SHROUD, concerto for piano and chamber orchestra

ADAM GREENE

SHROUD concerto for piano and chamber orchestra

Full Score

U

Senza Misura SMMP No. 124

Printed in USA

ADAM GREENE

SHROUD concerto for piano and chamber orchestra

duration: ca. 17 minutes

U

Senza iMsura SMMP No.124

Senza Misura Music Publishing (SMMP) 3633 Indiana Street, Suite 22, San Diego, CA 92103

In Homer’s Odyssey, Odysseus travels widely and survives numerous trials through wit and cunning while the most important figure in his life, Penelope, remains at home and survives an equally harrowing situation in an effort to preserve the kingdom. In order to delay the unwanted advances from the crowd of suitors determined to force her into marriage, she develops a ruse in which she agrees to consider their proposals only after completing a death shroud for her father-in-law. Alone in her quarters, she weaves during the day and unweaves the entire tapestry at night, thus maintaining her solitude and holding her household intact for more than three long years. Brilliant and combative in public, she becomes increasingly despondent in private. SHROUD takes Penelope’s character and circumstance as a point of departure, rather than being wedded to the narrative itself. This provides the framework for a somewhat unconventional concerto formulation that obviates the sort of exchange of ideas that characterizes the core of the genre. While the pianist and ensemble have some direct encounters, the normative condition for the piece is one in which they occupy distinct spaces, where there is little meaningful interaction, and virtually no common ground. Our protagonist is not looking to persuade anyone and finds the very presence of the ensemble to be a torment. Broadly speaking, the piano part is vested with elaborate figuration depicting an ingenious and rhetorically brilliant persona whereas the ensemble tends to be elemental and feral – a malignant presence. In the first movement the piano engages warily with the ensemble but soon takes on a critical distance, eventually displaying an imperious rage at the very circumstance of this encounter. The second movement examines the costs of this situation, particularly the effects of isolation, and features a gradual loss of the piano’s fluency and resonance. These are perhaps the central attributes that define its character, and thus this loss is a tragic one. SHROUD is dedicated to the pianist Shannon Wettstein Sadler, to whom I’m indebted for her friendship and for our rich collaboration on several projects over a period of more than twenty years. This project was made possible by the Center for New Music at the University of Iowa and by David Gompper, its director. Texts and Interpretation The piano part features a number of brief texts, all of which are lines spoken by Penelope in Fitzgerald’s translation of the Odyssey. Penelope speaks these lines, variously, to her maid, to herself, and (briefly) to the suitors. In this score they are not read aloud; rather they are intended to offer an expressive context and subtext to the musical behaviors that occupy the piano part. Instrumentation Flute (doubling piccolo) Oboe Clarinet in B∫ (doubling bass clarinet) Bassoon Horn in F Trumpet in B∫ Trombone 2 Percussionists (see below for instrumentation) Celesta Piano Solo 2 Violins Viola Violoncello Contrabass Percussion 1:

Percussion 2:

Crotales (high set) Kettle drum (30-32”) Triangle (high)

Vibraphone (motor off) Musical saw Glass chimes Bamboo chimes Triangle (low)

3 Temple gongs (wide range)

3 Almglocken 2 Temple bowls 2 Cymbals (low, high)

2 Cymbals (large Chinese, high, sizzle)

Tam-tam

3 Toms (wide range)

3 Woodblocks

Bass Drum (flat)

Bongo pair

2 Bows

Bow In addition to the above, both players have passages that use their largest drums as resonators. Other instruments are placed on them and struck. Perc. 1 uses (at different times) a small cymbal and a temple bowl on the kettle drum. Perc. 2 uses a large cymbal and an almglocken on the bass drum. Chinese cymbals work well, here, due to the flat cup allowing them to balance on the drum head. It is at the player’s discretion whether to use cymbals from the main setup for this purpose or to have extras that can be moved into place at the appropriate times. ii.

Suggested Setup The diagram below shows the piano shifted to the side of the stage in order to establish a physical isolation that reflects the expressive situation in this piece. This assumes adequate stage width and no acoustically compromising elements in the hall.

Perc. 1 Cel.

Tpt.

Hn. Ob. Fl.

Perc. 2

Tbn. Cb.

Cl. Bn.

Vln. 2

Vc. Vla.

Vln. 1

C

Notational Conventions Pedaling indications are quite generalized and should be considered suggestions rather than prescriptions. The exceptions to this practice are those few occasions with special pedal effects along with the passage from mm. 310-319 , where one really should seek a saturated texture. Contrast this with mm. 344-352, where one should aim for a somewhat clearer sound world, so the occasional fluttering of the pedal or lifting off by half would seem to be appropriate. The introduction (mm. 26-39) should be approached similarly. Tempo markings are approximate, but transitions between tempi should be maintained. Accidentals affect a single register and are canceled by the barline.

fermatas of increasing duration, the last of which is a significant suspension of the time flow

breath marks in parentheses articulate adjacent phrases with a slight interruption of the time flow. Standard breath marks are significant pauses.

cut off suddently, without interrupting time flow at all

begin exactly at the indicated rhythm then proceed as quickly as possible through the figure, regardless of the note value

represents an equal-tempered microtonal scale

microtonal inflection, smaller than a quarter tone

mordents: assume semitone above or below principal note

glissando with indeterminate ending; only the arrival register is indicated

NB: the score is in C with the usual octave transpositions for piccolo, crotales, celesta, and contrabass

iii.

Woodwinds

breathy, diffuse sound

breath sound only

exaggerated key noise

flute only: harmonic with diamond notehead showing fundamental fingering

flute: tongue ram flute: jet whistle flute only: lip pizzicato clarinet: slap tongue clarinet: teeth on reed, sliding to activate various partials

alternate fingerings (or use trill keys) that yield significant timbral distinctions without altering pitch

flute embouchure positions: normal, outward, inward, as far inward as possible (or covered completely). Embouchure bends are indicated for their special timbral properties. On rare occasions the notated pitch only refers to the fingered pitch as opposed to the corresponding sound (see m. 7). Do not attempt to lip up (or down) to ‘correct’ intonation. Brass

breath sound only

breathy, diffuse sound, pitch barely present

very high partial, unstable

Percussion

dead stick

buzz stroke

press on drum head to raise pitch

open (no pressure)

Strings natural harmonics are indicated by the sounding pitch, artificial harmonics by the fingered pitch

gettato, where the bow is bounced on the string, causing an indeterminate number of rebounds

half harmonic pressure, resulting in a diffuse, unstable sound

overpressure, producing a coarse, distorted sound, as opposed to...

“hammer-on”: percussive attack with fingertip (left hand only)

increase pressure to produce distorted coloration while maintaining pitch identity. The depth of the graphic represents the degree of distortion

!

circular bowing: lightly sweep the strings in a circular fashion, producing a wispy, unstable sound

s.p. s.p.e. s.t. n.v.

sul ponticello sul ponticello estremo sul tasto non vibrato

F

col legno (c.l.) and 1/2 col legno are canceled by the indication “coi crini” (with the hairs)

iv.

mute strings with or free finger, largely obscuring pitch in order to profile the sound of bow hairs on the string

Duration ca. 17 minutes (score at concert pitch)

for Shannon Wettstein Sadler

SHROUD

concerto for piano and chamber orchestra ADAM GREENE

I

Oscuro ed inquieto e = 44

"

rall.

A tempo

Flute

&4

∑

∑

Oboe

&

∑

∑

∑

Clarinet in B b

&

∑

∑

∑

?

∑

∑

∑

&

∑

∑

∑

∑

∑

∑

∑

∑

∑

8

Bassoon

Horn in F

Trumpet in B b

con sord. (harmon)

& ?

Trombone

r œ œ P

∑

scrape with knitting needle

ã

Percussion 1

ã

Percussion 2

Celesta

4 8

∑

Tam-tam

∑

Inverted cymbal on Bass Drum

e ;

timpani mallet wire brush

Contrabass

P

~~~~~

≈

l.v.

‰

∑ ∑

l.v.

3

∑

∑

∑

?

∑

∑

∑

Oscuro ed inquieto

rall.

"

A tempo

&4

∑

∑

?

∑

∑

∑

∑

1

&4

∑

∑

∑

2

&

∑

∑

∑

8

Violin

Violoncello

œ œ œ œ.

~~~~~~~~

&

8

Viola

≈

pressure on drum head with left hand:

strike cymbal with mallet

e = 44

Piano solo

‰

≈ .

B

Œ

?

‰

?

F ¿ œ π

SMMP No. 124

‰ F ¿ œ π

b œ¿ œ¿. P π

F ¿ œ π

b œ¿ œ¿. P p ¿ 

¿ 

b œ¿ ≈ . F

¿  ¿ bœ F

3

b œ¿ ≈ . F

¿ nœ

œ¿ ≈ .

Œ

Œ

Œ

‰

Œ

F ¿ œ π

F ¿ œ π

F ¿ œ π

b œ¿ P

¿ œ. p

b œ¿ œ¿. P p ¿ 

Copyright © 2016 by Adam N. Greene (ASCAP) All Rights Reserved.

2 4

?

tbn

perc. 1

perc. 2

∑ ®

ã

? b œ¿ F

cb

3

≈ r . æ ® r ≈ r # r r r ræ # r r π ∏ p

sim.

‰

®

≈

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{ J

tap drum head

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œœœœ

p

3

® œ.

j µµµµµµµµµ  ®

; ≈

¿

j µµµµ  ≈

(on cymbal)

p

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j  ®

jŒ  µµµµµ œ

{

≈

≈

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∑

¿ n œ œ¿ ≈ .

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b œ¿ ≈ . F

≈ r j® ræ # r

5

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≈

‰

tap cymbal with knuckle

nervoso

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ã

Œ

3

ª "

poco accel. (covered)

7

3

3

& ≈ b r ≈ ® r r r ≈ r ≈ ® r . f 'sh' P F p Fz ∑ &

fl

ob

?

tbn

3

® ræ. ¥¥¥¥  r # r ≈ π p

ã 2y ?

Temple bowl on kettle drum

perc. 1

perc. 2

&

med-hard yarn

Musical saw

: take bow

® r ≈

r j ≈ ræ  P

vla

vc

cb

∑

B

∑

?Œ

SMMP No. 124

F ¿ nœ π

∑ ∑ ‰

5 16

3 8

‰

‰

® œ ® ≈ ÿ Fz 3

F ¿ #œ π

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3:2 3

π

Ͼ

Ͼ

® œæ. π (œ J

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(kettle drum is never struck)

8

pizz.

¿ 

‰

senza sord.

∑

∑ A tempo ( q q .)

® h  .

instabile

∑ ∑

∑

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≈

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5 16

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1

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∑

&

tpt

5 16

∑

&

cl

j 

A tempo ( q q .)

3

œ # œ n œ b œ œ # œ œ ≈ ƒ

3 8 arco II

  J p

 æ 3

sul pont.



∑





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 æ

 æ 



 3

# 

3 poco meno mosso 10 fl

ob

&

∑

&

∑

®

& ‰

cl

?

bsn

&

hn

&

tpt



perc. 1

æ ã œ ? œ

1

2

vc

cb

U

‰

Bn

≈ . œ œ



∏ ∑

change to Bass Clarinet







& ‰ ® #  & æ B ? ?

SMMP No. 124

∑ U

Ͼ

¥¥ j U ‰ vibr.

Ÿ~~~~~~~~~~~~~~)  # r U ) r #   RÔ ≈ . J

  π



3

∑ ∑ ∑



Cymbals

  U ≈ ∏

P

‰

2 8

∑ ∑

j œ

ã

leva la sord. (harmon)

‰

j œ

3

r r π

∑

‰

∑ ∑

P

∑ ∑

∑ poco meno mosso

2 8

∑ ∑

∑

∑

∑

∑

∑

® bœ. π

∑

Ÿ~~~~~~

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∑ ∑

j j ræ -r  -r  ® F

arco l.v.

‰

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remove temple bowl

5 16

∑

∑

∑

U

3 8

∑

∑

"

accel.

∑

∑

j  ≈ .

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‰

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s.p.

p

‰

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p

œ Kµœ Bœ J P

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C

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∑

Ͼ

≤ ® (œ h 

s.p.

vln

vla

&

‰

j ¥ 

ƒ

2 8

∑

∑

(saw)

perc. 2

 . O Z O



?

tbn

U

1 b œo .

3 8

2y

Bass Drum

med-hard yarn

∑

A tempo

3 8

‰

r bœ œ p

‰

‰

¿ ® œ. ƒ ≈ ≈ .

œ¿ ƒ

"

accel.

ord. n.v. 3

5 16

∑ ∑

Tam-tam

3

ord. 3

j œ  P

j Bœ

n.v.

r j bœ œ p P

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s.p.

¿ # œ F

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æ ® #œ. ƒ #œ ‰ p

œ p

5 16

4

14

&

fl

ob

&

B. cl

&

A tempo ( q q .)

5 16

∑

(Bass clarinet)

?

bsn

+ œ Fz

&

≈

tpt

&

con sord. (harmon)

‰

?

perc. 1

perc. 2

ã

‰

5 16

‰

Tam-tam

œœœ

ã

1

& 5 16

2

&

vln

vc

cb

j µœ 3

≈

r œ ÿ Fz œ œ R R

‰

+ œ Fz - p

œ p

‰

Fz

‰

œ

+

&

‰

J F

B ? ?

SMMP No. 124

j œ > ƒ

j œ> ƒ ord. >œ J ƒ ord. >œ J ƒ

≈ 3

o

œ P

j œ f

pizz.

≈

∑

‰

∑

¥¥¥

h  .

 .

π

?

Ͼ. p

P

®

œ

‰

œ p

®

œ p

œ

p

6 16

‰

‰

œ > kkkkkkkk l.v. Fz

ƒ

∑

‰

‰

r bœ

‰

‰.

≈ gett.



Ͼ.

r œ

≈

∑

¥¥¥

∑ (kettle drum)

∑

∑



6 16

∑

‰

?

∑

via la sord.

≈ .

P

?

∑

‰.

œ

Ÿ~~~~ ≈ . œ . (œ ® . P Ÿ~~~~~~~~~ ® . œ . (œ œ . ® . P p ®. bœ. œ. ®.

‰.

2 œ

‰.

F‰ .

‰.

∑

1 œ P .œ œ œ R F p

‰

‰

∑

∑

Bass Drum (on drum head)

A tempo ( q q .)

vla

≈

∑

hn

tbn

2 œ

1 œ P ∑

‰

6 16

∑

‰.

≈

‰.

® ≈

‰.

col legno

œÿ ® Fz œ́

col legno

Fz

F ® . œ¿. p

b b Oœ

π

¿  .

®

?

5 17

‰.

5

fl

&

ob

&

∑

?

∑

?

∑

B. cl

bsn

?

hn

‰. ∑

?

tbn

cel

1

ã

vla

vc

cb

p

ræ ∑

j µ r

F

3 16

G#

®. œ.

smorz.

Ÿ~~~ bœ µœ. )

F- p P ∑

œ.

œ ∑

5 16

3 16

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ #œ ‰

∑

f

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ≈ ® œ œ œ p r #œ nœ œB œ #œ ‰ ≈ ≈ # ræ F f 5

∑

∑

∑

∑

∑

∑

∑

Y j œ µµµµµ  ‰ R l.v. p

œ œ

p

Toms

∑

S superball

∑

∑

∑

∑

?

∑

∑

∑

∑

A A Oœ ..

Oœ ..

( q q .)

5 16

Oœ

® œo

Oœ J

≈

œ. J

B

∑

∑

?

∑

∑

∑

∑

∑

SMMP No. 124

b œ¿. F

®.

‰.

‰

3 16

∑

¿  .

‰

Oœ ..

&

?

4 16

brush cymbal with handle

&

&

4 16

1/2 v.

senza sord.

∑

place small cymbal on kettle drum

vln 2

œ

ræ

‰.

# œ.

œæ y®

≈ ræ P

3

(large inverted cymbal on bass drum)

perc. 2

® œ

∑

?

3

r ® r  r ræ ¥¥ j ‰ p F

‰

ã perc. 1

5 16

‰

‰

&

tpt

® r ® B r   n r . . . . Fz P F

( q q .)

π

∑

œ. J ≈

∑

≈ ≈ b œæ æ µ œj ƒ F r ≈ ≈ æ # œ œj ƒ F ≈ . b œæ œj ® ƒ F 5:3

4 16

6 21 fl

ob

B. cl

bsn

hn

tpt

tbn

perc. 1

cel

1

∑

≈

?

∑

≈

?

∑

∑

∑

&

∑

∑

∑

ã

vla

vc

cb

∑

‰ n ræ B ræ ræ

Toms

œ

3

®œ œ P l.v.  œ œ ¥

5 16

œ ¥¥ ≈

œ

œ- b œ œ- œ

r œ # œ b œ ≈ F œœ

‰

S

≈

œ

®

?

∑

∑

& B

?

∑

œ œ

j œ

b œ œ # œ ≈

bœ nœ bœ ≈

œ F

‰

&

4 16

Ùœ œ 8

œœ

œ œœ

≈

nœ

j # œ¿ f 3

nœ nœ #œ j µœ

6 6 #œ œ œ œ œ

œ œ #œ #œ œ œ °

œ œ ® Ù œ œ ≈

ƒ agitato 8 ® # œ œ œ œ œ œ Ù œ œ œ ≈ 5

ƒ agitato

œ ≈

5 16

∑ ∑

‰

∑ œ f ‰

4 16

&

∑

∑

s.p.

5

∑

∑

∑ ∑

SMMP No. 124

5 16 ‰

?

∑

œ ¥¥¥¥¥ ≈ ∑

œo J

5

agitato

∑

®

∑

∑

ƒ

3

j‰ 

&

4 & 16

3

r b œ œ n œ ≈ œœ

‰

5 16

≈

ƒ agitato œ œ œ œ ® ≈ #œ œ œœ

‰ œ- œ

6:5

F

3

≈

æ ® # r  F

3

‰

∑

œ œ œ Ù

®

?

vln

2

œœ

∑

S perc. 2

œœ

&

ã 4 16 ?

4 16

œœ

∑

?

5 16

® ®# œ œ

& 4 16

5

5

∑ ∑ ∑

5 16

7 24

5 & 16

fl

ob

B. cl

bsn

hn

r b r ‰ ß Fz

≈

®

f Ÿ~~~~~~~~~~~~~~~~~ bœ œ œ)

∑

≈

?

∑

‰

?

∑

‰

®

?

∑

‰

®

h 

®

 Ÿ~~~~~~~~~~



p

≈

&

tbn

®

®

&

&

tpt

‰

3

Ÿ~~~~~~~~~~~~~~~~~ # œ (œ œ

®

1/2 v.

h  p

f

®

‰

perc. 1

perc. 2

ã ? ã

‰ e;

œ

®

œ

œ

œ

®

bœ F

œ

œ

®

F

≈

?

‰

≈

nœ F

&

#œ

6

cel

& & pf

5 16

#œ ( °)

#œ

œ

vla

vc

cb

≈

‰

≈

≈ F œ

œ ¥¥¥

3

Ͼ

Ͼ P

≈

3

Ͼ

≈

œ( ≈

) ‰.

∑

* ∑

∑

∑

∑ ® n15œ

ƒ ® 15œ 3

∑

B

∑

‰

?

∑

‰

‰

®

#œ > ƒp

Ϩ

ƒ

F ®

15 16

œ

F ®

3

&

SMMP No. 124

œ @ F ≈

(sizzle)

∑

‰

œ

j

3

∑

& 5 16

?

Tam-tam

) ‰.

vln 2

~~~~

≈ (

?

1

( œ

œ

3

∑

(Toms)

œ

œ

~~~~

œ

∑

Cymbals

ã

œ F

‰

∑

 ¥¥¥¥¥¥¥¥¥

®

15 16

‰

œ

#œ F

scrape

5 16

3

f x = xj

œ

ƒ

3

œ œ

f x = xj

15 16

&

15 16

‰. 8

oj œ

F

ord.

‰. ® ® œ.

bœ f œ f

œ F ^ #œ. ƒ

œ F

≈ .

œ

®

œ

®

8 26

Giusto e = 66

fl

& 15

∑

ob

&

∑

∑

?

∑

∑

?

∑

∑

?

∑

∑

&

∑

∑

?

∑

∑

16

B. cl

bsn

hn

tpt

tbn

perc. 1

ã

perc. 2

ã

15 16

5 8

∑

5 8

∑

∑

∑

∑

&

∑

∑

&

∑

∑

remove cymbal from bass drum

cel

Giusto e = 66

& 15

16

& & &

vla

vc

cb

bœ

œ

bœ œ

bœ

bœ

œ

œ #œ

œ

œ

nœ

bœ

5 8

‰

‰ œ

bœ

œ

3

#œ

bœ

&

∑

B

∑

?

∑

∑

?

∑

∑

SMMP No. 124

‰

‰

‰

bœ

# Oœ Oœ ‰ R 3 P s.p. Oœ Oœ ‰ R 3 P ∑ s.p.

∑

‰

œœ œ œ

nœ

& 15

16

5 8

-8 ≈ # œœ

œ

° sempre

vln 2

œ

sereno, uguale

∏

pf

1

Ruses served my turn to draw time out – first a close-grained web

&

j BO µœ

≈

‰

j BO B œ≈

‰

bœ

28

& ‰

fl

# œo

œo ≈ # O # O

‰

P3

&

ob

B. cl

bsn

tpt

tbn

perc. 1

perc. 2

11 16

F

‰

smorz.

‰

® r r p

∑

∑

?

∑

∑

œ.

# œ.

≈

Œ. ∑

∑

?

∑

∑

ã

ã

11 16

∑

?

∑ Triangle

‰

‰

‰

∑

∑

&

∑

∑

&

∑

∑

cel

& ‰ &

œ

#œ

‰

nœ

‰

#œ

bœ

b œœ 8

‰ nœ

b b œœœ œœœ

Œ

1

&

∑

2

&

∑

vla

vc

cb

B ?

bœ

pizz.

F

?

SMMP No. 124

œ

#œ

≈

œæ π œ (

‰

4 8

Ͼ

4 8

#œ

#œ

œ

‰

?

Œ.

bœ

nœ ‰

bœ

∑

nœ

œ ≈ b œœ # œ œœœ

≈

3

∑

‰

arco

® œ œ œ # œ ≈ p Ÿ~~~~~~~~~~~~~~~~~~ ® œ. ) ® ≈ bœ œ. p π 5

∑

4 8

bœ

œœœ ...

4 8

∑

‰

bœ

œ

11 16 ‰

∑

œ

"

œ

œ

5

vln

≈

j B r ≈

poco rall.

11 16

nœ œ

& ‰

œ œ

3

pf

&

r

∑

&

Temple bowl on kettle drum

r

∑

?

& b œ. π

hn

œo œo œo O O O ® ‰

∑

"

poco rall.

9

Œ Œ

10 30

A tempo

&4

∑

&

∑

8

fl

ob

7 16

9 16

‰.

‰.

∑

‰.

‰

∑

bœ

π

?

∑

∑

‰.

?

∑

∑

‰

hn

&

∑

∑

tpt

&

∑

∑

∑

?

∑

∑

∑

B. cl

bsn

tbn

perc. 1

perc. 2

4 œj ‰ Œ ã 8 ? (œ ¥¥¥¥¥¥¥¥¥¥    å œ J p

ã

‰

7 16

∑

∑

∑

∑

&

∑

∑

∑

&4

8

&

nœ

œ

bœ nœ

pf

&

7 16 œ œ

#œ

nœ bœ

?

bœ

?

#œ

cb

bœ

&

œ

bœ œ

#œ nœ

œ.

œ. J

&4

∑

2

&

∑

∑

∑

B

∑

∑

∑

?

∑

∑

?

SMMP No. 124

∑

∑

∑

4 8

nœ

1

8

7 16

œ

&

#œ

vln

vc

nœ

9 16

œ

?

‰.

∑

∑

A tempo

≈

∑

& cel

vla

5

®# œ œ œ œ œ œ p- - - - - -

9 16

∑

Œ

smorz.

p # œ- œ- œ- œ-

‰.

∑

∑

remove temple bowl

≈

smorz.

4 8

® r ræ π œ B œj ‰ p

9 16

j≈ Bœ

‰.

‰.

œ

j Bœ ‰.

‰.

œF

3

≈ # œ π

F

nœ bœ

?

œ. #œ.

4 8

∑

π # œ

4 8

11 33

&4

8

fl

&

ob

ræ ) π

∑

r ræ P

ræ

‰.

5 16

Œ

‰.

∑

‰ ≈

¿

F poss. ¿ ≈

¿

F poss. ¿ ‰

?

∑

∑

?

∑

∑

hn

&

∑

∑

tpt

&

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

&

∑

∑

∑

&

∑

∑

∑

B. cl

bsn

tbn

perc. 1

ã

perc. 2

ã

4 8 Toms

cel

&4

8

œ

? pf

& ?

1

&4 8

vln 2

vla

vc

cb

& B ? ?

SMMP No. 124

œ

≈

#œ ?

#œ

a ˙˙

œ œ

&

bœ

F poss. ‰

‰

or

‰

œ p

‰

5 16

œ &

‰.

poss.

∑

#œ

nœ

F ¿

# 8œ

5 16

∑

œ

bœ œ

œ

bœ

®œ p

#œ

œ

#œ ˙ œ

∏

œ

œ

3

≈ # œ

3 ∏

≈

œ

œ

¿

¿

¿

œ ∏ 3

3

œ

œ 3

œ

#œ ∑ ∑

3

n œJ p

b œJ p j n œp

˙

5 16

π œ

π œ

π # œp

3

∑

nœ œ.

∑

bœ œ.

∑

3

3

≈ # œp

3

œ œ π p-

3

œ œ-

π p 3

œ œ π p

3

œ œ-

π p3

œ π

j œp

œ œ-

π p3

œ (

( œ

) #œ

) bœ

) #œ

( œ

12 36 fl

&

∑

∑

ob

&

∑

∑

lip bend

? ‰

B. cl

b œ. . . . µ œ. ≈ p 5

? ≈

bsn

+ r & #œ

hn

&

tpt

?

tbn

&

π

p



Œ

∑

,

b œ ® ≈

(œ

] (fingertips) 5 ® œæ œæ p

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

change to Clarinet

j œ

≈ # œ p

‰.

π

∑

ã

∑

j bœ ‰

6 16

∑

® œ

‰

, œ ®

œ

p

3 8

∑ ∑

œ œ

3

5 16

∑ ∑

lip bend

œ œ- œ œ- ‰ p

poco

perc. 1

‰

6 16

‰

poco

5 16

∑

3 8

∑

Toms

ã perc. 2

ã

Bass Drum

≈

∑

&

∑

& &

œ

bœ

œ bœ

&

1

® b >œ

vla

vc

cb

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ

bœ œ

bœ

?

6 16

œ.

&

œ-

6 16

& &

∑

∑

≈

B

∑

∑

≈

?  . ?  .

) bœ

SMMP No. 124

B

&

) #œ

œ R

œ

r œ

œ-

œ

n œ-

œ-

œ- # œ b œ - œ.

œ-

# œ?

≈

œ œ

bœ.

œ

#œ.

œ

œ. ∏

#œ

∏ ∏

œ

,

œ

œ ,

≈

‰.

‰

3 8

œ-

b œ-

6:5

F *

5

∑

œ (

b œ-

>8 ®b œ

&

5 16

più insistente

∑

vln 2

5

œ

∑

® œ œ æ p

œ

pf

?

‰

∑

& cel

∑

5 16

œ œ- œ

3 8

p - π

œ b œ- œ p - π

œ œ- œ p - π

∑ ∑

13 e = 72

fl

&3 8

∑

ob

&

∑

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ œ) œ bœ #œ œ œ œ nœ #œ π #œ œ œ œ œ bœ nœ nœ œ bœ œ œ #œ œ œ nœ ‰

&

∑

∑

?

∑

∑

hn

&

∑

∑

tpt

&

∑

∑

?

∑

∑

∑

∑

40

cl

bsn

tbn

3 8

π

perc. 1

ã

perc. 2

ã

∑

∑

&

∑

∑

&

∑

∑

cel

e = 72

&3 8 pf

&

F

vc

cb

#œ #œ #œ

nœ nœ œ #œ <

œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

p sub. Œ

œ

#œ

*

°

∑

œ bœ œ œ œ

œ œ œ œ

hateful as they are.

‰

œ

œ

œ

œ

2 8

œ œ œ œ nœ #œ œ œ œ (‰ F

sul tasto Ÿ~~~~~~~~~~~~~~~~~ ® # œ . (œ

‰

&

2

&

∑

∑

B

∑

∑

B

∑

∑

?

&

∑

∑

?

SMMP No. 124

2 8

P

1 vln

vla

‰

°

3 8

I would be seen among those ruffians,

2 8

π

2 8

14

fl

bœ œ & 2 n œ œ ≈

‰

∑

ob

&

‰

∑

∑

cl

&

∑

∑

∑

?

∑

∑

∑

hn

&

∑

tpt

&

∑

?

∑

42

8

bsn

tbn

perc. 1

perc. 2

ã

# œ n œ œ œ ≈

2 8 2u (soft yarn)

œ æ

F ≈

P

Œ

‰

‰

&

∑

∑

‰

‰

œ #œ

8

&

#œ

nœ #œ nœ œ ‰ sub. F œ

2 & 8

( Ÿ ~~~~~~~~ #œ ≈ R Ÿ~~~~~~~~ r # œ (œ œ # œ œ ≈ π

œ

#œ *

poco

œ P ‰

œ

#œ

°

‰

∑

‰

∑

3 8

œ

œ 3

œ

p ®

œ bœ #œ #œ œ bœ

œœ œ œ

nœ

®

#œ

œ

3 8

œ

œ

∑

sul tasto

vln 2

& B ? ?

SMMP No. 124

∑ ∑

‰

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ j bœ œ .) p sul tasto Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ bœ. ) nœ ≈ J p ≈

‰

3

r nœ P

pizz.

œ

3 16

∑

∑

pf

cb

3 8

∑

&2

vc

∑

® œ. æ π

‰

∑

®

œ.

π

Œ

&

elegante

vla

bœ nœ ∑

∑

cel

1

≈

3 16

∑

rK ≈ . œ

œ #œ. π ∑

∑ Almglocken

ã

‰

3 8

∑

sul tasto

∑ ∑ œ

≈

Œ

œ

œ œ bœ œ °

#œ nœ *

8

‰

p œ bœ œ œ œ œ œ œ

sub.

3 16

#œ ƒ *

3 16

",

poco rall. 45

3 16

15 e = 66

3 8

∑

∑

&

∑

∑

∑

&

∑

∑

∑

?

∑

∑

∑

hn

&

∑

∑

∑

tpt

&

∑

∑

∑

?

∑

∑

∑

∑

∑

fl

&

ob

cl

bsn

tbn

3 16

3 8

ã

perc. 2

ã

∑

∑

∑

&

∑

∑

∑

&

∑

∑

∑

sereno

& 3 16 pf

cb

œ œ nœ nœ œ œ bœ œ œ m #œ.

i Ù m œ.

i Ù mœ .

3 16

Ù

∏

",

e = 66

3 8

?

®

π

œ

bœ

brillante

7:8

b ϡ

3 8

&

&

∑

∑

∑

B

∑

∑

∑

?

∑

∑

∑

?

∑

∑

∑

2

SMMP No. 124

œœ

F

∑

&

&

œ

∑

1 vln

vc

poco rall.

œ bœ œ œ œ œ œ œ œ œ j # œ n œ n œ- . * °

&

vla

#œ #œ

nœ

2 8

∑

perc. 1

cel

2 8

∑

∑

bœ

œ

#œ

œ œ #œ

bœ f

2 8 *

2 8

16 48 fl

&

ob

&

cl

&

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ œ ) 3 œ J 8 π

e = 72

2 8

‰

∑

hn

&

∑

tpt

&

∑

?

∑

tbn

perc. 1

perc. 2

2 8

3 8

∑

∑

&

∑

∑

#œ œ F °

œ œ

#œ œ #œ œ

nœ bœ #œ œ

&2 8

∑

&

∑

B

∑

?

∑

?

∑

vln

SMMP No. 124

nœ bœ œ bœ

*

bœ œ œ œ œ œ œ

≈

® ®

œP

b œP # œ-

P

≈ ≈ ≈

2 8

œ œ œ œ œ œ œ

pensoso

#œ >

3 8

®

+

∑

3 8

P

≈

≈

&

&

cb

≈

∑

pf

vc

≈

r œp r b œp # œR p

∑

&

&2 8

vla

≈

Vibraphone

e = 72

2

r œp r b œp # œR p

∑

cel

1

∑

Temple gongs

ã

2 8

œ bœ œ œ œ œ œ nœ œ bœ œ œ œ œ

®

≈

?

bsn

®

œ # œ œ œ b œ n œ œ b œ œ # œ œ œ œ œ ≈ . #œ nœ π Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~ # œ (œ #œ bœ œ) œ ≈ #œ œ œ bœ œ œ œ nœ π

∑ ‰

≈

p

sub.

#œ

œ

°

*

2 8

ord.

nœ. π

ord.

bœ. π

œ. π ord. #œ.

ord.

π

2 8

œ œ œ nœ bœ œ œ

∑

17 50 fl

& 2 œ n œ ≈ .

ob

&

cl

&

‰

8

œ bœ œ nœ #œ œ œ œ nœ bœ œ œ œ nœ œ œ # œ œ œ b œ œ œ œ n œ # œ œ œ œ ≈

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ ) nœ

?

bsn

œ b œ n œ b œ ≈ .

‰

≈ .

® #œ œ œ œ ®

‰

∑

® #œ œ nœ #œ ®

∑

‰

&

π

≈ .

hn

&

∑

∑

tpt

&

∑

∑

?

∑

∑

tbn

perc. 1

perc. 2

ã

2 8

‰

j œ p

(Temple gongs)

&

2y

&2

œ bœ

8

pf

&

bœ œ

#œ

œ œ œ #œ

œ œ œ nœ

&2 ( œ

8

vla

vc

& B

‰

® # œ- . P

œ œ #œ bœ nœ nœ œ

p ° œ bœ œ œ

œ

F

bœ œ œ

œ

‰

#œ œ

œ œ

bœ J °

) #œ

bœ )

(œ

(œ

poco

) #œ

poco

j œ

∑

j nœ

∑

j bœ

bœ

j œ

∑

poco trascinante

&3 8

œ bœ

pf

&

SMMP No. 124

F °

œ bœ ÿ

œ

œ

5:4

œ ÿ

œ

œ œ ÿ

œ

œ œ ÿ

œ

œ œ ÿ

œ

œ

5:4

œ ÿ

#œ

3 8

œ

œ œ ÿ

œ

^ œ́ RÔ ç œ ‰ ÿ f *

*

3 8

ª

intenso

œ

œ #œ

∑

poco

53

œ

poco

#œ œ œ œ

#œ œ œ œ

3 8

∑

poco

(œ

?

‰

œ- . P

®

nœ )

vln 2

‰

n œ- . P

®

œ bœ œ œ

fuggevole

*

°

1

∑

∑

œ œ œ

F p sub.

#œ œ

∑

∑

(Vibraphone)

3 8

∑

≈ .

18 54

Ÿ~~~~~ bœ œ)

≈

fl

&‰

ob

&‰

‰

cl

&‰

‰

π

?

bsn

hn

tpt

tbn

perc. 1

Ÿ~~~~~~ bœ œ) π Ÿ~~~~~~~~~~ ® œ. ) bœ π

2

vla

vc

cb

3

∑

∑

∑

∑

∑

∑

∑

∑

∑

&

∑

∑

&

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

nœ +

+ bœ R p

&

∑

‰

?

∑

‰

j V

‰

≈

ã

&‰

2 8

∑

(Temple gongs)

‰

bœ p °

∑

(Almglocken)

3

œ

j V

3

œ

nœ

+

≈

3

#œ

F F œ p 3

œ

l.v.

∑

#œ ‰

≈

œ œ p

l.v.

&

∑

∑

∑

∑

&

∑

∑

∑

∑

&‰

®

œ. #œ.

&‰

‰

&‰ &‰

≈ ‰

p

bœ

II

œ

b œbœ œ R œ ≈ œ

#œ.

2 8 ®

œ.

œ kkkkkk œj ‰

gett.

p

gett.

j bœ

® # œ kkkk ® kk p

‰ ≈

2 8

≈ ≈

B

∑

≈

?

∑

‰

?

SMMP No. 124

∑

e = 66

rall.

leggero

vln

‰

#œ R p

∑

‰

cel

1

∑

∑

ã

pf

2 8

?

(Vibraphone)

perc. 2

‰

≈

∑

e = 66

rall.

‰

œ

bœ

bœ

#œ

œ œ

r œœ ..

Ÿ~~~~~~~~~~~~~ rK bœ ) nœ bœ π p Ÿ~~~~~~~~~~~~~ rK bœ ) nœ bœ π p Ÿ~~~~~~~~~~~~~ Kr bœ ) nœ bœ p π pizz. bœ œ R 3 p ≈

®

œ

( ® œ

bœ

®

?

œ &

œ °

#œ

≈ .

∑

≈ .

∑

≈ .

∑

3

#œ #œ p

≈

3

bœ P

r œ

j ≈ 

?

≈

&

#œ

bœ

π ®œ œ

p

p

3

&

‰

œ

bœ ≈

∑ pizz.

œ

#œ

≈

≈

3

r bœ P

j ≈ 

œœ

p

∑

‰

≈ ≈ ≈

58

19

e = 72

fl

&‰

®

ob

&‰

®

cl

&‰

®

bsn

&‰

®

hn

&‰

®

tpt

&‰

®

?

∑

ã

∑

& ã

tbn

perc. 1

perc. 2

& pf

&

œ #œ

F

vc

cb

œ

bœ

œ. π

œ. p

π

p

bœ.

∑ ?

œ.

® b œ ≈ ÿ Fz

≈ .

œ ≈ ÿ Fz

≈ .

œ́

∑

leva la sord. (harmon)

∑

3 8

®

∑

∑

∑

j œ

#œ #œ #œ

f

&

2

&

∑

&

∑

?

∑

?

∑

#œ

nœ

œ

bœ

bœ

œ

#œ

œ J π

°P

® nœ nœ nœ

∑

SMMP No. 124

œ. p

∑

œ. p

∑

1 vln

vla

nœ

bœ. π

nœ. π

∑

∑

& bœ

π

p œ. p

π œ.

#œ

p

8

œ

*

#œ

3 8 spiccato

œ.

® # Oœ .. p ® # Oœ ..

bœ . ≈œ œ

≈ œ b œ œ.

≈

Œ p F b œ. . . # œ. # œ . ≈ œ œ. b œ. ≈ n œ. n œ. ≈ œ

P3

#œ œ œ œ œ °

3

∑ ∑

3

p ® # # Oœ .. œ.

&

# œ ® n œ ≈ ÿ ÿ Fz Fz

2 8 ã

Œ

® # # Oœ ..

ΠF

® # œ ≈ ÿ Fz Fz

Œ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ œ. ) œ. œ ≈ b œ 3 R R #œ œ

sub.

2 8

∑

∑

∑ œ

œ.

∑

∑

e = 72

3 8

∑

& cel

#œ.

p

# œ. œ. ≈ 3

*

nœ

F

bœ

F F

b œ^ œ œ

#œ #œ

esplosivo

œ

œ œ #œ œ œ

œ

8

bœ

œ

f

2 8 l.v.

2 8

Œ Œ Œ ∑ ∑

20 Quasi sospeso

A tempo

61

&2

∑

&

∑

8

fl

ob

∑ ‰

cl

&

‰

≈ .

bsn

&

‰

≈ .

#œ π

hn

&

‰

≈ .

tpt

&

∑

œ π

?

∑

tbn

perc. 1

ã

2 8

Tam-tam

knitting needle

ã

Cymbals

ã

Almglocken

\

perc. 2

bœ π

‰

∑

œ œ P π sub.

®

‰

∑

∑

®

œ. ~~~~~~

scrape

(‰

~~~~~~~~

P

j œ P

œ. π

∑

œ. œ. œ. œ J 3 p tap edge

≈

j œ ( œ ~~~~ P

~~~~~~~~~~~~~~~~~~

∑ ®

®

œ. p

∑

∑

&

∑

∑

∑

A tempo

œ

nœ nœ œ

( °)

&2

vln

&

due corde

8 #πœ

œ

œ π

#œ

œ π

œ

œ

œ

œ

œ

œ

œ

poco

due corde

poco

due corde

& ?

#œ #œ #œ

#œ

arco due corde

π #  . æ p

œ

poco

œ

SMMP No. 124

œ. #œ

œ.

® œ

bœ

œ #œ.

œ.

œ. ®

bœ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

poco

œ

arco III s.p.

?

œ

#œ

π sub. ‰ *

bœ

[

r

œ]

j ( œ ¥¥¥¥¥  ® scrape with coin

poco

∑

calmo

?

scrape

&

&

cb

∑

∑

pf

vc

®

≈ .

&2 8

vla

‰

œ œ P π sub.

®

Quasi sospeso

2

œ

‰

∑

cel

1

π

œ

∑

∑

u

2 œ.

1 œ.

®

œ œ P π sub.

∑

(coin)

®

∑

œ.

l.v.

® œ

21 64

3 8

fl

&

∑

∑

ob

&

∑

∑

cl

&

∑

∑

bsn

&

∑

∑

?

hn

&

∑

∑

?

tpt

&

∑

∑

?

∑

∑

?

∑

∑

tbn

perc. 1

perc. 2

ã

via la sord.

(Cymbals)

take bow

:

®

‰

∑

&

∑

∑

&

∑

∑

cel

agitato

& œ bœ

pf

&

F °

œ œ bœ ÿ

œ œ

œ œ

5:4

œ ÿ

œ ÿ

œ œ œ ÿ

œ ÿ

1

&

∑

2

&

∑

vc

cb

&

∑

?

∑

?

®

SMMP No. 124

ord.

œ. p

œ œ

œ œ

œ ÿ

œ ÿ

œ ÿ f

œ #œ

bœ

#œ

bœ

œ œ

œ

œ.

œ ?

œ

l.v.

arco

P

œ #œ

#œ nœ

œ

3 8

nœ

&

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # r b  ) n r s.p.

r

π F Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ s.p. r # r b r  )

vln

vla

œ œ

5:4

3 8

π F Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

# 

s.p.

π

j œ

Kr #œ

) r

F

∑ ≈ .

‰

r r

3 8

22

" e = 66 bœ ® ≈

accel. 66

&

fl

ob

cl

bsn

3 8

& &

∑

∑

≈

?

∑

∑

≈

Kr bœ ÿ Fz

perc. 1

perc. 2

?3

Œ

≈ .

Œ

8

∑

≈

∑

≈

f œ ®‰ 3

f j œ

f

3

‰ œ ®

&

∑

∑

∑

œ

#œ

ƒ #œ

œ

bœ

nœ

nœ

œ

8

bœ

#œ

bœ

#œ œ

bœ

nœ

œ

8

nœ

bœ

#œ

œ #œ

accel.

œ

œ

8

bœ

2 8

8

œ œ œ œ #œ

∑

&

∑

∑

&

∑

∑

? ?

SMMP No. 124

r # œ kkkkkkkkkk > ß r œ kkkkkkkk > ß

2 8

œ œ œ œ œ

3 & 8

vln

cb

≈

f3 #œ ®‰

∑

&

vc

∑

œ ®‰

∑

pf

vla

≈

3

∑

&3 8

2

&

f

&

furioso

∑

≈

Œ

∑

≈

Œ

∑

‰

3

∑

Toms

5 16

f œ ®‰

∑

ã

cel

1

2 8

∑

Kettle Drum

‰

f œ ®‰ 3

∑ ∑

Kr œ ÿ Fz

?

tbn

≈ .

f3 œ ®

≈

∑

&

tpt

∑

∑

?

hn

2 8

∑

œ

œ œ

œ œ

5 16

∑

" e = 66 œ

#œ RÔ ≈ . Î

≈

nœ ®

≈ ≈

‰

5 16

ord.

f 3 ord. œ ®

f ord. #œ ® 3

≈

5 16

∑

* ≈

‰

‰ ‰

f œ ®‰ 3

f bœ ® 3

f

3

‰

23

Stesso tempo 69 fl

∑

ob

&

∑

∑

∑

cl

&

∑

∑

∑

?

∑

∑

∑

hn

&

∑

∑

∑

tpt

&

∑

∑

∑

∑

bsn

leva la sord.

?

tbn

perc. 1

perc. 2

?

leva la sord.

5 16

∑

?

‰

&

∑

∑

?

‰

5 16 F

œ

#œ

#œ

°

œ

p œ

∑

&

‰.

&

‰.

?

∑

?

∑

SMMP No. 124

bœ

Ÿ~~~ r bœ ) n œ ≈ p poco Ÿ~~~ r bœ ) n œ ≈ p poco

3 16

®

(hands)

≈

ã

œ

®b bœœœ œ F ® bœ

3

œ

P

œ œ ® ≈ p

œ œœœ œ

3 16

œ

œ œ

œ œ

œ œ

œ

Stesso tempo

œ

œ

sub.

& 5 16

vln

cb

[ ‰

∑

U œ J

® b r ß

∑

&

œ bœ

‰

3 8

∑ ∑

&

vc

4 8

∑

pf

vla

∑

‰

ã

&

2

(harmon)

∑

3 8

∑

(harmon, stem removed)

cel

1

∑

4 8

U

& 5 16

4 8

‰

u

*

4 8

volatile

œ bœ

5:4

#œ œ p

j #œ

œ œ œ œ b œ œœ ≈ . J nœ œ ∏ ?‰ # œ # œ œœ 3 P° ∑

3 8

œœœ R œœ œ *

3 8

^ ≈ b œ. P f #œ œ œ œ bœ Œ ÿ

‰

‰

∑

‰

‰

∑

‰

‰

≈

‰

3 16

pizz.

3 16

Q œ ≈ . RÔ ß pizz. Q œ ≈ . RÔ ß s.p. due corde œ œ

∑

∑

∑

∑

p

B

24 72

& 3 16

≈

ob

&

≈

cl

&

≈

fl

œ bœ œ æ æ æ p 1 bœ ≈ p 1 2 œ p

?

bsn

&

tpt

?

tbn

perc. 1

ã

perc. 2

ã

cel

œ æ

bœ

œ

∑

con sord.

≈

≈

≈

® #œ æ Fz

con sord.

3 16

Woodblocks

≈

(Toms)

vc

cb

≈

≈

≈

& B ? ?

SMMP No. 124

≈

pizz.

® #œ nœ œ > p

∑

∑

∑

W œ J

#œ R π

2 8

p œ # >œ pizz. h l bœ æR p

Cymbals

≈

j 

≈ bœ æ

5

≈

œ #œ >

® œ

œ ® @ ∑ ∑

≈

&

3

≈

P

≈ .

;

F f . b œ œ œ œ # œ œ # œ Ù œ #œ œ

j 

œ R

j µœ

≈

2 8

œ ≈

j 

2 8

Ù œ bœ œ P

‰

≈

æ œ. ƒ X

∑ ∑ 3

≈

W æ #œ. ƒ

∑

to bass drum

n œœœ ® œœœ ≈ . . P. . . # # œœ ® œœ ≈ .

‰

°

arco

arco

j

œ

P

∑ ® ‰

j

Ϩ

P

‰

3 16

∑

to temple gongs

p

‰ X

&

∑

! ¿ ‰

W ‰

3 16

∑

∑

œ #œ nœ œ #œ œ œ œ nœ œ

pizz.

∑

≈

5

3

≈

∑

∑

œ n œ # œ ® ≈ . œ bœ #œ œ œ bœ ≈

≈

∑

W ‰ ® æ ≈ bœ Fz W œ ® ‰ ≈ æ Fz W æ œ ® ‰ œ P

∑

≈

≈

∑

∑

≈

∑

∑

?

3 16

∑

∑ r œ p

W

∑

∑

&

≈

∑

∑

3

2 8

∑

∑

vln

vla

œ œæ ®

?

?

2

œ

≈

& 3 œ #œ œ 16 P

1

œ œ ®

® œæ Fz

leggero

pf

bœ œ ® æ æ

∑

&

hn

œ æ 2 œ

œbœbœ œ

3

#œ R

œ

œ œ

œ

# œ8

bœ

flaut.

p3

#œ œ. œ.

P b 8œ J P

œ #œ

flaut.

p

œ

arco flaut.

&

8

P

œ

p

#œ p ∑ ∑

œ œ J

3 16

‰

3 16

‰ ‰

25 76

3 16

∑

∑

&

∑

∑

&

∑

∑

fl

&

ob

cl

?

bsn

≈

^ œ ÿ ß

≈

≈

®

&

∑

tpt

&

∑

∑

?

∑

∑

Temple gongs

perc. 1

perc. 2

cel

ã

3 16

® Bass Drum

≈

ã

Ͼ P

œ. ≈

&

∑

?

∑ più dramatico

œ œ œ

& 3 16

F

pf

&

( q q)

F ≈

&

vln

vla

vc

cb

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˜ r µ r ® #  . ( r

s.p.

2

& & ? ?

SMMP No. 124

π

8

π F s.p. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b r  . ) µ r B r ® F ≈

≈

≈

≈

π

≈ ∑

®

3 8

F ≈ ¿œR P

∑

8 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ B r B r ® #  . ( r

3 16 F

œ.

≈

œœ

≈

œ ƒ

bœ œ brillante

&

œ nœ œ bœ

œ #œ bœ

® ®

F ≈

≈

≈

≈

œ

œ

5

π

3 8

≈ ≈ ≈ ^

bœ ÿ ß ^ œ ÿ ß

3 8 nœ

œ bœ R

π F Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˜ r µ r ® #  . ( r

≈ bœ ÿ ß ^ œ ÿ ß

?

œ œ bœ œ

π F 8 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b r µ r B r ®  . )

≈

^

œ œ RÔ

&

8 7

7

8 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~  . ( r µ r µ r ®

s.p.

1

Ͼ P

®

¿œR P

# œ # œœœ ..

œ #œ œ ( °)

∑

œ œ œ œœ œ bœ RÔ

13:10

^ œ ÿ ß

≈

hn

tbn

3 8

® ®

26 78 fl

&3

∑

ob

&

∑

∑

cl

&

∑

∑

∑

?

∑

∑

∑

hn

&

∑

∑

∑

tpt

&

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

8

bsn

tbn

perc. 1

ã

perc. 2

ã

3 8

&

≈

&

≈

&3 8

œ œ. bœ œ.

pf

&

r bœ p

°

œœ

œ nœ#œ

bœ œ

œ œ J

2

&

∑

&

∑

? ?

‰

cb

SMMP No. 124

œ œ

9:8

3 16

Ù œ

p

œ œ

#œ œ

s.p. Ÿ~~~~~~~~~~~ ( ® œ. O

&3

œ œ

#œ œ

n œ# œ

F j œ # œJ *

1

8

œœ

‰

œ A œœ ( °) ‰

œ

œ

œ

subitamente giocoso

vln

vc

3 16

∑

3 P 16

 . æJ p

∑

∑

cel

vla

3 16

≈ ≈

bœ œ œ p

œ bœ œ bœ œ bœ bœ œ ≈ poco

4:3

œ

bœ

Ÿ~~~~~~~~~ œ (O R ≈ P p Ÿ~~~~~~~ s.p. œ (O # œ # O R ≈ p

nœ

œ. J

2 8

2 8

#œ œ œ œ œ #œ œ

#œ œ

#œ œ

œ

F ∑

œ œ œ

œ œ

j µ r

œ œ b œ. ®

p

5

∑ ∑

∑

∑

∑

∑

∑

∑

∑

∑

≈

2 8

2 8

27 81 fl

&2

∑

ob

&

cl

5 16

∑

∑

∑

∑

∑

&

∑

∑

∑

?

∑

∑

∑

hn

&

∑

∑

∑

tpt

&

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

8

bsn

tbn

perc. 1

ã

perc. 2

ã

2 8

∑ œ

& cel

bœ œ

&

∑

≈ #œ (

( ‰

∑

∑

j n œ # œ-

RÔ P

* ≈ .

œ

5 16 π ≈

°

1

&2

∑

2

&

5 16

nœ

bœ sereno

6:5

œ

bœ

bœ œ

#œ

nœ

œ

#œ

nœ 6:5

nœ

#œ

œ

∑

∑

∑

∑

&

∑

∑

∑

?

∑

∑

∑

?

∑

∑

∑

8

SMMP No. 124

bœ #œ

Nœ

2 8

2 8

œ

∑

vln

cb

∑

œ œ

&

vc

( ‰

5:4

8

pf

( ≈

œ b œ œ œ œ. ®

&2

vla

5 16

∑

,

œ

Ø nœ

,

2 8

*

2 8

28 84 fl

&2

∑

∑

ob

&

∑

∑

‰

cl

&

∑

∑

‰

8

?

bsn

‰

≈ .

hn

&

∑

tpt

&

∑

?

tbn

perc. 1

ã

perc. 2

ã

≈ .

2 8

œ œæ p

‰

≈

(Bass drum)

3

® œ œ p

œ. æJ p

vc

cb

≈

F

¿

¿

¿

¿

¿ ≈

¿

‰

¿ ¿ F

F ¿

≈

¿

¿ ¿ ¿

∑

∑

∑ ‰

œ J

3 8

‰ ≈

‰

∑

place large cymbal on bass drum (inverted)

&

∑

∑

∑

#œ

œ # œ n œ# œ

nervoso

5:4

rK œ b œ œ

P œ & #œ

bœ

2 & 8

œ

nœ

3

œ bœ œ œ œ

œ #œ ®

œ œ #œ œ

∑

∑

&

∑

∑

?

≈

SMMP No. 124

œ p

® #œ. p j œ

r œ

r bœ

leggero 9:8

®

ƒ

œ ® ÿ ®

3 8

® # œœ 3

^

≈

® # œ ≈ ÿ

3 8

∑

∑

‰

nœ

^3

3

&

?

agitato

œ bœ œ œ

bœ nœ

3 16

∑

∑

3

F

3 16

∑

∑

vln

vla

ß) #œ

¿

∑

&2 8

2

 ‰

∑

j ≈ #œ

œ @R

frenetico

1

‰

≈ .

& cel

pf

≈

r @ 

Ͼ

≈

(Temple gongs)

r œ

nœ p

3 8

≈ ≈

œ. œ. œ. p ?

#œ

œ

b œ œ œ n œ # œ œ œ ≈ poco

&

≈

ord.

# œ kkkkk ‰ p ord.

# œ kkkkk ‰ p

#œ

‰ ∑

j ≈ Bœ

‰

∑

≈

‰

∑

3 16

œ́ ®

8

pizz.

ß

3 16

29

œ

œ

Poco meno mosso

U

87

3 & 16

^ ® # œ œ œ œ. # œ ® rK ® œ . . . . ÿ F ß nœ œœ ≈ ≈ # œ ≈ œ #œ aspro

9:8

pf

& ?

^ Kr #œ ÿ

®

≈

3 & 8

pf

-3

œ

&

#œ

bœ œ

œ œ

&

œ

#œ

3:2

bœ

n œ´ œ́ œ^ collerico

œ

œ #œ

fl

perc. 2

& 3 16

≈

&

Vibraphone

≈

oscuro

pf

3 16

?

F

# œœ .

vla

vc

cb

b œœ .

poco

b œœ .

≈

≈

B

≈

≈

?

≈

≈

SMMP No. 124

≈

°

U b œ œœ R

œ bœ

œ #œ

œ

&

?

9:8

œ

2 8

π

r bœ °

≈

11:8

vln 2

œ

œ

bœ bœ

bœ œ

nœ

œ bœ

nœ

3:2

3

nœ

-

bœ œ

œ

œ

?

#œ

3:2

3 16

?

œ

3

œ

œ

#œ

-3

#œ

bœ œ

œ

#œ

-3

#œ

arco

11:8

œ

°

,P œ

U r æ b r P

A tempo ( e = 66)

?

œ

œ

3 8

œ bœ

5

:

≈

Ù œ #œ œ #œ

*

ª

92

œ œ #œ œ

π

5

ƒ sub. #œ bœ œ ‰ œ

A tempo ( e = 66)

&

p

bœ œ

ancora elegante

œ nœ

‰ u

nœ nœ

2 8

≈

ª

90

P

elegante

≈

# œœ

r œ œ

r æ b r F

∑

F

* 5

11:8

&

bœ #œ °

*

u

2 8

‰

l.v.

u

r æœ P r æ #œ P r œæ P r æ bœ P

f x = xj

œ

œ

œ

œ #œ bœ

bœ

œ œ R

∑

p

p

œ

œ

∑

p

p

œ

∑ ≈

≈

r œ p

pizz.

# >œ

f x = xj

2 8

&

*

30 Meno mosso 94

&

e = 52

2 aœ 8

&

pf

6

œ m.d.

œ bœ

≈

&

3

nœ

>

ª

bœ

>K r œ œ œ

m.s.

fl

&

ob

&

cl

&

3 16

U ≈

≈

≈

≈

&

hn

(con sord.)

≈

&

tpt

?

tbn

œ

œ œ

œ bœ P

bœ œ œ

?

œ R p

nœ R p

+ #œ

π

6

6

?

bœ

® 3

#œ. J p

?

bsn

bœ

œ œ

A tempo ( e = 66) 96

nœ

6

6

œ œ nœ

œ bœ

œ

p

6

>

œ œ ®

Kr œ

°

œ

bœ

&

3 16

pf

≈

&

u

3 16

vc

cb

œ

œ

œ. J

∑

œ. J

∑

œ. J

∑

∑

∑

∑

∑

∑

∑

oœ

p

∑

œ R

incerto

‰ ∑

#œ .5

6

Ù

#œ œ œ ≈

®

bœ œ

nœ œ P ?

^

≈

π Kr bœ

œ œ œ bœ nœ F r œ

#œ œ #œ œ

bœ nœ œ œ bœ œ œ R

*

,

6 16

f œ œ b œ n œ n œ # œR

Ù #œ ÿ ß

®

œ.

bœ.

∑

bœ.

œ.

∑

3

&

∑

≈

®

B

∑

∑

?

∑

∑

∑

?

∑

∑

∑

p p

,

6 16

8

&

SMMP No. 124

&

8

®

2

≈

3 16

∑

≈

&

bœ R

#œ

∑

15:16

œ.

bœ

‰

∑

1 vln

vla

a œ b œœ. œ. p

œ

bœ nœ

≈ .

A tempo ( e = 66)

U

œ #œ

œ œ #œ œ œ

∑

6 16

31 Flessibile

Meno mosso 99

&

fl

6 16

∑

∑

e = 66

U

3 16

2 16

∑

∑

≈ .

ob

&

∑

∑

∑

cl

&

∑

∑

∑

∑

?

∑

∑

∑

∑

&

∑

∑

∑

&

∑

∑

∑

?

∑

∑

bsn

hn

tpt

tbn

ã perc. 1

perc. 2

6 16

ã

Temple gongs

[

∑

≈

≈

œ œ œ œ ® P

Í

œ œ

P

3

2 16

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

&

∑

∑

∑

∑

ã

Inverted cymbal on Bass Drum

6 16

pf

&

‰ ‰.

#œ

œ

liberamente

π

œ.

°

nœ

j œ. œ. œ

œ œ

bœ

& 6 16

∑

∑

2

&

∑

∑

B

∑

∑

?

∑

∑

?

∑

∑

vln

2 8

∑

Flessibile ? ?

1

SMMP No. 124

U bœ

p

œ æ

∑

Almglocken

®

∑ œ æ p

∑

∑

∑

ã

&

cb

®

b œ. œ. œ.

∑

Meno mosso

vc

œ

®

œ F

∑

Temple bowls

cel

vla

3 16

∑

(con sord.)

®

(con sord.)

F

+

≈ ®

œ.

2 8

e = 66

3 16 F

3 16

r bœ œ 3

3

œ

® b b Oœ≤

p ≤ ® b b œO p ≤ ® N Oœ p ≤ ® N Oœ p

Kr bœ .

r œ œ

risoluto

#œ

œ

Oœ

≈

F

œO

F

Oœ

F

Oœ ∑

F

œ bœ

2 nœ 16

3:2

#œ œ œ bœ œ R 3:2

œ

2 16

2 8

œ

#œ

∑

≈

∑

≈

∑

≈

∑ ∑

2 8

32

" A tempo

accel. 103

2 8

3 rr 16 ß

∑

‰

∑

∑

∑

∑

∑

∑

∑

∑

‰

∑

∑

∑

∑

∑

∑

∑

∑

∑

≈ Ùœ œ œ ( p

∑

∑

∑

∑

∑

fl

&

ob

&

∑

cl

&

∑

?

∑

hn

&

∑

∑

tpt

&

∑ ‰

bsn

œ. œ. œ. ≈

?

tbn

P

3

p

≈

≈

Ÿ~~~~~~~~~~~~~~~~ r ® bœ œ) œ P p

4 16

?

(Temple gongs)

ã perc. 1

2 8

ã

Cymbals

‰

ã

3 16

≈

∑

¿ ƒ

∑

(large inverted cymbal on bass drum)

2u

Ͼ p

œ ®

‰

≈

≈ ∑

∑

∑

&

∑

∑

∑

∑

3

nœ #œ bœ œ nœ #œ

? 2 A œœ

8

?

&2 8

œ

bœ

nœ

3

vla

‰

vc

cb

? ?

SMMP No. 124

œ

≈

≈

#œ

3 16 *

œ f

#œ

œ bœ œ

œ kkkkkkkkkkkkkkkkkkkkkkkkkkk  3 R P 16

" A tempo & bœ

nœ

bœ œ

gett.

‰

furioso

œ

#œ ƒ °

n œœ . œ. J

∑ ∑

≈ .

∑

∑

≈ .

∑

∑

gett.

® b œ . kkkkkkkkkkkkkkkk P

3

bœ

œ

œ

œ * Oœ .. R p

poco s.p.

≈ . ≈ .

∑

& B

œ

3

≈ .

vln 2

l.v.

r æ # r . P

IV flaut.

b b Oœ .. R p

poco s.p.

j . r ≈

p

4 16

œ bœ nœ F ∑ # Oœ ..

Oœ .. F p sub. Oœ ..

Oœ ..

F p sub. Oœ ..

Oœ .. R F p sub. p poco s.p. Oœ .. b b Oœ .. R F p sub. p poco s.p.

4 16

ƒ ) ¿. ®.

) ≈ .

∑

accel.

1

œ. J P

œ æR p

& cel

pf

≈

∑

≈

(Almglocken)

ã perc. 2

œœœœœœœœ p

# # Oœ .. b Oœ .. ∑

,

4 F 16 ,

F , F , F

33 107

&

fl

4 16

3 16

∑

≈

r > F

≈

ob

&

∑

cl

&

∑

∑

?

∑

∑

?

∑

∑

&

∑

?

∑

bsn

hn

tpt

tbn

ã perc. 1

perc. 2

4 16

vc

cb

≈ ∑

≈

oj

+ r œ p

bœ R P + stem 1/2 out ≈

≈

œ P

∑

∑

∑

∑

∑

ã

∑

∑

∑

ã

∑

∑

∑

&

∑

∑

∑

&

∑

∑

∑

?

& 4 16

°

& B ? ?

SMMP No. 124

p œ bœ

ord.

®

vln

vla

j #œ P

∑

P& 4 bœ œ 16

2

3 16

≈

ã

calmandosi

1

≈ ∑

∑

cel

pf

≈

#œ J P

∑

® ≈

≤

œ π ord. ≤

œ π

œ œ

-

bœ œ #œ

#œ

-

nœ nœ

galante

œ #œ nœ 5:4

3 16 #œ œ

≥ œ P - π sub. n.v. ≥ œ P-π sub. n.v. ≥œ n.v.

  ≤ bœ p

∑ ∑

π P - sub.

5:4

j #œ œ

œ œ œ œ œ #œ f

*

3 16

¥¥¥

œ

n.v.

œ

œ

¥¥¥

n.v.

œ œ bœ

# 9:8 œ

≈

≈

≈

≈

œ

œ

¥¥¥

œ

≈

≈

&

≈

≈

III

≈

≈

&

≈

≈

I

r œo P œo R p

?

œo . J

≈

5 32

œ œ œ # œ ≈

&

œ

pizz.

5 32

F

œ

œ

5 32

∑

arco

Ÿ~~~~~~ Bœ #œ ) R p F Ÿ~~~~~~ nœ ) µœ R p F Ÿ~~~~~~~ Bœ #œ ) R p F Ÿ~~~~~~ œ) µœ R p F

5 32

34 110

∑

∑

∑

∑

∑

&

∑

∑

∑

∑

?

∑

∑

∑

∑

?

∑

∑

∑

∑

&

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

ob

&

cl

hn

tpt

tbn

3 16

∑

&

bsn

5 32

∑

fl

∑

5 32

3 16

∑

perc. 1

ã

perc. 2

ã

∑

∑

∑

∑

&

∑

∑

∑

∑

&

∑

∑

∑

∑

cel

( q q .)

& 5 32 pf

&

5 32

vc

cb

#œ œ

®

œ bœ

f °

œ- .

?

3 16

‰

j œ- .

œ. J p . œ bœ œ #œ œ ‰

j œ

b œ- .

3 16

*

5

f

nœ

b œÿ ®

œ

≈

j œ. &

≈

®

∑

∑

∑

∑

B

∑

∑

∑

∑

?

∑

∑

∑

∑

&

∑

∑

∑

∑

&

SMMP No. 124

&

6 16

3

Sost.

∑

2

&

P œ bœ œ œ

∑

&

∑

b œ- .

∑

1 vln

vla

œ- .

6:4

6 16

6 16 *

6 16

?

35

( q. q .)

114 fl

ob

cl

bsn

hn

& 6 16

∑

&

∑

&

∑

?

∑

&

∑

5 16

‰

‰ ® bœ œ œ œ ‰

≈ œ bœ œ

p

œ. J π

‰.

(harmon 1/2 stem)

&

tpt

( q q .)

∑

#œ œ

#œ

® # >ÿ F

6 16 F

π

π

® ‰.

b  b   ‰

'sh' 'sh' 'sh'

œ.

œ

≈ ≈

‰

j œ. π

œ.

œ.

ã

∑

∑

&

∑

∑

?

‰

&

∑

∑

?

‰

cel

6 16

∑

( q. q .)

6 & 16 P

pf

œ J °

&

∑

p

6 16

vc

cb

bœ

œ

œ

risoluto

‰

bœ #œ

‰

#œ bœ

( q q .)

5 16

œ ≈

œ.

bœ œ bœ

bœ.

#œ.

œ.

6 16

œ ® ≈ n œ # œ œ #œ

nœ ≈

œ# œ

bœ

bœ

œ

‰.

œ

bœ nœ œ

‰

œœ

nœ

5 16

b œ# œ nœ œ

poco

∑

5 16

∑

6 16

5 16

∑

&

2

&

∑

∑

∑

B

∑

∑

∑

?

∑

∑

∑

?

∑

∑

‰.

j Ͼ .

ƒ

sub.

SMMP No. 124

&®

brillante

pœ bœ

5:6

œœ

1 vln

vla

œ

5 16

∑

mano destro sempre ben in fuori 5:6

∑

œ.

perc. 2

5 16

‰.

n > > ≈ ÿ ÿ F

œ.

ã

5 16

poco

œ nœ œ

perc. 1

∑

p

œ.

&

6 16

≈

#œ.

tbn

(con sord.)

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ (œ œ.

3

∑

bœ π

‰.

36 117

&

fl

ob

cl

^ ^ ^ ®   B  ®

( q q .)

'sh' 'sh' 'sh'

5 16

F 3

&

‰

&

‰

‰.

Ÿ~~~ œ (œ ≈ R p

≈ ≈

œ

4 16

≈

∑ 1 œ

‰

p

∑

> ® ÿ

2 œ

(bend)

5 16

∑ ∑

Bœ œ

≈

#œnœ œ œ

#œ #œ œ π

œ

?

# œ n œ œ ≈

‰.

hn

&

aœ

œ

tpt

&

œ

tbn

&

nœ

perc. 1

ã

perc. 2

ã

∑

∑

∑

&

‰.

∑

∑

‰.

∑

∑

bsn

cel

p

5 16

b œ œ œ ≈

( q q .)

&

poco irritato

5 16

œ

œ

pf

&

1

nœ

( °)

œ ≈

p

œ

œ

œ #œ œ

œ #œ œ.

œ

œ.

œ.

œ

4 16

∑

?

‰.

bœ

œ

nœ

4 16

œ œ#œ ‰

#œ

œ

‰

4:5

& 5 16

∑

&

∑

‰

vla

B

∑

≈

vc

j æ .

cb

?

‰

≈

4 16

?

æ

æ.

SMMP No. 124

æ #œ ƒ

j œ

P

bœ

œ

5 16

∑

# œæ. ƒ

® œæ. ƒ

j œ

j œ ≈

∑

P

P

poco

œ.

∑

#œ

œ

≈

5 16

®

#œ œ.

3:2

b œ œ œ ≈

vln 2

bœ

œ

œ

5 16

4:5

œ

œ.

œ.

∑

∑

mi

kkk b >œ kkkkk gett.

f

 æR

œ

bœ

œ

bœ

3

# œ b œ ≈

≈

j j kkkkkk b œ œ > œ kk

´ ´ n œ œ́ œ́ # œ´ œ́ # œ´ œ́ œ́ n œ nœ ®

3:2

f

j bœ

P

≈

œ # œ n œ œr

f

9:8

‰. ∑ ∑ ∑

p

sub.

&

37 120

e = 52

4 8

U Œ

&

∑

∑

ob

&

∑

∑

Œ

cl

&

∑

∑

Œ

?

∑

∑

hn

&

∑

∑

Œ

tpt

&

∑

∑

Œ

&

∑

∑

ã ?

Temple bowl on kettle drum

ã

Triangle

fl

bsn

tbn

perc. 1

perc. 2

cel

∑

∑

&

∑

∑

?

∑

∑

œ π

& œj

1

&

œ

vln 2

vla

vc

cb

bœ legatiss.

nœ

bœ

bœ 6:5

œ

#œ œ.

nœ

œ

#œ

nœ

nœ

#œ œ

nœ

∑

bœ

∑

?

∑

∑

?

∑

∑

‰

≈

≈

nœ

P - p sub. 3

bœ P - p sub. ≈ # œ

P - p sub. 3

˙æ œ

œ

œ J

œ J

œ œ J p

e = 52

œ

Ø nœ

4 8

‰

to vibraphone

∑

U

∑ ∑

*

4 8

&

P - p sub.

œ J

∑

œ.

&

bœ

Œ

#œ

Nœ

∑

SMMP No. 124

4 8

œ

6:5

P3 - p sub.

∑

œ. ) J

∑

& pf

∑

nœ

∑

j œæ . π

‰

≈

˙ ‰

œ

p

Œ

u

≈ b r ®

æ r . p

˙ ≈ .

j

s.p.

s.p.

ræ  p æ

j # r ≈

œ

ord.

P3- p sub.

œ J

Œ ‰

® bœ. p

&

38

œ & J

ob

cl

≈ .

œ & J

œ

≈ .

& œJ

œ

≈ .

œ

≈ .

Œ

‰

‰

≈ .

Œ

‰

‰

œ

œ.

? œ

bsn

F

œ

p

‰

œ

tpt

& œJ

œ

≈ .

‰

œ

≈ .

Œ

perc. 1

ã ?

œ p

˙æ

3u

Vibraphone perc. 2

&# # œœ œ P °

& ≈ . ? ≈ .

cel

œ

œ

b b œœ. œ F b b œœ.

œ.

Œ

œœœ ≈ . . œœ. ≈ .

‰

œ ‰

® #œ. p

≈

F

5 16

( q q q .)

7 16

œ.

F

p

 ) œ . ¥¥ œ J

≈ .

œœ œ

®

Œ

& œj

& #œ F

5 16

Œ

hn

tbn

œo œo œo ® O O O ≈ f F

œ

123 fl

Stesso tempo ( q q .)

‰

œ

œæ. œ

œ

≈

r nœ p

Ÿ~~~~~~~~~

#œ 2 p œ

1 #œ

®# œ p

œ

œ œ

5 16

´ >  .

≈

œ œ F œ ≈

j œ.

œ

‰.

p

œ

( œ

œ

7 16

f

‰.

p œ p

≈ .

‰

œ

∑

Ͼ

‰

´ b  .

∑ j œæ .

Ͼ

5 16

œ ¥¥¥ œ

∑

∑

Œ

∑

∑

Œ

∑

∑

cymbals, take bow

ã

Stesso tempo No coward's eye should light by my consenting!

&

∑

&

∑

pf

? ?

( q q .)

5 16 ∏

vago

œ œ

œ œ

œœ

œœ

5 œ 16 F

œ.

poss.

( q q q .)

≈

7 16

œœ

NB: palm/finger clusters (chromatic)

1

œ & J

vln 2

vla

&

cb

≈ .

‰

˙

œ & J ? œ

ord.

vc

œ

F ? j œ

SMMP No. 124

œ

p

œ

≈ .

Œ

œ

≈ .

œ

≈ .

® bœ. p

œ

F

œ.

œœ

7 16

œœ

œ œ

3:2

œœ

œœ

∑ ∑

∑

∑

Œ

∑

∑

Œ

∑

∑

≈

5 16

5 16

39 126 fl

( q q .)

& 5 r 16 p

ræ.

œo

œ.

ob

&

cl

&

cb

œ.

≈

nœ. J p

‰

‰

∑

ã ? ã

Ͼ.

Ͼ

Cymbals

œ œ œ :

j Ͼ .

3 16

7 16

œ R œ R F

∑

œ

∑

∑

?

∑

∑

∑

5 16

&

5 16

œ œ

œ œ œœ

≈

œœ

3:2

3 16

∑

^ bœ.

3 16 f

^œ .

sub.

&

∑

&

∑

s.p.e.

?

∑

s.p.e.

?

∑

SMMP No. 124

≈

≈

( q q q .)

s.p.e.

f ^ œ.

sub.

f

sub.

f

^ #œ.

sub.

≈ .

œœ

j  ® . j 

®.

j 

®.

Ÿ~~~~~~~~~~~ œ Bœ Bœ #œ. )

P Ÿ~~~~~~~~~~~ # œ Bœ µœ œ. )

P Ÿ~~~~~~~~~~~ B œ. ) #œ Bœ µœ

P Ÿ~~~~~~~~~~~ ®. œ µœ bœ. ) Bœ P Ÿ~~~~~~~~~~~ s.p.e. r œ µœ Bœ #œ . ) P

j 

œ.

r bœ π

≈

7 16

5:4

≈

œœ ..

œœ

œœ

7 16

#œ œ

s.p.e. 8

>

∑

∑

œœ

r B b r r

3

œ œ œ

&

( q q .)

B b r >

j

j Ͼ .

Ͼ

‰

arco

j

œ. J

∑

5 16

‰

j œ.

∑

vln

vc

bœ.

j bœ p

&

?

vla

‰

∑

?

2

2 œ.

1œ .

œ.

∑

?

1

œ. J

r p œ.

∑

tbn

pf

p

∑

® B b r r . f P #œ. ≈ p

&

tpt

cel

j bœ œ

∑

∑

&

perc. 2

≈

7 16

∑

hn

perc. 1

∑

p sub.

?

bsn

F

3 16

( q q q .)

^

œ ç 8ÿ

œœ

œœ . . ‰.

‰ ∑ ∑ ∑

&

∑

&

∑

40 ( q. q q )

129

& ræ

fl

&

ob

#œ

ræ œ

#œ R

® œ œ F π j µœ

® nœ œ π

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ & # œj. (œ ® nœ œ π P ® œ œ ? œ. J π

cl

bsn

œ

& ‰.

≈

œ

tbn

& ‰.

œ p

≈

œ p

œ

ã

j Ͼ .

Ͼ

ã

‰.

‰.

perc. 2

cel

Ÿ~~~~~~~~~~~~~~~~~

j œ p

‰

œ

F

#œ p

œ œ

F

œ

Ͼ

Ͼ

∑

∑

3

# œœ # œœ œ ® œ ≈ ÿ ÿ & ≈ ç ß P œ́ b œ´ ? # œœ ® ® ≈ #œ

≈

œœ

Œ

≈

3

& ‰.

‰.

2

& ‰.

‰.

vla

& ‰.

‰.

vc

& ‰.

‰.

?

∑

SMMP No. 124

j 

p

j 

p

4 8

œ œ

®

ç 3

#œ ÿ

®

œœ

≈

≈

≈

≈

´ b œœ œ ®

r 4:3œ

F

ß

œœ

r 4:3œ

∑ ∑ ∑

j 

∑

p

&

∑

3 16 œœ

‰

j 

p

3 16

‰

≈

‰

b œ^ R f s.p.e. ^ œ R f s.p.e. œ^ R f s.p.e. b œ^ R f

≈

œœ

Œ

1

œœ

4 8

®

s.p.e.

œ

∑

to vibraphone, 2 bows

?

( ∏) œœ

œ

œ

® œ œ. F - p sub.

r œ F

®

) bœ

œ

® bœ œ. F - p sub.

F

œœ ..

3 16

∑

4 8

≈

j Bœ

œ æ

∑

∑

? ‰

cb

P

∑

? ‰.

vln

œ æ p

&

( q. q q )

pf

bœ.

‰

œ

tpt

œ p

≈

œ

&

?

≈

œ

hn

perc. 1

j Aœ . p

4 8

‰ b b œœœ ® ‰ ÿ Fz

3 16

41 131

& 3 16

fl

1 j œ.

œ

&

ob

∑

F

2 œ.

# r .. F œ.

œ.

p

∑

&

cl

4 8

j ® ræ p f

bœ p œ

j‰ µ r

nœ

F bœ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ´ ´ ´ ´ ) bœ œ b   #   ́

2 œJ 8P

œ

œ

F5 ≈

‰ j Bœ

œ J

® œ #œ bœ nœ nœ #œ bœ œ ‰

‰

œ

?

∑

hn

&

∑

∑

‰

tpt

&

∑

∑

‰

tbn

&

∑

∑

bsn

perc. 1

perc. 2

cel

ã

?

3 œæj. 16 F (œ

?

∑

3 16 3

&

œ f

?

#œ

3 16

≈

1

&

2

&

≈

&

≈

vln

& ?

SMMP No. 124

≈

Ͼ

≈ ≈

Ͼ

b œœ ..

œœ

œ®‰

‰

‰

‰

‰

≈

Ÿ~~~ bœ ) Bœ œBœ 4 R ≈ 8 P s.p.e. Ÿ~~~ ) Bœ œµœ ≈ # œR P s.p.e. Ÿ~~~~ µ œ œ µœ nœ) ≈ R P s.p.e.

∑

2 8

Ÿ~~~ r Bœ œ) µœ #œ P

œœ œœ

≈

®

œ bœ >

l.v.

f

œ ∑

to cymbals

3 8

ã

∑

‰

‰

®

3

2 8

≈

œœ

≈

b œ´ ® œ ® ≈

∑

5

œ J π

œæ œœ

5

∑

≈

f

∑

f

j #œ π j œ π

*

∑

œ œ

œœ œœ

≈

F

‰

j œœ

p

°

œ

f b œ œ́ œ b œ œ œ # œb œn œ œ œ œ œ ® #œ

‰

?

5

5

∑

≈

s.p.e.

‰

œ ..

4 8

œœ

≈

pf

cb

∑ ∑

?

vc

2:

&

?

vla

4 8

œœ

Vibraphone

&

p

f

3 8

ƒ

œ œ #œ ÿ 8

œœ

œœ

3 8

œœ

®

ƒ

‰

2 8

3

f poco 3

® œ ® ® œ bœ ÿ 8 ∑

∑

∑

∑

∑

∑

∑

∑

∑

3 8

42

^ rK . #  ≈ ÿ

^ & 3 µ ́R ≈ . 8 Ô ç &

134 fl

ob

cl

bsn

2 8

∑

∑

&

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

∑

∑

tpt

&

j œ j œ

?

ã

F F

œ J

F

Œ Œ

via la sord.

Œ

via la sord.

3 8

∑

2 8

∑

3 8

∑

∑

&

perc. 1

‰

∑

hn

tbn

Stesso tempo

&

3 8

∑

Cymbals

perc. 2

cel

≈ .

ã

œ Œ F

∑

∑

&

∑

∑

∑

?

∑

∑

∑

Stesso tempo

œœ

?3

8

? pf

& ?

1

3 & 8

vln 2

vla

vc

cb

& &

≈ #œ

œ ® ≈

Œ

≈ .

s.p.e.

?

‰

Fz

® œ ® ≈ ÿ 8 s.p.e.

≈ .

&

p

3

≈ .

≈ .

œœ ..

œ œ

‰

&

SMMP No. 124

3

≈

œ^

j 

b œ^

j 

œ^

j  ‰

8

f

s.p.e.

s.p.e.

f

f ^ #œ f

‰ ‰

j‰ 

‰

bœ

œœ -

Sost.

Ÿ~~~~ B œ ® œ) µœ #œ ® p F Ÿ~~~~ B œ ® œ) Bœ # œ ®

p F Ÿ~~~ ® bœ) B œ œ µ œ® p F Ÿ~~~ ® œ )µ œ # œ B œ® ? p F Ÿ~~~ œ µ œ ® #œ) ® Bœ p

F

œœ

ƒ #œ

Ù ≈

^

10:8

appena reprimere l'ira 3

® bœ ÿ f œ ÿ 8

≈

ƒ #œ

œœ ® ≈

2 8

œœ . .

incerto 5

œ b œ œ b œÿ F œ

® Ù#œ œ œ œ 3

œ bœ

bœ

nœ

œ œÿ Ù #œ

ß

3 8

œœ ∑

2 8

∑

∑

∑

∑

∑

∑

∑

∑

∑

3 8

43 137 fl

&3

∑

ob

&

∑

∑

∑

cl

&

∑

∑

∑

?

∑

∑

∑

œ œ́ ® ‰

∑

∑

∑

∑

∑

∑

8

bsn

≈ .

&

hn

#œ œ p œ œ

≈ .

5 16

2 8

∑

f sub. œ œ́ ® ‰ f sub.

tpt

&

tbn

&

perc. 1

ã

perc. 2

ã

∑

∑

∑

&

∑

∑

∑

?

∑

∑

∑

cel

pf

1

p

≈ .

œœ® ‰ ÿ f sub.

œ œ p

3 8

&3 8

‰

?

≈

?

œ. œ.

‰

®

≈

Fz apoplettico 3

bœ ÿ 8

®®

3

œ ÿ

® ≈

vla

vc

cb

‰

5

œœœ F

®

5 16

≈ ‰

(Sost.)

5

œœœ

®

5

#œ

b œ ≈ œ f ƒ œ #œ œ ≈

œ

nœ

œ

5

®

5

2 8 œ

&

œ. œ.

® ≈

≈

≈

≈

bœ

ord.

œ.

∑

&

∑

∑

∑

?

∑

∑

∑

∑

∑

SMMP No. 124

‰

‰

5

# œ   µ œ ≈ ÿ ÿ ÿ ÿ f F

œ œ® ?

œ J

8

∑

∑

2 8

®

&

col legno

3 16

5

bœ

œ œ

∑

5

3 16

∑

&3 8

?

5 16

2 8

∑

œ œ

vln 2

5 16

∑

3 16

∑

‰

π

≈

ord.

b b Oœ R p

3 16 B

44 140

3 16

2 8

∑

∑

∑

∑

∑

&

∑

∑

∑

?

∑

∑

∑

hn

&

∑

∑

∑

tpt

&

∑

∑

∑

tbn

&

∑

∑

∑

perc. 1

ã

∑

∑

perc. 2

ã

∑

∑

∑

&

∑

∑

∑

?

∑

∑

∑

fl

&

ob

&

cl

bsn

cel

3 16

& 3 16 ?

pf

&

3 16

vln

2

vla

vc

2 8

∑

^3

5

≈ œ œ œ bœ œ F poco

® œ ® Fz œ ÿ

j œœ . . (Sost.)

?

1

∑

& B ?

œ

(8)

f sub. A A Oœ

f sub. ≈ ≈

# >œ

5:4

2 8

‰

f

3

® bœ ÿ 8

® ≈

&

# œ >œ >

œœ

3

Ù

œ.

nœ P

?

SMMP No. 124

≈

≈

≈

≈

ƒ

œ8 œ œ #œ bœ

œ œ œ œ œ

®

2 8

‰

∑

≈

bœ.

s.p.

‰

∑

´ b œ ´ µ œ´ col legno

π

≈

∑

coi crini

œ ÿ B œ ≈ ÿ ÿ F f

∑

coi crini

∑

coi crini

f

F

col legno

5:4

5:4

b œ  µ œ ≈ ÿ ÿ ÿ f F

≈

œ bœ

p poss.

œ œ œ

ƒ

ƒ

sub.

œ.

œ

π

?

sub.

œ

s.p.

3 8

≈

œ.

s.p.

π

5:4

5:4

5:4

s.p.

®

3 8

œ œ œ œ œ

œœ

col legno

cb

≈

?

bœ bœ œ œ nœ 8

≈

3 8

ƒ

sub.

ƒ

sub.

s.p.

#œ. π

œ

ƒ

sub.

3 8

45 143 fl

&3

∑

‰

‰

‰

ob

&

∑

‰

‰

‰

&

∑

∑

?

∑

∑

hn

&

∑

≈ .

tpt

&

∑

®

8

cl

bsn

?

tbn

∑

&

∑

∑

?

∑

∑

≈

? ?

6

œ bœ œ F

œœ . .

vla

vc

cb

& 3 œ œ ≈ 8 ÿ ÿ F & B ? ?

SMMP No. 124

œ

n œ ≈

poco

bœ

œ

Ù bœ f

œ

œ œ #œ

#œ

œ

5

&

(Sost.) col legno

2

P

bœ

3

œ

b œ œ3

3

œ

#œ

^

nœ ?

bœ

ƒ œœ . .

nœ ® ÿ

≈

´

? ® # # # n œœœœ

‰

Fz 3

Œ

∑

≈

Œ

∑

œ œ ≈ ÿ ÿ F

Œ

∑

Œ

∑

col legno

œ œ ÿ ÿ F

col legno

col legno

œ œ ≈ Fÿ ÿ

œœœœœ

‰ ≈

∑

# œ œ ≈ ÿ ÿ F

œœœ œ

5 16

® ≈

Œ

col legno

≈

œ œ œ ≈

∑

&3 8

vln

bœ

ã

perc. 2

1

æ ≈ r

3

œ œ œ œ œ.

∑

ã

pf

œ œ œ œ ® ≈ . P

≈ .

œ

∑

perc. 1

cel

3

b ræ F

∑

3 8

#œ œ œ P

5 16

r œ p œ R p

3

&

≈

5 16

3

bœ ÿ 8

&

5 16

46 145 fl

&

ob

&

( q q .)

5 16

œ J

&

cl

j œ F-p #œ J F-p

?

bsn

∑

‰. sub.

‰

bœ

P

‰.

sub.

œ

œ

≈

‰.

∑

?

Aœ R

≈

‰.

∑ ∑

∑

ã

∑

∑

&

∑

∑

?

∑

∑

perc. 2

&

( q q .)

5 16

&

ƒ

?

&

œ œ

œœ

bœ nœ # # œœ

(Sost.)

5 16

œ œ n œœ

#œ

5

bœ

f

11:8

® œ œ œ bœ œ F œœ . . ∑

œ bœ œ

nœ bœ

œ

ƒ

bœ

-

brillante

3

œ

œ

® ®

subitamente delicato

≈ ≈ œœ ‰

P

nœ bœ bœ œ

œ œ

#œ œ

vla

vc

cb

&

∑

‰

≈

°

≈

≈

5

?

* ≈ ≈ ≈

coi crini

coi crini

coi crini

B

∑

?

∑

∑

?

∑

∑

SMMP No. 124

‰

œœ nœ#œ

5:4

vln

2

F

2 8

-

- 5:4

#œ

µ œæ

∑

r œ

5 16

smorz.

œ

&

ã

2 8

œ

∑

perc. 1

1

‰.

‰.

tpt

pf

∑

≈

&

cel

‰.

r #œ

hn

tbn

j œ

®

2 8

ß 3

® nœ ® & ÿ 8 r œœ

s.p.

s.p.

µœ p

® Bœ p ® nœ s.p.

p

œ œ œ

P P P

2 8

47 147 fl

&2

∑

ob

&

∑

cl

&

8

3 8

∑

?

r æ bœ F ∑

hn

&

∑

∑

tpt

&

∑

∑

?

∑

∑

bsn

tbn

perc. 1

ã

perc. 2

ã

cel

‰

2 8

vc

cb

3 8 ≈ .

‰

∑

∑

∑

#œ P œœ ° (Sost.)

&2 ‰

8

& B ? ?

SMMP No. 124

‰ ‰

œ bœ

nœ

nœ

5:4

bœ , nœ

tagliare subito

≈

-

-

œ œ

5:4

bœ

nœ ? bœ

nœ

3 8

?

r Bœ P

œœ . . *

r µœ P r bœ P ∑ ∑

≈ poco

poco

acerbo

Ù

°

*

3 8

Ï5 bœ œ

œ

≈ 3

#œ

≈

8

‰

n œ.

≈

œ æ p

œ æJ

F

#œ

œ 5

œ

œ

Ù

&®

œ#œ

≈ ∑

‰

coi crini

œ P

ord.

‰

poco

œ

ord.

‰

‰

bœ œ bœ ? Ù œ

5 16

poco

≈ ≈

5 16

10:8

#œ #œ

œ ≈

?

∑

?

vln

vla

∑

∑

?

2

∑

∑

&

1

f

≈

&

&2 8 pf

j Bœ

∑ Bass Drum

5 16

∑

≈

≈ .

#œ

ord.

∑

P

œ À J

#œ P

5 16

48 ( q q .)

149

5 16

∑

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

?

∑

fl

&

ob

& change to Bass Clarinet

&

cl

bsn

hn

&

tpt

?

tbn

perc. 1

ã

perc. 2

ã

cel

leva la sord.

(cup)

leva la sord.

(cup)

∑

‰.

∑

∑ F ≈ .

‰.

∑

∑

∑

?

∑

∑

∑

5 16

?

1

&

2

&

leggero

œ

œ

10:8

œ

œ #œ bœ bœ F

œ. ® &

œ œ

œ

bœ

œ. œ.

(Sost.)

5 16

10:8

œ

œ.

ord.

B

œ P

œ.

aœ

œ.

?

nœ

œ.

?

‰

SMMP No. 124

coi crini

bœ. J P

œ #œ b œ œ œ œ œ

bœ >

?œ

œ

5

#œ

œ

#œ œœ

11:8

&

bœ

œ œ

œ œ œ

rK œ F Kr œ F

œ RÔ F œ RÔ F

&

8

œ œ œ#œ

œ #œ œ bœ

# œ œ́ œ^

U

3 8

ca. 5"

6

œ. œ.

°

rK œ F

œ

3 8

∑

∑

vln

cb

∑

≈ .

intensificando

3 8

∑

∑

œ. RÔ Fz

œ. æ

‰.

&

?

vc

≈ .

n œ´ RÔ ß

∑

œ æ

?

vla

# œ´ RÔ ß

∑

5 16

( q q .)

pf

U ∑

ca. 5"

?

Ï *

œ œ

*

(Sost.)

≈ .

‰.

∑

≈ .

‰.

∑

≈ .

‰.

∑

≈ .

‰.

∑

≈ .

‰.

∑

3 8

49 Intimo e = 36

My forlorn thought flows variable...

152

&3 8

pf

6

6

#œ b œœ π œ b œœ ... œ. °

?

ª

bœ œ œ # œœ œœ œœ ≈

œ. œœ .. ≈ .

œœœ œ

6

# œœœ .. .

pf

?

159

&5 8

pf

6

œ œœœ

6

œœ .. œ.

Aœ a œœœœ

?

5

∏

b œœ œœ . . œœ n œ œ . œœ π œœœœ ....

bœ œœ œ

∏

sempre delicatiss.

3 8

#œ bœ 5

6

( °)

5

j # # œœ œœ œ œ J

œœ œ œ #œ œ

œœ œ

5

5

6

œœ .. œ.

œœ b œ œ # œœœœ

5 8

6

œ œœœ

œœœœ b #œœœ œœœ .. œ œ ..

6

œœœœ

œœœœ b œœ œœ .. b œœ œœ ..

n œ6 b œ

≈

œœ .. œ.

œœ œ

5

U.C.

œ œœ œ

5 ≈ r œ b œœœ . . œ œ ..

œ œ nœ bœ 5

œ œœ œ

‰ n œœ #œ

3 8

5

6

œœœœ

ombroso

œœœ ... œœœ # œ œ œœ œœ ≈ . ≈ RÔ

œ. #œ.

5

œœœ œ

6

b œœœ

œœ œ

œ œœœ b œœœ #œ

j œ œœ œ J

6

A œœœœ

ª

b b œœœœ

œœ b # œœ œœœ b œœ

‰

?

‰ œœœ

œœœ

poco agitato

œœœ A a œ b œœœ œœœ .. # œ œ .. N œœ aœ ( °)

ª

œ œœœ

5

6

&3 8

5 8

6

5

più delicato

155

œ b bn œœœœ œœ

œ. œœ ..

5

nœ b œœ

œœ . œ ..

#œ nœ œ

œœ œœ

#œ

&

U.C.

5

scintillante 8

162 # œœ

&

pf

œ

œ

#œ

œ

œ

œ

œ. œ. ≈ .

bœ

poco

& ?

bœ

œ œ ≈

6

bœ

6

œ œ

b œœ œ RÔ

un poco di più enfatico

œœ œ

r œ b œœ ...

≈

bœ.

5

( °)

5 8

6

œ

quasi una domanda

164

& 5 a œœœ 8A œ

pf

œœ œ b #œœœœ

5

8

ª

œœ .. œ.

œœœ

bœ.

œ

6

&

A œœœ

?

Aœ ( °)

SMMP No. 124

œ œœœ 5

5

j b œœ œœ #œ œ

n # œœ œœ J

œœ œ œœ

b œœ b œœ

3 8

œœ œœ 5

œœ n œ œnœ œœ #œ

œœ b #b œœœœ œœ

6

œœœ.. œ ..

œœœ œ

œœœ b œ œ œœ

6

œœ

nœ œ bœ œ #œ #œ œ œ

œ 5

U.C.

œœ .. œ.

5

nœ Ø bœ œ

5

œ. œ. œ.

π

6

œ. œœ ..

œ œœ

?

6

?

50 167

Quasi stretto ( e = 36 )

& ≈# œ œ b œ p

fl

& ‰

ob

? ‰

B. cl

?

bsn

Ÿ~~~ r bœ ‰ œ)

‰

f x = e j e = 72

,

( )

∑

Ÿ~~~~~ ) bœ œ œ #œ bœ ≈ ‰ R p Ÿ~~~~ ( # œ ≈ œ œ œR œ ‰ p

‰

œ

‰

∑

≈

#œ œ

Ÿ~~~~~ bœ œ) ≈ R ≈

#œ œ

œ

p

œ#œ

Ÿ~~~~ œ (œ Œ R

œ

‰

∑

Ÿ~~~~ r # œ (œ ‰

∑ ∑

?

∑

∑

∑

&

∑

∑

∑

?

∑

∑

∑

perc. 1

ã

∑

∑

∑

perc. 2

ã

∑

∑

∑

&

∑

∑

∑

?

∑

∑