27<? M&( Mo. ~7 oC(>

SONG OF PI-PA

THESIS

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Yu-Chung Tseng, B.A.

Denton, Texas

August, 1994

27<? M&( Mo. ~7 oC(>

SONG OF PI-PA

THESIS

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Yu-Chung Tseng, B.A.

Denton, Texas

August, 1994

(p/U.

Tseng, Yu-Chung, song of Pi-Pa. Master of Music

(Composition), August 1994, 112 pp., 2 tables, 43

illustrations.

Sona of Pi-Pa is a composition set to a poem to be

performed by soprano and mixed instrumental ensemble. The

formal plan is through-composed and the organization of each

individual piece is largely determined by the structure of

the poetic text. The text, drawn from Song of Pi-Pa by Po

Chu-i, depicts the story of how the poet became overwhelmed

by the chance hearing of a virtuosic performance of a woman

playing the pi-pa.

The general characteristics of the work reflect the

assimilation of certain non-western musical and philosophical

influences. Traditional western compositional techniques are

also employed in the treatment of thematic materials, musical

form, instrumentation, and the developmental process. The

total performance time for this composition is approximately

twenty-six minutes.

TABLE OF CONTENTS

Page

LIST OF TABLE V

LIST OF FIGURES vi

LIST OF EXAMPLES vii

INTRODUCTION ix

Overview The Poem Form Stylistic Features Analysis Format

MUSICAL ANALYSIS xxii

ii.WBSffiSBW

iii'MmmB

iv - xiBSi&iAio

v. • * * * » » « ;

v i . J W B S M W T

vii.SBBBEWg.

VIII m m m m

I was seeing a friend off at the river's bend

She tuned and lightly plucked the strings

The fine strings-they sounded like lovers' whispers

Silence reigned. The boats around were quiet

It is a life of merriment and time slipped by

I wept and woke up with reddened eyes

My heart ached to hear her plaintive songs

I must drink alone to ease my pain

I X . © H W * £ I ^ ^ u e Sown was drenched with tears

CONCLUSION lv

INSTRUMENTATION lvi

NOTATION ivii

SCORE 1

LIST OF TABLES

Table Page

1. LAYOUT OF THE TEMPO AND DURATION OF EACH PIECE

OF SONG OF PI-PA xviii

2. LAYOUT OF THE INSTRUMENTATION OF EACH PIECE

OF SONG OF PI-PA XX

LIST OF FIGURES

Figure Page

1. Pitch set, piece II, mm. 2-3 xxviii

2. Pitch set, piece II, mm. 11-12 xxviii

3. Pitch sets, piece III, section I xxxi

LIST OF EXAMPLES

Example page

1. Melancholy leitmotiv, flute part, mm.6-8 xxii

2. Voice part, piece I, mm.21-22 xxiv

3. Double bass part, piece I, m.29 xxiv

4. Double bass part, piece I, mm.37-40 xxv

5. Voice part, piece I, mm.58-60 xxv

6. Cadenza-like passage, piece I, mm.85-87 xxiv

7. Piano part, piece II, mm.2-3 xxvii

8. Tuning or lament motive, piece II, m.5 xxix

9. Tam-tam sound effect, harp part, m.31 xxix

10. Bird motive, clarinet part, piece III, m.2-4 xxxi

11. Piano part, piece III, m.12 . ... xxxi

12. Harp part, piece III, mm.21-24 xxxii

13. String part, piece III, mm.3-4 xxxiii

14. Piano part, piece III, mm.9-11 xxxiii

15. Lovers' whispers, piece III, mm.28-31 xxxiv

16. Dramatic inflected speech, piece III, mm.34-35 xxxiv

17. percussion part, piece III, mm.64-66 xxxv

18. Harp part, piece III, mm.74-75 xxxv

19. Wave motive, voice part, piece IV, m.2 xxxvi

20. Wave motive, piece I, mm.22 xxxvi

21. Gagaku Sho sonority, piece IV, mm.3-4 xxxvii

LIST OF EXAMPLES CONTINUED

22. Dance motive, pieve V, mm.1-4 xxxix

23. Water motive, piece V, mm.8-9 xxxix

24. Flute part, piece V, mm.11-14 xl

25. Piece V, page 10 xli

26. Oboe part, piece V, mm.61-62 xlii

27. Dark motive, piece VI, m.l xliii

28. Flute and percussion parts, piece VII, mm.1-4 xlv

29. Flute part, piece VII, mm. 5-7 xlv

30. Voice part, piece VII, m.5 xlvi

31. Voice part, piece VII, mm. 14-16 xlvi

32. Voice and flute parts, piece VIII, mm.8-12 xlix

33. Voice part, piece VIII, mm.30-33 xlix

34. Chinese folk song, piece VIII, mm.38-39 1

35. Voice part, piece VIII, mm.40-41 1

36. Voice part, piece VIII, mm. 55-57 li

37. Voice part, piece, VIII. mm. 61-64 li

38. Percussion part, piece IX, m.5 liii

39. Double bass part, piece IX, mm. 15-18 liv

40. Voice part, piece IX, mm.19-21 liv

INTRODUCTION

Overview

Sona of Pi-Pa is a musical poem, consisting of three

themes distributed among nine pieces. It is scored for

Soprano and mixed instrumental ensemble (all pieces engage

both voice and instruments). The mixed instrumental ensemble

consists of flute, oboe, clarinet, piano, harp, violin,

cello, and two percussionists. Some instruments employed in

this work are chosen for their particular timbral potential

which by inference depict the sounds in Asian music: the

flute mimics the Japanese shakuhach, the character of the

vibraphone resembles Balinese instruments, and the double

bass is a reinterpretation of the Chinese Chin or Pi-oa. The

choice of instruments varying from piece to piece is a direct

and intentional reference to Schoenberg's Pierrot Lunaire.

Messiaen's Quartet pour la Fin du Temns. or Boulez's

Marteau Sans Maitre. The work is approximately twenty-six

minutes in duration.

The poem. Song of Pi-pa. describes the similar fates of

the poet and a female pi-pa player. Treatment of the text

is given careful consideration to ensure that the meaning and

underlying mood of the poem are faithfully conveyed. The

instrumental accompaniment of the voice, when present, varies

from a single line to a thick chordal texture involving

numerous instruments.

Word painting, sprechstimme. speaking and special vocal

techniques (including whispering, imitating the wind sound

and the so called "dramatic inflected speech"), are used at

times to enhance timbral resources for this work. Various

stylistic elements such as polyphonic and homophonic textures

are employed to intensify and highlight sentiments expressed

in the text.

The harmonic language employed is an eclectic mixture

derived from both tonal and atonal sonorities. Pitch

structure is based on a symmetrical all-interval series drawn

from Luigi Nono's Canto Sospeso.

The rhythm*throughout most of the work is metrically

controlled. Free rhythmic passages do occur, however, in

both vocal and instrumental sections.

The overall characteristics of the work reflect the

assimilation of certain non-western musical and philosophical

influences. These include: the use of a pentatonic scale

pattern; the thematic principles of embellishing a single

note (particularly manifest in Chinese Chin music and Indian

Gamakas music); the application of the concepts of Zen and

Taoism in treating the individual sound as "living matter"

with variants in timbre, articulation, vibrato,intensity, and

release (particularly manifest in Chinese Chin music, Indian

Gamakas music, Japanese TQQaku music, Korean Hvana ak music,

and Indonesian Gamelan music); and the application of the I-

China. in dealing with transitory passages over a long

sustained note (specially evident in the music of China,

India and even France).

Traditional western compositional techniques are also

employed in the treatment of thematic materials, form,

orchestration, and in the developmental process.

The score of this work is preceded by an analysis which

focuses on the salient stylistic features of each of the nine

pieces. Numerous musical examples are incorporated in the

analysis to illustrate the discussions therein.

The Poem

Song of Pi-Pa. consisting of three main themes of

varying length and sentiments, is a rhymed seven-syllable

poem by Po Chu-i, a poet (776-846 A.D.) of Tang dynasty in

China. The first theme, suddenly a oi-oa sounded in the

shimmering bay, describes the poet bidding farewell to a

friend at the river's bend where he saw a female pi-pa

player, and was overcome by her performance. The second

theme, mv sonas brought numberless rolls of silk, depicts the

woman's success as a popular performer in the capital when

she was young and her unfortunate circumstances in later

years. The third theme, we both are deserted creatures,

expresses that they share the same vain, tragic life since

they are both banished from the capital.

The song text is reproduced below.

i. I f f i M

mmem msmm zxr wssrnm i mmmsm MMom* m*mm n n m f wmm mm*m

I. I was seeing a friend off at the river's bend

I was seeing a friend off at the river's bend when reeds and maples rustled in the autumn wind. A farewell feast was laid out in the departing boat - it was a pity to have no music while we drink! Even wine brought no relief-sadly we were going to part.

As the moon through the mist shone darkly on the water. Suddenly a lute sounded in the shimmering bay. And host and guests, enchanted, strained their ears.

We tried to trace the source of sound,which was now mute. "Hello, where are you?" We called - but no answer came. We saw her alone in a moon-drenched boat; we drew nearer, had fresh candles brought, replenished the wine, and started feasting anew, "would you join us, please? We'd love to hear you play. We coaxed and urged, but she was slow to come.

At last she did, her lute half hiding her face.

ii.

WrWtflKtPv «rn3r

II. She tuned it, and lightly plucked its strings

She tuned it, and lightly plucked its strings.

Before the melody flowed, passion was fully felt.

From the four strings her deft fingers evoked feeling

of a life full of frustrations and regret.

iii.'MWMfJS

mmmrm

mtmnw

tmmm xwmm

mmmm

mmmm

immmm

mtmm

III. The fine strings-they sounded like lovers' whispers

Then with eyes csst down, she hugged the instrument. Lightly caressing,slowly stroking,she plucked and swept. First playing the Rainbow Skirt,then the six-measure song The bold strings-they pattered like dashing rain. The fine strings - they sounded like lovers' whispers. Chattering and pattering,pattering and chattering-as pearls, large and small, on a jade platter fall. Like orioles heard under flowering bushes, or a busy spring bubbling down a pebbled stream.

It froze. The sound ceased. An unspeakable sadness surfaced: now silence was sweeter than sound. Then without warning the music swelled again, gushing forth-like water bursting from a broken vase, or the armoured knights. Vith a flourish, all the strings sounded in clashing chord.

IY. m m m t m

mmsm mirnm*

IV. Silence reigned. The boats around were quiet

Silence reigned. The boats around were quiet. The moonlit sky was milky with the autumn mist. Tith a sigh, she put the plectrum between the strings, adjusted her dress and, having curtsied, stood.

v.

mmm&

zmmmrn rwmwm mmmz

nmmm Mmmm n A A I i W J i

mmm&m

V. It was a life of merriment and time slipped by

She spoke," I was brought up in the capital. At thirteen, I became an accomplished player. I was endowed with unusual grace and charm. Wealthy young men pressed suit with precious gifts; my songs brought numberless rolls of silk.

Jade combs and hairpins- I broke them beating time: blood-red silk skirts-I spoiled them with wine stains. It was a life of merriment and time slipped by. My brother was posted to the frontier and my mother died,and as I grew older, fewer admirers came. At last, I met a merchant and bore his name. He thought little of leaving home, more of his profits.

He's been gone a month now, buying tea. Leaving me alone with the cold river and the moon.

vi. v m a u m

mmmm mmm* VI. I swept and woke up with reddened eyes

Of my salad days I am wont to dream then weep and wake up with reddened eyes.

VII. w m w s m

mmsent mmwm m&mmx mmmm VII. My heart ached to hear her plaintive songs

My heart ached to hear her plaintive songs, I sighed as she slowly unfolded her story. Deserted creatures both, we are two of a kind—friends we are, though newly met—why should we mind ?

VIII. m m m m

mmm* mammm mmsmm

mmrnm

nmmm mmimm mmmm mmm® nmmm

tc IK T W W M 3 W A V > 0 *

mmrns. mmwm&

mmm-

VIII. I must drink alone to ease my pain

Since I was banished from the capital last year, I have been invalid here in Hsun-yang. I live near a river where it is low and wet, reeds and bamboos grow around my hut: cuckoos cry and gibbons wail by day and night. Even the blossom of the flowers and the brightness of the moon do not suffice and I must drink alone to ease my pain. Is it that no one sings, or plays the flute? No, but there is so little that pleases the ear.

Thus to listen to you play the sweet lute tonight is like hearing angels sing their dulcet songs. So please refuse us not the favour of an encore and I will compose for you a song in return.

ix. mnmm

mmrnm mum

zmwmm

IX. My blue gown was drenched with tears.

She stood still, moved by my earnest words. Then started, this time at a faster pace urgent.mournful, not as heretofore.

All who heared her hid their faces and wept. Who amongst those present wept the bitterest ? It was

Form

The formal structure of this work is generated by the

poetic format; it is a through-composed "form" comprised of

three themes distributed among nine pieces of varying length

and sentiments. The text used in this work is taken from "

Sona of Pi-pa " , a rhymed seven-syllable poem by Po Chu-i.

Each piece involves voice and a mixed instrumental ensemble.

The first piece is made up of some of the musical material

that reappears in subsequent pieces.

The first theme.suddenly a pi-pa sounded in the

simmering bav. is presented in nos. 1, 2, and 3. No.l

functions as a prelude to the whole work, and no.2 serves as

a prologue to no.3.

The second theme, mv soncrs brought nnmerless rolls of

silk, is engaged in nos. 4, 5, and 6, while no.4 and no.6

serve as a prologue and an epilogue respectively to no.5.

The third theme, we are both deserted creatures . is

found in the last three pieces: nos. 7, 8, and 9. Nos. 7 and

9 serve as a prologue and an epilogue respectively to no. 8.

The layout of these pieces, their respective durations, the

tempos, and instrumentation are shown in Table 1 and Table 2

Table 1 Layout of the tempo and duration of each piece of Song of Pi-Pa

Theme I

Piece no.

I was seeing a friend off at the river's bend

She tuned and lightly plucked the strings

The fine strings-they sounded like lovers' whispers

Suddenly a pi-pa sounded in the shimmering bay

Measure no. Tempo.

1 - 4 42 - 46 5 - 34 56 - 60 35 - 36 42 - 46 37 - 54 64 - 68 55 - 66 72 - 76 67 - 98 56 - 60 99 - 102 42 - 46

1 - 3 1 52 - 56

1 -• 11 84 - 86 12 - 18 42 - 46 19 - 21 84 - 86 22 - 28 92 - 96 29 - 33 76 - 80 34 - 43 84 - 86 44 - 55 72 - 76 56 - 63 52 - 56 64 - 70 92 - 96 71 - 75 72 - 76

Duration

6 min. 30 sec.

2 min. 30 sec.

4 min. 20 sec.

Theme II: -AfflRTOft My song brought numberless

rolls of silk

w.nmmm Silence reigned. The boats around were quiet

56 sec. 1-15 56-60

V.-7 I t was a l i fe of

with reddened eyes

Table 1 eontimiftH

merriment and 1 - 37 72 - 76 time slipped by 38 - 54 82 - 86

55 - 60 72 - 76 61 - 75 60 - 64 76 - 85 82 - 86 86 - 100 72 - 76

v i J W H O T I wept and woke up 1 -• 8 60 - 64

5 min. 20 sec.

32 sec.

Theme I I I : We are both deser ted c r e a t u r e s

vii.wmn&m My heart ached to

hear her plaintive songs.

v n i . ^ J R H M i I must drink alone

drenched with tears

1 - 25 56 - 60

to ease my pain 1 -• 19 72 - 76 20 - 33 82 - 86 34 - 39 52 - 56 40 - 47 72 - 76 48 - 53 52 - 56 54 - 57 82 - 86 58 - 64 72 - 76

ix.&mwtm My blue gown was 1 - 27 62 - 66

1 min. 50 sec,

3 min. 10 sec.

1 min. 15 sec.

Table 2 Layout of the instrumentation of each Piece of Song of Pi-Pa

Piece no. Instrumentation

I. I was seeing a friend off at the river's bend

ii. mmsm She tuned and lightly plucked its strings

HI. / m m m m The fine strings-they sounded like lovers' wispers

Voice, Flute, Timpani, Gong, 2 Bood Blocks, Double Bass, vibraphone, Suspended Cymbal

Voice, Harp, Piano

Voice, Flute, Clarinet, Piano, Vibraphone, 5 Tom-toms, Harp, Snare Drum, Violin, Violoncello

iv. Silence reigned. The boats around were quiet

v. I was a life of merriment and time slipped by

vi. I wept and woke up with reddened eyes

VII. mmwem My heart ached to hear her plaintive songs.

VIII. mmmam I must drank alone to ease my pain

ix. m n m m My blue gown was

drenched with tears

Voice, Flute, Violin, Violoncello, Triangle, Large Suspended Cymbal

Voice, Flute, Oboe, Violin, Violoncello, Tambourine' Piano, 5 Tom-tons, Gong, 5 temple Blocks, Vibraphone, Suspended Cymbal

Voice, Harp, Piano

Voice, Flute, Tam-tam, Bass Drum

Voice, Flute, Harp, Vibraphone, 5 Tom-toms, 3 Timpani, 3 Temple Blocks, Violin, Double Bass

Voice, Flute, Vibraphone, 2 Hood

Blocks, Timpani, Double Bass

Stylistic features

The diversity evident in the textures and tone colors in

Sona of Pi-Pa is reflected in other stylistic elements as

well. A wide variety of melodic and harmonic idioms, and

rhythmic structures is used to accentuate the text. Despite

the diversity of stylistic elements, however, most of these

songs conform to one of three basic stylistic categories as

dictated by the mood of the text.

Passages of a melancholy, pessimistic mood are set

either in monophonic or polyphonic style. Passages of an

exuberant and uplifting mood are set to music with an

incessant rhythmic drive involving layers of ostinati.

The voice sings syllabically or uses dramatically

inflected speech at times. Much of the music that is

transitional in nature is characterized by marked timbral

diversity and static harmony.

Analysis Format

The remainder of this paper will focus on each of the

nine songs and will examine the salient stylistic features in

each song. The songs are identified in Table 1 by their

titles.

MUSICAL ANALYSIS

I. I was seeing a friend off at the river's bend

The text of this piece can be divided into four

sections: the first section expresses a pessimistic mood of

farewell, the second section depicts the enchanting pi-pa

music, the third section portrays the blithe atmosphere of

looking for the player, and the fourth section describes the

anxious mood of expectation upon joining the pi-pa player.

The melancholy air of the first section is introduced

musically by a timpani with long tremolo and three-measure

solo flute gesture entering a bit later. This flute motive

also acts as a leitmotiv and reappears in the subsequent

pieces. The short, repetitive patterns and the emphasis on

timbre, articulation, and dynamics focus the listener's

attention on the sound world within the individual tone.

Example l--Melancholy leitmotiv, flute part, piece I, mm.6-8

This stress on individual sounds rather than the

progression of sounds in time finds precedent in the music of

Webern, Varese, Messiaen, Nono, and Boulez. It reflects the

"living sound" ideal of traditional Asian music, such as the

music of China, India, Indonesian, where performance

techniques typically require the performer to vary the

instrumental timbre through the application of vibrato,

tremolo, portamento, or changes in embouchure, air pressure,

and fingering.

Furthermore, the changing, transitional passages

occuring over a continuous, sustained, unchanging passage

throughout the whole piece is an application of the polar

concept of the I Ching - the ying and the yang.

The vocal line appears right after the prelude-like

passage and is set melismatically. It inflects of the words

in order to ensure that the text is clearly comprehensible to

the listener. At m.7, the voice enters and the flute carries

a dialogue with the voice in an inverted cannonic gesture.

Word painting, such as the imitation of wind sound by voice

and flute, the suggestion of drunkness by double bass and

flute, is employed here(also reappearing in later pieces) to

highlight the depressed atmosphere expressed in the text.

Example 2--voice part, piece I, mm.20-21

unvoiced wild sound

Mp paq jr T—4i 1 > 11 1 'ii' mm—mmmmr- —r

tyi'1 * Jli JI i-id) thw->

Example 3—Double bass part, piece I, m.29

29 pizz.

pi. pi. |V ^

The second section serves as a transition to the third

section. It is introduced by a solo double bass with

pizzicato or pizzicato-tremolo gestures throughout trying to

evoke the feeling of the pi-pa music. A balance of

whispering and normal singing is maintained for contrast in

the vocal line and contributes to the underlying mood

depicting the feeling the poet had the first time he heard

the distant sound of the pi-pa at river.

Example 4--Double bass part, piece I, mm.37-40

pizz. pizz-trem. pizz. pizz-trem

After a short coda-like passage implying some material

found in the next section, the buoyant third section begins

with an ostinato pattern by the vibraphone, flute, and

suspended cymbal, invoking the boat floating over the water.

Accompanied by the ostinato passage, the voice sings smoothly

and flowingly with a suggestion of the pentatonic scale.

Example 5—Voice part, piece I, mm.58-60

Example 5—Voice part, piece I, mm.58-60

*'•"1 )•*

As the music grows gradually louder, climaxing at m.66

with a short pause, the fourth section starts. It synthesizes

elements introduced in the three prior sections. Its opening

measures recall section one with a return to the original

tempo and the dejected leitmotiv carried by the flute. The

appearance of the pi-pa player is anticipated by the wood

blocks and suspended cymbal, and it is highlighted by the

continuous tremolo timpani and double bass.

Bringing back the idea of the voice and flute in an

inverted canonic gesture at m.83, the music shifts to a free,

cadenza-like passage carried by the voice and double bass.

This two-measure passage presages the ending of the section.

The coda (a continuous tremolo timpani along with a reduction

in dynamics and rhythmic density) serves to dissipate the

energy of the previous sections and gives a stronger sense of

closure to this piece.

Example 6--Cadenza-like passage,piece I, mm.85-87

Sop.

R

P e e l

Perc. II

Db.

Vibe.

4 U j

A 'II

PP

II. She tuned and lightly plucked its strings

This piece, a prologue, serves as a transition to the

next piece, The fine strings-thev sounded like lovers'

whispers. The text depicts the moment that the pi-pa player

tunes the strings prior to performing the music for the poet.

It is scored for voice, harp, and piano, and the instruments

are chosen for their particular timbral potentialities

(quality). For instance, some special effects for piano and

harp (including muting the sound, plucking the strings on

piano, plucking the strings and harmonics on the harp) are

utilized to evoke the listener's associations with the pi-pa.

A three-note gesture starts the piece by musically

setting the story of the pi-pa player plucking the strings.

At m.2 the piano enters with muted and pizzicato effects.

These passages appear frequently and consistently provide an

ostinato pulsation throughout the whole piece.

Example 7--Piano part, piece II, mm.2 - 3

S

The pitch material of this piece is rather deliberately

limited, often consisting of three, four, or six pitch-class

sets. This can be seen in the piano and harp part. At mm.2-

7 the m2, M2, and m3 are heard prominently in the piano and

expanded into p4 and p5 later at mm.10-19. From m.23 through

the end, the intervals shift back to the m2, M2, and m3.

Figure 1--Pitch set, piece II, mm.2-3

Figure 2--Pitch set, piece II, mm.11-12

To portray the tuning of the pi-pa, the voice alternates

between quarter tones, also suggesting the feeling of

frustration and regret of the player. This microtonal lament

motive reappears many times in later pieces.

Example 8--Tuning or lament motive, m.5

I

After a short pause at m.27, the piano resumes the pi-pa

motive, with the addition of the harp, the whole piece

dissolves quietly into a "dark motive", combining the low

pitch of the piano and harp, with a special "Tam-tam" sound

effect.

Example 9--Tam-tam sound effect, harp part, m.31

III.The fine strings-they sounded like lovers' whispers

This piece is the climax of the first poetic theme,

suddenly a pi-pa sounded in the shimmering bav. and projects

a character that contrasts with piece one and piece two by

virtue of its faster tempo, rhythmic vitality, percussive

nature, and virtuosic performance requirement.

The form and design of the vocal part of this piece is

obviously governed by the poetic text. The first section of

the text, for example, is of a lyrical disposition, while the

second section of the text is of narrative quality. The

former leads toward a melismatic character and the latter

toward declamatory expression.

Pitch choices of the harp, flute, clarinet, and piano in

the piece are based on two different eight-note pitch sets

taken from the symmetrical all-interval series. The former

eight-note series carried by the piano introduces the

entrance of every phrase and the latter eight-note series

builds up the "bird" motive on the flute and clarinet parts

and reappears later in the piano part, acting as a flowing

ostinato pattern to accompany the voice.

Figure 3--Pitch set, piece III, section 1

Example 10--Bird motive, clarinet part, piece III, mm.2-4

I • - v f r ' 1 '

Example 11—Piano part, piece III, m.12

This piece is scored for voice and nine instruments which

are chosen to imitate the sounds of the pi-pa by employing

some special effects. For example, The string parts play with

pizzicato effect to generate a shorter plucked sound of the

pi-pa. The harp part is played using fingernail near the

sounding board to produce a rushing rain effect of the pi-pa.

Example 12--Harp part, piece III, nun.21-24

'A p-dlt

Section one is introduced by the short tom-tom passage

which announced the beginning of the piece. The voice enters

immediately at m.2 based on the retrograde form of the

pitches found in the piano part at m.l. It is accompanied by

pizzicato strings, harp tremolo, and piano arpeggio - the pi-

pa effect with the "bird" motive played by the flute and

clarinet. At m.12, the music becomes more flowing and smooth

than in the previous section. The voice is set

melismatically, reflecting the lyrical nature of the text

with an ostinato sixteenth-note, flowing piano accompaniment.

This piano passage also reappears in section two at m.44-53,

but it is carried by the violin. Section two starts as the

melodies grow gradually higher in dynamics, tempo, rhythmic

and registral intensity.

Example 13--string part, piece III, mm.3-4

pl£L

Vn.

Vc

Example 14--Piano part, piece III, mm. 9-11

I TJ 7:8 —>

The second section portrays the virtuosic performance of

the pi-pa player, it is expressed by the voice soaring most

of time above a thick, vigorous, and passionate ensemble

sonority in a manner that is associated with the later German

Romantics. At m.22 the piano plays the -rain- motive as a

downward arpeggio gesture which is restated in piece V and

becomes a -water- motive. One lyrical passage is found

through m.28 to m.31 to provide a contrasting gesture to

previous passages by reducing the dynamics, tempo, rhythmic,

and textural intensity. This thin contrapuntal texture is

spun by the voice, harp, flute, clarinet, and violin,

carrying a lyrical -lovers' whispers- motive which reappears

at the very end of this piece. At m.34, the power of the

text is represented by a special "dramatic inflected speech"

a descendant from the Chinese Peking opera which also gives a

contrast to the previous section not only in the style, but

also in its rhythmic indeterminacy. At m.44, the music

dissolves with the tempo slowing, accompanied by a reduction

of dynamics and thinning of rhythmic density.

Example 15--Lovers' whispers, piece III, mm28-31

Malta

Example 16--Dramatic inflected speech, piece III, mm.34-35

tannic feOecied speech Soprano

lie C&o CftO

After a long repose, the voice enters hesitantly at m.

56 in 4 monophonic style. The shift of texture from very

thick to a single line gives a strikingly different

expression from that of previous sections and creates an

unusual climax for the whole piece. The monophonic passage

ends at m. 63 with a long pause.

Suddenly, at m.64, the music swells back to a ranid

energetic, and agitated passage, recalling the previous

passages at mm.22-32. In this instance the tom-tom is

replaced by the penetrating snare drum. This passage ends

with the voice soaring again above a wild, rough sonority of

expanding tessitura, increasingly dynamic.

Example 17-- Percussion II, piece III, mm.64-66

snare dnim«— J f

fXBf

The coda, mm.71-75, is expressed by the "dramatic

inflected speech" again, but is accompanied only by a solo

violin playing the " lovers' whispers" motive. At m.74-75,

the harp plucks the strings to suggest the pi-pa player has

finished her performance. This coda also serves to release

the energy and ease the agitated passion established by the

previous sections.

Example 18--Harp part, piece III, mm.74-75

IV. Silence reigned, the boats around were quiet

This piece serves as a transition to piece five, It was

a life of merriment and time slipped hv. The text of this

piece delineates a silent moment, right after the pi-pa

player's virtuosic performance and prior to telling her

story.

The opening four notes of the vocal line are drawn from

the vibraphone part of piece I found at m.22 and reflect the

concept of "boat". The contracting intervallic motive (M7,

m7, and d7) of the four notes in piece IV, or the expanding

intervallic motive (m2, d3 M2, enharmonically , and m3)

of the four notes in piece I are intentionally used to evoke

the "wave" of water.

Example 19—Wave motive, voice part, piece IV, m.2

k £ 4% <ionj cktmn *•'

Example 20--Wave motive, piece I, m.22

This piece is scored for voice, flute, percussion, violin,

and cello. The vocal line is characterized by two different

techniques, syllabic singing, and sprechstimme. The syllabic

setting is accompanied by the flute, violin, cello, and the

suspended cymbal. Each of the entrances of the flute,

violin, and cello is puntuated by the triangle. The

harmonics produced in the trio, reminiscent of the Chinese

Gagaku Sho (also reappearing in piece v found at m.91), helps

sustain a limpid quartal harmony, suggesting the milky

moonlit sky, while the sustained tremolo suspended cymbal

evokes the reflection of moonlight on the water. From m.9 to

m.12, the voice employs sprechstimme technique to provide a

contrast to the previous section, punctuated by the suspended

cymbal.

Example 21—Gagaku Sho sonority, piece IV, mm.3-4

Pec

At m.12, the transparentquartal harmony is once again

evident and the piece eventually dies away with the fading of

the dynamic.

V. It was a life of merriment and time slipped by

The fifth piece, consisting of five sections, paints two

contrasting descriptions of the story of the life of the pi-

pa player. A slower, lyrical, polyphonic, and dreamlike

moment represents the player as she begins to tell her story

of success in younger days and of disappointed life in her

older days. A faster, homophonic, and dancelike passage

reflects her joyous time in the capital. The basic formal

structure is shown as following:

Introduction (mm. 1 - 1 1 ) - A (mm. 11 - 37)

- B (mm. 38 - 60) - C (mm. 61 - 75) - B'(mm. 76 - 85)

- A*(mm. 86 - 100)

The introduction functions as a prelude and prepares the

unfolding of the woman's story. It is percussive in nature

and also exposes some materials used in later sections: the

"dance" motive by the strings with the addition of percussion

and the "water" motive by the piano. The latter motive is a

restatement of the water motive used earlier in piece III

m.48 and reappears in the later sections of this piece found

at m.26, m.33, and m.75. As the dynamics grow gradually

higher,the solo flute fades in softly to start the A section.

Example 22—Dance motive,piece V, mm. 1-4

Perc.1

Perc.II

I" " P' ' 'UJl P *9

•if p1 * '[jf P P

| r ' L

I" " P' ' 'UJl P *9

•if p1 * '[jf P P

—

VlU

Vc

J« ca.72-76

irco.

Example 23 --Water motive,piece V, mm.8-9

Section A, depicting the accomplishment of the pi-pa

player's salad days, is expressed, as mentioned above, by

lyrical, warm, and dreamlike music. The solo flute enters at

m.ll with sparse percussion and string passages, and serves

as an introduction to section A. In m.21 the voice, oboe,

and strings take over, beginning a slightly denser

contrapuntal texture punctuated by the piano and percussion.

The vocal line in this section is quite melismatic in nature.

The portamento effect carried by oboe, flute, and strings, is

heard prominently to paint the gentle gesture of the woman's

speech and to imply the emotion of regret for section C.

Example 24--Flute part,piece V,mm.11-14

J

From mm.28- 38, the gestures grow gradually higher in

pitch range, stronger in dynamics and builds to a climax at

section B marked by the trill ostinati found in the flute,

piano, and vibraphone. The strings and the tambourine also

start their dance-like pulsation to accompany the voice. The

activity is now much denser and, once again the voice has

left its melismatic nature for a more syllabic style. The

climax of the B section occurs at mm.45-51, the voice soaring

while accompanied by oboe and flute. At m.52, the texture

returns to a lighter texture and swells to m.56, then eases

down to section C (found in m.61).

Example 25 —Piece V, page.58

J. ca. 82-86 teggm V

l?fl CKaA t«k

in a slower tempo and emphasizes the bending pitches of the

voice, flute, and oboe to portray the most woeful life the

woman had. At mm.64-75 texture becomes more dense and

climaxes into the B' section with it's quicker tempo.

Example 26--Oboe part, piece V,mm.61-62

In the B' section the texture is mostly thick due to the

"dance* motive in the strings and percussion, and the "water"

motive in the piano. This structurally fits in rather well

with the overall design of this piece, by delaying most of

the contrapuntal activity until this point in the work.

Gradually this activity slows down, the dynamics are reduced,

and the A' section is prepared by a two-measure unaccompanied

line that is shared by the cello and the violin.

Although the last section starts off busier, it becomes

increasingly relaxed, thereby adding to the anti-climax of

the story in the text. Nonetheless the material dissipates

and is finished off by an oboe solo that directly relates to

the opening of section A played by the flute.

VI. I wept and woke up with reddened eyes

This eight-measure-long piece serves as an epilogue to

piece V, it was a life of merriment and time slipped bv. The

text for this piece describes the pi-pa player having a dream

of her salad days and waking up with reddened eyes.

This piece is scored for voice, piano, and harp. The

vocal line is expressed melismatically with portamento effect

at times and is accompanied by the "dark" motive throughout

the whole piece. This "dark" motive is created by the piano

and the tam-tam effect of the harp found in the very end of

the second piece and also reapppearing in subsequent pieces.

An alternating quarter tone is employed at m.7 in the voice

part to reflect the gesture of weeping expressed in the text.

Example 27--Dark motive, piece VI, m.l

Snnm

Harp

I

p

* 8*-

After a short pause at m.7, the voice follows the last "dark"

motive and ends with a subito pianissimo A .

VII. My heart ached to hear her plaintive songs

This piece, a prologue, serves as a transition to the

next piece, I must drink to ease mv pain. The text describes

the poet's grief upon listening to the pi-pa player's

unfortunate turn of events in her later years. He is

reminded of his own life in that they both had ties in the

capitol and were banished in their later years.

The flute starts the piece with a kind of fanfare that

is punctuated by the bass drum and tam-tam. The opening

phrase by the flute also serves as a leitmotiv recalling the

motive of melancholy found in piece I and piece V. Notice

again, how emphasis is placed on timbre, articulation, and

dynamics to bring about the "living sound". An ideal of

Asian music, this "living sound" helps to focus the

listener's attention on the sound world that lies within a

single tone. The flute part also uses word painting at times

through portamento effect to express the sigh as seen in

mm.5-7.

Example 28--Flute and percussion parts, pieec VII, mm.1-4

n.v..~- - yn.v. ^ •ormal

Flute

Pocuaioe

Example 29—Flute part, piece VII, mm.5-7

Hi flutt.

•^r

At m.5 the voice enters in a scaggered manner quoting

the first three notes of the flute part in the first piece.

The voice is set melismatically and great care is taken to

ensure the text's meaning is clearly uttered and that any

inflections are presented properly. At m.8 the flute once

again repeats the sigh leitmotif and structurally intertwines

itself with the vocal line and creates a intermediate climax

at m.10 with a gradual expansion of pitch range and dynamics.

The portamento effect is heard prominently through m.10 to

m.20 and is carried by either the voice or the flute. This

time the quarter tone alternation is found in the flute part

rather than in the voice part. Again, these effects are used

to mirror the gloomy atmosphere expressed in the text.

Example 30--Voice part, piece VII, m.5

SOP- I- ifyjlii w« to)

At m.13, the second section begins with percussion and

the flute glissando leading the voice, using materials

similar to the first section to accompany the voice later.

Another example of word painting is seen in the voice line at

mm.14-15, as in m.17-20, where the chromatic descent helps to

portray a sigh of grief. The flute and percussion close the

second section and also introduce the epilogue.

Example 31—Voice part, piece VII, nun.14-16

® JL— £ & 4$ ijL J\r •fag sti Yfl iuo zen

The epilogue starts at m.21 with a familiar flute

passage that once again introduces the voice. This time,

however, the vocal part is spoken, helping to bring the piece

to a close. This is brought about by the reimplementation of

the motives found in the flute and percussion parts

throughout the piece.

VIII. I must drink alone to ease my pain

Piece eight not only serves as a climax for the third

poetic theme but also acts as the culimination for the whole

work emotionally and structurally. The text from this piece

represents the poet's own story, the unfortunate turn of

events since being banished from the capitol.

The texture of the opening measures represents the

character of the whole piece. Four elements are discernible:

The second percussion part along with the strings provides a

seven-measure isorhythmic pattern while the first percussion

part comprises a nine measure isorhythmic pattern. Together,

they serve as a backdrop to the story line, a very popular

idiom for Chinese audiences. Against this background, the

harp provides a middleground of "pi-pa" motives and also

serves to double the strings on C# and G, a diminished fifth.

This emphasis on diminished fifth is heard prominently

throughout the piece. The foreground consists of two

elements: the flute recalling the bird-like leitmotiv and the

voice using two different techniques (sprechstimme and

whispering) to spin a two-part countrapuntal web.

The formal structure of this piece consists of two

contrasting gestures distributed among five sections: an

undulatory, flowing gesture based on the isorhythmic pattern,

and a smooth, lyrical gesture during which the isorhythmic

pattern is broken down.

In section one, the percussion and strings begin the

isorhythmic pattern, providing a steady pulse for the

entrance of the flute at beat four of measure one. This

prelude-like passage lasts to m.4 at which time it combines

with the melancholy leitmotiv carried by the flute. At m.8

the voice appears and immediately creates a two-part

counterpoint texture with the flute in an inverted canon

found in ram.8-12. The vocal line is expressed by alternating

between singing, speaking, and sprechstimme to highlight the

meaning of the text. The voice is also set melismatically to

reflect properly the inflection of the words. The word

painting, found at m.30, is evident in the vocal line (e.g.,

imitating the cuckoos crying and the gibbon's wailing). An

intermediate climax is achieved there by increasing rhythmic

density of the foreground and increasing the dynamics of the

whole passage.

Example 32--Voice and flute parts,piece VIII, nun.8-12

a * i — k • vio coy <\u man ju

Example 33--Voice part, piece VIII,mm.30-33

*± & Du J«an

Right after this climax, at m.34, the music shifts to a

soft, lyrical section. The voice whispers the dialogue with

the harp adding a somewhat transparent harmony, reminiscent

of Gagaku Sho. This is created by the harmonic effect in the

strings and the flute with the addition of the vibraphone,

helps to create a limpid sound that suggests the image of a

bright moon reflecting on the lake. With the transition of

this section, the isorhythmic pattern provides the texture

for the third section. The vocal line, as in section one, is

expressed by singing or speaking. The employment of Chinese

folk melody and the use of word painting is found at nun.38-39

and mm.40-41 respectively, the latter by having the voice

sing a tremolo passage in imitation of the flute.

Example 34-- Chinese folk song, piece VIII, mm.38-39

Example 35—Voice part, piece VIII, mm.40-41

. 8 H 1* <*** JC tl J

With a sudden reduction in dynamics, the music subsides

to the fourth section, another smooth, lyrical section. This

section, from mm.47-52, is a restatement of the second

section and is similar in harmonic, melodic, and textural

materials even though the meaning of the text is different.

The stretto-like appearance of the isorythmic pattern starts

the fifth section at m.51 and infuses this section with a

drive that pushes towards the end. The vocal line is set

melismatically, as seen in mm.55-57, and a virtuosic

performance is required. This in turn turn, is answered by the

flute in a n i n v e r t e d c a n Q n ^ ^ ^

dynamics in the background and middleground. A rising

rhythmic density helps to establish another secondary climax

slower tempo of the opening and pushes the music to the real

C imax, at m.64, with a vigorous tempo and a gradual

expansion of pitch ranao r-h, «-u a" 9 e' r h y t h m i c lnCensity, and dynamics

e voice restates the Chinese folk song a semitone higher

t an Its first appearance and ends with a Bb. the highest

soprano note in the whole work.

Example 36—Voice part, piece vin, mm.55-57

Example 37-voice part, piece vill, mm. 61-64

IX. My gown was drenched with tears

The last encore of the pi-pa player portrays the most

depressing sentiment expressed in the text. Functionally,

this final piece is two-fold in nature. First, it acts as an

epilogue to the previous piece and secondly, it serves as a

coda to the whole work.

Although this piece is through-composed, it also

presents a compact version of the first piece found in the

first section. Similar harmonic, melodic, and rhythmic

materials are used. This includes the use of the concept of

I - Ching; a pulsing drone on E played by the timpani against

the other transitory events. The technique of word painting

is evidenced in variety ways: the wind represented by the

flute; a sigh of grief or weeping by a portamento effect in

the voice, flute, and double bass; the application of the

"living tone" by the varying vibrato of the flute; and the

use of the leitmotiv by the flute and double bass. Moveover,

the glissando effect for the vibraphone is used for the first

time in this piece. The use of two-part counterpoint between

the flute and the voice, and the imitation of wind by the

voice are omitted in this piece.

Example 38-~Percussion part, piece IX, m.5

medium haid imikci

Piece nine begins with a tremolo timpani, a statement

introduced at the opening of the first piece. The voice

enters hesitantly at m.5, and a complete statement of the

leitmotiv from piece one (mm.5-7) follows, again expressing

the idea of the "living tone". The formal structure of this

piece is reflected in the poetic text initiated by the

leitmotiv found at m.9, m.13, and m.18. The portamento

effect is heard prominently throughout the piece to represent

the depressed air and even the use of quarter tones, found in

earlier pieces, is heard at times in the vocal line to depict

the gesture of weeping. This can seen at m.12, m.13, and

mm.19-21. Moreover, the double bass, again, as in the first

piece, plays with pizzicato, or pizzicato-tremolo gestures

throughout to evoke the feeling of the pi-pa music.

Example 39 --Double bass part, piece IX, nun. 15-18

ptzz. ptzz-trem.(2 fingers)

At the conclusion, the voice is seen in m.21, sighing

its last breath, fading away into the accompanying ensemble

consisting of flute, percussion, and double bass. The

ensemble in turn gives way to the timpani tremolo, which then

fades to silence.

Example 40--Voice part, piece IX, mm.19-21

t t T

ma ?in5 Sim shi

CONCLUSION

The application of Chinese philosophy to music has been

an interesting subject ever since I studied the I-China and

Tao with Mr. Yand-Ming Lu in Taipei in 1988. The blend of

eastern and western elements into a personal expression also

has been a prevalent theme of my music for many years.

Sona of the Pi-pa is a musical poem, for soprano and

mixed ensemble, drawn from the poetry of PO, Chi-I. The text

has had the most influence in shaping the structure and

musical ideas of this piece. Together with the philosophy of

the text I have tried to incorporate these elements into

somewhat of a western style. In the attempt to achieve this

sentiment, I have used pentatonic scales, centric melodies,

Asian folk song, the idea of the "living tone", the concept

of the vincr and the vana. and the practice of Gaaaku Sho

music. All of this was synthesized with a western

compositional techniques that includes the leitmotif, word

painting, contrapuntal devices, and limited thematic

materials subjected to continuous transformation.

Finally, the formal plan is through-composed and the

organization of this work is largely determined by the

structure of the text.

INSTRUMENTATION

Soprano

Flute

Oboe

Clarinet(Bb)

Piano

Harp

Percussion(2 players)

Percussion I 5 wood Blocks, Gong, Vibraphone,

5 Temple Blocks, Bass Drum, Tam-tam

Percussion II 4 Timpani(23", 25", 28", 30"), 3

Suspended Cymbals, Triangle, 5 Tom-

toms, Snare Drum, Tambourine

Violin

Violoncello

Double Bass

NOTATION

General

^ A pitch quarter tone lower than written pitch

A pitch quarter tone higher than written pitch

n n Accelerando no-te group

Ritardando note group

Strings

A

A Flute

i

Highest possible pitch

Highest possible pitch with double-stop

Blow across mouthpiece without producing a tone

(wind sound)

n owl. ——• m.v.

Go gradually from non vibrato to ordinary vibrato

to molto vibrato

Harp

^ with fingernail

H • I t- Pluck close to sounding board

Fingernail glissando, or falling-hail; play with

back of fingernails

Tam-Tam sounds; strike the string with palm

C Score

to Theme I. /&' T $ % p

Suddenly a pi-pa sounded in the shimmering bay

Soprano

J = «

D p ^ j

SONG OF PI-PA

X 5 f ^ ^ ^ ^ YU-CHUNG TSENG

I was seeing a friend off at the river's bend

-ca. 42-46 rubato

Rute

Percussion I

Percussion n

Double Bass

wp

Timpani hard mallets /On

J= ca. 56-60

Sop.

Fl.

Perc. I

Perc. II

Db.

P

f f VP Sub.

Sop.

Fl.

Perc. I

Perc. II

Db.

Wood Hocks medium hard mallets

i PP

~ord. m.v.

i Sop. ¥

Fl.

Wood Block

r fLiu Pen:. I

Perc. II

PP mp

PP 10

Db.

pp pizz. pizz-trem.(2 fingers)

P

Sop.

norma] a JiOHJ - t o u

Fl.

Pen:. I

Perc. II

Db.

i i 1 i M flutt.

t e S o n j

£ m p

Vibe, medium hard irwillrts

ymf

Gong soft mallets

Sus . Cymb. timpani mallets Timpani

mf pp

Sop.

Fl.

Perc. I

Perc. II

Db.

m.v normal

PP Wood Blocks Vibe. medium hard iraliets

whispered 19.

Sop.

unvoiced wind found

<)iU

Butt.

x'-ix' ' xyj^x'

H - * * —

Se i e

" l ^ * t

wp

J S B M ? Mil

h u

Fl.

Perc. I

Perc.II

Db.

i * L i r f , r ^

tr\r"

p p p p

p p

p p

Sop.

Fl.

Pen:. I

Perc. II

Db.

2Z normal

m — Jb a><x a yc!a ma

25.

ZA' c h u a n

Perc.II

erase, poco a poco

& VL Y u in

m.v. m.v. m.v. m.v.

Pen:. II

Sop.

Fl.

Pert. I

Perc.II

Db.

Sop.

Fl.

Perc. I

Pen:. II

Db.

$ lYj-ckeiM h u a n a Can Jiang ZUt wx

te

Wood Blocks

/?\ whispered PP

i U — * 1 3 bie Shi mag manj J i ang j i « Y e

J. 31

Ca. 64-68

Sop.

$ Fl.

Perc l

PercD

Db.

Vibe.

,uf PP

m P

normal

40.

Sop.

whispered P PP PP

Jij whispered

- a ,

normal mp

Jul JM 1J1 X X*

W EJ a a a ha stay p i f>a. 5Aenj

^ ^ ^ % *ha ten wanj ju? j<£

Fi.

Perc l

Perc. II

Db.

3 P m

P P

40 pizz-trem.

/>

pizz. pizz-trem.

if pizz.

mp

43. VtP

Sop. p i

; tnf p whispered P acceL poco apoco - -

^ ^ J i J

* bu

HSL •fa

% ' <un - } p|f»3 i f % I * & sKenj an voen t a n zhe sho c "• Jhe?

$ f | i f f . Fl.

Perc. I

Perc. II

P

m m pp

Db.

plzz-trem.

rtt . . — — a tempo

op

Sop.

Fl.

Perc. I

Perc. II

Db.

normal

xwx

i Wood Block

plzz-trem

Sop.

R.

Percl

49 fnp —

i cTf H—

mp

mf -

—3-

ch i

mf

mf

Gong

mf

Perc. II

Db.

49

mf w jr 1 n

Sop.

R.

Perc. I

Perc. II

Db.

Vibe.

mf — ' p

S u s . Cymb . timpani mallets Sus. Cymb

J = Ca. 72-76

Sop.

Fl.

Perc. I

Perc.II

Db.

m P

Sus. Cymb

58,

Sop.

cantando

| "" r

HP -flo ZL

P

Fl.

Perc. I

Perc. II

Db.

58

m

Y i cf>uan j / n y a o

(>rl[Uffi LUfd I fJj ci ITLI 6 6 6

if ftp hr f e ¥ ^

10

Sop.

R.

Perc I

Perc.II

Db.

i l S tJ % httl d eng chonq

' 0 t i a n J ' " -

§ m

Sop.

H.

Perc. I

Perc. II

Db.

C h o y loti i # l} r

u

J . Sop.

Fl.

Perc.1

Perc.Il

Db.

^ ^ - 1

-rPr'~^h-~r ffr PP-V ; - - — m.v.

, — 5 ^ 2 = : 22:

L f t r V\=mS=Z=4 3 9

=—- 7Hp " V\fo

* ll 1

. /

odfflock J

~ t — ' p r r fT-g"—> 1 1 m fl

ptoi1-—-fe —t

P 67

1 -— = = d

70,

Sop.

n.v.—— — —

Fl.

Pen:. I

Perc. II

Db.

trttrr

mf

J} j = : nf: "If _ /> mp

70

12

Sop.

R.

Perc. I

Perc. II

Db.

a tempo

C33

+ °f M qian h a vuan h u a n

I whispered dolce

P

JM ' J J'l Sop.

R.

Perc. I

Perc. II

Db.

Wood Blocks

+ ° f & qian h u w a n h u a n

— J - ,

Sus. Cymb.

mf PP

13

normal p espressltvo 79. —.3 C ^ 3 ^

Sop. - 4

S t

Sh\ a i -

cliu

U ) . - ~

l a i w a

L'r R

Perc.1

PocD

Db.

pizz-trem

P mp pp

r Liei*1' Sop.

3&-Yow

ord.

* £ - l i — L-3 bao p; I

R

Pen:. I

Pen:. II

Db.

,3—. • $ m «

gliss

U « - >

/>P * P pizz-trem.

« t o l»

14

liberamente molto espreasivo

Sop.

p« ?a

r ; ( Fl.

Perc.1

Perc.II

Db.

w 85

f r Nr ^ I

=§* -iitf

a tempo 88,

Sop.

p dolce

*

R.

Perc. I

Pere.II

Db.

Vibe.

¥ -ban

" i t r z h e

t i i mian

J L

^ '• = PP

plzz-trem. 8 8 k r

P PP

15

Sop.

Fl.

Perc. I

Perc. II

Db.

L-3-

v.^>.

unvoiced winid sound

• 4 ? — J M W - —

m -

h a

— | f- *• i |

Wood Blocks J = P i P a *BFJI • f r - ' - f - p . — =

p \lMm pp-x-ZZ f

Q L L L [ —

95

PPP

Sop.

Fl.

Pen:. I

Perc. II

Db.

16

9SL

Sop.

R

Perc.1

Perc. II

Db.

i :

$

•=

M! -H

99

? i" * =

-•J- -J>'Hi M! -H

99

? i" * =

PP SI irorzando

PPP

17

She tuned it, and lightly plucked its strings

# :=ca. 52-56

Soprano

i 1 sempre 1 ^

Harp cdefI G /4>8 mf Flj AN

Piano

* sempre

milted sempre i (left hand) J

%

Sop. f / J i J ' B h J l J

j ihaan

Hp.

Pno.

if zKaan zhou bo

i A t Son iicutj shenj

P#-

muted

18

Sop.

Hp.

Pno.

*/& — VOei cheny <* a 0

t *1 Xian Y o u

muted

Sop.

Hp.

Pno.

m &

xian ytian normal

EbB fa f t p

m muted

19

«*N Sop.

Hp.

mp

ip ff^tr I

— 4 w ran Y<

dIE l| ftp

shcn j s t a n g

OT/ f> f I g . A11 |}J q i«p *

Pno. muted

mf P

j> j a v j, ^

Sop.

i

tenerameiite

- * S t

Pift3 Sherv] bu ^ sempre

• ^ » ? p < Hp-

W£ normal

P Pno.

mu

PP

PP muted

P i' i y ii nrn ,

p

20

Sop.

a tempo

$ I 1| t> . E A B mf Hp.

normal ^ ^ aempre

r \

muted £ o Pno. mf

2ft

1

} r===F r t n > > J § ' : H

p tnH—^ ;

° pp VP

T t1' * L

J , J PP

% — = — 1

21

pp

Sop.

Hp-

Pno.

H I . r | \

ca. 82 -86

Soprano

Flute

Clarinet

Piano

Harp

Percussion I

Percussion II

Violin

Violoncello

Tie fine Btxing-tbey sounded lilre l o w n 1 i&ispeiB

rnf

4 K T H ^ 4 mef Xirt Shod KU M thirty*

J — I

wp

RS dffl—r h n

1 # ^ * - J J G £

4 L K J

'

j CDIIEFJG 1A IB L> gliss./

^ " " * 1 / =

y '

Z = = ^ 5 ,

/

1 '

vtp —

K 1 ~ L > J

m Vibe, medium hard mallets

5 Tom-Toms medium hard mallets

= ca. 82-86

Sop.

H.

CL

Pno.

Hp.

Perc. I

Perc. II

Vn.

Vc.

m n zhortg Shoo Jirt

i

23

Sop.

Fl.

a

Pno.

$ Hp.

All J L E CE)l'Ek:!tei'AB \> ad-lib. p uu. uu.

Perc. I

Perc. II

Vn.

Vc.

m m i

5

i

24

Sop.

Fl.

CL

Pno.

Hp.

Perc. I

Perc. II

Vn.

Vc.

ca. 42 - 46

*lun

_J

rf^rlrir J'

J- «LJ) =ca. 4 2 - 4 6 10 •ICO.

H

25

Sop.

Fl.

c l

ft « • long M O

Pno.

$ Hp- />

-a—

O I

i Pert:. I

Perc. II

¥ W P

Vn.

Vc.

26

Sop.

Fl.

CL

Hi Chanj

Pno.

Hp-P e M

Perc. I

Perc. II

Vn.

Vc.

mp

27

Sop.

Fl.

Pno.

I Wm

§ cresc.

cresc. poco a poco

p . d l t s empre

fl" 1 J E b A h

P

— * trj vi ' mp

d | e 1 > f | b 1 gliss./

Ji °

Hp.

Perc. I

Perc. II

Vn.

Vc.

• hard mallets

hard mallets

8 2 - 8 6

28

cresc. poco a pocx>

Sap.

Fl.

a .

Pno.

w

2±

' ' 1 = 1 V mf

4 I cresc. poco a poco Hp.

mf

Perc. I

Perc. II

Vn.

Vc.

S * i 9 2 - 9 6 asprczza

I mf

29

Tit.. poco a poco

Sop.

Fl.

d

Pno.

Hp-

Perc. I

Perc. II

Vn.

Vc.

mm

i

P

30

Sop.

$ £ — 3 -

— tn X i a o x « a n ^ i e

• 4 n iir Ylk Si

R.

a

pp

Pno.

Hp-

medium hard mallets

$ i Pen:. I

Perc. II

vtp

Vn.

Vc.

;-80

31

acoel

Sop.

Fl.

a

Pno.

Hp.

Pen:. I

Perc. II

Vn.

Vc.

H#Fq ™P

medium naid mallets

32

J. ca. 82 - 86 agitato

dramatic inflected «peech ^

<n w qie <j i £ cao c«0

non legato

Perc. I

P w w . /

J=ca.82-86 . detache ai^.p.

Perc.

Vc.

7, sim.

dctachc ai^Lp.

•*

/

33

Sop.

P sub.

5 $ r $ -t a f t t f t " t a n

p sub.

^ p . d l t

P sub. i v

/ ' s u b .

f t J — ,

dctachc aXa.p

P sub.

dctachc a.f.a.p.

H.

a

Pino.

Hp.

Perc. I

Pen:. II

Vn.

Vc.

34

luo too 100 IUO Yt*

O O ( U l

dim. poco a poco

P t ) i t

Perc. I

dm. poco a poco

Perc. 11

dim. poco a poco

i dim. poco a poco

J -

dim. poco a poco

35

rU —

43

Sop.

_ J}= c*. 72 - 76 calando

*mp

Fl.

a

« 9— j f o n g u a n y ( h

molto legato

Pno.

Hp-

i

Pen:. I

Pen:. II

Vn.

Vc.

LUj iiu ca. 72 -76

36

Sop.

i$M f — f YwY«n ft T ' n Yu hufl cK flutt Hoa You Ye h a C j j ^ s h u t Xif r

H.

CL

Pno.

Hp.

Perc. I

Perc. II

I

CDjt EFGP AbfiP

Vn.

Vc.

37

Pen:. I

Perc. II

38

dim & rtt pocoapoco PP

Sop.

Fl.

a

pp

$ PP

Pno.

Hp-

Perc, I

Perc.II

dim & rtt poco a poco

Vn.

Vc.

39

Sop.

Fl.

CL

5 2 - 5 6 calmato

I H

You chou

3 ^ 3 Pno.

pp —: PPP

1 pp ~ ' ^

J1 1

Hp.

Pen:. I

Perc.II

Vn. Li = 4 2 - 46calmato

PP ~- PPP

Vc.

40

a tempo

Sop.

Fl.

a

wa Shew

Pno.

$ Hp-

1 Perc. I

Perc. II

¥

Vn.

Vc.

I

41

Sop.

Fl.

a.

%

" T mf P

r\ r>> , (2-

r\

r\

Pno. /T\

Hp. r\

$ r \

Pen:. I

Perc. II

r\

61.

= 1 Vn.

Vc.

42

Sop.

Fl.

CI

Pno.

Hp.

Perc. I

Perc. II

Vn.

Vc.

9 2 - 9 6 asprezza

Yin P ' "5 z h a po ;K $(—ilt—

shui ji 'antf beny -tie.

nan legato

l J W - c s c s v s -

CDEkFGABl

m m

9 2 - 9 6 asprezza

I mf

43

67. jr

Sop.

Fl.

a

Pno.

§

non legato

i

i r rr , , j i —3— L-3-J

£ im chu

n *i~ Ndao qi&nj

# Hp-

a # # Perc. I

Perc. II

iUJb'"'j' 'U / 6

m m fl « r i m

/ ff

Vn.

Vc.

J — detache ai.a.p

detache ai.a.p &

44

72 -76

Sop.

R

CL

Pno.

Hp.

Pen:. I

Perc. II

Vn.

Vc.

dramatic inflected

A — ft" tfU xhoruj $hoU bo

bi- /T\

— ca. 72 - 76

i

45

Sop.

^ J j <2

d a t y X<n h u a S i X<on i > * h e . n j <**. . \te rtiasi

Fl.

a $

Pno.

P j i t

Hp. DI FJG|AI>

I Perc. I

Pen:. II

£ Tom -torn medi tm hardjpallets

D

d j pizz.

Vn.

Vc.

pizz

46

T h e m e II. M y s o n g b r o u g n m u m b e r l

ro l l s of s i lk

^ V • 1-J/J vSS O Silence reigned, the boats around were quiet

ca. 56 - 60 calmato

Soprano

$ r 5> dtfno chuan *»

tfc a q.'ao v Ju Y# n

Flute

Percussion

Violin

Violoncello

Triangle.

LSus. Cyxnb. soft mallets PP

Sop.

5 <-w |Q. 1 - 3 - 1 —3-^ ^

tfr r r ir "i p'l'nrnrriii a . ^ ^ 3 J >

4 - 1 ~-i § •

$

vle< Jion J i w j / i n q iu y u € b f t -° o u° _a °

" t f T

R.

Perc.

Vn.

Vc.

pp pp

pp

in pp

i \ o r

p - i r

gliss.° o

M p p

pl77

47

Sprechstjimme 5 ^

Sop.

shen y n

1*

+ {£ ^ - ^ 1 " -fang bo CKa. Xtafl chonj i h e n j du Y' c h a n j *?i I can

m ppp

A Fl.

Pen:.

Vn.

Vc.

j 1 — U P

9 a Z = 1 gtiss.

P PPP

m mp

plzz.

It? PPP mp

Sop.

$

P

ronj

Fl.

Perc.

Vn.

Vc.

dim jpoco a poco smorzando

i f'J ' dim poco a poco

i

smorzando PPP

dim poco a poco gUss. 0

dim poco a poco

smorzindo

smorzando

48

J . ca. 72 - 76

T. It was a life of merriment and time slipped by

Soprano

Flute

Oboe

Piano

Percussion I

Percussion II

Violin

Violoncello

j =£a. 72 - 76

plzz. arco.ghss. i. gliss.

1 ' n ,, . > J

/>

j ) ,1 H

cnesc. poco..a..poco.

h i n j==j

5 Temple Blocks medium hard

:d ? I'd: —

i mallets 3 3 r-3 -i

5

BTn rffl* i i L p T J-,! 1 ^ p 1 * ^ /» /> p ? ^ yy OTp - ®rf*

CL.pOCO.

arco. .puss

cnesc. poco..a..poco.

49

Sop.

R.

Ob.

Pno.

Vibe. medium hard mallets

Perc. I

Perc. II

i* > j p j m cresc. poco.XL.poco. •mf f P

Tom - torn hands

fp fp

5 A

P gliss.

I Jit $1 g - 7 ^j-7 ^ 7 $ ^ Vn.

Vc. £

P

gliss.

cresc. POCO..CL.POCO. -

,6 T $ \ i f : cresc. poco..a..poco. -

50

Sop>.

gliss.

$ - 3 "

£ m FI.

Ob.

— p T j J mp pT inf _gliss.

r r /» cspres

Pno.

Perc. I

Perc. II Tooi • loon Vn.

Vc.

p /> J -

r * */ 1— - jp

pUss. J JN i mf

51

13, Sop.

R.

Ob.

ii T IF* i§£

$ P -«=D«G0>- P~ mf

$ Pno.

m Gong, soft maiUets

Perc. I

Perc. II

m PP pp

Sus. Cymbs soft millets

% >—3 —«

11

Vn.

Vc.

i

pp

P "YIP I

pp

52

17 Sop.

EL

Ob.

cresc. poco..cL.poco.

§

Pno.

r -3 —i •—3

J ^ Tttp

- 3 -

> 1 1

Sus. Cymbs3

l - b 1 1 1 Tttp

17#v

IIP - = j

PP

pizz.

P

pizz. > > > m - i

PP

P

mp

mp

> p > y T lit) i * *

? r = j p

P J» P Tttp T

Perc:. I

Pert:. II

Vn.

Vc.

5 3

p espressivo

Sop.

Xue de

~esl R - t r & Ak—U.

?>r P a C h a ^ j min * h a j t a o

FL

Ob.

espressivo

' Br Pno.

/>

Temple Blocks _3 Gong.

i Temple Blocks ^ _-9*"'1

Perc. I

Perc.II

—

"73 *>

3 Sus. Cymb6

5 ^ "7" mp

ir?fH Vn.

Vc. g Ittf

mf

P^ TNp < Wp

"3 —•

P

54

Sop.

txx ch&yjiao

EL

Ob.

Pno.

Perc.1

Fere. II

Vn.

Vc.

i

m Temple Blocks ^

Sus. Cymbs

P

55

cresc. poco..a..poco. mf

Sop.

Fl.

Ob.

« . shaft cai -Lu-

Ar A -£3fc •zhuay chenj mc< bei

Pno.

cresc. poco CL.pOCO.

P

m Temple Blocks Vibe. medium hard mallets

1 1)1' 1 1* * * w-»3

/> cresc. poco..a..poco. mj

Tambourine

Perc. I

Pen:. II

Vn.

Vc.

29

p itr ^ i l m

m

ntp <: > p

w

56

acceL

Sop.

Fl.

Ob.

Pno.

~*k ni a w

Perc. I

Perc. II

M n ^ \ , h .

" " 1

Tambourine

I

i

m ^

; «/ jfcj ^

mp P — =

mf

acceL

Vn.

Vc.

p

mf pp —=

57

Sop.

m i . i t i l \jjo< l»n ftTanskao diey ch*n torn

EL

Ob.

P P

tr b

mp m , , H

'± Iter

4 pp Pno.

Jfe

Temple Blocks . L Vibe.

Perc. I

Perc. II

Vn.

Vc.

ig medium hard mallets

Sus. Cymbs

__ J = c a . 82 - 86

58

Sop.

Fl.

Hp. D\>

Temple Blocks r — J -

Perc. I

m •J. ca. 5 2 - 5 6

whispered

n.v. sempre 11

j . 'n vO«n

I I 777p

& a

- 3 - ? t,

ci>F# G# *

i

Vibe. Wire brush

pp Sempre

H u l l

Perc. II PP wrp

PP Sempre

Vn.

Db.

0z=ca. 5 2 - 5 6

arco

wrp PP

96

Sop.

Fl.

Hp-

Perc. I

Perc. II

Vn.

Db.

normal P sub. 43. *mf

M — r v F

r * p.d.l.t. sempre normal

p sub p.d.l.t.

m

arco.

arco.

9 5

Sop.

Fi.

Hp- l „ , 1 1 777p 1

' ( ' 1 mp ~~ \ f vtp I

\ p.d.l.t.

= ca. 72 - 76

Ya chan 6\ oa Ya

p " 1

' n > * T *

vtp — ~6 —

I ' l i ' J l ' ! •

» p. *• - r gi ft k . " ^

k .

l ' 1 J'1 r :

: j &i^i ^ f j v un ,h E />

Perc. I

Perc. II

72 - 76

Vn.

Db.

94

accel

whispered

Sop.

Fi.

Hp.

Perc. I

Perc. II

Vn.

Db.

normal

a./— -fc c\\ wa shaft ge

medium hard mallets

93

J= ca. 52-56

34. whispered p

i Sop. i ¥ m x 'y- v

Fl.

Hp.

Perc. I

4 -

L-x1 v <&-

n.v. sempre c K o a J ^ ^ *f 'U normal WAig wa*J

^ x r "

<|U J«U & ** ha? d u

normal

PP Sempre

Vibe. Wire b rush

Perc. II

Vn.

Db.

52 - 56

92

Sop.

R

Hp. J

p sub normal

WK D.V. sempre

Temple Blocks J

Perc. I

f i i i ' j Perc. II

Z mf a - 3 .

s s PP Sempre

Vn.

Db.

arco.

arco.

9 1

Sop.

Fl.

Hp.

Perc. I

sprechstlmme

§ d u juan L *

•M

Temple Blocks

lUp

Perc. II

nrp ~r

s

%

mp

28. ptzz.

' ' ' T * V ' ' ' = f •mf 6 plZZ.

Vn.

Db.

/ mjT

90

Sop.

Fl.

Hp.

Perc. I

Perc. II

Vn.

Db.

spoken wp normal

don mik q« jian "fr#. fe jk tk ihfr m

i m

89

22*"^ spoken wf

Sop.

Fl.

Hp.

Perc. I

Perc. II

Vn.

Db.

normal m P

i l l Kiuig iu

normal . p.d.l.t. sempre m

Temple Blocks

a

88

19. spoken

p = ca. 82 - 8 6 m f normal

£ Sop. m Fl.

Hp.

Perc. I

Perc. II

Vn.

Db.

zKu J»n ffen

* * 7 7 7 /

• p.d.l.t. sempre

82 - 8 6

87

acceL

16 wf sprechstimme

Sop.

P W J 11 J' r •/ p norma]

f — U -

z W j su« fcu wen & n >— Si* i h u S h e n j

B.

I

/

* ' 777/* Hp.

/ El|

m <sW-'

c

Perc. I

Perc. II

Vn.

Db.

1<L pizz.

» t p /

pizz.

/

vtp 5 acceL

mmi mp

86

sprechstimme normal

Sop.

Fl.

Hp.

Perc. I

Perc. II

Vn.

Db.

n & m f a y P«

flutt.

Temple Blocks

85

Sop.

1 0 A

[HP Fl.

Hp.

Perc. I

Perc. II

Vn.

Db.

ok M. Z Kc Ju voo

p Y««3 cktng

84

Sop.

um #i—yt • £ — 4-" wo c*\j n»an

m i# & R.

Tftp mf

*mf Hp. Dt El | c t

A Vlbe-

•

h p r i ' ^ f t y f t — f — i ^ s - l j 3 /»

mp

© * '

~ mf

p ™f

f - V L . 6 / > > > V ,

P

6

mf ,

pizz.

^ ' f f ' j $ =

V 6

K" p

plzz.

ft" 3 j $ -y;.

Perc. I

Perc. II

Vn.

Db.

/

83

Sop.

Fl.

Hp.

Perc. I

Perc. II

Vn.

Db.

JS

Temple Blocks

82

J= ca.

VJE. I must drink alone to ease my pain

7 2 - 7 6

Soprano

Flute

Harp

Percussion I

Percussion II

Violin

Double Bass

flutt.

C D k E F G A B I?

Vibe, medium hard mallets

5 . 3 Temple Blocks

h>r™— ^ * -FJP ifit^

Vibe.

p

5 Tom-toms medlunii hard mallets

vnf i i § P 7np mp

Timpani.

ca. 72 - 76

81

mf

Sop.

Fl.

Perc.

1

n s h ;

JLs r?

r\ a tempo

n.w • ord. -i

f filial

flutt.

i - F T f . .fsrTi Ty „ fev ; i ^ g i J -ti. • J p a B B

TTJJP — =

r\

n

i f •> • y - v '

mf PP

8 0

Sop.

Fl.

Perc

^ a tempo

ct«j jCiony slow to fast

mf inp p

Sop.

Perc.

SPOKEN wp

ord- - .

* ) - l k fcOifoK « i t % & t«">J 5h>' t ' « n ia inn loo z&\ XMj-feyhe bi ce«J j ton j

—'1 - #m.v. •

79

15] & A 4 — ^ 4 > "

t e o j 51,; t i a n Ya i u n l u o

m.v. m.v.

Fl.

ord. - - - - • m.v

Perc.

VP ' ~~ ^=>" w "* pp <

rt'aig - fenj k£ b r

riutt.

Fl.

Perc.

wp w

78

Kr Y\ t a n

Fl.

»ord« .

— i t - Pt v j e n Ci" Yu

» • # Ql.Vi'i'aa^

P

Perc.

mp

Sop.

Fl.

Perc.

Gh0*9 J* normal 4r slow to fast Jast to slow

77

Theme i n . We are both derserted -

creatures

My heart ached to hear her plaintive songs

J = ca . 5 6 - 6 0 Freely, Expressively a tempo

Soprano

Flute

Percussion

normal

Tam-tam

VjJo t<}]

76

Y l . $ j i - l f c f e l ? I wept and woke up with reddened eyes

J — ca. 6 0 - 6 4 lamento

P —

Soprano

Piano

Harp

5hey -fe hU menj 5hau n»0A

€ © P 8*

Sop.

a tempo

f — f sb i wie*j t i n zhuAM le«

Pno.

Hp.

ffl - T " iArt J ATI

C © © i n r 8** pp »*

75

Sop.

Fl.

Ob.

r ™ 1

•y 3 "" 3 — 3 — 3

r r > - •

$

PP

Pno.

Tom - torn

U i PP

Sua. Cymbs

i r • i ' i

L—3—1 -* P = = = — pp?

, riff

P

o

_ J ! ' -4j 1 pp

O ^9-

= P t o * , .K > , - '

^ pCmp> p PP

L J - ' 7 * = = j

/>

plzz.

* —*—

Perc. I

Perc. II

Vn.

Vc.

pp

7 4

a tempo

Pno.

Perc.

Perc.

Vn.

Vc

91 = : = ^ a tempo

=

ppp

o ° -s o ^ o

vtp

73

Sop.

EL

Ob.

Pno.

Perc. I

Perc. II

Vn.

Vc.

>5 IS PP

Sus. Cymbs

tempo I

m

72

tempo I calmato

Sop.

Fl.

Ob.

\r<ko cKuan min

Pno.

Perc. I

Perc. II

m W

$ tempo I calmato

f—3.

Vn.

Vc.

mf zynpz^* p mp P

m m

71

rtL

Sop.

chodA

p u r [ j d

a jrl)

**/ 2=- p

t > = |

\

p u r [ j d

a jrl) 3 _

t > = |

\

"5T"« I7*-' * - W - K r

H.

Ob.

Pno.

Perc. I

Perc. II

Vn.

Vc.

ft m ibe. soft mallets £

P

70

Sop.

Fl.

Ob.

Pno.

Perc. I

Perc. II

Vn.

Vc.

» * zhfc <iu

A o i a i l u J i n j k o a

p

Temple Blocks Temple Blocks

Sus. Cymbt; soft mallets 0 r— O

Sus. Cymbe

69

Sop.

tempo II leggero

•mf

m k i * l » )

Shonj Wn l> ^in9 fr n

*

\; *i H 4 $ t -qfan •& l»4n j m a r

R.

Ob.

Pno.

£ Perc. I

Perc. II

¥ Tambourine

l -31J /> P — "y ;

i 3 JL «_9iJ

76a tempo II ^ggero

Vn.

Vc. flf

68

accel

Sop.

Fl.

Ob.

Pno.

Perc. I

Perc. II

Vn.

Vc.

normal

medium harri mallrts

W f

Tom-tom medium hard mallets Tambourine

67

Sop.

Fl.

Ob.

n.v. sempre

« #s $. h % men i««j u*o ch£ ma * ;

n.v. sempre

3 f c A - * & - < & • S r lao da j i a j l u o £honj

h j ^ =

P P P ^ PP

j .

Pno.

#

; ; i , -3-, em# Perc. I

Perc. II

PP

Sus. Cymb6 p P

69.

PP

Vn.

Vc.

n.v. sempre

66

Sop.

Fl.

Ob.

?®l — ~ "

a s ; J . — 4 mu. q u zho£> l a i Yoa

' j f ~ t

1 J . 1* » f * I E

i r r • i p

0

p p Pno.

Perc. I

Pert. II

- •

p p

t ' =

i n - i

Vn.

Vc.

65

Sop.

Fl.

Ob.

Pno.

Perc. I

Perc. II

Vn.

Vc.

J= ca. 60 - 64 lamentoso 61A -?"* r-6 l . if . h II — 1 19 "

r-0 1

— 1 i i m ' U ' •*

^ * i t f -d f q u c « g JW1

4 — —

? i V — -

/ 1 - = = |

2. 3^

jv 1 j np —=d wy——~Z. «g»

1 - 1 V ' P 1

1 $ —

li

p

1

i|m_

J= ca. 60 - 64 lamentoso r-> V " = =

m - =

64

Sop.

tr t>

i R.

Ob.

PP

&

#

PP

:E

Pno. mp "2 • / y

Perc.1

Pcrc. II

Gong, soft mallets Temple Blocks

—3-

Vn.

Vc.

PP PP

Sus. Cymb6

* f

63

Sop.

_ — — tempo I

r «

AiOft

R.

Ob.

Pno.

f] 4 * j -

<jia Ye chun 4en3 T* Chun -fen^ *'•»" a *

i i p p

Vibe.

Perc. I

Pen:. II

irrp^ — l^5±J

ittp Sus. Cymbs soft mallets

M '• I

Tom - torn soft mallets r-3-, —3 — Sus. Cymb6 Tambourine

¥ 7//p

51

Vn.

Vc.

rtt* tempo 1

f •

llg V

L3 j

mp

J si. J .

mp r

62

Sop.

H.

Ob.

Pno.

Pen:. I

Pen:. II

Vn.

Vc.

a tempo a tempo

j in r»'.an h u w u i a n - f * " 6 0 i&q j i a

Temple Blocks . . . . M /Os /7\ Vlbe- t t i Temple Blocks

medium hard mallets j iaw

rs

Sus. Cymbs • tempo

a tempo

61

aJlcuyando

Sop.

a tempo

SL tJk *& xa£ S£ tott <[an *eng j i u vou

Fl.

Ob.

Pno.

Perc. I

Perc. II

^ ^^emple Blocks

mp

5 Tom - toms hands Sus. Cymfts^edlum^ Tom - torn hands

aUcuyando - a tempo

Vn.

Vc.

M . J i i u iSi

60

mf vtP 4L

Sop. L i n \ F 7 f l \ v « /

- * H i Sifc * * P i i r

Yi% <)u honj >c»dobazhi 5 h u 9

Fl.

Ob.

Pno.

Perc.1

Perc. II

Vn.

Vc.

j£ * 3

dran toa Yin b? J i J l £ 5tt!

te

rof

59

Sop.

Fl.

t zhoA m«n

1 iM'R 1? 7 « Hp.

vrp

GI|AI» A# w3*

Ci) Al| »

Perc. I

Perc. II

^ i rm .. n,

Vn.

Db.

97

Sop.

Fl.

Hp.

Perc. I

Perc. II

Vn.

Db.

= ca. 8 2 - 8 6

D# e*|FI|G1>

medium hard mallets '"v

8 2 - 8 6 52 pizz.

MB

9 8

Sop.

Fl.

Hp-

Perc. I

Perc. II

Vn.

Db.

£ £ ZUO

Temple Blocks

99

Sop.

Fl.

Hp-

) m f spoken normal ""if sprechstimme

xa/e» j a n .fdfl

flutt. Y1 q u

. p.d.l.l. semper

wp "7 ii if ^

f

i i i >=^=fr

9

* * * * tf—1—1—1—« 1 1 ' i A"

Perc. I

Perc. II

P

¥

r J = ca . 72 - 7 6

JL_L

mf

pizz.

Vn.

Db.

/ 6 !

/

L pizz.

m/ f mf Tnp

100

accel al fine^ Wf

Sop.

Fl.

Hp.

Perc. I

Perc. II

Vn.

Db.

C D P E F G A B

accel al jxne

101

Sop.

R

Hp.

Perc. I

Perc. II

Vn.

Db.

p.d.l.t.

ad Iter

cresc.

cresc.

102

J . My gown was drenched with tears ca. 62-66

Soprano

Flute

Percussion I

Percussion II

Double Bass

i ¥

i

I ¥ Timpani *>ft mallets

wp pp

Sop.

Fl.

Peirc. I

Perc. II

Db.

a i gan vjo c i Yan

medium hard mallets 2 Wood Blocks medium turd mallets

4H> Gllssando on one plate

103

mf 7 A 3-m

mf

Sop.

l i q u e zoo c u

n.v » ord. •

Fl.

Perc. I

Perc. II

mp

Db.

wf ™V

wf mp'

u r * ' ' ' i wf P

' ' » = wf

* * •mf p — vf

6 pizzf

Sop.

Fl.

Perc. I

Perc. II

Db.

p sub. Whispered r P

normal

# * 1 , i 4 rtian z h u M \ j ; q ; qr

& $ \ — r — x.wvj qian shenj

m.v.

Wood Bloc Vibe. arco. _ 3 _ _ 3 _

/>-C mp zz>-p izz-trem.(2 fingers)

104

mp mp _

espresslvo [>.

T | T " I i I i t

P Whispered

Sop.

y i s § • mod ZUD diot t j * e n j . e yan <Jf

FI.

Perc. I

Pert II

Db.

pizz-trem.(2 fingers)

Sop.

Perc. I

Perc. II

Db.

% f ' I T

ZOO Zkong / 8 a

f £ sKaf z u ' < J t t0

E L - 4 <0 j ;««3 zhou

n.v. — — — — •*> ord.

P Wood Blocks

)izz-trem.(2 fingers) *

105

•mf p

Sop.

molto espresslvo «£• •

m a 9»«J S t a n shi

ord.

Fl.

Perc. I

Perc. II

Db.

pizz-trem.(2 fingers)

~ nrfz

Sop.

— — — — •* n . v . _

Fl.

Perc. I

Perc. II

i§ m vrp

Vibe. a r c o * PP

V\food Blocks

Db.

pizz.

p wp

106

25a

Sop.

Fl.

Perc. I

Perc II

Db.

p -

b ? - =1

ft

PP

25

J M s J 1 •- -

r = - PP

:

— PP?

i

107