The modernist twelve-tone serialist tradition to which Wuorinen belongs actually seems like it could be quite appropriate for such a spare, austere, and even bleak story. I doubt the soundtrack will ever take off and enter people's hearts like Gustavo's for the film, but approached strictly within the context of the staged work, the score might prove quite fitting.
It also occurs to me, considering the atonal tradition founded by Schoenberg, that some of the characters may express themselves in Sprechgesang rather than lyrically. I could easily imagine the character of Ennis being written in this way.
