Mübadele/Ανταλλαγή (The Exchange): Remembering a Human Catastrophe Through Music by Recep Gul
A composition submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music Composition) in The University of Michigan 2012
Doctoral Committee:
Professor Bright Sheng, Chair Professor Vassilios Lambropoulos Associate Professor Erik Ros Santos Assistant Professor Karen Jeanne Fournier Assistant Professor Kristin P. Kuster
RECEP GÜL
Mübadele/Ανταλλαγή (THE EXCHANGE)
(2012) for Soprano, Mezzo‐soprano, Narrator and Chamber Ensemble
To my grandparents Hasan Gül and Zeynep Gül
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Acknowledgements
With all my heart I want to thank my mother, Berrin Gül, and my father, Zeki Gül, for their continuous support; my advisors, Prof. Bright Sheng, Prof. Vassilios Lambropoulos, and Prof. Kristin Kuster, for their excellent guidance, brilliant ideas, and academic support from the beginning to the end; William Stroebel and Giota Tachtara not only for helping me in every stage of this project (from research to language learning to hosting me during my studies in Athens), but also for their friendship and moral support; Dr. Despina Margomenou for being such an excellent teacher in Modern Greek and helping me learn it in such a short amount of time; Prof. Artemis Leontis for her feedback, advice, and assessment of my work; and the fellows of the Institute for the Humanities for their feedback and support, which so extensively contributed to this project. Perhaps most of all, I want to thank the emigrants in this tragic event who were willing to be interviewed by me, entrusting their stories and memories to me. Additional special thanks to Sefer Güvenç from the Foundation of Lausanne Treaty Emigrants in Istanbul, Stavros Th. Amestidis from the Center for Asia Minor Studies in Athens, Prof. Steven Whiting, Prof. Gottfried Hagen, Prof. Evan Chambers, Prof. Erik Santos, Prof. Karen Fournier, Prof. Daniel Herwitz, Prof. Joseph Gramley, Bedriye Kocaman, Nurten Gül, Ömer Gül, Berati Gül, Marc LeMay, Amr Kamal, Lisa Borgsdorf and the UMMA staff, Jennifer Goltz, Seyhun Sezer, Akın Üner, İrfan Güneysu, Cihat Yılmaz, Ayşenur Kolivar, Mustafa Avcı, Dave Schall, and Peter Shin.
First performance was given by
Despina (Soprano): Jennifer Goltz Ayshe (Mezzo-soprano): Katherine Sanford Narrator: Marc LeMay
Violins: Kazato Inouye, Verena Ochanine; Viola: Rachel Samson Cello: Eric Haughen; Double Bass: Michael Flinn Flute: Daniel Velasco; Oboe: Jennifer Roloff Clarinet: Jason Paige; Bassoon: Scott Barlett Percussion: Chris Sies; Harp: Rebekah Wallen; Piano: Jani Parsons
Conductor: Elliot Moore
at the University of Michigan Museum of Art, Ann Arbor, Michigan, April 20, 2012
Support for the first performance was generously given by the University of Michigan Museum of Art, Rackham Graduate School, the Institute for the Humanities, the Modern Greek Program, and the School of Music, Theatre and Dance.
Music and Text by Recep Gul Narrations by Giota Tachtara
© Recep Gul 2012
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Composer’s Note
The Treaty of Lausanne of 1923, which ended the 1919-1922 Greco-Turkish War, decreed the compulsory exchange of religious minority populations in Greece and Turkey. As a result, almost a million and a half Orthodox Christians residing in Turkey and half a million Muslims residing in Greece were uprooted from the lands on which they lived for generations and were forcefully sent to the other country. The agreement not only caused a radical homogenization of the distribution of populations of the Near East, but also marked a milestone in the nationalization and modernization processes of the two countries, thus reshaping the nationalist discourses, as well as the cultural and national identities of Greeks and Turks.
My interest in the 1923 Greco-Turkish Population Exchange started in the summer of 2009 when, in a casual conversation with my family, I learned that my paternal grandparents were born in Northern Greece and were relocated in Turkey as a consequence of this mass population transfer. I was extremely intrigued by the topic, as this issue was rarely discussed in Turkey publicly. The more I have discovered, the more I have been drawn into the lives of both Greek and Turkish refugees, their culture, and their stories, which eventually led to the composition of this cantata.
The creation process for the libretto was rather complicated, considering the complexity of this important event. Approximately two million people were subjected to displacement. And among them approximately a million of the Orthodox Christians were war refugees who fled with the withdrawal of the Greek army, which had advanced into the interior parts of Asia Minor during the war. These populations were already languishing in the port of Piraeus (Athens) before the agreement was signed. In this cantata, I did not try to depict the accounts of this tragic event, known as the Asia Minor Catastrophe in Modern Greek history. I rather wanted to focus on the populations who were subjected to forced migration, thus were dislocated from their homes after the war by the decree of the Treaty of Lausanne. These remaining populations came from a wide geographical range. As a consequence of this dispersion and the variety of ethnic, cultural, and linguistic differences, the variety of individual experiences was numerous.
Therefore, I concentrated on two regions, one from each country, in which I found many correlations between the experiences of the Muslim and Orthodox Christian communities. These two areas are the Kavala region in Northern Greece and the Cappadocia region in central Turkey. Both of these regions were on the periphery of the Greco-Turkish war zones, and the testimonies stemming from these areas manifest a rather harmonious relationship between the two communities. The residents of these regions were directly subjected to the population exchange agreement and a significant amount of them disfavored it. Nevertheless, I do not believe one should draw generalizations from the individual experiences or to perceive any individual story as the sole truth. The nationalist discourse in Turkey and Greece for many years told the story that the Population Exchange was the only solution to the problem of co-existence during the dissolution of the Ottoman Empire. It was asserted that Muslims and Orthodox Christians could no longer live together, thus these two populations should be separated. I have to admit that there were many who indeed favored this decision. Yet there were many others who objected to it, believing they could live together; these people were deported along with the exchange supporters, just because they did not belong to the right religion. My intention therefore is not to imply a grand narrative that is applicable to everyone, but rather to contribute to the discussion, which has for the most part depicted only the positive results of the population exchange.
The stories in this cantata revolve around two characters: Ayshe, a Muslim woman who lives in North of Greece with her three children after losing her husband in World War I. Her character and story are based on the stories that my great-grandmother transmitted to my extended family, and these stories were supported by other testimonies that were given by immigrants from the same region. Despina, an Orthodox Christian woman living in central Anatolia with her husband, suddenly hears of the coming deportation and sorrowfully must leave her home and the land where her family has lived for generations. Even though these two characters do not meet in person, their stories parallel each other in a number of ways, particularly how they react to the news of deportation, their languish during the journey, and the difficulties they encounter adapting to their new countries. In this work, I have constructed a space where the music mediates cultural and linguistic differences, thus transcending this divergence and allowing a site of cultural convergence where these two women meet.
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Texts and Translations
I - Aria: Geliyor Askerler (The soldiers are coming)
Geliyor askerler, topluyorlar butun gencleri The soldiers are coming, gathering all young men Onbes onalti yasinda cocuklari, The children in the fifteenth, sixteenth year kim var kim yoksa hepsini alip goturuyorlar They are taking whomever they find Padisah efendimiz oyle emretti diye Just because our sultan has ordered so
Cıktım uc cocugumla ugurlamaya onları With my three children I went out to send them off biri bir tarafimda, oteki dıger tarafımda. One on my left; the other on my right kirk gunluk bebem kucagimda My 40-day-old baby in my arms Kulagimda o guzel sesli hafizlarin In my ears the prayers of “farewell” “Elveda” diye yaktigi agitlar Chanted by the hafizlar with beautiful voices dayananadım, attim kendimi obur tarafa I could endure no more, threw myself to the ground ah o ne aci, ne aci… Ah, what grief, what grief
O gece bir ruzgar, bir yagmur That night, a wind, a thunderstorm Yikildi sanki butun daglar basima As if the entire world has collapsed over me Ah, O kara kara daglarin dili olsa da Ah, if only these dark mountains could talk soylese size derdimi And sing you my grief
II - Aria: Καλά Περνούσαµε (We used to get along well)
Πριν από τον πόλεµο ήµαστε πολύ καλά µε τους Τούρκος. Before the war we were very well with the Turks.
Σαν αδέρφια περνούσαµε Like brothers we used to get along Ήρχονταν εκοίνοι σ’έµας κι εµείς πηγαίναµε εκεί. They would come to us and we would go to them Στις γιορτές µας, To our festivals στους γάµος µας, To our weddings στο θάνατο ήρχονταν οι Τούρκοι. To the funerals came the Turks
Κι εκόινο, αν έκαναν µπαίραµ And they, if they had a celebration Να µας στείλουν κρέας They used to send us food Στους γάµους να µας καλέσουν. To their weddings they used to invite us Τύλιγαν σε ένα µπλε χαρτί ζάχαρη, With sugar wrapped in a blue package Και έλεγαν: «Ορίστε στο γαµό µας» They would say: “Welcome to our wedding”
Καλά περνούσαµε We used to get along well Ευχαριστηµένοι ήµαστε We were pleased
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III - Aria: Τρεις Χιλιάδες Ψυχές (Three thousand souls)
τρεις χιλιάδες ψυχές Three thousand souls όλοι κουρασµένοι All worn-out όλοι µισοπεθαµένοι All half dead από τις ταλαιπωρίες From the sufferings από τον τρόµο, από τον φόβο, From the terror, from the fear τον φόβο που κάθισε στο λαιµό τους. The fear that sat upon their shoulders
Σαν µέσα σ’ενα αδιαπέραστο δάσος As if in the middle of an impassable forest που κατοικούν τα τσακάλια και οι λύκοι, Where crawling with jackals and wolves ούρλιαζαν όλη νύχτα Screaming all night long αναγκαζόµαστε να τραβήξουµε για το πλοίο We are pushed to catch the ship έρηµοι και απεριποίητοι Deserted and neglected
πάνω στους τάφους των δικών µου Over the graves of my heritage ρίξαµε από πάνω λίγο ξερό χώµα, I am throwing earth και κλαίω. And crying η προθεσµία µας έχει περάσει Our time has passed
δε θέλω να πιστέψω τέτοιο πράµα I don’t want to believe such a thing Καλύτερα να πεθάνουµε στην ξηρά παρά στή θάλλασα Better to die in my land than in the sea
συχώρεσε µε, Αδερφέ µου... πατέρα µου, µάνα µου, παιδί µου Forgive me, που φεύγω και σ΄άφήνω My sister, my father, my mother, my child Αχ, αυτά τα χώµατα που δε θα τα ξαναδούµε for leaving and deserting you Ah, I will never see these lands again
IV - Duet: Μαύρισε ο Ουρανός Akdenizin Ortasında (The sky blackened in the middle of the Mediterranean)
Εννέα µέρες ήµασταν στο πλοίο For nine days we were on that ship Σάµπως είχαµε ξαναδεί θάλασσα As if we had never seen sea before “bu gemi niye gitmez?” We asked, “Why doesn’t this ship move?” Ama cok yavas gidermis oysaki Realizing later that it sails so slowly
Και τι ψείρα! Και τι βρώµα! Και τι αρρώστια What sickness! What parasites! What filth! Keciler, koyunlar, insanlar alt alta ust uste. Goats, sheep, people jumbled one atop the other Bizim bir Mustafa vardi koyde. O vapurda dogdu We had a Mustafa in our village; he was born on that ship Είχαµε και µια Ελένη. Γεννήθηκε στο βαπόρι µας We had an Eleni too. She was born in our ship. Πέθαναν τρεις τέσσερις, Three or four died Και πετάχτηκαν στη θάλασσα And were tossed into the sea
The sky blackened. µαύρισε o ουρανός. In the middle of the Mediterranean Akdenizin ortasinda A storm, a heavy rain, lightening, a crack, a gale Μια φουρτούνα, µια βροχή, αστραπές, βροντές, αέρας!! That ship reached such a point that it was on the verge of o gemi oyle bir duruma geldi ki; battim batacak sinking Οι γυναίκες The women Istifra mi ararsin Throwing up, άλλη βλαστηµούσε Swearing, bagiran cagiran mi ararsin Crying and shouting άλλη έκανε προσευχή Making prayers Selavatlar, ezanlar okuyan mi and cursing those responsible for this κι άλλη έλεγε κατάρα στούς αίτιους
Dokuz gün oldu It’s been nine days Γιατή δεν πάει αυτό το πλόι Why doesn’t this ship move? Θα πνιγούµε!!! vademizin sonu bu bizim. We will drown!!! Our end has come.
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V - Αria: Dokunulmamış Hiçbir Şeye (All is left untouched)
Verdiler bize bir Rum evi They gave us a Greek house oyle bir bahcesi var ki With such a garden o kadar guzel, o kadar bakimli So beautiful, so well-cultivated
Iki katli bir Rum evi A two-storey Greek house O kadar guzel tavanlari var ki o evin. With such beautiful ceilings Nakis gibi oyma hep Like frescos as if embroidered
Dokunulmamis hic bir seye Nothing was touched Ocagin ustunde yari pismis bir kap yemek A half-cooked cup of food on the stove Tozlu dolaplarinin arkasina sikismis gumus bir hac A silver cross, lost behind the dusty cupboards
Ben nasıl yaşarım bu yabancı evde? How can I live in this foreign house? Geçmişin hayaletiyle Haunted by the past Olduğu gibi bırakılmış All is left untouched Sanki birisi burada ölmüş gibi As if somebody has just died here
VI - Duet: Σήµερα Ζούµε και Πεθαίνουµε (Today we live and die) – text by Demetrios Vikelas from Loukis Laras (1879) modernized by William Stroebel
Σήµερα ζούµε και πεθαίνουµε ο ένας εδώ κι ο άλλος εκεί, Περιπλανώµενοι στη ζωή και στο θάνατο ξενιτεµένοι, Η ανεµοζάλη του πολέµου κλόνισε και διέσπασε τους ιερούς δεσµούς Τους προσκολλώντας την καρδιά των τέκνων στων γονιών τα αναπαυτήρια Αµάν...
Bugünlerde birimiz burada diğerimiz orada Yaşıyor, ölüyor, hayatta dolaşıyor ve ölümde sürgün ediliyoruz Savaşın kasırgası kutsal adetleri dağıttı ve de yıktı Çocukları anne babalarının mezarlıklarına yakın yaşatan kutsal adetleri Aman...
Today we live and die, one of us here, the other there, wandering in life, and exiled in death. The hurricane of war has torn all the holy rituals down, Rituals that kept the hearts of children close to the graves of their children Aman...
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INSTRUMENTATION
Flute Oboe Clarinet in Bb Bassoon
Percussion (1 Player)
Vibraphone, Glockenspiel, Crotales (1 octave), Medium tam tam, 2 tom toms, Bendir (Tar), Davul (Tapan), 2 Gongs
Piano Harp
Soprano Mezzo‐soprano Narrator
2 Violins Viola Violoncello Double Bass
The Score is in C
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TABLE OF CONTENTS
Dedication ...... ii Acknowledgements ...... iii Composer’s note ...... iv Text and Translations ...... v Instrumentation ...... viii Movements I - Geliyor Askerler (The soldiers are coming), Ayshe ………………………………………... 1 A - Narration 1 ………………………………………………………………………..... 22 II - Καλά Περνούσαµε (We used to get along well), Despina ………………………………… 23 B - Narration 2 …………………………………………………………………………. 48 III - Τρεις Χιλιάδες Ψυχές (Three thousand souls), Despina ………………………………….. 49 C – Narration 3 ……………………………………………………………………….... 70 IV - Μαύρισε ο Ουρανός Akdenizin Ortasında ...... 71 (The sky blackened in the middle of the Mediterranean), Ayshe and Despina D – Narration 4 …………………………………………………………………………. 118 V - Dokunulmamış Hiçbir Şeye (All is left untouched), Ayshe ...... 119 E – Narration 5 ...... 125 VI - Σήµερα Ζούµε και Πεθαίνουµε/Bugün Yaşıyoruz ve Ölüyoruz ...... 126 (Today we live and die), Ayshe and Despina
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I - Geliyor Askerler 1 The Soldiers are Coming
q=112 Recep Gül - April 2012 very rhythmic / bringing out a strong sense of pulse dance like Oboe f very rhythmic / bringing out a strong sense of pulse dance like Viola f Glockenspiel with a sharp, strong and articulated attack but resonant Vibraphone f Mezzo-soprano L.V. sempre f Harp Db Cb Bb / Eb F Gb Ab G§ f q=112 try to balance the dynamic with the harp Contrabass f 5 Ob.
Vla. f
Vib. M S.
Hp. Cb. © Recep Gül 2012 2 8
Ob.
Vla. p f
Vib.
M S.
Hp. Cb.
11 Ob. ff
Vla. p f ff
Vib. ff
M S.
Hp. ff Cb. ff A 3 14 Ob. 5 fff ord. Vla. fff mp f Vib. f fff f mp M S. as - ker - ler ge - li - yor as - ker - ler the sol - diers are co - ming the sol - diers Hp. fff A Cb. fff mf
18 Ob. mf
Vla. mp
Vib. mf M S. top - lu - yor - lar bü - tün genç-le - ri bü - tün ga - the - ring all young men all Hp. mp f pizz. arco Cb. mp 4 B 23 Ob. mf
Vla. f p mf Vib. f p mf f M S. as - ker- ler top - lu - yor - lar on - beş on - al - tı the sol - diers ga - the - ring the children in the fifteenth mf p Hp. mf B pizz. Cb. mf
27 Ob. f mp
Vla. f Vib. mp f f M S. ya şın - da ço - cuk - la - rı sixteenth year mp Hp. f Gb f mp
arco Cb. f mp f 5 32 C Ob. p
Vla. mp p f
Vib. p f p f M S. kim var kim yok - sa kim var kim yok - sa kim var whom - e - ver they find who - e - ver they find who - e - p f Hp. G§ E§ p C pizz. Cb. p p f
36 Ob. mp
Vla. mp
Vib. mp phrase like waves mp M S. kim yok - sa hep - si - ni a - lıp hep - si - ni a - lıp gö - tü - ver they find all of them they are taking all of them they take all of Hp. mp F# mp arco Cb. mp 6 41 Ob.
Vla.
Vib.
M S. rü - yor - lar pa - di - şah e - fen - di - miz them just be - cause our sul - tan Hp. Cb.
45 Ob. mf
Vla. mf to two glock /two vib. mallets Vib.
f
M S. öy - le em - ret - ti di - ye has or - dered so C§ F§ Hp. Cb. D 7 49 Ob. ff f
Vla. ff f Glock. f Vib. f 3 M S.
Hp. gliss. f D Cb. f
53 Ob.
Vla. Glock.
Vib. 3 3 M S.
Hp. Cb. 8 56 3 3 Ob.
3 3 Vla. Glock.
Vib.
M S.
Hp. Cb.
59 E Ob. p 3 3 3 3
Vla. 3 3 3 3 p 3 3 3 3 3 3 to one glock mallet/ one bow Vib. p
M S.
D§ C# B / E# F# G# A# Hp. E Cb. p subito 9 63 5 Ob. 3 Vla. 3 3 3 3 3 3 3 3 3 3 3 Glock. p to two glock/ arco arco two vib mallets Vib. M S. Hp. p
Cb.
F Poco meno mosso 67 Ob. mf p
poco sul ponticello 3 3 3 Vla. 3 3 3 3 3 3 3 3 3 3 3 3 Glock. mf
Vib. p delicately mp M S. çık - tım üç ço - cu - I wento out with my three A p Hp. mf §
F Poco meno mosso Cb. 10 71 Ob. mf
3 3 Vla. 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Glock. mf
Vib. p
M S. ğum - la u - ğur - la - ma - ya bi - ri child - ren to send them off one is mf p Hp. A§ p A# Cb.
75 Ob.
3 3 3 3 Vla. 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 put glock mallets away Vib. M S. bir ö - te - ki di - ğer ta - ra-fım da kırk gün - lük be - bem ku- ca - ğım - on my left; the otheron my right my forty day - old ba - by in my arms
Hp.
Cb. 11 80 G poco rit. q=96 Ob. f 3 3
ord. 3 3 Vla. 3 3 3 3 3 3 3 3 f with more articulated attacks to four vib mallets 3 Vib. f f f p M S. - da be - bem my ba - - by 3 3 Hp. A# D# 3 3 3 f G poco rit. q=96 3 3 Cb. f
q=80 Meno mosso 85 H Ob. 5
sul tasto flautando Vla. p espress.
Vib. p non-vibrato (like chanting) only add a little vibrato to the end of the longer notes mp M S. ku - la - ğım - - in my ears B§ C# D#/ E§ F# G# A# Hp. q=80 H Meno mosso Cb. p 12 90 3 Ob. p mf Vla. 3 mf
Vib. mf M S. da o gü - zel ses - li I have those beau - ti - ful voices of l.v. sempre 3 Hp. 3 mp Cb.
94 I 3 Ob. p
Vla.
Vib. p 5 gently sorrowfully p M S. ha-fız - la - rın gü - zel ses - li ha - fız - la - rın el - ve- the priests the beautiful voices of the priests fa - re B§ C# D#/ E§ F# G§ A§ 3 Hp. G§ 3 A§ I Cb. p 13
100 3 Ob. p mf 3 p sul tasto flautando Vla. p
Vib. mp M S. da ha - fız - la - rın el - ve- well the priests fa - re well Hp. 3 E D§ G# b 3 3 Cb. p
105 Ob. mp f
Vla.
3 3 Vib. f p f mp
M S. da el - ve - fa - re - 3 3 3 Hp. 3 A# 3 f p p 3 f Cb. p f p 14 3 108 5 5 3 Ob. p 5 f
Vla.
Vib. f f M S. da el - - ve - da well fa - - re - well 3 3 3 3 3 3 Hp. 3 E# f mp f
Cb. f p f
112 Ob. 3 3
sul tasto flautando Vla. mp
3 Vib. p p subito mf 3 3 M S. di - ye yak - - tı - ğı a - - - ğıt - lar la - ments that they sing Hp. p Cb. p J 15 117 Ob. 3 3 5 5 p f ord. Vla. f
Vib. p M S.
Hp. A§ E§ 3 f 3 J Cb. f
120 3 3 Ob. 3 3 Vla. 3
3 Vib. 3 3 ragingly f f 3 M S. Da - ya - na - ma - dım at - tım ken - di - mi ö - bür ta-ra - fa I could endure no more I threw my - self to the ground 3 3 Hp. 3 D§ Eb D# E§ 3 Cb. 16 124 K Ob. 5 p
Vla. * when the plate vıbrates resonant enough gently touch the midlle of the plate with finger nail or the side of the pinky to create the harmonic to bow arco arco Vib. 5 ff mp very sorrowfully M S. Ah ne a-cı ne a-cı ne a-cı ne a - cı o ne a - cı Ah what grief what grief grief what grief what grief pres de table with finger nails D C B / E F G A Hp. 3 b b b b b b mp 3 K Cb.
L q=120 133 Tempo primo Ob. p f Vla. f to four vib mallets with a sharp, strong and articulated attack but resonant Vib. f crushed f 3 3 M S. ne a - cı o ge ce bir rüz-gar bir yağ - what grief L.V. sempre That night, a wind a thunder Hp. f f L q=120 Tempo primo Cb. f 17 139 Ob.
Vla.
Vib.
M S. mur yı-kıl - dı san - ki bü - storm as if the en - tire world has G§ Hp. Cb.
143 Ob. 3
Vla.
Vib.
3 M S. tün dağ - lar ba-şı ma o ka - ra ka - col - lap - sed o -ver me If on - ly these
Hp. Cb. 18 147 Ob.
Vla.
Vib.
3 M S. ra dağ - la - rın di - li ol - sa - da söy - le - dark moun -tains could speak and tell you Hp. Cb.
M 150 Ob. 5 fff Vla. fff mf
Vib.
M S. se si - ze der - - - di - mi all my grief gliss. Hp. fff M Cb. fff 19 154 Ob. f
pizz. Vla. ff f Vib. f ff
M S. Hp. ff Fb f Cb. ff f
158 Ob. arco Vla. p f
3 3 Vib. 3
M S.
Hp. 3 3 Cb. 20 162 Ob. mp
Vla. p f mp
3 Vib. mp p f
M S.
Cb Hp. C§ 3 mp p 3 Cb. mp p
N 167 Ob. p
Vla. p
3 Vib. p ff
M S.
3 Hp. C§ ff 3 p N Cb. p ff 3 ppp 21 174 q-60 Ob. 3 3 p
Vla. p to two glock/ two vib mallets Glock. p Vib. p NARRATION M S.
D C B / E F G A Hp. b b b b b b p
q-60 Cb. p
NARRATION
Ayshe waited praying as the days turned into nights. Feeling lost in her own village, insecure in Northern Greece. Those were the years of endless wars, the one atop the other, the borders changed like cycles of the tides. No Greek authorities protect the Muslim villages. She could do no more than pray and wait,wait for the day he’d come back and find them again. Her eyes kept searching for him hopefully, just a small hope. Yet no one came... 22
1st Narrative
Breathing in cannon smoke, it’s the Great War people say, the First World War they’ve read in the papers of the coffee shop. Ottoman officers break down doors and tear away the Muslim men and boys. Ayshe’s village, just outside Kavala, is left with only the cries of the women and the prayers of the old. She hasn’t moved an inch, she keeps casting about her eyes, searching for her husband, staring at the door that consumed him, staring at the door and waiting, two silent toddlers round her feet, a frightened newborn in her arms. She longs for those lost years of peace. “Ach, those good old days!” sighs Despina, across the border, buried deep within the planes of Anatolia. She paces round the room, hands on hips, longing for the times when Christians in her village didn’t live in fear, when the church bells tolled out Easter rather than the fires or the dangers lurking in the hills. Her eyes caress the room – every corner, every piece of furniture, every stitch of her embroidered tablecloths, the icon with the dour Byzantine on the wall. Her children play outside, their shrill laugher lingers like the last reminder of the good old days.
23 ΙΙ - Καλά Περνούσαµε We used to get along well
q=92 (2+2+3) (2+3) lightly, like a folk dance Flute f Oboe f Clarinet in Bb f
Bassoon f
Davul f
Piano Harp Db C Bb/ Eb F Gb A f Soprano q=92 lightly, like a folk dance (2+2+3) (2+3) Violin I f Violin II f Viola f pizz. Violoncello f pizz. Contrabass f
© Recep Gül 2012 24 5 Fl. cresc. ff Ob. ff
Cl. f cresc. ff Bsn. cresc. ff
Davul cresc. ff Pno. f cresc. Hp. S.
Vln. I cresc. ff Vln. II cresc. ff Vla. cresc. ff
arco Vc. cresc. ff arco Cb. cresc. ff 25 10 A Fl.
Ob. mp Cl. mp Bsn. mp mf
Davul
Pno. mp Hp. G§ mp S.
A Vln. I mp Vln. II mp Vla. mp
Vc. mp pizz. Cb. mp 26
15 B Fl.
Ob. mf
3 Cl. p mf
Bsn. mp
Davul
Pno. mp Hp. D Cb Bb/ Eb F G Ab
lively f S. πριν α - πό τον πό - λε - µο ή- µασ- τε πό - λύ κα - λά µε τους Τούρ -κους prin a - po ton po - le - mo i - mas -te po - li- ka la me tous Tour- kous be -fore the war we were very well with the Turks B Vln. I mp
Vln. II mp Vla. mp
Vc.
Cb. 27
20 Fl. 3 mf
Ob.
Cl. mf Bsn. mp mf
Davul
Pno. p mf p Hp. mf p Gb
S. σαν α - δέρ - φια περ νού - - σα - µε ήρ - χον-ταν ε - san a - δer - fia per nou - sa me ir - hon-dan e - like bro thers we used to get along they would come
Vln. I
Vln. II
Vla.
Vc. p arco Cb. mf p mf p 28
25 C Fl. f
Ob. mf
Cl. f
Bsn. mf
Davul
Pno. Hp. Db C Bb/ Eb F Gb A
S. κοί - νοι σ'έ - µας κι - έ - µεις πη - γαί - να- µε ε - κει ki - ni se - mas ki- e mis pi - ge - na me e - ki to us and we would go to them C Vln. I mf
Vln. II p
Vla. f pizz. Vc. f pizz. Cb. f 29 30 (3+2) Fl. cresc. Ob. f cresc. Cl. cresc. Bsn. f cresc.
Davul Pno. Hp. S.
(3+2) Vln. I mf cresc.
Vln. II mf cresc. f Vla. cresc.
Vc. cresc.
Cb. cresc. 30 35 Fl.
Ob.
Cl. Bsn.
Davul f Pno. Hp. f B§ D§ S.
Vln. I
Vln. II Vla.
arco Vc. arco Cb. 31
40 D Fl.
Ob. mp
Cl. mp Bsn. mp
Davul
Pno. Hp. p mf S. στις γιορ - τές µας στους γα - µους µας στο θά - να - το ήρ - χονταν οι stis yior - tes mas stous ga - mous mas sto θa - na - to ir - hontan i to our festivals to our weddings to the funerals came
D Vln. I
Vln. II
Vla. p
Vc. p
Cb. 32
46 E (3+2+2) Fl.
Ob.
Cl.
Bsn.
Davul
Pno. pp pp Hp. Bb mp S. Τούρ - κοι στις γιορ - τές µας στους γά - µους µας γιορ - τές µας γά - µοyς µας στο Tour - ki stis yior - tes mas stous ga - mous mas yior - tes mas ga - mous mas sto the Turks to our festivals to our weddings our festivals our weddings to E sul tasto non vibrato (3+2+2) Vln. I pp sul tasto non vibrato Vln. II pp sul tasto non vibrato Vla. pp sul tasto non vibrato Vc. pp Cb. p pp 33
51 F (2+2+3) (2+3) Fl. f
Ob.
Cl. f
Bsn. f
Davul mf Pno. mf Hp.
f S. θά - να-το ήρ - χον - ταν οι Τούρ - κοι θa - na-to ir hon dan i Tour - ki funerals came the Turks F (2+2+3) (2+3) ord. Vln. I mf f
Vln. II mf
ord. Vla. mf f ord. pizz. Vc. mf pizz. Cb. mf 34 56 Fl.
Ob. f
Cl.
Bsn.
Davul Pno. Hp. S.
Vln. I ord. Vln. II f Vla.
arco Vc. arco Cb. 35
61 G Fl.
Ob. f
3 Cl. p mf
Bsn. p
Davul mf p Pno. mf p Hp. f S. κι ε - κοί - νοι αν έ - κα - ναν µπαί - - - - - ραµ ki e - ki - ni an e - ka - nan bay - - - - - ram and they if they had a celebration G
Vln. I p
Vln. II p Vla. p
Vc. p f pizz. arco Cb. p f 36 66 Fl. f Ob. 3
3 Cl. f Bsn. f
Davul
Pno. Hp. f S.
Vln. I f Vln. II f
Vla. Vc. Cb. 37
70 H (2+2+3) Fl.
Ob. p
Cl. p f
Bsn. mp p
To Glock. Davul mp
Pno. mp p mp Hp. p
f S. κι ε - κοί - νοι αν έ - κα - ναν µπαί - ραµ να µας στεί λουν κρέ - ki e - ki - ni an e - ka - nan bay - ram na mas sti - loun kre - and they if they had a celebration used to send us foodt H (2+2+3) Vln. I f
Vln. II mp fp mp Vla. mp p
Vc. mp p
Cb. mp 38
74 I Fl. p
Ob.
Cl. p Bsn.
Davul
Pno. p f p Hp. p f E§ Ab
S. - α στους γά µους να µας κα - λέ - σουν Τύ - λι - γαν σε έ - να µπλε χαρ - τί ζά - χα - a stous ga mous na mas ka - le - soun ti - li - gan se e - na ble har - ti za - ha to their weddings they used to invite us with sugar wrapped in a blue package I Vln. I p f p Vln. II f p Vla. f p
Vc. p f Cb. f 39
80 Fl.
Ob.
Cl. mf Bsn. mf
Davul
Pno. Hp. S. ρι και έ - λε - γαν ο - ρίσ - τε στο γα - µό µας ο - ρίσ - τε ο - ri ke e - le - gan o - ris - te sto ga - mo mas o - ris - te o - they would say welcome to our wedding welcome welcome
Vln. I
Vln. II
Vla.
Vc.
Cb. 40 J 86 (3+3+2) gently Fl. p simile gently Ob. p simile gently Cl. p simile gently Bsn. p simile
Glockenspiel
Davul mp p
Pno. Hp. in a state of remembering a distant memory p dolce S. ρίσ - τε στο γά µο µασ ο-ρίσ - τε κα - λά ris - te sto ga mo mas o - ris - te ka - la to our wedding welcome well (3+3+2) J Vln. I
Vln. II
Vla.
Vc.
Cb. 41
93 K Fl.
Ob.
Cl. Bsn.
Glock. Pno. Hp.
mf mp 2 2 2 S. περ - νού - σα - µε ευ - χα-ρισ-τη - µέ - per - nou - sa me ef - ha-ris - ti - me - we used to get along pleased K
Vln. I
Vln. II
Vla.
Vc.
Cb. 42
101 Fl.
Ob.
Cl.
Bsn.
Glock.
Pno. Hp.
2 2 2 2 2 2 S. ------νοι ή- µασ-τε κα - λά κα - λά ------ni i - mas-te ka - la ka - la we were well well
Vln. I
Vln. II
Vla.
Vc.
Cb. (2+2+3) 43 Poco più mosso 110 L Fl.
Ob.
Cl. f
Bsn. f
Davul Glock. mf
Pno. Hp. S. περ-νού - σα - µε κα - λά περ - νού - - - σα - µε per-nou - sa - me ka - la per - nou - - - sa - me we used to get along well we used to get along Poco più mosso L sul tasto (2+2+3)ord. Vln. I p f sul tasto Vln. II p
sul tasto Vla. p
sul tasto pizz. Vc. p f
pizz. Cb. f 44 116 (2+3) Fl. f Ob. f
Cl. Bsn.
Davul Pno. f Hp. S.
(2+3) Vln. I ord. Vln. II f ord. Vla. f
Vc.
Cb. 45 M 121 Fl. f
Ob.
Cl.
Bsn.
Davul f
Pno. mf Hp. S.
M Vln. I
Vln. II Vla.
arco Vc.
arco Cb. 46 126 Fl.
Ob. f
Cl.
Bsn.
Davul
Pno. Hp. S.
Vln. I
Vln. II
Vla.
Vc. Cb. 47 130 Fl.
Ob.
Cl. Bsn.
Davul
Pno. Hp. Bb S.
Vln. I
Vln. II
Vla.
Vc.
Cb. 48
2nd Narrative
The same smells coming from our ovens, the same foods, the same names, yet Muslims and Christians can’t share them anymore. The women no longer chat up neighbors, they keep their heads low, their windows locked. “Stay with your own kind” they advise, ach, this Great War changed everything, it’s not the Empire we’re losing but our friends down the street. The soldiers come and go, different colors, same hatred. They don’t understand. Ayshe heard the rumors, they are going to send us to Turkey, Muslims are not welcome here any more, she bends down and listens closely to the baby’s breathing, if Allah is truly generous, He’ll take this one to heaven. She’ll manage two, but not three children; her husband now is nothing but a memory. Across the Aegean sea, Despina cries over the same whispers, Christians are not welcome here any more, “but this is our land” she laments. Nobody pays attention. Her husband only brings back bad news from the coffee shop, bending his head lower every day over his worry beads, as if ashamed that he can’t set things aright, as if it’s his fault they can’t stay here any more.
III- Τρεις Χιλιάδες Ψυχές (Three Thousand Souls) 49 q=84 sorrowful Clarinet in Bb
Piano pp pp
Soprano
q=84 sorrowful Violin
3 Violoncello mf p
5 Cl. p
Pno. 3 3
S.
Vln.
3 Vc. p
© 2012 Recep Gül 50
9 A 3 3 3 Cl. mp p
3 3 3 3 3 3 Pno. p
p p p espress. mf 3 3 3 S. τρεις χι - λι - α - - - - δες ψυ - χες tris hi - li - a - - - - thes psi - hes A three thou sand souls 3 3 3 Vln. p mp p
Vc. p
12 3 Cl. p
3 3 3 Pno. mp p 3 3 3 mp p mf mf p p 3 S. ό - λοι κου-ρασ - µέ - o - li kou-ras - me - all worn - out 3 Vln. p
3 Vc. mp p mf 51
16 B 3 Cl.
3 Pno. mf 3 3 3 p 3 mp 3 S. ------νοι ό - λοι ------ni o - li B all 3 Vln. 3 3 Vc. mf p
20 3 3 3 3 3 Cl. p pp mp
3 3 3 5 3 3 Pno. p 3 p p mf 3 3 3 S. µι - σο - πε - θα - µέ - νοι ό - λοι ό - λοι κου-ρασ - µέ - mi - so - pe- tha- me - ni o - li o - li kou-ras - me - half dead all all worn - out
3 3 3 3 Vln. pp pp Vc. pp 3 pp 3 52
24 3 3 3 Cl. p mf Pno. mf p 3 p mf 3 3 S. - - νοι ό - λοι ό - λοι µι - σο - πε - θα - µέ - νοι α - πό - - ni o - li o - li mi - so - pe - tha - me - ni a - po all all half - dead from
3 3 Vln. pp Vc. 3 pp 3
28 3 3 Cl. ppp mp ppp pp 3 3 3 3 3 Pno. p mf 3 3 3 S. τις τα - λαι - πο - ρί - ες α- πό τον τρό - - µο α -΄πο tis ta - le - po - ri - - es a - po ton tro - - mo a - po the suf - fer - rings from the ter - ror from 3 3 Vln. ppp mp ppp pp
Vc. ppp mp ppp pp 3 3 53
32 Cl. mp 3 3 3 f
3 3 3 3 3 3 3 Pno. mp mf 3 f
f ff 3 3 3 3 S. τον φό - - βο α-πό τον τρό - µο φό - βο τον φό - - - ton fo - - vo a-po ton tro - mo fo - vo ton fo - - - the fear from the ter - ror fear the fear Vln. 3 3 3 ppp mp mf f
Vc. mp f
37 C 3 Cl.
3 Pno. p 3 3 p 3 p S. βο- τον φό - βο - vo ton fo - vo C the fear molto sul tasto Vln. 3 pp Vc. 3 p mf p 54
42 Cl. pp
3 3 3 3 Pno. p 3 S. που κά - θι - σε στο λαι - µό τους pou ka - thi - se sto le - mo tous that sat upon their shou - ders molto sul molto sul ponticello molto sul tasto ponticello Vln. * alternate between the note and the harmonic very fast
sul D molto sul tasto molto sul ponticello molto sul tasto Vc. pp * alternate between the note and the harmonic very fast
47 Cl.
3 3 3 3 Pno. 3 3 S.
molto sul tasto molto sul ponticello molto sul tasto Vln.
molto sul ponticello molto sul tasto molto sul ponticello Vc. D (faster) (2+3) 55 q=108 51 Cl. pp ff pp 3 3 Pno. ff mf mf ff f 3 3 3 S. σαν µέ - σα σ'έ - να α - δι - α - πέ-ρασ - το δά - σος san me - sa se - na a - di - a - pe - ras - to da - sos D like in - side an im -pas sable fo - rest =108 q (2+3) (faster) (molto sul ponticello) molto sul ponticello ord. Vln. pp sffz p 3 ord. 3 (molto sul ponticello) mf Vc. pp sffz pp
56 Cl. 3 f 3 3 5 3 3 Pno. 3 f 3 3 S. που κα - τι - κουν τα τσα - κά - λια και οι λύ - κοι pou ka - ti - koun ta cha - ka - lia ke i li - ki where craw - ling with the jack - als and the wolves
Vln. f 3 3
Vc. 56
60 3 Cl. f 5 3 3 3 3 3
Pno. 3 ff 3 S. ούρ - λια - ζαν ό - λοι νύχ - τα ούρ - λι-α - ζαν ό - our - lia - zan o - li nih - ta our - lia - zan o - scream - ing all night screa - ing all
Vln. f 3 3 3 3 Vc. f
q=100 Poco meno mosso 64 Cl. 3 3 3 3 fff 3 Pno. fff fff f mf 3 S. - λοι νύχ - τα - li nih - ta night
q=100 Poco meno mosso Vln. 3 pp
3 Vc. E 57 69 Cl.
3 3 Pno. mp p p 3 p mp mf 3 3 3 S. α - ναγ - κα - ζό - µασ - τε να τρα- βί - ξου - µε για το πλοί - ο έ - ρη - a - nan - ga - zo - mas - te na tra - vi - ksou me yia to pli - o e - ri - E we are forced to take the ship de - ser - Vln. ppp
Vc. ppp
74 (3+2) Cl. pp 3
3 3 5 5 6 Pno. mf 3 3 S. µοι και α - πε-ρι - ποί - η - τοι mi ke a - pe-ri - pi - i - ti ted and neg -lec ted (3+2) to con sord. Vln. mp ppp ppp to con sord. Vc. mp ppp ppp 58 q=80 Meno mosso 78 F 3 Cl. mp pdelicate 3 3 Pno. p very little vibrato mp 3 3 3 S. πά - νω στους τά - φους των δι - κών µου ρί - ξα - µε α - πό pa - no stous ta - fous ton di - kon mou ri - ksa- me a - po o - ver the graves of my heritage I am throw -ing from
con sord. q=80 molto sul tasto Meno mosso F non vibrato 3 Vln. p delicate con sord. molto sul tasto non vibrato Vc. 3 3 p delicate
82 (2+3) Cl. mf p 3 p 3 3 3 Pno. 3 3 mf mp 3 S. πά - νω λί - γο ρί - ξα - µε α - πό πά - νω λί pa - no li - go ri - ksa - me a - po pa - no li - a - bove some I am throw -ing from a - bove some (2+3) 3 Vln. mf p Vc. mf p 3 59
86 G 3 Cl. mf p Pno.
3 3 3 3 3 3 S. γο ξε - ρό χώ - µα και κλαί ------ω go kse - ro ho - ma ke kle ------o piece of earth and I cry G Vln. Vc.
92 H Cl. 3 Pno.
3 3 mf S. και κλαί - - - - - - - - - ω κλαί ke kle ------o kle - and I cry I cry
senza sord ord.. 3 H Vln. pp 3 Vc. 60
98 Cl. pp
3 3 5 3 3 Pno. 5 3 p S. ω κλαί - ω - o kle - o I cry
Vln. ppp p senza sord ord.. Vc.
q=96 Più mosso 101 Cl. p 5 3 3 3 Pno. mf 3 3 S. η προ-θεσ - µί - α µας έ - χει πε - ρα - - - i pro-thes - mi - a mas e - hi pe - ra - - - our time has passed q=96 Più mosso 3 Vln. p K . q e q h q h 3 Vc. 3 3 p 61
105 I Cl. f Pno. f 3 3 f f 3 3 S. - - - - - σει δεν ------si den I I Vln. f h. q Vc.
109 Cl. 3
Pno. 3 3 3 S. θέ - λω The - lo don't want
Vln. 3
Vc. 62
112 Cl. 3 3 3 3
Pno. 3 3 3 f S. δεν θέ - - - λω den the - - - lo I don't want Vln. 3 3 3 3
Vc.
115 J Cl. 3 3 solo mp ff Pno. ff
S.
J Vln. 3 3 mp Vc. mp 63
118 Cl. 3 3 3 Pno. 3 S.
3 Vln. Vc. 3
121 (2+3) 3 3 Cl. f ord. 3 3 3 Pno. mp 3 mp
S.
(2+3) 3 Vln. f mp 3 Vc. 3 f mp 64 123 Cl. 3 3
3 3 Pno. 3 3 3
S.
Vln. 3
3 3 3 Vc.
126 Cl. 3 3
Pno. 3
S.
Vln. f 3 3 3 3
3 Vc. q=90 Poco meno mosso 65 3 129 3 3 Cl. 3 3 f sffz
Pno. ff 3 f S.
q=90 Poco meno mosso Vln. 3 3 3 ff pp
3 Vc. ff
K 134 3 Cl. p 3
3 Pno. p 5 mf p p 3 3 S. δεν θέ - λω δεν θέ - λω να πισ - τέ - ψω τέ - τοια πράγ- µα den the - lo den the - lo na pis - te - pso te - tia prag- ma I don't want I don't want to believe such a thing K Vln.
Vc. 3 pp 66 (3+2) 140 3 Cl. p
3 Pno. 3 3 p p mf 3 3 S. κα - λύ - τε - ρα να πε - θά - νου - µε στην ξη - ρα πά -ρα στη ka - li - te - ra na pe tha - nou - me stin ksi - ra pa - ra sti bet - ter to die in my land than in (3+2) molto sul ponticello Vln. pp molto sul ponticello Vc. pp
=84 (gradually to vibrato) L q slower 145 3 5 5 6 Cl. f mp pp (slowly arpeggiate) Pno. f p S. θάλ - λα - σα συ - χώ - ρε-σε µε Tha la - sa si - ho - re-se me the sea for - give me L q=84 slower ord. Vln. p sfz p ppp ord. Vc. sfz p ppp p 67
150 Cl. 3 mp p
Pno. 3 3 3 3 3 S. α - δέρ - φε µου πα - τέ - ρα µου a - der - fe mou pa - te - ra mou my friend my father
Vln. p (balance the bow pressure according to the harmonic) ord. Vc. p p
154 Cl. 3 3 3 mf f
3 3 p Pno. f f p f p 3 3 S. παι- δι µου µά ------να pe - di mou ma ------na my child my mot -
Vln. Vc. 3 3 5 mp f p ppp 68
158 M 5 3 3 Cl. mf p mf p
3 3 3 Pno. mf 3 p p f S. µου συ - χώ - ρε - σε µε mou si - ho - re - se me her for - give me M sul ponticello non vibrato Vln. pp sul ponticello non vibrato Vc. pp
162
Cl. p mf p
3 mf Pno. p f p mp 3 S. που φέυ - γω και σ'α - φή - νω αχ αύ - τα τα χώ - pou fev - go ke sa - fi - no ah af - ta ta ho - for lea - ving you and deserting you ah these lands molto sul tasto non vibrato Vln. p mf 3 p pp ord. Vc. pp 69
168 N Cl. pp 3
Pno. p p mf mf mf f 3 S. - µα-τα που δεν θα τα ξα -να - δού - µε - ma-ta pou den tha ta ksa-na - dou-me that I will ne - - ver see a - gain N
Vln.
poco sul ponticello Vc. pp p
175 (2+3) Cl. pp
pp Pno. 3 p pp
S.
(2+3) Vln. p (balance the bow pressure according to the harmonic) molto sul ponticello Vc. mp ppp p 70
3rd Narrative
The day we laid the last brick in place, we had to hand the keys to someone else. The crop we planted, it’s others who will harvest it. Forgive me Mother, for leaving your bones behind. Who will weed your grave now? A whole life, how to choose what you take with you, what you leave? And the deadline is approaching: This paper signed in Lausanne, the rest of us obey. The Church, the Mosque, will they survive or will they be swept aside like us? The old people curse the year 1923 to the pits of hell. Ayshe ties her children round her waist; a woman only has two hands, you see, and she needs them both to carry bundles. The others on the boat make fun of her village ways; she doesn’t care. This is the worst time to be without a man. She’s leaving her village behind, the lights of Kavala wink one last time behind her, her last sight of home, off now to a land about which she knows nothing, only that it’s in the new borders of Turkey. They call it Samsun, her new home. Despina boards a boat to trace the same route in reverse, clutching her icon and mumbling prayers. She’s about to leave behind the spices of Anatolia, bound for Athens. Her children are frightened of the sea; she, of the land awaiting them. She sits on one of their bundles and digs up from within her throat the saddest song she knows. People shush her. “You’re not allowed to speak Turkish anymore.” But her heart is bleeding for her real homeland, Kappadokia, her head is reeling with old Turkish love songs. One million souls are drenched in sea and sweat and homesickness, shivering on the crowded decks. Ach, forgive me Mother for leaving your bones behind.
IV 71 Μαύρισε ο Ουρανός Akdenizin Ortasında The Sky Blackened in the Middle of the Mediterrenean
q=120 Energetic Flute f Oboe f Clarinet in Bb f Bassoon f Vibraphone f
Piano f f Harp Db C Bb/ E F# G A
Soprano
Mezzo-Soprano q=120 Energetic Violin I f Violin II f Viola f Violoncello f Contrabass f
© Recep Gül 72 A 9 Fl. Ob.
Cl. Bsn.
Vib.
Pno. Hp. S.
M S.
A Vln. I
Vln. II Vla. Vc. Cb. 73
17 Fl. Ob.
Cl. Bsn.
Vib.
Pno. Hp. S.
M S.
Vln. I
Vln. II Vla.
Vc. Cb. 74 25 B Fl. dim. Ob. dim.
Cl. dim. Bsn. dim.
less articulated 3 3 3 3 3 3 Vib. dim. p
Pno. dim. Hp. p S.
M S.
B Vln. I dim.
Vln. II dim. Vla.
Vc. dim.
Cb. dim. 75
35 Fl.
Ob.
Cl.
Bsn.
3 3 3 3 3 3 3 3 3 3 3 Vib.
Pno. p Hp.
mp legatissimo S. Εν - νέ - α µέ - ρες ή - µασ - ταν στο πλοί - - en - ne - a me - res i - mas - tan sto pli - - - For nine days we have been on that ship M S.
Vln. I sul tasto flautando Vln. II sul tasto p flautando p Vla. p p Vc. p p
Cb. 76
C 46 Fl. f Ob. f Cl. f Bsn.
3 3 3 3 3 3 3 3 3 Vib.
Pno. p Hp.
mp S. - ο Σάµ - πως εί - χα-µε ξα -να-δεί - o Sam - pos i - ha-me ksa-na - δi As if we had ne - ver seen M S.
C Vln. I mf ord. Vln. II mf p mf pp Vla. mf p pp Vc. mf p pp
Cb. 77
55 Fl.
Ob.
Cl.
Bsn.
3 3 3 3 3 3 3 3 3 3 Vib.
Pno. Hp. F§
S. ξα - να- δεί Σάµ - πως εί - χα-µε ξα - να - δεί θάλ - - - - - λα - σα ksa - na- δi sam - pos i - ha-me ksa - na - δi θal - - - - - la - sa never seen as if we have never seen sea M S.
Vln. I mf
Vln. II mf ord. Vla. mf
Vc.
Cb. 78
D 65 Fl. f Ob. f 5 Cl. f fp f
Bsn. f fp f
3 3 3 3 3 Vib.
Pno. f Hp. S.
M S. D Vln. I f fp f ord. Vln. II mf mf f ff 5 fp f Vla. p mf ff 5 fp Vc. ff fp f
Cb. ff fp f 79
73 E Fl. p
Ob. p 5 5 Cl. fp f fp Bsn. p
Vib.
Pno. p subito f Hp. S.
p dolce mf M S. bu ge - mi ni-ye git - mez? Why doesn't this ship move? E Vln. I fp Vln. II ff 5 fp Vla. p ff 5 fp
Vc. p subito fp Cb. fp p subito 80
82 Fl. 3 3 p mp Ob. p mp 3 3
5 Cl. p subito p
Bsn. p
Vib.
Pno. p subito D C# Bb/ Eb F# G A Hp. S.
mp f mp M S. a - ma çok ya - vaş ya - vaş ya - vaş gi - der - miş oy - sa- ki Realizing later that it sails so slowly slowly it sails so slowly Vln. I f 3 p mf p Vln. II f mp Vla. mp Vc. f mp
Cb. f 81 F 92 Fl. mf
Ob. p
Cl. p mf Bsn. p
Vib. mp Pno. sfz mf mp Hp. mf mp unarticulated somewhat fearful f S. και τι ψεί - ρα ke ti psi - ra and what sick - ness! M S.
F Vln. I mf Vln. II mf Vla. mf p pizz. arco Vc. mf mp pizz. arco Cb. mf mp 82 G 97 Fl.
Ob. mp
Cl. mp Bsn.
Vib. mp Pno. sfz sfz mp f mp Hp. f C§
S. και τι βρώ - µα και τι αρ - ρώσ - τια ke ti bro - ma ke ti ar - ros - tia and what parasite αnd what filth - f M S. hay - van - lar animals G Vln. I f Vln. II f Vla. f mp pizz. arco Vc. mp f pizz. arco Cb. f mp 83
102 Fl. f Ob. f
Cl. Bsn. mp f
Vib. Pno. f Hp. Db C Bb/ E F# G A S.
M S. in - san - lar alt al - ta üst üs - te humans jumbles one atop the other
Vln. I f
Vln. II f Vla. f
Vc. f
Cb. f 84 H 108 Fl. fff Ob. fff
Cl.
Bsn. fff
3 3 3 3 3 3 Vib. p
Pno. p Hp. f
mp legatissimo S. πέ - θα - ναν τριες τέσ - σε - ρις πέ - θα - ναν pe - θa - nan tris tes - se - ris pe - θa - nan Died three ot four died f M S. hay - van - lar H animals Vln. I fff Vln. II fff
Vla.
Vc. mf fff
Cb. mf fff 85
117 Fl. p f
Ob. p f flutz. Cl. f p f pp subito
Bsn. mp f
3 3 3 3 3 3 3 3 3 Vib. p
Pno. p Hp. F§ D§
mp S. και πε - τάχ - τη-καν στη θάλ - λα-σα θάλ - λα - σα και πε - τάχ - - - - ke pe - tah - ti -kan sti θal - la - sa θal - la - sa ke pe - tah - - - - and they were tossed into the sea the sea and they were tossed M S. in - san - lar people
sul ponticello Vln. I p f sul ponticello Vln. II p f sul ponticello Vla. p f
Vc.
Cb. 86
127 I flutz. Fl. mf f flutz. Ob. p mf f flutz. Cl. mf f fp Bsn.
Vib.
Pno. mf f Hp. f B§ S. - τη - καν - ti - kan
cresc. f M S. hay-van-lar in - san - lar alt al - ta üst üs - te animals humans are full to bursting ord. I Vln. I mp fp Vln. II ff 5 fp Vla. ff 5 fp Vc. mf ff fp Cb. mf mf ff fp 87 flutz. 133 J Fl. f5 pp 5 Ob. p f flutz. 5 flutz. 5 5 5 Cl. f pp Bsn. f 5 pp
Vib.
Pno. p Hp. S.
mp dolce M S. bi - zim bir We had J Vln. I f Vln. II f Vla.
Vc. f p
Cb. f p 88
143 Fl. mp
Ob. mp
Cl. mp Bsn. mp
Vib.
Pno. mp 3 3 Hp. D Cb Bb/ Eb F# G A C#
mp dolce legato S. Εί - χα - µε και µια Ε - λέ - νη στο χω - ρι-ο µας i - ha - me ke mia E - le - ni sto ho - ri-o mas We also had an E - le - ni from our village M S. Mus - ta - fa var dı köy - de o va- pur - da o va- pur a Mustafa in our village in that shipt in that ship
sul tasto non vibrato Vln. I pp dolce sul tasto non vibrato Vln. II pp dolce sul tasto non vibrato Vla. pp dolce sul tasto Vc. 3 3 3 3 pp dolce
Cb. 89
156 K Fl. mp
Ob. p Cl. pp
Bsn.
Vib. p
Pno. p
Hp. 3 3 p S. γεν - νή - θη - κε στο βα-πό - ρι µας yen - ni - θi - ke sto va-po - ri - mas she was born in our boat
M S. da doğ - du was he born K
Vln. I
Vln. II p p Vla. pp Vc. 3 pp
Cb. L 90 q=128 flutz Più mosso 168 Fl. 5 f f fp 3 3 Ob. f fp Cl. f fp Bsn. f fp Tom toms 3 3 Vib. f Pno. f Hp. D# C B/ E F# G A# f f S. ο ου-ρα - νός o ou-ra - nos The sky f M S. ο ου-ρα - νός O ou-ra - nos The sky L q=128 Più mosso Vln. I 3 3 3 3 3 3 3 3 3 fp mp f 3 3 3 Vln. II f fp Vla. f fp Vc. f fp Cb. f fp 91 175 Fl. f Ob. f mf Cl. f mf subito Bsn. f Tam-tam 3 Perc. mp ff p 3 3 Pno. f 3 3 Hp.
S. µαύ - ρι - σε ο ου - ρα - νός mav - ri - se o ou - ra - nos black - ened the sky
M S. µαύ - ρι - σε ο ου - ρα - νός mav - ri - se o ou - ra - nos black - ened the sky Vln. I f Vln. II f mf
Vla. f mf Vc. f
Cb. f 92
182 Fl. ff 5 mf ff Ob. ff 5 mf ff mf 5 Cl. mf ff mf ff Bsn. ff 5 mf ff Tom toms Tam-tam 3 3 T.-t. f 3 p Pno. 3 Hp. ff
f S. Ak - de - ni - zin or - ta - sın -
In the middle of the Mediterrenean f M S. Ak - de - ni zin or - ta - sın In the middle of the Mediterrenean
Vln. I ff sul ponticello Vln. II ff sul ponticello mf Vla. ff mf sul ponticello Vc. mp Cb. mp M 93 190 Fl. f 5 fp f Ob. f 5 fp f 5 Cl. f fp f Bsn. fp f f Tom toms 3 T.-t. f ff Pno. 3 3 3 3 3 3 3 Hp. 3 A§ ff ff f S. da µάυ - ρι - σε ff mav - ri - se Black - ened f M S. da µάυ - ρι - σε mav - ri - se black - ened M Vln. I fp f ord. Vln. II ff fp f Vla. ff fp f ord. Vc. ff fp f Cb. ff fp f 94 N 198 Fl. f fp f 5 5 Ob. f fp f fp 5 Cl. f fp f Bsn. fp f fp
3 3 3 Perc. 3 3 Pno. 3 3 3 Hp. 3 D§ Bb B§ D# ff 3 3
S. ο ου-ρα - νός Ak - de - ni - zin o ou -ra nos the sky in the middle of M S. ο ου-ρα - νός Ak - de - ni - zin o ou -ra - nos in the middle of the sky N Vln. I fp f fp Vln. II fp f fp Vla. fp f mp fp
Vc. fp f mp fp
Cb. fp f mp fp 95
206 Fl. f 5 f 5
Ob. f f Cl. f 5 f 5 Bsn. f fp f
5 5 Perc. p f p f Pno. 3 3 3 3 3 3 Hp. f 5 f 5
S. or - ta - sın - da or - ta -
the Mediterrenean the Mediterrenean M S. or - ta - sın - da or - ta - the Mediterenean the Mediterrenea
Vln. I fp f Vln. II f Vla. f fp f
Vc. f fp f
Cb. f fp f 96
212 Fl. 5 5 5 Ob. 5 Cl. 5 5 5 Bsn.
5 5 5 Tam-tam 3 stop ringing Perc. p f f Pno. 3 3 3 3 gliss. Hp. 5 5
ff S. sın - da Ah Ah Ah
ff M S. sın - da Ah Ah Ah
Vln. I 5 Vln. II 5 Vla.
Vc. 3
Cb. 3 97 q=120 Meno mosso O 219 Fl. f Ob. f Cl. 5 f f Bsn. f 5 Tom toms with hard mallets focused and clearly articulated T.-t. mf Pno. 5 f Hp. D# C Bb/ E F# G A f
S.
M S. q=120 Meno mosso O Vln. I f Vln. II f Vla. f Vc. f
Cb. f 98 P 227 Fl. Ob.
Cl. Bsn.
Perc.
Pno. Hp. S.
M S.
P
Vln. I
Vln. II Vla. Vc. Cb. 99 235 Fl. Ob.
Cl. Bsn.
Perc.
Pno. Hp. S.
M S.
Vln. I Vln. II
Vla.
Vc.
Cb. 100 242 Fl.
Ob.
Cl. Bsn.
Perc.
Pno. Hp. S.
M S.
Vln. I Vln. II
Vla. Vc. Cb. Q 101 248 Fl. mp Ob. mp Cl. mp Bsn. mp
Perc.
Pno. mp mp Hp. mp Db
S. µια φουρ-τού - να µια βρο - χή άστ - ρα - πες βρον - τές α - έ - ρας mia four - tou - na mi vro - hi ast - ra - pes vron - des a - e - ras A storm a heavy rain lightening a crack a gale M S.
Q Vln. I mp
Vln. II mp
Vla.
Vc. mp Cb. mp 102
254 Fl. Ob. mf Cl. mf mp Bsn. Vibraphone Vib. mp Pno. Hp. Db C Bb/ E F G Ab S.
f M S. o ge - mi öy - le bir du - ru - ma gel - di ki bat - tım ba -ta - cak That ship reached such a point that it was on the verge
Vln. I mf
Vln. II mf
Vla. mf mp Vc. mp
Cb. mp R 103 260 Fl. mf Ob.
Cl. Bsn. mf
Vib.
Pno. Hp. D# C# Bb/ E F G Ab mf S. οι γυ - ναί - κες άλ - λη βλασ - τη - i yi - ne - kes al - li blas - ti - the women some swearing M S. bat - tım ba - ta - cak is - tif - ra mı a - rar - sın of sinking sinking people throwing out R Vln. I Vln. II
Vla.
Vc. pizz. Cb. 104 265 Fl. mf
Ob.
Cl. Bsn.
Vib.
Pno. Hp.
S. µού - σε άλ - λη βλασ - τη - µου - - σε mou - se al - li blas - ti - mou - - se some swearing M S. ba - ğı - ran mı ça - ğıı - ran mı crying and shouting
Vln. I Vln. II
Vla.
Vc. Cb. 105 S 270 Fl.
Ob. mf Cl.
Bsn. mp Vib.
Pno. Hp. mf S. οι γυ - ναί - κες άλ - λη έ - i yi - ne - kes al - li e - the women some doing
M S. is - tif - ra mı a - rar - sın people throwing out S Vln. I
Vln. II Vla.
Vc. arco Cb. 106
275 Fl.
Ob.
Cl.
Bsn.
Vib.
Pno. Hp.
S. κα - νε προ-σευ χή κι άλ - λη έ - λε - γε κα - ka - ne pro-sev- hi ki al - li e - le - ge ka - prayers and some cursing M S. se - la - vat - lar e - zan lar prayers and prayers
Vln. I mf
Vln. II mf
Vla.
Vc. Cb. T 107 280 Fl. f Ob. f Cl. f Bsn. f
Vib.
Pno. f Hp. S. τα - ρα στους αί - τι - ους ta - ra stous e - ti - ous those who are responsible
M S. se - la - vat - lar e - zan - lar prayers and prayers
T Vln. I f
Vln. II f Vla. f
Vc. f Cb. f 108 286 Fl.
Ob. Cl. Bsn.
Vib.
Pno. Hp. S.
M S.
Vln. I Vln. II Vla.
Vc. Cb. 109
292 Fl. Ob.
Cl. Bsn.
Vib.
Pno. Hp. S.
M S.
Vln. I
Vln. II Vla.
Vc. Cb. 110 298 U Fl. fff
Ob.
Cl. fff
Bsn. fff
Vib. p Pno. fff Hp. S.
M S.
U Vln. I fff Vln. II fff Vla. fff Vc. fff Cb. fff 111
304 Fl.
Ob.
Cl.
Bsn.
3 3 3 3 3 3 3 3 Vib.
Pno. p dolce Hp. p S.
mp dolce M S. Do - kuz gün ol - du do- kuz gün Nine days it's been nine days
Vln. I
Vln. II p Vla. p Vc. p
Cb. 112
314 Fl. p mf
Ob. p mf
Cl. p mf
Bsn. p mf
3 3 3 3 3 3 3 3 3 3 3 3 3 3 Vib.
Pno. Hp.
mp dolce S. για - τί δεν πά ει αυ - τό το πλοί - ο yia - ti δen pa - i af - to to pli - o Why doesn't this ship move
M S.
Vln. I
Vln. II
Vla.
Vc.
Cb. p mf 113
328 V Fl. p
Ob. p
Cl. p Bsn. p
3 3 3 3 3 3 3 3 3 3 Vib.
Pno. p Hp.
As if all hope is gone mp S. θα πνι - γού - µε θα πνι - γού - - µε θa pni- gou - me θα pni- gou - - me we will drown we will drown As if all hope is gone mp M S. va - de-mi - zin so-nu bu bi - zim Our end has come V
Vln. I p
Vln. II p
Vla. p
Vc. p Cb. 114
338 Fl.
Ob.
Cl. Bsn.
3 3 3 3 3 3 3 3 3 Vib.
Pno. p Hp. S. θα πνι - γού - µε θα pni- gou - me we will drown M S. so- nu bu bi - zim our end has come
Vln. I p
Vln. II p
Vla. p Vc. p Cb. 115
347 Fl.
Ob.
Cl.
Bsn.
3 3 3 3 3 3 3 3 3 3 Vib.
Pno. Hp. S. θα πνι - γού - µε θα πνι - γού - µε θα pni - gou - me θα pni- gou - me we will drown we will drown
M S. so - nu bu bi - zim so - nu bu bi - zim our end has come our end has come
Vln. I
Vln. II
Vla.
Vc.
Cb. 116
357 Fl.
Ob.
Cl.
Bsn.
3 3 3 3 3 3 3 3 Vib. dim.
Pno. Hp. dim. S. θα πνι - γού ------θα pni - gou ------we will drown M S. so - nu bu bi - zim our end has come
Vln. I
Vln. II
Vla.
Vc.
Cb. 117
365 Fl.
Ob.
Cl.
Bsn.
3 3 3 3 3 3 3 3 3 Vib.
Pno. Hp. S. - µε
M S.
Vln. I
Vln. II
Vla.
Vc.
Cb. 118
4th Narrative
They fall down on their knees and kiss the ground. The ground of unknown countries, their countries now, the army tells them, you’re Greeks, you’re Turks, never speak to them again. Tents and quarantines, Red Cross smiles, local frowns, foreign accents, foreign tongues. Nothing here reminds them of the village: the people from the mountains end up languishing in swamps, the people of the sea, wrestling with barren fields. Ayshe kills mosquitoes all day long, they tell her that they bear the sickness in their blood. She’s never seen a place like this; she longs for the clear skies of her hometown, the smell of the sea, the sound of the her milkman, little bells around the goat’s neck and a singing voice in the narrow street, reassuring her that everything is going to be okay. She doesn’t know the sounds of her new village, she doesn’t recognize the smells, the voices, she reached Samsun with just two children left. Allah is truly generous. And Despina, Despina is desperate in her degradation, every day the memory of the mansion that she left behind grows dimmer, the mansion that everyone in town admired, two storeys and balconies as broad as continents, overflowing with flowers and pots with basil. In that house, she was a lady. Now look at her, living in a tent and sharing a latrine with this whole shantytown – oh, God help us! She stares at the stars at night and tries to conjure up their faces, those who moved into her beautiful house, the house that everyone in town admired.
119
V - Dokunulmamış Hiçbir şeye (All is left untouched)
h=50 quite calm Flute
Bassoon mp dolce 3 mp dolce Mezzo-soprano ver - di - h=50 They gave quite calm Violin I p sempre Violin II non vibrato p sempre Viola p sempre non vibrato Violoncello p sempre non vibrato Contrabass p sempre
6 A Fl. p sempre Bsn. p sempre delicately mp M-S. ler bi - ze bir rum e - vi öy - le us a Greek house with such A Vln. I p dolce non vibrato Vln. II p p dolce Vla. Vc.
Cb.
© Recep Gül 2012 120
11 Fl.
Bsn. 3 3
M-S. bir bah - çe - si var - ki o ka - dar gü - zel o ka-dar ba - kım lı a garden so beautiful so well - cultivated
Vln. I Vln. II Vla.
Vc.
Cb.
B 17 Fl. Bsn.
mp M-S. i - ki kat - lı bir rum e - vi o ka - B a two storey Greek house with such Vln. I mp Vln. II Vla. Vc. Cb. 121
22 Fl. p 3 Bsn. 3
M-S. dar gü - zel ta-van - la - rı var ki na - kış gi - bi oy - ma hep beautiful ceilings like frescos as if embroidered
Vln. I Vln. II Vla. Vc. Cb.
27 Fl. Bsn.
M-S.
3 Vln. I Vln. II
Vla. p Vc. p Cb. p 122 C moving 32 Fl. Bsn. 3 3
mf espress. M-S. do-ku-nul - ma-mış hiç - bir şe- ye o - ca-ğın üs - tün - de ya - rı piş - miş nothing was touched on the stove a half cooked C moving Vln. I
Vln. II Vla. mp Vc. mp Cb. mp
D 36 Fl. Bsn.
M-S. bir kap ye - mek toz - lu do - lap - la - rı-nın ar - ka-sı - na sı-kış-mış gü - müş bir haç cup of food lost behind the cupboards a silver cross D
Vln. I Vln. II Vla. Vc.
Cb. 123 h=60 E Più mosso 41 Fl. f Bsn. f fp f f M-S. ben na - sıl ya - şa-rım bu ya - ban - cı ev - de How can I live in this foreign house h=60 Più mosso con vibrato E balance with the singer Vln. I f mf Vln. II f Vla. f Vc. f p pizz. Cb. f f
48 Fl. mp Bsn. fp mf legato M-S. geç - mi - şin ha- ya - le - tiy - le ol - du- ğu gi - bi bı - ra - kıl mış haunted by the past all is left untouched
Vln. I
Vln. II
Vla.
Vc.
Cb. 124 F h=54 55 Meno mosso Fl. pp Bsn.
mp M-S. san - ki bi - ri - si bu - ra - da öl - müş gi - bi as if somebody here has just died F h=54 Meno mosso Vln. I p Vln. II p Vla. p Vc. arco p Cb. p p
62 poco rit. Fl.
Bsn. p
M-S.
poco rit. Vln. I p p Vln. II p p
Vla. pp Vc. pp Cb. pp 125
5th Narrative
Sleepless nights and homesickness. Ayshe and Despina gaze up at the same moon across the sea; they harvest, both of them, a secret in their bosoms, a secret wish to go back. They wait. They refuse to settle down, they wait and wander through their scattered dreams, dreams of a lost homeland.
126 VI - Σήµερα Ζούµε και Πεθαίνουµε Today We Live and Die q = 80 Rubato calm and transcendental
Flute pp Oboe Clarinet in Bb pp Bassoon pp Medium gong Gong pp pp Medium Tam tam Tam-tam pp pp D C B/ Eb Fb G Ab 3 p mp Harp D# C# B/ E F G# A# 5 5 Piano p mp 5 Freely as if improvising p mf p Soprano Σή-µε-ρα ζού- µε και πε - θαί - - νου Si-me-ra zou - me ke pe - θe - - nou Mezzo soprano q = 80 Rubato calm and transcendental Violin I
Violin II
Viola Violoncello p pizz. Contrabass p 127
7 Fl. p 3 3 Ob. mf mf
Cl. mf p
Bsn. mf p
Gong pp
T.-t. pp
3 Hp. G§
5 5 Pno. mf p mp S. µε ο έ - νας ε- δώ κι ο me o e - nas e- δo ki o M S.
Vln. I
Vln. II
Vla.
Vc. Cb. 128
12 Fl. p mf p
Ob. p mp 5 f p Cl. p mf p
Bsn. p f p
Crotales arco ord. Gong 3 Hp. f p F# F# G# G§ D§ 5 Pno. f p f p S. άλ- λος ε - κέι πε-ριπ-λα - νώ - µε-νοι στη ζω - ή και στο θά - να το al- los e - ki pe-rip - la - no- me-ni sti zo - i ke sto θα - na-to
M S.
Vln. I
Vln. II
Vla.
Vc. f p
Cb. 129 More rhythmic 18 A yet like a hypnotic dance Fl.
Ob.
Cl. Bsn. p
Bendir Bendir p 5 Hp. C§ A§ D C# Bb/ Eb F G Ab mp A§
Pno. p S. ξε - νι-τε - µέ - νοι kse-ni-te - me - ni mf dolce M S. bu gün-ler -
A More rhythmic yet like a hypnotic dance Vln. I
Vln. II
Vla.
Vc.
arco Cb. 130
24 Fl.
Ob.
Cl.
Bsn. simile
Bendir
5 5 5 B§ Hp. E§ Ab D# Pno. simile S.
f p mf M S. de bi-ri - miz bu-ra - da di-ğe-ri - miz o-ra da ya-şı yor
Vln. I
Vln. II
Vla.
Vc.
Cb. 131
29 Fl.
Ob.
Cl.
Bsn.
Bendir
5 B D C B / E F G A 5 Hp. b b b b f Pno. p S.
p f mp M S. ö - lü - yor ha-yat - ta do-la - şı-yor ve ö - lüm - de sür - gün
Vln. I
Vln. II
Vla.
Vc.
Cb. 132
34 B Fl. Ob. p f
Cl. p f Bsn. mf f
Bendir Gong
Crot. Tam Tam f T.-t. p f
Hp. D C Bb/ E F G A
Pno. p f
S.
M S. e-di-li-yo-ruz
B Vln. I p f Vln. II p f Vla. p f Vc. p f gliss. Cb. mf f 133
41 poco rit. Fl. Ob.
Cl.
Bsn. M. Gong M Gong Gong Hp. Ab
Pno. S.
M S.
poco rit. Vln. I
Vln. II Vla.
Vc.
Cb. q = 80 a tempo 134 46 C (moving) Fl.
Ob.
Cl.
Bsn.
Hp. Pno. like chanting non vibrato mp S. η α-νε-µο-ζά - λη του πο- λέ - - µου κλό - νι - σε και δι- i a-ne-mo-za - li tou po- le - - mou klo - ni - se ke δi- like chanting non vibrato M S. sa-va - şın ka-sır-ga - sı kut-sal a - det-le ri da - ğıt - tı q = 80 a tempo C (moving) lightly and gently sul tasto non vibrato Vln. I mp lightly and gently sul tasto non vibrato Vln. II lightly and gently mp sul tasto non vibrato Vla. mp lightly and gently sul tasto non vibrato Vc. mp lightly and gently sul tasto non vibrato Cb. mp 135 52 S. έσ - πα σε τους διε-ρους δεσ - µούς τους προσ-κολ- λών - - τας την καρ δι-α es - pa-se tous δie-rous des - mous tous pros - kol - lon - - das tin kar-δi-a M S. ve-de yık - tı ço - cuk - la - rı an - ne ba-ba-la-rı - nın me -
Vln. I
Vln. II Vla.
Vc. Cb.
58 accel. q = 108 q = 88 Pno. cresc. S. των τέκ - νων στων γο-νι- ών τα α-να-παυ-τή - ρια ton tek - non ston go-ni- on ta a - na-pav -ti - - ria cresc. M S. zar - lık - la - rı- na ya kın ya - şa tan kut-sal a - det - le - ri
accel. q = 108 q = 88 Vln. I cresc.
Vln. II cresc.
Vla. cresc.
Vc. cresc. Cb. cresc. 136
64 D Fl.
Ob.
Cl. p Bsn. p
Bendir Bendir p D C Bb/ Eb F# G A Hp. Pno. 3 3 3 3 p S. α - a - mp M S. a - man a - - - - - man
D ord. Vln. I p ord. Vln. II p
Vla.
ord. Vc. p ord. Cb. p 137
69 Fl.
Ob.
Cl.
Bsn.
Bendir Hp. B§ Pno. 3 3 S. µάν α ------µάν man a ------man mp M S. a-man a - man a -
Vln. I
Vln. II
Vla.
Vc.
Cb. E 138 75 Fl.
Ob.
Cl.
Bsn.
Bendir Crotales Gong mp mp B Hp. Bb §
like coming from distance Pno. 5 5 5 3 S. α - - µάν α - - µάν α - a - - man a - - man a -
M S. man a - man a - man a - - man a -
E Vln. I
Vln. II ord. Vla. p
Vc.
Cb. 139
79 Fl.
Ob.
Cl.
Bsn. arco ord arco ord Crot. Hp. E§
5 Pno. 5 3 5 5 S. µάν α - µάν ά - - - - µάν α - µάν man a - man a - - - - man a - man
M S. man a - man a - - - - man a - man
Vln. I
Vln. II Vla.
Vc.
Cb. 140
83 poco rall. q = 76 F Fl. f f Ob. f f
Cl. f f Bsn. p f Crot. f M. Gong T.-t. f Hp. f D C Bb/ E F G A
Pno. f f f f S. Αχ Αχ Ah Ah f M S. Ah Ah
poco rall. q = 76 F Vln. I f f Vln. II f f Vla. f f Vc. f Cb. f 141
90 Fl. Ob. Cl. Bsn.
M. Gong tam tam stop ringing T.-t. p f Hp. Ab Pno. S.
M S.
Vln. I Vln. II Vla.
Vc. Cb. 142 poco rall. q=88 94 G (tempo primo) Fl.
Ob. solo 5 5 Cl. mp
Bsn.
T.-t.
5 D C B/ Eb F G A Hp. mf
5 Pno. mf S.
M S.
poco rall. q=88 G (tempo primo) gliss. Vln. I
gliss. Vln. II
gliss. Vla.
Vc.
Cb. 143 7 98 Fl. f 5 Ob. f 7 3 5 Cl. 6 f Bsn. f 6
Tam Tam
T.-t. pp
Hp. Ab 3 f 7 5 Pno. f S.
M S.
Vln. I pp Vln. II pp
Vla. pp Vc. pp
Cb. pp 144 q=72 102 H (slower) Fl.
Ob.
Cl.
Bsn.
T.-t.
Hp.
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