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TRANSCRIPT
The Enslavement and Liberation of Oksana G.
Aaron Gervais Colleen Murphy
The Enslavement and Liberation of Oksana G.
Aaron Gervais Colleen Murphy
February 2006 Duration: 14’00
INSTRUMENTATION: Clarinet in Bb (doubling on Bass Clarinet) Percussion: Brake Drum (tuned as closely as possible to middle C ¼-sharp) Snare Drum Bass Drum Chimes Glockenspiel Vibraphone Marimba (5 octave, C2–C7) Piano Violin Violoncello Contrabass
Oksana (soprano C4–D6) Alessandro (tenor C3–B4) Konstantin (baritone Bb3)
SUGGESTED PERCUSSION SETUP: It is important that only one brake drum be used throughout. The performer will probably need to move the brake drum between locations. The bass drum should be flat-mounted.
NOTATION: Most of the non-standard notation is explained in the score. However, the follow-ing points may need clarification:
Unwieldy meters such as 15/16 and 11/16 occasionally appear. Usually, this comes about through the subtraction of one sixteenth-note from a measure of 4/4 or 3/4. Therefore, when this occurs, I have included the sixteenth-note sub-division; for example: 15/16 (4+3+4+4). SP = sul ponticello N = normale ST = sul tasto Quartertone notation is as follows:
Noteheads enclosed in boxes are to be played in free rhythm and in any order.
Crescendi and diminuendi with small circles at the narrow end are to be played from silence and to silence respectively.
In the piano and percussion, vertical noteheads joined by a thick line indicate chromatic clusters between both pitches. When the space between the notes is too small, the thick line precedes the noteheads, like an accidental.
In the percussion part, standard two-handed rolls are notated with a tremolo symbol, as per convention. When the percussionist is to create a roll by swishing a brush back and forth on the surface of an instrument, the roll is notated with a z-shaped tremolo symbol instead. When using brushes, the percussionist should always play taps unless a tenuto marking appears with the note. Tenuto notes should be played by dragging the brush across the surface of the instrument. The percussionist is to dampen all rests in the piece without exception, unless marked with a laissez vibrer tie.
Score in C Composed by Aaron GervaisLibretto by Colleen Murphy
The Enslavement and Liberation of Oksana G.
Copyright © 2006, Aaron Gervais (SOCAN) and Colleen Murphy.
Moderate, still q = 76
Clarinet in Bb
Chimes
Glockenspiel
Piano
Oksana
Alessandro
Konstantin
Violin
Violoncello
Contrabass
ppp
soft glock mallets on sides of tubes
ff
percussion always dampens rests except where marked
l.v.
soft mallets
pp
3
3
3
3
ppp
3 3
pp
3
3
3
3
ppp
3 3
pedale ad libitum
Sleeping in his bed.
sul tastosempre senza vib.
ppp
3
sempre senza vib.
ppp
sempre senza vib.
ppp
7
Cl.
Glock.
Pno.
Vln.
Vc.
Cb.
pp
3
3
3
3
3
3
ppp
pp
3
3
3
3
3
ppp
A13
Cl.
Glock.
Pno.
Vln.
Vc.
Cb.
Oksana enters clutching a sheet over her nightgown with one hand and a deck of worn Tarot cards with the other.Quietly she goes over to the bed and stares down at the priest.
(ppp)
x = deadstroke
(ppp)
2
B19
Cl.
Glock.
Pno.
Vln.
Vc.
Cb.
22
Cl.
Glock.
Pno.
Vln.
Vc.
Cb.
non-cresc.
to vibes
non-cresc.
3
25 C Slower q = 60rit.
Cl.
Vib.
Pno.
Vln.
Vc.
Cb.
p
p
gliss.
gliss.
28
Cl.
Vib.
Pno.
Vln.
Vc.
Cb.
p
3
f p sub.
3
mp
pp
p
3 3
3
p sub.
3
mp
pp
p
3
3
3
p sub.
3
mp
pp
p
3
3
p
3
f p sub.
3
mp
pp
p
3 3
p
3
f p sub.
3
mp
pp
p
3 3
p
3
f p sub.
3
mp
pp
p
3 3
4
31
Cl.
Vib.
Pno.
Vln.
Vc.
Cb.
mp
pp
5
p
3
mp
mf
5 3
mp
pp
5
p
3
mp
mf
5
3
mp
pp
5
p
3
mp
mf
5
3
mp
pp
5
p
3
mp
mf
5 3
mp
pp
5
p
3
mp
mf
5 3
mp
pp
5
p
3
mp
mf
5 3
5
34
Cl.
Vib.
Pno.
Vln.
Vc.
Cb.
p
mf
p
p
5 5 5 3 6
p
mf
p
5 5 5 3
p
mf
p
5 5 5 3
p
mf
p
ppp
p
ord.
5 5 5 3 5
p
mf
p
p
ord.
5 5 5 3
5
p
mf
p
p
ord.
5 5 5 3
5
6
D37
Cl.
Vln.
Vc.
Cb.
mp
pp p
mp
p
mp
mf
to bass clarinet3 5 5
3
mp
pp p
mp
p
mp
mf
pizz.
3 5 33
mp
pp p
mp
3
p
mp
mf
pizz.
5
3 3 3
mp
pp p
mp
p
mp
mf
pizz.
5 3
3 3 3 3
40
Vc.
Cb.
sul tastoarco
p
simile
3
7
3
p
sul tastoarco
simile
6 3
E43
O.
A.
Vc.
Cb.
molto rubato
She scurries to the window.
I'm
mp
in
love
with
p
3
the moon.
See
mp
how bril
liant- ly-
it shines.
p
3 3
Ok
mp
sa
- na...-
You
mp
should
7
47
O.
A.
Vc.
Cb.
She smiles and lifts up a tarot card.
Down
mp
stairs,
-
in side
- our cur tained- rooms,
p
this ta
rot
-
3
is the
3
not be in here.
50
O.
Vc.
Cb.
on ly- moon I
ev er-
see.
pp
Look,
mp
its face
is big and calm,
like yours,
Fa
ther- A les-
3
-
8
54
F
B. Cl.
Brake
Mar.
O.
A.
Vc.
Cb.
ppp
3
3
drum sticks, shafts
sfz
pp
soft mallets
san dro.
-
3
Go
mf
back
to bed.
It's near ly- dawn.
A noise is heard outside.
Step
f
a way-
from the win dow!-
You
mf
ne ver- know
5 5 5 5
9
56
B. Cl.
Mar.
Pno.
O.
A.
Vln.
Vc.
Cb.
3
3 3 5
3 3 5 3
ppp
u.c.
con pedale
I
mp
feel safe
with you.
She moves toward him.
3
who's out there...
watch ing.
-
3
He moves away.
pp
SParco
N
ST
33 5 3
pp
SP
N
ST
5
SP
pp
N
ST
3
5 3
10
58molto rit.
B. Cl.
Mar.
Pno.
O.
A.
Vln.
Vc.
Cb.
p
mf
f
3
p
mf
f
3
p
ff
He clears his throat
p
mf
f
3
p
3
mf
f
p
mf
f
3
11
G a tempo q = 6061 Faster q = 66
B. Cl.
A.
Vc.
Cb.
p
Good
mf
night,
- Ok sa
- na.-
Oksana exits.
sul tasto
p
sul tasto
p
65
HB. Cl.
A.
Vc.
Cb.
mp
3
p
p
3
I
mp
can no lon
ger
-
3
en
mf
dure-
this
temp
mp
3
-
mp
3
p
3
mp
3
p
3
12
68
I
B. Cl.
A.
Vc.
Cb.
p
ta- tion
-
3
Why
mp
are these feel
ings
-
3
ov
mf
er-
3 3 3
-
73
B. Cl.
B. D.
A.
Vc.
Cb.
mf
p
mp
mf
3 3
ppp
brushes (roll with both hands, not swished)
whelm ing- me?
f
Ok
mp
sa
- na- crawled
here
on two
bro
ken- legs,
mf
3
bat tered,-
star ving...
f
-
3 3
mf
p
ord.
mp
mf
3 3
mf
ord.
p
mp
mf
3 3
13
77
colla vocepoco rall.
B. Cl.
B. D.
Mar.
Pno.
A.
Vln.
Vc.
Cb.
mp
3
f
5
f
legato
mf
pedale ad libitum
f
5
I've
mf
helped hun
dreds- of wo
men- but al
ways- kept my heart
in
3
check.
f
Oh,
God!
ff
3
mp
3
f
5
mp
3
f
5
mp
3
f
5
14
J a tempo q = 6680
B. Cl.
B. D.
Mar.
Pno.
A.
Vln.
Vc.
Cb.
to Bb clarinet
p
= drag brush
3
35 3
drag superball on marimba bar
p
p
sul tasto
simile
p
3 3 7
come primasul tasto
p
15
82 K Faster q = 80
Cl.
B. D.
Mar.
Pno.
A.
Vln.
Vc.
Cb.
5
= swish brush(es)
mf
l.v.
to brake drum
5
mp
mf
ppp
mf
I
p
must send
her a way.-
He prepares to go back to bed.
mp
mp
sul tasto
3
mp
mp
sul tasto
3
pp
ord.
mp
3
3
16
87
Cl.
Brake
Mar.
Pno.
A.
Vln.
Vc.
Cb.
p
vibe mallets
mp
to vibes
mp
3
Oksana runs into the room.
mf
p
f
3
mf
p
f
3
17
90
Cl.
Vib.
O.
Vln.
Vc.
p
come prima
mf
l.v.
I
mp
heard
an oth- er- sound,
down stairs.-
I'm a fraid,
-
so are the oth
ers.-
3
p
ord.come prima
ord.come prima
p
93
Cl.
O.
A.
Vln.
Vc.
What,
3
what if it's...
him?
Shhh!
mf
3
I'll
mp
go down and check.
Kon stan- tin- can't hurt
you here.
18
4+4+395
Cl.
Vib.
O.
Vln.
Vc.
33 5 3
mf
l.v.
ev
mp
en-
3
his name
makes me shi
ver.-
3 5 3 3
3
5
3
3
3
98
Cl.
A.
Vln.
Vc.
3
pp
3
Ok
mf
3
-
pp
3
3
pp
3
5
19
L100
Cl.
Vib.
Pno.
O.
A.
Vln.
Vc.
Cb.
mp
come prima
mf
l.v.
mf
l.v.
No!
f
sa- na,
-
3
may be
-
3
it's
3
time
to re turn
- to your fa
mi- ly.-
3 3
come prima
mp
mp
come prima
20
103
Cl.
Vib.
Pno.
O.
A.
Vln.
Vc.
Cb.
mp
f
f
con pedale
They will think
I'm a whore!
Tell
f
them the truth:
ab
-
mp
mp
21
4+3+4+4105
4+4+3
Cl.
Vib.
Pno.
O.
A.
Vln.
Vc.
Cb.
f
duct ed- by Kon
stan- tin,-
held
a gainst-
your will,
beat en-
sold!
ff
3 3
f
f
22
4+3+4+4108
Cl.
Vib.
Pno.
O.
A.
Vln.
Vc.
Cb.
mf
mp
f
3
3
5
mf
f
ff
3
mp
f
5
mf
f
ff
3
They
ff
won't
be lieve
- me!
Raped
f
fif ty- times
and then sold
a gain.-
To
ff
mor
- row- I'll ar range
- for
3 3
mf
mp
f
33
5 5
mf
mp
f
5 3 5
ff
3
23
110
Cl.
Vib.
Pno.
O.
A.
Vln.
Vc.
Cb.
3
ff
to bass clarinet
3
3
3
ff
to marimba
5
3
I want
to stay
here!
3
you to be sent
to an oth
- er- safe house.
5
Trust
me,
33 3
3
3
ff
3
II
3 3
f
24
112 M Slower q = 54
B. Cl.
Mar.
Pno.
O.
A.
Vln.
Vc.
Cb.
fff
7 5
fff
5 7
mp
fff
3 5
Oksana is not sure how to react.
I
mp
know
what's best.
mp
IV
pp
3
mp
pp
25
114
B. Cl.
Mar.
Pno.
9
5 7
3 7 5
115 N Faster q = 88
B. Cl.
Brake
Mar.
Pno.
O.
Cb.
to Bb clarinet
5
pp
brushes
3
33
3
3
I
p
see
how you
pp
26
117
Cl.
Brake
Pno.
O.
Vln.
Vc.
Cb.
3
3
3
3
33 5 3
look
mp
at
m
me,
p
eyes
full of
de sire.
-
Come,
mf
3
pp
legato
3
legatopp
27
121
Cl.
Brake
Pno.
O.
Vln.
Vc.
Cb.
plegato
mf
3
3
pp
legato
mp
con pedale
3
3
now
is your chance,
the wo
men
-
3
down stairs
- will ne ver-
know.
f
3
3
3
mf
mf
3
gliss.
mf
28
124
Cl.
Brake
Pno.
O.
Vln.
Vc.
Cb.
3
mf
mf
A thou
sand- men
have made me ug
ly,
-
3
come,
take your turn.
But
f
5
3 3 3
29
127 OCl.
Brake
B. D.
Pno.
O.
A.
Vln.
Vc.
Cb.
ffmf
3 3 5
ffmf
f
l.v.
ff
ffmf
3
please
don't send
me
a way!
ff
-
3
You
ff
are beau
ti- ful,-
3
ffmf
3 3
ffmf
5
5
ffmf
30
129poco accel.
Cl.
B. D.
Chim.
Pno.
O.
A.
Vln.
Vc.
Cb.
f
ffmf
3
3 35
3
ff l.v.
3
ff
3 l.v.
God!
ff
God!
I don't
be lieve-
in your
3
God made ev
ery- one- beau
ti- ful.-
3 3
ff
colla voce
3
ff
5
ff
31
131
Cl.
B. D.
Chim.
Pno.
O.
A.
Vln.
Vc.
Cb.
ff
to bass clarinet
3
f
3
l.v.
f
3
5
stu pid- God!
3
I don't
be lieve-
in your stu
pid
-
3
ta rot- cards
and moon
fac es.-
33
f sub.
3
f
gliss.
5 3
f
32
133q = 120
B. Cl.
B. D.
Chim.
Pno.
O.
A.
Vln.
Vc.
Cb.
ff
fff
to Bb clarinet
fp
fff
fff
Nor do I!
I
be lieve-
in,
be lieve
- in no
fff
thing!-
3 3
f
con vib.
espress.
ff
3
fff
3
ff
fff
ff
fff
33
P a tempo q = 88136
Cl.
Brake
B. D.
Cb.
mf
5
f
yarn mallets
3
53 5
ff
solo
3
33 3 3
139
Cl.
Brake
B. D.
Vln.
Vc.
Cb.
blow air, no pitch
pp
3
mp
5
mf
3
5
5
mute strings, pitchless bowing
pp
mute strings, pitchless bowing
pp
3
sul tasto
mf
mute strings,pitchless bowing
ord.
5 3
34
142
Qmolto rit. Slower q = 60
Cl.
B. D.
Pno.
O.
A.
Vln.
Vc.
Cb.
3
ppp
soft beaters
p
legato
3
3
3
3
con pedale
How
p
can
I?
Ev
mp
ery- night,
I
Be
p
lieve
- in life,
Ok sa- na.
-
5
3
pp
35
146
Cl.
B. D.
Pno.
O.
Vln.
Vc.
Cb.
3
pp
3
pp
3
3
sneak in here
to watch
you
sleep.
So
p
I
can hear
my own heart
5
beat.
And
p
pre
3
3
3
3
36
150
Cl.
B. D.
Pno.
O.
Vln.
Vc.
Cb.
to chimes, brake drum
3
pp
3
tend
- I'm still
a live.-
But
pp
I
have
3
3
37
154 RCl.
Brake
Chim.
Pno.
O.
Vln.
Vc.
Cb.
brushes
ppp
ppp
pp
3
legato
33
pp legato
3
33
ppp
con pedale
al read
- y
-
3
died.
ppp
159
Brake
Chim.
Pno.
ppp
3
pp
3
3
3
3
3
33
3
3
3
pp
38
164
SBrake
Chim.
Pno.
Vln.
ppp
They try to speak but don't know what to say.
3
3
3
p
3
3
p
3
3
3
pp
senza vib.con sord.
pp
pp
167
Brake
Chim.
Pno.
Vln.
to marimba
3
3
3
3
mp
p
39
169
Cl.
Mar.
Pno.
Vln.
Vc.
Cb.
pp
p
medium-soft mallets
p
gliss. up
mp
3
3
mp
3
3
pp
p
pp
con sord.
p
40
172
Cl.
Mar.
Pno.
Vln.
Vc.
Cb.
mp
mp
mf
mf
3
3 3
mf
mf
3
33
mp
mp
mp
mp
con sord.
mp
41
T175
Cl.
Mar.
Pno.
Vln.
Vc.
Cb.
mf
3
f
mf
3
3
3
f
mf
3
3
3
poco vib.
mf
3
poco vib.
mf
3
poco vib.
mf
3
42
177
Cl.
Mar.
Pno.
Vln.
Vc.
Cb.
mf
f
ff
(do not change to harder mallets)
f
5
3
3 5
f
ff
f
5 3 3 5
(vib. each note separately)
mf
mf
(vib. each note separately)
mf
43
179
Cl.
Mar.
Pno.
Vln.
Vc.
Cb.
5 5
(vib. each note separately)
44
181
Cl.
Brake
Mar.
Pno.
A.
Vln.
Vc.
Cb.
f
fff
soft marimba mallets
mf
ff
fff
ff
fff
5 3 3 3 3
7 3
Ok
fff
-
f
fff
f
fff
f
fff
45
U184
Cl.
Brake
Pno.
O.
A.
Vln.
Vc.
Cb.
mp
ad libitum
f
mp
3
sa- na...
-
3
I
f
mp
senza sord.senza vib.
46
186
Cl.
Brake
Pno.
O.
A.
Vln.
Vc.
Cb.
3
mp
3
5 3
3
love that you
have fal
len- in love
with the moon.
I love
that you feel
3 3
3
3
senza sord.senza vib.
p
mp
47
188
Cl.
Brake
Pno.
O.
A.
Vln.
Vc.
Cb.
mp
p
mp
p
mf
3
mp
mf
pedale ad libitum
mf
3
Fa
mf
ther
I...
Fa ther...-
3
safe
mf
with me,
that I feel...
Oh, I know
this is wrong!
Do not call me Fa
ther.
-
33 3
p
mp
p
mf
3
p
mp
3
p
48
190
Cl.
Brake
Pno.
O.
A.
Vln.
Vc.
Cb.
3
f
mf
drum sticks
f
mp
3
3
A
f
les- san
- dro,-
A les- san
They move to embrace.
- dro,-
Look at me.
3 3
Ok
f
san
- a
-
3
I'm a fraid
-
I am
3 3
3
f
mp
3
3
f
3
senza sord.senza vib.
mp f
3
49
192
molto rit. Much slower q = 40
Cl.
Brake
Pno.
O.
A.
Vln.
Vc.
Cb.
3
ff
to bass clarinet
f
ff
3
f
3
ff
3
Look at me,
A
ff
les- san
- dro
-
3
A les- san
- dro,
- I
fff
love
you.
f
3
so a fraid
-
Ok
ff
sa
- na,
- I
fff
love
you.
f
3
3
ff
convib.
f
ff
convib.
f
3
ff
3
convib.
f
3
50
195
V Faster q = 54
B. Cl.
Brake
S. D.
Pno.
O.
A.
Vln.
Vc.
Cb.
fff solo
fff
snares off
sfffz
R.S.
fff
33
3
Konstantin entersabruptly.
fff
3 3
fff
3
3
fff
3
51
197
B. Cl.
Brake
S. D.
Pno.
O.
K.
Vln.
Vc.
Cb.
ff
ugly lowmultiphonic
fp
3
ff
3
ff
f
Kon
stagewhisper
stan- tin...-
5
Ok
ff
sa
- na!-
Ok
p
sa
na
-
3
G.
3
(con vib.)
ffpp
ff
(con vib.)
3
ff
(con vib.)
52
201
B. Cl.
S. D.
B. D.
Pno.
O.
K.
Vln.
Vc.
Cb.
blow air
p
superball slide
mp
hard beater
fff
3 3
fff
con pedale
ppsenza pedale
35
p
senza vib.
(con vib.)pizz.
pp
fff
senza vib.
pp
5 3 3
53