œœ

≤¯ ¯ œœ

≥¯ œ-

f

≥ œœ

≥≤ ‰™ œ œœ œ v

≥

≤

≥

œœ

œœ

œœ -

≥ œœ

≤ œœ

≥

≥≤ œ œœ œ v

‰™ œ-

œ-

f

sffz p

sffz p

≥

4 Ϫ 4 Ϫ

≥ ≤ œ œ œœ ™™ v sffz

f

≥^ ≤ œœœœ

≥ ≥ # œ^ ≤ œ ™ œ ™ œ nœœ

≥ œœ-

sffz mf

œœ- ™™

≥ ≥ ≤ # œ≥^ ≤ ≥ ≤ œ≥^ ≤ œœ ™™ œ œ ^ œ œ™ bœ 44 œ œ œ bœ œ œ œ ™ œv nœ

≥ œœ^ œœ≤

sffz sffz

≤ œœ

œœ ™™ -

≥≤ œœ œ v œ

sffz

f

≤¯ ¯ œœ

p

≥ œœ ™™

≥^ ≤ œœ œœ ™™ sffz

≥ ≥ ≤ œ œœ ™™ #œ nœœ v

≥ ≤ ‰™ œ œœv œ sffz p

≥

≥ 4 œ™ 4 œ™

sffz

f

≤¯ ¯ 8œ &4 œ

≥^ ≤ œœ nœœ

≥ ≥ ≤ œœ ™™ œœ œœ v

≥ ≥ ≤ œœ ™™ #œ œœ v sffz

f

sffz

≥ œœ -

≥≤ œœ v œ

œœ ™™ -

f

sffz

sffz

mf

sffz

mf

sffz

=

INTERRUPTION: Halting, quasi ad libitum q = 72- 76

Death once again interrupts, but this time everything does not stop in its tracks.

59

Direct.

2 ° ¢/ 4

Perc.

° 2 /4

∑

4 4

∑

4 4

∑

∑

3 8

∑

pick up the "sss..." sandpaper blocks sound from the soprano rubbing slowly

∑

Ó

3 8

‰ œ™

w

p reibstock

Mar.

2 ¢& 4

4 b˙ ™ 4æ

∑

Œ

∑

3 8

∑

p

PIANO: Pluck string with plastic guitar pick: OK if adjacent D & E strings are incidentally strummed

2 b&4

-

-

44

b-

-

-

mp Inside Pno.

-

-

b- ™

J

f

mp

-

-

-

-

b-

-

_™

3 8

f

PERC. & TEN.: strike piano frame w/H.S.

> > > ® 2 4 & 4 ≈ ¿ ¿¿ ¿¿ ¿¿ ¿ ¿¿ ¿¿ ¿¿ ¿ 4 > > > pp ff > °

{ S.

-

∑

∑

3 8

∑ °

°

pick up "sss..." sound from soprano and rubbing sandpaper blocks pp mp

° 2 &4

∑

4 4

∑

Ó

Œ

pp

3 8

‰ ¿

Y

[sss...]

pick up "sss..." sound from sopranos pp A.

2 ¢& 4

∑

4 4

∑

∑

Ó

Œ

3 8

‰ ¿ [sss...]

Death - Sop.

o ° 2 b˙ ¢& 4

f

mf

bY

4w 4

Œ

Sir...

[sss...]

œ bœ ‰ To whom,

‰ œ bœ Œ

3 8

Dear sir,

INTERRUPTION: Halting, quasi ad libitum q = 72- 76 arco Solo Vc.

° 2‰ ¢& 4

bœ ™ pppp

6 6 o o o œo o o œ o œ o o œo o o o o 6 6 ^ œ o o O œ O œ O œ O œ# œ œ œ œo œ œo œ Oœ ‰ œo œ Oœ œo œ #œ^ ≈ œo Oœ 3 4 œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ ? Oœ œ œ Oœ œ O œ Oœ œ œ œ Oœ œ O œ œ 4 8 œ œo oœo œoœo v o œ œo œ œo œo œo œ œo 6 6 6 3 6 mf 6 o o sffz mf sffz mf

p

13 Death takes the sheet of paper she is writing a letter on, and crumples it slowly, but loudly; the crumpling sound is the picked up and echoed by the percussionist.

63

Direct.

3 ° ¢/ 8

4 4

∑

∑

∑

4 2

U ∑

∑

crumple piece of tissue paper

Perc.

° 3 /8

4 4

∑

∑

∑

U ˙

∑

U Ó

4 2

mf

sandpaper blocks rubbing

Perc.

3 ¢/ 8

4 Ó 4

∑

œ œ œ œ œ œ o

‰

œ œ œ œ œœ‰ o

- œ œ œ œ œ œ œ œ poco f

U ∑

∑

4 2

PIANO: Pluck string with plastic guitar pick

Inside Pno.

3 {& 8

b>-

4 4

∑

∑

-

-

-

-

b>-

- -

‰

- -

f

p

> U U ‰ - b- Œ Ó

-

‰

‰ f

p

f

4 2

p

°

S.

° 3 &8

4 4

∑

∑

Ó

Œ

sim. ppp

p

¿

Y

o

U ∑

4 2

∑

U ∑

4 2

∑

U ∑

4 2

∑

U ∑

4 2

‰ [sss...]

A.

3 mp & 8 ¿™

pp

4 4 Y™

Œ

∑

pick up "sss..." sound from altos pp mp T.

3 &8 ‹

4 Ó 4

∑

pp

‰

Ó ¿

Y

¿

[sss...]

pick up "sss..." sound from tenors pp mp B.

?3 ¢ 8

4 4

∑

∑

‰

pp

Y™

¿ [sss...]

ca. 5 - 6 sec. as if streched out - an incomplete thought

Death - Sop.

° 3‰ &8

≈ œ #œ œ

4 œ 4

it may con

≈ #œ œbœ

‰

- cern,

sal -u - ta

œ

. nœ

Œ

∑

tions,

-

whispered air sound

mp

pp

˙™

bœ

U œ U Œ nY

Dee...

4 2

[ear...]

wait for paper to finish being crumpled by percussionist before proceeding

slowly crumple letter

Harm./ Perc. [sop.]

3 ¢& 8

∑

4 ‰ 4

° 3 &8

∑

Vln. 1

4 4 œ œ

¿™

Y

Ó

Y

∑

U ∑

4 2

∑

U ∑

4 2

Ó

U ∑

4 2

Ó

U ∑

4 2

U ∑

4 2

molto sul pont. sim. j Bbœ Bb œ pp mp

œœ -

œœ

j Bbœ Bb œ

œœ -

œœ

j Bbœ Bb œ

œœ -

œœ

j Bbœ Bb œ

œœ -

œœ

j Bbœ Bb œ

œœ -

œœ

j œ œ

Œ œœ -

œœ o

molto sul pont. sim. Vln. 2

3 &8

4 ‰ 4

∑

œœ pp

j Bbœ Bb œ mp

œœ -

œœ

j Bbœ Bb œ

œœ -

œœ

j Bbœ Bb œ

œœ -

œœ

j Bbœ Bb œ

œœ -

œœ

molto sul pont. Vla.

B 83

4 Ó 4

∑

Œ

pp

pizz. II

3 ¢& 8

?

∑

j œœ

œ-œ mp

4 4

¿

Ó

f

œ J pp

œœ

j Bbœ Bb œ

Œ œœ -

œœ

œœ

œœ o

j œœ

œ-œ

j œœ

œ-œ

œ-œ ™™ o

arco molto sul pont.

bœ Vc.

œœ -

sim.

‰ œœ

j œ œ

œ-

sim.

œ J

œ-

œ œ-

˙™ Œ o

mp

molto sul pont. ord.

¿ Solo Vc.

o use a lot of bow - quasi flaut. °? 3 œo œ œo œo Oœ œo Oœ œo Oœ œo 4 ^ ^ œ^ œ^ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ 8 4 & ¢ bœ œ 3

7

œo œo n O O œo œo O O O O œo O O 6 o œo œ œo œ œo o œo œ œo œ œo œ œo œ œo œo Oœ œo Oœ œo œ œo œ œ œ œœ œœœ œœœœœœ ? ≈ ≈ 7 7 œo sub. 7 6 3 3

¿ U Œ &

3

p

f

ffp

mf

mp

p

ff

p

ff

pp

ff

pppp

4 2

14

Ad libitum e senza misura: Follow conductor cues q = 40 - 72

Death begins to look for a few more sheets of paper so that she may begin re-writing her letter. She then takes the writing paper and considers her new letter as she leaves the stage.

approx. 12 - 14 sec.

68

Direct.

UÚ

° / 42

UÚ

UÚ

UÚ

11 4

Begin electronics, CUE 6: Spoken "The situation was grave..."

Elect.

UÚ

4 ¢/ 2

UÚ

UÚ

U Ó

U Ó

11 4

U ∑

slide whistle

Sld. Whist./ Harm. [perc.]

lowest possible note on slide whistle; slide should be fully extended out breathy, even, feeble

U Ú

° 4 &2

U ‰

bu w

U Ú

œ œ œ œ œ œ œ œ

Bœ œ œ œ

U Ú

11 4

nœ

pp tear a large piece of paper

UÚ

4 /2

Perc.

UÚ

U ∑

U Ó

UÚ

U ˙

11 4

f Bass drum - limply drop both hands onto surface; allow them to bounce randomly and resonate

alla ricochet Perc.

4U Œ ¢/ 2

sim.

U Œ

˙7

Œ

U ≈ ‰™

U Ú

˙7

U Ó

˙7

U Ó

˙7

U Ú

11 4

U Ú

11 4

p

quasi ad libitum more spoken than sung mp Death - Sop.

¿.

° 4U Œ ¢& 2

U Œ

Œ #¿.

Ah,

U ≈ ¿ ¿ #¿ ‰ . . . n-¿ ™

oh,

bah, dah, dee,

As if to recognize. gently, with an airy tone

As if to say "What's this?"

U ‰

Œ

Œ

n¿

dum,

hmmm,

U Œ

‰

¿

¿.

hmmm?

huh?

U Ó

U ∑

‰ Œ Y u

¿.

Ah...

Death moves lips, reading the pages, but without making any sound.

Death finds Death picks Death the book. up book. opens book.

Death then closes the book and puts it back. She takes her incomplete letter, and tears it. As she leaves stage, she begins writing a new letter.

=

SCENE I Chorus: The situation was grave...

F Suddenly forward h = 116 - 122 72

Direct.

° / 114

∑

9 4

∑

7 4

∑

5 4

∑

3 4

∑

∑

∑

∑

∑

∑

Elect.

11 ¢/ 4

∑

9 4

∑

7 4

∑

5 4

∑

3 4

∑

∑

∑

∑

∑

∑

C. Bells./ Crot./ Gongs

° 11 ¢& 4

∑

∑

crotales arco

tuned gong w/S.S.

Ó™

Ó

9 4

#w™

7 4

Ó™ #w™

5 4

Œ Ó #w

Π43

∑

‹ &

∑

#w

##˙™ ˙™

&

˙™ ˙™

pp ppp

PIANO: obtain harmonics by lightly touching sounding pitch on indicated string while playing written pitch on keyboard

o

11 > & 4 #œ

o o œ

o œ

o œ

o œ

o œ

o œ

Ó

Ó

9 > 4 #œ

f

o o œ

o œ

o œ

o œ

o œ

Œ Ó

7 > 4 #œ

f

o o œ

o œ

o œ

o œ

5 > 4 #œ

Ó

f

o o œ

o œ

o œ

> Œ 43 #œ

f

o œ

o œ

>o #œ

r #œ

o œ

o œ

o r #œ

> o #œ

r 3

j j # 3 3 3r 3 #>3 3 3 3 #>3 3r 3 3 >

o œ

o r œ

o œ

>o o #œ œ J

o œ

o >o œ #œ J

o r #œ

o œ

o œ

o r #œ

> o #œ

r 3

#3 3 3 >

o œ

o œ

mf

Inside Pno.

{

11 & 4 #3 3 3 3 3 3 3 Ó > °

S.

° 11 Ó &4

Ó

9 4

Œ Ó

9 4

Ó #œ w > One

-

11 ¢& 4

∑

w™

#˙ ™ > One

Ó

#w > -

-

o Œ

7 4

ΠOne

#>3 3 3 #>3 3r 3 3

fp

5 4

Ó

[nnn]

9 4 Ó

Π43 #>3 3 3 3

fp

7 4 Ó

fpp A.

5 4

Ó #>3 3 3 3 3

o Ó™

fpp

Ó

7 4

#>3 3 3 3 3 3

Π43

∑

mp

∑

∑

w

#˙ ™ >

[nnn]

One

-

˙™

#˙ ™ >

[nnn]

day,

fp

5 4 Ó

mp

3 4 ™ ˙

Œ

w™

#˙ >

[nnn]

One

-

[nnn]

∑ ˙™

˙™

#˙ ™ > One

˙™ -

[nnn]

-

15 Begin electronics, CUE 7 outburst returns

82

Elect.

° ¢/

∑

∑

∑

∑

∑

∑

4 4

∑

∑

∑

∑

∑

∑

4 4

∑

∑

4 4

Œ Ó™

∑

∑

∑

∑

∑

∑

tuned gong w/S.S.

C. Bells./ Crot./ Gongs

° & #˙ ™

∑

pp marim. w/S.S.

3

5

5

Mar.

∑

¢&

∑

∑

∑

∑

?

∑

Œ

Œ nbbœœœ œœœ bbœœœ œœœ >

bb >œœœ ™™ œœœ ™™ œœœ ™™ œœœ ™™ bb œœœ œœœ œœœ œœœ œœœ ffp

o r #œ

> o o o #œ œ œ

o r #œ

&

> o o o o #œ œ œ œ J J

o r #œ

> o o o o #œ œ œ œ J J

> o o o #œ œ œ

o r #œ

o r #œ

> o o o o #œ œ œ œ J J

o r #œ

> o o o #œ œ œ J J

o r œ

> o œ

4 #œo 4 J

o o œ œ J

o #œj

> o o œ œ

o r #œ

pp

>o> o r o #œ œ œ

f

œœœ œœœ œœœ bbœœœ œœœ

fp

Ó

ppp

Ó

∑

∑

∑

Ó

∑

∑

∑

ff

Inside Pno.

{

& r # 3 3 3 3 >

S.

r 3

j j j j # 3 3 3 3 3r # 3 3 3 3 3r # 3 3 3 > > >

j j #3 3 3 3 >

mp

° & <#>˙ ™

r 3

4 j j j j 4 # 3 3 3 3r 3 # 3 3 3 3j 3 3 > > >

mp

#˙ ™ > day,

-

˙™

#˙ ™ >

mf

[eee]

day,

mp

-

˙™ [eee]

f

One

-

˙™

#˙ ™ >

#>˙ One

day,

no one,

mf

[nnn]

One

˙™

˙™

[nnn]

-

f

& ‹

∑

∑

∑

∑

˙

œ #˙ ™ v v

One

day,

no one

One

#˙

fpp ^ œ^ ˙™

day,

no one,

mf

?

∑

∑

∑

∑

∑

∑

¢

-

One

pppp

w -

-

w

Vln. 1

∑

∑

∑

∑

∑

4 4

∑

w

[nnn]

˙

fpp œ^ # ˙^ ™

day,

no one

pppp

w -

-

w

w

[nnn]

pppp

w -

-

w

∑

marc. ord.

bœ > ff

ord. sul pont.

j æ œ œ™æ

Œ

w

[nnn]

sul pont.

° &

w

[nnn]

f

> 4#˙ 4

B.

-

w

f

4 #>˙ 4

∑

pppp

w

fpp

#>˙ mf

∑

fpp

œv ˙ ™ v

4 4 #˙ ™ >

T.

# 3 3r 3 > >

#˙

mp

∑

&

r 3

4 4

∑

[eee]

A.

r 3

æ ˙æ

bœ œ œ ææ > >œ >>b>˙ ™

œŒ b >œ >œ >œ > ff

ffp

œ‰ œ‰ œ b œ >œ œ > œ œ œ > > > ff

sul pont.

∑

&

Vln. 2

∑

∑

∑

∑

4 4

∑

∑

ord.

Œ bœ >

bœ >

˙

b >œ >œ ™

œ

œ >

˙

bw >

p

f

˙

ff ff

marc. sul pont. 5

ord. > Œ bœ œ

5 5

B

∑

∑

∑

∑

∑

4 4

∑

Vla.

∑

Œ

œ > œ œ bœ œ œ Œ bœ œv > œ > >œ >> 3

> œ

‰ bœ >

œœ

œ >> bœ œ ‰ bœ œ œ ‰ œ œ œ > >œ >> >œ 3

>˙ ææ

3

ff

pizz.

pizz.

œ»

b˙» ?

∑

∑

∑

∑

∑

4 4

∑

Vc.

¢

∑

œ» ™

arco

Œ

‰ bœ ™ >

ff

arco

‰ ˙

Œ

bœ

œ

˙

mp

ff

œ

p

ff

=

crotales

93

C. Bells./ Crot./ Gongs

° &

∑

∑

3 4

∑

4 4

∑

∑

‹ arco 3 Ó™ & 4 b˙ ™

∑

˙˙ ™™

pp arco

?

∑

3 4

Ó

Mar.

¢ b ˙˙

ww

Œ

4 4

∑

3 4

∑

∑

∑

˙˙

p

o r œ

o

∑

&

∑

3 4

∑

4Π4

∑

bœo

œo

œo

bœo

œo

œo

œo

3 b>œ 4

pp

œo

œo

3

3

> bœo

œo

œo

b3 >

3

3

mf

Inside Pno.

S.

{

&

∑

° &

∑

∑

∑

3 4

∑

3 4

∑

4Π4

b3

3

3

b3

3

3 4 b3 >

3

∑

4 4

∑

¢&

∑

3 4

∑

bw v

4 4

∑

p

3 4 ˙

∑ -

∑

-

sul pont.

° œ Œ & œ bœ .

5

3

œ œ

5

‰ œ b œ œ œ œ bœ bœ

œ

j œ bœ

j bœ œ

One

3p 4 b˙ ™ >

∑

-

-

˙™ -

-

[nnn]

ord.

œ

œ

3 4 ˙™

4 4˙

pp

mp

n˙

ppp

3 4

w

∑

∑

o

mf ord.

æ wæ

& <b>w

b˙ ™

5

sul pont. Vln. 2

Œ

[nnn]

-

One

Vln. 1

r 3

fp

∑

One

A.

3

æ wæ

p

3 4 æ™ ˙

4 4 bœ

pp

œ-

œ-

ppp

œ-

bœ-

œ-

œ-

œ-

b-œ

-œ

-œ

-œ

bbœ-O

œ-O

œ-O

œ-O

3 4 bœ o

mf

Œ

Œ

∑

Œ

Œ

∑

ord. sul pont.

B Œ

b>œ

œ

Œ

˙

œ œ œ bœ œ bw w 5

b˙

Vla. 3

3 4˙ ˙

b-œ

4 b-œ 4

-œ

-œ

-œ

3 4 bœ o

3

pp

ppp

mf

sul pont.

>o ? w Vc.

¢ fp

ord.

‰ bO ™ b œ™ ff

˙O

‰ b O ™™ b ˙ ™™

3 4 O™ ˙™

4 4 O ˙ p

bbœ-O mf

œ-O

3 4 o

∑

bœ

∑

16 tuned gong w/S.S.

101

C. Bells./ Crot./ Gongs

°‹ ¢&

∑

˙™

∑

∑

∑ & b˙ ™

b˙ ™

∑

crotales arco

‹ &

∑

b˙ ™

Ó˙™ ™

p o r œ

> bœo

œo J

& Inside Pno.

> bœo

o r œ

œo

œo J

j 3 3

j 3

mf

œo

o r œ

œo

mf

{

& 3r b3 >

r 3

> bœo

> œo

o r œ

œo

bœo J

œo

œo J

mf

b3 >

3

r 3

3

° & <b>˙ ™

bœ

b3 >

3

p

b3

r 3

œo

bœo

> o o œr œ

b3

r 3

3 >

œo

3

r 3

bœo J

œo

> o o œr œ

œo

œo J

bœo

3

j 3 b3

3 >

3

bœ

˙

no

one

died,

œ b˙

b˙

3 >

r 3

3

b3 >

3 >

no

one

> bœo J

r 3

j b3 3 >

œo

œo J

> bœo

o r œ

œo

j b3 3

œo

œo

3

3

fp

r 3

3 >

3

j 3 3

r 3

b3 >

mf

bœ

˙™

˙

died,

mf

bœ

œo

o r œ

fp

mf

œ

œo

> o o œr œ

mf

b˙

mp

b˙

> bœo

o r œ

p

j r 3 33 >

œ b˙

day

One

& b˙ ™

A.

bœo

mf

b˙

[nnn]

p

> o o œr œ

mf

j b3 3

r 3

mp S.

> œo

o r œ

Œ

˙™

Œ

œ

b˙

œ

As

if

old

b˙ A -

tro

œ

˙

œ

˙

œ

As

if

old

A -

tro

Œ

b˙

œ -

Œ

œ bœ

pos

Had

de -

mf

bœ

˙

Œ

˙

Œ

œ

œ

day One,

T.

One

∑

¢& ‹

∑

died

∑

died,

∑

∑

∑

∑

∑

-

pos

Had

mp b>˙ ™

∑

de -

b>˙ ™

One

day,

= 112

C. Bells./ Crot./ Gongs

°‹ ¢& b˙˙ ™™

∑

˙™

∑

∑

œœ Œ Œ

bb˙˙ ™™

∑

Œ Œ

∑

∑

∑

Œ Œ

∑

Œ bbœœ ˙˙™™ Œ mf

mp o r œ

> bœo

œo

œo

&

o b>œ œo J

œo

o œo b>œ œo J J

œo

o r œ

œo J

> bœo ™

o > r œo œo œ œo J J

> o œ™ o or œ™ o bœo œo bœo ™ œ™ œ J

œo

o > o œ™ o œr œ™ o bœo ™ œ™

Inside Pno.

{

° &

3

œ ™ bœ ™

œ ™ bœ ™

œ bœ

œ

cid - ed

to

put

a - side

her

Ϫ

Ϫ

Ϫ

œ bœ

œ

to

put

a - side

her

b˙ ™

œ Œ

˙™

shears

for

&

A.

cid - ed

<b>˙ ™ ∑

& ‹

T.

bb˙˙™™

Œ œœ Œ

˙˙™™

shears

mp

mf

b>˙ ™

b>˙ ™

no

one

for

mp

-

˙™

Ϫ

Ϫ

[nnn]

no

one

?

∑

∑

∑

a

a

∑

r 3 3

mf

fp > b bbœœ ˙˙ >

bœ

œ

And

a

mf

died

And

-

no

-

a

bœ ™

œ

-

no

-

-

œ ™™

bœ ™™

no -

ther

Ϫ

bœ ™

Ϫ

one

died

And

a

-

no -

> œo

o œj™ œ™

∑

4 4

r 3 3

r

∑

4 4

bœ bœœ bœœ 44

∑

ther day,

a - no - ther

f

bœ œœbbœœ 44

∑

ther day,

a - no - ther

day,

and

f

>fp bœœ bœœ bœœ ˙˙ >

day,

Π4 Π4

a - no - ther

>fp b œœ bb œœbbœœ ˙˙ >

Œ Œ bœ Œ Œ

˙™

r

b3 333 333 > > > f

fp

b>œ ™

ther

r

Œ Œ bœ Œ Œ

˙˙™™

‰ no

o œj™ œ™

f

> œœ™™ >

¢ day,

> oj > bœo œœ™™ œo

fp > bœœbb˙˙ >

œ

a

r

b3 333 333 > > >

fp

bœ ™™

mf

∑

bœœ

bœ nœ And

œœ ‰ bœ ™™ ‰

o > œj™ o œ™ œ

j r j b3 3 3 33 3 > >

B. One

> oj > bœo œœ™™ œo

o œj™ œ™

œo J

mf

∑

˙˙™™

day

b>˙ ™

œ ™ bœ ™

r 3

day

fp

>œ ™ b >œ ™

> o > r bœo œo œo œ œo J

ff

˙˙™™

fp > b˙˙™™ >

mp

o r œ

œo œo J

fp

fp mp > Œ bœ nœ bb˙˙™™ >

Œ Œ

œo

j j r j 3 3 b3 3 3 b3 33 3 3 >

> Œ bœ œ bb˙˙™™ >

Œ

œo bœo œo

o > r bœo œ œo J

sub. mp

mp

pp

Ϫ

œo J

œo œo J

j j j rj r j 3 3r b3 ™ 3 3 b3 ™ 3 ™ 3 ™ 3r 3 ™ b3 3 3 33 b3 ™ 3 ™ 3 ™ 33 ™ b3 3 3 > > > > pp

S.

bœo

f

& 3r b3 3 3 b3j 3 3 3j b3j 3 > > >

4 4

and

Π4 Π4

a - no - ther

=

G 3 4 ˙™

126

Perc.

° 4 ¢/ 4

bass drum erratically swirl surface w/rubber super ball

∑

6 4 ˙™

˙™

˙™

˙™

˙™

˙™

˙™

˙™ f

ff sub. p

p BAR.: strike piano frame w/H.S.

4 &4

3 4Œ

∑

¿

¿

6 4¿

¿

¿

¿

¿

¿

¿

¿

¿

¿

¿

Ó

∑

∑

∑

∑

7

p

f quasi improvisando

Inside Pno. TEN.: strike piano frame w/H.S.

{

4 &4

3 4 Ϊ

∑

¿™

6 ™ 4¿

¿™

¿™

¿™

¿™

¿™

Ó™ o

ff quasi improvisando

° non vib. pp Cha

S.

-

os,

-

-

-

-

pp

mf os

reigned

˙˙ ™ ™

#˙ ™ #˙ Œ

ff

> ° 4 bbw &4 w >

3 4

∑

6 4 ˙ ™™

day,

Ó˙™ ™

˙ ™™

Cha pp non vib.

non vib. pp Cha -

ff

A.

-

non vib pp cha -

mp

4 > & 4 bbw w >

3 4

∑

6 4 ˙˙ ™

˙˙ ™ ™

˙˙ ™ ™

os, mp

mp os,

pp Cha

Œ œ

cha p

œ˙ ™

Œ

p cha

mp os... -

˙™ ˙™

-

#˙™ ˙™

˙™ ˙™

Œ #˙ ˙™

˙™ ˙™

˙˙™™ -

os,

-

os

˙ Œ

mf reigned,

#œ #˙

reigned day,

Cha pp non vib.

f T.

4 &4 Œ ‹

ff

bœ bœ bœ bœ bœ > Af - ter

ma - ny

f

B.

?4 ¢ 4 Œ

ma - ny

mp

˙

˙™ -

cha p

pp

œ

pp

mp

#˙

œ

os,

˙

cha

pp

˙™

mf

˙™

os

˙™

reigned,

#˙ cha

mp

3 4

∑

6 4Œ

˙™ ˙ Cha

G 3 4 ˙™

pp

œ

œ

#˙

reigned,

˙™

˙™ > ff

˙™

˙™

˙™

˙™

˙™

˙™ > ff

˙™

Cha

-

os

reigned,

6 4 ˙™

ppp

4 &4 Ó

3 4 ˙

˙™

˙™

˙™

˙˙ ™™ > ff

˙™

˙™

˙™

˙™

˙™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙™ pp

6 4 ˙™

ppp molto sul pont; obtain overtones 1, 2, 3, 4, 5, 6 Vla.

B 44 Ó

3 4 ˙

6 4 ˙™

ppp

pp

molto sul pont; obtain overtones 1, 2, 3, 4, 5, 6 Vc.

?4 ¢ 4 Ó

3 4 ˙ ppp

œ -

os

pp

˙™

˙

os

-

mf

˙™

˙™

molto sul pont; obtain overtones 1, 2, 3, 4, 5, 6 Vln. 2

-

non vib. pp

days

overtones 1, 2, 3, 4, 5, 6 ° 4obtain &4 Ó ˙

os... mp

non vib. pp

Cha

ff

molto sul pont;

Vln. 1

∑

6 4Œ

days

b œ b œ b œ bœ b>œ Af - ter

3 4

-

6 4 ˙™

˙™

˙™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™ > ff

˙˙ ™™

˙˙ ™™

132

Direct.

Death, dressed in a bleak garment, walks onstage, around her neck is a contraption that allows her to write & read letters: the contraption effortlessly suspends all the materials she needsfor her letter-writing. It includes a desk-like surface upon which she can write letters, an ink well and a pouch holding colored envelopes. She is currently writing a letter.

° ¢/

∑

∑

17

∑

∑

∑

∑

∑

bass drum - rub surface w/rubber super ball

Perc.

° ¢/

∑ pp

&

Ó™

∑

Œ

w™ BAR.: strike piano frame w/H.S.

Ó™

¿

Œ

¿

¿ ¿

¿

¿

¿

¿

¿

¿

¿

¿

¿

Ó

˙

˙™

pp

mp

˙

œ

˙

˙

˙

˙™

œ ˙

mf sub. pp

mp

mf

∑

∑

∑

∑

∑

∑

∑

∑

7

p Inside Pno.

f quasi improvisando

TEN.: strike piano frame w/H.S.

{

&

Ó™

¿™

Ϊ

¿™

¿™

¿™

¿™

¿™

¿™

Ó™ o

ff quasi improvisando

cha

S.

° &

-

-

˙ ™™

Ó™

f os,

mf

#˙˙™™

cha

˙˙

os, f

-

& #<#>˙˙™™

A.

os

#œ p

and mf

a

-

mf

?

Ó

Œ

no - ther

#˙

day,

Œ #˙

#˙œ™

a -

˙

no -

#˙

Œ n˙

ther

day,

cha

os

-

#˙

Œ n˙

˙™

œ reigned,

œ

cha

os

-

reigned,

˙™

#˙

˙™

œ

ther

day,

a

œ #˙ ™

˙

#˙ ™

˙

ther

day,

a

˙

#˙ ™

˙

ther

day,

a

œ

˙

#˙

˙

ther

day,

˙

no - ther

day,

a

no

-

-

f

#œ

œ

and

a

œ -

f

œ

œ

œ #œ

#œ

and

a

no - ther

day,

Œ

a

mf

Ó

B.

œ œ

#˙ ™

no

-

no

-

no

f

p

˙™ & <#>œ #˙ ‹ reigned,

T.

p

˙

p

n#œœ nœœ nœ

reigned,

œ

f day,

mf a - no - ther

Ó #˙ ™

f

œ ˙™

p

Ó

œ

˙™

no - ter

day,

p

#˙

œ

œ œ #˙ ™

œ

a

no

a

ther day,

œ #˙ ™ no

#˙

˙

œ ˙™

˙

#˙

˙

ther

day,

#˙

˙

Œ

œ

œ

˙™

#˙

˙

Œ

œ

˙™

˙

Œ

œ

Œ

¢

Vln. 1

° &

os

-

w™ w™

w w ™™

Ó™

Œ w w ™™ > ff

pp

w w ™™

w™ #w > ™

reigned,

cha

w™ w >™ ff

&

Vln. 2

cha

os

-

˙˙™™

# œœ ˙˙ ™™

w w ™™

ww ™™

Œ

>œ œ

˙˙

#ww ™™

˙˙ ™™

#˙ ™ ˙™

˙™ ˙™

˙˙ ™™

> ˙˙ ™™

ww ™™

˙˙ ™™

œœ ˙˙ > ff

pp

˙™ ˙™ > ff

˙˙ ™™

Ó™ ™ w w™

reigned,

ff

Œ # ˙˙

os

-

w w™™

Ó™ œ ˙™ >œ ˙ ™ ff

˙˙

pp

˙˙

cha

ff

Ó

Ó™

™ w w™

reigned,

pp

˙˙

? ¢

os

-

œœ

Ó

˙™ ˙™

ff

Vc.

cha

w™ w™

B Vla.

reigned,

™ w w™

>œ œ

˙˙

˙˙ ™™ pp

ff

=

H 139

° /

Perc.

˙™

˙

œ ˙™

œ

7 4 ˙

˙

˙

6 œ 4 ˙™

˙

∑ ˙

œ

˙

˙

sub. p

˙

mf

?

∑

∑

Mar.

¢

∑

∑

˙™

œ ˙

sub. p

f sub. p

7 4

# ˙û

6 4

∑

strike & drag w/superball mallet

mp

∑

∑

∑

∑

˙û

# ˙û

˙û

˙û

Ó pp

obtain harmonics by lightly touching sounding pitch on indicated string while playing written pitch on keyboard

&

∑

∑

7 4

∑

6 4

∑

∑

∑

∑

7 4

∑

6 4

∑

∑

>o o o o o o #œ œ œ œ œ œ

Inside Pno.

{

o Ϫ

o ˙™

3™ 3™

#™

fpp

Ó #>3 3 3 3 3 3

## ™

>3 3 3 3

sub. pp

° & ˙™

#˙

Œ n˙ cha

-

os

œ ˙™

7 4 Œ n˙

reigned,

#˙ ˙

cha -

os

6 4 Œ n˙

reigned,

cha

#˙ œ -

os

& <#>œ #˙

#w ™

Œ n˙

˙™

reigned,

cha

f A.

o Ϫ

Ó

fpp

&

S.

>œo œo œo œo

o #w ™

˙™

#˙

œ ˙

˙™

˙

6 4 #˙

˙

˙

w™

w™

os,

-

sub. ppp

p

Œ 47 #˙

w™

Œ n˙

œ #˙

#œ œ œ œ œ œ #œ œ œ œ œ œ #œ a

- no

ther

day,

a

-

no

ther,

-

and

a

-

no

ther,

cha

œ œ œ œ œ #œ œ œ œ œ œ

Ah...

-

sub. pp f

& <#>œ #˙ ‹ a

T.

p

˙™

#˙

- no

ther

œ ˙ day,

Œ 47 #˙ a

˙™ -

no

˙ ther,

-

6 4 #˙

˙

and

a

˙ -

no

#w ™

Œ n˙

œ #˙ ther,

cha

w™

w™

w™

w™

˙™

os,

-

sub. ppp

#˙ ™ ? ˙™ B.

¢

Œ n˙ cha

#˙ -

os

œ ˙™

7 4 Œ n˙

reigned,

cha -

#˙ ˙ os

6 4 Œ n˙

reigned,

cha

œ -

os

° ˙™ & ˙™

˙˙

œœ ww ™™

7 ww 4

˙˙ ™™

6 ww ™™ 4

œ #˙

˙ œ

˙ œ

˙™

reigned,

cha

H ¯¯ w w

¯¯ ™ ˙˙™

¯ >¯ œœ ˙ ˙

Ah...

-

III, IV harm. gliss.

Vln. 1

˙™

Œ n˙

#˙

¯¯ œœ

¯ >œ¯ œ

¯¯ IV œœ ˙¯

p

f

ppp

¯ ˙™

¯ w™

¯ œ¯ œ¯ œ

¯ ¯ œ ˙™ j œ

p

f

pp

rfz III, IV harm. gliss.

Vln. 2

™ & <#>w w™

7 4 w w

w™ w™

p

˙˙ ™™ f

6 w™ 4w ™

˙˙

w™ B #w ™

˙˙ ™™

˙˙ ™™

7 ww 4

pp

Vc.

? ˙˙ ™™ ¢

œœb˙˙

ww ™™

#˙˙ ™™

pp

f

7 ww 4 p

b˙˙ ™™ f

6 ww ™™ 4 pp

6 ww ™™ 4 pp

¯¯ ˙˙™ ™

¯ w™

¯ w™

ppp

¯¯ ˙˙

¯¯ w ™™ nw > rfz ww

¯¯ IV œœ ˙¯

¯¯ ˙˙™ ™

w w > rfz II, III harm. gliss.

Vla.

¯ ˙˙¯

j œ

¯ œœ ¯ &œ >œ rfz

j œ œ

¯¯ ˙˙

I, II harm. gliss.

w w ™™

j œ œ

¯¯ ˙˙

¯¯ ˙˙ j œ

¯¯ ˙˙ j œ

¯¯ ˙˙ j œ

¯¯ ˙˙ j œ

¯¯ ˙˙ j œ

¯¯ ˙˙ j œ

¯¯ ˙˙ j œ

¯¯ ˙˙ j œ

¯¯ ˙˙ j œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

p

p

¯¯ ™ w w™

¯ œœ¯ J j œ œ ppp

p

¯ œœ¯ ™™

¯ ˙˙¯

¯ ˙˙¯ j œ œ

¯ ˙˙¯ ™™

¯ ˙˙¯ ™™ j œ œ

j œ

Death is writing a letter, and suddenly grabs the paper, tears it from the pad, crumples it into a ball, and throws it to the floor.

18 148

Direct.

Mar.

° ¢/

∑

°? ¢

∑

&

∑

∑ ™ ™ # œ û œ û œ ™û œ ™û

∑

∑ ˙û

˙û

∑ # ˙û

∑ >o #œ

o œ

o œ

o œ

∑

˙û

o Ϫ

o Ϫ

>o #œ ™

o Ϫ

∑

∑

o Ϫ

∑

˙û

o ˙

∑ œ™

∑ >œo ™

o œ

∑

˙û

∑

Ó™

∑

∑

∑

Ó™

œ™û ˙™û

>˙o

o œ

œ™û

Œ™ o ˙™

o ˙

#™

#

œo

5

Inside Pno.

fp

fp

poco f

mp

5

{

∑

&

∑ #>3 3

3 3

>3™

3

o S.

∑ 3™

3™ 3™

#>3 ™ 3 ™

#

œ ™ œ™

Ó™

Œ

3 >#

3

as soft as possible

° <#>w ™ &

Ó™

Ϊ

Ϫ a

˙™ no

-

Ϊ Ϫ

∑

œ ™ œ™ ther,

-

˙™

a

- no

-

Ϫ

ther,

-

Ϊ

Ó™

Ϊ Ϫ

∑

one,

˙™

a

- no

-

to closed mouth ord.

o

as soft as possible

ΠΪ

& #œ

A.

œ œ œ œ œ

Ϊ

∑ œ™

#œ œ

[mmm...]

a

˙™ no

-

Ó™ #œ ™

Ϫ Ϫ ther,

-

a

˙™ no

-

Ϊ

Ó™

Ϊ

∑

Ϫ Ϫ

Ϫ

#œ ™

ther,

one,

a

-

-

˙™ -

no

-

no

-

no

-

o as soft as possible

& <#>w ™ ‹

T.

Ó™

Ϊ

Ϫ a

no

-

Œ ™ œ™

∑

œ™ œ ™

˙™

ther,

-

a -

Ó™

œ™ œ ™

˙™ no

-

bœ ™

ther,

-

Ϊ

Ó™

Œ ™ œ™

∑

one,

˙™

a

-

to closed mouth

o

as soft as possible ord.

? w™

ΠΪ

#˙

B. [mmm...]

a

¯ œ œ¯ ˙¯ Vln. 1

˙¯

no

-

j œ

j œ

-

ther,

a

no

-

ppp

¯ w™

B Vla.

j œ œ

j œ œ

¯¯ ˙˙

j œ œ

¯¯ ˙˙

p

j œ œ

one,

˙™ o

™ ˙OO˙™™™

™ w~~w™™™

Ó

¯¯ ˙˙

j œ œ

¯¯ ˙˙

j œ œ

¯¯ ˙˙

¯¯ ˙˙

j œ œ

sub. pp

j œ œ

j œ œ

sub. pp

Ó™

w™ #w™

j œ œ

j œ œ

ppp

ppp

¯¯ w w

j œ œ

w~~w

j œ œ

mp

˙OO ™™™ ˙™

Œ n˙OO ˙

¯¯ ˙˙

Vc.

¯ ˙¯ ™™ ˙

¯ ˙¯ ™™ ˙

¯ ˙¯ ™™ ˙

j œ œ

¯ w¯ ™™ w

?

Ó

j œ œ

¯ w w ¯

bww -

j œ œ

¯¯ ˙˙

j œ œ

ppp

p

mp

¯ ˙˙

¯ ˙˙

¯

¯

w~~ ™™™ w™

¯ ˙

Ó

mp

¯¯ ˙˙

j œ œ

pp

w~~w

¯¯ w w

j œ œ

mp

¯ w w ¯

¯ ˙

IV

œj œ

j œ œ

¯¯ ˙˙

j œ œ

ppp

˙ ˙ -

ord.

¯ ˙¯ ™™ ˙ ¢&

ppp

¯ >¯

mp

-

¯ w™

mp

w™ #w™ ¯¯ ˙˙

˙™

a

¯ w™

¯ w™

¯¯ w w

Œ ™ œ™

∑

j œ

j œ

¯¯ w w

Ϊ

pp

¯ w™

w™ o

¯ ˙

¯ ˙

mp

¯ w™

Ó™ ¯¯ ˙˙

ther,

-

& j œ

bœ ™

IV

Œ n˙OO ˙

w™ #w™ mp

Vln. 2

œ™ œ ™

œ œ

j œ

¯ w™

Ó™ ˙™

¯ >j¯

° & j œ

œ™ œ ™

˙™

¯ w™

œ¯

Œ ™ œ™

∑ œ™

¢

¯ w w ¯

j œ œ

w~~w

p

¯ w™ w™ ¯

w w

˙ ˙

¯¯ ˙˙

poco f mf

=

I INTERRUPTION Rushing ahead q = 144 - 152

Suddenly forward again, but gentle, diminishing h. = 78 - 82

U Œ

157

Direct.

° ¢/

∑

∑

4 4

∑

5 4Ó

∑

Ó

6 4

∑

∑ bass drum - slowly rub surface w/rubber super ball

° /

∑

?

∑

Perc.

∑

∑

4 4

∑

4 4

∑

5 4Ó

Ó

5 4Ó

Ó

U Œ

6 4 Ó™

Ó™ ˙™

˙™

pp

#˙ Ó

Œ

˙û

# wû

Œ

Mar.

¢

U Œ

6 4

∑

∑

U Œ

6 4

∑

∑

stop any very low string with LH

ff

? Pno.

∑

{&

∑

∑

4 4

5 4 @ v °

o #˙ ™

Ó™

∑

& Inside Pno.

o ˙™

## ™

#™

4 4

∑

5 4Ó

Ó

U Œ

6 4

∑

∑

4 4

∑

5 4Ó

Ó

U Œ

6 4

∑

∑

4 4

∑

5 4Ó

Ó

U Œ

6 4 Ϊ

p

{

## ™

° & œ™

Ó™ -

T.

Ó

∑

Ϫ

˙

˙

ther,

one

day,

Ó™

& Ϫ

A.

Ó™

∑

&

S.

o #˙ ™

@

˙

-

ther,

one

day,

& œ™ ‹ -

Ϫ

b˙

˙

one

day,

Ó™

ther,

?

Ó™ œ™

Ó

˙

ther,

-

Ó

4 4

∑

5 4Ó

∑

° ¢&

∑

Ó

U Œ

Ó

U Œ

4 4

∑

5 4Ó

∑

6 4 Ϊ

6 4 Ϊ

day,

-

ther

-

no

-

˙™ -

no

Ϫ

Ϫ

-

ther

Ϫ

Ϫ

Ó™

ther

-

Ó™ œ™

˙™ -

no

-

Ϫ

Ϫ

-

ther

mf

4 bw^ 4

∑

-

˙™

Ϫ

a

∑

no

œ™ Ó™

a

fp Death - Sop.

-

Ó™

Ϫ

6 4 Ϊ a

˙

one

5 4Ó

∑

U Œ

Ϫ

Ϫ

B.

¢

Ó

4 4

∑ ˙

˙™

a

Ó

Ϫ

Ϫ

5 4Œ

Dear

-j œ

>œ b>œ U Œ

b˙

Dear

6 4

∑

∑

Mi - ster,

I INTERRUPTION Rushing ahead q = 144 - 152

Vln. 1

Œ ° & Œ

>j œ œ

pizz.

˙OO˙™™™™

˙OO˙

w~~w™™™™

˙OO˙™™™™

b >œ

bœ

4Π4

Ó™

‰ œ

Suddenly forward again, but gentle, diminishing h. = 78 - 82

>œ o o œ 45 Œ #œ nœœ œœ œnœœ J

U Œ

6 4

∑

∑

U Œ

6 4

∑

∑

U Œ

6 4

∑

∑

U Œ

6 4

∑

∑

6 4

∑

∑

5

o

mp

f

¯ w™

¯ w™

fff

nœ o bœ ‰ bnœ>œ 5 Œ #œ œœo œœo œ bœ > œ J 4 nœ f

pizz. Vln. 2

&

4Π4

w™ #w™

j œ mp

ppp

5

fff pizz. j œ œ

B Ó Vla.

w~~w

Ó

j œ œ

w~~w

Ó

j œ œ

w~~w

4Π4

‰ œ

>œ J 45 Œ

œ

œ bœ

œ nœœ

f

o

pp

bœ

b >œ

5

fff

Vc.

pizz.

¯ w™ ? w™ ¢ ¯

#w w ™™

w w ™™ ¯

¯

4Ó 4

Ϊ

>œ bœ J 45 Œ

œ bœ nœ

œ œœ

5

o

f

fff

Solo Vc.

° ¢&

∑

∑

∑ &

4 4 bw ff

arco shiver crushed bow tone

¿

pizz.

5 4

Œ

U Π?bb66 66 667 > > sfz sfz

pp

19

poco rit. Chorus slowly moves from position seen to position unseen. Chorus may repeat these 4 measures to accomodate movement on stage.

164

Direct.

° ¢/

∑

∑

™™

∑

∑

∑

∑

∑

™™

∑

∑

∑

3 2

∑

™™

∑

∑

∑

3 2

bass drum - slowly rub surface w/rubber super ball

Entrance and length of notes need not be exact, especially if measures are repeated. Perc.

° ¢/

∑

∑

™™

∑

Ó™

∑

˙™

w™

ppp

S.

° Ó &

Ó

b˙

˙

no

& Ó

A.

Ó

one

b˙

˙

& Ó ‹

Ó

one

˙

bw

˙

no

? Ó

Ó

∑

w

no

T.

∑

w

∑

one

˙

˙

w

∑

B.

™™ w ™

w™

w™

w™

™™ w ™

w™

w™

died

one,

died

one,

died

one,

day...

™™ w™

w™

w™

w™

w™

w™

w™

died

one,

died

one,

died

one,

day...

™™ w™

bw ™

w™

bw ™

™™ w ™

w™

w™

died

one,

died

one,

died

one,

day...

™™ w™

w™

w™

w™

™™ w™

bw ™

w™

died

one,

died

one,

day...

™™

¢ no

one

died

one,

3 2

3 2

3 2

3 2

=

INTERRUPTION: Stilted, trying to come up with the right words h = 60 - 63 ca. 5 - 7 sec.

ca. 8 - 10 sec.

174

Direct.

° 23 /

U ∑

∑

U ∑

∑

∑

U ∑

∑

∑

Begin electronics, CUE 8: echoes of tearing paper, wet, distant

Elect.

3 ¢/ 2

U ∑

Ó

very slowly tear a large piece of paper

Perc.

Ó

Ó

very slowly tear a large piece of paper

stop tearing paper abruptly when soprano crumples paper

° 3U w™ ¢/ 2

Ó

Ó

Ó

pp

Death - Sop.

Ó

Ó

Ó

Ó

>œ

Ó

pp

She has an idea! a rapid inhalation poco sfz

,

Ó

Ó

Œ

f

as if thinking of the right thing to say mp

U ∑

° 3 &2

very quickly tear a large piece of paper

stop tearing paper abruptly when soprano crumples paper

, U w™

U ∑

Œ

∑

Ó

Ó

Œ

¿ .

¿ Hmmm...

quicky cumple a piece of paper

Harm./ Perc. [sop.]

œ.

U ∑

3 ¢/ 2

Œ

quicky cumple a piece of paper

Ó

œ.

U ∑

Ó

f

Œ

Ó

Ó

˙7 ˙

˙7 ˙

∑

f

INTERRUPTION: Stilted, trying to come up with the right words h = 60 - 63 shiver bow Solo Vc.

°? 3 ¢ 2

,

,

U ∑

U ∑

˙7 ˙

7 #w w

˙7

w7 w

Ó

mf p

= ADDENDUM A: Narrator MAY opt to speak text in Addendum A once the cellist has finished playing the bracketed measure [ m. 183]. If this is done, the next measure [m. 184] will begin immediately after the Narrator is finished.

rit. ca. 3 - 5 sec. 179

Direct.

°/

U ∑

∑

∑

∑

∑

4 4

∑

∑

∑

∑

4 4

∑

∑

4 4

Begin electronics, CUE 9: muffled crumpling paper, dry and staccato

Elect.

Ó ¢/ U

U Ó

U Ó

very slowly crumple large piece of paper

Perc.

overlap crumpling of paper as soprano crumples paper

° U ¢ / w™

˙

Ó

PERC. moves to inside piano

∑

Ó

pp

Death - Sop.

with a sense of relief a slow, relieved exhalation p

U ∑

° &

∑

∑

very slowly crumple large piece of paper

Harm./ Perc. [sop.]

U ∑

¢/

Y™

œ

œ.

Ó

Ó

Ó

Ó

4 4

very slowly tear a large piece of paper

quicky cumple a piece of paper

w™

Y

w™ Ó

˙

Ó

& pp

f

4 4

pp ADDENDUM A: Narrator MAY opt to speak text in Addendum A once the cellist has finished playing the bracketed measure [m. 155].

Scythe/Narr./ Dog - Ten.

Solo Vc.

U ∑

° ¢& ‹

°? ˙˙ ¢ 7

U Ó

∑

˙ ˙ 7 pp

Ó

w w 7

∑

˙ b˙ 7

, w w 7

∑

ord.

¯ œœ¯

‰™

¯ œ-œ¯

¯ œ-œ¯

rit.

Πpoco f

4 4

∑

œOOœ -

œOOœ

Œ

œOOœ -

œOOœ

Œ

œOœO -

O Oœœ pp

&

4 4

20

death's letter

J Unsuspecting, miniscule q = 96 - 104 Holding a letter in one hand and her quill in the other, Death stops abruptly to read her letter aloud.

184

Direct.

4 ° ¢/ 4

∑

∑

3 4

∑

4 4

3 4

∑

41 1 1 1 111≈Ó 4

∑

3 4

∑

4 4

3 4

∑

4 Π4

∑

3 4

1 1 11111111

3 4

PIANIST: pluck string w/plastic guitar pick; OK if adjacent D# & F strings are incidentally strummed

quasi tremelo

4 &4

1 1 1 1 1 1 1 ≈Ó o ppp

∑

Inside Pno.

{

4 &4

∑

‰ p

p

f

3 4

∑

4 4

∑

f

PERCUSSIONIST: strike marble along surface of the piano string

8 4 8 8 4

3 4 ‰ b8œ

∑

pp

8 8 8 8 8 8 Ó

f

3 4

ppp

°

non vib. pp ad libitum - stuttering sung

∑

Ó

Œ

D - d

f

ad libitum

pp

mf

3

4œ 4

d - d - d - d - d - d Dear

-

a tempo mf

a tempo

^ 3 œ. ‰ œ. ‰ 3 œ. œ. œ. œ. œ. œ. œ™ 4 J

3

° 4 Death - Sop. & 4 ¢

-

œ

-

-

3 œ œ. ‰ 3 œ. ‰ œ. ≈ œ. œ. œ. œ. œ. œ. œ. 4 ˜œ 4 4

˜œ

-

-

d

-

d

-

- d - d - d - d - d - d - d -d -

œ

œ œ œ œ

Dear

señ - or

3 4

mi - ni -

J Unsuspecting, miniscule q = 96 - 104 I/pizz. - alt. L & R quasi tremelo

Vln. 1

° 4 &4

o œo œd o œo œd o œo œd Œ

∑

3 4

Ó

d d do 4 œo œo œo œo œo œo >œ 4

∑

6

3 4

Ó

∑

d od o d o d d 4 >œ œo œo ≈ >œ œo œo ≈ œo œo œo >œ Ó 4

p

mp

f 3

3

f

I, II arco/sul pont.

4 &4

Vln. 2

œ œo œ œo œ œo œ Œ

∑

3 4

6

3 4Œ

Ó

˜ >œ œ™

o œ œo œ œo œ œo œ 4 >œ ‰ ™ 4

Œ

7

‰™

3 4

‰

∑

3

3

f

f

> > ^ O O 4 œo œ œo œ ‰ œo œ œo œ ≈ œo œ œo ‰ œo œ œo œ 4

3 4

7 3

ppp

ppp

sfz

f

ppp

7 7

mp

mp

sfz

arco/molto flaut. use full bow Vla.

∑

‰

3 4Œ

Œ œO

p

ord.

≤ œO

3

B 44

f

Œ

3 3 3 4 Œ Oœ œO 4 œO œO œO œO œO œO œO œO œO

‰

œO œO œO œO

f

f

ff

3 4

∑

4 Π4

‰

3 4 œO ™™

œO

pp p

arco molto sul pont.

Bœ ™ Vc.

¢

? 44

∑

sul tasto w/light L.H. quasi wide vib.

µœ

œ

≈

3 4Œ

Ó ppp

ff

œ

nœ

œ ˜œ œ œ œ œ œ œ

4 4

Œ

ppp

ppp

‰ ff

3 4

Ó

∑

4 ≈ 4

° 4Ó ¢& 4

o œ^. ‰ ™

≤ ˙o

Œ

3 4

Ó

ppp

9

ppp

¿

^o 4 ŠϪ 4

∑

3 4

Ó poco f

Solo Vc.

œO. v sffz

pizz.

-œo -œo -œo -œo -œo -œo -œo -œo œo. 3 4

œo

∑

4 4 ˙™

?

9

p

msfz

poco f

sffz

pp

f

=

Hovering, billowing, untethered q = 60 - 76 190

3 &4

∑

∑

4 4

∑

∑

3 4

∑

4 4

∑

3 4

∑

4 4

∑

Inside Pno. BARITONE: arco bow string w/filament

{

3 &4

?

∑

G™

4G 4

G™

pp

vib. f

ad libitum mp

Death - Sop.

. 3 #œ 4

5

° 3 ¢& 4

Œ ˙™

4 4œ

‰

˙

œ

ster,

I

œ œ

œ

œ bœ œ

a tempo sub. f

3 3

ad libitum - stuttering

sub. pp

f

œ. ‰

f

p . . . . . . . ≈ œ œ œ œ œ œ œ 44 µ˙

#œ.

‰

œ œ œ œ wish to

in - form

you

and all those

con - cerned

that

that,

at - at - at - at - at - at - at

from

mid - night

Hovering, billowing, untethered q = 60 - 76 IV/arco/sul tasto con sord. Vln. 1

° 3 &4

5

∑

∑

∑

4Ó 4 œ

œ

œ œ

bœ

3 4 #˙ ™

4 4œ

pp

Œ

Ó

Œ

Ó

pppp

ord. IV/sul tasto

O™ 3 ˙™ &4

Vln. 2

Oœ

con sord. 5

Πo

Œ

∑

4Ó 4 œ

bœ

œ

œ œ

3 4 #˙ ™

4 4œ

pp

con sord.

B 43

Vla.

∑

∑

∑

4Ó 4

pppp

III sul tasto

3

‰ œ bœ 43 œ œ œ #œ ˙

Œ

4w 4

pp

II sul tasto

con sord. Vc.

¢

? 43

∑

∑

∑

4Ó 4

Œ

mf

bœ 3 œ œ œ # œ ˙ ‰ œ 4

w

4 4

3

pp

mf

arco Solo Vc.

°? 3 Œ ¢ 4

Œ œœ

˙˙ ™™

˙˙ ™™

œ-

œ.

4 4w w

3 4 ˙™ ˙™

#œ #œ ˙ flaut. 4 #œ œ œ # œ 4œ œ 7

pppp p

mf

to -

3 4

21

196

Direct.

° ¢/

∑

∑

∑

∑

3 4

∑

4 4

∑

∑

3 4

∑

4 4

∑

3 4

∑

4 4

PERCUSSIONIST: strike marble along surface of the piano string

8 8 8 8 8 & ‰ b8œ pp

8 8 8 8 Œ

mf

Inside Pno.

Ó

ppp

BARITONE: arco

{

? Œ

G™

G

G

pp

languorous mf

f

revitalized

œ-

7

° Death - Sop. & ˙ ™ ¢

Œ

∑

night

Vln. 1

° &

j œ œ

j œ œ

bœ

œ

peo - ple

will start

to

die

œ #œ

œ

œ

œ

4 4 a

ord.

molto sul pont.

wo o

wo

gain.

-

sul tasto 7:6

∑

∑

3 4

ppp

ord.

#œ

œ

œ

œ

molto sul pont.

3

w

œ

3

œ œ #œ œ

œ w

œ

sul tasto 3 3 4‰ ‰

w o

4 4

œ

ppp

&

Vln. 2

˙

3 4‰

œ

4 4 œ œ

w ppp

ppp molto sul pont. sul tasto

B <#>œ

Œ

Ó

∑

o œ

Œ

o œ

o o o o o œ œ œ œ œ

o œ

o œ

o œ

o ˙

3 4‰

Vla. pppp

#œ

œ

œ

œ

4 4

œ

5 3

o

ppp

ppp

II molto sul pont.

<#> œ

I/sul tasto

wo

?

Œ

Ó

∑

œ 3œ 4

∑

Vc.

¢

œ #œ

œ

œ

5

pppp

Solo Vc.

pp

°? <#> œ ¢

œ

œ 4 4

5

ppp

ord.

ppp

™ n>˙˙ ™

w w

w w

poco fppp

f

sub. p

3 4 ˙™ ˙™

w w

4 4

poco f

=

PERC.: marble on pn. string

201

4 &4

∑

3 4

∑

∑

8 8 8 8 42 8 8 8 8 8

4 4 #œ8

∑

mp

7 8

3 4

∑

ppp

Inside Pno.

{

BAR.: arco

? 44

∑

3 4 G™

G

4 4

G™

2 4

∑

7 8 Œ

∑

pp

bg

3 4

g™

pp

a tempo sub. mf

ad libitum - stuttering sub. f p

a tempo f

ad libitum

3

sub. pp

f

f

œ œ œ 2 œ #œ ˜œ œ 7 b ˙ ™ 4 8 3

° 4 #œ œ œ ˜œ ™ œ œ œ #œ #œ #œ 43 Death - Sop. & 4 œ # œ œ ¢ œ œ œ œ œ œ œ œ œ œœ 3

3

3

3

I should ex plain that the rea- son that lead me to put a- way my em- ble- ma- tic

scythe

œ J

was

#œ. ‰ œ. œ. œ. œ. œ. œ. 4 ˜œ 4

to

g

-

g - g - g- g- g -

#œ

œ

give

those

hu-man

be - ings who so

loathe

Vln. 1

° 4 &4 ˙

3 4

me

ord. arco sim.

pizz.

d d d d d ‰ œ œ œœœœœœœœŒ >o o o o o o o o o o

molto sul pont.

œ J

3

3 4Œ

∑

Œ

˙ o

mf

4 d d d dÓ 4 œœœœœœœ œ ooooooo o

p

mp

2 4

7 8 Œ

∑

pp

≤ ≤ ≤ ≤ ≤ 3 4 b œ œ œ œ œ œ œ œ œ b œo œ œ œ œ œ œ œ œ œœ ' ' ' ' ' poco sfz

¯¯ ¯¯ 4 œ™ œœ 4 w w o

molto sul pont.

4 &4

Vln. 2

3 4 ‰™

∑ ˙

˙ o

œ˙ vo o

˙ o

fpp

ppp

¯¯ 2˙ 4˙

¯¯ 7 ˙ 8 ˙

B 44 œJ

Vla.

#˙˙

Ϫ

˙˙

˙˙

œo œo œo œo œo œo œo œo œo œo œo

3 ˙™ 4 ˙™

p

˙˙™™

4 ≈ 4 o

ppp

2 4

Œ

mp

3 4

ord. arco sim.

pizz. molto sul pont.

¯¯ œœ ™™

7 8 Œ

∑

pp

≤ ≤ ≤ ≤ Æ ≤ ≈bbœœ œœ œœ œœ œœ œœ œœ œœ œœ 43 ' ' o poco ' sfz

¯ ¯ œœo 2 œœo 4 o

molto sul pont. Vc.

¢

? 44 œ œ

œ ˙™

#œ

˙˙ ™™

3 ™ 4 ˙˙ ™

˙˙ ™™

4 œ 4 œ

Œ

Œ

‰

5

p

Solo Vc.

#œ œ bœ ˙ flaut. °? 4 œ œ œ ¢ 4 œœ

o

ppp

nw

harm. gliss.

ord. fluttering

3Œ

&4

^o ≈ œ œ œ ≈ œ œ ≈ œ œ œ ≈ œ™

œo

œo

harm. gliss.

^o 4 œ 4

œo œo œ œ œ œ œ œ œ œ œo ™ ≈ ≈

^ ˙o

2 4

3 3

7

7 5

p

mf

p

o

p

mf

fp

fp

poco f

fp

¯¯ œœ

¯¯ 7 ˙˙ 8

¯¯ œœ ™™

3 4

ppp

œo œo œo œo œo œo o o o 7 o o o ‰ 8 œ œ œ œ œ œ o

3 4

22

K Suddenly anxious q = 96 - 104 208

Direct.

3 ° ¢/ 4

C. Bells./ Crot./ Gongs

°‹3 ¢& 4

4 4

∑

∑

∑

∑

U ∑

3 4

∑

4 4

∑

U Ó™

3 4

∑

4 4

∑

Crotales arco

4 4

∑

∑

∑

˙™

Œ

œ

ppp

PIANIST: pluck string w/plastic guitar pick

3 &4

4 4

∑

∑

∑

∑

U ∑

3 4

U ∑

3 4

1 1 1111 1111

∑

4Π4

∑

4 4

∑

4 4

∑

‰ p

Inside Pno.

f

BAR.: arco

{

? 43<b>G

4 4

Œ

G

∑

G™

Œ

p

sub. mp

Death - Sop.

° 3 #œ ¢& 4

œ

just

a

sub. molto f

3 #œ œ œ œ œ

œ œ 4 n ˙ ™™ 4

taste of what it would mean to

5

Ó

j œ- œ- œ-

live

non vib. sub. pp

ad libitum mp

ff

stuttering f 3 œ œ. œ. œ. œ. œ. œ. œ. œ. 4 ≈ ≈ ≈

U ˙™

3 œœ œ œ bœ bœ œ

‰ bœ œ œ œ

for - ev - er.

I feel it my du - ty to

ad - mit I was wrong...

g - g - g-g-g-g-g-g

K Suddenly anxious q = 96 - 104 pizz.

Vln. 1

≤ ≤ ≤ ≤ ° 3 ≤ &4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ n œ œ' œ œ' œ œ' ' '

≤ 4 ‰ œœ œœ 4 # œ ˙ ™ œ ˙™ ' # pp

U Ó w w

œ œ

mf

ppp

˙™

3 4

4Π4

∑

Vln. 2

¯¯ œœ

¯¯ œœ

p

4 4

œœ Œ o

##˙˙ ™™

œ œ

poco f

f

o

II

˙™

> ˜œ œ

molto sul pont.

œo

^ ≈bœ ™ œ

Π6

˙ molto sul tasto

¯¯ 3 ˙ &4 ˙

o œo œd o œo œd o >œo œo œd

senza sord.

molto sul pont.

> 4 ≈ œo œ œo œ œo œ œo ‰ ™ 4

senza sord.

U Œ Ó o

œ œ™ mf

3 4

∑

fpp

‰™

7

ppp

sfz

f

molto sul pont.

≤ ≤ ≤ ≤ ≤ B 43 œœ œœ œœ##œœ œœ œœ œœ œœ œœ œœ ' ' ' ' '

Vla.

molto flaut. molto sul tasto

molto sul pont.

œœ ≈ 44 ‰ ™ #˙ #œ œ ˙ '

œ ˙˙ ™™ œ

œ ™™ œ ™™

mf

ppp

pp

r œ œ

œ

˙

f

ppp

U 3 senza sord. ∑ œ™ ‰ 4 u o

3 3 3 4‰ 3 4 Oœ œO œO œO œO œO œO œO œO œO œO

mp

Vc.

¯¯ 4 ˙˙ 4

ppp

molto sul pont.

Ó o

mf

pp

molto sul pont.

molto sul tasto

¯¯ ? 43 ˙˙ ™™ ¢

ff

j œ ˙ œ ˙

Ϫ

˙ ˙

ppp

mp

j œ bœ ™

j œ œ™

ppp

f

µœ ™

U senza sord. ∑ ™ ‰ 43 œ u o

ppp

nœ

˜œ

4≈ 4

‰ ppp

ff

Œ

ppp

flaut. Solo Vc.

° 3 ¢& 4

4 4

∑

?

∑

Ó

œ ‰ œ

œ œ#œ#œ # w

U ∑

3 4

4Ó 4

∑ &

‰ O™ œ™

o 3

pppp

mf

=

215

Direct.

° ¢/

∑

∑

3 4

∑

∑

3 8

∑

4 4

3 8

∑

4 4

cowbeslls w/H.S.

C. Bells./ Crot./ Gongs

°‹ &

3

∑

∑

∑ &

3 4 Œ

Œ #œ

œ p Marimba w/H.S.

# œ. œ. œ. œ. œ. œ. ? Ó

Œ

# œ. œ. œ. œ. œ. œ. ≈ Ó

≈Œ

Ó

Œ

&

Mar.

¢

7

# œ. œ. œ. œ. œ. œ. 3 ≈ 4 Œ

7

pp

Œ

3 4 œ 8 œ œ œ œ œ b œœ 4 œ œ œ . œ . œ. . œ. . v >. > > sffz

≈ œn œ n œ. œ. >

7

pp pp

pp

pp

?

∑

∑

3 4 Œ

∑

Pno.

{

?

Œ

‰

® bœ ™ ' “‘

OK if adjacent F & G strings are incidentally strummed

#1.

2 3 #>1. 1. ‰

1.

& Ó Inside Pno.

mf

{

?

1. ‰

1. ‰

f

mf

∑

>12. 13. ‰

‰

2 #1. ≈ >1.

f

mf

3 1. Ó

3 4

∑

3 8

∑

4 4

∑

3 4

∑

3 8

∑

4 4

3 8

∑

4 4

f

∑

non vib. tightly, pinched mf mf

vib. a tempo mp

° Death - Sop. & Œ ¢

#œ. œ. ‰ ‰

‰

the cruel

Vln. 1

d d d ° œo œo œo œo œo œo ‰ #œ & ‰ 3

œ œ #œ. and

. . ≈ œ ≈œ œ œ œ

un - just

way

#>œ œ œ ‰

œ

in which I used

œ ‰

œ œ œ. ‰ to

œ ‰

pro - ceed,

#œ œ ‰ œ^ œ tak- ing

>œ œ œ ‰

‰

3 4 8 ™ ™ ™ ™ 4 bœ œ œ œ ' ' ' '

-œ

œ. #-œ œ.

>œ. ‰

tak - ing

peo - ple's lives by stealth,

#œ ≈ >œ œ œ

I

feel

o 3 >œ 4

Ó

mf

3 3 . 3 nœ #œ nœ #œ #œ œ œ 4

it my

‰

du- ty...

Œ

Œ

3 8

∑

4 4

Œ

Œ

3 8

∑

4 4

Œ

3 8

∑

4 4

3 3

sffz

3 3

p

ppp

mf

f

mf

f

mf

f

pizz.

&

Vln. 2

<˜> œ o O œ œ Œ

Œ

3

» #œv

» #œv

#>œ œ œ œ ≈ Œ

>œ œ œ œ ≈ Œ

> ≈ #œ œ œ œ Œ

» #œv

o 3 n>œ 4 sffz

ppp

sfz

sfz

5

5

sfz

5

f arco molto sul pont.

pizz.

#>œ B ‰ œO ™™

Vla.

>œ

Ó

Œ

Œ

>™ ≈ #œ

Œ

mp

ppp

œ

3 4 ˜œ

Ó

& f

‰

f

ppp

pizz.

¿

» µ˙™ ?

#>O˙

∑

Œ

>O œ

> ≈ #Oœ ™™

Oœ

Oœ

Œ

Vc.

¢ fp

fp

fp

Solo Vc.

#-œ >œ. ‰ ‰ J

-œ

3 8

>œ#>œ >œ >-œ œ œ- œ- œ- >o œ œ- -œ ≈ œ

>œ.

#-œ

>. - œ œ œ

‰

>œ

> œ- #>-œ o œ >œ >œ >œ œ 3 œ

f

mp

f

mp

f

mp

f

4 4

harm. gliss.

> o -o o -o œo n œo o œ 3 nœ œ œ œ 4 3 3

3

mp

‰

f ord.; use a lot of bow sweeping

half col legno tratto/ half ord. arco buzzing

° j ¢& œO œ

3 4

sub. f

ff

‰

3 8

∑

4 4

23

220

Direct.

4 ° ¢/ 4

∑

3 8

∑

4 4

∑

∑

3 8

∑

12 16

3 8

∑

12 16

Cowbells w/H.S.

C. Bells./ Crot./ Gongs

3

° 4 &4

∑

3 8

∑

4 Π4

∑

3

œ

Œ

œ

#œ

œ

p

# œ. œ. œ. œ. œ. œ. Mar.

4 ¢& 4 Ó

Œ

≈ Ó

3 nœ 8 œ œ. œ. > pp

‰™

Œ

7

pp

œ œ >.

4 œ œ œ b œœ 4 œ. œ œ. v. >. sffz

∑

4 4

∑

>œ. . >œ. . >œ. . œ œ œ 12 8 œ œ œ œ œ œ 16

?3

pp

pp Pno.

{

Inside Pno.

? 44

∑

∑

#1.

4 {& 4 Œ

>2. 3. ≈ #1 1

1.

‰

Œ

Œ

Ó

pp

3 8 ™ ™ bœ œ ' ' “‘

Ϫ '

3 8

∑

3 8

Ϫ '

12 16 b œ ™ œ™ ' ' “‘

4 4

Ϫ Ϫ ' '

3 8

∑

12 16

- 3 - 3 œ œ #œ œ œ œJ 83

∑

12 16

∑

mf f ord.

mp Death - Sop.

° 4 #œ. ¢& 4

œ 3œ œ -œ

. . ≈ œ ≈ œ ‰

from

Vln. 1

f warm, rich

non vib. tightly, pinched

ord.

now

° 4Œ &4

on

œ

ev- ery- one will

-œ

#œ.

œ

re

#œ

ceive

-

due

> ≈ #œ œ œ

œ

‰

. . . . . . œ. ≈ #œ ‰ œ œ ≈ œ œ œ œ œ

3 3 4 -œ #œ -œ œ œ4

3

Œ

warn- ing

Œ

3 8

∑

and be giv - en a week

to put what re- mains

3 8

Ó

o 4 >œ 4

∑

mf

of their life in or - der.

Œ

Œ

Œ

3 8

∑

12 16

Œ

Œ

Œ

3 8

∑

12 16

Œ

Œ

3 8

∑

12 16

3 8

∑

12 16

>o œ o -œo œo -œo œo J 3 œ 8

∑

12 16

sffz 3

f

4 #œ ™ &4 ≈

Vln. 2

Ϫ

œ œ

» #œv

œ

> ≈ #œ œ œ œ Œ

3 8

Ó

o 4 >œ 4

∑

sffz ff

sfz

p

5

arco molto sul pont.

pizz.

4 &4 ‰

Vla.

œ œ™

#œ

Ϫ

>™ ≈ #œ

œ Œ

ff

Œ

3 8

Ó

œ

4 ˜œ 4

∑

p

‰

f

ppp

pizz.

Vc.

?4 ¢ 4

> ≈ #Oœ ™™

∑

¿

» µ˙™

arco

Oœ

3 8

Ó

4 4

∑

f fp harm. gliss.

ord. half col legno tratto/ half ord. arco Solo Vc.

>œ.

-™ ≈ œ ≈ œ

° 4 #œ¢& 4

>œ

œ

>œ

>o #œ œ ≈ œ

œ

-œ œ #œ- œ ≈

3 8

-o o o 4 -œ œo œ œo -œ 4

∑

3

3

sub. mp mp

use a lot of bow

^ ≤ œo. œo. œo. œo. œo. œo.

3

3

3

ff sub. pp

f

f

sub. f

sfz

mp

=

Direct.

L 225 12 ° ¢ / 16

18 16

∑

∑

12 16

∑

∑

15 16

12 16

∑

∑

15 16

∑

15 16

∑

15 16

1™

15 16

∑

15 16

Ϫ

15 16

Crotales w/H.S.

C. Bells./ Crot./ Gongs

Mar.

° 12 & 16

∑

œ^. ? 12 œ ‰ ¢ 16

‰™

Ϊ &

18 16 Œ ™ >œ. œ. œ. œ. œ. 18 ‰™ 16

‹ &

Ϊ

‰™

Ϫ pp

#>œ. œ. œ. œ. œ. Œ™

12 Œ ™ 16

Ϊ

‰™

5:3

sffz

Pno.

{

? 12 16

5:3

pp

pp

‰™

‰

18 16

Ϊ

∑

12 16

∑

12 #1 ™ 16

1™

12 16

∑

bœ :“; '

12 & 16

#1 ™

18 16 Œ ™

∑

1™

#1 ™

pp Inside Pno.

{

? 12 16

18 16

∑

∑ °

molto p sultry

° 12 Death - Sop. & 16 ¢

˜œ ™ J

18 16 ‰ ™

∑

molto p

mp

12 #˙ ™ 16

˙™

‰™

I

Vln. 1

L ° 12 #œ ™ & 16

œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ 18 #œ ™ 16

Ϫ

Ϫ Ϫ

pp

Vln. 2

˜œ ™ J sign

Ϫ Ϫ

Ϫ Ϫ

Ϫ Ϫ

Ϫ Ϫ

12 #œ ™ 16

Ϫ

Ϫ

Ϫ

12 #œ ™ 16

Ϫ

Ϫ

Ϫ

Ϫ Ϫ

Ϫ

Ϫ

#œ ™ œ ™ œ ™ œ ™

Ϫ Ϫ

Ϫ Ϫ

15 16

#œ ™

Ϫ

Ϫ

15 16

™ ≈™ œ

™ ≈™ œ

15 16

ppp

12 #œ ™ & 16

Ϫ

Ϫ

» 18 ^ 16 œ ™

Ϫ

#œ ™

Ϫ

Ϫ

Ϫ

^» #œ ™

Ϫ

ppp pp sfz

ppp sfz

pizz. Vla.

#œ ™ ≈ ™ œ ™ ≈ ™ œ ™ ≈ ™ 12 & 16 ≈ ™

œ ™ 18 ≈ ™ 16

#œ ™

™ ≈™ œ

pp

™ ≈™ œ

™ ≈™ œ

™ ≈™ œ

12 ≈ ™ 16

#œ ™

Ϫ Ū

™ ≈™ œ

Ϫ

™ ™ ≈ ™ #œ ≈ ™ œ

≈™

ppp arco molto sul pont. quasi wide vib.

Vc.

™ ≈™ œ

? 12 ™ ¢ 16 Œ

‰™

molto sul tasto

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ n œ 18 œ ™ œ ≈ ‰ 16 o

molto sul pont.

‰™

Ϊ

12 Œ ™ 16

‰™

≈

molto sul tasto

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j œ œ™ œ ‰ o pp

Ϊ

15 16

˜œ œ œ œ

15 16

p

half col legno tratto/ half ord. arco Solo Vc.

° 12 ¢& 16

∑

18 16 ‰ ™

˜œ œ œ œ œ œ œ pp

12 #œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ œ œ œ 16 mf

œ

œ ‰™ ppp

24

M Death completes her letter, seals it and puts it aside; she seems suddenly distracted, and proceeds to the marimba in the ensemble, taking in hand one of the soft stick mallets and standing in front of the instrument, opposite, but facing, the percussionist. Perc. & sop. MAY opt for playing without mallets, in which case they would use their hands or fingers.

229

Direct.

C. Bells./ Crot./ Gongs

Mar.

15 ° ¢ / 16

12 16

∑

∑

3 4

∑

∑

∑

∑

∑

9 8

U ∑

3 4

U ∑

3 4

∑

∑

∑

∑

∑

9 8

U ∑

3 4

U ∑

Crotales w/H.S.

° ‹ 15 ‰ ™ & 16

j Ϫ

‰™

15 ¢& 16

12 16

Ϊ

∑ > # œ. œ. œ. œ. œ.

12 Œ ™ 16

∑

& arco

3 4

‰™

∑

∑

∑

∑

U ∑

9 8

∑

?

3 4Œ

Œ œ u

5:3

pp

p Inside Pno.

15 #1 ™ { & 16

1™

Vln. 1

° 15 #œ ™ ¢& 16 J

Ϫ J

˜œ ™ J

with

the

° 15 #œ ™ œ ™ œ ™ œ ™ & 16

15 #œ ™ & 16

Vln. 2

Ϫ

#1 ™

1™ J

3 4

∑

∑

∑

∑

U ∑

9 8

∑

sub. p

12 #œJ ™ 16

mf

spoken unaffected, direct

name

I

am

Ϫ

12 #œ ™ 16

Ϫ

us- ual - ly

known

Ϫ Ϫ 3 4

con sord.

» ^ #œ ™

Ϫ

con sord.

sfz

ppp

œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ 12 #œ ™ œ ™ œ ™ œ ™ œ ™ 16 œ™

stuttering . p . . . . . . . . 3œ œ œ ‰ œ ‰ œ ≈œ≈œ≈œ≈œœœœœ 4

Ϫ J

˜œ ™

Ϫ

™ ™ ™ #œ ™ ≈ ™ œ ™ ≈ ™ ≈ ™ œ ≈ ™ œ ≈ ™ œ 12 16 ≈ ™

Ϫ

3 4

™ ≈ ™ œ 43

by,

b - b - b

U ∑

3 4

sub. mf

Ϫ

Ϫ

15 #œ ™ ≈ ™ œ ™ & 16 ≈ ™

Vla.

12 1J ™ 16

sub. p

mf Death - Sop.

1™ J

∑

∑

U ∑

9 8

∑

U 3 4¿ Œ Œ

- b-b-b-b-b

death.

∑

∑

∑

∑

∑

9 8

U ∑

M 3 4

U ∑

∑

∑

∑

∑

∑

9 8

U ∑

3 4

U ∑

∑

∑

∑

∑

∑

9 8

U ∑

3 4

U ∑

con sord.

II/ord. harm. gliss. con sord. Vc.

¢

15 ? 16

12 16

∑

3 4

∑

∑

∑

∑

∑

∑

Uo >œ

U ∑

9 8

3 4Œ

Πfpp

Solo Vc.

sub. pp

mf

non vib. ™ ™ ™ ™ 3 œ™ 4

12 #œ ™ œ ™ œ ™ œ ™ o œ œ œ o #œ œ œ 16 œ œ

° 15 #œ œ œ œ™œ™œ™œ™˜œ œ ¢& 16

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

9 Ϫ 8

Ϫ U Ϊ

3 4

U ∑

?

sub. pp mf

= Chorus: We, here...

Use fermata only to allow Sop. to get into position, and for Perc. to switch from arco to S.S.; if singer & player are ready to play without fermata, proceed in tempo. Death plays the marimba - it is her first time doing so. She is encountering another human experience that is altogether new to her, which contributes, in part, to her gradual transformation into a fully realized human.

Solemn and unstable q = 63 - 69 238

Direct.

° ¢/

4 4

U ∑

5 8

U ∑

3 4

∑

4 4

∑

∑

3 8

3 4

Œ

3 8

3 4 bœœ

3 8 Ϫ7

3 4

˙

Ó

3 8

∑

5 8

∑

4 4

∑

6 8

∑

gliss. "white & black keys" w/2 S.S.: Perc. plays the"white keys' w/1 S.S., while the Sop. plays the "black keys" with the other S.S.

b œœ ™™ Mar.

°? ¢ œ

U Œ

U Œ

4 4 bœ

U Œ & bœœ

œ

œœ

5 8

b œœ ™™

b œœ

3 4 bœœ

œœ

4Ó 4

bœœ

b œœ ™™

b œœ

b œœ

5 8

‰ b œ 44 œ

5 8 Ϫ

œ7

4 4

j 5 j Œ œ 8 œ

bœ

4 4 ˙-

œœ

œœ Œ

6 8

Œ

ppp p

f

f While drawing filament thru strings, gently & randomly pluck the filament BAR.: arco in order to create plectrum sonority.

Inside Pno.

U ∑

{&

U ∑

4 4

5 8 Ϫ

œ7

3 4

sim.

4Ó 4

∑

∑

6 8

∑

pp

°

S.

A.

U ∑

° &

U ∑

¢&

mp

U ∑

4 4

5 8

mp

Œ

4 4

5 8

œ-

œ

œ

œ-

We,

we

here,

who,

we

œ-

œ-

œ

œ

œ-

We,

we

here,

who,

we

3 4Œ

∑

,

3 4‰

∑

œmp

U ∑

4 4

3 4Œ

∑

mp

Œ

4 4

3 8

Ó

here,

6 8

Œ

6 8

4 ™ 4 ˙O ™

œO

6 8

4 ™ 4 ˙O ™

œO

6 8

o ˙™

œo

who

can