lily$[bloom$in$my$darkness]:"an"electroacoustic"opera"

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Kaley"Lane"Eaton"
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A"dissertation"
submitted"in"partial"fulfillment"of"the"
requirements"for"the"degree"of"
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Doctor"of"Musical"Arts""
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University"of"Washington"
2017"
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Reading"committee:"
Richard"Karpen,"chair"
M."Melia"Watras"
JoelHFrancois"Durand"
Huck"J."Hodge"
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Program"authorized"to"offer"degree:"
Music""
 Copyright 2017

Kaley Lane Eaton

!
 University*of*Washington*
*
*
Abstract(
(
(
lily$[bloom$in$my$darkness]:*an*electroacoustic*opera*
(
(
Kaley*Lane*Eaton*
*
*
Chair*of*the*Supervisory*Committee:*
Dr.*Richard*Karpen,*director,*University*of*Washington*School*of*Music*
Music*
*
*
Lily$ [bloom$ in$ my$ darkness]$ is* a* 35Dminute* electroacoustic* opera* for* voice,*

live* electronic* processing,* pulse* sensors,* two* violas,* saxophone* doubling* clarinet,*

electric*harp,*piano,*and*dance*with*an*original*libretto*by*poet*felicia*klingenberg.*

Lily*explores*the*psyche*and*heart*of*Lily*Isabel*Bunny,*an*orphan*who*fled*England*

at*the*start*of*WWI*in*1915,*alone,*25,*female.*She*took*a*ship*to*Montreal*and*then*a*

train,*which*she*rode*to*the*end*of*the*railroad,*arriving*at*Cascade*Tunnel*east*of*

Everett,*WA.*Through*imagining*a*dream*Lily*may*have*had*her*first*night*sleeping*

in* a* cabin* in* the* Pacific* Northwest* wilderness,* this* work* explores* her*

transformation* upon* entering* a* new* world,* and* thus* explores* the* experience* of*

migration*and*displacement*that*unites*our*species.*The*live*electronic*processing,*

sensors,* dance,* and* live* instruments* explore* this* interconnectedness* through*

constantly*influencing*one*another,*transforming*the*role*of*each*force*throughout*

the* work.* As* an* abstract* work,* this* piece* does* not* outline* a* linear,* temporal*

narrative,* but* rather* uses* sound* and* language* to* unearth* the* unconscious* and*

visceral* feelings* that* result* from* displacement.* Using* recorded* language* as* social*
documentary,* sensors* as* portals* to* the* unconscious,* improvisation* as* a* reflection*

nonDlinguistic*expression,*and*other*forms*of*machine*listening*and*live*processing,*

Lily$is*as*much*a*retelling*of*a*particular*emotional*story*as*it*is*the*revelation*of*our*

immediately*contemporary*social*situation.*

*
 Lily [bloom in my darkness]:

Overview of live electronic processes

by Kaley Lane Eaton

DMA candidate, University of Washington

 EATON, 1

Waking the bear: simulating a real sonic cause-and-effect

There is an interesting tension that exists when performing with electronics, especially in

a theatrical, narrative work: the act of pressing a button on a laptop, tablet, mixer, or other

interface carries the risk of removing a performer from the world of the piece, and thus

disenchanting the audience. I had, to a point, circumvented this risk in lily through having all

electronics scheduled after the click of one button per movement - the nature of the composed

music and the electronics was as such that the performers could easily adhere to metronome

markings and the electronics could slowly come in and out in such a way that an occasional

misalignment wouldnt matter.

However, in the first movement, Lily arrives in the mountains of the Pacific Northwest,

alone, and must confront her solitude and her fear within the context of a wildly new

soundscape. The libretto calls for a terrifying Disembodied Voice, representing Ursa Major, or

the mother spirit, to interrupt Lilys thoughts with grunts and growls, realizing and aggravating

her fear of this new world. To authentically compose the idea of fear, I needed to create a

musical environment in which the entire ensemble and audience were experiencing some form

of tangible tension. Fear or apprehension often comes from the idea that an action you might

take will yield harmful consequences. Addressing this, I wrote in a sensitive amplitude trigger:

when the microphone picks up sounds above a certain volume threshold, fragments of recorded

speech, sourced from my social media network, begin to play at randomly generated rates and

amplitudes. I revised the music in this movement so that all was pianissimo until the saxophone

screams, which would ostensibly trigger the speech. Effectively, the musicians, dancer, and

audience must remain as quiet as possible so as to not wake the bear and trigger these

sounds at an undesired point, creating an illusory fear within the room that unites the

ensemble and audience through experiencing tension in a shared environment.

 EATON, 2

Throughout this movement, a pitch follower records the changing frequency of the

vocalists line and uses this frequency to apply a low pass filter to viola I. The filtered sound is

slightly delayed, creating a delicate halo of sound that rings out in the long rests that follow each

phrase. In adding this halo to the neo-Baroque stylings of the voice and violas, Im suggesting

the idea that Lily is distant from her source - the old world, the churches of England - the

memories of these places but mere clouds and smears upon the new environment in which she

finds herself.

Falling leaves: the poetic theme as compositional reservoir

In my work I attempt to use electronics in a way that unveils and emphasizes the

subconscious, real and physical. In such a way, every electronic aspect of this piece is

generated by the human voice and body. In such a way, all composed material - both electronic

and acoustic - in the first half of the piece comes from a recording of felicia recording the poem

falling leaves, which became the complete text of the third movement.

Falling leaves is a poem felicia sent me years ago, which I found as I began exploring

my initial compositional ideas for lily. Through our collaboration and felicias eventual expansion

of this poem into an entire libretto, the poem became the centerpiece of the work thematically

and sonically as it is the source of almost all musical content from movements I-III. In movement

IV, the poem transforms and thus the piece transforms. The text of falling leaves is sparse yet

expressive, implying a dense and powerful emotional universe:

Falling leaves
take so much time
gaining ground

small red drops

piercing the skin
of time and space

and every falling

leaves behind
 EATON, 3

just a fading scar

so throw yourself
down like a challenge
like you know
where youre going

plow
the earth
with your landing
so that it settles
around you
again

and in that darkness

grow
your red
petals

There are layers of rhythm, consonance, and alliteration that make this poem sonically

fascinating. Given this and my preoccupation with linguistic gesture and the unconscious, I

asked felicia to record herself speaking the poem. My intended use for this recording was simply

to guide the musical choices that I might make in setting it, and to further clarify the meaning

and emotional arc; but her reading was so sensationally laden with musical gestures in pitch,

rhythm, and timbre that I opted to use the recording itself as part of the piece.

The poem soon became the seedling out of which the entire sonic world of the piece

would germinate. It is featured in four different ways, and material from these four different

presentations generates nearly all of the compositional choices I made thereafter.

Transformation of poem into drone in movement I

My first instinct was to digitally process felicias recording in some way to bring out the

beauty of her reading and the meaning of the text itself. Her voice, in its powerful, growly

contralto, seemed a logical fit for the imposing Disembodied Voice/Ursa Major character. As I

played with different digital processing techniques, I found that isolating sections of the poem

and time-stretching each section to be anywhere from two to ten times as long, while retaining
 EATON, 4

the original pitch, highlighted the idiosyncrasies of her spoken gestures and the powerful timbre

of her contralto. This also removed intelligibility from the words themselves. In such a way, the

minute-long, drone-like presentation of these linguistic gestures seemed an appropriate starting

point to create the vast and fear-inducing soundscape of the Pacific Northwest wilderness that

we wanted to evoke in the first movement.

To expand the drone-like character of the time-stretched spoken poem, I added a five

second reverb and reversed the reverb volume envelope. I then duplicated this version of the

sound and layered it on top of the previous version, and repeated this process several times,

until the recording became a wash of different frequencies and swells. A spectral analysis of the

original recording revealed that the resonant frequencies of the recording hovered around F, C,

and A-quarter sharp, which were obviously accentuated in the layered and processed version,

delivering an ambiguous f-major or f-minor tonality which I chose to explore in the composed

acoustic music. To reinforce this tonality and fix any accidental accentuation of pitch artifacts in

the processed recording, I used a pitch-corrector to ensure that the sounding fundamental of the

drone was a low F, and added a few layers of pitch shifting on top of that to reinforce the octave

and fifth. The drone appears in this version in movement IV, underneath the din of voices that

signals a shift in the narrative. The unconscious and accidental elements of her spoken

performance, as unveiled through these digital processes, therefore become driving sounds of

movement I and IV, punctuating the overall form of the work as a whole. It is my belief - and,

importantly, a theme in this work - that meaning is embedded in unconscious, non-linguistic

gesture, and the drones function in the piece is a powerful symbol of this idea.
 EATON, 5

Instrumental synthesis of spectral profile of poem in movement II

The most compelling line of falling leaves, both in its page version and in felicias

performance, to me, is the phrase piercing the skin of time and space. The drone

transformation of the recording is one way of exploring the how felicias spoken gestures, and

thus the poems meaning, exists in time and space, in a physically and acoustically precise way;

but given that music composition is concerned with both the objective and subjective, I sought to

explore a subjective presentation of how these gestures exist in the time and space dimensions.

Inspired by Gerard Griseys ideas of instrumental synthesis as a vehicle of zooming in and out

on a particular sound, warping our perception of the sound in time, I did a spectral analysis of

each phoneme in felicias performance and sought ways to convert these phonemes into

acoustic music that the live ensemble would play.

The most interesting aspect of this process, to me, was the element of translation and

artistic license. There are limits to the frequencies an acoustic ensemble can play, and I wasnt

particularly interested in having them represent the spectral data precisely; instead, I sat with

the meaning of each word, the energy felicia inserted into each gesture, and allowed these

subjective qualities to inform the translation. For each phoneme, I looked at which frequencies

represented peaks in the spectrum, and converted this aggregate into a notated chord,

assigning dynamic markings to each note or group of notes to replicate the relative amplitudes

of each peak. I then looked at approximately how long this phoneme lasted in relation to other

phonemes and made a choice about the rhythmic value of this chord. For phonemes that

included slides ([r], [l], vowel diphthongs such as [ai] or [ei]), I would analyze the starting and

ending spectral aggregate of the phoneme and then write a glissando into whichever instrument

was best suited to the frequencies approximated by the slide. For unpitched phonemes such as

[s], [f], [th] or [ch] I explored the many ways that the instruments could access their
 EATON, 6

highest-frequency, unpitched sounds - in these moments the pianist and harp often improvise

high clusters, the violists play grating, unpitched noise, and the saxophonist blows air.

Importantly, I did not want to divorce sound from meaning. Although the text is obviously

not intelligible after undergoing this type of instrumental synthesis, I wanted to retain the relative

lengths of sounds, as felicias elongation of certain phonemes, words, and silences accentuates

meaning. In my translation, I sought to explore the poems meditation on slow and gradual

movement towards an inevitability, and revelation in the present moment. I opted to remove any

metrical or rhythmic limits from phonemes that felicia elongated, such as the vowels in ground

and time and the consonants in space, and also emphasized the harmonic consonance

present in the spectral profile of these phonemes, lending a timelessness and spacelessness to

certain moments within the movement.

Silence plays an important role in felicias performance as well, and I hoped to retain and

expand the ratio of breaths and pauses to speech in my instrumental realization of the poem.

Each moment of silence or breath in felicias performance is expanded into a moment in which

the violas repeatedly attach an F with any dynamic, timbre and duration, their tone delayed and

pitch-shifted by the heart-rate of singer, collected via an Arduino pulse sensor; in these

moments, the dancer breathes audibly into a microphone and she quotes the last musical

phrase, translating music into kinetic body movement. This was an attempt to explore the

meaning embedded in felicias silences, and to suggest that the space between our spoken

gestures, in general, is where meaning settles, translates, expands, and explodes.

This process yielding the spectral realization of the poem and expanded silences

resulted in the only instrumental movement of the work. Narratively, this movement suggests the

idea of Lily falling asleep, or entering into a dream-like world where time, space, and ego are

fluid. The movement serves as a musical magnification of Lilys consciousness, a moment in

 EATON, 7

time where the meaning of her thoughts (as articulated in falling leaves, the poem) explodes

into timeless spectra articulated by breath and movement. As Grisey says, architecture

magnifies Space. Today, as in the past, music transfigures Time.1

Direct revelation of the poem in movement III

In movement III, the text of the poem is revealed in a simple song, in such a way that the

symmetrical use of homonyms and parallel structure is accentuated in the music (falling

leaves and every falling leaves behind use the same melodic and harmonic components to

accentuate the cleverness of this phrase, etc). Felicias recorded reading of the poem sounds,

with a slight stereo delay, at the point when the singer sings so throw yourself down like a

challenge. The recorded, spoken text and sung text then interact in counterpoint until the

climax of the poem - plow the earth with your landing - at which the sung poem and spoken

poem converge on the word plow.

As the singer concludes the text, the meter changes to 6/8 to reinforce felicias lilting 6/8

cadence. The instruments enter 1 by 1 with a musically notated version of her reading: the

rhythm, approximate pitch, and tempo of her voice return as rhythms and pitches on the staff,

an hommage to Reichs instrumental representation of speech in Different Trains. What results

is a dance-like melody, made eerie by the quarter tones in the clarinet and violas juxtaposed

with the fixed pitches of the harp and piano. The instruments play this melody in canon with a

grand accelerando, gradually lining up into a fortissimo unison.

The opera concludes with the instruments playing transcriptions of both falling leaves

and other phrases from the libretto in canon with the actual spoken recordings. This blends and

1
Grard Grisey & Joshua Fineberg (2000) Did you say spectral? , Contemporary Music Review, 19:3,
1-3, DOI: 10.1080/07494460000640311
 EATON, 8

effectively removes the intelligibility of the words themselves, leaving a blended palette of pure,

expressive gesture.

Crowd-sourcing: social media as a compositional tool in movement IV

There is a turning point in the piece at which falling leaves is no longer the driving

reservoir of musical material and meaning. At this point, the narrative shifts from one that

explores Lilys feelings of isolation and powerlessness in a world dominated by external figures

to one that explores Lilys agency and capacity for controlling her environment. This is

represented literally in the composition through shifting the driving energy from the instrumental

ensemble and disembodied electronics to Lilys (the singers) voice. Just before Lilys voice

takes control, falling leaves undergoes an important transformation that is, in many ways, the

apex of the piece.

After the complete presentation of falling leaves in the libretto, Lily reminisces about

her childhood and the onset of WWI, including the death of her brother, in a dream or trance.

Musically, her voice is spread out into the other instruments at this point, the violists and harpist

speaking and singing alternating words with the singer. The ensemble collectively sings into the

vocalists microphone, sending the entire signal into a polyrhythmic stereo delay. After this, Lily

laments the loss of life she escapes in a slow, robotic dirge to the text six thousand dead in ten

minutes. How can I mourn so many? Following this text, the Disembodied Voice presents a

transformed version of Falling leaves:

Disembodied Voice:
Falling leaves
take so little time
gaining ground

small red drops

piercing the skin
and every falling
leaves . . .
 EATON, 9

a casket . . .

the body is a casket

play it like a drum
it holds the heart within it
playing like a drum
Lily of this valley, this valley is a casket,
it holds My heart within it
beating like a drum

Your brother used his like a dancefloor

when the mantle came
your father banged his like a drum
your mother played hers like a fat viola
every single day

This transformation is a pivotal moment in the narrative, and the music had to undergo a

similarly radical transformation in this part to usher us into the new era of the piece in which

Lilys voice is the transforming agent. I happened to reach this point in the libretto,

compositionally, on the day of Donald Trumps inauguration, a cultural moment which the

librettist and I noted had eerie connections to themes in our work about power, nationalism,

community, and identity. The grief, horror, and helplessness felt by my social network through

their social media posts presented itself as a sort of poem on my Facebook newsfeed, through

which I scrolled periodically as I contemplated the lines in the text I was supposed to be setting.

Given the function of technology in this work - as a vehicle for dispersion, expansion, and

accentuation of the subconscious - it suddenly made sense to use technologys networking

capability to involve as many people as possible in the work, particularly at this point in the

libretto. The leaves that fall parallel the many bodies that fell in the six thousand dead in ten

minutes; the imagery of drumming and dancing conjures multitudes; so what better way to

signal the shift from powerlessness to powerful, on Lilys part, than having the Disembodied

Voice become a being made of many voices, all of whom catalyze Lily into action? And was this

not the point we were at, socioculturally, on the day that I reached this point in the composition?
 EATON, 10

In this frenzied inspiration, I made a Facebook post asking for 20+ people to record

themselves speaking this poem, without context as to its meaning, and preferably without

coaching from me or even rehearsal on their own. Surprisingly, I immediately received 20+

responses and shortly thereafter 20+ .wav files ended up in my Facebook inbox. My hope was

that recording their unconscious, unrehearsed spoken voices on this day would preserve

whatever collective feeling of grief, horror, and, oddly, inspiration and action that was bubbling

within my network, all feelings that I felt this particular text would highlight as people spoke it.

While originally I thought I might fragment, process, and thoroughly re-compose these

recordings into something entirely new, eventually I found that simply layering them on top of

each other and starting them at the same time yielded a powerful result. The din of these many

voices with their varying tempi, cadence, timbre, dynamic, and emotion ultimately unlocked the

deepest and most saturate meaning of the poem, the day, and thus the work. I am moved by

how this moment is simultaneously a time capsule of a particular moment in our time in 2017

and, somehow, a portal into the universal grief felt by generations past and future who have

experienced the uncertainty of violent narcissism taking power.

I did sample the word Lily from four of the recordings, and arranged them rhythmically

to create a punctuating unit. These recordings were also the source of the triggered bursts of

speech in movement I. In movement IV, before we hear the din, this unit sounds once per

minute every 10 minutes to invite the audience into the 10 minutes alluded to in the libretto in

which six thousand men died from chlorine gas in the trenches of WWI. This is how Lilys

brother died, so this text becomes the natural catalyzing moment to the feelings of grief and

catharsis I hoped to illustrate in the music.

 EATON, 11

Freeing the voice

Following this moment in the work, the role of technology shifts: the electronics are no

longer controlling the singer and ensemble, but the reverse. Lilys voice, now delayed and

dispersed using her own pulse data, controls the texture: a pitch follower reads the frequency of

the singers voice and uses this frequency to put a low-pass filter on the violas. Some of the

singers pitches are notated, and she also has the freedom to speak and whisper at this point -

the instruments copy her improvised gestures, improvising themselves, lending all sonic and

textural control to the voice. At the conclusion of the work, every instrument is playing in canon

with recordings of my own spoken voice, unprocessed, and simply layered upon itself. Given

my light and unthreatening soprano speaking voice, this moment is a massive textural shift, in

that the audience is entrained to hearing felicias deep contralto, the terrifying sounds of

processed voices, the drone, and the din, coming from the loudspeakers. Singing and speaking

in canon with my own voice also blurs the line between the real and the digital - the audience

wont necessarily be able to tell what is happening in real-time and what has already happened.

We also directly experience Lilys memory, as her voice from the first movement - which is

recorded live into a buffer during performance, laden with fear and anticipation of waking the

bear - returns in the last movement, murky with a comb filter and fast delay, as if sounding over

a dying telephone, reminding her of her past fears. This memory adds a layer of ambiguity and

sorrow to the varied texture of clear speech and melody.

All electronics drop out in the last two minutes in which Lily sings a solo,

bluegrass-styled transformation of the initial melody. After reflecting on entering a land of

democracy, she asks, a government of the people, for the people needs the courage of a lion

and the strength of many bears. Does this valley nurture lion-hearted people? Can my heart

stretch wide enough? The instruments drop out, and she is left singing alone.
October, 2016

TO WHOM IT MAY CONCERN

This document reiterates a verbal agreement I made with Kaley Lane Eaton, authorizing her to
compose a musical work based on my libretto, lily [bloom in my darkness].

Sincerely,

felicia Klingenberg

604-338-7335

f.g.klingenberg@gmail.com
 lily
[bloom in my darkness]

an electroacoustic opera

music by Kaley Lane Eaton

libretto by Felicia Klingenberg
2

Where practical, symbols are explained in the score and parts for immediate reference. The following symbols occur numerous times throughout the piece:

Sprechstimme, or, spoken in rhythm, loosely following indicated pitch level and contour

Spoken or whispered (will be indicated in score), at any pitch level, following rhythm

Repeat boxed phrase until arrow ends

Play one quarter tone higher than notated pitch.

Play one quarter tone lower than notated pitch.

Slide up to notated pitch.

Slide up after playing notated pitch.

Slide down after playing notated pitch.

Play a high-register cluster containing white keys only.

Electronic elements of the piece are not notated as they may sound, but are rather described textually at the points at which they occur in relation
to the notated music.

Technological set-up:

Directions for performance with electronics:

It is highly recommended that the ensemble designate a person whose sole role it is to run the electronics. Once this person runs the
code on the provided SuperCollider document, a GUI will show up with numbers corresponding to numbers written in the TAPE part
of this score. Press these buttons on the GUI at exactly the point designated in the score. Provided that everything is set up according to
the graphic above, the electronics will run smoothly in time with the performance.

Once pressed in accordance to the score, the button will run all relevant electronic events on a timer. For this reason, it is crucial that
the performers adhere to the given metronome markings.
 3

lily [bloom in my darkness]

prelude

Any instrument or combination of instruments may play this,

with any number of repetitions, taking care to play each note
short and quiet.

Conclude the prelude and follow with silence.

Vocalist will cue the beginning of movement I.
4 lily

A q = 56 I. Kaley Lane Eaton

text by Felicia Klingenberg

Tenor Saxophone
4 3 4
&4 4 4

4 3 4
&4 4 4
Harp
? 44 3 4
{ 4 4

4 3 4
&4 4 4
Piano
? 44 3 4
{ slightly detached, very breathy
4 4

mf
pp sempre 3
4 - - - 3 4 U j
Voice &4 - - # j
4 . # 4 # #
.
So this is where I've come to, an - swer-ing an in - vi - ta-tion My spi - - - rit

A q = 56
non vib.
B 4 molto sul pont.
- # 3 4 U
Viola I 4 - 4 n # 4
pp mf pp pp mf pp
as a warped baroque viol

non vib.
molto sul pont. U
4 - - 3 j 4
Viola II
B 4 - 4 4 #
pp mf pp pp mf pp
as a warped baroque viol
1,2
Electronics
4 trigger on
Amplitude 3 4
4 vocal part into buer
/Recording 4 4
Violas ltered by voice pitch

Ten. Sax. 9
& 8

9
& 8
Hp.
? 9
{ 8

9
& 8
Pno.
? 9
{ 8

U 9
j
.
Voice & 8
#
grasped at Twi - light is dar - ker in this val - ley The shad - ows seem so hea - vy. The si - lence is too

U
> U
# n w > w 9
Vla. B # # n w 8
mf pp sfz pp mf pp pp ff pp
U U
> 9
Vla. B 8
> # #
mf pp sfz pp mf pp pp ff pp

Tape
9
/ 8
 e = e 5
13 B
Ten. Sax.
9
&8

9
&8
Hp.
? 98
{ b # b n nnnnn 6666 nnnn 6666 nnnnn 6666
# # n b # # nn j
9 J nn
b # n
b n
&8 n n n
b
Pno.
>
? 98
{ J
j


ppp mf pp
una corda

gradually turn to whisper
pp f mp
9 j
Voice &8
b j

full. I [f] eel The

B e = e
B 9 gliss. n
Vla. 8 J n
ppp possibile

gliss. > > B

Vla. B 98 j
B n

ppp possibile 2

Tape
9
/8

17 C e = e
Ten. Sax. 4 3
& 4 4

4 3
& 4 4
Hp.
? 4 3
{ 4 4

n
n b b n
& J j 44 J J 43
pp f
Pno. f p

? &b ?
4 3
{ 4 4

mp p gradually turn to whisper slightly more expressive, still timid

n
Voice & b n 4
4
j
b b n b b 43
J J
pre - sence of some crea - ture Peo - ple told me there are bears here and

C e = e
molto rit. e dim. come prima

Vla. B
4 b

U
3
4 J 4
pp

molto rit. e dim.

come prima
4 U 3
Vla. B 4 4
b b
pp

Tape
4 3
/ 4 4
6
21

Ten. Sax.
3 4 9
&4 4 8
3 4 9
&4 4 8
Hp.
? 43 4 9
{ :;
4 8

3 4 9
&4 4 8
Pno.

? 43 4 9
{ 4 8

mf pp ppp double dot

>
3 4 b b 98
Voice & 4 b b b b 4 J
wolves and moun-tain li - ons No Eng - lish lambs here but me

3 b b > b b > n b b
Vla. B 4 J b 44 b nb b b n b 98
J
mp pp sfz pp mf p

3 4 gliss. 98
Vla.
B 4 b n 4


b b b
>
mp pp sfz pp mf p

Tape
3 4 9
/ 4 4 8

26 D e = 56
Ten. Sax.
9 6 9
&8 8 8

9 6 9
&8 8 8
Hp.
? 98 6 9
{ 8 8

nnnnn 6666 nnnn 6666 b nnnnn 6666 nnnnn 6666

##

n n # n
nbn
9 b b
&8 n J n b
b 6
8
9
8
> J J
ppp
all dynamics subito
Pno. pp f p p mf
.
? 98 j > b
& J 6 ? j
9
{
mf
una corda



J

> >
f ff mp


ppp
J
8
>
mp
p
J 8

Voice
9 6 9
&8 8 8

D e = 56
9 gliss.
gliss. 6 9
Vla. B 8 8 8
n

9 6 9
B 8
Vla. gliss. b gliss. 8 8
n

Tape
9 6 9
/8 8 8
 Approx. 20-30 seconds, until triggered electronics die out

29
> screaming multiphonic,
descending through partials 7

Ten. Sax.
9 bbbb repeat at dierent pitch levels 5
& 8 b & until electronic sounds begin to 4
b b die out
b .
b
> p
fffff possibile

9 U U U 5
&8 4

Hp.

? 98 U 5
{

U U U
4

9 5
&8 4
Pno.
? 98 U U U 5
{ 4

9 U U
U
U
5
Voice & 8 b> 4
>
AH NG I had to

Approx. 20-30 seconds, until triggered electronics die out

9 U U U 5
Vla. B 8 4

9 U U U 5
Vla.
B 8 4

Tape
9 5
/8 4
speech at random rates and pitch levels, triggered by voice

32 E q = 56
Ten. Sax.
5 2 6 9 3
&4 4 8 8 4

5 2 6 9 3
&4 4 8 8 4
Hp.

? 45 e#e e e 2 6 9 3
{ f
4
p end
8 8 4

b n
5 2 6 b j
J 98 J 3
&4 4 8 J 4
pp f
Pno. f p
? 45 2 6 9 3
{ 4 8

8 4

more expressive
mp mf
3
5 bbbb n 42 68 9 J 43
Voice & 4 8
run from all that mur der a

E q = 56
ord. molto sul pont.
5 b
2
glis
b 68s. n >
9 O 3
Vla. B 4 4 n 8 J 4
J >
2 2
mp mf pp ppp possibile

5
ord.
2 glis6s. molto

sul pont.
O 9 O j
Vla. B 4
b b 4 bb 8 nB B 8 B #n nJ 43
mp mf pp ppp possibile

Tape
5 2 6 9 3
/4 4 8 8 4
8 39 end
Ten. Sax.
3 5 4 6
&4 8 4 8
>e # e e e
f p

end
3 5 4 6
& 4 e #e e e 8 4 8
Hp.
f p
? 43 5 4 e #e e e 6
{ 8 4
f p
8

b b n #
3 5 4 6
&4 8 4 8
ff ppp
Pno.

? 43 5 4 6
{ p
3
8

4

f
8

3 58 4 6
Voice &4 J 4 8
place with no peo - ple has no need for a

molto sul pont.

3 O
Vla. B 4
5 # n n j r 44 O bbO b O O O O 6
bO
O O bbO
8 n
> 8
p f ppp possibile
pizz.
arco
5 O > j

3
Vla. B 4 b b 8
J 44 b b
6
8
f ppp possibile f p f

Tape
3 5 4 6
/4 8 4 8

44

Ten. Sax.
6 4 3 ?9
&8 4 e #e e e e #e e e 4 8
ne #e e e
f p f p
f p

end
6 4 3 9
&8 4 e #e e e 4 8
Hp. f p
e #e e e
? 68 4 e #e e e 3 9
{ 4
f p f p
4 8

:;-. -. -.
# -. b
6 J J J j n b 4 3 9
&8 J 4 4 8
f pp
Pno.
? 68 4 3 9
{
4 4 8

slowly close to [m]

ppp f
6 4 > > > 3 > > 9
Voice & 8 4 J 4 J 8
a lamb on a cross

sul pont. ord.

6 > > B j j b 3
Vla. B 8

B n 44 4
9
8
2 f f
ppp possibile

ord.
6
Vla. B 8
n B 44 3 9
b b 4 8
ppp possibile

f f

Tape
6 4 3 9
/8 4 4 8
 F> repeat at dierent pitch levels
b b
bb until electronic sounds begin to 9
49 die out
b
Ten. Sax.
? 98 b
bw &
> p b
fffff possibile b .

9
&8
Hp.
? 98
{
~~
~~~
j n j #
9
&8 b J J
-.
Pno. mp pp p
ff

>
? 98
{ j & b ? >
-. .
>

ff whispered loudly
9 >
Voice & 8 b b
J
n #
Ur - sa ma - jor is too close

F
9
Vla. B 8 gliss.
p

9
Vla.
B 8 gliss.
p

Tape
9
/8 speech at random rates and pitch levels, triggered by voice

51

?2
Ten. Sax. & 4

2
& 4
Hp.
? 2
{ 4

n bnn . n n -. -. -. -.
b > b n # b n n # -. b
> J J J j n b b J J 2
& b J
n J 4
b b
ff p (p)
f f pp
f pp
Pno.
> .
> nbn n ?j >
? b 2
{

fearfully
f
&
J
p
J

f
>
(f) mf

4

f f pp to whisper
-. -. -. j 2
Voice & #
-.
j j b b bJ J 4

I can smell her I can smell her chil - dren paw-ing clos -er
con sord.
2
Vla. B 4
con sord.
Vla. B 2
4

Tape
2
/ 4
 G> foot in bell >
10
57
Ten. Sax.
? 42 3
8
5
8

> > >
ff n
ff n

wah pedal no eect wah no eect

2 3 5
&4 8 8
>
Hp.

? 42 3 5
{
fff

8
p

>

8

:;>
n
>
2
&4 b 3
8 n b 5
8
f pp f p
Pno. b
b
? 42 3 5
{

>
8 n
n>

& 8

ff ff mp
Voice
2 > b>
>
n>
> b> 3 j j 5
&4 J 8 > > b>
8
I've been dy - ing for so long, hu - man hands a -

G b/t B and Bb
b/t E and Eb b/t A and Ab b/t B and Bb
B 2 bend 3 b
pitch at dierent rates,
Vla.
between
B and Bb b n J 5
4 8 8
pp mf 3

b/t E and Eb
bend pitch at dierent rates, b/t E and Eb b/t A and Ab b/t B and Bb b/t B and Bb

2 between B and Bb
3 5
Vla.
B 4 8 8
pp p

Tape
2 3 5
/4 8 > 8
speech at random rates and pitch levels, triggered by voice
=
62
Ten. Sax.
? 58 6
8 7
8

>
ff

heavy distortion
5 6 7
& 8 8
> > 8
> > > > >
Hp. ff

? 58 6 > b> > 7

{ b> 8 b 8
> > >

:; 3 3 3 >

5 6 b 7
&8 b 8 J 8
3 3 3
Pno.
3 f p
5 6 ? 7
{
&8 8 nb
&b b 8

>

OPTION: SPOKEN/SUNG BY DANCER
+ vib.
p f fff p
3 3 3
Voice
5 6 n b b> > >
b> n > 7
&8
8 J 8
b
round my throat peo-ple have so ma-ny ways to kill! Still my bo - dy bleeds

slowly turn to grating noise and

>
B 5 gliss.
6
back to pitch
> > >
7
Vla. 8 8 8
f pp

slowly turn to grating noise and

b/t B and Bb b/t E and Eb gliss. back to pitch
5
Vla. B 8
6 b 7
J 8 8

pp
> > >

>

Tape
5 6 7
/8 8 8
 11
>

66
? 87 2 9 U 5
Ten. Sax. 4 8 4
>
ff n

lighter distortion
wah pedal
U
7 2 9 5
& 8 4 # 8 4
b > >
Hp.
>
? 87 2 9 b> > > U 5
{ 4 8 4

:; >
#
3 3
3
b # U

7 J
&8 2
4
9
8
b n # J 5
4
Pno. pp
mp
7 ?2 9 b 5
{
&8 4

>
& 8

b b

pp
4

NB extremely breathy
p f p almost out of breath f p f sub. f sub. p sub.
7 2 9 U
# n> > 5
Voice & 8 > > 4 # gliss. 8 b n n J 4
> >
to the pull of this for - eign moon. a - no - ther fu - ture dis - car - ded in a smear

gliss. ord
7 sul pont.
2
to
9 b U 5
Vla. B 8 gliss. 4

8 > >
>
4
p ff n

sul pont. to ord U

7
Vla. B 8
2 9 5
gliss. 4 8 b 4
> >
p ff
> n

Tape
7 2 9 5
/8 4 8 4

=
H
70 q = 42
Ten. Sax.
? 45

5
& 4 bb bb bb
ppp simply, monotone
Hp.

? 45
{
5 n n
&4 bb bb bb
ppp simply, monotone
Pno.

5
{
&4
una corda

p in any rhythm; chant-like , ,

,
Voice
5 # n # n b n # #
&4
of blood The mo - ther of cre - a - tion ol - der than us all I hear her pan - ting her claws are at my

H
5
Vla. B 4

5
Vla.
B 4

Tape
5
/ 4
12

Approx. 20-30 seconds, until triggered electronics die out

> repeat at dierent pitch levels

b b
bb until electronic sounds begin to
73 b die out

Ten. Sax.
? b b b . &
bw > p
fffff possibile

U
&
Hp. move to interlude after violists hit chord
? U

{
U
&
Pno. move to interlude after violists hit chord
U ?
{
&
ff

Voice &
breast

hold through interlude until mvmt II

Approx. 20-30 seconds, until triggered electronics die out
U enter with viola II
BBU

Vla. B
pp

U

U
B
Vla.
pp attacca

Tape / U

 13

interlude
14
II.
1
I q = 88
4 j
Tenor Sax & 4 j j
>

mf p pp f mf f n mf

4
& 4
Harp
? 4
{ 4

b b b j
& 4
4
J
Piano > mf p mp mf mp > mf
w
w
? 4
{ mf
4
pp p mf f

mp

Voice 4
& 4

I B
<B><B> w
w 4 n B B B B B >

Viola I B 4 J J J
pp f mp mf mf mf f p f mf
<> w
<> w > . B B B
Viola II B
4 J J
4 J
pp mf p mf mf f mf f n mf
Violas ltered by voice
Electronics and processed by heartbeat 4
/ Amplitude trigger still running
4

Ten. Sax. &

w w w w w w w w w
f p

&
Hp.
?
{
b b n
& w w w
f p
Pno.

? w w w w w w w
{ w w w w w w

Voice &

w w w w
w w w w w w w w
Vla. B
f n

b w
w w
w w
w w
w
B
Vla.
f p

Tape /
 15
16 Approx. 10-15 seconds

Ten. Sax. 3
& 4

3
& 4
Hp.
? 3
{ &4

3
& 4
Pno.
? 3
{ &4

Voice 3
& 4
Approx. 10-15 seconds
play any number of times with
varying dynamic and timbre,
with silence in between each attack
B U
w 3
Vla. 4

U
w 3
Vla. B 4

Tape
3
/ 4

J multiphonic multiphonic
19
3 4
Ten. Sax. & 4 j j r 4


mp f mp f p mf mp f n

3 4
&4 4
Hp.
3 4
{ &4 4

bb ~~~ # n
o b .
3 ~~~~~~ J 4
&4 ~~~~~~
~~~~~
b 4
f mp n pp mf p f mp pp mp pp
Pno.

b
3 ? ~ ~~~~~~~~ bj ~~~~~ 4
{ &4
f mp
~~~~~~~~~
n
&
pp mf
b

p pp mp
n
f

mp
4

Voice
3 4
&4 4

harmonic gliss down

o glis
s. o
J n b sul tasto glis
3 B B B
s.
4
Vla. B 4 4
f mp f f pp p f mp pp mp f mp

harmonic gliss up sul p. - sul t. B

B B o B B B
3 . j J 4
Vla.
B 4 gliss 4
f mp f f f mf p f p pp f mp

Tape
3 4
/4 4
 25
16
4
Ten. Sax. &4 bw w w
w w
> > p
f

sounding in upper octave

Oo Oo Oo
4
&4
f p
Hp.
Oo Oo Oo
4
&4
{
p
> w>
w
ww
4
&4
p
Pno.
# ww
4
{
&4 &
p

Voice
4
&4

sul ponticello > >

w
4 > w w w
Vla. B 4 w w w &
f pp p n

sul ponticello > >

w
4
Vla.
B 4 w
w
>
w
w
>
w
w
>
w
w &
f pp p n

Tape
4
/4

31

Ten. Sax. &

&
Hp.

{
&

ww ww ww > >
w
& &
mf f
Pno.
## ww ww ww > >
w
{
&
mf f

Voice &

wo wo wo wo o #> >
w

Vla. &
p mf p mf

wo wo wo wo o
#> >
w
Vla.
&
p mf p mf

Tape /
 approx. 10-15 seconds 17
37
U 5
Ten. Sax. & 4
U 5
& 4
Hp.
U 5
{
& 4

U 5
& 4
Pno.
U 5
{
& 4

U 5
Voice & 4
approx. 10-15 seconds

U 5
Vla. & w 4
play any number of times with
varying dynamic and timbre,
with silence in between each attack
U 5
Vla. 4
& nw

Tape
5
/ 4

K
38
5
Ten. Sax. &4 j j j gliss. j
.
f p sub. mp mf p mf ff p f p

5
&4
Hp.
5
{
&4

~~~~

~~~~

b n bb n
5 J R
~~

b
b J
&4 J b B



f p pp mp pp mp p p f p sub. f p ppp
Pno.

5 ?
b ? ?
&4 J R
{
&

j & n
f p pp mp pp mp p p

Voice
5
&4

K sul tasto - sul ponticello

> b
5 gliss. j b
Vla. & 4 B B n j n B n Bn
J

f ff sub. p mf f pp mp ff p f ff ppp

5 j n> gliss. j
Vla. & 4
B j
B B B
J

f ff n f pp mp ff p f

Tape
5
/4
18
approx. 10-15 seconds
41
U 4
Ten. Sax. & 4
U 4
& 4
Hp.
U 4
{
& 4

U 4
& 4
Pno.
? U 4

{ 4

U 4
Voice & 4
approx. 10-15 seconds

U 4
Vla. & w &4
play any number of times with
varying dynamic and timbre,
with silence in between each attack
U 4
Vla. &4
& w

Tape
4
/ 4

42 L
Ten. Sax.
4 bw
&4 w
mf

ww ww o
4 w w

&4
p p p
Hp.

4
&4
{

w w
4
&4 ww
w ww
w

mf p
Pno.

? 44
{

Voice
4
&4

1) gliss. double stop up and down a 1/4 tone

repeatedly
2) gradually move from sul tasto-sul ponticello
Lo wo gliss. gliss.
4 w w gliss.
w
Vla. & 4 gliss.
w w
p f

gliss.
o o o w gliss.
gliss. w
4 w gliss. w
Vla.
& 4 &
p f

Tape
4
/4
 approx. 10-15 seconds
46
U 19
Ten. Sax. 4
& 4
U 4
& 4
Hp.
U 4
{
& 4

U 4
& 4
Pno.
? U 4

{ 4

U 4
Voice & 4
approx. 10-15 seconds

U 4
Vla. & w 4
play any number of times with
varying dynamic and timbre,
with silence in between each attack
U 4
Vla. 4
& w

Tape
4
/ 4

47 M
4 j
Ten. Sax. &4 j
w
pp ff pp n f mf

4
&4
Hp.

4
{
&4

b
nnnn 6666 nnnn 6666 nnnn 6666 nnnn 6666 nnnn ))))
4 J
&4
mf p pp p pp mf
Pno.
# n
? 44 J

J nb ww
w
{
pp p


j &
p pp

mf

Voice
4
&4

M
4 B J j B o B B Bw
w
Vla. & 4 BB Bn J & J B

mf pp sub. mf p pp f mf

o j w
4
Vla. & 4 J
B j B w
J &

mf pp sub. mf p pp f mf

Tape
4
/4
20
N
50 blow air
> ?2 4
Ten. Sax. & & 4 4
w Y
f (as possible) ff p

2 4
& 4 4
Hp.
2 4
{
&
nnnn )))) nnnn 6666
4 4

bU
w b b
U
w
2 4
& 4 4
p mf p
Pno. pp n
<b>ww U U b n
w 2 4
&
{ w
bw 4 4
mf p
pp
pp

Voice 2 4
& 4 4

N

<B><>
sul pont. ord.
U
w U
w # B 2 n 4
Vla. B & B B4 4
mp pp n p ff mf

sul pont. sul tasto

U U # - - B
B 2 4
Vla.
B w
w w
w & B4 4

mp pp n p ff mf mf

Tape
2 4
/ 4 4

approx. 10-15 seconds

55
? 44 U 4
Ten. Sax. 4

4 U 4
&4 4
Hp.
4 U 4
{
&4 4

4 U 4
&4 4
Pno.
4 U 4
{
&4 4

4 U 4
Voice &4 4

approx. 10-15 seconds

B 4 U
w 4
Vla. 4 4
play any number of times with
varying dynamic and timbre,
with silence in between each attack

Vla. B 4U
w 4
4 4

Tape
4 4
/4 4
 multiphonic z or sing pitch
56 O Y 21
?b
Ten. Sax.
? 44 3
4 4
4

ppp mp ff p mf 3
3
4 3 4
&4 4 4
Hp.
4 3 4
{
&4
approximate pitch

4

4

ss. gliss.
gli > b
4 b 3 4
&4 4 4
3 pp
f mf ff p
Pno. gliss.
4 #
&4 # 43 4
{ f

ff

>
p
3
pp
4

Voice
4 3 4
&4 4 4

O
o
ord. sul pont.
nord. gliss. n o o sul pont.
B 4 B
n
3 4
Vla. 4 & 4 4
3 3 mf
ppp mp ff mp ff pp
ord.
o
sul pont.
gliss. o o sul pont.
4 b b
3 4
Vla. B 4 B & B 4 B 4

3
ppp mp 3 ff mp ff pp mf

Tape
4 3 4
/4 4 4

59 P
? 44 >
5 w ?4 > >
5 w ?4
Ten. Sax. &4 4 w &4 4
ff ff
f
with distortion
> >
4 5w 4 5 w 4
&4 4w 4 w 4 w 4
ff
bw
Hp. f ff
> >
bw
4 5w ?4 5 bw ?4
{
&4 4w 4 bw
w
w &4 4
ff > ff
f
>
4 5 4 5 w 4
&4 4 4 w 4 w 4
bw
Pno. f ff
>
bw
4 5 ?4 5 bw ?4
{
&4 4 4 bw
w
w &4 4
> ff
f

Voice
4 5 4 5 4
&4 4 4 4 4

P
ord.
>
w >
w
4 5 w 4 bw 5 w 4
Vla. & 4 B4 4 w 4 4
ff >
f ff
ord.
>
Bw >
4
Vla. & 4 5
B4 w 4 bw 5 Bw
w 4
4 w 4 4
ff >
f ff

Tape
4 5 4 5 4
/4 4 4 4 4
22
63 To Cl.
>
? 44 w 5 ?4 > 5 ?5 > > 5
Ten. Sax. &4 4 w & 4 b 4 w &4
ff p mp fff possibile
f ff

4 5 J 4 5 5 5
&4 w 4 J J 4 w 4 4 w 4
bw bw w bw
f mf mp f f mp
Hp. ff fff possibile
attaca
? 44 w 5 4 w 5
4w 5
4 bw 5
{ bw
w
>
f
4 4 bw
w
>
ff f
w
w
>
mp

>
4
fff possibile

4 5 4 5 5 5
&4 4 4 w 4 4 w 4
bw bw
Pno. mp
ff
? 44 5 4 w 5 5
4 bw 5
{ 4 4 bw
w
>
ff
4 w
w
>
mp
4

Voice
4 5 4 5 5 5
&4 4 4 4 4 4

Bartok
4 pizz. # arco
5 & J B4 5 5 5
Vla. B 4 bw 4 J 4 bw 4w 4 bw 4
w
> w
> w
> w
> >
f f mp ff ff mp fff possibile

col legno n Bartok pizz. arco

4
Vla. B 4 bw
5 batt. J B4 5 5 5
w 4 J & 4 bw w 4ww
4 bw
w 4
> > > > >
f mp f ff ff mp fff possibile

Tape
4 5 4 5 5 5
/4 4 4 4 4 4
attacca into interlude
 23

interlude

Any instrument or combination of instruments may play this,

with any number of repetitions, taking care to play each note
short and quiet.

Interlude ends as soon as harpist plays the downbeat to movement III.

24 III.

Q q = 42
1 Clarinet in Bb 3
5 4
Cl. &4 # w 4 w
n
ppp

5 b b bb b bb b bb b 4 bb
& 4 b 4 b w
pp simply, bbw
w
Hp. monotone
? 45 4
{ 4

5 4 b n
& 4 bb b n bb b n bb b n bb 4 bb b
b
pp simply,
Pno. monotone
? 45 4
{ una corda
4

pp breathy, straight-tone
as if waking up 3 j
5 44 b b
Voice &4 b b
Fal - ling leaves take so much time

Q
5 4
Vla. B 4 4

5 4
Vla.
B 4 4

Tape
5 4
/4 3 4

7
3
2 5 4
Cl. & 4 4 # w 4
ppp n

2 5 4 bb
& b 4 4 bb b bb b 4 b
b
Hp.

? 2 5 4
{ 4 4 4

2 5 n 4 b n
& 4 4 bb b bb 4 bb
<b> bb b

Pno.

? 2 5 4
{ mp pp
4 4 4

3 3
j 3
42 5 4 bj b
Voice & b b n 4 b 4
gai - ning ground. Small red drops pier-cing the skin of time

B 2 5 4
Vla. 4 4 4

2 5 4
B
Vla. 4 4 4

Tape
2 5 4
/ 4 4 4
 25
12

w b 2 5
Cl. & 4 b 4 w
mf pp n

2 5
& bw 4 4 bb b
bw
w bb


mp
Hp.
? 2 5
{ 4 4 bb

2 5
& <b><b> 4 4 bb
b bb b

mp
Pno.
? 2 5
{ 4 4
tre corde

mp
3 3
j 2 5 j
Voice & b b b 4 j 4

and space and eve - ry fal - ling

2 5
Vla. B 4 4

Vla. B 2 5
4 4

Tape
2 5
/ 4 4

16
4 b b n 2
Cl. & 4 b 4
3
p mf pp

4 bb 2
& bb b 4 b w 4
bbw
w bb
Hp.

? <b><b> 4 2
{ bb 4 bb b bbb 4
b

n 4 b n 2
& <b><b> bb 4 bb b 4
b
bb b

Pno.

? 4 2
{ 4 bw bbb bbb 4
bw
3 r j
4 b b 2
Voice & b w 4 b 4
leaves be - hind a fa - ding scar

B 4 2
Vla. 4 4

4 2
B
Vla. 4 4

Tape
4 2
/ 4 4
26
21

Cl. &

pp mf

&
b bb

Hp. mf

? b bb
{ b

&
b b bb

mf
Pno.

? b b bbb
{

mp mf
Voice & b b
j b

so throw your - self down

B
Vla.

Vla. B

spoken recording:
Tape / falling leaves take so much time gaining ground

26

Cl. &

pp pp

&
b bb b b bb
Hp. f mf

? b
b

{ bbb b bbb

&
b

b bb bb
f mf
Pno.

? b bbb b bbb
{
mf

Voice & j b b b
b b b b b
>
like a chal - lenge plow the earth with your lan - ding

B
Vla.

B
Vla.

small red drops piercing and every falling leaves so throw yourself down like a challenge,
Tape / the skin of time and space behind just a fading scar like you know where you're going
 27
34
5
Cl. & 4
f pp

5
& <b> 4
<b> b bb
Hp. f

? <b> 5
{<b><b> b bbb 4

5
& 4
b bb
Pno. f

? 5
{ b
bbb


4

f p
3 3
3 3
b b 5
Voice & <b>J b b b b 4
un - til it set - - - tles a - round you a - gain and

5
Vla. B 4

5
Vla.
B 4

Tape
plow the earth with your landing 5
/ so that it settles around you again 4

=
Attempt to stay together as much as possible; some deviation is ne.
R Line up at approximately m. 79 in order to end together.
q = q.
accel.
39
3 2 2
5 6 n B
Cl. &4 # 8 j b n n j j
# b
ppp mf

5 6 bb
& 4 bb b bb b 8 b
mp
bb
Hp.
? 45 bb 68 b bb
{ bb bb b
b
5 n bb 68 bb n bb
&4 bb b
mp
b
Pno.

? 45 6
{
tre corde
f

3
8

p 2

2
2
b
b
5 68 b b b b
Voice &4 n- - - b b
b
in that dark ness grow your red pe-tals

Attempt to stay together as much as possible; some deviation is ne.

R Line up at approximately m. 79 in order to end together.
accel.
sul ponticello
con sordino
B 5 6 j # n j
Vla. 4 8 J
pp 2 2

sul ponticello
con sordino
##
5
Vla. B 4 6
8 J n
J n # b

pp 2 2

Tape
5 and in that darkness, grow your red petals
6
/4 8
28
q. = 96
47
2 2 2 2
j
Cl. & n j B n j
<> n n > > B
f

2
& j

pp
> >
Hp.

?
{
&
Pno. # #
? J # #
{
pp

Voice &

q. = 96 >
> > B
Vla. B n n j B nj
J
f pp 2 2 2

n > > B j j
Vla.
B
J J n B n
f p f pp 2

Tape /

56

Cl. &
> n - - - n B B B j # n n j
>
2 2 2
& j j
> - - -
Hp. >
?
{
> > j j
& J
pp 2

Pno.
#> > # # # # # #>
? # # # # # # # #-# - - #>
{ J J
2 2 2 2

Voice &

B > Bj # n
Vla. n- - - nB B
2
>

>
nB B
B
Vla. n- - -
2 2
>
2

Tape /
 29
64
2 2
Cl. & j
>

2 2
& j j

Hp.
?
{
>
&

- - -
2 2 2
>
Pno.
# # # # # # # # # # # # # # # #
? J J
{
Voice &

B n > j
Vla.
J 2

2

j > j
Vla.
B
B # n n
J 2 2

Tape /

70
2 2 2 2
Cl. & j
j b n j # b n> >
> fff

2
& j j
> j b n j # b n> >
> fff
Hp.

?
{
&
j
J J 2 2
>
fff
Pno.
# # # # #>
? # # # #
# # ##

{
2 2
J

Voice &

B >
Vla. j b nj # b n> > J
2 2 2 2 fff

>
j b nj # b n> > J
B
Vla.
2 2 2 fff

Tape /
leave silence before interlude
 interlude
Any instrument or combination of instruments may play this,
with any number of repetitions, taking care to play each note
short and quiet.

Continue playing until clarinetest and tape begin movement IV.

30

IV.
A q. = 50
Improvise continuous, crazy, fast melodic gestures
Clarinet in Bb
9
&8
9
& 8 J R
at of I

Harp 9
(top sta: spoken/sung) &8
? 98
{ 9

&8
Piano
? 98
{
pp
9 j j
Voice &8
J

J J
Plu - to was ri - sing at my birth. The king of death met me when I crowned. He gave me

A q. = 50 spoken
B 9
8 R J
Viola I ri - sing king when me
(top sta: spoken/sung)
B 98
spoken
B 98
J
Viola II Plu - to birth met He
(top sta: spoken/sung)
9
B 8

Polyrhythmic delay on voice
4 Tape with spoken voices
Tape
9
/8 "LILY"

=
9

Cl. &

& J R
J

J R
just then and a - way. ci - vi -lized

Hp. &

?
{

&
Pno.
?
{
mf
j j j b j
Voice & b b
J
J J
b b
just eight years of lov - ing. then he took my fath - er and my mo - ther sent me a - way. I know how ci - vi-lized men treat

B
J
lov - ing. fath - er, me how
Vla.

B
J
years took mo - ther I treat
Vla.

Tape /
 31
18

Cl. &

& b
R

J
lived church of

Hp. &

?
{

&
Pno.
?
{ breathing quickly,
as if remembering a horrifying
event
f ff almost shouting
j j
Voice & b b bJ b
b
Y
b
b bJ

b
b


J
or - phans. I lived a-mong corp - ses in the church of my bap - ti - sm Lamb of God, when

spoken
B b b
J
I the Lamb arco
Vla. sul pont.
j j
B b
>
fff
fast bow,
very nasty sound
spoken
B b b
J
corp - ses, my when
Vla. arco
sul pont.
>
B

fff
fast bow, very nasty sound
Tape "LILY"
/
=
25 getting louder and more chaotic
Cl. &

&
J

to sword a - way.

Hp. &
wah pedal
? j
wah pedal
b> wah pedal
n
{ J J
> fff fff
fff

&
Pno.
?
{
j j j
Voice &
J J
you came to Bri - tain, you brought the sword and ne - ver took it a - way. Zeppe-lins and U -

B
came the it

Vla.
arco arco
sul pont. sul pont.
B >
>
fff fff
come prima

B
you ne - ver and

Vla. arco arco

sul pont. sul pont.
>
B n
>

fff fff

Tape /
32
30

Cl.
4
& 4
sung
ff
4
& 4
J J J
chlo - rine bro - ther France.

Hp. 4
& 4

? 4
{
&

4
4
Pno.
? 4
{ 4

j j j ff 4
Voice & 4
J J
boats and chlo - rine gas set - tled ov - - er my bro - ther in France.

B 4
4
and arco my France.
Vla.
sul pont. ff
B > b 4
> 4
fff
sung
B 4
J 4
sett -led
arco France.
Vla. sul pont. ff
> 4

B
4
J
fff

Tape
4
/ 4

= 60 seconds

B
34
gradually die out
Cl.
4
&4 &

4
& 4

Hp.
4
&4 &

? 44
{4

&4
Pno.
? 44
{ linger on
[o] and then
&

[m] until breath

runs out
Voice
4
&4
w
OM

B
B 4
4
linger on
Vla.
[o] and then
[m] until breath
runs out
B 44 w
OM
B 44
linger on
[o] and then
Vla.
[m] until breath
runs out
4
B 4
bw
OM

Tape
4 "LILY"
/4
 C 33
38
> > > > >
& w #J J #J w w
J
Cl.
fff fff fff mf ff

& w
ww

#w
w
w
w ww
Hp.
fff
?
{ w
ww #w
w
w
w #w
ww

#w
w w
w w
w w w
w ## w
w
w
&

fff
Pno.

w bw w
w w
w w #ww
& w
{ w w

loud beginning and ending consonants etc. + poco vib.

loud [s] sfffz loud [x] f mf p
> # w
Voice & w J # #
Six thou - sand dead in ten
C
vib.
#ww molto sul pont. w w #w
Vla. B
w J w w
J J J
fff
vib.
molto sul pont. w
w j w w
Vla. B w w J w J
J w
fff

Tape / "LILY" delay o

49

Cl. & <#>w # w

J #
p fff mp

& w
w w ww
Hp.
w bw
w
? w
{ #ww bw
w w
w
w
w

w w bw bw
w w w
&
Pno. w
bww bw w w
{
& bww bw w

ff operatic mp p

Voice &
#
min - utes How can

w ord.

Vla. B
w
J
#w
w
bw j j
J bw
w nw n
w ord.
Vla. B w j bw j
J w
w J w

Tape "LILY"
/
34
62
>
Cl. & # w nJ
J
mf fff fff

& w w w
#w
Hp. p ff
? bw w
{bw bbw
w w bw
w
w w #w w
&
Pno. p ff
w w w
{
& w

w

w

w

pp p f pp mp mf pp
Voice & # w n
J
I mourn so

B
Vla.
bw bw
B w J w J j w
w J
p ff

B
Vla. w w
J J w
B
w
j J
p ff

Tape /

74 To Tenor Sax
>
Cl. & J
fff

with tape

& w w
w w
Hp.
? w #w w
{
with tape w
w
&
Pno.

{
& #w
w #w bw

pp n p ff operatic pp mp pp pp
>
# w #
Voice &
ma -ny How can I mourn so ma -

with tape w
j J w j
Vla. B w J w

w
j J w
j
B w J

Vla.
w
"LILY"

Tape / synthesized drone sounds begin

 35
86

&
w w w
Hp.
? w bw

{
Pno.
{& w w w w w

Voice & #
ny

B bw
J j w
Vla. w J w
J
w
bw j w
Vla.
B J w J w
J
w
J

Tape growing noise

/
=
100

Hp.
{&
w w w
Pno.
{& w
pizz

Vla. B w
pizz
Vla. B

Tape many voices speaking at once

/
=
116

Vla. B

B
Vla.

Tape /
=
127 Drone enters under speaking voices; synthesized drone continues and all drop o eventually.
Tape Whenever you hear vocalist begin singing material from movement V, which may occur
/ during the end of this movement, begin imitation of her as per the directions in movement V.
 V.

36 Imitate the vocalist's choice of phrases, using your phrase with the corresponding number. Enter approximately at the point that the vocalist sings her second pitch.

At the beginning of the movement, perform each cell as slowly as possible, so each note is almost a drone. Gradually speed up with each imitation, following the tempi
and dynamic of the vocalist. The tape should come in once you have reach the fastest possible tempo as an ensemble. At this point, move on to movement VI; the
vocalist will lead this transition, which will be signaled by a change in the tonal center of the electronics.

This section lasts approximately 3'00". Vocalist will start it at approximately 23'00" - after the electronic drone in movement IV.

Tenor Saxophone & imitate whatever the vocalist sings, as you hear it. as the movement progresses, gradually add ornamentations and variations.

&
Harp imitate whatever the vocalist sings, as you hear it. as the movement progresses, gradually add ornamentations and variations.
?
{
& 1 2, 4

Piano

?
{
3, 5
tacet

Voice &
1 2

3 4

Any of the above phrases, replacing text with variations of [ng], [a] and [ha]

B
Viola 1, 3 2, 4

1, 3, 5
seagull eect and of course, wild card, if you're so moved....
Viola
B

Voice pitch-shifted and delayed by heartbeat

Tape / 5,6,7 Pre-recorded sounds will begin after 3 minutes.
 37
VI.
Cue: "look down on
the white heads of
A q = 54 your children,

3
Tenor Saxophone
2 #
&4
n f Cue: "the mountains
that you sprouted,"

4
using wah pedal at will
2
&4
n f
Harp
? 42
{ Cue: "Look down Lily,"

2
2
&4
p f
Piano
Cue: "from
the molten
womb below"
? 42 ?
{ 2
1

pedal ad lib.

Voice &4
NG AH
n f Cue: "the mountains
that you sprouted,"

A q = 54 con sord. 4
arco
B 2
Viola I 4
n f Cue: "from the
molten womb below"

con sord.
5
arco #
2
Viola II B 4

n f

1 30 seconds 2 3 4 5
Tape
2 string strum "Look down Lily," "look down on the white "the mountains that "from the molten
/4 voice processed by heartbeat (until end of piece) heads of your children," you sprouted" womb below "

13

Ten. Sax. &

&
Hp.
?
{
&
Pno.
?
{

Voice &

B
Vla.

Vla.
B

Tape /
38 B
22

Ten. Sax. &

&
Hp.
?
{
&
Pno.

?
{
Begin this at approximately the point where the electronic tones start sounding more sustained.

p f ff
3 3 3 3 3
j b n
Voice & .
- -. -. -. . . > . b
> >
I can see them Kul - shan Ta - ho - ma

B
B
Vla.

Vla. B

longer tones
Tape /

32

Ten. Sax. & # ?

3 p ff

&
3 p ff
Hp.

?
{
#

&
p ff
3
Pno.

?
{

gradually turning to whisper

gradually turn from whisper to pitch

pp mp f
b 3bb 3

3 3 U
Voice & n
. > . b
J
b b
. n

> . n > >
and their count less is - land chil-dren breech - ing in the Sal - ish

Vla. B
3 p ff

#

Vla.
B 3 p ff

Tape /
wait for tones to nish,
then begin next movement
following singer's cue
 VII.
39

A e> = 129 >

bbbb bbb
b
grating noise,
b following singer's whisper
bb
Tenor Saxophone
? 88 b 5
8
b J b J J
> the spon-gy earth > the dome a - bove
ff pp ff pp

grating noise, etc.

follow contour of singer's spoken gestures following singer's whisper
8 5
&8 J J J J 8
Harp I AM the spon-gy earth and I AM the dome a - bove
ff
? 88 5
{ follow contour of singer's spoken gestures
grating noise,
following singer's whisper
etc.
8

8 5
&8 J J J J 8
I AM the spon-gy earth and I AM the dome a - bove
Piano ff

? 88 5
{ 8

sprechstimme-like, any pitch level
ff

whispered loudly

etc.
8

5
Voice &8
J

J

J J 8
I AM the red hot la - va and I am the spon-gy earth and I AM the dome a - bove

A e = 129 grating noise, etc.

B 8 follow

contour of singer's spoken gestures

following singer's whisper
5
Viola I 8 8
J J J J
I AM the spon-gy earth and I AM the dome a - bove
ff
grating noise, etc.
follow contour of singer's spoken gestures following singer's whisper
8
Viola II B 8
5
J J J J 8
I AM the spon-gy earth and I AM the dome a - bove
ff
Tape
8 5
/8 8

=
>
bbb
b
8 b any contour
? 58 b 8
Ten. Sax. b 8
>
ff pp p

any contour
5 8
&8 J 8J J J
I snare that bloo-dy ball from the ea - stern ed - ges of my be - ing
p fff p
Hp.

? 58 88
{ 5

any contour

&8 J 8J J
I snare that bloo-dy ball from the ea - stern ed - ges of my be - ing
Pno. p fff p

? 58 8
{ 5
p
8

fff
Voice &8 88
J J J
I snare that bloo-dy ball from the ea - stern ed - ges of my be - ing
any contour
5 8
Vla. B 8 8J
J J J J
I snare that bloo-dy ball from the ea - stern ed - ges of my be - ing p
p fff

any contour
5
Vla. B 8
8
J 8J J J
I snare that bloo-dy ball from the ea - stern ed - ges of my be - ing p fff
p fff
Tape
5 8
/8 8
 B e = 198
40 # #
16
? U 5 6 J 5 6 J 5
Ten. Sax.
J 8 8 8 8 8 J J
ppp
fff very plainly

U 5 6 5 6 j 5
& J J
8 8 # j 8 8 # 8 j

ppp
Hp. fff very plainly

? U 5 6 5 6 5
{

U
8

5 6 5
8

j 5
8 8 8

& J J
8 8 # j 8 8 # 8 j

ppp
Pno. fff very plainly

? U 5 6 5 6 5
{ 8
una corda
8 8 8 8

U ppp
5 6 5 6 j 5
Voice & 8 8 # j 8 8 # 8 j

Guide it west - ward and slip it in - to the dark-ling sea

B e = 198
sul
tasto # #
B U 5 6 5 6 J 5 j
Vla. 8 8 J 8 8 8
ppp
fff
sul tasto
# #
U 5 6 5 6 J 5 j
B
Vla. 8 8 J 8 8 8
ppp

Tape
5 6 5 6 5
/ 8 8 8 8 8

25
? U 12
Ten. Sax. 8

U 12
& 8
Hp.

? U 12
{

U
8

12
& 8

Pno.

? U 12
{ spoken (only once)
8

12
Voice & it blooms in my darkness. Its over. And its just beginning. 8

B U 12
Vla. 8

U 12
B
Vla. 8

Tape
U 12
/ 8
 TAPE CUE:
"like you know where
you're going. PLOW"

26 C q. = 50 D q. = q
? 12 4 J B b #- 41
Ten. Sax. 8 4 J
p

12 4
&8 4 b n
Hp.

? 12 4
{ 8 4

12 4
&8 4 b
b

ppp
Pno.

? 12 4
{ 8

ppp almost whispering

change pitch level occasionally; don't be "in tune'

4
una corda
pedal down until end

2 2
12 4
Voice & 8 bj b nj j
j b b 4
b
da da da da da da cask - et bang it like a drum

D q. = q
C q. = 50 sul tasto
Vla.
B 12 4 b B B b B
8 4 J J
ppp sempre

col legno battuto

12
Vla. B 8 4 j
4 .
p

Loop of:
Tape
12 "it blooms in my darkness. 4
/ 8 Its over. And its just beginning"
4

32 b . b
Ten. Sax.
? nJ. n B
.
J b
R
p ppp

&
w
w bw
w w
w >
Hp.

?
{

& b

>
w
Pno.

?
{

Voice &

B b 3
j b B j n b 3
Vla. j B
J B b j B j
J J J
3 3 3

nj B # j nj r b. b
B b
Vla. bbn
b - . n B n
pp p pp pp

Tape Telephone-ltered and delayed replaying of vocals from beginning of piece

/
42
37

Ten. Sax.
? b n B b #- b nJ. n B b b n n J. b

J J R
p p pp

&
w w w
>
Hp.

?
{
& w w w
>
Pno.

?
{

Voice &

3
b B B b B b B j
Vla. B
J
J
J J J

j

Vla. B b. b j b b nn b. b b j
. nB n . b j
. n
p ppp pp p pp

Tape /

42

Ten. Sax.
? 2
4

2
& w 4
w w
Hp.

? 2
{ 4

2
& 4
w w w
Pno.

? 2
{ 4

2
Voice & 4

b B j n b 3
j
Vla. B J J
B b

j B 2
4
3
J
3

j j r b. b 2
B B b #-
Vla. b b n 4
n. n B n

Tape
2
/ 4
 43

47 E q = 50
2
&4
Hp. let fade completely
? 42
{ f

>

2
&4
Pno. hold until it fades completely
? 42
{ f

>
tre corde

bluegrass vocal: non vib., add ornamentation,

scoops, sing through hard [r] sounds 3 3
U 3
Voice
2
&4 j j
j bj B b n B j j
b b b
j b

so this is where I've come to a val ley stripped of high and low
freely, out of tempo

E q = 50
>
B 2
Vla. 4
f p

2
Vla.
B 4
>
f p
=
56

Hp.
?
{

Pno.
?
{

3 3
U U U 3
Voice & j j bj B b n B j b b b
b j

no bro - thers kil - ling bro - thers for a throne

B
Vla.

Vla.
B

=
65 3 3
U U
Voice & j b j b j

b b b b n B j
b
a go-vern ment of the peo ple for the peo-ple needs the cou- rage of a li - on,

B
Vla.

Vla.
B

=
76 3
U 3 3 3 U
Voice & b n b n
b b b j b b b b b
and the strength of ma-ny bears does this val ley nur-ture li - on hear-ted peo - ple

B
Vla.

Vla.
B
44
85

Voice & b
b b b b b

can my heart stretch wide e nough. can my heart stretch wide e nough. can my heart stretch wide e nough.
watch singer
for cut o
B

Vla.

watch singer
for cut o
Vla. B