STORM SURGE (WATERSNOODRAMP) An Elemental Portrait for Concert Band

STORM SURGE (WATERSNOODRAMP) An Elemental Portrait or Concert Band Storm Surge was commissioned by the Marinierskael der Koninklijke Marine (Marine Band o the Royal Netherlands Navy) and is dedicated to their Director o Music, Major Peter Kleine Schaars and the band. The irst erormance was given in De Doelen, Rotterdam, the Netherlands, on th November 201. Comoser s Note: Storm Surge is a musical reresentation o the devastating North Sea storm surge (in Dutch, Watersnoodram) o 195. The surge let 2,551 dead - 1,8 rom the Netherlands alone, together with atalities in Scotland, England and West Flanders in Belgium. Nine ercent o armland in the Netherlands was looded, over 0,000 animals were drowned and tens o thousands o roerties were damaged or destroyed. The destruction was certainly comarable to that caused by Hurricane Katrina in 2005 which resulted in 1,8 atalities in the southern United States o America and the Caribbean as well as Eastern North America. Mostly recently the Philiines exerienced a storm surge with Tyhoon Haiyan (201) with winds o u to 270km/h exacerbating looding. In today s world we increasingly reassure ourselves that that we control our environment but the truth is that we are not, and never will be, immune rom the orces that nature can unleash uon us. The storm o 195 began during the night o 1 January and continued through the morning o 1 February. The devastating event resulted rom a combination o a high sring tide, heavy wind and rain and a massive storm over the North Sea. Following on rom this catastrohe, the Netherlands built a ormidable system o storm surge barriers known collectively as the Delta Works. The American Society o Civil Engineers named this engineering eat to be one o the Seven Wonders o the Modern World! In my musical deiction Storm Surge starts o with calm waters, while we hear the steadily growing sounds o the wind and sea. A secially commissioned oem written by Martin Westlake and soken over these sounds warns o the dangers o ignoring the storm. An o stage trumet is heard laying a ragment rom Wilhelmus van Nassouwe - the National Anthem o the Netherlands. Slowly, the storm starts to take hold and the sea begins to swell. The violence o the storm then eruts but beore it reaches its climax the music returns briely to the Dutch National Anthem giving a sense o the calm in the eye o the storm. Then it returns to the storm surge and deicts the sea breaking through and ravaging the coastline. Eventually the storm-surge recedes until a lone trumet is let quoting broken ragments o Wilhelmus van Nassouwe the iece closes with a calm breeze mournully revealing the devastation let behind by this natural disaster. Nigel Clarke 201.

Storm Surge By Martin Westlake Now hear this, ye denizens o alse land; Beware the heaving back o the sleeing giant! Yay, you may tame and train docile waters, Build your dykes and your levees, Channel the lows and gutter the rains. But when the oceans stir, When the winds and the tide and the cloudbursts combine, When the waters mass and the storms drive shoreward, Then you will learn a terrible truth. For there is no such thing as a level sea, Only the inexorable surge o the storm tide, Wave ater wave, sluring at your crumbling deences, Nibbling at the chinks, ouring through the breaches, Swirling through and down, washing away homes and souls, Swaming, drowning, enguling asts and utures, And only then receding, slowly, to reveal soaked and shattered ruins. Oh ye o aith or o no aith, remember this; No man may rebuke the winds and the sea; No man may still the storm. Perormance Directions (Narrator) The oem should be declaimed almost as i rom a ulit. It is a stern and assionate warning, esecially the irst stanza (`Beware'). The middle section is a descrition o what haens when you do not heed warnings. It should relect the music that ollows, and build slowly (`But when...'), rise to a crescendo (`Wave ater wave', `'nibbling', `swirling', `swaming`, `drowning'...) beore subsiding, like the lood waters (`to reveal soaked shattered ruins'). There should be a beat, a contemlative silence, (with the sound-design howling in the background), beore in the inal stanza the reacher (or the rohet) returns with his admonition; `No man may still the storm.', which is deliberate echo o the Bible. Storm Surge : A storm surge is a combination o a low ressure system combined with high tides and high winds. The surge can be exaggerated by the unnelling eect o land masses, shallow water o coasts, heavy rainall and reshwater looding. When all combine, the eects can be devastating, breaching coastal deences and causing extensive looding. Ye denizens o alse land : Storm surges are articularly dangerous when they occur near low-lying coastal lains, river estuaries, and reclaimed land, esecially land that is already below normal sea level (or examle, the Netherlands, Belgium and the UK in 195, Bangladesh reeatedly, New Orleans in 2005, New York in 2012 and the Philiines in 201). Wave ater wave : Wind-driven waves tyically ind weaknesses in coastal deences and then raidly widen the breach, enabling catastrohic quantities o water to our through. No man may rebuke the winds and the sea : Matthew, 8:2 `He relied, You o little aith, why are you so araid? Then he got u and rebuked the winds and the waves, and it was comletely calm.

Watersnoodram (vert. Beatrix Pratley) Luister goed, gij bewoners van kunstmatig land; Kijk, de deinende rug van de slaende reus! Ja, je mag dan wel gedweeë wateren onderweren en onderrichten En jouw dijken en dammen bouwen, De stromen leiden en de regens sturen. Maar als de oceanen ontwaken, Als de wind en de wolken en het tij samensannen, Als de wateren één zijn en stormen kustwaarts jagen, Dan kom je de verschrikkelijke waarheid te weten. Want er is geen srake van een vlakke zee, Slechts de zich meedogenloos odringende stormtij, Gol na gol, knabbelend aan jouw verbrokkelende versterkingen, Knagend aan de kieren en stromend door de dijkgaten, Kolkend, verder en verder, huizen en mensen meevoerend, Oversoelend, verdrinkend, heden en verleden van velen verzwelgend En dan as terug, langzaam, bouwvallen vernietigd en verwaterd blootgevend. O, gij gelovigen en ongelovigen, onthoud dit; Geen mens kan de wind en de zee vermanen; Geen mens kan de storm bedaren. Déerlante (trans. Godelieve Vandamme) Ecoutez bonnes gens, eule des ausses terres Prenez garde au soulèvement du géant endormi! Certes! Vous ouvez arivoiser et domter les eaux dociles, Construire vos digues et vos écluses Canaliser les courants et diriger les luies. Mais quand l océan gronde Quand vents, marées et orages s unissent Quand les trombes d eau et les temêtes rennent d assaut les rivages Alors vous saisirez l imlacable vérité. Il n existe rien de tel qu un niveau de la mer Seul l inexorable surgissement d une marée démente Dont les lames réétées enoncent de rêles déenses, Assiègent les issures, s engourent dans les brèches, Tourbillonnent, engloutissent, emortent âmes et maisons Submergent et anéantissent assé et avenir Et n abandonnent que ruines tremées quand enin elles se retirent Oh vous! Croyant ou non, souvenez vous Personne ne blâme les vents et les vagues Personne ne domte l orage.

Perormance Directions General All instruments in the score are transosed. Timani should avoid beaters that are too sot. The Timani art should always sound clear and not muled. All trills in the score are to be treated as hal-tone trills unless otherwise stated. Make much o dynamic contrasts, this will add to the drama and atmoshere o the work. I have tried to design Storm Surge to sound uniquely dierent deending on the band that is erorming it. This idea is not new it is or me a truly ascinating characteristic o Igor Stravinsky s Le Sacre du Printems (Rite o Sring). Stravinsky s work seems to orce the orchestra to create its own individual and ersonal sound, which is exciting or both erormer and audience alike. I have given the conductor and band much scoe in Storm Surge to be creative and imaginative in their interretation. My aim in this is to avoid the erormance becoming too sae and lacking a sense o atmoshere and gravitas. To hel create the mood o this devastating storm, the orchestra could use (occasional) lashing lights to emulate lightning strikes. The use o video or slide roject could also enhance the erormance. Sound Design CD and additional eects It is indicated in the score when each track on the rovided CD should start and where it should be aded out. The sound design track on the CD has about 15 minutes o silence at the end o each track to avoid the CD accidently moving orward to the next iece o sound design. Secial care should be taken to balance the sound design with the orchestra. A sare ercussionist could also add a Thunder Sheet in aroriate laces in the music. Perormed Sound Eects From the beginning o the work to the letter A (Bar 10), I would encourage the conductor to be as imaginative and creative as ossible in setting the mood o the iece, or examle to use additional or alternative eects to denote the beginning o the storm. Several seconds into the work the oem by Martin Westlake should start. There are instructions in the score as to how the oem should be read during the oening bars o the music. The symbol in the score (Bars 2 285) denotes that the layers should sna ingers constantly (with both hands raised above the music stand in ull view o the audience) to create a light rain eect. The American comoser, Eric Whitacre, irst used this eect in his wind orchestra work Cloudburst. The conductor can exeriment with this idea to create the best eect. Aroximate Duration: 14 minutes

Piccolo Flute 1.2 Flute Written and dedicated to Majoor Peter Kleine Schaars and the Marinierskael der Koninklijke Marine 1. "Now hear this, ye denizens o alse hoe" SOUND DESIGN: 1M1 SENZA MISURA (to bar 10) Conductor Note: There is lenty o scoe or creativity between bar 1 through to bar 10. Reeat until conductor moves to bar 10 Reeat until conductor moves to bar 4 Blow air through the instrument and waggle keys to emulate the wind X X X STORM SURGE (WATERSNOODRAMP) An Elemental Portrait or Concert Band *** Blow air through the instrument and waggle keys to emulate the wind. Also create occasional harmonics (lageolets). To do this, overblow on the headjoint with the hole comletely covered by both lis. It is imortant that the air always goes to the edge o the hole - Some lautists use this technique to warm the lute with air. Try to make the harmonic eects subtle and always in context! Fl. 1 & 2 *** Blow air through the instrument and waggle keys to emulate the wind. Also create occasional harmonics (lageolets). To do this, overblow on the headjoint with the hole comletely covered by both lis. It is imortant that the air always goes to the edge o the hole - Some lautists use this technique to warm the lute with air. Try to make the harmonic eects subtle and always in context! NIGEL CLARKE (Fl. ) *** Oboe 1.2 X Ob. 1 & 2 Blow air through the instrument and waggle keys to emulate the wind English Horn (Otional) Blow air through the instrument and waggle keys to emulate the wind X Clarinet in Eb Blow air through the instrument and waggle keys to emulate the wind X Clarinet in Bb 1 Clarinet in Bb 2 Clarinet in Bb Bass Clarinet in Bb Bassoon 1. 2 Contrabassoon (Otional) Alto Saxohone 1.2 Tenor Saxohone Baritone Saxohone Trumet in Bb 1.2 Trumet in Bb.4 Horn in F 1.2 X X X X X X X X X X (NB. At least 10 to 15 seconds beore the oem should start) STORM SURGE Now hear this, ye denizens o alse land; Beware the heaving back o the sleeing giant! Yay, you may tame and train docile waters, Build your dykes and your levees, Channel the lows and gutter the rains. But when the oceans stir, When the winds and the tide and the cloudbursts combine, When the waters mass and the storms drive shoreward, Then you will learn a terrible truth. For there is no such thing as a level sea, Only the inexorable surge o the storm tide, Wave ater wave, sluing at your crumbling deences, Nibbling at the chinks, ouring through the breaches, Swirling through and down, washing away homes and souls, X Swaming, drowning, enguling asts and utures, And only then receding, slowly, to reveal soaked and shattered ruins. X Waggle keys to emulate light rain Let the oem declamation end just beore o stage trumet entry in bar 11. Horn in F.4 Trombone 1.2 Bass Trombone Euhonium Oh ye o aith or o no aith, remember this; No man may rebuke the winds and the sea; No man may still the storm. X X X by Martin Westlake X Tuba1.2 X Piano (Otional) Double Bass Timani Perormance Directions (Narrator) X The oem should be declaimed almost as i rom a ulit. It is a stern and assionate warning, esecially the irst X `swirling', `swaming`,`drowning'...) beore subsiding, like the lood waters (`to reveal soaked shattered ruins'). stanza (`Beware'). The middle section is a descrition o what haens when you do not heed warnings. It should relect the music that ollows, and build slowly (`But when...'), rise to a crescendo (`Wave ater wave', `'nibbling', X There should be a beat, a contemlative silence, (with the sound-design howling in the background), beore in the inal stanza the reacher (or the rohet) returns with his admonition; `No man may still the storm.', which is deliberate echo o the Bible. X N.B. Lay large cymbal on to o Timani and imrovise with glissando eect Percussion 1 X N.B.`Percussion 1' will need to use Kit Drums or large arts o the iece. Susended Cymbal (Sus. Cymb.) [Imrovise] Percussion 2 Percussion X X Thunder Tube (Otional) N.B. The Thunder Tube need not start staight away, but eventually blend in with the Sound Design. Otional (1 layer) use o Wind Machine, lay u to the end o bar 19 SOUND DESIGN: 1M1 Coyright 201 by Studio Music Comany, Cadence House, Eaton Green Road, Luton, Bedordshire, LU2 9LD, England All Rights Reserved Wind Band Score - ISMN: M-050-09171-4 Printed in Great Britain Wind Chimes gliss. etc. gliss.

2 10 A Allegro Conductor Note: Piccolo, Flutes and Oboes to lay in a staccato style to emulate a rain shower m End Wind Eect *** N.B. Though o-stage Trumets are marked " " the eect should be distant and quiet. I it is not ractical to use o-stage Trumets, the ensemble Trumets should lay using straight mutes Fl. (Ot.) 1 layer on a art only End Wind Eect End Wind Eect End Wind Eect 1 layer on a art only m 1/2 tone trill 1 layer on a art only End Wind Eect Waggle keys to emulate light rain Cl. End Wind Eect Waggle keys to emulate light rain Waggle keys to emulate light rain (Ot.) Waggle keys to emulate light rain Waggle keys to emulate light rain Tt. 1.2 Tt..4 Waggle keys to emulate light rain 1. Trt. (Otional - O Stage) *** lontano anara ***. Trt. (Otional - O Stage) anara Blow air through the instrument to emulate the wind Hn..4 Hn..4 Blow air through the instrument to emulate the wind Blow air through the instrument to emulate the wind Blow air through the instrument to emulate the wind Euh. Blow air through the instrument to emulate the wind Euh. 1.2 Blow air through the instrument to emulate the wind (Ot.) ** Hit (lightly) bass iano strings with th alm o the hand while holding the substain edal down ** Tim. Tam Tam (T.Tm) Glockensiel (Glock.) l.v. m m Perc. To Vibrahone (etc. to bar 19) Vibrahone (Vibs.) - Engine On m m m

18 m m Fl. m m m m m m m m (Ot.) m m m Cl. (Ot.) Tt. 1.2 *** 2. Trt. (Otional - O Stage) anara Tt..4 *** 4. Trt. (Otional - O Stage) anara End Wind Eect Hn..4 End Wind Eect End Wind Eect End Wind Eect Euh. End Wind Eect (Ot.) Tim. Sus. Cymb. Snare Drum (S.Dr.) Snare On Perc. ** End Wind Machine

4 B accel. 22 m m m m Fl. (Ot.) Cl. m m m m m m m m m 1/2 tone trill m m 1 layer on a art only m m End Wind Eect End Wind Eect End Wind Eect End Wind Eect End Wind Eect m 1 layer only Div. 1 layer on a art only m (Ot.) End Wind Eect End Wind Eect Tt. 1.2 End Wind Eect m m m 1. Trt. (On Stage - senza sordini) 2. Trt. (On Stage - senza sordini) Tt..4. Trt. (On Stage - senza sordini). Bell tones m 4. Trt. (On Stage - senza sordini) 1. Bell tones 4. Bell tones m 2. Bell tones m m m m m m m Hn..4. Bell tones m m m m m m Euh. (Ot.) Tim. sim. l.v. + Sus. Cymb. + Sus. Cymb. m like distant thunder l.v. Senza Cymbal Orchestral Bass Drum (B.Dr.) - Use beater l.v. Glock. arco Perc. Tubular Bells (T.Bells ) Use Glock beaters

5 Fl. (Ot.) Cl. (Ot.) 29 Tt. 1.2 Tt..4 Hn..4 C Allegro sim. m m m m m m m m m Ob. Cue (1 layer on a art only) 1/2 tone trill 1/2 tone trill 1/2 tone trill 1/2 tone trill div. sim. sim. sim. div. () Solo. Euh. m (Ot.) Tim. Perc. m m m Sus. Cymb.

5 m 7 1/2 tone trill D Fl. (Ot.) Cl. (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. m 7 m 7 1/2 tone trill 1/2 tone trill m 1/2 tone trill m Div. Tutti - Bell tones Div. Tutti - Bell tones Div. Tutti - Bell tones 1/2 tone trill Otional 8va lower 1/2 tone trill Bssn 2. Cue 1/2 tone trill 1/2 tone trill 1/2 tone trill l.v. m l.v. Sus. Cymb. Perc. T.Bells - Use Glock beaters

7 42 1 layer on aart only Fl. (Ot.) 1. (1 layer) Slow bisbigliando (Timbre trem.) 1 layer on aart only Cl. m Div. (1 layer only on a art) Div. (1 layer only on a art) (1 layer only on a art) 7 7 7 m (1 layer only on a art) 7 7 Div. (1 layer only on a art) (1 layer only on a art) 7 (Ot.) m 1.2 Bell tones Bell tone Tt. 1.2 Tt..4 (Trt. 1 & 2) (Trt. & 4) Bell tone.4 Bell tones 1.2 Bell tones Hn..4.4 Bell tones 1.2 Bell tones m m Euh. (Ot.) Tim. Perc. m m m m m Vibra.

8 Fl. (Ot.) 50 E 1 layer on a art only m m Ob. 1. Cue m 1 layer on a art only m m m m m m m 1 layer on a art only m 1 layer on a art only m m m m m m m Cl. Div. 1 layer on a art only legato m subito m m m m (Ot.) Tt. 1.2 Tt..4 legato m subito legato m subito legato m subito 1.2 Bell tones.4 Bell tones Hn..4 1.2 Bell tones.4 Bell tones 1.2 Bell tones Euh. (Ot.) Tim. Perc. legato legato m subito m subito legato m subito m m m izz. m l.v.

9 57 m Fl. (Ot.) m m m m m () rd Flt. Cue m m Cl. Ob.2 & E.Hn. Cue (Div. 1 layer on a art only) m (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. Perc. m m m m m m m m m m (To Xylohone) m izz. Xylohone (Xylo.) m (Glock)

10 Fl. 4 F Conductor Note: The brass section rom bar 9 onwards, should not diminuendo on long notes (tied minims) but sustain the dynamic. Tutti (i more than one lute on a art) (Ot.) Cl. m Div. () (Ot.) Tt. 1.2 m Tt..4 m m Hn..4 Euh. (Ot.) Tim. Perc. arco m S.Dr.

11 Fl. (Ot.) Cl. (Ot.) Tt. 1.2 71 5 5 5 Tt..4 5 5 5 Hn..4 Euh. (Ot.) Tim. Perc. (White note gliss) (White note gliss) (White note gliss) (White note gliss) gliss. gliss. 5 5 gliss. gliss.

12 Fl. (Ot.) Cl. 7 G 5 (Ot.) 5 Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. 5 5 5 5 Perc. (White note gliss) gliss. 5 (White note gliss) gliss. gliss. gliss. gliss. gliss.

1 8 Fl. (Ot.) Cl. (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. Perc. (White note gliss) (White note gliss)

14 88 Fl. Div. (1 layer only on a art) 1 layer only on a art (Ot.) Cl. Div. (1 layer only on a art) Div. (1 layer only on a art) Div. (1 layer only on a art) Eb Clnt. Cue (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) m Tim. Perc.

15 94 rall. G.P. Allegro Fl. (Ot.) 1. Ob. Cue Cl. (Ot.) Tt. 1.2 con sord. 1.2 Bell tones Tt..4 con sord..4 Bell tones con sord. 1.2 Bell tones senza sord. Hn..4 con sord. con sord..4 Bell tones senza sord. con sord. Euh. (Ot.) Tim. loco m m (White note gliss) Perc. Vibra. (engine on)) (White note gliss) m

1 2. "Yay, you may tame and train docile waters" H Scherzando (L'istesso temo) 101 m X 1M1 Aroximate Exit Point m m m m Fl. m m Bell tones m m m m m m m m (Ot.) Cl. (Ot.) m m m m m Ob. 2. (1 layer) Slow bisbigliando (Timbre trem.) m m Div. (1 layer on a art only) 1. Bell tones Div. (1 layer on a art only) Div. (1 layer on a art only) m m m m m m m m 1 layer m m Tt. 1.2 Tt..4 Hn..4 (1.2 con sord.) 1.2 Bell tones (.4 con sord.) m m senza sord. 7 7 1.2 Bell tones m.4 Bell tones.4 Bell tones 7 7 m m 1.2 Bssn. Cue (con sord.) m m Bb Bss Clnt. Cue m senza sord. m senza sord. (con sord.) senza sord. m Euh. con sord. senza sord. m (Ot.) Tim. Perc. X 1M1 Aroximate Exit Point l.v.

17 107 m leggiero m m m leggiero m m Fl. (Ot.) m leggiero m leggiero m m m m m leggiero m Div. 1 layer on a art only m m leggiero m m m m leggiero m m Cl. m m m leggiero m (Ot.) m leggiero m m Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. m m m leggiero m m leggiero m leggiero m leggiero S.Dr. m m m m leggiero m m m cris m m m m m m Perc.

18 oco rit. Allegro I lunga corta legato 114 m m m m Fl. m m m legato m m m legato m m legato m m m m m (Ot.) legato m m legato m m m (1 layer on a art only) m m m m m m m (1 layer on a art only) m Cl. m m m (Ot.) m m legato m m m legato m Tt. 1.2 m Tt..4 m legato legato m legato Hn..4 Euh. (Ot.) Tim. Perc. m m m m m m m m legato legato legato 1.2 Bssn. Cue legato Sus. Cymb. (use beater) m m l.v. l.v. (White note gliss) (White note gliss) m m l.v. m

19 120 m m leggiero m m m Fl. m m m m leggiero m m leggiero m Fl.1 Cue m (Ot.) m m m m leggiero m legato m m m m m m m m m Cl. 1 layer only m m Div. (1 layer on a art only) m m m m legato m (Ot.) m m m m m m 2. 4 Hn. Cue m legato m T.Sax. Cue m 1.2 Bell tones Tt. 1.2 m Tt..4 2. Soli. (stoed).4 Bell tones m legato m m Hn..4 4. Soli. (stoed) m legato m Euh. (Ot.) Tim. m m m m izz. 1.2 Bssn. Cue m m 2 Bssn. Cue S.Dr. m arco m Perc. m Xylo. m

20 128 J m m m 1/2 tone trill m m Div. m m Fl. (Ot.) m m m m m m m m m m m m 1 layer on a art m Solo m m m m 1 layer only Div. 1 layer on a art m m m m legato m Div. Div. Cl. 1 layer only m Div. 1 layer on a art m m legato (Ot.) 1.2 Bssn. Cue m Tt. 1.2 Tt..4 2. Soli. Hn..4 4. Soli. 1.2 Bssn. Cue Euh. (Ot.) Tim. Perc. m izz. arco m m Tambourine m To Tim. (White note gliss) (White note gliss) Tim.

21 14 m m m m Fl. (Ot.) m m m m m m m m m 1/2 tone trill m m m m m m m m m 1 layer m Div. 1 layer Cl. m m m m m m m m m 1 layer on a art m m m (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. Perc. m m m m 1. Bssn. Cue m m m m 1. Tba. Cue m Solo (1 layer only) m m izz. (White note gliss) m m m m m m

22 Fl. (Ot.) Cl. (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. 141 (Ot.) Tim. Perc. m K subito subito subito subito subito m m m subito subito m m subito subito subito subito m m m subito m Sus. Cymb. subito S.Dr. subito subito subito subito subito m subito m m subito subito subito subito subito subito subito subito subito subito subito subito subito subito subito m subito subito subito m subito subito subito m subito subito m m subito subito l.v subito subito subito subito subito subito subito m m Div. (Tutti) subito subito Div. (Tutti) Div. (izz.) m subito subito subito m subito subito m subito subito subito arco Vibra.

2 148 Fl.. "But when the oceans stir" L m m m m m m m m (Ot.) Div. () Cl. (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. Perc. l.v. m m l.v. m T.Tm m m m l.v. Sus. Cymb. T.Tm (2nd Perc. Cue)

24 Fl. (Ot.) Cl. (Ot.) 15 staccato staccato staccato m m staccato m m m m m m m m m m m m m m m m Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. m m m m m m m m m m m m m m m m m m E gliss A gliss m m m m m m m m D gliss m T.Tm Perc. Vibra.

Fl. molto rall. 159 SOUND DESIGN: 1M2 Aroximate Entry Point lunga accel. M Vivacissimo, con rubato martellato, quasi stabbing style m martellato, quasi stabbing style 1 layer on a art only martellato, quasi stabbing style m m martellato, quasi stabbing style m m m m m m m m m 25 (Ot.) martellato, quasi stabbing style m martellato, quasi stabbing style m Cl. (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. Div. () martellato, quasi stabbing style Div. () martellato, quasi stabbing style m Div. () m m martellato, quasi stabbing style L.H. R.H. L.H. R.H. sim. l.v. martellato, quasi stabbing style martellato, quasi stabbing style m m m m m m m m m m Perc. l.v. l.v. SOUND DESIGN: 1M2 Aroximate Entry Point

2 18 7 m m m N 4. "When the waters mass and the storms drive shoreward" Fl. (Ot.) 7 m m m m m m 7 7 m m m m m m m 7 m 7 Div. () Div. () 7 m Cl. (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Div. () m m m m m m m m m m m m m izz. Div. () Div. () m m Tim. l.v. S.Dr. + Ped B.Dr & Hi Hat + Sus. Cymb. rim shot (r.s.) norm. Glock. Perc. Xylo.

27 Fl. (Ot.) Cl. 175 m m m m m m m m 1/2 tone ast trill 1/2 tone ast trill 1/2 tone ast trill 1/2 tone ast trill Div. () (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. Perc. izz. B.Dr. (use beater)

28 181 O Meno mosso, con molto rubato Vivacissimo, Energico Conductor Note: Bar 188 through to bar 192 should have the eel o two beats in a bar (as i in 2/2) m m m m m m Fl. m (Ot.) m m m m m m m Cl. (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. m m m m m m Div. () Div. () Div. () m m m m subito subito m subito m m m m m m m m subito m m m m m subito subito subito subito m subito m m m m m Div. () m m subito subito subito m m m m m m m m m Soli. Soli. Soli. m Perc. Sus. Cymb. m l.v. m m subito S.Dr. Hi Hat Sus. Cymb. l.v. m m subito + Ped. Bass.Dr. m subito Glock. m

29 190 P m m m m m m m m m m m m Fl. m m m m m m (Ot.) m m m m m m m m m m m m m m m Cl. m m m m m m (Ot.) m m Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) m m m m subito m m subito m m subito m m subito Tim. subito m subito m m subito m m Perc.

0 Fl. (Ot.) 198 m m m m m m m m Q m m m m m m m m Cl. m m 1 layer only m 1/2 tone trill m m m Div. () 1 layer only Div. () (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. m m m m m m m m m m subito subito m m m m 1.2 Bssn Cue 1/2 tone trill m 1/2 tone trill m m 1/2 tone trill Perc. Xylo.

20 Fl. (Ot.) accel. R Molto meno mosso, con rubato Conductor Note: Try to deict at this oint a eel o a owerul dee sea swell!! 1 subito m 1 layer on a art only 1 layer only Cl. 1 layer only (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. subito subito subito subito subito subito subito subito m subito m m m subito m subito B. Clnt. Cue subito subito subito subito subito m subito m + Sus. Cymb. m m m m m m m m m E gliss Perc. Vibra. (engine on)

2 Fl. (Ot.) Cl. (Ot.) 214 m molto rall. S Vivacissimo, Energico m m m m m m m m m m m m m m m m m Div. () Div. () Div. () m m m Tt. 1.2 Tt..4 Hn..4 m m m m m m m m m m m m m m m Euh. (Ot.) Tim. Perc. m m m trem. m S.Dr. (snare on) + H.Hat (oen) m m l.v. l.v. m A gliss D gliss T.Tm. Sus. Cymb. Sus. Cymb. r.s. l.v.

221 m m m m 1/2 tone ast trill 1/2 tone ast trill Fl. m m m m 1/2 tone ast trill 1/2 tone ast trill (Ot.) Cl. (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. Perc. m m m m m m m m m m m l.v. arco 1/2 tone ast trill 1/2 tone ast trill 1/2 tone ast trill Xylo. izz. arco B.Dr. (use beater) izz. arco

4 22 Fl. (Ot.) Div. () Cl. Div. () Div. () (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. izz. Perc.

5 21 Fl. (Ot.) Div. () Cl. Div. () Div. () (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. arco Perc.

Fl. (Ot.) 25 T m m m m m m m m m m m m m m Conductor Note: Bar 28 through to bar 242 should have the eel o two beats in a bar (as i in 2/2) 1 layer only Div. () m m Div. () m m Cl. m m (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. Perc. m m m Hi Hat m m m m m m m m m subito m m m m m subito subito m m subito m m m subito m m subito subito izz. subito subito m subito m subito m m + Ped. Bass.Dr. Sus. Cymb. Glock. m m

7 Fl. (Ot.) Cl. (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. 242 (Ot.) Tim. Perc. m m m 1 layer only on a art m m m m m m m m m 1 layer only m m m m m m m m m m m m subito subito subito m m m m m m m m Div. () Div. () Bell tones () 1 layer only m m m m m 1 layer only m m m Use hard sticks!! Sus. Cymb. Div. () 1 layer only m m m subito m subito m m m m subito m subito m m m S.Dr. + B.Dr. (use Tom Tom beaters) m m Bell tones () Bell tones () m m Bell tones m Bell tones m Bell tones m 1 layer only 1 layer only m Bell tones () Bell tones () B.Dr. (use Tom Tom beaters) Vibra. m

8 249 Fl. m U Meno mosso, con rubato m m m (Ot.) m m 1 layer only on a art m 1 layer only on a art Cl. (Ot.) Tt. 1.2 Tt..4 m m m subito m m 1. con sord. m subito subito subito subito subito 1.2 Bssn Cue m 1. senza sord. Hn..4 Euh. (Ot.) Tim. Perc. m m subito subito subito subito m subito m m m subito m subito subito subito subito subito arco + Ped. B.Dr. / H.Hat + Sus. Cymb. l.v. (m) Use B.Dr. beater Perc 1. Ped. B.Dr. Cue

258 1M2 Aroximate Exit Point X Molto rall. 9 Fl. (Ot.) Div. () 1 layer only Div. () 1 layer only Cl. Div. () (Ot.) Tt. 1.2 Tt..4 Hn..4 subito subito subito Euh. (Ot.) Tim. Perc. subito subito subito T.Tm. l.v. X 1M2 Aroximate Exit Point Glock.

Fl. (Ot.) Cl. (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. Perc. Mezzo movimento [hal temo](q = q) V 2 legato 5. "Then you will learn a terrible truth" (Otional 8va Higher) Conductor Note: This section is a mixture o bell tone articulations in some instruments and legato in others Bell tones (1 layer on a art only) Bell tones (1 layer on a art only) Eric Whitacre Rain Eect - Sna ingers (both hands i ossible) constantly to create a light rain eect Eric Whitacre Rain Eect - Sna ingers (both hands i ossible) constantly to create a light rain eect Piano Cue. Senza misura Bell tones Solo. (1 layer only) senza misura Bell tones Eric Whitacre Rain Eect - Sna ingers (both hands i ossible) constantly to create a light rain eect Eric Whitacre Rain Eect - Sna ingers (both hands i ossible) constantly to create a light rain eect Eric Whitacre Rain Eect - Sna ingers (both hands i ossible) constantly to create a light rain eect Eric Whitacre Rain Eect - Sna ingers (both hands i ossible) constantly to create a light rain eect Eric Whitacre Rain Eect - Sna ingers (both hands i ossible) constantly to create a light rain eect Eric Whitacre Rain Eect - Sna ingers (both hands i ossible) constantly to create a light rain eect Eric Whitacre Rain Eect - Sna ingers (both hands i ossible) constantly to create a light rain eect Eric Whitacre Rain Eect - Sna ingers (both hands i ossible) constantly to create a light rain eect Eric Whitacre Rain Eect - Sna ingers (both hands i ossible) constantly to create a light rain eect Eric Whitacre Rain Eect - Sna ingers (both hands i ossible) constantly to create a light rain eect Eric Whitacre Rain Eect - Sna ingers (both hands i ossible) constantly to create a light rain eect Eric Whitacre Rain Eect - Sna ingers (both hands i ossible) constantly to create a light rain eect senza misura B.Dr. (use beater) Wind Chimes gliss. T.Bells 40

41 27 loco (loco) Solo. (1 layer only) senza misura rall. W Doio movimento con rubato (q = q) Fl. (Ot.) Cl. End Rain Eect End Rain Eect Piano Cue - Solo. senza misura (only lay i no Piano) End Rain Eect Div. (1 layer on a art only) Div. (1 layer on a art only) Div. (1 layer on a art only) End Rain Eect (Ot.) B.Clnt. Cue Tt. 1.2 Tt..4 Hn..4 End Rain Eect End Rain Eect Euh. (Ot.) Tim. End Rain Eect Solo. senza misura Sus. Cymb. Perc. Senza misura T.Bells. m Senza misura Vibra.

42 284 oco rall. X accel. 1 layer on a art only m m m m Fl. 1 layer on a art only m m (Ot.) Ob. 1. Cue m m m (1 layer on a art only) m m (1 layer on a art only) m m m m m m m Cl. (Div. 1 layer on a art only) m m m m (Ot.) End Rain Eect End Rain Eect End Rain Eect Tt. 1.2 Tt..4 End Rain Eect End Rain Eect 1.2 Bell tones 1.2 Bell tones.4 Bell tones Hn..4.4 Bell tones End Rain Eect 1.2 Bell tones End Rain Eect Euh. (Ot.) Tim. Perc. izz. m m m m l.v.

Fl. (Ot.) 291 Y m Allegro, con rubato oco accel. staccato staccato m m m Div. () staccato staccato 4 Cl. (Ot.) Div. m Div. () Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. Perc. subito subito subito subito m m subito m m l.v. l.v. m l.v. arco B.Dr (use beater) T.Tm. T.Tm. Sus. Cymb.

44 Fl. (Ot.) Meno mosso, con rubato rall. 00 m m m m m m m m Div. () Div. () m Cl. (Ot.) Tt. 1.2 subito subito m m subito subito m m m m m m m m m m m m m Div. () Tt..4 m Hn..4 m m m m m m m m m subito m m Euh. subito m m (Ot.) Tim. Perc. subito m m subito m m subito m m m m E gliss A gliss m D gliss m

0 Fl. (Ot.). "Only the inexorable surge o the storm tide" Z Vivacissimo, Energico m m m m m m m m m m m m 1/2 tone ast trill 1/2 tone ast trill 1/2 tone ast trill 1/2 tone ast trill 45 m m 1/2 tone ast trill m m m Cl. (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. m m m m m subito m m m m Sus. Cymb. m m m m m m subito m m m B.Dr. Perc. Xylo.

4 SOUND DESIGN: 1M Aroximate Entry Point (to end o track) 12 Fl. (Ot.) Cl. Div. () Div. () (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) arco Tim. Perc. SOUND DESIGN: 1M Aroximate Entry Point (to end o track)

47 Fl. (Ot.) Cl. 17 AA Div. () Div. () (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. Perc.

48 Fl. 24 staccato staccato staccato staccato (Ot.) Div. () Cl. (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. Perc.

49 Fl. (Ot.) Meno mosso, con rubato 1 m m m m m m Cl. staccato m m m m 1 layer only m Div. () Div. () Div. () (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) Tim. Perc. m m m m m m m m m m m m m m m m m m m m m m m m m Vibra. m m m m m m m m m m m m l.v. m m m m m E gliss A gliss T.Tm. D gliss

50 8 accel. BB Vivacissimo, Energico martellato, quasi stabbing style 7. "Swaming, drowning, enguling asts and utures" 1. Fl. (Ot.) Cl. (Ot.) Tt. 1.2 Tt..4 Hn..4 (Ot.) Euh. Tim. Perc. martellato, quasi stabbing style martellato, quasi stabbing style martellato, quasi stabbing style martellato, quasi stabbing style martellato, quasi stabbing style martellato, quasi stabbing style martellato, quasi stabbing style martellato, quasi stabbing style martellato, quasi stabbing style martellato, quasi stabbing style gliss gliss gliss (like an Elehant!!) (1st Tba. ake gliss) (2nd Tba. ake gliss) L.H. R.H. L.H. R.H. sim. gliss (like an Elehant!!) gliss (like an Elehant!!) l.v. 1.2 Bell u.4 Bell u Orch. B.Dr. (use beater) Xylo. gliss. gliss. (1st Tbn. ake gliss) gliss (white note gliss) gliss. gliss. Imrovise gliss edal glissando eect T.Tm. etc., etc.

51 Fl. (Ot.) Cl. (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. 4 (Ot.) m m Tim. Perc. 2. oco rall. 2. m m m gliss. gliss. (1st Tbn. ake gliss) gliss m m m m m m m m m m m m m m m m.4 Bell down m dim. m m m m dim. (to bar 7) dim. (to bar 7) m m m m m m m m m l.v. l.v. l.v. m m m 1 layer on a art only (1 layer on a art only) 1 layer on a art only 1 layer on a art only m 1 layer on a art only m m gliss. gliss (like an Elehant!!) gliss. gliss (like an Elehant!!) 1.2 Bell down m Sus. Cymb. Glock. m (Lower Timani) m m m dim. m

52 5 m m m m m m m m m Fl. m m m m m m m (Ot.) m m m m m m m Cl. m m m m (Ot.) Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) m Tim. (Subtle Imrovisation) Perc. m m m m T.Bells

4 8. "And only then receding, slowly, to reveal soaked and shattered ruins" CC Conductor Note: This section is a mixture o bell tone articulations in some instruments and legato in others Mezzo movimento [hal temo](q = q) legato 5 Fl. Bell tones (1 layer on a art only) Legato (1 layer on a art only) legato Bell tones (Ot.) Bell tones (1 layer on a art only) Bell tones (1 layer on a art only) Cl. Legato (1 layer on a art only) legato legato legato legato (Ot.) legato 1. Trt. (Otional - O Stage) N.B. Though the o-stage Trumet is marked " " the eect should be distant and quiet. (Senza Sordini) lontano Tt. 1.2 Tt..4 Hn..4 Euh. (Ot.) legato legato Tim. Perc. l.v. l.v. + T.Tam

54 72 rall. Fl. (Ot.) Cl. (Ot.) Waggle keys to emulate light rain Tt. 1.2 Tt..4 Hn..4 quasi quasi 2. Trt. (Otional - O Stage) N.B. Though the o-stage Trumet is marked " " the eect should be distant and quiet. (Senza Sordini) (Trt. 2 - on stage.) Blow air through the instrument to emulate the wind Trt. 2 (O Stage Cue). Trt. (Otional - O Stage) N.B. Though the o-stage Trumet is marked " " the eect should be distant and quiet. (Senza Sordini) lontano Blow air through the instrument to emulate the wind Blow air through the instrument to emulate the wind Blow air through the instrument to emulate the wind Hn..4 Blow air through the instrument to emulate the wind Euh. Euh. 1.2 Blow air through the instrument to emulate the wind (Ot.) Tim. + T.Tam l.v. Perc.

55 81 DD SENZA MISURA (to bar 94) Conductor Note: Generic Fade Out Blow air through the instrument and waggle keys to emulate the wind sim. Blow air through the instrument and waggle keys to emulate the wind. Also create occasional harmonics (lageolets). To do this, overblow on the headjoint with the hole comletely covered by both lis. It is imortant that the air always goes to the edge o the hole - Some lautists use this technique to warm the lute with air. Try to make the harmonic eects subtle and in context! sim. Fl. Blow air through the instrument and waggle keys to emulate the wind. Also create occasional harmonics (lageolets). To do this, overblow on the headjoint with the hole comletely covered by both lis. It is imortant that the air always goes to the edge o the hole - Some lautists use this technique to warm the lute with air. Try to make the harmonic eects subtle and in context! sim. Blow air through the instrument and waggle keys to emulate the wind sim. (Ot.) Blow air through the instrument and waggle keys to emulate the wind sim. Blow air through the instrument and waggle keys to emulate the wind sim. Waggle keys to emulate light rain sim. Waggle keys to emulate light rain sim. Cl. Waggle keys to emulate light rain sim. Waggle keys to emulate light rain Blow air through the instrument and waggle keys to emulate the wind sim. sim. (Ot.) Blow air through the instrument and waggle keys to emulate the wind sim. Waggle keys to emulate light rain Waggle keys to emulate light rain End Wind Eect End Wind Eect End Wind Eect Tt. 1.2 Tt..4 Hn..4 (Trt. - on stage.) Trt. Blow air through the instrument to emulate the wind.4 Blow air through the instrument to emulate the wind Trt..4 Euh. (Ot.) Waggle keys to emulate light rain Sto waggleing the keys and blow through instrument only Tim. Perc 2. Cue (+ Sus. Cymb.) Sus. Cymb. Perc. Otional Wind Machine

5 Conductor Note: Though there is lenty o scoe or creativity between bar 91 through to 94, anyone who is EE not engaged in the erormance at this oint, should remain as still as ossible so not to break the atmoshere. X 89 End Wind Eect SENZA MISURA (Sound Design) X End Wind Eect Fl. End Wind Eect X End Wind Eect X (Ot.) End Wind Eect X End Wind Eect X End Wind Eect X End Wind Eect X Cl. End Wind Eect X End Wind Eect X X End Wind Eect (Ot.) End Wind Eect X X X Tt. 1.2 X X Tt..4 Hn..4 End Wind Eect End Wind Eect End Wind Eect End Wind Eect X X X End Wind Eect End Wind Eect X X Euh. (Ot.) X End Wind Eect X End Wind Eect X X X Tim. X X X l.v. Perc. X