Gilded Scenes (2018) Perusal Score by David Mettens

DAVID CLAY METTENS

Gilded Scenes for Orchestra

Full Score

2Percussion 2Bassoons Clarinets(2 in players) Bb Instrumentation 2 Bassoons *, Suspended Cymbal*, Small Tam-tam,Tambourine Instrumentation Percussion 1: Crotales (2 octaves), Sizzle Cymbal 2 Horns2 in F Flutes(2nd (2nd doublesPiccolo) Piccolo) Sizzle Cymbal*, Suspended Cymbal*, Bass Drum Percussion 2:Vibraphone,Triangle, 2 Flutes doubles Horns insizzle F Ccymbal 22Trumpets in * -2The and suspended cymbalHorn) may be shared between the two percussionists. Oboes (2nddoubles doubles English 2 Oboes (2nd English Horn) 2Trombones Trumpets in C 2Harp 2Clarinets ClarinetsininBBb b Instrumentation 2 3 2 Trombones e] rd Bassoons Celesta 322Flutes (3 doubling Piccolo and AltoofFlute) Bassoons (with a suspended cymbal to invert over oneInstrumentation the drums) Timpani rd doubling English Horn) 3 Oboes (3 (withPiccolo) a suspended cymbalst to invert over one of the drums) nd Timpani Flute (doubling 2Clarinets Horns Strings (minimum doubling Clarinet in A; 2 doubling E-flat Clarinet; 3rd doubling Bass Clarinet) 3 B-flat (1 Clarinet) 2 Horns ininin FF10.8.6.4.2) Clarinet in B-flat (doubling Bass Percussion (2 players) Instrumentation rd C Instrumentation Trumpets =Contrabassoon) 322FBassoons (3inin Trumpets C Percussion (2 players) Horn in Percussion David 1: Crotales (2 octaves), Sizzle Cymbal*, Suspended Cymbal*, Small Tam-tam,Tambourine Clay Mettens fonietta Instrumentation 2 Trombones 2 Flutes (2nd doubles Piccolo) **, Suspended Cymbal **, Small Tam-tam,Tambourine e] Unravelings Instrumentation Trombones 22 Flutes (2nd doubles Piccolo) Percussion 1: Crotales (2 octaves), Sizzle Cymbal Performance Notes , Suspended Cymbal , Bass Percussion 2:Vibraphone,Triangle, Sizzle Cymbal Percussion – Vibraphone, Small Triangle, High Bongo, Guiro, and Wind Gong (with 2-3 coins Drum taped to the front of the gong) Piccolo) David Clay Mettens 422Horns in F for the Eastman Graduate Composers' Sinfonietta Oboes (2nd doubles English Horn) *,the *, Bass Drum Flutes (2nd doubles Piccolo) 2 Oboes (2nd doubles English Horn) Suspended Cymbal Percussion 2:Vibraphone,Triangle, Sizzle Cymbal * The sizzle cymbal and suspended cymbal may be shared between two percussionists. 2Timpani Flutes (2nd doubles Piccolo) General (with asuspended suspended cymbal invert over oneofbetween ofthe thedrums) drums) 3Timpani Trumpets in 2 suspended b (with aC cymbal totoinvert one Piano (with Assistant) * The sizzle cymbal and cymbal mayover be shared the two percussionists. 2 Clarinets in B b 2 Oboes (2nd doubles English Horn) 2 Clarinets in B 24 Harp 3 4 3 2 Oboes (2nd doubles English Horn) ! ! Instrumentation 3 Trombones J K L b n # 4 4 4 sixth tone (33 cents) lower than , approximating an untempered 7th partial ossamer qHarp = 50 22Bassoons b 2 Clarinets in B b 2 Bassoons 2Celesta Violins 2 Clarinets in B Percussion (2 players) 1Percussion Tuba (2 players) 44 doubles 3 Piccolo) 2 !Instrumentation 3 ! 44 3 2Celesta (2nd ! Viola ! ! ! 44 µ quarter ! octaves), 2 Bassoons 4B3Flutes 4 4 4 *, Suspended 4Cymbal 2 Bassoons * quarter tone lower tone higher , Small Tam-tam,Tambourine Percussion 1: Crotales (2 Sizzle Cymbal Tam-tam,Tambourine Percussion 1:English Crotales (2 octaves), Sizzle Cymbal , Suspended Cymbal*,*Small 2 Oboes (2nd doubles Horn) jet whistle 2 Horns in F 2 Horns in F . Cello 2 Flutes (2nd doubles Piccolo) ± 2:Vibraphone,Triangle, APercussion StringsTimpani (minimum 10.8.6.4.2) (4b drums, I-II-III-IV highest to Sizzle lowest) *,*Suspended *,*Bass , SuspendedCymbal Cymbal , BassDrum Drum Percussion 2:Vibraphone,Triangle, SizzleCymbal Cymbal 2 Clarinets in B Strings (minimum 10.8.6.4.2) 2 Horns in F 2 Trumpets in C Double Bass b œ 2 Oboes (2nd doubles English Horn) ( p7 of G ), ( p11 of G) Indicates that the performer should try to approximate the intonation of an untempered 7th or 11th partial Horns in F in C 24 4 J j 22Trumpets * The sizzle cymbal and suspended cymbal may be shared between the two percussionists. j ‰ sizzle cymbal ‰ Ó and suspended cymbal may be shared betweenjetthe *4 - The two percussionists. whistle œ œ . 22Bassoons ± instruments, the reference fundamental is given in concert 2Trombones Trumpets Trombones Clarinets in Bb yb ininCC of the given fundamental. In the caseA of transposing ! 3222Harp Trumpets Percussion 2 p f Harp n œ œ 1:j Glockenspiel b œ œ (shared b œshould Performance pitch.The players produce without correcting the intonation. 44 Œ22Trombones 2with 44 ‰these Jpartials Performance Notes j 2), jNotes Trombones Percussion Perc. Marimba, Triangle, Small Suspended Cymbal, Brake Drum, Guiro, 2 Bassoons Œ ‰ J horn ‰ Ó Œ Performance Notes # œ œ n œ 4 œ œ Celesta Celesta b y 2 Horns in F Instrumentation jet whistle Bass cymbal Drum Perc. General ! (shared Instrumentation (with cymbal invertwith overone one drums) Timpani!(with .suspended aasuspended totoinvert over of!of2) thethedrums) Timpani General ± p f General Ÿ~~~~~~~~ o (doubling 232Trumpets intrills C(with (with asuspended suspended cymbal toinvert invertover overone oneofofthethedrums) drums) Timpani All are half-step trills. Horns in F Flute (doubling Piccolo) a cymbal to Timpani Flute Piccolo) ‰ jtone Œ Glockenspiel, Œ than bbnVibraphone Strings (minimum 10.8.6.4.2) J42J2Trombones KTrumpets Strings (minimum 10.8.6.4.2) Percussion 2: (no motor), Sleigh jet Bells, Medium sixth (33 cents) lower ananuntempered 7th partialSuspended Cymbal, Bass Drum œ œ whistle KŒ LLClarinet n##,,,approximating b y Clarinet in B-flat (doubling Bass Clarinet) Percussion (2 players) in B-flat (doubling Bass in C Percussion (2 players) Sixth tone (33 cents) lower than approximating an untempered 7th partial sixth tone (33 cents) lower thanClarinet) approximating untempered 7th . ! ± ings ngs 2 Trombones 2octaves),Sizzle Percussion (2players) players) Horn in *,*Suspended *,*Small Percussion o Temple Horn inPercussion FF3 (2 , Suspended Cymbal , Small Tam-tam,Tambourine 1:Crotales Crotales (2octaves), SizzleCymbal Cymbal Cymbal Tam-tam,Tambourine Percussion 1: Crotales (2 p f David Clay Mettens Percussion 3: (lower octave), Xylophone, 5 Blocks, 2 Bongos, Maracas, Tam-tam David Clay Mettens mposers' Sinfonietta 2 4 3 mposers' Sinfonietta quarter tone lower µ quarter tone higher BTimpani j Winds ! ! Œ ‰ Œ Œ * * * * Unravelings tone µTriangle, quarter tone higher (with a8lower suspended1: cymbal to invert over one of4Sizzle the drums) 4B quarter 4Unravelings ,Suspended Cymbal ,, Small Tam-tam,Tambourine Percussion 1: Crotales (2octaves), octaves), Sizzle Cymbal Suspended Cymbal Tam-tam,Tambourine Percussion Crotales (2 Cymbal œGuiro, œ *,,*and *,,*Small Performance Notes Performance Notes yWind Winds ,bSuspended Suspended Cymbal Bass Drum Percussion 2:Vibraphone,Triangle, Sizzle Cymbal Cymbal Bass Drum Percussion 2:Vibraphone,Triangle, Sizzle Cymbal Percussion Vibraphone, Small Triangle, High Bongo, Wind Gong (with 2-3 coins taped front gong) ! ––Vibraphone, Small High Bongo, Guiro, and Gong (with 2-3 coins taped to to thethe front of of thethe gong) tongue pizz. . (doubling Piccolo)Percussion David Clay Mettens j doubling Piccolo) David Clay Mettens for the Eastman Graduate Composers' Sinfonietta for the Eastman Graduate Composers' Sinfonietta *Suspended *,the *,*Bass b œ > 3 and (with a suspended cymbal tosuspended invert over one of the drums) Timpani ˘ , Suspended Cymbal , Bass Drum Percussion 2:Vibraphone,Triangle, Sizzle Cymbal b œ œ # œ Cymbal Drum Percussion 2:Vibraphone,Triangle, Sizzle Cymbal Harp * The sizzle cymbal and cymbal may be shared between the two percussionists. * The sizzle cymbal suspended cymbal may be shared between two percussionists. œ œ General Ÿ~~~~~~~ 44(from j2243 btrill General b œ 43 (gradually œPiano œthat œ the œ intonation G p11 ofofG) the performer try 7th or or 11th 11th partial partial p"twotwofpercussionists. t.(œp7 An alternate fingering (also known astrill aœshould timbre trillto microtonal trill) change normal tone ÓThe Œ alternate Œ Indicates p7of!ofPiano G),),œ̆((with p11 G) Indicates that the performer should try toorapproximate approximate the intonation of of an an untempered untempered 7th -G key Percussion (2 players) b œ An fingering or timbre (with Assistant) Assistant) * The sizzle cymbal and suspended cymbal may be shared between the percussionists. * sizzle cymbal and suspended cymbal may be shared between the o Piano (doubling Celesta) 3 œ bbbnœn# # + œjInIn the 44 J!! 35to@ breathy, 22 @Harp 33tone !! 44Jofof>the 3fundamental. given transposing instruments, the fundamental is given given in in concert concert œfundamental. Harp !KK5050 !unfocused Instrumentation Instrumentation the given the case case ofSuspended transposing instruments, the reference reference fundamental is L Lmatch 2 3 *,of *partial @ t.Ÿ~~~~~~~~ 44 B@ Gossamer 44C Percussion 4 4 4 4 4 4 sixth tone (33 cents) lower than , ,approximating an 7th partial sixth tone (33 cents) lower than approximating anuntempered untempered 7th @ Percussion (2 players) piano intonation f Cymbal , Small Tam-tam,Tambourine 1: Crotales (2 octaves), Sizzle Cymbal qJqJ== Gossamer tongue pizz. ‰ " œ œ 2 2tone 44 4Óthe Harp Harp pitch.The players should produce correcting change from normal slightly unfocused 3!without 2Celesta Violins 2Celesta Violins #horn !j44Gradual Œ2to breathy, Œ *4*43 3these Œ ‰ J ‰Œ Ó O O3tone pitch.The horn players should produce these partials partials without correcting the intonation. intonation. Fl. 4 Brass & 43 *, *Small # O 3 3 4 2 4 3 4 3 3 4 4 3 3 3 4 j 3 O O b O 1 ! , Suspended Cymbal Tam-tam,Tambourine Percussion 1: Crotales (2 octaves), Sizzle Cymbal 2 Flutes (2nd doubles Piccolo) 2 Flutes (2nd doubles Piccolo) Instrumentation , Suspended Cymbal , Bass Drum Percussion 2:Vibraphone,Triangle, Sizzle Cymbal Instrumentation ! ! ! ! ! ! ! ! 4Viola ! minimum) !4 6 4tone !higher ! Œ 4 4Œ Strings " lower ! 44 4 ! 4!4µ µquarter ! higher @tone æ !(10.8.6.4.3 Celesta & 4‰4b oœtoæ completely 4œB4æquarter 4. 4Gradual Celesta & 4tone 4Ó two Viola 8breathy 4the 4 * 4 4 unfocused, airy $ unfocused K œGradually œ(2nd B quarter tone quarter C lower o F f P f * + > change from breathy, slightly unfocused tone to very completely * The sizzle cymbal and suspended cymbal may be shared between percussionists. , Suspended Cymbal , Bass Drum Percussion 2:Vibraphone,Triangle, Sizzle Cymbal cover the opening of the harmon mute with one hand. 2 Oboes doubles English Horn) 2 Oboes (2nd doubles English Horn) jet whistle jet whistle 3 3Cello . 22Flutes (2nd doubles Piccolo) . Cello Flutes (2nd doubles Piccolo) Ÿ~~~~~~~~ ! pŸ~~~~~~~~ P f All trills are half-step trills. ± j j A Strings (minimum 10.8.6.4.2) ± A Strings (minimum 10.8.6.4.2) All trills are half-step trills. j j > be "cymbal Œ @ œ@ Double !suspended *2æ- Clarinets The cymbal may shared between the twoglockenspiel percussionists. Score in @sizzle C.œ Piccolo, and celesta sound octave higher than written; and crotales sound two octaves higher than written; and double # (slow) b b G) bt.œ.ŸC~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ +/RH ˘œ(2nd > > bClarinets œOboes # œ an inp11 Bdoubles 2(2Strings inœxylophone, Bofand Strings (minimum 10.8.6.4.2) œ œ Bass (minimum 10.8.6.4.2) œ ˘œ2 bbasses Bass œDouble œœœ œ b œœ̆Harp b œ œ b œ Oboes English Horn) ( p7 of G ), ( p11 Indicates that the performer should try to approximate thethe intonation anan untempered 7th7th or or 11th partial œ 2 (2nd doubles English Horn) 2 4 J . p7 of G ), ( of G) Indicates that the performer should try to approximate intonation untempered 11th partial j 4 J j œ # œ œ # œ œ œ 2 3 b j and contrabassoon sound an octave lower than written. j ‰‰ b œ b œ ‰œ‰ ÓÓ œ . " breathy to completely Strings ˙ ˙ . ‰ . jetjetwhistle œ of of Œ whistle n œ 4 œ œ 4 n œ 4 œ œ 4 . 4 J Harp unfocused . 4mallets, 22‰2Bassoons 2#the 3InInthe ‰ .reference Œ Ó fundamental Œin"BBbybyb Œ Bassoons R the ± ± "halo" ofof instruments, is given in concert @JClarinets AAofC theJgiven givenfundamental. fundamental. thecase case oftransposing transposing instruments, reference fundamental is! given in concert R o Clarinets in !!@Bb Cl. @ Horn !‰! @ p2Celesta & 4 4the 43 four rubber beatless crotales 4 4 2 3 3 3 n œn œp1 p œ œf f j j ! pitch.The b œb œ œhorn b œ3Performance ! Performance ƒ 2! jBassoons Performance Winds œhorn b œshould players should partials without correcting thethe intonation. 44Bassoons 2 44 4a‰these Performance Notes j indicates pitch.The players these without correcting 4 2 Jpartials Notes j j $ j produce jNotes 1 Celesta jJNotes jœproduce Œ Œ ‰ ‰ Ó Œ 2 ! ‰ Œ ‰ ‰ Œ " Œ ! A note name with a dashed bracket natural horn effect. The note name is intonation. the sounding ‰ Ó Œ Œ ‰ ‰ Œ J @œ and F f fbWinds @ @ Performance @ J @ @ Performance Notes # œ œ n œ 4 œ œ @ @ G @ G 4 bNotes Performance Notes 4 # œ œ n œ 4 œ æ @ . y should always be interpreted as unmeasured tremolo. œ b œ œ œ b œ 2 Horns in F b y Strings (minimum 10.8.6.4.2) 2 Horns in F jet whistle œ œ œ œ . œ ~~ @ æ General K ! ! ! jet whistle tongue pizz. d œ œ General d . ! ! ! œ > œffor Horn in3F. Play this figure as the 6th . fundamental, but the written pitches are transposed General + + œ œ General ± # œ # œ œ ‰ Œ 2œ2 #Ó>œt.Strings ± œ œ General p œ œ 44 3 œ œ # œ œ œ 2 3 p ftrill) (minimum 10.8.6.4.2) General œ Ÿ~~~~~~~ . known ŒFin Œthrough ‰ Œ Do not ! position for ! ‰ or General th(also ‰trills. Œ! paasas o in 2 Trumpets in C œ K œ43Ÿ~~~~~~~~ An alternate fingering trill (also known a timbre timbre trill orœmicrotonal microtonal ! " ‰ Œ Œ Hn. t.pŸ~~~~~~~ An alternate fingering trill a trill Ÿ~~~~~~~~ o & 4 All trills are half-step trills. Horns in F 2 Trumpets C r 2 3 p 4 4 All trills are half-step 2 Horns 14 partials of sounding G (written D) fundamental. change valve R 3 ! J42JJ43Trombones !thanbbbnnn#of#,# ,the Œthuntempered ‰th partial jj (33 cents)Œ Œlower ‰‰ immediately, Œbeginning KTrombones Œ>LLLstart Œ than KKŒTrumpets sixth approximating 7th 4 anintonation 4 speed or pace of the glissando, sixth tone (33 cents) lower approximating an untempered 7th partial All glissandi at the note value. Notes in parentheses show the general 3 œœtone œin ththe jet whistle b y œ b œ Sixth-tone (31 cents) lower than , an untempered 7 partial Trumpets C jet whistle the bracketed passage or “correct” the of any of partials. Sixth tone (33 cents) lower than , approximating an untempered 7 partial sixth tone (33 cents) lower than , approximating an untempered 7th J K L b n # b y 2 . " F 2 in C Sixth (33 cents) lower than , approximating an untempered 7 partial ! sixth tone (33 cents) lower than , approximating an untempered 7th . œ ! f ± j Performance Notes ± œ " F 22+Brass 22 Performance should not be emphasized in anyt.way. bongo œbut o oj Brass Ÿ ~~~~~~ tongue pizz. 2 Trombones Notes p f 2 Trombones 4 3 2 3 2 3 4 3 p f =!!! (with tone quarter tone higher B42BBBquarter + 38lower 3higher ÷ General Œ !(50 Œ Œ> œ44Œtolower, œµinvert j yjthree-quarters-tone Winds ! Piano !Œ a8lower ‰! one Œdrums) ‰ ‰and Œ Œ d quarter tone µ quarter tone Winds Quarter-tone cents) quarter-tone higher, higher4 4 y pizz. ! ! 4 4 ! Œ ‰ Œ Œ 4 3 quarter tone lower µ quarter tone higher suspended cymbal invert over of the Timpani 4 4 4 Assistant b œ œ œ quarter tone lower µ quarter tone higher (with a suspended cymbal to over one of the drums) Timpani 4 ! Œ Œ Ó Œ ‰ ‰ Œ Ó " ‰ Œ Œ D + r !making O # O o o& Jpizz.ofofthe œf 21 œ b yb y f œ mute + Gradually f Winds 4 while 3O Perc. Gradually4 cover the opening the harmon mute with one hand. Winds cover the opening harmon with one hand. tongue pizz. ! Play the given rhythm exactly in oftime a glissando from the firstœ to last13 pitch. œ œ œ tongue O@d +JGeneral Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j œ Lœ sixth œ œ œ œ 3 match piano intonation 3 (with a suspended cymbal to invert over one the drums) Timpani œ 3 > o K b n # = 4 3 pluck oassistant 2 3 (with aofsuspended cymbal to that invert over onetechnique of the drums) Timpani > 93 @ (33 cents) lower than , approximating an untempered 7th partial Gradual transition from one playing to another # œ )tone @ Œ Œ Œ Œ b œ œ b œ Œ Œ b œ Œ b œ Œ ‰ b œ Œ œ ( Ÿ~~~~~~~ 444 Perc. 3 4 3 j J ( p7 of G ), ( p11 G) Indicates the performer should try to approximate the intonation of an untempered 7th or 11th partial at the opposite end of piano and reaches inside to produce harmonics, strings, and glissando The piano stands ‰ Œ ! & 4 4 # p f t. An alternate fingering trill (also known as a timbre trill or microtonal trill) Ÿ~~~~~~~ 3 4 3 j non. @œ((gradually fknown of G ),œ),(33 (from p11 Indicates the performer should try the intonation untempered 7th or 11th partial change normal tone œŒfingering !vib. Ócents) Œlower fshould Jæœ3K(#4œ4L)œgradually b n # p7 ofofœAn G) Indicates that the performer try toto approximate the intonation of of an4an untempered 7th7th or or 11th partial p f - approximating G- G key t.sixth An alternate trill (also as auntempered timbre trill orapproximate microtonal trill) 4 4 change from normal tone Percussion (2 players) ! Ó Œ Œ tone than ,that an 7th partial 4 4 (p7 p7 of G ( p11 G) Indicates that the performer should try to approximate the intonation of an untempered 11th partial alternate fingering or timbre trill key œ4∑2œœæ5 (œ# œ)@!!over œ œ œ j j 9 3 5 j Percussion (2 players) o ∑ Ó 4 4 An alternate fingering or timbre trill Strings ∑ ∑ ∑ ∑ ∑ ∑ j o 2 3 to breathy, unfocused tone @ J 44of Strings 82 4 fundamental. 8 * The 4plays given transposing instruments, the reference fundamental is given given in concert concert C different areas of with a nfingernail plectrum (a case plastic credit card"will work). pianist only ont.Ÿthe j the œfundamental. œand to ‰43Percussion Œtone !œfundamental. ˘œgiven Obreathy, œthe œ strings >the Score 35 + œ In œ@unfocused Œintonation ofof the given fundamental. the case of transposing instruments, reference fundamental is given given in concert concert œ Sizzle " of In the case ofSuspended transposing instruments, thethe reference fundamental is in ~~~~~~~~ 4>fthe 4+Cymbal *,of KflCœ(˙# Otone œpiano 35 œ In .)Percussion Program Notes œ4 œ œœ!BBB4quarter œmatch 4 Winds (2 players) piano intonation the given In the case of transposing instruments, the reference fundamental is in fl * * Cymbal , Small Tam-tam,Tambourine 1: Crotales (2 octaves), tongue pizz. t.Ÿ~~~~~~~~ lower µ quarter tone higher œ œ Percussion (2 players) match f , Suspended Cymbal , Small Tam-tam,Tambourine Percussion 1: Crotales (2 octaves), Sizzle Cymbal tongue pizz. 4 3 œ œ o o o o o o keys. œ pitch.The horn players should produce these partials without correcting the intonation. Gradual change from normal tone to breathy, slightly unfocused tone p f Í f 3 flf 3Fl.BFl. quarter fl # ! Œ Œ ! Ó Œ ‰ ‰ Œ Ó 4 Dbreathy, O‰OO(3K#Alban 44correcting pitch.The horn players should produce these partials without intonation. pitch.The players these partials without correcting the intonation. tone lower µ quarter tone higher Gradual change from normal tone toproduce slightly unfocused tone 3!j Brass & 4(mich," #horn !j1: ŒBerg's Óthe Œ I scatter ‰J( KœJ) references ‰ Œ Ó 43 4 43 FI$ *ŒMombert *,trägt Oshould ‰ ! # Œ Œ Œ Œ Œ Œ Œ *Small pitch.The horn players should produce these partials without correcting intonation. pam f +carried..." C # trill key is j 3 4 4 3 O O b O Brass œ K œ œ & 4 1Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ! . R "Sleeping based on a melodic fragment from setting "Schlafend man Op. 2, no. 2. , Suspended Cymbal Tam-tam,Tambourine Percussion Crotales (2 octaves), Sizzle Cymbal * * ( Kj )3 ) Œ 4the )# O y∑ ! & 3 9 3 5 œ œ * * Cymbal , Bass Drum Percussion 2:Vibraphone,Triangle, Sizzle Cymbal 3 3 4 3 4 O O b O 1 ! " ‰ ! ! ! Ó Œ Œ , Suspended Cymbal , Small Tam-tam,Tambourine Percussion 1: Crotales (2 octaves), @ æ æ ∑o 4Percussion ∑ ∑tremolo. ∑ Œ Cymbal (bœ) , Suspended , the Bass Drum Sizzle Cymbal jKo8Kœæœæ bebut ! to(@8and !change !the !unfocused Ófingerings, Œ very "Indicates 4and 4 ( b œ ) and form$ æshould æunfocused @interpreted bboæœtoGœshould 4PO4slightly 4two 484* and breathy completely match piano∑intonation 3) œalways o+unfocused asthat unmeasured œcymbal j ‰melody .2:Vibraphone,Triangle, 8this œ 4 to completely C #4 œop11 jand f 44.4the throughout, perhaps most noticeable isbreathy, poetic connection between Mombert's imagery atmosphere of$ my11th piece.partial In a (* *with œ œ œ . > always be interpreted as unmeasured tremolo. Gradual from tone to completely unfocused, airy p7 ), ( of G) performer should try to approximate the intonation of an untempered 7th or C The sizzle suspended cymbal may be shared between the two percussionists. Flute overblown trills: While trilling between overblow to obtain the indicated harmonics. r o r +breathy œ 3of œ œ 2 3 , Suspended Cymbal , Bass Drum Percussion 2:Vibraphone,Triangle, Sizzle Cymbal * * Gradually cover the opening of the harmon mute one hand. 2 3 + Pno. o @ æ > # œ p + non. vib. # O n O œ Gradual change from breathy, slightly unfocused tone to very completely unfocused, airy r - The cymbal and suspended be shared between the two hand. percussionists. œŸ~~~~~~~~ ( )), 3(3*Percussion œœsizzle œb assistant ‰thecymbal Œ may . , Suspended Cymbal , Bass Drum Sizzle Cymbal Otraverses O 2:Vibraphone,Triangle, The should mark nodes on the low strings to produce the following harmonics: Gradually cover the opening of the harmon mute with one j(œ p7 J ‰ Œ O b O Ÿ~~~~~~~~ G p11 of G) Indicates that performer should try to approximate the intonation of an untempered 7th or 11th partial ! 3of 4 4 P f Œ ∑ ‰ œ # œ œ œ œ # œ œ œ dream, Mombert's speaker a great distance to return home, passing over a landscape whose rough outlines and blurry forms appear only in peripheral All trills are half-step trills. p j j 4between P may Jtrills are trills. jsizzle fingerings are? shown with diamond are normal noteheads œ ŒœŒ œ Œ œœ@! pœŸ~~~~~~~~ œ! @œAll 44 4reference 3 "cymbal ‰‰ ŒŒ œ ? !&suspended œ œthe half-step trills. - -The sizzle and be between thethe percussionists. œœ@44OJ@j(#œœ*Oœ)*æ‰œtransports œœThe œœhalf-step #Ósuspended œœ# bœbœœœœfundamental. œœ42t.cymbal œœtransposing j#piece given fundamental. the case instruments, the fundamental is given in concert (of )#are 3Œcase 2twonoteheads 44and fthe5 sounding œ Fundamental All half-step trills. j. œœœtrills Œof Œ4th Œ pitches Œgiven ‰cymbal ‰In Œfundamental Œdisappear "cymbal ! +/RH C # (slow) and beshared shared two percussionists. 5thŒ One idea Œ Œ ! 7th 7th 5thmay 5th musical 4 Harp > > 2 3 9 3 4 @ b œ œ ˘ O K ˙ œ +/RH C # (slow) . of the given In the of transposing instruments, the reference is in concert Ÿ vision. My the listener through a hazy sonic landscape of overlapping ideas. emerges and comes into focus, only to ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ @ æ œ 4 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Harp œ bStrings œStrings œ 2 immediately, b bœ>˘œœ start nAll O 4glissandi above them. b ˙or b˙ glissandi immediately, the>beginning beginning ofthe the note value. Notes in. partials parentheses show the general generalthe or pace of the 8œ . 4 players 8 the partial partial partial O O # OAll partial t.œŸ.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ wind ˙in œspeed pitch.The horn should produce these without intonation. œ Itoproduce œ correcting atat4 the of note value. show speed pace theœ glissando, glissando, œ . partial ˙o Notes ˙ parentheses œ.4 depths . partial 44 œ4intonation. JJ start flin #the ! Harp breathy completely unfocused o o o o o o o again, as& another comes to the fore.Wispy lines strings and flutes around each other, and rumbles ascend the from the of theoforchestra. In a ! π â pitch.The horn players should these partials without correcting sempre ‰ Œ Ó ‰ Œ Œ J Celesta R 4 4 b Cl. should C Harp breathy to completely unfocused o Bbut . p 43 43 $ not be emphasized in any way. ° ‰ Œ Ó ‰ Œ Œ # J ! Celesta R P b Cl. Horn r C 2 3 " o B p & 4 3 3 molto sul. pont. . œ K ( ) ‰ Œ 3 3 & # œ ord. ofpont. vocal line complete3 ! as4the line˘of(jœa) radiant chorale.This subsides, and theIV/4. comes to rest on an extended not3œbenear ∑but ∑in1 any ‰( œj)bass sul. Horn ( ) 4way. ! ! 33appears ƒclarity j3 Oboe Winds (bœ) œ#molto œœmoment œœII/3. Winds 3>œœshould 9œtheŒœend, Berg's 4%piece j! jœœemphasized pizz. œÓ$ # œ ) j! jCleve’s 1 œœCelesta !@multiphonics ( K$ )with ( Van ord. Celesta 1 3aAfinal ƒoboe ∑ œœ ! 35 ∑ strings, ∑ drawn ∑indicates ∑! horn85 are ∑The note j Winds # œ œ Winds The are from from Libby Unbound. Fingerings included in the parts. ( œ∑the )Œ # œ ‰ ‰ " ‰ Œ note name a dashed bracket a natural effect. name is the sounding 4 8 4 4 @ j œ œ @ @ œ œ œ œ œ O O @ 1 . melody in the concluding with evaporation of dream world. pizz. Ÿ~~~~~~~~ @ j r 4 3 @ @ G @ 2 3 !&> Ÿ~~~~~~~~ ‰ Œ ‰ Œ ‰ ! G " ‰a. natural A@#note name with Œa dashed bracket indicates horn effect. The‰ note name is the sounding All trills are half-step trills. . . tremolo. @ æ @ @ . @ Œ Œ Œ ‰ Œ ‰ Œ . @ @ and should always be interpreted as unmeasured œ b œ b œ œ œ b œ œ œ œ j @ @ G œæ @ > Vln. 1 ‰ Œ G Strings (minimum 10.8.6.4.2) th r ‰ Ó 4 4 œ œ œ æ @ . jet whistle # Ÿ œ All trills are half-step trills. . ~~~~~~ J @ @ K R @ ? tongue pizz. d œ œ Play the given rhythm exactly in time while making a glissando from the first to last pitch. and should always be interpreted as unmeasured tremolo. œ b œ b œ œ œ b œ t. Ÿ~~~~~~ & d + C trill key ∏ F . 4 4 œ œ Strings (minimum 10.8.6.4.2) th fundamental, but the written pitches are transposed for Horn in F. Play this figure as the 6 œ œ œ œ .a glissando + œ+ œ œPlay + œ +from œ 10.8.6.4.2) OthisO"figure O as the O 6O æ œœj@Strings œp trill œnote œœK˙œ3œœœæœœ"œœœœ(minimum œœrhythm œœexactly œœ trill Rœ œ œ #Iœam pizz. Schlafend trägt man mich Sleeping, @J are #tongue t. d‰ œ the @transposed ±fingering œ d œ K the œfor fundamental, butknown written pitches Horn in to F.4trill, Play given inthe time while making first last pitch. œcarried #œœrAn #œœsubtle Ÿ~~~~~~~ 2 Ÿ~~~~~~~ p Œ Œ Œ ! ! ‰ œ œ th(also b œ f œ œ œ 4 Bisbigliando: Trill from a to another fingering for that same note OR a very microtonal depending on context, ease, ! ! b œ n j t. An alternate fingering trill (also as a timbre trill or microtonal trill) ! ‰‰∑ JœJœ œœ∑ & ‰Hn. Œ Ó ‰ Œ Œ t. alternate known as a timbre or microtonal œ œ œ œ j œ f Strings (minimum 10.8.6.4.2) " & 4 43 43 3 œ œ $ p K œ b œ ? 2 3 p p p Ÿ~~~~~~~ Ÿ~~~~~~~ ∑ Œ ≈ r Œ Œ ‰ Œ ! ! ‰ 14 through partials of a sounding G (written D) fundamental. Do not change valve position for th in mein Heimatland! to my homeland. . 4 3 9 3 5 4 œ œ œ œ t. An alternate fingering trill (also known as a timbre trill or microtonal ! ‰ Œ Ó " ‰ Œ Œ b œ n œ ‰ ‰ Hn. t. An alternate fingering trill (also known as a timbre trill or microtonal trill) j j . & 4 r # O n O + œ p p p œ J 2 4 2 4 ∑ Œ Œ j Œ Œ ∑ ∑ ∑ O4 b Oœ O bœO 8œandœ ‰availability partials a4sounding D) fundamental. Do not change valve position forglissando, œb œ ofœofthe tasto 4 14 moltoG sul.(written pont. ! 4.sulÓalternate sul tasto 8 j # œ ‰ofthrough !fingerings. 4œJ sul.All 4 speed >glissandi Œ œ 3œ3‰œmolto œpont. œ the beginning œnote œvalue. œintonation immediately, at value. Notes in parentheses show thethe general or or pace of of the >>start . the G key œ> œFerne œ passage 4rehearsal 4 4 4 komm ich her, From afar Iparentheses come, r the bracketed or “correct” the of any of the partials. 4 j j " F All glissandi start immediately, at the beginning of note Notes in show general speed pace the glissando, Program Notes b ± -G key ŒBetween Winds > > o j > # ‰ Œ the passage “correct” the intonation of œany partials.the bridge and the Ff and H, usesway. aüber plectrum toor glissando over the mid-range strings j "should fnot ƒ Program " F of thebetween Performance 4 ƒ Gipfel, ∏ # œP œin bracketed œNotes FpFthe assistant ˙o . œ Winds œVln. F b ˙ b œ Notes but be emphasized any über Schlünde, over peaks, over depths, j Brass bongo Performance Notes 4 + œ 3 " . # Brass Ÿ ~~~~~~ ‰ ! ! ‰ Œ Œ ‰ œ 2 œ hitch tongue pizz. setting Brass should not beof in anyt.fragment way. Performance Notes j + Brass œbut j ajadark &"Sleeping 4man 43 3 â 44 4 Op. Ibongo am carried..." isemphasized based onŒ a melodic from Alban Berg's Mombert "Schlafend trägt mich," 2,a no. 2. I scatter references Brass ? 2 3 Ÿ (at the very end the string, farthest from the keyboard), but not on section of strings dampened by ribbon. The ~~~~~~ tongue pizz. r t. ‰ ÷ Œ Œ Œ œ œ pizz. . Performance Notes œ œ œ œ œ ˙ pin œ œ ∑ ∑ über ein dunkles Meer over sea ‰ ‰ f 4 3 y ! y ! ! General P

∑

œ œ ‰‰J p

∑

Vib.

‰

∑

‰ œ 42 ˙ J F ˙ 2 4 ƒ 2 4

∑

Pno. Harm.

∑

j bœ œ ◊ ƒ

Pno. Harm.

∑

2 4

∑

3 4

∑

∑ ∑

3 4 ˙˙æ˙ ... ˙. F www ˙˙˙ ˙˙˙ .. 24 ˙ 34 ˙ .. w æ æ æ w ˙ ˙ .. w ˙ ˙ 2 3 w 4 ˙ 4 ˙. æ æ æ 2 3 ∑ ∑ ∑ ∑ 4 4 ÷oGeneral Œ44onÓ amost Œmelodic Œtrill) Œ man œknown œthe "Sleeping carried..." is based from Alban Berg's setting "Schlafend trägt mich," references >f‰ "microtonal >f isPiano œ! 5from 443guiro. 4playing. !bimagery ŒIŒjfœam ŒAssistant !and Œnoticeable ‰fragment "Mombert ‰Heimatland. Œpoetic Œto‰ Œmy Œ93 D 4 Op. 2, y An !timbre y homeland. !2. I ofscatter this melody throughout, but perhaps is" like connection between Mombert's and the atmosphere andno. form piece. In a ! + ror 3 Ot.OŸ~~~~~~~ J "the "my alternate fingering trill (also as aÓtimbre trill + o Ÿ~~~~~~~ f œ œ œ œ œ œ œ œ œ glassy, brittle, not distinctly pitched, a metallic 4 Piano Assistant " p Gradually cover the opening of the harmon mute with one hand. in mein General Œ ! Ó Œ ‰ " ‰ Œ Ó ‰ Œ & D # O An alternate fingering trill (also known as a trill or microtonal trill) + Gradually cover the opening of the harmon mute with one hand. o r j 2 3 A note name with a dashed bracket indicates “natural horn” The note name is the J OtoOt.todream, OO bbsound j 3 9 3 4 Play the given rhythm exactly in time while making a glissando first to last pitch. + o f f 4 4 j j & . . O Gradually cover the opening of the harmon mute with one hand. this melody throughout, but perhaps most noticeable is the poetic connection between Mombert's imagery and the atmosphere and form of my piece. In a ∑œ œ General ‰ ‰ œ œ̆ ‰ ∑ Œ ‰ œ̆ ‰ ‰ Œ ‰ ‰ ‰ ∑ # O œ œ œ œ œ œ œ Gradually cover the opening of the harmon mute with one hand. œ n œ + œ speaker distance tob return home, passing over landscape whose and forms appear only œin peripheral ∑vision. ∑ ∑ # œb œcents) 4O J Mombert's 8 œ traverses 4 œrhythm 4to œ. b .œ 8outlines > > Play the exactly in Œtime while making a4 glissando from the first last pitch. >the>>#auntempered J K L n 44 blurry #Eaat œ œgreat œ.rough . than & . the sixth tone (33 lower ,#of approximating an 7th partial œgiven -n#Alfred Mombert (1872-1942) œ œ œ œ b œ Œ Œ b œ Œ ‰ Œ Œ Œ Œ œ J œ J œ œ ƒ 4 sounding fundamental, but written pitches are transposed for Horn in F. Do not change œ œ opposite end the piano and reaches inside to produce harmonics, pluck strings, and glissando The piano assistant stands J K L b 4 & œ # # O n O œ œ œ . . fl fl fl fl sixth tone (33 cents) lower than , approximating an untempered 7th partial > dream, Mombert's speaker traverses a great distance to return home, passing over a landscape whose rough outlines and blurry forms appear only in peripheral f fl Œ inside Œœ One Œintobstrings, Œb œ b Œœ Œ œ b œcents) b œ≈ the b œ emerges Œ and4 comes œ focus, Œ only ‰ Jtoglissando OŒand b O an JJpiece KKpiano Lsound b n # . to œ atthrough œ œ opposite œ transports the listener a hazy sonic landscape of overlapping ideas. idea disappear OŒ breaches Ofœ J musical tone (33 lower than , approximating untempered 7th partial the end of piano produce harmonics, pluck and The assistant stands &Strings ƒ My # ƒ ∑This>˙! r“guiro” ∑ Œ J L sixth b n # f 7th(and contrasts a fingernail glissando over the F3passages to G4 higher). The pianist sets sixth tone (33with cents) lower valve than , approximating an from untempered 4 the intonation 3 "eventually combinations forstrings the bracketed orpartial “correct” of any of the partials. ∑

Vib. Vib.

3 3

Pno. Pno.Harm. Harm.

# # # ˙˙˙æ˙ ... . π

2 4 ˙˙æ˙ ˙

˙.

∑

3 ˙. 4 p œ 3 J ‰ Œ Œ 4 p 3 ∑ 4

3 3

Pno.Pno. Harm. Harm.

4 + C # trill key " ∑O Perc. Perc. match piano intonation O reserved. 3 ghts j œ43 3 match Perc. 3 +œ non. vib.piano intonation Perc. ? 4 non. vib. 5 @ 2Brass 3 2 4 Strings 3 4 œ œ œ œ Transposed Score . over different areas of the strings with a fingernail and plectrum (a plastic credit card will work). The pianist plays only on the ˘ My piece transports the listener through a hazy sonic landscape of overlapping musical ideas. One idea emerges and comes into focus, only to disappear B4 ‰ Œ Œ ‰ ‰ ! ! ˙ œ Score . Strings Brass Œ Óœ@ÓPVla.@ œ@vision. ! again, as another comes to fore.Wispy lines in the strings and flutes wind around each other, and rumbles ascend from the depths of the orchestra. In a !lower Œ aretone ‰ "plastic Œ Notes 4 ˙˙tone ?Œ J 4with .9.toareas œfingernail 25 œ3 ‰notes 44!Score Program over of the strings anquarter and plectrum (a credit card will 4work). The4quickly pianist dampen plays "only on the 4j43KF3 4"42"the ˘œ" which J4 The >Strings R " " from j fore.Wispy jshould jdifferent !ofBB nŒquarter Jof µ higher jœœ‰4.sostenuto P K included in the parts. n ∏ F 3Fingerings 5subsides, seven from E4 on pedal, ring out during the glissando. assistant Program Notes 4 o o o o o o again, as another comes to the lines in the strings and flutes wind around each other, and rumbles ascend the depths of the orchestra. In a keys. œ ‰ ‰ ‰ ‰ ∑ d œ ∑ ∑ Œ ‰ moment clarity near the end, Berg's vocal line appears complete as the bass line a radiant chorale.This and the piece comes to rest on an extended Duration ca. 9 minutes quarter tone lower µ quarter tone higher œ œ œ œ + œ . D + + œ # œ # œ 4 8 4 8 4 oo f strings quarter tone lower quarter tonemute higher # œ . b œon a ˙of #"Schlafend œ.Œ >Kœ> oträgt44> man o Œ œone o Œ Op. 2,o no. 2. I scatter o references +with œ.(G4, keys. ‰fragment ‰but !lower #µ the Œsetting Œ piece ŒanKœextended Œ bœ o œharmon Gradually opening of the harmon one hand. +pcarried..." C # trill key the f#the œ with KAlban KœD5, Rquarter "Sleeping I$ am isor based melodic from Berg's Mombert mich," Gradually opening with D œ.jœ." œŒhand. - G keythese 43 3 44the >quarter tone µ tone higher Band > line œP œworld. .asâmute # trill flcover flhis the palm of hand after the glissando, allow highest pitch A4,ƒKand finally not on the œ. jŒsetting of clarity near the end, Berg's vocal appears complete the bass line of a radiant chorale.This subsides, and comes to rest on b œ ‰ ‰ ! # Œ Œ Œ Œ Œ Œ Œ melody& in the strings, concluding with a final evaporation of the dream + C key $ j oœo key∑moment œ K K K œ œ œ R "Sleeping I am carried..." is based on a melodic fragment from Alban Berg's Mombert "Schlafend trägt man mich," Op. 2, no. 2. I scatter references ? -G f & 4 match piano intonation J ƒ should always be interpreted asthat unmeasured tremolo. j melody ∑but Œfingerings ≈is Jthe œtheform b œ a3 b Owand the Ȯ parts. jdifferent f unmeasured j to this throughout, perhaps most noticeable poetic connection between Mombert's imagery atmosphere of or myOœ11th piece.partial In Pshould @ æ j in j same fSuggested and should always be interpreted as unmeasured tremolo. Bisbigliando: Trill between two that produce the note. fingerings are provided inband match piano intonation ( p7 of G ), ( p11 of G) Indicates the performer try to approximate the intonation of an untempered 7th 2 J ? 4 + œ œ œ and should always be interpreted as tremolo. j melody the strings, concluding with a final evaporation of the dream world. Pno. @ æ sostenuto pedal) to continue to sound. + non. vib. # O n O œ r ! ‰ j f ! ‰ Œ ‰ ‰ Œ Œ Œ Œ to this melody throughout, but perhaps most noticeable is the poetic connection between Mombert's imagery and the atmosphere and form of my piece. In a Schlafend trägt man mich Sleeping, I am carried P @ æ Otraverses b assistant O interpreted should mark nodes on the low produce the the following harmonics: œstrings # œ > dream, #try should always be asbthat Vc.œ ( and p7 ), 9(( p11 p11 of#jThe G) the performer should try to approximate an untempered or 11th partial 4tremolo. O Indicates 4intonation 4 ofMombert's G ), Indicates performer should to approximate the intonation of>harmonics: an4ofuntempered 7th˙or7th 11th + œ 2015 œœof >following Pno. æ + the speaker great distance to return passing over a to landscape whose outlines and blurry forms appear only in partial peripheral non. OG) nG) O(ASCAP). œaAll Strings rthe © Mettens Press rights reserved. Strings ∏ Fvib. œœunmeasured Otraverses b assistant OO Obof The should mark nodes on the low strings to produce the 3œ œ ?@dream, 3# that 5 rough w ˙ œ 4 ? home, b O . given fundamental. In the case of transposing instruments, the reference fundamental is given in concert ( p7 of G ), ( p11 of Indicates that the performer should try to approximate the intonation of an untempered 7th or 11th partial ‰ ‰ Œ ∑ ∑ ∑ Œ ‰ œ œ 4 2 3 2 4 # # œ œ ‰ ‰ ! Œ Œ Œ Œ Œ Œ Œ Œ + œ n œ Mombert's speaker a great distance to return home, passing over a landscape whose rough outlines and blurry forms appear only in peripheral in mein Heimatland! to my homeland. w ˙ ˙ œ . Schlafend trägt man mich Sleeping, I am carried œ # œ œ 4 8 4 8 4 b b œ jœ.ideas. 4thœŒ 5th Œ ‰ Ó 7th # œ . listener œof 7th 5th! 5th musical 4reference 43 3 & .Œthe . 4 One ? 4 ? 2 " O K ˙ œ the given fundamental. In the case of transposing instruments, the reference fundamental is given in concert . of given fundamental. In the case of transposing instruments, the fundamental is given in concert $ vision. My piece transports the through a hazy sonic landscape of overlapping idea emerges and comes into focus, only to disappear 4 2 3 2 4 J . 4 4 4 4 ‰ ‰ ! # Œ Œ Œ Œ Œ Œ Œ Œ œ fl fl > > > b œ > œ # O n O b ˙ b ˙ All glissandi start immediately, at the beginning of the note value. Notes in parentheses show the general speed or pace of the glissando, . 4th Œ 5th Onecorrecting Œ another ‰transports !her, 7th 5th 5th 4reference 4 & partial partial partial partial partial O∑O O ƒO #f Strings partial 2glissandi œ2 .Notes ofat the given of transposing instruments, the fundamental is œthe given indisappear komm ich From afar Iparentheses come, pitch.The horn players should produce these without the intonation. vision. piece listener through athe hazy landscape ofK˙overlapping musical ideas. emerges and comes into focus, only toIn Œwind Œ 4start Œ immediately, 22âimmediately, 44atthe inFerne Heimatland! to my homeland. œ idea œ intonation. 4oplayers 4value. 4inpartials 4rumbles "7th " without œfundamental. beginning ofsonic the note value. in parentheses show the general speed or pace oforchestra. the glissando, jIn nAll Oglissandi bŒœat ˙Ólines 3 b"˙or ˙ æ start the beginning of the note Notes show the general speed or of glissando, flmein !˙the ÓÓ OO bbStrings ƒshow opartial oœ ‰Iœthe ocase othese oeach opartial o partial again, asMy comes toj the fore.Wispy in strings and flutes around other, and ascend from the depths ofpace the abconcert partial partial partial & pitch.The horn players should produce partials correcting the pitch.The horn should produce these partials without correcting the intonation. 4 Oj OAll 4 œ œ œ I All glissandi start immediately, the beginning of the note value. Notes in parentheses the general speed pace of the glissando, $ œ ˙ œ but should not be emphasized in any way. ° fl ! P 2Schlünde, Jin über über over over depths, otremolo. o the o j( KFrom o ofpeaks, o chorale.This o rumbles again, asofanother comes toend, the fore.Wispy lines inGipfel, the strings and as flutes wind around other, and ascend from the oftotherest orchestra. In a Ferne komm ich oher, afaroeach I4 come, âinterpreted "depths pitch.The horn players should produce partials without the œline 4P 4unmeasured !always ‰Berg's ) these & 4 moment clarity near the vocal line appears complete bass subsides, theintonation. piece comes on an extended but should not be emphasized inas any way. (# œ ) $ should be as unmeasured should always tremolo. jshould but not emphasized any way. ° ?@@and 44correcting 4 35 ( œa) radiant j ‰ and ∏ π œ " æ ( bsea ) Œ # œ5 æ 3œand 9 3 4 ˘ should always be interpreted as unmeasured tremolo ‰ Œ Œ Œ ! ! ! ‰ œ œ K > pizz. ( ) should always be interpreted as unmeasured tremolo #and # œ ( ) K œ # œ 3 d ‰ ‰ ∑ D.B. œ̆ ‰ ∑ ∑ Œ ‰ ‰ Œ & über ein dunkles Meer over a dark ( ) ( ) moment of clarity near the end, Berg's vocal line appears complete as the bass line of a radiant chorale.This subsides, and the piece comes to rest on an extended but should not be emphasized in any way. 43 3 ( ) œ + n œ œ œ # œ peaks, % Gipfel, über + are ( the ) Schlünde, 35 # œ>pizz. 4 melody 8All trills 4 über 8 #œ 4 ˙ . half-step #4œ ( œ ) œ over # œ (bœ ) œdepths, O O . ˘ in the strings, concluding with a final evaporation of dream world. œ Ÿ~~~~~~~~ P pizz. ( ) j K J œ œ # œ 3 trills. ( ) ( ) . . . . j œ #œœfl pizz. ŒœŒ world. #rhythm Œ >are Œthe Œ the $ >Œtrills fl ‰making ) O‰dream r ‰ Ó. j% œ#aœdark œœsea fl first Ÿ~~~~~~~~ 1fl & ˙over O?.einexactly 4fl 4ŒtoŒlast‰ pitch. 4 3 in@Jevaporation mein Heimatland. to‰ my homeland. melody in key the concluding with atrills. final of( œin the P ∑Vln. jet whistle ‰man Œ strings, # trill All trills half-step @R jtime über dunkles Meer . œœ."‰. ‰I. .am from Play given a glissando ? All are half-step trills. .b while ƒ1 ƒ& +œCœ jPlay . & Œ Œ Œ ‰ Œ # ‰ " r‰ Ó J O O O O O œ j æ " " Ÿ~~~~~~~~ R Vln. Schlafend trägt mich Sleeping, carried ƒ @ 4 4 @ ± jet whistle # œ All trills are half-step trills. @ J ord. ˘ R @ ? the given rhythm exactly in time while making a glissando from the first to last pitch. j Play the given rhythm exactly in time while making a glissando from the first to last pitch. + C trill key & p œ œ . & All glissandi start immediately, at the beginning of the note value. Notes in parentheses show the general speed or pace of the glissando, . Alfred Mombert (1872-1942) 2 All glissandi start immediately, beginning of the note value. Notes in parentheses show the general speed or pace of the glissando, " b œ œ̆ p # œ œ ˙ œ Trill between harmonic pressure and normal pressure to “flicker” between the fingered pitch and the harmonic that sounds at Jhomeland. OthatO the O O O b ˙ Rhomeland. fæœœOœœœ j are in mein Heimatland. tomaking my Natural notated withthe ajpair of Roman and Arabic numerals. The Roman numeral theto string Schlafend trägt man mich Sleeping, I am carried @ > qharmonics > .indicates b œ n œ @ d ± j Play œ 2 f " œ $ p œ b œ given rhythm exactly in time while a glissando from the first last pitch. 3 9 3 5 4 2 J in mein Heimatland! to my & p J J b œ n œ . . pj4œ . ‰in !any n ˙Onode. ‰Heimatland! ∑Ó œ ‰ œ bfJnot Œ# O2be ∑ b œ" œ œ ‰ ‰ ‰ 4 ÓŒ -≈Alfred œ≈that œnot ˙played ˙the 4‰ œ2(1872-1942) n4œ8jexample, Oemphasized œ Transposed f b œto! my j.œ .Jway. 4œ should 8b O ‰œO bœO+ œ+∏ p !inœ mein but should ŒIII homeland. Mombert but way. π œœ #4be b∑specific œ 42Score n œ2 jharmonic. Arabic numeral designates the For fifth partial 4 Jshould JIII/5.4 is the$ j O2be n O emphasized œ 44 and œ 4 4 J Ferne komm ich her, From afar I come, O b O O b O on, œ J j r 4 j j ! Program Notes b ± ! ‰ Ó Ó ! harmonic Œ ‰ ‰ Winds F 2 3 Œ ‰ Œ f π pizz. p p f ∑ ∑harmonic ∑ Between rehearsal F and H, the assistant uses a plectrum to glissando over the mid-range strings between the bridge and the 4D string ofF ‰and 4 violin, 4b œover 4jœ depths, Winds Ferne komm ichSchlünde, her, From I come, 44 IV/4. r‰ œand œ˙ œœ j uses Œ Program Notes b ± on the is‰ über the fourth partial harmonic on the Cafarstring of the cello. b# ˙ the Program Notes Winds Gipfel, über over peaks, over j p 4 3 ! Vln.‰2 ‰fpizz. Œhitch Œ œ œ œ œ Duration ca. 9 minutes Transposed Score . Between rehearsal H, the assistant a plectrum to glissando the mid-range strings between the bridge and theand ‰ ! ! ∑ Œ Œ ‰ Winds 4 4 4 j ˘ o offragment > mich," $ œi a3melodic œfarthest œ œofœfirst & 4 4 â b ˙ b œ Notes Natural Harmonics: The unusual intonation the 7 -11 partials played by the soli Violoncellos and Double Basses in their two "Sleeping I am carried..." is based on from Alban Berg's Mombert setting "Schlafend trägt man Op. 2, no. 2. I scatter references über Gipfel, über Schlünde, over peaks, over depths, œ j Program . pin (at the very end of the string, from the keyboard), but not on a section strings dampened by a ribbon. The p 4 3 3 9 5 4 b œ œ j Play the given rhythm exactly in time while making a glissando from the to last pitch. . # œ œ œ œ ˙ œ œ œ & über ein dunkles Meer over a dark sea ‰ ! ! ‰ Œ Œ ‰ Œ ≈ ‰ ∑ ∑ ∑ ∑ Œ ‰ ‰ œ ∑ rhythm exactly in making aœœglissando theoffirst to last pitch. 40 œ while fon 2+the œ"Sleeping &4Œ2 3œsound . time +b œOa from # Onot n O Osetting P Vln. 8throughout, 4"a œmelodic 8œimagery 4mich," œDuration œ̆œfrom & 4Jman 4 â œ b Oon "Sleeping I am carried..." isfingering based on fragment from Alban Berg's Mombert setting "Schlafend trägt 2,aform no. Imy scatter references ‰ Ichordal am carried..." isisof based amost melodic fragment Alban Berg's Mombert "Schlafend trägt man mich," Op.Op. 2, no. 2. I2. scatter references hitch pin (at the very end the string, farthest from but section strings dampened by ribbon. The Onot > > ca. 9 minutes #keyboard), œ œ œ œ œ œ Ÿ~~~~~~~ œ œ œ œ ˙ œ œ to this melody but perhaps noticeable is the poetic connection between Mombert's and the atmosphere and of piece. In a 4 über ein dunkles Meer over a dark sea three part passages an essential feature of this music. The players should resort to using artificial harmonics for these b œ ˙ + C trill key " " " " t. An alternate trill (also known as a timbre trill or microtonal trill) œ œ œ œ œ œ œ œ œ œ œ œ œ œ f " " " J J Ÿ~~~~~~~ is glassy, brittle, and not distinctly pitched, like a metallic guiro. P fbetween "imagery p ! but fthis œalternate œmein œthe 44Berg's 3 3 # to"Sleeping inknown Heimatland. mysetting homeland. t.this An fingering trill (also asœpoetic aŒ+timbre trill or microtonal carried..." on melodic fragment from Alban Mombert "Schlafend trägt mich," Op. no. 2. Imy & >f to"microtonal >fŒmelody Œ&amost ‰guiro. Œ trill) Ótheman !references ‰Ÿ~~~~~~~ ŒIÓam rt. Oknown #based œfingering œadistinctly ˙œnoticeable to melody throughout, perhaps is"# Olike the connection Mombert's and the atmosphere and form piece. j#timbre Fl. throughout, but most noticeable isreturn between Mombert's imagery and atmosphere and2, form ofonly In aIn4 a 42ofscatter trill key "my An alternate fingering trill (also known as aC‰connection trill trill) f f"and Ÿ~~~~~~~ npoetic OHeimatland. ∑& 4reserved. ‰ isperhaps Œ sound isMombert's glassy, brittle, and not pitched, a metallic " p dream, speaker traverses great distance toin home, passing over a jor landscape whose rough outlines blurry forms appear inpiece. peripheral F mein to my homeland. b O O 2 J passages. & P). All rights t. An alternate trill (also as a timbre trill or microtonal trill) O P >œP > Alfred Mombert (1872-1942) J J . . E jofnpassing !listener ‰home, >todream, œthis œ outlines œ theand melody perhaps most noticeable isreturn thehome, poetic between Mombert's and atmosphere and formonly of my In a œœ #passing b œspeaker œtraverses . but Oconnection O overlapping œâlandscape Mombert's traverses a. through great distance a musical whose rough outlines blurry forms appear inpiece. peripheral Program Notes f œJ . amolto dream, speaker to∑ to return whose forms appear in disappear peripheral O b over O (1872-1942) P). jlandscape 98throughout, 3œdistance 5rough 44blurry œ‰Egreat œ One œ imagery My piece transports the a hazy sonic landscape ideas. idea4emerges comes into focus, onlyonly to Program fvision. Oover bNotes Oa>œ+P - Alfred Mombert J >˙! r ≈Mombert's J ‰andand π ∏ ∑1 All rights 43reserved. ‰ ∑ ∑ Œ œ œ > 4 8 # O n O + œ This “guiro” sound contrasts with a fingernail glissando over the strings from F3 to G4 (and eventually higher). The pianist sets Duration dream, Mombert's speaker traverses a great distance to return home, passing over a landscape whose rough outlines and blurry forms appear only in peripheral 44 from O around œ ḋaP œträgt œ‰ . man œ3œthrough œfragment œ4One œOne Brass vision. transports the listener through athe sonic landscape of overlapping musical ideas. idea emerges and into focus, only toIn Transposed Score #? piece transports listener sonic landscape of overlapping musical ideas. emerges and comes focus, only to disappear B ‰b O O œbsetting !no.into !disappear ‰hazy Œœ over Œthe œ b1 œœ@ œ œ@œ∑"Sleeping Brass @œ fœ@vision. again, as.œMy another comes to the fore.Wispy lines strings and flutes wind each and rumbles ascend the depths the orchestra. a !inOahazy ŒAlban ‰Oœœœsetting Œ other, ‰My !the Vla. œThis œœI@˙I@>˙˙! œram ˙ŒÓpiece 43 3 "Sleeping am carried..." based on awith melodic from Berg's Mombert "Schlafend mich," Op. 2,comes 2. Iof scatter references ? 2 p" mich," f isiscontrasts π fœidea “guiro” sound a fingernail glissando strings from F3 to G4 (and eventually higher). The pianist sets œ œ ˙ q # ˙ 4 4 4 J J . R ‰ ‰ Œ " " " carried..." based on a melodic fragment from Alban Berg's Mombert "Schlafend trägt man Op. 2, no. 2. I scatter references 3 4 . J œ œ œ Brass Transposed Score . " " " @ @ $ # ˙ œ œ vision. My piece transports listener through hazy sonic landscape of overlapping musical ideas. One idea emerges and comes into focus, only to disappear B ‰ Œ Œ ‰ ‰ ! ! . seven notes from F3 to E4 on the sostenuto pedal, which ring out during the glissando. The assistant should quickly dampen Brass @melody again, as comes to lines the strings and flutes wind around and ascend the depths ofmy orchestra. 4Duration ‰throughout, Œ++Gradually !fore.Wispy !inthe Œand ‰hand. Œ other, ca. 8Score minutes 4>œ"from 4 another comes to the lines strings wind other, andœ rumbles ascend theand depths ofofthe orchestra. aIn a ? Jfore.Wispy J flutes œaround moment ofanother clarity near the end, Berg's vocal complete as the of a9 radiant chorale.This subsides, andfrom the piece comes tothe rest œ -line ca. minutes Transposed throughout, but perhaps most noticeable is the poetic connection between Mombert's imagery and the atmosphere form piece. 4II œagain, Jlinein.˙appears J4"rumbles omoment R and fœ as!as " which "each "onInanaInIn pperhaps Jeach œ ∑BbbpœCl.œ œ&totodream, œVla.43this43@fthismelody â omelody Jextended 44bass 2rest 3 cover the opening of the harmon mute with one but most noticeable isappears the poetic connection between Mombert's imagery the atmosphere and form of my piece. aIn seven notes from F3 to E4 on the sostenuto pedal, ring out during the glissando. The assistant should quickly dampen f ! Œ ‰ Gradually opening of the harmon mute with one hand. again, another comes to the fore.Wispy lines in the strings and flutes wind around each other, and rumbles ascend from the depths of the orchestra. a π ∏ moment of clarity near the end, Berg's vocal line complete as the bass line of a radiant chorale.This subsides, and the piece comes to on an extended 9 3 5 4 Duration ca. 9 minutes 4 4 these strings with the palm of his or hand after the glissando, but allow the highest pitch (G4, A4, and finally D5, not on the J P of near thepend, Berg's vocal line appears complete as8-8.5 bass line of a radiant and4 forms the piece comes toinrest on an extended +strings, oo fj∑ strings in clarity the concluding with a opening final evaporation of the dream world. ∑cover ∑ with ∑ chorale.This Œ subsides, ‰and‰Jblurry 2 3 âthe Mombert's speaker traverses aa great distance to return home, over awith whose rough appear only " pofBerg's Duration –passing ca. minutes Gradually opening of∑the the harmon mute one hand. 8+with 4hand 8outlines fthe Gradually the of harmon mute one hand. Mombert's speaker traverses great distance to return home, passing over alandscape landscape whose rough outlines andb Owand blurry forms appear only in Ȯperipheral Œ ‰ Œ j these the palm his or after the glissando, but allow highest pitch (G4, A4, finally D5, not on the p ∑dream, P moment of clarity near the end, vocal line appears complete as the bass line of a radiant chorale.This subsides, and the piece comes to rest on anOœ∑extended "peripheral melody in the strings, concluding with a final evaporation of the dream world. 2 $ ? 4 Ó ‰ œ œ ˙ œ ‰ Œ melody in the strings, concluding with a final evaporation of the dream world. sostenuto pedal) to continue to sound. vision. My#piece piece transports the listener listener aa hazy sonic landscape ofof overlapping ideas. andand comes intointo focus, onlyonly to disappear ! trägt ‰ Œ ŒJ#through Œ4 One Œ emerges ‰O Œ 43 4 Schlafend man mich‰ musical Sleeping, IOne amidea carried # œ œ f b O Ȯ Vc. 4 j j . transports the through hazy sonic landscape overlapping musical ideas. idea emerges comes focus, to disappear b œœ # œMy J œœ ∑œœ œœ œœ vision. œ ˙ ˙ 4 Strings œ œ œ œ ˙ ˙ © 2015 Mettens Press (ASCAP). All rights reserved. . ? 4 w œ ‰ Œ 43 Strings melody in the strings, concluding with a final evaporation of the dream world. œ œ œ ˙ n ˙ sostenuto pedal) to continue to sound. !Heimatland! ‰9 to ŒŒ ∏Œ. lines in3 theπstrings ‰ # œ#other, Œ ∑from man I am œSleeping, 2 trägt again, asStrings another comes the fore.Wispy and flutes wind around rumbles ascend the of the orchestra. In a œ K œthe 5 carried 44depths Vc. ##œœ∑ comes inSchlafend mein toSleeping, myand Schlafend trägt man mich I am carried œ4d" + œ from Œ . the Œrights Œflutes ∑micheach ∑Œhomeland. # œ © 2015 Mettens Press (ASCAP). All reserved. again, to fore.Wispy lines in the strings and wind around each other, and rumbles ascend depths of the orchestra. In a Strings 43 as another 8 4 8 j œ 4 œ 4 2 3 3 f fl# œtoFrom Kcarried œ ! near the end, Berg's ! vocal line appears ‰ . comes Œ to rest on an extended ‰IIcome, ! ! mein in to my homeland. Schlafend trägt man Sleeping, am fœsubsides, P complete moment of#flœclarity asHeimatland! the bass linemich ofŒ a radiant chorale.This and the piece komm ich her, afar Hn. inFerne mein Heimatland! my homeland. 3

pizz.

molto sul. pont.

sul tasto

molto sul. pont.

(

molto sul. pont. D

molto sul. pont. molto sul. pont.

E molto sul.Dpont. 3 molto sul. pont.

6 th

(

)

(

ord. )

) (

)

(

) (

(

)

) (

)

IV/4. ord. IV/4. ord.

sul tasto sul tasto

+ C # trill key

molto sul. pont. molto sul. pont.

- G key

(

)

sul tasto sul tasto

D 3

ord. II/3. ord. II/3.

sul tasto3

molto sul. pont. molto sul. pont.

tongue pizz.

)

molto sul. pont.

molto sul. pont. molto sul. pont.

sul tasto sul tasto

to6

2. (straight mute)

molto sul. pont.

ord.

7 4 of a radiant 4 an extended43 4 Strings " piece comes "∑aspthe bass line 5 ƒ " " " subsides, and the " to"rest on of clarity near the end, Berg's vocal line appears complete chorale.This & ∑&moment ∑ . fl fl & # œ œ œ œ f p molto pont. Ferne komm ich her, afar I" come, inthe mein Heimatland! toFrom my homeland. melodyStrings in the strings, concluding with a final evaporation dream über über Schlünde, over peaks, over ƒjsul.strings, " world. "depths,3 4 F " komm ich her, afar I come, > ofFerne j6From &as melody? in the concluding with a final evaporation of theGipfel, dream world. P 6 3 and should always interpreted as unmeasured tremolo. and should always be tremolo. ƒunmeasured 13

for the Chicago Civic Orchestra

Gilded Scenes

Score in C

2+3

1 2

& 85

∑

1. clarinet in A

Bass Clarinet (Clarinet 3)

? 85

∑

1 Bassoon 2 3

? 85

∑

1 2

& 85

∑

3 4

& 85

∑

1 Trumpet in C 2 3

& 85

∑

3 4

∑

Horn in F

1 2

Fickle q = 126

? 85

?5 8

Tuba

?5 8

Trombone

Timpani

? 85

∑

œ. . . . . π sempre

I wooden mallets

soft but very articulate

Percussion 2

Harp

OpOPOOOO

Piano

j & 85 n œœœ ‰ # œœ f>j ? 85 # # œœœ ‰ nœ >

Œ. Œ.

Fickle q = 126 pizz. (non div., strum)

Violin I

5 &8

∑

3 4

∑

. . . 43

5 &8

Viola

3 soli Violoncello gli altri

Double Bass gli altri, div.

∑

. ..

4 2

n œ. 4 2 42 &

4 2

42 ∑

∑

42 h

sim.

. #œ π

∑

3 2

∑ w

∑

4 ∑ 2 4 ∑ 2

3 4

˙.

∑

∑ ∑

85 85 85

∑

harmon mute (stem extended) 44 ‰ œœ ˙˙ .. J +π 4 j ≈ Œ Ó 4 œ.

4 4

∑

85 5 8 5 8 85

∑

3 2

∑

3 4

∑

4 4

∑

5 8

∑

b œ hard mallets Ó f

xylophone

3 2

div. n # œœ

42 Wo p

π oo o oo œœ œœo W W 4 ‰ 2 p π .. b œœ 4 2 π 2

˙ p

4 4

85 5 8

∑

3 2

∑

3 4

∑

4 4

∑

5 8

œœœœœ ‰ Ó J ∏

3 4

∑

4 4

∑

5 8

∑

3 4

∑

4 4

∑

œœœœœ

3 2 ȯ

32 o ˙o 3 ˙ 2

∑

32 ∑

3 4

∑

f √ 5 soli, div. arco. 3. . . . 5. . . # œ œ œ œ œ œ œ œ ˙ Œ # # œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ 32 ˙˙˙˙ P &Œ

3 4

+ ˙.

∑

+ ˙.

∑

= 63

44 ‰ 2. +j #œ p 4. + 44 ‰ j #œ p 44

∑

div. arco 1.2.3. III 3 4.5.6. IV

3 4 Œ

32 3 2

∑

III/IV gliss.

œ w ∏

∑

œœ œœ œœ 3 sim. œ œ œ œ œ. œ 4 œ œ œ œ œ .. b œœœ 42

#œ t 5 œœJ ‰ Œ . 8 f pizz. div. # œ t 85 œ f 1

cover mute with hand, graudally uncover

∑

sim. œ œ œ œ œ. œ nœ œ œ œ œ B 85 b œœœ œ œ œ œ 43 œ œ œ œ œ .. œœ œ f III/IV gliss. π pizz. (non div., strum) arco IV o ? 85 œœœœ œœ # # œœœœ ‰ ‰ 43 Œ & ‰ 3 œ œo J f P π

? 85 œœœœ œœ

∑

œœœ œ œ œ œ 43 œ œ œ œ œ . œœ 42 ∑ . #œ f III/IV gliss. π

unis. pizz. (non div., strum)

6 soli, div.

III/IV gliss. pizz. (non div., strum)

∑

3 sim.œ 4 4 œœ œœœ œœœ n œœœ œœœ ... b œœœ 2

pizz. (non div., strum)

∑

4 Ó 2

43 ≈ œJ . ≈ œJ . ‰ Jœ π ∑ 43

j œ œ œ ‰ ‰ 43 œ œ œ œ œ œ œ p f P

∑

harmon mute (stem extended)

pizz. (non div., strum)

Violin II

= 63

marimba ? 85 # œ>œœ œ>œœ hardŒmallets . œ œ f 5 bass drum bassŒ .drum beater ã 8 œI P firm, but not too loud 2 bongos 5 hard mallets > ã 85 œ œ œ œ œ œJ f P ∑ & 85 Í œ ? 5 # œœœ œœœœ œœœœ œœœ œœœ 8

∑

42 32 44 ∑ ∑ ∑ 43 ∑ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙. 32 w . 44 w œ . b œ 42 W 43 π non cresc. bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 42 W 32 w . 44 w 43 ˙ . non cresc. π 42 32 44 ∑ ∑ ∑ 43 ∑

∑

3 4

∑

Clarinet

= 63

∑

43 ‰ Jœ œ ∏ bass clarinet 43 ‰ Jœ ˙ ∏ ∑ 43

∑

& 85

∑

December 3, 2018

lS co

E. Hn. (Ob. 3)

Oboe

1 2

∑

Fickle q = 126

& 85

1 Flute 2 3

David Clay Mettens

ȯ

o -̇

∑ oo ˙3-̇

oo ˙˙ ∑ 4

oo ˙-̇

ȯ 43 . P 43

44 ȯ . ∑

o ˙o . 3 ˙. 4 P 43 ∑ 5

5 8

œo ‰ ? 85 J ∑

o ˙o . 4 ˙. 4 44

85 o œœo J ‰ t 85

∑ 6

2+3

Ob.

1 2

5 &8

∑

5 &8

∑

? 85

∑

5 &8

∑

42 ˙ ∏ 42

B. Cl. (Cl. 3)

? 85

∑

1 Bsn. 2 3

? 85

∑

2 4

1 (A)

Cl. 2

1 2 F Hn. 3 4 1 C Tpt. 2 3

Tbn.

1 2 3

+ 58 j ‰ Œ . & n œœ fl f + 5 j & 8 œœ ‰ Œ . fl f 58 ∑ & [harmon mute (stem extended)] ˘œ ? 85 b œJ ‰ Œ . f ? 85 ∑

Tuba

? 85

Timp.

? 85

∑

œ. . . π sempre

wooden mallets

Perc. 2

Hp.

Pno.

Vln. I

Vln. II

Vla.

marimba ? 85 # œ>œœ œ>œœ Œ . œ œ f 5 bass drum Œ . ã 8 œI P firm, but not too loud 2 bongos 3 5 ã 8 œ œ œ œ œ ‰ P f 5 ∑ &8 Íœ sim. ? 85 n # œœœ œœœœ œœœœ œœœ œœœ

5 j & 8 n œœœ ‰ # œœ f >j ? 85 # # œœœ ‰ nœ >

Œ.

5 &8

unis. pizz.

strum, sim.

œœœ œ f

tutti pizz.

3 soli Vcl. gli altri

6 soli, div.

D.B.

gli altri, div.

pizz.

? 85 œœœœ œœ # # œœœœ œœœ œœœ strum, sim.

III/IV gliss. f unis. pizz. strum, sim. t 85 # œœœ ‰ Œ . J f pizz. . . . . # t 85 œœ Í 7

∑

44 44

∑

43 43 43

∑

42 42 42 2 4

∑

4 4

∑

3 4

∑

2 4

∑

3 4

∑

4 4

∑

3 4

∑

2 4

∑

3 4

∑ .

. n œ.

∑

.. 43 # œ

2 4

∑

3 4

∑

42 œ .

œ ‰.

∑

œ 3 R 4 π 43

œœœ b œœœ

∑

4 4 44

∑

4 4

∑

3 4

∑

44 Ó

∑

j ≈

j œ.

∑

4 Ó 4

3 4

œ.

‰

j ≈

j œ.

∑

4 Œ 4

œ œœ œ œ œ π œo

j j œœ .. œ ‰ œ ≈ œœ .. œ. œ.

∑

44 Ó

ȯ

œ œ 42 œœ œœ

œœ œ

œœ .. 43 n œœ ..

oo 24 ‰ œœ ∏ . . 42

o œœo

œ p

#œ π

œ œ

3 o 42 ‰ œ ∏

IV arco

III div. IV arco

œ b œœœ

. bœ œ 8

œo

o ˙˙o ..

n œ .. 43 # œ

œœ ‰ œœ ≈ œœœ .. .. J # œJ

. . ‰ J ≈ b œœ . J 9

3 œo œ-o œo J

∑ o œœo

o œœo

∑

oo œœJ

∑ 10

o œœo

44 œo

∑

3 4

∑

2 4

3 4

∑

2 4

∑

œ-o ȯ . J P

˙˙˙˙˙ ... .

Œ ∑

3 œogb œ-o ȯ . J

∑ o 3o œœo œoJ œ

o ˙˙o ..

∑

∑ oo œœJ P

f √ . . . . j. 3 . 5 soli, div. arco # œ #œ Œ # # œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ J . . . . . . P # œdiv.œ Œ & f

2 4

∑

# div. œœ

∑ ∑

oo 44 œœ

bœ

xylophone

2 4

∑

‰

œ œœ #œ π

3 4

∑

3 4 #œ.

∑

j j . 43 œœœ .. œœœ ‰ b œœœ ≈ b œœœ ... 43

∑

. ‰ J ≈ Jœ. .

∑

œ 42 œ

pizz.

strum, sim. ? 85 œœœœ ‰ Œ . J f

∑

3 4

2 4

strum, sim.

∑

2 4 œ

∑

2 4

j œœ œœ œœ ‰ ‰ œ œ œ f P unis. pizz. strum, sim. nœ œ œ œ œ B 85 b œœœ œ œ œ œ III/IV gliss. f 5 &8

∑

42 œœœ n œœœ

Œ.

∑

bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b ˙. œ 3b œ ˙ . b˙. 44 w œ œ œ J 43 π 44 ∑ ∑ ∑ ∑ ∑ 43

∑

43 bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 44 w ˙ ˙. œ bœ ˙. 43 ˙ . 43 ˙ . J ∏ π 3 4 3 ∑ ∑ ∑ ∑ ∑ ∑ 4 4 4

. 42

soft but very articulate

∑

2 4

∑

5 &8

E. Hn. (Ob. 3)

∑

Alto Fl. (Fl. 3)

∑

lS co

Fl.

5 &8

1 2

o ˙˙o ..

∑

-ȯ 43 . 43

42 ∑

oo -̇ . ˙ 34 . 43

42 42

∑ 13

2+3

Fl.

3 >œ3 2 bœ œ œ œ ‰ &4 f poco >œ3 œ # œ 3 œ & 42 ‰ œ œ b œ œ b œœ f molto

alto flute

Alto Fl. (Fl. 3)

1 2 Ob.

1 (A) 2 Cl. (B b)

B. Cl. (Cl. 3)

Bsn.

& 42 ‰ # œ œ b œ b œ bœ >f molto œ œ3 b œ ?2 œ 4 english horn

E. Hn. (Ob. 3)

1 2

5 8

Œ. œ œ œ œ œ F 5 j ‰ Œ. 8 b œœ p

to flute

Œ.

‰

œ œ p 5 ‰ Œ. 8 Jœ π 3 3 5 > Œ. & 42 ‰ œ b œ œ œ œ 85 œ œ #œ œ œ f poco F ?2 ˙ 4

>3 3 b œ œ b œ œ bœ 5 ?2 ‰ 8 4 >f

2+2+3

∑

7 8

∑

3 4

∑

4 4

∑

7 8

∑

3 4

∑

4 4

∑

4 4

∑

3 4

Œ.

∑

1 2

& 42

∑

5 8

∑

7 8

& 42

∑

[harmon mute (stem extended)]

?2 4

Tbn. 2

?2 4

[harmon mute (stem extended)]

Timp.

∑

?2 4

∑

?2 4

∑

œi Œ ã 42 ‰ f 2 ∑ ã 4

small sus. cym.

Perc. 2

Hp.

Pno.

Vln. I

Vln. II

Vla.

3 soli Vcl. gli altri

6 soli, div.

D.B.

gli altri, div.

?2 4 & 42 ?2 4 & 42 & 42 & 42

5 8

?2 4

o œœo V 42 t2 4

π sempre

œæ π

∑

‰ ‰ Jœ π . . . . . œ Œ

[harmon mute (stem extended)]

. . .

∑

bass drum

œœœœ

∑

unis. pizz.

∑

œœœ p

Œ œæ. I p

∑

œo ‰ J

∑

unis. pizz.

œ œ p

?‰

∑

∑ œ œ œ

. . .

œœ œœ œœ

∑

pizz. strum, sim.

œœ 85 œœ p

œ œ œ œœ ‰ #œ

unis.

œœ

Œ.

∑

firm, but not too loud

sub.

œœœ œœ œœ œ œ œ

unis. o pizz. œœo # œ strum, sim. t 5 œœ ‰ ‰ Œ. J 8 J f pizz. div. . . . . # œœ ∑ 85 p 14 15

œ #œ œ . . # œœ n œœ f œœ œœ œœ œœ œœœ œ f pizz. Œ ? ‰ ‰ œœœœ J f œ œ œ œ œ œœ œœ œœ œœ b œœœ f

˙.

∑

3 4

∑

Œ b œœ n œœ œœ b b œœ . π . . . contrabassoon . . Œ œ œ œ. œ. π

∑ ∑

∑

7 Œ 8 78

>œ œœœ

∑

>œ œœ Œ . œ

œI

7 8

j n œœœ ‰ Œ . # œœ f >j # #n œœœœ ‰ Œ . >

œœœ œ œ œ œ f arco œ≤ j œ ‰ ‰ ‰ J œœ ∏

78 Œ

j Œ 43 œ ‰ Œ F j 43 bœ ‰ Œ F 43 j‰ Œ œ F 34 . . . . b œ. Œ 3 4

∑

∑ ∑

j ‰ Œ. œ œ n n œœ > j œœ ‰ Œ . n >œ

3 4

arco

∑

j ‰ Œ Ó b œ. ∑ ∑

∑

4 4

∑

4 4

∑

. . .. b œ . œŒ π 19

4 4

∑

œ œ œ. œ 43 œ œ œ .. b œœ Œ . œ π o ˙o . 43 ˙ .

∑

o 43 ˙ .

∑

43 œ œ œ .. œœ Œ . #œ π ˙ œ # œ. 34 f

∑

œ 43 œœ œœœ b œœœ ... b œœœŒ 43

∑

bœ . . π œI π

44 b œ. ‰ Œ Ó J 44

∑

3 4

œœœœ œœ œœ œœ œœ 7 œœ œœ œœ œœœ ‰ ‰ IVo j bœ &œ 8 π œœ œœ œœ œœ œœœ 7 œœ œœ œœ œœ œœ œœ œœ #œ 8 √ div. II arco III oo # œœœ # œœœ 78 Œ Œ ‰ ‰ J Œ ‰ ‰ V œœ J ‰ Œ. J f ∏ . . . . . . . bœ . . . bœ . . . œ ‰ # œœ œ 78 f 16 18 17

44 j ‰ Œ Ó b b œ. œ

∑

78 œ œ œœ œ œ œ œ œ # œ œf π sub. ˙ œ. 78

sub.

∑

4 4

∑

∑ ∑

∑

Œ.

j œ œ œ œ œ œ œ œœ œ œ œ œ 78 œ œœ œœ ‰ Œ . œ œ π f strum, sim.

4 4

78 Œ

44 ∑

f Í F Í > œœœœ œœœ œœœ œœœ œœœ œœœ œœ# œœœœ # œœœœ œœœœ œœœœ œœœ œœœ 7 œœœ œœ n œœœ œœœ œœœ œœœ œœœ nœ 8 nœ

∑

strum, sim. œœ 5 bn œœœœ 8

Œ.

∑

œ ‰ œj . P π . . . . . 7 II. . œ 8 œ . . . .

œI P

∑

hard mallets

∑

#œ ‰ ‰ ‰ œ 7 ˙ J J 8 P π 78 œ œ . J ‰ Œ P π

> > ‰# œœœ # œœœ œ œ J f

marimba

∑

pizz. tutti div.

∑

wooden mallets

p # œœ 58 n œœ

∑

& 42 œ

œ.

œ3 ã 42 ‰ œ œ œ œ 85 P f 5 2 ∑ &4 8 hard mallets

∑

soft but very articulate

scrap with stick

5 temple blocks

œ.

∑

b˙. π

to B b clarinet

lS co

∑

1 C Tpt. 2 3

& 42

7 8

∑

3 4

∑

t2 4

œ # œ.

3 ˙ 4

∑

Cbsn. (Bsn. 3)

F Hn.

œ.

œ 7 ˙ &‰ ‰ J 8 ∏ 78 ∑

œ œ bœ bœ Œ.

j ‰ œ œ bœ

∑

molto

5 8

2+3

1 2

5 >œ3 œ # œ 3 œ & 42 ‰ œ œ b œ œ b œœ 85 # œœ b œœ œœ œ n œ Œ . œ œ F f poco

2+3

o ˙.

44 div.

Œ œ bœ . . π o ˙˙o .. bœ . . Œ œ π 20

. .

∑

o j3 o o œ œ ˙.

44 b œj ‰ bœ ∏ oo 3 oo 44 œœ njjn œœ J

Œ Ó oo ˙˙ ..

44 b b œœ ‰ Œ Ó J ∏ 21

∑

2 3

∑

1 2

∑

Cl. 2 (B b)

B. Cl. (Cl. 3)

Bsn.

1 2

Cbsn. (Bsn. 3)

1 2

F Hn.

3 4

1 C Tpt.

Perc. 2

Hp.

Pno.

∑

& &

Timp.

∑

harmon mute (stem extended)

2.3. harmon mute (stem extended)

∑ ∑

[harmon mute (stem extended)]

? ? ‰j œ. .# œ. π ?

b œ. . . p ∑

∑

III

gli altri

∑ œ̆ ‰ J f ˘ b œ 2. ‰ J f

∑ Œ

Œ ∑

o & ˙. f

Ó marimba

& b œœœ

∑

? ‰j œ œ #œ bœ π p III o IV o n n ˙˙ .. V f div. unis. . t ‰ œJ .# œ n b œœ π p 22

bœ

œ œ Œ ‰ J Œ f arco œ. œ. œ. œ. œ. 7 œ. œ. div. b œ œ œ œ œ œ œ ‰‰Œ ‰ P bœ ‰ J f o w

pizz.

o j3 o œ œ P o3o œœo œo J œ P . .

j bœ ‰ bœ π o wo w b b œœ ‰ J π

div.

b œœ

Œ 23

∑

œ.

3 œ œj 85 œ

∑

85 œ.œ# œ. œ œ.œb n œ. œ œ.œ π œ. œ. # œ. œ. n œ. 85 π

∑

3 4

∑

5 8

∑

3 4

∑

5 8

∑

4 4

∑

Œ ‰ œj # œ . . . π IV

∑

44 85 n œ b œ . . . . . p π 44 ∑ 85

∑

∑ ∑

oo œœ 3 4 ‰‰ J p

∑

oo ˙˙

∑

ȯ

∑

3 34 ‰‰ œo ȯ J p

∑

clarinet in B b

3 o œo œJ

Œ ‰ œj # œ . π oo oo oo ˙˙ œœ 3# œœ J unis.

. Œ ‰ Jœ # œ π 25 unis.

5 8

∑

44 4 4

∑

œo 85

œo .

œ 4 85 œœ bœ 4 . . . p π oo oo œ œ. 5 œ œ. 4 8 4

∑

Ó ?

2. muted

Œ b b œœ. n œœ. π. . Œ bœ œ π

‰ ‰ b Jœ ˙ . π ∑ 3

+ o ~~~~~ ∑ ‰ œJ Jœ ‰ Œ F p o ~~~~~ 2. +/j j ‰ b œœ œœ ‰ Œ ∑ 3. p F rapidly cover/uncover mute with hand +/o ~~~~~~~~~ 3 > ‰‰ b œJ œ œ ‰ . Œ Ó R P + /o ~~~~~~~~~ 3 2. > r ‰‰ b œ œ œ ‰ . Œ Ó J P ∑ ∑ sim. /

‰ ‰

œ . . . œ œ 4 58 œ 4 π p 26

bœ f

bœ

3 4 3 4 43

∑

3 ‰Œ # œ. . 4 . . œ.j p π ∑ 43

∑

43 Œ

‰ Ó

∑

43 Œ

∑

o ˙o˙ .. f

∑

o œoœ

P Ó

ȯ . 43 ƒ

∑

3 œo ‰gb œo ȯ . P

bœ

∑

3 4

43 Œ

∑

‰ œJ Ó

∑

‰

∑

ŒÓ

f > ‰‰b b œœ œœ J 3

‰

∑

ȯ .

III III

43 Œ

œ̆ Œ J f ˘ 2. b œ Œ J f

div.

f œo

43 Œ

∑

ŒÓ P ∑

b b œœ >

j ‰ b œœ Ó

unis.

43 Œ

f b œœ. œœ. œœ. œœ. œœ. œ3œ. P

˙. 43

∑

˘ j ‰ b œœœ Ó # œœ ‰ J fl 3 f ˘ ‰‰b b œœ Œ J

43 œ.œ # œ. œ Œ Œ œ. œ. Œ Œ 43

‰ j Ó bœ Œ

˙. 43

∑

‰ œœ ? ‰‰b b œœ Œ J J f ∑ 3

div.

Ÿ~~~~ 3 ŒÓ œ #œ œ P top two side keys Ÿ~~~~~~ œ #œ Œ Ó P œ ‰3 b œ ˙ . Ó

∑

o œœo

top two side keys

∑

œ̆ J f 2. b ˘ œ 44 J f

∑

3 4

~~~~

∑

b˙.

∑

bisbig.

∑

~~~~

b œœ P

bisbig.

œ P

∑

pizz.

∑

div.

hard mallets

∑

unis.

bœ ‰ J f

∑

j‰ b œ. π Ó

+ o ~~~~~~~ œ œ ‰. R π P +/o ~~~~~~~r 2. b œœ œœ ‰ . 3. π P

rapidly cover/uncover mute with hand /

xylophone

∑

D.B.

∑

6 soli, div.

∑

Vln. II

gli altri

∑

Vcl.

b œ. ‰ J

∑

3 soli

j b b œ. œ ‰

∑

3 43 ‰‰ Jœ ˙ π ∑ 43

∑

[harmon mute (stem extended)]

Vln. I

Vla.

∑

Tuba

∑

? Œ Œ b œœ n œ œ b œ . œœbœ π. . . t Œ Œ œ. œ. œ. œ. π

2 3

∑

2 3

Tbn.

∑

1 (B b)

3. flute

∑

Ob.

E. Hn. (Ob. 3)

~~~~~~ œ 43 œ ‰ Œ Œ J p P bisbig. ~~~~~~ j b œœ 43 œœ ‰ Œ Œ p P ∑ 43 bisbig.

Fl.

2+3

lS co

f b œœ. œœ. œœ. œœ. P bœ

unis.

div. j 3 ‰ bœ Œ Œ b œ . . 4 . b b œœ p π oo 3 o o o II o . I œ ˙. III ˙ ‰IV œ ˙ . 3 ˙. 4 ƒ . bœ bœ . . 34 b œ Œ Œ ‰ b œJ p π 28 29

∑

Cl. 2 (B b) B. Cl. (Cl. 3)

Bsn.

1 2

Cbsn. (Bsn. 3)

Ÿ~~~~~ 3 Œ ∑ & bœ œ œ Œ P top two side keys Ÿ~~~~~ 3 Œ ∑ & bœ bœ œ Œ P 3 œ b Jœ ˙ . ? b˙ P ? ∑ ∑ top two side keys

∑ 3 œ b Jœ ˙ . P

? b˙

2. [muted]

1 2

F Hn.

3 4

1 C Tpt. 2 3

1 Tbn. 2 3

Tuba

Timp.

Perc. 2

Hp.

Pno.

Vln. I

Vln. II

∑

+/o ~~~~~~ Œ Œ & bœ p 3. 3 +/o ~~~~~~ œ̆ J Œ ‰ ‰ & # œœ f p + /o ~~~~~~ 3 > 3 ? Œ ‰ bœ bœ ‰ P 3. +/o ~~~~~~ 3 > 3 ? Œ ‰ bœ bœ ‰ P ? ∑ ?

∑ [marimba]

& b b œœ >f ã

3 soli Vcl. gli altri

6 soli, div. D.B. gli altri

bœ

∑

& nœ

b œœ. œ3œ.

B b b œœ ȯ

3 œo Jœo

IV sempre

& ?

≤ œ J ‰‰ p

unis.

oo jn jn ˙˙

∑

III IV

∑ 30

III o oo III o oo œœ 3œœ ˙˙ .. J

∑

44 Ó

b b œœ œœ b n œ˘œ J ‰ ‰ J p molto f

∑

œ3œ ˙ J 3 ‰ œ ˙ P

44 œ ˙ .

∑

44 Ó

‰ Œ Œ

∑

44 Ó

‰ Œ Œ

∑

44 Œ

∑

+/o ~~~~~~~~~~~~ b >œ 3 b œ 4 J P + 3. /o ~~~~~~~~~~~~ b >œ 3 b œ 4 J P 43 43

b >œ j j ‰ 43 b œJ b b œœ .. > b b œœ > ∑ 43

∑

4 4

∑

œ 44 ‰ J ‰ œ Ó J f

∑

œ # œ. 4 4 f

∑

∑ 31

bœ 4 ‰ J ‰ b œjœ Œ 4 f 44 wo 44

oo w w 44 44

∑

b ˘œ 34 b œJ P 34 3 4 43 43 43

∑ unis.

div.

# œœ

3 4 43 43 43

∑ 32

∑

Œ œ . # .œ π ‰ Œ Œ

44 Œ n œ. . . b œ. p π 44 ∑

∑

Œ Œ

∑

‰ Œ Œ

∑

4 4

43 b b œœ

b ˘œ b œœ ˘ ‰ J ‰ b œœœ Ó J f # # œ˘œ .. Œ Œ ≈ J Œ

≈

f b b œ>œ

∑

#œ

Œ Œ ∑

unis.

Œ Œ

3 œo œo ˙o J

o 3 IV œoœ jn œooœ IV˙oo˙ J Œ

Œ 33

b n œ˘œ .. > b œœœ Œ œ.

∑

4 4

∑

o 44 œ o ˙. div.

b œœ. .

f bœ. f o w Œ

o wo w Œ

∑

‰ b b œjœ œœ >f

‰ b œj Œ

poco div.

. . . n œœ.

b œœ B ‰

∑

œ Œ

div. c.l.b.

œ̆ ‰ J Ó f p +/o ~~~~~~~ 3. n ˘œ bœ ‰ J Ó f p

‰ # œjœ Œ j fl ‰ # # œœ Ó fl

∑

b >œ . > Œ bœ

∑

+/o œ~~~~~~~

loco > ‰ . œœ ‰ j ‰ b b œjœ Œ R b b >œœ > ◊ f ∑

∑

4 œ # œ 4 b œœ b b œœ Œ p. . π π o III ˙oo . 44 œoœ IV ˙ . div. . unis. œ # œ 4 b œœ . b b œœ Œ 4 p π π 34 unis.

∑

+/o ~~~~~~ b >œ œ Œ B‰ J +P /o ~~~~~~ 2. > b œ Œ B ‰ J bœ P

∑

œ̆ J ‰ f 2. ˘ bœ J ‰ f

∑

44 Ó

Ÿ~~~~~~ 3 œ #œ œ #œ ‰ Œ J p F sub. œ ‰ Ó J p top two side keys

œ3 J Œ Œ Œ

∑

top two side keys

Ÿ~~~ 3 Œ bœ œ bœ P top two side keys Ÿ~~~ Œ bœ bœ P

∑

bœ 44 ‰ J ‰ j Ó f bœ

∑

ȯ .

∑

∑ Œ

‰Œ

∑

∑ IV

∑

44 w

∑

3 j ‰‰œ

[xylophone]

div.

Vla.

‰ j ‰Œ b b œœ > ∑

44 w

∑

1 (B b)

∑

Ob. 1 2

∑

lS co

2 3

Fl.

j ‰ b Jœ Œ b b œœ unis.

unis.

‰ b œJ Ó F bœ ‰ J Ó F 35 unis.

b n œ>œ ‰ Œ J

Ó ∑

j ‰ ‰ n œjœ Ó b œœ > > F f j Ó b b œœ ‰ Œ fl ∑

˘ n œ˘œ ‰ ‰ n n œJœ b Ó b b œœ J ∑ div. œ b n œœ ‰ ‰ œJ Ó J unis. ord.

œ≤ œ œ # œ. ‰ J π f c.l.b. div. œœ. . . . # # œœ. b b œœ ‰ ‰ B J & J F f o w Œ

o wo w

∑

42 42 42 42 42 2 4 42 42 42 2 4 24 42 42

∑ 36

Fl. 2 3 Ob. 1 2

2 &4

∑

2 &4

∑

4 4

∑

2 &4 Œ

b n œ˘œ J ‰ f molto

b b œœ

4 4

1 (B b)

2 &4

∑

4 4

Cl. 2 (B b)

2 &4

∑

4 4

B. Cl. (Cl. 3)

? 42

∑

4 4

1 2

? 42

∑

t 42

1 2

2 &4 Œ

3 4

2 &4 Œ

F Hn.

1 C Tpt. 2 3

∑

‰ j 44 œœ π

œœ

3. A stopped mute

‰ œj 44 #œ π

œœ P

œ œ

Tbn. 2

B 42

∑

? 42

∑

Tuba

? 42

∑

Timp.

? 42

∑

4 4

∑

2 &4

∑

4 4

Hp.

Pno.

Vln. I

Vln. II

Vla.

Vc.

D.B.

2 &4 2 &4 ? 42 2 &4 Œ

∑

44 44

∑

# œœ

? 42 2 &4 2 &4 B 42 ? 42

4 4

∑

oo o œ 24 ‰ œ V #œ p 37

f ∑

44 4 4

∑

4 4

∑ ∑ ∑

oo œœo œ

III tutti, div. a 3 IV IV 3

44 4 4 44

b ˘œ ‰ J

[harmon mute (stem extended)]

2 ã 4

jœ œ π

Ó bœ.

[xylophone]

j ‰ b b œœ f

bœ

f Œ

b œ˘œ ..

œ.

b œœ. .

oo o œœo œ f

œœ. .

bœ.

div. c.l.b.

œ Œ

div. c.l.b.

unis. pizz.

# # œœ n n œ˘œ b œœœ ‰ n œ b œ ‰ b jœ ‰ J J b œ. ∑

unis.

j b œ œj ‰ Œ F > œ˘œ bœ ‰ J b b œœ > f ∑

‰

. n œœ.

b œœ B Œ

Œ Œ

o oo o oo œœo ‰ njnjœœœ œœœ ... œ p 38 3

œ œ P

b b œœ Œ

b b œœ ‰ J # # œœ≤

tutti div. arco

oo œœo œ J f

j b b œœ # œ˘œ J F oo œœo œ

molto

3 4 3 4

∑

7 8

∑

3 4

∑

7 8

∑

3 4

B‰

Œ ∑

˘ j 7 b b œœJ ‰ ‰ Œ b b œœ 8 p f 78 ∑

∑

7 8

∑

3 4

œ œ

œ #œ

j3 Œ œ œ

∑

7 8

∑

3 4

o œœ

Œ Œ

‰

œ̆ J

‰

b ˘œ ‰ J 2.

œ̆ J Œ

œœ Œ >f ∑

˘ ≈ œœ ∑ ‰

# œ>œ œœ b n œ˘œ ‰ J

b œœ. ‰ J f

oo œœo ‰ # œJ

oo œœo œ

‰ .

c.l.b.

bœ ‰ J

unis.

III IV III

œ J f

œœo œ J

oo IV œœo IV #œ

∑

7 # œœ 8

∑

3 4

7 8 7 8 78

‰ b b œJœ

div.

. . n œœ.

b œœ ≤ ‰ J ≈ # # œœ .. J p div.

oo ˙˙ȯ

arco

pizz.

∑

arco

j nœ ‰ Œ b >œœ b œœ n >œ F > f j Œ b b œœ ‰ ‰ Œ fl ∑

‰

43 43

n ˘œ # œœ ˘ 78 b ˘œ b œœ b œ˘œ n œJ ‰ bœ 78 7 8

43 43

∑

n n œœ ‰ b œœ b œœ J ‰ Œ F f

3 4

Œ.

3 4

unis. ord.

œ≤

p ≤ c.l.b. œ. œ .

# # œœ J ‰ ‰ f oo o 78 œœ .. œ. 7 8

3 4 3 4

∑

78 b b œœ ..

≤ ‰ œJœ œœ f P IV oo III o IV j œœ Œ œ

# œœ ..

ord.

7 8

j ‰ Œ # œœ flf

œ ≈ j Ó J b b œœ .. .

b œœ J p

˘ ‰ j ‰ b œœœ ≈ b jœ. Œ bœ. J # œœ # œœ .. Œ Ó œ fl flœ

unis. pizz.

‰

. n n œœ ‰ & b œœ . Œ Œ

b œ˘œ ‰ J

∑ ŏ n œœ J ‰ Œ f ∑

‰

Ó j Œ bœ > ˘ ‰ n b œœœ ≈ b jœ. Ó bœ. J Ó Œ

∑

b >œ J

III IV

r œœ .. P b b œœ .. . ? ≈ J # œœ . œŒ fl flœ

‰

∑

nœ. Œ flf flœ ‰.

∑

+/o ~ j ‰ b œœ ≈ b œj. Ó #œ. fl p # ˘œ . ? ≈ J #œ. Œ œ Œ fl fl f # ˘œ . ? ≈ J œ̆ ‰ Œ Œ J f

∑

. b n œœ. J

‰

b b œœ

j3 œœ Œ

b œœ. b œ b œ.

‰ b b œjœ f

Œ ∑

poco

3 4

œœ

b >œœ ..

pizz.

∑

œœ

j ˘œ ‰ b b œœ b œJ ‰ fl

# œ. œ

Œ.

7 8

p f +/o ~~~~~~~~~~~~~~ j Ó bœ œ ‰ > F j Ó bœ ‰ Œ fl +/o ~~~~~~~~~~~~~~ b >œ bœ ‰ Ó J F

b b œœ

7 8

∑

+ b œœ ..

# œœ.

poco div.

[marimba]

∑

œ œ

œœ P

7 8

∑

Perc. 2

œœ

+ o b œ œ. ‰ J J ‰ Œ P f + o b œ œ. ‰ b œJ b œ ‰ Œ J P f b ˘œ ‰ Œ J

œ̆ 2 44 J ‰ ∑ &4 f ˘ b œ [harmon mute (stem extended)] 2 44 J ‰ ∑ &4 f [harmon mute (stem extended)] B 42 44 Ó ∑ [harmon mute (stem extended)]

[harmon mute (stem extended)]

jj œœ π

œ œ P

r œæœ ‰ . Ó

∑ Œ

‰. Ó

∑

1. A 2. E stopped mute

œ æR

3+2+2

∑

Cbsn. (Bsn. 3)

Ÿ~~~~~~ 3 œ bœ œ f top two side keys Ÿ~~~~~~ 3 bœ bœ œ top two side keys f Ÿ~~~~~~~~~ 3 œ #œ #œ Œ f top two side keys

∑

b b œœ œœ b n œ˘œ ‰ J p molto f

Bsn.

>œ æJ f fltz. j ‰ b œæœ >f

‰

fltz.

lS co

oo o œœ œ f 41

# ˘œ J ‰ f

. # œ. # œ

oo o œœ œ

43 3 4

oo œœo 3 #œ 4 J

Ob. 1 2

& 43

1 (B b)

& 43

Cl. 2 (B b)

& 43

B. Cl. (Cl. 3)

?3 4

1 2

B3 4

Cbsn. (Bsn. 3)

t3 4

1 2

?3 4

3 4

?3 4

F Hn.

b œ˘œ J ‰ f

C Tpt.

Tbn.

& 43

∑

& 43

1 2

?3 4

Tuba

top two side keys Ÿ~~~~~~~~~~ 3 ‰ #œ œ #œ ‰ F ∑

‰

œ̆

> ≈ œ Œ

[stopped mute]

j bœ fl f œœ J π

f ˘ 2. b œ

œ œ J π

˘ ‰ b b œœ J f [harmon mute (stem extended)] ?3 Œ ‰ j 4 bœ flf ?3 ∑ 4 Œ

Timp.

?3 4

& 43

‰.

Perc. 2

ã 43

& 43

Hp.

Pno.

Vln. I

Vln. II

Vla.

Vc.

D.B.

> ≈ bœ Œ

‰

j bœ fl œœ ‰ j b b œœ R ◊ f ∑

bœ.

bœ

?3 4

b œ˘œ J ‰ & 43 ?3 4

& 43

unis.

& 43 & 43 ?3 4 V 43

œ.

f b œœ.

div. c.l.b.

unis. pizz.

bœ. f

˙˙ .. ˙.

? ‰ b b œ˘œ J ‰ j b b œœ fl ◊

7 8

œœ .. J

≈ Œ

7 8

œ. œ. J

œœ

42 42 42

j ‰ bœ fl

œ̆ J b ˘œ J

‰ ‰

˘ ‰ b b œœ J ‰

j nœ fl

‰

œœ 3 œœ J P œ 3# œœ œ J P

œ œ

2 4

˙ ˙

œ̆ J

b ˘œ J

j ‰ bœ fl ∑

‰

j nœ fl

. n œœ. J

b œœ Œ

div.

j ‰ # # œœ f

pizz.

b œœ .. ‰.

∑

bœ

œœ

∑

‰ n n œœ J

b œ>œ .. J

‰

‰.

j ‰ j b b œœ œ n n œ fl fl div. c.l.b. . b œœ . n œœ. 24 J ‰ f ‰

2 4 2 4 42 42

‰

unis. pizz.

bœ

unis.

t‰

b b œœ

bass drum

≤ b œœ .. b œ Œ b œ. p f arco b œœ≤ .. b œ. bœ Œ

div. a 2 pizz.

j n n œœ f

f arco oo œœo #œ

II div. a 3 III IV

∑

Œ.

3 4

≈ Œ

Œ.

3 4

‰

remove mutes

‰

œ J p +

‰

bœ J p

43 43

∑

5 8

∑

5 8

∑

ŏ œ J f ŏ œ J f

‰

+ ≈ b Jœ . p + ≈ bœ. J p

85 85

∑

3 4

∑

5 8

∑

78 7 8 7 8 78 78

&‰

Œ > b b œœ œœ ‰

œ. b œœ.

div. c.l.b.

bœ.

unis. pizz.

oo ˙˙ȯ

‰

∑

bœ b œ>œ ..

j j b b œœ b b œœ fl

‰

bœ

‰

b b œœ fl j n # œœ

Œ. ˘ b n œœ œ bœ b b œœ Œ.

b œœ b b œœ

Œ .

Œ.

b œœ b œœ

div.

. n n œœ. J

div.

b b œœ

# # œœ. ≤ J ‰ # œœ J P f oo oœ . œœ .. 45

unis.

7 8

b œ˘œ 78 J

b b œœ œœ b n œ˘œ b œœ .. R ≈ J p f p

‰.

˘ j b b œJœ b b œœ p f ∑

∑

n # œœ ≈ ‰ J

bœ

∑

7 8

rŒ b b œœ fl

∑

>œ æ f >œ æ f

rŒ œ fl secco F Œ

hard mallet

div. arco

j ‰ # # œœ Œ f

∑

‰

b œ˘œ 78 J

≈ rŒ bœ fl ∑

∑

b œ˘œ J 42

˘ ‰ . b b œœ Œ R

j Œ bœ fl ‰ b b œœ ‰ n n œjœ J

bœ

‰

‰.

≈ rŒ bœ fl

˙˙

‰ n n œjœ fl

‰

# œœ .. J &≈

œ Œ

2 4

∑

‰

Œ.

Ÿ~~~~~~~~~~~~ r ≈ Œ. bœ œ œ f top two side keys Ÿ~~~~~~~~~~~~ r ≈ Œ. bœ bœ œ f ∑

‰.

Œ.

top two side keys

∑

Œ.

∑

molto

‰

∑

b n œ˘œ J f

∑

2 4

b b œœ ‰ J p

∑

2 4

œ œ

b œæ >f 2. b œæ >f

∑

œœ

∑

∑ ‰

contrabassoon

[harmon mute (stem extended)]

& 43

∑

[harmon mute (stem extended)]

2 3

b n œ˘œ J f molto

b b œœ .. ≈ J p

[harmon mute (stem extended)]

Bsn.

∑

& 43

∑

lS co

2 3

∑

Fl.

& 43

2+2+3

∑

j 43 n n œœ ‰ fl 3 4 43 43

n œ˘œ

‰

∑

≈ # œœ œœ b n œœ ∑

nœ J 43

‰

bœ

unis.

3 4

‰

43 43

Œ nœ J

b œ˘œ ‰ J Œ

3 4

bœ J

5 8 85

n # œœ .. ≈ J

85 85

div. arco

‰

Œ œ J f

unis. pizz.

‰ ‰

oo oo œœo œœo œ #œ

bœ J

‰

oo ˙˙ȯ

∑

b b œœ≤ .. ≈ J

5 8

85 85

2+3

2+2+3

2+3

& 85

∑

2 3

& 85

∑

Ob. 1 2

& 85

∑

‰

1 Fl.

b n œ˘œ J

‰

b b œœ J

b n œ˘œ J f

‰

Œ.

1 (B b)

& 85

2 (B b)

& 85

∑

7 8

∑

2 4

∑

3 4

1 2

?5 8

∑

7 8

∑

2 4

∑

3 4

∑

Cbsn. (Bsn. 3)

t5 8

∑

7 8

2 4

∑

3 4

∑

1 2

& 85

∑

7 8

∑

2 4

∑

3 4

& 85

∑

& 85

C Tpt. 2

& 85

Tbn.

1 2 3

?5 8

sim.

7 8

[harmon mute (stem extended)] sim.

‰

‰ ‰

∑

bœ J p

[harmon mute (stem extended)]

∑

[harmon mute (stem extended)]

?5 8

‰

j bœ flf [marimba] 78 ‰ b b œ>œ J

∑

& 85

∑

Perc. 2

ã 85

∑

& 85

Pno.

Vln. I

Vln. II

Vla.

Vc.

D.B.

?5 8

b œ˘œ J 5 &8 ?5 8

b œœ J 5 &8 f c.l.b. œ. 5 &8 f & 85 B 85

b œ.

c.l.b.

div. c.l.b.

. & 85 b œœ f V 85

∑

78 78

‰ .

7 8 n œ. œ.

‰

7 8

∑ .

. n œœ.

sempre natural harmonics II III IV

œœ jn jn œœ œ œ f

œœ .. œ.

bœ

b œ˘œ 78 J f 78 ‰

∑

Œ.

‰

b œ˘œ 7 J 8 f 7 8

Œ.

‰

j n n œœ fl j nœ fl ∑

‰

78 78

+ bœ J P + bœ J P + bœ J P

Œ.

‰

√ j # # œœ n n œœ J >

‰

b œœ.

c.l.b.

‰

j ‰ b b œœ fl ◊ . n œ. œ J

‰

bœ

pizz.

œœ

div.

‰

n œ˘œ J

˘ ‰ n n œJœ

pizz.

j # # œœ f

œœ njœœ œ jn œ

‰

∑

œœ

‰

b œœ P ˘ n ˘œ ‰ b b œœ b œ

‰

j n n œœ fl

Œ.

‰ b b œœ

pizz.

div. arco

≤

j j # # œ. œ œœ f P j b b œœ

j n n œœ

Œ. œœœ ...

œœœ 48

42 42 42

‰

+ j œœ ‰ flf hand stopped + 34 œjœ ‰ flf 3 4

‰ bœ p

hand stopped

œ̆ J f œ. J

‰

‰ nœ p

∑

b œœ

‰

5 8

∑

3 4

5 8

∑

≈ œJ . p

5 8

∑

85 85

∑

5 8

œ.

3 4

≈ bœ. J p

∑

‰

5 8

∑

œ̆ J f œ̆ J f

+ j œœ ‰ Œ . flf + j œœ ‰ Œ . flf œ̆ J ‰ Œ. f œ̆ J ‰ Œ. f

œ p 1. œ p

3 4

43 3 4 34 43

œ. œ.

3 4 43

∑

2 4

∑

3 4

∑

5 8

∑

Œ.

œ F ˘ 2 b n œœœ ‰ 4 J

∑

2 4

Œ œœ.

‰

c.l.b.

‰

œœ.

c.l.b.

˘ n b œœ 3 J 4

2 4

∑ ‰

bœ

∑

‰

2 4

o œ. J f o œ. J f o b œ. J f

Œ.

Hp.

Œ.

j bœ fl

?5 8

‰

Timp.

b œ˘œ J 5 &8

78 7 8

Œ.

‰

˘ ‰ b b œœ J

∑

bœ

?5 8

[xylophone]

Tuba

Œ.

‰

∑

[harmon mute (stem extended)]

œ̆ J f ˘ bœ J

j nœ fl

‰

o œ̆ J fŏ bœ J

[harmon mute (stem extended)]

j bœ flf

lS co

F Hn.

‰

Bsn.

Cl.

∑

molto

3 4

√ œ˘œ 34 J œ˘œ 34

& b œœ

3 4

unis.

∑

III III IV

njjn ˙˙˙ 42

# œœ. 43 F 43

bœ

unis.

∑ ‰

‰

> ≈ b œœ œœ

œ.

unis. ord.

≤ ≈ bœ œ p

œ˘œ J œ˘œ œ.

≤ ≈ œ œ arco

# œœ. 34 J F

œœ̆ J

‰

3 4

43 49

‰

5 8 85

> ≈ œœ .. J

5 8

85 85

Œ ∑

‰

5 8

&≈

˙˙ .. ˙.

ord.

≤

j b œœ .. p

5 8 85 85

n n œœ

f b ˘œœ J ‰ Œ.

43 43

∑

œ˘œ J ‰ Œ. œ˘œ J ‰ Œ.

œ. . . . .

c.l.b.

œ≤

œ. . . . .

c.l.b.

f œ. . . . .

c.l.b.

j œ.œ ‰ Œ . f

œœ œ

œœ .. œ.

3 4 43

œ.

43 ?

43 43

& 43

∑

& 43

∑

& 43

∑

Ob. 1 2

Cl.

1 (B b) 2 (B b)

Bsn. 1 2

1 2 F Hn. 3 4

C Tpt.

1 2

& 43

˙.

œ œ & 43 Œ ‰ J P ?3 ∑ 4

P o ≈ œ œ # œ œœ œœ b # œœ ? 3 Œ #œ œ œ 4 ‰ . Ro P P o œ œ #œ ≈ ? 3 Œ # œ œ œœ # œœ œ œ b œ 4 ‰ . Ro P 3 ∑ &4

& 43 ˙ .

B3 4

?3 Œ Œ 4

Tuba

?3 4

œ B ≈ J. p ∑

Timp.

?3 4

∑

2 3

?3 4

Perc. 2

ã 43

∑

& 43

∑

Hp.

& 43

∑

Pno.

& 43

∑

?3 4

Vln. I

& 43

Vln. II

& 43

... ˙.

œ.

. . ..

& 43

D.B.

?3 4 ?3 4

oo ˙˙o .. V 43 ˙ . 52

‰

p >œ3 œ.

œ # œj 4 ∑ Œ Œ ‰ 4 p p j œ œ # œ* œ ‹ œj # œ œ ‹ œ Œ ‰ J J ‰ Œ Œ 44 J ‰Œ p π p 44 ∑ ∑ ∑ 4 4

œ #œ

≈‰ Œ P

j nœ

#œ œ # œj Œ ‰ J 42 Œ π p j . œ #œ œ Œ ∑ J‰Œ 42 p # œ # œj œ œ ‹ œj Œ Œ ‰ J 42 J ‰ Œ p

2 4

∑

4 4

∑

42 Œ

∑

42 Œ

∑

4 4

P 3 >œ œ œ # œj J Œ ‰ Ó Œ ‰‰ J p P p j œ œ # œj # œ #œ ‰J J ‰ Œ Œ Ó p p p

2 4

4 4

∑

5 #œ œ # œœ œœ œœ b œ 4 œ 4 P

œ # œœ œœ œœ b # œœ 4 œ 4 P 44 ∑

∑

œ #œ #œ ‰ J #œ Œ Œ ‰ J Œ π f delicate œ #œ ‰ J ∑ ‰J Œ π ∑ ∑

[xylophone]

∑

4 4

∑

∑ Œ

Œ Œ 44 Ó

> œ Œ Œ f

p œ # œj J ‰Œ

j #œ

∑

hard mallets

∑

pizz.

∑

#œ ‰ J Œ

∑

4 4

∑

œ)

√

(n œ ) (n œ )

√

(# œ)

Ȯ ..Ȯ . .

ȮȮ .. ..

O 4 wO 4 w

ȮȮ .. ..

Ȯ ..

‰.

œ3 œ ‰ Œ P œ3 œ ‰ P

œi R Œ π

wOwO

med. sus. cym.

soft mallet

œ œ ‰J ‰ J Œ π ∑

∑

∑ # œœ≤ ‰. R ∏ div. # œ≤ sul tasto œ ‰. R ∏

div. sul tasto

arco

∑

œœ

œœ ..

œœ

œœ ..

# # œœ J

π œœ J

œœ ˙˙ ..

j ‰ Œ œO

Ȯ

∑

arco

Oœ≤ ..

∏ Oœ≤ ..

arco

∏

Oœ J π # # Oœ J π

w ∑

∑ ∑ œœ J‰Œ Ó ∏ œœ J‰Œ Ó ∏

œœ ˙˙ ..

j Oœ Oœ ‰ Œ J j OœO ‰ Œ œ J

ȮȮ

#œ

∑

œ # œ œ3œ 3 œ # œ Œ ‰JŒ JŒ ‰‰ J P π œ 3 œ œ #œ Œ ‰‰ J Œ Œ Ó p ∑ ∑

∑

Ȯ Ȯ

4 4 wO

Ȯ ..

∑

√ (# œ )

∑

#œ Œ Œ f

# ˘œ J ‰Œ f > arco œ. . Ȯ Œ # .Ȯ .. F P> 5 soli, div. > poco sul pont.,{ arco poco flautando b b ȮȮ ... . > P arco ∑ # # Ȯ .. > P pizz. # >œ Œ ∑ f pizz. # >œ Œ ∑ f

Vla.

Vcl. div.

fj n # œœ J ‰Œ f fj # œ n œ J ‰Œ f # ˘œ J ‰Œ f j #œ ‰ Œ flf # ˘œ J ‰Œ f b ˘œ J ‰Œ f ∑

∑

tutti

& 43

# ˘œ J ‰Œ Œ f # ˘œ J ‰Œ Œ f ∑

brake drum

∑

?3 4

∑

œ œ ‰ J π p

Tbn.

Fl.

œ ‰J π œ* ‰J p

∑

lS co

∑

j #œ

& 43

* microtonal fingered glissandi (fingerings in part)

œ 42 P 42

molto

∑

2 4

#œ 42

∑

4 4

∑

4 4

2 4

∑

42 42

∑

2 4

∑

2 4

∑

2 4

∑

Oœ Ȯ .. Oœ Ȯ .. ∑ 58

Oœ J‰Œ Ó ∏ Oœ J‰Œ Ó ∏ ∑

Fl. 2 3 Ob. 1 2

& 44

∑

& 44

∑

& 44

∑

Cl. 2 (B b)

& 44

∑

B. Cl. (Cl. 3)

& 44

∑

1 2

?4 4

∑

Cbsn. (Bsn. 3)

t4 4

‰.

1 2

?4 4

rŒ bœ fl

Bsn.

F Hn.

3 4

1 C Tpt. 2 3

Tbn.

1 2

j œ ‰ Œ flf

œ n#œ J ‰ Œ f # œ n œ ?4 J ‰ Œ 4 f & 44 & 44

?4 4

Timp.

?4 4

[harmon mute (stem extended)] 3.

j œ ‰ Œ flf

∑

ã 44

∑

Perc. 2

ã 44

∑

# # œœ & 44 P & 44

Pno.

Vln. I

Vln. II

Vla.

Vc.

D.B.

& 44 ?4 4

& 44 & 44 & 44 ?4 4 t4 4

unis. pizz.

# # œ>œ

2 4

œœ f 61

bœ bœ

Ó b >œ

œœ

∑

rŒ bœ fl

œ̆ . ≈ J

j ‰ Œ bœ flf

bœ 43 œ˙ . π 43

44 44

∑

4 4

∑

3 4

∑

4 4

∑

3 4

∑

4 4

∑

rŒ œ fl F Œ

∑

4 4

∑

3 4

∑

4 4

rŒ bœ flf ∑

rŒ œ fl secco F Œ

bass drum

‰

b ˘œ J

‰

‰.

b œœ .. ‰.

bœ

∑

rŒ bœ fl ∑ ∑

b b œœ

b œœ ..

bœ

div. arco

3 4

∑

≤ 2 IVb œœ .. Œ 4 b b œ. œ P f div. arco œ≤ . 24 b œ . b b œœ. Œ P f 42

∑

pizz.

œ̆ J

‰

2 4

∑

n œ. 34 n œJ

˘ ‰ . b b œœ Œ R

j # œœ f

∑

œ bœ bœ bœ bœ

∏ Œ

œœ π

j 2 n n œœ ‰ Œ n n œjœ ‰ 4 fl fl ◊

tutti unis. pizz.

b >œ

bœ

∑

‰

3 4

Œ b b œœ ◊ ‰. rŒ b b œœ fl

bœ

unis. pizz.

2 4

∑

unis. pizz.

bœ

∑

bœ f f

‰.

œ p

b œœ .. Œ 42 b b œœ 42

∑

r ‰. œ b œ b œ bœ bœ bœ 5

∑

marimba

Œ # # œœ Œ

# # œ>œ f Œ

∑

?4 4

j ‰ 42 œ fl

∑

3 4

˘ ‰ . b b œœ Œ R

‰.

∑

hard mallets

[xylophone]

Hp.

œ̆ J ‰ Œ f 2. b ˘ œ 2 J ‰ Œ 4 f 2 4

∑

[harmon mute (stem extended)]

#œ J ‰ ? œjœ ‰ Œ j ‰ 42 n œœ fl f 2. fl [harmon mute (stem extended)] ?4 ∑ 42 4 B4 4

∑

B‰

∑

j bœ ‰ Œ flf

‰.

1. [harmon mute (stem extended)] 1.

Tuba

j ‰ 42 œ fl

& 44

∑

1 (B b)

∑

b œœ ..

‰ j b b œœ # œœ ◊ ‰. rŒ b b œœ fl œ

bœ ≤ b œœ ..

∑

# œ b n œœ .. 3 n œ n n œœ # œœ # œ ≈ J 4 nœ 3 4

∑

‰

3 4

div.

3 4

b b œ. œ f P b œœ≤ .. b œ. n # œœ bœ ‰ J f P

44 b b œ˘œ ‰ Œ Ó 43 J cover/uncover mute with hand +/orapidly ~~~~~~~~~ 44 b œ bœ ≈ Œ Œ 43 P π 44 Ó j ‰ Œ 43 bœ flf 44 b œ . bœ Œ 43 b œ. . . . . b œ. p

∑

b ˘œ . ≈ J

lS co

œœ

œI

4 4

3 4

∑

j ‰ Œ b b œœ fl

∑

4 4

3 4

∑

4 4

nœ. œ #œ #œ ≈ J J

∑

bœ. ≈ J

4 4

∑

3 4

∑

4 4

3 4

∑

4 4

∑

unis.

‰

unis. pizz.

nœ J

n n œœ. J 43

‰

∑

#œ

div. arco

∑ 64

≤ IV j r ‰. Œ ≈ b œœ .. 44 b b œ. œ P f b œœ≤ .. ≈ J 44 b b œœ. ‰ . Œ R P f div. a 3 arco o II o o. III ˙ ˙. 4 IV ˙ . V 4 p

oo 3 o œœo j œœoo œ œ 3 J 4 65

oo ˙˙ȯ .. .

44 66

2+3

& 44 Ó

& 44

Fl.

Ob. 1 2

& 44

∑

& 44 Œ

2 (B b)

& 44 Œ

Bsn.

1 2

Œ ∑

1 (B b) Cl.

. . . . # œ. œ. ‰ J 85 F ∑ 85 * microtonal fingerings in part

∏ ? 4 ˙˙ 4 ∏ t4 4

≈

≈ ≈≈Œ bœ bœ œ œ 5

bœ bœ p top two side keys Ÿ~~~~~~~~~~~~~~~~~~ 3 3 ‰ œ Œ œ bœ bœ bœ ∏ P

∑

œ œ J

‰

j œ ‰ Œ

3+2+2 b œ* œj Œ 43 Œ F * j 43 Œ b œ œ Œ 43

∑

Œ.

∑

Œ.

∑

Œ.

∑ ∑

∑

2 4

∑

7 8

∑

Œ ‰ # œœJ f ‰. r Œ bœ fl

∑

43 Œ

5 8

∑

3 4 Œ

∑

Ÿ~~~~ 3 Œ nœ œ œ F

top two side keys

Ÿ~~~~ œ œ F

top two side keys

‰.

1 2

& 44

∑

rŒ bœ flf ∑

3 4

& 44

∑

& 44

∑

C Tpt. 2

& 44

∑

5 8

∑

& 44

∑

5 8

∑

?4 4

5 8

∑

?4 4

∑

Tuba

?4 4

∑

Timp.

?4 4

∑

?4 4

∑

5 8

∑

ã 44

∑

& 44

Perc.

Hp.

∑

& 44 Ó

?4 4

∑

5 8

Vln. I

& 44

Vln. II

& 44

D.B.

?4 4 V 44

oo œœo #œ f

oo œœo œ

oo o œ # # œœ J 67

∑

5 8

∑ ∑

oo œœo œ

œœo œ

oo # œœo +œ J 85

∑

oo œœo œ

∑

oo œœo .. œ.

#œ 3 4 Œ # œ n n œœ P

‰ # œœ ‰ j Œ J œœ

[marimba]

∑

43 3 4

∑

b œ œj Œ 43 Œ P pizz.

b œ œj Œ 3 4 Œ P pizz.

3 4 Œ 43

oo ˙˙o .. #˙. 43

div. pizz.

Œ œœ ∑

j œœ

b œœ ..

bœ f bœ

‰.

∑

3 4

rŒ œ fl secco F

[bass drum]

b b œœ b œ>œ .. > Œ ‰ J Œ b b œœ f ◊ ∑ ‰. r Œ b b œœ >

bœ ‰ œ ‰ j‰ J œ J

bœ

# œœ ‰ J Œ

≤ b œœ .. arco

b b œ. œ P f arco b œœ≤ .. b œ. bœ Œ

œœ ‰ J Œ F pizz.

Œ 71

Œ div. a 2 pizz.

n n œœ. J ‰ ‰

∑

7 8

∑

7 8

∑

3 4

7 8

∑

3 4

∑

2 4 42

˘ ‰ . b b œœ Œ R

‰.

rŒ bœ flf ∑

∑

2 4

3 4

bœ

∑

2 4

bœ

p molto

b b œœ

2 4

∑

b œœ .. ‰ n # œœJ 42 Œ b b œœ

∑

nœ

oo ˙˙ȯ .. .

∑

‰.

b[xylophone] œ bœ ‰ j j ‰ 42 œœ # œœ f P ∑ 42

bœ ‰ # Jœ ‰ œj ‰ J

∑

j œ

∑

+ o œ #œ 2 J J ‰ 4 f + o œ œ ‰ 42 J J f Œ

f b œ*

j œ

lS co

œ. œ. œ. œ. œ. 58 œ œ œ œ œ π 5 ∑ 8

∑

Vc.

∑

5 8

?4 4

Vla.

n œœ. ‰ J P

∑

B 44

∑

& 44

Pno.

∑

Tbn.

1 2

+ o b œ œ̆ ∑ Œ Œ ‰ J J ‰ Œ 43 p fŏ + rapidly cover/uncover mute with hand +/o ~~~ +/o ~~~~~ b œ bœ bœ Œ 3 ‰ b Jœ Jœ ‰ ‰ J J ‰ ‰ 4 Œ p π P p f +/o ~~~ +/o ~~~~~ bœ Œ 3 ‰ bœ œ ‰ Œ Œ ‰ 4 Œ J J p π +P /o ~~~~~~~~ œœ b œœ ˘ 3 ∑ ‰ . b b œœ Œ Œ ‰ J 4 R p F ∑ ∑ ‰. r Œ 43 bœ flf ∑ ∑ ∑ 43

F Hn.

Cbsn. (Bsn. 3)

bœ

∑

b œ>œ ..

7 8

rŒ œ fl F

∑

> Œ b b œœ ◊ ‰ . r ‰ # œJœ b b œœ >

nœ

bœ

pizz. ≤ 2 b œœ .. ‰ j 4 b b œ. œ n # œœ f P f œ≤ . 24 b œ . b b œœ. ‰ n # œœ≤ J F P f

# œœ ‰ J 42 f

∑ 72

∑

# # œœ ‰ œœ # œœ

∑ Œ.

Œ ∑

7 8

gliss.

œ p

3 4

# œ # œ>œ 78 n œ œœ # œœ # œJ ‰ # œœ nœ

78 7 8

div.

#œ

œ J

unis.

œœ

7 n n œœ 8 78

43 3 4

∑

#œ ‰ œ #œ

unis.

‰

œœ. J ‰ ‰ f

Ó ∑ 73

43 43

∑

7 8

3 4

Œ div. arco

# œœ≤

3 4

3 4 43 43

2+3 1

Fl. 2 3

Ob. 1 2

& 43

∑

44 Ó

& 43

∑

b n œ˘œ J ‰ & 43 f

1 (B b)

& 43

∑

44 Œ

Cl. 2 (B b)

& 43

∑

44 Œ

B. Cl. (Cl. 3)

? 43

1 2

?3 4

Cbsn. (Bsn. 3)

t 43

1 2

C Tpt.

85 œ. # œ.

# œ. # œ. # œ.

44 ‰ 4 ‰ 4

∑

& 43

∑

44 ‰ j œ fl

3 4

& 43

∑

1 2

& 43 & 43

? 43

Tbn. 2

? 43

Pno.

Vln. I

Vln. II

b œœ 3 &4 J ‰ f

Vla.

Vc.

D.B.

& 43 ?3 4 t 43

bœ f

pizz.

‰ œjœ f

∑

3 4

∑

2 4

∑

5 8

∑

4 4

∑

44 Ó

∑

44 Œ

∑

85 Œ

∑

85 Œ

∑

+ o ~~~~~~~~~~~~ >œ œ B J P +/o ~~~~~~~~~~~~ > b œ B œ J ? P

rapidly cover/uncover mute with hand /

∑

‰

‰& n n œjœ

∑

œ œ

5 8

∑

5 8 Œ

bœ 85 b œ

85 Œ

‰

b b œœ 85 ‰ J

div.

5 8

œœ

bœ ‰

b œ˘œ b œœ.

‰ b œj œ œ

85 Œ

‰ b b œœ

b n œœ

j œœ ‰

∑ ‰

‰ div.

b n œœ b œ bœ # # œœ

5 8 œœ

85 œœ

Œ. 75

∑

˘œ # # œ˘œ j # Œ ≈ œœ .. œ .. Œ Ó fl +/o ~~~~~~~ ‰ œJ œJ ‰ ∑ P ?

44 ‰ œj # ˘œJ ‰ Ó fl f 44 ‰ j # ˘œ ‰ Ó œ J flf 44 ∑ 4 4

44 œœ 44

div. arco

≤j œœ p

œœ ‰

∑

Œ ∑

4 4

4 œ 4

44 ‰ b œj 44 œ˘œ ‰ J

44 ‰ j œœ fl 4 œœ 4

85 Œ

‰ n œj œ

# # œœ 85 œœ

pizz.

∑

‰ b œjœ œœ n œœ

‰ œjœ # # œœ f

∑

div. pizz.

∑

3 &4

f j ‰ bœ bœ

∑

? 43

∑

b œ˘œ 3 &4 J ‰

∑

5 8

? 43

∑

Hp.

?3 4

3 &4

∑

Timp.

[harmon mute (stem extended)]

b >œ

∑

3 &4

∑

to E b clarinet

∑

[harmon mute (stem extended)]

[xylophone]

∑

Perc. 2

∑

42 Œ

∑

? 43

ã 43

Tuba

42 Œ

∑

[harmon mute (stem extended)]

[marimba]

œ̆ 44 ‰ J 85 f . . . . . 2. œ̆ 44 ‰ J 85 f

∑

[harmon mute (stem extended)]

‰ œjœ # # œœ f

2+3 . . . . .

[harmon mute (stem extended)]

? 43

Ÿ~~~~~~~~~ 3 œ bœ bœ Ó f top two side keys Ÿ~~~~~~~~~ bœ bœ Ó f ˘ j #œ œ. J ‰ Ó ˘ b n œ˘œ n œœ ˘ j # # œœ . ‰ J Œ œœ . fl

∑

top two side keys

5 8

∑

‰

b˙ æ p b b ˙˙ æ p b b ˙˙

lS co

F Hn.

# œ. # œ. J ‰

j #œ

Bsn.

. ‰ œj # œ . F

‰ œJ œJ f *

œ. J ‰Œ f b œœ. J ‰Œ f nb œœ. J ‰Œ f

44 œœ. ‰ J f œœ 44 J ‰

‰ œœJ ≈ œjœ..

∑

b œ˘œ ..

∑

3 4

∑

2 4

∑

∑ Ó

# ˙˙ F

∑

˘ ‰ œœJ ≈ œjœ.. fl

∑

# # œ>œ Ó

‰. ‰.

unis. pizz.

∑

r #œ œ bœ œ R

unis.

Ó 76

œ œ

nœ.

#œ.

œ.

#œ #œ

[bass drum]

3 4

Œ Ó

∑ 77

∑

5 8

∑

44 44

∑

4 4 4 4 44

∑

b n œ˘œ . . . . . f

∑

div. c.l.b.

3 n n œjœ ‰ Œ 4 œœ flf P

∑

œ.

b n œ˘œ . . . . .

arco

∑

85 n œ > F ◊ 5 8

b œœ œœ b œœ œœ œœ œœ 2 5 4 Œ ‰J 8 F 24 ∑ ∑ 85

∑

div. c.l.b.

&Œ

42 2 4

∑

√˘ b b œœœœ 34 J ‰ Œ f˘ œ b b œœœ 34 J ‰ Œ

œ Œ J‰Œ

ord.

œ œ

hard mallet

3 4

#œ #œ # œœ .. # œ Œ J ‰ Œ

brake drum

damp with bass drum downbeat

unis.

j‰ Œ œ fl PF 3 ∑ 4

crotales

b œœ .. b œ bœ Ó 4 ‰ n jœ 4 nœ 44 ‰ jœ œ

∑

# œœ

∑

2 4 42

. . . . . . . .

5 8 85

. n œ. nœ

. # œ. œ

Œ.

4 4

Œ.

∑

2 4

∑

5 8

∑

4 4 44

P . # œ.

& 44

Ob. 2

& 44

E. Hn. (Ob. 3) Cl. 1 (B b)

78 ‰

?4 4

t4 4

f œ̆ . . . . .

f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 78 j ‰ œj œ œ. œ œ ‰ p f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 78 j ‰ j œ œ œ. œ œ ‰ p f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 78 j ‰ œj œ œ. œ œ ‰ p f 78 ∑ ∑ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ œ œ ‰ 78 œ . J J p f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ ‰ 78 œ . B‰ œ œ J J p f 7 ∑ ∑ 8 B‰

bisbig.

+ + ‰ œj œ f

7 +j ‰ ‰ Ó 8 œ p 7 ∑ 8

44 44

‰

4 4

& 44

3 4

& 44

∑

& 44

∑

7 8

∑

4 4

& 44

∑

?4 4

∑

7 8

∑

4 4

C Tpt. 2 3

1 Tbn. 2 3

?4 4

Tuba

?4 4

ã 44

Perc. 2

Hp.

Pno.

Vln. I

Vln. II

(◊)

& 44 ?4 4

7 8

∑

b œœ œœ œœ p

∑

7 8

∑ ∑

œ > F

∑ ∑

‰ b œjœ iŒ I >f p.d.l.t.

78 ‰ 78

bord. œœ œœ œœ œœ œœ œœ F

∑

√˘ b b œœœœ J ‰ Œ Ó 7 ∑ & 44 8 f˘ b b œœœœ J ‰ Œ Ó 7 4 ∑ &4 8 . . . . b n œ˘œ . . . . . . . n n œœ 78 J ‰ Œ & 44 f P ˘ . . . . . . . . . . # œ. b n œœ œ ‰ Œ 7 4 J &4 8 f P B 44

∑

43 Œ

∑

j œ Œ flf ∑

3 4

∑

3 4

∑

3 4

√˘ b b œœœœ 4 J 4 f˘ b b œœœœ 4 J 4 b n œ˘œ 44 44 44

f b n œ˘œ f

+ j œ ‰

Vc.

?4 4

∑

3 4 Œ

∑

43 Œ

∑

4 Ó 4

3 4

4 4

∑

3 4 Œ

3 4

˙ p

∑

43 ˙

∑

3 4

∑

‰ j Œ œ >I

43 43

∑ #œI >

‰ Œ

3 4 Œ

‰ Œ

3 4 Œ

. . . . . .

∑

‰ ∑

j Œ œI >

√˘ n œœ bœ ‰ Œ J n œ˘œ b œœ ‰ Œ J

. n œ. n n œ˘œ . nœ .

sub.

. .

4 4

∑

D.B.

t4 4 81

∑ ∑

∑

3 4

∑

43 Œ

∑

4 4

∑

4 4

∑

œœ. 44 J ‰ Œ P

arco unis. . b œœ. ≤ 34 4 ‰ J 4 œj ‰ # œœœ P p molto f c.l.b. tutti div. . div. b œœ . n œœ. pizz. J ‰ 4 œ 34 Œ 4 œ P f div. a 3

+ œ

cover mute with hand, graudally uncover

4 4

∑

> b œœ iI Œ f p.d.l.t. ∑

∑

∑ 78

3 4 Œ

4 4

Ó Ó

j . ‰ ≈ b œj. œ. . .. .

Vla.

B 44

3 4 Œ

∑

4 4

3. 4 + 4 ˙ f

j ‰ 44 œ

3 4

∑

b œœ

∑

4 4 44

4 4

∑

œ œ J

j #œ 3

‰ 42

∑

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 34 44 Œ j j 43 œ . . œ ˙ ˙ œ œ œj œ œ ‰ Œ fl f p f bisbig. ~~~~~~~~~~~~~~ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 44 j ‰ Œ j j Œ 43 ˙ . 43 œ œ œ œ œ œ œ œ ‰ Œ œ flf f p bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 44 j j 43 . 43 œ j œ œ œ œ œ ˙. œ œ ‰ Œ #œ œ œ f f Í ˙ 44 ∑ ∑ ∑ 43 43 Œ π bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ œ œ œ œ3œ œ œ̆ ‰ Œ œ . 44 œJ ‰ œ J J 43 # ˙ 43 J f p f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~ j œ œ œ œ œ ˙ œ œ ‰ Œ . 44 œJ ‰ Œ J J œ œ 43 # œ 43 p f f 3 4 3 ∑ ∑ ∑ ∑ 4 4 4

j œ ‰ b œJ Œ fj œ œ œ bœ ‰b œ œ b œ b œJ Œ f ‰

bisbig.

o b œ œb œ œ bœ œ

4 4

∑

j ‰ 78 Œ . œ

˙. p

ã 44 & 44

7 8

∑

1 2

P # œ.

F Hn.

78 ‰

& 44

Cbsn. (Bsn. 3)

Bsn.

* microtonal fingerings in part

# œ.

Fl.

& 44

lS co

. # œ.

3+2+2 œ̆ . . . . .

unis. pizz.

44 œœœ œ f div. pizz. œ 44 œ f

œ f

43 Œ

42 42

‰ Œ

2 4

‰ Œ

2 4

∑

xylophone

Œ &

2 4 42

∑

# # œœ ƒ

42 ?

√

(œ) (b œ )

√œ

( )

42 42

arco poco sul pont., ( œ ) poco flautando ( b œ )

∑

42 2 4

∑

div. pizz.

> 34 Œ & b b b ȮȮ b P> 5 soli, div. arco > 3 Œ & Ȯ 4 b b Ȯ P> arco 43 Œ & b Ȯ P> div. # œœ 34 Œ f

hard mallets

loco

‰ Œ

∑

[brake drum]

œœ

‰ Œ

# ˘œ 3 Œ # # œœ ‰ Œ 4 J f j 3 4 Œ # œœ ‰ Œ fl pizz. # # œœ Œ 43 Œ ƒ

j j œœ .. œœ ‰ œœ ≈ œœ .. .. bœ . œ. III/IV gliss. . .. . bœ. . ‰ J ≈ œ . 43 J 85

+ j # œœ flf + j # œœ flf ˘ #œ J f ˘ # # œœ J fo œ J f

42 42 42 42 42 2 4

14 1

2 &4

Ob. 2

E. Hn. (Ob. 3) Cl. 1 (B b)

∑

2 &4

∑

4 4

2 &4

∑

4 4

2 ˙ &4

B 42

œ œ œj # œ. J ‰ ‰ J J ‰ Œ p # œ # œj Œ Ó p 3 œ # œj œ œ # œj J ‰ J ‰Œ ‰ p

Œ œ

j œ

j #œ

Œ Ó

# œ # œj p

∑

3 4

∑

4 4

∑

œ ‰ Œ J

3 4

4 4

∑

3 4

∑

4 4

∑

4 w 4

∑

B 42

∑

1 2

2 &4

∑

4 4

∑

3 4

2 &4

∑

4 4

∑

2 3 Tuba

? 42

Pno.

Vln. I

Vln. II

Vla.

∑

? 42

2 ã 4

Hp.

∑

D.B.

4 4 44

∑

4 4

∑

œ̆ # ˘œ hard mallets 24 ‰ J Œ 4 J Œ ‰ & 4 p 2 &4

vibraphone

delicate

∑

soft mallet i ‰ œJ Œ p

small sus. cym.

∑

#œ

∑

œ #œ ‰‰ J 3

ord.

j œ ‰Œ Ó fl f j‰ Œ Ó b œœ flf ∑

∑ ∑

j j bœ. ‰ ≈ bœ . . bœ . . bœ . > P

∑

4 4 44

∑

# ˘œ œ̆ œ̆J J‰ ‰Œ J‰

∑

5 8

∑

4 4

5 8

∑

4 4

j œ ‰ Œ

5 8

∑

4 4

∑

>œ

bisbig.

j œ ‰Œ flf

3. stopped mute

˙ >f

∑

5 8

∑ Ó

∑

o œI Œ Ó P ∑

∑

œœ J b œœ œ # œ ‰ j ‰ >f > > >œ I p.d.l.t. ∑ √˘ b b œœœœ J ‰Œ Ó f˘ œ b b œœœ J ‰Œ Ó

ord.

∑

? 42

∑

2 &4

∑

2 &4

∑

[5 soli, div.]

2 Ȯ & 4 Ȯ

∑

f b n œ˘œ . . . . . . œœ. 44 f 44 ∑

2 & 4 ȮȮ

44 wO Ow

∑

œœ œœ

π j OœO ‰ B œ J j OœO ‰ œ J j Oœ ‰ B

ȮȮ .. ..

44 wO

Ȯ ..

∑

t 42

∑

∑ 88

Ȯ

Oœ Oœ

unis. I arco

∏

˙˙ ..

ȮȮ .. ..

wOwO

? 42

œ≤ œ œ ‰ œJ œ œ ∏ div. sul tasto arco œ œ≤ ˙˙ ‰ J ∏

∑ 89

Ȯ ..

∑

œœ

˙˙ ..

œœ

Oœ ∑ 90

oo ˙˙o #˙ P

∑

div. arco sul tasto

∑

Œ Ó

∑

œ.

4 4

∑

4 4

∑

2 &4

? 42

∑

‰ j 85 œ œ > F ◊ 5 8

∑

44 Ó

∑

Œ 43

brake drum hard mallets

œ̆ # ˘œ ‰ J ‰ J Œ

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 85 œ œj ‰ ‰ 44 œ ˙. >f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5 4 8 œ œj ‰ ‰ 4 w> f bisbig. ~~ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~ 5 4 8 j‰‰ 4 œ œ #œ œ œ œ œ œ >f

4 4

∑

. . . . .

bisbig.

∑

3 4

∑

2 &4

2 & 4 Ȯ Vc.

[harmon mute (stem extended)]

? 42

∑

[harmon mute (stem extended)]

∑

4 4

? 42

Timp.

Perc. 2

2+3 . . . . .

bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~ œ #œ œ œ œ 85 œ œJ ‰ ‰ 44 f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~ bisbig. ~~ > œ œ 44 #œ ˙ 85 œ œJ ‰ ‰ 44 f

3 3 Œ ‰ ‰ jn œj œ 43 œ œj ˙ p 3 ∑ ∑ 4

lS co

Tbn.

∑

[harmon mute (stem extended)]

2 &4

1 C Tpt. 2 3

1. stopped mute A

œ̆ ‰ J f œ̆* ‰ J f *

∑

Bsn.

F Hn.

∑

Fl.

>œ œ œ # œj 44 ‰ J J ‰ Œ Œ J ∑ p P * # œ œ # œj # œ # œj ‰ J J ‰ 44 Ó Œ p 3* p >œ 44 Ó ∑ Œ Œ J P * microtonal fingerings in part

div. a 3 III arco IV IV

oo 3 ooo ooo œœo njjn œœœ œœœ 3 œ J 4

∑

oo 3 ooo œœo n œœ œ# œ J

b œœ œœ œœ œœ

‰ 44

∑

44 44

oo ˙˙ȯ

∑

44 &

b n œ˘œ . . . . . . b œœ. c.l.b.

c.l.b.

oo œœo œ ‰Œ J

abrupt cut off

Ó 93

44 44

& 44

Ob. 2

& 44

Cl. 1 (B b)

B4 4

Bsn.

2 3

1 Tbn. 2 3

Vln. I

œœ

3 4

bisbig. ~~~~~~~~~~~~ >œ œ œ # œ œ œ 43 œ

9 8 9 8

œ #œ

9 8

∑

œœ

œ #œ

9 8

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ. >œ œ œ #bisbig. 3 ˙. 9 . 4 œ ˙ 4 8 #œ 4 b œ . >

∑

& 44

∑

& 44

∑

?4 4

∑

?4 4

∑

(◊)

j‰ Œ œ

& 44

?4 4 & 44 & 44 & 44

∑

ã 44 & 44

∑

b œœ œ ‰ # œj Œ œ > > > > p.d.l.t. L.V. ∑ √˘ b b œœœœ J ‰ Œ Ó f ˘œ œ˘œ b b œœœ J ‰ Œ ‰ J Œ

n˘ . . b n œ˘œ . . . n œœ. b œœ c.l.b.

98 B

∑ ∑

98 # bn œœœœ .... 98

∑

j œ‰Œ f

unis.

. œœ.

D.B.

t4 4

∑

∑ ∑

Œ.

98 ≤ b n œœ .. π

div. a 2

44 44 44

∑

Œ. ∑

b b b œœœœ ....

∑

. . . . œ. bœ J‰ 9 34 8

3 4

∑

& 44 ∑

nœ. p b2.œ .

∑

43 43

∑

f P f sub. div. a 3 nb œ˘œ . . . œœ. ord. J ‰ ≤ 3 4 &4 # œœœ 4 f P p molto c.l.b. tutti div. ˘ b œœ . . Œ & ‰. J B 44 Œ 43 f

?4 4

j œ ‰ ‰ Ó. flf b ˘œ ‰ ‰ Œ . J f ˘œ b b œ ‰ ‰ Œ. J f 3.

∑

Vla.

Vc.

∑

c.l.b.

Vln. II

~~~~~~~~~~~~~~~~~~~~ 4 4 œ. #œ. bœ. > 4 ∑ 4 bisbig. ~~~~~~~~~~~~~~~~~~~~ œ. >œ . 4 bœ. 4 bisbig.

& 44

Pno.

∑

œ #œ

~~~~~~~~~~~~~~~~~~~~ 44 œ. nœ. œ . > bisbig. ~~~~~~~~~~~~~~~~~~~~ 4 4 œ. nœ. œ . > bisbig.

4 4

ã 44

Hp.

œ > œ œ #œ œ

3 4 œ

œœ

P Œ

∑

?4 4

~~~~~~~~~~~~

œ #œ

∑

9 8

Tuba

Perc. 2

bisbig.

œœ

∑

3 4

C Tpt.

∑

3 4

& 44

∑

1 2 F Hn.

∑

~~~~~~~~~~~~~~~~~~ j 3 ˙>. œ ‰ 4 œ bisbig. ~~~~~~~~~~~~~~~~~~ 3 4 œ œ> œ ˙ .

& 44

∑

bisbig.

& 44

B4 4

∑

III ord. IV

≤ œ.

arco div.

≤ 9 # œœ .. 8 π 98

unis. ord. IV

div. ≤j œ œ œj ‰ ‰ bœ p f

j œ ‰ ‰ Œ. F

unis.

Ó ‰

∑ j œ ‰Œ j œ ‰Œ j œ ‰Œ

w π œ ‰Œ J

+ j # œœ ‰ Œ flf stopped mute + j # œœ ‰ Œ flf ˘ #œ J ‰Œ f ˘œ # # œ ‰Œ J f œ̆ ‰ Œ J f n ˘œ J ‰Œ f

#œ

j #œ

>œ # œ3.

43 Œ

‰

Ó Ó

>œ œ 3œj ‰Œ J ‰ 44 F #3 œ 44 Œ ‰ F

44 44 44

j #œ

∑

3 4

∑

3 4

∑

œ # œj J ‰‰Œ 3

‰

œ œ J F

j œ

43 Œ 43 43

bœ

j œ

15 œ œ # œj ‰ J J ‰ P

F b œ œ œ. p

∑

4 4

∑

3 4

∑

4 4

∑

3 4

∑

3 4

∑

4 4

œ J

‰ Œ

4 4

∑

3 4

∑

3 4

∑

4 4

∑

3 4

∑

3 4

∑

4 4

∑

3 4

∑

[brake drum]

∑

œ Œ Ó f [vibraphone] # ˘œ hard mallets Œ Œ ‰ JŒ p delicate [xylophone] œ œ Œ Ó f j b b œœ ‰ Œ Ó fl P ∑

#œ 44 # œ ƒ

pizz.

div. pizz.

# # œœ ƒ

œ̆ œ̆ # ˘œ J ‰ Œ 43 P ∑ 43 43 43

poco sul pont., poco flautando

∑ ∑

∑

o ‰ n œjI Œ

∑

∑ ∑

b ˘œ ‰ J Œ

o ‰ b œj Œ

b ˘œ œ̆ 34 J ‰ ‰ J Œ o 43 b œ 43 43

∑

˙˙˙

nw 44 b ww p

œ 34 œœ

œœœ J‰ Œ

œœœ

˙˙˙

n ww w p

œœ 43 œ

œœ œ‰ Œ J

∏

œœœ 43 √( œ )

(b œ )

√

(œ) (b œ )

√( œ )

43 43

ȮȮ .. ..

43 Ȯ .. 3 4 43

∑ ∑

∑

œœ n # œœ ‰ . œR 43 œ ∏

∑

4 4

∑

3 4

∑

100

o œœ œ

div. a 3 arco sul tasto

poco sul pont., poco flautando

n ˘œ ‰ J Œ

∑

div. a 3 arco sul tasto

‰Œ

∑

œ # œ3

ord.

to piccolo

∑

3 4

# ˘œ 44 # # œœ ‰ Œ J f j 44 # œœ ‰ Œ fl

bœ œ ‰ J

3 ˙. 4

stopped mute

j œ œ j ‰ ‰ 4 b b w>O J b b œœ & 4 b b Ow > J P f 5 soli, div. > 4 wO & 4 b b Ow > P 4 b wO & 4 > unis. P œ J ‰ ‰ Œ. 4 4 F 44 ∑ 97

j #œ

lS co

E. Hn. (Ob. 3)

∑

& 44

P . # œ.

Fl.

& 44

. # œ.

3+3+3

∑

101

2+2+3 &

∑

2 4

∑

4 4

∑

7 8

Ob. 2

& Œ

2 (E b)

Bsn. 2

Cbsn. (Bsn. 3)

1 2

F Hn.

3 4

C Tpt.

1 2 3

1 Tbn. 2 3 Tuba Timp. 1

Perc. 2

Hp.

Pno.

Vln. I

Vln. II

bisbig.

& Œ

1 (B b)

Cl.

~~~~~~~~~~~~ 2 4 œ œ œ f bisbig. ~~~~~~~~~~~~ 2 Œ œ 4 œ œ œ p f bisbig. ~~~~~~~~~~~~ Œ 42 ˙ #œ f p 2 ∑ 4 ∑ Œ œ p

∑

~~~~~~~~~~~~ Œ œ 42 ˙ f p bisbig. ~~~~~~~~~~~~ Œ bœ 42 œ b œ œ p f ∑ 42 ∑

∑

bisbig.

Œ œj ‰ 42 flf [harmon mute (stem extended)] B Œ Œ b ˘Jœ ‰ 42 f [harmon mute ˘ (stem extended)] b œ ? Œ Œ b Jœ ‰ 42 f ? ∑ 42 & Œ

[harmon mute (stem extended)]

∑

42 42 42

∑

2 4

& Œ

Œ œ œ f n b # œœp.d.l.t. ∑

2 4

# ˘œ ? œ‰ Œ Œ J f ? œj ‰ Œ Œ œ fl ∑

∑

42 42 42 2 4 42

tutti div. pizz.

Vla.

∑

j j B # œ . ‰ ≈ œ . 42 # œ. . . #œ . f

∑

j j ? œœœ ... œœ ‰ œœ≈ # œœœ ... 42 œ. œ f III/IV gliss. . œ. . . #œ. t œ . ‰ ≈ œ . 42 J J f div. a 2 pizz.

D.B.

102

4 4

4 4 44 Œ

∑

∑ ∑ ∑

∑

4 4

∑

7 8

∑

4 4

∑

7 8

∑

# ˘œ 44 œ ‰ Œ J

∑

∑ ∑ ∑ ∑ ∑ ∑ 103

44 4 4

j œœ ‰ Œ fl

∑ Ó

∑

≤ 44 # œ . œ Œ b b b œœœ 78 # œ . .. # œ p f div. a 3 arco

pizz.

44 44

strum, sim.

œœœ œœ œœ .. .. œ f œœ . . . . f

∑

4 4

∑

ã‰

∑

c.l.b.

f b œœ. . . . . . . f

œ ‰ Œ J f

unis.

∑

105

43 43

Œ.

+ ˙ >f

∑

∑ ∑

∑

œ. . . . . œ. p F

guiro scrape

Œ 44 Œ 44

∑ ∑

. . 44 # œœ Œ P 44 Ó 44 Ó

oo II oo œœ 4 III œ 4 # œœ IV

5 8

85 5 8 85

85 85 85 85

∑ straight mute

∑

b˙ 43 Œ π ∑ 43

3. straight mute

∑

œ œ œ œ œ 43 p ∑ 43

85 85 85

∑

3 4

∑

5 8

∑

3 4

∑

5 8

∑

loco 43 œj ‰ Œ nœ f flj 43 b œœ ‰ Œ fl

. . .b b œœ.

4 4

∑

f œœ. . . . . .

∑

+ j œ ‰ Œ

√ o II o o arco o o oo oo o div.oo a 3 o o o o I œ njœ3 n œ n œœ œœ jn œ 43 œ œ œœ œ # œ # œ # ˙ . jn œ œ IV IV œ f P possibile 106 107 [div. a 2]

piccolo ˙. ‰ œJ ˙ 43 π bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 ‰. r 4 œ œj ‰ bœ œ ˙ >f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j 3 4 œ œ‰ w >f bisbig. ~~~~~~~~~~~~~~~~~~~~~~ j‰ 43 œ .bœ œ œ œ # œ œ œ œ > f œ ˙ 3 ˙. Œ ‰J 4 π E b clarinet œ ˙ ˙. 34 Œ ‰J π bisbig. ~~~~~~~~~~~~~~~~~~~~~~ > œ œ‰ Œ ‰ Jœ ˙ J 43 f bisbig. ~~~~~~~~~~~~~~~~~ > œ œ‰ Œ Œ ‰ # œJ œ 43 J f ∑ ∑ 43

∑

œœ. . . . . .

5 8

∑

œœ˘œœ J ‰Œ œœ˘œœ J ‰Œ

∑

3 4

44 Œ ã ‰ œ œ œ œ œ œ œ œ J F œ. œ. œ. œ. œ. œ. œ. œ. œ. J ‰ Œ 44 ∑ p ∏ maracas .œ œ. œ. œ. œ. œ. œ. 4 œ. œ. œ. œ. Œ Œ ã‰ J Ó 4 F but very articulate bord. œœ n œ œœ œœ œ ∏ soft, and rhythmically precise J ‰ 4 ∑ ∑ 4 f >œ . b >œ i >œ 44 ∑ ∑ ‰ Œ Œ

œœ. J ‰Œ P œœ. J ‰Œ P

∑

a2 senza sord.

4 4

∑

43 Œ b b ˙˙ π 3 ∑ 4

∑

3 4

f * Œ b œ œj >f

∑

44 Ó

∑

3 4

œœ. . . . . . .

∑

j œ

∑

œ. ‰ J 43 ∏

sleigh bells

104

∑

43 43

∑

œ # œœÓ œ # œœ

∑

c.l.b. div. a 2

∑

4 4

Œ.

3 ∑ 4 >œ b >œ œ >œ œ J n >œ 3 78 4 √˘ b œœœœ 78 J ‰ Œ Œ . 43 f˘ b œœœœ 78 J ‰ Œ Œ . 43 7 8

∑

soft, but very articulate and rhythmically precise

div. a 2

∑

3 4

∑

4 4

∑

>* bœ

∑

4 Ó 4

∑

œ̆ J ‰ Œ f

∑

7 ‰ œj Ó 8 fl œ ˘ 78 ‰ b œJ Œ p ˘œ b 78 ‰ b œJ Ó ∑

∑

bisbig. ~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~ >œ n >œ œ 7 œ ‰ ‰ œJ ˙ 8 J ‰ ‰ J J œ 43 ˙ J p p f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~ bisbig. ~~~~~~ n œ bœ œ œ œ. 3 ˙ œ ‰ ‰ b œj œ b œ 78 4 J p f p 78 ∑ ∑ ∑ 43

∑

4 4

∑

44 Œ Œ

∑

bisbig.

∑

bisbig. ~~~~~~ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 j ‰ œj œ œ 78 œ bœ œ œ. 4 ˙ œ ‰ p f p bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j 3 ‰ œj œ œ 78 ˙ œ. 4 ˙ œ ‰ p p f bisbig. ~~~~~~ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~ 78 3 ‰ j j ‰ n œ b œ œ œ œj 4 #œ ˙ ˙ œ œ f p p 7 3 ∑ ∑ ∑ 8 4

∑

4 4

∑

pizz. (non div., strum)

Vc.

∑

& Œ

∑

E. Hn. (Ob. 3)

∑

Picc. (Fl. 3)

Fl.

* microtonal fingerings in part . . . . . # œ. œ. ‰ ‰ J 43 p f . . . . . # œ. œ.* ‰ ‰ J 43 f p ∑ 43

lS co

Ó unis. ord.

j n œ. ‰ Œ f . œ. œ Œ f

>˙ . 43

∑

≤ œ div. a 2 p pizz. œœ. . . . Œ

>œi # >œ i J ‰ J Œ

109

Œ Œ

3 4

∑

5 8

∑

j Œ B ‰ œœ 43 & bœ P f div. a 3 unis. pizz. b œ œ b œ œ œ œ œj ‰ n œj B b œœ b b œœ ? b œ 43 J‰ Œ J œ ‰ f P f pizz. oo bœ div. a 2 t‰ œ 3 nn œœ Ó Œ Ó J 4 œ f 108

j j œœ .. œ ‰ œ ≈ œœ .. 85 bœ. œ. strum, sim.

III/IV gliss.

strum, sim. I/II gliss.

b œœ .. ‰ œ. œ œ J bœ. . . œ. ‰ J

110

. ≈ œœœ .. 85 J œ. ≈ œJ . 85

Ob. 2

E. Hn. (Ob. 3)

& 85 & 85

œ.

& 85

B 85

Cbsn. (Bsn. 3)

1 2

F Hn.

3 4 C Tpt. 1 2

1 Tbn.

Tuba

Perc. 2

Hp.

Pno.

Vln. I

Vln. II

Vla.

Vc.

∑

œ 42 J ‰ Œ π œ 42 J ‰ Œ P π Œ ? ‰ ‰ œj 42 ˙ π ∑ ∑ 42

t 85 Œ

∑

& 85

‰ ‰ j 42 œ ˙ π ∑ ∑ 42 ∑

2 4

5 & 8 œœ

œœ ..

2 4 ˙˙ P 2 ∑ 4

5 &8

?5 8

∑

?5 œ 8 3.

2 3

∑

?5 Œ 8 ã 85

ã 85 Œ ã 85

5 &8 Œ ? 85

œ.

2 ˙ 4 P ‰ ‰ j 42 œ ˙ ◊ π ∑ ∑ 42

& 85 B 85 ? 85

œœ. 2 J ‰ Œ 4

f œ˘œ . . . .

œœ. 42 J ‰ Œ

c.l.b.

∑ ∑

∑

˘ 24 œœJ ‰ Œ

œ˘œ . . . .

∑

78 78

∑

t 85

∑ 111

∑ 112

43 43 43

œ. # œ. Œ ‰

#œ

∑

œ œ. F

78 78 78

7 8 7 8 7 8 7 8 78

∑

œ œ. F ∑

7 8

∑ ˙˙ ∑ ˙ œ

78 78 7 8 78

j œœ ‰ ‰ π œ ‰ ‰ J π

œ œ. F ∑

œ. œ. œ. œ. œ. œ. œ.

p Œ

[maracas]

44 œ 44

j œ ‰ Ó π

4 4 4 4

4 4 œ

j ‰ Ó œ π [guiro] 44 ‰ œ œ œ œ œ œ œ J p 44 ∑

∑

Œ. Œ.

# # œœ. . . . . . . f

# œœ. . . . . . . f

# œœ. ‰ Œ J

Œ.

44 P˘ œ 44 œœœ ‰ ‰ J

∑ ∑

f œ˘œ œ˘œ J J ‰ Œ

œ. . . b b œœ. 4 œ Ó 4 P

44 œœ. . . # # œœ. Ó P œ. ˘œ . 44 Œ ‰ œJ œ f 44 Ó

∑ arco I

∑

44 ∑ ∑ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ œ3 œ 44 ˙ J bœ œ J ‰ Œ p f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #œ 3 œ œ œ œ 4 ˙ œ J 4 J ‰ Œ p f 44 ∑ ∑

43 3 4

∑

4 4

∑ ∑ ‰ b œœ ˙˙ J p ∑

∑

38 œ . F 38 ∑ 38

43 43 43

∑

. 38 œ F œ. 38 F

∑

43 43

∑

3 8

3 4

∑

3 œ. 8 œ.

4 Œ 4

3 4

∑

4 4

3 4

∑

4 Ó 4

3 4

∑

4 4

∑

3 8

∑

3 4

42 œ œ œ œ 43 f 24 ∑ 43

œ œ œ œ Œ

∑

œ. 3 J 4 ∏ ∑ 43

2 4

∑

3 8

∑

3 4

∑

2 4

42 42 42

∑

∑ ∑ ∑ ∑ unis. ord.

≤ bœ p

. . 24 # œœ Œ F

œœ œ 42 ˙ œ jœœ ˙˙

43 43 3 4 43 43

115

∑

3 3 4 4 bœ bœ bœ œ œ I 4 >f > > > p.d.l.t. 44 ∑ 43

.j . . . . 24 ‰ œ 43 & œ œœ Œ bœ f œJ div. a 3 pizz.

∑

42 Œ . .

44 w

3 4

2 4

div. a 3 √ I n œ II n œ j œ Œ V ‰ œ œ œœ # œ 44 # œ˙ j œ # œœœ ... jjœœœ œœ IV IV f F possibile 113 114

[div. a 2]

∑

o + ‰ j 42 œ. . . . # œ. p F 2 ∑ ∑ 4 ~~~~~~~~~~~~~ +/o harmon mute (stem extended) œ œ œ J ‰ Ó Œ ‰ J 42 F p 2 ∑ ∑ 4

4 Ó 4 4 4

j ‰ Ó œ π

∏ .œ œ. œ. œ. œ. 4 œ. œ. œ. œ. œ. œ. œ. œ. 4 F p 4 ∑ ∑ 4

# # # œ˘œœ œ ‰Œ J ˘ # # œœ # œœ ‰ Œ J

78 78

44 œ

∑

bisbig.

∑

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 44 j ‰ Œ j Œ œ ˙ ˙ œ >f p bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 44 j #˙. ˙ œ ‰ Œ >f p bisbig. ~~~~~~~~~~~~~~~~~~~~~ 3 4 j ‰ Œ #œ œ bœ œ œ 4 ˙ œ f p 3 #œ ˙ w 44 ‰ π 3 œ ˙ w 44 ‰ π 3

sempre natural harmonics

D.B.

∑

. . . . 24 œœ 78 f 42

∑

tutti div. c.l.b.

∑

* ‰ œ.j 42 . . . # œ . f 42 Œ œ. œ. f ∑ 42

œ. œ. œ. œ. œ. 7 ‰ ‰ J 42 8 ∏ 78 ∑ ∑ 42 b œœ œœ œœ œœ n œœ J 2 7 ‰ ‰ 4 8 f 78 ∑ ∑ 42

[sleigh bells]

√˘ œœœœ 5 & 8 J ‰ Œ. œ˘œœ œ & 85 J ‰ Œ . 5 &8

∑

44 Ó

∑

Bsn.

∑

B. Cl. (Cl. 3)

B 85

∑

Cl. 2 (E b)

œ 42 J ‰ Œ π ∑ 42

∑

œ œ. & 85 P œ œ. & 85

1 (B b)

f œ. . . # œ.

Picc. (Fl. 3)

& 85 Œ

lS co

Fl.

& 85 Œ

œ. . . # œ.

2+2+3

œ. ‰ ‰ J p. œ ‰ ‰ J p

* microtonal fingerings in part

2+3

bœ œ ‰ b œJ œ π

2. straight mute 3.

∑

√˘ # œœ œœ 44 ‰ j Œ ‰ J Œ œœ # œ˘œ flj œœ ? 4 ‰ œ Œ 4 &‰ J Œ œ fl # œœ. œ˘œ . # œœ. . . . . . 4 œœ. ‰ Œ ‰ J 4 J f f F div. c.l.b. œœ. œ˘œ . j ‰ ‰ jœ j‰ Œ 4 ‰ J n œ . . 4 œ.œ b œ. fl f F f f strum, sim. unis. j pizz. j 4 œ œ . ∑ B 4 ‰ œ ≈ . œ œ œ œœ . œ bœ f III/IV gliss. strum, sim. unis. .. I/II gliss. œ œ j Œ ? 44 ‰ œœ ≈ œ . œ œ œ b œ #œ ‰ Œ œ J J f .. . . . b œ unis. œ pizz. t 4 ‰ J ≈J ∑ 4 f # œ˘œ ‰ Œ Œ J f Œ ‰ œjœ Œ fl

116

117

3 8

3 œœ .. 8

38 Œ

38 3 8 38 38

3 4 3 4

∑

3 4

∑

∑ . . # # œœ.

43 3 4

. . # œœ. 43 F ∑

∑

118

& 43 & 43

∑

?3 4

1 2

& 43

3 4

& 43

˙ F

‰

j œ π 2. o j ?‰ #œ π

F Hn.

& 43 & 43 ?3 4 ?3 4

Tuba

?3 4

ã 43

˙˙

[straight mute]

ã 43

& 43

& 43 & 43

∑

(√)

∑ Œ

b b œ˘œ J ‰ Œ

# # œœ. J ‰ Œ 3 &4

Vla.

& 43

Vc.

?3 4 t3 4

∑ ∑ 119

˙˙ 42 j 42 œ ˙ ◊π 42

. ‰ Jœ π

n œ˘œ ‰ J n œ˘œ b ‰ œJœ

b b œœ. . . . . œœ. f

˙. P

˙. F

f . ‰ b n œJœ f

div. c.l.b.

44 œ

n n œœ. ‰ J

# œœ. & 43 J ‰ Œ

∑

oj # œ 42 ˙ π

[maracas]

œ. œ. œ. œ. œ. œ.

[sleigh bells]

44 œJ ‰ π 44 j ‰ œ π 44

∑

44 œœ 44

∑

œ. œ. œ. œ. 42 p œ. œ. œ.5 œ. œ. 42 42 42

∑

j ‰ œ

˙ P 44 Œ

∑

‰

∑

. . . 42

∑

√

sempre natural harmonics div. a 2 I arco IV

∏ . œ. œ. œ 44 F

[guiro]

œ.

44 œ˘œ J

œœ. 44 J F 44 œœ. J F 44 œœ. f

‰

b b œœ. ‰ J f

∑ II III

j œ.œ ‰ b œœ. f

n œœ .. jn œ œ œ œ œ jn œ 42 Œ V œ œœ œ # œ 44 # œ jn œ œœ # œœ œœ jn njœœœ jœœœ # # œœ œ œ IV f F possibile 120 121 I II

∑

5 8 ∑

∑

œ œ œ œ ‰ f p sub. ∑ ∑

. b b œœ.

‰

2 4

∑

˘ b œœ J

œ.

∑

œ œ œ œ œ œ 85 f p ∑ 85 85

∑

bœ bœ bœ >f > > p.d.l.t. ∑

œ >

b b œ˘œ 43 J ‰ Œ

‰

∑

div. a 3

œ.

∑

b b œ˘œ ‰ J

44 Œ

. . .

œ.

∑ ∑

. 44 œ

œ œ J P Œ Ó

‰

Œ œœ J π

∑

˙. F

œœ ‰

∑

42 ˙

44 œ

˙ F

∑

42 ˙

2. [straight mute]

˙ 42

[straight mute]

ã 43

?3 4

?‰

œ œ. ‰ J π

œ œ. ˙ ‰ J 42 π bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ‰ j 85 # œ 42 œ œ. œ ‰ œ ˙ > >f p bisbig. ~~~~~~~~~~~~~ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~ j 5 j 42 œ #˙ œ ‰ 8 # >œ œ b œ . œ ‰ >f p bisbig. ~~ bisbig. ~~~~~~~~~~~~~~~ j 2 j ‰ 85 # œ n œ b œ #œ œ bœ œ œ 4 œ œ f p bœ œ. ˙ ∑ 85 ‰ J 42 π œ œ. ˙ 58 ‰ J 24 ∑ π 5 ∑ ∑ Œ j ‰ Œ 8 42 œ bisbig. ~~~~~~~~~~~~~~~~~ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b >œ b ˙ b >œ bœ œ œ œ ‰ J 42 J 85 f p bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #œ œ œ # >œ œ œ . œ œ ‰ œ J 85 42 f p ∑ ∑ ∑ 85 42 + o +o p f ‰ Œ j . Œ & 85 b œ œ ‰ Œ 42 œjœ . . . . . œ .p . . . f + o +o p f ‰ Œ j . Œ & 85 b œ œ ‰ Œ 42 œjœ . . . . . œ . . . . p f 58 24 ∑ ∑ ∑ 85

∑

lS co

œ J ‰ p œ J ‰ p ‰ j œ π

D.B.

∑

& 43

t3 4

Vln. II

∑

Cbsn. (Bsn. 3)

Vln. I

∑

Pno.

∑

B3 4

Hp.

∑

Perc. 2

∑

B3 4

2 3

∑

Tbn.

& 43

5 8

Cl. 2 (E b)

2 3

∑

& 43

C Tpt.

3 4

1 (B b)

∑

Ob. 2

Bsn.

4 4

& 43

B. Cl. (Cl. 3)

∑

E. Hn. (Ob. 3)

f œ ‰ Œ J p

œ.

2 4

Picc. (Fl. 3)

f. . . . . * bœ

2+3

Fl.

& 43

œ.

* microtonal fingerings in part

œ. . . . .

∑

. . . . . b b œœ. 43 f unis. 43 43 43 43

≤ bœ p

ord.

. . . . . . ∑ œœ œ

j œœ ‰ Œ œ J 122

∑

85 b œ b œ b œ > > > 58 ∑

123

F œ.

F ∑

~~~~~~~~~~~ bœ œ J 85 f bisbig. ~~~~~~~ # >œ œ œ œ J 85 f 58 ∑ b >œ

bisbig.

43 43 43 43

∑

#œ œ. 85 π 85 œœ œœ .. 3. straight mute π ∑ 85

43 43 43

∑

85 # œ n œ # œ > > > 58 ∑

j 3 nœ 4 > 43

∑

j 2 œI 4 > 42

∑ ∑

42 Œ

∑

œ.

j 3 œ 4

∑

bœ

j 3 œ 4

∑

bœ

j 3 œ 4

42 Œ

∑

42 Œ 42 Œ

unis. pizz.

85 85

√ # œœœœ. ‰ J ƒ# œ. œœœ ‰ J # œœ. ‰ J f œœ. ‰ J f

div.

c.l.b.

strum, sim.

42 œœœ œ œ b œœœ f III/IV gliss. strum, sim. œ I/II gliss.œ 24 œ bœ œ œ œ œ . . pizz. f div. a 2œ bœ t 2 œœ 4 œ Œ f 124 B

∑

j 85 # œœ ‰ Œ . . P

œ.

85 # œ >f 85 # œ œ > f 85 # œ n œ > f œ 85 85

∑

3 4

∑

j 85 b œ. ‰ Œ . f

œ.

∑

. 85 b œœJ ‰ Œ . F

2+3

œ. ‰ ‰ J 43 ∏ ∑ 43

# œœ˘œœ J ‰ Œ. 85 # œœ˘œœ J ‰ Œ. 85 85 85

43 43

# œœ. . . . .

œœ. . . . .

∑

125

& 43

Ob. 2

& 43

E. Hn. (Ob. 3)

& 43

1 (B b)

& 43

Cl. 2 (E b)

& 43

B. Cl. (Cl. 3)

?3 4

Bsn.

B3 4

Cbsn. (Bsn. 3)

t3 4

1 2

& 43

F Hn.

3 4

1 C Tpt.

Tbn.

& 43 & 43

∑

n >œ . œ ˙

bisbig.

Perc. 2

∑

˙.

œœ F 1. straight mute B ‰ b œœ œœ J π ∑

˙˙ ..

˙˙ Œ

∑

ã 43

[sleigh bells]

Pno.

?3 4 & 43 & 43

∑

œ. œ. œ. œ. œ. œ. Œ

. . . ‰ Jœ œ œ π

[maracas]

nœ. nœ œ nœ œ #œ. >f > > > ∑ œ˘œ Œ ‰ J Œ # # œ˘œ ‰ Œ Œ J

œœ. œ. . . J ‰ ‰ œJ f

# # œœ. ‰ Œ 3 &4 J div. c.l.b.

b œ. . 34 b œ & f

. . . b œœ.

Vc.

? 43

∑

D.B.

t 43

∑ 126

∑

2 ˙˙ 4

44 44 4 4

∑

3 4

[guiro]

2 . . # # œ. œ 4

4 4

∑

œ ‰ Œ Œ J π j 43 œœ ‰ Œ Œ π 3 œœ œœJ ‰ Œ 4 3 4

‰ œJ 42 ˙ π 42 ‰ j bœ œ π 24 ∑

∑

. . . . 2 . . Œ B b œœ 4 œœ Œ f

. . . . . œœ Œ B ‰ œœJ 42 f c.l.b. b œœ. . . J ∑ 42 ‰ f 127 128 c.l.b.

∑

j ‰ j 42 ∑ œœ ‰ Œ œœ fl fl ˘ Œ n jœ ‰ Œ ? 42 ‰ b œœ Œ bœ J fl unis. ord. . . . # œ. ≤ # œ Œ 24 Œ nœ p

∑

42 ˙˙

∑

œ.œ . . f

œ. >f n œ œ œ œ # œ . bisbig. ~~~ œ. œ œ œ œ >f bisbig. ~~~ œ. nœ œ œ œ #œ. >f

3 4 43

~~~

j 42 ‰ b œ œ π

∑

42 œ œ œ œ π œ. œ. œ. œ. œ. 2 J ‰ 4 ∑ P 5 œ. œ. œ. œ. œ. œ. œ. 2 œ. œ. œ. œ. 4 F p ∑ ∑ 42 ∑

bisbig.

œ F bisbig. ~~~~~~~~ n >œ . œ ˙ 34 44 f bisbig. ~~~~~~~~~~~ >˙ . 34 44 f 44 œ 43 ˙ F

2 4

œœ F

∑

ã 43

∑

2 ˙ 4

?3 4

& 43

Vla.

∑

Hp.

Vln. II

∑

& 43

Vln. I

∑

?3 4

ã 43

∑

j 42 ‰ b œ œ π

∑

?3 4

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ œ J ‰ 42

1 2

Timp.

∑

>˙ . ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙ œ J ‰ 42

˙˙

?3 4

bisbig.

& 43

Tuba

∑

bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~ j ‰ 42 œ. nœ œ œ œ #œ. ˙ œ > ˙. œ J ‰ Œ Œ 42 π ˙. œ J ‰ Œ 2 Œ 4 π

2 3

∑

œ J ‰ Œ Œ π bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~ j‰ œ. nœ œ œ œ #œ. ˙ œ > bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~ j œ. œ œ œ œ ˙ œ ‰ >

43 43 43 43 43 43 43 43

˙. F ˙

∑

44 4 4

π œ ˙. w ‰‰ J π bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~ j ˙ œ ‰ > >˙

bœ ˙. ‰‰ J π

f œ

bœ J π

‰

∑

œ F

44 44 44

. ‰ œJ 44 p œ . œ œ œ œ # œ . 44 >f > > > 44 ∑ Œ

j œ ‰ Œ f

n œœ. J ‰ Œ 129

œ ‰Œ J π

∑

œ œ Œ ∑

IV hard mallets

œ œœœ p

œ. p œ F

œ.

˙.

f ˙.

œ > ‰

>œo J

bœ > ‰

>œ > b œo ‰ J Ó

œ >o > >o œ œ J‰J

b œ˘œ ‰ JÓ unis. ord.

j ≤ . . œ.œ ‰ ‰ œœ P unis. ord.≤ Ó Œ ‰ œœ P unis. ord.≤ Ó Œ ‰ œœ P div. c.l.b. œ . . . . J ‰ ‰ b œœ. œœ J f f ∑

130

œ ˙ ‰ J p

∑

p œ to B b clarinet

85 5 8

œ œ

œ molto œ molto

œ J f œ J f

43 3 4

Œ ∑

∑

∑ Œ

œ b œœ f fl pizz.

j œ #œ ‰ Œ nœ bœ œ œ œ #œ bœ f f unis. pizz.

j œ # œœ ‰ Œ n œ # œ œ œ œ œ œ bœ œ œ bœ p f div. 5

œ œ #œ œ bœ œ J ‰ Œ f

œ œ œ œ

œ 3 J 4 f molto œ. 43 œ. œ.

3 4 43

œ.

∑

‰ œJ œ œ p F b œ molto œ œ ‰ b œJ œ œ p molto F ‰ œj œ œ p molto F ∑

5 œ 8 p œ 85 p œ 5 8 œ p 58 œ p 58

5 j œ. œ. œ. . . . œj ‰ ‰ œ œ. . . . 8 . . . # œ ‰ p F. F. 5 œ œ Ó ∑ ∑ 8

∑ Ó

˙.

j‰ Ó œ π

∑

œ. œ. œ. œ. œ. œ. œ. œ. F

44 b œœ. . f

≤. ≈ b œJ 44 p

div. c.l.b.

ord. unis.

44 b œ˘œ ‰ Œ J

bœ. ≈ b œJ . 44

p œ

j ∑ ∑ w œ œ ‰ Ó 85 π bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~ >œ œ œ œ >w b œ œ ˙. œ œ. 58 J ‰ 43 f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bisbig. ~~~~~~~~~~~~~~~~~~~~~ b >œ œ œ œ œ ˙. œ œ. # >˙ . œ Œ J ‰ 85 f j ∑ ∑ w œ œ ‰ Ó 85 43 π Ab + + + a2 5 3 ∑ Œ ‰ gb œj ˙ . ∑ b˙. 8 4 >f >f + + + a2 + j ∑ ‰ n œj œ ∑ Ó œ œ ‰ Ó 85 43 >f p

4 4

œœ. . . . . N œœ. 4 43 4 f

∑

f ˙.

f p ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ œ œ œ œ #œ ˙. 85 œ œ . 43 >f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ œ œ œ œ #œ ˙. 85 œ œ . >f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b˙. œ ˙. 85 œ œ . 43

bisbig.

~~~~~~~~~~~~~~~~~~~~~ j #˙ œ œ ‰ > > bisbig. ~~~~~~~~~~~~~~~ j bœ œ œ œ ‰

∑

œœ. . . . . œœ. 4 43 4 f

‰

∑

˙.

bœ J

œ œ œ œ œ œ 44 F 44 ∑

n œ˘œ 43 œœ ‰ Œ J Œ 43 Œ 43

∑

& 43

f ˙.

∑

lS co

Picc. (Fl. 3)

. . . œ.

& 43

f œ. .

∑

& 43

. . . # œ.

Fl.

œ. .

2+3 œ œ œ J p molto f œ œ œ J f molto œ J ‰ Œ.

˘œ #œ œœ b b œœ fl ƒ œ #œ œœ b b œœ ƒ

strum, sim.

œ œœ strum, sim. p I/II gliss. unis. pizz. œ œ ? #œ nœ ‰ Œ œ œ œœ œ J f strum, sim. unis. II/III gliss. pizz. œ œœ œ œ œ œœœ ‰ Œ J f 131 pizz.

∑

œ. œ. œ. œ. œ. œ. 3 ‰ J 85 4 P π œ. œ. œ. 3 85 Œ 4 p ∑ 85 43

œ Ó b b œœ F

b œœ Ó bœ F œ œ strum, sim. ‰ #œ œ œ œ œ œœ J f œ œ strum, sim. ‰ œœJ œœ œ œ œ f 132

∑

#œ œ 85 œœ b b œœ f ƒ

‰ 43

# œ ˘œ 85 œœ b b œœ ‰ 43 f fl ƒ ∑ 85 43

œ #œ 85 œœ b b œœ ‰ 43 f P sim.

œ œ 85 œœ b b œœ ‰ f P œ œ nœ #œ 85 œ ‰ ‰ ‰ œ J J f œœœ œœœ 85 J ‰ ‰ ‰ J f 133 sim.

43 43 43

3 &4

Picc. (Fl. 3)

Ob.

1 2

E. Hn. (Ob. 3)

3 &4

2 (E b)

3 &4

Bsn.

1 2

Cbsn. (Bsn. 3)

1 2

F Hn.

3 4

C Tpt. 2

œ 3 bœ œ &4 ‰ J p a2 ~~~~~~~~~~~~ j 3 &4 œ œ ‰ Œ π ~~~~~~~~~~~~j 3 œ ‰ Œ &4 œ π

1 (B b) Cl.

bœ

œ œ œ p œ œ œ

Tuba

Timp.

Perc. 2

Hp.

Pno.

Vln. I

Vln. II

Vla.

Vc.

D.B.

œ. 42 Í

œ 5 J 8

∑

2 4

œ.

œ J 5 8

bœ ‰ J 85

p ~~~~~~~~~~~~ a2 œ œ B 43 J ‰ Œ π t 43 ∑

∑

3 &4

∑

3 &4

[straight mute] œ 3 œ &4 p œ œmute]œ œ 3 [straight &4 f molto [straight mute] 3 Œ &4 Œ

∑

œ œ

p œ œ œ œ œ B 43 œ œ œ œ œ f molto ? 43 œ œ œ œ œ f molto j ? 43 ‰ œ œ œ œ p molto f

85 85 85 85

bœ ‰ J 85 p 24 ‰ œ œ œ 85 J p molto f œ 5 2 œ. J 8 4 Í bœ œ œ 42 ‰ b Jœ œ œ 85 p molto f j 42 ‰ œ œ œ 85 p molto f Œ 42 œ 85

œ 2 J ‰ 4 Œ

[straight mute]

œ J 5 8

? 43

2 5 ∑ 4 œ . . . 8 . F [guiro] 3 œ œ œ œ 42 œ œ œ ‰ 85 ã 4 Œ J f [sleigh.bells] P 3 œ ∑ Œ 42 ã 4 J ‰ Œ 85 π [maracas] 3 œ. œ. œ. œ. Œ 2 ∑ ã 4 4 85 III

Tbn.

œ.

œ J ‰ 2 Œ 4

[straight mute]

1 2

œ J 5 8

p œ œ

œ.

3 &4

? 43

3 œ &4 œ bœ flf ? 43 3 œ &4 œ bœ f

∑

˘œ #œ œœ b b œœ fl ƒ ∑ #œ œœ

3 œ &4 œ bœ p B 43 œœ œ p œ ? 43 # œ ‰ Œ œ J œ t 43 œJœ ‰ Œ 134

∑

‰ ‰ # b œœæjœ p ∑

∑

œ b œœ flf

Œ.

∑

œ 2 b b œœ 4 f

∑

[pizz.]

œ bœ bœ ƒ

œ 2 b b œœ 4 f

bisbig.

lS co

3 &4

2+3 œ œ.

Fl.

œ œ œ

2+3 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ w œ œ. ˙ œ œ J ‰Œ 44 Œ ‰ J 44 43 85 42 p f Í bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ w œ œ. ˙ œ œ œ œ œ. œ œ. œ J J ‰Œ 34 4 5 2 4 Œ ‰ 4 8 4 4 p Í f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ 4 w œ œ. 2 ˙ œ œ. œ ‰Œ œ œ œ. 34 44 œ œ Œ ‰ J 4 J 85 4 p Í f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 44 44 Œ ‰ ‰ # œj œ œ . ∑ Ó ∑ ∑ 43 85 42 œ ˙ ˙ p f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ to oboe j 44 ˙ 44 Ó ∑ ∑ ∑ Œ ‰ ‰ bœ œ œ. œ ˙ 43 85 42 p f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ b œ œ. ˙ œ œ œ œ œ. ˙ œ œ 4 w 3 5 2 4 ‰ ‰ J Œ 4 4 8 4 4 f f sempre p bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ œ. œ œ. œ bœ w œ œ. ˙ œ œ J ‰Œ 34 58 24 44 Œ ‰ J 44 p f Í bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ œ. œ ˙ ˙ 44 44 Ó ∑ Œ ‰ ‰ J ∑ ∑ 43 85 42 p f j 3 44 44 Œ ‰ ‰ bœ œ œ. 4 85 œ œ . 42 ˙ ˙. w œ Œ f p o 2. 44 44 Œ ? ‰ ‰ b œj œ œ . 43 85 œ œ . 42 ˙ ˙. œ Œ w f p 4. o j ? 3 4 5 44 Œ ‰ ‰ bœ œ œ. 4 4 w 8 œ œ . 42 ˙ ˙. œ Œ p f œ œ œ. œ œ œ œ. ˙ œ œ ˙ œ œ 4 w J ‰ ‰ 3 44 Œ 4 4 85 42 f p Í œ œ œ œ œ œ. ˙. 34 44 w 58 œ œ . 42 ˙ 44 œ œ Œ J p f f w œ œ. ˙ œ œ œ ˙ œ œ œ œ œ. . 3 5 2 4 ‰ J 44 Œ 4 8 4 4 π f Í œ œ œ œ œ bœ. ˙. w œ œ. ˙ œ œ 44 w 44 œ œ Œ œ œ œ œ œ ‰b œ. ˙. 43 85 œ œ . 42 ˙ J J f p f j 44 w 44 œ œ Œ œ œ. ˙. œ œ œ œ 43 85 œ œ . 42 ˙ p f f 44 44 Œ ‰ ‰ j Œ 43 85 42 bœ œ œ. ˙. w œ œ. ˙ œ f p 3 IIb œ œ œ œ œ œ 4 b b œœ œ œ œ œ œ œ œœ 5 I œ œ œ œ œ 2 œ œ œ œ 4 # œœ œœ Œ 4 4 8 4 4 œ. . . . . . . . . . II p f small sus. cym. with . stick œ. œ. œ 3 4 5 2 4 ∑ ∑ ∑ ∑ ∑ Œ 4 4 8 4 Œ ‰J 4 P f 44 44 ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 85 42 2+3 œ œ œ.

∑

œ n œœ 24 # œ œ œ œ œ f œœœ œ œœœ ‰ 42 J f 135

5 8 85

œ œ bœ f

∑ Œ.

∑

œœæœ

œœæœ .. .

∑

#œ œœ fl

Œ.

#œ œœ

∑

œœ œ œ œ œ 85 b b œœ P II/III/IV gliss. œ 58 b b œœ Œ. F 136

43 43 43

∑

Œ.

#œ œ œ

œ œ bœ p

3 4

[pizz.]

œ œœ p

∑

œœæœ ˙˙æ˙ ƒ ∑

j ˘œ n œ bœ ‰ œ Œ bœ bœ fl ƒ ∑

j œ n œ ‰ bœ œ Œ bœ bœ ƒ

œ œœ ‰ œœ b œ œ œ b œ œ œ bœ J F P b bb œœœ

œ b b œœ

œœœ œ œ œ œ 3 b b n œœœ n œ œ b b œœœ œ œ 4 bœ bœ œ

œœ œ

Œ. 137

√ b bb œœœ Œ Œ ƒ 138

∑

˙˙æ˙

j œœœ ‰ Œ p ∑

˘ ˘œ 44 # œœ ‰ b œœ ‰ b œ ‰ œ b œJ b Jœ fl 44 ∑

œ 44 # œœ ‰ b œœ ‰ b œ ‰ œ b Jœ b Jœ

œ œœ bœ œ b b œœ b œ œ

44 44

œœ œ

I II III

n n œœ œœ nœ œ

85 85 85

n ˘œ œ 5 nœ 8 J 85 nœ œ 5 nœ 8 J

∑

139

∑

Ó Ó

Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó

∑

& &

∑

j I/II gliss. #œ œ œ #œ œ œ œœœ 4 œ œŒ Ó 24 ‰œ œœœ 4 œ œ œœ œœ œœ œœ œœ œ œ œ œ œ

5 œ 8 #œ b œ ƒ

bœ œ 44 œ œ Œ Ó #œ œ

2 4

œ b bb œœœ 5 b œœ 8

∑

∑ ∑

œœœ œœ œ bœ bœ 44 b œœœ œœœ œœœ œœœ œœœ œœœ ‰ B b œ 85 b œ œ œ J f 44

∑

œœ œœ œœ œœ œœ œ œ œ 44 œ œ Œ Ó ƒ œ œ bœ œ bœ œ œ œ 42 b œ œ 44 b œ œ Œ Ó œ œ œ œ œ œ J ƒ 42

∑

140

∑

141

∑

142

Ob. 2

& & &

1 (B b)

Cl. 2 (E b)

3 (B b)

Bsn.

1 2

Cbsn. (Bsn. 3)

1 2

F Hn.

3 4

C Tpt.

t ?

1 Tbn. 2 3 Tuba

Timp.

Hp.

ƒ w

Explosive (q Ó

[straight mute]

∑

n wœwIii

with stick

Vln. I

Vln. II

Vla.

Vc.

D.B.

p ˙æ. Œ Œ

crotales wooden mallets

b œœœœ

˙.

œ œ

œœ

œœœœ

∑

non div.

œ p œ œœ p

n˙I

˙˙ æ ˙ æ

143

˙ >f

b b b wwww æ F bw w w æ

∑

˙˙ æ ˙ æ

˙ >f

œ #œ J ‰ ‰ J 3 4 p œ œ œ J ‰ ‰ J 3 4 p œ œ œ J ‰ ‰ J 3 4 p

43 ˙ .

P ˙.

f ˙

‰ j œ ˙ f

‰ j œ ˙ f œœ J ‰ Œ j œ ‰ Œ

w ww

œ œœ 43 J ‰ Œ

∑

˙.

44 44 44

j œ œ

‰

˙.

43 ˙ . ƒ 43 ˙ .

˙.

43 ˙ .

4 4

P ˙.

f ˙

j œ œ

∑

Œ ˙.

∑

to glockenspiel (Perc. II station)

∑

w www æ ww w æ glittering, with irregularities in speed and density

˙˙

œ ‰ Œ œ æpJ sul pont. œœ ‰ Œ æJ p sul pont.

œ æJ ‰ Œ p

sul pont.

144

Œ &

ww ord. punta d'arco III

Œ ‰ # Oæj Oæ œ œ π

ord. I punta d'arco

‰ Oœ Oœ Ȯ æJ æ æ π P ∑

div. arco

Œ ˙ ˙ f 145

43 æj ‰ Œ œO p

Ȯæ F

Oœ Oœ ‰ æ æJ π w w

∑

146

∑

˙˙ ..

rapid alternation between normal pressure and harmonic pressure on the indicated pitch

˙. 43 ˙ .

44 44

∑

III q d O j j 43 ‰ œ œ œ œ . P molto f

∑

43 Œ

˙. ˙˙˙ ... æ ˙˙ .. ˙. æ

43 43

∑

43 ˙. ˙˙˙ .. 43 æ . ˙. 34 ˙˙ .. æ

∑

non trem.

∑

w www æ ww w æ

∑

˙ ˙ æ

˙˙

∑

˙˙ æ

w ww

œ æJ ‰ Œ Ó

j n œœœœ œœœœ n œœœœ ‰

˙ ˙ æ

∑

>˙f

take four rubber mallets

∑ ° sempre Explosive (q = 126) arco # div. ˙˙ ˙˙ æ æ & ƒ ˙> ˙ & æ ƒ non div. > arco ˙ ˙ B æ ƒ > ? arco æ˙ ƒ

∑

arco

˙.

∑

#œ œ œ 6 5 œ #œ # œ œ œ nœ œ nœ

& ?

˙. ˙˙ ..

med. sus. cym.

& # # wwwIii # w >ƒ √ b # # œœœœ b œœœœ & ƒ ?

˙.

vibraphone hard mallets

˙˙ ..

[straight mute]

∑

f œœæ I

˙ ˙

∑

a2 j ‰ œ & ƒ> a2 j ‰ œ & ƒ>

w w

∑

ww w F ww w

∑

= 126)

˙. æ

ww w

˙. æ

ww w

#œ œ ‰ œœ œœ J P

oboe

clarinet in B b

ooOPOpop

Pno.

ww w

ƒ w

small sus. cym. Perc. 2

# œœ ‰ œ J P

ww w

w f [straight mute] n w B ww f ?

œ æ

ww w

triangle

Œ ∑

1 2

w æ

œ æ

3 4

#˙ œ3 # œ œ # œ œ5 # œ # œ œ œ æ æ ‰ æ æ æ æ æ æ æ f ƒ # œ ˙ œ # œ œ œ œ5 # œ œ æ æ æ æ æ æ æ æ ‰ æJ f ƒ F . #˙ #œ 3 ‰ #æJœ œ # œ œ œ œ œ æ æ æ æ æææ æ F ƒ f œœ # ˙˙ .. Œ œ ‰ Œ ˙. J P œœ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~ œœ œœ œœ œœ œœ Œ œ œ œ œ œ œ ‰ Œ J f œœ œœ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ ‰ Œ J F f œ ˙ ˙.

w æ

œ œ #œ œ #œ #œ æJ ‰ ‰ æJ æ æ æ æ P F # œ œ # œ3 œ œ æJ ‰ ‰ æJ æ æ æ P F œ # œ # œ œ3 æJ ‰ ‰ æJ æ æ æœ P F ww w

˙. æ

lS co

Picc. (Fl. 3)

œ æ

w æ

Fl.

= 126)

Explosive (q #fltz. w æ ƒ fltz. w æ ƒ fltz. #w æ ƒ # Mww w f

B‰

∑

147

≈

q dO

œ molto

molto ord.

œ J ‰ p

œ q œd O ‰ ‰ J P molto ˙. ˙. I

∑

148

Œ œ f

44 molto

. 44 æ˙ & w 44 ww &

Ob. 2

4 &4

∑

4 &4

∑

1 (B b)

4 &4

Cl. 2 (E b)

4 &4

3 (B b)

4 &4

Bsn.

1 2

Cbsn. (Bsn. 3)

F Hn.

? 44

w w w

j œ ‰ Œ p t 44 j ‰ Œ œ p

1 2

4 &4 ˙

3 4

4 &4 ˙

C Tpt. 2

4 &4 4 &4

Ó ˙

[straight mute]

∑

[straight mute]

∑

[straight mute]

∑

4 &4

B 44 Œ

œ ‰‰J p 3

[straight mute]

Tbn. 2 3

B 44

Tuba

? 44

Timp.

? 44

1 Perc. 2 3

Hp.

Pno.

Vln. I

Vln. II

Vla.

∑

[straight mute]

j‰ Œ œ p

∑

4 ã 4

∑

4 &4

∑

4 &4

& 44

D.B.

‰

j bœ œ ◊ ƒ

∑

Œ w www æ w w w æ

# # # ˙˙˙æ˙ ... . π

∑

ord. q d O

3 ‰ ‰ œj œ P

dO II q œ œ œ œ B 44 P molto f

œ II œ ˙ ?4 J ‰ ‰ 4 p p molto j t4 œ ‰ Œ Ó 4 œ p 149

œ 3 œœ 4

#˙. 34 ˙˙ .. P 43

∑

#œ ‰ æJ p

Œ ∑

˙˙ .. ˙.

œ Œ œ f

42 42

˙.

43 ˙ .

˙.

P ˙.

3 4 ˙. 3 4 œ > A

œ njœ œ >

3 j 4 œ ‰ Œ fl

˙.

> # ˙œ. > F#

43 Œ

∑

œ ‰ J p

43 ˙ . p œ J ‰ Œ Œ 43 p ∑ 43

42 42

˙ f molto

q ḋ.O

œ njœ œ > œ Œ p

œ J ‰ Ó Œ

j ‰ bœ œ bœ œ ƒ 150

∑

˙˙

2 4

œ J ‰

2 4 ˙˙

∑

151

˙. ˙. Œ

œœæœ ii œ I p ˙. ˙˙˙ ... æ ˙ .. ˙ ˙. æ

∑

3 4

∑

3 4 ˙˙ ..

152

˙. ˙.

œ ˙.

˙. ˙. ˙˙ ..

œ ≈œ 7 8

œ ≈œœ ≈œ 7 8 ƒ œ œ ≈ œ œ ≈ œ 78 ƒ œ œ ≈œœ J ‰ 78 ƒ œ œ œœ ≈ œœ œœ ≈ œ œ ‰ 78 J ƒ 7 ∑ 8 7 8

∑ ∑

∑

œ≤ œ œ ‰ J p j œ œ ‰ Œ œ œ p 154

ƒj bœ ‰ bœ fl ˙˙ .. æ ƒ ˙. ˙. æ ƒ j bœ ‰ flf j bœ ‰ flf

unis. pizz.

bœ f

78 78

∑ ∑

7 8

∑

˙˙ .. æ

œ≤ œ ‰ J p

∑

˙. ˙. æ

∑

f ˙

∑

œ œ æ p

˙. ˙˙˙ ... æ ˙ .. ˙ ˙. æ

div.

153

˙.

∑

˙˙ .. æ

∑

7 8

∑

˙.

∑ œœ æ

7 8

˙˙ .. ˙.

a2 j ‰ œ ˙ >

take four wooden mallets

∑

˙. æ

j‰ bœ fl j‰ bœ fl ˙

˙.

∑

˙. æ

∑

‰ œj ˙ >

∑

˙˙

‰ œœJ ˙˙ p

˙.

∑

3 4 ˙˙˙æ˙ ... . F ˙. ˙˙˙ .. 43 æ . ˙. 34 ˙˙ .. æ 43

j 42 œ ‰ Œ 42

43 ˙ .

∑

P ˙.

˙. æ

˙. æ ˙˙ .. ˙.

˙.

∑

#œ œ æ ‰ æJ æ P # œ œ œ œ œ æ æ æ æ æ

#œ ˙ ‰ J p œ ˙ ‰ J p ˙.

∑

˙ ˙˙˙ æ ˙ 24 ˙˙ æ 42

∑

˙.

ww III

2 4 ˙˙˙æ˙

∑

42 ˙

crotales four rubber mallets, beatless "halo"

∑

[div.]

& 44 Œ

∑

q dO 3

Vc.

∑

(√)w 4 www &4 æ w 4 ww &4 æ 4 &4 ? 44

3 4

Picc. (Fl. 3)

œ #œ œ #œ æ æ æ æ f 3 œ œ œ æ æ æ

lS co

˙. 4 &4 æ

43 Œ

3 œ3 # œ œ # œ œ Œ ‰æ æ æ æ æ p œ #œ ∑ æ æ p

Fl.

œ 3# œ ˙ . ∑ ‰ æ æ æJ æ 42 P f #œ #œ #œ ˙. ‰ æJ æ æ æ ∑ 42 P f 3 . # œ ˙ # œ œ 2 ∑ ‰ æœJ æ æ æ æ 4 P f ww ˙ 2 ˙˙ w 4 f Ÿ~~~~~~~~~~~~~~~~ # œ œ œ œ .. ‰ œœ œœ œœ œœ . ≈ Œ ∑ 42 J J P f Ÿ~~~~~~~~~~~~~~~~~~~~ œœ œœ œœ œœ .. 2 Ó Œ ‰ œ 4 œ œ œ. ≈ J J P f œ œ œ œ œ #œ J ‰ Œ ‰ J 42 f p œ œ œ #œ œ œ J ‰ Œ ‰ J 42 f p œ œ œ œ J ‰ Œ ‰ Jœ 42 œ f p Œ Œ ‰ j 42 ˙ bœ œ ƒ 2 Œ Œ ‰ j 4 ˙ bœ œ ƒ 2 œ œ ˙. 4 œJ ‰ œ Ï ƒ 2 œ œ ˙. 4 Jœ ‰ œ Ï ƒ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ œ œ œ J ‰ Œ Œ 42 p p molto F molto bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ œ œ œ Œ 42 J ‰ Œ p p molto F molto Ó Œ ‰ œ 42 ˙ J F œ w ˙ 42 ƒ ∑ ∑ 42

# œ3 # œ

˙. 4 &4 æ

78 7 8 78 7 8

155

Ob.

1 (B b)

Cl. 2 (E b) 3 (B b) Bsn. 1 2

f ˙ 78 ˙˙ & f 7 &8

4 4

œ.

œœ .. œ.

˙ 44 ˙˙ 44

∑

7 &8

∑

4 Ó 4

3 4

7 &8

∑

44 Ó

7 &8

œ ≈œ Œ ƒ

7 œ ≈œ Œ &8

7 j &8 œ ‰ Œ B 78

Tuba

? 78

∑

Timp.

? 78

∑

1 Tbn. 2 3

Perc. Perc.

Perc.

Hp.

Pno.

Vln. I

7 &8 Œ

Œ.

4 4

‰ œ p ‰ œ œ F

44 œ

3 4 Œ

œ J ‰ p

44 44 44

∑

44 Ó

‰

5 ‰ # œ œ 44 # œ # œ Ó œ #œ #œ f vibraphone hard mallets œ œ 7 44 œ b œ œ5 œ b œ Ó ã 8 Œ Œ &‰ f

7 ã 8 Œ 7 &8 7 &8

brass mallets

xylophone

&‰

∑ ∑

œœ æJ ‰ Œ . p

44 Ó

? 78

∑

44 Œ

D.B.

t 78

∑

156

j ‰ bœ fl 3 4 Œ

œ J ‰

43 43

‰

unis. pizz.

j Œ œI f

157

j 43 b œ ‰ fl 43 Œ

43 Œ 3 4 Œ 3 4 Œ 43

‰ # Oæj Oæ œ œ π I punta d'arco O O &‰ œ œ @J æ p ≤ ‰ œJ œ p

∑

œ ƒ

œ ƒ #œ J

œ Œ

p p

Œ Œ

∑

44 Œ

∑

42 42

∑

‰ œj œ p

œ J P

∑ ∑ ∑

>œ œ J f

unis. III punta d'arco

4 Ó 4

∑

œ œ 4 #œ œ œ #œ #œ Ó 4 f loco bœ 5 b œb œ œ œ œ 4 Œ Œ œb œ 4 f F 44 ∑

Vc.

3 ˘ 4 j ‰ bœ J

wooden mallets

œ œ 4 œ bœ 5 7 œ œ bœ Ó &8 Œ Œ ‰ 4 f secco, brilliant 5 7 Ó & 8 Œ Œ ‰ œ œ 44 œ b œ œ œ bœ œœ 78 æ &

œ 34 ‰2. J p

j œ œ > f

œ 24 æ

‰ œJ œ P

∑

2 œ 4 æ

43 Œ

œ æ P #œ æ F

b œ b œ œ5 bœ F b œ b œ œ5 bœ

43 Œ

œ J ‰

∑

43 Œ

œ J ‰

glockenspiel

˘ Œ ‰ œj œ J f> ‰

F #œ æ p #œ æ p

œœ œ ‰ Œ J

œ œ J P 5 Ó œ bœ œ œ bœ f ∑

44 Ó

Vla.

43 Œ

∑

7 œ & 8 œ ‰ Œ Œ. æJ p B 78 ∑

Vln. II

43 Œ

3 œ œ # œJ œ 78 J ‰ ‰ 4 œ & 4 p F P ˙ œ œ œ # œ œ œ5 # œ #œ Ó 7 4 &8 4 f P œ œ 7 J ‰ Œ ‰ œ 4 œ b œ œ5 œ b œ Ó &8 4 P p f 1. œ ˙ œ ? 78 Œ Œ B ‰ 44 p F

1 2 F Hn.

C Tpt.

7 &8

œ. æ

œ œ # œ5 œ œ œ œ b œ5 œ 44 œ P ƒ œ œ b œ5 œ 44 Œ œ Œ F ƒ 5 # œ œ # œ # œ5 œ bœ 4 ‰ ‰ ‰ ‰ J 4 p f ∑

œ J ‰

∑

>œ 42 ‰ J

∑

#œ œ #œ #œ nœ f b œ b œ œ5 b œ œ

∑

2 4

∑

f # œ œ œ5 # œ f

∑

≈œ f

bœ bœ œ

# œ œ œ5 # œ

43 Œ f ƒ b œ b œ œ5 j bœ 43 b œ ‰ & fl 43

43 œOæ P 3 O 4 œ æ P j 43 b œ ‰ flf pizz. ord. bœ i 43 f

∑

œ œ

bœ

2 4 42

42 42

œ ˘ bœ

∑

jœ 44 ‰ œj œ œ p œ œ # œ5 œ œ œ œ b œ5 œ 44 œ P ƒ œ œ b œ5 œ 44 Œ œ Œ F ƒ ˙. 1. œ 44 ‰ J p 4 4

∑

2 4

∑

4 4

j bœ & ƒ b flœ sopra

p P æ æ # œ œœæ œœæ #œ. æ æ æ p F Oœ Oœ O œ æ æ æ F p ≤œ ˘ ‰ J bœ p f ∑ 159

∑ √ 5 # œ œ # œ # œ5 nœ bœ 44 ‰ ‰ ‰ ‰ J f 5 5 44 œ œ œ bœ œ œ nœ œ œ nœ œ 44 J ‰ Œ Ó œœæ 44 æ

j œœæ æJ ‰ Ó p

4 Oœ ‰ Œ 4 @J

∑

∑ 160

œ J‰

œ nœ œ

43 43

∑

43 43

˘ Œ ˘j ‰ j ‰ œ œ œ‰ J œ > J A > fl ‰ >j œ œ œ œ œ≈ J > ∑ A

3 4 43 3 4

œ J ‰ Ó

∑

43 43 ?

∑

>œ œ œ ˘ j bœ ‰ œ ‰ J fl

∑

43 &

tutti pizz.

j œ ‰ Œ f

3 4

∑

ƒ j bœ Ó bœ fl

∑ pizz.

j œ ‰ Ó f pizz. bœ ‰ J ‰ b œj Ó f Œ ‰ b œj Ó f 161 Œ

3 4

∑ ∑

?‰

∑

molto

3 4

∑

less than flute 1

˙˙ ˙ F

∑

5 4 œ œ # œ5 œ œ œ 4 œ bœ œ œ f

œ J ‰ Ó

f˘ ‰ j œ ‰ bœ f J f > fl œ ‰ bœ f

5 5 4 ‰ ‰ ‰ ‰ œj œ 4 œ bœ œ nœ p f 3 jœ œ 44 ‰ œj œ œ p P 5 44 œ œ œ bœ ‰ Ó p F œ 1. œ œ 44 Œ ‰ J p F 44 ∑

5 44 œ œ œ œ œ bœ nœ œ œ nœ f

#œ. #œ œ

1 solo arco

# ˙˙ ˙ P 3 œ ˙. œ J F #œ œ ‰ J p 3 #œ w œ J F

?‰

∑

#œ œ Œ æ æ F 3 #œ œ ‰ ‰ @J æ P 3

5 44 # œ œ # œ #œ œ œ #œ œ œ #œ f

div.

158

∑

42 Œ

æj ‰ œO

Oœ ‰ @J

b œœ

˘ 2 ‰ œj ‰œ ˘ 4 j J bœ > fl 24 ‰ œj œ > bœ fl œ œ 2 J ‰ 4

∑

‰

7 &8

ord.

lS co

Picc. (Fl. 3)

œ. æ

# œ œ œ5 # œ

7 &8

œ æJ ‰ Œ p œ æJ ‰ Œ p œ æJ ‰ Œ p œ ˙

Fl.

7 &8

œ. æ

2+2+3 ˙ æ f ˙ æ f ˙ æ f ˙

43 43 43 3 4 43 43

Picc. (Fl. 3)

1 Ob. 2 3 1 (B b)

& 43

œ. 38 œœ ..

˙. ˙

& 43

3 8 38

w 44 ww

œ.

44 Ó

∑

‰ bœ p 3

∑

3 8

∑

B3 4

∑

3 8

∑

4 4

1 2 3 4

C Tpt. 2

Tbn. 1 2 Tuba

˘j ‰ ‰ 3 & 4 j œ˙ . > œ & 43 j ˙œ > [straight mute] ∑ & 43 & 43 & 43 ?3 4

∑

[straight mute]

∑

& 43

∑

& 43

∑

& 43

∑

& 43

∑

Pno.

& 43 ?3 4

∑

44 b œj ‰ Œ fl

∑

3 8

∑

3 8 38

∑ ∑ ∑

4 4

& 43

∑

Vln. II

& 43

∑

Vla.

& 43

∑

Vc.

?3 4

∑

D.B.

t3 4

∑

œ œ

˙.

œ J ‰

œ J

∑

œ ˙. ‰J p ‰ Jœ ˙ p ‰ œj ˙ p

∑

4 4

ƒ 44 b œj ‰ Œ bœ fl

44 Œ

Œ Œ

43 Œ

∑

43 Œ

œ bœ œ

œ œ

œ #œ ˙

˙. 43

∑

#œ œ J p ∑

∑

B‰

43 b œ

bœ 43

#O O Œ œ œœ œ w

#O w

Ȯ

arco

unis.

˙ P

w f ˙

f ˙. f

43 ‰

œ P

bO œ ‰ & ‰ bœ œ bw J p œ J ‰

∑ 165

˙.

#O œ Œ

Œ Ȯ ..

Oœ ˙ .

43 Œ 43 ‰

F Œ

166

nœ

œ J

∑ ‰ Œ

œ J

‰

œ.

5 8

∑

a2 j ‰ œ >f G a2 ‰ œj >f

85 œ

#œ. >

œ.

j œ ‰ f j ‰ œ f

#œ ‰ J ‰ Jœ

œ ‰ J

85 œ œ 85 f

∑

bœ bœ bœ œ bœ j 3 bœ bœ ‰ 4 ‰ f 34 b œ b œ œ b œ b œ n œ b œ j ‰ bœ œ Œ Ȯ .. b Ȯ . .

bœ bœ œ bœ bœ n œ b œ b œ œj ‰ 43 F P ∑ 43

4 4

œ.

∑

85 œ 85

œ.

∑

# œ œ3 # œ œ œ b œ 44 85 œ3 85 œ b œ œ b œ œ 44 85

œ œ3 # œ œ œ œ 44

167

4 4

∑

œ.

∑

œ p œ J

5 8

œ ‰ J f

3 4

b˙. 43 œ Oœ ‰

∑

b œ3

3 œ œ œ bœ 4 j ‰ bœ p P ˙. 43

b Ow Ȯ . .

∑

5 8

œ b œ b œ œj ‰ f

bœ

œ b œ b œ b œj ‰ f

œ nœ œ bœ

œ bœ

bœ

43 Œ

glockenspiel

œ b œ œ œ œ3 Œ ‰J ‰ Ó Œ ƒ 3 œ œ A œ a3œ œ œ 3 Œ & ‰ J bœ #œ œ nœ # œ œ # œj ‰

∑

q dO ∑ B 44 Œ œ œ ˙ J 3 p I q dO b >œ arco œ ˙ 4 ∑ 4 J ‰ ‰ 3 f p ∑ 44 b œj ‰ Œ Ó >f 163 164 III arco

˙.

bœ bœ bœ

∑

85 œ

∑

œ bœ

5 8

∑

œ # œ œ # œ œ œ œ œ 43 bœ bœ bœ bœ œ œ F #œ #œ œ œ œ bœ 3 bœ bœ bœ œ œ ?‰ 4 p œ œ bœ bœ 3 bœ œ bœ bœ ?≈ Œ 4 p

∑

. 43 ˙

w f w f

85 œJ ‰

∑

3 4

∑

˙.

∑

3 3 3 j ‰œ œ œ œ ‰ j œ œ œ œ œ b œ œ b œ b œ ƒ vibraphone 3 œ ˙ .. œ 3 œ 3 bœ hard mallets œ J œ bœ bœ œ bœ Ó Œ ‰ b œ ‰ Jœ ˙ b œ b œ œj ‰ F f ƒ ° xylophone 3 3 ∑ Ó Œ ‰ œ bœ œ œ œ œ bœ J bœ nœ œ F ƒ √ 3 3 œ 3 bœ i Ó Ó Œ Œ ‰ ‰ J œ b œ b œ œ b œ b œ b œ n œj ‰ œ In œ i F3 f f ƒ nœi nœ i ∑ Œ Ó ∑

38 œj ‰ ‰ 44 Œ >f

Vln. I

162

œœ œ

∑

> >. ‰ Jœ 38 œ f

bœ

p poco P ‰ ‰ Jœ œ ˙ p poco P ˘ j‰ Œ Ó bœ J ˘ j‰ Œ Ó bœ J fl ∑

[straight mute]

?3 4

& 43

j ‰ 3 ˘j ‰ ‰ 4 8 œœ . 4 œ œœ > 38 ∑ 44 38

43 ˙ .

w f

œœ œ‰ Ó J p ∑

∑

Hp.

> 38 œ .

œœ œ

#œ

[straight mute]

?3 Œ 4

Timp.

˘j Œ œ

‰

Bsn.

B3 4

∑

& 43

3 8

∑

œ 4 J ‰ Œ Ó 4 p œ 44 J ‰ Œ œ œ p P

œ.

∑

44 Ó

∑

4 Œ ˙ 4 œ œ P 4 Œ œ3 œ ˙ 4

3 (B b)

Perc.

∑

˙˙ .. 3 & 4 ˙. & 43

Cl. 2 (E b)

F Hn.

& 43

œ 44 @J ‰ Œ p œ. œ. œ @ @ 44 @J ‰ Œ p

& 43

œ. æ

lS co

œ œ @ @ 38 œ 38 æ

2+3

Fl.

& 43

#œ œ œ œ #œ œ @@@@ @æ f œ # œ3 # œ æ æ æ F 7

5 8 5 8 Œ 85 Œ 85

∑ ∑ &‰ &‰

∑

√ œ #œ

ƒ œ #œ

4 4 4 4 44 44

O O. 58 œ œ œ . œ . 44 f b œ b Oœ œ . Oœ .. 4 85 4 f 85

∑

168

1 Ob.

P n œ b œ œ5 œ œ b œ3 b œ bœ œ b œ3 ‰ 4 &4 ƒ 4 ∑ &4

2 3

4 &4

1 (B b)

4 &4

Cl. 2 (E b) 3 (B b)

1 2 Bsn. Cbsn. (Bsn. 3)

1 2

F Hn.

3 4

œ # œ œ b œ b œ3 œ p

4 &4

4 & 4 #œ > 4 &4

œ œ

œ > j >œ

4 &4

? 44

B 44

2 3 Tuba

? 44

Timp.

? 44

œ > f

B‰

?‰

œ #œ œ

Hp.

Pno.

Vln. I

Vln. II div.

œ.

œ >

∑

bœ J p

4 &4

4 &4 ? 44

˙˙ œ

∑

bœ

4 &4 4 &4 4 &4

Vla.

4 &4

Vc.

? 44

D.B.

t 44

œ Oœ ‰ # Ȯæ. # . p O œ œ æ. ‰ # n Ȯ . p b Oœ b œ ‰ b Ȯæ b .. p b b Ow æ p

Ȯæ.. Ȯæ.. Ȯæ..

Ȯ .. æ

∑ 170

∑

bw f b ˙æ I Í

# œæœ >f med. sus. cym. œi ƒ

œ p œ

p œœ p

˙æ˙ p Œ

œœ œœ3

42 42 42

3 >œ œœ œœ 3œœ œœ ‰ ‰ œJ Œ f

3 3 j œ œ œ œ ‰ ‰ œ Œ >f 3 >œ 3 œ 3 #œ œ œ œ #œ ‰ ‰ J Œ f 3 œœ œœ3 œœ œœ œ3œ œœ œ>œ ‰ ‰ J Œ f

œ œ

j ‰ œ@œ π

42 42 2 4 42

∑ ∑

to bass drum (Perc. II station)

∑ # # # wwww iiI ƒ √ 6 bœ 6 œ 6 b6 œ œ b 5œ œ b œ œ œ œ œ5 œ œ œ œ œ b œ œ b œ œ œ œ b œ œ œ œ6 œ œ6 œ œ ƒ √ bœbœ œ œ œ œ œ bœ œ œ œ Œ nœ nœ œ Œ œ œ √6 6 6 6 5 6 œ œ # œ œ œ œ # œ œ # œ # œ n œ œ œ œ œ #œ œ œ #œ œœ œ œ œ ≈œ nœ œ œ œ œ œ loco œ œ nœ œ nœ œ nœ ƒ p œ bœ i œ œÓ &œ bœ I ◊

# wdiv.w b O æ b œ≈ æ ƒ > æ O ≈ non div. ww #œ æƒ non div. w > æ O≈ w œ æƒ > non div. w æ b O ≈ B æw bœ ƒ b b Oœ w> æ ≈ æ ƒ

bœ i bœ I ƒ div.

œœ æ p sul pont. œ œ æp sul pont.

œ œ æp

sul pont.

œœ æ p sul pont. œ æ p

sul pont.

171

‰

‰ ∑ 172

42 42

∑

crotales

3 3 ‰ œ œ ‰ bœ bœ ˙ ƒ 3 3 ‰ œ œ ‰ bœ bœ ˙

Ȯ .. æ

∑ 169

(√) 3 4 # œ # œ œ5 œ b œ b œ œ ? œ œ bœbœ j ‰ Ó &4 œ Œ œ 3 F 3 5 4 # œ # œ œ5 œ b œ b œ œ ? œ ‰ &4 œ bœ nœ œ œ œ œ œ bœ bœnœ nœ œ bœ œ œ ° Ow æp

‰

f 3 œ>œ œ>œ œ>œ ˙˙

‰ Œ

Œ œ œ nœ œ bœ œ

j œ œ >ƒ >œ œ 5œ œ œ ˙ œ œ œœ œ ˙ œ œ œœ œ ˙ >f >˙ .

+œ

∑

bœ bœ œ bœ bœ nœ nœ œ Œ

2 4

‰

œœ

j œ

œ > ƒ

+ + œœ

bw > ƒ

ƒ œ

˙. w

ƒ œ

˙.

bw > ƒ

ƒ œ

˙.

˙˙ ..

œ >

>œ

bœ >

Ó œ œ nœ œ #œ nœ f œ ˙

‰

˙˙ .. ˙.

f w

œ œ œ #œ + œ > > > > >

6 ≈bœœbœ œ œ Œ f

‰

œœ æ ƒ œ æ ƒ œœ œ ƒ œœ

˙. æ

f #w

œœ

œ bœ bœ bœ bœ œ #œ œ bœ bœ œ sempre ƒ n œ3 œ b œ b œ 3 nœ Ó ‰ f 3 3 n œ œ Ó ‰ b œ bœ nœ & 5

œ >

b b œœ J p

3 4 & 4 nœ bœ œ œ œ bœ bœ bœ œ bœ œ ƒ sempre [vibraphone] 5 3 3 4 ‰ & 4 bœ bœ nœ nœ bœ bœ œ œ œ œ ƒ sempre

[xylophone]

j œ œ > j œ

Perc. 2

#œ >

5 Œ œ #œ œ #œ bœ bœ 5 #œ nœ bœ œ Œ >f 3 b œ œ3 œ b œ bœ œ p

[glockenspiel] 5

˙˙ .. æ

f w

bœ bœ œ œbœ ≈ Œ bœnœ œ œ œœ œ ƒ 3 b œ b œ œ œj ‰ Ó ƒ 3

œ bœ bœ bœ bœ œ 3 # œ œ b œ b œ3 œ P 3 3 3 3 4 Œ ‰ ‰ b œJ b œ b œ œ b œ b œ n œ n œ œ ‰ Œ &4 Ó P f a2 b œ œ3 œ œ œ b œ ? 44 Ó b œ n œ œ œ œœ œ ˙ œ œ bœ Ó p 5 f œ t 44 œ bœ bœnœ nœ œ bœ œ œ ∑ Œ f 5

4 &4

Tbn.

∑

j œ ‰ Œ Ó

C Tpt.

∑

# wfltz. w æ f #fltz. w æ f M # ww w f ww

lS co

Picc. (Fl. 3)

f 3 3 3 bœ bœ œ bœ bœ nœ nœ œ œ

œ J

Fl.

4 &4

1 2

bœ bœ bœ œ bœ Œ ‰ ‰

unis. II ord.

Oœ @J π III ord. j # œO@ π II ord. O œ @J π II ord. Oœ @J π ord. I #O œ @J π

42 42 2 4 42 42

Oœ æ

2 4

O œ æ

œOæ

Oœ æ

2 4 2 4

Ob. 2

1 (B b)

Cl. 2 (E b) 3 (B b)

Bsn.

œ. J ≈Œ 2 &4 œ. & 42 J ≈Œ & 42

œ. J ≈Œ 2 &4 œ. J ≈Œ & 42

1 2

?2 4 ˙ p t 2 j‰ Œ 4 œ p ∑ & 42

3 4

& 42

1 2

Cbsn. (Bsn. 3)

F Hn.

˙˙ 2 &4 ˙

1 C Tpt.

∑

>œ J‰ Œ 2 &4 [straight mute]

>œ œ‰ Œ J [straight mute] >œ B2 J‰ Œ 4 [straight mute]

2 3

& 42

œ>œ ?2 J ‰ Œ 4 [straight mute]

Tbn. 2 3

Tuba

?2 4

Timp.

?2 4

44 44

œ æ

M œ ˙ 44 ‰ œœ ˙˙ J P 44

œ 44 J ‰ Œ p nœ œ 44 ‰ J p œ œ 44 ‰ J p 44 w

∑

œ œœ f

∑

P Ó

bœ

œ œ œ R ‰. f œ œ moltoœ R ‰. f molto

p bœ p

œœ ˙˙ æ æ f œ œ æ æ Œ f ˙ ˙˙ ∑

œ œ f œ œ f

j‰ Œ œ π

4 4

∑

4 4

∑

4 4

∑

4 4

∑

4 4

∑

4 4

∑

4 4

∑

ã 42

Perc. 2

ã 42

∑

4 4

& 42

∑

œ œ

∑

4 j ‰ Œ 4 œ π 4 4

∑

molto

œœ œœ æ æ p bœ œ æ æ p M ˙ b b ˙˙

∑ ∑

œœ 34 æJ ‰ Œ Œ π 43

b œœ ˙˙ ‰ æJ æ p ‰ æJœ æ˙ p

∑

4 4

∑

3 4

∑

4 Ó 4

3 4

∑

4 Ó 4

∑

3 4

∑

4 4

∑

3 4

∑

4 Ó 4

3 4

∑

med. sus. cym.

3 ˙. 4 æ p

soft mallets

∑

˙. æ P Œ

Hp.

∑ ∑

∑

Pno.

& 42

∑

Vln. I

Vln. II div.

Vla.

Vc.

D.B.

& 42

∑

Ȯ & 42 æ

44 Oœ æ f

4 æ 4 Ȯ f 44 Ȯ æ f 44 Ȯ æ f

& 42 Ȯæ & 42

Ȯ æ

Ȯ B 42 æ Ȯ ?2 4 æ t2 4

4 4

∑ 173

O 44 œ æ f 44

∑

Oœ ‰ ‰ æj æ # œO œO @J p III

æ Oæ O Oœ œ æœ p III Oœæ æ æ œO œO p o œo Iœ Oœ æ & æ æp j œIIo œo ‰ & ‰ æJ æ p II

Oœ @J

∑

174

œ ˙ J ‰ ‰æ æ π non div. 3 o o ˙oo III œ IV œ ˙ ‰ ‰ æJ æ π 3

œOæ f

Oœ æ f

æ œO f œo æ f œo æ f

3 ‰ ‰ Oæj œ π 3 o bœ IV g ‰ ‰ æJ π

Ȯæ

˙o æ

3 œ ˙ ‰ ‰ æJ æ π

∑

175

3 4

˙. 34 æ F o ˙o ˙ 3 4 æ F

∑

o œo œ æ

43 Ȯæ.. F ˙o . 34 æ F ˙. 43 æ F 43

˙. æ P

∑ 176

˙ æ P

44 œæ 44

˙æ. π

˙æ.

˙æ æ.

soft mallets III ‰ œæj w

wæ

wæ P

∑

Ȯæ F

Ȯæ p

Ȯæ F

Ȯæ.. p

∑

Ȯ æ F Œ

178

œ ‰ æJ p

43 43 43 43 43 3 4 3 4 3 4

3 4 3 4

∑

43 ∑

∑

43 ?

3 4

34 43

Ȯ .. æ p w æ

3 4 43

Ȯæ p

unis. arco

3 4

Ȯæ.. p

Ȯæ F

3 œ 4 æ F 3 4 F

∑

Ȯæ F

3 4

œæ F

∑

44 ‰ æj æ œO œO π 4 ‰ æj 4 æ b b œO œO π 44 ‰ æj æ b b œO œO π 44 ‰ b Oæj Oæ œ œ π

b ˙æ

w p

∑

œ bO O @J ‰ ? 44 ‰ b æJœ æœ π 44 Ó ∑ 177

‰ æj œ p ‰ œæj æJ p

3 4

∑

44 4 4

∑

ȯ . æ P æ b b Ȯ .. P ȯ . IV æ P

4 ‰ j 4 œæ ˙æ. ∏ 4 œ ‰ Œ 4 æJ p

tam-tam tam-tam beater

∑ ∑

bass drum

bass drum beater

Œ ‰ æj œ ∏ ∑

∑ ∑

œœ œœ œœ œœ œœ 3 æ æ æ æ æ 4 F ∏

∑

44 44

44 ˙ æ F

3 4

∑ ∑

3 b b œœ œœ ‰ ‰ æJ æ p

œ œ œ œ œ ‰ ‰ bœ œ æ æ æ æ æ æJ æ p F ∏ œ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 œ œ œ œ œ œ 44 Ó ‰ ‰ b Jœ œ ∑ 43 œ ‰ Œ Œ J p F ∏ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ π bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ ˙ ˙ 3 44 œ œ œ œ œ ∑ ‰ J ‰ ‰ Jœ œ 43 p p F F ∏ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 44 ˙ . ˙. Ó ‰ Jœ 43 ˙ . œ œ ˙ p F P F bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ˙ ˙ 44 ∑ ‰ J Œ Œ ‰ œj œ ˙æ. 43 F p P f π bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ˙ ˙ 44 ∑ Œ ‰ œj œ ˙æ. Œ ‰ J 43 p F P f π bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ ˙ 44 ˙ Œ ‰ œj œ ˙æ. ∑ ‰ J 43 F P f p π a 2 bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~ œ w B‰ J ? 44 Ó ∑ ∑ Œ 43 π f 44 Œ ∑ ∑ ‰ j 43 bœ ˙ w p f bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ a2 j 3 4 œ ˙˙ œœ Œ Œ ‰ j 4 Œ Œ ‰ b b œœ 4 œ œ w F p a2 f π bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bisbig. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j j 3 4 ‰ œ 4 ˙. Ó ˙ œ ‰ 4 b˙. œ œ ˙ p F π P 3 4 ∑ ∑ ∑ ∑ 4 4 ∑

& 42 & 42

˙˙ 44 æ F

œ. & 42 æJ ≈Œ

œœ œœ œœ æ æ æR ‰ . f molto œ œ œ æ æ æR ‰ . f

lS co

Picc. (Fl. 3)

œœ æ

Fl.

# œœ ‰ æJ p œ ‰ æJ p

1 2

œœ .. J & 42 æ ≈Œ

43 43

179

Murky q = 63

3 &4

∑

3 &4

∑

3 &4

∑

1 (B b)

3 &4

∑

2 4

∑

4 4

∑

2 4

∑

3 4

∑

3 8

∑

4 4

Cl. 2 (B b)

3 &4

∑

2 4

∑

4 4

∑

2 4

∑

3 4

∑

3 8

∑

B. Cl. (Cl. 3)

3 &4

∑

2 4

∑

4 4

∑

2 4

∑

3 8

∑

4 4

1 2

? 43

∑

2 4

∑

4 4

∑

2 4

∑

3 4

3 8

∑

4 4

Cbsn. (Bsn. 3)

t 43

∑

2 4

∑

4 ‰ 4

2 4

∑

3 8

∑

4 4

1 2

3 &4

∑

3 4 œ ∏

3 4

3 &4

∑

3 &4

∑

3 &4

∑

B 43

∑

? 43

∑

2 4

∑

4 4

Tuba

? 43

∑

2 4

∑

4 4

Timp.

? 43

3 ã 4

Perc. 2

3 ã 4

Bsn.

F Hn.

1 C Tpt. 2 3

1 Tbn. 2 3

Hp.

Pno.

to B b clarinet

to bass clarinet

Murky q = 63

2 4

∑

4 Ó 4

∑

44 Ó

∑

44 Ó

∑

both drums completely slack

‡ >‡ I f

[bass drum]

œ >I f

∑

3 Œ ã 4 œI Œ >f 3 ∑ &4 [tam-tam]

3 &4

∑

2 4

∑

3 &4

∑

2 4

∑

? 43

∑

Murky q = 63

œ nœ œ. œ. ≈ Ó ∏

∑

œ nœ œ. œ. non cresc. ∏ 44 Œ bœ bœ °

bœ bœ œ π œ

∑

œœ‰

∑

2 4

∑

3 4

∑

3 8

∑

2 4

∑

3 4

∑

3 8

∑

4 4

3 8

∑

4 4

∑

‡æ ∏I

œæI ∏

‰. ∑

≈

2 4 Œ

‰

42 Œ

j ‡æ ∏

‰

j œæ ∏

43 æj œ .I

≈ Œ

j œæ ∏

43 œæj. I

≈ Œ

∑

42 Œ

r œæ œæ I π

‰

∑

2 4

∑

4 ‰ 4

3 4 ‰

∑

4 4 ?

to alto flute

lS co

Ob.

1 2

3 &4

Fl.

1 2

œ Ó

œ.

2 4 42

∑ ˙

∑

3 4 æj ‡ .I

≈ Œ

43 Œ

Œ j ‰ œæI ∏ med. sus. cym. ‰ Jœ æ Ø

∑

3 4

∑

3 ≈ Œ 4 œ. nœ. ∏ 43 ‰ bœ bœ œ

Œ Œ

i 38soft œmallets æ π

‰

∑

3 8

∑

3 8

∑

4 4 4 4 44

Vln. I

3 &4

∑

2 4

∑

4 4

∑

2 4

∑

3 4

∑

3 8

∑

4 4

Vln. II

3 &4

∑

Vla.

B 43

∑

Vc.

? 43

∑

42 Œ

∑

D.B.

t 43

∑

42 Œ

∑

180

con sord. div.

4 j 4 œ œ J π div. ‰ œj 44 J π 181 ‰

b ˙˙ p

# ˙˙ p

œœ . œ J ‰ œœ .. 182

42 j œ Œ 42 Œ

‰

π ‰ j œ J π ‰ œj J π 183

43 43

p b œ@

punta d'arco

˙ p

œæ

punta d'arco

# œ@œ @ p

œæœ æ 184

185

28 1

Fl.

Alto Fl. (Fl. 3)

1 Ob.

& 44

∑

‰ # œj œ œ œ œ . ≈ # ˙ . J ∏ π

& 44

∑

& 44

∑

& 44

∑

∏ ∑

Œ #œ ∏

alto flute ‰ # œj ˙

œ œ. ˙ π

œ ‰ J

7 j œ. œ œ œ œ œ œ œ œ ‰ p ∑

˙ P

espress.

‰

œ œ. œ j #œ ∏

Œ ∑

2 3

& 44

∑

Cl. 1 2

& 44

∑

Bsn. 1 2

? 44

∑

1 2

& 44

∑

3 4

& 44

∑

& 44

∑

& 44

∑

B 44

∑

? 44

∑

Tuba

? 44

∑

Timp.

?4 4

∑

4 ã 4

∑

1 Tbn. 2 3

vibraphone

Hp.

Pno.

Vln. I

Vln. II

& 44

∑

?4 Œ 4 ?4 4

∑

? 44

D.B.

L.V.

non div. arco con sord.

4 & 4 bœ œ π molto

˙. ˙. F

non div. arco con sord.

& 44 # œ œ π molto con sord. B 44 # œœ π

˙˙ .. F

B 44 # œœ π

molto

non div. con sord.

#œ ? 44 œ π

t 4 ‰. 4

molto

˙˙ .. F ˙˙ .. F ˙˙ ..

molto unis. sul tasto

≈Œ

[tam-tam]

‰

j œæ

∑

#œ

r bœ œ ˙ π P 186

j‰ Œ œ œ ∏ j‰ Œ œœ ∏ œœ .. ∏

œœ .. ∏

œ œ J

∑

∑ ∑

œ J

‰

∑

œ œ. ˙ π

∑

œ ‰ J

Œ ∑

‰ j œ ∏

∑ ∑

∑

# œp

more distinct & articulate

j œ œ- I 3

œ-

poco

∑ ∑

3 3 3 j ‰ # œ œj œ œ œ # œ œ œ œ #œ I p ∏ 5

3 j œ # œ- œ

∑ ∑

p 3 ‰ ‰ # œJ w

‰ #œ œ p œ Œ 3

j œ œ Ó

∑

j # œœ œœ j # œœ œœ

œœ # œœ œœ J ‰‰ J ∏ ∏ ˙. 187

# œœ π

˙˙ P

œœ

œœ P

œœ

œœ P

œœ

j œ ‰ ∏

‰ b œj œ œ œ œ œ π molto F

‰

œœ

‰

œœ

‰

˙˙

j # œœ œœ œœ π molto F

j # œœ œœ π molto # œœ œœ ‰ J π

∑

188

189

molto

œœ F œœ

j‰ Œ œœ ∏

œœ ˙˙ ˙˙ .. ˙˙

n œœ ∏

# œœ

∏

œ-

j ≈ ≈ j œ. œ. π

˙ ∏

˙.

∑

œ #œ p

j œ- œ

∑

∏

3 3 ‰ # œ Jœ œ œ ‰ Jœ ˙ . i

˙ ˙ P

œ œj # œ œ P

∑

bœ œ π

‰ # œj œ

∑

œ œ #œ

∑

œæI π

tam-tam beater

œœœ œ

‰

blend with flute

∑

# œI #œ œ œ œ #œ ∏ 5

∑

non div. con sord.

Vc.

‰

p sempre 3 3 3 ‰ # œ œ œ œJ œJ œ œ

non div.

Vla. div.

Perc.

4soft mallets 5 &4 # ˙ .I #œ œ œ œ #œ ∏ murmuring, barely audible ° sempre 4 ∑ ã 4

j œ œ p

2 3

Œ #œ ∏

bucket mute

œ #œ

œ J

lS co

C Tpt.

œ ‰ j œ ∏

2. muted

F Hn.

‰ œJ ˙ ∏ 4. muted ‰ # œJ ˙ . ∏ Œ

≈ j # œœ .. π

j j œœ .. ≈ ≈ # œœ .. π

˙˙

j j œœ .. ≈ ≈ # œœ .. π

n ˙˙ ∏

œœ .. J

˙˙

∑

190

191

# œœ .. ≈ ≈ J π

j œ-

Fl.

Alto Fl. (Fl. 3)

& œ & ˙ ∏ & œ

2 3

Ob.

& œ

Cl. 2 (B b)

& Ó

B. Cl. (Cl. 3)

F Hn.

j œ ‰

& Œ

3 4

jŒ Ó œ #œ I F ∑

œ œ ˙ p clarinet in B b ‰. r œ œ π ∑

œ. J p

‰ # œj œ œ - π p

œ. J

j3 œ œ p

≈

‰ œ 3

∑

∑ ‰.

bass clarinet

r bœ ∏

∑

jŒ Ó œ #œ I P ∑

œ. nœ ˙

œ 1.

∑

#3œ

‰ # œj œ œ - π p

∑

44 Œ

∑

3 4 œ

#œ i J 3 4 F

∑ œ. J

∑

j # œ I 43 F

∑

3 4

Tbn. 2

∑

3 4

Tuba

∑

3 4

∑

3 4

& # œ-

Hp.

Pno.

j‰ œ

lS co

ru ∑

∑

œœ J ‰ ∑ 192

∑ oo Œ # ˙˙ .. π 193

2 soli, div. III ord. IV

Ó Ó

‰

j # œœ ∏ j ‰ # # œœ ∏ j ‰ # # œœ ∏

‰ œœ

‰.

194

≤r bœ ∏

p #œ 3 œ œ J 43 Œ

4 4

44 # œ œ

3 4

∑

4 Ó 4

j ‰ Œ œ

∑

44 Ó

n ˙˙ π

43 ˙˙

# ˙˙ π

œ. nœ ˙

j œ œ P

∑

œœ œœ œœ tutti unis. sul tasto

3 4

44 4 4

œœ œ œ œ œ P

œœ

∑

#œ

b˙ ˙ π

195

j ‰ œ

œ F

˙˙

œœ F œ

F œ

∑ ∑

œ3œ J

∑

∑ ∑ ‰ bœ œ ∏ 3

œ œ

j œœ ‰ 44 Ó

# œœ ∏

œœ

‰ # œœ 3

œœ

43 ˙˙

j œœ ‰ 44 Ó

‰ # œœ

œœ

˙ 43 ˙

œ œ ‰ 44 Ó J

œœ

43 ˙ . P

44 œ

#œ ‰ œ ∏

196

6 4 ‰ 4 æ #œ #œ. œ I #œ œœœœ ∏ π ∏ [tam-tam] tam-tam beater 4 ≈ j 4 œæ . œæj ‰ Ó π

∑

3 4

4 4

∑

œœ # œ œ P œ #œ œ œ# œ œ P

œ œ

3 4

∑

43 3 4

∑

‰ œJœ œœ ∏ Œ

∑

∑ Ó

j œœ ‰

44 ‰ j #œ ∏ 4bucket‰ mutej ∑ 4 # œœ ∏ bucket mute œ ? 4 ∑ 4 ‰ J ∏ bucket mute 44 œ œ Œ #˙ p ∏ bucket mute Œ # œ œ œ 44 œ œ ∏ p 4 ∑ 4

3 3 3 j j 4 œ œ œ #œ -I π

‰ # œji ‰ œj Ó I π P 3 b œ œ 3b œ i J Ó ‰

∑

B œ œ ˙ œ ˙ P #˙. ? ˙.

œ 3# œ œ 3 œ J J

∑

j‰ Ó œ

B n ˙˙ P

∑

p 3 Œ ‰#œ œ

‰

∑

œ ˙ P

∑

œ P

˙.

∑

≈ #œ œ# œ I # œ œ #œ œ œ P ∏ murmuring sempre more distinct & articulate ° ∑

∑

Vln. II

D.B.

j œ-

∑

Vc.

∑

j j & ‰ # œ I ‰ œjI ‰ œ I Œ

Vln. I

Vla. div.

œ œ-

œ-

jŒ Ó œ

Perc.

∑

‰ œ p

œ p

4 4

∑

≈

j œ ˙ ∏ 4 j‰ 4 œ œ

∑

4 ‰ 4

∑

r nœ ˙ ∏

3 4

2 3

C Tpt.

∑

‰.

∑

& œ

4 Œ 4

#œ

∑

4 4

r œ œ p espress. ∑

∑

r ‰. œ œ œ ∏ ∑

[bucket mute]

˙. P

‰.

4 4

∑

3 ‰ ‰ b œ 43 ˙ J ∏ echo 3 4

∑

j # œI F j # œI F j # œI F

3 4 Œ

∑

‰ j œ ˙ ∏ ∑

j œ-

∑

jŒ Ó œ #œ I F ∑

1. [muted]

≈œ π

‰ #œ œ œ œ œ œ œ œ #œ œ œ œ œ - - -- - - p F molto p

∑

1 2

∑

‰ j œ ˙ p ∑

Œ #œ œ - π

∑

1 (B b)

Bsn. 1 2

œ œ œr ‰ .

‰

∏

j œ ‰

Ó 197

œ J

2+3

Ob. 2

Cl.

∑

1 (B b)

2 (B b)

1 Bsn. 2

F Hn.

œ œ

? Œ &

3 4

1 2

Hp.

œ œ

j œ ∏

‰

œ œ J p 5 B # œR œ π

j œ

Vla. div.

∑

Vc.

D.B.

j œ ∏

[bucket mute]

? œœ

œœ J ∏

[bucket mute]

? ã

& Œ

‰

? œ œ i‰ Œ

œ π

œI

& œj œ œ. P [con sord.] & œj œ . œ œ. P

#œ œ

[con sord.]

# œœ ∑ 198

∑

j 43 # œ œ I F 43

∑

Œ Œ ≈ #œ #œ

∑

Œ Œ ≈ # œ # œ œ œ œ 85 p ∑ 85

œ. œ œ P 3 Œ ‰ j j 43 œ œ #œ I π F ∑ 43

œœ π

j ≈ œ.

œ. œ. œ. œ. œ.

Í #œ J ‰ Œ. f #œ ‰ Œ. J f ∑

5 8

∑

5 8

∑

5 8

∑

3 4

∑

5 8

∑

3 4

∑

5 8

∑

œ p

∑

‰. r œ π 3. [muted] ‰ j #œ œ ∏ j ≈ Œ œ.

j 43 œ #œ I P 3 j‰ 4 œ

∑

œ. ∑

oboe

3 4

œ œ

‰ #œ œ j œ I #œ œ P ∑

‰ #œ

œ #œ #œ

∑

n œœ π

∑

j ‰ œœ

j œœ œœ .. P

[con sord.]

∑

j œœ œœ .. P [con sord.] œ œ. ? Jœ œ . P

#œ P

∑

œ ∏

1. [muted]

œ p Ó

∑

‰ œj

œ œj œ

∑

#˙ π

∑

maracas

∑

3 4

∑ ∑

3 4

∑

j œœ .. ≈

∑

j œœ .. ≈

∑

œœ .. J ≈

∑

199

200

∑

& &

∑

remove mutes

∑

remove mutes

∑

remove mutes

remove mutes 2 soli, div. arco ord.

oo 43 # ˙˙ .. π

∑

2 4

∑

3 4

∑

2 4

∑

3 4

∑

2 4

∑

3 4

∑

oo œœ ‰ Œ . J

202

3 4

2 4

∑

3 4

∑

‰ ‰ Jœ p ∑

guiro

42 42

œœœ œ‰ 2 4 π 42

∑

œ œ. œ. œ. œ. 42 flf sub. ∑ 42 2 4

∑

œ ‰ ‰ J 42 P unis.

B B

#œ ‰ #‰ œJ P œœ œ œœ œ œ

div.

Œ œœ bœ bœ sub. f

∑

Suddenly Lively q = 126 . . . . b œ œ div. a 2 5 œœ 8 ‰ Œ. f œJ . . . . pizz. bœ div. a 2 œ 58 b œ œ ‰ Œ. f œJ b œ . . . œ. 58pizz. f pizz. j bœ 58 n œ ‰ Œ . œœ f

œ̆ œ̆ ‰ ‰ J 42 J ‰ Œ F straight mute ˘ #œ # ˘œ Œ ‰ #‰ œJ 42 # œJ ‰ Œ F

>œ œ œ œ œ P n ˘œ # œ. œ. œ. œ.

˘ b b œœœ 58 b œœ ‰ Œ . J f 5 ˘ 8 n œJ ‰ Œ .

85 201

∑

pizz.

remove mutes

2 4

straight mute

∑

P f . . . # œ œ œ œ. 3 4 P f . . . # œ œ œ œ. 3 4 P f ∑ 43

∑

Í œ̆ J ‰ Œ. f

œ. œ. œ. œ. œ.

n ˘œ J ‰ Œ. f straight mute ˘ # œœ 85 J ‰ Œ . f straight mute

œ. œ. œ. œ.

∑

Suddenly Lively q = 126

∑

3 j ≈ 4 œ.

r #œ œ ∏

∑

[vibraphone]

∑

j‰ Œ œ π

œ. œ œ

5 8

∑

#œ p

Suddenly Lively q = 126

∑

‰.

∑

j ‰ œœ œœ ∏ [bucket mute] œ ‰ ? œ J ∏

j œ ‰ Œ

π ˙

[con sord.]

Vln. II

Vln. I

Pno.

œ . œ œ œj . > #œ F ∑

∑

Tuba

#œ P

œ œ

∑

‰

2 3

#œ

[bucket mute]

& œ

Tbn.

œ π

∑

œ # œ œ œr œ F

∑

B #œ ∏

1 2

C Tpt.

Perc.

œ œ œ

& #œ œ. œ œ

œ œ

Alto Fl. (Fl. 3)

#œ œ œ œ œ œ œ. P j œ ‰ Œ

œ.

r ‰. œ

& Ó

œ œ

lS co

≈ œ #œ œ œ œ œ P

Fl.

& Œ

2+3

œœ œœ œ œœœ bœ œ bœ f pizz. œ bœ b œ ‰ Œ. J f ∑ 203

œ œ œ œ 43 F ∑ 43 ∑

∑

43 43 3 4

œ œ œ œ 3 4 f

# # œœ œœ œœ œœ 3 42 4 f 42

∑

204

3 &4

∑

3 &4

∑

Alto Fl. (Fl. 3)

3 &4

1 Ob. 2 3

Fl.

Cl.

1 2

B. Cl. (Cl. 3)

1 Bsn. 2

1 2

F Hn.

∑

3 &4

∑

3 &4

∑

3 &4

? 43 œ. b œ. œ. b œ. œ. b œ. P ? 43 œ. b œ. œ . b œ. œ. # œ. P 3 ∑ &4 3 &4

Murky q = 63

∑

3 &4

∑

? 43

∑

Tbn. 2

? 43

∑

? 43

∑

Tuba

? 43

∑

Timp.

Perc.

Hp.

? 43 œ œ - - - - # œœ iI P π 34 ∑ ã soft mallets

3 &4 3 ã 4

∑

3 &4

n ˙˙ .. iI P ? 43 ˙ . i n ˙˙ .. iI

Vln. I

3 &4

Vln. II

3 &4

Vla.

B 43 pizz.

Vc.

D.B.

∑ tam-tam

∑

∑ ∑

‰ j≈ j œ- . œ- I œ- I œ- I. π ∑ tam-tam beater

? 43 œ b œ œ bœ œ œ œ œ bœ I π blurry 3 3 3 ? 43 œ bœ bœ œ œ œ œ œ bœ I ° 3

Pno.

∑

2 4

∑

3 4

∑

3 4 ‰ # œj ˙ ∏ 3 less than flute∑1 4

∑ ∑

˙ 43

2 4

∑

3 4

∑ ∑

[vibraphone] 3

soft mallets

œ 3 #œ œ J

Murky q = 63 ∑ ∑ ∑ ∑

œ3œ J

42 42 42

˙ 42 42

43 Œ

∑

208

∑

3 4

∑

2 4

∑

3 4

∑

4 4

œ J p

∑

2 4

∑

43 43 oo 34 ˙˙ȯ

∑ ∑ ∑ ∑ ∑

42 42

œ #œ œ

∑

ooOPopOO

∑

2 4

∑

to celesta

non div. con sord. arco

42 ‰ b œj œ œ œ œ œ π molto F non div.

arco con sord. 42 ‰ # œj œ œ œ œ œ π molto F

#œ œ

43 Œ 43 3 4 43 43

‰ ∑

j œ œ œ.

#œ œ 24 ‰ Jœ œ πmolto

div. a 2 o o IV o oœo . IIIo 2 o œœ .. œœ 4 ˙˙ P 210 211

44 44 4 4

44 44 44 44

∑

i ‰ # œJ œ œ . 44 44

∑

œ ∏

œ ∏ œœ ∏

# ˙˙ 43 F 43

∑

non div. con sord.

non div. con sord. arco

4 4

∑

42 ‰ # œjœ œœ œœ 43 ˙˙ πmolto F arco

4 4

‰

∑

43 ‰ 43

bœ i

j #œ œ ∏ bucket mute 3 Œ ‰ j 4 œœ œœ ∏ œ œ œ ‰ J 43 p ∏ 43 œJ ‰ ‰ # œJ œ ∏ bucket mute ‰ œJ œ 43 Œ ∏ 3 ∑ 4

∑

slow gliss., hazy

œ œ 42

3 4 œ

∑

43 3 4

∑

#œ

2 4

∑

Œ #œ

oo oo 24 ‰ # jn œœœo œœœo J π 209

∑

œ œ 42 ‰ J ∏ œ 42 œ

œ 43

∑

∑ IV III IV

œ ‰ J ∏ bucket mute Œ #œ ∏

∑

œ ‰ J

∑

2 4

∑

2 4 42

oo o ˙ ˙˙ ...

∑

œ J F

∑

2 4 œ.

bucket mute

43 ˙

∑

207

∑

3 4

∑

o oo ˙ ˙˙

∑

˙ 42

∑

206

œ3œ J p

∑

oo oo o œœœ # œœœo

2 4

∑ ∑

∑

oo o ˙˙˙ ...

43 œJ ‰ Œ 43 ˙ .

∑

2 4

∑

sempre L.V.

∑

sim.

? 43 œœœ œ œ œ œ # œœ œ # œ #œ F p III arco o tutti unis. div. a 3 III oo pizz. 34 œj ‰ Œ IVjjœœœ V #œ œ p f 205

∑

2 4

‰‰ j æ æ æj #œ œ œ œ p ∏ ° ∑

p 3 ‰ #œ nœ

∑

bucket mute

∑

3 ‰ ‰ # œJ œ ∏ ∑

2 œ. œ 4 ˙ p 3 ‰ . œ 42 œ # œ R p P 42 œ .

lS co

2 3

j 43 ‰ # œ ˙ π ∑ 43

∑

C Tpt.

3 &4

3 4

43 ‰ # œj œ π Œ 43 Œ

Murky q = 63

œœ

∏ ∑ 212

44 44 44 4 4 44

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 o # œo 3 œ (# œ) œ œ ( ) œ3 j j Ó J # œ # O O( ) œ ( ) œ œ œ P Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 o o œ (# œ) œo 3 œ œ 3 j ‰ œ ( # œ) J Œ J œ ( #)œ œ œ O ( # O) sempre π J Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ o œo # œo (# œo ) œo 3 ( œo ) o j œ œ (# œo‰) Œ j ‰ œo (# œo )œ ( ) œ œ O ( O) O ( O ) O ( O ) O ( O ) O O ( O ) π sempre ∑ ∑

1 Ob. 2 3

Cl.

1 (B b) 2 (B b)

Bsn. 1 2

F Hn.

4 &4

4 &4 B 44 ‰ 4 &4

3 4

4 &4

C Tpt. 2 3

Tbn. 2

Tuba

Hp.

j œ œ p

less than flute 1

? 44 Œ 4 &4 Œ 4 &4 Œ

[con sord.]

4 &4 Œ

[con sord.]

Vln. II div.

4 &4 Œ

[con sord.]

B 44 Œ

[con sord.]

Vla. div.

B 44 Œ

[con sord.]

? 44 Œ

[con sord.]

Vcl. div.

D.B.

? 44 Œ

[con sord.]

4 V4 Ó

œœ

j œ

j œ #œ œ œ œ œ. F ∑

˙ œ #œ. p

∑ ∑ ∑ Ó

∑

œ #œ œ œ J P ∑

œ #œ. ˙.

œ œ

∑ ∑

∑

∑ ∑

∑

p ≈ œJ .

∑

‰

sempre

∑

‰

œ-

j3 œ œœœ p

≈ # œj. π

∑

#œ J

[vibraphone]

4 &4

#œ P

œ œ π

∑

[bucket mute]

3 ? 44 ‰ # œp ° 4 ã 4

œ œ œ6 œ œ œ œ . # œ

œ œ J ∏

4 &4 ˙ F [bucket mute] 44 & ˙˙ F [bucket mute] ? 44 ˙ F [bucket mute] œ œ ? 44 F [bucket mute] ? 44 ˙ F ? 44 Ó 4 ã 4

∑

[con sord.]

Vln. I div.

œ œ œ œ œ œ œ. #œ

4 &4

1 2

Perc.

4 &4 ‰

j œ

j œ #œ œ œ F

Alto Fl. (Fl. 3)

œ œ

œ π

∑ ∑

≈ j œ. œ ∏

∑ con sord.

j bœ ∏ 3

œ æJ ∏

bœ i

bœ œ p

b b œœ p

≈ j œ. œ ∏

œ p

≈ j œ. œ ∏

œ p

≈ œjœ.. œœ ∏

œœ p

≈ jœ. œ #œ . œ ∏

œœ p

# œœ .. œœ ≈ J ∏

t‰

213

˙ P [small sus. cym.] wire brushes ‰ @Jœ æœ ∏ ˙i œ æ p

˙ æ p Œ

œœ

unis. sul tasto arco

j bœ ∏

∑

j ‰ œ

œ æJ

‰ Œ

œ-

‰ #œ p

∑

‰ œ b œ b œO œ ‰ J gli altri π 2 soli ‰ œœ b œ b œO J ‰ π gli altri

œœ p œ

œ œO Œ œ œO Œ

‰ 2 soli œ ‰œ œO œ œO J Œ π gli altri ‰ 2 soli œ ‰œ O œ O Œ J π gli altri

‰ œœ œ O œ O J ‰ Œ π gli altri

2 soli

‰ œœ œ‰ O œŒ O J π gli altri

2 soli

‰ œœ œ O œ O J π gli‰altri Œ 2 soli

‰ œœ # œ O œ O J π gli‰ altri Œ 2 soli II

˙ P

œ 3# œ œ æJ æ ∏

Œ Œ

with fingernail

#˙ ∏

˙˙ ..

‰

b œ b œO ‰ Œ

˙ Ó p

Ȯ

b œ b œO

‰ Œ

˙Ó p

Ȯ

‰ Œ œ œO

˙Ó p

œ O

‰ Œ

˙ Ó p

œ O‰ Œ

˙ Ó p

œ Oœ ‰ Œ

#œ O ‰ Œ

˙ Ó p

˙ Ó

214

j œ ‰

œ- œ J p

j œ ∏

#œ

∑ 215

‰‰ j œ ˙ ∏ 2. 3 ‰‰ j œ œ #œ ∏ ‰ # Jœ ∏ ‰ Jœ ∏ ‰ œ J ∏ 3

˙˙

œ. œ ≈ J ∏ 3. [muted] œ . œ Œ ≈ J ∏ Œ

1. [muted]

œ œ œ

#œ I

œ ‰ Œ J œ ‰ Œ J

∑ ≈ Œ

‰

∑

‰

3 soli

# œ # œO # œ . # œO .. F molto p

‰

3 soli

œ O œ. O. F molto p

∑ Ó

216

‰

œ O

3 soli

≈ j œ. ∏ œ. O. arco

molto

∑ Ó ∑

≈ Œ

Ó ∑

‰ #œ O #œ. O. ≈ Œ F molto p gli altri

∑

≈ Œ

3 soli II

∑ Œ

p ord. bœ 3 bœ ˙. J

≈ Œ œ œO œ . œO .. F molto p

∑ Ó

3 soli

∑ Œ

œ ‰ Œ J

∑

œ 3 # œJ F 3 #œ œ J F

j ‰ Œ œ

œ. æJ P

j ‰ Œ œ

j j œ œ #œ ∏ 3F ≈ j j œ. œ œ œ ∏ F ? ∑

˙ "f " ˙ "f " ˙ "f " ˙ "f "

‰ @Jœ p œ- œ # œ- œ i J

œI

‰

˙ "f "

∑

Ó # œ- 3 œ- œ J

finger mute during gliss.

Ȯ

˙ Ó p

gliss. with wire brushes (black/white notes)

crotales

2 soli

≈ j œ. œ ∏

. ≈ # œœJ . œœ ∏

lS co

4 & 4 œJ ‰ Œ

œ. #œ œ F

œœœœ

j œ œ p

4 &4 ‰

Fl.

Ó 3

≈ Œ

œ p Œ 217

‰

oo 3 # œ ‰ ‰ œ V J π 2 soli, div.

∑

Alto Fl. (Fl. 3)

∑

1 Ob. 2 3

∑

‰œ œ p ∑

1 2

∑

Cbsn. (Bsn. 3)

1 2

F Hn.

3 4

t ? ? Ó

∑

#˙ ∏

œ. J

≈ j œ. π 2. ≈ j #œ . π ≈ # œJ . π ≈ œœ .. J π ‰.

3. [muted]

2 3

∑

Tuba

Hp.

Vln. I div.

Vln. II div.

Vla. div.

Vcl. div.

D.B.

? ã

‰. nœ œ R π ‰ . n œr œ π

2 3

∑

r nœ œ π

Tbn.

‰.

∑

1 C Tpt.

Perc.

∑

∑ ∑ ∑

‰.

r nœ œ π

2. [muted]

≈ Ó

œ œ

# œ 3 Jœ- ˙ . i æ ∏ p °

∑

∑ ∑ ∑

∑

218

œ. œ F

œ "f "

œ. œ F

oo œœ ‰ Œ J

Ó 219

∑

j‰ Œ œ

œ 3# œ J ∏ p œ ‰ Œ J

B‰

∑

j œ ‰ Œ

∑

j‰ Œ œ

∑

œ œ

‰ # œj ˙ . π

j‰ Ó œ

œ œ

œ ‰ Ó J

œœ

œœ ‰ Ó J

∑

œ æ P

∑ ∑

p # ‰ . œR

‰ . œr œ b ˙ œ œ π molto F

‰ . b rœ œ bœ œ ˙ π F

2 soli

tutti

‰.

2 soli

r œ œ ˙ π molto F

2 soli

r œ œ ˙ π molto F tutti

2 soli

r # œœ œœ ˙ π molto F tutti

b Ȯ

2 soli

Ȯ O O O

2 soli tutti O # œœ œœ ˙ ‰. R π molto F tutti 2 soli O ‰ . # œœR œœ ˙ π F ∑ 220

j b œ b œO œ π j œ œO n œ π

w p Œ

œ ≈ œj.

j œ O nœ π œ œ œ #œ

j O # œœ π tutti j O # œœ π tutti O œ œ J π tutti O œœJ π

tutti

∑

gliss. with wire brushes over metal bars and resonators

œœ .. P œœ .. P

œ n œœ œœ .. œ

3. stopped mute

∑

œ œ. P

˙ p

‰ πj # œ Ó˙ J

∑

Œ œ.

4. stopped mute

∑

tam-tam

‰ œæj p

wire brushes

œœ .. F ∑ 221

&˙

π ° œæ

œæ P Œ

with fingernail

#œ ∏

∑

œi

F bœ

Ó ∑ ‰ #œ Œ

Ó œ b œO b œ b œO œ œO p

2 soli

Ó œ œO œ œO

2 soli

œ œO p

œ ( œO ) œ œO œ œO p

2 soli

œ p

2 soli

œO p

œ O œ O

2 soli

œ b œO œ œO Ó

œO

œ O œ O

œO

œ O œ O

n œ b œO p 2 soli I

2 soli II

j œ ‰ Ó

∑

bœ œ. P

tutti

∑

nœ œ. P

tutti

∑

bœ œ. P

tutti

∑

∑ j b œ b œO œ π

∑

b Ȯ

∑

tutti

∑

molto

tutti

tutti ‰ . œrœ œœ ˙ π molto F

‰.

œ @J ‰ Œ π

b˙i 2 soli

tutti

‰.

œ æ F

∑

[small sus. cym.] wire brushes

∑

1. stopped mute

∑

j‰ Œ œ

œ J ‰ Œ

∑

shadow of flute 1

∑

j‰ Ó œ

∑

oo w w V

f" œœ œœ

∑

œ. œ F

? Œ Œ # œ3 œ œ

œ "f " œ œ

r œ œ π

[vibraphone]

œ. œ F

∑

Bsn. 2

∑

j œ ‰ Œ

lS co

B. Cl. (Cl. 3)

j œ #œ P

Cl.

Fl.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 5 o (# œo )œo (# oœ) œo 3 œo o 3 œo œo œ œ œ J ‰ Ó J J Œ œ(# œ) O (# O ) O (# O) O O π F π Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œo (# œo ) o (# œo )œo œo (# œo ) œ (œ3) œo œo œ œ ( # œ) J ( O)‰ Œ O ( # O) œ (# œ ) O( # O) O J shadow of flute 1 π p π Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ o o œ œo ( œo ) ȯ ( # œ) J ‰ Ó Œ Œ p

∑ 222

œ œ ‰ @J æ p P

gliss. with wire brushes

œI Ó j œ ∏ #œi P

crotales (black/white notes)

p ord. # ‰ œJ

bœi

P ‰ j j bO bœ œ œ œ œ Œ gli altri J F P 2 soli ‰ j j bO bœ œ œ œ œ gli altri J Œ F 2 soli P ‰ j j œ œ œ œO œ gli altri J Œ F tutti 2 soli IV ‰ j j # œœ œœ O œ œ F 2 soli

œO œO œO O

IV ‰ œjœ œjœ œ O œ O F tutti

2 soli

IV ‰ # œjœ œjœ œ O œ O F tutti

# œœ œœ œI O œ O ‰ J J F 2 soli tutti II ‰ # œœJ Jœœ œ O œ O F ∑ 223 tutti

2 soli

& Œ

Fl.

Ob. 1

Cl.

1 2

B. Cl. (Cl. 3) Bsn. 1 2 1 2

F Hn.

3 4

& Œ & &

? ? & Œ

Tbn. 2 3

Tuba

∑

j œ

Ó ˙

˙ p

∑

[bucket mute]

∑

? œ ã æ

[small sus. cym.]

œi

Cel.

& Œ

œ J π ∑

‰

ã & Œ ?

j œ ∏ ∑

‰

Vln. II div.

& b˙ (2 soli)

˙ (2 soli)

B ˙

(2 soli)

B ˙ ?

Vcl. div.

D.B.

b Ȯ

#˙

(2 soli)

? #˙ V

O O

Ó ∑ 224

œ iŒ P Œ

∑

√ 3 . . .3 . . ‰ œ π

∑ Ó

√ 3 # œ3. . . . .

tutti c.l.b.

# # œœ p

# œ. J ‰ Œ

c.l.b.

∑ ∑ ∑ 225

j ≈ œ . 43 p 3 4 1.

3 4 3 4

F œœ

∑

3 4

n n œœ # # œœ

P ∑

ord.

b œ b œO ˙ 3 front desks, outside players p

j b œ œ b œO 3 front desks, inside players p ord.

‰

3 front desks, outside players

‰

ord.

œ œO ˙ p

j œ œ œO 3 front desks, inside players p

‰ œj œ œO 3 front desks, outside players p Ó Ó

ord.

j œ œ œO 3 front desks, inside players p B

‰

# œœ3 n œ nœ

3 4

∑

œ J ‰ Œ

44 44

∑

4 4

∑

ord.

4 4

∑

j‰ Œ œœœ œ J ‰ Œ

4 4

∑

4 4

∑

œœ ‰ Œ J

∑

4 4

∑

∑ ‰ Jœ œ Oœ 3 front desks, inside players p

Ȯ Ȯ Ȯ

Ȯ F

∑

226

227

Ȯ F Ȯ

F Ȯ

4 4

∑

3 4

œO F

# œœ 43

O ∑ ‰ # Jœ œ œ 3 front desks, outside players p

# œœ

3 4 43 3 4 43 43 43

∑

π ‰ b OæjO Ȯæ bœœ J Œ

‰

3 n n œœ

2 back desks, outside players

4 4

3 4 43

∑

2 back desks, outside players ‰ πj 4 æ æ 4 œO Oœ Ȯ J Œ Œ

‰ π j # œOæ Oœ Ȯæ # J Œ

æj b œO .. Œ

π ‰ OæjO Ȯæ J œœŒ πj ‰ œOæ Oœ Ȯæ J Œ

π ‰ b OæjO Ȯæ œœ J Œ

4 4

2 back desks, inside players

oj o IV # œ ‰ J œ p 228 4 soli, div.

æj œO .. Œ

44 æj # # œO .. Œ

2 back desks, inside players π ‰ OæjO Ȯæ 44 J œœŒ Œ 2 back desks, inside players

æj œO .. Œ j Oœæ .. Œ æj œO .. Œ

∑

p 3 i # œ ‰ i ‰œ

ord.

‰ # œJœ Œ

4 4 4 4

# œœ n n œœ œ ‰ J Ó p

2 back desks, inside players ‰ πæj æj. 4 æ b O O Ȯ b O bœœ 4 b œŒ . Œ Œ J

2 back desks, inside players

#œ 44 # œ # œœ

2 back desks, inside players

j œ ‰

4 4

∑

œ F

œœœ œ

œ 3 œ œ # œj J J ‰

≈ 44

3 4

∑

‰

# œ 3 œ œ # œj J J ‰

œœ .. œ. J

œœ œ P ∑

∑

œœ œ

43 œœ

∑

‰

∑

œ3. . . . . &‰ π

Ó ∑

# œ. J ‰ Œ

tutti div.

∑

3 4

œœœ F œ

∑

# œ. J ‰ Œ

F Œ

j # # œœœ ˙˙˙ ∏ œ ˙ ‰ J ∏ ‰ # œœ ˙˙ J ∏

3 i # œœ iI Œ ‰ # œJœ I Œ

. . . 3. . # œ ‰

c.l.b.

‰

∑

celesta

‰

possibile

∑

tutti c.l.b.

#œ i

# œœ .. ≈ œ. J p

∑

# œœ3 n œ i œ i nœI J Œ ‰ Œ p ° ∑

∑

b Ȯ

Ȯ

j œ ∏

∑

(2 soli)

Vla. div.

#˙

‰

[crotales]

∑

& b˙

∑

bœ

sim.

(2 soli)

Vln. I div.

‰ Jœ ˙ ∏

med. mallets, match celesta

∑

muted (cotton ball)

∑

[bucket mute]

j œ ‰ Œ

∑ Ó

∑

j #œ

Hp.

p # ˙œ ‰ Œ J

∑ ∑

gliss. with wire brushes [vibraphone] over metal bars and resonators

Perc. 2

∑

& w

1 C Tpt. 2 3

œ œ J ‰ π *

∑

2. stopped mute

‰

j #œ

lS co

# œ* œ ‰ J π

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ sim. oœ (# œo ) œo œo œo œo œo œo #œ J J J ‰ Ó ‰ œ( ) # O O( ) O 3 3 p5 π F Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ sim. œo œ œo œo (# oœ ) o œo œo œ # œ J œ ( ) œJ O ‰ œJ ( ) O (O ) Œ O 3 3 shadow of flute 1 π π P ∑ ∑

∑

≈ ≈ ≈ ≈ ≈ ≈ ≈

j b œOæ .. ≈ Œ III o IVo œ # œœ o

ȯ ˙ o

229

n œœ ‰‰ J 3

o œœ o F

Cl.

1 2

B. Cl. (Cl. 3) Bsn. 1 2

F Hn.

1 2

1 C Tpt. 2 3

Tuba

Perc. 2

Hp.

Cel.

∑

π ≈ œj.

1. [stopped mute]

j # # œœœ œœœ ∏ œ œ # ‰ œœJ œœ ∏

œœœ

∑ ∑

œœœ F œœœ F

œ 43 J

43 43 43

ã &

∑

# œœ

œœœ J

‰

j #œ

‰

∑

‰

∑

2 4

∑

4 4

∑

≈ Œ

∑

2 4

∑

4 4

∑

Œ ∑

j ‰ œ

∑ ˙.

42 j3 œ œ œ π

∑

3. [stopped mute]

∑ Œ

#œ ∏

Vln. II div.

& & & B

Vla. div.

B ?

Vcl. div.

4 soli, div. D.B. gli altri

? V t

3 front desks, outside players

j bœ 3 front desks, inside players π Œ

‰

3 front desks, outside players

‰

3 front desks, inside players

j œ π

j œ 3 front desks, outside players π Œ Œ

‰ ‰

3 front desks, inside players

j œ π

#œ J 3 front desks, outside players π Œ Œ

3 front desks, inside players

wwo o

‰ ‰

b œ b œO π

œ J π

∑ 230

b œO

œ œO π œO œO œO Oœ Oœ

44 #œ

˙ ∑

∑

44 ‰

∑

‰

œœ

# # ˙˙ 42 2 4

∑

44 ˙ π

44 #˙ ∏ 44

∑

2 back desks, inside players πj ‰ æ 3 4 b b œO Oœ Ȯæ J Œ Œ

∑

2 4

∑

‰ 43 J

∑

2 4

∑

4 4

∑

2 4

∑

P P P P P P

π æj æ œO Oœ Ȯ Œ

2 back desks, outside players

2 back desks, inside players π 3 ‰ æj æ 4 # O O Ȯ J # œ œ Œ

‰ 43 J ‰ 43 J ‰ 34 J

43 Œ

2 back desks, inside players π j Oœæ Oœ Ȯæ Œ Œ

π æj œO Oœ Ȯæ Œ

2 back desks, inside players

desks, inside players π2 back æOj O Ȯæ œ œ Œ Œ

π æj O Ȯæ ‰ b O 3 4 J œ œ Œ o 34IV j œ P

2 back desks, inside players

o œœ

F pizz. 3 #œi ‰ p 231

Œ o o œœ # œ

˙ ..

ȯ . i

1 solo

42 232

#œi tutti

œ æJ p

œ. æJ

≈ Ó

wire brushes

œ ∏

with fingernail

∏ #˙ 5 4 # œ- œ œ œ # œ 4

2 4

∑

[small sus. cym.]

∑

gliss. with wire brushes over metal bars and resonators

∑

πj 3 ‰ b b œOæ Oœ Ȯæ 4 J Œ

r œ ‰.

wire brushes

44 [crotales] Œ

∑

Vln. I div.

44 r ‰ . œ

2 back desks, outside players

∑

3 4

∑

∑ # œœ

‰

j ‰ œœœ

43 43

# # œœ

œœ .. œ. J

∑

œ œ J J

œi

# œœ Ii 3 n œi ‰ J ‰ ‰ n œJ I Œ [vibraphone]

P 34 ˙ #˙. 2. p [stopped mute] 43

œœœ

œ 3 œœ 4 P 43

possibile

‰

? ã

# œ .. ≈ œœ . J p

∑

3 4

1 Tbn. 2 3

œ J ∏

‰

∑

3 4

π œœ œ

? &

π œ

Œ Œ

j #œ

Ob. 1

œ œ J J

lS co

Fl.

#œ

œ P #œ

Œ abrupt cut off

∑

Œ Œ

∑ Œ

abrupt cut off

sul pont. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ bœ œ. ≈ Œ 4 . 4 b œ (b œ ) J π 1 solo sul pont. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . ≈ Œ 4 b œ œ . 4 b œ (b œ ) J π

1 solo

π 233

œ π non dim.

œo I Ó

œo I Ó . œ π non dim. sul pont. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 1 solo œ œ . 44 . J ≈ œ(œ) π sul pont. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 1 solo œ œ. ≈ 44 J . œ(œ) π sul pont. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ. 1 solo . 44 œ (# œ) J ≈ π sul pont. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #œ œ. . 4 #œ ( œ ) J ≈ 4 π 44

1 solo

˙o i

∑

1 solo

Ó 234

Œ Œ Œ Œ