CE RM AN
Symphony No. 2 FO
for
ANDREW BOSS 2015
SA
L-
NO T
TO
BE U
SE D
FO R
PE R
Orchestra
PE RU
Written for and dedicated to Gerhardt Zimmermann and the University of Texas Symphony Orchestra
Instrumentation
RM AN
CE
Flute 1, 2, 3 (3. dbl. piccolo) Oboe 1, 2 English Horn Clarinet in Bb 1, 2, 3 (3. dbl bass clarinet) Bassoon 1, 2 Contrabassoon ** Horn in F 1, 2, 3, 4 Trumpet in Bb 1, 2, 3
FO
Trombone 1, 2 Bass Trombone Tuba
PE R
Timpani Percussion 1 – 4 tom-toms, 2 bongos, temple blocks (share with 3), large suspended cymbal, chimes Percussion 2 – xylophone, snare drum, tambourine, medium suspended cymbal, crash cymbal, small tam-tam, medium tam-tam (share with 4) Percussion 3 – vibraphone, temple blocks (share with 1), medium tam-tam (share with 2), water gong ** Percussion 4 – wooden block, crotales, sizzle cymbal, bass drum, waterphone **
FO R
Harp Piano ** Strings
SE D
**denotes optional but preferred instruments
…about the piece
TO
BE U
Symphony No. 2 is a continuation of my exploration of more complex motivic and harmonic relationships within a freely unfolding musical structure. This symphony does not have a program or narrative associated with it. Continuous from start to finish, it is divided into three symbiotically dependent sections, similar to movements but without a pause in-between. The first section is slow and serves primarily as a prologue with pastoral undertones, introducing many of the primary motivic material that glues the work together. The second section is the heart of the work and features two energetic and contrasting theme groups. The music dies down into the third section, which restates ideas from the first section and slowly builds toward a climax. The music again eases and transitions into a short fast coda. Recapitulated elements from the second section bring the symphony to a resounding close.
NO T
The entire work is constructed from two primary melodic motives that develop and transform into larger and more complex phrases and theme groups as the piece progresses. The first motive is an ascending stepwise gesture introduced by the violins in the very beginning of the work. The second motive is a short, slightly more angular descending gesture. Two separate rhythmic motives also play an important role in propelling continuous momentum throughout the work.
PE RU
SA
L-
Symphony No.2 was written for and dedicated to Gerhardt Zimmermann and the members of the University of Texas Symphony Orchestra.
CE
OR
Symphony No. 2 for Orchestra
Solemn q=55
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PE RU
Copyright © 2016 by Andrew Boss. All Rights Reserved
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R
ANDREW BOSS
RF
Violin 1
PE
sempre legato con sord.
M AN
Written for Gerhardt Zimmerman and the University of Texas Symphony Orchestra
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Bsn. 1+2
ff
Cl.3
PE
ff
a2
R
ff
ff
FO
Cl. 1+2
ff
Eng. Hn.
ff
ED
Ob. 1+2
a2
ff
Fl. 3
US
ff
BE
153
O
Fl. 1+2
Timp.
Perc.1
Perc.3
Perc.4
3
3
f
marc. sim.
3.
3
Vln. II
SA
PE RU
no div no div
Vla.
Vc.
Cb.
a2
ff
ff
a2
ff
f
ff
p
1.
Vln. 1
ff
f
3
f
3
f
p
3
mf
p
3
2.
OR
ff
RF
3
3
1.
2.
marc. sim.
3
PE
Perc.2
3
3
3
Tba.
B. Tbn.
Tbn. 1+2
3
Tpt. 3
3
3
Tpt.1+2
3
Hn.1+2 Hn.3+4
3
R
3
3
FO
Cbsn.
3
3
ED
Bsn. 1+2
3
US
Cl.3
L
BE
Cl. 1+2
3
O
Eng. Hn.
3
TT
Ob. 1+2
CE
Fl. 3
3
NO
Fl. 1+2
M AN
157
L-
18
blend with flutes mf
1. f
f
ff
ff
ff
L
heavy but well-articulated f heavy but well-articulated f
f
Tpt. 3
Tbn. 1+2
Tba.
f
f
1. 3
RF
f
a2
f
2.
f
1.
f
f
f
f
mf
f
3
heavy but well-articulated
f
f
legato, pesante div
legato, pesante div f div
legato, pesante f
f
legato, pesante div
heavy but well-articulated
SA
mf
3
f
PE
mf
p
R
PE RU Cb.
1.
Vc.
Vln. 1
Vla.
FO
Vln. II
L-
Pno.
f
B. Tbn.
ff
f
Tpt.1+2
CE
Hn.3+4
ED
Hn.1+2
US
Bsn. 1+2
f
BE
Cl.3
O
Cl. 1+2
TT
Eng. Hn.
NO
Ob. 1+2
M AN
163
19
OR
Fl. 1+2
f
f
legato, pesante
f
Perc.4
Pno.
sfp
3
3
vibraphone
3
3
crotales
3
f
ff
sfp
sfp
3
sfp
sfp
3
sfp
3
sfp
3
mf
f
f feroce
f
f
3
feroce
f
f
f
f
f
feroce
f feroce
f
feroce f
f
3
f
feroce
f
Cb.
f
2.
f
Vc.
Vla.
3
3
ff
ff
f
f
ff
Vln. II
mp
3
f
mf
3
S.D.
M
mf
PE RU
f
a2
sfp
bongos
t-toms
sfp
f
ff
ff
ff
ff
sfp
Vln. 1
sfp
sfp
3
3
3
mp
ff
mp
ff
sfp
Perc.2
Perc.3
mp
L-
Perc.1
SA
Timp.
sfp
1.
FO
ED
US
Tpt.1+2
Tba.
f
mp
f
sfp
B. Tbn.
3
f
Tbn. 1+2
f
p
Tpt. 3
mp
Hn.1+2 Hn.3+4
f
TT
NO
Bsn. 1+2
f
mp
a2
Cl.3
3
3 mp
Cl. 1+2
f
CE
BE
Eng. Hn.
mp
O
Ob. 1+2
M AN
mp
OR
Fl. 3
RF
PE
Fl. 1+2 170
R
M
20
f
3
f
a2 f
a2
3
Bsn. 1+2
Hn.1+2
3
f
Tpt. 3
Tbn. 1+2
mf
US
3
ED
BE
21
L-
Perc.2
O
TT
Perc.1
crisp
NO
Timp.
FO
Tpt.1+2
3
Tba.
3
B. Tbn.
3
CE
M AN
Cl. 1+2
3
f
Eng. Hn.
OR
Ob. 1+2
RF
Fl. 3
PE
177
R
Fl. 1+2
a2
SA
Vln. 1 div
PE RU
Vln. II
Vla.
Vc.
Cb.
Fl. 3
Ob. 1+2
Eng. Hn.
Cl. 1+2
3
3
3
3
3
3
3
Cl.3
3
3
3
3
3
3
3
3
3
3
Timp.
Perc.1
Hp.
6
3
3
6
6
3
6
6
6
6
PE
RF
6
open mf
R
3
a2
3
3
p
sizzle cym.
pp
US
6
6
ED
Perc.2
Perc.4
3
BE
O
B. Tbn.
3.
TT
Tbn. 1+2
NO
Tpt. 3
L-
Tpt.1+2
Hn.3+4
Tba.
6
6
FO
Hn.1+2
6
6
Bsn. 1+2
CE
M AN
183
OR
Fl. 1+2
22
. gliss
ff
SA
Vln. 1
PE RU
Vln. II
Vla.
Vc.
Cb.
Bsn. 1+2
ff
3
3
3
3
ff
3
3
3
3
ff
3
3
3
3
ff
3
3
3
3
3
3
3
3
3
3
3
f
B. Tbn.
Tba.
Timp.
li
f . s s
f
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
a2
3
3
3
3
3
3
f
f
f 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 f
3
3 3
3 3
3
hard mallets
f
ff
Vla.
Vc.
PE RU
Cb.
3 3
Vln. II
3
3
f
3
L-
N
Vln. 1
SA
f
3 3 3 3
NO
3
3 3 3 3
BE
3
3
O
TT
3
3
3
Pno.
3
3
Hp.
3
f
g
3
Perc.4
3
Tbn. 1+2
3
Tpt. 3
3
3
Tpt.1+2
3
3
Hn.1+2 Hn.3+4
3
f
3
OR
f
Cbsn.
3
RF
Cl.3
3
Cl. 1+2
3
R
Eng. Hn.
3
FO
Ob. 1+2
3
ED
Fl. 3
ff
US
187
PE
Fl. 1+2
CE
M AN
N
col legno
ff
col legno
ff
23
3
3
3
3
3
3
3
3 3 3 3 3 3 3 3 3 3 p sub fff
Fl. 3
Ob. 1+2
p sub
3
3
3
3
3
3
3
3
3
3
fff 3 3 3 3 3 3 3 3 3 3 p sub
Eng. Hn.
fff
p sub
Cl. 1+2
Cl.3
Bsn. 1+2
Cbsn.
fff
3 3 3 3 3 3 3 3 3 3
p sub
fff fff fff
p sub
3 3 3 3 3 3 3 3 3 3 Hn.1+2 p sub fff 3 3 3 3 3 3 3 3 3 3 Hn.3+4 p sub fff Tpt.1+2
p sub
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
fff
p sub
Tbn. 1+2
3
p sub
3
3
3
3
3
3
3
3
fff
3
fff
B. Tbn. p sub fff Tba. p sub fff Timp. 3 ff t-toms Perc.1 ff 3 xylophone Perc.2 3
3
3
3
3
3
3
3
ED
3
Hp.
B.D.
pp
f
fff
fff
fff
3 3
SA
fff
PE RU
modo ord Cb. p
L-
ff f
Explosive div p fff div Vln. 1 p fff div p fff Vln. II div p fff div. a3 Vla. p div a3 modo ord Vc. p Pno.
O
pp
TT
Perc.4
NO
Perc.3
t-tam
BE
US
3
FO
Tpt. 3
fff
3
p sub
fff
CE
3
M AN
3
OR
3
RF
Fl. 1+2
Explosive
PE
190
R
24
3
3 3
3
sim.
sim.
Hn.3+4 Tpt.1+2 Tpt. 3
Tbn. 1+2
Pno.
3
3
PE RU
Vln. II
Vla.
Vc.
Cb.
3
3
3
3
25
CE
3
3
SA
Vln. 1
3
3
3
3
Perc.2 Hp.
TT
Perc.1
NO
Timp.
L-
Tba.
B. Tbn.
Hn.1+2
M AN
OR
RF
PE
R
US
BE
Bsn. 1+2
O
Cl.3
FO
Cl. 1+2
Cbsn.
Eng. Hn.
ED
195 Fl. 1+2 Fl. 3 Ob. 1+2
3
3
3
3
non div.
Bsn. 1+2 Cbsn. Hn.1+2 Hn.3+4 Tpt.1+2
Tbn. 1+2
ED
US
BE
SA
L-
Pno. Vln. 1
O
NO
Hp.
TT
PE RU
Vln. II
Vla.
Vc. Cb.
sfp
fff fff
fff
fff
sfp
crotales
fff
fff
sfp
sfp
fff
sfp
ff
**
sfp
ff
** ff ** vibraphone fff
sfp
chimes
sfp
. iss gl
sfp sfp sfp sfp div a2 div a3 sfp div a2 sfp sfp
fff
fff
ss.
sfp
gli
Perc.1 Perc.2 Perc.3
modo ord
B. Tbn. Tba. Timp.
Perc.4
modo ord
modo ord
modo ord
**
**
**
modo ord
CE
M AN
Cl.3
Tpt. 3
modo ord
OR
Cl. 1+2
** ** **
RF
Eng. Hn.
PE
R
202
Winds play scales or arpeggios very fast in upper register with random pitches of their choice and staggerbreathe if necessary.Vibraphone, chimes, and crotales play random pitches of their choice very fast with pedal down
FO
Fl. 1+2 Fl. 3 Ob. 1+2
26
**
fff
fff
fff
fff
fff
fff
fff
O
Tpt. 3
Tbn. 1+2
B. Tbn.
Tba.
Timp.
Pno.
Perc.2
O
Vln. II
Vc.
Cb.
p
p
p
p
OR RF
PE
4 soli
p
4 soli
p
p
PE RU
Vla.
p
SA
Vln. 1
R
Hn.3+4 Tpt.1+2 Hn.1+2
FO
TT
Cl.3
NO
Cl. 1+2
ED
Eng. Hn.
L-
Ob. 1+2
US
BE
O
CE
Fl. 3
Bsn. 1+2
27
M AN
209 Fl. 1+2
3 soli
3 soli
3 soli
3soli
3 soli
28
Perc.2
Perc.3
Vln. I
p
p
S.D.
pp
sim.
pp
p
p
US
BE
3
Temple Blocks
p
3
p
mf
3
mf
3
PE RU Vla.
Vln. II
SA
Vln. I
L-
solo, legato
O
TT
3
mf
Vc.
ED
pizz, 5 soli (principal plays solo)
NO
Hn.1+2
Perc.3
mf
222
Perc.2
pp
pp
sim. Ob. 1+2
Tpt.1+2
solo, legato
Bsn. 1+2
Vc.
col legno, div (all but soloist)
pp pp
Vla.
Vln. II
pp
straight mute
CE
R
Tpt.1+2
p
FO
Hn.1+2
p 2. short
M AN
OR
Bsn. 1+2
1. short
RF
216
PE
Ob. 1+2
3
3
3
Fl. 1+2 228
1.
29
p
Cl. 1+2
p
M AN
p
Tpt.1+2
ppp
ppp
1.open
pp
3.
pp
3
TT
Vln. I
O
BE
Perc.2
US
ED
Hn.3+4
R
FO
Hn.1+2
PE
RF
OR
Bsn. 1+2
1.
CE
Ob. 1+2
NO
L-
PE RU
SA
Vln. II
Vla.
3
Vc.
Pno.
h=75
mp
P h=75
L-
SA
PE RU Cb.
NO
p
mf
3
tam-tam
p
pp
tutti, arco legato
mp arco, tutti, legato
mp
3
mp
n
3
mf
mf
pp
tutti 3
pp
mp
mf
3
p
tutti
crotales - bowed
n
mp
n
pp
3
mp
large suspended cymbal
CE
3 pp straight mute
3
3
straight mute
pp
p
pp poco 3 soli poco pp
poco 3 soli
3
straight mute
3
3
3 soli (includes soloist) pp poco 3 soli
mf
mp
pp straight mute
vibraphone - soft mallets
3
mp
3
f
3
3
f
mf
p
2.
Vc.
Vla.
Vln. II
3
Vln. I
mp
3
3
mf
mp
Hp.
Perc.2
Perc.4
Perc.3
Perc.1
FO
B. Tbn.
Tbn. 1+2
mp
ED
Tpt. 3
TT
Tpt.1+2
Hn.3+4
Tba.
mp
mf
3
US
a2 Bass Clarinet
a2
BE
Bsn. 1+2
M AN
Cl.3
O
Cl. 1+2
OR
Ob. 1+2
Hn.1+2
Fl. 3
Cbsn.
PE
235
R
Fl. 1+2
RF
P h=75
30
mp
31
Hn.1+2
1.
Tba.
Perc.1
Vla.
Vc.
Cb.
pp
pp
pp
mp
mp
mp
mp
p
3
3
mf
mp
mf
p
mf
mf
3
1.
3
n
3
3
3
pp
3
3
mf
pp
3
mf
3
3
3
CE
3
3
3
pp
n
3
3
mp
pp
3
mf
mp
L-
3
sim
3
SA
mf
mp
bowed
n
n
n
n
pp
mf
3
3
mf
sim sim sim
PE RU
3
Vln. II
n
3
3
mf
3
mf
3
1.
Vln. 1
Perc.3
mf
Hp.
f
Perc.2
Perc.4
3
n
B. Tbn.
mp
Tbn. 1+2
3
n
Tpt. 3
Tpt.1+2
3
3
M AN
US
Cbsn.
3
NO
Bsn. 1+2
3
3
f
OR
RF
3
PE
R
mp
B. Cl.
mf
Cl. 1+2
FO
BE
Eng. Hn.
3
mf
O
Ob. 1+2
a2
TT
Fl. 3
ED
242 Fl. 1+2
bowed
p
3
3
3
3
3
mp
p
3
3
p
Tba.
Perc.1
pp
t-tam - superball
n
p
p
mp
PE RU
Vc.
Cb.
3
3
p
Q Heavy
molto espress tutti
mp
molto espress tuttie
mp
Heavy
3
poco a poco crescendo
3
poco a poco crescendo
3
3
3
3
molto espress tutti 3
mp
poco a poco crescendo
poco a poco crescendo
molto espress 3 tutti
3 soli
n
3 soli
p
Vla.
molto espress tutti
mp
mp
Vln. II
PE
p
mp
mp
NO
Vln. 1
n
L-
Hp.
3
SA
Perc.4
Perc.2
p
Perc.3
n
mp
FO
Tpt.1+2
3
p
ED
3
1.
p
Hn.1+2
p
BE
TT
mp
p
3
Cbsn.
p
O
Bsn. 1+2
3
mp
1.
B. Cl.
Cl. 1+2
p
p
Eng. Hn.
US
Ob. 1+2
OR
3
p
Fl. 3
M AN
RF
R
1. Fl. 1+2 250
CE
Q Heavy
32
molto espress tutti n
mp 3
mp
mp
poco a poco crescendo 3
poco a poco crescendo
molto espress mp
poco a poco crescendo
molto espress
3
poco a poco crescendo
33
sul G . . . sul G . . .
Vln. II
3
1. open
3
p
3
3
3
Cb.
3
mf
Vln. II
L-
PE RU
SA
Vla.
Vc.
Cb.
3
5
5
3
f
3
1
3
3
f
rit.
a2
f a2
div
3
3
f
3
5
no div
5
div
R
3
3
modo ord.
modo ord.
no div.
3
3
pp
3
3
3
5
xylophone
5
f
5
mp
harmon mute
Perc.2
Vln. I
1.
US
Hn.3+4 Tpt.1+2
3
BE
O
Bsn. 1+2
TT
3
3
NO
Fl. 1+2
Cl. 1+2
R
271
3
3
Ob. 1+2
3
3
3
3
CE
Vc.
solo 6
3
3
Vla.
M AN
mp
Tpt.1+2
Vln. I
3
OR
Bsn. 1+2
mp 3
RF
a2
a2
PE
Cl. 1+2
R
FO
260
ED
Ob. 1+2
f
a2
3
f
3.
pp
div
3
3
34
Hn.1+2
pp
3
f
f
mp
mp
3
mf
3
f
a2
ff
p 3.
1.
mp
mp
mp
p
mp
p
CE
M AN
medium mallets
mp
p
Timp.
OR
3
RF
Hn.3+4
Tba.
PE
B. Cl.
Bsn. 1+2
R
Cl. 1+2
ff
US
Ob. 1+2
Fl. 3
3
pp
mp
mp
BE
f
3
h=65
FO
a2
ED
Fl. 1+2 279
Vln. I
3
Vln. II
PE RU
SA
div
no div
ff
ff
p
p
3
nodiv
3 ff
3
3 ff
3
f
f
f
ff
ff
3
3
Vc.
Cb.
f
f
mf
Vla.
sul G
L-
div
NO
3
TT
div
O
h=65
mf
mf
mf
mp
mp
Ob. 1+2
Cl. 1+2
a2
mp
molto rit. 1.
p
p
p
p
p
pp
pp
pp
pp
p
open
open
pp
Perc.3
mf
sul G p
mf
Vln. II
sul G
p
p
3
3
modo ord.
pp
pp
Cb.
gliss.
pp
pp
p
pp
p
p
pp
no div
mp
p
mp
p
mf
PE RU
Vc.
Vla.
pp
molto rit.
p
gliss. gliss.
pp
pp
g liss.
water gong
SA
L-
TT
O
NO
Vln. I
US
Tba.
p
FO
B. Tbn.
1.
BE
Tbn. 1+2
R
ED
Hn.1+2
PE
RF
Bsn. 1+2
CE
Fl. 3
M AN
Fl. 1+2 286
OR
35
mp
36
n
B. Tbn.
Perc.1
n
t-tam: superball
Perc.2
Perc.3
mf
mp
slowly strum bass strings in the lowest two octaves without fingernail
mp
Vln. I
pp
ppp
ppp
SA
pp
(all but soloist) sul tasto sul pont.
PE RU
Vla.
Vc.
h=q, Molto Rubato q=45 chimes
modo ord.
p
pp
pp
p
1.
pp
With Feeling q=45
rit.
pp
pp
pp
pp
h=q, Molto Rubato q=45
p
With Feeling q=45
pp sempre
pp sempre
3
rit.
pp
pp
solo, molto espress
mp
mf
solo, molto espress
mp
mp
p
mf
dolcissimo
mp
p
mp
div p
dolcissimo
ppp
CE
pp
p
ppp
Cb.
pp
mp
sim.
L-
Vln. II
S
O
1.
slowly strum bass strings in the lowest two octaves without fingernail
Pno.
waterphone
Hp.
p
Perc.4
M AN
Tbn. 1+2
OR
p
RF
pp
PE
Hn.1+2
pp
TT
Bsn. 1+2
R
With Feeling q=45
rit.
ED
NO
Cl. 1+2
h=q, Molto Rubato q=45
US
293
BE
FO
S
p
37
Hn.1+2
mp
mp
mp
pp
q=45
poco rit.
mp
1.
mp 3
p
Vln. II
p
very quiet (use mute if needed)
pp
vibraphone - medium mallets
p
3 3
O
TT
pp
p
p
div
div
crotales
q=45
poco rit.
pp
SA
PE RU
p
Vc.
Cb.
t-tam
Vla.
FO
NO
Vln. I
L-
Hp.
ED
Perc.3 Perc.4
US
BE
Perc.2
p p
div.
p
pp
1. straight mute
q=45
poco rit.
R
CE
Tpt.1+2
Tba.
1.
M AN
Bsn. 1+2
OR
Cl. 1+2
RF
302
PE
Fl. 1+2
38
T
Fl. 3
Ascending q=50 1.
solo
Eng. Hn.
Cadenza
solo
mp freely, with expression
Tba.
5
p
p
R
cue
p
ppp
mp
PE RU
SA
Vla.
Vc.
p
p
L-
Vln. I
Vln. II
echo Eng. Horn solo
Cadenza
Cb.
Ascending q=50
mp
TT
Perc.4
echo Eng. Horn solo
NO
Perc.3
Cadenza
BE
Perc.1
temple blocks
O
Cadenza
US
ED
pp
PE
RF
FO
Hn.1+2
p
freely, with expression
p
Cl. 1+2
Bsn. 1+2
mp
CE
Cadenza
M AN
309
OR
Fl. 1+2
Cadenza
mp
p
p
Ascending q=50
all but soloist (outside only)
bowed
T
p
pp
p
pp
Tba.
3
p
Hp.
Vln.
mp 3
3
5
solo, legato
p
solo, legato
SA
p
(inside)
solo, legato
PE RU
Cb.
p
3
mp
3
O
mp
p
mp
mp
mp
3.
p
open mp
mp 3
mp 5
poco rit.
mp
1.
3
5 mf
legato mp cresc cresc slowly add players
cresc
legato cresc slowly add players
slowly add players
cresc
cresc
p
mp triangle mp
3
mp
mf
3
mp
n
mp
q=50
mp
slowly add players
CE
mp
poco rit.
p
mf
f
f
legato
f
n large susp. cym.
n
mp
n
mf
OR
M AN
open
5
39
f
3 3 3 3
pp
solo, legato
(inside)
Vc.
3
L-
mp
p
3
one by one, change to
Vla.
mp
Vln. II
TT
bowed
2.
NO
Perc.4
mp
1. open
1.
cresc
Perc.3
3
Perc.2
cresc
Perc.1
Timp.
5
p
Tbn. 1+2
open
RF
Tpt. 3
Tpt.1+2
mp
cresc
Hn.3+4
mp
1.
q=50 f
PE
Hn.1+2
p
mp
R
1.
FO
B. Cl.
mp
Cl. 1+2
US
cresc
BE
Bsn. 1+2
Ob. 1+2
mp
Fl. 3
ED
314 Fl. 1+2
poco rit. a2
7
q=50 tutti mf
modo ord.
tutti (outside)
mf tutti (outside)
mf (inside)
mf
mf
mf tutti (outside) mf
mf
mf
Hn.1+2
mf 3
mf
mp 3
Cb.
mf 3
3
3 trem.
mp
3
3
3
3
3
3
3
3
3
3
3
3
3
trem.
3 3
3 trem.
p 3
3
p
3
3
3
3
3
3
3
3
3
3
3
3
CE
M AN
3 f
mf
3
3
3
3
3
3
3
ff
ff
mf
f
f
f
a2
f
3
3
3
p
3
f
3
mf
trem. 3 p3
ff
3
mf
3
p
7
f
trem.
3
3
3 3
OR
3
p
Vc.
trem. 3
trem.
PE RU
Vla.
SA
Vln. II
L-
3
6
3
6
mp
1.
3
6
3 3
mp
6
Vln. I
bring out
p
O
Perc.2
p
p
NO
Timp.
p
mf 3
mf 5
2.
Tba.
B. Tbn.
bring out
Tbn. 1+2
p
Tpt. 3
p
Tpt.1+2
Hn.3+4
3
RF
3
PE
Bsn. 1+2
3 3
R
Flutes play pitches around given contour very fast. disregard meter, but continue to follow conductor.
FO
B. Cl.
Cl. 1+2
Cbsn.
Ob. 1+2
ED
TT
Fl. 3
US
Fl. 1+2 321
BE
40
t-tam
ff
pp
3
3
3
3
f
f
3
f
3
3
3
3 f
3
3
3
3
3
3
3
3
3
f
3
3
3
3
3 3
3
3
3
3 3 f
3
3
3
3
3
3
3
3
f
f
f
f
3
3
3
3
3
3
Eng. Hn.
Cl. 1+2
Bsn. 1+2
a2`
ff
Tbn. 1+2
B. Tbn.
Timp.
Perc.3
ff
SA
PE RU
3
3
3
3
3 3
Cb.
3
3
3 3
3
mp
3
3
3
3
3
3 3
3
3
p 3.
f
p
f
Pulsating q=55 gliss.
poco accel.
3
3
3
poco
poco
5
3
poco
5
5
5
3
5
3
3
poco
poco
poco
poco
3
p sub
3
p sub
p sub
3
3
p sub
ff
3
3
3
p sub
3
p sub
3
poco
gliss.
3
3
CE
no div 3 3 p sub 3 3 3 3 3 poco 3 3 3 3 3 3 3 3
3
5
3
3 3 3
6
1.
6
7
5
7
p
6
3 3
L-
3
poco accel. Pulsating q=55 3 3 3 3 3
NO
3
3
7
p
p
6
mp
p
6
6
6
41
3
p
3
mp
3
3
3 3
mp
3
3
Vc.
1.
Vla.
Vln. II
3
3
3
p
3
3
Vln. I
f
3
3.
3
3
ff
3
pp
3
Tpt. 3
ff
Hn.1+2 Hn.3+4 Tpt.1+2
Pno.
ff
B. Cl.
Tba.
6
7
PE
ff modo ord
FO
Ob. 1+2
Cbsn.
pp
TT
Fl. 3
M AN
ED
Fl. 1+2
OR
ff modo ord
US
Pulsating q=55
poco accel.
BE
326
O
RF
R
modo ord
3
no div
ff
no div
p
p
p sub
3
p sub
3
7
sim.
Hn.1+2
Tpt. 3
mf
mf p
gliss. Timp. Perc.2 5 Perc.3
mf
p sub
f
p sub
f
p sub
3
mf
3
5
p sub
p sub
PE RU
p sub
p sub
p sub
p sub
Cb.
L-
p p
3
ff
ff
5
f
3
marc.3 3 f
3
marc
f
ff
f
t-tam
p
f marc
ff
5
p sub
Jarring h=60 marc. 3 3 3 3 3 f sfp p sub marc. 3 3 3 3 3 sfp f p sub marc. 3 3 3 3 f sfp p sub marc.3 (no div) 3 3 f sfp 3 p sub marc. p sub
33
5
molto rit.
3
SA
3
p sub
Vln. I
NO
5
sfp
5
marc.3
3
5
f
f 3 marc.1. 3 f 3 3 marc. 3
3
f marc.
3
3 cbsn. cue f 3 3 33 marc.
3
5
3
mf
5
5
CE
f
5
3
3
marc.
f
6
gliss.
f
6
marc.
Vc.
Tba.
B. Tbn.
Vla.
Tbn. 1+2
Vln. II
7
6
p sub
1.
p sub
p
Pno.
sfp
3
3
f
7 marc. 6 3
6
US
Tpt.1+2
Hn.3+4
BE
6
3
p sub
TT
Bsn. 1+2
ED
p sub
6
p
7
B. Cl.
Hp.
6
6
Cbsn.
6
Cl. 1+2
5
7
Eng. Hn.
6
Ob. 1+2
6
M AN
Fl. 3
6
OR
p
7
RF
6
PE
p
Fl. 1+2
marc. 3 3 mf sfp f marc. mp 3 3 sfp f marc.
R
U Jarring h=60
FO
331
molto rit.
O
42
p sub
p sub
p sub
3
3
3 f marc. 3
3
3
sfp
3
U
3 f marc.
3
3
3
3
f
3
3 marc.
f
f
3
f
3
f
3 marc.
f
sfp
CE
mp
Cl. 1+2
mp
Tpt.1+2
Perc.2
Perc.4
Vln. I
ff
3
ff
mp
3
f
PE
div
PE RU
col legno (strike wherever produces loudest effect)
3
ff
3
ff
3
f
f
mp
f
1.
sim.
3
ff
col legno (strike wherever produces loudest effect)
ff
sfz
3
sfz
sfz
ff
mp
Vc.
Vla.
mp
R
f
Vln. II
Cb.
B.D. - hard mallets
sfz
hard mallets
sfz
SA
Pno.
Hp.
f
Clarinet
FO
marc
ED
TT
Timp.
sfz
NO
B. Tbn.
US
BE
Tbn. 1+2
O
mp
L-
B. Cl.
M AN
OR
335
RF
Fl. 1+2
Fl. 3
43
sim. 3
ff
3
3
** Play given pitch collection rather fast at different octaves of their choice
piccolo
mp
3
p
7
1.
9
7
mp
B. Tbn.
Perc.1
Perc.4
Hp.
Pno.
Vln. I
ff
Vc.
ff
mp
3
ff
ff
**
3
chimes
mf
t-tam
ff
**
mf
ff
ff arco
ff arco
ff
h=60
3
ff
. gliss
mp
ff
arco
ff
5
vibraphone - medium mallets
3
mp
f
f
poco rit.
f
p
3
PE RU
Vla.
f
3
f
Vln. II
Cb.
Perc.2
Perc.3
TT
Timp.
NO
Tba.
5
FO
Tbn. 1+2
ED
US
f
7
ff
3
BE
Tpt.1+2
O
5
5
ff
6
Hn.3+4
5
6
L-
Hn.1+2
SA
Bsn. 1+2
6
5
9
3
Cl. 1+2
Cl. 3
5
5
ff
RF
Eng. Hn.
7
PE
Ob. 1+2
6
mp
Fl. 3
9
CE
mp
Fl. 1+2
M AN
poco rit. h=60
9
OR
341
R
44
molto espress, weighted
ff
ff
molto espress, weighted
molto espress, weighted
ff
3
3
3
Cl. 3
Tpt.1+2
Tpt. 3
Tbn. 1+2
B. Tbn.
Tba.
Timp.
3
Pno.
Vln. II
Vla.
Vc.
Cb.
mp
f
ff
ff
CE
p
mf
3
ff
3
ff
3 3
3
mf
mp
ff
ff
s. glis
5
f
PE RU
Vln. I
mp
mp
3
ff
5
mp
3
6
L-
Hp.
5
3
3
f
ff
3
SA
Perc.4
mp
Perc.1 Perc.3
f
1.
Hn.3+4
3
9
NO
Hn.1+2
5 5
Bsn. 1+2
3
3
Cl. 1+2
M AN
ff
OR
RF
ff
5
3
PE
f
5
R
Eng. Hn.
5
US
Ob. 1+2
5
3
5
ff
45
3
5
5
5
Picc.
5
BE
5
5
5
FO
Fl. 1+2
ED
3
O
345
TT
3
3
3
mf
Cl. 3
Bsn. 1+2
Hn.1+2
mf
Hn.3+4
Tpt.1+2
mf
Tpt. 3
f
mf
mf
Perc.1
Hp.
Pno.
Cb.
ff
f
ff ff
ff
M AN 3
6
1.
mf
mp
mp
crotales -bowed
legato
mf
6
s.
3
glis
p
mp
ff
mf
p
3
3
mp
p
3
med susp cym
f
PE RU
Vc.
Vln. I
Vla.
Vln. II
becoming less frequent
ff
3 ff 6 5
NO
Perc.4
SA
Perc.3
5
3
becoming less frequent
Perc.2
5
5
mp
3
L-
Timp.
f
mf
Tba.
3
f
mf
B. Tbn.
mp
ff
f
Tbn. 1+2
OR
p
O
Cl. 1+2
5
RF
f
PE
5
ff
f 3
R
Eng. Hn.
5
5
Ob. 1+2
ff
5
3
3
Picc.
5
FO
5
5
CE
Fl. 1+2
5
5
3
ED
US
349
BE
TT
46
legato
3
3
3
legato
legato
3
3
3
f
3
3
mf
Vln. I
f
6
f
5
mf
PE RU
Vla.
3
3
Vc.
3
3
f
3
f
3
ff
3
3
f
medium mallets
3
3
3
mp
rit.
3
a2
mp as before
f
as before
5
3 3
Vln. II
Cb.
NO
L-
Hp.
SA
Perc.4
Perc.3
Perc.1
5
3
f
Timp.
ED
US
B. Tbn.
p
p
Tbn. 1+2
Tba.
Tpt. 3
mp
Tpt.1+2
1.
3
Hn.1+2 Hn.3+4
3
3
BE
O
Bsn. 1+2
TT
Cl. 3
5
3
cresc.
Cl. 1+2
3
cresc.
PE
3
Eng. Hn.
3
5
47
CE
Ob. 1+2
5
5
Picc.
M AN
5
R
FO
Fl. 1+2
3
OR
5
RF
353
rit.
3
gliss.
3
3
3
B. Tbn.
Tba.
Timp.
Perc.1
3
5
Perc.3
Perc.4
Hp.
Pno.
Vln. I
Vln. II
f
Vc.
Cb.
3
3 3
3
pp
gl iss .
3
fp
3
3
1.
f
f
f
h=60 with emphasis
3
3
3
3 3
with emphasis
with emphasis
3
3
p
3
with emphasis
3
mf
3
f 3
1.
3
CE
div.
3
3
blend with woodwinds
f
f
ff
f
3
3
with emphasis
h=60
with emphasis
3
pp
sizzle cymbal
ff
with emphasis
med susp cym
PE RU Vla.
ff
3
3
ff
3
ff
with emphasis
ff
NO
Perc.2
ff with emphasis
ff
SA
3
Tpt.1+2
Hn.1+2 Hn.3+4
3
ED
Bsn. 1+2
with emphasis
US
a2
M AN
ff
OR
Cl. 3
5
Cl. 1+2
ff with emphasis 5
Eng. Hn.
BE
Ob. 1+2
with emphasis
O
Picc.
TT
ff
RF
5
PE
Fl. 1+2
R
356
FO
h=60 with emphasis
L-
48
3
with emphasis
3
3
3
Bsn. 1+2
Cbsn.
Hn.3+4
Tpt.1+2
Tpt. 3
Tbn. 1+2
B. Tbn.
Tba.
Timp.
Perc.2
Hp.
Vla.
Vc.
Cb.
ff
ff
3
3
3
ff
ff
ff
3
3
ff
ff
CE
p
5
5 5
5 p
5
p
ff
with power a2 ff
with power
ff
5 5 5
p
p
sfp
p
sfp
sfp
Deliberate
s. glis
MMLOMMMM
5 5 5
f
5 5 5 f
5 5
f
5
5 5
f
p
5
sfp
Deliberate
a2
V Rushed
p
49
p
ff
crash cymbal
5
2. if "A" attachment is available,
with power
with power
ff
play lower "A"
5
5
p
Rushed
p
p
SA
div
PE RU
Vln. II
Vln. I
L-
Perc.3
3
ff
3
ff
p
5
5
RF
Cl. 3
Hn.1+2
3
a2
PE
Cl. 1+2
R
(a2)
ff
FO
ED
Eng. Hn.
TT
Ob. 1+2
ff
US
Deliberate
M AN
3
NO
Picc.
BE
3
V Rushed
OR
(a2)
O
359 Fl. 1+2
5
p
p
ff
Eng. Hn.
ff
Cl. 1+2
Cl. 3
ff
Bsn. 1+2
f
Cbsn.
5
5
p
ff
5 p ff
p
sfp
3
ff
sim.
sfp
ff
marc. 3
3
sfp
ff
marc.
Timp.
Perc.1
f
Perc.3
Hp.
ff
PE RU Vla.
SA
p
ff
f
a2
3
3
ff
rit.
pp
rit.
large susp cym
ff
3
5
5 5
3
f
5
5 5 ff 5
f
f
5
5
5
f
p 5 5 f s. glis
f
Cb.
f
f
f
5
f
Vc.
3.
3
3
5 5 ff
ff
Vln. II
L-
Vln. I
p
f
ff
O
f
sfp
BE
3
TT
Tba.
3
NO
ff
sim.
3
B. Tbn.
3
sim.
US
ff
1.
3
3
3
3
ED
ff
sim.
marc.
Tbn. 1+2
f
3
Tpt. 3
p
3
f
3 ff
f
marc.
Tpt.1+2
f
f
ff
5
5
p
ff
5 5
p
f
ff
ff
5
p
5
5
p
p
f
Hn.3+4
Hn.1+2
ff
5
rit.
CE
OR
RF
Ob. 1+2
ff
p
PE
R
ff
Picc.
FO
365 Fl. 1+2
M AN
50
p
p
f
f
winds play pitches around given contour very fast. Strings play repeated figure fast. Both should disregard meter, but continue to follow conductor.
6
ff
3
3
ff
ff
ff
Tpt.1+2
Tbn. 1+2
fff
Tba.
3
ff
PE RU
ff
Vla.
ff
Vc.
3
no div ff
3
ff
3
marc.
3
3 3
3
a2
3
3
3
3
NO
3
3
3
3
3
p
6 6 6 6
3
3
3
3
6
3
3
6
3
6
6
6
6
6
6
6
modo ord
6
3
6
3
3
modo ord
6
6
3
3
modo ord
ff
Cb.
3
6 ff 6 modo ord 6 ff 3
SA
div
ff
ff
L-
marc.
TT
ff
marc.
O
ff
h=55 div. Vln. I Vln. II
marc.
ff
marc.
mp
ff as before
Pno.
marc.
Perc.1 f t-tam Perc.2
3
ff
Hp.
fff
h=55 Timp.
Perc.3
BE
B. Tbn.
fff
fff
Tpt. 3
6
3
6
M AN
6
Hn.1+2 Hn.3+4
ED
Cbsn.
PE
6
ff
Bsn. 1+2
US
Cl. 3
R
6
OR
FO
ff
ff
Cl. 1+2
6 6
ff
Eng. Hn.
6
modo ord
CE
6
6
51
modo ord
RF
h=55 370 Fl. 1+2 6 ff Picc. 6 ff Ob. 1+2
6
6
mf
mf
a2 mf
Hn.3+4
Tpt.1+2
Tba.
Timp.
Hp.
1.
mf
5
3
fff gripping
fff
div
3
gripping
3
PE RU
fff
3
fff
3
3
gripping
f
f
5
5
ff
5
f
5
f
mf
3
3
sfp
sfp
f
pp
3
f
p
fff
fff
5
3
pp
f
f
f
f
pp
ff
5
5
f
ff
fff
fff
3
3
no div.
sfp
no div.
sfp
gripping
5
3
sfp
gripping
3
no div.
sfp
gripping
fff
sfp
gripping
fff
L-
fff
sfp
SA
5
p
5
div
pp
mf
5
mf
f
5
mf
5
5
p
ff
mf
5
5
mf
pp
mf 5
pp
Vln. I
Cb.
f
5 mf
Vc.
3.
Vla.
f
5
ff
p
Vln. II
5
NO
Tbn. 1+2
5
mf
Tpt. 3
5
5
Hn.1+2
5
Cbsn.
ff
CE
f
5
M AN
5
5
ff
OR
mf
5
5
RF
Bsn. 1+2
a2
ff
5
R
Cl. 3
5
FO
Cl. 1+2
BE
Eng. Hn.
ff
O
Ob. 1+2
5
5
TT
Picc.
ED
373
US
Fl. 1+2
PE
52
sfp
fff
fff
fff
fff
fff
3
3
3
3
3
3
3
3
3
sfp
sfp
sfp
sfp
sfp
fff
fff
fff
fff
fff
3
3
3
3
3
3
3
f
marc
f
3
3
3
3
1.
3
3
3
3
3
sempre marc.
3
Vln. II
3
Vla.
3
Vc.
Cb.
3
3
3
3
3
sempre marc.
3
sempre marc.
3
3
sempre marc.
3
3
3
3
sempre marc.
3
3
1.
3
3
3
3
3
3
1.
3
3
3
2.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
pp
3
3
3 3
3 3 3 3 3
3
brassy
a2
p
p
1.
p
h=50
3
3
3
3
3
3
3
a2
ff
p
3
3
molto rit.
3
3
3
3
3
3
3
3
3
sempre marc.
3
3
sempre marc.
3
3
molto accel. sempre marc.
3
3
1,
3
3
3
3
3
f
3
3
3
3
3.
3
f marc.
3
3
3
3
3
3
3
3
f
3
3
PE RU
SA
Vln. I
W
marc.
TT
Timp.
3
f
L-
Tba.
3
sempre marc.
NO
B. Tbn.
Tbn. 1+2
f
Tpt. 3
3
US
mf
3
sempre marc.
BE
3
O
3
3
f
Tpt.1+2
f sempre marc.
1.
f sempre marc.
3
3
3
3
3
f
marc.
f sempre marc.
Hn.1+2
Hn.3+4
Bsn. 1+2
Cbsn.
Cl. 3
3
3
3
3
f sempre marc.
R
3
sempre marc.
Cl. 1+2
3
f
Eng. Hn.
3
3
FO
Ob. 1+2
marc.
3
CE
Picc.
f
3
53
M AN
3
h=50
molto rit. 1.
OR
3
RF
378
PE
Fl. 1+2
molto accel. sempre marc.
ED
W
3
3
p
p
p
p
p
p
molto
molto
molto
molto
molto
molto
54
Bsn. 1+2
Cl. 1+2
f
mp
f
Perc.3
Vln. I
Vln. II
SA
ff
PE RU
ff
Vla.
ff
Vc.
ff
Cb. ff
NO
L-
Hp.
mp 3
pp
3
3
3
mp
3
mp
FO vibraphone - soft mallets
1. solo
xylophone
ED
mf
US
Perc.2
BE
Timp.
mf
O
Tbn. 1+2
TT
Tpt.1+2
ff
1. solo
Hn.3+4
mp
p
pp
p
3
pp
pp
pp
3
Hn.1+2
3
mp
1. solo (open)
CE
M AN
OR
Ob. 1+2
RF
1. solo
PE
R
383
pp
pizz.
3
p
3
Vln. I
Vln. II
solo mp
Vla.
p
pp
pp
pp
legato arco
pp
3
mp
1. `solo
Bsn. 1+2
Hp.
Hn.3+4
pp
pp
Transcendent q=40 tutti (div) Vln. I
pp
tutti
PE RU
Vla.
SA
Vln. II
Vc.
Cb.
BE
n
n
pp
pp
pp
2
mf
rit.
mf
div
p
solo mf
div
mf
solo
mf
p
2
p div
p
p
mf
mf
n
n
n
pp
pp
pp
pp
p
rit. p
pp
p
div
div
p
pp
mf
n
mp
1.
pp
n
mf
p
n
1.
div
mf
mf
p
1.
pp
p
div
div
p
p
pp
L-
pp tutti (div)
O
n n
TT
Hn.1+2
mp
NO
Cl. 1+2
p
Ob. 1+2
ED
Fl.3
US
mp
flute
Transcendent q=40 398 Fl. 1+2
legato tutti
legato tutti
p
p
p
solo 3
mp
Cb.
3
3
mp
all but soloist
solo
Vc.
solo
all but soloist pp
3
mp
3
CE
mp
3
M AN
3
OR
RF
PE
389
FO
Fl. 1+2
55
poco rit.
R
X h=q, Molto Rubato q=50
pp
p
pp
p
pp
Y
p
p
Perc.2
Perc.3
Vln. I
p
S.D.
temple blocks
pp
Vla.
Vc.
Cb.
p
q=150
Vln. II
t-toms
Calmly q=55
div con sord
pp div con sord
pp
consord pp
div
con sord. pp
Perc.2
Perc.3
Hp.
Pno.
Vln. II
Vla.
Vc.
Cb.
PE RU
Vln. I
senza sord.
senza sord.
dampen string pp
mp
col legno
col legno
senza sord. pizz, 3 soli
pp
senza sord. pizz
pp
pp 3 soli, sul pont.
pp 3 soli, sul pont.
pp
mf
mf
mf
3 soli, sul pont.
pp
col legno
mp
pp
p
p
mp
p
p 1.
p
p
BE
O
TT
ED
US
NO
Perc.1
L-
Timp.
418
SA
Bsn. 1+2
Propulsive q=150
Cl. 1+2
M AN
bongos
Propulsive q=150
OR
Calmly q=55
RF
Perc.1
q=150
PE
Timp.
R
409
FO
Hn.1+2
CE
56
57
Hn.1+2
1. wah-wah!
Perc.2
Perc.3
Pno.
Vln. I
sim.
sim.
SA
R
FO
ED
pp
PE RU
Vla.
PE
pp
Vln. II
p
O
mp
p crisp
mp
TT
Hp.
mf
NO
Perc.1
L-
Timp.
mp
Tbn. 1+2
CE
mf mp
M AN
US
Bsn. 1+2
BE
Cl. 1+2
OR
425
RF
sim.
pp
mf
mf
mp
tutti, col legno
mf
tutti, col legno
mp
tutti, col legno
pp
modo ord.
mp
crisp, div
modo ord.
crisp 4 soli (div - 2 each)
p
p
Vc.
Cb.
(inside)
arco
mp
mp
58
1. solo
433
3
mf
Z
3
mp
p
Cl. 1+2
Bsn. 1+2
Tpt. 3
harmon mute 1.
3
3
mp
p
Pno.
Vln. I
ED
US
p
p
M AN
open
pp
3 3
mp 3
mp
open
open mp
mp
open mp
p
Z
poco sul pont p poco a poco cresc.
Vln. II
B.D.
BE
O
Hp.
TT
Perc.4
p
NO
Perc.1
L-
Tba.
mute
3.
pp
FO
Tbn. 1+2
OR
RF
Tpt.1+2
PE
Hn.3+4
R
Hn.1+2
CE
Fl. 1+2
poco sul pont p poco a poco cresc.
p poco sul pont (outside)
poco a poco cresc.
PE RU
Vla.
SA
poco sul pont pp poco a poco cresc. poco sul pont
pp
Vc.
Cb.
poco a poco cresc.
Tpt.1+2
Tpt. 3
Tbn. 1+2
mf
change to
p
L-
Vc.
change to
PE RU
Vla.
SA
Vln. II
change to
f
5
3
f
(div)
mf
f
f
f
f
f
arco mp
3
vibraphone - semi-hard mallets
modo ord.
modo ord.
f
modo ord.
3
f
modo ord.
f
modo ord.
change to
3
change to
Vln. I
f
f
OR f
f
f
f f
3
3
mf
3
mf
open
f
p
3
Cb.
mf
3
3
f
O
3
Perc.3
Hp.
a2
3
3
B. Tbn.
Tba.
s.
Hn.3+4
3
59
CE
f
M AN
Hn.1+2
gli s
FO
Bsn. 1+2
piccolo
ED
B. Cl.
3
f
US
Cl. 1+2
3 f a2
BE
Eng. Hn.
TT
Ob. 1+2
NO
Picc.
RF
PE
440
R
Fl. 1+2
a2
f
f
f
Bsn. 1+2
Cbsn.
B. Cl.
Hn.1+2
3
Tpt. 3
Tbn. 1+2
B. Tbn.
Perc.1
ff
ff
p
s. glis
ff
ff
B.D.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
ff
ff
PE RU
ff
ff
3
3
3
3
div
ff
ff
3
3
ff
ff
3
3
f
ff
3
3
3
3
3
3
3
ff
ff
div
ff
ff div
div
ff
div
ff div. a3
ff
ff
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Explosive div
3
ff
3
3
3
3
3
3
choke
3
3
3
ff
ff ff Explosive hard mallets 3
p
ff
3
ff ff
f
ff
3
3
ff
3
3
ff
ff
ff div
n
t-toms
O
n
NO
Hp.
L-
Perc.4
3
SA
Perc.3
ff
3
TT
Clarinet
ff
med. susp. cym
Perc.2
p
ff
p
ff 3. gliss.
p
1.
ff
p ff
Tpt.1+2
Timp.
Hn.3+4
Tba.
p
3
CE
M AN
3
OR
RF
Cl. 1+2
PE
Eng. Hn.
R
Ob. 1+2
ED
Picc.
US
Fl. 1+2
BE
447
Explosive p ff 3 ff p ff ff 3
FO
60
3
3
Hn.1+2
Hn.3+4
Tpt.1+2
Tbn. 1+2
B. Tbn.
Tba.
Hp.
Vln. I
3
3
3
3
sfp
sfp
sfp
sfp
sfp
CE
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
sfp
sfp
sfp
sfp
sfp
61
sfp
sfp sfp
sfp
sfp
ff
sfp
3
sfp
sfp
3
sfp
PE RU Cb.
Vc.
3
Vla.
3
Vln. II
3
3
3
SA
Pno.
3
Timp. Perc.1
Tpt. 3
US
Cbsn.
BE
Bsn. 1+2
O
Cl. 3
3
TT
Cl. 1+2
NO
Eng. Hn.
M AN
3
OR
3
RF
3
L-
Ob. 1+2
PE
3
R
Picc.
3
FO
455
ED
Fl. 1+2
sfp
sfp
sfp
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
sfp
ff
3
sfp
3
3
sfp
1. 3
sfp
Hn.3+4 1. Tpt.1+2 Hn.1+2
mf
B. Tbn.
Tba.
3
3
mf
3
f
f
Vc.
Cb.
3
PE RU Vla.
3
SA
Vln. I
NO
vibraphone
crotales
Vln. II
L-
Perc.4
sfp
sfp
3
sfp
ff
3
3
3
sfp
ff
ff ff
ff
sfp
ff
3 3
f 1.
f 3.
3
2. marc
3
mf
p
ff
3
f
f
ff
ff
3
Building
fp
3
f ff div ff f div. a3 f ff div. a3
div
f
f
ff
3
f
3 ff mf
a2
Building
ff
Timp. Perc.1 Perc.3
sfp
a2 sfp 3 ff 3 3 3 sfp ff 1. 2. 3 ff
ff
sfp
FO
Cbsn.
Tbn. 1+2
3
Bsn. 1+2
Tpt. 3
sfp
BE
Cl. 3
sfp
O
Cl. 1+2
a2 sfp
RF
3
TT
Eng. Hn.
ff
CE
sfp
ff
M AN
OR
Ob. 1+2
PE
sfp
R
Picc.
sfp
ED
Fl. 1+2
AA
US
461
62
ff
AA Building
mp
mp
mp
mp
f
3
3
heavy
p
p
heavy p
mf
mf
f
p
468
f
poco a poco cresc.
poco a poco cresc.
mp
MNMOMNMM
Vln. I
Vln. II
Vla.
Vc.
Cb.
mf
f
s. glis 6
poco a poco cresc.
poco a poco cresc.
p
mf
mf
mf
p
mf
p
mf
f
sim.
sim.
mf
mf
g
6
mf
6
sim s glis
6
sim
6
s glis
.
6
6
div
.
mf
. liss
sim.
f
f
mf
sim.
mf
no div
f
marc
f
p
RF
p
B.D.
f
6
poco a poco cresc.
p
f
mp
poco a poco cresc.
p
PE RU
mf
6
6
mf
SA
s. glis
mf
sim.
f
marc
t-toms
choke
Pno.
f
PE
R
FO
Perc.2
Hp.
f
small t-tam
Perc.4
ED
US
BE
f
OR
f
TT
Perc.1
NO
Timp.
L-
Tba.
B. Tbn.
Cbsn.
Tbn. 1+2
Tpt. 3
Tpt.1+2
Bsn. 1+2
Hn.3+4
Hn.1+2
Cl. 1+2
Eng. Hn.
M AN
f
O
Ob. 1+2
Picc.
63
CE
Fl. 1+2
a2
Timp.
Perc.1
Hp.
sim.
s. glis
6
s glis
.
6
6
3
p
3
f
p
f
3 3
sim.
CE
M AN
OR
ff
ff
s glis
.
f
f
f
3
6
3
6
f
sim.
f
ff
ff
ff
ff
6
ff
ff ff
6
s. g lis
RF
fp
ff
SA
PE RU
Vc.
Vla.
6
Vln. II
Cb.
Vln. I
Pno.
PE
R
mf
2. marc
Perc.2
Perc.4
B. Tbn.
NO
Tbn. 1+2
Tpt. 3
Tpt.1+2
FO
Hn.3+4
Tba.
BE
L-
Hn.1+2
O
Cl. 3
a2
Cl. 1+2
Bsn. 1+2
TT
Eng. Hn.
ED
Ob. 1+2
US
Fl. 1+2 473
Picc.
64
Winds play pitches around given contour very fast. disregard meter, but continue to follow conductor.
3 3
3
no div
f
no div.
f
f
3
Cbsn.
Tpt. 3
Tbn. 1+2
Perc.4
Hp.
sfp
sfp
sfp
sfp
sfp
Vc.
Cb.
bells up
bells up
ff
gliss.
gliss.
3
ff
cresc.
sfp
cresc.
mp
mf no div.
mf
ff
ff
mf
p
sfp
n
sfp
t-tam
mp
3
ff
L-
ff
ff
SA
PE RU
3
3
3
3
ff bells up
sfp Vln. I sfp Vln. II no div. mp no div. Vla.
f
bells up
f
ff
5
f
5
mp
sfp
CE
5
sfp
3
sfp
3 3
3
Perc.2 Perc.3
ff
TT
Perc.1
B. Tbn.
Timp.
ff modo ord
ED
Tpt.1+2
3
US
Hn.3+4
Tba.
ff
BE
3
NO
Hn.1+2
3
M AN
OR
Bsn. 1+2
ff
modo ord
Cl. 3
ff
Cl. 1+2
Eng. Hn.
a2 modo ord
3
ff
65 3 5 5 5 5 3 5 5 5 5 3 5 5 3
RF
Ob. 1+2
Picc.
modo ord
PE
O
Fl. 1+2
R
477
FO
a2 modo ord
cresc.
mf cresc.
Bsn. 1+2
ff ff
bring out
ff
p
ff
ff
PE RU
ff
Vc.
ff
Cb.
ff
ff
CE
a2
4.
ff
f
sfp
3
3
ff
ff
3 3
3
ff
ff
f
f
ff
L-
no div. no div.
no div.
SA
ff
f
div Vln. I
Vla.
ff
TT
BB Relentless
Vln. II
a2
NO
B.D.
ff f
ff
S.D.
Perc.4
3
3
bongos
Perc.3
ff
ff
p
f t-toms
Perc.2
RF
p
fff
Relentless Timp. Perc.1
fff
ff
3
modo ord.
p
fff
3
fff
**a2
p modo ord.
fff
Tba.
PE
ff
B. Tbn.
fff
**a2 bring out
Tbn. 1+2
modo ord.
fff
Tpt. 3
ff
Tpt.1+2
Hn.1+2 Hn.3+4
ff
M AN
ff
ff
Cbsn.
ff
Cl. 3
R
Cl. 1+2
ff
FO
Eng. Hn.
ED
Ob. 1+2
US
Picc.
BE
Fl. 1+2
O
483
OR
BB Relentless
66
** if the a2 indication in the trumpet 1+2 and trombone 1+2 parts causes tuning issues, it may be played 1 per part by principal players. In this case, principal players are encouraged to raise bell, and 2nd players come in at the split lines beginning on m.490
Tbn. 1+2
B. Tbn.
Tba.
Perc.1 Timp.
Perc.2
Perc.3
Pno.
Vln. I
p sub
Vln. II
PE RU
Vla.
Vc.
Cb.
f
p
M AN
ff
p sub
p sub
ff
chimes
ff
f
f
mp vibraphone
t-tam
crotales
mp
ff
p sub ff p sub ff p sub ff p sub ff p sub ff p sub ff p sub
ff ff ff
CE
OR
RF
p sub
f
pp
p sub ff
L-
Hp.
p
SA
Perc.4
ff
PE
R
p sub ff p ff p sub ff p sub ff p sub ff p sub ff p sub ff
FO
p ff Hn.3+4 Tpt.1+2 Tpt. 3 Hn.1+2
ff
ED
p sub
US
ff
67
p sub ff cue Cbsn.
O
Cbsn.
p sub
TT
Bsn. 1+2
CC
p sub ff p sub ff p sub ff p sub ff
NO
Cl. 3
BE
491 Fl. 1+2 Picc. Ob. 1+2 Eng. Hn. Cl. 1+2
div. (sul pont)
pp
mf
Perc.4
f
pp
pp
mp
3.
p
mp
pp
pp
pp
pp
cbsn. cue (A extension needed)
med. susp. cym
pp
mp
div
Vla.
L-
SA
div
PE RU
Pno. (div) Vln. I
f
PE
f
Perc.3
Cb.
Perc.2
Vc.
Vln. II
B. Tbn.
R
Tbn. 1+2
f
FO
Tpt. 3
Hp.
ED
Tpt.1+2
Perc.1
Hn.3+4
Tba.
US
Hn.1+2
BE
Cbsn.
O
Bsn. 1+2
TT
Cl. 1+2
NO
Ob. 1+2
CE
Picc.
M AN
498
OR
Fl. 1+2
RF
68
pp
Bsn. 1+2
Cbsn.
ff
ff
ff
Hn.3+4
Tpt.1+2
Timp.
pp
ff
ff
Cb.
mf
medium mallets
ff
ff
ss. gli
ff ff
ff
ff
mf
ff
ff
ff
SA
PE RU
Vc.
Vla.
L-
Vln. I Vln. II
TT
mf
mf
pp
NO
Pno.
ff
mf
mf
Perc.1 Perc.2 f Perc.3 Perc.4 Hp.
pp
ff
B. Tbn.
ff
Tbn. 1+2
Tba.
Tpt. 3
ff
BE
Hn.1+2
ff ff a2 ff mf ff
a2
O
Cl. 3
OR
ff
RF
PE
a2
ff
CE
M AN
69
ff
FO
Cl. 1+2
a2
ED
Eng. Hn.
US
Ob. 1+2
R
505 Fl. 1+2 Picc.
t-toms mf ff
no div ff no div. ff no div ff no div ff ff
ff ff
ff