MM 2385425 – Mason, Somewhere in the Distance

Christian Mason

Somewhere in the Distance (Lost in the Horizon) für Orchester und Tonband for Orchestra and Tape Partitur Score

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MM 2385425

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Christian Mason

Somewhere in the Distance (Lost in the Horizon) Partitur Score

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Christian Mason | Somewhere in the Distance

Contents I Water (ca. 8 min.) II Wind (ca. 6 min.) III Fire (ca. 4 min.)

Program Note 1 26 39

Duration approx. 18 minutes

World Premiere Lucerne Festival Contemporary Orchestra with Nathalie Forget (ondes martenot) and Baldur Bronnimann (conductor) Donaueschingen | 16/10/2021

Like several of my recent pieces, this piece is concerned with proximity - nearness or distance in space, time or relationship. Most obviously, there is the particular deployment of the instrumental ensemble in the performance space, and these spatial relationships inevitably have implications for the musical material and the way in which it manifests. Then there is the relationship between the recorded sounds and the instrumental textures, which emerge from them, sometimes in imitation (as when the four bass flutes emerge from the sound of running water in the first movement) and sometimes in more abstract juxtapositions. There is also a more personal, and maybe also more poetic, aspect: I see each of these three movements like a view on a landscape, trying to focus on the horizon. Horizons are, by their nature, ungraspable. Try to approach them and they simply move further away. If the horizon were a sound, maybe - like the water, wind and fire sounds used here - it would be always beyond the imposing reach of compositional control.

Commissioned by Donaueschinger Musiktage 2021

Christian Mason, September 2021

Score in C with the usual 8ve transpositions (bass flutes, contrabassoon, contrabass)

Breitkopf MM 2385425

IV

Christian Mason

Spatialised Orchestra: 35 players and audio diffusion OFF-STAGE (5 locations) (A) 4 bass flutes (B) 2 horns + 2 bass clarinets (C) 2 bass clarinets + 2 horns (D) 7 violins (with individual scordatura G**) (E) 3 violas (with individual scordatura C**) loudspeakers* (A) from invisible off-stage locations

ON-STAGE 2 oboes 2 bassoons (2nd doubling contrabassoon) 2 trumpets (+ straight and harmon mutes) 2 trombones (+ straight and harmon mutes) tuba (+ mute) ondes martenot 2 cellos 1 contrabass loudspeakers* (B) from main stage

OFF-STAGE locations (A) = visible on risers at the far-back of the stage, distinct from the ‘on-stage’ instruments (B) = left-rear of the hall (behind audience), horns extreme-left, clarinets centre-left (C) = right-rear of the hall (behind audience), horns extreme-right, clarinets centre-right (D) = left-side of hall, musicians widely spaced (E) = right-side of the hall, roughly opposite the violins

* Loudspeakers Playing pre-recorded audio cues from 2 locations: (A) aiming for a generalised/ambient/quasi-environmental sound with a non-directional quality; field-recordings of water, wind and fire sounds (B) from main stage/front of hall with perceptible location; recordings bell-plates and some of the water, wind and fire sounds

**Scordatura (for violins and violas) The violins and violas will be required to slightly re-tune their lowest strings (G and C respectively) by 1/4 or 1/8 tones as follows. Violins (G-string)

Violas (C-string)

1 = 50 cents up (+ 1/4 tone)

1 = 50 cents up (+ 1/4 tone)

2 = 25 cents up (+ 1/8 tone)

2 = normal tuning

3 = normal tuning

3 = 50 cents down (- 1/4 tone)

4 = 25 cents down (- 1/8 tone) 5 = 50 cents down (- 1/4 tone) 6 = 75 cents down (- 3/8 tone) 7 = 100 cents down [= F#] (- 1/2 tone)

Breitkopf MM 2385425

Somewhere in the Distance (Lost in the Horizon)

(A): rear-stage riser

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Breitkopf MM 2385425

B.Cl. 4

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VI

Christian Mason

Performance Notes Techniques are described as needed in the score, here is an overview.

General Accidentals with arrows: The meaning of accidentals for non-tempered pitches depends on the musical context. In general they can be reasonably interpreted as quarter-tones, with two notable exceptions: (1) during bars 1 - 23 of mvmt. I the musicians should aim to match the tuning of the recorded bell plates; (2) in some cases which recur throughout the piece tuning is intended to match specific overtones of a specified harmonic series (as indicated in boxed text, e.g. “C:11th”); similarly in mvmt. I: b.107 - 117 the horns play on the natural harmonic series and maintain natural tuning. Microflux: Improvised ornamentation within a semitone (or smaller micro-interval) employing techniques such as: subtle pitch inflections, vibrato (with variable speed/depth), tremolo (with variable speed/intensity), quasi-baroque ornaments (trills, turns, mordents). The intention is to give a subtle sense of inner life and motion to the sound/texture while maintaining notational simplicity. Boxed material: On several occasions players are given fragments of material in a box. The given fragments can be performed in any order and with variable speed. These textures always involve several players, but synchronisation should be avoided. The intended result is something like a magnified/ amplified microflux texture with a sonically and rhythmically complex result. Glissandi: Should be performed continuously across the notated duration (as far as possible), if the duration is too long for the given interval then the start of the slide may be delayed as needed.

Bass flutes Square note-heads (I: b.15 - 19) = sing while playing causing beating between flute and voice Crossed note-heads (I: b.28 onwards) = key click on written pitch; key clicks alternate with normal tones and should stand out from the texture. Whistle tones (mvmt. II from b.2 onwards): these are to be improvised on the given fundamental Overblowing: indicated by the word ‘overblow’, exact overblown pitches are not specified but the aim should be to reach the highest possible overtones when the maximum dynamic is reached.

Bass clarinets Overtone squeaks: improvised rhythmically short and irregular emphasis on varied overtones of the notated fundamental.

Horns Overtone glissandi: to avoid confusion between the score and parts the name of the sounding overtone series is indicated in square brackets, for example [in D] at mvmt. I b.107, in both score and parts, even though the written pitches are of course transposed in the parts.

Ondes Martenot Timbres: exact choice of timbres is left to the discretion of the performer, based on descriptive suggestions included in the part. Glissandi: use of the ring is expected for longer glissandi, use of the keyboard for shorter glissandi. These decisions are left to the discretion of the performer. Sometimes there is a quick change from gliss. to keyboard figures (mvmt. I, Letters B, C and D), in these cases the arrival note on the downbeat should be emphasised with the change of technique immediately after.

Breitkopf MM 2385425

Somewhere in the Distance (Lost in the Horizon)

VII

Strings Z on stem = irregular trem. Circular bowing = shifting continuously between sul tasto and sul pont. bow positions to create varied shifting overtones. Changes of bow direction should still follow the notated rhythm. Scordatura: when playing on these strings an ‘out-of-tune’ relationship with frequency beats between players is intended despite the notation indicating the same pitch.

Audio diffusion Pre-recorded cues as .wav files should be triggered from a central mixing desk using any suitable file player (such as QLab). The level of the audio playback should balance with the unamplified live instruments. List of cues in order of entry [1 - 31]: I. WATER: [1] Babbling water 1: recorded by the composer at a small waterfall near Civitella Ranieri, Umbria, one hot afternoon during a residency in September 2017. The source recording has been layered with multiple versions of itself at different speeds (slowed down). Cue entry b.1. [2 - 15] Bell plates: three different bell plates, multiple recordings (different angles/intensities), recorded during a percussion workshop at Darmstadt Summer School in August 2014. The actual pitch content is rich and complex, but the filenames are identified by (approximations of) the audibly dominant tones to which the orchestral music relates: (1) G#/A [5 versions]; (2) F#/G [2 versions]; (3) B/C [1 version]. This table indicates which sound files are used and where (1st movement): b.2 2 G#/A 1

b.3 3 G#/A 2

b.4 4 G#/A 3

b.6 5 G#/A 4

b.7 6 G#/A 3

b.8 7 F#/G 1

b.12 8 G#/A 1

b.13 9 G#/A 2

b.14 10 G#/A 3

b.16 11 G#/A 4

b.17 12 G#/A 3

b.17 13 G#/A 5

b.18 14 F#/G 2

b.20 15 B/C

[16] Babbling water 2: recorded at the same place, and subject to the same editing processes, as babbling water 1. Cue entry b.68. [17] Breaking waves: recorded by the composer at Kiloran Bay, Isle of Colonsay, one morning at sunrise during a holiday in August 2021. Multiple different recordings (from different parts of the beach) have been layered to sound simultaneously. Cue entry b.107. [18] Fountain voices reverb: recorded by the composer at the church of Notre Dame du Port in Clermont-Ferrand, in May 2021. A fountain at the back of the church blended in the reverberant space with the voices of people talking; this was blended later with a close-up recording of the fountain. Cue entry b.115.

II. WIND: [19] Birch wind: the sound of wind through the leaves of birch trees, recorded by Georg Kästle. Cue entry b.4. [20] Cherry wind: the sound of wind through the leaves of cherry trees, recorded by Georg Kästle. Cue entry b.41. [21] Oak wind: the sound of wind through the leaves of oak trees, recorded by Georg Kästle. Cue entry b.71. [22] Mixed leaves: the sound of wind through the leaves of multiple tree species (walnut, pine, oak, birch, aspen, abele, cherry) and - incidentally some birds, all recorded by Georg Kästle. Cue entry b.83.

III. FIRE: [23] Crackling fire embers: the sound of the embers of a garden bonfire, recorded by the composer while visiting friends near Uckfield in Sussex during August 2021. The source recording has been layered with multiple versions of itself at different speeds (slowed down). Cue entry b.1. [24 - 29] Bell plates: “bell plate_B/C.wav” the same recording as used in movement 1, b.20, recurs six times during movement III. Each time a little louder than the last. Cue entries in b. 8, 16, 24, 32, 40, 48. [30] Roaring fire with crackling embers: the sound of a large roaring bonfire, sourced at freesound.org (with thanks to user homejrande), is filtered (low-pass filter) and combined with the ‘crackling fire embers’. Cue entry b.49. [31] Roaring fire: the same large roaring bonfire recording, sourced at freesound.org (with thanks to user homejrande), is used raw. Cue entry b.51. Breitkopf MM 2385425

Somewhere in the Distance (Lost in the Horizon) I. Water Audio Diffusion

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ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ∑ W o p

Ú

Ó Lw 3 o

w

˙ 25

25

p

w

o

3

p

o Œ Ó

˙

Ó Ó

W

Ó o

ppp

Ó

W

o w

microflux

∑

o Ó o

3

W

˙™ >

>˙

w

3

25

5

mf

w

o

f

f

˙

w

3

o

Ó o

3

>œ >œ >œ >œ >œ w

44

∑

>˙ >˙ >œ >œ w 25

w

w

ppp

25

Ú

>˙

3

Ú

42

∑

>˙

p

42

42

>˙

˙

w

ppppp

Ú

Ú

∑

42

w™

25 w

p

w

42

∑

Œ œ 25 w o

˙

#w o

ppp

Ú

4 ¢& 2

∑

mf

° 4 &2

a7

N.B. frequency beating from varied tuning of G-strings IV bowing ad lib.

o W

ppppp

Ú

∑

Ú

25

42

25

∑

42

Ú

25

∑

42

Ú

o W

o 25 W f

Ú

Ú

∑

Ú

25

44

25

∑

44

Ú

Ú

25

∑

44

Ú

Ú

Ú

Ú

4 &2

Ú

Ú

Ú

25

∑

42

Ú

Ú

Ú

25

∑

44

¢

? 42

Ú

Ú

Ú

25

∑

42

Ú

Ú

Ú

25

∑

44

{

? 42

Ú

Ú

Ú

25

∑

42

°? 4 2

Ú

Ú

Ú

25

∑

42

?4 ¢‹ 2

Ú

Ú

Ú

25

∑

42

2 Tbn.

Tba.

Ú

tune to recorded bell plates

25 o

KL ˙˙ 42 KK ˙˙ K ˙

fff

kw

#œ w o

+ 3+ ˙ w

ppp blend with bells

∑

25

Ó

#w o

tune to recorded bell plates + + 4 & 2 JW W

25

∑ o

p

4 B. Cl.

Ú

∑

Jw

? 42

? 42

˙

p

bœ J w

ord.

∑

ff

f

J˙ ™

p

4 <b>b)W b) ™ &2 ‹ f

Ó

f

3

4<b><b>)w ™ b) &2 ‹ p f

4 B. Fl.

˙ ˙˙˙

Ó

pure tone 3

˙ ˙ ˙ ˙

ppppp

wo ™ ~™ w™

IV

ppppp

Breitkopf MM 2385425

˙

˙™

cresc. poco a poco

Ú

3

œ ˙ ˙ ˙ ppp

˙

pp

Ú ˙o

wo

cresc. poco a poco

˙

˙

3

p

Ú

˙o wo 3

ppp

˙o

timbre

5 œ œ 2 ˙ ˙ ˙ ˙ 25

wo

˙o

pp

p

wo ™ 25

w

44 44

∑ wo f

44

Somewhere in the Distance (Lost in the Horizon)

3

Ceremonial

B q = q [= 88]

Audio

24 BABBLING WATER ° ¢ / 44 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ° 4 ˙ &4 ‹ mf

˙

w

4 &4 w ‹

˙

mf

4 B. Fl.

4<L>˙ &4 ‹

4 &4 w ‹

∑

? 44

∑

? 44

∑

? 44 4 Hn.

4 &4 ¢

7 Vln.

3 Vla.

Ob. 1

∑

∑

w

+

w

˙

mf

∑

+

˙

? 44

∑

Ó o

o ∑

senza vib. ° 4 > &4 w

senza vib.

4 &4 w > pp

w

senza vib.

4 ¢& 4 w > pp

w

senza vib. harmon mute (stem out)

> ° 4 w &4

w

pp

pp

senza vib. harmon mute (stem out)

4 &4 w > pp

Tba.

¢

? 44

Ond.

{

? 44 œ. bœ. bœ. œ. œ. Œ

Vc. 2

Cb.

≈ r ≈ r ¿ nœ >. b-œ nœ. . f

3

‰

j ‰ œ b¿. >

pp

œ- bœ.

f

pp

≈ b¿r ≈ œ - œ. bœ. nœ- nœ. >. f

3

bœ.

œ.

bright tone: 'oboe'

f

5

pp

3

≈ r ≈ bœ ≈ r ≈ r nœ bœ nœ- . . -œ bœ. ¿ ¿ - œ. œ. >. >. f

pp

Œ

f

Œ

? 44 ?4 ¢‹ 4 w

pp

Œ

p 5

Œ

Œ

Œ

∑

∑

Œ

> Jœ.

Œ

p

5

3

f

pp

Œ

Œ

Œ

Œ

Œ

J>œ ™

6

Œ

Œ

Œ

Œ

Œ

Œ

j>œ ™

Œ

Œ

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

mf

w

˙™ ˙™

> w

Œ

w >

w

bw >

w

Œ

> nw

nw

Œ

> bw

Œ

fpp

mf

˙™

#w

˙™ mf

˙™

Œ

˙™

Œ

‰ nœfij œ. j ‰ bœ. œ. ‰ œ. bœ. œ. nœfij œ. 5

p

∑

f

Œ

∑

3

3

p

∑

w >

w

bw >

w

j b œ. > p

> bœ. œ. nœ. bœ. J

‰

Œ

mellow tone: 'tuba'

˙ ppp

f

?

w

fpp

mf

‰ bœ. œ. Œ nœfij bœ. œ. bœ. Œ

?

fpp

fpp

∑

> nœ

Œ

fpp

mf

nw

Œ

w

fpp

˙™

‰

fpp

mf

bw

‰

mp

w

Sample page jw

J>œ ™

fpp

Œ

mf

œ œ bœ- œ. bœ. >

f

mp

∑

> bw

pp

6

∑

Œ

3

mp

‰

mp

n-œ

j œ- nœ. nœ. bœ.

n>œ ™

6

∑

˙™

pp

‰ Ó

∑

w

Œ

6

mp

> bœ. p

5

Œ

œ.

r ≈ r ¿ bœ- nœ. nœ. bœ. œ. bœ- nœ nœ >.

p

> jœ.

Œ

j ‰ b¿. >

‰

3

∑

w

˙

Œ

f

5

f

> jœ.

3

f

∑

w

∑

≈

pp

Œ

3

pp

3

j ‰ j n¿. -œ >

pp

∑

o

w

∑

f

f

nœ. nœ. bœ.

bœ-

‰

≈ b¿r ≈ œ - œ. bœ. nœ. nœ. bœ. œ- bœ œ b>œ. >.

∑

w

œ. bœfij œ.

‰

3

∑

∑ Œ

3

j ¿ >.

pp

3

nœ. bœ. œ bœ. . 5

pp

‰

œ-

∑

w

∑

f

3

pp

∑

senza vib.

4 harmon mute (stem out) & 4 Lw > pp

°? 4 4

3

b-œ nœ.

pp

3

∑

senza vib.

Vc. 1

‰

Œ

∑

mf

harmon mute (stem out) > 4 J &4 w

Tbn. 2

pp

j ‰ n¿. >

∑

w

pp

Tbn. 1

b-œ œ .

f

3

‰

3

∑

Ó

w

4 & 4 jw >

Tpt. 2

j ‰ bœ- œ bœ. ¿ . >.

3

Leseprobe o

+

ord.

senza vib.

Tpt. 1

∑

babbling, watery

∑

∑

pp

Bsn. 2

babbling, watery

3

‰ œ- œ.

pp 3

pp

∑

w

4 ¢B 4

Bsn. 1

‰

‰

5

° 4 o &4 w

Ob. 2

∑

∑

∑

o

Œ

babbling, watery

∑

∑

mf

4 &4

o

∑

babbling, watery

∑

f

? 44

? 44

Ó

w

pp

4 B. Cl.

o

∑

Ó o

crossed notehead = key click

∑

3

‰

Œ

Ó

j n œ. > mp > nœ. J

Ó

mp

p

∑

∑

∑

∑

bw

Ó o

∑

∑

> bœ. J

pizz.

p

Breitkopf MM 2385425

Ó

‰

Œ

Ó sul pont.

w

ppp sul pont.

ppp

Œ

sul tasto

∑ sul tasto

‰

gliss.

˙

mp

‰

Œ

Ó

> nœ. J

mp

‰

Œ

nœ Ó

Πo

4

Christian Mason

C

Audio

30 BABBLING WATER ° ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 45 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 44 ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ° & nœ ‹ .

45 ‰

j ‰ j ‰ j ‰ ‰ j ‰ nœ bœ ‰ n¿. n¿. ¿ œ. bœ. nœ. nœ. bœ. œ- bœ. nœ. -œ bœ. nœ. . . > > >.

3

3

bœ.

3

3

f

3

3

pp

3

3

f

pp

f

‰

3

n-œ bœ. pp

3

j n¿. >

‰

f

3

œ- bœ. nœ.

pp

3 3 . 5 & nœ bœ œ bœ ≈ ¿r ≈ nœr nœ œ ≈ b¿r ≈ œ bœ ≈ b¿r ≈ nœ nœ œR ≈ b¿r ≈ œ œ bœ nœ nœr ≈ b¿r ≈ 4 œ. bœ œ bœ nœ nœ œ. bœ . . . . . . . . . . . . . . > . . - . - . > > > > >. ‹

pp

bœ. 3

& nœ nœ ‹ - .

f

f

pp

f

f

? Œ

Œ

? Œ

J>˙

pp

f

7

j>˙ mf

Œ

Œ

3

pp

f

3

j ‰ ‰ bœ- œ œ. b¿. . >

pp

45 ‰

j ‰ ‰ ¿ œ- nœ. >.

3

f

pp

pp

Œ

‰

f

3

f

pp

pp

j>œ ™

Œ Œ

7

b˙ j>œ

Œ

mf

j>˙ 7

Œ

Œ

mf

f

œ J

f

Ó

?

f

mf

Œ

7

Œ

pp

b>˙

Œ

mf

? œ

pp

f

f

3

j b¿. >

3

‰

œ- bœ .

f

œ.

pp

≈ r ≈ r r ≈ r ≈ œ ≈ r ≈ nœ ≈ r ≈ b-œ bœ 45 r ≈ n-œ nœ. . ¿. b-œ œ. bœ. ¿. œ œ. ¿. ¿. b-œ œ. bœ. nœ. nœ. ¿ œ. bœ. nœ. nœ. - bœ . > > > > >.

≈

? Œ

‰

pp

œ

‰

n>œ J

> 45 œ

n>˙ 5

3

œ >

f

œ

Œ

Œ

j>œ

j>˙

5

f

œ

ff

∑

?

∑

&

Ob. 2

w

w

& w

Bsn. 1

w

w

° w & &

w

<b>w

w

o

f

w

o

f

& <b>w

Tbn. 2

o

f

& w

Tbn. 1

o

f

w

o

f

∑

44

∑

44

∑

44

∑

44

∑

œ. >œ. bœ. Œ 3

f

mf

Vc. 1

‰

°? ˙

Πgliss.

Ó

bœ

mf

? bw

ppp

Cb.

? b>œ. ¢‹ J

mf

Œ

Ó

b>œ. œ. ‰ f

p

œ. b>œ. bœ. Ó 3

f

‰

Œ

Ó

>œ. bœ. Œ

f

p

∑

> 44 w

45

∑

> 44 bw

45

∑

> 44 bw

45

∑

> 44 Jw

45

∑

44 jw > pp

45

∑

44 w > pp

ff sul pont.

sul tasto

ppp gliss.

nœ

f

‰

Œ

Ó

> nœ. J f

‰

Œ

Œ

‰

Œ

Ó

Πo

ppp

w

gliss.

∑

f

œ

44

Ó o

ppp

>- gliss. trill œ œ f

Breitkopf MM 2385425

pp

. 44 bœ. œ. bœ. nœ. nœ. œR ≈ ‰

gliss.

sul pont.

Œ

pp

44

Ó

sul tasto

‰

pp

pp

45 w

ff

j bœfi

pp

with gong resonance

≈ j bœ

45 ˙

>. 45 nœJ

3

pp

bright tone: 'oboe' 3

ff

˙

pp

p

œ.

ff

nw

Πo sul pont.

sul tasto

Vc. 2

f

‰

f

p

45

>. 45 nœJ

Ó

3

p

> 44 jw

> nœ. J

Œ

pp

44

∑

f

‰

f

Ó

45

? b>œ. Ond. { J

j b œ. >

pp

Œ œ > b œ.

> 44 w

mf

?

pp

f

∑

∑

45 nœj >.

¢

3

3

44

45

j n œ. >

Tba.

f

pp

f

Sample page o

f

¢& <b>w

Tpt. 2

o

f

pp

j ‰ j j nœ nœ. bœ. œ bœ. ¿ . -œ bœ. nœ. . >.

3

Ó

™ 45 ˙

o

f

Œ

45 ˙

f

‰

f

pp

45 w

w

44 j b¿. >

pp

∑

ppp

° <b> w &

f

44

™ 45 ˙

∑

pp

Ó

Œ

ff

∑

3

p

>™ 45 nœ

∑

f

∑

bœ ‰ > bpœ.

3

5

3

p

45 n>œ bœ b œ > .

>œ ™

3

j ‰ j bœ. b-œ œ bœ. nœ. n¿. -œ nœ. . >

44

ff

>œ J

∑

∑

? ¢

Tpt. 1

f

Leseprobe f

‰

3

bœ.

Ó

3

ppp

Bsn. 2

3

pp

pp

f

> 45 ˙

5

44 œ.

pp

3

ppp

4 Hn.

Ob. 1

f

j ‰ ‰ bœ ¿ œ- nœ. nœ. . bœ. >.

‰

ppp

?

pp

pp

œ nœ Œ > b œ.

ff

>œ

Ϫ

f

∑

pp

f

œ. bœ.

≈ 44 r ≈ bœ. ≈ r ≈ ≈ r ≈ n-œ bœ. bœ ≈ r ≈ n-œ nœ. R œ bœ. nœ. n-œ R ¿. b-œ œ. bœ. ¿. ¿ ¿ b-œ nœ. nœ. . > > >. >.

5

pp

4 B. Cl.

pp

3 j ‰3 j ‰ 3 b-œ œ bœ. nœ. nœ. nœ. nœ. b¿. . >

3

& ‹ œ.

f

3

3

j ‰ nœ¿ >.

44 r ≈ r ≈ bœ ≈ r ≈ œ ≈ r ≈ n-œ bœ. œ ≈ b¿r ≈ r b¿. bœ. nœ- nœ. b>¿. œ- bœ. nœ. n-œ . b>¿. . - œ. > >. bœ.

5

4 B. Fl.

‰

Œ

Ó

5

Œ

pp

p

∑

44 ˙ 44

œ.

Ó o ∑

œ.

Somewhere in the Distance (Lost in the Horizon)

Audio

34 BABBLING WATER ° ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ° & nœj ‹ .

3

f

& ‰ ‹

3

3

pp

. . & nœ bœ ≈ ‹ 4 B. Cl.

¢

3

‰

nœ.

j n¿. >

‰

f

pp

bœ. œ > f

pp

3

nœ. bœ. bœ. œ .

3

j b¿. >

‰

‰

f

3

œ-

œ.

œ.

pp

bœ.

pp

3

bœ. ‰

j ¿ >.

3

‰

œ- bœ.

‰

pp

3

j ‰ n¿. > f

f

pp

f

nœ. ‰

3

3

j ‰ bœ- bœ n¿. . > f

3

œ. bœ. nœ.

pp

3

3

3

pp

f

f

‰

pp

3

j ‰ b¿. > f

pp

f

pp

3

nœ œ- bœ. nœ. nœ. . 3

‰

pp

œ. bœ. nœ.

‰

f

≈

3

‰ nœj nœ. bœ. bœ . -

3

3

pp

3 j œ. bœ. nœ. nœ.

pp

r nœ bœ. œ b¿. ≈ n-œ . bœ. œ. bœ- nœ > 5

f

j ‰ b-œ b¿. J > f

j n¿. >

bœ.

pp

3

œ. bœ. nœ.

f

>œ

f

∑

∑

∑

∑

?

∑

∑

∑

∑

Leseprobe œ-

solo 1.

∑

Ó

Œ

-œ

∑

&

∑

B

∑

Ó

Œ

œ.

mf

p

solo 2.

&

œ

f

gliss.

3

b œ.

˙

solo 3.

œ

˙

mf

f

∑

[raised IV]

∑

[standard tuning]

f

nœ

bœ. œ 3

b-œ

œ.

pp

nœ- bœ. œ bœ ≈ . - œ. pp

> w

o

Ϫ

‰ o

f

Œ

nœ-

pp

-˙

p

∑

˙-

3

b>œ

j n¿. > f

f

5

œ >-

‰

3

3 . 3 j ‰ nœ. nœ. bœJ ‰ b¿. >

?

° &

7 Vln.

pp

pp

‰ j ‰ nœ- bœ. bœ nœ- nœ. b¿. . >

f

3

œ- nœ.

3

pp

j ‰ b¿. >

3

r r r ≈ r ≈ r ≈ -œ bœ. nœ bœ ≈ r b¿. œ. ≈ ¿. ≈ b-œ nœ. b¿. ≈ n-œ . . b¿. ≈ -œ œ. > > > >

3

‰

‰

f

nœ bœ. nœ. nœ- .

œ

‰

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Audio

38 BABBLING WATER ° ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 3 3 ° - . ‰ j & ‰ nœ bœ bœ b œ n ¿ œ . . . ‹ >. 3

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Audio

42 BABBLING WATER ° ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ° & bœ . ‹

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8

Christian Mason

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Audio

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Audio

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3 j œ. bœ. nœ.

nœ. n-œ bœ nœ.

bœ ≈ >.

b œ.

pp

f

pp

f

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f

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Œ

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3

3

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3

f

‰

3

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3

3

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4 & 4 ≈ œ œ. bœ. œ- œ. ≈ ‹ ? 44

pp

f

j n-œ

‰

3

3 5 > > > 3 r > ≈ b¿. ≈ r nœ. bœ. œ œ bœ- nœ #œ nœ ≈ œbœ. ≈b¿. ≈ n-œ bœ. œ ≈ ¿r ≈ œr bœ. ≈ n¿. ≈n-œ#œbœ ≈n¿r ≈ -œbœ nœ. nœ œ. ≈b¿. ≈ -œ œ œbœ. nœ. #œbœ œ nœ nœnœ- nœ. R R R R . . . . . . >. . >. b-œ . .> . > 3

3

& 44 ≈ ¿.r ≈ #œ. r bœ œ. b-œ nœ . > ‹

4 B. Fl.

3

f

j œ. bœ- nœ. #œ. bœ œj ‰ n¿. ‰ bœ nœ nœ nœ. bœ. - . > - . .

timbre

∑ mellow tone: 'tuba'

˙™

w >

fp

-œ

˙

œ

œ b-œ œ w 3

p

∑ b˙ 3

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Breitkopf MM 2385425

Somewhere in the Distance (Lost in the Horizon)

Audio

60 BABBLING WATER ° ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 3 ° & nœj ‰ ‹ .

3 j n¿. ‰ nœ œ. bœ- nœ. œ. ‰ > 3

f

pp

3 3 > n¿. ‰ bœ- nœ. #œ œj nœ J > 3

f

> œ bœ œ œJ œ -

bœ-

3

pp

ff

3

pp

f

pp

f

pp

f

pp

f

ff

pp

pp

3

4 B. Cl.

4 Hn.

¢

f

pp

f

‰ nœ. nœ.

f

pp

mf

f

pp

pp

f

pp

f

pp

f

pp

pp

f

pp

f

f

pp

mf

f

pp

pp

f

pp

f

pp

mf

f

f

f

pp

nœ

f

Ob. 1

Bsn. 2

Tpt. 1

?

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

?

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∑

∑

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?

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?

∑

?

&

Leseprobe

∑ <b> ˙ ™

œ-

nœ

‰

∑

∑

Ó

‰

>œ. R ≈ ‰

>œ. R ≈ ‰

∑ b œ-

bœ

œ.

œ œ- b œ. n œ.

pp cresc.

pp cresc.

b œ.

-œ

œ. J

pp

3

5

f

b>œ. R ≈ Œ

∑

œ

œ-

>œ. R ≈ Œ

∑

∑

‰

Œ

‰

‰

3

>œ. J

b>œ. J Œ

‰

3

Ond.

Vc. 1

Vc. 2

pp cresc.

Œ

Cb.

-œ

pp

‰

Œ

3

w

j ‰ œ

Œ

Ó

bw > ppppp poss.

w

w

œ ‰ J

Œ

Ó

> bw

w

œ ‰ J

Œ

Ó

> Jw

w

w

j ‰ œ

Œ

Ó

jw > ppppp poss.

w

w

j ‰ œ

Œ

Ó

nœ

œ-

5

bœ

œ.

œ -œ bœ. nœ.

ppppp poss.

ppppp poss.

w >

bœ.

∑

∑

∑

∑

j œ. ‰

Œ

‰

Œ

pp

-œ

3

∑

∑

ppppp poss.

5

6

∑

Breitkopf MM 2385425

œ. J

pp

w

w

ppppp poss.

∑

∑

Lw > ppppp poss.

∑ bœ-

œ

‰

ppppp poss.

w

∑

3

>œ. R ≈ Œ

w

> bw

∑

b>œ. ‰ J ‰

3

>œ. R ≈ Œ

Œ b>œ. R ≈ ‰

Œ

ppp cresc. poco a poco

Ó

ppp

‰

3

#œlœ ≈#œlœLœ ≈#œLœ #œlœ ≈#œlœ#œLœ #œ ¯¯¯¯¯

Ó

Œ

ppp

n>œ. J

pp

UNSYNCHRONISED ORNAMENTAL FRAGMENTS: play with material in any order, individual speed ad lib.

j ‰ œ

ppp

3

f

≈ ≈ ≈ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Lœnœ LœnœLœ Lœ nœ Lœ nœ LœnœLœ nœLœ

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w

f

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Ó

ppp

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Œ ‰

> ‰ ¿. ‰ J

UNSYNCHRONISED ORNAMENTAL FRAGMENTS: play with material in any order, individual speed ad lib. freely vary bow position [sul pont. - ord.] 3 5 6

> w

Ó

‰ n>œ. R ≈ ‰

Œ

ppp

? <b>˙ ™

? ¢‹

Œ

bœ.

œ. J

f

Œ

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ppp

& w

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œ œ b œ. n œ. œ J ‰

ppp

& w

°?

bœ

w

& w

{

bœ-

3

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w

?

œ

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ppp

° w &

¢

nœ

5

w

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Tba.

œ-

f

& w

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‰

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w

˙

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bœ- œ bœ nœ. ≈ r ≈ n-œnœ bœ ¿ n¿. ≈ #>œ. R >. >

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Œ

f

3

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3

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3 ‰ ¿j ‰ œ bœ nœ. >.

∑

Ó

pp

pp

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° &

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3

f

f

nœ bœ nœ .

5

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3 >. œ bœ nœ. ‰ n¿J

> n¿. ≈ -œ bœ. nœ œ bœ R . -

3

3

nœ-

ppp cresc. poco a poco

3 Vla.

3

pp

œ. bœ. ≈ ¿r ≈ n-œ nœ nœ. bœ. nœ œ bœ nœ .>

pp

b-œ œ

pp

3 3 3 3 > > . ‰ b¿. ‰ bœ. nœ nœ bœ. ‰ ¿j ‰ nœj œ bœ. n-œ #œ bœ œ bœJ ‰ b¿. ‰ n-œ J J . . > 3 3 3

f

‰

¿ ≈ n-œ #œ. bœ œ bœ nœ nœ ™ >. 5

3 > > > > ≈b¿. ≈b-œr nœ. #œ ≈ n¿. ≈bœ œ b¿. ≈ bœnœ nœ n¿. ≈ œ- bœ nœ œ bœ R R . R . -

f

j n¿. >

3

‰

mf

r b-œnœnœ. ≈ r ≈ n-œbœ. ≈ r ≈n-œ . . ≈ r ≈ bœ- . bœœ bœ ¿. ≈ bœ-nœ. #œ. œ ≈ ¿. ≈ n¿. R R ¿. ¿ n-œ #œ > > > > >. > . 3

r r bœ nœ. - . & œ. -œbœ. œ. ≈ ¿. ≈ -œ bœ. nœ. #-œ . ≈ n¿r ≈ œR bœnœ nœbœnœ- œ > >. ‹ 5 pp

pp

3 3 j3 œ bœ- nœ œ œ #œ. bœ œ. >

3 3 3 j3 j3 & ‰ -œ bœ nœ œ nœ. ‰ ¿. ‰ bœ- nœ. œ œ œ > . . > ‹

3 3 3 3 3 >. 3 j . j œ bœ n¿. ‰ œ- bœ œ œ bœ. ‰ n¿J ‰ n-œ #œ bœ. - . nœ nœ nœJ >

3

pp

3 3 >. b-œ bœ. > > bœ- œbœnœ œ nœ œ ≈n¿. ≈n-œ ≈ . & <#>œbœ . n-œ œ. bœ. nœ- œ. nœ. œ. bœ- nœ b¿R ≈ -œ bœ. nœ- #œ. R > ‹ 3 5

4 B. Fl.

7 Vln.

11

Œ

Ó

‰

Œ

Ó

‰

Œ

‰

gliss.

bœ

bw ppp

# œ. J p

‰

Œ

Ó

l œ. J pp

ΠΠo

12

Audio

Christian Mason 65 BABBLING WATER ° ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ° & ‰ ‹

bœ. & R ‹

4 B. Fl.

j n¿. >

3

‰

b-œ nœ. 3

f

‰

pp

> ≈ n¿. R

≈

f

#œ- bœ.

-œ bœ. ≈ b>¿. R

r & n¿. ‹ >

≈ œ -

3 j ¿ >.

pp

pp

‰

f

œ.

3

‰

3

pp

? ?

≈

nœ

œ

3

pp

f

?

f

4 Hn.

¢ 7 Vln.

?

‰

?

Œ

? >œ. R

>œ. J

3

‰

n>œ. R

≈

≈ ‰

>. ≈ œR ‰

pp

3 3

nœ-

nœ

f

bœ

nœ

3

mf

nœ

pp

‰

≈ -œ bœ. nœ

>. ¿ f

3

#œ.

‰

> n¿. J

j ¿ >.

3

> bœ. n¿.

3

j b-œ

3

‰

-œ mf

≈ bœR

n¿. > f

nœ

Œ

‰

3

Œ

‰

‰ ≈

>œ. R

‰

n>œ. R

‰

b>œ. J

Œ

‰

3

Œ ‰

3

>œ. J

Œ

Œ

Œ

Œ

b>œ. ≈ R ‰

Œ

‰

>œ. J

Ó ‰

∑

>œ. R

≈

Œ

‰

‰

3

Œ

‰ 3

≈

≈

>œ. R

5

6

3

f

pp

pp

pp

3

bœ.

œ

nœ-

. ≈ n-œ #œ

f

≈

pp

> nw p cresc.

n˙ 7

> jw

j >œ 7

p cresc.

Œ

n>œ. R

Œ

‰

Œ

‰

Œ

≈

j >˙ ™

Œ

7

p cresc.

‰

Sample page w

w

w

w

≈

b>œ. J

‰

3

>œ. R

b>œ. R Œ

‰

‰

3

#>œ. J

Œ ≈

n>œ. R

‰

Ó Ó

w

{

?

œ. J mp

°?

w

?

p

‰

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Ó

‰

Œ

Œ

J œ. J pp

nw

mp

mf

‰

b œ. J

mf

‰

Œ

Ó

‰

Œ

Œ

gliss.

bœ

mf

<b> ˙ œ. J

bœ. J

˙ gliss.

nœ

mp

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‰

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Ó

Πo

bw

mf

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j œ. J pp

∑ ∑ ∑

∑ nœ. J

‰

f

j œ.

f

pp

n œ.

Œ

Ó

Œ

Ó

nw ppp gliss.

˙

ppp

b œ. J

‰

∑

∑

o

p

∑

∑

o

p

& w œ. J

o

p

& <j>w

mp

o

w

& <J>w

?

o

p

° <b>w &

¢

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p

ppp

Cb.

7

o

p

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Tbn. 2

Vc. 2

bœ.

≈ nœR

f

7

p

& <b>w

Tbn. 1

Vc. 1

> ≈ n¿. R

n-œ r r ¿. ≈ R œ. bœ. ≈ ¿. > >

w

& <L>w

Tpt. 2

Ond.

pp

f cresc.

w ° &

Bsn. 1

Tba.

3

n-œ

bœ

œ-

f

pp

‰

3

‰

freely vary bow position [sul pont. - ord.] bœ jœ ≈ bœ jœ Jœ ≈ bœ Jœ bœ jœ ≈ bœ jœ bœ Jœ œ ≈ bœ Jœ bœ jœ bœ œ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ B ¢ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

Ob. 2

Tpt. 1

j #¿. >

3 5 6 7 3 5 6 7 ° & Lœ nœ ≈ Lœ nœ l œ ≈ Lœ nœ Lœ l œ ≈ Lœ nœ Lœ nœ Lœ ≈ Lœ nœ l œ œ Lœ nœ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ Lœ nœ ≈ Lœ nœ jœ ≈ Lœ nœ Lœ jœ ≈ Lœ nœ Lœ nœ Lœ ≈ Lœ nœ jœ nœ Lœ nœ

3

Bsn. 2

> b¿. J

Œ

Ó

‰

f

f

‰

Œ

3

> . ≈ b¿. ≈ bœ œ bœ R ‰

≈

p cresc.

Œ

mf cresc. poco a poco

Ob. 1

> jw

Œ

mp cresc. poco a poco

3 Vla.

nœ. nœ. bœ.

∑

>œ. J

nœ. J

bœ nœ 3

‰

mf

3 n-œ . . œ bœ n-œ #œ.

Leseprobe

≈

Œ

3

Œ

b-œ nœj .

3

œ.

nœ.

pp

∑

>œ. J

bœ. n-œ

pp

bœ.

#-œ

pp

5

≈

f 3

nœ.

#œ. bœ- œ . œ. bœ- nœ

œ

pp

-œ bœ nœ n-œ nœ

f

pp

b-œ J

‰

f

pp

œ.

nœ

pp

œ bœ

mf

. > ≈ b¿. ≈ #œr bœ R -

b-œ nœ.

3

nœ

∑

b>œ. ≈ R Œ

3

‰

bœ

Œ

‰

‰

> b¿.

3

œ

œ-

∑

‰

>œ. J

‰

∑

Œ

‰

-œ œ.

pp

≈ n¿r ≈ bœ .>

∑ ‰

≈ bœ. R

f

∑

?

>. ¿ R

3

4 B. Cl.

?

j ¿ >.

3

‰

f

f

bœ

. r ≈ ¿r ≈ b-œ nœ #œ .>

bœ.

pp

pp

-œ

œ.

œ-

- . ≈ nœ nœ nœ.

f

‰

3

>. ¿ J

f

pp

& ‰ ‹

f

‰

nœ

f

‰

Œ

Ó

Breitkopf MM 2385425

n œ. J f

‰

Œ

Ó

Πo

Somewhere in the Distance (Lost in the Horizon)

Audio

68 ° / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ o

¢/

ON-STAGE LOUDSPEAKERS: BABBLING WATER (2)

° & nœ. ‹ & ‹

4 B. Fl.

bœ.

3

#-œ

nœ j ¿ >.

3

r & ¿. ‹ f>

≈ bœ

4 B. Cl.

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≈

f

& ‰ ‹

?

‰

> n¿. J f

>. ¿

‰

3

‰

n-œ

pp

œ bœR.

pp

j >œ ™

œ-

nœ.

bœ

bœ.

3

≈

‰

> b¿. J

nœ.

‰

‰

3

>œ J

>œ. R

? ‰

≈

-œ

3

Œ

bœ.

∑

∑

≈

∑

∑

>. ¿

? ‰ ¢

3 Vla.

Ob. 1

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3

>œ. J

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≈ ‰

Œ

‰ >œ. R

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3

5

n>œ. J

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f

∑

3

ppp

b>œ.

#>œ. f

>œ. R

‰

f

bœ.

. . bœ. œ. bœ. nœ. nœ. nœ bœ pp

pp

n œ.

pp

cresc.

3

œ.

cresc.

œ. b œ. n œ. n œ. œ.

nœ.

n>œ.

œ.

œ. bœ. nœ. #œ. bœ.

f

3

3

œ. bœ. nœ- #œ >

bœ.

3

pp

œ.

cresc.

3

bœ.

nœ.

nœ

nœ.

bœ.

œ.

nœ.

3

bœ.

3

3

œ. bœ. nœ. #œ. b œ .

nœ.

3

3

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nœ

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œ.

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fff

3

nœ> fff > > nœ. bœ. nœ. œ. bœ. nœ. #œ. bœ. nœ b-œ nœ. nœ. œ. bœ- nœ nœ

pp

3

3

cresc.

œ. bœ.

3

œ- bœ >

fff

nœ. #œ. bœ.

bœ.

3

3

3 nœ. bœ. n>-œ œ. bœ. nœ nœ.

œ 3

3

° &

f

pp cresc.

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

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fff

Πo

B

Lœ-

#œ

Lœ-

#œ

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o3 ‰ j ‰ Œ n œ. >

2 soli (1.2.)

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Somewhere in the Distance (Lost in the Horizon)

Audio

4 B. Fl.

84 OFF-STAGE: BABBLING WATER (1) ° / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ON-STAGE: BABBLING WATER (2) ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ° & ‹ ?

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p

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Audio

4 B. Fl.

Christian Mason 88 OFF-STAGE: BABBLING WATER (1) ° / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ON-STAGE: BABBLING WATER (2) ¢ / ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ ° & ‹

∑ bœ. 3

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