Nirvana _____________________________________________________________________ after a poem by Vladislav Petković Dis (for mixed choir) Jug K. Marković
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Transcript
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Nirvana _____________________________________________________________________ after a poem by Vladislav Petković Dis (formixedchoir)
Jug K. Marković
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My choir piece Nirvana is based on the poem of the same name by Serbianmodernist/symbolist poet Vladislav Petković Dis (1880 – 1917) who was aprominentfigureintheliterarylifeofBelgradeatthebeginningofthetwentiethcentury. This particular text has been chosen as a part of the 14-18 TENSO European network of professional chamber choirs project, focusing on the texts inspired by or from the period of the First World War. The poem Nirvana, apart from beingoneof themostbeautifulpoemsofSerbian language, inapoeticallypessimisticwaydealswiththeverytopicofwar,deathandtranscension.Itisapart of the book of poems called Utopljene Duše (Drowned Souls) with its title being almost prophetic. The war took Dis's life very soon. He died when atorpedo hit and sunk the ship he was on in the Ionian see on his way home in1917. On the following page the entire poem is given in Serbian (both in Cyrillic and Latin script) followed by the English translation.
Vladislav Petković Dis (1880 Zablaće, Serbia – 1917 Ionian Sea)
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НирванаНоћассумепоходилимртви,Нова гробља и векови стари;Прилазиликменикаожртви,Каобојипролазностиствари.Ноћассумепоходиламора,Сваусахла,безвалаипене,Мртавветардуваојесгора,Трудиосесвемирдапокрене.НоћасмејепоходиласрећаМртвихдуша,исанмртверуже,Ноћас била сва мртва пролећа:Имирисимртвисвудакруже.Ноћасљубавдолазилакмени,Мртваљубавизсвијувремена,Заљубљени,смрћузагрљени,Подпољупцеммртвихуспомена.Исвештојепостајалоикад,Својусенкусвештоимађаше,Свештовишејавитисеникад,Никаднеће–кменидохођаше.Тосубилиумрлиоблаци,Мртвовремесисторијомдана,Ту су били погинули зраци:Свуселенупритиснунирвана.ИнирванаималајетадаПоглед који нема људско око:Безоблака,безсреће,безјада,Погледмртавипразандубоко.И тај поглед, кокамдајенеки,Падаојенаменеиснове,Набудућност,напростордалеки,Наидеје,исвемислинове.Ноћассумепоходилимртви,Нова гробља и векови стари;Прилазиликменикаожртви,Каобојипролазностиствари
Nirvana Noćassumepohodilimrtvi. Novagrobljaivekovistari; Prilazilikmenikaožrtvi, Kaobojiprolaznostistvari. Noćassumepohodilamora, Svausahla,bezvalaipene, Mrtavvetarduvaojesgora, Trudiosesvemirdapokrene. Noćasmejepohodilasreća Mrtvihduša,isanmrtveruže, Noćasbilasvamrtvaproleća: Imirisimrtvisvudakruže. Noćasljubavdolazilakmeni,Mrtvaljubavizsvijuvremena,Zaljubljeni,smrćuzagrljeni,Podpoljupcemmrtvihuspomena. Isveštojepostojaloikad, Svojusenkusveštoimađaše, Sveštovišejavitisenikad, Nikadneće-kmenidohođaše. Tusubiliumrlioblaci, Mrtvovremesistorijomdana, Tusubilipoginulizraci: Svuselenupritisnunirvana. InirvanaimalajetadaPogled koji nema ljudsko oko:Bezoblika,bezsreće,bezjada,Pogledmrtaviprazanduboko. I taj pogled, kokamdajeneki, Padaojenameneisnove, Nabudućnost,naprostordaleki, Naideje,isvemislinove. Noćassumepohodilimrtvi, Novagrobljaivekovistari; Prilazilikmenikaožrtvi, Kaobojiprolaznostistvari.
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English translation of the first verse (that has been used in this choir piece) by thecomposer.NirvanaTonightIwasvisitedbythedead,Newcemeteriesandoldcenturies;NearingmeasifIwastheirsacrifice,asiftothecolor,ofthetransienceofthings.
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Notesofperformance:forSSAATTBBchoirMinimumnumberofsingersis24(8x3).Preferrednumberofsingersis32(8x4)ormore.
• Duringlongpassages,whenthereisnobrake,takebreathindividuallywhenevernecessar.Avoidtakingbreathatthesametimewiththesingersofyourowngroup(avoidsynchronization).
• Donotre-attacknotesinbrackets.Theyareonlyindicatingtherangeandspanofglissandos.
• Long notes and glissandos are always sung on the vowels except ifexplicitlynotedotherwise(likerrrrr,orsssss).
• “ ə ” - Schwa - is a vowel, pronounced like the one in the English word the (ðə), or ago, bird …
Symbols:
- approximate pitch
- lowest possible note
- Sprechgesang
Irregular accelerating glissando
-Prolonged continuous sound – without reattacking. Stems without noteheads are only for counting and orientation, they do not represent the repetition of the note.
{{{{
l
- "sprechgesang" (sungspoken), alla Schoenberg or Berg
-
ogradual transition from sung to spoken
9
19
29
& ∑
7
∑
7
immperceptible attack, from quietest piano (ex nihilo)
∑ ∑ ∑ ∑? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ - œ œ
-
°
¢
°
¢
°
¢
°
¢
Soprano 1
Soprano 2
Alto 1
Alto 2
Tenor 1
Tenor 2
Bass 1
Bass 2
No
mp
ćas- - - - -
Con pazienzaCon pazienza
q = 60
No
mp
ćas- - - - - -
No
mp
ćas- - - - - -
No
mp
ćas- - - - - -
No
mp
ćas- - - - -
No
mp
ćas- - - - - -
No
mp
ćas- - - - -
No
mp
ćas- - - - - -
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
patiently and calmly
Jug K. MarkovićJug K. Marković
NirvanaNirvana
(after a poem by Vladislav Petković Dis)
&
patiently and calmly
ALL SINGERS: Pronounce the entire syllable each time
when teaking breath. Alternate the two syllables of the word
therefore repeating the word "No-ćas" again and again;
"s" at the end of the second syllable each time
pronounce like a multiple of sharp and hissing ssssssss)
&
patiently and calmly
&
patiently and calmly
A.2:Each singer makes an individual gliss.
Do not try to synchronyse with the others
(regarding the start, end, speed and range of gliss.)
On contrary, it is desireable that each singer
makes a slightly different gliss.
&
‹
patiently and calmly
ALL SINGERS: Pronounce the entire syllable each time
when teaking breath. Alternate the two syllables of the word
therefore repeating the word "No-ćas" again and again;
"s" at the end of the second syllable each time
pronounce like a multiple of sharp and hissing ssssssss)
&
‹
patiently and calmly
?
patiently and calmly
ALL SINGERS: Pronounce the entire syllable each time
when teaking breath. Alternate the two syllables of the word
therefore repeating the word "No-ćas" again and again;
"s" at the end of the second syllable each time
pronounce like a multiple of sharp and hissing ssssssss)
?
patiently and calmly
œb œb
œ œ
œb œb
œ œ
œb œb
œ œ
œ œ
œ# œ#
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
6
&
&
S.2:Each singer makes an individual gliss.
Do not try to synchronyse with the others
(regarding the start, end, speed and range of gliss.)
On contrary, it is desireable that each singer
makes a slightly different gliss.
Approximate gliss. range
Do not reattack the small notes
in brackets (unless you ran out
of breath precicely at this moment)
&
A.1:Each singer makes an individual gliss.
Do not try to synchronyse with the others
(regarding the start, end, speed and range of gliss.)
On contrary, it is desireable that each singer
makes a slightly different gliss.
Approximate gliss. range
&
Approximate gliss. range
Do not reattack the small notes
in brackets (unless you ran out
of breath precicely at this moment)
&
‹
T.1:Each singer makes an individual gliss.
Do not try to synchronyse with the others
(regarding the start, end, speed and range of gliss.)
On contrary, it is desireable that each singer
makes a slightly different gliss.
&
‹
T.2:Each singer makes an individual gliss.
Do not try to synchronyse with the others
(regarding the start, end, speed and range of gliss.)
On contrary, it is desireable that each singer
makes a slightly different gliss.
Approximate gliss. range
Do not reattack the small notes
in brackets (unless you ran out
of breath precicely at this moment)
?
B.1:Each singer makes an individual gliss.
Do not try to synchronyse with the others
(regarding the start, end, speed and range of gliss.)
On contrary, it is desireable that each singer
makes a slightly different gliss.
?
œ
œ
œ
2
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
11
&
&
&
Do not reattack the small notes
in brackets (unless you ran out
of breath precicely at this moment)
&
&
‹
Approximate gliss. range
Do not reattack the small notes
in brackets (unless you ran out
of breath precicely at this moment)
&
‹
?
Approximate gliss. range
Do not reattack the small notes
in brackets (unless you ran out
of breath precicely at this moment)
?
œ
œb
œ
œB
œ
œ
3
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
16
&
S.1:Each singer makes an individual gliss.
Do not try to synchronyse with the others
(regarding the start, end, speed and range of gliss.)
On contrary, it is desireable that each singer
makes a slightly different gliss.
Approximate gliss. range
&
General note (for section from bar 1 to 50):
As you can notice, as time passes the range of downward glissandos
gradually becomes wider and afterwards their lenght shorter
which means they become faster! You should pay attention to that.
&
General note (for section from bar 1 to 50):
As you can notice, as time passes the range of downward glissandos
gradually becomes wider and afterwards their lenght shorter
which means they become faster! You should pay attention to that.
&
General note (for section from bar 1 to 50):
As you can notice, as time passes the range of downward glissandos
gradually becomes wider and afterwards their lenght shorter
which means they become faster! You should pay attention to that.
&
‹
General note (for section from bar 1 to 50):
As you can notice, as time passes the range of downward glissandos
gradually becomes wider and afterwards their lenght shorter
which means they become faster! You should pay attention to that.
&
‹
General note (for section from bar 1 to 50):
As you can notice, as time passes the range of downward glissandos
gradually becomes wider and afterwards their lenght shorter
which means they become faster! You should pay attention to that.
?
General note (for section from bar 1 to 50):
As you can notice, as time passes the range of downward glissandos
gradually becomes wider and afterwards their lenght shorter
which means they become faster! You should pay attention to that.
?
œ
œb
œ
œ
œ
œ
4
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
No
all S.1 attack together
at the same time
omp
21
&
imperceptible attack
&
&
&
&
‹
&
‹
?
?
B.2:Each singer makes an individual gliss.
Do not try to synchronyse with the others
(regarding the start, end, speed and range of gliss.)
On contrary, it is desireable that each singer
makes a slightly different gliss.
Do not reattack the small notes
in brackets (unless you ran out
of breath precicely at this moment)
œ
œ
œb
œ
œ
œ
œ
œ#
ϵ
5
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
No
all Sop.1 together
at the same time
omp
ćas
all S.1 together
at the same time
No
o
26
No
all Basses.2 together
at the same time
omp
aNo
all B.2 together
at the same time
o
&
&
&
&
&
‹
&
‹
?
?
B.2: From now on do not repeat
the entire syllable (when taking breath)
but only the vowel of the previous syllable.
"o" gradually morphing to very open "A"
œ# œ#
œ
œb
œ
œ
œ
œ
œ# œ#
6
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
mp
ćas
all S.1 together
at the same time
No
oomf
31
No
fpp
ćas
No
fpp
No
fpp
No
fpp
(o)
fpp
fpp
No
No
fpp
mp
a
No
all B.2 together
at the same time
omf
&
&
S.2:Take breath also when necessary but from now
on do not repeat the entire syllable but only the vowel
of the syllable that had been used previosly
>
mp
>
mp
&
>
&
A.2:Take breath also when necessary but from now on
do not repeat the entire syllable but only the vowel
of the syllable that had been used previosly.
>
mp
>
mp
&
‹
>
&
‹
T.2:Take breath also when necessary but from now on
do not repeat the entire syllable but only the vowel
of the syllable that had been used previosly.
>
mp
?
?
"o" morphing to very open "A" "o" morphing to very open "A"
œ#
œ œ
œB œb
œ œ
œ œ
œ
œ
œ#
7
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
ćas
mp
all S.1 together
at the same time
No
sub.
ffp mf
ćas
36
ćas
No
fpp
mf
ćas
mp
No
fpp
mf
ćas
ćas
No
fpp
mf
ćas
mp
No
fpp
mf
fpp
ćas
mf
No
fppmf
fpp
ćas
f
(o)
fpp mfmp
fp
ćas
(o)
fp
ćas
fpp mf
No
fpp mf
No
fpp mp
(o)
fpp mp
mp
a
No
sub.
ffp
all B.2 together
at the same time
f
ćas
&
>
&
> >
&
A.1: From now on do not repeat
the entire syllable (when taking breath)
but only the vowel of the previous syllable.
> >
&
> > >
&
‹
T.1: From now on do not repeat
the entire syllable (when taking breath)
but only the vowel of the previous syllable.
mp
> >
&
‹>
mp
> >
?
> >
?
>
œ
œ œ
œb œb
œ œ œ
œ œ
œ œ œ
œ œ
œ
¿
8
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
No
all S.1 together
at the same time
sub.
ffp
ćas
41
No
ćas
ffp
No
ffp
ćas
ffpffp
ćas
No
fp
mf
ćas
fp
f
No
ffp
f
ffp
No
f
ćas
ffp
f
ffp
No
f
ćas
ffp
f
mf
No
ffp
mf
ćas
ffp
mf
No
ffp
ćas
ffp
ćas
fp f
No
ffpf
ćas
ffpf
ffp
No
f
(o)
fp mf fp
ćas
mf
No
fp f
No
sub.
all B.2 together
at the same time
ffpf
ćas
&
>
mf
&
fp
> > > >
No
>
&
> > >
&
> > > >
&
‹
> > >
f
>
&
‹> > >
?
> >
?
>
œ
œ œ
¿
œ
¿
œ
-
œ
œb œb
¿
œb
¿
œ
¿
œ
¿
œ
-
œ
œ
¿
œ
¿
œ
-
œ
œ œ
¿
œ
¿
œ
œ œ œ
œ
¿
9
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
No
all S.1 together
at the same time
sub.
ffp
46
ff
ćas
ffp
f mp
ćas
ffp
No
ffp
f
ćas
No
f
ćas
f f
ćas
f
ffp
ćas
ffp
No
mp
a
fff
ćas
f f
ćas
f
ćas
f
No
f
ćas
f
No
f
No
all B.2 together
at the same time
ffp f
ćas
&
>
f
ćas
>
mp
&
>
&
> >
&
No
&
‹
f
No
>
f f
"o" morphing to very open "A"
&
‹
No
?
?
sub.
>
>
œ
¿
-
œ
œb
-
œb
-
œ
-
œ
-
œ
-
œ
-
œ
-
œ
-
œ#
-
œ
-
œ
-
œ
-
œ
-
œ
-
œ
-
œ
œ
¿
10
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
(a)
mp f
AS
mrt vi-
50
(a)
f
fff
su
molto marcato
me po ho- di- li- (i)
fff
(a)
f
fff
su
molto marcato
me po ho- di- li- (i)
fff
No
ffff
su me po ho- di- li- mrt vi- (i)
fff
(a)
ff
No
ćas
ćas
fff
su me po ho- di- li- mrt vi- (i)
fff
No
f
a
fff
su me po ho- di- li- mrrrrrrrrrrr
fff
ćas
f
No
f
ćas
ff
fff
su me po ho- di- li- mrt vi- (i)
fff
No
all B.2 together
at the same time
f
a
ff fff
su
molto marcato
me po ho- di- li- (i)
fff
5
4
4
4
5
4
4
4
4
4
5
4
4
4
4
4
5
4
4
4
4
4
5
4
4
4
4
4
5
4
4
4
4
4
5
4
4
4
4
4
5
4
4
4
4
4
&
S.1 :appasionato, respect the accents;
lean on the accentuated note
creating an impression as if it was triple meter.
S1:sung
>>
>>
cresc possibile
Conductor: Tutti should sing the triplet
wide and steched. Do not rush it.
reattack,
spoken,
sharply
fff
^
>
> >
&>
> -
>> > >
-
>
-
>
-
>
3
S.2: Stomp forcefully
(hit down the floor with a leg)
>
&
ff
> > > -
> > >>
-
>
-
>
-
>
3
A.1:Stomp forcefully
(hit down the floor with a leg)
>
&
ff
> > >>
molto marcato
> >>
-
>
-
>
-
>
> >
3
A.2:Stomp forcefully
(hit down the floor with a leg)
>
&
‹
ff
>
>
> >
molto marcato
>> >
-
>
-
>
-
>
> >
3
T.1:Stomp forcefully
(hit down the floor with a leg)
>
&
‹ "o" morphing to very open "a"
ff
> >>
>
molto marcato
>>
>
Rolling "r",
with the tip of your tongue
-
>
-
>
-
>
3
T.2:Stomp forcefully
(hit down the floor with a leg)
>
?
> >
>
molto marcato
>> >
-
>
-
>
-
>
3
B.1:Stomp forcefully
(hit down the floor
with a leg)
>
?
>
"o" morphing to very open "a"
> > >>
> > -
>
-
>-
>
3
B.2:Stomp forcefully
(hit down the floor with a leg)
>
˙ œœœœœœœ
œœœœœœ œ
7
¿
r≈ ‰ Œ
œb œ
œœ
œ
œ
œ
œ
-
≈
7
¿
777
¿
7
¿œ œ
¿
j
¿
œœb
œœb
œ
œb
œ
œ
-
≈7
¿
777
¿n
7
¿nœn œ
¿
j
-
œ
-
œb
œœb
œ
œb
œ
œ
-
≈ 7
¿
77
7
¿
7
¿
7
¿œn œ
¿
j
œn
-
œ
-
œ
œ
œb
œ
œb
œ
œb
-
≈
7
¿
7 77
¿n
7
¿
7
¿
œ œ
¿
j
-
œ œ
œ
œb
œ
œb
œ
œb
-
≈7
¿
7 77
¿n
7
¿
7
¿
œ
¿
j
-
œ
-
œ
-
‰œ
œb
œ
œb
œ
œ
-
≈
7
¿
7 77
¿
7
¿#
7
¿n œ# œ
¿
j
œ
œb
œ
œb
œ
œ
-
≈
7
¿
777
¿
7
¿ œ œ
¿
j
11
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
p
mrrrrrrrrrrrrrrrrrrr
p
53
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
p
ə
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
p mp
ə
p
p
pp
p
rrrrrrrrrrrrrrrrrrrrrrrə
mp
p
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
mp
p
&
Rolling "r"
with the tip of your tongue
&
Rolling "r",
with the tip of your tongue
mp
&
Rolling "r",
with the tip of your tongue
&
mf
&
‹
mp
&
‹
p
?
Rolling "r",
with the tip of your tongue
?
‰
œ
‰œ
œ
œ œ
œ
‰œ
12
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
rrrrrrrrrrrrrrrrrrrrrə
mrrr
57
p
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrə
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
p mf
ə
p
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
pmp
ə
p
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
p mf
ə
p
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
p
ə
mf
p
ə
p
o
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
pp mf
o
&
pp
&
&
&
Rolling "r",
with the tip of your tongue
&
‹
Rolling "r",
with the tip of your tongue
&
‹
3
?
?
∑ ∑ ∑
œb
J
‰
œb
J
‰œ
œ
œ‰
œœ
‰
œ
œ
œ
‰œ#
œ
‰
œ
œ
J
œ# ‰ œ#
œ
j
‰
13
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr ə
p
61
o
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
p
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
p
ə
mf
o
ə
o
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
p
ə
p
p
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr ə
o
rrrrrrrrrrrrrrrrr
o
&
f
3
&
&
&
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
3 3
&
‹
mf
&
‹
mf
3
p
?
∑ ∑ ∑
?
∑ ∑ ∑ ∑
J
œb
œb
J
‰œ
œ
j
‰œ
œb
œ
j ‰
œ
j
œ
j
œ
J
‰
œœ
œ#
‰
œ#
j
œ
œ
Œ
14
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
o
p
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
65
ə
o p
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
p
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
mrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
p
o
falsetto; "m" with closed mouth
o mp
falsetto; "m" with closed mouth
m
omp
m
falsetto; "m" with closed mouth
omp
mf p
m
falsetto; "m" with closed mouth
o mpmf
&
&
&
∑ ∑
&
∑ ∑
&
‹
3
&
‹
∑
?
subtle, quarter tone pitch bend
-
?
subtle, quarter tone pitch bend
-
p
œ
J
‰ Œ Óœ
œŒ œ
œ
œ
Ó Œ Œ Œ
œ
‰
œ
œ œB œn
œ œB œn
15
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
tvi, No
pp
va- - -
69
tvi, No
pp
va
tvi, No
pp
va
tvi, No
pp
va
ə
p
No
pp
- - - - -
ə
p
No
pp
- - - - -
ə
No
pp
- - - - -
ə
No
pp
- - - - -
5
4
6
4
3
4
5
4
6
4
3
4
5
4
6
4
3
4
5
4
6
4
3
4
5
4
6
4
3
4
5
4
6
4
3
4
5
4
6
4
3
4
5
4
6
4
3
4
&
Conductor: No cesura between these two bars.
One should flow into another smoothly.
legato
&
legato
&
legato
&
legato
&
‹
T.1:At any point during gliss. switch
from falsetto to the regular singing voice
legato
&
‹
T.2:At any point during gliss. switch
from falsetto to the regular singing voice
legato
?
B.1:At any point during gliss. switch
from falsetto to the regular singing voice
legato
?
B.2:At any point during gliss. switch
from falsetto to the regular singing voice
œw™ ˙ ™
œw ™ ˙
™
œw™ ˙ ™
œw ™ ˙
™
œ w ™ ˙ ™
œ w™
˙™
œ w ™ ˙ ™
¿
w ™ ˙ ™
16
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
grob - lja, ve ko- -
molto
vi-
73
grob - lja, ve ko- -
molto
vi-
grob - lja, ve ko- -
molto
vi-
grob - lja, ve ko- -
molto
vi-
va- gro blja;- -
molto
va- gro blja;- -
molto
va- gro blja;- -
molto
va- gro blja;- -
molto
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
&
&
&
&
&
‹
&
‹
?
?
w˙™ ˙ ™ œ
™ œ ™
w˙ ™ ˙
™ œ ™ œ™
w˙™ ˙ ™ œ
™ œ ™
w˙ ™ ˙
™ œ ™ œ™
w ˙™
˙ ™ ˙ ™
w ˙ ™˙™
˙™
w ˙™
˙ ™ ˙ ™
w ˙™ ˙b
™˙b™
17
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
no
f
va- - gro blja- - ve -
77
no
f
va- - gro blja,- - ve -
no
f
va- - gro blja,- - ve -
no
f
va- - gro blja,- - ve -
no
f
va- - gro blja,- - ve -
no
f
va- - gro - blja, ve -
no
f
va- - gro blja- - ve -
no
f
va- - gro blja- - ve -
2
4
5
8
2
4
5
8
2
4
5
8
2
4
5
8
2
4
5
8
2
4
5
8
2
4
5
8
2
4
5
8
&
&
&
&
&
‹
&
‹
?
?
œ˙
œbœ
œœ ™
œb ™ œœ
œ ™
˙™
˙b˙ œ
J
˙b œ
J
˙ œ
J
˙ ™˙b
˙ œ
J
˙b œ
J
˙ œ
J
˙ ™˙
˙ œ
j
˙ œ
j
˙ œ
j
˙b ™˙
˙b œ
j
˙ œ
J
˙b œ
j
˙b ™˙b
˙b œ
j
˙b œ
j
˙b œ
j
˙ ™˙b
˙ œ
j
˙b œ
J
˙ œ
j
˙ ™˙b
˙ œ
j
˙b œ
j
˙ œ
j
18
-
°
¢
°
¢
°
¢
°
¢
S.1
S.2
A.1
A.2
T.1
T.2
B.1
B.2
ko- vi- sta ri,- No
ff
ćas-
82
ko- vi- sta ri,-
No
ff
a
ko- vi- sta ri,- No
ff
ćas-
ko- vi- sta ri,-
No
ff
a
ko- vi- sta ri,- No
ff
ćas-
ko- vi- sta ri,-
No
ff
a
ko- vi- sta ri,- No
ff
ćas-
ko vi- sta ri,-
No
ff
a
3
4
5
4
2
4
3
4
5
4
3
4
5
4
2
4
3
4
5
4
3
4
5
4
2
4
3
4
5
4
3
4
5
4
2
4
3
4
5
4
3
4
5
4
2
4
3
4
5
4
3
4
5
4
2
4
3
4
5
4
3
4
5
4
2
4
3
4
5
4
3
4
5
4
2
4
3
4
5
4
&
∑
&
∑
morph. from "o" to very open "A"
&
∑
&
∑
morph. from "o" to very open "A"
&
‹
∑
&
‹
∑
morph. from "o" to very open "A"
?
∑
?
B.2: For those who can sing
low e-flat f or at least mf
∑
morph. from "o" to very open "A"
œb˙
Ϫ
œ ™œb
w
œbœb ˙ w œ
˙b ™ ˙™
œb w
˙b ™ ˙ ˙ œ
˙b™ ˙ ™
œb w
œb œ ˙ w œ
˙™ ˙ ™
œ w˙b ™ ˙ ˙ œ
˙™
˙b ™œ w œb œ ˙ w œ
˙b™ ˙b ™
œb w
˙ ™ ˙ ˙ œ
˙b ™˙ ™
œb w
œb œ ˙ wb œ
˙b™
˙ ™œ
œb
b w
w
˙b ™ ˙ ˙ œ
19
-
20
-
21
-
22
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