[continued]
In editing the original portion, the corrections, revisions and additions were made according to the sources and considerations given as follows: (1) Some corrections in pitch, rhythm, tempo, and dynamics were made according to the extant sketches for the original portion. Where the sketch is missing or uncertainties arise, references were made to other sketches bearing different versions of the same material. (2) Some revisions in tempo, rhythm, and dynamics were made, and new passages and new instrumental parts added according to Varèse’s indications on the three reference copies of the incomplete score. Where there are indications of dissatisfaction or intentions for revision but no specific solutions given, references were made to the sketches for the original portion as well as to other sketches bearing related material or different versions of the same material. (3) A few instructions for the vocal parts found in Varèse’s cryptic planning notes and in some sketches were added, since they seem to be of considerable signficance in the performance of such passages. (4) In the passages for the bass voices marked “no definite intonation”, the register to be employed in performance is obviously important. Wherever necessary, the register or registers, if the basses are in divisi, were clarified according to the sketches. (5) The string parts were edited in two passages for practical reasons, and some obviously missing dynamic marks were provided. (6) The percussion parts, in which the instruments are not clearly or consistently assigned to specific players, were throroughly edited with instruments systematically distributed among the six players as Varèse did in most of his works. (7) The format, signs, wording for the instructions, and the scoring style used by Varèse were generally retained, except where clarification was felt needed.
In completing the score, two principles were followed: (1) continuation of some of Varèse’s principal material of the original portion as suggested in the cryptic notes; (2) addition of new material from the few more elaborated sketches found so as to more fully illustrate his ideas for this work and his concepts in the use of vocal sounds. These two processes are mutually interpolated or superimposed as suggested by the cryptic notes and the nature of the material in question. All the details, whenever not specified in the sketches, are worked out according to the original portion or other sketches in which similar solutions are found. The original portion ends with the words, “dark, dark, dark, asleep, asleep”, sung by the soprano. (For the 1961 performance, Varèse substituted the words “asleep, asleep”, with “floating again” as temporary ending.) The added portion is purposely kept to the minimum length possible, just enough to include all suitable additional material and to provide structural coherence.