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Home , Akhnaten (opera), Carolann Page, Century Rolls, China Gates, David Lang (composer), Einstein on the Beach

VIOLETTING THROUGH AUGUST’S END (OR THE SUNSET IN WATER, THE

CARILLON-CHIME IN SQUARE): AN ORIGINAL CHAMBER AND A CRITICAL ESSAY ON THE TRAJECTORY

OF AMERICAN MINIMALIST OPERA

James Joseph Doyle

Thesis Prepared for the Degree of

MASTER OF ARTS

UNIVERSITY OF NORTH TEXAS

December 2014

APPROVED:

Joseph Klein, Major Professor and Division Chair Peter Mondelli, Minor Professor Andrew May, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music James Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Doyle, James Joseph. Violetting through August’s End (or the sunset in water, the carillon-chime in square): An Original Chamber Opera and a Critical Essay on the Trajectory of

American Minimalist Opera. Master of Arts (Composition), December 2014, 130 pp., 35 figures, bibliography, 37 titles.

When the dust settles, ’s and ’s Einstein on the

Beach may stand as the most important of the latter twentieth century. The critical essay

portion of this thesis examines the trajectory of minimalist opera, from its beginnings with

Glass’s through the more romantic operas of John Adams, ’s

multimedia opera The Cave, David Lang’s musical-influenced The Difficulty of Crossing a Field,

and finally the post-minimalist operas currently being staged by young composer . It

examines the differences between the more abstract trajectory established by the early Glass

operas and the plot driven trajectory established by operas more commonly associated with John

Adams, most significantly Nixon in China. Additionally, the aforementioned pieces are

compared and contrasted with the author’s newly composed chamber opera Violetting through

August’s End (or the sunset in water, the carillon-chime in square).

Copyright 2014

by

James Joseph Doyle

ii ACKNOWLEDGEMENTS

I cannot even begin to express my gratitude to all the people who supported me while I pursued my master’s degree. First and foremost, I would like to thank Dr. Joseph Klein for his constant support, great insight, and seemingly endless patience. Similarly, I would like to thank

Dr. Peter Mondelli and Dr. May for agreeing to be on my committee and for their insight and assistance. I was fortunate to have a number of great professors during my time at the University of North Texas and I will forever be grateful for their mentorship. Thanks are due to Dr.

Panayiotis Kokoras for his mentorship in electronic music and to Dr. Margaret Notley for her assistance in honing my writing. Last but certainly not least, I would like to thank Dr. William

Coble for fostering my love of vocal music. I am sincerely grateful for all the learning opportunities each and every one of these professors provided.

My completion of this project could not have been completed without my family who have never faltered in their support. Likewise, many thanks are due to my understanding friends, especially those who dealt with my sometimes borderline psychotic behavior as this paper and music followed me across five states, four countries, and two continents. My heartfelt thanks to all.

iii TABLE OF CONTENTS

Page

ACKNOWLEDGMENTS ...... iii

LIST OF FIGURES ...... vi

PART I: A CRITICAL ESSAY ON THE TRAJECTORY OF AMERICAN MINIMALIST OPERA ...... 1

Chapter 1 Contextualization of Einstein on the Beach and Nixon in China in the Operatic Repertoire ...... 2

1.1 Philip Glass and Einstein on the Beach: A Brief Background ...... 3

1.2 Einstein on the Beach: A Musical Analysis ...... 9

1.3 John Adams and Nixon in China: A Brief Background ...... 17

1.4 Nixon in China: A Musical Analysis ...... 23

Chapter 2 Impact of Nixon in China and Einstein on the Beach: Subsequent Minimalist Opera—Steve Reich’s The Cave and David Lang’s The Difficulty of Crossing a Field ...30

2.1 Steve Reich’s The Cave ...... 30

2.2 David Lang’s The Difficulty of Crossing a Field...... 35

Chapter 3 Minimalist Opera in the 21st Century-Nico Muhly’s Two Boys and Dark Sisters ...... 41

Chapter 4 Analysis of Violetting through August’s End (or the sunset in water, the carillon-chime in square) ...... 50

Appendix: Milos Raickovich’s Catalog of Themes in Philip Glass’s Einstein on the Beach...... 63

Bibliography ...... 67

PART II: VIOLETTING THROUGH AUGUST’S END (OR THE SUNSET IN WATER, THE CARILLON-CHIME IN SQUARE): AN ORIGINAL CHAMBER OPERA ...... 71

Plot ...... 73

Notes ...... 73

Instrumentation ...... 73

iv Structure ...... 74

Libretto ...... 75

Prologue: July 21st, the sunrise red(fr)acted ...... 80

Interlude No. 1 ...... 90

July 27th, Obadiah Lawl: the ratchet hands of (gods) ...... 91

Interlude No. 2 ...... 107

July 30th, Jed Hedgerow Wallace the third, declined an interview ...... 108

Epilogue: August 2nd, the (viscose) shadows of sunset had graced ...... 122

v LIST OF FIGURES

Page

Figure 1.1. Structure of Einstein on the Beach...... 8

Figure 1.2. Phasing in Steve Reich’s Phase...... 10

Figure 1.3. Block additive process in Reich’s Drumming...... 11

Figure 1.4. Linear additive process in Frederic Rzewski’s Les Moutons de Panurge...... 12

Figure 1.5. Linear additive process in the violin part in scene from Einstein on the Beach ...... 12

Figure 1.6. Cyclic structure in Train...... 13

Figure 1.7. Milos Raickovich’s diagram on the macro-form and themes of Einstein...... 15

Figure 1.8. Reduction of Theme in f-E...... 16

Figure 1.9. Theme in f-D...... 17

Figure 1.10. Opening of Nixon in China...... 24

Figure 1.11. Metric displacement in Act I of Nixon in China...... 24

Figure 1.12. Polymeters in Nixon’s “News” ...... 25

Figure 1.13. Polyrhythms in Pat’s aria-“This is prophetic!” ...... 26

Figure. 1.14. Hemiola in Chiang Ch’ing’s aria-“I am the wife of Mao Tse-tung”...... 26

Figure 1.15. Timothy A. Johnson’s list of primary transformations in Nixon...... 28

Figure 1.16. Other possible chromatic mediant relations with one common tone...... 28

Figure 2.1. Structure of Reich’s The Cave...... 32

Figure 2.2. Speech melodies in Act I: Scene 7: Who is Sarah?...... 34

Figure 2.3. Opening of Lang’s Difficulty of Crossing a Field...... 39

Figure 2.4. Polymeters in Scene 7 of Difficulty of Crossing a Field...... 39

Figure 3.1. Notation of unsynchronized voices in Two Boys...... 46

vi Figure 3.2. Notation of unsynchronized voices in Two Boys...... 46

Figure 3.3. 3:2 Polyrhythms in A Hudson Cycle...... 47

Figure 3.4. 5:4 Polyrhythms in the Opening of Two Boys...... 47

Figure 3.5. Repetitive figures in Act I of Two Boys...... 48

Figure 3.6. Mixed third chords in Act I of Two Boys...... 49

Figure 4.1. Linear additive process in “July 30th, Jed Hedgerow Wallace the third, declined an interview.”...... 51

Figure 4.2. Block additive process in “July 27th, Obadiah Lawl: the ratchet hands of (gods).”....52

Figure 4.3. Prologue: July 21st: the sunrise red(fr)acted, reduced score...... 53

Figure 4.4. Polytempos in Prologue: July 21st: the sunrise red(fr)acted, reduced score...... 53

Figure 4.5. Polymeters and palindromes in “July 27th, Obadiah Lawl: the ratchet hands of (gods).” ...... 54

Figure 4.6. Polyrhythms in Epilogue: August 2nd: the (viscose) shadows of sunset had graced...55

Figure 4.7. Basic chord progression in “July 30th, Jed Hedgerow Wallace the third, declined an interview.”...... 55

Figure 4.8. Appearance of the passacaglia in F and Ab in “July 30th, Jed Hedgerow Wallace the third, declined an interview.”...... 56

Figure 4.9. Wild chattering effect in Prologue: July 21st: the sunrise red(fr)acted...... 58

vii PART I

A CRITICAL ESSAY ON THE TRACECTORY OF AMERICAN MINIMALIST OPERA

1 Chapter 1

Contextualization of Einstein on the Beach and Nixon in China in the Operatic Repertoire

Borrowing its name from the visual arts movement, “” emerged in New

York’s downtown scene in the mid-1960s. Originating with composers , Terry

Riley, Steve Reich, and Philip Glass, minimalism grew as a reaction against the modernist music championed by Milton Babbitt and Elliot Carter along with their European contemporaries, namely Pierre Boulez and Karlheinz Stockhausen. Standing in contrast to the state-funded institutions that allowed modernism to flourish, minimalism grew out of a do-it-yourself mentality that included composers organizing their own concerts in lofts and warehouses. The movement has grown significantly from its humble beginnings with Glass and Reich both achieving international fame and recognition. Additionally, their music has transcended classical music borders, with both composers being cited as influential by a number of pop and rock artists.

The critical essay portion of this thesis examines the trajectory of minimalist opera, from its beginnings with Glass’s Einstein on the Beach through the more romantic operas of John

Adams, Reich’s The Cave, David Lang’s The Difficulty of Crossing a Field, and finally the post- minimalist operas currently being staged by young composer Nico Muhly. It examines the differences between the more abstract trajectory established by the early Glass operas and the plot driven trajectory established by operas more commonly associated with John Adams, most significantly Nixon in China. Although these two operas are now considered essential works in the 20th century classical music canon, subsequent minimalist operas (including even Glass’s later operas) have largely eluded attention. Indeed, the discourse on minimalist opera is rather limited, especially newer works from the past twenty-five years. This paper addresses the

2 significance of these two masterworks of the latter half of the 20th century’s operatic repertoire.

These works are not just significant to minimalist music but are arguably the two most recognizable works of all post-1950 operas. The effects of these works on subsequent minimalist operas is made apparent through historical and musical analysis.1

1.1 Philip Glass and Einstein on the Beach: A Brief Background

Philip Glass (b. 1937) stands as one of the most prolific and successful composers of the late 20th century. Of composers still working within the framework of the classical concert hall, he is perhaps the most recognizable and financially successful. Not coincidentally, he is also one of the most criticized living composers. It would be easy to say this is a result of his overwhelming popularity but that would not be entirely accurate. Even in the 1960s, when he was at the very beginning of his career, Philip Glass was the subject of many unflattering concert reviews. In his introduction to Music by Philip Glass, Robert T. Jones describes a concert he attended in 1969:

The easiest sort of review to write, of course, is a vicious review, the kind that demeans its victim and drips venom on whatever it disapproves of or fails to understand. Glass and Serra provided a first-rate target. Still, I’ll say this for myself: I was not dishonest. I hated every note Philip Glass played that evening, hated every screen image created by Richard Serra, and I heartily wished them both a speedy exit from their professions.2

While Robert T. Jones’s opinion has changed since then, a number of critics’ opinions have not. Despite the incessant criticism or perhaps because of it, Glass’s music continued to grow in popularity. Even if a number of people didn’t quite enjoy the music, it was something

1 It should be noted that this paper doesn’t examine the effects of Einstein on the Beach and Nixon in China on contemporary opera composers outside of the minimalist aesthetic (e.g., Thomas Adés, Jake Heggie, etc.). 2 Philip Glass, Music by Philip Glass, ed. Robert T. Jones (New York: Harper & Row, 1987), vii.

3 new, fresh, exciting, and even controversial. As Jones later notes, “the ‘underground’ press began to lionize him as enthusiastically as the ‘establishment’ press continued to deride him.”3

In the early 1970s, Glass started his own ensemble, the , and built a reputation playing shows in the lofts and art galleries of New York’s SoHo district. During this time, Glass’s main source of income was from his side jobs as a plumber and a taxi driver.

Despite working two jobs, Glass managed to accomplish a great amount of composing and performing. In addition to his own shows, Glass’s incidental music for the Mabou Mines Theater

Company brought his music to a larger audience—still not a massive amount of people, but by the mid-70’s he had built a devoted cult following.

Einstein on the Beach, a work considered by many to be Glass’s crowning achievement, was conceived in 1973 following a performance of ’s Life and Times of Joseph

Stalin, a twelve-hour work premiered over the course of an entire evening. Glass, who was working on at the time, began meeting with Wilson on Thursdays in the spring of 1974 with Christopher Knowles, a neurologically impaired teenage poet and artist, joining on occasion. Glass subsequently set to work on the composition in the winter and spring of 1975, completing the music in the fall. With financial and administrative concerns being handled by Robert Wilson’s Byrd Hoffman Foundation, Glass and Wilson were free to start auditions and casting in November of 1975. Rehearsals were started shortly thereafter, lasting from December to April of 1976. The rehearsals, taking place five or six days a week, were divided into distinct areas—music, dance, and staging—with three hours allotted to each on a daily basis.

Following a two-month hiatus, the ensemble reconvened in France to rehearse. The premiere, held at a festival in Avignon in August, was met with much the same reception as it

3 Glass, Music by Philip Glass, viii.

4 later would be: a mixture of jeers and applause. The originality of the work, however, could not be denied. As Glass later noted, “[a]lmost immediately, it was clear that Einstein on the Beach was the event of the festival.”4 The tickets for the remaining performances sold out quickly. At subsequent European performances, people were known to wait outside the theater, hoping that a dissatisfied attendee would leave early and give them their ticket stub. When the opera was later staged at the Opéra Comique in Paris, people took to sneaking into the pit during performances.

Most importantly, the success at the Avignon Festival convinced other festivals to book the work, thus enabling Glass and Wilson to start a four-month tour throughout Europe, where it was greeted with a similar combination of praise and contempt. The question of how to stage the work in America still remained, with the lack of government-funded organizations to support art proving the greatest difficulty. In Glass’s view, the desire for new works was no greater in

Europe than it was in America. The issue laid mostly in the opportunity to see new works in

America, a situation exacerbated by the lack of state support. Despite the concerns, the work’s reputation had preceded it and Einstein on the Beach received its American premiere at the

Metropolitan Opera in New York. The management at the Met, looking for a way to capitalize on their “dark” night, decided to use Einstein as a means of filling the house on nights where it went unused. The performance, initially scheduled for one night, was expanded to two performances after the first show quickly sold out. The premiere again proved to be a sort of minor scandal with more conservative operagoers leaving soon after the start. Despite this, the work was generally considered to be a success artistically, if not financially. After an extensive tour of Europe, the creators were $90,000 in debt and Glass returned to driving a taxi to support himself. He would later relate a tale of a wealthy female getting into his cab, seeing his name

4 Glass, Music by Philip Glass, 49.

5 displayed, and subsequently asking him whether he knew that he had the same name as a famous composer.5

The originality of the Einstein on the Beach, however, could not be denied. The outlandish nature of the work was evidenced not only in the innovative music, but perhaps even more so by the unconventional concept. From the outset, Wilson and Glass knew two things: the work should be between four and five hours long, and it would be based on the life of a historical figure. After debating the merits of selecting Chaplin, Hitler, and Gandhi, they decided on

Einstein for his familiarity and his lack of a polarizing nature. Set in four interconnected acts, the opera lasted five hours with no intermission. Despite later efforts to cut the time, Glass and

Wilson have never managed to stage a performance of Einstein on the Beach that lasts under four hours and forty-five minutes. The lack of an intermission was alleviated by the invitation for audience members to wander in and out of the performance freely, a convention adopted from

20th century avant-garde theatre. More shocking than the length or unrestricted audience movement was perhaps the lack of a plot. That the work should even have had one never occurred to either Wilson or Glass. In this way, the influence of Brecht, Genet, and Beckett is apparent. Glass himself acknowledged the influence of Beckett, particularly Play:

As theater music, Play had an equally crucial effect on my thinking. I found, during my many viewings, that I experienced the work differently on almost every occasion. Specifically, I noticed that the emotional quickening (or epiphany) of the work seemed to occur in a different place in each performance-in spite of the fact that all the performance elements such as light, music and words were completely set.6

Wilson further noted the break with traditional theater:

In the past, theater has always been bound by literature. Einstein on the Beach is not. There is no plot-although there are many references to Einstein—and the visual book can stand on its own. We put together the opera the way an architect would build a building.

5 Glass, Music by Philip Glass, 53. 6 Glass, Music by Philip Glass, 35.

6 The structure of the music was completely interwoven with the stage action and with the lighting. Everything was all of a piece.7

Instead of a plot, the work is designed around three scenes (Fig. 1.1); these three scenes—Train, Trial, and Field/Spaceship—become the cornerstones of the piece, each appearing in altered guises three times over the course of the four acts. (In the score, the

Field/Spaceship scenes are referred to as Dance scenes.) The recurrence of the images implies a sort of development, with each occurrence becoming more blurred and abstract than its previous incarnation. The separation of the acts was done by way of “knee plays,” so named because, like knees, they are a joint which links similar elements. The knee plays, five total, serve as brief musical interludes that allow for scene changes in addition to opening and closing the work. The music mirrors the dramatic structure, a fact reflected in the change in the ensemble size, sometimes featuring the full ensemble and chorus while at other times reducing the ensemble to an a cappella choir or mere solo violin.

Knee Play I

ACT ONE a. (Train 1) b. (Trial 1)

Knee Play II

ACT TWO c. (Field/Spaceship 1) a. (Train 2)

Knee Play III

ACT THREE b. (Trial 2) c. (Field/Spaceship 2)

Knee Play IV

7 , Liner notes to Einstein on the Beach, and the Philip Glass Ensemble, Elektra Nonesuch 7559-79323-2, CD, 1993.

7

ACT FOUR a. (building from Train) b. (bed from Trial) c. (interior of earlier Spaceship)

Knee Play V

Figure 1.1. Structure of Einstein on the Beach.

The sung text didn’t push the plot forward but instead consisted of numbers and solfege syllables. The numbers and solfege, later considered a hallmark of the opera, were initially just memorization aids, but they were later incorporated into the actual . Additional spoken texts were supplied by choreographer , actor Samuel M. Johnson, and neurologically impaired artist and poet Christopher Knowles, then just a teenager. The additional texts reference the 1976 trial of Patty Hearst, the Beatles, ’s 1971 hit song “I Feel the

Earth Move,” David Cassidy, the oft-covered song “Mr. Bojangles,” and the lineup on New

York’s WABC radio station circa 1974, among other things. The combination provided for a piece that could be considered an exercise in excess. Tim Page notes, “Einstein sometimes seemed a study in sensory overload, meaning everything and nothing.”8

Thus Glass and Wilson’s opera became a metaphorical look at Einstein’s life rather than a concrete one, allowing for a poetic rather than literal interpretation of his life. This portrait (a central idea in Glass’s other early operas) of Einstein replaced any traditional idea of plot, narrative, and development without entirely eschewing facts and chronology, which are both used throughout the work. Glass himself has said that “[t]he point about Einstein was clearly not what it ‘meant’ but that it was meaningful as generally experienced by the people who saw it.”9

8 Page, Liner notes, Philip Glass Ensemble, Nonesuch, CD. 1993. 9 Glass, Music by Philip Glass, 33.

8 As in Beckett’s Play, the abstract nature allows audience members to personalize their experience with the work. Glass further elaborates about the process:

Fundamental to our approach was the assumption that the audience itself completed the work. The statement is no mere metaphor; we meant it quite literally. In the case of Einstein on the Beach, the “story” was supplied by the imaginations of the audience, and there was no way for us to predict, even if we had wanted to, what the “story” might be for any particular person.10

This concept and approach separated Einstein on the Beach from other contemporary operas; consequently, the opera opened wide the door to operatic possibilities. Page notes that “[B]y its own radical example, Einstein prepared the way—it gave permission—for much of what has happened in music theater since its premiere.”11

1.2 Einstein on the Beach: A Musical Analysis

If the concept and theatrical aspects of Einstein on the Beach were drawn from the avant- garde theater of the 1950s and 1960s, the music still seemed to be something entirely fresh and new to most audiences. Prior to Einstein’s premiere in 1976, minimalism had only enjoyed a limited exposure in the lofts of New York’s SoHo district. As a result, much of the music and its techniques were new to many concert-going audiences even though they had already been in use for a decade.

Minimalist music, not necessarily unlike earlier genres of music, relies heavily on processes. With the exception of drone-based works by La Monte Young (b. 1935), most early minimalist works drew on processes that relied heavily on constant pulses, excessive repetition, and neatly organized manipulation of patterns. This is evident in the early tape works of Steve

Reich, where phasing plays a central role. Notably, It’s Gonna Rain (1965) and Piano Phase

10 Glass, Music by Philip Glass, 35. 11 Page, Liner notes, Philip Glass Ensemble, Nonesuch, CD. 1993.

9 (1967) feature phasing, a process where two identical patterns—in the case of Reich, either speech fragments or small melodic units—with marginally different tempos are superimposed, growing gradually out of sync with each other until the patterns become synchronized once more. (Fig. 1.2) The gradual shifting of each pattern serves as the crux of both works.

Figure 1.2. Phasing in Steve Reich’s Piano Phase.

Reich also uses another technique that involves the gradual addition or subtraction of notes to a repetitive pattern. Referred to as block additive process by Daniel Warburton, this technique is featured in a wide variety of Reich pieces including earlier works like Drumming

(1970-71), the seminal Music for 18 Musicians (1976), and the infamous Four Organs (1970), through his 1980’s pieces like Sextet (1985) and Eight Lines (1983). As Reich himself has noted, the process can be best described as “replacing rests by beats” although the converse certainly holds true as well.12 (Fig. 1.3) Although similar to linear additive process, block additive process is distinguished by its appearance over an unchanged meter. This process, though more typically associated with Reich, is present in Knee 1 of Einstein. Beginning at rehearsal 1b, a three-

12 Dan Warburton, “A Working Terminology for ,” http://www.paristransatlantic.com/magazine/archives/minimalism.html (Accessed August 3, 2013)

10 measure unit is slightly altered at each new reiteration. The and , singing numbers, start to drop one number at each subsequent occurrence, beginning with the first beat of the third measure. At the next repetition, the first beat of the second measure is dropped while the first beat of the third measure is restored. Predictably, the next iteration has no singing on the first beat of the first measure while the second and third measures are presented completely.

Figure 1.3. Block additive process in Reich’s Drumming.

Linear additive process, then, is made distinct by the lack of a steady pulse. The technique is readily heard in Glass’s music from the 1960s on but one of the most identifiable examples of the technique can be found in Frederic Rzewski’s Les Moutons de Panurge (1969).

(Fig. 1.4) Early Glass examples include Two Pages, Music in Fifths, and One Plus One. Here, notes are added or subtracted to the repeating pattern but the meter or pulse is altered at each new reiteration of the initial figure due to the added note(s). As Glass notes, “A musical grouping or

11 measure of, say, five notes is repeated several times, then is followed by a measure of six notes

(also repeated), then seven, then eight, and so on.” The effect is, at times, similar to the additive rhythms found in Messiaen’s works, especially The Quartet for the End of Time. This linear additive process is used throughout Einstein, an obvious example being the violin part from the first trial scene. (Fig. 1.5) A variation on the additive process combines it with harmony, allowing for a more audible additive process as one cycle of the process coincides with one occurrence of the harmonic progression.

Figure 1.4. Linear additive process in Frederic Rzewski’s Les Moutons de Panurge.

Figure 1.5. Linear additive process in the violin part in the Trial scene from Einstein on the

Beach.

First used by Glass in Music in Twelve Parts (1971-74), the cyclic structure is another process used frequently in Einstein on the Beach. Similar to phasing, the process features two patterns superimposed against one another. However, rather than juxtaposing the same pattern at slightly different tempos, cyclic structure consists of two different patterns of disparate lengths.

Depending on how long each pattern is, they will eventually come back together, completing a cycle.13 The first example in Einstein can be found in the first Train scene. (Fig. 1.6) Here, a

13Glass, Music by Philip Glass, 59.

12 pattern x consisting of three beats is set against a pattern y consisting of four beats. As a result, four repeats of x is equal to three repeats of y.

Figure 1.6. Cyclic structure in Train.

While these three processes form the rhythmic basis of the opera’s materials, a similar short list of themes, totaling nine in all, serves as the melodic and harmonic foundation of the work. As Milos Raickovich notes in his analysis of Einstein, these themes can be associated with entire sections of the opera due to their reliance on repetition.14 (A catalog of the themes, as labeled by Raickovich, can be found in Appendix A.) With the exception of the final Spaceship scene, the scenes tend to retain the same themes over the course of the opera. The knee plays, instead of being based off any single source of material, draw musically from individual scenes in addition to having their own distinct theme, Theme in C. While the arrangement of the themes

14 Milos Raickovich, “Einstein on the Beach by Philip Glass: A Musical Analysis” (PhD diss., City University of New York, 1994), 21.

13 within the opera is not as strict as the overall dramatic structure, there are still some tendencies

Raickovich notes in his analysis.15 (Fig. 1.7) Most noticeably, a certain sequence of themes is heard three times, although it is not presented in its entirety at the last iteration. This sequence is highlighted in the diagram by the diagonal lines. The knee plays borrow from the Trial and Train scenes as only one theme, Theme in d, originates in the Dance (Field/Spaceship) scenes. As a result, the Theme in d, given its appearance only twice, can be considered a dividing point in the opera. Although broken into four acts, the appearance of each scene and its mutations three times suggests a three-part work. The placement of the Theme in d in the Dance scenes divides the opera. This is further established by three appearances of the major thematic sequence.

The harmonic language of Einstein is tonal, as is perhaps evident by the labeling of the themes. However, the tonality is not necessarily traditional. Although Raickovich notes the use parallel fifths as a divergence from traditional tonality, the practice of using parallel fifths could easily be shown in select Haydn, Mozart, and Beethoven pieces, and this is to say nothing about the convention’s increased usage over the course of the Romantic period, eventually culminating in a complete disregard for the prohibited use of parallel fifths by the turn of the 20th century by composers like Debussy and Schoenberg. So while not entirely new, the usage of parallel fifths in Einstein on the Beach is prevalent. The use of parallel fourths, an inverted parallel fifth, is apparent at the outset of the first Train scene while the Theme in f-E, described below, contains parallel fifths in the organ bass line.

The frequent use of the pentatonic scale is also important to note. A number of themes draw upon it, and its usage results in an ambiguity with regard to tonal centers. Here, as elsewhere in the opera, the use of the pentatonic scale results in implied triads. As Raickovich points out, the Theme in C could potentially be in A minor or it could be heard as a modulation

15 Raickovich, “Einstein on the Beach: A Musical Analysis,” 35.

14

Figure 1.7. Milos Raickovich’s diagram on the macro-form and themes of Einstein. from A minor to C.16 The Theme in Eb from the Train scene is similarly replete with incomplete triads. The collection used—E, F, Ab, Bb, C—only allows for two complete triads, those of Ab and Fm. As a result, the implied tonic and dominant sonorities are both missing a third while the submediant is lacking a fifth.

16 Raickovich, “Einstein on the Beach: A Musical Analysis,” 54.

15 Other chord progressions feature odd modulations. One of the more distinctive modulations, found at rehearsal 59 in Train, progresses from F minor to E major within the span of five measures. (Fig. 1.8) While the first two chords can be considered i and VI in F minor, respectively, the subsequent three are pretty clearly heard as a IV-V-I progression in E major.

The shift between F minor and E is abrupt due to the lack of a pivot chord and the rather distant nature of the two tonal areas; they only contain three common tones, four if the raised leading tone in F minor is included. Furthermore, the sudden shift occurs not once but twice as the theme is repeated a number of times, causing a sudden shift from E back to F at the end of the progression. Consequently, although the harmonies are triadic, they do not function traditionally.

Indeed, much of Einstein defies roman numeral analysis, due to the frequent and odd modulations.

Figure 1.8. Reduction of Theme in f-E.

The Theme in f-D similarly displays sudden shifts. (Fig. 1.9) Although the first three chords are squarely in F minor, the final D major chord of the progression is not. Unlike the final three chords of the Theme in f-E, the last chord of the Theme in f-D has no context. D major has no function within F minor, although it could be considered a V/ii in the parallel key, F major.

However, this seems to be a contrived explanation. Raickovich has argued that it could be interpreted as a half cadence in a new key in G minor or G major; however, there is no G minor chord in the Train scene that suggests such an interpretation.17 Instead, it leads back to F minor at

17 Raickovich, “Einstein on the Beach: A Musical Analysis,” 63.

16 the end of nearly all its repetitions with the exception of the last iteration, which leads to a brief transition towards Knee 2 centered on Bb and Eb sonorities. The chord does not function

“properly,” and as a result could be interpreted as an idiosyncratic chromatic mediant. The disappearance of the bass beneath the chord further suggests its anomalous nature. Almost as soon as the shift to the D major sonority occurs, a shift back towards F minor follows.

Figure 1.9. Theme in f-D.

This is, of course, to say nothing about the orchestration, which was certainly unconventional for the time. Although used by Glass for years, the instrumentation—consisting of solo , solo , sixteen-member SATB choir, solo violin, two electric organs, piccolo, three , soprano , saxophone, , and bass (the woodwind parts are all handled by three players)—was not standard fare in operas. The use of and electric organs, mainly associated with jazz and rock respectively, was not without precedent but certainly not widespread in classical music. Their usage in Einstein helped popularize the instruments, resulting in their usage in Nixon in China and numerous other works by later minimalists.

1.3 John Adams and Nixon in China: A Brief Background

Born a half-generation after Philip Glass and Steve Reich, John Adams began composing at age ten and later matriculated at Harvard University, where he studied under Roger Sessions,

17 Earl Kim, and David del Tredici (the latter prior to his shift back to tonal composition).

Following his college studies, Adams became disillusioned with serialism and turned to tonal composition. Inspired by a 1974 performance of Reich’s Drumming, Adams began incorporating minimalist procedures into his works. (1977) and (1977-1978), two of Adams’s earliest works from this period, both show clear minimalist tendencies. The repetitive nature and constant pulse, at times reminiscent of Philip Glass, coupled with Adams’s newfound interest in conducting Reich’s works, resulted in his being labeled as a minimalist although, like Glass and Reich, he didn’t care for the term. During this same period, he also wrote the string septet (1978) while teaching at the San Francisco Conservatory of

Music. This work, while still showing a clear Reich influence, also displayed a distinctly

American sentiment revealed in passages that reflected a sound reminiscent of Samuel Barber.

The piece was later republished for string orchestra and premiered under Michael Tilson Thomas in 1983. Adams’s appointment as the new music advisor for the San Francisco Orchestra under

Edo de Waart resulted in his composing more orchestral works, which continued to display minimalist procedures combined with great expressivity, something absent from the works of

Glass and Reich. Common Tones in Simple Time (1979), (1981), and

(1985) followed, gaining Adams a notable reputation.

Still, it was the original septet version of Shaker Loops that caught the ear of Peter

Sellars, a theater director known for stirring up controversy. Also a Harvard alumnus, Sellars gained a reputation as an undergraduate student for his offbeat productions. While still at

Harvard, he staged a version of Shakespeare’s King Lear with marionettes. Subsequent Sellars- led efforts resulted in a production of Handel’s Orlando set on Mars, with the American

Repertory Theater in 1981 and a 1984 production of Mozart’s Cosí fan Tutte set in a cheap diner

18 prior to an imagined invasion of Nicaragua headed by President Ronald Reagan. By the time he approached John Adams at the Monadnock Music Festival in New Hampshire, Sellars was already being derided as an enfant terrible by some and lauded as a genius by others. Following the performance of Shaker Loops, Sellars immediately approached Adams with the idea of writing an opera, already knowing that he wanted it to be titled “Nixon in China,” a suggestion

Adams was initially unreceptive to, due to what he regarded as the lack of myth in a story on

Nixon. After sporadic collaboration over a number years, however, Adams acquiesced to

Sellars’s idea under the condition that the libretto had to be written in verse, leading to Sellars’s selection of , yet another Harvard graduate, to write the libretto.

The subsequent libretto, written between early 1985 and late 1986, dramatized Richard

Nixon’s monumental 1972 visit to China. The music was begun in the summer of 1985 while funding for the opera was secured through David Gockley of the . The opera was premiered in Houston at the newly opened Wortham Theater Center. Not unlike

Einstein on the Beach, the work received mixed reviews following its premiere, with John von

Rhein calling it “arguably the most significant American opera of the decade”18 while Marvin

Kitman later sarcastically remarked that “There are only three things wrong with Nixon in China.

One, the libretto; two, the music; three, the direction. Outside of that, it’s perfect.”19 Despite the mixed reactions, the opera managed to outperform both Verdi’s Aida and Mozart’s Abduction from the Seraglio at the box office that year. Time has been kinder to the opera, and it has enjoyed a wide popularity, being performed throughout Europe, in addition to a recent production at the in 2011, complete with the original staging.

18 John von Rhein, “Nixon in China Opera Translates Well to TV,” , April 14, 1988, accessed December 28, 2013, http://articles.chicagotribune.com/1988-04-14/features/8803080682_1_pat-nixon-carolann- page-china 19 Matthew Gurewitsch, “Still Resonating from the Great Wall,” , January 26, 2011, accessed December 29, 2013, http://www.nytimes.com/2011/01/30/arts/music/30nixon.html?_r=1.

19 Like the earlier Glass and Wilson opera, Nixon in China’s title also references a famous person and a location, but the concepts behind the two operas are vastly different. While Einstein on the Beach could be considered an exceptionally abstract look at Einstein’s life, Nixon in

China is a much more literal examination of its titular character. Even before writing a single word, Alice Goodman intensively researched Nixon’s 1972 trip, with assistance from both

Sellars and Adams. The resulting libretto drew from a number of newspaper clippings from the period, in addition to the journals of Mao Tse-Tung. The story, while following the events of the trip, also allows for insight into the thoughts of the characters. In this sense, the opera has an external to internal trajectory, opening with a very public scene showing the Nixons’ arrival in

China on the Spirit of ’76 and concluding with Chou-en Lai’s musings over the current state of affairs in China. This is further reflected in the contrast between Nixon’s “News has a kind of mystery” aria in Act I and Pat’s “This is prophetic” aria in Act II. While the “News” aria highlights the pageantry of politics, Pat’s aria is contemplative, allowing for an inward view of a highly visible public persona. Adams has noted that:

For much of that (“News” aria) I want you to feel that the flashbulbs are popping in your eyes and you are constantly having to shake hands with the next person so that the disassociation of your deeper self from your “other” oriented self is so profound that it causes you to stop and think: these people are controlling our lives; these people have their fingers on the button as it were, and they are able to start wars, or do good things and bad things. What kind of reasoning, what kind of sober reflection of judgment can a person who is constantly under this pressure of judgment have?20

The contrast in extroverted and introverted scenes contributes to a sense of myth in the opera.

While working on the opera, Adams realized that the story being presented displayed a clear connection with myths and their origins as set in a modern world. This theme is highlighted in the staging. Unlike most operas, the set does not strive to be illusionary. The dimensions of sets

20 Matthew Daines, “Telling the Truth about Nixon: Parody, Cultural Representation, and Gender Politics in John Adams’s Opera Nixon in China,” (PhD diss., University of , Davis, 1995)

20 and props, including the descending plane in Act I, were intended to be realistic rather than overblown. Additionally, the outfits worn by the characters in the original production were the same (or rather close) to the outfits actually worn during the 1972 trip, down to the pins on lapels. This striving for realistic characteristics within the opera is an attempt to showcase real humans amidst a media circus.

For Sellars, the opera was not unlike Einstein on the Beach in its drive to leave some room for ambiguity. If the point of Einstein was that it was meaningful regardless of what it meant21, the point of Nixon in China was not so open-ended. In the opera, Nixon is not portrayed as a stereotype or a mere caricature of the disgraced former president, but as a complex and multi-faceted character, as are the rest of the characters (with the exception of ).

Nixon is neither good nor bad; rather, the character is designed to be ambiguous, which allows for audiences to fashion their own ideas about him, in effect forcing them to confront issues rather than indulging them with answers to the questions posed. This rejection of a single interpretation to the work arose from Sellars’s disdain for this tendency in earlier operas, notably those of Strauss and Puccini.22

While the work does allow for multiple interpretations, it doesn’t do so in the same way as Einstein. Instead, Sellars and Adams present the audience with an open-ended question that centers on specific themes. As Sellars has said, “Nixon in China is about moral ambiguity and historical consciousness, it is also about a generational crisis, it is also people who built the world—what do you do after you built the world, what are you left with? These are real questions.”23 He later goes on to say, “I think these are dealt with very profoundly in Nixon.”24

21 Glass, Music by Philip Glass, 33. 22 Daines, “Telling the Truth about Nixon,” 76. 23 Daines, “Telling the Truth about Nixon,” 74. 24 Daines, “Telling the Truth about Nixon,” 90.

21 This combined with the theme of conflict between public and private lives forms a basis for

Nixon in China. This is not even to mention the peripheral issues of gender and the question of what it means to be an American.

Still, other things in the opera have a more prescribed interpretation. Sellars has pointed out one theme: the inability of audience members to understand the state of Chinese people and

Chinese culture, a common ground shared with Richard and , which is related to the conflict between public images and private lives. As Sellars has said, “What the opera finally gets to the point of is that all night long you have had this illusion that you understand China—

‘here we are, it’s an open book, etc.’—then the second act begins to imply with Pat that there are certain things that she will never know.”25 Sellars goes on to note the political implications in other sections of the opera—notably during Act II, scene ii—stating, “Kissinger is the man who authorized the secret bombing of Cambodia, and that rape is the bombing of Cambodia. It’s about Henry Kissinger taking it upon himself to destroy a small nation. That’s what’s going on simultaneously [in the opera].”26 That this is not made explicit seems to be the point. Sellars noted the opera’s commentary on the Reagan administration, then in its second term. In this sense, the opera peels away the veil of photo opportunities and staged publicity events to reveal actual characters and suggest that there are more important issues at play than are depicted.

The fact that the opera was based on events that had only happened fifteen years prior to its premier, combined with the political implications of those events, earned the opera the reputation as a “CNN Opera,” a term despised by its creators. As Mark Swed noted, “Nixon in

25 Daines, “Telling the Truth about Nixon,” 85-86. 26 Daines, “Telling the Truth about Nixon,” 85.

22 China celebrates a moment in history less for its political implications than for its cultural and profoundly human ones.”27

1.4 Nixon in China: A Musical Analysis

Arved Ashby has referred to Adams as the “first widely-know composer who felt free to take Reich’s and Glass’s process-music concepts as a fait accompli.”28 In this sense, Adams takes certain procedures and techniques from minimalist music without using them exclusively to generate his forms. This is the case with Nixon in China where minimalist techniques are blended with late-Romantic tendencies.

In terms of rhythms, Adams draws on the cyclic structure found in Glass’s works, as is exhibited in the opening of Act I of Nixon. (Fig. 1.10) An ascending A natural minor scale, which serves as the basis for the cycle, is played by the violins and violas in constant eighth notes; thus the amount of time it takes to complete one cycle is equivalent to one bar in the 2/2 time signature. Meanwhile, the play the same ascending scale in groups of dotted quarter notes, a speed three times as slow as the strings. Subsequently, three iterations of the cycle in the strings is equivalent to one iteration of the cycle in the trumpets. Additionally, the same figure is echoed at an even slower speed in the English horn and clarinet, where each note is equal to a dotted half note, half the speed of the line. The scale in the woodwinds, however, is offset by a dotted quarter note and, as a result, never aligns with the scales in the trumpet and strings, which synchronizes every three measures.

27 Mark Swed, “Adams’ 20th —and Rocks,” The Times, February 5, 2001, accessed December 30, 2013, http://articles.latimes.com/2001/feb/05/entertainment/ca-21218. 28 Arved Ashby, “Minimalist Opera,” in The Cambridge Companion to Twentieth-Century Opera, ed. Mervyn Cooke (Cambridge: Cambridge University Press, 2005), 260.

23 j j j j &2 j j œ œ œ j j œ ˙ œ œ œ œ œ œ œ™ œ ˙œ œ œ™ œ œ ˙ œ œ œ™ œœ™ Jœ œ J ™ p œ™ œœ œ˙ œ œ™ œ™ J J ™ œ ™ Jœ œ J ™ ™ Œ™ J J l.h. ˙ ˙ 2 œ œ œ Ó œ œ œ &2 œ œ œœ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ œ œ p œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? 2 2 w w w w w w w w w w w w { Figure 1.10. Opening of Nixon in China.

The use of rhythmic displacement is prevalent throughout the opera and is used to generate metrical dissonance. An early example can be found later in Act I just prior to the landing of the Spirit of ’76. The orchestral accompaniment creates a dissonance with the duple meter established by the chorus in “The People are the heroes now.” The arpeggiated figures, reminiscent of Glass, appear in groups of three while the meter remains unchanged. (Fig. 1.11)

The figure appears in canon with itself in different registers, offset by a dotted eighth note, to generate the accompaniment. Timothy Johnson has noted a similar effect but instead considers the displacement further removed by another eighth note, considering the displacement in the bass to begin on the third beat or fifth eighth note.

Figure 1.11. Metric displacement in Act I of Nixon in China.

Polymeters, long considered a staple in minimalist music, are prevalent in Nixon’s

“News” aria, which follows soon afterwards. While Nixon’s singing sounds like it is in a

24 compound duple meter, the accompaniment plays in a clear simple triple meter, owing to the clear groupings of two in the bass. (Fig. 1.12)

Figure 1.12. Polymeters in Nixon’s “News” aria.

Indeed the use of polymeters and polyrhythms is a trademark of much of the opera. While the “News” aria displays the prominence of polymeters, Pat’s aria “This is prophetic” shows a reliance on polyrhythms in the accompaniment, with a bass accompaniment providing a compound feeling juxtaposed against a simple accompaniment in the treble. (Fig. 1.13) Adams also makes frequent use of hemiola, as displayed in the opening of Chiang Ch’ing’s aria “I am the wife of Mao Tse-Tung.” (Fig. 1.14) While measures 86-87 are clearly in 6/8, the following two measures suggest 3/4.

25

Figure 1.13. Polyrhythms in Pat’s aria-“This is prophetic!”

Figure 1.14. Hemiola in Chiang Ch’ing’s aria-“I am the wife of Mao Tse-tung”

The reliance on such means, however, is not necessarily as bound by process as in the early works of Glass and Reich. Instead, these tools, namely the cyclic structure, polymeter, and polyrhythms are used in a more versatile way. They are not bound to be fulfilled but are used to generate textures and background accompaniment figures against which the vocalists can sing.

Adams has described the orchestra as functioning like “a giant ukulele underneath the vocal lines, chugging along with the pulses continually tripping up the listener’s expectations.”29

The singing, notably, follows in a more traditional vein. There are clearly recognizable recitatives—the meeting between Nixon and Chou, the conversation between Nixon and Mao in

29 John Adams, (New York: Farrar, Straus and Giroux, 2008), 144.

26 the study, etc—and , which are absent from Einstein. In fact, the arias are not uncharacteristic of their genre. The “News” aria is reminiscent of Rossini-era patter style arias while Chiang Ch’ing’s “I am the wife of Mao Tse-tung” displays all the markings of a soprano aria, replete with exceptionally high notes and demanding virtuosic passages full of leaps. Similarly, the Mao character, singing frequently in a high tessitura, is represented musically by a tenor with all the heroic markings of Wagner’s Siegfried, by Adams’s own account. As he noted, Adams sought to make Mao an “artificially constructed peasant hero,” depicted by an established operatic archetype. The only really innovative aspect concerning the vocals was the need for amplification to compete with the hefty orchestra. Still, the use of microphones, considered unacceptable at the time, was more a matter of practicality rather than a desire for a certain sound.

Harmonically speaking, the piece bears characteristic minimalist traits—for example, it is certainly tonal and is rather consonant throughout. The chords are decidedly triadic, perhaps more so than any other Adams work. Like Glass, Adams’s approach to tonality is not necessarily functional and the harmonic motion is decidedly Reich-influenced. Frequently, dominant seventh chords appear, most often in 4/2 and 6/5 inversion, without proper resolutions; instead, they are used for coloring. The use of seventh chords in a non-functional way is reminiscent of

Stravinsky’s neo-classical period, especially the Symphony in Three Movements (1942-45).

Adams has noted the parallels between the influence of movie newsreels on Stravinsky’s composition and the media on Nixon.30

Much of the harmonic motion in Nixon is based on third relationships. With the exception of Figure 1.14, all the above examples show harmonic motion between chords with roots a third apart—the diminished fourth motion between Eb and B in Figure 1.13 can be enharmonically

30 Daines, “Telling the Truth about Nixon,” 126.

27 considered a major third. Timothy A. Johnson notes there are essentially four primary transformations that serve as the basis for the majority of the opera: the inversion around the fifth

(Fig. 1.14), the inversion around a major third (Fig. 1.12), the inversion around a minor third

(Fig. 1.11), and the inversion around the middle note.31 (Fig. 1.15) Although they do not exclusively represent all the harmonic motion in Nixon, these transformations are responsible for much of the harmony. Other chromatic third relationships, ones that maintain one or no common tones, are possible as well. (Fig. 1.16)

Figure 1.15. Timothy A. Johnson’s list of primary transformations in Nixon.32

Figure 1.16. Other possible chromatic mediant relations with one common tone.

Unlike Einstein on the Beach, Nixon in China features a standard orchestra that has been modified with the addition of a saxophone quartet and a Yamaha synthesizer. The effect is an especially powerful ensemble, one that necessitated the use of microphones for the singers to compete with it. With the orchestra Adams is able to create a variety of different moods. The

31 Timothy A. Johnson, John Adams’s Nixon in China (Farnham, United Kingdom: Ashgate Publishing Company, 2011), 10. 32 Ibid

28 additional saxophones aid in setting the big band-flavored mood that is used to evoke memories for both Pat and Nixon while the low strings at the beginning conjure images of the barren

Chinese landscape prior to the Nixons’ arrival. If it is his reliance on processes that resulted in his labeling as a minimalist, it is in his orchestration that Adams firmly establishes a unique voice. Steve Reich has found that Ezra Pound’s distinction that great poets are either “masters” or “inventors” also applies to composers. Although placing himself in the latter category, Reich refers to Adams as a master and credits his adept orchestration skills and romantic flair as the source of his envied ability to connect with audiences.33 Nixon in China is no exception, and the orchestration lends the work a familiar quality favored by 21st century audiences.

33 Steve Reich, Writings on Music: 1965-2000 (New York: Oxford University Press, 2002), 233.

29 Chapter 2

Impact of Nixon in China and Einstein on the Beach: Subsequent Minimalist Opera—Steve

Reich’s The Cave and David Lang’s The Difficulty of Crossing a Field

2.1 Steve Reich’s The Cave

By the time The Cave was premiered in 1993, Steve Reich was already considered a well- established composer, having by then headed a number of successful premieres at prestigious venues, a far cry from his modest beginnings in the downtown lofts of in the early 1960s. The 1970s had seen Reich write the influential Drumming (1973) and the seminal

Music for 18 Musicians (1976) while the 1980’s witnessed continued productivity in the form of

Tehillim (1981), Eight Lines (1983) and Sextet (1985).

Work on The Cave began shortly after the completion of Different Trains (1988) when the composer decided to collaborate with his wife, the video artist Beryl Korot, known for her multiple-channel installations Dachau 1974 (1974) and Text and Commentary (1977). Even before the work’s content was determined, Reich and Korot had decided to create a piece that would constitute a new kind of musical theater that combined music and filmed documentary sources. In this sense, the work is like Einstein on the Beach in its conception as a complete experience; the music and video are not intended as separate items.

Conceptually, the work centers on the Cave of the Patriarchs. In many holy books, the site is of great importance. According to the Book of Genesis and the Quran, while recovering from his circumcision, Abraham was visited by three strangers. Wanting to be hospitable, he followed a cow into the cave to slaughter it to feed his guests. Once inside, he sensed a presence and knew that it was the Garden of Eden and that his descendants would be buried there. Today, many Jews and Muslims believe that the patriarchs Abraham, Isaac, Jacob, Sarah, Rebecca, and

30 Leah are buried there. The cave is located in Hebron in the West Bank, a much-contested area.

Not unlike the rest of the Middle East, the cave has been the site of fighting for thousands of years. A condition of the 1996 Wye River Accords included an agreement that both Jews and

Muslims could worship at the sight although the catacombs where Abraham and his descendants are buried are inaccessible to visitors. Currently, the cave is the only major place where both

Jews and Muslims worship given the significance of Abraham to both religions.

During the creation of the opera, three different groups were interviewed on camera, each in turn being asked five simple questions: Who for you is Abraham? Who for you is Sarah? Who for you is Hagar? Who for you is Ishmael? Who for you is Isaac? The opera is thus divided into three sections, differentiated by the three groups of people. (Fig. 2.1) In the first section, Israelis are asked to answer the questions, in the second Palestinians are asked, and in the third

Americans are asked. The structure of the work results in a piece that essentially tells the same story from three different perspectives. The story offers some reflection on the conflict in the

Middle East by displaying a theme of separation and reconciliation given the eventual reunion of

Isaac and his half-brother Ishmael at their father’s funeral. As Reich notes, “if they could do it, perhaps it suggests that Arabs and Israelis can too.”34

The libretto was not preplanned but instead follows from the interviews, which are shown on five different video screens while the ensemble plays. In this sense, there is no real staging as there is in Nixon in China and Einstein on the Beach. The ensemble remains stationary on the stage while the multiple channel video installation variously displays interviews and footage of landscapes as well as architecture. This combination of video and music seems reflective of the

MTV culture that had permeated the decade prior to The Cave’s creation, although Beryl Korot was apt to note that their “independent interests preceded MTV” even if their combined work did

34 Reich, Writings on Music, 178.

31 Act 1: (Intermission) West Jerusalem/Hebron May/June 1989 Act 3: 56 Minutes New York/Austin April/May 1992 (Short Pause) 32 Minutes

Act 2: East Jerusalem/Hebron June 1989/June 1991 40 Minutes

Figure 2.1. Structure of Reich’s The Cave. not.35 Reich further noted, “We’re living in a culture where music videos are a kind of urban folk art.”36 Reich’s views on the importance of folk art helps to explain the non-traditional staging.

Despite the old subject matter, the work is intended to be a commentary on the modern age.

This is further reflected in the orchestration and the music. The ensemble is similar to

Glass’s in that it features non-standard instrumentation: two woodwind players (variously playing , , English horn, clarinet, and ), two percussionists (playing , claves, kick drum, bass drum, and clapping), three typewriters, two , a sampler, four singers (soprano, alto, tenor, and bass), and a string quartet. The instrumentation, which is amplified during live performance (with the exception of the bass drum and claves), is certainly unconventional, even if Reich himself had used it for years in various guises. The use of samplers reflected current trends in the popular music world the way saxophones and organs in Einstein reflected the influence of rock and jazz instrumentations in the 1970s. Describing the shift away from more conventional , Reich said, “I’m not saying other composers shouldn’t write bel canto operas, but I’ve pursued something that interests me now, here in

America in the 1990s, which naturally doesn’t sound like something from eighteenth- or

35 Reich, Writings on Music, 174. 36 Ibid.

32 nineteenth-century Italy or Germany.”37 This sentiment justifies the use of microphones, as vocalists during previous time periods had to possess loud voices to be heard over the ever- expanding Romantic period orchestra. With the invention of microphones, that type of voice was no longer required. Consequently, Reich, unlike Adams, uses a non-vibrato voice, more typical of contemporary popular music.38

This is all tied into Reich and Korot’s approach to the subject of Abraham. Reich himself described Abraham as “about as radical and visionary a person as we’ve ever had.”39 To portray such an iconoclast through such outdated means, then, seemed to be inappropriate to the creators.

Concerned with not being mired in anachronisms, Reich and Korot opted for a more abstract,

Glass/Wilson-style portrayal of Abraham. Given the lack of detailed history on Abraham and his descendants, the creators decided to portray the figures as current people view them:

I don’t really feel comfortable with the idea of singers acting biblical roles—that tenor is Abraham…hmm. We really have no idea how these 4,000-year-old characters looked, and it’s always awkward when someone portrays them. The reality is that Abraham and the others only live in the words and thoughts of the living. In our piece, The Cave, they live in the words of the people we interviewed.40

Musically, the opera is nothing radically new for Reich. The harmonic language is tonal and most of the harmonies are diatonic. Similar to the harmonic progressions in Music for 18

Musicians, the chords seem to melt into each other at times. When modulations do occur, they are usually abrupt, shifting suddenly to the new key.

Rhythmically, the piece deals with some processes Reich had been using for years. While there is certainly a pulse in much of the work, it is more rhythmically involved than Music for 18

Musicians. At times, the meter changes every bar, and mixed meters are prevalent. The text

37 Reich, Writings on Music, 173. 38 Reich, Writings on Music, 173. 39 Reich, Writings on Music, 172. 40 Reich, Writings on Music, 175.

33 setting of some of the words of the Koran and recalls his earlier composition Tehillim

(1981). In addition to by-then standard processes like block additive process, Reich also incorporates newer methods, notably speech melodies. Prior to this, Reich had experimented with speech in his early phasing pieces It’s Gonna Rain (1965) and Come Out (1966). However, his work in the late 1980s saw Reich experimenting with speech in a different way. Different

Trains (1988) incorporated recorded speech as the source of a number of melodies. The idea— which was influenced by Leoš Janáček’s speech melodies and first featured prominently in his opera Jenůfa—was later expounded upon in The Cave. Here, the instrumentalists play along with the videotaped interviews and mimic the speech patterns. A clear example of this is found in Act

I: Scene 7: Who is Sarah? (Fig. 2.2) As in Different Trains, the string quartet (here, the first violin and ) is asked to imitate the recorded speech. This is why the recorded text is found beneath the first violin and cello part.

* Violin I ° b &b bb43 Œ 42 œ ‰ ‰ œ œ Œ œ œ œ œ œ œ (A -bra ham's first wife first wife)

Violin II b &b bb43 ∑ 42 ∑ ∑

Viola Bbbbb43 ∑ 42 ∑ ∑ * œ œ œ Violoncello ? 3 2 bbbb4 Œ œ œ œ œ œ 4 ‰ ‰ œ Œ ¢ (A -bra ham's first wife first wife)

Figure 2.2. Speech4 melodies in Act I: Scene 7: Who is Sarah? Vln. I ° b b Although& notb bgenerally considered as significant∑ as other Reich pieces, The Cave ∑ provided an important bridge between Einstein on the Beach and current opera. The influence of Vln. II b &b bb ∑ ∑ Reich’s and Korot’s combination of video with opera can still be seen today, from more

Vla. Bbbbb ∑ ∑ 34 Vc. ? b b ∑ ∑ ¢ b b independent chamber operas like ’s Song from the Uproar: The Lives and Deaths of Isabelle Eberhardt to major productions mounted by established opera companies. Similarly, the influence of speech melodies can be found in the works of classical composers alongside more popular music, especially remixes done by DJs. Indeed, the unique concept and structure continued to suggest that opera was redefining itself all the time.

2.2 David Lang’s The Difficulty of Crossing a Field

If John Adams could be considered a half-generation behind Glass and Reich, David

Lang (b. 1957) is a full generation removed from the first school of minimalists. Being born twenty-years after the original school of minimalists, Lang was exposed to rock and roll at an early age, and along with and Michael Gordon, he later founded , a classical group with a newfound pop/rock sensibility. The group, renowned for its marathon concerts, is known for its more casual approach to classical music, often insisting upon jeans and t-shirts as the appropriate attire for their events. The marathon concerts, started in 1987, often showcase a wide variety of styles ranging from the post-minimalist driven scores of Lang,

Wolfe, and Gordon to ’s pieces for electric guitar orchestras to Meredith Monk’s vocal ensemble pieces and beyond.

Lang, perhaps the most well known of the trio, has enjoyed wide success throughout his career, has been commissioned frequently, and has won a number of prestigious awards including the 2008 Pulitzer Prize for Passion, a work Lang once described as “quasi-medieval and pseudoreligious, vaguely pleasant to listen to, and a cappella.”41 Prior to this, Lang had been responsible for a number of notable pieces, namely his 1980 piece Cheating,

41 David Lang, Interview with Nico Muhly, Bomb-Artists in Conversation 122 (Winter 2013), accessed February 4, 2014, http://bombmagazine.org/article/6920/david-lang.

35 Lying, Stealing. The piece, described by the composer as an “ominous funk” in the score, is one of the more important early post-minimalist works.42

Other pieces show the composer’s quirkier side. One prominent example is Are You

Experienced? (1987), a piece—featuring a narrator, amplified , and large ensemble—that could be considered a reaction to Jimi Hendrix’s 1967 song of the same name. The score indicates somewhat amusingly that the narrator should always introduce him- or herself as David

Lang in any performance of the work. More recently, 2013 saw Lang win ’s

Composer of the Year, as well as the premiere of The Whisper Opera, an hour-long work that is supposed to be played to no more than 10 people at a time. The score indicates that the opera should not be recorded or broadcast live.

Lang’s Difficulty of Crossing a Field (2002), one of his earliest theater works, is based on a one-page story by , a nineteenth century journalist, editor, and short story writer. Work on the opera began during Lang’s tenure as the composer-in-residence for the

American Conservatory Theater in San Francisco. , the librettist for the opera, was concurrently the playwright-in-residence. Thinking the two might be a complementary pair,

Carey Perloff, the artistic director for the program, commissioned the two to create a work that would bridge the gap between opera and musical theater.

The plot of the work concerns the disappearance of Mr. Williamson, a slave owner in the pre-Civil War south.43 In the story, a boy asks his father what has happened to Mr. Williamson, but, as Ambrose Bierce is quick to point out, “It is not the purpose of this narrative to answer that

42 David Lang, Cheating, Lying, Stealing (New York: Red Poppy, Inc., 1993). 43 Coincidentally, Ambrose Bierce later disappeared unexpectedly himself. Additionally, the story later reappeared in urban legend form; in these versions, the disappearing man is known as David Lang.

36 question.”44 Rather than centering on a narrative, the opera focuses on the reactions of those who witnessed the event, with each person coming to their own conclusions. Lang has noted:

Everyone around him has his or her own sharp view of what that disappearance means, of why it had to happen, and of what will happen now that there is a ‘hole’ where a man used to be. No one knows the truth. Perhaps there is no truth. But there are infinite possible consequences, and only by continuous examination of what few details are known can any sense of order be restored.45

The more abstract nature of the work appropriately places the opera within the more abstract trajectory established by Einstein on the Beach.

The instrumentation is nothing new, especially given Lang’s generally idiosyncratic scoring. In The Difficulty of Crossing a Field, Lang relies on fairly limited means: a string quartet, four principal voices—featuring a soprano, mezzo soprano, tenor, and bass—and a small chorus of slaves. It should be noted that although there are four principal voices there are five principal characters—the role of Mr. Williamson is spoken. Similar to Einstein and The Cave, the string quartet appears on the stage alongside the performers rather than in a pit underneath the stage.

Although the instrumentation seems fairly traditional, Lang manages to use the voices in interesting ways. Most notable perhaps is the integration of different styles of voices, a reflection of Carey Perloff’s desire for the work to bridge the gap between opera and musical theater. For example, Mrs. Williamson, the slave owner’s wife, is intended to be a reflection of the traditional operatic world. Conversely, Virginia Creeper, the leader of the slave chorus, possesses a voice that is intended to be more evocative of musical theater. The limited instrumentation and variety

44 Ambrose Bierce, “The Difficulty of Crossing a Field,” in The Complete Short Stories of Ambrose Bierce (Lincoln: University of Nebraska Press, 1970), 1971. 45 David Lang, Interview with Long Beach Opera, accessed on February 5, 2014, http://www.longbeachopera.org/2014-season/the-difficulty-of-crossing-a-field-2.

37 of vocal styles has been an asset to the piece with many university theater programs staging the work due to the limited means a performance requires.

Musically, the work displays all the marks of post-minimalism. Like Adams, Lang uses processes but they are not the sole determinant in the music; often, repetitive figures are used without the restrictions found in Glass and Reich’s early music. However, gone are Adams’s clear neo-Romantic tendencies. There is no trace of the soaring melismatic vocal lines that pervade Nixon in China; instead, vocal lines are fractured and often syllabic, much as they are in

Einstein on the Beach but with more substantial text than numbers and solfege. Unlike Nixon, the text is sometimes subjected to loose processes.

Similar to much minimalist music, Lang’s music employs frequent simple polymeters.

An example of this can be found in the opening of the work where a clear 3/4 time signature is established by the outline of harmonies in the second violin while the viola plays a pizzicato figure that could be considered in 6/8. (Fig. 2.3) Another example of this can be found towards the end of the opera. (Fig. 2.4) While the violins and viola suggest the actual time signature of

3/4, the voices and cello suggest a 6/8 feel simultaneously. Furthermore, polyrhythms can be found throughout the opera, especially in sections that feature the slave chorus. These are sometimes found within the chorus itself but, more often than not, are found in the accompaniment. The resulting effect is similar to the chaotic atmosphere found in sections of

Einstein on the Beach where the chorus is rapidly singing numbers and solfege.

The harmonic language of the piece is kept simple, more so than the previously discussed operas. Most of the harmonies are indeed triadic but odd modulations, related by thirds or otherwise, are not as common as in previous operas, nor are they as frequent. Most of the opera instead seems to dwell in Aeolian or Dorian modes with modulations at a less rapid pace. Certain

38 with grace and mystery q = 100

“” ˙oœ o ˙oœ o œo o o o violin 1 ° ˙ œ ˙ &43 pp senza vib. œ œ œ œ violin 2 œ œ œ œ œ œ &43 œ pp senza vib. œ pizz. j j viola 3 œ œ œ œ œ œ œ œ &4 œ ‰‰ œ Œ œ ‰‰ œ Œ œ ‰‰ œ Œ ‰‰ Œ ppJ J J J J J œ œ ˙ œ ˙ œ ˙ œ cello B ˙ œ 43 œ œ œ œ ¢ pp

Figure 2.3. Opening of Lang’s Difficulty of Crossing a Field.

Mrs. Williamson ° 3 &4 œ™ œ™ œ™ œ# ™ That'sœ™ what I amœ™ say ing- f Virginia 5 Creeper 3 ∑ ‰ œ &4 ™ œ™ œ™ œ™ ™ œ™ œ™ œ™ ° ∑ ∑ ∑what ∑ has be ∑ come- ∑ of Mis ∑- ter ∑ ∑ ∑ & f Boy Sam 3 ∑ &4 ‰™ œ œ œ# œ™ œ œ œ# ¢ what™ has™ be™ come- of ™ Mis™ - ter™ ‹& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 3 3 3 3 3 3 3 3 3 3 3 violin 1 ° 3 &4 œœœœ œœœœœœœ œœœ œ# œœœ œœœœœœœ œœœ œœœœ œœœœœœœ œœœ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ violin 2 &43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ# œ œ B > ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ viola 3 ¢B 4 œ œ# œ œ œ œ œ >œ œ - - cello ? 3 4 œ# œ™ œ™ œ™ œ™ ¢ >œ™ >™ > > > > Figure 2.4. Polymeters in Scene 7 of Difficulty of Crossing a Field.

39 progressions appear a number of times in different guises. One of the more frequent progressions is found in the opening, which is essentially a i-v-VI7- i" progression. (Fig. 2.3) Another progression found throughout the opera is the one outlined in the second violin in Scene 7. (Fig.

2.4) This progression—i-VI-iv- vii°—is first found in Scene 1, and appears throughout the opera.

Oftentimes, melodic fragments are built off the outline of the progression.

Like The Cave, Lang’s The Difficulty of Crossing a Field suggested that opera did not need to be confined to traditional preconceptions. While the use of operatic voices alongside musical theater voices made the work a suitable candidate for university music programs, the smaller instrumentation continued to indicate that opera could be performed with even more limited forces, a trend that has carried further into the 21st century.

40 Chapter 3

Minimalist Opera in the 21st Century-Nico Muhly’s Two Boys and Dark Sisters

Born in 1981, Nico Muhly earned a B.A. from Columbia University while simultaneously earning a Master’s degree in Music from Julliard University studying under

Christopher Rouse and . While still a student, he was championed by of the New Yorker as the youngest composer “best poised for a major career.”46 It was also during his time in college that Muhly began working for Philip Glass, doing MIDI inputting and editing, notably on Glass’s score to the 2002 Stephen Daldry film The Hours.

Despite his classical training, Muhly has developed significant connections within popular and independent music scenes. His contributions have included performing, arranging, and conducting on albums for artists as diverse as off-kilter singer-songwriter Bonnie Prince

Billy, Antony and the Johnsons, indie-rock darling Sufjan Stevens, Jónsi of the Icelandic band

Sigur Rós, the National, and R&B icon Usher, in addition to a significant number of collaborations with folk singer Sam Amidon. His credibility with pop musicians has led William

Robins to note that he is “certainly the only classical composer who has been covered by both

BuzzFeed and The New Yorker.”47

Since 2006, he has been a member of the artist-run Bedroom Community, an Icelandic record label he co-founded with Valgeir Sigurroson and Ben Frost. His first album, Speaks

Volumes, was released in the same year, becoming the first release on the newfound label. Since then, he has released four other albums under the label: Mothertongue, I Drink the Air Before

Me, Drones, and Cycles, a CD of organ works performed by James McVinnie. Additionally, his

46 Alex Ross, “Ignore the Conductor: Student composers around New York,” The New Yorker, May 17, 2004, accessed February 7, 2014, http://www.newyorker.com/archive/2004/05/17/040517crmu_music. 47 William Robin, “Nico Muhly’s Team Spirit,” The New Yorker, October 20, 2013, accessed October 31, 2013, http://www.newyorker.com/online/blogs/culture/2013/10/nico-muhlys-new-ideas.html.

41 works have been performed on albums released by Nadia Sirota, The Los Angeles Master

Chorale, and the Aurora Orchestra. He has also contributed film scores to Joshua (2007), The

Reader (2008), Margaret (2011), and Kill Your Darlings (2013).

Despite his popularity among younger audiences, Muhly takes his work model from much older sources. He has frequently cited Bach and Vivaldi as composers after whom he models his work habits. The similarity is evident in his output. In the six years following the commissioning of Two Boys, Muhly completed seventy pieces, an astonishingly high number for a composer simultaneously working on a large-scale opera.48 Notably, many of the completed works were commissions. It was while working on Two Boys that Muhly was also commissioned to write Dark Sisters, a chamber opera.

Two Boys, premiered at the in 2011 with a subsequent American premiere in 2013, was commissioned by the Metropolitan Opera in conjunction with the Lincoln

Center Theater in 2006, as part of a commissioning project where playwrights were paired with composers to create new operas. (The project has been infamously unfruitful; as of 2014, Two

Boys is the only one of the original commissions to see of day.) Muhly was paired with

Craig Lucas, a writer most known for his plays Reckless (1983) and Prelude to a Kiss (1988), which were both later adapted into major motion pictures during the 1990s. Dark Sisters was written in collaboration with , the young playwright responsible for Speech &

Debate as well as Sons of the Prophet, a 2012 Pulitzer Prize finalist.

The plot of Two Boys is a dramatization of a 2003 crime in Manchester, England in which a younger boy is stabbed by an older one. The incident is caught on closed circuit TV and appears to be a simple case, but as Detective Anne Strawson investigates further, she realizes that the older boy was essentially tricked into murdering the younger boy through a series of

48 Robin, “Nico Muhly’s Team Spirit.”

42 wildly fantastic internet chatrooms, in which the younger boy had constructed a complicated web of fictional people. The story is presented in a manner reminiscent of crime show procedurals like Law and Order, an important feature given Muhly’s views that opera should be entertaining.

Thematically the opera centers on themes of internet identity and homosexuality. In regards to the internet, the time period of the work is important to note. Although taking place only a few years ago, the incident occurred during what could be considered the early days of the internet. Even over the course of ten years, things have changed dramatically. As Muhly has noted in interviews:

What was so exciting for me about this story–and what was so sort of poignant about it— is that we don’t live in a place where there’s masked balls really anymore. So I thought [of] the internet–and especially the early days of the internet, the sort of chatrooms before video chat, before any of that—when you really could pretend to be another person. It’s actually quite a traditional subject for an opera, I thought.49

Dark Sisters, Muhly’s chamber opera written in collaboration with playwright Stephen

Karam, similarly takes its subject from relatively recent news stories. However, instead of focusing on the wild world of the early internet, Dark Sisters takes the Fundamentalist Church of

Jesus Christ of Latter-Day Saints as it’s jumping off point. The plot of the opera is loosely based on the government raids that occurred outside of Eldorado, Texas in 2008 at the Yearning for

Zion Ranch. During the raids, 462 children were removed from their homes under suspicions of abuse. It is interesting to note that the opera does not take place in Eldorado but rather Colorado

City, the sight of an earlier government raid on the Fundamentalist Church of Latter-Day Saints in 1953. In addition to the raids, Karam’s libretto draws on various accounts of women attempting to leave the church and their subsequent lives outside the church.

While Two Boys concerns themes of internet identity and homosexuality, Dark Sisters centers on issues of polygamy and the morality of taking children away from their homes, while

49 Nico Muhly, Interview with Adam Gopnik, Metropolitan Opera Season Book. September 2013.

43 still retaining ideas about identity that are also present in Two Boys. Muhly himself has said, “at one time, it’s a story of one woman who is attempting to leave, and on a larger scale, it’s about how one person, one family in a large polygamist household reacts to having their children taken away.”50 Despite Muhly’s beliefs that opera should be entertainment, it does not mean that it need be devoid of thought, with the composer saying, “…also it makes you think about your life and makes you think about the country and maybe teases a sort of moral nerve.”51

Both operas tend to ask more questions than they answer, a sentiment that is certainly echoed in Nixon in China. While Nixon in China could be considered as side commentary on the

Reagan administration, Dark Sisters could be considered to offer peripheral commentary on gay marriage in the , although it is not explicitly mentioned in the opera. Muhly himself identified the subject of the “government staying out of the bedroom,” a relevant topic given the composer’s homosexuality.

The orchestration, like the plot and themes of both operas, is rooted in the influence of

John Adams. While Einstein on the Beach was a less traditional, do-it-yourself type of production, Nixon in China was funded by an established opera company with a certain set of expectations. This is similarly true of both Muhly operas. Given Muhly’s less-than-conventional career trajectory, the fruition of both Two Boys and Dark Sisters was fairly conventional. The resulting works are not as abstract as either Einstein on the Beach or The Cave, and feature typical operatic orchestras–Two Boys features a large cast and conventional orchestra, while

Dark Sisters requires only a chamber orchestra and a small cast of seven singers, six of whom are women.

50 Muhly, Nico. Video interview. September 23, 2011. http://vimeo.com/29481588. 51 Ibid.

44 The style of singing is similarly more traditional than the type of singing featured in The

Cave and The Difficulty of Crossing a Field. Although both operas tell modern stories, they feature vocalists that fall into types of singing associated with older forms of opera, as is the case with Nixon in China. It is in this type of medium that Muhly’s exceptional choir writing is able to shine through.

Although well grounded in minimalism (the influence of John Adams, Steve Reich, and

Philip Glass can be heard frequently), Muhly is no stranger to older forms of music. Although often reluctant to characterize his style, he is always open about which composers he loves, especially those of the English Renaissance. Indeed, the influence of Orlando Gibbons and

Thomas Tallis can be heard in Muhly’s music—most obviously in his choir works—alongside more modern influences, particularly . Muhly himself noted the influence of the exotic gamelan scale featured at the end of Britten’s last opera, Death in Venice, in Two Boys, considering the reference to Britten and English Renaissance composers as a sort of “coded high- five, as it were, into the past.”52

While the influence may be present, the choral writing is distinctly Muhly’s own. At times, it features a wild chattering of voices that the composer says should be reminiscent of the first Pentecost, when people were wildly speaking in different tongues. Although achieved with voices, the resulting sound is almost electronic, and despite the biblical association, the technique is used to represent the frenzied nature of the internet. The resulting blitz of voices is not unlike the rapid-fire delivery of numbers and solfege in Einstein on the Beach, although the sound is certainly less orderly. The effect is notated in the score as a sustained note with a tremolo and the text notated beneath the note; at times, the text is specific (i.e., “how are you?”) while at other times the text only gives an indication that the singer should sing phone numbers, names, etc.

52 Nico Muhly, Interview with Adam Gopnik, Metropolitan Opera Season Book. September 2013.

45 (Fig. 3.1 and Fig. 3.2) The text is to be repeated for the duration of the note. Additionally, singers should avoid coordinating with one another at all times.

Figure 3.1. Notation of unsynchronized voices in Two Boys.

Figure 3.2. Notation of unsynchronized voices in Two Boys.

The wild chattering effect can be traced, like much of the opera, to certain phases of

Muhly’s career. Given the seven years between the opera’s commission and the Metropolitan premiere, it is not unlikely that his style has evolved. The composer himself noted that the opera was the last composition in which he used certain techniques and the first in which he used others.53 Certainly, the different techniques are apparent in different sections. The aforementioned “wild chattering” found in the choir sections in Two Boys can be traced to

Mothertongue (2008) as well as his choir piece Senex Puerum Portabat.

Throughout the opera, Muhly also relies on a number of drones. The obsession with drones is evident in three EPs released through Bedroom Community in 2012 and 2013: Drones and Piano, Drones and Viola, and Drones and Violin. (The three pieces were later released together on the album Drones that included another track entitled Drones in Large Cycles.)

According to Muhly, this fascination stems from his childhood when he loved to sing alongside the hum of vacuum cleaners.

53 Robin, “Nico Muhly’s Team Spirit.”

46 Polyrhythms, found in much minimalist music, are found in both of these operas as well.

Muhly has used them in a number of pieces; his solo piano piece A Hudson Cycle is reminiscent of the opening movement of Glass’s due to it’s almost constant two against three rhythm with occasional interruptions. (Fig. 3.3) As in his earlier music, he uses polyrhythms in both Two Boys and Dark Sisters. In the opening measures of Two Boys, a five-against-four polyrhythm is set up in the bass. (Fig. 3.4)

Moving Quickly-always feel e pulses 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 6 Œ™ ‰bbœ™ œ œbbœ™ œ œ œ™ œ œbbœ™ œ œ œ™ œ œbbœ™ œ œ œ™ œ œbbœ™ œ œ œ™ œ &8 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 Piano mp œ œ œ- œ œ œ- œ œ œ- œ œ œbœ œ bœ œ œ >œ œ œ œ œ œ œ œ œ ? 68 Œ™ ‰ œb œ œb œ œ œ œ œ œb œ œ œ œ œ œ œ œ œb œ œ œb œ œ œ œ œ

6 Figure 3.3.{ 3:2 Polyrhythms in A Hudson Cycle. & ∑ ∑ 23 ∑ ∑ Pno. b w b bww b w bb ww b w 4 b w bw b wbw bw b wb w bw bbww bw ? &4 ∑ b w ∑ b w23 ∑ bw bw∑ pp f Piano 5 Reduction 5 5 5 > > > > > 10 > > > > > - - - - - >- >- >- >- >- { - - - - - >- >- >- >- >- œb œ œ œ œ ? 4 œb œ œ œ œ œb œ œ œ œ Nix. ∑4 ∑ ∑œb ∑œ œ œ ∑œ ∑œb œ œ ∑œ ∑œb œ œ ∑œ ∑ & œb œ œ œ œb œ œ œ v v v v Figure 53.4. 5:4 Polyrhythms in the Opening of Two Boys. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Nix. &{ 3 Pno. Certainly,& other∑ older techniques derived∑ from2 Baroque∑ masters are present∑ alongside the ? more modern minimalist∑ ∑ innovations. ∑ Structurally, ∑ ∑ Muhly ∑ based much ∑ of the ∑ opera ∑on repetitive ∑ bass , a nod to∑ . Although∑ not3 repeated ∑exactly each time∑ they appear, {20& 2 thesePno. bass ostinatos are used as accompaniment to a significant portion of the opera. This is Nix. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ?& j 3 evident earlyœ in Act‰ŒÓ I. (Fig. 3.5) Here, the upward∑ outline2 of triads∑ in the bass—variously∑ A minor or first inversion F major 7th chords in this example—repeats a number of times while the & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pno.{ 9 ? ∑ ∑ ∑ ∑47 ∑ ∑ ∑ ∑ ∑ ∑ Nix. {& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pno. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ { harmonies float above it. The use of passacaglias, frequently seen in , is also evident, especially in Act II. Two Boys is not the first time Muhly has used this technique, however. A passacaglia provides the accompaniment throughout much of Keep in Touch (Three

Missed Calls for Holy Week), a viola solo with electronic accompaniment (including vocals from

Antony Hegarty) written for Nadia Sirota.

Figure 3.5. Repetitive bass figures in Act I of Two Boys.

If the textures and shimmery orchestration could be considered a manifestation of Glass’s influence, the harmonic language is certainly more akin to Adams. Although still tonal, the harmonic language is certainly more advanced than those used in Reich’s and Glass’s operas.

There are still plenty of triadic harmonies but there are also instances of polytonality and greater amounts of dissonance than in the aforementioned works. (A dissonant moment can be seen in

Figure 3.5 above where an Eb minor chord clashes against the A minor chord outlined in the bass.) Muhly also makes frequent use of triads that have both major and minor thirds, a common harmony in his works, notably in the final movement of his choir work Expecting the Main

Things from You. An example of this harmony appears over the bass in Act I. While the bass outlines a third inversion A minor triad, a chord with both C# and C§ is sustained in the

48 treble. (Fig. 3.6) If the mark of John Adams is apparent in the harmonic language, it is significant to acknowledge that Two Boys and Dark Sisters owe more to later Adams operas like Death of

Klinghoffer and than to Nixon in China.

Anne &43 Œ ˙ œ œ œ œ ˙ œ ‰ŒŒ Do what you know J

&43 ˙˙n ™ ˙˙n ™ ˙˙n ™ ˙˙n ™ #˙™ #˙™ #˙™ #˙™ Piano mf> j œ j œ j œ j œ j œ œ j œ œ j œ œ j œ œ ? 43 œ œ œ œ ˙™ ˙™ ˙™ ˙™

5 Figure 3.6. Mixed third chords in Act I of Two Boys. Nix. {& ∑ Despite his work with Glass, Muhly seems to channel John Adams in both of his operas, in terms of sources for stories and traditional orchestration, although the influence of Glass and & ∑ Reich is stillPno. present. However, Muhly, like Adams, draws on a wider variety of influences ? ranging from sources as varied as English Renaissance music, Baroque∑ music, Benjamin Britten and even popular6 music. If the pop music influence is a bit subtle, the influence of pop culture { 3 certainly is not. Despite& the eclecticism,∑ Muhly’s works∑ are still2 grounded within∑ the more ∑ Pno. traditional operatic vein perpetuated by John Adams. The topical, rather than abstract, nature of ? ∑ ∑ 23 ∑ ∑ the work places both operas squarely within this trajectory.

10 Nix.{ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pno. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

{ 49 Chapter Four

Analysis of Violetting through August’s End (or the sunset in water, the

carillon-chimein square)

The compositional portion of this thesis document is fulfilled by an original chamber opera, Violetting through August’s End (or the sunset in water, the carillon-chime in square).

The story was conceived during an evening conversation between the composer and Kurt

Zacharias centering around proposed short stories that could have been written by Don DeLillo or David Foster Wallace; other suggestions concerned a man who cannot focus on an interview with a top-notch brokerage firm because his socks, unseen by the interviewer, do not match the rest of his outfit and the mid-life crisis of a woman who won everything she owns through repeated appearances under different names on Wheel of Fortune. Joseph Verica, then studying for his master’s degree in creative writing under Richard Kenney at the , was enlisted to write the text.

The plot, initially centered around two teenagers who engage in a suicide pact without telling their other friend, took a darker turn as a murderous rampage was added to the initial storyline, as was a fourth character. The opera centers around the aftermath of the murder- suicide pact, the massacre having already occurred before the start of the opera. The story concerns the reactions of the various people affected by the suicide, namely the single father of one of the boys and a close friend who was not included in their suicide pact. While the single father’s reaction is clearly one of grief and mourning, the friend’s reaction is more concerned with why he was not aware of their pact or even included. He muses on whether or not to kill himself. Subsequently, he is struck by a car and goes into a coma, whereupon his mother has to decide whether or not to keep him alive.

50 The majority of the opera focuses on the reactions of those not involved directly in the events, as opposed to the events themselves, casting the opera in a vein more similar to David

Lang’s The Difficulty of Crossing a Field, although the musical aesthetic is not necessarily similar. The more abstract nature of the piece places the work closer to Glass’s work, although the musical nature of the opera is certainly more in line with post-minimalist attitudes, using processes as a jumping off point rather than a determinant.

Regardless of the differences, minimalist processes are used throughout the piece. A clear use of the linear additive process is used at the end of “July 30th, Jed Hedgerow Wallace the third, declined an interview.” (Fig. 4.1) Amidst prerecorded children’s voices whispering numbers and a synthesizer bass line, the violin and cello repeat a four-chord progression. The chord voicing remains the same each time, but an eighth note is subtracted from the end of each half-note, resulting in a sort of hiccup effect. The effect is felt more obviously due to the synthesizer line in the prerecorded electronics, which drops an octave at each reiteration, eventually sinking so low as to no longer be audible.

3 63 sul pont. Violin II ° ˙ ˙ n n˙ ˙ 7 4 & Violoncello & ˙ b˙ ˙˙# ˙# nn˙ b˙ 8 ˙˙# œ# 4 ¢ p b ˙ # ˙ ˙ b ˙ # ˙ œ™ Synthesizer Bass n˙ ##˙ n˙ ##œ™ œ# œ œ# œn œ œn œb œ œb ? œ# œn œb œ œn j Tape œ œ œb œ œn ™ ™ œb ™ 7 œ œ œ# œ 4 & œ™ œb œ œ 8 œn ™ œ# 4 ™ œn ™ ™ 67 Violin II n˙ n˙ & Violoncello ° 4nn ˙ b˙ 7 nn ˙ bœ™ 4 7 ¢&4 n˙ b ˙ 8# œœ# ™ ˙# n˙ œ™ 4 ˙˙# ˙# 8 nœ™ ##˙ ™ n˙ # ˙ œn œn Tape ? 4 œn œ œb 7 œn œ 4 7 4 œn œb œ 8 j œ# œn œb œ 4 œn œ# 8 ™ œb ™ œ œ œ# œ ™ œb ™ œ œ œ# œ œn ™ œ# ™ œn ™ œ# ™ “‘ 71 Violin II nœ & Violoncello ° 7n œ™ b˙ 4 Figure 4.1.¢& Linear8 œ™ additive process in “July 30th, Jed˙ Hedgerow Wallace the third, declined an 4 j Tape ? 7 œn œ œb 4 8 œn œb œ 4 interview.” ™ œb ™ 72 ◊Ÿ Violin II & Violoncello ° 4 ¢&4 ˙˙# ˙# n˙ # ˙ Tape ? 4 4 œ œ œn œ# œn ™ œ# œ œ# ™ attaca 73 <◊ > 51 Violin II ° & Violoncello & Ó ¢ ˙n attaca n ˙ Tape ? œn ™ gliss. œn ˙™ <◊ > Vibraphone

O b a d i a h L a w l : t h e r a t c h e d h a n d s o f ( g o d s ) Text Music by J o s e p h V e r i c a J . D o y l e Calmly q= 60 j œ œ œ œ œ b4 5 4 Ó Œ 3 5 4 Ó‰ œ œ œ &b 4 Œ ∑4 ∑ 4 Ó‰ œ œ œ ∑4 ∑4 ∑4 ∑ œ œ pJ l.v. sim. pJ 10 q=116 œ œ œ bb Ó‰ œ œ3 Œ Œ ‰ œ ˙™ ŒŒ œ ˙™ ŒŒ‰ œ ˙™ 5 œ œ œ 3 Œ œ œ œ 5 & J 4 J J 4 œ œ œ 4 œ œ œ œ 4 f œ œ œ 20 q=80 q=66 p œ b œj œ œ™ &b 45 ‰ ŒÓ ∑ 4 Ó‰ ™ 42 ∑ 45 ∑ Œ 45 ∑42 ∑4 ∑45 ∑ œ œ p 29 bœ™ œ b˙™ 3 b b œ™ œ 2 3b ˙™ 5 4 3 4 b b 3 &b œ ŒÓ 4 ∑ 4 ˙™ 4 ∑ 4 Ó œ Œ 4 ∑ 4 b b b 4 œ ™ p œœ mf 38 q=112 j j j j th Block2 additive process,5 more commonly2 associated) with2 Reich,œ œ is usedœ™ œ in “Julyœ œ 27 , b b 3 5 3 2 3 2 36 œ œ ™ œ œ &b b b4 8 ∑ 4 4 ∑ 4 4 ∑ 4(8 œ œ œ œ œ œ™ œ œ œ œ Obadiah Lawl: the ratchet hands of (gods).” (Fig. 4.2) Its usage appearsJ J in the™ vibraphoneJ Jpart, 55 j j j j molto rit. œ œ™ œ œ œ™ œ œ œ œ œ™ > > beginningb b ™at measureœ 86.œ Here,™ theœ meterœ remains™ 2unchanged4 while eighth notes are subtracted &b b b œ™ œ œ œ œ œ œ œ™ œ œ œ œ œ™ œ 4 ∑ 4 œ œ œ œ œ œ œ œ œ œ œ œ ™ J J ™ J J ™ >œ >œ >œ >œ ˙ ˙ ˙ ˙ ˙ ˙ 3 3 from64 the end of the pattern, one at a time, beginning in f measure 87.> The processp continues 2 œ™ œ œ œ œ œ œ ˙ b b 3 4 3 4 œ™ œ œ œ 2 œ œ 4 œ™ ˙™ b through&b b b measure∑ 97, ∑ eventually4 ∑ 4 cycling back4 to∑ its beginning4 ≈ ‰ at measure4 ‰™ 93. The4 ≈ use of the blockb

73 ° additive process is again not a critical part of the music; instead, it is usedø to generate j œ ˙™ 2 2 2 2 b œ J j 3 4 3 4 3 3 &b ‰ œ™ œb œ œ™œ 4 ∑4 ∑ 4 4 4 ∑ 4 accompanimentalp background textures. ø

86 q=116 œ œ œ œ bb3 œ œ œ œ œ œ ‰ œ œ œ ‰ j œ œ ‰ œ ‰ œ œ ‰ œ œ œ ‰ jœ œ œ & 4 œ œ œ J œ œ œ J œ œ J œ J œ œ œ f

93 Figure 4.2. Block additive process in “July 27th, Obadiah Lawl: the ratchet hands of (gods).” b œ œ œ œ œ œ œ œ œ &b œ œ ‰ œ ‰ j œ œ ‰ ‰ J œ J ‰ œ œ œ J œ œ œ J œ œ œ œ st An effect similar to Glass’s use of cyclic structures can be found in “Prologue: July 21 : 98 Slower q=66 b j 5 the& sunriseb Œ‰ red(fr)acted.”œ œ However,˙™ instead of two superimposed patterns of different42 lengths,∑ 4 mpœ œ ˙™ two patterns of different tempos are layeredCopyright against © 2013 one another. In Train from Einstein on the

Beach, Glass juxtaposes four iterations of a three-beat pattern against three iterations of a four- beat pattern. In “Prologue: July 21st: the sunrise red(fr)acted,” two measures at a rate of q=100 are juxtaposed against three measures with a tempo of q=150. At measure 34, a shimmering Eb major 7th chord is sounded with different instruments variously outlining the different notes of the chord at a tempo of q=100. (Fig. 4.3) Beginning at measure 37, the tempo shifts to q=150 but only in the vibraphone part. The rest of the ensemble holds steady at q=100. (Fig. 4.4) Following this, the flute and violins switch to the tempo of q=150 in measure 39. It should be noted that although the desired effect is one of two simultaneous tempi, the actual score is notated in tuplets

(for ease of the conductor and players) in a manner similar to the scores of John Luther Adams.

52 2 32 2 Vib. bb3 32 ∑ ∑ 4 {& 4 4 Vib. b &b 43 ∑ ∑ 4 Piano { b3 4 &b 4 Piano ∑ ∑ 4 b Pno. &b 43 ∑ ∑ 4 Pno. ?bb43 ∑ ∑ 4 ? b3 ∑ ∑ 4 { { b 4 4 q=100 34 =100 Vib. b 4 q œ œ œ œ &b 4 34œ œ œ œ œ œ œ œ œ { œ œ œ œ œ œ œ œ œ œ Vib.fœ bb 4 œ œ œ œ œ œ œ {& 4 œ œ œ œ œ œ œ œ œ œ œ œ fœ œ œ œ œ bb 4 œ œ œ œ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ Pno. f b 4 œ œ œ œ œ œ &b 4 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 ? b 4Pno.œ œ f œ œ œ œ œ œ œ œ œ œ b 4 œ œ œ œ œ œ (throughout) œ œ œ œ œ œ œ œ œ œ œ œ ° ?bb 4 œ œ œ œ œ œ ° (throughout) { st Figure 4.3. “Prologue:{ July 21 : the sunrise red(fr)acted,” reduced score. q=150 37 q=150 œ Vib. bb œ 37 œ œ œ œ œ {& œ œ œ œ œ œ œ œ œ œ œ œ Vib. œb œ œ œ ffœ b œœ œ œ œ œ œ & œ œ œ œ œ œ œ œ q=100{ œ œ œ œ œ œ œ ffœ œ bb œ œ œ œ & œ œ q=100œ œ œ œ œ œ œ œ œ œ b Pno. ff &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œPno. ffœ œ œ œ œ œ œ bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { ?bb œ œ œ œ { st Figure 4.4. Polytempos in “Prologue: July 21 : the sunrise red(fr)acted,” reduced score.

Additionally, simple polymeters and polyrhythms can be found in a number of places.

One of the more noticeable places is in “July 27th, Obadiah Lawl: the ratchet hands of (gods)” during the section which begins at measure 38. While the majority of the musicians are playing in 3/4, the vibraphonist enters at measure 52 with a rhythmic gesture that feels more like it is in

6/8. (Fig. 4.5) Additionally, the motive is a sort of palindrome; measure 54 is measure 52 backwards while measure 55 is the reverse of measure 53.

53 52 11 3 3 œ œ œ j j j œ Bar. ? b 3 J œ œ œ œ œ œ ‰ œ b bbb4 J œ œ œ œ œ œ was told that he'd died first than I would a- been proud as

j j j j œ œ œ™ œ™ œ œ œ™ œ™ Vib. b b œ œ œ œ &b b b43(68) œ œ œ œ œ œ œ œ { Jœ J œ™ ™ J Jœ ™ œ™ mute off, pizz. Vln. ° bbbb 3 j ‰ œ œ ‰ŒŒ œ œ ‰ œ œ ‰Œ œ ŒŒ & b4 œ œ J J J œ mute off, pizz. j Vla. Bbb b 3 j ‰ œ œ ‰ŒŒ œ œ ‰ œ œ ‰Œ œ ŒŒ ¢ b b4 œ œ J J œ

bb b 3 œ œ œ œ œ œ œ œ œ œ œ œ & b b4 œ œ œ œ œ œ œ œ œ œ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b 3 œ œ œ œ œ œ b bbb4 Figure 4.5.{ Polymeters and palindromes in “July 27th, Obadiah Lawl: the ratchet hands of (gods).”

At other times, polyrhythms are used to generate atmospheric accompaniment. This is evident in “Epilogue: August 2nd: the (viscose) shadows of sunset had graced” beginning at measure 10. Here, the piano holds steady, playing on the beat in 4/4 while the celesta plays fragments of a quintuplet and the vibraphone plays septuplets. (Fig. 4.6) Unlike the texture from the opera prologue, the texture here is not intended to evoke multiple tempos but rather an atmospheric backdrop against which the spoken text of the electronics is set.

54 E p i l o g u e : A u g u s t 2nd : t h e ( v i s c o s e) s h a d o w s o f s u n s e t h a d g r a c e d

Text Music J o s e p h V e r i c a Slow q = 66 J. D o y l e Vibraphone bowed l.v. Percussion II b √ ˙ ˙ ˙ ˙ &b ∑ 4 Ó ∑ Ó ∑ Ó ∑ Ó ∑ { pp ° ° ° ° 3 ø ø 3 ø 3 ø œ œ œ b √ œ œ J œ œ œ &b ∑ 4 Ó‰ ŒŒ‰™ R ŒŒ J ‰‰ ŒŒ J ‰ŒŒ‰ ŒŒŒŒ‰ ŒŒ‰™ R ∑ ∑ Celesta / l.v. sim. Piano (Piano) pp ? b √∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ { b 4 10 7 7 7 7 ˙ ˙ ˙ ˙ ˙ œ œ ˙ Vib. b ˙ ˙ œ œ ˙ ˙ ˙ ˙ œ œ ˙ ˙ &b ˙ ˙ ˙ ˙ { p

Celesta 5 5 5 5 b &b Œ Œ Œ Œ Œ ŒŒ Œ Cel./ pœ œ œ œ œ œ œ œ œ œ œ œ Pno. Piano ? b Œ Œ Œ Œ b & œ œ œ œ œ œ œ œ œ œ œ œ

Figure{ 4.6. Polyrhythms in “Epilogue: August 2nd: the (viscose) shadows of sunset had graced.” 14 ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ Vib. Harmonicallyb ˙ ˙ ˙ speaking,˙ Violetting˙ ˙ through˙ August’s˙ œEndœ is tonal˙ and˙ often˙ rather˙ œ œ ˙ ˙ ˙ ˙ œ &b œ œ ˙ ˙ ˙ ˙ ˙ ˙ 7 ˙ 7 ˙ 7 7 ˙ 7 ˙ { 7 7 sub. pp consonant, with heavy usage of minor 7th chords, major 7th chords, and major 9th chords. Similar 3 3 3 3 5 5 5 5 5 5 bb Œ Œ Œ Œ Œ Œ Œ ŒŒ Œ Œ Œ œ œ œ œ œ œ œ œ to Nixon& in China, the opera employs frequent use of third relationships. One of the more œ œœœ œœœ œœœ œœ Cel. œ œ œ (pp)œ œ œ sub. pp œ œ œ œ œ œ œ œ œ œ œ œ th prominent bexamples of this is the passacaglia-like progression found in “July 30 , Jed Hedgerow ? &b 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 ppœ œ œ œ œ œ œ œ œ œ œ œ œ œ∑ œ œ Wallace the third, declined an interview.” The chord progression, found throughout the section is { Copyright © 2014 built off roots descending by a major or minor third. (Fig. 4.7.)

w wb & w b w w w bw #n#w # ww# nw ###w

Figure 4.7. Basic chord progression in “July 30th, Jed Hedgerow Wallace the third, declined an interview.”

Each chord, at various times, is either a major 7th or major 9th chord. As a result, the first and second chords share two common tones as do the second and third chords. The progression, which serves as the basis of Jed’s aria, appears in a number of guises. One of the more prominent appearances of the progression begins at measure 56 where the celesta repeats a gesture found earlier in the piece. An electric guitar enters above the celesta, echoing the same chord

55 progression a minor third away; if the original progression is centered on F, the guitar suggests a tonal4 center of Ab. (Fig. 4.8)

j œ ˙ œb j œ j œ ˙ b œ œ œ ˙ œ# j œ E. Guitar 4 Œ‰ b˙ 3 bœ 4 nœ ˙ 3 Œ‰ # œ œ & 4 b ˙ 4 Œ‰ b œ 4 Œ‰ ˙ 4 nœ pp (very faintly, as if from offstage) n˙ n œ

œ œ œn œn ˙ œb ™ œ# œ# œ# œ & 4 ™ œn œ 43 œ ˙ 4 J œ# œ œ œ Œ 43 ™ œ# œ 3 Celesta ? 4 ˙n ™ 3 4 ˙n ™ 3 ˙# 4 œn 4 œb ˙b 4 œn œ 4 œ# œn œb œ#

Figure {4.8. Appearance of the passacaglia in F and Ab in “July 30th, Jed Hedgerow Wallace the 61 third,E. Guitar declined& an ∑interview.” ∑ ∑ ∑ ∑ ∑ ∑ 87 ∑ 4

Certainly,œn there are more dissonant moments in the opera. The freer section beginning at & ™ œn œ œn œ œ ŒŒ ∑ ∑ ∑ ∑ ∑ 87 ∑ 4 Celesta measure 31 in “July 30th, Jed Hedgerow Wallace the third, declined an interview” features a D ? œn ˙n œ ŒŒ ∑ ∑ ∑ ∑ ∑ 7 ∑ 4 œn 8 4 triad in{ the strings containing both a major and minor third set against a major 7th diad of Bb and A in the electric guitar. Here the dissonance, realized through unsynchronized swelling 69 harmonies,E. Guitar & 4characterize ∑Jed’s state and87 suggest his∑ underlying instability.∑ This is 4echoed in the∑ 87 ∑ 4 harmonic language of the remainder of the aria as well. The non-functional passacaglia that &4 ∑ 87 ∑ ∑ 4 ∑ 87 ∑ 4 Celesta serves as a basis for Jed’s section is distinct when compared with the rest of the opera, which is ? 4 ∑ 87 ∑ ∑ 4 ∑ 87 ∑ 4 generally{ more diatonic. The orchestration of the work is more indicative of the relatively new indie-classical scene, and, like the overall length of the work, it reflects an attitude of practicality, one found in the do-it-yourself philosophy of early minimalism. Instruments included are flute, electric guitar, piano (doubling on celesta), two violins, viola, violoncello, percussion (two players, including vibraphone, triangle, crotales, and bass drum), and electronics.

56 The electric guitar, specifically, is more indicative of the popular music world. Within the opera, the guitarist is required to use a select number of pedals including distortion, delay, and octave displacement effects, in addition to using an e-bow, a device that produces sound by causing strings to vibrate with an electromagnetic field. The e-bow’s usage is associated with a number of rock guitarists like Robert Fripp, David Gilmour, Peter Buck, and Steve Hackett.

(Despite its prominence in rock music, the e-bow is not without precedent in classical music. It is used on harps in John Cage’s Postcard from Heaven (1982).)

The singing, likewise, reflects a less traditional sensibility more in line with Glass and

Reich; the opera calls for a tenor (for Jed Wallace) and (for Obadiah Lawl), but the desired quality is more akin to a jazz voice tone. As in Reich’s The Cave, microphones allow for this more pure-toned voice to blend with the similarly amplified ensemble. Additionally, a substantial amount of the libretto is spoken rather than sung, a clear influence of Einstein on the

Beach. Spoken sections are reserved for a third person narrator and a female news anchor. Often, these spoken sections occur over ambient music with low drones. More frequently, the spoken text is included in the electronics part, with two exceptions: the last section of “July 30th, Jed

Hedgerow Wallace the third, declined an interview,” beginning at measure 49, requires the tenor to speak the last few lines of libretto over the passacaglia; similarly, in “Epilogue: August 2nd, the (viscose) shadows of sunset had graced,” three instrumentalists—the flautist, percussionist, and pianist—are required to speak beginning at measure 39. The spoken text, consisting solely of numbers, recalls a recurring rhythm first found at the beginning of the opera in the triangle, vibraphone, and celesta. The enigmatic numbers, first heard in conjunction with the recurring rhythm in the closing measures of the work, allude to the news report heard in the background of

“July 27th, Obadiah Lawl: the ratchet hands of (gods).” As the news anchor indicates, the bodies

57 2 38 b & b ∑ ∑ ∑ ∑ ∑

Tape. b & b ∑ ∑ ∑ ∑ ∑

? bb ∑ ∑ ∑ ∑ ∑

q=100 43 b {& b ∑ ∑ ∑ ∑ ∑ Tape. b & b ∑ ∑ ∑ ∑ ∑

? bb ∑ ∑ ∑ ∑ ∑ of both shooters were found with “19-digit numbers differing in their last digits only hewed on Prerecorded choir [chaotic unsynchronized chattering] 48 æ æ æ their left inner-thighs.”b wæ wæ wæ & b ∑ ∑ ™ ww ww ww ™ w w The {majority of sung text in the opera is found in Jed Wallace and Obadiah Lawl’s ariaspp Tape. bb ∑ ∑ ™ ∑ ∑ ∑ ™ with a select number& of exceptions in the electronic parts. One of these sung parts in the ™ ™ electronics displays? a clear Muhly influence. The section, beginning at measure 50 in “Prologue: bb ∑ ∑ ™ ∑ ∑ ∑ ™ July 21st: the sunrise red(fr)acted,” recalls the wild chattering found in Mothertongue, Senex 53 √ æ Puerem Portabat, bandwæ Two Boys. As in the score to Two Boys, the effect is notated with a & b ww 104 w tremolo on a{ whole ffƒnote. Despite the simple notation, the effect is one of chaotic unsynchronized Tape. bb √∑ 10 singing in which& select bits of libretto (“it would be a good day,” “as the sun crests,” “toward the 4 solid violet,” etc.) are wildly exclaimed over ominous synth pulses in the bass register. (Fig. 4.9) √ ? bb ∑ 104

q=72 Prerecorded choir [chaotic unsynchronized chattering] 54 j æ æ æ æ æ æ æ æ æ æ æ Wæ ˙æ Wæ ˙æ Wæ ˙æ Wæ œæ œæ ™ Wæ ˙æ bb 10 WW ˙˙ W ˙˙ W ˙˙ W œœ œœ™ WW ˙˙ & 4 W ˙ WW ˙ WW ˙ WW œ bbœœ™™™ b WW ˙˙ W ˙ W ˙ W ˙ W œ bœ ™ b W ˙ { Synth Pulses J ™ Tape. bb 10 Ó œ œ œ œ œ œ œ œ Ó Ó œœ œœ œœ œœ œœ œœ œœ œœ Ó Ó & 4 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ∫œ œ œ œ œ œ œ œ ----œ œ œ œ ff----œ œ œ œ n ---- ff---- n ----œ œ œ œ ff----œ œ œ œ n ---- ff---- n ------ff n ? 10 œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ bb 4 œ œ œ œ œ œ œ œ Ó œ œ œ œ œ œ œ œ Ó œ œ œ œ œ œ œ œ Ó œ œ œ œ œ œ œ œ Ó bœ œ œ œ œ œ œ œ Ó 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 b 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 œ œ œ ----œ œ œ œ b----œ œ œ œ ----œ œ œ œ Figure 4.9. Wild chattering effect in Prologue: July 21st: the sunrise red(fr)acted. The {text itself is more abstract than the of Nixon in China or either of the Muhly operas. Despite this difference, the inspiration for the story could be seemingly drawn from any number of recent shooting tragedies featured on the news although no specific incident served as the basis for this work. While the opera has a plot, unlike Einstein on the Beach, the text is not unlike Christopher Knowles’s contributions to Wilson and Glass’s opera in its focus on imagery.

This focus on imagery allows more room for interpretation, although there are certainly clearer

58 themes than in Einstein. The two biggest themes reflect how people react in the aftermath of tragedy and the effect of news media in the wake of these tragedies.

In the opera, for example, the effect of the media is more prominent on Obadiah Lawl, the father of one of the shooters, than it is on Jed Wallace, the duo’s friend. The distinction is made by the amount of news anchor interruptions within the arias. While there are frequent news clips heard in the background during “July 27th, Obadiah Lawl: the ratchet hands of (gods),” there are fewer in “July 30th, Jed Hedgerow Wallace the third, declined an interview.” Here, the clips are shorter and reduced to mere fragments, often no more than a few word, showing that the news media has much less of an impact on Jed, perhaps due to his mental state.

All in all, Violetting through August’s End (or the sunset in water, the carillon-chime in square) draws from both the Adams and Glass camps. The CNN-opera-like story is certainly a nod to Adams, but the concept and libretto are perhaps more similar to Glass. Likewise, the smaller, popular-music-influenced instrumentation is more in line with Glass and perhaps more indicative of the future direction of opera in general. The practicality of a smaller ensemble makes mounting new productions more feasible than the large-scale productions presented by the

Met. While certain critics bemoan the death of classical music, smaller opera houses have been appearing in great numbers. After the closure of in 2013, the Gotham

Chamber Opera became the second-most active company in New York. As of 2014, they do not have their own theater; instead, they mount productions in museums and smaller venues, not unlike those that housed the earliest operas in Florence.

Indeed, similar situations are occurring across the country. Young composers are turning to the genre with greater frequency and premiering their operas with smaller companies or self mounted productions. In 2012, Missy Mazzoli premiered her opera Song from the Uproar: The

59 Lives and Deaths of Isabelle Eberhardt at the New York City venue the Kitchen. Subsequently, she was selected as Gotham Chamber Opera’s composer-in-residence from 2012-2014. (She was preceded by Lembit Beecher who served from 2011-2013 and is followed by Andrew Norman, who will follow her during 2013-2015.) Composition students at universities are likewise turning towards opera as the subject of theses in greater numbers. One such composer, University of

Pennsylvania PhD student Melissa Dunphy, whose Gonzales Cantata (2009) was featured on

The Rachel Maddow Show,54 is currently working on an opera concerning the sex life of Ayn

Rand, as narrated by Alan Greenspan.

Certainly, contemporary figures and history have become common subject matter in opera since the premiere of Nixon in China. While John Adams’s own operas have continued this trend—Death of Klinghoffer (1991) is based off the 1985 murder of Leon Klinghoffer at the hands of terrorists, and Doctor Atomic (2005) is based off the development of the nuclear bomb at Los Alamos in 1945—many others have also opted to draw stories from recent events rather than mythological or literature. Thomas Adés’s chamber opera Powder Her Face (1995) was based on the scandalous life of Margaret Campbell, the “Dirty Duchess of Argyll,” whose divorce was news fodder in Britain during the early 1960’s. Similarly, Mark-Anthony Turnage’s

Anna Nicole takes American model and outrageous television personality Anna Nicole Smith as its focus.

Although outwardly, the “CNN opera” appears relatively new, this trend towards topicality in opera could be viewed as a shift back towards older varieties of opera. When discussing Nixon in China John Adams noted:

[T]here always seems to be something that’s tangentially related to this subject going on in the world, which maybe suggests that this is the proper thing for opera to do. It was

54 Melissa Dunphy/Mormolyke Press. “Bio.” Accessed March 3, 2014. http://www.melissadunphy.com/about.php.

60 certainly the case in Verdi and Wagner’s time. Opera addressed hotly debated issues that people thought about all the time.55

Even if the interaction with such issues is more direct now than it has been in previous centuries, the reversion to topical subjects could perhaps herald in a younger generation of listeners.

Similarly, the emergence of smaller companies mounting smaller productions suggests that opera need not remain solely within the opera house. More and more, the do-it-yourself approach of Philip Glass’s and Steve Reich’s early years is becoming commonplace amongst younger composers, especially within the last decade. A big commission is no longer a prerequisite to stage an opera. As many younger composers are showing, all one needs are a few dedicated musician friends and a small venue. This trend, especially popular in places like New

York, may well continue to grow as the century progresses.

Additionally, composers are turning more frequently to popular music for inspiration.

The use of electric guitars and synthesizers, a somewhat radical notion 30 years ago, is now routine. Like composers of Lang’s generation, the large majority of millennial composers are well versed in the popular music vernacular, having grown up with any type of music easily within their grasp. This pop sensibility manifests itself in both evident and more arcane ways, but the presence is certainly undeniable.

If the majority of innovation is happening with the younger generation, it does not mean that the traditional institutions are dying. In many ways, the now defunct New York City Opera is not indicative of the general state of older companies, which still manage to sell out shows.

Although they are producing new works at a slower pace than their smaller competitors, these old institutions are still far from dead, and are likely to turn a profit for years to come. Despite the initial hiccup in the 2006 commissioning project, the Met still has a number of new operas in

55 Andrew Porter and John Adams, “Nixon in China: John Adams in Conversation,” Tempo 167 (1988): 25.

61 the works, including Thomas Adés’s adaptation of the 1962 Luis Buñuel film The Exterminating

Angel (set to be premiered during the 2017-18 season) and Osvaldo Golijov’s operatic adaptation of Euripides’s Iphigenia in Aulis (set to be premiered during the 2018-19 season.)

With such varied plots and aesthetics, it is difficult to pinpoint exactly where the operatic genre is headed, although a clear dichotomy is emerging between the more traditional forms of opera and the less established do-it-yourself variety that have become prevalent over the course of the last decade. It is the latter that will perhaps give way to the greatest change, enabling the genre to transform and adapt to the needs of the 21st century.

62 Appendix Milos Raickovich’s Catalog of Themes in Philip Glass’s Einstein on the Beach

Theme in C

Theme in Ab

63 Theme in Eb

Theme in f-E

64 Theme in a

Theme in f-D

65 Theme in d

66 Bibliography

Adams, John. . New York: Hendon Music, 1994.

Adams, John. Doctor Atomic. New York: Boosey and Hawkes, 2012.

Adams, John. Hallelujah Junction. New York: Farrar, Straus and Giroux, 2008.

Adams, John. Nixon in China: An Opera in Three Acts. New York: Hendon Music, 1999.

Ashby, Arved. “Minimalist Opera.” In The Cambridge Companion to Twentieth-Century Opera,

edited by Mervyn Cooke, 244-266. Cambridge: Cambridge University Press, 2005.

Bierce, Ambrose. “The Difficulty of Crossing a Field.” In The Complete Short Stories of

Ambrose Bierce, 171. Lincoln: University of Nebraska Press, 1970.

Daines, Matthew. “Telling the Truth about Nixon: Parody, Cultural Representation, and Gender

Politics in John Adams’s Opera Nixon in China.” PhD diss., University of California,

Davis, 1995.

DeJong, Constance, and Philip Glass. : M.K. Gandhi in South Africa 1893-1914. New

York: Tana Press, 1983.

Gann, Kyle. “Intuition and Algorithm in Einstein on the Beach.” Paper presented at the Einstein

on the Beach Conference, University of Amsterdam, Netherlands, January 6, 2013.

Glass, Philip. . Dunvagen Music Publishers, 1983.

Glass, Philip. Einstein on the Beach. London: Chester Music, 2003.

Glass, Philip. Music by Philip Glass. Edited by Robert T. Jones. New York: Harper & Row,

1987.

Glass, Philip. Satyagraha. New York: Dunvagen Music Publishers, 1980.

67 Gurewitsch, Matthew. “Still Resonating from the Great Wall.” The New York Times, January 26,

2011. Accessed December 29, 2013.

http://www.nytimes.com/2011/01/30/arts/music/30nixon.html?_r=1.

Johnson, Timothy A. John Adams’s Nixon in China. Farnham, United Kingdom: Ashgate

Publishing Company, 2011.

Lang, David. Cheating, Lying, Stealing. New York: Red Poppy, Inc., 1993.

Lang, David. Interview with Nico Muhly. Bomb-Artists in Conversation 122 (Winter 2013).

Accessed February 4, 2014. http://bombmagazine.org/article/6920/david-lang.

Lang, David. Interview with Long Beach Opera. Accessed on February 5, 2014.

http://www.longbeachopera.org/2014-season/the-difficulty-of-crossing-a-field-2.

Lang, David. The Difficulty of Crossing a Field. New York: Red Poppy, Inc., 2002.

Mazzoli, Missy. Song from the Uproar: The Lives and Deaths of Isabelle Eberhardt. New York:

G. Schirmer, 2012.

Muhly, Nico. Interview with Adam Gopnik. Metropolitan Opera Season Book. September 2013.

Muhly, Nico. Two Boys. New York:Chester Music, 2011.

Muhly, Nico. Video interview. September 23, 2011. http://vimeo.com/29481588.

Muhly, Nico. Video interview. October 2, 2013.

https://www.youtube.com/watch?v=3dEY_VGf5Lk#t=71.

Owens, Craig. “‘Einstein on the Beach’: The Primacy of Metaphor.” October, Vol. 4 (Autumn,

1977): 21-32.

Page, Tim. Liner notes to Einstein on the Beach. Michael Riesman and the Philip Glass

Ensemble. Elektra Nonesuch 7559-79323-2. CD. 1993.

68 Porter, Andrew and John Adams. “Nixon in China: John Adams in Conversation.” Tempo 167

(1988): 25-30.

Raickovich, Milos. “Einstein on the Beach by Philip Glass: A Musical Analysis.” PhD diss., City

University of New York, 1994.

Reich, Steve. The Cave. New York: Hendon Music, 1993.

Reich, Steve. Writings on Music: 1965-2000. New York: Oxford University Press, 2002.

Robin, William. “Nico Muhly’s Team Spirit.” The New Yorker, October 20, 2013. Accessed

October 31, 2013. http://www.newyorker.com/online/blogs/culture/2013/10/nico-muhlys-

new-ideas.html.

Ross, Alex. “Ignore the Conductor: Student composers around New York.” The New Yorker,

May 17, 2004. Accessed February 7, 2014.

http://www.newyorker.com/archive/2004/05/17/040517crmu_music.

Smith, Steve. “Crackling Vignettes from an Adventurer’s Life: ‘Song from the Uproar at the

Kitchen.’” New York Times. February 26, 2012.

http://www.nytimes.com/2012/02/27/arts/music/song-from-the-uproar-at-the-

kitchen.html?_r=0.

Swed, Mark. “Adams’ 20th Century Rolls—and Rocks.” The , February 5,

2001. Accessed December 30, 2013.

http://articles.latimes.com/2001/feb/05/entertainment/ca-21218. von Rhein, John. “Nixon in China Opera Translates Well to TV.” Chicago Tribune, April 14,

1988. Accessed December 28, 2013. http://articles.chicagotribune.com/1988-04-

14/features/8803080682_1_pat-nixon-carolann-page-china

69 Warburton, Dan. “A Working Terminology for Minimal Music.” Paristransatlantic.com

http://www.paristransatlantic.com/magazine/archives/minimalism.html (Accessed August

3, 2013)

Weiss, Piero. Opera: A History in Documents. New York: Oxford University Press, 2002.

70 PART II

VIOLETTING THROUGH AUGUST’S END (OR THE SUNSET IN WATER, THE CARILLON-

CHIME IN SQUARE): AN ORIGINAL CHAMBER OPERA

71 V i o l e t t i n g t h ro u g h A u g u s t ’ s E n d (or the sunset in water, the carillon–chime in square)

A CHAMBER OPERAONLY W

MUSIC JAMES DOYLE & LIBRETTO JOSEPH VERICA

FOR REVIE72 Violetting through August’s End (or the sunset in water, the carillon-chime in square)

Plot: Instrumentation:

The opera centers around the aftermath of a teen murder-suicide Tenor* pact, the suicide having already occurred before the start of the Baritone opera. The story concerns the reactions of the various people affected by the suicide, namely the single father of one of the Flute boys and a close friend who was not included in the suicide pact. Electric Guitar** ONLY While the single father’s reaction is clearly one of grief and Percussion mourning, the friend’s reaction is more concerned with why he Vibraphone, Triangle, Crotales, , Bass Drum was not aware of their pact or even included. He muses on Keyboards whether or not to kill himself. Subsequently, he is struck by a car Piano,W Celesta and goes into a coma, whereupon his mother has to decide Violin I whether or not to keep him on life support. Violin II Viola Violoncello Electronics

Notes:

All performers should be amplified with a small amount of reverb added to all instrumentalists.

* In performance, the tenor may be replaced with a soprano with an octave displacement pedal doubling the voice an octave below. If this is done, the lower harmony should be amplified so as to be louder than the upper one.

** Throughout the piece, the electric guitarist is required to use a select number of effects, namely reverb, delay, and distortion. Additionally, the player should be in possession of an e-bow and octave displacement pedal, used throughout much of “July 30th, Jed Hedgerow Wallace the third, declined an interview.”

FOR REVIE73 Structure:

Prologue: July 21st, the sunrise red(fr)acted July 30th, Jed Hedgerow Wallace the third, declined an Flute interview Electric Guitar Tenor Percussion: Flute Crotales, Glockenspiel, Vibraphone, Bass Drum Electric Guitar Keyboards: Violin II Piano and Celesta Violoncello String Quartet Percussion: Electronics Glockenspiel,ONLY Bass Drum Celesta Interlude No. 1 Electronics Electronics Epilogue: August 2nd, the (viscose)shadows of sunset had th W July 27 , Obadiah Lawl: the ratchet hands of (gods) graced Baritone Flute Percussion: Electric Guitar Vibraphone Percussion: Violin I Triangle, Vibraphone, Bass Drum Viola Keyboards: Piano Piano and Celesta Electronics String Quartet Electronics Interlude No. 2 Electronics

FOR REVIE74 Libretto:

Prologue: July 21st, the sunrise red(fr)acted it would be a good day for some allotted folk’s daily fluctuation trending down or wristbackward tropes etc by nature there’s consideration, dime-inflation, as the sun crests yonder range, pumiced plain, subtle hill, bluff sidle, all in color ONLY chemic’ly reserved for plexiform, another hundred dolphins wash on shores squalid wounds only guess is biotoxins, W only nest in parallaxion sieved for viscidarity and toward the solid violet pylons naphthol-toned ‘million miles away, ‘million souls and jackals leave their homes to walk covalently, looking care’fly at their feet making sure to fill the impression left for them is to feel the radio, like dark matter, passin’ through; the news don’t need your fingergaps to reach the stand outside the station Topping box office sales this week is Ann y Mia, a rabbit cirrusly sung the feel-good-family-sequel to last year’s hit following the story of two young E. Coli

FOR REVIE75 its toythigh torn, trapped in the bowels of a Latino man; then there was none, it replaces last week’s leader the summer thriller featuring a man’s shoulder as if it ever were, slowly being wretched from its socket as if it never was, for the entire 83 minute runtime. sure won’t beat again

Interlude No. 1

(no text)

July 27th, Obadiah Lawl: the ratchet hands of (gods) ONLY

‘million soles mudding my lawn ‘spite the second day of rain; the latest salvos depict the father never shoulda stuck that cameraman. as an apathetic gunownerW ignorant of contemporary standards for safe storage, I prayed for all their sunken daughters and sons cooling in the ground, dirtied bones for turning-greytoes now. after his firearms were recovered on July 24th at the scene of the murder-suicide He shouldn’t have dredged on her hydrangeas. I worked my wrists straight through to bone, and still my deadheading won’t yield as bright a bloom as curated by her fleece-hands, vi’letting through August’s end. “diatribe” is what his lawyers say, but the Councilmen released a statement today which used words related to terrorism 27 times. When asked his defense, Mr. Lawl says: Oh well Jacob was a kind kinda boy if any man could tell.

FOR REVIE76 I was his only father and I’d say I fathered well. If I was told that he’d died first then I woulda been proud as he lay adorn in foreign sand, just like the rest of his kin.

He always was a bit impression’ble, and one day came home spouting shit about the Central Bank’s under-skin computer chips. Jacob Lawl and accomplice, Ezra Kurt, were found with 19-digit numbers ONLY differing in their last digits only I read a sign says “what have you done?” hewed on their left inner-thighs. I’ve been judging it at night; the red-like stain glass over my finger gaps W too wide to sift the drain. Wednesday’s massacre at a local park left 9 dead, including the two shooters, while another 7 remain injured Jesus, on the 24th of all days, in various conditions. told him home by suppertime, I bet the little shit didn’t even realize it was his mother’s goddamn birthday; come again, we’re usually quiet ‘bout Molly. Now drink your culture- drink and lay your head to rest, there’re things you need and me to hear, you’ll need to look your best; I cannot speak conjecture.

Interlude No. 2

(no text)

FOR REVIE77 July 30th, Jed Hedgerow Wallace the third, declined an interview:

I wasn’t born for such notions of commoditization; asshole Ezra knew it, this week’s superfood manifested dreams more comforting - Jed the Kid rides on through terrible rainstorms with thirstto comeful ONLY creature-tidings under sun’s canopy: jackals wander, W dustfell, thingash, a button that does feeling coloroils; don’t know which name

Fuck ‘um though. They’d make the sunset in water, shitty kin. They made the carillon chime in square; could’a asked still. Surely can’t go back to Boothwyn, with Shari’s sis in lowering- harness, I’d be or could fuckin’ shatter bone against a time-cracked stucco wall, watch the slag and fibrils ebb in fall, might have never lived at all but iron to the soil is skin’s intention or

FOR REVIE78 forefathered-grafting of thinning shin and cure the grandeur beings seek;

I could do it grander, we asked the maker with some six shooters in hand and a rolled cigarette cosset in my mouth’s corner; of the summer’s musthave- semipermeable-membrane rare ivoried-game. ONLY Epilogue: August 2nd, the (viscose)shadows of sunset had graced the hydrangeas were greying in the cold moonlight W reknitting chlorophyll, across the sea a man was found scapegoat in office, they say it’ll end with his head; they’re credibility is still under investigation. There was hairmelt and protein patent in the skid, fatty-white as the strangest blackeye susans; as neurons are unlike pectin, it seems he is mum for all his years. Riversearchers have yet to recover the driver’s presumed stiff still ultraviolet light would guide the honeymaker’s choice, if or not to keep the kid on lifesupport. The Council Chair flew to aid the parents’ grief; Mrs. Wallace could only cry, I think he has taken spe – and limp she went, the pretty lady reading on the screen, quickly replaced and lost she was, in all the magazines, in unquenched jackals everywhere the distil sun could comfort, as a handtucked scarlet cigarette was sweptup by the wind, unlit on the old mill bridge; extricate in night moisture

FOR REVIE79 P r o l o g u e : J u l y 2 1st , t h e s u n r i s e r e d ( f r ) a c t e d Text Music J o s e p h V e r i c a J. D o y l e ca. 30'' Slow q = 66

Flute b √ &b ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Triangle 3 3 r j j j r j Percussion I 3 ‰™ ŒŒ ‰ ŒŒ ‰ ŒŒŒŒ ‰ ‰ ‰‰™ ŒŒ ‰ ŒŒ / √∑ 4 ∑ ∑ œ l.v. œ sim. œ œ Ó œ Ó œ œ œ pp Vibraphone ^ Crotales 3 3 Percussion II b √ 3 œ# r j j r &b ∑ 4 ∑ ∑ b#œ Œ ‰ œ Œ Œ ‰™ œ ŒŒ œ ‰‰ œ ŒŒ œ ‰ŒŒ‰ œ ŒŒŒŒ‰ œ Œ Œ ‰™ œ { l.v. 3 l.v. sim. J fœ pp long, quiet delay to achieve sustain effect fade in with volume pedal j j Electric Guitar √ bb ∑ 3 ∑ ∑ ∑ ∑ ∑ Œ‰ œ œ ˙™ œ ŒŒ ∑ ‰ nœ ˙ & 4 œ œ ˙™ œ # œ ˙ n ™ poco n nnœ ˙ poco Celesta j j bb √∑ 3 ∑ ∑ Œ ‰ŒŒ‰ œ ŒŒ‰ œŒŒ ‰ŒŒ‰ œ ŒŒ‰ j ŒŒ ‰ŒŒ‰ œ Œ & 4 œ l.v. sim. ™ R j œ Celesta / pp 3 3 œ 3 Piano œ √ ?bb ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

{ ^ Violin I ° b √ &b ∑ 43 ∑ Œ‰ j r‰™ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ppœ œ sfœ#

Violin II bb √∑ 3 ∑ Œ‰ j ^ ‰ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ & 4 œ œ r ™ pp sfœ ^ Viola √ j r Bbb ∑ 43 ∑ Œ‰ œ œ œ ‰™ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ppœ œ sfœ

Violoncello ? √ ^ bb ∑ 43 ∑ Œ‰ œ œ r‰™ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ ppJ sfœ

b √ & b ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tape piano reverb drone ? b √w 3 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ b w 4 ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™

{ FOR REVIEW80 ONLY 12

Fl. b &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4

3 3 3 3 Tri. ŒŒŒŒ j j r ŒŒ j ŒŒ ŒŒŒŒ j j / ‰ œ ‰ œ Ó ‰ œ Ó œ ‰‰™ œ œ ‰ ‰ œ ‰ œ Ó ‰ œ Ó œ ‰ 4

3 3 j j Crot. bb ‰‰ œ ŒŒ j ŒŒŒŒ‰ œ Œ Œ ‰ r ‰‰ œ ŒŒ j ŒŒ 4 & ŒŒ œ œ ‰ŒŒ‰ œ ™ œ ŒŒ œ œ ‰ŒŒ‰ œ 4 { J 3 J

j j E. Gtr. b ˙ œ œ ˙ œ œ ˙ ˙ 4 &b ˙™ ∑ Œ‰ œ œ ˙™ œ ŒŒ ∑ ‰ nœ ˙ ˙™ ∑ ∑ 4 <#> n ˙™ œ œ ˙™ œ #nœ ˙ ˙™ < > ™ n n poco n nONLYpoco ™ b œ œ j j œ œ œ j 4 &b Œ‰™ R ŒŒ j ‰ŒŒ‰ ŒŒ‰ œ ŒŒ œ ‰ŒŒ‰ ŒŒ‰™ R ŒŒ j ‰ŒŒ‰ ŒŒ‰ œ Œ 4 Cel. œ 3 3 œ 3 ?bb ∑ ∑ ∑ ∑ ∑W ∑ ∑ ∑ ∑ ∑ 4 { Vln. I ° b &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4

Vln. II b &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4

Vla. Bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4

Vc. ? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ¢ b 4

b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 Tape. ? b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 4 b ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ 4 { FOR REVIE81 22 Slightly Slower q=60

Fl. b &b 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43

Bass Drum B. D. Œ Œ Œ Œ Œ Œ Œ Œ Œ / 4 w ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 43 mf l.v. pp (barely audible-soft pulsing) bowed soft mallets Vibraphone œ œ œ œ Vib. b œ ˙ œ j œ œ œ j &b 4 ∑ Œ‰ J ∑ ∑ ∑ ∑ ∑ Ó‰ œ Œ‰ J œ Œ‰ œ Ó 43 { p

e-bowed œ œ œ ˙ œ œ œ œ ˙ œ œ œ™ œ E. Gtr. b ™ ™ &b 4 ∑ Ó‰™ œ œ œ J Ó ∑ ‰ J J Ó ∑ ∑ ‰ J J 43 pR poco p n p ONLY (to piano) b4 #œ #œ #œ œ #œ #œ œ œ j j 3 &b 4 ∑ ∑ ∑ Ó‰n œ j Ó n œ j‰ Œ ‰n œ œ ŒŒ n œ j‰ Œ ‰n œ jŒ ‰ œ œ ŒŒ‰ œ# œ ‰ŒÓ 4 Cel. p œ# œ# J œ# œ# œ# J œ# n œ œ ?bb4 ∑ ∑ ∑ ∑ ∑ ∑W ∑ ∑ ∑ ∑ 43 { sul pont. Vln. I ° b4 w 3 &b 4 ∑ æ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 næ mf sul pont. Vln. II b &b 4 ∑ ∑ ∑ ∑ ∑ ∑ Ó‰ œ œ ˙ Ó ∑ ∑ 43 næJ æ æmf n

Vla. b4 3 Bb 4 ∑ ∑ ∑ w w w w w w w 4 p

Vc. ? bb4 ∑ ∑ ∑ 43 ¢ wp w w w w w w

b & b 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 Tape.

? bb 4 w w œ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 w w nœ { FOR REVIE82 q=100 32 3 >œ 3 >œ 3 >œ 3 >œ 3 >œ 3 >œ 3 >œ 3 >œ Fl. bb3 ∑ ∑ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 4 œ 3 œ 3 œ 3 œ 3 œ 3 œ 3 œ 3 œ 3 f> œ > œ > œ > œ > œ > œ ff> œ > œ

3 B. D. ŒŒ Œ æ j j / 43 œ œ œ œ 4 œ Ó ∑ Ó ˙æ œ™ œ œ œ œ f ff 3 3 3 3 Vib. b œ œ œ œ œ &b 43 ∑ ∑ 4 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 fœ œ ffœ œ œ strummed w E. Gtr. bb3 ŒŒ ∑ 4 w w w w & 4 4 ∏∏∏∏∏ w w w w fw w w ffw Piano ONLY b3 4 œ œ œ œ œ œ œ œ &b 4 ∑ ∑ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Pno. f ff œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ?bb43 ∑ ∑ 4 œ œ œ œW œ œ œ œ ° (throughout) ord. { œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ Vln. I b œ œ œ œ œ œ œ œ œ œ œ œ œ ° b 3 Œ‰ J 4 jæ æ & 4 4 œfiæ æ æ æ æ æ p f 3 3 3 3 3 3 æ3 æ æ3 æ œff ord. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vln. II bb3 Œ‰ œ œ ˙ œ 4 æ œ æ œ & 4 J 4 3 3 3 3 3 3 æ 3 æ æ 3 æ p f ff æ æ

Vla. Bbb43 ˙™ ˙ œ 4 w w w w ˙™ ˙ œ fw w w w ff> 3 3 3 3 Vc. ? b3 4 ¢ b 4 ˙™ ˙ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f > > > > > > > > > ff > > >

b & b 43 ∑ ∑ 4 ∑ ∑ ∑ ∑ Tape.

? bb 43 ∑ ∑ 4 ∑ ∑ ∑ ∑

{ FOR REVIE83 9 9 9 9 38 3 >œ 3 3 œ œ œ œ œ œ œ œ œ œ œ œ Fl. b œ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œœ œ œ œœ &b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > œ œ 3 > œ œ > œ œ œ œ œœ œœ œ œ œœ œœ œ œ œ œ œœ œ œ œœ œœ 9 9 9 9 3 3 3 3 j j j j B. D. œ œ œ œ œ œ œ œ ‰ œ œ œ œ ‰ œ œ ˙ ˙ ˙ ˙ ˙ ˙ / > > > > > > 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Vib. b œ œ œ œ œ œ œ œ œ œ œ &b 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ffœ œ w w E. Gtr. bb w w w ww ww & w w w w w w w w w ONLYw bb 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 œ œ œ œ œ œ œ Pno. 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 ?bb œ œ œ œ œ Wœ œ œ œ œ

{ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vln. I ° b 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 &b æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ3 æ æ3 æ æ æ æ æ æ9 æ æ æ æ æ æ æ æ æ9 æ æ æ æ æ æ æ æ æ9 æ æ æ æ æ æ æ æ æ9 æ æ æ æ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vln. II b 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 &b æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ 3 æ æ 3 æ æ æ æ æ æ9 æ æ æ æ æ æ æ æ æ9 æ æ æ æ æ æ æ æ æ9 æ æ æ æ æ æ æ æ æ9 æ æ æ æ

Vla. Bbb w w w w w w w w w w

3 3 3 gliss. Vc. ? b œ œ >œ >œ >œ œ œ >œ >˙ b œ œ œ œ œ œ œ œ œ œ ¢ œ œ >œ >œ >œ > > > > > > 3 3

b & b ∑ ∑ ∑ ∑ ∑ Tape.

? bb ∑ ∑ ∑ ∑ ∑

{ FOR REVIE84 9 9 q=100 43 œ œ œ œ œ œ œ >œ œ >œ Fl. b œ œ œ œ œ œ œœ œ œ œœ > œ œ > œ œ œ œ > œ œ &b œ œ œ œ œ œ œ œ œ > œ fff œœ œ œ œœ œ œ œ œ œœ p> œ œ œ œ > œ œ œ œ 9 9

3 3 3 3 3 B. D. r r Œ r Œ / œ œ œ œ œ œ œ œ œ œ œ ‰™ œ œ œ œ œ ‰™ œ œ œ œ ‰™ œ œ œ fff > > > > > > p

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 > >œ œ > Vib. bb 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { œ œ œ J J > œ œ œ J J3 œ fffœ œ > pœ œ > œ œ

E. Gtr. bb w w ∑ ∑ ∑ & w w fffw w b &b 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 fff œ œ œ œ œ œ œ œ œ Pno. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b œ œ œ œ œ œ œ œ œ œ Wœ œ ONLYœ œ œ œ œ œ b ≈ w w w w w w œ œ œ œ œ >œ to the fore w œ { œ œ œ œ >œ >œ œ œ œ™ Vln. I ° b j œ b æfiæ æ æ æ æ æ æ æ æ Œ ŒÓ & œæ æ3 æ 3 æ 3æ 3 3 J œ fff p pp œ œ œ œ >œ >œ œ œ œ > >˙ œ Vln. II bb j æ œ æ æ œ æ œ ∑ ÓŒ ŒÓ & œæfiæ æ æ æ æ æ æ 3 æ 3 æ 3 3 3 p pp œ fff 3 >œ œ œ Vla. Bbb w ˙ œ œ œ ∑ ÓŒ ŒÓ w ˙ œ œ œ 3 fff > > > p pp 3 3 œ œ œ œ™ Vc. ? b ∑ ∑ ‰ J J b œ œ œ œ œ œ œ œ œ œ ¢ fff > > > f > > > p

R REVIEq=100 b & b ∑ ∑ ∑ ∑ ∑ Tape.

? bb ∑ ∑ ∑ ∑ ∑

{ FO 85 Repeat figures as choir builds. Flute and vibraphone should fall out of sync with the piano and bass drum. 48 œ >œ œ >œ œ >œ œ Fl. b > œ œ > œ œ > œ œ > œ œ > œ œ > œ œ > &b œ œ œ ™ œ œ œ œ ™ > œ œ œ œ > œ œ œ œ p> œ œ œ œ > œ œ

3 3 B. D. rŒ Œ r r r r r r / œ ‰™ œ œ œ œ œ œ œ ™ œ ‰™ œ œ ‰™ œ œ ‰™ œ œ ‰™ œ œ ‰™ œ œ ‰™ œ ™

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Vib. bb 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 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

E. Gtr. b &b ∑ ∑ ™ ∑ ∑ ∑ ™

bb 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 œ œ œ œ œ œ œ ™ Pno. œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ Wœ œ ONLYœ œ œ œ œ œ œ bb œ œ œ œ ™ œ œ œ œ œ œ ™

Vln. I { ° b &b ∑ ∑ ™ ∑ ∑ ∑ ™

Vln. II b &b ∑ ∑ ™ ∑ ∑ ∑ ™

Vla. b Bb ∑ ∑ ™ ∑ ∑ ∑ ™ œ™ Vc. ? bb ‰Ó ∑ ™ ∑ ∑ ∑ ™ ¢ pp R REVIEPrerecorded choir [chaotic unsynchronized chattering] æ æ æ b wæ wæ wæ & b ∑ ∑ ™ ww ww ww ™ w w Tape. pp ? bb ∑ ∑ ™ ∑ ∑ ∑ ™ { FO 86 53 q=72

Fl. b √ &b ∑ 104 ∑ ∑ ∑ ∑ ∑ 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 7 B. D. 10 / √∑ 4 ----œ œ œ œ ----œ œ œ œ Ó ----œ œ œ œ ----œ œ œ œ Ó ----œ œ œ œ ----œ œ œ œ Ó ----œ œ œ œ ----œ œ œ œ Ó ----œ œ œ œ ----œ œ œ œ Ó p ff p ff p ff p ff p ff

Vib. bb √∑ 10 ∑ ∑ ∑ ∑ ∑ {& 4

E. Gtr. b √ &b ∑ 104 ∑ ∑ ∑ ∑ ∑

b √ &b ∑ 104 ∑ ∑ ∑ ∑ ∑ Pno. ? √ 10 bb ∑ 4 ∑ ∑ ∑ W ONLY∑ ∑

Vln. I ° b √ {&b ∑ 104 ∑ ∑ ∑ ∑ ∑

Vln. II b √ &b ∑ 104 ∑ ∑ ∑ ∑ ∑

Vla. √ Bbb ∑ 104 ∑ ∑ ∑ ∑ ∑

Vc. ? b √∑ 10 ∑ ∑ ∑ ∑ ∑ ¢ b 4

q=72 j √æ æ æ æ æ æ æ æ æ æ æ æ wæ Wæ ˙æ Wæ ˙æ Wæ ˙æ Wæ œæ œæ ™ Wæ ˙æ bb ww 10 W ˙˙ W ˙˙ W ˙˙ W œœ œœ™ WW ˙˙ & w 4 WW ˙ WW ˙ WW ˙ WW œ bbœœ™™™ b WW ˙˙ w W ˙ W ˙ W ˙ W œ bœ ™ b W ˙ ffƒ R REVIE J ™ Tape. bb √∑ 10 Ó œ œ œ œ œ œ œ œ Ó Ó œœ œœ œœ œœ œœ œœ œœ œœ Ó Ó & 4 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ∫œ œ œ œ œ œ œ œ ----œ œ œ œ ff----œ œ œ œ n ---- ff---- n ----œ œ œ œ ff----œ œ œ œ n ---- ff---- n ------ff n ------√ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? bb ∑ 104 œ œ œ œ œ œ œ œ Ó œ œ œ œ œ œ œ œ Ó œ œ œ œ œ œ œ œ Ó œ œ œ œ œ œ œ œ Ó œ œ œ œ œ œ œ œ Ó 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 bbœ 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 œ œ ----œ œ œ œ b----œ œ œ œ ----œ œ œ œ { FO 87 59 q=60

Fl. b &b ∑ ∑ 4 ∑43 ∑ ∑ ÓŒ ∑ ∑ ∑ ∑ 7 7 7 7 7 7 7 7 B. D. 4 3 Œ Œ Œ Œ Œ Œ Œ / ----œ œ œ œ ----œ œ œ œ Ó ∑ 4 ∑ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ p ff pp (barely audible-soft pulsing) bowed soft mallets œ œ œ œ œ Vib. b œ ˙ œ J œ &b ∑ ∑ 4 Œ‰ J 43 Ó‰ ŒŒ‰™ R ŒŒ J ‰‰ ŒŒ J ‰ŒŒ‰ ŒŒŒŒ‰ { p 3 l.v. sim. 3 3 pp e-bowed œ œ™ œ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ E. Gtr. b &b ∑ ∑ 4 Œ‰ J J 43 p poco œ œ œ b œ R œ œ &b ∑ ∑ 4 ∑ 43 Œ J ‰ŒŒ‰ ŒŒ‰™ ŒŒ œ ‰ŒŒ‰ ŒŒ‰ J ŒŒ J ‰Œ pp l.v. 3 sim. J 3 Pno. ?bb ∑ ∑ 4 ∑43 ∑W ∑ ∑ ONLY ∑ ∑ ∑ ∑ sul pont. j Vln. I ° b æ æ æ æ {&b ∑ ∑ 4 ∑43 ∑ ∑ ∑ Œ‰ œæ œæ ˙æ™ œæ Œ Œ ∑ nœ œ ˙™ poco œ n sul pont. Vln. II bb ∑ ∑ 4 ∑3 ∑ ∑ ∑ j ŒŒ ∑ & 4 4 Œ‰ œæ œæ ˙æ œæ n ™ poco n sul pont. Vla. b 4 3 j Bb ∑ ∑ 4 ∑4 ∑ ∑ ∑ Œ‰ œæ œæ ˙æ œæ ŒŒ ∑ n ™ poco n sul pont. Vc. ? bb ∑ ∑ 4 ∑43 ∑ ∑ ∑ Œ‰ œ œ ˙™ œ Œ Œ ∑ ¢ ænJ æ æ poco æ n

q=60 Wæ ˙æ Wæ ˙æ wæ œ bb WW ˙˙ WW ˙˙ 4 ww 3 œœ™ ‰Œ ∑ ∑ ∑ ∑ ∑ ∑ & b WW ˙˙ bWW ˙˙ 4 ww 4 œœ™™™ < > b W ˙ æ < > R REVIEfadeæ out Tape. b & b Ó ∑ 4 ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∫------œ œ œ œ ffœ œ œ œ n

? b œœ œœ œœ œœ œœ œœ œœ œœ ∑ 4 3 ˙ ˙ ˙ ˙ ˙ ˙ ˙ b bœ œ œ œ œ œ œ œ Ó 4 w 4 ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ b œ œ œ œ œ œ œ œ fade in p ™ ™ ™ ™ ™ ™ ™ b----œ œ œ œ ----œ œ œ œ { FO 88 69

Fl. b &b ∑∑∑∑∑∑∑∑∑∑∑∑∑

B. D. / 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 œ œ œ ˙™ molto sub. p l.v. œ œ œ œ œ œ œ Vib. b œ J œ œ J œ &b ŒŒ‰™ R ŒŒ J ‰‰ ŒŒ J ‰ŒŒ‰ ŒŒŒŒ‰ ŒŒ‰™ R ŒŒ J ‰‰ ŒŒ J ‰ŒŒ‰ ŒŒ ∑ ∑ { 3 3 3

˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ œ E. Gtr. b &b ŒŒ ∑ p poco poco p poco n œ œ œ œ œ œ b œ œ œ &b Œ‰ ŒŒ‰™ R ŒŒ œ ‰ŒŒ‰ ŒŒ‰ J ŒŒ J ‰ŒŒ‰ ŒŒ‰™ R ŒŒ œ ‰ŒŒ‰ ŒŒ‰ J Œ ∑ ∑ 3 J 3 3 J 3 Pno.

?bb ∑∑∑∑∑∑∑∑∑∑∑∑∑W ONLY

ord. j j j Vln. I { ° b æ æ æ æ æ æ æ æ æ æ j &b ‰ œn æ ˙æ ˙æ™ ∑ Œ‰ œæ œæ ˙æ™ œæ Œ Œ ∑ ‰ œn æ ˙æ ˙æ™ ∑ ∑ Œ‰ œ œ ∑ nœ ˙ poco ˙™ nœ œ ˙™ poco œ n nœ ˙ poco ˙™ pp molto ord. Vln. II b j &b ‰ j ∑ Œ‰ æ æ æ æ ŒŒ ∑ ‰ j ∑ ∑ Œ‰ j ∑ æ æ æ œæ œæ ˙æ™ œæ æ æ æ œ œ nœ ˙ poco ˙™ n poco n nœ ˙ poco ˙™ pp molto ord. Vla. b j j j j Bb ‰ æ æ æ ∑ Œ‰ œæ œæ ˙æ œæ ŒŒ ∑ ‰ æ æ æ ∑ ∑ Œ‰ œ œ ∑ nœ# ˙ poco ˙™ n ™ poco n nœ# ˙ poco ˙™ pp molto ord. Vc. ? b j ∑ œ œ ˙ œ Œ Œ ∑ ‰ j ∑ ∑ œ œ ∑ b ‰ œæ ˙æ ˙æ Œ‰ ™ œæ ˙æ ˙æ Œ‰ ¢ n poco ™ næJ æ æ poco æ n n poco ™ ppJ molto R REVIE Cue Interlude No. 1 b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¿ŒŒ Tape. ? b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ Œ Œ b ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ œ { FO 89 I n t e r l u d e N o. 1

(electronicsW onl ONLYy) 1’05”!

R REVIE

! FO 90 J u l y 2 7th , O b a d i a h L a w l : t h e r a t c h e t h a n d s o f ( g o d s )

Calmly q= 66

Baritone œ œ œ œ œ œ œ j ?bb4 Œ ∑ 45 ∑ 4 ∑ ∑ ÓŒ 43 ™ œ œ œ œ 45 œ™ J œ œ œ 4 mil lion- soles mud ding- my lawn spite the se-cond day of

œ œ œ Vibraphone bb4 Œ ∑ 5 ∑ 4 Ó‰ 3 5 4 & 4 4 4 œ œ Ó œ Œ ∑ 4 ∑ 4 ∑ 4 { pJ l.v. sim.

3 Violin ° b4 œ™ œ ˙ 5 œ ˙ ˙ 4 œ œ W ONLY3 5 4 &b 4 œ œ œ J 4 œ 4 J ‰Ó ∑ ∑ 4 ∑ 4 4 pp p pp ˙™ ˙ pp˙™ p˙

3 j Viola b4 œ™ œ ˙ 5 œ ˙ ˙ 4 œ œ 3 5 4 Bb 4 œ œ J 4 œ 4 J ‰Œ‰ œ w w 4 ˙™ 4 ˙™ ˙ 4 ¢ ppœ p pp ™ ™ pp

b j œ œ ˙ œ b 4 Œ ∑ 5 ∑ 4 œ œ Ó‰œ ™ ∑ 3 ∑ 5 ∑ 4 & 4 4 4 œ Jœ ˙ œ™ 4 4 4 Piano p pp

?bb4 Œ ∑ 45 Ó‰ j 4 Ó ÓŒ‰ j ∑ 43 ∑ 45 ∑ 4 œ ˙ l.v. ˙ œ ˙ ˙ œ { °R REVIEø ø ø

Sound of rain on rooftop Tape / 4 45 4 43 45 4

FO 91 q=116 8 f (espressivo) mf Bar. ? b4 œ œ Œ œ œ œ œ œ œ œ œ Ó Ó Œ ‰ j 3 ˙™ ˙ œ œ™ œ œ œ œ b 4 œ œ ™ œ 4 J œ œ rain ne-ver should a- stuck that cam- era man I prayed for all their sunk -en daugh - ters and

j œ œ œ œ Vib. b4 Ó ‰ œ œ œ 3 œ ˙™ &b 4 ∑ œ œ Ó‰ œ œ4 Œ Œ ‰ J ŒŒ œ ˙™ { pJ J f

Vln. ° b4 3 ˙™ ˙™ ˙™ ˙™ &b 4 ∑ ‰ œ œ Œ 4 ˙™ ˙™ ˙™ œ œ ™ œ œ f ˙™ ppœ J

Vla. B b4 ˙ œ w ˙ œ W3 ONLY˙ ˙ b 4 ˙™ œ w ˙™ œ 4 ˙™ ˙™ ˙™ ˙™ ¢ pp™ p ™ f˙™ ˙™ ™ ™

œ b4 3 œ™ j œ œ œ œ &b 4 ∑ œ ∑ ∑ 4 œ™ œ œ œ œ œœ œ œ œ f œ Pno. œ œ œ œ œ œ œ ?bb4 Œ œ ŒÓ Ó 43 œ œ œ œ œ œ œ œ œ ˙ ˙ œ œ ˙ ˙ { ° R REVIEø ø ø ø

Rain (cont'd) / 4 43

FO 92 pp 15 q=80 p f U Bar. ? b ˙™ œ œ j 5 3 5 œ™ œ œ 4 b œ ™ œ 4 ˙ Ó Œ 4 ∑ ∑ 4 Œ œ œ œ œ œ œ 4 sons cool ing- in the ground dir tied- bones for turn ing- grey stones now

j Vib. b œ ˙™ 5 œ œ 3 œ œ œ 5 œ œ 4 &b ŒŒ‰ J 4 œ œ œ 4 Œ œ œ œ œ 4 ‰ œ œ ŒÓ ∑ 4 { œ œ œ œ œ œ p

U Vln. ° b ˙™ ˙™ 5 3 œ ˙™ 5 ˙ ˙™ ˙ 4 &b ˙™ ˙™ 4 ∑ 4 Œ œ œ œ 4 ˙ ˙ ˙ Œ 4 p ™

j Vla. b 5 œ 3 W5 ONLY U 4 Bb ˙™ ˙™ 4 Œ œ œ ˙ 4 Œ œ œ œ ˙™ 4 ˙ ˙™ ˙ Ó‰ œ 4 ¢ ˙™ ˙™ œp ˙ ˙™ ˙ n

gently œ œ . b œ™ j œ œ œ 5 3 œ œ œ œ. j 5 ˙ ˙ ˙ U 4 &b œ™ œ œ 4 ∑ 4 Œ œ œ ‰ J ‰ J ‰ œ 4 ™ ŒÓ 4 œ œ . ˙ ˙™ ˙ pp Pno. p œ œ œ œ œ œ œ œ œ ˙ ˙™ ˙ ˙ ?bb œ œ œ œ 45 œ œ œ œ œ œ œ 43 ˙ ˙ 45 ˙ ˙™ ˙ ˙ ™ 4 œ œ œ ˙™ ˙™ Œ œ ˙ ˙ ˙ ™ ™ u ™ { ø Rø REVIEø °

Rain (cont'd) / 45 43 45 4

FO 93 22 q=66 p > > > > œ Bar. ? b4 2 Œ‰ j 4 œ œ œ œ œ œ œ œ œ 5 œ œ œ œ™ œ œ 2 œ ‰ j 4 ‰ j 5 b 4 ∑ 4 œ 4 œ 4 J œ 4 œ 4 œ œ œ œ œ œ œ 4 He should n't have dredged on her hy dran- - geas I worked my wrists straight through to bone and still my dead head ing won't

œ Vib. b œ™ &b 4 Ó‰ ™ 42 ∑ 4 ∑ 45 ∑ 42 ∑ 4 ∑ 45 { p

Vln. ° bb4 ∑ 2 ∑ 4 ∑ 5 ŒŒÓ 2 4 5 & 4 4 4 4 O 4 ˙ 4 w 4 sfzœ ˙ w W ONLYn p Vla. b4 w 2 4 5 2 4 5 Bb 4 w 4 ˙ 4 w 4 ˙ ˙™ 4 ˙ 4 œ ŒÓ 4 ¢ p ™ n

b &b 4 ∑ 42 ∑ 4 ∑ 45 ∑ 42 ∑ 4 ∑ 45 p Pno. œ ?bb4 Ó ‰ j 42 4 ∑ 45 ∑ 42 ∑ 4 ∑ 45 { œ ˙ R REVIE

Rain (cont'd) / 4 42 4 45 42 4 45

FO 94 28 mf p œ œ œb œ œ œ œ œ Bar. ? b5 j œb œ œb 2 œ œ œ 3 œb œb œn œ 5 œn 4 b 4 œ ‰ œ œ œ œ ÓŒ‰ J 4 4 4 ŒÓŒ 4 yield as bright a bloom as cu - ra- ted by her fleece hands vio lett- ing- through summ - er's end

bœ™ œ b˙™ Vib. b5 b œ™ œ 2 3b ˙™ 5 4 &b 4 ∑ ŒÓ 4 ∑ 4 ˙™ 4 ∑ 4 { œ ˙™ mf

molto vibrato > passionate œb ™ ˙ Vln. ° bb5 ≈ Ó 2 ∑ 3 ∑ 5 œ œ œ œ œ™ j 4 & 4 ˙ ˙ 4 4 4 œ œ œ œ 4 ˙™ ˙ mf W ONLYmp mf Vla. b5 2 j 3 5 4 Bb 4 Ó™ Œ‰ œ ˙™ ˙ 4 œ ‰Œ 4 ∑ 4 ∑ 4 ¢ pJ mf

œ™ œ bb5 Ó™ œ™ œ ∑ 2 ∑ 3 ∑ 5 ∑ 4 & 4 œ 4 4 4 4 Pno. pœ mf

? b5 ∑ Œ 2 ∑ 3 ∑ 5 Œ 4 b 4 w 4 4 4 4 w { R> REVIE ˙ ˙

Rain (cont'd) / 45 42 43 45 4

FO 95 33 Bar. ? b4 ∑ 3 ∑ 4 ∑ ∑ ∑ b 3 b 4 4 4 b bbb 4

Vib. bb4 Ó Œ 3 ∑ 4 ∑ ∑ ∑ bbbb 3 {& 4 œœ œ 4 4 b 4 p

Vln. ° b4 j >œ j j 3 œ™ œ œ 4 >œ œ œ œ™ œb œ œ œ b b 3 &b 4 œ œ œœ œœ™ œ 4 j 4 œ œ œ œ œ œ w b b b 4 > ™ œ œ™ œ œ œ mp œ œ™ f> p f pW ONLY > > Vla. b4 3 œœ œ œœ 4 b 3 Bb 4 ∑ 4 Œ œ 4 ∑ ∑ ∑ b bbb 4 ¢ sfz sfz

œ bb4 ÓŒ‰ œ 3 ∑ 4 ∑ ∑ ∑ bbbb 3 & 4 J 4 4 b 4 Pno. ? b4 3 4 b 3 b 4 ‰ j 4 4 ∑ ∑ b bbb 4 ˙ w { ™ œ R˙™ REVIE

Rain (cont'd) / 4 43 4 43

FO 96 38 q=112 mf œ ˙ Bar. ? b 3 5 3 ŒŒ œ œ œ™ œ œ œ œ œ œ œ 2 b bbb4 ∑ ∑ 8 ∑ 4 ∑ J J J 4 Oh, well Ja - cob was a kind kind a- boy if

Vib. bbbb 3 ∑ ∑ 5 ∑ 3 ∑ ∑ ∑ ∑ ∑ 2 {& b4 8 4 4

Vln. ° b j &b bbb43 ˙™ ∑ 85 ∑ 43 ∑ ∑ Œ œ ‰Œ ∑ ∑ 42 p n œ. W ONLYp> j Vla. Bbb b 3 ∑ ∑ 5 ∑ 3 ∑ ∑ Œ œ ‰Œ ∑ ∑ 2 ¢ b b4 8 4 œ 4 p>.

b b 3 œ œ œ œ œ œ 5 œ œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 &b b b4 œ œ œ œ œ 8 œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 p mp> > p Pno. œ œ œ œ œ > œ > œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b 3 œ œ œ œ œ œ 5 œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 b bbb4 8 4 4 ° sim. Ped. { ø ø Rø REVIEø ø ø ø ø ø ø

Rain (cont'd) / 43 85 43 42

FO 97 46 œ œ œ œ œ œ œ Bar. ? b 2 œ œ™ œ 3 œ œ œ ‰ ™ œ œ œ 2 œ œ 3 œ œ œ œ œ œ™ œ œ J œ œ œ œ œ œ b bbb4 4 ™ J J 4 4 J a-ny man could tell I was his on ly- fa - ther and I'd say I fa - thered well If I was told that he'd died first

j j œ œ œ™ œ Vib. b œ œ ™ &b bbb42 ∑ 43 ∑ ∑ 42 ∑ 43(68) ∑ ∑ œ œ œ œ { Jœ J œ™ ™

pizz. j Vln. ° bb b 2 ∑ 3 ∑ Œ œ ‰Œ 2 ∑ 3 ∑ ∑ j ‰ œ œ ‰ŒŒ œ œ & b b4 4 œ 4 4 œ œ J p>. W ONLYpizz. j Vla. Bbb b 2 ∑ 3 ∑ Œ œ ‰Œ 2 ∑ 3 ∑ ∑ j ‰ œ œ ‰ŒŒ œ œ ¢ b b4 4 œ 4 4 œ œ J p>.

b b 2 3 œ œ 2 œ 3 œ œ œ œ &b b b4 œ œ 4 œ œ œ œ œ œ œ œ 4 œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ Pno. mp> > œ œ > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b 2 œ œ 3 œ œ œ œ œ œ œ 2 œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ œ b bbb4 4 4 4 { R REVIE

Rain (cont'd) / 42 43 42 43

FO 98 54 3 3 œ 3 Bar. ? b ‰ j œ j j œ œ™ œ œ œ œ œ œ 2 4 ∑ b bbb œ œ œ œ œ œ J ˙ œ œ œ œ œ œ 4 ˙ 4 than I would a- been proud as he lay a dorn- in for eign- sand like the rest of his kin.

j œj œj j j œj œ œ œ œ™ œ™ œ œ œ œ™ œ™ œ œ œ œ™ œ™ Vib. bbbb œ œ œ œ œ œ œ œ œ œ œ œ 2 ∑ 4 œ œ œ œ {& b J œ ™ œ™ œ J œ™ ™ J œ ™ œ™ 4 4 œ œ œ œ J J J f> > > >

arco Vln. ° b > &b bbb ‰ œ œ ‰Œ œ ŒŒ‰ œ ŒŒ œ ‰ j Œ j ‰‰ j œ ‰Œ‰ j œ œ 42 ∑ 4 ˙™ Œ J J œ J œ œ œ œ J œ sfz n

W ONLY arco Vla. b j j j œ j œ 2 4 > Bb bbb ‰ œ œ ‰Œ œ ŒŒ‰ œ ŒŒ œ ‰ œ Œ j ‰ ‰ œ J ‰Œ‰ œ œ 4 ∑ 4 ˙™ Œ ¢ J œ J œ œ sfz n

bbbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 œ œ 4 w & b œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ 4 w Pno. f> œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 œ œ œ 4 b bbb 4 4 w Ó Œ‰ Jœ { R REVIE >

Rain (cont'd) / 42 4

FO 99 molto rit. 62 q=86 Bar. ? b ÓŒ‰ j œ œ œ œ œn œ œ 3 œ™ œn œ ‰ j 4 œ œ j œ œ œn œ œ œ 3 œ œ œ 4 b bbb ∑ ∑ œ 4 œ 4 œ œ œ œ 4 œ œ œ ™ œ œ 4 he al- ways was a bit im -pressn' a- ble- and oneJ day came home spout ing- shit 'bout the cen- tral bank's un der- skin com- pu-ter chips-

> > Vib. bbbb œ œ œ œ œ œ œ œ ∑ ∑ 3 ∑ 4 ∑ ∑ 3 ∑ 4 {& b ˙ ˙ ˙ ˙ ˙ ˙ 4 4 4 4 3 3 > p

sul pont. ord. sul tasto ord. sul pont. w w w ˙™ w w ˙™ Vln. ° b &b bbb ∑ æ æ æ 43 æ 4 æ æ 43 æ 4 pp poco poco sul pont. ord. sul pont. W ONLYord. sul tasto w w w ˙™ w w ˙™ Vla. b æ æ æ 3 æ 4 æ æ 3 æ 4 Bb bbb ∑ æ æ æ 4 æ 4 æ æ 4 æ 4 ¢ pp poco poco

q=86 bb b w ∑ œ ∑ 3 ∑ 4 ∑ ∑ 3 ∑ 4 & b b w œ 4 4 4 4 Pno. l.v. ? œn 3 4 3 4 bbbb ∑ Œ œ Ó ∑ 4 ∑ 4 ∑ ∑ 4 ∑ 4 b w { w ° R REVIE

Rain (cont'd) / 43 4 43 4

FO 100 70 œ Bar. ? b 4 2 4 b Ó Œ œ ™ œ œ œ b bbb4 ∑4 ∑ 4 ∑ b ∑ ™ J J I read a sign says

œ œ œ œ œ œ œ™ œ œ œ œ œ œ™ ˙™ j œ ˙™ Vib. b b 4 ™ 2 4 œ ˙ b œ J j &b b b4 ≈ ‰ 4 ‰™ 4 ≈ ™ ™ b ‰ œ™ œb œ œ™ œ ∑ { p ° ø ø

ord. œ 3 Vln. ° b b 4 æJ 2 4 j b j &b b b4 æ ‰ŒÓ 4 ∑ 4 ÓŒ‰ œæ b œæ œæ‰ œ œ w w p poco p œœfp w W ONLYw œ Vla. b b 4 æJ 2 4 œn œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Bb b b4 æ ‰ŒÓ 4 ∑ 4 Ó‰ b ‰ŒÓ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ æpJ æ poco æpJ fp 5 5 5 5 5 5 5 5

b b 4 2 4 b &b b b4 ˙ ˙ 4 ˙ 4 b ∑ ∑ ∑ ˙ ˙ ˙ n wwn Pno. fp

? 4 2 4 b æ æ bbbb 4 ∑4 ∑ 4 Œ‰ j b wæ wæ b œn ˙ w w w { R REVIE°

Rain (cont'd) / 4 42 4

FO 101 76 3 œ œ 3 Bar. ? b œ 3 œ œ œ œ 4 œ œ œ 3 œ œ œ 4 b œ œ œ ‰ J 4 œ œ 4 œ ‰ œ œ 4 œ œ ™ œ œ œ œ œ œ œ œ 4 what havey ou done I've been judg ing- it at night theJ red like- stain glass o - ver my fin- ger- gaps too wide to sift the

Vib. bb ∑ 3 ∑ 4 ∑ 3 ∑ ∑ 4 {& 4 4 4 4

Vln. ° b 3 4 3 4 &b w 4 ˙ 4 4 4 w ˙™ ™ w Ww ONLY˙™ ˙™ ˙™ ˙™ Vla. Bbb œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ4 œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ4 ¢ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 5 5 5 5 5 5 5 fp 5 5 5 5 5 5 5 5 5 5

b &b ∑ 43 ∑ 4 ∑ 43 ∑ ∑ 4 Pno. fp æ æ æ ?bb wæ 43 ˙æ 4 wæ 43 ˙æ™ ˙æ™ 4 w ˙™ w ˙™ ˙™ { R REVIEø ø

Rain (cont'd) / 43 4 43 4

FO 102 q=116 81 f ˙ œ Bar. ? b4 3 ™ ™ œ œ b 4 ˙ Ó ∑ ∑ ∑ ÓŒ œ 4 J ˙™ Œ œ œ drain ah, Je sus on the

Vib. b4 3 œ œ œ œ œ œ œ œ œ œ œ œ &b 4 ∑ ∑ ∑ ∑ Ó œ œ 4 œ œ œ J ‰ œ œ ‰ j œ œ ‰ { f œ J œ

repeat figure sporadically, growing faster sul pont.>norm>sul pont. , Vln. ° b > ˙™ ˙™ ˙ ˙ &b 4 æ æ ŒÓ 43 ™ ™ ˙™ ˙™ w nœ œœ œ sfz fW ONLY sul pont.>norm>sul pont. Vla. b4 3 Bb 4 æw æw æw æw Œ ˙ 4 ˙™ ˙™ ˙™ ˙™ ¢ w w w w n p ™ f˙™ ˙™ ™ ™

b4 3 œ™ j œ œ œ œ &b 4 ∑ ∑ ∑ ∑ ∑ 4 œ™ œ œ œ œ œœ œ œ œ f œ Pno. œ œ œ œ œ œ ?bb4 wæ œæ ŒÓ ∑ Œ ∑ 43 œ œ œ œ œ œ œ œ œ w nœ œ œ { R REVIEœ ˙

Rain (cont'd) / 4 43

FO 103 90 Bar. ? b œ œ œ™ œ™ ˙ œ b œ ˙ ˙ œ œ œ œ œ ˙ œ Œ Œ ∑ twen- ti fourth of all days I told him home by sup-per time

Vib. b œ œ œ œ œ œ b ‰ œ œ J ‰ œ œ œ ‰ j œ œ œ œ œ œ ‰ œ œ ‰ j œ œ ‰ œ ‰ œ œ J ‰ œ œ œ {& œ J œ œ œ œ œ J œ œ œ J œ œ J œ œ

to the fore j Vln. ° b ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ œ™ œ œ œ &b ˙™ ˙™ ˙™ W ONLYœ œ œ œ œœ Vla. Bbb ˙ ˙ ˙™ ˙ ˙ ˙™ œ œ œ œ œ œ ¢ ˙™ ˙™ ˙™ ˙™ ˙™ œ œ œ œ œ œ

b œ™ j œ œ œ œ™ j œ œ œ œ &b œ™ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œœ œ ˙˙™ ˙˙™ œ œ œ ™ ™ Pno. œ œ œ œ œ œ œ œ ?bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ œ œ œ ˙™ ˙™ { R REVIE

Rain (cont'd) /

FO 104 98 Slower q=66 more freely Bar. ? b j œ œ œ j 2 b ∑ ŒŒ‰ 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 4 I bet the lit tle- shit did - n't ev- en rea lize- was his mo-ther's God damn birth day- come a gain- we're usua lly-

j Vib. b œ œ ˙™ 2 &b Œ‰ œ œ ˙ ∑ ∑ ∑ ∑ ∑ 4 { mp ™

Vln. ° b &b ˙™ ˙™ ˙™ ˙™ ∑ 42 mp n W ONLY˙™ ˙™ Vla. b 2 Bb œ œ ˙ ˙ ˙ ˙ ∑ 4 ¢ œ mp™ ™ ™ n ˙™ ˙™

b j &b Œ‰ œ œ ˙™ ˙™ ˙™ ∑ ∑ ∑ 42 mpœ œ ˙™ ˙™ ˙™ Pno. œ œ ˙™ ˙™ ˙™ ? b Œ‰ œ œ ˙™ ˙™ ˙™ ˙˙™ ˙˙™ 2 b J ∑ Œ ™ ™ 4 ˙ ˙™ { R REVIE

Rain (cont'd) / 42

FO 105 105 q=108 Bar. ? 2 j j 4 2 U 4 2 U 4 2 bb4 œ œ œ 4 œ œ ˙™ ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑ qui- et 'bout Mol ly.-

bowed 3 Vib. b2 4 2 U 4 2 U 4 2 œb j &b 4 ∑ 4 Ó ˙ œ Œ Ó 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 œ œ œ ‰ { p mp p °

sul pont. 3 3 3 3 3 3 3 3 3 3 3 Vln. ° b2 4 œb œ œ 2 U 4 œb œ œ 2 U 4 œb 2 œb j &b 4 4 ŒÓ œ œ œ œ œ œ œ œ œ 4 ∑ 4 œ œ œ œ œ œ œ œ œ 4 ∑ 4 œ œ œ œ œ Ó 4 œ œ œ ‰ ˙ œ n mp mp mp p W ONLYsul pont. œb œ œ U œb œ œ U œb Vla. B b2 4 œb œ œ œ 2 ∑ 4 œb œ œ œ 2 ∑ 4 œb œ 2 œb œ b 4 ˙ 4 œ ŒÓ œ 4 4 œ 4 4 œ Ó 4 œ J ‰ ¢ n mp mp mp p

b U U &b 42 ∑4 ∑ ∑ 42 ∑ 4 ∑ 42 ∑ 4 ∑ 42 ∑ Pno. ˙ w U U ?bb42 ˙ 4 w ∑ 42 ∑ 4 ∑ 42 ∑ 4 ∑ 42 ∑ ˙ ˙ ˙ l.v. { R REVIE

Rain (cont'd) Stop Tape / 42 4 42 4 42 4 42

FO 106 I n t e r l u d e N o. 2

(electronicsW onl ONLYy) 4’45”!

R REVIE

! FO 107 J u l y 3 0 th , J e d H e d g e r o w W a l l a c e t h e T h i r d , d e c l i n e d a n i n t e r v i e w

20" Haunting q= 50 Tenor Solo √ & ∑ 4 ∑42 ∑ 4 ∑ ∑ ∑ 4 ∑ 42 ∑ 4 ‹ œb œ ˙ Flute √ œ œ ˙ œ œ ™ œ# ™ œ# œn œn ˙ œ œ & ∑ 4 ™ œ œ 42 ™ œ œ 4 œ œ œ# œ œ™ œ œ œ# œ# œ ˙ 4 ™ œ œ 42 ™ œ œ 4 pp

” (throughout) “e-bow œb Electric Guitar √ œ œ ˙ œ œ ™ œ œ œ# ™ œ# œn œn ˙ œ œ & ∑ 4 ™ œ œ 42 ™ œ œ 4 œ œ œ œ# œ œ™ œ# œ# ˙ 4 ™ œ œ 42 ™ œ œ 4 pp J

Violin II ° √ & ∑ 4 ∑42 ∑ 4 ∑ W∑ ONLY∑ 4 ∑ 42 ∑ 4

Violoncello √ B ˙™ ˙ ? ? ∑ 4 ∑42 ∑ 4 ∑ ∑ ∑ 4 œ œ 42 4 ¢ pp

Glockenspiel √∑ 4 ∑2 ∑ 4 ∑ ∑ ∑ 4 ∑ 2 ∑ 4 {& 4 4 4 4 4 4

Bass Drum / √∑ 4 ∑42 ∑ 4 ∑ ∑ ∑ 4 ∑ 42 ∑ 4

gently √∑ 4 ∑2 ∑ 4 ∑ ∑ ∑ 4 ∑ 2 ∑ 4 & 4 4 4 4 pp 4 4 Celesta j ? √∑ 4 ∑2 ∑ 4 ∑ ∑ ∑ 4 œ 2 4 4 R REVIE4 4 4 w 4 ˙ 4 { Sub-audible drone, sound of (throughout) Tape / children playing/counting

FO 108 9 p poco 3 3 Tn. &4 ∑ ∑ ∑ 43 ‰ j œ œ œb j ‰‰ j 4 j ‰ œ œ œ ™ œ œ œ œ# œ™ œ œ œ œ# œ ‹ I was - n't born for such no tions- of com mo- di- --ti

œb ™ œ ˙ œ# œn œ œb ™ œ œ# Fl. 4 ™ œ# œ# 3 œn ™ 4 &4 œ œ œ# œ œ™ œ œ œ# œ ˙ 4 œ œ œ œ™ J 4 œ# ˙™ p

œb ™ E. Gtr. 4 œ œ œ# ™ œ# œ# 3 4 &4 œ œ œ œ# œ œ™ J œ# ˙ 4 ∑ ∑ 4 ∑

sul pont. Vln. II ° j &4 ∑ ∑ Œ‰ œ# æ ˙æ 43 ∑ ∑ 4 ∑ p mf

˙b œn ˙n ˙b Vc. œb ™ ˙n ™ W ONLYœb ˙n ™ ? 4 œ ˙# ™ 3 œn 4 œ 4 œb œn œ# 4 œb 4 œn ¢ œ# p

Glock. 4 ∑ ∑ ∑ 3 ∑ ∑ 4 ∑ {&4 4 4

B. D. / 4 ∑ ∑ ∑ 43 ∑ ∑ 4 ∑

&4 ∑ ∑ Ó‰™ œ# œ 43 ∑ ∑ 4 ∑ Cel. p j j j œ j j j œ ? 4 œb œ# 3 œn œb 4 4 w 4 4 w wb R REVIEw# ˙n ™ ˙b { ™

FO 109 molto accel. a tempo 15 f p 2 + 3 3 Tn. œ œ œ Ó‰ j j j 5 ‰ œb œ œb œ 4 ™ œ# œ œ ÓŒ‰ œ# œ œ# œ œn Œ‰ œ œn œ 5 & œ# ™ œ# œ œn œ œ œn œ 4 œ™ œœ œ œ 4 J J 8 ‹ za tion- ass hole- Ez - ra knew it man i- - fes-ted dreams more com-fort ing Jed the kid rides on with thirst - ful

œb ™ œ# œ ˙ Fl. œ# œn ™ 5 4 ™ 5 & œ# ˙™ œn ˙™ 4 œœ ˙™ 4 œ# œ ∑ ∑ 8 f

plucked e-bow plucked œb ™ œ ˙™ E. Gtr. œ# ˙ œ œn ˙ 5 4 5 & Œ‰ J ™ œ œ 4 œœ 4 ˙™ ∑ ∑ 8 p œ ˙™ fœ ˙™ sul III 3 nœ ˙ o o œo o o Vln. II ° 5 œ 4 œ# ™ oœ œ# œ# œo 5 & ∑ ∑ 4 Ó‰ œ 4#œ™ œ# œ œn ˙ ∑ Œ oœ œÓ 8 œb œ œb œb f #œ œ œ p sul pont. œn ˙n ™ œb ˙b ™ Vc. ? ˙# ™ œn 5 œb 4 ˙™ w# wn 5 œ# 4 œb 4 œ œ 8 ¢ œ# f W ONLYsub. p

Glock. ∑ ∑ 5 ∑ ∑ 4 ∑ ∑ ∑ 5 {& 4 4 8

B. D. / ∑ ∑ 45 ∑ ∑ 4 ∑ ∑ ∑ 85

j 5 4 œ# ™ œn ™ œ ˙ 5 & Œ‰ œ# ˙ ∑ 4 ∑ ∑ 4 œ# ™ œ ˙ œ# ˙™ œn œ 8 œ# œ œ ˙ Cel. #œf ™ sub. p œb j #œ œ j j ? œ# œn 5 ˙b ˙™ 4 œ# ˙# ™ œn ˙n ™ 5 w# wn R4 REVIE4 w œ# œn 8 {

FO 110 21 2 + 3 3 delicately œn Tn. 5 œ 3 œb ˙ Œ‰ œ œ œ 4 œ# Ó ‰ J œ™ œn œ &8 œ™ 4 J 4 œ# œ œ œ ‹ crea- ture ti -- dings un der- sun's can o- - py jack als- wan der-

Fl. œ ˙™ &85 ∑ 43 ∑ Œ‰ œ œ 4 ∑ œ mp pæJ æ poco w/ bottle neck slide œ ˙ E. Gtr. &85 ∑ 43 ∑ ∑ 4 ∑ œ œ mpœ™

sul III, IV o o œo o o o o œo o o o o œo o o Vln. II ° o œ# œ# o o œ# œ# o o #œ œ #œ o &85 ∑ 43 o œ œ œ œ ŒŒŒŒ o œ œ œ œ 4 Ó o œ œ œ n œ œ œ Œ ∑ œ œ œ œ œ

j j Vc. ? 5 œ œ™ 3 ˙b ™ 4 Œ ‰ œ# ˙# œ# ‰ŒÓ ¢ 8 4 ˙™ 4Ww# ONLY# œ pp

Glock. œ# &85 ∑ 43 ∑ ∑ 4 ™ œ# œ Ó ∑ { l.v.

B. D. æ / 85 ∑ 43 ∑ ∑ 4 ∑ wæ pp

œ œ œ™ œb ™ œ# œ œ œ# œ# ˙ &85 œ 43 œ ˙ J œ# œ œ œ 4 ™ œ# œ ∑ 3 Cel. 3 ? 5 œ™ 3 œn ™ 4 ˙# ™ 8 œ 4 œb ˙b œn œ ‰ 4 œ# ∑ œ œb R REVIE œ# {

FO 111 26 Tn. r œb œ j œ# j & ‰™ œ œ œ Œ‰ J J œ™ ‰ œ œ œ# œ# ‰ œ# œ# œ ˙n Ó ∑ ∑ ‹ dust fell thing ash feel ing- co lor- oils don't know which name

˙b Fl. œ œ# . ˙# & œb œ œ# Ó œ# œ# œ#. Œ ∑ ∑ ∑

E. Gtr. œb œ œb ˙ œn ˙ ∑ ∑ ∑ & œb œ œ œ# œ œ# ˙ ™ œn ™ œ# ™

Vln. II ° œ œ œ œ j œ & ∑ ∑ ∑ ™ œ œ Œ ™ œ œ ‰ŒŒ J ‰ŒÓ p pp ppp

pizz. Vc. ? ∑ ∑ Ó‰ jWœn ONLYÓ ŒÓ j ‰ Œ Ó B œ œ ¢ œ# œ# pœn œ œ

Glock. œ œ & ∑ ∑ ∑ ™ œ œ Ó J ™ ≈ ŒÓ ∑ { p

B. D. wæ wæ wæ œ Œ Ó œ Œ Ó wæ / sempre l.v. p pp ppp (distant)

& ∑ ∑ ∑ ∑ ∑ ∑ Cel. ? ∑ R∑ REVIE∑ ∑ ∑ ∑ {

FO 112 Repeated figures should gradually become out of sync with each other. The singer should pause at every freely p (almost whispered) 32 double barline. f (forceful) mf 3 Tn. ∑ ∑ œ œ œ œ ‰ j Œ >œb œ œ œ ‰ œ œb œ ‰ & > œ œ œ œ™ œ œ œ œ œ J œ œ# œb œ œ œ œn œb œ œn œ œ ‹ fuck 'em though they'd make the sun set in wa-ter shit ty kin they made the car il- lon- chime in square. could a- asked still

Fl. & ∑ ∑ ∑

use volume pedal to swell after plucking pitches w w E. Gtr. & í™ wb w ™î n mf

j j Vln. II ° œ ˙ ˙ œ & í™ Œ‰ ‰Œ ™î pœ ˙ mf˙ pœ

arco #œ ˙ ˙ œ Vc. B Œ‰ œ ˙ ˙ œ ‰Œ W ONLY í™ ™î ¢ pJ mf Jp

Glock. ∑ ∑ ∑ {&

B. D. æ æ / í™ wæ wæ ™î (ppp) poco

& ∑ ∑ ∑ Cel. ? ∑ ∑ R REVIE ∑ {

FO 113 slightly more manic 35 mp f mf p 3 œn 3 3 Tn. œb œb œn œb ‰ œb j ‰ j ‰™ r ‰ œb œ œn & œ# œ œ J œ# œ# œn ™ œ œ# œ œ œ œ ˙ œ œn œn œ# œn œ œ# œ J œ œ# œ œ œn œ œ# ‹ sure ly- can't go back to Booth -wyn with Sha ri's- sis in low-er ing- har- ness I'd be or could fuck in'- shat - ter bone a gainst- a time -cracked win - dow

, Fl. œ œ œ & ∑ í™ ™ œ œ ™î pp (in background)

(cont'd) E. Gtr. &

(cont'd) Vln. II ° &

(cont'd) Vc. B ¢ W ONLY

Glock. ∑ ∑ {&

(cont'd) B. D. /

freely, do not synchronize with other instruments or voice œ œ œ œ œ & í™ œb œ œ ™î Cel. ? ∑ R REVIE ∑ {

FO 114 37 Tn. ‰ œb ˙ Ó ∑ ∑ ∑ ‰ j j œb ‰ j œb & œ œ# œ œ œ™ œ œ œ œ œ œ œn œ œ œ œ œ œ œ ‹ watch the slag and fi brils- ebb in fall, might have nev-er lived at all but i- ron to the

(cont'd) Fl. & ∑ ∑ ∑ ∑ ∑ ∑

(cont'd) E. Gtr. & ∑ ∑ ∑ ∑ ∑ ∑

(cont'd) œ œb ™ œ œ# œ œb ™ œ Vln. II ° œ™ œ œ œ œ ™ œ# œ œ œ# œ œ# ™ œn ™ œ œ œ œ & ∑ œ ˙ J ‰ œ# ˙™ œn ˙ J ‰ p

(cont'd) pizz. Vc. ? ˙n ™ B ∑ ˙™ ˙b ™ œ W˙# ™ ONLY˙n ™ ˙b ™ œ œb œn œ# œn œb ¢ pœ œb œ# œn œb

Glock. j j j & ∑ Œ‰ œ ˙ Œ‰ œ ˙ Œ‰ œ ˙ Œ ‰ œ# ˙ Œ‰ œn ˙ Œ‰ œ ˙ { p J J p J

(cont'd) B. D. / ∑ ∑ ∑ ∑ ∑ ∑

(cont'd) & ∑ ∑ ∑ ∑ ∑ ∑ Cel. ? ∑ R∑ REVIE∑ ∑ ∑ ∑ ∑ {

FO 115 44 molto accel. 3 2 + 3 Tn. ‰ j ‰ j œ# œn j œ j 5 ‰ j œ œb 4 & ˙# œ# œ œ œ# œ œ œ# œ œ# J œn œ œn œ œ 4 ˙b œb œ œ 4 ‹ soil is skin's in -ten tion- or fore- fa- thered graft ing- of thin ning- shin and cure the gran deur- be ings-

œ ˙™ Fl. œ ˙ J & ∑ ∑ Œ‰ J 45 Œ‰ 4 p

e-bow E. Gtr. 5 4 & ∑ ∑ ‰ j ˙ 4 ‰ j 4 œ ™ œb œb ˙™

sul tasto - -œb ™ Vln. II ° œ# ™ œ# œn- - œ - œ & œ# œ œ œ# œ ™ œ# ˙ ™ œn ˙ 5 œ œ œ 4 ™ - 4 œ œb œb œ 4

arco, sul tasto Vc. ? œ ˙n ™ ˙# ™ W ONLY5 4 œn œ# 4 4 ¢ œ# wn ˙b ˙™

Glock. Œ‰ œ ˙ Œ‰ j Œ‰ j 5 Œ‰ œ ˙ Œ 4 {& J œ# ˙ œn ˙ 4 J 4

- - B. D. Œ / ∑ ∑ Ó Œ œ45 Ó œ œ 4 p

& ∑ ∑ ∑ 45 ∑ ∑ 4 Cel. ? ∑ R REVIE∑ ∑ 45 ∑ ∑ 4 {

FO 116 A tempo 48 ff spoken: Tn. œ &4 œ# œ Ó ∑ 43 ∑ 4 ∑ 43 ∑ 4 ∑ 43 ∑ 4 ‹ speak I could do it grander œ ˙ Fl. œ# ™ &4 œ# œ ∑ 43 ∑ 4 ∑ 43 ∑ 4 ∑ 43 ∑ 4 ff

plucked E. Gtr. 4 3 4 3 4 3 4 &4 œ ˙™ ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 œ ˙™ ff ™ Fade in from niente to pianissimo DO NOT synchronize between violin and cello. œ ˙ o o œo o o Vln. II ° 4 œ# ™ 3 o œ œ# œ# œ o 4 3 4 3 4 &4 #œ™ œ# œ œ ˙ ∑ 4 o œ œ 4 4 4 4 4 ff #œ œ œ W ONLY o o o o œ# œ œ# o Vc. ? 4 œ ˙™ B 3 o œ œ o 4 3 4 3 4 4 œ ∑ 4 ‰ o œ œ 4 4 4 4 4 ¢ ff œ

Glock. 4 ∑ ∑ 3 ∑ 4 ∑ 3 ∑ 4 ∑ 3 ∑ 4 {&4 4 4 4 4 4 4

- B. D. æ / 4 ˙æ Œ œ œ Œ Ó 43 œ ŒŒŒ4 œ Ó 43 Œ œ Œ 4 Ó œ ŒŒŒ43 œ 4 ff pp

œb œ œ œb 4 œ™ œn ˙ 3 ™ 4 œ# 3 œ# ™ œ# œ 4 œn ™ œn ˙ 3 ™ 4 &4 œ# ™ œ ˙ œ œ 4 œ ˙ 4 J œ# œ œ œ Œ 4 œ# œ 4 œn œ 4 œ ˙ 4 œ# œ œ ˙ 3 #œ™ pp Cel. ff #œ œ R REVIE ? 4 ˙™ 3 4 ˙n ™ 3 ˙# 4 ˙n ™ 3 4 4 w œ 4 ˙b 4 œ 4 œ# 4 œn 4 ˙b 4 { œ œb œb œn œ# œn œb œb FO 117 55 Tn. &4 ∑ 43 ∑ 4 ∑ 43 ∑ 4 ∑ 43 ∑ 4 with some six shooters and a rolled cigarette cosette in my mouth's corner ‹ rare ivoried game.

Fl. &4 ∑ 43 ∑ 4 ∑ 43 ∑ 4 ∑ 43 ∑ 4 j delay, reverb œ ˙ œb j œ j œ ˙ b œ œ œ ˙ œ# j œ E. Gtr. 4 ∑ 3 ∑ 4 Œ‰ b˙ 3 Œ‰ bœ 4 Œ‰ nœ ˙ 3 Œ‰ # œ œ 4 &4 4 4 b ˙ 4 b œ 4 ˙ 4 nœ 4 pp (very faintly, as if from offstage) n˙ n œ

(cont'd) Vln. II ° &4 43 4 43 W ONLY4 43 4 (cont'd) Vc. B 4 3 4 3 4 3 4 ¢ 4 4 4 4 4 4 4

Glock. 4 ∑ 3 ∑ 4 ∑ 3 ∑ 4 ∑ 3 ∑ 4 {&4 4 4 4 4 4 4

B. D. Œ Œ Œ Œ Œ / 4 Ó œ 43 ∑ 4 œ Ó 43 œ Ó 4 œ Ó 43 œ 4

œ œ œ œ œ# œ# œ# œ œn œn ˙ œb ™ œ# œ# œ# œ &4 J œ# œ œ œ Œ 43 ™ œ# œ 4 ™ œn œ 43 œ ˙ 4 J œ# œ œ œ Œ 43 ™ œ# œ 4 3 3 Cel. R REVIE ˙n ™ ˙n ™ ? 4 œ 43 œ# ˙# 4 œn ˙n ™ 43 ˙b 4 œ 43 œ# ˙# 4 { œn œ# œn œb œb œn œ# FO 118 61 Tn. &4 ∑ ∑ ∑ ∑ ∑ 87 ∑ 4 ‹ œ œ# ˙ ˙ ™ œ œ ™ Fl. &4 Œ ∑ ∑ ∑ 87 ∑ 4 mf n

E. Gtr. &4 ∑ ∑ ∑ ∑ ∑ 87 ∑ 4

(cont'd) sul pont. Vln. II ° ˙ n˙ &4 ∑ ˙ ˙b˙ ˙# n ˙ ˙b˙ 87 ˙# 4 p ˙ # ˙˙# ˙ # œœ# ™

(cont'd) sul pont. ˙ n˙ Vc. B 4 ˙ ˙b˙ #˙ n ˙ ˙b˙ 7#˙ 4 4 ∑ ˙ W# ˙˙# ONLY8 ˙ # œœ# ™ 4 ¢ p

Glock. 4 Œ‰ j ∑ ∑ ∑ ∑ 7 ∑ 4 {&4 œ# ˙ 8 4

B. D. ŒŒ ŒŒ ŒŒ / 4 œ Ó œ Ó ∑ ∑ 87 ∑ 4

œn &4 ™ œn œ œn ˙ ∑ ∑ ∑ ∑ 87 ∑ 4 Cel. ? 4 ˙n ™ ∑ ∑ ∑ ∑ 7 ∑ 4 4 œn œn 8 4 Synthesizer Bass œ# œn œ# œ œn œ œb œ œb ? œ# œn œb œ œn j Tape { 4 ∑ ∑ œ œ œb œ œn ™ ™ œb ™ 7 œ œ œ# œ 4 Rœ REVIE œn &4 ™ œb œ œ 8 ™ œ# 4 ™ œn ™ ™

FO 119 67 Tn. &4 ∑ 87 ∑ ∑ 4 ∑ 87 ∑ 4 ‹

Fl. &4 ∑ 87 ∑ ∑ 4 ∑ 87 ∑ 4

E. Gtr. &4 ∑ 87 ∑ ∑ 4 ∑ 87 ∑ 4

Vln. II n˙ n˙ nœ ° 4n ˙ ˙b˙ 7 n ˙ œbœ™ 4 7n œ™ ˙b˙ 4 &4 8 œœ# ™ # ˙˙# ™ 4 ˙˙# # ˙˙# 8 4 n˙ n˙ nœ Vc. n ˙ ˙ n ˙ œ™ n œ™ ˙ B 4 ˙b 7#œ™ ˙# œb ™ 4#˙ ˙# 7 ˙b 4 ¢ 4 8 # ˙ W4 ONLY# ˙ 8 4 Glock. 4 ∑ 7 ∑ ∑ 4 ∑ 7 ∑ 4 {&4 8 4 8 4

B. D. / 4 ∑ 87 ∑ ∑ 4 ∑ 87 ∑ 4

&4 ∑ 87 ∑ ∑ 4 ∑ 87 ∑ 4 Cel.

? 4 ∑ 7 ∑ ∑ 4 ∑ 7 ∑ 4 { 4 8 4 8 4 Tape ? 4 œn œb 7R REVIEœn 4 7 j œb 4 œn œ œn œ œn œ 4 œn œb œ 8 j œ# œn œb œ 4 œn œ# 8 œn œb œ 4 ™ œb ™ œ œ œ# œ ™ œb ™ œ œ œ# œ ™ œb ™ œn ™ œ# ™ œn ™ œ# ™ “‘ ◊Ÿ

FO 120 72 attaca Tn. &4 ∑ ∑ ‹ attaca

Fl. &4 ∑ ∑

e-bow attaca œ ˙ E. Gtr. &4 ∑ Œ‰ J pp attaca

Vln. II ° &4 ˙# Ó 4 ˙ # ˙˙# n ˙˙n

Vc. B 4#˙ ˙# ˙n Ó ¢ 4 # ˙ n ˙

attaca W ONLY Glock. 4 ∑ ∑ {&4

attaca

B. D. / 4 ∑ ∑

attaca œ œ ˙ &4 ∑ ™ œ œ œ ˙ pp Cel. ? 4 ∑ ˙™ 4 œ œ

{ attaca Tape ? 4 R REVIE 4 œn gliss. œ œ œ# œ œ# œn ™ œn ™ œ# ™ œn ˙™ <◊ >

FO 121 E p i l o g u e : A u g u s t 2nd , t h e ( v i s c o s e ) s h a d o w s o f s u n s e t h a d g r a c e d

ca. 15'' Slow q = 58 œ Flute b √ œ œ b ∑ 3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œœ R ≈‰ŒÓ & 4 œœ sf Triangle 3 3 3 r j j j Percussion I 3 ‰ ŒŒ ‰ ŒŒ ‰ ŒŒŒŒ ‰ ‰ ŒŒ ‰ / √∑ 4 ™ œ l.v. œ sim. œ œ Ó œ œ ∑ ∑ œ œ œ œ œ pp Vibraphone bowed sim. soft mallets l.v. ˙ ˙ Percussion II b √ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ &b ∑ 43 Œ ∑ Œ ∑ Œ ∑ Œ ∑ ˙ { pp 7 with e-bow ° ø ° ø ° ø ° ø √ Electric Guitar b w ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ w œ &b 43 J‰ŒÓ Celesta œ œ 5 b √ œ œ J œ œ &b ∑ 43 Ó‰ ŒŒ‰™ R ŒŒ J ‰‰ ŒŒ J ‰ŒŒ‰ ŒŒ ∑ ∑ Œ Œ Celesta / 3 l.v. sim. W3 ONLY œ œ œ Piano Piano pp √ ? b ∑ 3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ Œ & c b 4 j œ œ œ L œ ˙ > ™ arco O O O O bO O O O O O j ^ Violin I {° bb √∑ 3 Œ O O O œ œ œ œ™ œ œ œ j œ œ œ™ ∑ Œ‰ j r‰ ÓŒ & 4 ˙ œ œ Ob O œ ™ O O O œ œ œ œ œ sf pp, delicate J3 ˙ œ œ 3 Violin II b √ 3 j ^ &b ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ‰ œ œ œ r‰™ ÓŒ match contour of pp sfœ bowed vibes Viola b √ 3 j ^ Bb ∑ 4 ∑ ∑ ∑ ∑ ˙OŒ ∑ ˙OŒŒ‰ œ œ œ œ ‰™ ÓŒ pp f f sfR

Violoncello √ œ^ ?bb ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ‰ œ œ œ R ‰™ ÓŒ ¢ ppJ sf

√ R REVIE b & b ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tape piano reverb drone ? √ bb w 43 ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ w w pw ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ w w

{ FO 122 11 . . œ œ œ œ œ œ œ œ . œ œ . œ œ œ œ Fl. bb ∑ ∑ ∑ œ œ ∑ œ œ œ œ Ó ∑ & 3 3 3 3 pp poco p pp poco 3 3 3 3 3 3 3 3 Tri. / 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 œ œ œ œ œ œ œ sub. pp ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ Vib. b œ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ œ &b ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ 7 ˙ 7 ˙ 7 { 7 7 7 7 7 sub. pp

E. Gtr. b &b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ (Celesta) 5 5 5 5 5 5 5 5 b &b Œ Œ Œ ŒŒ Œ Œ Œ Œ Œ Œ Œ Œ ŒŒ Œ œ œ œ œ œ œ œ œ œ œ œ œ (pp)œ œ œ sub. pp œ œ œ œ œ œ œ œ œ (Piano) Cst./ b Pno. &b 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 œ œ œ œ œ œ œ œ œ œ œ (pp)œ œ œ œ œ œ œ œ œ œ œ Piano W ONLY5 ?bb ∑ ∑ ∑ ÓŒ Ó ∑ w ˙ ˙ w ˙ ˙ >mf > œ œ œ œ œ œ œ œ œ œ Vln. I ° bb ∑ ∑ ∑ œ œ ∑ ∑ ∑ & 3 3 3 3 pp poco pp poco { . . . . œ œ . . . œ œ. . . œ œ Vln. II b œ œ œ œ œ œœœ œœ œ œ œ œ &b ∑ ∑ ∑ œ œ ∑ Ó ∑ 3 3 3 3 3 3 pp poco p pp poco 3 3 Vla. Bbb ∑ ∑ ∑ œ œ œ œ œ œ ∑ ∑ ∑ œ œ œ œ œ œ pp poco 3 3 pp poco

Vc. ? b ∑ ∑ ∑ œ œ œ œ œ œ ∑ ∑ ∑ œ œ œ b œ œ 3 œ ¢ 3 3 pp 3 poco R REVIEpp poco b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Tape. ? b b w w w w w w w w { FO 123 q=66 19 œ œ œ œ . . . . œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ . œ œ . œ œ . œ œ . œœ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œœ œœ œ œ œ œ œœ œ œ Fl. bb Œ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 3 3 p f 3 3 3 3 Tri. / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ Vib. b œ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &b œ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ { 7 ˙ 7 ˙ œ œ œ œ œ œ f 3 3 3 3 3 3 3 3 plucked ˙ œ w E. Gtr. b ™ œ w ∑ &b ∑ J w fw 3 3 3 3 3 3 5 bb œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œœ œœ œ œ œ œ œ œœ œ œ œœ œ & Œ Œ œ œ œœ œ œœ œ œœ 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 f

Pno. b ? &b Œ Œ Œ œ œ ∑œ œ œ w W ONLYw w w 5 ?bb w ŒŒŒ ˙ c ˙ w> 3 3 Vln. I ° b œ œ ˙ œ &b ∑ Ó Œ œ œ œ ˙ Œ œ œ œ p f mf

œ. . œ. . œ. . œ. . 3 œ. œ œ. . œ. œ œ. . œ. œœ. . œ. œœ. . Vln. II bb ∑ œ œ œ œ w Œ {& 3 3 3 3 ˙ œ œ fw mf œ 3 3 Vla. b œ œ ˙ œ Bb ∑ Ó Œ œ œ ˙ Œ œ œ pœ f mf œ Vc. ? b œ b ∑ ∑ ˙ Œ ¢ R REVIEf œ ˙™ mf™ b & b ∑ ∑ ∑ ∑ Tape. ? b ∑ ∑ b w w { FO 124 23 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. b œœœ œœœ œœœ œœœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœœ œœœ œœœ &b 4

3 3 3 3 Tri. / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vib. bb 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 œ œ œ 4 {& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

E. Gtr. b &b ∑ ∑ ∑ ∑ 4

bb œœœ œœœ œœœ œœœœ œœ œœœ œœœ œœœ œ œœœ œœœ œœœ œœœ œ œœ œœœ œœœ œœœ œ 4 & 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 œ œ œ œ œ œ œ œ œ œ œ œ œ 4 Pno.

? b w 4 b w w W ONLYw 4 w { w w w œ œ w Vln. I ° b œ œ ˙ œœœ ˙ œ œ ˙ œœœœ &b œ œ ˙ œœœœ ™ œœ 4 3 7 f 7 ff f ff œ w Vln. II bb w ˙ œ œ ˙ œœœœœ w 4 & œ ™ œœ 4 ˙™ 3 7 f > ff f ff Vla. œ œ ˙™ w Bbb w w œ 4 f ff f ff œ ˙™ w Vc. ? b œ œ ˙ 4 b œ œ ˙™ w ™ 4 ¢ f Rff REVIEf ffw b & b ∑ ∑ ∑ ∑ 4 Tape.

? bb ∑ ∑ ∑ ∑ 4

{ FO 125 to the fore 27 œ œ > >. œ œ œ œ œ œ œ œ ˙ Fl. b œ œœœ œ œ œ œœœœ &b 4 J‰Œ ŒŒ‰ 43 Œ‰‰Œ42 4 7

3 To B. D. Tri. / 4 œ œ œ œ œ ∑ 43 ∑ 42 ∑ 4 > œ^ œ œ œ œ œ œ œ œ™ >œ œ œb œ 3 3 3 3 Vib. bb4 œ œ œ œ œ œ œ œ œ ∑ 3 ™ œ œ 2 4 {& 4 œ œ œ œ œ œ 4 4 œ œ œ œ œ œ œ œ œ œ œ œ 4 3 3 3 3 ff ppœ œ œ œ œ œ œ œ œ œ œ œ

E. Gtr. b &b 4 ∑ ŒŒÓ 43 ∑ 42 ∑ 4 Piano > œ^ œ ˙ To Pno. œ™ > bœœ œœ ˙˙ b œ œ œ œ bœœ™ œœ œœ œ œ ˙ &b 4 œœ œœ œœ œœ œ œ œ œ œ œ œ œ ∑ 43 42 4 œ œ œ œ ff Pno. 5 ? b4 Ó Œ 3 2 4 b 4 w W4 ˙ ONLY™ 4 4 ˙ ˙# w ˙™ >˙ #˙ œ œ œ œ œ œ œ œ œ œ œ sul pont. { œ œ œœ œœ œœ œ œ œ œ œ œ œ œ œœ œ œ œœ œœ œœ œœ œœ œ œ œœ œ œ œœ œœ œœ œœ Vln. I ° bb4 œ œ œ œ œ œ œ œ 3 œ œ œ 2 ≈ œ# œ 4 & 4 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 4 3 3 3 3 3 3 4 æ 4 f æpp æ œ œ sul pont. 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 Vln. II b 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 æ &b 4 43 42 ≈ œ# œæ 4 f 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 æpp 3 3 3 3 3 3 3 3 3 3 3 3 3 3 sul pont. æ Vla. b4 œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ 2 œ# æ œ 4 Bb 4 ∑ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ 4 ≈ æ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ pp æ sul pont. œ œ œ œ œ œ œ œ œ œ œ œ œ œ æ Vc. ? b4 ∑ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ 2 ≈ æ æ 4 ¢ b 4 œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ 4 œ œn œ 4 3 3 3 3 3 3 3 3 3 3 3 3 3 3 R REVIE pp b & b 4 ∑ ∑ 43 ∑ 42 ∑ 4 Tape.

? bb 4 ∑ ∑ 43 ∑ 42 ∑ 4

{ FO 126 31 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. bb4 œ œ œ œ 3 œ œ œ 4 œ œ œ œ œ œ œ œ 3 & 4 3 3 3 3 3 3 3 3 4 4 4 p cresc.

Tri. / 4 ∑ 43 ∑ 4 ∑ 43

3 3 3 3 3 3 3 3 3 3 3 Vib. b4 œ 3 œ œ 4 œ 3 &b 4 œ œ œ 4 œ œ œ œ 4 œ œ œ 4 { œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ pœ cresc. œ œ œ

E. Gtr. b &b 4 ∑ 43 ∑ 4 ∑ 43

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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bb4 œ œ œ œ 3 œ œ œ 4 œ œ œ œ œ œ œ œ 3 & 4 3 3 3 3 3 3 3 3 4 4 4 Pno. p cresc. 3 3 3 3 3 3 3 ? ? œ œ œ œ œ œ œ œ ? ? b4 ‰ & œn œ œ œ œ œ œ œ œ œ œ3 ‰ & œ œ œ œ œ œ œ œ4 ‰ & œ œ œ 3 b 4 p œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ Wœ œ œ ONLY4 œ œ œ œ œ œ œ œ œ œ 4 w ˙ mfv ™ w v v ° * ° * ° * Vln. I { b œ œ œ œ ° &b 4 ‰ œ œn œ œ œ œ 43 ‰ œ œ œ œ œ4 ‰ œ œ œ œ 43 mfJ cresc. J J

Vln. II b j j &b 4 ‰ œn œ œ œ œ œ œ43 ‰ œ œ œ œ 4 ‰ j œ œ œ œ œ 43 mf cresc. œ œ œ

Vla. b œn œ œ œ œ œ œ œ œ œ œ œ j Bb 4 ‰ J 43 ‰ J 4 ‰ œ œ œ œ œ œ œ 43 mf cresc.

Vc. ? 4 3 4 œ œ œ œ œ œ œ 3 bb4 ∑ 4 ∑ 4 ‰ J 4 ¢ R REVIE mf cresc. b & b 4 ∑ 43 ∑ 4 ∑ 43 Tape.

? bb 4 ∑ 43 ∑ 4 ∑ 43

{ FO 127 34 >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 Fl. b 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 &b 43 87 œ 4 ŒÓ ∑ f Bass Drum > > > > Tri. j j j j j Œ / 43 ∑ ‰ œ œ ‰ œ 87 ‰ œ œ œ œ ‰ œ 4 œ Ó ∑ mf cresc. f 3 3 3 3 3 3 3 Vib. b3 œ œ 7 4 >œ &b 4 œ œ œ œ œ œ œ 8 œ œ œ 4 œ ŒÓ ∑ { œ œ œ œ œ œ œ œ œ œ œ œ œ œ f distortion 3 3 3 3 œ w √w E. Gtr. bb3 ∑ 7 œ œ œ œ œ œ™ 4 w w & 4 œ œ œ œ œ 8 œ œ™ ™ 4 w w œ œ œ œ™ ™ 3 w w mf ™cresc. wf w

œ œ œ œ œ œ œ œ œ œ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œœœ œœ œ œœ œœ œ œœ > b3 œ œ œ œ œ œ œ œ œ œ œ 7 œ œ œ 4œœ ∑ &b 4 8 4 œ ‰Ó‰ Pno. f

? ? ? ? ? œ ? b3 ‰ & œ œ œ œ œ œ œ œ ‰ &œ œ œ œ œ ‰ &œ 7 ‰ &œ œ œ Wœ œ ‰ & œ ONLYœ 4 ‰Ó‰ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b 4 œ œ ˙ œ œ 8 ˙ œ œ œ 4 œ ˙ œ ˙ ™ œ Fade in underneath guitar ˙™ œ œ™ > DO NOT synchronize between v v v violin, viola, and cello. ° * ° * ° * { o œo o > - > >œ o œo œ# œ# œo o Vln. I ° b3 œ œ œ œ œ œ œ œœ œ 7 œ œ œœ 4 o œ œ &b 4 ‰ J ‰ J ‰ 8 ‰ J ‰ œ >œ œ 4 œ ŒÓ œ > ff

Vln. II b j j j b 3 ‰ œ œ œ œ œ ‰ œ œ œ ‰ œ- 7 ‰ œ œ œ ‰ 4 œ Œ Ó ∑ & 4 œ œ œ 8 œ œ œ œ œ œ 4 œ > ff > > > > o o o œo œ# œ œ# œo j j j > œo œo Vla. Bbb3 ‰ œ œ œ œ ‰ œ œ ‰ 7 ‰ œ œ ‰ œ 4 œ ŒÓ œo 4 œ œ œ œœ -œ 8 œ œ œœ œ œ 4 > > > > ff > > o o œo o o Vc. œ œ œ œ- œ œ > gliss. o œ œn œn œ o ? b3 ‰ œ œ œ œ ‰ œ œ œ ‰ 7 ‰ œ œ œ ‰ œ 4 ŒÓ o œ œ ¢ b 4 J J J 8 J 4 œ œ R REVIE ff> b & b 43 ∑ ∑ 87 ∑ 4 ∑ ∑ Tape.

? bb 43 ∑ ∑ 87 ∑ 4 w w pw w { FO 128 Spoken: 39 q=44 pp

Fl. b &b Ó ‰ ¿ŒŒ‰43 ™ ¿ ŒŒ4 ¿ ‰‰ ¿ ŒŒ43 ¿ ‰ŒŒ‰4 ¿ŒŒ 43 3 R J J J 3 Spoken: "Four" "Eight" "Six" "Two" "One" "Two pp 3 3 r j j j B. D. ‰™ ¿ ŒŒ ¿ ‰ 3 ŒŒ ‰ ¿ 4 3 ‰ ¿Ó 4 ‰ ¿ Ó ¿ ‰ 3 / "One" "Seven" 4 "Two" 4 ∑ 4 "Nine" 4 "Seven" "Four" 4 œ œ ˙ œ œ œ œ ˙ Vib. b ™ œ œ œb ™ œ# ˙ ™ œ œ &b 43 œb œ 4 œ™ œn œ 43 œ™ œ œ 4 43 { p œ œ long, quiet delay fade in with volume pedal j j j j E. Gtr. b œ œ ˙ œ œ œ ˙ œ œ &b œ ‰ŒŒ‰ œ 43 ˙™ 4 œ Œ‰ nœ œ 43 ˙™ 4 œ ŒŒ‰ bœ 43 œ œ ˙™ œ # œ œ ˙™ œ œ nœ n poco n nnœ œ ˙™ poco nœ n

Spoken: pp bb Œ ¿ ‰Ó‰3 ¿ŒŒ‰4 ™ ¿ ŒŒ ¿ ‰ŒŒ‰3 ¿ŒŒ‰4 ¿ Œ 3 & 4 sim. 4 4 4 4 J 3 R J 3 J Pno. "Nine" "Three" "Four" W"Five" ONLY"Seven" "Three" ?bb ∑ 43 ∑ 4 ∑ 43 ∑ 4 ∑ 43

Vln. I {° bb 3 4 3 4 3 & 4 4 4 4 4 sim. jétè ...... œ œ œ œ œ....œ œ œ .... œ œ œ œ Vln. II b œ# œ œ œ &b Œ‰ ÓŒ‰43 ŒŒ‰4 ÓŒ‰43 œ œ œ œ ŒŒ‰4 Ó 43 p ....

Vla. Bbb 43 4 43 4 43

Vc. ? b 3 4 3 4 3 ¢ b 4R REVIE4 4 4 4 b & b ∑ 43 ∑ 4 ∑ 43 ∑ 4 ∑ 43 Tape. ? b w 3 ˙ 4 w 3 ˙ 4 w 3 b w 4 ˙™ 4 w 4 ˙™ 4 w 4 { FO 129 44 More pronounced Fl. b U &b 43 Ó ‰ ¿ŒŒ‰4 ™ ¿ ŒŒ43 ¿ ‰‰ ¿ 4 ŒŒ ¿ ‰ŒŒ‰ ¿ŒŒ ¿ ‰ŒÓ 3 R J J J 3 J "Four" "Eight" "Six" "Two" "One" "Two "Three" 3 3 More pronounced B. D. r ŒŒ j ŒŒ Œ j j r Œ U / 43 ‰™ ¿ 4 ¿ ‰ ‰ ¿ 43 ∑ 4 ‰ ¿Ó ‰ ¿ Ó ¿ ‰‰™ ¿ Ó "One" "Seven" "Two" "Nine" "Seven" "Four" "One" œ œ œ U Vib. œb ™ œ# ˙ œ# ˙ ™ bb3 œb œ 4 œ™ 3 œ™ œ œ 4 œ œ Œ œ™ œ œ ˙ {& 4 4 œn œ 4 œ œ 4 œb ™ œb œ œn œ e-bow, with delay j U E. Gtr. b3 ˙ 4 œ œ œ 3 ˙ 4 œ œ œ ˙ &b 4 ˙™ 4 œ Œ‰ nœ œ 4 ˙™ 4 œ ŒÓ ∑ œ ˙ œ # œ œ ˙™ œ pp ™ poco n nnœ œ ˙™ poco nœ More pronounced b U &b 43 Œ ¿ ‰ŒŒ‰4 ¿ŒŒ‰43 ™ ¿ ŒŒ 4 ¿ ‰ŒŒ‰ ¿ŒŒ‰ ¿ ŒŒ‰ ¿ Ó J 3 R J 3 J J Pno. "Nine" "Three" "Four" "Five" "Seven" "Three" "Two" ? 3 4 3 4 W ONLY bb4 ∑ 4 ∑ 4 ∑ 4 ∑ ∑ ∑ sul pont. U œo ˙o Vln. I {° bb3 4 3 4 ∑ Œ‰ J & 4 4 4 4 n pp sul pont. œ....œ œ œ .... oU o Vln. II b œ# œ œ œ &b 43 Œ‰ ŒŒ‰4 ÓŒ‰43 œ œ œ œ Œ 4 ∑ ∑ Œ‰ œ ˙ .... ppJ sul pont. j U Vla. Bbb43 4 43 4 ∑ Œ‰ O O n ppœ ˙ sul pont.

Vc. ? 3 4 3 4 j U bb4 4 4 4 ∑ Œ‰ Ob O ¢ R REVIE n ppœ ˙ b & b 43 ∑ 4 ∑ 43 ∑ 4 ∑ ∑ ∑ Tape. U ? b 3 ˙ 4 w 3 ˙ 4 w w ˙ ˙ b 4 ˙™ 4 w 4 ˙™ 4 w w ˙ ˙ { FO 130