Golem gives itself a Name

Maya Miro Johnson

Golem gives itself a Name

(2020)

2

"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

PROGRAM NOTES

3

Metropolis

The Cabinet of Dr. Caligari (1919)

Robert Wiene

Modern Times (1936)

Charlie Chaplin

The Cabinet of Dr. Caligari

Nosferatu (1922)

F.W. Murnau

Modern Times

Metropolis (1927)

Fritz Lang

Metropolis

THE IMAGES

4

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

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.

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.

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.

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.

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.

key clicks: clicking the keys audibly loosely in fast rhythms without meter, alternating valves or keys

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)

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.

half pressure white noise: with both hands half pressure or less, drawing the bow extremely slowly across the string to

produce a friction sound.

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.

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)

PERFORMANCE NOTES

Strings

air tone: produce breath sound with no pitch.

flutter-tongued line: shadowing a line of speech exactly, using flutter tongue and glissandi (where convenient) to

craft an agitated but uninterrupted line.

Tutti

Winds and Brass

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.

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Flute 2

Flute 3

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Oboe 1

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Clarinet in Bb 1

Clarinet in Bb 2

Bass Clarinet

in Bb

Bassoon 1

Bassoon 2

Contrabassoon

Horn in F 1

Horn in F 2

Horn in F 3

Horn in F 4

Trumpet in C 1

Trumpet in C 2

Trumpet in C 3

Trombone 1

Trombone 2

Bass Trombone

Timpani

Percussion 1

Percussion 2

Piano (Prepared)

Projection

Violin I.1

Violin I.2

Violin I.3

Violin II.1

Violin II.2

Violin II.3

Viola 1

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Violoncello 1

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Double Bass 1

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Maya Miro Johnson

(2020)

Written for the Curtis Symphony Orchestra

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j‰ ‰

-

J

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J

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J‰ ‰

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j ‰ Œ- ™ -

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j

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J

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j

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J

-

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j

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j

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J

-

j‰

-

j

-

j ‰ ‰

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j ‰ - ™ -

j

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‰

_ -

j‰ Œ

_ -

j‰ Œ

-

J

‰ Œ

_ -

j‰ ‰ - -

J

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-

J

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- - -

j‰ ‰

- -

J

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j‰ ‰

- ™ -

j ‰

-

j‰

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j‰ ‰

- ™ -

j ‰

Œ

_ ™ -

j‰ ‰

- ™ -

j ‰

Ó

_ -

j ‰

_ -

j ‰

Ó

_ -

j ‰

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j ‰

-

j ‰ Œ

_ -

j ‰

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j ‰

4

°

¢

°

¢

°

¢

{

°

¢

°

¢

Fl. 1

Fl. 2

Picc.

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.

B. D.

S. D.

Pno.

Vln. I.1

Vln. II.1

Vla. 1

Vc. 1

Db. 1

ppp f

ca. 6" ca. 6" ca. 5"ca. 4"

(q = 54)B19

f

ff

ppp f

ppp f

ppp ff

ppp ff

f

ppp f

ppp f

f

ff

f

ppp f

f

ppp f

ff

ff

ff

ff

ff

ff

ppp ff

ppp ff

ppp ff

ff

p ffppp

p ff ppp

p ff

p ff

p ff

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

&

U

1

U

2

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3

U

4

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&

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U

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take plunger mute

∑

U

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U

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U U U Utake plunger mute

∑

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U U

take plunger mute

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U

∑

U

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U U U U

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U

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U

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U

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U

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To Tam-Tam

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∑U

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∑U

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&∑

elbow clusters ¤

∑

U

∑

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∑

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∑

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3

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∑

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u

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&

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u

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n

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n#

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U U U U

∑

?Tutti

∑

U UU U

∑

?Tutti

∑

U U U U

∑

Œ ˙ ™

w w w w w

w w w w w w

Œ

˙# ™ w w w w w

Œ

˙ ™ w w

Œ˙ ™ w w w

Œ ˙ ™ Œ ˙ ™ w w w w

Œ

˙# ™

Œ˙ ™ w

w w w w w

Œ

˙b ™ w w w

Œ˙# ™

wb w w w w w

wb w w w w

Œ

˙b ™ w w w

wb w w w

Œ˙ ™ w w w w w w

w w w w w w

Œ

˙ ™ w w

Œ˙ ™ w w

Œ ˙ ™ w w w w

Œ

˙ ™ w w

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Œ

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æææ˙ ™

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æææœ

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æææ˙ ™

æææœ

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˙

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b

n

bb

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b w

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w

ww

w

ww

∑

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˙̇˙̇˙̇˙̇˙

˙

˙˙

w

wwwwwwww

n

b

nb

b

bb

w

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w

ww

w

w

w

w

w

∑

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˙

˙

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b

wwwww

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w

ww

w

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b

bb

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w

ww

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¢

°

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{

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¢

°

¢

Fl. 1

Fl. 2

Picc.

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.

B. D.

S. D.

Pno.

Vln. I.1

Vln. II.1

Vla. 1

Vc. 1

Db. 1

ca. 5" q = 72C26

p mechanical

p mechanical

p mechanical

ppp

ppp

mechanical p

p ppp

p ppp

ppp

ppp

p ppp

&∑ ∑ ∑

U

∑

&∑ ∑

U

∑

&∑

To Flute

∑ ∑

UFlute

∑

&∑ ∑ ∑

U

∑

&∑ ∑ ∑

U

∑

&∑ ∑ ∑

U

∑

&∑ ∑ ∑

U

∑

&∑ ∑ ∑

U

∑

?∑ ∑ ∑

U

slap tongue (little to no pitch)

>

3

>

3

?∑ ∑ ∑

U

∑

?∑ ∑ ∑

U

∑

?∑ ∑

remove reed

∑

Uslap tongue through the bocal (no reed)

>

3

>

3

&∑ ∑ ∑

U

∑

&∑ ∑

U

∑

&∑ ∑

U

∑

&∑ ∑ ∑

U

∑

&∑ ∑ ∑

U

∑

&∑ ∑ ∑

U

∑

&∑ ∑ ∑

U

∑

?∑ ∑ ∑

U

∑

?∑ ∑ ∑

U

∑

?∑ ∑ ∑

U

slapping the mouthpiece with the palm

>

3

>

3

?∑ ∑ ∑

U

∑

/ ∑

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∑

extremely slow scrape

U

/ ∑ ∑

U

>3

>3

&∑ ∑ ∑

U

∑

&

Tutti

###

half pressure with both hands

U

∑

&

Tutti

<#>

<#><#><#>

<#><#>

n

nn#

##

###


∑

B

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∑ ∑&


U

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?

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∑ ∑&


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¿

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¿

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J

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J

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˙

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¿

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°

¢

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°

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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.

T.-t.

S. D.

Pno.

Vln. I.1

Vln. I.3

Vln. II.1

Vla. 1

Vla. 2

Vc. 1

Db. 1

Db. 2

30

declare

mp

we

mp

we

mp

pp sfp

ppp f

ppp f

we

mp

we

mp

we

mp

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

3

4

2

4

&∑ ∑ ∑ ∑ ∑ ∑ ∑

&∑ ∑ ∑ ∑ ∑ ∑

/

spoken

&

&∑ ∑ ∑ ∑ ∑ ∑ ∑

&∑ ∑ ∑ ∑ ∑ ∑ ∑

&∑ ∑ ∑

/

spoken

&∑ ∑ ∑

3

&∑ ∑ ∑ ∑ ∑ ∑ ∑

&∑ ∑ ∑ ∑ ∑ ∑ ∑

/

&∑ ∑ ∑ ∑ ∑ ∑ ∑

?

>

3

>

3

>

3

>

3

>

3

>

3

∑ ∑ ∑ ∑

?∑ ∑ ∑ ∑ ∑ ∑ ∑

?∑ ∑ ∑ ∑ ∑ ∑ ∑

? >

3

>

3

>

3

>

3

>

3

>

3

∑ ∑ ∑ ∑

&∑ ∑ ∑

/ &∑ ∑ ∑

&∑ ∑ ∑ ∑ ∑ ∑ ∑

&∑ ∑ ∑ ∑ ∑ ∑ ∑

&∑ ∑ ∑ ∑ ∑ ∑ ∑

&∑ ∑ ∑ ∑

with plunger mute

tongue stop while also opening hand out of bell

o +

∑ ∑

&∑ ∑ ∑ ∑ ∑ ∑ ∑

&∑ ∑ ∑ ∑ ∑ ∑ ∑

?∑ ∑ ∑ ∑ ∑ ∑ ∑

/

?∑ ∑ ∑ ∑ ∑ ∑ ∑

?

>

3

>

3

>

3

>

3

>

3

>

3

∑ ∑ ∑ ∑

?∑ ∑ ∑ ∑ ∑ ∑ ∑

/ ∑

roll with soft mallets

/

>3

>3

>3

>3

>3

>3

∑

&∑ ∑ ∑ ∑ ∑ ∑ ∑

&

Tutti

∑ ∑ ∑ ∑ ∑ ∑ ∑

&∑ ∑

/

spoken

9.

&∑ ∑ ∑ ∑

&

Tutti

∑ ∑ ∑ ∑ ∑ ∑ ∑

B

Tutti

∑ ∑ ∑ ∑ ∑ ∑ ∑

/

4. spoken

B ∑ ∑ ∑ ∑ ∑ ∑

?

Tutti

∑ ∑ ∑ ∑ ∑ ∑ ∑

?

Tutti

∑ ∑ ∑ ∑ ∑ ∑ ∑

?∑ ∑ ∑ ∑ ∑

/

spoken 4.

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jŒ

Œ ‰

¿

jŒ Œ Œ

¿

j‰ Œ ‰

¿

jŒ Œ Œ

¿

j‰ Œ ‰

¿

jŒ Œ Œ

¿

j‰

Œ ‰ ¿

J

Œ Œ Œ ¿

J

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J

Œ Œ Œ ¿

J

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J

Œ Œ Œ ¿

J

‰

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j

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JÓ

Œ ‰¿

jŒ Œ Œ

¿

j‰ Œ ‰

¿

jŒ Œ Œ

¿

j‰ Œ ‰

¿

jŒ Œ Œ

¿

j‰

æw

æw

æw

æw

æææw

æææ˙ ™

Œ

æææw

‰

œ

J Œ Œ Œ

œ

J ‰ Œ

æææw

‰

œ

J Œ Œ Œ

œ

J ‰ Œ

æææw

‰

œ

J Œ Œ Œ

œ

J ‰

æææw

æææw

æææ˙ ™

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j

‰ Œ

ÓŒ ‰ ¿

j

ÓŒ

¿

7

°

¢

°

¢

°

¢

{

°

¢

°

¢

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.

T.-t.

S. D.

Pno.

Vln. I.1

Vln. I.2

Vln. I.3

Vln. II.1

Vln. II.2

Vln. II.3

Vla. 1

Vla. 2

Vla. 3

Vc. 1

Vc. 2

Vc. 3

Db. 1

Db. 2

Db. 3

ca. 7"

D37

we

mf

p mechanical

p mechanical

ppp

ppp

ppp

ppp

pp sfppp sfp

pp sfppp sfp

declare

mf

ppp

ppp

ppp

l.v.

p mechanistically repetitive but still curiously expressive

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

&∑ ∑

U

∑ ∑ ∑

&∑ ∑

U

∑ ∑ ∑

&∑ ∑

U

∑ ∑ ∑

&∑ ∑

U

∑ ∑ ∑

&∑ ∑

U

∑ ∑ ∑

&∑ ∑

U

∑ ∑ ∑

/

spoken

&∑

U

∑ ∑ ∑

&∑ ∑

U

∑ ∑ ∑

?∑ ∑

U

(slap tongue)

>

3

>

3

>

3

>

3

>

3

>

3

?∑ ∑

U

∑ ∑ ∑

?∑ ∑

U

∑ ∑ ∑

?∑ ∑

U(slap tongue)

>

3

>

3

>

3

>

3

>

3

>

3

&∑ ∑

U

/

breath ad lib, uncoordinated with section

&∑ ∑

U

/


&∑ ∑

U

/


&∑ ∑

U

/


&∑ ∑

U

with plunger mute

o + +

∑

o

&∑ ∑

Uwith plunger mute


o + o +

&∑ ∑

U

∑ ∑ ∑

/

spoken

∑U


?

?∑ ∑

U

/


?

?∑ ∑

U

/


?

?∑ ∑

U

∑ ∑ ∑

/

UTo Xyl.

&

Xylophone

/

U

>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

&∑ ∑

U

∑ ∑ ∑

&∑ ∑

U

∑ ∑ ∑

&∑ ∑

U

∑ ∑ ∑

&∑ ∑

U

∑ ∑ ∑

&∑ ∑

U

∑ ∑ ∑

&∑ ∑

U

∑ ∑ ∑

B ∑ ∑

U

∑ ∑ ∑

B ∑ ∑

U

∑ ∑ ∑

B ∑ ∑

U

∑ ∑ ∑

?∑ ∑

U

∑ ∑ ∑

?∑ ∑

U

∑ ∑ ∑

?∑ ∑

U

∑ ∑ ∑

?∑ ∑

U

∑ ∑ ∑

?∑ ∑

U

∑ ∑ ∑

?∑ ∑

U

∑ ∑ ∑

¿Œ

Œ ‰

¿

jŒ Œ Œ

¿

j‰ Œ ‰

¿

jŒ Œ Œ

¿

j‰ Œ ‰

¿

jŒ Œ Œ

¿

j‰

Œ ‰ ¿

J

Œ Œ Œ ¿

J

‰ Œ ‰ ¿

J

Œ Œ Œ ¿

J

‰ Œ ‰ ¿

J

Œ Œ Œ ¿

J

‰

) ) )

) ) )

) ) )

) ) )

œ ™ O

JÓ Œ ‰ œ

J

œ ™ O

J

Œ

œb ™ O

j Œ Ó ‰

œb ™ O

j ‰ Œ Ó

‰ ¿

j

¿

j

‰ ) ) )

) ) )

) ) )

æææ˙

æææw

æææw

æææw w

æææ˙

æææw

Œ

æææw

‰

œ

J Œ Œ Œ

œ

J ‰ Œ

æææw

‰

œ

J Œ Œ Œ

œ

J ‰ Œ

æææw

‰

œ

J Œ Œ Œ

œ

J ‰

œ

œb

œ

œbœ

œb œ

œb

œbœn

œ#

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.

Xyl.

S. D.

Pno.

Vln. I.1

Vln. II.1

Vla. 1

Vc. 1

Db. 1

Db. 2

Db. 3

n

accel.

molto accel.

molto accel.

42

n

we de clare-

we that in

de clare- we

that in we

p mechanistically repetitive but still curiously expressive

n p

n p

n p

n p

n p

p

p

&

air tones with given contour

air tones with given fingering half tone and half airflutter tongue

-

5 65

6

3

5

5

&

air tones with given contour -5

3

5

5

&

-3

3 5

3

5

&∑ ∑ ∑ ∑

/

&∑ ∑ ∑ ∑

/

&∑ ∑ ∑ ∑

/

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/

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/

/

spoken softly, almost muttered into mouthpiece

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6

/


/


3 3

/


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&∑ ∑ ∑ ∑

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?

take plunger mute

∑ ∑ ∑ ∑

?∑ ∑ ∑ ∑

?∑ ∑ ∑ ∑

?∑ ∑ ∑ ∑

&

repeat pitch collection linearly in any rhythmic configuration; generally pensive and obsessive, always changing, with lots of space between the notes

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&

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&

Tutti

-

&

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B

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play pitches in order one time through, then in any sequence as density accelerates; do not coordinate with other players

pizz.

.

.

.

..

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play pitches in order one time through, then in any sequence as density accelerates; do not coordinate with other players

pizz.

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°

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°

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°

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°

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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.

Xyl.

S. D.

Pno.

Vln. I.1

Vln. II.1

Vla. 1

Vc. 1

Db. 1

pdor mant-

f

q = 84E

46

pdor mant-

f

p dor mant-

f

declare

f

pp sfp

declare

f

pp sfp pp

declare

f

lie

in

flesh

f p

flesh

f p

flesh

f p

that

(f)

hu man-

pp sfp

that

(f)

that

(f)

hu man-

in

(f)

flesh

hu man-

flesh

(f)

wings

(f)(f)

wings that in

in

(f)

we de clare that in

pp sfp pp sfp p pp

pp sfpp sfp

pp sfp p sfp

pp sfp de clare-

we de clare

we de clare

f but dry

f

f

f

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

4

3

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3

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3

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3

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tongue stop

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spoken

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spoken

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spoken

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spoken

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with plunger mute


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3

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with plunger mute

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with plunger mute

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with plunger mute

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spoken

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/

spoken

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spoken

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?

bowed crotales on timpani, manipulating contour with pedal

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&

/

rim shot

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¢

°

¢

°

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{

°

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°

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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.

Xyl.

S. D.

Pno.

Vln. I.1

Vln. II.1

Vla. 1

Vla. 2

Vla. 3

Vc. 1

Vc. 2

Vc. 3

Db. 1

Db. 2

Db. 3

p distant

poco accel.

51

p distant

p distant

mf distant

sfp p distant

p distant

p distant

p distant

p distant

we de clare- that in hu man- flesh wings lie dor mant-

mf distant

mf distant

mf distant

mf distant

sfp

p like human speech

de clare-

p like human speech


f

f

mp f pp

pp

mp f pp

pp

mp f pp

pp

p fpp sfp pp

p f pppp sfp pppp

p f

sfp

p sfpp sfp p sfp

p sfp p sfp p sfp

p sfp p sfp p sfp

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

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3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

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4

3

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4

3

4

4

4

3

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4

3

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4

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3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

3

4

4

4

&

harmonics

&

harmonics

&

harmonics

&

&

+

∑

&∑

&∑ ∑

&∑ ∑

?∑ ∑

?∑ ∑ ∑ ∑

?∑ ∑ ∑ ∑

?∑ ∑ ∑

/

?

3 3

&

&

&

&

&

o remove mute

∑

flz.

∑

3

&∑

/ &

remove mute

∑

flz.

3

3

&∑ ∑ ∑ ∑

?∑ ∑ ∑ ∑

/

?∑ ∑ ∑ ∑

?∑ ∑ ∑ ∑

?∑ ∑

/

loosely, almost as if speaking extemporaneously

?∑

3

&

/ ∑ ∑ ∑ ∑

&

&

Tutti

∑

pizz.

3

&

Tutti

pizz.

∑

B

con sordino- - horizontal bowstrokes with half pressure in left hand

- - - - - --

-- - -

- --

- - -- -

-

-- -

- - -- - - - -

- -- - - -

--

-

5

5

5

B


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-

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--

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3

5

5

B


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-

5

5

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--

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B--

--

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flautando, sul pont.3

5

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-- - -

-

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3 3 3 3 3

? - - -

- -flautando, sul pont.

5

5 5

?

con sordino

∑

flautando, sul pont.

?

con sordino

arco

∑


?

con sordino

arco

∑


5

55

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11

°

¢

°

¢

°

¢

{

°

¢

°

¢

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.

Xyl.

S. D.

Pno.

Vln. I.1

Vln. I.2

Vln. I.3

Vln. II.1

Vln. II.2

Vln. II.3

Vla. 1

Vla. 2

Vla. 3

Vc. 1

Vc. 2

Vc. 3

Db. 1

Db. 2

Db. 3

q = 92F55

f sfp

f sfp sfp

f sfp sfp sfp

f sfp sfp sfp sfp

sfp sfp sfp sfp

f sfp sfp sfp sfp

p like human speech

f sfp sfp sfp sfp


sfp

sfp sfp

dor mant-

sfp

we

f

wings lie

sfp

de clare-

sfp

hu man- flesh

that in

sfp

sfp

we

sfp pp sfp

sfp

sfp pppp sfp sfp

sfpsfp

de

f

clare-

p sfp that in

p sfp

sfp

p sfpsfp

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

2

4

4

4

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4

2

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3

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&

take plunger mute

∑ ∑ ∑ ∑ ∑

3

3

&∑

take plunger mute

∑ ∑ ∑ ∑ ∑

&∑ ∑ ∑

+ o + o + o + o

/

loosely, almost as if speaking extemporaneously

> > > > > > > >

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take plunger mute

∑ ∑ ∑

> > > >

+ o3 3

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take plunger mute

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+ o o +

3

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take plunger mute

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&∑ ∑ ∑ ∑ ∑

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spokenarco

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div.

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II

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B

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senza sord.

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12

°

¢

°

¢

°

¢

{

°

¢

°¢

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.

Xyl.

S. D.

Pno.

Vln. 1.1

Vln. I.2

Vln. I.3

Vln. II.1

Vln. II.2

Vln. II.3

Vla. 1

Vla. 2

Vla. 3

Vc. 1

Vc. 2

Vc. 3

Db. 1

Db. 2

Db. 3

f sfp sfpsfp

sfp sfp sfp

61

sfp sfp sfp sfp sfpsfp

sfp

f sfp sfp sfp sfp sfp

f sfp sfp sfp sfp sfp

fsfp

sfp

sfp

sfp sfpsfp

sfp sfp sfp

sfpsfp sfp sfp

sfp

f sfp sfp sfp sfp sfp sfp sfp

sfpsfp sfp sfp

sfp

sfpsfp

sfpsfp sfp

sfp sfp

sfp

sfp sfp sfp sfp sfp sfp ff

sfpsfp

sfp sfp sfp ff

sfp sfp sfp sfp sfp sfp ff

sfpsfp

sfpsfp

ff

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sfp sfp

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sfp sfpsfp

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sfp sfpsfp sfp

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we

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de clare- that in hu man- mf sfp (stop the sound harshly) mf sfp (stop the sound)

flesh

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wings lie dor mant- flesh wings mf sfp (stop the sound harshly) mf sfp (stop the sound)

sfp mf sfp (stop the sound harshly) mf sfp (stop the sound)

we

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de clare- sfp mf

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mf

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sfp (stop the sound

mf

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that

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(stop the sound)

mf sfp (stop the sound)

that

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in hu man- sfp mfsfp

(stop the sound)


sfp mfsfp

(stop the sound)


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lie dor mant- dor

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13

°

¢

°

¢

°

¢

{

°

¢

°¢

Fl. 1

Fl. 2

Picc.

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.

Tmp.

Xyl.

S. D.

Pno.

Vln. I.1

Vln. I.2

Vln. I.3

Vln. II.1

Vln. II.2

Vln. II.3

Vla. 1

Vla. 2

Vla. 3

Vc. 1

Vc. 2

Vc. 3

Db. 1

Db. 2

Db. 3

sfp sfp sfp sfp sfp

ff

accel.

ca. 10"

G

65

sfp sfp sfp sfp sfp sfp

ff

sfp

ff

sfp sfp sfp sfp sfp sfp

ff

sfp sfp sfp sfp sfpff

sfp sfp sfp sfp sfp

ff

ff

sfp sfpff

sfp sfp sfp sfp ff

ff

sfp sfpff

sfp ff

ff

sfp

mf sfp

ff

mf sfp

ff

mf sfp

ffff

sfp mf sfp

ff

sfp mf sfp

ff

sfp mf sfp

ff

ff

ff

ff

f sfp

ff

f sfp

ff

ff

ff

& / NAME

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14

°

¢

°

¢

°

¢

{

°

¢

°

¢

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.

Xyl.

Vib.

Pno.

Projection

Vln. I

Vln. II

Vla. I.

Vc. 1

Db. 1

Db. 2

Db. 3

ff

q = 132 ca. 6" ca. 6" ca. 8"

replace speech with playing, retaining same rhythm from name

H

71

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

f

f

f

f

f

f

f

f

f

f

f

ff

ff

ff

ff

pppp quasi niente

ff

pppp quasi niente

ff pppp quasi niente

ff

pppp quasi niente

ff pppp quasi niente

ffpppp quasi niente

mf buzzing

/ &

q = 60, 95, or 120

phase in gradually sometime after the downbeat

U

∑

U

∑

U

/

/ &


q = 60, 95, or 120

U

∑

U

∑

U

/

/ &

Piccolo


q = 60, 95, or 120

U

∑

U

∑

U

/

/ &


q = 60, 95, or 120

U

∑

Uremove reed

∑

U

/

/ &


q = 60, 95, or 120

U

∑

Uremove reed

∑

U

/

/ &


q = 60, 95, or 120

U

∑

Uremove reed

∑

U

/

/ &


q = 60, 95, or 120

U

∑

U

∑

U

/

/ &


q = 60, 95, or 120

U

∑

U

∑

U

/

/

?


q = 60, 95, or 120

U

∑

U

∑

U

/

/

?


q = 60, 95, or 120

U

∑

Uremove reed

∑

U

/

/

?


q = 60, 95, or 120

U

∑

Uremove reed

∑

U

/

/

?


q = 60, 95, or 120

U

∑

Uremove reed

∑

U

/

/ &


q = 60, 95, or 120

U

∑

U

∑

U

/

/ &


q = 60, 95, or 120

U

∑

U

∑

U

/

/ &


q = 60, 95, or 120

U

∑

U

∑

U

/

/ &


q = 60, 95, or 120

U

∑

U

∑

U

/

/

remove mute

&


q = 60, 95, or 120

U

∑

U

∑

U

/

/

remove mute

&


q = 60, 95, or 120

U

∑

U

∑

U

/

/

remove mute

&


q = 60, 95, or 120

U

∑

U

∑

U

/

/

remove mute

?


q = 60, 95, or 120

U

∑

U

∑

U

/

/

remove mute

?


q = 60, 95, or 120

U

∑

U

∑

U

/

/

remove mute

?


q = 60, 95, or 120

U

∑

U

∑

U

/

?

q = 60, 95, or 120

U

∑

U

∑

U

/

&

q = 60, 95, or 120

U

∑

U

/

Siren

∑U

&

q = 60, 95, or 120

U

∑

U

∑

U

&

q = 60, 95, or 120

U

∑

U

∑

U

?U

∑

U

∑

U

/

(PREPARE CUE 2)

/

Tutti

&

U


q = 60, 95, or 120

U∑

Uhalf pressure both right and left hand

##

/

Tutti

&

Uphase in gradually sometime after the downbeat

q = 60, 95, or 120

U∑


#

/

Tutti

B

U

q = 60, 95, or 120


U∑


bb

/

Tutti

?

U

q = 60, 95, or 120


U∑

U

half pressure both right and left hand

#bn

/

?


q = 60, 95, or 120

U∑

UB


#n#

/

?


q = 60, 95, or 120

U∑

UB


#n#

/

?


q = 60, 95, or 120

**

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)

U

5.

**

o6.

o

œ#

œ

œ#

œ

œb

œ

œ#

œb

œ

œ#

œb

œ#

œ

œ

œb

œ

œ

œ#

œ

œ

œ

œ

œ

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#

nb

nb

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n

nb

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G

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15

°

¢

°

¢

°

¢

{

°

¢

°¢

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.

Tape

Siren

Vib.

Pno.

Projection

Vln. I.1

Vln. 1.2 & 3

Vln. II

Vla.

Vc.

Db. 1 & 2

Db. 3

ppp

Image 1 Image 2Image 3 Image 4 Image 5 Image 6 Image 7 Image 8

1-10" 11-20" 21-28" 29-36" 37-44" 45-50" 51-60" 1'1"-1'11"

I

78

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

n almost imperceptible

pp

mf buzzing

Image 1 Image 2

Image 3Image 4 Image 5 Image 6 Image 7 Image 8

/


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placing bolts on the timpani head and pushing them back and forth across the skin in different patterns

.

. .

.

.

..

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U

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U

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a drone, staying at the same pitch

U U U U U U

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U

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repeat in any order, slowly, meanderingly

motor on

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/

Cue 2

&

(double stops)

1. Solo

with binder clip attached to 4th string, as close to the bridge as possiblesul IV

o

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Tutti

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B

Tutti

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Tutti

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U

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B∑

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repeat extremely slowly, like a broken machine still trying to run

osul I

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16

Golem gives itself a Name

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