Still Life with Violin and Orchestra by Christopher Cerrone

Christopher Cerrone

Still Life with Violin and Orchestra (2010)

Outburst-Inburst Musics Brooklyn, NY

ORCHESTRA* 2 flutes (I & II = piccolo) 2 clarinets in B-flat (II = Bass Clarinet in B-flat) 3 horns in F 2 tenor trombones percussion (4 players) harp piano strings (10.8.6.6.4)

PERCUSSION REQUIREMENTS Player 1: large suspended cymbal, chimes, crotales (2 octaves), glockenspiel Player 2: large suspended cymbal, vibraphone Player 3: large suspended cymbal, tam-tam Player 4: large suspended cymbal, bass drum

Still Life with Violin and Orchestra commissioned and premièred by the New York Youth Symphony with violinist Hahn-Bin at Isaac Stern Hall at Carnegie Hall on March 11, 2011. *The work is also available in a reduced and amplified chamber version.

About the work Here should be a picture of my favorite apple. It is also a nude & bottle. It is also a landscape. There are no such things as still lifes. —Erica Jong

On an unseasonably warm January afternoon in 2007, I spent an hour staring at a building on the Upper West Side of Manhattan at dusk; at first I just admired the architecture, but as I stared longer, I noticed how—one by one—each apartment in the building would switch on its lights. The building became a gradually changing pattern of illumination, a living experience. Paintings, unlike music, are not fixed in time. While starting at a painting, my mind often wanders, and my experience with the work is interwoven with my own memories, thoughts, and impressions that evolve the longer I stare. Still Life with Violin and Orchestra's narrative is based on this experience, gradually evolving from a noisy opening to a central lyrical section and finally a melancholic ending. I ask the New York Youth Symphony and Hahn-Bin to affectionally share the dedication of my Still Life with my dear friend Marjolaine Lambert; she taught me a love of the violin. The careful guidance advice and guidance of both of these violinists was essential to my creative process.

While this is certainly true of all orchestral music, the role of the conductor in Still Life is integral to a proper performance of Still Life with Violin and Orchestra

Note to the conductor While this is certainly true of all orchestral music, the role of the conductor in Still Life is integral to a proper performance of Still Life with Violin and Orchestra. To make the work convincing he must shape the dynamics and tempi of the work so that the gradual shifts feel natural and smooth. Additionally, the timbres of the strings, winds, and percussion must also be very blended—a layered and textured but homogeneous sound. The opening section of the work must be loud enough that sound of the ensemble is full and rich, yet also spare; it must flow at a pace that is both leisurely but has forward momentum. This is also true for the second section, beginning at m. 67. The conductor must open this section gently and quietly enough that the slow and gradual build to the cadenza (or cadenzetta) feels both smooth and natural, but also inexorable; the interruptions to the melody (eg. m. 123 and 164) must pull back considerably in their dynamics, yet also move forward; there should always be a feel of gradual crescendo and forward momentum throughout this whole section. The timing of the end is perhaps the most fragile. It must neither die away too fast or too slowly—is it best to think of it as a long ringing chord on a piano; let the orchestra slowly die away in waves and pulses.

Notation Guide Notation Guide Notation Guide Notation Guide Notation Guide Notation Guide Notation Guide Notation Guide

General General General General General General General All instruments should play with a minimum of vibrato AllAll instruments should play with a minimum minimum ofvibrato vibrato All instruments should play with a minimum of vibrato instruments should play with General All instruments should play with aaminimum ofofvibrato

All instruments should a minimum of vibrato All instruments should playplay withwith a minimum of vibrato crescendoindicated. dal niente (with an imperceptible attack) " All trills are half-steps unless otherwise All instruments should play with crescendo a minimumdal ofniente vibrato(with an imperceptible attack) " " crescendodal dalniente niente(with (withananimperceptible imperceptibleattack) attack) crescendo " crescendo dal niente (with an imperceptible attack) crescendo dal niente (with an imperceptible attack) " " "crescendo dal niente (with(with an imperceptible attack) " dimineundo al niente imperceptible cut off)attack) crescendo dal niente an (with an imperceptible " "dimineundo al niente (with an imperceptible cut off)off) " dimineundoalalniente niente(with (withananimperceptible imperceptiblecut cut " dimineundo " dimineundo off) al niente (with an imperceptible cut off) dimineundo al niente (with an imperceptible cut off) cut off) diminuendo al niente (with an imperceptible " " dimineundo al niente (with an imperceptible cut off) repeat the figure independently until cut off by the conductor G" !::"@5":: !5 !"5:: :: repeat the figure independently until cutcut off off bycut theoff conductor G"G repeat the figure independently until the conductor repeat the figure independently until by the conductor repeat the figure independently cut offthe bybythe conductor 5G"::@!!@55@:: repeat the figure independently untiluntil cut off by conductor G !G repeat the figure independently until cut off by the conductor @ :: @ the figure independently until cut off by the conductor G !@5 "f" = relative dynamics; the repeat effort put in may not reflect the resultant sound effort put in may not reflect the resultant sound "f""f" = relative dynamics; thethe effort putput in relative may notdynamics; reflect thethe resultant sound =relative relative dynamics; effort inmay may not reflect the resultant sound "f" = dynamics; the effort put in not reflect the resultant sound "f" "f" = relative dynamics; the effort put in not reflect the resultant sound = relative dynamics; the effort putmay in may not reflect the resultant sound "f" = relative dynamics; the effort put in may not reflect the resultant sound

Strings Strings Strings Strings m.s.p. molto sul ponticello; play very close to the bridge; a dirty and harsh (but not ugly) sound is desired Strings m.s.p. = molto sul ponticello; play very close to the bridge; a dirty and harsh (but not ugly) sound is desired Strings Strings m.s.p. = molto sul ponticello; play very close to the bridge; a dirty andand harsh (but notnot ugly) sound is desired m.s.p. molto sulponticello; ponticello; playvery very close the bridge; dirty harsh (but ugly) sound desired Strings s.v. senza vibrato; play without vibrato m.s.p. ==molto sul close totobridge; the bridge; a adirty harsh ugly) sound isisdesired ord. ordinario m.s.p. = =molto sul ponticello; playplay veryany close to the a dirty andand harsh (but(but not not ugly) sound is desired

= molto sulplay ponticello; play very close to the bridge; a dirty and harsh (but not ugly) sound is desired s.v.m.s.p. = senza vibrato; without anyany vibrato s.v. senza vibrato; play without vibrato ==molto senza vibrato; play without any vibrato m.s.p. = sul ponticello; play very close to the bridge; a dirty and harsh (but not ugly) sound is desired s.v. =s.v. senza vibrato; play without any vibrato s.v.m.s.p. = senza vibrato; playm.s.p. without any vibrato s.v. senza vibrato; play without4"any vibrato m.s.p. 3" 8" 7" m.s.p.+ ))))))))4" s.v.m.s.p. = senza vibrato; play m.s.p. without any vibrato )))))))))))) )))))))))))))) + + m.s.p. m.s.p. m.s.p. 3" 8" 7" ¸ ¸ 4" )))))))))))) )))))))))))))) )))))))) m.s.p. m.s.p. m.s.p. + + + 8" 7" repeat the figure independently of the conductor m.s.p. + )))))))))))) m.s.p. + )))))))) ¸ MM¸ ¸ MM¸ 3" 3" ))))))))))))))7" 7"4 8"4 m.s.p. m.s.p. 43" 4" 4"4 +)))))))))))))) m.s.p. m.s.p. repeat the figure independently of the conductor 8" G )))))))))))) )))))))) 4" + + + until cutthe off; each stand of strings should )))))))))))) )))))))))))))) )))))))) 4 4 4 4 3" 8" 7" + + + M M repeat figure independently ofthe the conductor ¸ ¸ : 4 G m.s.p. ¸ M¸M ¸ M¸M E:+B )))))))) )))))))))))) ))))))))))))))5 4 m.s.p.E+ 4 4 : + until cut off; each stand of strings should repeat the figure independently of conductor m.s.p. E ' B repeat the figure independently of the repeat the figure independently of the conductor G co-ordinate with their stand partner visually E B 4 4 4 4 4" until cut off; each stand of strings should : 4 4 4 4 3" 8" 7" repeat the figure independently of the conductor E ' E B 5 M M G : M M co-ordinate with their stand partner visually EBB": mp G G+)))))))))))) until cut off; each stand of strings should : "4 until cutthat off; each stand of strings should "' mp " " 4 +E)))))))))))))) EB"B 5 : mp so they can play together 4" ¸ "M " ¸ "f"M " 4 conductor until cut off; each stand of co-ordinate with their stand visually E B+: E"E)))))))) until cut off; each stand ofpartner strings should 55:: "EEE' repeat the figure independently ofpartner the conductor so that they can play together : mp " E ' E B " co-ordinate with their stand partner visually " mp mp 4 " "f" M M B co-ordinate with their stand visually 4 4 4 " " so that they can play together ' E B 5 mp " " " " G " "mp mp" " M M " " strings should co-ordinate with their stand co-ordinate with their stand partner visually mp mp "f" until cut off; each stand of strings should so that they can play together so that theythey can can playplay together " "" "f" "f" " "" " "" E "B : ""mp mp " "" E ' " mp " E"B "" mp5 :mp so that together co-ordinate with their stand visually mp mp "f" partner visually so that theypartner can play " mp " sotogether that they can play together " " mp " " " " mp "f"

¸ ¸¸ G G¸G ¸¸ G G ¸ G G

Brass Brass Brass Brass Brass with reversed mouthpiece Brass with reversed mouthpiece Brass with reversed mouthpiece with reversed mouthpiece reversed mouthpiece Brass G Gwith reversed mouthpiece with

G mouthpiece with reversed G G G G

bow directly bridge; mute strings; resultant sound should a soft white noise bow directly onon thethe bridge; mute thethe strings; thethe resultant sound should be be a soft hisshiss likelike white noise bow directly on the bridge; mute the strings; the resultant sound should be a soft hiss like white noise on the bridge while thesound strings; the resultant sound should be a noise soft hiss like white directly ondirectly the bridge; mute the strings; the resultant sound should a soft like white bowbow directly onbow the bridge; mute the strings; themuting resultant should be abe soft hisshiss like white noise bow directly on the bridge; mute the strings; the resultant sound should be a soft hiss like white noise noise bow directly on the bridge; mute the strings; the resultant sound should be a soft hiss like white noise

toneless sound; order amplify effect, remove mouth piece reverse toneless airair sound; in in order to to amplify thisthis effect, remove mouth piece andand reverse it it toneless air sound; in order this tothis amplify this effect, remove mouth piece and toneless air sound; in order to amplify effect, remove mouth piece and reverse toneless air sound; in order to amplify effect, remove mouth piece and reverse toneless air sound; in order to amplify this effect, remove mouth piece and reverse it itit reverse it toneless air sound; in order to amplify this effect, remove mouth piece and reverse it toneless air sound; in order to amplify this effect, remove mouth piece and reverse it

commissioned by the New York Youth Symphony

Still Life with Violin and Orchestra Christopher Cerrone (2010) Solo Violin

2 Flutes

2 Clarinets in Bb

3 Horns in F

2 Tenor Trombones

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ÂŠ 2010 Christopher Cerrone | Outburst-Inburst Musics (ASCAP)

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; %8 (tutti) sul tasto quasi non vibrato

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(continue in the same tempo)

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3, 9

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(continue in the same tempo)

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(Vibraphone)

Perc. II

3 ,@ $

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3, 3, 9

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3, 3 ,, 3,, 9

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3, 3, 5 9

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3, , 3, 3 ,, 3 , 9 , 3,

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Crotales

(Vibraphone)

Perc. II

3, 9

, 3,

l.v. sempre

, 3, 9

A 8

& 3 ,, 3,, 9

& 5

! %

A 8

Vln. I

Vln. II

% ,6 3, )

Vla.

Vc.

6 3,

6 3, 3,

6 3,

6 3, 3,

6 3,

6 3, 3,

6 3,

6 3, 3,

3, 9

3, 3, 9

3, 9

3, 3, 9

A 8 , 3,

6 3,

A, 8 &

A 8

3, mp

12 93

Solo Vln.

3 ,@ $

pocchis. a tempo rit. 3 , 3 , , 3,@ $ ,@ $

,@ $

! ! ,$ %

,! $

% ,$

Fl.

3,@ $

@$ @ A 3, 3, 3, , 3, , 3, ; 3 , 8 8 ,

,@ $

3B ,@ $

3 ,@ $

3, $

A, 8

;3, 8

A, 8

; 3, $ 8

A, 8

; 3, $ 8

A, 8

; ,$ 8

; 3, $ 8 @

3, $

,@ $

Cl.

"% ! %

Perc. I

% ,$

Hn.

Tbn.

! %

3, 9 5 % "

Hp.

Vln. I

! %

& 5

& &

A 8, &

& 3,, 3,, 5 9

3, 3 ,, 3,, 5 9

& 5

; 6 5 8 ,

3,, 3,, 5 9

& &

3, 3, ) 9 "

A 8

; 8 ,$ @

; 8

A 8

& 3, 9 5

A5 8

; 8

3, 3, ; , 3 , 3 , 8 , ,9 5

6 5 3, 5 5:3

3, 3, 9 5

3, 3 , , ;3, 5 3 , 3 , 8 9 ,

A5 8

3, 3, 5 9 5 5:3

3, $

ord tutti

& 6 3, 3,

6 , 3,

A5 8

, 3,

; , 8 ,

;3, 5 8 , 9

! ; ,6 5 8 ,

; , 3, 8 @

, 3, 3, @

, 3, @

, 3, 3, @

, 3, @

3, 3, 9

3, $ mp

Vc.

& ,$ 6 , 3,

A 8

A, 8

6 A 3, 8 , 3,

ord

; 3, 8 , @

Vla.

6 % 3, 3,

Vln. II

3 ,, % 3,, 5 9 '

A 8

Crotales

3, 3, % 9 5

Pno.

,$ &

(Vibraphone)

Perc. II

)

ord. tutti

, 3, 9

A 8,

, 3, 9

3, A , 3, 9 8

; 8 3, mf

8 ,$ mf

6 6 3, 3, 3, ,$

6 3, 3, ,$

102

Solo Vln.

3 ,@ ,

pocchis. rit.

a tempo

@$ , 3, , 3 , ,3, 5

I sim.

,@ $

3 ,@ $

,@ $

3, 3, ,

% ,$

! % ,$

Fl.

Cl.

Hn.

3, $

3,@ $

3, $

A, 8

; 8

3, $

A, 8

; 8

3, $

A, 8

; 8

3, $

A, 8

; 8

6 , 5 5

,@ $

3 ,@ $

Perc. I

3, 5 5 9

Crotales

3, 3 , 5 , 3 , ,3, ,9 5

' 2

3, , 3, 3 ,9 5 3 , 3, 6

' 2

Vln. I

3, 3, 5 5 9

, ,

3, 3 , 9 5

!6 , 5 ,

A 8

; 8

A 8

3, 3, 5 5 A8 5 , 3 ,9

A5 8

, 3,

A5 , 8

, 3, 3, @

, 3, @

, 3, 3, @

6 6 3, 3, 3, ,$

6 3, 3, ,$

3, $

, ,@ 3 , ,$ 3, $ div.

, ,@ 3, 3, $

, ,@ 3, A , ,@ 8 3, $

3, 3,

, A5 8 ,

@ , , 3,

; 8

& 5

, 3, 3, @

; 8

6 33,, 5 5 , 3,

% , 3,@ 3,

A 8,

; 8

, 3, 3, @

, 3,

3, , , ;8 3 , 3 , ,

A 8

3, ,

A 3,@ 8

6 33,, 5 5 A 5 , 3, 8 , , 3, 3, 3,

, 3, @

' ,$

6 33,, 5 5 , 3,

, 3, 3, @

) 3,6 3,

3, 3, 9 5 5

, 3, 3, @

Vla.

Vc.

! % , 3,@ 3,

Vln. II

% 2

Hp.

% 2

Pno.

(Vibraphone)

Perc. II

,@ $

! %

"% , $

! ,$ %

3 ,@ $

pocchis. a tempo rit.

A 3, 8

, 3, ; 8

; 8

, ,

; 8

; 8 ; 8 ; 8 ; 8

, ,@ 3 ,

A , ,@ 3 , 8 , ,@

; 8

, $$ ,

; 8

A, 8,

a tempo

Solo Vln.

@I sim. $ ,@ $

3!,@ $

3 ,@ $

! ; 3, $ %8

; % 8 ,$

; % 8 3, $

; ,$ "% 8

3, ; %8

111

Fl.

,@ $

pocchis. rit.

3!,@ $

3 ,@ $

3, $

6 ,

, 3 ,@ $ 3, ,3, , 3 , ,3,

,@ $

3 , 3 , , 3II,@ $

,@ $

3,@ $

Cl.

! ; % 8 3,@ $ mf

Hn.

; % 8 ,6 5 5 ; % 8 ,$ @

'; 8 Tbn.

,$ &

' ; ,@ $ " 8

& ,$

& ,$ &

,$ &

Perc. I

! ; %8

Perc. II

, 5 5 3 ,9 5 9 Crotales

3, ; 3, %8 9 5 5

Pno.

! ' ; ,6 5 5 8 ,

! ; 3? $ % 83 , $ p

; % 8 3,

Vla.

Vc.

) ;8

3 ,, 5 =3,,9

?,$$

6 6 3, 3, 3,

3, p

, ,3,3,

3, , , 3,

3, $

, , , 3, 3 ,

!f6 , ,

& ?,$$

, 3,@ 3 , , 3,@ 6 3, 3,

6 , ,

3 ,, 5 =3,,9

l.v. sempre

& ?,$$

?,$$ 3,

6 3, 3,

, 3,@ 3, , 3,@

& ?,$$

3,@ 3 , , 3,@ 3 ,

6 6 3, 3, 3,

3,@ 3, , 3,@ 3,

,$ ,$

poco sul pont ! ' ; ,@! $ ,$ 8 "

! ,$

3, 3, C 5 ,9 5 5 3,, 5 ,9 3, 3, , 3, 3, 3, C5 5 3,, 5 ,9 p mp

,3, , , 3, 3,

,$ ,$

Db.

, 3,@ 3, , 3,@ 3,

' ; ,$ 8 ,$ @

3,,6 , 3,

5 5

3, 3, 9 p

ord

3 ,, 3,, 5 9

@ @ ; 3, 3 , , 3, 3 , %8 , mf

Vln. II

3, 3, , 3 , , 5 5 9 5 3 ,, 5 9 3,, 9 5:3

; 6 % 8 3, 5 5

Vln. I

5:3

'; 6 5 5 8 , ,

Hp.

(Vibraphone)

3, ; 9 "% 8

, 9

3, $

5 5

, 3,

, 3, 9

5 5

, 3,

& ?,$$

, 3,@ 3 , , 3,@ 3 , 6 3, 3,

6 3, 3,

33,? $$

,? $$

,@ 3, , ,@ 3,

, 3,@ 3, , 3,@ 3, 3,@ $ ,$ ,$

,$ ,$

! ,$

,@ 3,@ $

3,@ $ 3, ,@ 3, 9 9 3,@ $

G 3, $

A 8

! ,$ %

A 8

% $$

; 8

% ,$

A 8

% $$

; 8

A 8

$$ ;8

A 8

$$ ;8

A 8

$$ ;8

121

Solo Vln.

Fl.

% Cl.

3,@ $

! % Hn.

Tbn.

Perc. I

Perc. II

Pno.

Hp.

Vln. I

,@ $

& ,$

A 8

$$ ;8

% ,$

A 8

$$ ;8

' ,$

A 8

$$ ;8

A 8

$$ ;8

6 $$ D, 5 DD ,,

6 D, 5 DD ,,

D,6 5 DDD ,,,

A 8

$$ ;8

6 $$D D,, 5 D,

6 D D,, 5 D,

6 DDDD,,,, 5

A 8

$$ ;8

D, 5 9

A 8

$$ ;8

A 8

$$ ;8

Vibraphone

p poco a poco cresc

$$ D, 5 9

! ?$ % ,$

,? $$

poco a poco cresc

& 1 solo senza vib.

D ,@ $

p poco a poco cresc

) 3, $ @

% , , 3, @

Vln. II

3,@

) 3, $ @

' ,@ 3, 9

3,@ ,@ 3, 9

D ,@ $ p

1 solo senza vib.

D ,@ $

p poco a poco cresc

Vla.

Vc.

$$ ;8

% ,$

! %

rit.

poco vib. 1 solo

D ,@ $

,@ $

D ,@ $

D,$

D ,@ $

,@ $

D,$

6 D, D,

poco

D,$

, 9 5

mp poco a poco cresc

& 1 solo senza vib.

$$ D, p

poco

D, 9

1 solo poco vib.

D, D, 9

D ,@ $

6 D, D,

A 8D,

A 8

sim.

D,@ $

5 ,@ $

D, $

D,@ $

D, $

,@ $

mp poco a poco cresc

D,@ $

$$ ;8

A 8

$$ ;8 $$ ;8

A D, 8

$$ ;8

A , 8

$$ ;8

poco a poco cresc

Db.

' 3,@ $

3,@ $

A 8

$$ ;8

; % $$8

131

Solo Vln.

! $; D,@ % $8 9 5

(tacet first time)

Fl.

; % $$8 ; % $$8

Cl.

Hn.

Tbn.

$; "% $8

(tacet first time)

D,$ p

D,@ 9

poco

D,$

Hp.

E C 2 ,

A 8

5 D,@ 9

; 8 D,$ ; 8

poco

E C 5 ,

D,@ 9

& 5

E C 5 ,

D,$

$$ A8

A 8

$$ A8 5

$$ A8

A E C 5 8 ,

$$ A8

A 8D,

$$ A8

A D,9@ 8

& D,$ p

poco

E C 5 ,

A 8

; 8

A 8

$$ A8

' $$; 8

A 8

; 8

A 8

$$ A8

poco

! $; % $8 D,9 5

D, 9

A 8

; D,9 8

D, 9

A 8

$$ A8

6 % $$;8 D, 5 DD ,,

6 D, DD ,,

A 8

6 ; D, 8 D, D D ,,

D,6 DDD ,,,

A 8

$$ A8

; ( $$8

(continue cresc.)

; " ( $$8

A 8

; 8

A 8

$$ A8

A 8

; 8

A 8

$$ A8

; 6 % $$8 DDD,,, 5

6 D D,, D,

A 8

; DD D,,6, 8 D,

6 DDDD,,,,

A 8

$$ A8

' $$; D, 5 8 9

D, 9

A 8

; D, 8 9

D, 9

A 8

$$ A8

D, D, 9

D, A D, 8 9

D, D, 9

D, A D,9 8

(continue cresc.)

D, $$;8 D, 5 % # 9

,@ $

D, D, 9 D ,@ $

D ,@ $

,@ $

; % $$8

; % $$8 $ D ,@

(continue cresc.)

% $$;8

; % $$8

D ,@

, 9

; 8

D ,@ $

,@ $

D ,@ $

1 solo poco vib.

D ,@ $

,@ $

poco (continue cresc.)

A 8

D ,@ $

,@ $

A 8

D ,@ $

A 8

; 6 8 D,

6 D,

A 8D,

D,$

D ,@ $

A 8

,@ $

D, 9

& D, 9

AD, 8 A 8 A D, 8

; 8 &

1 solo poco vib.

poco

; 8

D,@ $

,@ $

D, ; 8

,@ $

poco a poco cresc

D, $ ,$

1 solo

D,@ $

poco vib.

D, $

,@ $

$$ A8 $$ A8

D,$

A 8

& D, 9

; 8

' $; D, " $8

; 8

A 8 ,

mp poco a poco cresc

1 solo senza vib.

A 8

D, D, 9

D ,@ $

1 solo senza vib.

(continue cresc.)

) $$;8

A 8

D, ; D,9 8

poco vib. 1 solo

1 solo senza vib.

Vc.

; 8

A E C 5 8 ,

poco

Vla.

@ ! $; D , $ % $8

Vln. II

; D,9@ 8

1st time

1 solo poco vib.

Vln. I

A D,@ 8 9

& D,$

A 8

Perc. III

Pno.

; 8

! $; % $8

Vibraphone

Perc. IV

E C 2 ,

Perc. II

D,@ 9

Glockenspiel

Perc. I

A 8

$$ A8 $$ A8

D, D, &

$$ A8 $$ A8

A D, 8

$$ A8

A , 8

$$ A8

H 2nd time

3, , , 3 , 3 , , A % 8 , 3, 3, ,

139

Solo Vln.

; 8

! A %8 Fl.

3 ,@ $

,@ $

3, 3, , 3, , , , 3,

3, 9

; 9 8

@ ; 5 5 3 ,9 8

a tempo 3 , 3 ,@ $ ,@ $ , 3, ,

3,@ 3 ,@

A %8 E D,

3 ,@ $

pocchis. rit.

A D,@ %8 9

a tempo 3 ,@ $ ,@ $

3 ,@

3 ,@ 9

3,@ 9

, 9 3,@ 9

3 ,@

, 3 ,@ 9

3,@ 9

poco a poco cresc.

; 3, $ 8

; ,$ 8

mp poco a poco cresc.

3,@ 9

Cl.

A "% 8 D ,

Hn.

Tbn.

Perc. I

Perc. II

! A %8

; 3, $ 8 @

3, $

A %8

; 3, $ 8 @

3, $

A %8

; 8 ,$ @

'A 8

; 3,@ $ 8

3, $

'A " 8

; ,@ $ 8

; 3,6 5 8

! A %8

A 5 "% 8

Vln. II

Vc.

Crotales

; ,9 5 8 mf

'A 8

; 3 ,9 5 8 mf

; 6 5 8 , , , 3, , 3, 3 , ; 9 5 8

5 5

6 3, 5

3 ,, 3,, 5 9

! ; ,6 5 8 ,

1 solo

A %8

D, D,

A D, %8 ' A D, 8 ' A ,@! " 8

5 5

3, 3 ,, 3,, 5 9

3 ,, 5 =3,,9

5 5

& 5

6 3, 5

, 3,

, 5 9

3, =, , =, 9 5 3 , 3 , ,

3, , 3, 6

, 3, 3,

,3 ,

6 5 , ,

, 3, , 3,3 , 9 5 , 3 , , 3,

6 , 5 ,

l.v. sempre

@ ; 5 3, 3 , 8

, 3,@ 3 ,

, 3,@

@ ; 5 3, 3 , 8

, 3,@ 3 ,

, 3,@

, 3,@ 3 ,

gli altri

A %8

l.v. sempre

tutti

Db.

=, , =, 3 , 3 , ,

1 solo

Vla.

! A %8

Vln. I

, 3, , 3, 3,

3, ' A , 3, 3, , 8 ,

Vibraphone

A %8 5

Hp.

A %8

Pno.

mp poco a poco cresc.

tutti

; 3, 8

, 3,@ 3 ,

6 6 3, 3, 3,

6 3, 3,

6 3,

)

tutte

; 5 8 3,@ 3,

, 3,@ 3,

, 3,@

,$ ,$

, 3,@ 3,

; ,@! $ 8

! ,$

; ,$ 8 ,$ @

tutti mf

,$ ,$

, 3,@ 3, ,$ ,$ ! ,$

18 145

Solo Vln.

3, $

3 ,@ $

3, 3, , 3, , 5

@ ! ,9 3 , % Fl.

,@ $

, 3 ,@ 9 3,@ 9

, 9 3,@ 9

,@ $

3,@ $

3 ,@ 3,@ 9

,$ 3,@ $

3 ,@ $

3,@ $

,@ $

3,@ $

,@ $

% ,$

! % ,$

Cl.

' ,$

A 8

' ,$

Perc. I

! 6 % 3, 5

Perc. II

Pno.

3, 3 ,, % 3,, 5 9 '

Hp.

Vln. I

A 8 ,

; 8

,@ $

A , 8

; 8

A 8 ,

; 8

A , 8

; 8

A 8 ,

; 8

6 33,, 5 , 3,

' ,$ ,$ "

' ,! $

, 3, 33 ,, , 3, 5 9

5 5 5

6 3, 5

6 33,, 5 , 3,

, 3,@ 3 ,

, 3,

& ,

3,@

A 8

A F 8

, 3, 33 ,, , 3, 5 9

, 3 ,@ 9

, 3,@ 3,

6 3,

3,@

,$ ,$

! ,$

3,@ 3, 3, @ mf

6 , 3 ,@

, 3,@ 3, 6 , 3 ,@

3, $ ,@ $ mf

3, $ ,@ $

3,@ $

A 8 3, A , 3, 3, , 8 ,

A 5 8

3, 3,@ 3,@ 6 , 3 ,@

3, , 3, 3, 3, ,

6 3, 3,

; 8

& 3, , 6

; 8

6 3, 5

) , 3, 3, @

Vc.

3,@

A , 8

6 % 3, 3,

Vla.

Db.

! 3 , 3,@ , %

Vln. II

3 ,, % =3,, 5 9 '

; 8

Vibraphone

3 ,, 5 % " 3,,9

; 8

A , 8

Crotales

3, $

, 3, 3 ,

A ,@ 8

; 8

Tbn.

A , 8

,@ $

3, ,@ 9

3, $

% ,$

Hn.

3 ,@ $

, 3,

, =, ; 8

, , 3, 3 , ; , 3 , 8 , 3,

3 ,@

A 3, 8

3,@

A 8 ,

3 ,@

A 8

; 8

A 8

3, =,

; 8 ; 8 ; 8 ; 8

A 3, 8 ,

; 8

A 8 3,

; 8

@ @

152

Solo Vln.

; %8

3 ,@ $

,@ $

Tbn.

3,@

; ,@ $ %8 @

Hn.

Perc. II

; 9 3, % " 8

Db.

3 ,@

,@ $ 3,@ $ ,$

3 ,@ 9

,@ $

3,@ 9

,@ $

3,@ $ ,$ mf

3,@ 3 , 9

, 9

3,@ 9

, ,@ $ 3 ,@ 3, 9

3 ,@ $ ,@ $ 3,@ 9

, ,@ $

3,@ $ ,$

3, 3, ,

=,@ 9

,@ $ 3 ,@ 3, 9

, 3,@ ,

3,@ 3 , $ 9

; % 8 3,@ $

; % 8 ,$ @

3, 5 5 9

/ 3, 5 5 9

, , 3,3 , 3 ,9 5 , 3 , , 3,

3, 5 5 9

!6 , 5 ,

' ; 3, $ 8

'; " 8 ,$ ! ; 6 % 8 3, 5

;3, %8 9 5 Tam-tam soft beater

; 6 "( 8 , 5

'; 6 5 8 , ,

3, 9 5 5

3, 3, 5 9 5 5

3, , 3, 9 5 3 , 3 , 3, , 3, 3, , mp 5

, 3, , 3, 3,

6 5 , ,

l.v. sempre

! ' ; ,6 5 8 ,

l.v. sempre

C f

& ,$

div.

& ,$

, , 3, 3,

3, $

, 3,@ 3 ,

cantabile

@ , 3, 3 , ; %8

; % 8 3,

, =, 3 ,9 5 = , 3 , , 3,

, 3,@ 3 ,

3,@

, 3,@ 3 ,

6 6 3, 3, 3, ,$

6 3, 3, ,$

6 3,

6 6 3, 3, 3,

6 3, 3, f

) ;8

, 3,@

' ; ,$ 8 ,$ ' ; ,$ " 8

6 3, 3, ,$

, 3,@ 3, ,$ ,$ ,$

, 3,@ 3,

,$ ,$

3,@

, 3,@ 3, ,$ ,$ ,$

, 3,@ 3, ,$ ,$

,@ $

, 3,@ 3, ,$ ,$ ,@ $

(d natural)

) ;8 , $

Vc.

=,@

3 ,@ $

Vla.

3 ,@

3 ,@ $ ,@ $

Vln. II

3,@

! ;3, $ %8

Vln. I

, 3,

3, ; %8 9 5

Hp.

, 3,

! ; % 8 3,@ $

3, ; %8 9 5

Pno.

3 ,@

Perc. III

3,@

,@ $

Crotales

Perc. I

3, , ,3, , 3,

; 3, $ %8 Cl.

3 ,@ $ ,@ $

! ; , , %8 Fl.

! 3 ,@ $

20 160

Solo Vln.

3 ,@ $

,@ $

! 3,@ $ % Fl.

% % Cl.

3, $

,@ $

3 ,@ $

3,@ $

,@ $

3,@ $

3, $

,@ $

3, 9

3, $

3x Tutti poco a poco cresc with each repeat

,@ ,@

,@ $

! % ,$ Hn.

3, $

D,$

tacet 1st time

D,@ 9

ppp

tacet 1st time

(3rd time only)

,@ $

D,@ $

6 D, D,

' ,$

$$ D,@ $

3, $

! 3, % 9

6 33,, "% , 3, 3, 3, % 9

& 6 33,, , 3, 3, 3, 9

Vibraphone

, 3,

, % 3, 9

, 3, 9

6 $$ DD,, D,

6 DD,, D,

6 $$ DD,, D,

6 DD,, D,

6 D D,, D,

D, 9

6 D D,, D,

D, 9

6 $$ DD,, D,

D D,, $$ D , 9

3 ,@

,@ 9

% 3,@

3,@

D D,, D , 9 6 DD,, D, D D,, D , 9

3, $

)

Vc.

' 3, $ ,@ $

3, $ ,@ $

3,@ $

6 , 3 ,@

Vla.

Db.

6 , 3 ,@

D D,, $$ D , 9

! , %

6 , 3 ,@

D,@ $

, 3,

D, 9

D,@

, 3,

' , 3,

Vln. II

% ,$

Vln. I

Crotales

Hp.

,@ $

Pno.

D,@ $

,@ $

Tbn.

Perc. II

D,@ $

mf solo

$$ D,@ 9 $$

,@ $

senza vib

Perc. I

D,@ $

% 3, $ mf

21 167

Solo Vln.

! D,@ $ %

& D,@ 9

Fl.

@ % D,9

Perc. II

Perc. III

Pno.

Hp.

Vla.

Vc.

D,@ 9

D,@ $

,@ $

A 8

ppp

6 D,

6 ,

6 D,

D ,@ $

D,@ $

6 DDDD,,,,

A 8

$$ ;8

D ,@ D, & D ,@

& D ,@ $

$$ ;8 6 D, $$ ;8 $$ ;8

& D ,@ $

6 $$ ;8 DD D,,, D, $$ ;8

6 $$ ;8 DD D,,, D,

6 DDDD,,,,

A DD D,,6, 8 D,

' D, 9

D, 9

A D, 8 9

6 % DDD,,,

6 DDDD,,,,

A DD D,,6, 8 D,

' D, 9

D, 9

A D, 8 9

$$ ;8 D,

A 8

$$ ;8

A 8

$$ ;8

A 8

$$ ;8

6 ,

Tam-tam

=, 5 =, &

)

A 8

$$ ;8

A 8

$$ ;8

A 8

& 5

& &

A 8

& &

& 2$ &

$$ ;8 $$ ;8 $$ ;8

& 5 5

s.v.

5 5

6 $$ ;8 DD D,,, D,

$$ ;8 D,

$$ ;8 D,@ $

A DD D,,6, 8 D, A 8

$$ ;8

A D,@ 8 5

$$ ;8 D,@ $

$$ ;8

A 8

$$ ;8 D,@ $ &

A 8 D,

& D ,@ $

A 8

D ,@ $

6 DDDD,,,,

A 8

D ,@ $

A D,@ 8

A D,@ 8 9

' "

$$ ;8

3rd time

6 % DDD,,,

Vln. II

Db.

! %

Vln. I

D, 9

! DD,6, % D,

D ,@ $

' D,@ Tbn.

D,@ 9 D,@ $

,@ $

6 D,

,@ $

D,$

% D, $ @ %

D,@ $ , 9

Hn.

A 8

mf solo

Cl.

! %

1, 2.

3 0! % 3? $ 3 ,$

173

Solo Vln.

=,@! $

! =,@ $

Hn.

Tbn.

p poco a poco cresc.

! %

p ghostly, disembodied

% 3,@ $ "%

?, $ $

! % Fl.

Cl.

,@ $

Pno.

Hp.

poco a poco cresc.

,! $

=,@! $

,! $

! =,@ $

,! $

3,@ $

,@ $

,@?

& 5

, 3, 9

33=,,,, % 3, 9

, 3, 9 =,@ $ s.v.

=,@ $

% 3,@ $ &

Vla.

s.v.

3,@ $

) ' '

33=,,,, 3, 9

, 3, 9

33=,,,, 3, 9

, 3, 9

,$ ,$

3, $ %%

1 solo m.s.p.

,$ ,$

*) Soli poco cresc. e dim., ad lib.; gli altri poco a poco cresc. **) Avoid a "slide" between notes

3, =,, 3, 9

6 ,

, 3, 9

33=,,,, 3, 9

, 3, 9 =,@ $ p

=,@ $

3,@ $ &

& 33=,,,, 3, 9

, 3, 9

33=,,,, 3, 9

, 3, 9

& , ,

3,@ $

33=,,,, 3, 9

& 5

5 &

6 ,

3, =,, 3, 9

Tam-tam

s.v.

)

s.v.

3, =,, 3, 9

33=,,,, % 3, 9

? 3 ,@? 3 ,@

Db.

,@? $$

Vc.

3 ,@? $$

! =3,,, % 3, 9

Vln. II

,@? $$

portato

33 ,@? $$

3 ,@? $$

ord.

! %

Vln. I

,@? $$

%% 3 ,@? $$ s.p.

33 ,@? $$

Perc. III

0! ! 30 ?, 3 ? 3,

pocchis. rit.

poco a poco cresc.

Vibraphone

Perc. II

pocchis. a tempo rit.

,@ 9

=, %

3, $ %%

, %9

1 solo m.s.p.

& ,@ 9

1 solo m.s.p.

,$ &

K % $$

181

Solo Vln.

! $ % $ Fl.

% $$ % $$

Cl.

$ "% $

p poco a poco cresc. with each repeat

tacet 1, 2, 3x

Tbn.

' $ " $

,@ $

= ,@ $

,@ $

poco

,@ $

3 ,@ $

, G C

Pno.

Hp.

# #

% $$=3 3,,,, $$$ 3, $ ' $$

' $$

% $$ % $$

Vln. II

% $$ ) $$ ) $$

Vla.

Vc.

Db.

,,,, $$$ , $

3 3,,, $$$ 3, $

3 3,,,, $$$ 3, $

tacet 1, 2, 3, 4x

p poco a poco cresc. with each repeat

tacet 1, 2, 3, 4x

E , C $$ 3,

E ,

E C $$ ,

,@ $

6 ,$

, 3, $ G C $$ 9

p poco a poco cresc. with each repeat

tacet 1, 2, 3, 4x

tacet 1, 2, 3, 4, 5x

& ,,,, $$$ , $

& 5

3, $

$$ $$

6 5 ,

3, $

, 5 9

3, $

p poco a poco cresc. with each repeat

$$ $$

' $$

, 9

3, $

6 ,

33,,,, $$$ $ / 33,,,, $$$ 3 , $$ ff

, 9

6 ,"

3, $

33 ,,, $$ 3,, $$

6 ,

33,,,, $$$ 3 , $$

33 ,,, $$ 3,, $$

3, $

6 ,

6 5 ,

6 , " f ", 9 f

3", $ %% mp

% ,%$ " mp mp

& 5

=, $ %%

3", $ %%

, 5 9

3, $ %

3, $

C 6 ", f

$$ 3 3,, $ 3 ,,, $$$

3 ,$ 333 ,,,, $$$

, 9

3, $

=, $

, 9

" C , 9

$$ 3 3,, $ 3 ,,, $$$

3 ,$ 333 ,,,, $$$

Piccolo

$$ 3 3,, $ 3 ,, $$$

3 3,,, $$$ 3, $

p poco a poco cresc. with each repeat

tacet 1, 2, 3, 4, 5x

3, $

,3, ",@ 3,3 , , 3 , 7

C 6 ",

, 3, $ G C $$ 9

,,,, $$$ , $

6 5 ,

,@ $ ,@ $

,@ $

p poco a poco cresc. with each repeat

tacet 1, 2, 3, 4x

& 6 5 ,

3 ,@ $

E ,

,,,, $$$$

3 ,$ 333 ,,,, $$$

E , C $$ 3,

* %

6 5 3,

3 ,$ 333 ,,,, $$$ &

,,,, $$$ , $

Poco a poco cresc. each hairpin

& 6 5 ,

,@ $

3 3,,, $$$ 3, $

3 3,,,, $$$ 3, $

% $$=3 3,,,, $$$ 3, $

! $ % $

Vln. I

,,,, $$$$

Vibraphone

poco

! $ % $ =,6 5 $ "% $ 333,,,, $$$$

poco

Perc. II

poco

3 ,@ $

p poco

Chimes soft mallets

Perc. I

,@ $

E C ,

= ,@ $

3,@ $

poco

,3, ",@ 3,3 , , 3 ,

3,@ $

E , C

p poco a poco cresc. with each repeat

E , C

,@ $

p poco

3, $

6 5 ,

poco

p poco a poco cresc. with each repeat

3, $

tacet 1, 2, 3x

poco

6 5 ,

tacet 1, 2x

% $$ 3,@ $

' $$

p poco a poco cresc. with each repeat

% $$

tacet 1, 2x

! $ % $ 3,@ $ Hn.

1, 2, 3, 4, 5.

6x Poco a poco cresc. with each repeat

6th time

% ,%$ " mp

, %

6 , , %%9

, %%

, %%9

, %%

, %%9

, %%

, %%9

% ,%

%6 ,%

% ,%

%6 ,%

6 ", f ", 9

24 188

Solo Vln.

!* %

, 9

6 ,

6 ",

Perc. IV

Pno.

! %

33,,,, $$$ $ %

2/3 33,,,, $$$ % 3 , $$ 33 ,ff,, $$ , $ ' 3 ,$

33,,,, $$$$ % 3 ,$

Hp.

3,,

, 9

6 ,

33,,,, $$$ $

, 9

6 ",

3, $

33,,,, $$$ $

& ,$

, sf

2 ,

6 , 3,

33,,,, $$$ 3 , $$

33 ,ff,, $$ 3,, $$ 9 33,,,, $$$$ 3 ,$

,$ C 5 ,$

& 3, $

33,,,, $$$ 3 , $$

33 ,ff,, $$ 3,, $$ 9

6 ,

3, $

33,,,, $$$$ 3 ,$

, %%9

,$ %

, %%9

, %

,$ %

, %

, %%9

,$ %

, %%9

, %

,$ %

3", $ %%

, %%9

3, %%

' '

,$ ,$

, %

% ,%$ "

,$ %

% ,%$ "

,@ $

6 ,

)

3 ,@ $

)

Db.

3, 3, ",@ 3, 3 , , 3 ,

3", $ % %%

Vc.

33 ,,, $$ 3,, $$ 9

3", $ % %%

Vla.

, 9

=, $ % %

Vln. II

,@ $

33 ,,, $$ , $ ' 3 ,$

! %

Vln. I

3 ,@ $

, 9

Perc. II

! %

Perc. I

, 3, , , 3, 3, , ",@ , 3 , ,

, 3,

, 9

Tbn.

Hn.

,@ $

Fl.

Cl.

3 ,@ $

33 ,,, $$ 3,, $$ 9

, %%

, %%9 f

, %%

, %%9

% ,%

, ,

%6 ,%

C 5

3", $ %%

6 ,

%6 ,%

3", $ %%

% ,%

% ,%$ "

& , ,

C 5

3", $ %%

, 3, %%9 %%

% ,%$ " ,$

C 5

& 6 ", f ", 9

6 ", f ", 9 f

& ,$ ,$

193

Solo Vln.

", 3,

! * ,9 %

, 9

6 ,

, 9

6 ,

, 9

6 ,"

"6 % ,%

33,,,, $$$ , $ $ % ,%$

33,,,, $$$$ , $ 3 ,$

33 ,,, $$ 3,, $$ C 5 9

6 , 3,

/ 33,,,, $$$ , $ 3 , $$

33 ,,, $$ 3,, $$ 9 C 5

6 ,

, %%9

, %%

33 ?, $$ %%

, %9 %

, %%

ord.

, % % %9

3, %%

, % %%9

3, %%

6 ) ,% '

% ,%

"6 % ,%

ord.

,$ %%

3, $ %%

ord.

3, $ %

ord.

3, $ %%

% ,%

ord.

% ,%$ ,$

ord.

' ,

6 ,"

", %9

ord.

,$ %

6 ,

33,,,, $$$ , $ $ % ,%$

3, $ 33,,,, $$$$ , $ 3 ,$

3, $

33 ,,, $$ 3,, $$ C 5 9

, , 6 ,"

3, $ %%

% ,%

"6 % ,%

3, $ 3, $

2 3, $

6 ,

' 2

! %

3, $ %%

6 ,

' 2

, 9

Db.

, 9

"( 5

Vc.

3,,

Vla.

, 9

! , %

Vln. II

, % 9

% 6 ,

Vln. I

fff

2/3 , %

Hp.

",@3,3 , , 3 , 3 , 3,3, , ,@ 3, ,

, 9

Bass Drum

Pno.

3,3,

' ,9

Perc. IV

",@3,3 , , 3 ,

, 9

% 6 ,

Perc. II

, "% 9

,3,

! 6 % ,

Tbn.

"@ ,3 , , ,3,3,3, ,3, ,

3 ,@ $ ,@ $

Hn.

3, ,3,

, 9

Fl.

Cl.

,3, ,

3 ,@ $ ,@ $

33,,,, $$$ , $ 3 , $$

33 ,,, $$ 3,, $$ 9 C 5

6 ,

3, $

6 ,

?, %%

?, %%9

, %%

, %%9

,$ %%

, %%

, %%9

,$ %

, %

, %9

, %%

% ,% ,

m.s.p.

ord.

, %%9

m.s.p.

%6 ,% ,

m.s.p.

", %9 f

& 3, $ %%

ord.

% ,%$ ,$

ord.

,$ %

6 , , m.s.p.

?, %%9

?, %%

, %%9

, %%

, %9

ord.

m.s.p.

m.s.p. ord.

, %

33 ?, $$ %%

m.s.p.

, %

m.s.p.

, %%9

, m.s.p. %%

%6 ,% ,

, %

% ,% ,

m.s.p.

", %9

ord.

3,3,

Slowly broaden

26 198

Solo Vln.

!* % Fl.

% % Cl.

"% ! % %

Hn.

Perc. II

Perc. IV

Pno.

3, $ # ,$ 8

,$ ,$

, 3, 3 ,

, =,

, 3, 3,

A A

freely, rubato

# * 8 # 8

A A

# * 8

A A

# * 8

A A

# * 8

A A

# 8

A A

# * 8

A A

# 8 *

A A

# 3%%* 8

A A

33 ,,, $$ , $ ' 3 ,9 $

6 ,"

3, $ %% % ,%

,$ C

"6 % ,%

3, $ 5

?, $$ %%

ord.

,$ %%

33,,,, $$$ $

6 ,

3, $

# 8

% ,%$

33,,,, $$$ 3 , $$

33 ,ff,, $$ 3,, $$ 9 33,,,, $$$$ 3 ,$

ord.

Vln. I

% ,%$

33 ,ff,, $$ , $ ' 3 ,9 $

33 ,,, $$ 3,, $$ 9

# 8 ,$ C

6 ,

?, $$ %%

?, %%9

?, %%

ord.

, %9

m.s.p.

ord.

m.s.p.

, %%

,$ %%

% ,%$

# * 8%

)

,$ %%

, %%9

, %%

,$ %%

# %* 8%

ord.

% ,%$ ,$

ord.

,$ %

%6 ,% ,

, %

ord.

m.s.p.

ord.

% ,% ,

% ,%$ ,$

ord.

m.s.p.

", %9

ord.

,$ %

A A

5 ,

A A

, ,

A A

5 sf

A A

, , m.s.p.

A A m.s.p.

* # %% 8

,$ %

m.s.p.

? # %%* 8

, %

A A

# 2 8

, %9

ord.

"6 ,

# 2 8 #3, 8

A A

#3, 8

,$ %

' "

,$ ,$

! %

Db.

3, $ ,$

2/3 33,,,, $$$ % 3 , $$

Vc.

, I

Vla.

! 33,,,, $$$$ %

Vln. II

3, $

fff

2/3 33,,,, $$$$ % 3 ,$

Hp.

Tbn.

3, $

II I

A A m.s.p.

m.s.p.

% # *% 8 *

# , 8

m.s.p.

, "

A A A A A A A A

Solo Vln.

M Freely; cadenza h = 70 "*3"* 202 " 3* A %A

" 3. .

ff molto espressivo

1 &

@"6 * ,5 ,

3 *@

3*@+ 3

3 *-

-@ 3 * + 6 3,5 4

.+ 3.

!*A %A

1 &

A %A

1 &

% AA

1 &

A "% A

1 &

! A %A

1 &

'A " A

1 &

Fl.

Cl.

Hn.

Tbn.

Perc. I

Perc. II

! A Crotales % A ,9 5 2

A %A

4 &

A 6 2 (A , 5 Tam-tam

Perc. III

Perc. IV

A "( A

A %A &

Pno.

fff

'A 6 5 2 A , , /

(do not clear pedal!)

A %A

Hp.

& fff

'A 6 5 2 A , , /

4 4 4 4 4

& & & & & &

! A %A

1 &

Vln. II

A %A

1 &

Vla.

) AA

1 &

Vc.

'A A

1 &

Vln. I

Db.

'A " A ,6 5 2

molto rit.

rit. 28 210

Solo Vln.

!* %

1 3.

mf cantabile

,/ ,

3 *@

,56

3* 4

N A bit slower h = 63-66 I *@! 3* 3* *

31 .

p semplice

poco

1 &

Fl.

1 .@ p

Cl.

1 .

Bass Clarinet in Bb

! %

1 &

! %

1 &

3.@ p

Hn.

Tbn.

Perc. I

Perc. II

6 , 5 2 4

Tam-tam

(

1 &

Perc. III

Perc. IV

Pno.

Hp.

# #

. 3.

1 . .

. .

Ped. al fine

& '

. 3.

1 . .

. .

1 &

l.v. al fine

! %

1 &

Vln. II

1 &

Vla.

)

1 &

Vc.

1 &

Db.

1 &

Vln. I

219

Solo Vln.

I sim non @ harm.

3*@

3 *@

*@!

31 .@

3*@!

3 *@

poco sul tasto non @ harm.

31 .@ mp

3*@

3 *@

!* %

1 &

Fl.

% Cl.

Hn.

Tbn.

Perc. I

Perc. II

Pno.

1 .@

3.@

1 .

3 .@

! %

1 &

! %

1 &

' . 3.

Hp.

1 . .

. . &

' . 3.

. . 1 &

& 1 . .

. .

1 . .

. . &

. .

. 3. 1 &

& 1 . .

. .

. . &

. 3.

& . .

! %

1 &

Vln. II

1 &

Vla.

)

1 &

Vc.

1 &

Db.

1 &

Vln. I

1 @ 227 3 * $

lunga

Solo Vln.

/ 3, 3.

!* %

1 &

1 *$

Cl.

3, 3.

Hn.

Tbn.

Perc. I

Perc. II

1 &

(Piccolo)

1! .

! , 5 2 9

! 3*

1 .@ 3.@ p

1 .

1 &

! % "%

1 & 1 & 1 &

1 3*

p gentle, but resonant

1 &

31 .

4 3*

1 3*

1 &

)

1 &

Vc.

1 &

Db.

1 &

. 3. 1 &

4 3*

. .

1 . .

33.(

1 3.(

6 ,? 5 2

1 .

, 5 2 9

senza vib.

. 3.

& tutti div

. 3.

1 . .

. . &

1 &

1 . .

31 .

. .

1 . .

. .

4 4 &

3. . 1 &

. .

. 3. p

1 . .

. .

1 &

Vibraphone

1 &

Vla.

. 3.

' 1 . .

Vln. II

' 1 . .

Glockenspiel

p gentle, but resonant

! %

Vln. I

1 &

Hp.

, 9 5 2

3* $

! %

Pno.

' 1 " *$

31 .

3,@

with inner quietude, yet loud enough to project above the orchestra

2-3"

Fl.

1 .

IV al fine

1 &

1 & 1 . .

. . &

. .

33.(

senza vib.

& . .

1 &

& . .

1 % .

236

Solo Vln.

!* %

1 &

% Cl.

Tbn.

Perc. I

31 .

, 9 5 2

1! .

! , 5 2 9

! 3*

1 .

' 1 " . Hn.

1 .

repeat 3x freely, wait for cue from conductor

Fl.

!000000000000000000000000000000000000000000000000000000000000000000000000000000000000/ 1 2 3. . . ! mp m.s.p.

1 .

. 1

! %

1 &

! 1 % 3*

1 3*

Perc. II

Pno.

31 .

Vln. I

1 &

' 1 . .

. 3.

. .

1 . .

. 3.

31 .

1 . .

. 3.

. .

1 .

, 5 2 9

% )

Vla.

1 &

' 1 . .

Vc.

& . 3.

1 &

3, p

1 . .

. . &

con sord

. 3. &

& . 3.

con sord

3, p

& 1 . .

. .

3. .

. .

6 ?, 5 2

. .

! 1 % 3.(

Vln. II

Db.

4 &

' 1 . .

Hp.

1 &

& . 3.

244

Solo Vln.

sul tasto con sord

3, p

very short

/1 3,

1 *$ 2"

!* %

1 &

! %

1 &

Fl.

Cl.

Hn.

Tbn.

Pno.

' . .

Hp.

Vln. I

! %

)

Vc.

' . .

. .

& . .

. .

. 3.

. . &

. .

. 3.

. . &

. .

. 3. /

& . .

1 . .

. .

1 &

1 solo senza sord

% .

Vla.

. .

' . .

Vln. II

Db.

1 . .

65 2 4 ,

3,@ 3* $

con sord

. .

1 . .

con sord

3 .@

, 9 5 2 4

. 3. &

1 . .

. . &

3. !

tutti div

. 3. p

1 &

65 2 4 ,

. &

!0000000000000000000000000000000000000000000000000000000000 1

m.s.p.

. .

1 . .

33 2-3"

255

Solo Vln.

!* %

1 &

! %

1 &

Vln. I

Vln. II

Vla.

Vc.

Db.

1 &

1 . .

. .

1 &

' . .

. &

! "(

Hn.

Hp.

1 &

Pno.

1 3,

Cl.

Perc. IV

3* $

Fl.

Tbn.

3 ,@

1 .

3. .

Suspended Cymbal l.v. sempre with bow

.+ !

& 1 &

1 . .

. .

1 &

. 3.

1 &

& 1 . .

. .

1 &

! %

1 &

1 solo senza sord

!0000000000000000000000000000000000000000000000000000000000000000000000 / 1

m.s.p.

3. !

)

' ' . " .

1 &

!00000000000000000000000000000000000000000000000000000000000000000000000000000/ 1 3. . . ! mp m.s.p.

1 &

& . .

1 solo senza sord

1 . .

& 3. .

1 &

& 3. .

1 . .

1 solo senza sord

!00000000000000000000000000000000000000000000000000000000000000000000000000000 / 1 3. . . m.s.p.

. 3 * .

. .

1 . .

*) Play an octave higher if no C extension is available

34 264

Solo Vln.

!* %

3 ,@ 3* $

. mp

3. p

! %

l.v. sempre

Fl.

Cl.

" Hn.

Tbn.

Perc. I

! ( .+ !

Suspended Cymbal with bow l.v. sempre

(

Perc. II

Perc. IV

Pno.

(

Perc. III

Suspended Cymbal with bow

.+ !

. p

Suspended Cymbal with bow

.+ !

' . 3.

. .

. p

l.v. sempre

. 3.

Suspended Cymbal with bow

.+ !

& &

& 1 . .

. .

& . 3.

! %

Vln. II

Vla.

)

Hp.

Vln. I

Vc.

Db.

' . " 3. pp

. .

1 . .

. .

1 . .

3. .

. .

1 . .

. 3.

274

Solo Vln.

!* %

1 &

! %

1 &

(

Suspended Cymbal

.+ !

1 .

1 &

Suspended Cymbal

1 .

.+ !

Suspended Cymbal

6 , 5 2

Tam-tam

1 &

1 .

l.v. sempre "( .

1 &

% ' . . /

. .

1 . .

3. . p

l.v. sempre

.+ !

Perc. III

Pno.

1 &

Perc. II

Perc. IV

10"

flautando

Perc. I

Cl.

Tbn.

Fl.

Hn.

1 . .

. .

1 &

1 . .

3. .

(do not clear pedal)

1 &

! %

1 &

Vln. II

1 &

Vla.

)

1 &

Hp.

Vln. I

Vc.

Db.

' . " .

August 15, 2010 Brooklyn, NY

1 . .

3. . p

1 . .

. .

1 . .

3. .

1 . .

. .

1 &