THE CANTICLE OF THE BLACK MADONNA · The Canticle of the Black Madonna makes use of numerous...
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THE CANTICLE OF THE BLACK MADONNA by ETHAN JAMES GANS-MORSE A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Music June 2013
Transcript of THE CANTICLE OF THE BLACK MADONNA · The Canticle of the Black Madonna makes use of numerous...
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THE CANTICLE OF THE BLACK MADONNA
by
ETHAN JAMES GANS-MORSE
A THESIS
Presented to the School of Music and Dance
and the Graduate School of the University of Oregon
in partial fulfillment of the requirements
for the degree of
Master of Music
June 2013
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THESIS APPROVAL PAGE
Student: Ethan James Gans-Morse
Title: The Canticle of the Black Madonna
This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Music degree in the
School of Music and Dance by:
Dr. Robert Kyr Chair
Dr. David Crumb Member
Dr. Jack Boss Member
And
Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the
Graduate School
Original approval signatures are on file with the University of Oregon Graduate School.
Degree awarded June 2013
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© 2013 Ethan Gans-Morse
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THESIS ABSTRACT
Ethan Gans-Morse
Master of Music
School of Music and Dance
June 2013
Title: The Canticle of the Black Madonna
The Canticle of the Black Madonna is an original opera-oratorio in two acts, comprising 27 pieces for six operatic
soloists, mixed chorus, and chamber orchestra. It is based on an original libretto by Tiziana DellaRovere and is approximately
two hours in duration. The Canticle of the Black Madonna combines elements of numerous musical traditions—including
medieval organum, baroque oratorio, and both classical and contemporary chamber opera—to tell the story of a fictional
American soldier returning from Afghanistan to his wife in Louisiana, the challenges they face to their marriage and livelihood
as they struggle with post-traumatic stress disorder, the ecological and socioeconomic consequences of the 2010 Gulf Oil Spill,
and the healing transformation they ultimately undergo at the hands of a mysterious divine figure called The Black Madonna.
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CURRICULUM VITAE
NAME OF AUTHOR: Ethan James Gans-Morse
GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED:
University of Oregon, Eugene
Macalester College, Saint Paul, Minnesota
DEGREES AWARDED:
Master of Music, Composition, 2013, University of Oregon
Bachelor of Arts, Music and Linguistics, 2004, Macalester College
AREAS OF SPECIAL INTEREST:
Music composition
Early music
Choral music
Foreign languages
Higher education
PROFESSIONAL EXPERIENCE:
Founder and Director, The Ambrosia Ensemble, February 2010—February 2013, Eugene, OR
Graduate Teaching Fellowship, Music Theory, University of Oregon School of Music and Dance, September 2008—
June 2010
Executive Director, Adorata, February 2010—Present
Professor of English, Linguistics, Benito Juárez Autonomous University, Oaxaca, Mexico, September 2004—February
2006
GRANTS, AWARDS, AND HONORS:
Cascadia Concert Opera, Eugene Oregon, original work commissioned (anticipated 2017)
First prize, Surrender for men’s choir, Portland Vocal Consort Best of the Northwest Young Artist Competition, 2010
Works selected for Eugene Symphony Master Class Series with Pulitzer Prize-winning composers Steven Stucky
(2010) and John Harbison (2011)
Zenas Taylor Endowed Prize in Music, Macalester College, 2000-2004
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ACKNOWLEDGMENTS
I wish to acknowledge the numerous people without whom composing and producing a work of this scale would not
have been possible. I am extremely fortunate to have Tiziana DellaRovere as a creative partner, and Dr. Robert Kyr as a guide
and mentor. I am also deeply grateful to the many dozens of talented individuals who comprised the cast and crew of our
premiere production, as well as to my friends and family and my crucial supporters, chief among them Richard Gordon and
Jeremiah Washburn. This work also owes a great debt to all the authors who provided us a clear window into the world of
PTSD and combat stress; above all, I hereby acknowledge the men, women, and children who have suffered the wounds of
war.
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DEDICATION
To Tiziana, my collaborator, companion, and deepest source of love and inspiration. May our work bring hope and peace
to the world.
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TABLE OF CONTENTS
Chapter Page
I. PERFORMANCE NOTES AND NOTATION OF EXTENDED TECHNIQUES ............................. 1
Performance Notes ............................................................................................................... 1
Notation of Extended Techniques ......................................................................................... 2
II. THE CANTICLE OF THE BLACK MADONNA ............................................................................ 5
ACT I .................................................................................................................................. 6
1. The Procession ...................................................................................................... 6
2. The Litany of the Black Madonna.......................................................................... 9
3. Dialogue I: The Fight .......................................................................................... 26
4. Scena I: The Wood in the Hearth Is Burning ........................................................ 32
5. Black Am I and All-Loving ................................................................................. 42
6. Scena II: In the Field of Poppies .......................................................................... 53
7. Dialogue II: The Spill .......................................................................................... 78
8. Mara’s Lament: The Earth Is Bleeding ................................................................ 83
9. Dialogue III: PTSD ........................................................................................... 109
10. Madre Dolorosa .............................................................................................. 113
11. Dialogue IV: Double Vision ............................................................................ 125
12. Scena III: When the Night Falls ....................................................................... 128
13. Dialogue V: Back to War ................................................................................ 149
ACT II ............................................................................................................................. 160
1. Lullaby for the Child ......................................................................................... 160
2. Dialogue VI: You Have to Stop! ........................................................................ 167
3. A Man Must Live a Life of Honor ..................................................................... 170
4. Dialogue VII: Do You Believe in This War? ...................................................... 180
5. Scena IV: The Hurricane ................................................................................... 182
6. Lullaby for the Warrior ..................................................................................... 222
7. Scena V: The Rite (A Dream) ............................................................................ 230
8. Anima Mundi ................................................................................................... 245
9. Dialogue VIII: Waking Up ................................................................................ 260
10. Miracles Are the Children of the Void ............................................................. 261
11. Dialogue IX: To the Land ................................................................................ 265
12. Blessings ........................................................................................................ 274
13. Dialogue X: Fly Free ....................................................................................... 287
14. Finale: Let There Be Fields of Roses ............................................................... 300
APPENDICES
A. SYNOPSES ............................................................................................................................ 325
B. LIBRETTO ............................................................................................................................. 326
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LIST OF MUSICAL EXAMPLES
Example Page
1. Act I, scene 3, measure 12 ...................................................................................................... 1
2. Act I, scene 3, measure 7 ........................................................................................................ 2
3. Act I, scene 3, measure 3 ........................................................................................................ 2
4. Act I, scene 3, measure 18 ...................................................................................................... 2
5. Act II, scene 5, measure 2 ....................................................................................................... 3
6. Act II, scene 5, measure 83 ..................................................................................................... 3
7. Act II, scene 7, measure 4 ....................................................................................................... 4
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INSTRUMENTATION
C Flute (doubling G alto flute)
Oboe (doubling English horn)
Bb Clarinet (doubling A clarinet)
F Horn
Trombone
Harp
Piano
Percussion (2 players)
Bass drum
Snare drum
Tubular bells
Tom-toms (low, medium, high)
Glockenspiel (mallets and bow)
Crotales (mallets and bow)
Suspended cymbal (bow, stick, and beater)
Hi-hat
Cymbals
Sandpaper blocks
Temple blocks
Wood blocks
Slapstick
Finger cymbals
Tambourine
Thunder sheet
Lion’s roar (bass drum with waxed string)
Water gong (gong dipped into container of water)
Wind chimes
Triangle
Violin I
Violin II
Viola
Cello
Bass
6 Principal characters:
Mara (Soprano)
Female Angel (Soprano)
The Black Madonna (Contralto)
Male Angel (Tenor)
Adam (Baritone)
John (Bass)
16-voice mixed chorus (divided in 4, 6, and 8 parts)
Duration: approximately 2 hours
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CHAPTER I
PERFORMANCE NOTES AND NOTATION OF EXTENDED TECHNIQUES
Performance Notes
The Canticle of the Black Madonna assumes that the conductor and performers possess some degree of familiarity with
both classical and contemporary performance practices. In order to facilitate a successful reading or performance of the work,
this introductory chapter provides a brief overview of the notational conventions and special notations for unconventional and
extended techniques employed in the score.
Senza misura
While a large portion of The Canticle of the Black Madonna is notated with conventional barlines and rhythmic
notation, there are numerous scenes and passages that are written without barlines. The purpose of these passages is to afford
the singers a greater flexibility in the tempo and execution of the vocal line without the encumbrance of a conductor.
Therefore, wherever barlines are absent or the tempo indication is “Senza Misura,” “Freely,” or “Quasi Recitativo,” the
following guidelines are to be employed:
1) The conductor may cue important entrances but should not beat time.
2) The performers may give greater priority to the dramatic interpretation of the text over the precise execution of the
notated rhythms.
3) Accidentals are valid through the end of a line or phrase unless explicitly canceled.
4) Ostinatos and other repetitive figures in the piano part are often notated inside a box connected to a wavy line,
indicating that the material within the box is to be repeated freely until the singer has completed a particular phrase as
denoted by the duration of the wavy line (see Example 1.)
5) Simultaneous events are indicated with a vertical dashed line. Wherever these passages occur, the accompanying
instruments—generally the piano and the percussion—have the vocal line written in their parts as it is generally their
responsibility to follow the vocalists and execute their accompaniment colla voce whenever such a simultaneity is
indicated. The singers must also be aware of these coinciding moments when they occur between vocal lines.
Example 1. Act I, scene 3, measure 12, indicating a freely interpreted repetition of the material within the box.
Accidentals, period practice, and the use of vibrato in the strings
The Canticle of the Black Madonna makes extensive use of Common Practice tonal harmonies. Therefore, wherever
standard barlines and rhythmic notations predominate, all accidentals are valid for the full duration of the measure. String
players should employ discretion regarding the use of vibrato. Vibrato should not be employed at all on long tones lasting
more than one full measure. Wherever the senza vibrato indication occurs, the desired effect is the imitation of a Renaissance
viol. Wherever lyrical figures predominate, a warm and romantic vibrato is generally encouraged.
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Example 2. Act I, scene 3, measure 7, indicating temporal simultaneities between the vocalist, percussionist, and pianist.
Notation of Extended Techniques
The Canticle of the Black Madonna makes use of numerous extended techniques, which are notated as follows:
Piano
Clusters are used as a percussive effect and are always fully chromatic, encompassing every key that comfortably fits
within an open hand or a closed fist. The purpose of the clusters is to create a heavy, striking sound, not to articulate a
particular pitch set. Therefore, while pitches are notated only approximately, rhythmic accuracy and an aggressive articulation
are crucial to the execution of the clusters. Examples 3 and 4 are two examples of cluster notation.
Example 3. Act I, scene 3, measure 3 Example 4. Act I, scene 3, measure 18
Percussion
Most of the percussion techniques notated in The Canticle of the Black Madonna fall within traditional and
contemporary conventions, including bowing the suspended cymbal, crotales, and glockenspiel, the use of the “lion’s roar” (a
bass drum with a waxed string) and the water gong (a small gong struck as it is dipped into a large bucket of water), and the
use of ad lib. and aleatoric snare and bass drum strokes to imitate the sounds of modern weaponry. The only extended
technique that may be unfamiliar to some percussionists is the “harmonic scrape.” This effect, which occurs throughout the
piece in the Percussion 1 part, is accomplished by slowly but forcefully rubbing the head of a wooden snare drum stick along
the grooves of a large suspended cymbal, either in small, deliberate circles or with quick scraping motions. The desired effect
is a rich, chilling, metallic sound that unleashes the many harmonic overtones of the cymbal. In order for this technique to be
effective, the suspended cymbal must be mounted on a cymbal stand and affixed from below, not hanging freely from a strap
(the harmonic scrape becomes nearly impossible to execute if the cymbal is free to move about on its own.)
Winds
The brass and woodwind instruments rarely deviate from standard Common Practice techniques in The Canticle of the
Black Madonna. However, there are a few instances in which the woodwind players are asked to produce unpitched air sounds
or to overblow to create multiphonics. In the former case, which only occurs in Act II, scene 5, “The Hurricane,” the desired
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effect is purely air noise with as little pitch as possible. For this effect, the open cross notehead is used (Example 5). When
multiphonics are called for and notated with triangle noteheads, specific fingerings are provided but the desired effect is simply
a loud, dissonant and piercing sound; the actual pitches produced are irrelevant and individual players are free to adapt the
fingerings for greatest effect.
Example 5. Act II, scene 5, measure 2; notation used in woodwinds and horn to indicate an unpitched air sound.
Strings
The members of the string section in The Canticle of the Black Madonna are asked to perform a range of bow pressures
and natural harmonics. The spectrum of bow pressure effects ranges from especially light bowing—flautando and air noise
effects—to aggressively overpressured bowing to create unpitched noise and “creaking” effects. Bow pressure is notated with
text indications with the exception of “air noise,” which is also indicated by the use of large diamond noteheads. The flautando
effect is to be bowed as lightly as possible while still producing pitch, whereas “air noise” is to be bowed so lightly that the
pitch is indistinct. Conversely, “overpressure bow” designates applying so much force to the bow that the pitch gives way to a
rough, indistinct growl, creaking, or scratching sound. Natural and artificial harmonics are notated in the standard manner,
using open circles above the notehead for natural harmonics, diamond auxiliary noteheads for artificial harmonics, and text
indications for harmonic glissandi. Harmonic glissandi are always performed on natural harmonics and always in an ad lib.
fashion (Example 6).
Example 6. Act II, scene 5, measure 83, indicating ad lib. glissando up and down the string (the resulting sound occurs only at the
corresponding harmonic nodes but the ascending and descending lines indicate the movement of the hand as in a normal gliss.)
Wherever there is ambiguity regarding the preferred execution of harmonics, standard Roman numerals are used to indicate
each string. Act II, scene 7, The Rite (A Dream), makes extensive use of harmonic trills whereby each string player alternates
between two harmonic nodes on the same string, two different nodes to produce the same harmonic (timbre trills), and double
stops that combine harmonic open strings and natural harmonics. Several of these more intensive applications of string
harmonics are shown in Example 7 (following page), in which the second violin trills between two nodes on the D string by
fingering an octave and a perfect fourth in alternation. Simultaneously, the viola plays a sequence of double stops, first with
the G string open and the D string stopped at the harmonic node at the fifth, then the D string is open and the G string is
stopped at the harmonic node at the perfect fourth. Meanwhile, the cello performs a timbre trill between the harmonic node on
the fifth of the C string and the octave on the G string, while the first violin and double bass play artificial and natural
harmonics, respectively. In all cases the diamond notehead represents the actual fingered stop, while the degree symbol (°)
above a regular notehead indicates the sounding pitch of a natural harmonic.
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Example 7. Act II, scene 7, measure 4, indicating natural and artificial harmonics in the string section
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CHAPTER II
THE CANTICLE OF THE BLACK MADONNA
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1. The Procession
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¢
{
°
¢
°
¢
°
¢
Flute
English Horn
A Clarinet
Horn
Trombone
Percussion 1
Percussion 2
Harp
Female Angel
Male Angel
Soprano
Alto
Tenor
Bass
Violin I
Violin II
Viola
Violoncello
Double Bass
Grave Religioso (q = 60)
mp
p
mp
p
Ma
p
don
semplice
- na,- fra grance
mp
- of the un i- verse,-
p
Cre
p
a- tion- be yond- cre a
mp
- tion,-
p
Ma
p
semplice
don- na,- fra grance
mp
- of the un i- verse,-
p
Cre
p
a- tion- be yond- cre a
mp
- tion,-
p
Grave Religioso (q = 60)
4
4
3
4
4
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3
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&∑ ∑ ∑ ∑ ∑ ∑
The Prelude
2. The Litany of the Black Madonna
Angels, Chorus
&∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑
&
Bow as smoothly as possible
Glockenspiel with bow
–∑ ∑
–∑
sim.
/
Finger Cymbal
— ∑ ∑ — ∑ ∑
&
o oo
3
o
∑ ∑
o o o3 o
∑
o o o3
?∑ ∑ ∑ ∑ ∑ ∑
&
3
3
3 3
&
‹
33
3
3
&∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑
&
‹
Ch
oru
s
∑ ∑ ∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑
B ∑ ∑ ∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑
w ˙ ™ Ó
˙
Ó ˙Œ Œ
œ
œœ
œ˙b
œœb œ
œ
œ Ó
œœ
œ
Œ Œ ‰ œ
J
œ œ ˙b Œ œœ œb œ
J
œ œ œ
œ œœb œ ‰ œ
J
œ œb œ œb
j
œ œ
j
œb œ œ Œ
Œ Œ ‰ œ
J
œ œ ˙
Œ
œ œ œ œ œ œb œ ˙ ‰ œ
J
œ œ
Jœb œ œ
J
œ œb
J
œb œ œ Œ
9
-
°
¢
{
°
¢
°
¢
°
¢
{
°
¢
°
¢
Fl.
Eng. Hn.
Cl.
Glock.
F. Cym.
Hp.
F. Angel
M. Angel
pp
7
pp
pp
p
p
From
p
the cel est
mp
- i- al- heav'ns, De
mp
scend- deep in to- the hu
mf
man- soul,
mp
Not in the sky
mf
a bove,- but
mp
From
p
the cel est
mp
- i- al- heav'ns, De
mp
scend- deep in to- the hu
mf
man- soul,
mp
Not in the sky
mf
a bove,- but
mp
Fl.
Eng. Hn.
Cl.
Glock.
F. Cym.
Hp.
F. Angel
M. Angel
14
pp
pp
pp
p
mp p
mp
here on earth be low,- Em brace- Your rest less- child ren,- Shed
mf
Your man tle- of cer ul- ean- blue, And
p
here on earth be low,- Em brace- Your rest less- child ren,- Shed
mf
Your man tle- of cer ul- ean- blue, And
p
3
4
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3
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3
4
&∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑
&∑ ∑
/ ∑ — ∑ ∑ ∑ — ∑
&
o o o o3 o oo
o
3
oo
∑
33
?∑ ∑ ∑ ∑ ∑ ∑ ∑
&
33
3 3
&
‹
33
33
&∑ ∑ ∑ ∑
&∑
&
&∑ ∑ ∑ ∑
/ ∑ ∑ ∑ ∑ ∑
&
∏∏∏∏∏∏∏∏
∑
∏∏∏∏∏∏∏
?∑ ∑ ∑ ∑ ∑
&
3 3
3 3
&
‹
33
3
3
3
Œ
˙b ˙ ™
Œ ˙b œ˙
˙ ™
Œ˙b
Œ˙
Œ ˙ Œ
˙
˙ ™Œ
˙
œb Œ Œ Œ Œ
œœ
j
œ
jœb
˙
˙
b
b Œ Œ
œbœb
j
œ
jœ ˙b
œœ
Œ Œ
˙b œb œœœb œ œb
J
œn œ œ
J
‰œb œ
œb œœ œ œ œb œb œ
œ œœb œb
œb œ œb œ
œb
œb œb ‰œb
J
œbœb œ
J
œ œ œ
J
œ œ œ
J ‰œb œ œ œ œb œ
œ œ œ œ œb œ œ œ ™ œ œœb œ œ œ
œbœb œn
‰œ
J
wb œ œ œ Œ
Ó Œ œb w ˙ ˙b ˙ ™ ˙ œ
J
‰
wb œ œ œœb w ˙ ˙ ˙ ™ ˙ œ
j‰
Ó Œœb w
Œ˙ ™
Ó
œbœ
œbœb œb
œb
˙
˙˙
˙
n
n ™™™™
Óœ œb
œb œœb œ
œbœb
œb œœb
œb œ
œœ
œ
Œ
œb
œbœb
œb
Ó
œb œb œ œb
J
œ œb ™ œb œb œ‰ œb
J
œ œnœb œ œb œ œb œ œ œ œ œ œb œ œ
œb œ œb œb
J
œ œb œœ œ œb œ ‰ œn
J
œb ™ œb
J
œ œ
J
œ œb œn ‰ œb
J
œb œœb œ œ
œb œb
J
˙œb œb œb
œ œœb œb
J
œ œb œœ œ
œb œ
‰œn
J
=
10
-
°
¢
°
¢
{
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Fl.
Eng. Hn.
Cl.
Glock.
Hp.
F. Angel
M. Angel
Vc.
p mf
20
p mp
p mf
mp mf
pmf
dark
cresc.
en- Your skin with
(mp)
the burnt am ber- of Your earth
mf
ly- com pas- sion.- -
dark
cresc.
en- Your skin with
(mp)
the burnt am ber- of Your earth
mf
ly- com pas- sion.- -
mp pp
Fl.
Eng. Hn.
Cl.
Glock.
F. Cym.
Hp.
F. Angel
M. Angel
Vla.
Vc.
Db.
dolce
mp
dolciss.
mf
25
p
dolciss.
mp
mf
p
dolciss.
mp
mf
mp
p mf
mp(mf)cresc. f
Moist
mpdolce
en- the soil of our hearts With the sweet
f
nec tar- of Your love.
Moist
mpdolce
en- the soil of our hearts With the sweet
f
nec tar- of Your love.
dolce
p
dolciss.
mp
mp cresc.
dolce
p
dolciss.
mp
mp cresc.
mp
mp cresc.
4
4
3
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2
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4
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2
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3
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2
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2
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3
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2
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3
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2
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4
4
4
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3
4
2
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4
4
4
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3
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2
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4
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3
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2
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4
4
4
4
3
4
2
4
3
4
4
4
3
4
2
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3
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3
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2
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3
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3
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2
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3
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4
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3
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2
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3
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4
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3
4
2
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3
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4
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3
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2
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3
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4
4
3
4
2
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3
4
4
4
3
4
2
4
3
4
4
4
3
4
2
4
3
4
4
4
3
4
2
4
3
4
4
4
3
4
2
4
3
4
&
œ œ œ ™ œ
J
&∑ ∑
&
&
ord. with soft mallets
˙ œ
&
∏∏∏∏∏∏∏∏∏
∏∏∏∏∏
- - -
3
3
3
?∑ ∑
3
&∑
3
3
&
‹
∑
33
?∑ ∑
pizz.
arco
&
&
&
&∑
/ ∑ ∑ ∑
Bass Drum
& bb
b
?∑
œœb œ
œ˙
˙ ™™
&
&
‹
B
arco
senza vib.
?
arco
senza vib.
?∑ ∑
pizz.
senza vib.
arco
˙ ™ wœ ™ œ
J
œ œœ
œ œ œ ™ œ#
j
˙ ™ ˙
˙n œ œ œ ˙# œ œ œ ™ œ
jœ œ œ œ œ
˙n ™ w œ œ œ ™ œ
J
œœ
‰ œb
J
œbœb
œ
œœ
œœb
b
b œ
œœ
œœ
œœ
œœn
n œœ
œœ
œ
œœ
#
#
œœœœn
œœœœ#
˙˙˙˙
nn
Œ
œœ
œœ œ
œ œn œœ
Œ
w
wn
n
œ
œœ
œŒ Œ Œ
œœ
œ
œ œ œ œ œ œ œ œœ œ œ œ œ œ
œ œ œ ™ œ
J
œ ™ œ
Jœ
œn œ# œ œ œ œ œ œ#œ œ œ œ œ œ ˙ œ œ œ œ œ œ
˙
˙˙
˙
˙
˙™™
˙
˙
œ ™ œb
j
œ ™ œb
J
˙ ™ ˙ œ ™ œb ™ ˙ ™
w ˙ œ œ˙b ˙ ™ ˙ ™
w ˙ ™˙b œ ™ œ ™ ˙ ™
w
˙
˙b
b ˙
˙
™
™
˙
˙
™
™
æææ˙ ™
æææ˙ ™
Óœ œ
œbœ œ
œb œœb œ
œb œ œ œbœ œ œb
Œ
œbœb œb
œœœ
œ ™
™™
œ œbœ œ
œ
œ
J
Œ
œ œ œ œ œ œ œ œ ˙ ™
œ
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œbœ œ
œb
Óœb
œbœbœ
Œ Œ Œ œ
œ œb œb
œ œ œb œ œœb ˙ œ œ
˙b œ œœb œb œ
˙ ™
œ œ œœb œ œ
˙œb œ
˙ œ œbœ œb œ ˙ ™
w ˙ ™˙b œ ™ œ ™
˙
˙
™™
w
˙ œ œ˙b ˙ ™
˙
˙™™
˙b ˙b ™
˙
˙
™
™
=
11
-
°
¢
°
¢
{
°
¢
°
¢
°
¢
Fl.
Eng. Hn.
Cl.
Hn.
Tbn.
Tub. B.
B. D.
Hp.
S.
A.
T.
B.
Vln. I
Vln. II
Vla.
Vc.
Db.
ff p
A
30
p
ff p
fff p mp
f ff p mp
f
f mp f
mf
Ma
f
don- na,- smooth like black a la- bas- ter,-
Ma
f
don- na,- Smooth like black a la- bas- ter,-
Ma
f
don- na,- Smooth like black a la- bas- ter,-
Ma
f
don- na,- Smooth like black a la- bas- ter,-
ff p
A
ff p
(mf)(f)
ff mp
(mf) (f) ff mp
(mf) (f) ff mp
&∑ ∑
>
∑ ∑
The Litany
PROCESSION OF THE CHORUS:
Chorus processes from the back of the hall carrying
candles and slowly take their places on risers
&∑ ∑ ∑ ∑ ∑
&∑ ∑
>
∑ ∑
&
?
?
&
Tubular Bells
—
–∑ ∑ ∑
/
> >
Sus. Cymbal
>Bass Drum
&∑ ∑ ∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑
&∑ ∑
&
‹
Ch
oru
s
∑ ∑
?∑ ∑
&∑ ∑
>
∑ ∑
&∑ ∑
>
∑ ∑
B
>
?
>
?
>
˙ ™ œ
Œ Œ
Œ Œ œ
˙ ™ œŒ Œ
˙ ™ ˙ ™˙ ™
œ ™ œb ™ œ™
œb
J
œb œ œbœ
˙ ™ ˙ ™˙ ™ œ ™ œ ™
œb ™ œ
j
œb œ œb˙
˙
˙
™
™
˙
˙
™
™
˙
˙
™
™
æææœ œ
j
œ ‰Œ ‰
æææœ
æææœ ˙ ™ œ œ œ œ
Œœ œ œ
Œœ œ œ
Œ Œ ‰ œ
J
œ œ œ œ œb ™ œ
J
œœb œb œ
œ
Œ Œ ‰ œ
J
œ œ œb œ œb ™ œ
j
œ œb œ œb œ
Œ Œ ‰ œ
J
œ œ œ œ œ œb œ œ œb œ œb œ œ
Œ Œ ‰ œ
j œ œ œ œ
œ
œb ™
™œ
œ
b
J
œ
œ
b
b
œ
œ
b
b
œœb
œœb œ
œ
˙
˙ ™
™ œ
œŒ Œ
˙
˙
™
™
œ
œ Œ Œ
˙
˙
™™
˙
˙
™™
˙ ™ ˙ ™œ œb
œ œb ˙ œ
˙
˙™™
˙
˙™™
˙ ™ ˙ ™ ˙ ™ ˙ ™
˙
˙
™
™
˙
˙
™
™˙ ™ ˙ ™ ˙ ™ ˙ ™
12
-
°
¢
°
¢
{
°
¢
°
¢
°
¢
Fl.
Eng. Hn.
Cl.
Hn.
Tbn.
Tub. B.
B. D.
Hp.
S.
A.
T.
B.
Vln. I
Vln. II
Vla.
Vc.
Db.
p mf
36
f
pp
p f
f p mf p
f p mf p
f
f
Black
f
like the folds of the earth,
ff
Black
f
like the folds of the earth,
ff
Black
f
like the folds of the earth,
ff
Black
f
like the folds of the earth,
ff
fp mf
fmp mf
fmp mf
&∑ ∑
&
3
>
∑ ∑ ∑
&∑ ∑
?>
?
>
&∑ ∑ ∑ ∑ ∑
/
>
∑ ∑ ∑
&∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑
&
&
&
‹
?
b b
&∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑
B
>>
?
> >
?
> >
˙b ™ ˙ œ œ˙b
œ œ
J
œb œb œ ™ ˙Œ
˙b ™ œb œb œ ˙b œ
œ
Œ œbœ ™ ˙ ™ ˙ œ ˙b ™ ˙ ™
œŒ
œ œb ™˙b ™ ˙ œb œ
˙b ™
˙b ™
Œ Œœ œ ™ œ
Œ Œ
œœb œ
œb œœb œ
œb œ œ œ# œ œ œb œ# œ
Œ Œ
œ œb œ# œ œb œb œ# œ
œ Œ Œ ˙b œ œœb ™ œb
Jœ œ ˙b œ œ
˙b
œŒ Œ
˙œb œb
œ ™ œ
j
œ œb œb œb œ ˙b œ
œ Œ Œœb œ œb œb œ
œb œ œb œ œ˙b ™ ˙b ™
œ
œŒ Œ
˙b
œb œb œ œ œ ˙
œ œ ˙ œ œ ˙b ™
œ œ ˙bœb
˙ ™
˙b œb
œ œbœb œ
™˙b ™ ˙ œb œb ˙b ™ ˙ ™
œ œ œœb ™ ˙b
™ ˙ œb œ˙b ™ ˙ ™
œ œ œœb ™ ˙b
™ ˙ œb œb ˙b ™ ˙ ™
13
-
°
¢
°
¢
{
°
¢
°
¢
°
¢
Fl.
Eng. Hn.
Cl.
Hn.
Tbn.
Tub. B.
B. D.
Hp.
S.
A.
T.
B.
Vln. I
Vln. II
Vla.
Vc.
Db.
p cresc.(mp) mf p
41
mp mf p f
p
cresc. (mp) mf
f
p
fflet vibratemf
Black
mp cresc.
like the in fin- i- ty
(mf)
- of the night
(f)
sky,
ff
Black
mp cresc.
like the in fin- i- ty
(mf)
- of the night
(f)
sky,
ff
Black
mp cresc.
like the in fin- i- ty
(mf)
- of the night
(f)
sky,
ff
Black
mp cresc.
like the in fin- i- ty
(mf)
- of the night
(f)
sky,
ff
mp p
mp p
pp cresc.(p) (mp) mf
p pp
pp cresc.(p)
(mp)mf
p
pp cresc. (p) (mp) mf p
&
&∑ ∑ ∑
&
?∑ ∑ ∑ ∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑
Crotales
œb œ œb œb ˙b
/ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑
slow arpeggio
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
…¿
œbœb
?∑ ∑ ∑
&
?
&
bb bb b
&b
bbb b
b b
&
‹
bb bb b
?b b
b bbb b
bb
b
b
&∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑
B
?
?
˙b ™ ˙ ™ ˙b œb ˙b™
œb œb œb ˙b ™ ˙b ™
Œ Œ
œb œb œb œb ˙b ™ Œ
œ#œ œ# œ œ
œn
˙b ™ ˙ œb ˙ œb ˙b ™ œb œb œb ˙b ™
Œ
œ#œ œ# œn œ
œn
œœœ
b
bb
œœœbb
œœœ
b
b
œ
œ
b
b
œ
œ
œ
œb
b œ
œb
bœ
œb
b
Œ
œb
œb
œbœb
œœœœb
bbb
œœœœ
bb
œœœœ
b
b
˙
˙b
b œ
œb
b œ
œb
bœ
œb
b
Œ
œb
œb œbœb œb
œb œœb ™
œ œ ˙ œb œ ˙™œ œb œb
œ˙ ™
œb œb ˙ ™˙ ™ ˙ ™˙ ™
œb œb œb œœ œb œ
œb™™™™
œœb
r
œœ œ
˙
œb œ œ˙˙b
b ™™ œ
œbb œ
œbœœb
bœœ œ ˙ ˙n œb ˙
™œ ˙b
œbœb œ œb œ œb
™™œb
R
œ œbœb œb œ ˙
™œ œb œb
œ˙
œb œœ ˙b ™ ˙ ™
œb
œb œ œœ œ œ œ œ ™™œ œ œ ™™ œr
œœ
R
œ ˙̇ œœ ˙
™
œ œ ˙ ™ ˙b ™
˙b œb œ
˙ ™œ
œb ˙ ™˙ ™
œb ˙ ˙b ™
˙b œb œ ˙b
˙b œb ˙ œb œbœb œb ˙ ™ œb œb œb ˙b ™ ˙ ™
œb
œb œb˙ œb ˙ œb
œb ˙b™ ˙b œb œb œ
œb ˙b ™
˙b ™ ˙ ™ ˙ ™˙b ™
˙b ™ ˙b ™ ˙ ™
14
-
°
¢
°
¢
{
°
¢
°
¢
°
¢
Fl.
Eng. Hn.
Cl.
Hn.
Tbn.
Crot.
B. D.
Hp.
S.
A.
T.
B.
Vln. I
Vln. II
Vla.
Vc.
Db.
p mp mf
B
48
p
mp
mf mp f
p mp
p mp
p mp
mp f
cresc.
f
mp
BlackBlack
mp
likelike thethe sorsor
mf
rowrow-
mp
thatthat breaksbreaks
f
the heart o pen,- - - -
p
Black
mp
like the sor
mf
row- that breaks
f
the heart o pen,- - - -
p
Black
mp
like the sor
mf
row- The
f
sor row- that breaks the heart o pen,- - - -
p
Black
mp
like the sor
mf
row,- the
f
sor row- that breaks the heart o pen,- - - -
p
B
mp mf
pp mp mf
pp mp mf
&∑
&
>
>3
&
>
?∑ ∑
&
>
?∑ ∑
>
&∑ ∑ ∑ ∑ ∑ ∑ ∑
/ ∑ ∑
> >
∑ ∑
&∑
~~~~~~~~~~~~~~~~~~~~~
∑ ∑ ∑
3
3 3
5
?∑ ∑
~~~~~~~~~~~~~~~~~~~~~~
∑ ∑ ∑
3
3 3
&
> >
&
> >
&
‹
n
,
b
?
,
b #
b
bb
bb
&∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑ ∑
B ∑ ∑
?
?
Œ ˙ ˙ œ œ
˙ ™ œ œb œ ˙ ™ ˙ ™
˙n œ# œœ œ œ ™ œ œ# œ
œ œ œb œœ ™™ œ
r
œ œœb œ
˙ ˙ ™ œ œœb œn ™
˙n œ œ œ œ œ ™ œ œ œ œ œ œ
˙ ™ ˙ ™ œ œb œ˙ ™
‰
œ
jœ œb œ œ
œ ™™ œ#
r
œb œb œnœ œb œ œ ˙
™
‰œ
jœ œb œ œ
œ ™™ œ#
R
œ ˙ ™ œ œb œ ˙ ™
‰ œ œ œ
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æææœ ˙ œ œ
Œ Œ
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œ œœœœbœ
œ
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Œ œ
œ
œ
œ
b
b
œ
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n
n
œ
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œ
œ
œ
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œ
œ
˙n œ œ œ œœ œœ ™™ œœ œœ œœ
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R
œb œ
œ œb ˙ ™ œ ˙
˙n œ# œœ œ œ ™ œ œ# ˙ œ œ# œ
™™œ#
r
œb œb œnœ œb œ œ œ ˙
˙œ
œ
œ œœ
œœ œ œ œ ™ œ œ œ
œ œb œ œ œb œ ™ œ œb œœœœ œb
œœ œ ˙
œ œ œb œœ œœ ˙̇
˙ œ œ
œ œ œ™ œ œ œœ œ
œ œœ œ œ œ œœœ œ ™™
œb ™ œœ
œ
R
œ
œ
œ œ
œ œb
œ
œ œ œœ œœ
œ
œœ
œ
˙
˙
‰
œ
j
œ œb œ œ œb ™œ# œ œ
œb œbœ œ œb œ œ ˙ ™
˙n ™ ˙ ™ ˙ œ œ œ œ ™ œœb œ
œ œbœ œb œ ˙ ™
˙n ™ ˙ ™ ˙ œ#
œ œ œ ™ œœb
œ œœb œ œb œ ˙ ™
15
-
°
¢
°
¢
{
°
¢
°
¢
°
¢
Fl.
Eng. Hn.
Cl.
Hn.
Tbn.
Crot.
B. D.
Hp.
S.
A.
T.
B.
Vln. I
Vln. II
Vla.
Vc.
Db.
pp
55
pp mp
pp
pp
p mp mf
Black
p
like the
mp
mysmys t'riest'ries
p
-- wewe nene
mf
verver-- unun veilveil--
Black
p
alto prominent
like the
mp
mys t'ries
p
- we ne
mf
ver- un veil-
Black
p
like the mys
mp
t'ries
p
- we ne
mf
ver- un veil-
Black
p
like the mys
mp
t'ries
p
- we ne
mf
ver- un veil-
pp
pp
&∑
&
3
>
&∑
&∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑
/ ∑
&∑
∏∏∏∏∏
∑
∏∏∏∏∏
8
8
?∑ ∑ ∑ ∑ ∑
&∑
--
&∑
- -
&
‹
∑
- -
?∑
- -
&∑
arco
o
&∑ ∑ ∑ ∑ ∑
B ∑ ∑ ∑ ∑
?
o
?∑ ∑ ∑ ∑
˙ ™ ˙ ™ ˙ ™ ˙
Œ
œ œ
j
œ œn œ ™ ˙™ œ œ ™ œ
jœ œ œ
œ œ œ œ#
˙ ™ ˙ ™ ˙b ™ ˙
Œ
œŒ Œ
œ Œ Œ
˙ œ ˙ œ ˙ œ ˙ œ
˙˙
˙ ™™™
˙˙̇˙̇b
Œ Œ
œ# œ œ œ# œn œ œ# œ# œ œ œ œ œ# œn œ œ#
œ œœ œ
œb œ ™ œ
j
œ œ œ œ ˙ œ#
˙ œ œœ œ ™ œ
jœ œ œ
œ ˙™
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™ œ
J
œ œ œ œ œ œ œ#
˙
˙
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œ
œ
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œ
œ
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™ œ
œ
J
œ
œ
b
b
œ
œ
œ
œ
œ
œ
˙
˙
œ
œ
#
n
˙ ™ ˙ ™ ˙ ™ ˙ Œ
˙ ™
˙ ™
˙ ™ ˙ ™ ˙b ™ ˙Œ
˙ ™
16
-
°
¢
°
¢
{
°
¢
°
¢
°
¢
Fl.
Eng. Hn.
Cl.
Hn.
Tbn.
Tub. B.
B. D.
Hp.
S.
A.
T.
B.
Vln. I
Vln. II
Vla.
Vc.
Db.
p mp p p mf p
60
pp p mf
p
p mp p p mf p
pp
p
ppp
p
p
Black
p
like eyes
mf
shut,
p
Black like the space be tween- ga
f
la- xies,- Black
p
like a pan ther- a lone
mf
- in the for est,-
Black
p
like eyes
mf
shut,
p
Black
mp
like the space bet ween- ga
f
la- xies,- Black
p
like a pan ther- a lone
mf
- in the for est,-
Black
p
like eyes
mf
shut,
p
Black
mp
like the space bet ween- ga
f
la- xies,- Black
p
like a pan ther- a lone
mf
- in the for est,-
Black
p
like eyes
mf
shut,
p
Black
mp
like the space bet ween- ga
f
la- xies,- Black
p
like a pan ther- a lone
mf
- in the for est,-
pp non cresc.
pp non cresc.
pp non cresc.
pp non cresc.
p mp
p
mp
&∑ ∑ ∑ ∑
3
&∑ ∑ ∑ ∑
3
&∑ ∑ ∑ ∑
3
&∑ ∑ ∑ ∑ ∑
?
?∑ ∑ ∑ ∑ ∑
&
Tubular Bells
∑ ∑ ∑ ∑ ∑ ∑
/ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
3
& # # #
3
&
‹
3
? #
##
#
# #3
&∑ ∑ ∑ ∑
&
arco
∑ ∑ ∑ ∑
B ∑ ∑ ∑ ∑
?
?∑ ∑ ∑ ∑ ∑
œ# œ#œ œ
œ# œ# œ# Œ
œn œœ# œ#
œ œœ# œ
œ œ#œ# œ
J
˙#
œ
Œ Œ ˙ œ œ# œ# œ œ œ# œ œ œœ# œ
j
˙#
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œ œ œ# œ
J
˙
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œ
J
œ ˙ ™
˙ ™ ˙ œ œ œ ™ œ
j
œ ˙ ™
˙˙# ™
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™
˙
˙#
# ™
™
œ#Œ Œ
œ
œ#
#
Œ Œ
œ œœ# œ
œ# œ# Œ œ œ#œn œ
œ# œ œœ œ#
œ
J
˙ ˙# œ œœ œ# ™ œ
J
œ œ œnœ œ ˙
˙ œ œ#œ œ Œ œ ™ œ#
j
œ œ ˙# œ œ œ# œ
j
˙# œ˙ œnœ œ œ
œœœ# ™
™
œœ
j
œ œ
œ œ œœ œ œ œ œ œœ œ œ ˙̇
œ# œ#œ œ# œ# œ
œ#
Œ
˙# œ# œ ˙̇# œœ œœœœ##
œœ
J
˙˙#
œ œ# œ œœ œ ™ œ
J
˙ œ œ œ ˙
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œœ##
œœ
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œ
œ#
#
Œ œn
˙
œ
œ œ œ
œ œœœ œ# œ œ
œ œ œœ##
œœ
J
˙˙
˙
˙
œ
œ
œ
œ
œ
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™ œ
œ
J
œ
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™œ
œ
J
œ
œ
œ
œ
œ
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˙
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œ œ
˙# ™ œ# ˙# ˙ ™ ˙#œ ˙# ™
˙# ™ œ#œ
˙# ˙n ™˙ œ ˙# ™
œ# ˙#œ# œ# œ œn œ
œ# œ#œ œ# œ# œ œ œ
˙# ™
˙# ™ ˙ ™ ˙ œ ˙ ™ ˙# ™œ# œ
œ œ ˙™ œ ™ œ
j
œ ˙ ™
˙ ™ ˙ ™ œ ™ œ
j
œ ˙ ™
17
-
°
¢
°
¢
{
°
¢
°
¢
°
¢
Fl.
Eng. Hn.
Cl.
Hn.
Tbn.
Tub. B.
B. D.
Hp.
S.
A.
T.
B.
Vln. I
Vln. II
Vla.
Vc.
Db.
69
pppp mf p mf
pp
p pp
mf
p mf
pp
pp
Black
mp
like the deep sea, Black
p
like the roots of our soul, BlackBlack
p
likelike thethe belbel
mp
lyly- ofof thethe whale,whale,
p
Black
mp
like the deep sea, Black
p
like the roots of our soul, Black
p
like the bel
mp
ly- of the whale,
p
Black
mp
like the deep sea, Black
p
like the roots of our soul, Black
p
like the bel
mp
ly- of the whale,
p
Black
mp
like the deep sea, Black
p
like the roots of our soul, Black
p
like the bel
mp
ly- of the whale,
p
p pp
pp
pp
&∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑
&
?∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
/ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& -
∑
3
& # #
-
-
n∑
3
&
‹
-∑
3
? #
-
∑
3
&∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B ∑
?
Sul D
?∑ ∑ ∑
œ œ#œ
Œ
œ œœn œ œ œ œ œ
œ ˙ ™ œ œœ œ œ
œ ˙ ™ ˙ ™ œ œœ œ œ œ
œ œ#œ
Œ
œ œ#œ ˙
™ ˙ œ œ˙ ™ œ œ
œ œ œœ ˙ ™ ˙ ™ œ œ
œ œ œ œ
œ œ#œ
Œ œœ# œ
˙ ™ ˙ œ œ˙ ™
œ œœ
Œ œ œ œ œ ˙ ™
˙ œ œ œ ˙ ˙ œ œ ˙ œ œn ˙ ™˙ œ œ
œ
J
œ œœ œ ˙ ™
œ œœ
œ œœ œ œ œœ œ œ ˙̇ œ œ
œœ œ
œ œ œ ˙œ œ ˙ œ œ ˙ ™˙ œ œ
œ
j
œ œœ œ ˙ ™œ œ
˙ œ œ œ ˙ ˙ œ œ ˙ œ œn ˙ ™˙ œ œ œ
j
œ œ œ œ ˙™
˙
œ œ œ œ
œ
œ
˙
˙
˙
˙
n œ
œ
œ
œ
˙
˙
œ
œ
œ
œ
˙
˙
™
™ ˙ œ œ œ
J
œ œ œ œ ˙ ™
œ œ
œ œ#œ ˙
™ ˙ œ œ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™
˙ ™
œ œ œ œ# œ
˙ ™
˙
˙
˙
n ™
™
˙
˙
™
™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™
˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙
˙
™
™
˙
˙
™
™
18
-
°
¢
°
¢
{
°
¢
°
¢
°
¢
Fl.
Eng. Hn.
Cl.
Hn.
Tbn.
Tub. B.
B. D.
Hp.
S.
A.
T.
B.
Vln. I
Vln. II
Vla.
Vc.
Db.
p mp mf
sub.
p
(mf) f
78
p mp
mf
sub.
p
(mf) f
p mp mf sub.
p
(mf) f
mp mf p mp pp(mf) f
mp mf p mppp
(mf) f
mf
mp
f
pf
f
Black
mp
like a hid den- sec ret,- Black
f
like a night of love, Black
mf
like the sin gu- la- ri- ty- that
cresc.
con tains- all,
(f)
Black
mp
like a hid den- sec cret,- Black
f
like a night of love, Black
mf
like the sin gu- la- ri- ty- that
cresc.
con tains- all,
(f)
Black
mp
like a hid den- sec cret,- Black
f
like a night of love, Black
mf
like the sin gu- la- ri- ty- that
cresc.
con tains all,
(f)
Black
mp
like a hid den- sec cret,- Black
f
like a night of love, Black
mf
like the sin gu- la- ri- ty- that
cresc.
con tains- all,
(f)
p mp(mf) f
p
mp(mf) f
p mp(mf) f
p mp(mf) f
mp(mf) f
&
mp cresc.
,
&
>mp cresc.
,
&
mpcresc.
,
?∑ ∑ ∑
mp cresc.
,
?∑ ∑ ∑
mp cresc.
,
&∑ ∑ ∑
Crotales
/
Bass Drum
/ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Sus. Cymb.
—L.V.
&∑ ∑
∏∏∏∏∏∏∏
∑ ∑ ∑ ∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
&b b
&
‹
?
b
&∑ ∑ ∑ ∑ ∑
cresc.
,
&
arco
cresc.
,
B
cresc.
,
?
cresc.
,
?∑ ∑ ∑ ∑ ∑ ∑ ∑
cresc.
,
˙ œ œœ œ
œ œ ˙ ™ œ œ œœ œ ˙ ™ ˙ ™
˙ ™ ˙ œœ œ
œ œ˙ ™ ˙ ™
œ# œ œœ œ# œ# œ
œ œœ œ
˙ œ œ ˙ œ ˙ œ# ˙œ œ# ™ ˙ ™ ˙
œ œbœ œ
˙ ™ ˙™
˙ œ œœ œ
œ œ#œ œ
œ œ œ œ# œ ˙ œ# œ œ œ ˙ œ ˙ ™ ˙œ œ
œ œ˙b œ œb œ
œ
˙ œ œ ˙ œ ˙ œœ œ
œ œ
Œ Œ
˙ œ ˙ œ œ œ œ
œ œ# œ œ ˙
œ œ# œ œ ˙ ™ œ Œ Œœb
œ œ ˙b ™ œ œ œ
˙ ™ ˙ ™ ˙ ™ ˙ œ ˙ œ ˙ œ
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Œ Œ
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œ
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™˙ ™ ˙̇ Œ œ œ œœb œ
œ œb œ œ œ œœ œœb
œœœœ
˙˙ ™™ ˙˙ ™
™
œ# œ œœ œ
˙œ#
œ œ œ œ# œ ˙ œ# œ# œ œ ˙
Œ
œ œ œœn œ
œ œ œ œ œ œ œœœœœœ
˙˙
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œ œ œœ œ
œ œ œ˙˙
œ œœ œ ˙
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˙ ™˙ ™ ˙̇
Œ œ œb œ œ œ œ œœ œ œ œ ˙b
™ ˙b œœ œ
œ
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˙œ# œ œ# œ œ œ ˙ œ ˙ ™ ˙
Œ œœ œ œ œ œ œ
œ œ œ œ˙
˙œ
œ˙
œœ œœœ
˙˙b™™
œ œ#œ œ œ œ
œb œœ œb œ œ œ ˙b
™ ˙ ™ ˙ ™
˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙œ œ œ œ
œ œœ œ œ œ œ œ œ œ
˙ ™ ˙ ™
˙ ™ ˙ ™ ˙ ™ ˙ ™˙ ™ œ œ œ
œ œ œ œ œ œ œœ œ œ
˙ œ ˙ œœ ˙b ™
˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ œ œb œ œ œ œ œœ œ œ œb
œ œ œbœ œ
œ œ œ
Œ
œœ ˙ œ ˙b ™ œ œ œ
19
-
°
¢
°
¢
{
°
¢
°
¢
°
¢
Fl.
Eng. Hn.
Cl.
Hn.
Tbn.
Tub. B.
Cym.
Hp.
S.
A.
T.
B.
Vln. I
Vln. II
Vla.
Vc.
Db.
p mp
89
p mp
p
f p
p
f
mf
mf
Black
ff
like the long ing,-
mp
Black
ff
like the long ing,- Black
mp
like the long
mf
ing,-
the
Black
ff
like the long ing,- Black
mp
like the long
mf
ing-
Black
ff
like the long ing,- Black
mp
like the long
mf
ing,- the
p mp
p mp
f p mp
f p pp
&
>
&
>
&∑
?
-
∑ ∑
?∑ ∑
/
Tubular Bells
∑ ∑
—
∑
/ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑
∏∏∏∏∏∏
?∑ ∑ ∑ b
b
bb
b
&
b# # #
∑
&##
# #
#
>
&
‹
>
?>
&∑ ∑ ∑ ∑ ∑
&
>
B
>
œ# ˙#
?
œnœ# œ#
?∑
˙b ™ ˙ œ# œ# œ#˙# ˙
œ# œ œ# œ# œ ™ œ œ
˙ ™ ˙# œ# œ# œ#˙#
œ# œnœn œ œ œ œ# ™ œ
œb ™ œ
J
œb œ ˙# œ œ# œ œ œ#Œ Œ
˙b ™œ# œ#
œ œn˙# ™
‰œb
j
œ œb œ œbœ# œ#
œn˙# ™
˙b ™
˙# ™
Œ Œ
œœœœ
b
b
b
b
œœœœ
˙˙˙˙b
bbb
˙˙
˙
˙
œ
œ
œ
œ
Œ Œ
˙ ™˙ ™
˙˙ œ œ ˙#
œ# ˙ ™œ œ
œœbb ™
™œœb
J
œœb œ
œ ˙˙#n
œœ
œœ
œœ#
œœn
# œœ˙œ œn
œœ œ œœ œœ œ ™œ œ ™ œ
œ œ
œ ™ œb
J
œb œ ˙#œ œ
˙#œ#
˙# œ# œœ œ# œ ™ œ
˙ œbœ# œ#
œn œ# œœ#
œ# œ#œn œ# œ
œ# œ œ œ™ œ œ
œ ™ œb
j
œb œ ˙#œ œ
˙# ™ ˙# œ# œœ œ# œ ™ œ
œ#
œb
œ œbœb œ
œ# œ#œn œ#
˙# ™ œ# œ œ™ œ œ
Œ
œ œbœb œ œ#
œ# œ ˙# ™œ œ#
œ#
‰œb
j
œ œb œ œb˙# ™
˙# ™
œ œ#œ#
20
-
°
¢
°
¢
{
°
¢
°
¢
°
¢
Fl.
Eng. Hn.
Cl.
Hn.
Tbn.
Tub. B.
B. D.
Hp.
S.
A.
T.
B.
Vln. I
Vln. II
Vla.
Vc.
Db.
p
94
mp
mp p
mp
f
Black
f
like the long
ff
ing- - that's ne ver- quenched,
long
f
ing-
the long ing- that's ne ver- quenched,
the
f
long ing- that's ne ver- quenched,
long ing- - - - - - that's
f
ne ver- quenched,
mf p
p
mp p
&
&∑ ∑ ∑ ∑
&
?∑ ∑ ∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑
/∑ ∑ ∑ ∑ ∑ ∑
/
Bass Drum
∑
&
∏∏∏∏∏∏∏ 3 3
3 3
œnœ# œ
?∑ ∑ ∑
3
œœ#
œ#
&
&#
## #
#
#
#
&
‹
? # #
&
con vib.
&
B
?
?
œ# œ ˙ ˙ ™ ˙ œ˙# œ# ˙ œ# ˙ ™
œŒ Œ Œ ˙
œ#
œ# ™ œ#
J
œ# œ œ# ˙# œœ# ™ œ
J
œ# ˙ œ# ˙ ™
œ ˙ œ ˙ œ ˙ œ ˙ ˙ ™
œnœb œn
œ# œ#œ
œ#œ œ#
œ# ˙˙˙˙˙#
##
™™™™™
œ# œœ#œ œ#
œ
œ œ#œ# œ
œ# œœ# œ# œ#
œ œ#œ œ# œ#
œ œ#
Œ Œ
œ#
œ#
œ#
Œ Œ
œ#
œ# ™ œ#
J
œ# œ œ# ˙# œœ# ™ œ
J
œ# ˙# œ# ˙ ™
˙ ™œ œ ˙ ˙ ™˙ œ# œ̇ œ#
œœ
˙œ œ#
œ
œ
˙
˙ ™œ# ˙ ™
˙ ™
œ œ œ# œ œ œ# ˙# ˙ œ# ˙# œ ˙#œœ# ˙̇ ™
™
˙ ™ ˙ ™ œ œ œ# œœ œ
œ
œ
œ
˙
˙
#
# ™™ ˙
˙ ™™
œ#
œ# ™ œ#
J
œ# œ œ# ˙# œœ# ™ œ
J
œ# ˙# œ# ˙ ™
˙# ™ ˙ œ# œ# œ# œœ œ# œ# ˙# ™ ˙ ™
œ œ œ# œ œ œ# ˙# ˙ œ# ˙ œ œ# œ œ ˙# ™
˙ ™ ˙ ™ ˙ œ# œ#œ œ
˙# ™ ˙ ™
˙ ™ ˙ ™ ˙ œ# œ#œ œ
˙# ™ ˙ ™
21
-
°
¢
°
¢
{
°
¢
°
¢
°
¢
Fl.
Eng. Hn.
Cl.
Hn.
Tbn.
Tub. B.
B. D.
Hp.
S.
A.
T.
B.
Vln. I
Vln. II
Vla.
Vc.
Db.
p mf p
100
f pp
mp mf
p
p mf
p mf
mp mf
p
p
mpf
Black
p cresc. poco a poco
like the void
(mf)
from
(f)
which all
ff
creacrea tures-- take life,
Black
p cresc. poco a poco
like the void
(mf)
from
(f)
which all
ff
crea tures- take life,
Black
p cresc. poco a poco
like the void
(mf)
from
(f)
which all
ff
crea tures- take life,
Black
p cresc. poco a poco
like the void
(mf)
from
(f)
which all
ff
crea tures- take life,
pp mf p
pp mp mf p
pp
mf
ppmf
ppmf
&∑ ∑ ∑
&
>
∑
3
3
&∑ ∑ ∑
?∑ ∑ ∑
?∑ ∑ ∑ ∑
/∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
/ ∑
& # #
—
– ∑ ∑ ∑ ∑ ∑ ∑
?∑
—
–∑ ∑ ∑ ∑ ∑ ∑
&∑
&∑
&
‹
∑
?∑
&∑ ∑ ∑ ∑
&∑ ∑ ∑
B
senza vib.
?
senza vib.
?
senza vib.
Œ
œ# œ#œ œ#
œ# œ œ# œ# ˙ ™ œ# œ# œ˙# ™
œ œ#
j
œ œ#
jœ œ ™
˙# ™ œ
Œ Œ Œ
œ#œ
˙ œ#œ# œ# œ# ˙ œ# ˙#
™
Œœ# œ#
œ œ#œ# œ
˙ ˙# ™ ˙# ™ ˙# ™
Œœ# œ#
œ œ#œ# ˙
™œ#
œœ# ˙# œ# ˙# ™
Œœ#
œ œn œ œ œ# œ# œ# ˙# ™˙# ™
˙# ™
˙ œ ˙ œ ˙ œ œ œ œ ˙ œ ˙ œ ˙ œ ˙ œ
œœ ˙œ œ# ˙
˙#
# ™™
œnœ
œœ
˙
˙
#
# ™™
œn
œ
˙# ™ œ œ#œ ˙̇# ™
™ œœ ™™ œ#
J
œ# œ œ# œ# ˙ ™ œ# œ# œ˙# ™
˙# ™ œ œ# œ ˙# ™ œ ™ œ#
j
œ# ˙œ# œ# œ# œ# ˙# œ# ˙#
™
˙# ™ œ œ#œ ˙ ™ œ ™ œ#
J
œ# œ œ# œ# œ# œœ# œ# œ# œ# ˙# ™
˙
˙
#
# ™™ œ
œ
œ
œ
#
#
œ
œ
˙
˙
#
# ™™ œ
œ ™™ œ
œ
#
#
J
œ
œ ˙ ™
œ# œ œ
˙# ™
œ# œ# œ#
˙
˙#
# œ
œ
˙
˙#
# ™
™
˙ ™
œ˙ ˙# ™ ˙# ™ ˙# ™
˙ ™Œ
œ#œ
˙ œ#œ# œ# œ# ˙ œ# ˙# ™
œ# œ œ# ˙# ™ ˙ ™˙# ™ ˙ ™ œ
œ œ œ# œ# œ# ˙# ™˙# ™
˙ ™ ˙# ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙# ™ ˙# ™ ˙# ™
˙ ™˙# ™ ˙ ™ ˙ ™ ˙ œ ˙ ™ ˙# ™ ˙# ™ ˙# ™
22
-
°
¢
°
¢
{
°
¢
°
¢
°
¢
Fl.
Eng. Hn.
Cl.
Hn.
Tbn.
Tub. B.
B. D.
Hp.
S.
A.
T.
B.
Vln. I
Vln. II
Vla.
Vc.
Db.
pp
dolce
mp p
109
pp
dolce
mp p
p
mp p
pp
pp
mpp
mp
Black
p
like the in ner- cham
mp
bers- of the heart.
p
Black
p
like the in ner- cham
mp
bers- of the heart.
p
Black
p
like the in ner- cham
mp
bers- of the heart.
p
Black
p
like the in ner- cham
mp
bers- of the heart.
p
pp
pp
pp
&∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
The chorus places candles downstage
and takes their place on the risers
&∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
&∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
?∑ ∑ ∑ ∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
?∑ ∑ ∑ ∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
/∑ ∑ ∑
U
…
∑
U U U U U–
/ ∑U
…
∑U
∑U
∑U
∑U
∑U
&∑ ∑ ∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
?∑ ∑ ∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
&
U
∑
U
∑
U
∑
U
∑
U
∑
U
&
U
∑
U
∑
U
∑
U
∑
U
∑
U
&
‹
U
∑
U
∑
U
∑
U
∑
U
∑
U
? b b b b
U
∑
U
∑
U
∑
U
∑
U
∑
U
&∑ ∑ ∑ ∑ ∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
&∑ ∑ ∑ ∑ ∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
B ∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
?∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
?∑
U
∑
U
∑
U
∑
U
∑
U
∑
U
Œœn œn
œb œbœ œb
œb œœ œb
œb ˙b œ œb œ
Œ
œn œnœb œb
œ œbœb œ
œ œbœb ˙b œ œb œ
˙n ™ œ ™ œ
j
œb œ œb ˙ œ œb œ
œnŒ Œ
œn Œ Œ
˙
˙ ™
™ ˙
˙ ™
™
˙ ™ ˙ ™ ˙ ™ ˙ ™
˙ ™ œ œ œ ˙ ™ ˙ ™
˙˙
˙ ™™™ ˙
˙
˙ ™™™
˙
˙
™
™
˙
˙
™
™
˙n ™ œn™ œ
j
œb œ œb ˙b œ œb œ ˙ ™
˙n ™ œ ™œ ™ œ
j
œ
J
œ œ œœ ˙̇ œœ œœb œœb ˙˙™™œ œ
˙n ™ œn™ œ
j
œ œ œ ˙ œ œ œ ˙ ™
˙n ™ œ ™œ ™ œj
œ
J
œ œ œœ œ œ˙˙
œœ
œœ œœ ˙™˙ ™
˙n ™ ˙ ™ ˙ ™ ˙ ™
˙n ™ ˙ ™ ˙ ™ ˙ ™
˙n ™ ˙ ™ ˙ ™ ˙ ™
23
-
{
°
¢
°
¢
°
¢
°
¢
{
°
¢
°
¢
Glock.
F. Cym.
Hp.
F. Angel
M. Angel
p
C
119
p
mp
mf
Like
p
delicately
leaves in the wind, We
sempre p
Like
delicately
p
leaves in the wind, We
sempre p
Fl.
Eng. Hn.
Cl.
Glock.
F. Cym.
Hp.
F. Angel
M. Angel
Vln. I
Vln. II
Vla.
Vc.
Db.
pp(non cresc.)
125
pp(non cresc.)
(sempre p)
qui
mp
ver- for your com pass- 'nate- ca ress.- The fa
mp
ther- longs for You.
qui
mp
ver- for your com pass- 'nate- ca ress.- The fa
mp
ther- longs for You.
pp
mp
pp
mp p
mp
mp
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
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
4
/∑ ∑
Glockenspiel
Postlude
/
Finger Cymbals
∑ ∑ ∑
&∑
3 3
3
?
33 3
3
3
∑
3
œ œ œ
&∑ ∑
33
&
‹
∑ ∑
3
3
&∑ ∑
33
3
&∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑
3
/∑ ∑ ∑ ∑
/ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑
3
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
∑ ∑ ∑
?3
3
3
∑
3 3
3
&
33
3
&
‹
3
3
&∑ ∑
with mute
&
pizz.
∑
with mute
arco
B
pizz.
∑
(pizz.)
∑ ∑
?
pizz.
∑ ∑ ∑ ∑
?
pizz.
∑ ∑ ∑ ∑
Œ Œ
œœ ˙
˙œœ œœ
˙˙ ™™ w
wb
Œ Œœ
Œ Œœ
Œ Œœ
Œ Œ
œœ Œ Œ
œœbb Œ Œ
œœ Œ œ
œœ
œ œ
œœ
œ œ
œ
œ
Œœ
œ
Œ
œœ
Œ
œ
œœ œ
œ
J
œ
J
œ
Œ Œ
Œ Œ œn˙ œ œ œ œ
˙ ˙ ™‰ œ
Œ Œœ
˙ œ œ œ œ ˙ ˙ ™‰ œ
Œ Œ œn ˙ œ œ œ œœb œ œ œ ˙ œ
Jœ ˙ ™
Œ Œœ ˙ œ œ ˙ ™ ˙ ™ œ ˙
˙˙ ™™
˙˙™™
˙˙™™
Œ œbœ
œ
Œ Œ
œœ
œ Œ
˙
˙
œb
œb
œœb
œ
J
œ
J
œ
Œ Œ
œ
œœ
œ
œ Œ
œ
œœ
œ
Œ Œ
œ
œœ
œ
œ œ œœ œ œ
œ œb œ œœ ˙
‰ œ ˙ œ œ œ œœb œ œ œ ˙ œ
Jœ ˙ ™
œ œ œ œ œ œ œœ œ œ œ œ œ ˙ ‰
œ˙ œ œ œ
œ œ œ œ œ œ œ
J
œ œ ˙
˙
˙
™™
˙
˙
™™
˙
˙
™™
˙
˙
™™
˙
˙
™™
Œ
˙
Œ
˙b ˙ ™
Œ
˙
˙
˙
˙
™™
˙
˙
™™
Œ
˙
Œ
˙ ˙ ™
Œ˙
˙
˙ ™˙ ™
˙ ™
˙b ™˙ ™
˙ ™
=
24
-
°
¢
{
°
¢
°
¢
°
¢
{
°
¢
°
¢
Glock.
F. Cym.
Hp.
F. Angel
M. Angel
Vln. I
Vln. II
Vla.
Vc.
Db.
p
132
(sempre p)
He
p
semplice
finds so lace- - - in your em brace,-
He
p
semplice
finds so lace- - - in your em brace,-
pp
p
p p
Glock.
F. Cym.
Hp.
F. Angel
M. Angel
Vln. I
Vln. II
Vla.
Vc.
Db.
p
al finerit.137
pp
And
p
all cre a- tion- - - is still.
And
p
all cre a- tion- - - is still.
al finerit.
p
pp
p
p
/∑ ∑
(bowed)
∑ ∑
/ ∑
Finger Cymbals
∑ ∑ ∑
&∑ ∑ ∑
?
3
∑ ∑ ∑
3
&
&
‹
&
&
B ∑ ∑ ∑ ∑
(sempre pizz.)
?
(pizz.)
∑ ∑ ∑ ∑
?
(pizz.)
∑ ∑ ∑
(pizz.)
/
(bowed)
∑
Soft mallets
U
/ ∑ ∑ ∑ ∑ ∑U
&∑ ∑
U
?∑ ∑ ∑ ∑
U
&
U
&
‹
U
&
U
&
U
B ∑ ∑ ∑ ∑
(pizz.)
U
?∑ ∑ ∑ ∑
arco U
?∑
(pizz.)
∑ ∑
(pizz.)
U
˙ ™
˙ ™
œ
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25
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Mara
Adam
Percussion 1
Percussion 2
Piano
A
f
dam,- come back! I can't go on like this!
Furiously!
(As fast as possible)
What
f
the hell do you want from me?
pf
fff
°
pppmp
Mara
Adam
Cym.
Perc.
Pno.
Give
f
me a break, A dam!- I don't want an y- thing! I want you!
2
p
f
violently!
ff
(mp)
°
&
From offstage
- >>
Mara, Adam
3. Dialogue I: The Fight
?
From offstage
>>
/
Sus. Cymbal
(mute)
/
?
&
^
5
?
>
&
^
?
‘“
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
5
&
>
-
>
?
/
/
&
>
?
‘“
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>
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Mara
Adam
Cym.
Perc. 2
Pno.
I
ff
want my hus band- - back!
3
f
ff
Mara
Adam
S. D.
Perc. 2
Pno.
Your
f
bod y's- here, but your mind's still fight ing- in Afgh an- i- stan.-
4
I'm
f
right here
sfz
Ma ra.-
f
secco
Mara
Adam
S. D.
Sandpaper
Pno.
A dam,- you're not the same man I mar ried.-
5
Damn
mf
it- I have n't- changed but you have
mf
ff
&
Mara enters
> > > >^
?
/
(mute)
Snare Drum (snares on)
>
/
Slapstick
>
&
nb
’
”“
(slap w/ whole hand
chromatic cluster)
>
?
nb
‘“
’ (slap w/ whole hand
chromatic cluster)
>
&
> >
?
Adam enters
