THE UNIVERSITY OF CHICAGO
ON LOVE
TRIPTYCH BASED ON WILLIAM SHAKESPEARE’S ROMEO AND JULIET
(FOR TWO ACTORS, SOPRANO, AND ENSEMBLE)
Second Movement: “I Will Confess To You”
A DISSERTATION SUBMITTED TO
THE FACULTY OF THE DIVISION OF THE HUMANITIES
IN CANDIDACY FOR THE DEGREE OF
DOCTOR OF PHILOSOPHY
DEPARTMENT OF MUSIC
BY
TOMÁS I. GUEGLIO-SACCONE
CHICAGO, ILLINOIS
MAY 2016
!
On Love - A triptych based on William Shakespeare’s Romeo and Juliet
!
!
!!!Tomás I. Gueglio-Saccone !
I. PRELUDE
II. “I WILL CONFESS TO YOU” –
III. “THOU LOVE ME?”
The second and third movements are to be performed without any pause in between (attaca)
Instruments
Flute (doubling piccolo)
Bb Clarinet (doubling bass clarinet)
Soprano
Percussion - 1 player
(Suggested distribution of the ensemble)
(vibraphone, marimba, crotales, bongos (2), woodblocks (2),
bass drum, triangle, large tam-tam, sizzle cymbal)
Harp
Piano
Actor I
Actor II
String quartet
Performance notes:
The work is based on a melody labeled Cantus Firmus. This melody hoquets between the different instruments. The instrument carrying the melody is always required to
play espressivo. This melody is to sound as connected (legato) as possible.
The two streams of music and text are independent from each other. When they sound together, the suggested alignment points are approximate. The two exceptions are
1) the downbeat of m. 145 is to be aligned with the word “laughs” 2) In m.171 the violist is asked to wait for the actors to be through with their speech.
A note on dynamics: the normal speaking voice of the actors should be considered as mp (mezzo-piano). The dynamics in the music are to be adjusted accordingly
depending of the conditions of the performance space.
Flute:
-Air sounds are notated as an empty rhomboidal notehead.
- ! air – ! sound is notated as a filled rhomboidal notehead.
Soprano:
- Air sounds are written as an empty rhomboidal notehead. An arrow from a regular notehead to an empty rhomboidal notehead means “progressively turning into
air”. An arrow from a regular notehead to an empty rhomboidal notehead at a different pitch stands for “turning into air while glissando.”
-The text is notated in IPA (when in doubt about some of the sounds visit http://www.internationalphoneticalphabet.org/ipa-sounds/ipa-chart-with-sounds/)
An arrow between vowels stands for “progressively turn X-vowel-sound into Y-vowel-sound.
- p(a), k(a) etc…: percussive sound. When the notehead is x-shaped, the vowel is breathy and almost silent.
- o(nm): nasal consonants trill. Sing the vowel and then very rapidly switch between an “m” and an “n” sound.
Percussion:
- No specific mallets are indicated. Mallet choices are left to the discretion of the performer.
Harp:
- To perform the caressing glissando use the skin of the finger. The desired sound is an almost seamless sigh.
- When a xilo is notated next to a two note interval “mute” only the note with an x-shaped notehead.
Piano:
- 3 special types of noteheads are employed 1. Filled rhomboidal notehead = pluck string inside the piano. The desired effect is a naily and nasal sound.
2. Empty rhomboidal notehead = mute string(s). The desired effect is a muffled sound with a sharp attack and a rich lingering resonance (in mm. 40 and 131
the frame of the piano might get in the way of the muting, in that case mute the strings on their farthest end)
3. Empty square notehead = glissando inside the piano (mid-range). Use preferably the skin of the finger. The desired sound is an almost seamless sigh (the
specific pitches and length of the glissando can be adapted to the specific frame of each piano).
Strings:
- Harmonic pressure is indicated by an “H” (plus the usual empty rhomboidal notehead). An arrow pointing to an H means: “progressively diminish left hand
pressure until reaching harmonic pressure”. The desired effect is all air noise or, depending which string the harmonic is performed on, a natural harmonic.
- ov.pr. = over-pressure
- + = hammer on
- 3 contact points (sut tasto (ST), ordinario (ORD), sul ponticello (SP). Except for “pizz” and “arco”, ALL INDICATIONS REMAIN VALID ONLY
UNTIL THE END OF THE MOTIVE THEY ARE APPLIED TO. After the motive is done, performing technique defaults to ORDINARIO for point of
contact, NORMAL bow pressure and REGULAR left hand finger pressure.
SCORE IN C
TOTAL DURATION: ca. 17’
TEXT - I Will Confess To You
(Notes: the three different types of fonts are a trace of the compositional process and do not imply any specific performance indication. The thick bars indicate
suggested phrasing. Ultimately, phrasing is to be determined by the actors)
!
!
A
you that I love him
that you love me
!
that you love
And therefore have I little talk’d of love
!
B I will confess to you
!
!
A sure that you
that you love me
I cannot love
I will confess to you that I love him
am sure
B
do not deny to him that you love
love
me?
am sure that
!
!
A
I cannot love I am
some grief shows much of
my love
B that
I am sure
my lord
my
!
!
A You love me I
sure that you love me
!
B
friend
A
Do not deny
I cannot
love
!
love give me strength!
!
!
B
to him that you
sure that you
love me
Sure that you love
me
Do not deny to him that you
love me
Get thee to thy love, thy dear love
sworn
me, I
!
!
A
B
kill that love which thou hast vow’d to cherish
kill that love
that ornament to shape and
A
B
and therefore have I little talk’d of
A
B
I will confess
I will confess to you that I
A
B
am sure that
A
B
love
you love me
A
of a love and not posses’d
it
of a love, I have not yet enjoy’d
B
!
!
A
that you love
me, I am sure
that you love
love
love me. I
me?
am sure that
you
you love me
!
!
love
love me, I
am sure that
am sure that you love me
love him
you love me
me, I am sure that
Thou pout’st upon thy fortune
and thy love
my lord
that you love
my
my love
friend
you love me
I am
sure
sure that
!
!
thy love
thy shape
I am sure that
have bought the mansion
B
A
B
!
!
A
B
A
B
sure that you love
the reason I have to
you love me
I am sure that
of a love
that you love me
A love, I
me
All the world will be in love
night
shows much of
thy wit
love
grief, shows much of you love me, I am
But thankful even for hate that is meant
all the world will be in love with night, and pay no worship to the garish
I am sure that
have bought
have bought the mansion of a
You love me, I
sure that you love me, I
you love me
I have bought the
have bought the mansion
Love performing night, with thy black mantle till strange
love
with night
with thy black mantle, till strange love grown bold
love thee
love thee better than thou canst device
O, I have bought the mansion
sun
I have bought the mansion of
love
love performing
a love
a love, I have bought
A
B
The reason I have
bought the mansion of a
to love thee
!
A
B
love devouring death, with thy black mantle
A
B
Think true love acted
A
B
!
!
A
B
A
B
A
B
!
!
A
B
love
love performing
nimble-pinion’d doves draw
a love
this driveling love is like
love devouring death
love
whom I
whom thou didst love so dear
I have bought
love
love moderately, long love doth so
My heart’s dear love is
set
love I have
Is it not better now than groaning for
Remembering how I love thy company
But love from love, to turn your household’s rancour
Bought the mansion of a
have bought
love performing night, if thou dost
What says my love?
love goes toward
love
whom thou didst love so dear
have bought the mansion of
Lest that thy love prove likewise variable
love?
bought the mansion of a
B
what says my love?
love
what says my love?
If my heart’s dear love
Dear love, isn’t it better now than groaning for
love
love moderately
love
love goes toward love
to pure love
love is grown to such excess, and bads’t me bury love
bought the mansion of a
bought
of a long
I have bought the mansion
B
natural.
But my true love has grown to such excess
have bought the mansion of
love now
whom I love now
this bud of love
love
love devouring
love
But my true love has grown to such excess, for this driveling love is like a great
modestly
love
B
!
!
A
the mansion
the mansion of a
Till thou shalt know the reason of my
till
A
A
B
!
!
A
love, I have bought
night
My heart’s dear love is
Remembering how I
set
love
!
love me pronounce it faithfully and not impute this yielding to light love
!
All the world will be in love with
If thou dost love me pronounce it
faithfully
Thou know’st the mask of night is on my face
!
!
A
Dost thou love me?
Dost but thou love thou prodigious birth of love it is to me. Me?
!
B
Else would a maiden blush bepaint my cheek, For that which
thou hast heard me speak to-night Fain would I dwell on form, fain, fain deny
!
!
!
A
Dost thou love me? If love be blind,
by love, dost thou love cannot hit the fair for which love groan’d
B
Dost thou love me?
I know thou wilt say ‘Ay’ And I will take thy word; yet, if thou swear’st, Thou mayst prove false;
A
B
!!!
!
!
!
at lover’s perjuries, They say, Jove laughs
END CUE 1 – in around 45’’ attaca “Thou Love Me”
A tempo
q = 60
17
II. I Will Confess To You
Poco liberamente
Fl.
B b Cl.
&
&
(piccolo)
(B flat clarinet)
colla parte
Soprano
Ó
&
$ m œj.
!
Œ
u (nm)
&
Perc
ã
Hp.
&
?
&Ó
‰. bœ
R
Œ
#
Pno
œ
Œ
j
bœ
nœ.
p
Œ
&
œ
bœ.
‰.
bœ
R
#
œ
œ
nœ
#
3
œ
‰
r
‰. mœ
F
Œ
?
nœ
J
œ
œ
3
j
mœ
‰
#
mœ
‰ ‰ J
3
‰
œ
j
œ
P
œ.
œ
bœ
#
J ‰
Œ
$
Œ
Ó
j
œ
F
.
œ
œ
n œ3. œ.
#
&
j
Œ
‰ mœ
œ
j
$ nœ .
œ.
?
Ó
œ
œ
mœ
(sust ped until m. 107)
C.F.
(tacet)
& Ó
‰.
Œ
bœ
R
˙
œ
œ
œ.
mœ
˙
œ
œ
˙
œ
œ.
œ
b œ.
œ
(continued text)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
A
Actors
B
A tempo q = 60
Poco liberamente
Vln. I
&
Vln. II
&
Vla
B
Vlc.
&
98
99
100
101
102
bœ.
nœ.
$ m œj.
p
œ
mœ.
18
Poco meno - A tempo
Fl.
&
B b Cl.
&
Soprano
&
q = 48
˙
#
œ
!
œ mœ.
·
i
e
$Ó
rall. trill
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ rall. tremolo
j
œ
˙
‰. bœ nœ œ
R
æ
Vibraphone
Ó
&
Œ
#
!
colla parte
Perc
ã
Ó
˙
æ
!
sust ped
&
Ó
Œ
m œ.
œ
‰ J
?
Ó
Œ
‰ J
p.d.l.t
Hp.
&
Pno
œ
Ó
&
œ
œ
œ mœ.
F
œ
‰ J Œ
#
espressivo
œ œ.
$n œ .
J
Œ
nœ œ
3œ
? J ‰ J ‰ ‰J‰Œ
P
C.F.
(tacet)
œ œ.
#
œ
nœ nœ
œ
œ bœ.
p
#
Œ
$n œ .
J
Œ
#
&
‰ mœ
p
œ
!œ .
bœ.
$ bœ $ Œ
J
#
‰ $ nœ
R
œ
œ?
mœ
œ
3
nœ
n œ3 n œ
echoing
œ œ.
œ
œ mœ.
Œ bœ
œ
Ó
Œ
F
‰Œ
!m œ .
#
mœ
œ
œ.
nœ
˙
œ
bœ
œ
œ
P
‰ ‰ Ó
& ‰ nœ
J
P
(sust ped)
œ
#
œ.
˙
Œ
‰ n œœJ
œ
œ mœ
œœ
nœ
œœ œ
‰ Œ m œj ‰
3
espressivo
sust ped
nœ
œ
œ
œ
œ
œ
nœ
œ
œ
œ
(continued text)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
A
Actors
B
Poco meno - A tempo
Vln. I
q = 48
Œ
&
ST
‰ œJ
"
"
#
H
Vln. II
ST
Œ bœ
Ó
&
!
"
"
#
"
œ
P
b·
SP
#
!
Ó
jètè
Vla
Vlc.
B
Ó
Ó
&
103
104
105
106
107
œ
Œ
‰ J
Œ
.
‰ n œJ
108
P
ov.pr.
#
19
Fl.
&
B flat Clarinet
B b Cl.
Soprano
& Œ
‰ mœ
æJ
˙
w
œ
æ
æ
æ
#
!
(poss.)
æ
nœ Ó
æ
!
#
r
‰.
&
œ
m
"
"
"
œ
!
.
·
a
o
Ó
&
Perc
ã
Hp.
&
Œ
?
Œ
&
œ
œ
œ
œ
Pno
& Œ
C.F.
(tacet)
&
mœ Ó
Œ
j
mœ ‰ Ó
Œ
#
œ
œ
mœ
œ
œ
œ
œ
bœ
‰ nœ
J
˙
˙
˙
˙
j Ó
Œ
F
?‰
œ
n œ.
#
%
bœ
!œ
J ‰
‰ j
"
"
œ
# caressing
n œo
‰ J Ó
Œ
as fast as
possible
Ó
‰ bœ
!
!
mœ
Œ J ‰
#
‰.
r
œ
#
œ
œ œ
P
œ
œ
œ
œ
m œœ Ó
J
œ
n œ. n œ.
Œ
#
?
œ.
˙
j
bœ
#
(sust ped until m. 117)
œ
œ
œ
œ
œ
œ
œ
‰ ‰.
Vlc.
œ
œ.
œ
nœ ‰
J
˙
&
œ
Ó
j
bœ ‰ Ó
Œ
œ
Œ
?
P
œ
œ
œ
œ.
bœ
&
b·
J ‰ Ó
"
Ó
!
œ
‰ J
Œ
Ó
&
B
"
& Ó
bœ
!
Œ
!.
œ
R Ó
pizz.
pizz.
F
flaut.
molto
Vla
˙
3
‰ ‰ n œj ‰ Œ
H
Vln. II
nœ
R
!
(continued text)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
A
Actors
B
Vln. I
bœ œ
&
p
&‰
œ
Œ
II
‰
III
œ
‰ J
#
˙
œ
Ó
!
Œ
Œ
J
f
Œ
espressivo
109
J ‰ Œ
˘·
·
Ó
Œ
œ
‰ j
ST
[h]
· ·
#
flaut.
molto
SP
P
·
110
ƒ
Œ
Ó
œ
J ‰
Œ
Œ
111
Ó
F
Œ
jètè
·œ
".
‰.
R
p
·œ
Œ
!
ov.pr.
#
P
‰.
arco
112
œ
œ
‰.
? ‰.
R
#
Ó
flaut.
molto
˘·
II
R Ó
f
113
114
ST
‰ . b œR
III
#
20
G
Fl.
(sounding)
& Œ
bœ
‰. R
œ
#
œ. bœ
œ
anticipating melody /
always in the background
B b Cl.
Soprano
b œ.
J ‰
piccolo
&
Œ
Œ
&
œ.
‰.
œ œ
j
bœ
‰.
‰ b œJ
~~~~~~~~~~~~~~~~~~~~~~~
œ
b˙
œ
æ
bœ
R
˙
œ
#
!
.
bœ
R
espressivo
œ
Œ
!
Œ
Ó
J ‰ Œ
!
˙
·
a
#
œ.
J ‰
Œ
p(i)
F
>
‹
J
#
‰ Œ
k(o)
Ó
Marimba
‰.
Triangle
Ó
œ
R
#
‰.
Œ
Tam-Tam
œ
R
#
rall. tremolo
&
#
nœ
‰ J Œ
!
œ
‰ J
&
#
& Œ
‰ . b œR
œ
#
? Ó
Œ
œ.
‰.
?
#
!
œ
!
caressing
nœ
n n œœœ
‰ b œJ
Ó
P
&
œ
œ.
bœ
œ
œ.
r
bœ
Ó
œ
Ó
Œ
!
m b œœ
J ‰ Œ
P
Œ
&
bœ.
œ œœ ..
F
Œ
Ó
b˙
œ
Ó
œ
œ.
bœ
œ.
œ
œ
˙
œ
bœ
œ
œ œ.
œ.
b˙
œ
œ œ
˙
(continued text)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
G
Vln. I
&
œ
·
P
ƒ
Ó
Œ
‰.
bœ .
R
p
Ó
b· Œ
Ó
!
&
Œ
flaut.
molto
H
r
ST
Vln. II
‰.
III
IV
·
n·
#
[h]
·
·
flaut.
molto
SP
P
j
·
·
‰ Œ
ƒ
II
Vlc.
B
Ó
?
Œ
115
b œ.
.
‰
R Œ
&
pizz.
#
116
#
ƒ
Ó
œ.
b˙
Ó
#
Œ
œ œ
ST
IV
·
#
·
˙
poco cresc.
j
b b œ· ‰ Œ
SP
"
"
"
!
arco flaut.
Ó
117
Œ
espressivo
‰ b ·j
bœ
Œ
n·
!
ST
Vla
#
Ó
bœ ‰ Œ
J
#
$ œ.
æJ
High WB
F
sust ped
A
Actors
B
H
SP
i (nm)
j
bœ
$ œ . ‰ nœ ‰. R Œ
œ .
J
%
œ
œ
P
(sust ped)
C.F.
(tacet)
Œ
Œ
in foreground
œ
Ó
#
Hp.
Pno
$ œ.
J
Bass Drum
Ó
p
bœ.
$ J
!
r
bœ
$ ‰ Œ
%#.
Perc
Œ
‚
still
&
ã Ó
[w]
Ó
m
u
æ
P
rall. trill
timbral tr.
#
œ.
1/2 sound
b‚
b b ·œ
molto
?
!
118
Œ
ƒ
119
120
œ bœ.
Fl.
B b Cl.
Soprano
&
[w]
‚
‚
(non dim)
&
˙
˙
nœ
R
#
#
œ
œ œ œ
˙
æ
æ
œ.
œ
bœ
æ
æ
Œ
mœ
‰. R
"
".
œ.
œ
œ
˙
œ
Œ
!
espressivo
œ
‰ J
œ
f
!
q = 54
˙
Ó
(non dim)
Œ
Ó
‰.
Œ
rall. trill
Œ
œ
æ
æ
Ó
Œ
‰.
Tam-Tam
œ
R
#
(non dim)
Œ
Hp.
Œ
&
Pno
Œ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
bœ nœ
˙
˙
‰. R ˙
&
Œ
?
Œ
j ‰
œ
?
#
Œ
nœ
‰. R
j
nœ ‰
!.
nœ
nœ
J
j
#
!
Ó
Ó
j
nœ ‰
n œ.
%
Ó
Ó
#
&
w
!n œ
J ‰
œ
nœ
Ó
Œ
œ.
œ
œ
˙
b œ3
‰ b œJ ‰ Œ
œ
œ
œ
Vlc.
n·
u
!
‰ bœ
œ
!
". bœ Ó
"
#
!
bœ
‰ ‰ bœ ‰
J
3
‰ ‰ j Œ
bœ
Ó
Ó
Œ
3
#
‰
!
j
·
œ
#
sust ped
œ
œ.
œ
œ.
œ
mœ
œ.
œ
œ
œ
œ.
mœ
œ
œ.
bœ
œ
œ
œ
&‰
œ
(continued text)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
jètè
Vla
? œj
P
H
Vln. II
Œ
3
F
caressing
sust ped
.
#
‚
#
œ
rall. tremolo
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
j
bœ nœ
˙
˙
‰.
R
‰ J Œ
A
Actors
B
Vln. I
e
(plucked)
‰ ¬J
. bœ
mœ
R
!
sust ped
P
‰
#
espressivo
Ó
&
#
C.F.
(tacet)
m(a)
Œ
rall. trill
&
P
‰.
R Œ
Ó
Perc
ã
F
n œ.
Vibraphone
&
w
21
Ó
poco cresc.
simile
nœ
Œ
&
‰.
Poco più mosso
H
&
·
bœ
$ R ‰
Œ
SP
·
#
(non dim)
pizz.
!.
nœ
J
Œ
&
B
Œ
?
Œ
121
#
flaut.
molto
>·
œ
J
f
ST
·
III
#
‰.
œ
˙
R
#
œ œ œ
œ
p
espressivo
œ.
nœ
œ.
œ
‰
Œ
Œ
b œ.
R
.
&‰
·
Ó
p
122
Œ
arco
Œ
‰.
flaut.
molto
m œ>
‰. nœ
R
f
Œ
flaut.
SP
m˙
f
P
+
123
B ‰.
I
3
· · · · · · · ·
R
#
m ·œ
J ‰ ‰. R
œ
!
124
p
mœ
nœ
R
jètè
Ó
·
Œ
SP
·
!
jètè
pizz.
poco dim.
ST
P
·
˙
q = 54
arco
pizz.
‰
p
P
arco
ov.pr.
r
n
œ
‰. bœ
mœ
Poco più mosso
"
·œ
& ‰.
bœ
R Œ
#
(ord.)
œ ˙
R
#
espressivo
Œ
‰.
p
Ó
(normal
pressure)
ST
‰ . b œR
#
˙
pizz.
Œ
>
‰ . bn œœ Ó
R
Ó
Œ
poco cresc.
F
!
125
126
J
#
espressivo
Fl.
Ó
&
C flute
mœ.
m˙
#
œ
œ
nœ
22
n ·.
J ‰ $ mæœJ.
t
‰
œ
œ
œ.
ord
æ
æ
air
·
!
‰
same as before
B b Cl.
Soprano
Ó
&
& Œ
p
n œ.
#
œ "
J ‰ ‰. R
m·
‰ J
Œ
"
"
m˙
P
".
"
#
!
·
o
m
L
a
sl.t.
Ó
#
$ œ.
J
œ
œ
œ
œ œ.
œ
Œ
Œ
!
espressivo
!
˙
u (nm)
œ mœ.
Œ
f
>
‹
$ ‰
R
j
timbral tr.
$
œ
Ó
~~~~~~~~~~~~~~~~~~~~~~
œ œ œ œ œ3 œ œ
œ
#
&
&
k(a)
rall. trill
rall. trill
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
j
œ
.
˙
$ m œJ ˙
Marimba
Ó
&
Œ
#
Perc
ã
&
Hp.
Pno
C.F.
(tacet)
?
Ó
Œ
Œ
!
n œ.
b
‰ . œR Ó
œ
J
J
#
#
#
mœ
J ‰ Œ
r Ó
b œ.œ
Ó
?
Ó
œ.
˙
œ œ
œ.
œ
A
Actors
B
œ
œ
œ
mœ
Ó
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
j
bœ m˙
˙
&
&
‰ Œ
Bass Drum
œ
#
‰.
Œ
‰
Triangle
˙
p
!.
œ
$ R‰ Œ
rall. trill
!
œ
!
&Œ
nœ
#
!
caressing
Ó
#
Œ
œ.
$ b‹ ‰
R
(xilo)
P
‰ Ó
m·.
$ J
(muted)
Œ
P
sust ped
œ
m˙
œ
œ mœ.
œ
œ.
œ
œ
œ
mœ.
œ
œ
œ.
œ
œ
œ.
(continued text)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
flaut.
molto
SP
r
‰. m·
·
Œ
&
III
IV
flaut.
molto
!
··
j
· ‰
Ó
Œ
mœ
‰ J
˙
·
ƒ
flaut.
molto
r
$ œR ‰ Œ
ov.pr.
Œ
F
!.
œ
$ R‰ Œ
n >œ
$ R‰ Ó
pizz.
arco
Œ
#
f
SP
$ j
·
!
H
SP
Vln. II
&
·
·
J ‰ Ó
Ó
ƒ
P
espressivo
!.
bœ
$ R‰ Œ
Vlc.
&
&
œ. œ œ
p
127
œ
œ.
#
flaut.
Ó
#
˙
œ œ.
œ
Œ
œ.
ST
$ J
#
"
"
P
"
"
nœ
œ
Ó
$ n œœ ..
J
#
bœ
nœ
Ó
œ
œ
jètè
J ‰
Œ
130
œ.
$ J
"
#
œ
!
131
Œ
Œ
‰
Ó
œ.
œ œ.
œ
p
P
espressivo
œ
129
#
!
poco cresc.
128
.
$ m œJ
Œ
œ
SP
!
arco
pizz.
Vla
?
&
arco
Vln. I
Ó
$ r‰ Œ
b œ.
%#
œ œ.
!
? ‰.
r .
bœ
#
+
132
H
m· Œ
!
.
Fl.
B b Cl.
Soprano
&
&
" œ.
œ
#
~~~~~~~~~~
œ
œ3
Œ
!
& Œ
œ
ord
·
air
mœ.
p
Œ
sub.
Ó
p
$ œ.
J
Œ
P
œ œ.
espressivo
œ
i
œ
e
·.
ord
b˙
air
bœ
æ
#
j
sl.t.
$nœ . Œ
#
#
œ œ.
‰ m œj
Œ
p
œ.
œ
nœ
˙
œ
Œ mœ
#
œ.
œ
nœ
b œ.
‰ J
!
Œ
Œ
a
o
#
!
˙
œ
J
i (nm)
&
ã
3
‰ œ. œ. $ Œ
S. Cymbal
‰ œ.
J
$ œ.
J
Œ
High Bongo
(scraped)
#
#
Ó
&
Hp.
Pno
Œ
œ.
.
œ
& Œ
& Ó
3
œ
bœ
œ
‰ ‰ bœ ‰ J ‰ ‰ J
J
#
3
‰ ‰ œj
dolce / poco liberamente
Œ
˙
·
&
œ
œ
nœ.
œ
œ
œ.
&Œ
b œ.
Œ
P
rall. tremolo
#
!
Œ
Œ
bœ ‰ ‰ ‰ j Œ
J
bœ
Œ
3
&
·
Ó
·
P
Vla
& Œ
&
œ
b · ..
$ œJ
˙
J
Œ
bœ
? Œ
‰.
˙
#
Ó
!
j
bœ
J
pizz.
Œ
P
œ
œ
mœ
œ
œ œ.
p
œ
œ
Œ
œ.
œ
Ó
!œ.
bœ
$ R‰
œ
#
$ r‰
nœ
%
Ó
Œ
Ó
Œ
j
p.d.l.t
œ
#
?œ
˙
F
Ó
œ
œ
œ
SP
flaut.
molto
œ
m˙
‰
Ó
Ó
n b œœ
ΠB J
!
r
pizz.
œ
œ.
#
Œ
133
j
b
·
bœ
flaut.
ST
?$ ·.
œ.
J
Ó
Œ
b ·œ
!
Œ m œj ‰ Ó
œ.
‰
Ó
ƒ
p
Œ
#
‰
Œ
r
‰. ·
ST
ƒ
p
!
‰
Œ
& nœ
#
œ
espressivo
136
137
!
F
!
Ó
#
nœ ‰ Œ
J
Œ n m œœ ‰ Ó
J
Œ
······ · · · · ·
3
œ
Ó
pizz.
SP
5
III
135
Œ
·œ
jètè
arco
ov.pr.
!
134
IV
œ
m˙
p
138
‰
J ‰
Ó
poco dim.
flaut.
arco
Vlc.
œ œ.
espressivo
b b ·œ
J ‰ Œ
#
œ
Ó
ƒ
jètè
Vln. II
˙
#
(continued text)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
A
Actors
B
Vln. I
j
œ
rall. trill
#
bœ
œ
Ÿ~~~~~~~~~~~~~~~~~~
sust ped
Œ
œ œ.
Œ
˙
Vibraphone
‰. nœ
R
Marimba
bœ
j ‰ ‰ ‰ J Œ
bœ
œ
œ
R
n
sust ped
C.F.
(tacet)
œ ˙
!
Ó
bœ œ
!
# echo
‰.
Œ
!
3
?
Œ
œ
u (nm)
Ó
bœ œ
&
!
Ó
as fast as possible
?
3
Œ
bœ
˙
œ
!
D.S
High WB
ã Ó
mœ
espressivo
rall. trill
Perc
n˙
legato, espressivo. In foreground.
‰
j
n ·.
œ
·
œ
23
Poco meno
Soprano
& Ó
œ
F
>
œ
J
‰
‚
#
!
·.
‚
#
!
!
..
..
..
..
..
p(e)
Œ
!
Ó
ã
.. Œ
High WB
Low WB
High Bongo
Low Bongo
Bass Drum
j ‰
œ
#
œ
æ
.
œ œ.
æ
Ó
‰
j Œ
X3
..
œ
S. Cymbal
ã
..
&
..
..
?
..
..
&
..
..
?
..
..
œ
œ
b˙
..
œ
R
#
Œ
..
Ó
..
w
Actor's Solo ca. 45''- 1'
~~~g~oes
~~~~to...
~~~~
~~
&
‰.
A
Actors
B
Vln. II
Vla
Vlc.
..
&
& Œ
œ
b˙
p
w
X3
..
..
w
ten.
.. Œ
œ
q = 44 [e= 88]
espressivo
B
&
..
~~~~
(continued text)
~~~~~~~~~~~~~~~~~~~~~~~~~
Poco meno
Vln. I
~~~~
~~~~
C.F.
(tacet)
Œ
~~~~~~~
Perc
Pno
..
˙
&
&
Hp.
œ
œ
~~~~
B b Cl.
&
X3
air
~~~~
Fl.
1/2 sound
[w]
24
q = 44 [e= 88]
Œ
Ó
139
ST
IV
·
!
[h]
·
#
[h]
·
SP
[h]
·
..
!
..
..
140
141
(to m. 145)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
A tempo
q = 60
U
I
Fl.
B b Cl.
Soprano
&Œ
œ
P
25
Œ
U
œ
P
&Œ Œ
u
Perc
Hp.
.
.
œ œ.
œ
æ
æ
!
‰
‰
!
P
œ
High WB
Low WB
High Bongo
Low Bongo
Bass Drum
p
P
" j
a
j
ã Œ œ ‰
œ
!
bœ
U
j
" bœ .
!
P
U
œ
P
!
&Œ Œ
" b œj.
bœ $.
P
P
!
œ
œ $.
P
‰ bœ $.
e
œ
œ
‰ bœ
!
‰
!
!
·
o
‰
S. Cymbal
ã
&
Ó
U
j
? Œ bœ ‰ ‰ œ ‰ ‰
œ mœ
bœ bœ
!
3
#
3
3
P
!
‰ bœ
œ
‰
‰ bœ
P
(on bell)
œ
R
p
Œ
Ó
Œ
P
P
!
P
!
‰
bœ
n
‰ œj Œ
Ó
‰.
‰
‰
‰
#
Ó
‰ bœ Œ
œ
!
‰ " b œR œJ.
!
" Œ
P
!
P
!
r j
‰ " bœ œ . " Œ
!
Ó
Œ
!
‰.
œ
R
#
Œ
bœ
b œ ‰ m œ ‰ œJ ‰ m œ ‰
3
j
P
Tam-Tam
3
3
‰ b œ ‰ b œ ‰ m œ ‰ œj ‰ Œ
J
‰œ ‰Œ
‰ b ·J Œ
‰ J Œ
3
!
" Œ
R J
3
3
3
Œ
j
" bœ . .
nœ Œ
P
" œ.
J
P
P
" b œJ.
b˙.
!
b˙.
. bœ Œ
!
e
Ÿ~~~~~~~~~~~~~~
j
œ
" œJ. œ
Œ
#
f
˙.
a (nm)
Crotales
(Sounding)
&
!
œ
3
b3œ
b
œ
J
‰ ‰ ‰ J ‰‰ ‰J Œ
œ
J ‰ Œ
#
j
‰ bœ ‰ Œ
3
‰
J
# sub.
f #
sub.
!
nœ Œ
Attaca Thou Love Me?
b œ. ‰
J
!
!
.
f
!
œ.
3
# sub.
b œ.
J ‰
p(o)
Œ
Bass Drum
j ‰
ãœ
#
Ó
b œ3
‰ J‰ Œ
Triangle
‰ ‰œ Œ
J
3
3
3
&
" œ.
J
Œ
Ó
3
3
3
b œ m3œ
b3œ m œ
b œ ‰3 m œ ‰ 3j ‰ ‰ b œ ‰ m3œ ‰ 3 ‰ b3œ ‰ m œ ‰
& ‰ ‰ J ‰ J ‰ b œ ‰ m œ ‰ J ‰ ‰ œ ‰ m œj ‰
J bœ ‰ mœ J
bœ mœ
3
œ
in the backround
.
? UŒ b · ‰ b ·J ‰ " ·J
J
F
?
œ
æJ æ
#
‰ "
m
rall. tremolo
œ
œ
·
i
3
(muted)
Pno
P
œ
œ
œ.
œ
‰. b· Œ
R
·
‰. b· Œ
R
Œ
.
" b ·J
Ó
·
J ‰ Œ
Œ
b· ‰
J
sust ped
C.F.
(tacet)
A
Actors
B
U
& Œ b b œœœ
˙˙
˙
ww
w
ww
w
ww
w
ww
w
laughs
A tempo
q = 60
I
ST
Vln. I
ww
w
U
&Œ
nœ
˙
Attaca Thou Love Me?
w
w
w
w
˙
œ
œ.
(#)
#
poco vib.
Vln. II
Vla
Vlc.
U
ST
& Œ b ˙˙ ..
w
w
w
w
w
w
w
w
˙
˙
œ
œ
œ.
œ.
b˙.
w
w
w
w
˙
œ
œ.
# poco vib.
U
BŒ
U
?Œ
ST
#
poco vib.
ST
ov.pr.
œ
œ.
(#)
œ.
ov.pr.
(#)
ov.pr.
b˙.
#
œ.
ov.pr.
w
w
w
w
˙
œ
poco vib.
145
146
147
148
149
150
œ.
œ.
(#)