Copyright by Justin Taylor Capps 2012

The Treatise Committee for Justin Taylor Capps Certifies that this is the approved version of the following treatise:

...That the Children May Learn

Committee:

Dan Welcher, Supervisor

Russell Pinkston

Eric Drott

Michael Tusa

Thomas J. O’Hare

...That the Children May Learn

by

Justin Taylor Capps, B.A.; M.Music

Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of

Doctor of Musical Arts

The University of Texas at Austin May 2012

Dedication

To Emma, who rose in the East and settled in the West to make priceless the dawn of each day.

Acknowledgements

Professor Dan Welcher has, in the specific, helped me to bring a massive, amorphous, and unconventional dissertation project into focus, with the result being a piece of music and engine for motivating public discussion about which I am tremendously proud. In the general, he has helped me to sharpen my clarity of musical thought and competency as a composer, frequently by drawing attention to flaws that pride, a misunderstanding of sunk costs, and poor oversight had allowed to remain on the written musical page. I offer abundant gratitude for these lessons, and the ones when I fell short and learned the importance of strict personal standards and accountability. The members of my committee have each contributed substantially to my time at the University of Texas. Dr. Pinkston has stoked my interest in electronic and electroacoustic music and quite literally taught me everything that I know of them; Dr. Drott has gamely tolerated my incessant questioning of music-theoretical applications and interpretations, letting me play Theorist for a semester; Dr. Tusa taught perhaps the most engaging and intellectually stimulating course that I took during my studies; and Dr. O’Hare has been a warm and invigorating presence, being, as I, a man of diverse interests and experiences who is armed with an absolute distaste for the abuse of the written word. I thank you all kindly for your participation in this terminal exercise.

How I got here is another important matter. The musicians from whom I have learned are all a part of my make-up. Some played a more definable role than others. Were it not for Paul Shaghoian, I would likely have abandoned musical life long ago. If Gerald Levinson had not, in a brief moment in the weeks after my undergraduate recital, called me into his office to tell me that he thought I had enough of the unteachable gifts to

v ! justify being a composer, I would probably be shackled to my desk working unforgiving hours at a law firm. In no particular order, let it be known that the following hold a piece of my musical identity in their own: Virko Baley, Jorge Villavicencio-Grossmann, Yevgeniy Sharlat, Daniel Catán, Key Poulan, Lex Rozin, Joel Friedman, John Alston, Dave Loeb, Bruce Paulson, Larry Honda, Linda Berg, David Alvarado, Marshall Hawkins, Dan Gailey, Steve Owen, Erica Muhl, Ian Krouse, Jose Diaz, Rachel Aldrich, Kevin Gorman, Mykola Suk, Ed Hull, Armalyn De La O, Jeff Hellmer, Brandon Fields, and many others. Without the support and encouragement of my parents, I never would have known that music was a thing one could give the world, rather than simply taking it. The willingness to drive to lessons, auditions, and concerts; to put up with early morning drop- offs or late night pickups; to fundraise, sacrifice, or barter so that I could participate in camps and grand adventures throughout the United States and Europe…all of these are the things that a child took for granted and expected, but that an adult now appreciates for their full value. And, I have been blessed by other parents, who met me already a musician, and thereafter insisted upon enthusiastically embracing all the bizarre peculiarities that such a poor life choice produces. Mom, Dad, Mum, Dad, and Cindy: thank you. Even the most intensely introverted and control-obsessed musician could not possibly develop without interacting with and benefiting from the input and generosity of others. So, I would like to express my appreciation for those with whom I have had the pleasure of sharing my musical experiences. Ethan, Hermes, Ian, Steve, Zacks, Lane, Pierce, Beth, Diana, Jack, City Limits Brass Quintet, Joe, Jessica, Julia, Danny, Frank, Cynthia, Nick, Todd, Brendon, Felipe, Jon, Francois, Chad, Ryan, Amy, Andrew, Mac, Mark, Megan, Phillip, Zoë, and more: y’all are the best.

vi ! Though I will be the one upon whom a degree is conferred when the dust settles, the honor really ought to be shared and transferable to those who have had to endure the past several years living with a sort of phantom me. A husband late to bed, out to a concert, or too exhausted to bear an adequate amount of domestic responsibility; a father too busy trying to meet a deadline to allow for something as simple as a trip to the park, or absent to complete this or that duty in a world from which children are barred. I have tried my best to avoid misrepresenting my allegiances and priorities, and my family has always been first in my heart. But intentions are sometimes as impotent as a prayer against time, and there is no way to know how our lives might have been transformed were I a better juggler. Emma Louise, Zoë Louise, and Ashby Jane Taylor Capps have all of my love and thanks, and they hold all of my hope. Having poured all into this, I look forward to giving all of me back to them, so that we might chase the wind, being blown by it no more.

vii ! ...That the Children May Learn

Justin Taylor Capps, D.M.A. The University of Texas at Austin, 2012

Supervisor: Dan Welcher

...That the Children May Learn is a 28-minute musical parable about the process by which children are indoctrinated into cultures of war through play, parental influence, and propaganda. Specifically, the composition focuses upon the universality of these overarching sociopolitical structures. It is the composer’s personal response to Igor Stravinsky’s L’histoire du soldat. Material is often drawn from or related to external sources, particularly national anthems and the so-called “Ur-song,” familiar to individuals of many nations (sol-sol-mi-la-sol-mi). Texts are original or comprise fragments from letters and diaries of soldiers and their families during wartime separation. Performance of the work may be accompanied by an optional multimedia projection, and may be conducted outside of the normal concert setting in an effort to motivate the closer examination by individuals from a broad variety of backgrounds of the issues raised in the piece. The analytical paper discusses the raison d'être for the composition as well as its micro- and macroorganization, and the variety of methods used to reinforce its strength as an agent of communication.

viii ! Table of Contents

List of Figures...... xi!

CHAPTER 1...... 1!

L’histoire du morceau...... 1! Unusually Suspect...... 1! From There to Here...... 3! Rationalizations In The Shade of Blueprints ...... 7!

CHAPTER 2...... 11!

Forming a Frame of Reference ...... 11! Marking Time (And Place) ...... 11! Figure 1 ...... 11! Figure 2 ...... 13! Figure 3 ...... 14! Figure 4 ...... 15! Figure 6 ...... 16! Figure 7 ...... 17! Figure 8 ...... 18! Figure 9 ...... 19! Marking Boundaries (Demilitarizing Zones)...... 20! Figure 11 ...... 22! Figure 12 ...... 24! Figure 13 ...... 25! Figure 14 ...... 27! Independent Incidence ...... 27! Figure 15 ...... 29! Figure 16 ...... 29! Figure 17 ...... 30!

ix ! Figure 18 ...... 30!

CHAPTER 3...... 33!

Notes About the Notes ...... 33! Natural (Or Accidental) Selection ...... 33! Figure 19 ...... 34! Figure 20 ...... 34! Figure 21 ...... 35! Figure 22 ...... 36! Figure 23 ...... 38! Figure 24 ...... 38! Figure 25 ...... 40! Figure 26 ...... 41! It Was (O)Ur-Song...... 44! Figure 28 ...... 44! Figure 29 ...... 44! Figure 30 ...... 44! Figure 31 ...... 45! Figure 32 ...... 45! Figure 33 ...... 45! Figure 34 ...... 46! Figure 35 ...... 46! Figure 36 ...... 46! Figure 37 ...... 46! Figure 38 ...... 47! Figure 39 ...... 47! An Ending of Sorts ...... 47!

BIBLIOGRAPHY ...... 155!

x ! List of Figures Figure 1 ...... 11! Figure 2 ...... 13! Figure 3 ...... 14! Figure 4 ...... 15! Figure 5 ...... 15! Figure 6 ...... 16! Figure 7 ...... 17! Figure 8 ...... 18! Figure 9 ...... 19! Figure 11 ...... 22! Figure 12 ...... 24! Figure 13 ...... 25! Figure 14 ...... 27! Figure 15 ...... 29! Figure 16 ...... 29! Figure 17 ...... 30! Figure 18 ...... 30! Figure 19 ...... 34! Figure 20 ...... 34! Figure 21 ...... 35! Figure 22 ...... 36! Figure 23 ...... 38! Figure 24 ...... 38! Figure 25 ...... 40! Figure 26 ...... 41! Figure 28 ...... 44! Figure 29 ...... 44! Figure 30 ...... 44! xi ! Figure 31 ...... 45! Figure 32 ...... 45! Figure 33 ...... 45! Figure 34 ...... 46! Figure 35 ...... 46! Figure 36 ...... 46! Figure 37 ...... 46! Figure 38 ...... 47! Figure 39 ...... 47!

xii ! Chapter 1

L’histoire du morceau

UNUSUALLY SUSPECT

At the end of one’s formal academic study of music composition, one is faced with the task of completing “a work of major proportions” and an accompanying analysis that

“adequately explains the content of the composition.”1 Ideally, the composition will serve as a direct expression of the composer’s personal voice and style. This is certain to require the dedication of significant time and energy to a project that realistically may never be heard in performance. There is no requirement that the piece be presented as a prerequisite for awarding the degree, and because the expectation is that the work will generally be for large forces, securing a performance from an ensemble while still navigating the transition from

“student composer” to “composer composer” constitutes a significant challenge. Because of the prospect of a starkly grim future concert life due to issues of pragmatism, I entered this endeavor with two principal aims: I would write music that could satisfy (or at least approximate) my aesthetic goals, thereby counteracting the temptation to compose in a self- consciously analyzable way; and the genre, content, and design of the work would need to lend themselves to reasonably conceived avenues toward public presentation.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! " “Suggested Minimum Program Beyond the Baccalaureate for the D.M.A. Degree in Music Composition,” last revised April 2011. http://www.music.utexas.edu/getFile/pdf.aspx?id=241 1 ! The piece that I chose to write was drawn from the pool of longstanding, unfinished and un-begun compositional inklings from recent years. The first impulse was to create a programmatic work for wind ensemble about a low-ranking enlisted infantryman as a twenty-first century analogue to the fantastical fortunes and misfortunes of the soldier protagonist character featured in Igor Stravinsky’s L’histoire du soldat, often translated as

The Soldier’s Tale. This is a compelling work that is in many ways unusual. For example, it is a poor fit for any genre, as it effectively presents the telling of a story, with some broadly negotiable amount of physical acting and dancing, all supported by musical accompaniment and interjection. The motley instrumentation and atypical performing forces further mark the piece as sui generis. Stravinsky’s score calls for clarinet, bassoon, trumpet, trombone, violin, double bass, percussion (one player), narrator, two additional actors, and one or more dancers. More detailed consideration of this plan led to fundamental changes.

Whatever the musical content may have been, the work would still have been up against considerable barriers to entry, as wind ensembles would be unlikely to program a lengthy piece by an unknown composer.

Reevaluating L’histoire as a source of inspiration brought greater understanding of what about Stravinsky’s composition seized my interest. The scoring allows for the music to be light, malleable, and transparent; the use of the narrator and actors allows the presentation of clearly intelligible text that can be used to supply a referential framework beyond the music and staging, and it acts as a mechanism by which to motivate the audience’s attention and course of thought; and the sensibility of the composition (taken in its entirety, with the text) is such that it conveys a sincere message about the hazards of

2 ! greed (or the merits of contentment, if one would prefer) without ever becoming oppressively didactic about the affair, flowing freely between the humorous and the cautionary. As one whose music has as often been colored by puckishness as it has by pathos, and having on more than one occasion received the too-late suggestion that I

“should have been a writer,” the mutability of mood and centrality of non-musical language emerged as points of departure for the piece. And, coincidentally, when L’histoire du soldat was originally composed, it was with the intent that it should be able to be performed in a wide array of venues, and that a small troupe ought to be able to travel easily with the work. Due to financial pressures arising from his recent exile from Russia, Stravinsky composed the piece hoping that it could be performed a number of times in order to gain needed income.2 Our rationales may not have been precisely the same, but we both were concerned about practicalities of performance.

FROM THERE TO HERE

Having settled on some of the essential characteristics of the dissertation composition, identifying a path into the piece that would allow for the retention of a real/fantasy parallel with the story of L’histoire without the work becoming unrelentingly elegiac became a priority. This should not be taken to imply a lack of serious and genuine regard for the gravity of war as subject matter. Yet countless pieces have been written about war and specifically in response to its enormity, often with purposeful or unavoidable political overtones, and there is little that my voice could meaningfully contribute to that !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! # “L’histoire du soldat (The Soldier’s Tale: A Brief Historical Overview,” last modified December 7, 2004. http://myhome.sunyocc.edu/~bridger/papers/lhistpaper.htm 3 ! pool of works. The root moral of this piece’s story was not about a willingness to trade one’s soul for riches and comfort, as had been shown in the Stravinsky, or about the coveting of natural resources and postmodern geopolitics, as is currently in vogue among some artistic communities. Rather, the narrative would emphasize the universality of war and violent military conflict, underscoring the socio-politically inconvenient truth that those whom we are asked to classify as “enemies” during wartime–those whom the state and its representatives actively seek to “other,”3 with reinforcement by the media and persons in positions of authority who align with the state’s agenda–are every bit as human as any of us or our allies and therefore experience similar joys, anxieties, and sorrows. This is a concept many people grasp intellectually, but which they may not ponder any further, in no small part due to the distressing questions it raises about our own culpability for the loss of life, health, home, and property of people in other lands. Within our recent past, those same people would have hardly been perceived to exist at all outside of the exaggerated and exoticized tales documented in the journals of travelers, or in their heavily embellished anecdotes. But with the advent of advanced telecommunications and photography, “over there” no longer appears to be quite so far from “here,” intensifying the discord that might arise upon closer examination of the shared experiences of war and conflict. So how would one go about exploring this in a performable musical context?

As a child of the 1980s living in the South and the Midwest, I was surrounded by conservative and vigorously Americentric beliefs, though raised by unabashedly liberal

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! $!To “other” is to define some thing or group as being different and thereby somehow implicitly opposed to the Same, or one’s own identity and social group.! 4 ! parents. I had never met anyone from the Soviet Union, but I had seen Rocky IV 4 and similarly-themed movies and cartoons, and would readily and gladly have sworn playtime oaths of violence against the entire Russian populace. My friends and I chased each other, armed with plastic weaponry and shouting “KILL THE COMMIE!” Obviously we had no real understanding of the political situation, nor the grotesqueness of our play routines and exchanges. Children are not born with such antipathies. They are indoctrinated into cultures of violence, and in some cases encouraged to adopt an ideological stance that places them in opposition to other cultures and subcultures, whether on the basis of national origin, ethnicity, religion, or other characteristics that facilitate labeling and sorting.

The virulence of these hostile attitudes typically wanes over time as children are exposed to other viewpoints and accumulate life experiences and critical thinking skills. However, by the time that such a moderated perspective has developed, one has already learned the tribal truism that his or her nation/culture/way of life is inherently more valuable than others. With this foundation laid, defending one’s own superior nation/culture/way of life with violence, or by “any means necessary” can be justified according to subconscious imperatives. This cycle of learned aggression and submission to the prevailing historical narrative would be my point of access for the composition. Orienting the work around

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! %!In Rocky IV, the villain of the film is the inhuman and intimidating Russian boxer Ivan Drago, (Dolph Lundgren), who is portrayed as a soulless killing machine. After he has killed Rocky Balboa’s mentor, Apollo Creed (Carl Weathers), in the course of a fight, Rocky (Sylvester Stallone) vows to avenge his death by fighting Drago. The movie, of course, is loaded with Us vs. Them/U.S. vs. U.S.S.R. linguistic and imagistic rhetoric, and we may discern the prioritization of nationalistic issues over racial concerns because of the interracial friendship between Rocky and Apollo. This tension is addressed after the climactic fight in an idealistic speech Rocky delivers to the Soviet crowd, marked by a sentiment that touches upon the underlying message of my piece: “During this fight, I’ve seen a lot of changing, in the way you feel about me, and in the way I feel about you. In here, there were two guys killing each other, but I guess that’s better than twenty million. I guess what I’m trying to say is that, if I can change, and you can change, everybody can change!” 5 ! children’s play granted some leeway with the mood and tone of the music without requiring the violation of the self-contained atmosphere of the piece. Next came the matter of how to incorporate texts, and to what end they might be used.

The Narrator, it could be argued, is the most important part of L’histoire du soldat, and certainly is the most indispensable non-instrumentalist, so a narrator would figure prominently into my piece. The two principal acted roles, however, seemed to be less integral, as the Narrator could have spoken about the Soldier and the Devil (and the other small characters) without anything being lost. As vessels to carry text, and with a mind that some portion of the piece would be sung, singers were a more versatile solution, as they could fulfill some acting responsibilities in addition to musical requirements. In the interest of balance and the ability to quickly and efficiently communicate the identity of archetypal characters, the soprano and baritone voice were chosen. But what texts could be given to the trio (Narrator/Soprano/Baritone) in support of the work’s ostensible mission? To prevent the piece from becoming too heavy-handed, the text delivered by the narrator needed to be somewhat detached, commenting on the real or imagined action in an objective or indirect way, and avoiding normative judgments or leading commentary as much as possible. Writing the role of the Narrator with completely original (for the most part) text allowed for fine control over the moment-to-moment flow and perspective. Since demonstrating the universally shared plight of war through humanizing “enemies” was one of the goals for the project, texts would be chosen from different sources, written by persons of different national affiliations. In order to coax out commonalities in these documents, the national origin of the writers would not be disclosed to the audience,

6 ! lessening the likelihood of biased listening. The most authentic and immediately relevant sources to shine some light on the experience and sacrifice of soldiers and their families were letters and diaries, especially those written during periods of active deployment or other war-related circumstances that kept a soldier away from home.

Having begun to understand how these performers would be involved, a critical consideration of the instrumental pairings for which Stravinsky had composed was a natural step forward. At first, the bassoon was eliminated and the piece heavily leant on a bass clarinet doubling to provide the bass woodwind voice. This would brighten the sound of the ensemble by adding the flute (doubling piccolo) without requiring an expansion of the group’s size. After writing a few minutes of music without the bassoon it was clear that this would be unsatisfying, as it meant losing the middle register of the clarinet and being unable to extensively couple the upper woodwinds. Not only that, but it introduced a degree of further remove between ...That the Children May Learn (TTCML) and its confessed model. Rather than surrender the flute/piccolo part as a superfluous luxury, it was added, stretching the woodwinds from Stravinsky’s two players to three in TTCML, thereby gaining timbral flexibility. The brass were adequate for the sonic image that was taking shape, but since the violin would not be featured as a solo instrument, rounding out the string section with a cello offered a way to fill out sustained harmonies, layer different string techniques, and sharpen the definition of the double bass pizzicato.

RATIONALIZATIONS IN THE SHADE OF BLUEPRINTS

To bring the piece forth from the murky haze of concept, there were two major practical hurdles to overcome. Before writing the music, there needed to be a logical,

7 ! organized formal conceit to prevent the composition from losing the listener’s attention due to a lack of direction, the absence of a discernible correlation to the underlying intent of the work, or other episodes of musical listlessness. A metanarrative about the course that children who fall into the soldier-cycle might take implied a sequential linear progression:

Childhood (Play/Indoctrination)! Adulthood (Service/Separation)! Combat (Anxiety/Death)

This had the fortuitous outcome of potentially lending itself to the familiar and reliable fast- slow-fast ordering of three-movement architecture, but in the context of an elaborate musical parable, a tense and lively conclusion attempting to somehow convey a battle scene might fail to provide a satisfactory resolution. The Aesopic convention–now regarded as trite–of delivering a rather unadorned summary of the instructive moral of the story at its end would anchor the piece in the world of children and would facilitate a call to action from the audience. Extending the form with a Postlude solved the dilemma of the battle ending.

Each of the four proposed sections (Childhood, Adulthood, Combat, Postlude) suggested a particular musical ambience, if only vaguely. The beginning of the work should have an innocent, naive quality that communicates both the wide-eyed wonder of children loosed into the world and the slightly unsettling undercurrent of something malicious or sinister. The second section, in which the wartime letters and diaries would be set for the soprano and baritone, should be appropriately subdued, though not without traces of levity, as humor was commonly employed to defuse the letter or diary writer’s own anxieties or to

8 ! persuade the recipient of one’s wellness and safety. The combat-oriented section would need to be tighter, in a sense, suggestive of the psychological tension of combat and culminating in the presumed death of our symbolic soldier. As the vehicle for oration, the music of the postlude had to leave room for the narration to be highlighted, but it also had to serve a rhetorical function equivalent to that of the text, driving the piece to the end and striking a mix of the energetic and the pathetic. With a musical blueprint sketched out, the composing could commence. This left the negotiation of a justifiable path to presentation.

At the outset, the dissertation composition was projected to be 25-28 minutes in length, a duration that would pose programming obstacles even if one were an established professional. Yet there were three other ways that I wished to see TTCML reach an audience:

1. To be played on the first half of a concert with L’histoire du soldat as the second half of the program. 2. To be performed as part of a colloquium in which persons knowledgeable about the external concerns associated with the subject matter of the piece could present brief public talks and take questions about their area of expertise. 3. To be properly recorded and made into a DVD, editing live performance video together with a multimedia presentation of images and video clips. These visual elements would be optional for concert performance, to be displayed on a rear projection screen that would be the focal point of some of the dramatic action in the roles of the soprano and baritone. The finished DVD could then be incorporated as a supplemental educational tool in high school history classes, or other settings in which pre-collegiate students would be discussing the topic in a non-lecture environment.

9 ! Option 1 would be a reasonable pitch to make to a performing ensemble, as the personnel would be largely the same and the program could be marketed as presenting “an important work of the 20th-century” alongside a 21st-century response. It would also make sense as the basis of a grant proposal submitted in partnership with the ensemble to fund the event.

Option 2 (which was the format for the premiere of the piece on April 29, 2012) would help to encourage dialogue and engage the extra-musical context of the composition, drawing on the expertise of academics and professionals in the fields of history, psychology, sociology, and communication. It is conceivable that this may extend the reach of the piece to audiences that would be disinclined to attend a concert of contemporary art music and would bring different groups within the academic community together, enabling cross- pollination and interdisciplinary collaboration to spring forth. Option 3 is the most unusual and will require substantial funding to clear permissions and produce the recordings and

DVD. However, it would be the option most likely to enhance the shelf life of the work and have the biggest “message spreading” impact, if it resonated with secondary-level educators.

10 ! Chapter 2

Forming a Frame of Reference

MARKING TIME (AND PLACE)

As addressed earlier, ...That the Children May Learn has four major sections, or movements. These are to be played without pause, mandating great care in the execution of the work’s pacing. All movements except for the postlude are divided into smaller sections and the formal structure is as follows:

I. Childhood a. In(tro)duction (m. 37) b. March! (m. 116) c. The Wait (m. 197) d. Mother’s Call (m. 249) II. Pen Songs a. (Pen Songs) (m. 275) b. Letter to My Beloved Child (m.345) III. The Emperor’s Old Clothes a. Parade of Nations (m. 432) b. A Symmetric Warfare (m. 476) c. The Wait (m. 504) d. Mother’s Call (m. 530) IV. Postlude a. ...That the Children May Learn (m. 561)

Figure 1 ! The lines in Figure 1 indicate large-scale linkages, with the directness decreasing from solid to dashed to dotted lines. As is apparent from a review of the structure, the only part of the piece that is left to stand wholly on its own is the aria, Letter to My Beloved Child. This is the emotional crux of the work and crystallizes issues that had been only abstractions

11 ! previously. It is also the only part of the composition that pushes the rest away and trains the spotlight tightly on a specific person and relationship. Around this pivotal section was constructed a “Before and After” form. An arch form, nicely suited to the assertion that the problems raised are cyclical, might weaken the illustration of the contention that playing war games as a child is replicated by military training and service as an adult.

The Wait, in the first movement, was my interpretation of a phenomenon that I have experienced and observed in prolonged, oppositional forms of playing in which a kind of switch takes place and the players lose the ability to distinguish between the fiction of their game and the hazardous circumstances that they are imitating. After this has occurred, children are willing to act in a surprisingly aggressive manner so that they might

“win.” One person is hunting, and one is hunted. During childhood this is comparatively

“safe.” But when soldiers find themselves in a similar situation it is bound to end in either killing or being killed. In its earlier incarnation, at measure 197, the unease is inflected by a shift to 7/8 from the 4/4 that immediately preceded it. The nervous energy is imparted by the off-kilter rhythm of the bass, the minor-ninth figure in the violin, seconds in the flute and clarinet, and the steady sixteenths articulated in the vibraphone. This part does not return later because it is the underscore for the Narrator’s explanation of this transitional moment, so there is no need to revisit it.

The latter part of the section, at measure 223, features an interlocking pizzicato figure in the bass and the cello, close voicing of the flute and clarinet in their low and middle registers, respectively, and the claves punctuating metrically weak beats. An asymmetric 5/8-meter is used to continue promoting a sense of anxiety (Figure 2).

12 !

Figure 2 ! When this idea returns at measure 519, it is the final material before the implicit death of our imaginary soldier, ending in a whimper rather than with a bang. Dynamically, it fades out as the Narrator utters “Any...second...” layering another backward-looking glance. In

The Wait as heard in Childhood, these words led to a tutti hit as one child sprang to attack the other. Here, the effect is quite different.

The only other change is that the flute and clarinet are transferred into a higher register, further separating their interjection from the frequency range of the other instruments and adding a sound more visceral than harmonic to the moment (Figure 3).

13 !

Figure 3 ! Mother’s Call follows The Wait in both the first and the third movements, and because its function in each case is to bring the soldiers home from their battles, the musical content had to be similar. But the soldiers were being called under very different conditions, once as children playing and having reached the end of daylight and once as the fallen being summoned to an undefined, welcoming afterlife. In Childhood, the section opens with the soprano singing, as a mother, and continues with a musical interlude over which the Narrator speaks. In The Emperor’s Old Clothes, the Narrator is silent, and the singing is extended, broken up by an instrumental passage. This material is all new, except that the flute in measures 540-545 is a degraded copy of the passage at measure 254. The vocal melody had to be handled differently, too, with the contour of the first being decisively downward to unwind the tension that had accumulated during The Wait

(Figure 4).

14 !

Figure 4 ! In its later instantiation, it was to rouse the soldier from mortal slumber and therefore had to be more akin to a gentle nudging, before reaching its climax on the word “light” at measure 557 (Figures 5 and 6). Despite the differences, the setting of the soprano’s part should be enough, independently, to prompt the recollection of the event from nearly 300 measures earlier.

! Figure 5

15 ! !

Figure 6 ! Other correspondences are less assuming in nature, grounded more in revisiting a model of musical character or the essence of an idea than in a literal repetition or repurposing of a localized musical construction. Because the first and third movements have a similar trajectory and are committed, in part, to recognizing the recreation of the same developmental pattern, it was natural to bind each section to its counterpart in the other movement, with one exception. The threads between The Wait(s) and Mother’s

Call(s) were already touched upon. In(tro)duction is unmatched anywhere else in the piece, with the depicted ritual serving as a performative action that could not be undone. March! and A Symmetric Warfare, however, are both associated with wartime, and evoke the footsteps of armed forces on the move. In the first movement, there is a stereotyped march-like regularity in the bass and other accompaniment figures. This is perhaps the only musical idea shared with L’histoire du soldat, which frequently uses a march as the foundation underneath other layers of material. In the third movement, although the

16 ! metrical placement and differing space between attacks obscure the identity, the temple blocks, violin, and cello present an aggressively staggering march (Figure 7). The material breaks down into six-note units that are further subdivided into two-note pairings with attacks accelerating as durations shorten (in eighth notes) from 3-3-2-(3)-1, excluding the looping around the final note and back to the first. The dissociation from a detectable march rhythm hints at the complicated realities of war, in which one is asked to observe his or her military duties as a prime directive, suppressing the self, and attachment to whatever or whomever has been left behind.

Figure 7 ! As Figure 1 shows, March! is also related to Parade of Nations. Here, as with

March! and A Symmetric Warfare, there are remnants cut from the cloth of the same genre. The use of national anthems was planned early in the course of the project. An 17 ! examination of more than 125 anthems revealed a number of different styles, but generally speaking the national anthems fell into four different types and shared many traits. One common component is a broadly displayed preference for an opening upward leap from sol (scale degree 5) to do (scale degree 1), or a melodic gesture covering the span. The national anthems were predominantly in the major mode and were marked by customarily martial or processional dotted-eighth note/sixteenth-note rhythms, which were surrounded by majestic, lyrical melodies that were of steadier or more easily sung rhythm. See the opening phrase of Hymni i Flamurit, the national anthem of Albania for an example. (Figure 8)

Figure 8 ! National anthems are powerful, as they can unite a people, and their lyrics can be used to subtly (or not so subtly, in some cases) inculcate youth with the state-supported myth and ideology of the country. This made them amenable as a communicative device, but as the tale in ...That the Children May Learn is to be nationless and timeless, a new anthem was synthesized from the above characteristics to provide the tune for fictional nation in which the children were playing. (Figure 9) The listener’s subliminal recognition of national- anthem-type musical content at measure 177 is bolstered by the change in the ensemble from a woodwind-heavy orchestration in the preceding passage to a brass-heavy one,

18 ! coordinating with the historical identification of brass instruments with functions of the state.

Figure 9 ! In Parade of Nations, the melodic content comprises portions of fifteen different national anthems.5 The three that are most likely to be familiar to the anticipated audiences are

Kimigayo, The Star Spangled Banner, and The Internationale, the national anthems of the

Japan, the United States, and the Soviet Union (from the end of the Russian Civil War in

1922 until 1944), respectively. Of these anthems, The Internationale (measure 472) is the only one that starts with a leap from the dominant to the tonic, and it is the last anthem to appear, leading directly into A Symmetric Warfare, just as the newly created anthem started with the sol-do leap and ended March!. This juxtaposition is not an entirely new idea, having previously been explored in Hymnen, by Karlheinz Stockhausen, and in other works. With an understanding of ways that the piece builds self-referential network of coherence, it is appropriate to consider the signs woven into the composition that signify external objects of a musical, historical, emotional, or political nature.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! & Japan, Germany (two anthems), The United States, Albania, Andorra, Brazil, Bulgaria, Angola, The Confederate States of America, Australia, Azores, Burkina Faso, Canary Islands, The Soviet Union 19 ! MARKING BOUNDARIES (DEMILITARIZING ZONES)

The national anthems are heard late in the work, but they are a sensible starting point because their outward indicating is so pronounced and intimately tied to the social conditioning of children to become warriors in service of their country. The first anthem heard6 is Kimigayo, which is played in canon by the bass clarinet and bassoon (measure

434). All of the text in ...That the Children May Learn is in English, with one German phrase excepted. This was a calculated effort to disarm potential biases of the listeners, which might be stirred by hearing a foreign language associated with an “enemy,” forcing them to receive the concepts and feelings expressed openly. Likewise, the musical materials themselves were generated and manipulated in such a way that they would be unlikely to trigger thoughts of an American, Russian, German, French, Italian, or other “national style.” The opposite effect is desired in Letter to My Beloved Child and the transition into

Parade of Nations.

“Kamikaze” is a word that–in English, and to Americans in particular–is loaded with connotative baggage. Some groups adopted the word “kamikaze” as a racial slur and its appropriation for other uses imprinted upon the word additional implications of recklessness and–presumably due to the lack of concern for one’s own welfare–insanity.

The word, which may be translated as “divine wind,” became a signifier of fear and an enemy whose willingness to submit to virtually certain death was so alien to our cultural ethos that empathy could not be prompted. Through symbolic morphing, the pilots who

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! '!This is technically untrue, as the trombone plays an unlikely to be recognized fragment of God Save the Queen at measure 50. Originally, there was a polytonal canonic presentation of God Save the Queen as part of Parade of Nations, but this was edited out for the sake of concision. 20 ! flew these missions came to be viewed as soulless, wicked, and wholly unindividuated ciphers. In my research, I came across a letter written from just such a pilot to his young daughter in anticipation of his looming mission and expected death.7 At different points in the letter it variously reads as reminiscence, an encouragement, fatherly advice, and an expression of profound sorrow. It would serve as a succinct touchstone for the extramusical concerns of the piece. Because the humanity was so poignant and palpable, and it was at odds with the adopted image of special attack force pilots, the music supporting the text had to sound overtly Japanese for some part of the aria.

Close listening to traditional Japanese music exposed some style features that could inform a nuanced inflection of this quality. The elements that are incorporated are dry chordal attacks (found in both mallet percussion and plucked string instruments), tritonal polarity, and resolution by downward half-step (“inverted leading tone”) that dominates

Sakura Sakura, a popular traditional song. (Figure 10) The tritone is also a defining part of tonality in Western art music, and the melodies in both Sakura Sakura and Kimigayo are rooted in pentatonic systems (a-minor for the former, and C/G-major in the latter).

Figure 10

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! (!“Letter to My Beloved Child,” last modified April 1, 2012, http://wgordon.web.wesleyan.edu/kamikaze/writings/uemura/index.htm. 21 ! Figure 11 shows the application of these characteristics to the music beginning at measure 345, with the lines showing the same relationships that they do in Figure 9.

!

!

Figure 11

22 ! After exiting this space, the national anthems are each undermined in some way. At measure 445 we hear an idyllic E-major tune in the flute that the flautist is instructed to play

“sweetly.” To those who know the tune, this moment in the piece may be uncomfortable, because this is the melody of Die Fahne hoch!, or Horst-Wessel-Lied, one of the anthems used by the National Socialist German Worker’s Party. To others, it may seem insufficiently anthem-like, or dismissed as a pretty, simple song. The trombone begins to play the tune, roughly, before breaking off into the universal taunting melody, or “Ur- song.”8 The tune is unaltered in the flute until the antepenultimate note, on the first syllable of “festem,” which may be translated as “steady,” as the minor-sixth scale degree (le) is substituted for the major-sixth (la) and its duration is stretched out to 2.5 times its proper length, and the final note of the phrase is the unresolved minor-second scale degree (ra), in lieu of the major-third (mi). By making these pitch adjustments, the tune takes on some of the tint of the “Japanese” music, emphasizing the tritone, the second scale degree, and the implied inverted leading tone. It also breaches the division between the anthem played in the flute and that found in the bass clarinet. The A section of the anthem consists of a period, and just before the consequent is played, the bass clarinet enters with

Deutschlandlied (in Eb-major) high in its range. This is only slightly modified, to avoid accord with the flute. The F with which the flute ends is extracted from the

Deutschlandlied, at the appropriate moment, but the bass clarinet omits it and completes the phrase. (Figure 12)

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! )!This melody and its construction will be addressed in greater depth in Chapter 3. 23 !

Figure 12 ! The Star Spangled Banner is played by the trumpet beginning at the pick-up to measure 453, eliding with the final pitches, motivic structure, and key of Deutschlandlied.

Again, this prods the brass-state juncture, and there are no changes made to the melody.9

The intactness of the melody notwithstanding, the treatment of the long notes that mark the end of its sub-phrases disrupts the solo texture and casts a harmonic haze over the anthem.

The strings inject seemingly frenzied rhythmic activity with swift moving, quartal10 pizzicato lines. This effect is intensified by the angularity of the lines and their sharply syncopated entrances. The other winds join the trumpet for each of the three sustained tones. The first of these chords is quartal, the second is quintal11 with an intermediary half-step, and the third is secundal12. At the dissipation of the anthem (mm. 459-460), the winds fracture, playing figures based on one or another of these intervals. (Figure 13)

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! *!This choice was not made as a consequence of a hierarchizing of socially sacred musical objects, but rather as a concession that the likely American audience might take offense, distracting from the purpose of the narrative.! "+!Quartal = based on the interval of a fourth! ""!Quintal = based on the interval of a fifth! "#!Secundal = based on the interval of a second! 24 !

Figure 13 ! There are three more prominent references to national anthems. At measure 465, the material exploits the previously discussed affinity in these songs for the sol-do leap as an initiating function to emblematize the broader philosophical conceit that the members of each society have the same basic goals. What follows this, however, metaphorically reveals the disparate routes undertaken to achieve them. Ten anthems are heard simultaneously, in the same key, and the outcome is more or less the equivalent of written-out aleatory.

This concludes with the entire ensemble singing the end of the Confederate anthem God

Save the South’s refrain before the ensemble resets to attempt The Internationale as a

25 ! united group. The flute and the bass clarinet are set a major second out of phase with the pitch of the rest of the ensemble, and this distance in pitch-class space expands to a major third by the end of the phrase. The violin and cello accent this dissonant smearing by playing rhythmically regular pizzicato attacks, sliding without regard to pitch down from their upper ranges to the very lowest note, covering more than 2.5 octaves in the span of four measures. This may be regarded as if it were the streaks left by paint dripping down a wall, somewhat akin to images from Animal Farm, the cartoon film based on George

Orwell’s novella of the same name, alluding to the corruption and failure of the enterprise suggested by the anthems or their sponsoring states.

The final national anthem is best known in another context. At measure 618, near the end of the postlude, the trombone begins to play the national anthem of Northern

Ireland. Northern Ireland was wracked throughout much of the 20th-century by political conflict, often manifesting in violence among its own people. As an exemplar of the sort of euphemistic understatement that has so comfortably settled into historiography, the harrowing latter part of the century has been dubbed “the Troubles.” Children who grew up in this period were likely to have witnessed horrific events firsthand, or through the filter of their parents’ storytelling, which was apt to be skewed, dependent upon their alliance with either the Catholic or Protestant faction.13 It is of little doubt then that this incitement exacerbated the problem by generating a steady stream of willing recruits. The melody here is an old Irish folk tune, Londonderry Air, which is formally the national anthem. But the !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! "$!Researchers have discovered a disturbing trend of increased suicide rates among children who grew up during the Troubles as compared to others in Northern Ireland. This is another tragic legacy of war and conflict. See “Children of the Troubles most prone to suicide in Northern Ireland,” by Henry McDonald in the March 16, 2012 edition of The Guardian.! 26 ! melody was set to different lyrics to form the song listeners are more likely to identify.

(Figure 14)

Figure 14 ! Danny Boy is a song, the lyrics of which may be interpreted as being sung from the perspective of a parent as a child departs his home to fight in a war. In its upper register, the trombone can convincingly carry a plaintive wail, and it has past historical associations with funerals, so the bimodality of the tune as both the national anthem of a once war-torn country and a popular song about saying goodbye to one’s children in the expectation that they will not be seen again until the afterlife was suited to this moment.

INDEPENDENT INCIDENCE

On account of their readily grasped social and political implications, national anthems were a plentiful well from which to draw and are perhaps the most effective outward-looking references in the piece. There are several other intentional allusions, each with its own cause, and not all are explicitly limited to musical ideas. In(tro)duction is the home to two of these incidences. Beginning at measure 37, the soprano and the baritone

27 ! are called upon to act out the boredom, standoffishness, taunting, and ultimate submission to relentless nagging that typifies juvenile power structures and the experience of idle, unattended children. The cues are in the text, as the baritone rejects the soprano’s invitation to play, asserting that she is “boring” as a petty, dismissive verbal swipe. She responds, after some sulking and reflection, with an empowered singing of the ameliorative children’s rhyme “I’m rubber, you’re glue. Whatever you say bounces off of me and sticks to you.” Finding his rejection rejected, the baritone ponders his own position, taking

“sticks” as a verbal pivot, overlapping the first rhyme with another: “Sticks and stones may break my bones, but words will never hurt me.” The aggressor here has been transformed to be the victim of the soprano’s bold and newly acquired self-sufficiency. Unwilling to cede control of the situation, he capitulates and agrees somewhat begrudgingly to play, and

“War” is the chosen game. The reference in this case is situational, and likely relatable for many audiences.

Immediately after this episode, from measures 106-118 the music pays homage to

Igor Stravinsky as an acknowledgment of the work’s inspiration and an indirect referent to play. The reference is not to L’histoire du soldat. Instead, the nod is given to Petrushka, a ballet featuring the eponymous clown-puppet as its main character. For all the darkness that inhabits the story of Petrushka, three of its leads (Petrushka, the Moor, and the

Ballerina) are puppets. Petrushka was a stock character borrowed from the folk puppet tradition, featured in plays that were crafted for an adult audience, despite the current tendency to regard them as children’s entertainment. The iconic “Petrushka chord” functions as a synecdoche for the harmonic identity of the masterpiece. It is a complex

28 ! sonority generated by combining two major triads with roots a tritone apart from each other. (Figure 15)

Figure 15

This harmony is spoken into being by the Narrator’s first word, “WAARRR!!!” as written in the score. (Figure 16)

Figure 16

29 ! After a giddy, childlike repetition of the word, the Petrushka chord is spread throughout the whole ensemble, with the clarinet and violin sustaining to launch into a short duet, a textural shift that is common in Petrushka. (Figure 17)

Figure 17

The intertextuality lasts for a few measures longer, as the trumpet plays a tune that begins as the famous trumpet solo from the “Ballerina’s Dance” in Petrushka before diverging.

(Figure 18)

Figure 18

30 ! The sole other premeditated reference to a work of art music14 is not musical, but textual. In ruhig fließender Bewegung, the third movement of Sinfonia, by Luciano Berio, was positively arresting when I first heard it many years ago. The whirling of the musical material and the keenly innovative use of voices never left my ear. The detached nihilism and apparent randomness of the text was appropriately Beckett-like, spinning madness in the guise of prose. At some degree of remove, this is not dissimilar to the processes of soldier-growing and conflict-sowing explored in ...That the Children May Learn, with words and phrases driving a wheel of brutality in perpetual motion. The parts of the text that were co-opted are:

“Keep going.” (Repeated three times, also repeated in the Berio; spoken when the instruments cease to play in the postlude.) “A danced poem.” (The musical backdrop of most of the postlude is dance- like.) “Just a small murder.” (Parallel to euphemizing on behalf of the state or the resolution of cognitive dissonance in those who take lives during war.) “Where now?/When now?Who now?” (Preparing for the call to action and positing of collective responsibility for the ongoing circumstances of those affected by wars.) “It can’t stop the wars, can’t make the old younger or lower the price of bread.” (In Sinfonia and ...That the Children May Learn, this is in reference to music, or perhaps the meaningfulness of musical performance. Here presented as successive questions instead of statements–“Can we stop the wars? Make the old younger? Lower the price of bread?”) !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! "%!Other folk-music allusions are found, for example in the abandonment of grown-up patriotism for childish silliness at measure 191, as a minor-key inflection via the introduction of Ab to the F-major context opens a link in the children’s aural memory to “The Streets of Cairo,” also known as “The Girls in France,” or “the snake charmer song.”! 31 ! “Mein junges Leben hat ein End.” (In the plural: “Unsere jungen Leben haben ein End.” Serving as a reminder not only of mortality but also the figurative death of youth and innocence as one is conditioned to make war.)

32 ! Chapter 3

Notes About the Notes

NATURAL (OR ACCIDENTAL) SELECTION

Thus far the discussion has been centered on social, political, philosophical, and strategic aspects of ...That the Children May Learn, leaving this final chapter to address the treatment of certain pitch and material concerns in quantitative terms. My personal melodic and harmonic vocabulary is informed by diverse influences, including my participation in various wind ensembles, jazz bands, orchestras, pop groups, and other musical endeavors as well as my formal academic training, with early guidance coming from a disciple of Olivier Messiaen. The music that I wrote earlier in my life as a composer tended to be needlessly complicated and traded in carefully regulated piquant dissonance.

It was a struggle to progress from having something to say to saying something, and one vital step toward that was embracing the idea that the musical language chosen must be apropos of the idea being put forth, in the context where it appears. Given the scope of the narrative arc to be traced in TTCML, and the variability of mood, it would be imperative for the music to move between different dialects, as it were. Haphazard careening would be disastrous, so the integration of a unifying element was important.

“Nee-ner, nee-ner, nee-ner!”; “Nah-nah-nah-na-boo-boo!”; “Rain, rain, go away, come again some other day!” These are all examples of what Leonard Bernstein, after

Noam Chomsky, referred to as the “Ur-song,” a hypothetically universal melody that served as the underpinning of taunting songs in numerous cultures, unbound by geography. 33 ! Its principally defining motive is a descending minor-third, and there is some room for variation in the repetition of notes and the inclusion or exclusion of some segment of the tune. (Figure 19)

Figure 19 ! Knowing that this was a strand of the work’s DNA, and committed to delimiting the opening of the piece as a separate, pre-corrupted environment, the earliest organizational system would resist overlap with the Ur-song.

The opening gesture is a sixteenth-note figure imbricated with a sustained trill in the flute and clarinet. The two most clearly audible things, with regard to pitch, are the presence of a descending whole-tone scale fragment in the flute and an ascending scalar fragment spanning a tritone in the bass instruments. (Figure 20) This trill and the one in measure 5 provide a window into the pitch-structures governing the work until measure 62.

(Figure 21)

Figure 20 ! 34 ! Rather than beginning with standardized tonality, or rigidly defined pitch sets, the pitch organization at the outset is processual in nature. The twelve available pitches are introduced gradually, and the arrival of the final new pitch does not occur until the children have begun to negotiate their way toward war, circa measure 45. This signals a departure from the “innocence” of the opening. There is some deviation from this, but when pitches are encountered before their proper admission to the domain, they occupy metrically weak positions and are not emphasized by repetition.

!

! Figure 21 ! The pitches are grouped into four separate tetrachords, each of which is conceived as a whole unit. The first two tetrachords are the same prime form (in Allen Forte’s terminology)15at a different level of transposition (T2). As the interval vector for the set shows, the minor-third is conspicuously absent (represented by the 0 in the third position of the brackets). The other major and minor intervals are evenly distributed, as are the perfect intervals, though the interval vector lodges a 2 in the fifth position since it evaluates

P4 and P5 as the same, via inversion. The tritone and the major-second of the starting gesture are built into these sets, further engendering coherence. As described, this may come across as wonkish, but the violin melody at measure 6 (which is heard again in the

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! "&!Allen Forte, The Structure of Atonal Music (New Haven: Yale University Press, 1973). 35 ! postlude and is hinted at by other melodies) demonstrates a reasonably expressive handling of these parametric limitations. (Figure 22)

Figure 22

The third tetrachord takes deliberate steps toward the taunting melody. It is crafted from two major-second dyads in a T5 relationship. Whereas the first two tetrachords had omitted the minor-third and given some weight to each of the other intervals, the intervallic content of the third is highly concentrated and allows for the m3 to be gently inserted. It also resembles the major or minor pentatonic scale16, with the mode-specific pitch left out.

The active marimba accompaniment from measures 18-29 is thoroughly dependent upon this tetrachord, and the lyrical melody in the bassoon and violin also predominantly makes use of the pitches in this tetrachord.

The final tetrachord offers a viable path to a cadential ending of a section and at the same time can work as a pivot. This ambiguity is attributable to its tonal implications, as this particular tetrachord may be interpreted as either do-re-mi-fa or sol-la-ti-do. The listener, however, will not have any inkling of this tetrachord’s presence because the execution of its pitch-by-pitch disclosure is esoteric. The A-natural and B-natural are incorporated as the highest pitches in the 7/8 bass ostinato at measures 37 and 43, respectively. The idea lays over the Lydian mode or the whole-tone scale, and the shift that leads to the B-natural duplicates the wholesale T2 transformation that morphed the first tetrachord to become

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! "'!Do-re-mi/me-sol-la! 36 ! the second, tightening the connections among the different phases of pitch introduction. C- sharp, which is the last new pitch, is originally part of a staccato three-voice cluster (measure

45) that is repeated eight times. Despite the repetition, it defies easy aural detection, because it is the middle voice in the cluster and there is no sustained duration to facilitate the parsing of the trichord. At measure 49, it is a passing tone in the transitioning scalar figures of the flute, clarinet, and trumpet, but each voice plays it at a different time, and the effect is of a cluster in motion rather than a definitively understood leading tone.

Although the reasoning behind this different method of approaching pitch structures was to establish a musical sphere for childlike innocence that was divorced from the Ur-song and its association with interpersonal and intersocietal antagonism, the indefiniteness of these tetrachords granted them a foggy quality that made them ideal for prompting listeners to recollection through a harmonic analogue to reminiscence melodies.

This sense may be due to the coupling of seconds–usually contrasting, with one major second and one minor second–within each tetrachord, as well as the tonal ambiguity that arises because the information in each tetrachord is insufficient to confirm any specific key orientation. The vibraphone is involved in both instances when this occurs, first at the conclusion of Letter to My Beloved Child and into the beginning of Parade of Nations. In

...That the Children May Learn, at measure 613, it fulfills this role with the flute and the clarinet in their lower registers in a brief interlude marked “Much Slower,” which follows a sequence of rhetorical questions about our society’s collective ability to effect change and precedes the drive to the end of the piece, during which the Narrator delivers the call to action, which is “that the children may learn love.” (Figures 23 and 24)

37 !

Figure 23

Figure 24

The final gasp of the ensemble also returns the sixteenth-note gesture that began the piece, subtly drawing the audience back to the beginning, now hopefully with a stronger impetus to make a different course forward.

Major and minor keys are only used as the primary means of pitch-organization in

March! and Letter to My Beloved Child. In the case of the former, this was because the comparative simplicity, or predictability of these systems rendered them suitable for the representation of children at play. For the latter, it tied the section more directly to the tradition of the Romantic and Post-Romantic aria. The key relationships in each are:

38 ! March!

D Major ! F Major ! D Minor ! F Major/Minor (115-128) (138-158) (162-177) (178-196)

Letter to My Beloved Child

F Minor ! C# (Db) Minor ! F/B Major Hybrid17 ! B Major ! Bb Minor ! Db Major (345-358) (359-370) (371-388) (389-401) (403-418) (419-423)

Moving between keys predominantly by third rather than fourth or fifth reinforces the identity of third-based Ur-song. This also frees the music from the deeply ingrained sense that a move to the key area of the dominant will be followed by a return to the tonic. The key design of March! is much simpler, and the modulations are rudimentary, but it is worth noting that its trajectory is from the major to the minor, with the parallel minor of each major key being represented. This is in contrast to the key design of Letter to My Beloved

Child, which is more elaborate and progresses from the minor to the major. There are interesting connections to be made among these keys, as each minor key returns in its parallel major, except for Bb-minor, which modulates to its relative major.

Another approach to pitch organization is utilized in Pen Songs. Having already leant on the delayed aggregate, free atonality, and the major and minor key systems, I wanted to created a distinct but connected new sonic space. The octatonic scale worked as a convenient solution that would not be jarring in the slightest. Stravinsky’s music from the

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! "(!The F/B Major Hybrid is constructed from the fourth tetrachord of the reminiscence harmonies, coupled with itself at T6.! 39 ! period of L’histoire du soldat and Petrushka has long been associated with the octatonic scale, forging another route from my piece to the one that inspired it.18 Moreover, one of the features of the octatonic system is that it allows for the free interplay of parallel major and minor triads, and because of its design it is saturated with minor-thirds and tritones, aligning it with both the Ur-song and the ambitus of the piece’s opening gesture. (Figure

25)

Figure 25 ! It is peculiar, insofar as it allows one to access familiar and comfortable sonorities that one would encounter in a tonal context, such as the major, minor, and diminished triads, yet it prohibits stereotyped progressions of functional harmony. This tension amplifies the power of neo-Riemannian transformations in an octatonic setting, as the P (parallel) transformation and R (relative) transformation are applied, since these must be accepted as replacements for tonic, predominant, and dominant functions. The material in measures

275-286 is structured to maximize these qualities. A harmonic chain of G Major ! Bb

Minor ! Db Major ! G Minor ! Bb Major ! Db Minor supports the vocal lines, and it makes a series of potentially disconnected harmonies sound logical. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ")!Dmitri Tymoczko has recently challenged this view in “Stravinsky and the Octatonic: A Reconsideration” and related subsequent publications.! 40 ! In order to distinguish the wartime atmosphere of A Symmetric Warfare from that found anywhere else in the piece, it seemed appropriate to organize pitch differently and twelve-tone composition would achieve this. Broadly considered, this may be interpreted as the conclusion of a pitch-organizational series, from the 4-note units found at the beginning of the work, through the 8-note organization in Pen Songs, and finally to 12. Moreover, the limitations imposed by the matrix are reflective of the nationalistic, mechanical process by which soldiers are made and sent to battle. The prime form of the row begins with 0-3-5-4-

7-9, layering the intervallic content of the Ur-song over itself at T4. The next three pitches in the row are the major trichord (10-8-6) and the final three are the minor trichord (11-1-

2). By building so much of the other harmonic and intervallic language of ...That the

Children May Learn into the row itself, this remarkably different manner of structuring the pitch content from does not declare itself and distract from the flow of the narrative as communicated through both the music and the text.

Figure 26

The division of the row into hexachords reveals another detail that keeps the note selection and sonorities in this section of the piece from being perceived as chaotic: the two halves of the row comprise Z-related hexachords, 6-Z46 and 6-Z24. (Figure 26)! The matrix in

41 ! ...That the Children May Learn is treated as a network of connections that may be exploited however one might wish, so long as there remains a traceable rationale by which note-to-note motion can be justified. Although this conflicts with the pedagogically efficient but misleading codification of Arnold Schoenberg’s approach to twelve-tone organization, it is a practice that has been pursued by Schoenberg and many other composers in different ways. One of the destabilizing mechanisms employed in this piece is the displacement of an instrument’s entry into a particular row form by initiating a pitch sequence at a point other than the start or end of a row or column within the matrix. The trombone and bassoon are the only parts that begin in a conventional position, the start of R5 and R3, respectively. While the bassoon carries through its presentation of R3, the trombone instead wraps around to proceed through P5, something we may consider as a rotation of the row.!

There are two other quirks that merit attention, briefly. The first of these is the treatment of the row in the last few measures of the trombone part. At measure 500, a three-note figure is played three times, in sequence. This was the result of segmenting the final three notes of the trombone’s progression through I2 and handling them as a modular unit, shifting this component to I1 and then I11. The last three pitches are obtained by moving it to I8, treating the unit as a trichord, and playing through it in a permutation similar to the wrapping already noted. A second aspect of the row treatment is the manner in which a given instrument can amble about the grid. By doing away with any vestiges of verboten, the repetition of segments of the row becomes an available resource. This helps to constrain the violin and cello in the beginning of A Symmetric Warfare, having the

42 ! additional effect of securing the sonic identity of the ostinato and funneling the listener’s hearing toward the other things going on within the texture. Another liberating consequence of shaking off procedural confinements is that the parts can quickly change direction in the matrix. There are occurrences in the cello and the trumpet where there are only two pitches of a row form heard, as the instrument uses the second of these as a pivot to redirect course. Though not fully developed here, this could prove to be very fruitful for evoking pitch-centricity, harmonic implication, or other musical traits that are traditionally undercut by twelve-tone techniques. Figure 27 shows the matrix, pitch of each instrument’s entry, and the directionality of each part’s initial movement through the grid by giving the row form.

Figure 27

43 ! IT WAS (O)UR-SONG

As the song that has supposedly been with our collective consciousness since the most primordial phases of music and pitch-based encoding, it is fitting to conclude the analysis of ...That the Children May Learn than to highlight some of the numerous instances of its direct or indirect inclusion in the composition. For examples in which the presence of the tune is clear, there will be no discussion or special comment made, but when this is in question, the correspondences between the material of TTCML and the Ur- song (Figure 19) will be explained.

Figure 28

Figure 29

Omitting the Ab, and taking into account the emphasis added on the C by its syncopated position, the Bb-G-C is heard clearly, and this is repeated ongoing, with some transpositions, until measure 47.

Figure 30

44 ! The A and C are reversed in the flute and soprano, but the sneering melody here is limited in its range to strongly suggest C-A-D. The bassoon’s D-A-C represents another ordering of this trichord.

Figure 31

The E-G-A and E-G-E-A in the soprano illustrate a conscious reversal of the Ur-song’s normal ordering. The C-A-C-D in measure 78 also continues to embed this structure.

Figure 32

Figure 33

There is a degree of enhanced enjoyment here because the Ur-song is presented in the guise of the familiar children’s song, “This Old Man,” in the accompaniment and therefore unlikely to be at the forefront of the listener’s attention until the tune is recognized.

45 !

Figure 34 This example is notable for the degree to which it is saturated by the Ur-song.

Figure 35

Figure 36

Figure 37

46 ! This is a case where the ordering has been inverted, and the melisma elaborates the Ur- song fragment that it contains. From henceforth in the work, the gesture (excluding the melisma) is intended to prompt the recollection of Motoko. (Also, “When you grow up” is atomized in this way.)

Figure 38

Figure 39

Underneath the rest of the ensemble, at this moment the strings begin to play through a musical cipher of Genesis 1:3, which reads: “And God said, ‘Let there be light,’ and there was light.” as the texture begins to brighten and the slain soldiers awake to the “light” about which the soprano sings.

AN ENDING OF SORTS ! Arthur Schopenhauer believed that music functioned as a gateway through which the listener could briefly glimpse the most basic truths of the world in which we live, and other Romantic thinkers prized music for its ability to suggest the sublime. Music that is written well and performed persuasively does indeed have an inexplicable power to stir the emotions of an audience, but each person is likely to have a different, personal response.

This makes the prospect of delivering a specific message through musical means somewhat

47 ! tenuous. A composer cannot be certain how a piece will be received, but can only seek to express the musical representation of the message as heard in his or her own head. The piece that I have written is colorful, vibrant, sorrowful, and at least somewhat unusual, particularly as a dissertation project. The texts still–even after the process of writing the piece and seeing its first performance–seem to retain the non-judgmental and universalist disposition that was deemed important before they were written and chosen. The research and discoveries about the people who have experienced the conversion from child to soldier have, in some ways, changed me and given me a different, deeper understanding of the many different ways that families attempt to cope with the grim realities of military conflict.

...That the Children May Learn has the potential to connect with a diverse audience, in different settings, and may act as a hub of sorts to draw people from different fields, both academic and otherwise, to reconsider the necessity of the things that we are, as a society, willing to accept with a shrug of the shoulders and the belief that we have no agency to redefine the terms of the world in which we live. From an aesthetic standpoint, there is encouragement to be found in the degree to which my training as a composer allowed me to manage an extended musical framework covering many different styles. But the issue of whether the piece may be judged to be “successful” is unsettled. Critical assessments of music are inherently subjective, and some have shared a more favorable estimation of the work than others. The question then becomes “Where do we go from here?” I have only hope. Hope that the music speaks to people; hope that it can be a part

48 ! of a broader discourse; and hope that it will find an audience. What matters most is simply, as the Narrator has urged, that we–I, and the piece–“keep going.”

49 ! ! Instrumentation

Flute (Piccolo)

Clarinet in Bb (Bass Clarinet in Bb)

Bassoon

Trumpet in Bb

Trombone

Percussion, 1 Player

Soprano

Baritone

Violin

Violoncello

Contrabass

Narrator

Percussion Inventory:

Marimba Suspended Cymbal Vibraphone Triangle Brake Drum Tambourine Trap Set (Hi Hat, Snare Drum, Low Tom, Kick Drum) Temple Blocks Bass Drum Claves

Duration: Ca. 28’30”

! 51! Approaching the Work

…That the Children May Learn is a musical parable about the cyclical and seemingly universal process by which children are indoctrinated into warring cultures and desensitized to violence, in part through play. The piece is therefore indirectly about war, but seeks merely to function as a sort of metanarrative, and performers should be careful never to lapse into an excessively dogmatic tone. Performance may be supplemented by an optional multimedia projection (rear) as permitted by resources and performance space available. This will consist of images, documents, fragments of text, and short video clips running concurrently with the music and relating to the subject matter. The screen should be placed at the side of the ensemble, with the narrator on the opposite side. Which goes where will be dictated by wiring, but preference is for the narrator at stage right.

The singers will use the screen on occasion as a staging area, either being obscured by the screen or standing in front of it as directed in their parts. It is important for the narrator and the singers to bear in mind their particular roles and the function and mood of the prevailing musical context. The narrator always carries the same function, as an omniscient and somewhat detached third-party observer and commentator on the philosophical, sociological, and pragmatic concerns of the work, referring to things both seen and unseen in the actual performance.

The characters portrayed by the singers will change according to the placement within the piece. In the precursor to the first movement they are providing pitches and the sound of disembodied musical voices to the texture from out of view. In the first section of the first movement (In(tro)duction), the singers are children faced with the familiar quandary of being bored and crippled with indecision about how to resolve their discontent. The soprano may be regarded as the younger, or less empowered of the two, and the baritone as the one with the ability to dictate terms of play. Here the material is largely spoken and should be acted out in a genuinely childish manner. In the third section of the first movement (Mother’s Call), the soprano is a mother calling her children home for dinner and safety as night falls, and this portion is to be sung from out of view.

In the second movement (Pen Songs), the singers are given as text fragments of letters or diaries from deployed soldiers and their families, and each extended rest separates one from the next, so there should be subtle variations in character. They should be on opposite sides of the stage, each angled toward the conductor. This ceases to be the case with the final section of the movement (Letter to My Beloved Child). Here the baritone sings a letter from a tokkotai (kamikaze) pilot to his very young daughter in anticipation of his imminent death. It is alternately a lamentation, an encouragement, and an expression of love and comfort. The first section of the third movement (Parade of Nations) finds them reverently presenting portions of national anthems; the second (A Symmetric Warfare) as the distilled voices of factions speaking on the state of a war, in opposition, but eventually with their points blending together; the third (Mother’s Call) features the soprano as a Gaea-esque figure rousing slain soldiers from their mortality and calling them home to the light.

In the final movement (Postlude), the singers again present fragments of text, but in this case they are strikingly reflective of a backward-looking view of one’s life, and ought to be thought of as occupying a nexus between life and death, mixing wistful sorrow with joy. It is in this movement that the narrator comes closest to presenting a structured rhetorical appeal for the sake of the children, rather than explicitly for or against war.

! 52! ...That the Children May Learn Score in C Justin T. Capps Greeting Nike q = 112 œbœbœ Ÿ~~~~~~~~~~~~ œbœbœ Ÿ~~~~~~~~~ Ÿ> ~~~~~~~~~~~~ Ÿ> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Flute ° bœ w> -œ bœ >˙ #w w w & 4 24 J ‰ 43 ™ 4 pp sffzp pp sffzp sffzp sffzp

Ÿ~~~~~~~~~~~~ Ÿ~~~~~~~~~ Ÿ> ~~~~~~~~~~~~ Ÿ> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Clarinet in Bb 4 bw> 2 -œ ‰ 3b>˙™ 4 w bw w & 4 œ œ œ 4 J œ œ œ 4 4 ppœ sffzp ppœ sffzp sffzp sffzp

>. >. Bassoon œ œ bœ œ œ bœ ? 4 œ œ J ‰ Œ Ó 24 Œ œ œ 43 J ‰ Œ Œ 4 œ ‰ ‰ Œ ¢ >. œ. œ w w pp ff pp ff > > mp

Trumpet in Bb ° & 4 ∑ ∑ 24 ∑ 43 ∑ 4 ∑ ∑ ∑ > > œ w >œ. Trombone j œ. œ. œbœ œ. œ œ ? 4 ‰ Œ Ó 2 Œ 3 ‰ Œ Œ 4 œ ‰ ‰ Œ ≈ ‰ Œ ≈ 4 œ œ œ. bœ. 4 œ œ œ. 4bœ. 4 . ¢ ppœ. . . ff> ppœ. . . ff> > mp Triangle Temple Blocks >. >. (To Marimba) Percussion ° œ œ œ œ j Œ / 4 œ œ œ R ≈‰ Œ Ó 24 Œ œ œ œ 43 R ≈‰ Œ Œ 4 ¿ ‰ ‰ ¿ œ ∑ ∑ ¢ pp ff pp ff

Soprano ° & 4 ∑ ∑ 24 ∑ 43 ∑ 4 ∑ ∑ ∑

Baritone ? 4 ∑ ∑ 2 ∑ 3 ∑ 4 ∑ ∑ ∑ ¢ 4 4 4 4

sweetly Greeting Nike q = 112 œ œ œ™ œbœ œ ˙™ Violin ° & 4 ∑ ∑ 24 ∑ 43 ∑ 4 ∑ ‰ Œ f mf >œ. Violoncello œ. œbœ œ. œ œ ? 4 ∑ ∑ 24 ∑ 43 ∑ 4 ∑ ∑ ≈ J ‰ Œ ≈ mp

Contrabass j j j ? 4 bœ ‰ Œ Ó 24 Œ 43bœ ‰ Œ Œ 4 œ ‰ ‰ Œ ¢ œ œ œ œ . œ œ œ œ . >. œ. œ w w pp ff> pp ff> > > mp

Narrator Œ & 4 24 43 4 Copyright © 2012, Justin T. Capps, All Rights Reserved

53 8 Ÿ> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Fl. ° #w ˙ ˙ & 24 43 Œ ∑ 4 ∑ sffzp f

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j j Cl. > œfi . œfi . > & w 24 ˙ 43 ˙ Œ ∑ 4 Œ œ ‰ œ œ™ sffzp f mfJ fJ

Bsn. ? 24 43 4 ∑ ¢ w ˙ œ œ ˙ œ œ ˙ > mf. .

3 Tpt. ° 2 3 j 4 j & ∑ 4 ∑ 4 Œ œ œfiœ œ œ œ œ 4 œ œfi Œ Ó bœ œ œ œ -. -. bœ œ œ œ . -. œ. mf ff

>œ. Tbn. ? 2 3 4 ‰ Œ Ó 4 ∑ 4 œ. œ ˙ œ. œ ˙ 4 ∑ ¢ mp

med-soft mallets + + & ∑ 24 ∑ 43 Œ Œ Œ Œ 4 ∑ Mar. œ œ œ œ . +. . +. ? 2 3 4 ∑ 4 ∑ 4 œ. œ. Œ Œ œ. œ. Œ Œ 4 ∑ { mf

S. ° & ∑ 24 ∑ 43 ∑ ∑ 4 ∑

Bar. ? ∑ 2 ∑ 3 ∑ ∑ 4 ∑ ¢ 4 4 4

. œ . œ œ œ œ œ œ bœ œ œ œ#œ œ . j > j > j > Vln. ° ‰ J 2 œ 3 œfi b˙™ œfi b˙™ 4 œfi bœ. ‰ Œ Ó & 4 5 4 4 ff J

>œ. Vc. ? J ‰ Œ Ó 2 ∑ 3 ∑ Œ Œ 4 4 4 œ œ bœ œ. 4 œ œbœ œ œ œ œ œ œ. œ œ œ œ œ œ œ f......

pizz Cb. ? 2 3 4 œ nœ #œ 4 4 4 œ œ bœ œ œ ¢ w ˙ œ œ ˙ œ œ ˙ mf > mf. . 54 13 œ ˙ œ >œ œ œ œ >œ œ œ ˙™ Fl. ° Œ #œ œ œbœ œœœœnœ 4 #œ œ #œ œ œœ™ œbœœœ #œ Œ & œ#œ 4 5 5 5 5 ff ff mp 7 f 5 > > Cl. . ˙ œ œ & œ œ Œ Œ bœ œ œ 4 œ œœ œ œbœœœ œ œ œ œ Œ 5 #œ ™ œ œ œ ff mp 3 f > #˙™ ff

Bsn. ? Ó Œ 4 j ‰ Œ Ó ∑ ∑ ¢ œ œ œ œ 4bœ. mf f>

cup mute Tpt. ° ∑ 4 ∑ Œ Œ & 4 ˙™ #˙™ ppp mf ppp

cup mute ˙™ ˙™ Tbn. ? ∑ 4 ∑ Œ Œ ¢ ppp mf ppp

rhythmically precise and mechanical; let the added notes generate the accents ∑ 4 & 4 œ œ Mar. mfœœœœœœœœœ œ œ œ œœœœ œœ œ œ œ œœœœœœœœœ œœ œœ œ œœ œœ œœœœœœ œœœœœœœbœœœœ ? ∑ 4 ∑ ∑ ∑

non-declarative and faintly mystical from behind the projector and screen p mf p { (or the wings) 5 5 5 S. ° & ∑ 4 Œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ Ah Ah

non-declarative and faintly mystical p mf p from behind the projector and screen 5 5 5 (or the wings) œ œ œ œ œ œ œ œ œ œ Bar. bœ bœ bœ œ ? ∑ 4 Œ ¢ Ah Ah

con sordino sul tasto Vln. ° & ∑ 4 ∑ Ó ˙˙ w˙ b˙ p glissandi should be slow and langorous, free except the contour must be finished by measure 19

pizz >œ ˙™ œ œ œ Vc. ? œ #œ œ bœ nœ #œ œ bœ œ œ nœ #œ bœ. œ. œ ˙™ 4 œ œ œ œ œ œ œ bœ mp f mp f œ

arco pizz Cb. ? œ 4 4 œ bœ œ œ œ bœ œ œ œ œ œ bœ ¢ ff œ ˙ mpœ œ œ #œ f mpœ œ nœ #œ f nœ #œ nœ #œ > ™ 55 17 Fl. ° & ∑ ∑ ∑

Cl. & ∑ ∑ ∑

Bsn. ? ∑ ∑ ∑ ¢

Tpt. ° & Œ Œ ˙™ ˙ w ppp mf™ pp ppp

˙™ b˙ bw Tbn. ? Œ ™ Œ ¢ ppp mf pp ppp

bœ œ œ œ œ œ œ œ œbœ œ œ œ œ œ & œbœbœ œ œ œ œ bœbœ œ bœœœ œœœ œœ œœœ œ œœœ œœœ œ œ œbœ bœbœ œ œ bœ Mar. b œ œ œ œ œ œ bfœ p fœ p f

? ∑ ∑ ∑

f { 5 S. ° bw w & bœ œ œ œ œ

f

5 Bar. ? œ œ œ œ ¢ bœ bw w

Vln. ° & w˙ w˙ w b˙ b˙ œ ˙™ f arco Vc. ? ‰ ‰ ‰ ‰ Ó j ˙ w #œ nœ œ mpœ ˙ w

arco Cb. ? œ #œ œ ˙ w œ ‰ ‰ œ ‰ J ‰ Œ ˙ w ¢ mp

56 20 A Fl. ° b & ∑ b b ∑ ∑ Ó Œ œ pp

Cl. b & ∑ b b ∑ ∑ Ó Œ œ pp

singing œ Bsn. ? b B ™ ˙ ∑ b b ∑ ∑ ‰ ¢ p

Tpt. ° b & ∑ b b ∑ ∑ ∑

Tbn. ? ∑ b ∑ ∑ ∑ ¢ b b

œ b & bœbœ œ b b œ œ œ œbœ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Mar. bffœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ mpœ œ œ œ œ œ œ œ ? b ∑ b b ∑ ∑ ∑ { pp S. ° b w b & < > b b ∑ ∑ ∑

pp Bar. ? b ∑ ∑ ∑ ¢ w b b

A singing Vln. ° bb Ó ∑ ‰ œ™ ˙ & w b ˙ Ó w ˙ p ppp

Vc. ? ‰ Ó b ∑ ∑ ∑ œ™ b b pppœ™

Cb. ? œ b œ ‰ Œ Ó b b ∑ ∑ ∑ ¢ pppJ

57 24 3 3 Fl. ° b & b b ˙ ˙ ˙ œ Œ Œ œ ˙ ˙ ˙ œ Œ Ó ∑ p pp pp p pp

3 3 Cl. b & b b ˙ ˙ ˙ œ Œ Œ œ ˙ ˙ ˙ œ Œ Ó ∑ p pp pp p pp

>- œ œ ˙™ œ œ œ ˙™ œ œ >-œ œ >- Bsn. Bbbb ˙™ Œ ‰ ™ œ™ J J ‰ œ 3 ¢ mf p mf

Tpt. ° b & b b ∑ ∑ ∑ ∑ ∑

Tbn. ? b ∑ ∑ ∑ ∑ ∑ ¢ b b

b œ œ œ œ & b b œ œ œ œ œ œ œ œœ œ œœ œ œœ œœ œ œœ œœ Mar. œœ œœ œ œ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ œ mf œ mpœ ? b ∑ ∑ ∑ ∑ ∑ { b b S. ° b & b b ∑ ∑ ∑ ∑ ∑

Bar. ? b ∑ ∑ ∑ ∑ ∑ ¢ b b

œ ˙ œ œ œ ™ œ >-œ >- >- Vln. œ™ œ ˙™ œ œ ° bbb ˙™ Œ ‰ œ™ J J ‰ & 3 mf p mf

pizz Vc. ? b œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ b b ∑ ∑ ‰ ‰ ‰ ‰ œ ‰ ‰ mf f

œ ˙™ Cb. ? b b b ∑ ∑ ∑ ‰ w ¢ mf f

58 29 œ ˙ œ œ œ™ œ™ Fl. ° b ™ œ™ œ œ™ œ œ & b b Ó J ppp mf

Cl. b & b b Ó ˙ œ œ™ œ ˙™ Œ œ ppp ™ mf œ œ œ œ œ œ œ œ. œ œ œ . œ œ f

. Bsn. Bbb ˙™ ? œ™ œ ˙™ œ œ™ œ œ b Œ Œ™ Œ ‰ ≈ J ≈ ≈ Œ ¢ ff mf f

senza sord. Tpt. ° bb & b œ œ œ œ œ œ™ œ j œ œ ˙™ >. œ™ œ >. œ™ œ ˙ p mp p mf senza sord. Tbn. ? b b b œ œ œ œ™ œ w ¢ œ œ w œ. œ™ œ . p mp p > > mf

To Suspended Cymbal bb ∑ & b œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœœœ œœœœœ œœœœœ œœ Mar. mf œpœ œ f mp ? bbb ∑ ∑ ∑ ∑

{ mp mf p f mf > > S. ° b œ œ œ œ ˙ œ œ œ œ œ™ œ œ ˙ & b b œ ™ ™ œ™ J Ah Ah Ha Ha

mp mf p f mf Bar. ? b œ œ œ ¢ b b œ œ œ w œ œ™ œ ™ œ w Ah >Ah Ha >Ha

pizz arco ˙™ > > >- Vln. ° b j j >- -œ -œ œ & b b Œ ‰ ≈ œ ‰ ≈ œ Œ ‰ ≈ œ œ ‰ ≈ œ Œ œ œ œ œ œ - 5 ff mf f mp>

Vc. ? b œ j b b œ œ ‰ œ j ‰ mp œ œ fœ œ œ œœ œ œ œœ œ œ œœ œ mpœ

pizz Cb. ? b w œ™ œ™ b b Œ ¢ mpw mfœ™ œ f œ™

59 * flutter tongue 33 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. b œ œ œœ œ œ œ œ œ œ j b ° b b œ œ œ œ œ ‰ Œ b 7 & 3 3 5 œ 8 f mp f 5 pp > . . . œ œ œ œ Cl. b . œ œ œ œ œ œ œ œ œ b & b b œ œ œ œ œ œ œ œ Œ ≈ œ œ œ b 78 œ œ œ œ. œ œ œ œ œ œ œ 5 œ œ . œ œ œ œ œ. œ œ œ œ œ œ. ff f ff mf . ff > > . . ˙ . . . Bsn. œ œ . œ. œ œ œ œ œ. œ œ. . œ. . . . ? b . Œ . Œ œ œ œ. œ ‰ œ œ œ . œ j ‰ b 7 b b œ œ œ œ œ. . . œ œ œ b 8 ¢ mp f mp . . œ.

œ œ ˙ Tpt. ° b œ œ œ™ œ ™ b 7 & b b ∑ œ™ œ œ J b 8 p J f

œ œ œ ˙ œ œ™ œ œ œ œ ™ œ œ Tbn. ? b J J b 7 b b ∑ ‰ b 8 ¢ p f

Tri. ° 7 ¢ / ∑ ∑ / ∑ ∑ 8

Suspended Cymbal To Claves Mar. b æ & b b ∑ ∑ wæ ∑ 78 { pp fff as if a child, walk out to the side of the screen/onto the stage, at a distance from baritone; somewhat timidly S. ° b b & b b ∑ ∑ ∑ ∑ b 78

as if a child, walk out to the side of the screen/onto the stage, at a distance from soprano; ignore her Bar. ? b ∑ ∑ ∑ ∑ b 7 ¢ b b b 8

>- œ œ œ œ 3 >-œ >-œ œ œ œ œ œ œ œ Vln. b œ œ œ œ œ œ > b ° b b -œ b 7 & 3 3 æ 3 œ œ 8 ff mf æ ff p >- >- arco œ œ œ œ > œ œ œ j Vc. ? b Œ œ œ œ œ œfi Ó b 7 b b œ 3 3 3 ˙ ˙ b 8 mfœ ff p

arco w Cb. ? b b 7 b b w æ wæ b 8 ¢ mf pp mfw

60 I. Childhood (In[tro]duction) 37 B (Same Tempo) white tone, gradually raising pitch throughout note (pushing sharp) Fl. ° b œ œ ˙ œ ˙ œ & b 78 ∑ Œ ™ ™ ™ ∑ ∑ ∑ mp non dim.

white tone, gradually dropping pitch throughout note (pushing flat)

Cl. b ˙ œ ˙ œ ˙ œ & b 78 ™ ™ ™ ∑ ∑ ∑ ∑ mf non dim.

Bsn. ? b7 ∑ ∑ ∑ ∑ ∑ ∑ ¢ b 8 ˙ œ f ™

Tpt. ° b ˙ œ™ ˙ & b 78 ‰ Œ ∑ ∑ ∑ ∑ ∑ p

œ œ . Tbn. œ œ œ™ ˙ ?bb78 ‰ Œ ∑ ∑ ∑ ∑ ∑ ¢ pp

Claves j j j Clv. °/ 78 Œ œ ‰ œ Œ ‰ œ Œ œ Œ œ ‰ œ Œ ‰ œ Œ œ Œ œ ‰ œ Œ ‰ œ Œ œ Œ œ ‰ œ ¢ mp

= spoken, follow contour begin to approach baritone z mf S. ° b & b 78 ∑ ∑ ∑ ∑ ∑ Œ Œ ‰ ¿ ∑ to baritone, Hey.û solicitously:

look in response, bothered and annoyed Bar. ? b7 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ b 8

puckishly B (Same Tempo) pizz Vln. ° b & b 78 ‰ Œ ∑ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ˙ œ œ œ œ œ œ œ œ œ œ œ nœ œnœ mf˙ mf œ œ f œ mfœ sim.œ œ œ œ œ puckishly pizz Vc. ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ bb78 ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ mp mf mp f sim.

puckishly pizz. . - . - . - . . Cb. ? . œ. œ œ . œ. œ™ . œ. œ œ . œ. œ™ . œ. œ œ . œ. œ™ œ. œ nœ œ bb78 œ J œ œ J œ œ J œ J ¢ mp mf mp f sim.

61 7 + 2 44 clipped 8 œ#œnœ. œ. Fl. ° b œ. œ. œ. œ. œ. œ. œ. œ. & b ∑ 78 Œ ‰ ‰ ‰ Œ ‰ Œ J 43 Œ ‰ ‰ 4 Œ ‰ ‰ Œ Ó ‰ 78 p

clipped Cl. b ...... œ œ œ. . & b ∑ 78 Œ #œ ‰ ‰ œ ‰ Œ ‰ #œ Œ œ 43 Œ #œ ‰ ‰ œ 4 Œ ‰#œ œ ‰ Œ Ó ‰ #œ 78 p J

...... Bsn. ? . œ. œ nœ œ œ œ. œ. œnœ œ.bœ bb ∑ 78 ∑ ∑ 43 Ó ‰ œ 4 ‰ ‰ ‰ Œ 78 ¢ p mp p mf

clipped Tpt. ° b ...... œ. & b ∑ 78 Œ nœ ‰ ‰ œ ‰ Œ ‰ nœ Œ œ 43 Œ nœ ‰ ‰ œ 4 Œ ‰nœ œ ‰ Œ Ó ‰nœ œ#œ 78 p J

Tbn. ? b ∑ 7 ∑ ∑ 3 ∑ 4 ∑ ∑ 7 ¢ b 8 4 4 8

j Clv. °/ Œ ‰ œ Œ œ Œ 78 ∑ ∑ 43 ∑ 4 ∑ Ó œ ‰ Œ 78 ¢ mf

step closer still, too eagerly mf f S. ° b & b ∑ 78 ∑ Œ ≈¿ ¿ ¿ ¿™ù 43 ∑ 4 ∑ ∑ 78 You wan-na play?

= spoken, follow contour mf f z mf appear to consider it, mockingly Bar. ? b Œ Œ Œ™ ¿ 7 ∑ ∑ 3 ∑ 4 Ó Œ ¿ j ‰ Œ 7 b to soprano, û 8 4 4 Y ¿ 8 ¢ dismissively: Hey. Nah.

7 + 2 8 Vln. ° bb ‰ ‰ Œ 7 ‰ ‰ ‰ ‰ 3 ‰ ‰ 4 ‰ Œ ‰ Œ 7 & œ 8 œ 4 œ 4nœ œ œ œ œ œnœ#œ œbœ 8 œ œnœ bœ œ œ œ œ œ œ œ œ œnœ mf ff

Vc. ? œ œ nœ 7 œ œ œ œ 3 œ œ nœ 4 œ œ nœ 7 bb ‰ ‰ ‰ Œ 8 ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ 4 ‰ ‰ ‰ 4 ‰ ‰ ‰ Œ œ#œnœ bœ ‰ Œ 8 mf nœ ff

. - . - ...... nœ. Cb. ? œ. œ nœ™ . œ. œ œ . œ. œ™ œ. œ nœ œ. nœ œ. œ œ. nœ œ œ. œ bb Œ 78 œ J œ 43 4 ‰ ‰ Œ ‰ Œ 78 ¢ mf ff

62 50 œ œ œ œ bœ œ œ œ™ œ #œ œ œ œ œnœ Fl. ° b ˙ œ™ ˙ œ™ nœ œ œ™ & b 78 ‰ Ó f ff f ff mf ff

Cl. b7 œ nœ œ œ œ™ œ œ #œ œ œ œ œ œ œ j j & b 8n˙ œ™ ˙ œ™ ‰ œnœ œ œ œ œ f ff f ff mf œ ™

stormy 3 -. 3 3 3 > >- >- œ œ œ™ œ > >. >. >. >œ. œ. ˙ œ nœ. œ Bsn. ? b7 œ œ œ. œ œ bœ œ œ J b 8 . . >. œ bœœ >. œœœ ‰ Ó ¢ ff> œ œ œ > œ œ œ mf ff

œ œ œ œ œbœ œ Tpt. ° b7 ˙ œ™ ˙ œ™ œ œ œ œ œ#œ j & b 8 ‰ nœnœ œnœ œ ‰ ‰ Ó mf f mf 3 f mf f

long, slow slide punchy >- >- >. > >. >- Tbn. ? bœ œ œ -œ bœ ˙ bb78 Œ J J nœ™ Ó ∑ ¢ f ff mf

Bass Drum >- >- >- >- >- >- >- >- >- To Tamb. B. D. °/ 78 Œ œ œ™ œ™ œ œ œ œ œ™ œ ‰ Ó ∑ ¢ f

at first, disheartened, then becoming petulant S. ° b & b 78 ∑ ∑ ∑ ∑ ∑

walk away from soprano, amused Bar. ? b7 ∑ ∑ ∑ ∑ ∑ ¢ b 8

stormy arco 3 Vln. ° b œ œ œ & b 78 œ œnœ œ bœ #œ ™ ‰ Ó œ œ œ œ œ œ 3 bœ œ œ œ œ œ. œ œ œ œ bœ œ. œ œ . f. ™ ff f ff f fff

stormy . œ nœ Vc. ? b7 œ œ œ . œ œ bœ œ œ œ nœbœ œ œ œ œ œ b 8 œ J œ œ œ œ œ œ ‰ ‰ œ ‰ ‰ ‰ ‰ ff J J

stormy . . Cb. ? bœ œ œ œ. bœ œ œ œ. bœ œ œ œ. bœ œ œ œ. œ. nœ nœ œ bb78 J J J J J ¢ ff

63 rit. 7 + 2 > 55 tauntingly > >- >- > -œ >œ. > . œ . œ nœ œ #-œ n>-œ >œ 8 œ bœ bœ bœnœ œ bœ œbœ Fl. ° b œ™ #œ œ & b ∑ 24 ∑ 78 J J Œ 43 4 ‰ Ó f ff f ff mp ff

- >. > > > œ œ bœ bœ. œbœ bœ. Cl. bb n-œ œ 2 7 ∑ ∑ 3 4 ‰ Ó & - œnœ œ 4 œ nœ 8 4 4 > > b˙ œ™ ff mp ff ff mf f mp

œ nœ - > > Bsn. ? b 2 7b˙ œ™ 3 œ œ. 4 œ b ∑ 4 8 ∑ ∑ 4 bœ bœ. 4 ‰ bœ bœ. Ó ¢ mf f mp ff > mp ff

> > Tpt. ° b 2 7 3 . #œ. 4 #œ. & b ∑ 4 ∑ 8 ∑ ∑ ∑ 4 œ œ. nœ 4 ‰ œ nœ Ó ff>. > mp > ff

> > > Tbn. >. >. . #œ. #œ. ?bb ∑ 24 ∑ 78 ∑ ∑ ∑ 43 œ nœ #œ 4 ‰nœ#œ Ó ¢ ff mp ff

Triangle Tambourine Tamb. æ j °/ ∑ 24 œ œ 78 ˙æ œ Œ Ó ‰ ‰ œ ‰ œ ‰ œ ‰ œ ‰ Œ 43 œ œ œ œ 4 Ó Œ œ ¢ mp mf mp mp ff mp ff

step closer, incredulously and again as one who has taken great offense forcefully mp mf mf f ff f ff -œ >. > . S. ° b j 2 ¿ 7 ¿ ¿ ¿ù 3 œ œ bœ 4 & b Ó Œ ¿ 4 ¿ 8 ∑ Ó ¿ ù‰ Ó ‰ Œ 4 4 ∑ And why not? Bo- ring? Bo- ring? I'm not bo- ring!

with increasing insistence matter of factly f ff ff > Bar. ¿ - ¿. ?bb ∑ 24 ∑ 78 Œ ¿™ ¿ ¿. ‰ ∑ ¿ Œ Œ™ 43 ∑ 4 ∑ ¢ 'Cause you're bo- ring. Yes. Yes!

7 + 2 rit. 8 - >. > > Vln. ° b ˙ œ™ œ œ œ bœ. œ œ bœ. & b ∑ 24 ∑ 78 ∑ ∑ ˙ Œ 43 4 ‰ Ó sffzp f ff mp ff

arco #œ #œ #œ #œ > > Vc. ? nœ œ œ nœ œ nœ œ œ >. >. #œ. #œ. >. #œ#œ. bb ‰ ‰ ‰ 24 ∑ 78 ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ Œ 43 nœ nœ 4 ‰nœ Ó mp f ff mp ff

- arco . . n-œ . nœ. #œ. œ . nœ. #-œ™ . #œ. #œ™ > >. > . Cb. ? b œ œ ™ 2 7 œ œ œ 3 œ. œ 4 . œ œ b 4 ∑ 8 J Œ 4nœ #œ. 4 ‰bœ Ó ¢ mp f ff>. > mp ff 64 Slower; Reflectively (q = 90) like a bamboo flute 62 C U Fl. ° b3 n 5 j œ & b 4 Ó nœ n 4 œ™ œ ˙ œ œ œ œ ˙ ˙™ Ó ∑ ∑ ∑ ∑ p mf pp

Cl. b U n & b 43 ∑ n 45 ∑ ∑ ∑ ∑ ∑ ∑ ∑

˙™ œ™ ˙ Bsn. ? U œ ˙ œ ˙ ˙ ˙ ˙ bb43 ∑ nn 45 ∑ ∑ J ™ ™ ∑ ¢ pp mf p

Tpt. ° b U n & b 43 ∑ n 45 ∑ ∑ ∑ ∑ ∑ ∑ ∑

U #˙™ œ Tbn. ? b3 n 5 ™ #œ b 4 ∑ n 4 ∑ ∑ ∑ ∑ ∑ ∑ J ¢ pp

Tri. 3 U 5 ¢°/ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑

a bit sneering and defeated compose yourself p mf p p mf p U j j S. ° bb3 ∑ nn 5 ˙ œ œ œ Ó ∑ œ œ œ™ œ œ œ & 4 4 œ™ œ œ œ ˙ ˙™ œ œ œ #˙ ˙™ ˙ Fine! (n) Fine. (n)

be still, growing irritated with soprano's willingness to move on U Bar. ? b3 ∑ n 5 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ b 4 n 4

Slower; Reflectively (q = 90) C Vln. ° b U n & b 43 ∑ n 45 ∑ ∑ ∑ ∑ ∑ ∑ ∑

U œ œ œ j œ œ œ Vc. ? b3 n 5 ™ œ œ œ #˙ ˙™ ˙ b 4 ∑ n 4 ∑ ∑ ∑ ∑ ˙ ˙ ˙ ˙ ˙ ˙ p ™ ™ mf ™ p

U Cb. ? b3 ∑ n 5 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ b 4 n 4

65 70 rolling 3 3 3 3 Fl. ° ∑ ∑ ∑ œ œ & œ œ œ œ œ œ ˙ œ œ œ œ œ p mf p f rolling 3 3 3 3 3 3 Cl. & ∑ ∑ ‰ ‰ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ™ œ œ œ™ œ œ pp mp pp mp p mp mf mp

rolling œ œ œ œ œ œ œ œ Bsn. ? ∑ ∑ Ó ‰ œ œ œ œ œ œ œ ˙ œ œ œ œ ¢ J 3 3 3 3 3 pp mp pp mp p mf

Tpt. ° & ∑ ∑ Ó™ ˙ ˙ ˙ p ™ mf

Tbn. ? ˙ #˙ n˙ œ ™ œ œ œ ˙™ ˙ Ó Œ ˙ ¢ mf p p

Vibraphone flatly, creating a sound field

Tri. œ œ #œ œ œ œ œ œ œ œ œ œ œ œ °/ ∑ ∑ ∑ & œ œ #œ œ nœ œ ¢ œ œ œ œ #œ œ œ #œ œ œ œ œ œ œnœ œnœ œ pp #œ œ ° ° dejectedly remembering yourself mp mp S. ° ∑ ∑ Œ Œ Ó Œ Œ ‰ j & ¿ ¿ ¿ ¿ Fine. But.... But.... B. -

Bar. ? ∑ ∑ ∑ ∑ ¢

3 3 rolling Vln. ° ∑ ∑ ∑ Ó œ & œ œ œ œ œ œ œ mp mf

Vc. ? ∑ ∑ ∑ ∑

Cb. ? ∑ ∑ ∑ ∑ ¢

66 lightly, on gossamer wings œ ˙ œ 74 3 3 3 œ œ™ œ œ œ Fl. ° œ œ œ œ#œ 4 J & œ œ œ œ œ œ œ œ œ œ œ œ œ 4 3 3 3 3 mf f p f

3 3 3 3 3 ˙ œ œ™ Cl. & œ Œ 4 J œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ mf mp f

3 3 3 3 œ œ œ œ œ œ Bsn. ? œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ 4 ¢ 3 3 3 3 œ œ w mp mf mp f

Tpt. ° & Œ 4

nw fw

Tbn. ? ˙™ ˙ 4 w ¢ f

œ œ nœ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vib. ° #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ 4 & 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 œ œ œ œ #œ œ œ œ f ° ° victoriously f ff œ™ S. ° 4 ˙ œ & ¿. Œ Œ Ó 4 J but! I'm rub - ber,

stare, dumbstruck by the upstart soprano's renewed courage Bar. ? ∑ 4 ∑ ¢ 4

bring out the top note of each arpeggio 3 3 3 3 3 3 3 3 3 3 3 3

Vln. ° 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 œ œ œ mp mf mp f mp f mp 3 3 3 Vc. ? œ 4 œ Ó™ œ œ 4 œ œ œ œ ˙ œ œ œ ˙™ f mp f

Cb. ? ∑ 4 ∑ ¢ 4

67 76 b˙ ˙ ˙ n˙ b˙ Fl. ° ˙ & 43

Cl. ˙ ˙ & ˙™ Œ b˙ ˙ 43

Bsn. ? 43 ¢ b˙ ˙ w b˙ ˙

Tpt. ° 3 & ˙ 4 ˙ ˙ w ˙

Tbn. ˙ ˙ ? ˙ ˙ w 3 ¢ 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. ° œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 ¢& bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 ff ° ° ° ° f ff f ˙ 3 S. ° b˙ œ™ œ nœ œ œ bœ -œ & J J J ™ œ œ™ œ œ œ 43 you're glue; what - ev - er you say boun - ces off to me and sticks

Bar. ? ∑ ∑ ∑ 3 ¢ 4

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 œ bœ œ œ bœ œ œ bœ Vln. ° œ #œ œ œ 3 & œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œœ œ œ œœ œœ œœ œœ 4 œ œ f œ œ œ œ mf œ œ œ œ œ œ

Vc. ? 3 b˙ ˙ w b˙ ˙ 4 b ˙ ˙ w b ˙ ˙

Cb. ? ∑ ∑ ∑ 3 ¢ 4

68 79 D accel. Fl. ° b˙™ n˙ œ™ & 43 78 ∑ ∑ ∑ ∑ mp

with baritone > Cl. . ˙ œ™ œ œ 3 ˙™ 7 ˙ œ™ œ bœ ‰ Œ œ J œbœ œbœ Ó ‰ ‰ & 4 8 J J mp f mp f mp n-œ.

Bsn. ? 3 7 4b˙ Œ 8 ∑ ∑ ∑ ∑ ∑ ¢ mp

Tpt. ° & 43 78 ∑ ∑ ∑ ∑ ˙™ ˙ œ™ p ˙™ ˙ œ™ Tbn. ? 43 78 ∑ ∑ ∑ ∑ ¢ p

Percussion œ œ ¿ ¿ ¿ ¿ Perc. ° 3 ∑ 7 ∑ ∑ ∑ ∑ / 4 8 œ œ œ p

bœbœ Vib. 3 œ œ 7 ∑ ∑ ∑ ∑ ∑ & 4 œbœbœ 8 ¢ bœ œ mp begin to playfully circle around baritone; start ° gleefully taunting at some distance and gradually move closer mf f mf f mf S. ° 3 7 . . #œ œ. œ. œ . & 4 Œ™ bœ™ 8 ˙™™ œ ‰ œ œ œ œ. ‰ ∑ Ó #œ™ œ ‰ to you. Ruh - ruh-rub-ber I'm ruh - ruh-rub-ber thoughtfully mf pace back and forth f mf f mf b-œ™ Bar. ? 3 7bœ >¿ j ˙ bœ >¿ j bœ œ bœ 4 ‰ Œ 8 J ‰ œ Œ ‰ ‰ œ ‰ œ Œ J œ œbœ Ó ‰ nœ ‰ ¢ Sticks... Sticks (x) and- stones may break (k) my- bones, but-.

3 3 3 3 D accel. bœ œ œ Vln. ° 3 bœ œ œ . œ . 7 ∑ ∑ ∑ ∑ ∑ & 4 œ œ œ œ 8 bffœ œ œ mf pizz #œ. #-œ™ #œ#œ nœ nœ œ #œ #œ œ Vc. ? 3 j 7 œ œ œ œ œ œ œ bœ nœ 4b˙ œ ‰ 8 J ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ mp mf f mf sub. f

pizz #œ. #-œ #œ. nœ n-œ #œ #œ. œ Cb. œ œ œ œ œ ™ œ œ œ bœ ™ nœ ? 43 ∑ 78 J J J ¢ mp mf mp sub. mf sub. f

69 85 . . . . bœ œ œ œ bœ bœ. œ. œ bœ. bœ bœ. Fl. ° J & ∑ 43 ∑ ∑ ‰ 85 ‰ ‰ J Œ mf f

. . . . bœ. œ. œ bœ. bœ bœ. Cl. #œ 3 ˙ nœ œ bœ œ œ œ bœ 5 & œ œ œ œ 4 Œ Œ ‰ J 8 ‰ ‰ J Œ f mf mf f

...... bœ. œ œ œ bœ. œ œ œ Bsn. ? ∑ 43 ∑ ∑ ∑ 85 J J ¢ mf

Tpt. ° & ∑ 43 ∑ ∑ ∑ 85 ∑ ∑

Tbn. . #œ. #œ œ #œ #œ #œ ? ∑ 43 ∑ ∑ ∑ 85 œ J œ J ¢ mp

j Perc. ° œ œ ¿ ¿ ¿ ¿ 3 ¿ ¿ O œ œfi ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ œ 5 O ¿ ¿ / œ œ œ 4 ‰ ‰ œ œ œ œ œ œ œ 8 ‰ œ œ œ ¿ œ ¿ ¢ mf f

mf f mp f mp S. ° . . . . œ . . . bœ. œ. œ . . . . . & ‰#œ œ œ œ œ ‰ 43 Œ bœ œ bœ œ ‰ ‰ œ ‰ ‰ bœ 85 ‰ nœ œ œ bœ Œ ‰ œ bœ ruh - ruh -ruh-rub-ber You're glue. guh - guh - guh ruh - ruh - rub-ber ruh -ruh - rub-ber rub-ber

f mf ff - - #œ ˙ nœ œ #œ. -. œ -œ. nœ Bar. œ œ œ œ bœ ? œ 43 Œ Œ 85 J ∑ ¢ words will ne - ver hurt me. sticks and stones sticks and stones

Vln. ° ...... & ∑ 43 ∑ ‰ bœ œ ‰ ‰ œ ‰ #œ ‰ œ œ #œ 85 ‰ nœ œ œ bœ Œ ‰ œ bœ mf ff

#œ #œ œ nœ nœ œ œ #œ #œ Vc. œ bœ bœ nœ #œ #œ œ #œ #œ #œ ? ‰ ‰ ‰ 43 ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 85nœ J œ J ff

- œ #œ #œ œ #œ #œ™ bœ nœ œ œ œ œ œ nœ #œ #œ œ œ nœ œ œ œ œ Cb. ? 43 ‰ ‰ 85 J J ¢ ff

70 q = 120 91 ...... >- >- ...... œ 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. ° & ‰ ‰ ‰ ‰ Œ 24 ‰ ‰ mf

Cl. œ. œ. œ. œ œ. œ. œ. œ œ. . œ. >- >- . œ. . œ. . & ‰ ‰ ‰ ‰ Œ 24 ∑ ‰ #œ œ. #œ œ #œ œ. œ œ. ‰ #œ mf

3 3 ...... Bsn. ? nœ j œ œ j œ. #œ 2 œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ #œ. œ. 4 œ. œ. ‰ ‰ œ >. œœœ>. œœœ ¢ f. . . . . mp . f

bring out . . >. >- Tpt. ° . . . . 2 œ™ œ #œ #œ œ œ & ‰ œœœ œ œ œ. ‰ œ ‰ œ œ œ. ‰ Œ 4 ∑ ∑ J ™ J mf mp mf f

bring out . #œ. >. >- . œ#œ. . œ #œ. #œ œ™ œ #œ™ œ œ Tbn. ? nœ œ œ œ œ œ 2 J J J œ 4#œ œ ‰ œ ∑ ¢ mf mp mf f

¿ ¿ ¿ ¿ OO¿ ¿ OO ¿ ¿ O O ¿ ¿ OO O œ O œ ¿ ¿ OO¿ ¿ OO ¿ ¿ O O ¿ ¿ O O Perc. ° ¿ ¿ ¿ ¿ 2 ¿ ¿ ¿ ¿ ¿ ¿ ¿ / œ œ 4 œ œ œ œ œ ¢ p begin moving toward screen plainly sharply mf mp mf mf mp ff - - > S. ° œ. ‰ œ. ‰ œ œ ‰ #œ. œ. œ œ. 2 Œ ¿ ‰ #œ. œ œ. ‰ ¿ ‰ ∑ ∑ & J œ 4 sticks to you ruh - ruh-rub-ber Yes. ruh - rub-ber Yes!

begin moving toward screen aggressively patronizingly mf suddenly mf f ff -œ. œ œ œ Bar. œ ¿ ¿ ? ‰ ‰ J ≈¿ ¿ ¿ ¿ ‰ 24 ∑ ≈¿ ¿ ¿ ∑ ¿ ¿ ¿ ¿ ¢ sticks and stones You wan-na play? You wan-na play? Do you want to play?

q = 120 pizz œ œ Vln. ° #œ #œ œ #œ #œ & ∑ ∑ ∑ 24 ∑ ‰#œ œ œ ‰ œ #œ ‰ œ mp

#œ #œ #œ Vc. ? nœ œ œ œ œ œ œ 2 œ œ œ J œ œ 4#œ œ ‰ œ ‰ ‰ œ œ œ#œ œ ‰ ‰ œ ‰ ‰ œ p

œ œ œ œ soft, but intensely Cb. ? œ J œ œ œ œ œ 2 J œ #œ œ 4 œ œ œ œ œ œ œ œ œ œ ¢ p

71 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 99 . . . . . > œ œ œ. œ œ œ. œ ˙ ˙ w w Fl. ° & ‰ 4 24 ∑ 4 sffzp ff

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Cl...... > & œ. œ #œ œ. œ #œ œ. œ b˙ ˙ 4 w w 24 ∑ 4 sffzp ff

3 3 >. >. >. > > Bsn. œ œ œ œ œ œ. . > ? . . ‰ ‰ ‰ ‰ ‰ œ ‰ bœ. 4 2 ∑ 4 ¢ > œ œ œ> œ œ œ 4bw w 4 4 sffzp ff

˙ bw w Tpt. ° ˙ #˙ #˙ & 4 24 ∑ 4 mp sffzpp ff

˙ ˙ #˙ ˙ w Tbn. w ? 4 24 ∑ 4 ¢ mp sffzpp ff

To B. D. > Perc. ° O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O > . / 4 ˙ w 2 œ ‰ Œ 4 ¢ œ œ œ œ œ œ œ œ 4 œ œ æ æ 4 J 4 æsffzpp æ ff

emphatically meet in front of screen wracked by indecision remain frozen 3 S. ° >¿ ¿ ¿ ¿ ¿ & Œ ∑ ¿ Œ 4 ∑ ∑ 24 ∑ 4 Yes! What shall we play, then? fff

wracked by indecision meet in front of screen remain frozen 3 ¿ Bar. ? ∑ ∑ ¿ ¿ ¿ ¿ Œ 4 ∑ ∑ 24 ∑ 4 ¢ What shall we play, then? fff

arco œ œ Vln. ° #œ #œ œ #œ #œ & ‰ #œ œ œ ‰ œ #œ Œ 4 24 ∑ 4 w w f sff> zp ff arco œ œ œ œ œ Vc. ? ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ 4 ‰ ‰ Ó bw 2 ∑ 4 œ œ œ œ 4 œ w 4 4 f sff> zp ff

. Cb. ? 4 2 œ Œ 4 ¢ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ 4 œ 4 ff

enter stage and proceed with purpose to the microphone Narr. & 4 24 4 72 e=q Suddenly Slower q=e Fast Again (q = 60) (q = 120) 106 E œ bœ œ bœ bœ b˙™ b˙™ Fl. ° œ U & 4 Œ Œ Œ Œ ∑ ∑ p f mp ff ppp

bœ Ÿ~~~~~ Cl. 4 œ ˙™ U bœ œ œ œ bœ œ œ œ & 4 Œ œ œ Œ bœ œ Œ Œ ˙™ œ œbœ œ œbœ œ ˙ 3 3 p f mp ff mf ff

U Bsn. ? 4 Œ Œ Œ Œ ∑ ∑ 4 œ bœ bœ œ bœ ¢ bpœ f mp bff˙™ b˙™ ppp

˙™ ˙™ Tpt. ° œ œ œ #œ U & 4 Œ #œ œ Œ Œ Œ ∑ ∑ p f mp ff ppp b˙™ b˙™ œ bœ œ Tbn. bœ œ bœ U ? 4 Œ Œ Œ Œ ∑ ∑ ¢ p f mp f ppp

Bass Drum U Cowbell B. D. ° Œ Œ Œ Œ / 4 ∑ œ œ œ œ œ œ ‰ œ Ó ∑ ∑ ¢ f ff

in a moment of realization peppy and enthusiastic exit around the screen, to the rear of the projector ¿ by the time the trumpet enters; same direction as bar. S. ° 4 ∑ ∑ ∑ Œ Ó ∑ ∑ & 4 throughout March! and The Wait, occasionally enter and War! exit the stage, engaged in play with the baritone, according to the mood of the moment

peppy and enthusiastic exit around the screen, to the rear of the projector in a moment of realization by the time the trumpet enters; same direction as sop. Bar. ? 4 ∑ ∑ ∑ ¿ Œ Ó ∑ ∑ 4 throughout March! and The Wait, occasionally enter and ¢ War! exit the stage, engaged in play with the soprano, according to the mood of the moment

Suddenly Slower q=e Fast Again e=q E (q = 60) (q = 120) œ œ œ œ œ œ œ Vln. ° œ œ #œ ˙ U ˙ œ œ œ œ œ & 4 Œ Œ #˙™ Œ Œ #˙™ œ œ#œ œ œ#œ œ ˙˙ 3 3 p f mp ff mf ff

Vc. ˙™ U ˙™ ˙™ ? 4 Œ #œ œ œ Œ œ œ #œ Œ Œ #œ w p f mp ff mf ff

arco pizz U Cb. ? 4 Œ Œ œ Œ Œ Œ 4 œ œ œ œ œ ˙ ˙ ˙ œ œ œ œ ¢ p f mp ff™ mf™ ™ ff

peppy and enthusiastic growling, belligerent (just a giggling sound) Narr. 4 ˙ ≈ Uœ œ Œ & 4 ™ œ Ó™ f œ Ó WAARRR!!! tee-hee War! ff 73 112 poco rit. Fl. ° & ∑ ∑ <Ÿ>~~~~~~~~~~~~~~~~~~~ Cl. & w ∑ mp

Bsn. ? ∑ ∑ ¢

Tpt. ° & ∑ ∑

Tbn. ? ∑ ∑ ¢ Percussion ¿ ¿ ¿ ¿ ¿ ¿ ¿ O ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ O ¿ ¿ ¿ ¿ Perc. °/ >œ >œ >œ >œ >œ >œ >œ >œ ¢ p

poco rit.

Vln. ° & 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 mf> > > > > > > > #>œ œ œ œ >œ œ œ œ œ >œ œ œ >œ œ œ œ #>œ œ œ œ >œ œ œ œ œ >œ œ œ >œ œ œ œ Vc. ? mf pizz Cb. ? œ œ œ #œ ¢ œ œ œ œ

Narr. & = q=h 114 q = 108 Cl. ° # & ∑ # C ∑

Bsn. ? ∑ ## C ∑ ¢ lightly Tpt. ° ## & ∑ C Ó Œ œ œ. ¢ mf. > > >. Perc. ° > > > > j / ¿ œ œ œ ¿ œ œ œ œ ¿ œ œ ¿ œ œ œ C œ œ œ œ œ ‰ Œ ¢ f q = 108 q=h Vln. ° ## j & œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ C œ œ œ œ œ ‰ Œ > > > > > > ff>. > #>œ œ œ œ >œ œ œ œ œ >œ œ œ >œ œ œ œ >œ œ >œ œ œ. Vc. ? ## C œ œ œ œ œ ‰ Œ ffJ Cb. ? # œ œ œ #œ # C ˙ ˙ ¢ mp Narr. & C 74 March!

116 F Cl. ° ## Œ Œ Œ Œ Œ Œ & œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ -. -. - mf . . œ f mp-.

lightly j . Bsn. ?# . . . #œfiœ . # œ Œ fij Œ œ Œ fij Œ œ Œ Œ œ Œ fij Œ Œ Œ Œ Œ ¢ #œ œ. #œ œ. #œ œ. œ œ œ. mf mpœ. . .

>. > 3 Tpt. ° ## œ œ. œ œ œ j & œ. œ œ œ. œ. œ œ œ œ œ œ 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> sub. p f

Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Perc. ° ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ / œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ Œ œ Œ œ Œ œ Œ œ ¢ p

Tacet Bar. °?## ∑ ∑ ∑ ∑ ∑ ∑ ¢

F # j j j j Vln. ° # ‰ ‰ Œ ‰ ‰ Œ ‰ œ œ œ œ ‰ Œ ‰ ‰ Œ ‰ ‰ Œ ‰ j & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œœ œ œ p > mp>. sim.> >. œ œ œ œ. > >. > . . > >. . > . œ œ œ > > > >œ œ. œ.

pizz œ. œ. Vc. ?## ∑ ∑ ∑ ∑ Œ Œ œ. Œ œ. Œ mp

Cb. ?## ∑ ∑ ∑ ∑ ∑ ∑ ¢

(as a detached, omniscient, and cheerful entity) 'Twas springtime on the battlefields of greatest inconsequence, somewhere west of you, north of me, and east of parental view. Narr. & 75 122 G Fl. ° # & # ∑ ∑ ∑ ∑ ∑ ∑

recklessly and loosely > >. œ. œ œ œ > œ œ 3 œ Cl. ## œ œ œ œ. 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 J œ. œ 3 3 œ 3 - f-. mf > f

Bsn. ?# . 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. mp . mf. . .

. œ. ™ . Tpt. ° # œ œ œ™ œ œ œ™ œ œ & # œ œ œ œ Ó 3 œ œ œ ˙ ˙ œ w ˙ ff p. ™ mf ˙

Tbn. ?## ∑ ∑ ∑ ∑ ∑ ∑ ¢

3 3 ¿ ¿ ¿ O œ œ O œ Œ Perc. ° œ œ œ ¿ ∑ ∑ ∑ ∑ ¢ / œ Œ œ Œ Œ œ œ Œ f

G Vln. ° ## Œ Ó ∑ ∑ ∑ ∑ & w w œ f>.

. . . . . œ. . . . . Vc. ?# œ. œ œ œ œ . œ œ œ . œ œ # œ. Œ Œ Œ Œ Œ Œ Œ œ Œ œ Œ Œ f mp mf

arco pizz Cb. ?# ˙ # ∑ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ¢ mp mf

Ah, how I love the smell of sunshine in the morning! Narr. & 76 128 Fl. ° # & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ b

. œ. . œ œ œ œ. œ . œ. bœ œ. . > > >- > > > Cl. # œ œ œ œ œ™ bœ œ œ œ - -œ œ - - -œ & # œ œ œ œ œ ‰ œ œ bœ œ nœ nœ œ bœnœ œ œ œ b œ J J 3 3 œ œ ff #œ

. . . . . œ. œ . . . . Bsn. ?# œ œ . œ. œ. . œ œ œ œ œ . . œ. œ œ. # Œ Œ œ œ. œ Œ Œ bœ Œ œ Œ œ Œ Œ b ¢ . f p

# Tpt. ° # œ Œ œ œ Œ Œ bw b & ˙ ˙ ˙ #˙ -. n˙ œ œ ˙ œ. œ . . œ. f bœ. .

Tbn. ?## ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ b

Perc. ° ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ /

Vln. ° # & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ b

. . . œ. œ. . Vc. œ œ. œ . . nœ. . . œ œ œ. . . œ. ?## Œ Œ œ œ œ Œ bœ Œ Œ œ Œ œ Œ nœ Œ Œ Ó b . f p

Cb. ?## ˙ ˙ ˙ ˙ b˙ w w n˙ ˙ n˙ Ó b ¢ #˙ f mp

The effervescent birds singing; the vivid blue sky all around; the dewed grass underfoot, and the joyful rush of children unbound by time. Narr. & 77 H flippantly 135 . Piccolo gliss. œ ...... œ œ. œ œ. . œ œ. . œ ˙ œ œ œ. œ œ œ œ. œ Fl. ° ˙ œ œ & b ∑ ∑ ∑ Ó mf f

Cl. & b ˙ Ó ∑ ∑ ∑ ∑ ∑ ∑ p

. Bsn. ? œ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ¢ b

Tpt. ° & b œ. Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ p

lightly . . Tbn. ? ∑ ∑ ∑ ∑ œ Œ Œ œ Œ Œ Œ Œ b œ. œ. œ ¢ mp œ. .

flippantly ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ Mar. p f ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ { b H biting œ. ˙ ...... - Vln. ° œ ˙ œ œ œ ˙ œ œ œ œ œ œ & b ‰ œ œ œ ˙ ‰ œ œ. ‰ ‰ ‰ Œ ‰ œ œ œ œ œ Œ ‰ Œ f...... - . p mp p mp pœ. œ. œ. mp-œ

arco biting ...... - œ œ œ œ œ œ œ œ . . . - . œ œ œ œ Vc. ? . . . . . œ œ œ œ œ b Œ ‰ ‰ œ œ ‰ œ œ œ œ œ ‰ œ. œ œ œ œ œ Œ ‰ Œ ‰ Œ f œ. œ. p. . - p mp p mp

Cb. ? ˙ ˙ ˙ ˙ ˙ ˙ b ˙ Ó ˙ Ó ˙ ˙ ¢ mf ˙ ˙

The scenery is much brighter for the daisy pullers, guaranteed resurrection. Narr. & 78 142 > > >. > I . . . œ. œ œ œ œ œ œ . œ . œ œ #œ œ >. > > > œ œ œ. œ. . . . œ™ œ œ œ™ œ . œ œ œ œ œ œ œ™ œ . >. œ™ œ œ. Picc. ° b œ ‰ œ œ œ™ œ œ™ œ œ J ‰ œ™ ‰ #œ Jnœ œ J Œ & 3 3 mp ff mf f mf f

Cl. & b ∑ ∑ ∑ ∑ ∑ w w pp

w w Bsn. ?b ∑ ∑ ∑ ∑ ∑ ¢ pp

Tpt. ° & b ∑ ∑ ∑ ∑ ∑ ppw w

. Tbn. ? œ. œ œ. . #œ. nœ. . b œ. Œ Œ Œ Œ œ Œ œ Œ œ. Œ œ Œ Œ Œ Œ œ. Œ œ Œ œ Œ ¢ . mf . #œ. .

> > 3 > 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 J œ™ 3 #œ J J Mar. mp ™ œ ff mf f > mf f ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ { b I 3 . œ. ˙ Vln. ° . . œ. œ & b ‰ Œ ‰ ‰ œ œ œ œ Œ œ œ œ Ó ∑ œ œ . . . œ œ œ. . œ. . 3 pœ. œ. œ. -œ mpœ. œ . . . f p

. . . - . . ˙ œ œ œ œ œ œ œ. œ œ. . œ. . . œ. . œ. œ. œ Vc. ? ‰ Œ ‰ ‰ Œ œ œ Œ œ. œ œ œ. œ ˙ #w b . 3 3 p mp f p

˙ Cb. ? ˙ ˙ ˙ #˙ ∑ ∑ b ˙ ˙ ˙ ˙ #˙ ¢ f

Each death will be subject to parliamentary debate, and with hours to fill, the Styx is but a rivulet.

Narr. & 79 149 . . . . . > > œ œ œ nœ. œ œ œ. œ œ œ œ. . . . bœ. œ. œ. . . œ. Picc. œ™ œ . . œ œ#œ œ œ . œ œ bœ œ œ œ œ bœ œ bœ ° b J œ œ ™ œ œ œ œ. ‰ œ ‰ œ & 3 3 mf f ff

Cl. . . b˙ . . & b w nw ˙ œ Œ ˙ œ Œ œ Œ b˙ œ Œ mf

w . Bsn. ? w ˙ œ ˙ œ. ˙ œ. . b Œ Œ Œ b˙ œ Œ ¢ mf

Tpt. ° & b w ˙ #œ Œ n˙ Œ b˙ œ. Œ b˙ œ Œ w . œ. mf .

. œ. œ. . . Tbn. ? . . œ œ. œ. œ . bœ b Œ œ Œ œ Œ nœ Œ Œ Œ Œ Œ Œ Œ bœ Œ Œ ¢ œ. . ff

> 3 j > œ œ œ & b œ™ œ œ œ nœ™ œ œ#œ œ œ œ œ œ œ œ ‰ ‰ œ bœ œ œ bœ œ œ 3 œ œ œ œ œ œ bœ œ œ œ œ bœ Mar. mf f ff œ œ œ ? ∑ ∑ ∑ ∑ ∑ ∑ { b

Vln. ° & b ∑ ∑ ∑ ∑ ∑ ∑

˙ . Vc. ? nw #w ˙ . bœ b œ Œ ˙ œ. Œ ˙ œ Œ Œ mf .

˙ ˙ Cb. ? ˙ ˙ ˙ ˙ b˙ b ∑ ∑ b˙ ¢ p

Narr. & 80 . > 155 . . œ. œ œ™ œ. . . . œ œ œ œ œ œ œ œ œ. œ . . Picc. ° œ nœ œnœ œ œ œ œ J œ œ œ œ œ œ. œ. œ & b ‰ Œ œ Œ ‰ Œ ‰ Œ #œ b p 3 3 f ff 3 3

. Cl. b bœ. bœ œ œ œ. œ œ œ nœ. ‰ œ œ œ. Œ Ó w w w ˙ Ó b & œ. p 3 3 f p

. . . œ. . Bsn. ? nœ œ œnœ œ œ œ œ œ ‰ œ œ œ. Œ Ó w w w Œ Œ b 3 3 œ b ¢ p f p. œ.

3 3 . Tpt. ° . œ. œ w w w & b bœ. œ œnœ œ nœ œ#œ œ ‰ œ œ Œ Ó Ó b p . . f p˙

. . . Tbn. ? . . œ w w œ. œ. œ œ b bœ Œ œ Œ œ. Œ Œ œ. Œ Œ Œ Œ Œ Œ b ¢ p œ. f p

3 3 > 3 3 œ œ œ™ œ b œ ‰ œ œ Œ œ œ œ œ œ œ Œ ‰ œ Œ ‰ Œ b & pœ nœ œnœ œ œ œ œ J œ œ œ œ œ œ œ œ Mar. f ff œ #œ ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ { b b

Vln. ° & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ b

bœ. bœ œ œ œ. œ œ œ œ. œ . Vc. œ œ. . ?b ‰ œ Œ Ó w w w #œ Œ Ó b p 3 3 f mp

Cb. ˙ ˙ ˙ ?b b˙ ˙ ˙ ˙ w w ˙ ˙ b ¢ ˙ ff mp

Narr. & 81 Steady and Weighty q=e J sooo importantly 162 . (q =54) œ œ œ ˙™ œ œ #˙™ œ Picc. . œ œ œ œ œ œ œ œ™ œ œ œ™ œ œ ° b œ œ Œ Ó Œ ˙™ ˙™ J œ œ#œ œ œ œœ œ & 3 œ pp mp mf mp mf mp f

sooo importantly Cl. œ œœ œ & b œ Œ Ó Ó Œ j œ œ œ œ#œ œ œ - ˙™ #˙™ #œ œ œ™ œ œ œ ™ œ œ œ œ œ œ œ œ ˙™ mp mf ˙™ mp mf mp f

- - Bsn. ? œ. œ. b Œ ˙ Œ ˙ Œ ˙ Œ ˙ œ Œ ˙ œ Œ ˙ Œ ˙ Œ ˙ ¢ œ œ œ œ -. -. mp-. -. -. -.

Tpt. ° & b Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ -œ

Tbn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ b

& b Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ 3 Mar. œ ?b œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ { pp J Steady and Weighty (q =54)q=e Vln. ° -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 p-œ œ. œ. -œ œ. œ. -œ œ. œ. -œ œ. œ. œ œ œ œ œ œ -œ œ. œ. -œ œ. œ.

pizz Vc. ? Œ œ Œ œ Œ œ Œ œ Œ Œ Œ œ Œ œ b œ œ ˙ ˙ mp ˙ ˙ ˙ ˙ #˙ #˙

Cb. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ b

(a bit more seriously, if only to pretend so) The children know there is evil out there, for their parents have told them so, and on a fearless day such as this, there is no adversary that shall remain undiscovered or unvanquished. Narr. & 82 170 3 3 3 3 Picc. ° 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. w ˙ mp --- . . --- . . --- . . f mp ˙ œ œ Cl. œ ™ œ & b œ #œ œ œ œ œ œ ‰ ∑ œ œ#œ œ œ™ #œœœ™ œœ ˙ œ œ ˙™ œ ˙ ˙ mf ff mf -. -. Bsn. ? ˙ œ . œ -. b œ Œ Œ #˙ œ Œ œ œ Œ Œ Œ bœ Œ œ œ Œ ∑ ¢ -. > . ˙ œ. ˙ œ. . ˙ mf f mf patriotically Tpt. ° & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó j mfœ™ œ patriotically Tbn. ? j b ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó œ™ œ ¢ mf

Vln. ° -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 - mp - . . -œ œ. œ. f mf Vc. ? ˙ œ œ œ œ ˙ b Œ œ ˙ œ œ Œ œ œ œ œ Œ œ Œ ˙ Œ Œ œ œ Œ ∑ mf f mf arco Cb. ? ˙™ b ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ. ¢ mf f> 178 K = patriotically ˙ Picc. ° ˙™ œ œ œ & b ∑ ∑ ∑ ∑ Ó œ™ œ mp J patriotically ˙ Cl. ˙™ œ œ œ & b ∑ ∑ ∑ ∑ Ó œ™ œ mp J patriotically Bsn. ? ∑ ∑ ∑ ∑ Ó ˙ ¢ b j ˙™ œ œ œ mpœ™ œ

Tpt. ° b Œ œ™ & ˙™ œ œ œ ˙ ˙ œ œ œ œ œ ˙ j ˙™ œ œ œ ˙ f . mpœ™ œ ˙ ˙ œ™ œ . ˙ Tbn. ? ˙™ œ œ œ œ œ œ œ ˙ j ˙™ œ œ œ b Œ œ™ œ ¢ f mp stately 3 3 3 3 3 3 3 3 Œ Perc. ° / Œœ œ œ œ Óœ œ Œœ œ œ œ Óœ œ œ œ Œœ œ œ œ Óœ œ Œœ œ œ œ Óœ œ œ œ Œœ œ œ œ Ó œ œ œ Œœ œ œ œ Óœ œ Œœ œ œ œ Óœ œ œ œ ¢ mp mf K Vln. ° & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ arco >. >œ. Vc. ? ˙™ œ ˙ b ∑ ∑ ∑ ∑ Ó Œ œ. œ. mf> > f > > >. œ. >. >. >. œ. Cb. ? ˙™ œ ˙ œ œ ˙ ˙™ œ ˙ b œ. Œ œ. Œ œ. Œ Œ œ. œ. ¢ mf f œ > > >. > mf> > f 83 185 ˙ œ™ œ . bœ œ™nœ bœ w bœ Picc. ° œ œ œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ œ œ & b Œ J Œ 45 4 f ff mf f ff mp f mp

œ œ œ ˙ ˙ ™ œ œ. œ œ œ œ bœ œ œ ™nœ œ œ œ œ œ bœ™ œ œ ™ œ œ bœ œ œ œ œ Cl. & b Œ J Œ 45 ‰ 4 f ff mf f ff mp f mp

j Bsn. ? ˙ Œ œ™ œ œ™ œ ˙™ Œ 5 Œ™ œ ˙ œ œ 4 œ œ œ œ œ ¢ b œ. œ œ œ ˙ œ œ œ œ 4 4 f ff™ mf f ff mp f mp

Tpt. ° b ˙ Œ œ™ œ œ™ œ j Œ 5 Œ ˙™ 4bœ & œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ 4 œ œ œ œ f ff mf f ff ™ mp f mp

˙ œ™ œ . œ™ œ œ ˙ œ œ œ œ œ œ œ Tbn. ? œ œ œ œ ˙ œ œ œ œ b˙™ b Œ ™ Œ 45 Œ™ J 4 ¢ f ff mf f ff mp f mp

3 3 3 3 Perc. ° œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ 5 ∑ 4 ∑ ¢ / Œ œ Ó Œ œ Ó ‰ œ œ œ Ó ‰ œ œ œ Ó 4 4 J J f

w bœ Vln. ° œ œ œ œ œ œ & b ∑ ∑ ∑ ∑ ∑ 45 4 p f mp

>. œ bœ™ œ œ >. > >. >. >. >. >. œ ™ œ œ ˙ bœ Vc. ? œ œ. œ œ bœ œ nœ J 5 4 J b Œ œ Œ Œ Œ Œ Œ Œ Œ 4 Ó Œ 4 >. ff mp f mp

Cb. >. >. > >. >. bœ™ ? Œ œ œ œ Œ œ Œ œ. Œ œ Œ œ Œ œ Œ œ™ œ œ Œ 5 Ó ‰ œ œ Œ 4 œ œ bœ ¢ b . œ . . J 4 4 J > >. > ff > mp f mp 84 rit. 192 > > >. bœ œ œ œ œ bœ œ œ bœ. œ. >. œ œ œ bœ œ Picc. ° b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ 7 & bœ œ œ œ bœ œ œ œ 8 f mp ff œ pœ

> > >. bœ œ œ œ œ bœ œ œ bœ. œ. >. œ œ œ œ œ bœ œ Cl. b œ œ œ œ œ œ œ œ œ œ ≈ œœœœœ 7 & bœ œ œ œ r bœ œœœ 8 œ œ œbœ œ œœ œbœ œ f mp ff œ œ œ œ œ

Bsn. ? œ 7 b bœ œ ‰ ‰ ‰ ‰ ‰ ‰ 8 ¢ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f mp œ ff>™ >™ >™ >™ >™ >p ™

Tpt. ° b œ œ 7 & bœ œ œ œ œ œ bœ œ œ œ œ bœ. œ. œ . œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ b˙ œœœ œ œ 8 f mp f> > >. > œ œ œ œ œ

œ œ Tbn. ? bœ œ œ œ > > > > > > b œ œ œ œ œ œ œ™ ‰ œ™ ‰ œ™ ‰ œ™ ‰ œ™ ‰ œ™ ‰ 78 ¢ f mp ff p

Perc. ° ∑ ∑ ∑ ∑ ∑ 7 ¢ / 8

rit. > > >. œ œ œ œbœ œ œ œ œbœ œ œ œ œ œ bœ œ œ œ œ bœ œ œ bœ. œ. >. œ œ œ œ bœ œ œ œ œ œ œ Vln. ° œ œ œ œ œ œœœœ 7 & b œbœœœ 8 œœ œ œbœ f mp ff œ

œ œ œ Vc. ? œ™ bœ œ œ b J ™ bœ œ w w ˙ Ó 78 J w w ˙ f mp ff p

Cb. ? b œ j 7 b < > œ œ œ™ bœ œ j Ó 8 ¢ œ™ bœ œ w w ˙ f mp ff p 85 The Wait

= 100 197 L q Flute fuzzily with the clarinet Picc. ° & b78 ∑ ∑ ∑ ∑ ˙ œ bœ œ b˙ œ ‰ p mp

fuzzily with the flute Cl. b7 ‰ Œ ∑ ∑ ‰ & 8 ˙ œ œ œ ˙ œ ˙ œ™ ˙ p mp pp ff pp

Bsn. ? 7 ∑ ∑ ∑ ∑ ∑ ∑ ¢ b8

Tpt. ° & b78 ‰ Œ ∑ ∑ ∑ ∑ ˙ œ™ ˙ pp ff pp

Tbn. ? 7 ∑ ∑ ∑ ∑ ∑ ∑ ¢ b8

Vibraphone soft mallets Vib. ° 7 & b8 ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ p œ œ œ œ œ œ œ °

con sordino L q = 100 o o o o o o o nœ. œ. ™ œo nœ. œ. œ. œ. œ. Vln. ° bœ b˙ œ bœ œ. œ. œ & b78 ‰ Œ ‰™ ‰ ‰ Œ ‰ ‰ ‰ ‰ ˙ œ™ ˙ pp ff pp p mp mf

Vc. ? b78 ∑ ∑ ∑ ∑ ∑ ∑

more evenly than the time signature pizz œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ. ™ œ Cb. ?b78 œ œ œ œ™ œ œ œ œ™ #œ œ J #œ ¢ mp J mf mp J mf mp mf

(with a slight shift in tone, slightly more cautionary) There is a point in each youthful skirmish at which it is a plain fact that none of the fighters – whatever their sworn allegiance, rank, or armaments – is having fun any longer. The neighborhood a xenoscape littered with the remnants of a war long forgotten.

Narr. & 78 86 203 bœ œ œ œ b˙™ œ œ bœ œ bœ œ œ œ Fl. ° b bœbœ œ™ #œ œ œ 3 & œ œ 3 3 4 3 3 mf f

bœ œ Cl. œ ˙™ œ œ œ œ œ œ b bœ bœ œ œ #œ œ 3 & œ œ ™ œ 4 3 3 œ œ 3 3 mf

Bsn. ? ∑ 3 ∑ ∑ ∑ ¢ b 4

harmon mute Tpt. ° & b n˙ œ™ 43 ˙™ ∑ ∑ ppp mp

straight mute Tbn. ? #˙ œ ˙ b ™ 43 ™ ∑ ∑ ¢ ppp mp

fitfully Vib. ° 3 & b 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 œ œ œ œ œ œ œ œ mpœ œœœ œ œœœ œœœ œ œœ œ œœœ œ œœ œ œœœ œ œœ œ œ mf œ mpœ. œ œ œ °

o non harm. nœ. œ œo. œo. œo. œo. bœ Vln. ° nœ. & b ‰ ‰ ‰ 43 ∑ ∑ ‰™ ‰ ppp p

bring out col legno battuto Vc. ? bœ œ b ∑ 43 ∑ ∑ ‰ œ œ nœ mf f

- #-œ. œ. -œ. Cb. ? J 3 j b ‰ J ‰ ‰ J ‰ 4 ∑ ∑ œ #œ™ œ ¢ ppp p

Friends become foes, and play ceases.

Narr. & 43 87 207 bœ œ bœ œ b˙™ œ bœ bœ . œ 3 Fl. ° œ œ œ œ œ œ œ œ œ. œ 4 & b ‰ nœ œ bœbœ œ 4 ∑ 3 3 3 mp f

Cl. œ œ œ œ œ œ œ 4 b Œ j Œ Ó & 3 œ œfi 4 3 ˙ œ œ œ œ œ œ œ œ œ œ bœ f mp œ œ œ œ œ f-.

Bsn. ? ∑ ∑ ∑ ∑ ∑ 4 ∑ ¢ b 4

Tpt. ° 4 & b ∑ ∑ ∑ ∑ ∑ 4 œ Œ Ó f-.

Tbn. ? -. b ∑ ∑ ∑ ∑ ∑ 4 œ Œ Ó ¢ f

Vib. ° œ œœœœ œœœœœœœœ œœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ 4 & b œ œ ≈ 4 ¢ œ œf œœ œœœœœœ p œ œ œ œ œ œ œ œ œ œ œ œ w . f> °

o non harm. o nœ. œ nœ. bœ bœ Vln. ° nœ. 4 & b j ‰ Œ Œ ‰™ ‰ ‰ ‰ ‰ ‰™ ‰ ≈ ‰ œœnœ 4 w œ œ œ œ. œ. œ œ œ. œ. œ. > f. p f. . p . .

pizz col legno battuto pizz œ #œ œ Vc. ? bœ bœ œ . œ œ œ bœ 4 b ≈bœ#œœœ≈‰ œ œ œ nœ ‰ bœ ‰ bœ. ≈œ ‰ ≈nœ ‰ ‰™ #œ ≈ ‰ ‰ ≈ 4 Œ Ó mp ff mp f

Cb. ? j œ œ bœ j œ bœ™ j 4 b œ #œ™ œ œ œ #œ œ œ™ #œ #œ 4 œ Œ Ó ¢ mf p f

(with increasing anxiety) Seek and destroy.

Narr. & 4 88 -. œ œ bœ 213 œ œ bœ œ n˙™ œ œ™ Fl. ° œ œ œ #˙ & b43 Œ œ œ 4 Œ Ó J mp 10 ff mf f mf

Cl. & b43 ∑ 4 Œ Ó Œ ‰ ‰ nœ œ ≈ œ œ #œ œ œ œ#œ #œ #œ œnœ œ œ œ œ œ . sff-. z . #mpœ œ œ œ œ mf mp mf

Bsn. ?b43 ∑ 4 ∑ Œ œ #˙ Œ œ #œ ¢ mp mf mp œ

Tpt. ° & b3 ∑ 4 œ Œ Ó ‰ j ‰ ‰ j ‰ ≈ Ó 4 4 -. œ œ œ #œ œ œ œ œ œ #œ œ œ sffz p- - mp-. p- - mp-. p- - - - - mp-.

- Tbn. ? #œ. > > b43 ∑ 4 Œ Ó ˙ #˙ ˙ n˙ ¢ sffz p > mp >

Vib. ° & b43 ∑ 4 ¢ w œ nœ œ œ #œ œ œ nœ œ œ œ œ sff> z p> #œ > > œ œ œ > mp> #œ > > œ œ œ >

Vln. ° b3 ‰ ‰ ‰ 4 Œ Œ & 4 4#w #˙˙™ œ œ œ. > #˙˙™ ff. . p sffz p mp mf

pizz œ #œ Vc. ? 3 ‰ bœ. ‰ œ 4 Œ Ó b4 bœ. 4 #˙ #˙ n˙ p sffz #p˙

Cb. ? 3 œ bœ 4#œ b4 #œ 4 Œ Ó #˙ n˙ ¢ p sffz #p˙ #˙

Lie in wait. Adrenaline is one’s master. The heart beats faster, louder.

Narr. & 43 4 89 217 >- > #œ nw ˙ Fl. ° œ #œ œ -œ >- #˙™ œœ œœ & b ™ J #œ œœ nœ #œ Ó ∑ 3 #œ 10

Cl. b ‰ nœ œ ≈ ‰ ‰ ‰ ∑ ∑ ∑ & œ œ œ #œ œ œ œ œ œ œ #œ nœ #œ œ #œ . . . œ mp #œ f.

Bsn. ? r r Œ ∑ ∑ ∑ b œ™™ œ ˙™ ¢ #œ™™ œ f

Tpt. ° & b ‰ ‰ ‰ j ‰ ≈ Ó ∑ ∑ ∑ #-œ -œ œ. œ œ œ #-œ -œ -œ -œ -œ œ. mf- mp- -mf-. f-

Tbn. ? >˙ w> ∑ b#˙ ˙ w n˙ ¢ > > mf> f> mp

Vib. ° & b / ∑ ¢ #œ #œ æ æ æ æ > œ #œ œ > œ œ œ œ œ nw> #˙æ ˙æ nw> > > mf f> > mp °

Vln. ° & b Œ Œ ∑ ∑ ∑ n˙™ ˙™

#œ œ œ Vc. #œ #œ œ nœ œ ˙ ˙ ˙ ?b ‰ #œ™ ™ J mf f ˙ ˙ ˙

#œ œ œ Cb. ? #œ #œ #œ œ nœ œ b ‰ ™ ™ J ∑ ∑ ∑ ¢ mf f

Breathing, shorter, quicker.

Narr. & 90 222 M icily - Fl. ° 5 3 . 5 2 5 œ™ œ œ™ œ & b ∑ 8 ∑ ∑ ∑ 8nœ ‰ 8 œ™ œ 4 ∑ 8 mf

icily Cl. 5 3 5 2 5 œ œ œ™ œ & b ∑ 8 ∑ ∑ ∑ 8 œ. ‰ 8 œ œ 4 ∑ 8 ™ mf- ™

Bsn. ? ∑ 5 ∑ ∑ ∑ 3 ∑ 5 ∑ 2 ∑ 5 ∑ ∑ ¢ b 8 8 8 4 8

Tpt. ° & b ∑ 85 ∑ ∑ ∑ 83 ∑ 85 ∑ 24 ∑ 85 ∑ ∑

Tbn. ? ∑ 5 ∑ ∑ ∑ 3 ∑ 5 ∑ 2 ∑ 5 ∑ ∑ ¢ b 8 8 8 4 8

Claves with a sense of falling forward Perc. °/ ∑ 85 ‰ œ ‰ ‰ œ ‰ œ ‰ ‰ œ ‰ œ ‰ ‰ œ 83 ‰ œ œ 85 œ ‰ œ ‰ œ 24 œ œ 85 ∑ ∑ ¢ mp f mp f

M Vln. ° & b ∑ 85 ∑ ∑ ∑ 83 ∑ 85 ∑ 24 ∑ 85 ∑ ∑

with a sense of falling forward » Vc. ? Œ Ó 5 ‰ œ Œ ‰ œ Œ ‰ œ Œ 3 ∑ 5 ‰ œ Œ 2 ∑ 5 ‰ œ Œ ‰ œ Œ b #œœ 8 œ œ œ 8 8 œ 4 8 œ œ ff mf f mp

with a sense of falling forward Cb. ? 5 bœ bœ bœ 3 5 #œ 2 5 œ œ b ∑ 8bœ J œ bœ J œ bœ J œ 8 ∑ 8 J 4 ∑ 8 œ J œ œ J œ ¢ mf f #œ œ mp

approaching something like panic What was that noise? Crackling branches, shuffling dirt portending doom Narr. 5 3 5 ˙ 2 5 œ ˙ & 8 8 œ. ‰ 8 ‰ 4 8 œ™ ù ‰ Soon.- Soon. Wait for it. 91 231 nœ œ bœ œ œ bœ Fl. ° œ™ œ œ™ œ œœ bœ œ bœ nœ œ bœ & b ∑ ∑ ‰ œ œbœœ Œ™ ‰ nœ f œ mf

Cl. bœ™ œ œ™ œ & b ∑ ∑ ∑ ‰ œ nœ#œ f œ œbœœbœ nœ nœ #œ œ œ nœ œ œ œ œ mf

Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ b

senza sord. 5 Tpt. ° b ∑ ∑ ∑ nœ #œ œœ œ & nœ œ œ œ œ œ bœœ œ œ . œ œ mp™ ™ ™ f 5 mf f

senza sord. bœ™ œ œ™ œ œ™ œ Tbn. ? b ∑ ∑ ∑ ∑ ¢ mp f

Snare Drum > > Claves S. D. Œ j Œ æ æ æ Œ °/ ™ œ œ œ œ œ ‰ ‰ ∑ œæ™ œæ œ ‰ œæ œ ‰ ∑ ¢ pp mp fpp f fpp f

” o o o o o o o o o senza sord. “ nœ. œ œ. ™ nœ. œ œ. ™ nœ. œ œ. ™ Vln. ° bœ œ J bœ œ J bœ œ J & b ∑ ‰™ ‰ ≈‰ Œ ‰™ ‰ ≈‰ Œ ‰™ ‰ ≈ ‰ Œ mf f

arco > Vc. ? œ œ œ œ #œœ™ œœ b ‰ Œ ‰ Œ ‰ Œ ‰ Œ ∑ #œœ™ œœ œ œ œ œ f >

arco œ œ œ œ > Cb. ? #œœ™ œœ b œ J œ œ J œ œ J œ œ J œ ∑ ™ #œœ™ œœ ¢ f >

heavily on edge Creeping, preparing to spring to merciless slaughter. Narr. Œ œ j Œ Œ œ Œ & ™ œ œ œ œ ‰ ‰ ™ ‰ œ ‰ ‰ œ œ œ ‰ A-ny mo-ment now! Thetime has ar rived. 92 piercingly flutter-tongue >. 238 nœ™ bœ >œ. œ bœ nœ #œ œ nœ Fl. ° . æ æ æ #œ æ & b nœ ‰ ‰ Œ æ æ æ æ æ æ æ æ ‰ Œ ∑ Œ™ ‰ ffJ æ mfæ æ ff

piercingly smear >œ. b>œ. #œ Cl. b bœ. ‰ ‰ Œ ‰™ ≈ Œ nœ ™ ‰ Œ ∑ Œ™ ‰ & J #œ. œ ff œ œ mfœ ff

Bsn. ? b ∑ œ. ‰ Œ ∑ ∑ ∑ ∑ ¢ œ f.

piercingly #>œ. Tpt. ° b j ‰ ‰ Œ ∑ ∑ ‰ Œ ∑ Œ™ ‰ & œ. œ mf f >.

piercingly >œ. Tbn. ? œ b ∑ ≈ . ≈ Œ ∑ ‰ Œ ∑ Œ™ ‰ ¢ bœ bœ mf. f >.

>. Snare Drum erratically 3 Clv. Œ Œ ≈ °/ œ™ œ œ™ œ œ™ œ œ ‰ ‰ œ œ œ œ œ œ ‰ œ œ œ ‰ ¢ f ff pp

bœ. violently œbœ o Vln. ° #œ œ™ œ & b ∑ Œ ≈ ∑ bœ ‰ Œ ∑ ff œ sffzp >.

violently aggressively bO O 3 > b œ™ œ Vc. ? #œ. nœ b ‰ nœ œ œ ‰ Œ ∑ bœ ‰ Œ ∑ #œ œ œ. . œ sffzp mf. . ff >.

pizz œ. #œ bœ œ Cb. ? j bœ J J b j œ œ œ œ œ ‰ Œ #œ J Œ ‰ ¢ mpœ œ œ œ œ œ ff 3 nœ

gradually increasing in volume and intensity Time is short. Life is short. Narr. Œ œ œ œ Œ œ œ & ™ ‰ œ œ ‰ ‰ ‰™ œ œ œ ™ ™ ‰ œ œ Air...too. Could it be? Is this how it ends? A - noJ -ther noise! 93 244 >. >. . . œ œ nœ œ n“w>” Fl. ° bœ œ & b Œ™ ‰ Œ™ ‰ 4 ∑ Œ #œ ‰ Œ 4 p 3 f sffzpp >. >. bœ bœ 3 nw> Cl. b Œ ‰ Œ ‰ 4 ∑ ‰ ‰ ‰ #œ Œ 4 & ™ ™ 4 bœ nœ œ . 4 œ#œ . sffzpp

Bsn. ? ∑ ∑ 4 ∑ ∑ 4 ¢ b 4 4 sffzpp #w

#w> Tpt. ° b Œ™ ‰ ∑ 4 ‰ ‰ j ‰ j ‰ Œ 4 & œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ 4 >. >. p- - . f>. p- - . f>. p- - . f>. sffzpp

> > > œ. œ. -œ -œ œ. œ. -œ -œ œ. . . Tbn. ? 4 nœ œ #œ bœ 4 b Œ™ ‰ ∑ 4 ‰ ‰ J ≈ R J ‰ œ nœ Œ #w 4 ¢ p f p f . sffzpp >

3 3 5 3 3 S. D. fij fij fij j j ≈ æ °/ ‰™ œ ‰ ¿ ‰ ¿ ¿ ‰ Œ 4 œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ ¿ ‰ ¿ ¿ ¿ ‰ Œ wæ 4 ¢ f p sub. ff sub. pp ff sffzpp

sffzpp bw> n#ww S. ° b ∑ ∑ 4 ∑ ∑ 4 & 4 bw 4

Bar. ? ∑ ∑ 4 ∑ ∑ ∑ 4 ¢ b 4 4

bœ œ œ bw> Vln. ° b œ™ œ œ™ œ 4 ‰ Œ ≈ ≈ œ œ œ ∑ w 4 & 4 3 bœ œ œ 4 œ. œ#œ . mf > >. >. f sffzpp b O O O O pizz arco < >œ™ œ œ™ œ œ. œ. œ. bw> Vc. ? 4 . . . bœ. 4 b 4 Œ ‰ #œ. #œ ‰ Œ #œ nœ Œ w 4 mf nœ 3 sffzpp rushing arco Cb. . b˙ ?b ∑ œ œ œ ‰ Œ 4 b˙ ˙ Ó 4 ¢ sffzpp nw

Narr. Any. Second. & 4 4 94 N Suddenly Slow, again q = 60 Mother's Call

249 <“> >œ. Fl. ° b & b4 Œ Ó ∑ ∑ ∑ b ∑ 4 fff

>œ. Cl. ˙ b w & b4 Œ Ó ∑ ∑ Ó b 4 fff ppp

Bsn. ? 4 Œ Ó ∑ ∑ ∑ b ∑ 4 ¢ b4 œ b 4 fff>.

>. Tpt. ° œ b & b4 Œ Ó ∑ ∑ Ó ˙ b w 4 fff ppp

Tbn. ? 4 b 4 b4 œ Œ Ó ∑ ∑ ∑ b ∑ 4 ¢ fff>.

>. S. D. Œ °/ 4 œ Ó ∑ ∑ ∑ ∑ 4 ¢ fff

as a mother, unseen concernedly mp mf mp mf f p S. ° b4 ‰ nœ œ ˙ ‰ œ œ ˙ ‰ œ œ nœ™ œ™ œ nœ bb Œ 4 & 4 J œ™ b˙™ ˙™ 4 ¢ Chil - dren! Chil - dren! Come home, it's get-ting dark!

N Suddenly Slow, again q = 60 Vln. ° w> w w w b & b4 b ∑ 4 sffzpp

w> w w w Vc. ? 4 b ∑ 4 b4 sffzpp b 4

Cb. ?b4 Œ Ó ∑ ∑ ∑ bb ∑ 4 ¢ 4 œ 4 fff>.

shouted, really Narr. Œ & 4 œ Ó 4 NOW!> 95 delicately, like a strange lullaby j sweeping 254 œfi bœfij œ œ ˙ œ œ œ ˙ œ œ œ nœ œ œ œ Fl. ° b4 œ ù œ œ œ 3 œ œ œ œ œ 4 & b 4 J 4 œ œ œ 4 mp f mp 9 Cl. b4 œ™ œ 3 œ œ 4 & b 4 œ œ™ J w 4 ˙ œ ˙ œ 4 ¢ mp J mf p Tpt. ° b4 j 3 4 & b 4 œ™ œ œ ‰ Ó ˙ 4 œ ˙ œ ˙ 4 mp ™ p Tbn. ? œ ˙ œ œ œ œ ˙ œ ˙ œ bb4 ‰ ‰ 43 œ œ™ œ 4 ¢ mp J jeté jeté . . sul tasto . æ#œæ æ . . .#œ. nœ.nœ œ . . . #œ. œ. œ Vln. ° bb4 ≈bœæ æ æ ‰ ≈nœæ æ æ æ æ‰ ≈ nœ nœæ æ‰ Œ . œ.bœ. œ. œ#œnœ 3 J ‰ Œ Œ Ó . œ. œ. œ. œ#œnœ 4 & 4 œ œ æœæ #œ œ œæœæ nœ #œ nœ 4 œ 4 nœ 10 10 pp mp œ Vc. ?bb4 œ œ œ œ œ ˙ 3 ˙™ 4 4 œ œ œ œ 4 ˙™ ™ 4 mp mf˙™ pizz pizz arco œ arco pizz arco œ œ . . . . Cb. ? b4 Œ œ Œ œ ‰ Ó 3 œ œ œ œ œ ‰ œ œ. œ. œ. œ. ‰ 4 b 4 mp 4 J 4 ¢ (on a hopeful note) mf f mf fJ !"#$%&'($'()'*$'(+$,-.#&+/,$%+/+$0)#+$1-2,$)3)&"4$5)6($,')/+#$)'$(&,$+"+02*$)"#$17/,'$&"'-$)$3&##2$,-/'$-8$.)73('+/$9 '(+$:&"#$-8$.)73('+/$'()'$8-..-%,$)$;&3('$'(+$-/&3&"$-8$%(&6($(),$1++"$8-/3-''+"$,-0+%(+/+$-"$'(+$#&,')"'$,&#+$-8$#)%"4$ begin Narr. Œ & 4 ‰ ‰ Ó 43 4 = 258 œ œ w œ ˙ œ œ œ ˙ œ œ Fl. b œ œ œ œ ° b 4 J œ œ œ œ J ∑ & 4 3 3 7 ff mp ff p 3 Cl. bb4 œ œ Œ & 4 ˙™ œ œ ˙ œ ˙ œ ˙ œ ¢ mf ff ™ pœ œ œ Tpt. ° b j & b 4 œ œ œ ‰ Œ ∑ ∑ œ œ™ œ œ™ mf f 3 Tbn. ? b4 ‰ œ ‰ w ∑ ¢ b 4 ˙™ J œ œ œ œ œ œ. mf f. . p sul tasto moving to sul pont . nœbœ œ œ œ œ œ œ æ æ æ æ œ œ œ œ Vln. ° bb4 J ‰ ≈ æ æ æ bœnœ œ œæ œæ æ æ œ œ œ æ æ æ œæ ∑ & 4 æ æ æ æ æ œ œ œ æ æ æ æ œ œæœæœ æ æ æ æ æ æ æ æ æ æ æ æ ww mf æ æf æ pp pizz w œ œ œ™ œ œ Vc. ? b4 w œ œ œ œ œ b 4 w w œ Œ ‰ œ ‰ ≈œ ™ ≈œ ‰ œ Œ f œ œ œ™ œ œ ff pizz arco pizz arco pizz Cb. ? b4 j j . . œ œ œ œ b 4 œ. œ œ. ˙ œ œ œ ˙ Œ Œ Œ Œ ¢ sub. mf fJ Jsub. mf f <(+2$,=/&"'$(-0+%)/#*$8/)"'&6)..2$(-=&"3$'-$/+0)&"$)(+)#$-8$'(+$#)/:"+,, '()'$'&3('+",$&',$3/&=$-"$'(+$.)"#$%&'($+)6($,'/&#+4 end Narr. Œ Œ & 4 Ó 96 blending with the clarinet 262 O q=h (q=120) bœbœ bœ Fl. b œ œ nœ œ œbœ ° b ∑ ∑ ∑ bœ bœbœ #œnœnœnœ œ œ œ œ œ & 3 3 3 3 3 p mf 3 3 3 3 œ œ œ œ ˙ ˙ ˙ Cl. bb œ œnœ œ œ œ œ œ ˙ Œ œ #œ œ & nœ œ œ œ œ œ œ 3 3 ¢ œ œ œ 3 3 œ œ mp mf p

Tpt. ° b & b ∑ ∑ ∑ ∑ ∑

Tbn. ? b ∑ ∑ ∑ ∑ ∑ ¢ b

blending with the clarinet O q=h (q=120) œbœ nœ nœ œ œ 3 Vln. ° b bœ bœ œ nœnœ œ b˙ nœ œ & b ∑ ∑ œ nœ œ b˙ #œ œ œbœ œ œ 3 3 3 3 3 3 œ mp p 3

Cb. ? b ∑ ∑ ∑ ∑ ∑ ¢ b

Narr. &

=

267 gauzily 3 3 Fl. b ° b œ Œ ‰ bœ œ bœ ˙™ nœ & œ œ œ #œ œ œ œ #˙ œ ˙ nœ ˙ nœ œ#œ ˙ œnœ œ ˙™ ˙ p mf p mf pp airily 3 3 3 3 Cl. b j j & b nœ bœ bœ œ œ nœ nœ œ œnœ j j ¢ œ#œ nw ˙™ bœ w œ b˙ œ œ #˙™ œ œ œ #œ œ œ n˙™ f p mf p

Tpt. ° b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. ? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ b

3 3 3 occasionally buzzy Vln. ° bb bœ & œ œnœ œ ¢ #œnœbœbœ œ w w w bw b˙™ bœ ˙ b˙ b˙ ˙ f p mf pp

in the manner of a recitation of a child's mnemonic rhyme >-?+*$,+/?&6+*$/+?+"3+*$6-",6/&='&-"4$@-#*$8)0&.2*$6-0/)#+,*$,+.84$ A(&.#/+"$3/-%$7=*$)"#$.&?+$),$'(+2$#-4 <(+$/+),-",$)/+$0)"2*$17'$'(+$-7'6-0+,$8+%4$ B7'$,-0+'&0+,$'(+$.&?&"3$1/&"3,$#)/:+/$'(&"3,*$'--4 Narr. & 97 II. Pen Songs

Lethargically 275 h = q (q=60) Fl. ° b 3 4 j & b w œ™ ‰n˙ w ˙ ‰ œ œ 4 ˙ ˙ 4 œ ‰ ˙ w mp p ™ ™ ™ mf

Cl. b b ‰ 3 ‰ 4 ‰ b˙ w ¢& w ˙ œ nœ ˙ bw 4 bœ ˙ ˙ 4 bœ œ ™ ™ mp p ™ mf

enter view while singing, positioned on the opposite side of the ensemble from the baritone, turned slightly inward with feigned cheer mf f mf f mf mp pp 3 S. ° bb ∑ Œ nœ œ œ n˙ ‰bœbœbœ œ œ ‰ 3 œ jŒ j‰ 4 b˙™ ∑ & ™ #œ ™ œ 4 ™ œ bœ™ œ œ 4 œ It's great toJ be here, e-ven if this place is win - dy, dus - ty, and ug - ly... enter view while singing, positioned on the opposite side of the ensemble from the soprano, turned slightly inward bemusedly mf (soprano 8va) f mf bœ 3 Bar. ? b 3 bœ™ œ œ 4 œ J bœ™ œ nœ™bœ œ œ œ œ œ œ b ∑ ∑ ∑ ∑ 4 ∑ J ‰ J 4 ‰ J J ‰ ¢ Lethargically dus - ty and ug - ly It's ex-traor-di-na-ry, here one is h = q (q=60) Vln. ° b & b 43 4 ¢ w ˙ ˙ ˙ b˙ w w w w mp p ™ ™ mf

sit down unobtrusively in a chair near the microphone Narr. & 43 4

=

283 Bsn. °? b ˙™ œ bœ 5 4 n˙ œ w 2 nœ œ 4 b 4 w œ œ. 4 ™ ‰ 4 4 ¢ mp mf -. - f mp without an opinion mp 3 S. ° b & b ∑ 45 ∑ 4 ∑ ∑ 24 ‰ œ œ bœ œ 4 TheJ wea-ther is f mp œ œ#œ n˙™ #œ œ. œ 3 3 œ Bar. ? b bœ œ™ nœ 5 4 ™bœ œ bœ œ œ œ nœ bœ œ œ œ nœbœ 2 ™ bœ œ œ 4 b 4 ‰ 4 ‰ bœ œ bœ J ‰ 4 4 ¢ four miles from the fi-ring line, and yet ev - ery-one is li-ving as if no-thing had hap pened, or was a - bout to hap - pen.

pizz arco Vln. ° b 5 4 2 bœ 4 & b 4 œ œ ˙ œ 4 bw w 4 bœ 4 œ n˙™ f ™ p arco pizz arco Vc. ? bb 45 w œ 4 24 4 ¢ w bw w bœ nœ mp mf f 98 p 288 Bsn. °? bb4 n˙ Ó ∑ ∑ ∑ ∑ ¢ mf mp gently take over for the bassoon œ œ Tbn. °? b˙ b˙ ˙ bœ œ nw œ œ b˙ b˙ bb4 ‰ J ‰ ‰ ¢ mp mf f f mf f j S. ° bb4 bœ bœ œ Œ ∑ Ó œ ˙ œ™ œ œ ‰ œ œ™ œ & 4 ™ bœ œ œ ™ œ J J bœ J fine and plea- sant. ...all at once the air turns cold and the sky, re- as if from a nature program f f mf ff 3 mf 3 > bœ™ œ nœ™nœ œ. Bar. ? b4˙ bœ bœ œ nœ nœ œ™ œ œ œ œ œ œ bœ™ œ œ œbœ bœ œ œ b 4 Œ J Œ ‰ Œ J ™ ¢ Wheat and a - ca - cia are grow-ing, while the air is filled with the songs of Chi - nese cu- ckoos...

Vln. ° b & b 4 bw w nœ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ œ bœ œ œ bœ œ œ œ œ œ mf f Vc. ? b4 ¢ b 4 bw nw nw w w mf f

= P bird call (Chinese cuckoo); free rolling on marked notes 293 Piccolo œ œ œ œ œ œ œ œ œ œ Picc. ° bb Œ û û û ûœ œ œ œ œ ‰ Ó Œ û û û ûœ œ œ œ œ ‰ û û & 3 3 p mf sim.

Bass Clarinet bird call (Chinese cuckoo) in Bb œ œ œ œ œ œ œ œ Cl. bb ∑ Ó Œ œ œ œ œ œ ‰ œ œ & 3 ¢ p mf sim. Tbn. °? ˙ n˙ ˙ bb Ó ∑ ∑ ¢ pp Vibraphone bird call (Chinese cuckoo) S. D. œ œ œ œ œ œ œ œ œ œ œ œ ° & Œ ‰ Ó Œ ¢ / ∑ 3 p mf sim.

calmingly mp f mp 3 3 S. ° bb œ œ œ œ œ œ œ nœ ˙ Ó ∑ ‰ œ & nœ œ œ œ œ œ flec-ting for a mo-ment the sun's lost warmth Don't wor - ry a-bout me p Bar. ? b ˙ Ó ∑ ∑ ∑ ¢ b

P bird call (Chinese cuckoo) 3 3 Vln. ° b & b ˙ Ó Ó œO œO œO œO bO O O O O ‰ œO œO œO œO bO O O O O ‰ pp p œ œ œ œmfœ sim. œ œ œ œ œ Vc. ? bb ∑ ∑ ¢ ˙ ˙ w pp 99 297 œ œ œ œ œ œ bœ œ œ œ Picc. ° bb û û œœœœœ‰ û û û û œœ œœœ‰ û û û û œœ œœœ‰ Œ Ó & 3 3 3

B. Cl. b œœœ œ œ œ œ œœœœœ œ œ œ œ œ œœœœ bœ bœ œ œ œœœœœ & b ‰ ‰ ‰ ‰ ¢ 3 3 3 3 Vib. ° b œ œœœœœ œ œ œ œ œ œœœœ œ œ œ œ œœœ œ œ bœ œ œ œ œœ & b ‰ ‰ ‰ ¢ 3 3 3 mf f mf f ff 3 S. ° bb œ œ Œ œ œ bœ™ œ œ œ œ ‰ ‰ œ œ œ œ œ œ œ œ œ bœ™ œœ & œ ™ J ™ J ™ J œ#œ sweet- heart, mp I have no i - deas a-bout be - co-ming a dead he - ro! reassuringly mf mp ff 3 3 >- > >œ bœ œ™ œ œ œ œ œ™ œ œ Bar. ? -œ œ. œ œ œ œ œ bœ J œ™ œ œ œ bb Œ ‰ J ‰ Œ ‰ J ‰ J ‰ J ¢ P. - S. I ne-ver felt bet - ter. DON'T WOR- RY!

3 3 3 Vln. ° b & b œO œO œO œObOO bOOO‰ œO œO œO œObOO O O O‰ œO œO œO œObOOOOO‰ bbœO ¢ œœ œœœ œœ œ œ œ œœœœœ p = 301 roundly ˙ œ œ Picc. ° b n 2 4 5 œ œ 4 œ œ™ & b ∑ n 4 œ Œ 4 ˙ œ 4 œ œ œ bœ œ Œ œ bœ 4 Œ Œ J p- ™ mp p mp roundly B. Cl. bb ∑ nn 2 Œ 4 5 Œ 4 Œ Œ j & 4 4 4 4 œ ˙ œ œ™ œ ¢ œ œ œ œ bœ œ œ bœ œ p-œ ˙™ œ mp p mp arco ord. Vib. ° b œœœ n 2 4 5 œ ˙ ˙ bœ 4 ˙ & b ‰ Œ Ó n 4 œ Œ 4 ˙ ˙ 4 ˙ b˙ 4 Ó ¢ 3 mf ˙ bp˙ ˙

° crystalline ° mp mp mf mp mf f 3 S. ° bb j ‰ Œ Ó nn 2 Œ œ 4 w 5 Œ bœ œ œ bœ b˙ Œ œ 4bœ™ j Œ Œ bœ œ™ œ & <#>œ 4 4 4 œ œ œ 4 œ œ J mp Dusk, that most beau-ti-ful mo - ment... with no pat - tern/ Ap-pear and œ Bar. ? b J ‰ Œ Ó n 2 ∑ 4 ∑ 5 ∑ ∑ 4 ∑ ∑ ¢ b n 4 4 4 4

3 Vln. ° b n & b bbœO œO œObOOOOOœO n 24 ˙O 4 ∑ 45 ∑ ∑ 4 ∑ ∑ ¢ œœœœœf pp = 308 ˙o œ œ œ Picc. ° œ ˙ Œ Œ bœ œbœ œ œ œœœ œ œ bœœœ ˙ 5 Œ 3 ∑ 3 & œ b˙™ œ 4 ˙ 4 4 mf p f p B. Cl. Œ Œ 5 Œ 3 ∑ 3 ¢& œ œ ˙ œ œ bœ œbœ œ œ œœœ œ œ 4 4 4 mf p œbœ œ ˙ f œ b˙™ œ w pp Vib. ° bww & Œ œ œ œ œ œ ˙ ww 5bb ww Œ 3 ∑ 3 ¢ ˙ b˙ œ œ œbœ œ bœ bww 4 4 4 bmf˙ bmpœ œ œ bœ œ f mf

p ° ff 3 bœ S. ° œ œ œ bœ œbœ œ œ œ œ œ 5 ˙ bœ œ 3 b˙ 3 & bœ ˙ Œ Œ Œ ‰ œ œ œ™bœœ™ ‰ ‰ œ œ bœ œ œ 4 ‰bœ œ 4 4 ¢ dis-ap- pear/ Mil - lions of i-ma- ges/ Be - lo - ved peo - ple. How un-bea-ra- ble to die in the sky. 100 Più mosso 315 p S. ° œ b˙ & 43 4 ∑ ∑ 45 ∑ 4 ∑ 45 ∑ 43

confessionally very seriously mf f 3 mf f bœ œ œ bœ œ œ 3 Bar. ? 3 œ 4 œ œ œ w 5 #œ œ œ 4nœ™ œ bœ bœ œ 5 œ™ œ™ bœ 3 4 4 ‰ 4 Ó Œ Œ 4 J ‰ J 4 Œ ‰ J 4 ¢ I am a fraid of love. I am de - ter - mined to have a ca - mel, I Più mosso precisely pizz Vc. °? 43 ∑ 4 ∑ œ bœbœ 45 œ bœbœ Œ 4 œ bœbœ 45 œ bœbœ Œ 43 œ œ œ bœbœ nœ œ œ bœ œ œ œ bœ bœ nœ œ œ bœ (pizz) mf f mf f mf f mf f Cb. ? 3 4 5 4 5 3 4 ˙™ 4#˙ ˙ ∑ 4 ∑ 4 ∑ 4 ∑ 4 ¢ mf f

= 321 Q Picc. ° 3 4 & 4 ∑ 4 ∑ ˙ Œ ˙ Œ pp™ mf pp™ mf B. Cl. & 43 ∑ 4 ∑ Œ Œ pp˙™ mf pp˙™ mf Bsn. ? 43 ∑ 4 ∑ Œ Œ ¢ pp˙™ mf pp˙™ mf

Tpt. ° & 43 ∑ 4 ∑ Œ Œ bpp˙™ mf bpp˙™ mf Tbn. ? 3 4 4 ∑ 4 ∑ ˙™ Œ ˙™ Œ ¢ pp mf pp mf

3 4 & 4 ∑ 4 ∑ œ œ bœ bœ œ œ bœ bœ Mar. œ œ bœ bœ œ œ bœ bœ œ bœ bœ œ bœ bœ ? 43 ∑ 4 ∑ œ œ œ bœ bœ nœ œ œ bœ bœ mp mf mp mf f S. {° 3 ∑ 4 ∑ ∑ œ bœ œ œ œ œ & 4 4 crazedly "Love post- poned by war," f œ œ œ œ œ œ™ œ ˙™ Bar. bœ™ ™ -. ? 43 4 œ ˙ Œ Œ ‰ Œ ¢ like their out - look. We sat with a-lac - ri - ty. Q Vln. ° & 43 ∑ 4 ∑ Œ Œ pp˙™ mf pp˙™ mf nœ bœ œ bœ Vc. nœ bœ nœ œ bœ bœ œ bœ bœ ? 43 ‰ œ bœ ‰ œ 4 ‰ œ #œ #œ Œ œ nœ bœ nœ œ bœ ff mf mp mf mp mf pizz œ bœ œ bœ Cb. œ bœ bœ œ bœ bœ ? 43 ∑ 4 ∑ œ œ bœ nœ œ bœ ¢ mp mf mp mf

101 325 Picc. ° U & ˙™ Œ ˙™ Œ ∑ b˙™ Œ pp mf pp mf p f

B. Cl. U & Œ Œ ∑ ˙™ Œ pp˙™ mf pp˙™ mf p f

Bsn. ? U ˙ Œ ˙ Œ ∑ ˙™ Œ ¢ pp™ mf pp™ mf p f

Tpt. ° U & Œ Œ ∑ Œ pp˙™ mf pp˙™ mf bp˙™ f

U Tbn. ? ˙™ Œ ˙™ Œ ∑ ˙™ Œ ¢ pp mf pp mf p f

U & œ œ bœ bœ œ œ bœ bœ ∑ œ œ bœ bœ Mar. œ œ bœ bœ œ œ bœ bœ œ œ bœ bœ bœ bœ bœ bœ U bœ bœ ? nœ œ œ œ bœ bœ nœ œ œ œ bœ bœ ∑ œ œ œ œ bœ bœ { mp mf mp mf mf f ff mp mf 3 U S. ° ‰ bœ œ œ œ j Ó ∑ ‰ œ bœ œ™ j & ™ œ œ ˙ J œ beJ -came my bat - tle cry. I feel sor - ry

coming to conclusion parlando mp f mp œ bœ œ œ œ™ œ bœ > Bar. ? Œ œ œ œ bœ œ œ ‰ ¿ ¿ ¿ ¿ ¿ ∑ ™ R ™ ¢ Real - ly what I mean is so ve - ry sim - ple - I love you Ar- di.

Vln. ° U & ˙ Œ ˙ Œ ∑ b˙™ Œ pp™ mf pp™ mf p f

œ bœ bœ œ bœ bœ U œ bœ bœ Vc. ? nœ œ œ bœ bœ nœ œ œ bœ bœ ∑ œ œ œ bœ bœ mp mf mp mf mf f

œ bœ bœ bœ œ bœ bœ bœ U œ bœ bœ bœ Cb. ? nœ œ œ bœ nœ œ œ bœ ∑ œ œ œ bœ ¢ mp mf mp mf mf f

102 329 Picc. ° & ≈bœ™ ˙ Œ ∑ ∑ ∑ ∑ f p

B. Cl. & ≈ œ™ ˙ Œ ∑ ∑ ∑ ∑ f p

Bsn. ? ≈ œ™ ˙ Œ ∑ ∑ ∑ ∑ ¢ f p

Tpt. ° & ≈ Œ ∑ ∑ ∑ ∑ bfœ™ ˙ p

Tbn. ? ≈ œ™ ˙ Œ ∑ ∑ ∑ ∑ ¢ f p

& œ œ bœ bœ ∑ ∑ ∑ ∑ Mar. œ œ bœ bœ bœ bœ ? nœ œ œ œ bœ bœ ∑ ∑ ∑ ∑ { mf f f mp turn to face baritone S. ° œ bœ œ ‰ œ œ bœ œ œ ˙ Œ Œ ∑ & œ bœ œ ™ bœbœ nœ™ ™ œ bœ œ œ of - ten that I left you. I will ne-ver leave you a-lone œa - gain. I'm sor- ry.

turn to face soprano mp Bar. ? ∑ ∑ ∑ ∑ Œ œ bœ œ œ ¢ I love you.

Vln. ° & ≈bœ™ ˙ Œ ∑ ∑ ∑ ∑ f p

œ bœ bœ œ bœbœ Vc. ? nœ œ œ bœ bœ ∑ œ œ J bœ ‰ bœ ‰ œ Ó bœ ‰ œ ‰ Ó mf f mf f J f p fJ pJ

œ bœ bœ bœ œ bœbœ Cb. ? nœ œ œ bœ ∑ œ œ J bœ ‰ bœ ‰ œ Ó bœ ‰ œ ‰ Ó ¢ mf f mf f J f p fJ pJ

103 334 Picc. ° & ∑ ∑ ∑ ∑

B. Cl. & ∑ ∑ ∑ ∑

Bsn. ? ∑ ∑ ∑ ∑ ¢

Tpt. ° & ∑ ∑ ∑ ∑

Tbn. ? ∑ ∑ ∑ ∑ ¢

f p mf 3 S. ° œ & ‰ œ bœ œ œ Œ Ó Œ ‰ œ bœ œ œ Ó Œ ‰™ œ bœ œ œ bœ I'm sor - ry. I'm sor - ry. I'm sor - ry, I love you.

p mf f 3 œ Bar. ? Ó ‰ œ bœ œ œ Œ Ó Œ œ bœ œ œ œ Ó ‰™ œ bœ œ ¢ I love you. I love you. I love you, I'm

Vln. ° & ∑ ∑ ∑ ∑

Vc. ? ‰ bœ ‰ œ Ó bœ ‰ œ ‰ Ó ‰ bœ ‰ œ Ó bœ ‰ œ ‰ Ó f p fJ pJ f p fJ pJ

Cb. ? ‰ bœ ‰ œ Ó bœ ‰ œ ‰ Ó ‰ bœ ‰ œ Ó bœ ‰ œ ‰ Ó ¢ f p fJ pJ f p fJ pJ

Narr. & 104 338 Picc. ° U b b & ∑ ∑ Œ b˙™ b˙™ Œ ∑ ∑ ∑ b b pp mf pp

B. Cl. U b b & ∑ ∑ Œ ˙ ˙™ Œ ∑ ∑ ∑ b b pp™ mf pp

˙™ ˙™ Bsn. ? U ∑ ∑ Œ Œ ∑ ∑ ∑ bbbb ¢ pp mf pp

straight mute Tpt. ° U b b & ∑ ∑ Œ ˙™ ˙™ Œ ∑ ∑ ∑ b b pp mf pp

cup mute U Tbn. ? b ∑ ∑ Œ b˙™ ˙™ Œ ∑ ∑ ∑ b bb ¢ pp mf pp

Spoken: This afternoon I took a walk down to the river and that is where I found the violet I enclosed. f p It was so peaceful & quiet down there and it's just like spring anywhere in the world. U S. ° w b˙ ∑ ∑ ∑ ∑ ∑ bb b & ˙ walk to exit while speaking, stop to face the audience for "and it's just like spring anywhere in the world", b then exit

f p watch the soprano walk make her exit turn directly toward audience bœ bœ ˙ œ œ ˙™ U Bar. ? b ∑ ∑ ∑ ∑ ∑ b bb ¢ sor - - - ry.

3 3 Vln. ° U b & ∑ ∑ Œ Œ b bb b˙™ b˙™ n˙ #˙ ˙ #˙ ˙ ˙ #w pp mf pp mf p

arco U Vc. ? ˙™ w w w ∑ ∑ Œ b˙™ Œ bbbb pp mf pp mf p

arco U Cb. ? b˙ ˙™ b ∑ ∑ Œ ™ Œ w w w b bb ¢ pp mf pp mf p

105 Letter to My Beloved Child R q = 60 345 Marimba bb b4 ∑ Œ Œ œ œ œ œ Œ Œ Œ Œ Œ Œ œ œ Œ œ Œ 3 & b 4 œ œ œ œ nœ œ œ œ bœ œ 4 œ œ œ œ œ œ œ œ œ œ fœ Mar. mfœ f mfœ ? b b4 ∑ Œ Œ œ Œ œ Œ Œ Œ œ Œ Œ Œ œ Œ œ Œ œ Œ 3 b b 4 œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ plaintively lovingly mp ff mp f mf { 5 œ ˙ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ Bar. °? b 4 œ œ œ œ œ œ nœ œ œ ˙ œ 3 b bb4 Œ Œ ‰ Œ ‰ 4 ¢ Mo to - ko, Of ten, you looked at my face and smiled. You slept in my

=

352 œ œ b b3 œ 4 œ œ œ œ œ œ 5 œ œ œ œœ 2œœ 4œœ œœœœ & b b 4 œ œ Œ 4 œ Œ œ Œ Œ œ œ œ œ 4 ‰ Œ ‰ 4 ‰ Œ 4 ‰ ‰ ‰ Œ Mar. mp ff mp mf f ? 3 œ œ 4 œ œ œ 5 œ 2 4 bbbb4 œ œ Œ 4 Œ Œ Œ œ œ œ 4 œ œ ‰ œ Œ œœ ‰ 4 œœ‰ Œ 4 œœ ‰ ‰ œœœœ ‰ Œ œ œ œ œ œ ff mf mp mf f 5 œ œ œ œ™ œ œ œ œ œ Bar. {°? b b3 œ ‰ 4 œ™ œ j Œ œ œ œ 5 ‰ œ ™ 2 ‰ ‰ 4 œ œ ‰ œ b b 4 4 J œ œ™ œ 4 œ ™ œ 4 4 ¢ arms. We took baths to-ge- ther. When you grow up and want to know me, ask your mo - ther and Aunt

= S Più mosso lamenting 358 ˙ ™ œ™ œ ˙ œ œ œ ˙ Bsn. °? B # # 5 œ 4 œ œ ˙™ ? bbbb ∑ # # 4 J Œ 4 Œ ¢ mf f mf f

# b b œœ œœ ## # 5 4 & b b ‰ Ó œ 4 4 ∑ ∑ Mar. œ œ œ œ œ œ œ œ œ œ œ œ ? b œ # # 5 œ œ™ œ œ œ œ œ j 4 œ œ œ œ œ œ b bb ‰ œœ ‰ œœœ # # 4 œ J œ™ œ 4 œ œ œ œ mp mf f mp mf mp mf ff mf { 5 mf Bar. °? œ œ œ œ œ # # 5 4 bbbb ˙ # # 4 ˙ Œ Ó ∑ 4 ∑ Ó Œ œ œ ¢ Kay- o. I have S Più mosso # ˙o ™ Vln. ° b b ## # 5 4 & b b Ó Œ 4 O O O O O 4 Œ œO ˙ œ ˙ œ œO œ O O mf ˙ œ ff mf˙™ pizz œ œ œ œ Vc. ? b # # 5 œ œ œ œ œ œ 4 œ œ œ œ œ œ b bb ∑ # # 4 œ œ Œ œ œ œ œ 4 Œ œ Œ œ ¢ p mf f mp mpœ mf mpœ mf 106 363 -. - -. - -. - -. -. œ œ. œ œ. -. -. -. -. œ œ. -. Bsn. °?# ## ‰ œ œ œ Œ Œ œ Œ œ œ œœœ œ ˙ Œ 5 Œ -. œ œ œ œ œ œ œ ‰ œ œ 4 # œ œ œ 4 œ J J 4 ¢ p mf p mf mp 5 # ## & # 45 4 Mar. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ?# ## œ œ œ œ œ œ œ 5 œ ™ œ œ œ œ œ ‰ 4 # œ œ 4 œ J œ 4 mp mf mp mp mf mp mf f f ff 5 { 3 œ œ™ œ œ œ Bar. °?# # œ j œ œ œ œ j œ 5 œ œ j œ œ œ 4 # # ™ œ œ œ œ œ œ ˙™ ‰ 4 ™ œ œ ‰ J ‰ 4 ¢ left my pho - to al - bum at home for you. I gave you the name Mo - to - ko, ho-ping youwould # >- >- œ œ œ™ œ ˙ Vln. ° ## # ‰ Œ Œ Œ œ œ 5 œ œ j œ ‰ œ œ œ 4 & œœ œ œ 4 ™ œ œ ™ ˙ 4 œ œ œ œ œ œœœ >- 3 J pœ œ œ -. mf f mf f arco œ œ œ œ œ œ Vc. ?# ## œ œ œ œ œ œ œ Œ œ œ 5 Œ Œ 4 # œ œ œ 4 œ ˙ ˙ 4 ¢ mp mf mp mf mp p ˙™ = T 368 Kq = q(q = ca. 100) Clarinet in Bb 5 B. Cl. ° # ## & # 4 ∑ ∑ ∑ 43 ∑ ∑ Œ œ™bœnœ œ œ mf . œnœ Bsn. ?# # 4 3 # #4 œ ‰ ‰ œ œ j ‰ œ œ œ œ 4 ¢ œ -. -. œ™ œ œ œ. œ œ œ ˙ n˙™ f p mf˙™ ™ f senza sord. # Tpt. ° ## #4 ∑ ∑ ∑ 3 Œ œ œ œ j b˙ & 4 4 ™ J ™ œ nœ œ ™ (cup mute) mf f Tbn. ?# ##4 ∑ ∑ ∑ 3 ˙ ˙ # 4 4 ™ n˙ ™ ¢ mp ™ f

3 3 3 3 3 ####4 3 & 4 œ œ œ œ œ œ œ ˙ œ ˙ œ ˙ 4 œ œ œ œ œ œ nœ œ œ Mar. œ œ œ pœ œ œ œ ˙ œ ˙ œ ˙ f œ œ œ œ œ œ mf # œ œ œ œœ ˙˙ œœ ˙˙ œœ ˙˙ œœ™ œœ™ œœ™ œœ™ œœ™ œœ™ ?## #4 œ Œ 3 ™ ™ 4 3 3 3 3 4 mp f -œ. -. œ œ Bar. {°?# # 4 œ™ œ œ œ™ œ œ œ œ œ œ™ 3 œ # #4 J J ‰ J 4 Œ Œ ∑ ∑ ¢ be a gen - tle, ten - der hear-ted, and ca - ring per son. T Kq = q(q = ca. 100) ...... 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 Vln. ° # #4 3 ˙ ˙ ˙ & 4 3 3 3 3 3 3 3 3 3 3 4 p mf œ œ œ œ œ œ œ œ œ œ œ œ 3 3 3 ...... Vc. ?# # 4 ...... 3 # #4 œ œœœ œœ œ œ œ ˙ œ ˙ œ ˙ 4 ˙™ ˙™ ˙ ˙ 3 . . . ™ mp 3 mf mp f arco Cb. ?# # 4 3 # #4 ∑ ∑ ∑ 4 ˙™ ˙™ ˙ ¢ mp f ™

107 374 # # 3 Cl. ° # # ≈ Œ œ ≈ œ œ ≈bœ œ œ & bœ #œ œ œ œ œ œ œ œ œ œnœ. . œnœ. . œ. . . œ. . > bœ œ ˙ œnœ. œ œ. œ œ œ œ œ œ œ . œ. œ. œ...... >. . > > f mp . . . .mf. mp> > mf

Bsn. ?# # n˙ ˙ # # ˙™ ˙™ ™ ™ ¢ ˙™ mp f

Tpt. ° # ## -. & # ˙™ Œ nœ œ nœ œ œ œ œ nœ œ b˙™ ˙™ mp f mp

˙ ˙ Tbn. # n˙ ™ ™ ?## # ˙™ ˙™ ™ ¢ mp f

# ## # & nœ œ œ œœ œœ œœ œœ œœ œœ nœ œ œ nœ œ œ Mar. mf f œœ™ œœ™ œœ™ œœ™ œœ™ œœ™ œœ™ œœ™ œœ™ œœ™ ?#### ™ ™ ™ ™ ™ ™

paternally { f ff #œ -. Bar. # #œ œ œ nœ œ œ #œ nœ œ °?## # Œ Œ ™ J ˙ Œ œ ¢ I wish for you to be hap - py when you grow

Vln. ° # ## & # nœnœ œ œ bœ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ œ. œ. œ >. . œ. >. . œ. œ. œ. œ. œ. œ. . . œ. œ. œ. œ. mpœ. . œ. . œ. œ. œ. œ. œ. œ. œ. œ. . . . . f...... mp>. . #œ. >. . œ. > mf. > .

˙™ Vc. ?# # ˙ # # ˙ ™ ˙ ˙ ™ mp f ™ ™

˙™ Cb. ?# # ˙ # # ˙ ™ ˙ ˙ ¢ ™ mp f ™ ™

108 379 5 # . Ÿ~~~~~~~~~~~~~~~~~~~~~~ . Ÿ~~~~~~~~~~~~~~~~~~ 5 Cl. ° ## # œ Œ nœ Œ bœ œ œ Œ & n˙ ˙ #˙ ˙ œnœ nœbœ œ œ f ff mf ff mpœ f

˙ œ Bsn. ˙™ ™ bœ™ ?#### ∑ ∑ nœ œ™ Œ mp mf f 5 5 ¢ p mf

# - . > > Tpt. ° ## # œ œ œ . œ œ œ œ >œ™ œ™ >œ™ œ™ & Ó œ J J n˙ Ó bœ J J œ™ J -. 3 3 3 3 mf f mp mf f p

˙ ˙ Tbn. # ™ ™ ?## # ∑ ∑ ∑ ¢ mp mf f

#### œ œ œ œ œ œ œ œ œ & œœ œœ œœ œœ œœ œœ nœ œ nœ nœ nœ œ nœ œ œ Mar. mf f mf ?####nœ™ œ™ nœ™ œ™ bœ™ œ™ bœ™ œ™ { b œ™ œ™ b œ™ œ™ nnœ™ œ™

3 3 mp -. œ œ œ œ™ -. œ œ œ œ > > > > Bar. œ œ bœ œ œ™ œ™ œ™ œ™ °?#### ‰ ‰ Œ ‰ ¢ up and be - come a splen- did bride, and though I die with -

# Vln. ° ## # & bœ. œ. nœ nœ œ > . . >. œ. œ. nœbœ œ n˙ b˙™ n˙™ ˙™ . . . f ™ p

Vc. # > > > > ?## # b˙ ˙ œ™ œ™ œ™ œ™ ˙™ ˙™ ™ ™ mp f

Cb. ?# # # # b˙™ ˙™ nœ™ œ™ ¢ ˙™ ˙™ > >œ™ > >œ™ mp f 109 384 Picc. ° # ## U # ## & # ∑ ∑ ∑ ∑ Œ Œ ‰ ‰ # #

5 -. 5 œ œ œ # # nœbœ U # # Cl. # # bœ œ œ œ Œ Œ ∑ ∑ Œ Œ ‰ ‰ # ## & œnœ 5 nœbœ œ œ pœ ff

5 bœ 5 U Bsn. ?#### nœ™ œ œ Œ Œ ‰ ‰ #### 5 bœ™ nœ™ nœ # ¢ ˙™ >. œ. bœ ˙ p > > ™ ff

. œ ˙ >. > Tpt. ° # ## nœ œ. >œ œ. nœ œ. > U # ## & # ™ ‰ Œ bœ ˙™ Œ Œ ‰ ‰ # # f

Tbn. # U # ?## # ∑ ∑ ∑ ∑ Œ Œ ‰ ‰ ## # ¢ #

#### œ œ œ œ œ œ œ œ œ œ œ œ œ U #### & œ œ œ nœ œ œ œ œ œ bœ œ œ bœ Œ ‰ ‰ # Mar. f ff U ?# ## bœ™ œ™ œ™ œ™ œ™ ‰ ‰ ‰ # ## # nœ™ œ™ b œ™ œ™ œ™ œ™ œ™ œ™ œ™ # #

{ ff mf œ ˙™ œ œ œ™ œ œ œ™ œ œ Bar. °?# # œ œ œ™ œ œ J U # # # # Œ J J ‰ # ## ¢ out you know - ing me, you must ne - ver feel

# U # Vln. ° # # j j j # # & # nœfi œfi nœfi ∑ ∑ Œ Œ ‰ ‰ # # œ œ œ œ œ œ œ . . f

Vc. ?# # nœ. . > . œ ˙ U # # # # œ œ™ œ ‰ Œ ∑ ∑ Œ Œ ‰ ‰ # ## f

U Cb. ?# # n˙™ n˙™ # # # # œ œ œ™ œ œ œ ˙™ Œ Œ ‰ ‰ # ## ¢ . . f ff

110 ecstatically 389 U œfij œfij œfij œ œ œ œ œ œ œ œ œ œ œ œ > . Picc. ° # ## œ œ œ œ œ œ 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 mf ff mp mf ff mp mf ff mf

ecstatically # œfij œfij œfij Cl. ## # 4 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 ≈œ œ ‰ œ œ œ. œ œ . œ œ œ. œ œ œ œ œ œ œ œ œ > > mf ff mp. mf ff mp. mf ff mf.

3 3 > > > >. >. >. >. >. >. > > > 3 3 > > > >. >. >. >œ. >œ. >œ. œ. œ. œ. œ œ œ œ œ œ œ. œ. œ. >œ. >œ. >œ. >. >. >. > > > Bsn. # > > > . . . 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 #4 œ œ œ . . . 3 3 3 3 3 3 3 3 . . . œ œ œ ¢ . . . 3 3 3 3 . . . mf> > > > > > ff mf >> > > > >

Tpt. ° # ## & # #4 ∑ ∑ ∑ ∑

lyrically, with baritone - w ˙ œ œ œ œ œ. -. œ Tbn. ?# # 4 œ œ œ # ##4 Ó Œ ‰ ¢ f mf f

œ œ # # œ œœ œ œ œ œœ œ œ œœ œ œ œœ œ œ # ##4 œ œ œ œ œ œ œ œ œ œ œ œ & 4 3 3 3 3 3 3 3 3 Mar. ff mf ?# # 4 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

push ff { w ˙ mf f œ œ -. - Bar. °?# # 4 œ œ œ œ œ œ. œ # ##4 Ó Œ ‰ ¢ sad. When you grow up and want to know

U Vln. ° # # & # ##4 ∑ ∑ ∑ ∑

pizz Vc. ?# # 4 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 ff mf

> >. > >. > >. >œ. œ. œ > >. >œ. œ. œ Cb. ?# # 4 >. œ. œ >. œ. œ # ##4 œ œ. œ œ œ. œ ¢ >. > mf>. > 111 393 . > > molto rit. > œ. > . > œ. > œ œ œ œ. œ œ œ. Picc. # # œœ œœ œ œ œœ œ œ œ œ œ œ œ œ ° # ## œ ≈ œ ‰ 2 ‰ 4 œ Œ œ Œ ∑ 2 ∑ 4 & 4 4 3 3 3 3 4 4 f ff mp

3 3 3 3 3 3 3 3 Cl. # ## j j j j & # # œœœœœ ≈ œœ ‰ 24 ‰ 4 j j j j ∑ 24 ∑ 4 > . œ. œ 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. f ff> > mp

Bsn. ?# # 2 4 2 4 # ## 4 ∑ 4 ∑ ∑ ∑ 4 ∑ 4 ¢ ffw mp

Tpt. ° # ## & # # ∑ 24 ∑ 4 ∑ ∑ ∑ 24 ∑ 4

œ œ œfij œfij ˙ œ œ ˙ Tbn. # œ™ œ œ œ ˙ œ œ ?## # œ ˙ œ 24 œ 4 Œ 24 4 ¢ # J ff

œ œ œ œœ œ œœ œ œœ œ œœ œ œ # # œ œ œ œœ œ œ œ œ œ œ œ & # ## œ 24 œ œ œ 4 œ Œ Œ Œ Œ Œ 24 Œ 4 3 3 3 3 3 3 3 3 3 3 Mar. ff ?# # œ œ œ 2 œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 œ œ œ 4 # ## œ œ Œ œ 4 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 4 œ œ œŒ 4 J3 J3 J3 J3 J3 J3 J3 J3 3 J3 J3 J3 J3 J3

{ ff œ œfij œfij œ œ Bar. °?# # œ 2 œ™ 4 œ œ œ ˙ œ œ ˙ œ 2 œ J 4 # ## œ ˙ œ 4 œ 4 Œ 4 ‰ 4 ¢ me, please come toJ Ku - dan Hill. (l) If you pray deep - ly, sure

molto rit. Vln. ° # ## & # # ∑ 24 ∑ 4 ∑ ∑ ∑ 24 ∑ 4

œ Vc. ?# # 2 œ œ 4 œ œ 2 4 # ## œ œ œ 4 4 œ Œ œ Œ œ œ Œ Œ 4 ∑ 4 œ ff œ

>. > >. >œ. > >. œ > > >. >. Cb. ?#### œ. 2 œ 4 œ Œ œ. œ Œ œ. œ. Œ Œ œ 2 Œ œ 4 ¢ # œ œ. œ. 4 4 . œ 4 4 >. > > ff> >. 112 V 399 q = 72 Picc. ° # ## b b & # #4 ∑ ∑ ∑ ∑ b b b 45 ∑ ∑

3 Cl. # # b & # ##4 ∑ ∑ ∑ ∑ b bbb 5 Ó Œ Œ 4 4 ˙ œ œ w mp mf p

Bsn. # ?## # 4 ∑ ∑ ∑ ∑ b b 5 ∑ ∑ ¢ #4 b b b 4

harmon mute # # 3 Tpt. ° # # 4 ∑ ∑ ∑ ∑ bb b 5 ∑ Ó Œ & #4 b b 4 ˙ œ œ mp mf

w ˙ Tbn. ?# # 4 nw 5 # ##4 Ó ∑ bbbb 4 ∑ ∑ ¢ p b

# ## b b & # #4 œ Œ œœ Œ œ œœ œ Œ œœ Œ œ œœ ∑ ∑ b b b 45 ∑ ∑ 3 3 3 3 p f Mar. 3 3 3 3 3 3 j j j j nœ ˙ 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 b œ ˙ œ ˙ b b 5 ∑ ∑ # #4 œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ nnœ ˙ œ ˙ b b b 4 J3 J3 J3 J3 3 J3 J3 J3 f

p { œ œ œ ˙ ˙ œ w œ œ œ œ œ œ n˙ Bar. °?# ## 4 œ Œ ‰ J Œ nœ b b 5 Œ ∑ # #4 b b b 4 ¢ - ly your fa-ther's face will ap- pear with - in your heart.

V tautly q = 72 pizz 3 3 3 3 Vln. ° # ## b b & # #4 ∑ ∑ ∑ ∑ b b b 45 Œ Œ mpœ ˙ œ ˙ œ ˙ œ mf˙ tautly arco pizz Vc. ?# ## 4 Œ b˙ Œ b b 5 œ ˙ œ ˙ Œ œ ˙ œ ˙ Œ # #4 ˙™ w w ™ b b b 4 3 3 3 3 mf p mf mp mf tautly pizz 3 3 3 3 Cb. ?#### 4 Œ b b 5 Œ Œ ¢ #4 w w w n˙ b b b 4 œ ˙ œ ˙ œ ˙ œ ˙ p ™ mf mp mf 113 405 Picc. ° b b & b b b ∑ 4 ∑ 46 ∑ 45 ∑ 46

3 Cl. b b 4 6 œ œ 5 6 & b b b Ó Œ 4 4 ‰ œ ˙™ Œ 4 ‰ œ œ œ ˙™ 4 ˙ œ w mp mp mf p

Bsn. ? b b ∑ 4 ∑ 6 ∑ 5 ∑ 6 ¢ b b b 4 4 4 4

3 Tpt. ° b b 4 œ 6 ˙ 5 6 & b b b Œ 4 Ó Œ œ œ œ 4 ™ Œ Œ œ 4 ˙™ Ó 4 w p mf p mp

Tbn. ? b b ∑ 4 ∑ 6 ∑ 5 ∑ 6 ¢ b b b 4 4 4 4

tautly (with strings) Percussion brushes 3 3 j j j j j j Vib. ° b b œfi œfi œfi œfi œfi œfi & b b b ∑ / 4 Ó Œ œ œ œ 46 œ ˙ œ ˙ Ó 45 œ ˙ œ ˙ œ œ 46 ¢ p 3 3

as lightly as possible, falsetto ok urgently mp mf 3 3 3 w œ œ œ œ œ œ œ œ œ œ œ Bar. °? b b ∑ 4 ∑ 6 Œ ‰ J J 5 ‰ J 6 b b b 4 4 4 4 ¢ E-ven if some-thing should hap - pen to me, you

3 3 3 3 3 3 3 » 3 3 Vln. ° b b & b b b Œ 4 46 Œ 45 Œ 46 œ ˙ œ ˙ œ ˙ œ p˙ œ ˙ œ ˙ mf˙ mpœ ˙ œ ˙

Vc. ? b 4 6 » 5 6 b bbb œ ˙ œ ˙ Œ 4 œ ˙ œ ˙ 4 œ ˙ œ ˙ Œ ˙ 4 œ ˙ œ ˙ Œ 4 3 3 3 3 3 3 3 3 3 p mf mp

3 3 3 Cb. ? b b œ ˙ œ ˙ Œ 4 œ ˙ œ ˙ 6 Œ 5 œ ˙ œ ˙ Œ 6 b b b 3 3 4 3 3 4 œ ˙ œ ˙ ˙ 4 3 3 4 ¢ p mf mp 114 409 3 Picc. ° bb b 6 ∑ 5 ∑ Ó Œ Œ œ 6 & b b4 4 œ œ œ . 4 mf f

Cl. b b & b b b46 ∑ 45 ∑ ∑ 46

œ. Bsn. ? b b 6 ∑ 5 ∑ Ó Œ Œ œ œ 6 ¢ b b b4 4 œ 4 3 mf f

Tpt. ° b & b bbb46 ∑ 45 ∑ ∑ 46

Tbn. ? b b 6 ∑ 5 ∑ ∑ 6 ¢ b b b4 4 4

3 > 3 >3 3 3 > j j j j j j j j ¿ ¿ ¿ Perc. ° 6 œfiœ ˙ œfiœ Ó 5 œfiœ ˙ œfiœ œfiœ œfiœ œfiœ œ œ œ œfiœ œ 6 ¢ / 4 ˙ 4 ˙ œ œ œ œ Œ œ 4 3 mp 3 nf

f mf œ 3 -. 3 > œ œ œ œ œ œ œ œ -. œ œ œ œ œ. Bar. °? b b 6 œ 5 Œ J ‰ œ ∑ 6 b b b4 4 4 ¢ must cer-tain-ly not think of your-self like a fa - ther - less child.

3 3 3 » 3 3 3 3 Vln. ° b b 6 5 6 & b b b4 Œ ˙ 4 œ ˙ œ ˙ Œ œ œ œ œ œ œ Œ 4 œ ˙ œ ˙ f mf > > >

3 3 3 3 Vc. ? b 6 ˙» 5 6 b bbb4 œ ˙ œ ˙ Œ 4 œ ˙ œ ˙ Œ œ œ œ œ œ œ Œ 4 3 3 3 > > > f mf

3 3 3 3 3 Cb. ? b 6 œ ˙ œ ˙ 5 6 b bbb4 Œ ˙ 4 œ ˙ œ ˙ Œ œ œ œ œ œ œ Œ 4 ¢ 3 3 f mf > > > 115 412 3 7 . . œ. Picc. ° bb b 6 Ó Ó œ œœ œ 5 Ó Ó œœ œœ 3 Ó œœœ Œ œœŒ & b b4 œœœ . œ 4 4 œœœœœ 3 3 3 mp f mf f mf f mp f

Cl. b b & b b b46 ∑ 45 ∑ 43 ∑ ∑

3 7 œ. œ. œ œ . Bsn. œœ œ œ ?bb b 46 Ó Ó œœ œ 45 Ó Ó 43 Ó œœœœ Œ œœœœœœœŒ ¢ b b œ 3 3 . 3 mp f mf f mf f mp f

Tpt. ° b b j & b b b 6 ∑ 5 ∑ 3 Ó œ ‰ Œ 4 4 4 œ œ œ œ . œ œ œ œ mp mf mp

Tbn. ? b b 6 ∑ 5 ∑ 3 ∑ ∑ ¢ b b b4 4 4

3 3 3 3 3 > 3 3 > 3 3 3 3 3 > > > > > > > > j j ¿¿¿ j j ¿ ¿ ¿ j j j Perc. ° 6 œfiœ œ œ œ œfiœ œ œœœ 5 œfiœ œ œ œ œ œ œfiœ œ œ 3 œfiœ œ œ œ œ œ œfiœ œ œ œfiœ œœ œ ¢ / 4 œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œœœ f

f ff f 3 3 3 3 œ ˙ œ 3 œ œ œ œ œ œ ™ œ ˙ œ™ œ œ Bar. °? b b 6 ‰ œ œ œ ‰ J J 5 3 Œ ‰ ‰ b b b4 J 4 4 ¢ I am al - ways pro-tec - ting you. Please be a

3 3 3 3 3 Vln. ° b > > > > > > & b bbb46 œ œ œ œ œ œ œ œ œ 45 œ œ œ œ œ œ œ œ 43 œ œ œ œ œ œ œ œ œ œ œ œ mp> > > > > > > > > f

3 3 3 > > > Vc. ? >œ œ >œ œ >œ œ >œ œ > > > œ œ œ œ œ œ bb b 46 œ œ œ œ œ œ œ œ œ 45 43 œ œ œ œ œ œ b b 3 3 mp> > > > > f

Cb. ? b 6 >œ œ >œ œ >œ œ >œ œ >œ 5 > > > > 3 >œ œ >œ œ >œ œ b bbb4 4 œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ ¢ 3 3 3 3 3 > > > mp f 116 416 7 œ. œ. œ. œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ Picc. b œ œ œ œ œ œ œ ° b bb œ œ œ œ œ œ ‰ œ œ œ œ œ ‰ ≈ 4 ‰ ‰ ‰ ‰ ‰ ‰ & b œ 4 7 7 7 p 7 f

Cl. b b & b b b ∑ 4 ∑ ∑

7 7 . œ. œ. œ. œ. œ. œ. œ. Bsn. œ œ œ œ œ œ œ ? b b ‰ œ œ œ œ œ œ ‰ ≈‰ œ 4 ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ b b b œ 7 4 ¢ p f

Tpt. b j ° b bb ‰ Œ 4 ‰ œ ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ & b œ. œ œ œ 4 œ. . mf œ f

senza sord. w Tbn. ? 4 bbbb ∑ 4 ∑ ¢ b f

3 3 3 3 3 3 3 3 3 3 > > > > > > > > > > ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Perc. ° 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 4 œ œ œ œ œ œ œ Œ œ Œ 3 3 mp f

non dim. ff œ™ -. Bar. °? b œ œ 4 œ œ œ œ™ œ œ b bbb J ‰ 4 J œ ˙ Œ ¢ per - - son who takes lo - ving care of o - thers.

Vln. ° b > > > > >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ & b bbb œ œ œ œ œ 4 3 3 J ff fff

>œ >œ >œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ œ >œ œ œ Vc. ? b b J 4 b b b 3 3 4 3 3 ff fff

> > > > Cb. ? b b œ œ œ œ œ 4 œ œ œ œ œ œ œ œ b b b 3 3 J 4 œ œ œ œ ¢ ff fff> > > > > > > >

117 419 œ. œ. œ. œ. œ. œ. Picc. ° b b œ œ. œ. & b b b ‰ ‰ ‰ ‰ Œ œ Œ w ˙™ Œ pp

Cl. b b & b b b ∑ ∑ ∑ ∑ ∑ œ. œ. œ. œ. Bsn. ? b b ‰ ‰ ‰ ‰ œ. œ œ. Œ Œ Œ ¢ b b b œ œ w ˙™ œ. . pp

Tpt. ° b . . . . & b bbb ‰ œ ‰ œ ‰ œ ‰ œ Œ w w w pp˙™ w w œ ˙ w ˙™ Tbn. ? b J b bb Œ™ Œ ¢ b pp

3 3 3 3 Vibraphone

Perc. ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ° Œ Ó ∑ ∑ ∑ & ¢ / œ œ œ Œ œ œ Œ œ œ œ œ œ œ emotionally, on a parting note f 3 3 3 3 3 3 . œ œ œ œ œ Bar. °? b b ∑ ‰ œ œ œ J Œ œ œ ™ œ œ œ œ Œ œ ˙ ˙ ˙ b b b J ¢ When you grow up and be - gin to think of me, please read this let- ter.

arco Vln. ° b b >œ œ œ >œ œ œ & b b b Ó ‰ Œ 3 3 œ œ œ ˙ œ ˙ ˙ ff ™ ™ pp™ arco > >œ >œ >œ >œ ˙ œ œ ˙™ œ >œ ˙™ ˙™ Vc. ? b b Ó Œ b b b arco ff pp Cb. ?bb b Œ ¢ b b >˙ >˙ w w w ˙ ff pp™

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W without variation in volume 424 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 Vib. ° b œnœœœœœœœœœœœœœœœœœœœ œnœœœœœœœœœœœœœœœœœœœ nœ #œœœœœœœœœœœœœœœœœœœ nœ #œœœœœœœœœœœœœœœœœœœ & b bbb œ œœœœœœœœœœœœœœœœœœœ œ œœœœœœœœœœœœœœœœœœœ œn œœœœœœœœœœœœœœœœœœœ œn œœœœœœœœœœœœœœœœœœœ ¢ pp5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

° trailing off ° mp Spoken: P.S. - I keep your doll in my plane as a charm. All will know Bar. °? b b Œ ˙ œ Œ Ó ∑ ∑ b b b ™ ¢ Fa - - ther W pizz Cb. °? #œnœ œ bb b Œ Ó Œ Ó Ó Œ nœ œnœ nœ b b nœ nœ nœ 3 3 ¢ mf f 118 428 5 5 5 5 5 5 5 5 Vib. ° b nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 bbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó ∑ ¢ 5 5 5 5 5 5 5 5 mp ° Motoko was together with Father. I say this f because being here without your knowing... œ œ œ œ Bar. °? b b ∑ ∑ Ó # b b b ˙ ¢ makes my heart ache.

3 arco Cb. °? b bœ œ œ n˙ w w # b bb œ œ œ bœ œ Œ ¢ b mf f mp

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III. The Emperor's Old Clothes Parade of Nations Bass Clarinet 432 Nobly Forward (q=72) in Bb (Japan) solemnly Cl. ° # & ∑ ∑ ¢ œ œ œ p œ

5 5 5 5 5 5 5 5 5 5 5 5 Vib. ° # œ#œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œ#œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œnœ œ™ œnœ œ™ œnœ œ™ œnœ œ™ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ™ œ œœ™ œ œœ™ œ œœ™ ¢ p 5 5 5 5 5 5 5 5 5 5 5 5

° remain on stage, pretending to watch the approach of a parade ° Bar. °?# j ‰ Œ Ó ∑ ∑ ¿ ¢ (k)

(motivationally, pretending to watch the approach of a parade) Love your country, with all your heart! Here comes the Emperor, so now let us start. Narr. &

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435 B. Cl. ° # & 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 ˙ mp p mf f

solemnly Bsn. ?# œ œ ∑ œ œ œ œ œ ˙ ˙ Ó œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ ¢ p œ mp p mf

5 5 5 5 # Vib. ° œnœ œ™œnœ œ™œnœ œ™œnœ œ™ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & œ œœ™œ œœ™œ œœ™œ œœ™ ¢ 5 5 5 5 119 (Germany - Die fahne hoch!) 443 Flute sweetly Picc. ° # œ™ #œ & ∑ ∑ Œ œ œ œ #˙™ œ J#œ #œ ˙ œ Œ Œ œ œ #œ mp mf f mf (Germany - Deutschlandlied) proudly

B. Cl. # bœ nœ œ œ & Ó ∑ ∑ ∑ ™ J œ œ ˙ mf œ œ ˙ ˙

Bsn. ?# œ œ œ œ œ Ó ∑ ∑ ∑ ∑ ¢ f œ ˙ ˙

Tpt. ° # & ∑ ∑ ∑ ∑ ∑ ∑ ∑ (Distorted version of Die fahne hoch!) con sord. offensively ...... > > > > > > #œ. œ. œ. . . > > > > > > >. >#>œ. > Tbn. ?# œ œ œ œ œ œ #œ. œ. œ. œ. œ. œ. œ œ #œ. œ. œ. œ. œ. œ. œ#œ. ˙ ∑ ∑ Œ ‰ J ‰ Œ ‰ ‰ J ‰ ‰ ¢ p mp ff p mp ff

=

450 ˙ Fl. ° # ˙ œ b 3 ˙ & #˙ œ œ™ œ œn˙ Œ b b 4 ∑ Œ ∑ Œ ∑ ™ J f mp f f

bœ œ bœ bœ b˙ b˙ ˙ B. Cl. # œ nœ bœ œ œbœ b & œ Œ b b 43 ∑ Œ ∑ Œ ∑ ff p f f b˙ n˙ Bsn. ?# b 3 ∑ ∑ ∑ b b 4 ∑ Œ ∑ Œ ∑ ¢ f f (United States - Star Spangled Banner) senza sord. Tpt. ° # b ˙ œ™ œ œ œ™ œ œ & ∑ ∑ Ó™ bœ™ œ b b 43 œ œ œ nœ ˙ œ™ œ J mf œ f mp ˙ >. >. >œ. > >. > >. > >. > >. ˙ Tbn. ?# œ#œ ˙ œnœ. œ ˙ œ . œ >˙ b 3 ‰ ‰ ‰ nœ b b 4 ∑ Œ ∑ Œ ∑ ¢ p mf mf stormily pizz Vln. # b nœ j nœ ° ∑ ∑ ∑ b b 3 ∑ ≈ nœ nœ ‰ ∑ ≈ œœœ j‰ ∑ & 4 œ bœbœ œ œbœ mfœ œ ff ff œ mf stormily pizz nœnœnœ œ Vc. ?# ∑ ∑ ∑ b 3 ∑ ≈ œ bœbœ ‰ ∑ ≈nœ œ œ ‰ ∑ b b 4 œ œ J œ œœ j mf ff ff bmfœ stormily pizz œœ œ Cb. ?# ∑ ∑ ∑ b 3 ∑ ≈ œ œ œbœ ‰ ∑ ≈ œ œ j‰ ∑ b b 4 œ œ œ ¢ mf ffJ ff mf 120 458 - Albania 3 3 œ. Fl. b n˙ œ œ ˙ ˙ n ˙™ œ ° b b Œ ‰ ‰ nœ ‰nœbœ ‰ 4 Ó n n ∑ Œ Œ Œ & bœ œ œ 3 4 f mp 3 f p mf

3 Andorra b˙ œ 3 3 B. Cl. b bœ 4 n & b b Œ bœnœnœnœ 4 Ó n n ∑ Œ Œ 3 nœ œ b˙ ˙ œ nœ œ pw mf-. œ œ f mp f œ

#˙ œ œ œ Brazil œ œ œ Bsn. ?bb Œ ‰ ‰ J J ‰ J J ‰ J J ‰ œ 4 Ó nn ∑ Œ œ Œ ‰ j b 3 3 3 3 J ˙ ˙ n ˙™ . œ œ œ ¢ f mp f p mf- #œ

Bulgaria - Tpt. ° bb ˙ œ œ œ œ œ 4 Ó nn ∑ Ó œ. Œ Œ & b ™ œ ˙ 4 ˙ n ˙ œ f p p mf

senza sord. Angola ˙ œ œ ˙ ˙ -œ. Tbn. ? œ œ œ œ œ ˙ œ bb Œ ‰ ‰ ‰ ‰ œ 4 Ó nn ∑ Ó Œ Œ b 3 3 3 3 n ¢ mf mp f p mf

Vib. b n ° b b ∑ ∑ ∑ 4 ∑ n n ∑ ∑ ∑ ¢& 4

make your way delicately to the position occupied during Pen Songs, face audience directly ff S. ° b n & b b ∑ ∑ ∑ 4 ∑ n n ∑ ∑ Ó Œ œ God

ff Bar. ? 4 œ bbb ∑ ∑ ∑ 4 ∑ nnn ∑ ∑ Ó Œ ¢ Aus -

arco Azores nœ 3 nœ 3 3 3 Vln. b bœ bœ nœ n ° b b ≈ œ œbœ J ‰ ‰ ‰ œbœ ‰ ‰ nœ 4 n n ‰ ‰ Œ Ó Œ Œ Œ ‰ œœ & œ œ œ 3 4 œ œ œ œ œ œ œ bœ 3 3 nœ œ œ œ œ œ œ œ œ ff mf mp f ffœ œ œ pœ mf-.

arco Burkina Faso 3 3 nœ 3 œbœ 3 3 Vc. ? b ≈ bœbœ J ‰ ‰ ‰ œ ‰ ‰#œ 4 n œ ‰ ‰ œ Œ Ó Œ œ Œ Œ b b œ œ bœ 3 nœ 4nœ œ œ œ œ œnœ œ n n œ œ . œ œ œ œ 3 œ œ œ - ffœ mf mpœ f ffœ œ œ p mf Canary Islands arco pizz œ œ œ œ 3 3 Cb. ? b œœ bœ œ œ œ œ œ œ œ œ œ œ 4 n b b ≈œbœ J ‰ 4 n n œ ‰ œ ‰ œ Œ Ó Œ œ. Œ Œ ¢ 3 3 3 œ œ œ œ œ œ œ œ œ - œ™ œ ff mf mp f ff p mf 121 X 465 œ œ ˙ (sing) œ™ œ œ œ™ œ œ™ œ œ œ œ™ #œ œ Fl. ° J œ J Ó Œ œ œ œ 3 ˙ bb b 2 & as loud as you ™ 4 ™ b b 4 think it should be God save theJ South! f

(sing) 3 B. Cl. j Ó Œ œ j 3 bb b 2 & œ™ œ œ œ œ œ œ™ œ 4 ˙™ b b 4 œ œ™ œ œ œ œ œ œ œ ˙ God save the South! as loud as you f think it should be

(sing) œ Bsn. ? œ™ œ œ #œ œ œ Œ œ™ œ™ œ œ™ œ œ Ó Œ œ™ j 3 b b 2 œ™ œ œ œ œ œ™ œ œ™ œ œ #œ œ œ 4 ˙™ b b b 4 ¢ as loud as you God save the South! think it should be f

(sing) Tpt. ° bœ bœ j b & œ œ œ ™ œ œ œ œ œ œ œ ™ œ ˙ œ œ Œ Ó Œ œ œ œ 43 b bbb 24 as loud as you ™ ˙™ think it should be God save the South! f

œ œ œ œ œ ˙ (sing) œ™ œ œ™ œ ™ ™ œ ˙ œ œ™ œ œ œ œ œ œ Tbn. ? œ™ j 3 b 2 Ó Œ œ 4 ˙™ b bb 4 ¢ as loud as you œ b think it should be God save the South! f

Vib. b ° ∑ ∑ ∑ ∑ ∑ 3 ∑ b bb 2 ¢& 4 b 4

f S. ° œ œ ˙ œ œ™ #œ ˙ œ œ œ œ œ™ œ œ œ œ œ 3 ˙ bb b 2 & ™ œ J J ™ 4 ™ b b 4 save theJ South, God save the South, Her al - tars and fire - sides, God save theJ South! try desperately to be heard

f œ œ™ œ œ œ œ œ œ œ œ œ œ œ ˙™ Bar. ? œ œ œ J Œ Ó Œ ™ J 3 b b 2 4 b b b 4 ¢ tra - lians all let us re - joice, for we are young and free God save the South! try desperately to be heard

X (sing) Vln. ° 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 43 ˙™ b bbb 24 as loud as you 3 3 J think it should be God save the South! f

(sing) Vc. ? œ œ œ œ œ œ œ œ ˙ œ œ œ™ œ œ Œ Œ œ œ™ œ 3 ˙™ b b 2 œ™ ™ ™ œ œ ™ œ™ ™ J J 4 b b b 4 as loud as Jyou J God save the South! think it should be f

(sing) j Cb. ? œ œ œ œ œ œ™ bœ œ™ œ œ œ j j Œ Œ œ œ™ œ 3 ˙™ b b 2 as loud™ as you œ J bœ œ™ œ nœ™ œ œ J 4 b b b 4 ¢ think it should be God save the South! f 122 Più mosso (ca. q=80) Kq = q 471 œ bœ™ œ œ œ œ œ nœ œ œ nœ n˙™ Fl. ° b b J œ œ n˙ œ #œ n n & b b b24 Œ ‰ 4 ™ Œ n n n mf ff mf

B. Cl. bb b 2 Œ ‰ 4bœ œ œ œ œ œ œ nœ Œ nn n & b b4 œ 4 ™ œ œ n˙ œ nœ œ #œ n˙™ n n mf J ™ ff mf

Bsn. ? b 2 4 j j j œ j j œ œ œ n b bbb4 Œ ‰ œ 4 œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ J ‰ œ ‰ œ ‰ j ‰ œ ‰ J ‰ J ‰ œ ˙ n nnn ¢ mf J J J J ff œ mf

œ Tpt. ° bb b 2 Œ ‰ 4 œ™ œ œ œ ˙ œ œ œ œ œ œ ˙™ Œ nn n & b b4 œ 4 J œ œ œ™ n n mf ff mf

Tbn. ? b 2 4 j j j œ j j œ œ œ n b bbb4 Œ ‰ œ 4 œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ J ‰ œ ‰ œ ‰ j ‰ œ ‰ J ‰ J ‰ œ ˙ n nnn ¢ mf J J J J ff œ mf

Vib. b n ° b bb 2 ∑ 4 ∑ ∑ ∑ ∑ / n nn ¢& b4 4 n

mf ff œ S. ° bb b 2 Œ ‰ 4 œ™ œ œ œ ˙ œ œ œ œ œ œ w nn n & b b4 œ 4 J œ œ œ™ n n For rea - son in re - volt now thun - ders, and at last ends the age of cant.

mf ff œ œ™ œ œ œ ˙ œ œ œ œ œ œ w Bar. ? b 2 œ 4 J œ œ œ™ n b bbb4 Œ ‰ 4 n nnn ¢ For rea - son in re - volt now thun - ders, and at last ends the age of cant.

Più mosso (ca. q=80) gradually slide down strings, shifting as necessary not pitch-specific until last note pizz Kq = q 7 7 7 7 7 7 3 3 3 3 » Vln. ° b b 7 7 7 n n & b b b24 ∑ 4 7 7 7 7 7 n n n 3 3 3 3 7 7 7 7 7 7 7 7 nœ mp 7 ff gradually slide down strings, shifting as necessary not pitch-specific until last note pizz 7 7 7 7 7 7 3 3 » Vc. ? 2 4 7 7 7 7 7 7 bb b 4 ∑ 4 7 7 7 7 7 7 nn n b b 3 3 3 3 3 3 7 7 n n mp 7 7 7 ffœ

Cb. ? b 2 j 4 j j j œ j j œ œ œ n b bbb4 Œ ‰ œ 4 œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ J ‰ œ ‰ œ ‰ j ‰ œ ‰ J ‰ J ‰ œ ˙ n nnn ¢ mf J J J J ff œ mf

123 A Symmetric Warfare Y 476 (q-132) Fl. ° & ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

Tpt. ° œ nœ œ™ bœ & ∑ ∑ ∑ ∑ œ™ œ™ bœ ˙ œ nœ ™ 3 mp ff

Tbn. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

Temple Blocks T. Bl. ° / Œ œ ‰ Œ œ œ ‰ œ œ Œ œ ‰ Œ œ œ ‰ œ œ Œ œ ‰ Œ œ œ ‰ œ œ œ ‰ Œ œ ¢ mf œ f mf œ f mf œ f mf œ

turn and sing while approaching baritone mf insistently f S. ° b w j j ˙ & < > Œ œ œbœ™ œ ∑ Œ œ œ bœ™ œ ∑ œ œ b˙™ ‰nœ ™ There's a war on. There's a war on. There's a war. A war.

turn and sing while approaching soprano mf insistently f w œ Bar. ? ∑ Œ œ œ œ œbœ œ Œ Ó Œ œ œ œ œbœ œ œ œ œ bœ œ nœ œ œ ¢ The war is o - ver. The war is o - ver. The war is. The war is.

Y (q-132) sharply Vln. ° & Œ ‰ Œ #œ œ ‰ Œ ‰ Œ #œ œ ‰ Œ ‰ Œ #œ œ ‰ ‰ Œ #œ bmfœ œ fœ œ bmfœ œ fœ œ bmfœ œ fœ œ bmfœ œ sharply Vc. ? Œ œ ‰ œ Œ nœ œ ‰bœ œ Œ œ ‰ œ Œ œ œ ‰ bœ œ Œ œ ‰ œ Œ œ œ ‰bœ œ œ ‰ œ Œ œ mf f mf f mf f mf

Cb. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢

walk to microphone aggressively (directed at the audience) sardonically 3 > . Narr. œ ‰ œ œ Œ Œ ‰ œ œ œ œ ‰ œ & 3 War, you see, is a fun-ny thing. 124 483 Fl. ° & ∑ ∑ ∑ ∑ ∑ ∑

Clarinet in Bb B. Cl. ∑ ∑ ‰ œbœnœ ‰ œbœnœ Œ bœbœ & œ œ#˙™ nœ. bœ J bœ mf˙™ œ ff p

Bsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ¢

Tpt. ° ˙ bœ & ‰ Jbœbœ ∫w ˙ Ó ∑ ∑ ∑ p

Tbn. ? ∑ ∑ ∑ ∑ ∑ ∑ ¢

T. Bl. ° œ ‰ œ œ Œ ‰ Œ œ œ ‰ œ œ Œ ‰ œ ‰ œ œ ‰ œ œ œ œ Œ œ œ Œ œ / œ œ œ œ œ œ œ œ œ ¢ fJ mf f p ff come as close to baritone as you feel comfortablle; as you sing melismatic War!, back away with a step for each note p ff œ S. ° ‰ ˙ ‰ ‰ ‰ ‰ œ #œ œ#œ™ œ™ J & œ œ ˙ œ œ œ œ ˙ œ œ œ œ œ œ™ ™ J A war. A war. A war. A war. A war. A war. War! come as close to soprano as you feel comfortablle; as you sing melismatic War!, back away with a step for each note p ff œ œ œ œ œ œ œ œ œ™ œ™ œ œ Bar. ? œ œ œ œ œ J bœ™ bœ™ bœ ‰ œ ‰ œ Œ ‰ ‰ Œ J J ¢ The war is. The war is. War is. War is. War is. War!

Vln. ° ‰ Œ ‰ Œ ‰ Œ ‰ Œ ‰nœ ‰ œ Œ Œ Œ Ó & #œ #œ #œ #œ œ bœ œ bœ œ fœ œ bmfœ œ fœ œ p ff

nœ œ Vc. ? œ bœ œ œ œ œ œ bœ œ nœ œ ‰ Œ ‰ Œ ‰ Œ ‰bœ Œ bœ ‰ ‰ Œ nœ Œ œ Œ Ó f mf f p ff

Cb. ? ∑ ∑ ∑ ∑ ∑ ∑ ¢

3 Narr. œ Œ Œ >œ j Œ & ‰ œ œ ‰ œ œ œ œ œ œ ‰ Ó 3 War, you see, is a fun-ny thing. 125 489 Z Fl. ° & ∑ ∑ 78 ∑ ∑ ∑ ∑ ∑ 85

j Cl. & œ™ bœ b˙ œ Œ Ó 78 ∑ ∑ ∑ ∑ ∑ 85 f p

Bsn. ? ∑ ∑ 7 ∑ ∑ ∑ ∑ ∑ 5 ¢ 8 8

. . bœ . nœ. . . Tpt. ° ∑ ∑ 7 ‰ ‰ ‰ Œ j bœ bœbœ ‰ nœ. ‰ ‰nœ ‰bœ ∫œbœ ‰ bœbœ ‰ ‰ nœ ‰nœnœ. ‰ 5 & 8 œ. nœ. bœ bœ. . . 8 œbœ. mf f p f mp f p . . . . bœ. œ. œ œ . Tbn. ? ∑ ∑ 7nœ ‰ ‰ œ ‰ ‰bœ ‰nœ ‰ ‰ bœ. ‰bœ ‰ ‰#œ ‰nœ ‰ ‰ ‰ Œ 5 8 bœ. .#œ œ œ œ œ 8 ¢ mp f nmpœ. f . . . p.

Tambourine T. Bl. ° œ œ j / ‰ ‰ œ Œ ‰ ‰ ‰ ‰ Œ 78 œ œ ‰ œ ‰ œ ‰ Œ œ œ œ Œ ‰ œ ‰ ‰ œ ‰ œ Œ ‰ œ œ œ ‰ ‰ œ œ ‰ œ œ ‰ 85 ¢ œ œ pœ mp f p mf p f pp as you hit final pitch, turn on your heel and exit, opposite the baritone p ˙ S. ° œ ™ & ∑ 78 ∑ ∑ ∑ ∑ ∑ 85

as you hit final pitch, turn on your heel and exit, opposite the soprano p Bar. ?œ n˙™ ∑ 7 ∑ ∑ ∑ ∑ ∑ 5 ¢ 8 8

Z Vln. ° & ‰ ‰ Œ nœ ‰ œ ‰ ‰ ‰ Œ 78 ∑ ∑ ∑ ∑ ∑ 85 #œ œ bœ pœ

Vc. ? nœ œ nœ 7 5 bœ ‰ ‰bœ Œ ‰ ‰ ‰ nœ ‰ Œ 8 ∑ ∑ ∑ ∑ ∑ 8 p

Cb. ? ∑ ∑ 7 ∑ ∑ ∑ ∑ ∑ 5 ¢ 8 8

Narr. œ Œ > Œ > & ‰ œ œ Ó ‰ œ œ 78 œ™ Ó ‰ ‰ œ œ œ™ Ó œ ‰ Ó œù ‰ Ó 85 War, you see. You see war. You see war. You!> ¿Sí? 126 496 Fl. ° & 85 ∑ 78 ∑ ∑ 4 ∑ 78 ∑ ∑ 85 ∑ ∑ 43

> > œ. œ. >œ. Cl. & 85 ∑ 78 ∑ ∑ 4 ∑ 78 ∑ ∑ 85 Œ ‰ ‰ ‰ ‰ ‰ 43 ff

> œ œ . > >. >. œ. œ œnœ. nw bœ bœ. > . > j nœ œ Bsn. ? 5 7 œ œ œ. Œ ‰ ‰ ‰ #œ 4 7 œ bœ bœ œ nœ œ bœ œ Œ 5 Œ ‰ ‰ ‰ ‰ ‰ 3 8 8 œnœ. œ. œ. œ. . 4 8 nœ.nœ . 8 4 ¢ p f ff p > ff

. Tpt. ° 5 œ œ œ . 7 œ œ œ . ˙ œ 4 ˙ 7 5 3 & 8 œ ‰ 8 ‰ œ Œ ™ 4 ™ Œ 8 b˙ œ™ œ™ Ó 8 Œ ‰ œ ‰ ‰ œ ‰nœ. ‰ 4 p f p ff>. >. >

œ œ™ ˙ œ™ œ > > >. #>œ. > >. n>œ. > . œ™ œ™ #œ bœ™ nœ >œ™ bœnœ >œ™ œ™ Tbn. ? 5 7 4 7 5 3 8 œ œ ‰ œ ‰ 8 Œ 4 8 8 Œ 4 ¢ p- . >. f p f mp

. . Brake Drum Tamb. æ j æ Œ Œ Œ °/ 85 œæ™ œ ‰ 78 ˙æ œ ‰ ∑ 4 ∑ 78 ∑ ‰ œ ‰ 85 ‰ œ ‰ ‰ œ ‰ œ ‰ 43 ¢ p f f

arco b>œ ˙ b>œ. >. >. >. >. Vln. ° 5 ∑ 7 j 4 b>œ™ 7 ‰ Œ Œ ‰bœ ‰ 5 Œ ‰bœ ‰ ‰bœ ‰nœ ‰ 3 & 8 8 œ™ œ™ œ ˙ œ™ 4 œ™ 8 8 4 > > œ ˙ œ > mf ff> ™ mf ff

arco > >. >. > > Vc. œ ˙ bœ nœ œ. œ. > ? 5 ∑ 7 œ >œ™ 4 7 ‰ Œ Œ ‰ ‰ 5 Œ ‰ ‰ ‰ ‰ œ. ‰ 3 8 8 ™ j 4 #œ 8 8 4 > #œ ˙ œ™ >œ™ >™ mf ff> mf ff

Cb. ? 5 ∑ 7 ∑ ∑ 4 ∑ 7 ∑ ∑ 5 ∑ ∑ 3 ¢ 8 8 4 8 8 4

Narr. 5 7 4 œ Œ 7 Œ >œ œ. j Œ Œ 5 Œ Œ 3 & 8 8 œ™ Ó 4 ‰ œ œ 8 ‰ œ œ ‰ œ ‰ œ ‰ 8 ‰ œ ‰ ‰ œ ™ 4 > 3 3 War! War, you 127see, is a fun-ny thing. War, you see. The Wait

504 AA bœ bœ b˙™ ˙™ Fl. ° œ bœ œ & 43 ∑ Œ Œ ∑ ∑ ∑ f ff mp

> > >. Cl. œ. œ. bœ œ œ™ bœ œ & 43 ‰ ‰ ‰ Ó Œ ˙ ˙™ Œ ∑ Œ œ œ œ™ œ b˙ mp ff f J ff

>. œ >. >. Bsn. ? 3 ‰#œ ‰ œ œ œ™ ‰ Ó ∑ ∑ ∑ ∑ ∑ ¢ 4

> > > Tpt. ° 3 œ. ‰bœ. ‰nœ.#œ œ ‰ Ó ∑ ∑ ∑ Œ j & 4 ™ œ œ œ œ™ œ b˙ f ff

œ œ œ œ™ Tbn. ? 43 ‰ Ó ∑ ∑ ∑ ∑ ∑ ¢ ff

Bass Drum Br.D. °/ 43 œ ‰ œ ‰ Œ œ œ œ Œ Œ ‰ œ œ œ œ œ Œ Ó œ œ œ Œ Œ ‰ œ œ œ œ œ Œ Ó œ œ œ Œ Œ ‰ œ œ œ œ œ Œ Ó ¢ p f p f p f p f p f p f

shrieking; bow roughly AA n˙o w w w ˙o w Vln. ° 3 >. & 4 œ ‰ œ. ‰bœ. Œ Ó > >bœ œ ff

shrieking; bow roughly > bOo b b b o Vc. . >. ? b ˙ w~ w~ w~ O ~ ? 43 œ ‰bœ ‰ Œ Ó #˙ w œ œ œ ff >.

shrieking; bow roughly O O ˙ w~ w~ w~ b˙ w~ Cb. ? 43 ∑ Ó Ó ¢ ff

(Kafkaesque - with a sense of painfully fatalistic bureaucratic efficiency) Now, we’ve been here before. Do you recognize it? There’s no telling how we got here, but there are no paths by which to leave. Narr. & 43 œ ‰ œ ‰ ‰ œ You see war. 128 molto rit. 511 œ ˙ U b˙ ˙ bœ b˙ bw Fl. ° ˙ & ∑ ∑ Ó Ó ∑ 85 p f p ff pp

b˙ U Cl. ˙ w 5 & ˙ Ó ∑ Ó ˙ ˙ Ó bœ œ ˙ ∑ 8 mp p f p ff pp

U Bsn. ? ∑ ∑ Ó Ó ∑ 5 ¢ ˙ b˙ bœ œ ˙ b˙ 8 bp˙ f p ff bw pp

Uw Tpt. ° œ #˙ & b ˙ Ó ∑ Ó #˙ ˙ ˙ Ó œ ˙ ∑ 85 < > mp p f p ff pp

bUw ˙ bœ ˙ Tbn. b˙ ˙ bœ ˙ ? ∑ ∑ Ó Ó ∑ 85 ¢ p f p ff pp

B. D. Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ U °/ œœœ ‰ œœ œœœ Ó œœœ ‰ œœ œœœ Ó œœœ ‰ œœ œœœ Ó œœœ ‰ œœ œœœ Ó 85 ¢ p f p f p f p f p f p f p f p f

w w molto rit. œ œ ˙ ˙ Vln. ° ˙ ˙ #˙ Uw & Ó Ó ∑ #w 85 p f p ff pp

U Vc. ~ ~ w ? <#>w w Ó #˙ ˙ ˙ Ó œ œ ˙ #˙ ∑ 85 p f p ff pp

~ ~ Cb. ?w w U 5 Ó ˙ ˙ ˙ Ó œ œ ˙ ˙ ∑ w 8 ¢ p f p ff pp

There are no more choices now, nothing like freedom. Narr. & 85 129 q = 90 BB -. 519 œ œ™ œ claves measured G.P. Fl. ° # # & 85 ∑ ∑ ∑ 83 ‰ 85 ∑ ∑ œ œ ‰ ∑ ∑ ∑ # p (possible)

measured G.P. -. œ™ œ claves bœ # # Cl. & 85 ∑ ∑ ∑ 83 ‰ 85 ∑ ∑ œ œ ‰ ∑ ∑ ∑ # p (possible)

measured G.P. claves Bsn. # ? 5 ∑ ∑ ∑ 3 ∑ 5 ∑ ∑ ∑ œ œ ‰ ∑ ∑ ∑ ## ¢ 8 8 8

measured G.P. claves Tpt. ° # # & 85 ∑ ∑ ∑ 83 ∑ 85 ∑ ∑ ∑ œ œ ‰ ∑ ∑ ∑ #

claves measured G.P. Tbn. ? 5 ∑ ∑ ∑ 3 ∑ 5 ∑ ∑ ∑ œ œ ‰ ∑ ∑ ∑ ### ¢ 8 8 8

Claves measured G.P. B. D. °/ 85 ‰ œ ‰ ‰ œ ‰ œ ‰ ‰ œ ‰ œ ‰ ‰ œ 83 ‰ œ œ 85 œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ ‰ œ œ œ ‰ ∑ ∑ ∑ ¢ p f pp

walk onto stage quietly, somberly during G.P., to Pen Songs position measured G.P. # # S. ° 5 ∑ ∑ ∑ 3 ∑ 5 ∑ ∑ ∑ ∑ ∑ ∑ ∑ # ¢& 8 8 8

q = 90 BB measured G.P. claves Vln. ° # # & 85 ∑ ∑ ∑ 83 ∑ 85 ∑ ∑ ∑ œ œ ‰ ∑ ∑ ∑ #

measured G.P. pizz Vc. œ œ œ œ œ œ # ? 85 ‰ Œ ‰ Œ ‰ Œ 83 ∑ 85 ‰ Œ ‰ Œ ‰ Œ ∑ ∑ ∑ ∑ ## pœ œ œ f œ œ œ pp

pizz measured G.P. Cb. ? 5 bœ bœ bœ 3 5 #œ #œ #œ # # 8bœ J œ bœ J œ bœ J œ 8 ∑ 8 J J J ∑ ∑ ∑ ∑ # ¢ p f #œ œ #œ œ #œ ppœ

distractedly

C8$-".2$&'$%+/+$&0)3&"+#4$C8$-".24$C84$!"2D,+6-"#D measured G.P. Narr. & 85 83 85 130 CC Mother's Call = 60 530 Somber and Steadfast q Fl. ° # # & # 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

# # Cl. & # 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bsn. # ?## 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ 4

Tpt. ° # # & # 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. # ?## 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ 4 Vibraphone like a distant tolling w j w w w w w w w œ œ j œ œ Vib. ° # # œ œ & # 4 ‰ œ ‰ ¢ 4 w w w w w w w œ œ œ J œ œ mpw w w w w w nw J p mf p °

like a mother rousing a child to waking pp p mp p mf mp # S. ° ## 4 ˙ œ œ œ œ œ ˙ œ œ œ œ j & 4 ∑ ∑ ‰ œ™ œ™ ‰ ‰ œ œ œ ‰ ‰ œ œ œ Œ ‰ ™ œ œ œ ¢ Chil- dren! Chil - dren! Come home, it's get-ting dark. Cold.

CC Somber and Steadfast q = 60 placidly and airily wo w w w w w w w Vln. ° # # & # 4 p pp placidly and airily

Vc. ?###4 ∑ ∑ ∑ ∑ 4 w ˙ n˙ w w p pp >

placidly and airily arco Cb. ?# #4 # 4 w w w w n˙ w ¢ p pp w ˙ > w

Narr. & 4 131 poorly remembered (lullaby from measure 254 in previous Mother's Call) 538 œ œ nœfij œ œ œ œ œ . œ œ œ œ œ œ #œ œ™ œ œ œfiœ œ œ Fl. ° # # œ œ œ J J œ™ & # ∑ ∑ ‰ ‰ ‰ ‰ Œ Œ™ J mf ff 3 mp

as a dusting off # Cl. ## ∑ Ó ‰ Œ ‰ Œ ‰ Œ j‰ Œ j ‰ Œ & j j j œ ˙ œ ˙ ˙ œ ˙ œ ˙ œ ˙ -. -. pp -. -. -. sffzp

as a dusting off -. -. ˙ - - ˙ - ˙ œ ˙ œ Bsn. ?# # ˙ œ. ˙ œ. œ. J J # ∑ Ó J ‰ Œ J ‰ Œ J ‰ Œ ‰ Œ ‰ Œ ¢ pp sffzp

as a dusting off straight mute # Tpt. ° ## ∑ Ó ‰ Œ ‰ Œ ‰ Œ j‰ Œ j ‰ Œ & j j j œ ˙ œ ˙ ˙ œ ˙ œ ˙ œ ˙ -. -. pp -. -. -. sffzp

as a dusting off cup mute -. -. ˙ - - ˙ - ˙ œ ˙ œ Tbn. # ˙ œ. ˙ œ. œ. ?## ∑ Ó J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ ¢ pp sffzp

D.S. 3 3 + dully shimmering # # œ j j Vib. ° # 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 3 J 3 J œ œ œ œ œ œ œ œ œ mf p+ pp

p # 3 S. ° ## Œ Œ œ ˙ Œ Ó ∑ ∑ ∑ ∑ ∑ & œ ¢ Qui - et.

increasingly luminescent pizz w 3 # 3 3 Vln. ° ## œ & ∑ ∑ ∑ ∑ Œ Œ œ Œ œ Œ œ œ œ œ 3 mpœ ff

increasingly luminescent pizz 3 3 3 3 3 3 œ Vc. ?# # nœ #œ œ œ # œ œ Œ Œ œ œ Œ Œ œ Ó Œ Œ œ Œ Œ Œ Œ œ œ Œ Œ Œ Œ bœ Œ Œ Œ œ œ Œ œ Œ œ Œ œ 3 3 3 3 3 3 3 pp ff

increasingly luminescent pizz 3 3 3 3 3 3 œ Cb. ?# # œ œ nœ bœ #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 3 3 3 3 3 3 3 ppœ œ œ œ œ ff 132 DD accel. definitively breathlessly 545 . . . # œ œ œ œ >œ™ . œ . >œ™ . œ . > >. . nœ œ bœ œ. œ. nœ. Fl. ° ## J J > œ œ > 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. ‰ ‰ ‰ ‰ ‰ J ‰ Œ Ó 4 pp ff >3 >. > pp

definitively breathlessly # 3 Cl. ## nœ. . . j 3 & w œ™ œ Œ œ™ œ Œ œ œ Œ ‰ œ œ ‰ ‰ œ ‰bœ œ. ‰ œ ‰ nœ ‰ Œ Ó 4 ff> œ œ > œ œ œ œ . œ . œ . pp. œ œ . œ . œ œ . œ . > œ > œ . > œ . œ . > > > >. > . definitively > > breathlessly w œ™ . œ . œ™ . œ . >œ œ >œ. > œ. > œ œ > œ œ >œ œ. >. œ. . œ. . Bsn. ?# # œ œ œ œ œ œ >œ œ œ œ . . œ. nœ 3 # Œ Œ Œ ‰ ‰nœ. ‰#œ. ‰ œ #œ ‰ ‰ J ‰ Œ Ó 4 ¢ ff 3 pp

definitively breathlessly 3 . Tpt. ° # # . . œ. #œ. œ. nœ 3 & # w œ™ œ Œ œ™ œ Œ œ œ Œ ‰ œ œ ‰nœ ‰#œ ‰ ‰ ‰ J ‰ Œ Ó 4 ff> œ œ > œ œ œ œ . œ . œ pp œ œ . œ . œ œ . œ . > œ > œ . > œ . œ . > > > >. > . definitively breathlessly w 3 > > > Tbn. # œ™ œ . œ™ œ . > . . . . . ?## > œ. œ Œ > œ. œ Œ œ œ œ œ Œ ‰ œ œ œ. œ ‰nœ ‰#œ ‰ œ #œ ‰ œ ‰ nœ ‰ Œ Ó 43 ¢ œ œ œ œ œ œ œ > œ . œ . œ . . . ppJ ff > >. > .

˙ # # ˙ Vib. ° # Ó Ó Œ œ Ó Œ œ Œ œ Œ œ Œ œ Œ œnœ nœ œ œbœ 3 & ˙ œ œ œnœ nœ œ œ œ œ œ œ 4 ¢ ˙ œ œ œ œ œ pp f

in momentary disbelief breathlessly ff pp # S. ° ## œ œ ¿ œ œ ˙ œ œ ˙ nœ. . . j 3 & ∑ Ó Œ Œ Œ ‰ ‰ œ ‰bœ œ. ‰ œ ‰ nœ ‰ Œ Ó 4 ¢ It's (ts) get - ting get - ting get - ting get-ting get. - ting.

DD accel. definitively arco breathlessly # >œ™ . œ . >œ™ . œ . > >. . Vln. ° ## > œ œ > œ œ œ >œ œ œ. œ œ œ œ. nœ. . . j 3 & Ó ˙ œ œ œ Œ œ œ œ Œ œ œ Œ ‰ œ . œ. ‰ ‰ œ ‰bœ œ. ‰ œ ‰ nœ ‰ Œ Ó 4 sffzp ff >3 >. > . pp.

definitively arco 3 breathlessly > > >. Vc. ?# # ˙ œ™ œ œ œ. œ™ œ œ œ. >œ œ œ œ 3 # Ó >œ œ . œ Œ >œ œ . œ Œ œ œ. Œ ‰ œ. . œ. ‰ ‰ ‰ ‰ ‰ j‰ Œ Ó 4 z œ > œ œ. > œ. œ #œ œ nœ. sff p ff > > nœ. #œ. . . . pp

definitively breathlessly arco 3 > > > Cb. # ˙ œ™ œ . œ™ œ . > . . . . . ?## Ó > œ. œ Œ > œ. œ Œ œ œ œ œ Œ ‰ œ œ œ. œ ‰nœ ‰#œ ‰ œ #œ ‰ œ ‰ nœ ‰ Œ Ó 43 ¢ œ œ œ œ œ œ œ > œ . œ . œ . . . ppJ sffzp ff > >. > . 133 552 More Buoyantly (q=80) Fl. ° # # b & # 43 ∑ b b 4 ∑ ∑ ∑ ∑

Cl. # # b & # 43 ∑ b b 4 ∑ ∑ ∑ ∑

Bsn. ?###3 ∑ b 4 ∑ ∑ ∑ ∑ ¢ 4 b b 4

Tpt. ° # # b & # 43 ∑ b b 4 ∑ ∑ ∑ ∑

Tbn. ?###3 ∑ b 4 ∑ ∑ ∑ ∑ ¢ 4 b b 4

3 3 œ œ œ Vib. ° # # b œ œ œœ œœ œ œ œ œ œœ & # 43nœ Œ Œ b b 4 ‰ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ J J œ œ 3 J J 3 3 3 ¢ œnœ 3 3 ff f mp f mp ° ° °

mf f mp f mp w œ S. ° # # b w œ ˙ ˙ & # 43 Œ nœ œ nœ™ b b 4 Œ Œ ¢ It's get-ting light! light!

More Buoyantly (q=80) # # Vln. ° # 3 ∑ bb 4 æ æ æ æ & 4 b 4 æ æ æ ˙æ æ ˙æ ˙æ ˙æ p˙æ ˙ ˙æ ˙

Vc. ?# #3 4 # 4 ∑ bbb 4 n˙ n˙ p˙ ˙ ˙ ˙ ˙ ˙

Cb. ?# #3 b 4 # 4 ∑ b b 4 n˙ n˙ ¢ p˙ ˙ ˙ ˙ ˙ ˙

134 557 œ œ œ œ œ Fl. b œ œ œ œ œ œ œ œ œ œ œ œ œ ° b b ‰ J ‰ ∑ ∑ & 3 3 3 3 3 J 3 mf ff mf ff mf

3 3 3 3 Cl. b & b b ‰ j ‰ ‰ Œ Œ œ œ œ Ó j ‰ ‰ ∑ œ œ œ œ œ œ œ mf œ f mp f mp

3 ˙ Bsn. ? b œ ˙ b b ˙ n˙ œ ‰ œ ‰ œ Ó ¢ mf˙ ˙ ff 3 p

senza sord. 3 3 Tpt. ° b œ œ œ œ & b b Œ œ œ J J œ Œ œ ∑ ∑ mf œ f 3 œ

senza sord. -œ -œ. Tbn. ? b ˙ ˙ ˙ n˙ b b ‰ ‰ Ó ∑ ¢ mf ff

3 3 3 3 3 3 œ œ œ 3 3 3 Vib. ° b œ œ œ œ œ œ œœ & b b ‰ œ œ œ œ J J œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ f 3 3 3 œ œ œ ff œ œ œ °

ff 3 3 3 3 3 3 > 3 œ ˙ S. ° b œ œ ˙ œ œ œ >œ > & b b ‰ ‰ ‰ œ œ œ ‰ Œ ‰ œ œ œ ‰ Œ œ œ ¢ light! light! light! light! light!

˙ Vln. ° b œ œ œ œ ˙ w & b b œ œæ œ œ æ æ æ æ æ æ æ æ æ æf æ æ æ ff p

pizz Vc. ? œ œ œ œ nœ œ œ œ bbb œ œ Œ Œ Œ œ Ó f ff mp

pizz œ œ Cb. ? b œ œ œ œ œ œ nœ œ b b Œ Œ Œ œ Ó ¢ f ff mp

135 IV. Postlude ...That the Children May Learn 561 EE ~~~~~ Ÿ~~~~~ Ÿ~~~~~~~~~~ Fl. ° b Ÿ & b b Œ ‰ ˙ ‰ œ œ œ Œ Ó ∑ ∑ mpœ ˙ f mp f p

Ÿ~~~~~ Ÿ~~~~~~~~~~ Cl. b Ÿ~~~~~ & b b Œ ‰ ‰ Œ Ó ∑ ∑ œ ˙ ˙ mp f mp f œ œ pœ

dancing 3 . . . . Bsn. ? b œ œ œ œ œ œ b b ∑ ∑ œ œ œ œ. . œ œ œ œ œ Ó ∑ ¢ . 3 3 mp mf mp f p

Ÿ~~~~~~ Ÿ~~~~~~~~~~ 3 3 Tpt. ° b œ & b b ∑ ∑ ‰ œ œ Œ œ œ œ Ó œœ œ ‰ œ œ œ œ p f p f- mp œ. œ f

3 . Tbn. ? b œ œ œ b b ∑ ∑ ∑ ∑ œ œ œ œ. . œ œ œ ¢ . 3 mp mf mp f

dancing œ œ Vib. ° b œ œ œ œ œ œ œ & b b œ œ œ œ œ œ œ œ œ œ œ ∑ ∑ ∑ 3 3 3 3 ¢ mp mf mp f mp

eagerly, happily pp mf 3 3 S. ° bb w ¿ ‰ Œ Ó ∑ ∑ ≈ œ œ. œ œ œ œ & b J œ œ (t) Do you still reJ mem - ber?

walk onto the stage, blinking as if blinded by an unseen light and newly awakened, go to Pen Songs position Bar. ? b ∑ ∑ ∑ ∑ ∑ ¢ b b

EE Ÿ~~~~~~ Ÿ~~~~~~~~~~ Vln. ° b & b b ∑ ∑ ‰ Ó ∑ œ ˙ œ p f pœ œ f

dancing 3 3 Vc. ? œ œ œ œ œ bbb ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ Ó œ œ œ œ œ œ œ œ œ 3 3 3 mp mf mp f p mp mf mp f

Cb. ? b ∑ ∑ ∑ ∑ ∑ ¢ b b

earnestly 3 becoming increasingly mesmerized by the lightness of the music - feel free to move 3 settle back into things Narr. Œ Œ & ‰ œ œ œ ‰ Keep go- ing. 136 566 œ œ œ œ œ Ÿ~~~~~~~~ Fl. ° b œœœœ. œ œ œ œœ J & b b ∑ Ó ‰ 45 œ ‰ Œ 4 Œ ‰ œ ˙ 3 3 3 mf ff mp Ÿ~~~~~~~~ Cl. bbb ‰ œ œ œ œ ∑ 5 ∑ 4 Œ ‰ & 3 œ œ œ 4 4 œ ˙ f mp mp

3 . . . . . Bsn. ? b œ œ œ 5 œ œ œ œ 4 b b ∑ œ œ œ œ. . œ œ œ 4 œ œ œ œ J ‰ ‰ Œ 4 ∑ . 3 3 3 ¢ mf ff

3 3 3 Tpt. ° b 5 œ >œ > j 4 & b b ˙ œ ‰ Œ œ œ ‰ œ œ œ œ œ 4 œ œ œ œ œ ‰ Œ 4 ‰ œ ˙ J œ œ œ 3 3 > ™ mp mp . f mp f mp

3 . . . . . Tbn. ? b œ œ œ œ œ œ 5 4 œ œ œ b b œ œ œ œ ∑ 4 ∑ 4 œ œ œ œ. . œ œ œ ¢ 3 3 . 3 mp p

Percussion grooving 3 3 brushes 3 3 Vib. ° b œ ¿¿¿ & b b ∑ ∑ 45 ∑ /4 œœœ œ œœœœœœœœ œ ¢ œ œ Jœ œ œ p 3

f mf mf S. ° bb œ j j ∑ 5 ∑ 4 Œ & b ™ œ œ œ™ 4 4 œ œ Fa - ther wouldœ bravely mf ff mp 3 3 œ œ œ Bar. ? œ œ œ œ œ œ œ œ ¿ ˙ 5 ¿ 4 bbb ‰ ≈ 4 J ‰ Œ Ó Œ 4 ∑ ¢ I have been un-der fire for the first (t) time! (m)

Vln. œ ˙™ ° bbb ∑ ∑ 5 ∑ 4 ‰ & 4 4 3 mf

3 Vc. ? œ œ œ œ œ œ 5 4 œ bbb œ œ œ œ ∑ 4 ∑ 4 œ œ œ œ œ œ œ œ œ 3 3 3 mp p

dancing 3 . Cb. ? b œ œ œ 5 œ œ œ œ 4 b b ∑ œ œ œ œ œ 4 œ œ J ‰ ‰ Œ 4 ∑ ¢ 3 3 3 mf f mf ff mf ff

in frustration 3 3 Narr. Œ & 45 Ó ‰ œ œ œ ‰ 4 Keep go- ing. 137 FF 570 Ÿ~~~~~~~ Ÿ~~~~~~~~~~~~~ Fl. ° b œ œ œ & b b ˙ ‰ Œ Ó ∑ 83 ∑ ∑ ∑ ∑ ff

Ÿ~~~~~~~~~~~~~ Ÿ~~~~~~~ œ™ œ Cl. b 3 œ™ œ œ & b b ˙ ‰ Œ Ó ∑ 8 J ‰ ‰ ∑ œ œ œ mp f mp ff

3 . . . . . Bsn. ? b œ œ œ œ œ œ œ 3 œœ œ™ b b ∑ œ œ œ œ. . œ œ œ œ œ œ œ J ‰ ‰ 8 ∑ ∑ œ™ ¢ . 3 3 3 mf ff mp f

3 Tpt. ° b 3 œ™ œ œ & b b œ œ œ œ Œ ∑ 8 ∑ ∑ ∑ œ œ œœœ œ ˙ mp ff

. . . . œ. . . Tbn. ? 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 œ œ ‰ ‰ 83 ∑ ∑ ∑ ∑ b œ 3 œ 3 3 3 3 3 J 3 ¢ ff

3 3 3 3 3 3 3 3 3 3 3 3 œ OOœ œ ¿¿¿ œ OOœ Perc. ° œœœ œ œœœœœœœ œœœ œ œœœœœœœ œœœ œ œœœœœœœ 3 ∑ ∑ œ™ œ œ ¢ / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 œ™ œœ 3 J 3 J 3 J ff p

ff mf ff 3 S. ° bb j œ œ œ œ œ œ œ™ œ œ ¿ ∑ 3 ∑ & b œ™ œ J J 8 œ œ œ™ œ™ save his Eas - ter can- dy the lon - gest. (t) beauœ™ -ti-ful dawn.

welling with emotion ff f 3 . œ œ œ œ œ œ œ œ ™ œ œ œ™ œ™ œ™ Bar. ? b œ ˙™ 3 b b ∑ ‰ ‰ J 8 ¢ I woke up on the last day a beau-ti-ful dawn.

FF œ œ Vln. ° b œ œ œ œ œ œ ˙™ 3 & b b œ ∑ 8 ∑ œ j‰ ‰ 3 ™ œ œ œ œ ff mp f ™ mp

arco œ œ œ Vc. ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ™ bb œ œ œ œ œ œ œ ‰ ‰ 8 ∑ ∑ œœ œ™ b œ 3 œ 3 3 3 3 3 J 3 ff mp f

3 . arco Cb. ? œ œ œ œ œ 3 bbb ∑ œ œ œ œ œ œ œ œ œ J ‰ ‰ 8 ∑ ∑ ∑ ¢ 3 3 3 œ mf ff mp™ œ œ

becoming overwhelmed Narr. & 83 138 577 œ™ œ œ œ™ œ Fl. ° b J & b b ‰ ‰ ∑ ∑ ∑ 4 ∑ mp f mp

Cl. b 4 & b b ∑ œ œ œ œ œ 4 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 p œ œ œ ff œ œ mp

Bsn. ? b œ 4 b b J ‰ ‰ ∑ ∑ ∑ ∑ ∑ 4 ∑ ¢ mp

œ œ Tpt. ° b ™ & b b J ‰ ‰ ∑ ∑ ∑ ∑ 4 ∑ f mp sing it out œ™ œ™ œ™ œ™ œ™ œ œ œ -œ ™ œ œ ˙ Tbn. ? b ™ J J 4 b b ∑ ‰ 4 Ó ¢ f ff mf

Perc. ° ¿™ ¿ ¿ O™ / ∑ ∑ ∑ ∑ 4 ∑ ¢ ff

ppp

S. ° bb 4 ∑ & b œ™ œ™ œ™ œ™ œ™ œ™ 4

ppp œ™ œ œ œ œ œ Bar. ? b ™ ™ ™ ™ ™ 4 ∑ ¢ b b 4

Vln. ° b & b b ∑ ∑ 4 ∑ œœ œœ œœ œœ 4 mp™ ™ ff ™ ™ ppp

Vc. ? b j œ œ œ œ 4 b b œ ‰ ‰ ™ ™ ™ ™ ∑ 4 ∑ mp mp ff ppp

8va, if extension unavailable

Cb. ? 4 bbb ∑ 4 ∑ ¢ œ™ œ™ œ™ œ™ œ™ f mp ff ppp inwardly, and a bit sadly 3 3 Narr. & 4 Ó ‰ œ œ œ ‰ Keep go- ing. 139 584 Fl. ° b # ## & b b ∑ ∑ ∑ 45 ∑ # 4

6 6 # Cl. b œ œ 5 ## # 4 & b b ≈ œ œ‰ œ œ™ ‰ ‰ œ œ Œ ‰ œ œœœ 4 ˙ Ó 4 œ œœ œ œœœ ™ mp mpœ . œ f

Bsn. # ? b ∑ ∑ ∑ 5 ∑ ## # 4 ¢ b b 4 4

Tpt. ° b # ## & b b ∑ ∑ ∑ 45 ∑ # 4

Tbn. ? b ∑ ∑ ∑ 5 ∑ #### 4 ¢ b b 4 4

Perc. ° ∑ ∑ ∑ 5 ∑ 4 ¢ / 4 4

wistfully gradually shift to bocca chiusa mf 3 ff mf 3 # S. ° bb Œ ‰ œ œ ˙™ œ 5 ˙™ Ó ## # 4 & b j œ™ œ œ œ œ 4 4 Seeœ howœ fast child-hood pas - ses? wistfully mf ff mf 3 3 œ Bar. ? œ œ™ œ œ œ 5 # # 4 bbb ∑ Œ J ‰ œ œ œ œ 4 ˙™ Ó # # 4 ¢ See how fast child - hood pas - ses?

remember the dancing pizz 3 3 3 3 3 3 3 3 # # Vln. ° bbb œ œ 5 œ œ Œ # # 4 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ 4 mfœ œ œ f mfœ œ f mfœ œ œ œ œ œ œ œ œ œ œ œ œfff mf

pizz Vc. ? 5 #œ#œ # # 4 bbb ∑ ∑ ∑ 4 Ó Ó nœ # # 4 p 3

Cb. ? b ∑ ∑ ∑ 5 ∑ #### 4 ¢ b b 4 4

manically sinisterly 3 3 3 Narr. . œ Œ ‰™ œ œ œ ‰ Ó œ ù Œ Œ ‰ œ ˙ù 5 >œ œ Œ Ó Œ 4 & œ œ 4 J 3 4 A danced po- em. Where now? Just a small mur- der. 140 588 GG (q=80) Fl. ° # ## & # 4 ∑ ∑ ∑ ∑ ∑

Cl. # ## & # 4 ∑ ∑ ∑ ∑ ∑

Bsn. # ?## #4 ∑ ∑ ∑ ∑ ∑ ¢ 4

Tpt. ° # ## & # 4 ∑ ∑ ∑ ∑ ∑

Tbn. # ?## #4 ∑ ∑ ∑ ∑ ∑ ¢ grooving - really co-running the show with the conductor from here to the end p mp f light sticks 3 3 Œ j ‰ Perc. ° 4 ∑ ∑ ∑ Ó ¿¿¿œ œ œœœœ 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 p f p f p f p f p f p f p f p f (keep kick dynamics going as much as possible - it should feel a bit stumbly) gradually move to center stage, in front of the ensemble, and sit cross-legged or kneeling next to baritone, facing the ensemble; hold hands at the entrance of Londonderry Air in the trombone, and rest your head on baritone's shoulder, if comfortable doing so S. ° # ## & # 4 ∑ ∑ ∑ ∑ ∑

gradually move to center stage, in front of the ensemble, and sit cross-legged or kneeling next to soprano, facing the ensemble; hold hands at the entrance of Londonderry Air in the trombone, and rest your head on soprano's head, if comfortable doing so Bar. # ?## #4 ∑ ∑ ∑ ∑ ∑ ¢ 4

GG (q=80) remember the dancing 3 # 3 Vln. ° ## #4 & 4 ∑ ∑ ∑ ∑ œ œ œ œ œ œ fœ feelœ the flow of theœ lineœ remember the dancing 3 3 3 Vc. ?# # 4 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 œ œ œ œ œ 3 3 3 3 3 3 3 f feel the flow of the line pizz Cb. ?# # 4 # #4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ mf with unaffected clocklike precision and monotony

gradually maneuvering from sharply rhetorical to being direct and accusatory 3 3 Narr. 4 > j œ Œ >œ Œ & 4 Ó ‰ œ œ ‰ œ œ Ó œ. ‰ ù ‰ œ ‰ œ œ œ ‰ Where now?û When now?û Who now? Well, me, I sup- pose.J 141 593 Fl. ° # ## & # ∑ ∑ ∑ ∑

lightly, dancing 3 3 # # Cl. & # # ∑ ∑ ∑ œ œ œ œ œ œ œ. œ œ œ. mf . f mf . ff

Bsn. # ?## # ∑ ∑ ∑ ∑ ¢

Tpt. ° # # & # # ∑ ∑ ∑ ∑

lightly, dancing 3 . Tbn. ?# # œ œ œ # # ∑ ∑ ∑ œ œ œ œ. . œ œ œ ¢ - . . - . 3 p mf p mf

p mf p mf p f sim. 6 mp 3 f 3 3 3 3 3 Perc. ° j ‰ j ‰ j ‰ ¿ ¿ ¿ ¿ O / œ œ œœ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œœ œ œ ¢ ‰ Jœ œ ‰ Jœ œ ‰ Jœ œ ‰ Jœ œ ‰ Jœ œ ‰ Jœ œ ‰ Jœ œ ‰ Jœ œ

3 3 3 3 Vln. ° # ## œ œ œ œ œ œ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ 3 œ œ œ œ œ œ 3 œ œ 3 (œf) œ œ œ

3 3 Vc. ?# # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # # œ œ 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 (f) 3

Cb. ?# # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ (mf)

pointing at a different member of the audience for each "you" - revel in the selecting ˙ œ 3 Narr. Œ Œ œ Œ œ œ Œ œ Œ œ œ Œ ‰ j j & J œ J ™ œ œ œ œ œ 3And you. 3And you. You. You. You, you, you, and you.û I guess that's 142 597 Fl. ° # ## & # ∑ ∑ ∑ ∑ b

. 3 3 . Cl. # ## œ . œ œ œ . œ œ & # œ œ œ œ œ œ œ œ œ œ œ œ ∑ b œ œ 3 œ œ 3 œ œ . œ œ . œ œ 3 œ œ 3 mf . f mf . ff sim. . . . .

Bsn. ?#### ∑ ∑ ∑ ∑ ¢ b

Tpt. ° # ## & # ∑ ∑ ∑ ∑ b

3 . . Tbn. # . œ. œ œ œ . . . œ. œ œ œ . ?## # œ œ œ œ. œ œ œ œ œ ∑ œ œ 3 œ œ 3 œ œ œ . œ œ œ œ 3 œ œ 3 b ¢ p- . mf p- . mf sim.- . . - . 3 - . - .

p mf p mf p f sim. 3 6 6 3 6 ff 3 3 3 3 3 3 3 > Perc. ° œ ¿ ¿ ¿ ¿ O ¿ ¿ ¿ ¿ O œ ¿ ¿ ¿ ¿ O O œ / œœœœ œ œœœ œœœœ œœœœ œ œœœ œœœœ œœœœ œ œœœ œœœœ Ó Œ J ¢ ‰ Jœ œ ‰ Jœ œ ‰ Jœ œ ‰ Jœ œ ‰ Jœ œ ‰ Jœ œ 3

3 # 3 Vln. ° ## # œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ ∑ b œ œ 3 œ œ 3 œ œ œ œ œ œ 3 œ œ 3

3 Vc. ?# # œ œ œ œ œ œ 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 3 3 3 3 3

Cb. # ?## # ∑ ¢ œ œ œ œ œ œ œ œ œ œ œ œ b

insincerely concerned 3 imploringly > Narr. Œ Œ j œ >œ Œ œ œ œ œ œ & >œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ J 3 3 3 all of us. This real - ly is quite the143pre-di-ca- ment. Think of the chil- dren! HH slyly, floating on the groove 601 œ œ Fl. ° œ™ œ œ b˙ œ bœ œ bœ œbœ œ & b ™ œ n˙ ‰ œ œ bœ œ œ œ œ 3 3 3 3 mp mf f ff

slyly, floating on the groove 3 3 3 3 Cl. & b œ™ œ œ œ œ bœ ‰ œ b˙ œ™ œbœ n˙ œ œ œbœ œbœ œ œ œ œ mp mf f ff

-. -. -. Bsn. œ ˙™ œ ˙™ œ ˙™ ?b ‰ ‰ ‰ ¢ mp f mp f mp f

Tpt. ° & b ‰ ‰ ‰ œ ˙ œ ˙ œ ˙ p-. ™ mf p-. ™ mf p-. ™ mf

Tbn. ? ∑ ∑ ∑ ¢ b

mp f mp p f mp f mp p f sim. 3 3 3 3 3 3 3 3 3 3 3 3 Perc. ° ‰ ¿ ¿ ¿ ¿ ‰ ¿ ¿ ‰ ¿ ¿ ¿ ¿ ‰ ¿ ¿ ‰ ¿ ¿ ¿ ¿ ‰ ¿ ¿ / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ

HH Vln. ° b ‰ Œ ‰ Œ ‰ Œ & œ œ œ œ bœ œ œ œ œ mfœ f mfœ f mfœ f

Vc. œ œ œ œ œ œ ?b ‰ œ œ œ Œ ‰ œ œ œ Œ ‰ œ œ œ Œ 3 3 3 mf f mf f mf f

Cb. ? j b ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ œ ‰ œ œ ¢ mf f mf f mf f mf f mf f

pedantically œ œ œ œ œ Narr. ‰™ œ œ™ œ œ œ û ‰ œ œ œ™ œ œ œ œ œ & Ó 3 3 You see, the chil - dren do as they do when informed that things are as they are. 144 604 Fl. ° œ œ # œ ˙™ & b ˙ œ ∑ mp ff

# Cl. & b ∑ ˙ œ œ œ œ mp ff˙™

> -. >œ >œ œ œ >˙ Bsn. ? œ ˙™ # b ‰ J Œ Œ ¢ mp f ff mp

3 # Tpt. ° b ‰ j ‰ ‰ œ œ ˙ Œ & œ ˙ œ œ œ œ œ œ œ œ p-. ™ mf mp f p

œ œ ˙ Tbn. œ œ œ œ œ œ œ œ ?b ∑ # ‰ ‰ Œ ¢ mp 3 f p

3 3 3 mp mf p ff mp mp mf p ff mp 3 3 3 Perc. ° ¿ ¿ ¿ ¿ ‰ ¿ ¿ œ œ œ / œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ œ Œ œ Œ œ œ œ œ œ œ œ œ

3 Vln. ° nœ # œ œ œ œ œ œ œ & b ‰ bœ bœ nœ J ‰ ‰ œ œ œ œ œ ‰ œ œ œ œ œ œ bœ bœ 3 3 fœ fff f fff f fff

nœ Vc. ? bœ bœ nœ J # œ b ‰ œ bœ bœ ‰ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ 3 3 f fff f fff f 3 fff

3 Cb. ?b œ œ œ ‰ œ œ # œ œ œ œ œ œ œ œ œ œ œ ¢ mf f

beginning to question >œ œ >œ œ >œ œ >œ Narr. Œ œ œ ‰™ œ œ œ J ‰™ œ œ Œ œ œ ‰™ œ œ œ J œ & 3 3 3 3 3 3 What we are is who we have cho - sen to be. What we are is who we have cho- sen. 145 607 œ bœ œ ˙ œ ˙ Fl. ° # œ œ œ bœ œ œ œ bœ & Œ œ pp ff p

œ bœ œ ˙ œ Cl. # œ œ œ bœ œ œ bœ & Œ ≈ œ œ œ œbœ œ œ œ œ pp ff p

œ œ bœ œ ˙ œ œ œ œbœ œbœ ˙ Bsn. ?# Œ ¢ pp ff p

3 Tpt. ° # ˙ œ œ œ bœ & ‰ œ œ œ ‰ œ œ œ œ bœ œ œbœ ˙ mp œ œ f p p

œ œ Tbn. œ œ œ œ œ œ œ œ ˙ œ ?# ‰ ‰ Œ ‰ œ ‰ œ ‰ œ œ œ bœ 3 ¢ 3 3 mp f p p mf

sim. 3 3 3 Perc. ° œ œ œ œ œ œ œ œ œ ¢ / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

buzzy # œ œ œ œ Vln. ° ≈ œ œ bœ œ œ ≈ bœ œ bœ œ œ ≈ bœ j ‰ & œbœ œ œ œ œ œ œ œnœ œ œ œ œ#œ œ œ œ pp fff pp fffœ

œ œ œ œ œ œbœ œ œ œ™ œ œ œ Vc. ?# œ œ œ œ œ œ œbœ œ œnœ œ œ œ œ ≈ œ œ œ ≈ œ ‰ œ bœ pp fff pp

œ œ Cb. ?# ‰ œ ‰ œ ‰ œ œ œ œ ‰ œ ‰ œ ‰ œ œ œ ‰ œ ‰ œ ‰ œ œ œ ¢ 3 3 3 mf ff mf ff mf ff

>œ -. Narr. ‰ œ œ œ œ œ J œ Œ Œ œ Œ Œ œ œ œ œ œ ‰ œ œ & 3 3 œ ù 3 J 3 J We are whom we have cho- sen. Are we? Can we stop the wars? Make the 146 >j > 610 bœfi > > > U œ bœ ˙ œ œ œ œ ˙ w fl Fl. # # ° & & 3 3 ff mp ff pp

>j> > U Cl. # bœfi œ >œ >œ œ fl # & œ bœ ˙ w ˙ 3 3 ff mp ff pp

œ bœ œ ˙ b>œ > > U Bsn. ?# œ œ œ >œ b>œ > fl # œ w ¢ 3 3 3 ff mp ff pp

U fl Tpt. ° # œ œ œ w # & bœ œ ˙ œ œ œ bœ 3 œ œ f bpœ f pp

œ bœ œ œ œ œ œ œ œ bœ œ œ bœ U fl Tbn. ?# ‰ ‰ ‰ œ œ w # 3 3 ¢ p mf p f pp

ff p U 3 3 3 fl Perc. ° œ œ œ œ œ œ œ œ O ¢ / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

buzzy 3 3 3 U Vln. ° # œ œ bœ œ œ fl # & ≈ œ bœ œ nœ œ ‰ bœ œ œ œ œ œ œ bœ bœ bœ œ fffœ bœ œ œ œ p œ œ fff

3 œ œ 3 fl Vc. œ œ œ œ bœ œ œ œ œ œ U ?# œ ≈ œ œ bœ œ bœ œ bœ œ œ œ œ œ œ œ nœ # 3 œ fff p œ fff

arco œ U fl Cb. ?# ‰ œ ‰ œ ‰ œ œ œ ∑ ˙™ œ # ¢ 3 mf ff p fff

œ fl Narr. œ œ œ Ó Œ œ œ œ œ œ & 3 old youn - ger? Low-er the price of bread? 147 II Much Slower (q = 48) 613 dreamily 3 5 3 5 Fl. ° # Œ ‰ & œ nœ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ pp mf pp p f

dreamily # 3 5 3 5 Cl. & Œ ‰ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ pp mf pp p f

Bsn. ?# ∑ ∑ ¢

Tpt. ° # & ∑ ∑

Tbn. ?# ∑ ∑ ¢

Vibraphone dreamily Vib. ° / nœ Œ Ó #œ œ Œ Ó ¢ bœ œ nœ œ œ mp mf °

II Much Slower (q = 48) Vln. ° # & ∑ ∑

Vc. ?# ∑ ∑

Cb. ?# ∑ ∑ ¢

sung in an untrained manner

mf Narr. œ & Œ bœ œ œ œ œ Œ ‰ œ œ œ 3 Ap - ples all a - round, 148 but they will be 615 airily - white tone 3 5 U Fl. ° # ‰ ‰ ‰ #œ ˙ ˙ Ó bb & œ bœ nœ œ œ œ œ œ œ œ œ œ œ bœ b p pp mf pp p mf p

3 5 airily - white tone Cl. # U b & ‰ ‰ ‰ Ó b b œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ nœ ˙ ˙ p p pp mf pp p mf

U Bsn. ?# ∑ ∑ ∑ b ¢ b b

Tpt. ° # U b & ∑ ∑ ∑ b b

U Tbn. ?# ∑ ∑ ∑ b ¢ b b

Vib. ° # U b / Œ Ó #œ Œ Ó #œ Œ Œ b b ¢ bœ bœ nœ nœ œ œ œ bœ nœ nœ nœ bmpœ nœ mf pœ mp pp p

Vln. ° # U b & ∑ ∑ ∑ b b

Vc. ?# U ∑ ∑ ∑ bbb

U Cb. ?# ∑ ∑ ∑ b ¢ b b

(profoundly and absolutely sincere) f p Unsere jungen Leben haben ein Ende. Narr. # œ & œ™ bœ b˙ Œ Œ #œ nœ œ cast as stones if we let them. 149 618 JJ A Tempo (q = 78) > > > > > > > > Fl. b ˙ ˙ ˙ œ >œ >œ -œ-œ œ. ˙ ˙ ˙ œ >œ >œ -œ-œ œ. ° b b Ó Œ Œ Ó ∑ ∑ & 3 3 mp ff mp ff

Cl. b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

follow the trombone œ œ œ ˙ œ œ Bsn. ? b Œ ™ œ™ œ œ œ ™ œ jœ™ œ œ ˙ Œ ˙ bw b b J œ œ™ J J œ™ œ J œ œ ¢ mp ff mp f sffzp

Tpt. ° b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Northern Ireland play freely and lyrically ˙™ œ™ œ œ œ œ™ œ ˙™ œ œ™ œ œ Tbn. ? Bœ œ œ œ J œ™ œ ˙ œ œ J œ™ w bbb Œ J ‰ J J ¢ mp ff p mf ff

> > > > > > > Vib. b ˙ œ œ ˙ œ œ œ œ œ œ. œ œ œ œ œœœœœ ° b b Œ Œ ‰ ∑ ∑ ∑ ∑ / 3 3 ¢ mp ff p ff

(Londonderry Air) S. ° b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

(Londonderry Air) Bar. ? b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢ b b

JJ A Tempo (q = 78) arco 3 3 Vln. ° b & b b Ó Œ œO œO ˙O œO œO œO O O O O O Œ ˙O œO œO ˙O œO O O O O OÓ ∑ ∑ fff> > > > œ œ œ œ œ > > > > œ œ œ œ œ

Vc. ? bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

as a true bass, support at whatever dynamic is needed

Cb. ? ˙ w w bbb ∑ ˙™ œ ˙ ˙ ˙ w w ¢ mf ff mp ff

(In reprise,) reprisals break time, and render repetition. x 2 What matters most is that the Narr. Ó Œ ‰ œ œ œ Œ Ó & 3 In re prise, 150 626 œ œ œ ˙ œ œ Fl. ° b œ œ œ œ & b b ∑ Œ Œ Ó Œ mp mf f mf mf

Cl. bb 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 mf f mp f mp œ f

Bsn. ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ b b nw J œ œ J œ œ ˙ Ó ¢ ff mf 3 ff mf 3 ff

lyrically, sing it out Tpt. ° bbb Œ œ œ Œ & œ œ œ ˙™ œ œ™ J œ œ œ ˙ œ œ œ mf f ff ™ mf

b w ˙ œ œ > > Tbn. Bb b Œ œ b˙™ Œ ? ˙ Œ ˙™ œ ¢ p f p

driving toward the end Percussion 3 3 3 3 Vib. b ‰ ‰ ‰ ‰ ° b b ∑ / œ œœœœ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ ¢ / Œ œ Œ œ Œ œ Œ œ ‰ œ Œ ‰ œ Œ Œ œ Œ œ mp f mp f sim.

Vln. ° b œ œ œ œ œ ˙ œ œ œ œ œ & b b ∑ J œ œ Ó J œ œ ˙ Ó mf 3 ff mf 3 ff

arco œ œ œ ˙ Vc. ? b ™ œ b b Œ œ ™ bœ œ Œ ∑ ∑ mf f J ff

Cb. ? bbb w ˙™ œ w n˙ œ ¢ mf w ™

sung in an untrained manner (8vb okay if necessary) mf ff mf ff children may learn. œ œ œ œ œ œ œ œ Narr. Jbœ œ bœ bœ Œ Ó Jbœ œ bœ œ Œ Ó & 3 3 That the chil-dren may learn. That the chil-dren may learn. 151 631 w w w w Fl. ° b w & b b f fff mf

> >œ ˙ >œ Cl. b œ œ œ œ œ ˙™ ™ & b b œ œ ˙ œ œ œ œ œ œ œ œ œ Œ mp

> > > >˙™™ œ ˙™™ œ ˙™™ œ Bsn. ? ˙™™ œ J J bbb ‰ J J ˙™™ ¢ mp ff mp>

3 3 . Tpt. ° bbb œ œ Ó œ. œ Ó & ˙™ œ œ œ œ ˙ ˙ œ œœœœ. . œ. œœœ f p. mp mf

> > > >˙ >œ ˙ ˙ Tbn. ? b ˙ >œ ˙ ˙ œ ˙™ ™ b b ™ ¢ f mp

3 3 3 3 3 ‰ ‰ ‰ ‰ ‰ Perc. ° œ œœœœ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œœœœ œ œ 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. ° b & b b ∑ ∑ ∑ ∑ Ó ˙ mf>

> > Vc. ? > >˙ œ ˙ œ ˙™ œ bb Œ ˙™ œ ™ ™ b ˙™ mf ff mp>

Cb. ? b w w w w b b ¢ ff mfw riff back and forth between these, at a pace deemed suitable for rhetorical effect - must stop as close to triangle strike as possible What matters most? That the children may learn. That, the children may learn, is what matters most. Narr. & 152 636 w w w Fl. ° b & b b

> ˙ œ ˙™ Cl. b ™ & b b œ ˙™ œ ff mf> >

Bsn. ? j j > > bbb œ ˙™™ œ ˙™™ œ ˙™™ ¢ > J ff

3 . œ. . œ Tpt. ° b œ. . œ œ œ œ œ œ œ œ & b b œ. œ œ œ Ó œ œ œ œ Ó œ f 3 ff p

> > œ >˙™ >˙™ œ ˙ ˙ Tbn. ? b b b ¢ f mp

3 3 3 ‰ ‰ ‰ Perc. ° œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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. ° b & b b ˙ ˙ ˙ ˙ ˙ ˙ > > >

Vc. ? b b b ˙ œ ˙™ œ ˙™ œ >™ > >

Cb. ? b b b w ¢ w w ff

Narr. & 153 No Longer in Tempo > >˙ -œ 639 w ™ nœ œ œ nœ ~~~~~~ ŸU - Fl. ° b n˙ nœ. U & b b Œ Œ Œ Œ ff f ff

~~~~~~ > > ŸU - U Cl. bb œ ˙™ -œ Œ ˙ œ. Œ Œ Œ & b ˙™ œ nœ œ œ ff

Bsn. ? U U bbb œ ‰ Œ Ó Œ Ó Ó Œ Œ ¢ pJ w œ p> ff>-

œ w> >-œ Tpt. ° b œ œ œ œ œ œ œ U U & b b Œ Ó Ó Œ Œ sffzp ff

œ >˙™ w> >-œ Tbn. ? U U bbb Œ Ó Ó Œ Œ ¢ sffzp ff

3 Temple Blocks Triangle Perc. ° ‰ œ œ U Œ U / ‰œ œ œ œ Œœ œ ‰œ œ œ œ Œœ Ó Œ œ œ œ R ≈ ‰ Œ Ó œ Ó ¢ p ff

No Longer in Tempo pizz > œ œ œ Vln. ° b ˙ ˙ bœ >œ U U & b b ˙ ™ Œ Ó Ó Œ Œ fff p fff

pizz Vc. ? > > U U bbb œ ˙™ w œ Œ Ó Ó Œ Œ fff

pizz U U Cb. ? b Œ Ó Ó Œ Œ ¢ b b w w œ mp > fff>

before the triangle stops ringing like an "amen" U Narr. Œ Œ U Œ & Ó Ó œ That the children may learn... love. 154 Bibliography

Reference and Analysis

Bernstein, Leonard. The Unanswered Question: Six Talks at Harvard. Cambridge, Mass.: Harvard University Press, 1976.

Forte, Allen. The Structure of Atonal Music. New Haven: Yale University Press, 1973.

McDonald, Henry. “Children of the Troubles most prone to suicide in Northern Ireland.” The Guardian, March 26, 2012. Accessed March 27, 2012. http://www.guardian.co.uk/uk/2012/mar/26/children-troubles-suicide- northern-ireland.

Robert Bridge: Papers. “L’histoire du soldat (The Soldier’s Tale): A Brief Historical Overview.” Last modified December 7, 2004. http://myhome.sunyocc.edu/~bridger/papers/lhistpaper.htm.

Rocky IV. Directed by Sylvester Stallone. 1985. Beverly Hills, CA: MGM Home Entertainment, 1997. DVD.

Tymoczko, Dmitri. “Stravinsky and the Octatonic: A Reconsideration.” Music Theory Spectrum, Vol. 24, No.1 (Spring 2002): 68-102. Accessed March 2012. doi: 10.1525/mts.2002.24.1.68.

The University of Texas At Austin, Butler School of Music. “Suggested Minimum Program Beyond the Baccalaureate for the D.M.A. Degree in Music Composition.” Last revised April 2011. http://www.music.utexas.edu/getFile/pdf.aspx?id=241

Text Sources

Angermair, Karl. Translated by Jay Phillip Kunz. “They Had Mothers, Too: Letters to a German Soldier During World War II.” M.A. thesis (Kunz), The University of Texas at Austin, 1992.

Bradbury, William H. While Father is Away: The Civil War Letters of William H. Bradbury. Edited by Jennifer Cain Bohrnstedt; Compiled by Kassandra R. Chaney. Lexington: The University Press of Kentucky, 2003.

155 ! Carroll, Andrew, ed. War Letters: Extraordinary Correspondence from American Wars. New York: Scribner, 2001.

Cornet-Auquier, Andre. A Soldier Unafraid: Letters from the Trenches on the Alsatian Front. Edited and Translated by Theodore Stanton. Boston: Little, Brown, and Company, 1918.

Hildyard, Myles. It is Bliss Here: Letters from Home 1939-1945. London: Bloomsbury, 2005.

Kamikaze Images. “Letter to My Beloved Child.” Last modified April 1, 2012. http://wgordon.web.wesleyan.edu/kamikaze/writings/uemura/index.htm Uemura, Sanehisa. Translated by Bill Gordon; Adapted by the author with permission.

Ohnuki-Tierney, Emiko. Kamikaze Diaries: Reflections of Japanese Student Soldiers. Chicago: University of Chicago Press, 2006.

Sotheby, Lionel. Lionel Sotheby’s Great War: Diaries and Letters from the Western Front. Edited by Donald C. Richter. Athens: Ohio University Press, 1997.

Musical Sources

Berio, Luciano. Sinfonia, for eight voices and orchestra. London: Universal Edition, 1969.

National Anthems. “National Anthems.” Accessed Winter 2011-Spring 2012. http://www.nationalanthems.info/

Stravinsky, Igor. Histoire du soldat. New York: E.F. Kalmus, 195-. . Petrushka. Mineola, New York: Dover Publications, 1988.

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