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Liebeslied (2011) for female voice, live electronics & chamber orchestra C score music and text by Alex Temple Liebeslied is licensed under a Creative Commons Attribution Share-Alike license. This means that other composers may quote the piece or create derivative works, as long as they credit Alex Temple for the original work and license their new creations under identical terms. Liebeslied was commissioned by American Composers Orchestra for its Orchestra Underground series and for the opening of its Sounds of a New Century Festival. It was written for ACO and vocalist Mellissa Hughes.

 · 2012. 8. 14. · Liebeslied (2011) for female voice, live electronics & chamber orchestra C score music and text by Alex Temple Liebeslied is licensed under a Creative Commons

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Text of  · 2012. 8. 14. · Liebeslied (2011) for female voice, live electronics & chamber orchestra C...

  • Liebeslied (2011)for female voice, live electronics & chamber orchestra

    C score

    music and text by Alex Temple

    Liebeslied is licensed under a Creative Commons Attribution Share-Alike license. This means that other composers may quote the piece or create

    derivative works, as long as they credit Alex Temple for the original work and license their new creations under identical terms.

    Liebeslied was commissioned by American Composers Orchestra for its Orchestra Underground series and for the opening of its Sounds of a New

    Century Festival. It was written for ACO and vocalist Mellissa Hughes.

  • Instrumentation

    fluteoboeclarinet in Bbassoon

    horn in Ftrumpet in Ctenor trombonetuba

    percussion 1vibraphoneglockenspiel

    percussion 2triangleflexatonehi-hatlow (c. 12”) mounted tomfloor tomkick bass drum

    pianoamplified harp

    (see “Technical Notes” for amplification details)

    amplified female voice + live electronics soloist (see “Technical Notes” for amplification details)

    violin 1 (6)violin 2 (5)viola (4)cello (3)double bass (2)

    b

  • Stylistic Notes

    The love songs of the 1940s and 50s are pleasant and light-hearted on the surface, but a closer look often reveals a deeper strangeness. Songs like “I Only Have Eyes For You,” “Till There Was You,” “Laura” and “Some Enchanted Evening” paint a very unsettling picture of romance if you take the surreal imagery in their lyrics literally. They describe people who are blinded to the physical world by the intensity of their love, or by the fact that they have not yet found someone to bring that world to life — people who are haunted for years by visions of lovers lost, or of people they glimpsed only once and have never even spoken to. The music reinforces the dreamlike quality of the lyrics with excessive reverb, rhythmic dislocation and dynamic imbalance between the voice and the orchestra, and stylized, emotionally detached spoken-word passages.

    Liebeslied brings this latent ominousness to the foreground. It begins as an exaggerated version of a mid-century ballad, but as the piece continues, the jazz and pop elements are increasingly distorted, fragmented and blurred, and the vocal soloist finds herself in ever stranger, lonelier and more frightening worlds. The piece also alludes to the more overtly surreal repertoire of 19th-century German orchestral Lieder, both musically (for instance, in mm. 17-21) and lyrically (references to foreign lands, cypresses and portentous skies).

    In the first half of the piece (before Rehearsal E), the performers and conductor should bring out these stylistic references as much as possible, particularly in the passages marked “schmaltzy,” “over-the-top” and “Hollywood.” In the second half (from Rehearsal E on), the music should be increasingly cold, abstract and unfriendly.

    The piece begins (before Rehearsal B) and ends (from Rehearsal I on) with passages in which the orchestra emulates the sound of electronic reverb. In the opening passage, the reverb is applied to a trumpet solo; in the ending passage, it’s applied to the voice. All string harmonics, long wind and brass notes, and ringing piano and vibraphone attacks should be played with this in mind.

    Liebeslied is follows a strict proportional scheme based on units of 40 seconds each. Tempi should be observed as strictly as possible in order to preserve these proportions. The one exception is the molto rallentando in m. 11, which introduces the love song.

    Technical Notes

    The vocal soloist also operates a Max/MSP patch on a laptop. The patch both applies effects to her voice (varying levels and types of reverb, including an undulating, pitch-shifted reverb starting at Rehearsal I), and triggers samples and loops. Because the the signal from her microphone goes directly into the patch, only the output from the laptop needs to go to the house PA system. In order to make the text comprehensible, and to reflect the way that pop studio recordings were typically mixed in the mid-20th century, the vocalist should always be audible above the orchestra, even if this means that some orchestral detail is obscured.

    The score shows the soloist’s electronic part on two lines. “Electronics (control)” shows the keys that the soloist presses on the laptop keyboard to trigger the effects and samples, and “Electronics (sound)” is a loose graphical representation of all effects other than straightforward reverb.

    The harp should also be amplified, but it should be run through a small amp or speaker near the instrument rather than through the house PA. The amplification should be just enough to make the harp stand out in the orchestra, as if it were high in the mix of a studio recording. Ideally, the audience should find it hard to tell whether the harp is amplified or not.

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    Percussion 2 Notation

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    Trumpet, strings: hold the first note steady for most of its duration, then quickly glissando to the second note.

    Strings: gradually glissando over the entire duration of the first note.

    Flute, clarinet, trombone: slowly bend the pitch, as far as you want or are able, for the duration shown.

    Winds, brass, strings: slowly bend the pitch up and down ad lib. for the duration shown. Stop for breath whenever necessary. Someinstruments will be able to bend further than others; the important thing is that the pitch be unstable.

    Strings: "wobble" the pitch up and down quickly.

    Trombone: "Wobble" the pitch up and down, quickly at first but then slowing down.

    Strings: bow too slowly, producing an intermittent scratch tone.

    Violin I: extremely high note; do not try to match the pitch of the rest of the section.

    Piano: damp strings with one hand while playing note with the other. Flute: blow across mouth-hole for an airy, breathy tone.

    Piano: depress keys silently.

    Flute: slap tongue — place your tongue on the roof or your mouth as if you are going to pronounce a T," and then release it sharply to produce a percussive puff of air.Tom-tom: rimshot.

    Bassoon: remove reed and tongue mouthpiece while fingering low Bb to create a nasty, percussive noise.

    Voice: highly percussive consonant, very close to the microphone.Consonants are written in the International Phonetic Alphabet.

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    44

    44

    44

    44

    44

    44

    44

    44

    Fl.

    Ob.

    Cl.

    Bsn.

    Hn.

    Tpt.

    Tbn.

    Tba.

    Perc. 1

    Perc. 2

    Vox.

    Elec.(sound)

    Elec.(ctrl)

    Vn. I

    Vn. II

    Vla.

    Vc.

    D.B.

    Pno.

    Hp.

    q = 90

    q = 90

    E

    E

    Jœ.

    F‰ Œ Ó

    Jœ.

    F‰ Œ Ó

    jœ.F‰ Œ Ó

    Jœ.F

    ‰ Œ Ó

    jœ.F‰ Œ Ó

    jœn .F‰ Œ Ó

    Jœn .

    F‰ Œ Ó

    jœn .F‰ Œ Ó

    "

    "

    Jœœœ-

    F‰ Œ Ó

    Jœœ- ‰ Œ Ó

    w

    f"

    "

    "

    "

    62

    wwp

    ord. cold, non vibrato, like an electronic sound fading in and out

    wwb p

    ord. cold, non vibrato, like an electronic sound fading in and out

    wwbpord. cold, non vibrato, like an electronic sound fading in and out

    wwbbarco

    pord. cold, non vibrato, like an electronic sound fading in and out

    wbarcop

    cold, non vibrato, like an electronic sound fading in and out

    "

    "

    "

    " B

    wcold, like an electronic sound fading in and out

    n

    wcold, non vibrato, like an electronic sound fading in and outn

    wb cold, non vibrato, like an electronic sound fading in and out

    n

    wcold, non vibrato, like an electronic sound fading in and out

    n

    "

    "

    "

    "

    ..˙̇ œœbb

    "

    Œ ¿f

    unexpressive, even robotic, with very precise dictioncrescendo and diminuendo ad lib. on long notesspoken syllables: highly inflected Sprechgesang, blending seamlessly into the sung line

    œ œ œ5

    But when you take

    "

    "

    63

    wwF

    wwF

    wwF

    wwF

    wF

    n

    n

    n

    n

    wcold, non vibrato, like an electronic sound fading in and out

    wcold, non vibrato, like an electronic sound fading in and out

    wcold, non vibrato, like an electronic sound fading in and out

    wcold, non vibrato, like an electronic sound fading in and out

    wF

    wF

    wF

    wF

    "

    "

    "

    "

    ˙̇ ˙̇

    "

    œ œb .˙ œ5

    my hand, the

    "

    "

    64

    wwn

    wwn

    wwn

    wwn

    wn

    ˙F

    wF

    wF

    wF

    wn

    wn

    wn

    wn

    "

    "

    "

    "

    œœ ..˙̇

    "

    jœ.œ .œ J¿

    waves stop

    "

    "

    65

    "

    "

    "

    "

    "

    n

    n

    n

    n

    w

    w

    w

    w

    "

    "

    "

    "

    "

    "

    "

    "

    "

    "

    Ó jœ .œflow ing,

    "

    "

    66

    wwn

    wwn

    wwn

    wwn

    wn

    n

    n

    n

    n

    "

    "

    "

    "

    w

    w

    w

    w

    wwwwnhard malletsmotor: slow

    Ï"

    wwwwbÏwww

    "

    "

    w

    "

    "

    67

    wwF

    wwF

    wwF

    wwF

    wF

    n

    n

    n

    n

    w

    w

    w

    w

    wF

    wF

    wF

    wF

    wwww

    "

    ˙̇̇̇ ˙̇̇̇bp˙̇̇ ˙̇̇

    "

    "

    ¿ ¿ ˙ œ5

    the moon stops

    "

    "

    68

    wwn

    wwn

    wwn

    wwn

    wn

    n

    n

    n

    n

    w

    Fw

    Fw

    Fw

    F

    w

    w

    w

    w

    wwww

    "

    wwwwwww

    "

    "

    Œ œ œ ˙3

    glow ing,

    "

    "

    69

    "

    "

    "

    "

    "

    - -

    15

  • &

    &

    &

    B

    &

    &

    ?

    ?

    &

    ã

    &

    ?

    &

    ?

    &

    &

    ã

    &

    &

    B

    ?

    ?

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    bbbbb

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    nnnnn

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    Fl.

    Ob.

    Cl.

    Bsn.

    Hn.

    Tpt.

    Tbn.

    Tba.

    Perc. 1

    Perc. 2

    Vox.

    Elec.(sound)

    Elec.(ctrl)

    Vn. I

    Vn. II

    Vla.

    Vc.

    D.B.

    Pno.

    Hp.

    n

    n

    n

    n

    w

    w

    w

    w

    "

    "

    "

    "

    ˙̇̇̇fastÓ

    "

    "

    "

    "

    "

    .œ j¿ ˙the mu

    "

    "

    70

    wwn

    wwn

    wwn

    wwn

    wn

    "

    "

    "

    "

    "

    "

    "

    "

    "

    "

    "

    "

    "

    "

    œ œ Œ Œ .œ jœ3

    3

    sic dies a

    "

    "

    71

    wwF

    wwF

    wwF

    wwF

    wF

    n

    n

    n

    n

    "

    "

    "

    "

    w

    w

    wn

    w

    wwwwbslow

    "

    wwwwnÏwww

    "

    "

    ¿ Œ Óway,

    "

    "

    72

    wwn

    wwn

    wwn

    wwn

    wn

    n

    n

    n

    n

    w

    wn

    wn

    w

    wF

    wF

    wF

    wF

    wwww

    "

    ˙̇̇̇ ˙̇̇̇np˙̇̇ ˙̇̇

    "

    "

    Œ Œ Œœn œ

    5

    and I

    "

    "

    73

    "

    "

    "

    "

    "

    n

    n

    n

    n

    w

    Fw

    FwF

    wF

    w

    w

    w

    w

    wwww

    "

    wwwwwww

    "

    Ó˙

    p

    w œn5

    find my

    "

    "

    74

    "

    "

    "

    "

    "

    w

    w

    w

    w

    "

    "

    "

    "

    ˙̇̇̇fastÓ

    "

    "

    "

    "

    œ œ œ œ œ œ œ3

    ˙ Œ Œ œ œ5

    self in a

    "

    "

    75

    "

    "

    "

    "

    "

    w

    w

    w

    w

    " ?

    "

    "

    "

    "

    "

    "

    OOOOOnnn#sostenuto pedal

    silently depress keys

    Ó œ œ œ œ œ œ3

    3

    œ œ œ œ œ Ó5

    wndream.

    "

    "

    76

    "

    "

    "

    "

    "

    - - -

    16

  • &

    &

    &

    B

    ?

    &

    ?

    ?

    &

    ã

    &

    ?

    &

    ?

    &

    &

    ã

    &

    &

    B

    ?

    ?

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    Fl.

    Ob.

    Cl.

    Bsn.

    Hn.

    Tpt.

    Tbn.

    Tba.

    Perc. 1

    Perc. 2

    Vox.

    Elec.(sound)

    Elec.(ctrl)

    Vn. I

    Vn. II

    Vla.

    Vc.

    D.B.

    Pno.

    Hp.

    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

    F

    F

    œnsubito p

    Óslow pitch bend ad lib.(4 q )

    "

    œsubito p

    Óslow pitch bend ad lib.(4 q )

    Jœn .

    ߉ Œ Ó Ó

    ˙f

    ˙%

    ˙b ˙n3

    "

    œp

    Óslow pitch bend ad lib.(4 q )

    "

    œœœn

    nn

    °p

    vary motor speed ad lib.

    Œ Ó Ó

    œ>Ï

    Kick bassŒ œ>Œ œ>

    Œ

    Jœœœnnn-

    p‰ Œ Ó Ó

    Jœœœnnn - ‰ Œ Ó Ó

    wnf

    Ó

    "

    ˙ Ó Ó

    œ Œ ÓG[undulating harpsample loop]

    77

    —%

    extremely high note; bend pitch slowly up and down ad lib; players should not try to match the pitch of the rest of the section

    "

    "

    ˙bp

    ˙ ˙ ˙b3

    "

    "

    "

    "

    "

    ˙p

    ˙n ˙b3

    "

    "

    "

    "

    œ>Œ œ>

    Œ

    "

    "

    "

    "

    Œ

    stylized, highly rhythmic speech — in the manner of the spoken passages inSkeeter Davis's "The End of the World" or Rosemary Clooney's "Hey There"(the placement of noteheads represents contour, not approximate pitches —don't try to "speak" in the octave above middle C!)P

    j¿ ¿ ¿ ¿ J¿ ¿ ‰ ¿ ¿3

    3 33

    Com plete ly sur round ed by re

    œ Œ Ó7[heavy reverb]

    78

    "

    "

    ˙%

    ˙b ˙n3

    "

    "

    "

    "

    "

    ˙%

    ˙b ˙n3

    "

    "

    "

    "

    "

    "

    "

    "

    "

    ¿ ¿ ¿ ¿ Ó3

    ver ber ant noise,

    "

    79

    "

    "

    ˙bp

    ˙n ˙b3

    "

    "

    "

    "

    "

    ˙p

    ˙n ˙b3

    "

    "

    "

    "

    "

    "

    "

    "

    "

    Œ j¿ ¿ ¿ ¿ ¿ ¿ ‰ ‰ ¿ ¿3 3

    as thou sands of voi ces ri co

    "

    80

    "

    "

    ˙%

    ˙b ˙n3

    "

    "

    "

    "

    " ?

    ˙%

    ˙b ˙n3

    "

    "

    "

    "

    "

    "

    "

    "

    "

    ¿ ‰ ¿ ¿ ¿ ¿ ¿ ¿3

    3

    chet off the hard mar ble

    "

    81

    "

    "

    ˙bp

    ˙ ˙b3

    "

    - - - - - - - - - - - -

    17

  • &

    &

    &

    ?

    ?

    &

    ?

    ?

    &

    ã

    &

    ?

    &

    ?

    &

    &

    ã

    &

    &

    B

    ?

    ?

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    Fl.

    Ob.

    Cl.

    Bsn.

    Hn.

    Tpt.

    Tbn.

    Tba.

    Perc. 1

    Perc. 2

    Vox.

    Elec.(sound)

    Elec.(ctrl)

    Vn. I

    Vn. II

    Vla.

    Vc.

    D.B.

    Pno.

    Hp.

    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

    Œœ

    Œ(4 q )

    "

    Œ œ Œ(4 q )

    ˙n

    ˙%

    ˙n ˙b3

    œp

    Ón

    "

    Œ œ# Œ(4 q )

    "

    Œ œœœ# Ó Ó

    "

    Œ Jœœœ#-

    ‰ Ó Ó

    Œ Jœœœ# - ‰ Ó Ó

    "

    "

    J¿ ¿ Œ Œ

    as if artificially slowed down

    ¿ ¿ j¿snapping back to normal

    ¿ j¿ ¿3

    33

    3

    walls of the mas sive for mal

    "

    82

    "

    "

    ˙%

    ˙p

    ˙b ˙n3

    "

    "

    "

    "

    ˙p

    ˙b ˙n3

    "

    "

    "

    "

    "

    "

    "

    "

    "

    "

    ¿ ¿ ¿ Œ ‰ ¿ ¿3

    di ning room of an

    "

    83

    "

    "

    ˙b%

    ˙ ˙b3

    "

    n

    Œœ(5 q )

    "

    Œ œ(5 q )

    œ%

    Ó

    ˙n

    ˙%

    ˙n ˙b3

    "

    Œ œ(5 q )

    "

    Œœœœ Ó Ó

    Œ œ>Œ œ>

    Œ œ>

    Œ Jœœœ-

    ‰ Ó Ó

    Œ Jœœœ-

    ‰ Ó Ó

    "

    "

    ¿ ¿ ¿ Œ Œ ¿

    as if artificially slowed down

    ¿ ¿3

    e le gant old ho

    "

    84

    "

    "

    ˙p

    ˙ ˙b ˙n3

    "

    "

    "

    "

    "

    ˙p

    ˙b ˙n3

    "

    "

    "

    "

    Œ œ>Œ œ>

    "

    "

    "

    "

    j¿snapping back to normal

    ¿ Œ Ó3

    tel.

    "

    85

    "

    "

    ˙b%

    ˙ ˙b3

    "

    œ#Ó

    (4 q )

    "

    œ Ó(4 q )

    "

    œ%

    Ó

    Œ œ-harmon mute — stem out

    ƒœ- jœ# œ. œ. œ. ‰

    jœ Jœ œ œ# œn3

    œ Ó(4 q )

    "

    œœœ# Œ Ó Ó

    "

    Jœœœ#-

    ‰ Œ Ó Ó

    Jœœœ-

    ‰ Œ Ó Ó

    "

    "

    "

    "

    œ Œ Ó ÓX[loop out]

    86

    "

    "

    .wp

    "

    - - - - - -

    18

    (4 q )

    (4 q ) (4 q )

  • &

    &

    &

    ?

    ?

    &

    ?

    ?

    &

    ã

    &

    ?

    &

    ?

    &

    &

    ã

    &

    &

    B

    ?

    ?

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    Fl.

    Ob.

    Cl.

    Bsn.

    Hn.

    Tpt.

    Tbn.

    Tba.

    Perc. 1

    Perc. 2

    Vox.

    Elec.(sound)

    Elec.(ctrl)

    Vn. I

    Vn. II

    Vla.

    Vc.

    D.B.

    Pno.

    Hp.

    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

    "

    "

    "

    "

    ˙p

    ˙b ˙n3

    w

    "

    "

    "

    "

    "

    "

    "

    "

    Œ J¿ ¿ ¿ ¿ J¿ ¿ ‰ ¿ ¿3 3

    The din ner guests' fa ces are ob

    œ Œ ÓG[loop in]

    87

    "

    "

    ˙

    P˙# ˙n3

    "

    "

    "

    "

    "

    ˙P

    ˙n ˙b3

    "

    "

    "

    "

    "

    "

    "

    "

    "

    J¿ ¿ ‰ ¿ ¿ ¿ ¿3

    3

    scured by the glare

    "

    88

    "

    "

    ˙p

    ˙ ˙#3

    "

    n

    Ó Œœ(4 q )

    "

    Ó Œ œ(4 q )

    ˙n

    ˙p

    ˙b ˙n3

    œp

    Ó

    "

    Ó Œ œ(4 q )

    "

    Ó Œ œœœ Ó

    Ó Œ œ>Œ œ>

    Ó Œ Jœœœ-

    ‰ Ó

    Ó Œ Jœœœ- ‰ Ó

    "

    "

    Œ j¿ .¿ ¿ ¿ J¿ ¿ Œ Œ ¿

    as if artificially slowed down

    ¿3

    33 3

    of af ternoon sun light stream ing

    "

    89

    "

    "

    ˙

    P

    ˙ ˙# ˙n3

    "

    Œ Ó

    "

    Œ Ó

    ˙P

    ˙n ˙b3

    "

    "

    Œ Ó

    "

    "

    Œ œ>Œ œ>

    "

    "

    "

    "

    ¿snapping back to normal

    ‰ ¿ ¿ ¿ ‰ ¿ ¿3 3

    in through a gap where your

    "

    90

    "

    "

    ˙p

    ˙ ˙#3

    "

    - - - - - - -

    19

    (4 q )

  • &

    &

    &

    ?

    ?

    &

    ?

    ?

    &

    ã

    &

    ?

    &

    ?

    &

    &

    ã

    &

    &

    B

    ?

    ?

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    23

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    44

    Fl.

    Ob.

    Cl.

    Bsn.

    Hn.

    Tpt.

    Tbn.

    Tba.

    Perc. 1

    Perc. 2

    Vox.

    Elec.(sound)

    Elec.(ctrl)

    Vn. I

    Vn. II

    Vla.

    Vc.

    D.B.

    Pno.

    Hp.

    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

    "

    "

    "

    ˙p

    ˙b ˙n3

    "

    "

    "

    "

    "

    Œ œ>Ó

    "

    "

    "

    "

    ¿ ‰ .¿ ¿ .¿ ¿ j¿ ¿3 3

    hand has dis placed the hea vy

    "

    91

    "

    "

    ˙

    P˙# ˙n

    3

    "

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    "

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    "

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    "

    "

    ¿ ¿ ¿ Œ Ó Œ ¿

    as if artificially slowed down

    ¿3

    dra per y. But I

    "

    92

    "

    "

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    "

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    j¿snapping back to normal

    ¿ # ¿ ¿ j¿ ¿ Œ Œ ‰ ¿ ¿3 3 3

    can't catch your eye through the

    "

    93

    "

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    P

    ˙ ˙# ˙n3

    "

    remove reed

    "

    "

    "

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    "

    "

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    "

    "

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    j¿ ¿ Œ Ó3

    crowd.

    "

    94

    "

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    "

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    "

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    "

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    "

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    95

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    "

    - - - -

    20

    (4 q )

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    42

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    42

    Fl.

    Ob.

    Cl.

    Bsn.

    Hn.

    Tpt.

    Tbn.

    Tba.

    Perc. 1

    Perc. 2

    Vox.

    Elec.(sound)

    Elec.(ctrl)

    Vn. I

    Vn. II

    Vla.

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    tongue mouthpiece while fingering low Bbto create a nasty, percussive noise

    f‰ ‰ ¿.

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    "

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    damp strings with hand

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    Sud den ly all of the

    œ Œ ÓJ[sample looppitch shifts down]

    96

    "

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    "

    ¿ j¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j¿ ¿ ¿ ¿ ¿3 3 3

    guests are hol ding their heads at the same un com for ta ble

    "

    97

    "

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    an gle. They're look ing at the

    "

    98

    "

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    clouds. The

    "

    99

    œ# æmolto sul pont.

    p œfŒn

    wide pitch wobble

    œ# æmolto sul pont.

    p œfŒn

    wide pitch wobble

    œ# æmolto sul pont.

    pœf

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    wide pitch wobble

    œ#æmolto sul pont.

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    wide pitch wobble

    œœ# œœ œœ œœ

    - - - - - - - - -

    21

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    Fl.

    Ob.

    Cl.

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    Perc. 1

    Perc. 2

    Vox.

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    Vn. I

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    VVVV

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    "

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    clouds form a map of the

    "

    100

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    world.

    "

    101

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    œn æmolto sul pont.

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    3 3

    As I stare at the con ti nents, all of a

    "

    102

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    sud den I feel your hand on my spine.

    Œ

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    103

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    Fl.

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    Perc. 1

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    Vox.

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    q = 108

    q = 108

    H

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    bend pitch slowly up and down ad lib.; breathe whenever necessary

    œnÏ

    bend pitch slowly up and down ad lib.; breathe whenever necessary

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    bend pitch slowly up and down ad lib.; breathe whenever necessary

    j¿b .ω Œ Óput reed back in

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    bend pitch slowly up and down ad lib.; breathe whenever necessary

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    no mutebend pitch slowly up and down ad lib.; breathe whenever necessary

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    bend pitch slowly up and down ad lib.; breathe whenever necessary

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    bend pitch slowly up and down ad lib.; breathe whenever necessary

    "

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    104

    œœ#div.

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    bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.

    œœdiv.

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    bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.

    œœbÏ

    div.

    bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.

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    bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.

    œ#unis.Ï

    bend pitch slowly up and down ad lib., but never more than a third from the initial pitch.

    "

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    105

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    "

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    106

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    .œ jœ œ œb œbturn to meet your

    "

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    107

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    wbkiss,

    "

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    108

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    "

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    109

    23

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    Fl.

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    Perc. 1

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    Vox.

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    Vn. I

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    "

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    .˙ Œ .œb jœbcrowd dis ap

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    110

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    111

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    "

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    112

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    "

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    113

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    "

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    114

    - - -

    24

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    Fl.

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    Perc. 1

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    Vox.

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    ))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))

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    115

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    116

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