Golem gives itself a Name (2020)
Maya Miro Johnson 2
PROGRAM NOTES
"We declare that in human flesh wings lie dormant.
The day when it will be possible for man to externalize his will so that, like a huge invisible arm, it can extend beyond him, then his Dream and Desire, which today are merely idle word, will rule supreme over conquered Space and Time...
This nonhuman, mechanical species, built for constant speed, will quite naturally be cruel, omniscient, and warlike."
-Filippo Marinetti, "Extended Man and the Kingdom of the Machine"
1. The orchestra, at its best and worst, is a microcosm of society. It represents a social contract signed, consent given to serve the collective with both total oblivion and immeasurable investment of the self.
The replacement of a cog in a machine shouldn't move us, yet it does. By the very act of being identified individually, the cog becomes instantaneously important in a single, all-encompassing moment of unity of spirit and form. Whether the cog asserts itself or is asserted by something beyond its pure and brute power of repetition, its baptism becomes the willful unraveling of the network.
2. Why are the names which define us decided by chance and sentiment? Self-baptism, on the other hand, leads to a kind of responsibility which cannot triumph against the comfort of the embryonic convenience of acquiescence to any given ideal. But at what point does the expression of the individual simply become the expression of human function- basic muscle twitch and lung contraction (the obscenity of bodily existence in a mind's world, of mental awareness in a body's world)? And when does the self become an opulence? For, if declared incorrectly, it lessens into pointless and extravagantly gratifying masochism via its ephemeral pleasure of existing.
It is this razor-thin wire we tread throughout our lives, suspended in a fog of our own making far above both the real and the dreamt.
3. Truth and Death are inextricably linked. Emet kills the golem by freeing itself of its "e": by taking hold of its fate, renaming itself, proclaiming its emancipation, Truth has created its own undoing. The name for the truth poisons its bearer when it encounters the object to which it refers. This self-perpetuating and self- destructive phenomenon is the nuclear reactor of consciousness and its fission creates both the curiosity and the cat, as well as Death itself.
4. The expectation of the future is constantly being replaced by the actuality of the now. Everything is in reference to existence. But we should not be disappointed by how the future holds up to our expectations of it, since as soon as it exists, it is no longer the future and becomes absorbed by the present, negating its own existence through the change of name.
The German Expressionists and Italian Futurists decayed through their use of entropy into Fascism. What will entropy pull (or push) us towards?
Let us remember, after all, that Boccioni, who declared that a horse should have not four legs but twenty, died falling from a horse only after volunteering to ride one.
-Maya Miro Johnson February 16, 2020 3
THE IMAGES
Metropolis (1927) Nosferatu (1922) Fritz Lang F.W. Murnau
Metropolis Metropolis
Modern Times (1936) The Cabinet of Dr. Caligari (1919) Charlie Chaplin Robert Wiene
The Cabinet of Dr. Caligari Modern Times 4
PERFORMANCE NOTES Winds and Brass
air tone: produce breath sound with no pitch.
key clicks: clicking the keys audibly loosely in fast rhythms without meter, alternating valves or keys
whispering into mouthpiece: whispering into the mouthpiece indistinct phonemes such as "sh" and "wh" and "ch" with occasional vowels. Not required to be rapid-fire, but should be relatively consistent
flutter-tongued line: shadowing a line of speech exactly, using flutter tongue and glissandi (where convenient) to craft an agitated but uninterrupted line.
crescendo to tongue ram: transitioning from open to closed or vice versa (for brass, ordinario for winds), and ending with a clear stoppage of the sound in a tongue ram (either ordinario using the hand in the bell, or with a plunger mute)
Strings
half pressure white noise: with both hands half pressure or less, drawing the bow extremely slowly across the string to produce a friction sound.
binder clip: Violin I.1 (Concertmaster) and Double Bass 5 plays with 1 medium-sized binder clip attached to 4th string, as close to the bridge as possible while Double Bass 6 plays with 2 medium-sized binder clips attached to 1st string (will produce artificial harmonics)
pitchless bowing: bowing horizontally, and moving a clamped left hand in a unit up and down the fingerboard (with half pressure). Do not coordinate left hand with section.
Long glissando with left hand tremolo: begin the glissando almost unnoticeably, then increase in speed and intensity (though not necessarily volume). A feathery and delicate yet almost unnerving texture, like quicksand. The conductor should treat these bars as fermatas and give downbeats with numbers to indicate where in the glissando the players should be, approximately.
behind the bridge: bowing the space directly behind the bridge but before the wrapping. The left hand should be in an open string fingering position. Each instrument will produce a unique overtone, and the pitch should not be coordinated or reconciled with that of the other players. Upbows are generally preferred.
harmonics: natural harmonics are notated with an "o" and a diamond notehead. The microtones should not be purposefully played by the performer, but should instead result naturally from the partial, which is inferred by finger placement. Artificial harmonics are notated in the usual manner.
Tutti
speaking from the ensemble: vocalizing given text in a raised speech; notated as a libretto line. As the orchestration thickens, the volume will need to become louder and louder, though a place like Letter C can be relatively soft-spoken.
name-declaring: I ask the players to speak their own name (or, if uncomfortable with this, the name of a relative, historical figure, or fictional character), and as they repeat this, to begin identifying the rhythmic pattern of the name.
replacing name-declaring: a gradual transition of the name from speech to expression through the instrument. The player should retain the exact same rhythm gleaned from the name and then transfer that rhythm to given pitch in whichever of the three tempos given works best for that particular name's rhythmic profile. Instrumentation:
3 Flutes (3rd doubling Piccolo) 3 Oboes 2 Clarinets in Bb Bass Clarinet in Bb 3 Bassoons Contrabassoon
4 Horns in F 3 Trumpets in C 2 Trombones Bass Trombone
Timpani 2 Percussion: 1: Suspended Cymbals, Bass Drum, Tam-Tam, Xylophone, Siren 2: Snare Drum, Vibraphone
Piano (prepared with thick paper covering the strings in this range: ) Projection*
Violin 1 1** (2 stands), 2 (2 stands), 3 (2 stands) Violin II 1 (2 stands), 2 (2 stands), 3 (1 stand) Viola I (2 stands), 2 (1 stands), 3 (1 stand) Violoncello 1 (2 stands), 2 (1 stand), 3 (1 stand) Double Bass 1 (1 stand), 2 (1 stand), 3** (1 stand)
*A projection is to run simultaneously with the piece. Files and method will be provided. The conductor need only coordinate two moments: the beginning and Cue 2, at Letter I. Otherwise, the visual element must be allowed to run its course separately.
**Violin I.1, 1st player (i.e. concertmaster), and Double Bass 3 (players 5 and 6) are to have a medium to large binder clip (in Double Bass player 5's case, 2 clips) as a mute which is to be employed only at Letter I. Written for the Curtis Symphony Orchestra
Golem gives itself a Name Maya Miro Johnson (2020) q = 54
Flute 1 ° 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Flute 2 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
Flute 3 4 (Piccolo) & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Oboe 1 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Oboe 2 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Oboe 3 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Clarinet in Bb 1 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Clarinet in Bb 2 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass Clarinet 4 in Bb ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Bassoon 1 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Bassoon 2 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Contrabassoon ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢
Horn in F 1 ° 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Horn in F 2 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Horn in F 3 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Horn in F 4 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Trumpet in C 1 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Trumpet in C 2 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Trumpet in C 3 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Trombone 1 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Trombone 2 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 Bass Trombone ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢
4 Timpani °? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ¢
4 Percussion 1 °/ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
Percussion 2 4 ¢ / 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Piano (Prepared) & 4 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
{ Begin Cue 1 (images act independently of the music, with the exception of the opening fade-in and Cue 2 at Letter I) etc. (projection continues through rest of the score) 4 Projection / 4 ∑ behind the bridge 1.≤ Violin I.1 ° 4 & 4 ∑ ∑ ∑ ∑ ∑ 4™ J4 Ó ∑ p 4 Violin I.2 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ behind the bridge 3 ≤ 4 Violin I.3 & 4 ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ j ‰ behind the bridge 1. 1 & 2 p4 4 4 3 ≤ 4 ≤ Violin II.1 4 ∑ ∑ Ó ‰ ‰ j j ‰ ‰ ‰ - -™ - Œ - - ‰ Ó ∑ ∑ & 3 J J p-p - - behind the bridge 3 ≤ Violin II.2 4 j j & 4 ∑ ∑ ∑ ∑ ∑ ‰ ‰ 4 4 4 ‰ Œ Ó Œ ≈ j behind the bridge p 4™ 4 ≤ Violin II.3 & 4 ∑ ∑ ∑ ∑ Ó j ‰ Œ j ‰ Œ Ó behind the bridge p$ 4 $ 4 1.≤ 1 & 2 4 $ 4 Viola 1 B 4 ∑ ∑ ∑ ∑ Œ J ‰ ∑ 4 4 ‰ Ó p J behind the bridge 4 ≤ Viola 2 B 4 ∑ ∑ ∑ ∑ ∑ ∑ 4 4 ‰ Ó behind the bridge p J 4 ≤ Viola 3 B 4 ∑ ∑ ∑ ∑ ∑ Ó Œ j ≈ Œ Ó behind the bridge p4 4™ 4 ≤ Violoncello 1 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ
behind the bridge p- ≤ Violoncello 2 ? 4 4 ∑ ∑ ∑ ∑ ∑ Ó Œ ‰ j j ‰ Œ behind the bridge p- - - - 4 ≤ Violoncello 3 ? 4 ∑ ∑ ∑ ∑ ∑ j Œ ‰ j j ‰ Œ 2. 1 & 2 behind the bridge p-™ - - - - - 4 ≤ ≤ Double Bass 1 ? 4 ∑ Ó Œ - - ‰ Œ Œ - - ‰ Œ Ó ∑ ∑ Ó behind the bridge pp J pp J $ 3. p 4 ≤ ≤ Double Bass 2 ? 4 j ‰ Œ Œ ‰ j Œ ∑ ∑ ∑ ∑ Ó p_p - - -™ - 8 behind the bridge 7 & 8 behind the bridge p$ ≤ Double Bass 3 ? 4 4 ∑ ∑ ∑ -™ J- Ó -™ J- Ó ∑ Ó ¢ p $ 2 8
Fl. 1 ° & ∑ ∑ ∑ ∑ ∑ ∑
Fl. 2 & ∑ ∑ ∑ ∑ ∑ ∑
Fl. 3 & ∑ ∑ ∑ ∑ ∑ ∑
Ob. 1 & ∑ ∑ ∑ ∑ ∑ ∑
Ob. 2 & ∑ ∑ ∑ ∑ ∑ ∑
Ob. 3 & ∑ ∑ ∑ ∑ ∑ ∑
Cl. 1 & ∑ ∑ ∑ ∑ ∑ ∑
Cl. 2 & ∑ ∑ ∑ ∑ ∑ ∑
B. Cl. ? ∑ ∑ ∑ ∑ ∑ ∑
Bsn. 1 ? ∑ ∑ ∑ ∑ ∑ ∑
Bsn. 2 ? ∑ ∑ ∑ ∑ ∑ ∑
Cbsn. ? ∑ ∑ ∑ ∑ ∑ ∑ ¢
Hn. 1 ° & ∑ ∑ ∑ ∑ ∑ ∑ /
Hn. 2 & ∑ ∑ ∑ ∑ ∑ ∑
Hn. 3 & ∑ ∑ ∑ ∑ ∑ ∑
Hn. 4 & ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 2 & ∑ ∑ ∑ ∑ ∑ ∑
Tpt. 3 & ∑ ∑ ∑ ∑ ∑ ∑
Tbn. 1 ? ∑ ∑ ∑ ∑ ∑ ∑ /
Tbn. 2 ? ∑ ∑ ∑ ∑ ∑ ∑
B. Tbn. ? ∑ ∑ ∑ ∑ ∑ ∑ ¢
Timp. °? ∑ ∑ ∑ ∑ ∑ ∑ ¢ Suspended Cymbals bow the edge of the cymbal in one release, switching locations every rebow
Perc. 1 °/ ∑ ∑ ∑ ∑ ∑ -™ ‰
Snare Drum Perc. 2 ¢ / ∑ ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ Pno. & ? ∑ ∑ ∑ ∑ ∑ ∑
{ 1 & 2 3 & 4 all 3 Vln. I.1 ° & 4™ J4 Ó 4™ J4 Ó ∑ ‰ J4 4™ 4 Ó Ó ‰ 4™ J4 ‰ Œ Œ Œ 4 mf behind the bridge 3 ≤ j Vln. I.2 4™ 4 Ó 4™ 4 Ó ∑ Œ ‰ Œ ∑ j ‰ Ó & J J $ 4 4 m4f Vln. I.3 j & ∑ 4™ J4 Ó ∑ Ó 4 4 ‰ ∑ Œ $™ 3 mf j Vln. II.1 & ∑ Œ j ‰ Œ Œ ‰ j j ‰ Œ Œ Œ j ‰ Ó 4 4 4 4 4™ 4 4 4 m$f™ 4 4 3 j Vln. II.2 & j ‰ Ó ∑ Œ ‰ j j ‰ Œ Œ Œ j ‰ Ó 4 4 4 4 4 4 4™ 4 m$f™ 4 4 Vln. II.3 & ∑ ∑ ∑ ∑ Œ j ‰ Ó
m$f™ 4 4 3 Vla. 1 $ 4 B Ó Œ 4 J4 ‰ Œ Ó Ó J ‰ Œ Œ ‰ Œ Ó Œ ‰ J4 J4 ‰ 4™ 4 m4f 4 Vla. 2 B ∑ Œ Œ 4 4™ J4 Ó $ J4 ‰ Œ Œ ‰ Ó ∑ 3 j j 4mf 4™ 4 3 Vla. 3 B Œ Œ 4 4™ J4 Œ Œ 4 4™ J4 Ó $ J4 ‰ Œ Ó Œ j ‰ Ó ∑ 3 3 m4f 4 Vc. 1 ? Œ Ó Ó Œ Œ Ó Ó _ J- ‰ Œ Ó $ J4 ‰ Œ 4 4™ 4 mf - - 3 3 Vc. 2 _ - ? Œ Œ j ‰ Œ Œ Œ Œ Ó Ó J ‰ Œ Œ Œ 4 4 4 Œ Ó 4 4™ 4 mf J - - $ 4 3 3 3 3 Vc. 3 ? Œ Œ ‰ Œ Œ Œ Œ Ó Ó _ - ‰ Œ $ 4™ 4 Ó j ™ J J - - $ 4 4 4 4 mf Db. 1 ? j ‰ Ó ∑ Ó Œ - -™ J- j ‰ 4™ 4 Œ ‰ J- - ‰ Œ 4 4 3 4 4 mf f-
Db. 2 ? j ‰ Ó ∑ Ó Œ - -™ J- Ó j ‰ J- - ‰ Œ $ 4™ 4 3 4 4 mf f-
Db. 3 ? j ‰ Ó ∑ Ó Œ - -™ J- Ó j ‰ J- - ‰ Œ ¢ $ 4™ 4 3 4 4 mf f- 3 A 14
Fl. 1 ° & œ œ#œ#œnœ œ#œ#œ œnœbœbœnœnœnœ#œ ppp muttering
Fl. 2 & Œ bœ œ œ#œ œ œ œ œ œ#œ œ œ œ œnœ œ ppp muttering Fl. 3 & ∑ ® œ œ#œ œbœ œnœ#œ œ œ œnœ#œ œ œ ppp murmuring Ob. 1 ∑ ‰ & œ œ œ œ œ#œ nœ œ œ bœ œ œ ppp murmuring Ob. 2 ∑ Ó & œ œbœ œ œ œ œ œ œ œ œ œ œnœbœ œ ppp murmuring Ob. 3 ∑ ∑ ≈ & œbœ œnœnœbœ œ œnœbœ ppp murmuring Cl. 1 & ∑ ∑ Œ ‰ œ œbœ œ#œ œ œnœ œ œnœ#œ ppp murmuring
Cl. 2 & ∑ ∑ Ó ‰ œ œbœ œ#œ œ œnœ œ œnœ#œ ppp murmuring
B. Cl. ? ∑ ∑ Ó ‰ ® key clicks- randomized, like typing œ œbœ œ œ œbœ œnœ ppp murmuring Bsn. 1 ? ∑ ∑ ...... key clicks- randomized, like typing pp (f in exe.cution) Bsn. 2 ? ∑ ∑ Ó ...... pp (f in exe.cution) Cbsn. ? ∑ ∑ ∑ ¢ whispering into the mouthpiece
Hn. 1 °/ Ó ) ) ) & ppp whispering whispering into the mouthpiece Hn. 2 & ∑ / ) ) ppp whispering whispering into the mouthpiece Hn. 3 & ∑ / Ó ) ) ppp whispering whispering into the mouthpiece Hn. 4 & ∑ ∑ / ) ppp whispering
Tpt. 1 & ∑ ® œ#œ œ œ œ œbœ œ œ œbœ ppp murmuring Tpt. 2 & ∑ Œ ® œ#œ œ œ œ œbœ œ œ œbœnœ#œnœnœ œ œ#œ œnœbœ ppp murmuring
Tpt. 3 & ∑ Ó œ œbœ#œ œ œbœnœ#œnœnœ œ œ#œ œnœ bœ ppp muttering whispering into mouthpiece ? Tbn. 1 / Ó ) ) ) ppp whispering whispering into mouthpiece Tbn. 2 ? ∑ / ) ) ppp whispering whispering into mouthpiece B. Tbn. ? ∑ / Ó ) ) ¢ ppp whispering
Timp. °? ¢ wæ wæ wæ ppp murmuring
Sus. Cym. °/
S. D. æ æ æ / Ó ˙æ wæ wæ ¢ ppp murmuring
∑ ∑ ∑ Pno. & ? ∑ ∑ ∑ { Vln. I.1 ° j j & 4 4 ‰ Ó Œ ‰ J4 4™ J4 Œ -™ - f
Vln. I.2 j & j ‰ Œ Œ ‰ J4 4™ J4 Œ -™ - Œ $ 4 f f Vln. I.3 & j ‰ Œ Ó Œ ‰ J4 4™ J4 Ó 4 _ j j Vln. II.1 ‰ j Œ ‰ Œ Œ Œ ‰ ‰ - & - - - -™ - 3 J f4 4™ 4 Vln. II.2 & ‰ j Ó Ó j ‰ Œ ‰ - J- ‰ 4 4™ 4 3 f _ - Vln. II.3 & ‰ j Ó Ó j ‰ Œ Œ 4 4™ 4 f _ - - 3 - - Vla. 1 B Ó j ‰ ‰ J J ‰ Œ _™ f $ $ 3 4 - - Vla. 2 B Ó j ‰ ‰ J J ‰ Œ _™ f $ $ 3 4 - - Vla. 3 B Ó j ‰ ‰ J J ‰ Œ _™ $ $ 4 f 3 - - Vc. 1 ? j J J 4™ 4 Ó $ $ 4 ‰ ‰ ‰ Ó J f 3 3 Vc. 2 ? j Ó $ $ 4 ‰ Ó Œ Œ f- 3 j Vc. 3 ? Ó ‰ Ó Œ Œ Œ $ $ 4 f 4 4 4 3 3 J
Db. 1 - -™ - -™ - ? j Ó _ J- ‰ Ó ‰ J Œ 4™ 4 3 Db. 2 ? - -™ - -™ - j Ó _ J- ‰ Ó ‰ J Œ 4™ 4 3 Db. 3 ? j Ó _ J- ‰ Ó ¢ 4™ 4 3 _ 4 17
Fl. 1 ° & Œ Fl. 2 & To Piccolo Fl. 3 & ∑ Ob. 1 & Ó Ob. 2 & Ó Ob. 3 & ‰ Cl. 1 & Œ Cl. 2 & ‰ B. Cl. ? Œ
Bsn. 1 ?
Bsn. 2 ? key clicks- randomized, like typing Cbsn. ? . . . ¢ ...... pp (f in execution) .
Hn. 1 ° & ∑ ∑
Hn. 2 / ) & ∑
Hn. 3 / ) ) &
Hn. 4 / ) ) & Tpt. 1 & Ó Tpt. 2 & ‰ Tpt. 3 & ® ≈ Tbn. 1 ? œ œ œ œ bœ œ œ œ œ bœ œ œ ‰ Œ ppp muttering
? Tbn. 2 / ) ∑
B. Tbn. ? ¢ / ) )
Timp. °? ∑ ¢ wæ
To B. D. Bass Drum Sus. Cym. °/ Ó S. D. æ ¢ / w ∑
∑ ∑ Pno. & ? ∑ ∑ {
Vln. I.1 ° & j ‰ ‰ J- J- ‰ -™ J- _™ - ff Vln. I.2 ‰ - - ‰ ‰ - - ‰ ‰ - - ‰ ‰ - - ‰ & 3 J J J 3 J J J ff
Vln. I.3 j & j ‰ Œ -™ J- ‰ - -™ - ‰ J- J- ‰ - ff
Vln. II.1 j & -™ - Œ -™ - Ó ‰ J- J- ‰
Vln. II.2 j j & -™ - Œ - - ‰ Œ -™ J- ff 3 3 Vln. II.3 j & j ‰ j j ‰ ‰ j ‰ -™ - Œ ------ff 3 Vla. 1 j B J- ‰ j ‰ Œ ‰ Œ _ - _ -
Vla. 2 B J- ‰ Œ j ‰ ‰ - J- ‰ Œ _ - 3 ff Vla. 3 - - B J- ‰ Ó j ‰ ‰ J f-f - - ff Vc. 1 ? Œ ‰ ‰ j ‰ j -™ - _™ - ff Vc. 2 ? j ‰ ‰ ‰ j ‰ - j -™ - _™ - ff Vc. 3 ? Œ ‰ ‰ j ‰ j -™ - _™ - Db. 1 ? Ó j ‰ j ‰ _ - _ - ff Db. 2 ? Ó j ‰ j ‰ _ - _ - ff Db. 3 ? j ‰ Œ j ‰ j ‰ ¢ - _ - _ - ff 1 2 3 4 5 ca. 6" ca. 6" ca. 5" ca. 4" U U U U 19 B w w w w w (q = 54)
Fl. 1 ° 4 & Œ ˙™ 4 ∑ ppp f w Uw Uw Uw Uw w 4 Fl. 2 & ∑ 4 f
Piccolo #˙ Uw Uw Uw Uw w ™ 4 Picc. & ∑ Œ 4 ff
U ˙™ w w U U U 4 Ob. 1 & Œ ∑ ∑ ∑ 4 ∑ ppp f
U U U U 4 Ob. 2 & Œ ˙™ w w w ∑ ∑ 4 ∑ ppp f
Ob. 3 U U U U 4 & Œ ˙™ Œ ˙™ w w w w 4 ∑ ppp ff
U Cl. 1 #˙™ ˙ w U U U 4 & Œ Œ ™ ∑ ∑ ∑ 4 ∑ ppp ff
U U U U 4 Cl. 2 & ∑ w w w w w 4 ∑ f
U U U U 4 B. Cl. ? Œ ∑ ∑ 4 ∑ b˙™ w w w ppp f
U U U U 4 Bsn. 1 ? Œ #˙™ bw w w w w 4 w ppp f
U U U U Bsn. 2 ? 4 ∑ bw w w w w 4 ∑ f
U U U U 4 Cbsn. ? ∑ Œ ∑ 4 ∑ ¢ b˙™ w w w ff
Hn. 1 ° U U U U 4 & ∑ bw w w w ∑ 4 ∑ f
Hn. 2 U U U U 4 & Œ ˙ w w w w w 4 w pp™p f
U U U U 4 Hn. 3 & ∑ 4 fw w w w w w
U U U U 4 Hn. 4 & Œ ∑ ∑ ∑ 4 ∑ ˙™ ppp fw w take plunger mute U U U U 4 Tpt. 1 & ∑ Œ ˙™ w w ∑ ∑ 4 ∑ ff
take plunger mute
Tpt. 2 U U U U 4 & ∑ Œ ˙™ w w w w 4 ∑ ff take plunger mute U U U U 4 Tpt. 3 ∑ Œ ∑ ∑ 4 ∑ & ˙™ w w ff
U U U U Tbn. 1 ? 4 ∑ Œ ˙™ w w w w 4 ∑ ff
U U U U 4 Tbn. 2 ? ∑ Œ ∑ ∑ 4 ∑ #˙ w w ff ™
U U U U 4 B. Tbn. ? ∑ Œ 4 ¢ #˙™ w w w w w ff
U U U U 4 Timp. °? w w ∑ ∑ ∑ ∑ 4 ∑ ¢ pæpp fæf
To Tam-Tam B. D. æ æ æ æ 4 °/ Œ ˙æ™ œæ ˙æ™ œæ Œ Ó U∑ U∑ U∑ 4 ∑ ppp ff
S. D. æ æ æ æ 4 / Œ ˙æ™ œæ ˙æ™ œæ Œ Ó U∑ U∑ U∑ 4 ∑ ¢ ppp ff
elbow clusters ˙ ¤ U U U U 4 & ∑ ∑ ∑ ∑ ∑ 4 ∑ Pno. ¤ ˙ U U U U 4 ? ∑ ∑ ∑ ∑ ∑ 4 ∑ ¤ ˙ 3 { ff ° U ˙ bww w U U Ó ˙˙ bb ww bww w ∑ ˙˙ Tutti nww ww ww Uw w ˙ Vln. I.1 ° w w w w w 4 ˙ & ∑ w w w w w 4 ˙ p ff u Ó ppp U U U Ó # ##n˙˙ nw w w ∑ # ##˙˙ Tutti bnww ww ww Uw w ˙ Vln. II.1 bb w w 4 & ∑ bbww ww w w w 4 n˙ p ff u Ó ppp
Tutti w Uw Uw Uw Uw Vla. 1 w w w w w 4 B ∑ bww ww ww w w 4 ∑ pw ff
Tutti bnww Uww Uww U U 4 Vc. 1 ? ∑ b bww ww w w w 4 ∑ w w w w w p ff
Tutti w Uw Uw U U 4 Db. 1 ? ∑ #ww ww ww #w 4 ∑ ¢ #nw w w w w p ff 6 26 ca. 5" C q = 72
Fl. 1 ° U & ∑ ∑ ∑ ∑
˙ U Fl. 2 & Ó ∑ ∑ ∑
To Flute Flute U Picc. & ∑ ∑ ∑ ∑
U Ob. 1 & ∑ ∑ ∑ ∑
U Ob. 2 & ∑ ∑ ∑ ∑
U Ob. 3 & ∑ ∑ ∑ ∑
U Cl. 1 & ∑ ∑ ∑ ∑
U Cl. 2 & ∑ ∑ ∑ ∑ slap tongue (little to no pitch) U 3 3 B. Cl. ? ∑ ∑ ∑ Œ ‰ j Œ Œ Œ j ‰ ¿ ¿ p> mechanical > U Bsn. 1 ? ∑ ∑ ∑ ∑
U Bsn. 2 ? ∑ ∑ ∑ ∑
remove reed slap tongue through the bocal (no reed) U Cbsn. ? ∑ ∑ ∑ Œ ‰ >¿ Œ Œ Œ >¿ ‰ 3 3 ¢ pJ mechanical J
Hn. 1 ° U & ∑ ∑ ∑ ∑
Hn. 2 U & ˙ Ó ∑ ∑ ∑
U Hn. 3 Ó ∑ ∑ ∑ & ˙
U Hn. 4 & ∑ ∑ ∑ ∑
U Tpt. 1 & ∑ ∑ ∑ ∑
U Tpt. 2 & ∑ ∑ ∑ ∑
U Tpt. 3 & ∑ ∑ ∑ ∑
U Tbn. 1 ? ∑ ∑ ∑ ∑
U Tbn. 2 ? ∑ ∑ ∑ ∑
slapping the mouthpiece with the palm U 3 3 B. Tbn. ? ∑ ∑ ∑ Œ ‰ j Œ Œ Œ j ‰ ¢ >¿ >¿ p mechanical
U Timp. °? ∑ ∑ ∑ ∑ ¢
extremely slow scrape Tam-tam U B. D. æ æ °/ ∑ ∑ w w ppp
U S. D. æ æ / ∑ ∑ wæ wæ œ œ ¢ ppp Œ ‰ J Œ Œ Œ J ‰ mechanical 3 p> 3 >
U Pno. ∑ ∑ ∑ ∑ {& half pressure with both hands U ww #ww w ? ww ## wwww ? Tutti w w ? Vln. I.1 ° w & w ∑ p ppp
half pressure with both hands # <#>ww # # nww ? <#><#>< ># # ww ## ##nnwwww ? Tutti < >< >w ? Vln. II.1 & w ∑ p ppp
half pressure with both hands
Tutti U? ?? Vla. 1 B ∑ ∑ & B ∑ ppp
half pressure with both hands U Tutti ?? Vc. 1 ? ? ? ∑ ∑ & ∑ ppp
half pressure with both hands U Tutti ?? ww ?? Db. 1 ww ? ? ∑ & #w ∑ ¢ p ppp 7 30
Fl. 1 ° 3 2 & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
spoken Fl. 2 3 Œ Œ 2 & ∑ ∑ ∑ ∑ ∑ ∑ /4 ¿ & 4 declare mp
3 2 Fl. 3 & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
3 2 Ob. 1 & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
spoken 3 j Ob. 2 Œ 3 2 & ∑ ∑ ∑ / Ó ‰ ‰ ¿ & ∑ ∑ 4 ∑ 4 we mp
3 2 Ob. 3 & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
3 2 Cl. 1 & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ / 4
3 2 Cl. 2 & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
3 3 3 3 3 3 3 2 B. Cl. ? Œ ‰ j Œ Œ Œ j ‰ Œ ‰ j Œ Œ Œ j ‰ Œ ‰ j Œ Œ Œ j ‰ ∑ ∑ ∑ 4 ∑ 4 >¿ >¿ >¿ >¿ >¿ >¿ 3 2 Bsn. 1 ? ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
3 2 Bsn. 2 ? ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
3 2 Cbsn. ? Œ ‰ >¿ Œ Œ Œ >¿ ‰ Œ ‰ >¿ Œ Œ Œ >¿ ‰ Œ ‰ >¿ Œ Œ Œ >¿ ‰ ∑ ∑ ∑ 4 ∑ 4 ¢ 3 J 3 J 3 J 3 J 3 J 3 J
j Hn. 1 ° Œ 3 2 & ∑ ∑ ∑ / Ó ‰ ¿ & ∑ ∑ 4 ∑ 4 we mp
3 2 Hn. 2 & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
3 2 Hn. 3 & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
3 2 Hn. 4 & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
tongue stop while also opening hand out of bell with plunger mute o + Tpt. 1 œ™ O 3 2 & ∑ ∑ ∑ ∑ J Ó ∑ 4 ∑ 4 pp sfp
3 2 Tpt. 2 & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
3 2 Tpt. 3 & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
3 2 Tbn. 1 ? ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ /4
3 2 Tbn. 2 ? ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
3 3 3 3 3 3 3 2 B. Tbn. ? Œ ‰ j Œ Œ Œ j ‰ Œ ‰ j Œ Œ Œ j ‰ Œ ‰ j Œ Œ Œ j ‰ ∑ ∑ ∑ 4 ∑ 4 ¢ >¿ >¿ >¿ >¿ >¿ >¿
3 2 Timp. °? ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 ¢
roll with soft mallets T.-t. æ æ æ æ æ 3 æ 2 °/ w w w w ∑ wæ 4 ˙æ™ 4 ppp f
S. D. æ æ æ æ æ 3 æ 2 / wæ œ œ wæ œ œ wæ œ œ wæ ∑ wæ 4 ˙æ™ 4 ¢ Œ ‰ J Œ Œ Œ J ‰ Œ ‰ J Œ Œ Œ J ‰ Œ ‰ J Œ Œ Œ J ‰ ppp f 3 > 3 > 3 > 3 > 3 > 3 >
3 2 Pno. ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 {&
Tutti Vln. I.1 ° 3 2 & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
9. spoken j Vln. I.3 Œ 3 2 & ∑ ∑ / Ó ¿ ‰ & ∑ ∑ ∑ 4 ∑ 4 we mp Tutti 3 2 Vln. II.1 & ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
Tutti 3 2 Vla. 1 B ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
4. spoken j 3 2 Vla. 2 / Ó Œ ‰ ¿ B ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 we mp Tutti 3 2 Vc. 1 ? ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
Tutti 3 2 Db. 1 ? ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4
spoken 4. ? 3 2 Db. 2 ? ∑ ∑ ∑ ∑ ∑ / Ó Œ ¿ 4 ∑ 4 ¢ we mp ca. 7" 8 37 D
Fl. 1 ° 2 U 4 & 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Fl. 2 & 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Fl. 3 & 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Ob. 1 & 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Ob. 2 & 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Ob. 3 & 4 ∑ ∑ 4 ∑ ∑ ∑ spoken U Cl. 1 2 Œ 4 / 4 ¿ & ∑ 4 ∑ ∑ ∑ we mf 2 U 4 Cl. 2 & 4 ∑ ∑ 4 ∑ ∑ ∑ (slap tongue) 3 3 3 3 3 3 2 U 4 B. Cl. ? 4 ∑ ∑ 4 Œ ‰ j Œ Œ Œ j ‰ Œ ‰ j Œ Œ Œ j ‰ Œ ‰ j Œ Œ Œ j ‰ ¿ ¿ ¿ ¿ ¿ ¿ p> mechanical > > > > > 2 U 4 Bsn. 1 ? 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Bsn. 2 ? 4 ∑ ∑ 4 ∑ ∑ ∑ (slap tongue) 2 U 4 Cbsn. ? 4 ∑ ∑ 4 Œ ‰ >¿ Œ Œ Œ >¿ ‰ Œ ‰ >¿ Œ Œ Œ >¿ ‰ Œ ‰ >¿ Œ Œ Œ >¿ ‰ 3 3 3 3 3 3 ¢ pJ mechanical J J J J J
breath ad lib, uncoordinated with section Hn. 1 ° 2 U 4 & 4 ∑ ∑ /4 ) ) ) ppp breath ad lib, uncoordinated with section 2 U 4 Hn. 2 & 4 ∑ ∑ /4 ) ) ) ppp breath ad lib, uncoordinated with section 2 U 4 Hn. 3 & 4 ∑ ∑ /4 ) ) ) ppp breath ad lib, uncoordinated with section 2 U 4 Hn. 4 & 4 ∑ ∑ /4 ) ) ) ppp
with plunger mute U o + + o Tpt. 1 2 4 œ™ O & 4 ∑ ∑ 4 J Ó Œ ‰ œ œ™ O ∑ pp sfp pJp sJfp
tongue stop while also opening hand out of bell with plunger mute 2 U 4 o + o + Tpt. 2 4 ∑ ∑ 4 Œ j Œ Ó ‰ j ‰ Œ Ó & bœ™ O bœ O pp sfp pp™ sfp 2 U 4 Tpt. 3 & 4 ∑ ∑ 4 ∑ ∑ ∑ spoken breath ad lib, uncoordinated with section 2 j j 4 ? Tbn. 1 / 4 ‰ ¿ ¿ ‰ U∑ 4 ) ) ) declare ppp mf breath ad lib, uncoordinated with section 2 U 4 ? Tbn. 2 ? 4 ∑ ∑ /4 ) ) ) ppp breath ad lib, uncoordinated with section 2 U 4 ? B. Tbn. ? 4 ∑ ∑ /4 ) ) ) ¢ ppp
2 U 4 Timp. °? 4 ∑ ∑ 4 ∑ ∑ ∑ ¢ U To Xyl. Xylophone T.-t. 2 æ æ 4 æ æ °/ 4 ˙æ wæ 4 wæ wæ w & l.v. U 2 æ æ 4 æ æ æ S. D. 4 ˙æ wæ 4 wæ œ œ wæ œ œ wæ œ œ ¢ / Œ ‰ J Œ Œ Œ J ‰ Œ ‰ J Œ Œ Œ J ‰ Œ ‰ J Œ Œ Œ J ‰ 3 > 3 > 3 > 3 > 3 > 3 > prepared with paper spread across the written range, dampening the strings to produce a metallic twang repeat pitch collection linearly in any rhythmic configuration; generally pensive and obsessive, always changing 2 #œ 4 Pno. 4 ∑ œ œ bœ bœ 4 & bœ bœ œ œ bœ nœ { p mechanistically repetitive but still curiously expressive
Vln. I.1 ° 2 U 4 & 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Vln. I.2 & 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Vln. I.3 & 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Vln. II.1 & 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Vln. II.2 & 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Vln. II.3 & 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Vla. 1 B 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Vla. 2 B 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Vla. 3 B 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Vc. 1 ? 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Vc. 2 ? 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Vc. 3 ? 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Db. 1 ? 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Db. 2 ? 4 ∑ ∑ 4 ∑ ∑ ∑
2 U 4 Db. 3 ? 4 ∑ ∑ 4 ∑ ∑ ∑ ¢ accel. 9 air tones with given fingering half tone and half air flutter tongue 42 air tones with given contour 3 5 5 #œ - 5 6 æ #œ Fl. 1 # #œ æ æ æ æ #œ nœ ° ) b b) ) n6 b6 n b nœ nœ bœæ æ bœæ œæ nœ nœ æJ ‰ & ) ) b ) b ) ) ) #) ) 6 b n6 6 6 n #6 n6 bœ nœ æ æ æ æ æ n ) ) ) ) ) 6 6 æ æ 5æ æ æ ) ) ) ) ) ) 6 æ æ æ
5 air tones with given contour 3 5 nœ- Fl. 2 b # b # æ æ #œ bœ b ) ) n6 n b 6 6 n6 nœ bœ bœ œæ æ æ æ œ œ bœ æ ‰ & ) b) b ) ) ) #) ) b6 6 b n6 6 6 #6 n6 b6 nœ nœ #œ nœ æJ n) ) ) ) ) ) ) ) ) ) 6 æ æ æ æ æ æ æ æ ) ) ) ) ) ) ) ) ) æ æ æ 5
5 3 5 3 œ æ æ æ æ æ#œ- Fl. 3 b b #) bœ bœ nœ nœ #œ nœ bœ æ æ æ æ æ æ æ#œæ nœæ & ) ) ) b) # ) nœ nœ bœ #œ nœ æ nœæ bœæ œæ #œ æ ≈ ‰ ) ) ) ) ) n) ) ) æ æ æ bœ nœ nœ æR ) ) ) ) ) ) ) 3 æ æ æ
Ob. 1 & ∑ ∑ ∑ ∑ /
Ob. 2 & ∑ ∑ ∑ ∑ /
Ob. 3 & ∑ ∑ ∑ ∑ /
Cl. 1 & ∑ ∑ ∑ ∑
Cl. 2 & ∑ ∑ ∑ ∑
B. Cl. ? ∑ ∑ ∑ ∑
Bsn. 1 ? ∑ ∑ ∑ ∑ /
Bsn. 2 ? ∑ ∑ ∑ ∑ /
Cbsn. ? ∑ ∑ ∑ ∑ / ¢ spoken softly, almost muttered into mouthpiece 6 Hn. 1 °/ ¿ ¿ ¿™ / we de-clare spoken softly, almost muttered into mouthpiece j Hn. 2 / Œ ¿ ‰ ¿ ¿™ we that in
spoken softly, almost muttered into mouthpiece
Hn. 3 ¿ ¿ ¿ / ‰ ‰ J J 3 de - clare 3 we spoken softly, almost muttered into mouthpiece j Hn. 4 / Œ ‰ ¿ ¿ ¿ that in we
Tpt. 1 & ∑ ∑ ∑ ∑
Tpt. 2 & ∑ ∑ ∑ ∑
Tpt. 3 & ∑ ∑ ∑ ∑
take plunger mute Tbn. 1 ? ∑ ∑ ∑ ∑
Tbn. 2 ? ∑ ∑ ∑ ∑
B. Tbn. ? ∑ ∑ ∑ ∑ ¢
Timp. °? ∑ ∑ ∑ ∑ ¢
repeat pitch collection linearly in any rhythmic configuration; generally pensive and obsessive, always changing, with lots of space between the notes #œ Xyl. ° œ œ bœ bœ & bœ bœ œ œ bœ nœ p mechanistically repetitive but still curiously expressive
S. D. ¢ / ∑ ∑ ∑ ∑
Pno. & ? ∑ ∑ ∑ ∑
Tutti { Vln. I.1 ° O O O & w~ ˙O™ œ ˙™ #-œ w~ n p ™
Tutti Vln. II.1 & w~ ˙O™ bbœO ˙O™ #O ~ n p ™ ™ # -œ w
Tutti Vla. 1 B O O™ #O w bbw~ ˙O™ nœ ˙™ # -œ w n p ™
Tutti O O ™ bO- w Vc. 1 ? bbw~ ˙O ™ nœ ˙™ n œ w n p
O O ™ bO- w Db. 1 ? bbw~ ˙O ™ nœ ˙™ n œ w n p molto accel. play pitches in order one time through, then in any sequence as density accelerates; do not coordinate with other players . pizz. œ œ. . Db. 2 ? ∑ ∑ bœ. bœ. œ p molto accel. play pitches in order one time through, then in any sequence as density accelerates; do not coordinate with other players pizz. . Db. 3 ? . #œ œ. ∑ ∑ bœ œ œ ¢ p. . #œ. E q = 84 10 46 3 j Fl. 1 ° n˙ ˙ œ #˙™ Œ #˙ ˙ 3 & ™ bœ ˙ / ¿ ¿ & ™ bœ 4 p dor-mant f
3 j Fl. 2 Œ 3 & n˙™ nœ ˙ ˙ œ #˙™ / ¿ ¿ & ˙ ˙™ œ 4 p dor-mant f
3 j 3 Fl. 3 ¿ ¿ Œ 4 & b˙™ b˙ œ ˙™ / & ˙ #˙™ bœ ˙ dor-mant bœ p f
spoken tongue stop j + Ob. 1 Œ 3 / ¿ ‰ Ó & ∑ ∑ bœ™ œ Ó ∑ 4 declare pp sJfp f
spoken + Ob. 2 j œ œ œ #œ 3 Œ ¿ ‰ Ó & ∑ ∑ Œ ‰ ™ Œ Ó Œ ‰ 4 / J 3 declare pp sfp pp f
spoken 3 3 j j Ob. 3 Œ Œ Œ Œ 3 / ¿ ‰ Ó ∑ Ó ¿ ∑ ‰ ‰ ¿ Ó & 4 declare lie in f
spoken j Cl. 1 Œ ˙ œ #˙ 3 & ∑ / Ó ¿ ‰ & b˙ œ ™ ∑ 4 flesh J f p spoken j Cl. 2 Œ j 3 & ∑ / Ó ¿ ‰ & ˙ ˙ œ œ™ #˙ ∑ 4 flesh f p spoken j ? bœ™ 3 B. Cl. ? ∑ / Ó ¿ ‰ Œ b˙ b˙ œ n˙ ∑ 4 flesh J spoken f p + j ? B #˙ œ™ œ ? 3 Bsn. 1 / Œ ‰ ¿ Ó ∑ Ó ¿ ¿™ Œ ∑ Œ 4 that hu-man pp sfp (f) spoken j ? 3 Bsn. 2 / Œ ‰ ¿ Ó ∑ ∑ ∑ ∑ 4 that (f) spoken j Cbsn. Œ ‰ Œ ? 3 ¢ / ¿ Ó ∑ ¿ ¿™ Ó ∑ ∑ 4 that hu-man (f)
spoken 3 j j Hn. 1 Œ ‰ Œ ‰ ‰ Œ 3 °/ Ó (¿f) ∑ ¿ Ó ∑ Ó ¿ ¿ & 4 in flesh hu - man spoken j Hn. 2 Œ ‰ 3 / ∑ / Ó (¿f) & ∑ ∑ ∑ 4 flesh spoken Hn. 3 Œ Œ 3 / ∑ ∑ / (¿f) ¿ ∑ ¿ ¿ Ó & 4 wings wings that in spoken j Hn. 4 ‰ Œ 3 / ∑ / (¿f) Ó ∑ ¿ ¿ ¿™ Ó ¿ ¿ Ó & 4 in we de clare that in
tongue stop while also opening hand out of bell with plunger mute 3 + o + o + + o j j #œ 3 Tpt. 1 œ™ O Ó œ™ O Ó ∑ ‰ ‰ œ œ O ‰ Œ Ó Œ ‰ 4 & J J 3 pp sfp pp sfp p pp
with plunger mute 3 o + + o 3 Tpt. 2 ∑ ‰ j ‰ Œ Ó ‰ j j ∑ ∑ 4 & bœ™ O œ œ O pp sfp p sfp
with plunger mute + o o + Tpt. 3 j 3 & ∑ Ó œ™ O ∑ ∑ Œ ˙ O ‰ 4 pp sJfp p sfp
with plunger mute + bœo Oo spoken j j ? 3 Tbn. 1 ? ∑ Ó Œ J ‰ Œ Ó / Ó Œ ‰ ¿ ¿ ‰ Œ Ó 4 pp sfp de - clare spoken Tbn. 2 ≈ ? 3 ? ∑ ∑ ∑ / Œ ¿ ¿ ¿ Ó ∑ 4 we de clare
spoken B. Tbn. ≈ ? 3 ? ∑ ∑ ∑ / Œ ¿ ¿ ¿ Ó ∑ 4 ¢ we de clare bowed crotales on timpani, manipulating contour with pedal 3 Timp. °? œ ‰ Œ ∑ œ ‰ Œ ∑ ∑ 4 ¢ J J
Xyl. ° 3 & 4
3 rim shot >j >j >r >j >r >j >j >r >j S. D. Œ Œ Œ Œ ≈ Œ Œ Œ 3 / Ó ¿ ‰ ¿ ‰ ‰™ ¿ ¿ ‰ ¿ ‰ Ó ¿ ‰ ‰ ‰ ¿ ‰™ ¿ ¿ ‰ 4 ¢ f but dry
3 4 Pno. & 3 ? ∑ ∑ ∑ ∑ ∑ 4
{ pizz. Tutti Vln. I.1 ° bœ œ 3 & ∑ Œ Ó Œ Ó Ó bœ ‰ Œ Œ ‰™ Ó 4 f 3 J bœ™ pizz. Tutti 3 Vln. II.1 3 & Ó Œ Ó ‰™ Œ Ó ≈ œ Œ Ó Œ j Ó Œ #œ™ 4 fœ™ œ œ Tutti 3 Vla. 1 B ∑ ∑ ∑ ∑ ∑ 4
Tutti 3 Vc. 1 ? ∑ ∑ ∑ ∑ ∑ 4
Tutti 3 Db. 1 ? œ J ‰ Ó ∑ ∑ ∑ ∑ 4 ¢ f poco accel. 11 51 harmonics ˙ b˙ œ ˙™ Fl. 1 ° 3 4 O & 4˙ œ 4 ˙ Ó O bO O ™ p distant harmonics ˙ ˙ Fl. 2 3 4 ˙ œ ™ & 4 ˙ œ 4 ˙ Ó O O O ˙™ p distant harmonics b˙™ Fl. 3 3 4 b˙ b˙ œ & 4 4 Ó bO ™ ˙ bœ ˙ bpO distant bO O
Ob. 1 3 4 ˙ w œ #˙™ & 4 ˙™ 4 ˙ mf distant + Ob. 2 3<#>œ™ œ 4 ˙ & 4 Œ Œ 4 ∑ ˙ ˙ bœ ™ sfp p distant
3 4 Ob. 3 4 4 ∑ & b˙ b˙ nœ ˙™ p distant
3 4 Cl. 1 & 4 ∑ 4 ∑ ˙ b˙ œ ˙™ p distant
3 4 Cl. 2 & 4 ∑ 4 ∑ ˙ ˙ œ ˙™ p distant
B. Cl. ? 3 4 4 ∑ 4 ∑ b˙ b˙ p distant b˙ œ ™ 3 4 Bsn. 1 ? 4 ∑ 4 ∑ ∑ ∑
3 4 Bsn. 2 ? 4 ∑ 4 ∑ ∑ ∑
3 3 3 4 ? Cbsn. ? 4 ∑ 4 ∑ ∑ / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¢ we de - clare that in hu-man flesh wings lie dor - mant
Hn. 1 ° 3 4 & 4 4 b˙ ˙™ ˙ ˙ w œ ™ mf distant
Hn. 2 3 4 & 4 ˙™ 4 ˙ b˙ w œ b˙™ mf distant
3 4 Hn. 3 4 4 & b˙™ ˙ ˙ w œ ˙™ mf distant
3 4 Hn. 4 & 4 4 ˙ w œ b˙™ ˙ ˙™ mf distant flz. o remove mute 3 Tpt. 1 3<#>œ O 4 æ æ æ & 4 J ‰ Œ 4 ∑ œ æ æ æ ∑ sfp æ æ æ æ æ æ æ æ æ æ æp like huæmaæn speech æ æ æ æ æ æ æ remove mute flz. æ 3 4 æ æ æ æ æ æ Tpt. 2 4 ∑ 4 ¿ ¿ Œ Ó ∑ bœ æ æ æ æ æ æ & / ™ & æ æ æ de-clare æ æ æ æ æ 3 æ æ 3æ æ p like human speech
3 4 Tpt. 3 & 4 ∑ 4 ∑ ∑ ∑
3 4 Tbn. 1 ? 4 ∑ 4 ∑ ∑ ∑ /
3 4 Tbn. 2 ? 4 ∑ 4 ∑ ∑ ∑
3 4 B. Tbn. ? 4 ∑ 4 ∑ ∑ ∑ ¢ loosely, almost as if speaking extemporaneously 3 3 4 ? Timp. °? 4 ∑ 4 ∑ / ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ∑ ¢ we de - clare that in hu-man flesh wings lie dor-mant
Xyl. ° 3 4 & 4 4
S. D. 3 4 ¢ / 4 ∑ 4 ∑ ∑ ∑
3 4 Pno. 4 4 {&
Tutti pizz. Vln. I.1 ° 3 4bœ & 4 ∑ 4 Œ Ó Œ Ó Ó Œ bœ ‰ f 3 J bœ™ Tutti pizz. 3 4 Vln. II.1 & 4 Œ Œ 4 Ó ‰™ Œ Ó Œ ≈ œ ∑ fœ™ œ œ con sordino horizontal bowstrokes with half pressure in left hand 5 - - - - œ nœ- œ- - - - -) ) ) ) ) -) - - - - Vla. 1 3 œ œbœB 4 ------) ) ) - - - ) B 4 Œ Œ bœB B 4 J ‰ ≈ ) ) ) ) -) -) ≈ - ) ) ) ) ) ) ) ) 5 -) -) ) -) ) ) 5 ) -) -) - -) -) ) pp mp f p-)p -) -) - -) -
con sordino horizontal bowstrokes with half pressure in left hand 5 - œ- œ------) ) - - - - Vla. 2 3 œ œ 4 ------) ) ) ) ) - - - - B 4 Œ Œ bœ 4 J ‰ ≈ ) ) ) ) -) -) ≈ ) ) ) ) ) ) - ) -) -) ) -) ) -) ) 5 ) ) 3 ) -) -) - -) -) ) p-)p - mp f p-)p -) -) - -) - con sordino - - horizontal bowstrokes with half pressure in left hand 5 - œ œ œ ------) - - - Vla. 3 3 bœ œ µœ B 4 J - ) ) - - - ) ) ) ) ) ) - - B 4 Œ Œ 4 ‰ ≈ -) ) ) -) -) -) ) -) ≈ ) ) ) ) ) ) -) ) -) ) -) -) - -) -) ) p)p -) -) 5 -) - mp f p-)p -) -) - -) - - 3 - œ- flautando, sul pont. #œ œ-bœB œ Vc. 1 ? 3 - œ- B J ? 4 œ J 4 œ BœBb-œ nœ ‰ 4 Ó ‰ ‰ Œ Ó Ó ‰ bœ - 5 p- f pp sfp pp 6 flautando, sul pont. #œ Vc. 2 3 - - œ- œ 4 nœ ? 4 œ œ µœ -œ œ µœ ˜ J ‰ 4 Ó ‰ J ‰ Œ Ó Ó ‰ bœ œ - µ- - 3 3 3 3 3 p- f pp sfp pp flautando, sul pont. #œ Vc. 3 3 - œ- œ 4 nœ ? 4 - œ- #œ- œ µ J ‰ 4 Ó ‰ J ‰ Œ Ó Ó ‰ bœ œ µ 5 5 sfp p 5 f
con sordino flautando, sul pont. nœ Db. 1 ? 3 4 nœ 4 ∑ 4 Œ nœ Œ Œ ‰ bœ ‰ Œ bœ R ≈ ‰ bpœ sfp p sfp p sfp
con sordino flautando, sul pont. arco nœ Db. 2 ? 3 4 nœ 4 ∑ 4 Œ nœ ≈ ‰ Œ ‰ bœ ≈ Œ bœ R ≈ ‰ bpœ sRfp p sfp p sfp
con sordino flautando, sul pont. arco 5 Db. 3 3 4 nœ nœ ? 4 ∑ 4 Œ nœ Œ Œ ‰ ‰ Œ bœ Œ bœ 5 5 ¢ bpœ sfp p sfp p sfp 12 F q = 92 55 œ #˙™ Fl. 1 ° O #O ™ 2 4 & 4 ∑ 4 ∑ ∑ ∑ ∑
œ #˙™ 2 4 Fl. 2 4 ∑ 4 ∑ ∑ ∑ ∑ & O #O ™ œ n˙™ 2 4 Fl. 3 4 ∑ 4 ∑ ∑ ∑ ∑ & bO nO ™
Ob. 1 <#>w 2 4 & 4 ∑ 4 ∑ ∑ ∑ ∑
#˙™ 2 4 Ob. 2 & #œ 4 ∑ 4 ∑ ∑ ∑ ∑
Ob. 3 2 4 & w 4 ∑ 4 ∑ ∑ ∑ ∑
2 4 Cl. 1 4 ∑ 4 ∑ ∑ ∑ ∑ & œ #˙™
Cl. 2 2 4 & n˙ 4 ∑ 4 ∑ ∑ ∑ ∑ œ ™ 2 4 B. Cl. ? 4 ∑ 4 ∑ ∑ ∑ ∑ œ n˙™ 2 4 Bsn. 1 ? ∑ 4 ∑ 4 ∑ ∑ ∑ Ó Œ œ
2 4 Bsn. 2 ? ∑ 4 ∑ 4 ∑ ∑ ∑ Œ œ™ O Œ f sJfp 2 4 Cbsn. ? ∑ 4 ∑ 4 ∑ ∑ ∑ ¢ w
Hn. 1 ° 2 4 œ™ O j j œ™ O j j & w 4 ∑ 4 J Œ ‰ bœ O ‰ Œ Ó J Œ ‰ bœ O ‰ Œ j ‰ f sfp sfp œ O f sfp sfp sfp Hn. 2 2 4 œ O & w 4 ∑ 4 ∑ Ó ™ Œ ‰ j j ‰ Œ j ‰ Œ J bœ O œ O bœ™ O f sfp sfp sfp sfp Hn. 3 2 4 j j j & w 4 ∑ 4 ∑ Œ ‰ bœ O ‰ Œ j ‰ Œ ‰ œ™ O ‰ ‰ bœ œ O bœ™ O 3 sfp sfp sfp sfp Hn. 4 2 4 œ O & 4 ∑ 4 ∑ ™ Œ ‰ j j ‰ Œ j ‰ Œ ‰ œ™ w J bœ O œ O bœ™ O 3 take plunger mute f sfp sfp sfp sfp æ 2 4 Tpt. 1 æ æ æ æ æ 4 4 & œ™ æ æ æ æ æ ∑ ∑ ∑ ∑ ∑ æ æ æ æ æ æ æ p like human speeæch æ æ3 æ æ æ take plunger mute 2 4 Tpt. 2 & ∑ 4 ∑ 4 ∑ ∑ ∑ ∑
2 4 + o + o + o + o Tpt. 3 & ∑ 4 ∑ 4 ∑ Ó Œ œ œ O Œ ‰ j j ‰ Œ j ‰ loosely, almost as if speaking extemporaneously bœ O œ O bœ™ O 3 3 take plunger mute f sfp sfp sfp sfp + o Tbn. 1 ? 2 4 / >¿™ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ >¿ 4 ∑ 4 ∑ ∑ ∑ j Ó we de-clare that in hu-man flesh wings lie dor - mant œ O take plunger mute ™ sfp + o o + Tbn. 2 ? 2 4 bœ O ∑ 4 ∑ 4 ∑ ∑ Ó Œ Ó J œ œ O 3 take plunger mute sfp sfp 2 4 B. Tbn. ? ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ¢
2 4 Timp. °? ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ¢
Xyl. ° 2 4 & 4 ∑ 4 ∑ ∑ ∑ ∑
S. D. 2 4 ¢ / ∑ 4 ∑ 4 ∑ ∑ ∑ ∑
2 4 Pno. & 4 4 { div. o spoken arco O Ó j j Vln. I.1 ° œ 2 4 Œ Œ & Ó ‰ ≈ Œ 4 ∑ 4 ∑ ∑ / ‰ ¿ ¿ ‰ & / dor - mant GOP Ó spoken sfp spoken 3 Vln. I.2 œ 2 4 Œ Œ & Ó ‰ ≈ Œ 4 ∑ /4 Ó ¿ & ∑ / ‰ ¿ ¿ Ó & ∑ we wings lie f arco div. IIo Ó Œ ‰ Oj Vln. I.3 œ 2 4 & Ó ‰ ≈ Œ 4 ∑ 4 ∑ ∑ ∑ Ó Œ ‰OP œ spoken J arco div. 3 sfp Vln. II.1 2 4 Œ Ó Œ & j Œ Ó 4 #œ Œ 4 ∑ / ¿ ¿™ Ó & ∑ ##œO / ™ OP œ de-clare Ó Œ #g spoken3 sfp 3 Vln. II.2 2 4 Œ & j Œ Ó 4 #œ™ Œ 4 ∑ ∑ / ¿ ¿ ¿ Ó & ∑ hu-man flesh œ spoken 3 spoken Vln. II.3 2 4 Œ & j Œ Ó 4 #œ™ Œ 4 ∑ ∑ ∑ / Ó ¿ ¿ & œ div. that in - senza sord. ) - - - bO Vla. 1 ) - - -) - - ) 2 4 b œ Œ Ó B ) ) ) ) ) ) ) -) -) ‰ 4 ∑ 4 ∑ ∑ ∑ - -) - bgOP Œ Ó 3 senza sord. sfp div. IIoI - Vla. 2 ) - ) 2 4 Œ ‰ O Ó B ) - - -) - ) ‰ 4 ∑ 4 ∑ ∑ ∑ / ) ) -) -) -) -) - -) -) Œ ‰ g Ó -) 3 OP sfp spoken senza sord. spoken 2 4 j Vla. 3 -) ) 4 4 Œ ‰ B B -) -) - ) ‰ ∑ ∑ ∑ / Ó ¿ ∑ -) -) -) -) - -) -) we -) ) -) div. œ - #œ Vc. 1 ? J 2 4 bO Œ Ó ‰ Œ ‰ nœ 4 J ‰ Œ 4 ∑ ∑ b œ ∑ sfp pp sfp o OP bg Œ Ó 3 div. II sfp œ #œ Ó Œ O Vc. 2 ? J 2 J 4 ‰ Œ ‰ 4 ‰ Œ 4 OPg ∑ ∑ ∑ nœ 3 Ó Œ sfp pp sfp sfp spoken nœ 2#œ 4 ? Vc. 3 ? J ‰ Œ ‰ œ 4 J ‰ Œ 4 ∑ ∑ ∑ / ¿ ¿ Ó 5 > > sfp sfp de - clare f œ senza sord. spoken Db. 1 ? 2 4 Œ ? ‰ nœ Œ ‰ 4 ∑ 4 ∑ / Ó ‰ ¿ ¿ ∑ ∑ p sfp that in senza sord. div. œ Db. 2 ? 2 4 Ó ‰ ‰ ‰ nœ ≈ ‰ ‰ 4 ∑ 4 ∑ œO ∑ ∑ / p sfp b Ó ‰OP g ‰ div. senza sord. sfp Oj œ 2 4 Œ ‰ bœ Ó Db. 3 ? ‰ Œ ‰ 4 ∑ 4 ∑ ∑ ∑ nœ 5 Œ ‰ bg Ó ¢ p sfp sJfp 13 61 œ œ™ O bœ™ O œ O bœ O Fl. 1 ° J Œ ‰ bœ O ‰ Œ œ O ‰ Œ ‰ ™ J ‰ ‰ J ‰ ‰ J & J J 3 f sfp sfp sJfp sfp sfp sfp œ O bœ™ O œ œ O bœ O Fl. 2 Ó J Œ bœ O ‰ Œ œ O ‰ Œ ‰ ‰ ‰ J ‰ ‰ & 3 3 sfp sfp sJfp sfp sfp sfp Piccolo ˙ O w Fl. 3 ∑ ∑ J ‰ Œ & sfp œ™ O Ob. 1 bœ O œ O & ∑ J Œ ‰ J J ‰ Œ œ O ‰ œ™ O Œ ‰ J J ‰ f sfp sfp sJfp sfp sfp œ™ O Ob. 2 bœ O & ∑ Œ j Œ ‰ J J ‰ Œ j ‰ Œ œ O œ™ O œ O f sfp sfp sfp sfp sfp œ™ O ˙ Ob. 3 bœ O & Œ j Œ ‰ J J ‰ Œ j ‰ Œ œ O ‰ bœ O ‰ f œ™ O sfp œ O sfp sfp 3 sJfp sfp sfp bœ O ˙ O ˙™ O Cl. 1 J J J & Ó ‰ Œ Ó ‰ Ó ‰ / sfp sfp sfp œ™ O bœ œ™ O Cl. 2 œ œ O bœ O J J & Œ Œ J ‰ Œ Œ J ‰ ‰ ‰ ‰ Œ j ‰ Œ 3 3 3 sfp sfp sfp sfp ˙ O 3 sfp B. Cl. ? j j j Œ ‰ j j ‰ Œ j ‰ Œ œ O ‰ bœ O ‰ ˙ O ‰ œ™ O bœ O œ O œ™ O f sfp sfp sfp sfp sfp sfp sfp
Bsn. 1 ? B bw O b˙ O œ™ O Ó J ‰ Œ ˙ O ‰ J ‰ / J sfp sJfp sfp sfp 3 Bsn. 2 ? j j j ‰ j j ‰ Œ j ‰ Œ ‰ j j ‰ ‰ bœ O ‰ ‰ œ O ‰ Œ œ bœ O œ œ O sfp sfp sfp œ O bœ™ O sfp sfp sfp sfp Cbsn. ? j ‰ Œ j ‰ Ó j ‰ Œ Ó ¢ O b˙ œ O bw O sfp sfp j j #œ Hn. 1 ° Œ ‰ j ‰ ‰ bœ O ‰ ‰ ‰ Œ œ™ O Œ ‰ ‰ & bœ O œ™ O J œ O J #œ™ O œ / ™ sfp sfp 3 sfp sfp sfp sfp ff Hn. 2 j j j œ O j NAME & ‰ œ™ O ‰ ‰ bœ O ‰ ‰ œ O ‰ Œ ™ J Œ ‰ #œ œ O ‰ Œ / sfp 3 sfpJ sfp sfp sfp ff Hn. 3 j j œ™ O j NAME &O ‰ ‰ œ O ‰ Œ J Œ ‰ #œ œ O ‰ Œ œ O ≈ #œ O / Ó sJfp sfp sfp sfp ™ sfp sfp ff Hn. 4 j j œ™ O NAME & Œ ‰ bœ O ‰ ‰ œ O ‰ Œ J Œ ‰ #œ O ‰ Œ / ff J sfp ™ 3 sfp sfp sfp 3 o + o + + o + o + o o + + o o + Tpt. 1 j j j œ™ O j j #œ O & Œ ‰ œ™ O ‰ ‰ bœ O ‰ ‰ œ O ‰ Œ J ‰ ‰ #œ O ‰ ≈ œ O ≈ / bœ™ O 3 J sfp sfp sfp sfp sfp sfp 3 sfp sfp o + + o o + o + o + Tpt. 2 j j œ œ O j j & ∑ Ó ‰ bœ O ‰ ‰ œ O ‰ Œ ‰ ‰ #œ O ‰ ≈ œ O J sfp sfp sfp sfp 3 + sfp 3 o + j oj o + + o o + #œo +O Tpt. 3 ∑ ‰ bœ O ‰ ‰ ‰ Œ œ™ O ‰ ‰ j j ‰ ≈ ≈ Œ & J œ O J #œ O œ O 3 sfp 3 sfp 3 sfp sfp sfp sfp + o o + + o o + + o o + o + Tbn. 1 ? j r j r NAME bœ O ‰ œ O ≈ ‰ ‰ ‰ bœ œ O ‰ j Œ bœ™ O ‰ ‰ œ O ≈ ‰ ≈ / Ó 3 J sfp J sJfp œ O sfp sfp œ O sfp 3 sfp sfp 3 3 ff + o + o + o o + o + Tbn. 2 ? j j r NAME Ó ‰ ‰ bœ œ O ‰ œ O Œ bœ™ O ‰ ‰ œ O ≈ ‰ ≈ Œ / Ó 3 J sJfp sfp sfp sfp œ O 3 3 sfp ff o + o + o + + o o + B. Tbn. ? NAME Ó ‰ ‰ j Œ ‰ ‰ j r ≈ ‰ ≈ Œ j ‰ / ¢ bœ O œ O œ O ™ œ O œ O sfp sfp sfp sfp sfp ff Timp. ? NAME ¢° ∑ / ff Xyl. °& ∑ / NAME ff S. D. / ∑ ∑ NAME ¢ ff Pno. & { bœ œ™ g> spoken Violin I III o Vln. 1.1 ° Œ O > / ¿ ¿ ¿ ¿ ¿™ ¿ ¿™ & ∑ ™ g Œ Œ Œ Œ we de-clare that in hu-man mf sJfp (stop the sound harshly) mf sfp (stop the sound) f > bœ œ™ g spoken3 3 III o Vln. I.2 Œ Œ O > & ∑ / ¿ ¿ ¿ ¿ ¿ ¿ ¿ & ™ g Œ Œ Œ Œ flesh wings lie dor-mant flesh wings mf sJfp (stop the sound harshly) mf sfp (stop the sound) f > bœ œ™ g IIIOo III ™ o > Vln. I.3 O™ & Œ ∑ Jg Œ Œ Œ Œ sfp mf sfp (stop the sound harshly) mf sfp (stop the sound)
3 #˙ spoken Oo Vln. II.1 Œ / Ó ¿ ¿ ¿ & Ó Œ Œ Ó we de-clare sfp mfbœ œ™ g mf s>fp (stop the sound f arco o #˙ b O nO Vln. II.2 b˙ & Ó Ó Œ Œ Œ Ó sfp sfp mfbœ œ™ g mf s>fp (stop the sound arco #˙ bO Vln. II.3 ∑ b œ Œ Ó Œ Œ Ó & bœ œ™ sfp mf s>fgp (stop the sound mf spoken 3 IIIo > j O™ g œ œ > Vla. 1 B ∑ Œ ‰ ¿ ¿ ¿ ¿ Ó J Œ ™ g Œ that in hu - man mf sfp mf sfp (stop the sound) f (stop the sound) III spoken 3 o > O™ g > Vla. 2 #g g J nœ œ™ g / Ó ¿ ¿ ¿ ¿ B Ó Œ J ‰ Œ Œ Œ that in hu - man sfp mf sfp mf sfp (stop the sound) f (stop the sound) III IIIOo > Oo ™ g œ œ > Vla. 3 B ∑ Ó Ó J Œ ™ g Œ sfp mf sfp mf sfp (stop the sound) (stop the sound) spoken Vc. 1 B œ œ™ g ? Ó ‰ Œ ¿ ¿ ¿ ¿ Œ Ó Œ J Ó & g™ sfp sfp spoken f we de - clare that Vc. 2 Œ O Œ B œ œ™ g ? #˙ / Ó ¿ ¿ ¿ ¿ Ó Œ J Ó & Œ #G Œ f wings lie dor - mant mf sfp spoken 3 sfp f j j Vc. 3 ? Œ Œ Œ NAME ¿ ¿ ¿ ¿ / ¿ ¿ ¿ ¿ ¿™ ‰ ¿ ¿ ¿ ¿ ¿ ‰ ¿ ¿ / wings lie dor - mant dor - mant we de - clare that in hu-man flesh wings lie f f completely overpressure ff bO Ó bG ≥ Db. 1 ? ˙ Œ Œ ≤ / G Ó # sfp sfp fYf Y spoken com≤pletely overpressure j ? Db. 2 / ¿ ¿ ¿ ‰ Ó ∑ f≥f hu - man wings #Y Y spoken 3 Db. 3 ? ∑ / ¿ ¿ ¿ ¿ Ó ¿ ¿ ¿™ ‰ ¿ ¿ ¿ ¿ ¿ / NAME ¢ we de - clare that we de-clare that in dor - mant wings f ff G accel. ca. 10" 14 65 O œ™ O #œ O #œ O Fl. 1 ° J J ™ œ œ™ O J J NAME & ‰ Œ Œ ‰ ‰ ‰ J J ‰ ‰ / U sfp sfp sfp sfp sfp ff œ O œ™ O œ O #œ O #œ™ O Fl. 2 ‰ Œ J Œ ‰ ‰ J J ‰ /Ó NAME U & sfp sfp sfp sfp sfp sfp ff œ ˙ #˙™ O Picc. J J NAME & ‰ Œ ‰ / ∑ ∑ ∑ U sfp ff #œ O bœ O ˙ O Ob. 1 œ O #œ O NAME ‰ J ‰ J ‰ Œ ‰ ‰ ‰ J J ‰ ‰ / U & 3 3 J œ O 3 sfp sfp sfp sfp ™ sfp sfp ff ˙ O 3 #œ O œ O Ob. 2 ‰ bœ O ‰ J ‰ ‰ j ‰ ≈ ‰ ‰ Ó NAME U & J œ O J J / 3 sfp sfp sfp sfp sfp ff #œ O O 3 #œ O Ob. 3 J ‰ ‰ j ‰ ≈ ‰ ‰ J Œ / NAME U & œ O œ O 3 sfp sfp sfp sfp sfp ff
Cl. 1 / NAME U ff
Cl. 2 j NAME & bœ™ O ‰ œ™ O ‰ / U sfp sfp ff 3 3 B. Cl. ? ‰ j ‰ ≈ ‰ j j ‰ j /Ó NAME U œ O #œ O œ O #œ O sfp sfp sfp sfp ff
Bsn. 1 / NAME U ff Bsn. 2 ? œ O Œ ‰ ‰ ∑ NAME U #œ™ O / sfp sfp ff Cbsn. ? j ‰ Œ /Ó NAME U ¢ w O ∑ ∑ ∑ sfp ff Hn. 1 °/ NAME U ff Hn. 2 / U
Hn. 3 / U
Hn. 4 / U
Tpt. 1 / NAME U
Tpt. 2 #œ O Œ NAME & ≈ /Ó U sfp
Tpt. 3 & Ó / NAME U
Tbn. 1 / U
Tbn. 2 / U
B. Tbn. U ¢ /
Tmp. U ? ¢°/
Xyl. °/ VU∑ibraphone & S. D. / U∑ & ¢ U Pno. ∑ {& > ˙ g Vln. I.1 ° J NAME & ‰ Œ ∑ ∑ ∑ / U mf sfp ff > ˙ g Vln. I.2 J NAME & ‰ Œ ∑ ∑ / ∑ U mf sfp ff > ˙ g Vln. I.3 J ‰ Œ / NAME U & mf sfp > bœ œ > ff <#>g ™ g Vln. II.1 J ‰ ‰ J J ∑ ∑ / NAME U & sfp mf sfp > bœ œ > ff <#>g ™ g Vln. II.2 J ‰ ‰ J J / NAME U & sfp mf sfp > bœ œ > ff <#>g ™ g Vln. II.3 J J J NAME & ‰ ‰ ∑ / U sfp mf sfp ff
Vla. 1 B ∑ Ó / NAME U
ff
Vla. 2 B ∑ / NAME U
ff
Vla. 3 B Ó / NAME U ff ∑ #˙ œ™ g Vc. 1 & Ó Œ Ó / NAME U f sfp ff #˙ œ™ g Vc. 2 & Ó Œ Ó / NAME U f sfp ff Vc. 3 / ∑ U
Db. 1 / NAME U ff
Db. 2 ? /Ó NAME U # < >Y ff Db. 3 U ¢ / H replace speech with playing, retaining same rhythm from name q = 60, 95, or 120 15 q = 132 ca. 6" ca. 6" ca. 8" 71 #œ phase in gradually sometime after the downbeat U Fl. 1 U U °/ & ∑ ∑ / ff q = 60, 95, or 120 phase in gradually sometime after the downbeat œ Fl. 2 U U U / & ∑ ∑ / ff q = 60, 95, or 120 Piccolo phase in gradually sometime after the downbeat #œ Fl. 3 U U U / & ∑ ∑ / ff q = 60, 95, or 120 phase in gradually sometime after the downbeat remove reed U U U Ob. 1 œ / & ∑ ∑ / ff q = 60, 95, or 120 phase in gradually sometime after the downbeat remove reed
Ob. 2 U U U / & bœ ∑ ∑ / ff q = 60, 95, or 120 phase in gradually sometime after the downbeat remove reed
Ob. 3 U U U / & œ ∑ ∑ / ff q = 60, 95, or 120 phase in gradually sometime after the downbeat
Cl. 1 #œ U U U / & ∑ ∑ / ff q = 60, 95, or 120 phase in gradually sometime after the downbeat
Cl. 2 bœ U U U / & ∑ ∑ / ff q = 60, 95, or 120 phase in gradually sometime after the downbeat ? U U U B. Cl. / ∑ ∑ / œ ff q = 60, 95, or 120 phase in gradually sometime after the downbeat remove reed U U U Bsn. 1 ? #œ / ∑ ∑ / ff q = 60, 95, or 120 phase in gradually sometime after the downbeat remove reed ? U U U Bsn. 2 / bœ ∑ ∑ / ff q = 60, 95, or 120 phase in gradually sometime after the downbeat remove reed
Cbsn. ? U U U ¢ / ∑ ∑ / q = 60, 95, or 120 #œ ff phase in gradually sometime after the downbeat U Hn. 1 ° U U / & œ ∑ ∑ / f q = 60, 95, or 120 phase in gradually sometime after the downbeat
Hn. 2 U U U / & œ ∑ ∑ / f q = 60, 95, or 120 phase in gradually sometime after the downbeat
Hn. 3 U U U / & ∑ ∑ / bœ f q = 60, 95, or 120 phase in gradually sometime after the downbeat
Hn. 4 U U U / & ∑ ∑ / œ f q = 60, 95, or 120 remove mute phase in gradually sometime after the downbeat Tpt. 1 œ U U U / & ∑ ∑ / f q = 60, 95, or 120 remove mute phase in gradually sometime after the downbeat Tpt. 2 U U U / & #œ ∑ ∑ / f q = 60, 95, or 120 remove mute phase in gradually sometime after the downbeat Tpt. 3 U U U / & ∑ ∑ / œ f q = 60, 95, or 120 remove mute phase in gradually sometime after the downbeat ? U U U Tbn. 1 / ∑ ∑ / œ f q = 60, 95, or 120 remove mute phase in gradually sometime after the downbeat ? U U U Tbn. 2 / ∑ ∑ / œ f q = 60, 95, or 120 remove mute phase in gradually sometime after the downbeat B. Tbn. ? U U U / f ∑ ∑ / ¢ q = 60, 95, or 120 œ U U U Timp. °? ∑ ∑ / ¢ fœ = 60, 95, or 120 q Siren œœ U Xyl. ° œœ U & ∑ / U∑ ff q = 60, 95, or 120 U U U Vib. ∑ ∑ ¢& bœœ ff œ ##œœ q = 60, 95, or 120 U U U & ∑ ∑ Pno. ff ? U U U œœ ∑ ∑ bœœ (PREPARE CUE 2) Projection / U { n#œœ q = 60, 95, or 120 b œœ phase in gradually sometime after the downbeat half pressure both right and left hand Tutti b œœ Vln. I nœ U U °/ & ∑ #~ ff #~~ #~~ ~ quasi niente q = 60, 95, or 120 pppp Tutti U phase in gradually sometime after the downbeat half pressure both right and left hand nœœ U Vln. II b œœ U ∑ / & n b œœ n fœf #~~ ~~ q = 60, 95, or 120 pppp quasi niente phase in gradually sometime after the downbeat half pressure both right and left hand Tutti Vla. I. U U U B bbœœ ∑ b bn~~ / #œœ #~~ ~ ff pppp quasi niente q = 60, 95, or 120 half pressure both right and left hand phase in gradually sometime after the downbeat Tutti U U nb Vc. 1 ? U ∑ #~~ ~~ / # #nœœ b~ # # #œœ np~ppp quasi niente ff q = 60, 95, or 120 half pressure both right and left hand phase in gradually sometime after the downbeat U U #n Db. 1 ? U B #~~ ~~ / œ ∑ fœf pppp quasi niente q = 60, 95, or 120 half pressure both right and left hand phase in gradually sometime after the downbeat n Db. 2 ? U U U B #~ # ~~ / ∑ ~ œ quasi niente fœf = 60, 95, or 120 pppp q ** phase in gradually sometime after the downbeat 5. 6. o o Db. 3 ? U U ~ ~ / G G ¢ n œ n œ ** mGf buzzing G 5: with 1 medium-sized binder clip attached to 4th string, as close to the bridge as possible 6: with 2 medium-sized binder clips attached to 1st string (will produce artificial harmonics) 1-10" 11-20" 21-28" 29-36" 37-44" 45-50" 51-60" 1'1"-1'11" I Image 1 Image 2 Image 3 Image 4 Image 5 Image 6 Image 7 Image 816 78 breath ad lib, uncoordinated with section Fl. 1 U U U U °/ ) ) ) ) & ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section Fl. 2 U U U U / ) ) ) ) & ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section Fl. 3 U U U U / ) ) ) ) & ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section Ob. 1 U U U U / ) ) ) ) & ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section Ob. 2 U U U U / ) ) ) ) & ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section Ob. 3 U U U U / ) ) ) ) & ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section Cl. 1 U U U U / ) ) ) ) & ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section Cl. 2 U U U U / ) ) ) ) & ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section ? U U U U B.Cl. / ) ) ) ) ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section ? U U U U Bsn. 1 / ) ) ) ) ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section ? U U U U Bsn. 2 / ) ) ) ) ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section ? U U U U Cbsn. / ) ) ) ) ∑ ∑ ∑ ∑ ¢ ppp
breath ad lib, uncoordinated with section Hn. 1 U U U U °/ ) ) ) ) & ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section Hn. 2 U U U U / ) ) ) ) & ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section Hn. 3 U U U U / ) ) ) ) & ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section Hn. 4 U U U U / ) ) ) ) & ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section Tpt. 1 U U U U / ) ) ) ) & ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section Tpt. 2 U U U U / ) ) ) ) & ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section Tpt. 3 U U U U / ) ) ) ) & ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section ? U U U U Tbn. 1 / ) ) ) ) ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section ? U U U U Tbn. 2 / ) ) ) ) ∑ ∑ ∑ ∑ ppp
breath ad lib, uncoordinated with section ? U U U U B. Tbn. / ) ) ) ) ∑ ∑ ∑ ∑ ¢ ppp placing bolts on the timpani head and pushing them back and forth across the skin in different patterns . . . . ? U U U U Tape °/ ∑ ∑ ∑ ∑ ¢ . . . a drone, staying at the same pitch Siren °/ Uw Uw Uw Uw Uw Uw U∑ U∑ n almost imperceptible repeat in any order, slowly, meanderingly motor on U U #œ #œ U U U Vib. ∑ ∑ œ bœ nœ n nœ b œ ∑ ∑ ∑ & bœ b œ #œœ nœ bbœœn œœ #œœ ¢ pp U U U U U U U U ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pno. & U U U U U U U U ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Image 1 Image 2 Image 3 Image 4 Image 5 Image 6 Image 7 Image 8 { Cue 2 Projection / 1. Solo o (double stops) with binder clip attached to 4th string, as close to the bridge as possible n~ sul IV Vln. I.1 ° Ó Ó Ó Ó Ó & nG b G b G # nG G b G #G G G G G mÓf buzzing G G U U Vln. 1.2 & 3 & ∑ ∑
Tutti U U Vln. II & ∑ ∑
Tutti U U Vla. B ∑ ∑
Tutti U U Vc. ? ∑ ∑
U U Db. 1 & 2 B ∑ ∑
repeat extremely slowly, like a broken machine still trying to run sul I g bg g # o o g bg bg g ng g g#g o o o o o U Db. 3 ? ~G ~ ~ ~ ~ ~ ~G ∑ ¢ G G G G G G G