[Use enharmonic synemmenon dromos hitzaz mode with çıkıcı-İnici seyir for all harmonic elements. Bassline follows strictly by doubling lead instruments in perfect fourths.] [Male voice A - Милош, male, serbian construction worker: gruff maqam bass-baritone with prominent buhha and squillo, microtonal bends, melismatic, zero rapping, slow, deliberate shirabyoshi phrasing.] [Male voice B: Felix - male: german construction foreman: german lied light lyric tenor. Delivery: smooth legato, measured, clear diction. Aloof, haughty and fully dependent on Prosper. Sings fluently in all languages cited.] [Male voice C: Pigeon - male: narrator: snarky buffo bass. Delivery: smooth legato, measured, clear diction. Aloof, haughty and fully dependent on Prosper. Sings fluently in all languages cited.] [choral elements: construction workers choir: drunken kakegoe shouts.] [Lyrics in serbian, english and german] [Dynamics swell - full ensemble *including drums* joins immediately on beat 1] [Vorspiel starts with full intensity - 2 bars, full crescendo] [All vorspiels are the same copy/pasted from the opener, ghammaz section is the only one that changes the pattern.] [Vorspiel - 2 bars] [Verse 1] [Pigeon, further "P"] When duty doth call, How can we not give our all? Oh, Милош, Милош, Wherefore hast come here? What dost thou seek In Felix's office? Aye, this pile of papers, Is this thine excuse Or someone's refuse? Schau mall! What is that Lying on the table? It is Hoffman, Forsooth! Pick it up quickly, His scent is still There on it. The book is used, Wasn't just gathering dust. He must have had a blast Reading the adventures Of unfortunate Medardus. Here he is coming back, Get ready, to choose Thine own adventure, Herr professor. [Vorspiel - 2 bars] [Verse 2] [Felix, further "F":] What are you doing here? Leave! [P] Piles of paper fall on the table With a rather loud thud, Miloš then turns around And with a smile begins quoting: [Miloš, further "M"] [reads aloud] "Du glaubst, mich zu kennen—du meinst, mit deinen scharfen Augen durch mich hindurchzusehen. Wie sehr täuschst du dich! Was du erkennst, ist nur das äußere Kleid, das ich unter deinesgleichen trage." [F] [completes quote] “Sie haben das ‘TÄUSCHST’ zu früh BETONT.” [P] How can he resist not to correct His distortions deliberate? [F] [reads aloud] “Wer im Spiegel des Teufels sein eigenes Antlitz erkennt…” [M] [completes quote] “…ist bereits sein Gefangener.” [Instrumental bridge - Ghammaz section with taqsim - 2 bars] [Ghammaz Section - non-lexical vocalizations] * 嗯嗯嗯嗯嗯嗯嗯嗯嗯... * 嗯嗯嗯嗯嗯嗯嗯嗯嗯... [Vorspiel - 2 bars] [Verse 3] [F] So, this is how you feel Being here? Ein Gefangener? [M] [reads aloud] “Ich bin, was ich zu sein scheine, und erscheine nicht, wie ich wirklich bin; mir selbst ein unlösbares Rätsel, bin ich mit meinem eigenen Ich in Streit!” [F] Bist du dann ein Rätsel? [M] Nein, ich bin eine Nervensäge für dich. [F] Genug, los! [M] Tschüss, Фелиција ! [F] Tschüss.... ... [start fade out, slow down] [Vorspiel - 2 bars, fadeout] [Outro] * 嗯嗯嗯嗯嗯嗯嗯嗯嗯... * 嗯嗯嗯嗯嗯嗯嗯嗯嗯... [end]
