The simplification of complex notation

presented in aleatoric forms.

   

by

Scott Ean McIntyre

B.Mus, M.Mus (University Of Melbourne)

Tasmanian College of the Arts, University of Tasmania

Submitted in fulfilment of the requirements for the Doctor of Philosophy

University of Tasmania

July, 2013

         

 

The Folio and Exegesis contain no material which has been accepted for a degree or diploma

by the University or any other institution, except by way of background information and duly

acknowledges in the Exegesis, and to the candidate’s best knowledge and belief no material

previously published or written by another person except where due acknowledgement is

made in the text of the Exegesis.  

 

This thesis may be made available for loan and limited copying and communication in

accordance with the Copyright Act 1968.

 

The publishers of the papers comprising Chapter 2 and String Quartet No.3 hold the

copyright for that content, and access to the material should be sought from the respective

journals. The remaining non-published content of the thesis may be made available for loan

and limited copying and communication in accordance with the Copyright Act 1968.

 

Signed ________________________  

[Scott McIntyre]

Table of Contents

Acknowledgements………………………………………………………………………… iv

Figures…………………………………………………………………………………….....v

Contents of DVD of Recordings and Pdfs………………………………………………...viii

Abstract…………………………………………………………………….. ……………....xi

Chapter One: Introduction and literature Review………………………………………..….1

Chapter Two: The simplification of complex notation presented in aleatoric forms….…...25

Chapter Three: Methods of Composition…………………………………………….…….41

Chapter Four: Dramatic use of aleatory in Fire on the Snow………………………....…....68

Chapter Five: Aleatory outcomes in Performance…………………………………............91

Chapter Six: Conclusion…………………………………………………………………..103

Bibliography………………………………………………………………………………107

 

Acknowledgements

I wish to thank Dr. Maria Grenfell and Dr. Anne-Marie Forbes for their ongoing support and

work as my supervisors. I would also like to thank Assoc.Prof. Andrew Legg for his support

and the opportunities that I have been able to experience whilst studying at the

Conservatorium of Music.

I would also like to thank those who performed my music – Kenneth Young, the Tasmanian

Symphony Orchestra, Sitiveni Talea, Jeremy Williams, The Jan Sedvika Camerata, Michael

Lampard, Michael Kieran-Harvey, Brigid Burke, David McNichol, Xinyu Guo, Dr. Abby

Fraser, Gary Wain, Jamie Allen, Benjamin Martin, Phil Joughin, Nick Caddick, Gabrielle

Robin, Matthew Anning, Aaron Barnden, Jessica Bell, Ceridwen Davies and Caerwen

Martin.

Thanks also go to Dr. Brenton Broadstock, Dr. Andrian Pertout, Dr. Carolyn Philpott, Dr.

Houston Dunleavy, Lucas Burns and Veronika Vincze at ABC Classic FM, the Asian

Composers’ League, Dr. Thomas Reiner, Dr. Jocelyn Clark, and Dr. Stephen Lias

I would lastly like to thank Linda for her love and support during this project.

iv

Figures

fig.1.1 Ferneyhough La Chûte d'Icare (1988) ........................................................................... 7

fig.2.1 McIntyre Infinity Has No God (1993) b.102 ................................................................ 27

fig.2.2 Lutosławski Symphony No.2 (1967) cue 4 .................................................................. 33

fig.2.3 Lutosławski Symphony No.2 (1967) cue 4 (edited) .................................................... 34

fig.2.4 Lutosławski Symphony No.2 (1967) cue.10 ................................................................ 35

fig.2.5 Lutosławski Symphony No.3 (1983) p.18 ................................................................... 36

fig.2.6 Lutosławski Livre pour Orchestre (1968), p.58 ........................................................... 38

fig.2.7 Lutosławski Livre pour Orchestre (1968), p.58 (edited) ............................................. 39

fig.3.1 x/y axis (Primary matrix) .............................................................................................. 46

fig.3.2 Primary matrix .............................................................................................................. 47

fig.3.3 Secondary matrix .......................................................................................................... 48

fig.3.4 Substitution matrix ....................................................................................................... 49

fig.3.5 Slider matrix ................................................................................................................. 51

fig.3.6 Slider matrix ................................................................................................................. 52

fig.3.7 Slider matrix ................................................................................................................. 53

fig.3.8 Completed slider matrix ............................................................................................... 54

fig.3.9 Slider Chart ................................................................................................................... 55

fig.3.10 Pitch Range ................................................................................................................. 56

fig.3.11 Slider and pitch ........................................................................................................... 57

fig.3.12 Slider and pitch (Inversion) ........................................................................................ 58

v

fig.3.13 Slider and pitch with Primary Matrix overlay ............................................................ 59

fig.3.13 Slider and pitch with Primary Matrix row and column overlay ................................. 60

fig.3.15 J10 from fig.3.14 ........................................................................................................ 61

fig.3.16 J10 from fig.3.14 ........................................................................................................ 61

fig.3.17 J8 from fig.3.14 .......................................................................................................... 62

fig.3.18 J2 from fig.3.14 .......................................................................................................... 62

fig.3.19 J4 from fig.3.14 .......................................................................................................... 62

fig.3.20 Row J (expanded sequence) from fig.3.14 .................................................................. 63

fig.3.21 Row J (original sequence) from fig.3.14 .................................................................... 64

fig.3.22 Row J10 through J4 (expanded sequence with chords) from fig.3.14 ........................ 65

fig.3.23 McIntyre Fire on the Snow (Short Score),1. .............................................................. 67

fig.4.1 Table of Lutosławski’s limited-aleatoric symbols ....................................................... 74

fig.4.2 from Table of Lutosławski’s limited-aleatoric symbols ............................................... 75

fig.4.3 Lutosławski Trois Poémes d’Henri Michaux, 2nd mvt “Le grand combat” .................. 80

fig.4.4 McIntyre Fire on the Snow, Cue 109 ........................................................................... 81

fig.4.5 McIntyre Fire on the Snow (Short score) Scene 8 ....................................................... 83

fig.4.6 McIntyre Fire on the Snow (Short score) Scene 8 ....................................................... 84

fig.4.7 McIntyre Fire on the Snow (Short score) Scene 8 ....................................................... 84

fig.4.8 McIntyre Fire on the Snow (Short score) Scene 8 ....................................................... 85

fig.4.9 Lutosławski Trois Poemes D'henri Michaux. mvt.2, Cue 33 ....................................... 86

fig.4.10 McIntyre Fire on the Snow, Cue 111 ......................................................................... 87

vi

fig.4.11 McIntyre Fire on the Snow, Cue 116 ......................................................................... 88

fig.4.12 Lutosławski Trois Poemes D'henri Michaux , mvt.2, Cue 49 .................................... 89

 

vii

DVD of Recordings/Pdfs Folder 1 [Recordings]

1. Folio Recordings

1. The Ice Barrier (2010).aif - 7’56”

Sitiveni Talei – Baritone

Kenneth Young – Conductor

Tasmanian Symphony Orchestra

Recorded by ABC Classic FM, July 29th 2011, Federation Hall, Hobart, Australia

2. Fire on the Snow Suite for 13 Solo Strings (2010).aif – 17’40”

Jeremy Williams – Conductor

Jan Sedvika Camerata

Recorded April 2011, Recital Hall, Conservatorium of Music, Hobart, Australia

3. Fire on the Snow – An Opera in Two Acts (2010-12) [Folder] – 67’50”

1. Scene One – Death.aif – 5’09”

2. Scene Five – Something Black on the Snow.aif – 9’05”

3. Scene Six – Beaten to the Pole.aif – 11’47”

4. Scene Eight – Death on the Snow.aif – 7’30”

5. Scene Nine – The Blizzard.aif – 10’12”

6. Scene Ten – Oates Shall Leave.aif – 7’11”

7. Scene Eleven – Approaching the End.aif – 11’26”

8. Scene Twelve – Remembrance of setting sail from England.aif – 2’37”

9. Scene Thirteen – Hope.aif – 2’33”

Jamie Allen – Tenor

Benjamin Martin – Tenor

Michael Lampard – Baritone

Phil Joughin – Baritone

Nick Caddick – Bass

Paul Weingott – The Narrator

Gary Wain – Conductor

viii

Jeremy Williamson, Slade Hocking – Trumpets

Mandy Parsons – French Horn

David Scaife – Trombone

John Goldsmith – Bass Trombone

Thomas Misson – Piano/Organ

Calvin McClay – Percussion

Xinyu Guo, Rachel Forster, Rebekah van Emmerik, Gabrielle Robbin – Violins

Damien Holloway, Miaw Lim – Violas

Kate Calwell, Felicity Allan-Eames – Cellos

Emily Becker – Double Bass

Recorded by ABC Classic FM, July 7th 2012, Recital Hall, Conservatorium of Music,

Hobart, Australia

4. Homage to Lutosławski (2012).aif – 6’23”

Gabrielle Robin – Violin

Matthew Anning - Piano

Recorded by Arabella Wain, Michael Smith on March 29th 2013, Recital Hall,

Conservatorium of Music, Hobart, Australia

5. A Letter to the King of Norway (2012).aif – 6’32”

Kolio Plachkov – French Horn

Lisa Ibias – Violin 1

Angela Fricilone – Violin 2

Maureen Helfinger – Viola

Recorded July 29th 2012 at Davis Concert Hall, University of Alaska, Fairbanks,

USA

6. String Quartet No.3 - A Letter to the King of Norway Part 2 (2012).aif – 15’33”

Aaron Barnden – Violin 1

Jessica Bell – Violin 2

Ceridwen Davies – Viola

Caerwen Martin – Cello

Recorded for Crackbell Records by Silo String Quartet on April 21st 2013 at Fridy

Studios, Melbourne, Australia

ix

2. Recital - March 2011

1. Sonata for Clarinet and Piano – Mvt.II (2005).aif – 8’20”

Brigid Burke – Clarinet

David McNichol – Piano

2. The Ice Barrier (Chamber Version) (2011).aif – 14’36”

Michael Lampard – Baritone

Abby Fraser – Flute

Xinyu Guo – Violin

Michael Kieran Harvey – Piano

3. Vacuum Metastabilty Event - Sonata for Piano (2009).aif – 23’22”

Michael Kieran Harvey – Piano

Recorded by ABC Classic FM, March 6th 2011, Recital Hall, Conservatorium of

Music, Hobart, Australia  

3. Miscellaneous Recordings

1. Sonata for Flute – Mvt.II (2007).aif – 4’06”

Abby Fraser – Flute

Recorded October 2010, Recital Hall, Conservatorium of Music, Hobart, Australia  

2. Constellationism II for Flute, Clarinet, Piano, Violin, Cello (2009).aif – 13’37”

Roy Amotz – Flute

Michal Beit Halachmi – Clarinet

Naaman Wagner – Piano

Cordelia Hagmann – Violin

Shira Mani – Cello

Xu Yi An - Conductor

Recorded at the Asian Composers’ League Festival 2012, October 17th 2012, Hateiva

Hall, Tel Aviv, Israel  

Folder 2 [Folio Pdfs]

1. Exegesis – The simplification of complex notation presented in aleatoric forms.

2. Composition Folio

x

Abstract

The simplification of complex notation presented in aleatoric forms

This project seeks to find solutions to questions of complex musical notation and whether

they can be simplified by using techniques of limited-aleatory. A folio of compositions has

been written, constituting eighty percent of this project. These compositions demonstrate that

by using limited-aleatoric notation developed by Witold Lutosławski (1913-1994), that I can

achieve a complex outcome than if I had used a more complicated rhythmic language. The

exegesis constitutes twenty percent of the thesis with the remaining technique. As the musical

language of composition grew more complex during the 20th century there also developed

the need for ever more complex notational systems. The performers’ often-improvisatory

input was abandoned in favour of a strict control from the composer in a hyper-detailed

notation. As notation of melody, harmony and rhythm became more complex, the

performance outcome often sounded as a ‘notated improvisation’ wherein all sense of metre

and melody seemed to be lost. This led inevitably to aleatoric practices in the 1960s of

notating more simple ideas but arranging them to create more complex outcomes. In my own

composition the need for hyper-notated scores has given way to simpler forms where an

element of chance has been introduced at the point of performance of the score. The

compositions I write do not strictly fall into total forms of chance or indeterminacy as I still

exercise a level of control in the organisation of structure, pitch and time. By allowing a

degree of aleatory or randomness into the score there is a room for a simpler notation

working to achieve a blurring of melody, harmony and rhythm that occurred in many of my

earlier complex scores. In this exegesis I will show how examples of extreme notational

complexity and simpler notation through aleatoric techniques (although at times graphically

experimental) achieve the same ends in compositional and sonic complexity to the performer

and listener.

xi

Chapter One: Introduction and literature Review

The main subject of this composition folio and exegesis is to examine how issues of

notational complexity can be dealt with by using techniques that draw upon elements of

indeterminacy. Using models derived from the limited-aleatoric notation of Witold

Lutosławski (1913-1994), I have demonstrated in my own compositions how these methods

circumvent the need for complex rhythmic subdivisions. The exploration of indeterminate

elements led Lutosławski to formulate a musical language that necessitated the exclusion of

the strict adherence of meter that has dominated much of the history of Western music. The

main aims of these experiments in notation and the use of limited-aleatory are to present

music to performers that could create a high level of complexity without the need for

exhaustive amounts of rehearsal time. Each piece had a very specific set of requirements to

fulfill. Some pieces were written to test a hypothesis and enable the successful techniques to

be explored further in other pieces. The key pieces in this folio were to be an opera, an

orchestral piece and a string quartet. During my candidature it became apparent that further

exploration into techniques would be need to expand into other pieces to help the process of

evolution.

The folio of compositions I have written explore Lutosławskian methods of limited-aleatory

in order for me to better present my own explorations into complexity. The complexity of the

musical structure and the complexity of the notation used has been the crux of my

compositional process up until now. I now finding myself addressing question as to whether I

can achieve the same results with a simpler notation, i.e. can I express complexity simply? Or

is complexity merely complicated? Whether this complexity is part of the process of

composition or the notation, I have always been drawn to expressing complex ideas and

1

sounds. I have also viewed the compositional process as more than a tool for the construction

of new music but rather a construct for the solving of puzzles and structural ideas. Central to

my process is a sense of architecture, the designing and execution of a grand design or formal

scheme for the musical language. To merely write a collection of notes and explore their

interactions is not enough, there needs to be a solid framework on which to ‘hang’ a musical

interpretation like paintings on the walls. Disparate to these musical constructs were the

abilities or wishes of the performers, a series of confrontations with performers led to a

rethink of my stance on complexity.

This project demonstrates that without surrendering the principles of complex musical

architecture I can create definitive rhythmic and polyphonic forms that still adhere to the

aesthetic of complex music. My folio contains works for three large-scale ensembles and

three chamber works. The larger ensembles consist of a work for solo baritone voice and

symphony orchestra, an opera with a cast of six and chamber orchestra and a suite for thirteen

strings arranged from sections of the opera. The chamber works consist of a piece for violin

and piano, a quartet for French horn, two violins and a viola, and a string quartet. In all of

these pieces are to be found methods and techniques employing limited-aleatory to generate a

level of indeterminacy to better simulate rhythmic complexity. This folio of compositions

represents eighty per cent of this project.

The exegesis will look at how Lutosławski’s methods of limited-aleatory provide a satisfying

alternative in the context of my own composition. Discussion of his methods and the way I

have incorporated these methods into my folio of compositions will constitute the remaining

twenty per cent of this project.

2

Over the past several years I have been drawn to music that exhibits traits of indeterminacy

and aleatory. It is within these styles of notation that I believe I can present complex musical

structures without the strenuous demands of past works. In 2008 after the rehearsals and

performance of my piece for two guitars and soprano, Cenozoic (7 Guitar Songs), the

performers asked me if I had considered the possibility of notating the piece without bar

lines. As with many of my compositions over the past two decades, I have usually written

complex rhythms in a relatively simple time signature, the ebb and flow of rubato and

acceleration built into the subdivisions of the rhythm, the bar merely serving as a reminder as

to one’s position in the score. Much of the music had been written across beats and the bar

line, thus the redundancy of the bar line became apparent. The removal of these constraints

helped the performer independently execute their part and allow indeterminacy into the

performance. At a certain point complex rhythms cannot be entirely accurate when executed

by human beings, a certain level of chance and indeterminacy results in the placement of the

rhythm.

In composing my String Quartet No.2 later in 2008, I explored this notion and wrote without

barlines. Over the course of twenty minutes the quartet performed seventeen sections that

were separated by a pause or fermata. The pauses were designed as meeting points at the end

of a section to allow performers to reorientate themselves and catch up for the next section. I

have often thought about these sections as the joining of floors to walls to ceilings inside a

dwelling. Unsightly gaps are hidden with skirting boards and cornicing, the musical

equivalent are pauses and fermatas. It is the hiding of the gaps and joins that help the music

flow as a narrative without revealing the structural elements. Within each section of the

quartet the performer, though given strictly instructions regarding tempo, is to execute their

part without regard for the other performers. The quartet ensemble instead becomes a quartet

3

of soloists each competing for recognition, the effect is that the group does not want to sound

like a quartet.

A by-product of this technique was that previously explored rhythmic complexities in my

compositions were visually simplified. The complex outcome is decided by the misalignment

or chance encounter of the parts; their counterpoint now unsynchronised. Indeterminacy

renders the score as merely a vague map, the destinations constantly changing albeit only

subtly. Despite the level of indeterminacy allowed into this score, it still remains the same

piece. Two subsequent performances and recordings yielded subtle differences, duration of

performance, and placement of notes. There was no mistaking the structural integrity of the

piece remained intact and had not disintegrated through interpretation.

The same year, 2008 also brought an encounter with the score of Lutoławski’s Symphony

No.3 (1973-83). Although I owned a recording of this work and was intimately familiar with

its sound I had never seen the score. I was aware of Lutoławski’s place in contemporary

music but had never given much thought to the execution or techniques that he employed.

The revelation that the score contained a far less complex notation than I had imagined was

intriguing. Parts of the score did employ unusual techniques, namely the presentation of the

‘limited-aleatory’ but for the most part represented simplicity in its rhythmic language.

Lutoławski’s techniques presented a way of conveying complex aural results through a

simpler form of notation.

Primary sources of literature are selected scores and recordings of Lutosławski that show a

development in his limted-aleatoric notation starting with Jeux Venetians (1960) through to

his Third Symphony (1973-83). Examples from his late period of composition plot a stylistic

4

and consistent approach to his notation. Secondary sources include interviews that

Lutosławski gave as well as some analysis of these techniques.

A misconception that is often made about contemporary music is only music that has a

complex notation can be complex and the opposition to this; simpler music has a simple

notation. As discussed by Richard Toop in 1993, it is often the words complex and

complicated that are the cause of confusion.1 Toop argues that relationship of complexity to

difficulty translates to complexity to complicated, the latter usually the intent description

sought by the listener. The presentation of complex musical structures is not a unique pursuit

to the twentieth and twenty-first centuries but rather a driving force behind the development

of Western music as a whole. As Toop states “a trait of Western music has been the pursuit of

complexity and the underlying axiom that “given x, assume the possibility of x+1.” ” 2 The

possibilities presented to us as composers in the form of complexity have helped shape and

develop notational complexity. He argues that a work like Beethoven’s Grosse Fuge while

not notationally demanding or complicated still represents a complex structural architecture,

alternately Liszt’s Mazeppa Etude “may astonish through virtuosity”3 but not being musically

complex, it’s just hard to play. In the early 1990s disagreements over complex music and

difficult notation were emotionally charged and commonplace in the Australian new music

landscape; the factional point scoring essentially by-passed the issue of aesthetic complexity,

core to the works’ existence. The perceived complexity by the listener does not necessarily

facilitate the use of complicated notation in the score.

                                                                                                               1 Richard Toop, “On Complexity” Perspectives of New Music 31:1 (1993): 43. 2 Toop, 43. 3 Toop, 46.

5

The music of Brian Ferneyhough is considered synonymous with complexity and he more or

less echoes this in a conversation with composer James Boros;

Of course, ‘complexity’ is always relative to the implied position of the observer;

even superficially quite simple phenomena can be…‘deconstructed’ into…complex

and unpredictable patterns.4

He also states “I am concerned with keeping the listener constantly aware of complexity as an

inescapable given.”5 Though Ferneyhough acknowledges the relative standpoint of the

listener to complexity, his music is deliberately furnished with an aesthetic designed to

confound the virtuosic integrity of the performer. The deliberate choice of hyper-complex

notation in Ferneyhough’s music reduces the performers’ execution of the score to a

subservient attempt to reach the end of the piece. This is music that is both complex and

complicated. Both performer and listener alike have no illusions as to where his music sits; it

is complex music with a complicated notation.

                                                                                                               4 Brian Ferneyhough and James Boros, “Composing a viable (if transitory) Self” Perspectives of New Music 32:1 (1994): 115. 5 Ferneyhough and Boros, 115.

6

fig.1.1 Ferneyhough La Chûte d'Icare (1988) for Clarinet and small ensemble

The example at fig.1.1 from Brian Ferneyhough’s La Chûte d'Icare shows the degree of

difficulty inherent in the execution of his work. Constant presentation of difficult rhythmic

subdivisions, wide dynamic shifts and ever changing articulations for each performer ensures

a complex aural outcome. The rendering of a bar becomes a major milestone for the

ensemble. Whilst appropriately trained musicians could execute most of this information

much of the notation relies on some serendipity within the structure. Despite the performers’

best intentions, the execution of the rhythms for the clarinet in the second bar of this

example, unless performed by a computer, will not sound precisely as written. Indeed the

outcome of such notation can paradoxically often ‘feel’ improvised and elastic.

The American composer Thomas De Lio also touches on the differences between complex

and complicated. “Any complexity which may be involved in either creating or appreciating

7

a musical work has little to do necessarily with the complexity of that work’s surface.” 6 The

work’s surface in this case is the score, as it is the most tangible part of the compositional

process. But this prompts the question; is a piece of music the notation or is it the performed

interpretation of the notation?

As I mentioned earlier, an encounter with the limited-aleatory of Lutosławski helped me to

realise that complexity could be with a relatively simplified notation. To Lutosławski a

composition is quite clearly an activity for the participation of musicians aside from its

structural concerns.7 As mentioned earlier, music that is difficult to perform often requires an

indeterminate or ‘aleatoric’ solution. Replacing the exact placement of rhythmic complexity

with more indeterminate subdivisions over longer periods of time can help achieve more or

less the same effect. Clearly if the execution of the score is in itself the composition and the

notation is relegated to being a set of instructions, then the listener is still presented with

more or less the same construct.

Lutosławski, in explaining the use of ad libitum in his aleatoric works, said

“The very concept of collective ad libitum can be considered a reaction of composer-

performer to the often absurd demands which some composers have made of

performers in the last few years…I understand music not only as a series of sound

phenomena but also as an activity which is carried out by a group of human

beings…”8

                                                                                                               6 Thomas De Lio, “The Complexity of experience” Perspectives of New Music 31:1 (1993): 70. 7 Lutosławski quoted in Michael Leslie Klein, “A theoretical study of the late music of Witold Lutosławski: New interactions of pitch, rhythm, and form.” (PhD diss., New York State University, 1995), 102. 8 Lutosławski quoted in Michael Leslie Klein, 102.

8

Lutosławski realised during the late 1950s that the type of music he wished to produce, of a

type encompassing a new level of complexity, might require a solution other than a more

complicated notation. During 1960 he heard a radio broadcast of John Cage’s Concerto for

Piano and Orchestra (1950),9 which gave him the idea of using ‘chance’ procedures.10

Lutosławski was not interested in aleatory or chance determining the form of his composition

but instead to create a framework inside an ensemble to present new ideas. He himself

acknowledges that the use of ‘aleatory’ or the loosening of time connections between sounds

is not in itself a great innovation.11

The rise of indeterminacy after the Second World War was seen by many as something of a

reaction against the dominance of serialism that swept much of Europe and the United States

of America. The exclusive application of indeterminacy has been the elimination of style.12 It

helped Cage intensify the importance of sounds and the environment. Indeterminacy itself is

not an entirely invented concept of the twentieth century; examples have been found as early

as the eighteenth century. Mozart explored the concept of a ‘musical dice game’ in sketches

for his Adagio from the String Quintet K.516 (1787).14 Gustav Mahler explored its uses in

woodwind writing, a simple accelerando helping to achieve a sense of aleatory in the first

movement of his Symphony No.3 (1893-1896).15 The marking in the score reads “ohne

Rücksicht auf die andern (without regard to others).” Much of the later music of American

composer, Charles Ives requires indeterminate or aleatoric solutions to the very challenging

                                                                                                               9 James Pritchett, et al. "Cage, John." Grove Music Online. Oxford Music Online. (Oxford University Press), accessed May 18, 2013, http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2223954. 10 Charles Bodman Rae, The Music of Lutosławski (London: Faber and Faber, 1994), 75. 11 Zbigniew Skowron, Lutosławski on Music (Lanham, Maryland: The Scarecrow Press, 2007), 114. 12 Bryan R. Simms, Music of the Twentieth Century: Style and Structure (New York: Schirmer Books, 1986), 357. 14 Paul Griffiths, “Aleatory” Grove Music Online, http://www.oxfordmusiconline.com.ezproxy.utas.edu.au/subscriber/article/grove/music/00509?q=aleatory (accessed 23/03/11). 15 Gustav Mahler. Symphony No.3. (New York: Dover Publications, 1989), 51.

9

and complex rhythms found in his scores. Parts of his Symphony No.4 (1910-1916) require

the coordinated effort of two conductors each leading an ensemble through disparate musical

threads. Henry Cowell’s Mosaic Quartet (String Quartet No.3, 1934-35) permits the

performers to choose the order of movements; a different form thereby arises out of the same

structure. John Cage’s experiments with compositional form, utilising the I Ching further

developed the role of indeterminacy. The use of chance procedures to help determine form,

structure and performance requirements freed post-war music from “ideas of order” with

“spontaneous actions”.16

A very simple definition of ‘aleatory’ is “A term applied to music whose composition and/or

performance is, to a greater or lesser extent, undetermined by the composer.”17 An expansion

further to this acknowledges that whilst all music is subject to aleatoric interpretation18 the

term usually describes music in which a composer had exercised a deliberate withdrawal of

control in the performed realisation of the music. Three types of scores that employ aleatory

may be distinguished; (i) the use of random procedures in the generation of fixed

compositions; (ii) the allowance of choice to the performer(s) among formal options

stipulated by the composer; and (iii) methods of notation which reduce the composer’s

control over the sounds in a composition.19 While much has been written about the use of

indeterminacy in twentieth century composition, Lutosławski saw the use of aleatory as a

way to shake the bonds of the ensemble. In a lecture given at Tanglewood in 1962,

Lutosławski discusses the uses of two types of aleatory. He calls them “large-scale” and

“small-scale” aleatorism.20 The large-scale decides the whole form of the work by chance,

                                                                                                               16 Simms, 360. 17 Paul Griffiths, “Aleatory” 18 As it is impossible for a composer to dictate every performable element of a composition the performer always resorts to aleatoric solutions in performance. 19 Griffiths, “Aleatory” 20 Skowron, 41.

10

whilst in the small-scale it is the small details of the work that are subject to chance. It is the

use of aleatory on the small scale that Lutosławski developed while the main formal contours

remained the determined parameters.21

A large-scale use of aleatory may rely on the performer deciding on the sequence of sections,

for example A, B, and C. The freedom of the performer thus creates the possibilities for many

separate yet similar works based on the combinations of A, B and C. The role of

indeterminacy creates performances where the listener seemingly hears the work each time,

even though the same elements are repeated. Small-scale is the type of aleatory Lutosławski

saw as “enriching the language of music.”22 The new rhythmic possibilities of chance enable

intricate and subtly endless combinations of instrumental colour in the large-scale musical

structures. This formed the basis of Lutoławski’s experiments in aleatoric-counterpoint and

allowed the further expansion of his chordal serialism.

Jadwiga Paja discusses the way in which Lutosławski combines the traditional structures of

pre-1900 structural organisation with his dodecaphonic and hexachordal structures and

aleatoric techniques to create polyphony.23 Whilst many of Lutoławski’s early works

demonstrate contrapuntal techniques such as fugato, canon and stretto, his works in the

‘aleatoric period’ look to the use of unsynchronised polyphonic devices in the instrumental

texture to create an aleatoric-counterpoint. The deliberate non-synchronisation of notes and

rests ensures that the prevailing pitch structure results in a “diffusional aggregation.”24 This

ensures that the static harmonic sections retain their character but are also afforded harmonic

                                                                                                               21 Skowron, 42. 22 Skowron, 43. 23 Paja Jadwiga, “The Polyphonic Aspect of Lutosławski’s Music” Acta Musicologica 62: 2/3 (1990) 186. 24 Jadwiga, 186.

11

richness through diffusional techniques. The precise notation of the parts, to be performed ad

libitum, is designed so that they miss each other thus ensuring a constant but rhythmically

interesting aural result.

Lutoławski’s harmony has no connection with the major-minor system instead employing

intervallically-determined relationships both vertically and horizontally. From 1960

Lutosławski almost exclusively uses twelve note chords for his compositions; his serial

techniques explore the intervallic relationships between the notes of the chords. In the

beginning of the first subject from the Fugue from the Preludes and Fugue for 13 solo strings

(1972) the intervals used in the 12-note chord are made up of major seconds and perfect

fifths. It is the juxtaposition of intervals and their complex iterations that constitutes the

polyphony in Lutoławski’s work.

In his earliest work with limited-aleatory, Lutosławski used polyphony across the whole

ensemble. In later works polymorphic-polyphonic structures are seen in single instrumental

lines. The continual development of “enlargement and amplification of pitch material”

dispersed across the ensemble exploits the individual instrumental timbre and in the context

of its arrangement, forming “diffusional polyphony”.26

Directionality seems to be at the very heart of Lutoławski’s music. The concept of akcja, or

plot, looks at his attempts to create “truly goal-orientated structures” and “solid musical

content”27. Reyland looks at what constitutes events in a ‘musical plot’ and how Lutosławski

                                                                                                               26 Jadwiga, 190. 27 Nicholas Reyland, “Lutosławski ‘Akcja’, and the poetics of musical plot” Music and Letters 88: 4 (2007) 606.

12

resolved these problems in his works after 1960. Logical applications of succession,

culmination and resolution are the major achievements in these works.

Lutoławski’s early education in composition with teacher Witold Malisezewski showed him

the importance of the “psychology of form”.29 The development of syntactical content both

harmonic and thematic and the subservience of statistical formal materials to their

articulation30 become the driving force behind Lutoławski’s formal concerns. Malisezewski’s

characters of narrative reveal the content of akcja. The four main characters are “narrative,

transitionary, introductory and terminative”.31 Their definitions and character within the

relationship of a particular section of form help direct the listener through the various

structural stages and goals.

Music of “narrative” character is the most important and forms the basis of the musical

argument and dominates the attention of the listener. Lutoławski’s explains this section as:

““I hear this and nothing else occupies my attention”. Passages of a transitional

nature: “I hear this, but, above all, I feel that what I hear is leading me on to

something different which I shall hear in a moment.” Introductory: “I hear this and

realise that actually I am anticipating the hearing of something else.” And

Concluding: “I hear this, but I realise that in a moment the whole form or some stage

of it is about to end.””32

                                                                                                               29 Douglas Rust, “Conversation with Witold Lutosławski” The Musical Quarterly 79: 1 (1995) 207-223. 30 Reyland, 609. 31 Reyland, 610. 32 Lutosławski quoted in Reyland, 611.

13

The way in which Lutosławski thinks about the passage of musical ideas is crucial to his

content and the articulative shape of his forms. His constructions of large-scale forms

demonstrate his priority for the mapping of major ‘narrative’ events.

Our first consideration should be the moments of intense musical significance….With

these moments we place others, less arresting, which by themselves are of no great

intrinsic significance and which would lose their meaning if taken out of their

context….because the significance of such moments depends above all on their

relationship to other moments of the form….In other words: their significance

depends first and foremost on their formal function….These two types of music

constitute the foundation upon which to build a larger form, and upon our ability to

manipulate them depends the architectural worth of our large forms. 33

The akcja is revealed through the presentation and relationship of important and thematic

material. Lutosławski also likens this material to the “entry of new character[s] in a drama”,34

where the main subject takes on the role of protagonist. The workings of his music follow the

same interactions, epiphanies, and transformations of the characters in literary plots.35

Lutosławski employs not only harmonic and thematic forms to reveal his akcja but also

constructs shapes and events that colour and characterize important musical landmarks.

When I start work, it is as though I am flying over a city, and slowly losing height I

can see more and more clearly the outlines, the streets and houses. Naturally I also

                                                                                                               33 Lutosławski quoted in Reyland, 611. 34 Reyland, 610. 35 Reyland, 612.

14

start work frequently near the ‘earth’, when I see every detail very clearly and in

close-up…36

Lutosławski’s music revolves around the shape and substance. The shapes inside the form

become crucial to the understanding of the definitions and parameters of sections. Key ideas

are often represented through non-traditional shapes and groupings of instrumental colour

and moments of “limited-aleatory”. Reyland provides a useful table to show these

parameters.

                                                                                                               36 Lutosławski quoted in Bálint András Varga, “Lutosławski Profile” Witold Lutosławski in Conversation with Bálint András Varga (London, 1976), 35.

15

TABLE 1. Lutosławski’s parameters for the creation of musical ideas37

Parameters Summary of Lutosławski’s description

‘Disposition of sounds in the The registral placement of sounds, the compass

of a musical gamut’ sonority, its relative highness or lowness,

compactness or looseness

‘Timbre’ The individual instruments or families playing

and the effects on their sounds of register,

dynamics, attack, means of tone production,

different combinations, etc.

‘Types of rhythm, and frequency The contrast between conducted and limited-

aleatory of impulses’ sections, types, speeds, and complexities of

rhythmic groupings, etc.

‘Intensity’ Dynamic levels and the number of instruments

playing

With Malisezewski’s concepts of narrative forms as a basis, Lutosławski was able to adapt

these ideas to suit a more contemporary idiom better. The substitution of ‘static’ for

Malisezewski’s ‘narrative’ with and the nominating of ‘transitionary, introductory and

terminative’ to ‘dynamic’ Lutosławski better explain his musical concepts. Static music and

                                                                                                               37 Reyland, 612.

16

its characterization of “staying in the same register, with the same timbre and intensity” was

linked by the dynamic, “a lack of balance…they exert some kind of force…and direct our

attention to what is just about to follow”.38

Table 2 shows the types of musical characters employed in these forms.

TABLE 2. Static and dynamic events 39

Type of Maliszewski terms Desired affect on listener Musical characteristics

event perception (Lutosławski’s indicated in ‘Form’

description of Maliszewski’s

characters)

Static Narrative; content ‘I hear this and nothing else Sustained harmonies,

occupies my attention’ distinctive motive ideas,

No obviously goal-

directed changes in

tempo, timbre, dynamic

level, etc.

Dynamic Introductory, trans- ‘I hear this, but, above all, Changing harmonies,

itional, conclud- I feel that what I hear is rapidly evolving or re-

ing; formal leading me on to some- peated motivic ideas,

thing different which shifting dynamic levels,

I shall hear in a moment’ more obviously goal-

directed changes to

dynamic level, rhythm

and tempo, timbre, etc.

                                                                                                               38 Reyland, 613. 39 Reyland, 613.

17

Rust examines the question of perception and how the listener can perceive the complexities

found in Lutosławski’s musical akcja. by defining the musical landscape as regions ‘static’

and ‘dynamic’.40 Examples provided from the Second Symphony (1967) pose two important

questions. Firstly, how much pitch contour detail can the ear perceive in this music? And

secondly, what do those details mean?41 From an examination of two bars from the

Lutosławski’s Symphony No.2 (1967) 42 and the density of the material, the section he

chooses has opposing glissandi in the wind and strings with brass, piano and pizzicato

punctuations. The texture of this example calls into question the notion of ‘perception’ and if

indeed the casual listener can discern the complexities inherent in the orchestration and

texture. Rust uses the word “sound mass”43 but I think this is not entirely accurate to describe

Lutosławski’s music. His music does share textural aspects of some of his contemporaries,

such as Penderecki, but it is Lutosławski’s dedication to pitch based serialism and not just the

exploration of dense sound textures that sets him apart. Lutosławski’s use of established

classical forms juxtaposed with “aleatoric-counterpoint” made him a unique voice in

twentieth century music.

Rust examines the seven independent voices in the Second Symphony and he questions

whether a listener can discern the separate melodic strands, would five or even four voices

have been more discernable? It is Lutosławski’s use and manipulation of textural density that

is at work. Rust asks; “At a tempo of crotchet = 142 would it not have been easier to write

parallel motion for the wind?” 44 Had Lutosławski done this then the density in the harmonic

relationship would have sounded very different. It is these stresses in density and the

                                                                                                               40 Douglas Rust, “Two questions of perception in Lutosławski’s Second Symphony” Perspectives of New Music 42: 2 (2004) 190. 41 Rust, 190. 42 Rust, 191. 43 Rust, 192. 44 Rust, 193.

18

relationship between the serial uses of intervals that flavour Lutosławski’s harmonic texture.

Textural intricacy results in the passage having a dense harmonic palette, (the addition of

voices (seven or eleven) conveys the complexity Lutosławski wrote). Three voices will sound

very different from seven, even to a listener with no previous training. Lutosławski’s exploits

the dissonance despite the fact that the speed makes it difficult to discern exactly the minutiae

in the notation. While this example was strictly notated in ¾ these ideas also are apparent in

Lutosławski’s ad libitum sections. The controlled manipulation of harmonic material in these

sections of limited-aleatory and the resulting level of aleatoric-counterpoint or polyphony

lend Lutosławski’s music an aural complexity simultaneous to exploits a simpler rhythmic

language.

Rust also discussed with Lutosławski his compositional outlook in an article taken from an

interview with the composer in late 1993, and published in 1995 45 just after the composer’s

death. The bulk of the interview discusses Lutosławski’s uses of harmony and more

importantly the development and research of his twelve-note chordal techniques. Aside from

the application of limited-aleatory and the deliberate construction of non-synchronise

polyphony, Lutosławski’s entire encompassing goal, structurally, was built from intervallic

relationships utilized in combinations of twelve-note chords. Lutosławski was very careful in

what he revealed, his dislike of discussing works in progress or details of compositional

techniques is apparent. Rust carefully drew answers from Lutosławski about the nature of his

compositional devices and the aesthetic standpoint that he composed from. Also discussed is

the apparent simplicity, which Lutosławski further develops, in his later works. A parallel

between the polyphonic nature of his second and third symphonies allude to refinements in

                                                                                                               45 Rust, “Conversation with Witold Lutosławski” 207-223.

19

his techniques as his aleatory moves from polyphonic building blocks to enhancements in

melodic content.

Both Michael Klein and Steven Stucky have made considerable contributions in the field of

research of the music of Lutosławski. Stucky’s book, Lutosławski and his Music 46 examines

the work and creative output of Lutosławski beginning with his early years after the Second

World War in Warsaw. Lutosławski’s output as a composer in the dark years of Stalin’s

domination of the Eastern Bloc countries received harsh criticism, relegating him to virtual

obscurity. Works from this early period contained many celebrated works but it was not until

Stalin’s death in 1953 and the subsequently relaxation in cultural attitudes, that Lutosławski’s

music was able to find an audience in greater Europe and the United States of America.47 It

was these same changes in attitude that also fostered the changes Lutosławski employed to

develop his unique compositional voice later in his life.

Michael Klein’s doctoral thesis from 1995 examined the interaction of Lutosławski’s pitch,

rhythm and form.48 In particular he examines the interactions of these elements within the

boundaries of “limited-aleatory” and how they help the music gain a sense of unique identity.

Klein has analysed Lutosławski’s methods of twelve-note chordal serialism in the context of

aleatory and how both methods of organization helped synthesis his sound. Lutosławski’s

development of chordal serialism was his reaction against the twelve-tone serial techniques

initiated by Schoenberg but still continuing into the later half of the twentieth century.

Serialism relied on the absence of a tonal centre but rather the annunciation of a tone row;

Lutosławski wished his serialism to be grounded in harmonic principles that gave importance

                                                                                                               46 Steven Stucky, Lutosławski and his Music (Cambridge: Cambridge University Press, 1981) 47 Stucky, 58. 48 Klein, 98.

20

to the interval and subsequent utterances of notes in relation to intervallic distance.49

Lutosławski’s exploration of intervallic relationships found within twelve-note chords helped

him achieve a harmonic language that did not rely on the minor second.50 By limiting

intervallic qualities of a chord, for instance a chord only constructed with intervals of a major

second and perfect fifths, Lutosławski was able to manipulate the tension and resolution of

harmonic organization in his later works. Similarly the slow moving nature of his harmonic

style best suited his developing ideas on aleatory.

Aside from the theoretical writings on the music of Lutosławski, I have found in the

composer’s own recordings of his works an endorsement of the techniques he explored.

Despite the growing trend of experimentalism in the latter half of the twentieth century,

Lutosławski still experienced bias and negativity towards his developing and unique style of

notation so much that he embarked on conducting lessons during the 1960s. Many of the

memorable recordings of his works are under the baton of the composer himself. In particular

the recordings of the Symphony No.2 and Trois Poemes d’Henri Michaux51 demonstrate his

prowess on the podium and his interpretive flair of his own work. These recordings help

understand his methods and techniques of “limited-aleatory” and “polyphonic-aleatory”

through the clarity of expression. The use of skillful ensemble writing reveals the success of

these methods of articulating aleatory across such a complex group as the modern symphony

orchestra. With scores such as these, it is sometimes difficult to gain a clear grasp of the

resultant sound from the notation. The aleatory used deliberately misrepresents the beginning,

end and synchronization of sections. It is not until the recording has revealed the construction

                                                                                                               49 Stucky, 241. 50 Nikolska, 105. 51 Witold Lutosławski, Symphony No.2, Trois Poemes d’Henri Michaux, Witold Lutosławski, dir. Polish Radio National Symphony Orchestra and the Krakow Radio Chorus, EMI Recordings 517 634 2, 1994.

21

and juxtaposition of these fragmented ideas that one can understand the deep thinking present

in such techniques.

As explained earlier, my own introduction to the recordings of Lutosławski had perhaps

presented a false notion of what the music may have looked like. It wasn’t until I read

through the score of Symphony No.3 that I could begin to grasp the fluent way in which the

notation unfolded. To the uninitiated the music could either sound almost totally improvised

or totally controlled. It was the discovery of the successful of integration of aleatoric and

orchestral writing that I realised that my own work may benefit from the same experiments.

The goal of my composition folio is to explore and implement methods of controlled or

“limited-aleatory” using the notation Lutosławski as a model. Further to the development of

my own compositional craft, these models will be a starting point to eventually articulate my

own ideas with my own style of notation.

The main works that I have written for this folio and had performed are an opera, a

symphonic work with solo baritone and a string quartet. The successful implementation of

these techniques and subsequent questions that emerged from rehearsals and performances

will be addressed in a later chapter. The working models that are developed in these

compositions will provide answers to the questions of complexity and performability that

have been at the forefront of my practice. My methodology in the exegesis includes a

comparison of aleatoric techniques in Lutosławski’s late period.52 These correspond to the

types of ensembles I have written for. As Lutosławski did not write an opera, the work for

chorus and wind orchestra, Trois Poemes d’Henri Michaux (1963) will be used as a model

and compared with my opera, Fire on the Snow. Performance outcomes will also help in

                                                                                                               52 Lutosławski’s late period starts with the completion of Jeux vénitens (1960), his first piece exploring “limited-aleatory” through to the composers death in 1994

22

testing whether these techniques have provided a workable solution in simplifying my

notation and providing a less complex notation.

As previously stated, the aleatoric techniques found in these works of Lutosławski are the

starting point as models for the formulation of my own techniques and methods of aleatory,

and will continue to inform my composition beyond the scope of the doctorate. The main aim

of the composition folio is not to copy or replicate Lutosławski’s techniques exactly but to

use them as a solution to my question of complexity. Lutosławski’s compositions sound like

his not only for the techniques of limited-aleatory that he devised but also by his

manipulation of specific interval combinations used in twelve-note chords. The limited-

aleatory is really a by-product of his serial technique, a way for the detail and relationships

between intervals to find a polyphonic voice. As will be discussed in an upcoming chapter,

my music, though serial in nature does not utilise a convention of using all twelve pitches

either through melodic or harmonic means.

The originality to my approach is to enhance my own creative harmonic language and retain

a level of rhythmic complexity that I am satisfied with. It must be pointed out that during my

process of adopting techniques of limited-aleatory, my own music has shifted from a linear,

horizontal serialism to a vertical, chordal method. Whilst I haven’t adopted the same type of

intervallic method employed by Lutosławski, I have nevertheless found the shift to chordal

serialism satisfying in that it has allowed for greater reliance on intuitive composition. In the

early days of my experiments in serial pre-compositional methods I quickly discovered that

much of the final piece could be derived from my formulas and methods. Unfortunately these

do not make for pieces that capture a listener’s interest, including my own. Refinements of

these techniques over time helped my music progress from formulaic exercises to more

23

intuitively rounded compositions but I have always retained a degree of control over my

material. One major technique in allowing more intuitive elements into my work was to

generate large amounts of musical material (i.e. pitch sequences, rhythmic patterns and

combinations) and apply filters. These filters would help in construction of short scores from

which I could write and orchestrate the music. The main function of a filter is to allow certain

elements through to the next step of the process; this would be determined by my desired

musical result. From much musical material I would excise and filter out what was not

needed. However moving to a more chordal approach that uses the in-built indeterminacy of

limited-aleatoric notation, I only needed to generate small amount of material in which to

expand upon.

24

Chapter Two: The simplification of complex

notation presented in aleatoric forms

This chapter has been removed for copyright

or proprietary reasons.

McIntyre, Scott, The simplification of complex notation presented in aleatoric form, in Poole, Marian. Editor re-Visions: Proceedings of the New Zealand Musicological Society and the Musicological Society of Australia Joint Conference hosted by the University of Otago, Dunedin, New Zealand between 2nd and 4th December 2010, Chapter 3, pages 31 – 43

This publication is available at http://www.msa.org.au/edit/conference_pdfs/Proceedings%

20re-Visions%202010%20Conference.pdf

Chapter Three: Methods of Composition

Since my studies as an undergraduate composition student, I have been involved in writing

some form of serial music. My fascination began during studies in high school of works by

Schoenberg, Berg and Webern. Whilst my admiration for the use of twelve-tone techniques

in their works encouraged me to explore these compositional concepts, I was not entirely

convinced of using these methods in my own musical output.

Not wanting to use Schoenberg’s method of assigning each semi-tone of the chromatic scale

to an equal equivalent prompted the exploration of serial music. Schoenberg’s ideas promote

a ‘socialism’ of tonality by removing the chordal hierarchy of Western functional harmony71

but constant and often rapid iterations of all twelve notes of a row seemed a limitation. The

music of the Second Viennese School is very colourful and timbrally diverse and atonal

serialism can of course generate many combinations of twelve-tone sequences and their

permutations in retrograde and inversion. Nevertheless all twelve tones have to be uttered in

order to complete the sequence, this constant sounding of the twelve tones paints a musical

landscape that can sound tonally repetitive after a time, no matter how varied the matrices

are.

I was more interested in the relationships between notes and the interaction on a contextual

level of tones in sequence and the approach to a certain note or series of notes, and the

discarding of such notes as sequences reveal themselves. Also the intervallic sequence

between the notes in a series could provide interest harmonically. I looked for ways that I

                                                                                                               71 Rainer Bischof, “Thema: Der geist der wiener schule.” Österreichische Musikzeitschrift 63, No.1 (2008): 24-32.

41

could generate material to function in a serial context yet the material could choose how

many notes it would discard or retain according to its place along the row.72

During this time I also developed a fascination with the relationships, numerically, between

letters of the Alphabet and numbers. Many ancient languages such as Greek and Hebrew

made use of these relationships to construct abstractions that explored the nature of word

formation and semiotic value. Particular words through substitution shared numerical values

with others; often these words would have a linked subtext based on these numbers. This is

known as Gematria. Further research into methods of generating musical material led to

composers that utilised numerical sequences that could form direct relationships between

pitch and rhythm, or time-space. It was in the works of Australian composer, Chris Dench

where I found convincing methods to apply numbers to generate pitch and rhythm derived

from the use of numerical sliders and numerical combinatoriality.73

I wanted to explore this in the use of people’s names or quotes from literature that had some

personal meaning for myself. Explorations with these techniques over time helped me to

formulate a serialisation my music that also explored a very rhythmically complex music that

followed an intricate tonal polyphony. I continued in this trend for many years but grew to

eventually reject these processes for a time. The musical results from these ‘exercises’ were

not only difficult to perform but even more difficult to listen to, even for myself. I could no

longer write music that I no longer felt any connection to, so the next few years I withdrew

from the world of concert music composition. After about a decade I felt I had the desire to

revisit my serial techniques and began to think about new applications of serialism but in a

                                                                                                               72 My use of the word ‘row’ differs from Schoenberg’s; whereas his definition relates to a sequence of twelve non-repeated tones, mine refers to an entire sequence that could encompass many repetitions of similar notes. 73 Richard Toop, “Sulle scale della fenice.” Perspectives of New Music 29, no.2 (1991): 72-92

42

new type of musical sound world. I retained those elements of serialism that I had

experimented with earlier but imagined a way that the musical outcomes could be shaped

differently.

Many of these early serial pieces utilised the sequence across all musical choices. Not only

did the numbers govern pitch and time, but also helped generate dynamics, articulations,

density in orchestration, tessitura of the range etc. Also these early serial pieces made little

room for practical considerations of musical gesture, performability of the music or timing in

relation to musical structure. The new approach to adopted serial techniques would still

utilise those relationships between letters and numbers but would treat this process as the

generation of data only. Whereas composers of traditional diatonic music would explore

musical forms through the interaction of chord changes and voice leading, here the numbers

would generate material in the same way (that is to say, my music whilst being concerned

with the movement of pitches and intervals, I am not so much concerned with the specific

pitches that can do this). Data can be shaped and used accordingly to build a musical

skeleton; the generation of musical material reveals a structure but never dictates the final

outcome of the piece. This new approach would allow a more intuitive use of procedural

musical data.

All of my compositions are initially constructed in the same way, when thinking about the

development of an idea I begin with this same technique but the trick lies in how to

manipulate or arrange the data to give the desired musical result. A piece may be fast or slow,

legato or staccato or both. It will be for a specific combination of instruments; all of these

factors can influence the design of the preliminary material.

43

The following analysis of my methodology looks at the structures derived for my opera, Fire

on the Snow. As mentioned earlier, I was interested in the use of Gematria in its ability to

convert letters into numbers and its symbolic value. This helped me to personalise pieces so

that a new piece written for a specific performer could be entirely based upon the letters of

their name. I was attracted to the uniqueness of these techniques and the level of symbolism it

represented. It was a way to personalise the music and imbue it with a deeper meaning that

would not be apparent to the listener.

With Fire on the Snow, logically the central figure of the story was Captain Robert Falcon

Scott. As a starting point for a combination or sequence of letters the use of his name as the

basis of the opera seemed obvious. I chose to use his given names, as they would provide a

data string of base twelve. Using R O B E R T S C O T T would only give me eleven

numbers, which did not fit into my desired parameters. This will be explained in a further

chapter. However, the letters, R O B E R T F A L C O N, gave me twelve letters.74

R O B E R T F A L C O N

Primary 18 15 2 5 18 20 6 1 12 3 15 14

This first set of numbers (data string) relates to the numerical position of each letter between

1-26. This is the initial sequence from which all data is extracted. Also in this case, this is the

primary letter sequence of this particular piece.75

                                                                                                               74 Most people know Scott as Captain Scott, which is also twelve letters but I felt the use of his actual names, not a title of rank, was more suitable. 75 A secondary data string would be used for the central scene based from A N T A R C T I C A. Although Fire on the Snow only uses two sequences (R O B E R T F A L C O N and A N T A R C T I C A) many pieces I have written combine more than one data string. In my second and third string quartets the letters from the names of each player were used to create their own unique part in the piece. The material for my piano sonata, Vacuum Metastability Event (2009) used ten data strings arranged as a crossword puzzle.

44

Once the primary data string has been determined then a secondary one can be generated.

R O B E R T F A L C O N

Primary 18 15 2 5 18 20 6 1 12 3 15 14

Secondary 10 8 2 4 11 12 5 1 6 3 9 7

This second set of numbers relates to the numerical hierarchy of each letter in the primary

data string. The twelve numbers in this string are arranged in a sequence that mirrors their

numeric value in the alphabet. If the letter with the smallest value is A (equal to 1) and the

highest is T (equal to 12), then R is equivalent in value to 10 and so forth. As many words we

use often repeat certain letters, for the sake of consistency I always assume the second

subsequent iteration of this letter in the initial sequence is the higher value. The letters R O

B E R T F A L C O N string contain two Rs and two Os. The first statement of a

letter will be the higher value to subsequent repetitions. Thus the first R is the tenth highest

number in the sequence, the next R is the eleventh. The same with the O; the first O is the

eighth highest letter, and then the next O is the ninth.

This secondary set of numbers is quite important. This sequence helps to provide sequential

combinations of the initial line. Matrices can be derived based on an x and y axis (fig.3.1). So

with the sequence 10, 8, 2, 4, 11, 12, 5, 1, 6, 3, 9, 7 lying along both axes I can extrapolate

the rest of the square.

                                                                                                                                                                                                                                                                                                                                                       

45

fig 3.1 x/y axis (Primary matrix)

10 8 2 4 11 12 5 1 6 3 9 7

8

2

4

11

12

5

1

6

3

9

7

So the number of steps between each number is always going to remain consistent utilising

base twelve. The number of steps between the first two numbers in the sequence (10 and 8) is

always ten steps in base twelve, the next (8 and 2) is six, the next (2 and 4) is two and so on.

The x line can be completed and the y line filled in from the data from x. As each new line of

x is calculated then line y can be filled in to complete the sequence.

46

fig.3.2 Primary Matrix

10 8 2 4 11 12 5 1 6 3 9 7

8 6 12 2 9 10 3 11 4 1 7 5

2 12

4 2

11 9

12 10

5 3

1 11

6 4

3 1

9 7

7 5

47

fig.3.3 Secondary matrix

10 8 2 4 11 12 5 1 6 3 9 7

8 6 12 2 9 10 3 11 4 1 7 5

2 12 6 8 3 4 9 5 10 7 1 11

4 2 8 10 5 6 11 7 12 9 3 1

11 9 3 5 12 1 6 2 7 4 10 8

12 10 4 6 1 2 7 3 8 5 11 9

5 3 9 11 6 7 12 8 1 10 4 2

1 11 5 7 2 3 8 4 9 6 12 10

6 4 10 12 7 8 1 9 2 11 5 3

3 1 7 9 4 5 10 6 11 8 2 12

9 7 1 3 10 11 4 12 5 2 8 6

7 5 11 1 8 9 2 10 3 12 6 4

The resultant matrix is finished (fig.3.3) and we have a matrix that always expresses the same

distance between all numbers in the data string that relates to the initial sequence.

Once this matrix is calculated it is then easy to extrapolate a matrix constructed from the

primary data string through the use of substitution.

Primary 18 15 2 5 18 20 6 1 12 3 15 14

Secondary 10 8 2 4 11 12 5 1 6 3 9 7

Looking at the relationship between the numbers in both primary and secondary data strings,

we substitute the numbers to make a matrix derived from primary numbers. (fig.3.4). For

48

example, all occurrences of 10 in the secondary string are replaced with 18 for the primary.

All 8s are replaced with 15 and so on. Because the secondary string contains no repeated

numbers, it is necessary to complete that secondary matrix first in order to extrapolate the

primary.

fig.3.4 Substitution matrix

18 15 2 5 18 20 6 1 12 3 15 14

15 12 20 2 15 18 3 18 5 1 14 6

2 20 12 15 3 5 15 6 18 14 1 18

5 2 15 18 6 12 18 14 20 15 3 1

18 15 3 6 20 1 12 2 14 5 18 15

20 18 5 12 1 2 14 3 15 6 18 15

6 3 15 18 12 14 20 15 1 18 5 2

1 18 6 14 2 3 15 5 15 12 20 18

12 5 18 20 14 15 1 15 2 18 6 3

3 1 14 15 5 6 18 12 18 15 2 20

15 14 1 3 18 18 5 20 6 2 15 12

14 6 18 1 15 15 2 18 3 20 12 5

From this matrix square rhythm can also be manipulated. These numbers can govern

sectional durations and deeper nestings (ie. minutes, bars, rhythms, isorhythmic sequences,

etc.)

The other pieces of important data are the cumulative values that these strings yield. In the

case of the secondary string it is a simple matter of working out a summation using twelve

49

numbers. This produces varied results for data strings of different lengths of course. A data

string of only two numbers76 will yield a value of three. A data string of three will yield a

value of six. This is easily calculated by adding from one through to the final number. So a

data string of twelve will produce a value of seventy-eight. As mentioned earlier, material is

chosen to help realise the initial soundworld and ideas for each piece. A summation of

seventy-eight is of a relatively average value to me. A data string of perhaps, twenty would

yield a very high summation output, two hundred and ten.

This summation output can also be helpful in determining important structural elements. I

roughly envisaged a ninety-minute work for Fire on the Snow, the twelve scenes that employ

the R O B E R T F A L C O N data string could quite feasibly be seventy-eight minutes in

length, theoretically that is.77

My final piece of data to extract is possibly the most complicated. Rather than a summation

sequence employed with the secondary data string, I use a cumulative method with the

primary data string.

R O B E R T F A L C O N

Primary 18 15 2 5 18 20 6 1 12 3 15 14

Cumulative 18 33 35 40 58 78 84 85 97 100 115 129

                                                                                                               76 I have never used a data string of such a small value. I have always considered three to be the smallest data string pertaining to any useful information. 77 It is worth noting that actual lengths of score and their subsequent performance can vary greatly so these numbers are purely academic in a structural context.

50

The cumulative sequence is derived from the subsequent addition of the numbers in the

primary data string. So 18 plus 15 yields 33, 33 plus 2 is 35 and so on. The final total of 129

is the cumulative value of all numbers in the primary data string.

This new data string can also be laid out on an x and y-axis along the bottom and right

column so that the largest value resides in the bottom right corner of the matrix.

fig.3.5 Slider Matrix

1 2 3 4 5 6 7 8 9 10 11 12

A 18

B 33

C 35

D 40

E 58

F 78

G 84

H 85

I 97

J 100

K 115

L 18 33 35 40 58 78 84 85 97 100 115 129

51

To fill in the rest of the matrix each row is divided by the value of row L (this figure is

essentially a percentage of L) and then multiplying it by each subsequent column. For

example we divide A12 by the value of L12 (a value of 0.13953) and multiply that value by

L1 (2.51162). This number becomes the value of A1 (which is 0.13953 x L1), This sequence

of multiplication is repeated (L2 for A2, L3 for A3 etc.) until row A is complete. (fig.3.6).

Row A is each value of row L multiplied by a factor of 0.13953 and then rounded to the

nearest integer.

fig.3.6 Slider Matrix

1 2 3 4 5 6 7 8 9 10 11 12

A 3 5 5 6 8 11 12 12 14 14 16 18

B 5 33

C 5 35

D 6 40

E 8 58

F 11 78

G 12 84

H 12 85

I 14 97

J 14 100

K 16 115

L 18 33 35 40 58 78 84 85 97 100 115 129

52

Row A and column 1 are identical so they can complete the x and y data. All of these values

originally were numbers with decimal places but to make things smoother they are rounded

up or down to integers.

So following the sequence of division and multiplication, B12 is divided by L12, this value is

then multiplied subsequently by B1 through 12 and the next row and column are completed.

fig.3.7 Slider Matrix

1 2 3 4 5 6 7 8 9 10 11 12

A 3 5 5 6 8 11 12 12 14 14 16 18

B 5 8 9 10 15 20 21 22 25 26 29 33

C 5 9 35

D 6 10 40

E 8 15 58

F 11 20 78

G 12 21 84

H 12 22 85

I 14 25 97

J 14 26 100

K 16 29 115

L 18 33 35 40 58 78 84 85 97 100 115 129

53

fig.3.8 Complete Slider Matrix

1 2 3 4 5 6 7 8 9 10 11 12

A 3 5 5 6 8 11 12 12 14 14 16 18

B 5 8 9 10 15 20 21 22 25 26 29 33

C 5 9 9 11 16 21 23 23 26 27 31 35

D 6 10 11 12 18 24 26 26 30 31 36 40

E 8 15 16 18 26 35 38 38 44 45 52 58

F 11 20 21 24 35 47 51 51 59 60 70 78

G 12 21 23 26 38 51 55 55 63 65 75 84

H 12 22 23 26 38 51 55 56 64 66 76 85

I 14 25 26 30 44 59 63 64 73 75 86 97

J 14 26 27 31 45 60 65 66 75 78 89 100

K 16 29 31 36 52 70 75 76 86 89 103 115

L 18 33 35 40 58 78 84 85 97 100 115 129

This completed matrix (fig.3.8) consists of a set of values that constitute a numerical ‘slider’.

Each subsequent row is a larger percentage (which is related to from lowest to highest

numbers of the cumulative addition from the primary data string) until the highest value of

129 is reached.

Fig.3.9 shows as a graph how each increase in value ‘slides’ the sequence upwards into a

more exaggerated curve than the preceding set. Whereas the primary data set is useful when

applying to length of sections, rhythms, bars etc., and the secondary data string is useful in

54

generating combinations of sequences.

fig.3.9 Slider Chart

55

The slider is designed to generate pitch data. The value of 1 may equal the lowest note of the

piano (A00, where middle C is C4) and 88 could be the highest (C9). Sometimes the largest

value and the number of possible pitches on any one instrument or ensemble do not correlate.

In these cases decisions are made as to which number of pitches could be used or an

adjustment slider values may be needed. These decisions again relate the desired musical

output, this data only relates to the generation of material, not to the act of creative

composing itself.

It may be necessary to apply a filter to ‘squash’ the numbers down to a more appropriate

value. For Fire on the Snow the range was limited to the five octaves between C2 and C7

(fig.3.10). Because the nature of the data it is possible to derive a pitch set that starts in the

lowest parts of the register and lift quite slowly. Also the highest values can yield extremely

high pitches that may overstay their welcome. By limiting the pitches to five octaves,

extremes found in the instrumental ensemble can be choices in the orchestration rather than

dictates of a pitch set. The five octaves then provided me with sixty-one pitch values. Rather

than compress the value of 129 to match the 61 pitches (47.286 %), I decided to descend once

pitch 61 had been reached, ergo pitch 62 is the previous B that is pitch 60 and so on. Upon

reaching pitch 121 the need to ascend again until G# 2 is reached as pitch 129.

fig.3.10 Pitch range

56

fig.3.11 Slider and pitch

The numbers from fig.3.8 are then represented in pitches from fig.3.10, each row containing

twelve pitches that can also correspond to each column.

57

In fig.3.11 the rows have been inverted to match the graph (fig.3.9) to show the contour of the

numbers. Re-orientating from rows L-A to A-L (fig.3.12) shows the starting point of my pitch

set.

fig.3.12 Slider and pitch (inversion)

58

Next the secondary matrix (fig.3.3) is laid over the 12 by 12 pitch matrix (fig.3.12). If broken

up into two stages, then fig.3.13 shows the rows re-arranged to 10 8 2 4 11 12 5 1 6 3 9 7,78

then each column arranged in the same sequence (fig.3.14).

fig.3.13 Slider and pitch with Primary pitch matrix row overlay

                                                                                                               78 10 8 2 4 11 12 5 1 6 3 9 7 as their alphabetic value becomes J H B D K L E A F C I G

59

The result is the pitches from fig.3.12 arranged in the same combination as fig.3.3, resulting

in fig.3.14.

fig.3.14 Slider and pitch with Primary pitch matrix row and column overlay

60

This is a raw matrix of a sequence of 144 pitches from which can be fleshed out to a melodic

or harmonic pattern. Looking at the new first row, J (fig.3.15) there is a twelve-note pitch

sequence.

fig.3.15 J10 from fig.3.14

The next number of steps involves ‘growing’ a longer pitch sequence, expanding the 144

pitches into 936 pitches. This number is the result of 1 through 12 multiplied by 12.

To do this I take the first value assigned to the first note (J10 from fig.3.14). This number 10

(from the initial 10 8 2 4 11 12 5 1 6 3 9 7 of the first line of the secondary matrix) starts the

sequence. The first 10 notes begin the expanded pitch sequence. (fig.3.16).

fig.3.16 J10 from fig.3.14

61

Next the sequence starts on the second pitch (J8), discarding the first pitch (J10 as we have

already used that pitch as a starting point), which has the number 8 assigned to it and so the

next 8 pitches are utilised. (fig.3.17).

fig.3.17 J8 from fig.3.14

Then the next pitch (J2), 2 pitches (fig.3.18), and the next (fig.3.19) and so on.

fig.3.18 J2 from fig.3.14

fig.3.19 J4 from fig.3.14

62

When a pitch number larger than the remaining number of pitches left in the row is

encountered (e.g. pitch assigned to 11 fig.3.20), the row is continued into the next row

(fig.3.14). As a result the expanded pitch sequence at the end of the last row (L) feeds back

into the very first row, a type of cyclic pitch sequence is derived that closes the sequence as it

began more or less. The resultant expanded sequence for the first row is shown in fig.3.20,

Fig.3.21 showing highlighted in red the original 12 notes of the first (10) row. By expanding

all of the rows in this manner, we arrive at the result of 936 pitches.

fig.3.20 Row J (expanded sequence) from fig.3.14

63

fig.3.21 Row J (original sequence) from fig.3.14

A characteristic of this sequence is the context of the pitches through approach and intervals

as newer pitches are allowed into the string alters and further changed as previous pitches

drop out as the sequence.

Much of my previous music focused on the use of melody and polyphony, this technique of

an expanded melodic string helped create pieces with very complex horizontal lines. A

growing use of aleatory would be to adapt pitch into a more harmonic function. As

previously discussed, Lutosławski’s own use of limited-aleatory functioned as an aleatoric

counterpoint that enabled textural prolonging of chords. The employment of orchestration

techniques would be designed to underscore vocals, pitches would then function as chords

much of the time, not as complex polyphonic melodic strings.

Looking at fig.3.20, we can imagine that each group of pitches could be seen as a virtual

measure (there are twelve measures for each row that now include a one pitch measure

through to twelve pitches), adopting a method where each virtual measure can be treated as

the basis of a chord. Now as a chord by definition is more than 1 pitch, certain values need to

64

be filtered out. Any measure over 8 notes might become harmonically too dense;

alternatively measures with three notes would be my minimum values.

Fig.3.22 shows how this works.79 The first measure of 10 is kept as melody (as it is greater

than 8 pitches), the next measure of 8 pitches forms a chord (I also keep the original melodic

virtual measure for variety). The next measure of 2 is melody; the next of 4 becomes a chord.

As the pitches are converted to chords, a pattern in the numbers emerges that can help with a

shift between melodic and chordal sections. This could also dramatically help shape the

score, highlighting the various changes between vocal recitative, orchestral interludes and

melodic vocal writing.

fig.3.22 Row J10 through J4 (expanded sequence with chords) from fig.3.14

The occurrence of chords would be key areas where important vocal moments would happen,

stresses in the text and drama of the narrative. Time and space is utilised to help deliver the

impact of the narrative and the lyrical text.

                                                                                                               79 Note that in my original short score pitch number four in the beginning sequence 10 was mistakenly notated as D4, not F#4 as shown in Fig.22

65

Sometimes it was necessary to adjust the sequence of melodic and chordal sections. These

methods are employed to create musical material but do not necessarily always yield practical

or musical results. I tend to treat these results as a framework or skeleton on which to hang

the creative choices I make.

We now have a structural map of twelve scenes (1-6, 8-13) and a separate structural map for

scene seven based on the letters A N T A R C T I C A. This structure of twelve scenes, each

containing twelve virtual bars, theoretically totals a duration of seventy-eight minutes. The

seventy-eight minutes was chosen as the length of these twelve scenes as the number comes

from the summation of all the numbers from 1 through 12. Patterns already emerge in the

structure that can determine the dramatic path of the narrative. To determine the length of

each scene it was necessary to further refine the libretto to determine exactly how much and

which parts of the text to use. A simple word count of each finalised scene showed me the

length of each scene concerning narrative and dialogue. Reading through aloud can help time

the length of dialogue but not necessarily the musical space, I allowed the growth of musical

ideas and performance considerations to work in each scene. As stated before, these

frameworks can only function as structural underpinning, not an unswerving, exact plan. If

certain scenes ran longer for the sake of narrative and dramatic allowances then so be it. The

theoretical seventy-eight minutes for these scenes were just a guide.80 From looking at the

first page of the short score (fig.3.23) we can see the development of the dramatic shape of

the work in the sketches. Shapes are picked out, tessituras of pitches are re-evaluated to

heighten dramatic impact and develop the libretto through the musical landscape.

                                                                                                               80 I would later find out in rehearsals that the length of the opera would grow by a further twenty per cent; this will be discussed in a later chapter.

66

fig.3.23 McIntyre Fire on the Snow (Short Score),1.81

                                                                                                               81 Example of short score, page one showing possible chords and voice leading trajectories.

67

Chapter Four: Dramatic use of aleatory in Fire on the Snow

An opportunity came up in late 2009 to write an opera based on the radio play, Fire on the

Snow, by New Zealand born playwright, Douglas Stewart. As I was already applying for PhD

placement I was looking for a large-scale project that could carry sufficient weight in my

folio. I had only written one vocal piece to date, Cenozoic – 7 Guitar songs for two guitars

and soprano. These were a series of seven serial songs that had originally been written as

instrumental pieces. I adapted the vocal part from the instrumental lines and as a result,

hadn’t really written a vocal piece with guitar accompaniment but an instrumental trio. The

vocal part was sung by soprano Deborah Kayser (who performs for the contemporary

ensemble, Elision) and she told me after the performance that it was the hardest piece she has

ever sung. This piece was written use more difficult sub divisions in the context of 4/4 or 5/4

bars. This was a piece where I had already begun to question the necessity of the bar line. It

often crossed beats and smaller subdivisions and sounded pulseless. Looking back to the

work of Lutosławski I wondered if this piece could not be written in a different way. Indeed

some of the more complicated parts of the ensemble writing clearly were more ‘felt’ than

accurately counted. This was the aleatoric solution coming into play against complex

notation.

Work on the libretto commenced early 2010, started by Sydney based actor, Paul Weingott.

He had secured the rights to Stewart’s radio play and had been searching for a composer to

collaborate with since the late 1990s. He started and continued almost until June 2010. I had

not wanted to start the opera until June 1 2010; the day exactly one hundred years after the

Terra Nova had set sail from Dover with the ill-fated expedition on board. The original play

contained pages of exposition from the characters about the endless marching and their

68

physical endurances. The elements that attracted me to the project were my fascination with

cold climates, the idea that the absence of warmth could impede our bodily functions and

eventually led to death. This path is also fraught with physical pain and endurance. A musical

depiction or exploration of the landscape and indeed the survival of ‘man’ against such

conditions also interested me. The idea of the blizzard was a powerful motif used in the play

and indeed the actual events they were based upon. It was supposedly a ten-day blizzard,

which had killed the remaining members of the Final March to the Pole.

Using models of Lutosławski’s works as a starting point for my own aleatory, there was some

difficulty in choosing a work to use as a model for the opera, Fire on the Snow. Lutosławski’s

vocal output consisted of only a couple of pieces for solo voice and orchestra, Paroles tisseés

(1966) and Les Espaces du Sommeil (1976). The Trois Poemes d’Henri Michaux (1964) for

20 solo singers and orchestra is his only choral work from his aleatoric period. Of opera,

Lutosławski said the idea of people suddenly breaking into song in everyday situations was

absurd to him.82 As the Trois Poemes is an early work in Lutosławski’s aleatoric output and

shows developmental techniques in the formulation of his aleatoric notation, it made an ideal

model in the formulation of my own techniques. Although it doesn’t contain any solo vocal

parts it does rely on the chance nature and collisions in the context of choral writing. Parts of

my opera also contain a loose choral texture, that is to say, choral writing without clear

synchronization to create a chaotic effect.

Lutosławski also sought in the setting of Michaux’s text, to convey a series of strong emotive

connections through drama that would synthesize the relationships of his ackja with

                                                                                                               82 Irina Nikolska, Conversations with Lutosławski (Stockholm: Melos, 1994), 97.

69

disconnected motifs.83 In particular, the central movement in his Trois poems d’Henri

Michaux, Le Grand combat, relies on the use of disconnectedness in presenting its dramatic

shape. The surrealism of the text attracted Lutosławski towards a verbal and musical

perception that was sympathetic to the dream world of the poem.84

Lutosławski sought to develop musical motives that could mirror speech patterns in the text,

repetition and incoherentness the main feature of the movement’s central battle.85 The use of

limited-aleatory seems ideal for this model as the concept of time is fragmented and the

semantic patterns of the text become purely phonetic.86 This seemed to suit the central aims

of Fire on the Snow in the way the text should be presented in not only Scene 8 but other

scenes.

In looking at parts of the entire work but focusing mostly on the middle movement, Le grand

combat as it contains more relevant examples relating to my aleatoric models. The other

movements do contain examples that relate to the treatment of recitative style in operatic

vocal writing. The large sense of space created by the ambiguous assembly of material, free

form sections where pauses in the orchestration allow the voices to get through their parts in

their own time. Use of the orchestra in opera is often exploited to allow the singers an

appropriate space to recite lyrics or spoken word. Fermatas are used to put the

accompaniment in holding patterns while the vocalists sing extended passages; time is more

elastic to allow individual and personal interpretations by the vocalists.

                                                                                                               83 Benoît Aubigny, “Poetic and Dramatic Schemes in Lutosławski’s Vocal-Instrumental Works,” in Lutosławski Studies, ed. Zbigniew Skowron (Oxford: Oxford University Press, 2001), 57. 84 Aubigny, 60. 85 Aubigny, 61-62.  86 Aubigny, 62.

70

As previously explained the starting point for many of my compositions has been the

structural use of letters and numbers. My fascination has been with the numerical equivalents

of letters of the alphabet and how any word can be converted to a numerical sequence. As

with many composers in the past that have ascribed musical pitches to letters of the alphabet,

e.g. A=A, B = Bb, H= B nat. etc., this system can be limiting as there is only a small number

of pitch to note conversions that can be used. The process of converting letters of the alphabet

to raw numbers gives a greater number and hence more combinations of raw data.

As a composer that has avoided the use of programmatic associations in music, the more

preferable term would be ‘pure music’, music that is devoid of any extra-musical content that

may describe and emotion. Music is about the infinite combinations of pitch over time and

the interest such combinations can generate in the listener’s experience. A preference for

assigning extra musical meaning to pre-compositional material is sought instead. The

symbology inherent in the use of letters and their numerical equivalents have served as

structural components and have become the building blocks for my music.

In the case of an opera, there are extra musical associations that cannot be ignored by the

very nature of what an opera is. Immediately we are aware with an opera that there is a

narrative to tell, a libretto that is in effect the screenplay for the work. These narratives

whether they be about the lives of everyday people or the achievements of heroes or the

clashes of gods and monarchs, contain narrative information to help the listener (or viewer)

experience an emotional connection with the work. At this point clarification of my work is

needed to show the embracing of ‘pure music’ concepts to inbue them with a dramatic

context. This is a rejection programmatic content and only shows interests in the dramatic

trajectories that music can take. Pure music can still contain more than the sum of its parts

71

despite being devoid of a program or a story. Passages of music can draw us towards a main

idea, or suggest an introduction or a conclusion.

As with Lutosławski’s music in relation to his ackja, I attempt to construct my own musical

narrative around the shapes and musical structure. The shapes inside the form become crucial

to the understanding of the definitions and parameters of sections.

Going back to use of gematria contained within words, writing an opera gave me chance to

bury extra-musical ideas into the structure but at the same time try to tell a musical story in

this framework. The libretto is a collection of words but to use sections of passages would

prove to be too much structural information. The libretto of course tells the story so I

searched for words with symbology and meaning to the work. The obvious place to start was

the name of the main protagonist of the story. Robert Falcon Scott has gained considerable

notoriety in the last century by being the man who was beaten to the South Pole. I felt that the

work should contain symbology connected to his name or the gematria connected the letters

in his name. After work on the libretto yielded thirteen scenes to explore the narrative, I

needed a certain number of letters to mirror this structure. The twelve letters

ROBERTSCOTT plus the middle act; Act 7 would be derived from the letters

ANTARCTICA. This middle scene plus twelve scenes would yield thirteen, a number

infamous for its connotations with ill fortune and bad luck. With Antarctica sitting in the

middle scene, the symbology of the narrative ‘revolving’ around this central point and the

outer scenes reflecting polar opposites of each other. The idea of the story ‘revolving’ around

the continent appealed to me The story would also work backwards from the end and

forwards from the beginning, I wanted the scenes to contain mirror images of their

antipodean counterparts. I also felt that turning the scenes around at the opening provided a

‘polar’ twist to the narrative. Also instead of telling the story in a linear time structure, I

72

wanted the narrative to rely on memory and hindsight. The opening reveals the perished

members of the Scott expedition whilst the ending is the memory of leaving England to

embark on a heroic enterprise.

As Lutosławski had never composed an opera, I had to look to his vocal works to find

suitable models of aleatoric composition for voice. One of his earlier works after his

apotheosis in the early 1960s as to the possibilities of limited-aleatory, were the Trois Poémes

d’Henri Michaux that musically set the “mescaline-fueled prose” of Henri Michaux.87

Not only does this work number amongst the few choral works of Lutosławski but it also

represent an early score to his Late period after his aleatoric apotheosis of the 1960s. Like the

early works, Jeux vénitiens (1960) and the String Quartet (1965), Trois Poémes shares many

similar notational traits while inventing others. Indeed many of these techniques of this time

would be carried through into the Second and Third Symphonies and later works in the 1970s

whilst others would not be used again.

                                                                                                               87 Stucky, 142

73

fig.4.1 Table of Lutosławski’s limited-aleatoric symbols 88

Fig.4.1 shows how notations of synchronisation and durations/articulations have changed

throughout Lutosławski’s late period. Whilst he maintained a strict consistency in his

notation, it nevertheless took many years to develop this style. In most cases a successful

implementation of notation remained in his notational canon while some others did not. The

techniques that remained to be widely utilised in his scores throughout the 1970s and 1980s

were the treatment of repetitive cells.

                                                                                                               88 Stucky, 115

74

fig.4.2 from Table of Lutosławski’s limited-aleatoric symbols 89

The straight line in the first example of fig.4.2 indicates an abrupt change to the repeated cell,

usually reserved for the end of a major section or a sudden change in instrumental textures.

The second figure with the wavy line is almost exclusively used by Lutosławski to stagger

changes and blur the synchronization in textural and chord changes. These devices helped in

the harmonic transitions of Lutosławski’s work and were adopted as models in my own

compositions.

With a large scale vocal work the focus is the text and the narrative this conveys to the

listener. From working the original radio play into the libretto it became increasingly clear

that the text was more a prosaic language mostly devoid of poetic descriptions. This was not

to say the text was dull or turgid but it focused more on the humdrum existence and hardships

of the members of Scott’s party as they fought constantly against the freezing elements. It

then became necessary to think about an operatic style or delivery of the text that both

delivered the narrative and important exposition but to also to set this against a backdrop that

suggested the inhospitable environment that ultimately destroyed them.

                                                                                                               89 Stucky, 115

75

The approach was to clearly delineate the function of the text into expositional and the

imaginative. What was happening in the narrative would be sung as per written in the original

radio play; what the members of the party were thinking would be in the orchestration.

Methods such as these have had a long tradition in opera particularly in the twentieth-century.

Alban Berg’s Wozzeck is a perfect example of this; the madness of Wozzeck not only exists

in his speech but also in his thoughts. Berg’s remarkable orchestration perfectly depicts his

lunacy underpinning a tortured prose.

This method would allow me to explore the meaning of the text on a personal level for each

vocalist or member of the party and word paint with the orchestra as accompaniment. It

would also allow me to paint a fantastical backdrop against the narrative and describe the

environment in which they faced. As with any wilderness, it was the physical endurance

against extreme elements that led to their downfall. Extreme cold and weather played a part

in their deaths. As stated earlier, the structure of the opera sought to pit musical ideas of the

party against Antarctica. The introduction of a brass quartet (two trumpets, horn, trombone

and bass trombone) early in the writing process gave me a way to more humanise the musical

language for Scott and his party. These five brass instruments would represent the physical

bodies of Scott et al. in their warmth set against the harsh cold of the strings, percussion and

keyboards. I deliberately orchestrated the orchestra to mimic cold sonorities; ice, blizzards

and wind are very omnipresent in the score. The emotional, physical and mental states of the

party would be scored in different ways with the brass. As they sung what they did and what

they thought would be reflected in the brass techniques utilised.

One of the earliest ideas in preparing to write the opera was representation of the cold. Much

of the Earth’s population live in cold environments but the Polar Regions experience the

76

coldest temperatures ever recorded. Temperatures as low as minus 89.2 degrees90 Celsius

have been recorded in Antarctica and on average temperatures experienced during the Terra

Nova Expedition from 1910-1912 were between minus thirty to minus sixty degrees Celsius

during the winter months. Quite simply put, cold is the absence of warmth so the score

needed to be devoid of any warmth. The addition of the brass quintet provided the context for

this to occur, the sapping of strength in the brass parts, the domination of the colder

orchestration, had to transport the listener to Antarctica.

To convey the Antarctic environment would require an orchestrational painting of the

weather such as blizzards, wind and snow. The physical endurance of the men had to be

represented; the constant marching, physical exertion of sled hauling and the constantly

uneven terrain of crevices and sastrugi.91

Adopting Lutosławski’s models of limited-aleatory would help in orchestrating these

environmental elements. Notational complexity would be needed to musically describe

blizzards, ice and wind. Limited-aleatory could provide a way of doing this without creating

an overly demanding score for the orchestra. Also one of the methods used in the sketches for

this opera (discussed in the previous chapter) would be the movement of chords over time, a

musical structure built in vertical movement as opposed to the horizontal or polyphonic as

previously found in my earlier compositions. Some of these chords would be required to last

for many tens of seconds or a couple of minutes; techniques of limited-aleatory can help

extend prolonged or slow chordal movement.

                                                                                                               90 http://www.livescience.com/9795-story-earth-coldest-temperature.html (accessed May 12, 2013) 91 These are parallel, wave-like ridges caused by winds on the hard surfaces of snow, usually in Polar Regions.

77

Scene 8 will be discussed to demonstrate these techniques. Whilst much of the opera contains

techniques of limited-aleatory it is Scene 8 that contains all of the techniques mixed with the

use of regular metrical time. Also emotionally Scene 8 has to convey the madness of Seaman

Evans 92 and his untimely demise in the snow. The narrative of these events had to be

represented; also the elements and the weather and also the physiological condition of Evans

had to be realised in the orchestration. As discussed earlier, Lutosławski’s lack of operatic

output pointed to the Trois Poémes d’Henri Michaux (1964) as a model for the techniques of

limited-aleatory in a vocal context. More specifically it is the middle movement, Le grand

combat that contains many of the techniques employed in Scene 8. Not least amongst these

techniques is the overt use of percussion apparent in this music. (fig.4.3) Having only one

percussionist in the orchestra, the score included percussion toys for the violin and viola

players plus a modest percussion setup for the keyboard player. Using techniques of limited-

aleatory helped achieve a degree of complexity in these extra percussion parts whilst

acknowledging the expectation of limited percussion skills found amongst keyboard and

string players. The use of small repeated cells of motivic shapes for these parts helped layer a

complexity of rhythmic variety that helped expand the percussion forces to eight players.

Limited-aleatory in these parts helped ensure a rhythmic variety that was not technically

demanding but conveyed a sense of rhythmic complexity. In fig.4.4 we can see the percussion

parts for the violins and violas at cue 109. The layering of specific and non-specific rhythmic

cells forms a counterpoint with the percussionist’s part and helps convey the sound of many

layers of complex percussion.

On a first listen, Le grand combat presents a calamitous battering of percussion and non-sung

vocal effects. Despite the chaotic nature of the piece the score reveals a surprising level of

                                                                                                               92 Seaman Edgar Evans was the first of Scott’s expedition to the Pole to die from the freezing conditions endued during the Final March.

78

control that characterises Lutosławski’s music. The vocal techniques used in this movement

consist of vocal chattering, shouts, whispering and whooping interjections.

“In my work on the score, I am trying to figure out how particular phrases would

sound in everyday use. Sometimes I shouted them out and then wrote them down…”

93

                                                                                                               93 Lutosławski quoted in Kubicki, Michał and Martina Homma. "Witold Lutosławski's Trois Poemes d'Henri Michaux: The Sketches and the Work." Polish Music Journal 3: 2 (2000) 2.

79

fig.4.3 Lutosławski Trois Poémes d’Henri Michaux, 2nd movement “Le grand combat” 94

                                                                                                               94 Note that this example is edited.

80

fig.4.4 McIntyre Fire on the Snow, Cue 109

÷

÷

÷

÷

÷

Narr.

Scott

Oates

Wilson

Bowers

Evans

Vln.1+2

Vln.3+4

Vla.1+2

Perc.

Pno.

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

œœ

œ

œ

œ

œœ

œœ

œ

œ

œ

œœ

œ

œœ

œ

œ

œ

œ

œ

œ

w>

w !w>

w

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

>

—

>

O ther! Ut ter! O ther! Ut ter! O ther! Ut ter! O ther! Ut ter!

˙

>

œ

>

œ

>

—

>

˙

>

œ

>

œ

>

—

>

˙

>

œ

>

œ

>

—

>

˙

>

œ

>

œ

>

—

>

O ther! Ut ter! O ther! Ut ter! O ther! Ut ter! O ther! Ut ter!

Ó

˙

>

œ

>

œ

>

—

>

˙

>

œ

>

œ

>

—

>

˙

>

œ

>

œ

>

—

>

˙

>

œ

>

œ

>

—

>

˙

>

œ

>

œ

>

—

>

O ther! Ut ter! O ther! Ut ter! O ther! Ut ter! O ther! Ut ter! O ther! Ut ter!

!˙

>

œ

>

œ

>

—

>

˙

>

œ

>

œ

>

—

>

˙

>

œ

>

œ

>

—

>

˙

>

œ

>

œ

>

—

>

O ther! Ut ter! O ther! Ut ter! O ther! Ut ter! O ther! Ut ter!

Ó

˙

>

œ

>

œ

>

—

>

˙

>

œ

>

œ

>

—

>

˙

>

œ

>

œ

>

—

>

O ther! Ut ter! O ther! Ut ter! O ther! Ut ter!

‰ –

>

–

>

–

>

–

>

–

>

–

>

.–

>

–

>

–

>

–

>

–

>

–

>

Œ

r–

>

–

>

–

>

.–

>

.–

>

.–

>

‰

r–

> .–

>

.–

>

–

>

¬

>

I've sat by o ther death beds and know this feel ing Of UT TER HELP LESS NESS and grief and an ger

! œ

>

Œ

rœ

>

Œ

rœ

>

Œ

!rœ>

‰

rœ>

‰œ>

‰

! œ

>

œ œ œ Œ œ

>

œ ‰

! œ>

œ œ œ>

œ

! ˙

æ

‰

! œ>

œ œ œ>

œ

5" “– –‘7" “– –‘

Perc.2

Whip

Claves

10" “– –‘

ff

ff Tambourineff

7" “– –‘ffTemple block

“– –‘9" fRachet

12" “– –‘fTriangle

ca 15"

4"

2"

5"

3"

109

- -

--

--

--

--

-- -- --

----

-- -- -- --

--

--

-- --

--

--

- - - - - - - - -

81

The use of vocal text in such a non-traditional way could be linked to Lutosławski’s dislike

of sung verse and operatic forms. His comments on the absurdity of opera in an everyday

context95 point to his treatment of text in this work as conversation or “textual

declamation”.96

One of the difficulties in presenting sung text is the context of a non-musical setting. Even

though the subject of my opera was Captain Robert Scott’s Polar Expeditions of 1910-1912,

it was hard to imagine members of the party breaking into song every time they felt the need

to speak. Music did play an important part in the social and cultural life of expeditions,

sledging songs for example could help concentration during intense physical labour.97 To

have Seaman Evans sing about his frostbite and impending brain embolism seemed to me to

be out of character.

The answer to these problems for much of the opera was to mimic aspects of popular song or

folk melodies. Even though sections of the orchestration may have been at odds

harmonically, a more traditional voice leading and melodic shapes were sought for the text.

This would help convey a sense of simplicity found in popular or folksong of the day and

could be just a step or two removed from a lilting style of speech. Occasionally I used

percussive or spoken effects to bypass traditional singing but to convey the madness and

destruction of Evans I was drawn to the sonorities that Lutosławski used in Le grand combat.

                                                                                                               95 Nikolska, 97. 96 Kubicki, Homma, 2. 97 Carolyn Philpott, "Notes from the Heroic Age of Antarctic Exploration: Gerald S. Doorly's "Songs of the 'Morning'"." Context: A Journal of Music Research, no.37, (2012): 3-35.

82

In Trois Poemes, Lutosławski was drawn to Michaux’s sense of alienation and the blurring of

the line between external aspects of being.98 Michaux’s style of free verse, odd syntax and

invented words is effectively portrayed in Lutosławski’s music and none more so than the

music found in Le Grand Combat. His musical setting encompasses the creation of sound

images compatible with Michaux’s poetic images rather than providing for a clearly

enunciated reading of every word of the text in performance.99

The most important concern for the setting of Scene 8 was the description of Seaman Evans’

madness and ultimate death. The abstract sound world of Le grand Combat as a model not

just for the methods of aleatoric counterpoint but also a similar sound world seemed to fit the

drama of this scene.

fig.4.5 McIntyre Fire on the Snow (Short score) Scene 8

Fig.4.5 shows the opening chordal and melodic structure for Scene 8 of Fire on the Snow.

Just as Lutosławski sought to create fluid textures in Le Grand Combat to evoke the text, I

too sought a timbre that was fluid, ceaselessly moving and almost no sustained notes without

some form of movement. It was important that this scene conveys Evans’ psychological state

and a texture of rapid melodic shapes and rhythmic chattering would be necessary.

                                                                                                               98 Stucky, 142. 99 Stucky, 142.

83

fig.4.6 McIntyre Fire on the Snow (Short score) Scene 8

In fig.4.6 the first chord does not start the scene but rather a reiteration of the closing chord of

Scene 7. The subsequent glissando in the strings accompanied by the microtonal sliding in

the brass set the mood for the scene as the Narrator intones the fate of Seaman Evans much

like the choruses found in the Greek tragedies of Sophocles.

Over the next couple of minutes constant movement is precipitated by the constant shift

between pitches in the next chord of the scene (fig.4.7).

fig.4.7 McIntyre Fire on the Snow (Short score) Scene 8

These chords shown in red are altered through transpositions found in the next cells of

melodic material, notably the movement to tritones from the original pitches in the second.

(fig.4.8)

84

fig.4.8 McIntyre Fire on the Snow (Short score) Scene 8

As the strings, percussion and celeste continue their oscillation of the chord, the brass then

pick up the pitches from the melodic strings to help propel the music forward. The

construction of this scene was to be a very gradual build up of tension followed by a

calamitous release of energy. The first nine pages of score in this scene deal with the

unfolding realisation that something very wrong is happening to Evans. The resultant

crescendo over ninety-seconds of Db4 in the brass and the chattering in the strings serves as a

transformative vehicle where the listener departs the company of the party and enters the

mind of Evans. The effect of Evans mind slowly taking precedence and drowning out the

voices of Scott and the others was explored through continuously repetitious cells of aleatoric

counterpoint in the strings that follow a chord pattern of minute intervallic changes. The

cumulative point for this scene is rehearsal cue 108 where the violins, violas and pianist take

up percussion instruments to add to the main percussionist’s battery.

At this point in the scene I made the deliberate point of using many sounds, timbres and

techniques found in Le Grand Combat. In fig.4.4 vocal shapes take on a roughly shouted

glissando pattern that can be found at cue 33 on page 27 of the Trois Poemes vocal score.100

                                                                                                               100 Lutosławski's Trois Poemes d'Henri Michaux utilises both an orchestral and vocal score as it requires two conductors to present the work.

85

fig.4.9 Lutosławski Trois Poemes D'henri Michaux. mvt.2,  Cue 33

As shown in fig.4.4, the patterns ascend compared with the descending pattern in

Lutosławski's score, the effect dispersed over a number of singers with slight variations in

rhythmic execution produces a very similar result. As my focus is on the dialogue patterns of

Evans, the variations in the vocal parts for the rest of the cast only vary slightly as the

textures in the orchestra would be the main accompaniment. At least 35-40 seconds of music

is presented pitch free as vocal shouting and percussion form the only texture until the brass

entry at Cue 111.

86

fig.4.10 McIntyre Fire on the Snow, Cue 111

The brass and low strings explore the intervals of minor 2nds, major 7ths, minor 9ths (all

contained in interval class 1) 101 while the higher strings and piano gradually drop out of the

percussive textures by cue 113. The twelve intervals from unison to major seventh may be

reduced to seven interval classes, numbered 0 to 6. Intervals of a minor second and major

seventh are both representatives of interval class 1.102 The texture sees a return to the

repetitive chattering staccato shapes from before the explosive build up, again occurring in

the higher strings and piano. Battery percussion is briefly abandoned by cue 114 only to

return momentarily at cue 115 to be then replaced by the timpani at cue 116. (fig.4.11)

                                                                                                               101 Stucky, 241. 102 Stucky, 241.

87

fig.4.11 McIntyre Fire on the Snow, Cue 116

At cue 116 the silencing of the voices creates a coda to the chaos of the inside of Evans’ mind

by a transition to the next scene with an instrumental interlude. The texture of this interlude

suggests a grotesque fanfare in the brass accompanied by the familiar chattering figure in the

strings, this time borne out completely rather than small cells of repetition. The activity in the

strings also served to draw attention to the impending blizzard in the narrative that would be

the focus of Scene 9. The crashing chords in the brass, piano, low strings and timpani depict

the sudden return to the reality of their situation and surroundings as we leave the confines of

88

Evans’ madness. The introduction of a ¾ tempo after cue 117 synchronises the chords as we

crash headlong into the next scene.

In Lutosławski’s case the climax of Le Grand Combat uses loud punctuated chords with the

vocals exclaiming “fouille” (dig) but with silence forming the main contrast to the chords at

fig.4.12.

fig.4.12 Lutosławski Trois Poemes D'henri Michaux, mvt.2,  cue 49 103

The climax in Scene 8 uses the same type of chordal percussive brass strikes and retains the

blizzard activity in the strings. To achieve the flurry of string texture I was after in standard

notation would have required me to use many different subdivisions simultaneously to bypass

a metered sound. Even the repetitive semiquavers written in a metrical context would sound

very measured but removing the barlines and instructing the strings to play ad libitum104

helps achieve a rhythmic complexity. Also the low strings started an ad libitum repeat bar at                                                                                                                103 Witold Lutosławski Trois Poemes d'Henri Michaux,(Warsaw: PWM Edition, 1964), 31. 104 This marking in Lutosławski’s scores is reserved for any music that is required to be played in an un-synchronised manner in an ensemble.

89

cue 113 and the higher strings started one at cue 114. These repeat bars are combined with a

wavy line which denotes a ‘staggered’ repeat. When such a bar is to be repeated, the next cue

given requires the players to play up to the end of the repeated section and then pass onto the

next section or come to a complete stop.105 The effect is that when instruments repeating

these staggered bars eventually stop or move onto to new material, the changes occur at

different times. Depending on how far through the repeat was when the cue was given or the

length of the cue, the changes in textures or harmonic material between sections is blurred as

opposed to the simultaneously change in the score.106

Pizzicato figures starting in the cellos and double bass and climbing up through the violas and

violins at cue 105 are shown as note heads without stems or beaming. This is also a technique

utilised by Lutosławski in the Trois Poemes, the rapidity of the rhythmic attacks is

determined by relative spacing so the polyphonic texture remains clear.107 A need for

complex rhythmic subdivision is circumvented and the chance interaction of these parts

creates a bubbling pizzicato accompaniment to the trumpet glissandi and Evans’ increasingly

manic dialogue.

This technique often occurs in the vocal parts, allowing for a more natural scansion for the

text rhythm, again circumventing the need for rhythms that could result in an unnatural or

clumsy delivery. This technique makes the music easier for the singer to learn.

                                                                                                               105 Witold Lutosławski, Les Espaces du Sommeil, (London: Chester Music, 1975), 3. 106 Almost every score of Lutosławski’s since his Symphony No.2 presents in the performance notes this instruction: “In the ad libitum sections all the rhythmic values are approximate. In consequence, the placing of notes one above the other in the score does not necessarily mean that they are played simultaneously.” 107 Charles Bodman Rae, The Music of Lutosławski (London: Omnibus, 1994), 87.

90

Chapter Five: Aleatory outcomes in Performance

Toward the end of 2009 my first piece using a completely aleatoric style was

Constellationism II.108 This piece was written for flute, clarinet, piano, violin and cello and

contained no actual measure or bars but instead sections designated by a rehearsal cue with

specified metronome markings. Some of these cues constituted repeated measures and some

were long sections of music without measures. The piece was chosen for the Asian

Composers’ League Festival 2012 and received its premiere in Tel Aviv in October 2012.

Attendance of the Festival was not possible, so communication or discussion of the score

with the performers did not occur. Sometime during December 2012 an email with a link to

the recording of the piece was sent and the recording revealed quite a successful performance

and execution of the score. It seemed the adequate explanations in the preface to the score

had fulfilled their criteria and the performers were able to obtain the required information to

perform the score as intended. Although as this was the first piece I wrote using a completely

limited-aleatoric score it was recorded near the end of my candidature.

The undertaking to write an opera with heavy use of limited-aleatoric notation required a

planning and development of techniques in stages. Starting with techniques used by

Lutosławski that had been proven to work, I had not used these techniques on such a large

scale up to this point. Certain parameters had to be decided upon in the initial stages of

development of the opera. Specific criteria for the use of aleatory also had to be established.

A simple flowchart was used to deal with these questions of where aleatory was needed. A

positive result would require an exploration into the simplest way to present the notation? All

                                                                                                               108see DVD Folder “Other works.”

91

of these considerations would be needed to help vocalists (usually untrained in many aspects

of contemporary techniques) against the backdrop of an orchestra.

Whilst on working on the libretto for the opera, Fire on the Snow, a series of verses were

found that seemed not to fit the more expositional and narrative dialogue that I was searching

for. Instead these verses were quite poetic and suggestive of a dreamlike quality. This seemed

like a good opportunity to develop a model in which to test some methods of aleatory for a

larger ensemble, and be able to use these verses in a companion piece that could be

performed separately to the opera. At the same time an opportunity arose to write a piece to

be work-shopped by the Tasmanian Symphony Orchestra in 2010 and so The Ice Barrier for

Baritone and Orchestra was written. The workshop had certain limits and restrictions109 it

was of course not possible to write a piece for symphony orchestra completely aleatorically.

It was necessary to utilise the aleatory as a textural or orchestrational device as a backdrop to

accompanying musical dialogue in a traditional metered structure. Initially the piece was not

chosen for that year but instead was selected for performance in 2011.

By then a performance of a chamber arrangement of The Ice Barrier had already been

successfully tested. Arranged for baritone, flute, violin and piano this smaller version allowed

me to write a longer piece that could explore more examples of limited-aleatory. The original

orchestral version takes examples of recitative and uses the elasticity of such sections to use

orchestral textures in ad libitum.110 Despite the relatively few sections in the score containing

these techniques, it was still necessary at rehearsals to take time to explain these techniques

to the musicians. As orchestral rehearsal time is expensive, one of the tutors for the workshop

suggested that it might have been better to write these passages traditionally as not to waste

                                                                                                               109 Pieces submitted for the workshop could only be a maximum of eight minutes. 110 Referring from previous chapters to Lutosławski’s marking for sections to be played asynchronously.

92

rehearsal time. He also said that of the repeated sections “repeat boxes always sound like

repeat boxes.”111 I think this also demonstrates the distrust that some composers and

musicians display towards limited-aleatoric notation and its relatively small representation in

new works. The other tutor at the workshop however said that they did not believe the use of

the aleatory was unnecessary and actually found the result to be orchestrationally effective.

They also went on to say that they could not have imagined the passage being able to be

written any other way, which validated for me the use of such notation.

In The Ice Barrier, most of the aleatory is reserved for accompanying figures to the vocal

part; small sections of aleatory were used in the vocals to help with scansion in the sung text.

To avoid occasional clumsy rhythms, I also removed the stems and beams in some passages

from certain notes.112 This helps the singer enter at the correct point in the score but allows

the delivery of the rhythm to conform more naturally to the words. This especially helped in

sections where a more rhythmic-like speech was required, much like Sprechstimme. The

largest section to use aleatory in the piece comes at cue 8113 where the entire wind, brass and

percussion sections of the orchestra engage in a large mass of sound, which was to represent

a blizzard of snow and ice. Originally at cue 8, the strings were scored with rapid semiquaver

passages but upon rehearsal these passages could not be heard over the rest of the orchestra.

The removal of these sections allowed clarity into the wind and brass writing, which further

strengthened the close of the piece. The inclusion of a whistled note cluster from the

woodwind section was an acknowledgement to Penderecki and was later used in the opening

scene of Fire on the Snow. One of the initial ideas behind the genesis of The Ice Barrier was

                                                                                                               111 The Ice Barrier Cue 3, bar 45, pg.12 of Composition Folio 112 The Ice Barrier Cue 5, bar 142, pg.22 of Composition Folio 113 The Ice Barrier Cue 8, bar 191, pg.30 of Composition Folio

93

a setting of some of the text from Penderecki’s St.Luke’s Passion.114 This score had been

considered when formulating ideas and models on limited-aleatory but ultimately

Lutosławski was chosen for the clarity and consistency of his ideas and notation.

In the chamber version of The Ice Barrier a long introduction and coda were written entirely

in limited-aleatory that explored a narrow band of intervals for the instruments and voice.

The smaller ensemble allowed for greater flexibility in rehearsals. The original plan was to

write The Ice Barrier and have it work shopped in the early stages of opera writing. As the

orchestral version The Ice Barrier was not work shopped until a full year after originally

intended, much more of the opera had been written than planned. The opportunity to present

a concert of chamber works presented an opportunity for a reduction and rearrangement of

The Ice Barrier and its performance occurred a full four months before the original orchestral

version.

It also became possible to hear portions of the opera during initial stages of writing,

especially after being asked to include a piece in a concert for the Conservatorium of Music’s

string ensemble, Jan Sedvika Camerata string orchestra for early 2011. This seemed the

perfect opportunity to try out some of the notational models developed whilst working on

Fire on the Snow. Whilst working on the libretto, work began on the structure of the opera

and the first scene to be written was Scene seven. In the design, this scene serves as a pivotal

central scene as both the start of Act Two and the aftermath of the discovery in scene six of

the lost race to the Pole. The Fire on the Snow Suite115 featured a re-orchestration of scenes

one, two and seven as they were so far the only fully finished scenes when I considered

                                                                                                               114 Krzysztof Penderecki Passio et Mors Domini Nostri Iesu Christi Secundam Lucam (Kraków: Edition Moeck, 1967), 64. 115 pg.37 of Composition Folio

94

writing the string piece. The percussion and keyboard parts were assigned to four extra

violins added to the original opera string section. It was Lutosławski’s Preludes and Fugue

for 13 Solo strings (1970-2) that helped me settle on the orchestration for the suite. Whilst his

piece uses seven violins, three violas, two cellos and a double bass; I settled on the use of

eight violins and two violas instead. Rehearsal time for this piece was quite generous, fours

hours in total but this was to be the first time most of the student players had ever seen this

type of notation. Despite this hurdle, just a brief explanation of the techniques in the first

rehearsal proved sufficient to convey the ideas and reduce the stress often associated with

new and difficult techniques. Some of these techniques took more than a rehearsal to fully

grasp as well, particularly the techniques involving staggered repetitions. Fermatas can often

be a mixture of sustaining a note until cued or sustaining only for the length of a bow at a

specific dynamic.116 Even though the score and part indicates the difference between these

two approaches, it still relies on the performer to remember and execute such information. At

times lapses in concentration can hinder scores with unfamiliar notation. Whilst on the one

hand, the use of limited-aleatoric notation is designed to circumvent difficult rhythmic

subdivisions, the unusual and often unfamiliar repeated bars, straight or wavy lines, or the

general lack of meter of measures can confuse a player more so. The different line attached to

repeat bars 117 also took some getting used to but proved very effective once the technique

was fully understood.

An unexpected result from these rehearsals was the execution of difficult passages that

functioned in traditional measures and meter. Metered passages in the Fire on the Snow Suite

118 proved more difficult to successfully coordinate than the unfamiliar aleatory. Despite the

                                                                                                               116 Fire on the Snow Suite Cue 10, pg.46 of Composition Folio 117 Fire on the Snow Suite Cue 40, pg.66 of Composition Folio 118 Fire on the Snow Suite Cue 42, pg.68 of Composition Folio

95

piece using nothing more complicated then a quintuplet, these sections required more

rehearsal time to synchronise. Perhaps ironically, sections of asynchronicity sounded more

synchronous and successful than their metered opposites. The successful notation of the

aleatory helped to achieve an exact result I was after, despite the inherent but intended

amount of serendipity. That is to say, in writing a section of limited-aleatory, I allowed a

margin of asynchronicity in the design to interpret the outcome. Sections with strict meter by

their very nature of being in strict time can either sound together or not in the ensemble. Yet

the sections of asynchronicity, if successfully notated, can sound together even though they

are built upon being deliberately asynchronous. This trend would continue through the course

of each rehearsal for not only the string suite but also most of the other pieces in my folio.

Due to time and financial constraints it was only possible to present an abridged version of

the opera, Fire on the Snow as a concert version. The limited budget for the project reduced

the overall rehearsal time down to three calls including the final rehearsal with the vocalists.

The removal of scenes two to four and seven meant that an overall picture of the opera could

be presented without detracting from the dramatic shape and narrative. As in the previous

year, the recording of the Fire on the Snow Suite provided me with a recording of scenes two

and seven, albeit in a slightly different form. Presenting in a concert version also enabled the

singers to learn a difficult part more quickly, indeed a last minute change to the cast occurred

six weeks before the rehearsals and the ability to use the score in the performance ensured a

new singer could be easily found.

With only six hours of rehearsal time for the orchestra before the singers joined in, it was

crucial that the ideas in the score could be communicated clearly and precisely. At least

seventy-five percent of the two hundred and ten pages of score utilize some form of limited-

96

aleatory. These techniques ranged from fermatas of varying duration, repeated cells with both

sudden stop and staggered change variants.119 Also included were large volumes of score that

started with a conductor’s downbeat and was re-synchonised after several minutes. It was

these sections that proved to be most successful in terms of the accidental nature of

coordination over a long span of time. The minute variation in the player’s individual speeds

multiplies with the passage of time; the variance by the end of a section can be many beats

out of time. The fermatas, which characteristically cap these sections as catch up points often,

last much longer than first realised. These unexpected results add further complexity to the

music.

Orchestras help train string players to learn to play as an ensemble, bowings are synchronised

and sonorities are matched. Encouraging string players to think as soloists rather than an

ensemble in passages of limited-aleatory can be a challenge. In particular, scene five120

presents a rolling triplet figure, starting in the cellos and moving upwards through the violas

and violins. First readings of this section resulted in measured, metrical triplets across the

entire string section rather than the limited-aleatoric notation. It took several attempts to

introduce the elasticity in the triplets that the cue called for, despite the tendency for the

string players to synchronise and bow together. Once this section was played correctly the

aleatory helped to give an added complexity to the triplet figure against the vocal parts that

were more rhythmically driven. This cue also relies on the metrical time of the singers set

against the out of step rolling in the strings to give a lilt to the accompaniment. I was after the

sense of a memory transcribed through the suggestion of folksong. The out of kilter triplets

represent the distortion of time through memory, something which we all experience and also

features as an important motivic device throughout the opera. In this section and many others,

                                                                                                               119 See chp.3 120 Fire on the Snow Cue 48, pg.156 of Composition Folio

97

it was helpful to have the vocal parts conducted whilst the orchestral backdrop could be more

elastic in time. This technique helped to drive the lyrics forward. There was a constant

balance between aleatoric sections that functioned as recitative, that is a chordal backdrop

against a rubato passage for the vocals, and aleatory used as an orchestrational device behind

long passages of vocal exposition. To help the exposition, stronger rhythmic shapes were

required in the vocal parts. Only conducting the singers against an aleatoric background in

the orchestra helped maintain the sense of complexity in the orchestration. When preparing

parts for aleatoric music, providing a metrical or written out cue with sections of a fermata or

a repeat helped the player understand and better time their entries.

The question I constantly asked myself during the writing process, do I need to use aleatory?

Often answers to this question were not so straightforward. Many musical cues required a

solution that was a mixture between metrical and aleatoric techniques. As a musical form that

is ultimately about the delivery of text, opera requires a balance between the singers and the

orchestration.

The Composing in the Wilderness Workshop in Denali National Park, Alaska gave me an

opportunity to write a piece for a quartet in a number of days. The workshop involved hiking

through areas of wilderness in the Denali National Park during a four-day period. We were

only allowed to use pencil and manuscript paper to formulate ideas for a composition. Upon

arriving back to Fairbanks University we had just one night to write, typeset and prepare

parts for rehearsals the next day. The performance would follow two days later, this relatively

short amount of time in which to write the piece necessitated its final form. I had already

decided to write the piece using exclusively limited-aleatory and it also would serve as

another companion piece to Fire on the Snow.

98

Upon reaching the Pole, Captain Scott had discovered Norwegian explorer Roald Amundsen

had beaten him. Amundsen had left him a tent, supplies, equipment and a number of letters,

had beaten him. One of these letters was addressed to King Håkon of Norway detailing his

successful expedition and an accompanying letter asking Scott to deliver it on his behalf.

Scott of course perished and the letter was much delayed. Strong motivic ideas would be

carried over from the opera, in particular the repeated seven-note figure that represented the

march motive121. I also would use a variation on the death motive that opens scene one with

the slow string glissandi. The time restraint in the writing impacted on the amount of

thematic ideas I could present but also allowed for repetition and subsequent variations. To

further save time, parts would not be necessary for the performers, I would utilise a score

from which could be easily performed from by the quartet. This helped with coordination

between cues and sections and also allowed parts with an arbitrary timespan or repetitions to

exactly see the movement of their part against the rest of the ensemble. This proved valuable

in rehearsals, as there were only two hours to prepare the piece. This was the first score

employing limited-aleatory that the performers had ever encountered, therefore the layout

and clarity were crucial to a successful performance of the work.

The central idea for the String Quartet No.3 was to have it function as a second part to the

Alaskan piece, A Letter to the King of Norway. This Part 2 would further expand on the ideas

presented in the previous work, into a much longer and more structurally complex piece. I

was struck by the relatively simple presentation of Lutosławski’s String Quartet despite its

highly complex sound world. The performance notes in his piece describe how the leader of

the Lasalle Quartet (for whom it was written) requested a full score to fully realize the work

when there in fact wasn’t one. Lutosławski’s deliberately constructed the piece out of parts;

                                                                                                               121 This was expanded out to a ten-note figure. See Cue 2, pg.338 of Composition Folio

99

“…You may ask me why I attach such great importance to the non-existence of a

score of my piece. The answer is quite simple: if I did write a normal score,

superimposing the parts mechanically, it would be false, misleading, and it would

represent a different work. This would suggest e.g. that the notes placed on the same

vertical line should be always played at the same moment, which is contrary to my

intention. Further, it would prevent each performer from being free enough in [their]

rubatos, ritenutos, accelerandos, pauses and above all in [their] own tempos. That

would deprive the piece of its “mobile” character which is one of its most important

features…” 122

Despite this, Lutosławski did construct and supply a score on the proviso it was for reference

only and not performance. It was my initial intention to also construct a string quartet that

was made up of parts only, a piece that consisted of a quartet “tutti” for the duration of the

piece. In the end, the former idea of parts only was dropped but the score was to be carefully

controlled in terms of its presentation.

Practicalities can arise from all sorts of factors and the availability of Silo String Quartet, the

group for whom I write my string quartets, played into the presentation of the score. As a

quartet, Silo performs quite extensively, often booking several months in advance. Often

personnel from the group may not be available from time to time with their own

engagements. Also, as this work would be recorded in the studio as opposed to the recording

of a live performance, costs associated with the recordings played into the score design. Their

availability was for two standard rehearsal calls and the studio session. The decision to use a

score as opposed to parts only was determined by these factors.

                                                                                                               122 Lutosławski quoted in opening remarks to his score, Witold Lutosławski String Quartet, (London: Chester Music, 1964), preface.

100

Another consideration in the score design was to use no measures or time signatures at all,

despite the piece opening with unison quavers. These quavers eventually drift apart but until

that occurs I experimented with ways to present the notes to the performers that would reflect

this rare moment of synchronisation in a score that would be characterised by its absence.

The decision was made to beam all parts across staves in the event of strict synchronisation,

giving a visual indication both in the score and the parts. Parts also featured cues for each of

the other three parts in these instances. This would further strengthen this musical gesture in

the minds of the performers. The rest of the score functions much in the same way as

Lutosławski’s quartet, the vertical alignment of the notes is not to be regarded in the

performance and interpretation of the ad libitum nature of the score. The third movement is

designed to play right through without a break, each player to start and then concentrate on

finishing, only to re-synchronise at the end to mirror the opening of the piece. Feedback from

members of the quartet included their satisfaction with the notation and design of this

movement. It was because of the design that they were able to rehearse and execute the

movement so quickly. The nature of the design of this movement in allowing the execution of

each part without regard to any synchronisation both helped convey the rhythmic complexity

and focused each performer on the accuracy of their part. As a result this movement could be

recorded in a single take. The way the movement was written meant that it was only possible

to play it all in one take, as there were no points for a synchronised re-entry. In total, three

takes of the third movement were recorded with the last take being considered the best

representation of the score. Minute differences and subtle variation in the first two takes

resulted in three different interpretations, despite the parameters being essentially the same.

More often than not, ideal conditions for rehearsing, recording or performances do not always

exist. Musicians can often be involved in more than one rehearsal or performance on any

101

endngiven day and the window to get together can be brief. Complicated or complex music,

in some of these cases, can simply be shelved in order to present something that requires less

attention to perform satisfactorily.

I found in all cases, my techniques of limited-aleatory successfully traversed limited rehearsal

times and presented performances that conveyed the appropriate amount of complexity. Time

spent at the beginning of rehearsals to explain adequately unfamiliar symbols and techniques

in piece seemed time well spent in score preparation. It was not seen as time wasted that

could have been put to better use as real rehearsal time. Again, in all cases, if the scores had

of been written with more complex rhythmic subdivisions, the extra amount rehearsal gained

by not needing to explain notation still would have not translated to equal proficiency or

execution in performance. Quite simply an extra twenty minutes of rehearsal may not mean

that the time would have solved issues of difficult and more complex notation.

As to the serendipitous nature of aleatoric outcomes, Lutosławski had this to say;

“The rhythmic structure developed by a collective ad libitum… is a far more complex

texture than any polyrhythmic structure to be found in traditional music. One of the

reasons for this is that there may be…accelerandos and rallentandos within each part.

There are many other similar possibilities. All of them spring from the composer’s

assumption that each of the performers will…play as though [they] were on [their]

own…in this way the rhythmic structure acquires a distinctive suppleness not

attainable otherwise.” 123

                                                                                                               123 Lutosławski quoted in Bodman Rae, 77.

102

Chapter Six: Conclusion

The focus of my PhD work has been to resolve the issue of complicated rhythmic notation by

using techniques of limited-aleatory based on the notational methods of Witold Lutosławski.

In documenting the outcomes from this project it was necessary to provide an outline for the

research and trajectory of my compositional practice.

Past compositions of mine focused quite specifically on the interaction of melodic lines that

relied on complicated rhythmic patterns. Whilst my rhythmic language may not have been as

complex as composers like Brian Ferneyhough and others that champion the music of the

“new complexity” 124, it was nonetheless structurally dense and presented enough of a

challenge to performers and ensembles as to render it extremely difficult to perform. An

encounter with the score of Lutosławski’s Symphony No.3 during my Masters Degree helped

me realise that rhythmic and textural complexity may not have to be sacrificed at the expense

of performability. The ideas Lutosławski’s notated not only allowed for great complexity but

encouraged it through a careful manipulation of techniques of limited-aleatory. This

complexity expresses that notion that musical components can be greater than the sum of

their parts by allowing serendipity and a sense of unsynchronized interaction between a group

of musicians.

Use of non-traditional and non-synchronous elements has helped me to create new works that

function as explorations into the possibilities of interactive chance, thereby distorting

traditionally notated rhythms within ensembles. The techniques of limited-aleatory still allow

                                                                                                               124 Christopher Fox. "New Complexity." Grove Music Online. Oxford Music Online. Oxford University Press, accessed July 19, 2013, http://www.oxfordmusiconline.com/subscriber/article/grove/music/51676.

103

for structural organisation of pitch and time but it is the micro details that furnish the piece

with its own distinctness. I was not interested in graphic scores that encouraged chance on

such a vast level but aleatory that allows a piece to remain as a whole whilst the nuances of

asynchronicity are at the micro level.

My initial forays into presenting works featuring techniques of limited-aleatory helped me

overcome difficulties in presenting complex rhythm (The Ice Barrier and Fire on the Snow

Suite for Strings) and were helpful in preparation for rehearsals. It could be said one of the

main tradeoffs of using notation of limited-aleatory is the to need learn a new set of musical

symbols. It has been pointed out to me that the unfamiliarity of repeated bars, wavy or

straight lines or the absence of barlines takes up time in explanation and impacts into

rehearsal time. Despite this, I found that the sections in my main works of the folio, in

particular Fire on the Snow that dealt with strict rhythm, the familiar metrical notation

sounded less accomplished. Large sections displaying limited-aleatory could not only be

rehearsed in a shorter amount of time but they sounded more effective and confident. It

seemed that the musicians than tricky rhythms would absorb unfamiliar symbols much

quicker. This was a result that I was wishing for but did not expect to be validated in such a

short amount of time, or with as much enthusiasm by the musicians themselves.

Further to this, the idea came up during the rehearsal and recording sessions with Silo String

Quartet for the String Quartet No.3 that it was possible to formulate the idea of a new

performance practice based on contemporary music techniques that have a historical

connection to instrumental performance practices during the Baroque and Classical periods.

Part of the notational make up of the piece did reflect a cumulative or collective experience

of an ensembles journey through my works written specifically for them. In essence the

104

ensemble based on their knowledge of my past work could develop upon musical shorthand

and yet there should still be enough information for a satisfying performance from another

group when the need arises. These ideas will be explored beyond this composition in two

new quartets, the fourth and fifth, which I again will write for Silo String Quartet.

Perhaps the most interesting result of my use of limited-aleatory would be the reorganisation

of pitch material in my compositions. My earliest works in serialism not only used a

complicated rhythmic language but treated pitch in melodic and polyphonic sequences. In

studying Lutosławski’s scores and research into others work on his harmonic organization I

saw his techniques of limited-aleatory as being merely the by-product of a highly organised

approach to chordal serialism. Lutosławski’s use of twelve-note chords was arranged by

intervallic relationships. Most of Lutosławski’s works from the early 1970s featured

exclusive use of twelve-note chords. The aleatory was merely a way for these chords to

sustain themselves over time. With the removal of traditional concepts of rhythmic meter and

pulse, sections for Lutosławski became points in time with long durations as opposed to bars

and beats. His chords functioned as exercises in aleatoric polyphony.

Though my chords are different in construction from Lutosławski, I found adopting the idea

of aleatoric counterpoint helped me sustain an interest and helped me to slow down my

music. For my own ears I sometimes find that ‘serial’ works can be too busy, changing

before the listener can grasp the musical argument. The shift from polyphonic melodies to

chords helped my music shift down gears and whilst it still may sound contemporary and new

to many listeners, the embracing of repetition both in the long sustaining of a chord or

through the use of repetitive rhythmic cells has helped me smooth over some of the

astringency my music has often been associated.

105

Through adopting the models of aleatory that Lutosławski developed in his late period, I was

very consciously retaining my own musical identity and not merely writing works that

sounded like Lutosławski copies. Whilst I availed myself of many his techniques into

rhythmic aleatory, I think my own harmonic language helped me keep a distance and retain

an individual sound.

In the early stages of my research some conversations with musicians revealed their

unfamiliarity or open hostility for limited-aleatory. One musician described these techniques

as being “old-hat”, a stylistic artifact leftover from the 1960s. Use and exploration of these

techniques have showed me that a very sophisticated level of complexity can be achieved

without having to compromise. I have received far more successful and immediate results

since using aleatoric notation In the year of the one hundredth anniversary of Lutosławski’s

birth, the importance of his work is being revealed to a growing concert going audience. I

also hope that his methods and aleatoric practices could equally find a footing both

compositional applications and a continuance in the practices adopted by new composers

going further into this century.

106

Bibliography

Aubigny, Benoît. “Poetic and Dramatic Schemes in Lutosławski’s Vocal-Instrumental Works,” in Lutosławski Studies, edited by Zbigniew Skowron, 57-95. Oxford: Oxford University Press, 2001.

Bischof, Rainer. “Thema: Der geist der wiener schule.” Österreichische Musikzeitschrift

No.63, No.1, (2008) 24-32

Bodman Rae, Charles. The Music of Lutosławski. London: Faber and Faber, 1994 Custodis, Michael. Living History. The Guitar Virtuoso and Composer Steve Vai,

Online-Publication Muenster 2011. URL: http://www.unimuenster.de/imperia/md/content/musikwissenschaft/pdf/custodis-vai.pdf (accessed April 1, 2012).

De Lio, Thomas. "The Complexity of Experience." Perspectives of New Music 31, No. 1

(1993): 64-77. Ferneyhough, Brian and James Boros. "Composing a Viable (If Transitory)

Self. "Perspectives of New Music 32, no. 1 (1994): 114-130. Homma, Martina. ""Aleatorischer Kontrapunkt", "Matière Première", Harmonik Und

Rhythmik: Zum Entstehungsprozeß Von Witold Lutosławskis Trois Poèmes d'Henri Michaux Für Zwanzigstimmigen Chor Und Orchester (1961–1963)." Musiktheorie 14, no. 1 (1999)

Klein, Michael Leslie. “A theoretical study of the late music of Witold Lutosławski: New

Interactions of pitch, rhythm, and form.” PhD diss., New York State University, 1995. Kubicki, Michał and Homma, Martina. "Witold Lutosławski's Trois

Poemes D'henri Michaux: The Sketches and the Work." Polish Music Journal, no.3:2, (2000)

Nikolska, Irina. Conversations with Lutosławski. Stockholm: Melos, 1994. Paja, Jadwiga “The Polyphonic Aspect of Lutosławski’s Music” Acta Musicologica, no.62:

2/3, (1990): 186-190 Philpott, Carolyn. "Notes from the Heroic Age of Antarctic Exploration: Gerald S. Doorly's

"Songs of the 'Morning'"." Context: A Journal of Music Research, no.37, (2012): 3-35.

Reyland, Nicholas. ""Akcja" and Narrativity in the Music of Witold Lutosławski." Cardiff:

Cardiff University, 2006.

107

________. ""Livre" or Symphony? Lutosławski's "Livre Pour Orchestre" and the

Enigma of Musical Narrativity." Music Analysis 27, no. 2-3 (2008):253-294.

________. “Lutosławski ‘Akcja’, and the poetics of musical plot” Music and Letters,

no.88:4, (2007) 606-613 Rust, Douglas. “Conversation with Witold Lutosławski” The Musical Quarterly, no.79:1,

(1995) 207-223 ________. “Two questions of perception in Lutosławski’s Second Symphony” Perspectives of

New Music, no.42:2, (2004) 207-223 Schmalfeldt, Janet. Berg’s Wozzeck: Harmonic Language and Dramatic Design. New Haven:

Yale University Press, 1983. Simms, Bryan R. Music of the Twentieth Century: Style and Structure. New York: Schirmer

Books, 1986. Solomon, Susan. The Coldest March. Melbourne: Melbourne University Press, 2001. Skowron, Zbigniew. Lutosławski on Music. Lanham, Maryland: The Scarecrow Press, 2007.

Stucky, Steven. Lutosławski and his Music. Cambridge: Cambridge University Press, 1981. Toop, Richard. “On Complexity” Perspectives of New Music, no.31:1, (1993) 43-46 ________. “Sulle scale della fenice.” Perspectives of New Music, no.29:2, (1991) 72-92 Varga, Bálint András. “Lutosławski Profile” Witold Lutosławski in Conversation with Bálint

András Varga. London: Chester Music, 1976.

Recordings Bernstein, Leornard, dir. Symphony No.3, by Gustav Mahler. New York Philharmonic

Orchestra. DG 427 328 2. 1986. Lubaszenko, Edward, dir. Passio et Mors Domini Nostri Iesu Christi Secundam Lucam, by

Krzysztof Penderecki. Polish Radio National Symphony Orchestra and the Warsaw National Philharmonic Choir. ARGO 430 328 2. 1990.

Kronos Quartet. String Quartet, by Witold Lutosławski. NONESUCH 79255. 1991.

108

Lutosławski, Witold, dir. Symphony No.2, Trois Poemes d’Henri Michaux, Jeux vénitiens, Livre pour orchestra, by Witold Lutosławski. Polish Radio National Symphony Orchestra and the Krakow Radio Chorus. EMI 517 634 2. 1994.

Pommer, Max, dir. Symphony No.5, by Einojuhani Rautavaara. Rundfunk-Sinfonie-

Orchester Leipzig ONDINE ODE 747 2. 1990. Salonen, Esa-Pekka, dir. Symphony No.3, Les Espaces du Sommeil, by Witold Lutosławski.

Los Angeles Philharmonic and John Shirley-Quirk. SONY SK66280. 1994. Wit, Antoni, dir. Symphony No.4, by Witold Lutosławski. Polish National Radio Symphony

Orchestra. NAXOS 8.553202. 1996. Scores Cowell, Henry. Quartet Romantic. New York: Peters Edition, 1974. Ives, Charles. Symphony No.4. New York: Associated Music Publishers, 1965. Lutosławski, Witold. Concerto for Cello and Orchestra. London: Chester Music, 1970. ________. Les Espaces du Sommeil. London: Chester Music, 1975. ________. Livre pour Orchestre. London: Chester Music, 1968. ________. String Quartet. London: Chester Music, 1964. ________. Symphony No.2. London: Chester Music, 1967. ________. Symphony No.3. London: Chester Music, 1990. ________. Symphony No.4. London: Chester Music, 1994. ________. Trois Poemes d’Henri Michaux. Warsaw: PWM Edition, 1964. ________. Venetian Games : For Orchestra. Kraków: Partitura, 1962. Mahler, Gustav. Symphony No.3. New York: Dover Publications, 1989. Penderecki, Krzysztof. Passio et Mors Domini Nostri Iesu Christi Secundam Lucam.

Kraków: Edition Moeck, 1967.

Rautavaara, Einojuhani. Annunciations, Concerto for Organ, Brass group, and Symphonic Wind Orchestra. Helsinki: Edition Fazer, 1995.

________. Symphony No.5. London: Novello & Co., 1988.  

 

109

Folio of Compositions

 

 by

Scott Ean McIntyre

B.Mus, M.Mus (University Of Melbourne)

Tasmanian College of the Arts, University of Tasmania

Submitted in fulfilment of the requirements for the Doctor of Philosophy

University of Tasmania

July, 2013

 

Composition Folio – Table of Contents

1. The Ice Barrier ......................................................................................................... 1

2. Fire on the Snow Suite for 13 Solo Strings .......................................................... 33

3. Fire on the Snow – An Opera in Two Acts .......................................................... 73

Prelude – The Ice Barrier ......................................................................................... 79

Act One/Scene One - Death ................................................................................... 106

Scene Two – Before the End ................................................................................. 117

Scene Three – The Final March ............................................................................. 132

Scene Four – Two Days out from Ninety Degrees ................................................ 144

Scene Five – Something Black on the Snow ......................................................... 156

Scene Six – Beaten to the Pole .............................................................................. 179

Interlude - Act Two/Scene Seven .......................................................................... 196

Scene Eight – Death on the Snow .......................................................................... 211

Scene Nine – The Blizzard .................................................................................... 238

Scene Ten - Oates Shall Leave .............................................................................. 257

Scene Eleven – Approaching the End .................................................................... 279

Scene Twelve – Remembrance of setting sail from England ................................ 303

Scene Thirteen – Hope [Postlude] ......................................................................... 310

4. Homage to Lutosławski ....................................................................................... 317

5. A Letter to the King of Norway (Part 1) ............................................................ 331

6. String Quartet No.3 (A Letter to the King of Norway Part 2) ......................... 345

Part One ................................................................................................................. 351

Movement One ....................................................................................................... 352

Part Two/Movement Two ...................................................................................... 358

Movement Three .................................................................................................... 363  

 

 

The Ice Barrier

for Baritone Solo and Orchestra

Words by Douglas Stewart

Copyright © Scott McIntyre 2010. All rights reserved

Instrumentation

Piccolo Flute

Oboe

Cor Anglais Clarinet in A

Bass Clarinet in Bb

Bassoon Contrabassoon

4 Horns in F

2 Trumpets in C 2 Tenor Trombones

Bass Trombone Tuba

Timpani

Percussion (1 players) – Xylophone, Tam tam, Temple blocks, claves

Bass drum, Crotales, Tomtoms, Large suspended cymbal, glockenspiel

Harp Baritone Solo

Violin 1

Violin 2 Viola Cello

Bass

duration 8 minutes

The Ice Barrier - Program Notes

While I was editing and adapting the radio play Fire on the Snow for my opera of the same name, I came across some verse, which appeared to stand out form the rest of the text. The subject deals with the ill-fated Antarctic expedition of Robert Falcon Scott during 1910-12, his being beaten to the pole by the Norwegian, Amundsen and the subsequent death of his expedition party.

The bulk of the play is narrative and deals with the last few days of the expedition but the stanza beginning with “This journey is one man’s dream” suggested a different treatment and mood from the music of the opera. I thought about a separate companion piece to the opera and wrote a version for baritone and orchestra. The piece is meant to be a dream like state; the explorer facing harsh and desperate conditions imagines his redemption through his heroic actions. Ultimately the environment and intense cold claims his resolve and he yields to snow and ice, passing into another dream.

Performance notes  

Ad. Lib. phrase – Phrases within the square brackets are to be played approximately in the given tempo with a deliberate attempt to be un-synchronised with the conducted tempo. (If this marking is given for a string section i.e. Vln.1 ALL players should play independently from each other)

 

Ad. Lib. section – The conductor gives a downbeat for this section and ALL players must play approximately in the previous or given tempo with a deliberate attempt to be un-synchronised (for a string section ALL players should play independently from each other). When the individual players parts are finished, wait for the next cue either on a paused note or rest as indicated.

Repeat phrase inside repeat markings in an approximation of the given tempo with a deliberate attempt to be un-synchronised with the conducted tempo. (if this marking is given for a string section ie. Vln.1 ALL players should play independently from each other)

Semibreves with a fermata in an Ad.Lib. Section (either notes or rests) are not necessarily four beats. They are to be treated as a fermata that waits for the next cue.

&

&

&

&

&

&

?

?

&

&

&

&

?

?

?

?

&

&

?

?

&

&

&

&

B

B

?

t

44

44

44

44

Piccolo

Flute

Oboe

English Horn

Clarinet in A

Bass Clarinet

Bassoon

Contrabassoon

Horn in F 1+3

Horn in F 2+4

Trumpet in C 1

Trumpet in C 2

Trombone 1+2

Bass Trombone

Tuba

Timpani

Percussion

Baritone

Violin 1

Violin 1

Violin 2

Violin 2

Viola

Viola

Cello

Double Bass

Harp

1

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

O

∑

O

∑

O

∑

∑

∑

ppp

ppp

ppp

con sord.

con sord.

con sord.sul A

sul D

sul G

q »64∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

O

∑

O

∑

O

∑

∑

∑

con sord.

Xylophone

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ

">

œ œb œœ

b > ..œœb œœ# > œn œœ# œ

#3

œ>o

Œ œ>o

œ>

o

∑

∑

O

œ"> œ- œb -

œ- œb - œ- œ

#

œ3 3

O

Ó œb"

> œb - œb - œb - œ- œ- œ- œb -

#3 5

O

Ó Œ œ>"

œb -

∑

∑

mp

mp ppp

ad lib.

con sord.

mp

ad lib.

mp

con sord. ad lib.

ad lib.

pp

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

O

w

O

w

O

œ- œ- œb -

#

˙3

∑

∑

ppp

ppp

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

O

w

O

w

O

w

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Ó Œ ≈ .r

œb>∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

O

w

O

w

O

w

∑

∑

mf

∑

∑

∑

∑

∑

∑

∑

∑

œ.œb œ œ .œ>

œb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

O

w

O

w

O

w

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

w∑

∑

Ó Œ ‰rœ>

∑

∑

∑

∑

∑

∑

∑

∑

∑

O

w

O

w

O

w

∑

∑

mf

∑

∑

∑

∑

∑

∑

∑

∑

‰ .œb > ˙∑

Ó ≈ .r

œ> œ∑

w

∑

Ó Œ ≈ .r

œ

>∑

∑

∑

∑

∑

∑

∑

∑

O

w

O

w

O

w

∑

∑

mp

mp

con sord.mp

The Ice Barrierfor Baritone and orchestra

Copyright © Scott McIntyre2010. All rights reserved

Transposed Score

Words by Douglas Stewart

5

&

&

&

&

?

?

&

?

?

?

÷

&

?

?

&

&

&

&

B

B

?

t

45

45

Picc.

Fl.

E. Hn.

B. Cl.

Bsn.

C. Bn.

Hn.4

Trbn.1

Bass Tbn.

Tba.

Perc.

Brtne.

Vln. 1

Vln.1

Vln. 2

Vln.2

Vla.

Vla.

Vc.

D.B.

Hp.

10

∑

∑

∑

Œ œ# > w w ÓU

Ó w> w ÓU

∑ .w# >ÓU

∑

˙∑U

Œ ‰rœ> w w ÓU

Ó >˙# > w ÓU

w ∑U

∑

∑

Œ.˙ w œ œ œ œ œ ˙ wU

U3

This jour ney is one man's dream

O∑U

wA œ œb œ œb œ œb œ œb œ œb œ œb œ œb œ wU

6 3

O ∑U

wA œ œb œ œb œ œb œ œb œ œb œ wU5 3

O ∑U

.˙A œ œb œ œb œ œb œ œb œ œb œ œ œbr

œ œ .œ œb wU6 3 3

Ó Œ ‰r

œ> .w# >ÓU

∑ .w# >ÓU B

p

p

p

pp

mp

mp

mf

mf

mf

pp

pp

pp

mp

Ad lib.

mp

1

pp

Tam tam

U

p

p

U

U

U

U

U

∑

œ .œ rœ .œ œ

rœU ‰U

3

œr

œ œ# ˙U3

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ .œrœ .œ œ œU œU3

And it is one

O@.O@

rO@ .O@

Or

OU

@ ‰U3

wU

rrœfl

‰ . Œ ≈rr

œfl

‰ ŒU

wU

Œ œbfl

œbfl

‰ Œrr

œfl

‰ .U

wU

‰ . rrœbfl

Œ ‰ .rrœ ŒU

œ@ r

œ@

œ@ r

@ œb@ r

œ. U

3

mp

sul pont. slow tremolo

mp

mp

mp

mp

mp

sul pont. slow tremolopizz.

pizz.

pizz.

pizz.

Solo

p

Solo

senza.sord.

senza.sord.

a tempo

U

U

U

U

U

U

U

U

U

U

U

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œrœb œb ˙ ,3

man's bur den

∑

w

∑

w

∑

w

∑

∑ t

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ œn ˙b œ œ

And the man is

w

w

Ó˙b

w

∑

w

Ó Œ œ

∑

Tutti

pp

arco

arcocon sord.

pp

pp

con sord.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

rœ .œ ˙

Scott

w

w

w

w

∑

w

w

wTutti

pp

arco

∑ ‰rœb

∑

∑

∑

Ó Œ ˙

∑

Ó Œ˙

∑

∑

∑

∑

Ó rrœ.

‰ . ‰rr

œ. ≈ œ. œb > œ.

Ó Œrœ> ‰ Œ

˙ Ó Œ

w Œ

w Œ

wŒ

w Œ

∑

w Œ

w Œ

w Œ

p

p

p

mf

45

45

-- - - - - - - - -

6

&

&

&

?

&

&

&

&

&

?

&

?

?

&

&

&

B

B

?

t

44

44

44

44

43

43

43

43

45

45

45

45

Picc.

Fl.

Ob.

Bsn.

Hn.1

Hn.2

Hn.4

C Tpt. 1

C Tpt. 2

Timp.

Brtne.

Vln. 1

Vln.1

Vln. 2

Vla.

Vla.

Vc.

D.B.

Hp.

16

wA

∑

∑

w

∑

∑

w

∑

∑

∑

rœ> ‰ Œ Ó

∑

∑

œ .œ rœ .œ œ œ

3

Ó ˙

œr

œ œ ˙3

Œ .˙b

œr

œ œr

œ œbr

œn3

Ó Œ œ

Œ .˙b

p

p

p

p

p

p

p

Tutti

w

∑

wb

wb

∑

∑

w

‰ . rrœb .˙

∑

∑

‰ . rrœ# .

Œ Ó

∑

∑

rœ .œb

rœ

.œ

rœ ‰ Œ Ó

rœ

œb -

rœ ˙

rœ ‰ Œ Œ ‰ . rr

œ-

rœ ‰ Œ Ó

rœ ‰ Œ Œ ‰ . rr

œ&

rœ ‰ Œ Ó

pp

p

∑

∑

∑

∑

∑

Ó rrœ>

+‰ . Œ

∑

w

∑

wæ

∑

∑

Ó Œ œ

The

˙˙b -

∑

˙ rœb .œ

˙

˙

∑

œ.˙b

Ó˙

pp

mf

mp

∑

Œ ‰ .rrœb œU

∑

∑

Œ ‰ . rrœ œU

∑

∑

.U

‰ œ U3

.æU

‰rrœ. ‰ . ‰ .

rrœb . ŒU3

∑U

œ œ œ œ œ œ œU U

o thers do what they're bid den

.U

∑

rœ

œ ˙U3

˙œU

∑

œr

œ œb œU3

B

.U

pp

pp

pp

U

U

U

U

U

U

U

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Œ œ# .

œ.

Œ ‰rrœb . ≈ Œ ‰ rr

œ.≈

3

‰ œ# œ .œ .œb œn œ œb33

Bea ring their share of the

Ó Œ rœb - œ .œ œ-

3

Ó Œ rœb - œ .œ- .œ œ-

3

Œr

œb

>>

.˙ œ.œ-

Œr

œb

>.˙ œ .œ-

∑

Tutti

-- -

7

&

&

&

&

&

&

?

?

&

&

&

?

&

?

?

&

&

B

B

t

44

44

44

44

45

45

45

45

44

44

44

44

45

45

45

45

Picc.

Fl.

Ob.

E. Hn.

A Cl.

B. Cl.

Bsn.

C. Bn.

Hn.1

C Tpt. 1

C Tpt. 2

Timp.

Brtne.

Vln. 1

Vln. 2

Vla.

Vc.

D.B.

Hp.

21

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Œœ# .

≈ œ. ≈ ÓU

Órrœn . ‰ . ŒU

˙nÓU

load,

.œA œb œ œ .œ- œU

.œA œb - œ œ .œ- œ œU-

wU

wU

∑

U

U

U

U

U

U

U

U

U

U

U

U

U

œ .œr

œ ˙3

œ .œ rœ .œ œ œ

3

Ó ˙

w

Œ.˙b

œrœ œb

rœ œ

rœ

3

Ó Œ œ

Œ .˙b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

p

p

p

p

p

p

p

p˙ Ó Œ

œ œb .˙

rœ ‰ Œ Ó Œ

rœ ‰ Œ Ó Œ

wb Œ

rœ ‰ Œ Ó Œ

rœ ‰ Œ ‰ .œ Œ

rœ ‰ Œ Ó Œ

Ó ‰ rrœ.

+≈ Ó

Œ rrœb .

‰ . Ó Œ

rrœb . ‰ . Œ Ó ‰

rrœb . ≈

∑

∑

> Ó Œ

Œ œ œ# œ œ œ œ3

But can not tell what it

∑

∑

∑ œ

∑œ

∑

pp

pp

pp

mfcon sord.

con sord.

mf

mf

pp

senza.sord.

senza.sord.

mp

∑

∑

∑

∑

∑

∑

∑

∑

Ó Œ ‰ rrœ.

+≈U

‰ . rrœ.

Œ Œrrœ. ‰ .U

Ó ‰ rrœb .

‰ . ‰ . rrœb .U3

∑

∑

∑

w# U

means.

Ó œ œ.œU

Ó ˙U

wU

wbU ?

∑

U

U

U

U

U

U

U

U

U

U

U

U

senza.sord.

senza.sord.

∑

∑

∑ œ

∑

∑

∑

∑

∑

Œ ‰ œ .˙3

∑

∑

Ó Œ ≈ .r

œæ æ

Œ ‰ .rrœb . ‰ . rr

œ.Œ ‰

œ# .œ.

Œ rrœ. ‰ . Œ Ó

œ œ œ œ œ œ œ œb œn œ œ# œ3 3 3

E vans who un der stood least, was the first to

w- œ œ-

.˙ ˙

Œ ‰ .rr

œb .˙

Œ ‰ . rrœb œ œ .œ œ

Ó Œ ≈ .rœ œ

p

p

p

pp

pp

pp

p

- - --

8

&

&

&

&

&

?

?

&

?

?

&

&

B

?

t

44

44

44

43

43

43

Ob.

Hn.1

Hn.3

C Tpt. 1

C Tpt. 2

Trbn.1

Timp.

Brtne.

Vln. 1

Vln. 2

Vla.

Vc.

D.B.

Hp.

26

.˙ .œ œU

œ .U

∑

∑

∑

∑

æ æ ˙b æU

∑U

Œ ‰ œ. œb . rrœ. ‰ . ŒU

œn œ œ ŒU

die, a man

wU

˙ .œr

œU

-

wAU

˙r

œ.œbU

wU

mf

U

U

U

∑

∑

∑

∑

∑

∑

∑

rrœb . ‰ . Œ rr

œ.‰ .

∑

œb >Œ œ œ

Lost in a

‰.œb > œ

.œ

‰.œb > œ

.œ

‰ .œb > œ.œ

‰ .œb > œ rœ

3

Œ Œ Œ rœ3

mf

sul G

mf

sul G

mf

mf

mf

mf

f

q »842

∑

∑

∑

œ.

"

œ. œ. ® œ. œ. ® œ.

#

∑

∑

∑

rrœ# .

‰ . ‰rrœb . ‰ . Œ3

∑

œb œ ‰ œb Œ3

night mare, lost

œ ˙

.˙

.œ .œb

˙ .r

œ ≈

˙ .rœ ≈

harmon mute

mf

ad lib.

∑

∑

∑

œ# .

"

® œ. œ. ® œ. œ. œ.

#

Œ Œ œ# ." ® œ. œ. ® œ. œ. œ#

∑

‰ rrœ.

≈ ‰ . rrœ# .

Œ

∑

‰ œ œ œ œ œb œ œ œ3 3 3

In the fog of a no ther man's

œrrœ ‰ . Œ

rrœ ‰ . Œ Œ

œ .rœ ≈ Œ

∑

∑

harmon mute

mf harmon mute

mf

ad lib.

ad lib.

∑

∑

œb .

+"

œ+

. ® œ+

. œ+

. œn .

+® œ

+

.

#

∑

∑

∑

∑

‰rrœ. ≈ Œ Œ

Œrrœ. rr

œb .‰ Œ

˙ Œ

dream.

∑

∑

‰ . rrœ> ˙

‰ ≈rrœ>

‰ . rrœ> ˙

mf

mf

mf

ad lib.

mf

∑

∑

∑

œ.

"

œ. œ. ® œ. œ. ® œ.

#

∑

∑

∑

Œ rrœ.

‰ . Œ

∑

∑

˙b >œ

.˙b >

œ Œ Œ

.œb > ˙

œŒ Œ

mf

mf

mf

mf

ad lib.

sul G

- --

9

&

&

&

?

?

?

&

?

?

&

&

B

?

t

Fl.

Ob.

A Cl.

Bsn.

C. Bn.

Tbn.2

Brtne.

Vln. 1

Vln. 2

Vla.

Vc.

D.B.

Hp.

32

∑

∑

∑

∑

∑

∑

∑

∑

∑

˙ Œ rœb >

3

rrœA

‰ . Œrœ> œ

3

∑

rœA ‰ Œ Œ

.>

mf

mf

mf

∑

Œ rœ ˙

3

Œ ‰ . rrœb œ

Œ œb .‰ œ. Œ

Œ Œ œ

∑

Œ rrœ.

≈ Œ Œ3

Œ ‰ .rrœ. rr

œb .≈rrœ. ≈

œb œ œ œ œ œ œn œ3 3

On ly the drea mer is liv ing

.˙

.˙

.>

Œ ‰ .rrœ>

œ .r

œ ≈ Œ

mf

mf

mf

mp

mp

f

∑

.r

œ ≈ Œ Œ

.œ œ ˙

∑

˙rrœ ‰ .

∑

∑

‰ .rrœ. ≈

rrœb .

‰rr

œb .‰ .

˙ Œ

.œ ˙

.œb ˙

.œb ˙

.œb ≈ œb .

"‰ œb . œb . œb .

#≈

∑

pp

pp

pp ad lib.pizz.

Œ Œ ‰rœ

Œ rrœb .

‰ . ‰rrœn . ≈

.r

œ≈ Œ Œ

∑

∑

∑

Œ rrœ# .

‰ . ‰rrœ. ≈

∑

œ œ œb

And now when

.˙

.˙

.˙

∑

∑

mf

mp

mp

.˙

∑

Œ˙b

Œ œ. ‰ œb . ≈ œ. œ. œ.

∑

œ# ."® œ. œ. ® œ. œ. œ.#Œ Œ

∑

Œrrœ. ‰ . Œ

œb œb œ

grief is gone

.˙

.˙

.˙

Œ ≈ œ.

"≈ œb . œ.

≈ œ.œb .

Œœ" .

≈ œb .œ. ≈ œ.

œ. œb .

mf

mf

mp

mp

ad lib.pizz.

p

ad lib.pizz.

ad lib.con.sord. harmon

- - -

10

&

&

&

&

&

?

&

&

?

&

&

?

?

&

&

B

?

t

Picc.

Fl.

E. Hn.

A Cl.

B. Cl.

Bsn.

Hn.3

Hn.4

Timp.

Perc.

Brtne.

Vln. 1

Vln. 2

Vla.

Vc.

D.B.

Hp.

37

∑

.˙

∑

œArr

œ‰ .

œ

∑

‰ œb .≈ œ. ‰ œ. œ. œ. ‰

∑

∑

∑

∑ ÷

∑

‰ .rr

œb .Œ

rrœ. ‰ .

˙AŒ

.˙

.˙A

.˙A

≈ œb . ≈ œ. œ.œb . œ.

≈ Œ

≈ œ. œ.œb .

≈œ.

≈œ.

Œ

Temple blocks

Œ œ.

"

œ. œ. œ. œ. œ. œ

#

.

.œ ‰ Œ

Œ Œœ."

œ. œ#.3

˙rr

œ‰ .

∑

∑

∑

∑

∑

œ"

œ. œ. œ. œ. œ. œ#.

Œ œ. œ. Œœ. œ. œ.

∑

Œ Œ œ œ

Is the

.˙

.˙

.˙

∑

∑

p

ad lib.

mp

ad lib.

mp

mp

ad lib.

p

∑

∑

∑

∑

∑

∑

œ œ œb

∑

∑

∑

rœ ‰ Œ Œ

∑

œ œb œb

hour of

.˙

.˙

.˙

∑

∑

p

senza.sord.

∑

∑

∑

∑

∑

∑

.˙

œ œb œb

∑

∑

∑

∑

œb , œb œb

peace and re

.˙

.˙

.˙

∑

∑

p

senza.sord.

∑

∑

∑

∑

∑

∑

.˙

.˙

∑

∑

∑

∑

.˙

lease,

.˙

.˙

.˙

∑

∑

rit.

∑

∑

∑

Œ Œœb

Œ œ. œ.œ# . œ. œ.

≈ œ.≈

œ.œ. œ.

∑

.˙

∑

∑

Œ Œœfl

"

œ. œ. œ. œ. œ. œ

#

.

∑

Œrrœ. ‰ . ‰

rrœb .

≈

˙ œb œ

For the

.˙

.˙

.˙

Œ ≈ œ. ≈ œ. œ. œ#

.Œ Œ

Œ œ. œ. œ. œ#

.Œ

mf

p

ad lib.

a tempo

p

∑

∑

∑

œŒ Œ

≈œ. œ.

≈ œ. œ.‰ œ# .

Œ

∑

∑

∑

∑

∑

∑

Œ ‰ .rrœ. Œ

œ œ œb

dream is clear

.˙

.˙

.˙

∑

∑

∑

∑

∑

∑U

œ# . ≈ œ. ≈ œ.ŒU

∑

∑

∑

.˙U

æ

∑

∑

rrœ. ≈

rrœ.

≈rr

œb .‰ . ŒU

œ œn U

a gain.

.˙U

.˙U

.˙U

∑

∑

mp

U

U

U

U

U

U

U

U

U

U

--

11

&

&

?

?

?

&

&

B

?

t

E. Hn.

A Cl.

Bsn.

Timp.

Brtne.

Vln. 1

Vln. 2

Vla.

Vc.

D.B.

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

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

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

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

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

45

∑

∑

∑

∑

∑

Œœ# . œ# . œ.

®œ. ® œ. œ.

‰

Œœ. ® œb . œb .

®œ. œ. œ.

‰

Œ ® œ.œ. ® œb . œ.

œ. ® œ. ®

Œ œ# . œ. œ.® œ. ® œ. œ.

‰

Œ ≈œ. ® œ# . œ.

®œ. œ. œ.

pizz.

“– –‘mp - mf

All strings ad lib.

pizz.

“– –‘mp - mf

pizz.

“– –‘mp - mf

pizz.

pizz.

“–

“–

–‘

–‘

mp - mf

mp - mf

3 a tempo

∑

∑

∑

∑

∑

rœb

.œb.œb œb

rœb .œ

.œ œ

∑

Œ Œrrœ. ‰ .

rœb

.œb .œ œb

Calm as an

mp

mf

mp

mf

.œ œn œ .œb œb

œ .œb œ œ

Œ Œ .œnœ

‰ .rr

œb .≈ rr

œ.‰ ‰

rrœb .

‰ .3

.œ œn œ .œb œb

al ba tross

mp

.œn .œn

.œ .œ

œ œb œ ˙3

Œ rrœ.

‰ . rrœ.

‰ .

∑

- -

12

&

&

?

&

?

÷

?

&

&

B

?

t

E. Hn.

A Cl.

Bsn.

C Tpt. 1

Timp.

Perc.

Brtne.

Vln. 1

Vln. 2

Vla.

Vc.

D.B.

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

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

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

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

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

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

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

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

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

50

œb rœ œ .œ .œ œ

3

œ rœ œ .œ .œ œ

3

œ œ œb œ

∑

œ. œ.‰ Œ Œ

rrœ.

≈3

Œ Œ Œ œ. œ.rrœ. ≈

3

œb rœn œ .œb .œ œ3

Or dives at the

Tomtoms

p

.˙

.˙

.˙

∑

Œ ‰rr

œb .≈ Œ

Œ ‰ œ. œ.rrœ. ≈ Œ

˙ œ

shoal of

‰

œ œ œb œ

®œ œb œ œb

œ œ œb ®

≈ œ œ

arco

“–

arco

“–

arco

h+e

h+e

h+e

h+e

“–

“–

h+e

arco

œrœ œn œ

.œ3

œrœ œ œ

.œ3

rœb .œ œ

∑

Ó ≈ rrœ.

‰

∑

˙b Œ

ice

∑

® œ œ œ ‰

œ œ œ œ ≈

œ œ œ œ ‰

® œ œ œ œb œ

–‘

–‘

–‘

–‘

f

œ .œrœ œ .œ œ

3

œ .œrœ œ .œ œ

3

œ œb œ ˙

∑

Œ ≈rr

œb .‰ Œ

Œ ≈ œ. œ.rrœ. ‰ Œ

.ϊ

rœä .œ œä

In a flash

∑

.˙

.˙

œ œbrœ œ3

‰ . rrœ> .œ œb > œ

Œ ‰ rrœ.

≈ Œ

∑

.˙

∑

œ œ“–

h+ek

mf

13

&

&

&

&

?

&

&

?

?

÷

?

&

&

B

?

t

Fl.

Ob.

E. Hn.

A Cl.

Bsn.

C Tpt. 1

C Tpt. 2

Tbn.2

Timp.

Perc.

Brtne.

Vln. 1

Vln. 2

Vla.

Vc.

D.B.

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

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

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

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

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

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

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

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

55

Œ Œ œ .œ

∑

œ œr

œ œ3

œ œ rœ œ .œ3

œb .œ ˙

rœA œ> ‰ Œ

‰r

œ> ˙

∑

‰rr

œb .≈ Œ Œ

‰œ.

œ.

rrœ.

≈ Œ Œ

œ œrœ œ

3

like a

∑

œ œ œb œ

® œ œ œ œb œ

“–

–‘

h+e

mf

mf

.˙

∑

.˙

.˙

œ .œ œb œ

∑

∑

∑

œ. ≈ œb .≈ Œ ‰ . rr

œ.

œ. œ. œ.≈

œ.œ.

œ. ≈ Œ Œ

˙ œb

flock of

Œ Œ ‰ œb œ œb®

® œ œ œ ‰

œ œ œb®

œ œ œ œ‰

–‘

–‘“–

arco

“–

q+e

.˙

Œ ‰ .œb

.˙

.œ.œ

.˙

.>

Œ ‰ .œb >

∑

Œ Œ ‰rr

œb .≈

∑

˙œb œ

gulls, And the

œb œb œ œ

® œ œb œn œb® œ œ œb œ

sfzp

sfzp

–‘“–

–‘

mf

senza.sord.

f

.˙

˙ œ .œâ

∑

˙ œ œ> œ

rœ œ

>

3

.˙

.˙

‰ œ>

3

Œ rrœ.

‰ . ≈rr

œb .‰

∑

˙b œ .œ>

heart leaps!

œb œb œ œb

f

f

f

f

f

f

f

h+e

f

p

a tempo

14

&

?

?

&

&

&

&

B

B

?

42

Brtne.

Vln. 1

Vln.1

Vln. 2

Vln.2

Vla.

Vla.

Vc.

Hp.

59

rœ>

‰ Œ

∑

∑

.œ>

rœ.

rœ>

‰ Œ

∑

∑

∑

∑

∑

mp

pizz.

mp

mf

4

Solo

42

Œ ‰ rœ>

∑

∑

‰ œb rœ.

Œ ‰ rœ>

‰ rœb >

Œ

∑

∑

∑

∑

mp

pizz.

pizz.

mp

q »124

Œ ‰ rœb >

∑

Œ ‰ rœ>

The

.œb >rœb .

Œ ‰ rœb >

rœb >

‰ Œ

∑

∑

∑

∑

‰ rœ>

Œ

∑

œ# > œ> Œ

heart leaps

‰.œ>

‰ rœ>

Œ

∑

∑

∑

∑

∑

‰ rœ>

Œ

∑

Œ ‰ rœ>

and

rœ.

.œ>

‰ rœ>

Œ

rœ> ‰ Œ

∑

∑

∑

∑

∑

∑

œ>œb > œb >

re joi ces

rœ. ‰ Œ

∑

rœ>

‰ Œ

∑

∑

∑

∑

rœ>

‰ Œ

∑

œ Œ

.œ>

rœb .

rœ>

‰ Œ

Œ ‰ rœb >

∑

Œ œb >

Œ rœb >

‰

∑

mppizz.

mp

Solo

rœb > ‰ Œ

∑

∑

.œb > rœ.

rœb > ‰ Œ

Œ ‰ rœ>

∑

œb . Œ

∑

∑

∑

rœn >

‰ Œ

∑

∑

Œ rœb > ‰

rœ>

‰ Œ

∑

œn > rœb .

‰

rœn > ‰ Œ

∑

∑

rœ>

‰ Œ

œ> œ œ. œb

For the drea mer

Œ œ>

∑

rœ> ‰ Œ

∑

œ>

rœb . ‰

rœ> ‰ Œ

∑

Œ rœ>

‰

r

œœ

b >‰ Œ

˙

rœ.

‰

Œ rœ>

‰

.œb >rœb .

Œ ‰ rœb >

.œ> rœ.

rœb > ‰ Œ

rœ>

‰ Œ

mp

pizz.

arco

pizz.

mp

Solo

∑

∑

∑

.œ> rœb .

rœb >

‰ Œ

˙b >

Œ ‰ rœb >

∑

∑

∑

rœb >

‰ Œ

rœb >

‰ Œ

rœb >

‰ rœb .

‰

knows that

.œb >rœb .

rœb >

‰ Œ

rœb .

‰ Œ

Œ ‰ rœb >

∑

rœb>

‰ Œ

∑

rœb >

‰ Œ

Œ ‰ rœb >

œb > œbœb œ

he is liv ing.

.œb rœb

rœb >

‰ rœ>

‰

∑

∑

∑

Œ ‰rœb >

∑

rœ>

‰ Œ

∑

˙

∑

rœ>

‰ Œ

.œ>

rœ.

Œ ‰rœ>

∑

rœb > ‰ Œ

∑

--- -

&

?

?

&

&

&

&

B

B

?

t

Brtne.

Vln. 1

Vln.1

Vln. 2

Vln.2

Vla.

Vla.

Vc.

D.B.

Hp.

74

Œ ‰ rœ>

rœb >

‰ Œ

∑

∑

Œ ‰ rœ>

.œb >rœ.

∑

∑

∑

∑

∑

∑

∑

Œœ# œ>

dream er

∑

Œ ‰ rœb >

.œb >rœb .

∑

∑

rœb > ‰ Œ

∑

∑

mf

‰ rœ>

Œ

∑

rœ> ‰ Œ

live!

‰.œ>

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

rœ. ‰ Œ

Œ rœ>

‰

Œœ>

rœ> ‰ Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

rœ.

‰ Œ

∑

Œœb >

rœ>

‰ rœb

‰

∑

∑

rœ>

‰ Œ

∑

Œ ‰rœ

he

.œ> rœ.

rœ>

‰ Œ

∑

Œ ‰ rœ>

rœb . ‰

Œrœb > ‰

∑

∑

Œ ‰rœ>

∑

œ œ œ

knows he is

∑

∑

.œb > rœ.

∑

∑

rœb > ‰ Œ

.œ> rœ.

rœ> ‰ r

œ>‰B

mppizz.

mp

Solo

∑

∑

œ œ œ œ>3

liv ing his dream

.œb rœb .

Œ ‰ rœb >

∑

rœb >

‰ Œ

∑

∑

∑

∑

rœ>

‰ Œ

∑

∑

∑

∑

.œ> rœ

∑

∑

Œ ‰rœ>

∑

∑

∑

∑

Œœ œ

On the

Œœ>

‰ rœ>

Œ

∑

rœ>

‰ Œ

∑

∑

.œ> rœ.

Œ ‰rœ>

∑

rœ> Œ r

œ>

œŒ

pure

rœ.

‰

∑

.œ>

rœb .

Œ rœ>

‰

œ>

rœ. ‰

Œ ‰ rœb >

∑

∑

∑

∑

.œ œ œ œ

plane of ac tion

.œb > rœ.

rœb > ‰ Œ

∑

Œ ‰ rœ>

∑

∑

∑

∑

∑

∑

Œ œ œ

Where the

∑

rœ>

‰ Œ

∑

∑

.œ>r

œ.

Œ ‰r

œ>

∑

∑

∑

∑

œ .œ œ

white, spark ling

.œ>rœ.

Œ ‰ rœ>

∑

∑

∑

∑

∑

∑

pp

----

ª

15

&

&

&

&

&

&

?

&

&

&

&

&

?

?

?

÷

&

?

?

Picc.

Fl.

Ob.

E. Hn.

A Cl.

B. Cl.

Bsn.

Hn. 1+3

Hn.2

Hn.4

C Tpt. 1

C Tpt. 2

Tbn. 1+2

Bass Tbn.

Timp.

Perc.

Brtne.

Hp.

88

∑

‰ œ œb œb œ œb œb

∑

∑

Œ œ œ œb œ

∑

∑

∑

∑

Œr

œb

+

>‰

∑

∑

rœœb >

‰ Œ

rœb >

‰ Œ

∑

rœœ˘

‰ Œ

∑

∑

rœ> ‰ Œ

scene,

pp

pp

p

p

mp

mf

Temple blocks

con sord.

con sord.

œb œb œ œb œb œ ‰

∑

Œœ œb œb œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

rœ# >

‰ Œ

∑

∑

pp

pp

f

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ œ œrœ ‰

3

Al most his own

∑

∑

∑

∑

∑

œ œb œ œb Œ

Œœb > œb œ

3

∑

rœb >

+ ‰ Œ

rœ>

+ ‰ Œ

∑

∑

∑

∑

∑

Œr

œ>‰

Œrœ# > ‰

∑

∑

pp

pp

œb œ œ œb

rœb > ‰

∑

∑

∑

∑

∑

œ œ œbŒ

3

rœœb .

+‰ Œ

∑

∑

∑

∑

rœœbb >

‰ Œ

∑

∑

Œ rœ> ‰

œ# > œb > œ>‰

∑

∑

mp

≈ œ œ œb Œ

Œ œb œ œb3

∑

∑

œ œb œ œ œ

∑

∑

∑

rœb .

+‰ Œ

rœ.

+‰ Œ

∑

∑

∑

∑

‰r¿ Œ

∑

‰ .rrœœ#

b >r

œ# >‰

∑

∑

mp

rimshot

∑

œb œ œb œb œb œ3 3

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ# œ œb œ# œb œ3 3

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

rœ ‰ œ œ

cre a tion,

∑

œb œ œn œb œ œn œb

∑

Œ ≈ œb œ œ

∑

∑

∑

∑

∑

∑

rœb > ‰ Œ

rœ>

‰ Œ

∑

∑

∑

∑

rœb >

‰ ≈ rœ# >

≈

∑

∑

pp

sfz

sfz

con sord.

con sord.

- --

16

&

&

&

&

&

&

&

&

?

?

?

÷

&

?

?

Picc.

Fl.

Ob.

E. Hn.

A Cl.

Hn.4

C Tpt. 1

C Tpt. 2

Bass Tbn.

Tba.

Timp.

Perc.

Brtne.

Hp.

97 œb œ œ œb œ œ ‰

∑

∑

rœb

‰ Œ

∑

∑

∑

∑

∑

∑

r¿ ‰ Œ

∑

rœ# > ‰ Œ

∑

∑

Temple blocks

∑

∑

∑

∑

œ œb œ œ œb œ

∑

∑

∑

∑

∑

∑

∑

rœ# > Œ r

œ# >

∑

∑

∑

∑

Œ œ œ œb

3

∑

∑

∑

∑

∑

∑

∑

∑

∑

Œ œ œb œ#

3

∑

∑

œ œb œ œ

rœ> ‰

∑

rœ

‰ Œ

∑

∑

∑ ?

rœb > ‰ Œ

rœ>

‰ Œ

∑

∑

rœb ‰ Œ

Œ rœ> ‰

rœ

‰ rœn >

‰

∑

∑

sfz

sfz

≈ œb œb œ Œ

∑

∑

∑

∑

‰r

œ>

+

Œ

∑

∑

‰ rœ>

Œ

‰ rœ>

Œ

∑

∑

∑

∑

∑

sfz

sfz

sfz

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ>Œ

Is

∑

œb œ œ œb œ œ ‰

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

p

∑

∑

∑

∑

œ œ œŒ

3

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

p

∑

∑

œ. œ. œ. œ.Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ œ œb œb œb œn ‰

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

17

&

&

&

&

?

&

&

&

&

&

&

?

?

?

?

÷

?

&

&

&

&

B

B

?

Fl.

Ob.

A Cl.

B. Cl.

Bsn.

Hn.1

Hn.2

Hn.3

Hn.4

C Tpt. 1

C Tpt. 2

Trbn.1

Trbn.2

Bass Tbn.

Timp.

Perc.

Brtne.

Vln. 1

Vln.1

Vln. 2

Vln.2

Vla.

Vla.

Vc.

107

∑

œb . œ. œ. œ.rœ>

‰

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œb œ œ

stamped with his

∑

∑

∑

∑

∑

∑

∑

Temple blocks

∑

∑

Œœ. œ. œ. œ.

∑

∑

rœn>

+‰ Œ

∑

rœn>

+‰ Œ

∑

∑

∑

∑

∑

∑

∑

∑

˙

∑

∑

∑

∑

∑

∑

∑

sfz

sfz

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ. œ. œ. œ.rœ> ‰

˙

∑

∑

∑

∑

∑

∑

∑

∑

œb . œ. œ. œ.rœ>

‰

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œŒ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œb œ œ

own de sign

∑

∑

∑

∑

∑

∑

∑

mf

œ. œ. œ. œ. œ. œ. œ. œ.

∑

∑

∑

∑

∑

∑

∑

œb .

+œ+

. œ+

. œ+

.r

œ+

>‰

Œ œb .

+œ+

. œ+

. œ+

.

∑

rœb >

‰ Œ

rœ>

‰ Œ

rœb >

‰ Œ

∑

rœœ˘

‰ Œ

˙

∑

∑

∑

∑

∑

∑

∑

p

p

p

mf

p

pp

rœ>

‰ Œ

∑

∑

œ. œ. œ. œ.

Œ

œ. œ. œ. œ.Œ

∑

∑

∑

∑

∑

∑

Œ ‰ œb . œ.

Œ ‰ œb . œ.

∑

∑

∑

˙

∑

∑

∑

∑

∑

∑

∑

Œœb . œ. œ. œ.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œb . œ. œ. œ.Œ

œb . œ. œ. œ.Œ

∑

∑

∑

˙

∑

∑

∑

∑

∑

∑

∑

rœb >

‰ Œ

∑

∑

∑

∑

œb .

+œ+

. œ+

. œ+

. Œ

œ.

+

œ.

+

œ.

+

œ.

+ rœb .

+ ‰

œ.

+œ+

. œ+

. œ+

.Œ

œb .

+

œ.

+

œ.

+

œ.

+ rœ.

+ ‰

∑

œ. œ. œ. œ. Œ

∑

∑

∑

∑

∑

˙

∑

∑

∑

∑

∑

∑

∑

p

p

p

p

p

œb . œ. œ. œ.rœ>

‰

Œ œ. œ. œ. œ.

∑

∑

∑

rœb .

+‰ Œ

Œ œb .

+œ+

. œ+

. œ+

.

rœ.

+‰ Œ

Œ œ.

+œ+

. œ+

. œ+

.

∑

œ. œ. œ. œ. Œ

rœb > ‰ Œ

rœb >

‰ Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

p

mp

Œœb . œ. œ. œ.

∑

∑

∑

∑

∑

rœb+

>‰ Œ

‰ œ.

+œ.

+œ.

+œ.

+œ.

+œ.

+

rœ+

>‰ Œ

‰ œ. œ. œ. œ. œ. œ.

‰ œb . œ. œ. œ. œ. œ.

œb . œ. œ. œ. œ. œ. œ. œ.

∑

∑

‰r¿ Œ

‰ œ>œ œ œ

œ3

∑

‰ rœ.

!œ.

!œ.

!

‰ rœ.

!œ.

!œ.

!

œ.!

œ.!

œ.!

œ.!

œb!

œ.!

œ.!

œ.!

‰ rœb .! œ.

! œ.!

‰ rœb .! œ.

! œ.!

‰ rœb .! œ.

! œ.!

mp

rimshot

pp

pp

pp

mf

arco

arco

arco

Tutti

Tutti

Tutti

Tutti

-

18

&

&

&

&

&

&

?

?

&

&

&

&

?

?

?

÷

&

&

&

&

B

B

?

Picc.

Fl.

Ob.

E. Hn.

A Cl.

B. Cl.

Bsn.

C. Bn.

Hn.1

Hn.4

C Tpt. 1

C Tpt. 2

Tbn.2

Bass Tbn.

Timp.

Perc.

Vln. 1

Vln.1

Vln. 2

Vln.2

Vla.

Vla.

Vc.

118

Œ œ. œ. œ. œ.

rœb >

‰ Œ

∑

∑

‰œ. œ. œ. œ. œ. œ.

∑

∑

∑

∑

∑

∑

∑

∑

œb . œ. œ. œ.Œ

∑

œœ œ

œ

œ.

!œ.

!œ.

!œ.

!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

p

p

mp

Temple blocks

œ. œ.œ. œ. œ. œ. œ. œ.

œb . œ. œ. œ. œ. œ. œ. œ.

Œ Œ rœb .3

∑

rœ.

‰ Œ

∑

∑

∑

∑

∑

Œ œb . œ. œ. œ.

Œ œ. œ. œ. œ.

∑

∑

∑

œ œœ

3

œ.

!œ.

!œ.

!œ.

!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

∑

∑

∑

p

p

rœ>

‰ Œ

rœ>

‰ Œ

œb . œ. œ. œ. œ. œ.‰

∑

œ. œ. œ. œ. œ. œ. œ. œ.

∑

‰œb . œ. œ. œ. œ. œ.

∑

œb .

+œ.

+œ.

+œ.

+œ.

+œ.

+‰

∑

rœb > ‰ Œ

rœ>

‰ Œ

‰ œ. œ. œ. œ. ‰

∑

∑

∑

œ.

!œ.

!œ.

!œ.

!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

∑

∑

∑

sfz

sfz

mp

mp

∑

œb . œ. œ. œ. œ. œ. œ. œ

∑

œb . œ. œ. œ. œ. œ. œ. œ.

∑

œ. œ. œ. œ. œ. œ. œ. œ.

∑

œb œ. œ. œ. œ. œ. œ. œ.

∑

∑

∑

∑

∑

∑

r¿ ‰ 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.!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

p

mp

mf

rimshot

∑

∑

∑

Œœb . œ. œ. œ.

œ. œ. œ. œ. œ. œ. œ. œ.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ œ œ œ œ œ œ7

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

∑

∑

œb . œ. œ. œ. Œ

œ. œ. œ. œ. Œ

∑

∑

∑

∑

∑

∑

Œ œb . œ. œ. œ.

Œ œb . œ. œ. œ.

∑

∑

∑

œ œ œ

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

p

p

œ. œ. œ. œ. œ. œ. œ. œ.

œ. œ. œ. œ. œ. œ. œ. œ.

∑

∑

∑

∑

∑

∑

∑

∑

rœb > ‰ Œ

rœb > ‰ Œ

∑

∑

rœb ‰ Œ

∑

œ.!

œ.!

œ.!

œ.!

œb .! œ.

! œ.! œ.

!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

sfz

sfz

œb . œ. œ. œ.Œ

œb . œ. œ. œ. Œ

∑

∑

‰œ. œ. œ. œ. œ. œ.

∑

∑

∑

∑

‰ rœ>

+ Œ

∑

∑

∑

‰ œ. œ. œ. œ. œ. œ.

∑

∑

œb .!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

sfz

p

∑

∑

∑

∑

∑

‰œ. œ. œ. œ. œ. œ.

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œb .! œ.

! œ.! œ.

!

œ.! œ.

! œ.! œ.

!

œ.!

œ.!

œ.!

œ.!

œ.! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

p

∑

∑

∑

∑

∑

∑

‰ œ. œ. œ. œ. œ. œ.

‰ œb . œ. œ. œ. œ. œ.

∑

∑

∑

∑

∑

∑

∑

∑

œ.!

œ.!

œ.!

œ.!

œb .! œ.

! œ.! œ.

!

œ.!

œ.!

œ.!

œ.!

œ.! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

p

p

19

&

&

&

&

&

?

?

&

&

&

&

&

?

?

÷

&

&

&

&

B

B

?

43

43

Picc.

Fl.

Ob.

E. Hn.

A Cl.

Bsn.

C. Bn.

Hn.2

Hn.3

Hn.4

C Tpt. 1

C Tpt. 2

Bass Tbn.

Tba.

Perc.

Vln. 1

Vln.1

Vln. 2

Vln.2

Vla.

Vla.

Vc.

128œ. œ. œ. œ. œ. œ. œ. œ.

œ. œ. œ. œ. œ. œ. œ. œ.

∑

∑

∑

∑

∑

∑

∑

Œ œ.

+œ+

. œ+

. œ+

.

∑

∑

∑

∑

∑

œ.!

œ.!

œ.!

œ.!

œb .! œ.

! œ.! œ.

!

œ.! œ.

! œ.! œ.

!

œ.! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

p

∑

rœ>

‰ Œ

œ. œ. œ. œ.Œ

Œ œb . œ. œ. œ.

∑

∑

∑

∑

∑

œ+

. œ+

. œ+

. œ+

. Œ

œ. œ. œ. œ. œ. œ. œ. œ.

∑

∑

∑

∑

œ.!

œ.!

œ.!

œ.!

œb .! œ.

! œ.! œ.

!

œ.! œ.

! œ.! œ.

!

œ.! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

p

œ œ. œ. œ. œb . œ.‰

Œœb . œ. œ. œ.

∑

rœb >

‰ Œ

œ. œ. œ. œ.rœ>

‰

∑

œ. œ. œ. œ. œ. œ. ‰

∑

∑

∑

∑

œ. œ œ. œ. œ. œ. œ. œ.

∑

∑

∑

œ.! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œ.! œ.

! œ.! œ.

!

œ.! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

p

œb . œ. œ. œ.Œ

rœb >

‰ Œ

œb . œ. œ. œ.rœ>

‰

∑

Œœ. œ. œ. œ.

∑

∑

∑

rœ# >+

œ+

. œ+

. œ+

. œ+

. œ+

. œ+

. œ+

. œ+

.

∑

∑

∑

∑

∑

∑

œ.! œ.

! œ.! œ.

!

œb .! œ.

! œ.! œ.

!

œ.! œ.

! œ.! œ.

!

œ.! œ.

! œ.! œ.

!

∑

∑

œb .! œ.

! rœ.! ‰

mp

œb . œ. œ. œ. œ. œ. œ. œ.

œb . œ. œ. œ.rœ>

‰

Œœb . œ. œ. œ.

∑

rœ>

‰ Œ

∑

∑

œ.

+œ+

. œ+

. œ+

. œ+

. œ+

. œ+

. œ+

.

rœ>.

‰ Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ.!

œ.!

œ.!

œ.!

œ.! œ.

! œ.! œ.

!

∑

p

sfz

∑

Œœb . œ. œ. œ.

rœb >

‰ Œ

∑

œ. œ. œ. œ.rœ>

‰

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

˙#>

≥

˙# >

≥

˙# >

≥

>

≥

œ.!

œ.!

œ.!

œ.!

œ.! œ.

! œ.! œ.

!

∑

mf

mf

mf

mf

Bass Drum

œb . œ. œ. œ. œ. œ. œ. œ.

rœb >

‰ Œ

œb . œ. œ. œ.rœ>

‰

∑

Œœ. œ. œ. œ.

∑

Œ œ. œ.

∑

∑

∑

∑

∑

∑

Œœ. œ.

Œœ< œ<

>≤

˙>

≤

>

≤

˙# >

≤

>≥

˙# >

≥

∑

mp

mf

mf

mf

mf

rœb >

‰ Œœn . œ. œ. œ.

Œœb . œ. œ. œ. œ. œ. œ. œ.

∑

∑

∑

‰ rœ

rœb .

‰ Œ Œ3

‰r

œr

œn .‰ Œ Œ

3

∑

∑

∑

∑

∑

‰ rœ

rœb .

‰ Œ Œ3

‰ rœ

rœn .

‰ Œ Œ3

‰ rœ<

‰ Œ Œ3

.˙

.˙

.˙

.˙

.˙b >≤

.˙>

≤

∑

mf

mf

20

&

&

&

&

&

&

?

?

&

&

&

&

&

?

?

?

?

?

&

&

?

&

&

&

&

B

B

?

t

44

44

44

44

Picc.

Fl.

Ob.

E. Hn.

A Cl.

B. Cl.

Bsn.

C. Bn.

Hn.1

Hn.2

Hn.3

Hn.4

C Tpt. 1

Trbn.1

Trbn.2

Bass Tbn.

Tba.

Timp.

Perc.

Vln. 1

Vln.1

Vln. 2

Vln.2

Vla.

Vla.

Vc.

D.B.

Hp.

√

136

‰ rœ>

Œ ‰ . rrœ>

Œ

∑

Ó ‰ .rrœ> œ

‰ rœ

Œ ‰œ>

œ# ‰

‰ .œ> ˙

‰r

œ# >Œ ‰ œ>

œ# ‰

œ œ# œn œ œb œb œ ≈ .r

œ# œ œ œ œ œ

œ œ# œn œ œb œb œ ≈ .rœ# œ œ œ œ œ

Ó Œ œ# >

‰.œ

rœ .œ>

Ó Œ œ# >

‰.œ

rœ .œ>

rœb -

rœ ˙ œ

∑ B

∑

∑

Ó ‰ .œb

œ>æ œb . ≈ œb . œ.

≈ œ# >æ œ.

œ. ≈

‰rœ> Œ ‰ .

rrœ> Œ

‰

œn

œn rœn >

Œ ‰ .

œ

œ rrœ>

Œ

rrœb ˘

≈r

œ rœ>

Œ ‰ . rœ rr

œ>Œ

rrœ

≈r

œ rœ>

Œ ‰ . rœ rr

œ>Œ

rrœb ˘

≈ rœ>

Œ ‰ . rrœ>

Œ

rrœ# ˘

≈rœ> Œ ‰ .

rrœ> Œ

rrœb ˘

≈.œ>

@˙

@

rrœ ≈

.œ>@

˙@

œ.≈ œ. ≈

œ.œb . ≈ œ.

≈ rrœ# .

‰ œ. ≈ œb . œ.

≈ œb . ≈ œ. œb .œ. œb .

≈ ‰ rrœ.

≈ ≈rrœ. ≈ .

rrrœb .

f

f sfzp f

pizz.

pizz.f

f

f

Crotales

mf

mf

f

f

f

f

f

f

mf

mf

slow tremolo

slow tremolo

pizz.

pizz.

q »64

mf

mf

f

f

f

f

f

mf

mf

5

f

senza.sord.

mf

mf

rœ>

Œ rœ>

‰ rœ>

‰ ≈ rœ>

≈

3

∑

.œrœ> œ œ .œ>

‰œ>

œ# ‰ .œ>

œ .œ>œ ‰

rœ>

5

>rœ œ> œ3

‰ œ# >œ# ‰ . œ>

œ .œ>œ ‰

rœ>

5

Œ œ œ# ‰ ..œ r

œ5

Œ œ œ# ‰ .˙#

5

.œ œ# > œrr

œ> .œr

œ>

5

œ œ> .œ œ> >

5

.œ œ# > œrr

œ> .œr

œ>

5

œ œ> .œ œ> >

5

˙rœ .œ

Ó Œ œ

∑

∑

˙ ˙b

Œ œ>æ

rrœ. ‰ . ‰

rrœ. ≈

rœ> Œ

rœ> ‰

rœ> ‰ ≈

rœ> ≈

3

œ

œ rœ>

Œ

œ

œ rœ>

‰

œ

œ rœ>

‰ ≈

œ

œ rœ>

≈

3

rœ r

œ>Œ

rœ r

œ>‰

rœ r

œ>‰ ≈

rœ r

œ>≈

3

rœ r

œ>Œ

rœ r

œ>‰

rœ r

œ>‰ ≈

rœ r

œ>≈

3

rœ>

Œ rœ>

‰ rœ>

‰ ≈ rœ>

≈

3

rœ> Œ

rœ> ‰

rœ> ‰ ≈

rœ> ≈

3

>rœ

@œ>

@œ

@3

>@ r

œ@

œ>@

œ@

3

‰rrœ. ≈ ≈ œ# .

≈ œ. ≈ .œ. œ. ‰ rrœ ≈

5

‰ . rrœ.rrœ. ‰ . rr

œ. .rœ# . ‰ . rr

œ.≈

5

fpsfz

f

senza.sord.

f

f

œ> œ> Œ Œ ≈.rœ>

∑

œ œ>Œ Ó

œ œ œŒ

rrœ# >

‰ . Œ

.> œ .œ>

œ œ œ# Œrrœ# > ‰ . Œ

œ œ Œ ˙n >

w

˙ ˙# >

œ> œn œb .˙

˙ ˙# >

œ> œn œb .˙

w

.˙œ

∑

∑

˙˙

‰ . œb .œ. Œ Ó

œ>œ> Œ Œ ≈ .

rœ>

œœ

œ>

œ

œœ> Œ Œ

œ

œœ

.rœ>

rœ

œ>r

œœ> Œ Œ ≈

rœ

.rœ>

rœ

œ>r

œœ> Œ Œ ≈

rœ

.rœ>

œ> œ> Œ Œ ≈.rœ>

œ> œ> Œ Œ ≈ .

rœ>

.>@

œ@

.œ>

.>@

œ@

.œ>

≈ œ. ≈ œ. Œ rrœ. ‰ . Œ

‰ rrœ. ≈ Œ rr

œ. ‰ . Œ

arco

arco

w

∑

∑

∑

w

∑

w

∑

w

w

w

w

w

w

∑

∑

w

wb >æ

∑

ww

∑

œ

œ

œ

œ

œ

œ

wb >æ

wb >æ

arco

arco

mf

w>

w>

wb >

∑

∑

w# >

w>

w>

∑

∑

∑

∑

∑

∑

∑

∑

w>

æ œ> ≈ œ> ≈ œ> ≈ œ>≈

∑

ww>

ww>

w

wb

w

w

w

w

æ œ> ≈ œ> ≈ œ> ≈ œ>≈

˙æ

œ> ≈ œ> ≈ œ> ≈ œ> ≈

f

f

f

pizz.

pizz.

f

f

f

f

f

f

f

f

∑

∑

Ó ≈.rœb œ

∑

Ó ‰.œ

∑

‰ . rrœ œ

Ó ≈ .r

œ œ

˙brr

œ.‰ . Œ

Œ˙

rrœ.

‰ .

≈.r

œ œ œ œ.‰ Œ

Œ ≈.r

œ œ œ œ.‰

∑

∑

Œ ‰r

œ .œrr

œ.≈

Œ ‰ . rrœb œ .œ œ.

Ó˙

∑

∑

∑

∑

∑

∑

Œ .˙#æ

Œ ≈ .rœ

æ˙

æ

‰ . rrœæ œæ

Ó ‰ .œæ

wæ

pp

pp

pp

pp

pp

sfzpp

sfz

con sord.

pp

pp

pp

pp

pp sfz

pp

pp

arco

arco

Tutti

(con.sord.)

con sord.

sul pont.

sul pont.

sul pont.

sul pont.

sul pont.

pp sfz

(con.sord.)

pp sfz

con sord.pp sfz

con sord.

21

&

&

&

&

&

?

?

&

&

&

&

&

?

?

?

?

?

?

&

&

&

B

B

?

t

Picc.

Ob.

E. Hn.

A Cl.

B. Cl.

Bsn.

C. Bn.

Hn.1

Hn.2

Hn.3

Hn.4

C Tpt. 2

Trbn.1

Trbn.2

Bass Tbn.

Tba.

Timp.

Brtne.

Vln. 1

Vln.1

Vln. 2

Vla.

Vla.

Vc.

D.B.

142

Ó Œ ‰rœb

œA .œ œ.Ó

Ó Œ ‰ . rrœ

˙rrœ.

‰ . Œ

∑

.œ œ.Œ Ó

œœ.

‰ Œ ≈ .r

œ œ

˙brr

œ.‰ . Œ

Œ˙

rrœ.

‰ .

≈.r

œ œ œ œ‰ Œ

Œ ≈.r

œ œ œ œ.‰

∑

Œ ‰r

œ .œrr

œ.≈

∑

Œ ‰ . rrœb œ .œ œ.

rrœ.

‰ . Œ˙

∑

∑

Œ.˙b

æ

≈ .rœb

æ˙

æ

rrœa . ‰ . .˙#

æ

Ͼ

œ. ‰ ≈ .rœ

æ˙

æ

.œæ œ.Œ Ó

œæ œ.≈ ≈ .

rœæ œæ œæ œ.

‰

rrœ.

‰ . ≈ .rœbæ

˙æ

sul pont.

pp

pp sfz

pp sfz

pp sfz

ppsfz

sfz pp

sfz

sfz

pp

pp

sfz pp

sfz pp

sfz pp

sfzppsfz

pp sfz

sul pont.

pp

sfz

sfz

con sord.

Tutti

pp sfz

pp sfz

w

∑

w

∑

∑

∑

œœ.

‰ Œ Ó

∑

∑

Ó>

∑

∑

∑

∑

∑

rrœ.

‰ . Œ Ó

∑

Ó Œ ‰¿b>

Of

˙æ rr

œ.‰ . Œ

˙æ

Ͼ

œ. ‰ Œ

rrœ. ‰ . .˙#

æ

Ͼ

œ. ‰ ≈ .rœ

æ˙

æ

æ œ.‰ œæ œæ

Ͼ

Ͼ

œ. ‰ ˙bæ

sfz

sfz

sfz

sfz pp

sfz pp

sfz pp

sfzpp pp

sfz

fHalf spoken

sfzpp

œ œ. ‰ Œ Ó

∑

.œ œ.Œ Œ œ

Ó Œ ≈ .r

œ

Ó Œ ‰ rœ

Ó ‰ .rrœb œ

Ó Œ ‰ .rr

œ

Ó Œ œ

Ó Œ ≈ .r

œ

rrœ.

‰ . Œ Ó

∑

∑

∑

Ó ‰ .rrœb œ

Ó Œ ‰r

œb

∑

Ó Œ ≈ œb . œ.≈rrœ.

3

¿> ¿b> ¿> ¿> ¿>

march ing and halt ing,

.˙bŒ

.˙bŒ

œ. .œ ˙ Œ

Ͼ

œ. ‰ Œ Ó

œæ œ.≈ Œ Œ ≈

œ. œ.≈ rr

œb .

3

rrœ. ‰ . Œ Ó

pp

pp

pp

wooden sticks

mf

col legno

mp

pp

sfz

sfz

sfz

sfz

sfz

sfz

pp

pp

pp

pp

mp

mp

ord.

ord.

ord.

sfz

pp

pp

∑

∑

.œ œ. Œ Ó

œrr

œ.‰ . Ó

œ œ œ.‰ Ó

œ œ. ≈ Œ Œœ

œb œ‰

3

.œrr

œ. ≈ Œ ‰ .rrœ

.œ œ. Œ Ó

œrr

œ. ≈ ‰ Ó

∑

∑

Ó Œ ‰ rœ>

∑

œ œ. ≈ Œ Ó

œ œ œ.‰ Œ ‰ . rr

œ

∑

∑

¿b> ¿b>Ó

march ing,

∑

∑

∑

Ó Œ ‰r

œ>

ΠŠ.r

œ œ œ œ. ≈ œ>

Œ ˙ œ.œb œ ≈

rrœ>

3

(con.sord.)

p

p

ord.

arcoord.

p

p

p

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

pp

pizz.

mf

pp

pizz.

mf

ord.

sfz

sfz

∑

∑

∑

∑

∑

˙rr

œ.≈

.œb

œ .œ œ. ‰ .rr

œ œ

∑

∑

∑

∑

œ œ.≈ Œ Ó

∑

∑

œ .œ œ.‰ . rr

œb œ

˙rr

œ.≈

.œ

∑

Ó Œ¿n> ¿>

And the

∑

∑

∑

œ œ.‰ Œ Ó

rrœ>

‰ . Œ ‰œb > œb >

Œ

rrœ> ‰ . Œ ‰ œ> œ>

Œ

sfz

sfz

ppsfzpp

sfz

sfz pp

sfzpp pp

pp

-- -

22

&

&

&

&

&

&

?

?

&

&

&

&

&

&

?

?

?

?

?

&

?

&

&

B

B

?

t

Picc.

Fl.

Ob.

E. Hn.

A Cl.

B. Cl.

Bsn.

C. Bn.

Hn.1

Hn.2

Hn.3

Hn.4

C Tpt. 1

C Tpt. 2

Trbn.1

Trbn.2

Bass Tbn.

Tba.

Timp.

Perc.

Brtne.

Vln. 1

Vln. 2

Vla.

Vla.

Vc.

D.B.

147

∑

∑

∑

∑

‰ ‰ rrœ .˙3

Ó Œ ‰r

œ>

œA œ> œb œ œrr

œ.‰ . Œ

3

œ œ>œb

œ .œ œ.˙b

3

∑

Ó Œ ‰ rœ>

+

∑

∑

∑

Ó˙b

Ó ˙b

Ó ˙

œA œ.‰ Œ ˙

œrr

œ.‰ .

˙b

Ó Œ ‰r

œœ>

‰ ‰ rrœ>

Œ Ó3

¿ ¿ ¿b ¿ ¿

sled ge's long snow y

‰ ‰ rrœ>

Œ Ó

3

‰ ‰ rrœ>

Œ Ó

3

Ó Œ ‰r

Ͼ

Ó Œ ‰r

Ͼ

˙brr

œ.‰ . Œ

ΠŠ.r

œ>

˙

pp

pp

pp

pp

pp

pp

p

pp

pp

col legno

pp

sfz

sfzp

sfzpp

arco

sfz

arco

sfz

sfz

sfz

pp

Xylophone

sul pont.

sul pont.

p

pp

sfz pp

senza.sord.

&

&

Vln.1

Vln.2

col legno

Œ˙

rrœ.

‰ .

Œ ≈.rœ œ œ œ.

‰

∑

‰ .œb >

rrœ.

‰ . Œ

˙rrœ.

‰ . Œ

œ .œ œ. Ó

Œ ‰ . rrœâ œ .œ# .œ œ.

rrœ.

‰ . Œ Œ ‰ .rr

œ

≈ .r

œb >

+œ

rrœ.

+‰ . Œ

œ .œ œ.

+Ó

∑

∑

∑

rrœ.

‰ . Œ Œ ‰rœ>

rrœ. ‰ . Œ Œ ‰ œ

3

rrœ. ‰ . Œ Œ ‰ œb

3

rrœ.

‰ . Œ Œ ‰œ

3

rrœ.

‰ . Œ Œ ‰ . rrœ

∑

Ó Œ ‰rœœ

>

¿nÓ

sigh

Œ.˙

æ

Œ.˙

æ

Ó Œ ‰ rœ

æ

Ó Œ ‰rœ

æ

.æ .œæ œ.

.æ .œæ œ.

Œ ‰ .œâ . 

rrœ# .

‰ .

rrœ. ‰ . Œ Ó

pp

p

sfz pp

pp

pp

arco

pp

arco

p

p

pp

pp

pp

pp

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

sfz

pp

sfz

sfz

pp

p

sfz

sul pont.

sul pont.

sul pont.

sul pont.

ppsfz

senza.sord.

sfz

∑

∑

.œ>œ .˙

Œ ≈ ..œ œb ˙

∑

Ó Œ ‰ rœ

∑

˙ .œ œb œ

∑

∑

Ó ‰ . rrœ œ

Ó ‰ . rrœ œ

‰ . rrœ ˙ .œ œ.

.˙ .œ œ.

˙ .œ œb œ

˙ .œ œb œ

˙ .œ œb œ

˙ .œ œb œ

∑

∑

Ó Œ ‰ œ3

In

.˙æ

Ͼ

œ.≈

.˙æ

Ͼ

œ.≈

.˙æ

.Ͼ

œ.

.˙æ

.Ͼ

œ.

Œ ≈ . œ.≈ œ. Ó

Œ ≈ . œ.≈ œ. Ó

Œ ≈œ.

œ. ‰ Ó

Œ ≈rr

œ. ‰ Ó

p

p

p

p

pizz.

mp

pizz.

mppizz.

mp

con sord.

pp

sfz

sfz

sfz

sfz

sfz

sfz

pizz.

mp

mf

p

Ó ≈ .rœ œ

Ó ≈.rœ œ

w

∑

w

w

Œ ≈rr

œb .‰ .

rrœ. ≈ rr

œ. ‰ ‰rrœ. ≈

3

w

∑

∑

.˙ .œ œ.

.˙ .œ œ.

Ó Œœb >

∑

w

w

w

w

∑

Ó Œr

œb>

‰

˙ .œ œb œ

the

Ó Œ rrœb ´

‰ .

∑

∑

∑

∑

‰ .rr

œ.‰ .

rrœ. ‰ .

rrœ. ‰ .

rrœ.

pp

pp

col legno

sfz

mp

pp

sfz

p

p

q »76

mf

Tutti

sfz

˙ Œ ‰ rœ

˙Œ ‰ r

œ

Ó ‰ . rrœ œ

∑

∑

∑

Ӝ.

œb .‰ .

œ.

œ. ‰

Œ ≈.r

œâ ˙

∑

∑

∑

∑

˙rrœ.

‰ . Œ

∑

∑

∑

∑

∑

∑

‰ rœb >

Œ ‰ .rœ> ‰ .

.˙b œ œ

stream of their

‰ ..Oœbb ˙

ΠŠ.r

O O

∑

∑

≈ rrœ- œ œ .œ

rœœb

3

≈rrœ. ‰ ≈ .

rœb â

≥.œ

rœb

p

arcoord.

p

p

div.

arco

p

pp

sul G

sfz

p

arco

Tuttiord.

œ .œ œ Ó

˙Ó

œ‰ . rr

œ.‰ . rr

œ.Œ

∑

∑

∑

‰.œ œ .œb œ

‰ .œ œ .œ œ

∑

∑

∑

∑

∑

∑

Œ ‰ œb >‰ Œ

∑

∑

∑

‰ œ>æ œb >

æ ‰ Œ

Œ ‰ .rrœ. ‰ .

rrœ. Œ

œ œ ¿b>¿b>

Œ

move ment, lur ching!

O Ó

.O Œ

Ó Œ ‰ . rœ rr

œb

Ó Œ ‰ . rœrr

œ

.

.˙˙

.

.œœ

rœœb

œœb

.˙ .œ œ

p

wooden sticks

pp

ord.arco

p

p

pp

pp

ord.arco

p

f

- -- -

23

&

&

&

?

&

&

&

&

&

?

?

?

?

?

&

&

B

?

t

43

43

43

45

45

45

Fl.

Ob.

A Cl.

Bsn.

Hn.1

Hn.3

Hn.4

C Tpt. 1

C Tpt. 2

Tbn.2

Bass Tbn.

Tba.

Timp.

Brtne.

Vln. 1

Vln. 2

Vla.

Vc.

D.B.

153

Œ ≈.rœ œ

∑

Ó ‰ rœb

‰ rœ ˙

Œ ‰ . rrœ> œ

∑

∑

Œ ‰ œ> œ3

> œ œ>

∑

∑

∑

∑

∑

Œ ‰rœ> ‰ Œ3

Œ ‰rœ> ‰ ‰

rœ>

3

rœ> ‰ Œ Œ

Œ ‰ .rrœ> Œ

∑

mf

mf

mf

sfzp

f

pizz.f

pizz.

pizz.

fpizz.

f

34

senza.sord.

senza.sord.

sfzp

sfzp sfzp

Tutti

.˙

Œ Œ ‰ œb3

.˙˙

Œ

.˙

∑

∑

œ œ rœ> œ

3

.˙

∑

Œ œ> .œ œ>

∑

Œr

œ>‰ ‰ .

rrœ>

∑

∑

∑

Œ Œ rœ> Œ

3

Ó ‰ .rrœ>

Œ rœ> ‰ Œ

mf

pizz.

f

mf

senza.sord.

sfzp

sfzp sfzp

∑

.˙

œ‰

œ œ3

Œ Œ ‰ . rrœ

∑

∑

∑

.˙

œ Œ Œ

∑

˙ œ>

∑

Œ Œr

œ>‰

Œ Œ¿b ¿

Like a

∑

∑

∑

∑

Ó rœ> ‰

f

sfzp

Œ ‰.œ

œ Œ Œ

.˙

.˙

∑

∑

∑

∑

∑

∑

∑

‰ rœ> ˙

‰ rœ>

Œ Œ

¿b ¿ ¿ ¿ ¿3

boul der down to the

∑

∑

∑

∑

‰rœ> Ó

sfzp

.˙

Œ ‰ .rrœb œ

Œ ‰œb œ

3

œŒ Œ

∑

∑

∑

∑

‰ . rrœ> ˙

∑

∑

.˙

∑

¿b

sea,

‰ . rrœ> Œ Œ

∑

∑

∑

∑

sfzp

œŒ œb

.˙

.œ œb ˙

‰ rœ ˙

∑

∑

∑

∑

˙ Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

.˙ ˙

∑

∑

∑

∑

Ó Œ ˙b >

Ó Œ ‰ . rrœ> œ

Œ ≈.rœ> .˙

Œ ≈ .rœ> .˙

∑

Ó Œ ‰ .rrœ> œ

∑

Ó Œ ‰ .rrœ> Œ

Œ œ œ œ œ œ œ3

Just as he planned in his

Œ ≈ .rœ> Ó Œ

∑

Ó Œrœb > ‰ Œ

Ó Œ ‰ .rrœ> Œ

∑

45

senza.sord.

mp

senza.sord.

sfzp

sfzp

sfzp

sfzp

sfzp

˙Ó Œ

∑

∑ ‰ . rrœ>

∑

∑

˙ Ó Œ

wŒ

w>Œ

∑ ‰r

œ>

Ó>

Œ

˙ œ> >

∑œ>

Ó œ> œ>Œ

˙ Ó Œ

dream.

∑

rœ>

‰ Œ Ó ‰r

œ>

∑

Ór

œ>‰ Ó

Ó Œrœ> ‰ Œ

mf

44

sfzp

sfzp

sfzp

sfzp sfzp

sfzp

-

24

&

&

?

÷

&

?

?

&

&

B

?

44

44

....

..

..

..

..

..

..

..

..

..

..

..

..

......

..

..

..

..

..

..

..

......

..

..

..

..

....

..

..

..

..

..

..

..

..

A Cl.

C Tpt. 2

Timp.

Perc.

Brtne.

Vln. 1

Vln. 2

Vla.

Vc.

Hp.

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

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

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

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

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

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

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

161

w

w

œfl

.œfl

Œ Ó

w

∑

∑

∑

wU

wU

wU

w#U

ppp

ppp

con sord.

ppparco

ppp

arco

ppp

arco

ppp

arco

mp

q »48

Synchronised co-ordination between string parts is to be avoided. Repeat given notes until conductors cue at b144. Duration of each semi-breve note for each player should equate to a full bow at ppp. At conductor's cue finish a full bow of the note arrived at. The desired effect is a gradual drifting out of time leading to an independent dropping out of notes.

644

con sord.

con sord.

con sord.

con sord.

pp

Tam tam

Repeat phrase until end of marked line.

6"

w

w

Œ ‰ . rrœ.

∑ &

∑

∑

∑

w

U

w#

U

wU

wU

Duration of note is to last onefull breath at ppp. Please imperceptibly reiterate note until end of marked line.

Duration of note is to last onefull breath at ppp. Please imperceptibly reiterate note until end of marked line.

≈ œ.≈ œ. Œ

‰ ...œœœ# >Ó

‰ œ> œ# œ œ> œ œrrœ>

‰ . Ó3 3

∑

˙ œ œ#

The dream er

w#

U

w

U

w#U

wU

–‘

mf

Crotales

mp

p

∑

∑

∑

.œrœ œ œ#

knows he's mas ter,

∑

∑

∑

˙# œ œ

As ev' ry

∑

∑

∑

.œ#rœ œ œ

drea mer has been----

25

&

&

&

&

&

?

&

?

&

&

?

?

&

&

B

?

t

Fl.

Ob.

E. Hn.

A Cl.

B. Cl.

Bsn.

C Tpt. 2

Timp.

Perc.

Brtne.

Vln. 1

Vln. 2

Vla.

Vc.

D.B.

Hp.

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

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

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

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

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

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

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

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

167

∑

∑

∑

∑

∑

Ó Œ ‰r

œœœ# >

Ó Œ ≈ œ> œ# œ œ> œ œ

∑

œ œ œ# œ

Who ruled men's minds

∑

Crotales

∑

∑

∑

∑

∑

∑

rœ>

‰ Œ Ó

∑

œ œ œ# œ

or bo dies

∑

∑

∑

∑

∑

∑

œœœ# >Œ Ó

œ> œ# œ œ> œ œ œ≈ Œ Ó

3 3

∑

∑

∑

∑

∑

∑

∑

∑

œœœ# >Œ Ó

œ> œ# œ œ> œ œ œ≈ Œ Ó

3 3

∑

∑

∑

Ów

Ó ˙

∑

∑

œ> .œ .˙

∑

∑

∑

œ .œ .˙

Who

œ> .œ .˙

mp

mp

mp

arco

“–

Duration of note is to last onefull breath at ppp. Please imperceptibly reiterate note until end of marked line.

pp

mp

.˙ œ

∑

Ó Œœ

w

∑

∑

∑

w

had

w

mf

–‘

ppp

˙ œ .œ œ

˙brœ ‰ Œ

œ ˙b œ

œ œ> œ œ >

∑

∑

∑

≈ œ œ œ ˙

no will of

œ œ> œ œ >

mp mf

mp

mp

mp

-

26

&

&

&

&

&

&

?

?

&

&

&

?

?

&

&

?

?

&

&

B

?

t

Picc.

Fl.

Ob.

E. Hn.

A Cl.

B. Cl.

Bsn.

C. Bn.

Hn.1

C Tpt. 1

C Tpt. 2

Tba.

Timp.

Perc.

Brtne.

Vln. 1

Vln. 2

Vla.

Vc.

D.B.

Hp.

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

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

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

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

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

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

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

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

174

∑

˙ ˙

‰ .œbrœ ‰ Œ

œ .œb œ .œ rœ

.˙ œ .œ>

∑

∑

∑

∑

∑

∑

∑

˙ ˙

their own

.˙ œ .œ>

mp

mp

mp

p

Crotales

∑

.œ œ œ œ œ rœ

3

∑

.œb

rœ

rœ œ

rœ

w

∑

∑

∑

∑

...œœœ

#>

œœ>Œ Ó

œ>

œ# œ ® œ> œ# œ œ œ# >

Œ Ó5 3

∑

˙ Ó

w

mf mp

∑

w

∑

œ œb œ œ œ œ œ

.œ rœb ˙

B

∑

∑

∑

∑

∑

∑

∑

Œ ‰ rœb ˙

Noth

.œ rœb ˙

À

mf

∑

w

Œ ‰ .rrœb ˙

rœ œb œ .œ œb > œ œ œb

3 3

rœ .œb ˙

∑

∑

∑

∑

∑

∑

∑

rœ .œb œ œ œ œ

ing the fu ture

∑

∑

∑

∑

rœ .œb ˙

mp

Strings to stop repeat

mp

ossia

∑

œ .œ œ œ œ œ.œ

rœ ‰ Œ Ó

∑

œ œn > œ œb œb œ œb œ œb œn > œr

œ œr

œ œ œ3 3 3

w?

Œ ‰rœ> ˙

wb

∑

∑

∑

∑

∑

..œœbb( )rœn .œ

rœ

bodes or the

∑

∑

.œ>

rœb

rœ œb œ

rœb œ œ>

3 3

‰ œ>œb œn œb œb œ œ œb œn >

œr

œb œr

œ œ œ3 3

3

.œ

rœ> ˙

mf mp mf

mp

mp

mf f mf

mf f

mf f

senza.sord.

senza.sord.

mp

Cl. to stop repeat

w

w

Œœ. ® œb . œb . ® œ. œ. œ.

Ó

Œ ® œ. œ.® œb . œ. œ.

®rrr

œ. ‰ . . Œ

Œœ. œ. œb . ® œ.

® œ. œ.Ó

Œ œb . œ. œb . ® œ. ® œ. œ. Ó

Œ ≈ œ. ® œ# . œ. ® œ. œ. œ. ‰ . Œ

w>

∑

w

∑

w

Ó œ> ≈ œ> ≈ œ>‰ .

∑

ww>

ww>

˙b(œœb œœb

past has done

w

w

w

Ó œfl

≈ œfl

≈ œfl

‰ .

Ó œ ≈ œ ≈ œ ‰ .

f

pizz.

ff

ff

ff

mf

mf

mf

f

mf

f

pizz.

ff

ff

mf

mf

mf

mf

q »767

senza.sord.

senza.sord.

mf

f

Trpt. to stop repeat

Timp. to stop repeat

-- - -

27

&

&

&

&

&

&

?

?

&

&

&

&

?

?

?

?

&

?

?

&

&

B

Picc.

Fl.

Ob.

E. Hn.

A Cl.

B. Cl.

Bsn.

C. Bn.

Hn. 1+3

Hn. 2+4

C Tpt. 1

C Tpt. 2

Trbn.1

Bass Tbn.

Tba.

Timp.

Brtne.

Vln. 1

Vln. 2

Vla.

Hp.

180˙ .œ

rœ

˙ .œrœ

Ó Œ ‰rœ

Ó Œ ‰r

œb

Œ ≈œ.

® œ. œ. ® œ. œ. œ.‰ . Œ

∑

∑

w

Œ ® œ. œ.® œb . œ. œ.

®rrr

œ. ‰ . . Œ

Œ œ.® œb . œb . ® œ. œ. œ. Ó

w

Œœ# . œ# . œ. ® œ.

® œ. œ.Ó

Ó ‰ œ> œ3

Œ œ# . œ. œ. ® œ. ® œ. œ.Ó

w

∑

Ó Œ ‰rœœ>

∑

œœb œœn..œœ )

rœ

can hurt The

w

˙ .œrœ

w

mf

ff

ff

con sord.

con sord.

a2

a2

ff

mf

con sord.

ff

(con.sord.)

mf

con sord.

ff

w

w

˙ œ .œ œ

w

∑

Ó Œ œb >

Œ ‰r

œ ˙

.œrœ ˙

∑

∑

˙˙

∑

.˙ œb >

∑

w

Ó œ> ≈ œ> ≈ œ>‰ .

Ó˙˙>

..œœ>

rœ>

rrœ>

‰ . œ# >

˙Œ œ œ

hour when the

w

˙ œ .œ> œ

w

mf

mf

w

œrœ œ ˙

3

.˙r

œ œb3

Ó œ.® œb . œb . ® œ. œ. œ. Œ

Ó ®œ. œ# . ® œ. œ. œ.

® rrrœ.

‰ . .

w

˙#r

œ œr

œ

œ œrœ .œ

Œ ‰ œ# . œ. œ.® œ.

® œ. œ.‰ Œ

Œ ≈œ.

® œ# . œ. ® œ. œ. œ.≈ ‰ Œ

œr

œœ œ

rœ œ#3 3

Œ ‰œ# . œ# . œ.

®œ. ® œ. œ.

‰ Œ

w

∑

∑

∑

œœ>

Œ Œ ‰ œ# >

3

œ>

rœ>

Œ ‰ rœ>

Œ3

œrœ œ>

r œb3 3

drea mer

œrœ

œ> r œb

3 3

œrœ

œ> r œb

3 3

œrœ œ>

r œb3

3

ossia

.œ œ œ ˙

œ œœ œ ˙

.œ rœ ˙

∑

∑

œ œb ˙b

.œr

œ œ# œ œ œ

.œ .œ œ .œ

∑

∑

.œ œ œ .œ œn œ

∑

œ œ> ˙b >

∑

∑

∑

œ# >‰

œœ> œ

œ>

Ó

œœ

#

>

œœ

œœ>

.œ

œœœb >( ..œœ

‰ rœœbb > œœb >

walks A live

.œ rœ> ˙

œ

œ .œ

˙b

.œœ> œ> .œ

œ> œ

ff

œ œ.œb ˙

œ œ.œb ˙

.˙ .œœb

Œ ® œ. œ.® œb . œ. œ.

®rrr

œ. ‰ . . Œ

Œ œ# .® œ. œ# . ® œ. œ. œ.

Ó

˙rœ .œb >

rœ .œ .œ

rœb

rœ .œ ˙

Œ œ# . œ# . œ. ® œ.® œ. œ. Ó

Œ ≈œ.

® œ# . œ. ® œ. œ. œ.‰ . Œ

œ œ .œ# œ .œ œ# >

Œœ# . œ. œ. ® œ.

® œ. œ.Ó

˙rœ .œb >

∑

∑

∑

œœ>

≈ .rœ# >

Œ.œ

œ#>

œ#œ Œ r

œ# > .œ>

Œœœnn > œœbb > œœb > œœb > œœb >

in the dream of his

œ œ.œb > œ .œ

œb >

œ œ .œb > œ .œ œb

w

- -

28

&

&

&

&

&

&

?

?

&

&

&

&

&

?

?

?

?

?

&

&

?

?

&

&

B

?

t

Picc.

Fl.

Ob.

E. Hn.

A Cl.

B. Cl.

Bsn.

C. Bn.

Hn. 1+3

Hn.2

Hn.4

C Tpt. 1

C Tpt. 2

Trbn.1

Trbn.2

Bass Tbn.

Tba.

Timp.

Perc.

Brtne.

Vln. 1

Vln. 2

Vla.

Vc.

D.B.

Hp.

185

.˙Aœn

.˙A œn

rœA

œn ˙ œ3

∑

∑

wb >

.œ œb œ œ .œ

.œrœb œ œ œ œ

∑

∑

∑

rœa œn ˙ œ œ3

∑

∑

wb

∑

∑

Œ ‰ rœb >

‰ œ> œ> œ>

Ó Œ œœ

>

˙# >Ó

œœ

# > ‰ œ# >œ> œ> œ>

wwbb >

heart.

.˙Aœ> œ>

.˙A

œ> œ>

rœ

œ> .˙3

∑

∑

Crotales

senza.sord.

mf

.œ rœ> ˙

.œ rœ> ˙

.œrœ> ˙

Œ œ.® œb . œb . ® œ. œ. œ. Ó

Œ ®œ. œ# . ® œ. œ. œ.

® rrrœ.

‰ . . Œ

rœ œ .˙

3

.œ œ œ œb œb œ œb

.œœ œ œb ˙

Œ œ# . œ. œ. ® œ.® œ. œ.

Ó

Œ ® œ# . œ# . œ. ® œ.® œ. rrr

œ. ‰ . . Œ

Œ ® œ# . œ# . œ. ® œ.® œ. rrr

œ. ‰ . . Œ

.œrœ ˙

.œ .œ> œ>

∑

rœ œ .˙3

‰ .rrœ œ œb œb œ œb

Œ ≈ œ. ® œ# . œ. ® œ. œ. œ. ‰ . Œ

œŒ Ó

∑

Œ ‰ rœœ>>

Ó

.œ#r

œœ# >>

Ӝ

∑

.œ .œ> œ>

.œ .œ> œ>

.œ .œ> œ>

rœ>

‰ Œ Ó

rœ>

‰ Œ Ó

ff

f

f

mf

senza.sord.

senza.sord.

&Vln.1

w

w

w

∑

∑

w

w

.˙ œb >

∑

∑

∑

w

.œ œb > œ œ .œ .œ œ>

rœ> œb > œ œb > œ> œ œ> œ> œ> œ>3 3

w

w

∑

‰ œb > ‰ œ> œ>>

≈ œ> œ>>

œ> œ>

3 3

∑

∑

∑

∑

.˙≈ .rœ

>

≈ .rœb > .˙

w

w

Œ ‰ rœb > œ

rœb > œ

3

Ó Œ œb >

f

f

f

f

f

f

arco

arco

f

f

senza.sord.

div.

Ó Œ ‰ . rrœ# >

Œ ‰ . rrœ# >

œ>œ# > œ œ>

œ>

∑

Ó Œ ‰ .rrœ# >

∑

Ó ‰rœb > œ

rœb >

3

Œ ‰ rœb > œ

rœb > œ

3

œ œb > œrœ œb > œ

œb >3 3

Œ ‰ .rrœb > œ œb > œ .œ>

‰œb > œ

rœ> .œ œb > œ œ>

3 3

∑

Œ ‰ . rrœ# >

œ>œ# > œ œ>

œ>

œ>.œ œ# > œ œ# > œ .œ>

rœ œb > œ œb > œ>> œ œ> œ>> œ> œ>3 3

∑

∑

Œ ‰œb > ˙

3

‰ œb > ‰ œ> œ>>

≈ œ> œ>>

œ> œ>

3 3

‰œfl

œ

flœ

flœ œ œ ≈ œ œ ‰ œ

œ˘ œ

œ˘ œ

3 5

∑

∑

∑

.˙ .œ œ>

w

Ó >

Ó Œ œ>

rœ œb > .˙

3

œ œb > œrœ œb > ˙

3 3

f

f

f

f

a2

f

f

f

f

f

Tomtoms

senza.sord.

f

f

f

f

senza.sord.

œ>œ# > œ œ# >

œ>œ> œ>

œ> œ3

œ# > œ# >œ> œ

rœ

œ> œ

3

3

Ó ‰ . rrœb > œ

œ œ# > œ .œ# >rœ> œ> œ

3

Œœ>

œ>œ> œ> ˙

œr

œ œ> ˙

3

rœ œb > .˙

3

œ œb > œrœ œb > .œ

3 3

rœb > œb > œ

rœ œ> œ3 3

œb >œ> .˙

Œ ≈ œb >œ> ˙

œ# > œ# >œ> œ

rœ œ# > œ

3

3

œr

œ œ# > ˙3

œb > œb > œ> œ> .˙

œb > œb > œ> œ> .˙

Œ œb > œb > œ> œ> ˙

.˙œb >

œb > œ> œ>œ> Œ Ó

œ

œ

˘ œœ˘ œ

œ

˘œ œ œ

œfl

œfl œ

flœ

flœ

flœfl

œ

fl

3 7

∑

∑

∑

w

w

˙r

œ .œ>

w

˙ œ .œ> œ

.˙ .œ œ>

f

f

f

f

senza.sord.

29

&

&

&

&

&

&

?

?

&

&

&

&

&

&

?

?

?

?

&

&

&

&

B

?

t

Picc.

Fl.

Ob.

E. Hn.

A Cl.

B. Cl.

Bsn.

C. Bn.

Hn.1

Hn.2

Hn.3

Hn.4

C Tpt. 1

C Tpt. 2

Tbn. 1+2

Bass Tbn.

Tba.

Timp.

Perc.

Vln. 1

Vln.1

Vln. 2

Vla.

Vc.

D.B.

accel.

190

rœ œ# > .˙

3

˙ œœ> œ# > œ œ# >

rœ

œ> ˙ .œ> œ>3

rœa œ# > œ œ .œ# > .œ> œ>

3

œ œ.œ> œ œ> œ> œ

3

.˙ œ .œ# >

˙ œ .œ> œ

.˙ .œ œ>

˙A œ .œ> œ .œ>

œ œ œ# > œ>

rœ œb > œ

rœ>

3 3 3

˙A œ .œb > œ .œb >

œ œ œ# > œ>r

œ œb > œr

œ>

3 3 3

œ .œ œ# > œ> œ# > œ œ> œ>

.œ œ# >œ# >

œ> œ>œ# œ œ# > œ# > œ>

œ .œb > œ œ> œ> œ œb > œ> œ> œ>3

œ œ .œb > œ œ> œ> œ œ> œ>3

œ œb > œr

œ œb > .œ

33

œ>œ> Œ ‰ œb >

æ æ3

3

œœ˘ œ

œ˘ œ ‰ œ œ ≈ œ œ œ œ

flœ

fl œfl

≈5

œb > > > > > > > > > > > > > > > >

œ > > > > > > > > > > > > > > >

œb > > > > > > > > > > > >3

> > > > > > > > > > > > >3 3

w

w

Tomtoms

wbU>

wbU>

˙U> œ

.œ œ

œU> œ .œ ˙

œU> .˙

˙

U

>

rœ .œ

wbU

>

wU

>

˙b> rr

œ.‰ . Œ

Œ˙

rrœ.

‰ .

≈˙> rr

œ.‰ Œ

Œ ≈˙

rrœ.

‰

>U

∑

˙bU>∑

Œ ‰>

rrœ.

≈

Œ ‰ .˙b >

rrœ.

Ó

>

>æ

Ó

˙>æ ‰

œfl

œ

flœ

flœ œ œ ≈

3

rrœ>

rrœb >

rrœ

rrœ>

rrœb >

rrœ>

con sord.

pp

pp

pp

pp

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

Ad lib.

ff

ff

synchronised co-ordination between parts is to be avoided. When players part is finished, wait for the conductor at the given fermata.

ff

q »approx. 98

6"

5"

ff

a2

ff

8

con sord.

ff

con sord.

ff

œ .˙b

œ œ .œb ˙

œ œ œ. ‰ ≈ .r

œ œ

œ œ. ‰ ≈ .rœ ˙

rrœ. ‰ . .˙

.œrr

œ.

‰ ..œ

œ .œ œb ˙

rrœ.

‰ . ≈ .rœb ˙

˙rr

œ.‰ . Œ

Œ˙

rrœ.

‰ .

≈ ˙brr

œ ‰ Œ

Œ ≈˙

rrœ.

‰

œ œ# ˘ œ œ# ˘ œ œn ˘

Œ ‰ ˙rr

œ.≈

Œ ‰ .˙b

rrœ.

rrœ.

‰ . Œ˙

‰ œb > ‰ œ> œ>>

≈ œ> œ>>

œ> œ>

3 3

œ œ ‰ œœ˘ œ

œ˘ œ ‰ œ

œ˘ œ

fl œfl

œ

flœ

fl

53

pp sfz

pp sfz

pp sfz

pp

sfzpp

pp

pp

pp

sfz

sfz

sfz

sfz

ppsimile

simile

simile

simile

ff sempre

pp sfz

pp sfz

˙rrœ.

‰ . ∑U

˙ œ œ.‰

œ œ œ. ‰ ≈ .r

œ œ

œ œ. ‰ ≈ .rœ ˙

rrœ ‰ . .˙

œ œ.≈

˙rr

œ.≈ r

œ

.œ œ œ.‰

.œb

œ œ œ. ‰ ˙b

˙rr

œ.‰ . Œ

Œ˙

rrœ.

‰ .

≈ ˙brr

œ.‰ Œ

Œ ≈˙

rrœ.

‰

œ#˘ œ œ# ˘ œ# ˘ œ œb ˘

œn ˘≈ œ#

flœfl

œbfl

≈ ‰ œ˘ œ

œ ≈ œ# ˘ œ# ˘rrœn ˘ ‰ . œ œ# ˘ œn ˘ œ# ˘ œ œ œ œ

Œ ‰ ˙brr

œ.≈

Œ ‰ .˙

rrœ.

rrœ.

‰ . Œ˙

‰ œb > ‰ œ> œ>>

≈ œ> œ>>

œ> œ>

3 3

≈rœ

œfl

œfl œ

flœ

flœ

flœfl

œ

flœ

flœfl

œœ˘ œ ≈ . œ

œ˘ œ

œ

˘37

5

sfz

sfz

sfz

sfz

sfz

simile

simile

simile

simile

simile

simile

simile

ff sempre

similie

similie

30

&

&

&

&

&

&

?

?

&

&

&

&

&

&

?

?

?

?

&

&

?

?

Picc.

Fl.

Ob.

E. Hn.

A Cl.

B. Cl.B. Cl.

Bsn.Bsn.

C. Bn.C. Bn.

Hn.1

Hn.2

Hn.3

Hn.4

C Tpt. 1

C Tpt. 2

Tbn. 1+2

Bass Tbn.

Tba.

Timp.

Perc.

Brtne.

Hp.

.˙b∑U

œ œ œ. ‰ ∑U

œ œ. ‰ Œ ÓU

œ. .œ ˙ ∑U

.œrr

œ.≈ ÓU

œA œ.≈ Œ ÓU

rrœA . ‰ . Œ ÓU

˙rr

œ.‰ . Œ

Œ˙

rrœ.

‰ .

≈ ˙brr

œ ‰ Œ

Œ ≈˙

rrœ.

‰

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 ‰ ˙brr

œ.≈

Œ ‰ .˙

rrœ.

rrœ.

‰ . Œ ˙b

œ> œ> œ>œ> Œ Ó

œ œ œœfl

œfl œ

flœ

flœ

flœfl

œ

flœ

œ˘ œ

œ˘ œ ‰ œ œ

37

5

∑

∑

∑

pp

Tomtoms

U

U

U

˙rr

œ.‰ . Œ

Œ˙

rrœ.

‰ .

≈ ˙brr

œ.‰ Œ

Œ ≈˙

rrœ.

‰

œ> œ> œ> œ> >

œ> œ> œ> œ> œ>3

Œ ‰ ˙brr

œ.≈

Œ ‰ .˙

rrœ.

rœ

œ>œ> ˙

3

œ>œ> Œ ‰ œb >

æ æ

3

3

≈ œ œ œ œ

flœ

fl œfl

≈ Ó

Vln.1

Vln.1

Vln.2

Vln.2

Vla.

Vla.

˙rr

œ.‰ . ∑U

Œ˙

rrœ.

∑U

≈ ˙brr

œ ‰ ∑UU

Œ ≈˙

rrœ.

∑U

.>∑U

> > ∑U

Œ ‰ ˙brr

œ.∑U

Œ ‰ .˙

rrœ.

rrœ.

‰ . Œ ÓU

∑U

∑U

OwU

&

OwbbU

&

OwU

&

OwU

&

OwU

&

OwbbU

&

ppp

ppp

ppp

ppp

Low sus. cymbal

∑U

192

LU

LU

LU

LU

LU

wU-

w-

∑U

∑

�U

pp

pp

pp

pp

pp

picc., fl., ob., eh., cl. to whistle any note with the mouth and slowlyglissando downwards. Note should be sustained until the baritone hasfinished his narration, then whistle- notes should gradually stop

strings to sustain until after whistles stop

pp

drag a super-ball mallet from the centreof the skin to midway for about 5"

[spoken]

That a man lies dead on the snow and another man's steps are slowingAnd the barren plain has no end and the iron wind is blowing...

drag a super-ball mallet from the centreof the skin to midway for about 5"

pp

9 Ad lib.

Vc.

D.B.

wwb

bU

wbU?

wbUt

ppp

ppp

pp

∑U

∑U

�

�

�

�

�

31

Fire on the Snow Suite

for 13 solo strings

Copyright © Scott McIntyre 2010. All rights reserved

 

Instrumentation

8 Violins

2 Violas

2 Cellos

Double Bass

duration 12 minutes

Performance notes

 

Phrases within the repeats are to be played approximately in the given tempo with a deliberate attempt to be un-synchronised. If there is a change at the next cue, play up to the end of the repeat and either stop or continue as the part dictates.

 

Phrases within the repeats are to be played approximately in the given tempo with a deliberate attempt to be un-synchronised. Stop immediately when indicated.

 

Ad. Lib. section – All Ad.Lib. cues are marked with a downwards arrow. The conductor gives a downbeat for this section and ALL players must play approximately in the previous or given tempo with a deliberate attempt to be un-synchronised (for a string section ALL players should play independently from each other). When the individual players parts are finished, wait for the next cue either on a paused note or rest as indicated.

Semibreves with a fermata in an Ad.Lib. Section (either notes or rests) are not necessarily four beats. They are to be treated as a fermata that waits for the next cue.

left hand cue (from conductor)

Bowing – aside from bowing indications in the score, any note duration that needs to be re-articulated should be done so at the marked dynamic.

?

t

43

Violin 1

Violoncello 2

Double Bass

.˙b

.˙b

q»54

ppp

ppp

con sord.

con sord.

Violoncello 1 Œ ‰ .rr

œ œ?

œ . œ œ

.˙

ppp

con sord.

Viola 2 Œ Œ ‰ .r

œb5

B

˙ œ .œb5

˙ œ

r

œb3

.˙

ppp

con sord.

Viola 1 ΠΠŠ.r

œB

˙ .œn

œ œb

r

œ .œ

r

œb3

.˙

ppp

con sord.

Violin 7+8 Œ Œ ‰ œb3

&

˙r

œ œb3

œr

œ œb œ3

˙

.˙

.˙

ppp

con sord.

&

&

B

B

?

?

t

Vln.5+6

Vln.7+8

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Œ ‰ œ œ3

œA

r

œ œr

œb3

3

. .œ

˙A œn

˙ œb

œA . œ œ

.˙A

ppp

con sord.

Vln.3+4 ‰œb œ .œ3

&

r

œ œb

r

.œ3

.˙

.˙

œ .œb ˙

.˙

.˙

.˙

ppp

con sord. œ .œb ˙

˙ œb

.˙

œ œb œ ˙3

.œn ˙5

r

.œ œb

.œ .œb

.˙

Vln.1+2 Œ

˙

&

˙

.˙

œ˙b

œ ˙b

œ œb œn

.˙

r

œ .œb

.˙

ppp

con sord. .U

.U

œ œb U

r

œ œb ˙

U3

œbU

.U

. œ U

. .œU

.U

Fire on the Snowsuite for 13 solo strings

Copyright © by Scott McIntyre2010. All rights reserved

Score

ª

37

&

&

&

&

&

&

&

&

B

B

?

?

t

43

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.6

Vln.7

Vln.8

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

OU

OwBBU

OwU

OwµµU

wbU

wBU

Owbb

U

Owµµ

U

wbU

wnU

wnU

wbU

wbU

sul E

ca 5"1

pp

pp

pp

pp

pp

pp

pp

pp

pp

pp

pp

pp

pp

Œ ‰ .œ

Œ ‰ .œ

.œb œ

r

œ

.˙b

2 a tempo

ppp

ppp

ppp

ppp

Œ Œ Œr

œb

3

&

Œ Œ Œr

œb

3

&

ΠΠΠr

œ

3

&

≈ .r

œb œ r

œ

3

B

.œb ˙

œb ˙

˙ œ

.˙

ppp

ppp

ppp

ppp

Œ ‰.œb

&

.˙&

.œn œb ˙&

.˙

. œb ˙

.˙

œ œb ˙

.œ .œb

. œb ˙

˙ œb

.˙

ppp

ppp

ppp

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

œ ˙

. œ ˙

.˙

38

&

&

&

&

&

&

&

&

B

B

?

?

t

43

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.6

Vln.7

Vln.8

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

r

œn>

∑

r

œm>

∑

r

œm>∑

r

œm>∑

ObU

wbU

OwbbU

wbU

wU

wbU

wb

wU

wbU

ca 7"3

pp

pp

pp

pp

pp

pp

pp

pp

pp

sul E

pp

fff

pizz.

pizz.

pizz.

pizz.

fff

fff

fff

œb B

pp

4 a tempo

ΠΠŠ.r

œ?

pp

‰r

œ ?

r

œb ˙3

œ ˙

pp

Œ ˙&

˙

.˙

.˙

pp

Œr

œ 3

&

r

œ ˙3

.˙

.˙

.˙

pp

39

&

&

&

&

?

?

B

Vln.5

Vln.7

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Œ Œ ‰œb3

‰r

œb r

œb3

œb ˙

.˙

.˙

.˙A

.˙

pp

pp

Vln.3 Œ ≈.r

œ &

.œ œ

.˙

.˙

.˙

.˙

.˙

.˙

pp

Vln.1

arco

œ œb

&

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

pp

arco

r

œn œb ˙n3

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.>

.>

.>

.˙b>

.˙b>

.>

.>

.˙b>

.>

mp

mp

mp

mp

mp

mp

mp

mp

mp

40

&

&

&

&

&

&

&

&

?

?

B

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.7

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

œ

r

œ . œ3

Œ Œ ‰ . rr

œB

˙ .œ œ

Œ Œ ‰ . rr

œB>

.˙

.˙

.˙b

.˙

.˙

.˙b

.˙

ppp

ppparco

Vln.6

.˙

.˙

. œ

Œ Œ ‰ . rr

œB

˙ .œ œ

Œ Œ ‰ . rr

œB>

&

.˙

.˙

.˙

.˙

.˙

.˙

ppp

ppp

arco

pizz.

Vln.8

.˙

.˙

.˙

.˙

œ

Œ Œ ‰ r

œB

˙ œ œ

Œ Œ ‰ rr

œB>≈&

.˙

.˙

.˙

.˙

.˙

ppp

ppp

arco

pizz.

.˙

.˙

.˙

.˙

.˙

.˙

r

œb3

Œ Œ ‰œB3

˙r

œ œ3

.˙

.˙

.˙

.˙

ppp

ppp

arco

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

. œ

˙ .œ œ

.˙

.˙

.˙

ppp

41

&

&

&

&

&

&

&

&

&

&

?

?

B

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.6

Vln.7

Vln.8

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

.˙

.˙B

.˙

.˙B

.˙

.˙B

.˙A

.˙B

.˙

.˙

.˙A

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

œ

˙ œ œ

.˙

.˙

ppp

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

œb ˙

œ œ

.˙

ppp

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

. œ

˙ .œ œ

ppp

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

42

&

&

&

&

&

&

&

&

&

&

?

?

B

..

..

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.6

Vln.7

Vln.8

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

.˙

.˙B

.˙

.˙B

.˙

.˙B

.˙A

.˙B

.˙

.˙

.˙

.˙

. œb œ

ppp

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

OwU

∑

∑

∑

OwbbU

∑

∑

∑Ow

UB

OwbbU

B

∑

OUsul G

5 ca 9"

pp

pp

pp

pp

pp

3"

3"

3"

3"

3"

3"

3"

r

œ>

ŒwbU

Œr

œb>

Œ ‰ r

œb>

wU

‰r

œ>

Œ ‰ r

œb wU

‰wU

ff

mp

mp

mp

ff

ff

mp

pizz.

pizz.

pizz.

ff

pizz.

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

ca 4"6

pizz.

pizz.

–‘

–‘

mf

mf

rapid

rapid

43

&

&

&

&

&

&

B

B

?

t

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.6

Vln.7

Vln.8

Vla.1

Vla.2

Vc.1

D.B.

∑U

∑U

OwbbU

∑U

OwU

∑U

OwU

OwbbU

OwU

OwU

pp

pp

pp

pp

pp

pp

7 ca 11"

‰ r

œb>

Œ&

r

œb>&

‰

wbU

wbU

r

œ>

∑U

∑U

mf

mf

ff

ff

ff

pizz.

pizz.

Πr

œ>

wU

r

œ>

‰r

œ>

U

Œ œ

Vc.2

mp

ff

pizz.

ff

mp

mp

OwbbU

OwU

OwbbU

OwU

?

pp

pp

pp

ca 7"8

pp

arco

arco wbU

‰wU

‰ ‰wU

mp

mp

mp

∑U

∑U

44

&

&

&

&

&

t

43

Vln.1

Vln.2

Vln.4

Vln.6

Vln.8

D.B.

œ

.˙

r

œ>‰ Œ Œ

.˙

r

œ>

‰ Œ Œ

r

œ> ‰ Œ Œ

p

9

Vln.3

mp

senza sord.

senza sord.

senza sord.

p

mf

pp

mf

q»98

pizz.

pizz.

œ ˙

œ œb ˙

‰ r

œ &

‰ r

œb>Œ Œ

œ œ ˙

‰ r

œ>

Œ Œ

‰r

œb>Œ Œ?

pp

p

Vln.5

mp

senza sord.pizz.

.˙b

.˙

r

œb>‰ Œ Œ

œ &

.˙

r

œ>‰ Œ Œ

r

œb>‰ Œ Œ?

pp

p

pizz.

Vln.7

mp

senza sord.

senza sord.

Œ Œ ‰r

œ>‰

3

œ œr

œœ

3

˙r

œ‰

Œ Œ ‰r

œ> ‰3

r

œ3

˙r

œ œ3

Œ Œ ‰œ3

&

Œ Œ ‰r

œ>‰

3

pp

p

pizz.

Vla.1

Vla.2

mp

senza sord.

senza sord.

œ.œ ˙

≈r

œ>≈ Œ Œ

rr

œ‰ . Œ Œ

œ .œ ˙

.œ ˙

≈ .r

œ> Œ Œ

≈.r

œ B

≈r

œ>≈ Œ ŒB

pp

p

œ œ .œn œ

ΠŠrr

œ>‰ Œ

ΠŠr

œn>≈ Œ

œ œ.œb œ

œrr

œ ‰ . Œ

ΠŠ.r

œb>Œ

.œb œ

ΠŠ.r

œb

pp

p

pizz.

mp

arcosenza sord.

˙ œr

œ3

ΠΠΠr

œ>3

ΠΠΠr

œ>3

˙ œr

œb

3

ΠΠΠr

œb>

3

˙ œ ‰3

r

œb

3

Œ Œ Œr

œb3pp

p

arco

pizz.

mp

Πr

œ>

‰ Œ

œ ˙

Πr

œ>

‰ Œ

œ ˙

Πr

œ>‰ Œ

œ Œ Œ

˙

pp

mp.˙

.˙

.˙

45

&

&

&

&

&

B

B

?

?

t

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

OwbbU

∑

OwU

∑

OwU

OwU

OwU

∑wbU

OwU

pp

pp

pp

pp

pp

pp

pp

10 ca 30"

each string player's note to last one full bow at pp before playing the next note

5"

9"

10"

arco

arco

arco

arco

arco

OwU

OwU

OwbbU

OwU

wbU

wU

OwbbU

ObU

>mp

Vln.6

OU>

‰ wU>

&

w>

mp

mp

sul D

con sord.

mp

Vln.7

ObU

‰ wU>

‰ ‰ OU

>&

r

œ> wb>U

sul D

mp

Vln.8

O>U

‰ w>U

‰ ‰ OU

>

‰ ‰ ‰ Ow>U

&

mp

arco

Ob>

U

‰ w>U

‰ ‰ O>U

‰ ‰ ‰ Ow>U

‰ ‰ ‰ ‰O>Usul A

46

?

B

..

..

..

..

.. ..

..

.. ..

Vocal 1

Vln.1

Vc.2

D.B. ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥

r

œ-w

œ-w

pp

pp

116"

q»78

Vc.1

r

œ-˙ r

œ-˙?

pp

6"

Vla.2 œ- wbB

pp–‘

Vla.1

3"

r

œ- ˙b ˙B

p

12"

G.P. 2 secs.

47

..

..

Vla.1

Vla.2

Vc.1

Vc.2

D.B. ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

Vln.7wb - ˙

&

p

–‘

Vln.5

3"

.˙ ˙b& –‘

mp

15"

48

..

.. ..

Vln.5

Vln.7

Vla.1

Vla.2

Vc.1

Vc.2

D.B. ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

Vln.1.œ- .œ- ˙b -

& –‘

p

Vln.3

123"

˙b> ˙b&

p

9"

49

.. ..

.. ..

Vln.1

Vln.3

Vln.5

Vln.7

Vla.1

Vla.2

Vc.1

Vc.2

D.B. ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥œ œb œb r

œ?

p mp

6"

˙b - .œb.œn?

mp

6"

50

t .. ..

..

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.6

Vln.7

Vln.8

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥

.˙n> ˙

mp

16"

œb - œbr

œb ‰&

mp

–‘

133"

51

B ..

..

..

..

..

..

..

..

..

Vln.1

Vln.3

Vln.5

Vln.7

Vla.1

Vla.2Vla.2

Vc.1

Vc.2

D.B.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

œb œb œb œb–‘

3"

Vln.2

mp

œb œ œ œb ‰ œb œ œn&

œb œµ œn œb ‰ œ œµ œnB

mp

–‘

mp

–‘

3"

Vln.6

r

œb -œb

œbœb - r

œb ‰&

œ œm œ œ œ œb œn‰&

œ œµ œb œB œn œb œn ‰?

mp

mf

mp

22"

52

..

..

..

..

..

Vln.1

Vln.2

Vln.3

Vln.5

Vln.6

Vln.7

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥ ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

Vln.4

Vln.8

œ œm œ œ œ œb œn‰&

œb œ œ œb ‰ œb œ œn&

œ œ œ œ œ œ œ œ œ3 3 3t

–‘

mf

mp

mp

14 ca 13" until next cue 15

53

&

&

?

..

..

..

..

..

..

..

..

..

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.6

Vln.7

Vln.8

Vla.1

Vla.2

Vc.1Vc.1

Vc.2

D.B.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

Ÿ~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥

¥

¥

¥

¥

r

œb - œb -

r

œb -.œ-

r

œb -

œb - œb œb œb œb - œb œb œb

œ œ œ œ

r

œb –‘

mf

mf

mf

–‘

–‘

15 3"

œb œb œbr

œn ‰B–‘

mf

9"

œ- œ- œ- œ- œ- œ- œ-3

&

w- œ-&

w- œ-&

˙b - ˙b ˙B

.˙b œ- œb?

wbr

œ-?

mf

mf

mf

mf

mf f

mf

6"

–‘

œ-œb

œb> œb

˙b - œb> œn

œb -œ-

œb œn>œb

r

œbœn - œ

œb> œnœb

–‘

–‘

–‘

f

f

f

f

–‘

54

&

&

B

t

..

..

..

..

..

..

..

..

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.6

Vln.7

Vln.8

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

Ÿ~~~~~~~~~~~~~~~~~~~

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

.- -

.- -

wb - œb -

wb>

mf

mf

mf

mf

15"

- œb œb> œb

- œb œb> œb

.œ-r

œ> œb

œn .œ-

r

œb .

f

f

f

f

55

.. ..

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.6

Vln.7

Vln.8

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

œb> œb œnœ œ

œb œnœb?

mf

18"

56

&

&

&

&

&

&

&

&

B

B

?

?

t

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.6

Vln.7

Vln.8

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

¥

wb -

w-

wb -

w-

wb -

w-

wb -

w-

.wb -

wb -

- -

- -

- -

16

f

f

f

f

f

f

f

ca 16"

f

f

f

f

f

f

( q»ca 60 )

˙b - ˙b -

- -

- -

- -

˙b - ˙b -

- -

˙b - ˙b -

- -

˙b -

˙b -

.œ- .œ- œ-

.œ- .œ- œ-

.œ- .œ- œ-

.œb - .œb - œb -

.œ- .œ- œ-

.œ- .œ- œ-

.œ- .œ- œ-

.œb - .œb - œb -

.œ- .œ- œ-

.œb - .œb - œb -

.œ- .œ- œ-

˙b - .œb - .œb -

˙b - .œb - .œb -

œ- œ- œ- w-U

œ- œ- œ- w-U

œ- œ- œ- w-U

wbU>

wU>

wU>

wU>

wbU>

wU>

wbU>

wU>

œb - wb>U

œb - wb>U

wb

wb

wb

wb

w

wb

wb

wb

pp

pp

pp

pp

pp

pp

ca 20"17

pp

pp

wb

wb

wb

wb

wb

wn

w

w

wb

wb

wb

wb

wb

w

w

w

˙b w

˙b w

˙b w

˙b w

˙n w

˙b w

˙b w

˙ w

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

wbU

wbU

wbU

wbU

wbU

wnU

wU

wU

57

?

t

Vc.1+2

D.B.

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥

f

f

44 q»60

wU

&

OwU

&

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥

f

f

pp

pp

Vln.1

Vln.3

metronome markings for vc. and basses does not concern these pauses

18

wU

&

OwU

&

‰B

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥

f

f

pp

pp

Vln.5

Vln.7

Vla.1

ca 5" ca 5"

wU

OwU

wU

‰ wUB

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥

pp

f

f

Vla.2

pp

ca 5"

&

&

Vc.2

wU

&

OwU

&

wU&

OU

&

wUB

wUB

OwbU

?

w

U?

w

Ut

pp

pp

sul D

ppp

ppp

ppp

pp

ppp

ppp

19ca 5"

w>U

Ow>U

Ów>U

Ó O>U

ΠwU>

ΠwU>

pp

pp

pp

pp

pp

pp

1"

1"

2"

2"

ca 5"

58

&

&

&

&

B

B

?

?

t

Vln.1

Vln.3

Vln.5

Vln.7

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

wU

OwU

wU

OU

wU

wU

OwbU

w

U

w

U

20ca 5"

Ów>U

Ó O>U

ΠwU>

ΠwU>

pp

pp

pp

pp

1"

1"

2"

2"

ca 5"

wU

OwU

wU

wU

wU

wU

OwbU

w

U

w

U

ca 5"

wU

OwU

wU

Ó wU

Ó wU

Ó wU

Ó OwbU

w

U

w

U

2"

2"

2"

2"

ca 5"

&

wU>

OwU>

wU>

wU>

wmU>

wbU>

OwbU

>

p ppp

p ppp

p ppp

p ppp

p ppp

p ppp

ca 5"

Vln.2

Vln.4

Vln.6

Vln.8

Ó.œ> œ

œbœb œ

&

OwU

Ó r

œ>

>&

Ó r

œ>˙b>&

Ó r

œ>˙b>&

OwU

mp

2"

mp

2"

mp

2"

mp

2"

pizz.

pizz.

pizz.

pizz.

ca 5"

wU&

wU

OU

&

OU

&

wUB

OwU

sul D

sul A

pp

pp

pp

pp

pp

pp

21 ca 5"

Ór

œ> >

r

œ.&

Óœ> œ

&

wU

OwU

2"

2"

arco

ca 5"

59

&

&

&

&

&

&

&

&

&

B

?

?

t

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.6

Vln.7

Vln.8

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

œ- œ- wU

Óœb> œ>

r

œb - œn - wU

Ó œ> œb> œ> œ> œb> œ>

œb -

r

œn - wU

Óœ> œb> œ>

œ- œ- œ-œb wb

U

Ó œb>

.œb -œb - wbU

‰

∑

∑

∑

∑

( q»ca 84 )

pp

pp

pp

pp

pp

mp

mp

mp

mp

mp

4"

4"

5"

5"

ca 6"

2"

2"

22

2"

2"

pizz.

œ>

œn>

œ> œb> œ> œn>

œb>œ>

r

œ- w-

U

œ- w-U

r

œ- w-

U

œ-

ppmp

mp pp

mppp

mp

B

w-U

pp

œ- œ- œ- w-U

∑

Oœ-Oœ-

Oœ-Ow-

U3

∑

r

œb - œ- œ- w-U

∑

Oœbb -Oœbb -

Oœbb -Owbb -

U3

∑

œ- - w-

U3

.œb - œ- w-U

Oœm -Oœm -

Oœm -Oœm -

Oœm -Owm -

U5

œ- œ- œ- œ- w-U

∑

mp

mp

mp

mp

pp

pp

pp

pp

mp

mp

mp pp

pp

pp

mp pp

5"

ca 10"23

3"

5"

3"

5"

‰ œb> œ œb œ

œn>œ œ

œb> œ ≈ œb> œ

œn œœ œ

œb

œ

mp

mp

mf

arco

arco

arco

arco

mf

œ-œ- œ- w-

U

mf pp

60

&

&

&

&

&

&

&

&

B

B

?

?

t

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.6

Vln.7

Vln.8

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

- w-

Ó

.O- O-

Ó

O-

Ó

- -

Ó

∑

∑

w-

w-

Ó

sul A

pp

sul D

mp

mp

6"

ca 13" until cue 25

8"

9"

3"

3"

24

3"

3"

-

œ>

O- ∑

œ>

.O- O-

œ> œœ

- œ- ∑

œ>

w-

w-

p

mp

6"

6"

mp

mp

mp

mp

pizz.

pizz.

pizz.

pizz.

- œ- œ-

O- O- O- O-

r

O-

w-U

pp

œ- œ- œ- œ- œ- œ-

O- O- O- O- O- O- O- O- O-3

w

U

-

œ- œ- œ- œ-

p

p

pp

mf

pizz.

pizz.

œ- œ- œ- -

r

œ>>

œ> œ œ œ œ

r

œ> >

O- O- .O-

œ> œœ œ

œb

œœ œ

œ>œ

œb

r

œ> ˙b>

w≥U

-

œ- œ- œ- œ-

mp

p

.-

˙n> >

œ œœb œ œb

> >O-

U

œœ œn

œb

œœ œ œb

œ œœ

˙b> ˙b>

w≥U

-

w-

U

pp

mp

pp

pmf

mf p pp

w-U

∑U

∑U

pp

pp

pp

wU

∑

OwU

∑

wU

∑

OwU

OU

wbU

wU

wU

∑

sul D

3"

arco

arco

2"

2"

25

2"

ca 5"

r

œb>

>

r

œb>>

œ>œb

œ

wU

mf

mf

mf

61

&

&

&

&

&

&

B

B

?

?

t

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.7

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

..O-

O-

Ó

O- O-

Ó

wU

wbU

wnU

wb -

wU

∑

∑

3"

6"

pp

pp

pp

sul D

pp

pp

pp

pp

ca 9"

2"

2"

26

Oœ-Oœ-

Oœ-Oœ-

œb> œb œn œ œ5

.O- .O- .O-

œb>Oœ œ> œ œb

5

.˙b - ˙b -

wU

pp

mf

arco

arco

Oœ-Oœ-

Oœ-Oœ-

Oœ-Oœ-

Oœ-Oœ-

Oœ-

O- O- O- O- O-

œb>Oœ œ> œn œb

5

.œb - œb - .œb -

œ>

œ>œ

œb

wU

pp

pizz.

pizz.

mf

mf

mf

mf

Oœ-O-

..O-

U

O- .O- .O-

U

˙b - .˙b -

œœb œn

œn

œ> œ œb œnpizz.

mf

pp

pp

˙bU-

Vln.6

Vln.8

O-

O-

˙b>&

∑

>&

w&

>&

wb&

∑&

wnB

.- -

w?

∑?

∑t

arco

2"

3"

2"

pp

pp

ca 7"

p

p

p

2"

27

mp

mp

mp

pizz.

Oœ-Oœ-

Oœ-Oœ-

Oœ-

œ> œ œb

œ> œ œb

.œ- œ-

r

œ-

œ>

œ>œ

pizz.

mf

mf

mf

mf

mf

mp

Oœ-Oœ-

O-

œ œn œb

œ œ œn œb

œ> œb œn

œ- .œ- -

œœ œ

œb

œ œœb œn œ

pizz.

mf

Ow-U

w-U

œn œ

pp

pp

62

&

&

B

B

?

?

t

Vln.5

Vln.7

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥

∑

∑

wnU

wbU

wU

w

U

∑

arco

arco

p

p

p

p3"

3"

3"

œ> œb

œ> œb

œ>œ

pizz.

pizz.

Vln.3 wbU&

∑

∑

w

w

∑

p

arco

ca 10"

5"

6"

2"

3"

5"

28

œ>œ

œ>œ

mf

pizz.

œb> œn

œb> œn

œ œ

œ> œ œ

œ œ

mf

mf

pizz.

pizz.

pizz.

œ œ œ œ

œ œ

œ œ

œ œ œ œ œ

œ

Vln.1 Ó ‰ œb>œ&

Ó ‰ œb>œ&

Ó œb>œ&

œ

œ œ

œ

œ œ

œ

pizz.

mp

pizz.

mp

pizz.

mp

œ> œb œb - œb - œb -?

œb> œ œb œ œb œ?

≈œ> œ œ- œ- œä œt

ad.lib.

arco

arco

mp

mp

mp

arco

–‘

–‘

–‘

29

Vln.2

Vln.4

Vln.6

ca 5"

œb>œ

œ

&

œb>œ

œ

&

œb>œ

œ

&

mf

mf

mf

arco

arco

arco

ca 5"

63

&

&

B

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Vln.4

Vln.8

Vla.2

Vc.1

Vc.2

D.B.

¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥ ¥¥¥¥¥¥¥

¥¥¥¥¥¥¥ ¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

>

>

>

œ> œn œ- œ- œ-?

≈ œ> œ œ- œ- œä œt

–‘

–‘

30

p

mf

mf

pizz.

(pizz.)

ca 5"

œ>œ œn œ œ

Vln.1

Vln.3

Vln.5

Vln.7

Vla.1

mp

Vln.2

arco

r

œbä˙

&

∑&

.r

œbä ˙&

>&

.œ> œ&

œ>

˙µ

&

>&

>r

œb&

>œ> œ

œn> œ œ œ œ œ?

≈œ> œ œ- œ- œä œt

–‘

–‘

mp

mp

mp

mp

mp–‘

–‘

–‘

–‘

–‘

31

3"

arco

pizz.arco

ca 5"

œb œœ

œ

mf

∑

>&

˙ œ> œ

œ>œ œ- œ>

œ?

≈ œ> œ œ- œ- œä œt

mf

mf

–‘

–‘

32

mp

3"

pizz.arco

ca 5"

œb œœ

œ

Vln.6

∑

Ó ‰œb>

œœ

&

>

œ>œ œ- œ>

œ?

œ> œœ> œ

œ> œ?

≈ œ> œ œ- œ-œâ œ

t

–‘

–‘

–‘

mf

33

mp

3"

pizz.

mp

2"

ca 5"

œb œœ

œœb œ

œb

f

64

&

&

&

&

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Vln.1

Vln.2

Vln.3

Vln.4

Vln.6

Vln.7

Vln.8

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥

¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

r

œb> ˙

&

>

.r

œb>˙

&

˙b>

>

>

>r

œ

.œ> œ&

–‘

–‘

–‘

–‘

mf

mf

mf

mf

f

34

f

f

f

pizz.

pizz.

pizz.

pizz.

&

ca 5"

œ>œ>

œb>

Vln.5

Ó œ>œb œ

œb&

œä œä œäœ>

&

œb>œä œä œä œä

&

˙b>œ> œ> œ>

&

.œ œb&

œ> œ œ-œ> œ

?

œ>œ

œ>œ

œ>œ?

≈œ>

œ œ- œ-œä

œt

mf

mf

mf

–‘

–‘

–‘

–‘

–‘

–‘

–‘

pizz.arco

f

35

arco2"

ca 5"

œœ œ

œ œb œ œ œ

œb œ> œ> œ>&

.œb>œb œ> œ>&

œ> œ> œ>œb>&

∑&

œb> œb> œb>œb> œ>

B

œb> œ œ-œ> œ

?

œ>œb

œ>œb

œ>œb?

≈ œb> œ œ- œ-œb> œ

t

arco pizz.

arcopizz.

pizz. arco

f

f

f

pizz.

f

arcopizz.

f

f

f

–‘

–‘

–‘

–‘

–‘

–‘

–‘

36

3"

ca 5"

œ>

œœb œb œ

arco

œ> œ> œ> œ>&

.œ>œb> œ> œ>&

∑&

œb> œ> œ>œb> œ>

?

œ>œb> œ>

œb> œ>œb>

?

≈ œb> œ> œ> œ>œb> œ>

t

pizz.

pizz.

pizz.

pizz.

pizz.

–‘

–‘

–‘

–‘

–‘

37

3"

ca 5"

œb> œb œ œ œ œ

arco

mf

65

&

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Vln.1

Vln.3

Vln.4

Vln.5

Vln.7

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

¥¥

¥¥

¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥ ¥

¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥ ¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

œ> œ> œ> œ>&

.œ> œb> œb> œb>&

˙b>

œ> œ> œ> œb>&

œb> œ> œ> œ> œ>&

˙b> œ> œ> œ>&

pizz.

pizz.

pizz.

f

f

f

–‘

–‘

–‘

–‘

–‘

mf

38

pizz. arco

ca 5"

œb>œ

œbœ œ

œbœ

œ œ œœb

œbœ œn

f

Vln.8

.œ> œ> œ> œ>&

>

œ> œ> œ> œ>&

œn>œ> œ> œ> œ>&

˙b>

œ>œ œ&

˙n>œ> œ> œ>

B

œ> œ> œ> œb> œb>B

œb> œ> œ> œb> œ>?

–‘

–‘

–‘

–‘

–‘

–‘

39

pizz.

pizz.arco

f

ca 5"

œœ œ œ

œbœb

œ œœb œn

œ œ

Vln.2

Vln.6

œ> œb> œb> œb>&

>&

.œ> œb>œ> œb>&

>&

œb>œ> œb>

œ>&

˙b>&

˙b>

–‘

–‘

–‘

40

pizz.

f

pizz.

f

pizz.

f

ca 5"

66

&

&

&

&

&

&

B

?

?

t

..

..

..

..

..

..

..

Vln.1Vln.1

Vln.2

Vln.3

Vln.4

Vln.5+6Vln.5+6

Vln.7Vln.7

Vln.8

Vla.1Vla.1

Vla.2

Vc.1Vc.1

Vc.2Vc.2

D.B.D.B.

œb> œb> œb> œb>

∑

∑

œ> œ> œ> œ>

œb>œn> œ> œ> œ>

˙b>œb> œb>

˙b>œ> œ> œ>

œb> œb> œb>œb> œb>

œb> œb>œb> œb>

œb> œb>

œb> œb> œb> œb>œb> œb>

ff

ff

ff

ff

ff

ff

ff

–‘

–‘

–‘

–‘

–‘

–‘

–‘

ca 10"41

f

5"

5"

pizz.

∑2"

œ>œ

œb

œb

œ> œœ œ

œb œ

œbœ

œ> œœb œ

ff

ff

ff

pizz.

pizz.

pizz.

œ

œbœb

œb

œ

œ

œ

œb œb œnœb œ

œbœn

œœb œb

œ

œœb

œ

œ

67

&

&

&

&

B

B

?

?

t

44

Vln.1+2

Vln.3+4

Vln.5+6

Vln.7+8

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

‰ .rr

œ>Œ ‰ œ> ‰

œ>

‰

5

‰r

œ> Œ œ> ‰œ>

Œ

5

r

œ>‰ ‰ .

rr

œ> Œ ‰ .rr

œ>

‰r

œ> ‰r

œ> ‰r

œ> ‰ ‰ .rr

œ>

3

‰ .r

œb> Œ ≈rr

œ> ‰ ‰r

œ>

5

Œr

œb> ‰r

œ>

r

œ> ‰r

œ> ‰

3

œ>œb> œ> ‰

r

œ> r

œ> ‰ ≈ .r

œ>3

≈ œ>œb> œ> ‰ œ>

œ> œ> œ> ≈ œ>œ>

≈rr

œ> ‰ ‰r

œ> Œ ‰ .rr

œ>mf

mf

mf

mf

mf

mf

mf

mf

mf

q»120

42

œb>

‰ œ>œ>

r

œb>Œ r

œ>

≈rr

œ> ‰ Œ ≈ rr

œ>‰ ‰ .

rr

œ>

r

œn>‰ ≈

rr

œ>‰ ‰

r

œ>≈

rr

œ>‰

Œ ‰ .rr

œn>‰ .

rr

œ>‰ .

rr

œ>

Ó ‰r

œb>Œ

Œr

œb> ‰ ‰r

œb>‰ Œ

3

ΠΠr

œ>‰ ‰

œ>

œb> Œ3

3

‰ œ> ‰œ>

‰œ>

œb> ≈œ> œ>

Œ ‰r

œ>‰

r

œ>≈ œ> œ>

r

œb>‰ Œ

r

œ> r

œ>‰ Œ

3

≈ rr

œ>‰

r

œb> ‰ Œ ≈ rr

œb>‰

‰rr

œ>≈ Œ

r

œ>‰ Œ

‰ .rr

œ>Œ ‰ .

rr

œ>Œ

‰r

œb>‰ Œ ‰

r

œ>‰ Œ

3 3

Œ Œr

œn>Œ Œ

r

œ>

3 3

‰ œb>‰ œn>

‰ œb>‰ œn>

‰œ>

‰ œb>‰ ‰

œ>‰ œ>

‰5 5

Œ œ>œb>

Œ œ>œ>

3 3

Ó Œœ> œb>3

Œ ‰r

œ> œb> ‰œ>

œ>

œ> œn>‰ œ>

r

œ>‰ Œ

≈rr

œ>‰

r

œn>‰ ≈ œ œ>

Œ

‰r

œb>‰ ‰

r

œ>‰ Œ ‰

r

œn>‰

3 3 3

≈rr

œb>‰ Œ

r

œ>Œ

r

œn>‰

3

œ>

œb> ≈ œb> œ>

œ> œ>‰ œ>

œn>œ>

3

œ>

œb> œb>‰> œ>

œ> Œ œ>œn>

œ>

3

3 3

≈ œ> ≈ œb>Œ

r

œ> ‰ œ> ‰ œ>3

&

&

&

&

B

B

?

?

t

43

44

Vln.1+2

Vln.3+4

Vln.5+6

Vln.7+8

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

œb> œ œn œ˙b>

œb> œn œ˙b>

3

Œ ≈œ> œn œ

œb>

Œ Œœ> œ œ

œb>

œ>r

œb ˙3

œ>r

œb ˙3

.œ> œb> . œ>

Œ .œ>

r

œb>

œ> œb>r

œ>‰ ‰

œ>œ>

ff

ff

mf

mf

arco

arco

arco

arco

ff mf

ff mf

mfff

arco sul C

mfff

arco sul C

ff mf

arco sul C

ff mf

arco

ff

‰œ> œ>

œb> œ> œ> œ> œ> œ> œ> œ> œ>3

œb> œ>Œ œ> œ>

œ>œ> œ>

5

Œ ‰œ> œ>

œb> œ> œ> œ> œ> œ> œ> œ> œ> œ>

3

5

Ó œb> œ>œ> œ>

Œœb> œ>

œ>Œ

œ> œ>œ>

3 3

œb>

œb> œ ‰œ>

œ>

œ>œ>

œ>œ>

œ>œ>

3

Ӝ>

œb>œ> œ>

œ> œ>œ>

œ>

Œ œb> œ>œ>

œ> œ>œ> œ>

œ>œ>

5

œb>œ> œ>

≈ œ> œ>œ>

œ> œ>œ> œ> œ> œ>

33

3

mf

pizz.

pizz.

pizz.

pizz.

pizz.

pizz.

pizz.

œb> ‰ œ> ‰ œ> ‰ Œ ‰r

œ>3

Ó œb> œ>‰ Œ

œb> ‰ œ> œ> Ó

Ó œb> œ>‰ Œ

3

œb>‰

œ>

r

œ>‰ Œ œb>

‰ œn>

33

r

œb>‰

œ>œ>

‰r

œb>‰

r

œn>‰

3

Πr

œ>‰

r

œ>‰ ‰

r

œb> ‰3

‰ r

œ>Œ

r

œ> Œ r

œ>‰

3

r

œb> ‰ ‰r

œ> ‰ ‰r

œb>Œ

r

œn>33

œb> œb> œ>r

œ> ‰ œ> œ>‰ œ> œ> œ>

3

œb> œb> œ>r

œ> ‰ œ> œ>‰ œ> œ> œ>

3 3

Œr

œb> ‰ Œ ‰r

œb> ‰3

‰r

œ>Œ Œ

r

œb> ‰

≈rr

œb>‰ Œ ≈

rr

œ> ‰ Œ

r

œb>‰ Œ

r

œb>‰ Œ

r

œ>3

Œ œb>≈ œb> ‰

rr

œ> ≈ œ> ≈ œ>

Œr

œ>‰ r

œ>≈ œ>

≈ œ>‰ r

œ>

3

‰r

œ> ‰ ≈rr

œb> ‰ œ> œ> ≈rr

œ> ‰3

ª

68

&

&

&

&

&

&

&

&

B

B

?

?

t

42

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.6

Vln.7

Vln.8

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

r

œb> ‰ Œ

r

œb> ‰ Œ

Œ œb

Œ œb

Œr

œb> ‰

Œr

œb> ‰

˙b

˙b

Œ ‰r

œb

Œ ‰r

œb>

Πr

œ>‰

‰r

œb>œ

r

œb>‰ Œ

pp

arco

pp

arco

pp

arco

pp

arco

pp

arco

pp

arco

wbU

wbU

w

w

OwbbU

OwbbU

w

U

w

U

wU

wbU

wbU

w

U

wU

pp

arco

pp

arco

pp

arco

arco

pp

pp

arco

ca 9"43

pp

arco

pp

arco

each fermata note to lastone full bow at ppp then wait for next cue

69

&

&

&

&

&

&

B

B

?

?

t

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.7

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

ObU

∑

wbU

∑

wbU

Owbb

U

wnU

wnU

wbU

w

U

w

U

sul E

ppp

arco

ppp

arco

ppp

arco

ppp

arco

ppp

ppp

ppp

ppp

arco

arco

arco

arco

arco

ppp

44

4"

5"

each fermata note to lastone full bow at ppp then wait for next cue

œ>

œb>

œœ

œb

p

pp

sul pont.

sul pont.

œ œr

œb œ

œ

œb

œœ

œbœb œb

œœn œ

Vln.6

Vln.8

ObU

wbU

wbU

∑&

Owbb

U

∑&

wnU

wbU

OwbbU

w

U

w

U

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

45

2"

p

3"

œ>œb

œb œb œnœ>

œœb œ

œœn œ œ

œb> œb œn œb> œ œn

sul pont.

sul pont.

p

G.P. 6 secs.

70

&

&

&

&

&

&

B

B

?

?

t

Vln.1

Vln.2

Vln.3

Vln.4

Vln.5

Vln.7

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

OwbU

∑

wU

∑

wbU

Owbb

U

wnU

wbU

OwbbU

wU

wU

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

46

2"

2"

mp

œb> œn> œ>

œb> œbœ

œn œ œ

pizz.

mp

OwbU

∑

wU

∑

wbU

wbU

OwbbU

wU

2"

2"

47

œb> œb> œn> œ>

œb>œ

œœ

œ> œ œœ œb>

œ

œn

Vln.6

OwbU

∑

wU

∑&

wnU

wnU

OwnnU

wU

wU

t

ca 4"

2"

48

2"

œ> œ>

œn> œ œœ

Vln.8

mp

∑

∑&

wnU

wnU

OwnnU

wU

wU

ca 4"

2"

49

2"

œ> œ>

œ>œ

œ œ œ

mp

71

 

Fire on the Snow

An Opera in Two Acts

Based on the Radio Drama Fire on the Snow by Douglas Stewart

Libretto by Paul Weingott and Scott McIntyre

Copyright © Scott McIntyre 2010-12. All rights reserved

Instrumentation

Horn in F

2 Trumpets in C

Tenor Trombone

Bass Trombone

Percussion 1 - Suspended Cymbals (3), Tam Tam, Chimes, Vibraphone, Timpani, Tuned

Gongs (6) (see perf. notes), Bass Drum, Tom Toms (5), Tenor Drum, Sizzle Cymbal, Crotales,

Whip, Cowbells, Woodblocks (3), Xylophone,

Keyboards/Percussion 2 (1 Player) – Piano, Celeste, Harmonium

Violin 1/Percussion 3 - Whip

Violin 2/Percussion 4 - Claves

Violin 3/Percussion 5 - Tambourine

Violin 4/Percussion 6 – Temple Block

Viola 1/Percussion 7 - Ratchet

Viola 2/Percussion 8 - Triangle

Cello 1

Cello 2

Double Bass

The Players The Narrator

Robert Falcon Scott/Vocal 1 - Tenor

Lawrence Edward Grace (Titus) Oates “The Soldier”/Vocal 2- Tenor

Edward Adrian Wilson/Vocal 3 – Baritone

Henry Robertson Bowers “Birdie”/Vocal 4 – Baritone

Edgar Evans/Vocal 5 - Bass

Duration approx. 90 minutes

Fire on the Snow - Program notes

We witness five courageous men, led by one of the most distinctive figures in Antarctic exploration,

Captain Robert Falcon Scott, whose driving ambition to be the first to reach the geographical South Pole

in the cause of British science and industry, would inevitably lead them all to their terrible deaths in the

bitter and unrelenting environment of the great ice continent

The libretto’s narrative consists of a number of movements or episodes, each punctuated by the

Announcer who foreshadows and comments on the action much as a Greek chorus might do. The

narrative no longer takes the linear path it does in the play text but now acts like memory where form is

malleable, fluid and changeable. Each episode sits inside the moving poem of the whole work and

behaves in the way that memories do; triggered sensorially and viscerally by association. The opera

opens with Scott, trapped in his tent; freezing to death as his comrades have before him. Scott is writing

his final diary entry; alone with his memories. Outside the tent, a blizzard batters and rips into his last

minutes of life. It’s in these opening moments that the audience is engaged in Scott’s dream and the

action of the opera. First, to the frigid nightmare at the pole and then back in time through their

extraordinary struggle for survival and concluding with the warm irony of the initial high emotions have

anticipated success.

The Ice Barrier (2010), written for solo baritone and Orchestra has been inserted as the Prelude to the

opera for the number of thematic similarities and dramatically to help set up the mood for the opening

scene. Initially it was conceived as a separate companion piece to the opera as the prose written by

Stewart seemed so different to the shape of the emerging libretto. Placed at the beginning of the opera

offers a satisfying introduction into the mind of Scott.

Background

The narrative concerns the dash to the Pole by the tragically flawed British Antarctic Expedition 1910 -

13. On arriving at the Pole, the intrepid five, find they have been beaten there, only a matter of weeks

before, by Roald Amundsen and his Norwegian team. Desperately disappointed and exhausted with

having to man-haul their sledges, they become trapped by the unpredictable weather. The way the men

met their fate struck a chord with the English-speaking world. Despite it being the most incompetent

failure in the history of Antarctic exploration, the plight of the heroic five became a symbol of resolve, and

an inspiration for those who followed. One hundred years later this tragic event has taken on mythic

proportion and continues to resonate in the collective memory.

&

?

?

&

&

÷

?

&

..

..

¥¥¥¥¥¥¥¥¥¥¥¥

∑ ∑U wU

œb œn>œb>

œn> œ> œn> œb> œn> œ> œ> œb>> œn>

r

œb -˙b

œn œµ œb œB œn

œb œb œb œb œb œbWe've all been watch ing him.

˙ œ> ˙ ˙ ‡> œ> „ ˙ —>Please be calm, there's no thing to do but

L L L L L L L

It's on ly the Sol dier talk

¿m ¿ ¿n ¿ ¿ Œ

fine to be march ing;

œ> œ œ œ œ œ

k ∂ k ∂ k ∂

–‘ppp

–‘

Play between repeats until cued then play up until end of repeat and either continue or stop

Play between repeats until cued then stop

98

99

Ad lib cue. These cues are generally given with a downbeat. In these sections non-synchronisation is encouraged. In these sections ALL rhythmic values are approximate.

These cues are generally in strict time unless an ad lib part is specified

5"

rest with duration in seconds.

rest of indeterminatelength.

note of indeterminatelength.

Quarter-tones

Ad lib. rhythms

Vocal notes

soft note loud notelowest possiblenote

shouted note highest possiblenote

Spoken

pWhisper tone - whispered/sung at pitch.

sung speech (sprechstimme)

Phonetics (see IPA listing)

Left hand cue affects only selected players

-

-

- -

-

Performance notes

Ideally the Narrator should be a Baritone capable of singing The Ice Barrier or alternatelyit should be sung Wilson.

Brass

After the Prelude, the brass are tacet from Scenes 1through 4. They are to be positioned offstage up until Scene 5.

The Trumpet 1 entry is played from offstage, followed by the rest of the brass ensemble. The French Horn and

Trombones are to quietly take seats with the rest of the orchestra prior to cue 45. The Trumpets to follow likewise

just after cue 48. Their entries are to be as soon as they are seated as not to fall too far behind. The brass remain

seated with the orchestra for the rest of the opera despite the tacet in Scene 7.

Piano

The pianist will need to play a small percussion setup in Scene 8. This is a small tom tom setup of 3 drums.

It is not important for the playing to be precise, more so to represent the shapes in the notation. Basic percussion

skills would be needed to play this part.

The pianist also doubles on celeste and organ. The organ parts could also be played on a full organ (where one is

available) or electronic keyboard depending on the quality of the Organ sound.

Strings

The Violins and Violas need to double on a percussion toy during parts of Scene 8. Like the percussion part for the

pianist, this part has been simplified into a repeating pattern and requires basic percussive techniques.

Violin 1/Percussion 3 - Whip

Violin 2/Percussion 4 - Claves

Violin 3/Percussion 5 - Tambourine

Violin 4/Percussion 6 – Temple Block

Viola 1/Percussion 7 - Rachet

Viola 2/Percussion 8 - Triangle

&

&

&

&

B

B

44

44

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1+2

Vc.1+2

Pno.

¤€

°

1

O

O

O

ppp

con sord.sul A

ppp

con sord.sul D

ppp

con sord.sul G

q »64

O

O

O

con sord.

Perc.

Pno.

œ> œ œb œœb> ..œœb œœm> œn œœm œ

3

&

œ>Œ œ> œ>&

?

OU

œ> œ- œb -œ- œb - œ- œ œU

33

OU

Ó œb> œb - œb - œb - œ- œ- œ- œb -

35

OU

Ó Œœ> œb -

?

pp

mp

mp ppp

con sord.

mp

mp

con sord.

Ad lib.Marimba

O

w

O

w

O

œ- œ- œb - ˙3

ppp

ppp

A tempo

O

w

O

w

O

w

Hn. Ó Œ ≈ .r

œ>&

O

w

O

w

O

w

mf

œ .œm œ œ .œ>

œ

O

w

O

w

O

w

Trpt.1 Ó Œ ‰r

œ>&

w

O

w

O

w

O

w

mf

Trpt.2

Trbn.

w

Ó ≈ .r

œ> œ&

‰ .œm> ˙

Ó Œ ≈.r

œ>?

O

w

O

w

O

w

mp

mp

con sord.

mp

Prelude - The Ice Barrier

Fire on the Snowan Opera in 2 Acts

Score in C

Copyright © Music by Scott McIntyreLibretto by Paul Weingott & Scott McIntyre

Words by Douglas Stewart2010/2. All rights reserved

79

÷

&

?

?

&

&

?

?

?

&

&

&

&

B

B

?

t

45

45

Bar.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1+2

D.B.

Perc.

Pno.

°

10

w ∑U

∑.wm>

U

Œ.˙ w œ œ œ œ œ ˙ wU

U3

This jour ney is one man's dream

Œ ‰ r

œ> w wÓU

˙ ∑U

Ó w> w ÓU

Œ œ> w w ÓU

Ó >˙m> w ÓU

O∑U

wA œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ wU

6 3

O ∑U

wA œ œb œ œ œ œ œ œ œ œ œ wU5 3

O ∑U

.Oaœ œb œ œ œ œ œ œ œ œ œ œ œ

r

œ œ .œ œ wU

6 3 3

. .˙Ar

œ> .wm>ÓU

∑ .wm>ÓU

B

mp

pp

Tam tam

Ad lib.

pp mp

p

p

p

mf

mf

pp

pp

mf pp

mp

1

œ .œ

r

œ .œ œ œU œU3

And it is one

œ .œr

œ .œ œr

œU ‰U3

œr

œ œn ˙

U3

O@

.O@

r

O@

.O@

Or

O

U@ ‰U

3

wU

rr

œfl

‰ . Œ ≈rr

œfl

‰ ŒU

wU

Œ œbfl

œbfl

‰ Œrr

œfl

‰ .U

wU

‰ .rr

œbfl

Œ ‰ .rr

œ ŒU

œ@ r

œ@

œ@

r

@ œb@

r

œ. U

3

A tempo

mp

p

sul pont. slow tremolo

mp

mp

pizz. senza.sord.

mp

pizz.senza.sord.

mp

pizz.

mp

sul pont. slow tremolo pizz.

œ

r

œb œb ˙ ,3

man's bur den

w

w

w

w

t

arco

pp

œ œn ˙b œ œ

And the man is

w

w

Ó˙b

w

w

w

Ó Œ œ

pp

arcocon sord.

pp

arco

pp

con sord.

r

œ .œ ˙

Scott

w

w

w

w

w

w

w

w

pp

arco

Órr

œ.‰ . ‰

rr

œ. ≈ œ. œb> œ.&

Ó Œr

œ> ‰ Œ?

˙ Ó Œ

∑ ‰r

œb&

Ó Œ ˙?

Ó Œ ˙?

w Œ

w Œ

wŒ

w Œ

w Œ

w Œ

w Œ

w Œ

mf

secco

p

p

p

- - - - - - - - - -

80

&

?

&

&

?

?

?

&

&

B

?

t

44

43

43

45

45

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Pno.

r

œ> ‰ Œ Ó

wA

Ó ˙

w

œr

œ œr

œ œbr

œn

3

w

œ .œ r

œ .œ œ œ3

œr

œ œ ˙3

Œ .˙b

Ó Œ œ

Œ .˙b

p

p

p

p

p

p

p

‰ .rr

œm .Œ Ó

w

.œ œm .˙

w

wb

wb

r

œ .œbr

œ.œ

r

œ

œb -

r

œ ˙

r

œ ‰ Œ Œ ‰ . rr

œ-

r

œ ‰ Œ Œ ‰ .rr

œ&

r

œ ‰ Œ Ó

Perc.

pp

Bar.

wæ?

Ó Œ œ

The

?

w

Órr

œ>+ ‰ . Œ

˙˙b -

˙r

œb .œ

˙

˙

œ.˙b

Ó˙

pp

Timpani

mf

mp

.˙æ

U

‰rr

œ. ‰ . ‰ .rr

œb . ŒU3

∑U

œ œ œ œ œ œ œU U

o thers do what they're bid den

Œ ‰ .rr

œb œU

.U

‰ œ U3

&

.U

r

œœ ˙

U3

˙œU

œr

œœb œU

3

?

.U

pp

pp

Œ œm .

œ.

Œ ‰rr

œb . ≈ Œ ‰rr

œ.≈

3

‰ œm œ .œ .œb œn œ œb33

Bea ring their share of the

Ó Œr

œb - œ .œ œ-3

Ó Œr

œb - œ .œ- .œ œ-3

Œr

œb

>>

.˙ œ.œ-

Œ

r

œb

>.˙ œ .œ-

- - -

16

81

&

?

?

&

&

B

?

44

45

45

44

44

45

45

Bar.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

Pno.

Œœm .

≈ œ. ≈ ÓU

Órr

œn . ‰ . ŒU

˙nÓU

load,

.œA œb œ œ .œ- œU

.œA œb - œ œ .œ- œ œU-

wU

wU

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

D.B.

Ó ˙&

w&

œr

œ œr

œ œbr

œn3

&

Ó Œ œ?

Œ .˙b?

œ .œ r

œ .œ œ œ3

œ .œr

œ ˙3

Œ .˙b

œr

œ œbr

œ œr

œ

3

Œ .˙bt

p

p

p

p

senza.sord.

p

p

p

p

p

p

> Ó Œ

Œ œ œm œ œ œ œ3

But can not tell what it

r

œ ‰rr

œb .‰ . Ó Œ

rr

œb . ‰ . Œ Ó ‰rr

œb . ≈

œŒ ‰ rr

œ.

+≈ Ó

r

œ ‰ Œ ‰ .œ Œ

r

œ ‰ Œ Ó Œ

œ œm .˙

˙Ó Œ

wb œ

r

œ‰ Œ Ó

œ

r

œ ‰ Œ Ó Œ

mp

senza.sord.

mf

con sord.

con sord.

mf

mf

pp

pp

pp

pp

wm U

means.

‰ .rr

œ.Œ Œ

rr

œ. ‰ .U

Ó ‰rr

œb .‰ . ‰ .

rr

œb .U3

Ó Œ ‰ rr

œ.

+ ≈U

Ó œ œ.œU

Ó ˙

U

wU

wbU

U

U

senza.sord.

senza.sord.

Perc. Ó Œ ≈ .r

œæ æ?

Œ ‰ .rr

œb . ‰ .rr

œ.Œ ‰

œm .œ.

Œrr

œ. ‰ . Œ Ó

œ œ œ œ œ œ œ œb œn œ œm œ3 3 3

E vans who un der stood least, was the first to

Œ ‰ œ .˙

3

w- œ œ-

.˙ ˙

Œ ‰ .rr

œb .˙

Œ ‰ .rr

œb œ œ .œ œ

Ó Œ ≈ .r

œ œ

p

Timpani

p

pp

pp

pp

p

- - - -

21

82

?

&

?

?

&

&

&

B

?

t

44

44

43

43

Bar.

Hn.

Vln.1

Vln.3

Vla.1

Vc.1

D.B.

Perc.

Pno.

26

æ æ ˙bæ

U

∑U

Œ ‰ œ. œb .rr

œ. ‰ . ŒU

œn œ œ ŒU

die, a man

œ .˙

U

wU

˙ .œr

œ

U

-

wAU

˙r

œ.œbU

wU

mf

B.Trbn.

rr

œb . ‰ . Œrr

œ.‰ .

œb>Œ œ œ

Lost in a

rr

œb .‰ . Œ Œ?

‰.œb> œ

.œ

‰.œb> œ

.œ

‰ .œb> œ.œ

‰ .œb> œr

œ

3

Œ Œ Œr

œ3

mp

f

mf

sul G

mf

sul G

mf

mf

mf

mf

2 q »84

Trpt.1

rr

œm .‰ . ‰

rr

œb . ‰ . Œ

3

œb œ ‰ œb Œ3

night mare, lost

œ. œ. œ.® œ. œ.

® œ.&

Œ Œœb

œ ˙

.˙

.œ .œb

˙ .r

œ ≈

˙ .r

œ ≈

harmon mute

mf

ad lib.

Trpt.2

‰rr

œ.≈ ‰ . rr

œm .Œ

‰ œ œ œ œ œb œ œ œ3 3 3

In the fog of a no ther man's

œm .® œ. œ.

® œ. œ. œ.&

œm . ® œ. œ. ® œ. œ. œ

œ œ.œb œ

œrr

œ ‰ . Œ

rr

œ ‰ . Œ Œ

œ .r

œ ≈ Œ

harmon mute

mf

ad lib.

harmon mute

mf

ad lib.

Trbn.?

‰rr

œ. ≈ Œ Œ

Œrr

œ.rr

œb .‰ Œ

˙ Œ

dream.

œb .

+

œ

+

.® œ

+

. œ

+

. œn .

+

® œ

+

.&

˙ Œ

‰ .rr

œ> ˙

‰ .rr

œ> ï ï

‰ .rr

œ> ˙

ad lib.

mf

mf

mf

mf

Œrr

œ.‰ . Œ

œ. œ. œ.® œ. œ.

® œ.&

˙b>œ

.˙b>

œ Œ Œ

ï .œb> ˙

œŒ Œ

mf

ad lib.

mf

sul G

mf

mf

- - -

83

&

&

?

t

Vln.1+2

Vln.3+4

Vc.1+2

D.B.

˙ Œr

œb>

3

rr

œA‰ . Œ

r

œ> œ3

r

œA ‰ Œ Œ

.>

mf

mf

mf

Vla.1+2

Pno.

Bar.

Œrr

œ.≈ Œ Œ

3

&

Œ ‰ .rr

œ.rr

œb .≈

rr

œ. ≈?

œb œ œ œ œ œ œn œ3 3

On ly the drea mer is liv ing

?

.˙

.˙

.>B

Œ ‰ .rr

œ>

œ .r

œ ≈ Œ

mf

mf

f

‰ .rr

œ. ≈rr

œb .‰

rr

œb .‰ .

˙ Œ

.œ ˙

.œb ˙

.œb ˙

.œb ≈ œb .

"

‰ œb . œb . œb .

#

≈

pp

pp

pp

ad lib.pizz.

B.Trbn.

Œrr

œm .‰ . ‰

rr

œ. ≈

œ œ œb

And now when

œm ."® œ. œ. ® œ. œ. œ.#?

.˙

.˙

.˙

mf

ad lib.con.sord. harmon

mp

Trbn.

Œrr

œ. ‰ . Œ

œb œb œ

grief is gone

Œ œ. ‰ œb . ≈ œ. œ. œ.?

.˙

.˙

.˙

Œ ≈ œ.≈ œb . œ.

≈ œ.œb .

Œœ.

≈ œb .œ. ≈ œ.

œ. œb .

mf

mp

ad lib.pizz.

mp

ad lib.pizz.

con sord.

- - -

32

84

&

?

?

?

&

&

B

?

t

Bar.

B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Pno.

‰ .rr

œb .Œ

rr

œ. ‰ .

˙AŒ

‰ œb .≈ œ. ‰ œ. œ. œ. ‰

.˙

.˙A

.˙A

≈ œb .≈

œ. œ.œb . œ.

≈ Œ

≈ œ. œ.œb .

≈œ.

≈œ.

Œ

Perc. œ"

œ. œ. œ. œ. œ. œ#.÷

Œ œ. œ. Œœ. œ. œ.

Œ Œ œ œ

Is the

.˙

.˙

.˙

mp

p

ad lib.

p

Temple Block

Trpt.1

r

œ ‰ Œ Œ

œ œb œb

hour of

Œ œ."

œ. œ. œ. œ. œ. œ

#

.&

.˙

.˙

.˙

mp

ad lib.

Trpt.2

Hn.

œb , œb œb

peace and re

œb œb œb&

œ œb œb&

.˙

.˙

.˙

p

senza.sord.

p

senza.sord.

.˙

lease,

.˙

.˙

.˙

.˙

.˙

rit.

Trbn.

Œrr

œ. ‰ . ‰rr

œb .≈

˙ œb œ

For the

.˙

Œ œ. œb . œ. œ. œb . ≈ œ. ≈ œb . œ. œ.?

Œ Œ œ?

.˙

.˙

.˙

Œ ≈ œ.≈ œ. œ. œ.

≈ Œ?

Œ œ. œ. œ. œ.Œt

mf

p

A tempo

senza sord.

ad lib.

Œ ‰ .rr

œ. Œ

œ œ œb

dream is clear

.˙

≈ œb . œb . ≈ œb . œ. ‰ œn . Œ

œ Œ Œ

.˙

.˙

.˙

Perc. .˙

Uæ?

rr

œ. ≈rr

œ.≈

rr

œb .‰ . ŒU

œ œn U

a gain.

œ.≈ œ.

≈ œb .ŒU

.˙

U

.˙

U

.˙

U

U

mp

Timpani

- -

37

85

?

&

&

B

?

t

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Bar.

Hn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Perc.

45

Œœm . œm . œ.

®œ.

® œ. œ.‰

Œœ.

® œb . œb .®

œ. œ. œ.‰

Œ ® œ.œ. ® œb . œ.

œ. ® œ. ®

Œ œm . œ. œ.® œ. ® œ. œ.

‰

Œ ≈œ. ® œm . œ.

®œ. œ. œ.

3 A tempo

pizz.

“–mp - mf

All strings ad lib.

pizz.

“–

mp - mf

pizz.

“–mp - mf

pizz.

“–mp - mf

pizz.

“–mp - mf

Perc.

Trpt.1

Œ Œrr

œ. ‰ .?

r

œb.œb .œ œb

Calm as an

r

œb.œb

.œb œb&

mf

Timpani

mf

mp

Hn.

‰ .rr

œb .≈

rr

œ.‰ ‰

rr

œb .‰ .

3

.œ œn œ .œb œb

al ba tross

.œ œn œ .œb œb

Œ Œ .œnœ?

mp

Œrr

œ.‰ . rr

œ.‰ .

.œn .œn

œ œb œ ˙

3

- -

86

?

?

&

?

Bar.

Trpt.1

Hn.

Vln.1+2

Vln.3

Vla.1

Vc.1

D.B.

Perc.

50

œ. œ.‰ Œ Œ

rr

œ.≈

3

œbr

œn œ .œb .œ œ3

Or dives at the

œbr

œ œ .œ .œ œ

3

œ œ œb œ

Œ ‰rr

œb .≈ Œ

˙ œ

shoal of

.˙

.˙

œ œ œb œ

®œ œb œ œb

œ œ œb ®

≈ œ œ

arco

“–

“–

arco

“–

arco

“–

arco

&

?

B

t

Ó ≈rr

œ.‰

˙b Œ

ice

œr

œ œn œ.œ

3

r

œb .œ œ

® œ œ œ ‰

œ œ œ œ ®

œ œ œ œ ‰

® œ œ œ œb œ

f

–‘

–‘

–‘

–‘

Œ ≈rr

œb .‰ Œ

.œ

r

œ .œ œ

In a flash

œ .œr

œ œ .œ œ

3

œ œb œ ˙

Trpt.2

Œ ‰rr

œ.≈ Œ

.˙

.˙

‰ .rr

œ> .œ œb> œ&

œ œbr

œ œ3

œ œ“–t

mf

87

?

?

&

&

?

?

t

......

Bar.

Trpt.1

Trpt.2

Hn.

Trbn.

Vln.3+4Vln.3+4

Vla.1+2

Vc.1+2

D.B.D.B.

Perc.

55

‰rr

œb .≈ Œ Œ

œ œr

œ œ3

like a

œ œr

œ œ

3

r

œA .œ œn .œ

œb .œ ˙

‰ r

œ> ˙

œ œ œb œ

® œ œ œ œb œ

mf

mf

“–

–‘

&

œ.≈ œb .

≈ Œ ‰ .rr

œ.

˙ œb

flock of

.˙

.˙

œ .œ œb œ

œb œ œb®

® œ œ œ ‰

œ œ œb®

œ œ œ œ‰

arco

“–

–‘

–‘“–?

&Vln.1+2

Œ Œ ‰rr

œb .≈

˙œb œ

gulls, And the

.>

Œ ‰ .œb>

.˙

œb œb œ œ

® œ œb œn œb® œ œ œb œ

B

f

sfzp

sfz p

–‘

–‘

B.Trbn.

Œrr

œ.‰ . ≈

rr

œb .‰

˙b œ .œ>

heart leaps!

.˙

.˙

‰ œ ˙3

Œ>

?

œb œb œ œb

f

f

f

fp

f

a tempo

&“–

88

&

?

&

&

42

Vln.1

Vln.2

Vln.3+4

Vla.1+2

Vc.1+2

Pno.

59

r

œ>‰ Œ

.œ>

r

œ.

r

œ>‰ Œ

24

mf

mp

pizz.

mp

4 q »124

Œ ‰r

œ>

‰ œb r

œ.

Œ ‰r

œ>

‰r

œb>Œ&

pizz.

mp

Bar.

Œ ‰ r

œb>

Œ ‰r

œ>

The

?

.œb>r

œb .

Œ ‰ r

œb>

r

œb>‰ Œ

mp

‰r

œ>Œ

œb> œ> Œ

heart leaps

‰.œ>

‰r

œ>Œ

‰r

œ>Œ

Œ ‰r

œ>

and

r

œ..œ>

‰r

œ>Œ

r

œ> ‰ Œ

œ>œb> œb>

re joi ces

r

œ. ‰ Œ

r

œ>

‰ Œ

Vla.1

Vla.2

r

œ>‰ Œ

œ Œ

.œ>

r

œb .

r

œ>‰ Œ

Œ ‰r

œb>

Œ œb>B

Œr

œb>‰B

mppizz.

mp

r

œb> ‰ Œ

.œb> r

œ.

r

œb> ‰ Œ

Œ ‰ r

œ>

œb . Œ

r

œn>‰ Œ

Œr

œb> ‰

r

œ>‰ Œ

œn>r

œb .‰

r

œn> ‰ Œ

r

œ>‰ Œ

œ> œ œ. œb

For the drea mer

Œ œ>

r

œ> ‰ Œ

œ>

r

œb . ‰

r

œ> ‰ Œ

Vln.4

Œr

œ>‰

r

œœb>

‰ Œ

˙

r

œ.‰

Œr

œ>‰

.œb>r

œb .

Œ ‰ r

œb>&

.œ>r

œ.

r

œb> ‰ Œ

r

œ>‰ Œ?

mp

pizz.

arco

mp

pizz.

.œ> r

œb .

r

œb>‰ Œ

˙b>

Œ ‰ r

œb>

r

œb>‰ Œ

r

œb>‰ Œ

r

œb>‰r

œb .‰

knows that

.œb>r

œb .

r

œb>‰ Œ

r

œb .‰ Œ

Œ ‰ r

œb>

r

œb>

‰ Œ

r

œb>‰ Œ

Œ ‰r

œb>

œb> œbœb œ

he is liv ing.

.œb r

œb

r

œb>‰r

œ>‰

Œ ‰r

œb>

r

œ>‰ Œ

˙

r

œ>‰ Œ

.œ>

r

œ.

Œ ‰r

œ>

r

œb> ‰ Œ

- - - -

&

?

&

&

Vln.2

Vln.3

Pno.

74

Œ ‰r

œ>

r

œb>‰ Œ

Œ ‰r

œ>

.œb> r

œ.

Vla.2

Bar. Œœb œ>

dream er

?

Œ ‰ r

œb>

.œb>r

œb .

r

œb> ‰ ŒB

mf

Vln.1

‰ r

œ>

Œ

r

œ> ‰ Œ

live!

‰.œ>

&

Vln.4

r

œ. ‰ Œ

Œr

œ>‰

Œœ>

r

œ> ‰ Œ&

Vla.1

r

œ.‰ Œ

Œœb>

B

r

œ>‰

r

œb‰

r

œ>‰ Œ

Œ ‰r

œ

he

.œ> r

œ.

r

œ>‰ Œ

Œ ‰ r

œ>

r

œb . ‰

Œr

œb> ‰

Vc.1

D.B.

Œ ‰r

œ>

œ œ œ

knows he is

.œb> r

œ.

r

œb> ‰ Œ

.œ> r

œ.?

r

œ> ‰ r

œ>

‰t

mp

Solo

pizz.

mp

œ œ œ œ>3

liv ing his dream

.œb r

œb .

Œ ‰ r

œb>

r

œb>‰ Œ

r

œ>‰ Œ

.œ> r

œ

Œ ‰r

œ>

Œœ œ

On the

Œœ>

‰r

œ>Œ

r

œ>‰ Œ

.œ> r

œ.

Œ ‰r

œ>

r

œ> Œr

œ>

œŒ

pure

r

œ.‰

.œ>

r

œb .

Πr

œ>‰

œ>

r

œ. ‰

Œ ‰r

œb>

.œ œ œ œ

plane of ac tion

.œb> r

œ.

r

œb> ‰ Œ

Œ ‰ r

œ>

Œ œ œ

Where the

r

œ>‰ Œ

.œ>r

œ.

Œ ‰r

œ>

œ .œ œ

white, spark ling

.œ> r

œ.

Œ ‰r

œ>

pp

- - - -

ª

89

÷

&

?

?

&

?

?

?

&

B

Bar.

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.2

Vla.1

Perc.

Pno.

88

r

œœ˘

‰ Œ

r

œ> ‰ Œ

scene,

Œr

œb

+

>‰

r

œb>‰ Œ

r

œ>‰ Œ

r

œb>‰ Œ

‰ œ œb œb œ œb œb

Œ œ œ œb œm

pp

pp

mf

Temple blocks

p

p

con sord.

con sord.

p

con sord.

p

mp

Vln.1

Vln.3

r

œm>‰ Œ

œb œb œ œb œb œ‰&

Œœ œb œb œ&

pp

pp

f

œ œ œr

œ ‰3

Al most his own

Vla.2

Vc.1

Œr

œ>‰

Œr

œm> ‰

r

œb> ‰ Œ?

r

œb>‰ Œ?

œ œb œb œb ŒB

Œœb> œb œ

3

?

pp

pp

Trpt.1

Œr

œ> ‰

œm> œb> œ>‰

r

œb .‰ Œ&

r

œ.‰ Œ&

r

œb> ‰ Œ

r

œb>‰ Œ

œb œ œ œb

r

œb>‰

œ œ œbŒ

3

mp

mp

‰r

œ Œ

‰ .rr

œœmb>

r

œm>‰

r

œb .‰ Œ

r

œ.+‰ Œ?

≈œ œ œb

Œ

Œ œb œ œb3

&

œ œb œm œ œB

mp

œm œ œb œm œb œ3 3

œb œ œb œb œb œ3 3

œ ‰ œ œ

cre a tion,

con sord.

Vln.4

r

œb>‰ ≈ .

r

œm>

r

œb> ‰ Œ&

r

œ>

‰ Œ&

œb œ œn œb œ œn œb

Œ ≈ œb œ œb&

pp

sfz

sfz

con sord.

- - -

90

÷

&

?

&

&

Vln.1

Vln.4

Perc.

Pno.

97 r

œfl

‰ Œ

r

œm> ‰ Œ

œb œ œ œb œ œ‰

r

œb ‰ Œ

Temple block

Vla.1

r

œm> Œr

œm>

œm œb œ œ œb œmB

Vln.3

Œ œ œb œm

3

Œ œ œ œb

3

&

Trpt.1

Trpt.2

Œr

œ> ‰

r

œ‰ r

œn>‰

r

œb> ‰ Œ&

r

œ>

‰ Œ&

œ œb œ œ

r

œ>‰

r

œ‰ Œ

sfz

sfz

Hn.

Trbn.

B.Trbn.

‰r

œ>Œ?

‰r

œ>Œ?

‰r

œ>Œ?

≈œb œb œ

Œ

sfz

sfz

sfz

Bar.

>

Is

?

Vln.2

œb œ œ œb œ œ ‰&

p

œ œm œŒ

3

&

p

œ. œ. œ. œ.Œ&

œ œb œb œb œb œn ‰&

91

?Bar.

B.Trbn.

œb œ œ

stamped with his

Hn.

˙

r

œn>

+‰ Œ&

sfz

Perc. œ. œ. œ. œ.

r

œ> ‰÷

˙

Temple blocks

œŒ

œb œ œ

own de sign

mf

Trpt.1

Trbn.

B.Trbn.

r

œœ˘

‰ Œ

˙

Œ œb .

+

œ

+

. œ

+

. œ

+

.&

œb .

+

œ

+

. œ

+

. œ

+

.

r

œ

+

>‰

r

œb>‰ Œ?

r

œ>‰ Œ?

mf

p

p

p

p

˙

Œ ‰ œb . œ.

Œ ‰ œb . œ.

˙

œb . œ. œ. œ.Œ

œb . œ. œ. œ.Œ

Trpt.2

˙

œ. œ. œ. œ. Œ&

œb .

+

œ

+

. œ

+

. œ

+

.r

œb .

+ ‰

œ. œ. œ. œ.Œ

p

p

œ. œ. œ. œ. Œ

r

œb .

+‰ œb .

+

œ

+

. œ

+

. œ

+

.

r

œb> ‰œ. œ. œ. œ.

r

œb>‰ Œ

mp

Vln.1

Vln.2

Vln.3

Vln.4

Vla.2

Vla.1

Vc.1+2

‰ œ>œ œ œ œ

3

‰ œ. œ. œ. œ. œ. œ.

‰ œb . œ. œ. œ. œ. œ.

œb

+

> œ.

+

œ.

+

œ.

+

œ.

+

œ.

+

œ.

+

œb . œ. œ. œ. œ. œ. œ. œ.

‰ r

œ.

!œ.

!œ.

!&

‰r

œ.!

œ.!

œ.!&

œ.!

œ.!

œ.!

œ.!&

œb!

œ.!

œ.!

œ.!

&

‰r

œb .!

œ.!

œ.!B

‰r

œb .!

œ.!

œ.!B

‰ r

œb .!

œ.!

œ.!?

mf

pp

pp

pp

arco

arco

arco

mp

-

107

92

÷

?

&

&

&

&

B

B

?

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1+2

Perc.

118

œ œ œ œ

œb . œ. œ. œ.Œ

œ.

!œ.

!œ.

!œ.

!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

Temple blocks

mp

Trpt.1

Trpt.2

œ œœ

3

Œ œb . œ. œ. œ.&

Œ œ. œ. œ. œ.&

œ.

!œ.

!œ.

!œ.

!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

p

p

Hn.

Trbn.

r

œb> ‰ Œ

r

œ>

‰ Œ

œb .

+

œ.

+

œ.

+

œ.

+

œ.

+

œ.

+‰&

‰ œ. œ. œ. œ. ‰?

œ.

!œ.

!œ.

!œ.

!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

mp

sfz

sfz

mp

œ> œ œ œ œ œ œ œ

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

mf

œ œ œ œ œ œ œ7

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œ œ œ

Œ œb . œ. œ. œ.

Œ œb . œ. œ. œ.

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

p

p

r

œb> ‰ Œ

r

œb> ‰ Œ

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

sfz

sfz

‰r

œ>

Œ?

‰ œ. œ. œ. œ. œ. œ.?

œb .!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

sfz

p

œb .!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

93

&

?

&

&

&

&

&

B

B

?

43

43

Hn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Pno.

√

œœ. œœ

. œœ. œœ

. œœ. œœ

. œœ. œœ

.

Œ œ.

+

œ

+

. œ

+

. œ

+

.

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

p

Trpt.1

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.!

œb .!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

p

Trpt.2

œœ> œœ

. œœ. œœ

. œœbb> œ

œ.

œ. œ.

œ. œ. œ. œ. œ. œ.‰

œ. œ œ. œ. œ. œ. œ. œ.&

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

p

œœbb> œ

œ. œ

œ. œ

œ.

œ> œ. œ. œ.

r

œm>+

œ

+

. œ

+

. œ

+

. œ

+

. œ

+

. œ

+

. œ

+

. œ

+

.

œ.!

œ.!

œ.!

œ.!

œb .!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œb .!

œ.! r

œ.! ‰

mp

œœbb> 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.!

œ.!

p

œb> œ. œ. œ. œ> œ. œ. œ.

˙m>

≥

˙m>

≥

˙m>

≥

>

≥

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

œ.!

mf

mf

mf

mf

Timpani

Perc.

B.Trbn.

Œ œ œ?

œœbb> œ

œ. œ

œ. œ

œ. œ

œ. œ

œ. œ

œ. œ

œ.

Œœ. œ.

Œœ. œ.

?

>≤

˙>

≤

>

≤

˙m>

≤

>≥

˙m>

≥mf

mf

mf

mf

mf

Trbn.

‰r

œ ‰ Œ Œ3

œb>œb . œ. œ. œ.

œœ

œœ œœ œœ

‰ r

œr

œn .‰ Œ Œ

3

‰ r

œ

r

œb .‰ Œ Œ

3

?

‰ r

œr

œn .‰ Œ Œ

3

.˙

.˙

.˙

.˙

.˙b>≤

.˙>

≤

mf

128

94

?

&

?

&

&

&

?

?

&

&

&

&

B

B

?

t

44

44

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1+2

D.B.

Perc.

Pno.

136

œ>æ œb .

≈ œb . œ.≈ œm>

æ œ.œ. ≈

‰

œn

œnr

œn>Œ ‰ .

œ

œrr

œ>Œ

r

œb - r

œ ˙ œ

Ó ‰ .rr

œ> œ

Ó Œœ>

‰r

œ Œ ‰ œ> œ ‰

Ó ‰ .œb

œb˘≈

r

œœ>

Œ ‰ .r

œrr

œ>Œ

œ≈

r

œœ>

Œ ‰ .r

œrr

œ>Œ

œb˘ ≈ œ>Œ ‰ .

rr

œ>Œ

œm˘≈ œ> Œ ‰ .

rr

œ> Œ

rr

œb˘≈

.œ>@

˙@

rr

œ ≈.œ>

@˙

@

œ.≈ œ. ≈

œ.œb .

≈ œ.≈

rr

œm .‰ œ. ≈ œb . œ.

≈ œb . ≈ œ. œb .œ. œb .

≈ ‰rr

œ.≈ ≈ œ. ≈ . œb .

pizz.

f

f

f

f

f

f

f

mf

mf

slow tremolo

slow tremolo

pizz.

pizz.

pizz.

f

f sfzp fmf

f

f

senza.sord.

mf

f

f

mf

5 q »64Œ œ>

æ

rr

œ. ‰ . ‰rr

œ. ≈

œ

œr

œ>Œ

œ

œr

œ>‰

œ

œr

œ>‰ ≈

œ

œr

œ>≈

3

˙r

œ .œ

.œr

œ> œ œ .œ>

.œb œn> œrr

œ> .œr

œ>

5

‰ œ> œ ‰ . œ> œ .œ> œ ‰r

œ>5

˙ ˙b

r

œr

œ>Œ

r

œr

œ>‰

r

œr

œ>‰ ≈

r

œr

œ>≈

3

r

œr

œ>Œ

r

œr

œ>‰

r

œr

œ>‰ ≈

r

œr

œ>≈

3

r

œ>Œ

r

œ>‰

r

œ>‰ ≈

r

œ>≈

3

r

œ> Œr

œ> ‰r

œ> ‰ ≈r

œ> ≈3

>

r

œ@

œ>@

œ@

3

>@ r

œ@

œ>@

œ@

3

‰rr

œ. ≈ ≈ œm .≈ œ. ≈ .œ. œ. ‰

rr

œ ≈

5

‰ .rr

œ. œ. ‰ . œ. .r

œm . ‰ .rr

œ.≈

5

fpsfz

‰ . œb .œ. Œ Ó

œœ

œ>

œ

œœ> Œ Œ

œ

œœ

.r

œ>

w

œ œ>Œ Ó

˙ >

œ œ œ Œrr

œ> ‰ . Œ

˙˙

r

œœ>

r

œœ> Œ Œ ≈

r

œ.r

œ>

r

œœ>

r

œœ> Œ Œ ≈

r

œ.r

œ>

œ> œ> Œ Œ ≈.r

œ>

œ> œ> Œ Œ ≈ .

r

œ>

.>@

œ@

.œ>

.>@

œ@

.œ>

≈ œ. ≈ œ. Œrr

œ. ‰ . Œ

‰rr

œ. ≈ Œrr

œ. ‰ . Œ

arco

arco

wb>æ

ww

w

w?

w

œ

œ

œ

œ

œ

œ

wb>æ

wb>æ

arco

arco

˙æ œ>

≈ œ>≈ œ>

≈ œ>≈

ww>

ww>

wb>

w>

w>

w>

w>

w

wb

w

w

w

w

˙æ œ>

≈ œ>≈ œ>

≈ œ>≈

˙æ

œ> ≈ œ> ≈ œ> ≈ œ> ≈

f

pizz.

f

pizz.

f

f

f

f

f

f

f

Ó ≈. .œb

Ó˙

˙brr

œ. ‰ . Œ

Œ ˙rr

œ.‰ .

Œ ˙rr

œ. ‰ .

Œ ‰r

œ .œrr

œ.≈

Œ ‰ . rr

œb œ .œ œ.

Ó ≈.r

œbæ

Ͼ

Ó ‰.œ

æ

Œ .˙mæ

ΠŠ.r

Ͼ

˙æ

Š.Ͼ

rr

Ͼ rr

œ.‰ . Œ

‰ . rr

Ͼ

Ͼ

Ó ‰ .œæ

wæ

pp

pp

pparco

sul pont.

sul pont.

sul pont.

pp

arcosul pont.

mf

sfzpp

con sord.

pp sfz

con sord.

pp sfz

pp sfz

(con.sord.)

pp sfz

con sord.

(con.sord.)

pp

sul pont.

pp sfz

sul pont.

pp

pp

sul pont.

sul pont. pppppp

95

&

?

&

?

?

?

&

&

&

&

B

B

?

?

t

Trpt.1

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Pno.

°

Ó Œ ‰œb>

œ>

Ó ≈.r

œ>Œ

˙brr

œ.‰ . Œ

Œ ˙rr

œ. ‰ .

Œ ‰r

œ .œrr

œ.≈

Œ ‰ . rr

œb œ .œ œ.

œA

æ.œ

æœ.

Œ ‰r

Ͼ

˙æ rr

œ.‰ . ‰ .

rr

Ͼ

Œ.˙b

æ

≈ .r

œbæ

˙æ

Œ.˙m

æ

.Ͼ

œ.Œ Ó

Ͼ

œ.≈ ≈ .

r

Ͼ

Ͼ

Ͼ

œ.‰

Ͼ

œ.≈ ≈ .

r

Ͼ

Ͼ

Ͼ

œ.‰

rr

œ.‰ . ≈ .

r

œbæ

˙æ

sfz

sfz

ppsul pont.

pp

sfzppsfz

sfz pp

sfz

sfzppsfz

pp

pp

pp

pp sfz

pp sfz

pp sfz

con sord.

pp sfz

f

pizz.

Bar.

wwb>

≈

.

r

œ>

Œ Ó

Ó Œ ‰ r

¿b>

Of

?

Ó >

wæ

wæ˙æ rr

œ.≈ ‰ Œ

˙æ

Ͼ

œ. ‰ Œ

rr

œ.‰ .

.˙mæ

˙æ

œ.‰ œ

æœæ

Ͼ

Ͼ

œ. ‰ ˙bæ

fHalf spoken

sfz

sfz

sfzpp pp

sfz pp

sfz pp

sfzpp

Perc.

Trpt.2

Ó Œ ≈ œb . œ.≈rr

œ.3

≈œ> œ> Œ Œ œ> .œ>

Ó ‰ .rr

œb> ‰ œb> œ>

¿> ¿b> ¿> ¿> ¿>

march ing and halt ing,

Ó Œ œ

Ó Œ ≈ .r

œ&

rr

œ. ‰ . Œ Œ ≈.r

œ

Ó ‰ .rr

œb œ

Ó Œ ‰r

œb

Ͼ

œ.‰ Œ Ó

.Ͼ

œ. Œ Œ œæ

.˙bŒ

.˙bŒ

œ. .œ ˙Œ

Ó Œ ≈ .r

œ

Ó ‰ .rr

œb œ

Ͼ

œ.≈ Œ Œ ≈

œ. œ.≈ rr

œb .

3

rr

œ. ‰ . Œ Ó

wooden sticks

mf

Timpani

mp

mp

ord.

ord.

col legno

mpsfz

sfz

sfz pp

ord.

pp

sfz

sfzpp

pp

pp

pp

p

pp

pp

.œ> œ> œ>Ó

œb> œb . œœ

Œœ>

œœb> œ>

¿b> ¿b>Ó

march ing,

.œ œ.Œ Œ ‰ r

œ>

œrr

œ.‰ . Ó

œrr

œ.‰ . Ó

œ œ. ≈ Œ Ó

œ œ œ.‰ Œ ‰ . rr

œ

.Ͼ

œ.Œ Ó

œrr

œ.‰ . Ó

œ œ. ≈ Œ Œ œ œb œ‰

3

ΠŠ.r

œ œ œ œ.≈ œ>

Œ ˙ œ.œb œ ≈

rr

œ>3

arcoord.

p sfz

pizz.

mf

p sfz

pizz.

mf

ord.

psfz

sfz

sfz

sfz

sfz

sfz

sfz

(con.sord.)

p

sfz

pp

œ> œ œ œb> œ> œ

Ó Œ¿n> ¿>

And the

œ œ.≈ Œ Ó

˙rr

œ.≈

.œb

œ .œ œ.‰ . rr

œ œ

˙rr

œ.≈

.œbrr

œ>‰ . Œ ‰

œb> œb>Œ

rr

œ> ‰ . Œ ‰ œ> œ>Œ

ppsfzpp

sfz

sfz pp

ppsfzpp

- - -

142

96

&

&

?

?

&

&

?

?

?

&

&

&

&

B

B

?

?

t

Bar.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

√

147

‰ ‰rr

œ>Œ Ó

3

‰ ‰rr

œŒ Ó

3

¿ ¿ ¿br

¿ .¿

sled ge's long snow y

Ó˙b

Ó˙b

Ó ˙

œA œ.‰ Œ ˙

œrr

œ.‰ .

˙b

‰ ‰rr

œ>Œ Ó

3

‰ ‰rr

œ>Œ Ó

3

‰ ‰rr

œ>Œ Ó

3

‰ ‰rr

œ>Œ Ó

3

Ó Œ ‰r

Ͼ

Ó Œ ‰r

Ͼ

˙A

rr

œ.‰ . Œ

˙brr

œ.‰ . Œ

ΠŠ.r

œ>

˙

Marimba

f

col legno

col legno

pp

pp

sul pont.

sul pont.

p

sfzpp

arco

arco

sfzpp

arco

pp

pp

pp

pp

sfz

sfz

pp

col legno

col legno

Ó Œ ‰r

œœ>

Œœ

.œ Ó

rr

œ. ‰ . Œ Œ ‰ œ3

¿nÓ

sigh

rr

œ.‰ . Œ Œ ‰

r

œ>

rr

œ.≈

.œn>

rr

œ.‰ . Œ

rr

œ. ‰ . Œ Œ ‰œ

3

rr

œ.‰ . Œ Œ ‰ œb

3

rr

œ.‰ . Œ Œ ‰ . rr

œ

Œ.˙

æ

Œ.˙

æ

Ó Œ ‰r

Ͼ

Ó Œ ‰r

Ͼ

.˙æ

.Ͼ

œ.

.˙æ

.Ͼ

œ.

Œ ‰ .œâ . 

rr

œm .‰ .

Œ ‰ .œâ . 

rr

œm .‰ .

rr

œ. ‰ . Œ Œ ‰œ3

arco

pp

arco

p

pp

p

sul pont.

sul pont.

sul pont.

sul pont.

sfz

sfz

p sfz

sfz

p sfz

sfz pp

sfz

pp

sfz

sfz

sfz

pp

pp

ppsfz

pp

pp sfz

arco

.œœ

Œ Ó

Œ ≈œ

œ œ Ó

Ó Œ ‰ œ3

In

‰ .rr

œ ˙ .œ œ.

˙ .œ œb œ

˙ .œ œb œ

˙ .œ œb œ

.˙æ

Ͼ

œ.≈

.˙æ

Ͼ

œ.≈

.˙æ

.Ͼ

œ.

.˙æ

.Ͼ

œ.

Œ ≈ . œ.≈ œ. Ó

Œ ≈ . œ.≈ œ. Ó

Œ ≈œ.

œ. ‰ Ó

Œ ≈œ.

œ. ‰ Ó

Œ ≈rr

œ. ‰ Ó

mf

sfz

sfz

sfz

sfzpizz.

mppizz.

mp

pizz.

mp

pizz.

mp

pizz.

mp

con sord.

pp sfz

Ó Œr

œb>

‰

Ó ≈. .. .œœ

‰ . rr

œ‰ . rr

œ‰ . rr

œ‰ . rr

œ

˙ .œ œb œ

the

.˙ œb>

w

w

w

Ó Œrr

œb ´‰ .

Ó Œrr

œb ´‰ .

‰ .rr

œ.‰ .

rr

œ. ‰ .rr

œ. ‰ .rr

œ.

mp

col legno

sfz

pp

q »76

col legno

sfz

‰r

œb>Œ ‰ .

r

œ> ‰ .

≈rr

œ ‰ Œœ

œb ‰ .œ

œ ‰

.˙b œ œ

stream of their

‰ .rr

œ ˙‰ .

rr

œ.

˙rr

œ.‰ . Œ

Œ ≈

.

r

œâ ˙

‰ ..Oœbb ˙

‰ ..Oœbb ˙

ΠŠ.r

O O

ΠŠ.r

O O

≈rr

œ- œ œ .œr

œ3

≈rr

œ- œ œ .œr

œb

3

≈rr

œ. ‰ ≈ .r

œbâ

≥

.œr

œb

p

arcoord.

p

sul Gord.

p

arco

p

arco

p

arco

sfz

pp sfz

p

p

arcoord.

p

sul Gord.

Œ ‰ .rr

œ. ‰ .rr

œ. Œ

Œ ‰ .rr

œ‰ .

rr

œŒ

œ œ ¿b>¿b>

Œ

move ment, lur ching!

‰ .rr

œ.Œ Ó

‰.œ œ .œb œ

Œ ‰ œb>‰ Œ

‰.œ œ .œ œ

O Ó

O Ó

.O Œ

.O Œ

Ó Œ ‰ . r

œrr

œb

Ó Œ ‰ . r

œ

rr

œ

.˙ .œ

r

œ œ

.˙ .œ

r

œb œb

.˙ .œ œ

f

ord.arco

pord.arco

p

pp

pp

p

- - - -

97

&

?

&

&

?

&

B

?

43

43

45

45

Trpt.1

Trpt.2

Hn.

Vln.1+2

Vla.1+2

Vc.1+2

Perc.

Pno.

153

Œ ‰ œ>> ‰r

œ>

3

œ> ‰ .rr

œ> Œ

Œ ‰ œ> œ3

> œ œ>

Œ ‰ .rr

œ> œ

Œ ≈.r

œ œ

Ó ‰r

œb

‰r

œ ˙

f

mf

mf

mf

senza.sord.

sfzpsenza.sord.

sfzp sfzp

sfzp

Vln.3+4

Perc.

Trbn.

Œr

œ>‰ ‰ .

rr

œ>?

Œ œ> r

œ‰ .

rr

œ>3

œ œr

œ> œ

3

.˙

.˙

Œ œ> .œ œ>

?

.˙

Œ Œ ‰ œb3&

.˙

˙Œ

mf

mf

sfzp

senza.sord.

sfzp sfzp

Timpani

Bar.

Œ Œr

œ>‰

Œ Œr

œ>‰

Œ Œ¿b ¿

Like a

?

.˙

œ Œ Œ

˙ œ>

.˙

œ ‰ œ œ3

Œ Œ ‰ .rr

œ

f

sfzp

D.B.

B.Trbn.

‰r

œ>Œ Œ

‰r

œ>Œ Œ

¿b ¿ ¿ ¿ ¿3

boul der down to the

‰r

œ> ˙?

Œ ‰.œ

œ Œ Œ

.˙

.˙

‰r

œ> ˙t

sfzp

sfzp

‰ .rr

œ> Œ Œ

.¿b

sea,

‰ .rr

œ> ˙

.˙

.˙

Œ ‰ .rr

œb œ

Œ ‰ œb œ3

œŒ Œ

.˙

sfzp

˙ Œ

&

œŒ œb

.˙

.œ œb ˙

‰r

œ ˙

Ó Œ ‰ .rr

œ> Œ

ΠŠ.r

œ> Ó Œ

Ó Œ.œb>

œ> Œ

Œ œ œ œ œ œ œ3

Just as he planned in his

Œ ≈.r

œ> .˙

ΠŠ.r

œ> .˙

Ó Œ ˙b>

Ó Œ ‰ .rr

œ> œ

Ó Œ ‰ .rr

œ> œ

.˙ ˙

mp

sfzp

sfzp

sfzpsenza.sord.

sfzp

senza.sord.

sfzp

Ó œ> œ>Œ

r

œ>‰ Œ Ó ‰

r

œ>

Ó œ> œ>Œ

˙ Ó Œ

dream.

w>Œ

∑ ‰r

œ>

˙ Ó Œ

˙ œ> >

˙> œ>

˙Ó Œ

∑ ‰ .rr

œ>

∑ œ>sfzp

mf

sfzp

sfzp

sfzpsfzp

sfzp

-

98

?

?

&

&

&

B

?

44

44

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Bar.

Trpt.2

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

Perc.

Pno.

°

√

161

œfl

.œfl

Œ Ó

w

wU

wU

wU

wmU

mp

Repeat phrase until end of marked line.

6"

ppp

arcocon sord.

Synchronised co-ordination between string parts is to be avoided. Duration of each semi-breve note for each player should equate to a full bow at ppp. At conductor's cue finish a full bow of the note arrived at. The desired effect is a gradual drifting out of time leading to an independent dropping out of notes.

arco

ppp

con sord.

ppp

arco con sord.

arco

ppp

con sord.

Timpani

6 q »48

ppp

con sord.

Duration of note is to last onefull breath at ppp. Please imperceptibly reiterate note until end of marked line.

–‘

rr

œ.

w

U

wm

U

wU

wU

Pno.

≈ œ.≈ œ. Œ

‰ œ> œm œ œ> œ œrr

œ>‰ . Ó

3 3

&

‰ ...œœœm>Ó&

˙ œ œm

The dream er

wm

U

w

U

wmU

wU

–‘

mf

p

–‘

–‘

–‘

–‘

.œr

œ œ œm

knows he's mas ter,

˙m œ œ

As ev' ry

.œmr

œ œ œ

drea mer has been- - - -

99

&

&

?Bar.

Trpt.2

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

Perc.

Pno.

°

167

Ó Œ ≈ œ> œm œ œ> œ œ

Ó Œ œœœm>

œ œ œm œ

Who ruled men's minds

r

œ>‰ Œ Ó

œ œ œm œ

or bo dies

œ> œm œ œ> œ œ œ≈ Œ Ó

3 3

œœœm>Œ Ó

œ> œm œ œ> œ œ œ≈ Œ Ó

3 3

œœœm>Œ Ó ?

D.B.

Trpt.1

œ> .œ .˙

œ .œ .˙

Who

Ó ˙&

œ> .œ .˙t

mp

mp

arco

mp

mp

Trbn.

Ó˙

w

w

had

.˙ œ

Ó Œ œ?

w

ppp

mf

Hn.

œ œ> œ œ >

≈ œ œ œ ˙

no will of

˙ œ .œ œ

˙br

œ ‰ Œ&

œ ˙b œb

œ œ> œ œ >

mp

mp

mp mf

mp

-

100

&

?

?

&

&

?

t

Bar.

Trpt.1

Trpt.2

Hn.

Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Perc.

Pno.

°

174

&

˙ ˙

their own

˙ ˙

‰ .œbr

œ ‰ Œ

œ .œb œ .œr

œ

.˙ œ .œ>

mp

p

mp

œ>

œm œ ® œ> œm œ œ œm>

Œ Ó5 3

...œœœm>œœ>

Œ Ó ?

˙ Ó

.œ œ œ œ œr

œ3

.œbr

œbr

œ œr

œ

w

mf mp

Œ ‰r

œb ˙

Œ ‰r

œb ˙

Noth

w

œ œb œb œ œ œ œ

.œ r

œb ˙

mf

r

œ .œb ˙

r

œ .œb œ œ œ œ

ing the fu ture

w

Œ ‰ .rr

œb ˙

r

œ œb œ .œ œb>œ œb œb

3 3

r

œ .œb ˙

mp

mp

B.Trbn.

ossia ..œœbb( )r

œn .œ

r

œ

bodes or the

œ .œ œ œ œ œ.œ

wb

œ œn>œb œb œb œ œb œ œb œn>

œr

œb œr

œ œ œ3 3

3

Œ ‰r

œ> ˙?

.œ>

r

œbr

œ œb œr

œb œ œ>

3 3

B

‰ œ> œb œn œb œb œ œ œb œn> œr

œb œr

œ œ œ3 3

3

?

.œ

r

œ> ˙

mf mp mf

mf f mf

mp

mp

mf f

senza.sord.

mf f

senza.sord.

Ó œ>≈ œ>

≈ œ>‰ .?

ww>

ww>

˙b(

œœb œœb

past has done

w

Œœ.

® œb . œb .®

œ. œ. œ.Ó&

Œ ®œ. œ.

® œb . œ. œ.®rrr

œ.‰ . . Œ

Œœb . œb . œb .

® œ. ® œ. œ.Ó

Œ ≈ œ. ® œm . œ. ® œ. œ. œ. ‰ . Œ

w

&

w&

w

w

Ó œ ≈ œ ≈ œ ≈ ‰

ff

ff

ff

ff

f

f

mf

senza.sord.

mf

senza.sord.

mf

f

pizz.

mf

7 q »76

mf

Timpani

- - - -

101

&

?

?

&

&

&

?

&

&

B

?

V

Bar.

Trpt.1

Trpt.2

Hn.

Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Pno.

Ó Œ ‰r

œœ>

œœb œœn..œœ )

r

œ

can hurt The

w

Œ ®œ. œ.

® œb . œ. œ.®rrr

œ.® ≈ ‰ Œ

Œœ.

® œb . œb .®

œ. œ. œ.Ó

Ó ‰ œ> œ3

w

˙ .œ

r

œ

w

w

Œ œm . œ. œ. ® œ.® œ. œ. Ó

mf

con sord.

ff

ff

ff

ff

con sord.

con sord.

B.Trbn.

Perc. Ó œ>≈ œ>

≈ œ>≈ ‰?

Ó˙˙>

..œœ>

r

œ>

rr

œ>‰ . œm>

˙Œ œ œ

hour when the

˙˙

.˙ œb>

Ó Œ œb>?

w

˙ œ .œ> œ

w

Œ ‰r

œ ˙mf

mf

Timpani

œœ>

Œ Œ ‰ œm>

3

œ>

r

œ>

Œ ‰r

œ>Œ

3

œr

œ œ> r

œb3 3

drea mer

œr

œœ œ

r

œ œm3 3

Œ ‰œm . œ. œ.

®œ.

®œ. œ.

‰ Œ

Œ ≈œ.

® œm . œ.®

œ. œ. œ.≈ ‰ Œ

w

w

œr

œœ>

r

œb3

3

œr

œœ>

r

œb3 3

œr

œ œ> r

œb33

˙mr

œ œ

r

œ

Œ ‰ œm . œm . œ. ® œ. ® œ. œ. ‰ Œ

ossia

œm>‰

œœ> œ

œ>

Ó

œœm

>

œœ

œœ>

.œ

œœœb>( ..œœ

‰r

œœbb > œœb>

walks A live

.œ œ œ .œ œn œ

œ œ> ˙b>

œ œb ˙b

.œr

œ> ˙

œ

œ .œ

˙b

.œœ> œ> .œ

œ> œ

.œr

œ œm œ œ œ

ff

œœ>

≈ .r

œm>Œ

.œœm>

œmœ Œ

r

œm> .œ>

Œœœnn > œœbb > œœb> œœb> œœb>

in the dream of his

œ œ .œb œ .œ œb>

Œœm . œm . œ. ® œ.

® œ. œ.Ó

Œ ≈œ.

® œm . œ.®

œ. œ. œ.‰ . Œ

˙r

œ .œb>

˙r

œ .œb>

œ œ.œb> œ .œ

œb>

œ œ .œb> œ .œ œb

w

r

œ .œ .œr

œb

Œ œm . œ. œ. ® œ.® œ. œ. Ó

- -

180

102

?

&

?

?

&

?

&

&

B

Bar.

Trpt.1

Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Perc.

Pno.

185

Œ ‰r

œb>‰ œ> œ> œ>

˙m>Ó

œœm> ‰ œm>

œ> œ> œ>

wwbb >

heart.

r

œA œn ˙ œ œ3

wb

.˙A œn> œ>

.˙A

œ> œ>

r

œœ> .˙3

mf

Timpani

Trpt.2

Hn.

B.Trbn.

D.B.

Vc.1+2

œŒ Ó

Œ ‰r

œœ>>

Ó

.œmr

œœm>>

Ӝ

.œr

œ ˙

.œ .œ> œ>&

Œœm . œ. œ.

®œ.

®œ. œ.

Ó&

r

œ œ .˙3

‰ .rr

œ œ œb œb œ œb?

.œ .œ> œ>

.œ .œ> œ>

.œ .œ> œ>

r

œ>‰ Œ Ó?

r

œ>‰ Œ Ót

ff

f

f

senza.sord.

mf

‰ œb> ‰ œ> œ>>

≈ œ> œ>>

œ> œ>

33

w

.œ œb> œ œ .œ .œ œ>

r

œ> œb> œ œb> œ> œ œ> œ> œ> œ>3 3

w

.˙≈ .r

œ>

w

w

Œ ‰r

œb> œ

r

œb> œ3

Ó Œ œb>

f

f

arco

f

arco

f

f

senza.sord.

f

‰ œb> ‰ œ> œ>>

≈ œ> œ>>

œ> œ>

33

Œ ‰ .rr

œb>œ>

œb> œ œ>œœm>>

œb .œb ≈œb

œb>œ

œ> œb œœ>

r

œ3

Œ ‰ .rr

œm>

œ>œm> œ œ>

œ>

œ>.œ œm> œ œm> œ .œ>

Œ ‰ .rr

œb> œ œb> œ .œ>

r

œ œb> œ œb> œ>> œ œ> œ>> œ> œ>3 3

.˙ .œ œ>

Ó >

Ó Œ œ>

r

œ œb> .˙3

œ œb> œr

œ œb> ˙3 3

f

f

f

f

f

senza.sord.

f

œb> œ> œ>œ> Œ Ó

œœb>> œbœb> œn œ œb> œ> œb> œ

œ>> œn œ

œ

3

œb ..œœbbœœb œ œ œb

r

œ.œ

œm> œm>œ> œ

r

œ œm> œ

3

3

œr

œ œm> ˙3

r

œb> œb> œr

œ œ> œ

3 3

œb> œb> œ> œ> .˙

Œ œb> œb> œ> œ> ˙

w

˙r

œ .œ>

w

˙ œ .œ> œ

.˙ .œ œ>

f

103

?

&

?

&

&

&

?

?

&

&

B

?

t

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Perc.

Pno.

√

190

œ>œ> Œ ‰ œb>

æ˙æ

3

3

˙A œœ> œb> œ œb>

œb œb> œr

œ œb> .œ

33

&

œa .œ œm> œ> œm> œ œ> œ>

.œa œm>œm>

œ> œ>œ œ œm> œm> œ>

˙A œ .œ> œ .œ>

œA .œb> œ œ> œ> œ œb> œ> œ> œ>

3

œA œ .œb> œ œ> œ> œ œ> œ>

3

œb> > > > > > > > > > > > > > > >

œb > > > > > > > > > > > >3

œ > > > > > > > > > > > > >3 3

w

w

>

æÓ ‰ œb> ‰ œ

> œ>>≈ œ

> œ>>œ> œ>

‰ œ> ‰ œ> œ>>

≈ œ> œ>>

œ> œ>

33

33

wwbb>> œ

œœ>>

.œ>> ˙w>>

œœnn>

œ .œ>œ

.œ> œ œ .œ œ œ .œ> œ œ .œ œ œ .œ> œ

>U

∑ œm˘ œ œm˘ œm˘ œ œb˘

œn˘≈ œm

flœfl

œbfl

≈ ‰ œ˘ œ

˙bU>∑ œ œm˘ œ œm˘ œ œn˘ œ ≈ œ œm˘

rr

œn˘ ‰ . œ œm˘ œn˘ œm˘ œ œ œ œ

˙b>

rr

œ.‰ . Œ

˙brr

œ.‰ . Œ

˙rr

œ.‰ . Œ

Œ ‰>

rr

œ.≈ Œ ‰ ˙

rr

œ.≈ Œ ‰ ˙b

rr

œ.≈

Œ ‰ .˙b>

rr

œ.Œ ‰ .

˙rr

œ.Œ ‰ .

˙rr

œ.

rr

œ>

rr

œ

rr

œ>

rr

œb>‰ .

wU

> œ .œ œ ˙ œ .œ œ.‰

˙b

rr

œ>‰ . Œ Œ

>

rr

œ.‰ . Œ ˙

rr

œ.‰ . Œ ˙

ff

ff

ff

ff

ff

ff

6"

5"

sfz

ff semprecon sord.

ffpp sfz

ff pp sfz

ff pp sfz

ff pp sfz

simile

ff pp

simile

simile

simile

ff

8 q »approx. 98Ad lib.

ff

104

?

&

&

&

&

&

?

?

?

t

Trpt.1Trpt.1

Trpt.2Trpt.2

Hn.Hn.

Trbn.Trbn.

B.Trbn.B.Trbn.

Vc.1

D.B.

Perc.

Pno.

œ> œ> œ>œ> Ó Œ œ>

œ> Œ ‰ œb>æ

˙æ ∑U

33

œ .œ> œ> ∑U

œ œm˘ œ œ œ œ≈

œ. œ. œ. œ.≈ œ. œ. œ. œ. œ. œ. œ> œ> œ> œ> œ> >

∑U

≈ œm . œ. œ. œ. ≈ œ. œ. ‰ œ> œ> œ> œ> œ> œ> œn> œ> œ> œ> œ> .œ> > ∑U3

˙brr

œ.‰ . Œ

˙rr

œ.‰ . Œ

˙rr

œ.‰ . ∑U

Œ ‰ ˙brr

œ.≈ Œ ‰ ˙b

rr

œ.≈ Œ ‰ ˙b

rr

œ.∑U

Œ ‰ .˙

rr

œ.Œ ‰ .

˙rr

œ.Œ ‰ .

˙rr

œ.∑U

OwU

OwbbU

OwU

OwU

OwU

OwU

rr

œ.b≈ Œ ∑U

wbU

rr

œ.b‰ . Œ ˙b

r

œœ>

œ> ˙rr

œ.‰ . Œ ŒU

wbU3

ff

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

&

&

&

&

B

B

Vln.2

Vln.1

Vln.3

Vln.4

Vla.2

Vla.1

105

?

t

Violoncello 2

Double Bass

.˙b

.˙bppp

ppp

con sord.

con sord.

q»48

43 Vc.1 Œ ‰ .

rr

œ œ?

œ . œ œ

.˙

ppp

con sord.

Vla.2 Œ Œ ‰ .r

œb5

B

˙ œ .œb5

˙ œ

r

œb3

.˙

ppp

con sord.

Vla.1 ΠΠŠ.r

œB

˙ .œn

œ œb

r

œ .œ

r

œb3

.˙

ppp

con sord.

Vln.4 Œ Œ ‰ œb3

&

˙r

œ œb3

œr

œ œb œ3

˙

.˙

.˙

ppp

con sord.

Act.1 - Scene 1 - Death

Three shapes are revealed in sleeping bags half buried in snow. The air is still and cold, it could be a day or a week after their deaths. This could be November 1912 when the bodies were discovered.

1

106

&

&

B

B

?

?

t

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Œ ‰ œ œ3

œA

r

œ œr

œ3

3

. .œ

˙A œn

˙ œb

œA . œ œ

.˙A

ppp

con sord.

Vln.2 ‰œb œ .œ3

&

r

œ œb

r

.œ3

.˙

.˙

œ .œb ˙

.˙

.˙

.˙

ppp

con sord. œ .œb ˙

˙ œb

.˙

œ œb œ ˙3

œn ˙

r

.œ œb

.œ .œb

.˙

Vln.1 Œ

˙

&

˙

.˙

œ˙b

œ ˙b

œ œb œn

.˙

r

œ .œb

.˙

ppp

con sord. .U

.U

œ œb U

r

œ œb ˙

U3

œbU

.U

. œ U

. .œU

.U

6

107

÷

&

&

&

&

B

B

?

?

t

Narr.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

let ring |

11

w

∑

wU

OwU

wbU

Owbb

U

wbU

wnU

wnU

wbU

wbU

sul E

ca 30"9

ppp

large spongy mallet

Sus.Cym.

each string player's note to lastone full bow at ppp then wait for next cue

5"

pp

pp

pp

pp

pp

pp

pp

pp

pp

∑U

∑U

∑U

∑U

∑U

∑U

∑U

∑U

∑U

∑U

∑U

[quietly]The world is spun between two giant hands of ice,And on any peak of living wonFrom hardest hours, the blizzards hiss,And the reward set for the blindest faith

108

B

?

?

t

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

let ring |

√

12

Œ ‰ .œ

Œ ‰ .œ

.œb œ

r

œ

.˙b

10 a tempo

ppp

ppp

ppp

ppp

Vla.1

Vln.4

43

Œ Œ Œr

œb

3

&

≈ .r

œb œ r

œ

3

B

.œb ˙

œb ˙

˙ œ

.˙

ppp

ppp

Vln.3

Vln.2 Œ ‰.œb

&

.œn œb ˙&

. œb ˙

œ œb ˙

.œ .œb

. œb ˙

˙ œb

.˙

ppp

ppp

.˙

.˙

.˙

.˙

.˙

œ ˙

. œ ˙

.˙

Pno.

Vocal 1-5

Vln.1

w÷

wwwwn

mmm

&

?

∑

LLLLLU

&

ObU&

wbU

OwbbU

wbU

wU

wbU

wb

wU

wbU

ca 10"

sul E

11

whistle without vibratoor specific pitch[whistle for one breath only, do not begin another note]

p

gliss.

U

Sus.Cym.

2"

pp

pp

pp

pp

pp

pp

pp

pp

pp

pp

pp

Narr.In the fixed needle directing us,Is to reach the Pole; and the Pole is death.

109

BD.B.

.˙b

pp

12

Narr.

Vc.2 Ó ≈ .r

œ?

pp

a tempo

Vc.1 ‰r

œ ?

r

œb ˙3

œ ˙

pp

Vla.2 Œ ˙B

˙

.˙

.˙

pp

Vla.1 Œr

œ 3

B

r

œ ˙3

.˙

.˙

.˙

pp

I say what I have to say: “Death”,The word that drops in the room like rain

Making the live coals gasp for breath and blackeningslowly among the brain. Whena man is sitting up late, alone.

17

110

&

&

B

B

?

?

B

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Œ Œ ‰œb3

‰r

œb r

œb3

œb ˙

.˙

.˙

.˙A

.˙

pp

pp

Vln.2 Œ ≈.r

œ &

.œ œ

.˙

.˙

.˙

.˙

.˙

.˙

pp

Narr.

Vln.1

˙ œb

&

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

pp

r

œn œb ˙n3

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.>

.>

.>

.˙b>

.˙b>

.>

.>

.˙b>

.>

mp

mp

mp

mp

mp

mp

mp

mp

mp

I say what I have to:"Death in the South;Flesh that is snow;

Ice that is bone."

23

111

&

&

&

&

&

B

?

?

B

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

28œ

r

œ . œ3

˙ .œ œ

.˙

.˙

.˙b

.˙

.˙

.˙b

.˙

ppp

.˙

. œ

˙ .œ œ

.˙

.˙

.˙

.˙

.˙

.˙

ppp

.˙

.˙

œ

˙ œ œ

.˙

.˙

.˙

.˙

.˙

ppp

.˙

.˙

.˙

r

œb3

˙r

œ œb3

.˙

.˙

.˙

.˙

ppp

.˙

.˙

.˙

.˙

. œ

˙ .œ œ

.˙

.˙

.˙

ppp

&

&

&

&

&

B

?

?

B

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

33.˙

.˙

.˙

.˙A

.˙

.˙

.˙A

.˙

.˙

.˙

.˙

.˙

.˙

œ

˙ œ œ

.˙

.˙

ppp

.˙

.˙

.˙

.˙

.˙

.˙

œb ˙

œ œb

.˙

ppp

.˙

.˙

.˙

.˙

.˙

.˙

.˙

. œ

˙ .œ œppp

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

ª

112

&

&

&

&

&

B

?

?

B

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Pno.

°

.˙

.˙

.˙

.˙A

.˙

.˙

.˙

.˙

. œb œ

ppp

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

Tamtam

Narr.

Clste.

w>¿

÷

∑&

&

OwU

OwbbU

OwU

OwbbU

Osul G

13 ca 20"

pp

pp

pp

pp

pp

each string player's note to lastone full bow at pp then wait for next cue

9"

mp

œ

œ

œbœb œ

mp

∑U

∑U

∑U

∑U

∑U

I see what I have to see: Scott,Oates, Evans, Wilson, Bowers,

38

113

&

&

?

..

..

Perc.

Pno.

°

41

wUæ

w

Uw

p

Chimes

ca 4"14

Clste. mp

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

D.B.

–‘

–‘

Narr.

OwbbU

&

OwU

&

OwU

B

OwbbU

B

OwU

?

OwU

t

pp

pp

pp

pp

pp

pp

15 ca 23"

each string player's note to lastone full bow at pp then wait for next cue

15"œb> œb œ

&

∑U

∑U

∑U

∑U

∑U

∑U

mf

œœ

œ?

Vln.1

Vln.2

Vc.2

∑

OwbbU

&

OwU

&

OwU

?

pp

pp

pp

ca 11"16

each string player's note to lastone full bow at pp then wait for next cue

5"œb œ œ

mp

∑U

∑U

∑U

Whose bodies lie, too cold to rot, Where the aurora leaps and towersColouring the Antarctic sky with terror,

Like their own memorial marbles,

114

&

&

?

&

t

43

43

Narr.

Vln.1

D.B.

Perc.

Pno.

°

51

.˙

.˙

.˙

r

œ> ‰ Œ Œ

p

Clste. p

17

p

mp

Vibe.

senza sord.

senza sord.

senza sord.

Vln.2

Vc.2

‰ r

œb ˙

‰ r

œ ˙

œ ˙

‰ r

œ &

‰r

œb>Œ Œ?

pp

p

mp

senza sord.

senza sord.

Vln.3

Vc.1

.˙b

.˙

.˙

.˙&

r

œb>‰ Œ Œ?

pp

p

pizz.

mp

senza sord.

Vln.4

Œ Œ ‰ œ3

Œ Œ ‰œ3

Œ Œ ‰r

œ>‰

3

˙r

œ‰

r

œ3

Œ Œ ‰œ3

&

pp

p

pizz.

mp

senza sord.

senza sord.

senza sord.

Vla.1

Vla.2

≈ .r

œ Œ Œ

≈ .r

œ Œ Œ

rr

œ‰ . Œ Œ

.œ ˙

≈.r

œ B

≈.r

œ>Œ ŒB

pp

p

pizz.

p

ΠŠ.r

œn Œ

ΠŠ.r

œb Œ

Œ ≈.r

œ>Œ

œrr

œ ‰ . Œ

.œb œ

ΠŠ.r

œb

pp

p

pizz.

mp

arco

Œ Œ Œr

œ3

Œ Œ Œr

œb3

ΠΠΠr

œ>3

˙ œ ‰3

r

œb

3

Œ Œ Œr

œb3

?

pp

p

arco

pizz.

mp

Œ˙

Œ ˙

Πr

œ>

‰ Œ&

œ Œ Œ

˙

pp

mp

.˙

like their own reflections trapped in a mirror.

115

÷

&

&

?

&

&

&

B

B

?

t

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Vln.1

Vln.2

Vln.3

Vla.1

Vla.2

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

°

°

59

w

∑

OwbbU

OwU

OwU

OwU

OwU

wbU

OwU

pp

pp

pp

pp

pp

pp

pp

18 ca 30"

each string player's note to last one full bow at pp before playing the next note

Clste.

9"

p

Tamtam

OwU

OwU

OwbbU

OwU

wbU

wU

OwbbU

r

œÓ

mp

1"

r

œ

œœ Ó

2"

mp

Vibe.

&œ> œb>

œœ

œ

Ó4" œ>

œœ œ

Ó5" œ>

œœ œ

ϷU

*

* at this cue strings to play up to the end of the repeat.The effect will be of finsihing at different times.

116

?

?

B

..

..

..

..

.. ..

..

.. ..

Wilson

Vc.2

D.B. ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥

1

Ó Œ ‰r

œ

The

r

œ-w

œ-w

pp

pp

44

These cues concern only the stringswho are not to follow the conductedtempo

19

q»78

œ œ œ œ œ

ice was dazz ling white

Vc.1

Ó Œ œ œ

and the

r

œ-˙ r

œ-˙?

pp

œ œ ˙

sea was blue

Vla.2

Ó Œ ‰r

‡

A

œ- wbB

pp–‘

Vla.1

‡ ‡ ‡ ‡ ‰r

‡

ver y dark blue,and

r

œ- ˙b ˙B

p

‡ ‡ ‡ ‡ ‡ œ œb3

all the sail ors were sing ing- - - -

Scene 2 - Before the End

G.P. 2 secs.

117

?

..

..

Wilson

Vla.1

Vla.2

Vc.1

Vc.2

D.B. ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

8

Ó Œ ‰œ œ3

I rem

œ œ œ œ œŒ œ

3

em ber the wint er the

Vln.4

œ œ œ ‰ œ œ œ3 3

com rade ship in the hut,

wb - ˙&

p

–‘

Vln.3

Œ ‡ ‡ ‡ ‡ ‡

But it fad ed out

.˙ ˙b& –‘

mp

‡ ‡ ‡ ‰r

œ

We were cold. Those

œb œn œ ‰r

œ

long dark days When- - - - - -

118

?

..

.. ..

Wilson

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B. ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥

œ œ œ œ œ œ œ œ œb ¿3 3

no bo dy spoke and we felt like dreams and

‡ ‡ Ó

shad ows

Vln.1

Scott œâ œ œm œä œ œ

One night I walked to the

&

.œ- .œ- ˙b -& –‘

p

Vln.2

20

.œr

œm œ œm œ

cliffs a lone, and the

˙b> ˙b&

p

œmä œ œn œ œbâ œ œm œn

moon was pure and burn ing on those

- - -

- -

14

119

&

.. ..

.. ..

Scott

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B. ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

19

œâ œ œm œm œn Œ

froz en spires and crags,

œb œ œ œ œ> œm œm œn

So that they leapt like flames.

œ œb œb r

œ?

p mp

‰ œn œ œ œ œ

The ice was blaz ing.

Œ œ> œ œ ‰ œb œ

And the hut, when I

˙b - .œb.œn?

mp

œm œn œ œb œb œ œm œn

came back, was a red is land, A- - -

120

&

t .. ..

..

Scott

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥

24

œ œb œ œb œn œb œn œm

ship at sea, a fire of hum an

.˙n> ˙

mp

œ Œ Ó

beings,

œb œ œb .œr

œ

Warm and sec ure. But

œb œb œb œr

œb .œbthat was years a go

Ó Œ ‰ œ œ

I rem

œn œb œb œ œb œb œn œ œ œb

em ber the march to the Pole beg inn ing;

œb - œbr

œb ‰&

mp

–‘

21

- - - - - - -

121

&

B ..

..

..

..

..

..

..

..

..

Scott

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

°

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

30

œ œ œbœb œ œ ‰ œb

sled ges Dogs,pon ies, the

œb œb œb œb–‘

Pno.

œb œ œ œb ‰ œb œ œn&

œ œ œ œb œ ‰ œ

hap py cav al cade, The

œb œµ œn œb ‰ œ œµ œnB

mp

–‘

mp

–‘

to be barely imperceptible, behind the string texture

œ œm œ œ œ œb œn ‰?

œ œ œb œb œ œ œblong swing ing eas y march es,

r

œb -œb

œbœb - r

œb ‰&

œ œµ œb œB œn œb œn ‰?

mp

mf

mp

Œ ‰ œn œ œ œb

the feel ing of

œ ‰ œœb

œb Œ

songs and bann ers.- - - - - - - - - -

122

&

..

..

..

..

..

Scott

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥ ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

36

Ó Œ ‰ œn œ

I rem

œb œ œ œ œb ‰ œ œn œ

em ber the black flag that told us

œ œb œb œ œ Ó

a bout A mund sen

œ œm œ œ œ œb œn ‰œb œ œ œb‰

œb œ œn&

ww>

r

œœœ

n

m

m?

œ œ œ œb Œ

That fat al day.

œ œ œ œ œ œ œ œ œ3 3 3t

–‘

mf

mp

mf p

22 ca 18" until next cue

- - - - - -

123

?

?

&

&

?

44

44

..

..

..

..

..

..

..

..

..

..

..

Wilson

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

Ÿ~~~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

41

˙æ

>

r

œb ‰

Ó Œ ‰r

œ

We

r

œb - œb -

r

œb -.œ-

r

œb -

œb - œb œb œb œb - œb œb œb

œ œ œ œ

r

œb –‘

mf

mf

mf

–‘

–‘

–‘mp

Timpani

23

œ œb œb œb Ó3

should not have cared

œb œb œbr

œn ‰B –‘

mf

Perc.

Scott

œœœ-gggggab

r

œœ œ ‰ œ œ ≈ œœ œ3

÷

œ- œ- œ- œ- œ- œ- œ-3

&

‰ œb œœ œb œb œn œb œb œn

œbœ œb œn

But we did, And the pole was ghosts and ruins, and the snow

&

w- œ-&

˙b - ˙b ˙B

.˙b œ- œ?

wbr

œ-?

Vln.3+4

mf

mf

mf

mf

mf f

still barely imperceptible, behind the string texture

mf

Sus.Cym. start as soon as possible after finishing Timpani part

despite the increase in dynamics,the orchestra still needs to be under the vocals

124

÷

&

&

&

B

?

?

..

..

..

..

..

..

..

..

..

Scott

Vln.1

Vln.2

Vln.3+4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥

Ÿ~~~~~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

°

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

46 œ-œ- œ

œœ œ

œœ œ> œ œ œœ ¿ ¿

œ> œ>œb œb œb

œbœb

œb œb œb œb œb

œb œb œ œ Ó3

on our mouths

œ-œb

œb> œb

˙b - œb> œn

œb -œ-

œb œn>œb

r

œbœn - œ

œb> œnœb

–‘

–‘

–‘

–‘

f

f

f

f

–‘

[end ofstick]

r

œ

.>≈ .r

œ

r

œ wb>

?

œ œb œ ‰ œ œb Œ ‰r

œb

Was ash es ash es. And

.- -&

wb - œb -B

wb>t

Vln.1+2

mf

mf

mf

mf

œ-œ-

œœ--

œ>œ> œ..

œn .œ-

r

œb .

œn œb œ œb œn œ ‰ œb œ3

E vans crumb led a way, And the

- œb œb> œb

.œ-r

œ> œb

œn .œ-

r

œb .

f

f

f

f

œb .œb œn œb œ Ó3

sol dier af ter him.

–‘

œb ‰ œ œ œb œ œ Œ3

How am I just i fied,- - - - - - - - -

125

&

.. ..

Scott

Vin.1+2

Vln.3+4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

51

œb œb œn œ œb œn œb œ œb œn œ3

Wil son, how am I just i fied for Oates and

œb> œb œnœ œ

œb œnœb?

œb œ Œ Œ ‰r

œ

E vans, And

mf

Wilson

a bit more prominent

œb œ Œ ‰r

œbr

œn ‰

Bow ers... and you?

Ó Œ œb œn œ3

All of us

?.œb œb œ œ ‰ œ œb œb

chose to do it, Our own will

œb œn ‰ œ œb œ œb

brought us, our death on the

- - - - -

126

?Wilson

Vin.1+2

Vln.3+4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

56

œn œ œ .œ œb œb> œ œ œb> œb .œb

ice was for seen by each of us; acc ep ted.

œb œb œ œ œ œ

Let your mind be at peace.- - -

127

?

&

?

?

Wilson

Vocal 1

Vocal 2

Vocal 3

Vln.1

Vln.3

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥

¥

¥

¥

¥

¥

¥

°

wæU

?

&

œ

œ>

œ

œ

œ

œ

œ

œ

b œ

œ

œ

œb

b œ

œn

nœ

œb

œ

œn

œ>

?

œb œ œ œ‰

r

œb

Pure ly, like flame, a

‰ .U rr

œb œ œ œb œ œ œ œb œ œ œb œ œ

I have seen this death as the comm on fate made clear er,

ŒU ≈ œb œb œ œb œb œ œb œn œ œb œ

We dreamed, we so near ly tri umphed, we were def

ŒUœ œ œb œ œb œ œ œb œb œ œ œb

Dreams, and near ly tri umphs, and is alw ays def eat

wb -

&

wb -&

.wb -B

wb -B

- -?

- -?

- -t

24

f

f

f

f

f

f

f

mf

Timpani

f

ca 16"

mf

mf

mf

Vocals to wait until they have heard their first notein the strings

strings should arrive at fig.24 unsynchronised. Do not cue fig.25 until all strings have reached fermata and crescendoed.

ww>

ww>

œb œ œ œbr

œ œ‰

3

thing burn ing and per fect.

œb œ œ œ œ œ œ œb œ œ œb œ œ œb œ œ

And clean er, too, this simp le strugg le on the ice. Tri umph is noth

œ œ œ œb œ œ œb œ œ œb œ œ œ œ œ œ

eat ed As ev e ry man in some great or humb le way The en

œ œb œ œ œb œ œ œb œ œ œb œb œ œb œb œ

ed, And then, as we did, tri umphs a gain in en dur ance Such a

˙b - -

˙n - ˙n -

˙n -

˙n -

.œ- .œ- œ-

.œ- .œ- œ-

.œ- .œ- œ-

- - - - -

- - - - - - -

- - - - - - - - -

- - -

- -

-

58

128

?

&

?

&

?

?

&

&

B

B

?

?

t

..

..

..

44

44

Vocal 1

Vocal 4

Vocal 5

Vln.1

Vln.3

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

°

wæU

œœ

>

œœ>

œœ

>

œœ>

œœ

>

œœ>

œœ

>

œœ>

œœ

>

œœ>3

œb œb œ œb œb œb œ œb œb œb œ œb œb œb œ œb

ing; def eat is nothing; life is En dur ance; and af ter wards, death.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

dur ance re mains like fir e, a sculp ture, a moun tain to heart en

œb œb œ œ œb œb œ œ œb œb œ œ œb œb œ œ

strugg le as ours is liv ing; it lives af ter death Pure ly, like flame,

.œb - .œ- œ-

.œb - .œb - œb -

˙b - .œb - .œb -

˙b - .œb - .œb -

œ- œ- œ- w-U

œ- œ- œ- w-U

œ- œ- œ- w-U

Timp.

–––––––>

–––––––>

œb œ œb œb œ œb

And what e ver death is,

œ œ œ≈ œ œ œ

our chil dren. I'll tell you,

œm œn œ œ≈ œ œ œ

a thing burn ing and per fect.

wbU>

wbU>

œb - wb>U

œb - wb>U

–‘

–‘

–‘

Scott

˙n>Ó

œœœnnn œ œ

œ>

wwbn

œb œ œ œ .œbr

œn

There was some thing else. I

&

r

œb

> .˙b œb>

r

œb>

œ .˙b

r

œb>

˙b ˙

r

œ>

wb

r

œ> wn

r

œ>

wn

25 q»62

ffsul G

ff

sul C

ff

Vla.1+2

sul C

ffsul C

ff

ff

f

f

f

f

f

once again, behind the string texture

- - - - - - -

- - - - - - -

- - - - - -

-

129

&

?

&

&

&

B

?

?

t

.. ..

.. ..

.. ..

Scott

Vocal 1

Vocal 4

Vocal 5

Vin.1+2

Vln.3+4

Vla.1+2

Vc.1

Vc.2

D.B.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

° °

œœ œ ˙

œœbb

˙nœ

œb œ œ œ œb Œ

can't re mem ber now;

˙b ˙b

œA .˙b

.˙ œb

wn

œ .˙b

œ .˙b

w

œb ˙ œwwm

œb œb œb Œ œ œ

I am tired. Death is

˙ ˙b

˙ ˙b

.˙n œb

œ .˙b

w

w

Perc. Ó Œ œ>?

.-œœ------

- œb œœm ------wwm

œb œ œ œ Œ

ver y near me.

.˙œb -

.˙b -œb -

.˙ œb -

˙ œn œb -

.˙ œ-

œ ˙bœ-

mf

mf

mf

mf

mf

mf

mf

mf

Timp.

˙˙

œ œ

œœ

œb œ œ

˙b ˙b

Wil son,

˙b œb ˙b

I am tired.

&

œb .˙b

tir ed

?

˙b .œn

I am

?

˙ œb œb

˙ ˙b

œ .˙n

.˙ œn

w

w

mf

mf

mf

w

˙œ œb

œb œ œb œ œ œ œ œ

3

There is some thing else, some thing to

w

w

˙ œb œn

w

wb

wb

--

-

- - - -

60

130

÷

&

?

&

&

&

B

?

?

t

Scott

Vocal 1

Vocal 4

Vocal 5

Vin.1+2

Vln.3+4

Vla.1+2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

let ring |65

wæ

w-

r

œ

ww-

œb œ œ ‰ œ œ œ

do with me. Moon light on

wb

wb

w

wb

wb

wb

pp

pp

pp

pp

pp

pp

pp

pp

Sus.Cym.

≠≠≠≠≠≠≠≠

œb œ œ Ó

ice. Wil son

wb

wb

wb

wn

w

w

26 ca 20"

2"

depress the white-keys and lock the sostenuto pedal for the duration of this cue

r

œn œ ‰ Ó

Wil son

wb

wb

wb

w

w

w

œb

œ

œb

œb œn

Ó5

˙b wb

˙b wb

˙n w

˙b wb

˙b wb

˙ w

ppp

ppp

ppp

ppp

ppp

ppp

p

Narrator

œb

œ

œb

œb œn

5

wbU

wbU

wbU

wnU

wU

wU

pp

- - -

Two dead men; and a dying man rememberingThe burning snow, the crags towering like flame.

131

÷

&

?

&

&

B

?

44

..

..

.. ..

.. ..

..

..

..

Vocal 1

Vocal 2

Vocal 3

Vln.2

Vln.4Vln.4

Vla.2

Vc.1Vc.1

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

°

let ring |

1

w

wwb

∑ œb œ

Œ œbœ

Ó œœb

œœb

pp

pp“–

pp

–‘“–

pp“–

“– –‘

Vla.1

Vc.2

27 q»48

pp

Tamtam

ppp

4"

1"

3"

Ó Œ ≠≠b

œœbB

œœb?

pp

pp

Vln.1

–‘“–

“– –‘

[square noteheads] depress notes without making a sound and sustain

Narrator

wwb>&

wwb>

œb œ&

pp

pp

Gongs

pp

soft rubber mallets

Ó Œ ≠≠b

wwb>

wwb

œbœ?

Œ ‰ ˙n> ‰

?

‰≠

˙˙nn

≠≠b

œnœ?“– –‘

D.B

wwb>

wwb

Ó≠

œœb

‰œ œb

3

B

œb œt

pp

Vln.3

–‘

Œ ..˙˙b>

Œ ..˙˙b&

≠≠b

‰ œb œ œb œ

3

&

œ œb

pp“– –‘

–‘

Scene 3 - The Final March

In the beginning was the Word, before the word was silence. Man was born of a wordAnd he dies back to silence. It is quiet in the white South.

132

&

&

?

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Vocal 1

Vocal 2

Vocal 3

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

9

wwb>

Gongs

Ó Œ ≠≠b

wwb>

wwb

Œ ‰ ˙n>

?

‰≠

˙˙

≠≠b

wwb>

wwb

Ó≠

œœb

Œ ˙˙b>Œ

Œ ˙˙b Œ&

≠≠b

Narrator

˙b> Œ œn>

.˙Œ

.....˙˙˙˙m

mb Œ

w>&

w>&

wn>&

wb>&

w>B

w>B

wn>?

wb>?

wb>t

mp

mp

mp

mp

mp

mp

mp

mp

mp

Œ .˙b>

.˙Œ

Ó Œ ‰r

œœm

r

œb - .œn œ

r

œb - wn

˙b - œ

r

œ .œn - œ

r

œb - .œn œœb

wb -r

œb

œb - œnœb œn

œœb

œr

œb - œnr

œb

œr

œb - .œn

pp

pp

pp

pp

pp

pp

pp

pp

pp

Ó ˙n>

Œ ‰ ˙˙˙˙mmb ‰

In the loneliest green place Bird calls to bird, The cricket chirps in the grass,The rustling leaf is a word. It is quieter in the SouthThe living thing is the word and the thing dead is silence.These men of their own accord move away into silence,Their skis soft on the snow.

133

&

&

?

..

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥

19

>Œ ‰

r

œb>

Ó ‰ ....

œœœœm

m

Gongs

‰ ...

œœœb

m Ó

Narrator

Wilson

w÷

œm œ œœb?

. .œb œ w

U&

œb . œ wU

&

. .˙ w

U&

.w wb

U&

wr

wbU

B

.wb wU

B

˙ r

œ wU

3

?

w wbU

?

œb wUt

p

p

p

p

p

p

p

28

p

p

[rapid semi-narration/singing. approx one syllable to a note repeated with text]

“–

wait until end of Wilson's speechbefore proceeding to cue 22

p

Tamtam

mp

Evans Œ ‰ .rr

œ œm œ œ œm œ

I said good bye to my

?

wU@

wnU

@

wbU@

sul pont. slow tremolo

sul pont. slow tremolo

pp

pp

29 ca 15"

pp

sul pont. slow tremolo

˙

wife.-

Let them come to us now, these five men strugglingLike dark tough flames on the snow.”

Good-bye to England, first; good-bye to New Zealand.I thought that was saying good-bye to the world,When we swung away from the wharf and lost the facesAnd the gulls went home. I felt lonely that first night.But there's never an end of saying good-bye to people,And to places you've come to like. Good-bye to the ship,Good-bye to the hut-it was snug there in winter-Good-bye to the poor ponies; Atkinson and Cherry.What a long way it's been, and now the last of it.

134

?Vc.1

22

r

œ> œbœ>

.œ.œb œ .œ- œ.

5

mp mf

30

Solo

q»48ad.lib.

-

≥

œ . .œrr

œœ

5

p

.œ œbr

œœ> > > >

> > > œb> > > > > > >

r

œ> œ

3 3

mf

sul pont. ord. sul C

p

œr

œ œb ˙3

mp pp

B

?

Narr.

Vla.1

Vc.1

23

w

œ>œ

œb œb œœ œ œn

ppp

sul pont.

mp

44

31 q»48

Vla.2

œb wU

Œ .˙B

œb œœb> œb œb>

œ

œœ

sul pont.

ppp

D.B

œb wU

œ>œ œ œ

˙b

Ó Œ ‰r

œtsul pont.

ppp

œ>œ œ

œb œœ> œ

œ

Vln.4 Œ ‰ .r

œ ˙

5

&

˙ œ> œœb

œ>

sul pont.

ppp

wbU

Vc.2 Ó ˙?

wU

sul pont.

ppp

wbU

pp

The confused farewells over, The words whirling, lost,Over the ice like starlings In a dusk bright with frost.

ª

The five men in harness, The groups drawing apart,The heavy sledge moving: The step light, and the heart.

135

&

B

B

?

?

t

45

Narr.

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

32

wâ

U

wbäU

wbâU

˙bä œb> ˙b>3

wäU

wäU

mp/ppp

mp/ppp

mp/ppp

mp/ppp

mp/ppp

mp

32 ca 25"

ord.

ord.

ord.

ord.

˙b> œr

œ> œ3

f

˙œ

r

œb>

˙b3

˙ œb> ˙3

œ

>r

œ>

wU3

pp

Scott œb œb œ œ œ œn œb œ œ œ

We're a long way from Eng land now. At last

&

.œb .œ .œb

r

œ

.œb .œ ˙b

œb œb ˙.œb

r

œ

œb œb w

Œœ

r

œ œr

œ œ

pp

pp

pp

pp

pp

33

- -

Cut off from all that moves except the Antarctic wind, cut off from all that speaks, But not from the song in the mind, they march and they exult In the white shine of the sun, For the past is lost as starlings and the proud future's begun.

136

&

&

&

&

&

B

B

?

?

t

..

..

..

..

..

..

..

..

Scott

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

rit.

34

œ œb œb œ œ œ œn œb œ

I can start to think clear ly, free

.œb .œ ˙b

r

œb œb .œ .œbr

œ

œb œb ˙.œb

r

œ

œb œb w

˙b ˙ œb

.˙b ˙b

Œœ

r

œ œr

œ œ

Œœ

r

œ œr

œ œ

Œ œr

œ œr

œ œ

pp

pp

pp

pp

œ œb œb œ œr

œ ‰ œn œb

from en cum bran ces. There's the

r

œb œb .œ .œbr

œb

.œb .œ ˙b

œb œb ˙.œb

r

œb

œb œb w

.œb .œ .œbr

œb

œb œb ˙.œb

r

œb

œr

œ œr

œb œœb

œr

œ œr

œb œœb

œr

œ œr

œ œœ

“–

“–

“–

œb œbr

œ ‰ œ œ œn œb œ

five of us; and these miles of ice

r

œn œn.œ .œn

r

œ

.œn .œ ˙n

œn œn ˙.œn

r

œ

œn œn w

.œn .œ .œnr

œn

œn œn ˙.œn

r

œn

r

œ œbr

œb œ

r

œ œbr

œb œ

r

œ œbr

œb œ

–‘

–‘

–‘

œ œb œb œ ‰ œ œ œn

and the Pole; A simp le

œ> œB œb> œ œB> œm œn> œ œB> œn

œ> œB œb> œ œB> œm œn> œ œB> œn

[strings only]

- - - - -

137

&

B

B

..

..

..

..

Scott

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

38

r

œb .œ œb œ

r

œb .œ

mat ter of a jour ney.

.œb .œb .œbr

œb

œb œb ˙.œb

r

œb

œb œb œ œ œ œn œb œ œ ‰r

œ3

Worr y ing's o ver, Plann ing's o ver, there's

œb œ œ œ œnr

œb ‰ Œ ‰r

œb3

noth ing to do but march. They've

Pno.

Perc.

Oates

∑&

wwwbbU

&

wwwwn

bU

?

œb œb œ œ œb œn œ Œ3

e ven giv en us sun shine

Ó Œ ‰r

œbI

&

˙b>&

˙b>&

>&

˙b>&

˙b>B

˙b>B

>?

>?

>t

pp

f

pizz.

f

pizz.

f

pizz.

f

pizz.

f

pizz.

f

pizz.

f

pizz.

f

pizz.

f

pizz.

34

5"

- - - - - - - - - - -

138

&

&

?

&

&

&

&

&

B

B

..

..

..

..

..

..

Oates

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Perc.

Pno. ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

42

œm œ ˙mm‰

œbœ

œ

œ œ

œb œb

œb œb œ œ œ œ œn œ Œ

wish they'd giv en us a sur face

wb

wb

wb

wb

wb

wb

p

p

p

p

p

p

arco

arco

arco

arco

arco

arco

ppp

pp

Chimes

35 q»76

Vc.2

D.B

Vc.1

œb œœ œ œn œb œb œb œ œ œn

33 3

This is like try ing to march on top of a

.˙ .œ œ>

.˙ .œ œ>

w

w

w

w

‰ . .˙?

‰ . .˙?

‰ . .˙t

p

p

p

arco

arco

arco

Wilson

œ œ œ œ œ œŒ

œm œm œ3 3

3

Bir die a maz es me plod ding a

?

r

œb .œb Ó

glass house.

w

w

w

w

w

w

w

w

w

p

p

œ ‰ œm œ .œ ‰3

long with out skis.

Œ ‰ .rr

œ œ œ œm œ œ œ3 3

He looks like a cow in a

w

w

w

w

w

w

.˙ œ>

r

œ>

3

.˙ œ>

r

œœ>

3

w

- - - - - - -

- - - - - -

139

&

?

&

&

&

&

B

B

?

?

t

..

..

..

..

..

..

..

Oates

Bowers

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno. ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥ ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

46

.œ ‰ Ó

bog!

‰ .rr

œ œ œ .œ ‰

I feel like one;

w

w

wA

wA

wA

wA

w

ww

w

p

p

Ó Œ ‰ œ œ œ

Lost your calf?

œm œ œm œ œ œ œ3

You'll hear me bell ow ing soon!

w

w

w

w

.œ œb> .˙

.œ œb> .˙

wb

ww

w

p

p

‰ . Œ Ó

˙ œ

r

œb> œ

3

˙ œ

r

œb> œ

3

˙ œ

r

œb œ

3

˙ œ

r

œb œ

3

w

w

w

ww

w

mp

mp

Evans

.œ œb œ

r

œœb

&

œ

œ œ

œb œb

œ œ

œ œ œœb

&

?

Ó Œ ‰ .rr

œ

The

?

>

>

>

>

>

>

>

>

>

pizz.

mfpizz.

mfpizz.

mfpizz.

mf

pizz.

mfpizz.

mf

pizz.

mfpizz.

mfpizz.

mf

36 q»48

Chimes and piano to remain at previous speed

“–

œ œ ‰ œb œb œ œ œr

œ ‰

wind's cold It's a good job there's sun

rr

œ>‰

rr

œ>

rr

œ>≈rr

œ>‰ .

rr

œ>Œ&

- -

140

&

? ..

..

..

Scott

Vln.1

Vc.1

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

51

‰ .rr

œ œ œ œb œb œ œ œb œ Œ

We can't re ly on that for e ver

rr

œ>

rr

œ> ‰rr

œ> ≈ Œrr

œ> ≈rr

œ> ‰ .rr

œ> Œ

Vc.2

œ œb œb œ œ œ œ œn ‰ œ œ

But it gives us a fly ing start, and I

rr

œ ‰rr

œ> Œrr

œ>≈rr

œ> ‰ .rr

œ>≈ Œ

rr

œ>

rr

œ>≈ Œ

rr

œ>≈rr

œ>Œ

rr

œ>

rr

œ>‰

rr

œ>‰ .?

D.B

Oates

œb œb œ œ œ œb œb œ ‰ Œ

have n't a doubt we shall make it.

Ó œbœ œ

I wish the

&

rr

œ>≈rr

œ> ‰ .rr

œb> rr

œ>‰

rr

œn> Œrr

œb>≈ Œ

rr

œb>‰ .

rr

œ>≈ Œ

rr

œb>‰

rr

œ>Œ

rr

œb> rr

œ>≈

rr

œb>Œ

rr

œb>

rr

œb>‰ .

rr

œb>≈ Œ

rr

œb>≈rr

œb>‰t

–‘

–‘

–‘

- - - - -

141

&

&

&

..

..

..

..

..

..

..

Oates

Vln.1

Vln.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

54

œn .œ œ œ œ œ œ œ œ œ œ

sledge would dec ide to take up av i a tion

rr

œm>

rr

œ>‰ .

rr

œm>Œ

rr

œ>≈

rr

œm>‰

rr

œb>≈

rr

œb>Œ

rr

œb>

rr

œb>‰

rr

œb>‰ .

Vla.1

–‘

–‘

œ Œ Ó

rr

œ>≈rr

œ>Œ

rr

œ>

rr

œ>‰rr

œ>‰ .B

Vla.2

Scott ˙ ˙

To the

&

rr

œ>Œ

rr

œ> ‰rr

œ>‰ .

rr

œ>

rr

œ>≈

rr

œ>

rr

œ>‰ .

rr

œ>Œ

rr

œ>≈rr

œ>‰B

Vln.3

–‘

–‘

37

p

œb ˙b ŒU

pole

rr

œb>‰ .

rr

œ>≈rr

œ> ‰rr

œb>Œ

rr

œ>&

rr

œb>Œ

rr

œ> ‰rr

œb>‰ .

rr

œ>rr

œb>≈&

rr

œ> ‰rr

œ>

rr

œ> ≈rr

œ> ‰ .rr

œ> Œ&

–‘

–‘

–‘

[spoken] It wants to crawl to the Pole.

- - - -

142

B

B

..

..

..

..

..

..

..

..

..

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

rr

œ>‰

rr

œ>rr

œb> ≈rr

œ>‰ .

rr

œ>Œ

rr

œb> ‰ .rr

œ>≈rr

œb> ‰rr

œ>Œ

rr

œb>

Vln.4

–‘

–‘

rr

œm>

rr

œ>‰ .

rr

œ> Œrr

œb> ≈rr

œm>‰&

rr

œb>≈rr

œ> Œrr

œb> rr

œb>‰

rr

œ> ‰ .&

rr

œb> ‰ .rr

œ> ≈rr

œb> ‰rr

œ> Œrr

œb>&

rr

œb> Œrr

œb> ‰rr

œb> ‰ .rr

œb>

rr

œb> ≈&

Vocal 2

Vocal 3

Vocal 4

Vocal 5

wbU

ar

&

wbU

ar

?

wU

ar

?

wU

ar

?

rr

œm>‰

rr

œ>rr

œ> ≈rr

œb> ‰ .rr

œn>ŒU

rr

œ>≈

rr

œ>Œ

rr

œb>rr

œ> ‰rr

œ>‰ .U

B

rr

œb> Œrr

œ>‰

rr

œ> ‰ .rr

œb>rr

œ>≈U

B

rr

œ>

rr

œ>‰ rr

œ>≈ Œ rr

œ>≈ rr

œ>‰ .

rr

œ>ŒU

t

ppp

ppp

ppp

ppp

143

÷

&

?

?

?

Narr.

Vocal 1

Vocal 2Vocal 2Vocal 2Vocal 2

Vocal 3Vocal 3Vocal 3Vocal 3

Vocal 4Vocal 4Vocal 4Vocal 4

Vocal 5Vocal 5Vocal 5Vocal 5

Perc.˙

r

œ ˙

∑

œ> œ œ œ œ œ œ œ

s k s k s k s k

œAU

b œ> œ œ œ œ œ œbU

ar s s s s s s ar

œAUaœ> œ œ œ œ œ œ

œbU

ar k k k k k k k ar

œU

b œ> œ œ œ œ œ œU

ar w w w w w w ar

œU

b œ> œ œ œ œU

ar I I I I ar

q»66 *

The surface breaking like glass, the snow slowing the sledge like waves of white iron.

38

mf

mf

mf

mf

mf

ca 13"

[vocalise alternate 's' and 'k' only when the narrator makes a 'k' sound after an 's' sound.Repeat these eight notes every time this occurs. When narrator finishes speaking wait until instructions at next cue]

[interrupt sung pitch to vocalise 's' only after the narrator makes an 's' sound.Repeat these six notes then return to sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

[interrupt sung pitch to vocalise 'k' only after the narrator makes a 'k' sound.Repeat these seven then return to sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

[interrupt sung pitch to vocalise 'w' only after the narrator makes an 'w' sound.Repeat these six notes then return to sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

[interrupt sung pitch to vocalise 'I' only after the narrator makes an 'I' sound.Repeat these four notes then return to sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

2"

pp

pp

pp

pp

mp

Sus.Cyms.r

œ œ˙ .

r

œ .˙

rr

œ œrr

œ .œ .r

œ˙ œ œ ˙U

[wait until next cue]

Scene 4 - Two Days out from Ninety Degrees

* This tempo marking is only for percussion. Vocals are to enunciate their parts as rapidly as possible.

144

÷

&

?

?

?

Narr.

Vocal 1

Vocal 2Vocal 2Vocal 2Vocal 2

Vocal 3Vocal 3Vocal 3Vocal 3

Vocal 4Vocal 4Vocal 4Vocal 4

Vocal 5Vocal 5Vocal 5Vocal 5

Perc. ˙ .œ .˙ r

œ˙ œ œ ˙

.r

œ˙ .

r

œœ

rr

œ . .œrr

œ œU

∑

œ> œ œ œ œ œ œ œ

w ^ w ^ w ^ w ^

œbU œ> œ œ œ œ œ œb

U

ar k ∂ k ∂ k ∂ ar

œAa Uœ> œ œ œ œ œ œ

œbU

ar t f t f t f t ar

œUœ> œ œ œ œ œ œU

ar f b f b f b ar

œbU œ> œ œ œ œ

U

ar b ´ b ´ ar

2"

The wind like a wall of ice that has to be forced, broken for every inch of the way.

39

mf

[vocalise alternate 'w' and '^' after the narrator makes a 'w' sound.Repeat these eight notes every time this occurs. When narrator finishes speaking wait until instructions at next cue]

mf

mf

[interrupt sung pitch to vocalise 'k' and '∂' only after the narrator makes a 'k' sound.Repeat these six notes then return to sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

[interrupt sung pitch to vocalise 't' and 'f' only after the narrator makes a 't' sound.Repeat these seven notes then return to sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

mf

[interrupt sung pitch to vocalise 'f' and 'b' only after the narrator makes a 'f' sound.Repeat these six notes then return to sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

mf

[interrupt sung pitch to vocalise 'b' and '´' only after the narrator makes a 'b' sound.Repeat these four then return to sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

ca 13"

Sus.Cyms.

145

÷

&

&

?

?

?

Narr.

Vocal 1Vocal 1Vocal 1Vocal 1

Vocal 2Vocal 2Vocal 2Vocal 2

Vocal 3Vocal 3Vocal 3Vocal 3

Vocal 4Vocal 4Vocal 4Vocal 4

Vocal 5Vocal 5Vocal 5Vocal 5

Perc.

r

œ.˙ .œ ˙ .

r

œ œ˙ œ œ œ ˙

r

œ . .œ œ.œ U

∑

œbU œ> œ œ œ œ œ œ œ œbU

ar a¨ w a¨ w a¨ w a¨ w ar

œbU œ> œ œ œ œ œ œb

U

ar t p t p t p ar

œAa Uœ> œ œ œ œ œ œ

œbU

ar p s p s p s p ar

œUœ> œ œ œ œ œ œU

ar s † s † s † ar

œU œ> œ œ œ œU

ar h b h b ar

Hour weighing on hour, time piling like snow until their hearts are buried.

2"

40 ca 13"

mf

mf

mf

mf

mf

[interrupt sung pitch to vocalise 'a¨' and 'w' only after the narrator makes a 'aΩ' sound.Repeat these eight notes then return to sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

[interrupt sung pitch to vocalise 't' and 'p' only after the narrator makes a 't' sound.Repeat these six notes then return to sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

[interrupt sung pitch to vocalise 'p' and 's' only after the narrator makes an 'p' sound.Repeat these seven notes then return to sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

[vocalise alternate 's' and '†' after the narrator makes an 's' sound.Repeat these six notes every time this occurs. When narrator finishes speaking wait until instructions at next cue]

[interrupt sung pitch to vocalise 'h' and 'b' only after the narrator makes a 'h' sound.Repeat these four then return to sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

Sus.Cyms.

146

÷

&

&

?

?

?

Narr.

Vocal 1Vocal 1Vocal 1Vocal 1

Vocal 2Vocal 2Vocal 2Vocal 2

Vocal 3Vocal 3Vocal 3Vocal 3

Vocal 4Vocal 4Vocal 4Vocal 4

Vocal 5Vocal 5Vocal 5Vocal 5

Perc.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

œr

œ ˙ ˙ œ œ œ .œ ˙ .r

œ . .œ .˙ ˙ œ.œ œ

U

∑

œAa Uœ> œ œ œ œ œ œ œ œU

ar h h h h h h h h ar

œAbU œ> œ œ œ œ œ œ

U

ar t t t t t t ar

œAa Uœ> œ œ œ œ œ œ œU

ar s s s s s s s ar

œbU œ> œ œ œ œ œ œU

ar f f f f f f ar

œbU œ> œ œ œ œ

U

ar b b b b ar

˜U ˜ . . .

2"

41 ca 13"

mf

mf

mf

mf

mf

[interrupt sung pitch to vocalise 'h' only after the narrator makes an 'h' sound.Repeat these eight notes then return to the second sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

[interrupt sung pitch to vocalise 't' only after the narrator makes a 't' sound.Repeat these six notes then return to the second sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

[interrupt sung pitch to vocalise 's' only after the narrator makes an 's' sound.Repeat these seven notes then return to the second sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

[interrupt sung pitch to vocalise 'f' only after the narrator makes an 'f' sound.Repeat these six notes then return to the second sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

[interrupt sung pitch to vocalise 'b' only after the narrator makes a 'b' sound.Repeat these four notes then return to the second sung pitch every time this occurs. When narrator finishes speaking hold pitch until next cue]

“– –‘

[blow air through instrument, no tone. This needs to be loud enoughto be heard from offstage. Length of fermata should vary between playersto be of a different duration. Repeat until cue 37]

Offstage Brass

The sledge heavy to haul, the limbs aching, the sweat freezing on bearded faces.

147

÷

&

&

?

?

?

Narr.

Vocal 1Vocal 1Vocal 1Vocal 1

Vocal 2Vocal 2Vocal 2Vocal 2

Vocal 3Vocal 3Vocal 3Vocal 3

Vocal 4

Vocal 5

OffstageBrass

Perc.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

˙ .œ œ ˙.œ œ œ .˙ rr

œ .œr

œ . .œ œ˙

r

œ ˙U

∑

œaU œ> œ œ œ œ œ œbU

ar ti mi i du…tu… sto¨ ar

œbU œ> œ œ œ œ œU

ar a bá ´s cri… w¨ ar

œaUœ> œ œ œ

œbU

ar wI s aˆ veˆ ar

wU

ar

wU

ar

42

2"

Till mind is dulled to stone and body is creaking wood with a sap of ice in the veins.

mf

mf

mf

[interrupt sung pitch to vocalise these five notes immediately after the narratorstarts speaking then hold second pitch unitl end of cue]

ca 13"

[interrupt sung pitch to vocalise these six notes immediately after the narratorstarts speaking then hold second pitch unitl end of cue]

[interrupt sung pitch to vocalise these four notes immediately after the narratorstarts speaking then hold second pitch unitl end of cue]

Sus.Cyms.

148

÷

÷

&

?

..

Narr.

Vocal 1

Vocal 2

Vocal 3

Vocal 4

Vocal 5

OffstageBrass

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

°

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

.˙ ˙r

œœ .œ œ œ . .œ .

r

œ ˙ œ œ .œ ˙ ˙rr

œ

w

wwwb

r

œœœb

œ> œb>œ> œ> œbä

œä œ- œb -

œb -

r

œœbb

wwwb

bn œ> œb>

œb>œbä

œâ œbâ œâœbä œb -

∑5"

43 ca 30"

mp

Tamtam large spongy mallet

–‘

Grimly, not talking much, then making camp. Evans, the giant worker, has cut his hand but still attends to the sledges, pitches the tent, the strongest man of the party.

Grimly, not talking much, then making camp. Evans, the giant worker, has cut his hand but still attends to the sledges, pitches the tent, the strongest man of the party.

Grimly, not talking much, then making camp. Evans, the giant worker, has cut his hand but still attends to the sledges, pitches the tent, the strongest man of the party.

Grimly, not talking much, then making camp. Evans, the giant worker, has cut his hand but still attends to the sledges, pitches the tent, the strongest man of the party.

Grimly, not talking much, then making camp. Evans, the giant worker, has cut his hand but still attends to the sledges, pitches the tent, the strongest man of the party.

Grimly, not talking much, then making camp. Evans, the giant worker, has cut his hand but still attends to the sledges, pitches the tent, the strongest man of the party.

[Vocals 1-5 to whisper text behind Narrator. Try not to start at the same time but stagger entries]

–‘

–‘“–

“–

mp pp p

L.H and R.H to become non-sychronised

Sus.Cyms.

149

&Scott

OffstageBrass

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥

˙n œb œb

Now we're so

44

q»66.œ œb œ .œb ≈

rr

œn

close I con fess I

œb œb

r

œb .œb

feel un ea sy

Ó œ œb œb œb œb œb œn

Can you be lieve it, Wilson?

Œ ‰ .rr

œ œb œb œb œb

In two more march es

‰ . œ œb œb œ> Ó

The Pole is ours!

‰ .rr

œb œ œb œb œb œb œb œb œb3

I nev er be lieved it poss i ble.- - - - - - - - -

&Scott

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

‰ .rr

œb œb œb œn œ ≈ œ œb œb œb œb œb ≈

I've wait ed, think ing that some thing must go wrong,

‰ œb œb œ œn œn œ œb œb

But to night I could shout and sing.

Œ ‰r

œn œ œ œ œ

It's cer tain we shall

r

œ .œ Ó

make it.- - - - -

ª

150

&

?

?

&

&

&

B

B

?

?

Vocal 2

Vocal 3

Vocal 4

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

Perc.

Pno.

¥¥¥¥¥¥¥¥¥ ∑œb>

œb œ œb œb œn ∑U&

r

œœœœbb

>∑U

&

r

œœœbb

>∑U

?

Ó Œ ‰ œb œ œ œb œb Œ œ œ œ Œ œ œ œb œ ‰ œ œ œ œb œ ‰ œ œ œ œ œ œb œ œb œ

33 3

The on ly thing is A mund sen. Won't it be nice to get to the Pole and find that he has found a trackthrough

Œ ‰œb œb œb

‰œb œb œb œb œb ‰ œb œb œb œb œb ‰ Œ

œb œb œb œb Œ œb œb œb œb œb œb œb œb œb œb œb3

It beg ins to be ex cit ing. I wish I was there. Oh, for get it! What does it mat ter which of us gets there first?

∑ œb œ œb œb œb œb œb ∑U3

That'swhat I reck on, blasthim!

wbU ‰ œb œB œb œB œb œB œb œB œb œB œb œB œb œB œb œB œb œB œb œB œb œB œb œB wbU wBU3 3 6

wU Œ œB œ œB œ œB œ œB œ œB œ œB œ œB œ œB œ œB œ œB œ œB œ œB œ œB œ wBU wU3 3

wU ‰ œ œµ œn œµ œn œµ œn œµ œn œµ œn œµ œn œµ œn œµ œn œµ œn wµ

Uwn

U3

wbU Œ œb œµ œb œµ œb œµ œb œµ œb œµ œb œµ œb œµ œb œµ œb œµ œb œµ œb wµU wbU3 3 6

wbU Ó wb

Uwµ

U

wbU ∑ wb

UwB

U

wU ∑ œ œµ œ œ

f

ppp

ppp

ppp

ppp

ppp

ppp

ppp

con sord.

con sord.

con sord.

con sord.

con sord.

con sord.

con sord.

45

String fermata to last length of one full bow at ppp then proceed. No cresc.

–‘“–

10"

mf

Chimes

sul pont.

sul pont.

sul pont.

sul pont.

sul pont.

sul pont.

sul pont.

- - -

- - -

- -

-

151

&

?

&

&

&

B

B

?

OatesOates

Wilson

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

œ œ œ œ œ œ œb œœb ∑U

3

his whis kers and bea ten us to it.

œb œ œb œ œ œ œ œ ‰ œb œ œ œ œ ,≈ œb œb œb œb œb œb œb œb œb œb œb œb œb ‰ .

œb œb œ œb œb œb‰ .

œb œb œ œb œb œb œb œ œb3 3 33

Let's see that hand of yours, E vans,that's more im por tant than troub ling your self a bout who is first at the Pole As if we were school boys. There's hon our and glor y e nough,

wbU wBU

wBU

wU

wµU

wnU

wµU

wbU

wbU

wµU

wbU

wBU

- -

- - - - - - - - - -

152

?

&

&

&

B

B

?

Wilson

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2Vc.2

‰ œ œb œ œb œb ‰ œb œb œb œb œb œb œb

If that's what you want, in march ing as far as this.

wbU wBU

wBU

wU

wµU

wnU

wµU

wbU

wbU

wµU

wbU

wBU

G.P. 6 secs.-

153

&Scott œ œ œb œb œ œ œ œb3

It's not the hon our and glo ry

46 Vocal and violin to start cue 39 together. Violin will probably reach fermata before the voice so should wait until the vocal proceeds to next cue.

œb .œn œ œ œb .œb œb œb

It's a priv ate thing. It would

.œn œn œ œ œ œb .œn

make it worth while for me,

œ œb œn œ œ œ œ ≈ œ œb œn3 3

pri vate ly per son al ly, To be the

r

œ œr

œ ˙

first at the Pole.

œb œ .˙

I sup pose- - - - - - - - - -

& ˙r

œœb œb œb3

we all feel the same,

œb œb œb œb œb œb .œb œb œn3

We want to do it bec ause we set

œ œ .œn œ œ œbœ

out to do it, And by

.œ œ œb .œ ≈ œ œb œb

God we will. But it's no

œb .œn œ œ œb œb œb3

use cur sing A mund sen

œb œ œb œb œb œ œ œ œ

They're en titl ed to their am bi tions,- - - - - - - -

& ≈ œ œb ≈ œb œb œbr

œ ‰ œn

the same as we are If

œ œn ˙

the worst comes

r

œ œb œb œbr

œb œn œ œ

,r

œb œb

3 3

to the worst we'll have to bear it. It's no

œ œb œb œb œb

r

œb œb œn œ œ3 3

use whi ning. The ver y thought of a race- -

&

rit.

œ œb œ œb ≈ .r

œb œb œb

spoils it for me; it's vul gar,

œb œn œ œ œ œ œ œ

not what I ho ped for. It

r

œb œb œn œ œ œ œ œ œ œ

U3 3

must be that which made me feel un ea sy

attacca to next cue ifVln.1 is waiting at fermata

- - -

&Vln.1œb œ

.œ œ œb œ œb

Violin to play from offstage. Play expressively at a comfortable dynamic but not to overshadow the voice.

ord. r

œ œ œ œb œ .œ œ œb

3

œ .œ .œbœb œb .œb

œb

œr

œ œb œ œ œb .œœb3 3 r

œb .r

œbœb r

œ œ œ

r

œ

3 3

& .˙r

œ .œb œb œ œn œb œ.œb œ r

œb .œb œ œb r

œb .œb œbœb .œ

œ œ œ œbœb œb œb

.œb

&

œA

œ œ œ .œb œ œ œ œb .œ œ ˙ œr

œb œ r

œb ˙3 3 .˙ œ œb ˙r

œ œbr

œb

&

œA

œ œ œb œ œ œœb œb œ

œb

œn œ œr

œb œ .œ3

Scott

œb œn .œ œ.œb œb .œ

œ

œb œn œ œ œ œ œ œ

not what I ho ped for. It

&

œ œ œb œ .œ œ œ

U

r

œb œb œn œ œ œ œ œ œ œ

U3 3

must be that whichmade me feel un ea sy

*

- -

* Vln.1 to wait on this fermata for the voice to pass to next cue, then to proceed also

154

&

&

&

&

&

B

B

?

?

t

Scott

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

rit.

°

‰ œ œ œ œ œ ‰ œ œ œ œ œ œ œ ‰ ‰ œ œ œ œ œ œ ‰ œ œ œ œU3

The feel ing that now, when our hands are on suc cess, we planned so care ful ly, en dured so much...

wU œbä œ

.œ œ œb œ œb wU wBU

Œ Œ Œ Œ Œ Œ Œ wU wµU

ΠΠΠΠΠΠwU wU

ΠΠΠΠΠwU wBU

wmU

wU

ΠwbU

wµU

ΠΠwbU wBU

ΠΠΠwU

wµU

ΠΠΠΠwU wU

47

sul pont.

pppf

ppp

ppp

sul pont.

sul pont.

sul pont.

sul pont.

sul pont.

ppp

ppp

ppp

sul pont.

sul pont.

sul pont.

Perc.

5"

wb

Uæ&

∑U

ppp

Vibe.

- - - - -

155

&

&

?

&

&

&

&

&

B

B

?

?

t

44

....

Scott

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1Vc.1

Vc.2

D.B.

Perc.

Pno.

°

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

°

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

1

wb

Uæ

wb>

Ó Œ ‰r

œ

It's

r

œa ∑U

r

œµa ∑U

r

œa ∑U

r

œBa ∑U

r

œmb∑U

r

œµb ∑U

œm O Oœm

3

r

œb∑U

r

œa ∑U

ppp

Vibe.

48

II.

mp

q»86

–‘

ff

œm œ œn œ œ Œ

fine to be march ing;

Vln.1 come back to stage

Ó œm œ œ œ

strange that hum an

Ó >

œ œ ‰ œm œ œ œ

cour age should droop at night

O Oœm Oœmm

3

mp–‘

?“–

slightly slower than conducted tempoII.

œ œ œ œm œm œ œn Œ3

like the flow ers and green things,

œ œm œm œn œ œ œm œm œ3

as if we were quite at the mer cy- - - - -

Scene 5 - Something Black on the Snow

156

&

&

?

&

....

Scott

Vc.1

Vc.2

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

7

Œ .˙b>

Œ .˙b>

‰r

œm œm œ œn œ œ Œ3

of nat u ral for ces.

mf

Vla.2

Vibe.

Œ.˙b>

Œ œb œ œm

I re mem

Oœbb œb œb

3

mp

B –‘

slightly faster than conducted tempo

Ó ‰ . rr

œb> œ

Ó ‰ .rr

œb> œ

˙n œm œ

ber black birds

œ œm œm œ œm œ œn œb

3 3

when it was dusk in the coun try,

‰ œb œ œm œb œ œm

The last songs, and then the

œm œ œ ‰r

œn œm œn Œ3

twit ter ing, then sil ence;- - - - - - - - - -

157

&

&

?

&

....

Scott

Vla.2

Vc.1

Vc.2

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

13

Ó Œ ≈.r

œb

Œ ‰ .

rr

œb>

˙

Ó Œ ≈.r

œb>

Œ ‰ .rr

œb> ˙

œm œm œ œm œm œn œm œ œ

Dusk and sleep were a law they nev er

Oœbb œn Oœbb

3

œb œbOœbb

3slightly slower than conducted tempo

“– –‘mp

mp

“– &Vln.3

slightly faster than conducted tempo

BVla.1

Vibe.

œm œm Œ Ó

quer ied.

Ó ‰ .rr

œ> œ

Ó ‰ .rr

œ> œ

Ó ‰ .rr

œ œ œ

It would be

Ó ‰ .rr

œb> œ

Ó ‰ .rr

œb> œ

œ œ œ œ ≈ œ œ œ œ œ

less un nerv ing if night meant dark ness

œbœn œb3

mp

slightly slower than conducted tempo

&“– –‘Vln.2

œ Œ Ó

here,

Ó Œ ‰ .rr

œ>

Ó Œ ‰ .rr

œ>

œm œ œm.œ r

œ

One could be sad; but- - - - -

158

&

&

?

&Scott

Vln.2

Vln.3

Vla.1

Vla.2

Vc.1

Vc.2

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

19

w

w

œm œ œmœ œ œ

last night was des per ate;

Vibe.

‰ .rr

œb> .˙

‰ .rr

œb>. .˙

≈ œm œ œ œ œ ‰ œ œ œ œ œ3 3

There is no rel ief when you can't go down

¬¬¬¬¬¬¬¬

œm œm œ Œ Ó3

in the dark.

silently sustain these notes with the sostenuto pedal until indicated release

U

6 secs.

- - -

159

&

?

?

&

WilsonWilson

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

Perc.

Pno.

¥¥¥¥

¥¥¥¥

¥¥¥¥

¥¥¥¥

¥¥¥¥

¥¥¥¥

°

| |

22

¿>

¬¬¬¬¬¬¬¬ba

U

‰ . œ œ œ œ œ

I won der how diff

w

49

ppp

p

pizz.(pluck one string for each noteinside piano with fingernail)

-erent we are from normal men?

etc.

Ó ‰ .¿b>

≈ œb œb œb œb œb

This terr i ble cold

w

Ó ‰ .œbB

Ó ‰ .œbB

Ó ‰.œb

?

ppp

ppp

ppp

could change a man's nature,

?

Vln.1

etc.

‰. .¿b>

œb œb œb œb œb

And per haps it has.

‰. .˙b

&

‰ . .˙&

w

Ó˙

?

ppp

ppp

Perhaps we've all gone mad

ppp

Perc.

?

wb

¿

-&

wbU

pp

Vibe. motor on

[bowed]

etc.

- - - -

* Players to stagger re-entries of these notes as to sustain a continous pause

160

&

&

?

&

&

&

B

B

?

?

Vln.1

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

Perc.

Pno.

28

wb -

¬¬¬¬¬¬¬¬ba

U

w

wbU

wA

U

b

Vln.2

Ó Œ¿b>

≈ œb œb œb

It's a plea

wb

Ó Œœb

&

w

w

wb

ppp

Wilson?

∑U

œb œb

sing spec

w

w

wb

-ulation. Seriously, though, I saw last winter how the climate changed us,

etc.

Ó˙b

wb

Ó ˙

wb

w

wb

D.B

wb -

wb

wU

wU

wbU

wbUt

ppp

pp

-

* Players to stagger re-entries of these notes as to sustain a continous pause

161

&

?

&

&

&

&

B

B

?

?

t

Wilson

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

|

34

wb -

¬¬¬¬¬¬¬¬ba

U

wbU

wbU

w

wU

b

wA

U

b

wA

U

b

wUa

wAUa

wAUa

We hardly spoke once that long silver twilight had really begun to permeate our bodies.

Ó wn -

wU( h )

∑U

162

&

&

?

&

?

&

&

&

&

B

B

?

?

t

Oates

Evans

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

√

wb -

wwb

wwbb

ŒU

You mean to say we're barmy?

wbU

OwbbU

OwbbU

wbU

wbU

wbU

wbU

wbU

wbU

50

ppp

ppp

ppp

ppp

ppp

ppp

p

ppp

ppp

ca 17"

pp

[spoken]

Of course you are, and so am I, hauling a sledge to the Pole when I might be home where there's food and fires and women. You can certify me potty.

∑U

∑U

∑U

[spoken]

38

163

÷

&

?

&

?

&

&

&

&

&

B

B

?

?

t

Oates

Wilson

Offstage Trp.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

√

wæU

wwb

wwwbnb

Ó ‰ ¿ ¿ ¿

What is it?

r

œb .œb Ó

My God!

wU

wbU

OwbbU

OwbbU

wnU

wnU

wbU

wbU

wbU

wbU

Bass drum

ppp

51 ca 30"

6"

[Trpt. should play about mf-f but be far away off satge to sound distant and not over power the voice]

pp

mp

∑U

∑U

¿ ¿ ¿ ¿ ‰r

¿

I'm cra zy, too! My

p

¿ ¿ ¿ ¿ ¿ ‰r

œb

eyes are play ing tricks, I

œ .œb œ œ .œ> œ

etc.

œb œb œb œb œb œn

thought for a mom ent I

wU

˙b - ˙b -

˙b - ˙b -

˙b - ˙b -

.- .-

.- .-

œb - œb - œb - œb -

‰ œb - œb - œb - œb -

œb - œb - œb - œb -

Œœb - œb - œb -

6"

mp

mp

mp

mp

mp

mp

mp

mp

mp

strings should play unsynchronised

œ œb œn œ œ

saw a cairn a head

œb -

.˙n -œb -

.˙n -

œb -

.˙n -

.-

.-

œb - œb - œb - œb -

œb - œb - œb - œb -

œb - œb - œb - œb -

œb - œb - œ- œb -

œ .œb œ œ .œ> œ

œb -

œ-

œb -

œ-œb -

œ-

œb -

œ-

œb -

œ-

œb -

œ-

.-

.-

œb - œb - œb - œb -

œb - œb - œb - œb -

œb - œb - œb - œb -

œb - œb - œ- œb -

- - - -

39

164

÷

&

&

&

&

&

&

B

B

?

?

t

Scott

Offstage Trp.1

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

rit.

wæU

œb œb ‰r

œb œ

What's that? A cairn?

wU

œb -

œ-

œb -

œ-

œb -3

œb -

œ-

œb -

œ-

œb -3

œb -

œ-

œb -

œ-

œb -3

- -

- -

œb - œb - œb - œb -

œb - œb - œb - œb -

œb - œb - œb - œb -

œb - œb - œb - œ-

Bass drum

ppp p

.œ- r

œb - ˙

.œ- r

œb - ˙

.œ- r

œb - ˙

- -

- -

˙b - ˙b -

œb - œb - œb - œb -

œb - œb - œb - œb -

œb - œb - œb - œ-

etc.wæ

U

-

˙b -

-

˙b -

-

˙b -

w≥

U

-

w≥U-

˙b - ˙b -

œb - œb - œb - œb -

œb - œb - œb - œb -

œb - œb - œb - œ-

Trpt.2

Hn.

Trbn.

BTrbn.

wU

wbU

&

wb

U&

wU

?

w

U?

w≥

U

-

w≥

U

-

w≥

U

-

.˙b - œb

U

-

.˙b - œb -U

˙b - ˙b -U

œb - œb - ˙b -U

mf

pp

pp

pp

pp

mf

mf

mf

mf

pp mf

Hn. and Trbns. to quietly take seats with the rest of the orchestra

165

&

&

B

Offstage Trp.

Vln.1-4

Vla.1+2

41

.˙b

U

.˙b

Œ .œm .œ œ

r

œ

44

f

mf

45

52

w

œ .œ œ .œbr

œ œ

r

œb

wmf

Vc.1+2

D.B

.˙b

.œ œ .œb œb œ œn .œb

w

‰ .œb .œ

r

œ?

‰ .œb .œ

r

œt

mf

mf

w

œ .œb .œ œn> .œb œn œb

˙ ˙

.œ .œ œ

.œ .œ œ

.˙n ˙

œ œn> œb œ œ œ œb œ œ œ

w

œ ˙b œ œ

œ ˙b œ œ

w

œn> .œb œ œ œ œ .œ .œ œ

˙b ˙n

.œr

œb ˙

.œr

œb ˙

.˙

œ œb œn œ œ œb> .œn

w

r

œ .œb ˙b

r

œ .œb ˙b

&

&

B

?

t

Offstage Trp.

Vln.1-4

Vla.1+2

Vc.1+2

D.B.

48

˙ œb .˙n

œb .œn œb .œnr

œ œb œb> œn

w

œA œ .œb

r

œ œb

œA œ .œb

r

œ œb

˙

œ œb œn œ œb> .œn œ œb

˙ ˙b>

˙r

œn> .œb

˙r

œn> .œb

.˙ œb

œ œ œ .œn œb œb œ .œb

w

r

œ .˙br

œn>r

œ .˙br

œn>

.˙n œb

œ .œb œ œ œn

w

.˙b œ œb

.˙b œ œb

.˙n ˙

œ .œ œ .œ œ œb œn œ œ

w

œ œ œ- œ-

œ œ œ- œ-

œb> .˙n

.œ œb .œn œb œn œ œb> œn

˙b ˙nr

œ> .œb œ œr

œ> .œb œ œ

&

&

B

?

t

..

..

..

..

..

..

..

..

....

Offstage Trp.

Vln.1-4

Vla.1+2

Vc.1+2

D.B.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

54

œb ˙n

œ œb œn .œ œb> œn œ œb œn

w

r

œ> .œb œ œr

œ> .œb œ œ

Vc.+bass to accell BUT remain strictly synchronise together

.˙ œb>

œ œ œ œb> .œn œ œ œ œ œ œ>

˙b ˙n

.˙n ˙

œ œ œ>

w

–‘

53each vln. to accel independently of each other

œb .˙n

w

˙ œn

wb

œb> .˙n

w

˙ œ ˙

˙b> ˙n

œ wU>

w ˙b ˙n w w

ª

ª

166

÷

?

&

?

?

Bowers

Hn.

Trbn.

B Trbn.

Vln.1-4

Vc.1+2

D.B.

Perc.

Pno.

¥¥¥

¥¥¥¥

°

wUæ

‰ œb œn œ ∑U

It's on ly a sas tru gi!

wb

U

wbU

wb

U

Bass drum

mp mf

54

mp

mp

mp

ca 6"

Trpt.2

Trpt.1

Vla.1+2

Pno.

Wilson

Oates

Offstage Brass

Vc.1+2

œ œ œ œ œ œ

wwwwwwn

b

nb

bngggggggg

U

&

?

Ó œb œ œb œn œb

I had a fee ling

&

wn

Sure?

?

wb&

wn&

wn

wn

wn

œb œb œb œb œb œb œb œb&

œœ

œœ

œœ

œœ&

œb œ œb œ œb œ œb œB

p

p

p

p

p

55

pp

pp

pp

pp

p

Tomtoms

œœ œ

œ œœ

œ œ œ œ œ

∑U

œb œb œ œb œb œb ÓU

A mund sen would beat us.

∑U

?

œb œ œn œ œ

I can't see an y

∑U

∑U

∑U

∑U

∑U

œb œb œb œb œb3

œœ

œœ

œ3

œb œ œb œ œb3

Evans?

pp

œb> œn>Œ œb œn œb œn> œb>

Look there! I can still see it!

r

œ ∑U

thing.

œb ˙b ˙b

œ˙

˙

œ ˙b ˙

Trpts. to quietly take seats with the rest of the orchestra

Œ œ œb œ œb œ œb

But it's on ly a sas

˙b ˙b

˙˙

˙b ˙

- - -

- - -

- -

- -

65

167

?

&

&

B

Bowers

Vln.1-4

Vla.1+2

Vc.1

Pno.

¥¥¥

œb œn Ó

tru gi.

.˙b .˙bU

.˙˙U

.˙b U

‰œ œb œn œb œb œn œ ‰

I feel like a crim i nal

œ œb œ œb œ œb Œ

Start ling you all like that.

Trpt.2

Hn.

Trbn.

B.Trbn.

Scott œb œn œb œb œb œn

I can't see an y thing

&

Ó Œ ≈ w&

wU

&

Œ ‰w

?

‰ ..r

œ w?

œb .≈ œb .

‰œ. ≈ œb .

Ó

Œ ‰ œ.œb .

œn . œb . Ó

‰ .œ. œb .

≈ œ. ‰ . ‰ .œ. œb .

≈ œ.

p

p

p

p

p

p

p

Trpt.1

œbœn ‰ Œ ˙

ei ther; Look

Œ ‰ . . .˙&

œ

œ wä

.ä

œb .≈ œb .

‰œ. ≈ œb .

Ó

Œ œ.œb .

œ. œb . Œ ‰

‰ . Œ ‰œ. œb .

≈ œ. ‰p

p

–‘“–

- - - -

- - -

168

&

?

&

&

&

?

&

&

B

....

Scott

Bowers

Trpt.1

Trpt.2

Hn.

Trbn.

B Trbn.

Vln.1-4

Vla.1+2

Vc.1+2Vc.1+2

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

œ œ œ œ œ Œ

care ful ly, Bow ers.

‰ œb

It's

.r

ω w

wâ

ϷU

œb .≈ œb .

≈œ. ≈ œb . œ.

≈œb . ≈ œ. ≈ œb .

‰

œb .œn . œb . ≈ œ.

œb .œ. œb . ≈ œ.

œb .œ. œb . ≈ œ

œb .

≈œ. œb .

≈ œ. ≈œ. œb .

≈ œ.“– –‘

‰ œ œ œ œ œb œb

If this is Am und sen...

œn œb œn œœ œb œ œb

so con fu sing, all these waves of

∑U

œ ∑U

œb . œb . ≈ œ.≈

œb . œ. œb .≈

œ. ≈ œb . œ. œb . ≈ œ.

œn . œb . ≈ œ.œb .

œ. œb .“– –‘

œ ‰ œb œn œb œn œ

snow. I wish the light were

œb . œb . œb . œ. œb .

–‘

œ œb Œ œ œb œ œb

clear rer; but it's not a

Oates Œ œ œ œb œ Œ

Cairn or no cairn

&

œn Œ Ó

cairn.

wU

â

- - - - -

- - -

169

&

&

..

..

..

Oates

Hn.

Vln.1-4

Vla.1+2

Vc.1+2

Pno.

°

œb œb œ œb œ œb

The Nors kies will beat us.

wU

b

Perc.

Evans

D.B

Trpt.2

Trbn.

B.Trbn.

Pno.

œb> œ œ œ œ œ œ ‰?

&

œœbb

>œœ

œœ

œœ

œœ

œœ

œœ

‰?

‰ œb œ œn œb œ œ œ ‰ œ œ œ

I be lieve I can see it. What will we

?

Ó Œ ≈w>

&

wb

Œ ‰ wb>?

‰ . .r

œb> w?

œb .œ œ .œr

œ œnr

œ&

wbB

wb -?

wb -t

Timpani

mf

mf

p

p

mf

56

mp

p

p

p

“–

Trpt.1

mp

Wilson

(in p)

(in p)

44

44

œb> œ œ œ œ œ œ ‰

œœbb

>œœ

œœ

œœ

œœ

œœ

œœ

‰

Œ ‰r

œb> œ> œb œ œ œb>You can't see an ything!

?

œb œ œr

œ ‰ Ó

do if it is?

‰w>

&

œ

w

œb

.œ œ .œb œb œ œ .œb

w

wb -

wb -

–‘

–‘

p

mf

mf

p

p

œb> œ œ œ œ œ œ ‰

œœbb

>œœ

œœ

œœ

œœ

œœ

œœ

‰

≈ œb œ œb œ ≈ œ œb œn œ ≈ œ œ œn

It's not a cairn, and if it is, it does n't

˙ ˙b

œ .œb .œ œb> .œ œ œb

˙ ˙b

wb -

wb -

–‘

–‘

mf

mf

p

p

-

-

- -

170

?

&

?

?

?

&

&

B

?

t

Wilson

Bowers

Trpt.1

Trpt.2

Hn.

Trbn.

B Trbn.

Vln.1-4

Vla.1+2

Vc.1

D.B.

Perc.

Pno.

70

œb> œ œ œ œ œ œ ‰

œœbb

>œœ

œœ

œœ

œœ

œœ

œœ

‰

œ œm ‰ Œ Ó

mat ter

‰ œb œb œ ≈ œb œb œb œb œ œ ‰3

It's noth ing I should n't have spo ken.

wA

œA œ> œb œ œ œ œb œ œb œ

wA

wb -

wb -

mf

mf

p

p

œb> œ œ œ œ œ œ ‰

œœbb

>œœ

œœ

œœ

œœ

œœ

œœ

‰

‰r

œ œ œb œbr

œb ‰ ‰r

œn

I a pol o gise. The

˙b ˙n

œb> .œ œb œ œb œ .œ.œ œb

˙b ˙n

wb -

wb -

mf

mf

p

p

œb> œ œ œ œ œ œ ‰

œœbb

>œœ

œœ

œœ

œœ

œœ

œœ

‰

œb œb œb œ œb ≈ œb œb œb œb

winds heaped up the snow a bit more than

w

œ œ œb œ œ œ> .œb

w

wb -

wb -

Scott

mf

mf

p

p

œb> œ œ œ œ œ œ ‰

œœbb

>œœ

œœ

œœ

œœ

œœ

œœ

‰

Ó Œ œn>

Let's

&

œb œb œb ‰r

œb œb œb œnr

œb ‰3

3

u su al. That's all it can be.

w

œb .œn œb .œr

œ œb œb> œn

w

wb -

wb -

f

mf

mf

p

p

-

- - - - - - - - -

171

?

&

?

&

&

&

B

?

t

Scott

Trpt.1

Trpt.2

Hn.

Trbn.

B Trbn.

Vln.1-4

Vla.1+2

Vc.1

D.B.

Perc.

Pno.

74

œb> œ œ œ œ œ œ ‰

œœbb

>œœ

œœ

œœ

œœ

œœ

œœ

‰

œb> Œ Œ ‰ .rr

œn>

march. And

˙ ˙b>

œ œ œb œ œ> .œb œ œb

˙ ˙b>

wb -

wb -

mf

mf mp

mf

mf mp

mf

mf

p

p

œb> œ œ œ œ œ œ ‰

œœbb

>œœ

œœ

œœ

œœ

œœ

œœ

‰

œ> œ œ> ‰ .rr

œ

haul, men, haul; What

wb

œ œ œ .œn œb œn œ .œ

wb

wb -

wb -

mf mp

mf mp

mf

mf

p

p

œb> œ œ œ œ œ œ ‰

œœbb

>œœ

œœ

œœ

œœ

œœ

œœ

‰

œ œb œb œ œ œ œ œ œ3

e ver it is we'll find out soon e

w

œb .œ œb œ œb

w

wb -

wb -

mf mp

mf mp

mf

mf

p

p

œb> œ œ œ œ œ œ ‰

œœbb

>œœ

œœ

œœ

œœ

œœ

œœ

‰

r

œb>‰ Œ Œ ‰

r

œ

nough, And

w

œ .œ œ .œb œ œ œb œ œb

w

wb -

wb -

mf mp

mf mp

mf

mf

p

p

œb> œ œ œ œ œ œ ‰

œœbb

>œœ

œœ

œœ

œœ

œœ

œœ

‰

œb œb œb œ œ œb œ œb œb3

if it's the worst I want to get it

˙b> ˙n

.œ œ .œb œb œn œ œ> œb

˙b> ˙n

wb -

wb -

mf mp

mf mp

mf

mf

p

p

- - - -

172

?

&

?

&

&

&

B

?

t

Scott

Trpt.1

Trpt.2

Hn.

Trbn.

B Trbn.

Vln.1-4

Vla.1+2

Vc.1+2

D.B.

Perc.

Pno.

79

œn> œ œ œ œ œ œ ‰

œœnn

>œœ

œœ

œœ

œœ

œœ

œœ

‰

œ œn Œ Ó

o ver.

w

œA œb œn .œ œb> œn œ œb œ

w

wn -

wn -

mf p

mf p

œ> œ œ œ œ œ œ ‰

œœ>

œœ

œœ

œœ

œœ

œœ

œœ

‰

˙b>˙b

œ œb œ œb> .œ œ œ œ œ œb œn>

˙b> ˙b

w-

w-

f

Vln.2

Vln.3

Vln.4

Vla.2

Vc.2

Bowers

mf p

mf p

wb æU

wwwm

U

wbU

OU

OU

&

OU&

wmU

&

wU

wmUB

OU

wbU

?

wbU

57 ca 22"

pp

pp

pp

pp

pp

pp

pp

pp

pp

sul D

sul D

sul A

sul pont.

sul pont.

sul pont.

pp

pp

[whispered]

There's something there I can see. I have to tell you. There's something black in the snow.

[whispered]

What do you mean? What's black in the snow?What can you see?

-

173

?

?

?

t

44

Bowers

Vc.1

Vc.2

D.B.

Pno.

°

81

Œ œb œn œb

Just some thing

œb œn œb œn

œb œn œb œn

œb œn œb œnp

p

p

58

f

Trbn.

œn œb ˙n

black that's all.

˙b ˙n?

œb œ œ œb

œb œ œ œb

œb œ œ œb

p

Hn.

B.Trbn.

Œ œb œn œb

A speck that's

‰r

œb .œ .œn?

˙b ˙n

˙b ˙n?

œb .˙b

œb .˙b

œb .˙b

p

p

Vln.2

Œ œb œb œb

A speck be

&

wn

black

r

œ .œbr

œ .œn

˙b ˙

˙b ˙n

.˙b œb&

p

f

Trpt.2

œb œb œ œb

damned. You've got the

‰r

œb œ .œr

œb&

r

œ .œbr

œ .œ

˙ ˙b

˙b ˙

œb œ œ œb

p

Pno.

Trpt.1

Vln.1

wwwwwwbbbbb

>

&

wwwbn>

?

œb œ œ œ

wind up, Bir die;

Ó ‰ œr

œb&

r

œ œb œ œr

œb

r

œ .œr

œ .œb

˙b ˙b

˙ ˙b

œ œb œn œb&

œ œb œn œb

p

p

mp

Œ œ œ œ

You've got a

r

œ œn œb œ

r

œ

r

œ œn œb œnr

œb

r

œ .œbr

œ .œb

w

˙b ˙b

œ œ œ œ

œ œb œn œb

-

-

174

&

?

&

&

&

?

?

&

B

B

?

?

t

Oates

Trpt.1

Trpt.2

Hn.

B Trbn.

Vin.1+2

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Pno.

œ œ œ œb

speck in your eye,

r

œ œ œ œr

œ

r

œA ‰ Œ Ó

wA

wA

œ .˙

.˙b œb

.˙b œb

Ó Œ œb

Œ ‰r

œb .œr

œn

˙b ˙np

p

p

p

p

œb œb œb œ

that's the trou ble,

˙r

œ ‰ Œ

r

œ ‰ Œ Ó

œb œ œ œb

œb œ œ œb

œ ˙n œb

.œr

œb .œr

œn

˙b ˙n

Œ œb œn œb œ

And the speck is

œ œb œn œb

œ œb œn œb

œ ˙n œb

.œr

œb .œ

r

œ

˙b ˙

œn œb œn Œ

A mund sen.

œ œb œn œb

œ œb œn œb

œ ˙ œ

.œr

œ .œ

r

œb

˙ ˙b

Perc.

Bowers

œb .˙bæ?

‰œb œb œb œb œb œ œb œ œn œb œb

Damn it, Oates! Do you think I'm trying to fool you,

?

œ œb œn œb

‰ œr

œbr

œ œnr

œb

œ ˙b œb

.œr

œb .œr

œb

˙b ˙b

Timpani

mp

- - -

88

175

?

B

B

?

?

t

Bowers

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

‰ œ œb œ œ œ œ œ œr

œ‰

Do you think I'd be like ly to speak

œ œb œn œb

r

œ œnr

œbr

œ œnr

œb

œA .˙b

wA

wA

Wilson Ó œb œ

Stea dy,

?

‰ œ œb œn œ œ œ Ó

if I was n't cer tain!

œ œ œ œ

r

œ œr

œr

œ œr

œn

.˙ Œ

˙ Ó

œn œ Ó

Bir die.

Ó œb œ Œr

œ

Sor ry. This

œ .˙

r

œ œr

œ ˙

Perc. œb> œ œ œ œ œ œ ‰?

œb œ œ œ œnr

œ Œr

œb

is n't a time to quar rel. I'm

œ .˙

œ œ .œ

r

œ

(in p)

Timpani

œb> œ œ œ œ œ œ ‰

œb œ Œ œn œ œ œ

sor ry. That I would n't

.œr

œ ˙

.œr

œ ˙

.œ

r

œ ˙

- - -

- -

- - - - -

?

?

B

B

?

?

t

Bowers

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

98

œb> œ œ œ œ œ œ ‰

œ œ œ œr

œ œr

œ

like to tear my eyes out, there's

œ ˙ œ

œ ˙ œ

œ ˙ œ

Œ ˙ œ

œb> œ œ œ œ œ œ ‰

œ œ œ œ œ œ œ œ

some thing black a way a head to

˙r

œ .œ

˙r

œ .œ

˙r

œ .œ

˙r

œ.œ

Ó ‰ .œ

Evans

œb> œ œ œ œ œ œ ‰

œ œ Œ Ó

the right.

Œ ‰r

œb œ œb œ œb

Well I don't see it.

?

œ .˙

œ .˙

œ.˙

œ .˙

œ .˙

¿ ¿ ÓU

Look hard

wU

wU

wU

w

w

[spoken]I'm looking. But all I can see is the bloody snow.

- - -

ª

93

176

?

&

&

&

&

?

?

&

B

?

t

Oates

Trpt.1

Trpt.2

Hn.

Trbn.

B Trbn.

Vln.1-4

Vla.1+2

Vc.1+2

D.B.

Perc.

103

wb æ

œ> > œ>

Blood y's the

w>

w>

wb>

wn>

wb>

> œ> œb>

w>

w>

wb>

59

mf

mf

mf

mf

mf

con sord.

con sord.

con sord.

con sord.

con sord.

f

f

f

f

Timpani

œb> œ œ œ œ œ œ ‰

wb>

word.

w

w

wb

wb

w

˙b> ˙b>

œœb> œb> œn>

w

w

mp

mp

mp

mp

mp

sul D

wb æ

> œ> œ>

Blood y with

wb>

w>

wb>

w>

wb>

> œ> œb>

wb>

wb>

wn>

mf

mf

mf

mf

mf

œb> œ œ œ œ œ œ ‰

œb> œb> ˙b>

pon ies killed,

wb

wn

w

wb

wb

˙b> ˙b>

œ œb œb œn

w

w

mp

mp

mp

mp

mp

wb æ

Ó ˙n>

Blood

wn

w

Œ œb> œb> œ>

wb

wb

wæ

œœb> œb> œ>

wæ

wb æ

sul D

œb> œ œ œ œ œ œ ‰

œ>œ> œb> œb>

y with all the

w

w

wb>

w

w

œæ .˙

æ

wb>

˙˙æ

wæ

pp

pp

pp

pp

wb æ

œb> œ>œ> œb>

waste of what we've

œ œ> œb> œb>

wæ

œ œ> œb> œb>

wæ

wæ

œb> œ œ œ œ œ œ ‰

˙b> Ó

done!

œ> .˙b>

wæ

U

œ> .˙b>

wæU

wæU

pp

pp

pp

wU

æ

wb

w

wb

w

wn æU

pp

pp

∑U

∑U

∑U

∑U

- - - -

177

?

&

B

?

t

Scott

Oates

Evans

Vln.1-4

Vla.1+2

Vc.1+2

D.B.

Perc. wU

æb

wæ

U

b

wæU

b

wæU

wA æU

[spoken]

Yes, I can see it. I don't like the look of it.

Timpani

[spoken]

Couldn't it be a rock?

[spoken]

There aren't any rocks.

[spoken]

Then a bird or something.

[spoken]

There aren't any birds, curse you.

178

&

÷

&

?

&

B

?

t

..

..

..

..

..

..

..

..

Narr.

Vln.1-4

Vla.1+2

Vc.1+2

D.B.

Perc.

Pno.

°

°

let ring |

∑

∑

wæ

U

b

wæUb

wæUb

wA æU

b

60

Now you shall know the truth,No matter how bleak, how black;If the white track leads to deathHeroes will not turn back.

6"

6"

œb

œ‰ œ

œb ‰ œb œb œ3

œœ ‰ œ œ ‰ œ œ œ

3

‰œb œb œb œ œ

>œb

œ

Vibe.

Sus.Cym.

ppp

ppp

ppp

approx. q»134

approx. q»134

It is better to climb the ridgeAnd stare on chasms of air,Or stroke from the sea-cliff's edgeThe sea's dark strangling hair,

Than to run like a rat for coverWhen truth comes storming by.Better than huddling overThe sinking coals of a lie

To climb to the barren peakWhere the shape of truth must showAnd no man, strong or weak,Can hide his head in the snow.

Scene 6 - Beaten to the Pole

179

?

&

&

B

?

t

45

45

Bowers

Vin.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Perc.

Pno.

°

1

‰ œ œ œ œ œ œ œ œ Œ

I'm a fraid it looks like a flag.

wæ

b

Œ

wæ

b

Œ

wæb Œ

wæb

Œ

wA æbŒ

p

61 q»60

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Pno.

Perc.œœb

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

?

w>

Œ&

wb>Œ?

.œb> ‰ Œ Ó&

wb> œ&

w>

+ r

œ‰&

w> Œ?

˙b>Ó Œ?

œœb> œœ œ ‰ Œ˙æ

œœb > œœ œœ œœ œœ œ ‰.œ

æ

œœbb > œœ œœ œœ œœ œœ œœ œ œ œ

œœ> œœ œœ œœ œœ œœ œœ œœ œ ‰

œb> œ œ œ Œ ˙bæ

f

mf

mf

mf

mf

mf

f

pizz.f

pizz.

f

f p

f p

pizz.

pizz.

pizz.

mf pp

Timpani

ppp

arco

ppp

arco

ppp

arco

con sord.

con sord.

con sord.

con sord.

Scott Ó œ œ œ œ Œ

Yes, it's a flag.

&

wæ Œ

wæ Œ

wæ Œ

wæ Œ

wæ Œ

ppp

arco

arco

ppp

p

œœb

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

w>

Œ

wb>Œ

.œb> ‰ Œ Ó

wb> œ

w>

+ r

œ‰

w> Œ

˙b>Ó Œ

œœb> œœ œ ‰ Œ˙æ

œœb > œœ œœ œœ œœ œ ‰.œ

æ

œœbb > œœ œœ œœ œœ œœ œœ œ œ œ

œœ> œœ œœ œœ œœ œœ œœ œœ œ ‰

œb> œ œ œ Œ ˙æ

mf

mf

mf

mf

mf

f

pizz.f

pizz.

f

f p

f p

pizz.

pizz.

pizz.

mf pp

ppp

arco

ppp

arco

ppp

arco

-

180

&

?

&

&

&

B

?

t

Scott

Vin.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Pno.

œ Œ œ œ œ ‰r

œ

Oh, blast the luck. And

wæ

Ͼ

wæ

Ͼ

wæ

Ͼ

wb æ œæ

wA

æœ

æ

ppp

arco

arco

ppp

œ œ œ œ œ œ œ Ó3

blast the Nor we gians. Damn them.

wæ Œ

wæ Œ

wæ Œ

wæ Œ

wæ

Œ

Perc.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

œœb

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

?

w>

Œ

wb>Œ

.œb> ‰ Œ Ó&

wb> œ&

w>

+ r

œ‰&

w> Œ?

˙b>Ó Œ?

œœb> œœ œ ‰ Œ˙æ

œœb > œœ œœ œœ œœ œ ‰.œ

æ

œœbb > œœ œœ œœ œœ œœ œœ œ œ œ

œœ> œœ œœ œœ œœ œœ œœ œœ œ ‰

œb> œ œ œ Œ ˙æ

mf

mf

mf

mf

mf

f

pizz.f

pizz.

f

f p

f p

pizz.

pizz.

pizz.

mf pp

ppp

arco

ppp

arco

ppp

arco

Timpani

- -

5

181

&

?

&

&

B

?

t

Vin.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Pno.

wæ

Ͼ

wæ

Ͼ

.˙

ææ

˙bæ

wb æ œæ

wbæ

Ͼ

ppp

arco

arco

ppp

wæ Œ

wæ Œ

˙

ææ ˙

æ Œ

wæ Œ

wæ

Œ

Perc.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

œœb

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

œœ

?

w>

Œ

wb>Œ

.œb> ‰ Œ Ó&

wb> œ&

w>

+ r

œ‰&

w> Œ?

˙b>Ó Œ?

œœb> œœ œ ‰ Œ˙æ

œœb > œœ œœ œœ œœ œ ‰.œ

æ

œœbb > œœ œœ œœ œœ œœ œœ œ œ œ

œœ> œœ œœ œœ œœ œœ œœ œœ œ ‰

œb> œ œ œ Œ ˙æ

mf

mf

mf

mf

mf

f

pizz.f

pizz.

f

f p

f p

pizz.

pizz.

pizz.

mf pp

ppp

arco

ppp

arco

ppp

arco

Timpani

wæ

Ͼ

wæ

Ͼ

wæ

Ͼ

wb æ œæ

wbæ

Ͼ

ppp

arco

arco

ppp

wæ

œ

wæ œb

wæ œb

wæœ

wæ

Œ

8

182

&

&

&

&

B

B

?

?

44

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

Pno.

°

13

w

wa

wA

wAa

wA

wAa

w

wa

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

62 q»40

Wilsonœ œ œ œ

r

œ .œ

What if they're still a bout?

?

w

w

w

w

w

w

w

w

mp

‰ œb œ œ œ œ œ

How strange it would be

w

wb

w

wb

w

w

wb

w

‰ œ œ œb œb œ œ

A mir a cle, rea lly,

w

wb

wb

wb

w

w

wb

w

Pno.

D.B.

&

œœ œb œ œ ˙b

5

?

‰ œ œ œ œ œ œ œ

to meet them here at the Pole.

w

wb

w

w

wb&

wb

wb

w

r

œb . .˙t

ppp

pp

œbœ œ œb œn

˙b

5

Œ œb œb œ œ œ œb

It's ex cit ing to think

wb

w

w

wb

w

w

w

wb

r

œ . .˙b

- - - - - -

183

&

?

?

&

&

&

&

&

B

?

?

t

Wilson

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Pno.

19

œœb œn œ œb ˙b

5

œ œ œb œ œ œ

that o ther men have fought

w

wb

wb

wb

w

w

w

w

œb .˙

œ œb œn œ œb5

‰ œb œb œ œ œb œb

as we have, right to the

wb

wb

w

wb

w

w

w

w

.œb

r

œb ˙

wb

œ œb œ œn Œ

end of the world:

wb

w

wb

wb

w

w

w

w

˙b ˙

œb œb œn œbŒ

5

œn œ œ œn œn

Can you i ma gine

w

w

wb

w

w

w

w

˙b ˙b

w

œb œ œb œ œb œn

meet ing o ther hu man

w

w

w

w

w

w

w

w

w

œn œ œb œ œn œb œ œ

beings on this lone ly, ter ri ble,

wb

wb w

wb w

wb wb

wb wbB

wb w

w

w

w

- - - - - - - - -

184

&

?

?

&

&

B

?

t

Wilson

Vin.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Pno.

°

œb œ œb œ‰

r

œ œ

end less de sert of ice?

wbwb w

wb wwb

wwbb wwb

w

w

Perc.

Evans

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

œb œ œ œ œ œ œ ‰?

.>

Œ

.>Œ

‰. .>

I'd

?

> Ó&

. .˙b> ‰&

.˙b>

+Œ&

>

r

œ‰ Œ?

œb>Œ Ó?

œb> œ> œ> ‰ ‰ ..Oœ

œ> œ> œ> œ> ‰ ..Oœbb

œb> œ> œ> œ> œ> œ> œ>r

Oœbb

œœb > œœ> œœ> œœ> œœ> œ>Œ

œb> œ>‰

r

œ ˙

mf

mf

mf

mf

mf

f

mf p

mf

mf

mf

mf

mf

63 q»60

pp

pp

pp

pp

Timpani

œb œ œb œb œ œb Œ

like to bash their heads in!

Ow

Ow

Ow

w

w

pp

œb œ œ œ œ œ œ ‰

.>

Œ

.>Œ

> Ó

. .˙b> ‰

.˙b>

+Œ

>

r

œ‰ Œ

œb>Œ Ó

œb> œ> œ> ‰ ‰ ..Oœ

œ> œ> œ> œ> ‰ ..Oœbb

œb> œ> œ> œ> œ> œ> œ>r

Oœbb

œœb > œœ> œœ> œœ> œœ> œ>Œ

œb> œ>‰

r

œ ˙

mf

mf

mf

mf

mf

f

mf p

mf

mf

mf

mf

mf

pp

pp

pp

pp

Oates ‰r

œb œ>

r

œb œ œ œb œ ‰

The black flag of pir ates.

&

OwU

OwU

OwU

wU

wU

pp

- -

25

185

?

&

?

&

&

&

?

?

&

&

B

?

t

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.3

Vla.1

Vc.1

D.B.

Perc.

Pno.

30

œb œ œ œ œ œ œ ‰

..˙˙b >

Œ

.>Œ

> Ó

. .˙b> ‰

.˙b>

+Œ

>

r

œ‰ Œ

œb>Œ Ó

œb> œ> œ> ‰ ‰ ..Oœ

œ> œ> œ> œ> ‰ ..Oœbb

œb> œ> œ> œ> œ> œ> œ>r

Oœbb

œœb > œœ> œœ> œœ> œœ> œ>Œ

œb> œ>‰

r

œ ˙

mf

mf

mf

mf

mf

f

mf p

mf

mf

mf

mf

mf

pp

pp

pp

pp

Timpani

Oates Œ ‰r

œb œb œb œr

œ3

And they are pir ates,

&

Ow

Ow

Ow

w

w

pp

pp

r

œ œb œb Ó3

by God.

Ow

Ownn

Owbb

w

w

Bowers œ œ œb œ?

OwU

OU

OwbbU

sul C

64

ppp

ppp

ppp

[not quickly]

They'll be gone by now. The tracks are old. They're gone.There won't be any meeting to please the historians-Stanley and Livingstone, Scott and Amundsen. They're gone,They and their dogs. We'll only see their tracks.

etc.

Ad. lib. order of pitches and rhythms

-

186

&

B

?

t

44

B.Trbn.

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Perc.

Pno.

°

34

˙ ˙b

wb

wb

wb

65 q»40

pp

pp

pp

pp

Evans Œ .œb œb .œn œb œ œ

3

We'll see their

?

˙ ˙b

w

w

w

mf

œ œn œb œb

mark at the Pole,

˙ ˙n>

wb

˙b œn œ

˙ ˙b

œ œb œn œb œn

there's no thing sur er.

wb

˙b ˙b

˙n ˙b

w

Pno.

Trpt.2

Hn.

Trbn.

B.Trbn.

œ> œ œ œ œ œ œ œ

&

?

œb œn œb œ œ œb œ œb œ

I sup pose we are go ing on, but

˙ ˙b&

wb&

wb?

w?

wn

w

pp

pp

pp

pp

(in pp)

Scott

œ> œ œ œ œ œ œ œ

Ó Œ ‰r

œ

Of

&

œ œ ˙b

what's the use,

w

w

˙ ˙b

wb

˙ ˙b

wb

Perc.

Trpt.1

Vln.1+2

œb> œ œ œ œ œ œ œ?

œb œ œb œn œ œb

course we're go ing on.

œ œ œ œ œn œ œ

What the hell's the use of the

˙ ˙n&

˙ ˙b

w

wb

˙ ˙b&

˙ ˙b

˙ ˙n

w

wb

pp

pp

(in pp)

Timpani

- - - -

-

187

?

&

?

&

?

&

&

&

?

?

&

&

B

?

t

Scott

Evans

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vin.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Perc.

Pno.

41

œb> œ œ œ œ œ œ œ

Ó Œ ‰œb œb œb œ

œ

>

œb

œ

œb œ œb ˙

We'll see it through.

œb œ œ œ ˙b

ex pe di tion now?

˙b ˙

w

w

wA

.˙ œb

˙ ˙b

˙b ˙b

wb

wA

mp

Oates

Timpani

w>÷

œb œ œ œb œb œb œ

œ œb

‰ œb œb œb œb ‰r

œb

It's not your fault. We

&

Ó Œ ‰r

œ

Ó Œ r

œ wU

Ó ‰ r

œb w

U

Ór

œb wb

Œ ‰r

œb wb

OU

OwbbU

Œw

U

r

œb wU

wbU

sul A

66

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

pp

p

Tamtam

ca 30"

wwwbgggU

œb œb œb œb œ œb œ Œ3 3

came of our own ac cord.

wbU

‰ œb œb œb œb œb œb

You must not blame your self,

Œ ‰ œb œb œb œb

what e ver hap

œb ∑U

pens.

- - -

- - - - -

188

&

?

t

44

Vin.1+2

Vc.1+2

D.B.

43

Ó ŒOœ

wb

wbmp

mp

67 q»60

ppp

Ow

˙ .œr

œb

˙ .œr

œb

Vln.3+4

Vla.1+2

Ow

w&

wB

w

w

mp

mp

Ow

wb

wb

˙ .œr

œb

˙ .œr

œb

Ow

w

w

w

Ow

w

˙ .œr

œb

˙ .œr

œb

Ow

w

w

w

w

Ow

wb

wb

˙ .œr

œb

˙ .œr

œb

r

Oœ‰ Œ Ó

wb

w

w

wn

˙ .œr

œb

˙ .œr

œb

&

?

t

Scott

Vc.1+2

D.B.

53

‰ œ œ œ œ œb

I blame my self for

wA

wA

mp

mp

œb œb œb œr

œ .œb

ev' ry thing that hap pens.

˙ .œr

œb

˙ .œr

œb

Vln.3+4

Vla.1+2

œ œ œ œ œb

I am the lea der.

w&

wB

w

w

mp

mp

œ œ œ œ œb œb

I take the re spon si

wb

wb

˙ .œr

œb

˙ .œr

œb

Oates

œb œb œb Ó

bi li ty.

‰ œ œ œ œ Œ

It's not your fault!

&

w

w

w

œ œ œbœ

And I'm grate ful,

w

˙ .œr

œb

˙ .œr

œb

‰ œ œb œ œb œb œb œb

more grate ful than I can say,

w

w

w

w

- - - - - - - - - - -

&

&

B

?

t

Scott

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

60

‰ œb œb œb œb œb œ œb

You don't turn on me like wolves

wb

wb

˙A .œr

œb

˙A .œr

œb

‰ œ œb œ œ œb œ

for what I've done.

wb

w

w

œ œb œn œb œn œb œ

It's a place to make wolves of

wn

˙ .œr

œb

˙ .œr

œb

œb œb œn œ œb ‰r

œ

an y men but you, A

w

w

w

œb œn œb œn œ œn ‰r

œn

place for dis ap point ment, a

wb

˙ .œr

œb

˙ .œr

œb

- - - -

ª

ª

189

&

&

B

?

t

Scott

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

œb œn œ œb ‰r

œ œ œb œn œb œb

place for ha tred and hum an blood on the

wb

wb

wA

wA

r

œb‰ Œ Ó

ice.

wb

wb

˙ .œr

œb

˙ .œr

œb

w

w

˙ .œr

œb

˙ .œr

œb

Bass Drum

Oates

Vln.1+2

˙ ˙b

Just to

&

˙ ˙b&

wb

w

w

w

mf

mf

p

Perc. Ó Œ ‰r

Ͼ

÷

˙ ˙

make

˙ ˙

r

œ . .˙n

w

˙ .œr

œb

˙ .œr

œb

˙æ

Ó

˙ ˙b

it

˙ ˙b

w

œ .˙

w

w

Ó Œ ‰r

Ͼ

˙ ˙

hum

˙ ˙

wb

wb

˙ .œr

œb

˙ .œr

œb

˙æ

Ó

˙ ˙b

an

˙ ˙b

w

w

w

w

- -

- - -

÷

&

&

&

B

?

t

Oates

Vin.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Perc.

74

Ó Œ ‰r

Ͼ

˙ œb œn

˙ œb œn

wb

w

˙A .œr

œb

˙A .œr

œb

Scott

˙æ

Ó

w

Mere

&

œ ˙ œb

Mere ly to

œ ˙ œb

w

w

w

w

Ó Œ ‰r

Ͼ

wb

ly

œ ˙b œ

lab our here

œ ˙b œ

wb

wb

˙ .œr

œb

˙ .œr

œb

˙æ

Ó

wb

e

œ œb œ œb

was e nough to

œ œb œ œb

w

w

w

w

Ó Œ ‰r

Ͼ

w

nough

œb .˙

make

œb .˙

wb

w

˙ .œr

œb

˙ .œr

œb

˙æ

Ó

˙b œn œ

wild beasts of

˙b> œn> œ>

w

w

w

Ó Œ ‰r

Ͼ

˙b œ œ

us, with out

˙b> œ> œ>

w

˙ .œr

œb

˙ .œr

œb

˙æ

Ó

Œœ œm œ

This

œb .˙

this

Œœ œm œ

œb .˙

w

w

w

Ó Œ ‰r

Ͼ

˙ ˙b

œb œ ˙b

flag

˙ ˙b

œb œ ˙b

wb

˙ .œr

œb

˙ .œr

œb

˙æ

Ó

w

˙ ˙

like a

w

˙ ˙

œ .˙

w

w

- - - -

- - - - -

ª

65

190

÷

&

&

&

&

B

?

t

Scott

Oates

Vin.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Perc.

84

Ó Œ ‰r

Ͼ

Œœ œ œ

A black crow

˙ ˙b

black

Œœ œ œ

˙ ˙b

wb

˙ .œr

œb

˙ .œr

œb

Bass Drum

Trpt.2

Hn.

Trbn.

B.Trbn.

˙æ

Ó

Œ ‰r

œb ˙

wait

˙b ˙&

w&

wb?

w?

œ œb œ œb

˙b ˙

˙ ˙b

˙n œb œb

˙n œb œb

mp

mp

mp

mp

p

p

p

p

p

œ œb œb œ

ing

˙b ˙

w

w

œb œb ˙

œ œb œ œb

˙b ˙

˙b ˙

˙b œb œb

˙b œb œb

œn œ ˙

w

w

w

w

œ œn œ œ

˙ ˙

˙ ˙

˙ œ œ

˙ œ œ

œ œb œb œ

for the end,

w

w

wb

˙b ˙b

œ œb œ œ

˙ ˙

˙b ˙b

wb

wb

Wilson

œb œb œn œb œb œ œ

Mock ing our dis as ter

œ œb œn œb œ œb œ

Mock ing our dis as ter

œb œb œn œb œb œ œ

Mock ing our dis as ter

?

˙b ˙

w

wb

w

œb œ œb œ

˙ ˙b

œb œ œ œ

˙ ˙b

˙ ˙b

œb œ œb œ

A mind sen must

œb œ œn œ

A mind sen must

œb œ œb œ

A mind sen must

wb

w

w

˙ œ œ

œb œ œb œ

œ œb œ œb

œ œ œ œ

˙n ˙

˙ ˙

Trpt.1

˙n œ œb

have found an

œn œb œn œb

have found an

˙n œ œb

have found an

˙b œn œb&

w

w

w

wb

œ œ œ œ œ œ

3 3

œ œ œ œ œ

5

œ œ œ œ

˙b ˙

˙b ˙

mf

˙ œ œb

eas y track

œb œn ˙b

eas y

˙ œ œb

eas y track

˙b œn œ

w

w

wb

˙ œ œ

œ œb œœ œb œb

3 3

œ œb œ œb œ

5

œb œ œb œ

˙ œ œ

˙ œ œ

- - - - - -

- - - - - -

- - - - - -

191

?

&

?

?

&

&

&

?

?

&

&

B

?

t

Wilson

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vin.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Perc.

Pno.

93

˙bæ Ó

œb œ œb œb œb œb œ

œb œwwwbb

U

.˙b œb

A long

wb

w

wb

wb

wb

wbr

œb>

.˙ œb

wb

œb œ œ œb œb œb œ œb

œb œ œ œb œb œb œ œb

mf

mf

mf

mf

mf

Timpani

68

œb œ œ œb

way! Eight

w

wb

œ œ œ œb

wb

œb œ œ œb œb œb œ œb

œb œ œ œb œb œb œ œb

˙bæ Ó

œ œb œn œb

hun dred

w

wb

wb

wb

œb œb œb œb

œb œb œb œb

wb

œb œ œ œ œ œb œ œ

œb œ œ œ œ œb œ œ

mf

œ œb œn œb

miles

w

œ œb œ œb

œb œb œb œb

wb

œb œ œ œ œ œb œ œ

œb œ œ œ œ œb œ œ

Evans

˙bæ Ó

.˙b œb

It's a

?

w

œb œb œb œb œb œb œb‰

œb œb œb œb œb œb œb ‰

wb

œ .˙

w

.˙b œb

œb œ œ œb

œb œ œ œb

mf

p

mf

mf

Scott˙b œ œb œ

It must be a

&

œb œ œ œblong way home

wb

w

wb

wb

œb œ œ œb

œb œb œb œb

œb œb œb œb

mf

˙n > ˙b>3

night mare in

œ œb œn œb

for us

˙n ˙b>˙b>

3

˙b ˙b> >

3

˙b> ˙b> >

3

wb

wb

wn

wb

œb œ œb œ

wb

wb

-

192

&

&

&

&

?

?

&

&

B

?

t

Scott

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vin.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

100

˙b> ˙b>

win ter.

˙b> ˙b>

> >

wb

wb

wb

˙ œb œ

˙ œb œ

œb œ œb œ

wb

wb

Oates

œ> œb> œb œ œ œ œ œ

I've dreamt of this mo ment

˙b> > >

3

Man y

&

> ˙b>

˙b> > >

3

wb

w

˙b> œ> œb>

.˙ œb

wb

w

w

˙b> œb> œn

No mark of

˙b> > ˙b>

3

years

˙b> ˙b>

˙b> > ˙b>

3

˙b ˙

w

wb

˙b>˙b>

œb œb œb œ

˙b ˙

wb

wb

Wilson

w

men.

œb> œb> œb> œb>

Dream was diff' rent

?

w

wb

˙b >

w

˙b> œb> œb>

œ œb œ œb

˙b ˙

w

w

Bowers

Evans

œb œb œ œb œb œ œb

Yet this is still the mo ment

˙b> œb> œb>

No mark of

˙b>œb> œn

No foot prints

w

No

?

wb

No

?

wb

wb

˙b>>

w

wb

˙b> ˙b>

œb œ œb œ

˙b˙

wb

wb

˙b> >

When my

wb

men!

˙b ˙b

scar ring

w

men

wb

men

˙b> ˙b>

wb

wb

w

wb

wbæ

w>

wb

w

w

w

life

wb

the

wb

life

wb

the

w

w

wb

wb

wb

wæ

œ œb> œb> œn>

wb

wb

wb

> > >3

rea ches the

w

snow.

w

snow

wn

snow

˙b> > >3

œb> œ> œb> œb>

w

w

w

œ œb> œ> œ>

˙b>˙

w

w

wn

sul D

--- -

- - -

193

&

&

?

?

?

&

&

&

?

?

&

&

B

?

t

Scott

Oates

Wilson

Bowers

Evans

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vin.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

108 . .˙r

œ

Peak I

w

Peak

w

Peak

wb

Peak

wb

Peak

w>

w>

œ- œ- œ- œ-

wb

wb

œ>

œ œ> œ>.œ> œr

œ œ œ3 3

3

˙ œ œ> œ œ> .œ œr

œ>

3

3

œ- œ- œ- œ-

wb

wb

f

f

f

f

mf

mf

mf

69 q»52f

f

f

f

f

œ œ ˙

chose to climb

w

w

œ- œ- œ- œ-

w

w

œœ> œ œ>

.œ œ >3 3

˙ œ œm> œ œ œm œ œ

œ- œ- œ- œ-

w

w

œb œ œ œ œ‰

œ

And I am hap py. We've

w

wb

œb - œb - œ- œ-

w

w

œœ œ>

œ>.œ> œ

r

œ œ œ3 3

3

r

œb˙b œ œb> œb œb> .œn œb

r

œb>

3

3

œb - œb - œ- œ-

w

w

œ œ ˙

reached the Pole.

w

w

œb - œb - œ- œ-

w

wb

œœb> œn œ>

.œb œb ˙3 3

˙b œ œb> œn œb œb œn œb

œb - œb - œ- œ-

w

wb

œ œ œ œ œ œ

I won't be robbed of a

w

wb

œ- œb - œ- œ-

wb

w

œœ œb> œ>

.œb> œbr

œb œn œ

3 3

3

r

œb˙b œ œb> œb œb> .œn œ

r

œb>

3 3

œ- œb - œ- œ-

wb

w

- -

194

&

&

&

&

?

?

&

&

B

?

t

Scott

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vin.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

113 œb .˙

chieve ment.

w

wb

œ- œb - œ- œ-

wA

wb

œbœ> œb œb>

.œ œ

r

œ> ˙

3 3

˙ œ œb> œn œb œb3

œ- œb - œ- œ-

wA

wb

w

w

w

w

œn œ .˙b

r

œb .œ Ó

w

w

˙ ˙n

w

w

w

w

w

w

w

w

w

w

w

wb

wb

wb

+&

wb

wb

w

w

w

w

w

w

w

w

w

w

wb

wb

wb

w

w

˙ .œr

œb

˙ .œr

œb

w

w

w

w

w

wb

wb

wb

˙ .œr

œb

˙ .œr

œb

w?

w

w

w

w

-

?

&

&

?

t

Trbn.

Vin.1+2

Vln.3+4

Vc.1+2

D.B.

wb

wb

wb

˙A .œr

œb

˙A .œr

œb

Ow

O

w

w

ppp

sul Eppp

Ow

O

w

w

Trpt.1

Trpt.2

Hn.

B.Trbn.

w&

w&

w&

w

w?

OœŒ Ó

O Œ Ó

r

œ ‰ Œ Ó

r

œ ‰ Œ Ó

p

p

p

p

p

w

w

˙b ˙n ˙b

3

w

wb

w

w

w

w

w

w

w

wb

wb

pp

pp

wb

wb

wb

w

w

Vla.1+2w

B

w

w

ppwb

w

w

w

w

w

w

w

w

ª

125

195

&

?

?

t

Vc.1+2

D.B.

Piano

° ° ° °

°

ww

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥

f

mf

f

44

44 q»60

q»60

ww

wU

&

OwU

&

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥

f

f

pp

pp

Vln.1

Vln.2

metronome marking for pno., vc. and basses does not concern these pausesdistances between these arrow cues to be approx. 5" unless otherwise indicated

70

ww

wU

&

OwU

&

‰B

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥

f

f

pp

pp

Vln.3

Vln.4

Vla.1

&

Ó

ww

wU

&

OwU

&

wU

‰ wUB

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥

œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥œ-

≥

pp

f

f

Vla.2

Perc.

2"

pp

r

œœ>˙˙bb

œ> œœb

œb

mp

mp

Vc.2

Vibe.

wâ÷

wU

&

OwU

&

wU&

OU

&

wUB

wUB

OwbU

?

w

U?

w

Ut

pp

pp

sul D

ppp

ppp

ppp

ppp

pp

ppp

ppp

p

Sus.Cym.

71

∑U

&

Óœœ

œœ

?

w>U

Ow>U

Ów>U

Ó O>U

ΠwU>

ΠwU>

pp

pp

pp

pp

pp

pp

1"

1"

2"

2"

Interlude/Act.2 - Scene 7 - Turning Back

196

&

?

&

&

&

&

B

B

?

?

t

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

° °

°

wU

OwU

wU

OU

wU

wU

OwbU

w

U

w

U

72

˙˙

Ów>U

Ó O>U

ΠwU>

ΠwU>

pp

pp

pp

pp

1"

1"

2"

2"

mf

wU

OwU

wU

wU

wU

wU

OwbU

w

U

w

U

wU

OwU

wU

Ó wU

Ó wU

Ó wU

Ó OwbU

w

U

w

U

2"

2"

2"

2"

&

wU>

OwU>

wU>

wU>

wmU>

wbU>

OwbU

>

p ppp

p ppp

p ppp

p ppp

p ppp

p ppp

&Perc. Ó r

œœ>

˙˙bb

œ> œœb

œb œ&

?

OwU

OwU

mp

Vibe.

mp

2"

wU&

wU&

OU

&

OU

&

wUB

OwU

sul D

sul A

pp

pp

pp

pp

pp

pp

73

Ór

œ> ˙&

œ> œ&

?

wU

OwU

2"

197

&

&

?

&

&

&

&

&

B

?

?

t

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

°

œœb>

œb œ œœb>

œb œ

œ>œb

œb œ

œ- œ- wU

r

œb - œn - wU

œb -

r

œn - wU

œ- œ- œ-œb wb

U

.œb -œb - wbU

‰

∑

∑

∑

∑

( q»ca 84 )

pp

pp

pp

pp

pp

mp

mp

mp

mp

mp

4"

4"

5"

5"

2"vibe. and pno. parts to continue at q = 60

ca 6"74

œœn

œœb

œb œ œn œ

r

œ- w-

U

œ- w-U

r

œ- w-

U

œ-

ppmp

mp pp

mppp

mp

B

w-U

pp

Ó&

Ó&

?

œ- œ- œ- w-U

Oœ-Oœ-

Oœ-Ow-

U3

r

œb - œb - œb - wb -U

Oœbb -Oœbb -

Oœbb -Owbb -

U3

œ- - w-

U3

.œb - œb - wb -U

Oœm -Oœm -

Oœm -Oœm -

Oœm -Owm -

U5

œ- œ- œ- œ- w-U

∑

mp

mp

mp

mp

pp

pp

pp

pp

mp

mp

mp pp

pp

pp

mp pp

5"

4"

4"

ca 10"75

‰ œb> œ œb œ œn>œ œ

œb> œ ≈ œb> œ‰ . œn œ

œ œœb

œ

mp

mp mf

œ-œ- œ- w-

U

mf pp

198

&

&

?

&

&

&

&

B

B

?

?

t

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

° °

°

Ó

Ó

- w-

.O- O-

O-

- -

∑

∑

w-

w-

Ó

sul App

sul D

3"

3"

mp

mp

6"

ca 13" until next cue

8"

9"

76

œœœ>

œ> œœ

-

O- ∑

.O- O-

- œ- ∑

w-

w-

p

mp

mp

mp

6"

6"

- œ- œ-

O- O- O- O-

r

O-

w-U

pp

œ- œ- œ- œ- œ- œ-

O- O- O- O- O- O- O- O- O-3

w

U

-

œ- œ- œ- œ-

p

p

pp

mf

pizz.

pizz.

r

œœ>

˙˙b

&

œ> œœ œ

œb

œœ œ&

?

œ- œ- œ- -

œ> œ œ œ œ

O- O- .O-

œ>œ

œb

w≥U

-

œ- œ- œ- œ-

mp

p

˙˙bn

>˙˙˙m>

œœ œn

œb

œœ œ œb

.-

œ œœb œ œb

O-U

œ œœ

w≥U

-

w-

U

pp

mp

pp

pmf

mf p pp

w-U

∑U

∑U

pp

pp

pp

∑&

∑&

?

wU

OwU

wU

OwU

OU

wbU

wU

wU

∑

sul D

3"

2"

2"

arco

arco

77

r

œb>

˙˙

œ>œb

œ

wU

mf

mf

199

&

&

?

&

&

&

&

B

B

?

?

t

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

°

Ó

Ó

..O-

O-

O- O-

w

wb

wn

wb -

wU

∑

∑

3"

6"

pp

pp

pp

sul D

pp

pp

pp

pp

2"

Perc.

ca 9"

2"

78

œb> œb œn œ œ5

œb>œ

œ> œ œb

5

Oœ-Oœ-

Oœ-Oœ-

.O- .O- .O-

.˙n - -

wU

pp

˙æ÷

œb>œ

œ> œn œb

5

œ>œ

Oœ-Oœ-

Oœ-Oœ-

Oœ-Oœ-

Oœ-Oœ-

Oœ-

O- O- O- O- O-

.œ- œ- .œ-

œ>

œ> œœb

wU

pp

pizz.

pizz.

mf

mf

p

p

Tenor drum

mf

mf

œb œn

Oœ-O-

..O-

U

O- .O- .O-

U

- .-

œœb œn

œn

œ>œ œb œn

pizz.

mf

p

pp

pp

U-

˙˙˙

b

>Ó

∑

O-

O-

∑

w&

wb&

wnB

.- -

w?

∑?

∑t

arco

2"

3"

2"

2"

pp

pp

ca 7"

p

p

p

79

&

&

wæ

œ> œ œb

Oœ-Oœ-

Oœ-Oœ-

Oœ-

œ> œ œb

.œ- œ-

r

œ-

œ>

œ>œ

pizz.

mf

mf

mf

p

mf

mf

mp

?

÷

œ œ œn œb

œ>œ

œb œn œ

Oœ-Oœ-

O-

œ œn œb

œ> œb œn

œ- .œ- -

œœ œ

œb

œ œœb œn œ

pizz.

mf

mp

Ow-U

w-U

œn œ

pp

pp

200

÷

&

?

&

&

B

B

?

?

t

..

..

..

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥

∑

∑

∑

∑

wnU

wbU

wU

w

U

∑

arco

arco

p

p

p

p3"

3"

3"

3"

3"

80

œ>

œ> œ

œ> œb

œ> œb

œ> œ

pizz.

pizz.

Vln.2

mp

start with D.Bass

mpstart with D.Bass

wbU&

∑

∑

w

w

∑

p

arco

ca 10"

5"

6"

2"

3"

5"

81

œ> œ œ œ œ œ

œ œœb

œ> œ

œ> œ

mf

pizz.

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œæ

œb œn œ œ œb œœ œn

œb> œn

œb> œn

œ œ

œ> œ œ

œ œ

mf

mf

pizz.

pizz.

pizz.

mp

œ œ œ œ œ œ œ œ

œ œ œ œb œœ œn

œ œ œ œ

œ œ

œ œ

œ œ œ œ œ

œ

Vln.1

œ

œ

œb>œ

œb>œ

œb>œ

œ

œ œ

œ

œ œ

œ

pizz.

pp

p

&

&

&

œ> œb œ œb œœ œn œ

œ> œb œb - œb - œb -?

œb> œ œb œ œb œ?

≈œ> œ œ- œ- œä œt

ad.lib.

arco

arco

mp

mp

mp

arco

–‘

–‘

–‘

mp

*82

œb œœ

* 5" between each cue

201

÷

&

?

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

°

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥ ¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥

° °

¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥

°

-

˙˙˙mggggg >

œ> œn œ- œ- œ-?

≈ œ> œ œ- œ- œä œt

–‘

–‘

p

mp

Tamtam

large spongy mallet

83

œœ œ>÷

œœ œn œ œ

mp

mp

Sus.Cym.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

>

˙>

ggg œ> œ

r

œbä˙

&

.r

œbä ˙&

.œ> œ&

œ>

˙µ

&

>r

œb&

œn> œ œ œ œ œ?

≈œ> œ œ- œ- œä œt

–‘

–‘

mp

mp

mp

mp

mp–‘

–‘

–‘

–‘

–‘

mf

84

œb œœ

œ

mf

>÷

˙gg œ> œ

œ>œ œ- œ>

œ?

≈ œ> œ œ- œ- œä œt

mf

mf

–‘

–‘

mf

mp

85

œ œœ œ>÷

œb œœ

œ

mf

mp

œ>œ œ

>÷

˙ œ

>

œb œœ

œ>œ œ- œ>

œ?

œ> œœ> œ

œ> œ?

≈ œ> œ œ- œ-œâœ

t

–‘

–‘

–‘

mp

mf

mf

86

÷ œœ œ œ œ œ œ œ

œ>

œb œœ

œœb œ

œb

f

202

÷

&

?

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Vln.1

Vln.2

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥ ¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥ ¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

>

˙˙˙

bggggggg

>

r

œb> ˙

&

.r

œb>˙

&

>r

œ

.œ> œ&

–‘

–‘

–‘

–‘

f

mf

mf

mf

mf

mf

&

87

œ> œ> œ>

œ>œ>

œb>

Vln.3

œ> œ œ œ

>

œ>œb œ

œb

˙>

œä œä œäœ>

&

œb>œä œä œä œä

&

˙b>œ> œ> œ>

&

.œ œb&

œ> œ œ-œ> œ

?

œ>œ

œ>œ

œ>œ?

≈œ>

œ œ- œ-œä

œt

mf

mf

mf

–‘

–‘

–‘

–‘

–‘

–‘

–‘

mf

mp f

pizz.arco

88

÷

÷ œ œ œ> œ œ œ œ œ

œœ œ

œn

œb

œ

œ

œ

>

˙˙b

œb œ> œ> œ>&

.œb>œb œb> œb>

&

œ> œ> œ>œb>&

œb> œb> œb>œb> œb>

B

œb> œ œ-œb> œ

?

œ>œb

œ>œb

œ>œb?

≈ œb> œ œ- œ-œb> œ

t

arcopizz.

arcopizz.

pizz. arco

f

f

f

pizz.

f

arcopizz.

f

f

f

–‘

–‘

–‘

–‘

–‘

–‘

–‘

mf

89

÷

œ>œ œ œ>

÷

œ>

œœb

œbœ

>

˙b>

œ> œ> œ> œ>&

.œ>œb> œb> œb>

&

œb> œ> œ>œb> œ>

?

œ>œb> œ>

œb> œ>œb>

?

≈ œb> œ> œ> œ>œb> œ>

t

pizz.

pizz.

pizz.

pizz.

pizz.

–‘

–‘

–‘

–‘

–‘

f

90

÷

œœ>> œœœ œ œ œ>

÷

œb>

œb

œ

œ

œ

œ

203

÷

&

?

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥

¥¥

¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥

¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥ ¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

>

˙˙bb

>

œ> œ> œ> œ>&

.œ> œb> œb> œb>&

œ> œ> œ> œb>&

œb> œ> œ> œ> œ>&

˙b> œ> œ> œ>&

pizz.

pizz.

pizz.

f

f

f

mf

–‘

–‘

–‘

–‘

–‘

91

œ>œ

œœ

œœ œ œ

œ œ>÷

œb

>œ

œ

œ œ

œ

œ

œœ

œ

œb

œ

œ œn

f

œ> œ

>÷

˙˙b>

gggggg

œ>

œœ

.œ> œ> œ> œ>&

œ> œ> œ> œ>&

œn>œ> œ> œ> œ>&

˙n>œ> œ> œ>

B

œ> œ> œ> œb> œb>B

œb> œ> œ> œb> œ>?

f

f

–‘

–‘

–‘

–‘

–‘

–‘

92

÷ œ œ œœ œ œ œ

r

œ> œœ

œ

œœ

œ

œb

œb

œ œ

œb

œn

œœ

>÷

˙b>

˙˙b>

gggggg

œ> œb> œb> œb>&

.œ> œb>œ> œb>&

œb>œ> œb>

œ>&

–‘

–‘

–‘

93

œ>œ

œ œ÷

œ

>œb

œb

œ

œ

204

÷

&

?

..

..

..

..

..

..

..

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥

¥¥

¥¥

¥¥

¥¥

¥¥

¥¥

œ>œ

>

˙bb

>

œb>

œb

œb> œb> œb> œb>

&

œ> œ> œ> œ>&

œb>œn> œ> œ> œ>&

˙b>œ> œ> œ>

B

œb> œb> œb>œb> œb>

?

œb> œb>œb> œb>

œb> œb>?

œb> œb> œb> œb>œb> œb>

t

ff

ff

ff

ff

ff

ff

ff

f ff

ff

–‘

–‘

–‘

–‘

–‘

–‘

–‘

ca 10"94

÷ œ œ œ œ>

œ œ

œb

œn

œb

œ œ œœ œ œ œ œ

œ

œ

>

œœ œ

œb

œ

œbœ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ>

œ

œb œb œnœb œ

œbœn

œ

œb œb

205

÷

&

?

&

&

&

&

B

B

?

?

t

Narr.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

w>

wwwwbb>ggggggggg

w

w

b

>

gggggggg

ObU

wbU

wbU

Owbb

U

wnU

wnU

wbU

w

U

w

U

sul E

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ff

fff

arco

arco

arco

arco

arco

arco

arco

arco

arco

ppp

each string player's note to lastone full bow at ppp then wait for next cue

ad.lib. *95

Clste.

wait 3" after piano's chord to speak

œ&

Ó

œb

>

œ

œ

œb&

?

pp

Chimes

pp

œ œr

œb œ

œ

œb

œ

œ

œbœb œb

œœn

œ

play 2" after narrator's entry

ObU

wbU

wbU

Owbb

U

wnU

wbU

OwbbU

w

U

w

U

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

2"

96

œb> œb œn œb> œ œn

œ>

œbœb œb œn

œ>

œbœb œb

œœn

œœ

[quietly]They turn their backs on the Pole, They turn their backs on a dream, They're coming down, now.

* proceed to next cue once all strings have finished

The five men crouch in their traces like beats of burden again,The sledge is heavy to haul, and the hope of triumph gone;They stumble among the crevasses; and combers of violent iceCrash at the back of the brain where the still white spindrift lies.

206

&

&

?

&

&

&

&

B

B

?

?

t

Narr.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

∑

∑

OwbU

wU

wbU

Owbb

U

wnU

wbU

OwbbU

wU

wU

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

2"

2"

*97

Clste.

œb> œn> œ>

œb

>

œbœ

œn

œ

œ

∑

∑

OwbU

wU

wbU

wbU

OwbbU

wU

2"

2"

*98

œb> œ> œn> œ>

œb

>

œœb

œœ

>œ

œ

œœb>

œ

œn

∑

∑

OwbU

wU

wnU

wnU

OwnnU

wU

wU

t

2"

ca 4"

2"

99

œn> œ>

œn

>œ

œ

œ

∑

∑

wnU

wnU

OwnnU

wU

wU

ca 4"

2"

2"

100

œ> œ>

œ>

œ

œ œ

œ

To Piano

G.P. 6 secs.

They pass Amundsen's flag,

* the length of these cues should not shorter than the narrator's speech

They pass the black flag now,

207

&

&

&

&

&

B

B

?

?

t

44

44

Scott

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

≈ œb œ ‰ œ œ œ œr

œ>‰

E vans, You're hold ing us back.

‰ .rr

œ>Œ ‰ œ> ‰

œ>

‰

5

‰r

œ> Œ œ> ‰œ>

Œ

5

r

œ>‰ ‰ .

rr

œ> Œ ‰ .rr

œ>

‰r

œ> ‰r

œ> ‰r

œ> ‰ ‰ .rr

œ>

3

‰ .r

œb> Œ ≈rr

œ> ‰ ‰r

œ>

5

Œr

œb>‰

r

œ>

r

œ>‰

r

œ>‰

3

œ>œb> œ> ‰

r

œ> r

œ> ‰ ≈ .r

œ>3

≈ œ>œb> œ> ‰ œ>

œ> œ> œ> ≈ œ>œ>

≈rr

œ> ‰ ‰r

œ> Œ ‰ .rr

œ>mf

pizz.

mf

pizz.

pizz.

mf

mf

mf

pizz.

pizz.

mf

mf

pizz.

pizz.

mf

mf

pizz.

pizz.

mf

( q»84 )

101

‰r

œ>Œ

r

œb>‰ Œ

What, what,

œb>

‰ œ>œ>

r

œb>Œ r

œ>

≈rr

œ> ‰ Œ ≈ rrœ>

‰ ‰ .rr

œ>

r

œn> ‰ ≈rr

œ> ‰ ‰r

œ>≈rr

œ> ‰

Œ ‰ .rr

œn> ‰ .rr

œ> ‰ .rr

œ>

Ó ‰r

œb>Œ

Œr

œb>‰ ‰

r

œb>‰ Œ

3

ΠΠr

œ>‰ ‰

œ>

œb> Œ3

3

‰ œ> ‰œ>

‰œ>

œb> ≈œ> œ>

Œ ‰r

œ> ‰r

œ> ≈ œ> œ>

f

Œ œb œn œb œ œn3 3

What's the trou ble now?

r

œb>‰ Œ

r

œ> r

œ>‰ Œ

3

≈ rr

œ>‰

r

œb> ‰ Œ ≈ rr

œb>‰

‰rr

œ> ≈ Œr

œ>‰ Œ

‰ .rr

œ> Œ ‰ .rr

œ> Œ

‰r

œb>‰ Œ ‰

r

œ>‰ Œ

3 3

Œ Œr

œn>Œ Œ

r

œ>

3 3

‰ œb>‰ œn>

‰ œb>‰ œn>

‰œ>

‰ œb>‰ ‰

œ>‰ œ>

‰5 5

Œ œ>œb>

Œ œ>œ>

3 3

mf

Evans

Perc. œ. œ. ‰ œ. œ. Ó3

&

‰r

œ œbœb œ

œnœn

3

My ski's com ing a drift

?

Ó Œœ> œb>3

Œ ‰r

œ> œb> ‰œ>

œ>

œ>œn> ‰ œ>

r

œ> ‰ Œ

≈rr

œ>‰

r

œn> ‰ ≈ œ œ> Œ

‰r

œb>‰ ‰

r

œ>‰ Œ ‰

r

œn>‰

3 3 3

≈rr

œb>‰ Œ

r

œ>Œ

r

œn>‰

3

œ>

œb> ≈ œb> œ>

œ> œ>‰ œ>

œn>œ>

3

œ>

œb> œb>‰> œ>

œ> Œ œ>œn>

œ>

3

3 3

≈ œ> ≈ œb>Œ

r

œ> ‰ œ> ‰ œ>3

mp

Chimes

mf [slightly angry]

- - -

- -

208

&

?

&

&

&

&

B

B

?

?

t

43

43

44

44

Evans

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.œb>

œ œb œ> œ œ

Œ Œ ‰r

œb>I'll

œb> œ œn œ˙b>

œb> œn œ˙b>

3

Œ ≈œ> œn œ

œb>

Œ Œœ> œ œ

œb>

œ>r

œb ˙3

œ>r

œb ˙3

.œ> œb> . œ>

Œ .œ>

r

œb>

œ> œb>r

œ>‰ ‰

œ>œ>

ff

ff

mf

mf

arco

arco

arco

arco

ff mf

ff mf

mfff

arco sul C

mfff

arco sul C

ff mf

arco sul C

ff mf

arco

mf

ff

Chimes

œb . ‰ œ. œ. Œ œ. œ.3

œ> œb>œ> œ> œ> œ> Œ

have to stop and fix it.

‰œ> œ>

œb> œ> œ> œ> œ> œ> œ> œ> œ>3

œb> œ>Œ œ> œ>

œ>œ> œ>

5

Œ ‰œ> œ>

œb> œ> œ> œ> œ> œ> œ> œ> œ> œ>

3

5

Ó œb> œ>œ> œ>

Œœb> œ>

œ>Œ

œ> œ>œ>

3 3

œb>

œb> œ ‰œ>

œ>

œ>œ>

œ>œ>

œ>œ>

3

Ӝ>

œb>œ> œ>

œ> œ>œ>

œ>

Œ œb> œ>œ>

œ> œ>œ> œ>

œ>œ>

5

œb>œ> œ>

≈ œ> œ> œ>œ> œ>

œ> œ> œ> œ>3

3

3

mf

pizz.

pizz.

pizz.

pizz.

pizz.

pizz.

pizz.

mp

Scott ‰ œb œ ‰ ‰ œ œb> œ ‰All right, drop out.

&

œb> ‰ œ> ‰ œ> ‰ Œ ‰r

œ>3

Ó œb> œ>‰ Œ

œb> ‰ œ> œ> Ó

Ó œb> œ>‰ Œ

3

œb>‰

œ>

r

œ>‰ Œ œb>

‰ œn>

33

r

œb>‰

œ>œ>

‰r

œb>‰

r

œn>‰

3

Πr

œ>‰

r

œ>‰ ‰

r

œb> ‰3

‰ r

œ>Œ

r

œ> Œ r

œ>‰

3

r

œb> ‰ ‰r

œ> ‰ ‰r

œb>Œ

r

œn>33

œb œb œ

r

œ ‰ ‰ œ œ ‰r

œWe'll go a head. Catch up as

œb> œb> œ>r

œ> ‰ œ> œ>‰ œ> œ> œ>

3

œb> œb> œ>r

œ> ‰ œ> œ>‰ œ> œ> œ>

3 3

Œr

œb> ‰ Œ ‰r

œb>‰

3

‰r

œ>Œ Œ

r

œb> ‰

≈rr

œb>‰ Œ ≈

rr

œ> ‰ Œ

r

œb>‰ Œ

r

œb>‰ Œ

r

œ>3

Œ œb>≈ œb> ‰

rr

œ> ≈ œ> ≈ œ>

Œr

œ>‰ r

œ>≈ œ>

≈ œ>‰ r

œ>

3

‰r

œ> ‰ ≈rr

œb> ‰ œ> œ> ≈rr

œ> ‰3

-

209

&

&

&

&

&

&

B

B

?

?

t

42

42

Scott

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

°

œb œ œ œb

r

œb ‰quick ly as you can.

r

œb> ‰ Œ

Œ œb

Œr

œb> ‰

˙b

Œ ‰r

œb

Œ ‰r

œb>

Πr

œ>‰

‰r

œb>œ

r

œb>‰ Œ

pp

arco

pp

arco

pp

arco

pppp

arco

Perc.

Pno.

wbU&

wU÷

&

wwwbb

U?

œ œ œ œb œbWatch out for frost bite;

wbU

w

OwbbU

w

U

wU

wbU

wbU

w

U

wU

pp

arco

pp

arco

pp

arco

arco

pp

pp

arco

p

Vibe.

pp

Tamtam

ca 9"102

œbœ-

‰ œb œb œb œb œb œb œb3

you must n't get it a gain.

œ-

- --

210

÷

&

?

&

&

&

?

?

&

&

&

&

B

B

?

?

t

..

..

..

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

1 ww

––––––

œb œn œ œm œ œb œn œ œm ˙

œb œn œ œm œ œb œn œ œm ˙

3 3 3

œb œn œb œn œ œm œ œm œ ˙b

œb œn œ œm œ œm œ œb œnr

œ ˙b

3 3 3

∑

wb

wb

Owbb

wb

wb

wb

wb

w

w

pp

pp

pp

pp

pp

q»39

pp

pp

pp

pp

pp

pp

pp

pp

pp

pp

Sizzle.Cym.

Tamtam

21"

ca 35"

Poor Seaman Evans, brave man,A big man, Seaman Evans,

con sord.

con sord.

con sord.

con sord.

103

∑

∑

Owbb

w

Owbb

wb

wb

wb

wb

wb

wb

6"

11"

Big bodied, useful man.Knew the deep water,Knew ropes, the ways of tools,Handy about the camp.

.œ- œµ .œ œµ

∑

∑

w

wb

w

wb

wb

wb

wb

wb

wb

9"

6"

–‘

Knew the ways of gulls and women,The white curve out of reach;Knew fishes and fighting sailors.

ppp

˙b - œµ

œb -

r

œB

3

.œb - œµ

r

œb -˙b

wb

w

wb

w

wb

wb

wb

wb

wb

–‘

–‘

–‘

–‘“–

“–

Poor Seaman Evans, big man,Stumbling the frozen chaosOn the long way home from the Pole.

ppp

ppp

ppp

ppp

con sord.

wb

w

wb

w

˙b ˙b

wb

wb

wb

wb

Scene 8 - Death on the Snow

211

&

&

&

&

B

B

?

?

t

43

43

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

2

.˙

.˙b

.˙

.˙b

.˙b

.˙b

.˙b

.˙b

.˙bB

Clste.

104

Perc.

Clste.

Oates

œœœbb >Œ Œ&

œœœbb œœœœœœ œœœ œœœ

3

&

?

Œ œb œ œ œ œ œ

E vans is a long time

&

œb œ œ œ œ

3

œb œ œ œ œ

3

œ œ œm œ œ

3

œ œ œm œ œ

3

.˙b

r

œb

sul pont.

ppp

ppp

ppp

ppp

ppp

Crotales

Bowers

r

œœœb œœœb œœœ œœœœœœ œœœ

3 3

œb .œ Œ Œ

com ing.

‰ œb œ œ œ œ ® œ œ œ œ œ œ

I be lieve he's down He's on his hands and knees,

?

r

œ œb œ œ œ œ

3 3

r

œ œb œ œ œ œ

3 3

r

œm œ œ œ œ œ

3 3

r

œm œ œ œ œ œ

3 3

.˙b r

œb

r

œb>‰ Œ Œ

pizz.

sul pont.

œœœœœœb œœœb ˙˙˙

≈ . œb œ œ œ œ ‰ œ ‰3

he's down on the ice, Look!

œ œ œb ˙

œ œ œb ˙

œ œm œ ˙

œ œm œ ˙

r

œb>‰ Œ Œ

.˙

r

œ

pizz.

sul pont.

- -

-

212

&

&

?

&

&

?

&

&

&

&

44

44

Narr.

Scott

Hn.

Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Perc.

Pno.

6

˙b œœ œœm œœ œœ

3

œœœbb - œœœ

- œœœ- œœœ

-

Ó Œ ‰ .rr

œb

Come

w

w

˙ œ œm œ œ

3

˙ œ œm œ œ

3

˙b œ œ œb œ

3

˙b œ œ œb œ

3

Clste.

pp

pp

con sord.

con sord.

Crotales

œœ œœm œœb ..˙

3

œœœbb - œœœ

- œœœ- œœœ

-

˙b Œ ‰ œ œb3

on, we'll go

w

w

œ œm œ .˙

3

œ œm œ .˙

3

œ œ œb .˙

3

œ œ œb .˙

3

B.Trbn.

r

œœm œœb œœ œœnb œœ œœb œœ

3 3

œœœbb - œœœ

- œœœb

bn

- œœœ-

r

œ œb œ Œ ‰ œ œ3

3

to him, See him!

.˙Œ

˙ ˙

Ó ˙?

r

œm œ œ œ œ œb œ

3 3

r

œm œ œ œ œ œb œ

3 3

r

œ œb œ œb œ œ œb

3 3

r

œ œb œ œb œ œ œb

3 3

pp

con sord.

˙˙ œœ œœbb œœb œœ

3

œœœb

b - œœœ- œ

œœ- œ

œœ-

œ ‰ .rr

œb œ œ œ œ3

He's craw ling.

w

w

˙ œ œb œ œ

3

˙ œ œb œ œ

3

˙ œ œb œb œ

3

˙ œ œb œb œ

3

A big man, Seaman Evans, Down on his hands and knees, crawling about like a child.

Vc.1

Vc.2

D.B

œœ œœ œœb œœb œœ œœ œœ œœb

3 3

œœœb

b - œœœ- œ

œœ- œœ

œnn

-

Ó Œœ

.˙ œb

.˙ œ

œ œ œb œ œ œ œ œb

3 3

œ œ œb œ œ œ œ œb

3 3

œ œ œ œb œ œ œ œb

3 3

œ œ œ œb œ œ œ œb

3 3

Ó Œ œ œb?

Ó Œ œb œn?

Ó Œ œ œbt

arco

arco

arco ord.

ord.

ord.

ppp

ppp

ppp

˙˙ œœ œœ œœbb œœ

3

œœœ- œœ

œ- œœ

œ- œœ

œ-

w

w

w

˙ œ œ œb œ

3

˙ œ œ œb œ

3

˙ œ œ œb œ

3

˙ œ œ œb œ

3

w wb

wb wn

w wb

œœ œœ œœbb ..˙˙

3

œœœ- œœ

œ- œœ

œ- œœ

œ-

w

w

w

œ œ œb .˙

3

œ œ œb .˙

3

œ œ œb .˙

3

œ œ œb .˙

3

w wb

wb wn

w wb

-

213

&

&

?

&

?

?

&

&

?

?

t

....

..

.. ......

Hn.

Trbn.

B.Trbn.

Vln.1+2

Vln.3+4

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

13

œœAAœœ œœ œœ

r

œœ œœ œœbb

3 3

œœœ- œœ

œ- œœ

œ- œœ

œ-

w

wA

w

œœbb

œœ œ

œbb œ

œr

œœ

œœ œ

œ

3 3

œœbbab

œœ œ

œbb œ

œr

œœ

œœ œ

œ

3 3

w wb

wb wn

w wb

Trpt.1

Trpt.2

Vla.1+2

Clste.

Crotales

Scott

‰ œœbb œœbb œœ œœœœ œœ œœ

33

œœœ- œœœ

- œœœ- œœœ

-

œ œ‰ œb œ œ œ œ œ ® œ œ œ ‰ Œ

3

E vans! What in the name of God's the mat ter?

&

œb . œb . ® œb . ® œb . œb . ® œb . ® œb . ®&

‰ œ. œb . ® œb . ® œ. œb . ® œb . ® œ. ®&

œœ œ

œbb œ

œbb œ

œœœ

œœnn œ

œœœ

3 3

œœ

œœ œ

œbb œ

œbb œ

œœœ

œœ

œœ

3 3

œ œ œ œ œb œb œb œb œ œb œb œb œ œb œbB

ww

w w

w w

pp

pp

“–

–‘

–‘

ppp

con sord.

con sord.

œœœœbb œœbb œœ œœ

œœ œœ œœ

3 3

œœœ- œœœ

- œœœ- œœœ

-

œ œ œ ≈ œ œ œ œ ≈ œ œ œ Œ

Stand up. man; can't you stand up? I'll help you.

œœ

œœbb œ

œbb œ

œœœ

œœ œ

œœœ

3 3

œœ

œœ œ

œœœbb œ

œœœ œ

œbb œ

œ

3 3

ww

w w

w w

- -

214

&

&

?

&

&

?

?

?

?

&

&

?

?

t

Scott

Oates

Evans

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

16

œœAA œœbb œœbb œœ œœœœnn œœ œœ

33

œœœ- œœœ

- œœœ- œœœ

-

Ó ‰ .rr

œn œb

Your hands!

Œ ‰ .rr

œb œb œ œ œŒ

3

That look in his eyes.

‰ ‡ ‡ ‡rr

‡ ‰ . Ó

Leave me a lone

wU

æ>

wU

æ>

wm

Uæ>

œœA

Aœœbb œ

œbb œ

œœœ

œœ œ

œœœ

3 3

œœA

A œœ œ

œnn œ

œbb œ

œœœ œ

œbb œ

œ

3 3

ww

w w

w w

mf

sfz

sfz

sfzpp

pp

pp

Clste.

Crotales

œœœœbb œœbb œœ œœ

œœ œœ œœ

3 3

œœœ- œœœ

- œœœ- œœœ

-

Ó ‰ œ œb œ œ œb œn œb3

Why did you take your gloves off?

œb‰

œ‰

œŒ

Fire, ice, jewels.

œœ

œœbb œ

œbb œ

œœœ

œœ œ

œœœ

3 3

œœ

œœ œ

œnn œ

œbb œ

œœœ œ

œbb œ

œ

3 3

ww

w w

w w

œœ œœbb œœbb œœ œœœœnn œœ œœ

33

œœœ- œœœ

- œœœ- œœœ

-

Œ ‰r

œb œ œb ‰ Œ

They're fro zen

œ œb œ œm œb œb œ> œb> œb>œb> Œ œ œb œb œb

3 3

Watch out he does n't at tack you, Cap tain! On ly mad men

œœ

œœbb œ

œbb œ

œœœ

œœ œ

œœœ

3 3

œœ

œœ œ

œnn œ

œbb œ

œœœ œ

œbb œ

œ

3 3

-

- - - -

-

215

&

?

&

&

?

?

?

?

&

&

B

?

?

t

......

Scott

Oates

Evans

Hn.

Trbn.

B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1

Vc.2

D.B.

Pno.

19

‰œœbb œœbb œœ œœ

œœbb œœbb œœ

3 3

Ó Œ ‰ ≈œb œ3

Sure ly

œb œb œ ‰ ≈ œ œb œ œb> œ>Ó

look like that! The man's insane.

Ó ‰ ‡> ‡> ‡>

rr

‡> ‰ .

Leave me a lone

Ów

Uæ

>

Ów

Uæ>

Ówm

Uæ>

œœA

A œ œb œ œb œ œb œ œb œ œb œ œb œ œb œ

œœA

A œœbb œœbb œœ œœœœbb œœbb œœ

3 3

œœ- œœ

- œœ- œœ

-

˙˙b

˙b˙

˙b ˙b

( h )

( h )

( h )

sfz

sfz

sfzpp

pp

pp

“–

pizz.

mf

mf

Low brass entries to be simultaneous but players should vary lengthof notes to be deliberately non-synchronise

Clste.

œœ œœbb œœbb œœ œœœœnn œœbb œœ

3 3

œ œb œb œ œb œn œ œb œb œ3

3 3you know us,

œœ œœbb œœbb œœ œœœœnn œœbb œœ

3 3

œœ- œœ

- œœ- œœ

-

wwb

wbw

wb wb

œœœœbb œœbb œœ œœ

œœbb œœbb œœ

3 3

œ œ œ œb œ ‰ œ œ3E vans? We're your

wU

æ>

wmU

æ>

wU

æ>

œœœœbb œœbb œœ œœ

œœbb œœbb œœ

3 3

œœ- œœ

- œœ- œœ

-

wwb

wbw

wb wb

sfzpp

sfzpp

sfzpp

-

- -

216

&

?

?

?

&

B

?

?

t

Scott

Hn.

Trbn.

B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

22

.œ œb œ œb œb œn œb .œn ‰ œb> œb> œb>

3

friends, We on ly want to help you. Tell uswhat

wmU

æ>

wU

æ>

wU

æ>

œœbb œœbb œœbb œœ œœœœnn œœbb œœ

3 3

œœ- œœ

- œœ- œœ

-

wwb

wbw

wb wb

sfzpp

sfzpp

sfzpp

œb> œb>Œ Ó

happ ened.

œœœœbb œœbb œœ œœ

œœbb œœbb œœ

3 3

œœ- œœ

- œœ- œœ

-

wwb

wbw

wb wb

Perc.

Pno.

Evans

œ>÷

ww>

&

wwwbb>

&

œ œb œb œ œ œb œb œ

When you touch the snow you get your

?

œ> œb>œb> œ> œ>

œb>œb>

Œ œ> œb>œb> œ> œ>

œb>

Ó Œ œb œ>

mf

Whip

mf

pp

pizz.

pp

pizz.

pp

pizz.

105

œ œb œb œ œ œb3 3

fin gers black. Look at my

œ> œb> œb> œ>œb> œb> œb>

œ>œb> œb> œb> œ> œb>

œœn> œb> œb> œn> œb>œn> œ> œn>

- -

-

217

?

B

?

?

B

..

..

..

..

..

..

..

..

..

...... ......

Evans

B.Trbn.

Vla.1+2

Vc.1

Vc.2

D.B.D.B.

°

œb œ œ œb œb œ œ œb

black fin gers. Fun ny, aren't they? fun

œ> œb>œ> œ> œ>

œ>œb>

œ œbœ œb œb

œb œb œ œœb

œb œ

œb œœb œb œb œ œb

œb> œn> œ> œ> œb>> œn>

( )

–‘

pp

pizz.

Vln.3+4

Hn.

Trbn.

B.Trbn.

–‘

–‘

œb œb œb œb œb œb œb œb

fun fun fun fun fun fun fun fun

wm æU

?

wæ

U?

wb æU

?

œ> œb>œb>

œb> œ>œb>&

œ> œ> œb> œ>œ> œb> œ>

&

pp

Vln.1+2

ppp

ppp

ppp

Trpt.1

Trpt.2

fun...fun...fun...fun...fun...fun...fun...fun...fun...fun...

pizz.

œ&

œ&

œ œn> œb> œb>œn>

œb>œn> œ> œn>

&

œb> œn> œ> œb> œ>œ>

œb> œ> œb>œn> œn> œb>

pp

pp

pp

Scott

Pno.

pizz.

œ>÷

wwwbn

b

>

&

ww>

?

‰ œ œ œ œ> ≈ œ ‰ œ œ œ œ œ œ3 3 3

What were you do ing, down on your hands and knees?

&

mf

Whip

f

to Timpani

106

- -

-

218

?

&

?

?

&

Evans

Vln.1+2

Perc.

Pno.

œ œb œb œ

www

AA

ww

‰ œb œ œ œ œb ‰ œb œ œ œ œb

I don't re mem ber, I might have fain ted.

w

U

wµ

U

pp

Timpani

ppp

arco

œb œb œ œb œb œ œb

Ó

œb œ œb œb œ œb œb œ œb œb œ œb

œ œ

Catch him,

‰ œ¿ œ¿

œ¿ œb ¿ ‰ Œ

I re mem ber...

?Wilson

œb œ œb œb œ

≈ œb œb œb

We'll have to

Œ œ œ ‰ œ œ œ

quick ly! He's faint ing.

wm

U

wm

U

&Scott

ppp

arco

&Vln.3+4

Pianist to move to Percussion 2 setup.

˙b ˙b

œb œb œb

car ry him.

- -

- -

- - -

-

219

÷

&

&

B

?

Narr.

Scott

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

Perc. w-

wn

U

wµ

U

wm

U

wm

U

wbU

wbU

mp

mp

Sus.Cym.

mp

A strong man, Seaman Evans,A big man, slumped on the sledge,Sleeping like a child.

107

Hn.

∑U

wbU

&

œ.œb . œb . œ.

œ. œn . œb . œ. œ.œn .

≈ œb . œb . œ.œ. œn . œb . œ. œ.

œn .≈

œb . œ.œ. œ. œb . œ. œ.

œn .®

Ó ‰œ.

œb . œb . œ.œ. œn . œb . œ. œ.

œn .≈

ppp

ppp

mp

Trbn.

con sord.

I've seen this coming and been afraid of it; Each day since he took that fall I've watched him failing,His poor hands rotting with frostbite, his face all eaten, As if there were rats in the ice. The worst thing

con sord.

wbU?

œb . œ. œ. œb .œb . œb . œn .

œb . œ.œ.

≈ œ. œn . œb .œ. œb . œn .

œ. œ.œ.

≈œn . œb .

œ. œb . œn .œ. œ.

œ.®

œb . œb . œ.œ. œn . œb . œ. œ.

œn .≈

œb . œ.œ. œ. œb . œ. œ.

œn .® œb . œb . œn .

œ. œn . œ. œ. œb .œb .

≈ rrr

œb .

∑U

∑U

mp

220

÷

&

?

&

&

B ......

......

Scott

Hn.

Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Perc. wUæ

wb

U

b

wbUa

œ. œ. œ. œb .œb . œ. œb .

œb . œ.œn .

≈ œ. œn . œb .œb . œ. œb .

œb . œ.œn .

≈œn . œb .

œb . œ. œb .œb . œ.

œn .®

œ.œ. œ. œ. œ. œb .

œb .® œb . œn . œn . œb .

œ. œb . œn .œb . œ.

œb . ≈ œ. œn . œb .œn . œb . œn .

œb . œ.œb . ≈

rrr

œn .

œ. œb . œb . œ.œ. œn . œb . œ. œ. œn . ≈ œb . œb . œ.

œ. œn . œb . œ. œ. œn . ≈ œb . œ.œ. œ. œb . œ. œ. œn . ®

ppp

–‘

Vc.1+2

B.Trbn.

Was to see his reason going, see him losing heart, His movements slowing and his speech becoming wooden.Each day we've seen him nearer this collapse, And it's made my heart bleed, watching him.

Oates

pp

Tamtam

with metal sticks

œb œb œb œb œb œb

We've all been watch ing him.

&

wbU?

œ. œn . œ. œb .œb . œb . œn .

œb . œ.œ. ≈ œ. œn . œb .

œb . œb . œn .œb . œ.

œ. ≈ œn . œb .œb . œb . œn .

œb . œ.œ. ®

œb .œ. œb . œn .

œb . œ.œb . ® œ. œn . œb . œ.

œb . œ. œb . œ. œ. œn . ≈ œ. œb . œ.œ. œ. œb . œ. œ. œn . ≈

rrr

œb .

œ. œ. œb . œ.œb . œ. œb . œ. œ. œn .

≈ œ. œb . œ.œ. œ. œb . œ. œ. œn .

≈ œb . œ.œ. œ. œb . œ. œ. œn .

®?

ppp

–‘

pp mp

pp

p

And all been sorry. But what's going to happen now?Bowers

-

221

÷

&

&

?

?

&

&

Wilson

Bowers

Trpt.1

Hn.

Trbn.

B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

Perc.

poco cresc.

poco cresc.

wU

æ

wbU

wb

U

b

wbUa

wbUa

œ. œ. œb . œ.œb . œ. œb . œ. œ. œn . ≈ œ. œb . œ.

œ. œ. œb . œ. œ. œn . ≈ œb . œ.œ. œ. œb . œ. œ. œn . ®

œ.œb . œ. œb . œ. œ. œn . ® œ. œb .

œb . œ.œ. œn . œ. œ. œ. œn . ≈ œb .

œb . œ.œ. œn . œb . œ. œ. œn . ≈

rrr

œb .

p

p

Is there any chance for him, Wilson, will he come round?

It's hard to say. He's still unconscious. Perhaps he'll rally for a moment or two towards the end.

Tamtam

wbU

>&

œb . œ. œ. œb . œb . œb . œn . œb .œ. œ. ≈ œ. œn . œb . œ. œb . œn . œ. œ. œ. ≈ œn . œb . œ. œb . œn . œ. œ. œ. ®

œ.œ. œ. œb . œ. œ. œn . ® œ. œ. œ. œb . œb . œ. œb . œb .

œ. œn .≈ œ. œn . œb . œ. œ. œb . œ. œ. œn .

≈rrr

œn .mp

mf

The end! Surely you don't mean that? Men don't die just like that, go out with a flick of the finger.Oates

222

÷

&

&

&

?

?

&

&

......

Oates

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

Perc. wU

æ

wb

U

b

wb

U

b

wb

U

b

wbU>

wbUa

œb . œ. œ. œb . œ. œb . œn . œb .œ. œb .

≈ œ. œn . œb . œn . œb . œn . œb .œ. œb .

≈ œn . œb . œn . œb . œn . œb .œ. œb .

®

œb . œb . œ. œb . œb .œ. œn .

® œ.œ. œ. œb . œ. œn . œn . ® œ. œ. œ. œb . œb . œ. œb . œb .

œ. œn .≈ œ. œn . œb . œb .“–

f

mf

f

–‘

He's exhausted now; but surely a spell for a day...

Wilson

Tamtam

wbU

>

œ. œb . œb .œ. œn .

® –‘

f

f

He has concussion. He won't be coming home. I doubt he'll wake at all!

223

&

&

&

?

?

Scott

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

Perc. wU

æ

wb

U

b

wb

U

b

wb

U

b

wbUa

wbUa wbU>

f

Can nothing be done?

We can't let him slip away like this. We can't sit here and watch him die and not do anything.Bowers

Tamtam

f

f

f

ff

ff

It's a cold thing, to lose a friend like this.

224

÷

÷

÷

&

&

&

?

?

t

Narr.Narr.

ScottScott

OatesOates

WilsonWilson

BowersBowers

EvansEvans

Trpt.1Trpt.1

Trpt.2Trpt.2

Hn.Hn.

Trbn.Trbn.

B.Trbn.B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.D.B.

Perc.

Pno.

˙

>

æ

œ>@ œ> 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 œœ 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

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 œœ

œ œ œ œ œ œ œœ œ œ 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>˙ œ>

Please be calm, Please be calm, Please be calm, there's no thing to do but wait!

œ> ˙ œ> ˙ œ> ˙ œ> ˙ ˙ œ> ˙ œ> ˙ ˙ œ>˙

Please be calm, Please be calm, Please be calm, there's no thing to do but wait!

œ> œ> ˙ œ> œ> ˙ œ> œ> ˙ œ> œ> ˙ œ> œ>˙ œ>

Please be calm, Please be calm, Please be calm, there's no thing to do but wait!

˙ œ> œ> ˙ œ> œ> ˙ œ> ˙ ˙ œ> œ> ˙ ˙ œ>œ>

Please be calm, Please be calm, Please be calm, there's no thing to do but wait!

œ> œ> ˙ ˙ œ> ˙ ˙ œ> ˙ ˙ œ> œ> œ> ˙ ˙ ˙

Please be calm, Please be calm, Please be calm, there's no thing to do but wait!

–> –> –> –>

LEAVE ME A LONE!!

—>

—>

—>

—>

—>

œ>fff

pizz.

ca 10"

ff

ff

Perc.2

Woodblocks

CowbellsCymbalsTamtam

Tomtoms

fff

fff

fff

fff

fff

fff

q »approx. 98

–‘“–

Rapid!

Rapid!

Rapid!

Rapid!

Rapid!

Vlns.+Vlas. to change to designated perc. instrument

108

-

-

-

-

-

-

225

÷

÷

÷

÷

÷

Narr.

Scott

Oates

Wilson

Bowers

Evans

Vln.1+2

Vln.3+4

Vla.1+2

Perc.

Pno.

œœ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œœ

œ œ œ œ œœ

œœ œ

œœ

œœ œ œ œ

œœœ

œ œ œ œ œœ

œœ

œœœ

w> w ∑ w>w

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>

—>

O ther! Ut ter! O ther! Ut ter! O ther! Ut ter! O ther! Ut ter!

>œ>

œ>—>

>œ>

œ>—>

>œ>

œ>—>

>œ>

œ>—>

O ther! Ut ter! O ther! Ut ter! O ther! Ut ter! O ther! Ut ter!

Ó>

œ>œ>

—>>

œ>œ>

—>>

œ>œ>

—>>

œ>œ>

—>>

œ>œ>

—>

O ther! Ut ter! O ther! Ut ter! O ther! Ut ter! O ther! Ut ter! O ther! Ut ter!

∑>

œ>œ>

—>>

œ>œ>

—>>

œ>œ>

—>>

œ>œ>

—>

O ther! Ut ter! O ther! Ut ter! O ther! Ut ter! O ther! Ut ter!

Ó>

œ>œ>

—>>

œ>œ>

—>>

œ>œ>

—>

O ther! Ut ter! O ther! Ut ter! O ther! Ut ter!

‰ –> –> –> –> –> –> .–> –> –> –> –> –> Œr

–> –> –> .–> .–> .–>‰r

–> .–> .–> –> ¬>I've sat by o ther death beds and know this feel ing Of UT TER HELP LESS NESS and grief and an ger

∑ œ>Œ

r

œ>Œ

r

œ>Œ

∑r

œ> ‰r

œ> ‰ œ> ‰

∑ œ> œ œ œ Œ œ> œ ‰∑ œ> œ œ œ> œ

∑ ˙æ ‰

∑ œ> œ œ œ> œ

5"“– –‘

7" “– –‘

Perc.2

Whip

Claves

10"“– –‘

ff

ff Tambourineff

7" “– –‘ffTemple block

“– –‘9"

fRachet

12"“– –‘

fTriangle

ca 15"

4"

2"

5"

3"

109

- -

--

--

--

--

-- -- --

----

-- -- -- --

--

--

-- --

--

--

- - - - - - - - -

226

÷

÷

÷

÷

÷

Narr.

Scott

Oates

Wilson

Bowers

Evans

Vln.1+2

Vln.3+4

Vla.1+2

Perc.

Pno.

œ> œ>œ>

œ> œ>

œ>

œ>> œ>

œ>

œ>

œ

>

@œ> œ>

œ>> œ>

œ>> œ> œ

>@

˙

>

æ 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 œ œ œ œ 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> w> w

Ó>

œ>œ>

—>>

œ>œ>

—>

O ther! Ut ter! Ut ter An ger!

∑>

œ>œ>

—>>

œ>œ>

—>>

œ>œ>

—>

O ther! Ut ter! Ut ter An ger! Ut ter An ger!

∑>

œ>œ>

—>>

œ>œ>

—>>

œ>œ>

—>

O ther! Ut ter! O ther! Ut ter! Ut ter An ger!

Ó>

œ>œ>

—>>

œ>œ>

—>>

œ>œ>

—>

O ther! Ut ter! Ut ter An ger! Ut ter An ger!

>œ>

œ>—>

>œ>

œ>—>

>œ>

œ>—>

O ther! Ut ter! O ther! Ut ter! Ut ter An ger!

Œ ‰ – – – – – – – – – .– ¬ ¬ ¬ – – ≈ – – – – – ≈ – – – – –

When a moan is drown ing you throw him a rope, you launch a boat, you dive to help him: re lief in ac tion!

Perc.2

ff ff

ca 10"

3"

5"

2"

4"

110

- - --

- - - - --

- - - - --

- - - - --

- - - - --

- - -

227

÷

÷

÷

&

&

?

?

?

÷

÷

÷

?

t

..

..

Narr.

Scott

Oates

Wilson

Bowers

Evans

Trpt.1

Trpt.2

Hn.Hn.

Trbn.Trbn.

B.Trbn.B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Perc.

Pno.

˙

>

æ

œ>@ œ> 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 œœ 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 œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œœ

œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ

œœ

∑ .œb>æ rr

œ.≈ .œb>

ærr

œ.≈ .œb>

ærr

œ. ≈

∑ .œb>æ

rr

œ. ≈ .œb>æ rr

œ.≈ .œb>

∑ >æ rr

œm . ≈ ˙b>æ

rr

œn . ≈ >æ

rr

œb . ≈

œ. œm .œb . ≈

>æ

rr

œb .≈ œm . œ.

œ. ≈>

æ rr

œm .≈

˙æ

>

rr

œb .≈

˙æ

> rr

œb . ≈ œn . œn .‰

œ. œm .œb . ≈

>

rr

œb .≈ >

rr

œm . ≈ ˙b>

rr

œn . ≈ >

rr

œb . ≈˙b>

rr

œ.≈B

>rr

œb . ≈ >rr

œb .≈

œn .œn . ‰ œ. œm .

œb .

≈ >rr

œb .≈ œm . œ.

œ.≈ >

rr

œm . ≈ >

mf sfz mf sfz f

–‘

f mf sfz f mf sfz–‘

5"

mf mf mf sfzsfzsfz“– –‘

7"

8"

mf mf mfsfzsfz sfz

mf mf mfsfzsfz

ff

ff

pizz.

Vc.1 pizz/Vc.2 arco

ca 20"

ff

Perc.2 “–

ff

111

Narrator and Vocals 1-4 to shout previous passages at random, getting faster and more intense until Cue 116!

So we’re lost you see, Lost! He doesn’t know the bloody way! So we’re going around bloody circles! I’m Hungry! I eat the same as them and I’m twice the size.Half starved and lost and pullin’ a rock! Daisy, Daisy, give me your answer too….I’m half crazy…. Bugger OFF, GO ON WHY DON’T YOU, ALWAYS PISS MORE THAN YOU DRINK…YES SIR, NO SIR, THREE BAGS FULL SIR!FOOD! FOOD! FOOD! I NEED FOOD!! Don’t let them find me…don’t let them find me…

Evans to shout these phrases at random!

228

÷

÷

÷

&

&

÷

÷

÷

B

t

....

..

..

..

..

..

..

Narr.

Scott

Oates

Wilson

Bowers

Evans

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.D.B.

Perc.

Pno.

¥¥¥¥¥

¥¥¥

¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

accel.

r

œ

>

æ.œ

æ

œ œ œ œ œ œ œ œœ œ œ

œ œ œ œœ œ œ œ œ œ œ œ

.œb>æ rr

œb .≈ .œb>

æ

rr

œb . ≈ .œb>æ

rr

œb . ≈U

rr

œ.≈ .œb>

æ rr

œb .≈ .œb>

ærr

œb . ≈ .œb>æ

˙b>

rr

œb . ˙b>rr

œb . ˙b>rr

œb .

rr

œb .≈ ˙b>

rr

œb . ≈ ˙b>rr

œb .≈B

mfmfmf sfz sfz sfz

sfz mf sfz mf sfz mf

–‘Perc.2

ff mf

œ> œ>œ>

œ>

œ>œ>

œ> œ> œ>œ> œ>

rr

œb .sfz

ca 1"

fff

fff

112

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 œ œ œ> œ œ œ œ œ œ

œœ

˙b>æ rr

œ.≈ ˙b>

ærr

œ.≈&

‰ ˙b>æ

rr

œ. ≈ ˙b>æ rr

œ.≈&

>æ rr

œm . ≈ ˙b>æ

‰?

≈>

æ rr

œm .?

˙æ

> rr

œb . ≈ œn . œ.‰?

œ> œb>œb> œ> œ>

œb>œb> œ>

œ>œ>

?

Ó œb œ> œ œ œn> œb> œ>t

mf sfzsfz

mf mf sfzsfz

–‘mf

–‘

mf sfz

mf mfsfz

mf sfz f

–‘

–‘

–‘

ca 20"

pizz.

fff3"

“–

return to Pno. when repeat is reached.

fff

Vlns. + Vlas. to change back to their instruments.

ff

fff

fff

fff

113

229

÷

÷

?

t

Narr.

Scott

Oates

Wilson

Bowers

Evans

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vc.1+2Vc.1+2

D.B.D.B.

Perc.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

œ>> œ>

œ>> œ> œ

>@

˙

>

æ œ> œ>œ>

œ> œ>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> w> w>

˙

œ>œb> œb> œb>

œn œœb œb œn œ œb

œb œn> œb>œn> œ> œn> œb> œn> œ> œ> œb>> œn>

–‘

–‘

ff

230

&

&

&

B

..

..

..

..

..

..

..

Narr.

Scott

Oates

Wilson

Bowers

Evans

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1+2Vln.1+2

Vln.3+4Vln.3+4

Vla.1+2Vla.1+2

Vc.1+2

D.B.

Perc.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

√

√

œœbb .. œœb.. œœb

.. œœnn.. œœb

.. œœb. œœb .. œœnn .. œ

œn .. œ

œb .. œ

œbb .. œm . œœb

.. œœn . œœb . œœbn .

œb . œ. œ. œb . œ. œb . œn . œb .œ. œb .

≈ œ. œn . œb . œn . œb . œn . œ. œ. œb .≈ œn . œb . œn . œb . œn . œ. œ. œb .

®

œb . œb . œ. œb . œb .œ. œn .

® œ.œ. œ. œb . œ. œn . œn . ® œ. œ. œ. œb . œb . œ. œb . œb .

œ. œn .≈

œ> œb>œ> œ> œ>

œ>œb> œ> œ> œ> œ>

œ> œb> œ>œb> œn> œ> œ> œ>

œ>œb> œ> œb>

œn> œn> œb>&

pizz.

“– –‘fff

ca 15"

ff–‘

–‘ff

ff

–‘

Xylophone

114

231

÷

&

&

Narr.

Scott

Oates

Wilson

Bowers

Evans

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

√

œ œ>œ œ œ> œ> œ œ œ> œ> œ œ œ÷

˙@

r

œfl

˙æ r

œ ˙æ r

œ

œb

œ

œ

œb

œb

œb

œn

œb

œ

œ

≈ œ

œn

œb

œb

œb

œn

œb

œ

œ ≈

œn

œb

œb

œb

œn

œb

œ

œ ®

œ

œ

œ

œb

œb

œ

œb

œb

œ

œn ≈

œ

œn

œb

œ

œ

œb

œb

œ

œn

≈ œn

œb

œb

œ

œb

œb

œ

œn

® œb

œ

œ

œb

œn

œb

œn

œb

œ

œb

≈ œ

œn

œb

œn

œb

œn

œb

œ

œb≈

œn

œb

œn

œb

œn

œb

œ

œb®

ff

ca 20"

Tomtoms

CowbellsCymbalsTamtam

115

232

÷

÷

&

&

..

..

..

..

Narr.

Vocal 1

Vocal 2

Vocal 3

Vocal 4

Vocal 5

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

(√)

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

œfl

œ> œœœ œ œœ œ

œ œ

˙æ r

œ ‰

œb

œ

œ

œb

œb

œb≈

œn

œb

œb

œb≈

œ

œn

œb

œn

œb

œn

œb

œ

œb

≈ œn

œb

œn

œb

œn

œb

œ

w>.œ> œ .œ œ>

.œ œ .œ œ .œ> œ .œ œ>.œ œ .œ œ .œ> œ?

wb> .>

r

œ> w wb>&

.> > œœ> w

.> .r

œ&

w>

rr

œ. .˙b> r

œ> w>

?

w> œ .œ> .˙>

rr

œ.œ> .œ> œ>

?

. .>

> .œ .œ> .˙w>?

œb˘ œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . 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. œ. œb˘ œb . œb . œb . œb . œb .&

œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ.œfl

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. œ.

&

œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œbfl

œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œfl

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œ œ. œ.B

œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œfl

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œfl

œ. œ. œ. œ. œ. œ. œ. œ.œ œ. œ. œ. œ. œ. œ

flœ. œ. œ

flœ

?

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

flœ. 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.t

ca 30"

ff

large spongy mallet

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

arco

arco

arco

Timpani

ff

116

ALL VOCALS TO STOP!

233

?

&

&

?

?

?

&

&

B

?

t

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Perc.

Pno. ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

.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

rr

œAa > .œ> .r

œb> œ> œ> œ ˙b>

rr

œ . .>

r

œ> U

. .>.œ>

œ> œ

r

œ>.œ>

w> œ .œ> ˙>

U

œb> œ œ>

.œ>œb> ˙ .œ>

> .r

œ.˙b>

. . .˙

U

>

œ>

rr

œ> > .

r

œ.>

w>

rr

œ . .>

U

rr

œa.œ> œ>

rr

œœ> .œ> .œ>

>.> w> œ

rr

œ

U

œb˘ œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œ œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œb˘ œb . œb . œ œ. œ œ. œ. œ. œ. œb˘ œb . œb . œb . œb . œb . œb . œb . œb . 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. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œfl

œ. œ.œ œ. œ. œ. œ. œ œ.

œfl

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. œ. œ. œ. œ.

œfl

œ. œ. œ. œ. œ. œ. œ.

œ œ. œ. œ. œ.œbfl

œb . œb . œb . œb . œfl

œ.œ œ. œ.

œbfl

œb . œb . œb . œb . œb . œb . œb . œb . œfl

œ. œ. œ. œ. œ.œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œbfl

œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œfl

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œœ.œ œ. œ. œ. œ. œ

flœ. œ. œ. œ. œ. œ. œ

flœ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œfl

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œfl

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.œ œ. œ. œ.

œ œ. œ. œ. œ. œ. œfl

œ. œ. œ. œ.

œ œ.œ œ. œ. œ

flœ. 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

flœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

234

?

&

?

&

&

&

?

?

&

&

&

&

B

B

?

t

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1+2

D.B.

Perc.

Pno.

r

œb>

r

œb>

r

œb>

r

œb>

r

œb>

œb œn œ œb œbœb œn

r

œ

œœœœb

fl

œb œn œ œb œbœb œn

r

œ

œœœœb

fl

œb œn œ œb œbœb œn

r

œ

œœœœb

fl

œ> ‰ œb> ‰ œb> ‰ œ> ‰ œn> ‰œ>

‰ œn> ‰ œb> ‰ œb> ‰ œ> ‰ œn> ‰œ>

‰ œn> ‰ œb> ‰ œb>‰ œ>

œ> ‰ œb> ‰ œb> ‰ œ> ‰ œn> ‰œ>

‰ œn> ‰ œb> ‰ œb> ‰ œ> ‰ œn> ‰œ>

‰ œn> ‰ œb> ‰ œb>‰ œ>

‰

œb> ‰ œb>‰

œ>

‰ œ>‰ œ>

‰ œn>‰ œb> ‰ œb>

‰œ>

‰ œ>‰ œ>

‰ œn>‰ œb> ‰ œb>

‰œ>

‰ œ>œb>

‰ œ> ‰ œ> ‰œ>

‰œ>

‰œn>

‰œb>

‰ œ> ‰ œ> ‰œ>

‰œ>

‰œn>

‰œb>

‰ œ> ‰ œ> ‰œ>

œ> ‰ œ> ‰ œb> ‰ œn> ‰œ>

‰ œ> ‰ œ> ‰ œb> ‰ œn> ‰œ>

‰ œ> ‰ œ> ‰ œb> ‰ œn> ‰œ>

‰œ>

‰

œ. œb .‰

œ. œb . œ. œb .œb . œ. œ. œ. œ. œ. œ. œ. ‰

œ. œ. œb . œb . œ. œ. œb . œb .œb . œb . œ. œ. ‰

œ. œ. œb . œb . œ. œ. œb . œb .œb . œb . œ. œ. œ. œ. œ. œ. ‰

œ. œ. œb . œ. œ. œ. œb . œb .‰

œ. œ. œb . œb .

œ. œb .œb . œ. œ. œb .

œb . œ. ‰ œ. œb .œb . œ.

‰ œ. œb .œb . œ. œ. œb .

œb . œ. œ. œb .œb . œ. œ. œb .

œb . œ. ‰ œ. œb .œb . œ. œ. œb .

œb . œ. œ. œb .œb . œ. œ. œb .

œb . œ. œ. œb .œb . œ.

‰ œ. œb .œb . œ. œ.

‰œ. œ. œ. œ. œb . œb .

œ. œ. œb . œb . ‰œ. œ. œ. œ. œb . œb . ‰

œ. œ. œ. œ. œb . œb .œn . œ. œb . œb . œ. œ. œ. œ. œ. œ. œ. œ. ‰

œ. œ. œ. œ. œb . œb .œn . œ. œb . œb . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

‰ œ. œ.‰ œ. œ. œb . œb . œn . œ. œb . œb . œ. œ. œ. œ. œ. œ. œb . œb .

œ. œ. œb . œb . œ. œ. ‰ œ. œ. œb . œb . œn . œ. œb . œb . œ. œ.‰ œ. œ. œb . œb . œn . œ. œb . œb . œ. œ. œ. œ. œ. œ.

‰ œ. œ. œb . œb .‰

.˙b>æ .

r

æ >æ r

æ .wb ær

æ .>æ

. . æ

˙bæ

> .r

Ͼ

> wb æ>

r

æ wæ> . .

æ˙bæ

>

r

æ

.˙æ

>r

œœbfl

r

œœbfl

r

œœbfl

r

œfl

r

œfl

r

œfl

ff

ff

ff

ff

fff

ca 50"

fff

ff

fff

fff

117

235

?

&

?

&

&

&

?

?

&

&

&

&

B

B

?

t

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1+2

D.B.

Perc.

Pno.

r

œb> rr

œ>

œb œn œb œbœb œn

r

œœœœ

œœœœb

b

fl

œb œn œb œbœb œn

r

œœœœ

œœœœb

b

fl

œb œn œb œbœb œn

r

œœœœ

œœœœb

b

fl

œ œbœb

œbœn œb

œn œbœb

œbœn œb

œn œbœb

œbœn œb

‰ œn> ‰œ>

‰ œb> ‰ œb> ‰ œn> ‰œ>

‰ œn> ‰ œb> ‰œ>

Œ œn> œb> ‰ œn>æ

≈ œb>

œn> ‰œ>

‰ œ> ‰ œb> ‰ œb> ‰ œ> ‰ œn> ‰œ>

‰ œn> ‰ œb> ‰ œb> ‰ œ> ‰ œn> ‰œ>

‰ œn> ‰ œb> ‰ œb> ‰ œ>‰ œ>

‰ œbæ>

‰ œ>‰ œn>

‰ œb> ‰ œb>‰

œ>

‰ œ>‰ œb> ‰ œb>

‰œ>

‰ œb> ‰ œb>.r

œbæ> ≈ œb> ‰ œb>

‰œ>

œ>Œ œb> ‰ œb>

æ‰

œ>

‰r

œ>‰

œb>‰ œ> ‰ œ> ‰

œb>‰

.r

œbæ>

‰œb>

‰ œ> ‰œb>

‰ œ> ‰ œ> ‰œ>

‰œb>

‰ œ> ‰ œ>œ>

Œœ>

‰œn>

æ ‰

œ> ‰ œ> ‰ œb> ‰ œn> ‰œ>

‰ œ> ‰ œ> ‰ œb> ‰ œ> ‰ œ> ‰ .r

œ>æ r

œ Œ œ> œ>æ

Œ

œ. œ. œb . œb .‰

œ. œ. œb . œb . œ. œ. œb . œb .œb . œb . œ. œ. œ. œ. œ. œ. œ. œ. ‰

œ. œ. œb . œb . œ. œ. œb . œb .œb . œb . ‰

œ. œ. œb . œb . œ. œ. œb . œb .œb . œb . œ. œ. œ. œ. œ. œ. œ.

rr

œb .‰ œ. œb .

œb . œ. œ. œb .œb . œ. œ. œb .

œb . œ.‰ œ. œb .

œb . œ. œ. œb .œb . œ. œ. œb .

œb . œ. œ. œb .œb . œ. œ. œb .

œb . œ. œ. œb .‰ œ. œb .

œb . œ. œ. œb .œb . œ. œ. œb .

œb . œ. œ. œb .

‰œ. œ. œ. œ. œb . œb .

œ. œ. œb . œb . œ. œ. ‰œ. œ. œ. œ. œb . œb .

œn . œ. œb . œb . œ. œ. œ. œ. ‰œ. œ. œ. œ. œb . œb .

œn . œ. œb . œb . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œ. œ. œb . œb . œn . œ.‰ œ. œ. œb . œb . œn . œ. œb . œb . œ. œ. œ. œ. œ. œ. œb . œb . ‰ œ. œ. œb . œb . œn . œ.

œb . œb . ‰ œ. œ. œb . œb . œn . œ. œb . œb . œ. œ. œ. œ. œ. œ. œb . œb .œ. œ. ‰ œ. œ.

wb ær

æ w>æ

æ.r

œ>æ w>

æ . . æ

rr

æ .wn æ>

r

æ . . .˙æ

> .wæ>r

œœbfl

r

œœbfl

r

œœbfl

r

œfl

r

œfl

r

œfl

236

?

&

?

&

&

&

?

?

&

&

&

&

B

B

?

t

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1Vln.1

Vln.2

Vln.3Vln.3

Vln.4

Vla.1

Vla.2

Vc.1+2

D.B.

Perc.

Pno.

accel.

.r

œ>

r

œ>

r

œ>

r

œ>

r

œ>

r

œ>

r

œ>‰ r

œ‰ r

œ‰

œœb

œœb

œœb

œ œb œ œbœb œn

r

œœœ

œœœœm

m

fl

œ œb œ œbœb œn

r

œœœ

œœœœm

m

fl

œ œb œ œbœb œn

r

œœœ

œœœœm

m

fl

œ œb œ œbœb œn

r

œœœ

œœœœm

m

fl

œ œb œ œbœb œn

r

œœœ

œœœœm

m

fl.

r

œœœ

œœœœm

m

fl

œœœ

œœœœm

m

fl

‰œœœ

œœœœm

m

fl

‰ ‰œœœ

œœœœm

m

fl

œœœ

œœœœm

m

fl

œœœ

œœœœm

m

fl

œœœ

œœœœm

m

fl

œœœ

œœœœm

m

fl

œœœ

œœœœm

m

fl

œb œœb œ

œ œb

œb œœb œ

œn œb

œb œœb œ

œn œb

œb œœb œ

œn œb

œb œœb œ

œn œb

≈.r

Ͼ>

Œr

œb> ‰ œb>‰ œ>

‰ œb> ‰ œn> ‰ œn> ‰ œ> ‰ œb> ‰œb>

‰ œb> ‰ œ> ‰ œ> ‰ œb> ‰œb>

‰ œb> œn>œb> œb> œn>

œn>

œn> ‰ œb> Œ œb>‰ œ>

‰ œn> ‰ œb> ‰ œb> ‰ œ> ‰ œn> ‰ œn> ‰ œb> ‰ œb> ‰ œ> ‰ œn> ‰œ>

‰ œb> œn>œ> œ> œb>

œb>

‰ œ>‰ œ>

‰ œn>‰ œb> ‰ œb>

‰œ>

‰ œ>‰ œ>

‰ œn>‰ œb> ‰ œb>

‰œ>

‰ œ>‰ œ>

‰ œn>‰ œn> œ> œb>

œb> œ>œb>

œb>Ó

U‰ œ> ‰ œ> ‰

œ>‰

œ>‰

œn>‰

œ>‰ œ> ‰ œb> ‰

œb>‰

œb>‰

œb>‰

œn>œ> œ>

œ> œn> œ>

œ>ÓU ‰ œ> ‰ œb> ‰ œn> ‰œb>

‰ œ> ‰ œb> ‰ œn> ‰ œb> ‰œb>

‰ œ> œ> œb> œn> œ> œn>

œ. œ. œ.‰

œ. œ. œb . œb . œ. œ. œb . œ.œb . œb . œ. œ. œ. œ. ‰

œ. œ.‰

œ. œ. œb . œb . œ. œ. œb . œb .œb . œb . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰

‰ œ. œb .œb . œ. œ. œb .

œb . œ. œ. œb .œb . œ. œ. œb .

œb . œ. œ. œb .œb . œ. œ. œb .

œb . œ. ‰ œ. œb .œb . œ. œ. œb .

œb . œ. œ. œb .œb . œ. œ. œb .

œb . œ.œb . œ.

‰ œ. œb .œb . œ. œ. œb .

‰ œ. œb . ‰

‰œ. œ. œ. œ. œb . œb .

œ. œ. œb . œb . œ. œ. œ. œ. œ. œ. ‰œ. œ.

‰œ. œ. œ. œ. œb . œb .

œn . œ. œb . œb . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰œ. œ. œ. œ. œb . œb .

œn . œ. ‰œ. œ. œ. œ.

œb . œb . œn . œ. œb . œb . œ. œ. œ. œ.‰ œ. œ. œb . œb . œn . œ. œb . œb . œ. œ. œ. œ. œ. œ. œb . œb .

œ. œ. œb . œb . œ. œ. œb . œb . ‰ œ. œ. œb . œb . œn . œ. œb . œb . œ. œ. œ. œ. œ. œ. œb . œb .œ. œ. œb . œb .

œ

rr

æ .w>æ

æ.>

ærr

æ w>æ œ

æ

æ wæ>

æœæ

> wUæ>

r

œœmfl

r

œœmfl

r

œœmfl

r

œœmfl

r

œœmfl

r

œœmfl

r

œœmfl

‰r

œœmfl

‰ ‰œœm

flœœm

flœœm

flœœm

flœœm

flœœm

flr

œfl

r

œfl

r

œfl

r

œfl

r

œfl

r

œfl

r

œfl

‰ r

œfl

‰‰

œfl

œfl œ

flœfl œ

flœfl

“– –‘

“– –‘

34

hk»120 34

24

‰

‰

‰

‰

‰

‰

‰

‰

‰

‰

‰

‰

‰

‰

‰

Œ Œ

Œ

Œ

Œ Œ

Œ

Œ

Œ Œ

‰ ‰ ‰

237

&

÷

&

?

&

&

&

&

B

B

?

?

t

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

ÓwU¿

œ> ∑U

ww

U

Ó OwU

ÓOU

Ó OU

Ó OU

Ó ObU

Ó OwU

wU

>

wU

>

wU

>

sfz

sfzpp

pp

sfzpp

f

pp

sul Gpp

sul G3"

3"

pp

sul D3"

pp

sul D3"

pp

sul D3"

pp

3"

pp

3"

Vibe.

bow slowly

f

Bass Drum

118

Scott

Oates

∑U

Ó ‰ œ œWho spoke?

&

r

œ .œ ÓU

Snow ing.

&

p

p

Whisper tone

‰ œµ œµ œµ œµ œµIs some one a wake?

‰ œ œ

It's on

pWilson ? œ œ œ œ œ œ œ œ

ly the Sol dier talk ing in his

œ œ œ œ œ œ œ œ

sleep, don't wake him. He needs all the

‰

œB œB œB œB œB œB œB

sleep he can get, poor fell ow.

œn œYou, too.

-

- -

- - - -

Scene 9 - The Blizzard

All strings to re-bow imperceptibly

238

&

?

&

&

&

&

&

B

B

?

?

t

Scott

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Pno.

œ œ œ œ œ œ œ œBut it's near ly time for the march;

OwU

OU

OU

OU

OAU

OwU

wU

wU

wU

‰ œ œ œ œ œa few more min utes

‰ œn

If

Wilson ? œ œ œ œ œ œ ‰ œ

on ly we had more fuel, a

œ œ œ œ Œ œb œb

lit tle more food But that's

œb œb œb œb œb œb Œ

the least of our trou bles

œb œb œb œb œb œb Œ

Oates is fin ished, you know.

œb œb œn œ œ ‰ œ œ

You don't need tell ing. His feet

- -

- - - --

239

&

?

?

&

&

&

&

B

B

?

?

t

Wilson

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Pno.

ord. sul pont.

œ œ ‰ œ œ œ œ ‰

are done, he's ex haust ed,

OwU

OU

OU

OU

OAU

OwU

wU

wU

wU

Perc.

All strings

w÷

œB œB œB œB œB ‰U œ œ

the cold has got him! It's cruel

‰r

œ.

‰r

œ.

‰ r

œ.

‰r

œ.

‰ r

œ.

mf

mf

mf

mf

mf

mp

&

&

&

?

?

Sizzle cymbal

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

[wait for brass]

ord.

œ œ œ œ œ ‰ œ œ

to keep him march ing but what

œ œ œ œ œ

He will march till he

œ œ œ

can we do?

&Scott œ ‰ œ œ œ œ œ œ

drops. The Sol dier is made that

Oates

œ

way.

‰ œ œ œ œ œ ‰

What way am I made?

&

- - -

-

240

&

&

&

&

&

B

B

?

?

t

.. ..

Oates

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

œ œ œ ‰ œ œ œ œJer ry built,the way I'm shap

OwU

OU

OU

OU

OAU

OwU

wU

wU

wU

œ Œ œb œb œb œb œbing. Was that the doc tor's

œb œb œb ‰ œB œB œB œBcon fer ence?What's the ver dict?

‰ œn œ œ œ œ œ ‰

Gal lop ing house maid's knee?

Scott œ œ œ œ ‰ œb œb œbI was say ingwe'll make it,

&

Perc.wæ

?

‰ œb œb œb œb œb œµ œµin spite of ev er y thing.

rimcentre

Timpani

pp

œm œm œm œm œm œm‰

œmIt's a race a gainst time and

&

- - - - - - - - - -

- - - -

-

241

&

&

&

&

&

B

B

?

?

t

Oates

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

œm œm œm œm œm œm œm œmyou'll nev er beat the bliz zards with

OwU

OU

OU

OU

OAU

OwU

wU

wU

wU

œm œm œm œm œm œmŒ

a crip ple on your hands.

œ œ œ œ ‰ œ œ œTell me, Wil son, I want to

œ ‰ œ œ œ œ œ œknow and I'm not a fraid to

œ œ ‰ œ œ œ œ œface it, Is there a chance for

œ Œ œ œ œ œ œme? I know there isn 't.

Wilson œ œ ‰ œ œ œ Œ

Sol dier, I don't know.

?

- - - - - -

-

242

?

&

&

&

&

B

B

?

?

t

Wilson

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

∑U

œ œ œ œ œ Œ

There's al ways a chance.

OwU

OU

OU

OU

OAU

OwU

wU

wU

wU

4"

Scott & œ œ œ œ œ œ Œ

You must keep on march ing.

Œ&Oates œ œ œ œ œ‰

œ‰

I'll keep on march ing, yes.

œ œ œ œ œ‰ Œ

As long as I can.

G.P. 6 secs.

-

-

-

243

?

÷

&

&

&

&

&

?

?

&

&

&

&

B

B

?

?

t

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

√

√

°

>

w>

wwwbb>

www>

wbU

wU

wnU

wU

wU

wbU

wU

wbU

wU

wU

wbU

wU

wU

wU

f

f

f

f

f

f

f

f

f

f

f

f

f

f

Timpani

Sus.Cym.

ff

f

f

4"

Ad. Lib.Durations in seconds are approximate. Do not play synchronised!

8"

8"

4"

4"

4"

4"

4"

4"

4"

4"

4"

4"

4"

119

wU

Ó wU

Ów

U

ÓwwbU

∑U

Ó wwbb U

Ó wwU

∑U

∑U

∑U

∑U

Ów

U

4"

6"

6"2"

2"

6"

2"

6"

12"

12"

6"

2" 6"

6"

6"

6"

6"

6"

2" 6"

∑U

∑U

∑U?

wwb U

wwU

wbU

wU

wU

6"

6"

6"

6"

6"

wbU

Ó wU

Ó wU

∑U

∑U

∑U

∑

mf

mf

mf

6"

2"

2"

6"

6"

6"

6"

6"

4" 4"

wwbb U

Ó wwbU

wwU

wwU

Ó wwU

wU

wbU

wbU

wbU

6"

mf

2"6"

6"mf

mf

mf

6"

2" 6"

mf

mf

4"

mf

4"

mf

4"

wU

wU

wU

∑U

∑U

∑U

∑U

∑U

∑U

8"

mf

mp

mf

8"

8"

4"

4"

7"

9"

9"

9"

wbU

wbU

Ó wU

Ó wU

Ó wU

Ów

U

Ó wbU

wbU

mp

mp

4"

4"

8"2"

mp

2" 8"

mp

mp

2" 8"

mp

8"

mp

3"

2"

17"

mp

17"

Ó wbU

Ówb

U

Ó wU

∑U

∑U

wwbU

wwbbU

wU

6"2"

mp

p

mp

2" 6"

2" 6"

4"

4"

mp

5"

mp

5"

7"

wU

wU

wU

wU

wU

w

U

∑U

ÓU

p

p

6"

6"

6"

pp

6"

pp

pp

6"

pp

6"

6"

6"

∑U

∑U

8"

4"

∑U

∑U

wU

wU

wU

4"

4"

pp

pp

p

4"

p

4"

4"

wU

˙ wU

˙ wU

wU

wU

wU

pp

pp

pp

8"

6"

6"

pp

pp4"

wU

244

?

?

?

t

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Narr.

Vc.1

Vc.2

D.B.

Perc. ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

œ>œ œ œ œ

r

œ>˙

‰r

œ> œ

r

œ

œ .œr

œ>

pp

e»84 approx.

pp

pp

pp

120

Timpani

They talk of success, of food and friends the way the distance is shrinking, never of what they are thinking. Never of Evans clamped on the rack of ice, torn by the freezing season, never of Oates, the living comrade sinking down before their eyes...

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Oates

Hn.

Trbn.

B.Trbn.

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥

¥¥¥¥

¥¥¥¥

¥¥¥¥

◊°

Pno.

œN> œ œ œ œ œb œb?

r

œN> œ œ œ œb r

œb

3

?

.˙b>r

œb .?

.>

r

œ.?

.>

r

œ.?

.œ>˙?

‰r

œN> œ .œb?

œ> .œ œmt

pp

mf

mf

mf

pp

pp

pp

e»72 approx.

[spoken] Captain, I told you yesterday I could face it. That wasn't true; I was asking for comfort, I can bear any physical agony, but it can't be worse than this. I can't and won't have you dying for me and dying for nothing. The only chance for you and we all know it, is for you to march away and leave me here. My body's rotting with cold...

121

ª

245

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Scott

Oates

Hn.

Trbn.

B.Trbn.

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

œ œ?

No, Soldier, no. We can't do it.

122

Timpani

Uœ-

?

‰ œ œ œ œ œ œ œIf you get home in safe ty

&

wr

œ.?

wr

œ.

?

wr

œm .

?

. .˙

rr

œB . ≈?

. .˙rr

œµ .≈?

.˙

rr

œB .‰ .t

p

pp

pp

pp

p

p

p

123

œ œ œ œ œ ‰ Œ

that will be some thing.

œ œ œ œ œ ‰ œ œI've done in the world,some thing

œ œ œ œ œ œ Œ

you can tell my peo ple.

œ œ œ œ œ œ œ œIf you stay and all of us die- - - -

&Oates

Hn.

Trbn.

B.Trbn.

Vc.1

Vc.2

D.B.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

œ œ œ œ œ œ Œ

you brand me a cow ard;

‰ œ œ œ œ œ œ ‰

and a mur der er too.

œ œ œ œ œ œ œ œI won't have your blood on my hands.

Œ œ œ œ œ œ œGive me at least the sat

œ œ œ œ œ œ Œ

is fac tion of dy ing

œ œ œ ‰ œ œ œ œDec ent ly, not like a cow

œ œ œ œ œ ‰ œ œard cltch ing your hands, A fraid- - - - - - - - - - - -

ª

246

&

.. ..

Oates

Hn.

Trbn.

B.Trbn.

Vc.1

Vc.2

D.B.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

œ œ œ œ œ œ œ œto face the stu pid thing a lone.

Timpani

Perc. œ œ œ?

p

7"124

Scottœ œ œ

œ œ œœ œ

You're ask ing what's not poss i ble.

& œœ œ œ

œ œ œœ

I for bid you to speak of it

œ œœ œ œ

œ œ œ

a gain. Come on, and march. There's one

œ œ œœ œ œ

œ œ

thing, though. Wil son, you see how it

- -

- - - - - -

&Scott

Perc. ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

œœ œ œ

œ œ œœ

is, the Sol dier's done and who knows

œ œœ œ œ

œ œ œ

who'll be next, you, Bow ers, my self,

œ œ œœ œ œ

œ œ

the thing is wai ting to strike at

œœ œ œ

œ œ œœ

each of us now we're all played out;

œ œœ œ œ

œ œ œ

Give us your o pium. O pen your

œ œ œœ œ œ

œ œ

kit now and we'll share the tab lets.- - - - - - -

ª

247

&

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Scott

Perc. ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

œœ œ œ

œ œ œœ

The time may come when suff er ings

œ œœ œ œ

œ œ œ

mere ly stu pid, to pro long it,

œ œ

vis cious.

Vc.1

Vc.2

D.B

‰ œ> œm>œ>?

œb> œn> œm> ‰?

r

œn> œb>

r

œ>t

mp

mp

mp

pizz.

pizz.

pizz.

125

Wilson œ œm œ œ œm œ ‰ œm

You're ask ing a hard thing, a

? œ œm œ œ œ

gainst my prin ci ples.

‰ ŒBowers ? œb œn œm œm œ œb Œ

We make our own law here.

- - - - - -

- - - -

?Wilson

Vc.1

Vc.2

D.B.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

Glissando

Glissando

Glissando

Glissando

Glissando

Glissando

œ œb œ œn œb œ œn œb

There's a cer tain code a doc tor

œ œb Œ ‰œ œ œ

lines to! Su i cide!

Œ œb œ œn œb œ œn

Does n't come in to it.

‰ œb œ œn œb œ œn œb

And that's what op i um means!

Vln.1

Vln.2

Vln.3

Vln.4

Bowersœb œn œm œb œn œm

Œ

Su i cide is choo sing.

?

wbæ

U

&

wbæ

U

&

Ó wbæ

U&

Ó wbæ

U&

2"

2"

pp

pp

pp

pp

col legno battuto

col legno battuto

col legno battuto

col legno battuto

126

œb œn œm œb œn ‰ œb œn

When you have no choice, Where is

wnU

æB

wnU

æB

pp

pp

col legno battuto

col legno battuto

- - - - - - - -

- - -

ª

248

?

&

&

&

&

B

B

44

44

Bowers

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

°

°

Glissando

Glissando

Glissando

Glissando

Glissando

Glissando

œm œb œn œm œb œn œm œb

the harm in mak ing a hard thing

œm œb ∑U

ea sy?

U

G.P. 3 secs. after vc./bass stops

Pno.

Perc. Ó Œ œbæ

&

œ

œ

œb

œb

œ

œb

‰ œ?

?

Ó ŒœB

&

Ó Œ Oœbb&

Ó Œ ‰ r

œ&

Ó ‰ .œb&

Ó ˙B

Œ .˙bB

Œ ‰r

œb ˙?

w?

‰ .œ ˙t

q»60

pp

p

Vibe.

ppp

con sord.sul pont.

ppp

con sord.sul pont.

ppp

con sord.sul pont.

ppp

con sord.sul pont.

ppp

con sord.sul pont.

ppp

con sord.sul pont.

ppp

con sord.sul pont.

ppp

con sord.sul pont.

ppp

con sord.sul pont.

127

Wilson

wæ

U

∑U

∑U

‰ œ œ œb œb œ œ œ œbU

Sup pose I had no op i um

?

wU

OwU

wU

wU

wU

wU

wU

wU

wU

Motor on - slow vibrato

Ó Œ œbæ

œ

œ

œb

œb

œ

œb

‰ œ

Ó Œ OœBB

Ó Œ Oœbb

Ó Œ ‰ r

œ

Ó ‰ .œb

Ó ˙

Œ .˙b

Œ ‰r

œb ˙

w

‰ .œ ˙

- -

- - -

249

&

?

?

?

&

&

&

&

B

B

?

?

t

Wilson

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

Glissando

Glissando

Glissando

Glissando

°

°

wA

æ

U

∑U

∑U

œb œn œb œ ˙bU œb œb œb œn œ

You'd fight to the end; and sure ly that is

OwBBU

OwAA

U

wU

wA

U

wU

wA

U

wAU

wU

wU

Vibe.

Ó˙˙m

œ œb œb œ ˙

5

œ œ ∑U

bet ter

Ó Oæ

ÓObb

æ

Ó O

æ

Ó OBBæ

Œ .˙Bæ

Œ .˙µæ

‰ .œBæ

˙æ

‰ .œbæ

˙æ

wµ æ

sul E

œ œb œb œ œ œ œ œ œ œ œ

Ha ving the means of death so ea sy to use

OUæ

OwU

æ

OwU

æOwæ

U

wæ

U

wæ

U

wæU

wæU

wæU

∑U

∑U&

∑U

œ œ œ œ œb œb œb œb œb œb œb œb œb œb œbU

We might be temp ted to de feat and weak ness, spoil all that done

OUæ

OwU

æ

OwU

æOwæ

U

Scott

wwwwbn

œb œb œ œ

œb

œ

œnœ œn

9

‰ œb œb œ œ œ œb œ

There won't be an y weak ness.

&

- - - - - - -

- -

250

&

&

&

&

?

?

&

&

&

&

44

44

Scott

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Perc.

Pno.

œb œb œ œ œ œ œb œbBut I, as lea der, won't ask an

wU

wU

w

U

wbU

wbU

OU

OU

OU

OU

pp

pp

pp

pp

pp

con sord.

con sord.

con sord.

con sord.

con sord.

pp

pp

pp

pp

sul E

sul E

sul E

sul E

128

œ œb œb œ œ œb œb œ

y man to suf fer need less pain

œb œ œb œ ˙n

U

of bod y or mind.

Vla.1

Vla.2

Vc.1

Vc.2

D.B

Perc.

Pno.

Wilson

wwb&

&

œb œ œb œ œb œ œb œ?

œb œ œb œb œn œ œ œb

I wish you'd leave this thing to me.

?

O

OwbbB

wB

w?

wb?

wbt

129

pp

pp

pp

pp

pp

pp

pp

pp

Vibe.

‰ œb œ œb œ œ œ œb

To see that no one suf fers.

‰r

œb œb œ œ œb œ œn œb œ3

3

I'll make it my bus(i) ness to care for

O

Ownn

wb

w

wb

w

- - - - -

- -

251

&

?

?

&

B

B

?

?

t

Wilson

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Pno.

√°

°

°

œb œ œ œ Ó

3each of you.

wb

Owbb

wn

w

wn

wb

œb œ œ œ œ œ œ Œ

Right to the ver y end.

O

Owbb

w

w

wb

wb

O

Ownn

wb

w

wb

w

Vln.1

Vln.2

Vln.3

Bowers

Perc.wwnb

&

wbwb

œb œ œb œb œ œ œb Œ3

3We may be sep er a ted.

?

wb

&

wb

&

wb

&

wb

Owbb

wn

w

wn

wb

mfpp

mfpp

mfpp

mfpp

mfpp

mfpp

ppp

ppp

ppp

ppp

Vibe.

Ó œb œb œb œb

I can't give you

œb œ œn œn Ó3

You may die first.

&

&

œb œb œb œb œb œn Œ

the means to des troy life.

w

wb

w

w

wb

w

Scott

wwm

Ó Œ œb œ œ

3No need for

&

œ œb œ œb œ œr

œ .œ3 3

Give us the stuff or we'll take it.

w

wb

w

-

- - -

-

252

&

&

&

&

&

&

&

&

&

?

?

t

Scott

Oates

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

°

r

œb .œ Ó

vio lence

Ó œb œ œb œb œ

3

Let him give us the

w

w

wb B

wb

w

wb

œn œm Œ Ó

tab lets!

w

wb

wb

Ó ˙

Ó ˙b

Ó ˙

Bowers

ww

œb œ ‰ œ œ œ

Wil son, you've no right

?

w

w

wb

w

w

w

Vibe.

‰ œb œ œ œ œ œ œ

to sit in judge ment on men

˙b

˙

˙

Wilsonœb œ œb œ Ó

I'm not judg ing.

?

œb œ œ œ œn ‰ Œ

in this hell of ice.

wb

w

w

˙ Ó

˙ Ó

˙ Ó

w

wb

wb

œb œ œb œ œb œ œ œ

I am think ing of how I'll be

w

w

w

œb Œ Ó

judged.

w

w

w

w

w

w

w

w

w

-

-

- -

- -

253

&

&

?

&

&

&

?

?

&

&

&

&

B

B

?

?

t

Scott

Trpt.1

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

°

Ó ˙b

Ó˙b

Œ œ

wŒ .˙b

œ œ œ œ œ Œr

œb œn œ œ3 3

You've madeyour pro test. The res pon si

Ór

œb . ‰ Œ

Ó Œ r

œ.‰

r

œ. ‰ Œ Ó

Œr

œb . ‰ Ó

Óœb> œ œ œ œ œ

Œ

Ó˙b

Ó Œœ

Ó Œœ> œ œ œ œ œ

Œœb>œ œ œ œ œ

Ó &

œ> œ œ œ œ œ .˙b

w

wA

wA

pizz.

mp

pizz.

mp

pizz.

mp

pizz.

mp

con sord.

con sord.

con sord.

con sord.mp

mp

mp

mp

ppp

ppp

arco

ppp

ppp

pp

pp

130

Vibe.

Trpt.2

w

Œ .˙Œ ˙

w

Œ .˙Œ ˙

Ó Œ œb

œ œ œr

œ ‰ ‰r

œ œb œ œ3

bil i ty's mine. I make it an

Œr

œ. ‰ Ó

r

œn . ‰ Œr

œ. ‰ Œ&

Ó Œr

œb .‰

œn> œ œ œ œ œŒ

˙

wn

œœ> œ œ œ œ œ Ó

Óœ> œ œ œ œ œ

Œ

Œ .˙

w

˙ Œ œb> œ œ œ œ œ

.˙ œb

w

mp

mp

arco

ppp

mp

arco

ppp

pizz.

mp

Œ.˙b

Œ

.˙b

Ó Œ œ

œb œ Œ œ œ œ œ œ3

or der. Give us the tab lets,

Œr

œb .‰ Ó

Ó Œr

œ. ‰

w

Œ

œb> œ œ œ œ œ

Ó

Œ

.˙b

w

˙Œ œ> œ œ œ œ œ

w

w

pizz.

mp

pizz.

mp

Œ .˙b

Œ.˙b

Ó Œ œb&

r

œ Œr

œb œ œ œ œb œ œ3

3

now. I'll take them my self from your

Œr

œb . ‰ Ó

Ó Œr

œb . ‰

œ .˙b

Ó Œ œb

Œœb> œ œ œ œ œ

Ów

˙ Œ œb> œ œ œ œ œ

w

w

mp

mp

pizz.

arco

ppp

- - - - - - - - -

254

&

&

?

&

&

&

&

&

?

t

Scott

Vln.1

Vln.2

Vln.3

Vln.4

Vc.2

D.B.

Perc.

Pno.

°

°°

°

œb ‰ œ œ œ œ œ

kit if you still re fuse.

wA

wA

wA

wA

˙A œb œ

Vla.1

Vla.2

Vc.1

Ó Œ œb œ œb œ œ œ œb œb

.˙ œ

w

Ó Œ œ

˙

Ó

Ó Œ œb&

Ó Œ œb&

Ó Œ œb&

.˙n œb&

˙ Œ œbB

arco

arco

arco

mp

Trpt.1

Trpt.2

Wilson

Hn.

Trbn.

B.Trbn.

wwm >

œ

œn

n œ

œb

b œ

œn

n œ

œ

œ

œ

œ

œ

œ

œb

b œ

œ Œ Ó

Ó œb œ œ œ

3I think you're wrong!

?

wb>&

w>&

w>&

˙b> ˙bB

w>

?

w>

Ow>Å

wb>

Owbb >Å

wb>

wB>Å

w>?

w>?

wb>

ff

ff

ff

ff

ff

ff

ff

ff

ff

f

f

f

f

f

ff

ff

p

p

p

p

p

f

131

bow on bridge

bow on bridge

bow on bridge

Vibe.

≈ œb œ œ œ œn œb œn Œ3

You're ask ing too much of men...

w

w

wb

Owbb

wb

wb

wb

wb

wb

pp

pp

pp

pp

pp

pp

pp

pp

pp

w

Ow

wb

wb

wb

wb

w

wwbb

wwwwbbggggg

‰ œ œ œ œ œ œ œ

To live in pain when there's eas

wbU

wbU

wb

Owbb

wb

wb

wb

mp

pp

p

132

œ œ œ œ œ œ Œ

y re lease in their hands.

wU

wU

-

- - -

255

?

&

&

&

&

&

&

?

?

B

Wilson

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

œ Œ œ œ œ œ œ

Yes it's bet ter to fight.

wU

wU

wbU

OwbbU

wU

wU

wU

wU

wbU

œ œ œ œ œ œ œ œ

En dur ance may have a mean ing

‰ œ œ œ œ œ Œ

for men in the snow.

t

Scott œb œb œb œb œb œb œb œb œb

We may nev er use this o pi um.

&

wU

wbU

wU

wbU

wU

wU

wbU

wbU

wU

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

string note to last duration of one full bow at ppp

Œ œb œb œb œb œb œb

I'm sure I won't none of

œb œb œb œb ‰ œb œb œb

us here is weak. But I'll tell

- - - -

- - -

&

&

&

&

&

&

&

?

?

t

Scott

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

œb œ œ ‰ œ œ œ œ

you a gain, ter ri ble things

w

wA

w

wA

w

w

wA

wA

w

œb œ œ ‰ œ œ œ œ

may hap pen, and we're hu man,

‰ œb œ ‰ Ó

hu man.

œb œ œ œ œ œ

Give us the op i um.- - - - - - - -

ª

256

&

&

?

?

?

&

&

B

?

44

44

Vocal 3

Vocal 4

Vln.3

Vln.4

Vla.1

Vc.2

Perc.

Pno.

°

°°

1

˙b> >

Œ ˙b> œ>

Œ ‰ œb>œb> r

œ>

Ó ˙b

Ó Œ œb

Ó Œœb

wb

Œ .˙b

Ó ˙b

q»126

mp

mp

mp

mp

mf

Vibe.

mf

133

ff

ff

Vocal 5

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vla.2

Vc.1

D.B

˙b> >

Œ ˙b> œ>

‰ œb>œb>

œ> r

œ>

w

w

wb?

r

œb>‰ Œ Ó&

Πr

œb>

+‰ Ó&

Ór

œb>‰ Œ?

Ó Œr

œb>‰?

Ó ˙b&

w

w

w

wbB

Ó Œ œb&

w

Œ .˙bt

mp

mp

mp

mp

mf

mf

mf

mf

con sord.- harmon

con sord.- harmon

con sord.- harmon

con sord.- stopping mute

ff

Vocal 1

Vocal 2

Trpt.1

Vla.2

˙b> Ó

Œ .˙b>

‰ . .˙b>

wb&

Ó ˙b&

w

w

w

r

œb> ‰ Œ Ó&

œ œ œB œn œB œn œµ œm œB œn

3 3 3

wb&

œ œB œn œB œn œµ œm

wb

œ œ œn œ œm œ œm œ œm œ .œm

w

œ œµ œn œB œm œµ œn œB

wb

œ œ œb œ œm œn œ œb œ œb œ œ3 3 3

3

mp

mf

con sord.- harmon

p

ff

ff

œb œn œ œm œ œm

3 3

œ œn œ œm œ œm œ œ œm œ œm œ

3 3 3 3

œ œ œb œ œb œ œ œb

w

w

w

w

w

w

wb

wB

w

w

w

wm

wb

wb

p

œ œ œm œ œm œ

3 3

œb œn œ œm œ œm œ œ œm œ œm œ

3 3 3 3

œ œb œ œ œb œ œb œ

w

w

w

w

w

w

w

w

w

wb wn

wb

wb

w

wb

w

w

w

œµ œb œB œn œµ œ œµ œm œB œn œµ œm

3 3 3 3

wn

œn œµ œb œB œn œµ œ œµ

w

œ œm œ œm œ œ œm œ œb œ œ œb œn œb œn œb

w

œm œµ œn œB œ œB œb œµ

wb

œb œ œb œ œb œ œ œb œ œb œ œ3 3 3

3

Scene 10 - Oates Shall Leave

257

&

&

?

&

&

?

?

?

&

&

&

?

?

&

&

&

&

B

B

&

?

t

Vocal 1

Vocal 2

Vocal 3

Vocal 4

Vocal 5

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

o +

o +

o +

o +

o +

o +

o +

o +

o +

o +

o +

o +

o +

o +

o +

o +

o +

o +

o +

+ o

°

7 wb wn

wb>‰ œb> œ> œ> ˙

Ó ˙b>

w

wm

w

w

w

˙b>

r

œn˘ ‰ Œ

‰.œb> œn

flŒ

Œ˙b>

r

œnfl

‰

Œ ‰r

œb> . r

œn˘

Ó ˙b>

w

w

wm

wm

w

wb

w

wn

w

mp

mp

mp

mp

mp

sfz

sfz

sfz

sfz

Vibe.

wb>‰ œb> œ> œ> ˙

Ó ˙b>

wm

w

w

w

w

˙b>

r

œn˘ ‰ Œ

‰.œb> œn

flŒ

Œ˙b>

r

œnfl

‰

Œ ‰r

œb> . r

œn˘

r

œnfl

‰ Œ ˙b>

œµ œm œ œB œn œµ œm œB œn œµ œm œB

3 3 3 3

wm

œB œn œµ œm œB œn œµ œm

w

œ œm œ œ œm œ œm œ œ œm œ œm œ œm œ œ

w

œµ œm œB œn œµ œ œµ œm

w

œ œ œm œ œm œ œ œm œ œm œ œm3

3 3 3

sfz

mp sfz

mp

mp

mp sfz

sfz

sfz

mp

to Timpani

wn>‰ œn> œ> œ> ˙

Ó ˙n>

>

r

œ ‰ Œ

‰.œ> œ

flŒ

Œ>

r

œfl

‰

Œ ‰r

œ> . r

œ

r

œnfl

‰ Œ>

wn

w

w

w

w

w

wB

wm

w

sfz

mf

mf

mf

mf

mf

mf

mf

mf

mf

mp sfz

mp

mp

mp sfz

sfz

sfz

mp

wn>‰ œn> œ> œ> ˙

Ó ˙n>

>

r

œ ‰ Œ

‰.œ>

œfl

Œ

Œ>

r

œfl

‰

Œ ‰r

œ> . r

œ

r

œfl

‰ Œ>

œµ œ œµ œm œB œn œµ œm œ

3 3 3

wm

w

wb

œ œm œ œm œ œ œm œ œm œ .œ

w

œ œm œ œm œ œm œm œ

w

w

sfz

mp sfz

mp

mp

mp sfz

sfz

sfz

mp

Narrator

˙ ˙b?

wwwwbb >

r

œb˘‰ Œ Ó

r

œ ‰ Œ Ó

r

œfl

‰ Œ Ó

r

œ ‰ Œ Ó

r

œbfl

‰ Œ Ó

œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œœb . œ.

œb . œ.œb . œ.

œb . œ.œb . œ.

œb . œ.œb . œ.

œb .

œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œbœb . œb .

œb . œb .œb . œb .

œb . œb .œb . œb .

œb . œb .œb . œb .

œb .

w

w

w

wb

wb

ff

ffff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

Timpani

f

f

Strings to play ad.lib

Stumbling. Oates. Crashing. Scrambling to his feetAnd shambling on, and crashing, and rushing on,

134

˙ ˙b

>

r

œbfl

‰ Œ

>

r

œb˘‰ Œ

>

r

œb˘‰ Œ

œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ.

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ.

œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb .

∑

∑

∑

∑

∑

con sord.

con sord.

con sord.

f

f

f

Hn./Trbns. to play ad.lib

258

?

&

?

&

?

?

&

&

&

&

B

B

?

?

t

Narr.

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

13˙ ˙b

˙ ˙b

>

r

œbfl

‰ Œ

>

r

œb˘‰ Œ

>

r

œ ‰ Œ

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ.

œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb .

œ. œn . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ.

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œ.œb . œ.

œb . œ.œb . œ.

œb . œ.œb . œ.

œb . œ.œb . œ.

œb .

œb . œ.œb . œ.

œb . œ.œb . œ.

œb . œ.œb . œ.

œb . œ.œb . œ.

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

And his mind, thrusting to avoid the knowledge of his fate, rambling, skimming across the ice like a stone, and then like a stone sinking in the pool of remembering yesterday and tomorrow that seems already gone, As dark as yesterday. Oates in the pool of remembering. And clambering out, and like some water monster lumbering ahead through leaves and lanes and lovers… Memories, memories, memories, faces like moons, lost in a night that groans of beasts and rivers. Falling. Oates. Hauling. Falling in to-morrow, recalling yesterday and suddenly finding to-day when comrades look at him with eyes of sorrowAnd the mind holds like a pebble the thought of dying, curious, cold. Then black, shrieking of water, reeking of water, breaking, rocking with sea.Oates, walking on ice, walking in the whiter exaltation of death. What are they saying, moons, men? Nothing that matters. Whiteness. Above the chasms of to-morrow and yesterday the hour towers from the peaks of storm to brightness.

Timpani

˙ ˙b

˙ ˙b

>

r

œbfl

‰ Œ

>

r

œb˘‰ Œ

>

r

œ ‰ Œ

œ. œ. œ. œ. œb .œ.

œb .œ. œ. œb . œ. œb . œ. œ. œ. œ.

œb .œ.

œb .œ. œ. œb . œ. œb . œ. œn . œ. œ. œb . œ.

œb . œ.

œ. œb . œ. œb . œ. œn . œ. œ. œb . œ.œb . œ. œ.

œ. œ.œ.

œ. œ. œ. œ. œ. œb . œ. œb . œn . œ.œ. œ.

œb . œ.œb . œ.

œb . œ. œb . œ. œ. œ. œ. œ. œ. œb . œn . œb . œn . œb . œn . œb .

œ. œ. œ. œ. œ. œb . œn . œb . œn . œ. œ. œ. œ.œ. œ.

œ.

œ. œ. œ. œ. œb . œb . œ. œ. œb . œ. œb . œ. œ. œb . œ. œb .

œb . œb . œ. œ. œ. œb . œb . œb . œ. œ. œb . œ. œb . œ. œ. œ.œ. œ. œ. œ. œ. œb . œ. œb . œ. œ. œb . œ. œb . œ. œ. œb .

Trpt.1

Trpt.2

˙ ˙b

˙ ˙b

‰wb>

&

‰ w>&

>

r

œfl

‰ Œ

>

r

œ ‰ Œ

˙b>

r

œ ‰ Œ

œb . œ.œb . œ. œ.

œ. œ.œ. œ. œb . œn . œb . œn . œb . œ. œb .

œ.œ. œ.

œ. œ. œb . œn . œb . œn . œb . œ. œb . œ œb œ œb

œ. œb . œn . œb . œn . œb . œ. œb . œ œb œ œb œ œb œ œb

œ. œb . œn . œb . œn . œb . œ. œb . œ œb œ œb œ œb œ œb

œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œn . œ. œ.

œ. œb . œn . œb . œn . œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb .

œ. œb . œ. œb .œ. œb .

œ. œb .œ. œn .

œ. œ.œ. œ. œ. œ.

œ.œ. œ.

œ. œ.œb . œ.

œb . œ. œn . œ. œ.œ. œb .

œ. œb .

œ. œb . œ. œb .œ. œb .

œ. œb .œ. œn .

œ. œ.œ. œ. œ. œ.

sfzp

sfzp

Trpts. to play ad.lib

˙ ˙b

˙ ˙b

.œr

œn˘Ó

.œr

œb˘Ó

>

r

œfl

‰ Œ

>

r

œ ‰ Œ

˙b>

r

œ ‰ Œ

œ. œb . œ. œb . œ. œb . œ. œb . œ. œn . œ. œ. œ.œ. œ.

œ.

œ. œb . œ. œb . œ. œn . œ. œn . œ.œ. œ.

œ.œb . œ.

œb . œ.

œ. œn . œ. œ. œ.œ. œ.

œ.œb . œ.

œb . œ.œn . œ. œ. œ.

œ. œn . œ. œ. œ.œ. œ.

œ.œb . œ.

œb . œ.œn . œ. œ. œ.

œ.. œ. œ. œ. œb . œ. œb . œ. œn . œ. œ. œ. œ. œ. œ. œ.

&

œ.. œn . œ. œ. œ. œ. œ. œ. œb . œ. œb . œ. œn . œ. œ. œ.&

œb . œ. œb . œ. œn . œ. œ. œ. œ. œ. œ. œ. œ. œb . œ. œb .

œb . œ. œb . œ. œn .œ. œ.

œ. œ. œ. œ. œ. œ. œb .œ. œb .

œb . œ. œb . œ. œn . œ. œ. œ. œ. œ. œ. œ. œ. œb . œ. œb .

ff

ff

˙ ˙b

˙ ˙b

‰. .˙b>

‰ . .>

>

r

œfl

‰ Œ

>

r

œ ‰ Œ

˙b>

r

œ ‰ Œ

œb . œ.œb . œ.

œn . œ. œ. œ. œ. œ. œ. œ. œ. œb .œ. œb .

œn . œ. œ. œ. œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ.

œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ. œb . œ. œb . œ.

œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ. œb . œ. œb . œ.

œ. œb .œ. œb . œ. œ. œ. œ. œb . œ. œb . œ. œn .

œ.œ.

œ.

œn . œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ. œb . œ. œb . œ.

œ. œ. œ. œ. œb . œ. œb . œ. œn . œ.œ.

œ.œ.

œb . œ.œ.

œ. œ. œ. œ. œb . œ. œb . œ. œn . œ.œ.

œ.

œb . œ.œb . œ.

œ. œ. œ. œ. œb . œ. œb . œ. œn . œ.œ.

œ.œ. œ. œ. œ.

simile

simile

259

?

&

?

&

&

&

?

?

&

&

&

&

&

&

?

?

t

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

18˙ ˙b

˙ ˙b

˙r

œn˘Œ

r

œb>

˙r

œb˘Œ

r

œ>

>

r

œfl

‰>

>

r

œ ‰>

˙b>

r

œ ‰ >

œ. œ. œ. œ. œb . œ. œb . œ. œn . œ.œ.

œ. œ œ. œ. œ.

œb . œ. œb . œ. œn . œ.œ.

œ. œœb . œ.

œb . œ.œb . œ.

œb .

œ.œ.

œ.œ. œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œ.œ.

œ.œ.

œbœb . œb .

œb . œb .œb . œb .

œb . œb .œb . œb .

œb .

œb . œ.œb . œ.

œb . œ.œb . œ.

œb . œ.œb . œ.

œb . œ.œb . œ.

œ.œ.

œ.œ. œ. œ.

œ. œ.œ. œ.

œ. œ.œ. œ.

œ. œ.

œ.œb . œ.

œb . œ.œb . œ.

œb . œ.œb . œ.

œb . œ. œ. œ. œ.

œb . œ.œb . œ.

œb . œ.œb . œ.

œb . œ.œb . œ. œb . œb . œ. œ.

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

Timpani

˙ ˙b

˙ ˙b

w

w

r

œfl

‰ Œ>

r

œ ‰ Œ>

r

œ ‰ Œ >

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œb . œ. œb . œ.

œ.œb . œ.

œb . œ.œb . œ.

œb . œ. œ. œ. œ. œ. œ. œ. œ.

œ. œ. œ. œ. œb .œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ.

œb .œb . œb .

œb . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œb . œ.œb . œ. œ.

œ. œ.œ. œ. œb . œn . œb . œn . œb . œn . œb .

œ. œ.œ. œ.

œ. œ.œ. œ. œ. œb . œn . œb . œn . œ. œ. œ.

B

œb . œb . œ. œ. œb . œ. œb . œ. œ. œb . œ. œb .œn . œb . œ. œb .

œ. œb . œb . œb . œ. œ. œb . œ. œb . œ. œ. œ. œn .œn . œ.

œ.

œ. œb . œ. œb . œ. œ. œb . œ. œb . œ. œ. œb . œ. œ. œ. œb .

˙ ˙b

˙ ˙b

œr

œn˘‰

˙b>

œr

œb˘‰

>

r

œfl >

r

œfl

r

œ >

r

œ

r

œ >

r

œ

œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œ. œ. œ. œ.

œ. œ. œ. œ. œ. œ. œ. œ. œb .œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ. œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb .

œ. œb . œ. œb . œ. œn . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œ. œb . œ. œb . œ. œ. œ. œb . œ. œb . œ. œb . œ. œn . œ. œ.

œ.œ. œ.

œ. œ. œb . œn . œb . œn . œb . œ. œb . œ. œb . œ. œb . &

œ. œb .œ. œb .

œ. œn .œ. œ.

œ. œ. œ. œ. œb . œ. œb . œ.

œ.œb . œ.

œb . œ. œn . œ. œ.œ. œb .

œ. œb . œb . œ. œb . œ.

œ. œb .œ. œ.

œ. œn .œ. œ.

œ. œ. œ. œ. œb . œ. œb . œ.

˙ ˙b

˙ ˙b

.˙ œ œ

.˙ œ œb˘

Œ ‰˙m>

r

œmfl

Œ ‰>

r

œ

Œ ‰ ˙b>

r

œ

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ.

œb .œ. œ. œb . œ. œb .

œ. œb . œ. œb . œ. œb . œ. œb . œ. œn . œ. œ. œb . œ.œb . œ.

œ. œ. œ. œ. œ. œ. œ. œ. œ. œb . œ. œb . œn . œ.œ. œ.

œ..œ. œ.

œ.œb . œ.

œb . œ.œn . œ. œ. œ. œ. œ. œ. œ.

œ. œb . œ. œb . œ.. œn . œ. œ. œ.œ. œ.

œ.œb . œ.

œb . œ.

œ. œ. œ. œ. œ. œ. œ. œ. œ. œb . œ. œb . œ. œ. œ. œ.

œ.œ. œ.

œ. œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ.

œ. œ. œ. œ. œ. œ. œ. œ. œ. œb . œ. œb . œ. œ. œ. œ.

260

?

&

?

&

&

&

?

?

&

&

&

&

&

&

?

?

t

..

..

..

..

..

....

..

..

..

..

..

..

..

..

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥

¥¥¥¥¥

¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

22˙ ˙b

˙ ˙b

w>

.˙m> œb . œ. œ. ‰

wm>w>

wb>

œb .œ.

œb .œ. œ. œb . œ. œb . œ. œ. œ. œ. œb . œ.

œb . œ.

œ. œ. œ. œ. œb . œ.œb . œ. œ.

œ. œ.œ. œ. œb . œn . œb .

œ.œ. œ.

œ. œ. œb . œn . œb . œn . œb . œ. œb . œ œ œ œb

œb . œ.œb . œ. œ. œb . œn . œb . œn . œb . œ. œb . œ œ œ œb

œ. œb .œ. œb . œ. œ. œ. œ. œb . œ. œb . œ. œn .

œ.œ.

œ. B

œ. œ. œ. œ. œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ.

œb . œ. œb . œ. œn .œ.

œ.œ. œ œm œm œ œ œ œ œ

œb . œ. œb . œ. œn . œ. œ. œ. Œ œ œ œm œb

œb . œ. œb . œ. œn .œ.

œ.œ. Ó

Timpani

˙ ˙b

˙ ˙b

œb . œm .

r

œmfl

‰ Œ Ó

r

œ ‰ Œ Ó

r

œ ‰ Œ Ó

œ.œ. œ.

œ. œ. œb . œn . œb . œn . œb . œ. œb . œ. œ. œ. œb .

œ. œb . œ. œb . œ œ œ œb œ. œ. œ. œb . œ. œn . œ. œn .

œ œb œ œb œ. œn . œ. œ. œ.œ. œ.

œ.œb . œ.

œb . œ.

œ œb œ œb œ. œn . œ. œ. œ.œ. œ.

œ.œb . œ.

œb . œ.

œ œm œm œ œ œ œ œ œ œ œ œ >

œb . œ. œb . œ. œ œ œm œb œb œ œ œ œ œ œ œB

œ œ œm œm >

r

œbfl

‰

œb œ œ œ œ œb œm œ >

œ œm œm œ œ œ œ œ œ œ œ œ>

–‘

˙ ˙b

˙ ˙b

.>

r

œbfl

‰

.>

r

œ ‰

.˙b>

r

œ ‰

œ. œb . œ. œb . œ. œn . œ. œ. œ.œ. œ.

œ.œb . œ.

œb . œ.

œ.œ. œ.

œ.œb . œ.

œb . œ.œn . œ. œ. œ. œ. œ. œ. œ.

œn . œ. œ. œ. œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ.

œn . œ. œ. œ. œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ.

r

œbfl

‰ œn . œb . œn . œb . œn . œb . œn . œb .

>

r

œb˘ ‰œ.

œ. œ.œ.

œb . œb . œ. œ. œb . œ. œb . œ. œ. œb . œ. œb .œn . œb . œ. œb .

r

œb˘ ‰ œ. œ. œ. œ. œn . œb .œ. œb . œ. œ. œ. œ.

r

œbfl

‰ œ. œn .œ. œ.

œ. œ. œ. œ.

˙ ˙b

˙ ˙b

.> œbfl

œ.

> œb˘œ.

˙b> œ œb .

œn . œ. œ. œ. œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ.

œ. œb .œ. œb . œ. œ. œ. œ. œb . œ. œb . œ. œn . œ.

œ.œ.

œb . œ. œ. œ. œn . œ.œ.

œ.

œ œm œm œ œ œ œ œ

œb . œ. œ. œ. œn . œ.œ.

œ.

Œ œ œ œm œb

œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œn . œ. œ.

œ. œb . œn . œb . œn . œb . œ. œb . œ. œb . œ. œb . œ. œb . œ. œb .&

œ. œb .œ. œ.

œ. œn .œ. œ.

œ. œ. œ. œ. œb . œ. œb . œ.

œb . œ. œb . œ. œn . œ. œ. œ. Œ œ œ œm œb

œb . œ. œb . œ. œn . œ. œ. œ. œ. œ. œ. œ. œ. œb . œ. œb .

–‘

–‘

–‘

261

?

&

?

&

&

&

&

&

&

?

?

t

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

26˙ ˙b

˙ ˙b

œb . œ. œb . œ. œn . œ.œ.

œ.œ œm œm œ œ œ œ œ

œ œ œm œb œb œ œ œ œ œ œ œ >

œ œ œm œm >

r

œb˘ ‰

œb œ œ œ œ œb œm œ >

œ..œ. œ.

œ.œb . œ.

œb . œ.œn . œ. œ. œ. œ. œ. œ. œ.

œ.. œn . œ. œ. œ.œ. œ.

œ.œb . œ.

œb . œ.œn . œ. œ. œ.

œ. œ. œ. œ. œ. œ. œ. œ. œ. œb . œ. œb . œ. œ. œ. œ.

œb œ œ œ œ œb œm œ >

œ. œ. œ. œ. œb . œ. œ. œ. œn .œ.

œ.œ. Œ

Timpani

˙ ˙b

˙ ˙b

œ œ œm œm >

r

œb˘‰

r

œb˘ ‰ œ.œ. œ.

œ.œb . œ.

œb . œ.

œb . œ.œb . œ.

œn . œ. œ. œ. œ. œ. œ. œ. œ. œb .œ. œb .

r

œb˘ ‰ œ.œ. œ.

œ.œb . œ.

œb . œ.œn . œn . œ. œ.

œ. œb .œ. œb . œ. œ. œ. œ. œb . œ. œb . œ. œn .

œ.œ.

œ.

œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ. œb . œ. œb . œ.

B

œb . œ. œb . œ. œn .œ.

œ.œ. œ œm œm œ œ œ œ œ

r

œb˘ ‰ œb . œ. œb . œ. œn . œ. œ. œ. Œ

Œ œ œm œm œ œ œ œ œ œ œ œ œ

˙ ˙b

˙ ˙b

œb .œ.

œb .œ. œ. œb . œ. œb . œ. œ. œ. œ. œb . œ.

œb . œ.

œ. œ. œ. œ. œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ.

œ. œ. œ. œ. œb . œ. œb . œ. œn . œ.œ.

œ.

œ œm œm œ

œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ. œ. œ. œ. œ.

œ œm œm œ œ œ œ œ œ œ œ œ >

œ œ œm œb œb œ œ œ œ œ œ œ >

œ œ œm œm >

r

œbfl

‰

œ œ œm œb œb œ œ œ œ œ œ œ œ>

œ>

r

œbfl

‰ œb . œ. œb . œ.

˙ ˙b

˙ ˙b

œ.œ. œ.

œ. œ. œb . œn . œb . œn . œb . œ. œb . œ. œb . œ. œb .œb . œ. œb . œ. œn . œ.

œ.œ.

œ œ œm œb œb œ œ œ

œ œ œ œ œ œ œm œm >

œ.œ.

œ.œ.

Œ œ œ œm œb œb œ œ œ

r

œbfl

‰œn . œb . œ. œb . œ. œ. œ. œb .

r

œb˘ ‰ œn . œb . œ. œb . œ.. œn . œ. œ.

œb . œb . œ. œ. œb . œ. œb . œ. œ. œb . œ. œb .œn . œb . œ. œb .

œr

œb˘ ‰ œb . œ. œ. œ. œb . œ. œb . œ.

œ. œ. œ. œ. œ. œ. œ. œ. œ. œb . œ. œb . œ. œ. œ. œ.

262

?

&

?

&

&

&

&

&

&

?

?

t

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

30˙ ˙b

˙ ˙b

œ. œb . œ. œb . œ. œn . œ. œ. œ.œ. œ.

œ.œb . œ.

œb . œ.

œb œb œm œ >

r

œb˘ ‰

r

œb˘ ‰ Œ œb . œ.œb . œ.

œn . œ. œ. œ.

œb œb œm œ >

r

œb˘ ‰

œ. œb . œ. œb . œ. œn . œ. œ. œ..œ. œ.

œ.œb . œ.

œb . œ.

œ.œ. œ.

œ.œb . œ.

œb . œ.œn . œ. œ. œ. œ. œ. œ. œ.

œ. œb .œ. œ.

œ. œn .œ. œ.

œ. œ. œ. œ. œb . œ. œb . œ.

œ. œb . œ. œb .œ. œb . œ. œb .

œ. œb .œ. œb .

œ. œn .œ. œ.

œb . œ. œb . œ. œn .œ.

œ.œ. Œ Œ

Timpani

˙ ˙b

˙ ˙b

œ. œ. œ. œ. œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ.

œ œ œm œb œb œ œ œ œ œ œ œ >

œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ. œ. œ. œ. œ.

œ œ œm œb œb œ œ œ œ œ œ œ >

œ. œ. œ. œ. œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ.

œ. œb .œ. œb . œ. œ. œ. œ. œb . œ. œb . œ.

œ œ œm œb

œn . œ. œ. œ. œ. œ. œ. œ. œ. œb . œ. œb . œ. œ. œ. œ.

œ. œ. œ. œ. œb . œ. œb . œ. œn . œ. œ. œ. œ. œ. œ. œ.

œ œm œm œ œ œ œ œ œ œ œ œ>

˙ ˙b

˙ ˙b

œb . œ. œ. œ. œn . œ.œ.

œ.œ œm œm œ œ œ œ œ

r

œb˘ ‰ œ.œ. œ.

œ.œb . œ.

œb . œ.

œ.œ.

œ.œ.

œ œm œm œ œ œ œ œ œ œ œ œ

r

œb˘ ‰ œ.œ. œ.

œ.œb . œ.

œb . œ.

œb . œ. œb . œ. œn .œ.

œ.œ.

œ œm œm œ œ œ œ œ

œb œ œ œ œ œb œm œ >œb . œ. œb . œ. œn .

œ.œ.

œ. œ œm œm œ œ œ œ œ

œ. œb . œ. œb . œ. œ. œ. œ. œb . œ. œb . œ. œn .œ.

œ.œ.

r

œbfl

‰ œ. œ. œ. œ. œb . œ. œb . œ.

˙ ˙b

˙ ˙b

œ œ œm œm >

r

œb˘‰

œ. œ. œ. œ. œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ.

>

r

œb˘ ‰ œn œm œm œ

œ. œ. œ. œ. œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ.

œ œ œm œm >

r

œbfl

‰

r

œbfl

‰ œn œ œm œb œb œ œ œ œ œ œ œB

œ œ œm œm >

r

œbfl

‰

œ œm œm œ œ œ œ œ œ œ œ œ>

œn .œ.

œ.œ. Œ Œ œ œm œm œ

263

?

&

?

&

&

&

&

&

B

?

?

t

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

34˙ ˙b

˙ ˙b

œb . œ. œb . œ. œn . œ.œ.

œ.œ œm œm œ œ œ œ œ

œb . œ. œb . œ. œn . œ.œ.

œ.

œ œ œm œb œb œ œ œ

œ œ œ œ œ œ œm œm >

œb . œ. œb . œ. œn . œ.œ.

œ.

Œ œ œ œm œb

œ œm œm œ œ œ œ œ œ œ œ œ >

œ>

r

œb˘ ‰ œn . œb . œ. œb .

œ. œb .œ. œb .

œ. œn .œ. œ.

œ. œ. œ. œ. œb . œ. œb . œ.

r

œbfl

‰œ. œb . œ. œb .

œ. œb . œ. œb .

œ œ œ œ œ œ œm œm>

Timpani

˙ ˙b

˙ ˙b

œ œ œm œm >

r

œb˘‰

œb œb œm œ >

r

œb˘ ‰

r

œb˘ ‰ Œ œb . œ.œb . œ.

œn . œ. œ. œ.

œb œ œ œ œ œb œm œ >

r

œbfl

‰œn . œb . œ. œb . œ. œ. œ. œb .

œ.. œn . œ. œ. œ.œ. œ.

œ.œb . œ.

œb . œ.œn . œ. œ. œ.

&

œ. œ. œ. œ. œ. œ. œ. œ. œ. œb . œ. œb . œ. œ. œ. œ.

œ. œb .œ. œb .

œ. œn .œ. œ.

œ. œ. œ. œ. œb . œ. œb . œ.

r

œbfl

‰ œb . œ. œb . œ. œn . œ. œ. œ. œ. œ. œ. œ.

˙ ˙b

˙ ˙b

œb .œ.

œb .œ. œ. œb . œ. œb . œ. œ. œ. œ. œb . œ.

œb . œ.

œ œ œm œb œb œ œ œ œ œ œ œ >

œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ. œ. œ. œ. œ.

r

œb˘ ‰ œn œ œm œb œb œ œ œ œ œ œ œ

œ. œb . œ. œb . œ. œn . œ. œ. œ..œ. œ.

œ.œb . œ.

œb . œ.

œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ. œb . œ. œb . œ.

œb . œ. œb . œ. œn .œ.

œ.œ. œ œm œm œ œ œ œ œ

œ. œ. œ. œ. œ. œ. œ. œ. œ. œb . œ. œb . œ. œ. œ. œ.

œ. œb . œ. œb . œ. œ. œ. œ. œb . œ. œb . œ. œn .œ.

œ.œ.

˙ ˙b

˙ ˙b

œ.œ. œ.

œ. œ. œb . œn . œb . œn . œb . œ. œb . œ. œb . œ. œb .

r

œb˘ ‰ œ.œ. œ.

œ.œb . œ.

œb . œ.

œ.œ.

œ.œ.

œ œm œm œ œ œ œ œ œ œ œ œ

>

r

œb˘ ‰ œ.œ. œ.

œ.

œ. œ. œ. œ. œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ.

œ œ œm œb œb œ œ œ œ œ œ œ >

œ œ œm œm >

r

œbfl

‰

œb . œ. œb . œ. œn .œ.

œ.œ. œ œm œm œ œ œ œ œ

Œ Œ œ œm œm œ œ œ œ œ

264

?

&

?

&

&

&

&

&

&

?

?

t

..

..

..

..

..

..

......

......

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥

38˙ ˙b

˙ ˙b

œ œm œm œ œ œ œ œ œ œ œ œ >

œ. œ. œ. œ. œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ.

>

r

œb˘ ‰œb . œ. œb . œ.

œb . œ.œb . œ.

œn . œ. œ. œ. œ. œ. œ. œ. œ œ œm œb

œb . œ. œb . œ. œn .œ.

œ.œ.

œ œm œm œ œ œ œ œ

r

œbfl

‰ œn .. œn . œ. œ. œ.œ. œ.

œ.

œ. œ. œ. œ. œb . œ. œb . œ. œn . œ. œ. œ. œ. œ. œ. œ.

œ œ œm œm>

r

œbfl

‰

œ œ œm œm>

r

œbfl

‰

Timpani

˙ ˙b

˙ ˙b

r

œb˘‰

œb . œ. œ. œ. œn . œ.œ.

œ.

œ œ œm œb œb œ œ œ

œn . œ.œ.

œ.

œ œm œm œ œ œ œ œ œ œ œ œ

œb œ œ œ œ œb œm œ >

œ œ œm œm >

r

œbfl

‰

œb . œ.œb . œ.

œn . œ. œ. œ. œ. œ. œ. œ. œ. œb .œ. œb .

œ. œb . œ. œb . œ. œ. œ. œ. œb . œ. œb . œ. œn .œ.

œ.œ.

œ. œb . œ. œb .œ. œb . œ. œb .

œ. œb .œ. œb .

œ. œn .œ. œ.

œ œm œm œ œ œ œ œ œ œ œ œ>

–‘

“–

“–

“–

˙ ˙b

˙ ˙b

œb œb œm œ >

r

œb˘ ‰

>

r

œb˘ ‰

r

œb˘ ‰ œ.œ. œ.

œ.œb . œ.

œb . œ.œn . œn . œ. œ.

œ. œb . œ. œb . œ. œn . œ. œ. œ..œ. œ.

œ.œb . œ.

œb . œ.

œ. œ. œ. œ. œb . œ. œb . œ.œ œ œm œb œb œ œ œ

œ œm œm œ œ œ œ œ œ œ œ œ >

œ. œ. œ. œ. œb . œ. œb . œ. œn . œ. œ. œ. œ. œ. œ. œ.

r

œbfl

‰ œ. œ. œ. œ. œb . œ. œb . œ.

–‘

“–

˙ ˙b

˙ ˙b

œ. œ. œ. œ. œ œ œm œb œb œ œ œ œ œ œ œ

œn . œ. œ. œ. œ. œ. œ. œ. œ. œb .œ. œb . œ. œ. œ. œ.

œb œb œm œ >

r

œbfl

‰

r

œbfl

‰

œ. œb . œ. œb . œ. œ. œ. œ. œb . œ. œb . œ. œn .œ.

œ.œ.

œn .œ.

œ.œ. Œ Œ œ œm œm œ

–‘

“–

265

?

&

?

&

&

?

t

......

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

42˙ ˙b

˙ ˙b

>

r

œb˘ ‰

œb . œ. œb . œ. œn .œ.

œ.œ.

œ œm œm œ œ œ œ œ

œ œm œm œ œ œ œ œ œ œ œ œ>

œ œ œ œ œ œ œm œm>

–‘

“–

Timpani

˙ ˙b

˙ ˙b

œ œ œm œm >

r

œbfl

‰

r

œbfl

‰

r

œbfl

‰ œb . œ. œb . œ. œn . œ. œ. œ. œ. œ. œ. œ.

–‘

˙ ˙b

˙ ˙b

œ. œb . œ. œb . œ. œ. œ. œ. œ. œ. œ. œ. œn .œ.

œ.œ.

˙ ˙b

˙ ˙b

Œ Œ œ œm œm œ œ œ œ œ“–

266

?

&

?

t ......

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

46˙ ˙b

˙ ˙b

œ œ œm œm>

r

œbfl

‰

Timpani

˙ ˙b

˙ ˙b

˙ ˙b

˙ ˙b

˙ ˙b

˙ ˙b

267

?

&

?

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥

¥

¥

¥

¥

¥

¥

¥

¥

¥

¥

¥

¥

¥

50

What will distinguish today from tomorrow? The whiter anguish, the darker sorrow?

˙ ˙

˙ ˙

w>&

.> œ. œ. œ. ‰&

.> œfl

œ.&

> œ œ.?

> œ œ.?

œ œm œm œ œ œ œ œ œ œ œ œ >&

œ œ œm œ œ œ œ œ œ œ œm œ >&

œ œm œm œ œ œ œ œ œ œ œ œ >&

œ œ œm œ œ œ œ œ œ œ œm œ >&

œ œm œm œ œ œ œ œ œ œ œ œ>

&

œ œ œm œ œ œ œ œ œ œ œm œ >&

œ œm œm œ œ œ œ œ œ œ œ œ>

?

œ œm œm œ œ œ œ œ œ œ œ œ >?

œ œm œm œ œ œ œ œ œ œ œ œ>

t

–‘

–‘

–‘

–‘

135

˙b ˙b

˙b ˙b

œn . œ.

r

œ ‰

r

œ ‰

r

œfl

‰

r

œfl

‰

r

œfl

‰

r

œfl

‰

r

œfl

‰

r

œ ‰

r

œfl

‰

–‘

–‘

–‘

–‘

–‘

–‘

–‘

–‘

–‘

–‘

˙ ˙n

˙ ˙n

˙ ˙

˙ ˙

268

?

&

?

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

55

˙ ˙

˙ ˙

What hope in waking no more walking, from nothing to nothing? And stopping breathing.

Timpani

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

˙ ˙

269

?

&

&

&

&

..

..

..

..

..

..

..

..

..

..

..

..

.. ..

..

..

..

..

..

..

..

..

..

..

..

..

Scott

Oates

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

To Crotales

pizzicatos to more or less play one after the other

ww>U

ww>U

Œ œ œ œ œ œ œ

I had hoped not to wake

Óœœœœ>

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

&

OU&

∑&

ObU

&

∑UB

ObU

B

∑U?

wbU

?

wbU

t

f

pppppp

sul G

ppp

ppp

sul C

ppp

ppp

pizz.

mpsul E

5"

2"

136

ff

œ œ œ œ&

œ œ œ ‰ œ œ Œ

this morn ing. It's cold.

œœœœ>

œœœœœœœœ

œœœœœœœœ

œœœœ

œœœœb> œ

œœœ

œœœœ

œœœœ

œœœœ

œœœœ

Œ œœ>œœ œœ œœ œœ œœ

pizz.

mp

mp

pizz.

pizz.

mp

pp

try to be slightly out of timewith string pizz. but not too much

‰ œ

A

‰ œ œ œ œ œ Œ

A bliz zard out side?

œœœœ>

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ

œœœœ>

œœœœœœœœ

œœœœœœœœ

œœœœ

œœœœb> œ

œœœ

œœœœ

œœœœ

œœœœ

œœœœ

mp

mp

mp

ff

œ œ Œ

bliz zard.

Œ œœ>œœ œœ œœ œœ œœ

mp

œ œ œ œ œ œ

We must march if we can.

- - -

-

270

&

?

&

&

&

&

?

?

&

&

B

?

t

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Oates

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

°

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

œœ

œœbb

bb

œ

r

œœ

œ

b

b

b œ œ

œ

b

œb

œb œ

œ

3

˙ ˙

I'm glad

˙b œb œ

˙b ˙ ˙b3

œb ˙b œr

œb ˙ .œb

˙b ˙

wU

wb

U

wU

wbU

wbU

Vl.2, vln.4, vla.2, vc.2, bass to play each noteone full bow length at pp

pp

pp

pp

pp

pp

ppp

ppp

ppp

ppp

ppp

ppp

137

˙r

œ ˙

there's a bliz

wU

wbU

wbU

wU

wU

˙ Ó

zard.

wbU

wbU

wbU

wbU

wbU

˙ ˙

The sun

˙ ˙

light here's

˙ ˙m

too cruel,

˙ ˙ ˙ ˙m

light ing

˙ ˙

the ice- - -

271

&Oates

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

˙m ˙and ev

˙r

œ ˙m

ver y thing

Ó ˙m

look

˙ ˙ing nak

˙ Ó

ed.

œœ .œ

r

œ

When it's grey and

œ œ

,

‰r

œm .œ

snow y it makes

r

œ œ œ ˙

me think of home.

Œ ˙ ˙

I sup

˙ ˙

pose be

˙m œ œ

cause of Dec

˙ ˙

em ber.- - - - - - - - -

272

&

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Oates

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥

¥¥¥¥¥¥¥ ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

°

Œ œ œ ˙and the fires.

œœœ

œb

b

œ

œœ

œb

œb

œb

œ

œb

b

r

œ œ

œœb

3

&

?

˙ ˙b&

˙ ˙b ˙

3

&

œb˙b œb&

r

œb .œ ˙b?

.œb .œb œ?

wU&

wU

&

wU&

wb

U&

wUB

wU

B

wbU

?

wbU

?

wbU

t

p

p

p

p

p

p

p

p

p

all strings to play each noteone full bow length at pp

no crescendo for brass, remain at ppp

138

˙b œb œb

I see my

wU

wbU

wbU

wbU

wbU

wbU

wU

wbU

wbU

œ ˙ œb

moth er quite

wbU

wbU

wb

U

wbU

wbU

wbU

wbU

wU

wU

œb œ Ó

clear ly,

˙ œb œ

light ing the

˙b Ó

sticks,

œ œ Œ œstoop ing, as

œ œm œ œb

o ver the

œb œb ˙

gar den- - - - - -

273

&Oates

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

Ó œb œb

in the

œ .˙

sum mer.

Ó œ ˙

Col ours

œ œ ˙

and flow ers

œ ˙ œ

and flames came

œn œb œ ˙b

out of her hands,

Ó ˙There

˙ ˙

were good

wn

days

œ œ œ œb

in the reg i

˙ œ œ

ment, in the

œb œb Ó

win ter,

˙b ˙

Hard

œb ˙b œb

brisk days and- - - - - -

274

&Oates

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

˙ ˙

wine at

˙b Ó

night

˙b ˙b

and the

˙ ˙n

hors es

œb ˙ œ

steam ing and

œn ˙ œ

buck ing on

˙ ˙

frost y

˙b ˙n

morn ings.

Ó Œ œ

It's

˙ ˙

good to

˙ ˙

have lived.- - - - -

275

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥

¥¥¥¥¥

¥¥¥¥¥

¥¥¥¥

¥¥¥¥

¥¥¥¥

¥¥¥¥¥

¥

¥

¥

¥

¥

¥

¥

¥

¥

wbU

&

wbU

&

wU

&

wbU&

wbUB

wU

B

wbU

?

wbU

?

wbU

t

pp

pp

pp

pp

pp

pp

pp

pp

pp

all strings to play noteone full bow length at pp

139

Bowers Œ œ œb œ œb œ œ

Good to be liv ing, too.

?

wbU

&

wbU

&

wU

&

wbU&

wbU

B

wU

B

wbU

?

wbU

?

wbU

t

G.P. 5 secs. after orchestra stops

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

ppp

140

œb œb œb œb œb œb œb

Liv ing is o ver for me

‰ œ œb œ œ

We'll make it yet.

OwbbU

OwbbU

OU

wbU

wbU

wU

wbU

wbU

wbUsul pont.

sul pont.

sul pont.

sul pont.

sul pont.

sul pont.

sul D

Oates &

WilsonwbU

Wait,

?

ff- -

-

276

?

&

44

Wilson

Vln.1-4

64 ˙b œ œb

Wait till the

wb

q»84

44

p

ord.

141

Vc.1+2

D.B

˙b ˙b

doc tor

˙ ˙b

wb?

wbt

mp

mp

ord.

ord.

B.Trbn.

.˙b œ

tells you,

wb?

˙ ˙b

w

w

mp

Hn.

Trbn.

˙ ˙b

Sol dier.

Ó˙

&

wb?

˙ ˙b

˙ ˙b

wb

wb

mp

mp

Vla.1+2

wb

w

w

w

wbB

w

w

mp

ord.

˙b ˙

Hard ly

wb

wb

wb

pp

pp

pp

˙n ˙

thir ty

w

wn

w

w

œ œ œb œ œ œ

more miles and we'll be at

˙ ˙b

wb

wbp

p

Trpt.2

œb œ ˙Œ

One Ton Camp.

Ó ˙&

Ó ˙

Ó˙

Ó ˙b

˙ ˙b

w

w

œ œ œb œ œb œ œ œ

Cher ry and the dogs will be there,

˙ ˙m

˙ ˙

˙ ˙

˙ ˙b

˙ ˙b

wb

wb

œm œ œ œ ˙

and we'll haul you home

˙ ˙

w

wm

w

w

wbB

w

w

p

mf

- - - - -

?

&

?

Wilson

Vln.1-4

Vc.1+2

œ œ œ œ œ œ

lay ing back on the sled

wb

w

‰r

œ œ œ ‰r

œ

and watch ing the

w

w

Trbn.

Vla.1+2

D.B

œ œ œ Œ œ œ

scen e ry like a

Ó œb> œb>?

w

wbB

wb

wt

mf

Hn.

B.Trbn.

œb Œ Ó

prince.

Ó>

&

˙Ó

œb>.˙b>?

w

w

w

w

mp

mf mp

mf

Oates

Trpt.2

wb

Don't!

&

wb>&

wb>

wb>

w>

wb>

mf

mf

mf

mf

ffœb œ œ Œ ‰

r

œb

Don't, Wil son. You

w

w

w

˙b ˙n>

p

p

p

p

œb œ œ œ

on ly make it

wb

wb

w

˙b ˙n

œ œ Œ œb

har der, for

>˙b

wb

w

˙b ˙n

˙b œ œ

me and for

w

w

wb

˙b ˙n

- - - -

- - -

ª

277

&

&

B

?

t

Oates

Vln.1-4

Vla.1+2

Vc.1+2

D.B.

84

œb œ ˙

all of us.

wb

wb

wA

w

pp

pp

pp

pp

Ó ¿ ¿ ¿ ¿ .¿3

No more pre tend ing.

w

w

w

w

w

w

w

w

w

U

wU

wU

wU

[spoken]Nobody move, don't move.I am just going outside. I may be some time...

142

- -

278

&

&

B

?

t

44

44

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Narr.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Perc.

°

√

1

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œ> œ œ œ œ œ œ ‰

p

p

p

q»62

p

pizz.

pizz.

pizz.

pizz.

143

p

pizz.

Repeat these bars until narration has ended then proceed to cue 144

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œ> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œ> œ œ œ œ œ œ ‰

Oates has walked to his death and is dying now they are silent for a while. They let him go. In grief and shame they let him go Oates walked out to the storm out to the flame of wind and snow where he burns for them. Then they remember how close is safety. Fifteen miles to the depot now, the hope of rescue certainty of food; fifteen miles, only fifteen miles…

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œ> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œ> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œ> œ œ œ œ œ œ ‰

Perc.

Pno.

wU

æ?

wwnnU

&

?

r

Oœbb >≤

‰

r

œb>‰

r

œb>‰

r

œb>‰

r

œ> ‰

pp

on the bridge

sfz

p

A day’s march once, now far as stars and close as madness. Six miles yesterday, Six miles today; two days, three days three days to safety.

144

Timp.

Scene 11 - Approaching the End

279

?

&

&

&

&

B

B

?

?

t

44

44

44

Narr.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

8

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

They saw their dream topple and crash like a wave and waste itself on the bitter shore of the Pole; when Oates walked out to the storm. They remember his face. They remember his form, stumbling beside the sledge,struggling and stumbling. It is hard to believe he is dead.

145

Timp.

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

Trpt.1

Trpt.2

œb> œ œ œ œ œ œ ‰

œn> œ œ œ œ œ œ ‰&

œn> œ œ œ œ œ œ ‰&

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

con sord.

pcon sord.

p

œb> œ œ œ œ œ œ ‰

œ> œ œ œ œ œ œ ‰

œ> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

Hn.

Trbn.

B.Trbn.

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰&

œ> œ œ œ œ œ œ‰?

œ> œ œ œ œ œ œ‰?

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

con sord.

con sord.p

p

con sord.

p

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œ> œ œ œ œ œ œ‰

œ> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œ> œ œ œ œ œ œ‰

œ> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

280

?

&

?

&

&

&

?

?

&

&

&

&

B

B

?

?

t

.. ..

.. ..

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

√

°

√

°

√

¥

¥

15

œb> œ œ œ œ œ œ ‰

wwwwm>

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ‰

œ> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

Owm>≤

Ow>≤

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

on the bridgethen ord.

on the bridgethen ord.

sfzp

sfzp

mp

Four miles staggered, four miles more. Eleven to go. And a blizzard blowing. The shriek of snow and three men lying cold in the tent. They are rocks, locked in the cold, slowly borne on the glacier of their wills, on a long journey,Solemn and meaningless.

Timp.

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ‰

œ> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

Ow

Ow

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

wwwwm>

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ‰

œ> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

Owm>≤

Ow>≤

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

on the bridgethen ord.

on the bridgethen ord.

sfzp

sfzp

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ‰

œ> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

Ow

Ow

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

wwwwm>

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ‰

œ> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

Owm>≤

Ow>≤

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

on the bridgethen ord.

on the bridgethen ord.

sfzp

sfzp

œb> œ œ œ œ œ œr

Ͼ

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ‰

œ> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

Ow

Ow

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

œb> œ œ œ œ œ œ ‰

Vocal 5

Vocal 2

wbæ

œb .˙b

Two days

?

œb ˙b œb

Three days

?

Ow

Ow

p

p

281

&

?

&

B

?

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

...... ......

Vocal 2

Vocal 5

Vln.4

Vla.2

Vc.1

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

23

wwbb

w wb

wbwb

wbwb

ppp

pp–‘

pp

–‘

sul pont.

–‘

sul pont.

sul pont.

pp

146

Scott

Vln.2

Vla.1

Vc.2

Ó Œ ≠≠b

œb œb œb œb œ œb œb

There is noth ing to be done.

&

wb wb&

wbwbB

wb wb?

[square noteheads] depress notes without making a sound and sustain

Vln.1

–‘

–‘

pp

sul pont.

–‘

sul pont.

pp

pp

sul pont.

Perc. wwm>&

wwb>

œb œb œb œb œ œb œb œ

We must wait till the storm pas es.

wb w&

Gongs

pp

soft rubber mallets

pp

pp

sul pont.

Bowers

Ó Œ ≠≠bb

œb œ œ œr

œ>‰ Ó

Noth ing to be done!

?

wwbb >

wwbb

œb œ œ œr

œ>‰ Ó

Noth ing to be done!

Wilson

Œ ‰ ˙b> ‰

‰≠b

˙˙bb

≠≠bb

Ó Œ ‰r

œb

You

?

œb œb œ œb œb œb

I can't wait here to starve

- -

- -

282

&

?

?

?

t ......

...... ......

Vocal 2

Wilson

Vocal 5

Vln.1

Vln.2

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

29

wwm>

wwbb

Ó≠

œœb

œ œb œb œb œ œb œb

can't eat the bliz zard, Bir die.

wb wb

Vln.3

–‘pp

sul pont.

Œ ..˙˙b>

Œ ..˙˙bb&

≠≠bb

œ œb œb œb œ œb œ œ3

And you'll nev er find an y thing

wb wb&

pp

sul pont.

wwb>

œb œ œb œb œ œ œb

else in a storm like this. The

Ó Œ ≠≠bb

œ œb œ œ œ œ œb

dep ot might as well be in

wwbb >

wwbb

œn œŒ Ó

Chin a.

Scott

Œ ‰ ˙b>

‰≠b

˙˙bb

≠≠bb

œb œb œ œb œb œ œ

To mor row you must march there.

&

- - - - - - -

- -

283

&

?

?

&

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Scott

Vocal 2

Vocal 5

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

35

wwbb >

wwbb

Ó≠

œœb

Œ œ œb œ œ œ

You know I won't be

Œ ˙˙nm >Œ

Œ ˙˙bb Œ&

≠≠bb

œb œ Œ œb œb

com ing, not with

Bowers

˙b>Œ œb>

.˙n Œ

.....˙˙˙˙b

b

bbb Œ

œb œ Ó

this leg.

Ó Œ ‰r

œ

As

?

w>&

wb>&

wb>&

wb>&

wb>B

w>B

wb>?

wb>?

wb>t

mp

mp

mp

mp

mp

mp

mp

mp

mp

Wilson

Œ .˙b>

.˙ Œ

Ó Œ ‰r

œœbb

Ó œ œbœ>

Bad en ough!

?

œ œ œ Ó

bad as that?

r

œb - .œb œ

r

œb - wb

˙b -œ

r

œ .œb - œr

œb - .œb œœb

wb -r

œb

œb - œbœb œb

œœb

œr

œb - œbr

œb

œr

œb - .œb

pp

pp

pp

pp

pp

pp

pp

pp

pp

–‘

Ó ˙b>

Œ œb œb œ œ œb œn

But if we can make the

Œ ‰ ˙˙˙˙˙˙bb

bbbb ‰

œbœb Œ

œ œb œ

dep ot, bring back food

-

- -

284

÷

&

?

?

&

&

&

?

?

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Vocal 2

Wilson

Vocal 5

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥¥¥¥¥

¥

¥

¥

¥

¥

¥

¥

¥

¥

¥¥¥¥¥

41

w

r

œœb .

r

œœœbbb

.

Œœb œ œb œb œb œ3

He'll be ab le to march.

w

wb

wb

wb

wb

œ wb

U&

œ . œb w

U&

. .˙b w

U&

.wb&

wbB

.wbB

˙b r

œb wU

3

?

wb?

œb wbUt

p

p

p

p

p

p

p

p

p

pp

pp

pp

pp

pp

Tamtam

pp

p

147

Scott Œ L L L L L L L Œ

Per haps I should fol low Oates;

&

≈ œ. œb .‰ œ. œb .

≈ œ. œb .‰ œ. œb .

œ. œ.

‰ œ. œb . œ. œb .œ. œb . œ.

≈œb . œb . œb .

≈œ. œ. œb .

≈œ. œ. œb .

≈œ. œ. œb .

‰ œb . œb .≈ œb . œb .

‰ œb . œb .≈r

œb .

‰ œb .œb . œb .

≈ œb . œb .œb . ≈ œb œb

wb

U

wbU

wbU

wbU

mp

mp

mp

p

mp

L L L L L ‰ L L L

I'm the lame duck now. The lea der

‰ œ. œb .≈ œ. œb .

œ.‰ œ. œb . œ.

œb .œ. œb . œ. œb .

œ. œb . œ.

rr

œb .–‘

L L L

is lag ging.

Lb Lb Lb Lb Lb

Bir die and I are

? Lb Lb Lb Lb Lb Lb Lb Lb Lb

no bet ter. We're all of us cripp led.-

- - - -

- - -

285

?

45

45

Wilson

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

œb œb œb œb œ œb œb œb

We can march to the de pot, yes.

œb œb œ œb œbŒ

But not much fur ther.

œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb œb

We'll get to the dep ot andback if we have to crawl.And thenwe'll see. Foodwill workmir a cles.

Bowers

Vla.1

Vla.2

Vc.1

Vc.2

D.B

˙b œb œb œ

I'm pin ning my

?

.œb .œb .œbr

œB

.œb .œb ˙bB

.˙b ˙?

.˙b ˙?

.˙ ˙t

mp

mp

p

p

p

Vln.1

Vln.2

Vln.3

Vln.4

148

œ œb œ œb œ

faith on Cher ry

.œ .œb ˙b&

r

œ œb.œb .œb

r

œb&

œ œb ˙.œb

r

œb&

œ œb w&

˙ ˙b œb

.˙ ˙

œ œb

r

œb œbr

œb œb

œ œb

r

œb œbr

œb œb

œ œ

r

œ œr

œ œ

mp

mp

mp

mp

mp

mp

mp

- - - - -

- -

286

?

&

&

&

&

B

B

?

?

t

Bowers

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

44

Œ œb œ œb œb œ œ

Be ing there with the dogs.

r

œb œ.œ .œ

r

œb

.œb .œb ˙

œb œ ˙.œ

r

œb

œb œ w

.œb .œb .œr

œb

œb œ ˙.œ

r

œb

œbr

œ œbr

œb œb œ

Œ ‰r

œb œ œ œb œb œb

Ó Œ œ œb œ

œŒ Ó Œ

r

œ œb .œ .œr

œb

.œ .œb ˙b

œ œb ˙ .œr

œb

œ œb w

.œb .œ .œbr

œb

œb œ ˙.œ

r

œb

r

œb œbr

œ .˙

r

œ œr

œb œbr

œn .œ

œ œ œ œbr

œ œr

œ

.œb .œb .œbr

œ

.œb .œb ˙b

.œ .œb ˙b

r

œ œb.œb .œb

r

œb

œ œb ˙.œbr

œb

œ œb w

.˙b ˙

.œ r

œb .˙.˙b

˙

˙ ˙b œb

.˙ ˙

r

œb œ.œ .œ

r

œb

.œb .œb ˙

œb œ ˙.œ

r

œb

œb œ w

œ œb

r

œb œbr

œb œb

˙r

œ œb

r

œb œb

w œ

.œ .œb ˙b

r

œ œb .œb .œbr

œb

œ œb ˙.œb

r

œb

œ œb w

.œb .œb .œbr

œ&

.œb .œb ˙b

œbr

œ œbr

œb œb œ

r

œb œb r

œb œ œ œb œ œ

r

œ œr

œ œÓ B

r

œb œ .œ .œ

r

œb

.œb .œb ˙

œb œ ˙.œ

r

œb

œb œ w

˙ ˙b œb

.˙ ˙

r

œb œbr

œ .˙

r

œ œr

œb œbr

œn .œ

œ œb œ œ œ œ œ

r

œ œb .œ .œr

œb

.œ .œb ˙b

œ œb ˙ .œ

r

œb

œ œb w

.œb .œb .œr

œb

œb œ ˙.œr

œb

.˙b ˙

.œ r

œb .˙

r

œ œr

œ .˙b

-

&

&

&

&

&

B

?

?

B

44

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

.œb .œb .œbr

œ

.œb .œb ˙b

.œ .œb ˙b

r

œ œb .œb .œbr

œb

.œb .œ .œbr

œb

œb œ ˙.œ

r

œb

œ œb

r

œb œbr

œb œb

˙r

œ œb

r

œb œb

.˙ ˙

Trbn.

Hn.

Scott˙ ˙b

Too late

&

wb&

wb?

˙ ˙b

.˙ œ

r

œb œr

œ œ œ

.œbr

œb œ œ

œ œb ˙œb

œ œb .˙

r

œb œb ‰ Ó

œ œr

œ .œ

p

p

149

B.Trbn.

œb œ œ œ

for that I'm a

.˙ .œœb>

w

‰ r

œ .˙?

œbŒ Ó

œŒ Ó

œ œbŒ Ó

œŒ Ó

œ œbŒ Ó

œ Œ Ó

œ Œ Ó t

mf

p

œb Œ Ó

fraid.

w

.˙b .œœb>

w

B

mf

w

wb

.˙œb>

r

œb>

3

Ó Œœb

Ó Œ œb

p

p

Vln.3+4

Vla.1+2

mf

w

w

wb

w

w

Ó Œ ‰ r

œ

Ó Œ ‰ r

œ

Ó Œ ‰r

œ

Vln.1+2

p

p

p

Wilsonœb ‰

r

œb œ‰r

œ

Think a bout the

?

w

.˙ œ

.œ œb> .˙

œ œ .œb œœb œ œb&

w

w

w

w

w

mp

˙Ó

food.

˙ œ

r

œb> œ

3

œ œ œr

œb œ3

w

r

œ œb œœb œb œ œ œ œ

3

w

w

w

w

w

-

-

ª

51

287

?

&

&

B

?

?

t

Wilson

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1

Vc.2

D.B.

59 œb œ œb œb

Think of good warm

œ .œb œb œœ œb œb

w

w

˙œb>

r

œb> œ

3

˙œb>

r

œb> œ

3

˙ ˙

œb Œ Œœb

hoosh We

œœb

r

œ œb œ œb œb .œœ3 3

w

.˙ .œ œb>

.˙œb

w

w

œ œm œn‰r

œb

don't need help, Once

œb r

œb .œb œ

r

œb œ œ

r

œ3

3

w

w

w

w

w

œ œn œb œ œb œ

we get some food and feel

.˙ œ œb

œ œ

r

œb œ œ>

3

.˙œ>

.˙ œ>

.˙ œb>

.˙œ>

œb œ œn Œ

strong a gain.

œ œb œ œb œb œ.œ

˙ Ó

œ .˙b

œ‰

r

œb œ œb

œ

œ ‰r

œb œ œb

Vc.1+2

Bowers Œ ‰r

œ œb œn œb

If it does n't

?

œ r

œb .œb œb œbœ œb

Œ .œm .œ œ

r

œ

œ .˙b

r

œ .œr

œ .œb

r

œ .œr

œ .œb

r

œb .œ‰ œ

r

œ

clear up we'll be

œ œbœb .œ œ

œ .œ œ .œbr

œ œ

r

œb

.˙ œb

˙ ˙b

˙ ˙b

-

-

?

&

&

B

?

t

Bowers

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

˙ ˙b

star ving

œ œ œb œ .œ œ œb.œ

.œA œ .œb œb œ œn .œb

wA

r

œA .œr

œ .œb

r

œA .œr

œ .œb

Scott

Wilson

Ó œb œ œ œ

Sure ly it will

&

Ó Œœ

It

?

œ œ œ œ ‰ œb œb œ

here tom mor ow! It sounds like

œœb œb œ .œ œ œ

œ .œb .œ œn> .œb œn œb

œ ˙b œ

œ œ œb œ œb

œ œ œb œ œb

œ œb œ ‰ œb œ œ

clear, sure ly. The sea son's

œ œ œ œ

sounds as if it

.œb

r

œ .œbr

œ

surf. There's some thing

œ œb .œ œb ˙

œ œn> œb œ œ œ œb œ œ œ

w

.œr

œ .œb

r

œ

.œr

œ .œb

r

œ

œbr

œb œ œ œb œ œ œ œ3

3

3

late, but there should n't be bliz zards like

.˙ œ

could. It

r

œb œr

œ œ œn> œb

splen did in ship wrecks

œr

œb œr

œb ˙3

3

œn> .œb œ œ œ œ .œ .œ œ

w

.˙b œn> œb

.˙b œn> œb

.œb œ œ œ œ .œ œ œ œ œb3 3

this, and e ven this one should blow it self

œ œ œ œb

sounds as if it

œ œœb .œ

r

œ

rocks and foam and

.˙ œ œb

œ œb œn œ œ œb> .œn

.˙ œb>

œ œœb ˙

œ œœb ˙

- - - -

- - - - - - -

- - -

ª

66

288

&

?

?

&

&

B

?

t

Scott

Wilson

Bowers

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

œb œ œ .œ œ .œ œ .œ œb3

out in a day. Two days it's last ed

œb œ œ œ ˙

has blown for a month

r

œb œ>

r

œ œ œ œ

shout ing. But we're not drowned,

˙A

r

œ .œb

œb .œn œb .œnr

œ œb œb> œn

œA .˙

œA œ> .˙b

œA œn> .˙

Perc.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

œb> œ> œ> œ> œ> œ> œ>‰?

.œb œ .œ œ .œ œ œ œ

now. It can't go on for e ver!

œ œ Ó

not yet.

.œb> ‰ Ó&

wb>&

wb>

+&

wb>?

˙b>Ó?

Ó œb> .œn œ œb

œ œb œn œ œb> œn

wb

œœbb > œœ> œœ> œœ> œœ> œœ> œœ>‰

œb> œ> œ> œ> œ> œ> œ>‰

mf

mf

mf

mf

mf

con sord.

con sord.

con sord.

con sord.

Timp.

Narrator

150

œ œ œ .œn œb œb œ .œb

œb œ œb œb

w

Rollers of blizzardRoar and break

œb> œ> œ> œ> œ> œ> œ>‰

.œb> ‰ Ó

wb>

wb>

+

wb>

˙b>Ó

œ .œb œ œ œn

œ œb ˙

w

œœbb > œœ> œœ> œœ> œœ> œœ> œœ>‰

œb> œ> œ> œ> œ> œ> œ>‰

œ .œ œ .œ œ œb œn œ œ

œ œ œ œb œn

˙b ˙b

In foam on the tent

œb> œ> œ> œ> œ> œ> œ>‰

.œ> ‰ Ó

wb>

wb>

+

wb>

˙b>Ó

.œ œb .œn œb œn œ œb> œn

œ œb œn œ œb œn œ œb> .œn

w

œœbb > œœ> œœ> œœ> œœ> œœ> œœ>‰

œb> œ> œ> œ> œ> œ> œ>‰

The tide of the South

- - -

-

71

289

&

&

&

?

?

&

&

B

?

t

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Pno.

.œb>‰ Ó

w>

wb>

+

wb>

˙b>Ó

œ œb œn .œ œb> œn œ œb œn

œb .œn œ œb> œn œ œb .œn

˙˙b

œœb > œœ> œœ> œœ> œœ> œœ> œœ>‰

œb> œ> œ> œ> œ> œ> œ>‰

Perc. œN> œ> œ> œ> œ> œ> œ>‰?

œb> œ> œ> œ> œ> œ> œ>‰

œb> œ> œ> œ> œ> œ> œ> ‰

œ> œ> œ> œ> œ> œ> œ> ‰

wb>

œb> œ> œ> œ> œ> œ> œ>‰

œ œ œ œb> .œn œ œ œ œ œb œn>

œ œ œb .œn œ œ œ œ œb .œn

wb

œœb > œœ> œœ> œœ> œœ> œœ> œœ>‰

œb> œ> œ> œ> œ> œ> œ>‰

Timp.

Pno.

œ> œ> œ> œ>‰ Œ Ó

3

&

r

œœ>

‰ Œ Ó?

œb> œ> œ> œ>‰ Œ Ó

3

œb> œ> œ> œ> ‰ Œ Ó3

œ> œ> œ> œ> ‰ Œ Ó

3

w

œb> œ> œ> œ>‰ Œ Ó

3

r

œ>

‰ Œ Ó

r

œb>

‰ Œ Ó

w

r

œœb >‰ Œ Ó

r

œb>‰ Œ Ó

f

White, tremendous,

œ> œ> œ> œ> œ> œ>‰ Œ Ó

3 3

r

œœ>

‰ Œ Ó

œb> œ> œ> œ> œ> œ>‰ Œ Ó

3 3

œb> œ> œ> œ> œ> œ> ‰ Œ Ó3 3

œ> œ> œ> œ> œ> œ> ‰ Œ Ó

3 3

wb>

œb> œ> œ> œ> œ> œ>‰ Œ Ó

3 3

œ> œ>

Œ Ó

œb> œ>

Œ Ó

wb

œœb > œœ>Œ Ó

œb> œ>Œ Ó

Roars on the tent,

œ> œ> œ> œ> œ> œ>‰ Œ Ó

3 3

r

œœ>

‰ Œ Ó

œb> œ> œ> œ> œ> œ>‰ Œ Ó

3 3

œb> œ> œ> œ> œ> œ> ‰ Œ Ó3 3

œ> œ> œ> œ> œ> œ> ‰ Œ Ó

3 3

w

œb> œ> œ> œ> œ> œ>‰ Œ Ó

3 3

w> wb

wb> wn

w

œœb > œœ> œœ> œœ> œœ> œœ>‰ Œ Ó

3 3

œb> œ> œ> œ> œ> œ>‰ Œ Ó

3 3

Roars in the ears

77

290

?

&

?

&

&

&

?

?

&

&

B

?

t

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Perc.

Pno.

82

≈ .r

œ>Œ Ó

r

œœbb

>

‰ Œ Ó

≈.r

œb>Œ Ó

≈ .r

œb>Œ Ó

≈ .r

œ> Œ Ó

>˙b>

≈ .r

œb>Œ Ó

œ œb .œ>

Œ Ó

œb œn .œb>

Œ Ó

>˙b

≈..r

œœb >Œ Ó

≈ .r

œb>Œ Ó

Of drowning men.

≈ œ> œ> œ>‰ ‰ .

rr

œ>Ó

3

r

œœ>

‰ Œ Ó

≈œb> œ> œ>

‰ ‰ .rr

œ>Ó

3

≈ œb> œ> œ> ‰ ‰ .rr

œ> Ó3

≈ œ> œ> œ> ‰ ‰ .rr

œ> Ó

3w

≈ œb> œ> œ>‰ ‰ .

rr

œ>Ó

3

≈

.

r

œ>

‰ . rr

œ>

˙b

≈

.

r

œb>

‰ . rr

œ>

˙b

w

≈œœb > œœ> œœ>

‰ ‰ .rr

œœ>Ó

3

≈ œb> œ> œ>‰ ‰ .

rr

œ>Ó

3

˙ ˙

˙ ˙

˙b ˙

151

[long pause] It is evil, evil to lie awake in the night And listen to the snow, more sinister than rain, Pelt at the walls; evil to lie awake And watch the mottled wet green walls of the tent Crumple like water in the booming tide of the wind.

w

w

w

Œ .œm .œ œ

r

œ

mf

w

w

w

œ .œ œ .œbr

œ œ

r

œb

291

?

t

Vc.1+2

D.B.

Œ .œ .œb œb

r

œ

.œA œ .œb œb œ œn .œb

mf

œ .œb œ .œr

œ œ

r

œn

œ .œb .œ œn> .œb œn œb

.œ œb .œ œ œ œ .œ

œ œn> œb œ œ œ œb œ œ œ

Vln.3+4

Narrator

Œ .œ .œb œr

œ&

œ .œ .œ œb> .œ œ œn

œn> .œb œ œ œ œ .œ .œ œ

mf

Bedraggled, sopping clothes, personal things are seaweed, flotsam, relics of another life, relics of a life hardly to remembered now by the men who, falling asleep, look like the drowned, lost beyond hope in the roaring tide of the storm.

œ .œ œ .œr

œ œr

œ

œ œ> œ œ œ œ œ œ œb œb

œ œb œn œ œ œb> .œn

Vla.1+2

.œ œb .œ œ œ œ .œ

Œ .œm .œ œr

œB

œn> .œ œb œb œ œ .œ .œ œ

œb .œn œb .œnr

œ œb œb> œn

mf

&

B

?

t

Narr.

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

93

œb .œ .œ œb> .œ œ œn

œ .œ œ .œbr

œ œr

œb

œA œ œ œ œ œ> .œ

œ œb œn œ œb> .œn œ œb

Vln.1+2 Œ.œ œ

r

œ œb

r

œ&

œ œb> œ œ œ œb œ œ œm œn

.œ œ .œb œb œ œn .œb

œ .œ œ .œbr

œ œ œn> œ

œ œ œ .œn œb œb œ .œb

mf

œ .œb œ .œr

œ œ

r

œ

œb> .œ œm œ œ œ .œ .œ œ

œ .œb .œ œn> .œb œn œb

œ œ œb œ œ> .œ œ œ

œ .œb œ œ œn

.œ œ .œ œ œ œ .œ

œ œ œb œ œ œ>.œ

œ œn> œb œ œ œ œb œ œ œ

œ œb œ .œb œ œ œ .œ

œ .œ œ .œ œ œb œn œ œ

œ .œm .œ œn> .œ œ œm

œ .œb œ .œbr

œ œ œn>œ

œn> .œb œ œ œ œ .œ .œ œ

œb .œ œ œ œ

.œ œb .œn œb œn œ œb> œn

&

&

B

?

t

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

œa œ> œm œ œ œ œm œ œb œb

œA œ œb œ œ> .œ œ œ

œ œb œn œ œ œb> .œn

œ .œb œ .œ œ œ œ œ œ

œ œb œn .œ œb> œn œ œb œn

œn> .œm œb œb œ œ .œ .œ œ

œ œ œ .œm œ œm œ .œ

œb .œn œb .œnr

œ œb œb> œn

.œ œ .œ œ œb œ œn> œ

œ œ œ œb> .œn œ œ œ œ œ œ>

Bowers Œ œm œ œ œ

Lis ten to it.

?

œ œm œ œ œ œ> .œ

œ .œ œ œ œb

œ œb œn œ œb> .œn œ œb

œ œ œb .œ œ> œ œ œ œb

‰ .œb .œr

œ

œ œ œ œ ˙

Lis ten to the wind.

œm .œ œ .œnr

œ œ œm> œ

œ .œ œ .œb œ œ œb œ œ

œ œ œ .œn œb œb œ .œb

œ œb œb œ> .œb œ œ œ œ œ œ>

.œ .œ œ

Œ œb œ œ

Still snow ing.

œ œ œ œ œ> .œ œ œ

.œ œ .œb œ œb œ œn> œ

œ .œb œ œ œn

Œ ˙b œ œ

œ ˙b œ œ

- - -

ª

ª

87

98

292

?

&

&

B

?

t

Bowers

Vln.1+2

Vln.3+4

Vla.1+2

Vc.1+2

D.B.

Pno.

œ œn œ œ œ œ

It had to stop to day.

œ œb œ .œ œ œm œ .œm

œA œ œb .œ œ>œ œ œ œb

œ .œ œ .œ œ œb œn œ œ

.œr

œb ˙

.œ

r

œb ˙

œ œb œ œ

It's still snow ing.

œm .œm œ œ œ

œ œ œm œ> .œm œ œ œ œ œ œ>

.œ œb .œn œb œn œ œb> œn

r

œ .œb ˙b

r

œ .œb ˙b

œ .œb œ .œ œ œm œ œ œ

œb .œn œm .œr

œ œb œb> œn

œ œb œn .œ œb> œn œ œb œn

œ œ .œb

r

œ œb

œ œ .œbr

œ œb

Perc.

Pno.

Scott

Trpt.2

Hn.

Trbn.

B.Trbn.

œb> œb>‰ ‰

r

œb> Œ ≈rr

œ> ‰?

&

Ó r

œœnn

>..

œœbb

?

Ó ‰r

œb œn

I know,

&

Ó Œ ≈ .r

œb>&

wb>&

Œ ‰r

œb> ˙?

‰ . .r

œb> ˙?

.œ œm .œ œ œn œ œm> œ

œ œm œ œ œ> .œ œ œb

œ œ œ œb> .œn œ œ œ œ œ œ>

˙r

œn> .œb

˙ r

œn> .œb

mf

mf

mf

senza sord.

senza sord.

senza sord.

mf

f

f

152

Timp.

Trpt.1

Œ ‰r

œb>œb> œ>

≈rr

œ>‰

r

œœ>

.

.˙˙bb

r

œœnn

>

œ œb Œ œn œb

Bir die. Once or

Œ ‰r

œb> ˙&

.˙ œ.œb>

˙r

œ .œb>

˙ ˙b>

œ œ œ .œ œ> œ œ œ œ

œ œ œ .œn œm œ œ .œb

w

r

œ .˙br

œn>

r

œ .˙br

œn>

mf

r

œb>‰ œ> œ>

≈ ˙æ

.

.˙˙bb

œœ>

œœbb

œ œb œ œ œb œ

twice in the night I thought

œ œ .œ> ˙

œ .>

wb>w

w

œ œb> œb œ> .œ œ œ œ œ œ œ>

œ .œb œ œ œn

w

.˙b œ œb

.˙b œ œb

p

- -

-

103

293

?

&

?

&

&

&

&

?

?

&

&

B

?

t

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Scott

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1+2

Vln.3+4

Vla.1+2

Vln.1+2

D.B.

Perc.

Pno.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

109

wæ

Œ œœ-

œœ-

œœbb

-

œ œ œ œ œ

it was dy ing out.

˙ Ó

˙ Ó

˙AÓ

˙A Ó

˙A Ó

œ œ œ .œ œ> œ œ œ œ

œ .œ œ .œ œ œb œn œ œ

w

œA œ œ- œb -

œA œ œ- œb -

Timp.

wæ

r

œœnn

>..

œœbb œ

œnn

-œœ-

L L L L L L L ‰

There'd be a mom ent of calm

œ œb œb œ> .œ œ œ œ œ œn œ>

.œ œb .œn œb œn œ œb> œn

˙b ˙n

r

œn> .œb œn œ

r

œn> .œb œn œ

Vln.2

Vln.4

Vla.2

Vc.2

œb œ wæ>

L L L L L> L> L>and then it would shriek a gain!

˙b> œ> œb>

w>w>

wb>

œb> .œ œb œb œb>> œb> œb> œb

œb> œb> œb> œb> œb> œb> .œb> œb>&

.œb> œb> œn> œ œb> œ> œb>

.œb> œb> œb> œb œbrr

œb> œb>&

œb> .œ œb œb œb>> œb> œb> œb

œb> œb> œb> œb> œb> œb> œb>

rr

œb>B

.œb> œb> .œn> œb> œ> .œb>

.œb>

r

œb> œb> œb œb œb> .œb>?

.œ> œb> œb> .œb> œb> .œb>œb

f

f

f

f

f

wb æ

> ˙b>

Œ œb> œb> œb>

œœb> œb> œn>

w

w

f

wbæ

˙b> œ> œb>

wb>

wb>

wn>

wbæ

> ˙b>

œb œb œb œn

œ œb œb œb

w

w

- - -

294

?

&

&

&

?

?

........

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

..

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥

¥

¥

¥

¥

¥

115

wb æ

wb>

œœb> œb> œb>

œA

œb> œb> œb>

w>

wb>

Timp.

wb æ

œ .˙b>

wb>

wb>

˙>

w

wb æ

w

œ œ> ˙b>

œ œ> œb> œb>

w

w

wb æ

w

w

œb> .˙b>

w

w

Scott

œb> œb>‰ ‰

r

œb> Œ ≈rr

œ> ‰

œb œb œb œb œb œb œb ‰

While we are here there's a chance.

&

w

.˙ œ .œb>

wb>

.œr

œb> w

.œ œb> .˙“–

“–

Œ ‰r

œb>œb> œb>

≈rr

œb>‰

œb œb œb œb œb œb œb œb

E ven to mor row we may be

.œ. .˙b>

.˙ ˙b>

.œb>

˙ .wb>

“–

“–

“–

r

œb>‰ œ> œ>

≈ ˙æ

œb œb œb œb

ab le to march,

.>

.>

wb>w

- - - -

295

&Scott

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥

Lb Lb Lb Lb Lb Lb Lb Lb

But a man doesn't do much march ing

Lb Lb Lb Lb ΠLb Lb

once he is dead and an

Lb Lb Lb Lb Lb Lb Lb Lb

y man who tack les that bliz zard

Lb Lb

will die!- - --

296

&

?

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

¥

¥

¥

¥

¥

¥

¥

¥

¥

¥

¥

¥

¥

¥

¥

œbæ

Ͼ

r

Ͼ

Ͼ

œb .œb> œb>

3

?

œ> œ œ œœ

œbœ

œb

Ó

œ> œb œb œbœb œb

œn œ

wb>&

œ> œ. œ. œ. œ. œ. œ. œ. œ> œ. œ. œ. œ. œ. œb> œb˘&

œ> œ. œ. œ. œ. œ. œ. œ. œ. œb> œb . œb . œb . œb . œb . œb .&

.wb>?

œb>

rr

œ œ> œ. œ. œ. œ. œ. œ. œ. œb> œb . œb .?

œb> œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb .&

œb> œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb>&

œ œ œ œ œb œ œb œb œb œ œ œ œ œ œ œ&

œ œ œ œ œ œ œb œœb œb œb œb

œn œ œ œ&

œ œ œ œb œb œb œb œ œb œ œn œbœ œ œn œb

B

œ œ œ œ œb œb œb œb œ œb œ œœ œ œ œnB

> œ œ> œ œb œb œb œb?

w>?

œ œb œb> œb> œb> œb œb œt

mf f

mf

mf

f

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

The man of actionShall have satisfaction,The man of peaceA leaf’s release,The leader’s ambitionIts consummation;

The Narrator needs to be heard over the orchestra. Amplification (eg. Megaphone) may be necessary!

153

Timp.

Œ ‰ ˙bæ

r

œn>

œ> œ œœ

œbœ

‰ Œ œ> œœ

œb

œ œ œ œ œb œ œ>œb

œ ˙b> œ œb> œb .

œ> œ. œ. œb> œb . œb . œb . œb . œb . œb . œb .rr

œb> œb> œb . œb . œb .

rr

œb . œ> œ œ œb> œb . œb . œb . œb .rr

œb> œb> œb˘ œb> œb . œb . œb . œb . œn> œ

3

≈ .r

œb> .˙

œb . œb . œb .œb> œb . œb . œb . œb . œb . œb> œb . œb . œb . œb . œb . œb .

œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb .œn> œ.

œb . œb . œb . œb . œb> œb> œb œb œn œ œ œ œ œb œn œ

œb œ œb œb œb œ œ œ œ œ œ œ œb œ œb œb

œ œ œb œœb œb œb œb

œn œ œ œ œ œ œ œ

œb œb œb œ œb œ œ œbœ œ œn œb œ œb œ œ

œb œb œb œb œ œb œ œœ œ œ œn œb œ œb œb

œ œb œ œ œ œn œ> œ œb œb œb œb œ œ œ œ

œ> œ œb>

œb œ œb œ œn œb œb> œb>

f

f

f

f

f

f

f

f

f

f

≈rr

œ.œ>

r

œ>.œ

æ r

œb>

œœb œb

œb œbœn œ œ

Ó

œbœ œ œ

œb> œœ œ

œb . œb . œb .œn . œ. œ. œ. œb> œb> œb . œb> œb . œb . œb . œb . œb . œb . œb .

œb> œn> œ. œ. œ. œ> œ. œ. œ> œ. œ. œ. œ. œ. œ.

3

œ> œ. œ. œ. œ. œ. œ> œ. œ. œ.œ> œ. œ. œ. œ. œ. œ. œ.

œn> œ. œ. œ. œ. œ> œ. œ. œ.

rr

œb .

rr

œn> œ> œ. œ. œ. œ>œ> œ. œ. œ.

œ> œ. œ.rr

œ>

3

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œb> œb> œb œb œn œ œ œ œ œb œn œ œb> œb> œb œb

œb œ œ œ œ œ œ œ œb œ œb œb œb . œb œ œb

œb œb œb . œb> œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb .

œb œ œ œbœ œ œn œb œb œb œ œ œb œ œn œb

œ œb œ œœ œ œ œn . . .w>

œ œ œ> œ œb œb œb œb œ œ œ œ œ œn œ> œ

œb œb œb œ œb œ œ œ

œb> œb œb œ œ œ œb œ

f

f

f

f

‰ œbæ>

r

œb . ≈ .r

œb ‰ .rr

œn

Œ œ>œ

Œ

œ>

œb

œ œ œ œœb>

œn

œn> œ. œ. œ. œ. œ. œ> œ œ> œ> œ œ. œ œ.

3

œ> œ. œ. œ. œ. œ. œ. œb> œb . œb . œb . œb . œ> œ. œ. œ.

œ> œ. œ. œ. œ. œ. œb> œb . œb . œ>œ

r

œ> œb> œb˘ œn˘ œ. œ. œ. œ. œ. œ> œ. œ. œ. œ. œ. œ>œ

œ. œ. œ. œ. œ. œ. œb> œb . œb . œb ..œb>

œ. œ. œ œ œ œœ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œb œn œ œ œ œb œ œb œn œ œ

œb œ œ œb œ œb œ œb œb œ œb œ œ œ œb œ

œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb> œb œb œn

œ œ œ œb œb œb œb œ œb œ œb> œb> œb œ œb œ

œb œb œb œb œ œ œ œ œ œn œ> œ œb œ œb œb

œ œb>œb œb œ œ œb œ

œ œb œb> œ œ œ œb œ

297

?

&

?

&

&

&

?

?

&

&

&

&

B

B

?

?

t

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

Ͼ Š.

r

Ͼ

‰ œb .œbæ

> Ͼ

œœb œb

œb œbœn œ ‰

œ œ> œ œ

œ. œ. œ. œb> œb . œb .œn> œ. œ. œ. œ. œ> œ. œ. œ.

œ> œ. œ. œ. œ. œ. œ. œ.

r

œb>

œb> œb˘ œb> œb . œb . œb . œb . œb . œb> œb . œb . œb . œb . œb . œn> œ

œ. œ. œ. œ. œb> œb> œb˘ œb> œb . œb . œb . œb . œb . œb . œb> œb . œb . œb . œb . œb . œb . œb .

3

œœ œ> œ. œ. œ. œ. œ. œ. œ> œ. œ. œ. œ.

rr

œ> œ> œ. œ.

wA

œ œœ œ œ œ œ œ œ œ œ œ œ œ

œ œ

œ œ œ œ œ œ œb œ œb œn œ œ œ œ œ œ

œb œ œb œb œ œb œ œ œ œb œ œb œ œb œb œb

œ œ œ œ œ œb œb œb . œ> œb œb œn œ œ œ œ

œœ œb œb œb œb œb> œb> œb œ œb œ œ

œn œb œ

œb>œb œb œb œ œb œ œ œ œn

œ œb œ œ œ œn œb . . .wb

œ œ œ œb> œb> œb> œb œb

œ œ œ œ œ œ œ œ

For death is leaping,And calm escaping,And the final shaping:And death is nothingBut stopping breathing.

Timp.

≈ œb> œb . .œb> œn æ> œ

æ ˙bæ>

œ œ> œ œ

œ> œ> œ. œ. œ. œ. œ> œ. œ. œ. œ. œ.

3

œ> œ. œ. œ. œ. œ. œ. œb> œb . œb .

rr

œ> œb> œb . œb . œb . œb .

œb> œ. œ.rr

œ> œ> œ. œ. œ.œ> œ

flœ> œ. œ.

œ> œ. œ. œ. œb> œb . œb . œb . œb . œb . œb . œb . œ> œ. œ. œ. œ. œ.

.r

œ œb> œb . œb . œb> œbfl

œn> œ. œ. œ. œ.r

œb>

œb> œb . œb . œb .

œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ

œ œ œb œ œb œn œ œ œ œ œ œ œ œ œb œ

œb> œb . œb . œb . œb . œb> œb . œb . œb . œb . œb . œb . œb . œb . œb . œb .

œb> œb œb œn œ œ œ œ œ œb œ œb . œ> œb œb œn

œb œb œb> œb> œb œ œb œ œœ œb œ œb œ œb> œb>

œb œb œ> œ œb œb œ œb œ œ œ œn œb œ œ> œ

œ œb œ œ œ œ œ œb>

œ œ œb œ œ œ œ œ

‰ .˙bæ

>

œb>œ

œb œbœb œb

œn œ

œ œ œb œ

œb> œb . œ> œ. œ. œ. œ. œ. œ. œb> œb . œb .

œ> œ. œ. œ. . . .˙b>

œ. œ. œ. œb> œb . œb . œb . œb . œb . œb . œb>

œb> œb˘ œ> œ. œ. œ. œ> œ. œ. œ. œ. œ. œ. œ.

œb . œb . œb . œb .

rr

œn> œ> œ. œ. œ. œ>œ. œ. œ. œ. œ.

3

œ œ œ œ œ œb œœb œb

œbœ œ œ œ œb œ

œb œn œ œ œ> œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œb . œb . œb . œb . œn œ œ œ œ œb œb œb œn œ œ œ

œ œ œ œ œ œb œb œb . œ> œb œb œn œ œ œ œ

œb œ œ> ˙ œb>

œb œb œ œb œ œ œ œn œb œ œ> œ œb œb œ œb

œb> œb> œb œ œb œ

œb> œb> œb œb œ œ œ œ

r

œ . . .>

˙bæ

> ˙n

œœ Œ Ó

œb œbœ>

œ

rr

œb>

œ> œ. œ. œ. œ.œ> œ. .w>

≈ .wb>

w

rr

œ> œ> œ. œ. œ. œ> œb> œb . œb . œb . œ> œ. œ.

rr

œb>

3

œb> œb . œb . œb> œbfl

r

œb> ˙

œ œb œœb œb

œbœ œ œ œ œb œ œ œb œ

œb

œ. œ. œ. œ. œ. œ. œ. œ. œ> œ. œ. œ. œ. œ. œ. œ.

œ œ œ œ œ œb œb œb œn œ œ œ œ œ œ œ

œ œb œb œb> œb . œb . œb . œb . œn œ œ œ œ œ œb œn

w

œ œ œ œ œb œb œ>œ œb œb œ œb œ œ œ œn

œ œ œ œ œb œb> œb> œb>

œb œ œ œb .w>rr

œ> .w

298

?

&

?

&

&

&

?

?

&

&

&

&

B

B

?

?

t

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

‰ .œæ

>

r

œ. œæ

>

r

œ.

Ӝ>

œb

œ œ œb œ>

. . .wb>

œb . œb . œb . œb . œb . œb . œb> œb . œb . œb . œb . œb . . . .wb>

.˙n> .r

œrr

œ>

œbœb

œ œ œ œ œb œ œ œ œœb œ

œœ œ

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œ œb œb œb œn œ œ œ œ œ œ œ œ œ œb œb

œ œ œ œ œ œ œ œ œ œ œb œn œ œ œ œ

œ œ œ œœb œb œb œb

œb œb œb> ˙ œb œ

œb œ œb œ œ . . .˙b>

œ>

The men sleep, too tired any more for thinking,Like stones that know nothing of green or blue or goldOr black as the turning seasons cry their colours.Hunger and cold are less to their grey silenceThan lichens to rocks, or the sunny river waterTo the deaf pebbles as it stings and shines and dances.

Timp.

Œ ‰ œb œ ‰ .rr

Ͼ

> Ͼ

œbŒ Ó

˙ ˙

≈ w>

œb> œb . œb . œb . œb . œb . œb . œb . œb . œb> œb . œb . œb . œb . œb . œb .

œ. œ. œ. œ> œ. œ.œ> œ. œ. œ. œ. œ.

rr

œ> œ> œ œ.

œb œb œ œb œn œ œ œ œ œb œ œbœb œ œ œb

œ. œb œ œb œb œ œb œ œb œb œb œb œn œb œ œb

œ œ œ œ œ œ œ œ œb œb œb œb œn œb œb œn

œ œ œ œ œ œ œb œn œ œ œ œ œ œ œ œ

œ œb œ œ œ œ œ œ

œb œ œ œ œ œn œb œb

˙b>

. . .wb>

œb>œ> œ>

œ>

≈ .r

œ>Œ ˙

æ

œb>œb

œb œb

˙b ˙

. .˙ œ> œ. œ. œ. œ. œ. œ. œ.

rr

œb . œb> œb . œb . œb> œb . œb . œb . œb .

rr

œb> œb> œn> œ. œ. œ. œ.

3

œb> œ œb> ˙ œb> œb . œb .

œb> œb . œb . œ> œ œ> œ. œ. œ. œ

rr

œ. œb> œb . œb . œb . œb . œ> œfl

œb> œb . œb . œb . œb . œb . œb> œb˘

œ œ œ œ œ œb œ œbœb œb œ œb œn œ œ œ

œb œ œb œ œb œb œb œb œn œb œ œb œ œ œb œ

œ œœ œ œb œb œb œb œn œb œb œn œ œ

œ œ

œ œb œ œn œ œ œ œ œ œ œb œ œ œ œ œn

œb œb œb œb œ œ œ œ

œb> œb> œb œ œb œ œ œ

.˙ ˙b>

œ>

œ>œ> œb>

œb>

≈ .r

œ>Œ ‰

>æ

œn œ œœ

˙b ˙b

œ> œ. œ. œ. œ. œ. œ> œ

rr

œ>

œ> œ œ> œ. œ. œ. œ. œ. œ> œ. œ. œ. œ> œ. œ.

œb> œb˘œ> œ. œ. œ. œ.

r

œb>

œb> œb . œb . œb . œb> œb . œb .

r

œ> œ> œ. œ. œ. œb> œb . œb . œb .

rr

œ> œ> œ. œ.

r

œ>

œ> œ. œ. œ. œ> œ. œ.

rr

œb> w

œ œb œœb œ œ œb œ œb œb œb œb œ œb œ œb

œb œb œb œb œn œb œ œb œ œ œb œ œb œb œb œb

œb œb œb œb œn œb œb œn œ œœ œ œb œ œb œb

œ œ œ œ œ œ œb œ œ œ œ œn œ œ œ œ

œ œ œœb

œ œ œ œ œb

œ œb> œb>œ œb œ œ œb œ

˙b> >

œ> œ>œ> œ>

œb>œ>

œ> œ>

299

?

&

?

&

&

&

?

?

&

&

&

&

B

B

?

?

t

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

.œ> œæ

Ͼ

œb> œ œbæ

>

œœ

œb Œ

˙b ˙b

œ. œ. œ> œ. œ. œ. œ. œ. œ. œ.

rr

œb> œ> œ. œ. œ. œ> œ> œ. œ. œ. œ. œ. œ.

œ. œ. œ. œ. œ. œ> œ. œ. œ. œ. œ. œ.œb>

œœb .

rr

œb> œn> œ. œ. œ. œ> œ> œ. œ. œ. œ.œ> œ. œ. œ. œ.

3

œœ. œ> œ> œ. œ. œ. œ. œb> œb . œb . œ> œ œb> œb . œb . œb . œb . œb . œb . œb . œb .

3

‰ . œ> œ. œ. œ. œ. œb> œb . œb . œb .

œ œ œb œ œb œb œb œb œ œb œ œb œ œ œb œ

œn œb œ œ> œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œ œb œb œn œ œœ œ œb œ œb œb œn œ> œ. œ.

œ œ œb œ œ œ œ œn œ œ œ œ œ œb> œb . œb .

œb œb œb œ œb œ œb œ

œ œ œb œ œb> œb> œ œb

˙b> >

œ>œ> œ>

œ>

œ> œ> >

But sleep is suddenly haunted, worse than wakingWith the white horror of snow on remembered fieldsDevouring the grass, and remembered faces devoured,And remembered bodies lost among winter dusk.They wake again and find it is snowing still.It will snow till the end of the world and snow in hell.

Timp.

r

œæ œb

æ.œb

æœnæ

˙æ

3

˙n >

œ> œ. œ. œb> œb . œb . œb . œb . œb . œb .

≈ . .>r

œb>

. . .>

œb> œb . œb . œb . œb . œb . œb . œb . œ> œ. œ.

rr

œ.>œb˘ œb˘

œb> œb . œb . œb . œb . œb . œb> œb . œb . œb . œb . œb .

œb œb œb œb œ œb œ œb œ œ œb œb> œb . œb . œb . œb .

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. œ. œ. œ.

œb . œ. œ. œ. œ. œb . œb . œb> œb> œ œ œ œ œ œ œb

œ œ œb œb œb œb œb œ

r

œ . . .>

> .w>

œ>œ> œ>

œ>

> ˙b>

.Ͼ

≈ wæ>

˙ ˙b

œ> œ. œ. œ. œ. œb> œb . œb . œb> œb .œb> œb . œb . œb . œb . r

œb>

œn> œ. œ. œ.

˙ œb> œb . œb . œb> œb˘ œn> œ. œ. œ. œ.

œ> œ. œ. œ. œ> œ. œ. œ> œ. œ. œ. œ. œ.rr

œ>œ> œ. œ. œ. œ.

œ> œ. œ. œ. œ.

rr

œb> œ. œ. œb> œb . œb . œb . œb . œb> œb . œb . œb . œb . œb . œb . œb .

œb> œbfl

œn> œ. œ. œ. œ. œ. œ. œ> œ. œ. œb> œb> œb . œb . œb .

œb> œb> œb œn œ œ œ> œb œb> œb œb> œb œ> œb> œ œn

œ. œb œ œb œb œ œb œ œb œb œb œb œn œb œ œb

œ.œ œ œb œ œb œb œb œn œ œ œ œ œ œ œb

œ œb œb œ> œb> œ œ œ œ œ œ œb œ œ œ œ>

œ œb œ œb œ œ œ œb

œ>œ> œ>

œ>

œ>œb> œ> œ>

˙b> ˙b>

Œ

Óœb>

œb

˙˙b

œ> œ. œ. œ.

rr

œ> œ> œ. œ. œ. œ. œb> œb˘ œ>

3

r

œ> œ> œ. œ. œ. œ> œ. œ. œ.

rr

œb> œn> œ. œ. œ.

œ> œ. œ. œ. œ.œ> œ.

œ> œ. œ. œ. œ.

œb> œb . œb . œb . œn> œ. œ. œ. œ. œ.

œ> œ. œ. . . .wb>

œ œ œ> œb œb> œb œb> œb œ> œb> œb œn œ œ œ> œb

œb œ œb œ œb œb œb œb œn œb œ œb œ œ œb œ

œ œb œb œb œn œ œ œ œ œ œ œb œ œb œ œb

œb> œ œ œ œ œ œ œb œ œ œ œ> œb> œ œ œ

œb œ> .w

œ> œ>œ> œ>

> >

œ> œ>œ> œb>

˙b> >

300

?

&

?

&

&

&

?

?

&

&

&

&

B

B

?

?

t

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

œ> ≈ . . .w>æ

œbœn Ó

˙b˙b

œ. œ. œ. œ. œ. œb> œb . œb> œb . œb> œb . œb . œb . œb . œb . œb . œb . œb .

œ> œ> œ. œ. œ. œ. œ> œ. œ. œ> œ œ>

3

œœ. œ> œfl

r

œb>

œ> œ. œ.

rr

œb>rr

œ> .w

œ. œ. œ> œ. œ. œ. œ. œ. œ. œ> œ. œ. œ. œ. œ> œ. œ. œ.

œb> œb œb> œb œn> œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ

œb œb œb œb œn œb œ œb œ œ œb œ œb œb œb œb

œ œ œ œ œ œ œ œb œ œb œb œb œn œ œ œ

œ œ œ œb œ œ œb œb> œb> œb> œb . œb . œb . œb . œb . œb .

œ>

œ> œb> œ> œ>

> >

œb> œb> ˙n>

> >

Timp.

Ó ˙b>

>˙b>

œ> œ. œ. œ. œ. œ. œ. œ. œb> œb . œb . œ> œ. œ. œ. œ.

w

rr

œ> œb> œb˘ œ> œ. œ. œ. œ. œ. œb> œb . œb . œb . œb . œb .

œb> œb . œb . œb . œb . œb . œb . œb . œb . œb> œb . œb . œb . œb . œb . œb . œb .

œ œ œ œb œb œb œb œn œ œb œ œ œ œ œ œb

œ œb œ œb œb œ œb œ œ œ œ œb œ œb œb œb

œ œ œ œb œ œb œb œb œn œ œ œ œ œ œ œb

œb . œb . œb . œb . œb . œb . œb . œb . œb œn œ œ œ œ œb œ

rr

œ . . .w

.œ>.œ> œ>

rr

œ >

> >

˙b>˙b>

>>

. . .>æ

Ó˙b>

˙˙b

rr

œb> œb> œb˘ œb> œb . œb . œb . œb . œb> œb˘ œn> œ. œ. œ. œ. œ.

œ> œ. œ. œ. œ. œ. œ.œb> œb . œb . œb . œb . œ> œ> œ œ> œ. œ. œ. œ. œ. œ.

3

œ> œ. œ. œ. œ. œ. œ. œ.œ> œ. œ. œ. œ. œ. œ. œ> œ

fl

œb> œb˘ r

œb> œb> œb . œb . œn> œ œb> œb . œb . œb . œb . œ> œ. œ.

3

œb> œb . œb . œ> œ. œ. œ. œ.

rr

œb>œb> œb˘

œb œb œb œn œ œb œ œ œ œ œ œb œb œb œb œn

œb œn œ œ œ œ œ œb œ œb œb œb œ œn œ œ

œ œb œb œb œn œ œ œ œ œ œ œb œ œ> œ. œ.

œb œb œ œb œ œn œ œ œ œ œb œ œ œ œ œb

. . .˙b

˙b>˙b>

> >

˙b> ˙b>

˙b>˙b>

œ>≈ œ> œ. œb .

˙n ˙

˙b˙b

œ> œ. œ. œ. œ> œ. œ. œ. œ. œ. œ. œ. œ> œ.

œ> œ. œ. œ. œ. œ. œ. œ. œ>œ

œb> œb . œb . œb . œ> œ. œ. œ. œ. œ. œ. œ.rr

œ> œ> œ.

rr

œb> œ œb> œb . œb . œb . œb . œb .

r

œb> œb> œb .

3

œb> œb . œb . œb . œb . œb> œbfl

œn> œ. œ. œ. œ. œ.œ>œ

3

œ œb œ œ œ œ œ œb œb œb œb œn œ œb œ œ

œ œ œ œb œ œb œb œb œ œn œ œ œ œ œ œb

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œb œn œ œ œ œ œb œ œ œb œ œb œ œn œ œ

œ>

˙b>>

> ˙b>

> >

˙b> ˙b>

301

?

&

?

&

&

&

?

?

&

&

&

&

B

B

?

?

t

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

.œ> .œ>

r

œ> . .œ>æ

˙˙

˙b˙n

œ. œ. œ. œ. œ. œ> œ. œ. œ. œ. œb> œb . œb . œb .

rr

œ> œb> œb˘

œ. œ.rr

œ> œ> œ. œ. œ. œ> œœb> œb . œb . œb . œb . œb . œ> œ. œ.

œ. œ. œb> œ> œ. œ. œ. œb> œb . œb .œb> œb . œb . œb . œb . œb . œb .

3

œb . œb . œb> œn> œ œ> œ. œ. œ. œ. œ. œ. œ> œ. œ. œ. œ. œ. œ. œ.

3

œ. œ. œ> œ. œ. œ. œ. œ. œ. œ. œ> œ. œ. œ. œ. œ. œ.

œ œ œ œb œb œb> œb . œb . œb . œb . œb . œb . œb . œb . œb . œb .

œb> œb . œb . œb . œb . œb . œb . œb . œb . œb . œb œb œb œb œn œ

œ. œ. œ. œ. œ. œ. œ> œ. œ. œ. œ. œ. œ. œ. œ. œ.

œ œ œb œ œ œb œ œb œ œn œ œ œ œ œb œ

œ>œ> œ>

œ>

>>

> >

>>

> ˙b>

Timp.

.œ> œ. œb>≈ œ>

˙˙

˙ ˙

œb> œb . œb . œb . œb . œb . œb> œb . œb . œb . œb . œb . œb> œb˘ œn> œ. œ. œ. œ. œ. œ.

œb> œb . œb . œb .œb> œb . œb . œb> œb . œb . œb . œb . œb . œb> œ> œ. œ. œ. œ.

œb> œb . œb . œb . œb . œb> œb . œb . œb . œb . œn> œ. œ. œ. œ>

œ> œ. œ.rr

œ> œb> œb . œb . œb . œb> œb˘ œb> œb . œb . œb . œb .

œ> œ. œ. œ. œ. œ. œ.œ> œ. œ. œ. œ.

rr

œ> œb> œbfl œb> œb . œb . œb . œb . œb . œb .

œb . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œn> œ. œ. œ.

œ œ œ œ œb œ œb œb œb œb œn œ œ œ œ œ

œ œ œ œ œb œ œb œ œ œ œ œbœ œ œ œ

œb œb œ œb œ> œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œ>œ> œ> œ>

> >

> >

> ˙b>

>>

.œb>œb> œb æ

> Ͼ

r

œb>

œn

˙ ˙

œ> œ. œ.

rr

œ> œ> œ. œ. œ. œ.œb> œb . œb .

œ> œ. œ. œ. œ. œ> œœb> œb . œb . œb . œb . œb . œ> œ

œ> œ œ> œ. œ. œ. œ. œ. œb> œb . œb . œb . œb . œb . œ> œ

œb . œb> œb . œb . wb

œb> œb . œb . œb . œb . œb . œb . œb . œb> œb . œb .

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œb œ œb œb œb œb œn œ œ œ œ œ œb œ œb œ

œb œ œb œ œ œ œ œbœ œ œ œ œ œ œb œ

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œ> œ>rr

œ> wU

˙b>˙b>

˙n> ˙b>

˙b> ˙b>

> ˙b>

Ͼ

œb œæ

r

œ œbæ

.œæ .œb

æ3

. .˙b>

r

œb> œb> œb . œb . œb . œb . œb . wbU

œb> œb . œb . œb . œb . œb . œb . œb> œb . œb .

rr

œb .> œb> œb . œb . œb .

Œ˙bU

rr

œn>œ> œ. œ. œ. œ> œ

flœ> œ. œ. œ. œ. œ.

rr

œ>

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

œb œb œn œ œ œ œ œ œb œ œb œ œb œb œn œ

œ œ œ œbœ œ œ œ wU

œ. œ. œb> œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb . œb .

˙b> ˙b

U

˙b> ˙bU

˙b> >

˙b> ˙b>

˙bæ

U

˙U

˙bU

˙nU

˙

U

U

U

˙b

U

˙b

U

˙b

U

302

?

&

?

&

&

&

?

?

&

&

&

&

B

B

?

?

t

42

42

42

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

°

1 r

œb>‰ Œ

˙b>

r

œb>‰ Œ

r

œb> ‰ Œ

r

œn> ‰ Œ

r

œb>‰ Œ

r

œ>‰ Œ

œ> œb œbœb

œb> œbœb œb

œb> œb œbœ

œb>œb œn œ

œb> œn œ œ

œ> œ œ œ

œ>œ œ œ

œ>œ œ

œ

œ> œ œb œb

q»90

f

f

f

f

f

f

f

f

f

pp

pp

pp

pp

pp

pp

pp

pp

pp

154

Timp.

˙

œb œn œ œ

œn œ œ œ

œ œ œ œ

œ œ œ œb

œ œœb œb

œœb œb

œb

œb œbœb œb

œœb œb œn

œb œbœn œ

Scott œb œI've been

&

œ œ œb œb

œ œb œbœb

œb œbœb œb

œb œb œb œn

œb œb œn œ

œb œn œ œ

œn œ œ œ

œ œ œ œ

œ œ œ œb

ff

˙

think

œb œb œn œ

œb œn œ œ

œn œ œ œ

œ œ œ œ

œ œ œœb

œ œœb œb

œ œb œbœb

œ œœb œb

œbœb œb

œn

œb œb

ing the

œ œ œ œb

œ œ œb œb

œ œb œbœb

œb œb œ œ

œbœb œb œn

œb œb œn œ

œb œn œ œ

œ œ œ œ

œ œ œ œ

œb œb

whole trip

œbœb œb œn

œb œb œn œ

œbœ œ œ

œ œ œ œ

œ œ œ œ

œ œ œœb

œ œ œb œb

œœ œ

œb

œb œbœb œb

œb œb œb

o ver

œ œ œ œ

œ œ œ œb

œ œ œb œb

œ œb œb œb

œb œbœb œ

œbœb œb œn

œb œb œn œ

œb œn œ œ

œn œ œ œ

˙b

œb œbœb œb

œbœb œb œn

œb œbœn œ

œb œn œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œb

œ œœ œ

œ œb œbœb

œn œ œ œ

œ œ œ œ

œ œ œ œb

œ œ œb œb

œœb œb

œb

œb œbœb œ

œbœb œb œn

œb œb œn œ

œbœn œ œ

˙˙nb>

&

˙˙bb>

&

?

Œ œbPer

˙n>&

>&

˙b>&

>?

˙b>?

œb œbœb œb

œbœb œb œn

œb œb œn œ

œb œn œ œ

œ œ œœb

œ œœb œb

œ œb œbœb

œb œbœb œb

œbœb œb œn

Vibe.

p

mp

mp

mp

mp

mp

mp

œb œ

haps for

˙

˙

˙

˙

˙

œn œ œ œb

œ œœb œb

œ œb œbœb

œb œbœb

œ

œbœb œb œn

œb œb œn œ

œb œn œ œ

œn œ œœb

œ œœb œb

-- - - -

Scene 12 - Remembrance of setting sail from England

303

&

?

&

&

?

?

?

&

&

&

&

B

B

?

?

t

Scott

Vocal 2

Vocal 3

Vocal 4

Vocal 5

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Pno.

r

œb .œ

o thers

˙

And

˙b

And

˙

And

˙b

And

œbœb œb œn

œb œb œn œ

œb œn œ œ

œ œ œ œb

œ œœb œb

œœb œb

œb

œb œbœb œ

œbœb œb œn

œb œb œn œ

to Organ

ff

ff

ff

ff

ff

œ œb

it's

˙

˙

˙

˙

œ œ œb œb

œœb œb

œb

œb œbœb œ

œbœb

œb œn

œb œb œn œ

œb œn œ œ

œ œ œ œb

œ œœb œb

œœb œb

œb

.œbr

œbbeen worth

˙

˙

˙

˙

œb œb œn œ

œb œn œ œ

œ œ œ œb

œ œ œb œb

œœb œb

œb

œb œbœb œ

œbœb œb œn

œb œb œn œ

œb œn œ œ

˙b

while

˙

˙

˙

˙

œ œb œbœb

œb œbœb œb

œbœb œb œn

œbœb œn œ

œb œn œ œ

œ œ œœb

œ œ œb œb

œœb œb

œb

œb œbœb œ

˙

˙

˙

˙

œb œn œ œ

œ œ œœb

œ œ œb œb

œ œb œbœb

œb œbœb œb

œbœb œb œn

œb œb œn œ

œb œn œ œ

œ œ œœb

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

˙bæ

?

Œ ‰r

œb

If

˙

˙

˙

˙

˙b&

˙b&

˙b&

˙b?

˙b?

œb œbœb œb

œbœb œb œn

œb œb œn œ

œb œn œ œ

œn œ œœb

œ œœb œb

œ œb œbœb

œb œbœb œb

œbœb œb œn

Timp.

mp

155

˙bæ

œb œb œb

on ly they

˙b

did

˙b

did

˙b

did

˙b

did

˙n>

˙b>

˙n>

˙b>

˙b>

œb œbœb œb

œbœb œb œn

œb œb œn œ

œb œn œ œ

œn œ œœb

œ œœb œb

œ œb œbœb

œb œbœb œb

œbœb œb œn

˙bæ

œ œb .œ œb

find what I've

˙

˙

˙

˙

˙

˙

˙

˙

˙

œb œbœb œb

œbœb œb œn

œb œb œn œ

œb œn œ œ

œn œ œœb

œ œœb œb

œ œb œbœb

œb œbœb œb

œbœb œb œn

.œbr

œ

writ ten,

˙

˙

˙

˙

œb œbœb œb

œbœb œb œn

œb œb œn œ

œb œn œ œ

œn œ œœb

œ œœb œb

œ œb œbœb

œb œbœb œb

œbœb œb œn

‰ œb œb œb

per haps our

˙

˙

˙

˙

œb œn œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œb

œ œ œb œb

œ œb œb œb

œb œb œb œb

œb œb œb œn

œb œb œ

sto ry will

Œ œb

Œ œb

Œœ

Œ œ

œ œ œ œb

œ œœb œb

œ œb œb œb

œb œb œb œb

œb œb œb œn

œb œb œn œ

œb œn œ œ

œn œ œ œ

œ œ œ œ

- - - - -

12

304

&

&

?

?

?

&

&

?

?

&

&

&

&

B

B

?

?

t

Scott

Vocal 2

Vocal 3

Vocal 4

Vocal 5

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

23

œb œbsay what

˙b

those

˙b

those

˙

those

˙

those

˙A

˙A

˙

˙

œb œb œb œn

œb œbœ œ

œ œœ œ

œn œ œ œ

œ œ œn œ

œ œ œ œ

œ œ œ œb

œ œ œb œb

œ œb œb œb

.œr

œbI've

˙

˙

˙

˙

˙

˙

˙

˙

œ œ œn œ

œ œ œ œ

œ œ œ œb

œ œ œb œb

œ œb œb œb

œb œb œb œb

œb œb œb œn

œb œb œn œ

œb œn œ œ

œb œb œ œ

3

wan ted to say.

˙

˙

˙

˙

˙

˙

˙

˙

œ œb œb œb

œb œb œb œ

œb œb œ œ

œb œb œn œ

œb œn œ œ

œn œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œb

Œ œb œ

that a

˙

˙

˙

˙

˙

˙

˙

˙

œb œn œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œ

œn œ œ œb

œ œ œb œb

œ œb œb œb

œb œb œb œb

œb œb œb œn

œ œb œb

man must learn

˙

˙

˙

˙

œn œ œ œb

œ œœb œb

œ œb œb œb

œb œb œb œb

œb œb œb œn

œb œb œn œ

œb œn œ œ

œn œ œ œ

œ œ œ œ

œb œ œb

to en dure

œb œb œb œn

œb œbœ œ

œ œœ œ

œn œ œ œ

œ œ œn œ

œ œ œ œ

œ œ œ œb

œ œ œb œb

œ œb œb œb

œb œ œ ‰ œb œ

a gon y, to en

œ œ œn œ

œ œ œ œ

œ œ œ œb

œ œ œb œb

œ œb œb œb

œb œb œb œb

œb œb œb œn

œb œb œn œ

œb œn œ œ

œb œb œ œ œ œb

dure and en dure a gain!

œ œb œb œb

œb œb œb œ

œb œb œ œ

œb œb œn œ

œb œn œ œ

œn œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œb

Œ œb

Un

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œb

œ œb œb œb

œb œb œb œb

œb œb œb œ

œb œb œ œ

œb œ œ œ

156

œ œbœb œ

til a gon

œ œ œb œb

œ œb œb œb

œb œb œb œb

œb œb œb œn

œb œ œ œ

œ œ œ œ

œ œ œ œ

œ œ œ œn

œ œ œn œb

œb œb œ œb œb

y it self is

œb œb œn œ

œb œn œ œ

œnœ œ œ

œ œ œ œb

œ œ œn œ

œ œn œb œb

œn œb œb œb

œb œb œ œ

œ œ œ œ

- - - - - - - - - - -

23

305

&

&

&

&

&

B

B

?

?

t

Scott

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Pno.

œb œ

beat en

œ œ œ œ

œ œ œ œb

œ œb œb œb

œb œb œb œn

œb œb œb œ

œb œb œ œ

œ œ œ œ

œ œ œ œn

œ œn œb œ

œb œb œ

out in to

œ œb œb œb

œb œb œb œn

œb œnœ œ

œ œ œ œb

œ œ œ œ

œ œ œ œn

œ œn œb œb

œb œb œ œ

œ œ œ œ

Organ

Vocal 2

Vocal 3

Vocal 4

Vocal 5

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

˙bb&

˙˙

?

˙b

joy.

˙b

those

&

˙b

those

?

˙

those

?

˙

those

?

˙b&

˙b&

˙b&

˙?

˙b?

œb œn œ œ

œ œ œ œ

œ œ œb œb

œb œb œb œn

œ œn œ œb

œb œb œb œb

œb œ œ œ

œ œ œ œn

œn œb œ œ

mf

˙

˙˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

œ œ œ œ

œ œb œb œb

œb œb œnœ

œ œ œ œb

œb œb œb œ

œ œ œ œ

œ œ œn œb

œb œb œ œ

œ œ œ œn

˙

˙˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

œb œb œb œb

œb œn œ œ

œ œ œ œb

œb œb œb œn

œ œ œ œ

œ œn œb œb

œb œb œ œ

œ œ œ œn

œb œ œ œ

˙

˙˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

œn œ œ œ

œ œ œ œb

œb œb œb œn

œ œ œ œb

œn œ œb œb

œb œb œ œ

œ œ œ œn

œb œb œ œ

œ œ œn œb

˙

˙˙

Œ œb

I

˙

˙

˙

˙

˙

˙

˙

˙

˙

œ œ œ œb

œb œb œb œn

œ œ œ œ

œb œb œb œn

œb œb œ œ

œ œ œ œn

œb œb œb œ

œ œ œ œn

œ œ œ œ

œ œb

see our

œb œb œb œn

œ œ œ œ

œb œb œb œb

œ œ œ œb

œ œ œ œn

œb œb œb œb

œ œ œ œ

œb œb œ œ

œ œn œb œ

Perc. ˙æ

?

˙n

lives

Œ œn

feet

Œ œn

feet

Œ œ

feet

Œ œ

feet

˙n

˙n

˙

˙

˙

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

œ œ œ œ

œ œ œ œ

mf

mf

mf

mf

mf

157

Timp.

˙æ

Œ œ œ

as a

˙

˙

˙

˙

˙

˙

˙

˙

˙

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

œ œ œ œ

œ œ œ œ

˙æ

œ œ œ œ

drown ing man would

˙

˙

˙

˙

˙

˙

˙

˙

˙

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

œ œ œ œ

œ œ œ œ

- - -

34

306

?

&

&

?

?

?

&

&

&

?

?

&

&

&

&

B

B

?

?

t

Scott

Vocal 2

Vocal 3

Vocal 4

Vocal 5

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Pno.

45

˙æ

œ œ

see them!

˙

˙

˙

˙

˙

˙

˙

˙

˙

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

œ œ œ œ

œ œ œ œ

Timp.

Œ œ>

œ œ œ œ œb œb

3 3

œ œ œ œb

œ œ œb œb œb œb

3 3

œœb œb œb

œb œb œb œb œn œm

3 3

œb œb œb œn

œb œb œn œm œb œb

3 3

œb œn œm œb

œn œm œb œb œ œ

3 3

Œœb

I

Œœ>

œb> œ>

œb œb œn œm œb œb

3 3

œb œb œb œn

œn œm œb œb œ œ

3 3

œb œn œm œb

œbœb œ œ œ œn

3 3

œb œb œb œ

œ œ œ œ œb œb

3 3

œb œ œ œ

œ œ œb œb œb œb3 3

.œb

r

œ

see them

œ> œ>

Œ ‰r

œb>

œ œ œ œ œb œb

3 3

œm œb œb œ

œ œ œb œb œb œb

3 3

œb œ œ œ

œb œb œb œb œn œm

3 3

œn œ œ œb

œb œb œn œm œb œb

3 3

œ œb œb œb

œn œm œb œb œ œ

3 3

˙b

whole,

Œ œb>&

r

œ œ>r

œ>

œb œb œn œm œb œb

3 3

œ œ œ œb

œn œm œb œb œ œ

3 3

œœb œb œb

œbœb œ œ œ œn

3 3

œb œb œb œn

œ œ œ œ œb œb

3 3

œb œn œm œb

œ œ œb œb œb œb3 3

Organ

&

˙b

?

Œ œb œ3

and there's

‰.œb

In

?

‰.œ

In

?

œb> œb>&

œb> œb>

r

œ‰ Œ

Œ œ>

œ œ œ œ œb œb

3 3

œb œb œb œn

œ œ œb œb œb œb

3 3

œb œn œm œb

œb œb œb œb œn œm

3 3

œb œb œb œ

œb œb œn œm œb œb

3 3

œb œ œ œ

œn œm œb œb œ œ

3 3

p

˙˙bb

œb œ œ œ œb5

noth ing I would change.

˙b

an

˙b

an

Œœ>

œ> œb>

œb œb œn œm œb œb

3 3

œm œb œb œ

œn œm œb œb œ œ

3 3

œb œ œ œ

œbœb œ œ œ œn

3 3

œn œ œ œb

œ œ œ œ œb œb

3 3

œ œb œb œb

œ œ œb œb œb œb3 3

œœ

œœbb

.œb

r

œb

Do I

.œ

r

œb

Do I

&

œ œb

cient

œ œb

cient

œb>œb>

Œ ‰r

œn>

œ œ œ œ œb œb

3 3

œ œ œ œb

œ œ œb œb œb œb

3 3

œœb œb œb

œb œb œb œb œn œm

3 3

œb œb œb œn

œb œb œn œm œb œb

3 3

œb œn œm œb

œn œm œb œb œ œ

3 3

˙˙

˙b

re

˙b

re

˙

time

˙

time

Œ œb

Œ œb

r

œ œm>r

œm>

œb œb œn œm œb œb

3 3

œb œb œb œn

œn œm œb œb œ œ

3 3

œb œn œm œb

œbœb œ œ œ œn

3 3

œb œb œb œ

œ œ œ œ œb œb

3 3

œb œ œ œ

œ œ œb œb œb œb3 3

˙˙

œb œ œ3

mem ber it

œb œb œ3

mem ber it

>

Walk

>

Walk

œb> œb>

œb> œb>

r

œ‰ Œ

Œ œ>

œ œ œ œ œb œb

3 3

œm œb œb œ

œ œ œb œb œb œb

3 3

œb œ œ œ

œb œb œb œb œn œm

3 3

œn œ œ œb

œb œb œn œm œb œb

3 3

œ œb œb œb

œn œm œb œb œ œ

3 3

œœbb œ

œ

˙b

all?

˙b

all?

œb> œ>

up on

œb> œ>up on

Œœ>

œ> œb>

œb œb œn œm œb œb

3 3

œ œ œ œb

œn œm œb œb œ œ

3 3

œœb œb œb

œbœb œ œ œ œn

3 3

œb œb œb œn

œ œ œ œ œb œb

3 3

œb œn œm œb

œ œ œb œb œb œb3 3

-

-

- - - - -

- - - -

307

&

?

&

?

?

?

&

&

&

?

?

&

&

&

&

B

B

?

?

t

Scott

Vocal 3

Vocal 4

Vocal 5

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Pno.

œb œb˙b

Œ œb

Re

œb> œb>

Eng land's

œ> œb>

Eng land's

˙b>Moun

œb>œb>

Œ ‰r

œn>

Œ œb>

œ œ œ œ œb œb

3 3

œb œb œb œn

œ œ œb œb œb œb

3 3

œb œn œm œb

œb œb œb œb œn œm

3 3

œb œb œb œ

œb œb œn œm œb œb

3 3

œb œ œ œ

œn œm œb œb œ œ

3 3

Organ

œœb œœb˙b

œb œ

mem ber

œ> œb>

moun tains

œb> œ>

moun tains

˙b>

tains

Œ œb>

Œ œb>

œb> œ> œb>

3

r

œ œm>

r

œm>

œb> œb>

œb œb œn œm œb œb

3 3

œm œb œb œ

œn œm œb œb œ œ

3 3

œb œ œ œ

œbœb œ œ œ œn

3 3

œn œ œ œb

œ œ œ œ œb œb

3 3

œ œb œb œb

œ œ œb œb œb œb3 3

Perc. ˙æ

>?

˙m

˙˙b

œn œ

Liv ing?

˙b>

green

>

green

˙b>

green

>

˙m>

˙b>

>

>

œb œ œm œ œ œb œ œm

œ œm œ œ œb œ3 3

œmœ œ œb œ œm3 3

œ œ œb œ œm

5

œ œb œ œm

œb œ œm

3

˙b>

>

>

f

f

f

f

f

f

f

f

f

*

* cellos/bass to resume 2/4 at this cue, regardless of ad.lib part

158

Timp.

˙æ

˙

˙˙

Œ œ>And

˙

˙

˙

˙

˙

œ œ œb œ œm œ œ œb

œm œ œ œb œ œm3 3

œ œ œb œ œmœ

3

3

œ œ œb œ œm

5

œ œ œb œ

œ œ œb3

˙

˙

˙

Vocal 2 Œ œ>

the

&

œb> œ>

was the

Œœ>

œb> œ>

œ œm œ œ œb œ œm œ

œ œ œb œ œm œ3 3

œ œb œ œmœ œ3 3

œ œ œb œ œm

5

œm œ œ œb

œ œm œ

3

Œœ>

œb> œ>

œ> œ>

Ho ly

Œ ‰r

œb>

Lamb

œ> œ>

Œ ‰r

œb>

œ œb œ œm œ œ œb œ

œ œb œ œm œ œ3 3

œb œ œmœ œ œb

3

3

œ œ œb œ œm

5

œ œm œ œ

œ œb œ

3

œ> œ>

Œ ‰r

œb>

˙

Œœb>

Lamb

r

œ œ>

r

œ>

of God

Œ œb>

r

œ œ>

r

œ>

œm œ œ œb œ œm œ œ

œb œ œm œ œ œb3 3

œ œmœ œ œb œ

3 3

œ œ œb œ œm

5

œb œ œm œ

œm œ œ3

˙

r

œ œ>

r

œ>

˙

œ> œ> œ> œ>

œb> œb>

God on

&

œb> œb>

of God!

r

œ ‰ Œ

Œ œ>On

œ> œ> œ> œ>

œ> œ> œ> œ>

œ> œ> œ> œ>

œ> œ> œ> œ>

œ> œ> œ> œ>

œb œ œm œ œ œ œ œm

œ œm œ œ œb œ3 3

œmœ œ œb œ œm3 3

œ œ œb œ œm

5

œ œb œ œm

œb œ œm

3

˙

˙

˙

œ> œ> œ>‰

Œœ>

&

?

Œ œ>

Eng

œb> œ>

Eng land's

œ> œ> œ>‰

œ> œ> œ> ‰

œ> œ> œ> ‰

œ> œ> œ> ‰

œ> œ> œ>‰

œ œ œb œ œm œ œ œb

œm œ œ œb œ œm3 3

œ œ œb œ œmœ

3

3

œ œ œb œ œm

5

œ œ œb œ

œ œ œb3

˙

˙

˙

œœb œœbb

œb>œb>

Eng land's

œ> œb>

Eng land's

œ>

r

œb> œb>

r

œb>3 3

œ œ œb œb œb œb3 3

œ œb œœb œb œb

3 3

œb œb œn œm œb5

œm œ œb œn

œ œm œ

3

œb>œb>

œ> œb>

Œœ>

œœ

œœbb œ

œ

Œ œ>

land

œ œb> œ>

plea sant

œ œb> œ>

plea sant

Œœ>

œb> œ>

œb>

r

œn> œm>r

œb>3

3

œb œn œm œb œ œb33

œn œm œb œ œb œm3 3

œ œb œb œb œb

5

œb œb œ œb

œ œn œb

3

œ œb> œ>

œ œb> œ>

- -

- -

- - -

-

-

- - -

- -

- -

57

308

&

?

&

?

?

?

&

?

&

&

&

&

B

B

?

?

Vocal 2

Vocal 3

Vocal 4

Vocal 5

Hn.

Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

Pno.

œb> œb>

œœ

œœbb œ

œ

œb> œb>

plea sant

œ> œb> œ>

pas tures

œ> œb> œ>

pas tures

œb> œb>

Œ ‰r

œb>

œ>

r

œb> œb>

r

œb>3 3

œb œb œb œn œm œb3 3

œb œb œn œm œb œ3 3

œn œm œb œ œb5

œb œb œb œn

œb œ œb3

œ> œb> œ>

œ> œb> œ>

Scott

Trpt.2

D.B.

Organ

Œ œb>

œb œb œœ œœbœb

œb

Œ œb>

Coun

&

œb> œb> œ> œb>

and did the

Œœb> œ>

did the

œb>œb>

did the

Œ œb>&

r

œ œ>

r

œb>

œb>

r

œn> œm>r

œb>3

3

œœb œb œb œb œn3

3

œb œm œb œb œn œm3 3

œb œb œb œn œm

5

œb œb œ œb

œb œb œb3

œb> œb> œ> œb>

Œœb> œ>

œb>œb>

t

Perc.

Trpt.1

B.Trbn.

œb> œ> œ> œ>?

r

œb> .œ>

œœœbbb

œœbb œb

r

œb> .œ>

ten ance!

œb> œ>

Coun ten

œb>œb>

Coun ten

œb>œb>

Coun ten

œb> œ> œ> œ>&

œ> œ> œ> œ>

œb> œ> œ> œ>

œ> œ> œ> œ>

œb> œ> œ> œ>?

œ>

r

œb> œb>

r

œb>3 3

œm œb œ œb œb œb3 3

œb œ œb œm œb œb3

3

œb œ œb œb œb

5

œb œb œb œn

œn œb œb3

œb> œb>

œb>œb>

œb>œb>

Timp.

œb> œ> œ>‰

œœœœœbbb

œ>Œ

ance

Œ œb>

ance

œ œb>

ance

œb> œ> œ>‰

œ> œ> œ> ‰

œb> œ> œ> ‰

œ> œ> œ> ‰

œb> œ> œ>‰

œb>

r

œn> œm>r

œb>3

3

œb œn œm œb œ œb3

3

œn œm œb œ œb œm3 3

œb œn œm œb œ

5

œb œb œ œb

œ œb œb

3

œ>Œ

Œ œb>

œ œb>

œœbb œ

œbb œ

œ

œb> œb> œ>

Di vine!

Œ œb>

Di

Œ œb>

Œœb>

œ>

r

œb> œb>

r

œb>3 3

œb œb œb œn œm œb3 3

œb œb œn œm œb œ3 3

œb œb œb œb œn

5

œb œb œb œn

œb œb œn3

œb> œb> œ>

Œ œb>

˙˙bb

˙b>

œ> œ> œb>

vine!

œb> œb> œ>

Di vine!

œ> œ> œb>

œ> œ> œb>

œb>

r

œn> œm>r

œb>3

3

œ œb œb œb œ œn3 3

œb œm œb œb œn œm3 3

œm œb œ œb œm

5

œb œb œ œb

œb œb œ

3

˙b>

œ> œ> œb>

œb> œb> œ>

˙æ

....œœœœbbb

r

œœ

r

œb....

œœœœbbb

r

œœb‰

r

œœ

œœbb

œ Œ

˙b>

œb> œ> œ> œ>

œb> œ> œ> œ>

œb> œ> œ> œ>

œ œb> œ> œ>

œ œ> œ> œ>

œb>

r

œb> œb>r

œb>3 3

œb œb œb œn œb œb3 3

œb œb œn œb œb œb3 3

œb œn œb œb œb

5

œb œb œn œm

œb œb œb

3

œ Œ

˙b>

Organ to play at q»60

rest of orchestra to play at previous tempo(brass included)

f

.œb œ œbœ œn œœœb œb

œœbœb ‰ œœœb

bbœ

œœœbb œ

œbb

œb> œ> œ>‰

œb> œ> œ> ‰

œb> œ> œ> ‰

œb> œ> œ>‰

œ> œ> œ>‰

œn>

r

œb> œb>

r

œ>3 3

œb œn œb œb œb œn3 3

œn œb œb œb œn œb3 3

œb œb œn œb œb5

œb œb œb œb

œb œb œn3

œb œb œb œb

‰ œb œn œb œb5

œb œb œn3

œ œb œœ œœbœœb œœb œœbb œ

‰ œœœbbb

‰ œœœbbbœœ

œœbb

Œ ‰r

œb>

œb œn œb œb œb œn3 3

Œœb

r

œb

3

œb>r

œb> œn>

r

œb>3 3

œb œb œb œn œb œb3 3

œb œb œn œb œb œb3 3

œb œb œb œn œb

5

œn œm œb œb

œb œb œb

3

œn œm œb œb

œb œb œb œn œb

5

œb œb œb

3

œœœœbbb œ

œbb œœœ œ

‰ œ œ œb˙˙bb

œœb

œ œb> œn> œb> œb>3 3

Œ ‰ œb œn3

r

œ œb œb

r

œb

3 3

œ>œb>

œb>

r

œb> œb>r

œb>3 3

œb œn œb œb œb œn3 3

œn œb œb œb œn œb3 3

œb œb œb œb œn5

œb œb œn œm

œb œb œn3

œb œb œn œm

œb œb œb œb œn

5

œb œb œn3

.œb œb œœœœbbœœbb œb

.œb œb œœœbbœœbb œb

œ œb> œb>r

œb>‰

3 3

œ œb œb œb œn ‰3 3

r

œ œnŒ

3

˙b>

œ> œb>

œn>

r

œb> œb>

r

œ>3 3

œb œb œb œn œb œb3 3

œb œb œn œb œb œb3 3

œb œb œb œb œb

5

œb œb œb œb

œb œb œb

3

œb œb œb œb

œb œb œb œb œb

5

œb œb œb

3

œœœœ œœœbbœœœ

œœœbb

Œœb œ

˙˙bb

œb œn œb œb œb œn3 3

˙b>

œb>r

œb> œn>

r

œb>3 3

œb œn œb œb œb œn3 3

œn œb œb œb œn œb3 3

œn œb œb œb œb5

œn œm œb œb

œb œb œn3

œn œm œb œb

œn œb œb œb œb5

œb œb œn3

- - - -

- - - - - -

--

- -

-

67

309

&

?

&

&

?

?

?

&

&

&

&

B

B

?

?

t

43

Narr.

Scott

Vocal 2

Vocal 3

Vocal 4

Vocal 5

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Organ

...˙bb

.˙b

.œbr

œb œ œb œb

feet in an cient

.œb

r

œb œ

Feet in an

.œ œb

r

œb

Feet in an

œb œb œb œ

Feet in an

.˙b

Feet

‰

>æ

œbæ

˙bæ

œbæ

≈.œ>

æ˙b>

æ

.œbæ

œbæ

r

œbæ

Œ .œbæ

r

Ͼ

œbæ

œbæ

œbæ

‰ Oœb>

æ

Oœbb >

æ

Oœbb >

æ

O>

æ

3

.œbæ

.œbæ

.œbæ

.Ͼ

.˙bæ

sul pont.

sul pont.

mp

f

f

f

mp

mp

mp

mp

mp

mp

mp

mp

mp

I do remember vaguely, England. It seemsA blue mist and hollows where leaves were greenAnd everyone was kind, you could touch their hands.That was years ago. I remember more clearly

34

q»54 Vocals only to be conducted in strict time.

Orchestra to play ad lib.

159

f

f

˙˙bb œœœb

bb

˙b œb œ œb

time Walk up on

œb œb œ œb

cient time walk

œ

r

œb .œb

cient time walk

.˙b

cient

˙ œb

time

r

Ͼ

œbæ

œbæ

Ͼ

Ͼ r

Ͼ

3 3

Ͼ

œbæ

œbæ

.˙bæ

3

.œb>æ

œ>æ

œbæ

r

œbæ

.œbæ

œbæ

œbæ

œbæ

Ͼ

œbæ

Ͼ

œbæ

..Obb >

æ

.˙bæ

˙æ œb

æ

œœb ˙˙bb

œb œ œb œbEng land's moun tains

œb ˙

moun

œ ˙b

moun

œb .œbr

œb

walk moun tain

œ .œbr

œb

Walk up on

œbæ

œbæ

Ͼ r

Ͼ

˙bæ

œbæ

œnæ

œbæ

3

r

œb>æ

.˙b>æ

œ ˙bæ

Ͼ

œbæ

˙æ

œbæ

œbæ

œbæ

r

Oœb>

æ

O

æ

œbæ

œbæ

œbæ

œbæ

.œbæ

˙bæ

Œ œœbb œ

œ œœbb

.œb œb œ œb

green? And was the

˙b œb œb

tain was the

.œb œb œb œ

tain and was the

œbœb œ œb

green? was the

œbœb œ œb

Eng land's was the

r

œbæ

Ͼ

Ͼ

Ͼ

œbæ

œbæ

œbæ

œbæ

>æ

.œb>æ

.œbæ œb

æœbæ

œbæ

˙bæ

˙bæ œb

æ

œb

æ

..Ob>

æ

.œbæ

.œb

æ

.œb

æ

.œb

æ

˙bæ

Ͼ

œbæ

œbæ

3

œbœb Œ

.œbr

œb œ œ œb

Ho ly Lamb of

œb œ œb œ œ œ

Ho ly Lamb of God

œ œb œb œ œb œ

Ho ly Lamb of God

œb œb œb œ œ

Ho ly Lamb of God

œb œœb œb œ

Ho ly Lamb of God

œbæ

Ͼ

Ͼ

.œbæ

.œbæ œb

æœb

æ

œb

æ

œ>æ

œb>

æœn

æœ>

æœ>

æ

œbæ

œbæ

œbæ

œbæ

œb

æœb

æ

r

œbæ

œbæ

œnæ

œbæ

œbæ

œbæ

Ͼ

œbæ

r

Oœbb >

æOœbb >

æ

Oœbb >

æ r

Oœ>

æ

œbæ

œbæ

œbæ

œbæ

Ͼ

5

œbæ œb

æœb

æœbæ3

˙bœœœbb

˙b œ œ

God Eng land's

œ œn œ

Eng

˙b œb œ

Eng land's

œ œ œb

Eng

˙b œb

Eng

Ͼ r

Ͼ

œbæ

.˙æ

3

.œbæ r

œbæ

Ͼ

Ͼ

œbæ

œb>æ

œb>

æœ>

æ

œb>

æœ>

æ

˙bæ œb>

æœb>

æ

œ

æœ

æ

Ͼ

Ͼ

Ͼ

œbæ

œbæ

Ͼ

3

Oœbb >

æ

Oœb>

æ

Oœbb >

æ

Oœbb >

æ

Oœ>

æ

Oœ>

æ

œbæ

Ͼ

œbæ

˙bæ

œbæ

œœbb œ

œœœbb œ

œbb

œb œ œ œbplea sant pas tures

˙b œ œb

lands pas tures

œb .œr

œ

pas tures

œb œ œb œb

land's

œb œ œb œb

land's

Ͼ

˙bæ

œ

æœb

æ

˙b>æ

œb>

æœn>

æ

œb>æ

.œ>æ

œb>æ

Ͼ

˙bæ

œbæ

œnæ

.Ͼ

Oœ>

æ

Oœ>

æ

Oœbb >

æ

˙bæ

Ͼ

œbæ œ

æœbæ œb

æ

Perc.

Trpt.1

Trpt.2

Hn.

Trbn.

B.trbn.

œ> œ> œ> œ> œ> œ> œ>?

. .. .. .. .˙˙bbbb

. .

. .˙˙nb

.œb œb

r

œ

seen? And the

œb œ œb .œb

seen? And

œ œb œb œ œb œ

seen? And the

.œb œb

r

œb

seen? And

.œbœb œb œ

seen? And

œb> œb> œb> œb> œb> œb> œb>&

œb> œb> œb> œb> œb> œb> œb>&

œb> œb> œb> œb> œb> œb> œb>&

œb> œb> œb> œb> œb> œb> œb>?

œn> œ> œ> œ> œ> œ> œ>?

r

œnæ r

œbæ

œbæ

œbæ

œbæ

œb>æ

r

œn>æ

œb>æ

œb>æ

œb>æ

.œ>æ

œb>æ

œb>æ

œb>æ

œb>æ

œb>æ

˙bæ

Ͼ

œbæ

Oœb>

æ

Oœ>

æ r

Oœbb >

æ

Oœ>

æ

˙bæ

.œbæ

.œbæ

˙bæ

ff

ff

ff

ff

ff

f

mf

Timp.

these cues are for the Timpani only!

.

.œœbb œb œœbb œœœbb

.

.œœbb

œœbb œœbb œœb

.œbr

œb .œb œbCoun ten ance Di

œ œb œb œb œb

Coun ten ance Di

œb œb œ œb œ

Coun ten ance Di vine

˙bœb

Di

˙b œb

Di

.˙b

.˙

œb œ œb .œb

.œb .œb

.˙b

.œbæ

Ͼ

.œbæ

œbæ

r

œbæ

œ>

æ

œb>

æœ>

æœ>

æœ>

æœb>

æ

œbæ

œbæ

œbæ

Ͼ

œbæ

œbæ

Ͼ

Ͼ

œb

æ

œ

æœ

æ˙b

æ

œbæ

Ͼ

œbæ

˙bæ

..Oœbbæ

OϾ

r

œbæ

œbæ

.œbæ

œbæ

œbæ

œbæ

mf

mf

mf

mf

mf

p

- - - - - - - - - -

- - - -

- - - -

-

-

-

- - - - - - - - -

- - - - - - - - -

Scene 13 - Hope [Postlude]

1

310

&

?

&

&

?

?

?

&

&

&

?

?

&

&

&

&

B

B

?

?

t

Narr.

Scott

Vocal 2

Vocal 3

Vocal 4

Vocal 5

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Organ

œb œb œb œb œœb

˙˙bb

œœœbbb

.œb œb œ œb

vine Shine forth up

.œb œb œ œn

Shine forth up

.œ œb œb œb

Shine forth up

.˙

.˙b

.˙b

‰œb œb œb Œ

.˙A

.˙A

r

Ͼ

.œbæ

Ͼ

œbæ

.œbæ

œb

æ

.œb

æœb

æ

œb>

æœ>

æ

œb>

æ

œb>

æœ>

æ

œb>

æœ>

æ

œbæ

œbæ

œbæ

œbæ

œbæ

˙

Ͼ

œbæ

œbæ

œbæ

œbæ œb æ œb

æ

Oœb>

æ. .. .Oœbb >

æ

rr

Oœbb >

æ

œbæ ˙b

æ

˙bæ œb

æ

New Zealand, that garden at Christchurch, how sharply blueThe peaks of the Kaikouras stabbed the horizon,And the Avon looked so tranquil among its willows,And the city was quiet. But that was years ago.

...œœœbbb œœœbbbœœœbbb

œœœbn

œœbb Œ Œ

.œb œb œb œb

on our cloud ed

.œb œb œ œ

on our cloud ed

.œb œ œb œ

on our cloud ed

œb œb œb œb œ

vine our cloud ed

œb œb œ œ œ

vine our cloud ed

Œ ‰r

œb œb

Ó œb œb

.˙b

r

œb ‰ Œ Œ

.˙b

r

œbæ

.œbæ

œbæ

œbæ

.œbæ

œbæ

Ͼ

œb

æ

œb>æ r

œb>æ

˙æ

œnæ

œnæ

Ͼ

œbæ

Ͼ

œbæ

.œbæ

œbæ

Ͼ

œn

æ

..O

æ

.˙æ

.˙b .˙b

p

p

...œœœbbb

r

œœœbb œœœbbb œœœbb

˙bœb

.œb œb œ œb

hills? and was Je

œb œb œb œ œ

hills? Je

œb œb œ

hills? Je

˙b œ œ

hills? Je

˙bœb œ

hills? Je

˙b œb

œb œ œb œb œ

Œ Œ œb

.˙b

r

œbæ

.Ͼ

œbæ

œbæ

.œbæ

œb

æœb

æœb

æ

œ>æ

œb>

æ

œb>

æ

œb>

æ

.œb>æ

Ͼ

Ͼ

Ͼ

Ͼ

3

.Ͼ

œbæ

Ͼ

œn

æ

.œbæ

œbæ

œbæ

.œbæ

Oœ Oœbb >

æ

Oœb>

æOœbb >

æOœbb >

æ

3

œbæ

œbæ

œbæ

œbæ

œbæ

5

.œb

æ.œb .œb

æ.œb

æ

p

p

p

œœb œb œœbb œœbb

3

˙˙bb

Œ

.œb œb œ .œ œb

ru sa lem build ed

œb .œbr

œbru sa lem

œb œ œb .œ œb

ru sa lem build ed

œb œb œb

ru sa lem

œb œb œb

ru sa lem

.˙b

œb œb ˙b

˙b œb

œb œb Œ

˙bœb œ

œbæ

˙æ

.œbæ

œbæ

Ͼ

.˙bæ

œb>

æœb>

æœ>

æœb>

æ

Ͼ

Ͼ

Ͼ

.œbæ r

Ͼ

Ͼ

œbæ

œbæ

Oœbb >

æObb >

æ

œb>æ œb>

æ.œb>

æ

.˙æ

Perc. œn> œ> œ> œ> œ>?

˙bbb >

r

œœœ

˙n>

r

œ

.œb œ œb œb

here A mong these

œb œb œ œb œ œ

here

œb œ œb œb œ

here

œ œb œb œ œb œb

here

œ œb œb œ œb œbhere

œb> œb> œb> œb> œb>

œb> œb> œb> œb> œb>

œn> œ> œ> œ> œ>

œb> œb> œb> œb> œb>

œn> œ> œ> œ> œ>

.Ͼ

œbæ

r

œb>æ

œb>æ

œb>æ

œb>

æ

r

Ͼ

>æ

r

œbæ

.œbæ

Ͼ

œbæ

.œnæ

..OϾ

Oœbb >

æ

œn>æ

œ>æ

r

æ

.œnæ

r

œbæ

ff

ff

ff

ff

ff

f

Timp.

œb œ Œ œb œb

.œb œb œ œbdark Sa tan ic

œb œb œb

dark mills?

˙b œ

dark

œ œb œb

dark

œ- œb - œb -dark

Œ Œ Œ

Œ Œ Œ

Œ Œ Œ

Œ Œ Œ

Œ Œ Œ

Ͼ

.œb

æœb

æ.œ

æ

.œbæ

œbæ

. .Ͼ rr

œbæ

rr

œb>æ

œ>æ

.œb>æ

r

œb>æ

œbæ

.œbæ

r

œbæ

œbæ

œb

æœ

æœb

æ

œbæ

œbæ

œbæ

.Ͼ

œbæ

r

OϾ

Oœbbæ

Oœbbæ

Oœbbæ

œbæ

œbæ

œbæ

œbæ œb

æœbæ

œbœœb œœb œb œb

˙b Œ

mills?

˙ Œ

˙bŒ

mills?

˙bŒ

mills?

˙b Œ

mills?

˙b> Œ

‰ œb> œ ‰ Œ

œb>œ

Œ Œ

Œ œb> œ Œ

Œ Œœb> œb

Ͼ

Ͼ

˙bæ r

œbæ

˙bæ

œbæ

œbæ

œb>

æœb>

æœ>

æœb>

æœ>

æœb>

æ

œb

æœb

æœb

æœb

æœ

æœ

æ

.Ͼ

Ͼ

œbæ

Ͼ

œb

æ

œb

æ

œbæ

Ͼ

œb

æ

œb

æ

œbæ

Oœ

æ

Oœbb

æ

Oœbbæ

OϾ

Oœb

æ

œb

æ

œb

æ

œb

æ

œ

æœb

æœb

æ

œbæ

œbæ

œbæ

Ͼ

œbæ

œbæ

mp

mp

mp

mp

mp

Œ ˙bb

œb œb Œ Œ

Œ Œ Œ

Œ Œ œb -

Œ ˙b -

Ͼ

œbæ r

œbæ

œ-

æœb -

æ

œbæ

œb

æ

œb -

æœb -

æ

˙b>æ

œ>æ

˙b -æ

œ-æ

œbæ

œbæ

Ͼ

œb -æ

œb -

æ

˙b -

æ

r

Oœbbæ

Oœ-

æ

Oœbb-

æ

Oœbb -

æ

œb -æ œb -

æœb -

æ

œb -æ œb -

æ œb -

æ

- - - - - - - - -

- - - - - - - - - -

- - - - - - - - - -

- - -

--

--

- - - -

- -

10

311

&

?

&

&

&

?

?

&

&

&

&

B

B

?

?

t

Narr.

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Organ

18

...˙bbb

Œ ‰r

œœ

.

.œœbb

Œ Œ ‰r

œb

œb .œ r

œ

œA.œb ‰

œb˙b

œb œ œb

œbæ

.œb

æ

œbæ

.œbæ

r

œbæ

œ>æ

œ>

æœ>

æ

œbæ

.œbæ

r

œbæ

˙bæ

œbæ

.œbæ

r

œbæ

Oœb

æ

..Oœbbæ

œbæ

.œbæ

r

Ͼ

œbæ œb

æœb

æ

.œbæ

I remember the ship going out, so much more daringThan the gulls that so quickly scudded back to the port.I remember the ship, yes; shouting and the gulls,And in such a little while no gulls or shouting

Scott

Vocal 2

Vocal 3

Vocal 4

Vocal 5

Œ Œ œœbb

r

œœbb œ

œbb

œœbb

Œ œb œ œb

Bring me my

&

Œ œ œb œ

Bring me my

&

Œ œb œb œb

Bring me my

?

Œ œœ œb

Bring me my

?

Œ œ œb œ

Bring me my

?

œb œ œb Œ

œb œ œb .œb œ

œŒ Œ

œ œb œb œb

œbæ

œbæ

Ͼ

Ͼ

.r

œnæ

œbæ

œbæ

œbæ

.œnæ

œbæ

œb>æ

œ>

æœb>

æ

.œ>

æ

œbæ œb

æœb

æ

.œb

æœ

æœ

æœb

æœ

æœm

æœ

æ

œb

æ

œbæ

œbæ

œbæ

œb

æ

œb

æœ

æ

r

Oœbbæ

Oœb

æ

Oœb

æ r

Oœnæ

œbæ

œbæ

œ

æœ

æ

r

œbæ

œbæ

œbæ

œœb œ œœbb

œœb œœbb

.œbr

œb œ œb œb

bow of burn ing

œb œ œb œ œ œ

bow

œb œb œ œb œ

bow of burn ing

.œbr

œ œb

bow of burn

˙b œb

bow burn

œb œ ˙b

œ œ œb

œbŒ Œ

œb

æ

œ

æœb

æœ

æœ

æ.r

œbæ

œb

æœb

æœ

æœb

æ.œb

æœb

æ

rr

œb>æ

œ>æ

œ>æ

œb>æ

œbæ

œbæ

œbæ

œb

æœ

æ

Ͼ

Ͼ

œbæ

Ͼ

œbæ

r

Oœbbæ

Oœb

æ

OϾ

r

Oœbæ

œbæ

œbæ

œbæ

œbæ œb

æœbæ

œœœœbbb œœœbb

œœœbbœœœbb

œœœbb

Œ œœb œœb

˙b

˙b œb œ œb

gold! Bring me my

œ œb œb œb œ

gold

œb œb œb œ œ

gold

˙b œb

ing Bring

˙b œb

ing Bring

‰ œb œ œb

Œœb œb œb

œb œ œb œ

˙ œ œb

Œ ‰œb

œb œ

rr

œbæ

Ͼ

r

œb> œ œb œ œb œ5

œbæ

œb>r

œb> Œr

œ>3

3

œ>æ

œb>æ

œb> œb>

œbæ

œbæ œb œb

Ͼ

œbæ

œ>

œbæ

œbæ œb œ

OϾ

OϾ

O

æ

˙bæ

Ͼ

œbæ

˙bæ œb

æœ

æ

mf

.œb

r

œb œ œb œbœœbb œœb œœb œœb œœbb œœbb

œœœbbb

œ

œ œœœbbb

œb œ œb œbar rows of de

.œbr

œb œ

of de

œ œ œb

of de

œ .œb

r

œb

of de

œb .œbr

œb

of de

.œbr

œb œ œb œb

œb œb œ œb œb

œb œ œb œb œb œb

.œbr

œ œb

˙b œb

.˙b

œb>r

œb>Œ œ> œb> œb>

3 3

œb> œb> œ> œb> œb>

œb œb œb œb œ

œb> œ> œ> œ> œb> œ>

œb œ œb œ œ œ

r

Oœbb > ..Oœ>r

Oœ> Oœbb >

.œb>r

œb> œb>

˙b>œb>

f

f

f

f

f

f

˙b œb œb œbœœbb œb œb œ œb œœbb

œœœbbœb œb œb œœœb

bb

.œb œb œ œb

sire! bring me my

.œb œb œb œb

sire Bring me my

œb œb œb œb œ

sire bring me my

.œb .œb

sire Bring

.œbœb œ œb

sire Bring me my

˙b œb œ œb

œb œb œb œ ˙b

œ œb œb œb œb

˙b œb

˙b œb

œ œb> œb œ œb œb œb .œ5

‰ œb> Œ œb> œb> œb>

3 3

œb> œb> œb> œ> ˙b>

œb œb œb œb ˙

œb> œ> œ> œb> œ> œb>

œb œb œb œb œ

Ob> O>

˙b> ˙b>

˙b>œb>

œb œ œœœbb œœœbbœœbb œ œb?

œb .œbr

œb

œb œb œ œ œb

spear O clouds un

œ œ œ

O clouds

œ œb œ œb œ

O

œb œ œb

spear O clouds

œb œ œ œ

spear O clouds

œb œ œb œb

œ œb

.œbr

œb œ

œ .œbr

œb

œb .œbr

œb

Œ ‰œb> œb œ œb œ œ

5

r

œb> œb> Œ œb>

r

œb>3

3

œ> œ>

œ> œb>

œ> .œb>

r

œb>

.œb>

r

œb> œb>

..Oœb>

.œb>

r

œb>

œb> .œb>

r

œb>

..œœbb œœœbbbœœœbb

œœœbbœb

r

œb&

.

.œœbb

r

œb œbœb œ œb

.œb œ œ œ

fold! Bring me my

˙b œ

fold! my

œ œb œ œ œb œ

Bring me my

.œ œb œb œ

fold! Bring me my

.œbœb œb œ

fold! Bring me my

.œb œb œ œb

œb œb œb œb œ

.œb œb œb œb

.œb .œb

.œbœb œ œb

.˙

‰ œb>Œ œb> œb> œb>3

3

rr

œ œb> œb> œ> œb> .œ>

œb œb œb>œb>

œb>

œ> .œb>r

œb>

.œb>œb> œb> œb>

r

Oœbb > ..Oœbb > Oœbb >

.œb>.œb>

.œb> œn> œb> œb>

- - -

- -

- -

-

- -

312

?

&

?

&

&

?

?

?

&

&

&

?

?

&

&

&

&

B

B

?

?

t

Narr.

Scott

Vocal 2

Vocal 3

Vocal 4

Vocal 5

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Perc.

Organ

26

œ> œ> œ> œ> œ> œ>

....˙˙˙bnbn>

...˙˙˙n

bb >

.œb œ œ œbCha ri ot of

˙b œ œ

of

.œb œ œ œb œ

Cha ri ot of

œb œ œb œb

Cha ri ot of

œb Œ Œ

Cha

˙b œ œn˘

˙b œ œnfl

˙A œ œnfl

˙b œ œn˘

˙n œ œfl

œb> œb œ œb œ ˙5

‰ œn>Œ œn> œn> œn>3

3

œm œ œ œm œ œ œ œn6

œA œn œ œm œ œm œn œb œn3 3 3

œ œm œ œ œm œ œ œ œn œn6

˙A œb> œb œ œb œ5

OœAA œn œb œb œb œb Obb >6

œn> œ> œ> œ> œ> œ> œ>

7

œn> œ> œ> œ> œ> œ> œ>

7

ff

ff

ff

ff

ff

ff

pizz.

pizz.

But the sea darkening and looking lonely. I remember those days in the pack, the sun on the iceAnd men’s voices clear as bells as they sang,Clear as bells…

Timp.

Œ Œ Œ

œœœœbbb

œœœbbb œœœb œb œbœ œ œ œœ

œœbb

œb œœœbœ œ

.œb œb œ œ

Fire! I will not

œb œ œb .œb

Fire! I

œ œb œb œ œb œ

Fire! I will not

.œb œb œ œb

Fire! I will not

.œbœb œb œ

Fire! I will not

œb œb œ œb œb

œ œb œn œb œ

œb œ œ

œbœb œb

œbœ œ

œ

œb> œ œb œb œ ˙b5

‰ œb> ‰ œb> œ> œ> œb>

3 33

œ œ œ> œ> œ œb> œ>

œn œb œn œb œb

r

œb> .œb> œ>

œb> œb> .>

r

Oœbb > Oœb> Oœb>

r

Oœbb >

œb> œb> œb>

œb>

œb> œ>œb>

f

f

f

f

f

f

f

arco

arco

œ> œ> œ> œ> œ> œ>

..

..˙˙˙˙n

n

mm

>

.œbr

œb .œb œbcease from men tal

.œbr

œb .œb œ

cease from men tal

.˙b

cease

œb œb œb

cease from

.˙b

cease

.˙n>æ

.˙n>æ

.˙m>æ

.˙n>æ

.˙m>æ

œ> œb œ œn œ ˙5

‰ œn> ‰ œn> œm> œ> œn>

3 33

œ œ œm œ œ œm œ œ œ œn6

œ œn œ œm œ œm œn œb œn3 3 3

œb œn œb œ œn œ œb œ œb œb6

œ> œ œ œ œ5

Oœ œn œ œb œ œb Obb >6

œn> œ> œ> œ> œ> œ> œ>

7

œn> œ> œ> œ> œ> œ> œ>

7

ff

ff

ff

ff

ff

ff

pizz.

pizz.

.œb œb œœœb œœœœb œb œ œœbb

...œœœbb

r

œœbb œ

œbb

.œb œb œ œb

fight; Nor shall my

.œb œ œb œb

fight; Nor shall my

.œ œb œb œn

Nor shall my

.˙

.˙

.œb œb œ œ

œ œb œ œ œb œ

˙b œ

.œr

œb œb

.œb r

œb œb

‰.œ> œ œ œb œ œ

5

‰ œb> ‰ œb> œ>

r

œb>

3 33

.œ œb> œ> œ> œb>œ>

œ œb œb œ œb œ

œ> ˙b>

˙b> œ>

r

Oœbb > ..Oœ>

r

Oœb> Oœbb >

.œb>

r

œb> œb>

.œb> r

œb> œb>

f

f

f

f

f

f

arco

arco

.œb œb œ œbœœbb œœb œœbb œœbb

œb œ œb œb

œb œb œb œb

sword sleep in my

œb œb œb œ œ

sword sleep in my

œb œb œ œb œ

sword sleep in my

œb œb œb œb œ

sword sleep in my

œb œb œ œb œ

sword sleep in my

.œb œ œ œb

œb œ œb œb

˙b œ œ

œb œ œb œb

œbŒ Œ

.˙b

œb>

r

œ> ‰ œb> ‰ œb>3 3

3

œb> œ> œ> œ>

œb œ œb œ

œ> ˙b>

˙b> œ œ>

Oœb> Oœ> Oœb> Oœb>

œb> œ> œb> œb>

œb>Œ Œ

.

.œœbb œb œœbb œœœbbœœb œœb œœbb œœb

.

.œœbb

œœbb œœbb œœb

.œb œb œ œb

hand Till we have

r

œb œb œ œ œ

hand Till we have

.œb œb œ œ

hand Till we have

.œb œbœb œ

hand Till we have

˙b œ œ

hand have

.œb œb

r

œ

œ œb œb œ œb œb

œb œ œb .œb

.œb œbr

œb

.œbœb œb œ

r

œb> œb>Œ

œb>r

œ>3

3

‰ œb> Œ œb>r

œb>3

3

œ> œb> œ> œ œ> œ>

œb œb œb œ œb œ

œ œ> œb> œ> œ> .œb>

œb> œ> œb> .œb>

..Oœbb > Oœ>

.œb> œb>

r

œb>

.œb>œb> œb> œb>

- - -

- - - -

-

-

- - -

313

&

?

&

&

?

?

?

&

&

&

?

?

&

&

&

&

B

B

?

?

t

Scott

Vocal 2

Vocal 3

Vocal 4

Vocal 5

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Organ

32

..

.œœœbbb

œb .œb œb

r

œœbb œœbb

œb œœbb œœbb˙b

.œb œb .œ œb

built Je ru sa

.œb œ .œb œbuilt Je ru sa

œb œb œb œ œb

built Je ru sa

œb œb œ œb œb œ

built Je ru sa

œb œb œb œ

built Je ru sa

.œb œb .œb œb

.˙b

.œb

r

œb œb

œb œb wb

.˙b

r

œ> œb>Œ

œ>

r

œb>

3 3

Œ œb>r

œb>

r

œb> œb>3 3

r

œb> w

wb

.œb>r

œb>

.œb>r

œb> œb>

..Oœb> Oœbb > Owb>

œb> œb> wb>

.˙b>

....œœœœbbbb œœœbbb

œœœbbbœœœbnb

œœbb

œœbb

œœbb

.œb œ œb œb

lem In Eng land's

œ œb œ œ œ œ

lem In Eng land's

œb œ œ œb œ

lem in Eng land's

œ œb œb œ œb œb

lem in Eng land's

œ œb œb œ œb œblem in Eng land's

.œb œb œb œb

.œ œb œb .œb

.œb œb œb œn

.˙

œb> œb> œb>Œ

œb>r

œb>

3 3

Œ ‰ œb> œb> œb> œb>

3 3

œ> œb> .œb>

œb œb œb .œb

œm> .œn>

r

œb>

.œb> œb> œ> œn>

.˙

œœœbbbœb œb œbœœbb œœb œœbb œœb

œb œb œœœbb

œœbb œœb œœb œœbb

œb œb œ œb

green and plea sant

œb œ œb œ

green and plea sant

œb œb œ œb

green and plea sant

œ œb œb œb

green and plea sant

œ œb œb

green plea sant

œb œb œb œb

œb œb œ œ

œb œb œ œb œb

œb œb œb œb œ

œbœb œ œb œb

r

œb> œ>Œ

œb>

r

œb>

3 3

‰ œb> ‰ œb>

r

œb> œb>

3 33

œ> œb> œ> œ>

œb œb œ œb

œ> œ> œb> œb> œ>

œb> œb> œb> œb> ˙b>

Oœbb > Oœb> Oœb> Oœb>

œb> œb> œb> œb> œ>

œb>

œb> œb> œb> œb>

œœbb œb œb œœœbbbœœœbbb

œœœbbb

œb œb œb œœbb

œœbb œ

œ..œœbb

.˙b

land.

.˙b

land.

.˙

land.

.˙b

land.

.˙b

land.

.œb œb œb œb

r

œb .œb œ œb

.œr

œb œb

.œb œbœb œ

˙b œ œ

r

œb> œ>Œ

œb>r

œ>

3 3

‰ œb> Œ œb> œb> œb>

3 3

r

œb> ˙b>

r

œb>

r

œb ˙br

œ

r

œb> ˙b>

r

œ>

r

œb> œb>

r

Oœbb >..Oœbb >

Oœbb > Oœb>

.œb>œb> œb> œb>

˙b> œ œb>

...œœœbbb œœœbb ...

œœœbœbœb œb œœb œb œb œœ

œœbb

.

.œœbb

r

œœbb

.œb œb .œ œb

˙b œb

œb œb œb œ œb

œb œb œ œb œb œ

œb .œbr

œb

r

œb> œb>

Œ

œb>

r

œ>

3 3

Œ ‰œb> œb> œ> œb>

33

>˙b>

˙b œb

œb> œb> œb>œb>

œb> œb>œb> œ> œb>

Oœ> Oœbb > Oœbb > Oœ> Oœ> Oœb>B

œb> œb> œ> œb> œb> œ>

œb>.œb>

r

œb>

.....˙˙˙bnbbb

>

...˙˙˙bbb >

˙b œ œn˘

˙b œ œnfl

˙ œ œbfl

˙b œ œn˘

œb> œb> œb> œb> œb> œb>

r

œn> œn>

Œ

œ>

r

œm>

3 3

Œ ‰ œn> œ> œn> œn>

33

œn œ œ œm œ œb œ œn6

œb œn œ œm œ œm œn œb œn3 3 3

œ œm œ œ œm œ œ œ œn œn6

˙ œ> œb œn œb œn5

Oœ œn œ œb œ œb Obb >6

œn> œ> œ> œ> œ> œ> œ>

7

œn> œ> œ> œ> œ> œ> œ>

7

ff

ff

ff

ff

ff

ff

pizz.

pizz.

.œb œb œœb œœbbœœb œœb œœb œb œb

œœ

œœbb œ

œbb œ

œœœbb œ

œbb

.œb œb œb œb

œ œb .œ

r

œb

œb œ œb œb œb

œ œb œb œ œb œb

œ œb œb œ œb œb

œ> œ> œb>Œ

œb>r

œb>

3 3

Œ œb>

r

œb>r

œb> œb>

3 3

œb œ> œb> .œ>

r

œb>

œ œ> .œbr

œb>

œ> œb> œb> œ> œ> œ>

œb> œ> œb> œb> œb>

Oœ> Oœ>Oœbb > Oœbb > Oœ> Oœ>?

œb> œb> œb> œ> œb> œb>

œb> œb> œb> œ> œb> œn>

f

f

f

f

f

f

arco

arco

- - - - -

- - - - -

- - - - -

- - - - -

- - - - -

314

&

?

&

&

&

?

?

&

&

&

&

B

B

?

?

t

Trpt.1

Trpt.2

Hn.

Trbn.

B.Trbn.

Vln.1

Vln.2

Vln.3

Vln.4

Vla.1

Vla.2

Vc.1

Vc.2

D.B.

Organ

œœœbbb

œœœœbbb œœbb œœœbb

œœ

œœbb œ

œbb

œb œb œ œb

œb œ œb œ

r

œb .œb œb

œ œb œb œb

œ œb œb

œ> œb> œ>Œ

œ>

r

œb>

3 3

Œr

œb> œb>

r

œb> œb>3 3

œb> œ> œb> œ>

œb>œb> œb> œ>

œb>

r

œb> .œ>

r

œb> .œb> œb>

Oœbb > Oœ>r

Oœbb >Oœbb > Oœbb >

œb> œb>œb> œb>

œb> œb>œb>

...œœœbb œœbb œœbbœœœbbb

Œ .œbr

œ..

˙˙bb

˙b œ œb

˙b œb œb

˙ œb

˙b œ œ

.˙b

r

œb> œb>Œ Œ

r

œ>

3 3

˙b>r

œb> œb>

3

˙b> œb> œb>

˙b>œb> œb>

œb> >&

˙b>œb>

&

r

Oœbb > O

˙b> œ œ>

.˙b>

.

.œœbb

r

œœbb œ

œbb œ

œœœbb

œr

œb œœbb

œb œb œœbbœœœbbb

œb

.œbr

œb> œb> œ> œb>

˙bœb> œ> œb>

œ œb œb> œ> œb>

œb œb œb œb

œb œb œb

r

œb> œ>Œ

œb>

r

œb>

3 3

Œ œb>r

œb> œb> œb> œb>

33

˙b> œb>œ>

˙b>œb>

œb> œb>

œb>œ> œb>

œb> œb> œb> œ> œb>

Oœ> Oœb>

r

Oœbb > Oœbb > Oœb>

œb> œb> œb> œb>

œb>œb> œb>

....˙˙bb

.

.˙˙bb

.˙

.˙b

.˙b

.˙b

.˙b

œ>

r

œb>

Œ Œ3

.˙b>

œb> .œb> ˙

.˙b>

œ> œ> œb> ˙b>

.˙b

r

Oœbb > O

.˙b>

.˙b>

Perc. wb æ>

?

wwbn

wwbb

wb>

wn>

wb>

wb>

wb>

w>

w>

wn>

wn>

wb>

wb>

wb>

wb>

wb>

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

Timp.

wbæ>

wwwnnn

wwwbb

wn>

w>

wb>

wn>

wb>

w>

w>

w>

w>

w>

w>

wn>

wn>

wn>

fermata should only be long enough for players to synchronisefor the last bar

wbæ

U>

ww

U

wwbb

U

wU

wbU

wbU

wbU

wbU

wU

wU

wU

wU

wU

wU

wbU

wbU

wbU

œb - Œ Ó

œœœbb -

Œ Ó

œœbb

-Œ Ó

œ- Œ Ó

œb - Œ Ó

œb -Œ Ó

œb - Œ Ó

œb -Œ Ó

œ-

Œ Ó

œ-

Œ Ó

œ-

Œ Ó

œ- Œ Ó

œ- Œ Ó

œ- Œ Ó

œb -Œ Ó

œb -Œ Ó

œb -Œ Ó

315

Homage to Lutosławski

for Solo Violin and Piano

Copyright © Scott McIntyre

2012. All rights reserved

Homage to Lutosławski – Program Notes  

 

As I enter the final year of my Doctorate, I thought it would be prudent to write a piece as

homage to the composer I have spent so many hours researching. I have been mainly focusing

on Lutosławski’s use of aleatoric counterpoint but have found a unique language among his

more metered works. In particular the Partita for Violin and Piano, I was drawn to the relatively

simple lines and rhythms threading their way through the musical narrative. This piece uses the

first movement of the Partita as a starting point whilst sharing some of the same characteristics.

Its original intention is as a concert encore, displaying many flourishes and gestures

Lutosławskian for the violinist. These sections contrast with pulseless veils of sound that explore

rich timbres before returning to the final flourish.

Duration: approx. 5-6 minutes

&

&

?

42

43

42

43

Violin

Piano

1

œb

>

œb . œn . œ. œ. œ. œ. œ.˙

q»72

Not too fast

mf

œ œb œnœ œb œ œ œn . œ. œ œb

3 3

..˙b œœ œ œ œ. œ.œb

Œ œb œb œ œb œ œ œ. œ œ œ œ.

3 3 3

œ. œ. œ. œ. ˙œ ˙b

&

&

?

42

5

œ. œ. œ œ œ. œ. œ. œ. œ.

3 3

≈

œ>œm œb>

œb . œ. œ. œ. œ. œ.

3 3

˙b

œ œ. œ. œ. œ. œ.Œ

3 3

œb . œ. œ. œ. r

œbœ> œ œ œ> œm .

3

œb> œb œ œ> œ œ œ. œ. œ. œ. œ.

3 3 3

œm . œ.‰

r

œb œ>œ œb œ œ.

3

œ. œ. œ. œ.Œ

œm . œ. œ. œ. œ. œ.

œœbb

>

œm œ. œ. œ. œ.3 3

3 3

&

&

?

43

42

43

9

œb . œm .œ. œ. œ. œ. œ. œ. œ. œ. œ œ œœ

3 3 3 3

œ. œ. œ. œ. ˙˙b

œb> œm . œ. œ. œ. œ. œ. œ.

œ> œb . œ. œ. œ. œ. œœ. œœ

˙m>

˙b>

œ> œ œb .œ> œ

œb . œ. œ. œ. œ.

3 3

‰ œ. œ. œ. œ. œ. œ. œ. œ. œ. Œ3 3 3

‰ œm . œ. œ. œ. œ. œ. Œ

f

Homage to Lutosławskifor Solo Violin and Piano

Copyright © Scott McIntyre2012. All rights reserved

321

&

&

?

42

43

42

œb> œ. œ.œ> œ. œ. œ> œb . œ. œ> œ. œ.

3 3 3 3

œ

>œ. œ. œ. œ. œ. œ. œ.

˙

f

1

œ>œ. œ. œ. œb>

œ. œ. œ. œ>

œ>œb œ œ>

œb œ œ> œ. œ. œ. œ. œb . œ. œ. œ.3 3

3

.

.˙˙

œ œm> œb œn . œ> œb œn . œ> œb œn .

33 3

œ> œ œb œœm . œ

œ. œ

œ. œ

œ. œ

œ. œ

œ.

3

˙˙

œ> œb . œ> œ. œ> œm œb œn

œ> œb . œ. œ> œ. œ. œb> œ. œ. œ> œ. œ.

3 33 3

r

œ>

˙

&

&

?

43

42

°

18 œ>œ. œ. œ. œ. œ. œ. œ. œ>

Œ ‰ .œ>

r

œ>

.˙b

œ œ>œb . œ. œ> œ. œ. œ> œ.3

3

>

‰ .œm>

œb . œ. œ> œm . œ. œ> œ œn œ> œb œn

33 3

œœbb .

œœbb .œœbb .

œœbb .

œ> œ. œ. œ. œ> œ. œ. œ.

œœb .

œœb .

œœ.

œœn .

&

&

?

43

42

43

22 œb> œn œ œb> œn œ œ> œ. œ. œ. œ> œ.œ.o œ.o

3 3

œ>

œm . œ. œ.

Œœ>> œb œb œ>> œ œ

3 3

œ. œ. œ. œ. œ>

œ.o œ.o œ.o œ.o

‰ œ> œ œ

3

‰ œ> œb . œ. œ. œ> œ. œ.

3

˙

œ ≈ œ> œ œ œm˘≈

œm> œbœm

3 3

œb . œ. œ. œ.

r

œœ.

‰

r

œœb .‰ Œ

œ> œm . œ. œ. œ. œ. œ. œ. œ>

Œ Œ œb> œb . œ. œ.

&

&

?

42

26˙a

Œ œb> œb œbœ> œ œ

3 3

œb>œb . œ. œ. œ>

œ œ> œn . œ. œb>œb œb œ> œ œ

33 3

œ> œb . œ. œ. œ. œ. œ. œ.

œb>œb . œ. œ. œ. œ. œ. œ.

˙bb

œ> œœm œm> œb

œm œ> œœm

œ>œ œ

3 33 3

œœb .

œœb .

œœ.

œœ.

œb>œm œ œm> œm œ œb> œb œb œ> œb œ

3 3 3 3

œœb.

œœb .

œœ.

œœb .

322

&

&

?

31 œb> œ> œb . œ> œm œ œm> œm œ œb> œ œ

3 33 3

œ> œ. œ. œ. œ. œ. œ. œ.

œ> œmœm

œ> œœ œb> œb . œ. œ.

3 3

≈ œ> œfl

œ.Œ

‰œm> œm . œ. œb> œb . œ. œ.

3

r

œ.‰ Œ

‰œm> œm . œ.

‰œ>

œm .3

r

œ.‰ Œ

&

&

?

°

˙b œb

3

Œ œn

˙m

p

2

pp

œ

Œ

Œ ˙m

3

˙œm

3

œ

>

œm

œ

œ> œ3

mf

˙

Œ œ> œm>

3

pp

˙ œœmm

3

Œ ‰œn>

5

‰.œm>

˙

Œ

œ

œ

œ

3

œ- œm -œm -

3

œ œ

r

œ5

&

&

?

rit.

42

œ- œm

œ ˙m>

3

œn -œ œ

œm œ

5

‰.œm

œ- œmœn - œ œ

œm - œmœn œ

3

˙n

Œ ‰ . rr

œ>

mf

œœm œ œb œ- œ œ- œ

Œ ˙

3

pp

&

&

?

rit.

œm - œ- œb - œb -œ- œb -

r

œnâ

.œ

œm - œ- œb - œb -œ- œb - œn - œmâ

.œ œm - œn - œb - œb -œ-

U

˙ ˙

U

Œœ œ Œ

œb œb

Œ

.˙n

3 3

Ad lib. slowly3

ppp

mp

323

&

&

? ‰ œb .œb . ‰ œ. œ>

œ. œm .

4 A tempo

mp

œ. œ. œ. œ. œ. œ.

3 3

Œ

œb . œ. œ. œb . œ. œ. œ. œ. œn . œ. œb . œ.

3 3 3 3

Œœ.

‰œb .

‰œb .

œ.

œb . œn . œ. œb . œ. œm . œ. œn . œ. œm . œ. œm .

3 3 3 3

œb . œ. œb . œ. œ. œ. œm . œb . œ. œ. œ.

3 33

Œ Œr

œm ‰3

&

&

&

43

42

√

53

Œœ>

œb œ.œ> œb œ.

3 3

œm .œb . œ. œ. œm . œb .

Œ3 3

Œ œb . ‰ œm .?

mf

mf

œb>œ œ œb

flœ. œ-

œ. œ. œ.Œ

3

Œ ‰

œm .

œb

.

œ

.

‰ ‰

œ> œb œn œb>œ œ œb> œn œ œ> œ œ

3 3 3 3

Œœb> œ. œ. œ.

œ>œ œ œb>

œ œ œ> œn . œ. œ.

3 3

œ

œm . œ. œ. œ>

œ> œ. œ. œ. œ>

Œœ. œ. œ. œ. œ. œ.

3 3

mp

&

&

?

(√)

°

58

œœ> œ œ œ> œ. œ. œ.

3

Œ œm . œ. œ. œ. œ. œ.

3 3

œ-œ>> œ œ œ> œ. œ> œ.

3

Œ œm . œm .œ. œ. œ. œ.

3 3

œ. œ.œ> œ œ.

Œ3

>

p

œ. œ. œ. œ. œ. œ. œ. œ.

.œ>

r

œb>

mp

‰œ. œ. œ.

Œ3

.œ

r

œm

p

pp

&

&

?

63

Œœb>

r

œ>

5

r

œ ˙mŒ œm œ

3

Œœ

˙m

324

&

&

?

√

œ- œ-

˙

5

pp

Ad lib. slowly

ppp

œ- œ- œ- œ-

œm

- œ

3

˙

œm

..œœbb -

r

œœbb

œ

œœ œœbn -œœn -

3

œm

Œœ- œ- œ-

3

œm˙

œ- œ- œ- œ- œ- œb - œb -

7

œ>

œ- œ- œ- œ- œb -Œ

5

œb>

mp

œ œ œ œb œb œ

Œ ˙ Œ3

pp

˙

˙

œ œb œb œ œb œn œb œ

‰ .œb

&

&

?

√

rit.

√œ- œ- œ- œ- œb> œb œ œb œn œb> œ œb œb

9

œ œm

œ3

mf

œb - œ- œb - œn -

.œmr

œ>

Œ Œ

œb>

œ- œb - œn - œb - œ

5

>

≈. .œm>

œ œb -

>

œ œb - œ œb œb œb

‰

r

œm œ>

Œ3

Œ ‰ r

œb>

œn> œb œ œ œ œb œ œ

‰ œ>

3

œ>

œbâ ˙

3

œb

œ œb œ œb œ œ œ œ œœ

˙

&

&

?

rit.

˙

‰ r

œm> œ>

œm -Œ

˙m

œ œb œ œ œ œ œb œ œ œ œ œ œœ œ œ œ

œ œ œmœ-

.œU

U

Œœ. œ. œ. œ.

œ. œ.

3 3

‰

œb

˘

‰

œ

A tempo6

mf

f

Œ œ.‰ œb .

œ.œ. œ. œm .

œ.œ.

Œ

3 3

‰ Œ

&

&

?

√

74

‰œ. œm .

œ. œ. œ.œ. œm .

œ. œ.

3 3 3

‰œ œ

‰

œm . œ. œ. œ.œ. œm .

Œ3 3

œm .œ. œ. œ.

œ. œm .œ. œm .

œ. œ. œ.3 3

3

œ

fl

‰

œfl

‰

‰ œ. œ.œ. œm . œ. œm .

œ. œb . œb .

3 3 3

r

œ>

‰ Œ

Πr

œbfl

‰

œm . œ.œ. œ.

œ. œm . œ. œm .œ. œb .

3 3

Πr

œb .‰

325

&

&

?

43

°

79

œm . œ. œm . œn . œm .œ. œ> œb . œ. œ.

3 3

Œr

œ.‰

œb - œb>œ œ œb œb œ

3 3

Œr

œ.‰

œ> œb œb œb œ œb œb> œ œ œ3 3

œfl

œbfl

œ3

œb> œb œb œ> œb œ œ> œ. œ. œ.

3 3

Œr

œ.‰

œb - Œ œb>œb . œ. œb> œb .

œ.

3 3

œ

.

œ.œ.

‰ Œ

&

&

?

42

43

42

°

84

œb> œ.œ. œb . œ. œb . œ.

œ. œ. œ.œb .

œ.3 3 3 3

r

œ

œœfl

‰ Œ

œb œœ œ> œ. œ. œ. œ-

3

r

œ

œœfl

‰ ‰ œ>

œb .

‰ œ> œb . œ.œ. œ.

œb . œb>œ. œ. œ. œ-

33

œb . œ. œ- œ. ‰œ.

‰

œœb> œ.

œ. œ.œb . œb . œ. œb . œb .

3 3 3

œ

.

‰ œb

.

œ.

&

&

?

43

42

88

œb> œ. œ. œ. œ-

œ. ‰œ.

‰

Œ œ> œ. œ. œ.

œ> œ.œb . œb>

œ. œ. œ. œ-3

Œ œ> œ. œ. œ.

œ Œ

œ.œb . œb . œ. œ. œ> œb . œ. œ.3

œ- œ> œ. œ. œ. œ-

œb -œb> œ œ œ> œb œb œ œb

œbœ> œb .

3 3

3

œ> œ. œ. œ. œ- œb>œ. œ. œ.

œb . œ. œ-œb . œb . œb . œ.

r

œœ.‰ Œ

ff

f

&

&

?

° °

93 œb .œb . œb . œb . œ. œb . œb .

œ. œb . œn> œ.

3 33

r

œœb . ‰ Œ

r

œœb .‰ Œ

œb . œ. œ-

Œ

œ.œ> œn . œ. œ. œ-

Œ ‰ œm>œ.

œ.‰ œ. ‰

œb . œb . œ. œb . œ. œ. œ.œb . œn .

œn . œ. œ.

3 3 3 3

œ. œ. œ- Œ

pizz.

œ. ‰œb .

‰

œb . œ.œ. œ. œ. œ. œ. œ.

œ. œ. œ. œb .

3 33 3

r

œ.‰ œb> œb œ. œ.

œb> œ. œ. œ. œ-

326

&

&

?

98

œb>œ> œm . œ. œ.

œ>œb . œ. œ. œ>

Œ ‰ œb> œ.

œm>Œ

Œœ.

œ. œ. œ. œb . œb .

3 3

œ. œ. œ- Œ

‰ œm . œ. œm .

œ.œ. œ. œb . œn . œ. œ. œb>

œb .

3

Œr

œm . ‰

œb . œ. œ. œ. œ. œb . œ. œ. œ. œn .

3 3

‰ œm .‰ œ.

œ. œ. œb . œ> œb . œ. œ. œ>

3

&

&

?

43

42

103

œb

>

œb . œn . œ. œ. œ. œ. œ.˙

mf

‰ œ œb œ œ œn . œ.

3

œ œb œnœb . œ. œ œn . œ.

3

..˙b

mf

arco

Œ œ œb

Œœ œ œ. œ.œb

Œ Œ œb œb œ œb œ œ

3 3

Œ œb œb œ œb œ œ œ. œ œ œ œ.

3 3 3

œ. œ. œ. œ. ˙œ ˙b

œ. œb œ œ œ. œ. œ. œ

3

œ. œ. œ œ œ. œ. œ. œ. œ.

3 3

≈

œ>œm œb>

œb . œ. œ. œ. œ. œ.

3 3

˙b

&

&

?

43

108 œ œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ.

3 3 3 3

œ œ. œ. œ. œ. œ.Œ

3 3

œb . œ. œ. œ. r

œbœ> œ œ œ> œm .

3

œb> œb œ œ> œ œ œ. œ. œ. œ. œ.

3 3 3

œb> œb œ œ> œ œ œ. œ. œ. œ. œ.

3 3 3

œm . œ.‰

r

œb œ>œ œb œ œ.

3

œ. œ. œ. œ. œ. œ. œ. œ.

œ. œ. œ. œ.Œ

œm . œ. œ. œ. œ. œ.

œœbb

>

œm œ. œ. œ. œ.3 3

3 3

œm . œb . œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ

3 3 3 3

œb . œm .œ. œ. œ. œ. œ. œ. œ. œ. œ œ œœ

3 3 3 3

œ. œ. œ. œ. ˙˙b

&

&

?

42

112

œb> œm . œ. œ. œ. œ. œ. œ.

œ> œb . œ. œ. œ. œ. œ. œ

Œ ‰œ. œ.

˙m>

˙b>

œ> œ œb .œ> œ

œb . œ. œ. œ. œ.

3 3

œb> œ. œ.œ> œ. œ. œ> œb . œ. œ> œ. œ.

3 3 3 3

œ

>œ. œ. œ. œ. œ. œ. œ.

˙

f

327

&

&

?

43

42

116 œ>œ. œ. œ. œb>

œ. œ. œ. œ>

œ>œb œ œ>

œb œ œ> œ. œ. œ. œ. œb . œ. œ. œ.3 3

3

.

.˙˙

œ œm> œb œn . œ> œb œn . œ> œb œn .

33 3

œ> œ œb œœm . œ

œ. œ

œ. œ

œ. œ

œ. œ

œ.

3

˙˙

œ> œb . œ> œ. œ> œm œb œn

œ> œb . œ. œ> œ. œ. œb> œ. œ. œ> œ. œ.

3 33 3

r

œ>

˙

&

&

?

43

42

°

119 œ>œ. œ. œ. œ. œ. œ. œ. œ>

Œ ‰ .œ>

r

œ>

.˙b

œ œ>œb . œ. œ> œ. œ. œ> œ.3

3

>

‰ .œm>

œb . œ. œ> œm . œ. œ> œ œn œ> œb œn

33 3

œœbb .

œœbb .œœbb .

œœbb .

œ> œ. œ. œ. œ> œ. œ. œ.

œœb .

œœb .

œœ.

œœn .

&

&

?

43

42

123 œb> œn œ œb> œn œ œ> œ. œ. œ. œ> œ.œ.o œ.o

3 3

œ>

œm . œ. œ.

Œœ>> œb œb œ>> œ œ

3 3

œ. œ. œ. œ. œ>

œ.o œ.o œ.o œ.o

‰

œ.o œ.o

‰ œ> œb . œ. œ. œ> œ. œ.

3

˙

œ.o œ.o

‰ Œ

‰ œ> œb . œ. œ. œ> œ. œ.

3

œ> œm . œ. œ. œ. œ. ‰

‰ œb> œb . œ. œ.‰

‰ œ> œ. œ. œ.‰

ff

ff

328

 

 

A Letter to the King of Norway Part 1

For French Horn, two Violins and Viola

Copyright © Scott McIntyre 2012. All rights reserved

Instrumentation

French Horn in F

Violin 1

Violin 2

Viola

duration 6 minutes

A Letter to the King of Norway - Program notes

Written in Denali National Park

Alaska, July 2012

Having spent the last two years writing an opera set in Antarctica dealing with the harsh conditions faced

by Robert Falcon Scott’s tragic expedition exactly one hundred years ago, I leapt on the opportunity to

come and visit the northern regions of the globe, especially the Denali Wilderness Park. Upon reaching

the Pole, Scott had discovered Norwegian explorer, Roald Amundsen, who had left him a tent, supplies,

equipment and a number of letters, had beaten him. One of these letters was addressed to King Hakon

of Norway detailing his triumph and an accompanying letter asking Scott to deliver it on his behalf. Scott

of course perished and the letter was delayed but I have always been fascinated by this concept. I

wished to draw polar parallels between Scott and Amundsen’s life stories and the idea of a piece “from

the North” would help with the answer to Scott’s Antarctic question. Norway lies on the 63N degree line

as does Norway, parts of Antarctica at the antipodes of 63S. This narrative combined with the visual

overload of Denali’s scenery helped conjure up a piece that encompasses the vast scale of these

wildernesses and the almost insignificant scale of the human in such areas. We were also very fortunate

to be accompanied by a scientist experienced in field recordings and his invaluable knowledge helped

quantify the myriad of sounds that serve as “music” to nature. I found most fascinating the concept of

space but also the niches of frequency that certain animals occupy. As species propagate and multiply

and occupy new areas, they work with the current inhabitants to separate their calls and increase the

tonal and harmonic spectrum of the space. This piece explores how these narrow fields can expand and

form newer and richer variations in the music of the wilderness.

 

&

&

&

B

Horn in F

Violin 1

Violin 2

Viola

wU

œm

wU

wU

wU

pp

pp

pp

pp

1 12"

Ad Lib.

rr

œ>

+

rr

œœm>

≥

rr

œ>

≥

rr

œ>

≥

sfz

sfz

sfz

sfz

∑U

∑U

∑U

∑UG.P. 3"

G.P. 3"

G.P. 3"

G.P. 3"

wU

œn

wU

wU

wU

pp

pp

pp

pp

12"

rr

œ>

+

rr

œœ>≥

rr

œb>

≥

rr

œœbb>≥

sfz

sfz

sfz

sfz

∑U

∑U

∑U

∑UG.P. 3"

G.P. 3"

G.P. 3"

G.P. 3"

&

&

&

B

Hn. in F

Vln.1

Vln.2

Vla.

wU

œ

wU

wU

wU

pp

pp

pp

pp

12"

œ>

+

œ>

+?

œœ>≥ œœ

>≥

œb>

≥

œb>

≥

œœbb>≥ œœbb

>≥

sfz

sfz

sfz

sfz

∑U

∑U

∑U

∑UG.P. 3"

G.P. 3"

G.P. 3"

G.P. 3"

Copyright © Scott McIntyre2012. All rights reserved

A Letter to the King of NorwayPart 1

Transposed Score

337

?

&

&

B

45

Hn. in F

Vln.1

Vln.2

Vla.

accel.

œ> œ œ œ œ> œ œ œ> œ œ œ œ œrr

œ> œ> œ œ> œ œ œ œ œ œ œ œ œ> œ œ œ œ

œ> > œb> œ>

> > rr

> œ> œ> œ> œ> œ> œ> œ>

œb> > > œb> œn>

œb> œn> œb> >

œb> rr

> > œb> > œ> œb> œ

mp

p

p

p

2 q»72

œ> œ œ œ œ œ œ œ œ> œ œ œ œ œ œ>

œ>

> > > > œ>

œb > > œ>

œb≥ œb≥ œb≥ œb≥ œb≥ œb≥ œb≥ œb≥ œb≥ œb≥ U

œœm ≥ œœm ≥ œœm ≥ œœm ≥ œœm ≥ œœm ≥ œœm ≥ œœm ≥ œœm ≥ œœm ≥ U

ϳ ϳ ϳ ϳ ϳ ϳ ϳ ϳ ϳ ϳ U

A tempo

f

f

f

?

&

&

B

45

Hn. in F

Vln.1

Vln.2

Vla.

accel.

œ> œ œ œ œ> œ œ œ> œ œ œ œ œrr

œ> œ> œ œ> œ œ œ œ œ œ œ œ œ> œ œ œ œ

œ> > œb> œ>

> > rr

> œ> œ> œ> œ> œ> œ> œ>

œb> > > œb> œn>

œb> œn> œb> >

œb> rr

> > œb> > œ> œb> œ

mp

p

p

p

3 q»72 Ad Lib.

œ> œ œ œ œ œ œ œ œ> œ œ œ œ œ œb>

œ>

> > > > œ>

œb > > œb>

œn> œ> œ> œ> œ> œ> œ> œ> œ> œ U>

œœm > œœm > œœm > œœm > œœm > œœm > œœm > œœm > œœm > œœm U>

œb> œb> œb> œb> œb> œb> œb> œb> œb> œb U>

f

f

f

A tempo

pizz.

pizz.

pizz.

ord. sul pont.

ord. sul pont.

ord. sul pont.

&

&

&

Hn. in F

Vln.1

Vln.2

Œ œ œ œ œ œ œ œb œ Ó

œb œ œb

q»60Ad Lib.

p

sul pont.

p

sul pont.

4

arco

arco

Œ œb œ œb œ œb œ œb œ Ó

œb œ œbB

p

sul pont.arco

Vla.

œb> œ œbœb œb œb?

Œ œn œ œ œb œ œ œb œÓ

œb œ œb&

p

con sord.

mp

338

&

&

....

Vln.1

Vln.2

œ œb œb œœ œn œb œ œ œn ≈ œb œb œ

œ œn œb œ œ œn ≈ œb œœ œ œb œ œ œn ®

Ó ‰œ œb œb œ

œ œn œb œ œ œn ≈

Vla.

œb œ œ œbœb œb œn œb œ œ ≈ œ œn œb

œ œb œn œ œ œ ≈ œn œbœ œb œn œ œ œ ®

œb œb œœ œn œb œ œ œn ≈

œb œœ œ œb œ œ œn ® œb œb œn

œ œn œ œ œb œb ≈ rrr

œb

œ. œb . œb . œ.œ. œn . œb . œ. œ. œn . ≈ œb . œb . œ.

œ. œn . œb . œ. œ. œn . ≈ œb . œ.œ. œ. œb . œ. œ. œn . ®B –‘

&

&

Vln.1

Vln.2

Vla.

œ œ œ œbœb œ œb œb œ œn ≈ œ œn œb

œb œ œb œb œ œn ≈œn œb

œb œ œb œb œ œn ®

œœ œ œ œ œb œb ® œb œn œn œb œ œb œn œb œ œb ≈ œ œn œb œn œb œn œb œ œb ≈

rrr

œn

œ œn œ œbœb œb œn œb œ œ ≈ œ œn œb

œb œb œn œb œ œ ≈ œn œbœb œb œn œb œ œ ®

œb œ œb œn œb œ œb ® œ œn œb œœb œ œb œ œ œn ≈ œ œb œ

œ œ œb œ œ œn ≈rrr

œb

pp mp

pp

&

&

&

Hn. in F

Vln.1

Vln.2

Vla.

¿b . ¿b . ¿b . ¿b . ¿b . ¿b . ¿b . ¿b .Œ ‰ ¿n . ¿. ¿. ¿. ¿. ¿. ¿. ¿.

Œ

œ œ œb œœb œ œb œ œ œn ≈ œ œb œ

œ œ œb œ œ œn ≈ œb œœ œ œb œ œ œn ®

œœb œ œb œ œ œn ® œ œb œb œ

œ œn œ œ œ œn ≈ œb œb œœ œn œb œ œ œn ≈

rrr

œb

p

p

breath

mf

¿m . ¿m . ¿m . ¿m . ¿m . ¿m . ¿m . ¿m .‰ Œ œ.

+

œ.

+

œ.

+

œ.

+

œ.

+

œ.

+

œ.

+

œ.

+

œb œ œ œbœb œb œn œb œ œ ≈ œ œn œb

œ œb œn œ œ œ ≈ œn œbœ œb œn œ œ œ ®

œœ œ œb œ œ œn ® œ œ œ œb

œb œ œb œb œ œn ≈ œ œn œbœ œ œb œ œ œn ≈

rrr

œn

mp

mf

mf

ord.

p

&

&

&

....Hn. in F

Vln.1

Vln.2

Vla.

‰ œ.

+

œm .

+

œ.

+

œm .

+

œ.

+

œm .

+

œ.

+

œm .

+‰ Ó

œb œ œ œb œ œb œn œb œ œb≈ œ œn œb œn œb œn œb œ œb

≈ œn œb œn œb œn œb œ œb®

œbœb œ œb œb œ œn ®œ

œ œ œb œ œn œn ® œ œ œ œbœb œ œb œb œ œn ≈ œ œn œb

œb œ œb œb œ œn

mf

“–f

–‘f

f

mp

œb . œ. œb . ® œ. ® œb . œ.

® –‘

–‘mf

15" until Cue 5

* At this cue strings play up to the repeat sign. As a result, they do not finish their phrases at the same time339

45

Hn. in F

Vln.1

Vln.2

Vla.

¿U&

wbU

&

wU

&

wUB

pp

pp

pp

5

ord.

ord.

ord.

pp

12"

tongue stopbreath

rr

¿.

rr

œœb >≥

rr

œ>

≥

rr

œ>

≥

sfz

sfz

sfz

ff

œm>

+

œ>

+

œ>

+

œ>

+

œ>

+

œ>

+

œ>

+

œ>

+

œ>

+

œ>

+

œn> œ> œ> œ> œ> œ> œ> œ> œ> œ U>

œœm > œœm > œœm > œœm > œœm > œœm > œœm > œœm > œœm > œœm U>

œb> œb> œb> œb> œb> œb> œb> œb> œb> œb U>

f

f

f

pizz.

pizz.

pizz.

mf

&

&

&

B

45

Hn. in F

Vln.1

Vln.2

Vla.

¿U

wbU

wU

wU

pp

pp

pp

pp

12"Ad Lib.

tongue stopbreath

sul pont.

sul pont.

sul pont.

arco

arco

arco

rr

¿.

rr

œœm >≥

rr

œm>

≥

rr

œ>

≥

sfz

sfz

sfz

ff

œm>

+

œ>

+

œ>

+

œ>

+

œ>

+

œ>

+

œ>

+

œ>

+

œ>

+

œ>

+ U

œb> œb> œb> œb> œb> œb> œb> œb> œb> œb U>

œœ> œœ> œœ> œœ> œœ> œœ> œœ> œœ> œœ> œœ U>

œb> œb> œb> œb> œb> œb> œb> œb> œb> œb U>

f

f

f

pizz.

pizz.

pizz.

mf

∑

∑

∑

∑

G.P. 3"

G.P. 3"

G.P. 3"

G.P. 3"

&

&

&

B

Hn. in F

Vln.1

Vln.2

Vla.

w

U

wU

pp

pp

A tempo

ord.

ord.

6

Ó œ œ ˙3 3

Óœ œ ˙

3 3

mf

Languid

mf

Languidord.

w

w

Ó œ œ œ œb3 3

Óœ œ œ œb

3 3

wn

w

Ó œ œ œ œb3 3

Óœ œ œ œb

3 3

w

w

w

U

wU

Ó œ œ œ œb3 3

Óœ œ œ œb

3 3

œ .˙b

œ .˙b

wb

w

340

&

&

&

B

.... ....

Hn. in F

Vln.1

Vln.2

Vla.

Œ ˙ œb

Ó œ>œm œb

œ œb œb Ó

w

U

>

wU

>

pp

pp

Ad Lib.

p

sul pont.

mf

w

œ œm œbœ œb œb œm Ó

.˙m w

‰ œ œm œb œ Œ Ó

w

U

wU

œ œ

œ>œm œb

œ œb œb Œ Óp

œm> œm> œm> œm> œm> œm -œn -

3

œ œm œbœ œb œb œm Ó

w

U

>

wU

>

p

p

Ó œ- œn - œ-3

&

&

B

..

..

..

..

..

..

..

..

..

..

..

..

Hn. in F

Vln.1

Vln.2

Vla.

œ- œ- œ- œb - œb - œb -

33

w

wU

wmU

œ œ œb œb wbU

wbU&

p

Ó œ œ ˙3 3

œ- œb - œb - œb - œb - œ- œ- œb -

œb - œb - œb - œb - œ- œ- œb - œ-

œb - œn - œ- œb - œb - œb - œb - œb -

start in time but drift apart slowly

mp

mp

mp

7

mf

Languid

ord.

ord.

ord.

w Ó œ œ œ œb3 3

wn Ó œ œ œ œb3

3

w

&Hn. in F

Vln.1

Vln.2

Vla.

accel.

Ó œ œ œ œb3

3

pp

pp

pp

œ .˙b wb Œ ˙ œn

mf

wU ¿U

wUæ

wmUæ

wbUæpp

pp

pp

pp

12"

tongue stopbreath

8

rr

¿.

rr

œœm >≥

rr

œm>

≥

rr

œ>

≥

sfz

sfz

sfz

ff

341

&

&

&

B

45

Hn. in F

Vln.1

Vln.2

Vla.

œm>

+

œ>

+

œ>

+

œ>

+

œ>

+

œ>

+

œ>

+

œ>

+

œ>

+

œ>

+ U?

œb> œb> œb> œb> œb> œb> œb> œb> œb> œb U>

œœ> œœ> œœ> œœ> œœ> œœ> œœ> œœ> œœ> œœ U>

œb> œb> œb> œb> œb> œb> œb> œb> œb> œb U>

f

f

f

pizz.

pizz.

pizz.

mf

A tempo

œ> œ œ œ œ œ œ œ œ> œ œ œ œ œ œrr

œ> œ> œ œ œ œ œ> œ œ œ œ œ œ> œ œ

wU

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> œ

œb> œb œb œb œb œb œb œb œb œb> œb œb œb œb œb œb œb œb> œb œb> œb œb œb œb œb œb> œb œb œb œb>

Ad Lib.9

p

mf

f

col legno

mf

pizz.

arco

deccelarando at different speeds

?

&

&

B

Hn. in F

Vln.1

Vln.2

Vla.

œ œ> œ œ œ œ œ œ œ œ œ> œ œ œ> œ

œ œ œ œ œrr

œ> œ> œ œ œ œ œ œ œ œ

œb> œb œb œb œb œb œbrr

œb> œb> œb œb œb œb> œb œb

pp

p

p

∑U

—U

∑U

∑U

continue glissandoto highest notepossible

ppp

342

 

 

String Quartet No.3

A Letter to the King of Norway Part 2

Copyright © Scott McIntyre 2012. All rights reserved

 

String Quartet No.3 A Letter to the King of Norway Part 2 - Program notes

Dedicated to Elliott Carter 1908-2012 A Letter to the King of Norway Part 1 is a piece for two violins, viola and French horn that I wrote in

Denali National Park, Alaska. It was for the Composing in the Wilderness workshop run as part of the

Fairbanks Summer Arts Festival in July 2012, mentored by Dr. Stephen Lias.

The initial ideas for this piece were formed by my interest in niche theory. That is the function of natural

sounds and the way different animal and sounds co-exist in a natural habitat. It explains how different

frequencies peculiar to groups of animals occupy a varied stratum of pitches as not to confuse other

species by masking or disrupting their various mating, feeding or pack calls. New animals that move into

an eco-system may share the same frequency as another animal but over time these sounds will diverge

to occupy different frequencies in their audio spectrum, thus co-existing with one another rather than

competing. Human made sounds however tend to disrupt and disturb many of the natural sounds of the

wilderness. During the workshop it became apparent how noisy the wilderness could be and the

pollution of human sounds sits in stark contrast. The piece explored the concept of a single tone

diverging whilst also simulating bird, insect, wind and water sounds. The presence of a jet plane at the

end of the piece and the post horn solo in the middle suggested the human impact on this environment.

The name of the piece also came directly out of my work on the opera, Fire on the Snow (2010-12) and

the letter Roald Amundsen intended Captain Robert Scott to find in a tent left by Amundsen when he

beat Scott to the South Pole in 1911. I remember being fascinated by what the letter meant to Scott and

particularly as he lay dying in his tent some weeks later.

When I approached the String Quartet No.3 the intent was to write a companion piece to this first part.

Many of the musical devices are similar though in different order. I wanted to convey the sense that part

1 (being a much shorter piece) was a glimpse, a fleeting glance at this letter that seemed to add to

Scott’s humiliation. Part 2 was meant to a deeper study, a more in depth treatment of the same material,

implying that Scott studied this letter feverishly as he whiled away the hours trapped in his tent, dying.

Motives are explored in ways that diverge from Part 1 and the brief micro-tonality is expanded into a

broader musical language.

The piece starts off in strict unison but gradually the instruments wander apart to explore their own paths

only to meet again at the end and fade away.

 

 

6. String Quartet No.3 (A Letter to the King of Norway Part 2)

This item has been removed for copyright

or proprietary reasons.

This publication is available at http://www.ijournalcc.com/scores-and-articles/cat_view/53-

scores/66-scores-volume-7-january-2013