SY 4111/01 | Dai Fujikura - Solaris (2013-14)

opera in 4 Acts

rli n

-F

or

(2013/2014)

C op

yr

ig

ht

by

R

ic

or di

Be

Libretto by Saburo Teshigawara (based on Stanisław Lem’s novel “SOLARIS”)

SY. 4111

RICORDI

ru

pe

SOLARIS

sa l

on

ly

Dai Fujikura

ly on pe

CRÉÉE LE  MARS  AU THÉÂTRE DES CHAMPS ELYSÉES.

ru

sa l

COMMANDE DU THÉÂTRE DES CHAMPS ELYSÉES, DE L’OPÉRA DE LILLE, DE L’OPÉRA DE LAUSANNE, DE L’ENSEMBLE INTERCONTEMPORAIN ET DE L’IRCAM-CENTRE POMPIDOU.

C op

yr

ig

ht

by

R

ic

or di

Be

rli n

-F

or

RÉALISATION INFORMATIQUE MUSICALE IRCAM : GILBERT NOUNO

ly

CAST

ru

sa l

on

Hari (Soprano) Kris Kelvin (Baritone) Snaut (Tenor) Gibarian (Bass) Off stage Kelvin (Baritone)

or

-F

Flute / Piccolo Oboe Clarinet (B-flat - E-flat) / Bass Clarinet (B-flat) Bassoon (also Contrabassoon)

pe

INSTRUMENTATION

1 Percussion player

Be

rli n

Horn (in F) (needs mute) Trumpet (in B-flat) (needs straight, harmon, practice mutes) Trombone (needs straight, harmon mutes)

or di

1 Bass Drum, 1 Pedal Bass Drum, 1 Vibraphone, 2 Suspended Cymbals, 2 Congas, 1 Tamtam, Timpani (32” + 26”) and Gongs ( ?MShJ=Ow&h )

1 Celesta

by

R

ic

2 Violins Viola Cello Double Bass (all strings need “plectrum”)

C op

yr

ig

ht

LIVE electronics The score is in C

on

Accidentals (including grace notes) only affect the pitch to which they directly refer, not other octaves, for the duration of the bar in which the accidental is written. Do NOT use vibrato on gliss. or port.

D = quarter sharp = three quarter sharp

ru

sa l

QUARTER TONES

pe

= quarter flat

-F

or

' = three quarter flat STRINGS

rli n

S.P.= sul pont.

Make a difference between Gliss. and Port.

Be

P.O.= position ordinary

or di

Gliss. = start to shift the pitch immediately (and travel during the full length of the note duration). Port. = shift the pitch just before you go to next note.

R

ic

All tremolo (including 2 note tremolo) must be played as fast as possible unless otherwise stated.

by

WOODWINDS

ht

Sound samples of each multiphonic and the percussion sounds can be heard in the website below, so that you can hear a precise idea of what sound to produce and how to obtain these percussion instruments.

yr

ig

http://www.daifujikura.com/Professional/ ID: user Password: dai

C op

ly

GENERAL POINT

sa l

on

ly

Flute Multiphonics fingerings:

Be

(obm:1, obm:5, obm:6 do not exist in this work)

rli n

-F

or

pe

ru

Oboe Multiphonics fingerings:

by

R

ic

or di

Clarinet B-flat Multiphonics (written pitch) fingerings:

C op

yr

ig

ht

Bassoon Multiphonics fingerings:

(Bnm:1, Bnm:5, Bnm:6 do not exist in this work)

Be

on

rli n

-F

or

pe

ru

sa l

' ! ' ! "#$%&'()*(+!&(,$'!! ! ' /0123045' 6'70123045'804'9:1;<45''=>?1@'8407'3><';<2A21@B' C'70123045'804'521@<45'="1'(D5>:E<9'F007B' G'<:4'7012304'804'08853:@<'H<AI21' ' J4013'08'+0?5<' !3<4<0'5K53<7'804'50?19'4<21804;<7<13'08'3><'521@<45':19'08'3><'04;><534:'804':'F<33<4' 8?5201'L23>'<A<;34012;5M'' !?FL008<45'1<<9<9'804'<A<;34012;5M' '' !E:32:A25:3201' N'E0213'*24;?A:4':44:KM' J4013'!3<4<0''O'*<134:A'J4013'O'6'E02135'21'3><'I<1?<'' '

ly

!"#$%&!'()*+,&*$#'!)(-.'

1

3

R

ic

or di

2

7

by

4

C op

yr

ig

ht

7 point circular array for Solaris

6

5

1, 2, 3 is also FOH for sound reinforcement The electronics in loudspeaker 2 is delayed to be on the circle.

' '

'

C op

ly on

yr

ig

ht

by

R

ic

or di

Be

rli n

-F

or

pe

ru

sa l

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

'

'

ly sa l ru pe or

-F

rli n DPA 4061beige DPA 4061 beige DPA 4061 beige DPA 4061 beige DPA 4066 SM58

Wireless Wireless Wireless Wireless

25 Microphone stands 20 Tall Boom 5 short boom

C op

yr

ig

ht

by

R

ic

SINGERS 31 Kelvin 32 Snaut 33 Hari 34 Gibarian 35 OffStage Kelvin 36 Effet Off Stage

Microphone DPA 4061 KM140 DPA 4061 KM140 DPA 4061 KM140 DPA 4099 AKG C214 DPA 4099 AKG C214 KM184 KM184 KM184 4021 / 4099 MKH40 4021 / 4099 MKH40 C214 C214 KM150 KM150 C214 C214 KM 140 MKH40 KM 184 KM 184 MD421

Be

or di

ORCHESTRA Instrument 1 V1 Close 2 V1 Far 3 V2 Close 4 V2 Far 5 Viola Close 6 Viola Far 7 Cello Close 8 Cello Far 9 Dble Bass Close 10 Dble Bass Far 11 Flute Far 12 Oboe 13 Clarinet 14 Bass Clarinet 15 Bassoon 16 Contrabassoon 17 French Horn 18 Trumpet 19 Trombone 20 Celesta L 21 Celesta R 22 Vibra L 23 Vibra R 24 B Drum 25 Conga 1 26 Timpani L 27 Timpani R 28 Pedal BD

on

INPUT PATCH SOLARIS

' ' ' '

'

Computer 1 Main Electronics

RME FIREFACE 800

ly on

pe ADAT 1 to 8

MIXING DESK

or di

Be

MIDI Controller (BCF 2000 Behringer)

1:L 2:C 3:R 4 : RR 5 : RS 6 : LS 7 : LL

ADAT 1 to 16

rli n

Nanocontrol

or

MIDI Keyboard On Stage

9 : Hari 10 : Flute 11 : Oboe 12 : Clarinet 13 : Bassoon 14 : French Horn 15 : Trumpet 16 : Trombone

-F

1:V1 2: V2 3 :Alto 4 : Cello 5 : DbleBss 6 : OSK Whisper 7 : OSK singing 8 : Gibarian

ru

sa l

-.%.!&(,$'!2!-.3.14!%(&*! ' "1<'7292'H<KF0:49'01'53:@<M'=72927:1'0RK@<1'ZB' (><'7292'A21P5'30';07E?3<45';A05<'30'3><'72R21@'9<5PM' /2R21@'Y<5P'Q'' Y2@23:A'9<5P'72127?7'T6'21E?35']'C6'72R'F?5<5']'GT'0?3E?35'=^:7:>:'*#VB' ' (><'72R21@'9<5P':19'3><';07E?3<45'>:I<'30'F<'21'3><'I<1?<X';A05<'30'3><';<13<4M'(><' :I:2A:FA<'5E:;<'804';07E?3<45':19'72R21@'9<5P'5>0?A9'F<':3'A<:53'_7'A01@M' *07E?3<45'>:5'30'F<':3'3><';<13<4'08'3><'I<1?<'9?421@'82453'4<><:45:A5M' '

Computer 2 Spare

RME FIREFACE 800

by

R

ic

Nanocontrol

ig

ht

.<42E><4:A5'1<<9<9'Q' C'4<I<4F<4:3201''?1235'=.*/`CX'/6UUUB' ='6'L24<A<55'5K53<75'804'521@<45':19'G'<:4'7012304'01'53:@<B' ! ! 5.%(#! ! C'I29<0'70123045'1<<9<9M'' H<AI21'"8853:@<'7?53'5<<'3><'924<;304'01':'7012304M'' $3'3><'72R21@'9<5PX''3><';07E?3<4'7?52;'9<52@1<4'5>0?A9'F<':FA<'30'5L23;>'F<3L<<1'3><' 924<;304':19'H<AI21'"8853:@<M' ' '

yr C op

SOLARIS COMPUTER AND MIXING DESK SETUP

'

sa l

on

ly

)''(1%.3!6!'+(5.#$&!"#$%&'()*(+!&(,$'7! ' ' 8!,9:;<=:!>:7!/9;?@7!(AB7::7!6! ' ' '

17, 18 : Monitors for singers

11

12

13

14

pe

ru

11, 12, 13, 14 : Monitors for dancers

-F

9 : central loudspeaker

15

C op

yr

ig

ht

by

R

ic

or di

SOLARIS LOUDSPEAKER SETUP - STAGE

9

Be

5

rli n

18

17

9 1,3,7

or

1 to 6 : FOH

6

2, 4, 8

'

SOLARIS FOH

E12

9

Kiva

pe

ru

sa l

Kiva

ly

2 Kilo

on

1 Kilo

Kiva

Kiva

4

or

3

SB18

7

5

6

'

Be

rli n

' ' '

8

-F

SB18

or di

SOLARIS implantation des enceintes en salle

35

R

ic

34

30

26

by

22

31 A

27 23

36 29

25

C

32 24 28

21

C op

yr

ig

ht

33

B

21, 22, 23, 24 : E8 suspendues au 1er balcon 25 : E8 sur cloison entre loge 10 et 12 26 : E8 ou MPB200 sur pied loge 24 27 : E8 ou MPB200 sur pied loge 23 28 : E8 sur cloison entre loge 9 et 11

29 : E12 en wedge sur fly rang U (vers place U10) 30 : E8 sur pied micro avec gueuse (T70 et 72) 31 : E8 sur pied micro avec gueuse (T69 et 71) 32 : E12 en wedge sur fly rang U (vers place U9)

33, 34, 35, 36 E12 sur Fly ou pied a 1m (loges 58, 76, 79, 59) A : Amplis en loge 25 pour HP 25, 26, 27 et 28 B : Amplis +Ro8 + switch pour HP 21 a 24 et 29 a 32 sur siege O1 C : Amplis + Ro8 pour HP 33 a 36

'

ru

pe 28

20

E8

yr

ig

ic

ht

by

1 FOH L 2 FOH R 3 centreCluster 4 5 Sub haut SR 6 Sub haut SL 7 SB18 SR 8 SB18 SL 9 10 11 Dseur 1 12 Dseur 2 13 Dseur 3 14 Dseur 4 15 Chteur 1 16 Chteur 2

R

SOLARIS LAUSANNE Plateau

C op

33 Pied rond Ircam derriere C32 - 44 34 Boom devant porte coupole rang H 35 Boom devant porte coupole rang H 36 Pied rond Ircam derriere C33 - 45

or di

' ' '

29 Pied rond Ircam derriere C26 - 40 30 Boom Custom place D17 31 Boom Custom place D18 32 Pied rond Ircam derriere C27 - 41

Be

25 Boom Custom place D35 26 Boom Custom place F17 27 Boom Custom place F18 28 Boom Custom place D36

108 P

rli n

-F

or

24

19

25 21

32

27

26

29

23

22

sa l

31

30

33

36

on

35

34

SOLARIS LAUSANNE SALLE

ly

C!!";D7;EE:!6! ! '

12

11

112 P 13

14

Boite danseur

112 P 15

16

SB 18

SB 18

7

8 fosse

'

'

4.3

ht

by

ic

R

or di

4.2

5

ig

rli n

Be

or -F

4.1

2.1

6

7.3

yr

sa l

ru

pe

Po +1 rtalpo ,36 m dest

3

2

1

1500

HV Schauspiel

Po +1 rtalpo ,36 d m est

2500

ly on

Theater Augsburg -­ Spielstätte Martini-­Park zusätzliche Beschallung für Zuschauer -­ A3 -­ M 1:100 (Stand: 13.03.18)

Orchestergraben

700

7.2

C op

Durchgang zum Orch.graben

Durchgang zum Orch.graben

7.1

Ton

-

Video

-

Beleuchtung

-

Inspizient

HV Oper

1200

SOLARIS

on

ly

Live Electronics Instructions

Music by Dai Fujikura

sa l

Electronics by Gilbert Nouno, Dai Fujikura

ru

Please contact Dai Fujikura or gilbert.nouno@ircam.fr to obtain the electronics material to play Solaris (a

pe

.dmg apple file containing the software elements).

The following describes the minimal computer and software setup to run the electronics of the opera

or

Solaris at the time of the creation, i.e. March to May 2015 (now revised version may 2018). Please see

rli n

Electronics setup requirements

-F

also the audio setup pdf document to connect the devices.

Be

The following lists the hardware and softwares elements needed by the electronics of Solaris. 1 MacBook Pro (2.8 Ghz Intel Core I7) with 16Gb memory (* please not less powerful than this mac model*) with OSX 10.9.5 in 2015, tested with 10.11 in 2018, it should also work with OSX 10.12. (not

or di

tested). OSX 10.13 (High Sierra) is not recommended for the moment because of a Max6 authorization software compatibility.

ic

1 audio interface RME FW 800 or a DANTE network audio (recommended) or equivalent audio card

R

interface.

1 midi controller BCF2000 Berhinger (required)

by

1 midi controller korg nanokontrol (required only as a backup or for the spare laptop) 1 small midi keyboard to be used on stage (1 or 2 octaves) (required)

ht

Ableton Live 9 Suite (required, version 32 bits). It is a commercial software but a free and demo version could be used (although the full version is recommended), as the session can be loaded and

ig

run as a standalone (one can't save but this is not needed when running the provided Live session)

yr

(required). Ableton Live 10 is still not working well at the moment (as it is only 64 bits) and the max-

C op

for-live devices would need some future compatibility updates. Cycling74 Max Msp 6 application (required) or runtime version ( the runtime version is free, the application allows to update the spatialization patch) Max7 32bits should worl too (not tested) The Waves plugins package (recommended), used for some reverbs and compressors plugins in

Ableton Live, which could also easily be replaced by other equivalent plugins in the Ableton Live session.

Audio software configuration

Note that the input 1 to 8 must be looped back. 44.1KHz or 48Khz could be used as the sample rate

C op

yr

ig

ht

by

R

ic

or di

Be

rli n

-F

or

pe

ru

sa l

on

frequency.

ly

Example of the Solaris audio configuration with an RME FW800 audio card

C op

ht

ig

yr by ic

R or di rli n

Be or

-F

sa l

ru

pe

ly

on

ly on sa l ru pe or -F rli n Be or di

ic

Audio channels numbering and assignments.

by

R

if you are using Dante the numbering should be the same as with an RME FW800 audio interface.

Inputs

ht

in 13 violin 1

ig

in 14 violin 2

yr

in 15 viola

in 16 violoncello

C op

in 17 double bass in 18 OSKWhispering (SM58 or close-mic in the score) in 19 OSKSinging (headset) in 20 Gibarian (headset) in 21 Hari (headset)

Outputs

from Ableton Live 1 to spat source 1 2 to spat source 2 3 to spat source 3

ly

4 to spat source 4

on

9, 10 to headphone as a control monitor

sa l

from Max6 patches

22 to 32 : to the 11 loudspeakers output (it can be less depending on the loudspeaker setup). A patch

ru

with 8 speakers output is also provided.

pe

1 to 8 : used for the feedback loop, looped in the audio card interface, with the mixing desk or with another computer if working with DANTE network.

or

1 to 4 are source 1 to source 4 of the spatialization.

-F

Max Msp patches and Ableton Live session

rli n

Quick Start

Be

The given files must be loaded with Max6 and Ableton Live 9 (32 bits). The following window shows the list

C op

yr

ig

ht

by

R

ic

or di

of the files that should be copied on your hard drive.

ly on sa l ru pe or -F rli n Be

or di

The script runsolarismain.sh (or the current updated one) launches automatically all the max patches and

C op

yr

ig

ht

by

R

ic

the Live session.

Please refer to the score to mix and trigger the electronics.

pe

ru

sa l

on

ly

Max6 preferences

*in the folder Applications/Max 6.1/Cycling'74/extensions you need to remove and trash the sqlite.mxo

or

object (to avoid some error messages with max when several instances are used like here)*, as shown

C op

yr

ig

ht

by

R

ic

or di

Be

rli n

-F

below :

Max7 preferences They are identical to the max6 preferences.

The Maxmsp patches

After the script has launched all the files you will end up with the five following Maxmsp patch windows :

or di

Be

rli n

-F

or

pe

ru

sa l

on

ly

Main patch for spatialisation

ic

when loaded

R

click on levels ! (the orange message box) , this setups the levels !

by

click on waiting (the yellow message) - that runs the spatialisation of the sounds. start the beginning waiting planet sound from the ambient sound patch E (see below)

ht

on the midifader box (BCF2000) turn up the level associated with midi CC #3 the midi fader CC #1 is the main level

ig

when the orchestra is about to start, run the "one minute" taking off/landing sound from patch E and

yr

click on <> yellow box on patch A (that runs the spat faster)

C op

see the score to control the levels when the orchestra starts to play go back to <> (yellow button) on patch A (going back to normal wandering sounds) last Kelvin sound must be triggered at the same time as the spat cue "end strings on" (yellow message box) which brings the strings into the spat, be careful to the feedback ! Adjust the kelvin granular sound in respect to it.

Granular String maxmsp patch

ly on sa l ru pe or -F rli n Be

when loaded

click on the yellow message box (preset initialization), the dsp must be ON (blue/grey speaker icon)

C op

yr

ig

ht

by

R

ic

or di

Off Stage Kelvin Whisper maxmsp patch

when loaded

click on the yellow message box (preset initialization), the dsp must be ON (blue/grey speaker icon)

rli n

-F

or

pe

ru

sa l

on

ly

Hari Scream Granular maxmsp patch

Be

when loaded

or di

click on the yellow message box (preset initialization), the dsp must be ON (blue/grey speaker icon)

C op

yr

ig

ht

by

R

ic

Begining Ambient Sound maxmsp patch

when loaded

the left yellow box BEGINNING waiting planet!! triggers the beginning sound the 1 yellow box triggers the arriving glissando sound lasting one minute the right yellow box END Kelvin Gran Synth triggers the ending Kelvin sound

ly

The Solaris Ableton Live session

R

ic

or di

Be

rli n

-F

or

pe

ru

sa l

on

The current file is Solaris Main session 19 main (or updated version).

C op

yr

ig

ht

by

Ableton Live audio configuration example with DANTE network

C op

ht

ig

yr by ic

R or di rli n

Be or

-F

sa l

ru

pe

ly

on

C op

ht

ig

yr by ic

R or di rli n

Be or

-F

sa l

ru

pe

ly

on

ly on sa l ru pe or -F rli n Be or di ic R by ht ig yr C op

Ableton Live midi configuration example

ly on sa l ru pe or -F rli n Be or di ic R by ht ig yr C op

Initialization of the Ableton Live special (muting/unmuting effects process) faders select Hari Cut Verb track in the effects part turn ON (or unmute) the most right Ableton fader This has to be done for all the 'red-color' tracks of the Live session.

If this is not done no sound will come out of these sound transformation. by moving the midi faders you will see that it unmutes and mutes the effect devices automatically.

!!! run the PLAY IT scene in Ableton Live !!! (scene below scene #20, please see the picture

ly

Initialization of filtering sounds for the Dream duo scene (Off Stage Kelvin & Gibarian)

on

below), it is fine to leave it ON during the whole opera. If you forget it you won't have sound for OSK-

C op

yr

ig

ht

by

R

ic

or di

Be

rli n

-F

or

pe

ru

sa l

dream and Gibarian-dream duo scene !

Mixing the electronics with the BCF2000

C op

yr

ig

ht

by

R

ic

or di

Be

rli n

-F

or

pe

ru

sa l

on

ly

Example of the BCF2000 setup. Refer to the score to see what and when to mix the sound processing.

C op

ht

ig

yr by ic

R or di rli n

Be or

-F

sa l

ru

pe

ly

on

Solaris Midi mixer controllers setup They are used in the live session and also in the max patch, set them up in the BCF200 and in the nanokontrol2 (as or for a backup midi fader). If you are using a nanokontrol2 use the Korg Editor to assign

ly

the controllers with the right values.

on

CC #1 , Master level (in max A Spatialization patch) CC #2 , String granular synthesis Level (used also to start/stop the granular trigger) CC #3 , Waiting sound level (in max E begin and end sound)

sa l

CC #4 , Hari cut reverb (in Live) CC #5 , OSKT (in Live, Off Stage Kelvin Talking)

ru

CC #6 , OSKWS (in Live, OSK Whispering and Singing, also in max D OSK Whispering granular

pe

synthesis)

CC #7 , OSKDr (in Live, OSK Dream, vocoder transformation, you need to activate the PLAY IT scene

or

in Live to have sound input of the vocoder) scene in Live to have sound input of the vocoder)

-F

CC #8 , GibDr (in Live, Gibarian Dream, vocoder transformation, you need to activate the PLAY IT CC #13 , OSKT : -6db to +6db of the OSK direct sound mixed with the electronic voice OSKT, adjust it

rli n

to have a clear voice with the electronic, the voice input needs very good EQ CC #14 , OSKWS : -6db to +6db of the OSK direct sound mixed with the electronic voice OSKWS,

Be

adjust it to have a clear voice with the electronic, the voice input needs very good EQ CC #15 , OSKDr : -6db to +6db of the OSK direct sound mixed with the electronic voice OSKDr, adjust it to have a clear voice with the electronic, the voice input needs very good EQ

or di

CC #16 , GibDr : -6db to +6db of the OSK direct sound mixed with the electronic voice GibDr, adjust it to have a clear voice with the electronic, the voice input needs very good EQ CC #48 , Hari scream, granular synthesis level and start/stop in max D

ic

CC #49 , sample level (triggered by note C3 and G3 from the midi keyboard)

R

CC #57 , Hari scream on/off button

by

CC #60 , Hari scream button : for granular, recalls setting #21 from 0 to 24 semi-tones in 4s, also the +- range varying from 0 to 24 semi-tones in 4s, NB by default Hari scream recalls #10 (yellow button) CC #61 , Hari scream button : granular +1 semi-tone trans with +- 1 semitones - use #60 and #61 in

ht

scream second time to widen and change it

ig

CC #62 , Hari scream button : for granular, recalls setting #21 from 0 to 48 semi-tones in 4s, also the

yr

+- range varying from 0 to 48 semi-tones in 4s, NB by default Hari scream recalls #10 (yellow button) CC #77 reverb time adjustment from 0.85 to 6s (11h45 around 1s, 12 o'clock around 2s, 12:15 around

C op

4s, 12:30 6s) CC #69 room presence (or reverb send amount) for source 1 (Hari and Gibarian) CC #70 room presence (or reverb send amount) for source 2 (Strings) CC #71 room presence (or reverb send amount) for source 3 (OSK whispering, Talking) CC #72 room presence (or reverb send amount) for source 4 (OSK Singing)

Notes for the performance

for OSK (Off Stage Kelvin) whispering or talking is always in the SMS8, Singing is always happening with the headset mics, OSK is normaly not reinforced like the other voices, but mixed directly through the electronics spatialized. two samples are played by the midi keayboard, use the right assigned midi fader to control their level. Hari scream level is controlled by its midi fader (CC #48) and the button (CC #57) is used to turn it on

ly

and off.

on

buttons CC #60 #61 #62 allow to change the different presets of the scream

the 5 reverb knobs values (CC #69-#72 and #77) are monitored in the window of the spatialization

sa l

patch (A)

Each time before the show sound check all the voices transformations, especially the cross synthesis

ru

in the Dream Sequence where you should see signals arriving in the GnSparke2 sound processing

C op

yr

ig

ht

by

R

ic

or di

Be

rli n

-F

or

pe

(max for live) devices, as shown below :

C op

ht

ig

yr by ic

R or di rli n

Be or

-F

sa l

ru

pe

ly

on

C op

yr

ig

ht

by

R

ic

or di

Be

rli n

-F

or

pe

ru

sa l

on

ly

OPTIONAL at the beginning of the performance: A special Soundfile has been composed which can be played while audience is coming into the theatre, before the opera starts (duration c. 28min.). However do not tell the audience that this Soundfile is being played (the recording is low pitched musical fragments, which occur every 10 seconds or so). The intention is to set the mood of SOLARIS subliminally while the audience is chatting and finding their seats in the theatre.

Materials from Andreij Tarkovsky's film "Solaris" used by kind permission of Mosfilm.

C op

ht

ig

yr by ic

R or di rli n

Be or

-F

sa l

ru

pe

ly

on

to Milena

SOLARIS

ly

(based on Stanis!aw Lem's novel "SOLARIS") By Saburo Teshigawara (translated by Dai Fujikura & Harry Ross)

ru

sa l

on

Cast: K = Kelvin, S = Snaut, H = Hari, G = Gibarian Ke = Off-stage Kelvin

pe

Bold initials denote character on video

-F

or

Day 1

Solaris Station! Solaris Station! Arriving!

K

Doctor Snaut?

S

Kris Kelvin? [Snaut has a worried face; movement; attitude and voice]

K

what happened to you?

S

Sorry sorry sorry… [with husky voice]

K

where is Gibarian?

S

Gibarian is dead, killed himself…

K

I wanted to speak to him. What’s happening here?...

S

Doctor Kelvin, listen - get some rest. If you meet someone else here don’t worry, you’re not going mad.

ht

by

R

ic

or di

Be

rli n

K

C op

yr

ig

K

meet someone else?

S

well…. Remember what I said. But don’t worry

K

What do you mean?

S

This isn’t earth

[unstable, stretching the end of vowels]

1

G

ru

on

sa l

Hello Kris. There’s something I need to tell you. By now you know what happened to me Kris, and the same thing can happen to you - to anyone. I’m sure it will. Your guilt will be brought to life and will torture you. Don’t think you’re mad. I’m serious, Kris, believe me. I’m telling you in case this happens to you. Shoot them into the ocean’s plasma to kill that monster…

ly

[when Kris looks into Gibarian’s room, a screen turns on suddenly. Gibarian’s face is real, though gradually pixelated, as if it is losing all resolution and disappearing into spacedust.]

what? [outside is pitch black, there is a sense of fear] G

pe

Ke

-F

or

There’s no other way. That’s the only way to kill the visitor. This horror will happen to everyone, I can’t bear it. S

rli n

Open the door! Gibarian, open the door! Don’t be foolish let me help you! G

or di

Be

you want to help me? Ok – but don’t break down the door. …I will punish myself…

ic

G [to K] Did you see that woman? Kris, this is not madness. This is your conscience. Alive. Here

R

G

I don’t feel very well

ht

K

by

Kris, I wish you’d arrived sooner… [After watching Gibarian's mysterious video, Kris sees a strange person when he visits Snaut]

C op

yr

ig

S

no you’re fine. Just understand his warning

K

Is there anyone else in this station other than us two?

S

did you see?

K

You warned me, but what should I look out for?

S

who did you see?

2

that is not a human? That woman seemed a human

S

you? Who are you really?

K

where did that woman come from?

S

Don’t bother me!

K

You’re afraid? You think I’m mad…

S

You? Mad! What are you saying? Please stop!

K

Snaut, listen!

pe

ru

sa l

on

ly

K

C op

yr

ig

ht

by

R

ic

or di

Be

rli n

-F

or

End of Day 1

3

Day 2

Hari.....where did you come from?

H

Kris.....

K

how did you know I was here?

H

how? I don't know. When I entered, you were asleep. I didn't want to disturb you, I knew you'd get angry... Where are my shoes?

K

shoes? There aren't any here.

H

I have a feeling I've forgotten everything. I don't know...sorry? What?

K

where did you come from, just now?

H

......underground, cold, very cold. Has something happened to us?

Be

rli n

-F

or

pe

ru

sa l

K

or di

[she relaxes her position and carefully examines Kris] Ke

she doesn't know that she died?

ic

what did you do to me?

R

H Ke

by

Hari, I never imagined this could happen! Hari, I never imagined this could happen!

ht

K

yr

ig

Ke

C op

on

is that my my wife? Hari? Not possible. Ten years ago she was 19 years old. Dead Hari… why is she here? She is looking at me. I look at her. Hari is in front of me... [Uncertain, K starts speaking to Hari]

ly

Ke

Why is Hari here?

H

Kris, something has happened, I have a feeling. I forgot something very very important. The only thing I know, I remember, is you. Apart from that, I don't... don’t....

K

where is this, Hari?

H

home, isn't it?

4

home?

H

Kris!

K

what?

H

are we....do you love me? [she looks away from Kris's eyes and smiles]. Feeling great! [she relaxes her bare feet on the floor]

sa l

on

ly

K

Ke

or

pe

ru

Hari, when she is silent, walking around, sitting and smiling, I think she is the Hari who is in front of me, but at the same time I feel she is not Hari. I question her existence. [Hari walks around the room, checking every thing, looking outside through the window, coming back to Kris] How are we? Are we doing well?

K

We're doing great

H

you usually say that when we are not doing well at all

K

No

rli n

-F

H

Be

[denying the previous statement and affirming his own]

Ke

or di

is this really Hari, what should I do?

Everything is going well. I have some errands to run, so I'm going out for a bit. Please wait here. Ok?

H

I am going with you.

K

No! I will come back soon.

R

No way!

what is wrong?

ht

K

by

H

ic

K

I don't know! No, no! I... always have to be looking at you.

K

don't be so childish! Hari, it is work, with Snaut!

H

Who is that? I definitely want to go. Can I go?

K

you can't, because it is work.

C op

yr

ig

H

5

H

no, no. I have decided to go with you. Please, please. No, no, no, no, please, let's go together! No, no, no, we have to stay together!!

Ke wait here, Hari. Be good.

H

no! I really don't want to wait alone. I don't know why! I feel like I have to be looking at you the whole time. I don't want to be alone. No!

sa l

K

on

ly

This is not Hari. She wouldn't behave like this.

-F

or

pe

ru

[Kris tries to hold her. She doesn't want to be touched by Kris. She fights against him, standing up passionately. Kris uses his force to control her. She fights powerfully. She was strong as a human, though suddenly she becomes totally powerless, both of her arms are relaxed, she is looking at Kris with peaceful and curious eyes and a warm smile, as if she doesn't know that she just fought with him physically. Kris stands there not understanding what has happened, he goes near her, out of breath] Hari!

H

are you angry?

K

No. Take this, it's a tranquillizer.

Be

rli n

K

Ke

or di

Now I don't believe it is Hari. I held held my breath nervously each time I saw her behaving as I remember her. It's excruciating to see that she believes she is Hari. I was terrified. But who is she really?

ht

by

R

ic

[Kris is sitting. Time passes quietly. Hari's hair is touching Kris' arm. The sleeping pills must have already kicked in..... Hari's head falls into Kris's arms. Kris tries to rest on Hari and is finally breathing regularly. Suddenly Hari bursts out laughing. Kris's body tightens with nervousness. Hari is now laughing out loud. Her laughter resonates happily. Hari looks at Kris innocently and cheekily. Hari again...]

C op

yr

ig

H

I don't want to be alone! I must keep looking at you! [She turns her back to Kris then screams. Her scream doesn't sound like a human voice - it has a high intensity. Her voice as well as her body shakes and it makes the space surrounding her vibrate. Kris cannot hold her down. Hari's body suddenly becomes empty and powerless. Without making much sense, she starts laughing happily. The sound of her voice fills the vast space.]

6

H

I don't want to be alone [Kris stands exhausted and sapped of energy after fighting with Hari.] why do you look at me like that?

ly

H

sa l

ru

S So - let's talk. Something happened to you didn't it? You had a visitor?

on

[Hari's face seems happy, Kris is confused and doesn't understand how this being makes him think of Hari.]

What? A visitor, yes.....came...

S

At first a visitor only came to Gibarian. Though he was not the only one. He was fighting like crazy. The same visitor returns, many times, endlessly. Who was it for you?

K

My wife who killed herself ten years ago

S

suicide…

K

we had a big fight. I packed my bags and stormed out of the room. I suddenly remembered the needle in the drawer, but didn't go back immediately. When I returned three days later she was stone cold, wearing the same clothes as I last saw her in. Dead.

S

Pity… so the mistakes of your youth haunt you… You still feel responsible. But you're not a murderer. The most horrifying thing is something you haven't seen. What you met was the objectification of her existence. The ocean researched your memories and is using part of them to create your visitor.

K

why didn't you warn me about this before?

S

You wouldn't have believed me! Besides, what is sanity? Every person has crazy thoughts they’d rather not share don’t you think? One day, suddenly something in the depths of your mind is realised in human form and torments you. You cannot kill it. You hate it whilst you are loving it. You might even say you would sacrifice your life for your love of it. What irony, or maybe even should I say passion...

C op

yr

ig

ht

by

R

ic

or di

Be

rli n

-F

or

pe

K

K

What are you talking about?

S

Solaris

K

What?

7

What the hell are we doing here? What does this mean?

S

Contact with another civilisation. We are experiencing this contact right now. Especially you.

K

So what you are saying is the Ocean here on Solaris is making this happen?

S

The Ocean on Solaris is a plasma that processes memory. The ocean makes a “copy” of our memories.

K

you mean, it makes a double?

S

Don't worry too much about it like Gibarian!

ly

K

on

When we left earth we accepted loneliness and danger - even martyrdom and death. But that is just a pretension. We cannot take over the universe. We only want to step out from Earth, which is merely dust in the corner of universe, and make our presence known. We don't need another world. The world we have is enough. But then one can feel this suffocation when faced with this reality. There is so much you cannot accept in the other side of this world, and the universe. Earth sent no heroes. Just ordinary people like us.

Be

rli n

-F

or

pe

ru

sa l

S

Ke

or di

so this is not my wife Hari? It is the avatar of the ocean itself? Not worthy of love? What is the ocean? What can I do? What is right? What is real? [Noise strikes the silence. Surprised, Kris raises his body] Snaut, is that you? [In darkness - Snaut and Kris miss each other]

H

where are you Kris?

K

I am here, Hari [Kris gets up and walks around in the darkness looking for Hari]

ht

by

R

ic

K

ig

H

C op

yr

K

it’s so dark don’t be afraid, I'm here [Kris gets up and walks around in the darkness to look for Hari. Taking advantage of the dark, Kris tricks Hari, and lures her out of the room. Kris shuts the door behind her and waits for her reaction. Hari panics and starts screaming.]

8

H

Where are you Kris? Where?

Hari, Hari! You can’t open the door like that, calm down Hari!

H

Kris!!! GARLIKYSRGGGVWINXIXIMNBYGIGYERWW!!!!!!!!!!!!

GARLIKYSRGGGVWINXIXIMNBYGIGYERW!!! Kris, Kris!

-F

H

or

pe

ru

sa l

[Hari screams, blood is everywhere. By hitting the door too hard, Hari falls to through the door, desperately asking for Kris. She has a seizure in front of him. Her breathing is highly irregular. Panting hard, her whole body hits the floor and falls over Kris. She falls down aggressively as if dying. Then a noise which isn’t human -neither whistling nor screams – strikes our ear, mixed with the sound of crying.]

on

K

ly

[shut out, Hari panics and violently tries to force the door open]

Be

rli n

[Hari falls to the floor repeatedly. Her body is covered in blood. There is nothing she can do to calm herself down. Hari’s eyes are wide open as if she were having an epileptic seizure. She is trying to stop her seizure by grabbing Kris' legs. She falls unconscious. Kris brings her to bed. She calms down and looks at her bloodied hands.] Kris, what happened to me?

K

I will treat your wounds

or di

H

[Kris comes closer to Hari and looks at her]

ic

Ke

H

I was shocked when I thought you were gone what happened?

ht

K

by

R

I looked for medicine, then returned to her, and Hari’s wounds are gone completely. Why?!

I don’t know. Maybe something has happened, Kris [Hari is still trembling]

K

don’t worry

C op

yr

ig

H

9

how am I?

K

before I speculate, let’s do a blood test [Kris tries to take the blood from Hari’s arm for testing. Hari is still crying]

pe

ru

H

sa l

[Kris holds Hari’s shoulder. From the window, you can see the ocean. The vast ocean seems to be expanding, like a living organism. It is ore active - steadiness turning to unsteadiness. Kris and Hari stand still, as if they are trying to synchronise their breathing with the movement of the ocean. Hari starts to calm down].

Ke

or

What’s she made of? Cells, protein compounds, atoms…. everything is normal, but the tissue structure - impossible! It all regenerates.

rli n

-F

[There is an uncomfortable silence between them. Hari seems innocent -dazed - vulnerable. Kris appears to be analysing recent events. Their physicality is the complete opposite to what is spoken] So how's my health?

K

You couldn’t be healthier! But I need to speak to Doctor Snaut. Don’t worry – and be calm.

Be

H

ic

or di

[Hari forces herself to smile. There is a direct tension and contradiction in her behaviour. Kris turns off the lights and leaves to see Snaut. Hari surreptitiously follows Kris. Hari eavesdrops on Kris and Snaut’s conversation. ] how is your visitor? I'd love to hear your opinion

K

I ran a blood test. The tissue structure – perfect. The cell structure – fake. It regenerates//

by

R

S

ht

[Snaut gasps suddenly. he senses that Hari is listening into their conversation]

S

//and the speed of replication... what is the energy source? They don’t eat, don’t sleep. They are not alive. Only a projection of our neural information.

K

then why do they take the form of my dead wife Hari!?

S

I told you before, that’s not right. It is not the form of your dead wife. It is a copy. Her information has been projected to the organism.

K

a copy! It has more information than the original! As a copy!!!

ig yr C op

ly

I just thought you were gone

on

H

10

S

YES, it’s only a copy!

Ke I hope Hari is not listening to this I think there’s a way to destroy them. Two step neutrino tissue deletion will stop the copy reappearing. This method is not tried, but one day it must.

K

can you really destroy the copy? To make it go away because it’s not real…

sa l

on

ly

S

S

pe

ru

[Hari is emotionally destroyed. She runs away. A dark shape moves behind Snaut. A rose coloured shining object appears and moves around. Snaut suddenly panics, and shouts at it] go away! Go over there!

Kelvin, let’s stop for today

K

sure.

rli n

S

-F

or

[Snaut screams, he kicks out. There is a struggle. Snaut wrestles with this strange living thing. He makes strange noises]

C op

yr

ig

ht

by

R

ic

or di

Be

[in a corner of the darkened room, in a big space with no screen, Hari’s silhouette is seen from afar. Hari is standing quietly, trembling. Hari saw and heard everything.]

11

[Kris is woken by strong strobe-like lights. A meteor shower. The silhouette of Hari shows she is curled up, trembling, crying in silence. Kris goes towards her and talks to her] Hari ! [Hari curls up even more]

K

my pretty Hari!

H

don't speak to me like that!

K

why? [A big tear falls from her eye]

H

you don't need me?

K

what are you saying?

H

I heard everything

K

what did you hear? It was a misunderstanding

H

no! I am just a copy. The real Hari died. I must accept this. I don't exist. I have no value. I want to disappear but I can’t. I don't know why. You must think I am useless.

K

Don’t be silly Hari. Be good.

rli n

-F

or

pe

ru

sa l

on

ly

K

or di

Be

[Kris pulls Hari towards him, she falls down as if everything is falling down. Kris kisses her repeatedly. He whispers wishes and promises and asks for her forgiveness. Hari slowly calms down and stops crying. Her eyes are open like a sleepwalker's. She looks away.] No. Don't speak to me like that. For me, you are not the same you.

K

not the same?

H

no. I am not needed. You don't like me, do you? But why?

R

ic

H

…it’s good...

ht

K

by

[Kris kneels down in front of Hari]

C op

yr

ig

H

Stop saying that! I hate it! Do you understand? I am not a good girl, I am not! [Hari starts crying, falls down]

K

Hari, listen to me. I will tell you the truth

H

The truth? You swear to god?

K

I swear to god. Hari, you have changed. I don't understand clearly. I will never stay away from you, now I won't leave you.

12

H

Kris! [Kris holds Hari, Hari touches his cheek]

[Kris calms Hari down] do you actually sleep?

H

I don't know. I tried to sleep, but I am sure it isn't a real sleep. I am not good, I just think that way, do you know what I mean?

K

what do you think about?

H

something strange, like where I came from, how did I get here, I don't understand. I feel something is happening around me.

K

like what?

H

not just within me, something is happening far away. I can't really explain it in words...

K

I wonder what. I don't know, let's not think now - let's sleep and relax....

H

I can't sleep, but I do feel like I'm floating somewhere far away.

K

Well to me, that is sleeping. Let's think of something new when you wake up. Ok?

or di

Be

rli n

-F

or

pe

ru

sa l

K

ic

[Darkness fills the room, Kris feels the warmth and breath of Hari, and holds her tighter] hold me tighter Kris. I love you

End of Day 2

C op

yr

ig

ht

by

R

H

ly

no. You haven't changed. I am the one who changed. Something must have happened to me.

on

H

13

Day 3

on

ly

[All three of them are on the floor of the stage, in a big circle where Snaut awaits. Kris and Hari comes a little later, and Hari looks....] Look, here comes your visitor, a little late, but.... [Irritated, Kris talks back]

K

and what would your visitor be doing right now? I am sure your visitor is busy doing something! This is my wife Hari, this is doctor Snaut. [Snaut kisses Hari's hand]

S

you slept well? [A little grin on his face]

H

.....

S

if you can't sleep, it's a good idea to read a book. Sleep’s another form of death. If you don't sleep are you immortal? Both idiots and intellectuals - they share the ecstasy of sleep. And all are equal in the ecstasy of death. Which is it for Doctor Kelvin's wife?

K

it doesn't matter either way! How ridiculous!

S

what do you do each day? What's the purpose of your visit here in Solaris?

K

what do you mean? what purpose?

S

are you doing your job? I'm sorry, but it seems to me that you're not interested in anything else apart from romancing your dead wife.... your wife from the past....

K

stop it! What about you... Let's not argue, especially not in front of our guest. Today is my birthday - let's drink to that!

C op

yr

ig

ht

S

by

R

ic

or di

Be

rli n

-F

or

pe

ru

sa l

S

H

Doctor Snaut, Kris is more consistent. You called me a visitor, as if I were an outsider. But you’re the visitor! You’re the unwanted loveless outsider. I love Kris, I’m a woman

S

you’re neither woman, nor human. Admit it! Hari doesn't exist. She died. You're her copy, just a copy!

14

H

Yes! I know! But I don't feel any less than you. I can't be without Kris. I love Kris. You have no love. You are cruel!

C

......!

on

there's no point arguing, there's no elegance, not even a touch of humanity

sa l

S

ly

[Her intense trembling doesn't stop. She is even too sad to cry with tears]

pe

ru

[Kris comes close to Hari, he holds her and lifts her. Snaut is drunk and wanders around. Outside is the dark space of the universe. Solaris creates moving light particles and noise].

or

Ke Yes. It's me.

Ke You are not alive anymore?

True, I wish you had come a little earlier...but doesn't matter anymore.

Be

G

rli n

G

-F

Gibarian?

Ke G

or di

Are you really here?

Are you thinking I appeared like Hari?

ic

Ke

Ke

why do you think I know that? I am here instead of her, you think?

by

G

R

where is Hari now?

ht

I want her to be here

C op

yr

ig

G

that's not possible

Ke Why? I am the only one here, not you G

no. This is the real me.

Ke Are you leaving already?

15

G

yes

Ke what is she to you?

on

G

ly

then would she be coming back?

Ke but you are afraid of her, and you hate her.

ru

G

sa l

That's my problem

pe

Ke where is she? be careful with her. I have warned you

-F

Ke so where is she?

you don't understand, you will need a weapon

rli n

G

No, I need Hari

Be

Ke

do what you like. You will end up just like me

or di

G

or

G

Ke

you are not Gibarian!

ic

so who am I? In your dream?

R

G Ke

so then who are you? Are you in your own dream?

ht

G

by

you don't even know yourself

ig

[A rhythmic voice is heard from afar, in darkness in the dream]

C op

yr

G

the dilemma is that we can't solve this. We are persecuting ourselves. Where there are no humans, there are no motives which can be understood by humans. [Kris suddenly wakes up from his dream]

16

Kris, it's me.

K

Hari! Where is Gibarian?

H

Kris, you said that person wasn’t alive anymore.

K

he was alive in my dream. Was that a dream?

ly

H

on

Gibarian !

let me be myself, after all these are not real tears....

pe

H

ru

[Next morning, the room is lit by red light. Kris is remembering Gibarian. Kris has been impatient with Hari. She is crying]

sa l

K

rli n

-F

or

[Hari walks around the room then suddenly holds herself to Kris. She can't be away from him for more than a moment. She walks again. Worried, Hari approaches Kris, and puts her hand over his shoulder. Kris is still thinking about his dream of Gibarian. Kris keeps her company - but not wholeheartedly - he doesn't even turn towards her properly.] what?

H

Kris, how are we?

K

how? What?

H

There is something I want to talk about. Can you be honest?

K

why would I lie?

H

you might have a reason, it is a serious topic, you see?

K

.......

or di

ic

R

by

I don't know where I came from. And you really don't know either?

ht

H

Be

K

C op

yr

ig

K

Hari! Be a good girl

H

whoever I am, I am not a good girl. Tell me the truth

K

........

H

so I am telling you, you don't have to tell me. Tell me you can't tell me, that's enough for me

K

I am not hiding anything

17

.......

K

Hari!

ly

H

K

Hari, I love you

H

me?

H

you love me? I would prefer that you beat me!

K

Hari! My Hari!

H

no! Don't say anything!

or

pe

ru

[He tries to hold her, but Hari pushes Kris' hands away]

sa l

on

[Hari stands by the window, her back to Kris. Kris comes towards her]

don't turn around, you are not guilty, don't suffer

rli n

H

-F

[Kris comes towards the window, looking at the pomegranate coloured ocean. The sun is setting, the vast shadow of the station moves like an ocean wave. Hari is right behind Kris]

Ke

Be

The more Hari acts with authority, the more beautiful she is, like a goddess. The sunset is melting the contours.

I stare at her. Frozen Blood on her lips, icicles of liquid oxygen on her tongue. How much has she drunk? She breathes, she sounds as if she’ll break. Her eyes are closing. It’s the end… no breath… No! Steam comes out of her mouth, she moans, her eyes open.

C op

yr

ig

ht

Ke

by

R

ic

or di

[Night. A dark room, Hari drinks liquid oxygen. A thin light is coming from the door which is open slightly. Kris wakes up to a very loud percussive noise which crescendos. Something huge is moving around manically hitting things. Steam builds up behind the door and fills the space. It is horrific. Vast fragments of snow are rotating in the ocean. Hari is suffering. Kris carries her away from the snow and ice. Her breath becomes clouds of steam]

K

Hari!

Ke I grab her wrist. There is no pulse. I place my ear onto her freezing cold chest, hearing an aggressively rhythmic noise. So fast. I look into her eyes.

18

H

Kris

Kris, I can't breathe

on

H

ly

[Kris presses down on Hari's body which trebles, then her body movements calm, as if tired. She breathes deeply]

[Bubbles are coming out of her mouth, she twists her body in pain] no no no

sa l

H

ru

Ke

pe

She sits up. I step back. She stares at me with her cold eyes. Observing.

What happened? Was I not well? Why are you looking at me like that?

H

Why are you looking at me like that!!!

-F

or

H

Is this me?

K

Hari

H

Hari?

or di

Be

H

rli n

[it is very quiet, Hari looks at her fingers for a while, then moves them]

[Hari stands up, trying her balance as she takes couple of steps]

ic

Hari? But I am not Hari. Then who am I? Hari? Then, you, who are you?

R

H

By any chance...you too? Kris! You too?!

C op

yr

ig

ht

H

by

[Suddenly Hari opens her eyes wide. She smiles and, infected by shock, her face lightens up]

H

[Terrified Kris steps back, muted] No! You’re terrified of me. I can’t stand this! I didn't know - didn't know anything! There's nothing I could’ve done. [Hari falls down on the floor and cries]

19

Ke Her cry has broken something inside of me

K

Be quiet! Calm down!

pe

ru

[they are on their knees, facing each other. She screams like a crazy person, Kris pulls her towards him] [Hari is crying and she pushes her face on to Kris' neck]

Kris

H

Tell me, what should I do, so that I don’t exist, Kris

K

Stop

H

Is that so? You don't know either? Nothing can be done? Leave me, don't touch me. You hate me!

K

That is not true!

H

Liar, You must hate me. I, I want to die if possible

K

No! I want you to stay with me!

H

How can you say such a lie. You cannot say anything. Because I am not Hari!

K

So then who are you?

H

Hari, but just not the real Hari. That person whom you loved isn’t me.

by

R

ic

or di

Be

rli n

-F

or

H

There is no past. The past has died, things are different now. Now I cannot see her as you are standing in the way. But, here, I really love who you are now, really!

ig

ht

K

H

You’re a good man. Thank you. Three mornings ago, when I was waiting for you to wake up, I didn't know anything. But a lot of things have happened since then. When I met Snaut I understood everything. You tell me nothing. We always go back to where I repeat "I’m not human, just a copy".

K

Please stop

yr C op

on

Leave me, Leave me! You hate me, I know it! I can't stand this, I hate it! Because you know this that this is not me! I am not me! I am not me!

sa l

H

ly

[Hari pushes Kris away, as if escaping]

20

Under my skin, there is no body, I am just a surface.

K

I have done something horrible to you in the past, but I can only love the you you are now.

H

What are you saying? This is just a surface!

on

ly

H

I can only love who you are now...

H

I’m not human, I am nobody, just a surface!

ru

K

sa l

[she touches herself]

C op

yr

ig

ht

by

R

ic

or di

Be

rli n

-F

or

pe

[They become silhouetted in the darkness which covers the room. Two shadows. Their suffering deepens. Internal sound, strong conflict, high pitched melody, almost breaking, the impression of danger, which resonates the feeling in their hearts]

21

3rd day - midnight until sunrise

Kris?

on

ru

H

sa l

If she disappears, it means I wanted it to happen. Does it mean I’ve killed her? The sky darkens, the stars burst out and chase my conscience. My principles vanish in the emptiness of space. No words… feels like death. I’ve chosen my path, but am powerless to hate myself.

ly

Ke

pe

[Hari is also looking at the ocean by the window. Trying not to bother Kris, being considerate, she is standing some way away from him. She comes towards him] Kris, is there any other planet like this?

K

I don't know. There might be, for now we think it’s a unique planet. We humans were hopeful and thought we’d find another home when we left Earth. What’s another world? Conquer or be conquered - man's unhappy mantra. Let's stop, no point talking. Sleep.

Be

rli n

-F

or

H

[Kris holds Hari, falls asleep, Kris dreams] Ke

C op

yr

ig

ht

by

R

ic

or di

The purple fog surrounded my body, I was touched and paralysed - locked in the depths. Blind I search around with my hands. I feel the void, feel creation of Lips, cheeks, infinite fragments Spread across my face and my body and start to breathe. I’m existence being created and creating. A face or my face appears. We stare Silently facing. Sharing a heartbeat of supreme power. I tremble. Tiny molluscs come out. We’re inseparable. Melting together like air, a mass of kinetic, ever-moving matter spread without limit – world without end – climax of suffering - want it to stop. [Kris wakes up]

22

pe

ru

sa l

[Kris is trying not to sleep with Hari who does not need a sleep at all. Kris kisses Hari and caresses her. Terrified to sleep, trying to escape from a nightmare - Hari would know what this is. Kris felt humiliated by Hari's stiffened body. At midnight, Kris hears cries from afar. He doesn't know where from as the noise comes from every angle. Something strange, high pitched and sharp, with a stretched voice like a howl. He shakes himself down from his nightmare, having heard the cry when he woke. This voice, like the cry of someone's last moments continues, and then voice quiets down, leaving only an echo.]

ly

I am so tired, what a horrifying night. How can I escape these nights?

on

K

-F

or

One Week Later

[Afternoon. Kris, Hari and Snaut. Snaut, heavily drunk, talks to Hari] Ooooh Aphrodite born from the ocean, let us be humbled by the Gods

Be

[Snaut laughs patronizingly]

rli n

S

It is isn't it? My little doctor Kelvin?

K

Stop it!

S

What was that? What is the name of that? Solaris? [with sarcasm] Sooooo laaaaaa riiiiiiii sssssssss! Humans named one planet after another, how arrogant! The angels covered with blood will attack the humans, and their sufferings will become our suffering, and their fear will become our fear. Hahahahaha! I am kidding! Funny right? No laughs? Hey, is it my fault? Am I sent to space to atone for the sins of the guilty? Give me a break! Is it the fault of the ocean? We orbit around in a shabby direction diverted by Newton. This is the rubbish of human evolution! What crap!! [Snaut storms out stumbling. His footsteps echo]

C op

yr

ig

ht

by

R

ic

or di

S

23

ru

on

sa l

[Evening comes; one nightmare passes into another. Morning arrives; then another night comes. Slowly the vast ocean is swelling. Rotating. Kris and Hari continue their life in endless suffocation. Everyday they pretend everything is normal, knowing that they are lying to each other. It is like a closed haven, a dead end of hopeless, eternal days. One evening Kris wakes up realising that Hari is not next to him. In the corridor, he hears Hari whispering to someone. Hari returns to the room on tip toe. Morning arrives.]

ly

A Few Weeks Later

last night, you were talking to someone in the corridor?

H

how could that be possible? You were dreaming again? Anyway please stop, Kris, because you know already.

K

what?

H

No, nothing. I am thirsty. There is a cup that has juice in it, can you get it?

rli n

-F

or

pe

K

Be

[Hari drinks half then she passes the rest to Kris, smiling] For my health, and for me

K

Yes, sure. For your health.

H

if I disappear, will you marry someone?

K

no I won't

H

you really won't?

K

by

R

ic

or di

H

H

why not?

C op

yr

ig

ht

Absolutely !

K

because I love you [Hari pushes her forehead to Kris' shoulder. Her eyes well up. She trembles.]

K

what is it? Hari

24

H

nothing

Hari! Hari!

Hari has disappeared

ru

K

sa l

[Kris looks for Hari. He intuitively understands what her disappearance means]

Hari has disappeared

or

[while he is looking for Hari, he bumps into Snaut]

pe

Ke

Hari isn't here, do you know where she is?

S

Hari doesn't exist anymore

K

You made Hari vanish! It was you, talking with Hari last night, while I was asleep!

S

that's what she wanted.

Be

rli n

-F

K

or di

[Snaut shows a video to Kris. Hari speaks to Kris in the video] H

by

how did you make her disappear?! I told you how I could before. By using the Neutrino tissue deletion.

ht

S

R

ic

My dearest you. This is something I asked Snaut to do, so please don't be angry with him. It is awful that I had to lie to you but there was nothing else I could do. You are a wonderful person, please take care of yourself. [Kris feels uncontrollable rage towards Snaut] K

ig

K

What happened to her?

S

she vanished, with a flash of light and wind. Apart from that, nothing happened. It was really quiet.

K

is Hari coming back? I am sure she's coming back

S

That's not possible, she will not come back

K

she will not return?

yr C op

on

K

ly

[Without noticing Kris starts to doze off. When he wakes up, Hari is nowhere to be found]

25

K

so you killed her!

S

Yes, and if you were in my position, you would have done the same.

K

......

ly

No

sa l

on

S

pe

ru

The Next Day

Ke

-F

[filled with noise, space which never stops]

or

unending time, unrepeatable days, space, it is not empty nothingness. Space is filled with limitless energies in perpetual motion.

Ke

Be

rli n

I can see space, I am not looking at a vacuum. I am a tiny part of a tiny part of space. As I think it seems thoughts are leaving my body, travelling through space. Creating space. Thoughts swollen by space and space swelling with thought. Even memory disappears like music, which vanishes a sound by a sound.

or di

[the music also disappears note by note]

ic

Ke

by

R

Wandering time. Months and months from now will I still look outside every day? Will I still be looking at the strangeness of this white-gold and tired-red sun? Sound waves spread in a cone-shape, reaching to the ocean. I will be flying away escaping these many octaves of low sounds, in silence, quiet, faster than sound. what are you doing, Kris? Grieving all alone?

K

no, but I can't stop thinking about it.

S

about what?

K

the fallible God. The God who will not do anything for human suffering. The God does not rescue, he just exists.

S

that is exactly like the mimic organism, the "mimoid"

C op

yr

ig

ht

S

26

K

......

There is Snaut.

S

I will come too

K

No, I want to go alone. This is my future!

-F

I am going to the Ocean. I decided!

rli n

K

or

There is Silence which fills with my expectations.

pe

ru

on

sa l

Nihilism has controlled me for too long. Now I’m alive. Life isn’t nothingness. That’s philosophical fantasy. I take back my life I take back my thoughts from the silence. Life is silence and timeless time. The energy of space is not insecure not inscrutable – it’s hopeful and curious. I see the horizon held by thunderous ruddy smog. Things move and change fast in the strange depths of space.

ly

Ke

I was calm, at the same time I was quietly expecting excitement. Hari is coming back? No. But the feelings of excitement to meet her again is there. Even if the strange giant mimoid is blind to the feelings of Hari and I.

C op

yr

ig

ht

K

by

R

ic

or di

Be

[Kris rises jauntily and leaves the station immediately. He makes a big circle, after building up enough pressure, he accelerates towards the planet. For the first time Kris goes closer to the ocean. The ocean is within-reach, he changes direction to the island of the mimoid. The Sun is beaming into his eyes, he trembles like a strobe of blood. The ocean itself changes into a dark flare, like blue ink. He flies just above the surface of ocean, trying to avoid the huge mimoid, he makes a big turn and lands on a very quiet beachlike place. Kris starts to walk through humid vapors. The land seems heavy in its vast slow rotations. It moves and waves in its entirety. Kris thinks he is walking on a giant organism. Kris touches the liquid under his feet. It moves. It waves softly; constantly changing its shape.]

K

I am like micro dust. The dust beams out tiny specks of light and shade. The body is a collection of powerless micro cells. Having this feeling transcends human knowledge.

K

Hope is the only thing Hari left me. From now on expectation, accomplishment, suffering are unknown but certain. I am afraid of death, I am afraid of living. But I can accept both.

27

Ke

K

pe

ru

on

sa l

[Kris is isolated in endless space. There is the Vast Ocean and Kris. There is the giant beach and continuously moving liquid. Kris touches it with his feet. It moves. The waves softly change shape. He is touching an unknown living organism. The feel of the being fills Kris with words. An emotion grows within him which he has never felt before. Kris takes a deep breath, as if he has let expectation sink deep into his whole body. Kris decides he will remain on Solaris. He expresses this poetically.]

ly

I will live a totally new life.

I will stay here, as a new lifeform.

-F

Is my journey ending, or am I staying at the centre of eternity?

rli n

K

or

[then he says words without words]

C op

yr

ig

ht

by

R

ic

or di

Be

The End

28

Every accidental is notated (and there are a lot of quartertones which require accidentals in this piece) but the basic rule is: "Accidentals (including grace notes) only affect the pitch to which they directly refer, not other octaves, for the duration of the bar in which the accidental is written."

¡+¡+

S O L A R I S

= means "open", "close" by hand (on harmon mute) very fast until the end of the bracket unless stated otherwise.

STRINGS: S.P.= sul pont. Make a difference between Gliss. and Port. P.O.= position ordinary Gliss. = shift the pitch immediately (and travel during the full length of the note duration). Long note/tremolo: change bows Port. = shift the pitch just before you go to next note. as many times as you need. Do NOT vibrato on gliss. or port.

° & ‹

U ∑

- Day 1 (act 1) Music: Dai Fujikura

Libretto: Saburo Teshigawara

Snaut (Tenor)

(2014 corrected 29 May 2018)

in tempo q = 100

∑

44

43

∑

∑

∑

∑

44

∑

∑

43

∑

∑

So - la - ris

∑

∑

∑

∑

∑

∑

U ∑

∑

∑

∑

∑

∑

∑

∑

U ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Electronics Glissandi U

/

U ∑

Hari Electronics

/

Hari Scream/Granular Electronics

:

(long reverb)

∑

Œ

;

OFF on 3rd beat dim. if necessary to reach

(turn off suddenly, but long reverb will carry on)

same loudness as String-tremolo entry.

∑

∑

∑

U ∑

∑

∑

∑

/

U ∑

∑

∑

∑

Off Stage Kelvin Whisper Talking Electronics

/

U ∑

∑

∑

∑

Off Stage Kelvin Whisper SINGING Electronics

/

U ∑

∑

∑

∑

Off Stage Kelvin Dream Sequence Electronics

/

U ∑

∑

∑

Gibarian Dream Sequence ¢ / Electronics

U ∑

∑

° Violin 1 &

U ∑

ig h

tb

pp

∑

pp

op

B

Viola

U ∑

ææ ˙

∑

Œ

C

pp

?

Violoncello

U ∑

∑

## ˙˙ Œ ææ

pp

Double Bass ¢

?

U ∑

S.P. molto trem.

∑

˙ Œ ææ

pp

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

<#> ˙ ™ ææ

n#>œœ ™™ nœ ææ b œæ æ

(ff)

mp

> ##œœ œœ æ æ æJ æ

#>˙ ææ

(ff)

mp

œ #>œ ææ # æœ æ

>œ œ ææJ ææ

#>˙ ææ

(ff)

mp

œ™ ææ

#>œ œ ææJ ææ

˙™ ææ

ë ff

∑

∑

œ ææ J

œ™ ææ

∑

∑

>œ ææ

>œ ææ

∑

∑

˙˙ ææ

ë ff

∑

∑

œ>œ ææ

œœ ™™ ææ

∑

∑

(ff)

>œ œ ææ

∑

∑

rd

S.P. molto trem.

∑

∑

#>œ ˙ #œ ˙ ææ ææ

ë ff

∑

∑

œœ ææ

ææ œ™

∑

∑

bœ>œ ææ

ææ œ >

∑

∑

ic o

S.P. molto trem.

∑

∑

˙ ææ

ë ff

∑

∑

>œ ææ

ë ff

S.P. molto trem.

˙ Œ b˙æ æ

yr

&

U ∑

R

b˙ Œ ææ

y

∑

∑

S.P. molto trem.

Œ

a - rri - ving!

∑

Electronics Glissandi, it can be 1min. to 2min. or even longer.

Œ

Sta - tion

U ∑

Sampler Electronics

Violin 2

So - la - ris

∑

#>œ #>œ >œ ‰ J Œ

sa

/

Prepared Electronics

tion

nœ ˙

pe

STRINGS ° Granular / Electronics

Œ

n3œ # œ œ

er lin

Gibarian ? (Bass ¢ Baritone)

-

#œ

iB

?

off-stage Kelvin (Baritone)

Sta

œ

nl

œ

∑

#œ

lo

∑

# œ3 œ œ

ru

U ∑

-F or

?

Kris Kelvin (Baritone)

y

urgently

f

(ff)

mp

˙˙ ™™ ææ

œ ææ

mp

Double Bass: all pitches sound an octave lower than written (including the harmonics)

Copyright © 2014 by G. Ricordi & Co. Bühnen- und Musikverlag GmbH Berlin Alle Rechte vorbehalten - All rights reserved - Tutti i diritti riservati

SY. 4111/01

˙ ææ

˙˙ ææ

˙ ™™ ˙ ææ

˙ ˙ ææ

˙™ ææ

˙ ææ

˙™ ææ

˙ ææ

> ## œœ æ æ

w w æ æ

œœ ææ

œœ ® ‰™ ææ

Œ

∑

>œ #œ ææ

w w ææ

œ œ ææ

œ œ ® ‰™ ææ

Œ

∑

n>œ #œ ææ

w w ææ

œ œ ææ

œ œ ® ‰™ ææ

Œ

∑

#>œœ ææ

w w ææ

œœ ææ

œœ ™ ææ ® ‰

Œ

∑

ëf

ëf

ëf

ëf

ëf

Œ

∑

fff

fff

fff

fff

∑

∑

&

Ob.

#w

#w

#w

#w

w ææ

#w

fff

&

Cl.

w ææ

#w

#w

bw

bw

bw

bw

bw

bw

fff

w

nw

bœb œ

#w ææ

flz.

w

w

#w æ

flz.

ff

w æ

w æ

(ff)

æ #wæ

æ wæ

æ wæ

æ wæ

æ wæ

æ wæ

&

Tpt.

Tbn. ¢

ff

flz.

?

ff

STR ° Ele ¢ /

44 STRINGS Granular ∑

∑

etc. ad lib.

w

#w

w

æ wæ

æj b˙ œæ ‰ Œ ææ

p

p

(ff)

n˙ æ

pp

pp

æj œæ ‰ Œ p

∑

#w

w

#w

w

∑

#w

y

fff

œ æJ ‰ Œ

æ wæ

R

P.O.

∑

® ‰™ Œ

∑

œ ææ ® ‰ ™ Œ RÔ

∑

˙ æ

w

∑

ë fff

˙ æ

pp

#w

f

42

ë fff

83

∑

˙

‰

ppp

> bœ œ Œ

Œ

‰

Œ

Œ

‰

f

bœ bœ >

ppp

ppp

> #œ #œ Œ non-flz.

?

f

ë fff

˙ ææ

˙ æ

∑

Ñ Ñ Ü >œ Œ Œ ææ

f

Ñ Ñ Ü >œ Œ Œ ææ

f

> bœ œ Œ

f

ppp

Œ

bœ bœ >

Œ

Œ

#w

ig h

&

ppp

Œ

‰

∑

∑

87 Ϫ

#w

#w

#w

#w

#w

#w

fff

#w

#w

#˙

#˙ pp

(fff)

op

change bows as many times as you need.

C

Vla.

B

P.O.

#w

#w

#w

#w

#w

#w

#w

#w

fff

#w

#w

#˙

#˙ pp

(fff)

Vc.

≤ œ™ #œ ™

f

Ü

b ˙≥

˙

≤ œ™

ë

≥ #˙

Ϫ

pp

˙

≤ œ™

pp

#œ ™ æ

œ™ æ

#˙ æ ë fff

w

fff

ppp

Ñ

Ñ Ü

b ˙≥

˙

ë fff

∑

#w

w

#w

w

#w

w

#w

w

#w

(fff)

˙

≤ #œ ™ #œ ™

#˙ pp

≥ #˙

ë fff

#˙

≤ œ™ pp

Db. ¢

æ wæ

P.O.

fff

æ wæ

æ wæ

æ wæ

æ wæ

(fff)

æ ˙æ

pp

#œ ™ ææ

˙ ææ

ë fff

extreme dynamic contrast!

SY. 4111/01

#œ ™ ææ pp

≥ #˙

ë fff

˙

≥ #˙

ë fff

˙ ææ

ë fff

≤ œ™ œ™

pp

œ™ æ

ë fff

Ϫ

≤ œ™ œ™ pp

#˙ æ

pp

extreme dynamic contrast!

?

Ϫ

extreme dynamic contrast!

P.O.

‰

∑

Ñ

∑

Œ

∑

fff extreme dynamic contrast!

trem.

change bows as many times as you need.

?

‰

straight mute

extreme dynamic contrast!

#w

‰

∑

Ñ

ë fff

> #œ #œ Œ

∑

∑

pp

yr

Vln. 2

42

ppp

change bows as many times as you need.

P.O.

‰

ppp

f

∑

∑

b œ≤ ™

#˙

(fff)

tb

° Vln. 1 &

w æ

"Play" with your fader, feel the crescendos and diminuendos of strings.

change bows as many times as you need.

“”

p

(ff)

® ‰™ Œ

er lin

flz.

∑

ë fff

(fff)

iB

°? Hn.

w

rd

fff

B

87

-F or

w

ic o

Bsn. ¢

?

œ

ë fff

p

(fff)

œ

bw

bw

bw

bw

œ ææ ® ‰ ™ Œ RÔ

ë fff

p

(fff)

83

ë fff

p

(fff)

#w

42

y

fff

w ææ

nl

w ææ

lo

flz.

#w ææ

sa

Picc.

44

ru

° & 11

pe

2

pp

#˙

œ≤ ™ œ™ pp

#œ ™ ææ pp

42

f

Bsn. ¢

ppp

> œ Œ #œ

?

f

∑

ppp

>œ+ œ+ Œ

∑

f

ppp

> œ #œ

‰

f

ppp

non-flz. same note tremolo

>œ œ Œ

&

∑

‰

∑

ppp

> #œ

‰

f

∑

œ

f

∑

¡™ œ ææ

∑

∑

∑

#œ ™ ææ

∑

∑

∑

∑

æ œæ™

∑

&

˙

ë fff

Vc.

Db. ¢

B

?

?

≤ œ™ bœ ™

≥ #˙

pp

ë fff

˙

#˙ æ

ë fff

˙≥

ë fff

<#> ˙ ææ ë fff

≤ œ™ #œ ™

b œ≥ ™

Ϫ

ë fff

≥ #œ ™

pp

ë fff

#œ ™ æ pp

#˙

∑

œ≤ ™ # œ ™

Ϫ

rd

œ™ # œœ ™™ #œ ™

ic o

∑

∑

∑

R

83

∑

b ˙≥

°

≤ œ™ bœ ™

y

42

op C

Vla.

œ™ # œœ ™™ #œ ™

∑

pp

yr

Vln. 2

∑

tb

° Vln. 1 &

∑

ig h

STR ° Ele ¢ /

∑

pp

≤ œ™ #œ ™

b œ≥ ™

Ϫ

ë fff

≥ #œ ™

∑

b œ≤ ™

≤ #œ ™

Ϫ

ë fff

#œ ™ æ

#œ ™ æ

#œ ™ æ

#œ ™ æ

œ≥ ™ # œ ™

œ≤ ™ # œ ™

œ≥ ™ # œ ™

œ≤ ™ # œ ™

ë fff

pp

ë fff

pp

pp

ë fff

pp

ë fff

pp

#œ ™ ææ

œ™ ææ

œ™ ææ

œ™ ææ

œ™ ææ

ë fff

pp

ë fff

Œ

Œ

‰

pp

f

> #œ # œ

ppp

f

ppp

œ ææ

œ æ

ëf

87

#œ ææ ëf

œ™ ææ dim. early

ëf

b ˙≥

˙

∑

∑

bœ bœ >

Œ

Œ

‰

∑

∑

Œ

‰

∑

ppp

ppp

œ æJ

∑

‰ ‰

∑

∑

∑

Ϫ Ϫ

˙ ææ

œ ææJ

‰ ‰

∑

∑

˙ ææ

œ ææJ

‰ ‰

∑

∑

œ ‰ ‰ œ œœ

∑

∑

˙

≤ œ™

Ϫ

≤ <#>œ ™

#œ ™

pp

œ™ æ

ë fff

˙ ææ

ë fff

SY. 4111/01

œ≤ ™ pp

#œ ™ ææ pp

ë

ë

ë

pp

#˙

b˙˙

Ü

pp

#˙ æ

ë fff

‰

dim. early

Ñ

˙≥

∑

Œ

˙ æ

œ™ ææ

œ ææ

∑

Œ

> œ Œ #œ

‰

œ™ æ

Ñ

ë fff

‰

ppp

f

nœ œ bœ # œœ #œ nbœœ œœ ™™ ëf ø dim. early

≥ #˙

Œ

f

f

Œ

Œ

ppp

dim. early

ë fff

pp

pp

pp

Ϫ

pp

Ϫ

bœ bœ >

æ œæ

mortar is ALWAYS OFF

Vib. { &

‰

œ ææ

æ œæ™

pp

ppp

Œ

> œ Œ #œ

∑

œ™ ææ

pp

f

Œ

f

œ™ ææ

pp

‰

> bœ œ

ppp

flz.

senza sord.

mp

?

bœ bœ >

flz.

mp

Tbn. ¢

‰

same note tremolo non-flz.

°? Hn.

Tpt.

bœ bœ >

ppp

∑

Œ

ppp

Ñ Ü

y

∑

f

‰

> bœ œ

Œ

f

Ñ n>œ ææ

nl

Œ

ppp

∑

∑

ppp

Ü

lo

bœ bœ >

f

‰

> bœ œ

‰

f

Ñ

sa

ppp

∑

∑

ppp

Ñ >œ ææ

ru

f

Œ

‰

f

>œ ææ

43

3

pe

&

Cl.

∑

ppp

> bœ œ

&

Ob.

Œ

f

>œ ææ

42

-F or

>œ ææ

87

er lin

20

83

iB

° Picc. &

42

Ϫ

ë

ë

˙ b˙

Ñ

Ñ Ü

b ˙≥

˙

∑

fff

≥ #˙

≤ œ™

#˙

≤ œ™

pp

#˙ æ

œ™ æ

fff

#˙

œ≤ ™

ë fff

Ϫ

pp

#˙ ææ

œ™ ææ pp

Ϫ

∑

p

ë fff

p

≥ œ ≤ œ ≥ œ ≤ œ bœ œ œ œ

ë fff

B

ë fff

p

ë fff

43

∑

≥ œ ≤ œ ≥ œ ≤ œ œ œ œ œ

pp

fff

fff

Ϫ

pp

fff

˙≥

42

p

≥ œ ≤ œ ≥ œ œ œ

ë fff

p

ë fff

≥ œ ≤ œ bœ œ œ≥

ë fff

p

ë fff

œ ææ

œ ææ

œ ææ

bœ œ œ œ ææ ææ ææ ææ ë fff p ë fff p

ë fff

bœ b œ œ œ œ œ œ œ

bœ b œ œ œ œ

ë fff

p

ë fff

∑

p

ë fff

p

p

œ

œ

ë fff

ë fff

∑

œ

∑

∑

∑

&

∑

∑

∑

∑

&

∑

∑

∑

∑

42

Ü

83

∑

œ æ

∑

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

?

∑

&

Vln. 2

≤ œ b˙ œ pp

ë fff

≤ œ bœ ˙

op B

bœ ææ

pp

C

Vla.

Vc.

B

ë fff

b˙

?

bœ bœ bœ nœ œ œ pp

˙

b˙ ææ

ë fff

bœ b œ ˙ pp

Db. ¢

‰

Œ

Œ

‰

> bœ œ Œ

Œ

‰

ë fff

∑

ë fff

pp

bœ œ œ œ œ bœ

>œ

∑

∑

bœ œ œ œ p

bœ bœ b œ œ

∑

p

> b œ b œ œ œ >œ ™

pp

ë fff

p

ë fff

p

ë fff

bœ ææ

bœ ææ

œ ææ

bœ ææ

bœ ææ

b >œ ææ

œ ææ

>œ™ ææ

bœ b œ <b>œ pp

ë fff

pp

œ

ë fff

œ pp

∑

œ

bœ

ë fff

ë fff

p

œ

œ p

∑

bœ

p

p

Ϫ

ë fff

œ

bœ

bœ

∑

SY. 4111/01

œ

œ

œ

pp

ë fff

bœ ææ

>œ ææ

œ pp

œ

ë fff

nœ

œ

ë fff

∑

87

∑

Ϫ

bœ ™

œ

œ

Œ

Ϫ

Ñ

˙

b˙

bœ ™ ææ

b >œ ææ

ë fff

Ϫ

pp

∑

Œ

‰

Œ

Œ

‰

bœ bœ Œ >

Œ

ppp

> #œ # œ f

ppp

‰

ppp

> œ Œ nœ

‰

Œ

‰

f

ppp

æ œ-æ mp

Œ

Œ

‰

-œ ææ

Œ

Œ

‰

∑

æ n-œæ

Œ

Œ

‰

Ñ Ü

Ñ

Ñ

Ü

b˙

b ˙≥

˙

&

mp

ë fff

Ϫ

Ü

Œ

f

∑

pp

pp

œ

Œ

ppp

˙

ë fff

Œ

mp

∑

ë fff

bœ ™

Ñ

f

∑

pp

ë fff

pp

Ϫ

83

Ñ >œ ææ

ppp

∑

∑

pp

ë fff

> bœ œ > œ œ œ™

ë fff

Ϫ

ë fff

ë fff

ë fff

42

Ü

> œ œ œ œ >œ™ ë fff

ppp

∑

∑

iB Ñ

rd ∑

ë fff

∑

∑

pp

pp

˙

58

œ

f

ppp

∑

∑

ic o

∑

yr

pp

42

R

° Vln. 1 &

∑

∑

y

STR ° Ele ¢ /

43

∑

tb

Tbn. ¢

Œ

ppp

f

∑

er lin

°?

Tpt.

Œ

f

f

ig h

Hn.

∑

Ñ Ü

-F or

Bsn. ¢

∑

Ñ b >œ ææ

> bœ

∑

f

?

∑

∑

Œ

87

y

∑

Ñ

nl

58

lo

Cl.

42

sa

Ob.

43

ru

° Picc. & 30

pe

4

≤ œ™ bœ ™ pp

˙

≤ #œ ™ #œ ™ pp

œ ææ

˙

≤ œ™ #œ ™ pp

≤ ™ œ™

?œ

pp

Œ

œ™ ææ

pp

ë fff

ë

ë

ë

≥ #˙

#˙

≤ œ™

˙

≤ œ™

Ϫ

Ϫ

pp

˙

œ≤ ™

fff

pp

˙ ææ

œ™ ææ

ë fff

Ϫ

pp

fff

˙≥

≤ œ™ pp

fff

≥ #˙

∑

pp

Ϫ

#˙

‰

ppp

æ œ™æ

æ œæ

Tbn. ¢

& #æ˙

pp

œ™ ææ

œ ææ

? #æ˙ æ

œ™ æ

œ æ

pp

Vib. { &

b˙

Ϫ

b˙˙

pp

œœ ™™

bœ

&

op

≥ B #˙ ë fff

# ˙≥

≤ œ™

Ϫ

Ϫ

ë fff

≥ #˙

œ™ ææ pp

#˙ ææ

ë fff

? æ˙ Db. ¢ æ ë fff

œ™ ææ

˙ ææ

C

œ ææ

œ æ

œ™ æ

œ æ

bœ œ™ bœ bœ œ ™ œ™ œ™ bœœ œ ëf ø

pp

ë fff

b˙ >

Œ

ff

ff

∑

ppp

> #˙ ˙

ppp

∑

Œ

˙

ppp

ff

Œ

ppp

> #œ œ

Œ

ppp

ff

> œ œ

ff

ff

ppp

ff

Œ

Œ

ppp

ff

Œ

Œ

Œ

> #œ œ Œ

Œ

ff

ppp

Œ

Œ

ff

ff

Œ

> #œ #œ

#>œ ææ

ppp

#>œ œ

ppp

> œ œ Œ

> #œ #œ

∑

Œ

ppp

> #œ œ

ppp

ff

∑

ff

#>œ ææ

Œ

ppp

ppp

> #œ # œ

ppp

ff

Œ

Œ

ppp

Ñ

˙

#˙

∑

Ü

œ™ œ≤ ™

pp

˙

∑

∑

∑

∑

∑

∑

Œ

∑

∑

Œ

∑

Πpp

pp

pp

bœ bœ bœ Œ œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

pp

≤ œ™ œ™

˙≥

? #æ˙ æ ë fff

trem.

œ™ æ

Ϫ

ë fff

Vc.

bœ ææ ëf

pp

pp

˙

#˙

œ ææ

ë fff

pp

Vla.

> ˙

ff

∑

ff

y

Ϫ

∑

ppp

42

∑

R

pp

˙≥ #˙

ë fff

œ≤ ™

yr

Vln. 2

˙

‰

tb

≥ ° #˙ Vln. 1 & ë fff

∑

˙

œ™ æ

ëf

Ñ

ig h

STR ° Ele ¢ /

Ñ Ñ

b˙ >

#œ ææ

ëf

° Ü

Œ

>˙ #˙

ppp

ff

ppp

pp

Tpt.

‰

ppp

f

° & ˙ææ

Œ

ppp

#>œ ææ

∑

y

> ˙

ff

ff

Œ

ru

f

˙

f

Œ

‰

#˙

>˙ ææ

nl

ppp

>˙

ppp

b˙ >

ppp

∑

lo

‰

Œ

ff

Ü

pe

Œ

‰

Ñ

44

5

sa

f

˙

? > #˙ Bsn. ¢ ˙

Hn.

‰

ppp

f

#˙

ppp

Œ

>˙ ææ

43

-F or

f

Œ

>˙

f

Ü

42

er lin

>˙ #˙

& b˙ >

Cl.

ppp

‰

Ñ

43

iB

&

Ob.

Œ

Ñ >˙ ææ

58

rd

f

Ü

ic o

Ñ Ñ 38 > ° æ˙ Picc. & æ

42

accel.

Ϫ Ϫ

# ˙≥

ë fff

˙≥

ë fff

≥ #˙

pp

ë fff

œ™ ææ

pp

#˙ ææ

ë fff

œ™ ææ

˙ ææ

pp

˙

ë fff

58

Ñ

Ü

#œ

œ ≤ œ™

43

∑

≤ œ #œ œ™

Ϫ

pp

˙

#œ œ œ™

Ϫ

≥ ˙™

ë fff

≥ #˙ ™

pp

ë fff

œ ææ

#œ ™ ææ pp

˙™ ææ

ë fff

œ ææ

œ™ ææ

˙™ ææ

pp

˙™

ë fff

SY. 4111/01

∑

# ˙≤

ë fff

pp

#˙

∑

# ˙≥ ™

Ϫ

24accel.

∑

#˙ ë

p

#˙ ™

˙ æ

trem.

˙≤

˙™

˙

p

B

≤ #˙

#˙

p

p

∑

∑

≥ # œ # œ œ≤ œ

≥ #œ #œ

œ œ

œ≥ # œ ˙≤

p

ë fff

p

ë fff

œ æ

œ æ

œ ææ

#œ ææ

œ ææ

p

œ≥ œ œ≤ œ

ë fff

p

≥ ≤ #œ #œ œ œ

ë fff

p

∑

ë fff

œ≥ œ

ë fff

p

≤ #œ

&œ p

≤ ≥ #œ #œ #œ # œ

ë fff

Œ

ë fff

ë fff

#˙ ææ p

#œ æ

œ ææ

ë fff

˙

p

≥ #œ # œ ˙≤

ë fff

˙

p

≥ ≤ œ #œ ˙

p

p

44

∑

fff

ë fff

p

43

p

#˙ ææ p

˙

ff

° &

ff

> b˙ n˙

Ó

∑

ppp

(ff)

ff

ppp

Ó

æ b˙æ

∑

Œ

æ ˙æ

æ ˙æ

æ ˙æ

#w æ

?

∑

∑

Ó

b˙ æ

˙ æ

˙ æ

˙ æ

bw ææ

&

B

?

°

44 Aq =tempo 100 ∑

≥ ≤ œ # œ ˙™ ppp

≥ œ bœ

ë fff

ig h

ë fff

∑

b˙™

<#> œ ææ

ë fff

n˙ ™ ææ

œ ææ

ë fff

ppp

≥ ≤ œ #œ ˙ ™

ë fff

ë fff <#> œ ææ ë fff

˙™

ppp

≥ #œ # œ #˙≤ ™ ppp

˙™ ææ

ppp

≤ ˙™

˙™

˙™

bw

w

ë fff

(fff)

˙™ ææ

w ææ

w ææ

ë fff

ppp

ppp

≤ ≥ #œ œ n˙ ™

ë fff

ppp

œ ææ

b˙™ ææ

ë fff

∑

change bows as many times as you need.

≥ w

ppp

b˙™

ë fff

#w

#w

ë fff

w ææ

ë fff

bb˙˙

b˙˙

bw

42

bw

bw w

∑

˙ b˙

#w

#˙

w

˙

(fff)

˙ ææ

SY. 4111/01

w æ

f

∑

pp

˙ ææ

˙ ææ

Œ

Œ

∑

∑

##w w

nb˙˙

(ff)

##˙˙

bw

42

44

∑

˙ b˙

#w

#˙

Œ

off

bw

∑

#w

˙

˙

b˙

w

#w

w ææ

fff

#w

w

w ææ

trem.

B ppp

bw

w

bw

fff

˙ ææ

#˙

ppp

fff

bw

w

w ppp

˙ ææ

#w

42

∑

ppp

fff

#w

∑

∑

w ææ

#˙

∑

pp

fff

˙ ææ

change to Gongs

∑

w

y

pp

##˙˙ Œ nb˙˙ (ff)

f

(fff)

w ææ

w

∑

∑

f

b˙

Œ

∑

∑

#w

Œ

Œ

ø

w

(ff)

∑

Œ

f

bw

∑

Œ

pp

w ææ

#˙

Œ

pp

(ff)

f

˙ ææ

∑

pp

(fff)

ff

44

∑

(fff)

˙ æ

er lin ˙˙

Œ

pp

˙ ææ

ff

(fff)

change bows as many times as you need.

≥ w

∑

(fff)

change bows as many times as you need.

≥ #w

˙˙

ff

(f)

ppp

≥ ≤ ™ œ #œ #˙ ™ <#>˙

ë fff

bb˙˙

iB

bb˙˙

ppp

yr

&

Ó

∑

b˙˙

#˙ b˙ Œ

˙ æ

˙ ææ

b˙˙

∑

˙ æ

˙ ææ

(f)

∑

bw æ

˙ ææ

ppp

Œ

fff

b˙ ææ

(f)

Œ

˙ ææ

Ó

ppp

∑

˙ ææ

ff

(f)

∑

w ææ

∑

∑

#˙ b˙

bw

fff

∑

Œ

(fff)

non-flz.

#w

˙ ææ

Œ

pp

#˙ ˙

fff

˙ ææ

˙ ææ

(fff)

#˙ ˙

flz.

Œ

˙ ææ

42

nl

Ó

˙ ææ

w

44

lo

flz.

fff

#w

˙ b˙

(ff)

> #˙ ˙ #˙ ææ ff

Œ

ppp

ppp

op C Db. ¢

ff

˙ b˙ ˙ ˙

w ææ

∑

° Vln. 1 &

Vc.

Ó

∑

&

STR ° Ele ¢ /

Vla.

ppp

∑

Vib. { &

Vln. 2

Ó

ppp

> ˙ ˙ ˙ b˙

ppp

> #œ œ

∑

Œ

rd

Tbn. ¢

ff

Œ

ff

Œ

ic o

Tpt.

> #œ œ

ppp

ppp

ppp

Œ

#>˙ ææ

Ó

R

Hn.

?

ff

Ó

> #œ # œ Œ

ppp

> nœ œ

Ó

> #œ œ Œ ff

Bsn. ¢

Œ

ff

Œ

42

sa

ff ppp

#>œ ææ

Ó

ppp

> #œ œ

&

Cl.

Œ

44

ru

ff

&

Ob.

42

pe

#>œ ææ

y

Picc.

44

-F or

° & 47

tb

6

A tempo q = 100

œ

bœ

b˙ ™

ppp

ppp

∑

∑

˙™ ?

° Picc. & 57

42

∑

83

44

∑

U ∑

∑

42

∑

44

∑

Meno mosso q = 80

42

58

Ñ #œ#œ

Ü œ™ œ™

˙

œ œ

Ϫ Ϫ

same note tremolo

b˙ b ˙

bœ b œ

œ™ œ ™

mp

pp

˜w ææ mp

non-flz.

#˙ #˙

44

7

pp

˜w

same note tremolo

∑

∑

?

∑

∑

° Vln. 1 &

∑

#œ œ ™ œ œ ™ bœ œ

op C

Ó

∑

∑

fff

(fff) p

æ

U ˙ æ

œ æ

B

ææ ææ æ #œ œ ™ <#>œæ # œ

?

trem.

#œ ææ

ææ ææ œ ™ <#>œ œ

ææj bœ œ <b>œ b œ

trem.

ææj œ œ

æ œœæ™™

trem.

∑

Œ

∑

U æ ˙æ

fff

æj nœæ

ææj #œ f

∑

∑

∑

∑

∑

∑

æ Œ œæ

Ó

∑

∑

∑

∑

∑

(fff) p

∑

∑

∑

∑

∑

∑

ææ bœ ™ ë fff

ææ æ ææ œœ œœæ nœœ ™™

ææ ææ œ ™ œ œ™

ææ bœ ™ ë fff

ææj œœ

ææ #œ ™ ë fff

Uæ æ ˙

ææ # ˙ <#> ˙

æj œæ

ææ ™ # œœ ™ ë fff

Uæ æ ˙˙

b˙ ææ

ææ #œ ™

Uæ æ ˙

nœ ææ

ææj œ

fff

æ #œæ œ

42

∑

#nœœ œœ ™™ œœ æ æ ææ æ æJ

(fff)

æ œæ œ

æ wæ

soft sticks

∑

U ææ ˙

y

∑

(fff) p

U ææ ˙

exaggerated cresc.

?

Œ

rd ææj œ œ

ææj bœ <b>œ b œ <b> œ

ææ œ œ

fff

∑

sa

mp

∑

nl

∑

lo

∑

U ∑

exaggerated cresc.

Db. ¢

∑

æ #œæ

44

∑

ig h

ææ ææj œ œ ™ b œ bœ

yr

&

83

exaggerated cresc.

Vc.

Ó

ic o

42

trem.

Vla.

ææ Œ œ

U ∑

STRINGS Granular

exaggerated cresc.

Vln. 2

U ææ ˙

U ∑

∑

w

ææ bœ

R

STR ° Ele ¢ /

∑

˜w

∑

(fff) p

mp

° Gongs ¢&

pp

fff

?#œ

Œ

mp

mp

mp

tb

Tbn. ¢

∑

˙

ru

&

Œ

∑

Ó

w

pe

∑

ææ Œ œ

∑

-F or

° &

Tpt.

Œ

∑

Uæ æ ˙

∑

er lin

∑

ææ œ

Œ

∑

iB

?

∑

flz.

y

Bsn. ¢

∑

∑

&

Cl.

Hn.

∑

&

Ob.

U ∑

off

#œ ™ ˙ #˙ œ™

œ# œ œ# œ

p

44

∑

“”

Meno mosso q = 80

42

∑

∑

œ

œ

œ

#œ ™ ˙ œ ™ #˙

#œ

#˙ #˙

#w

#w

# œ # œ >œ œ œ- œ non-trem.

<b>œ

bœ

Ϫ

˙

#˙

w

#w

#œ

œ >œ- œ œ œ p

œ™ œ

#œ

œ

#œ

&

#œ ™ œ™ ˙

˙

∑

˙

#˙

w

#w

#œ

œ

œ

œ

p

> œ nœ #œ œ™

ë mf

p

∑

p

(fff)

œ

œ<b>œ ™

Ϫ

bœ

œ

bœ ™ Œ Œ

&œ ™

∑

∑

∑

∑

∑

∑

∑

∑

mp

(fff)

Œ

∑

Ó

f

SY. 4111/01

44

Ü

> # œ # œ œ ™# œ

ë mf

non-trem. molto espress.

(fff)

œ

Ñ

molto espress.

p

æj œæ™ œ™

<#>œ

58

‰

ë mf

‰

ë mf

&

w

w

w

w

bw

bw

bw

bw

#˙ #˙

#œ ™

œ

œ

#w

#w

œ œ

w

w

˙ ˙

Ϫ

Ϫ

œ

œ œ

bw

bw

b˙ b ˙

bœ ™

bœ ™

œ

∑

∑

∑

∑

°?

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

?

∑

∑

∑

°

∑

∑

∑

° &

44

<“>

> œ œ # œ # œ œ # œ œJ J

> œ nœ œ #œ ™ #œ œ J

ig h

&

Œ

3

mp

mf

ë mf

p

œ-

p

sub. mf

n>œ- ™ p

>œ œ œ œ J ‰

ë f

3

sub. mf

Ó p

op &

mf

Vc.

3

Ó

24

58

˙

p

#>œ œ œ œ J J 3

˙

p

˙

&

∑

∑

Ó

Œ &œ

?

∑

∑

∑

#œ œ

> œ

p

sub. f

#w

œ

w

w

œ

bw

bw

42

∑

pe

∑

ëf

˙

∑

∑

∑

∑

∑

∑

-œ <#>œ

#œ œ #>œ ™

#œ #œ > #œ œ

p

non-trem. molto espress.

ëf

ëf

3

Œ &#œ

>œ #œ

#>œ œ

œ

SY. 4111/01

Ϫ

n>œ # œ

<#>œ œ > # -œ

Ϫ

p sub. f

∑

“” > nœ # œ # œ #œ- œ ™ sub. f

> #œ œ

> œ n œ # œ- œ ™ #œ

> nœ #œ p sub mf

Ϫ

44

p sub mf

p sub mf

f

∑

Ϫ

p sub. f

#œ #œ œ œ > # œ # -œ # œ > ëf p sub.

p

Db. ¢

#w

-F or

er lin iB 3

sub. mf

molto espress.

∑

∑

C

Vla.

∑

Œ

>œ #œ J#œ œ J

sub. mf

yr

Vln. 2

ë mf p

p

œ

44

#>œ # œ œ œ J

tb

mf

54

∑

rd

Gongs ¢&

ic o

Tbn. ¢

44

ru

∑

Tpt.

Vln. 1

œ œ

#œ ™

?

Bsn. ¢

Hn.

#w

58

y

Cl.

#w

42

nl

&

#w

44

lo

Ob.

#w

45

R

Picc.

44

sa

° & 66

y

8

<#>œ <#>œ > sub p mf

p sub. f

Ϫ

sub. f

> #œ #œ nœ bœ- œ ™ sub. f

> œ™ œ p sub. f

sub. f

> #œ œ™

> -™ œ <#> œ

>-œ

#>œ # œ œ œ p sub. f

<#> >œ œ #œ œ p sub. f

>œ <#>œ

p sub. f

>œ œ™ p sub. f

∑

œ œ

p sub. f

> œ <b>œ bœ œ p sub. f

24

&

Cl.

&

#˙ ™

˙

˙™

b˙

b˙ ™

#˙

˙

b˙

43

#˙ ™

#˙ ™

˙

˙™

b˙

b˙ ™

#˙

#˙

˙™

˙

b˙™

b˙

42

#˙

#˙

˙™

˙

b˙™

b˙

44

#w

#w

#w

#w

˙

w

w

w

b˙

bw

bw

bw

b >œ B ‰ J

Hn.

∑

∑

∑

∑

∑

∑

Œ

∑

∑

∑

∑

∑

∑

f

°?

‰

&

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

° Vln. 1 &

&

# -œ -œ œ #œ ™ p

œ

n -œ nœ œ

#œ ™

œ

op C

Vla.

Vc.

Db. ¢

&

#˙

&

?

∑

#˙ f

#˙

#˙

p

-œ #œ œ nœ ™

f

œ

˙

b˙

B

p

f

#-œ #-œ œ œ™

œ

˙

f

Œ

non-trem. molto espress.

&

b˙

mp

∑

∑

rd ∑

∑

œ

#œ œ ™ #œ œ ™ > >

œ

œ œ ™ >œ œ ™ >

œ

™ >œ œ

∑

∑

Œ

∑

> #w

#˙

w

˙

˙

bw

b˙

b˙

˙

Ϫ >

˙

˙

˙

b˙

#˙

?

#>œ ˙ R

˙

non-flz.

mf

˙

mf

ææ w

ææ ˙

∑

w

b˙

IV

III

sim.

w

w

w

IV

III

w

42

∑

bw

w

b˙

‰™

non-flz.

ææ w

∑

24STRINGS 44Granular

œ œ #œ ™ > nœ ™ >

>œ #œ ™

˙

?

p

∑

43

ic o

∑

∑

∑

R

∑

42

yr

Vln. 2

43

ig h

STR ° Ele ¢ /

42

y

°

Gongs ¢&

-F or

∑

er lin

∑

iB

&

tb

Tbn. ¢

#˙

non-flz.

mf

Tpt.

9

sa

?

44

ru

Bsn. ¢

pe

non-flz.

42

y

Ob.

#˙ ™

#˙

42

nl

72

43

lo

° Picc. &

42

w

˙

>œ- ™ ff

bw

b >œœ J

∑

˙˙ (ff)

˙

b˙

(f)

w

˙

˙

(f)

œ

˙

bw

∑

f

SY. 4111/01

?

nw f

bw

bw

w

bw

b˙

(f)

˙

(f)

b˙

44

off

10

° & 80

Fl.

44

∑

∑

w

bw

&

bw

bw

p

∑

bw

bw

n˙ #˙

#˙

43

˙

˙ ™ #˙ ™

˙™

#˙ ™

#˙ ™ ˙ ™

#˙ ™

˙™

44

nw

w

#w

p

?

w

w

æ ˙æ™

∑

p

p

ë fff

ææ b˙

ææ ˙™

flz.

∑

∑

∑

ë fff

pe

Bsn. ¢

w

w

lo

w

ru

&

sa

æ # ˙æ

flz.

Cl.

nl

y

Ob.

42

A tempo q = 80

molto rit. (exaggerated)

∑

?

∑

∑

?

° &

44 molto rit. (exaggerated) <b> œœ

> #œ#œ

œ

#œ ™

œ

f

#œ œ p

<#> œ #œ œ

f

> œ # œ nœ#œ ™ #œ

#œ œ œ p

sub. f

f

æ #˙æ

ë ff

∑

p

æ ˙™æ

æ b˙æ

æ ˙™æ

∑

flz.

∑

œ

ë ff

∑

p

˙™ æ

˙ æ

flz.

flz.

∑

p

#œ œ

œ

œœ œ

bœ œ

f

œ

f

nœ ™

ë ff

24Aq =tempo 80 3 4 ˙

˙™

˙

˙™

ff

port.

#œ>

3

ort.

œp

#œ œ port. J

(ff)

> œbœ œ œ

nœ œ p

op

yr

sub. f

œ

œ

&

#>œ

œ

<#> œ

f

#œ œ œ

sub. f

p

œ #œ #œ

#œ ™ œ

f

#œ

œ#œ œ > nœ œ

p

> #œ #œ œ œ ™

#>œ

sub. f

sub. f

f

œ œ™#œ

œ

#œ ™

#œ œ ™ œ

œ >

sub. f

#œ œ > œ #œ œ

> œ #œ œ

p

sub. f

f

<#>œ œ œ ™

p

Ϫ

B

#œ p

f

ff

#œ #œ

3

port.

f

ff

˙

˙™

<#>œ œ œ œ

˙

˙™

port.

p

ff

˙™

port.

port.

# œ>

œ >-

œ

t.

por

j #œ œ port.

(ff)

3 œ œ port. œ port. J

(ff)

C

Vla.

B

# œ #œ ™

ig h

&

Vln. 2

tb

y

Vln. 1

∑

ic o

Tbn. ¢

∑

er lin

&

Tpt.

∑

iB

∑

rd

° &

R

Hn.

-F or

p

Vc.

Db. ¢

?

?

‰

trem.

bœ æJ

&

#>œ #œ #œ œ

>œ œ œ œ nœ

#>œ

sub. f

sub. f

sub. f

œœ œ

#œ

œ

p

f

? #œ

œ œœ

œ

#œ

œ

p

œ

œ #œ ™

#>œ œ #œ œ f

p

f

œ™ ≈J

œœ

p

f

non-trem.

‰

Œ

Ó

∑

Œ

p

SY. 4111/01

#œ ™

œ #œ ™

f

˙ ff

>œ

œ port. #œJ œ po

rt.

(ff)

#>-œ

3

œ port. œJ œ (ff)

3

44

w

#w

58

∑

Ñ

∑

Ñ

Ü

87

Ü ∑

Ñ

Ñ ∑

58

Ü

Ñ

87

Ü ∑

Ñ

Ü

∑

∑

∑

∑

∑

∑

∑

Cl.

&

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

∑

STR ° Ele ¢ /

b˙

˙

pp

mp

∑

44

° Vln. 1 &

œ

∑

bœ œ ≈ ‰

Ϊ

∑

3

# œ œ port. n œ J J 3

∑

58 STRINGS Granular Ñ

∑ ˙

Ü

∑

Ϫ

Ñ

∑

œ œ™

œ œ œ™

sub. mp

sub. mp

#œ

œ œ™

sub. mp

sub. mp

œ

œ œ™

sub. mp

sub. mp

œ

#œ œ ™

sub. mp

sub. mp

sub. mp

sub. mp

# œo æ æ

œo ™ æ æ

# œo æ æ

œo ™ æ æ

sub. mp

87

Ü

œ

∑

∑

∑

∑

∑

∑

∑

∑

Ϫ

sub. mp

Ñ

Ñ

∑

œ #œ œ œ œ ™ sub. mf

sub. mf

58

Ü œ™

sub. mf

Ñ

87

Ü

∑

œ #œ œ ™ sub. f

Ϫ

sub. f

Ñ

Ü

∑ œ™

œ #œ œ ™ sub. f

44

Ñ

sub. f

œ œ sub. f

port. 3

yr

p

# œ œ por œ J J t.

#˙ ˙

œ œ

p

&

mf

port. 3

3

#œ œ port. #œ J J mf

˙

˙

3

Ϫ

#œ œ œ ™ sub. mp

Ϫ

sub. mp

œ œ œ™ sub. mp

Ϫ

nœ # œ œ œ œ ™ sub. mf

Ϫ

sub. mp

sub. mf

sub. mf

œ #œ œ œ œ ™ sub. mf

Ϫ

sub. mf

œ

#œ

sub. f

Ϫ

sub. mf

œ sub. f

Ϫ

Ϫ

sub. f

nœ

Ϫ

œ

#œ

sub. f

Ϫ

sub. f

œ sub. f

Ϫ

Ϫ sub. f

œ

œ

œ

sub. f

Ϫ

Ϫ sub. f

œ

œ

sub. f

C

op

B

œ

ig h

&

Vln. 2

Vla.

#˙

tb

y

mf

∑

Più mosso q = 100

42

port.

p

Ϊ

∑

∑

#˙

≈ ‰

-F or

mp

er lin

pp

œ œ

non-flz. same note tremolo

∑

?

˙

R

Tbn. ¢

˙

iB

straight mute

&

Tpt.

∑

non-flz.

rd

con sord.

ic o

°? Hn.

pe

ru

Bsn. ¢

sa

lo

&

11

Ñ

∑

Ob.

44

y

86

42

nl

° Fl. &

44

Più mosso q = 100

Vc.

?

port.

˙ p

Db. ¢

?

œ

t.

& por 3

∑

œ œ port.#œj J mf

3

˙

∑

trem.

&

mp

sub. mp

Ϫ

œ #œ œ ™

sub. mp

SY. 4111/01

sub. mp

Ϫ

#œ œ œ œ œ™ sub. mf

sub. mf

sub. mf

∑

Ϫ

#œ #œ œ™ sub. f

sub. f

∑

Ϫ

Ϫ

#œ #œ œ™ sub. f

sub. f

œ œ

sub. f

∑

°? Hn.

Tpt.

Tbn. ¢

Œ

∑

∑

Œ

&

∑

Œ

?

∑

Œ

°

∑

Œ

∑

∑

Œ

∑

∑

Œ

Œ

∑

Œ

Œ

∑

Œ

Œ

æ ˙æ™

æ ˙æ

Œ

flz.

p

ë fff

p

ææ #˙ ™

ææ ˙

Œ

p

ë fff

p

æ b ˙æ™

æ ˙æ

Œ

p

ë fff

b˙ ™ æ

˙ æ

flz.

ë fff

p

flz. (straight mute)

æ ˙™æ

æ ˙æ

ë fff

p

b˙ ™ æ

straight mute

˙ æ

ë fff

p

p

∑

44

∑

∑

&

op C

Vla.

&

#w

w

#w

&

#w sub. fff

Db. ¢&

#w ææ

sub. fff

w

#w

off

B

w

w

? #w

w

w

#w

#w

(fff)

f

ææ #w

ææ w

(fff)

f

b œ- b œ œ fff

#w

p

œ-

∑

∑

∑

∑

∑

∑

œ

fff

#w

B

p

# -œ

fff

#œ

n>œ #œ œ > > >œ

ff

nœ >œ #>œ >œ >œ œ™ ff

p

ff

non-trem.

fff

# œ- ™

#œ œ ?n œ #œ #>œ > ><#>>œ œ œ #œ- ™

-œ

p

nœ

bœ- ™

ff

p

# -œ

w

œ œ >œ n>œ > > œ #œ #œ ™ -

œ nœ bœ

fff

f

(fff)

nw

w

f

(fff)

w

#w f

(fff)

sub. fff

w

w

tb

sub. fff

sub. fff

Vc.

∑

Meno mosso q = 70

∑

y

#w

yr

Vln. 2

w

ig h

° Vln. 1 &

∑

rd

∑

p

p

y

∑

p

nl

Œ

ë fff

R

STR ° Ele ¢ /

∑

∑

p

p

Gongs ¢&

∑

lo

?

Œ

Œ

sa

∑

Œ

ru

&

Œ

æ ˙æ

æ ˙æ™

flz.

pe

Bsn. ¢

&

∑

Œ

-F or

Cl.

∑

er lin

Ob.

44

iB

° Fl. & 93

ic o

12

Meno mosso q = 70

Œ

Œ

(ff)

œ #œ œ œ

ff

œ# œ

œ

n œ- ™ >œ #-œ

œ œ œ #œ

nœ

nœ- ™ œ -œ >

œ #œ #œ

(ff)

(ff)

p

p

-

œ ™ RÔ ≈

(ff)

ff

œ

#œ- œ

œ œ<#>œ - > œ-

<#>œ œ œ

œ nœ > œ œ-

#œ

œ# œ >œ œ-

bœ

#œ œ

(ff)

œ <#>œ œ ff

‰

#œ nœ œ

(ff)

ff

#œ œ

œ œ- > œ -œ (ff)

#œ œ #œ <#>œ œ- œ

p

(ff)

- ™ n>œ bœ ? bœ

bœ œ œ œ

p

<#>>œ # -œ œ™ -

nœ

ff

SY. 4111/01

n>œ n-œ

(ff)

Œ

Ó

nœ œ

B

Ϫ

œ µœ ™

bœ J

Œ

#œ

pp

non-flz. senza sord.

∑

œ

pp

non-flz. senza sord.

∑

° Gongs ¢&

bœ

pp

∑

?

soft stick

œ J

œ

œ

Œ

µœ J

‰

Œ

mf

µœ J

‰

µœ J

œ

œ

œ J

j Ϫ

j Ϫ

j Ϫ

mp

43 STRINGS Granular

42

∑

œ J

œ

bœ mf

≈

Œ

≈

Œ

ëf

ëf

ëf

Œ

Œ

Œ

j Ϫ

œ

j Ϫ

pp

bœ

pp

œ J

‰

#œ

j Ϫ

bœ

43

∑

Œ

œ

bœ J mf

ëf

ëf

≈

Œ

≈

Œ

ëf

≈

Œ

˜ œ-

‰

˜-œ ˜œ

Œ

‰

œ-

Œ

-œ

Œ

j Ϫ

Œ

Œ

∑

œ

#œ

pp

pp

œ

j Ϫ

bœ

j Ϫ

pp

œ µœ

œ œ

nœ

œ

µœ

œ

‰

µœ

œ

≈ Œ

Œ

bœ

≈ Œ

Œ

mf

ëf

&

#˙ ™

#˙ ™

yr

Vln. 2

ig h

p

˙™

op

p

C

Vla.

Vc.

B

?

˙™

˙™

III p

II

b˙ ™

˙™

II p

Db. ¢

?

y

˙™

tb

° &

I

∑

˙

ë mf

#˙

ë mf

˙

pp

#˙

ë mf

p

˙™

˙

˙™

˙

b˙ ™

˙

˙™

b˙

ë mf

p

j Ϫ

ëf

≈

Œ

˙

ëf

œ

pp

j Ϫ

ëf

SY. 4111/01

≈

Œ

œ

œ

#˙

œ

ëf

≈ Œ

Œ

Œ

œ

˙

˙

œ

#˙

#˙

œ

˙

˙

œ

pp

œ

mp

43

œ

œ

b˙

˙

p

Œ

œ

pp

˙

ë mf

˙

˙

˙

˙

˙

ë mf

ë mf

p

˙

j Ϫ

sub. mf

œ

∑

p

˙

œ

pp

p

ë mf

p

sim.

œ

ë mf

#˙ ™

#˙ ™

#˙

sim.

ë mf

˙

p

ë mf b˙

˙™

˙™

˙

µœ œ

pp

(Suggestions: Crescendo and Diminuendo with fader, a little later than the Strings' crescendos and diminuendos)

Vln. 1

nœ œ ™

sub. mf

‰

44

∑

‰ <˜>œ œ #œ sub. mf

mf

µœ œ ? µœ œ

œ µœ ˜œ sub. mf

Ó

bœ

‰

mf

sub. mf

Œ

Œ

nœ #œ œ

sub. mf

‰

œ mf

sub. mf

Œ

Œ

#œ µœ ˜œ œ

sub. mf

mf

pp

≈

‰

y

mf

Œ

bœ

R

STR ° Ele ¢ /

‰

non-flz. senza sord.

∑

?

µœ

mf

mf

mf

&

‰

œ

‰

œ J

œ

nl

Œ

µœ J

mf

Œ

µœ J

lo

œ

B

°? Hn.

Tbn. ¢

œ J

mf

non-flz.

Tpt.

µœ ™

œ œ™

‰

µœ

sa

µœ

&

Bsn. ¢

Œ

mf

non-flz.

Cl.

‰

œ

ru

µ˙

µœ

&

Œ

µœ J

43

13

pe

mf

non-flz.

Ob.

µœ J

44

-F or

µœ ™

er lin

œ bœ ™

iB

œ

43

rd

98

42

ic o

° Fl. &

43

ëf

≈ Œ

˙

ë mf

Œ

˙

œ

pp

ë mf

Œ

p

mf

œ

≈ ‰

Œ

pp

ë mf

œ

œ

Ϫ

#œ œ ≈ ‰

-œ J

‰

≈

p

n œJ

œ

œ

Œ

Ó

Œ

ë mf

Œ

Œ

Œ

#œ J

œ

‰

j œ

œ

ë mf

‰

j œ

œ

œ ≈ ‰ ë mf

‰

pp

Œ

‰ œ ≈

Œ

Œ

Œ

œ J

‰

Œ

∑

∑

∑

rd ˙™

yr &

#˙ ™

#˙ ™

B

˙™

˙™

op

˜ œ>

R y

tb

˙™

ë mf

p

˙™

r ≈ ‰ œ

ë mf

Œ

#˙ ë mf

#˙

˙

˙

pp

r œ

˙

˙

œ

œ

œ

œ

#˙

#˙

˙

˙

p

˙

ë mf

#œ

œ

p

b˙

p

œ p

ë mf

p

b˙ ™

˙

˙

p

?

‰

∑

∑

∑

Db. ¢

sub. mp

œ

∑

∑

?

> µœ ˜-œ ˜œ ™

∑

∑

Vc.

œ

∑

44

STR ° Ele ¢ /

Vla.

˜œ

∑

∑

Vln. 2

Œ

∑

∑

° &

œ

sub. mp

change to Vibraphone

j œ

?

Vln. 1

Œ

µœ µœ ˜>œ-

sub. mp

> µœ

B≈ ˜œ

Œ

ë mf

Ϫ

sub. mp

œ ≈ ‰

∑

Kris ¢

≈ ˜>œ- µœ µœ

sub. mp

pp

≈ ‰

µœ œ ≈ ‰ p

pp

≈ ‰

Ϫ

œ

µœ µœ ™ ˜>œsub. mp

p

‰

Œ

p

mf

‰

Œ

œ

œ

b˙

˙

p

ë mf

≈ ‰

Œ

‰

j bœ

pp

œ

r œ ≈ ‰

ë mf

SY. 4111/01

˙

ë mf

˙

˙

˙

˙

ë mf ˙

ë mf

Œ

˙™

p

˙

ë mf

˙™

#˙ ™

#˙ ™

˙™

˙™

p

p

˙

b˙ ™

˙™

p

Œ

∑

µœ ˜œ

y

p

∑

nl

sub. mf

œ

‰

mf

œ

bœ

≈ ˜œ #œ µœ

‰

≈ Œ

p

∑

Snaut

C

p

<µ>œ

µœ ™

ë mf

j œ

mf

˜-œ J

mf

ic o

43

Ϫ

pp

pp

Œ

œ µœ

œ

p

mf

µœ œ

Œ

nœ

Œ

p

sub. mf

mf

Œ

sub. mf

mf

˜ -œ œ # œ

lo

µœ J

mp

Œ

Œ

mf

œ

ë mf

˜œ œ #œ ™

Œ

‰

Ϫ

b œ ˜œ

sa

j œ

p

sub. mf

<µ>œ

≈ µœ

ru

mf

mp

œ ≈ ‰

°? Gongs ¢

˜œ J

µœ

≈ ‰

Œ

˜ œJ

pe

œ

#œ µœ ˜œ ™

mf

mp

ë mf

?

° & ‹

mp

<b>œ ≈ ‰

&

Tbn. ¢

œ

<µ>œ J

?

°?

Tpt.

j <#>œ

#œ J

-F or

Bsn. ¢

µœ

j <µ>œ

&

Cl.

<˜>œ J

44

er lin

&

Ob.

Hn.

43

iB

° Fl. &

103

ig h

14

œ

ë mf

œ

œ

œ

œ

œ

œ

œ

ë mf

ë mf

ë mf

° &

107

∑

∑

∑

15

∑

#-œ

œ

-œ

œ

˙

œ-

œ

˙

mf

<µ>œ

œ

≈

‰

Ó

∑

∑

∑

∑

mf

‰

Ó

∑

∑

˙

#˙

# ϑ mf

p

B

∑

∑

∑

˙

?

°?

∑

∑

∑

&

∑

∑

∑

∑

?

∑

∑

∑

Vib. { &

∑

Tbn. ¢

soft sticks

˙ ˙˙ ˙

Ó

er lin

Tpt.

∑

mp

°

∑

?

∑

& #˙

C

Vla.

B

˙

˙

ig h

yr

˙

#˙

#˙

˙

p

#˙

˙

#˙

˙

p

˙

p

Vc.

?

b˙

˙

Πp

Db. ¢

?

Œ

tb

∑

op

Vln. 2

° &

#œ

p

˙

bœ

˙

∑

∑

straight mute

∑

∑

∑

∑

∑

∑

∑

43

∑

p

straight mute

∑

∑

#œ J

∑

Doc

∑

Œ

Œ

∑

off

#˙

ë mf

˙

˙

˙

#˙ ë mf

#˙ ë mf

˙

non-vib.

˙

∑

˙

˙

˙

˙

˙

#˙

Ϫ

Œ

Sna - ut

∑

?

∑

˙

˙™

˙™

˙

˙™

˙™

˙

˙™

˙™

˙

˙™

˙™

p

˙

˙ p

pp

∑

tor

œ J

p

pp

non-vib.

Œ

p

pp

non-vib.

-

∑

#˙

pp

˙

Ó

non-vib.

#œ ™

f

∑

y

STR ° Ele ¢ /

Vln. 1

œ-

˙

rd

∑

#-œ

R

Kris ¢

∑

iB

° & ‹

ic o

Snaut

42

Meno mosso q = 60

p

sub. mf

-F or

∑

Hn.

œ

ë mf

p

sub. mf

b-œ

b˙

˙

pe

Bsn. ¢

#œ

p

lo

≈

sa

œ

p

ru

& <˜>œ

Cl.

˙

y

&

Ob.

∑

43

nl

Fl.

42

Meno mosso q = 60

∑

SY. 4111/01

#˙ p

˙

# œ-

ë mf

≈

‰

Œ

Œ

∑

° #˙ ™ &

113 non-vib.

Fl.

œ J

(p)

non-vib.

Ob.

˙™

& #˙ ™

Ϫ

mf

p

œ

j œ

˙™

œ

œ J

Ϫ

œ

˙™

Ϫ

j œ œ

˙™

Ϫ

j œ œ

42

molto accel. (exaggerated) ˙

œ

with normal vib. espress.

œ J

Ϫ

mp

œ J

˙

œ

˙

œ

œ

43

(q = 110) j œ

Ϫ

j #œ œ ™

Ϫ

Ϫ

œ

j #œ

˙™

˙™

with normal vib. molto espress.

> b-œ ™

œ

œ+ ™ °? æ æ Hn.

non-flz. molto espress.

flz.

∑

Œ

∑

&œ ™

Œ

>¡ sub.

œ J

˙

-F or

‰

mp

p

œ

Ϫ

œ

BJ

(p)

ru

sub. mf

œ J

pe

Bsn. ¢

? ˙™

non-vib.

sa

lo

Cl.

& ˙™

#œ ™

non-vib.

with normal vib. espress.

y

with normal vib. espress.

nl

16

∑

∑

∑

∑

∑

∑

mp

ææ & œ™ flz.

mp

œ™ ? ææ flz.

mp

Œ

° >˙ & ‹

> j #œfi

æj œæ

ææj ™ # œ bÆœ

≈>

ææ #œ

J

p

mf

op

mf

C

Vla.

B <#>œ

nœ œ ™ ææ ææ

trem. (except grace notes) S.P. >j œfi

æ朙

mf

Vc.

? Ϫ

Db. ¢

>j œfi

p

#œ æ æ

mf

trem. (except grace notes) S.P. > # œfij

œ œ ≈ ææ æ R æ mf

?

∑

∑

#ÆœJ mf

#æœ æ

p

ææ nœ œ ™ ææ

œ ææ J

mf

#œ ™ œ ææ ææ p

∑

œ™ ææ J

sub. mp

≈

œ

œ

non-trem. P.O. with normal vib. molto espress.

‰ #˙ >-

œ

#œ ™ œ ææ ææ

f

œ- œ ™ f

mf

œ J

˙

œ J

œ- œ ™

sub. mp

f

œ

œ- œ ™

Œ

‰

Œ

œ

Œ

Œ

#œ ™

non vib.

Œ

Œ

‰

p

f

SY. 4111/01

S.P.

œ

S.P.

œ

S.P.

œ

mp

p

(f)

œ

œ

˙

œ

œ J

‰

sor - ry

œ

œ

œ

œ

œ

œ J

‰

gliss gliss mf

œ

gliss gliss mf

œ

gliss gliss

p

œ

œ

∑

p

œ

#œ

∑

œ

mf

œ

gliss gliss

p

mf

˙

43

(q = 110)

sor - ry

p

mp

p

Ϫ

S.P.

mp

Œ

œ

∑

mp

Œ

œ

(f)

Œ

you?

œ

p

j œ- œ™ >

(P.O. with normal vib.) molto espress.

to

Œ

œ

(f)

>œ J

œ

p

j œ œ™ >-

non-trem. P.O. with normal vib. molto espress.

œ

Œ

œ

(f)

non-trem. P.O. with normal vib. molto espress.

sub. mp

mf

˙

24 molto accel. (exaggerated)

∑

hap - pened

œ- œ ™

mf

p

œ ææ

sub. mp

non-trem. P.O. with normal vib. molto espress.

œ œ ææ ææ

ææ œ

> j œfi

>œ

œ ææ ≈

mf

p

ææœ

>Ϫ

œ J

Sor - ry

œ

œ ææ

p

œ æ æJ

non-flz. molto espress.

∑

what

œ ææ

ææ #œ ™

> ÆœJ

trem. (except grace notes) S.P.

yr

& œ

ææ ææ œ > #œ ™

p

ig h

mf

vin?

y

° <#>œ ™ &

Vln. 2

ææ œææ™ œ

trem. (except grace notes) S.P.

-

sub. mp

Œ

∑

Œ

R

∑

tb

Vln. 1

Kel

?

#œ ™

#œ J

Kris

Kris ¢

senza sord.

∑

Œ

>Ϫ

Œ

iB

‰

f

Snaut

∑

rd

Tbn. ¢

∑

Œ

er lin

‰

ic o

Tpt.

non-flz. molto espress.

senza sord.

Ϫ

œ J

Bsn. ¢

∑

<#> ˙ ™

Ϫ

œ J

?

œ >sub.

mf

œ J

‰

j œ

‰

Œ

œ

bœ

mf

Œ

Œ

Œ

∑

Œ

∑

b >˙ ™ mf

˙™

œ

˙™

œ

˙™

œ

˙™

œ

Œ

Œ

Œ

Œ

∑

Œ

Œ

Œ

op ?

C

Gi

˙

˙

gliss

p

#˙

˙

˙™

Œ

mp

p

p

Db. ¢

∑

Œ

∑

Œ

∑

44

∑

43

∑

rd ˙

gliss

gliss

p

Vc.

˙

-

y

is

yr

&

?

Œ

∑

œ

ig h

° Vln. 1 &

Vla.

∑

Ϫ

>œ J

?

B

Œ

iB

34 Aq =tempo 60

Where

Vln. 2

œ >-

mp

° & ‹

Kris ¢

molto espress.

?

ic o

Snaut

œ >mp

R

Tbn. ¢

molto espress.

tb

Tpt.

>mp

pe

&

Œ

?œ

-F or

Œ

er lin

Œ

molto espress.

ru

mf

° Hn. &

y

p

B

∑

nl

&

Cl.

œ

17

mf

˙™

&

Ob.

˙

˙™

43

lo

120

44

sa

° Fl. &

43

A tempo q = 60

˙

Œ

mp

˙

#˙ mp

-

-

-

-

ri

P.O. non-vib.

˙™

Œ

P.O. non-vib.

˙™

-

an?

with normal vib.

œ >-

sub. mf

with normal vib.

˙

b œ>

ë mf

P.O. non-vib.

#˙ ™

sub. mf

molto espress.

Ϫ

p

molto espress. with normal vib.

Ϫ

ë mf b >œ

p

p

˙™

p

Ϫ

Ϫ

ë mf

˙™

molto espress.

molto espress. with normal vib.

˙™

P.O. non-vib.

œ J

-

∑

Œ

ë mf

p

p

Œ

b˙

˙

p

mp

gliss

ba

œ

p

j œ

œ

f

(f)

j bœ

œ

j #œ

œ

œ J

œ

f

f

f

Œ

Œ

mf

SY. 4111/01

Œ

Œ

œ >

(f)

œ >

(f)

b>œ (f)

pizz.

‰

#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..

sub. mf

sub. mf

&

sub. mf

sub. mf

sub. mf

œœœœœœœœœœœœœœœœœœœœœœœœ >.. .. .. .. .. .. >.. .. .. .. .. .. >.. .. .. .. .. .. >.. .. .. .. .. ..

sub. mf

sub. mf

sub. mf

sub. mf

# œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. n œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. > > > > > > sub. mf

Bsn. ¢

sub. mf

?

sub. mf

sub. mf

sub. mf

sub. mf

sub. mf

#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.. œ.. > > > > > > sub. sub. sub. sub. sub. sub. mf

mf

°? Hn.

mf

mf

mf

∑

mf

sub. mf

sub. mf

œ œœœœœœœ œœ œ œœ œœœœœœ œ œœ œ œ >.. .. .. .. .. .. >.. .. .. .. .. .. >.. .. .. .. .. .. >.. .. .. .. .. ..

sub. mf

sub. mf

sub. mf

sub. mf

œ œœœœœœœ œœ œ œœ œœœœœœ œ œœ œ œ >.. .. .. .. .. .. >.. .. .. .. .. .. >.. .. .. .. .. .. >.. .. .. .. .. ..

sub. mf

sub. mf

sub. mf

sub. mf

#œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. > > > > sub. sub. sub. sub. mf

Œ

∑

sub. mf

y

œ œ œ œœœœ œ œ œ œ œœ œ œ œœœœ œ œ œ œ œ >.. .. .. .. .. .. .. .. .. .. .. .. >.. .. .. .. .. .. .. .. .. .. .. ..

sub. mf

Cl.

sub. mf

nl

sub. mf

lo

&

Ob.

>.. .. .. .. .. .. .. .. .. .. .. .. >.. .. .. .. .. .. .. .. .. .. .. .. >.. .. .. .. .. .. >.. .. .. .. .. .. >.. .. .. .. .. .. >.. .. .. .. .. .. 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 œ

44

sa

Fl.

43

mf

mf

ru

° &

124

same note tremolo

&

˙

pe

18

mf

˙

f

Gi

-

ba

-

-

?

-

ri

is

bœ>

œ J

‰

dead,

>œ

œ

killed

pp

¡+¡+ #˙

Harmon Mute

pp

bœ him

∑

B

?

?

n˙ ™

˙™ (mf)

˙™

˙™

˙™

p

mf

(mf)

˙™

#˙ ™ mf

˙™

(mf)

<b>˙ ™

#˙ ™

˙™

p

mf

(mf)

ig h

&

non-vib.

non-vib.

p

non-vib.

˙o

arco

∑

∑

SY. 4111/01

bœ -

self

∑

mf

yr Db. ¢

an

-

œ

¡+¡+ ˙

Harmon Mute

R <#>˙ ™

non-vib.

op C Vc.

œ

∑

p

Vla.

bœ

y

° &

Vln. 2

œ J

iB

œ

j bœ

rd

43

Œ

∑

er lin

∑

ic o

° & ‹

Kris ¢

Vln. 1

?

Œ

∑

tb

Tbn. ¢

Snaut

∑

&

Tpt.

-F or

pp

&

Œ

p

œ J

‰

44

?

˙

œ J

bœ ˙ J

˙™

mp

mf

pp

j bœ ˙

‰

Œ

Ó

¡ b>˙

mp

mf

pp

mp

pp

‰

Œ

n œ- œ™ > sub.

œ

>- - ™ œ œ

œ

pp

∑

b¡˙ ™

B

pp

43

Œ

w

mp

+ w

∑

ë mf

∑

ë mf

∑

p

w

p

42

∑

#˙ ™ >

mp

#˙

?

n˙

p

44

∑

∑

rd

∑

n-œ

sub. mf

sub. sfz p

ë mf

˙™

>œ #œ #œ œ

w

Œ

sfz p

ëf

pp

œ mp

sub. sfz

ëf

b˙ ™

Œ

19

y

pp

bœ ™

ic o

Ó

Œ

j œ

ææ œ™

trem.

ig h j œ

yr

ææ bœ ™

trem.

p

j <#>œ

ææ #œ ™

<#>œ J

ææ #œ ™

b œ bœ J

bœ b œ ™ J

<b> œ J

˙

I

wan - ted

to speak

to

him

with normal vib. non-trem.

n>œ ™ ææ

bœ J

ëf

ææ œ™ >

j #œ

ëf

p

˙™

w

(p)

with normal vib.

b œ bœ ™ J

‰ p

Ϫ

mf

˙™

<b> œ J sub. mf

<#>#œœ J

w w

(p)

p

pp

‰

Œ

(p)

˙˙ ™™

with normal vib. non-trem.

ëf

œo J

(p)

with normal vib. non-trem.

#>œ ™ ææ

trem.

˙™

w

p

ëf

p

˙o

ë mf

bœ

ææ œ™ >

trem.

p

Db. ¢&

mf

Œ

∑

op C Vc.

mp

‰

dim. early

44

&

?

b˙ ™

er lin

œ J

p

Vla.

j bœ ˙

dim. early

ë mf

?

B

bœ ™

sub. sfz

n>œ- ≈ ‰

ëf

dim. early

<#> ˙

° Vln. 1 &

Vln. 2

œ

R

Kris ¢

pp

bœ ™

pp

ë mf

?

° & ‹

œ

˙

&

mf

mf

˙

ë mf

mp

mf

mf

tb

Snaut

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 > > > > sub. sub. sub. sub.

° &

Tbn. ¢

mf

mf

b˙ ™

œ ˙ J

≈ ‰

44

nl

mf

mf

Tpt.

Ϫ

ëf

pp

mf

œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. œ.. > > > > sub. sub. sub. sub. mf

Hn.

mf

mf

>-œ

lo

mf

mp

42

-F or

&

Bsn. ¢

sub. mf

˙™

sa

mf

Cl.

sub. mf

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 > > > > sub. sub. sub. sub.

&

Ob.

sub. mf

43

pe

sub. mf

Ϫ

b >œ ˙ J

ru

> > > > #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

y

Fl.

44

iB

° &

127

∑

?

#˙ ™

SY. 4111/01

∑

What's

>œ- œ™ ëf

ëf

ëf

ëf

with normal vib.

(p)

dim. early

Œ

œ

ëf

œ

sub. sfz p

>-œ œ™ -

œ

sub. sfz p

>-œ œ™ -

#œ #œ œ