Secret Forest for chamber orchestra composed by Dai Fujikura by Dai Fujikura

secret forest for ensemble (2008 revised 20/Aug/2009)

Dai Fujikura

Co-Commissioned by Kioi Hall and Izumi Hall. Première: November 5th 2008 Kioi Hall, Tokyo "secret forest" for ensemble (world premiere) performed by Art Respirant conducted by Ken Takaseki February 5th 2009 Izumi Hall, Osaka "secret forest" for ensemble performed by Izumi Sinfonietta conducted by Tatsuya Shimono

Instruments (layout): O N S T A G E

I N A U D I T O R I U M

4 Violins 2 Violas 2 Cellos 1 Double Bass

For ALL Strings: Use plastic (not metal) practice-mutes. The sound of the muted strings must “match” when played together. All Strings need hard plectrums. For cello and double bass: Credit cardlike plastic card will also work well.

1 Flute (doubling rainstick) 1 Oboe (doubling rainstick) 1 Clarinet (B-flat) (doubling rainstick) 1 Bassoon 2 Horns (F) (both doubling rainstick) 1 Trumpet (B-flat) (doubling rainstick) also needs Harmon, Practice, Straight mutes 1 Trombone (doubling rainstick) also needs Velvet and Practice mutes

• The score is in C This work needs 7 Rainsticks; ideally each rainstick should be different in size (but all relatively LARGE size) and sonority. The piece is designed to be performed/conducted without monitors for non-stage musicians.

Cue for the musicians in the auditorium: This piece is designed so that the conductor can turn to the auditorium to direct the off stage players.

Multiphonics: Bassoon

Clarinet (written pitch)

Oboe

Flutes

Seating plan:

As a general rule the musicians in the auditorium play using quieter dynamics than the on stage strings.

= conductor cues for musicians in auditorium "Accidentals (including grace notes) only affect the pitch to which they directly refer, not other octaves, for the duration of the bar in which the accidental is written. All grace notes must be played before the beat." All strings, please observe the bowings exactly. Do NOT subdivide the marked bowings unless stated otherwise. slur = to be played in 1 bow, the dim. must be exaggerated each time.

to Shoji Sato

secret forest for ensemble (2008, rev. 24/Nov./2009)

These are the total number of the conductor's beats in each bar.

q = 96

molto S.P. (not scratchy)

Violin 1

(S.P.)

Viola 1

(S.P.)

Violoncello 1

(S.P.)

ffff

P.O. no gap

pp mp

P.O. no gap

pp mp

p mf

p f

p mf

p f

p mf

p f

p mf

p f

dynamics: all "subito" except diminuendi.

p f

dynamics: all "subito" except diminuendi.

p f

dynamics: all "subito" except diminuendi.

p f

P.O.

p f

dynamics: all "subito" except diminuendi.

P.O.

p f

dynamics: all "subito" except diminuendi.

p f

dynamics: all "subito" except diminuendi.

P.O.

p f

dynamics: all "subito" except diminuendi.

P.O.

ffff

p f

p p f

p f

dynamics: all "subito" except diminuendi.

molto S.P. (not scratchy) Double Bass

pp mp

ffff

ffff molto S.P. (not scratchy) Violoncello 2

ffff

ffff molto S.P. (not scratchy)

ffff

ffff molto S.P. (not scratchy) Viola 2

ffff

ffff molto S.P. (not scratchy)

no gap

ffff

ffff molto S.P. (not scratchy) Violin 4

ffff

ffff molto S.P. (not scratchy) Violin 3

P.O.

molto S.P. (not scratchy)

ffff

Violin 2

8" - 12"

7" - 10"

Bar 1: All strings, change bows as many times as you need.

Dai Fujikura

P.O.

(S.P.)

ffff

Double Bass: all pitches sound an octave lower than written (including the harmonics)

2 1

9 Vln. 1

Vln. 2

Db.

Vc. 2

Vc. 1

Vla. 2

Vla. 1

p f

RICL 118

Vln. 4

Vln. 3

Vla. 1

Vc. 1

Vc. 2

Db.

p f

3 2

Vla. 2

Vln. 4

Vln. 3

Vln. 2

13 Vln. 1

2 2

Vln. 1

Vln. 2

Vln. 3

Vla. 1

Vla. 2

Vc. 1

Vc. 2

Db.

p f

p f p p f f p pf

p f f

p p f

p f p f

p f p p f f

RICL 118

p f f p f

Vln. 4

p f

p f p f p f f

rit. 1

Vln. 1

Vln. 2

Vln. 3

Vln. 4

f p

mechanical >

mechanical > f

mechanical >

Vla. 1

mechanical >

Vla. 2

mechanical >

mechanical > Vc. 2

mechanical >

Vc. 1

2 2

30 Vln. 1

Vln. 3

Vln. 4

Vla. 2

Vc. 1

Vc. 2 f

p f

RICL 118

p f

Vla. 1

Vln. 2

2 4

Vln. 2

> poco a poco espressivo >

Vla. 1

Vla. 2

> poco a poco espressivo >

Vc. 1

Vc. 2

> poco a poco espressivo >

p f

> poco a poco espressivo >

Vln. 4

> poco a poco espressivo >

Vln. 3

34 Vln. 1

2 39 Vln. 1

Vln. 2

p f

Vln. 3

Vln. 4

Vla. 1

Vla. 2

Vc. 2

> molto espressivo >

RICL 118

mf molto espressivo

molto espressivo

mf molto espressivo

> molto espressivo > Db.

2 molto espressivo

> molto espressivo >

p f

Vc. 1

p f

> molto espressivo >

p f

> molto espressivo >

mf molto espressivo

q = 48

3 1

44 Vln. 1

Vln. 3

Vln. 4

Vc. 2

p f

pf f

p f

f p

p f

normal bowing

f p f

normal bowing

"heavy bowing"

p f

"heavy bowing"

p pf f p f "heavy bowing"

"heavy bowing"

p p f f

p f

normal bowing

p f f p f p p f f

p f p f

p f

"heavy bowing"

Db.

p f p f f p

p f

"heavy bowing"

p f

"heavy bowing"

Vc. 1

Vla. 2

p f

Vla. 1

molto accel.

Vln. 2

q = 48

molto rit.

q = 72

molto accel.

p pf f f

Vln. 1

p f

> poco a poco mechanical >

p f

normal bowing

Vla. 2

Vc. 1

normal bowing

Vc. 2

normal bowing

Db.

mf f

p f

f p

p f

p ff

p f

RICL 118

mf f molto espressivo

> poco a poco mechanical >

mf f

p ff

molto espressivo

p f

molto espressivo mf ff

mf f

p ff

> poco a poco mechanical >

mf f

> poco a poco mechanical >

normal bowing

> poco a poco mecanical > normal bowing

p f

> poco a poco mechanical >

Vla. 1

> poco a poco mechanical >

mf f

p ff

f p

Vln. 4

molto espressivo

> poco a poco mechanical >

Vln. 3

Vln. 2

> poco a poco mecanical >

Vln. 1

Vla. 1

p f

p f pf

Vc. 2

p f

pf f

f p

p f

p f p f

p f

p f f

f p

p p f p pf f

p f

p f p f p f

Db.

p f p f p f pf p f

p f

Vc. 1

Vla. 2

p f

Vln. 4

p p f

Vln. 3

p f

Vln. 2

q = 96

64 Vln. 1

Vln. 2

Vln. 4

Vla. 1

Vc. 1

Db.

Vc. 2

Vla. 2

Vln. 3

f f

p f

RICL 118

6" - 10" 1

8" - 12" 1

molto S.P. (not scratchy)

All strings, change bows as many time as you need.

Vln. 1

ffff

Vln. 2

ffff

Vc. 2

molto S.P. (not scratchy)

((ffff)

molto S.P. (not scratchy)

(multiphonics)

Fl.

molto S.P. (not scratchy)

((ffff)

ffff

Db.

((ffff)

molto S.P. (not scratchy)

((ffff)

ffff

Vc. 1

((ffff)

molto S.P. (not scratchy)

((ffff)

in tempo q = 60

(multiphonics) q = 100 (only oboe) espress.

molto espress.

length of the pause should vary everytime

no gap

mf (don't cresc., nor dim.)

(multiphonics)

molto espress.

Cl.

Ob.

ffff

Vla. 2

((ffff)

ffff

Vla. 1

((ffff)

ffff

Vln. 4

((ffff)

ffff

Vln. 3

in tempo q = 60

(multiphonics) q = 90 (only bassoon) espress.

Bsn.

length of the pause should vary everytime

no gap

mf (don't cresc., nor dim.) molto espress. same note tremolo

Hn.1

same note trill

Hn.2

norm.

same note trill

Tpt.

bisbigliando: (II, V, II, V, sim) smooth slow

Tbn.

velvet mute

fast

slow

bisbigliando: (VI, III, I, III, sim.) fast, smooth, steady speed. molto espress.

RICL 118

molto espress. same note tremolo

same note trem.

harmon mute

molto espress. same note tremolo

fast

slow

***Please Note: The woodwinds and brass must play these patterns in the specified tempo (and count properly, including the rests), the "fast" figuration is actually VERY Fast, based on (32nds/demi-semi and 64ths/hemi-demi-semi quavers). "mechanical" must be played very quietly and when the "rit." starts, suddenly play espressivo, as if you were soloist in a romantic concerto and playing the cadenza. When the "accel." starts, immediately going back to the original tempo as fast as possible.

36" - 40" 8

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 52

special bar number

73A

Fl.

'airy' 1

'airy'

mechanical

(pp) mf Everytime you repeat this particular phrase, exaggerate more and more the "rit." and "accel."

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 58 espress. same note tremolo, with alternative fingerings 2 mechanical rit............................ 1

Ob.

pp pp

aceel.............................

espress.

rit............................

mechanical

aceel.............................

mf (pp) Everytime you repeat this particular phrase, exaggerate more and more the "rit." and "accel."

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 56

Cl.

pure, clean multiphonics

mp sim.

2 "ugly"

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 48

Bsn.

mp p

double tonging 2

p mp

sub. sfz mp

rit............................

mechanical

espress.

aceel.............................

(pp) mf Everytime you repeat this particular phrase, exaggerate more and more the "rit." and "accel."

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 56

Hn.1

same note tremolo

mechanical

sub. mf p

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 56

1 same note tremolo

Hn.2

sub. mf p

mechanical

3 same note tremolo

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 56 1

(180 degrees)

left

Tpt.

sim., very fast

right

(180 degrees)

right

sim., very fast

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 52 1

Tbn.

bisbigliando: (VII, V, VII, V, sim.) smooth

bisbigliando: (VI, IV, VI, IV, sim.) smooth

3 2

***bisbigliando: ALWAYS slow fast slow

RICL 118

special bar number

Vln. 1

73B

9 bow pressure, molto S.P. on the 3rd beat very scratchy

10" - 12"

with Practice mute

ffff

bow pressure, molto S.P. very scratchy

Vln. 2

with Practice mute

ffff

bow pressure, molto S.P. very scratchy

Vln. 3

ffff

bow pressure, molto S.P. very scratchy

Vln. 4

with Practice mute

ffff

bow pressure, molto S.P. very scratchy

Vla. 1

ffff

bow pressure, molto S.P. very scratchy

Vla. 2

ffff

bow pressure, molto S.P. very scratchy

Vc. 1

ffff

bow pressure, molto S.P. very scratchy

Vc. 2

with Practice mute

ffff

bow pressure, molto S.P. very scratchy Db.

with Practice mute

ffff

on the 3rd beat

Play ONLY:

2 Fl.

Ob.

rit............................

mechanical

Cl.

Play ONLY: 1

espress.

mechanical

aceel.............................

1 Play ONLY:

(pp) pp mf Everytime you repeat this particular phrase, exaggerate more and more the "rit." and "accel."

mechanical

Bsn.

Play ONLY: 1

Hn.1

Hn.2

same note tremolo

left

4 tktktktktk......(very fast)

right

(180 degrees)

sim., very fast

left

Tbn.

Stop

RICL 118

Stop

tktktktktk......(very fast) (blowing sound)

sim.

left

sim.

4 tktktktktk......(very fast) (blowing sound) (180 degrees) right

bisbigliando: (VI, III, I, III, IV, sim.) smooth

(blowing sound)

Stop

Tpt.

Stop

(for bassoon)

molto rit. (only for strings)

All strings, please observe the bowings exactly. Do NOT subdivide the marked bowings.

q = 96 (only for strings) 77 P.O.

Vln. 1 "mp" (effect: pp)

"mp" (effect: pp)

P.O.

"mp" (effect: pp)

"fff"

"mp" (effect: pp)

P.O.

"mp" (effect: pp)

Vla. 2

P.O.

"mp" (effect: pp)

Vc. 2

"mp" (effect: pp)

P.O.

"mp" (effect: pp)

"fff" (effect: f)

"p"

"p" "fff"

"p"

"p""fff"

sim.

"p"

sim.

"p"

sim.

"p"

sim.

"p""fff"

"p"

"p""fff"

sim.

"fff"

"p""fff"

sim.

"p" "fff"

"p"

"p" "fff" "p"" fff"

"fff"

"fff" (effect: f)

Db.

Fl.

"p" "p"

sim.

"fff"

"fff" (effect: f)

P.O.

"p" "p"

"p"

"p""fff"

"p" "fff"

"mp" (effect: pp)

"fff"

"p""fff"

"fff" (effect: f)

P.O.

"fff" (effect: f)

Vc. 1

"p" "fff"

(effect: f)

Vla. 1

"p" "fff"

"fff" (effect: f)

P.O.

Vln. 4

"fff" (effect: f)

Vln. 3

"fff" (effect: f)

P.O. Vln. 2

"p" sim.

Ob.

Cl.

Bsn.

Stop

Hn.1

Hn.2

sim. left Tpt.

Tbn.

repeat only 4

(180 degrees)

right

repeat only 4

RICL 118

All strings, please observe the bowings exactly. Do NOT subdivide the marked bowings. Strings: "Heavy" bowing with mute

to conductor: take longer pauses especially the on 3rd beat.

molto rit. 1

82 Vln. 1

molto accel.

q = 72

2 1

(change bows to create the written dynamics)

sub. "fff"

Vln. 2

Vln. 3

sub. "fff"

Vln. 4

Vla. 1

Vla. 2

(change bows to create the written dynamics)

Vc. 1

Vc. 2

sub. "fff"

dim. always start from "fff"

sim.

sub.

sim.

dim. always start from "fff"

sub.

"fff"

norm. molto espress.

sub. "fff"

sub.

norm. molto espress.

sub. "fff"

sim.

dim. always start from "fff"

sim.

"fff"

norm. molto espress.

dim. always start from "fff"

sim.

sub. "fff"

sim.

sub. "fff"

sub.

norm. molto espress.

dim. always start from "fff"

norm. molto espress.

sim.

sub. "fff"

"fff"

dim. always start from "fff"

norm. molto espress.

sub. "fff"

(change bows to create the written dynamics)

sub. "fff"

(change bows to create the written dynamics)

norm. molto espress.

(change bows to create the written dynamics)

sub. "fff"

sub. "fff" (change bows to create the written dynamics)

norm. molto espress.

(change bows to create the written dynamics)

q = 48

dim. always start from "fff"

Db.

molto rit. q = 72

Fl.

sub. mf

Bsn.

Hn.1

sub. p

Hn.2

sub. p bisbigliando, smooth, V, VII, V, VII sim. slow

Tbn.

sub. p

face centre sim., very fast

Tpt.

sub. p

same note trem.

sub. mf

norm.

molto espress.

Cl.

molto espress.

Ob.

same note trill

molto espress.

fast

slow

RICL 118

2 12

88 Vln. 1

Vln. 2

Vln. 3

Vln. 4

Vla. 1

Vla. 2

> poco a poco mechanical >

Vc. 1

Vc. 2

Db.

> poco a poco mechanical >

RICL 118

2 1

93 Vln. 1

Vln. 2

Vln. 3

Vln. 4

Vla. 1

Vla. 2

Vc. 1

Vc. 2

Db.

> mechanical >

RICL 118

> mechanical >

q = 96

98 Vln. 1

Vc. 1

Vc. 2

Db.

Vln. 2

Vln. 3

Vln. 4

Vla. 1

Vla. 2

RICL 118

for strings: follow the leader from here

Vln. 1

104

more and more bow pressure and scratchy

"p"

more and more bow pressure and scratchy

Vln. 4

more and more bow pressure and scratchy

Vla. 1

Vla. 2

more and more bow pressure and scratchy

Vc. 1

Vc. 2

more and more bow pressure and scratchy

"p"

more and more bow pressure and scratchy

"p"

more and more bow pressure and scratchy

"p"

more and more bow pressure and scratchy

Vln. 3

Db.

15" - 17"

"p" more and more bow pressure and scratchy

Vln. 2

"p"

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 52 no vib., airy, with relaxed embouchure

Fl.

q = 52

Ob.

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 52 1

Cl.

q = 52

1 non vib.

Bsn.

Hn.1

Hn.2

Tpt.

Tbn.

practice mute

(velvet mute)

RICL 118

molto rit. (only for strings)

14" - 17"

norm.

112 Vln. 1

to brass + oboe & bassoon

"ffff" no dim. norm.

Vln. 2

norm.

Vln. 3

"ffff" no dim. norm.

Vln. 4

"ffff" no dim. norm.

Vla. 1

"ffff" no dim. norm.

Vla. 2

"ffff" no dim.

> poco a poco espressivo >

"ffff" no dim.

> poco a poco espressivo >

norm.

Vc. 1

"ffff" no dim.

> poco a poco espressivo >

norm.

Vc. 2

"ffff" no dim.

Db.

Fl.

stop ADD : 2 , then you may repeat playing the phrases ( 1 & 2 ) in any order, however you may not repeat each individual cycle 3 times in a row. q = 62 2

Ob.

stop

Cl.

stop

ADD : 2 , then you may repeat playing the phrases ( 1 & 2 ) in any order, however you may not repeat each individual cycle 3 times in a row q = 52 2

Bsn.

stop

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 66

Hn.1

rapid grace notes

stop

ppp

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 48 1

Hn.2

rapid grace notes

ppp

stop

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 52 1 right

Tpt.

left or

(180 degrees)

or left

right

"mf" (effect: pp) rapid grace notes

right or left

left or right

(180 degrees)

"mf" (effect: pp)

stop

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 60 1

Tbn.

ppp

quick gliss.

ppp

quick gliss.

stop

RICL 118

Vln. 1

Vln. 2

Vln. 3

Vln. 4

Vla. 1

Vla. 2

Vc. 1

Vc. 2

Db.

116

"ffff" no dim.

Ob.

Cl.

Hn.1

Hn.2

Tpt.

RICL 118

Tbn.

Fl.

Bsn.

q = 120

molto accel. q = 48 (only for strings)

Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard

120 Vln. 1

All strings, change bows as many time as you need. senza sord.

sub. "mp"

"fffff"

Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard

Vln. 2

sub. "mp"

"fffff"

senza sord.

Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard

Vln. 3

sub. "mp"

"fffff"

Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard

Vln. 4

Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard

Vla. 1

sub. "mp"

"fffff"

senza sord.

sub. "mp"

"fffff"

Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard

Vla. 2

Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard

Vc. 1

Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard

Vc. 2

Db.

(only D.B., normal)

sub. "mp"

Ob.

Cl.

Hn.1

Hn.2

Tpt.

Tbn.

Bsn.

senza sord.

senza sord. $

sub. "mp"

Fl.

senza sord.

"fffff"

Increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand fingers properly against the fingerboard

sub. "mp"

"fffff"

(velvet mute)

RICL 118

130

17" - 19"

Vln. 1

Vln. 2

Vln. 3

Vln. 4

Vla. 1

Vla. 2

Vc. 1

Vc. 2

Db.

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle more than twice until all the cycles have been played. q = 100

Fl.

steady tempo

! 2

molto accel.

f (over all dynamics)

Ob.

f (over all dynamics) Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle more than twice until all the cycles have been played. q = 104 rit.

1 accel.

Cl.

rit.

accel.

sub. f

Bsn.

steady tempo

Hn.1

steady tempo

Hn.2

same note trill

mf (maximum dynamics) Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle more than twice until all the cycles have been played. q = 80 First cycle: 1, without mute, after that, each phrases should be played in different mutes, "straight", "harmon", and also "no-mute", you may not play with same mute (or no mute) 2 phrases in a row. left 2 or left (180 degrees) 1 right right or or same note trill left right

Tpt.

(180 degrees)

mf (maximum dynamics) Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle until all the cycles have been played. q = 70 1 bisbigliando (VII, IV, II, IV, VII etc.)

Tbn.

mf (maximum dynamics)

RICL 118

gliss.

For Brass and woodwind: When the strings enter (not necessarily at this place in the score), suddenly decrease the maximum dynamics to mp then start to diminuendo.

in tempo Conductor's tempi changes are only for strings until bar 165. strings, please observe the bowings exactly. q = 90 All Do NOT subdivide the marked bowings. q = 72 2 molto rit. 20

130 Vln. 1

fff

Vln. 4

fff

Vla. 1

fff

Vc. 1

Vc. 2

Db.

dim. always start from "fff"

fff

7" - 10"

fff

dim. always start from "fff"

fff

dim. always start from "fff"

fff

dim. always start from "fff"

fff

dim. always start from "fff"

fff

Vla. 2

dim. always start from "fff"

fff

Vln. 3

fff

Vln. 2

dim. always start from "fff"

fff

For Brass and woodwind: When the strings enter (not necessarily at this place in the score), suddenly decrease the maximum dynamics to mp then start to diminuendo. (not necessarily here in the woodwinds and brass parts)

molto rit.

Fl.

espressivo (but no vib.)

maximum dynamics mp (not necessarily here)

Ob.

Cl.

Bsn.

molto rit.

same note trill

maximum dynamics mp (not necessarily here)

Hn.1

espressivo (but no vib.)

maximum dynamics mp (not necessarily here)

Hn.2

maximum dynamics mp (not necessarily here)

gliss. Tbn.

left or right

(180 degrees)

3 bisbigliando (I, IV, I, IV, I etc.)

maximum dynamics mp (not necessarily here)

right or left

maximum dynamics mp (not necessarily here)

right or left Tpt.

RICL 118

q = 72 molto rit.

q = 46

134 Vln. 1

4" - 6"

fff sim.

Vln. 2

fff

Vln. 3

sim.

fff

Vln. 4

fff

Vla. 2

Vc. 1

sim.

Vc. 2

fff

sim.

fff

sim.

fff

Vla. 1

fff

sim.

Db.

sim.

Fl.

Ob.

Cl.

molto accel.

Bsn.

Hn.1

Hn.2

right or left

Tpt.

left or right

(180 degrees)

bisbigliando (V, IV in F, V, IV in F, etc.) Tbn.

RICL 118

q = 82

molto accel.

3 22

Vln. 1

sim.

fff

Vla. 2

Vc. 1

Vc. 2

Db.

sim.

fff

sim.

fff

sim.

fff

sim.

fff

sim.

fff

sim.

3 2

sim.

fff

sim.

fff

sim.

7" - 9"

fff

sim.

fff

2 2

fff

sim.

fff

sim.

fff

sim.

fff

sim.

fff

Vla. 1

6" - 8"

fff

sim.

fff

Vln. 4

fff

sim.

fff

Vln. 3

fff

Vln. 2

molto accel.

138

q = 46

molto rit.

fff

Fl.

Ob.

Cl.

It is OK to omit some pattern(s) which are not suitable for the quieter dynamics.

Bsn.

Hn.1

Hn.2

It is OK to omit some pattern(s) which are not suitable for the quieter dynamics.

It is OK to omit some pattern(s) which are not suitable for the quieter dynamics. Tpt.

Tbn.

It is OK to omit some pattern(s) which are not suitable for the quieter dynamics.

RICL 118

Meno mosso q = 46 molto accel.

q = 82

2 146 Vln. 1

Vln. 2

Vln. 3

3" - 4"

Vln. 4

Vla. 1

Vla. 2

(non trem)

4" - 5"

(non trem)

q = 46

long

fff

(non trem)

sim.

(non trem)

fff

sim.

Change bow as many times as you need to create the speciďŹ ed dynamics. Progressively increase bow pressure then gradually make the sound even more scratchy by not pressing the left hand ďŹ ngers properly against the ďŹ ngerboard.

sim.

fff

sim.

fff

q = 72 molto rit.

2 2

fff

q = 92

fff

sim.

Vc. 1

fff

Vc. 2

Db.

Fl.

fff

(non trem)

fff

sim.

fff

(non trem)

fff

sim.

fff

sim.

no gap

max dynamics: pp

Ob.

no gap

max dynamics: pp

no gap

Cl.

max dynamics: pp

Bsn.

no gap

Hn.1

no gap

Hn.2

max dynamics: pp

no gap

max dynamics: pp

Tpt.

no gap

max dynamics: pp

Tbn.

no gap

RICL 118

max dynamics: pp

to conductor:

Molto Rubato 24

All strings must play together (in rhythmic unison). Do NOT subdivide the marked bowings except during the "pauses". The conductor should vary the length of each pause (between 4" and 8"). Also each section should be played in different tempi (though without rit., or accel.), which are decided by the conductor on the spot (q = 46 to 92).

Vln. 1

Vln. 2

sub. fff sub.

7" - 9"

155

ppp

Vln. 3

Vln. 4

Vla. 1

fff

Vla. 2

sub. fff

Vc. 1

sub.

ppp

fff

Vc. 2

sub.

ppp

fff

Db.

sub.

sub. fff

ppp

fff

sub. fff sub. fff sub. fff sub. fff sub. fff sub. fff

sub. fff

fff

sub. fff sub. fff sub.

ppp

(2)

ppp

sub. fff

ppp

sub. fff

ppp

sub. fff

ppp

sub. fff

ppp

sub.

ppp

sub. fff

Repeat ad lib.

ppp

Repeat ad lib.

ppp

Repeat ad lib.

ppp

Repeat ad lib.

ppp

Repeat ad lib.

ppp

Repeat ad lib.

ppp

fff

Repeat ad lib.

ppp

sub. fff

sub.

sub. fff

ppp

Repeat ad lib.

ppp

Repeat ad lib.

ppp

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 66

1 low D fingering and trill with G-sharp key

Fl. pp

ppp

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 60

Ob.

ppp

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 56 1

Cl.

Bsn.

q = 62

stop

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 72

Hn.1

ppp

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 68

Hn.2

ppp

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 56 1

right or harmon left mute

Tpt.

ppp

2 left harmon or right mute

left or right

(180 degrees)

ppp

right or left

(180 degrees)

Play the cycles in order first, but then you may repeat playing the phrases in any order, however you may not repeat each individual cycle 3 times in a row q = 46 1

Tbn.

velvet bisbigliando: III, V, VII, V, III etc. mute

ppp

velvet mute bisbigliando: II, VI, II, VI, II etc.

ppp

velvet mute

bisbigliando: (in F) III, V, V, III, etc.

ppp

RICL 118

q = 80

Note for conductor: stop anywhere in the string pattern. It would be better to suddenly cut off in the middle of the phrase, to surprise the audience.

1' 15" - 1' 20"

164 Vln. 1

Vln. 2

Vln. 3

stop

Vln. 4

stop

Vla. 1

Vla. 2

Vc. 1

stop

Vc. 2

stop

Db.

stop

Fl.

QUIETLY change to rainstick

stop

QUIETLY change to rainstick

Ob.

stop

QUIETLY change to rainstick

Cl.

stop

SOLO

Bsn.

Hn.1

QUIETLY change to rainstick

stop

QUIETLY change to rainstick

Hn.2

stop

QUIETLY change to rainstick

Tpt.

stop QUIETLY change to rainstick Tbn.

stop

RICL 118

166

Bsn.

The bassoon solo from bar 166 to bar 186 should be played molto espressivo, and tempo rubato. This passage can be played slower than the written tempo if necessary, as long as it makes musical sense.

% &

molto espressivo, rubato bisbigliando

bisbigliando

gliss.

173

Bsn.

poco rit.

mosso PiĂš q = 80 &

bisbigliando

(

179

Bsn.

bisbigliando

tktktk...

( &

) &

184 Vln. 1

) &

(q = 80)

(non-div.) plectrum pizz.

(non-div.) plectrum

Vln. 3

Vln. 4

pizz.

ff (non-div.) plectrum pizz.

Vla. 1

Vla. 2

(non-div.) plectrum pizz.

ff plectrum (non-div.) pizz.

Vc. 1

plectrum pizz.

Vc. 2

Db.

Fl.

Ob.

Cl.

) &

rainstick *

rainstick

Hn.1

Hn.2

Tpt.

Tbn.

rainstick

* f

RICL 118

rainstick

Bsn.

rainstick

plectrum pizz.

Vln. 2

Strings: strictly together

192 Vln. 1

mosso PiĂš q = 116

fff

Vln. 2

Vln. 3

fff

Vln. 4

fff

Vla. 1

Vla. 2

fff

Vc. 1

fff

Vc. 2

fff

Db.

fff

Ob.

Cl.

(q = 92)

double tonging

sempre sim. mf

Hn.2

Tpt.

Tbn.

Hn.1

Bsn.

Fl.

RICL 118

Conductor's tempi changes are only for strings until the end.

Meno mosso q = 80

197 Vln. 1

A molto espress

port.

. port port.

port. port.

make a difference between "port." and "gliss."

gliss. gliss.

Vln. 2

port.

port. port.

make a difference between "port." and "gliss." molto espress

Vln. 3

port. port.

gliss. gliss.

. gliss gliss.

Vln. 4

port. port.

gliss.

gliss. gliss.

molto espress

Vla. 1

port. port.

port.

gliss. gliss.

make a difference between "port." and "gliss."

gliss.

Vla. 2

port. port.

gliss. gliss.

port.

gliss.

Vc. 2

port.

gliss.

gliss. gliss.

gliss.

gliss. gliss.

gliss.

fff

gliss. gliss.

fff

exaggerate the accents

molto espress

gliss.

make a difference between "port." and "gliss."

gliss.

fff

exaggerate the accents

port.

fff

molto espress

Vc. 1

gliss.

exaggerate the accents gliss. gliss.

make a difference between "port." and "gliss."

gliss. gliss.

fff

molto espress

gliss.

exaggerate the accents gliss.

gliss.

fff

exaggerate the accents port. port.

make a difference between "port." and "gliss."

gliss. gliss.

fff

exaggerate the accents gliss. gliss.

molto espress port. port.

exaggerate the accents port. port.

make a difference between "port." and "gliss."

exaggerate the accents gliss. gliss.

gliss. gliss.

This pause is only for strings

molto espress

accel.

make a difference between "port." and "gliss."

exaggerate the accents molto espress

Db.

port.

gliss.

make a difference between "port." and "gliss."

Fl.

q = 92 Rainstick 4" - 5"

slow

sim.

fast

q = 92 Rainstick slow

longer pauses on rests

fast

f double tonging

(q = 80)

gliss.

fff

Bsn.

fast

gliss.

q = 92 longer pauses on rests Rainstick

3" - 4" Cl.

4" - 6" Ob.

longer pauses on rests

gliss.

sim.

fast

q = 92 Rainstick longer pauses on rests

Hn.1

4" - 5"

slow

f q = 92 longer pauses on rests Rainstick

4" - 6" Hn.2

slow

fast

q = 92 Rainstick

3" - 4" Tpt.

slow

longer pauses on rests

fast

q = 92 Rainstick lot of rest (longer pauses on rest)

4" - 6"

Tbn.

slow

fast

RICL 118

206 Vln. 1

sub. fff

sub.

Vln. 2

fff

sub. fff

Vln. 4

sub. fff

Vla. 1

sub. fff

Db.

fff

sub. mf

fff

sub. mf

fff

sub. mf

fff

sub. mf

fff

sub. mf

fff

sub. mf

fff

sub. mf

fff

sub. fff

Fl.

fff

Vc. 2

Vc. 1

fff

Vla. 2

Meno mosso q = 116

Vln. 3

The fermata on each rest should gradually DECREASE.

Ob.

The fermata on each rest should gradually DECREASE.

Cl.

Bsn.

Hn.1

Ignore conductor's beat 3" - 4"

q = 92 ignore conductor's beat, (a little faster than conductor's beat)

The fermata on each rest should gradually DECREASE.

The fermata on each rest should gradually DECREASE. Hn.2

The fermata on each rest should gradually DECREASE.

Tpt.

Tbn.

The fermata on each rest should gradually DECREASE.

RICL 118

213 Vln. 1

q = 72 E

Meno mosso

molto espress.

gliss. gliss.

molto espress.

Vln. 2

gliss. gliss.

gliss. gliss

gliss. gliss.

g glliisss. s.

molto espress.

Vln. 3

f molto espress.

Vln. 4

Vla. 1

gliss. gliss.

molto espress.

gliss. gliss.

molto espress.

Vla. 2

gliss. gliss.

molto espress.

Vc. 1

gliss.

Vc. 2

Db.

gliss.

molto espress.

gliss.

Fl.

molto espress.

gliss.

!!!Heavy rain!!!

No rest, play only "f"+ fast

* fff

!!!Heavy rain!!! No rest, play only "f"+ fast

* fff

Ob.

!!!Heavy rain!!! No rest, play only "f"+ fast

* fff

Cl.

You should be reaching around here when the conductor gives a cue. double tonging

Bsn.

sim.

sempre sim.

!!!Heavy rain!!! Hn.1

No rest, play only "f"+ fast

* fff

!!!Heavy rain!!! No rest, play only "f"+ fast

Hn.2

* fff

!!!Heavy rain!!! No rest, play only "f"+ fast

Tpt.

* fff

!!!Heavy rain!!! No rest, play only "f"+ fast

Tbn.

* fff RICL 118

219 Vln. 1

. gliss . gliss

gglliiss.

s. gglliisss.

ss.

Vln. 2

fff

Vln. 3

. gliss . gliss

gliss. gliss.

s. gglliisss.

Vla. 1

gliss. gliss.

ss. gglliiss.

fff

Vc. 1

gliss.

gglilissss..

gliss.

Vc. 2

gliss.

s. glis

ss. gli

gliss.

Fl.

Ob.

Cl.

Bsn.

Hn.1

Hn.2

Tpt.

Tbn.

gliss.

# +

sub. fff

No rest, play BOTH "f"+ fast and "p"+ slow

gliss

sub. fff

fff

sub. fff

gliss.

fff

sub.

fff

Db.

fff

gliss.

sub. fff

fff

gliss.

gliss. gliss.

sub.

gliss.

fff

Vla. 2

sub. fff

fff

gliss.

7" - 9"

fff

Vln. 4

q = 116

PiĂš mosso

ss. gglliiss.

gliss.

fff

gliss. gliss.

No rest, play BOTH "f"+ fast and "p"+ slow

RICL 118

F 226

Vln. 1

Vln. 2

Vln. 4

Vla. 1

Vla. 2

Vc. 1

Vc. 2

Db.

less & less rain the fermata on each rest should gradually INCREASE.

Fl.

Vln. 3

less & less rain the fermata on each rest should gradually INCREASE.

Ob.

less & less rain the fermata on each rest should gradually INCREASE.

Cl.

q = 82

Bsn.

ppp

less & less rain the fermata on each rest should gradually INCREASE. Hn.1

less & less rain the fermata on each rest should gradually INCREASE. Hn.2

less & less rain the fermata on each rest should gradually INCREASE. Tpt.

less & less rain the fermata on each rest should gradually INCREASE. Tbn.

RICL 118

Meno mosso q = 66

231 Vln. 1

Vla. 1

po portrt. .

molto espress port. port.

po portrt. .

molto espress port. port.

po portrt. .

molto espress port.

port. port.

po portrt. .

Vc. 1

po portrt. .

molto espress port. port.

Vla. 2

po portrt. .

molto espress port. port.

Vln. 4

Vln. 3

molto espress port. port.

Vln. 2

port.

port. port.

port.

Vc. 2

port.

port. port.

Db.

port. port.

Fl.

port. port.

por

port. port.

port.

port port..

port. port.

rt.

port.

port port..

gliss. gliss.

port port..

gliss. gliss.

por

gliss. gliss.

port.

gliss. gliss.

port.

gliss. gliss.

,$ #

, $ #

ppp

gliss.

ppp

, $ #

gliss.

ppp

# +

gliss.

fff

ppp

fff

ppp

fff

, $ #

ppp

fff

ppp

fff

, $ #

ppp

fff

port.

gliss. gliss.

fff

port. port.

fff

port port..

port. port.

port

fff

port

port port..

port. port.

port.

ort. p rt. o p mf

molto espress

port. port.

port.

mf molto espress port.

(for bassoon) conductor: follow the bassoon

ppp

!!!Light rain!!!

the fermata on each rest should gradually INCREASE.

(duration of rests: 8" - 12")

!!!Light rain!!! the fermata on each rest should gradually INCREASE.

Ob.

(duration of rests: 8" - 12")

!!!Light rain!!!

the fermata on each rest should gradually INCREASE.

(duration of rests: 8" - 12")

Cl.

Rubato

Bsn.

molto espressivo q = 66 bisbigliando

ppp

Hn.1

the fermata on each rest should gradually INCREASE.

sub. mf

!!!Light rain!!! (duration of rests: 8" - 12")

the fermata on each rest should gradually INCREASE.

!!!Light rain!!! (duration of rests: 8" - 12")

Hn.2

the fermata on each rest should gradually INCREASE.

!!!Light rain!!! (duration of rests: 8" - 12")

Tpt.

the fermata on each rest should gradually INCREASE.

!!!Light rain!!! (duration of rests: 8" - 12")

Tbn.

RICL 118

 

241 Vln. 1

 





 



H (for bassoon) (with plectrum)





 







Vln. 2













 









 

 







  



Vla. 2





    pp

 



 



 





 



 







  pp





  pp





 



 

(with plectrum)



Vc. 1



(with plectrum)

 

 

(with plectrum)

 

(with plectrum)

Vla. 1

 

(with plectrum)



Vln. 4

(with plectrum)



Vln. 3

 

(for bassoon)







Vc. 2



(with plectrum)





 

Db.

Fl.









 



 



            

            ff

            ff

            ff

            ff

            ff

            ff

            ff



 

  pp

 

  pp

  

 





    

6" - 8"

 

    

 

     ff

    

 

     ff

    

 

    

 



Play ONLY "p"+ slow duration of rest: 9" - 14"



even lighter & lighter rain

duration of the rests (in patterns): 15" - 20"

H



the fermata on each rest should gradually INCREASE. 'light drizzling rain'     ppp

Play ONLY "p"+ slow

duration of the rests (in patterns): 15" - 20"

even lighter & lighter rain

duration of rest: 9" - 14"

'light drizzling rain'     ppp

Ob.

the fermata on each rest should gradually INCREASE.

duration of the rests (in patterns): 15" - 20"

even lighter & lighter rain

Play ONLY "p"+ slow duration of rest: 9" - 14"

Cl.

the fermata on each rest should gradually INCREASE.

steady tempo

Bsn.





 

 



    



 

        



duration of rest: 9" - 14"

 sub. p (from 2nd time)

 

stop

duration of the rests (in patterns): 15" - 20"

the fermata on each rest should gradually INCREASE.

even lighter & lighter rain

duration of the rests (in patterns): 15" - 20"

the fermata on each rest should gradually INCREASE.

even lighter & lighter rain

duration of the rests (in patterns): 15" - 20"

Tbn.

even lighter & lighter rain

   

Tpt.

sub. mf

 

Play ONLY "p"+ slow Hn.2

   



sub. mp

Play ONLY "p"+ slow Hn.1



the fermata on each rest should gradually INCREASE.

even lighter & lighter rain

duration of the rests (in patterns): 15" - 20"

RICL 118

The conductor should face sideways to direct both the onstage dynamics and the offstage players

251 Vln. 1

Vln. 2

Vln. 3

Vln. 4

Vla. 1

Vla. 2

Vc. 1

Vc. 2

Db.

16" - 18"

32" - 36"

sub. fff

fff

sub. fff

fff

A sub.

fff

sub. fff

fff

A sub.

fff

sub. fff

fff

sub. fff

fff

sub. fff

fff

sub. fff

fff

ppp

!!!Suddenly Heavy rain!!! Fl.

No rest, play only "f"+ fast

the fermata on each rest should gradually INCREASE.

sub. fff

the fermata on each rest should gradually INCREASE.

No rest, play only "f"+ fast

stop

fff

ppppp

!!!Suddenly Heavy rain!!! *

almost no rain (very quiet, only a few 'stones' inside the rainstick are rolling)

sub. fff

Cl.

stop ppppp

fff

!!!Suddenly Heavy rain!!! Ob.

almost no rain (very quiet, only a few 'stones' inside the rainstick are rolling)

No rest, play only "f"+ fast

the fermata on each rest should gradually INCREASE.

almost no rain (very quiet, only a few 'stones' inside the rainstick are rolling)

sub. fff

stop ppppp

fff 10" - 12"

double tonging

Bsn.

sub. mf

ppppp

!!!Suddenly Heavy rain!!! Hn.1

No rest, play only "f"+ fast

the fermata on each rest should gradually INCREASE.

No rest, play only "f"+ fast

fff

No rest, play only "f"+ fast

the fermata on each rest should gradually INCREASE.

fff

No rest, play only "f"+ fast

the fermata on each rest should gradually INCREASE.

almost no rain (very quiet, only a few 'stones' inside the rainstick are rolling)

sub. fff

stop ppppp

fff

RICL 118

stop ppppp

!!!Suddenly Heavy rain!!! Tbn.

almost no rain (very quiet, only a few 'stones' inside the rainstick are rolling)

sub. fff

stop ppppp

!!!Suddenly Heavy rain!!! Tpt.

almost no rain (very quiet, only a few 'stones' inside the rainstick are rolling)

sub. fff

stop ppppp

fff

!!!Suddenly Heavy rain!!! *

almost no rain (very quiet, only a few 'stones' inside the rainstick are rolling)

sub. fff

Hn.2

stop