Christian Mason
The Singing Tree for 5 Solo Voices, Childrenʼs Choir and Ensemble Text: Paul Griffiths
Score
MM 2385424 Unverkäufliches Mietmaterial: Weitergaben an Dritte sowie Vervielfältigungen jeglicher Art sind unzulässig. Einzeichnungen sind nur mit weichem Bleistift gestattet. Andernfalls sind wir genötigt, Schadenersatz zu verlangen. Rental Material, not for sale: Passing on to third parties, as well as any kind of copying is prohibited. Alterations, cuts or markings only with pencil. Otherwise we will claim damage compensation in addition to the rental fee.
Christian Mason
The Singing Tree for 5 Solo Voices, Childrenʼs Choir and Ensemble Text: Paul Griffiths
Score
MM 2385424 Printed in Germany
Nur das Mikrofon einschalten reicht nicht – Just turning on your microphone is not enough. Haben Sie den Verlag schon eingeschaltet? Have you already turned to the publisher?
„Die Benutzung des Materials zu allen Arten von Audio-/audiovisuellen Produktionen, digitaler Speicherung (online/offline), Übermittlung, Wahrnehmbarmachung usw. ohne vorherige schriftliche Zustimmung des Verlages ist ausdrücklich untersagt.“ aus „Allgemeine Geschäftsbedingungen“, 5b
leih@breitkopf.de
”The use of the material for all types of audio/audio-visual production, digital storage (on-line/off-line), transmission, creation of perceptible media, etc., is expressly prohibited without the prior written consent of the publisher.“ see ”General Trade Terms,“ 5b
hire@breitkopf.com
III
Table of Contents Part 1: seed, root, trunk 1. E nduring Elm [word – phrase] for Barbara Keal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1
2. Trees become gods [statement] in memoriam Rod Freeman . . . . . . . . . . . . . . . . . . . . . . . .
18
3. the hum of time [theory] for Farhaad Rahnama . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
37
4. Medieval Memory (I) for Kosmo Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
50
Part 2: branch, twig, leaf, flower 5. nearer to you [story and metamorphoses] for Stephan Meier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6. medieval memory (II) Machaut: Puis qu’en oubli [memory flown] for F rank Denyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7. In green music [psalm] for Frank Reinisch and Helmut Lachenmann . . . . . . . . . .
54
Soprano Mezzo soprano Tenor Baritone Bass (All singers: paper sheets, 5-string kantele** and Japanese iron wind chimes***) Violin 1 Violin 2 (Scordatura Violin) Viola 1 Viola 2 (Scordatura Viola) Violoncello 1 Violoncello 2 (Scordatura Violoncello) Double Bass * Handkerchief Harmonica is a tremolo harmonica wrapped in a handkerchief or similar cloth, which produces a very high ethereal
84
cluster of indefinite pitches ** 5-string Kantele (Finnish folk zither), plucked or strummed, each
86
instrument with a unique tuning *** Japanese iron wind chimes
Text Permissions
The score is in C.
Paul Griffiths: Tree – Word, Phrase, Statement, Theory, Story, Metamorphoses, Psalm
First Performance
Béla Hamvas: Trees (Tr. Sherwood, Peter) Budapest: Editio M, 2006. Quote: „Alive like a laugh that never goes away”
Neue Vocalsolisten Stuttgart Finchley Children’s Music Group Birmingham Contemporary Music Group Michael Wendeberg, Conductor
Guillaume de Machaut: Puis Qu’en oubli (memory flown) (Tr. Paul Griffiths) Musikalische Werke. Edited by Friedrich Ludwig and Heinrich Besseler. 4 vols. Leipzig, Ger.: Breitkopf & Härtel, 1926–54.
Instrumentation 2 Flutes (2 Piccolos) Oboe (Handkerchief Harmonica*) Oboe d’Amore (Handkerchief Harmonica*) English Horn (Handkerchief Harmonica*) Bass Oboe (Handkerchief Harmonica*) 2 Bass Clarinets in Bb Trumpet in C (straight mute, cup mute, harmon mute) 2 Horns in F (with mutes) Trombone (straight mute, cup mute, harmon mute) Tuba (with mute) Harp Piano (with plectrum) Electric Guitar (with wah-wah pedal) Percussion 1 Crotales, sizzle cymbal, tambourine, handkerchief harmonica*, xylophone, pair of sandpaper blocks, tam-tam, tubular bells, pair of Chinese opera gongs, vibraphone, 4 tuned wine glasses (B, AK, Fµ, D#), 4 tuned gongs (B, C, D, Eb), pair of bowed suspended cymbals (different sizes) Percussion 2 kayamba, glockenspiel, bass drum, handkerchief harmonica*, guiro, marimba, 4 tuned wine glasses (BJ, G, E, D), tam-tam (shared with Perc. 1), pair of hand-held crotales (C, E), suspended cymbal (large) Children’s choir
Birmingham Town Hall, Birmingham May 12, 2023
Duration Approx. 50 min Commissioned by Birmingham Contemporary Music Group with the support of Ernst von Siemens Music Foundation and financial assistance from the following individuals through BCMG’s Sound Investment scheme: Catherine & Derrick Archer Viv & Hazel Astling Jean Bacon Peter Baldwin John Barnden Samantha Bird Paul Bond Richard Bratby Christopher Carrier Simon Collings Alan Cook Dennis Davis Mervyn Dawe Darryl de Prez Susanna Eastburn Wally Francis John Glass Matthew Harris Nicole Hermanns John Hess
Vic Hoyland Philip Hunt Stephen Johnson Jeremy Lindon Sebastian Lovell-Huckle Amanda Cadman & Peter Marsh Colin & Belinda Matthews Philip Mills Roy Parker Kim & Kay Prior Simon & Claire Scott Michael & Sandra Squires Richard & Carolyn Sugden Nest Thomas Victoria Thomas Terry Thorpe Christoph & Marion Trestler Janet Upward Stephen Williams Blair Winton
First performed with support from Arts Council England, PRS Foundation and The Radcliffe Trust
IV
Description The time of trees, the time of music. The first thing to remember in the presence of trees is gratitude: for their mysterious majesty, for the air we exchange with them at every moment, for the wood that warms and shelters us — and makes our musical instruments, for the cool shade that protects us from the sun, for the calming beauty of leaves in the breeze and dappled sunlight, for the ecosystems that form on and around them, and for showing us a time-scale bigger than our own. To be in the presence of trees, or single a tree, can speak volumes — if we care to listen. Thinking about the sense of longer-than-human time that they embody, I find analogies between trees and the musical meanings and processes that coalesce in my work. This is especially true of The Singing Tree, a cantata-like setting of a wonderfully arborescent text by Paul Griffiths, for five vocal soloists, children’s choir and large ensemble (BCMG). The first thing we notice about the text is that it grows. It grows from a single seed-word: TREE. And as it grows, so too do the words of each part multiply: 1 - 4 - 16 - 64 - 256 - 1024. To me this immediately suggests (or suggested) a variety of temporalities, such that in the music some words appear stretched into cantus firmus background structures, whereas others flit by like autumn leaves in a gust of wind. Others still are repeated incessantly as ostinati, becoming like a mantra or an incantation: A sapling is a sapling / But trees become gods. The piece, across its seven movements, also suggests tree-time by invoking memories. Personal memories, hinted at in the dedications of the movements - to my sister, to my former guitar teacher, to various friends and colleagues… And cultural/music-historical memories, as in the ‘Medieval Memory’ movements, each a different version of Guillaume de Machaut’s haunting Rondeau “Puis qu’en oubli”. Machaut lived c.1300 - 1337, a long time ago from a human perspective, but a glance at wikipedias ‘list of oldest trees’ reveals that there are many trees still living which would already have been ancient back then, being four or five thousand years old! The supposed oldest tree in France — Le Chêne Chapelle (Chapel Oak), at
Allouville-Bellefosse is comparatively young at an estimated 800 years old; but that is still old enough that Machaut could conceivably — albeit rather fancifully — have visited it in its youth. Whereas Machaut appears quite near the beginning of what we usually discuss as ‘Music History’, the older trees have existed since a time beyond the reach of our musical or cultural memory. To think of whole historical epochs passing as relatively brief moments in the life of an old tree is a wonder. Yet such survivors are an exception in a story of frequent exploitation and destruction by human interests. Especially concerning at the global level is deforestation in the Amazon rainforest, but closer to home too ancient woodland is often at risk from human road, rail and housing developments: tree lives being cut short by hundreds of years to save a few minutes in the frenetic lives of some humans… The questionable compensation that such projects offer in terms of planting new trees ignores the inherent, intangible and irreplaceable value of ancient lives being lost: for they speak without speech one to another to another to another in words that go by way of the ground in words of such length we cannot keep still to the end of one in words of such length we have gone before they end in words of such length they have been here from before us in words of close breath in green music Looking recently at images of Mars sent back from the NASA Perseverance Mission, it is the trees that I miss the most. Christian Mason, April 2023
V
Suggested On-Stage Ensemble Disposition
Off Stage: Trumpet & Soprano
Off-Stage: Trombone & Bass Childrens Choir*
Tuba Trumpet*
Trombone*
Percussion 1
Percussion 2 Piano
Guitar
Harp
Flute 1
Flute 2
Bass Clarinet 1
Bass Clarinet 2 Double Bass
Horn 1 Violoncello 1
Horn 2 Violoncello 2
Viola 1
Viola 2
Violin 1 Oboe d’Amore
English Horn
Mezzo Soprano
Baritone
Oboe Soprano*
Violin 2
Tenor
Bass Oboe Conductor
Bass*
Extra offstage positions Solo child, Movement 1
Soprano and Trumpet, Bass and Trombone, Movement 4
Off-stage (not visible and sounding very distant). At b.16 the solo child is still off-stage, but now audibly closer and visible at the stage entrance. At b.25 the solo child joins the tutti choir.
Move off-stage. If possible these off-stage positions should be antiphonal with soprano/trumpet on the left and trumpet and trombone on the right. The first off-stage position (Movement 5) should not be visible and should sound very distant; subsequent positions move progressively closer, rejoining the ensemble onstage at their original positions in b.126.
VI
Vocal Texts BY PAUL GRIFFITHs 5. Nearer to you
1. Enduring elm TREE WORD Tree TREE PHRASE The red elm enduring
2. Trees become gods TREE STATEMENT Trees become gods. A sapling is a sapling. But trees become gods. Divinity hardens into them. alive like a laugh that never goes away (from Béla Hamvas: Trees, trans. Peter Sherwood)
3. The hum of time TREE THEORY to feel in your hand the songs of birds and see down in the dark underground each infinitesimal to hear in your mind the colours of flowers and scent the shapes of clouds moving past momentaneously to not know your presence is limitless or that you hold the weights of silences gone immemorially to grow in perpetual motionlessness and touch the hum of time
4. Medieval memory I — after Machaut: Puis qu’en oubli Memory flown, you go off on your own, No longer hearing this voice that we share. Slow rot the fruit from these seeds we have sown, Memory flown, you go off on your own. My leaves turn brown and so bare now my crown, No other will I trust or give my care. Memory flown, you go off on your own, No longer hearing this voice that we share.
TREE STORY nearer to you my foot faster faster fly fly wet earth for for for forget the touch am I chased or or chasing chasing over stopping slipping because cradling earth the earth turns turns turns me so nearer to you that he runs reaches and then reaches again am I chasing or or chased across open spans into cradling cradling into even earth so root no chasing keep on running running across plains into marsh and thicket thicket nearer to you you as aware remembering that he his energy never decaying seeks seeks only this last am I chasing or or being chased chased into an eternal no a flame fire flame no seizing you you you nearer to you is there an end end as tiring and hearing breath breath breath there behind I must not cannot turn cause the fire reach oh flaming heat he breathes he breathes and raw heat he am I chasing or or being being chased along nearer to you heat he breathes you cannot turn see am I chased or or chasing chasing over stopping slipping because must keep ahead leave leave these autumn leaves nearer to you red purple brown so am I chasing or or being being chased along am I chased or or chasing over streams streams streams nearer to you to run run run ahead ahead am I chasing or or being being chased along nearer to you getting near the last is this the last grove he reaches please please firm bark on me (metamorphosis I) nearer to you my foot ASH faster fly fly wet earth for for for forget ELM touch ASH I chased or or chasing ASH over stopping slipping ELM cradling ELM the earth turns ROWAN turns me so nearer to you that he runs reaches and ELM reaches again am I chasing or or chased across open spans OAK cradling ASH into even earth OAK root OAK chasing keep on running running across plains into marsh ASH thicket ELM nearer to you you as ASH remembering that he his energy ELM decaying seeks seeks OAK this last am I chasing OAK or being chased chased into ASH eternal OAK a flame fire flame no seizing you you you ELM to YEW is there an end end ASH tiring and hearing BEECH breath breath there behind I must not cannot turn cause the fire reach OAK flaming heat he ELM he ELM and raw heat ELM am WILLOW chasing or or BIRCH being chased along nearer to YEW heat ELM breathes you cannot turn see ASH I chased or OAK chasing chasing over stopping slipping BEECH must ELM ahead leave leave ELM autumn leaves nearer to you ELM purple BEECH so am I chasing or OAK being being chased along am WILLOW chased or or CHERRY over ROWAN streams streams nearer OAK you to run run run HOLLY ahead ASH I chasing or or being BIRCH chased along nearer OAK you LIME near the last SALLOW this ELM last grove he ALDER please ASH firm BEECH OAK me (metamorphosis II) nearer to YEW my foot ASH faster fly fly wet earth for OAK for OAK ELM touch ASH I chased OAK or chasing ASH OAK stopping LIME ELM cradling ELM ELM earth turns ROWAN turns me so nearer to you that he ROWAN reaches and ELM reaches again am I chasing or or chased OAK open ASH OAK cradling ASH OAK even ELM OAK root OAK chasing keep on running running across ASH into ASH ASH thicket ELM nearer to YEW you as ASH remembering that ELM his energy ELM YEW seeks seeks OAK this last ASH I chasing OAK or being ASH chased OAK ASH eternal OAK a flame fire flame no seizing YEW you YEW ELM
6. Medieval memory II — after Machaut: Puis qu’en oubli Memory flown, you go off on your own.
VII
7. In green music TREE PSALM over us all they held their counsel and could not but weep a green tear falls from a green eye we think they have no eyes no face but the reason for this is that we cannot see we may look at them we may look them in the face but not see never see there was a time when we did see these things but not now there may be a time when we will see such things again let that be the hope they promised us nothing and if we have hope in them they do not know it the hope should be more in us for the morning when memory rises again they have given us their better hope but could not tell us this they have stayed with that hope for a better time the reason they cannot and do not pray for us for they would if they could is this that they know it is to them one should pray they have bended down over us to keep us from the sun and from the eyes of the so many more we do not see and from what we see when we look in to a glass they had a wish to show us green showers in a green glass showers of green things in the sun things that would please us it is a wish they have held for so long and will keep for as long as it may take before they look at us and see eyes that light up eyes not cast down the difference being that they have more time than we do which is to say that this is how it was but not now when we see how time for them as for us may come to an end they have stayed where they have been all this time but would have left by now if they could gone from a time of which they could have had no expectation so still they take their long look at us as if it would be a last look but is not for they have stayed all this time with these eyes upon us they could well have turned away from us by now but have not by reason of their hope by reason of their green memory of the time before us they raised an arm but before it could help by touching us on the shoulder we had gone away we took another path we took them with us as we went away and had them do now as we would wish we took them out of the ground where they had been to another they did not know and now we cannot find the way again to where we have come from we and they us and them but not then as us and them but as all now we do not see them show us how with that arm still up
how to restore the day and have the sun turned to where it was in their stature is their mercy but we have been so reckless we could not receive this eyes we have raised but not a hand there was a time when they let us see their green chamber had us look in to that chamber where we could see a green key that lay on a green bed at the end of the chamber was a green door we did not ask if the key was for the door and as we did not ask they did not tell us and so we left no doubt the key is still there on the bed where we left it in that chamber but we cannot find it again cannot find the chamber the bed the key the door they did ask us close to that time to look at the green light in a green stone this was when they could still speak to us now and then this was when we could still make out their words but we could not see the green light we turned the stone this way and that we held it close
but it stayed cold
and there was no light no light we could see we had let it go out all this was at a time before we remember but their memory is long their memory is a wheel in which we are so little in which we have been so little in which we will go on being so little if we have gone before them they will remember us what they will remember of us most will be the shame this more and more up to the time when that memory is lost it did not have to be as it is but still it is they had no wish for it to be as it is but still it is they will never give up on us for they would not know how to give up on us they are locked to us locked with us in something we did know at one time but not now something we now do not know how to find something for which we have no words and do not know we have no words as we cannot see their eyes we do not think they know what we do to them but they know one would speak of it more than one it may be they have no tongue but still they speak and all of them know what is in one another’s mind for they speak without speech one to another to another to another in words that go by way of the ground in words of such length we cannot keep still to the end of one in words of such length we have gone before they end in words of such length they have been here from before us in words of close breath in green music they have done what they could for us they have done more than they should for us now we have to ask what we may do for them
VIII
String Scordatura The tuning corresponds to partials 10 – 15 from the harmonic series on C as follows: -
Lowered B-flat = 7th (or 14th) partial Lowered F-sharp = 11th partial Raised A-flat = 13th partial
Scordatura Violin Scordatura Violin Scordatura Violin Restrung with 4 G-strings Restrung with 4 G-strings Restrung withIII 4 G-strings II IV IV III II IV III II
I I I
It is possible to tune by ear to natural harmonics of a cello C-string (though these will be 2 octaves higher), otherwise please use an electronic tuner.
F# -49 cents F# -49 cents F# -49 cents
Cheap strings such as Astrea seem to cope well with being tuned accordingly.
Scordatura Viola Scordatura Viola Scordatura Viola Restrung with 1 C-string and 3 G-strings Restrung with 1 C-string and 3 G-strings Restrung with III 1 C-string andII3 G-strings IV IV III II IV III II
Ab +41 cents Ab +41 cents Ab +41 cents
I I I
F# -49 cents F# -49 cents F# -49 cents Scordatura Violoncello Scordatura Violoncello Scordatura Violoncello Restrung with 4 A-strings Restrung with 4 A-strings Restrung with III 4 A-strings IV IV III IV III
I I I
II II II
Ab +41 cents Bb -31 cents Ab +41 cents Bb -31 cents Ab +41 cents Bb -31 cents Kantele 1 (Soprano) Kantele 1 (Soprano) V IV Kantele Tuning Chart Kantele 1 (Soprano) V IV Kantele 1 (Soprano) V IV Kantele 1 (Soprano) N.B. The microtonal pitches are related to the harmonic spectrum V IV of C: -
lowered Fk (- 49 cents) = 11th partial of C raised Aj (+41 cents) = 13th partial of C lowered Bj (-31 cents) = 7th (or 14th) partial of C
All other notes are in standard tempered tuning.
V
IV
III III III III III
Kantele 2 (Mezzo Soprano) Kantele 2 (Mezzo V IV Soprano) III Kantele 2 (Mezzo Soprano) V IV III Kantele 2 (Mezzo V IV Soprano) III Kantele 2 (Mezzo Soprano) V III -49 IV cents V IV III -49 cents below F# -49 cents below F# -49 cents below F# -49 cents below F# Kantele 3below (Tenor) F# Kantele 3 (Tenor) V IV III Kantele 3 (Tenor) V IV III Kantele 3 (Tenor) V IV III Kantele 3 (Tenor) V IV III V IV III Kantele 4 (Baritone) Kantele 4 (Baritone) V IV III Kantele 4 (Baritone) V IV III Kantele 4 (Baritone) V IV III Kantele 4 (Baritone) V III -49IVcents V IVcents III -49 below F# -49 cents below F# -49 cents below F# -49 cents below F# Kantele 5 (Bass) below F# Kantele 5 (Bass) IV III V Kantele 5 (Bass) IV III V Kantele 5 (Bass) IV III V Kantele 5 (Bass) IV V +41III cents IV III V +41 cents above Ab +41 cents above Ab +41 cents above Ab +41 cents above Ab above Ab
II II II II II
I I I I I
II II II II +41 cents II Ab +41 cents above +41 cents above Ab +41 cents above Ab +41 cents above Ab above Ab II II II -31IIcents -31 below Bb IIcents -31 cents below Bb -31 cents below Bb -31 cents below Bb below II Bb II II +41IIcents IIcents +41 above Ab +41 cents above Ab +41 cents above Ab +41 cents above Ab above Ab II II II -31IIcents IIcents -31 below Bb -31 cents below Bb -31 cents below Bb -31 cents below Bb below Bb
I I I -31Icents Icents -31 below Bb -31 cents below Bb -31 cents below Bb -31 cents below Bb below Bb I I I I I
I I I I I
I I I I I
THE SINGING TREE THE PARTSINGING I: seed, root,TREE trunk sister Barbara Keal trunk PART forI:myseed, root,
1 2 1 Flute 2 Flute
1. Enduring [word for my elm sister Barbara Keal- phrase] a2 elm [word - phrase] Fragile, fluid, full of life q = ca. 72 1. Enduring whistle tones ad lib.
2 Fragile, fluid, full of2life q = ca.272 2 4 2 2 2 2 2 4 2 2 2 2 (muta in Harmonica) 4 2 2 2 (muta in Harmonica) 4 2 2 2 (muta in Harmonica) 4 2 2 2 (muta in Harmonica) 4 2 2 2 (muta in Harmonica) 4 2 2 2 4 (muta in Harmonica) 2 2 2 (muta in Harmonica) 4 2 2 42 22 2 4 2 2 42 22 2 4 2 2 42 22 2 4 2 2 2 42 2 4 2 2 2 42 2 4 2 Crotales 2 2 arco 4 2 Crotales 2 2 arco 4 2 2 2 4 2 2 2 4 2 2 2 42 2 4 22 22 2 44 22 22 2 44 22 22 2 44 2 2 42 2 2 4 2 Solo - Position 1: off-stage, very 2 2 4 distant
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 22 2 2 22 2 2 22 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 22 2 22 2 22 2 2 2 2 2 2
(muta in Harmonica)
Oboe Oboe Oboe d'amore Oboe d'amore English Horn English Horn Bass Oboe Bass Oboe Bass Clarinet 1 in Bb 2 Bass Clarinet 1 in Bb 21 Horn in F 2 1 Horn in F 2 Trumpet in C Trumpet in C Trombone Trombone Tuba Tuba Percussion 1 Percussion 1 Percussion 2 Percussion 2 Harp Harp Piano Piano Electric Guitar Electric Guitar Children's Choir [S.A.] Children's Choir [S.A.] Soprano Soprano Mezzosoprano Mezzosoprano
p mf p f Solo - Position 1: off-stage, very distant 3 p mf p f
2 2 2 TREE 2
2 4 2 4
2 TREE 2 2 2
2 4 2 4
2 2 2 2
2 4 2 4
3
through handkerchief
Harmonica in C
through handkerchief
Harmonica in C
p
Harmonica in C
p
Harmonica in C
Harmonica in C Harmonica in C Harmonica in C Harmonica in C
Kayamba pp
Kayamba
pp
p
2p 2 3 2 2 3
a2 whistle tones ad lib.
mf
Like Wind Through Leaves *
2 2Like Wind Through Leaves * 2 ** [x] 2 [ee<>oo]
2 2 2 2
Like Wind Through Leaves** [x] * [ee<>oo] Like Wind Through Leaves * **
2 2
3p 2 3 2 3 2 3 2p 3p 2 3 2 3 2 3 23 2 3 23 2 3 23 2 3 23 2 3 23 2 3 2 3 2 3 2 3 2 3 23 2 33 22 33 22 33 22 3 23 2 3 2
3 3
[x] [ee<>oo] [x] ** Like Wind Through Leaves [ee<>oo]
3 2 3 2
p p p
3 2 3 2
5
"f"
5
5
"f"
3
5
5
mf mf
3
"f"
3
(solo)
2 (solo) 2p 2 TREE 2
5
"f"
6
"f" 2 2 2 3 Tenor 5 5 6 2 4 2 Like Wind Through Leaves 2* 2 2 2 3 [x] Tenor 2 4 2 2**[ee<>oo] "f" 6 7 Like Wind Through Leaves ** * [x] 2 2 2 3 "f" [ee<>oo] Baritone 6 7 2 4 2 Like Wind Through Leaves 2* 2 2 2 3 [x] Baritone 2 4 2 2 ** [ee<>oo] Like Wind Through Leaves [x] 2 2 2 3* ** [ee<>oo] Bass 2 4 2 Like Wind Through Leaves 2* 2 2 2 3 [x] Bass 2 Fragile, fluid, full of4life q = ca.272 2 ** [ee<>oo] *** [x] 2 Fragile, fluid, full of2life q = ca.272 3 ** Violin 1 2 4 2 2 [ee<>oo] *** 2 2 2 3 Violin 1 2 4 2 2 ppp *** 2 2 2 3 Violin 2 2 4 2 2 ppp *** 2 2 2 3 pp Violin 2 2 4 2 2 *** 2 2 2 3 pp Viola 1 2 4 2 2 *** 2 2 2 3 p Viola 1 2 42 2 23 *** 2 2 Viola 2 2 4 2 2 p *** 2 2 2 3 Viola 2 2 4 2 2 *** 2 2 2 3 Violoncello 1 2 4 2 2 *** 2 2 2 3 Violoncello 1 2 4 2 2 2 2 2 3 Violoncello 2 2 4 2 2 2 2 2 3 Violoncello 2 2 4 2 2 2 2 2 3 Double bass 2 4 2 2 2 2 2 circular motion 3 Double bass *) 2upper line = rub palms on rough 4 paper in continuous 2 2 **) lower line = coloured air noise (unvoiced/unpitched): gradually filter the noise ['sh' or 'ss' as specified] with gradual vowel transitions ad lib. between 'ee' and 'oo' *
(Harm.)
p
"f"
Text: Paul Grifths
2 2 (Harm.) 2 2 (Harm.) 2 2 (Harm.) 2 2 (Harm.) 2 2 (Harm.) 2 2 (Harm.) 2 2 (Harm.) 2 22 2 2 22 2 2 22 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 22 2 22 2 22 2 2 2 2 2 2
p
3 2 3 2
mf
A 2 2 A
3 2 3 2p
Christian Mason, 2023 Text: Mason, Paul Grifths Christian 2023
2 TREE 3 2 2 2
3
2 2 2 2 2 2 2 2 2 2 2 2 "f" 2 "f" 2 2 2 2 2 2 2 2 2 2 2 2 2 2 22 2 2 mp 2 2 mp 2 2 2 2 *** 2 *** 2 2 2 2 2 2
3
5 5
6
5
6
5
7
6
7
6
mf mf *** ***
MM 2385424
***) bow online bridge: noise *) upper = rubpitchless palms on rough paper in continuous circular motion **) lower line = coloured air noise (unvoiced/unpitched): gradually filter the noise ['sh' or 'ss' as specified] with gradual vowel transitions ad lib. between 'ee' and 'oo' ***) bow on bridge: pitchless noise © 2023 by Breitkopf & Härtel, Wiesbaden
MM 2385424
© 2023 by Breitkopf & Härtel, Wiesbaden
2 9
2 4
1 Fl. 2
2 2
whistle tones
3 2
2 2
3 2
2 2
3 2
2 2
3 2
2 2
3 2
2 2
mf (Harm) Ob. (Harm) Ob. d'am. (Harm) Eh. (Harm) B. ob.
air noise 1
2 4
2 2
2 4
2 2
2 4
2 2
2 4
2 2
2 4
2 2
(through handkerchief)
mp
mp
mp
tone
2 4
2
tone
2 2
air noise
3 2
air noise p
Bcl.
mp
2 2
timbre trill ppp
3 2
air noise
ppp
p Perc. 1 [Crot.]
2 4
2 2
Perc. 2 [Kay.]
2 4
2 2
p
f
Choir TREE
2 4
3
3
2 4
S.
p p
mf
move to Position 2: stage entrance
6
2 2
2 4
Mez.
2 2
Kayamba
[sh] [ee<>oo]
3
2 2
"f"
3
[sh] [ee<>oo]
"f"
3
2 4
T.
3
Bar.
5
2 4
2 4
B.
2 4
Vl. 1
Vl. 2
Va. 1
Va. 2
Vc. 1
Vc. 2 f
Db. ff
2 2
[x] [ee<>oo] 5
2 2
3
5
5
[x] [ee<>oo]
2 2 2 2
3 2
2 2
3 2
2 2
3 2
2 2
3 2
7
3 2
5
3 2
3 2
p change bow seamlessly ad lib.
2 4
2 2
2 4
2 2
2 4
2 2
2 4
2 2
3 2
2 4
2 2
3 2
2 4
p change bow seamlessly ad lib.
"f"
6
"f"
6
Breitkopf MM 2385424
7
6
2 2 2 2
ppp
2 2
ppp
3 2
3 2
2 2
[ss] [ee<>oo]
p change bow seamlessly ad lib.
2 2
2 2 5
"f"
2 2
2 2
3
3 2
3 2
5
3
3 2
3 2 change bow seamlessly ad lib.
2 2
timbre trill
ppp
2 2 2 2
p change bow seamlessly ad lib. p change bow seamlessly ad lib.
change bow seamlessly ad lib.
2 2 2 2 2 2
3 16 1 Fl. 2
B 2 2
2 4
2 2
(Harm)
2 2
2 4
2 2
2 2
(Harm)
2 4
2 2
2 2
(Harm)
2 4
2 2
B. ob.
2 2
(Harm)
2 4
2 2
1
2 2
2 4
2 2
2 4
2 2
2 4
2 2
2 4
2 2
2 4
2 2
Ob.
Ob. d'am.
Eh.
Bcl. 2
2 2
1
2 2
2
2 2
Hn. (F)
Trp. (C)
Tbn.
Perc. 1 [Crot.] Perc. 2 [Kay.]
Choir
air noise p
p
2 2 2 2 2 2
Mez.
T.
Bar.
B.
p
Solo - Position 2: stage entrance mf
f
Va. 1
Vc. 2
Db.
2 2 2 2 2 2 2 2
3
5
2 2
2 2
Vc. 1
3
2 2
Vl. 2
f <> p **
* f <> p ** *
*
f <> p
f <> p tone
**
**
air noise p air noise
air noise
tone p
micro-flux fp
micro-flux
mf
2 2
2 4
2 2
fp
2 2
2 4
3
3
2 2
mf
ppp straight mute
cup mute (closed) (gliss.)
ppp
pp
mf
mf
mf
f
ppp
f ppp
p
to Glockenspiel
p
mf
Walk to main position, joining tutti
TREE
2 4
2 2
2 4
2 2
2 4
2 2
2 4
2 2
2 4
2 2
2 4
2 2
2 4
2 2
2 4
2 2
2 4
2 2
p
2 4 2 4
ppp
ppp
3
mf
[ss] [ee<>oo] 3
Sample page
2 2
2 2
Va. 2
3
2 2
2 2
* mf
TREE
2 2
Vl. 1
2 4
2 4
TREE
S.
f
through handkerchief
Leseprobe
2 2
2 2
whistle tones
2 4
ff
3
2 2
5
[ss] [ee<>oo]
3
5
6
6
7
[sh] [ee<>oo] 3
5
[x] [ee<>oo] * *
mf
*
*
mf
mf *
2 2 2 2
[sh] [ee<>oo]
*
ff
ff
*) irregular trem. quasi morse code **) improvise alternation between loud and soft dynamics Breitkopf MM 2385424
4
C Bright yet melancholy
25
3 4
1 Fl. 2 (Harm) Ob. ff (Harm) ff (Harm)
3
3 4
3
3 4
Eh. ff (Harm) B. ob. ff
ord.
tr.
pp ord.
tr.
ff
ff flz.
rip
3
1 fp
Hn. (F)
ff
f
flz.
3
2 fp
ff 3
Trp. (C) ff (gliss.) Tbn. 3
p
3
ff
Glockenspiel
3 4
3 4
Pno.
3 4 3
Choir
3 4
the red elm en dur 9
10
5
6
6
7
S.
Mez.
T.
f
f
f
f
f
f
f
3
sim.
4 4 4 4 4 4 4 4
3
Leseprobe 3 4
Hp.
3
through handkerchief
f
4 4
3 4
3 4
f
through handkerchief
3 4
Perc. 2 [Glock.]
Tutti
through handkerchief
f
f
fp
p
fp
fp
3
rip
4 4
mf
fp
fp
4 4
3
rip
3
fp
fp
fp
4 4
fp
fp
4 4
fp
(arco)
3 4
Perc. 1 [Crot.]
p
4 4
sim.
4 4
f
4 4
f
3
ing
3
the red elm en dur
3
ing
3
the red elm en dur ing
3
red
elm
3
the red elm en dur ing
3
3
the red elm en dur ing
3
3
f
4 4 4 4
the red elm en dur
"ff"
3 4
Sample page 3 4 3 4
"ff"
"ff"
4 4 4 4 4 4
"ff"
7
3 4
Bar.
9
B.
p
3 4
3 4
Vl. 2 p
3 4
Va. 1 p
3 4
Va. 2
3 4
Vc. 1
3 4
* Vc. 2 *
4 4 "ff"
3 4
Vl. 1
Db.
f
4 4
3 4
3
2 pp
f
3 4
3
1 Bcl.
f
3 4
3
Ob. d'am.
through handkerchief
3 4
3
4 4
3 4
4 4 Bright yet melancholy
4 4
ff
4 4
ff
4 4
ff
4 4
ff
4 4
ff
4 4
ff
4 4
ff
Breitkopf MM 2385424
32 1 2
Fl.
Ob.
4 4
ord.
5 4
4 4
(Harm)
4 4
(Harm)
4 4
(Harm)
4 4
(Harm)
pp
5 4
B. ob.
5 4
1 Bcl. 2
1 Hn. (F) 2
4 4
4 4 4 4
5 4 5 4
Tbn.
4 4
Perc. 1 [Crot.] Perc. 2 [Glock.] Hp.
5 4 5 4
4 4
4 4
p
5 4
fp
4 4
5 4
Choir
4 4
5 4
Mez.
T.
Bar.
B.
4 4
ing
red
5 4 5 4
4 4
5 4
4 4
5 4
4 4
5 4
5 4 f
2 4
2 2
2 2
muta in Oboe d'amore
2 4
2 2
2 2
muta in English horn
2 4
2 2
2 2
muta in Bass oboe
2 4
2 2
4 4
tone
f
2 2
2 4
2 2
noise
5 4
noise
5 4
2 2
2 4
2 2
5 4 5 4
2 2 2 2
2 4 2 4
2 2 2 2
mp sotto voce
p
4 4
5 4
2 2
2 4
2 2
4 4
5 4
2 2
2 4
2 2
Sizzle Cymbal
4 4
4 4
arco
Kayamba
4 4
p a
4 4 4 4
f
5 4
2 2
5 4
mf
5 4
4 4
elm
2 muta in Oboe 2
Leseprobe
5 4
4 4
4 4
2 2
f
4 4 4 4
5 4
4 4
4 4
mf
5 4
Pno.
S.
pp
5 4
fp
5 4
4 4 unison with solo voice
2 4
f
f
4 4
Trp. (C)
5 4
4 4
5 4
2 2
f
f
f
f
5 4
4 4
5 4
f
mp sotto voce
f
f Eh.
5 4
4 4
f Ob. d'am.
a2 whistle tones
4 4
mf live
like
a
laugh
[la]
4 4
2 2
2 2
5 4
2 2 ppp
2 2
5 4
2 2
5 4
2 2
4 4
4 4
[la]
5 4
2 2
falsetto ppp
5 4
2 2
pp
3
[ah]
[ee]
Vl. 2
Va. 1
Va. 2
Vc. 1
Vc. 2
Db.
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
2 2
4 4
5 4
4 4
5 4
2 2
4 4
5 4
4 4
4 4
5 4
4 4
4 4
5 4
4 4
4 4
5 4
4 4
mf
mf
mf
mf
mf
ppp
ppp
ppp
ppp
ppp
Breitkopf MM 2385424
5 4 5 4 5 4 5 4
2 2
mp
mp
mp
mp
mp
[ah] 3
p [ah]
[ee]
p
p TREE
mf
TREE
p
[ee] ppp micro-flux
2 4
2 2
2 4
2 4
[ee]
2 4
3
mf
mf sul pont. micro-flux ppp
2 2 2 2
ppp
sul pont.
ppp
3
ppp
2 2 2 2 2 2
p
2 2
[ah]
2 2
p
2 4
2 2
2 4
2 2
2 4
2 2
2 4
2 2
sul pont.
2 2
3
[ee]
mf
2 2
2 2
2 4
slightly slower q = ca. 60 p
2 2
2 4
2 4
a live p micro-flux
[ah]
rall.
2 2
2 4
Sample page 4 4
falsetto ppp
2 2
2 4
2 2
5 4
5 4
p
2 4
[la]
Vl. 1
5
D slightly slower q = ca. 60
rall.
2 4
3
p
p ord.
2 2
2 4
2 2
2 4
2 2
6 41 1 Hn. (F)
2 2
2
2 2
Trp. (C)
2 2
Tbn.
2 2
Tb.
2 2
nat. 11th
3
p
f
3
2 2
Perc. 2 [Kay.]
2 2
Choir
2 2
S.
Mez.
T.
ppp
Bar.
mf
p
Vl. 2
Va. 1
Va. 2
Vc. 1
2 2
2 2
mf
3
[ee]
live
[la]
[ha]
ppp
3
like
a
p
laugh
[ff]
[la]
p
[ah]
[ee]
a
laugh
2 4
2 2
2 4
2 2
2 4
2 2
arco
p
p
2 2
ppp
2 2
en
2 4
3
[ha]
[ha]
3
mf
ppp
mf
f
p
p
dur
p
p [ff]
mf
2 2
[ff]
p
2 4
2 2
2 4
2 2
3
[ff]
p
2 2
p
[ff]
f
2 2
2 2
Sample page like
mf
2 2
2 4
2 4
f
pp
2 2
[ff]
f
live
mf
pp
[ha]
ppp
a
p
p
[ha]
[ah]
ord. p
2 4
2 4
3
f
2 2
2 2
ppp
ppp falsetto
[ah]
2 2
2 4
[ff]
3
[ah]
Vl. 1
[ah]
mf
a
2 4
Leseprobe p
mf
[ee]
2 2
p
p
[ee]
B.
f
arco
2 2
2 2
p
mf straight mute
2 2
2 2
mf
straight mute
pp
Perc. 1 [Cym.]
p
2 4
ff
[ff]
2 4
2 2
2 4
2 2
2 4
2 2
2 4
2 2
2 4
2 2
molto sul pont.
2 4
2 2
molto sul pont.
2 4
2 2
p
trill on nat. harm. Vc. 2
2 2
ord.
3
ppp
Db.
2 2
p
ff sul pont.
3
p
ff Breitkopf MM 2385424
p
gliss.
7 senza vib.
flz.
f
pp
senza vib.
flz.
f
pp
accel.
49 1 Fl. 2 senza vib.
Ob. f Ob. d'am.
pp
senza vib.
f
pp
senza vib. Eh. f
pp
senza vib.
B. ob. f 1 2
Bcl.
pp
senza vib.
micro-flux
con vib. ppp
f
p
nat. 11th Hn. (F) 1 fp
cresc.
Trp. (C) p Tbn.
p
nat. 14th
Leseprobe 3
Tb.
p cresc. Perc. 1 [Cym.]
medium hard sticks
Bass Drum
Perc. 2 [Kay.]
3
ppp fp
pp
pp
p
mf
du
ring
laugh
p cresc. ord.
micro-flux
ring
laugh
Choir (r)ing
p cresc.
S. en
T. p cresc.
micro-flux
ord.
Sample page
Bar.
p cresc.
B.
en
II III
**
du accel.
ring
du
ring
mp
mf
3
laugh
[la]
*
Vl. 1
ff
p
f II III
**
*
Vl. 2 p
f
6
ff **
* Va. 1 ff
7
p
ff **
* Va. 2 ff
Vc. 1
5
p
ff
fp
gliss. Vc. 2 fp
pizz.
Db. *) sul A: natural harmonics ad lib. **) natural harmonics gliss. trill
p
Breitkopf MM 2385424
3
f
8
E
Bright yet melancholy q = ca. 72
54
3 4
1 Fl. 2 3
p
3
4 4 3
f
3 4
Ob.
p
3
3
f
p
f
3 4
Eh.
senza vib./micro flux 1 Bcl. 2
3 4
1
3 4
2
3 4
Hn. (F)
3 4
Trp. (C)
3 4
Tb. 3
Perc. 1 [Cym.]
3 4 3 4
f
Perc. 2 [B. D.]
4
f
f
3 4
Pno. I: l.v. II: slide 3
f
3
f
3
Choir the red elm en dur
3 4 3 4
p
4
3 4
Mez.
4
f
ff
f
f
ff
T.
3 4
Bar.
3
B. [ha]
3 4
f
4
f
f
4 4
f
4 4
4
pp
p
f
f
3
p
f
Leseprobe
4 4
p
4 4
3
p
f
f
p
mf
p
f
mf
f
mf 4
4
4
f
4
pp
4
f
4 4
f
pp
4 4
f
3 3
ing
3
3
the red elm en dur
3
ing
3
3
the red elm en dur
3
ing
red
f
ff
elm
4
4
p
3
3
the red elm en dur
[ff]
the
red
elm
en
dur ing
the red elm en dur
dur
4
red
elm
ff
[ff]
ing
the red elm en dur
the
red
elm
en
p
fp
4 4
4 4
4
dur
4 4
4 4
ing
like
f
4 4
4
the
ff
3
3
ing
f
f
3
3
ing
3
f
en
4 4
4 4 4 4
shake
mf
4 4
4 4
Tambourine f
4 4 4 4
4
f
4
f
3
f
3
3
p
pp
f
pp
3
f
f
3
the
3 4
3
f
f
f
3
f
Sample page
S.
red
4 4
[ff]
ff
4 4
[ff]
Bright yet melancholy q = ca. 72 Vl. 1
3
4
pp
f
4
3 4
E. Gtr.
3
f
4
f
3 4
Hp.
p
f
3 4
B. ob.
f
f
3 4
Ob. d'am.
3
3 4
4 4
Vl. 2
3 4
4 4
Va. 1
3 4
4 4
Va. 2
Vc. 1 Vc. 2 Db.
3 4
4 4
3 4
4 4
4 4
3 4
3 4
4 4 Breitkopf MM 2385424
61 1 2
4 4
5 4
Ob.
4 4
5 4
Fl.
Ob. d'am.
4 4
Eh.
4 4
B. ob.
Bcl.
p
3
pp f
3
fp
pp
3
4 4
pp
5 4
4 4
1
4 4
5 4
4 4
Trp. (C)
4 4 4 4
Tbn.
4 4
Perc. 1 [Tamb.]
4 4
Perc. 2 [B. D.]
Hp.
4 4
5 4
p
p
4 4
3
pp
3
5 4
f
5 4
Pno.
4 4
E. Gtr.
4 4
5 4
Choir
4 4
5 4
S.
Mez.
T.
4 4
B.
Vl. 1
Vl. 2
red
4 4 4 4
Bar.
ing
4 4 4 4
3
p
a 3
elm en dur ing
f
3
the red
5 4 5 4 5 4
4 4
pp pp 3
pp
fp
sh(oo)
Sizzle Cymbal
sh(oo)
sh(oo)
sh(ee)
sh(oo)
sh(oo)
* sh(oo)
* sh(oo)
arco
barely audible, but felt
p
pp
p
elm
pp
4 4
pp
ppp
mf pp
mf
p
en
dur
ing
p
elm
en
mf
en
dur
ing
mf
dur
p
en
4 4
laugh
p
3
elm en dur
5 4
4 4
3
ing
4 4
dur
Va. 2
4 4
5 4
4 4
*) Air noise: gradual transition between vowels
mf
4 4 4 4
elm
mf
[ee]
elm mf
3
[ah]
con sord. senza vib.
mf con sord. senza vib.
p
p
[ee]
elm
f
mf senza sord.
pp
pp
mf
[ah]
[ah]
mf senza sord.
con sord. senza vib.
4 4
ing
3
pp
elm
3
TREE
con sord. senza vib.
4 4
5 4
p
4 4
5 4
5 4
elm
4 4
4 4
5 4
[ff]
p
ing
f
Sample page fp
4 4
4 4
sh(ee)
mp
*
4 4
5 4
Db.
sh(oo)
4 4
4 4
Vc. 2
mp
*
4 4
5 4
4 4
mp
4 4
3
4 4
4 4
ppp
4 4 ppp
Va. 1
Vc. 1
micro-flux
Leseprobe
5 4 fp
mf
4 4
5 4 5 4
micro-flux
4 4
5 4 p
mf
4 4
5 4
p
pp
pp
4 4
2
micro-flux
4 4
3
pp f
mp
4 4
3
1 2
Hn. (F)
ppp
4 4 3
5 4
3
a2 senza vib.
4 4
5 4
p
4 4
F
flz.
5 4
3
9
con sord. senza vib.
mf senza sord.
con sord. ppp senza vib.
mp
ppp
mp
ppp
mp
Breitkopf MM 2385424
senza sord.
[mm] 3
[mm]
10 71 Ob. ppp Ob. d'am.
mp
ppp
mp
Eh. ppp
mp
B. ob. ppp mf
mp
f
sh(ee)
sh(oo)
sh(oo)
sh(ee)
mf
sh(oo)
f sh(oo)
sh(oo)
sh(ee)
mf
sh(oo)
f sh(oo)
sh(oo)
f
sh(oo)
sh(oo)
sh(ee)
sh(oo)
Perc. 1 [Cym.]
sh(ee)
f
ppp
pp
mp
4 2
sh(oo)
f
*
Tb.
Perc. 2 [B. D.]
sh(oo)
Leseprobe
mf Tbn. sh(ee)
sh(ee)
4 2
sh(oo)
4 2
ff
p
ppp
ff
f
mf
ing
elm
en
ff
p
mf
pp
4 2
p
ff
4 2
Choir en
dur
mp
dur
ing
elm
ff
4 2
S. en
dur
ing
en
dur
ing
f
ff
elm
elm
4 2
Sample page
Mez.
p
T.
f
p
TREE
4 2
3
[ah]
[ee]
[ah]
3
Bar. [mm]
[ah]
3
B. [mm]
senza sord.
ff
p
mf
[ah]
4 2
4 2
4 2
Vl. 1 mp
4 2
4 2
Trp. (C) sh(ee)
4 2
4 2
2 sh(ee)
4 2
4 2
1 Hn. (F)
4 2
ff senza sord.
Vl. 2 f
ff sul pont. poco vib.
1 Va. 2
a2
ppp sul pont. poco vib.
1 Vc. 2
a2 ppp
*) Air noise: gradual transition between vowels Breitkopf MM 2385424
4 2 4 2 4 2
11 79 1
4 2
overblow
con vib.
2
Ob.
Ob. d'am.
Eh.
B. ob.
4 2 4 2 4 2 4 2
overblow
con vib.
pp
mf
pp
2
mf
4 2
Hn. (F)
quasi ad lib.
4 2 4 2 4 2
mf 5
p
pp con sord. harm. series in A
2
Trp. (C)
Tbn.
Tb.
4 2 4 2 4 2
6
3
Hp.
4 2 4 2
Pno.
4 2
E. Gtr.
4 2
Choir
Bar.
B.
Vl. 1
Vl. 2
Va.
Vc.
4 2 4 2 4 2 4 2 4 2
1 2
4 2
1 2
4 2
Db.
4 2
p
f
pizz. (inside piano)
f sempre
ppp
mf
Sample page f sempre
[mm]
[ee]
[ah]
f
[mm]
[mm]
ppp
p
f
p
ppp
ord.
p
p
arco
3
f
4 2 4 2
2 2
4 2
2 2
4 2
3
mf
5
4 2 4 2
2 2
4 2
2 2
4 2
2 2
4 2
2 2
4 2
2 2
4 2
2 2
4 2
2 2
4 2
2 2
4 2
2 2
4 2
2 2
4 2
stagger breathing
[ah]
ord.
4 2
3
mf
f sempre
[ee] mf
p
4 2
5
2 2
ppp
harmonics at sounding pitch
[mm] mf
pp
4 2 4 2
f
2 2
f
ppp micro-flux
pp
2 2
2 2
3
ppp
f
pp
ppp
lip trill
mf
(through handkerchief)
f
2 2
(through handkerchief)
4 2
Harmonica Perc. 2 [Harm.]
Leseprobe p
mf
ppp
3
f
f
micro-flux
3
3
ppp 5
3
mf
ppp
4 2
2 2
p
cup mute (closed)
2 2
mf
micro-flux
5
ppp
p
4 2
ppp
lip trill
pp cup mute (closed)
Harmonica Perc. 1 [Harm.]
mf
micro-flux
5
2 2
2 2
3
mf quasi ad lib.
4 2
p
micro-flux
3
4 2
2 2
p
pp
ppp con sord. harm. series in A
1
p
mf
ppp
Bcl.
ppp
fff
ppp
ppp 1
ppp
p
fff
Fl.
2 2
mf
p
f
mf
p
f
mf
p Breitkopf MM 2385424
f
2 2 2 2 2 2
3
3
3
4 2 4 2 4 2
12 82 1 Fl. 2
Ob.
4 2 4 2 4 2
Ob. d'am.
4 2
Eh.
4 2
B. ob.
1
6
mf
5
3
ppp
3
mf
ppp
3
pp
mf
mf
5
4 2
mf
4 2
mf
pp 3
Leseprobe pp
4 2
5
Tbn.
Tb.
p
mf
3
Hp.
Pno.
4 2
E. Gtr.
4 2
Choir
4 2
Vl. 2
4 2 4 2
mf
pp
4 2
1 2
4 2
Db.
4 2
Vc.
mf
5
p
micro-flux
mf
ppp
f
p
Sample page f
f
3
f
6
molto sul pont. 6
6
5
3
3
ppp 3
I II ord. ppp
3
micro-flux
p
micro-flux (on II)
ppp
5
molto sul pont.
f
I ord. II
ppp 1 Va. 2
ff
ppp
pp
4 2
4 2
pp
mf
4 2
4 2
mf
6
4 2
Perc. 2 [Harm.]
Vl. 1
pp
3
3
pp Perc. 1 [Harm.]
5
3
mf
ff
mf
4 2 4 2
pp
3
pp Trp. (C)
mf
5
pp 2
ff
5
4 2
Hn. (F)
5
3
3
pp
5
ppp
pp
1
3
ppp
pp
Bcl. 2
3
ppp
mf
ppp micro-flux
p
mf
p
mf
ppp
ppp Breitkopf MM 2385424
micro-flux (on II)
ff
13 85
overblow
1 ppp
p
fff
Fl.
overblow 2 ppp
fff
ppp Ob. ff
mf
p
mf
p
Eh. ff
mf
p
4 4
4 2
4 4
4 2
3
3
p
Leseprobe p
Bcl.
f
3
p
5
1
5
6
pp
f
ff
f
p
f
3
6
p
Trp. (C) p
p
f
ff
p
3
p
f
4 2
4 4
4 2
4 4
4 2
4 4
3
4 2
3
4 2
4 4
Tb. ppp
mf
4 2
4 4
4 4
Tbn. 3
4 2
3
p
2 f
4 2
f 5
5
pp
ff
4 4
ppp
5
2
4 2
f
5
1
ff
4 4 4 4
B. ob.
Hn. (F)
4 2
4 4
Ob. d'am. ff
4 4
ppp
mf
ppp
4 2 mf
4 4
4 2
4 4
4 2
4 4
4 2
Pno.
4 4
4 2
E. Gtr.
4 4
4 2
Choir
4 4
4 2
4 4
4 2
4 4
4 2
4 4
3
4 2
4 4
3
4 2
Perc. 1 [Harm.]
Sample page f
Perc. 2 [Harm.]
f
Hp.
[mm]
Vl. 1 ff
pp
mf
p
pp
Vl. 2 ff
Va.
Vc.
1 2
1 2
pp
ff
ff
mf
3
mf
p
p
p
mf
pp
f
f
Db. ff
mf
p Breitkopf MM 2385424
f
4 4
3
4 2
14 88 1
4 2
6
5
3
3
ppp
ff
Fl. 2
4 2
Ob. d'am.
Eh.
B. ob.
1 Bcl. 2
3
ppp
4 2
5
Trp. (C)
Tbn.
Tb.
3
Va.
Vc.
1 2
1 2
Db.
3 2
3
3 2
3
cresc.
ppp
5
3
mf
ppp
3 2
cresc.
3 2
3
Leseprobe ppp
p
cresc.
5
3
ppp
6
3 2
5
3
cresc.
3 2
senza sord.
3
5
p
f
4 2
3 2
5
cresc.
5
4 2
3 2
senza sord.
3
5
6
p
f
pp
4 2
3
p
4 2
p
mf
3
3 2
ppp
mf
ppp
mf
5
3 2
p
4 2
3 2 mf
4 2
Hp.
Vl. 2
mf
p
4 2
4 2
Vl. 1
fff
cresc.
ppp
3
4 2
4 2
E. Gtr.
pp
ppp
mf
p
4 2
Perc. 2 [Harm.]
Pno.
3 2
3
3
4 2
pp Perc. 1 [Harm.]
mf
mf
p
pp 2
7
3
4 2
Hn. (F)
3
p
4 2
4 2 4 2 4 2 4 2
ppp
f
p
to Crotales
3 2
to Glockenspiel
3 2
Sample page f
f
3
3
ff
p
5
3
mf
f 3
ff
V/VI
4 2 4 2
3 2
fff overblow 5
3
p 1
mf 5
ff
Ob.
muta in Picc.
overblow
3
p
mf
3
3
3
ff
3
micro-flux (on II)
ppp molto sostenuto
5
molto sul pont.
ff
mf I ord. II
3
3
I micro-flux (on II) ord. II
3
ppp molto sostenuto
3
micro-flux
p
3
mf
ppp molto sostenuto
micro-flux
p
3
mf
ppp molto sostenuto micro-flux
p
3
mf Breitkopf MM 2385424
f 5
3
p
molto sul pont. 5
6
ff
5
ppp molto sostenuto
3 2 3 2 3 2
f
change bow ad lib.
cresc.
3 2
change bow ad lib.
cresc.
3 2
change bow ad lib.
3 2 cresc. change bow ad lib.
3 2 cresc. change bow ad lib.
cresc.
3 2
15 91 Picc. (1)
Fl. 2
Ob.
Ob. d'am.
Eh.
3 2 3 2
3 2
2
3 2
1
3 2
2
3 2
Trp. (C)
Tbn.
Tb.
Perc. 1 [Crot.]
3 2
3 2
Hp.
3 2
Choir
S.
fff
fff
5
3 2
fff 3
fff flz.
pp
2 4
fffp
3 4
fffp
3 4
2 4 2 4
fp
fp
fp
fp
fp
fp
5:6
3
p
f
3 4
5:6
ff
4
ff
3
2 4
fff
p
f
2 4
ff
f
3
3
ff
f
p 3
3
3
f
3
3
p
3 4
3
ff
3
p
3
ff
3
p
f
p
f
p
p
f
ff
5:6
p 5:6
4
4
ff
5:6
ff
2 4
altos
3 4
div. in 2
2 4
B.
3 2
2 4
Vl. 1
3 2
2 4
3 2
2 4
1 2
3 2
2 4
1 2
3 2
2 4
Db.
3 2
2 4
f
p
f
4
ff
live
ring
ring
3
3
the red elm en dur 3
f
dur
molto sul pont.
fff molto sul pont. fff molto sul pont. fff molto sul pont. fff molto sul pont. fff
a
3 4 3
ing
3 4 3 4 3 4
3
ing
f
ing
dur
a
live
ord.
fp
a
like
a
laugh
the
p
f
live
like
3
the red elm en dur
a
ing
laugh
ring
red elm en
4
ing
5:6
dur
ing
the
4
laugh
a
the
3
live
dur
ing
a
live
a
fp
red 3
the red elm en dur
elm
ing
fp
fp
pizz.
pp
Breitkopf MM 2385424
elm
en dur
en
dur
3
ing 3
the red elm en dur 3
ing
laugh
en dur
the
fp
fp
fp
fp
fp
2. sul pont. fp
fp
fp
ord.
1. sul pont.
red
4
3
like
fp
a
5:6
3
3 4 3 4
f
3
3 4 3 4
live
3
the red elm en dur
5:6
5:6
4
3 4
like
ring
f
3 4
f
5:6
f
a f
3 4
ff
4
p
Sample page sopranos
2 4
p
pp
f with metal beaters
3 4
2 4
3 2
ff
f
3 4
Bar.
3
p
3 4
2 4
T.
3
ff
senza sord.
3 4
3 4
2 4
f
f
3
3 4
2 4
3 2
ff
f
2 4
ff
p
f
f
Crotales
Glockenspiel
3
senza vib.
3 4
2 4
3
3 2
ff
2 4
2 4
ff
3
p
p 3
ff
p
3 4
ff senza sord.
4 3
p
ff
5:6
ff
ff
3
senza vib.
3 4
f
p
4
p
3
p
ff
5:6
p
Leseprobe
pp
2 4
Vc.
3
3 4
3
fp
4
2 4
3 2
Va.
ff
fp
ff
3 4
3
p
fp
3 4
Mez.
Vl. 2
3
fp
flz. senza vib.
2 4
2 4
flz.
3
3 2
3 4
2 4
3 2
3 2
3
4
2 4
2 4
5
3 2
Perc. 2 [Glock.]
E. Gtr.
3
3 2
3 2
Pno.
3
3 2
1
Hn. (F)
3
3 2
B. ob.
Bcl.
5
3 2
3 2
senza vib. G 3
2 4
16 98
4 4
Picc. (1) ord.
4 4
Fl. 2 5:6
5:6
4 4
5:6
Ob. p
p
ff 4
Ob. d'am.
4
4
ff 3
molto vib.
4 4
molto vib.
3
4 molto vib. 4
B. ob.
4 4
1 f
4 4
2 f
ffp
p
ff
Bcl.
pp
ff
Eh. p
ffp
4 4
p
3
pp
p 3
1
p
pp
ffp
pp
ffp
Leseprobe 4 4
f
4 4
Hn. (F) 2
f
4 4
Trp. (C) 3
3
p
f
ff
4 4 f 4 4
Tbn. Tb.
f
Perc. 1 [Crot.]
4 4
to Sizzle Cym.
Perc. 2 [Glock.]
4 4
to Kayamba
5:6
4 4
Hp. 5:6
p
5:6
p
4
4 4
Pno. 4
4
ff
p
the
Sample page
red
ring
5:6
elm
en
dur
ing
elm
en
dur
ing
5:6
4 4
5:6
S. en
dur
ing
a
live
like
a
laugh
4
4
the
red
3
elm
en
dur
ing
like
a
laugh
3
T. ing
the red elm en dur
ing
a
live
Bar. en dur
ring
a
4 4
pp
4 4
3
ring
en
4 4
live
4 4
B. red
elm
en
dur
ing
Vl. 1 fp
fp
fp
fp
fp
fp
fp
fp
Vl. 2
1 2 fp
4 4 4 4 4 4 4 4
Db. Breitkopf MM 2385424
ff
pp
4 4
4 4
4
Mez.
Va.
ff
ff
4 4
E. Gtr.
Choir
ff
ff
dur
ffp ing
elm
ffp
en
dur
ing
elm
3
pp
en
ffp
dur
ing
pp
en
ffp
dur
ing
pp
en
elm
elm
ffp
dur
ing
elm
17
H Like a gentle wind through the trees...
104 Picc. (1)
Fl. 2
1 Bcl. 2
Sizzle Cymbal Perc. 1 [Cym.]
p Kayamba
Perc. 2 [Kay.]
mf
Hp. p
Pno. p
Leseprobe
E. Gtr. ff
f Choir TREE
f
rub palms on paper ppp
ff
7
7
6
S. TREE
rub palms on paper ppp
ff
3
Mez.
f T. TREE
f
3
Sample page rub palms on paper ppp
5
rub palms on paper ppp 5
6
ff
ff
3
5
Bar. TREE
f
rub palms on paper ppp 6
7
B. TREE
pizz.
Like a gentle wind through the trees...
Va. 1 f pizz. Va. 2 f pizz. Vc. 1 f pizz. Vc. 2 f Breitkopf MM 2385424
ff
6
5
18
in memoriam Rod Freeman
2. Trees become gods [statement] Mysterious, enchanting V = 60-66 Ob.
Ob. d'am.
4 4
senza vib.
4 4
senza vib.
ppp
p
ppp
Eh.
4 4
B. ob.
1
4 4
5 4
senza vib.
4 4
3
5 4
ppp
p
ppp
mp
5 4
mp
4 4
ppp
mf
5
4 4
ppp
Leseprobe 4 4
mf
4 4
ppp
3
ppp
5 4
7
4 4
5 4
4 4
3
5 4
ppp
5
mp
ppp
p
senza vib.
ppp
5 4
4 4
3
p
ppp
4 4
5 4
5
mp
micro-flux
mf
5 4
ppp
mf
5 4
3
cresc. poco a poco
4 4
4 4
mf
Bcl.
2
Pno.
4 4
5 4
ppp
4 4
5 4
pizz.
4 4
cresc. poco a poco
Sample page
5 4
p
5 4
4 4
f
mellow 'Jazz' tone E. Gtr.
micro-flux
4 4
4 4
4 4
5 4
4 4
4 4
5 4
4 4
pp
mp
mp
TREE
pp
TREE
4 4
mf
5 4
4 4
5 4
4 4
mp
5 4
4 4
Choir
S.
Mez.
4 4
4 4
pp
trees be come
pp
5 4
mp
gods
mp
micro-flux
trees be come
5 4
4 4
[mm]
4 4
mf
5 4
pp
mp
mp
pp
trees be come
gods
trees
be
mp
pp
trees
be
pp
Breitkopf MM 2385424
mp
5 4
5 4
TREE
4 4
come
micro-flux
come
4 4
[mm]
4 4
19 8 1 Fl. 2
Ob.
Ob. d'am.
Eh.
B. ob.
1 Bcl. 2
Perc. 1 [Xyl.]
4 4 4 4
Vl. 2
Va. 1
Va. 2
mf
mf
p
fp
mf
mf
mf
pp
p
fp
mf
mf
pp
mf
pp
mf
5
pp
mf
5
pp
mf
Leseprobe ord.
f
Xylophone dead-stroke (sempre)
Glockenspiel dead-stroke (sempre)
p
mf
p
mf
4 4
p p
p
a
p
a
sap
ling
mf
f
p
3
TREE
pp like droplets of light
mf
p
TREE
a
Sample page 3
ling is
p
gods
mf
p
sap
trees
be
come
p
trees
be
come
mf
TREE
sap
ling
is
a
a
mf
pp
gods
be
mf
pp
gods
be
p
come
gods
be
p
come
gods
be
fp
mf
come gods
be
fp
mf
come
be
come
3
come
mf
4 4
ppp fragile, glassy
4 4
be mf
come
be
come
p
p fragile, glassy
4 4 4 4 4 4
mf
tutti
p
4 4
Vc. 2
mf
f
4 4
4 4
pp like droplets of light
pp like droplets of light
4 4
Vc. 1
3
f
4 4
4 4
3
pp
fp
ord.
4 4
4 4
7
mf
3
5
4 4
Vl. 1
pp
fp
5
Choir
Bar.
ppp
pp
4 4
T.
mf
4 4
4 4
Mez.
p
ppp
3
4 4
Hp.
S.
mf
4 4
4 4
E. Gtr.
p
3
4 4
Perc. 2 [Glock.]
Pno.
I
4 4
Breitkopf MM 2385424
20 17
a2
a2
1 Fl. 2
mf
3 4
p
f
3 4
gliss.
Ob.
f
5
ppp
mf gliss.
pp
f
7
3
3 4
3
Ob. d'am. pp
3
mf
ppp
3
f 5
3
5
3 4
Eh. ppp
f 3
3
3
3 4
micro-flux
B. ob. pp
f
cresc. micro-flux
micro-flux 1 ppp
p
Bcl.
micro-flux
micro-flux 2
micro-flux
a2 1 2
3 4
cresc.
ppp 3
p
Hn. (F)
3 4
cresc.
3
Leseprobe
pp
pp
pp
mf
p
ppp
3 4
mf
3 4
micro-flux
Tb.
pp
Perc. 1 [Xyl.]
p
ppp
mf
3 4
3 3
Perc. 2 [Glock.]
3
3
3 4
3
3
3 4
Hp. mf
p
f
3 4
Pno. 3
3
3
3
mf
3
3
f
3 4
p
Choir sap
ling
a
p
mf
f
sap
ling
trees
f
p
pp
be
come
f
3 4
3
S. [mm]
be come
p
mf
gods
gliss.
Mez. [mm]
be
p
mf
[mm]
be
p
mf
come
T.
Sample page
come
[ds]
p
be
fp
come [mm]
f
gods
pp
f
micro-flux
[mm]
gods
p
fp
[mm]
gods
p
fp
[mm]
gods
3 4
[ds]
[ds]
be
come[mm]
f
pp
be
come[mm]
f
pp
be
come[mm]
f
pp
be
come[mm]
f
micro-flux
3 4
f
micro-flux
3 4
Bar. [mm]
be
come
[ds]
f
micro-flux
3 4
B.
3 4
Vl. 1 3
ppp
3
3
p
ppp
3
p
ppp
3
p
ppp
3 4
Vl. 2 p
3
p
p 3
Va. 1 ppp fragile, glassy
p
ppp
3
3
p
ppp
Va. 2 p fragile, glassy
3
p
Vc. 1 ppp fragile, glassy
p
Vc. 2
Breitkopf MM 2385424
p fragile, glassy
3
3 4 3 4 3 4 3 4
26 1 Fl. 2
B. ob.
Bcl.
1 2
1 Hn. (F) 2
21
accelerating J constantly accel.
3 4 3 4
f
pp
f
pp a2
3 4 f
3 4
pp
ppp
pp
f
p
ppp
3
3 4
harmon mute: fast wah-wah
Trp. (C)
Tbn.
3 4
harmon mute: fast wah-wah
Tb.
3 4
3
pp
Perc. 1 [Xyl.]
Perc. 2 [Glock.]
Hp.
Pno.
E. Gtr.
Choir
Mez.
5:3
3 4
3
3 5:3
B.
3 4
f
p
gods
a
3 4
Vl. 2
Va. 1
Va. 2
sap
ling
fp
be
p
be
p
gods
be
p
gods
Vc. 2
5:3
5:3
5:3
5:3
5:3
5:3
5:3
s. glis
5:3
high note ad lib.
7
5:3
3
3
5:3
3
3
5:3
a
sap
ling
but
trees
be
come
gods
ff *
pp
ff *
pp
ff *
come[mm]
[ah>ee>oo>ee>or>ah]
[mm]
[ah>ee>oo>ee>or>ah]
[mm]
[ah>ee>oo>ee>or>ah]
fp
ff *
pp
ff *
pp
ff *
3
3
Sample page
be
3 4
come[mm]
[ah>ee>oo>ee>or>ah]
[mm]
[ah>ee>oo>ee>or>ah]
[mm]
[ah>ee>oo>ee>or>ah]
fp
ff *
pp
ff *
pp
ff *
come[mm]
[ah>ee>oo>ee>or>ah]
[mm]
[ah>ee>oo>ee>or>ah]
[mm]
[ah>ee>oo>ee>or>ah]
fp
ff *
pp
ff *
pp
ff *
[ah>ee>oo>ee>or>ah]
[mm]
[ah>ee>oo>ee>or>ah]
[mm]
[ah>ee>oo>ee>or>ah]
3
3
come[mm]
senza vib. molto sul pont. fast, light bow
5:3
p
ppp
p
5:3
5:3
ppp
5:3
5:3 ppp
p
5:3
cresc. poco a poco
5:3
senza vib. molto sul pont. fast, light bow
3 4
p 3
3 4
ppp
cresc. poco a poco senza vib. molto sul pont. fast, light bow
3
3
p
3 4 3 4
3
is
p
3
ppp
3
micro-flux
3
p
p
ppp
3 4 *) Overtone Chant: vowel changes ad lib.
ppp senza vib. molto sul pont. fast, light bow
3
3
senza vib. molto sul pont. fast, light bow
Vc. 1
mf
p
accel. constantly accelerating Vl. 1
f
Leseprobe 3
3 4
3 4
mf
3
gods
Bar.
p
ff
gods
T.
f
5:3
f
brighter tone
3 4
mf
5:3
3 4
3 4
mf
ppp
5:3
f
p
f
3 4
3 4
ppp
p micro-flux
p
ppp senza vib. molto sul pont. fast, light bow p Breitkopf MM 2385424
micro-flux
3
3
micro-flux
3
3
22
K q = 80
accel.
34 1
pp 5
ff
pp
Fl.
3
3
6
ff
2 3 3
3
pp
ff
pp
molto vib.
3
3
Ob. 3
pp
3
Ob. d'am. senza vib.
ff molto vib.
pp
pp
ff
ff
3
pp
Eh. pp B. ob.
mf senza vib.
pp
Bcl.
mf
1 2 ppp
Hn. (F)
f
ppp
1 2 ppp
mf
mf
3
3
f
Tbn.
3
3
Tb. mf 5:3
Perc. 1 [Xyl.]
f
Sandpaper Blocks rub pair of blocks against each other
5:3
ff Perc. 2 [Glock.]
3
p
f
ppp
p
Leseprobe
Trp. (C)
Bass Drum
to brush on bass drum
3
3
ppp
3
f
3
p
f
3
p
mf
f
swish/scrape brush on skin
f
ff
f
tuning sim.
ff
s. glis
Hp. ff
Pno.
ff
5:3
pp
E. Gtr.
5:3
f
pp
mf mf
Choir a
sap
ling
is
f
S.
sap
ling
p
5
[mm]
be
come
gods
f
*
har dens in to them [ah]
f
[ya]
3
di
pp
trees
3
3
Mez.
but
ff
3
Sample page 3
di vi ni ty
pp
a
vi ni ty
3
har dens in
to
ff
p
them
di
vi ni ty
har
ff 3
dens
in
to
p
3
them
[ah]
[ya] 3
*
[ah]
*
3
f
[ya]
di
mf
T. di pp
vi
ni
ty
har mf
dens
in
to
di pp
vi
ni
ty
har mf
dens
in
to
vi
ni
ty
har
dens
in
to
Bar.
B. di
q = 80
accel.
5:3
5:3
5:3
Vl. 1 5:3
ff Vl. 2 mf
micro-flux
ff
3
3
3
5:3
5:3
Va. 1 3
mf 3
micro-flux
mf
ff
pp
Va. 2 3
mf
ff micro-flux
Vc. 1 mf
mf
ff
micro-flux
micro-flux Vc. 2 ff
mf molto sul pont. fast, light bow Db. *) Yodel: aim for bracketed pitch but don't worry about hitting it perfectly!
ff Breitkopf MM 2385424
pp
vi ni ty
42
23
q = 100 accel.
L
1 pp
Fl.
3 pp
5
ff 3
3
3
ff
2 5
ff
3
3
pp
ff
3 pp 3
Ob. pp Ob. d'am.
f
3
p
ff
3
pp
f
p
3
ff
3
f
3
p
ff
pp
f
p
3 pp
ff
Eh. pp
f
pp
f
B. ob.
Bcl.
1 2 pp
Hn. (F)
f
1 2
Leseprobe
pp Trp. (C)
f
Tbn. 3
f Tb.
Perc. 1 [Sand.Bl.] Perc. 2 [B.D.]
3
p
f
p
5
p
f
p
5
3
3
f
p
p
pp
f
ff
f
ff
f
ff
f
ff
s. glis
Hp. ff Pno.
pp
p
ff
E. Gtr.
f f
p Choir
a
Sample page
sap
ling
is
f
S.
di
5
a
p
3
3
vi ni ty har dens in
sap
to them
but
trees
be
3
[ah]
[ya]
gods
f
3
divi ni ty
ff 5
3
p
har dens in to them
* [ah]
f
3
p
3
Mez. [ya]
di
vi ni ty har dens in
to
them f
3
3
* [ah] [ya]
them [mm] pp
di
vi
ni
ty
har f
dens
in
them [mm] pp
di
vi
ni
ty
har f
dens
in
them [mm]
di
vi
ni
ty
har
dens
in
Bar.
B.
ord.
Vl. 1 ord.
p
f
p
f
Va. 1 micro-flux
Vc. 1 pp
ff
micro-flux
pp
Vc. 2 ff Db. *) See page 21
ff Breitkopf MM 2385424
p
f
3
di vi ni ty
T.
q = 100 accel.
[ya]
ff
*
har dens in to them[ah] pp
come
*
ff
p
ling ff
24
M
q = 120 accel. overblow
50 1
3 pp
Fl.
3
3
ff
pp
ff
pp
ff
3
pp
pp
overblow
overblow 2
3
ff
3 pp
ff
ff
pp
3
pp
ff
3 3
Ob. 3 pp
ff
p
Ob. d'am. ff
3
p
3
ff
ff
3 pp 3
3 ff
p
ff
3
pp
ff
p
ff
pp
Eh. p
ff
p
ff
p
ff
B. ob.
Bcl.
Hn. (F)
1 2
1 2
p
Trp. (C) 3 pp
Tbn. 3
f
3
cresc.
Perc. 2 [B.D.]
5
3 pp
p
ff
3
p
5
pp
f
f
ff
5
ff
s. glis
3
p
pp
f
ff
f
ff
Hp.
Pno.
ff
p
Tb.
Perc. 1 [Sand.Bl.]
Leseprobe ff
p
ff
ff cresc.
E. Gtr.
ff f sempre
Choir a
sap
ling
is
5
ling
p
3
ff divi ni ty
p
sap
p
[ah]
T.
be
come
3
*
har dens in to them
[ah]
[ya]
3
har dens in to them
trees
3
5
3
*
Mez.
but
ff
gods
ff
Sample page 3
S.
ff
a
[ya]
ff
ff
ff 3
p
3
5
divi ni ty
har dens in to them
* [ah]
3
3
5
divi ni ty
har dens in to them
[ah]
3
*
[ya]
them p
[mm]
di
vi
ni
ty
har ff
dens
to
them
[mm]
di
vi
ni
ty
har
dens
Bar. ff
B. to
q = 120 accel. them [mm]
di
vi
ni
ty
har
Vl. 1 p
f ord.
Vl. 2 p
f
p
f
Va. 1 p
f ord.
Va. 2 micro-flux Vc. 1 f
micro-flux
pp
mf
Vc. 2 f ord. Db. *) See page 21
pp cresc. Breitkopf MM 2385424
ff
3
di vi ni ty
ff
to
p
[ya]
dens
58
q = 150
N
25
accel. overblow
overblow
1 3
ff
Fl.
3
3
pp
ff
pp
3
ff
pp
overblow
overblow
2 3
ff 3
pp
3 pp
ff
3
3
ff
pp
ff
Ob. 3
pp
ff
3
p
ff 3
Ob. d'am. ff
3
p
3
ff
pp
ff
p
ff 3
molto vib.
Eh. mp
pp
ff
3 pp
ff
B. ob. mp Bcl.
1 2 mp
Hn. (F)
1 2
Leseprobe mf
Trp. (C) ff
5
3
p
Tbn.
pp
ff
5
p
3 pp
p
ff
p
5
5
Tb.
f Perc. 1 [Sand.Bl.] Perc. 2 [B.D.]
mf
p
pp
f
ff
f
ff
f
ff
f
ff
gliss
.
Hp. ff Pno. f
E. Gtr. Choir a
sap
Sample page ling
3
S.
5
ff
is
a
3
5
di vi ni ty
har dens in to them
f
sap
ling
but
di
vi
3
Mez. har dens in to them
trees
mp
ff
be
come
gods
ni
3
5
di vi ni ty
har dens in to them
ty
3
ff
5
3
T. in
to
them [mm]
di vi ni ty
har dens in to them
mp Bar. in
to
them [mm]
di
vi
ni
ty
di
vi
ni
ty
mp B. in
q = 150
accel.
to
them [mm]
Vl. 1 p
f
f
Vl. 2 p
f
Va. 1 p
f
f
Va. 2 p
f
Db. f
mf
p
Breitkopf MM 2385424
pp
26
O
65
q = 180
accel. overblow
overblow
1 3
ff 3
Fl.
pp
3
ff
3
3
3
pp
ff
pp
ff
pp
overblow 2 3 pp
3
3
ff
3 pp
ff
pp
3
3
ff
pp
Ob. 3 3
3
Ob. d'am. 3
pp
ff
p
pp
ff
p
3
3
ff
ff
3
pp
ff
p
ff
3
3
Eh. p
pp
ff
B. ob. mf
fff Bcl.
Hn. (F)
1 2
1 2
fff
mf
ff
p 5
Trp. (C) 3
pp
ff
Leseprobe
p Tb.
ff Perc. 1 [Sand.Bl.]
3
p
Tbn.
pp
ff
3
5
3
3
p
pp
ff
5
3
p
ff
3
3 pp
mf
p
f
Perc. 2 [B.D.]
p
mf
3
f
ff
f
f
ff
Pno. ff
p
E. Gtr. Choir a
fff
har
ff
is 3
3
3
di vi ni ty
a
sap
ling
but
5
trees
be
come
mf
Sample page di vi ni ty
ff
Mez.
T.
ling 3
S.
fff
sap
har dens in to them
5
3
har dens in to them
ff
di
3
5
di vi ni ty
har dens in to them
vi
ff
mf
har fff
dens
in
to
them [mm] mf
har
dens
in
to
them [mm]
3
[di]
Bar.
fff
di
vi
di
vi
mf
B. har
dens
in
to
accel.
q = 180
them [mm]
Vl. 1 p
f
f
Vl. 2 p Va. 1
p
f
f
f
Va. 2 p
f
Vc. 1
Vc. 2 Db. pp
ff Breitkopf MM 2385424
3
q = 220
P
72
27
accel.
1 3
Fl.
ff
3
3
ff
3
overblow 2 3
ff
3
ff
3
3
ff
Ob. 3
3
Ob. d'am.
pp
ff
3
3 pp 3
ff
p
ff
Eh. p
ff
ff
B. ob. fff
Bcl.
1 2 fff
Hn. (F)
1 2 5
Tbn. 5
Tb. ff Perc. 1 [Sand.Bl.] Perc. 2 [B.D.]
p
5
Leseprobe
Trp. (C)
ff
ff
3
mf
3
ff
3
pp
3
ff
3
5
ff
3
pp
5
5
ff
pp
muta in Crot. f
ff ff
muta in Glock.
f
gliss.
Hp. ff Pno. ff
p
E. Gtr.
ff sempre
Choir gods
a
sap
ling
is
ff 3
Sample page fff
S. ni
ty
Mez.
ff
3
3
[di]
[di]
har
a 5
3
[ah]
5
[ah]
fff
5
T.
har
[ah]
dens
in
dens
in
dens
in
fff Bar. ni
ty
har fff
ni
ty
har
B.
accel.
q = 220
Vl. 1 p
ff
Vl. 2 p
ff
p
ff
Va. 1 p
ff
Va. 2 molto sul pont.
5
5
Vc. 1 ff molto sul pont.
3
5
ff
ff 3
3
Vc. 2 ff
3
ff
ff
3
3
Db. pp
ff Breitkopf MM 2385424
28 q = 360 [h. = 120] 77 3
4 4
3
4 4
1 3
Fl.
ff
3
3
ff
2 3
3
ff
3
ff
vib. ord.
4 4
vib. ord.
4 4
vib. ord.
4 4
vib. ord.
4 4
Ob. 3
p
3
ff
3
ff
3
3
ff
3
Ob. d'am.
3
pp
ff
p
ff
fff
3
3
Eh. pp
ff
p
B. ob. f
Bcl.
fff
1 2 f
Hn. (F)
1 2
fff
Leseprobe f
5
Trp. (C) 3
ff
Tbn. 3
pp
ff
Tb. ff
3
5
ff
3
pp
4 4
4 4
5
ff
4 4
4 4
5
3
3
fff
ff
4 4
mf
4 4
Pno. ff
E. Gtr.
4 4
Choir
4 4
sap
ling
but
trees
be
come
gods
f
fff
S. ff 3
them 3
Mez. [di]
5
[mm]
in
to
Sample page in
5
3
[di]
to
to
ff
3
T.
them
f
[ah]
[ah]
f
Bar. to
them
[mm]
in
to
fff
fff
them
B. [mm]
in
to
4 4
fff
fff
them
4 4
them
them
f
to
4 4
them
4 4 4 4
q = 360 [h. = 120]
4 4
Vl. 1 ff
4 4
Vl. 2 ff
4 4
Va. 1 ff
4 4
Va. 2 ff
5
5
4 4
5
4 4
Vc. 1 ff
ff 3
3
Vc. 2 ff
ff Db. pp Breitkopf MM 2385424
4 4
< h. = q > Incantatory q = 120 accel. 82
Q
1
4 4
2
4 4
Ob.
4 4
Fl.
Ob. d'am.
4 4
Eh.
4 4
B. ob.
4 4
Bcl.
1 2
1 Hn. (F) 2 Trp. (C) Tbn.
Tb.
Perc. 1 [Crot.] Perc. 2 [Glock.]
Pno.
p
5 4
f
p
5 4
f
f
p
f
p
f
p
p
4 4 senza sord. 4 4 senza sord. 4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
sffz
p
ff
ff
5 4
p
ff
4 4
p
5 4 f air noise 5 4 f air noise 5 4f
p
p
ff
4 4 4 4 4 4
5 4
4 4
p
5 4
p
ff
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
3
ff
3
3
ff
4 4
p
5 4
4 4
ff
p
ff
4 4
p
4 4 4 4 4 4
ff
5 4
p
ff
3
3
3
3
3
5 4
f
4 4
p
3
3
3
4 4
p
3
p
ff
ff
ff
ff
5 4
ff
5 4
p
4 4 4 4 4 4 4 4
sffz
4 4
p
ff
ff
4 4
p
5 4 f 5 4 f 5 4
4 4 4 4 4 4
f
4 4
p
ff
4 4
ff
3
5 4
sffz
4 4
sffz
5 4
p
4 4
sffz
5 4
p
4 4
sffz
sffz
5 4
p
4 4
4 4
5 4
p
4 4
ff
5 4
5 4
3
5 4
ff
ff
4 4
f
p
ff
5 4 f 5 4 f 5 4
5 4
f
4 4
ff
29
accel.
ff
Leseprobe
ff
5 4
f
4 4
sffz
4 4
air noise
pp
4 4
5 4
sffz
5 4
5 4
4 4
sffz
5 4
p
sffz
sffz
5 4
5 4
4 4
4 4
5 4
p
4 4
4 4 Hp.
f
q = 160
R
5 4
4 4
4 4
5 4
4 4
4 4
5 4
4 4
4 4
5 4
4 4
4 4
5 4
4 4
4 4
5 4
4 4
4 4
5 4
4 4
4 4
5 4
4 4
p
E. Gtr.
brightest tone + bridge pick-up
4 4
5 4
ff sempre
S.
Mez.
4 4
T.
4 4
Bar.
B.
4 4 4 4
ff trees
be
ff trees
be
trees ff sempre
be
5 4 5 4
ni
ty
di
ni
ty
5 4 5 4
come
gods
come
gods
come
gods
har
dens
in
to
them
har
dens
in
to
them
Incantatory q = 120 accel. Vl. 1
Vl. 2
Va. 1
Va. 2
1 Vc. 2
4 4
5 4
4 4
5 4
4 4
5 4
4 4 4 4
5 4 pizz.
5 4
ff
Db.
4 4
sul pont. ff
4 4
5 4
Sample page
5 4
di vi ff sempre
vi
5 4
[ rhythm = 4:9]
ff
4 4
4 4
5 4
sul pont.
pp 3
sffz
sffz
4 4
5 4
ff
4 4
5 4
ff
4 4
5 4
4 4
di
vi
ni
ty
di
vi
ni
ty
5 4
trees
4 4
trees
4 4
trees
har
dens
in
to
them
har
dens
in
to
them
4 4 4 4
di
di
(ord.)
pp 3
arco sul pont.
ff
4 4 4 4 4 4 4 4 4 4
3
3
3
3
3
sul pont.
3
pp pizz.
3
5 4
5 4
pizz. ff
5 4
3
cresc.
3
cresc.
arco sul pont.
sffz arco sul pont. sffz
Breitkopf MM 2385424
3
3
4 4 4 4 4 4 4 4
come
be
come
be
come
vi
ni
ty
vi
ni
ty
q = 160
4 4 4 4
3
3
3
3
3
5 4
ff
4 4
3
5 4
(ord.) pp 3
5 4
be
3
3
cresc.
3
cresc. pizz.
ff pizz.
ff
3
5 4
5 4 5 4
3
har
dens
in
to
them
har
dens
in
to
them
5 4
3
3
3
3
arco sul pont.
sffz
5 arco sul pont. 4 sffz
4 4 4 4
4 4
3
3
5 4
5 4
4 4
gods
accel.
5 4
4 4
gods
5 4
5 4 3
3
3
gods
4 4 4 4
3
3
4 4 4 4 4 4
30 88
S
4 4
5 4
4 4
4 4
5 4
4 4
Ob.
4 4
5 4
4 4
Ob. d'am.
4 4
5 4
4 4
Eh.
4 4
5 4
4 4
B. ob.
4 4
5 4
4 4
4 4
5 4
4 4
1 Fl. 2
1 2
Bcl.
1 Hn. (F) 2 Trp. (C) Tbn. Tb.
4 4
4 4 4 4
ff
p
ff
Perc. 2 [Glock.]
5 4
p
p
ff
4 4
p
p
p
5 4
fff
p
5 4
fff
p
5 4
fff
p
5 4
fff
p
5 4
fff
p
5 4 ff
p
ff
ff
5 4
p
p
ff
4 4
5 4
4 4
4 4
5 4
4 4
4 4
5 4
4 4
4 4
5 4
4 4
4 4
5 4
4 4
4 4
5 4
4 4
4 4
5 4
4 4
4 4
p
5 4 f 5 4
4 4 4 4
ff
p
ff
p
p
p
5 4
5 4
ff
5 4
ff
p
ff
p
4 4 4 4
f
4 4
f
4 4
p
ff
4 4
4 4
p
5 4 f 5 4
4 4
ff
fff
4 4
5 4
4 4
f
5 4
4 4
5 4
f
5 4
ff
5 4
4 4
fff
4 4
ff
4 4
5 4
4 4
f
5 4
4 4 4 4
accel.
Leseprobe
f
5 4
4 4
p
5 4 f 5 4
4 4
ff Perc. 1 [Crot.]
ff
q = 200
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
fff
Hp.
Pno.
E. Gtr.
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
4 4
5 4
S.
4 4
5 4
Mez.
4 4
5 4
T.
4 4
5 4
Bar.
4 4
5 4
B.
4 4
Vl. 1
Vl. 2
Va. 1
Va. 2
1 Vc. 2
di
vi
ni
ty
di
vi
ni
ty
4 4 4 4
3
4 4 4 4 4 4
3
3
3
pizz.
3
4 4
pizz.
ff
5 4
har
dens
in
to
them
har
dens
in
to
them
f
3
f
f
5
arco sul pont.
3
4 4
di
vi
ni
ty
di
vi
ni
ty
q = 200
3
3
3
3
f
3
3
3
4 4 4 4
sffz
ff
arco sul pont.
pizz.
sffz
4 4
5 4
ff
har
dens
in
to
them
har
dens
in
to
them
6
3
6
3
3
5 4 5 4
3
pizz.
5 4
4 4 4 4
come
come
come
di
vi
ni
ty
di
vi
ni
ty
cresc.
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
har
dens
in
to
them
har
dens
in
to
them
4 4
accel.
3
4 4
4 4
be
5 4
3
4 4
4 4
be
5 4
trees
4 4
3
5
4 4
be
5 4
ff trees
4 4
4 4
4 4 p
Sample page
5 4
5 4
4 4
5 4
ff trees
4 4
5 4
5 4
5 4
ff
4 4
5 4
3
fff
4 4
5 4
3
3
5 4
ff Db.
4 4
3
3
3
3
arco sul pont.
3
4 4
Breitkopf MM 2385424
arco sul pont.
sffz
3
p pizz.
ff pizz.
ff
6
5 4
3
5 4
p
3
3
6
3
4 4 4 4
p
p
4 4
sffz
5 4
3
4 4
3
3
5 4 5 4
3
4 4
3
5 4 5 4 5 4
3
cresc.
3
cresc.
4 4
3
3
3
cresc.
3
cresc. arco sul pont.
3
3
4 4
3
4 4 4 4 4 4
sffz
5 arco sul pont. 4 sffz
4 4
94 1 Fl. 2
Ob.
4 4 4 4 4 4
Ob. d'am.
4 4
Eh.
4 4
B. ob.
1 2
Bcl.
1 Hn. (F) 2
Trp. (C)
4 4 4 4 4 4 4 4
sfffz
sfffz
sfffz
sfffz
sfffz
sfffz
ff
p
ff
4 4
Tb.
4 4
5 4
4 4
muta in Picc.
5 4
4 4
5 4
4 4
muta in Picc.
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
p
5 4
ff
p
5 4 5 4
p
ff
f
f
f
ff
p
f
ff
5 4
p
ff ord.
f
4 4
f
4 4
5 4
5 4
4 4
5 4
f
p
ff
p
Perc. 1 [Crot.]
4 4
Perc. 2 [Glock.]
4 4
5 4
4 4
p
4 4 4 4
p ord.
5 4
4 4
p
p
4 4
ff
p
4 4
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
4 4
5 4
4 4
5 4
4 4
Pno.
4 4
5 4
4 4
5 4
4 4
E. Gtr.
4 4
5 4
4 4
5 4
4 4
Hp.
S.
Mez.
T.
Bar.
B.
4 4 4 4 4 4 4 4
5 4
ff
4 4
p ord.
4 4
5 4
ff
4 4
f
Leseprobe
4 4
Tbn.
31
[beat in 4] rall.
T As fast as possible V = ca. 240
To guiro
Sample page
gods
gods
gods
di
To tambourine
vi
ni
5 4
4 4
5 4
5 4
4 4
5 4
5 4
4 4
5 4
5 4
ty
4 4
har
dens
in
to
them
5 4 di
vi
ni
ty
har
dens
in
to
4 4
5 4
4 4
5 4
them
Vl. 1
Vl. 2
Va. 1
Va. 2
Vc.
1 2
Db.
4 4
3
4 4
3
4 4 4 4
5 4
6
4 4
3
4 4
3
pizz.
ff pizz. ff
3
6
5 4
3
3
3
3
5 4 5 4
3
3
3
5 4
arco sul pont.
5 4
arco sul pont.
sffz
sffz
3
4 4
3
3
4 4
3
4 4 4 4
3
3
4 4
6
pizz.
ff pizz. ff
Breitkopf MM 2385424
5 4
3
6
4 4
3
fff f
a f
live
a f
live
a
live
5 4 5 4
3
3
5 4 5 4 5 4
like
like
like
a
a
a
f
a f
live
a
live
ff
ff ord.
ff ord.
ff arco ord.
arco ord.
like
a
4 4 4 4 4 4 4 4 4 4
[beat in 4] rall.
As fast as possible V = ca. 240
4 4
like
a
4 4 4 4 4 4 4 4 4 4 4 4
32 98 (1) Picc. (2)
Ob.
U
4 4
Eh.
4 4
Bcl. 2
Hn. (F)
1 2
ff
4 4
4 4
1
5
44
Ob. d'am.
B. ob.
Ecstatic, almost hysterical, bursting with vitality! On the edge of impossibility! Like divine laughter? q = ca. 200
4 4 44 4 4 4 4
ff
fff
5 4
3
4 4
ff
fff
ff
Trp. (C)
Tbn.
4 4
Tb.
4 4
5
ff
p
ff
p
4 4
5 4
4 4 molto vib.
3
5 4 f
p
3 3
f
3
3
3
5 4
4 4
5 4
p
ff
p
5 4
5 4 5
ff
5 4
3
44
3
3
3
fp 3
p
f
p
5
5
45
4 4 4 4
f
5 4
5 4 5 4
ffp 3
44
45
4 4 4 4
5
ff
p
ff
p
5 4
4 4
5 4
Hp.
44
45
44
4 4
3
3
3
3
4 4
5 4
3
3
3
3
3
4 4
5 4
3
44
45
44
45
4 4
5 4
4 4
5 4
E. Gtr.
f 3
3
3
3
5 4
3
3
3
3
5 4
4 4 *
44 Choir
4 4
ha ha ha ha ha
ha
ha
ha ha
ha ha
ha
ha
4 4
laugh
[ff]
[la]
ff
Mez.
4 4
T.
4 4
laugh
[ff]
[la]
ff laugh
4 4
[ff]
[la]
laugh
4 4
[ff]
ff B.
ff sempre
ff
almost as if laughing, in a free and variable tempo
5 4
almost as if laughing, in a free and variable tempo
laugh
[ff]
5 4 5 4
[la]
[la]
5 4
3
45
7
7
ff
5 4
gliss.
45
5 4
5
4 4
3
ha
ha
la
a
[ha]
4 4
laugh
4 4
[ha]
4 4 [ha]
[ha]
[ha]
[ha]
4 4
ha
[ff]
ha ha
that
[ff]
that
la
5 4
ne
5 4
ne
3
3
3
3
4 4
3
3
3
3
5 4
that
[ff]
that
5 4
la
a
way 3
5 4
[ff]
goes
ne
ver
5
goes
a
way
5
a live like a
ne
la ha
5
4 4 4 4 4 4
ha
ver goes a way
4 4
Vl. 1
Vl. 2
Va. 1
Va. 2
4 4 4 4 44 44
Vc. 1
4 4
Vc. 2
4 4
Db.
4 4
fff
fff
fff
fff
fff
fff gliss.
fff
5 4
ff sempre
3
4 4
5 4
4 4
45
44
45
44
5 4
4 4
5 4
4 4
5 4
4 4
5 4 sul pont.
change to scordatura instrument
ff sempre
sul pont.
change to scordatura instrument
ff sempre
sul pont.
45
3
goes
a
live
ff sempre Breitkopf MM 2385424
a
laugh
5
that
3
a
live
5
ne ver goes a way
like
a
laugh that
5 4 5 4
3
5 4
44
45
4 4
*) Improvise random pitches with angular interval patterns. NB: This passage is optional and depends on the size of the group (minimum 8 voices)
like
5 4
4 4
5 4
5 4
3
5 4
44 5
5 4
4 4
45
5 4
ha
5 4
5 3
5 4 change to scordatura instrument
ha
ver
5
5
5
ha 3
4 4
Ecstatic, almost hysterical, bursting with vitality! On the edge of impossibility! Like divine laughter? q = ca. 200 gliss.
45
3
3
ver
7
3
ha
3
5 4
5 4
3
ha
3
7
gliss.
4 4
5
5 4
5
44
7
Sample page ha
3
4 4
5 4
pp
4 4
gliss.
7
5
3
5 4
ff
Bar.
pp
5
ff
S.
ff scrape
4 4
5 4
Perc. 2 [guiro]
pp
5 4
3
4 4
5
5 4
5
4 4
hit/damp
4 4
ff
5 4
4 4
3
Leseprobe 45
4 4
4 4 5
5 4
3
45
4 4
3
45
44
Perc. 1 [tamb.]
Pno.
5 4
5
3
5 4
5
44
4 4
p
3
5 4
ffp
f
shake
5 4 5 4
5
44
5 4
5 4
3
5 4
4 4
3
3
45
f
3
5
4 4
fp
ff
3
4 4
45
fff
3
5
3
45
4 4
5 4
ff
5
5
3
molto vib.
5 4
ff
44
f
3
5 4
ff
fff
3
44
5 4
ff
fff
45
5
ff
fff
5
5
3
5
4 4 4 4
3
5
45 5 4 5 4 5 4
33 103 (1)
5 4
(2)
5 4
Picc.
Ob.
Ob. d'am.
B. ob.
5 4
1
5 4
2
5 4
1 2
5 4
Hn. (F)
Trp. (C)
Tbn.
Tb.
Perc. 1 [tamb.]
5 4 5 4
Perc. 2 [guiro]
5 4
Hp.
5 4
Pno.
E. Gtr.
Choir
fp
4 4 4 4 5
ff
4 4 3
3
3
5 4
Mez.
5 4
la
ha
Bar.
B.
5 4 5 4 5 4
that
like
la
p
5 4
pp
5
ne
ver goes
la
ne
ha
a
way
3
3
a
Vl. 1
Va. 1
5 4
Vc. 1
5 4
ha
ha
ver goes a way
Db.
3
5 4
3
5
p
f
p
4 4
5 4
3
4 4
5 4
4 4
5 4
4 4
5 4
3
4 4
3
ff
p
ff
p
7
3
4 4
3
4 4
4 4
3
ha
ha
3
3
4 4
3
like
a
laugh
5
4 4
5
4 4
3
that
a
live
5 4
ne ver goes a way
like a laugh that
4 4
4 4
5
3
3
ha
la
3
5 4
5 4
5
7
5
3
3
3
Breitkopf MM 2385424
3
3
3
3
5 4
3
5 4
that
a
live
like
5 4 5
ha
ne
ver goes
3
a
a
la
ha
ha
ver goes a
way 3
3
ne
ha
4 4 4 4
ha
way
3
3
ha
la ha ha ha 3
a
live
like
a
laugh 5
5
3
that
a
ne ver goes a way
live
5 4 5 4
goes
4 4 3
5
ha 3
ver 3
5
5 4 5 4
5 4
7
4 4 3
5 4
5 4
5 4
gliss.
4 4
ne
5 4
5 4
pp
5
3
4 4
3
la
5
4 4
3
5 4
4 4
5 4 3
live
3
5
ha
a
3
5 4
5 4
4 4
gliss.
7
ffp
4 4
4 4
ff
5 4
5
5
5 4
4 4
5 4
7
5
5 4
f
5 4
4 4
4 4
5 4
gliss.
7
3
la ha ha 3
5
live
ff
5 4
way 3
a
p
4 4 a
T.
ff
3
4 4
3
5 4
5
4 4
5 4
5 4
4 4
3
5
5
3
ha
3
5 4
5
5 4
5 4
3
4 4
fp
3
5 4
Sample page
3
3
ffp
4 4
7
5 4
3
5 4
4 4
gliss.
3
3
4 4
3
5 4
3
5 4
4 4
5 4
3
5 4
5
3
Leseprobe 4 4
7
5
5 4 3
5
4 4
3
5 4
3
4 4
3
4 4
5 4 5
4 4
3
3
p
3
3
4 4
5
3
5 4 5 4
4 4
3
3
f
3
4 4
5
5 4
4 4
5
p
3
5
5
3
5
S.
4 4
3
5
f
5
4 4
3
5 4 5 4
3
5
5 4
Eh.
3
3
5 4
5 4
Bcl.
5
like
a laugh that
5 4 5 4 5 4
5
4 4
5 4
4 4 4 4
4 4
3
5
5
3
5 4 5 4
5 4
34 107 (1)
5 4
(2)
5 4
Picc.
5
3
3
3
3
Ob.
5 4
Eh.
5 4
B. ob.
5 4
1
5 4
Bcl. 2
Hn. (F)
1 2
Trp. (C)
5 4
Tbn.
5 4
Tb.
Perc. 1 [tamb.]
5 4 5 4
Perc. 2 [guiro]
5 4
Hp.
5 4
Pno.
E. Gtr.
Choir
S.
Mez.
3
fp 3
f
p
4 4
4 4 4 4
ff
3
7
3
7
5 4
3
la
ha
Bar.
5 4 5 4 5 4
Vl. 1
5 4
Va. 1
5 4
Vc. 1
5 4
Db.
5 4
live
5
like
ne
ff
p
5 4 5 4
pp
5
5 4
gliss. 7
7
3
f
p
f
p
4 4
5 4
4 4
5 4
a
4 4 4 4
ff
3
3
4 4
7
3
3
3
3
4 4
3
4 4
3
ha
3
5 4
5
4 4
3
ha
ha
ha
way
a 3
ne
ver goes a
way
3
3
la
ver
3
ha
ha
ha
ha
la
4 4
a
live
3
a
laugh
5
5
that
ffp 3
a
live
like
a laugh that
ha
la
a
5 4
that
ff
3
3
ne
ver goes a 3
ff
3
5
5
3
5 4
pp
5
7
a
live
5
like
ne
a
ver
la
goes
ha
a
ha
4 4
way
ha
ha
5 4
Breitkopf MM 2385424
5 4
7
5 4
3
5 4
3
3
5
5 4
5
ha
ha
3
la ha ha ha 3
a
live
like
a
laugh
5
5 4 5 4
ne ver goes a way 3
a
live
like a laugh that
5 4
5
4 4
5 4
4 4
3
ha
5 4 5 4
a
4 4 4 4
way
ha
3
that
3
5 4 5 4
gliss.
5 4
like
3
5 4
4 4
5 4
4 4
live
3
5 4 5 4
5 4
5
4 4
4 4
ha
5 4
4 4
5
4 4
3
3
ha
ne ver goes a way 3
4 4
goes a way
like
5 4
4 4
5
5 4
la ha ha ha 3
ha
3
3
4 4
3
5 4 way
3
3
5 4
5
4 4
gliss.
7
5 4
4 4
4 4
5 4
4 4
5
5
p
4 4
fp
3
that
a
B.
la
3
5 4
ff
5 4
3
4 4
5
5 4
5 4
4 4
5
5 4
3
5 4
4 4
5 4
ffp
5 4 5
4 4
5
5 4
3
3
Sample page
3
5 4
3
5 4
4 4
3
5 4
5
4 4
a
T.
4 4
gliss.
5 4
5
5 4
4 4
5 4
4 4
Leseprobe 4 4
4 4 4 4
3
5 4
3
4 4
3
3
5 4
5
3
5 4 5
4 4
3
p
3
4 4
5
4 4
5
5 4
4 4
5
3
5 4
4 4
3
5
5 4
3
4 4 5
f
3
5
5
3
5 4 5 4
4 4
3
5 4
Ob. d'am.
4 4
3
5
5
3
4 4 4 4
3
5
5 4 5 4 5 4
www.breitkopf.com