birmingham city university · 2017. 7. 24. · ! i! characters! (5singers,2actors)!!...
TRANSCRIPT
The Cry of the Double Bass:
A Chamber Opera
Vol. II
Full Score
SEBASTIANO DESSANAY
A thesis submitted in partial fulfilment
of the requirements of the Birmingham City University
for the degree of Doctor of Philosophy
October 2013
Birmingham Conservatoire
Birmingham City University
i
CHARACTERS (5 singers, 2 actors)
Soprano 1: BOY (Acts 1 & 3)
Soprano 2: TEACHER (Act 1), GIRLFRIEND (Act 2), LOVER (Act 3)
Mezzo-‐soprano: MOTHER (Acts 1, 2 & 3), LANDLADY (Act 3)
Baritone: PRIEST (Act 1), YOUNG MAN (Acts 2 & 3)
Bass: GRANDFATHER (Acts 1 & 2), PROFESSOR (Act 3), OLD MAN (Act 3)
Actor: FATHER (Acts 1, 2 & 3), DOCTOR (Acts 1 & 3), BOSS (Act 3)
Physical theatre actor: BIG C (Acts 1 & 3), WAITER (Act 2)
ENSEMBLE (17 players)
Flute (doubling Piccolo + Bass Flute)
Clarinet in Bb (doubling Bass Clarinet)
Horn
Tuba
Percussion (2 players)
Piano
1 violin
2 violas
3 cellos
4 double basses (1 with C extension)
THE SCORE IS IN C
Transposed instruments: Piccolo, Toy piano and Xylophone sound an octave higher than notated; Glockenspiel sounds two octaves higher than notated; Bass flute and double basses sound an octave lower than notated.
ii
PERCUSSION INSTRUMENTS
Player 1:
Suspended Cymbal Vibraphone (bow) 4 Temple Blocks Snare Drum Glockenspiel Wind Chimes 2 Wood Blocks Whip 3 Bongos 1 Conga Maracas Xylophone Bass Drum Party Blower Tambourine Marimba Tam-‐tam Rattle Hammer on wooden plate Guiro Triangle
Player 2:
Timpani 2 Wood Blocks Suspended Cymbal Glockenspiel 2 Bongos Bass Drum 4 Tom-‐toms Tubular Bells Xylophone Vibraphone (bow) Whip Shaker Jawbone Whistle Tam-‐tam Tambourine
Vibraphone, Glockenspiel, Xylophone, Bass Drum, Wood Blocks, Bongos, Whip, Tambourine and Tam-‐tam can be shared between players.
iii
CHANGING DISPOSITION OF SINGERS AND INSTRUMENTS
ACT 1:
The ensemble is on-‐stage. It only includes: flute, clarinet, horn, tuba, percussion (2 players), toy piano, violin, viola 1, cello 1, double bass 1.
At figure 79 soprano 2 and double bass 3 are off-‐stage.
At figure 134 soprano 2, mezzo-‐soprano, baritone and bass sing from off-‐stage
ACT 2:
The ensemble is off-‐stage. Only piano and toy piano are on-‐stage.
At figure 136 the following instruments are on-‐stage: flute, percussion 1, violin, viola 1. They leave the stage at figure 156.
At figure 190 the following instruments are on-‐stage: clarinet, percussion 1, double bass 1. They leave the stage at figure 198.
ACT 3:
The full ensemble is on-‐stage.
The double bass quartet at figure 223 is positioned centre-‐stage. They silently return to position with the ensemble during figure 248.
Double bass 1 is positioned centre-‐stage from figure 277 to figure 284. They return to position with the ensemble during figure 285.
Percussion player 1 leaves the stage in bar 669.
From figure 300 all the players gradually leave the stage as indicated in the score.
iv
PERFORMANCE NOTES
The toy piano is played in Acts 1 and 2 by MOTHER and BOY as indicated in the score.
In figures 15 and 246 the woodwind and brass players are required to remove the mouthpiece and blow into the instruments. They can interrupt the sound to breathe as needed.
In figures 235 and 236 the brass players are required to tap the bell of the instruments with a coin. The dynamics should be followed as precisely as possible.
In Episode 22 the first percussion player plays a hammer on a wooden plate. The quality of it can be rough, and it should be placed on a plain surface without been fastened to it and free to vibrate.
In Episode 22 the piano is prepared with a metal plate placed on the strings between Bb3 and G4. The glissandi inside the piano should be as continuous as possible without crossing the inner bar. The metal plate is removed when indicated on the score.
Double bass 3 is tuned without scordatura for the off-‐stage duet in figure 86
From figure 205 the double basses are tuned according to the following scordatura diagram:
All fermatas have an indeterminate duration unless notated.
v
Amplification
Amplification for the singers through wireless microphones should only be used if the venue acoustics require so, or if the stage dimensions do not allow enough distance between ensemble and singers.
Physical theatre actor (BIG C) should be amplified throughout with a wireless microphone, with some reverb on. The sound should be projected through a speaker, elevated on one side of the stage.
The toy piano should be amplified if the venue acoustics require so.
At figure 79 soprano 2 and double bass 3 off-‐stage should be lightly amplified.
The four double basses should be lightly amplified from figure 223 to 229, and from figure 242 to 245. The use of a moderate amount of reverb is advised.
Double bass 1 can be amplified for the whole Episode 28 if the venue acoustics require so.
vi
STAGING AND MOVEMENTS NOTES (By Mike Carter)
Each of the three acts of The Cry of the Double Bass tells the story of a phase in the protagonist’s development as a musician and composer. Within each act, the protagonist passes through key episodes, which are numbered and given titles. These function to present transparency of structure in the libretto and the score, yet, in performance, the action will be continuous, and these markings not apparent.
The action of the opera is set within the interior landscape of the protagonist’s mind, which calls for a specific theatrical language. The action is a series of memories; it is not realism, and any use of ‘set’ should reflect that. The text calls for an empty playing space (with the orchestra on stage in Acts 1 and 3), and this openness of staging enables fluidity of action, free from cumbersome scene changes, so that we move easily from episode to episode, with characters entering and exiting as though they are drifting in and out of a dream.
Whilst specific physical locations are indicated occasionally in the text, this is merely to communicate a sense of movement and transition. Physical locations, where the memories of the protagonist occur, are incidental; it is more important how they happen, rather than where they happen. Transitions in the text and in the music will naturally be supported by lighting and a minimal use of furniture and properties.
In an opera whose subject is a musician, it is inevitable that many directions will indicate the ‘playing’ of instruments: a toy piano and a double bass. In the case of the double bass, it is not being suggested that singers should actually play it, nor should they attempt to mime realistically. The opera calls for a consistent, stylised (abstract and/or expressionistic) approach to movement and it is recommended that the company works with a movement director to ‘choreograph’ all physical action, including the playing of the double bass.
vii
SYNOPSIS (By Mike Carter)
This contemporary opera tells the story of an unnamed artist, charting (in episodes) his journey from childhood to being an accomplished musician and composer. The work explores his changing relationship to music and the double bass, as he battles to fulfil his soul’s desire. Richly symbolic and told as a mythic ‘folk tale’, it blends comedy and pathos, as it grapples with challenges many artists will know only too well.
Act One: The first act portrays the protagonist’s childhood, focusing on the conflict between his musical dreams and the narrow expectations of his family and community.
A Boy is inspired by a mystical tune to make music of his own and he dreams about being a famous musician. But he is dogged by the fantastical Big C: a personification of the negative psychological forces that work against an artist’s self-‐belief and creativity. His Mother’s hysterical perception, that he is somehow not ‘normal’, is confirmed by other authority figures in his life: they believe his artistic tendencies should not be encouraged. The Boy has an ally in the shape of his Grandpa, a retired double bassist who encourages his musical ambitions. When his Grandpa dies, the boy accuses Big C of murder and swears revenge. Grandpa bequeaths the Boy his double bass, but he is too small to play it and his parents discourage him from taking music seriously. He tries to change their perceptions by giving them a concert of pieces he’s composed, but to no avail, and his passion is relegated to a hobby. Finally, Big C persuades the Boy to give up the struggle his musical dreams entail.
Act Two: This central act embodies the protagonist’s years as an undergraduate, focusing on the ‘seismic shift’ from the absence of music in his life to his decision to learn the double bass and study music.
Years have passed since Act One, and the Boy is now a Young Man. His parents throw a party for him, at which he announces he’s going to stay in his home town, live with his Girlfriend and study geology. In a series of escalating episodes, the Young Man struggles with his buried desire for music, in particular to play double bass. He tries to focus on his studies and be content with his Girlfriend, but the ‘call’ of the instrument is too strong and he begins to play it in secret. When his Girlfriend discovers this, she’s upset, and the Young Man vows to finish his relationship with the double bass. The couple celebrate their engagement with the Young Man’s parents, but the Young Man cannot suppress his musical desires and he suffers a breakdown. In a vision, his Grandpa sings an impassioned warning about the consequences of not following your soul’s desire. The Young Man announces his resolve to learn the double bass and study music at university, but his parents have sold his instrument, with the knowledge of his fiancée, to pay for the wedding. Furious, the Young Man breaks off the engagement and his parents practically disown him.
viii
Act Three: The final act presents the Young Man’s struggles as a music student, from his first double bass lessons to recognition as a musician and composer.
Supporting himself in his studies and trying to make up ‘lost ground’, the Young Man wrestles with various personal and musical challenges. Because he is in pursuit of his dream once again, Big C returns to undermine him and, when the Young Man is diagnosed with tendonitis, his life spirals out of control. He hits crisis point and threatens to quit his studies, but his Professor offers him some ‘time out’ in his cottage in the mountains. Alone in this place of beauty and peace and with no more ‘excuses’, the Young Man is forced to confront himself and Big C. The Young Man is ‘visited’ by the Boy, and together they seek out Big C’s cave. There they discover the truth of the foe they have been battling for years: he is an embodiment of their own fears. Empowered by this knowledge, the Young Man finds a new resolve and spiritual calm. He begins to compose and his tendonitis heals. When he returns to university, the Professor, who is impressed by his composition, gives him a double bass: he’d bought it at an auction some years ago and it is the very same instrument left to the boy by his Grandpa. The Young Man gives a concert of his work, and his parents witness his success. Proudly, they see their son off as he embarks on the next phase of his musical life. The Young Man is once again hounded by Big C but, as a result of his experiences, he is able to control him.
ix
CONTENTS PROLOGUE 1 ACT ONE 4 Scene One 1: The Call 4 2: Mother 18 3: Big C 25 4: Normal 27 Scene Two 5: Grandfather 60 6: Lesson 66 7: Climbing the Hill 69 8: The Double Bass 71 Scene Three 9: Requiem for Grandpa 79 10: Legacy 80 11: Condolences 91 12: Concert 92 13: Let Go Your Dreams 112 ACT TWO 113 Scene One 14: Geology 113 15: Little Flat 121 Scene Two 16: Seismic Activity 124 Scene Three 17: Restaurant 136 18: Grandfather’s Song 144 19: My Life Has Got To Change 148 ACT THREE 174 Scene One 20: Lesson No.2 174 21: Tendonitis 181 22: Out of Control 186 23: A Way Out 194 Scene Two 24: The Silent Struggle 202 25: The Cave 208 26: Composed 222 Scene Three 27: A Reunion 233 28: Concert No.2 236 29: And in the End 245 EPILOGUE 262
1
Full Score in C
Freely
MUSIC BYSebastiano Dessanay
© 2010-2013 Sebastiano Dessanay
Chamber opera in three actsTEXT BYMike Carter
PROLOGUE
The Cry of the Double Bass
BOY
Double Bass*
(Arbitrary durations)
The stage is set for a concert, although the performers have not yet arrived. A BOY enters and surveys the stage. He approaches the toy piano and strikes a few chords. He examines some sheet music. He goes to the conductor's stand, takes up the baton and swishes it around. He creeps over to the double bass and, fascinated, he plays with it.He explores its potential with growing confidence.
Laaa
shylyp
Laaa
with moreconfidence
mp
confident
Laaa!
mf
* The ensemble double bass
Played by BOY8 secs.
pizz.
p
l.v. 4 secs.
l.v.
mp
l.v.
mf
l.v. 2 secs.
mp
l.v.
l.v.
BOY
Db.*
Laaa
f
mf
l.v. short
mf
l.v.
f
l.v.
mp
tap on the topof the instrument
short
mf
very short
mf f
2BOY
BIG C
(Defiantly)
Nothing.
I
(To the audience)Relative pitch. Sing in any tonep
was on ly- play
ing
-
loud
A booming voice from off interrupts him and makes him jump...
I say, you – boy - on the stage!What on earth do you think you are doing?
I saw you. We all saw you.
BOY
BIG C
MUSICIANS enter and take up their instruments throughout...
(Nodding)
And you must be my audience.
Ladies and gentlemen –
There’s a performance about to begin.
What a precocious -
Cheek!
BOY
BIG C
Thank you for coming.
Oh, just – shush! We haven’t even started yet.
There is no reply. He is relieved
Sorry about that, ladies and gents.
Now find your parents and take your seat!
1
3Moderato
Moderato
q = 80
q = 80
Flute
Clarinet in Bb
Horn in F
Tuba
Percussion 1
Percussion 2
BOY
Violin
Viola 1
Violoncello 1
Double Bass 1
mp
mf
mp
mf
7
mp
mf
mp
mf
Timpani
mp
mf
mp
3 3 3 3 3
3 3 3
The BOY takes a tuning fork, taps it and holds it against the top of the double bass. He does this repeatedly on other instruments as they tune up.
on open strings
mf
3
mf
on open strings 3
on open strings
mf
3
mf
open string
2
7
Fl.
Cl.
Hn.
Tba.
Perc.2
Vln.
Vla.1
Vc.1
Db.1
f
mf
3 3 3 5
5
3 f
3 mf
f
3
5
5 5
5
f
mp
mf
f
mf
Timp. 3 3
mp
mf
To W.B.
3
3
f 3
3
33
10 attacca
rall.
rall.
Fl.
Cl.
Hn.
Tba.
Vln.
Vla.1
Vc.1
Db.1
mp
mf
f
5
5 3
mf
5
7
mp
3 mf
3
3
f
mp
mf
3 3 3
3
mp
mf
mp
3f
mp
mp
f
mp
3
4
13
ACT 1SCENE 1
Calmo
Calmo
q = 60
q = 60
1: The Call
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Vln.
Vla.1
Vc.1
Db.1
The BOY enters a scene of dull domesticity.His MOTHER and FATHER occupied with embroidery and the newspaper respectively. The BOY plays with toys at their feet. He becomes bored and restless.
airy, like a breeze
airy, like a breeze p
pp
Suspended Cymbal
with bow frog end
p
To Vib.
2 Wood Blocks
pppp
soft mallet
(change bow as needed)
p
gliss. gliss.
mp
gliss. gliss.
p
4
18
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Vln.
Vla.1
Vc.1
Db.1
p
pp
to pitched
p
to airy
pp
to pitched
p
to airy
airy, like a breeze p
airy, like a breeze p
Vibraphone
bowed
p
sim. l.r.
Susp.Cymb.
pp
W.B.
mp
sul pont.
mp
gliss. 3
gliss.
pp
sul pont.
p
to ord.
mp
sul tasto
pp
mp
pp
mp
sul pont.
p
mp
3
sul pont.
pp mp
pp
sul pont.
pp mp
pp
5 5 5 5 5 5
p
mp
235
Fl.
Cl.
Perc.1
Perc.2
Vln.
Vla.1
Vc.1
Db.1
p
to airy
p
to airy
sim.
Susp. Cymb.
p
Vib. bowed
p
l.v.
Susp.Cymb.
p
W.B.
p
mp
sul tasto
mp
ord.
mp
ord.
p
mp
p
mp
3
mp
3
5
55 5
55
p
mf
mf
5
27
Fl.
Cl.
Perc.2
Perc.2
Vln.
Vla.1
Vc.1
Db.1
p
mp
p
mp
Susp. Cymb.sim.
mp
Vib.
bowed
mp
l.v.
drop bow
W.B.
Susp. Cymb.
mf
soft mallet
p
p
p
mp
mf
p
p
mp
mp
3 3 3 3
3
p
sul pont.
mp
gliss. 3
gliss.
p
ord.
p
mp
mp
5 5 5
5
mpI II I
II I
mf
3 3 3 3 3 3 3 3
31
accel.
accel.
Fl.
Cl.
Perc.1
Perc.2
Vln.
Vla.1
Vc.1
Db.1
mf
mp
To Picc.
mf
mp
medium malletsVib.
mf
mp
motor on (slow)
ppp
W.B.
mf
p
mf
p
pp
p
sul pont.
mf
3 3
ord.
p
pp
mf
mp
p
pp
5
3 3 3 3
mfII I
p
pII
3 3 3 3
6
35
6q = 72
q = 72
Poco più mosso
Poco più mosso
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
Vln.
Vla.1
Vc.1
Db.1
Piccolo
ppp
p
mf
ff
ppp
pp
mf
ff
mp
3
Vib.
p
f
W.B.
p
p
mp
Susp. Cymb. l.v.
f
The BOY hears some arresting and enchanting tunes and looks round; his parents remain oblivious to it. He creeps away from them and goes over to the toy piano. He tries to copy the tunes and joins in with the orchestra, playing various toy instruments. He sneaks over to his MOTHER, removes a large knitting needle from her basket and conducts with it.
pp
ff
ff
ff
ff
7
39
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Vln.
Vla.1
Vc.1
Db.1
p
pp
mp
5
3
Vib.
pp
Susp. Cymb.
W.B.
p
ppp
p
pp
pp
ppIII
8
42
7
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
mp
mf
f
p
mp
mf
f
f
p
f
Vib.
p
f
mf
Susp. Cymb.
mp
Vib.
W.B.
mp
mf
Susp. Cymb.
mf
f
l.v. W.B.
Played by BOY
f
p
mf
f
p
mf
f
p
mf
f
p
mf
f
9
46
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
p
mp
f
pp
mp
f
mf
mp
f
pp
Vib.
p
f
mf
Susp. Cymb.
Vib.
W.B.
p
Glock.
f
f
pp
mp
p
ff
ppp
pp
mp
p
ff
pp
mp
p
ff
pp
mp
nat.
p
ff
10
49
8 molto rall.
molto rall.
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
p
mf
f
p mf
mp
mf
f
mp
mf
mf
f
p
mf
Vib.
p
mf
mf
f
Susp. Cymb.(take drum sticks)
pp
f
to Temple Blocks
Susp. Cymb.
p
mf
l.v. Glock.
f
f
mp
f
sub. pp
sul pont.
mf
mp
f
sub. pp
sul pont.
mf
mp
f
sub. pp
sul pont.
mf
mp
f
sub. pp
sul pont. mf
11
9 Vivace
Vivace
q = 120
q = 120
52
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Vln.
Vla.1
Vc.1
Db.1
To Fl.
p
mp
3
3
p
3 mp
4 Temple Blocks
mp
drum sticks 3
3 3 3 3 3 3 3 3 3
3
Shaker
p
ppp
sul pont.
p
ppp
pp
sul pont. p
pp
pp
sul pont.
pp
p
sul pont.
ppII
II
I
pp
12
55
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Vln.
Vla.1
Vc.1
Db.1
Flute
mp
f
mf
3 3
mp
mf
f
mf
p
f
p
f
T. Bl.
3 mf
f
mp
3 3 3 3 3 3 3 3 3 3
Shk.
f
Susp. Cymb.
f
Jawbonef
p
pp
ord.
p
mf
pp
sul pont.
p
p
ord.
mf
pp
sul pont.
p
ord.
mf
pp
sul pont.
p
p
mp
mf
sul pont.
pp
13
58
10
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
p
p
f
mf
mp
p
f
mf
p
f
p
f
mp
3 3
T. Bl.
mf
Susp. Cymb.
mp
on bell
T. Bl.
mf
3 3 3
3
3 3 3 3 3 3 3
mp
Shk. f
mf
Jaw.
mf
f
ord.
mp
f
pp
mp
gliss.
p
3
3
3 3
ord.
p
mf
f
pp
mp
gliss.
p
3
3
3 3
ord.
mp
f
pp
mp
gliss.
p
3
3 3
3
ord.
p
mf
f
pp
mp
gliss.
p
3
3
3 3
14
62
11
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
f
mp
slightly bending
mf
mf
rough
p
f
mf
3
f
p
mf
f
p
T. Bl.
3
Susp. Cymb.
on bell
p
f
mf f
Snare Drum
pp
T. Bl.
f
33 3 3 3 3 3
Shk.
f
Susp. Cymb.
f
Whistle
mf
2 Bongos
mf
sticks
f
3
f
3 gliss.
mp
f
gliss.sul pont.
pp
mf
ord.
3
f
3
3
3
33
f
3
gliss.
mp
f
gliss.
sul pont.
pp
ord.
mf
f
3
3
3 3
3
3 3
3
f 3 gliss.
mp
f
gliss.
sul pont.
pp
ord.
mf
3f
3 3 3 3
3
3
f
gliss.
mp
f
gliss.
sul pont.
pp
ord.
mf
3 f
33 3 3 3
3
15
67
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
MOTHER
FATHER
Vln.
Vla.1
Vc.1
Db.1
p subito
f
3
mf
f mf
f
3
3 3 3
p
f
3
mf
f
mf
f
3 3
mf
f
3
mf
f
3
p
S.D.f
3
T. Bl.
f
3
S.D.
mf
3
3 3 3
3 3 3 3
Susp. Cymb.
f
on bell
f
3
3
3
f
ord.
Bongos
3
MOTHER and FATHER hear the noise. They glance up at each other.
p
f
gliss.
mf
ff
f ff
3 3
p
f
gliss. mf
ff
f
ff
3 3 3
p
f
gliss.
mf
ff
f ff
3
3
p
f
gliss. mf
ff
ff
3
16
70
attacca
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
MOTHER
FATHER
Vln.
Vla.1
Vc.1
Db.1
mf
f
mp
f
p
mp
mf
3 3
mf
f
p
f
p
mp
3 mf
sfz sub. p
f
sfz sub. p
f
T. Bl.
f
3
Susp. Cymb.
p
on bell
f
S.D.
pp
ff3 3
3
Bongos
mf
f
Jaw.
f
MOTHER puts down her work, and watches her son anxiously.
mf
ff
mp
f
gliss.
p
mp
mf 3
3
ff
mf
ff
mp
f
gliss.
p
mp
f
3
ff
mf
ff
p
f
gliss.
p
mp
ff
mf
ff p
fgliss.
p
mp
17
12
2: Mother
Mosso
Mosso
q = 132
q = 132
75
Meno mosso
Meno mosso
q = 82
q = 82
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
MOTHER
Vln.
Vla.1
Vc.1
Db.1
ff
f
mp
ff
f
mp
p
mp
ff
p
mp
ff
p
ff
S. D.
mf
mp
mf
Glockenspiel
mf
Bongos
ff
mf
mf
3 3
I
mp
was
on
ly
- play
mfing
-
Annoyed
What
mf
on
3
earth
f
are
you
do ing-
ff
mf
f
mp
espressivo mf
ff
mf
f p
mp
mf
ff
mf
f p
mp
mf
ff
p
mp
mf
18
81
13q = 132
q = 132
Più mosso
Più mosso
Meno mosso
Meno mosso
q. = 76
q. = 76
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
MOTHER
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
f
mp
mf
mf
f
mp
mf
mf
mp
mf
mp
mf
Glock.
S.D.
p
mf
f
Bongos
f
mf
3 3
Lis
f
ten-
The BOY beginsto play
The BOY is confused.
MOTHER stops him.
I
mf
think
we all
had
e nough
-
don't you?
(any note cluster)
f
Played by BOY
f
f
f
f
f
f
f
19
86
rall.
rall.
14 A tempo
A tempo
q = 82
q = 82
Più mosso
Più mosso
q = 132
q = 132
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
MOTHER
Vln.
Vla.1
Vc.1
Db.1
mp
p
mf
mp
p
mf
mp
p
mf
mp
mf
Glock.
mf
S.D.
mf
Bongos
mf
3
3
3
Will
mp
you play
some
thing
-
MOTHER’s eyes are fixed on the piano.
Oh
mf
no
I'm too
mp
mp
f
mf
mp
mp
mf f
mp
p
f
mp
p
pizz.
f
arco
20
Meno mosso
Meno mosso
q = 60
q = 60
92
15 Ancora meno
Ancora meno
q = 50
q = 50
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
MOTHER
Vln.
Vla.1
Vc.1
Db.1
f
pp
f
take mouthpiece off
blow into barrelairy sound
mp
poco
mf
poco
mouthpiece on
f
mf
muted
pp
f
airy sound
p
mf
Glock.
f
Wind chimes
damp
Bongos
oh
please
fmum my-
please
mf
rus ty-
Hesitantly, MOTHER sits on the stool and plays.
f
mf
f
sul tasto
p
f
mf
sul pont.
pp
f
mf
sul tasto
p
f
mf
sul pont.
pp
21
16 Lento
Lento
q = 40
q = 40
96
accel.
accel.
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
Played by MOTHER
mp
ord.
ord.
ord.
ord.
100
rall.
rall.
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
as fast as possible(even with mistakes)
She stops abruptly. any note cluster
ff
mp
mf
f
mp
mf
f
mp
mf
f
mp
mf
f
22
17 A tempo
A tempo
q = 100
q = 100
accel.
accel.
103
Mosso
Mosso
q =132
q =132
Fl.
Cl.
Hn.
Tba.
Perc.1
BOY
MOTHER
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
mf
f
mp
f
mf
mp
p
nat.
p
mf
mp
p
Glock.
ff
Keep
f
going
mum my-
oh
mum
my
-
you're
good
3
any cluster
MOTHER bashes the toy piano keys
ff
mf
f
3
3
mp
f
3
3
p
f
mf
f
23
18 Moderato
Moderato
q =76
q =76
108
Fl.
Cl.
Hn.
Tba.
Perc.2
BOY
MOTHER
Vln.
Vla.1
Vc.1
Db.1
p
mp
mf
p
mp
mf
mp
p
muted
p
mp
p
p
mp
p
Timpani
pp
medium soft malletmp
damp
p
mf
The BOY is bewildered.
Playing has awakened some forgotten pain in her.
That's
mf
quite e nough
-
for one day
MOTHER returns to her embroidery.
33
p
sul pont.
pp
ord.
f
p
sul pont.
pp
ord.
f
p
sul pont.
pp
ord.
f
p
sul pont.
pp
ord.
f
24
19
3: Big C
Mosso*q = 150
113
Perc.2
BIG C
Vln.
ppp Timpani
(medium soft mallet)
pp
ppp
4
3
BIG C appears: a black dog standing upright in a suit and carrying a clipboard.
You're meddling with powers you don't understand
* non-conducted. The timpanist takes their own tempi. Conductor cues singers and violin's entrance and stop
mp
repeat as smoothly as possible, changing bow when needed
125
20 q = q 5
Perc.2
BOY
BIG C
Vln.
3
3
pp
mp
pp
mp
3
Spoken quietly
I was only playing
And what's the point in that?
131
Perc.2
BOY
BIG C
Vln.
mf
5
pp
3
3
mp
3 3 3
I don't know - it just feels all - tickly
Sudden and confident
Are you the Big Bad Wolf?
(Making a note.)
Tickly?! Tickly
25
5 q = q
137
21
Perc.2
BIG C
Vln.
5
mf
Ah, little boy, full of faddy enthusiasm, You have no idea where such fancies can lead.
Suddenly loud and angry
If you play that thing again,
144
22
Perc.2
BOY
BIG C
f
3
subito p
5 5 3
MOTHER approaches and watches the BOY appeal to the audience...
Lento ed espressivo, in any key
I was on
ly- play
ing
-
Very loud
be ready to wage war with me.
BIG C exits snarling
153
3 e = e
Perc.2
f
ff
4 3 3
26
23 Vivo
Vivo
q. = 88
q. = 88
4: Normal
158
Fl.
Cl.
Hn.
Tba.
Perc.1
Vln.
Vla.1
Vc.1
Db.1
f
mp
mf
mf
3
f
mp
3
33
3
3
f
mf
mp
mf
mp
3
3
f
mf
mp
mf
p
f
mf
p
mf
l.v.Susp. Cymb.
p
l.v. mp
l.v. 2 Wood Blocks
mf
f
f
f
f
f
f
164
Fl.
Cl.
Hn.
Tba.
Perc.1
Vln.
Vla.1
Vc.1
Db.1
mf
p
mf
tenuto
mf
f
mp
f
3
Susp. Cymb.
mp
l.v. on bell
mp
3 3
p
W. B mf
f
4 4
p
mf
mf
mf
mf
f
mf
f
3
mf
27
171
rall.
rall.
24Poco meno
Poco meno
q = 120
q = 120
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
MOTHER
Vln.
Vla.1
Vc.1
Db.1
f
mp
f`
Father
mp mf
5
f
mp
f`
mp mf
3
f
mp
f
f
mp
f
mp
Susp. Cymb. l.v.
fnorm.
Glock.
f
B. D. secco
mf
Who
mf
are
you talk
ing- to?
f
mp
f
mf
f
f
mf
f
mp
f
pizz.
mf
f
mp
f
pizz.
mf
28
176
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
MOTHER
Vln.
Vla.1
Vc.1
Db.1
3
p
f
mp
mp
3
3 5
mp
p
f
mp
mp
3 3 3
3
mp
f
Glock.
B. D.
ff
4 Tom-toms
(To MOTHER.)
Oh
mf
just my au
dience
-
Au
f
dience
as high as possible
-
oh God
Fa
(Screeches.)
ther-
get in
3
mp
f
mp
33
mp
f
mp
arco
mp
arco
mp
pizz.
f
arco
mp
29
25 Molto meno
Molto meno
q = 80
q = 80
181
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
MOTHER
FATHER
Vln.
Vla.1
Vc.1
Db.1
mf
mf
mp
33 3
mf
mf
mp
3 3 3
mf
3
3
mp
p
3
3
mf
mf
3 3mp
p
3
3
p
Susp. Cymb. l.v.
f
p
l.v.
W. B.
mf
4 Tom-toms 3 3
3 3
here!
FATHER enters.
mf
mp
mf
mp
mf
33 3
mf
mp
3 3 p
3
3
pp
mp
mf
3 3
pizz.
mf
arco
p
mp
p
3
3 3
3
30
26 Più lento
Più lento
185
27 Vivo
Vivo
q = 132
q = 132
28 Molto meno
Molto meno
q = 80
q = 80
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
MOTHER
FATHER
Vln.
Vla.1
Vc.1
Db.1
mp
mf
p
mf
mp
mf
p
mf
mp
tenuto
mf f
mp
tenuto mf f
Susp. Cymb.
p
l.v.
mf
on bell.
mp
norm.
mp
mf
l.v.
W. B. mp
B. D.
pp
pp
mp
pp
I
mf
just
caught your son
hav ing words
with a wall
f
What do you want?
Which
wall?
mf
f
mp
f
mp
mf
f
mp f
p
mp
mf
f
mp
f
p
mp
mf
f
mp
f
p
31
29q = 140
q = 140
Più vivo
Più vivo
194
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
MOTHER
FATHER
Vln.
Vla.1
Vc.1
Db.1
mf
3 f
mp
p
3 3
3
3
mf
3
mp
mp
mf
3
3
mp
mf
f
mp
mf
mp
mf
p
Susp. Cymb.
l.v. f
on bell
p
mf
norm.
p
W. B.
mf
mf
W. B.f
p
f
B. D.
pp
Does
mf
it mat
ter?
That
f
wall!
Well?
mp What
mf
will you do?
3
mp
mf
f
mp
mf
mf
3
mp
mf
f
mp
mf
3
mf
3 mp
mf
f
p
mp
mf
3 3
mf
mp
mf
f
pizz.
mp
arco
mf
32
30 Lentissimo
Lentissimo
203
31 Vivace
Vivace
q. = 92
q. = 92
Fl.
Cl.
Hn.
Tba.
Perc.2
S. *
MOTHER
FATHER
Bar. **
Bass ***
Vln.
Vla.1
Vc.1
Db.1
p
mf
mp
mf f`
p
mp
mp
mp
B. D.
p
Tubular Bells
* The second soprano sings during the choruses and will later play the TEACHER.
mp
It's not
MOTHER is exasperated
I'll
mp
take
him to
the priest
he'll know
what
to do
mpIt's not
I'll just put the kettle on
FATHER ruffles the BOY’s hair
It's not
** The baritone sings during the first chorus and will play the PRIEST after that.
mp
It's not
*** The bass singer remains unseen by the audience, he supports the choruses until he will appear to be the BOY's GRANDFATHER towards the end of the episode
mp
It's not
p
pizz.
mp
arco
mp
p
pizz.mp
arco
mp
p
pizz.
mp
f
arco
p
pizz.
p
arco
f
33
32
209
Fl.
Cl.
Hn.
Tba.
Perc.2
S. *
MOTHER
FATHER
Bar. **
Bass ***
Vln.
Vla.1
Vc.1
Db.1
sfz
mp
sfz
mp
mf
sfz
mf
mp
mf
mf
mp
mf
mp
mf
Tub.B.
f
nor
MOTHER drags the BOY to see the PRIEST.
mal- not
nor
mal-
it's just
not nor
mal- to talk
to a wall
much bet
ter- to
nor mal
- not
nor mal-
it's just
not nor
mal- to talk
to a wall
much bet
ter- to
nor
mal- not
nor
mal-
it's just
not nor
mal- to talk
to a wall
much bet
ter- to
nor mal
- not
nor mal-
it's just
not nor
mal- to talk
to a wall
much bet
ter- to
nor
mal- not
nor
mal-
it's just
not nor
mal- to talk
to a wall
much bet
ter- to
mf
mp
mf
p
p
mf mp
p
p
mf mp
p
34
214
rall.
rall.
33Vivo
Vivo
q = 132
q = 132
34Un poco meno
Un poco meno
q = 104
q = 104
Fl.
Cl.
Hn.
Tba.
Perc.2
S. *
MOTHER
FATHER
Bar. **
Bass ***
Vln.
Vla.1
Vc.1
Db.1
f
mp
f
The Priest
3 3 3
f
mp
f
3 3
f
mp
f
mp
f
mp
Tub.B.
(carries on ignoring the rall.) l.v.
talk
to no
one at all
f
talk
to no
one at all
f
Oh
f
fa
ther- help
us
talk
to no
one at all f
talk
to no
one at all
f
PRIEST
what
mp
is it
my child?
talk
to no
one at all
f
mf
f
p
f
mf
p
mp
3 3 3
mf
f
p
f
mf
p
mp
mf
f
p
f
mf
p
mp
mf
f
p
f
mf
p
mp
35
35 Vivo
Vivo
221
36q = 80
q = 80
Molto meno
Molto meno
Fl.
Cl.
Hn.
Tba.
MOTHER
PRIEST
Vln.
Vla.1
Vc.1
Db.1
mf
f
mp
mf
mf
f
mp
mf
pp
mf
p
mp
3
It's
mf
my
f
child
mp
he's
mp
tal
king- to peo
ple- that
don't e xist
f
-
Ah
mpso
is he
3
mf
f
mp
mf
p
mf
f
mp
mf
p
mf
f
mp
mf
p
mf
mf
p
36
227
37q = 138
q = 138
Più vivo
Più vivo
38 Molto meno
Molto meno
Fl.
Cl.
Hn.
Tba.
MOTHER
PRIEST
Vln.
Vla.1
Vc.1
Db.1
mf
f
mp
3
mf
f
mp
p
mf
Yes!
f Play ing!-
He
mf
thinks
he's on stage
and he likes
to
cre ate
-
pray
ing?
-
Well
mf
my
pp
mf
mp
pizz.
f
arco
mf
pp
mf
mp
pizz.
f
arco
mf
pp
mf
mp
f
mf
pp
mf
mp
pizz.
f
arco
mf
37
234
39
accel.
accel.
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
MOTHER
PRIEST
Vln.
Vla.1
Vc.1
Db.1
mp f
f
mp
mf
f
f
f
Whip
B. D.
pp
f
ff
3
So
mp
what are you say
ing-
he
mf
must think
he's like God
f 3 3
child
to cre ate
- is di vine
f -
The
f
con
33
f
mp
f
f
mp
f
f
pizz.
p
mf
arco
f
f pizz.
p
mf
arco
f
38
q = 140
q = 140
Molto vivace
Molto vivace
239
40
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
S. *
MOTHER
FATHER
PRIEST
Bass ***
Vln.
Vla.1
Vc.1
Db.1
ff
f
3
mf
f
3 3
3
ff
3
3
mf
sfz
f
3 3
mf
f
mf
sfz
f
3 3
f
3
3
mf
sfz
f
3 3
Susp. Cymb.
mp
l.v.
W. B.
f
B. D.
mf
3 3
It's
f
not nor
mal- not
nor
mal-
it's just
not
The con ceit!
-
3 The aw
ful
- con ceit!
-
It's
f
not nor
mal- not
nor
mal-
it's just
not
3 3 3 3
It's
f
not nor
mal- not
nor
mal-
it's just
not
ceit!
3
The aw
ful
- con ceit!
-
It's
f
not nor
mal- not
nor
mal-
it's just
not
3 3 3
It's
f
not nor
mal- not
nor
mal-
it's just
not
ff
3
3
sfz ff
sul pont.
mf
f
3 3
ff
sfz ff
sul pont.
mf
f
3 3
ff
3
3
sfz ff
sul pont.
mf
f
3 3
ff
sfz ff
sul pont.
mf
f
3 3
39
244
41 Largo
Largo
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
S. *
MOTHER
FATHER
PRIEST
Bass ***
Vln.
Vla.1
Vc.1
Db.1
f
f
W. B.
f
B. D.
p
nor mal- to want
to be God
much bet
ter- to want
to be no
thing- so odd
nor mal- to want
to be God
much bet
ter- to want
to be no
thing- so odd
nor mal- to want
to be God
much bet
ter- to want
to be no
thing- so odd
nor mal- to want
to be God
much bet
ter- to want
to be no
thing- so odd
nor mal- to want
to be God
much bet
ter- to want
to be no
thing- so odd
mf
f
mp
f
ord.
ff
mf
f
mp
f ord.
ff
mf
f
mp
f
ord.
ff
mf
f
mp
f
ord.
ff
40
42q. = 84
q. = 84
Più mosso
Più mosso
249
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
MOTHER
Vln.
Vla.1
Vc.1
Db.1
p
p
p
p
Susp. Cymb.on bell
mp
B. D.
Xylophone
MOTHER grabs the BOY and leads him to the TEACHER followed by the PRIEST.
I'll
mp
take
him to
his tea
cher
-
she'll know
what
to do
sfz sub.p
p
sfz sub.p
p
pp
sfz sub.p
p
sfz sub.p
p
pp
41
43Molto agitato
Molto agitato
q = 164
q = 164
258
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
TEACHER
Vln.
Vla.1
Vc.1
Db.1
The Teacher
staccattissimo
mf
f
mp
3
mf
f mp
mf
f
mp
mf
f
mp
3 Bongos (or 1 Conga + 2 Bongos)
mf
f
p
mf
Xylophone
f p
I
mf
set
a task
he goes
too far
he breaks
the rules
f
he
makes
his
3
mf
mp
mf
f mp
mf
f
mp
mf
f
mp
pizz.
mf
f
mp
42
262
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
TEACHER
Vln.
Vla.1
Vc.1
Db.1
mf
mp
mf
mf
p
mp
mf
mf
p
mf
Cong.+Bong.
mp
3
3
f
mf
3
3
Xyl.
mp
f
mf
own
mf
to the rest
of his peers
he's a pain
f
in the ears
mf
p
mp
p
mf
f
mf
p
mp
p
mf
p
mp
mp
mf
mf
mp
ord.pizz.
mf
f
43
267
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
TEACHER
Vln.
Vla.1
Vc.1
Db.1
mp
mf
f
3 3
mp
mf
f
p
mf
f
mf
f
mp
Cong.+Bong.
mf
ff
f
Xyl.
ff
he
mf
sings
out
weird
noi
ses-
and drums
on the desk
ff
3 3
mf
f
f
mf
f
f
mf
f
mf
f
44
271
44 Meno mosso
Meno mosso
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
MOTHER
PRIEST
Vln.
Vla.1
Vc.1
Db.1
mp
mf
mp
mf
mp
mf
mf
mp
p
mf
p
mp
p
Cong.+Bong.
Susp. Cymb.
mf
l.v. on bell.
mf
norm.
mp
Xyl.
That's
mf
just
the be ha
viour- we come
to ex pect
f
-
What's
mf
wrong
with the boy
don't
mp
spare
me
the
That's
mf
just
the be ha
viour- we come
to ex pect
f
-
f
pp
f
p
45
277
45 Molto agitato
Molto agitato
46 Meno mosso
Meno mosso
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
TEACHER
MOTHER
Vln.
Vla.1
Vc.1
Db.1
mp
pp
mf
staccattissimo
p
mf
pp
mf
p
3
pp
mf
p
Cong.+Bong.
mf
f
mf
Xyl.
Your
mf
son
I think
might
be
ar
tis- tic-
hor ror-
Au
mp
tis
- tic?
-
mf
p
mf
p
mf
p
mf
arco
p
46
47 Molto agitato
Molto agitato
282
molto rall.
molto rall.
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
TEACHER
MOTHER
Vln.
Vla.1
Vc.1
Db.1
mf
f
mf
mf
poco
p
mf
mf
f
f
poco
pp
mf
mf
f
mf
f
mf
f
mf
f
Cong.+Bong.
mf
f
3 mp
mf
p
3 f`
3
Xyl.
Ar
tis- tic-
ar
f
tist-
dread ful-
Oh
Hea
vens
-
we're
Oh
mf
that's e
ven- worse!
f
An ar
tist-
how
dread ful!-
Oh
Hea
vens
-
we're
mf
f
f
f
pp
mf
f
pp
mf
f
pp
pizz.
mf
arco
f
pp
47
Molto agitato
Molto agitato
288
48 Meno mosso
Meno mosso
q. = 90
q. = 90
49
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
TEACHER
MOTHER
Vln.
Vla.1
Vc.1
Db.1
ff
mp
sfz p
p
f
ff
mp
p
f
mp sub.
p
f
mp sub.
p
Susp. Cymb.
mf
ff
l.v.
3 3 5
Xyl.
ff
fff
B.D.
p
cursed!
ff
cursed!
ff
ff
mf
f
p
ff
mp
mf
f
p
ff
mp
mf
f
p
ff
p
48
295
50
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
TEACHER
MOTHER
FATHER
PRIEST
Bass ***
Vln.
Vla.1
Vc.1
Db.1
p
p
put mute
B.D.
It's
mp
not nor
mal- not
nor
mal-
it's just
not nor
mal- to make
noise and
We'll
mf
go
to the doc
tor-
he'll know
what to do
nor
mp
mal-
not
nor mal
-
nor
mal-
noise and
nor
mp
mal-
not
nor mal
-
nor
mal-
noise and
nor
mpmal-
not
nor mal
-
nor
mal-
noise and
It's
mp
not nor
mal- not
nor
mal-
it's just
not nor
mal- to make
noise and
pizz.
p
arco
mf
(change bow as needed) f
pizz.
p
arco
mp
f mp
pizz.
p
pizz.
p
arco
mp
49
302
molto rall.
molto rall.
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
TEACHER
MOTHER
FATHER
PRIEST
Bass ***
Vln.
Vla.1
Vc.1
Db.1
mf
p
5
mf
mf
Maracas
p
(one only)
Tom-t.
mp
3 3
fuss
much bet
ter- to make
him as do
cile- as us
f
MOTHER, dragging her son by his ear and followed by the PRIEST and the TEACHER, enters the office of the BOY’s FATHER, the DOCTOR
fuss
bet ter- to make
him as do
cile- as us
f
fuss
bet ter- to make
him as do
cile- as us
f
fuss
bet ter- to make
him as do
cile- as us
f
fuss
much bet
ter- to make
him as do
cile- as us
f
f mp
f
f
mp
f
pizz.
mp
arco
f
pizz.
mp
arco
mp
f
mp
50
51Lentissimo
Lentissimo
308
q = 120
q = 120
Andante
Andante
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
MOTHER
DOCTOR
Vln.
Vla.1
Vc.1
Db.1
The Doctor
pp
pp
S.D.
pp
mp
pp
mp pp
mp pp
mp
pp
Tom.t.
p
3
It's
p
a bout
- our son
his tea
cher- thinks
he
may be
an
pp
ar
whispered
tist
-
Why are you here, dear?
mp
sfz p
pizz.
p
arco
pp
sfz p
pizz.
p
arco
pp
pizz.
mppoco
arco sfz p
pizz.
p
arco
pp
5
p
sfz p
(change bow as needed)
pp
51
315
52 Più vivo
Più vivo
q = 132
q = 132
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
TEACHER
MOTHER
DOCTOR
PRIEST
Bass ***
Vln.
Vla.1
Vc.1
Db.1
p
Flute
mp
p
mp
muted
p
mf
p (muted)
f
mute
p
mf
p
(muted)
f
Susp. Cymb.
mf
mp
S. D.
pp
mf
Tom.t.
B. D.
mf
mp
mf
damp
p
An
p
ar
tist-
Ad
p
dic
- tion- and lone
li- ness-
An
p
ar
tist-
you
mf
know
what
that means?
An ar
tist?-
Perhaps it's just a phase he's going through
An
p
ar
tist-
Ad
p
dic
- tion- and lone
li- ness-
An
p
ar
tist-
Ad
p
dic
- tion- and lone
li- ness-
f
mp
f
mp
pp
f
mp
f
mf
mp
pp
f
mf
pp
(change bow as needed)
f
mf
pp
(change bow as needed)
52
322
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
TEACHER
MOTHER
DOCTOR
PRIEST
Bass ***
Vln.
Vla.1
Vc.1
Db.1
mute off
mute off
S.D.
pp
mf
pp
mf
mp
B.D.
squal
mp
lor- and pe
nu- ry-
mad
mf
ness- and sui
cide-
and he's pro
ba- bly-
But in my considered medical opinion
squal
mp
lor- and pe
nu- ry-
mad
mf
ness- and sui
cide-
I prescribe a course of piano lessons
and he's pro
ba- bly-
squal
mp
lor- and pe
nu- ry-
mad
mf
ness- and sui
cide-
and he's pro
ba- bly-
mp
pp subito
mf
p subito
f mp sub.
mp
pp subito
mf
p subito
f mp sub.
53
327
53
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
TEACHER
MOTHER
DOCTOR
PRIEST
Bass ***
Vln.
Vla.1
Vc.1
Db.1
Susp. Cymb.
f
l.v.
mf
W.B.
mf
f
To Timp.
gay
f it's
ff
not nor
mal- not
nor
mal-
it's just
not nor
mal- to want
to make art
much bet
ter- to not
want to
it's
ff
not nor
mal- not
nor
mal-
it's just
not nor
mal- to want
to make art
much bet
ter- to not
want to
it's
ff
not nor
mal- not
nor mal-
it's just
not nor
mal- to want
to make art
much bet
ter- to not
want to
gay
f it's
ff
not nor
mal- not
nor
mal-
it's just
not nor
mal- to want
to make art
much bet
ter- to not
want to
gay
f it's
ff
not nor
mal- not
nor
mal-
it's just
not nor
mal- to want
to make art
much bet
ter- to not
want to
f
f
ff
f
ff
f
f
f
ff
f
ff
f
f
f
ff
f
ff
f
f
f
ff
f
ff
f
54
Maestoso
Maestoso
q . = 72
q . = 72
333
54
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
TEACHER
MOTHER
DOCTOR
PRIEST
Bass ***
Vln.
Vla.1
Vc.1
Db.1
mp
mf
mp
Susp. Cymb.
p
l.v.
f
Timp.
mp
fol low your heart
ff
During the following, GRANDFATHER collects the BOY and removes him from the scene and they sit together to watch its climax.
Rest
mp
as sured-
that
the e
du- ca-
tion- sys
mf
tem-
is
mp
de signed
- to de
-
fol low your heart
ff
I
mf
see
the fi
re- in
your eyes
my son
and
it chills
f me
I
don't
fol low your heart
ff
mf
It won't hurt to have something to keep you occupied
fol low your heart
ff
And
mp
the Lord
say eth
Thou shalt be
nor mal- and me
mf
di- o- cre
- and it's hu
bris- to
fol low your heart
ff
GRANDFATHER
I
mf
see
the fi
re- in
your eyes
my lad
and
it thrills
f
me
I
don't
p
ff
mp
p
ff
mp
mf
p
ff
mp
mf
p
ff
55
337
55
55
Fl.
Perc.2
TEACHER
MOTHER
DOCTOR
PRIEST
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
mf
mp
Timp.
ve
- lop
an
a cute
- fear
of fai
mf
lure-
and
mp
e ra
- di- cate- all
tra ces-
want
you
to suf
fer like
I did
mp
when
mfyou learn
when
you
just as long as you keep the noise down, old son But don't get too big for your boots
tempt him
mp by dream
ing- of
gran deur
mf -
and
mp
thou
shalt be damned
want
you
to give
up like
I did
mp
and when
you learn
in
your
mf
mp
mf
mp
mp
mf
mp
mp
56
341
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
TEACHER
MOTHER
DOCTOR
PRIEST
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
mf
mp
mp
norm.
mp
norm.
mf
Xyl.
mf
Timp.
of o ri
- gi- nal- thought
and
cre
mf
a- ti
- vi- ty-
we're
f
on ly
- in tere- sted- in
a
learn
in
your heart
f that
your dreams
won't
come
Do what you're told and try not to worry your mother
on
the face
of the earth
mf
if
f
you a
spi- re
-
to be some
thing
-
heart
in
your heart
f
that
your dreams
that
your
f
mf
mp
mf
mp
f
57
344
56
56
Più mosso
Più mosso
q = 132
q = 132
molto rall.
molto rall.
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
TEACHER
MOTHER
DOCTOR
PRIEST
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
mf
f
sfz
sfz
sfz
f
sfz
sfz
rough
ff
f
sfz
sfz
ff
f
sfz
sfz
ff
mf
Susp. Cymb. l.v.
f
Xyl.
Timp.
f
small part
of one side
of the brain
ff nor
mf
mal!-
nor
f
mal!-
nor
ffmal!
-
true
won't
come true
ff
oh
f
my boy
oh my
ff
boy
oh
fff
my boy
4 4 4
nor
mf
mal!-
nor
f
mal!-
nor
ff
mal!
-
much more
then you're
worth
ff nor
mf
mal!-
nor
f
mal!-
nor
ffmal!
-
dreams
will
come true
ff
nor
mf
mal!-
nor
f
mal!-
nor
ffmal!
-
ff
sfz mf
sfz f
ff
mf
ff
sfz mf
sfz f
ff
mf
ff
sfz mf
sfz f
ff
ff
sfz mf
sfz f
ff
58
349
57q = 72
q = 72
Lontano
Lontano
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
TEACHER
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
mf
ff
pp
p
pp
flz.
3 3
subito p
ff pp
p
pp
p
flz.
p
ff
p
ff
Glock.
f
Timp.
p
f
Tam-tam
p
mp
G.FATHER wipes a tear from his eye and the BOY applauds enthusiastically.
p
ff pp
sul tasto 3 3 3 3 3 3 3 3 3 3 3 3
p
ff
sul pont.
pp
p
ff
p
ff
59
58 Con moto
Con moto
q =112
q =112
355
SCENE 2
5: Grandfather
Perc.1
BOY
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
mf
Glock.
Grand
mppa
-
why
are they sing
ing
-
in stead- of talk
ing?
-
That's
mf
o
pe- ra
- my
p
p
mf
mp
p
mf
mp
p
mf
mp
p
mf
mp
361
59
Perc.1
BOY
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
Susp. Cymb.
mf
Glock.
mf
Mum
mf
says
I'm
spe cial-
lad
Puc
f
ci
- ni
-
some
mf
thing- of
a spe
cial- case
f
Lots
mf
of pa
rents
-
mf
f
p
mp
mf
f
p
mp
mf
f
p
mp
mf
f
p
mp
60
368
Perc.1
BOY
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
Susp. Cymb.
mf
Glock.
f
But
tell
their child
ren
-
they're
spe
cial
-
but
mp
they
don't
mean
it
not in
that way
mf
pp
mf
mf
pp
mf
mf
pp
mf
mf
pp
mf
mf
60376
Perc.1
BOY
Vln.
Vla.1
Vc.1
Db.1
Glock.
grand
fpa
-
I
think
I
real
ly
- am
spe cial-
like
mf
Puc ci
ni
-
I
think
I'm
f
mp
p
f
mp
p
f
mp
p
f
mp
p
61
38361
Perc.1
Perc.2
BOY
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
f
Glock.
Susp. Cymb.
p
mp
B. D. p
mp
meant
to
do
great
things
ff
And
I
mf don't
doubt
it
an
in
stant
- my lad
f
mp
f
mp
f
mp
f
mp
390
Tba.
Perc.1
Perc.2
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
mf
Susp. Cymb.
mp
p
mf
p
B. D.
p
mf
p
f
but
mp if that's
the case
mf then
now
fis
when
hard
graft
be
3
gins
-
p
mf
f
subito p
p
mf
f
subito p
p
mf
f
subito p
p
mf
f
subito p
62
397
62 Lento
Lento
q = 50
q = 50
Fl.
Cl.
Hn.
Tba.
Perc.1
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
p
p
mp
p
p
p
Susp. Cymb.soft mallet
GRANDFATHER imparts the following while leading the BOY to his piano lesson
Be
mp
ware
Molto espressivo
- the lies of words
and mind
for lies
are al ways- told
with words
401
Fl.
Cl.
Hn.
Tba.
Perc.1
G.FATHER
mp
p
mf
mp p
mf
p
mp mf
mp
p
mp
mf
mp
mp
Susp. Cymb.
mf
mp
your mind can lie
mf
to
mp
you
(ou) (ou)
the worst
for it can
on ly- think
in words
mf
there's just
one voice
63
404
63
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
G.FATHER
Vln.
Vla.1
mp
p
pp
p
mp
p
pp
p
3
p
mp
p
p
mp
p
Susp. Cymb.
pp
mp
mp
B. D.
soft malletVib.
ppp
you
mp
need
to hear
need
p
to hear
in
mp
peace
ful- still ness- stop
your thoughts
your own
soul speaks
and it's
3
3
pp
pp
409
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
G.FATHER
Vln.
Vla.1
mp
mf
p
3
mf
p
mp
mf
p
3
mp
mf
p
3
p
B. D. mf
mf
Susp. Cymb.
p
B. D. mp
Susp. Cymb.
p
B. D.
Vib.
p
mp
mf
mp
p
al
mf
ways clear
lea ding
- you
through
fee
f ling
-
it's
mp
like mu
sic-
learn
p
to lis
ten-
3 3
mf
f
mf
mp
p
mf
f
mf
mp
p
64
64
414
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
mp
mf
p
pp
ppp
mf
p
pp
ppp
mf
pp
pp
B. D.
mf
Susp. Cymb.
mf
p
p
B. D.Susp. Cymb.
pp
mf
Vib.
pp
ppp
pppp
learn
f
to lis
ten- and fol
low- that voice
that
p
voice
right
pp
to
the end
of the world
my lad
mf
p
pp
ppp
mf
p
pp
ppp
mf
p
mf
p
65
65q = 64
q = 64
Lento
Lento
419
6: Lesson
Perc.2
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
The BOY plays the toy piano and makes progress, but he struggles to keep up his enthusiasm. The TEACHER (the pianist in the orchestra) cuffs him occasionally.
Whip
mf
p
mf
p
mf
mute
pp
f
pp
f
mute
�f
pp
f
mute
ppp
mute
p
66
426
675 e = e
5 e = e
Più mosso
Più mosso
Perc.2
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
Whip
mp
mf
mp
mf
p
5 5 5
5 5 5
pp
f
p
f
nat.
p
pp
mf
mp
f
nat.
p
pp
p
f
nat.
p
f
nat.
p
66
435
Picc.
Perc.2
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
Piccolo
p
to Timpani
mp
mp
mp
mp
mp
439
68
Picc.
Perc.2
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
mp
mf
Timpani
mp
mf
mf
mf
mf
67
443
poco accel.
poco accel.
Picc.
Perc.2
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
f
mf
3
f
mf
446
Picc.
Perc.2
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
ff
Finally the TEACHER dismisses the BOY, who hurriedly gathers his music and leaves the lesson dejected.
To Fl.
f
ff
f
ff
f
ff
f
ff
f
ff
68
69
450
7: Climbing the hill
Perc.2
BIG C
Vla.1
* BIG C enters and hounds the BOY on his journey home.
pp
Timp.
gliss.
pp
3 gliss. pp
gliss. mf pp
gliss.
You know you'll never be any good - just like your mother
You heard that girl who has lessons before you?
You know she's a milliontimes better than you
* non-conducted. The timpanist takes their own tempi. Conductor cues singers and viola's entrance and stop
mp
repeat as smooth as possible
456
Perc.2
BIG C
Vla.1
mf
3 pp
gliss. gliss.
mf
3 3
And those bullies who used to be your friends?
They'll make darts from your musicwhen you trudge up that hill
And when you get back there'll be no soothing hug just
"you're late for tea. Have you got any homework?"
461
70
Perc.2
BOY
Vla.1
mf
sub. p
mf
f7 6 5 3
You're wrong! There is someone who knows me and cares!
Loud and passionate
69
465
71
Perc.2
BIG C
Vla.1
mp
Timp.
mf
3 mp
3
3 3 3
(Musing)
Yes, too true
470
Perc.2
BIG C
Vla.1
mf
mp
mf
mp
gliss. 3
3 3
3
3
That grandpa of yours is a problem He's one that slipped my grasp
474
attacca
rit.
rit.
Perc.2
BIG C
Vla.1
p
3
3
pp
The BOY glares at BIG C, who makes a note on his clipboard and withdraws.
I must think of a way to deal with him
p
70
72 Moderato
Moderato
q = 92
q = 92
479
8: The Double Bass
G.FATHER
Vln.
Vla.1
Downcast, the BOY enters ‘GRANDFATHER’s home’. GRANDFATHER gestures to the piano.
Now
mf
no thing- would give
me more plea
f
sure-
mp
mf
mp
mf
mp
mf
mp
mf
486
73
Perc.1
BOY
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
Glock.
mf
I'll
mf
play
if
you do
your
than
fto hear
my
grand
son- play
f
mf
mp
f
mf
mp
mf
mp
mfII
mp
IV
71
492
74 Lento
Lento
molto accel.
molto accel.
75 Molto ritmico
Molto ritmico
q. = 80
q. = 80
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
mf
mf
mf
mf
Glock.
Timp.
ppp
mp
bass
I
mp
mean
G.FATHER laughs and lifts his double bass. He sings with a warm irony
Ha
p
ha- ha- ha
- ha- ha- ha
- ha- ha- ha
- ha- ha- look
f
at
this
mf
mp
p
f
mf
mp
p
f
mf
pizz.
f
mf
pp
f
pizz.
f
72
498
Fl.
Cl.
Hn.
Tba.
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
mf
f
mf
f
mf
f
mf
f
f
mf
f
f
f
old
beast
use
less- piece
of junk!
ff
She
f
sounds
just
as
ug ly-
as
she
f
mf
f
f
mf
f
arco
arco
50476 Vivace
Vivace
q = 132
q = 132
Cl.
G.FATHER
Vln.
Vla.1
Db.1
ff
looks
it
mpsottovoce
was
like
fal
ling
- in love
when you
have
pp
mf
pp
mf
pp
pp
mf
pp
mf
pp
mp
staccato
73
50977
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
had
too
3
much wine
then
wa
king
- up
next
to a mo
mf ose
-
[ah]
with laughter
[ah] at
first
mf
p
mf
mp
mf
f
mf
p
mf
mp
mf
f
mp
staccato
f
mp
f
515
Fl.
Cl.
Hn.
Tba.
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
f
f
f
f
ff
[ah]
[ah] [ah]
I
thought
f she
was
deep
ff
and
pro found
-
but
mf
she just
trots
out
the
ff
mp
ff
ff
gliss.
mp
ff
gliss. mp
74
522
rall.
rall.
78q = 120
q = 120
Meno
Meno
Fl.
Cl.
Hn.
Tba.
Perc.1
BOY
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
f
f
f
f
Glock.
mf
But
mf
if
you don't
same old
bo
ring- lines
like
mp
a [cra]
[cra]
[cra]
[cra]
cracked
mfre
p
cord-
p
mf
3
3
mp
p
mp
mf
p
mp
mf
p
mf
75
528
rit.
rit.
79 Lento
Lento
molto accel.
molto accel.
Perc.1
BOY
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
Glock.
like
the
mu
sic
- you
play
you can
al ways- make
some thing- up
[Ha]
p
[ha] [ha]
[ha] [ha]
[ha]
3
3
3
3
3
3
3
sfz p sub.
pp
535
80 Vivace
Vivace
q = 132
q = 132
Fl.
Cl.
Hn.
Tba.
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
mf
mf
mf
f
mf
mf
sim.
- - - ha
f
com pose
-
for a
crate
like
this
no one
com po
- ses
-
mf
f
pizz.
arco
f
mp
mf
f
pizz. arco
mf
mp
pizz.
f
arco
f
pizz.
f
arco
f
76
543
81 Meno
Meno
q = 80
q = 80
Perc.1
BOY
G.FATHER
Vln.
Vla.1
Vc.1
Db.1
Glock.
mf
3
33 3
well
mf
I've
3
for
the dou
ble
- bass
ff
f
mp
f
mp
3
3
f
mp
f
546
Perc.1
BOY
Vln.
Vla.1
Vc.1
Db.1
Glock.
3 3 3 3 3 3
writ ten- a piece
for you
and me
to play
3 3 3 3
3 3
mf
p
3
3
mf
p
mf
3 3 p
mp
mf
p
3 3 3 3
77
82q = 56
q = 56
Lento
Lento
550
83
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
The BOY hands his GRANDFATHER a manuscript. GRANDFATHER takes itand reads with a tear in his eye. He takes up his bow. They play together.
Played by BOY
mp
molto legato
mf
mp
p
sul tasto pp
sul tasto p
ord. mf
p
pp
mp
molto espressivo mf
55884
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
mp
GRANDFATHER ‘dies’. He props his instrument on a stand and kisses the BOY tenderly. He exits the stage.
p
molto espressivo
mp
pp
pp
mp
566
85
T. Pno.
Vln.
Vla.1
Vc.1
The BOY grieves at GRANDFATHER's absence.
mp
pp
mp
fade until off-stageDuet entrance
p
mp
pp
mp
p
mp
pp
mp
78
86
9: Requiem for Grandpa
Graveq = 52
574
SCENE 3
S. *
Db.3
Lux
OFF-STAGE DUET
The following duet is played off-stage by the second soprano and the second double bassist.Both should be amplified, with a light reverb on.
p
* Sung by the soprano who played the teacher
ae
MOTHER and FATHER enter and console the BOY. MOTHER weeps. During the following, MOTHER dresses the BOY in black tie and armband, and combs his hair. The PRIEST leads a procession with a double bass case carried like a coffin. MOTHER, FATHER and BOY join the procession which ends with a graveside tableau. Towards the end of this piece the mourners disperse and the family goes ‘home’.
ter
- na
- lu
ce
- at
-
eis
Do
mi
- ne
-
mp
579
S. *
Db.3
cum
san
ctis
-
mis
in
ae
ter
- num
-
qui
a
-
584
87
S. *
Db.3
pi
us
- es
Re
qui
- em
- ae
ter
- nam
- do
na
- eis
do
mi
- -
591
S. *
Db.3
ne
- et
lux
per
pe
- tua
lu
ce
- at
- eis
cum
sanc
tis
- tu
is
-
in
ae
-
598
S. *
Db.3
ter
num
- - qui
a
- -
pi
us
- es.
79
88q = 50
q = 50
Lento
Lento
603
10: Legacy
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Vln.
Vla.1
Vc.1
Db.1
FATHER sits with his newspaper, MOTHER takes up her embroideryand the BOY sits at their feet bereft.
p
3
p
3
3
pp
sostenuto
sim.
pp
sostenuto
sim.
mp
sostenutoMarimba
ppp
Timp.
pp
sul tasto
80
608
89
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
Vln.
Vla.1
Vc.1
Db.1
mp
3
pp
mp
3
pp
3
pp
pp
Mba.
Timp.
The BOY goes over to GRANDFATHER's double bass, propped up on the stand, and sings to it...
I
mp
do
what you
said
and
lis
ten
-
ppp�
sul tasto without vibrato
pp
ord. poco vibrato
ord.
pp
81
61590
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
Vln.
Vla.1
Vc.1
Db.1
mp
tenuto
mf
mp
tenuto
mf
mp
pp
pp
mp
pp
pp
Mba.
mp
mf
pp
Timp.
mp
B. D.
mf
Timp.
ppp
lis
ten
-
for that still
small
voice
3 that speaks
through
my soul
mf
but
mp
it's
so hard
to hear
it
now
p
3
mf
espressivo
sul tasto without vibrato
pp
mp
pp
82
91
622
92 Poco più mosso
Poco più mosso
q = 64
q = 64
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
Vln.
Vla.1
Vc.1
Db.1
p
3 3 mp
p
3
p
p
3 3
ppp
Mba.
p
3
3 3
3 3
ppp
Timp.
mp
secco
I
mp
don't think
you're
ug
- ly
at
all
I'll write
3
p
pizz.with thumb
pizz. ord. f
arco without vibrato
p
espressivo
pizz.
p
f
pp
sul pont.
pp
sul pont.
ord.
mp
83
628
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
Vln.
Vla.1
Vc.1
Db.1
p
mp
mp
3
mf
3 p
mp
p
mp
p
3
mp
3 3 3 3 mp
3 3 3 3 3 3
Mba.
3
3 3
3 3
3 3
3 3
3 3
Timp.
mf
mu sic
-
3
just
mf
for you
and
mp
if
no thing- else
of you
and me
can live
mf
at
least
I'll
have said
it
mp
it's the
3
mf
mp
without vibrato
mf
84
634
93 Tempo I
Tempo I
accel.
accel.
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
FATHER
Vln.
Vla.1
Vc.1
Db.1
pp
pp
p
3
pp
pp
p
pp
mp
3
3
pp
mp
3
3
Mba.
3
3 3
mp
3
mf
3
Timp.
pp
mp
mf
gift
I give
p
FATHER joins the BOY
It’ll soon be time to go, old son.
pp
mp
arco
pp
mp
3
3
mp
3 3
pp
mp
85
94 Più mosso
Più mosso
q = 80
q = 80
640
95 Più lento
Più lento
q = 64
q = 64
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
FATHER
Vln.
Vla.1
Vc.1
Db.1
mp
5
mp
f
pp
mp
f
pp
mp
3
Mba.
pp
mp
3
Timp.
pp
mp
Why
mf
did he leave
it
to me
if I'm
too small
to play
it?
It's worth a great deal I believe
f
3 3 3 3 33
3 3 3 3 3 3 3 3
f
3 3 3 3 3 3 3 3 3 3 3 3 3 3
f
f
mp
86
645
96 Più mosso
Più mosso
q = 84
q = 84
97
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
FATHER
Vln.
Vla.1
Vc.1
Db.1
mf
mp
3 mf
mf
mp
mf
3
5
mf
p
mp
mf
p
mp
Mba.
3
mf
p
mp
3
Timp.
mf
p
mp
no
f I can play
this
3 when I'm big
e nough
-
It
mf3 3
We could sell it and put the money towards your education.
Music won't make you a living
Louder
unless you're really good
mp
f
f
3 3 3 3 3 3
3 3 3
mp
f
mf
3 3 3 3 3 3 3 3 3
f
f
mp
87
98
651
99 Più lento
Più lento
q = 64
q = 64
accel.
accel.
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
FATHER
Vln.
Vla.1
Vc.1
Db.1
mf
f
6
mf
f
3
mp
mf
mp
mf
3 3 3
mf
Mba.
mf
f
3
3
3
3
mf
Timp.
mf
f
made
grand pa
- a liv
ing-
and I'm real
ly- good
f 3
Shouted
You need to grow up and get real! Music is just a froth and childish non-sense
3 3 3 3 3 3 3 3 3
f
3 3 33
33 3
33
f
f
f
88
100 Più mosso
Più mosso
q = 84
q = 84
657
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
FATHER
Vln.
Vla.1
Vc.1
Db.1
p
Mba.
ff
p
Timp.
ff
p
I
mp
fill
your house
with
mu
sic
-
that
wa
shes
- o
ver- you
like
o
ver
- a
3
stone
mf
FATHER exits
f
mp
mf
f
mp
3
mf
3
f
3
3
mp
3
3
mf
ff
mp
mf
89
665
101
Hn.
BOY
Vln.
Vla.1
Vc.1
Db.1
mf
f
mp
mf
f
mp
you gave
me life
but
you
don't
3
hear
fme
and
mf
you
don't know
my soul
at
all
f if
I
could write
f
mf
f
3
3
f
3
mf
3
f
3 3
f
f
3 3 3
f
mf
f
672
Più lento
Più lento
Hn.
Tba.
Perc.2
BOY
Vln.
Vla.1
Vc.1
Db.1
mf
ff
mp
p
mp
p
Timp.
p
pp
very long
ff
mu
sic
-
that
would
pierce
your
heart
ff you
mp
might
be lieve
-
in
p
my
dreams
ff
mp
p
ff
mp
p
ff
mp
p
3 ff
mp
p
90
102q = 120
681
h. = 80
11: Condolences
Perc.2
BOY
BIG C
Vc.1
sfz fff
Timp.
* BIG C enters.. BOY confronts him angrily.
mf
mp
4
4
4
5
Very loud and angry
I know your name now! You're Big C! You killed my grandpa, you murderer!
I have no power over life and death - It’s your souls on this earth that I’m interested in.
(Shaking his head.)
* non-conducted. The timpanist takes their own tempi. Conductor cues singers and violoncello's entrance and stop.mf
repeat as smooth as possible
103
691
Perc.2
BOY
BIG C
Vc.1
sfz fff
mp
f
4
5 5
Liar! I heard a woman whisper - “It was Big C killed him,” she said.
And when I grow up, I’ll come to your cave, high up in the mountains – and finish you off!
Rushed
(Making a note.)
Ah, I see.
Big C
q = 80701
104
h. = 80
Perc.2
BOY
BIG C
Vc.1
mp
f
4 4 4 5
Louder
I won’t. I won’t. I’m going to fight you more than ever.
Oh, I don’t think we’ll be bothering each other much longer: without your grandpa on your side, you’ll be easy to beat.
708rall.
rall.
Perc.2
BOY
Vc.1
pp
mf
5
Very confident
And one day I’ll be a great musician!
BIG C exits, laughing as the BOY removes his armband and reties his tie into a bow. He takes upthe knitting needle and he conducts the orchestra.
91
105
715
Maestoso
12: The Concert
q = 92
Fl.
Cl.
Hn.
Tba.
Perc.1
FANFARE
f
staccattissimo 3
3 3 3 3 3
3
3 3 3 3 3
f
staccattissimo 3
3 3 3 3 3
3
3 3 3 33
f
staccattissimo
3 3 3 3 3 3 3 3 3 3 3 3
f
staccattissimo 3
3 3 3 3 3
3
3 3 33 3
sfz
S. D.
ff mp
f
p sfz ff
mp
mp
720
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
3 3 3 3 3 3 3 3
mp
mf
33 3 3 3 3 3 3
3 33 3
3 3
3 3 3 3 3 3 3 3
3 3
3 3 3
3
mf
S. D.
f
mp
3 3 3
Tambourine
p
mf
3
92
724
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
mf
f
mf
3 3
3 33 3
f
mf
f
mf
mp
mf
3
3
3 3 3 3
3 3
mf f
mp mf
3
3
3 3
mf f
mf f
3 3 3 3
S.D.
p
f
Tamb.
mf
3 f
mp
3 3 3 3 3
727
106
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
Vln.
Vla.1
Vc.1
f
3
f
mp
f
3
f
mp
f
3
f
mf
mp
f
3
f
S.D.
3
f
Tamb. mp
mp
3
The BOY grabs his parents and pulls them on stage
This
mf
even
ing- con
cert-
3 will be gin
- ve ry- soon
3 3 3
mp
mf
3
3
3
mp
mf
3
f
3 3
mp
mf
3 3
93
733
q = q.
q = q.
rall.
rall.
rit.
rit.
Fl.
Cl.
Hn.
Tba.
Perc.1
BOY
Vln.
Vla.1
Vc.1
Db.1
f
mp
3 3 3
f
mp
3 3 3
f
mp
3 3 3
f
mp
S.D.
f
mp
3 3 3 4
la dy-
and gent
will you please
take your seats
3 3
f mf
3
3 3 3
mf
3
3
3 3
f
mf
3
3
f
mp
94
107 Vivace
Vivace
e = 150
e = 150
738
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
MOTHER
Vc.1
Db.1
mf
mf
mf
2 Bongos
sticks
mf
3 3 3
3
3
Xyl.
f
f
a
f
con
cert-
how grand
in our
ownfront
room
I'm not sure
I'm dressed
for such a
squeaky
treat
ff
mf
pizz.
pizz.
mf
95
108 Tempo I
Tempo I
q = 92
q = 92
745
rall.
rall.
109 Moderato
Moderato
q = 80
q = 80
q = q.
q = q.
rall.
rall.
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
FATHER
Vc.1
Db.1
f
mp
f
3 3 3 3
f
mp
f
3 3 3 3
f
mp
mp
f
3 3 3 3
3 3
mf f
3
f
S.D.
mp
mp
f
3 3 3 3 3 3
Susp.Cymb.
mp
3
3
3
Haven't you got homework? I've had such a long day
arco
f
mp
f
arco
arco
f
mp
f
arco
96
110 Vivace
Vivace
e = 150
e = 150
751
Fl.
Cl.
Perc.1
Perc.2
MOTHER
Vc.1
Db.1
mf
mf
f
Bongos
mf
3 3 3
Xyl.
f
It'll help
you
un wind
- then
to hear the
boy play
now then
ma
-
pizz.
mf
pizz.
mf
757
111 Tempo I
Tempo I
q = 92
q = 92
rall.
rall.
Fl.
Cl.
Perc.1
Perc.2
BOY
MOTHER
Vc.1
Db.1
mp
3
mf f
mp 3
Bongos S.D.
p
3 3 3 3 3 3
Xyl.
Some pie
ces- I've writ
ten-
3 I want
you
to hear
3 3 3 3 3
es tro-
what's on the bill
arco
mp
mp
arco
97
112 Moderato
Moderato
q = 80
q = 80
762
113e = 150
e = 150
Vivace
Vivace
114 Moderato
Moderato
q = 80
q = 80
115 Più mosso
Più mosso
q = 100
q = 100
Fl.
Cl.
Perc.1
Perc.2
BOY
MOTHER
FATHER
Vc.1
Db.1
mf
sfz mp sub.
mf
mf
mp
mf
3
Susp.Cymb.
mp
3
3
3
f
3 S.D.
mp
3
33 3 3 3
Xyl.
f
please
give
my mu
sic-
the re
3 3 3
-
Oh what a thrill!
squeaky
MOTHER pulls FATHER into his seat.
You've written the music?
I'll just get a beer
mf
mp
mf
3
mf
sfz mp sub.
mf
767
Fl.
Cl.
Perc.1
BOY
Vc.1
Db.1
f
mf
mp
p
33 3 3
f
mf
mp
p
3 3 3 3
S.D.
mf
mp
p
3 3 3 3 3 3 3 3 3 3
spect
it de serves
-
if I think
you're re luct
- ant-
3 it rat
tles- my nerves
3 3
f
mf
mp
p
f
mf
mp
p
98
116
116
Vivace
Vivace
e = 150
e = 150
771
accel.
accel.
117
117
Lento
Lento
e = 50
e = 50
rit.
rit.
Fl.
Cl.
Hn.
Perc.2
MOTHER
FATHER
Db.1
mp
p
f
mp
mp
Xyl.
f
Now
mp
don't
get all
worked up
and in a state
f
Just play then, really - I can hardly wait
mp
f
pizz.
118 Vivace
Vivace
e = 150
e = 150
775
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
MOTHER
FATHER
Db.1
mf
mf
Bongos
mf
3 33
3
f
Xyl.
we
mf
be lieve
- in you
dar
ling
3
-
don't we dear?
Play us your tunes We want to hear
mf
99
119 Moderato
Moderato
q = 100
q = 100
779
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
Vln.
Vla.1
Vc.1
Db.1
mp
mf
mp
mf
mp
mf
mf
3 3
mp
S.D.
p
pp
mf
high Wood Block
mf
3 mf
3 3 3 3 3
All right
here's the first
called
the Ma
gic
- Zoo
it's in
mf
mp
mf
3 3
3 3 3 3
3
mp
mf
mp
mf
3 3 3
3
3
mp
mf
mp
mf
3 3
arco
mf
mf
mp
100
784
120 Half tempo
Half tempo
q = 50
q = 50
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
Vln.
Vla.1
Vc.1
Db.1
mp
p
p
p
p
pp
pp
soft malletSusp. Cymb.
spired
by a
ni- mals-
and Mo
zart- too
mp
mute
p
mp
mute
p
mp
mute
p
mute
mp
101
121Poco più mosso
Poco più mosso
q = 60
q = 60
789
Fl.
Tba.
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
pp
The Magic Zoo BOY plays his piano piece. MOTHER and FATHER smile and stifle laughs. They’re touched by the music but don’t take it seriously. When it ends they applaud politely.
poco
pp
poco
poco
pp
poco
Played by BOY
p
sul pont. lontano e scherzoso ord.
p
sul pont. lontano e scherzoso
ord.
p
sul pont. lontano e scherzoso ord.
p
sul pont. lontano e scherzoso ord.
793
Fl.
Tba.
T. Pno.
Vln.
Vla.1
Vc.1
Db.1
pp
poco
pp
pp
poco
pp
sul pont. ord.
mute off
sul pont.
ord.
mute off
sul pont.
ord.
mute off
sul pont.
ord.
mute off
102
122 Recitativo
797
BOY
Vln.
Vla.1
Vc.1
Db.1
Tell
me what
you think
then
short
Well?
short
you didn't
like
it
short
I can tell
ord.
pp
ord.
pp
ord.
pp
ord.
pp
798
123 Vivace
Vivace
q = 138
q = 138
rall.
rall.
Fl.
Cl.
Perc.1
Perc.2
MOTHER
FATHER
Vln.
Vla.1
Vc.1
Db.1
mf
mf
f
mf
Bongos 3 3 5
Xyl.
mf
What
mf
a quaint
lit tle- dit
ty-
ve ry- nice
f
Yes bravo, what she said
mf
mf
mf
103
124 Meno mosso
Meno mosso
q = 80
q = 80
805
125 Vivace
Vivace
q = 138
q = 138
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
FATHER
Vln.
Vla.1
Vc.1
Db.1
mf
f
mp
mp
W. B.
3 3
The BOY calls after him.
I've
f
got
some more
I'm not
a pho
ny
-
do you think
I'm just
a
one
trick
Kiss your mother then straight up to bed
FATHER ruffles the BOY’s hair and exits.
mp
mf
mp
mf
mp
mf
mp
mf
104
810
126
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
MOTHER
Vln.
Vla.1
Vc.1
Db.1
f
mf
mf
mf
mf
Bongos
3
3
W. B.
Xyl.
mf
po
ny?
-
Stay
ffDad!
Play
mfit for me
and then
not a peep
it's school
to
-
pizz.
mf
pizz.
mf
105
815
127 Moderato
Moderato
q = 90
q = 90
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
MOTHER
Vln.
Vla.1
Vc.1
Db.1
f
mp
f
Bongos
3
Xyl.
f
This
mp
one
is spe
cial
-
it's a bout
- Gran dad
- dy
ing
-
mor row-
and you
need to
sleep
mf
p
mf
p
arco
p
arco
p
106
128 Più lento
Più lento
q = 76
q = 76
821
Cl.
BOY
Vln.
Vla.1
Vc.1
Db.1
mp
be
p
cause
- wri
ting
- mu
sic
-
is
bet
ter
- than cry
ing
-
pp
pp
pp
p
pp
p
826
Cl.
Vln.
Vla.1
Vc.1
Db.1
poco
p
sul tasto
ord.
pp
5
sul tasto
p
ord.
pp
5
pp
pp
107
129Adagioq = 66
832
Fl.
Hn.
Tba.
Perc.1
T. Pno.
pp
molto espressivo
GRANDFATHER
BOY plays his piece and conducts the ensemble with his right hand. When the piece ends MOTHER is moved.
mp
5
3
pp
pp
mp
Vib. soft mallet
Played by BOY
p
838
Cl.
Hn.
Tba.
Perc.1
T. Pno.
p
mp
35
pp
mp
pp
mp
p
Vib.
mp
108
130 Recitativo
Recitativo
844
q = 90
q = 90
Moderato
Moderato
e = q
e = q
rall.
rall.
BOY
Vln.
Vla.1
Don't you like
what I
com
posed?
-
This is not
the
re
ac- tion-
that
I'd
sup
posed
-
pp
p
pp
pp
p
pp
131 Lento
Lento
e = 69
e = 69
849
e = q
e = q
rall.
rall.
Perc.1
MOTHER
Vln.
Vla.1
Vc.1
Db.1
Vib.
p
Why
p
did you have
to o
pen- up
my grief
this way
that's quite e nough
- com po- sing-
for one day
pp
mf
pp
mf
arco
pp
mf
pizz.
mp
109
132 Più lento
Più lento
q = 66
q = 66
853
Perc.1
MOTHER
Vln.
Vla.1
Vc.1
Db.1
p
Vib.
3
3
3
3
3
3 3
3 3
3
Oh
mf my
3
boy
I
see
the
3
fi
re
- in
your eyes
and
mp
it
mp
p
3
3
p
3 3
pizz.
mp
858
Perc.1
MOTHER
Vln.
Vla.1
Vc.1
Db.1
Vib.
mp
mf
3
3 3
3
chills
me
I don't
want
you
to suf
fer- like I did
mf
when you learn
in your heart
3 3
p
mp
mf
mp
mf
mp
mf
mf
110
863
Perc.1
Perc.2
MOTHER
Vln.
Vla.1
Vc.1
Db.1
Vib.
f
p
Timp.
pp
mf
f
p
3 3
3
that your dreams
won't
come
3
true
ff oh
mp
my
3
p
f
p
f
p
p
f
p
arco
f
p
866
133 Più lento
Più lento
q = 58
q = 58
Perc.1
Perc.2
MOTHER
Vln.
Vla.1
Vc.1
Db.1
Vib.
pp
p
3
3
3
5 seconds
3 3 3
Timp. soft mallet
pp
take stick
3 3
boy
MOTHER exits distraught. The BOY, left alone, weeps.
pp
pp
pp
pizz.
p
5 seconds
111
134 Lentoq = 60
870
13: Let go your dreams
Perc.2
BIG C
stick
p
soft mallet
*
Timp.
3BIG C enters.
3
3 3 3 3
3 3 3 3 3 3
* non-conducted. The timpanist takes their own tempi
Now then, we don’t need to fight and delay the inevitable Let go your dreams now and be at rest. Just let go this torment you choose -
875
Perc.2
BIG C
3
3
pp
very slow, like a breathesoft mallets
p
3 3 3
Repeat until OFF-STAGE CHORUS ends and then repeat one more time on its own
Breathe and let go your dreams.
Finally, the BOY releases his dreams in a powerful sigh
S.
OFF-STAGE CHORUS
It's
p
not
nor
mal- not
nor
mal-
1.it's2.it's
justbest
notto
norwant
malno
- tomore
strivethan
for
whatgreat
you'vethings
got
much
for
M-S. It's
p
not
nor
mal- not
nor
mal-
2.it's1.it's
bestjust
tonot
norwant
nomal-
moreto
thanstrive
whatfor
you'vegreat
gotthings
for
much
Bar. (2nd time only) It's
p
not
nor
mal- not
nor
mal-
it's
best to
want
no more than
what you've got
for
B. (2nd time only) It's
p
not
nor
mal- not
nor
mal-
it's
best to
want
no more than
what you've got
for
881
Perc.2
BIG C
S.
M-S.
Bar.
B.
mp
soft mallet
stick 3 3
3 3
stick
p
3 3
4 4
There. That wasn’t so hard, was it? And now I shall leave you in peace. Yes, complete peace.
betthat
ter
way- to
yougo
can't
withbe
whatfed
eup
- ver
with- life
your lotbrings
thatbet
wayter-
youto
can'tgo
be
withfed
what
upe
-
withver-
yourlife
lotbrings
that way you can't
be fed
up
with your lot
that way you can't
be fed
up
with your lot
887
135
Perc.1
Perc.2
Susp. Cymb.harmonic scrape with stick edge
mp
BIG C scribbles on his clipboard and closes it as the BOY takes off his bowtie. BIG C slaps a label across the front of the file saying ‘CASE CLOSED’. Blackout.
ord.
p
f
soft malletsTimp.
pp
f End of Act 1
7
112
1
136q = 120Allegro
ACT 2
SCENE 1
14: Geology
Piano f
A bottle of champagne pops open and we are at a party hosted by MOTHER and FATHER. The Y.MAN drinks, and he and his GIRLFRIEND pet. MUSICIANS become guests at the party...
mp
f
4
Fl.*
Perc.1 *
MUSICIANS **
Pno.
Vln.*
Vla.1*
mf
mf
shake
mf
f
palmTambourine
shake
mf
f
palm
mp
shakeshake
mf
f
palm
shake
mf
f
palm shake
mp
poco
Speech!
shouted f
Speech!
Speech!
Speech!
3
mp
3
f
p
poco
f
mp
f
mf
** ON STAGE Musicians
* ON STAGE
f
mf
f
mf
113
137 Recitativo
Recitativo
8
138 Poco meno
Poco meno
q = 104
q = 104
Fl.*
Perc.1*
MOTHER
FATHER
Pno.
Vln.*
Vla.1*
f
3
3
Party blower
f
Tamb. shake
mf
knuckle
f mf
shake
3
Yes,
freal ly- well
3
authoritative and proud tone
Thanks everyone, if I couldhave your attention
Yes, I'll keep it brief, but there'sa few things to mention
As you knowwe're here to say well done
mp
f
6
6 6 3
3
mp
mp
mp
f
3
mp
mp
mp
f
3
10
139 Recitativo
Recitativo
140q = 104
q = 104
In tempo
In tempo
Fl.*
Perc.1*
MOTHER
FATHER
Pno.
Vln.*
Vla.1*
mf
3
3
Tamb.knuckle
f
mf
shake
f
knuckle
3
mf
shake f
knuckle
mf
shake
3
3
3
done
not
f
too much trou
ble-
3
3
And drink to the continuedsuccess of our dear son
he's not
been much trou
ble- 3
3 3
mp
f
3
3
6 33
3
3
mp
3
3 3
mp
3
3
3 3
3
114
14
Fl.*
Perc.1*
MOTHER
FATHER
Pno.
Vln.*
Vla.1*
3 3 mf
3
3
Tamb. knuckle
f mf
shake
knuckle
f
3
shake
mp
mf
3
3
that he'd been
a mu si
- cian-
3 was the worst
of our fears
3 3 3 3
these past
eight een- years
3 3
mp
3
3
3
3
3
3
3
3
141 Recitativo
Recitativo
17
142 In tempo
In tempo
q = 104
q = 104
Fl.*
Perc.1*
MOTHER
MUS.*
FATHER
Pno.
Vln.*
Vla.1*
mf
3
Party blower
f
Tamb.
mf
shakef
knuckle
3
mf
shake
3
here
mf
in town
3
(laughters)
Now he's leaving our homebut he's hanging around
to study at University
here
mf
mp
mf
6 6
6
mf
mp
3 3 3
mf
mp
mf
3 3
115
143 Recitativo
Recitativo
19
144 Half tempo
Half tempo
145 Recitativo
Recitativo
MOTHER
FATHER
Pno.
Vln.*
Vla.1*
MOTHER mouths, “Thank you,” to G.FRIEND.
That's not a choice basedon the education he'll receive
A certain sweetheart'sto thank for that, I believe
Well - he's his own man now, and we're extremely
mp
3
3
6 6 6
mp
molto espressivo
mp
mf
mp
mp
mp
146 Tempo I
Tempo I
q = 104
q = 104
22
147 Recitativo
Recitativo
Fl.*
MOTHER
FATHER
YOUNG MAN
Pno.
Vln.*
Vla.1*
mf
3 3 3
we coul
dn't- be proud
er-
3 3 3
proud
Tell everyone what you're studying, old son
short
(Mutters, distracted by G.FRIEND.)
Ge
p
o
- lo- gy-
short
3 3
mf
mp
3 3
mf
3
3
mf
mp
pp
3 3 3
3 3 3
116
24
148 Moderato
Moderato
q = 84
q = 84
149 Recitativo
Recitativo
150 Moderato
Moderato
q = 84
q = 84
151 Recitativo
Recitativo
Fl.*
Perc.1*
MOTHER
MUS.*
FATHER
Y.MAN
Pno.
Vln.*
Vla.1*
p
Party blower
f
Ge
mf
o
- lo- gy-
3 3
Speak
f
up!
Ge
mf
o
- lo- gy?-
(Groans) 3 3
Loud
f
er!-
An excellent choice. Rock solid, I'd say!
short
Ge
mf
o
- lo- gy-
short 3
3
mp
mf
mp
f
6 6
mf
p
mp
f
3 3 3
mp
f
117
28
152 Con moto
Con moto
q = 90
q = 90
Fl.*
Perc.1*
MOTHER
MUS.*
FATHER
Y.MAN
Pno.
Vln.*
Vla.1*
mf
f
3 3 3 3 3
3
3
Tamb. shake
mf
knuckle
f mf
shake
knuckle
f
shake
mf
knuckle
f f
shake
3 3 3
Party blower
ff
Hoo
ff
ray
-
hoo ray
-
hoo ray
-
Three cheers as they drink a toast. MOTHER and FATHER sing together.
3 3 3
Hoo
f
ray
-
hoo ray
-
hoo ray
-
3 3 3
Congrats, good luck, and hip
fff
hip!
-
Hip hip!
-
Hip hip!
-
3 3 3
Hoo
mp
ray
-
hoo ray
-
hoo ray
-
3 3 3
mf
f
mp
6
mp
mf
f
3 3 3 3 3
mp
mf
f
3 3 3 3
3
118
rall.
rall.
31
153 Meno mosso
Meno mosso
q = 76
q = 76
Fl.*
Perc.1*
MOTHER
FATHER
Pno.
Vln.*
Vla.1*
mf
Party blower
3
We've
mp
been
good pa
rents- the world
can see
he's had
the best
of starts
mf
he can't
com
3 3 3 3 3 3 3 3 3
sings approximately We've
mp
been
good pa
rents- the world
can see
he's had
the best
of starts
mf he can't
com
3 3 3 3 3 3 33 3
mf
mp
mf
3 3 3 3 3
3
3
3 3 3 3
mp
p
mp
3 3
mf
mp
p
mp
3 3
3 3 3
3
34
Fl.*
MOTHER
FATHER
Pno.
Vln.*
Vla.1*
mf
f
plain
he can't
com plain
- he had
the best
of starts
mp
we've been
good 3 3 3 3 3 3 3
plain
he can't
com plain
- he had
the best
of starts
mp
we've been
good
3 3 3 3 3 3 3
mp
3 3 3 3 3
3 3 3 3
3 3
3 3
119
154
36
Fl.*
Perc.1*
MOTHER
FATHER
Pno.
Vln.*
Vla.1*
mp
3
3
mf
3
Tamb.
mf
knuckle
3 3
3shake
knuckle
3 33 3 3 3
pa rents theworld
can see
we'vereached
the fi
nish- line
mf
what e
- ver- hap
pens- now
we're
not
to
3 3 3 3 3 3 3 3 3
pa rents theworld
can see
we'vereached
the fi
nish- line
mf what e
- ver- hap
pens- now
we're
not
to
3 3 3 3 3
3 3 33
mf
3 3 3 3 3
3 3 3 3
3 3 3 3 3 3
sul pont.
p
mp
to ord.
3 3 3 3 3 3 3 3 3 3 3 3 3
p
mp 3 3 3
3 3 3
15539
Fl.*
Perc.1*
MOTHER
FATHER
Pno.
Vln.*
Vla.1*
p
Tamb. shake
mp
knuckle
shake
p
3 3
blame
mp
blame
mp
mp
p
3 3 3 3 3
3
120
156 Like a waltz
q = 100
42
15: Little Flat
Pno. mp
The Y.MAN and G.FRIEND have sloped off to the ‘music room’ for some privacy. As they kiss, they lose balance and Y.MAN falls onto the keys. They giggle.
50
157 GIRLFRIEND
Y.MAN
Pno.
Play
mp
me some
thing
- then
Oh
(Disappointed)f
please
pret ty-
Oh
mfno
I'm too rus
ty-
p
mp
mf
59
158 Meno mosso
Meno mosso
q = 82
q = 82
159 Più mossoq = 108
G.FRIEND
Pno.
please
mf
Y.MAN remembers some music – distant – and for a moment he is mournful. Then he kisses G.FRIEND passionately. He sweeps her off her feet, spins her round...
mf
OFF-STAGE Strings
Vl. molto espressivo e vibrato
mp
Vla.1 molto espressivo e vibrato
mp
Vlc.1 molto espressivo e vibrato
mp
Db.1 molto espressivo e vibrato
mp
121
67
160 Ancora più mosso
q = 120 G.FRIEND
Pno.
What
f
are
you
do ing?!-
(Shrieking.)
put me down
put me down
f
74
161
G.FRIEND
Y.MAN
Pno.
You
f
i
diot-
You have
to be mar
ried
-
for that
un
mf
-
I'm
mf
going
to car
ry- you
o ver- the thre
f
shold
-
mf
f
3
3
3
81
G.FRIEND
Y.MAN
Pno.
less
this is
your
way
of
3
as
king
-
I
mf
don't
want
to
3
86
rall.
Y.MAN
Pno.
go
through
those lengths
just
to
lift
you through
a door
f
3
122
162 Andante
q. = 69
91
G.FRIEND
Y.MAN
Pno.
He drops her. She shrieks. They sing a short duet...
Well
Molto appassionato ed espressivomp
here we go
you
mf
and me
mp
Well
Molto appassionato ed espressivo
here we go
mf and me
p
mp
99
163
G.FRIEND
Y.MAN
Pno.
here we go
in our
lit
tle- flat
Oh
mp yes
you and I
we're buil
mf
ding- a fu
ture-
we go
in our
lit
tle- flat
Oh
mpyes
you and
I we're buil
ding- a fu
ture-
mf
mp
105
G.FRIEND
Y.MAN
Pno.
bright
f
Oh
yes
you and I
in our
mf
lit
tle- flat
in our
lit
tle- flat
bright
f Oh
yes
you and I
in our
mf lit
tle- flat
in our
lit
tle- flat
f
mf
164
110
rall.
Pno. They hold hands and stride into the room. Blackout.
mp
p
123
165 Lento
q = 60
115
SCENE 2
16: Seismic Activity
Y.MAN
Pno.
Y.MAN and G.FRIEND sit silently at each end of a ‘sofa’. She reads a magazine and he reads a tome on seismology. Y.MAN grows restless and hums, unconsciously. G.FRIEND looks up and smiles. Y.MAN stops. But it happens again...
humming
[mmm]
mp
p
122
166 Più mosso
q = 92 G.FRIEND
Y.MAN
Pno.
you
mf
all right
babe?
[mmm]
mf f
mf mf
128
167 Lento
q = 60 G.FRIEND
Y.MAN
Pno.
you keep sing
ing-
She beckons him to sit close to her. He does, but he has to battle to stop himself singing. He focuses on his book and reads aloud, but he lapses into song...
fine
mf
why?
do I?
mp
124
168 Più mosso
q = 80
134
Y.MAN
Pno.
Whole
mp
ci
ties
and
ci vi
- li- sa
- tions-
are
built
on fault
lines
where the great
tec to
- nic-
plates
of the
141
accel.
q = q.
169
G.FRIEND
Y.MAN
Pno. (Irritated.)
What's
f
the
earth
mf butt
f
up
to
each o
ther-
and grate
molto espressivo
and
and
strug
ff gle-
mf
ff
4
q. = q
147
170 Lento
q = 69 G.FRIEND
Y.MAN
Pno.
mat ter- with you
to night?
-
He makes to exit. She points to her cheek where he must kiss her. And he does.
no
mp
thing-
I'll go
for a walk
f
mp
153
Presto
A tempoq = 60
rall. G.FRIEND
Pno.
Oy!
f
Don't
mf
be long
3
mf
mp
3
125
171
h. = 63Mosso
158
Pno. pp
First Call
The Y.MAN leaves the room (and lights fade on G.FRIEND). G.FATHER’s double bass stands in its case in a spot, ‘calling’. The Y.MAN is drawn to it. We hear him humming. Tentatively and guiltily, he approaches and reaches out to the instrument, but, as soon as he touches the case, he runs away.
mp
p
mp
p
p
gradual crescendo throughout
mp
mf
168
Pno.
mp
mf
mp
f
mf
f
mf
176
Pno.
f
mf
f
mf
f
ff
184
Pno. f
ff
f
ff
ff
189
Pno.
fff
fff
ff
194
molto rall.
Pno. fff
fff
126
172
q = 92Moderato
200
Y.MAN
Pno. humming
[mmm]
mf
[mmm]
[a]
f
morphing each sound into the next one
[o]
[mmm]
[a]
[mmm]
[o]
mf
3
f
mf
f
209
rit.
173 Lento
q = 63 q = 80Più mosso
Y.MAN
Pno.
[mmm]
[a]
ff
(Time passes.)
ff
mp
fff
mp
216
Pno.
In the ‘flat’, G.FRIEND sits on sofa, reading from magazine. She looks over to Y.MAN sitting at his desk, reading from his book on seismology. He recites...
174 Meno mossoq = 76
225
Y.MAN
Pno.
Though
mp
these seis
mic- shifts
oc cur
-
ran dom- ly-
they can
now
be de tec
- ted-
p
mp
mp
127
232
Y.MAN
Pno.
be
mf
fore- they
oc cur
-
be fore- they
oc cur
f
-
they oc cur
-
molto espressivo
they oc cur
-
mf
f
mf
f
238
175 Poco più mosso
q. = 76
G.FRIEND
Y.MAN
Pno.
But, once again, he finds himself singing and, this time, also miming some double bass fingering on his arm. It’s involuntary and the anguished ‘attack’ grows throughout. G.FRIEND grows anxious and approaches. Y.MAN lost in his own thoughts.
what
mf
have you done
wrong
to day?
-
be fore
they
ff oc cur
-
fff
mp
ff
176
q = 88Meno mosso
244
poco rall.
Y.MAN
Pno.
no
mf
thing-
I've been here
swot ting- all day
He closes his book and leaves.
3 3
p
mf
p
128
177
Mossoh. = 63
250
poco accel.
Pno. p
Second Call
Again lights fade on ‘home’ and he runs compulsively to the double bass. This time he dares himself to open the case to reveal the instrument. Breathlessly, he strokes the wood and caresses the strings.
mf
p
mp
mf
178 Molto animato e aggressivoh. = 76
259
Pno. mf
f
268
Pno.
ff
275
Pno.
179
282
rall. h. = q Pno. ffff
mf
129
180
q. = 52Moderato
290
Y.MAN
Pno.
Oh
mp
my soul
oh
how
I've missed
you
oh
my soul
and
mf
mp
296
Y.MAN
Pno.
why
does
this feel
like
be tray
- al
-
why?
p
mf
f
22
181
302
Y.MAN
Pno.
I
mf can't
do this
I
can't
do this
I can't
f
go down
this un
known- road
some
130
309
182
Y.MAN
Pno.
how
I'm play
ing- with fi
f
re
-
Why?
mp Why
mf does
this feel
mp
mf
mf
4
4
315
Y.MAN
Pno.
like
a
be tray
- al
- I can't
ff
do
this
I can't
do
f
320
Y.MAN
Pno.
this
mf
oh
mp
my soul
my
soul
p
mf
mp
p
4
4
131
183
Allegroq = 120
327
Pno.
Father
Stricken with guilt, Y.MAN wrenches himself away and flees. FATHER enters.
sempre p
333
Pno.
pp
184 Meno mossoq = 100
340
FATHER
Y.MAN
Pno.
We have more possibilities than our time on earth can hold so many lives unlived, so many loves unloved
Spoken
Dad, what would you do if your life is good, but there's something you miss - you've made the right choice, but you can't be sure
mp
348
FATHER
Pno.
The trick of finding contentment is never to dwell upon what you might lack,
throw yourself into what you've gotwith all your might and don't look back
p
352
FATHER
Y.MAN
Pno.
Is it another woman?
(Lost in thought.)
What? Oh - Something like that. Thanks, Dad.
132
185
Stesso tempo
355
molto accel. Mosso
q = 200
Pno. mp
Third Call
The Y.MAN leaves his FATHER and visits the double bass. This time he is mournful. He picks up the case, determined to pack the instrument away for good.
mf
mp
mf
mf
f
366
Pno.
ff
374
rall. 186 Moderato
q = 84
Y.MAN
Pno.
How
f
do
molto espressivoyou do
He touches the bass and a thrill runs through him. He withdraws...
that
to me?
I can't
5
f
mf
f
mf
383
Y.MAN
Pno.
I can't
do this
a ny- more
ff
-
Oh
mf
my soul
5
mf
f
mf
5
5
388
Y.MAN
Pno.
[a]
[o]
He begins to put the bass in its case, but he wavers; it’s just too tempting. He tears the case away and begins to play it. The joy of being reunited with music pours out of him. His G.FRIEND enters and catches him ‘red-handed’...
[o]
oh
my soul
oh
my heart
ff
mp
lunga
ff
133
187
q = 132Mosso
394
rall.
Più lentoq = 100
G.FRIEND
Y.MAN
Pno.
(Enraged.)
What
f
is this?
I
mp
was on
espressivo ly
- play
ing
-
the
dou
ble
- bass
ff
f
mp
ff
3
3
3
3
3
3
3
3
q = 86Poco più lento
400
rall.
G.FRIEND
Pno.
What?
f
Why
don't
you
3
waste
your time
on
me?
on
3
me
mf
3
3
3
3
3
3
3
3
3
3
3
188 Moderato
q = 69
407
G.FRIEND
Pno.
there's
mf
a fire
in your eyes
and it chills
me
my love
(Aside.)
a pas
sion- for
3 3 3 3 3 3
legatissimo
mp
3
3
3
3
33 3 3 3
134
412
G.FRIEND
Pno.
some
thing
-
that's grea
ter- than me
than
me
you've been act
ing- so strange
can't you see
it's not
3 3 3
mf
3
3
3
3
f
3 3
3
3
417
G.FRIEND
Pno.
nor
f
mal-
(Embracing him.)
all that we've built
and all
that we're buil
ding
-
are you going
to throw
all this
a way
ff -
3
3
3
ff
3 33
3
3
3
3
189
423
G.FRIEND
Y.MAN
Pno.
pro
(Gently.) mf
mise- me
pro
mise
- me
you'll
stop
this
non sense
mp
-
I
mp
mf
mp
429
poco rall.
Y.MAN
Pno.
pro
mise
-
The Y.MAN breaks away and finishes zipping the double bass into its case. He sighs with deep remorse before he closes it completely - forever. Y.MAN cuddles up with G.FRIEND on the sofa and reads his book. Lights fade first on the double bass and then on the couple.
p
135
190
17: Restaurant
With a bit of swing
With a bit of swing
q = 84
q = 84
435
SCENE 3
Cl.*
Perc.1*
Pno.
Db.1*
A table is set for a formal meal. Much jollity. The Y.MAN and his G.FRIEND have got engaged and they are congratulated by MOTHER and FATHER. MOTHER fusses over G.FRIEND, makes much of her ring and they take their place at the table. FATHER has a private word with his son...
mp
gliss.
p
Susp. Cymb.
3
3
3 3 3
mp
3
3
* ON STAGE
jazz pizz.
mp
3
439
Cl.*
Perc.1*
Pno.
Db.1*
3
3 3 3
Susp. Cymb.
3 3
3 3 3
3
442
Cl.*
Perc.1*
Pno.
Db.1*
gliss. 3 3
Susp. Cymb.
3
3
3 3 3
3
3
136
191
445
poco accel.
poco accel.
Cl.*
Perc.1*
FATHER
Y.MAN
Pno.
Db.1*
pp
mf
3 3 3 3
Susp. Cymb.
p
poco
mp
f
Quiet
So you resolved everythingwith the other woman?
What?
mp Oh
mf
yes!
it
p
was no
thing-
3 3
3
3
f
3
3
p
mf
3
3
f
3
3
192 Più mosso (straight feel)
Più mosso (straight feel)
q = 92
q = 92
449
q = q.
q = q.
Cl.*
Perc.1*
Pno.
Db.1*
f
FATHER smiles and leads him to the table. A WAITER tends to them.
3
Susp. Cymb.
3
3
3
3 3
mf
S. D.
3
mp
3 3
3 3
3
3
3
3
3 3 3 3
3 3
3
3 3
3
3 3 3 3 3 3
3 3
f
137
452
Cl.*
Perc.1*
MOTHER
FATHER
Pno.
Db.1*
mf
Susp. Cymb.
mf
p
mf
S. D.
mf
So
mf
when do I need
to buy
my new hat?
Yes
f
When's the big day
going to be?
mp
mf
mp
mf
arco
f
458
193
Cl.*
Perc.1
G.FRIEND
Y.MAN
Pno.
Db.1*
mf
Susp. Cymb.
mf
f
S. D.
mf
We
mf
thought
next sum
mer-
the soo
ner- the bet
ter-
the
mf
sum
mer- af
ter- next
there's no
real
rush
we
f
ha
ven't- ac
tual- ly
- dis cussed
- it
f
mf
f
f
138
465194
Perc.1*
Perc.2
FATHER
Y.MAN
Pno.
Db.1*
Susp. Cymb.
mf
S. D. mp
p
Timp.
(Sardonic.)
Get used
to it
old son
You're not going to make another decision in your life!
yet
mp
I'll
mp
need
to work
for at least
a year
we've got
some
mp
mf
p
f
474
195 Recitativo
Recitativo
196 Più mosso
Più mosso
q. = 92
q. = 92
Cl.*
Perc.1*
Perc.2
G.FRIEND
MOTHER
FATHER
Y.MAN
Pno.
Db.1*
mf
mp
Susp. Cymb.
mf
mp
mf
S. D.
mp
4
Timp. mf
MOTHER, FATHER and G.FRIEND all smile. They know something he doesn’t.
No
mp
thing
-
The WAITER hands them menus and pours their drinks. A BOY enters and sits at the piano. He begins to play quietly. Only Y.MAN notices him.
Lots
fto do
and lots
to plan
No
mp
thing
-
I'll
f
No
mp
thing
-
sav ing
- up
to do
What?
mf
mf
mf
mp
mf
139
479
Perc.1*
G.FRIEND
MOTHER
Pno.
Db.1*
Susp. Cymb.
mf
p
S. D. mp
p
mf
I
al rea
- dy- know
where I'm get
ting- mydress
help
in a
ny- way
I can
And
for flow
ers- and cake
I
mf
f
mf
f
485
Cl.*
Perc.1*
Perc.2
MOTHER
FATHER
Pno.
Db.1*
f
Susp. Cymb.
f
l.r.
mf
S. D.
mp
f
Timp.
pp
mp
mf
f
know
where is best 2
(To Y.MAN, chuckling.)
See
It's out
of your hands
old son
f
ff
mf
f
ff
140
197q. = 92
q. = 92
A tempo
A tempo
491
Cl.*
Perc.1*
MOTHER
FATHER
Y.MAN
Pno.
Db.1*
mf
mf
f
p
Susp. Cymb.
pp
mf
l.r.
S. D.
mf
Are
mf
you quite
all right
- dear
He's getting marriedthe lad's in shock!
The Y.MAN stares at the BOY playing the piano
Of
f
course
I'm
all right
cheers
mp
mf
f
mf
f
495
q. = q
q. = q
rall.
rall.
Cl.*
Perc.1*
Perc.2
MOTHER
FATHER
Pno.
Db.1*
p
player leaves stage
mf
Susp. Cymb. S. D.
mf
Timp.
p
They toast.
to
mf
ma
ny- hap
py- years
and lots
of grand chil
f
- dren
-
Congratulations!
f
mp
141
198 Più lento
Più lento
q = 72
q = 72
500
rall.
rall.
Perc.1*
Perc.2
T. Pno.
Pno.
Db.1*
Susp. Cymb.
pp
soft mallets
The BOY plays with more confidence.
Player leaves stage
pp Timp.
mf
Played by a BOY
p
p
go OFF STAGE
199 Poco più mosso
q = 80
506
Perc.2
G.FRIEND
MOTHER
Pno.
pp
Timp.
3 3 3 3 3 3 3 3 3 3
Look
mf
at that a ma- zing- kid
on the pia
no-
3
Aw
I bet
he was
7 3 3
3
(Nodding to her son.)
Yes
mf
you know who he
re minds- me of
5
mp
142
510
Perc.2
G.FRIEND
MOTHER
FATHER
Y.MAN
Pno.
Timp.
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
a real cu
tie-
MOTHER and G.FRIEND laugh and G.FRIEND strokes Y.MAN’s face.
3
He was e
ver- so se
rious-
He's
f
ex
cel- lent!
-
3 3
He's very good, isn't he? He is! He could go places, that one
Real
mf
ly?-
3
3
3
mf
3
3
200 q = 152
515
Perc.2
Y.MAN
Pno.
Timp.
mp
f
furious
He's no bet
ter-
than
mf
ff
mf
519
Perc.2
Y.MAN
Pno.
Timp.
p
mf
f
3 3 3 3 ff
I
was
at his age
ff
PARENTS answer him with looks of amusement and disbelief. A tidal wave of emotion sweeps over the Y.MAN, who staggers towards the piano and slams down the lid. He and the BOY stare at each other. Y.MAN faints to the floor. MOTHER, FATHER and G.FRIEND freeze in a tableau of distress. Light dims on them.
ff
fff
p
143
201q = 72
525
18: Grandfather's Song
G.FATHER
Vln.
Vla.1
Vla.2
Vc.1
The Y.MAN enters a dream. G.FATHER appears...
When e
mp
- ver- you played
me the mu sic
- you wrote
I
could ba
rely- speak
for pride
and
awe
3 3 3 3 3 3
p
pp
p
pp
p
pp
p
pp
533
G.FATHER
Vln.
Vla.1
Vla.2
Vc.1
"How blessed your ta
lent!"
-
got stuck
in my throat
If I'd lived
you might stretch
for your star
33 3 3 3
sul tasto
poco
sul tasto
poco
144
202
540
G.FATHER
Vln.
Vla.1
Vla.2
Vc.1
there's
mf
ma
ny- with great
ness-
3
who don't
make the stage
but you've
reached for
so lit
tle-
3 and both
our hearts break
f
3 3 3 3 3 3 3 3 3
ord.
sul tasto
545
G.FATHER
Vln.
Vla.1
Vla.2
Vc.1
with
mf
gump
tion- and guts
you'd not be
on this page
may be- you
just haven't
got
what it takes
3 3 3 3 3 3 3
ord.
ord.
mp
145
203
549
G.FATHER
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
it
mf
seems
to be life
that we go
with the flow
un less
- we're both
ered- to fight
it
3 3 3 3
3 3 3
mp
mf
mp
mp
mf
mp
mp
mf
mp
mf
mp
mp
556
G.FATHER
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
and what
is our sto
ry
-
we just
don't
know
un less
- we en dea
- vour
-
to write
it
3 3 3 3 3
sul tasto
p
146
204562
G.FATHER
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
where e
- ver- you are
there's al
ways- a choice
f
it's got
to be yours
or it's theirs
they'll im pose
mf
-
3 3 3 3 33 3 3
p
poco
sul tasto
p
mp
ord.
p
sul tasto
p
mp
ord.
p
ord.
567
G.FATHER
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
my
mp
wis
dom- is this
and I'll give
it my voice
play
p
or be played
com pose
-
or be
com
G.FATHER exits and the Y.MAN comes to.
posed
-
3 3 3 3 3 3 3 3
p
pp
poco
p
pp
poco
p
pp
poco
p
pp
mp
p
pp
147
205 Recit.
Recit.
573
Allegro
Allegro
q = 120
q = 120
19: My Life Has Got To Change
Picc.
Cl.
Hn.
Tba.
Perc. 1
Perc. 2
FATHER
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
ff
ff
ff
ff
ff
ff
ff
p ff
f
Whip
f
sfz sub. p
B. D. ff
pp
You with us again, old son?
Grand
ff
pa!!
-
short
fff
fff
p
fff
3
3
3
3
sfz ff
ff
p
sfz ff
ff
p
3 3 3 3 3 3 3 3
sfz ff
ff
p
3
3
3
33 3 3 3
sfz ff
ff
sfz ff
ff
sfz ff
ff
sfz ff
ff
sfz ff
ff
sfz ff
p
ff
sfz ff
p
ff
148
206
206
q = q.
q = q.
576
q. = q
q. = q
207
207
Recit.
Recit.
Picc.
Cl.
Hn.
Perc.1
Perc.2
G.FRIEND
MOTHER
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
p mp
p
mp mf
3 3
mp
p
mf
3 3
p
mp
B. D.
p
mp
p
mf
p
3 3 3 3
What
mf
the hell
was
all that
a bout?
-
3
This
mf
is so
hu mi- lia
- ting-
3 3
My
f
life
has got
to
p
continue with independent tempo
mp
3
3
mp
p
continue with independent tempo
mp
p
continue with independent tempo 3 3 3 3
mp
p
3
3 continue with independent tempo
3 3
p
mp
mp
p
mp
p
mp
mp
mf
mp
p
mp
p
mp
p
mp
149
579
Recit.
Recit.
208
208
q = 80
q = 80
Moderato
Moderato
Recit.
Recit.
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
G.FRIEND
MOTHER
FATHER
Y. MAN
Pno.
Vln.
Vla.
Vla.
Vc.
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
f
mp
3
f
mp
3
3
p
mf
p
mf
p
Susp. Cymb.
p
f
B. D.
mf
mp mf
p
3
fWhat's wrong
with your life
33
f What's wrong
with your life
3
3
f What's wrong
with your life
3 3
change.
(Standing.) My
life
has
got
to
3
change!
ff
I've
fgot
to be
a mu
ff
f
ff
p
mp
very fast at independent tempo
p
ff
p
mp
very fast at independent tempo
p
3 3 3 3
ff
p
mp
p
ff
p
mp
p
ff
p
mp
ff
p
mp
ff
mp
p
ff
mp
ff
mp
ff
mp
150
583
209
209
Picc.
Cl.
Hn.
Perc.1
Perc.2
MOTHER
FATHER
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
mf
mf
p
p
p
with the voice
mf
Susp. Cymb.
mf
p
B. D. mp
PARENTS look at their son, then at each other, then at their son...
Ridiculous!
Freely shouted
Freely shoutedRidiculous!
si
cian
-
I'm going
to stu
dy
- mu
sic
-
and learn
the dou
ble
- bass
ff
mf
ff
mp
mf
mf
mp
mf
p
mp
mf
3 3
3
3 3 3
mp
mf
mp
mp
mp
mp
mp
mp
mp
nat.
mp
151
585
210
210
long long long
211
211
Allegro
Allegro
q = 120
q = 120
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
MOTHER
FATHER
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
mp
ff
mp
ff
ff
pp
ff
mp
Susp. Cymb. l.r.
ff
B. D.
pp
f
Well
mf
you can't
The double bass went to an auction last week
It made a good price
short
You
mp
mean to say
short you
sold
my
3
mp
pp
staccato
ff
p
pp
mp
pp
ff
pp
mp
pp
ff
pp
mp
pp
ff
pp
mp
pp
ff
pp
mp
pp
ff
pp
mp
pp
ff
mp
pp
ff
ff
ff
ff
152
587
Picc.
Cl.
Hn.
Tba.
Perc.2
G.FRIEND
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
mp
brassy mf
brassy mf
B. D.
mp
f
mp
mf p sub.
It'll
mf
pay
for our
no!
ff
f
subito mp
ff
mf
mp sub.
mp sub.
mp sub.
f
mp sub.
f
mp sub.
mp sub.
f
mp sub.
f
mp sub.
mp sub.
mp sub.
153
591
212
212
Picc.
Cl.
Hn.
Tba.
Perc.2
G.FRIEND
MOTHER
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
mp
mf
mp
mf
mf
3
mp
mf
B. D.
mp
mf
wed ding-
Your
mf Grand pa
- would
be
so
hap
py
-
Grand
fpa
- was in
that
ins
tru
- ment
3
-
a
mf
f
l. r.
f
3 3
3
f
3 3 3
f
f
3
f
f
f
f
f
f
154
596
Picc.
Cl.
Hn.
Tba.
Perc.2
G.FRIEND
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
ff
mp
mf
f
ff
f
ff
mp
mf
ff
B. D.
p
f
We
f
wan
ted- to
sur prise
- you
piece
of my
soul
too!
ff
You
f
knew
a
bout- this?
f
f
mp mf
3 3 mp
mf
f
3 3 mp
mf
f
mp
mf
f
mp
mf
f
mp
mf
f
mp
mf
f
mf
f
f
f
f
155
213
213
602
Picc.
Cl.
Hn.
Tba.
Perc.2
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
ff
ff
mf
ff
ff
f
B. D. pp
Argh!
ff
You
f
put
a price
on some
thing
-
di vine
ff
-
Well
mf
ff
f
ff
p
ff
mp
ff
p
ff
mp
ff
p
ff
mp
ff
ff
mp
3 f
p
3 3 3 3 3 3
ff
mp
3 f
p
3 3 3 3 3 3
ff
mp
3
f
p
3 3 3
ff
mp
f
p
ff
mp
f
p
ff
mp
f
ff
mp
f
156
607
214
214
Picc.
Cl.
Perc.1
Perc.2
G.FRIEND
MOTHER
FATHER
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
sfzf mp sub.
sfzf mp sub.
Susp. Cymb.
f
B. D.
f
pp
ff
What?
You
f
said
you were done
with this
non
sense
-
ff
What?
ff
What?
you shoul
dn't- have bo
thered-
the wed
ding-
is
mf
off!
fff
mf
pp
ff
p
pp
ff
p
ff
p
pp
ff
p
pp
ff
p
pp
ff
p
pp
ff
p
pp
ff
p
157
615
215
215
Agitato
Agitato
q = 138 - 150
q = 138 - 150
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
sfz ff
mp
sfz ff
mp
sfz ff
mp
sfz ff
mp
sfz ff
mp
sfz ff
mp
sfz ff
mp
sfz ff
mp
Susp. Cymb. on bell
f
B. D. mp
I'm
f
done
with you!
ff
fff
ff
ff
sim.
ff
sim.
ff
ff
sim.
ff
ff
sim.
ff
ff
ff
158
619
216
216
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
G.FRIEND
MOTHER
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
f
ff
p
mp
f
ff
p
mp
f
ff
p
f
Susp. Cymb.
ord.
on bell
mp
B. D.
mf
f
mf
p
G.FRIEND bursts into tears, removes her ring and throws it at him. MOTHER comforts her.
What
mf appassionatohave
we
What
mf appassionatohave
we
fff
f
mp
p
fff
p
sim.
fff
p
sim.
sim.
fff
p
fff
p
sim.
sim. fff
p
fff
fff
p
fff
fff
fff
159
622
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
G.FRIEND
MOTHER
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
mf
ff
mf
ff
fff
fff
Susp. Cymb.
mf
mp
ord.mf
f
p
B. D.mf
f
done
to
de serve
- this?
done
to
de serve
- this?
mf
ff
mf
ff
mf
ff
mf
ff
mf
ff
mf
ff
mf
ff
mf
ff
mp
mf
ff
mf
ff
f
ff
160
625
Picc.
Cl.
Perc.1
Perc.2
G.FRIEND
MOTHER
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db. 1
Db. 2
mp
mp
mp
on bellSusp. Cymb.
mf
mp
ord.
p
B. D.
We
mf
on
ly- wan
ted
- - what
was
best
for
We
mf
on
ly- wan
ted
- - what
was
3
best
for
3
p
sim.
p
sim.
p
p
sim.
p
p
p
161
628
217
217
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
G.FRIEND
MOTHER
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
mf
f
mp
mf
f
mp
f
f
Susp. Cymb.
mf
f
mf
f
on bell
mp
B. D.
mf
f
you
and
mf
what
3
are
we
3
you
and
mf
what
3
are
we
3
mp
f
3 3
mp
mp mf
f
ff
sub. mp p
sim.
mp mf
f
ff
sub. mp p
sim. 3 3
mp mf
f
ff mf
p
3 3
mf
f
f
ff
sub. mp p
sim.
mf
f
ff mf
p
mf
f
ff mf
p
mp mf
f
ff
sub. mp
p
mp mf
f
f
ff
sub. mp
mf
f
ff
mf
f
ff
162
631
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
G.FRIEND
MOTHER
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
f
mf
3
f
mf
3
f
mf
3
f
Susp. Cymb.
f
ord.
p
mf
p
B. D. f
mf
3
going
to tell
ev ery- one?
ff
-
you
fsil
ly
-
3
sel
fish- lit
tle-
going
to tell
ev ery- one?
ff
-
you
f
sil
ly
-
3
sel
fish- lit
tle-
mf
ff
f
mf
ff
sub. mf
mf
ff
sub. mf
ff
mf
ff
mf
ff
mf
ff
ff
mf
ff
ff
163
635
rall.
rall.
218
218
q = 120 - 132
q = 120 - 132
Slower
Slower
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
G.FRIEND
MOTHER
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
f
ff
f
ff
f
mp
f
mp
Susp. Cymb.
f
on bell
mp
ord. poco
f
B. D.
mp
mp
boy
MOTHER and G.FRIEND exit together.
boy
mf
ff
mp
3 3 33
ff
mp
f
ff
mp
f
ff
f
ff
mp mf
ff
mp
ff
f
ff
mp
f
ff
ff
mp
164
639
Più lento
Più lento
q = 108
q = 108
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
FATHER
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
ff
ff
mf
f
ff
mf
mf
f
ff
Susp. Cymb.
mp
f
B. D.
mf
f
Loud and angry
You're throwing your life away
(Shakes his head.)
My
flife
is my
mf
f
ff
ff
mf
3 3 3
3 3 3 3
3
mf
f
mf
3
mf
f
mf
mf
3
mf f
f
ff
mf
mf
f
mf
mf
mf
f
ff
mf
ff
mf
ff
mf
mf
f
ff
mf
165
645
Picc.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
ff
mf
f
ff
mf
f
ff
mf
f
ff
mf
f
f
Susp. Cymb.
mf
f
f
B. D. f
own
now
and all
the more pre
cious
-
appassionato
I'm
f
cha
sing
- my
3
soul
where it wants
to lead
ff
3 3
mf
ff
mf
mf
3
3
3
ff
ff
ff
ff
ff
ff
ff
mf
3 ff
ff
mf
ff
ff
ff
ff
3
mf
ff
ff
3
mf
ff
ff
3
mf
3
ff
ff
3
mf
3
ff
166
x2
rall.
rall.
650
219
219
Più lento
Più lento
q = 108
q = 108
Picc.
Cl.
Hn.
Tba.
Perc.2
FATHER
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 3
change to Fl.
Flute
mp
mf
mp
mp
mf
mp
1st time only
mp
p
mp
mp
mp
B. D.
Loud and angry
Well don't turn to us when it leads you to ruin
The Y.MAN waves the ring at him.
I'll
mfwork
mp
p
3 3 3
3
1st time only
mf
1st time only
mf
mp
mf
mp
1st time only
mf
mp
mf
mp
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mp
mf
mf
167
654
Fl.
Cl.
Hn.
Y. MAN
Pno.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
mp
mp
p
I'll
mp
make
it
3
work
I
mf
on
ly- need
your
f
mp
mf
mp
mp
mp
mf
mf
mp
mp
mf
mf
mp
mp
mf
mp
168
659 rall.
rall.
Fl.
Cl.
Hn.
Y. MAN
Pno.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
mf
mf
mf
mp
love
f
FATHER looks at him with pity and shame and exits.
f
mp
p
7
3
mf
3 mp
mf
mp
mf
mp
mf
3 mp
mf
mp
169
220663
Y. MAN
Pno.
You
mp
think
I'm
feck
less
-
un
grate
- ful
- and
3
reck
mf
less
-
but
I've
ne
ver
- been
so
res
pon- si- ble-
3
legato ed espressivo
mp
3
3
3
3
3
3
3
3
3
3
3
670
221
Y. MAN
Pno.
Vln.
Vla.1
Vc. 3
Db. 1
nor
mp
seen
so
clear
ly
-
we
mf
drown
the voi
ces
-
of our
souls
with
mf
3
3
3
3
3
3
mp
5 55
5
p
3 3
p
p
p
3
675
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc. 3
Db. 1
noise
and
chat
ter
-
we'll
do
a
ny- thing
-
not to
mf
mf
5 5 5 5 5 5 5 55 5
3 3 3 3
3
mp
3 3
3
170
680222
222
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
mp
mf
mp
mf
f
33 3
3
mp
mf
mp
mf
f
33 3
mp
mf
f
mp
mf
f
Susp. Cymb.
p
mf
f
B. D.
p
3
3
mp
3
mf
lis ten-
to
what
3
mat
ters
-
but
fI'm
all ears
now
Grand
ffpa
-
f
ff
f
5 5 55
3
3
f
ff
3
mf
f
ff
mf
f
ff
mf
f
ff
mf
3 f
ff
3
mf
f
ff
mf
f
ff
mf
f
ff
f
ff
ff
171
685
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
mp
mf
p
3
3 3
mp
mf
p
3
3
mp
mf
f
mp
mf
f
mp
Susp. Cymb.
p
mf
f
mp
B. D.
mp
3
3
mf
3
p
3
3
3
3
I
fhear
you
you
mfhear
me?
I
fhear
you
f
mf
ff
ff
3 mf
ff
mf
3 ff
3 mf
3
mf
ff
mf
ff
ff
mf
ff
ff
mf
mf
ff
mf
ff
mf
ff
mf
ff
mf
ff
ff
ff
ff
172
691
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Y. MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc. 3
Db. 1
Db. 2
Db. 3
Db. 4
mf
f
f
fff
3 3
3 3
mf
f
f
fff
3 3 3
f
mf
mf
fff
f
mf
mf
fff
Susp. Cymb.
f
p
ff
secco
ff
B. D.
f
3
mp
mf
3
p
secco
f
you
hear
me?
mf
f
ff
fff
mf
f
ff
p
fff
mf
f
ff
p
fff
mf
f
ff
p
fff
f
ff
p
fff
f
mf
ff
p
fff
ff
f
mf
f
ff
p
fff
mf
f
p
fff
mf
f
p
fff
f
mf
f
ff
p
fff
mf
f
p
fff
End of Act 2
173
1
223
20: Lesson No.2
Moderatoq = 100
ACT 3SCENE 1
Double Bass 1
Db.2
Db.3
Db.4
pizz. open str.
fff
l.r.
The YOUNG MAN enters carrying a cheap, tatty double bass. He plays the instrument throughout, until indicated otherwise. The double bass PROFESSOR enters and examines the Y.MAN, who stares, open-mouthed, at the PROF’s resemblance to his G.FATHER.
arco
mp
open str. throughout
3
3
scratchy ord.
mf
lift bow and l.r.
3 3
pizz. open str.
fff
l.r.
arco
mp
open str. throughout
3
3
scratchy ord.
mf
3 3 3
fff
pizz. open str.
l.r.
arco
mp
open str. throughout
3
scratchy
3
fff
pizz. open str.
l.r.
arco
mp
open str. throughout
3
3
3
8
Db.1
Db.2
Db.3
Db.4
mp
scratchy ord. mf
sfz sub. p
f
ff
lift bow and l.r.
lift bow and l.r.
scratchy
mp
ord. mf
sfz sub. p
f
ff
lift bow and l.r.
mf
ord.
lift bow and l.r.
scratchy ord.
mf
sfz sub. p
f
ff
lift bow and l.r.
scratchy
mf
ord.
lift bow and l.r.
scratchy
ord.
sfz sub. p
f
ff
lift bow and l.r.
17
224 A tempo
A tempo
q = 100
q = 100
PROFESSOR
Db.1
Db.2
Db.3
Db.4
Ah so, it falls on me to teach you for my sins
Don't stand there gawping,time is not on your side
Y.MAN continues to play. PROF occasionally gives encouragement or criticism, and improves Y.MAN’s technique throughout the lesson…
ppp
pp
p
mp
mf
ppp
pp
mp
ppp
pp
mp
ppp
pp
mp
scratchy
ord.
174
24
Db.1
Db.2
Db.3
Db.4
mp
mf
sub. mp
3
mf
p mf sub. p
mf
mf
mf
scratchy
mf
30
Db.1
Db.2
Db.3
Db.4
mf
f
mp
3 3
mf
mp
f
mp
f
mp
3 3
mp
mf
f
mp
3
mp
f
mp
36
225 Poco meno
Poco meno
q = 92
q = 92
PROF.
Db.1
Db.2
Db.3
Db.4
mpThe
dou
ble- bass
is not
as some
ro man- tics- say
the bo
dy
-
35
mf
f
p
poco
mp
poco
mf
f
p
poco
mp
mf
f
col legno
p
poco
mp
poco
mf
f
p
pizz. mp
175
43
PROF.
Db.1
Db.2
Db.3
Db.4
of a Ru
ben
- esque
3
- wo
man
mf
-
It's
fa
le vi
- a
- than!
3
-
With a ca
ver- nous- tooth
less- mouth
f
3 3 3
mp
mf
poco
mf
poco
mf
poco
mp
mf
poco
mf
poco
mf
poco
mf
poco
mf
3
3
mf
poco
f
48
PROF.
Db.1
Db.2
Db.3
Db.4
yaw
mf
ning- to swal
low- the man
who would tame
it
On
mp
a few
bright
days
you will love
me
and
the
3
beast
mf
but
3 3 3
mf
mp
poco
mf
mf
mp
poco
mf
mf
mp
mp
mf
3 3 3
mf
mp
mf
54
PROF.
Db.1
Db.2
Db.3
Db.4
mos tly-
3 you
mp
will loathe
one
the o
ther- 3
or both
of us
p
3 3 3 3
mp
p
mp
lift bow and l.r.
mp
p
mp
lift bow and l.r.
mp
p
mp
l.r.
mp
poco
p
poco
p
mp
176
22659
227 Moderato
Moderato
q = 104
q = 104
BIG C
PROF.
Db.1
Db.2
Db.3
Db.4
BIG C enters, carrying the file he compiled for the BOYin Act One. He blows a cloud of dust off it and tears away the label saying ‘CASE CLOSED’.
Well, this is most irregular - but your idiocy cannot last.
Steadily, in response to PROF and BIG C, Y.MAN grows anxious and plays harder.
I trust you are not romantically snared -
ff
p
3 3 3 3
ff
tapping on the front
mp
repeat until cue
3 3 3 3 3 3 3 3
ff
tapping betweentop and fingerboard
p
pizz. con sord.
p
ff
tapping at the back
p
p
ord. con sord.
64
BIG C
PROF.
Db.1
Db.2
Db.3
Db.4
No, you shunned the loving bosom of that young lady -
And there won’t be time for hanky-panky.
con sord.espressivo
mp
p
ord. con sord.
mp
p
mp
p
mp
p
arco
69
BIG C
PROF.
Db.1
Db.2
Db.3
Db.4
Tch! You will be such a dull, lonely geek.
No, you threw away the proud support of your parents -
And I hope you have funds and you don’t need to work;
mf`
mp
mf
mp
arco
mp
mf
f
3 3 3 3
mp
mf
f
3 3 3 3 3 3 3
177
22874
Db.1
Db.2
Db.3
Db.4
f
mute off ord.
3 3 3
f
mute off ord.
3 3
mute off
f
ord. sfz
sfz
mute off
f
ord. sfz
sfz
77
Db.1
Db.2
Db.3
Db.4
mf
f
ff
mf
3 molto vibratof
mp
33
3
3
3
3
mf
f
ff
mf
molto vibrato
3f
mp
mp
mf
f
mp
f sub. p
3
3
3
p
mf
f
mp
f sub. p
3
3
81
PROF.
Db.1
Db.2
Db.3
Db.4
Loud
An artist must be a slave only to his art.
mf
3
3
3
3
3
3
3
3
mf
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
mp
gliss.
mp
gliss.
178
229 Aggressivo
Aggressivo
q = 120
q = 120
84
BIG C
Db.1
Db.2
Db.3
Db.4
The Y.MAN develops a pain in his left wrist and his playing falters.
Very loud
All those bright young talents you study with - They didn’t have years where they barely played
ord.
sfz ff
sim.
ff
on string section beyond the bridgesim.
6 6 6 6
ord.
sfz ff
sim.
sul pont. molto
ff
sim. 6 6 6 6
arco perc. col crine
l.h. slap
f
arco perc. col crine
l.h. slap
f
87
BIG C
Db.1
Db.2
Db.3
Db.4
You’ll never catch them or match them at your age.
sfz ff
sim.
6 6 6 6
sfz ff
sim.
6 6 6 6
179
90
BIG C
Db.1
Db.2
Db.3
Db.4
You left it too late, old man.
ff
arco perc. col crine
6 6 6 6
l.h. slappp
ff
arco perc. col crine
6 6 6 6
l.h. slappp
pp
pp
93
Db.1
Db.2
Db.3
Db.4
Y.MAN stops playing and clutches his wrist. BIG C is pleased with himself.
fff
fff
fff
fff
180
230 Deciso
Deciso
q = 80
q = 80
96
231 Recitativo
Recitativo
21: Tendonitis
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
DOCTOR
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
fff
p
its own tempo
mp
3
until cue 3
fff
p
mp
fff
p
its own tempo
mp
3
until cue
3
fff
p
mp
ff
Rattle Susp. Cymb.
ff
f
Timp.
q = 80 c.a.
p
mp
3 3 3 3 3 3 3 3
FATHER (DOCTOR) enters and examines his son’s wrist.
with calm tone
Yes it’s badly inflamed. It’s called tendonitis. It seems you’ve been overdoing it rather.
fff
ppp
fff
ppp
fff
ppp
fff
ppp
fff
fff
fff
ppp
fff
fff
fff
181
99
Recitativo
Recitativo
Fl.
Cl.
Hn.
Tba.
Perc.2
DOCTOR
Y.MAN
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
ppp
its own tempo (fast)
p
3 until cue
mf
3
ppp
p
mf
ppp
its own tempo (fast)
p
3
until cue3
mf
ppp
p
mf
Timp.
pp
mf
3 3 3
DOCTOR gives Y.MAN some pills, then ties his left arm into a sling.
These will help the pain and inAlammation. But there’s nothing for it but complete rest.
What
mp can you give
me
to cure
it?
I
f can't stop
my
p
f
p
f
p
f
p
f
f
p
f
f
182
103
Perc.1
Perc.2
DOCTOR
Y.MAN
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
mp
Susp. Cymb.
poco
3 3 3 3
Timp.
pp
poco
You'll have to
As long as it takes
Weeks! Maybe months
Louder tone
prac
tice!
-
Worried
How long?
mp A few days?
p mf
Months?!
pp
p
mp
p
mp
p
mp
p
mp
mf
p
mp
mf
p
mf
mf
183
105
232 Con moto
Con moto
q = 120
q = 120
233 Recitativo
Recitativo
Fl.
Cl.
Hn.
Tba.
DOCTOR
Y.MAN
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
p
p
ff
p
p
Authoritative
No strenuous exercise - of any kind.
I
can't
f
I will fail!
Loud and desperate tone
But I work in a warehouse. I’ll lose my job!
ff
mf
pp
mp
ff
mf
pp
mp
ff
mf
pp
mp
ff
mf
ff
mf
pp
mp
mf
mp
ff
mf
mp
ff
mf
mp
ff
mf
ff
mf
184
109
DOCTOR
Y.MAN
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.3
mp
What am I thinking?
Quieter but decise
I know what you’re thinking. And don’t look so smug!
I
mp
told
you so
told
you
3
so
pp
mp
pp
mp
pp
mp
mp
mp
pp
mp
pp
pp
mp
pp
185
112
234q = 80
q = 80
Andante marcato
Andante marcato
22: Out of Control
Fl.
Cl.
Perc.1
Perc.2
LOVER
LANDLADY
BOSS
PROF.
Pno. *
Vln.
Vla.1
Vc.1
Db.1
Y. MAN takes pills and tries to play wearing the sling. Frustrated, he removes it and plays in pain. A CHORUS sings in the shadows: his PROFESSOR, his LANDLADY, his BOSS and his LOVER. The Y.MAN struggles to keep playing the bass, but his growing anxiety and the worsening pain in his arm thwart him. BIG C hovers and ‘conducts’, enjoying the Y.MAN’s failure.
p
3
p mp
p
3 mp
3
Hammer
p
pp
Susp.Cymb. soft mallets
mp
pp
soft mallets Timp.
Oh
mfmolto espressivo e sensuale
come
play
with
me
Will
mf
you
marcatissimo
give up
that mons
truous- noise that bloo
dy- bass makes this
house shake
shake
Your
mf
playing
marcatissimo
gets worse in stead
- of bet
ter- it's
* Prepared with a metal plate covering Bb3 to G4
mp
col legno
p
p
col legno
col legno
p
p
col legno
186
116
Fl.
Cl.
Perc.1
Perc.2
LOVER
L.LADY
BOSS
PROF.
Pno. *
Vln.
Vla.1
Vc.1
Db.1
mp
p
Ham.
Susp.Cymb. stick
p
mf
Timp.
poco p
mp
3 3
I'm
so
a
lone
-
shake
shake
shak ing-
3 shake
What's
mf
wrong
marcatissimo
with your arm
you la
zy- squirt it can't
be that bad
you can't
let me down
3 3 3
clear you are ne gle
- cting- your prac
tice-
prac tice-
prac tice-
prac tice-
3
mf
Inside the piano
gliss.
poco
mp
poco
mp
poco
mp
poco
mp
187
235
120
Fl.
Cl.
Hn.
Perc.1
Perc.2
LOVER
BOSS
PROF.
Pno. *
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
p
p
3
mp
tapping on the bell with a coin
p
Ham.
mp
Timp.
pp
Oh
you're
al
ways
- work
ing
- -
I'm not paying you to
be late then
This is not mu
sic- it's just
a mess
play it a gain
-
play it a gain
-
a gain
-
ord.
mf
mp
mp
mp
mp
mp
mp
mf
188
123
accel.
accel.
Fl.
Cl.
Hn.
Perc.1
Perc.2
LOVER
L.LADY
BOSS
PROF.
Pno. *
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
mp
p
mp
Ham.
Susp.Cymb.
p
f
Timp.
mp
mf
3 3
Oh
you're
al
ways
- tired
I don't care a bout
- your arm you want
to stay here
you'll pay
your rent
sleep in the staff
room- on
your break
break
break
break
3
mess
mess
mess
mess
remove metal plate from inside
l.v.
mf
Inside the piano ff
gliss.
189
236 Più mosso
Più mosso
q = 92
q = 92
128
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
LOVER
L.LADY
BOSS
PROF.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
mf
mf
3
f
3
mp
tapping on the bell with a coin
mp
Ham.
mf
mp
Timp.
Oh
f you
mf
can
not- make
me
You
f
can't pay your way
then
you're
out on your ear
can't
can't
I
f
can't pay a crip
ple-
and a shirk
shirk
shirk
can't
can't
You
fcan't
miss
dead lines-
you
will fail
can't
mf
mezzo col legno
mf
mezzo col legno
mf
mezzo col legno
mf
mezzo col legno
mf
mezzo col legno
mezzo col legno
mf
mf
mezzo col legno
f
f
190
133
accel.
accel.
237q = 108
q = 108
Ancora più mosso
Ancora più mosso
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
LOVER
L.LADY
BOSS
PROF.
Pno. *
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
f
mp
mf
6 3
33
mp
mf
3
3
6
mf
mp
mp
mf
mf
nat.
p
f
f
mp
mf
Ham.
f
Susp.Cymb.
p
f
Timp.
mf
pp
f
mp
hap
ff
py
-
pack up
I'm
ff
You
can't
Just pack
your rub
bish- clear out
of here
up
ff
You
can't
Pack up
your lo
cker- you've got
the sack
ff
You
can't
pack up
f
f
ord.
mf
f
ord.
mf
f
ord.
mf
f
ord.
mf
f
ord.
mf
f
ord.
mf
f
mf
ord.
ord.
mf
f
f
191
137
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
LOVER
L.LADY
BOSS
PROF.
Pno. *
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
f
33
3
3 3
3
f
3
3
3
33 3 3
f
f
Ham.
Timp. mf
send ing- you pack
ing- that's it
good bye
-
pack ing-
pack ing-
pack ing-
You might
as well just pack
it all in
ff
192
139
rall.
rall.
rit.
rit.
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
LOVER
L.LADY
BOSS
PROF.
Pno. *
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
ff
ff
ff
ff
Ham.
Timp.
f
Pack it in
fff
The Y.MAN sings a cry of agony and despair. Exhausted and clutching his arm, he drops his bow and sinks to the floor by his bass. BIG C stands over him, victorious. He makes notes, signs off the ‘case’, closes the folder and exits.
Pack it in
fff
Pack it pack
it in
fff
Pack it in
fff
ff
fff
3
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
193
238 Meno mosso
Meno mosso
q = 84
q = 84
23: A Way Out
141
Fl.
Cl.
Hn.
Tba.
Perc.1.
Perc.2
Y.MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
ff
f
3
3 3
ff
f
3
3 3
ff
f
ff
f
W.B.
f
f
Susp. Cymb.
p
mf
f
Timp.
p
mf
Y.MAN lays down his bass. He doesn’t notice PROF listening to the following...
This
ff
is not
how it was
meant
to be
mf
meno
the
ff
3 3
3
ff
ff
f sub. mp
f
3
3
3
3
ff
3
f sub. mp
f
ff
f sub. mp
f
ff
f sub. mp
f
3
3
ff
f sub. mp
f
ff
f sub. mp
f
ff
ff
ff
ff
194
146
Fl.
Cl.
Hn.
Tba.
Perc.2
Y.MAN
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
mp
mf
mf
mp
p
Timp. mf
3 p
3
3 3
dreams
I
had
mp
seem
child
ish- now
f
they
mf
are
but
dust
mp
and
I
am
no
thing
-
3 with out
- them
f sub. mp
f
mp
f sub. mp
f
mp
f sub. mp
f
mp
mp
f
mp
mp
f
mp
mf
mp
f
mp
mf
f
mp
p
p
195
154
Fl.
Cl.
Hn.
Tba.
Perc.2
Y.MAN
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
f
f
Timp.
mf
3 p
pp
3 3
I'm
f
sor
- - ry Grand
pa-
but I've failed
ff
who
fwas
I foo
ling
-
to
e
ven
-
3
3
f
mf
mp
f
mf
f
mf
mp
f
f
f
f
f
196
239
161
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Y.MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
ff
mp
mf
3
36
6
ff
mp
mf
3
3 3 3
ff
ff
W.B.
f
f
Susp. Cymb.
f
Timp.
mp
mf
mp
3
try
ff
I
mf
should have ne
ver- list
ened-
3
to
my
own
3
ff
3 3
ff
ff
ff
sub. mp
p
mf
3
3
3
ff
3
ff
sub. mp
p
mf
ff
ff
sub. mp
p
mf
ff
ff
sub. mp
p
mf
3
3
3
ff
ff
sub. mp
p
mf
ff
ff
sub. mp
p
mf
ff
ff
ff
ff
197
165
240
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Y.MAN
PROF.
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
f
mp
f
f
mp
f
Mba.
mf
f
Timp.
3
soul
mp
I
mpknew
him
f
mp
f
f
f
f
f
f
f
mf
mp
f
mf
mp
198
172rall.
rall.
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
PROF.
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Mba.
3
p
Vib.
your
grand
3
pa
-
a
lo
vely
3
- gent
we
were
3
col
leagues
-
in the Na
tio- nal- Or
ches- tra
-
3 3
mf
3
pp
pp
pp
pp
p
p
199
241 Più calmo
Più calmo
q = 74
q = 74
178
Fl.
Cl.
Hn.
Perc.2
PROF.
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
p
3
3
3
3
3
3
3
3
3
3
p
3
3
3
3
3
3
3
3
3
3
pp
Vib.
The PROF produces a long, old-fashioned door key.
I
mp
have
molto espressivo
a cot
tage
- up
in the moun
tains
-
it
is
Spar
tan
- but
it's
beau
ti- ful
-
p
3
3
3
3
3
3
3
3
3
3
3
3
pizz.
pizz.
3 3
pizz. pizz.
200
poco rit.
poco rit.
183
A tempo
A tempo
poco rall.
poco rall.
Fl.
Cl.
Hn.
Perc.2
PROF.
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
Db.3
3
3
mp
3
3 p
p
3
3
mp
3
3
p
p
pp
poco
p
Vib.
pp
time
lo ses- mea ning- in
such
mf
a place
you
mp
need
to com pose
- your self
-
heal
and
find
your peace
The Y.MAN is about to protest, but PROF bars his lips with his index finger.
mp
p
3
3
3
3
mp
mp
mp
mp
pizz.
mp
3
pizz.
p
201
242 Calm and staticq = 72
190
24: Silent Struggle
SCENE 2
Db.1
Db.2
Db.3
Db.4
pp
The Y.MAN’s takes a rucksack and journeys high into the mountains.
p
mp
sub. p
mp
pp
pp
p
mp
sub. p
3
pp
p
3
mp
sub. p
pp
p
mp
3
198
243
Db.1
Db.2
Db.3
Db.4
sub. p
p
mf
3
3
3
3
mp
p
mp
3
p mf
p
mp
p
mp
3 p
mf
p
mp
p
mf
mp
204
Db.1
Db.2
Db.3
Db.4
mp
mf
3 3
mp
mf
p
mp
mf
3 3 3 3 3 3
3
3
mf
3
3
202
208
Db.1
Db.2
Db.3
Db.4
mf
3 p
mp
3 3 3
3
mp
f
p
mp
3
mp
mf
3
p
mp
3 3 3 33 3
3
3 3
mp
mf
f
mp
214
244
Db.1
Db.2
Db.3
Db.4
mf
mp
mf
mp
mf
3 3 3 3 3 3
mf
mf
mf
3 3 3 3 3 3
mf
mp
mf
mf
mf
mp
mp
mf
3 3 3
218
Db.1
Db.2
Db.3
Db.4
p
mf
mf
mp
mp
mf
3 3 3 3
mp
mp
mf
p
3 3mf
mf
203
222245
Db.1
Db.2
Db.3
Db.4
f
p
3 3
mf
f
p
3
f
p
5 5 5
5 3
3 3 f
3
mp
226
Db.1
Db.2
Db.3
Db.4
mp
p
3 3 3 3
mf
mp
p
3 3 3 3
mf
mp
p
5 5
mp
p
3 3
230
Db.1
Db.2
Db.3
Db.4
pp
mp
p
pp
3 3 3 3
5 5
pp
p
pp
mp
p
pp
5 5 3
pp
p
mp
p
pp
3 3 3
pp
p
p
pp
3 3
204
236
Db.1
Db.2
Db.3
Db.4
pizz
arco
open string
p
pp
graduallysul pont.
pizz
arco
open string
p
pp
graduallysul pont.
pizz
arco open string p
open string
pp
graduallysul pont.
pizz
arco
p
open string
pp
graduallysul pont.
246
240
As long as stage directions need
B. Fl.
B. Cl.
Hn.
Tba.
The Y.MAN reaches his destination and perches on a ‘ledge’. The silence becomes deafening; he covers his ears.He jumps to his feet and paces around. He notices the (toy) piano. He tries to play, but his left arm aches. He swallows some pills, puts his arm back in the sling. He takes a folder of manuscript paper from his bag. He begins to compose.
Remove the mouthpiece and quietly blow in the instruments without producing any pitch, like a gentle wind, leaving a few seconds interval between repetitions
Remove the mouthpiece and quietly blow in the instruments without producing any pitch, like a gentle wind, leaving a few seconds interval between repetitions
Remove the mouthpiece and quietly blow in the instruments without producing any pitch, like a gentle wind, leaving a few seconds interval between repetitions
Remove the mouthpiece and quietly blow in the instruments without producing any pitch, like a gentle wind, leaving a few seconds interval between repetitions
205
241
24710 Seconds
Perc.2
pp
Timp.
soft mallets
mp
248q = 54Lento
242
Perc.2
Pno.
pp
Timp.
p
pp
ppp
3 3 3
33 3
3 3
p
246
Perc.2
BIG C
Pno.
Timp.
3 poco
p
3
33 3
3
33
3
The voice of BIG C echoes around the mountains…
What are you dabbling with now? Composing?! But you have to be creative to do that -
mf
mp
mp
206
250
Perc.2
BIG C
Pno.
ppp
Timp.
mf
p
ppp
3
3
3 3
And who’s going to want to suffer this? Alone, here, you’ve got no excuses;
p
f
mp
f
mp
255
Perc.2
BIG C
Pno.
mp
Timp.
mf
3
mp
mf
3
pp
mf
3 3 3
33
3 3
There’s nothing to blame but your own inadequacy. Face it, boy - you’re simply not good enough.
f
mp
ff
5
3
mp
f
f ff
5
261
Perc.2
Pno.
Timp.
f
3 3
3
3
pp
3
33 3 3
5
5
267
Y.MAN
The Y.MAN stops, screws up the manuscript and throws it down. In frustration he lays down under the stars. The stage darkens.
207
249 Misterioso
Misterioso
q = 84
q = 84
268
25: The Cave
250 Più mosso
Più mosso
q = 104
q = 104
B. Fl.
B. Cl.
Hn.
Tba.
Vib.
Pno.
Vln.
Vla.1
Vc.1
Db.1
long
p
short
long
pp
pp
long
p
short
long
3
3
pp
Vib.
bowed
pp
soft mallet
pp
bowed
pp
soft mallet
pp
long
short
long
sul tasto
pp
pp
long
short
long
ord.
p
sul tasto
pp
pp
ord.
pp
pp
sul tasto p
ord.
pp
208
276
251
B. Fl.
B. Cl.
Perc.1
BOY
Y. MAN
Vln.
Vla.1
Vc.1
Db.1
p
p
p
3 3
3
p
Vib.
Voices are heard in the dark.
Who
mp
lives
in a cave
3
Where
mphave
you
brought
me?
mp
mp
p
p
mp
mp
p
mp
poco
p
p
p
p
284
B. Fl.
B. Cl.
BOY
Y. MAN
Vln.
Vla.1
Vc.1
Db.1
mp
mp
p
mf
3
mp
p
mf
high up
in the moun
tains?
-
(Thinks.)
Big
p
C?
This is Big
C's
cave?!
mf 3
mf
p
sul tasto
mp
p
mp
mf
mf
mp
sul tasto
p
mp
ord.
p
p
mf
mf
mp
p
mf
mp
p
mf
209
292
252 Più lento
Più lento
q = 92
q = 92
253 A tempo
A tempo
q = 114
q = 114
B. Fl.
B. Cl.
Hn.
Tba.
Perc.1
BOY
Y. MAN
Pno.
Vln.
Vla.1
Vc.1
Db.1
p
p
pp
p
pp
p
pp
Vib.
bowed
pp
p
mp
Of
mf
course
we can
A pair of torches flicker on in the darkness and scan the space.
We
f
can't
go in!
But
mp
where's
Big C?
pp
p
mp
f
pp
sul pont.
p
ord.
pp
p
f
pp
sul pont.
p
ord.
pp
p
f
pp
p
p
pp
p
p
210
300
B. Fl.
B. Cl.
Hn.
Tba.
Perc.1
BOY
Y. MAN
Pno.
Vln.
Vla.1
Vc.1
Db.1
pp
p
3
p
Vib.
Ex
mp
cept
- us
Oh
mf
he
ex
3
-
There's no
one here
Ex cept
- us
Big C
do
esn't- real
ly- ex ist,
-
does he?
3 3 3
pp
pp
mp
p
mp
pp
p
pp
p
pp
p
mp
p
pizz.
p
211
306
254 Recitativo
Recitativo
B. Fl.
B. Cl.
Hn.
Tba.
Perc.1
BOY
Y. MAN
Pno.
Vln.
Vla.1
Vc.1
Db.1
mf
mp
p
pp
p
3
mf
mf
pp
p
pp
Vib. bowed
pp
ists
all right!
Look!
f
His torch beam lands on the file compiled by BIG C. The Y.MAN approaches it.
O
mp
pen- it
O
mf
pen- it
and read
3
I
mf
daren't
p
mp
p
mf
pp
sul pont.
p
ord.
mf
pp
sul pont.
p
ord.
mf
pp
p
arco
mf
mf
pp
p
212
255 Ancora più lento
Ancora più lento
q = 76
q = 76
313
B. Fl.
B. Cl.
Tba.
Perc.1
Pno.
Vln.
Vla.1
Vc.1
Db.1
pp
The Y.MAN does so, hardly able to breathe. He scans the pages by torchlight.
p
p
espressivo
p
3
3
3
3
3 3
p
pp
pp
pp
bowed Vib.
pp
p
mp
p
pp
pp
p
pp
p
p
pp
320
256 Moderato
Moderato
q = 82
q = 82
B. Cl.
BOY
Y. MAN
Pno.
Vln.
Vla.1
Vc.1
Db.1
mp
There
mf
you
molto espressivo
see
our whole
life
sto
ry
-
how you
cons pired
- with o
thers
-
to mur
der- my
3
3
That
f
wasn't
me
meno
it
mf
f
mp
3 3
3 3 mf
3
mp
3
mp
mp
213
327
B. Cl.
BOY
Y. MAN
Vln.
Vla.1
Vc.1
Db.1
mf
f
3
dreams
He's
all
the ne
ga- tive- voi
ces-
you've e
ver- heard
He's
all your
3 3
was
Big C!
You know
what he's like
He ne
ver- shuts up
He
3
3
3
3
3 3
mf
f
3
mf
mf
3
331
Fl.
B. Cl.
Perc.2
BOY
Y. MAN
Pno.
Vln.
Vla.1
Vc.1
Db.1
mf f
arco
ff
3 3
3 3
ff
Susp.Cymb.
pp
mf
doubts
and all
your fears
But in
the end
he's
f
makes
me small
that's
not what I am
ff
what
I
3
am
3
mf
3 f
3 3
f
p
f
arco
ff
3 3
33
3
p
f
pizz.
ff
arco 3
3
f
p
f
pizz.
ff
3 3 3
f
p
ff
pizz.
ff
3
214
257
335
molto rall.
molto rall.
Fl.
B. Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
Pno.
Vln.
Vla.1
Vc.1
Db.1
fff
f
ff
ff
ff
ff
ff
ff
hard mallets
f
Vib.
f
on bell
f
Susp.Cymb.
side
p
f
on bell
f
side
p
ff
f
3
mp
3 3
you
ff
he's
you
sostenuto he's
you
fff sostenuto
ff
f
3
ff
mp
ff
p
ff
f
3
ff
mp
ff
p
ff
arco
f
3
3
ff
mp
3 ff
p
ff
3 3 3 3
arco
f
3
3
ff
mp
3
ff
p
ff
3 33 3
215
258 Recitativo
342
Fl.
Perc.1
BOY
Pno.
p
Vib. soft mallets
p
very long
You
mp
let
Big C in
and you
let
him win
you must name his po
mf
wer
-
as
fear
3 3 3
mp
259 A tempo
A tempo
q = 92
q = 92
345
Perc.1
BOY
Y. MAN
Pno.
Vln.
Vla.1
Vc.1
Db.1
Vib.
mp
What
mp
does
the C
stands
for
in his name?
3
I
mp
don't know
can cer?-
mp
3
33
3
mp
p
mf
p
p
p
p
mp
p
mp
216
352
260q = 120
q = 120
Più mosso
Più mosso
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
Y. MAN
Pno.
Vln.
Vla.1
Vc.1
Db.1
f
p
mp
3 3
f
p
mp
3 3
mp
mp
Vib.
mp
T. Bl.
mf
Tom-t.
mf
f
mf
Susp. Cymb.
mf
damp
He's
mf
a lot of Cs
(Shouts.)
Big
fC
come
out
you cow
ard!-
(Catching on.)
You
mp
cas ti ga
- tor-
you chid
ing-
con
-
f
ff
p
mp
f
f
mp
f
f
mp
mf
f
pizz.
p
mp
mf
f
ff
pizz.
p
mp
217
358
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
Y. MAN
Pno.
Vln.
Vla.1
Vc.1
Db.1
mf
f
mf
f
mf
f
mf
f
mp
mp
T. Bl. f
mf
3
3
Tom-t.
mp
3
mf
f
3
f
Susp. Cymb.
mf
Cab
f
bage!-
Can
mf
ni- bal
-
ni ving-
You
mf
com plai
- ning-
con for
- mist-
You
cap
ftious
-
You
f
cal ci- fied
-
mf
f
mf
f
mf
f
arco
mf
pizz.
mf
f
arco
f
arco
mf
pizz.
mf
f
arco
f
218
365
261 Più mosso
Più mosso
q = 132
q = 132
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
Y. MAN
Pno.
Vln.
Vla.1
Vc.1
Db.1
mp
mp
mp
mp
mf
T. Bl.
Tamb.
f
shakesubito p
Tom-t.
f
mf
f
Susp. Cymb.
p
mf
f
You
mp
car
bun- cule
-
con ser
- va- tive
-
You
mp
cal
lous- clot
You
mf
cau
stic
- ca
f
co
- pho
3
- ny
-
mp
f
mp
mp
f
mf
mp
mp
f
mf
mf
219
372
q = 104
q = 104
Più lento
Più lento
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
BOY
Y. MAN
Pno.
Vln.
Vla.1
Vc.1
Db.1
f
5
f
5
f
f
f
with palmTamb.
f
secco
mf
Tom-t.
f
3
f
3
Susp.Cymb.
mf
mp
mf
Con
f
man-
cho cker-
Creep!
But
worst
of all
you
ff
cri
tic!
There is no response. They laugh. Their torches go out.
-
Cen
f
sor-
Clen cher-
But
worst
of all
you
ffcri
tic!
-
ff
33
f
f
mf
f
f
mf
f
f
arco
f
f
pizz.
f
arco
f
f
220
262q = 76
q = 76
Calmo
Calmo
378
Hn.
Perc.1
Vln.
Vla.1
Vc.1
Db.1
p
espressivo
3
3
p
Vib.
espressivo
mp
mp
mp
pizz.
mp
382
Hn.
Perc.1
Vln.
Vla.1
Vc.1
Db.1
Vib.
mf
arco
221
263 Moderatoq = 66
387
26: Composed
B. Fl.
B. Cl.
Hn.
Tba.
pp
Lights fade up. It’s dawn and the Y.MAN wakes and enjoys the silence and the landscape. The BOY sits apart, watching, but Y.MAN doesn’t acknowledge the BOY.
p
poco
pp
p
poco
pp
p
poco
molto espressivo p
5 5 3
394
B. Fl.
B. Cl.
Hn.
Tba.
mp
mf
mp
p
mf
mp
mf
mp
p
mf
mp
mf
mp
p
mf
mp
mf
mp
mf
mp
264
401
B. Fl.
B. Cl.
Hn.
Tba.
Perc.1
f
ff
ff
ff
mp
f
ff
ff
ff
mp
mf
molto espressivo
f
ff
mf ff
f
5 33 5 3 3
f
ff
ff
ff
mp
Susp. Cymb.
pp
soft mallets
222
408
265
B. Fl.
B. Cl.
Hn.
Tba.
Perc.1
Y.MAN
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
HYMN TO THE MOUNTAINS
mp
Susp. Cymb.
mp
The
p
stars
are clo
ser
-
here
and there's so
ma ny- moreof them
than I
3 3
53
sempre p
sempre p
sempre p
sempre p
223
414
266 Poco più mosso
Poco più mosso
q = 72
q = 72
B. Fl.
B. Cl.
Hn.
Tba.
Perc.1
Y.MAN
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
mp
mp
p
3
5
Susp. Cymb.
p
e ver-
could see
be fore
-
The
mp
old
man
was right
time
stands still
in peace
like a
3 3
sempre p
sempre p
sempre p
sempre p
sempre p
mp
mp
mp
mp
224
420
267
B. Fl.
B. Cl.
Hn.
Tba.
Perc.1
Y.MAN
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
mf
mf
5
Susp. Cymb.
sticks
mf
3
blank
3
ma nu- script-
the on
ly- mea
sures
-
are
3day
and night
and the work I do
mf
mp
The se
conds
- must
3 5 3
sempre p
sempre p
sempre p
sempre p
sempre p
mp
mf
mf
mf
mf
225
426
B. Fl.
B. Cl.
Hn.
Tba.
Perc.1
Y.MAN
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
still
mftick
but
mp
there
is
more
space
be tween
- each note
a
p
226
431
268 Tempo I
Tempo I
q = 66
q = 66
molto rit.
molto rit.
B. Fl.
B. Cl.
Hn.
Tba.
Perc.1
Y.MAN
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
p
pp
p
pp
p
pp
p
pp
5
Susp. Cymb.
pp
soft mallets poco
pp
wi
der- si
lence
-
3 be
tween
-
the
notes
pp
pp
pp
pp
pp
pp
227
269q = 120-132
q = 120-132
Allegro
Allegro
437
Perc.1
Perc.2
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
Y.MAN springs to his feet and begins, tentatively at first, to compose at the piano. As he grows in confidence, the BOY dances round him with increasing joy. As the sequence reaches climax, the Y.MAN makes the final touches to his composition with a flourish, and closes the finished manuscript. Excitedly, he runs ‘down the mountain’…
T. Bl. sticks
mp
mf
Susp. Cymb.
mf
on bell
ppp
hard sticksB. D.
sempre
poco p
ppp
pp
poco
p
mf
pp
pp
poco
p
gliss.
gliss.
mf
gliss.
pp
pp
poco
p
mf
pp
p
mp
mf pp
pp
poco
p
mf
pp
p
mp
mf pp
pp
p
mf
p
p
mf
p
mf
228
441
Perc.1
Perc.2
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
T. Bl.
mp
mf
Susp. Cymb.
f
on bell
B. D.
poco p
ppp
poco
p
mf
pp
poco
p
gliss.
gliss.
mf
gliss.
pp
poco
p
mf
pp
p
mp
mf
pp
poco
p
mf
pp
molto espressivo
mp
p
mp
mf
pp
3
molto espressivo
p
p
mf
molto espressivo
p
molto espressivo
mp
3
p
p
mf
p
p
mf
229
446
Perc.1
Perc.2
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
T. Bl.
mp
mf
Susp. Cymb.
f
on bell
B. D.
poco p
ppp
poco
p
mf
pp
poco
p
gliss. gliss.
mf
gliss.
pp
poco
p
mf
pp
p
mp
mf pp
poco
p
mf
pp
p
mp
mf pp
p
molto espressivo
mp
3
3 3
p
mf
molto espressivo
p
3mp
molto espressivo
p
3mp
p
molto espressivo
mp
3
3
3
p
mf
p
p
mf
p
230
451
270
Fl.
Cl.
Perc.1
Perc.2
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
Flute
mf
Clarinet in Bb
mf
mp
T. Bl.
mf
f
p
mp
mf
f
mf
Susp. Cymb.
on bell
f
p
ord.mf
B. D.
mp
poco
p
mf
mp
gradual crescendo
poco
p
gliss.
gliss.
gliss.
f
gliss.
non gliss.
mp
poco
p
f
mp
p
mp
mf
f
mf
mf
poco
p
f
mp
p
mp
mf
f
mf
p
f
mf
mf
mf
p
f
mf
p
f mf
231
456
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
Db.2
Db.3
Db.4
f
ff
f
ff
mf
f
ff
mf
f
ff
T. Bl.
mf
f
Susp. Cymb.
on bell
f
ff
side
ff
side
damp.
B. D.
mf
ff
damp.
ff
f
fff
f
fff
f
fff
mf
f
fff
f
fff
f
fff
f
fff
f
fff
f
fff
f
fff
232
271 Recitativo
460
27: A Reunion
SCENE 3
Tba.
Y.MAN
Pno.
long
mp
The Y.MAN presents the finished manuscript to the PROF, who reads it sternly.
You
mp
don't like
it
do you?
Oh
well
I
tried.
Thank
you
for be liev
- ing
-
in me
3
let natually die out
mf
461
272 273
Y.MAN
PROF.
Pno.
I'm sor
ry-
I let
you down
The PROF lifts over a double bass, still in its case. Y.MAN opens it throughout...
While
mp
you were
gone
I made some
de ci- sions-
466
PROF.
It is
a cus tom-
for re ti- ring- pro fes
- sors-
to
pass on
their in
stru
- ment-
to
the most
de
ser- ving-
of their
3
stu
dents-
3 3
233
467
274 Lento in tempo
Lento in tempo
Recitativo
Recitativo
Lento in tempo
Lento in tempo
PROF.
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
hearty and espressivo
It's
not
light
mfly
-
that
I
3
part
from this
I
envi
ed
- her
for ma
ny- years
perched
at
the back
of
the
p
pp
espressivo
pp
mf
warm
p
mp
pp
mf
warm
p
mp
pp
mf
warm
p
mp
pp
mf
warm
p
mp
pp
mf
Recitativo
Recitativo
473
Più mosso
Più mosso
q = 72
q = 72
q = q.
q = q.
Perc.1
PROF.
Pno.
Vln.
Vla.1
Vla.2
p
Susp. Cymb.
poco
pit
be
side
- your grand fa
- ther
-
but I got it for
a snip
in an auc
tion
-
some years
a go
-
you've
mp
earned
it now
and
I
3
ho
nour
- you both
3
mp
mf
mp
mp
mp
234
275
476
Fl.
Cl.
Tba.
Perc.1
Perc.2
Vln.
Vla.1
Vla.2
Vc.1
Db.1
They admire GRANDFATHER’s double bass. The Y.MAN removes his sling and flexes his arm without pain. He smiles at the PROF.
mf
f
mf
f
f
Susp. Cymb.
mp
mf
f
Glock.
mf
f
mf
f
mf
f
mf
f
mf
f
481
276 Recitativo
Recitativo
Hn.
Tba.
PROF.
Vln.
Vla.1
Vla.2
Vc.1
Db.1
mf
So
mf
now
we
3
know
you
can
com pose
-
but
3
can
you
per form?
-
3 3
235
483
277 Andanteq = 76
28: Concert No.2
Vln.
Vla.1
Vla.2
Vc.1
Db.2
pp
sul tasto
The Y.MAN dons a bow tie. He takes centre stage, in a spotlight, with his double bass. He performs his piece for double bass and orchestra.
ord.
poco
3 3
pp
sul tasto
mp
ord.
p
5
sul tasto
pp
ord.
poco
sul tasto 3
p
mp
ord. mf
p
5
3
pp
sul tasto sul pont.
poco p
ord.
p
mp
mf
p
poco sul pont.
p
poco
ord.
mp
p
poco mp
pizz.
p
278491
Vln.
Vla.1
Vla.2
Vc.1
Db.1 *
Db.2
sul tasto
pp
ord.
mp
poco
sul tasto
pp
ord. 5
3 3 5
sul tasto
pp
mp
ord. poco
3 pp
sul pont.3
3 53
sul tasto
pp
ord.
mp
poco
sul tasto
pp
3
p
poco
sul pont.
* Soloist
molto espressivo
mp
p
arco
mp
236
497
279
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1 *
Db.2
Db.3
Db.4
mp
p
p
3 mp
3 3
mp
p
pp
mp
3
ord.
mp
p
poco
3 pp
p
mp
ord.
mp
p
poco
3
pp
p
mp
espressivo
mp
pp
p
mp
mf
p
p
mp
mp
pizz.
mp
mp
arco
p
p
mp
pizz.
p
237
504
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1 *
Db.2
Db.3
Db.4
pp
p
mp
mf
mp
3 3 3 3 6
pp
p
mp
mf
mp
3 3
p
3
mp
mp
mf
mp
p
mp
pizz.
mf
mp
mp
mp mf
mp
mf
mp
mf
f
mf
mf
mf
p
pizz.
mp
mf
arco
3
arco
mf
3 3
238
280
509
molto rall.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1 *
Db.2
Db.3
Db.4
p
mp
mf
f
3 3 3
p
mp
mf
f
3
p
mp
mf
f
arco
p
mp
mf
f
p
mp
mf
f
p
mp
mf
mp
mf
f
p
mp
mf
f
pizz.
mp
arco
mf
f
p
pizz.
mp
arco mf
f
3 3 3
239
281 Più mosso
Più mosso
q = 100
q = 100
516
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1 *
Db.2
Db.3
Db.4
(all semitones)
ff
ff
ff
brassy
ff
ff
W. B. f
mf
f
Timp.
secco
damp
ff
pp
ff
p
ff
p
ff
mf
ff
p
f
f
p
f
ff
p
ff
ff
ff
240
523
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1 *
Db.2
Db.3
Db.4
ff
ff
ff
ff
ff
ff
ff
ff
ff
W. B. ff
Susp. Cymb.
p
Timp.
f
damp
f
damp
p
f
p
f
mp
f
p
f
mp
f
p
f
mp
f
mf
f
mf
p
f
mp
mp
f
f
mp
f
mf
ff
ff
ff
ff
ff
ff
241
530
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1 *
Db.2
Db.3
Db.4
mf
mf
f
mp
mf
ff
p
Susp. Cymb.
f
mp
3
f
damp
3
Timp.
f
ff
p
mp
p
f
p
p
mp
p
f
p
p
mp
p
ff
p
mp
p
ff
p
mp
p
ff
p
p
mp
p
ff
mp
mf
f
ff
p
p
mp
p
ff
p
mp
p
ff
242
534
282
Fl.
Cl.
Hn.
Tba.
Perc.1
Perc.2
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1 *
Db.2
Db.3
Db.4
ff
ff
ff
ff
subito p
Susp. Cymb.
f
l.r.
mp
on bell.
p
3
3 3
p
Timp.
f
mf
mp
p
ff
p
ff
p
ff
p
ff
p
ff
p
ff
p
fff
ff
p
ff
p
f
ff
p
243
283 Cadenza
539
molto rall.
Db.1 *
f
mp
mf
3
5
544
Db.1 *
f
mp
pizz.
longl.r.
Vivace
550
Db.1 * mf
arco
557
Meno mosso
Db.1 * f
mp
mp
all harmonics until notated
mf
6 6 6 6
562
Db.1 *
f
6 6 6 6 6
rit.
566
284 Tempo Iq = 76
rall. Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1 *
Db.2
pp
mp
3 3 sul tasto
When the piece ends there is silence, followed by thunderous applause. His PARENTS and the PROF stand to applaud. Y.MAN bows with deep satisfaction.
pp
mp
sul tasto
5
pp
mp
pp
mp
sul pont.
pp
mp
sul pont.
3 3
pp
mp
sul pont.
ord.
pp
mp
3 3
244
285q =163
q =163
Scherzo
Scherzo
572
29: And in the End
286
Perc.1
Perc.2
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.2
Db.3
fSusp. Cymb.
Y.MAN pulls off his bow tie, beaming with excitement. His bass is packed. His FATHER hands him a holdall. His MOTHER is tearful. They sing a duet...
Triangle
f
Guiro
mf
B. D. p
mp
fff
mp
f
mf
fff
mp
f
p
f
espressivo
mf
f
3 3 3
fff
mp
f
p
f
espressivo
mf
f
f
3 3
fff
mp
f
p
f
arco
mp
mf
3
fff
mp
f
p
f
mf
fff
mp
f
pizz.
mp
p
mf
fff
mp
f
pizz.
mp
p
arco
mp
mf
581
Perc.1
Perc.2
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.2
Db.3
Gro.
Tri.
S.D.
mf
f
mf
f
B.D.
mf
mf
mf
3
f
mf
f
mf
mp
mf
mf
f
mf
mf
3 3 3
f
mf
f
f
mp
mf
f
mf
3
245
589
287
Perc.1
Perc.2
FATHER
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
Db.3
Gro.
Tri.
mp
B.D.
affectionate
We only ever wanted what was best for you, old son
f
mp
mf
mf
f
mp
mf
f
mp
mf
mf
mp
mf
mp
mf
mp
mf
3
mf
f
mp
mf
mf
f
mf
mf
mp
mf
mf
3
246
288 Giocoso
Giocoso
597
Cl.
MOTHER
FATHER
Vln.
Vla.1
Vc.1
Db.1
p
mp
p
How
mf
could
we
know
bet
ter
- than
your
own
soul
when
we
saw
you
How
mf
sung as precisely as possible, following Mother in octaves
could
we
know
bet
ter
- than
your
own
soul
when
we
saw
you
p
mp
p
pizz.
p
mf
mp
pizz.
p
mf
mp
pizz.
p
mf
mp
605
Cl.
MOTHER
FATHER
Vln.
Vla.1
Vc.1
Db.1
mp
mf
play
up
on
that
stage
you
were
so
good!
You
were
so
good
so
play
up
on
that
stage
you
were
so
good!
You
were
so
good
so
mp
mf
mf
mf
mf
247
613289
Fl.
Cl.
Perc.1
Perc.2
MOTHER
FATHER
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
mp
mf
f
mp
mf
mp
Gro.
B. D.
p
poco
good!
f We
mfdi
dn't
- know
you
could
be
that
good
good!
f We
mfdi
dn't
- know
you
could
be
that
good
f
mp
f
mp
mf
arco
f
mp
f
mp
pizz.
arco
pizz.
f
mf
3
3
mf f
3
f
mp
arco f
mp
pizz. mf
f
mf
mf
f
f
mp
arco f
pizz.
mp
mf
f
mf
mp
f
248
621
Fl.
Cl.
MOTHER
FATHER
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
mp
p
mp
mf
p
mf
You
made
us
proud
now
go
make
us
proud
er
-
Oh
f
my
You
made
us
proud
now
go
make
us
proud
er
-
mp
p
mp
mp
mf
p
mf
mp
mf
p
mf
mp
mf
p
mf
630
290
Perc.1
Perc.2
MOTHER
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
f
Gro.
Tri.
Gro.
Tri.
Gro.
mf
B. D.
mp
boy
ff MOTHER gives Y.MAN a wrapped gift. The Y.MAN hugs his MOTHER and FATHER. They exit, waving.
f
mf
f
mp
arco
f
mp
mf
f
mp
f
mp
mf
f
mp
arco
f
mp
f
mf
f
f
mf
f
arco
pizz.
mp
f
mf
mp
pizz.
f
arco
249
291
641
292 Allegro più mossoq. = 88
Perc.1
Perc.2
Vla.1
Vla.2
Db.1
Db.2
Db.3
Db.4
Tri.
mp
BIG C enters, rather sickly and weak and with a suitcase of his own.
mf
p
B. D.
fading out
Bongosp
hands
mp mf
mp pp
mp
gradually fading out
mp
gradually fading out
Slow in its own tempoarco
p
arcoSlow in its own tempo
p
Slow in its own tempoarco
p
Slow in its own tempoarco
p
646
Perc.1
Perc.2
BIG C
Y.MAN
Db.1
Db.2
Db.3
Db.4
Tri.
f
mp
f
4
Bongos
mp
mf
sfz sub. p
mf
44
4
I'll get my chance yet if I bide my time
Don't you know when you're beat?
250
651
Perc.1
Perc.2
BIG C
Db.1
Db.2
Db.3
Db.4
Tri.
mp
f
4 4 4
Bongos
f p
4 4 4
mf
4
4
4
4
Y.MAN clips a dog lead to a collar around BIG C’s neck.
Loud
You can't do that! It's against the rules!
mf
mf
mf
mf
655
Perc.1
Perc.2
BIG C
Y.MAN
Db.1
Db.2
Db.3
Db.4
mp
Tri.
f
4 4 4
p Bongos
mf
4
Your parents think you're a dropout boy! Too puffed up and too indolent to get a proper job -
Loud
Exactly how I like to play
The Y.MAN ignores BIG C and opens his parents’ present. It is a case for a baton.
ord.
f
ord.
f
ord.
f player quietly leaves the stage
ord.
f
player quietly leaves the stage
251
659
Cl.
Perc.1
Perc.2
BIG C
pp
Tri.
mf
Bongos
mp
and one day soon, you'll come crashing down, and you'll have to learn humility and fall back on geology
Y.MAN interrupts BIG C by stuffing the wrapping paper in his mouth. BIG C pulls it out and continues.
293 Moderato
Moderato
q. = 63
q. = 63
662
Cl.
Hn.
Perc.1
Perc.2
BIG C
Pno.
Vla.1
Db.1
p
mp
p
mp
Keeping its own tempoTri.
mp
Bongos
p
Keeping its own tempo
Shouted
Who do you think you are? You're a nobody! What's the point in your music if no-one hears? What a let-down, what a waste! It's not normal - it's not normal!
mp
p
p
mp
mp
pizz.
252
666
Cl.
Hn.
Perc.1
Perc.2
BIG C
Pno.
Vla.1
Db.1
mf
f
mf
f
mf
Tri. gradually fading out with Big C's voice
Bongos gradually fading out with Big C's voice player quietly leaves the stage
BIG C's voice should be faded out both by decreasingvolume of the singer and the amplification
Y.MAN opens the case and produces the long, fat knitting needle, used by the BOY in Act One. The BOY and the OLD MAN enter and Y.MAN shows them the knitting needle. BIG C’s voice fades away as Y.MAN, BOY and OLD MAN sing together and pass the knitting needle between them…
mf
f
mf
mf
f
mf
mf
f
670
molto rall.
molto rall.
Cl.
Hn.
Pno.
Vla.1
Db.1
mp
mp
p
mp
p
mp
p
mp
mf
mp
p
253
294 Moderato
Moderato
q. = 72
q. = 72
673
BOY
Y.MAN
OLD MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
I'd
mf
play
re cords- of sym
pho- nies- far
too loud
and
mf
mf
mp
mf
p
mf
mf
p
mf
mf
p
mf
p
mf
p
mf
arco
mf
mp
mf
mf
mp
mf
254
677
BOY
Y.MAN
O.MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
watch
my
re flec
- tion-
in the win
dow-
tall and proud
with
mf
this
old knit
ting- nee
dle-
wav
ing- in
my hand
mp
mf
mp
mf
mp
mf
p
mf
p
p
mf
mp
p
mf
mp
p
mf
p
mp
p
mf
p
mp
mp
mf
mp
mp
mf
mp
255
295681
BOY
Y.MAN
O.MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
I'd
fcon duct
- my or
ches- tra-
from a score
on a stand
in
those
mo
ments
-
I'd shi
ver
-
in a mu
si- cal-
2 2 2 2
I'd
f
con duct
- from a
score
on
a stand
in
those
mo
ments
-
I'd shi
ver
- in a mu
si-
2 2 2 2
-
I'd
fcon duct
- my or
ches- tra-
from a score
on a stand
in
those
mo
ments
- I'd
shi
ver
- in
a
2 2 2
mf
mf
mf
mf
mf
mf
mf
pizz.
arco
pizz.
arco pizz. arco pizz.
arco pizz. 2
mf
pizz. arco pizz. arco pizz. arco pizz. arco pizz. 2
256
686
rit.
rit.
Perc.1
BOY
Y.MAN
O.MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
Susp. Cymb.
mp
mf p
B. D.
p
sho
wer
-
and tears
would flow
in the face
of
its
beau
ty
-
and
its
2
cal
sho wer-
tears
would
flow
in
the
face
of
its
beau
ty
-
and
its
2
mu si- cal- sho
wer-
and
tears
would
flow
in the
face
of
its
beau
ty
- and
its
2 2
mp
pp
mf
f
mp
pp
mf
f
mp
pp
mf
f
mp
p
mf
f
mp
p
mf
f
arco
pizz. mp
arco
mp
mf
f
2
arco pizz.
mp
arco
mp
mf
f
2
257
296q. = 66
q. = 66
Maestoso
Maestoso
692
297
Fl.
Cl.
Hn.
Tba.
Perc.1
BOY
Y.MAN
O.MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
ff
f
mf
ff
f
mf
brassy
ff
f
mf
pp
brassy
ff
f
mf
pp
mp
Susp. Cymb. l.r.
mf
f
Tam-tam
mf
mp
po
ff wer
-
I
mp
re mem
- ber- the fu
ture-
po
ff wer
-
po
ff wer
-
And
mp
I
fore see
- the past
ff
p
mp
mp
mp
ff
mp
ff
mp
ff
ff
258
298 Recitativo
Recitativo
698 rit.
rit.
699
299 Allegro
Allegro
q = 92
q = 92
Hn.
Tba.
Perc.1
Y.MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Vc.3
Db.1
pp
pp
Susp. Cymb.
f
B. D. pp
repeat at own tempountil next downbeat
mf
I've
Y.MAN says farewell to his ‘other selves’ mf
no
i dea
-
what will
be come
- of me
but
to day
-
I'm going to do
f
what I love
ff
4
f
pp
f
pp
f
f
f
f
f
259
700
Fl.
Cl.
Hn.
Tba.
Perc.1
BOY
LOVER
MOTHER
FATHER
Y.MAN
O.MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Db.1
mf
f
mf
f
mf
f
mf
f
Susp. Cymb.
mp
mf
l.r.
Y.MAN walks up the aisle through the audience (like the steps to a plane), carrying his bag, and with BIG C whining on his lead.
And
fin
the
end
wri
ting
- the
same
piece
o
ver
- our
3
short
lives
And
f
in
the end
we are wri
ting- the same
piece
all
o
ver
- our
3
short
lives
And
f
in
the end
we are wri
ting- the same
piece
all
o
ver
- our
3
short
lives
f
And in the end we are writing the same piece all over our short lives
And
fin
the
end
we're
wri
ting
-
the
same
old
piece
all o
ver-
our
short
lives
And
fin
the
end
we're
wri
ting
-
the
same
old
piece
all o
ver-
our
short
lives
mf
mf
mp
mf
mf
mf
mf
mf
mf
mf
mf
mf
260
707
molto rall.
molto rall.
Fl.
Cl.
Hn.
Tba.
Perc.1
BOY
LOVER
MOTHER
FATHER
Y.MAN
O.MAN
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
mp
mf
f
ff
mp
mf
f
ff
mp
mf
f
ff
mp
mf
f
ff
mf
Susp. Cymb. f
p
B. D.
mf f
We're all
just wri
ting- one
long
great
work
ffBOY and OLD MAN wave Y.MAN up the stairs until he’s gone.
We're
one
long
great
work
ff
We're all
just wri
ting- one
long
great
work
ff
We're all just writing one long great
ff
work
We're
one
long
long
great
work
ff
We're
all just wri
ting-
one
long
long
great
work
ff
f
mp
mf
f
ff
mf
mp mf
f
ff
mp
mf
f
ff
mf
f
ff
f
ff
ff
f
ff
261
300q = 63
q = 63
Calmo
Calmo
713
EPILOGUE
Fl.
Cl.
Hn.
Tba.
Pno.
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
mp
The OLD MAN watches the BOY recede from the stage and conductsthe orchestra as, one by one, musicians drop out of the music and exit. Eventually, only one double bass remains calling to the last.
mp
mp
player quietly leaves the stage
mp
player quietly leaves the stage
player quietly leaves the stage
mf
mf
mf
mf
mf
mf
262
717
Fl.
Cl.
Perc.1
Vln.
Vla.1
Vla.2
Vc.1
Vc.2
Db.1
Db.2
Glock.
pp
p
player quietly leaves the stage
mp
mp
p
player quietly leaves the stage
mp
mp
mp
263
301
721
Fl.
Cl.
Perc.1
Vla.1
Vla.2
Vc.2
Db.1
Db.2
pp
player quietly leaves the stage
pp
player quietly leaves the stage
mp
Glock.
p
player quietly leaves the stage
pp
player quietly leaves the stage
pp
player quietly leaves the stage
player quietly leaves the stage
p
player quietly leaves the stage
Conductor leaves the stage
727
molto rall.
Db.1 ord.
unconducted
poco sul pont.
player quietly leaves the stage
302
734
BIG C
O.MAN
Then the OLD MAN is left alone in silence, conducting with the knitting needle. BIG C’s voice booms out...
Loud
I say! I say, you boy! On the stage. What are you doing?
The OLD MAN freezes, stares at the audience and points to himself, open-mouthed. Blackout
End of Act 3
264