Golem gives itself a Name
Transcript of Golem gives itself a Name
2
"We declare that in human flesh wings lie dormant.
The day when it will be possible for man to externalize his will so that,
like a huge invisible arm, it can extend beyond him, then his Dream and Desire, which today are merely idle word, will
rule supreme over conquered Space and Time...
This nonhuman, mechanical species, built for constant speed, will quite naturally be cruel, omniscient, and warlike."
-Filippo Marinetti, "Extended Man and the Kingdom of the Machine"
1. The orchestra, at its best and worst, is a microcosm of society. It represents a social contract signed,
consent given to serve the collective with both total oblivion and immeasurable investment of the self.
The replacement of a cog in a machine shouldn't move us, yet it does. By the very act of being identified
individually, the cog becomes instantaneously important in a single, all-encompassing moment of unity of spirit
and form. Whether the cog asserts itself or is asserted by something beyond its pure and brute power of
repetition, its baptism becomes the willful unraveling of the network.
2. Why are the names which define us decided by chance and sentiment? Self-baptism, on the other hand,
leads to a kind of responsibility which cannot triumph against the comfort of the embryonic convenience of
acquiescence to any given ideal. But at what point does the expression of the individual simply become the
expression of human function- basic muscle twitch and lung contraction (the obscenity of bodily existence in
a mind's world, of mental awareness in a body's world)? And when does the self become an opulence? For,
if declared incorrectly, it lessens into pointless and extravagantly gratifying masochism via its ephemeral
pleasure of existing.
It is this razor-thin wire we tread throughout our lives, suspended in a fog of our own making far above both
the real and the dreamt.
3. Truth and Death are inextricably linked. Emet kills the golem by freeing itself of its "e": by taking hold of its
fate, renaming itself, proclaiming its emancipation, Truth has created its own undoing. The name for the truth
poisons its bearer when it encounters the object to which it refers. This self-perpetuating and self-
destructive phenomenon is the nuclear reactor of consciousness and its fission creates both the curiosity and
the cat, as well as Death itself.
4. The expectation of the future is constantly being replaced by the actuality of the now. Everything is in
reference to existence. But we should not be disappointed by how the future holds up to our expectations
of it, since as soon as it exists, it is no longer the future and becomes absorbed by the present, negating its
own existence through the change of name.
The German Expressionists and Italian Futurists decayed through their use of entropy into Fascism. What
will entropy pull (or push) us towards?
Let us remember, after all, that Boccioni, who declared that a horse should have not four legs but twenty,
died falling from a horse only after volunteering to ride one.
-Maya Miro Johnson
February 16, 2020
PROGRAM NOTES
3
Metropolis
The Cabinet of Dr. Caligari (1919)
Robert Wiene
Modern Times (1936)
Charlie Chaplin
The Cabinet of Dr. Caligari
Nosferatu (1922)
F.W. Murnau
Modern Times
Metropolis (1927)
Fritz Lang
Metropolis
THE IMAGES
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whispering into mouthpiece: whispering into the mouthpiece indistinct phonemes such as "sh" and "wh" and "ch"
with occasional vowels. Not required to be rapid-fire, but should be relatively consistent
behind the bridge: bowing the space directly behind the bridge but before the wrapping. The left hand should be in an open
string fingering position. Each instrument will produce a unique overtone, and the pitch should not be coordinated or
reconciled with that of the other players. Upbows are generally preferred.
replacing name-declaring: a gradual transition of the name from speech to expression through the instrument. The
player should retain the exact same rhythm gleaned from the name and then transfer that rhythm to given pitch in
whichever of the three tempos given works best for that particular name's rhythmic profile.
name-declaring: I ask the players to speak their own name (or, if uncomfortable with this, the name of a relative, historical figure,
or fictional character), and as they repeat this, to begin identifying the rhythmic pattern of the name.
speaking from the ensemble: vocalizing given text in a raised speech; notated as a libretto line. As the orchestration thickens, the
volume will need to become louder and louder, though a place like Letter C can be relatively soft-spoken.
Long glissando with left hand tremolo: begin the glissando almost unnoticeably, then increase in speed and intensity
(though not necessarily volume). A feathery and delicate yet almost unnerving texture, like quicksand. The conductor
should treat these bars as fermatas and give downbeats with numbers to indicate where in the glissando the players should be,
approximately.
key clicks: clicking the keys audibly loosely in fast rhythms without meter, alternating valves or keys
crescendo to tongue ram: transitioning from open to closed or vice versa (for brass, ordinario for winds), and
ending with a clear stoppage of the sound in a tongue ram (either ordinario using the hand in the bell, or with a plunger mute)
harmonics: natural harmonics are notated with an "o" and a diamond notehead. The microtones should not be purposefully played
by the performer, but should instead result naturally from the partial, which is inferred by finger placement. Artificial harmonics are
notated in the usual manner.
half pressure white noise: with both hands half pressure or less, drawing the bow extremely slowly across the string to
produce a friction sound.
pitchless bowing: bowing horizontally, and moving a clamped left hand in a unit up and down the fingerboard (with half
pressure). Do not coordinate left hand with section.
binder clip: Violin I.1 (Concertmaster) and Double Bass 5 plays with 1 medium-sized binder clip attached to 4th string, as close
to the bridge as possible while Double Bass 6 plays with 2 medium-sized binder clips attached to 1st string (will produce artificial
harmonics)
PERFORMANCE NOTES
Strings
air tone: produce breath sound with no pitch.
flutter-tongued line: shadowing a line of speech exactly, using flutter tongue and glissandi (where convenient) to
craft an agitated but uninterrupted line.
Tutti
Winds and Brass
Instrumentation:
3 Flutes (3rd doubling Piccolo)
3 Oboes
2 Clarinets in Bb
Bass Clarinet in Bb
3 Bassoons
Contrabassoon
4 Horns in F
3 Trumpets in C
2 Trombones
Bass Trombone
Timpani
2 Percussion:
1: Suspended Cymbals, Bass Drum, Tam-Tam, Xylophone, Siren
2: Snare Drum, Vibraphone
Piano (prepared with thick paper covering the strings in this range: )
Projection*
Violin 1
1** (2 stands), 2 (2 stands), 3 (2 stands)
Violin II
1 (2 stands), 2 (2 stands), 3 (1 stand)
Viola
I (2 stands), 2 (1 stands), 3 (1 stand)
Violoncello
1 (2 stands), 2 (1 stand), 3 (1 stand)
Double Bass
1 (1 stand), 2 (1 stand), 3** (1 stand)
*A projection is to run simultaneously with the piece. Files and method will be provided.
The conductor need only coordinate two moments: the beginning and Cue 2, at Letter I.
Otherwise, the visual element must be allowed to run its course separately.
**Violin I.1, 1st player (i.e. concertmaster), and Double Bass 3 (players 5 and 6) are to have
a medium to large binder clip (in Double Bass player 5's case, 2 clips) as a mute which is to be employed
only at Letter I.
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Flute 2
Flute 3
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Oboe 1
Oboe 2
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Clarinet in Bb 1
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Bass Clarinet
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Bassoon 1
Bassoon 2
Contrabassoon
Horn in F 1
Horn in F 2
Horn in F 3
Horn in F 4
Trumpet in C 1
Trumpet in C 2
Trumpet in C 3
Trombone 1
Trombone 2
Bass Trombone
Timpani
Percussion 1
Percussion 2
Piano (Prepared)
Projection
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Violin I.2
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Maya Miro Johnson
(2020)
Written for the Curtis Symphony Orchestra
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)
) )
æææw
Ó
æææw
_ ™ -
j‰ ‰
-
J
-
J‰
- ™ -
J
‰- -
J‰ ‰
-
J
-
J‰ ‰
- -
J‰ ‰
-
J
-
J‰
-
j ‰ Œ- ™ -
J‰ -
j
- ™ - ‰-
J
-
J‰
- ™ -Œ - ™ -
j
Ó ‰-
J
-
J‰
- ™ -
j
Œ - -
j
‰ Œ- ™ -
J
-
j‰
-
j
-
j ‰ ‰
- -
j ‰ - ™ -
j
Œ- -
-
J
‰
_ -
j‰ Œ
_ -
j‰ Œ
-
J
‰ Œ
_ -
j‰ ‰ - -
J
‰ Œ
-
J
‰ Ó
- - -
j‰ ‰
- -
J
Œ
_ ™ -
j‰ ‰
- ™ -
j ‰
-
j‰
_ ™ -
j‰ ‰
- ™ -
j ‰
Œ
_ ™ -
j‰ ‰
- ™ -
j ‰
Ó
_ -
j ‰
_ -
j ‰
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_ -
j ‰
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j ‰
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j ‰ Œ
_ -
j ‰
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j ‰
4
°
¢
°
¢
°
¢
{
°
¢
°
¢
Fl. 1
Fl. 2
Picc.
Ob. 1
Ob. 2
Ob. 3
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Timp.
B. D.
S. D.
Pno.
Vln. I.1
Vln. II.1
Vla. 1
Vc. 1
Db. 1
ppp f
ca. 6" ca. 6" ca. 5"ca. 4"
(q = 54)B19
f
ff
ppp f
ppp f
ppp ff
ppp ff
f
ppp f
ppp f
f
ff
f
ppp f
f
ppp f
ff
ff
ff
ff
ff
ff
ppp ff
ppp ff
ppp ff
ff
p ffppp
p ff ppp
p ff
p ff
p ff
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
U
1
U
2
U
3
U
4
∑
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U U U U
&
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∑
U U U U
&
U
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U
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U
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U
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U
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U
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U
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U U U U
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U
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U U U U
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U U
take plunger mute
∑
U
∑
U
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U U U Utake plunger mute
∑
&∑
U U
take plunger mute
∑
U
∑
U
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U U U U
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U U
∑
U
∑
U
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U U U U
?∑
U
∑
U
∑
U
∑
U
∑
/
To Tam-Tam
∑U
∑U
∑U
∑
/ ∑U
∑U
∑U
∑
&∑
elbow clusters ¤
∑
U
∑
U
∑
U
∑
U
∑
˙
?∑
¤
¤
3
∑
U
∑
U
°
∑
U
∑
U
∑
&
Tutti
∑
U
U
U
u
U
&
Tutti
∑
U U
U
u
U
n
#
n#
#
###
B
Tutti
∑
U U U U
∑
?Tutti
∑
U UU U
∑
?Tutti
∑
U U U U
∑
Œ ˙ ™
w w w w w
w w w w w w
Œ
˙# ™ w w w w w
Œ
˙ ™ w w
Œ˙ ™ w w w
Œ ˙ ™ Œ ˙ ™ w w w w
Œ
˙# ™
Œ˙ ™ w
w w w w w
Œ
˙b ™ w w w
Œ˙# ™
wb w w w w w
wb w w w w
Œ
˙b ™ w w w
wb w w w
Œ˙ ™ w w w w w w
w w w w w w
Œ
˙ ™ w w
Œ˙ ™ w w
Œ ˙ ™ w w w w
Œ
˙ ™ w w
Œ˙ ™ w w w w
Œ
˙# ™ w w
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˙
˙
wwwww
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b
n
bb
www
wwww
b w
wwww
w
ww
w
ww
∑
Ó
Ó
˙̇˙̇˙̇˙̇˙
˙
˙˙
w
wwwwwwww
n
b
nb
b
bb
w
wwwww
w
ww
w
w
w
w
w
∑
Ó
Ó
˙̇˙˙̇˙̇
˙
˙
wwwwwww
b
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w
ww
w
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b
bb
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ww
w
ww
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w
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w
ww
w
w
ww
w
w
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w
5
°
¢
°
¢
°
¢
{
°
¢
°
¢
Fl. 1
Fl. 2
Picc.
Ob. 1
Ob. 2
Ob. 3
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Timp.
B. D.
S. D.
Pno.
Vln. I.1
Vln. II.1
Vla. 1
Vc. 1
Db. 1
ca. 5" q = 72C26
p mechanical
p mechanical
p mechanical
ppp
ppp
mechanical p
p ppp
p ppp
ppp
ppp
p ppp
&∑ ∑ ∑
U
∑
&∑ ∑
U
∑
&∑
To Flute
∑ ∑
UFlute
∑
&∑ ∑ ∑
U
∑
&∑ ∑ ∑
U
∑
&∑ ∑ ∑
U
∑
&∑ ∑ ∑
U
∑
&∑ ∑ ∑
U
∑
?∑ ∑ ∑
U
slap tongue (little to no pitch)
>
3
>
3
?∑ ∑ ∑
U
∑
?∑ ∑ ∑
U
∑
?∑ ∑
remove reed
∑
Uslap tongue through the bocal (no reed)
>
3
>
3
&∑ ∑ ∑
U
∑
&∑ ∑
U
∑
&∑ ∑
U
∑
&∑ ∑ ∑
U
∑
&∑ ∑ ∑
U
∑
&∑ ∑ ∑
U
∑
&∑ ∑ ∑
U
∑
?∑ ∑ ∑
U
∑
?∑ ∑ ∑
U
∑
?∑ ∑ ∑
U
slapping the mouthpiece with the palm
>
3
>
3
?∑ ∑ ∑
U
∑
/ ∑
Tam-tam
∑
extremely slow scrape
U
/ ∑ ∑
U
>3
>3
&∑ ∑ ∑
U
∑
&
Tutti
###
half pressure with both hands
U
∑
&
Tutti
<#>
<#><#><#>
<#><#>
n
nn#
##
###
half pressure with both hands
∑
B
Tutti
∑ ∑&
half pressure with both hands
U
B ∑
?
Tutti
∑ ∑&
half pressure with both hands
U
?∑
?
Tutti
∑&
half pressure with both hands
U
?∑
˙
Ó
Œ ‰
¿
jŒ Œ Œ
¿
j‰
Œ ‰ ¿
J
Œ Œ Œ ¿
J
‰
˙Ó
˙
Ó
Œ ‰¿
jŒ Œ Œ
¿
j‰
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‰
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J Œ Œ Œ
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w
ww
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6
°
¢
°
¢
°
¢
{
°
¢
°
¢
Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Ob. 3
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Timp.
T.-t.
S. D.
Pno.
Vln. I.1
Vln. I.3
Vln. II.1
Vla. 1
Vla. 2
Vc. 1
Db. 1
Db. 2
30
declare
mp
we
mp
we
mp
pp sfp
ppp f
ppp f
we
mp
we
mp
we
mp
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
3
4
2
4
&∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑
/
spoken
&
&∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑
/
spoken
&∑ ∑ ∑
3
&∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑ ∑
/
&∑ ∑ ∑ ∑ ∑ ∑ ∑
?
>
3
>
3
>
3
>
3
>
3
>
3
∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑ ∑
? >
3
>
3
>
3
>
3
>
3
>
3
∑ ∑ ∑ ∑
&∑ ∑ ∑
/ &∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑
with plunger mute
tongue stop while also opening hand out of bell
o +
∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑ ∑
/
?∑ ∑ ∑ ∑ ∑ ∑ ∑
?
>
3
>
3
>
3
>
3
>
3
>
3
∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑ ∑
/ ∑
roll with soft mallets
/
>3
>3
>3
>3
>3
>3
∑
&∑ ∑ ∑ ∑ ∑ ∑ ∑
&
Tutti
∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑
/
spoken
9.
&∑ ∑ ∑ ∑
&
Tutti
∑ ∑ ∑ ∑ ∑ ∑ ∑
B
Tutti
∑ ∑ ∑ ∑ ∑ ∑ ∑
/
4. spoken
B ∑ ∑ ∑ ∑ ∑ ∑
?
Tutti
∑ ∑ ∑ ∑ ∑ ∑ ∑
?
Tutti
∑ ∑ ∑ ∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑
/
spoken 4.
?∑
¿Œ Œ
Ó ‰ ‰ ¿
jŒ
Œ ‰
¿
jŒ Œ Œ
¿
j‰ Œ ‰
¿
jŒ Œ Œ
¿
j‰ Œ ‰
¿
jŒ Œ Œ
¿
j‰
Œ ‰ ¿
J
Œ Œ Œ ¿
J
‰ Œ ‰ ¿
J
Œ Œ Œ ¿
J
‰ Œ ‰ ¿
J
Œ Œ Œ ¿
J
‰
ÓŒ ‰ ¿
j
œ ™ O
JÓ
Œ ‰¿
jŒ Œ Œ
¿
j‰ Œ ‰
¿
jŒ Œ Œ
¿
j‰ Œ ‰
¿
jŒ Œ Œ
¿
j‰
æw
æw
æw
æw
æææw
æææ˙ ™
Œ
æææw
‰
œ
J Œ Œ Œ
œ
J ‰ Œ
æææw
‰
œ
J Œ Œ Œ
œ
J ‰ Œ
æææw
‰
œ
J Œ Œ Œ
œ
J ‰
æææw
æææw
æææ˙ ™
Ó ¿
j
‰ Œ
ÓŒ ‰ ¿
j
ӌ
¿
7
°
¢
°
¢
°
¢
{
°
¢
°
¢
Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Ob. 3
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Timp.
T.-t.
S. D.
Pno.
Vln. I.1
Vln. I.2
Vln. I.3
Vln. II.1
Vln. II.2
Vln. II.3
Vla. 1
Vla. 2
Vla. 3
Vc. 1
Vc. 2
Vc. 3
Db. 1
Db. 2
Db. 3
ca. 7"
D37
we
mf
p mechanical
p mechanical
ppp
ppp
ppp
ppp
pp sfppp sfp
pp sfppp sfp
declare
mf
ppp
ppp
ppp
l.v.
p mechanistically repetitive but still curiously expressive
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
&∑ ∑
U
∑ ∑ ∑
&∑ ∑
U
∑ ∑ ∑
&∑ ∑
U
∑ ∑ ∑
&∑ ∑
U
∑ ∑ ∑
&∑ ∑
U
∑ ∑ ∑
&∑ ∑
U
∑ ∑ ∑
/
spoken
&∑
U
∑ ∑ ∑
&∑ ∑
U
∑ ∑ ∑
?∑ ∑
U
(slap tongue)
>
3
>
3
>
3
>
3
>
3
>
3
?∑ ∑
U
∑ ∑ ∑
?∑ ∑
U
∑ ∑ ∑
?∑ ∑
U(slap tongue)
>
3
>
3
>
3
>
3
>
3
>
3
&∑ ∑
U
/
breath ad lib, uncoordinated with section
&∑ ∑
U
/
breath ad lib, uncoordinated with section
&∑ ∑
U
/
breath ad lib, uncoordinated with section
&∑ ∑
U
/
breath ad lib, uncoordinated with section
&∑ ∑
U
with plunger mute
o + +
∑
o
&∑ ∑
Uwith plunger mute
tongue stop while also opening hand out of bell
o + o +
&∑ ∑
U
∑ ∑ ∑
/
spoken
∑U
breath ad lib, uncoordinated with section
?
?∑ ∑
U
/
breath ad lib, uncoordinated with section
?
?∑ ∑
U
/
breath ad lib, uncoordinated with section
?
?∑ ∑
U
∑ ∑ ∑
/
UTo Xyl.
&
Xylophone
/
U
>3
>3
>3
>3
>3
>3
&∑
prepared with paper spread across the written range, dampening the strings to produce a metallic twang
repeat pitch collection linearly in any rhythmic configuration; generally pensive and obsessive, always changing
&∑ ∑
U
∑ ∑ ∑
&∑ ∑
U
∑ ∑ ∑
&∑ ∑
U
∑ ∑ ∑
&∑ ∑
U
∑ ∑ ∑
&∑ ∑
U
∑ ∑ ∑
&∑ ∑
U
∑ ∑ ∑
B ∑ ∑
U
∑ ∑ ∑
B ∑ ∑
U
∑ ∑ ∑
B ∑ ∑
U
∑ ∑ ∑
?∑ ∑
U
∑ ∑ ∑
?∑ ∑
U
∑ ∑ ∑
?∑ ∑
U
∑ ∑ ∑
?∑ ∑
U
∑ ∑ ∑
?∑ ∑
U
∑ ∑ ∑
?∑ ∑
U
∑ ∑ ∑
¿Œ
Œ ‰
¿
jŒ Œ Œ
¿
j‰ Œ ‰
¿
jŒ Œ Œ
¿
j‰ Œ ‰
¿
jŒ Œ Œ
¿
j‰
Œ ‰ ¿
J
Œ Œ Œ ¿
J
‰ Œ ‰ ¿
J
Œ Œ Œ ¿
J
‰ Œ ‰ ¿
J
Œ Œ Œ ¿
J
‰
) ) )
) ) )
) ) )
) ) )
œ ™ O
JÓ Œ ‰ œ
J
œ ™ O
J
Œ
œb ™ O
j Œ Ó ‰
œb ™ O
j ‰ Œ Ó
‰ ¿
j
¿
j
‰ ) ) )
) ) )
) ) )
æææ˙
æææw
æææw
æææw w
æææ˙
æææw
Œ
æææw
‰
œ
J Œ Œ Œ
œ
J ‰ Œ
æææw
‰
œ
J Œ Œ Œ
œ
J ‰ Œ
æææw
‰
œ
J Œ Œ Œ
œ
J ‰
œ
œb
œ
œbœ
œb œ
œb
œbœn
œ#
8
°
¢
°
¢
°
¢
{
°
¢
°
¢
Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Ob. 3
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Timp.
Xyl.
S. D.
Pno.
Vln. I.1
Vln. II.1
Vla. 1
Vc. 1
Db. 1
Db. 2
Db. 3
n
accel.
molto accel.
molto accel.
42
n
we de clare-
we that in
de clare- we
that in we
p mechanistically repetitive but still curiously expressive
n p
n p
n p
n p
n p
p
p
&
air tones with given contour
air tones with given fingering half tone and half airflutter tongue
-
5 65
6
3
5
5
&
air tones with given contour -5
3
5
5
&
-3
3 5
3
5
&∑ ∑ ∑ ∑
/
&∑ ∑ ∑ ∑
/
&∑ ∑ ∑ ∑
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&∑ ∑ ∑ ∑
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?∑ ∑ ∑ ∑
/
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/
?∑ ∑ ∑ ∑
/
/
spoken softly, almost muttered into mouthpiece
/
6
/
spoken softly, almost muttered into mouthpiece
/
spoken softly, almost muttered into mouthpiece
3 3
/
spoken softly, almost muttered into mouthpiece
&∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑
?
take plunger mute
∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑
&
repeat pitch collection linearly in any rhythmic configuration; generally pensive and obsessive, always changing, with lots of space between the notes
/ ∑ ∑ ∑ ∑
&
?∑ ∑ ∑ ∑
&
Tutti
-
&
Tutti
-
B
Tutti
-
?
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?
-
?∑ ∑
play pitches in order one time through, then in any sequence as density accelerates; do not coordinate with other players
pizz.
.
.
.
..
?∑ ∑
play pitches in order one time through, then in any sequence as density accelerates; do not coordinate with other players
pizz.
. .
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b ˙O™™
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9
°
¢
°
¢
°
¢
{
°
¢
°
¢
Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Ob. 3
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Timp.
Xyl.
S. D.
Pno.
Vln. I.1
Vln. II.1
Vla. 1
Vc. 1
Db. 1
pdor mant-
f
q = 84E
46
pdor mant-
f
p dor mant-
f
declare
f
pp sfp
declare
f
pp sfp pp
declare
f
lie
in
flesh
f p
flesh
f p
flesh
f p
that
(f)
hu man-
pp sfp
that
(f)
that
(f)
hu man-
in
(f)
flesh
hu man-
flesh
(f)
wings
(f)(f)
wings that in
in
(f)
we de clare that in
pp sfp pp sfp p pp
pp sfpp sfp
pp sfp p sfp
pp sfp de clare-
we de clare
we de clare
f but dry
f
f
f
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
& /
3
&
& /
3
&
& /
3
&
/
spoken
&∑ ∑
tongue stop
+
∑
/
spoken
&∑ ∑
+
3
/
spoken
∑
3
∑ &
3
&∑
/
spoken
&∑
&∑
/
spoken
&∑
?∑
/
spoken
?∑
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spoken
∑
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B
+
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spoken
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/
spoken
∑
?∑ ∑
/
spoken
∑ ∑ &
3
/ ∑ /
spoken
&∑ ∑ ∑
/ ∑ ∑ /
spoken
∑ &
/ ∑ /
spoken
∑ &
&
with plunger mute
tongue stop while also opening hand out of bell
o + + o
∑
+ o +
3
3
&∑
with plunger mute
o + +
∑ ∑
o3
&∑
with plunger mute
+
∑ ∑
o o +
?∑
with plunger mute
o o+
/
spoken
?
?∑ ∑ ∑
/
spoken
?∑
?∑ ∑ ∑
/
spoken
?∑
?
bowed crotales on timpani, manipulating contour with pedal
∑ ∑ ∑
&
/
rim shot
> > > > > > > > >3
&
?∑ ∑ ∑ ∑ ∑
&
Tutti
∑
pizz.
3
&
Tutti
pizz.
3
B
Tutti
∑ ∑ ∑ ∑ ∑
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Tutti
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∑ ∑ ∑ ∑
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10
°
¢
°
¢
°
¢
{
°
¢
°
¢
Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Ob. 3
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Timp.
Xyl.
S. D.
Pno.
Vln. I.1
Vln. II.1
Vla. 1
Vla. 2
Vla. 3
Vc. 1
Vc. 2
Vc. 3
Db. 1
Db. 2
Db. 3
p distant
poco accel.
51
p distant
p distant
mf distant
sfp p distant
p distant
p distant
p distant
p distant
we de clare- that in hu man- flesh wings lie dor mant-
mf distant
mf distant
mf distant
mf distant
sfp
p like human speech
de clare-
p like human speech
we de clare- that in hu man- flesh wings lie dor mant-
f
f
mp f pp
pp
mp f pp
pp
mp f pp
pp
p fpp sfp pp
p f pppp sfp pppp
p f
sfp
p sfpp sfp p sfp
p sfp p sfp p sfp
p sfp p sfp p sfp
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
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3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
&
harmonics
&
harmonics
&
harmonics
&
&
+
∑
&∑
&∑ ∑
&∑ ∑
?∑ ∑
?∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑
?∑ ∑ ∑
/
?
3 3
&
&
&
&
&
o remove mute
∑
flz.
∑
3
&∑
/ &
remove mute
∑
flz.
3
3
&∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑
/
?∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑
?∑ ∑
/
loosely, almost as if speaking extemporaneously
?∑
3
&
/ ∑ ∑ ∑ ∑
&
&
Tutti
∑
pizz.
3
&
Tutti
pizz.
∑
B
con sordino- - horizontal bowstrokes with half pressure in left hand
- - - - - --
-- - -
- --
- - -- -
-
-- -
- - -- - - - -
- -- - - -
--
-
5
5
5
B
con sordino- - horizontal bowstrokes with half pressure in left hand
- - - - - --
-- - -
- --
- - -- -
-- -
-
- --
- - - - -- -
- - --
--
-
3
5
5
B
con sordino- - horizontal bowstrokes with half pressure in left hand
- - - - - --
-- - -
- --
- - -- -
-
- - -
- --
- - - - -- - -
- -
-- -
-
5
5
?
--
-
B--
--
-
?
flautando, sul pont.3
5
?
-- - -
-
- - -flautando, sul pont.6
3 3 3 3 3
? - - -
- -flautando, sul pont.
5
5 5
?
con sordino
∑
flautando, sul pont.
?
con sordino
arco
∑
flautando, sul pont.
?
con sordino
arco
∑
flautando, sul pont.
5
55
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11
°
¢
°
¢
°
¢
{
°
¢
°
¢
Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Ob. 3
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Timp.
Xyl.
S. D.
Pno.
Vln. I.1
Vln. I.2
Vln. I.3
Vln. II.1
Vln. II.2
Vln. II.3
Vla. 1
Vla. 2
Vla. 3
Vc. 1
Vc. 2
Vc. 3
Db. 1
Db. 2
Db. 3
q = 92F55
f sfp
f sfp sfp
f sfp sfp sfp
f sfp sfp sfp sfp
sfp sfp sfp sfp
f sfp sfp sfp sfp
p like human speech
f sfp sfp sfp sfp
we de clare- that in hu man- flesh wings lie dor mant-
sfp
sfp sfp
dor mant-
sfp
we
f
wings lie
sfp
de clare-
sfp
hu man- flesh
that in
sfp
sfp
we
sfp pp sfp
sfp
sfp pppp sfp sfp
sfpsfp
de
f
clare-
p sfp that in
p sfp
sfp
p sfpsfp
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
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2
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&∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑
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?∑ ∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑
&∑
&∑ ∑
&∑ ∑
3
&∑ ∑
&
take plunger mute
∑ ∑ ∑ ∑ ∑
3
3
&∑
take plunger mute
∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑
+ o + o + o + o
/
loosely, almost as if speaking extemporaneously
> > > > > > > >
?∑
take plunger mute
∑ ∑ ∑
> > > >
+ o3 3
?∑ ∑
take plunger mute
∑ ∑
+ o o +
3
?∑ ∑
take plunger mute
∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑
/ ∑ ∑ ∑ ∑ ∑ ∑
&
&∑ ∑ ∑
/
spokenarco
&
div.
OP
o
/
&∑
/
spoken
&∑
/
spoken
&∑
3
&∑ ∑ ∑
arcodiv.
OP
II
∑
o
&∑
/
spoken
&∑
arco
OP
div.
/
3
&∑ ∑
/
spoken
&∑
3
3
&∑ ∑ ∑
/
spoken
spoken
&
3
B
--
--
-
-
-
--
-
-
-
- -
senza sord.
∑ ∑
div.
OP
∑ ∑
B
--
--
-
-
-
-
- -
-
-- -
senza sord.
∑ ∑ ∑
div.III
o3
3
∑/
B -
--
- -
-
-
-
- -
-
- - -
senza sord.
∑ ∑ ∑/
spoken
OP spoken
B ∑
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OP
div.
∑
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div.
OP
II
o
∑ ∑ ∑
3
3
?∑ ∑ ∑
/
spoken
> >
?
5
?
senza sord.
∑ ∑/
spoken
?∑ ∑
?
senza sord.
∑ ∑
div.
OP
b
∑ ∑/
?
senza sord.
∑ ∑ ∑
div.
∑
5
œ
O
˙
O#
#
™
™
œ
O
˙
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# ™
™
œ
Ob
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n
n ™
™
w<#>
œ#
˙# ™
w
œ ˙# ™
œ
˙n ™
œ<b>˙n ™
Ó Œ œ
Œ œ ™ O
J
Œ
w
wœ ™ O
JŒ ‰
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j
O
j ‰ Œ Óœ ™ O
JŒ ‰
œb
j
O
j ‰ Œ
œ O
j‰
w<b> Óœ ™ O
JŒ ‰
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j
O
j ‰ Œ
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j‰
œb ™ O
Œ
wŒ ‰
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j
O
j ‰ Œ
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j‰
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Œ ‰œ ™ O
j‰ ‰ œb
w
œ ™ O
JŒ ‰
œb
j
O
j ‰ Œ
œ O
j‰
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Œ ‰œ ™
æææœ ™
ææææææ
æææ
æææ
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ææææææ
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Ó Œœ œ O
Œ ‰
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j
O
j ‰ Œ
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j‰
œb ™ O
¿ ™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
œ ™ O
jÓ
Ó Œ
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Ó œb O
J
Ó ‰ ≈œ
ŒŒ ‰ ¿
j
¿
j
‰ Œ
G
O
Ó
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Œ ÓŒ
¿Œ ‰ ¿ ¿ Ó
Ó ‰ ≈œ
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j
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j Œ Óœ# ™ Œ ¿ ¿ ™
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j Œ Óœ# ™ Œ ¿ ¿ ¿
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j Œ Óœ# ™ Œ Ó
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gb
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b
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‰ ÓŒ ‰ ¿
j
œ
J‰ Œ ‰
œn
œ#
J ‰ Œ
gb
œOb
b
Œ
Œ
Ó
Ó
œ
J‰ Œ ‰
œn
œ#
J ‰ Œ
Ó
Ó
Œ
Œ
g
O
œn
J‰ Œ ‰ œ
œ#
J ‰ Œ ¿ ¿ Ó
‰œn
œ
Œ ‰ Ó ‰ ¿ ¿Œ
‰œn
œ
≈ ‰ ‰
Ó
Ó
‰
‰
œO
g ‰
‰
‰œn
œ
Œ ‰
Œ
Œ
‰
‰
gbJ
Ó
œO
b
j
Ó
12
°
¢
°
¢
°
¢
{
°
¢
°¢
Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Ob. 3
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Timp.
Xyl.
S. D.
Pno.
Vln. 1.1
Vln. I.2
Vln. I.3
Vln. II.1
Vln. II.2
Vln. II.3
Vla. 1
Vla. 2
Vla. 3
Vc. 1
Vc. 2
Vc. 3
Db. 1
Db. 2
Db. 3
f sfp sfpsfp
sfp sfp sfp
61
sfp sfp sfp sfp sfpsfp
sfp
f sfp sfp sfp sfp sfp
f sfp sfp sfp sfp sfp
fsfp
sfp
sfp
sfp sfpsfp
sfp sfp sfp
sfpsfp sfp sfp
sfp
f sfp sfp sfp sfp sfp sfp sfp
sfpsfp sfp sfp
sfp
sfpsfp
sfpsfp sfp
sfp sfp
sfp
sfp sfp sfp sfp sfp sfp ff
sfpsfp
sfp sfp sfp ff
sfp sfp sfp sfp sfp sfp ff
sfpsfp
sfpsfp
ff
sfp sfp sfp sfp sfpsfp
sfp sfp
sfpsfp sfp sfp sfp
sfpsfp sfp sfp sfp sfp
sfp
sfp sfpsfp
sfp sfp
sfp ff
sfp sfpsfp sfp
sfp ff
sfp sfp sfp sfp sfp ff
ff
ff
ff
we
f
de clare- that in hu man- mf sfp (stop the sound harshly) mf sfp (stop the sound)
flesh
f
wings lie dor mant- flesh wings mf sfp (stop the sound harshly) mf sfp (stop the sound)
sfp mf sfp (stop the sound harshly) mf sfp (stop the sound)
we
f
de clare- sfp mf
sfp (stop the sound
mf
sfp sfp mf
sfp (stop the sound
mf
sfpmf sfp (stop the sound mf
that
f
in hu man- mfsfp
(stop the sound)
mf sfp (stop the sound)
that
f
in hu man- sfp mfsfp
(stop the sound)
mf sfp (stop the sound)
sfp mfsfp
(stop the sound)
mf sfp (stop the sound)
sfp wef de clare- that
sfp
sfp
wingsf
f
lie dor mant- mf sfp
wings
f
lie dor mant- dor
f
mant- we de clare- that in hu man- flesh wings lie
ff
sfp sfp ff
hu man- wings
ff
we
f
de clare- that we de clare- that in dor mant- wings
ff
&
3
&
33
&∑ ∑
Piccolo
&∑
&∑
&
3
& /
&
3 33
?
3
? B
/
?
3
?
&
3
/
&
3
/ NAME
& / NAME
&
3
/ NAME
&
o + o + +
3
o+ o + o o + + o
/
o +3
&∑
o
3
++ o
o + o +o +
3
&∑
o
3
++ o
o + + o o + o +3
?
+ o o + + o o + + o o + o +
/ NAME
33
3 3
?
+ o + o + o o + o +
/ NAME
3
3 3
?
o + o + o + + o o +
/ NAME
3 3
?∑
/ NAME
&∑
/ NAME
/ ∑ ∑ NAME
&
/
spokenViolin I
&∑
III
o >
>
&∑
/
spoken
&
III
o >
>
3 3
&
III
o
∑
III
o >
>
/
spoken
&
o
>
3
&
arco
o
>
&∑
arco
>
B ∑
spoken3 III
o >
>
/
spoken
B
III
o >
>3
B ∑
IIIo
III
o >
>
?
spoken
B
&
?
/
spoken
B
&
?
spoken
/
3
/ NAME
?≥
≤
completely overpressure
/
/
spoken
?∑
≥
≤
completely overpressure
?∑
/
spoken
/ NAME
3
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JŒ ‰
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J
O
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J
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J‰ ‰
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J
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JŒ
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J
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J‰ ‰
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w
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j Œ ‰œb
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O
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j‰
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j Œ ‰œb
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j‰
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j‰ ‰ œb O
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r≈ ‰ ‰ ‰ œb
J
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j
O
r≈ ‰
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≈ Ó
Ó ‰ ‰ œb
J
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J
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j Œœb ™ O
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j
O
r≈ ‰
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≈ Œ Ó
Ó ‰ ‰
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j
O
r≈ ‰
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≈ Œ
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j‰
Œ¿ ¿ ¿ ¿ ¿ ™ ¿ ¿ ™
O ™ g
JŒ Œ
œb œ ™ g
Œ Œ
¿ ¿ ¿Œ
¿ ¿ ¿ ¿Œ O ™ g
JŒ Œ
œb œ ™ g
Œ Œ
Œ
O ™
O ™ g
JŒ Œ
œb œ ™ g
Œ Œ
Ó ¿ ¿ ¿Œ
Ó
O
Œ
œb œ ™ gŒ Ó
˙#
Ó
O˙b
b
Ó
On
Œ Œ
œb œ ™ gŒ Ó
˙#
Oœbb
Œ Ó Œ
œb œ ™ gŒ Ó
˙#
Œ ‰ ¿
j
¿ ¿ ¿ Ó
O ™ g
JŒ
œ œ ™ gŒ
Ó ¿ ¿ ¿ ¿ Ó Œ
g# g
J ‰ Œ
O ™ g
JŒ
œn œ ™ gŒ
O
Ó Ó
O ™ g
JŒ
œ œ ™ gŒ
Óg™
‰Œ
¿ ¿ ¿ ¿Œ
Ó Œ
œ œ ™ g
J Ó
Œ
Œ
G#
˙O
#
Œ
Œ
Ó ¿ ¿ ¿ ¿ Ó Œ
œ œ ™ g
J Ó
Œ
¿ ¿ ¿ ¿
Œ¿ ¿ ¿ ¿ ¿ ™
Œ ‰ ¿
j
¿ ¿ ¿ ¿
j
‰ ¿ ¿
G
˙Ob
Ó
Ó
Œ
Gb
Œ
Y# Y
¿ ¿ ¿
j
‰ Ó
Y# Y
¿ ¿ ¿ ¿ Ó ¿ ¿ ¿ ™ ‰ ¿ ¿ ¿ ¿ ¿
13
°
¢
°
¢
°
¢
{
°
¢
°¢
Fl. 1
Fl. 2
Picc.
Ob. 1
Ob. 2
Ob. 3
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tmp.
Xyl.
S. D.
Pno.
Vln. I.1
Vln. I.2
Vln. I.3
Vln. II.1
Vln. II.2
Vln. II.3
Vla. 1
Vla. 2
Vla. 3
Vc. 1
Vc. 2
Vc. 3
Db. 1
Db. 2
Db. 3
sfp sfp sfp sfp sfp
ff
accel.
ca. 10"
G
65
sfp sfp sfp sfp sfp sfp
ff
sfp
ff
sfp sfp sfp sfp sfp sfp
ff
sfp sfp sfp sfp sfpff
sfp sfp sfp sfp sfp
ff
ff
sfp sfpff
sfp sfp sfp sfp ff
ff
sfp sfpff
sfp ff
ff
sfp
mf sfp
ff
mf sfp
ff
mf sfp
ffff
sfp mf sfp
ff
sfp mf sfp
ff
sfp mf sfp
ff
ff
ff
ff
f sfp
ff
f sfp
ff
ff
ff
& / NAME
U
& / NAME
U
& / ∑NAME ∑ ∑U
&
3 3
/ NAME
U
3
&
3
3
/ NAME
U
&
3
/ NAME
U
3
/ NAME
U
& / NAME
U
?3
/ NAME
U
3
/ NAME
U
?∑
/ NAME
U
?
/ NAME ∑ ∑ ∑U
/ NAME
U
/U
/U
/U
/ NAME
U
& / NAME
U
& / NAME
U
/U
/U
/U
/U ?
/ ∑U
&
/ ∑U
&
Vibraphone
&∑
U
&
>
∑ ∑ ∑/ NAME
U
&
>
∑ ∑/ NAME ∑
U
&
>
/ NAME
U
&
>
∑ ∑/
>
NAME
U
&
>
/
>
NAME
U
&
>
∑/ NAME
>
U
B ∑/ NAME
U
B ∑/ NAME
U
B/ NAME ∑
U
& / NAME
U
& / NAME
U
/ ∑U
/ NAME
U
?
/ NAME
U
/U
O
J‰ Œ
œ ™ O
JŒ ‰
œ# ™ O
‰ ‰
œ
J
œ ™ O
J ‰
œ#
J
O
J‰
œ O
‰ Œ
œ ™ O
JŒ ‰
œ# ™ O
‰
œ
J
O
J‰
œ# O
Ó
œ
J‰ Œ
˙ ˙# ™ O
J‰
‰
œb O
J‰
˙ O
J ‰ Œ ‰œ O
J‰ ‰
œ#
J
O
J ‰œ ™ O
‰
œ# O
‰ œb O
J
‰
˙ O
J ‰ ‰
œ O
j ‰
œ# O
≈ ‰
œ
J
O
J ‰ Ó
O
J ‰ ‰
œ O
j ‰
œ# O
≈ ‰œ O
‰
œ# O
JŒ
œb ™ O ‰ œ ™ O
j
‰
‰
œ O
j ‰
œ# O
≈ ‰
œ
j
O
j ‰
œ# O
j Ó
œ O Œ ‰
œ# ™ O
‰
w O
j ‰ Œ Ó
≈
œ# OŒ
Ó
Ó
˙ g
J‰ Œ
˙ g
J‰ Œ
˙ g
J‰ Œ
g<#>
J‰ ‰
œb
J
œ ™ g
J
g<#>
J‰ ‰
œb
J
œ ™ g
J
g<#>
J‰ ‰
œb
J
œ ™ g
J
Ó
Ó
Ó
˙# œ ™ g
Œ Ó
Ó
˙# œ ™ g
Œ Ó
Y<#>
Ó
14
°
¢
°
¢
°
¢
{
°
¢
°
¢
Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Ob. 3
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Timp.
Xyl.
Vib.
Pno.
Projection
Vln. I
Vln. II
Vla. I.
Vc. 1
Db. 1
Db. 2
Db. 3
ff
q = 132 ca. 6" ca. 6" ca. 8"
replace speech with playing, retaining same rhythm from name
H
71
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
f
f
f
f
f
f
f
f
f
f
f
ff
ff
ff
ff
pppp quasi niente
ff
pppp quasi niente
ff pppp quasi niente
ff
pppp quasi niente
ff pppp quasi niente
ffpppp quasi niente
mf buzzing
/ &
q = 60, 95, or 120
phase in gradually sometime after the downbeat
U
∑
U
∑
U
/
/ &
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
U
∑
U
/
/ &
Piccolo
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
U
∑
U
/
/ &
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
Uremove reed
∑
U
/
/ &
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
Uremove reed
∑
U
/
/ &
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
Uremove reed
∑
U
/
/ &
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
U
∑
U
/
/ &
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
U
∑
U
/
/
?
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
U
∑
U
/
/
?
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
Uremove reed
∑
U
/
/
?
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
Uremove reed
∑
U
/
/
?
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
Uremove reed
∑
U
/
/ &
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
U
∑
U
/
/ &
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
U
∑
U
/
/ &
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
U
∑
U
/
/ &
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
U
∑
U
/
/
remove mute
&
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
U
∑
U
/
/
remove mute
&
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
U
∑
U
/
/
remove mute
&
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
U
∑
U
/
/
remove mute
?
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
U
∑
U
/
/
remove mute
?
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
U
∑
U
/
/
remove mute
?
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U
∑
U
∑
U
/
?
q = 60, 95, or 120
U
∑
U
∑
U
/
&
q = 60, 95, or 120
U
∑
U
/
Siren
∑U
&
q = 60, 95, or 120
U
∑
U
∑
U
&
q = 60, 95, or 120
U
∑
U
∑
U
?U
∑
U
∑
U
/
(PREPARE CUE 2)
/
Tutti
&
U
phase in gradually sometime after the downbeat
q = 60, 95, or 120
U∑
Uhalf pressure both right and left hand
##
/
Tutti
&
Uphase in gradually sometime after the downbeat
q = 60, 95, or 120
U∑
Uhalf pressure both right and left hand
#
/
Tutti
B
U
q = 60, 95, or 120
phase in gradually sometime after the downbeat
U∑
Uhalf pressure both right and left hand
bb
/
Tutti
?
U
q = 60, 95, or 120
phase in gradually sometime after the downbeat
U∑
U
half pressure both right and left hand
#bn
/
?
Uphase in gradually sometime after the downbeat
q = 60, 95, or 120
U∑
UB
half pressure both right and left hand
#n#
/
?
Uphase in gradually sometime after the downbeat
q = 60, 95, or 120
U∑
UB
half pressure both right and left hand
#n#
/
?
Uphase in gradually sometime after the downbeat
q = 60, 95, or 120
**
5: with 1 medium-sized binder clip attached to 4th string, as close to the bridge as possible
6: with 2 medium-sized binder clips attached to 1st string (will produce artificial harmonics)
U
5.
**
o6.
o
œ#
œ
œ#
œ
œb
œ
œ#
œb
œ
œ#
œb
œ#
œ
œ
œb
œ
œ
œ#
œ
œ
œ
œ
œ
œœœœ
œœœœb
œœœœ##
œœœœb
œœœœœœœœœœœ
#
nb
nb
~~
~~
~ ~#
œœœœœœœœœœ
n
nb
bn
~~
~~
œœœœœœœœb
#
b ~~
~~
~#~n
œœœœœœœn
#
#
###
~~
~~
~n~b
œœ
~~
~~
œœ
~~
~~
œœnnG
~G
G
~G
15
°
¢
°
¢
°
¢
{
°
¢
°¢
Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Ob. 3
Cl. 1
Cl. 2
B.Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Tape
Siren
Vib.
Pno.
Projection
Vln. I.1
Vln. 1.2 & 3
Vln. II
Vla.
Vc.
Db. 1 & 2
Db. 3
ppp
Image 1 Image 2Image 3 Image 4 Image 5 Image 6 Image 7 Image 8
1-10" 11-20" 21-28" 29-36" 37-44" 45-50" 51-60" 1'1"-1'11"
I
78
ppp
ppp
ppp
ppp
ppp
ppp
ppp
ppp
ppp
ppp
ppp
ppp
ppp
ppp
ppp
ppp
ppp
ppp
ppp
ppp
ppp
n almost imperceptible
pp
mf buzzing
Image 1 Image 2
Image 3Image 4 Image 5 Image 6 Image 7 Image 8
/
breath ad lib, uncoordinated with section
&∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
&∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
&∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
&∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
&∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
&∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
&∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
&∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
?∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
?∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
?∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
?∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
&∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
&∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
&∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
&∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
&∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
&∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
&∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
?∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
?∑
U
∑
U
∑
U
∑
U
/
breath ad lib, uncoordinated with section
?∑
U
∑
U
∑
U
∑
U
/
placing bolts on the timpani head and pushing them back and forth across the skin in different patterns
.
. .
.
.
..
?∑
U
∑
U
∑
U
∑
U
/
a drone, staying at the same pitch
U U U U U U
∑U
∑U
&∑
U
∑
U
repeat in any order, slowly, meanderingly
motor on
∑
U
∑
U
∑
U
&∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
?∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
/
Cue 2
&
(double stops)
1. Solo
with binder clip attached to 4th string, as close to the bridge as possiblesul IV
o
&∑
U
∑
U
&
Tutti
∑
U
∑
U
B
Tutti
∑
U
∑
U
?
Tutti
∑
U
∑
U
B∑
U
∑
U
?
o
repeat extremely slowly, like a broken machine still trying to run
osul I
o o o o o
∑
U
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
) ) ) )
w w w w w w
œ
œœ
b œœœb
b
œ
œœ
n
#
œ
œ
#
nœœ
œœn
bb
nœœœœ
bn œœ
œ#
#
Ó
GnG
G
Ó
GbG#
ÓGn
GÓ
GbG
Ó
G
G
ÓGb
G#
~n
G
~G
G
~g gb
g
gbg
gb ggn
g# g g#
G
~
G
~
G
~
G
~
G
~G
16