Richard Barrett

CONSTRUCTION

full score
... in memory of Cornelius Cardew
 CONSTRUCTION

(2003-11)
for voices, ensemble and electronics
commissioned by the City of Liverpool

duration: approximately 2 hours

first complete performance: 19 November 2011, Huddersfield Town Hall,

by ELISION conducted by Eugene Ughetti

Instrumentation and participants in the first performance:

piccolo/bass flute/alto flute (Paula Rae)

tenor recorder/bass recorder/2 soprano recorders/2 sopranino recorders* (Genevieve Lacey)
oboe/english horn* (Peter Veale)
tenor saxophone/alto saxophone/contrabass clarinet/clarinet in A/bass clarinet* (Carl Rosman)
baritone saxophone/contrabass clarinet/clarinets in Bb, A and Eb/bass clarinet (Richard Haynes)
bass saxophone/alto saxophone/bass clarinet (Timothy O’Dwyer)
bassoon (Dafne Vicente-Sandoval)
quartertone flugelhorn/piccolo trumpet (Tristram Williams)
alto trombone/tenor-bass trombone* (Benjamin Marks)
percussion (1 player) (Domenico Melchiorre) - see below for instrumentation
electric guitar/electric lap steel guitar** (Daryl Buckley)
baroque triple harp (Marshall McGuire)
violin (Graeme Jennings)
viola (Erkki Veltheim)
cello (Séverine Ballon)
contrabass (Joan Wright)

soprano (Deborah Kayser)

alto (Ute Wassermann)
baritone/countertenor** (Carl Rosman)

live electronics (laptop/keyboard)*** (Richard Barrett)

prerecorded electronics and spatial sound projection**** (Steve Adam, Lawrence Harvey, Michael Hewes)

Any of the performers may augment their instrumentation for the improvisational elements of CONSTRUCTION.

* the four soloists in part 10 news from nowhere are asked to use at least three wind instruments each, which may or
may not be the same ones used elsewhere in CONSTRUCTION. See score of part 10 for details. The soloists may or
may not be the instrumentalists listed above; any four of the wind players may take part.

** This vocal part was written to be performed by the same performer as the first of the three reed players although it
may be given to a separate singer as necessary

*** This part is not specific with regard to technology and occurs primarily in improvisational contexts. It needs to be
capable ot the same degree of fluency and flexibility as the acoustic instruments but any combination of hard- and
software may be used.

**** The sound projection system was conceived and designed at the Spatial Information Architecture Laboratory
(SIAL) at RMIT University in Melbourne under the direction of Lawrence Harvey.
Components of CONSTRUCTION with durations:
page
1 Strange lines and distances 8-channel electronic composition 2’ 1
2 Politeia 13 instruments 9’ 3
3 Hekabe-α contralto and 6 instruments 4’ 43
4 wound I violin, oboe and cello 2’ 53
5 Kassandra soprano and 6 instruments 4’ 57
6 heliocentric 10 instruments 15’ 73
7 Omaggio a Chirico 3 voices, violin, viola, cello, contrabass and electronics 6’ 121
8 Andromakhe contralto and 6 instruments 4’ 123
9 wound II violin with english horn, Eb clarinet and cello 4’ 135
10 news from nowhere variable ensemble 7’ 149
11 storming variable ensemble 3’ 159
12 Helene soprano, tenor recorder, marimba and triple harp 4’ 161
13 wound III violin and 5 instruments 5’ 169
14 Island 2 improvising soloists and 8 instruments 11’ 185
15 Simorgh 8-channel electronic composition 11’ 219
16 wound IV violin and ensemble 3’ 221
17 Hekabe−β soprano, contralto, countertenor and ensemble 4’ 233
18 wound V violin and ensemble 1’ 251
19 Germania soprano, alto, baritone and ensemble 3’ 257
20 ON tutti improvisation 20’ 263

Generally the twenty parts follow each other without a break, though some overlap and some begin after a pause - see the score for
further details.

All instruments and voices are amplified and spatialised using a sound system which is able to move virtual sound-sources vertically as well
as horizontally.The stage arrangement should place strings to the left of the conductor, winds to the right (with brass behind woodwinds),
harp and vocalists centrally, computer/keyboard, percussion and electric uitar to the rear. The ideal staging would place the performers in
the centre of the performing space, surrounded by the audience who are surrounded in turn by a dome-shaped array of loudspeakers. This
ideal should be borne in mind when adapting the layout for spaces where this is not possible.

The percussion setup requires several microphones to ensure that all sounds can be given sufficient presence and balance. In particular, the
kalimbas used in part 6 heliocentric (unless they have built-in pickups) should have a microphone of their own to which the player can hold
the instruments as close as necessary, and the four Udu drums used in parts 13 and 16 wound III/IV should preferably each have a
microphone of their own.

Both the laptop/keyboard player and the electric guitar player need to have local amplification as well as going through the spatialisation
system. The guitar can use one or more clean-sounding guitar amplifiers; the laptop a stereo pair of speakers located behind the performer
at ear level.

The following are general indications for spatialisation, which may be adapted or augmented as circumstances allow. Ideally the ensemble
is placed in the centre of the performing space surrounded by the audience, everyone in turn surrounded by a dome-shaped array of
loudspeakers. The virtual positions of instruments and voices in the “static” sections should vary from one to the next. In particular they may
be spread out as if the ensemble occupied the entire performance space.

1 static (inbuilt spatialisation) but distributed vertically as a cube or dome

2 5 players (recorder, flugelhorn, trombone, electric guitar, marimba) wander slowly through the space independently of one
another; the rest of the ensemble remains static
3-5 static
6 3 duos making concentric “orbits” at different (slow) speeds and at different vertical levels - duo members opposite one another as
they rotate:
recorder/bass flute (lowest, closest to centre)
2 clarinets (intermediate)
flugelhorn/trombone (highest, around the edge)
4 plucked instruments (kalimbas, harp, guitar, cello) at centre, with/without reverb
7 in addition to inbuilt spatialisation of fixed media: each sound from each source from a different place, at a different distance (use
reverb as well as spatial positioning)
8-9 static
10 4 soloists and percussion are static, the “drones” distributed through entire space also vertically, moving slowly and randomly
11 free/chaotic
12-13 static
14 octet positioned at 8 points around space, rotating very slowly; soloists freely spatialised including vertically
15 inbuilt spatialisation - the five sections may be differently configured
16 voices in slow motion with variable reverb, otherwise static
17-18 static
19 voices static, everything else slow independent rotations at different levels, gradually accelerating until just before sense of
movement is lost
20 free improvisation (highlighting different groups at different times)
The score is at playing pitch, with the exception of part 10 news from nowhere and part 11 storming since these are not fixed in
instrumentation. Otherwise, all instruments are transposed and their parts are identical to the score. The harp is tuned to A=415Hz and
sounds a semitone lower than notated. The quartertones played by the scordatura electric guitar in part 2 Politeia is notated as such; the
scordatura lap steel guitar in parts 13, 16 and 18 wound III/IV/V is notated both at (one octave above) sounding and played pitches.

No vibrato unless indicated.

All transitions including glissandi as smooth as possible.

All trills, tremoli and grace-notes as fast as possible. The intervals for trills and mordents are normally indicated by the notated auxiliary
pitches, or by fingerings (in wind instruments); if neither of these is present, trills and mordents are to the nearest semitone(s). Grace-note
groups separated from notated durations by dotted “barlines” are added to the notated durations. Otherwise they are subtracted from the
notated duration in which they occur. Occasionally the second note in a pair of tied notes is omitted, with the tie going instead to an
“empty stem”. Such omissions are made for reasons of clarity, for example where a grace-note group covers the place where the missing
notehead would have been.

Quartertones: Smaller intervals are notated using an arrow pointing up or down from one of these accidentals; the
precise intonation of such pitches may be inferred from the notated fingering. “Normal” fingering for a given pitch (woodwind instruments)
is indicated by N when this might not otherwise be clear. Sometimes, fingering diagrams show only the right-hand fingers, in cases where
the left-hand fingering will be obvious.

Dynamics: The dynamics given in the score are absolute, ie. after amplification, although of course the full dynamic range of the
instruments themselves should be used. Where for example bass recorder and flugelhorn are both marked p what they might actually be
playing relative to one another is f and pp respectively, brought into balance at the mixing desk.

All instruments: ] is an indication to damp all sound, implying a tongue-stop (winds) or stopping the bow audibly on the string (strings) as
well as damping of percussion and guitar resonance. In the harp part, all or only some of the sounding strings might be damped,
depending on the position and extent of the bracket. [ in strings indicates (re) starting with the bow already on the string.

Woodwind instruments:
Glissandi are sometimes to be executed using the embouchure, sometimes with the fingers and sometimes by a combination of both. Where
no indication of embouchure-glissando (as a sloping line above the stave prefixed by emb.) is given, the glissando is intended to be
produced by changes in fingering.
The use of circular breathing is assumed wherever a continuous unbroken passage occurs.

Flutes: = “pizzicato”; = “breathy” sound (as opposed to )

Recorders:
Dynamic changes should be realised with a combination of breath-pressure (for relative intensity) and moving the instrument relative to the
microphone (for volume). The notated pitches indicate fingerings (and therefore also timbres) rather than precise resultants. Dynamic
profiles of phrases will accordingly be more complex than those notated. A wide range of timbral shades, rather than consistency of tone,
is the intention. For multiphonic, very slight shading of some fingerings might be becessary to obtain optimal timbre and/or stability.

Oboe/english horn:
The numbers given to multiphonics refer to the listing in Veale & Mahnkopf, The Techniques of Oboe Playing (Bärenreiter, 4th ed. 2001).

Clarinets and saxophones:

or = slaptongue (not necessarily staccato!) = diaphragm-tremolo
The numbers given to saxophone multiphonics refer to the listing in Kientzy, Les sons multiples aux saxophones (Editions Salabert, 2003).
The passages in two-part counterpoint for a single clarinet work by juxtaposing multiphonic dyads which have one pitch in common so that,
with care, one pitch will sound as sustaining while the other changes.
= pitch produced by “normal” fingering, when this fingering is altered (typically by adding trill keys) to produce a different pitch or
microtonal sequence. This pitch is shown only as a shorthand for its fingering and is not intended to be heard! Resultant pitches are shown
with normal noteheads.
In part Andromakhe the second and third of the three bass clarinet parts are detuned by an eighth-tone and a quartertone respectively.
Discrepancies in intonation within/between the detuned instruments should not be “corrected”.

Bassoon:
The bassoon part uses many unorthodox fingerings for which a shorthand notation was devised. The notated pitch gives the basic fingering
(but not necessarily the pitch which emerges, since this is often more or less higher than notated), to which one or more named keys
and/or holes may be added, in addition to which the encircled numbers 0 to 9 indicate the following sequence:

0 = fingering as given 1 = close low Bb (left thumb) 2 = open low Bb

3 = open low B 4 = open low C 5 = open low D, close E
6 = close low D (E still closed) 7 = close low C (E still closed) 8 = close low B (E still closed)
9 = close low Bb (E still closed)

Apart from producing differences in timbre and sometimes also pitch, these sequences also often consist partly or wholly of multiphonics
and/or beating sounds. Where the sequences are not used as such, key names are given individually and N indicates the normal fingering
for the given pitch. Multiphonics created by reducing embouchure pressure are indicated by above the stave, with “normal”, non-
multiphonic sounds indicated by where this is necessary for clarity. The transition between these may be gradual (notated, like all
gradual transitions, using a dotted arrowed line) or abrupt.

Brass instruments:
In the flugelhorn/trumpet part, the number after the “tr” in a trill indicates the valve to be trilled; “tr(L)” indicates a lip-trill.
All multiphonics are “split sounds” rather than involving the voice.
Arrows on accidentals indicate justly-intoned deviations from equal temperament, although these may, depending on context, also be
approximated to the nearest quartertone. The flugelhorn quartertones in part 2 Politeia are intended to be realised by pulling out the third-
valve tubing so that it sounds a quartertone lower. The fourth-valve tubing is to be removed altogether. Elsewhere, quartertones are
produced using a fourth valve whose tubing is half the length of that of the second valve. Valves are notated in the score as necessary, as
are trombone slide positions (i-VII) and harmonics (pedal=1).
(above stave) = “normal” tone production.
= “air sound” (extremely faint pitch sounding a major seventh lower than the played pitch - these resultants are shown as small notes)
= intermediate between these (a “breathy” sound but with “normal” pitch still audible).
= open, half-closed and closed mute (plunger or harmon).
[x:] = throat-flutter (x = “ch” as in “loch”) for indicated duration, sometimes simultaneously with fluttertongue.

Percussion instrumentation:

part 2 Politeia, part 12 Helene and part 19 Germania

4 high woodblocks
5 temple blocks (not pentatonic!)
3 slit drums (2 pitches each)
The above instruments should form a single “scale” of 15 pitches so that the lowest woodblock is higher in pitch than the
highest templeblock, and the lowest templeblock higher than the highest slit drum pitch. The “instrument” formed by the
combination of slit drums and blocks is notated thus:

marimba (4 octaves C-c´´´)

part 6 heliocentric
2 (or more) kalimbas

Two are specified in the score (kalimba 1 smaller and higher in general pitch-range, kalimba 2 larger and lower) but these may be
augmented ad libitum, particularly by instruments with distinctively different timbres, to replace the specified ones for one or other section
of the score. Kalimbas in tempered tuning should be retuned so that their tuning is irregular. In particular, no two tongues should be
exactly in unison. Pitches are not specified in the score. Each instrument is notated using one line to represent the central and longest
tongue, and noteheads without lines either side to represent however many other tongues the instruments used may have. Therefore the
pitch goes up the further away (in either direction!) from the centre line. Kalimbas with a larger number of tongues are to be preferred,
kalimbas with buzzing metal rings around the tongues are welcome. Instruments with built-in pickups are desirable.

part 10 news from nowhere

a single instrument able to produce at least 4 distinct timbres, in rapid succession where necessary (examples: Udu, djembé,
bodhran, darabukka, washboard...)

part 11 storming, part 20 ON

any or all instruments used elsewhere (and possibly others ad libitum)

parts 13, 16, 18 wound III/IV/V

5 castanets, fixed to a board to form a “keyboard”
4 Udu drums of different sizes, placed on cushions in a row with the necks pointing outwards
2 bongos
3 congas
This composite instrument is notated thus:

For the Udu drums, indicate an open stroke (on the side of the drum), a half-closed stroke (on the hole, partially covering it) and
a closed stroke (sealing the hole with the palm of the hand). Transitions between these strokes also occur.

For the bongos and congas, indicate respectively: strike near the edge, strike near the centre, strike with the flat of the hand.
Hybrid electric/acoustic and lap steel guitar
The hybrid electric/acoustic guitar is tuned thus in part 2 Politeia:

Notations:
(a) Crescendi on single notes imply the use of one or both of two volume pedals (one for electric and one for acoustic outputs), which
should be set so that when the pedal is fully up no signal passes through at all. Both volume pedal outputs should be sent to the multi-
effects processor if this is used, if necessary using a small onstage mixer.
(b) Fingernail technique (or E-Bow) is assumed throughout, although plectra may be used where convenient.
(c) For natural harmonics, the fingered pitch is notated using diamond-shaped noteheads.
(d) msp and mst indicate molto sul ponticello and molto sul tasto respectively.

Each of the five sections played by the electric guitar in part 2 Politeia uses a different processor setting:
1 should, with the E-Bow, combine with the sounds of recorder and (muted) flugelhorn so as to produce a coherent but heterogeneous
trio of sustaining instruments.
2 applies equalisation to the acoustic output of the guitar so as to merge with the (amplified) baroque harp into a single complex
instrument.
3 should produce an incisive sound (but still capable of sustaining), equal in volume and presence but distinguishable in timbre
between the acoustic and electric outputs. No distortion!
4 should be similar to 1 but more “soloistic” – more high-frequency content (distortion?), perhaps depending on (triggered by) input
volume so as to react differently to fingering- and string-changes.
5 should be similar to 1 but more blended with recorders and (unmuted) flugelhorn.

In part 6 heliocentric the electric guitar is retuned to its normal tuning and should use as default a “clean”, semi-acoustic type sound: brigh
but without distortion or significant compression. A volume pedal should be used to realise the often gradual and/or wide changes in
dynamic. In the first and fifth sections the lowest three strings are “prepared” using crocodile clips or circular paperclips clipped to the
strings near the bridge. In the first section, these preparations are also to be moved to unspecified different positions as indicated, in order
to produce a variety of different timbres at different times. In the fourth section, the open B string is played throughout with an E-Bow and
varies only in timbre - alternations between 5 basic “sounds” are indicated, to correspond to 5 different basic effect-combinations, which
should be highly distinct from one another except in dynamic (although without clear pitch-shifting, or delays or other effects which
produce a discernible regular “rhythm” or pulsation), but each of these may be slowly varied during their duration by gradually adjusting
one or other parameter. The most practical way to organise the effects would probably be to assign each of the five sounds to a different
effects pedal (with all five pedals connected in series), so that each change would involve simultaneously switching one pedal off and the
next on. If this is done accurately the resultant audible clicks will be masked by the kalimba sounds.

The lap steel guitar used in parts 13, 16 and 18 wound III/IV/V is tuned thus:

A volume pedal is used to assist the dynamic changes produced with the volume knob; a “traditional” lap steel sound is preferable, without
much in the way of added effects, except in part V in which distortion is added.

Either instrument (or both, or yet another) may be used in part 11 storming and part 20 ON.

Baroque triple harp

Tuning:

For part 6 heliocentric the harp requires five “preparations: for the lowest five strings. Crocodile clips or circular paper clips may be used,
or some other means of producing a “metallic” inharmonic sound.
Bowed strings

(a) psp, msp = poco and molto sul ponticello respectively, the former already being noticeably different in timbre from nat., the latter
being as extreme as possible consistent with the fundamental pitch remaining audible. pst, mst = poco and molto sul tasto (similarly).

(b) = ascending degrees of bow pressure: flautando; “normal”; exaggerated and distorted (pitch only just discernible);
completely pitchless scraping. The exact timbral result will arise from the combination of bow pressure with bow position and dynamic
level, any or all of which might be simultaneously changing.

(d) clb = col legno battuto, clt = col legno tratto

In part 6 heliocentric the cello is “prepared” with crocodile clips or circular paperclips attached to all four strings near the bridge.

Voices

The texts in parts 3, 5, 8, 12, 16 and 17 are taken from Euripides’ Trojan Women. The ancient Greek text and a phonetic transliteration
both appear in the score, the Greek text divided conventionally into syllables and the phonetic symbols indicating more precisely the
starting point and duration of each sound. Where a consonantal sound is given a specific duration this is indicated by a colon after the
symbol. (In the interest of clarity this is omitted for vowels. The text of parts 18 and 19 is taken from Hugo von Hofmannsthal’s libretto for
Richard Strauss’ Ariadne auf Naxos.

In part 5 Kassandra, many of the more extended vowels are split up by staccati and/or rests: care should be taken to distinguish between
the retaking of a vowel with or without a glottal stop. Some gradual transitions between the vowel sounds of diphthongs are also notated.
These latter features are not “authentic” to ancient Greek of course: where vowel sounds are greatly extended and/or reshaped in this
way, the voice has as it were become an instrument and partakes of the articulational and morphological characteristics of the other
instruments.
Instrumentations and performing notes for the individual sections:

1 strange lines and distances (2’)

This 8-channel fixed media composition should be set at approximately the same volume level as the beginning of part 2 Politeia,
which begins just before the final resonance becomes inaudible.
The eight tracks should be assigned to output channels thus:
1 2
3 4
5 6
7 8
The text was spoken by Siân Wassermann.

2 Politeia (9’)

for 13 instruments:
QUINTET
recorders (tenor, bass, 2 sopranos)
flugelhorn in Bb (third-valve tubing pulled out to be a quartertone lower than normal, fourth-valve tubing removed altogether)
percussion (see above)
baroque triple harp (tuned in quartertones - see above)
electric guitar (quartertone scordatura - see above)
OCTET
tenor saxophone
baritone saxophone
bass saxophone
bassoon
tenor-bass trombone
violin
viola
cello

3 Hekabe-α (4’)

for contralto and 6 instruments:

piccolo
sopranino recorder
2 contrabass clarinets in Bb
baroque triple harp
contrabass

Text: from Hekabe’s first monologue in Euripides’ Trojan Women (lines 98-152), where she raises herself wearily from the ruins to bemoan
her fate and that of Troy.

4 wound I (2’)

for violin, oboe and cello

5 Kassandra (4’)

for soprano and 6 instruments:

oboe
clarinet in Bb
alto saxophone
quartertone flugelhorn in Bb (with fourth-valve tubing transposing by a quartertone only)
baroque triple harp
viola

Text: from two of the prophetess Kassandra’s monologues in Euripides’ Trojan Women (lines 308-314 and 455-461). The first is from
Kassandra’s first entry, in which she sings an exuberant and formulaic wedding-song in “celebration” of her forthcoming abduction into
slavery as the concubine of Agamemnon. While an intervening chorus describes her state as insane, Kassandra goes on to relate how,
instead of a wife, it will be one of the three Furies that Agamemnon takes back to Greece and that she will take revenge by bringing down
the house of Atreus. Thus the second part of the text used here is determined, implacable and free of the (ironic?) delirium of the first part.
6 heliocentric (15’)

for 10 instruments:
DUO 1 bass flute
bass recorder in F
DUO 2 2 clarinets in A
DUO 3 quartertone flugelhorn
alto trombone
QUARTET percussion (see above)
baroque triple harp (also prepared)
electric guitar (normal tuning; also prepared)
cello (also prepared)

The score consists of four components which are consecutive in the score, although they are superimposed in performance: the quartet
score, which is used by the quartet and by the conductor, and the three duo scores (which also exist as separate duo compositions:
Adocentyn for bass flute and bass recorder, Hypnerotomachia for two clarinets in A and Aurora for quartertone flugelhorn and alto
trombone). The versions of those scores used for heliocentric differ slightly from the duo versions in that there are more and subtler tempo
changes, and the music is mostly split into fragments with numbered cues, sometimes necessitating a division of long sustained passages
into separate “phrases”. The changes in tempo are mostly close to the conducted tempo and are intended principally to desynchronise the
layers of the music from one another. Some sections are also rebarred relative to the duo versions to make conducting easier, without
altering the material. The cues are given by the conductor, generally to one duo at a time but sometimes two, at which point the duo plays
until the end of that fragment, usually at its own tempo independently of the rest of the ensemble, and then stops to await the next cue. In
some places one of the duos plays continuously for an extended period together with the conductor.

The quartet score contains all the cues for all duos. The rehearsal numbers next to the boxes refer to points in the duo scores. A box with
an attached arrow indicates that the activity continues until the end of the arrow. A box without an arrow indicates that the activity
continues until (approximately!) the vertical position of the end of the box.

7 Omaggio a Chirico (6’)

for 3 vocalists, violin, viola, cello, contrabass, live electronics (laptop/keyboard using sampled and/or electronic sounds,
and/or live processing applied to the voices and strings)
and 8-channel fixed media

The eight tracks should be assigned to output channels in the same configuration as part 1 strange lines and distances.

The parts of the performing instructions in italics are quoted from Italo Calvino’s novel Invisible Cities.

8 Andromakhe (4’)

for contralto and 6 instruments:

3 bass clarinets (2nd tuned an eighth tone flat, 3rd tuned a quartertone flat)
bassoon
baroque triple harp
cello

Text: from Andromakhe’s scene in Euripides’ Trojan Women (lines 636-646, 657-660, 740-741 and 761-765), forming three “strophes”
which focus respectively on death as a state beyond suffering, on Andromakhe’s loyalty to her dead husband Hektor and its implications
for her forced marriage to a Greek, and finally on a lament for her young son Astyanax whom she has just heard is to be taken from her
by the Greeks and thrown to his death from the ramparts of Troy.

9 wound II (4’)

for violin with english horn, clarinet in Eb and cello

10 news from nowhere (7’)

for variable ensemble:

4 wind players each using at least 3 different instruments, up to a maximum of 12 (one for each indicated change of instrument)
1 percussionist using a single instrument able to produce at least 4 distinct timbres, in rapid succession where necessary (examples:
Udu, djembé, bodhran, darabukka, washboard...)
(optional) drone instruments, as many as possible, able to produce sustained sounds (winds, strings, electric guitar with E-Bow,
bowed piano or vibraphone, organ, theremin...)

Winds: One or more of the instruments (preferably as many as possible!) used by each player should be an “early” and/or “folk” and/or
home-made instrument. Choices of instruments for each entry may be made spontaneously or in advance, taking into account that the score
sometimes specifies that octave transposition should not be used (where this instruction does not appear it can be assumed that any pitch
may be transposed into any octave) and that the individual character in timbre, intonation, articulation etc. of each instrument should have
an opportunity to be emphasised. Each performer plays a sequence of 15 events (numbered 1-15 at the top left-hand corner of the “box”
containing the indications for this event - these indications are to be taken as holding from its beginning to its end unless otherwise
specified) whose starting and ending points are indicated in relation to the notated melody (sometimes in the middle of one of its notes).
One or more of the players will at any given time be playing the melody more or less “as written”, while others might be relating to it
more tangentially according to the instructions, or improvising freely (which might include any kind of relation to the melody, including
none). The result should be that the melodic line is constantly changing in colour and character, sometimes going out of focus or becoming
partly submerged but never entirely disappearing. Dynamics may be taken as average values for the event in question; extreme deviations
should however be rare. An important aspect of performance technique should be the attention paid by each player to imagining and
creating interrelationships between the sound-structures implied by the skeletal notated materials, and between the activities of the other
players. The word “microtonal” in the indications means, for the present context, simply an interval smaller than a semitone.
M = follow the notated melody (with any additional obligatory or optional indications - see below)
∞ = free improvisation (also with optional indications)
§ = optional suggestions, for example “§ multiphonics”. The presence of some type of material or behaviour as an option somewhere in
the score in no way precludes its appearance elsewhere (at points where it is not mentioned).
A double-headed arrow means “between these limits” (of dynamic, duration etc.)
C = change instrument - possibly to one you have used previously, but not the one used in the previous event

Percussion: each of 16 sections is prefaced with 1, 2, 3 or A (all) to indicate how many of the different sounds are to be used in that
section. The "1" sections should naturally use different sounds rather than always the same one, especially in the last section, and the
rhythmical and dynamic characteristics of the notated material might suggest which sounds and combinations would be most suitable for
each section. Rests in the part are there to avoid excessive numbers of tied notes and have no implications for whether a sound is damped
or allowed to ring.
∞ = free improvisation
Drones are to be played by as many performers as available, not less than 3 (unless this part is omitted altogether). The notated pitches
may be played in any octave, except where indicated, and may be inflected by as much as a quartertone in either direction but (again
except where indicated) with no further “ornamentation”, so that the “drones” always stay in the background of the main melody. If a
sound is reattacked (when necessary to take a breath or change bow direction, but also in other types of instrument ad lib, as long as the
overall “drone” texture is perceived as continuous) may begin with different intonation and/or in a different octave, but always with as
little audible attack as possible. The arrows before and after new pitches indicate a timespan within which players individually stop playing
the previous pitch and begin the new one, so the entry of new pitches is usually staggered to a greater or lesser extent through the
ensemble. The new pitch may be attacked directly or reached by legato or glissando from the previous one. All attacks should be
unobtrusive or nonexistent.

News from Nowhere is the title of a post-technological “utopian romance” written around 1890 by the artist, designer and socialist William
Morris, whose protagonist finds himself waking up in early 21st century London which seems like a kind of neo-mediaeval world, although
private property and government have been abolished and the inhabitants are almost without exception happy, healthy and long-lived.
(The text can be read here: http://www.marxists.org/archive/morris/works/1890/nowhere/nowhere.htm) This music attempts to reflect
Morris’ naïve fantasy of a non-futuristic future by taking the ancient concept of a melody with “ornamentation” in diverse “new” directions.

11 storming (3’)

for variable ensemble - all performers except the vocalists, with free choice of instruments where applicable
and 8-channel fixed media

The eight tracks should be assigned to output channels in the same configuration as part 1 strange lines and distances and are divided into
eight sound-events which are triggered either by the conductor or under his/her direction.

The notated material consists initially of five “tracks” which gradually narrow down to a single one. Each track consists of defined pitches
and undefined sounds (denoted by “empty” note-stems), and the five tracks are characterised by register. At the beginning at least two
players should be playing from each track; by the end, all players converge on track 3. Players may switch tracks (and instruments)
between cues even if they are not obliged to do so by the termination of a track.

Each performer plays an independent sequence of mostly separate sounds, mostly short in duration, at a rate which enables each sound
potentially to be heard while at the same time the overall density of sounds should be mostly high, sounding as responses to (not imitations
of) the dense and jagged electronic part.

The rate at which each player produces sounds will depend on the number of performers taking part, although each player may also vary
his/her rate freely, as a rule between one sound every two seconds and six sounds per second. These durations may be extended
somewhat as the music progresses and the amount of defined pitch-material decreases.

The undefined sounds do not need to stay within the register of the defined ones in a track; in fact they do not need to be pitched at all -
each sound should be as differentiated as possible from all others in pitch (or pitchlessness), timbre, articulation, duration (within the limits
mentioned above) and dynamic (using the entire range specified for the section). The repeat signs apply only to the defined pitches; the
others may be freely varied at all times. The notated pitches may be microtonally varied by up to (but not including) a quartertone in either
direction, and should not in general be either emphasised or de-emphasised relative to the others.
The alternation between electronic and instrumental sound-events should always be instantaneous (unless a general pause is indicated),
which might involve beginning to play a fraction of a second before an electronic sound-event ends.

The score is at sounding pitch. The should be no octave transpositions, and as few as possible pitches omitted for lying outside the range of
an instrument.

12 Helene (4’)

for soprano, tenor recorder, marimba and baroque triple harp

Text: from Helene’s scene in Euripides’ Trojan Women (fragments from lines 914-964), in which she defends her life and actions with an
offhand sophistry in sharp contrast to the brutality and agony which suffuses the rest of the play.

13 wound III (5’)

for solo violin and 5 instruments:

oboe
contrabass clarinet
percussion (see above)
electric lap steel guitar (see above)
cello

14 Island (11’)

for two improvising soloists and 8 instruments:

alto flute
alto recorder
flugelhorn in Bb (the part is written for an instrument with the third-valve tubing pulled out to lower it by a quartertone,
but may also be played on a quartertone flugelhorn)
tenor-bass trombone
violin
viola
cello
contrabass

Duration: the more improvised sections of the piece have been given overall durations, but these are intended as a guide rather than as a
specification, and may vary under numerous circumstances: the acoustic of the performing space, the choice of instruments for the two solo
parts, on-the-spot decision-making by conductor and/or soloists, and so on

Solo parts: these may be taken by any acoustic/electronic instruments or voices, similar or dissimilar. There is no implied precedence
between the two parts. Solo 2 must be able to play/sing sustained pitches; solo 1 may do so but doesn’t need to. The solo parts are
completely improvised. The score contains only directions as to where one or both parts enter and exit, and (sometimes) the briefest
possible descriptions of what kind of activity might be appropriate. While the entry/exit indications should be closely adhered to, all other
indications (eg. “quiet”) may be understood as general pointers which don’t need to be scrupulously followed all the time. The intention is
that the soloists should be as far as possible unrestricted in their choice of musical material. However, the context of the ensemble and its
material should always be borne in mind, so that a mutual “influence” between soloists and ensemble is constantly in evidence.
(d) No musical material should be ruled out a priori on the grounds of taste or consistency.

Ensemble and conductor: these parts vary between precise notation and improvisation. Again, improvisatory activity should both reflect the
context of the notated music and embody spontaneous interaction between soloists and ensemble, and this applies to the conductor as
much as to the instrumentalists. Any instructions may be departed from as long as the structure of the composition isn’t thereby confused
and disrupted. The eight sections A-H play continuously and should “flow” as naturally as possible into one another. The improvised
elements should similarly “flow” from the notated ones so that the composition retains an overall coherence. The completely-notated
sections thus function to “seed” the overall musical identity, as a context against which spontaneous musical decisions are made.The score
contains a mixture of conventional and unconventional notation, and verbal indications. It is essential that the verbal indications be
“learned” in rehearsal so that they don’t need to be referred to at all during performance.

15 Simorgh (11’)

8-channel fixed media composition. The eight tracks may be assigned to output channels ad libitum.
16 wound IV (3’)

for violin and ensemble:

oboe
clarinet in Eb
percussion (see above)
electric lap steel guitar
3 voices: soprano, contralto, countertenor
cello

Text: from a choral ode in Euripides’ Trojan Women (lines 1078-1080)

17 Hekabe-β (3’)

for soprano (chorus I), contralto (Hekabe), countertenor (chorus II) and ensemble:
piccolo/alto flute
bassoon
piccolo trumpet in Bb
trombone
baroque triple harp
violin

18 wound V (1’)

for violin and ensemble:

alto flute
english horn
contrabass clarinet
alto saxophone
flugelhorn in Bb
percussion (see above)
electric lap steel guitar
3 voices: soprano, contralto, baritone
contrabass
electronics (laptop/keyboard)

Text: from Hugo von Hofmannsthal’s libretto for Richard Strauss’s opera Ariadne auf Naxos
The contrabass clarinet and electronics (laptop/keyboard) parts begin at bar 92 of part 17 Hekabe-β

19 Germania (3’)

for soprano, contralto, baritone and ensemble:

alto flute
english horn
contrabass clarinet
alto saxophone
bassoon
flugelhorn in Bb
tenor-bass trombone
percussion (see above)
baroque triple harp
electric lap steel guitar
violin
viola
cello
contrabass
electronics (laptop/keyboard)

Text: from Hugo von Hofmannsthal’s libretto for Richard Strauss’s opera Ariadne auf Naxos

20 ON (20’)

improvisation for ensemble (tutti with free choice of instruments)

General notes

CONSTRUCTION is the eighth and final part of a series of eight compositions collectively entitled resistance & vision, which will eventually
consist of the following:

1 NO orchestra 21’
2 Dying Words voice, flute, piano, electronics 50’
3 cell alto saxophone, accordion, contrabass 14’
4 L music theatre 75’
5 Mesopotamia 17 instruments & electronics 25’
6 IF orchestra 16’
7 nacht und träume cello, piano, electronics 20’
8 CONSTRUCTION voices, instruments, electronics 120’

CONSTRUCTION then is by far the largest element in this cycle, occupying about a third of its total six-hour duration, and forms a
conclusion to it. The title is to be explained principally by the frequent presence in my mind, while I was working on it, of the image of
Vladimir Tatlin’s unrealised architectural project, the “Monument to the Third International”, a huge steel structure containing
symbolic/functional elements rotating at different speeds which was intended to be built in St Petersburg in the years after the Russian
Revolution, but was never actually started owing to material shortages. Despite existing only in the form of plans and models, this tower
became a defining symbol for the Constructivist movement, the avant-garde of the early years of Bolshevik Russia, and for me is a kind of
non-existent monument to all unrealised and unrealisable utopian visions. Hence CONSTRUCTION.

On the largest scale, CONSTRUCTION takes the form of four interwoven strands or cycles, each consisting of five parts. Two of these
cycles relate in diverse structural/poetic ways to utopian ideas, one of them principally vocal-instrumental, and the other featuring
electronic sounds. The other two cycles represent realities with which these utopias are confronted: one is a highly-abridged setting in
ancient Greek of the Trojan Women, a tragedy by Euripides, and the other is a series of “laments” which feature solo violin and together
form a five-movement composition entitled wound.

Euripides’ play has little in the way of action, focusing on the women of Troy outside their burning city after it’s been sacked by the Greek
army, who have murdered their husbands and children and are about to take them back to Greece as slaves and concubines. The first
production of this play took place in 415 BCE, and in its time seems to have been an explicitly political piece of theatre, in that Euripides
depicts the Greeks as marauding barbarians rather than the pinnacle of civilisation their intelligentsia tended to believe themselves to be:
this was a comment on the recent slaughter by Athenian forces of the population of the island of Melos after they refused to join Athens in
its alliance against Sparta. The theme of (the ruling class of) a country priding itself on its moral and cultural superiority while laying waste
to other countries and subjugating their populations is of course just as current now as it was two and a half thousand years ago. Each of
my five “scenes” is taken from a speech by one of the Trojan women, except the fifth and last in which a “chorus” of two voices is added
in dialogue with the character Hekabe.

In the violin solos, on the other hand, the violin is intended to “inhabit” its accompaniment in an analogous way to that in which the
tortured figures in the paintings of Francis Bacon inhabit their backgrounds.

The diagram below shows how the four cycles are combined into the complete two-hour structure.
Various structural proportions are visible on this large scale: for example, cycle 3 consists of five elements of equal duration which are
increasingly separated as the form progresses, while cycle 4 consists of elements with durations 1, 2, 3, 4 and 5 minutes (though not in this
order) which become closer together. Cycle 1 and 2 pieces are always paired with one another. What the diagram doesn’t show is that
sometimes these elements overlap with one another so that part 19 actually begins before the end of part 17 and continues throughout
part 18, and that sometimes the cycles “touch” each other as in wound IV which contains a setting of a chorus from the Euripides play.
Another aspect of structural planning on the level of the whole piece is the instrumentation: the violin in cycle 4 begins accompanied by
two other instruments, and the accompanying group expands according to a Fibonacci series so that in wound V it contains 13 instruments
and voices. (Although the version of wound which is played separately involves 2, 3, 5, 3 and 2 instruments alongside the violin in its five
movements.) Each piece in cycle 3, on the other hand, has a distinctive and different instrumentation, using between them almost all the
available instruments although the harp appears in all five.

Cycles 1 and 2 don’t form consistent series like the others, and tend to contain longer elements: one part of cycle 2 lasts as long as all of
cycle 4, and the final part of cycle 1 is as long as all of cycle 3. So the shortest “movement” is one minute long and the longest is twenty -
the extended duration of CONSTRUCTION in its entirety doesn’t involve a corresponding extension in the durations of its constituent parts
so much as an extension in the range of their durations.

Various selections from CONSTRUCTION may be made for concert performance. Any of the pieces in cycles 1 and 2 may be performed
individually, as may cycle 3 in its entirety (as Troiades) or cycle 4 (wound). The concert version of wound is scored for solo violin with
oboe/english horn, Eb/contrabass clarinet, percussion, electric lap steel guitar and cello. The three duos from heliocentric (Adocentyn for
bass flute and bass recorder, Hypnerotomachia for two clarinets in A and Aurora for quartertone flugelhorn and alto trombone) may also
be performed separately, without the breaks indicated here and with fewer tempo changes (see the separate scores).

There exist many other kinds of reflection, resonance and correspondence between the twenty sections so that when performed as a whole
they’re perceived as elements in a single entity constructed from diverse materials, rather than as separate pieces compiled into a
collection. On the other hand, the transitions between them proceed by confrontation more often than by continuity, this feature being of
course an expression of the overall concept of confronting utopias and reality. A provisional way out of all these confrontations is to be
found by the entire performing ensemble as a collective in the final part, and found anew in each performance, each time evolving in a
different way from the previous music and - I dare to hope - discovering a new music which couldn’t have been brought into being any
other way, certainly not through the imagination of a single person, and perhaps opening perspectives for the future development of
thinking and practice both in musical terms and beyond.

Acknowledgements

For their assistance in making this composition possible I should like to thank Steve Adam, Robyn Archer, Séverine Ballon, Katja Blischke,
Daryl Buckley, Rhodri Davies, Peter Evans, Lawrence Harvey, Richard Haynes, Michael Hewes, Graeme Jennings, Deborah Kayser,
Genevieve Lacey, Adam Long, Marshall McGuire, Graham McKenzie, Ben Marks, Domenico Melchiorre, Peter Neville, Paul Obermayer,
Tim O’Dwyer, Paula Rae, Carl Rosman, Shoel Stadlen, Kees Tazelaar, Eugene Ughetti, Peter Veale, Erkki Veltheim, Dafne Vicente-
Sandoval, Siân Wassermann, Ute Wassermann, Tristram Williams and Joan Wright.
 1 strange lines and distances

8-channel fixed media

duration: approximately 2 minutes

Strange lines and distances should be set at approximately the same volume level as the beginning of
the following instrumental section Politeia, which begins just before the final resonance becomes inaudible.

We have also sound-houses, where we practise and demonstrate all sounds and their generation. We have harmony
which you have not, of quarter-sounds and lesser slides of sounds. Divers instruments of music likewise to you unknown,
some sweeter than any you have; with bells and rings that are dainty and sweet. We represent small sounds as great
and deep, likewise great sounds extenuate and sharp; we make divers tremblings and warblings of sounds, which in
their original are entire. We represent and imitate all articulate sounds and letters, and the voices and notes of beasts
and birds. We have certain helps which, set to the ear, do further the hearing greatly; we have also divers strange and
artificial echoes, reflecting the voice many times, and, as it were, tossing it; and some that give back the voice louder
than it came, some shriller and some deeper; yea, some rendering the voice, differing in the letters or articulate sound
from that they receive. We have all means to convey sounds in trunks and pipes, in strange lines and distances.

(Francis Bacon, The New Atlantis, 1605)

2
 2 Politeia 3

A e = 72

3
      
 8
 
all sounds with slaptongue until end of bar 12

   
          
 
tenor                  
saxophone
               
fff sempre

 
all sounds with slaptongue until end of bar 12
      
                
baritone
                 
saxophone
               
fff sempre

all sounds with slaptongue until end of bar 12

        
  
          
                  
 
bass
saxophone
               
fff sempre

sustained pitches "cross-fade" between bassoon and trombone, with overall loudness remaining as constant as possible!


5:6
 5:6 5:6



bassoon        
 
ff   ff  ff
sustained pitches "cross-fade" between bassoon and trombone, with overall loudness remaining as constant as possible!
5:6  5:6
 5:6

trombone          
(straight mute) 
 ff   ff

 3:2    3:2   3:2  3:2       3:2

arco psp

              3:2

   
       3:2   3:2
                         
  3:2
  
 3:2     3:2
3:2 3:2 3:2

  
3:2 3:2 3:2 3:2

violin    

fff sempre

                       3:2

arco psp
 3:2   3:2
              
   3:2
3:2
   3:2
 3:2
3:2 3:2 3:2



3:2 3:2 3:2

     
3:2 3:2 3:2
 
       
3:2 3:2

viola  
     
fff sempre
arco psp

3:2 3:2 3:2 3:2 3:2 3:2

            
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2

      


        
                        
      
                     
cello
     
fff sempre


amplification: balance bassoon against trombone; balance recorder against the rest of the quintet (from bar 17)
and keep in mind its position in the mix, especially when playing together with the flugelhorn

     

4  
tenor
         
 





         
   
saxophone
              
(fff)

       
baritone
  
        

  
 


      
   
saxophone
              
(fff)

       
bass
  



 


 

     

 

 


  

saxophone
             
(fff)
5:6  5:6



5:6

bassoon       
 
(ff)  ff 

5:6 5:6 5:6

      
trombone   
  

(straight mute)
ff
 ff

  3:2      3:2         3:2

                 
  
        
  3:2    3:2  3:2   3:2
3:2 3:2
   3:2   3:2
3:2 3:2
  3:2  
 3:2   3:2   
3:2

      

3:2

violin   
  
(fff)

               

   3:2   3:2
  3:2
    3:2   3:2    3:2   
 3:2     3:2
3:2 3:2
 3:2 
3:2 3:2 3:2 3:2 3:2


3:2 3:2

                  

  
       
viola

(fff) 
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
 3:2 3:2 3:2 3:2 3:2  3:2
         
3:2

             
                         
             
       
      
                    
cello

(fff)
   
 4

  

 
 
7

       
  
              
 
tenor
saxophone
        
(fff)
    
baritone
      
       
  
        

saxophone
           
(fff)

    
bass
  
   
       
   




 
   
saxophone
          
(fff)
5:6
5:6

5:6

     
bassoon
    
  
ff
 ff
5:6
5:6 5:6

  
trombone     



(straight mute)
 ff
ff

  3:2
  
           
  3:2 
             
   3:2 
  
    
  3:2  3:2 3:2 
3:2
 3:2    3:2     
3:2

           
3:2 3:2 3:2 3:2 3:2 3:2 3:2
3:2

violin    
 
(fff)

 3:2     3:2    3:2   3:2        
                 
3:2

                  

    3:2  3:2

 
3:2 3:2 3:2 3:2 3:2 3:2


3:2 3:2 3:2 3:2
 
          
3:2

viola       
    
(fff)
3:2 3:2 3:2 3:2  3:2
3:2 3:2 3:2 3:2

        
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2

                      

                       
cello                    

(fff)
            

     
5
 16
10
tenor
                          
 
  
saxophone
                
(fff)

     
     
   
baritone                  
saxophone
    
     
     
   

(fff)
     
bass
   
    


       

 
  
        


saxophone
               
(fff)
5:6 5:6 5:6
 
bassoon  
   


ff   ff

 5:6 via
5:6

5:6 sord.
       
trombone
   

(straight mute)

]
 ff ff

 3:2       3:2    

   3:2  3:2     3:2
                     

   3:2    3:2  3:2             
3:2 3:2
    3:2  
3:2 3:2
   
3:2 3:2 3:2 3:2

3:2

violin     
 
(fff)

                       


   3:2  
3:2
 3:2  3:2
3:2
 3:2   
3:2

   3:2          

3:2
 3:2
3:2 3:2 3:2 3:2 3:2

      

3:2 3:2 3:2

viola
              
(fff)
3:2 3:2 3:2 3:2 3:2 3:2   3:2 3:2 3:2 3:2 3:2 3:2 3:2


3:2


3:2 3:2 3:2 3:2

cello  
  
      
 
         
      

  
             
         
  
                         
                           
   

(fff)
 B The quintet (recorder, flugelhorn, marimba, harp and guitar) enters here
and plays conducted alongside the saxes and strings until the end of bar 36 5
    
5 2 
7 
2

(normal staccato from here onwards)
 
13
16      
8  
16 8
tenor
saxophone              
      


   
sub. mp sempre
(normal staccato from here onwards)
   
  
                 
       
baritone
saxophone
      
sub. mp sempre

 
(normal staccato from here onwards)
 
bass
   
 
 
  
 
 
     
       


     

saxophone
sub. mp sempre

        
 3:2     
  3:2   3:2  3:2 
    
     3:2     3:2 
 
3:2
        
3:2 3:2
 3:2 
3:2 3:2

3:2 3:2 3:2

violin                
 
mp sub.


 
  3:2   3:2  3:2 
 
3:2


                      
 
3:2

    
    3:2  3:2    
3:2 3:2
  
3:2 3:2 3:2 3:2

   
3:2 3:2

viola        

 
mp sub.
3:2 3:2 3:2 3:2 3:2 3:2

3:2 3:2 
3:2 3:2

          
3:2 3:2 3:2 3:2 3:2 3:2

                   
 
                       

                     
cello

mp sempre
       

2 
4 6
 8 
  
  
8 8
          
16

     

        
saxophone 
tenor
        
(mp)

   
  
baritone
                          
saxophone           
(mp)

   
    
            
            
bass
               

saxophone
(mp)

                       
3:2  

      
        
 3:2 
      
 
3:2 3:2 3:2
 3:2  
3:2 3:2 3:2 3:2 3:2

    
3:2 3:2 3:2 3:2 3:2 3:2 3:2
 
      
3:2

violin     
(mp)
 

 3:2   3:2 3:2  3:2 

                      
3:2
      3:2   3:2   3:2
                 

3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2

              
           
viola
  
(mp)
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2

      

3:2 3:2 3:2 3:2 3:2 3:2

          
         
                  
   
   
             

                    
cello
      
(mp)

6     
3 
7
 8

8  16
 
19
tenor
        
 
    
 
 
  
 
 
saxophone
 
(mp)
      
      

                
 
baritone
saxophone
      
(mp)

      

    
bass              
            

saxophone
(mp)

              3:2 

                 
        3:2   
3:2 3:2
 
3:2 3:2 3:2
 3:2
 
3:2 3:2 3:2 3:2 3:2
3:2

violin                    

  
(mp)

                                         

   
   3:2     3:2  3:2   3:2
3:2

  
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
3:2


              
viola

(mp)

3:2 3:2 3:2  3:2 3:2

3:2
3:2 3:2 3:2 3:2 3:2  3:2

      
3:2 3:2 3:2


                     3:2
         
       
cello  
   
       

             
        
     
(mp)         
6

7    11     
  

    
16  16
      
21

 
tenor
             
saxophone    
(mp)

       
 
 
baritone
      

              
saxophone   
(mp)

       
 
bass                 
saxophone            
(mp)

    3:2               

    3:2
   
              
 3:2
       
      3:2         
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2
3:2 3:2 3:2 3:2
3:2

violin                    
  
(mp)


                 

3:2

 3:2  3:2     3:2   3:2  3:2 
3:2 3:2 3:2

3:2 3:2 3:2 3:2 3:2 3:2

                    

       
 
         
viola
 
(mp)
3:2 3:2  3:2 3:2
3:2 3:2  3:2

       
3:2 3:2 3:2 3:2 3:2 3:2

               

3:2 3:2


          
    
        
         
      
cello
     

 
(mp)


     4 9
       


 
8 16
      
23

  

          
saxophone 
tenor
   
(mp)

        
       
        
baritone        
saxophone   
(mp)

        
 
        
 
bass       
saxophone          
(mp)

             

  3:2
   
           
   3:2
     
3:2
  
   
3:2 3:2
 3:2  
3:2 3:2 3:2 3:2 3:2

       

3:2 3:2 3:2

violin       
    
(mp)

         

             
3:2 

          

 3:2    3:2   
3:2

  
3:2 3:2 3:2 3:2 3:2 3:2 3:2

  
3:2

    
   
   
viola
  
(mp)

 3:2 3:2 3:2 3:2 3:2

3:2 
3:2 3:2 3:2

                

3:2 3:2 3:2 3:2 3:2

                 
3:2

cello  
    
      
       
   
                

(mp)
  

9    
4  
2 6
 16 
 
 
8 8  8
        
25

   
       
 
   

tenor
saxophone     
(mp)

       
       
  
baritone
   
 
          
  

saxophone   
(mp)

       

        
bass                 
saxophone            
(mp)

           

  
    3:2  
                      
3:2

   
         
3:2 3:2 3:2 3:2


3:2 3:2

   
3:2 3:2 3:2 3:2 3:2 3:2 3:2

            
violin
  
(mp)  

                           
  3:2
  
3:2
  3:2   3:2   3:2    3:2  
3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2 3:2

                   

  
viola
(mp)

    
3:2 3:2  3:2
3:2 3:2 3:2  3:2
3:2 
3:2

                 
3:2
3:2 3:2 3:2 3:2 3:2

              
                     
                 
        
  
         
cello
(mp)           
 7

6 
5 9
 8

28
16  16
  
      
         
saxophone         
tenor
   
(mp)
  
          
              
   
baritone
saxophone     
(mp)

  
  
             
            
bass
saxophone         
(mp)

      

  3:2
      
  
  
 
3:2
 3:2  
3:2 3:2
 3:2   
3:2 3:2

3:2 3:2 3:2

violin                
          
   
(mp)


                   
 
3:2
 3:2
3:2
 3:2  3:2   
  
3:2 3:2 3:2 3:2 3:2 3:2

viola                 

      
(mp)

 3:2 3:2

3:2
 3:2 3:2
 3:2 3:2

                    
3:2 3:2 3:2

    
3:2

cello          
3:2
       
       
              
(mp)
    

9     3 5

 16 8 8
30


      
       
saxophone        
tenor
   
(mp)

       
           
    
baritone
saxophone   
(mp)

    
        
 
bass
saxophone                    
(mp)


      
  3:2

 3:2            
3:2 3:2

 
3:2 3:2 3:2 3:2

   
3:2

violin                    
   
(mp)

            
3:2
  3:2
   
  
3:2 3:2 3:2 3:2 3:2 3:2 3:2

                

   
viola
   
(mp)

 3:2  3:2 3:2

 3:2
  3:2
 3:2


       
3:2 3:2 3:2 3:2 3:2


 
    
                   
      
      
   
    
cello
         
(mp)

5 
2  
4
 8

32
8 8
saxophone 
tenor
 

    
 
  

  


  
 
 
(mp)

   
baritone
saxophone   

  


 
  

    


  


(mp)

   
  
        
  
bass
saxophone                  
(mp)

      


    
         
3:2


 
3:2 3:2 3:2

3:2 3:2 3:2 3:2 3:2

violin                 
(mp)         
 
      
3:2 3:2

       
 3:2
  3:2
 3:2
 3:2 3:2

               

viola
  
(mp) 
    
 3:2 
3:2
 3:2 3:2
 
3:2

3:2 3:2
 3:2

cello                   
     
         

   
 
  

 
   
(mp)
 
8

4         
3  
 8
  
34
8     
                
              
saxophone     
tenor
       
(mp)

             
  
                
                  
   
baritone
saxophone           
(mp)
             
         
           
         
     
      
bass
saxophone          
(mp)
con

    

 
         

3:2 3:2 sord.
  3:2    
3:2

      
3:2
 3:2
      
3:2 3:2 3:2 3:2 3:2 3:2

violin                   
            
   3:2   3:2  3:2  3:2 con sord.
      
3:2

3:2 3:2 3:2

        

3:2
 
       

3:2

   
3:2 3:2

                

    
viola
       

3:2 3:2 3:2

 3:2 3:2 3:2
 3:2 3:2
 3:2
 3:2
 3:2
 3:2  3:2
 3:2
cello                        

                       
  
 
 
          
          
 13

C e = 96
9" senza tempo 2 5
      

 8 8
4:3
37
tenor
  

saxophone

p sempre


     
 
4:5
baritone
   

saxophone

p sempre

       

      
5:4 4:3

bass
     
saxophone

p sempre
3:2

bassoon               
 p sempre
ppp f

(no tongued articulation between legato pitches! but don't connect them directly with glissandi, instead
always switching to a different partial, with slight instantaneous adjustment of slide where necessary)

               

4:3

 
3:2

trombone  
ppp f 
sub. p sempre

arco msp sempre sul II

 
2 1 2 1

  
(don't minimise irregularities in pitch when
one finger has to make room for another!)
violin    
(con sord.)
p sempre

arco msp sempre sul I 4 3 2 1 3 2

       
(don't minimise irregularities in pitch when 3:2
one finger has to make room for another!)
viola    
(con sord.)
p sempre

        

6:5
3:2
 
arco nat. (senza sord.!)


cello   
p sempre

5 3 4
 8               8              
 3:2  3:2   
  8
3:2 4:5 9:7
40
tenor
    
saxophone

(p)

             

 
 
 
6:5 3:2 9:7

       

   
   
       
      
baritone
saxophone  
(p)

                 

   
 
    13:10    
5:6
   
          
4:3 3:2


3:2

       
 
   
bass
saxophone 
(p)


4:5 13:11 3:2

                

          
       
         
bassoon
(p)   

                        

3:2 3:2 3:2 6:5

trombone  
(p)

2 3 4 3 2 1 3 2
3 1 2 3

                
11:12 3 1 2
3:2
(msp)
     
violin     
(con sord.)
(p)

1 2 1 2 1 2 3
2 3 1 2 3 4 3 2 1 2 3 2 1 2

                           
4:3 5:6
(msp) 3:2 3:2 3:2 3:2 3:2

viola      
(con sord.)
(p)

                 

      

6:5 6:7 3:2
(nat.)


cello  

(p)
14

5 7
 
                    
 3:2     4:5       
4:5

   8 16
43 3:2 3:2

tenor
   
saxophone

(p)

4:5
 3:2     9:8  
            

         
    
    
 
baritone
saxophone    
(p)

          3:2
       
 3:2 3:2
            
    

         

3:2 3:2
 5:6  
4:3 4:3 4:3 4:3 4:3

  
    
bass
        
 
saxophone
(p)

8:7 4:3

                  
bassoon   

(p)

                          

   
4:5


7:5 8:9 4:3

    
7:6

trombone   

(p)

4 3 4 1 2 3 1 2

   
7:6 1 3 2 4 3 2 3 2

         6:5         
 
  (msp) 6:7

violin    
(con sord.) 
(p)

2 3 4 1 3 2 1 2 1 2 3

 
2 3 2 4

                           
  
8:9 3:2 3:2
(msp) 6:5 7:5

viola  
(con sord.) 
(p)

                

(nat.) 4:3 4:3 4:3 12:11


cello  
(p)

      
7 2 13 
2 4
                  3:2
    
16 8 16          8 8
46 5:6 3:2 9:10 3:2 3:2

tenor
      
saxophone

(p)
5:4 3:2 3:2

  
 
5:6 5:4
     
baritone
                      
       
       
saxophone

(p)

  4:3   
4:3 4:3

            
4:3 8:7
     
   
                
        
bass
     
 
saxophone

(p)

 
13:9 3:2 5:4 5:4 5:4

       
     
         
 
         

       
bassoon
(p) 

          

7:9

 
3:2 7:6

trombone           

(p)
3 1 2

    
1 2 1


(msp) 6:7

  
violin      
(con sord.)

(p)
2 1 2 3 4 2 3

         
3

   
2 1

    
4 11:8


5:4 5:4

msp 5:4

viola      
(con sord.)
(p)

                 

3:2 3:2 3:2 3:2 3:2 7:8
(nat)

  
cello 
 
(p)
 15
The quintet enters here and plays conducted
D alongside this octet, continuing after the
octet stops at the end of bar 57
4 11(4+4+3) 5
 8          32           8
50 4:5 9:7 9:7

  
saxophone 
tenor

(p)


3:2 3:2

baritone
             
       
saxophone

(p)

  
bass
        
   
  
saxophone
(p)



3:2 3:2 3:2

   
5:4


3:2 3:2 3:2 9:10 3:2 3:2

        

                      
 
 
   
bassoon
(p) 

                   

10:7

 
3:2

trombone    
(p)
2 3 1

         
6:5 4:5
(msp) 2

violin     
(con sord.) 
(p)
2 1 2

  
4:5

   
7:8

(msp)
viola   
(con sord.) 
(p)

     
4:5
 
cello      
(p)

5 3
 8    8
53
tenor
     
saxophone

(p)

 
9:7
 3:2  
11:8 3:2



9:8 3:2

baritone
                              
                        

saxophone

(p)

   
  
10:9 6:7

 
  
bass
                    
saxophone        
(p)


bassoon     
 
(p)

       
8:7
trombone    

2 3 1 (p)
2

      
15:11
(msp)
  
violin    
(con sord.)
(p)

3 2

     
viola    
(con sord.)
(p)
8:7 9:10

    
8:7

    

nat.


cello     
 
(p)
16

4 
55
 

 
   
    

     
3:2 3:2
8    7:5

  
     
 
saxophone 
tenor

(p)

baritone
       

saxophone

(p)

3:2 9:11 6:5

5:4

bassoon   
             
 
         
     
(p)

  
  
5:4 8:7

trombone     

(p)

    
msp via sord.

violin     
(con sord.)  
(p)
2 1

    
3:2

  
msp via sord.

viola  
(con sord.) 
(p)

 
(nat.)

cello       
(p)

(quintet continues; octet rejoins at bar 73)

30

G e = 84

3       

 
pesante 8:7

  
8
3:2 3:2 11:12 4:3
110

                    

       
tenor
saxophone
                 
fff mf fff mf fff mf

 9:10     3:2  
3:2 5:4
      4:3 
                          
5:4

      

pesante
 
baritone
       

        
 
  
saxophone
fff mf fff
fff mf fff mf
fff mf

pesante
 4:3 
                  
4:3 
  

                 
4:3 3:2 13:12 7:9
bass
    
     
saxophone

fff mf fff mf fff mf fff mf

pesante
    4:5 4:5
   
 
3:2 3:2 3:2 3:2

    


       
   
           
    
  
bassoon      
fff mf fff mf fff mf fff

            
pesante 4:3 6:5

      
7:6
6:5


     

    

                     

trombone

fff mf fff mf fff mf fff

      
psp sub., sharply accented

      

5:6 5:6


5:6

 
  
5:6

  

5:6

         

              
violin
    
ff sempre

    

   
        

                     
 
psp sub., sharply accented
viola          
  
ff sempre

 
  
        
psp sub., sharply accented

   

  
cello
  
ff sempre

      
 
  4:5
 
  
7:6 9:10 3:2 3:2
115

             

              
  
     
        
tenor

saxophone      
fff mf fff mf fff mf fff

 4:3
  
 
4:3 6:7

           

3:2

           

4:5
baritone
    
 
        
  

saxophone
   
mf fff mf fff mf fff mf

                              
     3:2  
    
3:2 4:3
5:6 4:5 3:2
bass
         
       
saxophone

fff mf fff mf fff mf fff mf fff mf fff

      3:2
5:6 7:6

                         

4:3 3:2


 
                       
bassoon
        
mf fff mf fff mf

fff mf fff mf fff

 6:5
   5:4
   
              
3:2

       

7:8

      
5:4
trombone
      

     
mf fff mf fff
fff mf

 
(psp)

 
5:6

   

5:6 5:6 5:6

 
5:6

violin   
    
   

  
  

  
      

(ff)
          
(psp)

viola     


 
      

 
    
    

 
    

 

 
    
    
(ff)
       
(psp)

cello      

  

     
  
           
(ff)
 31

The quintet begins here and plays unconducted

H until bar 131, followed by a brief silence
after which the octet begins again alone

        

 3:2
 3:2 7:5 4:3

      
7:5 6:7
120
tenor
      
   
 
 
 

   
 

 

    
  

 
    

saxophone
   
mf fff mf fff mf fff mf

                                       
4:3 7:6 9:8
  
3:2
baritone
      

saxophone

fff mf fff mf fff mf fff mf


          5:4
11:8

             
            
           
 3:2
   
8:7 3:2
bass   
      
saxophone

mf fff mf fff mf fff mf fff mf

  5:4

    
7:6

               

3:2

              


11:9
 
  

3:2
bassoon
    
      
mf fff mf fff mf fff mf fff mf

 9:8
    3:2
 7:6

                                 

3:2 3:2

          

8:9

    
8:7

 
5:4
trombone     
   fff mf
  
mf fff mf fff mf fff mf


(psp)

 
5:6 5:6

    

5:6 5:6

   
5:6

   

     
violin            
(ff)
                 
(psp)

viola     

    
    
        

 
          

 
      
(ff)
           
(psp)

cello                
              
(ff)
 43

3 Hekabe - α
e = 60
(in a complete performance of CONSTRUCTION, these two bars overlap with the previous section Politeia)

9 3 16
  16 
8 
8
piccolo 


sopranino recorder   

contrabass clarinet 1
  
in Bb


 


contrabass clarinet 2
in Bb

R   

triple harp C   

L   

Hekabe (alto)   

   
arco msp sul IV

   
 
contrabass

ppp (pp)


16 
15

(conductor beats rhythm of contrabass part)
3
8 16
 
   
R


 

triple harp C 







L
ppp pp

ppp p

Between bars 3 and 10, move slowly towards solo position ready to begin singing at bar 11.
Hekabe (alto)  

     etc. - throughout this passage, accented notes are downbows moving from molto sul pont.
msp pst msp pst msp to poco sul tasto, and non-accented notes are upbows moving in the opposite direction.

   
(sul IV)
   
      
16:15

 

contrabass

pp sempre

 15 independent,     8      
44
15
  16    
4  irregular undulation between Bb and up to 1/4 tone below, using embouchure
8 16
piccolo  
pp sempre

     
independent, irregular undulation between Bb and up to 1/4 tone below, using embouchure

sopranino recorder  
pp sempre

independent, irregular undulation between C and up to 1/4 tone below, using tongue on reed
contrabass clarinet 1
 
   
in Bb

pp sempre

independent, irregular undulation between C and up to 1/4 tone below, using tongue on reed

 
contrabass clarinet 2

   
in Bb


pp sempre

   
 
  

   
R

   

triple harp C 

   
     


L

ppp pp
pp mp

(msp/pst as before)
IV (pp)  (III)

        

7:6

                

      
contrabass

III  p sempre

    
15  3:2  4 15

 16                                            
9:10     13:12 
  
4:3
   8 16

6

piccolo          

fff sempre

      7:9      

     
                          
 
4:3

 
sopranino recorder          

fff sempre

15:11 3:2
3:2 3:2 3:2 3:2

 
 
      
                              
   
      
contrabass clarinet 1
in Bb
  
                       
        
fff sempre

5:6 5:6
4:3 14:15

     
 
 
   
           
contrabass clarinet 2
         
  
in Bb
        


       
      
fff sempre

  
 
 
R 



 
triple harp C 
  
  
 
L

p f

(msp/pst as before)
IV  ff sempre

          

7:6 7:6 7:6 7:6 4:3
 
4:3

    

4:3 4:3

           

    
contrabass
III (p)  
      45
(use a fingering for A  which differs widely in timbre from the Bb)
15 2 15
  16                                     8 16
6:5 6:5 6:5
8

piccolo  
mp sempre

(use a fingering for A  which differs widely in timbre from the Bb)
                
16:15
               
sopranino recorder  
mp sempre

(use tongue on reed for B  )

14:15
contrabass clarinet 1
 
             
in Bb
             
mp sempre

(use tongue on reed for B  )

4:5 4:5 4:5


contrabass clarinet 2 
           
in Bb


           
mp sempre


    
   

      
R

   
   
   
triple harp C

  
    


  
L 
mp (ff)

pp mf

(msp/pst as before)
IV mp sub! 

    
4:3 3:2 3:2 3:2 3:2 3:2 3:2

                    
     
contrabass

III  mf

15      5
  16        

         16

10

piccolo            
 
f p f p f p f p f p f

                
sopranino recorder          

p f p f p f p f p f

 
            

contrabass clarinet 1

              
in Bb
  
f
p f p f p f p f p f


        
contrabass clarinet 2
 
              
 
in Bb

p f p f p f p f


p f

   
 

R 
 
   
  
triple harp C 

  
  

L 

ff
p (f)
(msp/pst as before)
IV (mf) 

   
    
    
    
    
 
     
contrabass

III  f
 
5     
46
9 3
 16   16 8
13:12 7:6
11

 
R  
   
triple harp C   

 
f

   
 
L 
p ff
mf dim...

fp fff f sub.

   7:6

 
  13:12

 

 
  

    


 

Hekabe (alto)

    

ἄ να, δύσ δαι µον, πε δό θεν κε
a na dy s da i mo n pe do tʰe n ke


  
6:7 4 7 3
 
13:9 8:7
15

7:5
8  16 8
R   

   

  
triple harp C

  
(dim...) 

  
L 
(dim) ... pp

p mp sub.
7:5
  8:7



6:7 13:9

   
 

     

    
Hekabe (alto)

φα λὴν ἐ πά ει ρε, δέ ρην. οὐ κέ τι Τροί
pʰa lɛ n e pa e re de rɛ n o ke ti trɔ i

3 7    15
  8   16   16
18

piccolo 
ppp fff


sopranino recorder     

 
ppp fff

        (rapid and irregular closing and opening of RH fingers in sequence)
  
contrabass clarinet 1
in Bb 

 
ppp fff

        (rapid and irregular closing and opening of RH fingers in sequence)

  
contrabass clarinet 2



in Bb

ppp fff

 
5:6 10:7

  
R
 

   
triple harp C
 
 
L 
f

ff

   5:6

  
10:7

   
   
  
Hekabe (alto)


α τά δε καὶ βα σι λῆς ἐσ µεν Τροί ας.
a ta de ka i ba si lɛ s e sme n trɔ i a s
  
47
 
   
(roll off R123 so that pitch
rises gradually to A# then
(unconducted) falls suddenly to F#)

15 7:5

  
7:5

  16                    

6:5
 
   
3:2 6:5 6:5

   
6:5
  
7:5 4:3 3:2

    
20 7:6
     
sopranino recorder  
 


p

   
 
  (rapid irregular alternation between these two fingerings)
RA R


      
Eb

contrabass clarinet 1

in Bb
pp sempre
 

   
 
  (rapid irregular alternation between these two fingerings)
RA R


      
Eb


contrabass clarinet 2
in Bb
pp sempre
 

           
arco msp sul I/II

      

contrabass

pp sempre

3
(overblow into multiphonic)

 
(no attack, emerging from voice) sim.
22

      
8
piccolo 
   
 p
 mf

16:15

          
5:6 7:6

 
8:7

  
  
sopranino recorder 

ppp


(sim.)

contrabass clarinet 1
      
in Bb
pp sempre
 


(sim.)

     

contrabass clarinet 2
in Bb
pp sempre
 

breathily
ppp mp
 
Hekabe (alto)         
    
αἰ αῖ αἰ αῖ.
a i a i a i a i

           
     
     


contrabass

(pp)


3 13 7 2 6
24
8    
16  
9:11
  
11:10
 16 
4:3
   
4:3 4:3
8   8
R 

      
3:2

       
triple harp C 
               
L 
p sempre

p sempre

                   

3:2 3:2 3:2 3:2


13:9 11:13 9:8

        
3:2

    
5:6

 
3:2

Hekabe (alto) 

τί µε χρὴ σι γᾶν; τί δὲ µὴ σι γᾶν;
ti me kʰrɛ si ga n ti de mɛ si ga n
  
 3
6  
 16 11
  

sempre sim.

 8 
48
16
D#

 
     
28


 
piccolo
  
    
p sempre

         

sempre sim.

sopranino recorder        

p sempre

    
        
8:7

 
4:3 4:3
   
      
    

contrabass clarinet 1

in Bb (E and Eb keys, alternating)

 
   
p (dynamic for both fundamental and overtone)

    

7:6

 
6:7

      
 

       


contrabass clarinet 2
in Bb

(D and C# thumb keys, alternating)

 
   


p (dynamic for both fundamental and overtone)

   
4:3 5:4
5:4

       
R 

triple harp C        

      
L  

(p sempre)


5:6

    
5:4


p p
       
Hekabe (alto) 

τί δὲ


ti de
accents momentarily overblown (to decreasing extents as

11    
dynamics reduce between here and bar 35), dissolving into
2  3 breath
5
 16  
  (embouchure gliss.)
30

     

8  
8  
8
piccolo   
  
 
sfz ppp
 
(p)
      
sopranino recorder    
 

(p)

   
  
 
3:2

     


contrabass clarinet 1

  
in Bb

     
     
sfz ppp


(p)

          
3:2 3:2

 
5:4
  
    



   
contrabass clarinet 2
in Bb

    
 

   


sfz ppp
(p)

         
15:14 3:2 5:4

R    
(p)

3:2

triple harp C      

     
L 

hoarse and exhausted, low and indistinct in pitch

f

    
p

    
3:2 13:12

     
10:9

  
Hekabe (alto)
       
θρη νῆ σαι; δύσ τη νος ἐ γὼ τῆς
tʰrɛ nɛ sa i dy stɛ nos e gɔ tɛ s

mst

       

sempre
     

13:12

   

contrabass
IV
III f
 49

5 4 3 6
8 
(sempre sim.) (sempre sim.)
 
33
8 8 8
 
piccolo          
      
   
mfz ppp mpz ppp ppz ppp

   

pz ppp

                

  
   

contrabass clarinet 1

       
in Bb

mfz ppp mpz ppp pz ppp ppz ppp

   

               
contrabass clarinet 2
     
        

in Bb

mfz ppp mpz ppp pz ppp ppz ppp

ppp
11:12 7:8

5:4
 
10:9 4:3
  
        
            
    
Hekabe (alto)
   
βα ρυ δαί µο νος ἄρ θρων κλί σε ως, ὡς δι ά κει µαι, νῶτ᾽ εν στερ ροῖς λέκ τροι σι τα θεῖς᾽.
ba ry da imo nos a rtʰrɔ n kli se ɔ s hɔ s di a ke ma i nɔ t e n ste rɔ is le k trɔ i si ta tʰe s

(etc. sim.)

      

(mst)

              

                       
11:12 10:9 4:3 7:8 5:4

                


contrabass
 
ppp


6  
8 
     
36

piccolo    



ppp ff ppp

   
4:3

3:2

    
 
sopranino recorder     
ppp ff ppp ppp ff


  
8:7
 
  
  
 
6:5

       
contrabass clarinet 1
in Bb   
ppp ff ppp ppp ff

9:10

 
7:5

        

  
    
   
contrabass clarinet 2
 


in Bb

ppp ff ppp ppp ff

5:6


  
8:6
 

        
R 

   
        
triple harp C 

 
mp

     
       
L 
ff p mf
mp f ff p

always percussive, "non solo", colouring the harp chords

 8:6
   5:6

   f 
 
  
pp
  
p mf mp pp p

             
 
Hekabe (alto)
   
δού λα δ᾽ἄ γο µαι γραῦ ςε
do la da go mai grau se

  
  
arco nat sul III


contrabass 
ppp ff ppp
50


3:2 3:2 3:2


15:13

            

6:5

  
5:4
 
3:2 3:2

       
38

         
piccolo    
  

ppp ff ppp ppp ff ppp ppp ff ppp

       

        

6:7
 
 
4:3

4:3
  
             
       
sopranino recorder   
ppp
ppp ff ppp ppp ff

     
4:3 14:11

     
11:10

     
4:3

            
    
   
     
  
contrabass clarinet 1
in Bb
   
ppp

  
 
ppp ff ppp ppp ff


 

7:6

   
     



3:2

           
 
contrabass clarinet 2
in Bb
  
ppp ff ppp ppp ff
ppp

   
7:6

      
  
  
 


  
R

  
        

      
triple harp C

 
p
ff f

       
   

L
 mf p ff
mf mp
pp mf p fp ppp
 
pp

mfp

ppp fp

ppp mp
  
7:6

 
 
                 
    
Hekabe (alto)
 
ξ
οἴ κων πεν θή ρη κρᾶ τ᾽ε κπορ
ksoi kɔn: pen: tʰɛ rɛ kra te kpor:

             

9:8 15:11

    II   
19:15
I 
   
I II II
       III
III II III II I II

           

II
  III
(arco nat.) II IV III

  


 
  
contrabass       
 

ppp ff ppp
ppp ff ppp


    
15  
9
              
10:13 (slight irregular pitch-fluctuations using embouchure)


40


16 16
piccolo                                                           
pp
ppp ff ppp

     (auxiliary  

         

(slight irregular pitch-fluctuations using embouchure)


note shifts with changing air pressure)

 
    

sopranino recorder                                                     
 pp

   
ppp ppp ff ppp

      
 
4:3 4:3 4:3

contrabass clarinet 1
      
in Bb
   pp 
   
ppp ff ppp

ppp
3:2 3:2



3:2
  
6:5
         



contrabass clarinet 2    
  
in Bb
 pp
ppp ppp ff ppp

 
8:6

 
   
  
R

    
   
  
  
triple harp C


    
p mf
L  
mp f

p pp ppp mp fp ppp

 
8:6


  
 
      
   
Hekabe (alto)

θη θεῖς᾽ οἰ κτρῶς.
tʰɛ tʰes: oi ktrɔs:

      
II 4:5 psp

  III    
3:2
  

II III
(nat.) 

III


 IV
   

contrabass
pp

ppp ff ppp ppp ff ppp
 51


9 3 11      2 7
42
16  
table

 
8 
16 
sim.
      8   16
R 

triple harp C 
          
 

 

L

ff f mp


f mp


3:2
    
(tongue trill)

  
13:15 10:7

  
3:2 (sim.)

     
4:3

 
   
     
 
  
 
Hekabe (alto)  

ἀλλ'ὦ τῶν χαλ κεγ χέ ων Τρώ ων ἄ λo χοι µέ λε αι,
a lɔ tɔ n kʰa l ke ŋkʰe ɔ n trɔ ɔ n a lo kʰɔ i me le a i

    
pizz msp sul I

 
sim.
      
 

contrabass

ff f mp


7   
4 5 
5
16  8     16   8
sim.
46
   
R   

triple harp C  
           
  

L

p fff


p ff

 
(sim.)
  
12:13

16:13

 

        
4:3 4:3


4:5


   

    



Hekabe (alto)
  
καί κό ραι δύσ νυµ φαι, τύ φε ται Ἴ λι ον, αἰ ά ζω µεν.
ka i ko ra i dy sny mpʰa i ty pʰe ta ii li o n a ia zɔ me n

      
sim.
    
  

contrabass

p fff
Part 4 wound I begins without any break
52
 53
4 wound I
e = 67.5 in a complete performance of CONSTRUCTION,
pst wound I begins immediately at the end of the previous section, Hekabe-a.

9 3 9
 8            8 8
11:9

violin  
fff

   
(1) (2) (3) (4) (2) (1) (4) (3) (1) (3) (2) (4) (1)

   

(1) (2) (3) (4)
13:9


          
        
  
    
          
C C

oboe 
ff                         (nat) psp
I II III IV III IV III II I II III II I II III IV

     

arco nat 6:5 6:4
I II

  
I

   
II

 
            
II III
 
     
    
 


       


 
 
cello

   
  




  
(con sordino)
 


ppp
mf (sounding dynamic, therefore played " fff " )

msp

9 1 9


8 7:8
8 8
      
3 9:10

violin 
                                  

5:6 7:6
p

7:8


11:10

     


   

oboe 

pp mp pp mp pp mp

psp (all harmonic resultants exactly as in bar 1)

(psp) (mst)
I

     
II
 
      
I II

 
II III
   
I
 
II 

11:12 9:8

  


cello
(con sordino)
ppp (mp)

    
psp nat psp nat psp nat psp nat psp nat
    

(0/1 sul II)

9 4 9
 8
5:4 13:12 5:6
5
 
8 
8
                 

 
     
ff (3/4 sul III)

   
violin

           

      
        


      
11:12

  
9:8

  
13:10
 
oboe     
ff

(mst) msp pst

mst (very slow bowing)
III II I III
I II


11:10 II
5:6

   
7:6 (III)

   
  

       
cello
  
    
    


(con sordino)
  
IV

     
mp
ppp p

mst sempre
9    
etc. sim.

 8       

    
  
7 11:8 5:6 
 
9:10

violin 



 
  



      

p fp fp fp f p f p f p f etc. sim.

      
7:6

     
    

4:3

      
7:8

              

  
oboe          

f p f p f p f p
f p
pst (very fast bowing!)
I

                  
                  
11:12
   
7:6
  
13:10
 
II

cello      
(con sordino) 
  
  
p
54

         
7:5

     
     
7:5




       

8

oboe      

p ppp

psp

                                                                                8
2 3 4 3 2 1 5
7:6 9:10 5:4
1 2 3 4 3 2


9

violin 
p mf p mf p mf p mf mp

   
   
(5) (6) (7) (8)
Bb

 (5)9:10 (6) 

F F F

   
(6/8) (7/8) (6/8) Eb C

        

(5) (6) (7)

    

    
 
7:6
         5:4 
    
    
       
oboe  
mf mp mf mp mf mp mf mp mf

msp gettato

  
I

 

          
 
etc. sim.


9:10 4:3 5:6

 
   
II
cello 
(con sordino)   
pp

nat pst
mst msp

5 9    8
I psp

 
7:6
4 3 2 1 7:5

 8       
8
       8
vibr

7:8

10 pizz

   
I

violin 
II

  
II
    
I 
  


]


[ [ [ ]

 
[ ]

 
mp sempre
(9)

 
B§
Bb

 
 
D-

(B§)
C


(lip-gliss) (R1)

       

    
  
7:8 7:5

 
      
 
oboe
7:6
 ]
] ]
mp sempre

   
psp I

          

7:5
 
7:8 7:6 I
 II  
 
cello 
(con sordino) 
 
ppp

(psp) msp
(string-crossing and bowing
unsynchronised from here)
8                              
II I ... etc.
9
 8        8
12



cello
(con sordino)

trem. rit. molto
(ppp sempre)

9 nat msp psp nat psp msp psp msp nat 6

 8   8
3:2 3:2 3:2 7:8 3:2 3:2 3:2

 
13

     
    

violin 
                
    

               
       mf
      
ff mf fff f fff f mf ff f mf fff ff f ff fff fff f ff mf f ff fff mf fff mf f


6:5 11:8
   5:6
 
            
        
 
  
       
oboe
      
          
fff f ff mf f ff mf f ff mf fff fff mf f ff
fff mf ff
nat


I

          II


3:2

 
17:12
  
II

 
cello  
(con sordino) 

mf
 55

6 9 
pst
2
  
        
8 8 8
       
  
5:6

 
14 5:4 3:2

violin   
 
   

7:8 3:2 3:2 3:2
mf

           

5:6

  
3:2 3:2 3:2

        pp            

5:4

     
  
oboe
pp mp mp pp mp pp pp mp
pp mp mp
pp mp pp mp

      

msp gettato


I

           
I
   
    
      
cello 7:6 3:2
II
(con sordino)
    
  
pp 5:6
quasi f ]

nat
2 9 5:6
II III IV
11:12
III
7
    


6:5
8 
(I)
8 8
II III 9:8
16 
 
III

   
violin 

 
 IV
 



   

p 

5:6
6:5 11:12
 
  

         
 9:8 
  
oboe      
p

pst
clb! I
     
II

                                    
msp mst pst 5:6

6:5 9:8 11:12
(III)

  

cello
(con sordino)

p p
(string damped at C# so that the pitch
heard is only the glissando produced by
the position of the col legno)

psp

sempre sim

7 9   10
                      
9:10
  sim
       
7:6 3:2 3:2

vibr


18
8 8   8
violin   


ff mp

 
(always between mp and ff )

 
(all "timbre trills")  
     3:2 (R3) (R2+3)

 
                
(R2)

    

(Bb)
3:2
 9:10 
   
(R2+3) (R3)
(Bb)
change to
english horn
oboe   
7:6
mp ff
pst (always between mp and ff )
msp mst

 
II I II III IV III II I II III IV...

 
9:10 6:4 5:6 5:4
     
     
I II
            
  
3:2

   
cello 5:6 3:2
(con sordino)
          

via sord.

               

             
(p) ppp mp

(continue vibrato, expanding it gradually downwards, slowing down as little as possible)


(psp)

msp

10                                              
20
8
violin 

ff p

Part 5 Kassandra begins after a brief "breath-pause"

56
 5 Kassandra 57

e=96

13      
(fingered glissandi) 7   
6
 16  16 
8
5:6

 
3:2

oboe    

 
 

f p

 
6:5

clarinet
      
in Bb
 (fingered gliss.)

 
 
3:2


9:10

 
mp mf

   
alto 
saxophone

f mp mf

legatissimo!
8:7 3:2

   
  

O


(O)


  
flugelhorn
     

in Bb
   
(harmon mute,
stem in)

mf mp
f mp  
R     

triple harp C         

L    
mf mp

f mp f mf
mf mp

    
4:3 7:5

 
4:5 5:6

   
     
 
3:2
   
Kassandra
(soprano)        
ἄ νε χε, πά ρε χε, φῶς φέ ρε'
a ne kʰe pa re kʰe pʰo s pʰe re

      

 
      
5:4 nat 3:2

 
arco pst
viola        
p mf ]
mp f


  
6 7 13
        16        
17:14 6:5

             

8   16
    
3 3:2

oboe   
    
 

pp p


R
ppp pp 10:9 pp mp

      

(G#)   
B§tr
Bbtr

    
3:2

    
clarinet
       
in Bb
mp pp
ppp mp
p f

   
6:5
      
 
 
     
(R3) 4:5 10:9

             



alto   
    

saxophone

pp p ppp pp mf


ppp f
  

 

  
      

6:5





   
flugelhorn 7:8
in Bb
   
(harmon mute,
stem in)  (rapid activity on all valves
while holding F)
pp ppp mf pp f
 
11:10


16:11

nat
R   
 
 

  table
        
triple harp C
 
  

    
pp

L 

ppp p

(mp)
pp f

ppp f
pp p

mp sub. pp
  (b)
    15:11 

  
7:6 6:7

 
 
 
    
             
  
 
3:2

     

Kassandra
(soprano)  
σέ βω φλέ γω; ἰ δοὺ ἰ
se bɔ pʰle gɔ i do i i i i i i i i i

msp nat trill sul I, alternating irregularly between 2nd and 3rd finger) 

    
4:3 I
(nat) I (1)

 
III
II (4)
     
  
viola 
+ 
 pp
ppp mp
58         

(R3)
13 

(both F keys)
7 
(R2)
9
 
15:14

 16 
3:2
6

 
16    16
  
     
oboe     
 
p mf

    (E)
f

   

   
(L1) R


(R123)


 
Bbtr

 

E
6:5
 
 
3:2


clarinet
         
in Bb

 mp (C)
 
mp mf f pp

  

(R2)
      
C

 
 
     
 
alto
saxophone

mp f mp f



 
4:3

  
flugelhorn
in Bb
   
(harmon mute,
stem in)

 
7:5

mf

R 
table nat

triple harp C       

 
   
mf f

L 



mp f
p f

 
         
   
  
       
 

Kassandra
(soprano)   

δοὺ; παµ πά σι
do o o o o o pa m pa si


psp sul I II I
 1 2 3 4 1

    

2

  
7:5


 
4:3 4:5
    
viola  

mf f

    
(54) (78)
      
  9:7

                     
9 5                  11 3
16            
4:5

      
4:3
8
16        16  
8
oboe       
mf

mf p f

 

      
6:5 R

    
16:13

 
      


         
E
clarinet

  
in Bb

mf mp

                 
      
 11:9
alto
      
saxophone

 
   
mp

              

6:5




 3:2
 
3:2


3:2 3:2 3:2
flugelhorn
in Bb
         
(harmon mute,
stem in)    
pp p mp f

   
4:3
R   


 f

triple harp C   
mf

L  

mf mp pp mf mp f
6:7   
          
  11:8  
           
4:3 3:2

       
4:5

  
9:10 4:3

Kassandra
         

(soprano)

τόδ᾽ ἱ ε ρόν. ὦ Ὑ µέ ναι᾽ ἄ

to di e ro n ɔ ɔ hy me e e e na a i a

mst nat msp


    

7:6

              

5:4


msp

  
viola 
   
  
[mf p f 
[mp p
 59

3 2 7 4
 8            
6:5
8 8 8
3:2
11

oboe            

p pp
f mp pp
7:5
 
            
N +G# N +E N +G# N +E N +G# N +E N +G# N +E

       
5:4 5:4
             
5:4 5:4
 
 
clarinet
in Bb   
    
f p p mp

   
12:13

       
3:2

 
        
 

alto       
saxophone

           
pp

pp f

   
11:9
 3:2 
  

   
11:8
  

 
5:6

     
flugelhorn
                 


in Bb
 
(harmon mute,
stem in)       
p
ppp p mp

  
4:3

5:4

9:8

R    

             
triple harp C 
  

mf p mp

L  

p pp mp
   6:7
             
(f) 8:7 3:2

     
 
    
3:2

    

Kassandra
    
(soprano)
  
ναξ' µα κά ρι ος
na ks ma ka a a ʔa ʔa ʔa ʔa ri o

   
3:2 3:2 3:2
msp nat

psp
 
3:2



11:9

             

      


  
viola
p  p 


ppp

4 6  4 6
       
  
 4:3
 8 
4:3


4:3 4:5

8    8 8
7:5
 
14

    
oboe                
mf  
p f p mp
f p

         
    
9:11

       
4:3

      
4:5 4:5

       
clarinet

  
  
in Bb

  
(44) (42) (81) mp


p f


B B
pp mf Bb Bb

  
altC

 
    
5:6

    
   
      

4:3




    

alto
              
saxophone
 
f pp p mp mf p
            
              
 
10:7

3:2
  9:7       
   
2

     


         
flugelhorn
    
 


in Bb



(harmon mute,
stem in)    

mp pp mf f mp
nat

 
6:7 8:7


4:3
 

 
4:3

table
R   
   
triple harp C          
 
   

mf

L   

mp mp
f

p f mp f p f pp

   

5:4 7:8

 
5:6

  
 
5:4 5:4
 

            
 
4:3
 
Kassandra
  
 
         
(soprano)

ὅ γα µέ τας,
(o) s ho ga me ta s

     
msp nat

    
      
3:2 arco 4:5 8:7
clb gettato nat msp nat

viola            
   p
mp f pp
(p)
    
6 

(both Ab keys)
9 5
     
60
 8   16    8
8:7

 
17

oboe              

 
p

 
mp p

   
     
 
12:13

 
6:7
  
 
(fingered glissandi)

 

    

F#
clarinet
in Bb    

f
p f

        
pp p

    
      
            
12:11
  
9:7


 
6:5

alto
      
         
saxophone
mp
mf pp p ppp
mp f (+)

  
(+)

    


(half-valve
flugelhorn 


gliss.)
in Bb
       
(harmon mute,
stem in) 
(mp) f
3:2 p
4:3
      
6:5
 
R  
    9:10
    

 
    
mf
triple harp C 
   f

L  
ppp

p
(mp)

mp f ppp mf p mp
 7:9 17:12
13:12

3:2

     
              


    
Kassandra
    
     
(soprano)
 
µα κα ρί α δ᾽ἐ
ma ka a a a a a a a ri a a de
mst msp
II III II I II
13:11 11:9

     
4:3
 

   
 
         
nat
  
     
viola


 
mp
f
pp




(261)

5 5:4
3  7
Ab


  
  
8 8 16
 
C#
19

       

oboe 
 
    (C#)
p

 
 
f (R2) p

  
(R2)

       
G#
9:7

 
 


 
     

clarinet
in Bb   

  

 
pp

   
mp (73) pp mp

   
D

  

    
C

alto
saxophone
 
p mf

  
  
  7:6
   


flugelhorn 
         


in Bb
  
(harmon mute,
stem in)
ppp pp p ppp
(p)
8:7
 9:7 table
  
      
R   


 
triple harp C  

      

 
L 
p

f pp

p
p pp
 
3:2


8:9 4:3 7:6

      
     
6:7

       
Kassandra
     
(soprano)

γὼ βα σι λι
gɔ ɔ ɔ ɔ ɔ ba si li
mst (long bows!) arco
II III II III psp I II I
17:14
  9:10

             

      
viola
   
p
     

mf
 61
  
7     7 9
 
17:13


 
 16    

8          16




 
21 
oboe     
  

mp

(R2)
(Bb)
ppp f

 
6:5

        
  
alto

saxophone

mp p mf ppp

 +

(4)
11:10

    
  


 
O

 
flugelhorn
   


in Bb
(harmon mute,
stem in)
   
p f

       
nat
R  

triple harp C      

L     

p mp

f mf ppp sub. f
17:14

5:4 16:15

  
     

   
 
      

  
 
      
   
Kassandra 
 
(soprano) 

κοῖς
ko is λέκ τροις
le ktro o i s
II III II


9:8
pizz




       

viola

mp
f

         
 
9  7 4
   
10:7

   
B§tr

 
23
16   
   
 
3:2
16 8
in Bb   
clarinet      

mp mf pp

       
(O) 6:7



11:9

       

 
3:2
flugelhorn 
   


      
in Bb
(harmon mute,
stem in) 
mp ppp

 
    
(gliss.)
 7:8

R 

triple harp C       

 
L     

mf p

mp mf p mp ppp
10:9    
       5:6  
 
11:10

  
 
4:5

 

         
 
   
 
   
  
  

Kassandra
(soprano)     
κατ᾽ Ἄρ
ka ta ʔa ʔa ʔa ʔa ʔa

arco

 
13:11

msp

        
   
(pizz)
      

viola  
mf
p mp
62


4 9    7
 
9:7

 8 

  
4:3
16 8
 
26 
oboe     
pp
   
     
ppp mf
13:11


  
        

clarinet
in Bb
   


p (tenuto)

 
3:2



alto        


saxophone

pp f]
mp (tenuto)

table

   
4:3 4:3 4:3
R 

   

triple harp C  

L  

ppp p
mp pp f mf

(ppp) mf ppp
 3:2
 

3:2

3:2 3:2 3:2

  

13:9


5:4

  
6:5
 
        
         
   

Kassandra
         
(soprano)
    
γος ά γα µου
(a) r go ʔo s a ga mo ʔo ʔo
arco msp III IV III II III

 
9:10

 
    
     
viola

 
f mf


      

1.

7 3 11   2
(R2+3) (Bb)

 8 16  
 
29


16  
5:6
 8
oboe 



mp

  
clarinet
      
in Bb 
ppp mf ]

  
 14:11
 
       

alto    
saxophone 
  p ppp
 24 1 14
7:6 4 2



5:6

       
flugelhorn

     



in Bb

         
(harmon mute,
stem in)
ppp mp

p mf table
nat
 
 
9:7

 
4:3
R   


        

  

  
triple harp C



L     
mf

f mp

(mf) mp mf ppp f mp
6:5 10:7
    
 16:13   
4:3

     

6:5
 
  
  

      
    
     
Kassandra
(soprano)         
µέ να.
(o) o me ʔe na a


psp

      
  
viola

mp ppp
 
63
 

2 3:2(B§)  4
 
1.

 6 3 9
 8
13:9
   8 
     
8 16 16
(fingered!)

   
32 (lip-gliss.)
 

  
oboe   
     
pp p ppp f ] mf

     3:2
ppp

   
(lip-gliss. using D# fingering and starting low)

         

clarinet
 

in Bb

ppp f mp
p mp

     
 
 
 
6:5




         
alto  
saxophone

pp
ppp mf f
   4:3  
 
     
 (as
 
4:3
  
3:2

  
8:9
flugelhorn
   before)
        



in Bb
  
(harmon mute,
stem in) 
mf f mp p mf
12:11

5:4    
R  
             
triple harp C
   

L  
mf
f ppp

p mf mp f mp f

  
6:5

   

7:6 4:3 10:9
  
  
7:6

     
 

    
   
 
      
Kassandra
(soprano)
    
Ὑ µὴν
hy mɛ ɛ ɛ ɛ ɛ ɛ n
nat msp
7:8


mst

 

7:5

   
nat 
         
        
viola 
mf mp ppp f ] mp ppp


      
9 13

4:3


 
36
16 
    
3:2


3:2
16
oboe  
          
 
         
mp

 
pp f

(R2)

   
   

      
C#

4:3

 
     
clarinet
    

in Bb

mp mf p f

 
    
16:13
        



   
12:11
 
   

  


       
alto 
saxophone
   
mp mp mf ppp f


  9:8

 


   
flugelhorn


in Bb
          
(harmon mute,
stem in) f       
mf pp

  
7:6 table
  
3:2


3:2 3:2 nat
R    

 
3:2

  
   
triple harp C

  
L  
pp mp p
f

f p f (ppp)

    3:2
    
    

15:14
   3:2
         
3:2 3:2

   
3:2


  
         
Kassandra
  
(soprano)    
ὦ
ɔ ɔ ɔ ɔ ɔ ɔ ɔ ɔ ɔ ɔ ɔ ɔ ɔ ɔ ɔ ʔɔ ɔ
III II

 
arco IV IV III

 
9:7

 
msp

    
pizz.

      
viola
 
f
ppp mf
      
64
13  
5 6

4:5 6:7

16  8  8

38

 
oboe         

       
 

 

            
 p 

 
f f

   
mf pp

  4:3
      
7:8 9:7 9:7

          
C#

      
   
            
  
clarinet
in Bb          
 ppp
(ppp)
ppp p

 
  7:8       
f ppp

       
  
  
3:2
  
               

alto       
saxophone
  f
pp ppp mp pp
    
123 12 2   

8:9 3:2


 3:2



   
  
flugelhorn
       
  

   
in Bb

   
(harmon mute,
stem in)
p

 
f p
mp

 
3:2

  
R     


4:5
mp
triple harp C   


L           
ppp mf p

ppp mf ppp f p (f)

      
16:11     
3:2
 3:2 
  
                  
 

       

Kassandra
     
(soprano)

Ὑ µέ
ɔ ɔ ɔ ɔ ɔ ɔ ɔ ɔ ɔ ɔ ɔ ɔ ɔ ɔ ɔ hy me

                   

(rapid irregular alternation in LH fingerpressure)
arco


mst

  
     
   
psp 5:4 5:4

 
msp



sempre sul III!
        
viola
       
ppp pp p
p


  
6 9  7

3:2 3:2

 
40
8       
16  
    
16
oboe   
     

f
p
pp mf

     
 
7:8 13:11

 

clarinet
               

  
in Bb 
mp
f
    
3:2

     

    
    
 
12:11

   
3:2 


alto         

  
saxophone

p
f
mp p


(etc. sim.)
 

9:7

 

      
flugelhorn +
 
           


in Bb
(harmon mute,
 
stem in) f pp
f
table mf p
6:7


3:2
 
R    


f nat

triple harp C     


mp


pp

L     

f mp mf mp f (pp)
14:11

 
    4:3

   

   
5:6 4:3 9:10

    

            
Kassandra
(soprano) 
ναι᾽ ἄ
(e) na a ʔa a a a i a

arco mst

msp

II I

  
10:11

 

5:4

 
pizz
    
      
 
viola   
]
f mf
f [ ] [ ] [ ]
 65
  
  
7 2 7 7
    
16 9:8
8 16  8

42


4:5

oboe              



  

ppp
fff f

  
7:5


7:6
   
              

clarinet
in Bb  

pp
ppp p fff mf

    

   
13:9
 
4:5
 
6:5
 

  
      

alto 

       
saxophone

ppp fff f
(sim.)
  sempre
       

   

7:5

 
7:6


flugelhorn
    


in Bb
(harmon mute,
stem in)
ppp fff f
(pp)
7:8

  
R  

  
   
triple harp C
 
  
L  
pp
fff f
pp f

9:11

  



   
    
   
Kassandra
(soprano)   

ναξ.
ʔa na ks


   
arco msp

 
3:2

5:6

       
nat

  



  
viola
 




f fff
ppp pp mf

    
7 11 9
 8           
         
7:9 6:5

     
45 3:2 3:2
16   16
         
oboe     
ff mf mp
p f

       

     
clarinet
in Bb     

mp fff

    
                  
9:10

     
9:8

  

alto     
saxophone

fff mp fff p

      

                
        
4:3 10:7 10:7

        
flugelhorn O sempre
in Bb
   



(harmon mute,
stem in)
ff
p f mf p

   
  
16:11

  
9:8

  
4:3
R   
  
     
triple harp C            


 
L       
ff

p f mf mp

                
     
(nat) 4:3 4:3


 
viola  

p fff
fff
66

       
9 11 6
             
7:5


16 16 8
4:3 4:3 4:3

      
47

      
oboe    
      
 f
fff p
mp ff

                   

   
11:8

       
clarinet
      
in Bb

fff pp
ff pp

    4:5
            
   

6:5




alto     
saxophone

fff p f
mp ff

           

(O)

 
4:3 4:3 3:2

            
5:6
flugelhorn
in Bb
   
(harmon mute,
      


stem in)

p fff pp ff pp

   
    
  
  
 
R

         

 
triple harp C

  
L    
mf fff
f ff fff

 
 
 
sub. msp sempre
 
(msp)

viola                
    
f ff  fff
mf fff

6 4
 8 
      
11:9

   8
49

          
oboe       

             
  ppp
 
mf ff
pp mf fff

          
3:2

      

  
            
clarinet
in Bb
mf
      
ppp fff
mf ff
f pp

  
            


17:13

   

alto               
saxophone
    
fff
pp mf mf ppp ff


9:7

   
3:2 3:2
 
(O)
    
flugelhorn
in Bb
  
               

  

 
(harmon mute,
       


stem in)
mf ppp ff fff
f pp mf

        
   
 

R

 
    

triple harp C

    
       
    
L 
mf
f ff f ppp
ff fff

     
pizz.


 
  
  
viola         
   mf

ff
ff f ppp fff
f
 67

5   5 5

  
  
8:7

            
16      8 16
4:5
52

oboe                    

  pp  mf f
p f mp mf fff

   
    9:10    
               
  
                
  
clarinet
in Bb
 
 pp 
p f mp
mf fff mf

           

     
       
8:7
   

  
4:5

        
        
alto    
  pp 
saxophone

p f mp mf fff mf f

    
 
3:2

       

(O) 3:2 3:2
flugelhorn
          



in Bb
     

(harmon mute,
stem in) p mf f mf
f pp mp

3:2
  

  
 
7:8
          

R

   
      
  
triple harp C         
 
 

L         

f pp mp
p
mf
mf ff

              


(pizz)

                  
arco nat 16:15

      
3:2


viola

p mp
f pp mf ff mf

    

  
5 6 11  +B§ -B§ +B§ (etc. alternating) 3
 16 8    
16 8
3:2 6:5 11:14 3:2 3:2

     
56

                
oboe     
  
 ff ppp
mp pp ff

           

rapid chromatic scale E-Bb

       
3:2 8:9


with both trill keys depressed)

     
     
clarinet
 

in Bb

 
mp ff mp ff
p f


 +R2 -R2 +R2 (etc. alternating)
   
7:8
  :2
      
altF
3
 
                  
 
11:14 3:2 3:2
 

alto       
saxophone

mp pp ff ff ppp

      
(etc. alternating)

                 
9:7 4 234 4 234

     

(O) 3:2
flugelhorn 11:14 3:2

    


in Bb
(harmon mute, 
stem in)
ppp fff ff ppp
p mf

     
11:9

    
9:8
     
R

            
triple harp C

ff 
          
L 

ff mp
p f ppp fff

ff mp
  
  
  
9:8 3:2

Kassandra
          

(soprano)

ποῦ σκά φος τὸ τοὺ στρα τη

po ska pʰo s to to stra tɛ

        
7:9 9:10 III mst

 
      
(nat)


II
pizz

          
IV
viola          
 
mp ff ppp ff
pp fff
  
68
3 (39)


3  6 5   
    
1.
(192)
  
16   

B

 8  8           
8 
17:14


59 5:4 C


C#

oboe      
   
  (G#)
mp

 
ff pp mp

   
mp p

   
(finger lowe r pitches 9:11

                    

with Bb trill key depressed)
clarinet
   

(67) 
in Bb


pp


mp


mp ppp

   
   
 
C
5:4

alto
 
        



saxophone
mp
ff pp

 
mp mp p

 

 
5:4

  
  34



 
flugelhorn
in Bb
       
(harmon mute,
stem in)  
mp mp p pp sub.



9:11

   
  
R

      
table nat. 

    
triple harp C
   
   
pp pp

L 

mp ppp

pp (half-whispered)
(mp)
  


3:2

        
7:8 4:3 3:2 4:3

      

5:6

 

  


      
3:2
Kassandra
    

(soprano)

γοῦ; ποῖ ἐµ βαί νειν µε χρή; οὐ κέτ᾽ ἂν φθά νοις

go mo i e mba ine in me kʰrɛ o ke ta n pʰtʰa no

 3:2
(A§)
                  
nat

   
9:11

  
arco nat. msp

        
viola      
pp mp ppp pp

 


6  3 9
C#

 8      
sucking through reed (C#) 3:2

 
63
  8 8:7
16
oboe  
       
  
    
     
mp    pp

                 
ppp
pp

        

         etc. sim.
A A A A A A A R R

air sounds with

        4:3   4:3   4:3        

indistinct pitch

     
8:7


7:6 11:8

                
clarinet
in Bb  
   
mp

      

pp ppp
pp

  
  unpitched air sound with fluttertongue 

  N 
(96)


C# Bb


         
    
altF
C

  
alto
saxophone
mp ff
pp ppp
 4:5
(4)

4:3
(4)

         
Ø 13 Ø

    3:2
  

air sound with 4:3

     
flugelhorn
  
indistinct low pitch
    



in Bb


(harmon mute,
stem in)
ppp  mp ppp
mp ppp

  
3:2  
6:7
R  
 
 
strike body of instrument with knuckles
table

 
(two different sounds)
triple harp C           
  
  
ppp mp mp ff

L


mp sub.

        
(pp) 6:7

  
8:7 4:3

4:3

    
   
     

4:5
Kassandra
   
(soprano)

ἂν αὔ ραν ἱσ τί οις κα ρα δο κῶν, ὡς µί αν τρι
is a na ura n hi sti o is ka ra do kɔ n hɔ s mi a n tri

clb on tailpiece (damp the strings with LH)

punta tall. II III II

    

12:11 arco nat 4:3
msp

 
       

       
viola

            mp mp
ppp
ppp
       

 (1.)
69
(both hands alternate rapidly and randomly

 
1.


between Ab keys and R1 key)

9 
 4 7
 16


             
8 16
13:10
  
C#
66
(lip-gliss.)  3:2
oboe           

 
ff pp

     
ppp ff

  

   


13:10 3:2

                
F
clarinet
in Bb    
ff pp
ppp ff


7:9

             
11:8
             
      

     
alto
saxophone

pp
mp ff ] ff f

  
4:5

   
 
   
(lip-trill) 4:3

    
4:3
 3:2


flugelhorn

  
  


in Bb

  
(harmon mute,
stem in)
ff ff mf mp ppp

7:9



   
 


 
R   
     
nat
   

 
 

triple harp C

L      pp

mp ff ff f

ppp
 
ff

    

  
  
6:5 3:2 7:6

              
7:5

Kassandra

        

(soprano)

ῶν Ἐ ρι νὺν τῆσ δέ µ᾽ὲξ άξ ων χθο νός.

ɔ ne ri ny n tɛ sde me ksa ksɔ n kʰtʰo no s


nat msp

          
psp I
 3:2 
   
msp II

     

III
viola  
ff mp ppp
[ [ [ ff mf


   9   
 
  
(198)
16  
4    
(148)

 
3.

7 7
8     
3.


 16 
Ab


  
 16
Ab
69 Eb

oboe          
   pp 
     
  
 pp ff

  
    
R

    
     
ff mp 5:4

       
F#
clarinet
in Bb
pp    

ppp pp

 (103)   
ff p

       
F

     
unpitched, dry 5:6



slaptongue
     
C
alto
pp  
saxophone
    
    
ppp pp

  
  ff p
    
                    
7:9



flugelhorn
in Bb
  
 
(harmon mute,   
stem in) ppp pp
p mp ] ppp

    
10:11
 
  
5:4
R 
          
   
secco

triple harp C      

  

ppp pp mp

   
L  

           


pp

     

9:8 5:6 3:2 3:2

        
5:4

 
4:5

  
Kassandra
  
(soprano)
  
χαῖ ρέ µοι, µῆ τερ' δακ ρύ σηις µη δέν' ὦ φί δη πατ ρίς,
kʰa ire mo i mɛ te r da kry sɛ is mɛ den hɔ pʰi dɛ pa tri

 
  
sul I/II psp gettato

 
 

msp

  
behind bridge
IV (damp strings) arco msp

viola         
   pp  ff 
 [ mp ]
f mp
70            
7    
(165)
13 7 6

7:8

 16 16        16        

10:7
8
  
73 5:4

           

oboe    
 
  ff mf  
   
ppp pp


p mp

                       
RA

   
4:3
 5:4 10:7

         
E
clarinet
in Bb     
 pp


p mp ff mf ppp

       
                  
         
4:3
5:4 10:7

 
alto      

saxophone

p mp ff mf ppp pp
 

      4:3       123
10:7
        
23 5:4

      

23 123 etc.

  
flugelhorn
in Bb
      


(harmon mute,
stem in) 
p mp pp
ff mf ppp
4:3

     
     
5:4
 
10:7


 
R

   
  
  
       
  
triple harp C

    
L 
ppp
p mp
ff mf pp

mp sub. mp sub. ppp

(pp) ff

pp sub. 4:3

 
  

4:3 7:8


    
 
4:3

 

    
Kassandra
(soprano)           
οἵ τε γῆς ἔ νερθ᾽ ἀ δελ φοὶ χὠ τε κὼν
s ho ite gɛ se ne rtʰa de lpʰo i kʰɔ te kɔ n

III II

         
mst msp
nat nat msp

         

4:3

   5:4 10:7

viola                
 ppp
p mp ff mf pp


       
  
(3)

6      3  13 
9
air sound (inhaling)

 16 
F

8  16   16
  
76 C

oboe       
 
mp  
   
ppp mp pp

     

    
B§tr
17:13 Bbtr

                 

    
F# G#


clarinet
in Bb
mp ppp 
 
mp pp

         
8:7 6:7


 
key- 3:2


clicks
alto       
saxophone
    
mp ppp 
mp pp


  ... etc. sim.   

tongue-rams

    
134 
(3) (resultant pitches!)

  
flugelhorn (rapid activity on all valves while holding D)
      


in Bb

mp      
(harmon mute,
stem in) ppp
 
mp pp
5:4
 
 
9:8 9:8

table
R   
      
nat

       
triple harp C 

  
mp ppp

      
mp

L 

(ppp) mp
7:6

 
9:7

 
4:5 pp

      

           
3:2

Kassandra        
(soprano)
 
ἡ µᾶς πα τήρ, οὐ µακ ρὰν δέξ εσ θέ
µ'
hɛ ma s pa tɛ r o ma kra n de kse stʰe m


   
(molto vibr.)

 
bow on bridge ("tonlos")
 nat 
nat

           
viola
   
mp ppp mp pp
           
71

9 7  
9 
5
 16
4:5

       
16  16 8
3:2
 
79 6:7

       
oboe         
    
    
   
 
pp pp
mp

 
R R G#

teeth on reed (very high pitches!)

      
8:7

      
  
(lip-

  
gliss.)
clarinet
       
in Bb 
ppp


ppp pp

 (C#)
pp


(altF
 
(65) (B key)


 
+ R2)

 
hiF
4:5

          

   
C

alto
saxophone
 
pp ppp ppp ff
    3:2

    



  
        
flugelhorn 

1234
    
  
in Bb
  
(harmon mute,
stem in)

pp
ppp ff (mp)
p mp
4:5 3:2 3:2 4:3 3:2
         
  "guero"
R
with tuning key 

along tuning pins secco
              

triple harp C     
ppp  
L      
pp  
pp ff

 
ppp throat-flutter (shivering) pp sub. ff

          7:5
            
  

 
3:2 7:8


 
Kassandra

 
(soprano)

ἥξ ω δ'
ἐς νεκ ροὺς νι κη φό ρος
hɛ ksɔ de s ne kro s ni kɛ pʰo ros

nat msp
psp

                   

3:2 4:3

    
psp 4:5 3:2

viola      
 
ppp
pp pp

5 3 2 4 7
        
3:2   
 8 8  8 8  16
82 smorz. 3:2 15:11

oboe         
   
         

mp 
  
      
mp

 
ppp pp

 
          
4:3 3:2
clarinet
  
     
in Bb  
pp    
ppp   
  5:4     3:2
 
ppp pp ]

        
 

alto                 
saxophone
    
ppp pp ppp ff
pp ppp

   3:2    4:3 
  
 

Ø

 



   
flugelhorn

 
         
 
in Bb
(harmon mute,
stem in)       
p mp
mp ppp pp ff

     
3:2 3:2
table
  
3:2 4:3
R       
  
 ppp

    
     
triple harp C
pp mp 

L        


      

7:6
mp sub.
  
  
5:4

   
 
  
3:2
Kassandra
   
(soprano)

καὶ δό µους πέρ σας᾽ Ἀτ ρει δῶν,
ka i do mo s pe rsa sa tre dɔ n

   
3:2
(psp) III II mst

(psp) clb nat
 (damp
         
4:3 arco nat strings
 
 5:4 
3:2 3:2

      
        
lightly)
             
viola            
  
  pp 
(pp) ppp pp ] ff
mp ppp
    5 
72
4
 
  
16   8
      
(158) (286)

7   
  -C#






86
16 C# C

  
oboe       
 
 
ppp mp

  
ppp mp
pp p


random alternation between Bb and B§ trill keys or both together
   
   
G#

clarinet
        
in Bb        
 pp ppp
mp ppp


   
ppp mp

    
(111)

     
Bb

 
brief unpitched 4:3 altF




air-sounds
 
C

   
alto

ff  
saxophone

   

 pp ppp

 


flugelhorn
in Bb
       

(harmon mute,
stem in) ppp mp

 
R  


9:10

   
table
     


triple harp C    
pp pp


ff



L 

(mp) ppp

  
   
8:7

           
 
Kassandra


(soprano)

ὦν ἀ πω λό µεσθ᾽ ὕ πο.
ɔ na pɔ lo me stʰ hy po

mst
clt mst msp

            

7:6 (I)
viola       
 ppp
pp [ ] [ ]

part 6 heliocentric begins after a brief "breath-pause"

 73

6 heliocentric

DUO 1 @ e = 48
with conductor

A1
DUO 2 @ e = 56
independent
(DUO 3 tacet until bar 37)

4 e = 48

 8
1

 
kalimbas 4:3 3:2
8:7
 l.v. sempre  


  
      
       
     
2  
ppp pp ppp ppp
4:5
  p ppp

R 

   

triple harp C
     


L
ppp

   
(crocodile clips on lowest three strings,

 
at different positions close to the bridge)

4:3 make slight change in position 5:4

 
3:2
prepared to one of the preparations

         
        

electric
guitar

ppp pp ppp p ppp ppp


II III IV I
(circular paperclips or small pieces of Blutack

 
6:5

 

pizz sempre (put down bow)

on all strings)
    
prepared
cello

quartet sent to reverb

ppp


(DUO 1 sim.)

A2
DUO 2 @ e = 40
independent


6

1     


kalimbas 7:6 6:5


        


     
      
  
2
pp ppp
ppp p
mp pp

R
 3:2


       
 
triple harp C


L



 5:6   7:5 
pp


ppp


    
make slight change in position 3:2


prepared to one of the preparations
             
       
electric

   
guitar
IV II I p
pp ppp 6:5 III ppp

 
mp pp

     
(pizz)
prepared      
cello 
ppp pp
74

(DUO 1 sim.)

A3
DUO 2 @ e = 54
independent


11
1


5:6
kalimbas 7:6
 
          


  

2
mf p p ppp
ppp


R


 

5:4

triple harp C     

L
 


     3:2
ppp pp


5:6 make slight change in position

  
  
prepared to one of the preparations
       
     
electric
guitar    
ppp
p ppp
mf p I
II
IV 
 
(pizz) III
    


prepared
cello

pp


(DUO 1 sim.)

A4
DUO 2 @ e = 42
independent


15
1    
8:7
kalimbas 7:9
 
           


 
   
2

mp pp pp ppp
mp pp

 
7:8

R


      

triple harp C

L
  

mp f

  
ppp

 3:2 make slight change in position 5:4

to one of the preparations

  
prepared
          
  
electric
guitar     


mp pp pp ppp I II III

5:6
mp pp IV I


II III

9:7

  

 
  
(pizz)
    
prepared
cello 
mp f ppp
 75

(DUO 1 sim.)

A5 A6
DUO 2 @ e = 52 (DUO 2) DUO 2 @ e = 44
independent independent


19
1

3:2
kalimbas

6:5
 
            


   
 
2
p ppp
mf p ff mf
9:10
 
 
R

triple harp C
          




L
(ppp)

     
p mf



make slight change in position 11:8 make slight change in position
6:5


prepared to one of the preparations
   
to one of the preparations
        
   
electric
guitar
  
p ppp mf
ff mf


III I II IV


3:2
(pizz)


IV
         
prepared
cello

(ppp)
p mf


(DUO 1 sim.)

(DUO 2)
A7
DUO 2 @ e = 50
independent


24
1

kalimbas 4:5 5:4 3:2


               


 
  
2
 ppp 
p ppp mp pp f mp


R


triple harp C
      

 

L

      
 
pp
3:2 4:3
3:2 make slight change in position
 
7:5
 
prepared to one of the preparations
    
  
  
    
      

electric
guitar
p ppp ppp mp pp f mp

  
II I IV III

  


6:5
(pizz)
prepared
      
cello
 

ppp pp
76

(DUO 1 sim.)


29
1 
5:4


4:3
kalimbas
 

  
           

      


2

mp pp

pp ppp
f mp
fff f

5:6

R


     

triple harp C


L
 


        ppp
5:4 6:7 4:5

 
prepared
   
        
    
  
electric
guitar
  
mp pp pp ppp


fff f f mp
II I III

     
(pizz)
prepared
cello   

ppp


(DUO 1 sim.)

A8 A9
DUO 2 @ e = 46 DUO 2 @ e = 48
independent independent


33
1 

  

kalimbas

    
 


  
2  
  

 
p ppp 7:6
  ff mf

R
 

triple harp C
        
 (ppp)
 
L

 4:5  
pp mf


make slight change in position make slight change in position remove
  
to one of the preparations

 
prepared to one of the preparations preparations
        
  
electric
guitar
p ppp 
IV 
IV II III I

 
(pizz) ff mf
4:3 
remove

 
preparations take bow
    
prepared
cello   
(ppp)
pp mf
 77

15" 12" (wait for duo 2) 2" 4" 6" 18" (wait for duo 2) 3"

B4 DUO 1 @ e = 63
independent

B2 B5
DUO 2 @ e = 51 DUO 2 @ e = 54
independent independent


B1 B3
DUO 3 @ e = 57 DUO 3 @ e = 60
independent independent

37  nat. table

table
R       

mp
 
triple harp C  
 
 
pp mp mf pp
 
 

L


cello: the part for this section consists of a single continuous glissando over three octaves and lasting three minutes, using harmonic finger-pressure throughout, reaching the positions specified at the 14 conducted cues.
The glissando (this applies also to the gradual movement from molto (!) sul tasto to molto (!!) sul ponticello) isn't intended to be constant, but may dwell momentarily on harmonic nodes and (especially) multiphonics during its course,
exploring gradual changes in dynamic (between the indicated limits) and bow-pressure, so that the continuous thread of sound comes in and out of focus, splits up and reforms, etc.


mst pst

   

cello
  
reverb off ppp p

6" 7" 18" (wait for duo 2) 7"

 B8 DUO 1 @ e = 51
independent

B7
DUO 2 @ e = 57
independent


B6 DUO 3 @ e = 54
independent

38

table nat
R  


mp
triple harp C   
pp f

L  


(sim.)
nat

  
cello

(ppp p)

14" (wait for duo 3) 18" 7" 8" 19" 16" (wait for duo 3)


DUO 1 @ e = 60 DUO 1 @ e = 54
independent independent
B10 DUO 1 @ e = 57
B13 B14
independent

B9 B12
DUO 2 @ e = 60 DUO 2 @ e = 63
independent independent


DUO 3 @ e = 63
B11 DUO 3 @ e = 51
independent independent
5

table
39
table nat

nat
16
   
  
R 
mp
 
triple harp C
    
 f pp mf mf


mp 
L

   
psp msp
cello    
78 DUO 1 and DUO 2 tacet until D1

DUO 3 @ e = 68
with conductor (giving downbeats only)

C e = 68
5 2 7 15
 16   
(always 2 adjacent tongues - always a different pair if possible)
 8 16 32

40

 
          
1
 
fff f
ppp


kalimbas

2 


table


nat. table
R 
  
                  
triple harp C
      ]

fff ff p f ff ppp mf
L 
 sul pont.
p

   ] 
nat.
 
               

electric
guitar
  p  
fff f mf
arco nat

 
pizz

   

arco gettato msp sul II
 

pizz pizz

      
sul II

 
psp

pizz clb nat 3:2


 
sul II
        
 
cello
      


ff f
p f pp mp p mf
ff mf
ppp
quartet sent to reverb (less than in first section)

 (DUO 3 sim.)

15 11 3 15 11 6 7
 32 32 8 16    
16 8   16
52
 

1     


kalimbas ff
f

2 

      
R 
 
   
nat.
     
triple harp C     
 

 
ff p ] mp



L
pp
fff ff mp fff

 
f

  
     
(bend)
sul pont. nat.
     

electric
guitar
 p  ]
arco mst sul II

   
  
arco pst

    
pizz

 
arco
   
sul II msp


3:2

   
sul I nat pizz

    

cello
   

]
ff ff f
[ ff p mp [ mf
fff pp

 (DUO 3 sim.)

7 3 19 15 6 5 3 9
 16 8 32 32 8    8  8  32
58

        
1
 



p mp
kalimbas mf

2 

 
table nat
nat 

  ]
R

 
    
table
        
  
triple harp C
f   

 p p mp



L

fff mf

 
fff

sul pont. nat. 

            

electric
guitar
f fff 
arco

 

pizz sul II nat msp

     

 
pizz sul I II III II I
nat

sul pont. pizz


         


 ] 
cello 
  
f
p   mp mf
fff mf pp f
mf
 79
(DUO 3 sim.)

9 17 15 17 19 
5 11 21
65
 32 32    32 32 32     8 32 32
1       
p mp


kalimbas

2 

   
(nat.) table
R  

        
nat.

triple harp C       
   mp  
 
mf p f mp

L 

  

sul pont. nat.

  
         

electric
guitar

p  arco mp
arco

  

nat msp

 

            
psp
clb nat sul I pizz

 
sul III
cello       
   p 

mp
 p p f mp mp
f


(DUO 3 sim.)

21 23 13 21 5 11 13
 32   32 32 32 16  
32   
32
72
1      



fff f
kalimbas ppp

2 
table

R     

    

    

triple harp C


ppp ppp


fff mf
L 



 
ppp
sul pont. (sul pont.)

        

electric
guitar
 

mp fff


clb

 
  
       
mst nat pizz sul IV


pizz arco psp

cello   
    
ppp  ]

ppp
ppp pp f


(DUO 3 sim.)

13 5 15 17 5 15 13 6
   
 
78 32 16 32 32 8 32 32   8
1        
mp pp


kalimbas

2 

 
nat
R  
  
           

nat. table
triple harp C       
    
   ]
mf mp


mf pp
L 


f mp


mp ppp

  


nat sul pont.
 
(bend)

     
nat. 
sul pont.
      

electric
  
guitar
mf mf ]
mp pp
arco
 
nat

              

pizz
 
pizz

cello        
    mp
mf mf
p f
80 (DUO 3 sim.)

6 23 17 13 7
 8 32   32 32 16
85

   

1


fff
kalimbas

2 

R 

triple harp C   ]           
pp  

mf

L 
fff

    

electric
guitar
arco msp

      

arco mst

      
 4:3  4:5 
   
pizz


cello

ff

pp
pp mf mp



(DUO 3 sim.)

7 5 29 6

 16    8 32   8
89
1     
f ff


kalimbas

2 
table
R   

   
nat.

triple harp C        
 
 ]
f ff place preparations on lowest five strings
fff (G, A, B, C and C#)
L 


mf

   ]
sul pont. (sul pont.)


take E-Bow
and prepare sound 1 for section D
       

electric
guitar  

fff
f
mst

arco psp sul III

      
pizz

cello   

 [ fff ppp
mf
fff add preparations

6" (wait for duo 1) 3" 2" 5" 5" 5" 5" 3" 5" 12" (wait for duo 1) 8"
(wait for duo 1) (wait for duo 3) (wait for duo 2)

D1 D2 D4 D6 D8 D11


DUO 1 @ e = 81 DUO 1 @ e = 90 DUO 1 @ e = 72
independent independent independent

D5 D9
DUO 2 @ e = 85.5
independent

D3 D7 D3
DUO 3 @ e = 72 DUO 3 @ e = 85.5
independent independent

 
     
93

  

1
p
 p 
kalimbas mf mf pp

    
2
 mp f mp mp
f
hold open B with E-Bow, continuously except for the three rests, changing between the five different sounds at the indicated points (and making gradual transformations within them if possible)
and changing the dynamic gradually with the volume pedal. (See preface to score)

sounds: 1 2 3 1 4 5 2 1

           

electric
guitar
mp mp mp

reverb off
 81

4" 5" 4" 23" (wait for duo 1) 5" 6" 7" 5"
(wait for duo 3) (wait for duo 2) (wait for duo 2) (wait for duo 3)

D14 D16
DUO 1 @ e = 76.5
independent

D12 D15 D17 D18

DUO 2 @ e = 72 DUO 2 @ e = 90
independent independent

D13 D19
DUO 3 @ e = 81
independent


  
94
1   
mf
kalimbas
   
 

2   
mp
ff
 mp mp
f
fff
p

3 4 2 5 1 3 5 4

        
 (mp)
electric
guitar

 6" 15" 5" 6" 3" 7" 4" 4" 11" (wait for duo 3)
(wait for duo 2) (wait for duo 1) (wait for duo 3) (wait for duo 2)

D20 D24
DUO 1 @ e = 85.5
independent

D22 D23 D27 D28

DUO 2 DUO 2
@ e = 76.5 @ e = 81

D21 D25 D26

DUO 3 @ e = 90 DUO 3 @ e = 76.5
independent independent


4
  8
95

   

1
p
p

kalimbas

 

f   
2 
 mf
pp   p
mp mp
f

2 3 5 1 4 2 3 5

         

electric
guitar
mp
82

E1 E3
DUO 1 @ e = 90
DUO 1 @ e = 108
independent
independent

DUO 2 @ e = 96
with conductor (giving downbeats only)
E2
DUO 3 @ e = 99
independent

e = 96
4 2 4 21 12 2 17 19

 8
  
8 8 16 8 8 16 16
96
1     


mf 
    
kalimbas


  
2
  p 
p mp


   
R


7:6

  
table table nat. table
prepared
     
 
 
triple harp C

  
p mp


  
L

   
mf p

  4:3 
 
     
replace preparations,


sul pont. sul pont.
return to default sound and put down EBow
     
prepared


electric

guitar
mp
p
   
I IV II I


   
I IV III I II

pizz II

  
6:5 III

 
arco msp arco msp
    
IV
prepared
 



  
cello

 mp
mf p
quartet sent to reverb (more than in first section)

E5
 DUO 1 @ e = 102
independent

(DUO 2 sim.)

E4
DUO 3 @ e = 93
independent

19 15 57 69 2
  
103 16 32 32 32 10:9
  8
1




kalimbas

   f


5:4

2    
(p)
mp

R 
 nat. 
prepared
   

triple harp C

  
 
L
(p) mp

 sul pont.    
    
 
 
prepared sul pont.

 

electric
guitar
 mp 
p
III IV II I

 
I IV II I III

   
11:8 3:2

 

pizz.


prepared
cello   

p mp
 83

E6 E8
DUO 1 @ e = 96 DUO 1 @ e = 105
independent independent

(DUO 2 sim.)

E7
DUO 3 @ e = 105 DUO 3 @ e = 96
independent independent

2 21 47 8 12 21
 8  16 32 8  8  32
107




1

(f) f


kalimbas



2 

pp

R 
 

4:5
nat.
prepared
triple harp C
  
 
 
     
L
 
pp

     
f f

 sul pont.

  
5:4 5:6
prepared nat nat.

   

electric
  
   
guitar
f  f
pp

   
I II III

arco IV I II III I II IV I III


3:2

     

msp

 
pizz arco msp

 
  


cello

pp
f
f

E10
 DUO 1 @ e = 99
independent

(DUO 2 sim.)

E9 E11
DUO 3 @ e = 84 DUO 3 @ e = 87
independent independent

21 9 25 2 49  25
   
112 32 8 16 8 32  16
1    


mf
mp

kalimbas
 

8:7
   
2 
ff


 
R
3:2
 
   
8:7
table nat. table
prepared
   


   
triple harp C

 

mf


 


L

  
ff mp

     
prepared nat.  nat. nat. 3:2

    
  

electric
guitar        
 
mp I III IV
ff

 I III IV 
mf 4:5
II II
 
 
III I I


arco msp pizz
 arco msp

   


III

IV


prepared


cello 
     
 ff ff 
mf mp
84

E12
DUO 1 @ e = 87
independent

(DUO 2 sim.)

E13
DUO 3 @ e = 102
independent

25 10 7:8
39 13
 16 3:2   8  32 32

117
1
     


p
kalimbas ff

2  



R

table nat. 
prepared
  
 
triple harp C


 
   
L

ff


p

 
 
 
sul

 
pont.
prepared sul pont.
   

electric
guitar
 
ff p
I

 
II


I


pizz III
prepared
cello    
 
p
(ff)

E14 E15
 DUO 1 @ e = 93 DUO 1 @ e = 84
independent independent

(DUO 2 sim.)

DUO 3 @ e = 108
independent

13 3 5 1 2 3 9 7 15 2 53
 32 32 8 8 8 16 32 32 16 8 32
121
1

  
kalimbas


 


         
2

fff

mf


table



R
4:3
table
prepared
         


     
triple harp C

 
fff mf

L 

   

prepared nat. 6:5
nat. 
   
        

electric
guitar   
fff 
mf

  
IV I III
 II I


 
 

pizz. arco msp 4:3

          
prepared
cello 

fff mf
 85


(DUO 2 sim.)

E16
DUO 3 @ e = 90
independent

53 15 
 32 8  
131

 

1


kalimbas pp

2  
remove preparations
R 
4:3


nat.
prepared
triple harp C  
pp 

  
L

nat.
    remove preparations

    
prepared
  

electric


guitar
pp

IV I

 
pizz. 3:2 remove preparations


prepared
cello 

pp Part 7 Omaggio a Chirico begins after a brief silence
86 DUO 1 (bass flute and bass recorder)
play continuously with conductor until end of bar 36

e = 48


both instruments: dynamic shifts between bars should be as abrupt as possible (like "edits")

  
   

4  



 
                           
  
4:3

8 
N+R1 C#

   

D#

 
    
D#
N

  
C



bass flute

 
ppp pp

   
ppp
 
  
3:2

      

 
4:5
   
N N N N

 
 
         

3:2

bass recorder        


ppp pp ppp


N+R1

 
  
11:8

                                   

    

 
  
7:5 4:3

  

D# N

 
4 3:2

 
      
bass flute     
D#


 p
    
  
     
ppp pp
4:5

                


                
4:5 N
3:2 9:8
3:2     6:7  
3:2 3:2

      

    

bass recorder
  
ppp
pp
p


 / 0 
      /0

                             
     
 
3:2

 
11:8

bass flute            

7

       

  / 0  /0
  pp
mp

 / 0

     /0
    


  
7:6

        

    
3:2


4:3

bass recorder 

        
 / 0
  
 /0  
mp   pp


 
 

(R1)



              
9:6




     

    
9:8 6:5

         
7:8

 
  

 (R1)
     

C#

bass flute    

9
 
  
D#

  
ppp p


  
mf

         
(R4)

       
(R4)
4:3 7:5

  

   
 
4:5
    
N

  
  
   
N

  

bass recorder

ppp p

 
   
 



            

            
          
9:6 13:10

       
4:3


N D#
9:8

       

D#

12  
bass flute 
 
 
 
  
 
p ppp pp


         N      
                
               
6:5 11:12

    
15:10

  
12:9

         

5:6 3:2

 
5:4 N

 
bass recorder 
    
p  
ppp
pp

 
                                 
   
5:6

9:8 7:8
 3:2
                  

15

bass flute         
     
mp p pp mp
f mp f p mf f
  
           

                    
 3:2
           
      
          
6:7

    
5:4

bass recorder              
 /0  /0  /0  /0     
mp pp pp p mp
f mf mp f pp f
 87

   
                                       
   
      
 
17 


bass flute

mp

  
                            
   


 
  
 
    
bass recorder 
mp


 
 
  





                    
9:8 5:6 13:10

            

3:2



                      
   
  
 
D#
18 D#
N D#



bass flute

   
pp ppp

  
    
               
7:8 7:5

   
                       
9:6

                 

N

bass recorder 

     
ppp
 
pp

 
(R3)
    
(R1)

          
 
  
     
20


4:5 7:6 9:8

16:15
 
4:3

bass flute    
   

 
    
p

(R1) 4:5

     
       
(R1)

 


         
3:2 21:16
         

4:3


      

bass recorder
 
p

embouchure-glissandi (begin each diminuendo with pitch already dropped as far as possible using the embouchure,
then returning gradualy to "normal" )


(R1)
                             3:2              
9:8 4:3

 (R1) 
8:9 5:6 3:2
3:2 4:3

22

     
  
bass flute 
  
mf  p
ff ppp ff ppp ff ppp ff ppp

allow pitch to drop naturally through the course of each diminuendo 
(R1)

      9:8

                    8:7    
4:3
(R1) 
5:4 3:2 5:4

          
9:6 9:6 4:5

bass recorder 
  
                   

 
          
p
ff ppp ff ppp ff ppp ff ppp mf


  






 


 
        
               
bass flute              
9:8 10:9
 
25 C 9:6

 
CB

 ppp   
   
 
pp

  
    

 
                                 
9:8 9:6


bass recorder  
 

    
4:3

11:9

  
    
ppp
pp

 
3:2
       
3:2
      

    
11:13

              
              
5:4

 
                    
bass flute           
27

  

   
  / 0  /0
 / 0        
mp
/0
f mf pp mp p f p f


     /0                         
        
11:8
 / 0  
15:13
  
   /0                     
     

   
 
bass recorder                       
 /0        
  
mp f p mp f mf pp f pp mf mp
88

   
     


   
       
    
10:7

            
     
12:9
    
3:2

    
D# D#CB D# CB

   
    

   
29
       
bass flute  
 fff          
       
   
mp f pp mf p f mp f pp mf

      
           
  
 
 
9:8
   

6:5 5:4
    
9:11

    
F#
3:2
     
    
   
bass recorder         
 
    
  
fff p mf f pp mp p f

    
    
  

    

 

  

               
                 
     
31

bass flute        
  
/0

/0
 pp
mp
   
                                                                             
7:8 3:2
3:2

bass recorder 
           
 /0
  
/0  
mp pp


  











              
    4:3
5:4


D#


N D#


33

bass flute 

     
ppp

 
p


     
               

       
  
         
11:8 7:6

N 3:2


bass recorder 
ppp 
p

 
(D#)
(D#)

6
   
 (§) (§)
          
5:4
  

9:8
35
8

bass flute    
    
ff ff ppp ff ff ppp
mf

(R3) 
3:2(R3)
       
 
        
 
   
5:4
    
3:2


   
 
bass recorder
  
mf ff ppp ff ff ppp
ff

(tacet about 33")

cued by conductor, continue independently until end of bar 38,

B4 then stop and wait for next cue

both instruments: transitions to multiphonics should be gradual where possible,

e = 63 completing the transition at the notated point where the multiphonic begins. B8 sim.
Where a trill is indicated, the notated pitches are an approximation to those

 
 
e = 51

present in the absence of the trill, which is normally a slight pitch/timbre inflection.

    

  


 
 




 





 

(R2) (Dtr)

6  
D#

    
D# D#
5:4 D#CB
7:6 

   
 
5:4

8  
3:2


5:4

  

D#C

     
D#

   
3:2 3:2

           

37

bass flute      
 p mp

p f p mp p
p mf p mf p mp

       
     
(L2  )
      (R3)
  
    


(R2)

         
5:4 5:6


G#
3:2 3:2
  
3:2 5:4 5:4

 
  
       
       
    
bass recorder 
         
   
p mf p mf p mf p mf p f p mf
 B10
89
e = 57
 
both instruments: in the following three bars the trills begin not

 
at the onset of the sound but on arrival at the multiphonic!


   
 (D#) 
5:6

(R1)

 


 



D# D#
13:12
  
 

          
40
D#CB
  
D#
  
bass flute 
 
   
(mp) p mp p mf p f p

 

      
(R1)  
       
    
7:6

11:12

  
 
   
      

bass recorder          
(mp) p mf p f p mp p mf

B13


B14

e = 60






e = 54
  
 
(L2 + §)
15
(L1)

  



D#
11:12

  
   16

D#
42

bass flute               


mp p ff p mp p mf

 
    (F) 
13:12

    
   

(R3)

  
      
 
bass recorder           

p mf p f p mf p mf

(tacet about 3 minutes)

D1

  
e = 81 both instruments: use circular breathing throughout this passage,

    

 
e = 90
    
D4

taking care to time inhalations between the Flzg durations

    


  
15      9
   
D# D# D#

 16  
(R3) D# (L3) D#

              

(L1) 

16
D# D#
44

    
C#
5:6 19:14

    
bass flute 

  

      (R1  )
mf pp mf pp mf

)
pp

  
mf

    

     (R1 

        
 
7:8


                      

bass recorder   
pp mf pp mf pp mf pp mf

   
  



 
D8 e = 72
 
 
 
(R2)   (R3) 
D# D# D#

9 5 9 3
(R1)

 16 
6:5


46

     
8 D# D# (etc.)

               
16                   8

bass flute 
  
 
 
pp mf pp mf pp

   (L1
 (L1 
 
 quasi smorz.)
    
quasi smorz.)

 
8:7



5:4

                

bass recorder    
pp mf pp mf pp

 
  
 

  (L1) (L1)
(G#)

3 5 6 5
D# C#


(R123)
 8    
8 
5:6

  
49
8 5:6
    
8:9
   
8
    
bass flute 
    
mf pp mf

   

   
        
5:4

  
       
16:15

bass recorder 
           

mf pp
  
 
90 D14 e = 76.5
  
5  2  11



D#
 (R123)
(R1) 
D#

(R2)
 8 
       
52


D#

  
5:6

8 3:2

 
16
    
bass flute 
      
 

  
pp

   
 



   
  
5:4


9:8

       
7:5

bass recorder        

mf pp mf

11
5 11 5
 16   
55

   
5:4
8 5:4
  
3:2
 
16      
7:5 8
      
bass flute 
    


mf pp

 
  (L1)    
 (R3)
(R3) 
 (L1)
      

  
8:7
18:13 5:6


                 

bass recorder

pp mf

D20 e = 85.5

(L3+G#)
 

(R23)
5 
4  6 4
 8
17:16

 
58

 
8  
D#

 
8   9:7      
9:8

8

bass flute 
        
 

 
pp mf

mf pp mf

 
   
       
7:6


5:4

bass recorder 
             



pp mf


4  3 13
 8
 
8 16
D#
61


6:5

bass flute      
   
pp


(R1)
 
(L1)

 
9:8



3:2

bass recorder         




13 (G#) 
(R13) 11 (R1)  6
D#


 16      
16    
8
5:6
64


10:11
   
 
bass flute 
    
   

 

    
7:5


  
   
14:13

bass recorder             


pp mf pp


 

6 (R12)
D#
(L1)
C#


 8        
66
3:2 4:5
   
 

bass flute


 
mf pp

 
 

bass recorder 
         

mf

(tacet about 30 seconds)

 91
Until the end of heliocentric, DUO 2 plays continuously and the conductor cues DUO 1, DUO 3 and the quartet.

  
    
E1
e = 90   
    
   
 5       4               
N C# C# C#
7
  
      8              8 16
      
68

bass flute 
    



     

mf f

 
       
                     
  
   
   
3:2 N

    

   



    
          
  
bass recorder
  
f
mf

     
E3

   
      
    
     
e = 108
 
7         
  
        3
D# C# D# N

   
D# C# C#
5:6

5:4 9:7 6:5

        
        

 16          


71
8  
  
bass flute             
   
 
mp

        

  3:2    
       
    

  
 
       
        
   

4:3
    
 
3:2



     
   
bass recorder           
   
mp

both instruments: brief dynamic pulsations two degrees above the prevailing dynamic

11 
4 3  9
    
9:8

 
   
9:8

 16   3:2    8  8    16
75

bass flute 
 
         

(mp)
pp                        

    
7:8

  
    
6:5
  
 
5:4
      
      


bass recorder  
      
 
(mp)
pp                            
E5
e = 102

      
4:5
9 7  6     3
3:2 3:2 5:4

           
  3:2 10:9

    
16          8 
4:3

 16     
  
   
 8
78

bass flute     

 
            mp mf mp mf mp


9:10

          
  
4:5 4:3

8:7


  
4:5

 
 
  
       
  

   
 

    
bass recorder  

                mp mf mp mf mp mf

3 5 7 4 6
6:7
5:4

8      
 
 8     16  8    8
 
81
  
bass flute 
  
mf mp mf pp f

 
      
9:11 6:7
 3:2
3:2

  
 
   


    
   
bass recorder 

   
 
pp f
mp mf

E6
e = 96
11:9
6   3 6 9
            
5:4

                 
      
7:9 6:5 6:5 6:5

8     8   8    
16
85

bass flute 
     
  
f p f p f

   
5:6


         
7:8
 
 
3:2

    
bass recorder 
f p f p f
92
E8
e = 105
both instruments: unaccented sounds given as little articulation as possible!

9 
7  
4   
3 15
 16                        
 3:2 9:7
16           8
4:5
8   
5:6
  16
 
88

bass flute                 

                              
ff                                      
     
       3:2 

   
       
3:2
 3:2 
4:3 3:2

     

                                          
          
bass recorder
                      
     
ff                                       

15   
16                               16            16
19:13
7 5 7
 16
92



bass flute

pp ff


                
4:3

           
3:2
 
     
4:3

15:13

  
3:2 3:2

bass recorder 
         

pp

E10
e = 99
7:8



4:3
7 5 5:6
4
16                                 
3:2
     
 
7:9
95
 
8         
 
8    
  

bass flute

pp ff mf

5:4


6:5

 
       
 4:3

3:2
 
     
3:2 
12:13
    

4:3

bass recorder     
ff mf
ff pp ff

5:4

6:5 3:2


  
7     4  3 7
3:2 5:4 4:3 7:6

 
8:7 3:2

          
3:2
   

5:4
  16   8   8 16
     
      
98

bass flute          


  
mf ff mf ff ff mf mf
ff mf

6:7 4:5


4:5  4:3 5:4

  
7:9
   
7:6

  
5:4

         

     
bass recorder     
 
      


 
ff mf mf
mf ff ff mf

E12
e = 87
7  
 11 2
         
  
          
 
       
3:2
  
3:2 7:6

 16    
13:12

5:4
16  8

102
  

bass flute 
       


 
 
ff ppp

3:2
9:8
 4:3
             

         
5:4
   
    
5:6
       
8:9

bass recorder       
ff mf ff ppp

2 3  7  5

16   
 8          7:5   

 
10:9

8      8  
 
 
17:15
  
  5:4

105

bass flute       
  

8:7

                            

   
             
5:4 3:2 10:7
6:5 12:11

 
  

bass recorder      

 93


17:14
11 2  4   
9
        
 
     
5:4 3:2 3:2

          
3:2

16    8 8   16
3:2

  
17:12

 
3:2

109

 
3:2
 
bass flute     

fff

  11:8  
                     
  5:4   3:2
 
      
11:8

   


3:2 3:2


3:2

bass recorder    

fff

E14
e = 93 E15
  
    
 

e = 84

 

   
9 3 4 5 3
D#
N

8   
C C#
5:6

     
4:5 3:2

 
7:8

 16  
D# D#

 
8:7
  8   8              8
       
112

bass flute            
   
   
p fff pp mp


ff

       
mf

                 
     
N

 
3:2 + R2 N + R2 N N +R123 N +R123 N +R123

  

N N


7:8 8:7

                     


bass recorder        
 
p fff pp
mf ff mp


 



3 5   9
   
4:3

       
7:6

8  3:2  
  
D#

        
D#

  
("pizzicato")
116
8   16
bass flute           
 ppp

mp
 

   
f mf p

 
N -R1 N   
       
5:6 +R1*

 

N N
10:7

           
bass recorder       



ppp
mp
 mf  p
f
* momentary depression of R1,
just enough to produce a hint
of multiphonic

   
    
 


 
9 4
 
D#

 16 
D# D# D#
3:2

 
8 
4:5 7:8

119

bass flute      













 
           
ppp
ff

(p)

    
(sim.) (sim.)
           
     
5:4 N -L2 N N N N N
4:5

  
5:4

          
bass recorder  







       
(p) ppp
ff
120
 121

7 Omaggio a Chirico

duration: approximately 6 minutes

Elsewhere is a negative mirror. The traveller recognises the little that is his, discovering the much he has not had and will never have.

... imagine that the cityscape paintings of Giorgio de Chirico depicted different views of a single city...
... imagine a music to accompany this place as actual sounds accompany actual places,
such sounds as could not be heard in actual places...
... sounds with a particular kind of presence, with a particular kind of absence...
... which attracts the attention and then changes or turns a corner and disappears
as soon as the attention falls upon it...

... imagine a stillness pregnant with sound, or a sound infused with silence...

... objects, perspectives, causalities become unfamiliar...

... or imagine that you dreamed such places and imagine a music to invoke memories of them...

Perhaps all that is left of the world is a wasteland covered with rubbish heaps,
and the hanging garden of the Great Khan’s palace. It is our eyelids that separate them,
but we cannot know which is inside and which outside.

... if voices are heard they cannot be understood, being perhaps only shadows of voices...

...

... if the music begins to cohere, be silent...

... or imagine being alone and that the sounds you hear are those of a surreal environment
to which the music you make is a response...

... imagine sounds as connections between silences...

“Sire, now I have told you about all the cities I know.”
“There is still one of which you never speak.”
Marco Polo bowed his head.
“Venice”, the Khan said.
Marco smiled. “What else do you believe I have been talking to you about?”
The emperor did not turn a hair. “And yet I have never heard you mention that name.”
And Polo said: “Every time I describe a city I am saying something about Venice.”
“When I ask you about other cities, I want to hear about them. And about Venice, when I ask you about Venice.”
“To distinguish the other cities’ qualities, I must speak of a first city that remains implicit. For me it is Venice.”
“You should then begin each tale of your travels from the departure, describing Venice as it is, all of it, not omitting
anything you remember of it.
The lake’s surface was barely wrinkled; the copper relfection of the ancient palace of the Sung was shattered into
sparkling glints like floating leaves.
“Memory’s images, once they are fixed in words, are erased,” Polo said. “Perhaps I am afraid of losing Venice all at
once, if I speak of it. Or perhaps, speaking of other cities, I have already lost it, little by little.”

The following section, Andromakhe, begins after a silence of several seconds.

122
 123

8 Andromakhe

   
e=72

    
6 


A A

  

7 (non tr.) 
(as before)

 

8 16
bass clarinet 1             

   
ppp pp p mp mf sub mp

 
 
A A


(as before)
  
 

(non tr.)

bass clarinet 2
(detuned 1/8 tone)             

   
ppp pp p mp mf sub mp

 
 
A A


(as before)
  
 

(non tr.)

bass clarinet 3
(detuned 1/4 tone)             
ppp pp p mp mf sub mp

    
+G
+F+C#
6:7  3:2 

bassoon            
mf

mf

6:7
  
3:2

Andromakhe
      
(contralto)
     
τὸ µὴ γε νέσ θαι τῶι
to mɛ ge ne stʰa i tɔ i

  
 
3:2 4 3 9

8:9
6  8 8  16
 
(non tr.)
bass clarinet 1         

mp mf mp

 
8:9 3:2
 
 
(non tr.)
bass clarinet 2
        

(detuned 1/8 tone)

mp mf mp

 
8:9 3:2
 
 
(non tr.)
bass clarinet 3
        

(detuned 1/4 tone)

mp


mf mp

+A              
+ both F#s


7:6 8:7 5:6 6:5
 

bassoon                       
mf
mp

mp

      
5:6 6:5
  
7:6 mf 8:7

 

Andromakhe
    
(contralto)

    
   

θα νεῖν ἴ σον λέ γω,
τοῦ ζῆν δὲ λυ πρῶς κρεῖσ σόν ἐσ τι κατ θα νεῖν.
tʰa ne in i so n le gɔ
to zɛ n de ly prɔ s kre i so ne sti ka tʰa ne in
124

       
 
9 5 9
 16
9  
4:5 3:2
     16   16
bass clarinet 1         
mf mp

 
 
4:5 3:2


    
bass clarinet 2
        
(detuned 1/8 tone)

mf mp

 
 
4:5 3:2


    
bass clarinet 3
        
(detuned 1/4 tone)

mf mp

         
+G      
+G#+C# + both F#s
 5:4 4:3 4:3 10:7

 

          
7:6
bassoon          
mp
mp mf

mp mf
10:7
 
5:4 4:3
 
7:6
   
mp


4:3

Andromakhe
      
 
 
(contralto)
 
ψυ χὴν ἀ λᾶ ται τῆς
ὁ δ᾽εὐ τυ χή σας ἐς τὸ δυσ τυ χὲς πε σὼν
psy kʰɛ na la ta i tɛ
ho de u ty kʰɛ sa se s to dy sty kʰe s te sɔ n

      
9   7
 16    16   
11:12 4:3

 
12

      
bass clarinet 1       
(mp)
mf sub. mp


mf


  
 11:12
 
4:3

bass clarinet 2
(detuned 1/8 tone)             
 
(mp)
mf sub. mp
mf

 
  
 11:12
 
4:3

bass clarinet 3
(detuned 1/4 tone)             
 
(mp)
mf sub. mp
mf

           
+F+F#
7:5 +G 4:5
4:3 4:3


8:7
bassoon                   
(mp) mf

4:3 4:3 4:5


7:5

mf
 
8:7

Andromakhe
 
      
(contralto) 
 
   
πά ροι θ᾽ευ πρα ξί ας.
κεί νη δ᾽,ὁ µοί ως ὥσ
s pa ro i tʰe u pra ksi a s
ke inɛ d ho mo iɔ s hɔ
 125

        
  6
   4:3     8
5:4 5:6 10:11

 
 
14

bass clarinet 1 
            
  
mf mp
mp
mf

 
5:4 5:6

10:11
  
 
    
4:3
  
bass clarinet 2
    
 
    

(detuned 1/8 tone)

mf mp
mp
mf

 
5:4 5:6

10:11
  
 
     
4:3
    
bass clarinet 3
      
(detuned 1/4 tone)   
mf mp
mp
mf

         
    +B,A,G
+F# (thumb)
 
 
9:7 5:4 4:3
5:6 3:2

10:7

bassoon 
    
                  
(mf)
mp mf

(mf) mp mf

 
9:7 10:7
      
5:6
 
5:4

 
4:3
3:2

  

Andromakhe
(contralto)       
     
 
περ οὐκ ἰ δοῦ σα φῶς,
τέθ νη κε κοὐ δὲν οἶ δε τῶν αύ τῆς κα κῶν.
spe ro ki do sa pʰɔ s
te tʰnɛ ke ko de no i de tɔ na u tɛ s ka kɔ n

3          
5:4

6   5
   
 8 8   8
17 4:3
     
 
bass clarinet 1  

mpzp
mpzp

  4:3
      
             
5:4

   
bass clarinet 2

(detuned 1/8 tone)
 
mpzp
    mpzp

         
4:3

       

5:4
bass clarinet 3
    
(detuned 1/4 tone)

mpzp mpzp

In the following passage: circular breathing throughout; internal articulations should be

realised using the indicated fingering changes only (no audibly tongued articulations!) and
  

N +low D N +D N +D N +D N +low E N +E
the transitions to and from multiphonic sounds gradual or abrupt as notated without ever


4:5 5:4 6:7 4:3

   


breaking the continuity of the sound.
  


bassoon

p sempre


8:9

R
     
   
 
3:2

triple harp C       
 
 
mp sempre
 
L

p sempre, quasi senza espressione

4:5  5:4 6:7 4:3

      
   
Andromakhe
(contralto)        
 
ἐ γὼ δὲ το ξεύ σα σα τῆς εὐ δο ξί ας
e gɔ de to kse usa sa tɛ se udo ksi a s
126

5 4 3   4
     4:3
7:6

 8         

10:9
 8 
4:3
21 4:3

    8 8
bass clarinet 1 
 
(p) mpzp

 
10:9

     
4:3 4:3 4:3


7:6
         
     
bass clarinet 2
(detuned 1/8 tone)
  
(p) mpzp

     
7:6
  
   
4:3 4:3 4:3 10:9

    

bass clarinet 3
 
(detuned 1/4 tone)      
(p) mpzp

   

N +D N +D N +D N +D N +D N +D N +D N +E N

  
10:7 7:6 3:2 4:3

   


bassoon

(p)

7:9


 
R

 
triple harp C
        

 
(mp)

(p)
  
  
10:7 7:6 4:3

    
3:2



Andromakhe
         
(contralto)
  
λα χοῦ σα πλεῖ στον τῆς τύ χης ἡ µάρ τα νον. ἅ γὰρ γυ ναι ξὶ
la kʰo sa ple isto n tɛ s ty kʰɛ s hɛ ma rta no n ha ga r gy na iksi

4         2 3 5
3:2 3:2 3:2

           
 8       8 
3:2
24
8  
3:2
 
8
  
  
bass clarinet 1 
   
(p) mpzp mpzp

        
3:2


3:2 3:2
  
3:2

  
3:2

      
        
     
bass clarinet 2
(detuned 1/8 tone)
  
mpzp mpzp
(p)

       
      
3:2 3:2 3:2
3:2

          
3:2

      
   
bass clarinet 3
(detuned 1/4 tone)
      
 mpzp
(p) mpzp

 

 
    
+D N +D N +E (+E) N +E N +D N +D N +D N +D N +D N +D
 7:6
  10:7


6:5 9:8 3:2 4:3 6:5




bassoon        
(p)

   
 
R 

 
3:2

triple harp C       
 
 

(mp)
 

L

(p)
 
   
 7:6 3:2 10:7
6:5 9:8 4:3 6:5

      
Andromakhe
             
 
(contralto)

σώ φρον᾽ εσθ᾽ ηὑ ρη µέ να, ταῦτ᾽ ἐξ ε µό χθουν Ἕκ το ρος κα τα στέ γας.

sɔ pʰro ne stʰ ɛ urɛ me na ta ut e ks e mo kʰtʰo n he kto ro s ka ta ste ga s
 127

5 2 3 6
 8     8  8   5:4  8
29

bass clarinet 1     

 
(p)
  
 
 
    5:4
    
bass clarinet 2
  
(detuned 1/8 tone)
(p)


   5:4

    
       
bass clarinet 3
  
(detuned 1/4 tone)
(p)



         +D
N +D N +E N +E N +E N +D N +D N +Ab N +Ab


6:5 8:7 5:4 9:7

 


bassoon         
(p)


6:7


R 

5:4

triple harp C
       
 
  
(mp)

L

(p)
 
 
9:7

  
6:5 8:7 5:4

Andromakhe
(contralto)                    

καὶ τῶν δε κλη δὼν ἐς στρά τευµ᾽ Α χαι ι κὸν ἐλ θοῦς᾽ ἀ πώ λε
ka i tɔ n de klɛ dɔ ne s stra te um a kʰa i ko n e ltʰo sa pɔ le

6   3         9:8
4 2 9
   

33
8  8 8   8 16
bass clarinet 1 
    
     
mpzp 
 
mpzp

             

9:8

bass clarinet 2
        
(detuned 1/8 tone)
mpzp
mpzp

     
9:8

        
  
     

bass clarinet 3
 
(detuned 1/4 tone)     
mpzp
mpzp

  

+D +D     
N +Ab +Ab

N

N +D N +D N +D N +D N +D N +D
  


5:4

  
7:5 10:7 3:2 5:4

 
3:2

bassoon       
(p)


   
 
R


7:5

       
  

triple harp C
(mp)  

L

(p)

7:5  3:2
 5:4  10:7  3:2 
5:4

Andromakhe
(contralto)                               
σέν µ᾽ἐ πεὶ γὰρ ἡι ρέ θην, Ἀ χιλ λέ ως µε παῖς ἐ βου λή θη λα βεῖν
se n me pe i ga r hɛ ire tʰɛ n a kʰi le ɔ s me pa is e bo lɛ tʰɛ la be in
128

6:7

9             5     2 6
 
 16 16 8 8
37


bass clarinet 1 

mpzp


(p)
6:7

            
 
bass clarinet 2
(detuned 1/8 tone)

(p) mpzp

6:7

            
bass clarinet 3
     
(detuned 1/4 tone)

(p) mpzp

  
N +D N +D N +D N +D N +D N +D

 
11:8 7:5

  



bassoon     

(p)



 
R

 
   
triple harp C 
 
  
(mp)

L


(p)


11:8 7:5

  
 
Andromakhe
(contralto)            
δά µαρ τα δου λεύ σω δ᾽ἐν αὐ θεν τῶν δό µοις.
da ma rta do le usɔ de na utʰe n tɔ n do mo is

6
 8
40  3:2 10:9

bass clarinet 1 
        
              

ppp sub. pp

 
15:11

bass clarinet 2

                   
  
(detuned 1/8 tone)
 

ppp sub. pp

 6:7

        
 

bass clarinet 3
(detuned 1/4 tone)
    
  



ppp sub. pp

5:4

R
 
4:3 10:9

 
 
triple harp C
    
    
  
   

     
L


ppp pp

 
arco nat. 5:4

   
 
cello
            
 
ppp pp
 129

 
              
10:11
42  3:2 3:2 3:2
 
bass clarinet 1          
7:8 3:2 3:2

   
p mp

3:2
7:5

  
5:6

      
bass clarinet 2
  
(detuned 1/8 tone)     
p mp

 
  
           
5:4 7:5

          
bass clarinet 3
(detuned 1/4 tone)


p mp

  
4:3

   
    
 
5:4



R

 



triple harp C

      

L  

p mp


II


11:9

 
III

cello
               

p mp

7:6

          
4:5
  
4:3

44
             
 
bass clarinet 1 
 
mf f

 
3:2 4:5

      
       
     
 
4:3

bass clarinet 2
  

(detuned 1/8 tone)

mf f

9:7 7:5 9:7 7:5

                                              
   
bass clarinet 3
  
(detuned 1/4 tone)


mf f

8:9

    
   
9:8
 
   
R 
  


   
triple harp C

    
    
L 
 

mf f

                                
3:2 9:7 3:2 3:2 3:2 3:2 3:2 3:2

       
3:2

 
cello 

mf f
  
9:10

        5   

R

130 
 8
46
Eb

bass clarinet 1  
 
ff fff ppp
5:6

            
bass clarinet 2
  

(detuned 1/8 tone)

ff fff ppp

    3:2       3:2
          
4:3

bass clarinet 3
 
(detuned 1/4 tone)

ff fff

     

5:4
5:6


   
bassoon




ff mf

sempre non legato ma tenuto (damp each sound as the next is played)
 table (quasi koto!)
R 
 
     9:7
  
triple harp C 
    
f sempre
fff 
L 
ff

ff mf f

     
4:3

   
5:6

Andromakhe
 
(contralto)

ὦ φίλ τατ, ὦ πε
ɔ pʰi lta tɔ pe

                  
5:4 10:7 7:9

                   

10:7 6:5 11:8

  
(nat)

  

cello   

ff fff ] ff


 
   3      13

 8 16
48

     
F#

bass clarinet 1    
 
   
ff ppp ppp mf

           

 
R

        
Eb F#

bass clarinet 2
     
(detuned 1/8 tone)
 
    
ppp ff ppp

   

ppp mf ppp

      

 
R

        
Eb F#

bass clarinet 3
(detuned 1/4 tone)     
 
ppp ff ppp ppp mf

              

             
11:9 7:5

   
7:8

  
5:4

   
5:4




   


bassoon

p
mp
f

 
12:9

  
7:9

(table) 9:8

 


6:5 7:6

triple harp C
  

       

(f sempre) sub. mp sempre
 


L

mp ff f mf p mf

                        

4:3 11:10 8:9


  
7:5
    
 
Andromakhe
  

(contralto)

ρισ σὰ τι µη θεὶς τέκ νον, θαν ῆι πρὸς ἐχ

ri sa ti mɛ tʰe is te kno n tʰa nɛ i pro se

    
 
 
4:5 4:3


10:9 4:5

 
(nat) msp
   
  
  
                
cello
  
mp
 
mf
         
131
       
13         7     11

R


 16
F#

16 16
Eb

  
51

 
      
G# G#

bass clarinet 1  
  

       
ppp ppp mf ppp

   
ppp

      
 
R

F#

 
Eb

   
G#

  
G#


bass clarinet 2
(detuned 1/8 tone)
   
     
ppp mf ppp ppp

    

R

F#


Eb

       
G#

bass clarinet 3
 
  
(detuned 1/4 tone)

ppp ppp mf ppp

 
6:5

     
6:5

 
4:3 10:7


  
        
   
           
bassoon



mf mp

(table) 7:5

R
      
5:4
 7:5


(mp sempre) 8:7

   
triple harp C 
       
L 
p
8:7 mf p mf p

          
3:2


4:5

        
13:10 7:6
3:2

Andromakhe
          

(contralto)

θρῶν µη τέρ ἀθ λί αν λι πών,

kʰtʰrɔ n mɛ te ra tʰli a n li pɔ n

 
4:3

  
9:8

   

   
7:5 11:9 3:2

          
                  
(msp) psp

cello
   
 

mp
p


    
     
11    4     7     5

R


Bbtr

16 8  16 8

53

bass clarinet 1         
  

  
ppp

  
pp ppp ppp pp
  

R

Bbtr

          

bass clarinet 2

 
(detuned 1/8 tone)

        
pp ppp pp

         
 
R

Bbtr

 
      
G#

bass clarinet 3
  

(detuned 1/4 tone)
 
ppp pp ppp ppp pp ppp

               

7:8
9:7 7:6 4:5 6:5 8:9



            
        
     


bassoon
     
    
ppp p

 
(table) 10:7

   

8:9

   
3:2

6:5 7:8
R 

triple harp C
   


sub. ppp sempre
         
L  

 (half-whispered)

 
 10:7 
   
pp sempre 10:9 11:8 6:5
6:5

               

  
Andromakhe
    
      
(contralto)


νῦν, οὔ ποτ᾽ αὖ θις, µη τέρ ἀσ πά ζου σε θὲν,

ny no po ta u tʰi s mɛ te r a spa zo se tʰe n

             
(psp)

   
13:10

        
4:3 12:9

   
5:4 6:5 msp

nat

        
cello  
  
pp ppp p ppp
132
      
        
5      9      7   9

R


G# R G#

 8 16  
16 16
Eb F#

     
Eb
56

bass clarinet 1           

         
ppp mp ppp ppp mp ppp

        
 
R G# R G#

  
Eb F#

 
Eb

bass clarinet 2
(detuned 1/8 tone)       

   

           
mp ppp ppp mp ppp

           
 
R G# R G#

  
Eb F#

    
Eb

bass clarinet 3
     
(detuned 1/4 tone)

ppp mp ppp ppp mp ppp

       
11:8

 


6:5 13:9 4:5

  
8:7 4:3 3:2


      


        
   
        
bassoon
    
p sempre
mp ppp
ppp

      

5:4 6:7

7:5 5:6
R

      

(table) 11:9

triple harp C

     

sub. p sempre
 

L

ppp
p mp pp mp
 
                   
9:7


10:9 4:3
 
       
7:8

     
6:5

    
Andromakhe
(contralto)

πρόσ πιτ νε τὴν τε κοῦ σαν, ἀµ φὶ δ᾽ὠ λέ νας

pro spi tne tɛ n te ko sa n a mpʰi dɔ le na s

            

6:5


(msp) psp

   
nat

    
6:5 8:9 3:2
 
10:7

           
7:6
    
 
     
   
cello
 
mp p sempre pp


       
     
9     4    9  13
16  
  
 
R

   
  
16  8 16
C#
59

 

bass clarinet 1        


     
ppp pp

   
ppp p ppp

     
 
R



C#

bass clarinet 2
          

(detuned 1/8 tone)

     
ppp pp

  
ppp p

         
 
R

 
C#

bass clarinet 3
(detuned 1/4 tone)              

 
ppp pp ppp ppp p

           

10:7 3:2 3:2

                  
5:6 5:4 11:10

     
4:3

 



  
bassoon


(p) ppp

     

5:4 9:10

(table) 6:7

R



5:4

     

10:9

triple harp C

       

sub. pp sempre
 
L 

  
p pp p

                   

6:7

        

7:5 5:6


    
 
Andromakhe
(contralto)    

ἕ λισσ᾽ ἐ µοῖς νώ τοι σι καὶ στόµ᾽ ἅρ µο σον.

he li s e mo is nɔ to isi ka i sto m ha rmo son


  
9:7

      

7:5
7:8

     
 
(nat) msp 4:3 4:3 psp

 
  
   
cello
       
 mp pp
mp
ppp p
          133
     
13     7 3     2
 
 
 16  16 8 8
62

    

  
bass clarinet 1     
F# F


 
      fff
 
fff ppp

   
ppp ppp
    
   
      
    
F# F

   
bass clarinet 2
(detuned 1/8 tone)

     
   
ppp fff ppp

  
ppp ppp fff

 
   
    
     
F# F

   
bass clarinet 3
(detuned 1/4 tone)

ppp fff ppp ppp fff

                  

11:8 4:3

9:10


8:7 6:5 7:9

            

    



bassoon

fff ff fff mf

 
(table)

  
5:4 4:5 7:6

R
  

 

  
13:10

triple harp C

      

sub. ff sempre
 
L

fff f ff mf fff f


4:3 9:10

 
6:5

         
9:8 5:4

             
          
    
Andromakhe
(contralto) 

ὦ βάρ βαρ᾽ ἐχ ευ ρόν τες Ἕλ λη νες κα κά,

ɔ ba rba r ekʰe uro ntes he lɛ nes ka ka

              
5:4

           

7:5 7:5 10:9

  
msp

  
10:7


nat

    
      
cello


f fff
fff


     
 
2 13      9
 8 16  16
Eb

 
65

bass clarinet 1    

  mf
  

 
 
Eb

bass clarinet 2
(detuned 1/8 tone)  
    

 
  

ppp p mf p

 
Eb

bass clarinet 3
   
(detuned 1/4 tone)

p mf
6:7

  
7:5

          

5:4 6:5

   
 
   
bassoon




f p f

(table)

    

6:5

8:7 8:9 7:6

3:2
R 

triple harp C


    

sub. mf sempre
  
L

p f
f p f pp f

      
5:4

 
7:9

 
 
       
7:5
Andromakhe
  
 
(contralto)

τί τόν δε πᾶι δα κτεί

ti to nde pa ida kte i

psp

11:10

    
3:2 5:6 8:7



cello
            
 
       
      
f
134

  
  
9     6 

  
R

 16 8
   
67

bass clarinet 1      
G#


p p mp p

  
   

R

    
G#
bass clarinet 2
(detuned 1/8 tone)

 
p mp

   

R

      
G#
bass clarinet 3


(detuned 1/4 tone)

mp p

          

4:3

   
5:6 4:3








bassoon

pp

(table)

 
11:10

R
 


(mf)
triple harp C
 

    
L

pp f p f pp


10:7
7:6

     
 
4:5

     
     
Andromakhe
(contralto)

νετ᾽ οὐ δεν αἴ τι ον;

ne t o de n a iti o n?


nat sul I
 
 
(psp) 12:9
  
     
4

  

   
          


cello

 
  

II 2

mpzp II 2
III 1
pp mfzp 
sfzp

 msp

  
69

  



cello
II 3

III 2

IV 1
 Part 9 wound 2 begins without any break
sffzp
 10 news from nowhere 149

e = 72
3
8    
melody           

   
 1
     microtonally around the prevailing melody pitch, each sound slightly different from the others in pitch and timbre  microtonal glissando to or from the prevailing pitch
wind instr. 1  
ppp p

distorted
1 M timbre C
wind instr. 2  tenuto/marcato  
p sempre f]


1 short phrases in legato gracenotes, beginning and ending
  
on the prevailing melody pitch
wind instr. 3  eg.       or         or     etc.
staccato
 
mp sempre

occasional slight vibrato

M

1
wind instr. 4 tenuto/marcato
mp sempre

 
1

        
3:2 5:6 3:2

     
percussion    
p
            
ppp pp mf ppp pp mp

 
(all instruments begin together)
drones 
ppp pp sempre


          
 
8

melody      


2 short phrases in staccato gracenotes, beginning and ending
 

 legato
on  the
  prevailing
       pitch
      
wind instr. 1  eg.           or

     etc.
ppp 
mf

2 M
    sempre microtonal
wind instr. 2 
pitch-fluctuations
dim. f p on each new pitch in melody

wind instr. 3 



(as high as
(M) C
  
possible)
wind instr. 4

ppp

 
  
   
/1 0 6:7 4:3

       
percussion             
p ppp mf pp

drones  
 4
            8   
15
 
melody 


 
C

3 ∞
wind instr. 1  intersperse with
ppp silences

(M)
wind instr. 2 

C
 
wind instr. 3 


       
   

2 no octave transposition, vary speed
  

within and between groups
wind instr. 4
substitute any or all pitches with different microtonal
mp sempre variants on each repetition


  
/1 0 
           
8:7 6:7

6:5 6:5 4:3 3
     
percussion         pp          
f 
p
mp ppp mf p ppp p
p ppp
(each drone-instrument begins the new pitch 
independently, within this time-interval)
drones   
150

 
 
22
      
melody 


wind instr. 1
 ∞

 C
 
         
  
    
    
       
(irregular accel.)

3 (see next system)

wind instr. 2     
p sempre 
M
 measured vibr.      
2 (see
wind instr. 3  tenuto/marcato senza vibr. molto vibr. next system)

cresc. p f on each new pitch in melody (f)

C M


3
wind instr. 4
 

/3 0
   
        
  
  
           
13:11

6:5 3:2 5:6
 
8:7 3:2 3:2

       
percussion                
ppp p ppp mp ppp mp ppp mf ppp f ppp

drones  

   
 
27

    
melody     

 ∞ C
wind instr. 1
 

  substitute one or more pitches in a phrase with any others

     
groups of 3-7 legato notes, pitches from this sequence in order but starting anywhere in the "loop"

   
wind instr. 2 durations:
each group ppp (p f) ppp

C
develop from molto vibrato into wider and slower undulations in pitch,

wind instr. 3  becoming more irregular in amplitude and duration...

ppp

(M)
wind instr. 4   timbral changes accelerate into slow "vibrato"
p sempre

      
/3 0   
  
  
     
10:13

   
9:8 13:10

4:3

    
5:6

percussion        
mf ppp mp ppp mp ppp p ppp p ppp

drones  


9 3
  
32
16   
8    
melody     
       

    microtonal trills
M
 
4 (see next
wind instr. 1  tenuto/marcato - "breathy" sound throughout page)
pp mf

  
4

(also
  alternation between two distinctive-sounding fingerings on a single pitch  
continuous rapid alternation between changing pairs of pitches chosen from these see
wind instr. 2 next
pp cresc... page)

3 ∞
 
 ppp cresc...
wind instr. 3


breath
(M) C M


4
 
only
wind instr. 4  (see next
page)
ppp

           
/3 0       
       
4:3 7:8 7:5

       
percussion      
p ppp p ppp f sempre

(as before) 
drones   
 151

  
 
38


    
melody
  


C
(increasingly wide trills/tremoli)
unstable! 
wind instr. 1
ff

 C
      
durations:

wind instr. 2 
(cresc.) (cresc.)... f

∞    move
  
C

4 multiphonics only, based on any of these pitches:

    
     
 (cresc)... ff
wind instr. 3 between
multiphonic and
ppp f ppp single pitch

 tenuto/marcato - multiphonics only, based on and emphasising the pitches of the melody  multiphonic trills
(M)
wind instr. 4
mf sempre

/2 0
  
    
                  
percussion 
(f)

drones  


4
8 
  
45

       
           
melody

  sometimes in   pairs

     
M
 
5 using any of these pitches in free order:
 single dense multiphonic based on G#     
 
wind instr. 1
pp ff pp mf

   wider intervals between

5 M
wind instr. 2  legato - constant alternation between prevailing pitch and microtonal variation(s) of it  
f sempre main pitch and variants

C
wind instr. 3   

(M)

 
multiphonic based on G#, alternating with as many others as possible, accel. molto... perhaps breaking up...
wind instr. 4
pp


/2 0     
  
A 13:12 3:2
 
percussion         



  
 
(f) ppp cresc. poco a poco



drones   

  
51

      
   
 
   
melody


C
wind instr. 1


 ∞
7:8 C
        
6

(f) p  predominantly ppp

  5        
beginning with the prevailing pitch and
   
 
short phrases eg.
wind instr. 3    
continuing with a free selection from these:
     
pp sempre  microtonal variations

M 
  iterated staccato eg.   or    or     at beginning of duration
5

  
wind instr. 4 staccato sempre
p ff

/A 0   4:3 
 

         
8:7
 3:2 3:2 3:2 8:7
  3:2 9:11 7:5 3

percussion                                 

(cresc. sempre)

drones  
152
3 3
56
  
16   8   
      
 
   
melody 


   
    
      
M

6
 
 differentiate the durations of the gracenotes
wind instr. 1 legato, groups of between 2 and 5 gracenotes before each melody note, using pitches from this sequence (in order, starting at any point):
ppp cresc. poco a poco

∞ 
C

wind instr. 2 

wind instr. 3 


(M) C

 6
  
   (see
 
wind instr. 4
next

pp sub.  system)

/A 0 2

                                                   
9:7 8:9 10:11 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
 
percussion                                  
(cresc.) ... mp f sub. pp ff mf pp sub. p mp

  

drones   


4
      8      
      
63
      
melody 



(M) C
  
wind instr. 1
(cresc.) ... fff

7 staccato grace-note groups. separated by breath-pauses, of between 3 and 7 notes       

   
       
beginning and ending on the prevailing pitch and otherwise consisting of pitches

 
wind instr. 2 from this sequence (in order, starting anywhere in the "loop"):
ff dim... substituting microtonal variations


C
  6 M

 microtonal glissando away from the pitch
wind instr. 3 marcato, ending each note more or less early ad lib.
f dim. poco a poco...

C

legato, groups of between 2 and 5 gracenotes, using any pitches  
 differentiate the durations of the gracenotes
wind instr. 4
p f

   
/2 0    3  
A
             
3 3 3 3 3 3 3 3 3 3 3
    
percussion       


 
  
(mp) p ff sub. pp mp p mf ff f
mf sempre

drones   


5 3


16  8
 
70

           
  
    
 
melody
   


 hold pitch with instrument,

7 M intertwined instrumental/vocal glissandi

wind instr. 1  legato non tenuto, singing same pitch as the instrument (no octave transpositions!)  around Bb
microtonal glissando away from it with voice)
mf p

C
wind instr. 2 
(dim...) (dim)... ppp



                
(M) M

7

            trill and glissando
wind instr. 3 tenuto/marcato, always with microtonal trills

(dim)... mp pp sempre
(dim...)

   
 
  
 range of gracenotes 7

glissandi (ascending or descending)
wind instr. 4  from prevailing pitch to a minor 3rd or less

 singing same glissando while playing

(no octave transpo- above or below
sition!):  ppp p

/A 0
                                                 
3
        
percussion 
  
                  
(mf) pp sempre
 
 

drones
 153
4 7 4
    
8 16 8
          
76
    
            

   
      
melody


C 8 M
wind instr. 1  legato, no octave transposition
ppp mp fff

8 M
wind instr. 2  legato, no octave transposition
mp fff

(M) 8 M
wind instr. 3  legato, no octave transposition
mp fff

M

8
wind instr. 4 legato, no octave transposition
mp fff

/3 0   
1
   
4:5 4:3 5:6 3:2 3 7:6 4:3 3 3 3

percussion                                     

(pp) p ff

no octave transposition!

drones   
f


e = 84
4 7 3
  
8  
 
8 16 
 
82
  
      
  
 
    
     
 
melody


M 9 M
staccatissimo, free octave transposition either 8va sopra or bassa throughout, legato marcato, freely-chosen gracenotes and trills linking and ornamenting the melody pitches
 occasional louder accent (pz or mpz)
wind instr. 1
f p sub. ppp sempre

M C
wind instr. 2  staccatissimo, free octave transposition
f p

M 9 fragments of this section of the melody, speeded up irregularly to different degrees and almost always using microtonal variants of the pitches
 - no octave transpositions!
occasional louder accent (pz or mpz)
wind instr. 3 staccatissimo, free octave transposition tenuto staccato
f p sub. ppp sempre

M C
wind instr. 4  staccatissimo, free octave transposition
f p
2
A
 3:2  4:3   
     
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 4:3 3:2 6:5 3:2 7:5 4:3 3:2 7:6

   
percussion                             
pp ppp sempre

 
(tacet!) free octave transposition as before

 
drones 


ppp pp sempre

4 5
  

       
 8  16
 
88
  
     
     
melody
   

       accel. or rit.
  
10
   
7:6

  
(M)
  legato
 etc. - beginning from prevailing pitch
wind instr. 1  scales eg.
 
and mixing intervals freely between
quartertones and minor 3rds
within scales

ppp f ppp f ppp f


     
9 M
wind instr. 2  legato
ppp f dim...

C
   10 M
wind instr. 3  (see next page)
pp cresc...

  
9 ∞

wind instr. 4
extract pitches from drones, beginning always ppp then extend and elaborate them

    
/2 0 8:7
          
percussion
(ppp)
                                      

mf sempre

 

drones

154
5 3
         
  
16 8   
 
 
94

melody        

C
wind instr. 1
  

  C

    
10 (see next
wind instr. 2    system)

(dim.) ... ppp mp sempre

(M)
    
  staccato grace-note groups
  but also  etc.
wind instr. 3 link melody notes with legato gracenote scales. eg.    
(cresc.) 

wind instr. 4 
∞ C

  

 (tremolo or other
       
      
1 kind of extended sound)

(non trem)
/3 0
       
               
percussion     
(mf) p mf p p mf mf p mf p mf p


drones  


4
 
 
101
  8  
  
 
melody           


  11 (see next system)

wind instr. 1
mf dim...


3:2 3:2

  
play the melody (varying in timing and/or intonation from instrument 3) ... using rhythms of this kind:

substitute other pitches freely for these          
but alternate the prevailing pitch with freely-chosen pitches from this sequence: (where the prevailing pitch

wind instr. 2 has the longer durations)

(M)     M
distorted timbre 11
wind instr. 3   (see below)
(cresc.) ... ff ppp p sempre


M 
   
10
continue scalic gracenote links from event 10 in instrument 3,
wind instr. 4 but now adding trills to all melody notes
p f dim...

/1 0     


 
 
3
 
6:4 4:3 5:6 5:4 7:9
             
percussion                
mf p mf p mf p f dim...

 
drones   



    
107

melody       
       

  

 durations:   
legato phrases, each consisting of all 11 pitches:

           
each time with different distribution of transpositions phrases separated by:

 non legato

 
wind instr. 1

(octave higher, octave lower or at notated pitch) and
different distribution of durations
(dim.)

C M
   11

 glissando overshoots target pitch and then returns to it
wind instr. 2 legato - glissandi (over entire duration) or portamenti linking all pitches
pp sempre

(M) C
 
  
wind instr. 3 non tenuto, ending each melody note early ad lib., with glissando (up to a fourth) away from notated pitch each time
tenuto/legato, with glissando linking to the next melody pitch
(as low as


possible)
speed of trill becoming more irregular... C

  
wind instr. 4
(dim.) ... pp

/3 0

                
     
13:10 6:5 3:2 4:5 11:9 3:2 16:11

                             
percussion     
(dim...)

drones  
 155
3 3
112
16  8
  
    
     
 
  
melody
    

 
C
 12 M
wind instr. 1 (see below)
(dim.) ... ppp mf sempre

(M)
wind instr. 2 

  
sparse, irregular staccatissimo sounds, varied in
    
12
  
 occasional longer duration
wind instr. 3 timbre and intonation, pitches chosen freely from:

mp sempre

C

11 sparse, irregular short sounds, varied in timbre and intonation, each with a
   
glissando of up to a major third in either direction, pitches chosen freely from:

 occasional longer duration, occasional staccatissimo      
wind instr. 4

p sempre

/3 0
       
 
  
   
4:3
 3:2
 
2
   
     
percussion   p sempre
      

(dim.) ... pp





drones

  
119
  
     

melody          

 (M)             brief gaps in the stream of staccato sounds ∞

wind instr. 1 staccato iterations 

C

wind instr. 2 

C
wind instr. 3 


M

      (brief bursts of rapid tongued attacks placed irregularly)
12
    
wind instr. 4 tenuto/marcato, always fluttertongued
mp sempre

/2 0
 
 
      
percussion          
(p)



drones


4
     8        
126

melody     


C
 
wind instr. 1

 sustain one of the sounds for a longer duration, with fluttertongue

   
      
  12

on each repetition substitute freely-chosen pitches
wind instr. 2  
  
for between one and three of the notated ones,
including octave transpositions
mf dim...


M

13
wind instr. 3  tenuto/marcato distorted timbre on attacks
dim. f ppp on each note in melody

               C

(M)
wind instr. 4

(mp) ff

 
/2 0   
∞
A
      
percussion         
(p)


 

drones
156
132
      
melody       
  

  13 ∞
 with unpitched sounds making connection to percussion
wind instr. 1


  13 M

wind instr. 2  legato/portamento - no octave transposition - range =
(dim.) ... p pp sempre

(M)               C
wind instr. 3  
ppp


 13 ∞
 with unpitched sounds making connection to percussion
wind instr. 4

/A 0
percussion 
∞

drones  


    
9


   
  
     16
137

melody  

 ∞ 
C M
 14
wind instr. 1 (see below)
ppp sempre

(M) ∞
wind instr. 2 


14 ∞
 with unpitched sounds making connection to percussion
wind instr. 3

wind instr. 4 
∞

/A 0
percussion 
∞  

drones  


9 3
8     
  
142
16        
   
melody    



C
(M)  
wind instr. 1 tenuto/marcato - no octave transposition - range =   transitions to and from breathy tone 
ff

 
C 14 M
wind instr. 2  legato, breathy tone
ppp sempre

∞ C
 
wind instr. 3 

         some phrases with breathy tone,

           
14 repeat with slight variations in tempo of the 8-note
phrase, up to four pitches transposed differently some almost only breath
wind instr. 4 by octaves in each repetition
ppp sempre


/A 0 1 1 1

1 1

∞  
3:2 4:5 5:4 5:6
  
percussion             
mp ppp p pp mf

 
 (ie. change the "1" for each group)
  
drones
 157


148

  
       
     
melody
  

   repeat the same pair two or three times

          vary one pitch of a pair by a quartertone up or down
15 descending pairs of pitches,

    
varying tempo slightly,
wind instr. 1 each using any two of these:
ppp sempre (no octave transpositions!)

(M) ∞ C
 
wind instr. 2 

15 M


wind instr. 3 tenuto/marcato, breathy sound sometimes vanishing altogether
ppp sempre irregular diaphragm accents as if at the end of a breath

C

  
wind instr. 4

1 1 1 1 1 1

           
7:8 8:9 1
    
percussion              
f mp ppp mf p mp p



drones

    
155
     
melody

wind instr. 1


 15 ∞
wind instr. 2 

(pure tone, no change in pitch, timbre or dynamic, use circular breathing)

wind instr. 3  

M

 15
wind instr. 4 legato, beginning almost with breath only ... gradually increasingly distorted sound ( with fluttertongue, multiphonics, trills, adding voice, gracenotes etc., singly and in combination)...
ppp cresc. poco a poco

  
percussion     
f



drones

 
159
  
melody    

wind instr. 1


wind instr. 2 
∞

wind instr. 3 

(M)
wind instr. 4  (sim...)
(cresc.) ... fff ]

1 
      1 4:3

percussion       
 ff
mf
(end together)



drones

(non dim.)

Part 11 storming begins without any break

158
 159

11 storming

7" 20"   7"

          
track 1   
ff - fff


     
 

 
track 2   
ff - fff

    

     
track 3
 
ff - fff


   
  

track 4
   
  


ff - fff




track 5   
  
  
  

1 ff - fff 2

electronic
   
sounds
fff sempre (with internal variations)

14"  1" 12"  5"


 GP
       

 
4

track 1        

ppp - fff mf - fff

         

    
track 2       
ppp - fff mf - fff

                  

track 3
  


ppp - fff mf - fff

    

     

track 4
      
  


ppp - fff mf - fff



  

track 5

 
  
ppp - fff 3

electronic
    
sounds
160

12" 
12"

   
8

track 1    
ppp - f

     

track 2  
ppp - f

track 3          


ppp - f

 
    

track 4
 
 

ppp - f

4
electronic
  
sounds

13" 11" 9"

 
      
10
  
track 2    
p - fff ppp - mp

         

 
 
track 3


p - fff ppp - mp

   
     

track 4 
  

p - fff ppp - mp

   

electronic
sounds
fffppp fff sempre as before

10" 11" 12"


      
13

track 2  
ppp - fff ppp - pp

track 3           

ppp - fff ppp - pp

electronic
   
sounds

7" 8" 2" 7"


GP
   
16

track 3    
fff

7 8
electronic
    
sounds

Part 12 Helene follows after a brief "breath-pause"

 12 Helene 161

    
e=108 tutti p sempre, almost without nuance or "expression", with the endings of sounds given as much precision as their beginnings

7   
6 
11  12:11
  3
16  16 
p
8   8
Helene
(soprano)     
 
 

ἴ σως µε, κἂν εὖ κἂν κα
i sɔ s me ka n e u ka n ka

 
 
4:3
 
   
 
10:9 16:11

     
tenor
     
recorder
   
p


 
14:11
medium-hard mallets 3:2

   
always damp all remaining sound at the end of a notated duration or phrase, except where indicated
  
 
6:7

   

      



marimba p
 

 

  
5:4

R 
 
  
p

triple harp C 

  
 
L 

 
3 7  5 11
8   
11:8

  16   8      16
(p) 5:6

   
4

Helene
(soprano)      
κῶς δό ξω λέ γειν. οὐκ ἀν τα µεί ψηι
kɔ s do ksɔ le ge in o k a nta me ipsɛ i

 
6:7

tenor
      
recorder

 
p


3:2

   
7:6
  
 
    
3:2
  


marimba
  

(p)


 
11:10

 
 
8:7

R
    


 
 7:6
triple harp C

  
  
(p)

  

L  


    
11 6 7
(p)

 
6:5
8
16    8 8
 
Helene
    
(soprano)  
πο λε µί αν ἡ γού µε νος.
po le mi a n hɛ go me no s


3:2 3:2 3:2

tenor
         
 
p  
recorder


3:2

 
 

  
marimba

(p)

 
4:3

R  
  
  
always damp all remaining sound at the end of a notated duration or phrase,
(p)
except where indicated
 
triple harp C    

 
L
162
7 3 p
5
8 8  16   
6:5
10

      


Helene
   
(soprano) 
πρῶ τον ἀρ χὰς ἔ τε κεν
prɔ to n a rkʰa s e te ke n

R 


8:9


 
triple harp C     
 
p

L  


    
(p)
7  5 3 13
 
4:5

    
16  16 8 16
8:7 4:5

 
14
Helene   
(soprano) 
ἥ δε τῶν κα κῶν,
hɛ de tɔ n ka kɔ n
 
8:7







4:5

      
      
marimba
   
p

R 

 
8:7

     
 
triple harp C
p

L 


     
13 4 6
16  
4:3
8  8
p 4:3

  
18
3:2


Helene
    
(soprano)
 
Πά ριν τε κοῦ σα.
Pa ri n te ko sa.

      
       
3:2

  
4:3 4:3 4:3

  
  
   
tenor
recorder 
p
 
5:4 8:9


 
marimba 
       
 
(p)

3:2 3:2 3:2 3:2
  
8:7

  
R
  
  

4:3

triple harp C       

   
p

L     


  
4 2 7  p
9:7
 9
21
8 8 16  16
Helene
(soprano)    
     

δεύ τε ρον δ᾽α
de ute ro n da

   
5:4

   
13:9

4:5

    
  
                      
 
tenor   
recorder  
(p)


 5:4


marimba       
 
p


7:6 4:5

 
R  
  
    
triple harp C 

 
 
(p)

L  
   
163
   
9  4    9:8 7 11
  

6:7

  
25
16  (p)
 8 7:6
16 
6:7
16
Helene
  
 
 
     
  
(soprano)

πώ λε σεν Τροί αν τε κάµ᾽ ὁ πρέσ βυς ου κτα νὼν βρέ φος,
pɔ le se n Tro ia n te ka m ho pre sbys o kta nɔ n bre pʰo s

    
3:2 3:2 3:2 3:2

      
9:7
      
3:2

 
           
   
      
tenor
recorder

(p)
 

6:7
  
 

6:7 11:8

          
    


marimba

 

(p)

R 
 

7:6
  

triple harp C 
p  
L 


    
11 6:5
 2 6 3 9
  
(p)
29
16   8 8 8 16
  
Helene
    
(soprano)
 
Ἀ λέ ξαν δρον τό τε.
A le ksa ndro n to te
   
7:6

tenor
       
recorder 

   
p


  
  4:3
 
   
6:5

marimba      
p  
 4:3

R 
   
    
triple harp C
(p)

L 


9 5 5 6
 
6:5

16  6:7  16   8 3:2

8


33

      
tenor
   
recorder
p

R 
 
 
   

triple harp C
(p) 
L 

6 (p)
 3 11
 
6:7

8   6:5
 
5:6
8 16
 
36
   
Helene
       
(soprano) 
ἔκ ρι νε τρισ σον ζεῦ γος ὅ δε τρι ῶν θε ῶν.
e kri ne tri so n ze ugos ho de tri ɔ n tʰe ɔ n
11:10
 



(l.v.)

  
marimba   
p

  5:6
 
6:5
R 
             
triple harp C 
  

p

L 
164
11      6 11



39
16 8 
16
tenor
recorder   
p

   
5:4
R  

triple harp C 

L 


11 2 14
16   8 8

41
tenor
  
p 
recorder


5:4

marimba    
p

R 

triple harp C      

p 

L 


14 5
8  8
5:6
 
43

marimba    
(p)

5 p 4 
6   9
8   8   
6:5
44

  
8  
16
Helene
(soprano)   
Κύ πρις δὲ τοὐ µὸν εἰ
Ky pri s de to mo n e

     
tenor
recorder   
p

      
3:2


marimba 
(p)


     
9 5 7 5
16     8    
(p) 3:2 4:3 4:3
4:3

      16       8
47 4:3


Helene
   
 
(soprano)
 
δος ἐκ πα γλου µέ νη δῶ σειν ὑ πέ
ido s e kpa glo me nɛ dɔ se in hy pe

    
tenor

recorder

(p)

  6:7

 
   
           
10:7
  
3:2 3:2

 
   
 
   
 


marimba p

 
4:3

 
9:10  4:3

   

R

   

4:3

triple harp C    



p
  
L    
 165

5 3 5 4
(p)

   

3:2

8 8 
7:6 5:4 5:6

 
50
8 4:3
 8
Helene
      
       

(soprano)

σχετ᾽, εἰ θε ὰς ὑ περ δρά µοι κάλ λει.

skʰe t e i tʰe a s hy pe rdra mo i ka le i
4:5

 
   
tenor
 
recorder

 
(p) 4:3

  
 
3:2

       
  


marimba p
  

 
5:6


   
11:10
R

   
  
5:4

  
     
triple harp C

  
L  
(p)

   
4 3 9 13:9 11
8 8 16 
p
 16
 
 
53

   
Helene
(soprano) 
ἦλθ᾽ οὐ χὶ
ɛ ltʰ o kʰi

 
     
 
11:9

tenor
 
recorder
p 

  
11:9

 
 
5:4

   


 
marimba p
 

l.v.

R     
p 
triple harp C 

L 

    
11  (p)
6 2 7
16  9:8
    8   
 8   8
   
56 12:9 5:4

Helene
       
 
 
(soprano)

µικ ρὰν θε ὸν ἔ χων αὑ τοῦ µέ τα
mi kran tʰe o n e kʰɔ n a uto me ta

tenor
      

recorder

(p)

 
  
9:8

      



marimba (p)


 


R 

triple harp C 

 
5:4

L    
p
166
7 p
 4 6

3:2

8   8  8
4:3

  
59

 
  

Helene
(soprano) 
ὁ τῆσδ᾽ ἀ λάσ τωρ...
ho tɛ sd a la stɔ r

  
3:2 3:2

3:2

    
    
4:3 3:2





4:3 3:2

      
  
tenor
      
recorder  
p

 4:3 4:3
 
   
3:2 3:2 3:2
R 
    
 
    
             

triple harp C

L   


p

6 10 3
   

8 8 7:8
8


    
 
61 10:7

tenor
     
recorder        
(p)

 
6:5
R    
 
triple harp C        
 

 
p

L 


3 4 
p
  9  



 4    7
8    
3:2 3:2 3:2 3:2 6:5

8 8 16  16
     
63
     
 
Helene
     

(soprano)      
τὴν θε ὸν κό λα ζε καὶ Δι ὸς κρείσ σων γε νοὺ, ὅς τῶν µὲν
tɛ n tʰe o n ko la ze kai Di o s kre isɔ n ge no ho s tɔ n men

 
        
4:3
 
    
 3:2  
7:5
  
 
tenor
  
recorder
p   




  
9:8


4:3

    
    
  
4:5

  


 
marimba


p

       4:3

R        
 
p 

triple harp C 

L 


  
7 (p)
6 7   
5:4
2
       
9:7


67
16  8  7:5
8  
4:3
      8
  
 
Helene
      
(soprano)

ἄλ λων δαι µόν ων ἔ χει κρά τος, κεί νως δὲ δοῦ λός ἐσ τι`συγγ νώ
a lɔ n da imo nɔ ne kʰe i kra to s ke inɔ s de do lo s e sti sy gnɔ

         

3:2 3:2 4:3
  5:6
3:2

tenor
     
  
  
recorder
(p)
 


   

marimba   
(p)

R 

 
8:7 7:5

   
  
triple harp C


p

L 
 167

2 27 7
 
 
70
8 (p)
16 
16
Helene
(soprano)  

  
µη δ᾽ἐ µοί. 9:10

 
4:3


mɛ de mo i
  
                
marimba p 
  
 

     
    
7 p
  11  4:3 4 6
 
6:7
16 16  8 8
4:3


   
72
Helene
(soprano)           
 

...λι ποῦ σαν οἴ κους ναῦσ ἔπ᾽ Ἀρ γεί ων µο λεῖν.

li po sa no iko s na us e p A rge iɔ n mo le in

 

3:2

      
4:3

 
7:6
tenor
            
recorder 
p


    
  
 
7:5 5:6
 
     
 

  
 
7:8
        
 


marimba
(p)

7:6 5:4

  

8:7
   
R 
  
        
  
triple harp C   
 

   
p

L      


    
6 3:2
p
3:2
 
15 11
    
8 16 16
4:3

    
76
Helene
(soprano)       

ἔσ πευ δον αὐ το τοῦ το.

e spe udo n a uto to to

    
7:6

  
7:9

       

     
tenor
recorder  
(p)
7:6


   



marimba      

4:3
R 


8:9
 

l.v.
triple harp C    

p 
L 

    
11 5 17
78
16    

  4:3
  
8 
16
tenor


recorder
p
4:5


  
  

 
marimba (p)




 
10:11

  
R  

   
triple harp C  

 
p

L  
168     
17 5 7 11
  
 
16 16 16  16
 
80 p

   

Helene
(soprano)

πῶς οὖν ἔτ᾽ ἂν υνήι

pɔ so ne t a n tʰnɛ i

      

4:5

tenor
  

recorder

p
10:7

 
4:5

     

    
marimba

p


   
11 (p)
4 6 
  
11:10

12:11

16       8   8
83
  
Helene
(soprano) 

       


πρός σοῦ δι καί ως,

σκοιµ᾽ ἂν ἐν δί κως, πό σι, pro s so di ka iɔ s
sko im a n e ndi kɔ s po si

   
tenor

recorder
(p)


 
5:4

   11:8
 
 
9:8
 
   

 
     
        
marimba
   




(p)

 11:10

R  
  
 
p

triple harp C        
 

L 


(p)
    
4   19

6:7 6:5
86
6:5
8 16
   
       
Helene
(soprano)      
ἣν ὁ µὲν βί αι γα µεῖ, τὰ δ᾽οἴ κο θεν
hɛ n ho me n bi a i ga me i ta do iko tʰe n

   
11:9 6:5



4:3

             
marimba







(p)


6:5

 
4:3

  
R


triple harp C           

 

 
L
 
(p)


19   
9:8 4

9:10
88
16  (p)
 8
 
Helene
         
(soprano)  
κεῖν᾽ ἀν τὶ νι κη τη ρί ων


ke in a nti ni kɛ tɛ ri ɔ n

4 (p)
11 ppp


7:8

8   16  
89

  
Helene
  
(soprano) 
πικ ρῶς ἐ δού λωσ᾽;
pi krɔ s e do lɔ s?

Part 13 wound III begins without any break

 169

wound III

e= 81

6 3 15 2
psp (marcato ma tenuto)

                   


 8       
 16   16           
8
   
 
(psp) (psp)

 
violin 

 

                
fff mp f




5 castanets 
         
4 Udu drums                             
2 bongos 
3 congas  
fff mp f

              
   
(played) 
 
        
     
  
9:10

  
5:4

lap steel guitar

 

(sounding)

f sempre

2 11 3 3 5 11
 8  
  16         8         16    
 
psp nat

 
psp
 16  16
nat (sub.) msp
  
nat msp


4

violin    

   
ff p ppp pp
mf


ff mf

        
                  
5 castanets      
  

 
4 Udu drums

  
2 bongos  
3 congas    p
  
mf
ff ppp ff
mf pp

    
3:2

      


oboe
 
p sempre 
       
3:2 4:5

   
3:2

  
    
contrabass
clarinet
p ff  
p

    
f

  






   

(played)

    

 
  
lap steel guitar


   
  
(sounding)
mf


nat

 
   
6:4 7:6
  pst
 
cello  
ff p pp (f)
170
nat
11 1 2 3 4 3 2 1 2 3 4 ... 15 1  11
16             
msp pizz

   
 16        8  16
nat

 
9
 
violin     

f  pp ff


p
 
      
  
5 castanets 
 
 

4 Udu drums

    
               

  
  
2 bongos
3 congas p   
ff
f pp

  
 

oboe      


p ppp

   

  
5:6 


contrabass 
clarinet
 

  
p





  

(played)

   
]


 

  
lap steel guitar


    

(sounding)
f ]

    
 
(pst)
  
3:2

cello      
 
f p

clb (gettato sempre!) arco (gettato sempre)

mst msp mst

11  5 9:10
 7 (flautando)
5
             
 
    

  
       
13:12

16     8 16  16
  

12
    
violin   
mp


ppp pp
    
     
         

5 castanets 
 

4 Udu drums
2 bongos 
3 congas                         
ppp


mp


pp

   

oboe       
  

]
mp pp


3:2



contrabass   
clarinet
]

   
mp

  
(played) 
   3:2
lap steel guitar   
   

(sounding)

     
mp ]

                     
          
           
msp

cello  
       
mp pp
 171

5 12 nat
15
 16        32                             
  16
psp sub.
  
15 (sim.)

violin  

      
    
(pp) ff mp

    

  

  
5 castanets      
 
      
 
4 Udu drums
2 bongos    
3 congas          
ff mp
(pp)

                                                        

   
6:5 4:3 4:3 4:3 4:3 4:3 4:3 4:3 4:3 4:3 4:3 4:3 4:3 4:3

oboe  


ff p f

           
    
    

contrabass 
clarinet
pp
ff p f

  
   
       
             

 
(played)

            
   
   
   
   
                 
lap steel guitar



(sounding)

pp ff p (f)

                                                
psp

cello 
pp ff p



15 nat msp

nat
9 13 15
                       

11:13 psp
19
 16 


5:4
16       
11:12

      

 32 
nat
  16
violin   



p f


ppp ff p mf

 
f

  
      
          
      
5 castanets
4 Udu drums       
2 bongos 
3 congas  



f

  
p

 (Eb
f ppp mf ff

 (Bb
-D


 
1.
key)
key) 

     5:6
   
    

oboe


pp mf pp

    
   
contrabass
clarinet
p f]

 
pp



  
 
 
(played)

 (rapid random movements of slide, ± 1 semitone)   

   
lap steel guitar
 


   

(sounding)
 f pp
f pp

  
nat vibr.

cello    

f pp
172

15 11 2

pst (pst)

 16        16         

          8     
nat
 
22

violin 
       

pp mp p

   

  

sim...
  
5 castanets  
Udu drums  
 
                    
4
2 bongos    
3 congas  
      
               
pp mp
p

   
oboe     
 


  
ppp p
9:8



 



 
3:2


contrabass  
clarinet   
mp pp

  
(played)   
 

  

lap steel guitar

    
(non arp.!)

   
 
(sounding)
p  ]

  
II

III IV III IV III

       
msp

cello
  
p

psp nat
9 9 3 5
        8        

8:7

        
4:5

16          

nat nat
32 16
msp sub.
   

psp

5:4

25 4:5

violin     




 
 
mp

   
mp

 
mf

  
mp f
f

             
  
 
 

               
5 castanets
             
    
4 Udu drums
2 bongos  
3 congas   pp  
mp mp f
f mf

 
oboe      


ppp

    


contrabass       
clarinet 
mp f

         
  


(played) 
     
 
  
  
       
     
6:5
 
    
 
lap steel guitar 5:6


 
 
 





(sounding)

] f ]
p sempre (plucking alternates between the two unison strings)

       
(msp) II I II

  
8:7

    
 
psp

cello       

f
(p)
 173

nat II I II I II nat
III II I III II I
5 5 7 4 5 3
2 1 2 3 4 3 2
msp II 2 1 1 2 4:3

    
5:4

      
7:6

 
III
      
3

3:2

  
16  8    32   8 16  8
5:6 5:4

  
 




4

 
30 (nat)
violin 
      
  

p p mf mp
(f) mf f

      


 
          
5 castanets      
4 Udu drums  

2 bongos 
3 congas  
    
mp mf
(f) p mf p mp

   
  
9:10

        

oboe

p ppp ppp mp ]

  
ppp mf ]

  
     
contrabass
clarinet  
ppp mf ] ppp mp ]

  
    


(played)

    


lap steel guitar


    
 
(sounding)
mp ]


mst

      

cello
ppp mp ]

  
pst nat
3  4 11
   
   
      
   
 8 
     8       
16
35
    
violin      
  

      
       
  
(f)


mp f

 
      

   
5 castanets     
  
         
4 Udu drums
     

2 bongos
    
3 congas
f
mp f

            
oboe  
  
         
ppp mp] ppp mp] ppp mp] ppp mp]ppp mp]ppp mp] ppp mp]ppp mp]ppp mp]

       

contrabass
clarinet
ppp mp] ppp mp] ppp mp] ppp

        
mp]ppp mp]ppp mp]ppp mp]ppp mp]ppp mp] f sub.

                 
  
         
    
(played)

                                    

 
 
lap steel guitar

             
(sounding)       
 (mp) ] ] ] ] ] ] ] ] ]
f

        

(mst)

cello  
ppp mp]ppp mp] ppp mp] ppp mp]ppp mp]ppp mp] ppp mp]ppp mp]ppp mp]
174

11 (nat) msp nat

13 9  5
32 
11:9
 
       
    
9:11
16 16      16
10:7 5:4 9:7 5:6

          
39

violin        
 
3:2
   
               

p
mp

            
p

  
     
    
   
   
  
    
5 castanets
Udu drums            
4
2 bongos    
3 congas  
      
mp p
 (fingertips) 
mp f p
mp

    
oboe   

 
p mp
 
3:2

       
contrabass
     
clarinet
  
p p


     



 

(played)

     
11:10
lap steel guitar  


   
 
(sounding)

 
nat gettato

cello      

mp p

psp

13 
psp

16  
5 6 2 nat


11

nat nat


msp 5:4

 
42 3:2
32     

   
8     
8 
3:2
32
violin               
    
    mp
       
 
f
III f
p  p

 
6:5 4:3 f
   

5 castanets 

4 Udu drums 
    

                
2 bongos
3 congas
(mp) mp p f



contrabass
     

clarinet


mf

     
(played)    
    

    

lap steel guitar

3:2 5:4


  
     

  
(sounding)
f
p sempre

        
mst


            
cello

f p
 175

11 psp
5 11 pst
6
   

 32  16  
        
4:5
16  8
7:9
46

violin    

     


f

    
p
   
    
      
      
5 castanets
4 Udu drums        
2 bongos  
3 congas  

p f p

 
   
f

    

 (R3)
(R2+3)
     
  

F

 
7:6 B§

  
F

     
Eb

oboe 
 

p f mf f

 
 

contrabass  
clarinet
3:2
p f

 
    
 
  

 
(played)

5:4  5:4 
   
  
lap steel guitar

  
  






(sounding)

(p)


nat

    
 
cello
p

(nat)
6 9 5 4
 8             
3 2 1 2 3 4 3 2 1 2

        
msp

nat
8  32  8
10:13
 4:3
nat
 6:5     6:5     

49

violin 
4:3 6:5



 

p p

       
f f

 

  
   
       
        
5 castanets
Udu drums 
    

4
             
2 bongos 
3 congas  
f p mp
(f) p

   
  
oboe        


p

      
(irregular pitch-fluctuation in voice ± 1/4 tone) 7:8
 

contrabass 
clarinet
f p p

  
 
   
 


(played)

  
(slight vibrato-like fluctuation in slide glissandi)

  7:8       

lap steel guitar

  
   
 
 
(sounding)

f mp
176

msp
mst psp
(IV)
4 9 11

sub. (long bows!) nat sub. 14:11

              
 
  

8  16  16

6:5

 
9:6 3:2

52

violin  
          
   


             


          

 
  
(mp) (mf)

       

5 castanets 
Udu drums  
4
                  
2 bongos 
3 congas          
mp (mf)


7:6

                      

contrabass
clarinet
mp f

(nat)

  
nat msp

  
4:5 3:2 3:2

  
3:2 3:2 3:2

      

3:2 3:2

          


 

cello

4:3 f
mp


psp msp

11 (IV)
7 3:2
 15
        
7:6

 16  16 16
5:6

   

55

violin     
            
      
           
 ff ]

  
(f)

   
    
 
5 castanets
       
4 Udu drums  
2 bongos 
3 congas  
   
 
(f) ff

 
  


  

 

oboe

ppp f f

 
  
   
(played)
      

 
6:5
lap steel guitar
 
sul pont.

  

   
(sounding)


f

 
 
pizz sul pont.


msp 5:4


   
cello
  
ppp f
f 
 177
nat
nat

15 15 3 7
pst

 

7:9



23:30

16 32 8  16
      
     
  
10:7 10:8

       
57

violin     
    
                                 

     
ff

mp ff

 

     
5 castanets       

   
4 Udu drums
2 bongos 
3 congas  
          
ff mp
ff mp

  
6:5

 

  

     

oboe

  
mp 8:7



contrabass    
clarinet

mp f
arco msp


(pizz sul pont.) nat

    
III
cello              
 
f ff pp mp

msp
nat
7 psp 15 19:15
11 mst 2 nat
15
   
msp

  
 
gettato

  
8 
4:3
16 3:2
32    
16 5:4
16
 

  
60

       
nat

violin  
         


     
 
mp mp
ff

         
ff f mp
mp (trill between Ab and G while holding Eb)

  
  
 


   
  

     
5 castanets
Udu drums     

4

  
2 bongos 
3 congas   
        

(mp) ff mp
ff mp f


5:4

         
7:9

oboe        

  

(ff)
 
ff mp

      
  
contrabass   
clarinet
 

 
mp sempre

    
        

(played)


         sul pont. (non arp.)

       
     
lap steel guitar

   

     



(sounding) 
(accel)
]
ff mp ] mp


(nat) 5:6


   
cello
     
ff ]
178


15 4 15
     
       
    

8  
11:14

 16    
psp 7:5 mst
16
19:24 7:5

       

64

violin 
 

       
ppp ff ppp mp

 
ff ppp ff


       
            

 
5 castanets

  
Udu drums 
4
 
2 bongos     
3 congas  
 
   
(f) (f) mp 5432
5432

                
8:7



oboe              
ff ppp         


mp
     
6:5

          
 
contrabass
clarinet
 
(mp)

psp

 
      
 
cello 
f

pst nat

15 3 
mst

  
8                
psp msp


(mst) 7:9
16       
4:3

                  

66   


       
                


    
violin

  

III      
f
(mp) ff f
mp ff

            
  

  
   
5 castanets  
 
        
4 Udu drums
       



 
2 bongos            

 


3 congas   
mp mp ff mp
f ff f

 
     

6:7

                   
    
oboe     
    
      
(mp)


                                                 
(L1)
 
7:6 4:3


contrabass  
clarinet
f

 
mf ppp mp ppp

    

(played)

 
(irregular slide movement)
lap steel guitar

      

(sounding)

mp f]

         
psp
  
                                
7:6 4:3

cello
                
f
mf ppp mp ppp
 179
 
mst nat mst nat
mst
/ 0 gett. msp
5:4
9 3 4 11
 8     

6:7


    16 
    
7:5

     
16:13

  8 16
4:3

    
70 23432123


violin 
  

       
(f)

mp      III     
mf f] mf

   
ff

   

 
   
  

5 castanets  

      
  
  
4 Udu drums


2 bongos 
3 congas  
  
                   
 


 
mp mf

 
ff mf f
(mp)

 

 
oboe         
 
           
3:2 ff f
 

contrabass    
clarinet

 
p ppp



 
 

(played)

 


lap steel guitar
 
(glissando
 
5:4 7:6



   
with vibrato)
 
 
(sounding)

ff mp p sempre

 
(psp) 4 3 212343
2 ...
  3:2
             

sim.
   
nat 3:2

      
msp

cello    

  

ff mf p sempre
p ppp

nat sub.

11 nat

msp 4 9 5
 16
pst 8:9

        
8  
32   
16
      
74

violin 

   
   
                  
 f
f f



ff f

   
mp

 
     
  

5 castanets   

  
    
   

     
4 Udu drums
 

   
   

  
2 bongos

 
3 congas 
p ff
mp f
ff

                                            

oboe               
mp        
                                           
3:2 f p

       
         
        
contrabass
clarinet             
mp
f

  
(played) 
        


 
 

   
   
lap steel guitar


   
4:3

      

   
  

 
(sounding)
(p)
p

       
   

 
  3:2
(msp)



         
     
 
cello

(p sempre)
180

5 psp 9 13 nat
6
 16    32     
4:3 4:3 4:3
32 8
5:4 mst
msp


   
      
77


violin       
        
      ]
mf


mp f ff

                 
p

  


     

      
5 castanets
 
    

4 Udu drums

              
2 bongos
3 congas  
mf


(ff) ff mf

 (Eb key)

f
1.

 
     
oboe  
p sempre
 
(L2+3) (L3+R1)

     
3:2

  

    

contrabass
clarinet
p sempre
mp


  




(played)  
 


lap steel guitar

  

 
 
 

   
(sounding)

f p sempre ]


   
(msp)

  

 
 
 
5:6

  
 
 

   
   
cello


(p sempre)
 

6 
nat

psp nat msp nat psp

nat msp

psp nat 15 psp
11
 8          
            
16  16
     
msp
      
     
81 nat

violin         
       
    


p p
p

  
mp

     
 



    
5 castanets      
  
    

    
4 Udu drums
 
           
2 bongos
3 congas


mp


 (Bb)

   
3.


p
(R3) 5:6

      
7:6 C

oboe          
(p)


 11:12
 
(L2+3) (L3)

       
 
(D(L4)) 5:6
 
clarinet   
 
  
contrabass

(p)

  
 

(played)

  
       
lap steel guitar

 
  

    
   
(sounding)

(p) ] ] ] ]

      
 
7:8 mst (irregular tremolo, long bows)

 

(msp)

 

 

 
    




cello

(p sempre) 
 181

16  
11 9 11   7 15
32        
8:9 8:9

 16       
 
nat mst

   

 32  32
pizz arco

3:2

   
83

violin 
   
nat
   
 pp
mp
mf
ff


  


              
 


  
5 castanets      
Udu drums 
          
4
2 bongos  
3 congas  
         
pp
mf mf
ff

    
 
3:2 11:9

oboe        
f

                                    
5:4 5:4


5:4


5:4

 
5:6
   4:3

  

contrabass     
clarinet
f
p sub.

         
nat


(sim.) 5:4 4:3


       
cello
 
  f
(mp)

nat msp
(trill to nearest possible upper pitch
15  
13  6 8
       psp
using adjacent finger)

 32 32   
8 8
nat
 
              
87 (mst)

violin       

   
p

  
ff
(mf) f mp

   

 
    
5 castanets        
 

  
   

     
    
4 Udu drums
  


   

  
2 bongos
3 congas 

p
(mf) f mp
ff


 
(Bb key)

               
  
    
3:2 11:9

oboe            

 
p ff ppp
ff non dim.

    
(C# thumb key)
  
 
5:6

      
4:3
  

contrabass       

clarinet
(p)

 
ppp

  
ff ff non dim.


 
 
(played) 
    

   
lap steel guitar

  

  
 


         
(sounding)
 ff
ff ppp

    


pst

               
5:4 4:3

 


psp msp

cello      
p

ff non dim.
ff ppp
182
psp nat msp
8 7 pst
9
   
  

nat

8  
7:8 3 2 1 2 3 4 3 2 1 2 3

      
8 16
  
90 
violin 
                    
          
mp ff  mf                    
  
p pp
f

     
      

   
     
 
 

 
5 castanets
    
  
4 Udu drums
2 bongos    
3 congas  
          
mf pp
mp
fff ff p

  
  

oboe     
(ff) pp

        

contrabass    
clarinet
   
(ff) pp

  

  
  

 



(played)





 

 
(ff)

lap steel guitar



 
(sounding)     
  








 
(ff) pp
pst
/ 0
       
/0 /0 /0
cello
 

      
(ff) 
pp (pp) (f)

9 nat
4 psp III


7 9
                     
    
16 8 16 16
               
92

violin        

                     
  
f 
fff

        
 




 

  
5 castanets    
   
   

4 Udu drums
               
  



2 bongos


3 congas
fff
f

             
7:6

        
4:3
  
   



oboe

f


               

fff

 
           

        

  
   
contrabass
clarinet
      

f p f p f p fff p fff p

  

   
  

  
 
 
 
(played) 

  
   (gliss. as high as possible  
   
lap steel guitar

5:6


keeping slide at same angle)


(place slide on top three strings only)
 


   
   


(sounding)
p
f
fff

(pst)
 
    
nat I II

  
(slow bow to a standstill

4:3

 
II

while retaining dynamic)
  
cello
 
]
f
fff
 183

9 
9 6                     17

psp
  
 16     
 
 
msp
 32 nat
  8  32
 

95

violin         
     
 
mp
ff

       
mf

  
    

5 castanets        
     
   
           
4 Udu drums
2 bongos    
3 congas       
mf ff mp

 
9:8

  
          


3:2 3:2

oboe       
  mp (ppp)
mf

   

        
   

       
 
          
   
contrabass        
        
clarinet
      
mf p mf p        mp p mp p mp

 
ff p

 
  
 
  

(played)


 


  
      
lap steel guitar


 
5:4 3:2

   

   
      
  

(sounding)    
 
 ]   ] ]
p

  
mf sempre
5:4
I mst
  
   


  
4:3 4:5

   
 
  
cello
  
[ ] [ ] [ ] [
p
mf sempre

17 15   5 nat mst

 
pst

    
gett.
32    16     16
    
nat

      
98
 


           
  
violin
 
ppp
  
p fff pp

 
f

     
   
  
   

5 castanets

 

   

      
4 Udu drums
2 bongos  
3 congas          
ppp p  f fff pp

 
   
oboe    
ppp p ppp



   

contrabass

      
clarinet 

ppp ppp fff ppp

   
    

(played)

  
 
      
 
lap steel guitar sul pont.
    
  
      
  
(sounding)
(mf) ] ]

p fff ]

    

msp
         
 
mst
/ 0
cello
          
(mf) ] [  ]
p fff ]

Part 14 island begins after a long "breath-pause"

184
 219

15 Simorgh

8-channel fixed media

duration: approximately 11 minutes

Simorgh should fade in from almost nothing as the improvised ending of part 14 Island is coming to its conclusion
(with an awareness that there may be silences after which two or more instruments begin again to play),
but must have risen to its full volume within 10 seconds or so, whatever else is happening.

The volume level may rise gradually and imperceptibly over the last 2 minutes if desired.

The solo violin of the part 16 wound IV begins to play in the closing seconds of Simorgh so that when the electronic
sounds stop the violin becomes audible.
220
 221

16 wound IV

e= 108 In a complete performance of CONSTRUCTION, begin before the reverberation of the final
sound of Simorgh has died away, so that the actual beginning of the violin sound is obscured.
msp

 
(4)

  
arco nat

4                 4   
9:7 II I II III IV

8     
7 5:4 II I
4:3


4:5

8 16 
II III


violin   
 
ppp

mp ]

  
psp sempre

9   
I  
4
 II 7:6


nat. sub III II
 
    
   16  
  
11:8 9:8

  
   
5

  

   
violin     
 
p ppp pp

  
pp expressionless

soprano       
οὐ
o


pp expressionless

alto       
οὐ
o


pp expressionless

countertenor       
οὐ

 
o

oboe       
pp

  
3:2

   

3:2

              

3:2

      
   
3:2 3:2 3:2 3:2

 
clarinet        
in Eb
   
p ppp

     
   
5:6 9:8 6:5 4:3

percussion

  
5 castanets

Udu drums        
 
4         
p ppp
pp

   
 
           
      
     
     
     
 


(played)

 next one is played)                    

                                   
(damp each string when the

  
   

lap steel guitar
   
4:3 4:3 3:2

  
4:3

(sounding) 
  
 
p ppp

 
arco nat.

cello
    

pp
222
     

  
10:7

7          4   
I

7  
(psp) 4:3 I II I
   3    
6:5 I

IV III II

              
I III


II III IV II


 
II III IV III II I II III IV III II III I II I II


6:5
16 II
8  4:3
  16 8

9 5:6

violin        

(pp)
 

 (pp)

        
 
soprano


ρά νι ον ἕ δρα νον
ra ni o n he dra no n


        
 
(pp)
alto


ρά νι ον ἕ δρα νον
ra ni o n he dra no n


    
    
(pp)


countertenor


ρά νι ον ἕ δρα νον
ra ni o n he dra no n

    
   
(pp)

   
oboe 


 
 
(nat) I

   
I II

 
II
   
III

  
cello

(pp)


     
(I) II I
  

9   
nat I

       
10:9 I
      
4:3
  
   
pst 3:2

        
II II


III

     16
3:2 3:2 3:2 3:2


14 6:5

violin       
  
p sempre
p mp
p slow, irregular (not wide!) vibrato

  

 
 
  
soprano  
 
ἐ πι βε
e pi be

p slow, irregular (not wide!) vibrato

 

alto         
 
ἐ πι βε
e pi be

p slow, irregular (not wide!) vibrato

 

    

countertenor   
 
ἐ πι βε
e pi be

        
oboe      
p 
7:8

  
  
  
clarinet


in Eb

p mp

    
   
9:8

5 castanets     
4 Udu drums        
p
p mp

   


(played)


  

lap steel guitar

(sounding) 

  
 

 
p mp

   
I

  
I

 
(nat) I

cello
  
  
p
 223

  
  
 
(nat)
  3
mst
7
 8   3:2
 3:2
16
      
18

violin 
       
p ] pp p ] pp p]

(p) pp pp mf ]

   
(p)

soprano    

βὼς
bɔ s

 
(p)

alto     

βὼς
bɔ s

  
(p)


countertenor   

βὼς
bɔ s

      
oboe 

A    
(p)

   C#

RA R G#

       
3:2
 3:2

 
5:6


           
   
F F G#
clarinet
in Eb   
pp p ]
pp mp ] pp mf ]

              

     
 
  
3:2 4:3
 7:6 3:2

5 castanets  

    
             
4 Udu drums    
pp p ] pp p ] pp mp ] pp mp ] pp mf ] p mf


          

 
(played)

        
        
5:4

lap steel guitar 3:2

6:7


       

(sounding)
          
 
pp p] mp] mf ] pp mf ]
pp p ] pp mp ] pp pp mp ] pp
(nat)

      
cello

(p)
224

     
msp nat
5:4 11:9

4     9        
8:7 4:5 8:7

   
5:6

          
I I

         
5:4 (4)

(3) I

    

 
II II
       
II III IV III II

 8   16
22 II III

violin   
mp

mp half-whispered
 3:2    4:3          
 
 3:2

       

16:15
   
       
    
soprano                         
8:9 (mp)

    
αἰ θέ ρα
a i tʰe e e e e e e ra a a a a a a a a

mp half-whispered
    6:7         9:10  

                 
4:5
        
                           
3:2 3:2 3:2 6:5 (mp)

alto
       
αἰ θέ ρα
a i tʰe e e e e e e e e e ra a a a a a a a

mp half-whispered
               
             
     
5:4
 
             
            
19:15 (mp)
countertenor        
     
αἰ θέ ρα


a i tʰe e e e e e e e e e ra a a a a a a a a

   
oboe   
   

mp (mp)

     
5 castanets 
Udu drums   
4

mp

  

msp

 

cello

(mp)

mp

   III
III 3:2

5 7:8

 
4:3


4:5

8 
IV


3


25 msp sempre
violin     
        
       
 
p dim...

10:9
7:6 5:4

    
3:2
 3:2    

            

 
clarinet
in Eb
         
               
p dim...

8:9


10:9 3:2 3:2 3:2 3:2
4:3 4:3 4:3 3:2

5 castanets

              
          
4 Udu drums           
p dim...

 

    
 
(played)


4:3

  
4:3

 
lap steel guitar
 
(sounding) 
sul pont.

 
p dim...
 225

   
II
9:8
5 4:3
3 7
   
3:2 3:2 3:2

   
(msp) 4:3 7:6

  16  8   
 16
  
5:4
 
        
27 4:3 7:8

violin 
    
       
 
(dim...)

3:2 3:2
5:4 4:3
3:2

 
5:6

  
6:7

 
3:2
  
3:2

  
3:2 3:2
 

3:2

in Eb 

        
clarinet
         
      
       
(dim...)

   4:5


4:3 3:2 3:2 3:2 3:2
5:4 3:2 3:2 3:2 3:2

5 castanets 

       
             
4 Udu drums          
  
(dim.)

        
  
   

(played)

3:2  6:5    
    
9:10


lap steel guitar
 
 
 4:5
  
 
(sul pont.)

    

(sounding)
 
(dim.)


  

7 4 9
(msp) 9:8

 16    
8     16
6:7

   
     
31

3:2

violin 
4:3

4:3

 
...ppp

(dim...)

3:2 3:2 3:2 3:2

6:5


3:2 4:3 3:2 3:2 3:2 3:2 3:2

   
        

3:2

     


      
 
 
   
clarinet
in Eb


 
...ppp

   
(dim...)
7:8


5:6 3:2

5 castanets


            
4 Udu drums          
(dim...) ...ppp


  
  
  
 
(played) 



9:7

      
lap steel guitar
(sul

 
 
pont.)
 


(sounding)

(dim...) ...ppp


9:10
psp
13:9

  
4:5

5 
I

9  
I

 
I II 5:6
III I
11


3:2


I II III II II

 
IV III
33
16     8    16
 
II III IV III II III IV III II III IV III II


4:3

violin     
 

      
 

mp pp mf pp


    

   
5 castanets  
4 Udu drums  
mp ppp mf ppp
226

(psp)
16:11
10:11

 
I

   
(I) 7:6
II III III II
11   
I IV

   
13  7
II I
 
III 3:2

     16            
4:3 II III II

5:6
    
     
  
II III IV
 
 
16  16
 
7:8 7:5
   
35 3:2

violin      

ff p fff mp
f p


 

  
 
 
5 castanets    
4 Udu drums  
f pp ff pp fff


    
7 5 3 4 9
 
16   16   8     8  3:2  3:2 16
pst 5:4 7:5


37

violin   

       
  
 

   
  ]
  
 
  
 ] [  ] [ ] [ ] [ ] [ ] [ ] [ [ ] [ ]
mp f

(embouchure-gliss. as far as possible each time without breaking up the sound)

 
    7:8


4:3 7:6


 

  
     
  
clarinet
in Eb
       
] ] ] ] ] ] ]
mp f

                  

3:2 6:5 5:6 11:8


5 castanets

     
    
4 Udu drums           
mp f


   

 
   
         

  
 
(played)

    
            
lap steel guitar 4:3


 
3:2


nat 3:2 9:8

3:2

(sounding) 
   
          
  ]  ]  ]  ]  ]  ]  ] ]  ]
mp f


           
9 mf
5  6  13  7 2 3
 16 

 16 
 

(all trills to upper semitone)
  8  16 
 8     
 8  8
        
41

  
soprano   
  
τε πτό λε

te pto le ως ὀ λο µέ νας
ɔ s o lo me na s

  

  
   
(all trills to upper semitone)
    
   

        
mf

 
   
alto 
    
τε πτό λε

te pto le ως ὀ λο µέ νας
ɔ s o lo me na s


(all  
  
   
trills to upper semitone)
    
   

        
mf

 
 
countertenor  
     
τε πτό λε


 (R3)  
ως ὀ λο µέ νας


te pto le

   (R3)

  (C
ɔ s o lo me na s

  


1.

  
(C key)

 



 
key)

   
 
Ab (Bb key) (R2)

  
(C key)


      
    
      
oboe
    
mf

         
5 castanets 
4 Udu drums  
mf 1.

   
   
   
       

psp Ab

  
   
II
     
  
cello
mf
      
 227

          
3 5:6 7 9 11 13
         
4:3 4:3 4:3 5:6 7:5
8 
16 16   16  16
 
      
47 psp

violin     
 
ppp cresc...  

    R G# Eb C# R  G#

 

 (Eb+F#)    
R

  
F#
Eb B§tr

 
 (R123)
(E)
Bbtr

 (L23)

(E)

(R123)   3:2 3:2   +F#+Eb)
(L123
 (G#)
 (R123)

(R123) (C#) (E)

 
8:9

       
7:6

      

 

clarinet
   
 
in Eb

ppp cresc...

   

8:7 7:8  8:7


   
5 castanets

Udu drums   
         
4         
ppp cresc...

  

     



  
    


(played)

            
             
4:3


5:4

       
lap steel guitar

(sounding) 
  
ppp cresc...

            
13 15 2 7
 16     
16   8 16
16:13

     
51 3:2

violin       
  
  
 

  R  R G#
  
 
(cresc.) ...ff

  C#
   
Eb C#

      (R123) (R123)

(L123
 (R12+E)
(L3+C#)    

(E)
(L23) (L123 (C#) (R2) (L3+C#)

  

(R12+E) +F#+Eb) (R123) (R12+E)
 

+F#+Eb) (R123)

   
6:5 5:4 5:4 5:4

      


              
clarinet
in Eb

(cresc.) ...(ff)

      

3:2
  6:5 5:4 3:2


 
5 castanets

                         
4 Udu drums 
(cresc.) ...ff


        
 
   


(played)

  
      
17:12

        

lap steel guitar 6:5

   


(sounding)
 
(cresc.) ...(ff)
228

    
II I

     
msp I II I II I

7                      
5:4 7:5

5     7
4:3
9 11
I II 4:3 7:8

16                  16
3:2 II III II I msp nat msp

 16    16  16
           
4:3 7:6

  
54 6:7

violin 
  
      
f ff dim...
f
    7:6   
    7:8                
soprano  
ἃν πυ ρὸς
ha a a a a a an py y y y y y y ro o o o o o o o o os
f
    

5:6

alto              11:10

        
ἃν πυ ρὸς
ha a a a an py y y y y y y y ro o o o o o o o o o os

 
f       9:10    
        
  
9:8
countertenor  
ἃν πυ ρὸς


ha a a a a an py y y y y y y y y ro o o o o o o o os

 
   
8:7

      
  
clarinet
in Eb  
ff ppp


ff dim...

  
    8:9

   5:6
 5:4


7:6

   
5 castanets  
Udu drums  
                          
4

    
ff dim...
f



  
 
  
(played) 



  
3:2

     
(vibr.) 3:2 3:2

   

lap steel guitar

   
 
sul


pont.




(sounding)
 
ff ppp ff dim...

     
     (msp) nat
msp nat msp msp nat msp nat
11 13 9
      
18:13

 

msp

       
   
nat

            

3:2
16
3:2

3:2 3:2 3:2 3:2
 3:2
3:2 3:2
16      
7:8
    8
          
4:3
       
58 3:2

       
  
violin  
  

  
         
(dim.) 
15:11

     
3:2 3:2

    
in Eb   
clarinet     
 
         
(dim.)

   9:11
     

  3:2 
8:7 9:7 3:2 3:2 3:2 3:2

5 castanets 
  
                                        
4 Udu drums   
(dim.)

 



(played)

   
(sul pont.)
  
lap steel guitar



(sounding)

(dim.)
 229

  
4:3
nat I I I I I

 
I


I II I

2 
4:3

 
3:2 3:2

9 7     3

msp nat msp nat msp sempre

  
   16
 
II III II
  
6:7
8      IV   8 8

6:7

    II
3:2 II

60 II III
   
      
   
violin
        

(dim.) ...p

ff

     

ff

soprano  
      
 
αἰ θο µέ να
a i tʰo me na

 

  
ff
   
alto      
 
αἰ θο µέ να
a i tʰo me na

 

  
ff
   
 
countertenor    
 
αἰ θο µέ να
a i tʰo me na


   
    
oboe           
   
ff

  
9:7


4:3
   
            
clarinet
in Eb
  ...p
(dim.)

   
  

10:9 6:7

5 castanets     
Udu drums  
                 
4
...p 
(dim.)
ff


    
 
  

(played) 

  
8:7 ...p]

   
5:4
lap steel guitar
   

(sul pont.)



 

(sounding)

 
   
 
(dim.) ...p] 

nat
 con sord.
     
I I

cello
        
   
ff
230    
I II I II I
psp 4 1 4 3 1 4 4:3


      15
(II+III)
6:5

11    
4:3
I
 
 
3 
nat (I+II)
4 (I+II)

 
II III IV III II

 8  
 
8      16   16

63

    
  
   




  


 


 
violin
 


f
 
fff pp





pp

soprano    
κα
ka




pp

  
alto 
κα
ka




pp


countertenor   
κα
ka



  

 
oboe

 

pp

 G#
  
4:3


5:6

           
  (openR1)

(open R2)


(all fingered glissandi)

 
clarinet 
in Eb

        
fff

 
4:3

   
   
5 castanets

Udu drums    
    
4   
f


fff

 
   
      
   
 
(played)

     
5:4

  
   
lap steel guitar

   
7:6

 
nat

 
  


(sounding)

(gradually tilt slide...)

(tilting slide back and forth while holding same position on 1st string)
f fff ]


(con psp

 
  
sord.)


cello 
pp

     
I II I Ø 2
        
(psp) 3 4 3 4 3


4 3 2

              19   3  
17:15

  
3:2
 
4 2 3
15 5
 16 16 8 16
66

violin  

(pp)

  

  
(pp)

soprano   

τέ λυ σεν ὁρ µά
te ly se n ho rma

 

  
(pp)

alto   

τέ λυ σεν ὁρ µά
te ly se n ho rma

 

  
(pp)

countertenor   

τέ λυ σεν ὁρ µά
te ly se n ho rma

     
oboe   

  
(pp)

 
 

(I)

  
(psp)

  
 
cello
(con
sord.) (pp)
 231

    
  mst (vibr. + gliss.)


5 
arco pst
II 7 11
 16  
msp pizz

   16  16
6:5

    

69

violin    


  
 ff mf f ] p mf ]

 
fff


 
3:2 (slaptongue)
 3:2   

5:4

 
   
      
   
       
   
E

 
clarinet

  
 
 

in Eb
 
            
p mp f


fff


mf

 

 3:2
 3:2 3:2 3:2 3:2 3:2

5 castanets 
Udu drums  
        
4                
fff ff mf f mp mf

 
       
 

    

  
(played)

      (gliss. + vibr.)



3:2 3:2

    

lap steel guitar

sul pont.

    
4:5


      
  

(sounding)
] ] 
f mf ] pp mf ]
ff
fff

   
clt
mst msp arco

11 8 11 mst

  
4 3 2 1

4:3 4:3

16 8 8 
nat

     
4:5

    
72 4:3

violin      
   
p ppp pp]
mp] pp p]

    G#
      
   
(throat-tremolo)


4:3


5:6

 
(grace-notes: open L1 briefly)
 


     
    

clarinet H H H
in Eb
 
pp p] ppp pp]
p

  
mp]

  4:3       
  
4:3 3:2 3:2


     
5 castanets

Udu drums     
      
4
        
  pp p] ppp pp]
p mp]

   
 
   

 

(played)   

    

3:2

 
(open)

 
(place slide on strings)

   
lap steel guitar 7:6
 

nat.



sul pont.
        

(sounding)
  
p mp] pp p] ppp pp]

Part 17 Hekabe-β follows without any break

232
 233
17 Hekabe - ß
e = 84

              
7
  16          
10:7
8:7

piccolo            

mf

f

   
     
      
8:7
 
10:7

         


 
   
bassoon

mp mf f


10:7

         
(senza sord.) 8:7

       

piccolo
  
             
    
trumpet
in Bb
  
 mf f
mp

          
 
8:7

          

10:7



(senza sord.)
trombone   
mf f


mp ppp mf ppp


f ppp

Hekabe (alto)            


ὀ το το
ʔo to to

8:7 10:7

R              

triple harp C           

L      
mp f
mf

              

                       

6

piccolo        

fff
ff



      
                      
bassoon

   
fff ff

              


 
piccolo
trumpet        
in Bb 
fff
ff


                      
     
trombone

fff ff

ff
 3:2 ppp


fff ppp
 
3:2 3:2 3:2 3:2 3:2 3:2

Hekabe (alto)          
  
    


το τοῖ.
to to i

 
3:2 3:2 3:2 3:2 3:2 3:2 3:2

R              



      


triple harp C
     


       

 
            
L

fff ff

        
arco psp sempre
    
violin  
   
Add reverb to violin throughout ad lib. fffppp
         
234 
(R23)

            
        
3  5

9:7 9:7

  
   
   8 16

 

11

piccolo    
p
fff f mf

   
10:7 10:7

   
      
  
bassoon 
        

  f mf
p
fff


        
8:7 1 (23) - holding G#

 
             
8:7
 take harmon mute (stem in)
piccolo
trumpet   
in Bb         
fff  p
f mf

 
       
     
6:7 6:7

   
(F valve) - holding G

    
trombone 
take harmon mute (stem in)
     
p
fff f mf
ff
 

11:12

                

13:14 13:12

Hekabe (alto)                              


Κρό νι ε, πρύ τα νι Φρύ γι ε, γε νέ τα πά τερ ἀ νἀ ξι α
kro ni e pry ta ni pʰry gi e ge ne ta pa ter a na ksi a
(secco - damp each note as quickly as possible!)

 
15:14 (l.v. sempre)
 11:12
  13:12
R  

 

   
 
     
triple harp C                      

  
   
  
  
fff

L       

f mf
f

         
(psp)
 
violin 
 
fppp


(ppp)

5     2 7    5   3
  16 8   
16

 
9:8

16   16   
8
piccolo 

ppp pp

 

bassoon    
   


ppp pp

      remove mute
piccolo
trumpet    

 remove mute

in Bb
(harmon) (p)

     
    
trombone
(harmon)
(p)

p
  11:10     

9:10 9:8

    
   
   
         
Hekabe (alto)     
τῆς Δαρδα νί ου γο νᾶς τάδ᾽οἶ α πά σχο µεν δέ δορ κας;
tɛ s da rda ni o go na s ta do ia pa skʰo men de do rkas?

  
ppp mp
   

9:8 3:2

chorus I
    
(soprano)
 
δέ δορ κεν·
de do rke n

    

mp ppp

     


chorus II
(alto)
δέ δορ κεν·
de do rke n


5:6 7:6 5:4 3:2
11:10
 7:8
  
3:2


9:10
     


R

 

     
9:8

triple harp C   
 


L    

    

ppp

        
(psp)
     
violin 
(ppp) mp-ppp
 235

3    4:3
7    4         
7   
  8    

  16       4:3    
 
4:3 4:3
22

   
8 
16 
piccolo 
] ]
mf f mp ]
mp ff

                  

    
4:3


4:3 4:3 4:3

     
bassoon  
    
] ] ]
 
f mp
mp ff
mf

                
123

           


4:3

   take harmon mute

4:3 4:3 4:3 Ø
   
piccolo
trumpet 
in Bb
(senza sord.) ] ] ]
f mp
mf mp ff p

           4:3            

  
4:3

     
III VII

4:3 4:3

   

take harmon mute
trombone    
(senza sord.)
] ] ]

mf f mp
mp ff p


p f

    

6:7

Hekabe (alto)    

ὀ το το το
o to to to

  4:3               

mp fff
       4:3   
4:3


4:3
f ff mf
chorus I
     
(soprano)

ἁ δὲ µε γα λό πο λις ἄ πο λις ὄ λω λεν οὐδ᾽ ἔτ᾽ ἔσ τι Τροί α.

ha de me ga lo po lis a po li s o lɔ len o de t e sti tro ia

mp fff
  4:3    4:3      4:3     4:3   
                        
f ff mf

 
chorus II   
(alto)


ἁ δὲ µε γα λό πο λις ἄ πο λις ὄ λω λεν οὐδ᾽ ἔτ᾽ ἔσ τι Τροί α.
ha de me ga lo po lis a po li s o lɔ len o de t e sti tro ia


   
     
  
 
4:3


4:3
R  

       

4:3 4:3

      
triple harp C

     
       
L 
ff mf
f

mp fff p

     
(psp)

violin 
(ppp)
236


    
     3 4 5 2
 
  
8   8     16   8
    
6:5

  
26

piccolo        

p sempre
ff p

      
       
 
 

  

    


 
bassoon 
  
p sempre
ff p
   
piccolo   

 
 
   

6:5

trumpet         
in Bb
(harmon)

p sempre

 VI  FV 
    
 
 
VI
 
   
6:5

 

trombone       
(harmon) 
p sempre

ff p
 8:7

mp

   3:2


pp

    
mp pp pp mp

Hekabe (alto)          
  
   
         


τοῖ. λέ λαµ πεν Ἴ λι ος, Περ γά µων τε
to i le la mpe n i li o s pe rga mɔ n te
p sempre

        
6:5

        

chorus I
(soprano) 
πτέ ρυ γι δὲ καπ νὸς ὥς τις οὐ ρί αι πε
pte ry gi de ka pno s hɔ s ti so ri a i pe
p sempre     

6:5

           

    


chorus II
(alto)

πτέ ρυ γι δὲ καπ νὸς ὥς τις οὐ ρί αι πε

pte ry gi de ka pno s hɔ s ti so ri a i pe


R 


3:2

         

table

triple harp C     

                


L  

ff pp mp
mp pp mp pp

     
(psp)
 
violin 
mfppp
(ppp)
 237

         
 
2 5 9 5 
9
  8  
7:5

16      
3:2
16 16 16
4:3 3:2

    
30
       
piccolo   

(p) pp sempre

    9:8   9:10 
3:2
       
5:6 6:5

      
3:2

             
  
  

            

bassoon
              
(p)

  



4:3

  
remove mute 7:5
piccolo
trumpet        
     
in Bb
(harmon) (p)

FIII  IV pp sempre
 4:3 V
   13:10         3:2 
     
       
                              
3:2


    4:3  
3:2 5:6
    
3:2

       
   
trombone
(harmon)                
(p)

mp pp mp whispered (increase amplification as necessary)

 
 
3:2 p sempre (quasi f)
6:5

 

      
7:5

    
7:5

Hekabe (alto)      
 
καὶ πό λις ἄκ ρα
πυ ρὶ κα ταί θε ται τέ ραµ να ka i po li sa kra
py ri ka ta itʰe ta i te ra mna
p ppp
pp sempre
   7:6  7:8 
7:8

      
 7:5
       
7:5

     

      
3:2

         
(p) 4:3

            

3:2

  
chorus I
      
(soprano)

σοῦ σα δο ρὶ κα τα φθί νει γᾶ. πα λε ρὰ µέ λαθ ρα πυ ρὶ κα τά δρο µα δαΐ ωι

so sa do ri ka ta pʰri ne i ga pa le ra me la tʰra py ri ka ta dro ma da iɔ

p ppp

   7:6  7:8 

7:8
 7:5
pp sempre
4:3   
      
3:2

         
                   
7:5

(p) 3:2


 
        
chorus II
      


(alto)

σοῦ σα δο ρὶ κα τα φθί νει γᾶ. πα λε ρὰ µέ λαθ ρα πυ ρὶ κα τά δρο µα δαΐ ωι

so sa do ri ka ta pʰri ne i ga pa le ra me la tʰra py ri ka ta dro ma
da iɔ
6:5

(table)
R 

     
3:2
   
triple harp C  

         

L

mp pp mp

         
(psp)
   
violin  

(ppp) pp-ppp
238

         
9  
7
  
  16
17:12

   
5:4

16 
           
35

piccolo       


(pp)
fff p ppp

            

17:12

    
  
      
3:2
3:2 
  

bassoon
 
   
ppp p
fff p ppp


5:4
  

  
piccolo
trumpet 

in Bb
(senza sord.)     fffp ppp

(pp) p

VI  V I VI IV III  I IV
  4:5         
 

11:8 3:2

  
4:3

trombone 
               


(harmon)   
ppp mf

  7:6 
  
(p)




  
5:4
      
  
τε τει χέ ων. ἰ ὼ γᾶ τρό φι µε
te te ikʰe ɔ n i ɔ ga tro pʰi me

(pp) p

     
5:4

  
chorus I
 
(soprano)

τε λόγ χαι. ἒ
i te lo ŋkʰa i e

(pp) p
 5:4  
   

chorus II
(alto)
   


τε λόγ χαι. ἒ
e
i te lo ŋkʰa i


 
(nat)
R
 

triple harp C
     

L
   
fff

       
(psp)
 
violin 
  
(ppp)
 239

           
9 5 7


16 16     16
6:5

  
38

piccolo     

 


mp
(molto vibr.)

       

   
bassoon
 
mf f] ff mf ]


(molto vibr.)

      
piccolo
trumpet    
in Bb    
]
ff mf
mf f]

I II VII VI V


    (molto vibr.)


 
 
5:6

trombone          
       
(harmon) 
]
mp ff mf

mf mp
5:4
  
  
mf fff f

        

 
6:5

     
Hekabe (alto)      
τῶν ἐ µῶν τέκ νων. ὦ τέκ να, κλύ ε τε,
tɔ ne mɔ n te knɔ n ɔ te kna kly e te

mf f ff mf

         
chorus I
  
(soprano)
 
ἔ.
ʔe


mf f ff mf

chorus II
(alto)            


ἔ.
ʔe

 
7:8

       ]
(gliss.) 6:5

 

     
R

  
     ]
   

triple harp C 


 
 
  
 
L   ]
mp

f f
ff

       
(psp)


 
violin     
 
ppp
(ppp)
240            
7 9
  16
6:5   
42

 
   16
piccolo     
       
p  
 
+G +G +G +G
    
   
8:7 6:7 +A N +A N +A N +A

bassoon              
p ppp mp


1 12 etc. (multiphonics are intended as colourations of the upper pitches rather than as dyads!)
34 12 etc.


8:7 6:7

             

     
piccolo

             
trumpet
in Bb
        
p ppp mp
III  II 
 V
  
IV
 II I


 
4:3


4:3 remove mute


trombone           
p

 
  
3:2

   
p

  
   
    
Hekabe (alto)


µά θε τε µατ ρὸς αὐ δάν.

ma tʰe te ma tro s a uda n
(throat-flutter)
p

     
ppp
   
       
8:7


6:7

        


chorus II
(alto)
         
ἰ α λέ µωι τοὺς θα νόν τας ἀ πύ εις.
i a le mɔ i to s tʰa no nta sa ny e is

R



gliss. with backs of fingernails
     
triple harp C 


L

   

pp

       
(psp)

   
violin 
   
(ppp)


           
9 5  (brief swells in the continuous sound, 9 3
  16 16 16  8
46 two degrees higher than the prevailing dynamic)

piccolo       
ppp


bassoon            
        

ppp

piccolo
trumpet   
in Bb       
ppp     
     

trombone   
(senza sord.)
ppp
mp mf mp sempre
   

 7:5
 7:8 7:6 7:8
 4:3  3:2  6:5

Hekabe (alto)     
                        
                          
      

γε ραι ά γ᾽ἐς πέ δον τι θεῖ σα µἐ λε᾽ ἐ µὰ καὶ χερ σὶ γαῖ αν κτυ ποῦ σα
ge ra ia ge s pe do n ti tʰe isa me le e ma ka i kʰe rsi ga ia n kty po sa

p


 

5:4

 
6:5

  
3:2



 

   
  



chorus I
(soprano)

δι ά δο χά σοι γό νυ τί θη µι γαί αι
di a do kʰa so i go ny ti tʰɛ mi ga ia i

              
7:5 7:8 7:6 7:8
R  

triple harp C
        

  
L
       

p mp

 
 
(psp)
(sul I)       
violin 
 
ffppp
 241
3 5 3 5
8 8 8 16
50

piccolo           

pp                 mp

bassoon               
 pp                          

mp
piccolo
trumpet 
in Bb              
 pp                           mp

              
trombone 
 pp                            mp



4:3
(mp) 
   


    
Hekabe (alto)



δισ σαῖς.
di sa is
mp
   
mf

  

chorus I
     
   


(soprano)
 

τοὺς ἐ µοὺς κα λοῦ σα νέρ θεν ἀθ λί ους ἀ κοί τας.

to se mo s ka lo sa ne rtʰe n a tʰli o s a ko ita s

R
               

triple harp C
 


L
              

(psp) 
 
     
sul II

violin  
(ppp)

p-ppp p-ppp p-ppp p-ppp p-ppp p-ppp


p-ppp

5                                 3 5  
7   
5
  16                                 8   16 16 16
 
7:6


54 10:7

piccolo      
 
f ppp
ppp pp ppp


   
9:7

bassoon 
     


(12) ppp pp ppp
(non tr.)
9:10

  

6:7

 
Ø 5:6
   
 
piccolo
trumpet        
 
in Bb
f ppp pp
ppp ppp pp

   
4:3

    
6:5
  

trombone    

ppp pp ppp ppp
7:5
     

8:7

pp p
Hekabe (alto)      
   

ἀ γό µε θα φε ρό µεθ᾽ δού
a go me tʰa pʰe ro me tʰ do
pp p
 7:5
   8:7 

chorus II            


(alto)
ἄλ γος ἄλ γος βο ᾶις.
a lgo s al go s bo a is

    
4:3

 
4:5

       
  
R

 
  
       
  

          
triple harp C

     
   
f


 
L 

ppp sub.

    
(psp)
  
violin 
p-ppp
242 5   4 5 3 5
  16 8 8 16 16

58

 
7:5

piccolo        

ppp mp
(rapid staccato without
ppp p ppp tongue touching reed)
 

9:10

 
5:4 6:5

 
 
  
 
bassoon
      

ff ppp
ppp p ppp ppp mp ppp

 
 
6:5 9:8

  

piccolo
trumpet     
in Bb
    
ppp ppp mp ppp
4:5



7:5
  (legatissimo!)
3:2

 
  
 
   

     

trombone
 ffppp
p ppp ppp mp ppp

 
4:5
  
6:5


9:10
 
mp

  
 

 
7:8 mf

(p)
Hekabe (alto)                 
      
λει ον ὑ πὸ µέ λαθ ρον. ἰ ὼ ἰ ώ Πρί α µε Πρί α µε σὺ µὲν
le io n hy po me la tʰron i ɔ i ɔ pri a me pri a me sy men
p mp

  

7:8
4:5 
       


chorus I
(soprano)

ἐκ πάτ ρας γ᾽ἐ µᾶς.
e k pa tra s ge ma s

  
  
 
R
  
   

triple harp C          


L           


mp

 


(psp)

sul III
violin   


(ppp) pp-ppp

5       7    3 7
  16
  
4:5
 6:5 4:5
 
16   8 16
      
62 take alto flute

piccolo                   
      
   
f sempre

     

      

4:5 4:5


6:5

bassoon         
      
f sempre
    

4:5
 6:5 4:5

  
                  
 
piccolo
trumpet  
in Bb
      

 
f sempre

            
4:5 6:5 4:5
take harmon mute


trombone                
      
f sempre
   ff     
ffmf ppp
 ff  6:5 mf   mf  ff  mf  
4:5
   mf   ff  mf 
 
4:5


mf

   
ff
   ff
 
     
       
     
 
 

Hekabe (alto) 
  
      

ὀ λό µε νος ἄ τα φος ἄ φι λος ἄ τας ἐ µᾶς ἄισ τος εἶ.
o lo me nos a ta pʰos a pʰi los a tas e mas ais tos e i


f pp f pp f pp f pp f pp f pp
    
f
 4:5
 
6:5 4:5

chorus I
(soprano)             
ʔo ʔa ʔa ʔa ʔe ʔa µἐ λας γὰρ
me la s ga r
f pp f pp f pp f pp f pp f pp

mf

           
 


6:5 4:5


4:5
chorus II  
(alto)
  
ʔo ʔa ʔa ʔa ʔe ʔa ʔe ψε θά να
pse tʰa na

     
indistinct and slightly irregular

R 

triple harp C          

L   

 
p sempre sul IV al fine

   

(psp)

violin        
p-ppp mp-ppp
 243
7          3 7
       
 9:6
 16 16  16

67

alto flute       

ff

    
 
  
5:6


bassoon     
ff


8:6
piccolo
trumpet            
in Bb       
 
      
ff



trombone    
(harmon)


p ppp
 
 

3:2 6:5
chorus I
          
(soprano)

ὄσ σε κα τε κἀ λυ
o se ka te ka ly
p mp
p ppp
    


3:2

 
6:5


chorus II            
(alto)

τος ὅ σι ος ἀ νο σί οις σφα γαῖ σιν.

to s ho si o sa no si o is spʰa ga isi n
7:6

 

R


    

triple harp C


L 
ff

 
(psp sul IV)
    
6:5

(psp sul IV)

violin    
ppp
   ] (stop bow on string) ppp

[ (restart bow


from stopped position)

       
7 3 5 6:5 7 3
 16 8   
16      
16 8
71

alto flute    
mf f
6:5

     
bassoon       

mf f


   
6:5


piccolo
trumpet        
in Bb

mf f

III III IV II IV II V IV IV II VII IV

 IV
  
  

10:7 4:3 6:5
   
  
             
trombone   
(harmon)    
ff mf ff f mf f]

ff mf f mf
    

6:7


6:5
ff
   
         


  

 

          

Hekabe (alto)
 
ἰ ὼ θε ῶν µέ λαθ ρα καὶ πό λις φί λα,

 
i ɔ tʰe ɔ n me la tʰra ka i po li s pʰi la

 
mf f ff mf

chorus I
     
(soprano)
 
ἒ ἔ.
e e


mf f

ff mf

 


    
  
chorus II
(alto) 
ἒ ἔ.
e e
  6:5
 
       
   
    
R

  
   
triple harp C       

 
ff



L


(psp sul IV) mf f
   (portamento)
     
violin 
  
ppp mfppp
 9     5  
244
3  (increasingly breathy sound) 4 (almost a whisper)
 2
 
       
      
8 8    16 16 8
    
3:2 6:5 3:2
75 6:5 3:2

alto flute   
  
f mp

 
3:2 4:3 5:4 6:5

bassoon             

 (increasingly breathy sound) 

(almost a whisper) mf

 
piccolo 

3:2 3:2 3:2


6:5 6:5

    

         
    
trumpet 
in Bb       
 
III IV III VI V II VI II III I
f mp 
   
4:3 5:4 6:5

    
3:2
trombone        
(harmon)


mf
 (increasingly breathy sound) (almost a whisper)

 
f mp
 3:2

  3:2 
              
 6:5
    
3:2 6:5

Hekabe (alto)    
τὰν φό νι ον ἔ χε τε φλό γα δο ρός τε λόγ χαν
tan pʰo ni on e kʰe te pʰlo ga do ros te lo ŋkʰa n  (increasingly breathy sound)
mf
 3:2    
 
4:3 5:4 6:5

            
chorus II
(alto) 
τάχ᾽ ἐς φί λαν γᾶν πε σεῖσθ᾽ ἀ νώ νυ µοι.
ta kʰ e s pʰi la n ga r pe se istʰ a nɔ ny mo

(psp sul IV)

       
violin 
ppp

     
2 5 7
       8    16     
 

 
8          
4:3


79 4:3 3:2 3:2

alto flute 
 
mp


(timbre trill)

(rapid staccato without tongue touching reed)

bassoon      

p ppp


remove mute
            
trombone      
p ppp

 (increasingly breathy sound) (almost a whisper)


mp

           

3:2

4:3 3:2

 
  
   
4:3
    
Hekabe (alto) 

κό νις δ᾽ἴ σα καπ νῶι πτέ ρυ γι πρὸς αἰ θέ ρα ἄισ τον οἴ κων ἐ µῶν µε θή σει.
ko ni s di sa ka pnɔ i pte ry gi pro sa itʰe ra a isto no ikɔ e mɔ n me tʰɛ se

(almost a whisper) 
p ppp


chorus II    
(alto)


i

nat table
3:2
3:2

  4:3
  4:3

R  

triple harp C 
         



     
L 
mp

msp sul IV, flautando almost on the bridge (with unpredictable high harmonics)

      
      
      
violin 
p-ppp
 245

           

     
(R123)

 
83 take piccolo
alto flute   

pp ppp


(multiphonic until end of bar 88)


(timbre-trill)


6:7

bassoon         

pp ppp

    

   10:7
 123  
(4) holding Db


piccolo
              
trumpet
             
in Bb
 
p ppp

VI I VI  II

 
(senza sord.) 10:7


  

trombone



pp ppp ppp

Hekabe (alto)     

i

 
p ppp ppp
 
8:7
   9:7  
 11:14

 
               
    
chorus I
(soprano) 
οὐδ᾽ ἔτ᾽ ἔσ τιν
ὄ νο µα δὲ γᾶς ἀ φα νὲς εἶ σιν· o de te sti n


o no ma de ga sa pʰa ne se isi n

pp ppp
  10:7

     

 

    


chorus II
(alto)

ἄλ λαι δ᾽ἄλ λο φροῦ δον,

a la i da lo pʰro do n
 
(table) bisbigliando


R 

     
triple harp C

  
L 
pp ppp

(sim.)

psp sul IV
      
violin       
(ppp)
(ppp)
246

       
  
     
           
18:14
87 take alto flute

piccolo   
   
 ]

 
p fff


bassoon      

(ppp)
fff ]




  take harmon mute
piccolo
  
trumpet
in Bb  
(ppp)
fff ]

VII II  VI  I VII II


       
11:14
VI

 
 ]
trombone

(ppp)
fff
p
  11:14    
 
Hekabe (alto)             
ἐ µά θετ᾽, ἐκ λὐ ε τε;
(ppp) e ma tʰet e kly e te?
  

6:7

chorus I
(soprano)  
     
ἁ τά λαι να Τροί α.
a ta la ina tro ia


20:14

     

nat.      
R   

    
(gliss.)

R L R L R etc. sim.

       
triple harp C

        
11:14

      
L
      
    ]    
    ]
p
19:14

p fff

(psp sul IV)

     
violin 
 
(ppp)
 247

        
5
 
                                                         16
90

alto flute   

(irregular embouchure glissando between D and up to a semitone below)

mf ff


    
13:14

              
 
  

bassoon   
              
mf f
         

13:14


piccolo
trumpet   
      
          
in Bb

mf (irregular embouchure glissando up to 1/4 tone either side of B) f sub.

 

                                        
trombone
                 
(irregular glissando between A and up to a semitone above)
mf ff

mf
   13:14        
f


 
Hekabe (alto)                            
ἔ νο σις ἅ πα σαν ἔ νο σις ἐ πι κλύ ζει πό λιν.
e no sis a pa san e no sis e pi kly ze i po li n

f     
  
mp

       

6:7
  
      
       

chorus I


(soprano)
ἐ πι κλύ ζει πό λιν.
περ γά µων γε κtύ πον. e pi kly ze i po li n
pe rga mɔ n ge kty pon
mp
        
f
  

6:7

  
   
 
        
         


chorus II
(alto)


περ γά µων γε κtύ πον. ἐ πι κλύ ζει πό λιν.
pe rga mɔ n ge kty pon e pi kly ze i po li n

        
 
   
R

  
triple harp C
 
6:7  f
      
   

           
L

]  ]   ]
mp


(psp sul IV)
   
violin 
  
fppp
(ppp)

Part 18 wound V begins at this point (contrabass clarinet and electronics)

248

      
12:11
5 13 3
                                                                          
5:4 6:7 5:4

   

5:4
16  16  8
5:4 5:4
93

alto flute  
 
ff fff p

6:7 12:11

         


bassoon        
 
ff fff p

 6:7 

5:4 12:11

5:4

5:4

                               
5:4

    
   
piccolo
trumpet       
in Bb   
(harmon)
ff fff p
6:7 12:11

         


trombone        
ff fff  
p
(chest/head voice alternation) p
6:7 12:11
 
fff 7:8


7:8

        

     


Hekabe (alto)    

ἰ ὼ ἰ ώ
i ɔ i ɔ

 
6:7 12:11
 6:4 
   
6:4 6:4 6:4 6:4 6:4 6:4 6:4
    
6:4
R      

triple harp C           
         

            
ff fff

L   


    
(psp sul IV)

violin     

(ppp)

3 6 3
 8         
     
7:5
             
7:6

 8   8
95

alto flute                      
            
 
ff f mf ppp
pp mf p mp p mp pp mf pp p
mp

  5:4
 
   
                             
4:3

 
        
          
bassoon
       pp       
ff mf
f p mp p pp
mf mp p pp mf pp ppp

 sempre     

  
4:5 4:3 9:8

     


   
                      
piccolo
      
              
trumpet
in Bb
(harmon)    p
  
mp
  mf
 
 
pp

p
  mp
ff f mf
mf pp mp pp ppp
p

   
  
       

9:10

                  

3:2 3:2
        
trombone  

     
            
ff f mp pp mf p mf p pp mp pp mp p mf ppp

5:6   7:8  mp
ff
   
  
f 6:5

   
     
       
3:2 mf

Hekabe (alto)                 


     


     
τρο µε ρὰ τρο µε ρὰ µέ λε α, φέ ρετ᾽ ἐ µὸν
tro me ra tro me ra ἴχ νος· ἴτ᾽ ἐ πὶ δού λει

 
me le a pʰe ret e mon ikʰ nos it e pi do le
  
R  
  
   


 
triple harp C

  

 
 
L
ff f




(psp sul IV) gradual transition through harmonics down to open G

violin  

(ppp)
fffppp
 249

3 3 4 9
 8 
3:2 3:2 3:2
97
       
16 
8 
16
alto flute 

mp
5:6

 
bassoon           

mp


11:12
piccolo
  
          
trumpet
in Bb
(harmon)
mp

7:6

trombone          

mp

 
(mp)


4:3

Hekabe (alto)          
ον ἀ µέ ραν βί ου.
io na me ra n bi o 
pp
 
chorus I
              
(soprano)

ἰ ὼ τά λαι να πό λις.
i ɔ ta la ina po li s


pp
 
       


chorus II
(alto) 
     
ἰ ὼ τά λαι να πό λις.
i ɔ ta la ina po li s

R 

    
triple harp C 
p
 (octave harmonic!)
L 


violin   

   
ppp (throat-flutter)
9     4
 16    
  
4:3

 

 

4:3

    8    



 
6:5 4:3 4:3

    
100

          
     

Hekabe (alto)             
ὅ µως δὲ πρό φε ρε πό δα σὸν ἔ πὶ πλά τας Ἀ χαι ῶν.
ho mɔs de pro pʰe re po da son e pi pla ta s a kʰa i ɔ n

ppp (throat-flutter)
   
 

 
  
4:3

 


4:3



    
4:3

       
 
6:5

   
4:3

           
 



  



chorus I
(soprano)       
ὅ µως δὲ πρό φε ρε πό δα σὸν ἔ πὶ πλά τας Ἀ χαι ῶν.
ho mɔs de pro pʰe re po da son e pi pla ta s a kʰa i ɔ n
ppp (throat-flutter)
   
 

4:3

 
  
   
4:3



  
 
6:5

 
4:3

        
4:3

           
     
   

 
  
chorus II
(alto)     
ὅ µως δὲ πρό φε ρε πό δα σὸν ἔ πὶ πλά τας Ἀ χαι ῶν.
ho mɔs de pro pʰe re po da son e pi pla ta s a kʰa i ɔ n

violin 
 


Part 18 wound 5 continues without any break

(violin, electric lap steel guitar, percussion)
250
 251

18 wound V

Contrabass clarinet and electronics begin during the previous section, Hekabe-beta.
e= 84 When wound V is performed as part of wound for violin and ensemble, it consists only of the parts for violin, percussion and lap steel guitar.

7  5   13    3 6 3 3 4 9   4 11
 16  16 16 8 8 8 16  8 16 8 16
clarinet 
               
contrabass

   
ppppp cresc. poco a poco... (entry should be almost imperceptible)

 
low Eb in unison with contrabass clarinet, gradually and subtly changing in timbre and intonation

electronics
(laptop/                     
keyboard)
ppppp cresc. poco a poco... (entry should be almost imperceptible)

e= 54
mst pst nat nat psp nat msp msp

11 10 psp
14:10
nat
9

      
12:11
16 16  16
6:5

 
11

violin                
         

                   
[ fff ] [ ff ] [ fff ] [ ff ] [ fff ]
[ ff ] [ fff ] [ fff [ fff ] [ ff ] [ fff ]

with 2 drumsticks throughout - all rolls and other figures ending with ] stop with the stick(s) held against the drumhead (dead-sticking) - rolls should always be as tight and as much like a continuous sound as possible


16:11 8:10

       




   
    
3:2
  
9:8 7:6

                   


  
2 bongos       
3 congas
ff ] fff ] ff ] fff ] ff ] fff ] ff ] fff ] ff ] fff ] ff ] fff

 with EBow and distortion on throughout, open strings muted with a cloth, using volume pedal for dynamic changes and [ ] articulations with the slide, beginning and ending all sounds abruptly

 
(played)
sempre - sounds as written
11:10



pos. nat.
 
5:4
  
lap steel guitar
  
 
9:11 3:2

  
  
3:2 3:2

                   

(sounding)
[ ff ] [ fff ] [ ff ] [ fff ] [ fff ] [ ] [ ]
[ ff ] [ ff ] [ fff
[ fff ] ff

 

 
contrabass
clarinet
 
...mp

 

electronics
(laptop/   
keyboard)
...mp sempre
252

psp nat nat msp

psp
9  8 7

 
8:9 10:8

  
6:5 10:13

  
16 16  16
9:7 8:9 10:9 nat


13

violin 

     
        
      
   

              
[ fff mf [ fff mp [ ff ] ppp f fff mf [ ff ]
[ fff ]

  
13:9

 

           
   
3:2

 
7:8

2 bongos 
       
10:11

3 congas  
              
        
fff

ff ] fff ff ] fff f] p ff p] mp f] ]
] f ]


(played) 
   12:8

 
11:9
     
8:7

vibr.
  
11:10
    
lap steel guitar 9:10

  
 
     
     
3:2
       

              
 

(sounding)
   
[ mf fff ] [ ff ] [ fff pp ] [ ff ] [f ] [ ] [ ] [ ] [ f ] [ ] [ ] [ ]
(fff) [ ff p] p fff [ ff mp]

 
f

baritone     
e

  

contrabass  

clarinet

f sub.

 

electronics
(laptop/  
keyboard)
(mp)

nat pst psp psp

7  pst psp msp

6 
7:6
9
 16 
12:9 7:6 4:3

  
16 16
7:6 3:2

  
15

violin               

gettato
 
    
       
                  
fff [ f ff
[f p] [ ff [ ff ]

 
9:6


9:7 7:6


              
   
11:8
     

2 bongos 

3 congas  
  
5:4


 

         
pp ff ]
  
mp f ] ff ] fff ]
f ]
mp ff


p f mp ]



(played)

 
8:7

   
sul sul pont.

   
nat 9:8
 
lap steel guitar nat (vibr.-gliss.) 8:6

  
   
 
pont
  

        

(sounding)
  [ fff ] [ ff ] 
[ ff mp ] [ mp
[ ppp fff ] [ f ]

 
f

soprano    
gi


mp

baritone 
   
s

alto flute    
f


contrabass   

clarinet

mp sempre

electronics
(laptop/    
keyboard)
(mp)
 253

 psp  msp psp mst nat msp

sub.
nat nat
9 12:9
8 
vibr. 7

15:12 7:6

 
16  
16  16
        
   
17 4:5 3:2

violin 
gett.

            
         
            
(ff)

[f ppp [ mf f] 1 23432 [ ff ]
[ ff
[ mf pp



  
10:13

 
     
6:4
  11:10 
     
7:8


     
       
2 bongos
3 congas
(f) ] pp ff ] p ff p
mf ] ]


fff ]

 
   
(played)

 
vibr. sul nat nat sul pont nat

 
vibr. pont

lap steel guitar

    
(sul 11:8
   
   
7:9


      
pont.) nat.

    
   
(sounding)

  [ f ]
ff ]
[ ppp mf ] [p fff ]
[mp ff ] [ mf pp ]

mf


mp

soprano      
bt (adjust pitch slightly to
seventh partial of low Eb
in electronic part)

 
mf f

     
alto

ein Rei
     
alto flute 
mp sempre


contrabass   

clarinet
(mp)
(adjust pitch slightly to


seventh partial of low
concert Eb in electronic part)


flugelhorn
  
in Bb 
f

 

electronics
(laptop/  
keyboard)
(mp)
254

nat
mst nat msp psp

7 6     5
(non gettato!) II III IV III
9:7 5:6

 
6:5 6:7
16 16 16
4 3212343212343212

     

      
 
19

   
violin 
 
     
    
   
[ fff ] [ f ] p ff ] mp

 
 
10:7 7:6


  13:10    
5:4 4:3
 3:2 
                          

         


 
         ]  ]  ]  ]  ]  ] 
2 bongos
3 congas
ff ] fff mp ]
 ]  ] f ]
fff mp mf
ff

  
 

  
  
(played)

  


    11:9          10:9     
      
8:7 sul

lap steel guitar

           
6:5 pont.
 
nat


   

(sounding)


[ ff ] [ mf ] [p f]
[ pp mf ]

mf f
 
   
 
soprano  

wo al
mp

 


alto

ch


alto flute    
(mp)
(adjust pitch slightly to

 

thirteenth partial of low
concert Eb in electronic part) 
english horn  
f


contrabass  
clarinet
(mp)

flugelhorn
in Bb     
mp sempre

electronics
(laptop/    
keyboard)
(mp)
 255

psp


mst
msp psp

5 7 6
psp


8:7
 II
         
16  16  
III IV

III
16
      
21
 
violin       

 
   
[ fff
[f ]
mf ppp


4:5



 

2 bongos         
3 congas  
14:11

        

pp mf ]
pp f ]


(played) 

 nat.
6:5

   
lap steel guitar

8:7 6:7

       
    

(sounding)
  [ fff ]
[ ] [ ] [ ]
ppp ff

mp

       
soprano 
le s


f

alto      
rei

    
alto flute 
(mp)

    
english horn 
mp sempre

contrabass
   
clarinet
(mp)

 


alto  

saxophone

flugelhorn
in Bb    
(mp)

electronics
(laptop/     
keyboard)
(mp)
256


mst

8:6
msp 
6 5 4
                    16    
psp 6:7

   
(gliss. + vibr.)

10:9

 
16  16 3:2

       

23

violin  
 
p
 
ff [ mf ]

 

7:6 6:5 10:11


   

      
 
2 bongos

 
3 congas
mf ] p ] f ]
ppp fff ]




(played)

  
7:5

         11:10  

lap steel guitar
    


5:4
      

            
   
 

 
(sounding) 

[ ] [ ] [ ] [ ] [ ] [ ] [ ] [ ] [ ] [ ] [ ] [ ] [ ] [ mp ] [ ff ]
pp f mp fff

mp


alto       
n

 
f (mp)



baritone   

i s
    
alto flute 

(mp)

   
english horn 
(mp)

contrabass
    
clarinet
(mp)

   

alto
saxophone

mp sempre

flugelhorn
in Bb     
(mp)

arco psp sul I 

  

contrabass

f (mp)

electronics
(laptop/     
keyboard)
(mp)

Part 19 Germania continues without any break

 19 Germania 257

e = 40 (continuing directly on from wound V)

2 3 4 2
 8  8   
8  8
alto flute 
mf

 
(mp)

english horn    
(mp) mf
contrabass
clarinet      
(mp) mf

 
alto
   
saxophone
(mp) mf

           

   
bassoon
 
mp ppp sub. mf sub.


 
flugelhorn
   
in Bb

(mp) mf

 
  
      
      
trombone
(harmon mute,
stem in)
mp ppp sub. mf sub.

percussion
 medium-soft sticks (for as continuous a sound as possible)

marimba     
  ]

  sempre - sounds as written

(for tuning see preface to mf
score of wound)


         
(with E-Bow)   
lap steel guitar


  
ppp
mf sub.

ppp 
  
5:6

soprano    

e s
pp  (one by one submerging into the string texture)
 5:6
 5:6

alto      
e s

p 

5:6


baritone      
e s


sub.

arco nat


sub.
msp*

          
sempre sul II nat

violin          
ppp
mp mf sub.

 
arco nat sub. sub.
sempre sul III msp*

3 3 nat
 
3


3
  3  3
 
viola      
     
mp ppp
mf sub.


sub.
arco nat msp* sub.

sempre sul IV
   
nat
 

cello
        
mp ppp
mf sub.

  (sempre sim.)


(arco psp sul I)
  

contrabass

(mp) mf

(sim. - low Eb)

electronics
(laptop/      
keyboard)
(mp) mf
* The passages in "harmonics" are intended to alternate abruptly with the non-"harmonic" glissandi as if the music suddenly passes behind
a frosted glass surface causing its outlines to disintegrate, and then just as suddenly emerges again into full view.
258

2 4 6 15
 8 8  8 8
6

alto flute   
f


english horn   
f

contrabass
clarinet    
f


alto
  
saxophone
f

                

  
bassoon
 
f sub. ]
pp sub. p sub.



flugelhorn
  
in Bb
f

        
  
        


trombone
(harmon mute,   
stem in)
pp sub. f sub. ]
p sub.

 
percussion


marimba  
  ]
f




    
   
(with E-Bow)      
lap steel guitar


     
p sub.
pp sub. ]
f sub.

   
pp f p
 
soprano 
    
 
ha t au ch

p

f

  
mp

alto         
ha t au ch


mp

f
  
mf

 
     

baritone

ha t au ch

 


sub. sub. sub.

                    
msp nat msp
violin    
 
f sub. p sub. ]
pp sub.


sub.


msp
sub.

  
3

sub. 3
msp 3 3


3
    
nat 3 3

        
viola
    
pp sub. p sub. ]
f sub.




sub. sub.

 
msp nat sub.
msp
       
             
cello
]
pp sub. f sub.
p sub.

  

contrabass

f
electronics
(laptop/    
keyboard)
f
 259

15 (general pause of 22.5 seconds) 4 7

 8 8 8
9

alto flute    

ff



(hold E on one recorder, gliss. from D# to E on the other)
  
2 sopranino
recorders 
ff


english horn   
ff

contrabass
clarinet    
ff

  
alto
saxophone 
ff

         

     
bassoon

p ff sub.



flugelhorn
  
in Bb
ff

       
 
          
     
trombone
(harmon mute,
stem in)
p
ff sub.

 
percussion

marimba   
  ]
ff




      
(with E-Bow)       
lap steel guitar


  
p ff sub.

    
p

soprano   
ei nen


mp

alto        
ei nen

   
mf

baritone   
ei nen




msp sub.

   
    
nat

violin             
[p
ff sub.



sub.
msp nat
3
 
3
    
3 3 3

viola       

[ p ff sub.

 
sub.
msp nat

     
 
    

 
cello

[ p
ff sub.


  

contrabass

ff
electronics
(laptop/    
keyboard)
ff
260

7 3 4 5
 8 8  
8 8
12

alto flute    
fff ppp fff ]


 
(hold E on one recorder,
gliss. from E to D# on the other)
2 sopranino
   
recorders
ppp fff ]

  
english horn   
fff ppp fff ]

contrabass
clarinet      

  
fff ppp fff ]


alto
  
saxophone

fff ppp fff ]

   
    
         
bassoon     
mp sub.
ppp sub. fff ]


 
flugelhorn
  
in Bb 

fff ppp fff ]

         

           

 

trombone
(harmon mute,   
stem in)

mp sub. ppp sub. fff

  
percussion

marimba   
   

fff ppp fff ]




          
(with E-Bow)   
lap steel guitar  

    
ppp sub. fff ]
mp sub.

       
f pp f

   
soprano 

Na men:
mf pp f

alto         

Na men:

       
f pp f

 

baritone  
Na men:




sub.

                 

msp nat

violin 
      
mp sub. ppp sub. fff


  
sub.
 
msp nat
     
3 3 3 3 3

viola            

  
mp sub.
ppp sub. fff


 
sub.

msp

nat
     
    

  
cello

ppp sub. fff

mp sub.

  
   


contrabass

fff ppp fff ]

electronics
(laptop/    
keyboard) ppp fff ]
 261
5 11(general pause of 16.5 seconds) 4   3   4  3 4
 8 8 8 8 8 8 8
15

alto flute    

  
p


2 sopranino
     
recorders
mp
   
english horn    
p

   


contrabass
   
clarinet  
p

alto
   
saxophone
   
p

(rapid staccato articulation without tongue touching reed)

   


 
  
bassoon
 p

   
mp


  
flugelhorn  
in Bb
p

 (see score of section 2 Politeia for layout of notation)



percussion


medium-hard mallets


blocks &       

slit drums

R
 

  
triple harp C       
p


L



 

(with E-Bow)    
lap steel guitar

    
p


p

soprano    
  
To
p

  

alto 
 
To


p

  

baritone   
To

 
nat.


mst

violin   
    
mp p

 
psp sul II
  
viola     
p

msp
   
cello    
p

  
nat


          


contrabass

mp p
 tutti transition

4 3 to free improvisation of


part 20 ON

262
21
8 
8       
alto flute   ∞
  
pp ppp fff


 
  (1 recorder only!)

      
2 sopranino
recorders    ∞
pp ppp fff

       
  ∞

english horn 
pp ppp fff

       
contrabass
clarinet    ∞
ppp fff

       
 
alto
saxophone 
pp ppp
∞
fff


   ∞
       
bassoon

ppp fff

       
flugelhorn
in Bb  ∞
III 
pp

           
 

remove stem of harmon


trombone
(harmon mute,  
∞
stem in)
pp ppp f poss.

 
 


percussion


          
blocks &
slit drums 
mp

 ∞
mf

 
R 

 
triple harp C            ∞


mp


L
mf


 
         

 
lap steel guitar
(with E-Bow)

∞
ppp fff



pp

ppp pp

soprano       ∞
 *   
ten
re

i ch.
pp

ppp pp

      ∞
*   
alto

ten
re i ch.
pp 

ppp pp


       ∞
*   
baritone
ten
re i ch.
mst sul III * "vocal fry" consisting of single impulses which

 
transform gradually from the [a] phoneme to [i].

violin           ∞
pp

  
msp sul I
nat. sul I

      
 
  
viola 
  ppp
∞
pp


mst
nat.

      

cello   ∞
pp
ppp
mst


msp

   

     
contrabass
ppp
∞
pp

         ∞
electronics
(laptop/
keyboard)
 263

20 ON
duration: approximately 20 minutes

ON is an extended and unrestricted improvisation for the entire ensemble, given its unforseeable musical identity by the experience of the preceding music and
facilitated by a structural framework allowing for (but not prescribing) the free incorporation of recapitulatory material from earlier sections as well as providing a guide
to the passage of time which might assist performers in pacing and structuring their contributions. The responsibility for deciding on the appropriateness of any contribution
lies completely with the individual players, though it might be considered important to be constantly aware of whether and to what extent one’s contribution can be
affected by others (potentially or actually), and whether and to what extent one’s contribution can affect others, particularly in the context of a contribution with a
tendency to dominate, or on the other hand one with a tendency to disappear into an undifferentiated background. Each contribution is an act of “orchestration” as much
as anything else.

The approximate timings of the twenty conducted cues are shown in the table below, reproducing the formal proportions of the entire CONSTRUCTION at a rate of
about 10 seconds for each minute, though this is intended as a rough guide rather than a prescription, and the conductor may vary it spontaneously in response to musical
events. On each cue the conductor should gradually bring his hands inwards from widely-spread to together over the course of between 5 and 30 seconds - the
conductor may choose and vary the duration as he/she feels appropriate, though obviously some sections are extremely short and could be either entirely occupied by a
“slower” cue or concluded by a very “quick” one. The conductor should also be able to make clear which cue is being given for any performers who have been
following their own direction independently of the cued sections. Plerformes may also use a cue simply to coordinate beginnings or endings of or changes within their
activity. The table also shows which of the preceding nineteen sections might be used by any player(s) as a starting-point for their improvisation, or a contrast to it or any
other kind of relationship the player(s) might find appropriate. Obviously it will usually be found more practical to use materials in ON which one has learned and
performed oneself in the preceding music, although this is not mandatory. It is also by no means mandatory, when using previously-played material, to use the same
instrument it was originally scored for. The eventual network of sonic-structural relationships in ON will typically embrace responses in terms of both improvisational and
precomposed material to both improvisational and precomposed music played by both oneself and by others.

The conductor may also take part in the improvisations so long as this does not conflict with the cues, and in particular, after the final cue when no more conducting will
take place, it would be appropriate if practical for the conductor to join the ensemble both sonically and physically. In the first complete performance, conductor Eugene
Ughetti joined Domenico Melchiorre on percussion.

Versions of ON with shorter durations and smaller instrumentations may also be devised. The first performances, for example, had a duration of about 6 minutes, used an
ensemble of flute, two clarinets, trumpet, electric guitar, cello and electronics; the strings and winds had their respective parts from part 6 heliocentric as basic material.
In such versions the composition is of course not conditioned by the structural-expressive weight of 100 minutes of preceding music, but nevertheless opens unforseeable
possibilities for the notated material as “seeds” for spontaneous elaboration.

section start time duration material source

1 0’00” 20” strange lines and distances

2 0’20” 1’30” Politeia
3 1’50” 40” Hekabe-alpha
4 2’30” 20” wound I
5 2’50” 40” Kassandra
6 3’30” 2’30” heliocentric
7 6’00” 1’00” Omaggio a Chirico
8 7’00” 40” Andromakhe
9 7’40” 40” wound 2
10 8’20” 1’10” news from nowhere
11 9’30” 30” storming
12 10’00” 40” Helene
13 10’40” 50” wound 3
14 11’30” 1’50” Island
15 13’20” 1’50” Simorgh
16 15’10” 30” wound 4
17 15’40” 40” Hekabe-beta
18 16’20” 10” wound 5
19 16’30” 30” Germania
20 17’00” 3’00” .....

end 20’00”

corrected score version 1.1

Den Haag 12 February 2012