Christopher Cerrone
Recovering for seven musicians (2011)
Version correct as of : July 18, 2015 Outburst-Inburst Musics Brooklyn, NY
INSTRUMENTATION Vibraphone Violin Double Bass Clarinet in B-flat Bassoon Trumpet in C (cup mute required) Trombone (straight mute required) Score in C Duration: Approximately 8-9 minutes
DISPLACEMENT OF ENSEMBLE The wind and brass players should stand offstage as indicated in the diagram. As a result, the air sounds (and ordinario sounds) that they perform should surround and envelop the audience. Sounds should move from player to player seamlessly, giving the effect of the sound traveling. From the beginning of the work until rehearsal E, the offstage players should remain rhythmically independent of the onstage trio. The vibraphone player should then subtly cue the players to enter one by one at letter E The pulse that in the vibraphone part will also serve as a useful means as a cuing. From this point out, the players should play together as in traditional music. If putting the players offstage proves completely impossible, the brass and wind players should stand as far as possible from both the on-stage group and each other. Ideally the work will be performed in a large and resonant space.
Vibraphone
Vln
Db.
Tbn
Cl
Audience
Bsn.
Tpt
Balcony
PREFACE Recovering is about gradually coming back to how things were, and in the process becoming something new. When wounds heal, new skin grows back in its place. In my movement of "Histories," I selected a brief moment from L’Histoire du Soldat’s “Pastorale” and froze it. This gesture is first played by a sustained vibraphone, coated in delicate a haze of breath sounds arranged to surround the audience—as in recovery, breathing is the most basic element. Stravinsky's gesture gradually thaws and gains direction, joined by evolving sounds in the strings. In time, tiny alterations to the gesture—a displaced octave, a new pitch, different harmonies, and finally a regular pulse—recontextualize it completely from its origins in L'Histoire. Only at this point does the music reach a state of repose and stability, if only temporarily. Recovering is dedicated to my teacher and friend Nils Vigeland, who first introduced me to the wonders of Stravinsky, particularly L'Histoire. Recovering was commissioned by The Academy—a program of Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education. The World Premiere was given by Ensemble ACJW at Helen Filene Ladd Concert Hall, Zankel Music Center, Skidmore College, Saratoga Springs, NY on February 10, 2012 and repeated at Weill Recital Hall, Carnegie Hall, New York City on February 14, 2012. Recovering was also funded in part by the Composer Assistance Program of New Music USA.
for Nils Vigeland
RECOVERING Christopher Cerrone (2011) Fluid, oating q = 60-63
6 &4
∑
5 8
∑
6 4
∑
2 4
∑
6 4
∑
3 8
∑
4 4
° 6 &4
∑
5 8
∑
6 4
∑
2 4
∑
6 4
∑
3 8
∑
4 4
∑
2 4
∑
6 4
∑
3 8
∑
4 4
2 4
∑
6 4
3 8
∑
4 4
3 8
∑
4 4
3 8
∑
4 4
3 8
∑
4 4
Vibraphone
Onstage Trio
Violin
Tune bass IV string to C if no extension is available
6 ¢& 4 ‹
Double Bass
∑
5 8
∑
6 4
5 8
∑
6 4
remove mouthpiece (air only)*
° 6œ 4 o
Clarinet in Bb
œ o
o
œ o
o
o
p p
p
remove reed (air only)*
6 4‰ œ o
Bassoon
5 8
∑
o
p
6 4œ o
2 4
∑
6 4
œ o
o
o
p
p
Offstage Quartet
(air only)*
6 4
Trumpet
5 8
œ o
∑
6 4
2 4
œ o
o
∑
o
6 4œ o
o
p p p
(air only)*
6 ¢ 4
Trombone
5 8
œ o
∑
6 4
2 4
œ o
o p
∑
6 4
o
œ o
o
p p
= Freely and expressively. q = 40*** Independently of the offstage group
A
4 so mallets** 3
7
œ ˙™– 4 & 4 ˙— œ ˙—
Vibr.
œ ˙— œ œ ˙—
-r
œ™™–
œ
p dolce, poco rubato
° Vln.
Db.
œ ˙ œ ˙™ ˙
œ ˙ œ œ ˙™ ˙
6 4
mp
sempre
° 4 &4
∑
∑
∑
∑
6 4
4 ¢& 4 ‹
∑
∑
∑
∑
6 4
a tempo (q = 60)
poco rall. Cl.
° 6 œ 4 o
3 6 8 ∑ 4œ o o
1 6 4 ∑ 4
œ
1 6 4 ∑ 4
œ
1 6 4 ∑ 4 œ
1 4 ∑
sim.
o p
mp**
Bsn.
6 4
Tpt.
6 4
œ Ó Œ ™ ‰ 83 ∑ 46 ‰ œ Œ Ó Œ Œ 41 ∑ 46 œ Œ Ó Œ Œ 41 ∑ 46 Œ ‰ œ Ó Ó sim. o mp** o o p o
3 6 8 ∑ 4
œ o
o
1 6 4 ∑ 4 œ
œ o
6 ¢ 4œ o
™ 1 1 6 4 ∑ 4 Œ œ Ó Œ ‰4 ∑
1 6 4 ∑ 4œ
1 6 4 ∑ 4
1 6 4 ∑ 4 œ
1 6 4 ∑ 4œ
œ
sim.
o
3 6 8 ∑ 4 o
1 6 4 ∑ 4
œ o
œ sim.
o p
mp**
*) e sound of the four wind instruments should be completely balanced and as uniform in timbre as possible. erefore individual players may need play a bit so er or louder than indicated to achieve the ideal dynamic balance. e sound should be very delicate, ephemeral, and resemble the kind of breathing required for meditation. Dynamics in quotation marks refer to an approximate expended effort rather than a resultant sound. e result is that the audience actually feels the sound travel from player to player. **)
1 4 ∑
p
mp**
Tbn.
To Bsn. To Bsn. To Bsn. To Bsn.
e vibraphone should enter of at the apex of the winds' hairpin.
***) Take special note of the gradual increases in tempo.
is hairpin should be a bit more exaggerated than the others.
e tempo will gently increase in each section.
e offstage group should keep a steady tempo.
© 2011 Christopher Cerrone | Outburst-Inburst Musics (ASCAP) Exclusively Distributed by European American Music Distributor's Company (ASCAP)
1 4 ∑
Recovering—Full Score 2
Più mosso q = 45 1 med-so mallet for top line and appogiaturas 3 so mallets 3
pp
11 3
œ & ˙ ˙
Vibr.
œ ˙ ˙
˙™ œ
p
œ
œ
j œ-
œ
œ
œ ˙ ˙
œ ˙ ˙
˙™ œ
œ œ ˙™
poco a poco cresc.
con sord. autando, airy senza vibrato
Vln.
° w &
œ ≈ ‰ R
o
Œ
Ó
r œ ≈ ‰ œ
w w o
pp
Œ
Ó
Œ
Ó
pp
Scordatura: Tune IV string to low C con sord.
Db.
o w ¢& ‹ o
°
o œ ≈ ‰ R
Œ
o w o
Ó
pp
o œ ≈ ‰ R pp
*
Cl. poco a poco cresc.
* Bsn. poco a poco cresc.
* Tpt. poco a poco cresc.
* Tbn.
¢ poco a poco cresc.
=
3
p
15
16
œ & ˙˙˙ œ
Vibr.
œ
Ϫ
j œ-
œ ˙ ˙
œ ˙˙ œ ˙
˙™ œ
œ #-e
˙
œ ˙ ˙
œ œ ˙™
(p) mp
Vln.
° w & w o
r œ ≈ ‰ œ
Œ
Ó
pp
r œ ≈ ‰ œ
w w o
Db.
¢& ‹ o
œo R ≈ ‰ p
Œ
Ó
wo Ϊ o
Ó
Œ
Ó
p
I
wo
Œ
#œ ˙ Ô o o
or œœ R ≈ ‰ o p
° Cl.
Bsn.
Tpt.
Tbn.
¢
*) Winds and brass: Continue to repeat this pa ern together as a quartet. Do not accelerate with the onstage trio; keep a consistent if somewhat free tempo. Very gradually grow louder, but never get harsh sounding. As the work proceeds, the pauses between breath sounds should grow shorter and shorter, to the point where the breaths are a continuous sound at m. 40.
Recovering—Full Score 3
Più mosso q = 50 -
(continue accel.)
B 19
21
œ™ & Œ
œ œ œ™ œ ≈ œœ ™™™ Ô mp delicate,
Vibr.
hesitant, pensive
˙˙ ˙˙
œ œ œ™ ˙ ™ #œ ˙ ˙˙ ™™ (pp)
-
-
œ œ ˙™ ˙™ ˙˙ ™™
œ œ œ œ #œ– Œ œœ
-
-
poco a poco cresc. mf
-ø(change ped.)
Vln.
Db.
° &
∑
∑
∑
∑
∑
∑
∑
∑
¢& ‹
° Cl. (mp)
Bsn. (mp)
Tpt. (mp)
Tbn.
¢ (mp)
= Più mosso q = 56
C 2 med-so mallets for top line and small noteheads 2 so mallets for C and B dyad
(continue accel.) 3
24
œ & ˙˙
Vibr.
œ ˙ ˙
˙™ œ
œ ˙E ˙
˙™ œ
œ -
œ #e
j œ
e™
œ ˙ œ œ ˙™ ˙
p (pp) mf mp
poco a poco cresc.
-øord. poco vibrato senza sord.
Vln.
° w&
˙™ ˙- ™
w w-
p
œ œ
œ >
p
w w p
p poco
poco
sim. sf sub.
poco espress always push into downbeat senza sord.
Db.
-o w ¢& ‹ p poco
poco p
poco espress always push into downbeat
° Cl. poco a poco cresc.
Bsn. poco a poco cresc.
Tpt. poco a poco cresc.
Tbn.
¢ poco a poco cresc.
wo Ϊ
o w-
p
#œ Ô o
˙ o sim.
o w p
œ œ œ œ
Recovering—Full Score 4
3
30
œ œ & ˙˙ œ #œ œ™ ˙
Vibr.
-
j œ
mp
œ ˙ œ ˙™ ˙
œ ˙˙ œ œ #œ œ ˙
p
œ œ œ œ
œ ˙ œ œ ˙™ ˙
mp mf
mf mp
(cresc.) (cresc.)
Vln.
° & ˙ ™™ ˙-
œ œ œ > sf
p
w w
w w-
w w-
mp
mf mp
sub.
-o Db.
#œ œœ ™™ ‰ Ôo
˙ & ¢ Œ ‹ p
II >oj Kœ ‰
I wo
sf sub.
mp
-o
o #œ ˙˙ Ô
˙ Œ™
wo
mp mf
° Cl. (mf)
Bsn. (mf)
Tpt. (mf)
Tbn.
¢ (mf)
=
Più mosso q = 60
D 35
œ & Œ
Vibr.
œ
with increasing urgency mf
œ˙j™ ‰ ˙˙ ™™
œ Ó
œ
œ #œœ Œ˙ œ #œœœ ˙˙˙
-
Œ
œ
œ œ œ˙ ™ ˙˙ ™™
Ó
œ
œ #œœ Œ˙ œ #œœœ ˙˙˙
-
-
-
poco a poco cresc.
-øsenza vib. aut. tasto
Vln.
r ° & œœ ≈ ‰
˙- ™
ord.
œ
˙- ™
œ
˙- ™
j œ- ˙
Ϫ
p pp poco a poco cresc.
Db.
œ R ≈ ‰ ¢& ‹
° Cl. poco a poco cresc.
Bsn. poco a poco cresc.
Tpt. poco a poco cresc.
Tbn.
¢ poco a poco cresc.
-o ˙™ pp poco a poco cresc.
œo
o œo #œ-
˙o
œo
-o ˙™
Œ™ œ o
-oj
˙™ #œ -o p
o ˙
Œ
Recovering—Full Score
Più mosso q = 69
5
1 so mallet for pulsed B-natural 3 med so mallets for all else (f)
-
E 39
œ & ‰
Vibr.
œ œ ˙™ œÔ ˙˙˙ ™™™
œ ‰
Ó
œ œÔ
œœ #œ œœ #œ
-
œ 6 4œ
Ó
œœ œ
œ
œ
œ
5 4
œ
pp poco
f (a heartbeat)
-øord. poco vib. poco pont.
Vln.
° & œ œ
œ 6Ô 4
œ œ œ ˙˙ ™™ -
œœ
˙˙ -
‰
5 4
˙™ ˙™
˙ ˙-
œ
mp
mp mp
poco dolce, poco espress.
Db.
o œjœ ¢& o ‹
‰ œ -o mp
Œ ˙™ o
o ‰ #œ-j ˙™ -o
Œ œ o
Ó
o ˙
o≤ 6 w™ 4
5 4 poco
mp dolce, poco espress.
put on mouthpiece
° Cl.
&
6 4
5 4
(f)
B5 Bsn.
4 (f)
5 Tpt.
&4 (f)
Tbn.
¢ (f)
3
3
(fsim)
42
œ œ 5 & 4 œœ œ œ
Vibr.
f
œ
œ
œ 4 œœ œ œ œœ 4œ #œ œ
œ
f
poco
p
œ œ œ œ œ œ
œ
f
sim.
œ
œ
œ œœ œ œœ #œ œ œ piu f
mp
œ
mp
pp
3 3
Vln.
° 5 &4 w w-
œ j œ œ>
4 ˙™ 4 ˙™
œ œ
> œ w Ô w
˙˙ ™™
mp
mp
o w
o ˙™ Œ™
j 3 œœ œ >
sf mp sim.
mp
poco
sf
sim.
sf
3
Db.
-o 5 w ¢& 4 ‹ mp
œ
o ˙™ 4 Œ™ 4
3
œœo >œo Ô
#œ ™ o
mp
œœo
#œ ™ o
mp sf
mp | p
sf
poco sim.
sim.
(aligned with onstage ensemble)
Cl.
° 5 &4 w o
œ
4 j ‰ 4œ
Œ
Ó
w
Ó ˙
o p
p
(sneak in) (aligned with onstage ensemble) senza vib. sempre
w insert reed
B5 4
Bsn.
B4
œ Ô ‰
Œ
Ó
w o
j ‰ œ
Œ
Ó
w
∑
4 o p (sneak in)
(aligned with onstage ensemble) con sord. (cup)
insert mute
5 &4
C Tpt.
4 ∑ &4
w o
o p
(sneak in) (aligned with onstage ensemble) con sord (straight) insert mute
w ?4 Tbn.
¢
>œo Ô
4 o (sneak in)
#œ ˙ œ Ô ‰ ‰ Ô o p
Recovering—Full Score 6
F
Più mosso q = 72
3
46 3
œ œ œ & œœ œ
Vibr.
œ
œ œœ œ
œ
œ œ œ #œ œ
œ
œ œ œ œœ œ
p
ff
œ
œ
œ œ œ
œœ œœ
œ
œ
œ
piu f
piu f
mp
mf
f anxious
mf
mf
-øpoco pont senza vib.
w Vln.
° & w w
œ Ô ‰
œ œ œ
˙™ ˙- ™
≤
˙˙ ™™
œ
p mf poco mp
Db.
Cl.
mf
mf
wo
wo™ Œ
“o œ™ o Kw
#œ ˙ Ô o o
¢& ‹ mf
mf
mf
° w & o
w
j œ ‰
p
mp
w
œ Ô ‰
B œ Ô
Bsn.
‰
Œ
Ó
o œo œ Ô ‰
Ó
mp
Œ
Ó
Œ ˙™ o
˙™ Œ
Ó
Œ
o p
o & œÔ
C Tpt.
‰
Œ
Ó
w o
w
p
œ ‰ Ô
Œ
Ó
œ Ô ‰
Œ
Ó
p
? w
œ Ô ‰
Tbn.
¢ pp
#œ ˙ ‰ Ô o
w
p
p
= -
-
50
œ & œ
Vibr.
œ
œ #œ œ #œ œœ
œ
œ
œ œ
œ œ˙˙ ™ œ ˙˙ ™™™
œ
œ œ˙ ™ #œ œ #˙˙˙ ™™™
-
f
œ
œ œ
mf
œ
œ
œ œ
œ œ œ˙™ œœ
-
f poco a poco cresc.
sul pont
Vln.
° & œœ ™™
j #œœ ˙˙ -
œœ
p
˙˙ ™™ -
#˙˙ ™™ -
œœ
œœ
˙˙ ™™
p mf poco
mp più
“o œ
“o œ
loco
K ˙o ™
“o œ
o Ϫ Db.
Cl.
o ˙™
“o œ
K ˙o ™ œo
˙™
œ
˙™
p
pp
œ
˙™
p
pp
œo ≈ ‰
Ó
œ
˙
¢& ‹ mp ° & œ
œ
œ
˙™
œ
p
#œ B œ
˙
˙™
œ ˙™
œ
œ
Bsn. p senza sord.
& Œ
C Tpt.
‰
j œ ˙ o
˙™
œ
œ
˙™
˙™ œ
pp p
#˙ ™
senza sord.
˙™
œ ˙™
œ
? ∑
Œ
Tbn.
¢ o
p
œ
œ
q = 76 Steady tempo Recovering—Full Score four medium-so mallets
7
-
-
-
54
œ & œ
Vibr.
œœ œœ #œ ˙œ #œœ
œ œ ˙™ œœœ œ œ œ
œ
œ
œ œ œ #œ ˙ œœ œœ œœ œœ œ
-
-
G >œ œ œ #œ ˙ w ww>
>œ œ œ #œ ˙ w ww>
ff sharp molto sul pont., dig in
Vln.
° & œœ
w w>
w #w>
f
f
n w-o
w-o w-
#œœ ˙˙ ™™
æ wæ wo
æ wæ wo ff
mf
ff
molto sul pont., dig in
“o œ Db.
o œo ˙™
¢& ‹
wo ææ
wo ææ o
o o ff
ff
f f
Cl.
° & œj
mf
w
œ- ‰ Œ Ô
w
#˙ ™™
œ-
>œ Ô ‰ Œ
mp
mf
Œ
mp
‰ œ™ mp
mp marcato
B œÔ
Bsn.
mp
>œ Ô ‰ Œ
œ- ‰ ‰ œ- ˙ Ô Ô
w
˙ ™™
w
p
mp
mp
œ Œ
mf
mp
marcato
& œj
C Tpt.
mp
#˙- ™™
w w
j œ- ‰ Œ
˙-
> œ ‰ ‰ œ- ˙ Ô Ô
mp
mp
mf
mp
p
mp
marcato
? œÔ
w-
˙- ™™
œÔ ‰ Œ
#w
Ϫ
>œ Ô ‰ Œ
˙-
mp
mf
mp
‰
Tbn.
¢ mp
marcato
= q = 60
gradually broaden >-
>œ œ œ #œ ˙ w ww>
59
Vibr.
H , œ w œ œ #w
œ œ œ #œ ˙ & w ww>
Ó
œ œ w œ™ œ œ #œ ˙ #w
p sub., dolcissimo
-ø, Vln.
° ww & æ æ o
ff
w w ææ o
j Oœ ™™
Œ ™ ˙O ™
≈ O™ ˙™
fff p
p poco
, Db.
n∑wo & æ ¢ ‹ æo
ff
æ n∑wæ o
‰
œo ˙o ™ Ô ‰ p
œo Ô
˙o ™
p poco
fff
, Cl.
° >œ ‰ & Ô
Œ
f
˙-
>œ Ô ‰
mf
ff
> ‰ œÔ ˙
w
f
w
pp dolce subito
molto
*
Bsn.
B >œ ‰ Ô
>œ Ô ‰
œ- ™ Œ
‰
f
mf
, #w
>˙
w
Œ
ff
f
pp dolce subito
molto
* cup mute, tight u er
, C Tpt.
> & œÔ ‰
‰
Œ
f
‰
œmf
> œ ‰ Ô
Œ
‰
ff
> œ œ æÔ ææ f
∑
Ó #˙ p dolce, pulsating slightly
molto
*
Tbn.
> ? œÔ ‰ ¢ f
‰
œ- ˙ Ô
>œ Ô ‰
mf
ff
Œ
Œ
>œu er ææ f
, ∑
∑
molto
*) A slight undulation
Recovering—Full Score 8
63
œ & #w w
Vibr.
Ϫ w #w
œ Ó œ
œ w œ #w
œ œ™ #˙
œ Ó
œ™ 15 ˙ ™™™ 16 # ˙ ™™™
Ϫ
15 16 Oj™ œ™
‰™
‰™
œ™ #œ ™
4 4
ord, senza vib.
° Œ &
Vln.
j Oœ ™™
O™ ˙™
≈ O™ ˙™
‰
˙™™
j O ™™ œ
4 4
O™ œ™
sim.
œo Ô ¢& ‰ ‹
Db.
˙o ™ ‰
œo ˙o ™ ≈ R
œo ™ Œ
O˙™™
15 16 ‰
˙™
15 œ™ 16 Ô
œo ™
4 4
≈
sim.
° w &
Cl.
w
Œ
‰™
‰ ™ #œj™
pp
#œ Ô
j Ϫ
4 4
(as before)
˙ #w
15 ™™™ 16 ˙
4 4
w
w
15 16 ˙ ™™™
4 4
w
w
B w Œ
‰
Bsn. (as before)
j & œ
C Tpt.
‰
Œ
Ó
con sord.
? #w
15 16
Tbn.
4 4
∑
¢ p dolce, pulsating slightly *
= Langorous q = 54
poco rit.
I
3
67
Vibr.
œ 4 & 4# w w
œ œ
Ó
œ w œ #w
œ œ w œ™ œ œ™ nw
œ #˙
œ w œ œ œ™ w
Ó
Ó
(do not li pedal)
Vln.
° 4 r ≈ ‰ &4 O œ
j œO ™™
™ ˙O ™
bow on the bridge, no pitch 6 – ‰ Ô o
≈ O™ ˙™
o
–6Ô o
o
–6Ô o
"mp"
Db.
œo œo ˙o ™ 4 R ≈ Ô ¢& 4 ‹
œo
˙o ™
bow on the bridge, no pitch 6 – ‰ Ô o "mp"
(air only subito)
Cl.
° 4 w &4
˙ ™™
‰
œ o
œ o
o "mp"
(air only)
Bsn.
B4 w 4
w œ o
o "mp" senza sord. (air only)
C Tpt.
4 &4 ˙
Ó
Ó
œ
œ o
#˙ o
o
(as before) mp senza sord. (air only)
Tbn.
?4 ¢ 4
∑
∑
œ o
o mp
œ o
Recovering—Full Score 9
q = ca. 60 71
œ œ œ™ œ œ™ Ó & w w -ø-
Vibr.
œ œ w œ™ œ œ™ Ó w poco cresc.
œ œ œ™ œ œ™ Ó nw w w
œ œ w œ™ œ œ™ Ó w w
œ œ w œ™ œ œ™ Ó w w
ord, autando
Vln.
–6Ô o
° & o
o
"mp"
w o
"mp"
"mp"
w-o Db.
–6Ô o
¢& ‹
œ ‰ Ô
wo Œ
œ
Ó
Œ
Ó
o p
mp
"mp"
° Œ
Ó
Œ
Ó
∑
Cl.
&
w o
o "mp"
œ p
senza vib, colorless
B w
œ Ô ‰
n˙ ˙ Œ
œ Ô ‰
Ó
w
Bsn. pp
pp
œ o
Tpt.
o
p
œ o
o
"mp"
œ o
o
"mp"
"mp"
"mp"
? Tbn.
œ o
¢ o
œ o
o
"mp"
∑ o
"mp"
"mp"
= 1 so mallet for the top line 3 med so bring out A§ slightly p
œ œ œ™ Ó œ™ œ & w w w
Vibr.
pp
J – w w w w
76
œ œ w œ™ œ œ™ n˙ w w
mp
p suspended
ppp
w w w
˙™™– 7 ˙ ™™ 8 ˙˙ ™™ ™™
p
p
-ø-
Vln.
° j ‰ & œ
Œ
w
p
˙o œ Œ
Cl.
∑
7 8
∑
œo Ô ‰ Œ
Ó
∑
7 8
∑
j œ ‰ Œ
Ó
∑
7 8
∑
Ó
∑
7 8
∑
p
wo Db.
Ó
j œ ‰ Œ
Ó
¢& ‹
° &
∑ w
p
B œÔ ‰
Œ
œÔ ‰ Œ
˙ ˙ Ó
Bsn. p
mp
Tpt.
o
œ o
o
œ o
œ o
o
"mp"
7 8 o
"mp"
con sord (cup)
w ?
œ ?
ΠTbn.
¢ pp
Ó
∑
∑
7 8
∑
Recovering—Full Score 10
poco a poco accel. gradually increase intensity 81 4 medium so mallets
Vibr.
&
3 4 ˙˙˙˙ ™™™™
˙˙ ™™™™ ˙ ™™
˙˙˙ ™™™ ˙ ™
j œœœ œ
œœ ™™™ œœ ™
œœ œœ
™™58 œœœ ™™™ œ ™
˙˙˙ ™™™ ˙ ™
œœœ œ
p poco a poco cresc. mp rst time mf second time, and slightly faster
Vln.
Db.
Cl.
° &
∑
3 4
∑
∑
∑
∑
™™58
∑
∑
3 4
∑
∑
∑
∑
™™58
∑
∑
3 4
∑
∑
∑
∑
™™58
∑
∑
3 4
∑
∑
∑
∑
™™58
∑
∑
∑
∑
™™58
∑
∑
∑
∑
™™58
∑
¢& ‹ ° &
B Bsn.
3 4
œ o
Tpt.
o "p"
3 4
? ∑ Tbn.
∑
¢
=
a tempo q = 60 -
accel. 87
& œœœ ™™™™ œ
Vibr.
œœœœ
œœ ™™™ œœ ™
œœ œœ
™ œœœœ ™™™
œœœœ
™™ ™™ œœ ™™ œœ ™™
œœœ œ
™ œœœœ ™™™
œœœœ
f faster still
Vln.
Db.
Cl.
° &
∑
∑
∑
™™ ™™
∑
∑
™™ 42
∑
∑
∑
∑
™™ ™™
∑
∑
™™ 42
∑
∑
∑
∑
™™ ™™
∑
∑
™™ 42
∑
∑
∑
∑
™™ ™™
∑
∑
™™ 42
∑
∑
∑
∑
™™ ™™
∑
∑
™™ 42
∑
∑
∑
∑
™™ ™™
∑
∑
™™ 42
∑
¢& ‹
° &
B Bsn.
Tpt.
? Tbn.
¢
™™ 42 ˙˙ ˙ p sub. -ø-
Recovering—Full Score 11
As before. q = 76
-
& ˙˙˙ ˙
Vibr.
> K bœ bœ œ ˙ œœœ bbww bœ œ bw > f sub. -ø-
U > 4 ˙˙ ™™ 4 ˙˙ ™™
93
-ø-
-ø-
> bœ bœ œ ˙ bbww bœ bw >
> bœ bbww bœ bw >
bœ œ ˙
sul pont senza vib.
Vln.
° &
∑
4 4
∑
> bœ
Ó
b>œ
>œ Ô
‰ Œ
> > bœ bœ ™ Ô
>œ Ô
‰
> > ‰ bœ œ bœ ™ Ô Ô
> œ Ô
‰
Œ
r œ ≈ ‰ >
Œ
f marcato ff
sul pont senza vib.
∑ Db.
¢& ‹
4 4
Ϊ
∑
b>œ œ b>œ ™ Ô Ô
> œ Ô
f marcato
ff
> ‰ ‰ bœ œ Ô
> bœ
b>œ
> bœ
(air)
Cl.
° &
∑
4U 4 Ó™
r œ ≈ ‰ Œ >
œ
r œ ≈ ‰ Œ >
Œ œ
f
‰ œ™
f
˙
f
(air)
B ∑ Bsn.
4U 4 Ó™
r œ ≈ ‰ Œ >
œ
r œ ≈ ‰ Œ >
Œ œ
f
r œ ≈ ‰ >
Œ œ
f
Œ
‰ œ™
Œ
Œ
f
(air)
Tpt.
∑
4U 4 Ó™
r œ ≈ ‰ Œ >
œ
r œ ≈ ‰ Œ >
Œ œ
f
r œ ≈ ‰ >
Œ œ
f
œ
f
(air)
? ∑ Tbn.
4U 4 Ó™
r œ ≈ ‰ Œ >
œ
¢
r œ ≈ ‰ Œ >
Œ œ
f
r œ ≈ ‰ >
Œ œ
f
Œ
Œ œ
f
= Broad, intense
Vibr.
> 98 bœ & bbwb w w >
bœ b œ œ ˙
>œ Ô
> bœ
> b œ bœ b œ œ ˙ bw bb ww > ff -ø-
> b œ bœ b œ œ ˙ bw bb ww >
> b œ bœ b œ œ ˙ bw bb ww >
molto sul pont., dig in
Vln.
° &
‰ Œ
b>œ
æ bwæ bw
bw bw æ
æ b˙æ ˙-
æ b˙æ b˙
f marcato pp
pp
pp
f
f
ff
molto sul pont., dig in
Db.
¢& ‹
> œ Ô
> > ‰ ‰ bœÔ œÔ bœ ™
bw ææ
˙ææ
b˙ ææ
pp
bw ææ
pp
pp
f
f ff
Cl.
°&
r j œ ≈ ‰ ‰ œ ˙ >
r œ ≈ ‰ >
f
f
> Œ
Œ & bœ mp
>œ Ô ‰ Œ
> ‰ bœ ™
>œ Ô ‰ Œ
b>˙
f
mf
b>œ
>œ Ô ‰ Œ
> ‰ bœ ™
mp
f
mf
> > œ ‰ ‰ bœ ˙ Ô Ô
> œ ‰ ‰ Œ Ô
> ‰ bœ
mf
f
mf
mp
marcato
r œ ≈ ‰ Œ >
Bsn.
r œ ≈ ‰ >
˙
f
B
> > ‰ bœÔ ˙
>œ Ô ‰ Œ
Œ
f mp
mf
marcato
r œ ≈ ‰ Œ >
Tpt.
r œ ≈ ‰ >
‰ œ™
f
Œ
> b & ˙
f mp
mp
mf
marcato senza sord.
Tbn.
¢
r œ ≈ ‰ Œ > f
Œ œ
r œ ≈ ‰ >
Œ
b>œ ™
>œ Ô ‰ Œ
b>˙
>œ b>œ >˙ Ô ‰ ‰ Ô
mp
mf
mp
f
?
‰
f marcato
mf
Recovering—Full Score 12
Tempo primo, oating, even more gentle q = 60
> b œ bœ b œ œ ˙ & b bw b ww >
L bœ ™™ bw bœ bœ nw
102
Vibr.
,
bœ bw bœ bœ œ Ó w
Ó
bœ bw bœ bœ w
bœ bw bœ bœ œ Ó w
Ó
pp sub., dolcissimo
-ø(don't li pedal second time) aut. senza vib
, Vln.
b w ° b wæ &
ord.
ord.
™™ bbw~
‰ b˙ ™™ bO ™ b ˙™
œO
bbw~
pp ff
pp
poco sim.
œo ˙o Ô
, ord.
Db.
™™ ‰ bb ˙O ™™™™
¢& bwææ ‹ pp
bb~w
Oœ ‰ Ô bb˙O ™™
œO ™™
pp
poco
ff sim.
, bw Cl.
° &
>œ b>œ >˙ ‰ ‰ Ô Ô ff
bœ
˙
bœ
™™ Œ
f
ppp undulating rst time
molto
˙
œ b˙ ™™ Ô
Πppp
b ˙ ™™
b ˙ ™™ B Bsn.
>œ Ô ‰ Œ
b>˙
ff
f
, w
™™
∑
‰
‰ ppp undulating rst time
molto
tacet rst time con sord (tight cup)
, C Tpt.
&
> œ ‰ Œ Ô
> ‰ bœ ææÔ
ff
f
™™ bw
œ ææ
w
œ ‰ ‰ œj ˙ Ô -
w
p
undulating rst p time
molto
tacet rst time con sord con sord.
?
>œ Ô ‰ Œ
Œ
Tbn.
b>œ ææ
, nw ™™
w
œ Ô ‰ Œ
w Ó
¢ ff
f
molto
p undulating rst time
p
= 1.
2.
a full 10" cut off suddenly; freeze
107
Vibr.
bœ bœ bœ & bw w
Ó
bœ bw bœ bœ œ Ó w
bœ bw bœ bœ w
Ó
bœ 7 b˙ ™™ bœ bœ œj ‰ Œ 8 ˙ ™™
bœ j Ó ™™ 44 bw bœ bœ ‰ U w
aut. senza vib
Vln.
Db.
Cl.
° & O œ
™ bb˙O ™
œO
™ bb˙O ™
bb~w
¢& ‰ bb ˙O ™™™™ ‹
cut off suddenly; freeze
7 8 œj b˙ ™ œ ppp
bbw~
Oœ ™ bb˙O ™
7 8 Oj b O œbœ
o œo œ™ Ô
‰ b˙ ™™
‰ bœÔ ˙
Œ
cut off suddenly; freeze
U ‰ Ó
™™ 44 ‰ bb œO
cut off suddenly; freeze
–<b> œ ™ ™™ 44
b ˙ ™™
° bw &
U ‰ Ó
™™ 44 bœ ™
7 8
U ‰ Ó poco
B w Bsn.
‰
–<b> œ ™ ™™ 44
b ˙ ™™
b ˙ ™™
7 8
cut off suddenly; freeze
U ‰ Ó poco
cut off suddenly; freeze tongue-stop
C Tpt.
& bw
w
w
7 8 œÔ ‰ Œ
‰ Œ
™™
U ‰ Ó
4 –<b>œ ™ 4 poco
cut off suddenly; freeze tongue-stop
Tbn.
? œÔ ‰ Œ ¢
w Ó
w
™™ 7 ˙ 8
œ™ ™™ 44
U ‰ Ó poco
12/22/2011. Brooklyn, NY. Gently revised 4/2012
œ ‰ ‰ œÔ ˙ Ô