Mübadele/Ανταλλαγή (The Exchange): Remembering a Human Catastrohe Through Music by Rece Gul A comosition submitted in artial ulillment o the requirements or the degree o Doctor o Musical Arts (Music Comosition) in The University o Michigan 2012 Doctoral Committee: Proessor Bright Sheng, Chair Proessor Vassilios Lambrooulos Associate Proessor Erik Ros Santos Assistant Proessor Karen Jeanne Fournier Assistant Proessor Kristin P. Kuster
RECEP GÜL Mübadele/Ανταλλαγή (THE EXCHANGE) (2012) or Sorano, Mezzo sorano, Narrator and Chamber Ensemble
To my grandarents Hasan Gül and Zeyne Gül ii
Acknowledgements With all my heart I want to thank my mother, Berrin Gül, and my ather, Zeki Gül, or their continuous suort; my advisors, Pro. Bright Sheng, Pro. Vassilios Lambrooulos, and Pro. Kristin Kuster, or their excellent guidance, brilliant ideas, and academic suort rom the beginning to the end; William Stroebel and Giota Tachtara not only or heling me in every stage o this roject (rom research to language learning to hosting me during my studies in Athens), but also or their riendshi and moral suort; Dr. Desina Margomenou or being such an excellent teacher in Modern Greek and heling me learn it in such a short amount o time; Pro. Artemis Leontis or her eedback, advice, and assessment o my work; and the ellows o the Institute or the Humanities or their eedback and suort, which so extensively contributed to this roject. Perhas most o all, I want to thank the emigrants in this tragic event who were willing to be interviewed by me, entrusting their stories and memories to me. Additional secial thanks to Seer Güvenç rom the Foundation o Lausanne Treaty Emigrants in Istanbul, Stavros Th. Amestidis rom the Center or Asia Minor Studies in Athens, Pro. Steven Whiting, Pro. Gottried Hagen, Pro. Evan Chambers, Pro. Erik Santos, Pro. Karen Fournier, Pro. Daniel Herwitz, Pro. Joseh Gramley, Bedriye Kocaman, Nurten Gül, Ömer Gül, Berati Gül, Marc LeMay, Amr Kamal, Lisa Borgsdor and the UMMA sta, Jennier Goltz, Seyhun Sezer, Akın Üner, İran Güneysu, Cihat Yılmaz, Ayşenur Kolivar, Mustaa Avcı, Dave Schall, and Peter Shin. First erormance was given by Desina (Sorano): Jennier Goltz Ayshe (Mezzosorano): Katherine Sanord Narrator: Marc LeMay Violins: Kazato Inouye, Verena Ochanine; Viola: Rachel Samson Cello: Eric Haughen; Double Bass: Michael Flinn Flute: Daniel Velasco; Oboe: Jennier Rolo Clarinet: Jason Paige; Bassoon: Scott Barlett Percussion: Chris Sies; Har: Rebekah Wallen; Piano: Jani Parsons Conductor: Elliot Moore at the University o Michigan Museum o Art, Ann Arbor, Michigan, Aril 20, 2012 Suort or the irst erormance was generously given by the University o Michigan Museum o Art, Rackham Graduate School, the Institute or the Humanities, the Modern Greek Program, and the School o Music, Theatre and Dance. Music and Text by Rece Gul Narrations by Giota Tachtara Rece Gul 2012 iii
Comoser s Note The Treaty o Lausanne o 192, which ended the 19191922 GrecoTurkish War, decreed the comulsory exchange o religious minority oulations in Greece and Turkey. As a result, almost a million and a hal Orthodox Christians residing in Turkey and hal a million Muslims residing in Greece were urooted rom the lands on which they lived or generations and were orceully sent to the other country. The agreement not only caused a radical homogenization o the distribution o oulations o the Near East, but also marked a milestone in the nationalization and modernization rocesses o the two countries, thus reshaing the nationalist discourses, as well as the cultural and national identities o Greeks and Turks. My interest in the 192 GrecoTurkish Poulation Exchange started in the summer o 2009 when, in a casual conversation with my amily, I learned that my aternal grandarents were born in Northern Greece and were relocated in Turkey as a consequence o this mass oulation transer. I was extremely intrigued by the toic, as this issue was rarely discussed in Turkey ublicly. The more I have discovered, the more I have been drawn into the lives o both Greek and Turkish reugees, their culture, and their stories, which eventually led to the comosition o this cantata. The creation rocess or the libretto was rather comlicated, considering the comlexity o this imortant event. Aroximately two million eole were subjected to dislacement. And among them aroximately a million o the Orthodox Christians were war reugees who led with the withdrawal o the Greek army, which had advanced into the interior arts o Asia Minor during the war. These oulations were already languishing in the ort o Piraeus (Athens) beore the agreement was signed. In this cantata, I did not try to deict the accounts o this tragic event, known as the Asia Minor Catastrohe in Modern Greek history. I rather wanted to ocus on the oulations who were subjected to orced migration, thus were dislocated rom their homes ater the war by the decree o the Treaty o Lausanne. These remaining oulations came rom a wide geograhical range. As a consequence o this disersion and the variety o ethnic, cultural, and linguistic dierences, the variety o individual exeriences was numerous. Thereore, I concentrated on two regions, one rom each country, in which I ound many correlations between the exeriences o the Muslim and Orthodox Christian communities. These two areas are the Kavala region in Northern Greece and the Caadocia region in central Turkey. Both o these regions were on the erihery o the GrecoTurkish war zones, and the testimonies stemming rom these areas maniest a rather harmonious relationshi between the two communities. The residents o these regions were directly subjected to the oulation exchange agreement and a signiicant amount o them disavored it. Nevertheless, I do not believe one should draw generalizations rom the individual exeriences or to erceive any individual story as the sole truth. The nationalist discourse in Turkey and Greece or many years told the story that the Poulation Exchange was the only solution to the roblem o coexistence during the dissolution o the Ottoman Emire. It was asserted that Muslims and Orthodox Christians could no longer live together, thus these two oulations should be searated. I have to admit that there were many who indeed avored this decision. Yet there were many others who objected to it, believing they could live together; these eole were deorted along with the exchange suorters, just because they did not belong to the right religion. My intention thereore is not to imly a grand narrative that is alicable to everyone, but rather to contribute to the discussion, which has or the most art deicted only the ositive results o the oulation exchange. The stories in this cantata revolve around two characters: Ayshe, a Muslim woman who lives in North o Greece with her three children ater losing her husband in World War I. Her character and story are based on the stories that my greatgrandmother transmitted to my extended amily, and these stories were suorted by other testimonies that were given by immigrants rom the same region. Desina, an Orthodox Christian woman living in central Anatolia with her husband, suddenly hears o the coming deortation and sorrowully must leave her home and the land where her amily has lived or generations. Even though these two characters do not meet in erson, their stories arallel each other in a number o ways, articularly how they react to the news o deortation, their languish during the journey, and the diiculties they encounter adating to their new countries. In this work, I have constructed a sace where the music mediates cultural and linguistic dierences, thus transcending this divergence and allowing a site o cultural convergence where these two women meet. iv
Texts and Translations I Aria: Geliyor Askerler (The soldiers are coming) Geliyor askerler, toluyorlar butun gencleri Onbes onalti yasinda cocuklari, kim var kim yoksa hesini ali goturuyorlar Padisah eendimiz oyle emretti diye Cıktım uc cocugumla ugurlamaya onları biri bir taraimda, oteki dıger taraımda. kirk gunluk bebem kucagimda Kulagimda o guzel sesli haizlarin Elveda diye yaktigi agitlar dayananadım, attim kendimi obur taraa ah o ne aci, ne aci O gece bir ruzgar, bir yagmur Yikildi sanki butun daglar basima Ah, O kara kara daglarin dili olsa da soylese size derdimi The soldiers are coming, gathering all young men The children in the iteenth, sixteenth year They are taking whomever they ind Just because our sultan has ordered so With my three children I went out to send them o One on my let; the other on my right My 40dayold baby in my arms In my ears the rayers o arewell Chanted by the haizlar with beautiul voices I could endure no more, threw mysel to the ground Ah, what grie, what grie That night, a wind, a thunderstorm As i the entire world has collased over me Ah, i only these dark mountains could talk And sing you my grie II Aria: Καλά Περνούσαµε (We used to get along well) Πριν από τον πόλεµο ήµαστε πολύ καλά µε τους Τούρκος. Σαν αδέρφια περνούσαµε Ήρχονταν εκοίνοι σ έµας κι εµείς πηγαίναµε εκεί. Στις γιορτές µας, στους γάµος µας, στο θάνατο ήρχονταν οι Τούρκοι. Κι εκόινο, αν έκαναν µπαίραµ Να µας στείλουν κρέας Στους γάµους να µας καλέσουν. Τύλιγαν σε ένα µπλε χαρτί ζάχαρη, Και έλεγαν: «Ορίστε στο γαµό µας» Καλά περνούσαµε Ευχαριστηµένοι ήµαστε Beore the war we were very well with the Turks. Like brothers we used to get along They would come to us and we would go to them To our estivals To our weddings To the unerals came the Turks And they, i they had a celebration They used to send us ood To their weddings they used to invite us With sugar wraed in a blue ackage They would say: Welcome to our wedding We used to get along well We were leased v
III Aria: Τρεις Χιλιάδες Ψυχές (Three thousand souls) τρεις χιλιάδες ψυχές όλοι κουρασµένοι όλοι µισοπεθαµένοι από τις ταλαιπωρίες από τον τρόµο, από τον φόβο, τον φόβο που κάθισε στο λαιµό τους. Σαν µέσα σ ενα αδιαπέραστο δάσος που κατοικούν τα τσακάλια και οι λύκοι, ούρλιαζαν όλη νύχτα αναγκαζόµαστε να τραβήξουµε για το πλοίο έρηµοι και απεριποίητοι πάνω στους τάφους των δικών µου ρίξαµε από πάνω λίγο ξερό χώµα, και κλαίω. η προθεσµία µας έχει περάσει δε θέλω να πιστέψω τέτοιο πράµα Καλύτερα να πεθάνουµε στην ξηρά παρά στή θάλλασα συχώρεσε µε, Αδερφέ µου... πατέρα µου, µάνα µου, παιδί µου που φεύγω και σ άφήνω Αχ, αυτά τα χώµατα που δε θα τα ξαναδούµε Three thousand souls All wornout All hal dead From the suerings From the terror, rom the ear The ear that sat uon their shoulders As i in the middle o an imassable orest Where crawling with jackals and wolves Screaming all night long We are ushed to catch the shi Deserted and neglected Over the graves o my heritage I am throwing earth And crying Our time has assed I don t want to believe such a thing Better to die in my land than in the sea Forgive me, My sister, my ather, my mother, my child or leaving and deserting you Ah, I will never see these lands again IV Duet: Μαύρισε ο Ουρανός Akdenizin Ortasında (The sky blackened in the middle o the Mediterranean) Εννέα µέρες ήµασταν στο πλοίο Σάµπως είχαµε ξαναδεί θάλασσα bu gemi niye gitmez? Ama cok yavas gidermis oysaki Και τι ψείρα! Και τι βρώµα! Και τι αρρώστια Keciler, koyunlar, insanlar alt alta ust uste. Bizim bir Mustaa vardi koyde. O vaurda dogdu Είχαµε και µια Ελένη. Γεννήθηκε στο βαπόρι µας Πέθαναν τρεις τέσσερις, Και πετάχτηκαν στη θάλασσα µαύρισε o ουρανός. Akdenizin ortasinda Μια φουρτούνα, µια βροχή, αστραπές, βροντές, αέρας!! o gemi oyle bir duruma geldi ki; battim batacak Οι γυναίκες Istira mi ararsin άλλη βλαστηµούσε bagiran cagiran mi ararsin άλλη έκανε προσευχή Selavatlar, ezanlar okuyan mi κι άλλη έλεγε κατάρα στούς αίτιους Dokuz gün oldu Γιατή δεν πάει αυτό το πλόι Θα πνιγούµε!!! vademizin sonu bu bizim. For nine days we were on that shi As i we had never seen sea beore We asked, Why doesn t this shi move? Realizing later that it sails so slowly What sickness! What arasites! What ilth! Goats, shee, eole jumbled one ato the other We had a Mustaa in our village; he was born on that shi We had an Eleni too. She was born in our shi. Three or our died And were tossed into the sea The sky blackened. In the middle o the Mediterranean A storm, a heavy rain, lightening, a crack, a gale That shi reached such a oint that it was on the verge o sinking The women Throwing u, Swearing, Crying and shouting Making rayers and cursing those resonsible or this It s been nine days Why doesn t this shi move? We will drown!!! Our end has come. vi
V Αria: Dokunulmamış Hiçbir Şeye (All is let untouched) Verdiler bize bir Rum evi oyle bir bahcesi var ki o kadar guzel, o kadar bakimli Iki katli bir Rum evi O kadar guzel tavanlari var ki o evin. Nakis gibi oyma he Dokunulmamis hic bir seye Ocagin ustunde yari ismis bir ka yemek Tozlu dolalarinin arkasina sikismis gumus bir hac Ben nasıl yaşarım bu yabancı evde? Geçmişin hayaletiyle Olduğu gibi bırakılmış Sanki birisi burada ölmüş gibi They gave us a Greek house With such a garden So beautiul, so wellcultivated A twostorey Greek house With such beautiul ceilings Like rescos as i embroidered Nothing was touched A halcooked cu o ood on the stove A silver cross, lost behind the dusty cuboards How can I live in this oreign house? Haunted by the ast All is let untouched As i somebody has just died here VI Duet: Σήµερα Ζούµε και Πεθαίνουµε (Today we live and die) text by Demetrios Vikelas rom Loukis Laras (1879) modernized by William Stroebel Σήµερα ζούµε και πεθαίνουµε ο ένας εδώ κι ο άλλος εκεί, Περιπλανώµενοι στη ζωή και στο θάνατο ξενιτεµένοι, Η ανεµοζάλη του πολέµου κλόνισε και διέσπασε τους ιερούς δεσµούς Τους προσκολλώντας την καρδιά των τέκνων στων γονιών τα αναπαυτήρια Αµάν... Bugünlerde birimiz burada diğerimiz orada Yaşıyor, ölüyor, hayatta dolaşıyor ve ölümde sürgün ediliyoruz Savaşın kasırgası kutsal adetleri dağıttı ve de yıktı Çocukları anne babalarının mezarlıklarına yakın yaşatan kutsal adetleri Aman... Today we live and die, one o us here, the other there, wandering in lie, and exiled in death. The hurricane o war has torn all the holy rituals down, Rituals that ket the hearts o children close to the graves o their children Aman... vii
INSTRUMENTATION Flute Oboe Clarinet in Bb Bassoon Percussion (1 Player) Vibrahone, Glockensiel, Crotales (1 octave), Medium tam tam, 2 tom toms, Bendir (Tar), Davul (Taan), 2 Gongs Piano Har Sorano Mezzo sorano Narrator 2 Violins Viola Violoncello Double Bass The Score is in C viii
TABLE OF CONTENTS Dedication... ii Acknowledgements... iii Comoser s note... iv Text and Translations... v Instrumentation... viii Movements I Geliyor Askerler (The soldiers are coming), Ayshe... 1 A Narration 1... 22 II Καλά Περνούσαµε (We used to get along well), Desina 2 B Narration 2. 48 III Τρεις Χιλιάδες Ψυχές (Three thousand souls), Desina.. 49 C Narration... 70 IV Μαύρισε ο Ουρανός Akdenizin Ortasında... 71 (The sky blackened in the middle o the Mediterranean), Ayshe and Desina D Narration 4. 118 V Dokunulmamış Hiçbir Şeye (All is let untouched), Ayshe... 119 E Narration 5... 125 VI Σήµερα Ζούµε και Πεθαίνουµε/Bugün Yaşıyoruz ve Ölüyoruz... 126 (Today we live and die), Ayshe and Desina ix
I Geliyor Askerler The Soldiers are Coming 1 Oboe Viola Glockensiel Vibrahone Mezzosorano Har Contrabass 5 very rhythmic / bringing out a strong sense o ulse dance like Db Cb Bb / Eb F Gb Ab q=112 very rhythmic / bringing out a strong sense o ulse dance like q=112 try to balance the dynamic with the har Rece Gül Aril 2012 with a shar, strong and articulated attack but resonant L.V. semre G Vib. M H. Rece Gül 2012
2 8 Vib. M H. Vib. 11 M H.
Vib. M H. A 14 5 ord. m as the ker ler sol diers m m ge li yor co ming as the ker ler sol diers are A 18 m m Vib. M H. m to lu ga the ring m yor lar izz. m bü all tün genç ri bü young le men all tün arco
4 B 2 m Vib. M H. B m m as the ker ler sol to ga diers m m lu the yor ring izz. m lar on the beş on children in tı al the iteenth 27 m Vib. M H. ya şın sixteenth da ço cuk la rı year Gb m m m arco m
2 C 5 m Vib. M H. kim whom var e kim ver yok they sa kim ind who var e kim ver they yok ind sa kim who G E C izz. var e 6 m Vib. M H. kim they ver yok sa he ind all m hrase like waves m m m ni a he si o m them F# they lı are taking m ni si all o them a they gö lı take arco all tü o
6 41 Vib. M H. rü yor lar a them just di şah be cause e our en di sul tan miz 45 m Vib. m to two glock /two vib. mallets M H. öy has le em or dered ret ti di ye so C F
Glock. Vib. M 49 D 7 H. 5 gliss. D Glock. Vib. M H.
8 56 Glock. Vib. M H. 59 E Vib. to one glock mallet/ one bow M H. D C# B / E# F# G# A# E subito
Glock. Vib. M 6 5 arco arco to two glock/ two vib mallets 9 H. F 67 Poco meno mosso m Glock. Vib. M H. oco sul onticello m m A delicately m çık I wento üç tım out with ço my cu three F Poco meno mosso
10 71 m Glock. Vib. M H. ğum child ren la u to ğur send m la ma ya bi them o m A# A one ri is 75 Vib. M H. ut glock mallets away bir on ö my ki di ta ım da kırk te let; the ğer otheron my ra right my gün orty lük day old be ba bem by ku in ca my ğım arms
G 80 oco rit. q=96 11 Vib. M H. da be my bem ba G ord. by oco rit. q=96 A# D# to our vib mallets with more articulated attacks 85 5 q=80 Meno mosso H Vib. M H. B C# D#/ E F# G# A# m ku in la my sul tasto lautando esress. nonvibrato (like chanting) only add a little vibrato to the end o the longer notes ğım q=80 H Meno mosso ears
12 90 m m Vib. M H. da o I gü have zel those beau ti ul m ses li voices o l.v. semre m 94 I Vib. M H. gently ha the ız riests la rın 5 gü the ses li ha zel beautiul voices o ız the la rın G A I riests sorrowully el ve a re B C# D#/ E F# G A
100 1 m sul tasto lautando Vib. M H. da well Eb ha the ız la rın el riests a D G# m ve re well 105 m Vib. M H. da A# m el a ve re
14 108 5 5 5 Vib. M H. da well m el a ve re da well E# 112 sul tasto lautando m Vib. M H. di la ye ments yak that subito m tı ğı a they ğıt lar sing
J 117 5 5 ord. 15 Vib. M H. J A E Vib. M H. 120 ragingly Da I na ma dım at ya could tım ken threw my di sel mi ö bür the tara a ground endure no more I to D Eb D# E
16 K 124 5 Vib. M H. to bow arco arco 5 m very sorrowully Ah Ah ne what a cı ne grie what acı ne a cı grie grie * when the late vıbrates resonant enough gently touch the midlle o the late with inger nail or the side o the inky to create the harmonic ne what a grie res de table with inger nails cı o m Db Cb Bb / Eb F Gb Ab K what ne a cı grie Vib. M H. 1 ne what a grie q=120 L Temo rimo to our vib mallets cı o with a shar, strong and articulated attack but resonant ge ce night, That L.V. semre crushed bir a rüz gar wind bir a yağ thunder q=120 L Temo rimo
19 17 Vib. M H. mur storm yı as kıl dı i the san en ki tire world G bü has 14 Vib. M tün col dağ la lar sed başı o ver ma me o I ka on ra ly ka these H.
18 147 Vib. M H. ra dağ dark la rın moun tains di could ol sa li seak da and söy tell le you Vib. M H. 150 se all si my ze der grie di mi M gliss. M 5 m
154 19 Vib. M H. Fb izz. 158 arco Vib. M H.
20 162 m m Vib. M m H. C Cb m m 167 N Vib. M H. C N
174 q60 21 Glock. Vib. M to two glock/ two vib mallets NARRATION H. Db Cb Bb / Eb F Gb Ab q60 NARRATION Ayshe waited raying as the days turned into nights. Feeling lost in her own village, insecure in Northern Greece. Those were the years o endless wars, the one ato the other, the borders changed like cycles o the tides. No Greek authorities rotect the Muslim villages. She could do no more than ray and wait,wait or the day he d come back and ind them again. Her eyes ket searching or him hoeully, just a small hoe. Yet no one came...
22 1 st Narrative Breathing in cannon smoke, it s the Great War eole say, the First World War they ve read in the aers o the coee sho. Ottoman oicers break down doors and tear away the Muslim men and boys. Ayshe s village, just outside Kavala, is let with only the cries o the women and the rayers o the old. She hasn t moved an inch, she kees casting about her eyes, searching or her husband, staring at the door that consumed him, staring at the door and waiting, two silent toddlers round her eet, a rightened newborn in her arms. She longs or those lost years o eace. Ach, those good old days! sighs Desina, across the border, buried dee within the lanes o Anatolia. She aces round the room, hands on his, longing or the times when Christians in her village didn t live in ear, when the church bells tolled out Easter rather than the ires or the dangers lurking in the hills. Her eyes caress the room every corner, every iece o urniture, every stitch o her embroidered tablecloths, the icon with the dour Byzantine on the wall. Her children lay outside, their shrill laugher lingers like the last reminder o the good old days.
Flute Oboe Clarinet in Bb Bassoon q=92 lightly, like a olk dance (2+2+) (2+) ΙΙ Καλά Περνούσαµε We used to get along well 2 Davul Piano Har Db C Bb/ Eb F Gb A Sorano Violin I Violin II Viola Violoncello Contrabass q=92 lightly, like a olk dance (2+2+) (2+) izz. izz. Rece Gül 2012
24 Fl. Davul 5 H. cresc. cresc. cresc. cresc. cresc. I cresc. cresc. cresc. cresc. arco cresc. arco
Fl. 10 A 25 m m m m Davul H. m G m I A m m m m izz. m
26 Fl. 15 B m m m Davul m H. D Cb Bb/ Eb F G Ab lively πριν rin be ore α a πό o τον ton the πό o war λε le µο mo ή µασ τε i mas te we were B m πό o very λύ li well κα ka λά µε la me with τους tous the Τούρ κους Tour kous Turks I m m
Fl. 20 m 27 Davul m m m m H. m Gb σαν α san a like bro δέρ δer thers φια ia περ νού σα µε ήρ er nou sa me ir we used to get along they χονταν hondan would ε e come I arco m m
28 Fl. 25 C m m Davul H. Db C Bb/ Eb F Gb A I κοί ki νοι ni σ'έ se to us µας κι mas ki and έ µεις πη γαί να µε ε e mis i ge na me e we would go to them C m κει ki izz. izz.
Fl. 0 (+2) cresc. cresc. cresc. cresc. 29 Davul H. (+2) m cresc. I m cresc. cresc. cresc. cresc.
0 Fl. 5 Davul H. B D I arco arco
Fl. 40 D 1 m m m Davul H. m στις stis to γιορ yior our τές tes estivals µας mas στους γα stous ga to our µους µας mous mas weddings στο sto to θά θa the να το na to unerals ήρ χονταν ir hontan came οι i D I
2 Fl. 46 E (+2+2) Davul H. Bb I Τούρ Tour the κοι ki Turks m στις stis to γιορ yior our τές tes estivals µας mas στους stous to γά ga our µους µας mous mas weddings γιορ yior our τές µας γά tes mas ga estivals our µοyς µας στο mous mas sto weddings to sul tasto E non vibrato (+2+2) sul tasto non vibrato sul tasto non vibrato sul tasto non vibrato
Fl. F (2+2+) (2+) 51 Davul H. m m I θά νατο θa nato unerals ήρ ir χον ταν οι hon dan i came the Τούρ Tour Turks κοι ki F (2+2+) (2+) ord. m m m ord. izz. m izz. m ord.
4 Fl. 56 Davul H. I ord. arco arco
Fl. 61 G 5 m Davul H. m m I G κι ki and ε e they κοί ki νοι ni αν an i έ e they κα ka had ναν µπαί nan bay a celebration izz. ραµ ram arco
6 Fl. 66 Davul H. I
Fl. 70 H (2+2+) 7 m Davul m To Glock. H. m m κι ki and ε κοί e ki they H (2+2+) νοι ni αν an i έ e they κα ka had a ναν nan celebration µπαί bay ραµ ram να na used µας mas στεί sti to send λουν loun us κρέ kre oodt I m m m m m
8 Fl. 74 I Davul H. E Ab I α a στους stous γά ga µους mous to their weddings να µας na mas they κα λέ ka le used to σουν Τύ invite soun us ti with sugar λι γαν li gan wraed σε se έ e in να na a µπλε ble blue χαρ τί ζά har ti za ackage I χα ha
9 Fl. 80 m m Davul H. ρι ri και ke they έ e would λε le say γαν gan ο ρίσ τε o ris te welcome στο sto to γα ga our µό mo wedding µας mas ο ρίσ o ris welcome τε ο te o welcome I
40 Fl. 86 (++2) J simile gently simile gently simile gently simile Davul Glockensiel m H. ρίσ ris τε te στο sto to γά µο µασ ορίσ τε κα ga mo our wedding mas o ris welcome te ka well (++2) J in a state o remembering a distant memory dolce λά la I
Fl. 9 K 41 Glock. H. m 2 2 2 περ er we used νού nou to σα sa get µε ευ me e K along m χαριστη µέ haris ti me leased I
42 Fl. 101 Glock. H. 2 2 2 2 2 2 νοι ή µαστε κα λά ni i maste ka la we were well κα λά ka la well I
Fl. 110 (2+2+) Poco iù mosso L 4 Glock. Davul m H. I περνού ernou we used σα sa to µε me get κα ka along λά la well περ er we νού nou used sul tasto sul tasto to get σα sa along L µε me (2+2+) ord. Poco iù mosso sul tasto sul tasto izz. izz.
44 Fl. 116 (2+) Davul H. (2+) I ord. ord.
Fl. 121 M 45 Davul m H. M I arco arco
46 Fl. 126 Davul H. I
Fl. 10 47 Davul H. Bb I
48 2 nd Narrative The same smells coming rom our ovens, the same oods, the same names, yet Muslims and Christians can t share them anymore. The women no longer chat u neighbors, they kee their heads low, their windows locked. Stay with your own kind they advise, ach, this Great War changed everything, it s not the Emire we re losing but our riends down the street. The soldiers come and go, dierent colors, same hatred. They don t understand. Ayshe heard the rumors, they are going to send us to Turkey, Muslims are not welcome here any more, she bends down and listens closely to the baby s breathing, i Allah is truly generous, He ll take this one to heaven. She ll manage two, but not three children; her husband now is nothing but a memory. Across the Aegean sea, Desina cries over the same whisers, Christians are not welcome here any more, but this is our land she laments. Nobody ays attention. Her husband only brings back bad news rom the coee sho, bending his head lower every day over his worry beads, as i ashamed that he can t set things aright, as i it s his ault they can t stay here any more.
Clarinet in Bb q=84 sorrowul III Τρεις Χιλιάδες Ψυχές (Three Thousand Souls) 49 Piano Sorano Violin q=84 sorrowul Violoncello m 5 Vln. 2012 Rece Gül
50 Vln. A 9 A m esress. τρεις tris three m χι λι hi li α a thou sand m δες thes ψυ χες si hes souls 12 m m Vln. m m m ό o all λοι li κουρασ kou ras worn out µέ me m
16 B 51 m Vln. νοι ni m B m ό o all λοι li 20 m Vln. µι σο mi hal so dead 5 m πε θα µέ e tha me νοι ni ό o all λοι li ό o all λοι li κουρασ kou ras worn out µέ me
52 24 m Vln. νοι ni ό o all λοι li m m ό o all λοι li µι σο πε θα µέ mi so e tha me hal dead νοι α ni a rom πό o 28 m Vln. τις tis the τα λαι πο ta le o su er rings ρί ri ες es rom α πό a o m m τον ton the m τρό tro ter ror µο mo α πο a o rom
5 2 m m m Vln. τον ton the φό o ear βο vo από ao rom τον ton the τρό tro ter µο mo ror φό βο o vo ear m m τον ton the φό o ear m C 7 Vln. C βο τον vo ton the m φό o ear βο vo molto sul tasto
54 42 Vln. που ou that κά ka sat θι σε thi se στο sto uon molto sul onticello λαι µό le mo their shou ders molto sul tasto τους tous molto sul onticello * alternate between the note and the harmonic very ast sul D molto sul tasto molto sul onticello * alternate between the note and the harmonic very ast molto sul tasto 47 Vln. molto sul tasto molto sul onticello molto sul tasto molto sul onticello molto sul tasto molto sul onticello
Vln. 51 D (aster) (2+) q=108 D q=108 (aster) molto sul onticello σαν san like µέ σα me sa in side σ'έ se an (2+) (molto sul onticello) να na sz (molto sul onticello) α δι α πέρασ a di a e ras im as sable sz το to m δά σος da sos o rest ord. m ord. m 55 Vln. 56 που ou where κα ka craw τι ti ling κουν koun with τα τσα ta cha the jack κά ka als λια lia και ke and οι i the λύ li wolves κοι ki 5
56 60 5 Vln. ούρ our scream λια lia ing ζαν zan ό o all λοι li νύχ nih night τα ta ούρ our screa λια ζαν ό lia ing zan o all Vln. 64 λοι νύχ li nih night τα ta q=100 Poco meno mosso m q=100 Poco meno mosso
E 69 57 Vln. m m m α ναγ κα a nan ga ζό µασ zo mas τε te να na to τρα tra βί vi we are orced take shi E ξου ksou µε για το me yia the to πλοί li ο o έ e de ρη ri ser 74 (+2) 5 5 6 m Vln. (+2) µοι mi ted και ke and α περι a eri neg lec ted ποί i η i τοι ti m to con sord. m to con sord.
58 78 q=80 Meno mosso m F delicate very little vibrato m πά a o νω no ver στους stous the τά φους ta ous graves των ton o δι di my κών kon heritage µου mou ρί ri I ξα µε ksa me am throw ing α a rom πό o Vln. q=80 Meno mosso F con sord. molto sul tasto non vibrato delicate con sord. molto sul tasto non vibrato delicate 82 m (2+) Vln. m m πά νω a no a bove λί li some γο go ρί ri I (2+) ξα ksa µε me am throw ing m m α a rom πό o πά νω λί a no li a bove some
Vln. 86 m γο go G ξε ρό kse ro iece o earth χώ µα ho ma και ke and κλαί kle I ω o cry G 59 92 H Vln. και ke and κλαί kle I ω o cry senza sord H ord.. m κλαί kle I cry
60 Vln. 98 ω o 5 5 κλαί kle I senza sord ord.. cry ω o Vln. 101 5 q=96 Più mosso m η i our q=96 Più mosso προθεσ µί rothes mi time α a µας mas έ e has χει hi πε e assed ρα ra q h. K q e q h
Vln. 105 σει si I I δεν den I 61 h. q 109 Vln. θέ The don't λω lo want
62 112 Vln. δεν den I θέ the don't λω lo want 115 J solo m Vln. J m m
118 6 Vln. 121 (2+) ord. m m Vln. (2+) m m
64 12 Vln. 126 Vln.
129 q=90 Poco meno mosso sz 65 Vln. q=90 Poco meno mosso Vln. 14 K δεν den I θέ the don't λω lo δεν den I θέ the don't λω lo να na to πισ is believe want want such thing K τέ te ψω so τέ te τοια tia a πράγ rag µα ma m 5
66 140 (+2) Vln. κα ka bet λύ li ter τε te ρα ra να πε na e to die m θά νου µε στην tha nou me stin in ξη ksi my ρα ra land (+2) molto sul onticello πά ρα a ra than στη sti in molto sul onticello Vln. 145 (gradually to vibrato) θάλ Tha the sea L L q=84 slower m λα la σα sa 5 5 6 sz sz συ si or (slowly areggiate) χώ ρεσε ho rese give q=84 slower ord. µε me me ord.
67 150 m Vln. (balance the bow ressure according to the harmonic) α a my δέρ der riend φε e µου mou πα a my τέ te ather ord. ρα ra µου mou Vln. 154 παι δι e di µου mou my child m µά ma my να na mot 5 m
68 158 M 5 m m m Vln. µου mou her M συ si or χώ ρε σε ho give re se µε me me sul onticello non vibrato sul onticello non vibrato 162 m m Vln. που ou or φέυ γω ev go lea ving και ke you σ'α sa and φή i deserting νω no you αχ ah ah m ord. m αύ a these τα ta molto sul tasto non vibrato τα ta χώ ho lands
N 168 69 m m Vln. µατα mata m που ou that δεν den I θα tha will N τα ta ne ξα να ksana ver see δού µε doume a gain oco sul onticello 175 (2+) Vln. (2+) m (balance the bow ressure according to the harmonic) molto sul onticello
70 rd Narrative The day we laid the last brick in lace, we had to hand the keys to someone else. The cro we lanted, it s others who will harvest it. Forgive me Mother, or leaving your bones behind. Who will weed your grave now? A whole lie, how to choose what you take with you, what you leave? And the deadline is aroaching: This aer signed in Lausanne, the rest o us obey. The Church, the Mosque, will they survive or will they be swet aside like us? The old eole curse the year 192 to the its o hell. Ayshe ties her children round her waist; a woman only has two hands, you see, and she needs them both to carry bundles. The others on the boat make un o her village ways; she doesn t care. This is the worst time to be without a man. She s leaving her village behind, the lights o Kavala wink one last time behind her, her last sight o home, o now to a land about which she knows nothing, only that it s in the new borders o Turkey. They call it Samsun, her new home. Desina boards a boat to trace the same route in reverse, clutching her icon and mumbling rayers. She s about to leave behind the sices o Anatolia, bound or Athens. Her children are rightened o the sea; she, o the land awaiting them. She sits on one o their bundles and digs u rom within her throat the saddest song she knows. Peole shush her. You re not allowed to seak Turkish anymore. But her heart is bleeding or her real homeland, Kaadokia, her head is reeling with old Turkish love songs. One million souls are drenched in sea and sweat and homesickness, shivering on the crowded decks. Ach, orgive me Mother or leaving your bones behind.
IV Μαύρισε ο Ουρανός Akdenizin Ortasında The Sky Blackened in the Middle o the Mediterrenean 71 Flute Oboe Clarinet in Bb Bassoon Vibrahone Piano Har Sorano q=120 Energetic Db C Bb/ E F# G A MezzoSorano Violin I Violin II Viola Violoncello Contrabass q=120 Energetic Rece Gül
72 Fl. 9 A Vib. H. M A I
Fl. 17 7 Vib. H. M I
74 Fl. 25 dim. dim. B dim. dim. Vib. dim. less articulated H. dim. M I B dim. dim. dim. dim.
75 Fl. 5 Vib. H. M m legatissimo Εν en For νέ ne α µέ ρες a me res nine days ή µασ ταν i mas tan we have been στο sto on that πλοί li shi I sul tasto lautando sul tasto lautando
76 Fl. 46 C Vib. H. M m ο o Σάµ πως Sam os As i εί i we χαµε hame ξα ναδεί ksana δi had ne ver seen I C m ord. m m m m
77 Fl. 55 Vib. H. F M ξα να δεί ksa na δi never seen Σάµ πως sam os as i εί i we χαµε ξα να δεί hame ksa na δi have never seen θάλ θal sea λα σα la sa I m m ord. m
78 Fl. 65 D 5 Vib. H. M I D ord. m m 5 m 5
Fl. 7 E 5 5 79 Vib. H. subito M I dolce bu Why ge doesn't subito mi this shi m niye git move? subito mez? E 5 5
80 Fl. 82 subito m m 5 Vib. H. subito D C# Bb/ Eb F# G A M I m a ma çok Realizing later ya that vaş it sails ya so vaş slowly m m ya vaş gi slowly it der miş oy sails so m m m sa ki slowly
Fl. 92 F m 81 m Vib. m m m sz H. m m M unarticulated somewhat earul και ke and τι ti what ψεί si sick ρα ra ness! I F m m m izz. arco m m izz. arco m m
82 Fl. 97 G m m Vib. H. sz sz m m m C M I G και ke and τι ti what βρώ bro arasite µα ma και ke αnd τι ti what αρ ar ilth ρώσ ros τια tia izz. hay van lar animals izz. m arco arco m m
Fl. 102 m 8 Vib. H. Db C Bb/ E F# G A M in san lar alt humans jumbles al one ta üst ato the üs other te I
84 Fl. 108 H Vib. H. M I m legatissimo πέ e Died θα ναν θa nan H animals τριες tris three τέσ tes ot our σε ρις se ris πέ e died θα θa ναν nan hay van lar m m
85 Fl. 117 subito m lutz. Vib. H. F D M in san lar eole m και ke and πε e they τάχ tah were τηκαν ti kan tossed στη sti into θάλ θal the λασα la sa sea θάλ θal the λα la sea σα sa και ke and πε τάχ e tah they were tossed sul onticello I sul onticello sul onticello
86 Fl. 127 I m lutz. m lutz. m lutz. Vib. H. m B M I τη ti καν kan cresc. hayvanlar in san lar alt animals humans are ord. al ull ta üst üs to bursting I m m m m te 5 5
Fl. 1 lutz. 5 lutz. 5 lutz. 5 5 5 5 5 J 87 Vib. H. M I bi zim bir We had m dolce J
88 Fl. 14 m m m m Vib. H. D Cb Bb/ Eb F# G A m C# M m dolce legato Εί i We χα µε ha me also Mus a ta a var dı köy de o va ur da o va Mustaa in our village in that shit in that και ke had µια mia an Ε E E λέ le le νη ni ni στο sto rom χω ho our ριο rio village µας mas ur shi I sul tasto non vibrato dolce sul tasto non vibrato dolce sul tasto non vibrato dolce sul tasto dolce
Fl. 156 K m 89 Vib. H. γεν yen she νή ni was θη θi born κε ke in στο sto our βαπό ρι vao ri boat µας mas M da doğ was he du born K I
90 Fl. Vib. H. M I 168 m L q=128 Più mosso lutz Tom toms L ο o The ο O The q=128 Più mosso ουρα oura sky ουρα oura sky 5 D# C B/ E F# G A# νός nos νός nos
Fl. Perc. H. M I 175 m subito m µαύ mav black m m µαύ mav black m ρι ri ened σε se ρι σε ο ri se o ened the ο o the ου ou sky ρα ra ου ρα ou ra sky Tamtam νός nos νός nos 91
92 Fl. 182 5 m T.t. H. 5 m m 5 m m m 5 Tom toms Ak Tamtam de ni zin or ta sın M I m m In Ak In the middle o de ni zin the middle o the m the Mediterrenean or ta sın Mediterrenean sul onticello sul onticello m sul onticello
Fl. T.t. H. M I 190 Tom toms M 5 5 da da 5 M ord. µάυ mav Black µάυ mav black ρι ri ened ρι ri ened σε se σε se ord. A 9
94 Fl. 198 5 N 5 5 Perc. H. D Bb B D# M I ο o the ο o the ουρα νός Ak ou ra nos sky in ουρα ou ra νός nos sky N m m m Ak in de ni zin the middle o de ni zin the middle o
Fl. 206 5 5 5 5 95 Perc. H. 5 5 5 5 or ta sın da or ta M I the or the Mediterrenean ta sın da or Mediterenean the the Mediterrenean ta Mediterrenea
96 Fl. 212 5 5 5 5 5 5 5 Perc. H. 5 5 5 5 5 Tamtam gliss. sto ringing sın da Ah Ah Ah M I sın da Ah Ah Ah 5 5
Fl. T.t. H. q=120 Meno mosso 219 O 5 5 Tom toms with hard mallets ocused and clearly articulated 5 D# C Bb/ E F# G A m 97 M I q=120 Meno mosso O
98 Fl. 227 P Perc. H. M P I
Fl. 25 99 Perc. H. M I
100 Fl. 242 Perc. H. M I
Fl. Q 248 m m m m 101 Perc. H. m m m Db M µια φουρτού mia our tou A storm να na µια mi a βρο χή vro hi heavy rain άστ ast lightening ρα ra πες es βρον vron a τές des crack α a a έ e gale ρας ras I Q m m m m
102 Fl. Vib. H. 254 m m m Vibrahone m Db C Bb/ E F G Ab M o That ge mi öy le bir du ru ma gel di ki bat shi reached such a oint that it tım ba was on ta cak the verge I m m m m m m
Fl. 260 R m m 10 Vib. H. M D# C# Bb/ E F G Ab women swearing bat o m οι i the tım ba ta cak is ti ra mı sinking sinking eole throwing R γυ yi ναί ne κες kes άλ al some λη li βλασ blas τη ti a rar sın out I izz.
104 Fl. 265 m Vib. H. M µού mou σε se ba ğı ran mı ça ğıı ran mı crying and shouting άλ al some λη li βλασ τη blas ti swearing µου mou σε se I
Fl. 270 S 105 m m Vib. H. m M οι i the S γυ yi women ναί ne κες kes is ti ra mı eole throwing άλ al some λη li έ e doing a rar sın out I arco
106 Fl. 275 Vib. H. M κα νε προσευ χή ka ne rosev hi rayers se la vat lar e zan lar rayers and rayers κι ki and άλ al some λη li έ e cursing λε le γε ge κα ka I m m
Fl. 280 T 107 Vib. H. M τα ta ρα ra στους stous those αί e who τι ti are ους ous resonsible se la vat lar e zan lar rayers and rayers I T
108 Fl. 286 Vib. H. M I
Fl. 292 109 Vib. H. M I
110 Fl. 298 U Vib. H. M I U
111 Fl. 04 Vib. H. dolce M m dolce Do Nine kuz gün ol days it's du do been nine kuz gün days I
112 Fl. 14 m m m m Vib. H. M m dolce για yia Why τί ti doesn't δεν δen πά a this ει i shi αυ a τό to move το to πλοί li ο o I m
Fl. 28 V 11 Vib. H. M As i all hoe is gone m θα θa we πνι γού ni gou µε me will drown As i all hoe is gone m V va Our θα θα we πνι ni will γού gou drown de mi zin sonu bu bi zim end has come µε me I
114 Fl. 8 Vib. H. M θα θα we πνι ni will γού gou drown so nu bu our end has µε me bi zim come I
115 Fl. 47 Vib. H. M θα θα we πνι ni will γού gou drown µε me so nu bu our end has θα θα we πνι γού ni gou will drown bi zim so nu bu come our end has µε me bi zim come I
116 Fl. 57 Vib. dim. H. dim. M θα θα we πνι ni will so nu bu our end has γού gou drown bi come zim I
117 Fl. 65 Vib. H. µε M I
118 4 th Narrative They all down on their knees and kiss the ground. The ground o unknown countries, their countries now, the army tells them, you re Greeks, you re Turks, never seak to them again. Tents and quarantines, Red Cross smiles, local rowns, oreign accents, oreign tongues. Nothing here reminds them o the village: the eole rom the mountains end u languishing in swams, the eole o the sea, wrestling with barren ields. Ayshe kills mosquitoes all day long, they tell her that they bear the sickness in their blood. She s never seen a lace like this; she longs or the clear skies o her hometown, the smell o the sea, the sound o the her milkman, little bells around the goat s neck and a singing voice in the narrow street, reassuring her that everything is going to be okay. She doesn t know the sounds o her new village, she doesn t recognize the smells, the voices, she reached Samsun with just two children let. Allah is truly generous. And Desina, Desina is deserate in her degradation, every day the memory o the mansion that she let behind grows dimmer, the mansion that everyone in town admired, two storeys and balconies as broad as continents, overlowing with lowers and ots with basil. In that house, she was a lady. Now look at her, living in a tent and sharing a latrine with this whole shantytown oh, God hel us! She stares at the stars at night and tries to conjure u their aces, those who moved into her beautiul house, the house that everyone in town admired.
119 Flute Bassoon Mezzosorano Violin I Violin II Viola Violoncello Contrabass Fl. M I 6 quite calm ler dolce non vibrato h=50 m dolce h=50 quite calm semre semre non vibrato semre semre semre dolce bi ze bir us a non vibrato V Dokunulmamış Hiçbir şeye (All is let untouched) rum Greek non vibrato semre semre A m dolce ver They e vi öy house with A di gave delicately m le such Rece Gül 2012
120 Fl. 11 M bir a bah çe si var ki o garden so ka dar gü zel o beautiul so kadar ba well kım cultivated lı I Fl. M I 17 B B m i a ki kat two lı bir rum storey Greek e house vi o with m ka such
Fl. 22 121 M I dar gü zel tavan la rı var ki na beautiul ceilings like kış gi rescos as bi oy i ma he embroidered Fl. 27 M I
122 Fl. M C moving 2 m esress. dokunul mamış hiç nothing was C moving bir şe ye o touched on cağın üs tün de ya rı iş miş the stove a hal cooked I m m m Fl. M I 6 D bir ka cu o ood ye mek toz lu do la la rının ar kası na sıkışmış gü lost behind the cuboards a D müş bir haç silver cross
Fl. M I 41 E izz. h=60 Più mosso E ben How m na can h=60 Più mosso con vibrato balance with the singer sıl ya şarım bu I live in ya ban cı this oreign ev house de 12 Fl. M 48 m legato geç mi şin ha ya le tiy le ol du ğu gi bi bı ra kıl mış haunted by the ast all is let untouched m I
124 Fl. F h=54 55 Meno mosso M I F m san as ki bi ri si bu ra da öl i somebody here has müş just died h=54 Meno mosso arco gi bi Fl. M I 62 oco rit. oco rit.
125 5 th Narrative Sleeless nights and homesickness. Ayshe and Desina gaze u at the same moon across the sea; they harvest, both o them, a secret in their bosoms, a secret wish to go back. They wait. They reuse to settle down, they wait and wander through their scattered dreams, dreams o a lost homeland.
Flute Oboe Clarinet in Bb Bassoon Gong Tamtam Har Piano Sorano Mezzo sorano Violin I Violin II Viola Violoncello Contrabass q = 80 Rubato calm and transcendental Medium gong Medium Tam tam D C B/ Eb Fb G Ab m D# C# B/ E F G# A# 5 5 m 5 Freely as i imrovising Σήµερα ζού Simera zou q = 80 Rubato calm and transcendental izz. VI Σήµερα Ζούµε και Πεθαίνουµε Today We Live and Die µε me m και ke πε e θαί θe 126 νου nou
127 Fl. 7 m m m m Gong T.t. H. G M µε me ο o 5 5 m έ e νας nas ε δώ e δo m κι ki ο o I
128 Fl. 12 m 5 m m Gong H. M άλ λος al los ε e F# κέι ki περιπλα eri la Crotales νώ µενοι no meni 5 arco F# G# στη sti ζω ή zo i G D και στο ke sto ord. θά να το θα nato I
129 Fl. More rhythmic 18 A yet like a hynotic dance Bendir H. Bendir C A D C# Bb/ Eb F G Ab m A 5 M ξε νιτε ksenite µέ me νοι ni m dolce bu günler A More rhythmic yet like a hynotic dance I arco
10 Fl. 24 Bendir simile H. 5 5 5 E Ab D# B simile M de biri miz bura da diğeri miz ora da m yaşı yor I
11 Fl. 29 Bendir H. 5 Bb Db C Bb/ Eb F G A 5 M ö lü yor hayat ta dola şıyor ve ö lüm de sür m gün I
Fl. Bendir Crot. T.t. 4 B m Gong Tam Tam 12 H. D C Bb/ E F G A M I ediliyoruz B m gliss.
1 Fl. 41 oco rit. Gong H. M. Gong M Gong Ab M oco rit. I
Fl. q = 80 a temo (moving) 46 C 14 H. M I C like chanting non vibrato m η ανεµοζά i anemoza like chanting non vibrato q = 80 a temo (moving) lightly and gently sul tasto non vibrato m lightly and gently sul tasto non vibrato m lightly and gently sul tasto non vibrato m lightly and gently sul tasto non vibrato m λη li του tou πο λέ o le µου mou κλό klo νι σε ni se sava şın kasırga sı kutsal a detle ri da ğıt tı lightly and gently sul tasto non vibrato m και ke δι δi
15 M 52 έσ es πα σε ase τους tous διερους δierous δεσ des µούς mous τους tous προσκολ λών τας την καρ δια ros kol lon das tin karδia vede yık tı ço cuk la rı an ne babaları nın me I M 58 των ton τέκ tek νων non στων ston γονι ών goni on zar lık la rı na ya kın ya şa tan accel. q = 108 q = 88 cresc. τα α ναπαυτή ta a naav ti cresc. ρια ria kutsal a det le ri I accel. q = 108 q = 88 cresc. cresc. cresc. cresc. cresc.
Fl. 64 D 16 Bendir H. D C Bb/ Eb F# G A Bendir M m a man a man α a I D ord. ord. ord. ord.
17 Fl. 69 Bendir H. B M µάν man α a µάν man m aman a man a I
Fl. E 75 18 Bendir Gong H. m α a µάν man Crotales B Bb like coming rom distance 5 5 5 α a m µάν man α a M man a man a man a man a E I ord.
19 Fl. 79 Crot. H. arco ord arco ord E 5 5 5 5 M µάν man α a µάν man ά a µάν man α a µάν man man a man a man a man I
Fl. Crot. T.t. H. M 8 M. Gong oco rall. q = 76 F Αχ Ah Ah D C Bb/ E F G A Αχ Ah Ah 140 I oco rall. q = 76 F
141 Fl. 90 T.t. H. tam tam M. Gong sto ringing Ab M I
Fl. 94 G (temo rimo) oco rall. q=88 142 solo 5 5 m T.t. H. D C B/ Eb F G A m 5 m 5 M gliss. oco rall. G q=88 (temo rimo) I gliss. gliss.
14 Fl. 98 5 7 5 7 6 6 T.t. Tam Tam H. Ab 7 5 M I
Fl. 102 H q=72 (slower) 144 T.t. H. M m esress. Αχ Ah Ah m esress. Αχ Ah Ah Ah cresc. cresc. Αχ Ah I q=72 (slower) H
145 Fl. Crot. T.t. H. M I 109 m m m m m l.v. Αχ Ah m m Ah l.v. l.v. I I m m m m m