UBC Theses and Dissertations

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UBC Theses and Dissertations

Compositions Marshall, Daniel David 2013

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COMPOSITIONS by DANIEL!DAVID!MARSHALL  B.Mus.,!University!of!Calgary,!2011  A!THESIS!SUBMITTED!IN!PARTIAL!FULFILLMENT!OF THE!REQUIREMENTS!FOR!THE!DEGREE!OF MASTER!OF!MUSIC in THE!FACULTY!OF!GRADUATE!STUDIES (Composition)  THE!UNIVERSITY!OF!BRITISH!COLUMBIA (Vancouver) April!2013  ©!Daniel!David!Marshall,!2013  ABSTRACT  The!thesis!for!the!Master!of!Music!degree!in!Composition!consists!of!original!works! composed!and!performed!during!graduate!study.!!The!compositions!were!performed!on! February!3,!2012"!June!8,!2012"!November!3,!2012"!November!19,!2012"!November!26,!2012"! November!30,!2012"!March!28,!2013,!and!April!8,!2013.!!The!combined!duration!is! approximately!70!minutes.  ii  TABLE!OF!CONTENTS  Abstract.................................................................................................................ii Table!of!Contents..................................................................................................iii 1.!Le!Rêve!de!Moïse.............................................................................................1 2.!Visions!d'une!âme!seule.................................................................................23 3.!Moïse!sauvé!des!eaux....................................................................................26 4.!Chroma...........................................................................................................33 5.!Night"time!Symphony.....................................................................................63 6.!The!rain!is!sharpening!into!icicles...................................................................72 7.!tangled!wing....................................................................................................77 8.!water"visions...................................................................................................83 9.!Nitobe:!landscape!in!four!tableaux.................................................................99 10.!Moods:!Indigo!to!Carmine...........................................................................113 11.!Electronic!Suite...........................................................................................125  iii  44  Le Rêve de Moïse  C Score With freedom  &  Flute  ?  Piano  ? X  Fl  Vln  Vc  Pno  &  bX X  & ? ? ? nX # X# X Ø  Ï ÏX X X X X X X X X X X XXX X  (# ) X  q  #E . E. fp  ?  Cello  ƒ  X #X  X  ,  Daniel Marshall  X a (# ) j  X a X. X. X. X. E XJ X X X X E Ï Ï£ Ï  ord.  dim e rit  X X X XX X X X X X X X E X X X X X X X X X. X. X. X. E ƒ  dim e rit  9"  # X n ww w  X #X  X X  X X X X XXXX  X. X. X. X.  h  sul pont.  Ï j #X X a X X X. X fp Sz wwww  X X  sul pont.  X. Sz  w Ø X X X X flX . X  ( b) X  X. X. X. X. E  dim e rit  #X X ƒ  &  Violin  XJ X X X X X . X XJ X X X Xfl X . X a a  ƒ  &  Clarinet  2  X  q = ca. 72  Ï£ Ï X X X X  Ø  E ,  X X X X X X X X X X X X. X. X. X. E XJ a X X X X X X X X X X X X X X E £ [  #j X  #X  dim e rit  ord.  X X  X X  sul pont.  ord.  X X  X X X X E X. X. X. X. E  dim e rit  dim e rit  f  X #X  9"  #X  #j X  © Daniel Marshall, 2011  1  U X P  3 sul G  Vln  &  (port.)  X Ñ X b X nX  #UX P  (port.)  # X áX # X Ü X  sul G  Vc  Pno  ? ? ? Ø  X #X  j  #X # X  #X #X  X bX X X  EEEE  XJ  #X #X  bX X  X X  b nEEEE...  X #X X  4  Fl  Vln  Vc  Pno  &  U X Ñ X bX  & ? ? bX bX ? X X X X #X #X  Ø  # X á X #UX  XJ  X X  poco a poco cresc...  X. Sz  X. Sz  X bX X bX X X bX X #X #X #X  nnXXXX  bX  f  U D  1-3" *  b EEEE  X X. ,  poco a poco accel  *  U D  1-3"  poco a poco accel  X.  bj X XX .  #X#X  b EEEE  h b X Xb X b X X X # X n XXXX bjX XXX # X  X bX #X #X n  *The length of the fermatas within the brackets should vary with each occorence within the specified time range. The average legths of these fermatas should gradually decrease in the time range with the indication 'poco a poco accel.'  2  Fl  Cl  b X X X X X . , X X X X X UX & £ bUX &  Vln  &  Vc  ?  Pno  p  ' £ bX ? # X # X X X X b nXXXX XXXX XXXX XXXX XXXX XXXX b XXXX XXXX XXXX  Vln  &  Vc  UE .  XJ. a SZ  ¥  b X b X X X XXX X X X X XX X a J [ ƒ p  molto cresc  &  Vln  D  ?  Cl  Cl  5  bX  &  bX  X  f  E  XJ. Sz  bX  ¥  XJ X  F  X  bX  X. X. X. X.  XJ  b X . XJ b X X X X X X X X X X X XX D [ ƒ p 6  O ïX X  bX  f  & w X ?  X  (chromatic cluster)  E  b bOX  XJ. ¥ Sz  bX  F  X  b XJ  bX  X  b X. X. X. X. XJ . ¥ EE  OE  7  b E^ .  ƒ  , ( b) >X  >X  >X  D Á  D Á 3  (similar tempo as, but not in coordination with, the clarinet)  bX .  8  Fl  Cl  Fl  & &  & &  Vln  &  Fl  Cl  Pno  bX X X X X X X X p  bX  Cl  Vc  D  X  X  E  E  f  XJ. ¥ Sz OX p  # OX ? p  &  bX  f  & #X  XJ X X XbX X  X  #X  X. , bX X J #X J  E  f  Sz ƒ  bX X XJ. ¥ XJ Sz F  F  bX  X  X. X. X. X. XJ  bX  X # X X # X. J #X #X  X  ƒ  X.  9  bX XX  , X X X b X nXJ  b X X X # X nX # X X  XJ , nX XbX X X# X X X bX X nX bX  D  X. X. X. X. XJ D ƒ  #X  UX  UX  w  X X XXXXX X X X X X X [ p  XJ X X X X X X X X X X X X X X # X bX [ p f  # OE  bXbX X bX  X #X  X  ( b) XJ  bX .  XJ X X X XXXX X X X X X X [ p  ƒ  XJ X X X X X X X X X X X X X X nX J #X [ p f D OE Á  X. J  coordinated (q = ca. 72)  w  D  Á  Sz. X J Sz  ¥ ¥  10  #E  (# ) X  X  E  ' #E  (# ) X  X  E  '  ?  &  ?  &  #X . #XX .. ƒ  . b XXX ..  4  Fl  &  Cl  &  Pno  w  11  w  bX X X X #X #XXJ XX XX XX XX & £ £ X j & b XXX XXX # XXX XXX b XX  XX XX XX XX XX b X . X X X X X #XX .. [ [ XXX XXX XXX XXX XXX b XX .. X.  # X uncoordinated #X X X X X X #X X . X X X X . X . , J a £ #X X X X X X #X X . X X X X . X . , a £ £ # XX # XX X X bX X X X X X X XXX X X # X X D bX b XX  poco a poco cresc...  X  XX XX b XX XX X  D  XX X  ?  q = 60 (alla misura) 12  Fl  &  Cl  &  Vln  c  D  D  D  c  D  D  D  c #w ï  sul pont.  &  E.  #w  sul pont.  Vc  Pno  B  ?  #j XX XX X & b XJ ?  j X  XX XXXX bj X  XX XX # XX XXXX XXXX XXXX Xj  j XX .. XXXX. ... J  b Xj  c  k XX XXXX c K j X  ï  ' c ^ #w #w  ¥  E. P  ¥  P D  X  #X #X  X  #X X  X #X  D  D  D  D  5  15  ¥  Fl  &  Cl  & ¥  Vln  & bX  Vc  Pno  B  X  & ? ¥  XX ..  E ï  E. ï E.  ï  D  #E .  Pno  ?  E  D  D  D  D  D  D  D  D  D  D  X  X  bE  w  w p  w  ?  bE  #X p X  X  p  X  bX X  X  X  #X  X  #X  D D  E  bX  P  dolce  X X X £  X X bX  w  ï  a  XJ  Ó  w  & D  &  XX ..  X  D  p bE bX E  Cl  ?  X  D  E  & D  Vc  XX..  E  E  Fl  &  XE .  E.  19  Vln  X ..  X  X  £ XXX  X  w p  D  D  D  D  D D 6  22  &  Fl  bX X bX X  &  Cl  E ¥  &  Pno  D  bX  w  ?  Vc  bw E  &  Vln  *1-4" , .bX X . UX P p  E  nE  B  Ó  X X bX  X  XX  UX  X  #E  D  D  D  D  c bE .  XJ a  &  Cl  &  c  &  c E.  XJ a  . c E  XJ a  Pno  B Ó  X  3 bX &4 3 ?4  X X X X X XXX X X h  E  Ó bX  XX  X X X X E  #w  Restrained and expressionless  Fl  Vc  X  *1-4"  E  26  Vln  b X. X . P p  bE  *1-4" X UX  w  D  ?  X  E  ,  U  *1-4"  #X  bE .  w  c c  # # ww  *Length of fermata should vary ad lib. with each repetition  j X  a  X P  non vib.  X  X  E.  X  #X  #E .  bX  X  E.  #E  non vib.  bX  X  X #X P sul tasto X X  X  P  X  sul tasto  P  #X  X  bX  D  ¥  D  ¥  bE .  bE . Á #E . 7  30  Fl  & X  X  #E  Cl  &  bX  X  Vln  Vc  Pno  & B & ?  X  Cl  Vln  Vc  Pno  #X  #X  E  #X  #X  nX  X  w X #X  bX  bX  X  X  E  X  X  E.  ¥  15 ? 16 j X. X  X  bX  ¥  E  #X  X  bX  bX . 15 J X & 16 XJ . b X 15 B 16 #X . X 15 J & 16  E  X  bX  #X  #X  bX  X  X  nE  bE  X  15 & 16 j X.  #X  X  X  X  #X  bX  #X  15 X . & 16 J # X  #E  #X  X  w  X  X X  34  Fl  X  w  #E .  c w w  X  bX  X  c w  X  #X  X  X  w  X  X  #X  #X  c c  w  bX  X  X X  bX  X  X  #X  X  bX  X  #X  w #E  w  X  X  D  X  c  X  D  X  c  bX  D D  X  p  X  E.  #X  #E .  bX  bE .  w D D 8  17 & 16 X  38  Fl  Cl  Vln  Vc  Pno  X  k X #E  X  bX  k X X  17 X & 16  #X  XK X  X B 17 16  X  17 & 16  c X c  X X  #X bX  c  Ï X. bjX X c £ Sz f  17 & 16  XK E D  17 ? 16  D  (con pedale)  #X  nX  XJ .  Cl  15 & 16 # X  X  X  #j X.  X  X  bX . J  15ord. # X X X X X X X X X X X ? 16 X fp h E. 15 16 &  XJ .  bX 15 16 &  15 ? 16  #X  E  X  bE  E.  XJ . j X.  c bX c  c  Ï  c  j X  X £  ÏX  X bX X ?@ [  X #X  #X #X §  X  #E . X  X  #X  X  X  #X  X  X  X  bX  X  c X c  X ÓE .  c ¥  15 # X & 16  Pno  ÏX  c ¥  Fl  Vc  #E  (ad lib - in approximate coordination)  40  Vln  X  a #ÏX £ f  Ï  j X  X #X X X X X X X X . [ fp [ D D 9  Fl  17 X & 16  Cl  17 & 16 X  42  Vln  Vc  Pno  bX 17 & 16 X 17 16 ?  #X  Xk X  X  k #X X bX  X  X  XK E  p  X  17 ? 16 & c X.  Cl  &c  Vln  Vc  Pno  c  18 16  w w  ?  . &c ¥ ?  c ¥.  X 18 16  Xk# X  XkX  bX  k X X  k XX  X  D D  c  D  XK X XK X XK  XK X X  D  18 16  D  46  Xj E  #j X E #X . .X bXj X Xj X X X X X X X X X X E J a J &c Sz f sul pont. c X  X  X  Ï Ï Ï h . X X X X X X XXX X X X 18 c J a ¥ 16 bX X X X X # X Sz f 18 c D 16  45  Fl  18 X 16  c  XK E  17 & 16  c w  ord.  Xj# X X X  bX J  E  j #X E  bX  XX  bX b E X fp  Ï Ï Ï Ï .X # X X # X X bX X X E J X X X X X Sz f £  j X. a ( b) X X X XXX E fp f Sz  X bX  X X X  X X ( b) X  # X X# X X X nX X bX X bX nX X X f X  XJ  X X XXX X bX  bX X  10  47  Fl  &  Cl  &  Vln  Vc  Pno  ÏÎ U bX & fp ÏÎ U bX X X X X X X ? fp  Fl  &  Cl  &  Vln  &  Vc  Pno  ?  X.  b XJ X X # X X nX £  p  D  D  D  D  D  E.  XJ a SZ XJ  E.  SZ  ? dolce espressivo (con vibrato)  D  alla misura (q = 60)  &  50  D  bÏE ' bÏE  '  D  ÏX  ÏX  ÏX  D  D  D  D  #w F  ÏX  D  p  bÏE ï EÏ  D  Ø ¥  D  Ow  Ow  Ow  Ow  Ow  Ow  Ow  &  D  ?  D  D D  Á EE E &  XX X  XX X  XX # # XX X #X  XX b b XX XX X bX X £ XX XX XX X X X £  OE  ï  Ow  Ó b bb EEE  bOE  X bX X .  p  Xj  D  b b EE bE  b EE bE  nnnEEE  # EE E 11  X X # X X b X nX 3 & 4 #X £  54  Fl  Cl  3 &4  Vln  3 &4  Vc  Pno  3 ?4 3 &4  Cl  Vln  Vc  Pno  ƒ 6 X 4 ƒ  Ow  64 ¥ .  Ow Ó X XX  X  Efl  X X XXX XXX  X  a X  £  X  X #X X X  ƒ £  [  X #X X X X X X a 64 ¥ bX X X X ƒ ¶ > (loco) # X. 64 #XXJ a ¥ ¥ ƒ 64 b j XX a ¥ ¥ X. >  nEEE  XX X  3 &4  6 4  b Xfl.  (con vibrato)  D  b EE E  56  Fl  X  &c  D  ¥  XX  XJ. a Sz  § X X X b X XJ a X X X X X #X X X X X  D. # XJ  X  X  £  X  163 nXJ  X  X  a  ¥  D  D  163 D  a  ¥  D  D  3 16 D  Bc  p # >XX. X &c J > XX. cbX ? J  D X  ¥ #X  p  # Xj X  E.  £ X X  c c c @  163 Xj @  bX  &c  X.  B  ?  X  #E .  c  D.  X.  X  c  X X X X  &c X p  X  bX  p  XX XXX X X  c  163 nXj @ X 163 J  @  12  59  b X X X X X X XX  (ad lib.)  c  X bX  . . XJ nX X X X b X X XJ X X  Fl  &  Cl  X X X XX X X # X # X X X X X X X X c bX J bX & ƒ  ƒ  §  (ad lib.)  Vln  Vc  Pno  &c D  bX  bX  X#X X #X  bX bX bX b X bX bX X #X X X X X J X #X X bX  # XJ  X X# X  Bc D ja & c # # XXX ¥ >. b>XX. a ? c XJ ¥  ƒ  D  X  X bX X X X X ,  X b X nX X #X bX  D  ¥  XX bX #X X X  XX  D  X XX a D  &  Cl  &  Vln  &  Vc  Pno  ?  X  XX X #X X X  D  D  D  D  D  ¥  X  X  bX X X X  X  XX X  X #X  XX  a  #X X X X D D  # # Ow ï  ¥ X  XX  XX X a ?  # >XX. XJ a ¥ jX a ¥ b XX. >  XX  X XX a ¥  D  D  ? D &  ƒ  D  62  Fl  X X X X XX,  ¥  D  ïX  Ow D  ¥  D D  D  D  D  XJ a P pizz.  13  65  Fl  &  Cl  &  Vln  &  Vc  Pno  D E. Ow  Vln  Vc  Pno  ï  Xj a ¥ F  w ï Ow  D  Ow  X J a ¥  OE  D  ?  D  D  D  D  D  D  70  Cl  Á  ¥  w p  ?  ?  Fl  D  &  bE .  X D ¥ a # XJ ï  & D w  Ó #E .  & ¥ ¥X p ?  D  &  D  D  D  OX a ¥ J  D  D Ó #E  D D  F D  arco  E  ï E D  (senza pedale)  b XJ. a ¥ & f  ?  D  D  D  X  D  XJ. a ¥D Sz E D Á  #E  w D  D E  p  f  ¥ D  X  X. ¥ Ja Á f  # X X. a ¥ p Sz  E  ord.  sul pont.  D bX  X  D  w D  D  bO ¥ X p  ¥  #E ï  D  D  Á  OX pizz. . J a # XJ a D ï f D D  ¥  #E fp  XJ. a ¥ D f  D  Ow ï  arco  D  ¥  #X  X  X  D con pedale  14  75  Fl  &  Cl  & & D  Vc  O ? w bX  Pno  X  bE  ? D  D  E  E  #E fp  E  E  Ow  OE  E  Ow  OE  E  #X  X E.  3 ? 4 bX X X X X X X 81  Pno  ?c  P  D  ¥ bX .  § c bX X X X X X X ? X X X X X X  XJ. a Sz . XJ a Sz  Piu mosso  bX X  bX X X  X  X X b X X b X X nX # X X  X  nX  D D  a  ¥  D  Xj. a Sz  ¥  D  P § XXXXXXXXXXXXX both hands Ø  X bX  bX  X #X  X  ?  ¥  q = ca. 72-80  ¥  j X. Sz  E.  bX X  bX X  3 ?4  ¥  bX X  D  79  Pno  fp  D  # # OE  E  E  D  Sz  D  Vln  &  X. Ja  E.  b XX  XX  X  X  ƒ  X #X X bX X bX X X X  X  X  £ [ XX XX XX XX XX XX XX XX [ £ X X X X X #X X bX  X X b Xn X b X X & X b X X b X X nX X b X X # X X X X bX X bX X X &  15  3 bX &4 X  X X  X  X  83  Pno  3 &4 85  &  Pno  & 87  Pno  &  ƒ  X #X X X  Pno  Pno  X  &c  bX  & &  X  #X  bX  X #X  bX  ƒ  X #X X X  X X  #X  £  #X X  bX  #X  X #X  X  X  #X  X bX X X  X  X XJ  X  X  #X X XX  bX  nX X.  X X  X X  X bX  X X  #X X  #X  #X  X X  X  X #X  X X bX X X #X  #X ¥  X  X  #X X  #X  XX XXX XXX XXX XXX XXX XXX XXX XXX  nX  #X  #X  X  nX  #X  X  nX  nX #X  X  X  X X  X X  nX  #X  #X X X  #X  X #X  X  X  nX  #X  D  24 X 2 4  #X  XJ. a X X Sz £ f X XXXXX XX  24 X  nX  X  X nX  X  X  X  X  nX  XX  X XXXXX  X  24  X X #X #X £ X #X  X.  nX  XX nXX XX XX XX nXX XX XX b XX  X 2 X 4  X X XX £  X.  # X nX  #X  #X  X  X  X  #X  # X nX  X X.  bX  X X bX X X  nX X  X.  &c &  X  X X X  &c  91  Cl  §  #X X XX  X  X  #X  & Cl  £ [ X bX X X X X X X X X c XX XX # XX X X nXX X X X X X X X X fp £ £ [ £ c X X X b XX XX XX X #X X X X #X X #X  X nX  X  nX #X  #X  #X X X X #X 16  93  Fl  &c D  Cl  &c  X.  XJ  &c X ƒ  sul G  Vln  Vc  Pno  Fl  &  Cl  &  Vln  Vc  Pno  X #X X X  & &  X  X  #X  bX  XJ.  X  £  & X ?  ƒ #X X X XX  #X X  Sz X X  X  #X  X X bX  X #X  £  X  bX  X  #X  X  X  X  X #X  X  bX  £ E X  X # X nX  X  X X XXX X X £ £ . X XJ a X Sz £ f  X #X #X  #X  f ¥  X  X  X X bX X X  ¥  X X  X #X #X £ E  a  XJ  #X  b XJ  X bX  X  X  X  nX  X  w  X.  X X  #X  X X XX £  sul G  &c  95  X  ƒ  X  #E  ?c D &c  X  # XJ  a  ¥  X  §  #X X X X  #X  X X 34  X  #X  #X  X nX  X #X X nX nX  X.  X.  X  E  34  X  34  XX  XJ.  X  a  nX  #X  ¥  D  34  X 3 4  X  X XXXXX  X  34  X  X  X  X  ¥ £  # XJ X  ¥  #X X nX X X  X #X nX # X  ?  X  #X  X  #X X X ?  X bX  17  c  Fl  &  Cl  &c  Vln  Vc  Pno  * ? c EE .. fp ?c  ?c  Cl  Vln  Vc  Pno  & &  X X X X X X. a J  X  w*  # X* c & X fp  99  Fl  X*  Sz  X. X X X X X X X X X X X X X X XX X  Sz ƒ  f  D  w  a  a  b XJ  #X X  sul pont.  a  j X X. Sz  § j b X. X XXXXXXXXXXXX > X # X X nX X X X X X X , a ¥  X J  X. a XJ Sz ^ X X  X X XJ  ord.  X  ,  X a  Xj  Xj # X  X X X  X  X  X X XXX X X X X X X X X X X X X [ £  £ ¶ Ï Ï Ï X X X X #X X X #X X X X X X nX ƒ D  sul pont.  X X  X X  X X  ord.  X bX X X X X X X X X X X X X X X X X X X X X X X  h  #X X X X & X X X X £ fp ¶ X X #X X #X X ? X nX  X X X Xfl X .  24  D  24  D  2 4  D  24  D  24 b X ? >X ƒ 2 4 ? X bX X X X X X X X X X X X X X X X X X X X X X X >X D  *Dotted barlines indicate only approximate coordination with piano, while solid barlines indicate exact coordination with piano.  X >X >X  £ X X X >X >X >X £ X #X >X > > 18  101  Fl  &  Cl  &  Vln  c  D  c bX ƒ  bE . c & E. fp  Vc  Pno  #X ?c X  Fl  Cl  & &  Vln  &  Vc  ?  Pno  E XJ. Sz  X  D  f  34 a  D X X X X XX X #X X X X  bX X X X X X X X X X X  #X X X X X J  a  X X  ƒ  X  X  XX  E  34  D  X. XJ Sz  3 4  D  34  D  # X X # X X XX X XX X X X X X X  X X X X X XX X X X X X XX  XX  D  X X X X nXJ a E E fp  X  X X X X X XXX X XXX XX X X X X X X  XXXXXXXXXXXXXX X  X  X X X X XXX X X X X X XXX X XX £  X bX  § XXXXXXXXXXXX  #E  bX  X  a XJ X X X X X X X X X # X b E [ fp X. bÏX ÏX ÏX Ï X Ï X a XJ X X X Xj X X Sz ƒ £ Ï Ï Ï sul pont. ord. X X X X X XXXX #X X X X X X X X XXXX X X jX  XXX a ¥ ? c bj >. a ¥ ? c # XjX >. 103  X J  a  # >XX >XX >XX >XX >XX >XX >XX >XX >XX ? £ § § § ƒ £ 3 b X X X X X X X X b X X X n X X X X X bX nX X X X X# X ? X X X X X X X X X bX X X X X 4 >X >X >X # >X > > > > > #X X X X X X X X Xb X  3 4  19  Fl  Cl  Vln  Vc  Pno  X X.  XJ X X X X X .  XJ X X X X X X X X X X X X X X b X X X X X X X X X X X X X X 6 X X a @ 4 a bX £ &c £ [ § fp Sz ƒ ¡º XJ a X X X 6 b X . X X X bX X X X X X hX X X XX XX X X X X X X X X X c bE 4 X & fp Sz [ ƒ h Ï Ï Ï sul pont. ord. . #X X X X X X X X X X X 64 # XX a jX X X X X X X X X X X X X X X X X X XXXXX c X X X X X X X X X X X J & X X X X fp Sz ƒ § £ § Ï Ï£ Ï Ï sul pont. ord. ¶ Ï Ï Ï . j # E X 6 # X X X X X X X X X X X a 4 j ? c E. X. XX X X X X X j X X X X XX X X fp ƒ Sz £ >X. X X#X 6 bX nX # X #X X # X X a X c X ¥ 4 ? J f § a X 64 b X XX X X X b X b X X X X nX ( b) X X X X X # X # X X X X nX X X X X # X ? c # # Xj. X ¥ X X X X X X X #X #X > X X X X*X( UX ) X 2 bX &4 ¶ *(U ) # X X X 24 # X X & £ U *( ) 24 # EE & U ( ) 2* # E ?4 E  Cl  Vln  Vc  Pno  >X 2 #X ?4 ƒ 2 > ? 4 #X  X X X X XXXX X X X ( UX ) 24 a c [ # XJ . X X X X X X X X h X X X X 2 X (#UE ) c @ X X 4X § Ï X Ï X Ï nX X . X . X X X X 2 (#UE ) X . a K c Xj X X X 4 X X X X Sz U £ # XÏ XÏ XÏ X . ( X) . X # X X X X X X j 2 Xj J a c # XX a 4 £ [ Sz > . bXX £ 2 c # XJ # X X X X X X 4 X # X X X X X X XX X X X nX X# X b X X # X > > >> > f £ ƒ § >. £ 24 c XJ bX X X >X # >X >X >X > X bX X X #X X X X X X X XJ  108  Fl  X  >X >X >X >X >X >X >X >X X X X XXX XX [ >X >X >X >X >X >X # >X >X [  Xj X  X  *Bracketed fermatas - hold if neccesary until piano gives cue signalling next measure  20  111  c # XJ  Fl  &  Cl  &c  Vln  &c  Vc  Pno  # X nX X  #X .  b X X X X X X X X X X X X( b) X X X X # X bX X X X X bX  X XXXX X [ fp Xj X. Sz  X X X X #XX ?c  § c ? bX X X X X X X  Fl  2 &4  Cl  2 &4  Vln  2 &4  Vc  2 ?4 2 ?4 2 ?4  X. a  a  Sz  X X  ƒ  ÏX X XX  ÏX ÏX X X £  sul pont.  bX X  XX  ?c f  113  Pno  a  bX X X X  b XX X X X X X X X X X X X ¶ § ¶ , bX X X X X X XXX X XX X X X X X XXXXX X X X £ [ § [ ¡º XX # XX XX XX XX XX X X X X X X X XXX ¡¡ ¡º ¶ ord. X X X X# X X X X XXXXXX XX X X X X X X X X X X X X X XX XX X XX X XXX [ X #X X #X X X XJ  a  X  nX # X X X X X X X X # X X X X X X nX X # X X # X X b X X # X# X  bX  X  X X X X X bX X X X X( U # X E) c bX X X X ¶ U X bX U X bX X X X X X( ) , (E) X X X E c X § [ U ( ) ( U) #ÏXJ a ÏXX X Xj c j #X . D X . Sz § [ U #(EUE ) X X X X X (EE ) c X #X X X X X # >XX >XX >XX X X X X £ c & # XX XX XX XX X b X X X X X b X nX X nX # X £ X § > > > > ƒ f § ƒ > > > f >X >X >X X > X X X bX nX X X c #X X #X X £ £ XJ  U ( ) a #X  21  115  a  Fl  &  Cl  X & J  Vln  & D  Vc  Pno  ?X X  #X  #X X bX X  b Xj.  bX X X  a  #X  & Xv # Xv ƒ X^ # X^ ?  X. Sz  ¥ X X b X Xj  .  ¥  a  D  U D  D  U D  E p  U E U D  D  X X XXX XXX XXXXXXXXXXXXXXXXXX XXX XXX XXX XXX XXX XXXXXX XXXXXXXXX XXXXXX XXX v v X^ X^ XXX X# XX XXXXXXXXXXXXXXXXXXXXX #XXX XXX XXX nXX #XX X # X X X # X X # X  X.  j X. Sz  U¥  D  U¥  D  (as fast as possible. no pedal)  b XX XXXX XX a s #X X X #X a  X  a  [ceci est la couleur de mes rêves...] -Joan Miró  22  Visions d'une âme seule for solo violin  Daniel Marshall  q = ca. 72 (not in strict tempo)  £ & X # X X X # Xj X P  & # X b X X # X nX X & X &  £  X  £  X ÑX a ¥ p  X X X . bX X  pizz.  #X ï  # Xj  ¥  X  & Xj X  X.  bj X X.  £ a ¥ X ÜX X# X X X p P  #X X  a nX # X Xj # X # Xj # X X F  £ j X ÑX  X bX . X  #X  £ bX X > > #X X >  £ X  E. fp X  áX  #X  j X. Sz  & bX .  j X bX  X bX  £  X bX  Xj # X  Xj  X X X X X X X X X X X. ï F  XE  Note: accidentals carry over to repeated notes  X  D  3"  bj X bX .  # Xj X  #X  4" £ X X X X X X X X X XX X X X P ï  £ £ £ a b X X X X X X X X X X & X b X . b X j > > > > > >X X X X X X X X X X X f F p ï F 2"  a  £ X j  X.  a  a  XX  arco  bX X P  £ a ¥ X ÑX bX X bX p P  © Daniel Marshall, 2012  23  pizz. £ arco £ a a X #X X X bX X X . X & X jX b X jX b X X bX b X X X Ñ X X X X ï p F £ £ £ X XJ Ü X X # X . b X b X X j . . nX b X X & b X jX b X X jX b X X X X b X X X b X £ fp  XJ.  &  a  Sz  . & D  #X j X  #X Xj  f  X  #X  X X bX  . XX  £ X ÑX  E  a  pizz.  bX X X Á  arco  X  ®a  pizz.  ¥  a  XXX®D  bX X X ®  X  a  X.  F  bX  ¥  arco  2" ¥ ® a a b X XX ® ¥ b X X X X X X X X bX XXX f F Á £ arco £ pizz. j a b X X. #X X X Ü X a ¥ & X # X X X # jX X # jX X b Xj D P p £ £ j a ¥ a nX # X jX # X # X bX & X # X X X # Xj X # Xj X X # X nX X Ñ X X p F P  & X X X ® bX X X ® ¥ X #X X Á F  £ £ £ . n X X X X b X X X. Ñ X b X j X X X X bX  gradually get louder and faster...  &  áX  #X  j X #X  X X bX X bX X X £ 24  more and more movement...  £ bX X X XX . X X # X . áX X X X a b X b X X #X X X X b X X XjX #X & bX X X £ £ £ £ £ getting much faster and louder... bX X bX bX X X bX X X X #X X X X X X b X X X #X X #X X bX X & X # X X b X XJ X £ £ £ £ £ >X b X X X #X  X Ü >X .  (q = ca. 102)  & & &  Xj  X  X  bj X X  £  ÑX  X  bX X  X  X  X  X X.  X. J  >E .  ƒ  SZ  w  nX  a  SZ  X. J  E  X  a tempo  Xj  ¥  Xj  ¥  ƒ  X J  X X X  Xj  £  ' X.  X. J  fp  SZ pizz.  & D &  a  bX X X Á X X X ® bX X X ® a Á arco  ®a  ¥  a  £ a ¥ bX X b X X X X X Xj P pizz.  2" £ £ & b X X # X X b X nX X X X X X X X X X P  bX .  XXX®D  pizz.  X  X  X  P a  ¥ a  bX X X ® D arco  Á X  ¥ a.  Xk Á 25  Moïse et le Monothéisme:  Moïse Sauvé des Eaux for solo piano  [Eaux placides] Tranquilly, with rubato q = 72  Ó  #E E  4 &4 D  ï  4 ? 4 EE f  &  F  sempre con pedale  X #X X X X# X X X n# XX £ £ XX # XX XX XX X X X X X nb XX £ £  EE E  #E E  4 &4 D  4  #X 34 X # # XX XX #nXX £ 34 XXX # XXX XXX b XX nX  ï EE E  4 ? 4 EE f  &  F  £ . X b XX XX XX . & X  8  £ X . b b XX X b X X b X XXX b XX .. b X b X b X &bX  X b HXX 24 b b XX b X & £ XX b XXX 2 X &4 £  XX XX X X  12  15  & &  #X X XX.. n X X bX XX XXX... # XX X  bX X X X nX X XX .  ?  b XX X X bX X bj X bX b X X & bX  XX . X  £  X  XXX. XX. X X kX X  64 D E 64  #X X X  D  (loco)  bXX  X  X #X X X  X  ï X  b X X..  X  X  XX..  44  X XX  XX. X  XX XX # X X XJ X XX XX £ £  X XX  XX .. X.  #X X X  bX  f  X # XX X  X XXX  44 X  XXXXX X  XX ..  £ X X nXJ X X X #X X £ b b nXXX XXX X X J nXX XX  b bHXXX ...  XX XX nX X XJ X b b XX XX £ b XXX XXX nXX XX J X X £  #X . X  F  f a tempo b XXX ...  ? b Xj & bX  X X X. X  ?  b X .. X ï b bb XXX ...  j ? bX &  XX # XX X nX  E  X X X  E  X X XX .  E  D  X XX  XXX X  # XX X  #X X £  D  XXX X  E  £ bX nX b XX XX X X X XX # X X X £ poco rit e cresc. £ bX b XX b XXX b b XX X b X b X b X XX b b XXX nXX b X X £  ï  XX . X  X  b X X..  [Frémissements de surface] A little less movement  > XX XX XX X X  # XX .. # XXX XXX X.  £  bX X XX  # X X #X X X X. n X 6 X X X X. 4 ï XX XX .. # b XXX 6 E X X. 4  X X XX X X £ XX XX XXX X X £  Daniel Marshall  E X  XX  XX . X  XX # X XJ XX £  j  X X X X X X X X X X X X X X X X XXXXX XX X  ¥  D  [L'éveil des vagues] With increasing agitation and movement  4 &4 ¥ F 44 ? bw b w>  18  # XX XX .. XX # X X . X X X . X XX XX .. XX  XX XX XX XX XXXX £  38 38  # >X >X .  XX. X >>  34 ¥ f 34 bE . b>E .  © Daniel Marshall, 2012  £ # X X # XX X.X. XX XX XX XXX XXX X X. X  38 >> bX X . X 38  . >X >X 26  X X X 24 a # XX XX XX XX X b b XX XX XX & X X X X # XX ? much more movement... #XXX XX 2 X bXX XX XX ?4 E b X X X E>  34  [La colère des eaux] With vigour q = 90  27  ? XXX 29  ? ?  XX  X  XX  # X # X# X # X  F  X XX  X XX  34  ? F  ?  38  ƒp  XX  #X #X #X §  ? XXX both hands Ø  X  XXXX  XXX XXX  X  fp  #X #X X X  X  X X #X X b>X b X f bX  XXX  XXX fp  §  XX  X XX  X  XX  bX  bX bX bX  bX bX  XXX  bX X X XXX  XXXX  XXXX XXXX  #X #X #X XXX  X  X XX bX X bX X XX  XXX  XXXX  X X bX  b X b X X b X b Xb X  XXX  #X #X #X XXX  X bX bX XXX  X  XXX  #X #X X #X  #X X  X X X  X X X XX  X X X  X X nX  bX X  X X X  X X X bX #X  XXX  §  bX  bX X X  X bXbX  XXX X XX  X  XXX  X X X  X X X  X X #X  >X bX X  X XX  X X X  bX bX bX  XXX XXX  bX bX bX  bX bX bX  XXXX  b Xb X X  X  #X X X X XX  #X #X X  X XX  bX X X XXX  X ? XX  XXXX  XXX  bX bX bX  36  ?  X XX  #X # X # X# X  ? #X X X X  XXXX  XXX  XXX  14 # >XX >XX.. 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X  X XXX nE p  X X..  44 44  w D  111  32  4 44  Chroma  q = 56  Conductor Piccolo  1 Flutes 2  1 Oboes 2  1  Clarinets in Bb 2  3  Bass Clarinet in Bb  Bassoon  Alto Saxophones 1,2  Tenor Saxophone  Baritone Saxophone  1 Trumpets in Bb 2  1,2 Horns in F 3,4  Tenor Trombone  Bass Trombone Euphonium  Tuba  & 4 4 & 4  Daniel Marshall  D  D  D  D  D  D  D  D  D  4 & 4 4 & 4 4 & 4  D  D  D  D  D  D  D  D  Percussion 2  D  44  ¥  Sus. cymbal (bowed) Percussion 3  44 w ï  Bass drum Percussion 4  D  P ï  X  w ¥ w  D  D  D ¥  D  D  D X  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  ¥  D  D  D  44  D  D  D  Low tam tam  D  D  D  D  D  D D  44  D  D  D  High tam tam (triangle beater)  Percussion 1  D  D  D  4 & 4 4 & 4 4 & 4 4 & 4 4 ?4 4 & 4 4 & 4 4 & 4 4 & 4 4 & 4 4 & 4 4 & 4 4 ?4 4 ?4 4 ?4 4 ?4  for wind band  D  a XJ D l.v.  D  a XJ X XK a . p P l.v.  XJ a ¥ P D w P  X  scrape, l.v.  p  D ¥  D K a.  P  D  ¥  X  sim.  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X  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  ¥  E  ¥  Prc 1  D  Prc 2  D  Prc 3  D  Prc 4  w  E  bX bX w ï w  ¥  E.  ¥  E. D  bE bE D  E D  D w  X  X  X  X  XJ a ¥ P  ¥  E E  ¥ D D D  w 35  1  13  Pic  &  1  &  Fl 2  &  1  &  Ob 2  &  1  &  Cl 2  &  3  &  B Cl  &  Bsn  ?  A Sx 1,2  &  T Sx  &  Bar Sax  &  1  &  Tpt 2  &  1,2  &  Hrn  (cue beat 2)  3,4  &  T Trb  ?  B Trb  ?  D  ¥  D  ¥  D  ¥  D  ¥  D  ¥  D  ¥  D  ¥  D  ¥  D D D  D  D  D  D  D  D  D  D  D  D D D  Euph  ? bE .  X  Tba  ? bE .  X D  Prc 1  Prc 2  Prc 3  Prc 4  bw ï w  X X.# X X X. X X X. X. X. X 8 4 f X. . . . X. X X . §X #X X X 84 f . X. X X X. X. . £ X #X X J 8 4 £ f . . . X X . X X 84 X. . # X X# X f . b X. £ # X X X X. . # X. . X. 8 X 4 f . £. . . . # X X £. X XX XX XX 84 £ f. . ..... b X . X a XJ. X X X X X 8 4 § . f X. . X. . 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D . ¥ XJ. a # X  ï  Prc 3  D  Prc 4  D  E  X X  X  X  X  X  X  X w  X  bX  bX  X  bX bX  X  bX  X  XJ a ¥ F w  ï  X  D D  X X  X X  X  X  X  X  X  X  D  E.  D  bE .  D  bE .  D  bE .  D  bE . switch to triangle beater XJ a ¥ D D P to temple blocks D D E  ¥  a  X  X  ¥ D  on the rim  P  F £  ï  w  £  a X  scrape  P . ¥  40  24  32  Pic  &  1  &  Fl 2  &  1  &  Ob 2  &  1  &  Cl 2  &  3  &  B Cl  &  Bsn  ?  A Sx 1,2  &  T Sx  &  Bar Sax  &  1  &  Tpt 2  &  1,2  &  Hrn 3,4  &  T Trb  ?  B Trb  ?  Euph  ?  Tba  ?  Prc 1  D D  Prc 3  D D  Prc 4  24  D  a XJ D (l.v.)  to xylophone  £  24  D  24  X  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  44  D  D  44  D  D  D  44  D .  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X b X b X X. £. b X. . £. b X. b X X X X. £ £ D D D D D  D  a # XJ X p D  XK a . F  D  a XXJ XX p X X a J  XXK a . F XK a. F k X a.  D  k X a. F  D  p  a b Xj X p D a bj X X p  £ XJ a j X ¥ ¥  E EE  E  D  ¥  E  . X. X # X. # X. . nX £. # X. . £. X. X X # X X. £ . £ b X. b X. X X. X. X.  # X.  D  £ X X a  a XJ ¥  D  D D  F  D  D D X  bX  bX X £ £ X X £ £ X X X X D  X bX bX  X  £ X X X X £ X X X X £ 43  44  Pic  1 Fl 2  1 Ob  & D  Cl 2  &  3  &  B Cl  &  Bsn  ?  A Sx 1,2  &  T Sx  &  Bar Sax  &  1  &  2  &  1,2  &  Hrn 3,4  &  T Trb  ?  B Trb  ?  Euph  ?  Tba  ?  D ¥ D  ¥  Prc 2  D  Prc 3  D  ¥  Prc 4  F  .. #X X  F  D  & D  Prc 1  F # X. . #X  ¥  & D  1  F # X. . #X  ¥  & D  b X. .  FX X. .  ¥  & D  &  Tpt  ¥  & D  2  X  X  ¥ ¥  D  X J XJ.  X  #X J  X  a a a a a a ¥  F  . #X #X XJ  . bX X  F  D  ¥  ¥  X  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  X X.  a a D  XK a.  D b X X.  D  X X.  ¥  D  F D  . X bX  ¥  D XK a .  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X X a bX J a X . f  XK a . f  . # X X XJ # X X. . a . # X f a X b X J a X # X. . f  XXK a . f  Xka . f  ¥  XK a . f  P X X P # XX ¥ ¥  D  ¥  D  ¥  XXK a . ¥ f XK a. ¥ f k X a. ¥ f k X a. ¥ f  D  ¥  D  ¥  D D  ¥  D  D  ¥  D  D  ¥  D  D  ¥  D  ¥  D D D  ¥  D D  D ¥  D  D  D  a  D  w  a j X D  a XJ ¥  D  w  p E  D  D  ¥  p XX p EE  D  D  D  #X p #E  ¥  w ww  #E  p  D  w  pE  D  D  Prc 4  p  ¥  D  p E bE p # EE  D  D  X  D  D  D  ¥  F  D  D  #X XJ. a a J ¥ F a XJ. ¥ ¥  D  D  Prc 3  ¥ # X.  D  D  Prc 2  # XJ E . a XJ F a a XJ E  D  D  & ¥  D  D  D  X  w  D  D  ?  D  £ ¥ XJ X X X D £ £ ¥ JX ¥ ¥ XJ X X X £ £ a XJ a X XJ ¥ X £ £  P  P  P  P  #X #X X  X P # # XX P # # XX P #X P X P  ¥  X P ¥ X # X PX . X J a X a #X  D  ¥  X X.  ¥  X  D  ¥  a X X XJ a X X .  XJ a ¥  45  52  Pic  1 Fl 2  1 Ob 2  1  &  ¥ & . X J & & ¥ &  ¥  & ¥  Cl 2  & ¥  3  & ¥  B Cl  Bsn  A Sx 1,2  & w  &  Bar Sax  &  Tpt 2  1,2 Hrn 3,4  T Trb  B Trb  Euph  Tba  Prc 1  Prc 4  X X a J  #X a J X # X. . D X # X. . a J X ¥  ¥ ¥ ¥ ¥  &  E  D D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  ¥  w  XK a . f  ¥  k XX a . f  ¥  D XK a . ¥ f k XX a . ¥ f  D D D  D  a XJ X X.  a XJ ¥  D  D  w  & EE  ¥  ¥  D D  w  Prc 2  Prc 3  E  X. X. . a J bX  D  D  w ww  w  XK a . f a. ? k X f a. ? k X f a. ? Xk f  ¥  D  D  D  D  w  ?  w  ¥  E  D  D  w  & ww  . bX X .  D  D  F  & E &  ¥  D X. bE a J  D  ? w ww &  T Sx  1  D . X. bX X . a J ¥ F X. X b X. . a a J ¥ X. X. X a J bX F. X. X bX X a X¥ F X. # X. . a J X ¥ F # X. . . a J #X X ¥ F . #X . . #X X a XJ a X  X  a XX ¥  D D X  D D D  £ X X X ¥ £ X X X ¥  a XJ X  £  XJ ¥  X  XJ a X ¥ £ £ £ a XXX X X X ¥  ¥  a XX¥  X X.  ¥  X  ¥  a XJ  a XJ X  X X. a X X a XJ X X. X  a X ¥ XJ £ £  46  56  Pic  &  1  &  Fl 2  &  1  &  Ob 2  &  1  &  Cl 2  &  3  &  B Cl  &  Bsn  ?  A Sx 1,2  &  T Sx  &  Bar Sax  &  1 Tpt 2  1,2 Hrn 3,4  T Trb  B Trb  Euph  Tba  Prc 1  X . b X. . X. a X ¥ X. . fX . ¥ X . a #X ¥ f D b X. . ¥ X#X . a X ¥ f . a X #X ¥ D # X. #X . ¥ X. a X ¥ f X. #X . ¥ X . a #X ¥ f # X X. . ¥ D f D ¥  D D D D  a b XJ X XK & ¥ ƒ F a b XJ E & ¥ F k ¥ a j XX XX XX & ƒ F a j XX EE & ¥ F bX X XK ¥ a J ? ƒ F a j ¥ X X Xk ? ƒ F a j k X X X ? ¥ ƒ F a Xj E ? ¥ XF bX X. a X ¥ ¥ & D  Prc 2  Prc 3  Prc 4  ¥ X X. a X X ¥ ¥ a XJ ¥  X  a.  a.  a. a. a.  D  X. .  #X  ¥  X . X. .. X bX ¥ X  a  ¥  ¥ ¥  X #X .  ¥  b X.  X a D  # X. .  # X X. .  . #X X  X. a X ¥ . E X X  # X.  ¥  ¥  ¥  D  a X ¥  X  # X X. . X. .  X X. X  ¥ D  #X E .  D  ¥  D  ¥  D  ¥  D  b X.  a X ¥  D D  D  # X X.  D  # X. a a X ¥ D D D D  XK a . ƒ  D  D  D  D  XkX a . ƒ  D  D  D  D  D  D  D  D  D  D  D  D  XK . a ƒ . k X a ƒ . k X a ƒ  D  £ X X X X a X Xa X £ X £X X X a X X a X £ a XJ ¥ ¥  ¥ D  D  D  w  D  ¥  ¥  w  ¥  X. X.  D  w w w  F  X X.  a  . #X X  w  F bE .  E. F E. F . Xk a ƒ  a X  D  D  w F w F w w F w F w  F XK a . ƒ EE.. F k XX a . ƒ bE .  X  #X  D X. E  £  D  X XJ D  a XJ ¥  a X X a Xj a XJ ¥  D £ X XXX X XX £ £X X X X X XX £ a XJ a ¥ X £  £ XX ¥ £ XX ¥  XJ a XJ a £ £  47  60  Pic  1 Fl 2  1 Ob 2  1  Cl 2  . a # XJ X & ¥ X. . # XJ. # X a & ¥ X. . # X. ¥ a J #X & . X. . ¥ a XJ # X & . .. a XJ # X X & ¥ . . #X . a # XJ X ¥ & . # X. . a XJ X ¥ &  3  &  B Cl  &  Bsn  ?  A Sx 1,2  &  T Sx  &  Bar Sax  &  1 Tpt 2  1,2 Hrn 3,4  T Trb  B Trb  Euph  Tba  Prc 1  Prc 2  Prc 3  Prc 4  X. .  & D &  & D &  X. a X X. a X XX a # X. a X # X. a X X. a X # X. a X  D  # X# X  D E  XX  D  X  X. # X. # X ¥  #X #X  ¥ X. X X  ¥  D  ¥ D # X E # X. X  D  ¥  X #X a ¥ X ¥  ¥  . .. #X E a XJ # X X a X  D  X.  X. # X XX  D  ¥  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  #E F D #E  F D  XK a . ¥ ƒ #E . F XK a . ¥ ƒ #E .  F . E D KX a ? ƒ F D E ? F E XK a . ? D ƒ F D E ? F X. X a # XJ X a X ¥ & X XX D  a # XJ X F XK a . ƒ a # XJ X  F  XK a . ƒ ¥ a XJ X F XK a . ¥ ƒ a XJ X F XK a . ¥ ƒ D £ £ X a X ¥ X XX £ £ XXX ¥ a X X  £ ¥ a Xj X X . a X X X X X £ X ¥ X ¥ X ¥  a XJ ¥  XK a . D ƒ ¥ #E . X X  XK a . D  ƒ  . ¥ #E F X XK a . D ƒ ¥ E.  F XK a . D ƒ ¥ E. F to suspended cymbal D X  ¥ ¥ ¥  #w P D P XK a . ƒ w P XK a . ¥ ƒ w P XK a . ¥ ƒ  £ a XXX X X X X X X £ £ a XXX X X X X X X £ X D X  D  3 4  ¥  ¥  P  X  X P  £ XXX XXXXX X £ £ X £X X X X X X X X £ £ ¥ ¥ X  34 E  44 44 44 44  D  44 4 4  D  44  D  44  D D  34 E 34 E 3 E 4 34 E 34 E 34 E 34 E 34  4 4  D  D  34  44  D  34 34  44  D  D  3 4  4 4  D  34 34  ¥ #X P  D  34  34  ¥ #X P  #w  D  34  D  D  3 4  3 4  D  4 4  q = 84  34  D  D  . . #X . a # XJ X D  ¥  D  D  D  # X. @X @ a a ¥  3 4  D  XK a . ƒ XK a . ƒ XK a . ƒ XK a . ƒ XK a . ƒ XK a . ƒ XK a . ƒ XK a . ƒ  4 4 44 44 44 4 4 44 44 44 44 44  34 X X X X X X X X X 44 X X 34 X X X X X X X X X 44 X X 34  D  44  48  65  Pic  1 Fl 2  1 Ob 2  1  Cl 2  3  B Cl  Bsn  A Sx 1,2  T Sx  Bar Sax  1 Tpt 2  1,2 Hrn 3,4  T Trb  B Trb  Euph  Tba  Prc 1  Prc 2  Prc 3  Prc 4  44 G  4 &4  D  4 &4  D  4 &4 4 &4 4 &4  D D D  4 &4  D  4 &4 4 ?4 4 &4 4 &4  ¥ D D f X . .X . b X X X. X X. a ¥ D D f X # X. . X X. # X. . #X a #X ¥ D D f bX . b X X. . X X. XD ¥ ¥ D f . X b X X. X b X. X. ¥ ¥ D D . . . . bX X X . bX X X f XX . X X. #X ¥ # XK a . X. . ¥ a a J a #X ¥ b X X. f X X. . X X X. . X X. . X b X. . bX ¥ b XK a . a a XJ a a ¥ ¥ f . . b X X # X. . X X # X. X #X . . J a a XXD #X ¥ # XK a . a XJ a f X b X. b X ¥ D D f bX . . X X. ¥ D D f w #w  D  4 &4 4 &4  X X. . #X  D  D D  w f w f 4 w &4 f 4 &4 w f 4 4 w & f 4 &4 w f 44 w & f 44 w ? f 44 w ? f 44 ? w f 4 ?4 w f 44 & 44 X f X 44 X f 44 X f  X  ¥  bw  X  ¥  E  #E  E  w  ¥  X X X¥ D  E  bw  bw  ¥  E  #w  bw  D  ¥ ¥  E  ¥  X  X  #E  w  #w  E  E  E  w  X  ¥  E  bw  X  ¥  bw  X  E  ¥  E  D  D  D  D £ a XXXX X X X X X X X. £ D £  D  D  ¥  a XJ ¥  X. X.  E  ¥  a XJ ¥  b X. . X  E  X  ¥  X. # X.  #w  E  w  X. . X  a XJ. nX. bX . b X. .. X a J X  a b XJ. ¥ . a XJ ¥ ¥  w  X. . #X  . X X. . a b XJ ¥ . #X X a ¥ X X. . b XK. a . a a XJ  X  E  to suspended cymbal  ¥  w  #w  D  . a # XJ X X. a .X J a X X X.  w w  X. a J b X. a J X. a J X. a J b X. a J  X. a J ¥ X. a J ¥ # X. a J ¥ . a XJ ¥  ¥ ¥  a Xj ¥ a XJ ¥  a XJ X X D 49  69  Pic  1 Fl  & &  1  &  Ob 2  1  Cl 2  3  & ¥ ?  A Sx 1,2  &  Tpt 2  1,2 Hrn 3,4  T Trb  B Trb  Euph  Tba  Prc 1  Prc 2  Prc 3  Prc 4  a  ¥  X. a J  a a ¥ XJ. a ¥  XJ. a ¥ .#X a J ¥ nX. b X. . XJ a X. a b X X. a J  D  ¥ D  ¥  D b X X. X ¥ . a # XJ ¥  ¥  D  D  ¥  D  D  ¥  b XJ.  ¥  ¥  X X. #X X X X. X # X # X.  ¥ ¥  D b X X. . X . . X .X a J ¥  ¥  D  &  Bsn  1  ¥  D  H  & ¥  &  Bar Sax  ¥  & ¥  B Cl  T Sx  ¥  a # X. a J  & ¥  2  XJ.  X. a J D b X. a J D X. a J D  w  a b XJ. D . a XJ D  X b X b X. b X X X.  bw  #w  & w  #w  #w  X  & w  bw  #w  X  #w  X  w  X  w  X  w  #w  X  bw  w  X  w  X  & w & w & X & X  ¥  bw  nE  ¥  E  nE  ? w  bE  w  ? bw  &  bE  E  ? w ? bw  #w  #w  bw  D D  £ X X X X XXXX D  X  #w  ¥  E. P X X.  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B Trb  ?  Euph  Tba  D D D D  &  1  Tpt  D  D D D D D D D D  X.  # XJ ¥ X X X#X .  bX  D D ¥  D  ¥  D X . bX X  X  ? ¥  D ¥  D D  b Xj X  ? X.  X  X  ¥  D D  to high tam tam  Prc 1  D  to low tam tam Prc 2  Prc 3  Prc 4  a Xj XX X X . X a j v  v  a Xj X  v  X X  v  ¥  X ¥ a j X  v  X X  v  £  ¥  X a j X a j X X X X  v  v  v  X X  v  ¥  to cymbals (bowed)  D  D  55  1  91  D  D  D  D  D  D  D  D  &  D  D  D  D  2  &  D  D  D  1  &  D  D  D  D  D  D  D  D  Pic  &  1  &  Fl 2  1 Ob  Cl 2  &  3  &  B Cl  &  Bsn  ?  A Sx 1,2  &  T Sx  &  Bar Sax  &  1  &  Tpt 2  &  1,2  &  Hrn  D  &  3,4  &  T Trb  ?  B Trb  ?  Euph  ?  Tba  ?  D D  Prc 2  Prc 3  Prc 4  w  U. ¥ U D  b X. J ¥ p ¥  D  D @  nXK.  p  a  # XJ. a ¥ p XK. ¥ @ a XJ. a ¥  D  D  @  #E  D D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D E ï D D  XJ a ¥ P  w w  D D D  D  #E  D  D  #E D  ¥  D  D  w P w P  # XK.  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A Sx 1,2  &  T Sx  &  Bar Sax  &  1  &  2  &  1,2  &  Hrn  XJ. #X a  U. ¥ U ¥ U D  XJ.  ¥  ¥ XJ. a ¥  nX  XJ. a nX nX ¥  4  ¥  b XJ. U D  X. # XJ. a J ¥ X. # XJ. a J ¥ b XJ. XJ. ¥ a  &  1  Tpt  3  3,4  &  T Trb  ?  B Trb  ?  Euph  ?  Tba  ?  a ¥  a  a ¥ .bX J ¥  nX  a XJ X a XJ X  nX  nX  ¥ D E X  E  E  X  D bw  D D  D  D  D  X  ¥ E  D  D¥  b XJ. b X b XJ. b X  a XJ  X  ¥  a XJ  a b XJ X  X  a b XJ X  D bE p p  D  E  a U¥ a U¥  D X.  #E  nXj  E  D  E.  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  E E E  ¥  D  E X  D  ¥  ¥  ¥ ¥  D  bE  bw bw  Prc 1  D  Prc 2  D  D  D  D  Prc 3  D  D  D  D  Prc 4  D  D  ï  w  ¥ ¥ ¥ ¥  U¥  ¥  w 58  103  Pic  1 Fl 2  1 Ob 2  & D  E  E  & ¥ X &  X  X bX  #X  X  #X  X  b XJ  X X  E  X nX  X  Cl 2  &  3  &  B Cl  &  Bsn  ?  A Sx 1,2  &  ¥  E  #X .  & E p  bX  p  p  X  X  X  X  nXJ  X  X  X  ¥  ¥  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  Prc 1  D  D  D  Prc 2  D  D  D  Prc 3  D  D  D  &  T Trb  ?  B Trb  ?  Euph  ?  Tba  ?  Prc 4  D D D  w  w  D  24  D  24 24  D  D  2 4  ¥  D  3,4  D  24  D  &  D  24 24  D  1,2  44  24  ¥  D  Hrn  D  & &  D  24 E  2  24 2 4  ¥  D  1 Tpt  D  4 4  24  bX  &  20 4  24  & &  Bar Sax  E  & ¥  1  T Sx  5  w  D  24  D  24  D  2 4  D  24  D  24  D  24  D  24  D  24  D  24  D  24 24 24  D D E  44 4 4 44 44 44 44 44 44 44 44 44 4 4 44 4 4 44 44 44 44 44 44 44 44 44 44  59  107  Pic  1 Fl 2  1 Ob 2  1  Cl 2  3  B Cl  Bsn  A Sx 1,2  T Sx  Bar Sax  1 Tpt 2  1,2 Hrn 3,4  T Trb  B Trb  Euph  Tba  Prc 1  Prc 2  Prc 3  Prc 4  44  M  4 &4 4 &4 4 &4  ¥ ¥ ¥  4 &4 4 &4  ¥ ¥  4 ¥ &4 p 4 & 4 p¥ 4 ¥ &4 p 4 E &4 P 4 ?4P E 4 ¥ &4 4 E &4 P 4 & 4 PE 4 ¥ &4 P 4 ¥ &4 P 4 ¥ &4 P 4 ¥ &4 P 4 E ?4 P 44 E ? P 4 E ?4 P 44 ? E P 44 w 44  D  44  w  44  p  P  £ £  £ £  a  ¥  @ #X  D  bX  X  D XJ  a  XJ  a  a  XJ X  ¥ ¥ a  ¥  b XJ X  £p  £  XJ  p X. J @ pb X . 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XJ a D & @  1  &  Cl 2  &  3  &  B Cl  Bsn  A Sx 1,2  T Sx  Bar Sax  1 Tpt 2  1,2 Hrn 3,4  X X X  @  a XJ XJ a a XJ a XJ XJ a a XJ a b XJ ¥  a b XJ  @  nXJ . X  X X X  D  ¥  &  X  & X & X  B Trb  ?  Euph  ?  Tba  ?  X X  a b XJ ¥  a # XJ a # XJ  @ b Xj. ¥ nXJ X £ @ bj X. D nE  bX  D bX  nE  ¥  w  Prc 2  X  XJ a D P D D  a b XJ  a a # XJ  @ # XJ . @ # XJ .  @j X.  X X  XJ a ¥  @ nX X a XJ XJ a a J nX X a XJ XJ a a J a XJ ¥  D  E X X  ¥  ¥  X X  ¥  D  D  @ Xj.  a XJ ¥  a j X X  @ b XJ . ¥  E  bX  E.  a  b XJ X  X  b XJ E  X  ¥  ¥  D  ¥  £  XJ X D D  D  D  D  D  D  D  ï  E  D  w  D  w D  E  P  ¥  ¥ ¥  £  XJ  D D  E.  X  D  D  XJ a P  X  D  D  £  X  D  D D  X  D  D  D  ¥  ¥  ï  E  D  D ¥  D  X. J  X  X  D  ¥  ¥  E.  ¥  @  bX . J  X  X a J X X. J a J @ XJ X. a @J X a J #X a J  D  D  X  ¥  X  E  D  ¥ ¥  X  XJ a ¥  @ bX  bX . J  D  D  X  ¥  D  a Xj X  ¥  D  Prc 1  a XJ  XJ a a nXJ  ¥  X X  a b XJ ¥  ¥  ¥  nE bX . @ b XJ ¥ b XJ X £ bE bX D  D  ¥  ? X X &  ¥  ¥  ¥ ¥  & X X &  ¥  ¥  X  X  XJ a ¥  ¥  #E  & X  XJ a a nXJ ¥ XJ  # XJ . X  bX  ?  Prc 4  E  & X  T Trb  Prc 3  @ #E  # XJ . X  ï  E D  E  ï  D 61  114  Pic  &  1  &  Fl 2  1 Ob 2  XJ . X ¥ bX & @ . a # XJ X XJ a @# XJ & . a XJ X XJ a @ XJ &  1  &  Cl 2  &  3  &  B Cl  &  Bsn  ?  A Sx 1,2  &  T Sx  &  Bar Sax  &  1  &  Tpt 2  1,2 Hrn  T Trb  ?  B Trb  ?  Euph  ?  Tba  ?  Prc 3  Prc 4  X  #X  & X &  Prc 2  X  &  3,4  Prc 1  a # XJ X XJ a @ XJ . #X . X ¥ X @J  w  ï  X  X  ¥  X X X  ¥  X X  ¥ a bX X £ ¥ a bX X £ D  @ bX  b XJ .  X @ @  XJ . XJ .  X a J XJ . @ b XJ . @ X a J bX a J  X  ¥  #X . @J ¥  a # XJ E  ¥  X E. ¥ J X£ #X . ¥ @J ¥ X E ¥  X  ¥  XJ a ¥  D  D  ¥  X  D  D  XJ a ¥ X  D  D  D  D  ¥  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  ¥ a X X £ D  ¥  aX X £ D  X  #E .  ¥  ¥ D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  D  a XJ D  D  XJ a ¥ D P D  w  X  XJ a ¥  D  D  ¥  a  X  X  switch to triangle beater  P  E  D  P  ï  ¥ a X  D  D  on the rim  P£  w  £  .¥  ¥ a w  D  £  D £  E.  .  . D  ¥ 62  44 44 Night-time Symphony Text: Elaine Woo  Music: Daniel Marshall  q = ca. 76, stately and with freedom  f a j 44 X X  2 ¥ &4  Soprano  *senza misura  &  Piano  f  &  #XXX XXX  X X> >  &  j X  7  & bX  X  X X  my  bXXX  ster-  X X. 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E.  2 4  £ X X X X X –  –  2 4  ¥  24  ¥ bX  ding  of  X X P  ï  # Xj  bX bX 54 ¥  X a  se  ï  X  D  54  D  X nX  a  ¥ &  X  #X  –  X  cond  X  X  D  – – in  54  j X  –  #X bX  with  X X  « ~~~~~~  34 ¥  mm  j X  clock's  3 D 4  bX  XJ  the  X bX .  3 X 4  X  X J  X  #X  ¥  ¥  bX  69  X  64  & & #X  X  X  bX  bX J  X  a  E  4 4  D  44 ¥  & ¥  £ X X X  X  66  ease  of my  # Xj  a ¥ & XJ  ¥  3 &4 3 &4 ¥ 3 ?4 D  –  mat  –  –  X  # XJ a ¥  54 ¥  #X  X b XJ  X  tress  X  p  Ø  £  44 w j X X w  X  dle  X D  X X.  £  j X X  –  to  a D  j X  X X.  X X.  in  54  #X  44  b XJ a ¥  I  X  £  X X . #X  si  –  mm  #X  D p ?  54 X  44 ¥ # X  D X  a  X X X X.  X ¥ ï  ? E. E. 69  bX  X J  bX X  4 D 4  D  &  D  sleep  X nX  X  X  XJ a  D #X ¥  X X  X  ï  £  X X  Xj X  #X J a ¥  #X  X  XJ a  D 70  3 &4  72  3 &4 D 3 ?4  close lips (still with "ooh" shape)  D bX  bX X  D  ¥  X  j X  X  mm  XJ a ¥  XX. ¥  D  44  D  Ó  X 44 a # XJ ¥ ¥ bjX J a Á fading into nothing 44 D j X  U D ¥ ¥  bX bX a X  U D  XJ UX  71  34  4 4  3434  34  4 4 44  The rain is sharpening into icicles q = 60  Violin  4 ¥ &4  U¥  ¥  U¥  a  Cello  B 44 ¥  U¥  ¥  U¥  ¥  X  U¥  w  ¥  U¥  ¥  U¥  Percussion  & B  Prc  Pno  U¥  4 ?4 ¥  5  Vc  U¥  4 &4 ¥  Piano  Vln  U¥  44 X bass drum f  X.  #X .  poco rit...  & ¥  l.v.  D D.  X X.  XJ b X  D  bX  Vln  ¥  &  #X . X . X X X X . #X . >X . £  a tempo Vc  Prc  Pno  B  a  44  #w 4 #w &4 ƒ 4 ?4 w w  D  D D  44  X  U. D  34  D  44  34  D  44  3 4  D  4 4  ***  U D  U D  D  U D  poco rit... £ X X X X # X . X # X X. #X X #X X #X . X X X> £ poco rit... #X X X X X X X #X X X X X . X X X >X . X £ £  #X . X #X #X X a. £ D  D  X.  D  £ X # X . X # X X X # X . # Xj ¥  44  D  U D  a tempo, on any string 9  p  X  # X X nX .  X £  D  E.  Ó  D  bX bX X .  D  X X bX  con pedale  D  ?  P  ƒ sempre l.v.  X  # X X X X . # X XJ X a £ £  # XJ X X X X £  pizz.; in a slightly faster, independent tempo ** *  £ X #X X X . #X . #X .  XJ X  Ó  # Xj  poco rit...  #X X .  ¥  #w #w #w #w  Daniel Marshall  £ # X X. X. X # X Xj a .  £ ¥ #X X . X . X X P  pizz., sul G; in a slightly faster, independent tempo ** *  Ó  X bX  X  X  bX  X  bX  E.  p  D  D D  D  D  * In unmetered passages, accidentals carry over to repeated notes. ** When cue is heard, proceed directly to material in the next bracket (regardless of whether or not the previous repetition has been completed) *** mm. 8 and 14 - downbeat occurs when both violin and cello have stopped  © 2012, Daniel Marshall  72  24  44  24  44  £ X & # X X X # X . X . nX Xj X £ X # X # X . XJ X X X B £ U 24 D  U D  24  D  24  D  13  Vln  Vc  Prc  Pno  U D  &  U D  ?  £ ( n) X # X X ¥ pizz.  18  Vln  Vc  & B D  finger cymbals  . b EE . & E.  ¥  pizz.  arco  & X b X X X. .  23  Vln  X. B a X pizz.  Vc  Prc  Pno  X  ¥  F sempre l.v.  ¥  ? EE ..  X  ¥ #X . X X  U D  £ X X X X. X. ¥ # X X X arco  44  ¥  D  D  . 44 #E# EE .. F 44 E . E.  pizz.  j X. a # X X .  XX X  # EE #E  #X #X  E E  £ j X # X X # X. a arco  arco  X. nX.  # EE #E  b nEE ... nE  #E #E  E. E.  # XX #X bX bX  pizz. arco  j X. a # j X a X. # X. ¥  . . a bX X X bX a X X X a X £ arco  pizz.  D  D  arco  X . bX X X  arco  # XJ.  D  pizz.  X X X X . b X. £  pizz.  pizz.  arco . # X X XJ a ¥ ¥ £  #X X .  pizz.  D  arco pizz. . . a ( n) X X X. X ¥  Prc  Pno  arco  pizz.  X  ¥  D  D  D  D  D  # #EE .. #E .  D  D  D  E. E.  pizz.  arco  D  nXX X #X #X  pizz.  nX # X . a a D  # # EE & #E  #E # EE  # EE .. #E .  ? EE  E E  E. E.  D  X # XX  # XX #X  # EEE  #X #X  X X  E E  D  XX X #X #X  73  4 4  44 arco  &  X.  B  X  D  Prc  Pno  ?  &  # EE .. #E .  ? E. E. £ X  31  Vln  Vc  & X ?  #E  Pno  &  Vc  ?  Prc  Pno  & ?  X #X .  X  ¥  X #E . X #E .  #X .  XJ # X # X  arco (détaché)  D.  X  D  D  D  ¥  D  D  D  £  XJ. a ¥  D  . # nnEEE ..  Xj.  nbb XXX  bE . bE .  X X  a  X  XX # EE ... X E  X.  bX  nE  ¥  EE E  b XX bX  E EE  X X  #E #E  #E . #E .  X. D  D  . b EEE ..  E E  bE .  Xj # X .  ¥  ? bb EE &  arco (détaché)  a  D  35  Vln  #j X  pizz.  D  D  b EEE  X  a  ¥  #X  Prc  X. . ( n) j  arco X. Xa # XJ.  pizz. Vc  pizz. arco  j X. a # X  26  Vln  X  £ #X  X  #E  # EE #E E E  X  # EE #E  XX X  E.E. E.  E E  X X  #E . #E .  #X  #X D  D  EE E  E. # EE ..  #E #E  E. E.  D  tutti q = 54  34 UD  U¥  44  34 UD  U ¥  44  U X  ¥  34 UE f 34 UD  U¥  44  ¥  3 UD 4  U ¥  4 4  bass drum  D  44  74  &  ï  OX X OX X OX X  E.  w  sul ponticello, quasi-improvisatory  39  Vln  P  sul ponticello, quasi-improvisatory  Vc  ?  Prc  Pno  w ï 44 w l.v.  Vc  D  D X  &  OX X # OX X OX OX X X  P ww  £  ? X  OX X OX X E ï D  Prc  j j a X X X X X X . X X jX X . X X# X # X & £ 8  Pno  D  ? 45  Vln  Vc  #  &( )  X # OXX . nOX  ?# # XO ()  Prc  £ X X bXj X X X & ? ¥  P  X bOX X OXX X  X # OX XXOX nX # OX X . X ï D  8  Pno  X  b EE ..  pX  E  D  8  &  X X.  X  X  bX .  X  ï  R.H. 8va until end, quasi-improvisatory  D  4 ?4 42  Vln  OX X . OX X . E ï P D  X  4 &4  OX X . X  (slow gliss)  X  bX  X  bX P D  X  XJ £ bOX X OX X  D D  sempre l.v.  X # OX  X  P  OX X .  ï £ £ Oj X OX XXOX X X OX X a # X XJ # X j  ¥  X  D X nX  D. bX  X P  X # X X X X nXjX XX £ [  X bOX X OX X X OX X £ £ ï  ¥  #X .  Xj X  #X X X X X X X [ £ D  #X .  X# OX X P X  j bX a #X X X X bX X X X X X X X £ [  D  bOXX . X X  bOX X  X # OX  # OX X OX OX X . £ P ï £ # O O O . #X XX X XXX X ï D #X  # # XX  b X XO XO X X P D ¥  OX X  X ï X.  OX  OX  X  X  £ b O X X X E D  X  X # X nX X X X X XjX X X X X X [ £ D  75  X # OXX OXXX OX X bOX X OX £ P £ ? X XO X OX X . # OX X OX X ï P D  48  Vln  Vc  Prc  &  ¥  8  Pno  & D ? ¥ 51  Vln  Vc  &  # EE .. OX  bX  X OX X OX X X X b X . ï § P  OX X . X  OX X OX X X  #X  X  OX  OX X . ï  OX X OX X X  P  D  . & D  a  8  53  Vln  Vc  &  ï  D  ?  bOX X .  ? X  . & ¥  Pno  ?  D  ï X. ï  j X #X  £  OX X OX X OX X OX § £ OX X OX  # Xj  XJ  OX X X nOX ..  OX X .  X  X  ï  D  bOX X OX X X nOX X OX X £ XO  X  D  X X X #X  X  OX OX X . £ bOX X OX X Xj OX  D  j XX  # Xj # X  D.  OX X XO  XO X  D  § X # OX X OX X X  OX OX X .  D  OX X  D  X  D  XJ  £  X  Xj Xj . . a # X X X # X X X # Xj X £  D  X  bOX X OX OX X . £  X  b b EEE  Prc  8  X  OX X OX X X  Prc  Pno  bE P  X  X #X . X X  X  XJ  D  £ b XO X bOX X OX  ? bX P  OX X  f ¥ ¥  U bOX OX  OX  U OX  U X  X  U X  U ¥  U D U D  X  U ¥  U w  U¥  ¥  U¥  U D  U¥  ¥  U¥  U D  76  for Krishan Power  tangled wing [gaze: do-wnward, with] e = 44  & bw  Daniel Marshall  nX # X nX .  bX X bX  X  ¥  X b X X # X X nX b X  X X bX . ï  (without speeding up or getting louder)  bX X bX bX X  & X X bX . &  , p  F  (niente)  for solo clarinet  nX b X .  b X nX b X .  X  X nX  bX X bX .  X  bX bX X  nX b X X b X X  [visions of flight] q = 72  &  &  E  X.  a  X bX  £  X. X.  XX #X #X  X. X. X. X. a §  XJ  ¥  f ¥  b XJ.  X bX  ¥  « ~~~~~~~~~ « ~~~~~~~~~~ «X ~~~~ . E D & j # X. X. X. X. #E ƒp ƒp ƒp pX  Notes: -accidentals carry over only to repeated notes -all trills are to one semi-tone above -grace notes should not diminish the value of their surrounding notes  X. X. X. X.  F @  Xj . X X . X # X # X. XX X X  f  ¥ X. X. X. p  « ~~~~~~~~~ E echo  Fp  © Daniel Marshall, 2012  77  « ~~~~~~~~«X ~~~~~ .  & #E Fp  j X  Fp ï  # X.  D  X. X. X.  X. # >X. >. # >X. nX X bkX nX. X XJ . # X. X K & £ # E. . f fp poco accel...  a tempo  echo  XX  bj X  &  &  #E . Fp X bX  ƒ  X.  j X. Sz  X. .  « ~~~  « ~~  XX  ¥  ƒ  bX . ï  Xj  bX . X .  X. X X. >X. >. >X. X X X  nX  bX X #X X  [faint song-cry] e = 44  &  sempre  X bX .  ï  # X.  X bX  X #X  X.  X  XX  ƒ  #X  #X  X  X  « ~~~~ « ~~~ « ~~~  nX  X #X X X  nX b X X P ƒ U bE .  ' nX  bX  *subito  ¥  #X .  X.  X. p  X. X. X. X. « ~~ « ~~ « ~  U bE . f  X  . . bjX X nX #X  ¥ j X. Sz F . b Xj nX « ~~~~~~ « ~~~~~~~ « ~~~~~~ X bX X bX ï  X. « ~~~« ~~~« ~~~~« ~~ X bX X.  & nX . b X . ƒ > b X. >X. X. X. nX X bX > X #X # X. # X. # X. & bX X F ƒ£ X  « ~~~~~~~« ~~~~ « ~~~~~ #X .X X. ƒp ƒp ƒp  b X. X. X. X. X  ï  P X X  bX .  *transition should be made smoothly such that the A-flat seemingly emerges from the third partial of the preceding D-flat  78  & & &  X bX J  X bX  nX . X X X b X  bE  X. X X.  X #X bX  #X X  E.  ¥.  bE  X nX. . f X b X b X. f  & E  p  #X X E  ƒ  & >X . ƒ  X nX. f  . X # X. D f  & bE .  E  >X .  P >X. w > # X.  fp  X p  X. b>X. > f  a  bX  X. @ b E p >. >. . a # X X # X X # X XKV # E £ b X X. @ >X .  X. . #X X  ƒ  nX X b X b X  bX  #X X #X X bX . X  [/lingering tones] q = 60  & bw  &  X.  X.  ƒ  D  X  F . X # X. D f  >X .  F  >. >. nX #X @ 79  &  b>X >X n>X b>X >X # >X. £ £ nE ƒ subito p  E fp  [fight (into the sky's embrace,] q = 72  &  . X. X. X.  X bX X  F  & @  a  ¥  j X . X X . X # X # X. X X X X  X bX  X.  £  X.  XX  w F #X  #X  X. w .  « ~~~~~~~~~~~ «X~~~~~ .  & #E Fp  Fp  & nX X . f  ¥.  nX X b k .X  #X X  F  b XJ.  X. X. X. X. a ¥ §  j X  ï  nX.  bX fp  . #X X D f  X.  X.  « ~~~~~~~~~ E  D  Fp  #j X. # w  X nX. f  @  #w  fp  ¥  echo  a tempo accel... « ~~~~~~ « ~~~ « ~~~~~ poco >. nX X. >. #X X k bj X # X >. # X X XJ . # X. bX X .X K & X. £ ƒp ƒp ƒp f echo  ï  fp  « ~~~~~~~~ « ~~~~~~~~~ «X .~~~~~~ & E j # X. X. #E X ƒp ƒp ƒp p  D.  nX X. f nX.  D  bE fp  nX X . f 80  nX X  & @ ƒ &  X.  fp  #X .  ƒp  X.  f  X #X  #X  #X  E  fp  XXX  f fp  f  &  #X X X  X.  #X  #X X  # X. X.  X. X.  ...still faster...  X b XX  X bX  ƒ  X  #X X  Xj. bX X Sz F  X  X bX X  X  X  #X  «X ~~~~~ « ~~~~~ . bX .  XJ.  bX  ƒ  #X . bX  Xj.  bX  X  X nX  . .X X  X.  F  X  X  @  X # X X X nX # X X b X X # X . # X X # X X .  suddenly slower, the final effort of a desperate struggle (q = ca. 80)  #X .  >X  ƒp  bX bX  Sz F  X bX  #E  fp  more and more movement...  ...much more movement...  bX X X  XX  X nX. @  f  b>X .  gradually getting faster...  , cadenza - ad lib., in free tempo (with movement)  . X #X @  b X X.  ƒ  f  a X X X. X. X X. £ f  ƒp ƒp F Xj  nE  >X .  >X  . . X #X . X X  fp  « ~~~~ « ~~~ nX . X . bE  & nXj.  &  >X >X .  bX bE . > fp  & &  nX.  . bkX #X X  X b X nX  #X .  #X X X  nX .  ƒ  X. b E K @  Sz ƒ  X.  b X X X n X . nX # X nX b X . nX # X X  X. K  Sz  @ 81  &  E.  X. K  ƒ  Sz  @  X.  #X .  (sudden cut-off)  ƒ  Sz  U D  [en)tangled wing] e = 44  & &  nX .  X.  X  X X  nX .  #X  X ï  X  a  X  bX  X.  bX bX  bX  a.  X. a.  X.  X  #X  E.  82  water-visions q  3 & 4  Soprano  P  X  3 P & 4 X  Alto  Rain  3P X 4  Rain  &  Tenor  8  X 34 P ?  Bass  3  & &  Rain  3 & 4  Piano (rehearsal only)  X  3 ? 4  X  – mong the  X  la  X  ? X bX  X.  X  X.  has  X  X X  –  XX  la  X bX  –  X  –  –  XX b X.X X b X  XX #b XX  X X.  –  X  len  E  all  all  X bX  –  X  all  X bX  the  E  day  come  a  –  X  the  E  day  X  come  #X  –  X  bE  the  day  X  X  X X  X  bX  all  the  day  XX XX bj X X bX  XX X  X  the  X  the  j X  E  –  –  den trees  X  trees  the  EE  X  X bX E  X bX bX X  X  X  #X  leaves  bX  X  a  come  a  XX XX  X #X XX  XJ  lie  u  thick  X lie  bX  nX  leaves  lie  thick  X  X  #X  # XX # XX  –  –  –  X bX  leaves  bX X  a  X #X .  leaves  X  come  bX  X #X  nX b X nX b X b X la  X  EE bE X  X  trees  X  X  X  E  the  X XJ  X  len  –  trees  Xj X  –  b Xj X  X  den  den  len  X bX  –  j X  X  –  len  fal  den  Xj X  –  fal  X. X bX  –  –  –  X bX  has  X X  –  fal  X  – mong  – mong the  ?  fal  X.  & nX # X  &  has  has  la  X.  X  Rain  X bX  – mong the  8  Text: James Joyce Music: Daniel Marshall  I. Rain has fallen...  = ca. 50  thick  X  lie  thick  X X  X #X  #X . X nX b X  XJ  © Daniel Marshall, 2012  83  F 4 X X X & 4  6  F 4 & 4 bX .  P 5 j X 4 X #X E  X.  pon the way  b Xj nX b X X X 54 . #X  F 4 X. & 4 on  8  P  me – mo –ries  of  F 44 # X . ? on  on  the way  of  XJ X  bX  the way  of  XJ X  X  the way  P 5 bX . 4 me  P 54 X  me  of  me  –  –  –  bX X  X X X X X X  9  & &  Xj X  X.  way  of  of  & bE ? & ?  me – mo  –  a XJ X X  3 4  X  a XJ b X X  34  mo ries  mo – ries  –  X  way  of  X  X bX  X  X  me – mo  XX  X.  ries  shall  we  ries  X bX shall  we  X  X bX –  ries  XX  shall  a  X X a XXJ b X X  j X  de  X bX  X  de  X. we  part  –  E  X  E  X XJ  –  tle  by  X  the  X bX X X tle  by  the  lit  –  –  tle  by  the  –  –  tle  by  the  X. lit  XJ b X X  XX XX X X bj X  X b X X X b b XX XX X. XJ  X  come  X  X  come  nX b X nX b X b X  Xj Xj X  –  part  we  –  –  E  shall  de  –  X bX X X bX X  34  –  j X  Xj X  34 # X X.  a Xj X X #X X  X.  X X.  lit  a  stay –ing  XX b XX . X b X  X #X X bX  a  stay –ing  me – mo – ries  X j XX XX # X  X.X.  X  nX # X  of  b X nX b X  X X  X  way  bE X  me – mo  j X X #X  X.  way  8  X  Xj # X X  XJ X  X XX #X j  54 b XX .  3 4 #X  lit  mo ries  4 5 & 4 b XX . X X b XJ nX.X b X X Xj X 4 # XX # X EX X X 44 # XX ?  a  a  stay –ing  #X –  3 4 #X .  stay –ing  j X X  –  a j X X X  de – part  come  X  part  come  EE  X  X bX E  X  X bX bX X 84  & #X  be – lo  my  & & 8  XJ  X #X .  12  –  be – lo  my  bX  X  my  be – lo  ? X  – –  – –  X  be – lo  my  bX ? X 15  & &  X X  X bX  X X  E – Stay  –  –  & ¥ 8  –  X.  Stay  #E  ing,  stay  ing,  –  # XJ X # X  –  ing  D  ?  X  X #X X #X  P  bX  XJ X  I may  XJ X  I may  P  speak  –  a  X # X nX b X X b X X # X X  stay  X  Stay  –  ¥  #X  –  # EX X ¥  –  –  ing  a  # X nX # X X  –  –  X. – ing  ing  X  to  your  heart  #X  X  your  heart  bX X  X  X  b XX  lit  –  tle  X  by  , , ,  EX X # X X XX # X X bX # XX X X  #X  the  X # X nX X X X # X  lit – tle  nX  XJ  #X  #X X #X X X. XJ  heart  # XX # X  lit  j nX . X #X X bX X bX X X X #X  bX  a  a  to your  X  to  ing  j X #X X X #X  speak  speak  XJ  your heart  #X .  X  nX . –  to  ,  X  X #X E  X  bX X  X X X X X X  Stay  E X X b # EX X b X X & a XJ ? ¥  I may  44 b XX . X X b X n XX. XX # X nX j J  #E  –  bj X nX b X X X  44 # XX  a Xj X X b X X b X X Stay  P  where  XJ  #X . & # XX # XX X # X b X  speak  F 44 # X .  ved  j X  X.  where  #X  – –  F 4 . 4 bX  where  ved  P  where I may  F 44 X.  ved  X  X  X  ved  X bX  X  X #X  –  F 4 X X X 4  lit  by  X –  –  #X X X bX  tle  by  the  X  X  #X  tle  by  XX b X XX X XX X ## XX X #X  X X  # XX X # XX b X 85  E  18  & w  way  8  the  X X #X by  X  & wX ?  & E  the  way  come  8 come  ? #E  come  E # ? E  Come  X X #X  # XE  #X I  X X X X #X  bX  X  lo  ved,  O  –  X  X –  lo  –  –  #X X #X X –  E ¥  D X  # XX  ¥ X X #X X #X  #E X  X X bX X bX X a XJ  w  my be – lo  #X X X .  X  #w  where  I  may  X  come  where  I  may  X  #X  nE  X  bX  w  where  I,  come  where  I  may  w #E  X  X  # ww  X  bX  w w  X X XX X ## XX  # XX X # XX b X  w E  X  –  –  ved  XJ  ved,  # nXX X # XX X  X # X # XX b XX XX . b X X # XX J  I,  w  ved  w  may  #E  –  X # X nX b X X b X X # X  where  #X X X bX  & nE  nX  my be – lo  where  & X bX  my be  #E  a Xj X X b X X b X X  the way  X  come  & EX  X X X #X #E  #j X X #X  Come  X X #E  21  X.  way  X  XX X # X X  my be  ¥  X X #E  way,  ?  X X  Come  & X &  #X  w  86  II. The noise of waters  q  S  A  T  4 &4  = ca. 84  ï starkly  ¥  E.  All  4 &4  D  ï 44 w & 8  B  D D  starkly  All  4 ?4  D  E  E  E.  X  day  I  hear  the  D  D  D  4  & X & D & 8  ?  E  X I  X  ï starkly E  E  day  All  w  X  noise  D  ¥  E.  hear  the  day  E  E  X  E  X  of  wa  ï starkly E. All  E.  X  noise  E  I  –  –  –  hear  P X X E –  X  –  –  p –  –  E  X  day  I  87  P  7  & E  X  X  of  & X & X 8 –  ?  X  the  –  wa  E  E.  X X X  E  noise  X –  ters  –  ma  –  –  –  the  noise  & E  –  king  as  wa –  X  X.  ters  ma  P X X X  E –  –  –  –  –  sea – bird is  XJ E –  –  ï  £ X #X X X  P –  X X  when  X –  X –  ters  X X X –  ters  ma  ï X  –  ters  ï  moan,  P  the  ï E  –  X X  X  bw  P  X  –  wa  –  E  moan  X  bE  king  E X  bX X E .  E  sad  –  F  X –  –  P bX X  X  hear  –  –  of  E.  –  ?  –  X  & E.  8  –  X X X X  –  10  &  –  E.  X  X  E  ï  –  –  king  F X X ma  X  X  of  wa  E  nX  sad  as  F  £ XXXE –  go  –  F #X X E  –  –  P  moan  P X  E. –  –  P  –  –  –  king  88  13  8  ?  &  ing  X  forth  a  F P #X X E  –  ?  X  £ X X X E  f X XX cry  #X  #X  X  ing  forth  a  X –  P  – lone  ing  –  E  #X  hears  X  to  the  –  –  £  ter's  f F f #X #X X X X X X X X £ £ lone he hears f  F £ X X #X X X X  forth a – lone  X  X  f F XXXX £ when  sea –bird is  f  f X X  –  the winds  sea – bird is  the  X  f  he  f X X X X X X X.  X  F  X  a – lone  forth  f F #X #X X X  E.  the wa  –  £ X bX X X X bX  he  f F X X XXX X  X X to  –  ing  as  cry  XXXE £ – – go  F  –  the  F XXX X  –  –  go  as  the winds  8  when  sad  X bX X X X X X  #X  X  X  X  f  £ X X X X X  #E .  sad  & X  P  E  E  hears  &  is  E.  moan  16  X  sea – bird  the  & X &  £ X X X  X  & E  –  F  #X X X £ go – – X when  64  D E.  subito  mo subito  E.  p p  subito  E. mo  –  –  –  no  –  –  64  X –  mo  64  X  –  –  p  no  –  –  64  X –  –  –  no  –  –  89  4  3 4 3 4  6 . &4 D  19  D  –  tone  –  –  tone  4 > & 4 bX  X.  44 >E &  X.  > 44 X ?  X.  8  blow-  blow  -  -  -  -  E  E  X  the  cold  winds  E  X are  grey  X bE  X bE  cold  X X  X  E.  X E  X  E  X X  X  E  grey  >X X ing  >X X ing  >X X ing  >X X ing  X  E.  winds  grey  the  X.  blow  winds  f ¥ X  44 >X &  blow  grey  the  tone  23  the  f ¥ X  6 ? 4 X E. –  X  the  6 . &4 X E 8 –  E  f ¥ X  6 . &4 X E –  f X  winds  X  E  winds  >X  X >X .  where  >X  I  X >X .  where  >X  I  X  where  cold  X  E  the  >X  winds are  X  cold  winds  E  ¥  D  ¥  D  ¥  D  X  are  go  b>X go  w  subito  ï  I  where  >X  winds are  X >X . I  >X go  90  D  25  &  8  ï X  the  X  noise  X  of  P E  hear  –  X ma  ïw  D  ï  wa  E  –  –  & E  wa  & X  be  ï  –  –  E  –  X  PE.  ny  wa  E  X  8  D  E.  X  all  day  X  E  ters  –  far  –  ï X  –  ters  E  X  and  to  ¥  E  E.  fro  D  flow – ing  D  &  E  night  w  low  X  ny  hear,  all  E.  –  X  –  w  E  ters  X  –  I  P  ?  X  w  ?  28  ï E  ¥  ma  & D &  D  E  X  I  hear  D  D  D  D  91  III. Flood  f  With vigour  S  A  4 &4  q = ca. 76  j X  4 fj X &4  X.  j X X.  Gold – brown  4 f j X &4  u – pon  X.  j X X.  X.  X. j X  X.  XJ X .  Gold – brown  T  8  B  f  4 ?4  XJ  X  rock –vine  6 &4 X  8  X 64 X ?  X.  Xj X . . XJ XX .  X.  . X X. X X X clu –sters  lift  clu –sters  lift  clu –sters  lift  . X bX X . X X X  rock –vine  6 &4 X  u – pon  X #X X . X X X .  rock –vine  6 X ?4  u – pon  X bX X . X X bX .  rock –vine  6 X &4  XJ Xj  4 ?4  6 &4 X  Gold – brown  Gold – brown  4 &4  3  u – pon  clu –sters  X # XX XX b# XX  lift  X. XX .. XX XX b X . X. XX .. XX XX nX .  * - pronounce "flood" to rhyme with "brood"  X X  £ X #X X E  X  the sa – ted  X X  X  X X  X X  *  the sa – ted  X  *  X XX  X  flood  the  £ X #X X X b XE . X X E  the  bX X X E £ flood  X.  f X X X  wings  f X X X  wings  f X X X  wings  vast  vast  vast  XX XX  XX XX  the  E.  ƒ f X X 44 X # X X X X £ and sway vast ƒ 4 X X 4 b X nX £ and sway ƒ X X 4 X X 4 £ and sway ƒ X X 4 X X 4 £ and sway £ XX XX 44 b XX # XX XX XX X X 44 X X £  the  flood  *  the sa – ted  X X XX XX  £ X #X X E  flood  *  the sa – ted  X X  X  XX XX  bX . X. X. wings  b XX .. X. X.  X  X  X XX  XJ # X . X X # X X £  a –bove the wa – ters  XJ X. X X nX X £ a –bove the wa – ters XJ X. X X X X £ a –bove the wa – ters XJ b X . X X X X £ a –bove the wa – ters XX # XX.. XX XX # XX XX J X b XX .. XX XX £X XX X JX £ 92  #X  6  & &  p  8  ?  E.  brood  X  ¥  X  E  of  sul  – –  E  E.  f a XJ  waste  X.  of wa – ters  len  day  f  A  waste  of wa – ters  f  A  A  ¥  brood  # EX .  D  D  ¥  D  X bX a ¥ ?  A  X  E D  D  3 X^ a X^ a X^ X &4 J J £ – –  10  ruth  E  less  ly  44 X sways  X.  a XJ  X.  D  ¥ a XJ  X  X. X.  X X #X .  X X X  E.  up – lifts  its wee – dy  mane  X X X  bE .  up – lifts  its wee – dy  mane  and  £ 34 # Xj a j X aX X & v v v  £ 44 X # X X X X b X .  34 X^ a X^£ a X^ X J J ?  – lifts  X.  its wee – dy  X X X  mane  up – lifts  its wee – dy  mane  XX b#XX .. X b X X X X XX .. 44 X X X  XX XX XX XX XX XX  ruth – less  – ly  34 b XJ^ a XJ^ a X^ X & £ 8 ruth – less – ly ruth – less  – ly  3 Xj a XX a XX XX J & 4 #X 3 ?4  bX X X X XJ a XJ a X X £  sways  and  44 X b X X X X £ and up sways 44 X  sways  X X and  44 XX # X X XX  X.  X X X  XJ X  X  XJ X  X  XJ X  X  XJ XX  XX  X X XJ X  X X  of wa – ters  waste  E.  X  of wa – ters  waste  ¥ a XJ  D  XJ X  X.  ¥ a XJ  D  brood  bX  X.  D  D  D  f  ¥ a XJ  D  D  brood subito  &  &  ¥  X X where  X X where  E.  X X  #E .  X X  b EE .. # EE ..  where  where  XX XX XX XX 93  13  & & & 8  ? & ?  X. day  bX . day  XJ nX .  X X  XJ  X.  X X  XJ  X.  X X  X.  stares down  day  X.  stares down  day  stares down  b XX .. X X  16  & D  u –pon  stares down  u –pon  u –pon  XJ # X .  X X  u –pon  XXJ nXX ..  X X X. X X #X .  X X X X ƒ  ¥ a XJ  ƒ  ƒ  –  & D  ¥ a Xj  ? D  ¥ a XJ  & E.  a  ? D  Up  ƒ  –  Up  –  Up  ¥ a  the  sea  bE .  X  subito  X  sea  the  X  sea  the  sea  the  XX J XX J  ¥  X X  b EX .  X X  X X  X.  XJ X .  lift  and sway  X.  Xj # X .  lift  and sway  X.  Xj X .  lift  and sway  XJ X .  X. lift  XX XX  and sway  XX XX  XX # XX .. XX XX ..  D  D  p  X  bE  E  in  dull  dis  ¥  D  D  ¥  D  D  ¥  D  ¥  D  Slightly slower, with stateliness  –  Up  a Xj  8  X  XX XX b XX  & E.  – dain  X  X X  X  X  X X  X  X X  X  X X  X  O gol – den  O gol – den  O gol – den  XX X X  –  E D  O gol – den  XX XX  bE  –  XX XX  nE .  X X  vine  your  E.  X X  E.  X X  vine  your  vine  #E .  your  X X  vine  nE . E.  E. #E .  your  X X X X  X X X X 94  19  &  bX . clu  & X. clu  & 8  ?  X.  clu  nX . clu  bX & X ? 22  &  X nX  bE . thine  . & E  thine  & 8  ? & ?  E. thine  XJ – –  X.  X X  stered fruits  to love's  Xj X . – –  XJ – –  – –  X X  stered fruits  to love's  X.  X X  stered fruits  to love's  XJ # X .  X X  stered fruits  X X X X  X X X .. X X #X  X X X X  X  p X  – –  in  – –  bE . thine  bE . E.  in  X  E. bE .  X X  flood  vast  X  w  X.  full  flood  vast  X  w  bX .  full  flood  vast  nw  X.  cer  ¥ –  X cer  bX –  –  –  –  X  and ruth – less as  is  Xj b X .  X nX  and ruth – less as  Xj nX .  X bX  and ruth – less as  Xj X .  X X  and ruth – less as  bw w  vast  X X  X X X. X X bX .  X X X nX  X X  ww  bX X  X X nX . X X X.  X bX X X  X is  X is  X is  X X X X  D  ¥  D  ti  X  ¥  X X  flood  X –  XJ X .  full  D  p X  p X  full  X X  ¥  in  X.  X  to love's  X. X.  X X X X  bw  X  ti  ¥  D  X  ¥  X  X bX  ¥  ¥ –  –  XJ a ¥  D  tude  D  cer  X  ¥ ¥  D XJ a ¥  D 95  IV. ...fallen all the day  q  3 &4  S  P  = ca. 72  T  fal  ¥  D  ?  day  come  a  mong the  E.  la  3 ?4  ¥  D  D  D  X ¥  X X  the  X  leaves lie thick  has  fal  D  D  –  D  XJ  X X X.  u  – pon the way  bX –  D X X  j . X X E X X bX D  EE .  X  D  . X X X E  D  Xj X  X.  E  XE nE  – –  j X  den  bE . D  trees  &  the  –  X X X.  D  & E  ?  P X  X  X  D  4  8  len all  E  ¥  3 ?4  &  –  X  3 &4  3 &4  & X  –  Xj X  Rain  8  B  X.  Rain has  3 &4  A  X X  –  X  –  E  –  D  D  Xj  –  D XX X X . E D  Xj  D  X X E  X.  E.  bE  –  D D  Xj  X.  # XE . X  me –mo ries  of  –  X  X  XE . X E D  –  –  Xj X X  stay ing a  –  X  D  len,  D b XE X X b XX X D 96  9  & X. lit  j X X –  & E. P bE .  8  –  –  –  X  –  –  Xj X  XE ..  bE  E  –  fal  & bX  fal  P  ? E. fal  XE X  bX ? E.  –  –  – –  –  E  –  –  –  X. E  X  XJ  be – lo  & E  XE .  X  X  . & X X X my  –  –  –  –  –  –  E X  –  –  –  –  –  –  –  bX  where  –  j X  X  –  X  –  bE  I  –  –  de  X  –  come  bE  X  – part  has  len,  #E –  X  –  X X  E  –  –  –  #X  X  len,  has  D  j X X  X  X  Xj speak  may  bX  –  bX  –  –  –  –  XX  X b XX .  X bE .  bE  X  D  X X.  X E  X X X.  ved  bX  E  Xj  ries shall we  D  13  &  of me – mo  D  &  8  –  E.  X X X.  X  j X X  way  the  –  –  fal  ?  ?  tle by  –  fal  &  –  X.  X  X Xj  #E  X X E  to  b EE X  X X X  #X  X  E  your heart  len  E  all  X  the  #X  X  E  X  E.  day  E  len  all  the  day  X  E  X  the  bX  day  E  X  # EX  E  X X  E. bX  E  all  len  X  Xj  XE E E  X  E  X  97  p 4 E &4  A little less movement  Stay  4 ¥ &4  – –  p  E  ing,  stay  –  X  bX  ing,  stay  X X bX  X bX  Stay  4 &4 D  pE  – –  8  D  4 E &4 ¥  &  X  Come  my be  D  &  lo  D  –  X  pE  ing  Stay  –  E  8  ? ¥  X  –  –  bX  X  X  X X  b EX  X  E.  X #X  by  the  X #X  –  –  XX  EE .  X  bw  –  ing  the  way  XX  # XE  X  wX  X  O  come  where  E  X  E  be  way  X  ved,  my  the  by  X  X  by  w  X  #X  E  bX X X bX E D  ing  X  be  X  –  X  X  X  X #E  bX  Come  E  D ? ¥  Come  bE  X  E  XE  E –  –  X  lit – tle  a  Come  & D  &  bE D  X X  X  X  . X X b XX b X j  b EX  X  E  E  –  D  X b EX  4 ?4 D 21  –  XJ  ing  –  bE  –  Stay  4 ?4  bX .  E  17  where  E. –  –  lo  E –  lo  –  X  I  w  may  #X  #E  ved,  X  EE  bb EX X X X  XX  X bX  E. E  bE  #X  X  #X  ww  #X  #E E  E  w X X  come where  X  #X  w  come where  E  E  way  w  X  way  the  poco ritard.  may  ved,  b XE  b wX  I  bE –  # XX  X #X  X  #w  I  may  bX  w  I  may  ww X X  X bX  #w w 98  Nitobe Landscape in four tableaux  Daniel Marshall  I. Outer Gates I  e = ca. 54  Violin  Cello  Marimba  4  & bX X ?X & X X  2 &4 E ï 2 ?4 E ï  D  2 &4 E ïE X  14  k X X  14  k X X X X  k #X & X X X X XK X  58  ? X  Xk X  & X X  k X X X X  58  7  E  14  Xk X XK X  58  a X  P 416+165 X X  D  E  164 +165 X  E E  164 +165 X X  ¥ X X  @  4 5 k X 16+16 X  X X.  X X  @  k X 164 +165 X X X  X. X @ Xk X X X @ k X X X. X X X  a  X X X  164 +165 X X  X.  Xj # X X.  X bX X  34  3 X. X 4 X X 34 X. X  X. E.  X  #X X X  #X X  b Xk XK Xk k X X # Xk XK k X  X X  k X X  ¥  24  @ Xk a  X  2 XX@k X 4  @k Xa X  X X  XX@k X 24 XX X  © 2013, Daniel Marshall  99  2 &4  10  a E  Xj  X  4 5 16+16 X b X . X X.  X  2 ?4  @ Xj.  X  164 +165 X  2 &4  @ j X. X.  X X  164 +165 X X  & EE  164 +165 XX  ? E  P 416+16 5 X X  & E E  164 +165 X X  13  § 24 X X # X & - >- - # X- # X- nX- X XX > > > > > > ï f D 24 ? E >X >X # >X # >X > n>X X # X n X X # X 2 X # X # X nX nX X ?4 § f ï  16  X  k X #X XK X  2 4  k X X X X  24  24  Xk X  XX  k XX  XX  bX X  b Xk XK  bX X  X X  k X X  X X  164 +165 XX  X  k XX  XX  416+165 X X # X X X  # Xk XK  X X  X X  E E E k XX XX  24  Xk X XK X  24  k X X X X  XX  X X 164 +165  X X  X X  X XK  X X  ?  24  k XX XX X  Xk b X XK X X X XK X  24  24 ?  24  100  § 2 & 4 X- >X- b>X- # X- X> >> f  19  2 ?4 E  X- b>X > D  >X- >- >- >14 # X XbX X & F £ ï 1 ?4 X >X >> X X## XX XX b>X bX X 14 ? F X  4 ?4 4 ?4  58  ï  f  22  4 &4  58  b>X > > > > >X b X n X > X X #X bX X X X b X# X X nX X  X 24 X ?  25  5 XX 8 ï  ¥  24  XX ..  XX  X #X a j X X. X. X.  X X  34  E  24  X a J X  24  E  ï  a  X  34 34  2 4  EE  24  X. E  24  1 4 #X X  E E  £ X X X b X £ # Xj X P X bX . #E X  X X X bX X #X .  P  14 14 44 44 44  D D  #w 101  54 44  44  &  54  54 44  44  54  II. sleeping waters, petal-dappled...  Vln  VC  Mar  &  q = ca. 60  p  B  4 &4 4 ?4  bj  *pizz.  ww p ww  54  EE F  EE  54 b ww  *pizz.  ¥  44  ¥  44  p  p  EE  EE p ww  54  EE  54 b ww  EE ¥ F p  44  ¥ & 44  5  & B  44 b ww & p 4 & 4 b ww  j  j  54  EE ..  F 54 b E . E.  EE EE  , p  44 44  p  EE .. b ww  b XX  54 54  * - pitch and rhythm (relation to marimba) are approximate (ad lib.)  102  j  8  & B  5 b b EE &4 F 5 & 4 b EE  j  EE ..  4 b EE 4  p  EE ..  ?  F E 44 E  6 4  b b EE EE  64  EE .. b EE ..  &  & b ww ï w ? bw  B  6 & 4 bE . b E. 6 E. ? 4 bE .  EE ..  44  ¥  j  54  b b ww  P  54 b EE  EE  ï  ¥  44 b E E  ¥  44 b ww  j  64  j  b ww 4 ¥ ?4  EE P ï EE ¥  64  b EE  ï  j  15  &  ¥  E .. E  j  12  B  4 4  bE . b E. ï EE ..  P 4 b ww 4  . 5 b EE . 4  EE  5 E .. 4 bE  EE  6 b b EE .. 4 ï 6 E. 4 bE .  EE .. EE .. 103  Interlude  q = ca. 70  U 4 &4 E  Vln  ƒ  4 UE ?4  VC  ƒ  U 4 &4 E E  Mar  ƒ  U E  p ƒ  p  UE  £ £ £ X jX X X X jX X. X. X. X X # X j X j X X p P sul ponticello, independent tempo  U #w  ƒ  U #w  p ƒ  p ƒ  U E E  p  U #w #w  p ƒ  p ƒ  p  [ £ £ j X X X X X X X Xj X & Xj # X X X. X. X X .. . XJ X X # X. X X X X X X X X X X. X ? £ § £  4  X  P  6  ? &  #X X X #X X X . [  U XE  *fermati at the end of these passages last until the marimba rolled octaves  w ?  E. E.  ƒ  j XX  ...  j X X X X X.  £  X  X # X XJ  £  [ £ X X X X j X X X X # X . X. X . Xj X. # X. X XXXXXX jX X . X # X X § j XX  w  *  X  [ £ £ X X #X X X #j X # X X. X. X X X X. X. X X § # XJ X X # X X X X X X X X # X . # X. . . . . . £  & U* & nw  X.  sul ponticello, independent tempo  p  ¥  104  £ £ [ b X. X. X. X X X XjX X nX. X. bjX X .  9  & X X. ?  X. X. # X. X £  ? 11  &  XX  Uw  &  w w  X bjX X  &  X X X nX X  p  [ X X jX X X# X X . X. X X X. X .. £ X X jX X. X. X. X. X. X. nX. X X X. X £ [  ¥  £ [ X. bXj X. X. X # X X X . X XXXXX & . X X. X # X X X X. X. X. X. X # XJ ? [ £ £  14  X bX  bj X Xj X X. X.  X.  #E . #E . ƒ  X X.  [ § . . X X bX X. X. X XnX X X X b X X. X X. X. X. X XJ £ £ [ §  X jX X. X. X # X X X X X X X nX J £ £ §  U XJ X b X X X X X # E ? £ [ ?  . X. X. X. X. # X. X  bj X X  X bX  £  X jX X X X ..  X nX .  X # X X X XjX X X b X #X X J £ £ [  X X  £ Xj# X  bk X X  X.  105  £ £ j j X X & X # X X X. X. X j . b X b X X X. X. X. X X . X ? [  16  [ X. # X. X. X. X. jX X . X Uw j j XX X X. X. X X # X . #X X £  &  X b X X X X X UE [ ?  18  & w ? ?  w w w  ƒ  ï  106  III. ...steadfast wood-pillars, weeping branches q = ca. 60 h  bX X X XX & ƒ  Marimba  4  &  ƒ  7  Xb X X q  X fp  &  b X X# X  XX  # XX # X X  #X  XJ a? w Sz fp  fp  XJ a Sz  nE  fp  ?  X ¥ ï #w  E ï  fp  £  « ~~~~~~~ E Xj a X X X X # X Sz f fp ƒ bk X bk X  #E  h.  bX X X X X X X # X b X b X nX X & £  10  fp  w  (q = ca. 60, independent tempo)  &  (q = ca. 60, independent tempo)  VC  Mar  ? &  bX  bX  bE  «b E~~~~~ b>X > b>X bX bX £  E E  fp  D  E E  B  D  &  « ~~~~ X #X X ƒ  #X  j  bE  D  12  Vln  X X X #X #X X #X X  p  ¥  &  XJ bjX b X X b X bjX b X a £ Sz ƒ  p w p E. E.  >X. J a ' 107  w  15  & B  b  n  #  Ü  b  n  #  á  Ñ  Ö  b  Ñ  *slow, microtonal glisses (spanning ca. major 2nd, approximate pitches only)  w  n  U D  ca. 12"  &  ?  ,  18  & B ?  P  b b wwww ï  B  P  , P  sim. (swell on downward "swoops")  b www bw  ï  F  ,  sim. (swell on downward "swoops")  ?  p  p www w  ,  21  &  P  ,  on A  ,  on ?D  D  ï  b www bw  ww ww  b b www bw  F  ï  *should be in approximate coordination with marimba (specific points of coordination are denoted by arrows) each stem represents ca. 1"  108  on D  25  & ?  U D  ca. 8"  ?  &  27  & on G  ?  h  bX X X X X & P  #X X #X X  #X  XJ a  X ¥ ï  w F  ?  &  on G 30  & ? &  X  bX  P  XJ  a  h.  X X X X X # X X b X X nX bX X £  X X X #X #X X #X X  #E  XJ a  109  32  2"  D  &  b Ow  ï  ? &  D  ?  nw F  w ï  D attacca  110  IV. Outer Gates II e = ca. 54  bOE  OE  Vln  2 &4  VC  2 ?4  D  2 ?4  D  OX  OX OX K  ? X  k X X  Mar  4  &  bX ? bX 7  &  OX  ? X  bX bX ?  164 +165 X X 416+165 X P  sul ponticello  ï  D b bOX  14  58 b bOX  Xk X  58  bX  OX K  X bX bX  k X X X K  164 +165 X  X X  &  O.X.  44 44  X.  X X a j X X  X X  OX  OX 164 +165  bX  14  OX OX K  5 8  E  14  X X X X K  k X X #X X & X X X #X  O 416+165 X  a  4 4  164 +165 X X  X X  . b bOE .  OX K  X  k X  bX bX  k X X OX  bE . X. X.  OX  24 24  X #X X #X X  X X  ¥  ?  2 4 111  2 &4  10  2 ?4 2 ?4  2 &4  13  24 ? 2 ?4  5 OX .. 8  OE E a  bX bX J  X X  OX  58 X X  X. bX X 5 b XJ X 8  X X X  OE  OE  E  E  E E  X X  3 OE.. 4  2 4  34  24  E.  bX 3 bX 4  bE bE  2 4  E E  112  Moods: Indigo to Carmine Music: Daniel Marshall  Text: Elaine Woo I. Into the Blue  Wistfully, with freedom Mezzo-Soprano  & &  q = ca. 56  ¥  molto accel e cresc... 2"  X XXX X X  bX X X X X X  Piano  ? bw F bw  3  p  f  2"  subito  p  « ~~~~~~~~~~~~~~ (repeat pattern as fast as possible)  ï  poco rit...  q = ca. 80  X X X X  X  X  bX X X X X  X.  con pedale  & q = ca. 56  & ¥  sim. rubato and swelling (like the ebb and flow of the sea) 2" 1"  p  ? w Fw  X X  ,  X X X  X X X  « ~~~~~  X  X  X  X  X X  X  X  X X  X  X.  ,  5  & &  a  ? bw bw  1"  1"  2"  X X ¥  X X X X « ~~~~~~~~ bX X X X bX X  (pull back)  w w  X  X X X X X X X  1"  « ~~~~~  (sim.)  X X  X X  113  9  freely, in approximate coordination with piano  f  F X  &  (wave-like swelling) poco  old  one 1"  & D  X  X bX  ? w w 11  1"  X X X X X  « ~~~~~~~~~~  X  &  2"  X X X X X X  X X X X X X  ? w w 13  X  &  X  by  a  ? bw bw  1"  bX  X  X  X  X  X.  X X X X X  « ~~~~~~~~~~~~~~~  sea  1"  X X X X X X « ~~ b X X X X X bX  ,  X X X X X  1"  D w w  ,  34  2"  X  the  X  X  X  lone  & ¥  &  X  X  X  , 34  X.  34  1"  X XXX X X X X X X «~ X X XX X X X X X X.  ,  114  bigger swell 17  X  &  on  & (X)  X bX X X X X  4 &4 ¥  4 &4 ¥ f 4 ?4 w w v  « ~~~~~~~~~  crag  bX bX  X X  a  ^ X b XE . E.  ca-  X X  f . Xj X  X  X bX  X  X  X  X X  molto rit.  X  X  X  54 X .  XX X  XX 54 E E 54  X  bX  X X -  X. X.  X  bX  « ~~~~~~~~~~  -  X X  34  nite  X  X  X.  XX ..  X X. sting  XX XX X  X  X  X  X  X.  XX  stones  a- far  XX X . X X. X X. X.  34  34  1"  1"  In strict tempo q = ca. 72  21  -  X  & ¥ ? bE . bE .  gra-  X  2"  X X X X X  X  ? w w  19  a  2"  & ¥  X  X  ,  44 44 44  F  XX X X X X X X  44 44 44 115  4 &4 D  23  4 &4 ¥ f 44 ? w w v  ^ X bb XE . E.  X  X.  in-  to  X X  X. X.  X 54 X the  bX  5 &4  > 54 ¥ b XX E & P E 5 ?4 bw bw >  -  44 b ww ? 4 ?4 w  blue  accel...  XX ..  5 XX 4 E E 54  44 ¥  D  4 &4 E  deep  XX XX X  XX . X XX . X X. bX .  XX bX X X X X bX  Solemnly, slightly less movement  25  28  X X X  X. X X . XX X bX  bE  lowed  XX X. X X. X X. bX .  E  ?  D  p E  54 X D  X  sink-  ing  bw 44 w p 44 bw  E 54 E 54 E ¥  w w  w w  w  bw  X  be-  X  fore  X  he  E  swal-  E .. E  44 44 44  E. D ww bw  116  II. Reedy Tale  Tantalizingly q = 54  4 &4 4 &4 4 ?4  D  #X X X X bw sempre  Lul-  P  ¥  & E  ling  –  char-  D  ? 6  bX X bX bX  ? °  ¥ D  w  pent  D  X.  –  X  E  –  *  sound  X X.  X  –  –  –  D  ming  D  F P X X b X X b X X .. X X X.  weav-  of  D  X. –  X  bX .  D  D  D  &  –  –  j X X  *  b Xj X  –  –  ser-  P  F bX .  X D  &  X.  D  °  3  &  P bX X X .  E  X bX .  -  D  D  D  D  ¥  ing  117  9  & bX  F . Xb X  bX bX .  con-  D  &  X nX -  p  12  & X # X X # X X. X X . X b X -  ?  vo-  D  D  ?  &  f P X b X X . X . XX X X b X  D D  -  lu-  -  X bX  D D  X X.  si-  -  bE .  ¥  y  ¥  D *  °  X bX . X X ¥ new-  bX  ting  D  E  D  j X j X  X.  sen-  su- al  D  bX bX  °  bX X  E  a  *  D  118  III. Flown to Where Angels Dance  Playfully q = 145  4 &4  44 # jX XX. b X jX XX. & X. 4 ?4 senza pedale  4  5 4  D  & D  . XX b X XX. # X X X X n#XX. X XX. 4 # jX XX b X jX XX X 4 . X . X. X X X X . 44 D  .  a  .  boun- cing  XX b X XX b X X X ¥ & X. . X X X. D ? 7  &  D  sub.  fU  . a ¥ J j. a- top clouds U D  D  . # XX X # XX X XX X XX. XX 34 XX # XX XX XX & . #X . X . X . . . 34 D D ? * "x" noteheads denote sprechtstimme at approximate pitch triangle noteheads denote singing at approximate pitch  kite  XX a XXJ XX XX .* D  D #j X # XX  jX X . # XX X X. XX X. XX XX XX . . . D  U D  3 4  P a ¥ j.  4 D 4  D  . XX XX XX XX XX 54 . 54 D ¥  (with sharp ending consonants where possible)  .  . a ¥ j. . . bop bop bop top top . # XJ. X J ¥ a ¥ X # XX. 44 a # X. . 44 ¥ b XJ a XJ. a a j X. 4 4  119  a J. ¥ &  U f ¥ X.  &  D  bop  ¥  ?  from  . a XJ U¥ ¥  4 &4  13  Tempo I  senza pedale  a  & j. ¥ tip j XX a XX. # X X & ?  20  X  ff-  54 UE  bX UX  (f)luff  5 ¥ D 4 X X f U 54 a j X X D con pedale X X 54  D  44 # jX XX. b X jX XX. & X. P 44 ? 16  P ƒ a j¥ . X. X X  Less movement, more freedom  10  puff  to  UE .  tough  ¥  ƒ  X  X  bUE  X  ï. a # XJ U¥ puff  ¥  44  U¥  4 4  U U ¥ ¥ j X E X E P 44 ¥ j a D . a  D  44  skip  X. XX. 4 # jX nXX b X a j XX. XX XX XX X X 4 . X X . . 44 D  . . XX XX XX XX XX 54 XX b XX XX # XX XX XX XX n#XX. . . 54 D D  . a 2 f . j 4 P¥ ¥ 4 4 . j. a a j D . j. J . . . skip skip jostle tip tip tap tip skip skip . . # X. . # X. X a a #XX. 2 X X X XX. ¥ 4 j a X a a # X a a X a a D X J XJ J XJ 4 J XJ J 4 . XJ a  D  p  a J. ¥  & D . # X #XX. ¥ D & X p D ?  tip  24  44  D  D  . # X ¥ X a ¥ a #XXJ. J ï D  D  D  D  ¥  D  ƒ scur- ry jol- ly  D D  kite  D ƒ  #E E  # XJ.  a ¥ ï. a XJ a j X.  120  IV. Last Leaf  With vigour q = 90  4 &4  D  * « ~~~~~~~~~~~~~~~~~~~ 44 w^ & ƒ 4 D ?4  con pedale  D  3  &  &  &  b Xb X  XX  X XX bX  XX  X  D f X X.  &  X  >X D  j X  a  X  b>XJ  X  X  X  &  X  D  twirl  D  XX  5  &  X  « ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w XX  Fren- zied  EE  &  bX X X  « ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ X w  b XX  & bE  D  X  X  &  X #X .  a  X X 54  « ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # X E. w >X X Sz j bX a J D last  leaf  cling- ing  cling-  54 &  54  121  5 #X &4  X X.  5 bX &4  b XX  7  -  5 &4  . & E  XX  3 ¥ &4 3 &4 3 &4  E E  E. 34 E .  of  ing  4 4 4 4  E stem  34  X spin-  X -  D  X X.  D  a  ning  ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ E.  p  44 D  EE  34 X  D  &  12  XX  X  X  nEEEE  bXXX  XX  X X  X  -  9  X & X  X #X  Less movement q = 76  w p  X  X  by  thread  D  44  D  34 «E.~~~~~~~ X X X X «X ~~~~~ #X X 44 34 X subito ƒ 44  D  X X X X.  spin-  -  b EE EE  34  X b XXX  bX ning  XX 122  bE  & ¥ b b EEEE &  14  Less movement q = 76  4 &4  16  D  w^  4 &4 4 ?4  & D  ?  D X  X X  X X  ?  ¥  E E D  X  nour-  4 4  XXX X X XX 44 X X X X X 4 XXX X 4 X XXX  wind  borne  ' #X # XJ  ï X  ¥  E. E.  ï  D  19  &  XX^  EE  &  X.  XXX^ X  till  ' bX .  to  E  w w  nour-  D  E  ish  D  w E E  E E  -  D  ¥  E.  w w  ish  3 4 3 4  D  34  123  Wistfully q = ca. 78-84  3 X &4 D reE. .E 3 X X X X X X X X &4 F p X X X X ¥ 34 b E . b X X X X ? bE .  22  3 &4 3 &4  X  34 X ?  2 &4 2 &4 2 ?4  44  X  X  X X.  X  ¥  X  bX  X  X  P  -  X.  3 XX . X 4 E nate E 3 X X X X4  , X2 4  ¥ E E  24  X X X X 3 4  X  X X  thered  X  ¥ E. E.  2 4  bX .  wi-  to  D poco rit.  X  a X X 44 E. E.  X X  24  2 X X X X X X X 4  X bX X X X X X X  44  E. b X 44 E. X  car-  X X X X bX  X.  ,  X  E  , E. X E.  X  new  X  - in-  ¥  X X  X  X X X X 44 b X  D  25  27  4 X . 4 X  24  D X  X.  X XX  w w  X X  bw bw 124  Electronic Suite I. Prelude q = 46  b XX b 4 bX &4 P 8 4 & 4 XXX  Daniel Marshall  XX X X b b XX  8  Piano  XX & X 8  nbb EEE  8  & XXX # # EEE XX X  b bb XXX  X & b b XX  nXXX  7  8  & 8  10  & ?  ï b ww  bX 54 b XX  b b XXX XX b nXXX X  con pedale  4  # XX X  # nnXXX  # ## EEE ... 54  b nXXX  54 bEE.E ..  b EE bE # # EEE  D  5 4 # # XXX EE bE  XX X XXX  D  nEE E  8  ?  &  ï b EE  XX 44 X  D  8  ?  XX X b XXX  ï b EE & &  b XX b 44 b X P 4 XX 4 X  &  P 44 bXXX  EE E  EE E  b nEEE  b bEEE  XX X X b b XX  # XX X  b b XXX XX b nXXX X  b bb EEE  # nXXX  # EEE  b nXXX b bb EEE EEE  ?  D  ww © 2013, Daniel Marshall  125  II. Lyric  44  WiiBow  Contour Candygram  Piano  4  P  mid register  p  4 blue octave; l.v. until ca. 5" after piano dies out 4 w ƒ 44  ? l.v. ƒ w +  2 15"  F  p  moderately inharmonic  (longer duration)  p  8"  low drone, harmonic timbre  44 set pitch collection to whole tone  WiiSpeak  1  F ƒ  ?  ƒ  7  p w w+  set pitch collection to octatonic  3 20"  low register  4 35"  (low to mid register)  ? 126  10  inharmonic  ?  5  6 58"  50"  13  7 1'05"  whale song  high register set pitch collection to whole tone  p  w ƒ  ? ƒ 16  +  w  ? 127  8 1'20"  19  1'30"  descent to mid register with decreasing durations  ?  ƒ  w  ƒ w+  128  III. Carillon  q = 55  44  Contour Candygram  D  D  4 w ?4 F  w  rin gong  Piano  4  CC  Pno  CC  CC  Pno  CC  Pno  E  ?  ¥  X  X  X  #X  f  X  X  D  E  run finger up and down string (ad lib.) +  X p  f  E  E  p  D  #X  X  E  ¥  D  p  E  X  X  D  E  sim.  E.  ? 15  P  D  ? ¥ 12  w  E.  ? 8  Pno  X  F  E  E  ¥ p  D  D  D  gong  w  P  E  E  P ¥  E  F  X  X  E  p  f D  w P gong w  f  E F  p  E  D  w 129  1 9"  IV. Toccata low, moderately inharmonic  P  WiiBow  pitch collection: octatonic  WiiSpeak  Contour Candygram  fp  Pno (reduction)  fp  ƒp  2 26" vocal fry  f  offbeat accents  3 52" low to middle register  high octave, sporadic  w  spread between green and blue octaves  w  w  w  w  swells jump to middle register, low melody  130  4 1'15" f  p w  w  w  (delay)  offbeat accents, melody doubled at the octave  swell on mid-register chords  w  in any octave  w  w  w  w  w  w  5 1'30" (ad lib. dense activity)  (continue swells, get more and more dense and expand register)  (ad lib. dense activity)  low clusters, swells  ¥  1'50"  ¥ ¥ big cluster  '  attacca  131  V. Postlude  q = 46 8  Piano  &  b b XX 44 b X  XX X  P 4 X bX & 4 XX b XX 8  con pedale  bX 64b b XX & p  4  8  6 & 4 XXX 8  EE E b b EEE  & ?  f w+  b XX bX  nE.EE ..  # # XXX  64  b EEE...  ?  w 44 # ww ?  bw 44 b ww  ww w  4 4 # # www  b www  D  8  &  f w+  8  f w+  64 34  D  44 ww bw  EEE...  8  10 8  XXX b nXXX . bb EEE ..  E. 34 # EE .. & ï 8 3 & 4 b EEE...  7  # XX X  b XX bX  &  34  ?  D  w+  132  

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