Baltakas: Pasaka by Vykintas Baltakas

Vykintas Baltakas Pasaka for piano and electronics (1995-97)

A person tells a story. For himself, for someone else. It's not important. What's important is the desire to tell the story. The necessity! This is the fairy-tale behind Pasaka...

Pasaka: info

Creation

1995-97

Instrumentation

piano and electronics

Duration

ca. 9 min.

Texts

excerpts from Indian mythology (adapted by Baltakas) and fragments from "Pasivaikščiojimas be šuns" by Gintaras Gutauskas

Dedication

to Benjamin Kobler

Realization

ComputerStudio of InMM (Institut of new Music and Media) at Staatliche Hochschule für Musik Karlsruhe

Première

26 Jan. 1995, Schloß Gottesaue, Karlsruhe Benjamin Kobler

Title

While the first half " PASAKA" must never be changed, a second half of the title "a fairy-tale" could be added in the language of the country where the piece is performed. For ex., Pasaka / ein Märchen, Pasaka / un conte, Pasaka / a fairy-tale, etc.

Language

The written text is in Lithuanian. The piece must always be performed in its original language. A recording with pronunciation is available from the publisher.

Interpretation

The expression of the text is deliberately notated in an approximate way, using only rhythm and some verbal expressions (ex.: 'important', 'quietly', etc). It describes only the character, but not the interpretation of the text. The pianist's way of expressing the text (pitches, dynamics, the quality of vocal production, etc.) is as free as an actor's interpretation of a script. Of course, these interpretive ideas can not contradict the musical and formal idea written in the musical score. If at all possible, a stage director should be involved in the staging of the piece.

Program book

To keep open the listener's imagination, it is better not to publish the whole text in the concert brochure. A short description is best.

Related work

“Pasaka” for piano solo, 1995-96: ca. 5ʼ

Pasaka: notation

III

All accidental markings are valid for one bar (as is traditional)

The duration of syllables is free, not prescribed.

Extend the letter (or syllable) inside square brackets.

gradual transition from one vocal quality to another

very fast repetition

sound track

The synchronization between piano and electronics is not strict.

synchronization: electronics follow pianist

synchronization: pianist follows electronics Pedal

In most cases, pedal notations are general (no pedal, little pedal, light pedal, etc.) and serve only to describe the desired sound quality. Within these notations, the performer is free to choose how to realize them concretely. The dotted lines only indicate the zone when pedal is in use or not.

The pedal notation in brackets is only the composer's suggestion, and can be freely changed or reinterpreted.

The pedal notation without brackets is precise and must be respected.

Pasaka: electronics Technical requirements

4 loudspeakers (preferably) or reduced stereo version with 2 loudspeakers Console / mixer (min. 4 channels) Monitor (on stage for the pianist) Computer with Max / Msp* application (preferably) or any sequencer. *The version using Max / Msp not only allows the flexibility of playback, it also allows you to customize the volume of all tracks and each layer can be adapted easily for any concert situation. Sound card (with at least 4 audio channels in/out) Microphone for pianist voice Microphone for live-piano * microphones for live-piano and pianist voice are only needed in large concert halls, in order to get the right balance in sequences such as bars 93-146 or 165- 204. If the hall is small, it would be better not to amplify the live-piano so as to maintain the natural live piano sound.

Position of the Loudspeakers

Tracks for use with Max / Msp

PASAKA has five tracks, corresponding to the bars in the score: 54-95 bars 92-114 bars 115-127 bars 164-254 bars 255 bar - end

Tracks for use with any sequencer

There is a less flexible version which uses only two tracks: 54 - 127 bars 164 - end

Minutes / seconds in the score

corresponds to the position in the continuous audio file (version with two tracks).

Sound file name

corresponds to: take#_description_bar number(s)_output channels.extension (i.e. 1_c_54-95b_ch1234.aif)

Material

All sound files, Max / Msp patch and the study-CD are available from the publisher.

Individual edition

The best solution is to have the pianist/performer record the voice sequence in bars 115-146

Pasaka: text

(LITHUANIAN)

[bars: 1-121] ..nieko

nebuvo,

nei

saulòs,

nei

mònulio,

buvo

»n[i]Eko nE»buvo, nEi »sa˘ule˘s, nEi me˘»nul[i]ç, »buvç tik »va˘ndeni˘s...

jie

pagimdò

j[i]E

pa»gimde˘

aukso

ugn!,

»ugni˘,

ugnis

ug»nis

kiau‰inis

pa»gimde˘

pagimdò »a˘ukso

pl"duriavo

aukso

kEu»Sini˘

begaliniame

»a˘ukso kEu»Sinis plu˘du»rQ˘vo bega»linEmE vandE»ni˘nE

...dar

nebuvo

da˘r nE»buvo »l!iko

i‰

auksinio

tik

...nothing existed yet, not the sun, nor the moon - nothing but water...

vandenys...

the waters gave birth to fire, fire gave birth to a golden egg,

kiau‰in!,

the

vandenyne...

...time

laiko...

gemalo

atsirado

praamÏis

Brahma

Jis

pradòjo

did

egg not

floated exist

the

infinite

ocean...

yet...

from golden embryo sprang primal Brahma

iS !uk»sin[i]ç »gQ˘malç atsi»ra˘do pra»a˘mZis »bra˘ma

golden

and he began time.

laikà.

ir jis pra»de˘jç »l!ika˘

[bars: 122-163] Jamai

numirus,

a‰aras

»ja˘m!i nu»mirus »a˘Saras »l[i]Ejo

liejo

Jama having died, his sister Jame wept

ir galo nebuvo

and there was no end

ir »ga˘lç nE»buvç

sesers

Jamòs

Dienos

skausmui.

sE»sErs »ja˘me˘s » sk!usmui

nakties

dar

nebuvo

d[i]E»nos ir nak»t[i]Es da˘r nE»buvç vi»sa˘tçi

nes Jama ‰iandien

numir´s tebuvo.

tik SEn»d[i]En nu»mirQ˘s tE»buvç

Dievai

tuç»mEt d[i]E»v!i »ta˘re˘

"sukursime

su»kursimE »na˘kti˘

tarò:

nakt!

vakar

numir´s".

Ir sekant! rytà sesuo

pa»mirSo sE»suç »savç

mirus!

»savç »mirusi˘ »broli˘

dar

savo

endlessly,

had only just died today.

in the morning Jama [already] will have died yesterday".

the

brol!.

nebuvo

no˘rs da˘r nE»buvç mir»t[i]Es çm

tears

And next morning

ir »sEkanti˘ »ri˘ta˘

shed

"Let's create the night -

»ri˘ta˘ »ja˘ma bus jEu »va˘kar nu»mirQ˘s

...nors

sister

Then the Gods said:

rytà Jama bus jau

...savo

his

because Jama

nEs »ja˘ma

pamir‰o

Day and Night didn't yet exist in the universe, so

tad »vErke˘ jo sE»suç bE»ga˘lç

Tuomet

anguish.

visatoj,

tad verkò jo sesuo be galo,

tik

Jame's

mirties...

sister

had

forgotten

her dead brother.

...though Om.

death

didn't

exist

yet...

VI [page 6]

"I‰naikink, Valdove, gyvàsias b!tybes" uÏplidÏiusi˜ gyvi˜ tarò Îemò.

nebegalòdama

i‰laikyti

visi‰kai

"Eradicate, Lord, living creatures" the beings burdening her.

said the Earth, no longer able to endure all

Tuomet k!ròjas susimàstò kaip sumaÏinti pasauliuose gyvybi˜ skaiãi˜, bet negalòjo rasti jokios i‰eities ir j" apòmò, liepsna i‰siverÏ´s, pyktis: suliepsnojo pasaulio ‰alys, vandenys ir gyviai, nes pasaulis turòjo Ï!ti.

The Creator fell to thinking about how to decrease the number of beings in the worlds, but he couldn’t find any solution ...and his fury was so great that he erupted with flames. The world had to perish: the flames burned up different lands, waters and living beings.

"O, PraamÏi, nepyk ant savo k!rini˜ - jie nebeatgims. Tegul jie gimsta, gyvena ir mir‰ta".

"Oh, Lord, don’t be angry with Your creations - they will not rise up again. Let them be born, live and die".

Tuomet i‰ Brahmos pykãio ir minties apie pasaulio sunaikinimà gimò tamsi˜ aki˜ moteris, kuriai PraamÏis tarò: "Eik, Mirtie, ir naikink ‰io pasaulio gyvàsias b!tybes".

Then Brahmas’ fury and thoughts of destruction brought forth a dark-eyed woman, to whom the Lord Brahma said, "Go, Death, and exterminate the living beings of this world".

[bars: 203-end of the pno part] *between brackets - the whole text/meaning

di(dysi)s (i‰minãius) Mark(ka)n(dòja) visagal´) vi(satà) dis

markn

suÏ(inoti) suZ

(DidÏiajà) »pa˘slpti˘

Ten

neb(u)v(o)

tEnEbv

(jis

i‰vydo

ant

(nei)

sau(lòs),

vandens

nei

m[i]Eg

mòn(u)l(io),

(apie

The great sage Markandòja wanted to learn everything about the almighty Universe -

(nei)

(at)vòr(ò)

Ïem(òs)

bu(rnà)

to find out the Great Secret and find himself behind the boundary of the world.

–

tik

vand(enys)!

There wasn't yet any sun, nor any moon, nor land - nothing but water...

va˘nd

(tai buvo) »viSnus

rib˜. ri»bu˘

tik

Ïmog(˜):

ve˘r

(vi)s(kà)

(pa)saulio »sa˘ul[i]ç

ZQ˘

miegant") Zmog

mieg(gantysis)

kir

uÏ

me˘nl

(suÏi)no(ti) vi

ats(id!rò)

ats

nEi

Tà (a)ki(mi)r(kà) i‰m(in)ãi˜.

pasl(a)pt" ir

sa˘u

p(ano)r(o)

nç

VI·NUS!

he saw on these waters a sleeping man: it was VISNUS!

ik(vòpdamas)

o(rà)

prar(ijo)

prar

At that moment the sleeping man opened his mouth, and in a breath of air, swallowed the sage.

iS»mtS[i]u˘

Bet jis vòl susap(navo) BOUB..(nuostab˜ Ïmon(ni˜) - tik vandenys.

sapnà)!!!

(jis

vòl

bE jis ve˘l su»sap boub

buvo bE Zmon

plynòje)

But he (Markandòja) had another beautiful dream!!!: he was again in a field without people - nothing but water.

tik »va˘ndEni˘s

Markandòja saw in a tree a sleeping infant, which said:

Markandòja pamatò medy miegant" k!di(k"), kuris tarò: markan»de˘ja pa»ma˘te˘ »mQ˘di˘ »m[i]Eganti˘ »ku˘di˘ »kuris »ta˘re˘

"O,

“O, Markandòja, Mark', Markandòja...

Markandòja,

Mark',

Markandòja...

o˘ markan»de˘ja mark markan»de˘ja

I..

A‰...

[page 10]

a‰... aS

kara.. »kara

Kas

esi,

"Ïulusis,

pagarbos

...Mane

deramos

skriaudò,

kreip´sis

mu‰ò,

dauÏò,

senel"?! Ïudò...

Lak‰tingala, atradus prasm´ suok! virpòt˜ langai, ‰irdys ir radiatoriai, kad snaigòs krist˜ kad gyvenimo karusòlò sukt˜si, sukt˜si (sukt˜ sukt˜ sukt˜

kad

I... ki(ng)...

Who

are you, impudence, ...I

appealing without honour to old man?!

was

beaten,

drubbed,

thrashed,

killed...

Sing nightingale!, you find the meanings and make the windows, hearts and radiators tremble, let spin the carroussel of life. [suktu suktu suktu

VII

sysu sysu sytu sy y sytu si - kaip nieÏti...

y)-ir[r]~

Kad

ka.. »ka

kaip

karalius!..

A‰

suk"riau...,

aS ka»ra˘l[i]us

J"s˜

Didenybe!?

aS su»ku˘rEu

Imperatoriau!

Imperija

sukurta

saulò,

Cezaris

mònulis...

»manç sukur»ta »sa˘ule˘ me˘»nulis

Nieko

nebuvo,

nei

saulòs,

suk"riau

saul´,

aS su»ku˘rEu »sa˘ulQ˘ vi»sa˘ta˘

brrr

visatà...

the

created...,

sukurta

ve˘l bus sukur»ta iS »n!ujç

Majesty!?

Emperor!

The

Empire

laikà...

...nothing

naujo...

existed

yet,

falls!!

created

kà

the

sun,

tas

nor

the

moon,

nothing

but

will

often

l'imperia!

...C'mon,

perish

recreated

brrr

The ashtray has melancholic eyes The ashtray’s nose trembles alot And a match said: “it’s the end, I pass away”.

itches

will

water...

br brrr universe... Knowing about the weakness of Gauls, the Emperor decided not to give them any time to react: he quickly marched eight miles and decided to attack.

tu?!...

...it gi

sun,

brrr

Pasigailòk m"s˜, Vie‰patie! kaip nieÏti brrr... brrr brrr brrr brrr brrr brrr brrr brrr brrr brrr brrr brrr brrr kam

the

decided...

Viva

brrr

It has often perished

Bet

not

imperia!

and

i‰

Caeser

my creations are the sun, the moon...

again...

tri"sas?

seriously?!...

Spare me, Lord! terribly brrr... brrr brrr brrr brrr brrr brrr brrr brrr brrr brrr brrr brrr brrr

why go to such trouble? oh...

oh... I

the

kuriu..."

Morte.

»mortE

Your

terribly...

Caeser anwered what struck him as right.

dangaus...

brrr

...na

ir d!ug »kartu˘ Zus

ku»r[i]u

...itches

king!...

Peleninòs li"dnos akys, peleninòs nosis virpa degtukas tarò: ‰akòs, mir‰tu.

...ir daug kart˜ Ïus

dalinu

ji d!ug »kartu˘ »buvç »Zuvus

aS dali»nu »l!ika˘

not

Ïinodamas gal˜ silpnumà, imperatorius nutarò, jog negalima galams duoti laiko priimti sprendimams - greitai nuÏygiavo a‰tuonias mylias ir nutarò pulti.

Ji daug kartu buvo Ïuvus

A‰

...who have listened PEOPLE who have heard it should clink eye-glances and drink from these the wine knowing, that this is already POETRY... People!,

gri"va!!

nutarò...

nei

Viva

bus

people...

my...,

»manç

...vòl

brrr...

sysu sysu sytu sy y sytu si itches terribly...

And

Cezaris atsakò kaip jam atrodò.

mano..., mano

nieÏti

y)-ir[r]~]

Ki(ng)...

...i‰gird´ tavo giesm´ Îmonòs! Îmonòs i‰girde!, susidauÏt˜ aki˜ stikliukais ir i‰gert˜ juose teliuskuojant! vynà nenujausdami, kad tai jau savaime yra POEZIJA...

a‰

A‰

Ïmonòs...

source

create.."

Time...

Pasaka: dictionary Lithuanian

VIII

English

Lithuanian

English

ašaras (acc.)

tear

ašaras liejo

shed tears

kadaise

in those days

atėję

to have arrived

karalius, , kara.., ka..

king

aš

kiaušinį (acc)

ats.. (atsidūrė)

find himself

atsirado

sprang

auksinio (gen) aukso (instr)

Lithuanian

English

praamžis

primal (Brahma)

pradėjo

bagan

egg

rytą (acc)

morning

kiaušinis (nom)

egg

ribų

boundary

kir.. (akimirką)

(at that) moment

golden

kūdi.. (kūdikį)

infant

s.. (viską) (acc)

everything

golden

kuris

which

saulė (nom)

sun

kuriu

(I) create

saulės, sau.. (gen)

sun

saulę (acc)

sun

without

begalo

endlessly

laiką (akk)

time

..saulio (pasaulio) (gen)

world

begaliniame

infinite (ocean)

laiko (gen)

time

savo

his (brother)

bet

but

liejo

s. ašaras liejo

sekantį

Brahma

Brahma: the Hindu god (deva) of creation

liūdėjo

sorrow

sesers (gen)

sister's

brolį (acc)

brother

sesuo (nom)

sister

BOUB.. (nuostabų sapną)

beautiful dream

mano

šiandien

today

bu.. (burną)

mouth

Markandėja, Mark..., Markn..

skausmui (dat)

anguish

bus

will be

Markandeya (Sanskrit) is an ancient rishi (sage) from the Hindu tradition

sukursime

(we'll) create

buvo

existed

medy (loc)

in a tree

was created

mėnulis, mėnl.. (nom)

moon

sukurta susap.. (susapnavo)

(he had) dream

tą (akimirką)

(at) that (moment)

tad

so, therefore

tarė

said

tebuvo

had only (died)

ten

there

tik

only

todėl

therefore

tuomet

then

vakar

yesterday

vandenyne (loc)

in the ocean

vandenys, vand.. (pl)

the waters

vėliau

later

...vėr.. (atvėrė)

opened

verkė

wept

visatoj (loc)

universe

Višnus

Vishnu (Sanskrit) is the Supreme god in the Vaishnavite tradition of Hinduism.

ugnį (akk)

fire

ugnis (nom)

fire

už

behind

žem.. (žemės) (gen)

land

žmog.. (žmogų) (acc)

men

žmon.. (žmonių)

people

žus (futur)

will perish

žuvus (past)

perished

dalinu

(I) distribute (Time)

mėnulio (gen)

moon

dar

yet

miegantį

sleeping

daug kartų

often

mieg.. (miegantysis) (nom)

the sleeping man

demonai (nom)

demons

mirties (gen)

death

demonus (acc)

demon

mirtingi

mortal

dis.. (didysis)

great

mirusi

dead

dienos (pl)

day

morte

(italian)

dievai (nom, pl)

the Gods naktį (acc)

night night

galo (gen)

end

nakties (gen)

galo nebuvo

(there) was no (end)

(iš) naujo

again

gemalo (gen)

embryo

nieko nebuvo, nebv..

nothing existed yet

nei... nei

not ... nor

nebuvo

s. nieko nebuvo

nors

though

numiręs tebuvo

had just died (today)

(Jamai) numirus

(Jama) having died

ik.. (ikvėpdamas)

in a breath (of air)

and

iš

from (see: iš naujo)

išm.. (išminčių) (acc)

sage

nes Jama

Jama (Yama) belongs to an early stratum of Vedic mythology.Yama was considered to have been the first mortal and in virtue of precedence he became the ruler of the departed. Yama's name in some myths he is paired with a twin sister Jamė (Yamī)

Jamai numirus

Jama having died

Jamė (nom)

Yamī: sister of Jama

Jamės skausmui

Jame's anguish

jau

already

she

jie

they

jis

jos

her

o.. (orą)

air

okeano (gen)

ocean

Hinduism, Buddhism, Jainism: syllable of meditation, which symbolizes the spirit of the Creator and is infinitive

pagimdė

gave birth

pamatė

saw

pamiršo

forgot

pasl'ptį (paslaptį)

secret

pr.. (panoro)

wanted

prar.. (prarijo)

swallowed

plūduriavo

floated

*between brackets - the whole text / meaning

Phonetic symbols Phonetic symbols ° °– ë °ä ¢ § ¤ • •– Ÿä ‹– ¶ ® Í ÍŸ ©– ™ ´ ¨ ≠ Æ

‘ Ø– ∞ ≤ ≥ ¥ ä ∂ π ∏

cup bah fat now bat dog ago Edinburgh eh goat girl fat hat bit, lately nearly 'ÆÍŸ¨Í meet yet kit lot mat not fait accompli paw pet rat sip

theatre book van Physik loch (Germ.)

´å∞ ¢—– ¶ë¥ n°ä ¢ë¥ §“ß Ÿ'ßŸä '•§ÍÆ¢Ÿ≤Ÿ •–, ßŸä¥ ß‹–¨ ¶ë¥ ®ë¥ ¢Í¥, '¨•Í¥¨Í ≠©–¥ ™•¥ ´Í¥ ¨“¥ ≠ë¥ Æ“¥ ¶•Í¥ ë'´‘∞¨©– ∞‘– ∞•¥ ≤ë¥ (always roll) ≥Í∞

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z ; ) #"""""""""" $"""""""""" 7#1"%5,. : : : !"""""""""""

!"""""""""""

v. 27/2/2012

poco stringendo 35

pl« - du

ria - vo

nia- me van

ny[y]

ne[e]...

sub.

# = 84

# # # ) # #$ # - ## )# - # # * # # # # # # & # # 2 & : # ,# ( 1 # 3+3 + 1 34 % # & 24 # # 34 ($ # 38 # # $ # # $ # $ # + * # # ' ' % % % '# 4 # $ # 8 8 4 4 # #( !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " $# 6 ( 9 )# ) # # & +# #) # # 3 # % & 3 + 3 $# $# 34 & ( 38 24 & ( 1 24 ) # % & + 14 + & & & & ( $# + & & + + # % % 8 8 : 4 4 ( )# # # !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " $# $# : (7 ) (E ) u.c. H 9 (with significance)

Dar

bu - vo

lai - ko...

molto rall.

più

I ‰

auk

al ca.

nio

= 69

ma - lo

sub. tempo I (abrupt change) molto marcato

<z > > ># > - G D . 2 #( & : 2 3 # # ) # $ ># & ># #> ( 0 ) '# # % ># % # 3 #% % # 3 2 & & # & ( ( ( + + # + + $ # ' % % % % # + 16 / 4 # # 4 4 4 4 ) # # !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! # # " )# (0 ) # ; . 34 24 # 24 + 163 34 + ( 24 & & & # $# $# & & I I + % % ) )# % # # % % # ( ( # ) # # ) # # !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " # $ # ( ( $ # # ' ' = = = )# # )# : : = = = = 9 più No pedal 3

(u.c.)

poco a poco accel. 52

si - ra

molto accel. -

Pra - am - Ïis

Brah

ma...

a tempo poco string $ #>( <z staccato ' > # '# & ) # # 5 # )# & 24 3 & #/ & + 14 & ( 3 14 #3 % #3 % 44 & #/ / & #* # 24 # % $ # $ # % & #/ + $ #: # 5 #% # % # % # & )# )# % 3 4 ) # ) #/ # !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! "4 % % 2 4 # )# $ # $ # $ # = ; 9 A = ? @@@@@@@@@@ (7 ) (molto) <z : 54 % #( # $ # 2 3 1 3 2 1 4 & + + + 3 $ # 1 * # $ # % ( ) 4 4 4 4 4 4 4 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " # 2 = # 1( 1 # 4 # : = ; B <z E E (f)

electr:

= 116 tranquillo

(

legato '# '# ) # 24 $ #: ( 24 # ## ## # # 34 $ # % #( % & 38 # 24 # 34 #/ ( #: 164 + 163 # $ # $ # # # # 34 '# # $# # # # # ( # ' $ # # ) # # # # / !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! # # $# $# " )# )# ( C $ # 1 1 - D'# 1 $ # 1 ( ( 1 24 24 1 2 34 34 38 # 34 1 $# 164 + 163 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 24 1 # #/ ( 1( 1 # B (E ) (E ) (E ) (E )

pno

start soundfile: PASAKA1_54-163 pno:

A F 8

u.c. (sempre) Different quality of sound as in the beginning: delicate, more linear, but well articulated. Light pedal.

( # )

3 *

* 8 4 3 # * 2 # # %# 1 3 # 2 ' # ' # # # # # 1 # ( )) # 5 # % # ( # # 3 # 2# # # $ + # ' # ' # # & & % # # # 4 %# # 4 4 16 + 16 4 # '# # '# '# 8 # 4 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " 4 #$ # ' #& #& %# # # % #% # 4 7z# # $ ### $ .$ . # .$ . ,#6 + + 58 # 14 34 24 14 2 4 3 34 24 ' # / # # $ # ( ( ( + 16 4 16 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! (pp) * More pedal (u.c.) (= (= (= ) ) ) (= " 69

poco a poco string.

( # )

electr.: gradually

becomming louder until bar 93

* * * * # ## 2 # # %# $ '# # 4 # $ 0# 3 # +# ' # 3 '# ( 3 # 3 #$ # 2 4 3 # ' # # # ' # 2 # + + # % # ' # % # #& 8 4 %# # 4 4 4 %# $ 16 + 16 # # ' # # ' # # # # # 8 4 # % # #& !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! "4 4 4 2$ ? @@@@@@@@@ 2 ' # # ## ###$ $ ' ##/. 1 $ > .$ * 3 3 2 4 3 3 2 4 3 $ 2 8 4 4 4 $ 8 4 16 + 16 "( ) ) # ( # ) !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! -4 . %# # # 4# # #& $ . ) (u.c.) (= ) (= (string.)

poco a poco cresc.

( # )

# = 126-135 (abrupt change) sub. molto marcato e secco

* *1 * * * * * * 4# # ( C) * # 3 # 2 # %# 2 # 3 4 # # 24 3 2 4 # 1 1 2 % #& # ( #$ 14 ( ' # #& $ 8 4 # ' # # ' # # $ # 4 ( ) )# 8 # # ' +# 4 !!!!!!!!!!!!!!!! %4# % # # & ( 2 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " # # ' # #& ' # # '# # # # '# 4 # ( # %# $ # # 48 : * 2 34 28 24 34 38 24 2 1 2 2 ( 1 "4 . !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!! #$ .$ . .$ # . #& #4 #$ 4 +# 2 $ 7z Pedal: it could start to flow a little bit - to strengthen the secco-impression of the next section. No pedal or just very little; (= ) 7z ( = ) Very sudden changes between p and f $ ) (u.c.) A 24 6 ( 9 14 1 $ 1 ( #/ !!!!!!!!!!!!!!!!! " #/ ! #&8 #&8 #& $ # # : : # *# * # recorded-pno 6 # 24 ( ( ( , 1 $ , 14 +# 1 pno: : 3 !!!!!!!!!!!!!!!!! ! electr: : B " # ;; : 0 ’42" 7z ( ) (string. et cresc.)

*1. When the tape-piano starts to play bar 93, ideally the pianist is on the same bar, but if not, proceed as follows: if pianist is behind the tape-piano, he/she should interrupt his section and jump immediately to the same bar. If the pianist is ahead, he must wait at the last note, which is extended. It's important to practice taking the right tempo using the tape.

* * * * 4+# % ,# 416 + 163 ( 2 # # 3 2 3 5 4 3 2 # # 5 1 1 1 , # ' # # # ( % #% # 4 ### '# # '# #& 8 # ( # '# # # #/ ' # 8 + 8 #& # 8 #& # 16 + 16 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " # % # % # #/ ( #/ 4 #/ ' # ' # # '4# # 16 '# $ # %4# # : : 9$ : 9 '# : 9 9 : pno 9 : 7z # # # * +# +# ,# +# ,# # 4 3 24 1 $ 38 + 28 38 5 1 $$ 1 1 1 1 1 2 1 3 - 58 #& 1 ( 2 #/ ( 164 + 163 ( # 24 . # 16 5 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " 16 + 16 #/ ( & #/ & #/ #/ #/ 4 7z 7z 7z 4# 4# ; ; ; 7z 4 (f) < * * * * 4,# $ 4 3 %4# % # A + 58 38 # # 4 3 2 5 # 5 2 , 1 / # ' # # # ' # # ( # ( # $ ( ( # + + / & 16 16 16 16 ' # 4 # # 16 # ' # # 4 % #& # # # % # #% # # # !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " # # '# ' #& '# # ' # #/ 4# ' # # # 16 #/ ( 4 ' # # %4#& #/ 4 8 ; 4 7z : 9 : 9 : 9 : 9 : : 9 :4# # # #8 $ # # # # +# :9 # # # # # # #$ # + , , , + 2 , 4 3 3 5 4 3 2 5 1 1 1 1 1 1 1 1 1 1 $ $ 2 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! / # ( ( ( # ( # ( ( # ( # # 165 1 + 16 3 + 16 +# , 8 16 4 8 16 4 16 9 * * *9 * * 4 9 : B "( # ) 96

4 sub.

$ = 72 - 80

@ (mf) ; <z <z . <z$ <z + <z$ <z , $ * $ * $ $ $ $ $ , 3 4 3 2 3 2 3 9 3 4 3 4 $ *$ & *$ 16 ) $ $( 4 ) * $ * $ $( $% - ' $ $ $ $ $ 16 + 16 + 16 ) $ ) * $% - $ / 16 0$ ) ,$ * $* $ * $ ,$ 8 $ ) $ * $ * $* $ 16 + 16 + 16 $( $ $ * $ * $* $ $ $ $ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " 8 $% ';$% 4 $( ) ' $ $ $ $ $ $ ;$ ; 9 9 9 @ A @ ; A pno @ più A @ più A $ $9 $ ,$9 $ - $9 $ $- $% $ $ : $ $ $$ ( C ) ,$$ $$ $$ 0$$ $$ $$ 0 , 0 , , 3 24 0$ & & 9 38 $% ) & 44 & & 3 & $&) ,$ ) 3 $% $$9 $ - $$ 163 & 163 + 162 + 163 & 164 + 163 + 164 $$% ) !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! #8 ) / 16 0$ ) <z $$ + $ <z $ 9 più A <z <z$ <z + <z <z 0 ’59" @ A ; , * $ $ $ F * $ & - 4 3 0$ ) , ' $ D 5 2 & & $% 165 ) & $ & 16 + 16 166 rich and full sound $ $ 8 $ ) $ ' $ $ $ $ $ $ 4 $ ) $ $ ' $ $ $ $ * $* $ ) * $* $ $ $ ! 9 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " @ @9 <z0$ <z0$ A$ @ A 90$ $0$ $,$ $$ $ A $0 15,5" 58 $% & !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! & $ 4 3 & $( ) 24 $% & ) & 165 & $ 1 ) $% & & $ $ 166 0 # $ 16 + 16 " ! ; > <z <z <z + (f) poco a poco cresc. G "( $ ) $ = 104 (abrupt change) poco meno mosso 3 $ = 120 (abrupt change) ; : ; : : : ; *3 4 irdò jo lai - kà. / mi - rus ir[r]7 888888888888888 jis[s] spoken ir ir & pr - & a & ; ;---; ; 9 ---$ $ : ? :$ ? (secco) 5 $ <z---<z 114 $ secco, ma poco marcato 0$ 0 0$ $ 0 <z *2 4 * * $ $ 4 3 + 4 0$ -- 2 * $ 4 3 2 4 5 4 3 & & & & & 3 3 *$*$ $( ) 3 8 3 4 3 43 43 4 8 8$ 4 + !!!!!!!!! ! $ ! " 16 16 $ 22 $ * $ / !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ;$ > $ ; ff ---; B pno ; ------$ 2 $$ 9 : : , *4 *$ 2 48 3 3 4 44 3 3& 24 3 44 5 58 * 0$ & 0$ & & 48 * $ $ $ $ ';$ 34 $ 3 3 &3 *$ !!!!!!!!! !/ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " # 16 + 16 $$$% --- <z "<z # 4 $>( ) # ! > *$ + D D D D No pedal or very little ir 1 ’14" D 9 D ir *3 ir 888888888888888888888 Ja -mai nu / F 7 s[s] ; spoken ir[r] ------;4 ---6 5 $ (secco) <z : : ---'90$ $ *---4 48 5 * $0$ & $0$ & & 4 4 4 33 23 4 31 & 3 3 ! 8 8 4 4 4 4 4 $ * !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " $, ;---; ff -------B ------: : * 0$ $ *$ pno: ff 4 $ 48 * $ 3 58 ' $ ' $ $ 0$ & $ * 0$ & & 48 * 4 24 3 44 5 34 1 & $( ) 34 & * ,$ 3 3 4 > " # ! electr: ff !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! > > <z pno: B D D D D G " $ D electr: B ( ) +

105

*2. The piano player repeats the section (bars: 111-115) until the 'tape-piano' begins to play bar 115. Then the pianist reacts and jumps to bar 115 too.

*3. Speech approximately follows pitch of piano notes (only in bars 115-121)

$ = 92-96

poco rall.

123

$ $ 3 $- 9 & & $ & 68 & 34 & $ 3 3 54 58 3 28 $- & 34 & & 48 ' $ ) & 1 333 ) 58 & & $ ' $ 88 & & 8 $ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " * 0$ 9 *$ $ $ * $9 $ 5 68 & 5 3 5 8 9 2 3 & & 48 & & & & & & & & 3 3 3 1 3 3 ' $ $ 1 ) ) 8 4 4 8 8 8 4 * $- 8 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! # " '$ # 0 *$ / ‰a \

lie - jo

ga - lo

/ vo

Ja \

/ mui.

ir nak - ties

buvo

/ sa-toj, tad

/ kò

/ ga \

/ ma

nes

$ $ 9 * $ 54 5 & 3 58 88 98 34 3 9 3 6 $ 48 & & & 3 31 3 3 ' $ 28 $ 8 $ * 0$ 4 *$ "8 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! $ '$ ;$ * 0 $ 0 51 58 34 58 88 98 $ & 28 6 ' $ 48 & & 3- 3 3 3 1 1 3 1 0$ $ 4 $ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! #8 " #$ 4 ' $9 4E maracas-like sound G " $ a/

\ ras

ne bu /

se - sers

\ mòs

skaus /

Die - nos

1 ’32"

(

)

dar

vi /

ver /

se - suo

be /

\ lo,

Ja /

5 133

6 tik

/ dien / mi \

te \

/ vo.

“su - kur - si - me nak- t –

Ja- ma bus

nu - mi - r´s ”.

se -kan- t

pa \

/ ‰o

$6 6 6+ 5 $+ + $ $ $ $ 8 3 5 4 6 3 5 1 6 3 5 & & & & ) ) ( '$ & 8 pno 4 & %$ ( ( 4 8 8 8 (+ 4 $ ) 4 ( 8 %$ $ & & 4( $ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! "8 ' $+ 5 $+ 6 ( + 8 & & '$ & 5 5 ( 1 ( 6 3( ( & $ 34 & & & $ 48 + % $+ & 38 & & ' $ 54 & + ( ( ) ) %$ & & 8 4 8 8 ' $ 4 # 8 4 % $ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " # # " $ $ * 6+ + B ‰ian / nu / \ r´s \ bu / Tuo - met die-vai ta- rò: ry - tà jau va - kar Ir ry - tà \ mir / se -

'$ $ 2 ’07" $+ 6 5 6 $ % $ $ * 88 $+ $ 34 5 5 4 6 3 5 1 6 3 & & ( ( ( 4) ' *$ 8 ) ) $+ 8 8 8 4 4 8 (+ 4 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! %$ " %$ $ '$ 5 8 & $ 3 5 5 4 6 ( 3 5 1 ( 6 (+ 3 ' $6 ( + + ( ( % $ ) ) ) ) 8 4 4 8 8 8 8 4 4 8 4 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! # " $ #! $ $ $ $ + C * ( ( $ A E+ 1 ’52"

144

5) ...Nors

molto rall.

al ca.

F .

= 69

sub. più mosso molto leggero

= 112

0< $+ $+ 9 $ più8 ' $ $ ' $ + + < + $ $ $ % $+ ' $ $ $ * 5( 5 $ 1 2 4 3 3 2 1 $ 4 & ( ( $+ & 4 ( & & '$ & & 4 *$ *$ 8& & * 4 (+ 16 + 16 ' $ 4& $ 4 & 4& %7$ pno !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " 4 $ $+ ' $ + '$ ' $ 9 . + +$ $+ ; più8 . più ; 9 $ più + % $ 6 * 5 5 + 24 24 & % $ & & 44 & & + ' *$ & & 14 ( & 1$< ) ( 164 + 163 & + $ $ $ ' $ 34 $/ ( + $ & ' $+ ' $+ $+ $ 14 ' $ ( % $+ + ' $ / !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! # 4) " $+ 8 ( $ # " # : $ " + *$ 9+ D light pedal: 6 B soft but very light and transparent suo \ vo mi / bro - l . sa \

sa - vo

(

/ ru - s

dar

mir - ties...

u.c.

54 $6 58 14 ( ( ( ( ( " ! !!!!!!!!!!!!!!!!!!! 7 % $ 5 $6 14 ( ( ( " 58 ( $ #4 C !!!!!!!!!!!!!!!!!!! % $6 $, %$ ! 7 0 ' $+ ' $+ +

om.

' *$<

6 $ ca. 4-6'' @ $< @ '$ + + $+ $ $ '$ 5 $ $ 7 * + 2 $ 3 3 2 3 1 34 * & & & & %$ $ & ( $ '$ $ $ $ # 8 - '$ $$ '$ & 4 ( ) 4 ( 4 4 8 $ / / " # !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " ' $ $ " 6$ ' $ ' $ $/ ( 3) $ 9 sub. più $+ ?6 6 + '$ + $+ 2 $+ 2 $+ $+ $ % $ $ $ $+ >>>>> 5 $ $ $ $ ' $ + + = + + $ 38 34 24 $ 38 34 & *$ ( & *$ 24 & & & & 14 ( & & + $ ) ( ' ' $ $ $+ +' $ #$ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " ' $6 ( $ ) 2 $+ +' $ + $6 '$ $ ' $/: + + $ ' $, 6 4 (u.c.)

154

xno

stop soundfile: PASAKA1_54-163

(mf)

6 8 164

0 ’00"

1 ’31"

#. !! ) #/ ! 0 !! " #./ !

piano

!!! )# % !!! " * *# # #

*4. play this sound anywhere you choose (between 0'00" and 1'31"); it has no special relation to the tape, is isolated and abstract.

start soundfile: PASAKA2_164-end

0 ’00"

0 ’09"

0 ’40" 31" # # !!! " (# # !

(mf)

!!!! " $ !$ #

(p)

!!!!! " $ !$ # (

0 ’45"

0 ’56"

0 ’59"

1 ’31" 32"

piano II (recorded)

maracas-like sound

9 "I ‰naikink, Valdove, gyvasias b«tybes" nebegalòdama i ‰laikyti visi ‰kai j uÏplidÏiusi ˜ gyvi ˜ tarò Îemò. Tuomet k«ròjas susimàstò kaip sumaÏinti..

% (voices)

" "

piano III (recorded)

!!!! ) % # ,# ,#

!!!! " (+ # ) ## !!!! % # #

!!!! " (+

..pasauliuose gyvybi ˜ skaiãi ˜, bet negalòjo rasti jokios i ‰eities ir j apòmò, liepsna i ‰siverÏ´s, pyktis: suliepsnojo pasaulio ‰alys, vandenys ir gyviai, nes pasaulis turòjo Ï«ti. "O, PraamÏi, nepyk ant savo k«rini ˜ - jie nebeatgims. Tegul jie gimsta, gyvena ir mir ‰ta". Tuomet i ‰ Brahmos pykãio ir minties apie pasaulio sunaikinimà gimò tamsi ˜ aki ˜ moteris, kuriai PraamÏis tarò: "Eik, Mirtie, ir naikink ‰io pasaulio gyvasias b«tybes[s]"

( # ) ( # )

pno: electr:

% %

$ = 112 marcato ) 3 / 0z 0z 1 0z 3 3 31 31 31 ' $2 *5 ( $% $ & $1 $ 165 $& $ $ $ , $ $1 $ ' $$1 0z 3 3 '$ '$ $ ' $ % 1 1 $ $ % % % $ 2 $ $ $ , , $ $ '$ $ + ' $ $ $ $ ' $ $ % $ $ 38 $ 2 3 & $ 2 3 & $ 5 6 2 3 2 , -$ % 4 -$ .% '$ ($ 8 . &$ $( $ * 4$ 8 +8 '$ 4 , 8 &$ 16 8 + 8 $ -$ $ $ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " 31 31 $ ' $2 / pno 3-$ $ 0z 0z -$% 0z $ $ $% * 2 3 * & $ 31 & $ 31 2 5 38 24 $ $ 3 5 6 2 38 + 28 $ $ % + + $ % % + . . $ $ & $ $ $ % ,, $$$ +8 8 4 ' $ 8 8 16 4 $ % $ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! # $$ %% " # $+ , $ $$% % $ $ $1 $ 0z &$ $+% &$ % , $ $% $ 1 3 3 (4 ) (4 (4 (4 ) (4 ) (4 )(4 ) ) ) (4 ) (4 ) ) percussive sound A 38 $ % 24 $ 28 + 38 $ 24 C 38 $+ * * 58 . . 38 + 28 $ * . . $ $+ $ $+ $+ . 166 $+ % 3$+ % 24 C 3 3$ 1% *5 3 2 1 0z $ $ % 3$% 31 $ / $% ( -$ % -$ % 0z '$ 0z 0z % 0z -$ 2 * * 2/ * 3 * * 38 $ % 2 $$ 2 +3 7 2 $ 5 6 2 $ & $1 $ 3 + 2 $ ' $$ %% , $ % . 4$ 4 + ( $+$ 8 8 &$ 16 4 8 8 '$$ $ $$$% % ,, $$$$ " !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " #& $ & $ $% $ 8 8 $ & $ $ % ' $$ $ $ & $$+ $ 1 % pno II (recorded) 31 31 % 0z &$ 8/ '39$ ' $ ' -$$ $$$ 0z & $ $ $2 2 / 3 & -$2 3-$% $ 3 $$ %% 2 $$ 2 +3 7 2 5 &$ . % 6 & $$+ %% -$ % 2 $ 3+2 * * * * * * ' $ $ % % $ $ $ $ $ 6 4 4 $+ && $+$ 8 16 4 8 8 1 1 1 " # #8 " # 8& $ & $% & $ $% $ 8 8 $ & $ $ % $$ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 0z 3 3 3 5 0z 5 (4 (4 ) (4 ) (4 8 ) ) ) % (4 ) 8 ), ; 0z *5 %% 0z 0z 31 $ $ 31 3-$% 2 31 ( -$ 5 ,, $$ 3 $% $ 2 $% $% 2 3* 6 $ '$ 2 3 + 2 $$ % * $ & $ ' $$ * 28 + 38 $ 4, 8 # 8 &$ . % 16 $% % $% % 4 ' $% ' $% ' $% . 8 8 &$ &$ # 4 $+ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " 8 $% " " $ $ &$ & $$ $ 0z pno III $% $ ' $% -$2 0z 0z $ 0z 3 0z % $ % 38 $ 2 28 + 38 $ & $+ 24 , 38 * -$ * 58 & $ . % 6 24 %. & $ &$ , $$ %% $6 3 2 $ % $$ 4 $ ' $ 16 ' $ # $ %% $ $ , &$ %%%% ( : ) $$$ 8 + 8 $$$% % B !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! , $1 ( : ) $1 ' $$ $$ $ $1 $ 3 3 ) 3 ( ( ( ( 4 ) 4 )4) 4 ) (4 ) (4 ) (4 ) (4 ) (4 ) # 3

( $ )

[s]

3 0z 2 ' $1 $ $ ' $ < 3 & -$ 2 3$ $ $% 31 2 2 $ 1 $ -$% 4 $ * 28 + 38 $ $ % 3 &$ % 2$ &$ $ $ 2 + 3 * $ 3 * 3$ 3 * & $ & $ 24 . &&& $$+ $ * . . $ $ 38 * -$ $ $ 163 * % 8 &$ % 4 $ 8 8 8 && $$ 4 8 &$ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " 8 $ $ '$ &$ 31 3 3 pno > $ &$ % , (meno f) 0z 28 + 3 $ 4 $ = '$ * % 3 ' $+ 1 & -$1 3 * % 3 &3$ % 2 , 2+3 * 2. 3 * &$ 3 3 31 % $ * $ * 9 . . $ % 8 ( $+ 16 8 $ 8 4 8 8 4 8 4$ 8 ($ " !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! #8 & $ % + $ $ $ % + $ $ $ $ $ 5 5 5 3 (4 ) No pedal 4 (4 (4 ) ) A 48 $+ 316 * % 28 + 38 $ 38 $ % 24 $ 28 + 38 $ 3 3 3 * * * % % + + 24 + . $ $3 $% * 38 $+ * $+ $ . $ $ $ $ $ C 8 4 8 3 % % 3 >@ 2 $% $ %' $ & $$ $ % $ $$ 3$1 -$1 3 < & -$ $ $ $ $% < 2$ $1 $ % 1 3 3$ 1 $ $ $ $ $ % $ % $ 48 ' $ $ $ $ $ $ $ $ 38 2 3 3 & 2 2 3 & $ 2 $ 3 3 ' $ 3 $* * * * * & $ * - & $+ 4 , '$ 16 % 8+8 8 8+8 4 8 4= 8 $ &$ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " / , % / % / 0z 3 % ' -$ % '$ $ $ < 31 31 31 $ $ 2 / 3$ & -$ 2 $$ %% $ 3 $% '$ 2 4 ' $-$ 3 & $ 3 2 3 3 & 2 3 2 3 3 * $ $ * * * * % = . $ & $% * 8 & -$ ( $+ 16 8+8 $ 8 4 8 + 8 $+ 4 8 4 8 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! #8 & $ : $ % + $1 $ $ $ ( ) $ 1 (4 ) 8 No pedal 4 3% $% (4 ) (4 ) (4 ) ) (4 ) (4 ) (4 ) (4 31 31 3$1 '$ '$ 3 < & $2 3$ / -$ - 31 3 ' $ &$ % $2 * && $2$ 2 . $ $% $ 48 28 + 38 . 24 & , 28 + 38 -$ * 3 3 3 + $ 16 * 38 $ & -$ 38 * * & $ * ? . . $ 4 4 8 $ '$ &, &$ !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " + $$ $$% $ $% 8 0z & $ & $$ 1 3 &, 3 3 31 0z 48 38 24 &3, 28 + 38 -$2 * ( $ * 24 . 38 31 % $$1 $$% * 38 1 1 & -$ 163 & $ $ ( $ 28 + 38 . * 3$ $% 38 * * & $+ 34 $ ? . . !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! # $+ " $ & $ & $ + ( $ $ $ $ ($ + $+ & $+% $ $ 5 5 / 3 8 8 (4 ) (4 ) (4 ) 4 # (4 ) (4 (4 ) ) B ($ ) “[s]usimilk, o Valdove! pasigailòk 176

*5. Frame indicates a note or sequence of the music to be treated as the foreground, and made to be distinct

from the voice(s)

not framed

11 0z 11 poco più mosso + + 0z *8 187 $ # 1 # 0z 1 1 1 1 1 1 * : : : : (E) 1 3 $# 1 # F ) #%# 5 $ #: #: #: #: # #: #: #: 1%#/ 2 # $ #: #: #: #: # #: # 3 # 2( ) #3333 14 $ # # # 17 $ # # # $# 5 $# # 3 $# 1 4 8 16 # $ # # # #$ # # # # $ #' 16 # # #$ # # # #$ # # # #$ # # # 8 # $ # # # # # # # $ #, * 8 # # # $ # # # # # # . 8 # #$ # # # . !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! "8 ! # 5 11 pno + + più 4 *6 # 0z # # # # # # 5 3 $ # * 14 # # $ # & # # # # $ #& # # #' 2# 17 #$ # & # # # # $ #& # # # # $ #& # # 3 # # $ # & # # # # $ #& # # # #, * 5 # $ # & # # # # # # # # # 3 # # $ # # # # # 8 4 8 16 16 8 8 8 $ # # $ # !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ! . . " # & # 9 # # # #'/ 5 1 9 #9 # #9 9 & # 9 #9 ( ## " # ( 1 1 9 9 9 9 999 1 1 9 1 - 1 9 0z 0z 6 (6 ) No pedal or just very little C 5 2 3 #/ 1 ’58" @/ B 8 # 4 8 7 1 #/ 1 0z 2 ’06" # 1# $# / ## 2( & #3333 # ) # # 5 2 3 B B ## 8 4 8 " !!!!!!!!!!!!!!!!!!!!! " ! !!! ! 1# 0z 4 # &# % # &# 5 2 3 #8 B B $# $# 8 4 (8 ( !!!!!!!!!!!!!!!!!!!!! ! !!! ! ## " ( 6 (6 8 ’ ’ 0z 0z 3333333333 / 2 # 1# : : : : 5 # $ #: #: #: #: # #: # :# :# 2 #:$ #: # #: #: #: 1%#/ 3 # /( ) #) 8 4 8 " ## ! " !!!!!!!!!!!!!!!!!!!!! ! !!! 0z 4 ## 58 # 24 # 38 0z $# # ( !!!!!!!!!!!!!!!!!!!!!!! " 9 # # # $ # & # 9 # # $ # & # # # # $ # & #'/ ( ## // ! !!! ! ' 9 9 9 9 9 9 9 9 99 1 99 99 $# (6 9 ( ( 6 ) 6 # ( ) Valdove, kaip a ‰ galiu, Valdove, Ïudyti, nekaltas gyvybes? O, PraamÏi... Îudyti, Valdove, nekaltas, PraamÏi, gyD man´s, Valdove! Pasigailòk ir neuÏkrauk man, PraamÏi, tos baisios na ‰tos, Valdove... 3

*8. The piano player repeats bar 195 until the 'tape-piano' begins to play bar 196. Then the pianist reacts and jumps to bar 196 too.

*6 the accents are NOT parallel for both hands

3 3

dis[s]..

Markn[n]..

pr.. no..

s..

vi..

suÏ[Ï]..

4 7/ 15 / $ #: # & # & # ; #/ 196 # 15 &# # & # % # 0z #/ # & #+ # / 1 0z / / # & # 2 3 %# / $ #<# ## # 3 $ %# # < 38 8 8 24 ## 2 5 6 2 6 8 8 $#$# 8 # / # % % B # # & %# # ; # * * * #& # # 8 +8 8 8 $# # 16 4 $ #, 4 # # &# 8 # &#&# ! ! " !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! / # 9 9 9 pno poco a poco cresc. 5 0z # $# # 38 %# $ # $ #5 # 24 # # ; # # $ <# * $ # # #5 28 + 38 #; # * # $ #$ # # #5 ; # 24 # $ # $ #5 # # # ; # # 38 * $ #' / $ #' / # #5 # # $ # $ # # # 58 ; # # $ # $ # 8 # # # 166 # #5 # $ # $ # 24 # # ; # #5 # $ # / $ # 68 # # # # $ #$ #5 # # # ; #5 (!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ! ! 1 0z + + No pedal or just very little 1 C 3 #/ 2# 2 3 2 3 5 6 2 5 # 8 8 8 8 @ # #' 4 # #' #' 16 #' / #' / # @ B 8 4 8 +8 # B 8 #' 8 @ 4 8 2 ’15" 1 5 1 : 0z 5 # # / / 1#/ + 15 # 0z ; %# / %# / #/ 0z 0z &# % :+ / 0z 38 # / 24 ## 28 + 3 > 24 ' 8 8 : 8 38 8 8 %# # 616 24 # $ #5 # 58 # & ## 5 = / @ 8 $# &# # ## == !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " 4 " & ## # # # ( $ #/ $ # #/ # 8 # $ # ( # ) # / $ ##' # # #' ; ## 5 / 1 1 A 5 0z# $ # 1 # # & &# 5 0z : < $ # > + + : 1 # %# 5 $ # 3 ## // 2 2 +3 2 6 $ ##' // %# / 2# 5 8/ 8/ 8 8 8 %# 38 8 8 %#/ & ## # # @/ # 4 # # , 8 8 8 4 16 4 8 # 8 ' ( ) # # $ # # / ' !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ( " ( " ( $# $ #/ $ # / # $$ ## ## # 0z 15 (6 0z / 9 9 (6 (6 ( 6 ) (6 ) ) ) A )A (6 ) 0z 7= 0z / 15 # 0z 15 1%#/ : 15 / ; %# 5 == &# 5 ## / 3 # / # $# 2 # / # / 2 38 8 8 28 + 38 # 8 # $ # & ## @/ 8 8 $# 166 #/ #/ #/ / 24 & #/ & #/ & #/ @ $# !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " 8 #/ (4 " # #' 4 = ( " # # $# $ # # 0z 4 # # & #/ #: / % 0z 15 15 0z 0z 0z #/ 2 #/ @ 3 # 2 2 3 38 8 1%#/ 8 58 $ # @/ $ # $ #' 24 = $# ## // #, # 58 ##/ / 4= # &# 8 + 8 # 166 4 &# ( 8 ## // # !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! # # ? # = $ = # ( ) & # ## / ( ?) # # //// # # # 51 (6 ) (6 (6 (6 ) (6 ) (6 ) (6 ) ) ( 6 ) (6 ) (6 ) ( ( # ) D - vybes?.. Juk man juos nuÏudÏius, keiks mane Dievuli Prakeiksmu keiks mane gyvieji lik´! A ‰ juk bijau ‰ito... ” spoken

a tempo

(expressive pronunciation)

9 206

pasl ’- pt [i]

ir[r]

ats[s]..

uÏ[Ï]

..sau

lio ri- b ˜.

Ten[n]

(n)ebv..

sa[a]u..,

nei mònl.., Ïem.. –

tik vand..!

$ #$ # ) ) * * . . . # # $ # # $ # 2 ( 1 # 5 7 3 2 # 5 # # # 34 # % # % # # # # & # # 38 $ # ( # 38 $ # ( 4 16 $ # ( 16 # # # % # # 4 '# 8 # %# ' pno !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " 4 # $ #$ # # '# '# $ # 4 # $ # # # % # $ # # %# # ( ( ( $ # $ # # $ # ' ' ) (((( ) # $# # # + .# $ # #* # # # # $ # 5 # #* # # # 7 '# ( # 2 # # $# $# # # 1 # # $# 3 + + $ # 3 3 $ # 3 $ # 2 $ # 5 # # # # # % # # $# 8 # $ # 16 # 8 $ # & # 16 5 # 4 $# & # $ #* 4 # 4 4 8 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ,4 ) ) (0 ) (0 (0 ) (0 ) ) .# #( ? 48 '# 58 # 24 # 38 '# 1 1 38 '# 1 1( 1 38 .# ( 1 34 # 2( #' 163 1 ( # 2 28 + 38 # # #' 24 4 1 !!! " ! %% '## !!! , ! 3z .* .*# C %# # # ' . * ' ## $# ( 48 1 38 # $ '# '# 163 % # # % # 58 2 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ! " ## ##( /$ # * # .* 3z * ( 48 1 38 .* .* $ '# 163 $ # # & # 58 2 ## ## ## !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ! , # ## #/ & #/ # $# #/ $ #/( ) (0 ) (0 (0 ) ) @ ,( # ) )

music tempo depends on the speed of the text pronunciation. It should be as fast as possible

(emphatic)

216

Îmog..:

VI·

NUS!

(emphatic) ta-kir[r]-mieg-vòr[r]-bu-ir[r]-ik-o-prar..

i ‰

m ’- ãi ˜.

Bet

(emphatic) jis vòl su-sap.. BOUB..!!!

Be Ïmon.. – tik van - de-nys. Mar-kan-dò

- ja pa-

= - . : 6( ( 7777777 %# %# ) ) # 2 # # #) # # # # # 14 2 7 1 3 # / # 1 $ # # 24 ' # % # % # # # 8 # # # # % # ( ) $ # % # # # # % # 14 # # 44 % # # % # # # % # # & # # % # # # 4 % # % # # 16 4 8 8 ' # ( $ # $ # pno !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " '# # % # # %# # $ # # # $ # % # 3z . # 3z 3z ) ) poco meno mosso et più tenuto più ; .'# ( meno ; ) '# # # # # 4 # $# # # ## / 14 $$ ## & '# 24 # # $ #$ # 7 2 1 3 $ # # # 2 1 $ # $ # #& # # ( # 1 # 1 # # # # ' $ # & #$ # # # $# &# $# &# 8 8 #' 1 4 $# 4 $# 4 # 16 # # $ # # # 4 5 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! , . $ #$ # &# # <$ #< # $ # #& # # $ #$ # $# ( 8 )# # ## > < < (0 (0 (0 ) ) ) 9 58 # 24 3 1( ? 2( # #/ 38 # ( ( 4 8 @ ,( # ) 3

(emphatic) whispered

228

pno

tò

me-dy mie-gan-t

k«

di..,

ku - ris ta - rò:

Mar-kan

- dò

. .

ja, Mark',

Mar

kan-dò-ja,

a tempo agitato, staccatissimo

A·...

- # ) #( # 5 # . # ( # # $ # 3 '# # '# 7 # # 24 # ( 2 2 1 14 1 ( % A#( 38 % # B 5 5 #B 1 # $# % # # % # # & # # # # % # ' ' ' $ # % # # $ # #( #( % #( 24 A# 5 #B( 5 5 % #B 1 16 $ # 4 # 4 4 8 4 #( # $ # !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " # ( ( # ( $# ) 3z 3z più ; ( ( # # ## ## (( ## 1 ## $ ### ( 24 # $ # $ # & # # # 167 # # .'# ( 34 # $ # $ # # # & # # $ # $ # # # 24 & # # A# 24 - # # # $ # 58 ## 24 #( #( #( # #( # $ #( $ #( #( #( #( 14 A#( 5 # #( 38 $ #( $ #( '#( 1 # ( ## 4 ## ## $ # '# 1 / ( !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! , $# ( #/ # 3z . . ) ) 3z . . . ) ) ) ) more pedal; full sound No pedal or just very little , 3

“o,

almost screamed

( # )

molto agitato

A 9 9 , *9 $ $ $ $ , , $ , + $ $ & $ , 2 1 ) , $ $ ' 14 $, & $, ' 167 % ) , ' ' ) $, $, ( $, $, 24 $ & $, ' ' $, $ ( $, $ $, 18 + 24 ( $% ' $, ( $, ( $, ( $, $, 14 $ ) 0 163 $ $ ' 14 $ $ ' 38 $ ) $' !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " 4 $ & $%, ' $, $, 4 & $%, ' & $ , , , & $, & $, &$ 6 6 6 6 $ ff , , $, 1 $, , & $, $, $, $ & $ $ $ ) $$ 2 $ $, , $, & $, , 1 2 6+$, , , % 14 $, .$, 24 ) 7 1 3 1 & $ 3 $ ) ) $ $ $ ) $ $ $ ) , , + + + , , 4 ' $ .$ ' , & $, 4 $ ' 16 &$ ' ' &$ *$ &$ 8 + 4 ' ' $ ' 0 16 ' ' 4 & 4 8 $' ' !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! # 5$ & $7 $ ( ) , 6 : : : - 6$, # ; ; ; $ 3

239

pno

(

)

*9. The piano player repeats bars: 248-254 until the 'electr. voice' begins next section. Then the pianist reacts and jumps to bar 255

251

9 $ $ $ 3 9$ 2 $ $$ 1 $ ) 2 $ $ & $ ' & $ 4 16 $ 4 4 $ & $7 , & $7 , !!!!!!!!!!!!!!!!!!!!!! " &$ $ !0 &6$ $ pno 6 8z / 2 & $/ $ $ & $ 14 ) +$ ' +$ +$ ) $ 163 $% ' ' 24 & $ !!!!!!!!!!!!!!!!!!!!!! # 4 &$ ' ' !0 $ $ &6$ $ $ 6 : : 6 : ; ; ; ?

*11. As if pianist is trying to continue with a thought. Precise synchronization is essential here: in this disturbed dialogue the pianist fights to get the words in edgewize. Even if he can't pronouce the phrases in the given time, it is important that he tries.

1 *10 < 6 A·... kara.. !!! $$! (f) ( $ ( $ ( $ $ 2 3333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333 $$ $ $ ($ !!! ! $ 6 (; ) 3 ’02" 3 ’06" 3 ’10"

15"

“Kas tu esi, Ïulusis, be pagarbos deramos kreip´sis senel ?!..

< 2 3333333333333333333333333333333333333333333333333333333333333333333333333333333333333

..mane skriaudò, mu ‰ò, dauÏò, Ïudò[ò].. ”

Lak ‰tingala, atradus prasm´ suok!

*10. An additional layer of tremolo can be added electronically to the live piano in order to intensify it.

kad virpòt ˜ langai, ‰irdys ir radiatoriai, kad snaigòs krist ˜..., kad gyvenimo karusòlò sukt ˜si... sukt ˜si sukt ˜ sukt ˜ sukt ˜

sisu sisu situ si i situ si i i-ir[r]...

( $ )

pno

ka..

a ‰ karalius!..

a ‰ suk«riau...

mano

6< 6 < 6 < 6 < 6

mano sukurta saulò, mònulis... a ‰ suk«riau saul´, visatà... ji daug kart ˜ buvo Ïuvus

(2)3333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333333 @ 3 ’25" (3 ’37") 3 ’38" 3 ’41" 3 ’44 3 ’46" 3 ’48" 13" 6" ?2 3333333333333333333333333333333333333333333333333333333333333333333333333 ..kaip nieÏti..brr..

Kad Ïmonòs,

Nieko nebuvo, nei saulòs, nei dangaus...

i ‰gird´ tavo giesm´,

Îmonòs!, Îmonòs i ‰gird´! susidauÏt ˜ aki ˜ stikliukais ir i ‰gert ˜ juose teliuskuojant vynà nenujausdami, kad tai jau savaime yra POEZIJA...

“J«s ˜ Didenybe.. ” Cezaris atsakò kaip jam atrodò. “Imperatoriau! ” “Imperija gri«va! ” Cezaris nuta..

Ï[Ï]-inodamas gal ˜ silpnumà, Imperatorius nutarò, jog negalima galams duoti laiko priimti sprendimams greitai nuÏygiavo a ‰tuonias mylias ir nutarò pulti. Viva la imperia! Peleninòs li«dnos akys, brrr brrr br brrr peleninòs nosis virpa ir degtukas tarò: “ ‰akòs, mir ‰tu ”.

( $ )

pno

*12

...ir daug kartu Ïus!..

vòl bus sukurta i ‰ naujo...

a ‰ dalinu laikà...

riu.. ” Morte

Bet kam gi tas tri«sas?

Pasigailòk m«s ˜, Vie ‰patie!

< < ,, => ,, 2 3333333333333333333333333333333333333333333333333 br[r] x

@ #(

kaip nieÏti brr.. $ )

Oh...

2 333333333333333333333333333333333333333333333333333333333333333333

extended scream (many voices)

*12. 'Morte' suddenly stops the piece: stop the electronics at this point without fade out or delay